跨文化表演的研究途徑：臺灣一場緬甸音樂表演的互為主體與多點民族誌研究

Approaches to Understanding Intercultural Performances: Intersubjectivity and Multi-sited Ethnographic Research on a Taiwan's Burmese Music Performance

呂心純(Tasaw Hsin-Chun Lu)

跨文化表演 ； 緬甸音樂 ； 多點民族誌 ； 多元主體 ； 互為主體 ； intercultural performance ； Burmese music ； multi-sited ethnography ； multisubjectivity ； intersubjectivity

民俗曲藝

193期（2016 / 09 / 01）

11 - 62

繁體中文

當代表演藝術的跨界交流正蓬勃發展，而在學界，研究者也透過建構、修正與解構「離散」這個概念，將當代各種形式的跨文化表演視為研究場域，梳理各種流動架構底下龐雜的權力關係。在這樣的研究視野下，一場跨文化表演，不僅可反映出社會不同層次的互動外，本身也是一種文化意識形態與政經脈絡共構下的再現，抑或是多元政治力的載體，得以提供探索社會轉型的契機。然而，早期有關跨文化表演的分析論述，研究者經常僅就其當下演出的呈現作為分析文本，往往流於過度主觀；或對表面單純、但實質卻鑲嵌於龐雜結構的聲響表演，只能呈現單一或單向的文化政治分析。有鑑於此，本文將以國家兩廳院的一場世界音樂講座音樂會為探討對象（即2013 年「遷移之聲」系列中「紐約邊城的緬甸流亡者：Kyaw Kyaw Naing」這個節目），嘗試從「互為主體」與「多點民族誌」這兩個理解途徑切入，將其概念化與脈絡化，以供研究者做進一步的思考。本文倡議，要探討跨文化表演，研究者可將視野從表演當下的時空開展，延伸至這個文化產物在創作過程中多位址、多元主體的脈絡軌跡等多向維度，並關注研究者作為中介角色的知識建構過程，進而從中追溯其軌跡下「點」與「點」之間的關聯性，深入其當中所隱含的深層文化政治。

Intercultural exchange of performing arts is booming today. Drawing scholarly attention to intercultural performance, ethnomusicologists have long grappled with the intricate powerful relationships occurring in the transcultural frameworks through the (de)construction and (re)shaping of the ＂diaspora＂ idea. In that, intercultural arts performance has proven to have great potential in revealing the dynamic interplays between different social agents and representing cultural ideologies. It can also provide a platform for social transformation. However, early discourses on intercultural arts performance centered more on the performance itself as referred to the texts for analysis. Oftentimes those underlying substances and values embedded within the performance remain uncovered. This article introduces and conceptualizes two approaches to the study of intercultural music performance, including intersubjectivity and multi-sited ethnography. With a focus on the performance produced by Taiwan's National Theater and Concert Hall titled ＂Sounding Diaspora: Kyaw Kyaw Naing,＂ it adopts these two approaches to the exploration of the dynamic interplays within. In the analysis, I suggest that one can expand ＂the site of research＂ from a single location to multiple ones and trace the trajectories in the creative process of the performance production. Constructing the relationality, or connectivity between these locations such as trains, threads, conjunctions, or paths, will help us understand the intricate cultural politics and ideologies deployed in music performance.

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