| 摘要: | 筆者的身體訓練歷經舞者養成教育、職業舞團與自由表演者三階段，本研究主要探討碩士畢業製作《我的舞蹈旅程》中的身體運用、自我身體語彙發展與表演詮釋。《我的舞蹈旅程》包括四支舞作及三段相對應之舞蹈技巧示範段落，來呈現筆者不同的舞蹈表演風格、狀態與技巧。筆者以表演者角度，分析編舞家林文中不同時期的兩支作品《情歌》、《長河》選粹，比較瑪莎‧葛萊姆舞蹈技巧、比爾‧提‧瓊斯舞蹈技巧、林文中舞團流體舞蹈技巧之身體運用的特色與差異性，並解釋史坦尼斯拉夫斯基三種內在驅動方式「知識」、「情感」和「意志」如何運用於排練與表演詮釋過程。而《Dis/place》與《存在》兩支舞作，筆者以表演者兼創作者的角度，探討自我身體語彙的找尋與應用，以實際觀察與探究日常生活中多數人心理層面與動作肢體上的關係以及情緒與動作的關聯性，進而分析不同情緒產生的身體狀態，最後將其身心狀態記錄、轉換並適當的呈現於舞作之中。透過這四支舞作不同的身體運用、自我身體語彙發展與表演詮釋方法之分析比較，本研究整合以上範例與經驗，也藉由觀眾問卷與舞者訪談回饋，提出筆者對舞者身體訓練與舞台藝術表演之看法，檢視過去與展望未來，延續更寬廣的舞蹈旅程。
The author's physical training has gone through three stages: dancer education, professional dance company, and freelance performer. This research mainly discusses the body application, the development of self-body vocabulary, and performance interpre- tation in the MFA graduate production ”My Dance Journey”. ”My Dance Journey” includes four dance pieces and three corresponding dance technique demonstrations to present the author's different dance performance styles, states, and techniques; From the perspective of a performer, the author analyzes the excerpts from the choreographer Wen-chung Lin's two works ”Small Songs” and ”Long River” in different periods, compares the characteristics and differences of body application among dance techniques of Martha Graham, Bill T. Jones, and the liquid technique of WCdance (林文中舞團), and explains how Stanislavski's three internal driving methods ”thought”, ”feeling”, and ”will” are used in the process of rehearsal and performance interpretation. For the two dances ”Dis/place” and ”Existence”, the author explores the searches and applications of self-body vocabulary from the perspective of the performer and creator, observes and explores the psychological and physical aspects of most people in daily life as well as the relationship between emotions and actions, then analyses the physical state generated by different emotions, and finally record, convert and appropriately present the physical and mental states in the dance performance. Through the analyses and comparison of the different body applications, self-body vocabulary development, and performance interpretation methods of the four dances, this research integrates the above examples and experiences and also uses audience questionnaires and dancer interview feedback to propose the author's assessment of dancers' physical training and performance. Examining the past and looking forward to the future, the author continues a broader dance journey. |
