貝多優大師們的舞蹈生活哲學：印尼傳統表演理論初探

Bedhaya Gurus' Life Philosophies on Dance: A Theory of Performance and Its Practice in Java

10.29776/TTJ.201207.0006

林佑貞(Yu-Chen Lin)

爪哇 ； 日惹表演理論 ； 宮廷舞蹈 ； 貝多優 ； 舞蹈生活哲學 ； 訪談 ； Joged Mataram ； court dance ； Bedhaya ； life philosophies ； interviews

戲劇學刊

16期（2012 / 07 / 01）

153 - 175

繁體中文

本文欲透過爪哇傳統宮廷舞蹈大師的訪談紀錄、表演與訓練，牽引出支撐此傳統表演藝術的理論與精神。”Joged Mataram”（日惹表演理論）直譯為馬塔蘭舞蹈，視表演藝術為精神修煉的實踐；它不只落實在表演者的訓練與演出，更深入其信仰與日常生活。日惹表演理論強調，舞者必須絕對地「專注」（sawiji）、培養動態精神（greged）和自信心（sengguh），並具備持之以恆、堅持不懈的毅力（ora mingkuh）。藉由舞蹈來開發個人的警覺性和穩健度，使人人能夠秉持冷靜、尊嚴、優雅來面對生活中所遭遇的難題。文中將先介紹貝多優舞蹈（Bedhaya或Bedoyo），再分別由幾位貝多優大師的訪談與觀察入手，並佐以個人的田野習舞經驗，探尋形塑爪哇宮廷表演藝術的思想基礎與實踐。其次，我將運用一位中生代貝多優編舞家的訪談和創作，以呈現出不同世代對日惹表演理論與貝多優傳統的延續與反思。

This paper intends to induce the spirit and theory of traditional performance art through interviews, training and performances with Javanese Court Bedhaya gurus. The term ”Joged Mataram ”, indicating the Javanese philosophy of performance which takes performance art as a kind of spiritual discipline, emphasizes absolute concentration (sewigji) by the dancer, so that the dancer can channel his/her inner impulse/energy into external dance moves (greged), humble self-confidence (sengguh) and constant determination (ora mingkuh). Through ”Joged Mataram”, an individual aims to develop alertness and steadiness so that difficulties and problems in life may be overcome through calmness, dignity and gracefulness.This text first begins by introducing Bedhaya dance and then, by providing interviews with traditional court dance masters as well as my personal experiences of learning dance in Java, I would like to explore the thoughts and doctrines behind this traditional performance art. Finally, by taking a younger Bedhaya choreographer and his work as an example, I will show how different generations of Bedhaya dancers/choreographers preserve and reflect on their traditions.

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