走向舞團的終點－《浮動的地平線》的舞台前後

To the end of a dance troupe: On and Off the stage of Floating Horizons

陳雨君(Yu-chun Chen)

閾限 ； 修復行為 ； 社會劇 ； 舞台劇 ； 經驗人類學 ； liminality ； restored behavior ； social drama ； stage drama ； anthropology of experience

戲劇學刊

33期（2021 / 01 / 01）

63 - 85

繁體中文

本文由人類學家透納（Victor Turner, 1920－1983）的「經驗人類學」取徑出發，藉由其「表演表述真實」的觀點，探討2017年光環舞集製作的演出《浮動的地平線》如何透露舞團在現實中即將到來的結束。「光環舞集」（1984－2019）由舞蹈總監劉紹爐與其妻楊宛蓉成立於1984年，實驗「嬰兒油上的現代舞」長達二十餘年，也曾在世界各地巡迴演出。2014年，劉紹爐（1949－2014）癌症去世，舞團落入閾限狀態（liminal state），團員們在各種不確定性中尋找新的可能性。我的田野從2016年8月開始至2017年9月結束，參與觀察了最後一個舞作《浮動的地平線》的製作和演出，從舞台前／後的資料蒐集，發現演出中使用的象徵呼應了現實中的「意義」—這個現實中不易觀察和討論的「結束」。「結束」在作品中卻一再出現，如透納的經驗人類學所揭示的社會劇與舞台劇相互影響的關係，也印證了美學的反身性無法脫離社會存在，因為它的對象就是生命和世界本身。

This article is based on anthropology of experience employed by the anthropologist Victor Turner (1920-1983), with his view that 'performances express reality', exploring how the performance of Floating Horizons produced by Taipei Dance Circle (the TDC) in 2017 reveals 'the end of a dance troupe' in reality. TDC (1984-2019), founded by Shaw-Lu Liu (1949- 2014) and Wan-Jung Yang in 1984, experimented with modern dance on baby oil for over 20 years and it toured around all over the world. In 2014, Shaw-Lu Liu died of cancer and TDC deteriorated into the liminal state. Shrouded in uncertainties, the members tried various ways to continue the career of TDC, such as collaborating with other choreographers and artists or choreographing by the dancers of their own accord. My fieldwork started in August 2016 and ended in September 2017, participating in the making and staging of TDC's final piece Floating Horizons. Through collecting the data both on and off stage, I found that many symbols used in the performance could reflect the meaning of TDC's fate in reality. 'The end' of a dance troupe as a topic is difficult to be observed and discussed in the daily life, yet it appears in Floating Horizons as a symbol, showing the interactive relationship between social drama and stage drama in Turner's theory. It also manifests that the reflexivity of aesthetics can never be separated from the society because its true subjects are life and the world.

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