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題名 | 初探「無垢技巧」=A Preliminary Study of “Wou-Gow Technique” |
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作者 | 王姿婷; Wang, Tzu-ting; |
期刊 | 臺灣舞蹈研究 |
出版日期 | 20131200 |
卷期 | 8 2013.12[民102.12] |
頁次 | 頁113-163 |
分類號 | 976 |
語文 | chi |
關鍵詞 | 無垢舞蹈劇場; 舞蹈技巧; 身體訓練; Legend lin dance theatre; Dance technique; Body training; |
中文摘要 | 1995年5月,林麗珍的「醮」於國家戲劇院首演後引發了諸多迴響。同年十月,無垢舞蹈劇場正式成立。林麗珍秉持著十年磨一劍的精神,自成團以來僅發表了三部作品,旨在重新探索「時間」與「空間」的關係,並且呈現出特有的身體美學。同時,在「中心點、中心圓、中心軸」的哲學思考脈絡下,林麗珍整合「定、靜、鬆、沉、緩、勁」六大動作原則作為身體訓練的主軸精神,進而發展出「無垢技巧」。本研究為質性取向之田野觀察、實際參與及深度訪談等研究法,由舞者中心點出發,著重於該團之身體訓練內容,藉由研究者實際參與肢體開發班及排練、演出歷程之研究策略,企圖融合自身與舞者觀點,探知造就無垢美學的關鍵因素。同時,亦期望在反省自我學習與研究歷程之餘,能提供舞蹈教育與表演藝術領不同的身體訓練觀點,以及另一種看待身體的視角。研究結果發現:無垢技巧仍屬於發展階段,具有明確的身體觀,並且落實於實際操作層面。其訓練內容是以三套基本動作原型及穩定的課堂流程為範示,逐步引導舞者貼近無垢技巧之核心要領。而無垢技巧之傳承,正仰賴資深舞者群的學習與教學經驗,彼此相互激盪,朝向建構系統化的教學藍圖邁進。 |
英文摘要 | In May 1995, "Miroirs de Vie", choreographed by Lin Lee-Chen, had its premiere at the National Theater in Taiwan. With the success of this work, she founded Legend Lin Dance Theater in October of the same year. During these 18 years after the establishment of her dance troupe, Lin has produced only three works, placing quality high over quantity. The distinct dance vocabulary in her works originates from the concept of exploring "time" and "space". Within her philosophical context of a "central point, central circle, and central axis", Lin integrated the following six principles of movement into her unique aesthetics: tranquility, stability, relaxation, submergence, unhurriedness, and explosiveness. This main concept forms the fundamental element of "Wou-Gow Technique". This study is a qualitative investigation through field studies, physical participation, and in-depth interviews, with its focus on the training of the bodies of the dancers. With the researcher's personal participation in the physical development and training courses, as well as in rehearsals and performances, this study aims to integrate both the researcher’s observations and viewpoints from the dancers in analyzing Wou-Gow aesthetics. Furthermore, by reflecting upon the learning process itself, the researcher hopes to gain a different perspective in dance education and performance art, as well as a new vantage in examining the body. The results show that the Wou-Gow technique is still in its development phase; nevertheless, there is a clear concept of the body, which is applied in actual practice. The training is modeled upon three sets of basic movements and a stable teaching process, which gradually guides the dancers into the fundamental concepts of the Wou-Gow technique. This technique is passed on through the experience of senior dancers, who collaborate to establish a systematic teaching method. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。