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題 名 | Tradition, Innovation and Modernity: The Choreographic Aesthetic of Autobiographical Solo by Mui Cheuk-Yin=傳統、創新和現代性:梅卓燕自傳式獨舞的編創美學 |
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作 者 | 張婷婷; | 書刊名 | 臺灣舞蹈研究 |
卷 期 | 7 2012.12[民101.12] |
頁 次 | 頁53-73 |
分類號 | 976.01 |
關鍵詞 | 編創美學; 自傳性獨舞; 文化認同; 創新; 舞蹈劇場; Choreographic aesthetic; Autobiography solo; Cultural identity; Innovation; Dance theater; |
語 文 | 英文(English) |
中文摘要 | 本文專注探討香港編舞家梅卓燕的編舞美學,並進一步的探討梅如何藉由當代舞蹈探索自我與文化的定位。香港現代舞先驅梅卓燕於1981年開始在香港舞蹈團擔任首席舞者。於1985年贏得青年編舞大賽之後,獲獎學金前往紐約學習現代舞。自1986年開始探索創作,並開始發表日記系列獨舞。從《日記I-我出生於中國》到2009年的《日記VI-謝幕》,梅探索自身的舞蹈歷程,也反應了香港在文化與政治上的環境變遷。由於梅在亞洲的卓越發展,她獲碧娜‧鮑許和福克旺舞蹈劇場的邀請,創作《花落知多少》並在烏帕塔舞蹈劇場中演出《春之祭》。她作品的原創性、辭彙以及中國文化元素獨特運用的方式,受到國際藝術界的讚賞,筆者藉由對其作品的分析,討論自傳式獨舞的重要性。衍生自人類學家瑪莉莎.布朗所述,身份定位是由社會經歷而非文化與先祖所決定的論點,筆者以梅卓燕的作品為例,討論社會與文化價值在英國將香港主權於1997年交還給中國之前與之後的變化。本文同時亦討論香港由殖民地轉移為後殖民地,在回歸前後的社會變遷、文化價值以及複雜的身份定位問題,藉由梅卓燕的舞蹈肢體看見群體的記憶。經由梅卓燕的編創過程,研究她在編創傳統和創新之間以及舞蹈和跨界之間,如何成就獨特的梅式編舞美學。 |
英文摘要 | This paper focuses on the choreographic aesthetics of female choreographer Mui Cheuk-Yin’s autobiographical solos. Mui, as a pioneer of modern dance in Hong Kong, started as a principal dancer in the Hong Kong Dance Company in 1981, and after winning the Hong Kong Young Choreographer Competition, received a scholarship to study modern dance in New York in 1985. After she returned, Mui started her solo “Diary” project by exploring the form of dance theatre. From Diary I - I was born in China (1986) to Diary VI - Applause (2009), Mui explored the history of her own dance career, and that of the changing political and cultural environment in Hong Kong. With her success developing dance theatre in Asia, Mui was invited by Pina Bausch and Folkwang Tanzstudio to choreograph Whispering Colour, and to perform as a guest dancer in The Rite of Spring with Tanztheater Wuppertal. Mui’s work is internationally renowned for its organic movement vocabulary and unique way of using Chinese cultural elements. By examining her autobiographical solos in Diary VI - Applause, I discuss how Mui explores the productive relationships between the role of tradition and the idea of innovation. I also describe how Mui negotiates her personal and cultural identity through contemporary dance. Expanding the argument that identity is shaped by social experience - not culture and ancestry, as is commonly claimed in political rhetoric - I use Mui’s solo work as an example, and discuss how Mui’s dancing body is an archive of a group’s collective memory of social and cultural value change before and after the United Kingdom transferred its sovereignty over Hong Kong to the People’s Republic of China in 1997. By tracing her creative process, I discuss how Mui negotiates tradition and innovation through her choreographic method and aesthetic vision. |
本系統中英文摘要資訊取自各篇刊載內容。