紅塵鬧熱白雲冷—台灣現代藝術節慶的本末與虛實

邱坤良

doi:10.29776/TTJ.201201.0002

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P49 - 78

人文学 > 艺术

DOI： 10.29776/TTJ

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红尘闹热白云冷—台湾现代艺术节庆的本末与虚实

The Ins and Outs and Actual Situation of Modern Art Festivals in Taiwan

邱坤良(Kun-Liang Chiu)

戏剧学刊； 15 期 (2012 / 01 / 01) ， P49 - 78

繁体中文 DOI： 10.29776/TTJ.201201.0002

艺术节庆；台北艺术节；艺穗节；童玩节；春呐；嘉年华； Arts Festival ； Taipei Arts Festival ； Fringe Festival ； Children's Folklore & Folkgame Festival ； Carnival

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摘要 │ 参考文献 (39) │ 被引用文献 (5) │ 国际计量

摘要〈TOP〉

并列摘要〈TOP〉

Holding a modern arts festival does not have an inevitable relation with cultural development, the emergence of artists (or artistic groups) and creation has many channels and does not necessarily have to be through modern art festivals. From the standpoint of the government and the people, modern arts festival are also not necessary, because the policies of the state and the welfare of the people are closely connected, there is a hierarchy in terms of importance and urgency as well as priority, ostentatious and vibrant activities that lack cultural content are of no help to society. In other words, once holding art festivals the festival's time and space per se as well as the festival's atmosphere should be maximized, otherwise to conduct education in the arts and hold ordinary artistic and cultural exhibitions and performances is actually more feasible. Looking at foreign countries, famous international art festivals all possess certain characteristics and conditions, for example the city's environment, natural landscapes, or rich cultural heritage and artistic resources, the important ”attractions” that lure the travel industry in the first place. Besides that, the people's quality is high, they enjoy the arts and participating in cultural activities. Theoretically, modern arts festivals have their functionality, including boosting artistic creation, improving the level of exhibitions and performances, bringing leisure and entertainment to citizens; integrating arts festivals with the community's feelings, attracting domestic and foreign tourists, promoting the development of local industry…Festivals may possess all these beneficial characteristics or lay particular stress on one of them. From the perspective of the development of international arts festival, to hold a festival is the effect, the space and environment of a city, the artistic and cultural resources as well as the people's quality are the causes. The integration of the operation and mechanism of arts festivals allows these activities to continue, unleashing a bigger effect. However, Taiwan reverses cause and effect, and directly makes an approach from the perspective of holding an arts festival, thinking immediate results can be obtained with the attraction of a large number of people and the benefits brought to the economy, yet the fundamental condition is disregarded, the ”cause” in the management of arts festivals. To get to the crux of the matter-what Taiwanese modern art festivals lack most is not space, landscape and a humanistic and cultural environment but overall, long-term planning, an independent operational mechanism that possesses the accumulation of arts and cultural resources as well as an international reputation. It's essential contents should focus on cultural thoughts and actions, revealing a festival's central core-a sense of space, a sense of festivity and a sense of expectation by the participants, and these three characteristics should echo the arts and cultural qualities of modern arts festivals and with the event of ”arts and culture” and its connections and public nature prolong the festival's time and space, which is further solidified by the atmosphere, arousing the wish of the relevant community and outsiders to actively participate.

参考文献 ( 39 ) 〈TOP〉

邱坤良。 1998 。〈台北艺术节：看不到台北的文化性格〉。《联合报》 1998 年 6 月 9 日。
邱坤良。 2011c 。〈政府疯活动，容易本末倒置〉。《中国时报》 2011 年 11 月 2 日。
邱坤良。 2010 。〈县政府「请」妈祖〉。《联合报》 2010 年 10 月 22 日。
(1987).Time out of Time: Essays on the Festival.Albuquerque:University of New Mexico Press.
邱坤良。 2011 。〈小剧场、城市空间与文化焦点〉。《中国时报》 2011 年 6 月 15 日。

被引用文献 ( 5 ) 〈TOP〉

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