雲門舞集觀眾舞蹈欣賞之隱性知識研究
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Date
2016-10-??
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國立台灣師範大學圖書資訊學研究所
Graduate institute of library and information studies ,NTNU
Graduate institute of library and information studies ,NTNU
Abstract
就像大多數的藝術欣賞能力，我們並非天生就具有欣賞舞蹈的能力，而是多少需要靠後天的培養。一般未接受過舞蹈教育或訓練的民眾對於舞蹈的認識除了實際的觀賞經驗外，還來自於生活中所接觸的各式各樣資訊，包含文字、影音或是人際間的交流。Polanyi 將人類的知識分成兩種：可以用文字記錄的稱為外顯知識，而無法靠文字記錄，並且存在於實踐行動中的知識，則稱為隱性知識。坊間有關舞蹈欣賞的書籍大多從外顯知識的面向去教導民眾認識舞蹈；相對來說，較少從內隱的隱性知識來說明舞蹈欣賞的歷程。因此，本研究想要探討一般未受過舞蹈相關教育的雲門舞集觀眾，在欣賞過程中如何理解舞蹈，並且如何培養這些相關的隱性知識。本研究採用質化方式，針對15 位未受過舞蹈教育或訓練的雲門舞集觀眾進行訪談後，歸納出舞蹈欣賞歷程的架構，將欣賞歷程分成看演出之前、看演出的當下、和看完演出之後等三個階段。研究發現雲門觀眾在理解舞蹈時所展現出的隱性知識分別是：「（意義的）解讀」、「情感（的共鳴）」、「（經驗的）串連」和「（個人的）衍申」。事實上觀眾在看演出之前就已經在從事許多與培養舞蹈欣賞能力相關的活動，這些相關活動會累積在個人經驗中，等到真正看演出時就有助於解讀、情感、串連等三種隱性知識的展現。看完演出之後，觀眾或是從事與舞蹈相關的活動或是展現衍生的隱性知識，最後這些經驗再回饋到個人身上，關於舞蹈欣賞的隱性知識於是又再加深一層。
How do people appreciate the things they don’t know or even don’t understand? The way to solve this is to get the knowledge about the things. This is what usually happens when people try to appreciate modern arts. Like most forms of the modern art, people who want to watch modern dance will face the situation like this. They may need to take dance courses or get the knowledge via all kinds of relative information or actual dance watching experience in life. Polanyi indicates there are two kinds of knowledge: “explicit knowledge” and “tacit knowledge”. Since most of the books about how to appreciate modern are introducing “explicit knowledge” of dance to the readers/ audience. I try to explore how the Cloud Gate audience understanding dance with “tacit knowledge” in my research. I use the qualitative approach to interview 15 Cloud Gate audience who didn’t learn about dance courses before. After that, my research raises a structure of dance appreciating progress including three stages: before, being, and after watching the dance performance. This research also concludes that the tacit knowledge of understanding dance are: “decoding”, “emotion”,“articulating” and “extending”. The Cloud Gate audiences have been doing so many relative activities to cultivate the dance appreciating ability in their daily life. All these activities would become their personal experiences. When the audiences watch the dance performance, their relative experience would help the three kinds or tacit knowledge emerge. After watching the dance performance, the audience would also do some relative activities to “extend” the knowledge of dance. Finally, all the experiences of relative activities and practicing of tacit knowledge would have feedback to themselves. And the tacit knowledge of dance appreciatewould also increase.
How do people appreciate the things they don’t know or even don’t understand? The way to solve this is to get the knowledge about the things. This is what usually happens when people try to appreciate modern arts. Like most forms of the modern art, people who want to watch modern dance will face the situation like this. They may need to take dance courses or get the knowledge via all kinds of relative information or actual dance watching experience in life. Polanyi indicates there are two kinds of knowledge: “explicit knowledge” and “tacit knowledge”. Since most of the books about how to appreciate modern are introducing “explicit knowledge” of dance to the readers/ audience. I try to explore how the Cloud Gate audience understanding dance with “tacit knowledge” in my research. I use the qualitative approach to interview 15 Cloud Gate audience who didn’t learn about dance courses before. After that, my research raises a structure of dance appreciating progress including three stages: before, being, and after watching the dance performance. This research also concludes that the tacit knowledge of understanding dance are: “decoding”, “emotion”,“articulating” and “extending”. The Cloud Gate audiences have been doing so many relative activities to cultivate the dance appreciating ability in their daily life. All these activities would become their personal experiences. When the audiences watch the dance performance, their relative experience would help the three kinds or tacit knowledge emerge. After watching the dance performance, the audience would also do some relative activities to “extend” the knowledge of dance. Finally, all the experiences of relative activities and practicing of tacit knowledge would have feedback to themselves. And the tacit knowledge of dance appreciatewould also increase.