《春之祭》世紀遺澤之省思

Some Centennial Reflections on ＂The Rite of Spring＂

彭宇薰(Yu-Shun Pong)

春之祭 ； 史特拉汶斯基 ； 尼金斯基 ； 音樂與舞蹈 ； ＂The Rite of Spring＂ ； Stravinsky ； Nijinsky ； Music and Dance

關渡音樂學刊

19期（2014 / 01 / 01）

125 - 145

繁體中文

西方音樂界之《春之祭》百年慶祝已進入尾聲，本文由箇中重要活動與過去百年來的衍生效應，探討其「死後生命」磅礡精彩的原因。首先，筆者透過音樂界與舞蹈界對此作品的接受性，與後來尼金斯基原作的重建過程中，嘗試刻畫音樂與舞蹈人錯綜複雜的關係，並體現藝術交流中位階更迭輪轉的真相；另一方面，舞蹈界前仆後繼的《春之祭》延伸性創作，可說是最大程度地表徵了音樂／舞蹈互為主體性的詮釋空間所在。其次，筆者透過文化史的角度，探看《春之祭》在機械、媒體、乃至數位時代，如何被後現代文化如拼貼、挪用等元素剝解與應用，而產生多義的符碼與效應。從後現代的角度而言，作品的意義或可在消費的層次上被人們產製、更動與管理，《春之祭》不由自主地進入消費文化滲透與商品化的世界，此是幸或是不幸？

The centennial celebration of ＂The Rite of Spring＂ is near its end. This article discusses the important activities of the celebration and the extended effect caused by the work for the past one hundred years. How the music and dance communities accepted the piece when it was just born is the first issue the author will discuss. The next part, a rough picture of the choreographic tradition of ＂The Rite of Spring＂, is presented in order to show how deeply the music influences the dance field. From the perspectives of cultural history, the author in the last part sets the work in the context of the mechanical, media and digital eras and explores how the codes of multi-meanings are expressed through the means of fragmentation, collages and appropriations. It seems on the level of consuming that the meanings of the work can be produced, modified and managed by ordinary people especially in the post-modern era nowadays. There is no doubt that ＂The Rite of Spring＂ has gotten involved involuntarily in the world of acculturation and commercialization. Is it good or not?

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