探究「身聲劇場」2013−2023表演美學以《新．尋龍記》為例

Abstract

創立於1998年的「身聲劇團」，25年的穩定成長中在不同型式之間發展出多元的作品，不只做現代性戲劇、主題議題性、儀式性劇場，近十年也有親子劇、廣場藝術、街頭作品，領域跨及戲劇類、擊樂類、肢體、高蹺等多元面向。在觀看表演時雖然可以見得表演者的個體，但並非以導演出發或是劇本出發，是扎實地黏貼在個人的特色上，和表演者產出關鍵的化學作用，「身聲劇團」在「演樂舞合一」的理念下做了很多作品，有一群表演者他們如何窮盡身體跟聲音做演出。此書面報告旨在探討〈身聲劇團〉2013–2023年之表演美學，以《新．尋龍記》為例。第一章為緒論，將分為研究動機、研究方法與限制，首先以文獻回顧的方式建立初步的認識與理解。第二章聚焦在2013–2023年之間的作品發展，以分流形式將作品分為四大類型：「身聲劇場」、「身聲擊樂團」、「身聲跨劇場」、「身聲大地樂器世界」，最後探討其演樂舞合一表演美學的風格、元素與運用。第三章以《新．尋龍記》為例，研究生將在本章詳述創作源起及劇本欲傳達之核心思想並分析相關議題，以及說明在這次劇作中所發現到的表演新美學。第四章為演出詮釋報告，將分為詮釋手法說明與演出呈現編排等兩節。第五章為本書面報告之結論。Founded in 1998, the"Sun Son Theatre" has developed a diverse range of works between different forms during its stable growth of 25 years. They not only create modern plays, themed issue-based plays, and ceremonial theater, but also produce works for parent-child audiences, public art, and street performances, covering multiple areas including drama, percussion, physical performance, and stilt-walking. Although the individual performers can be seen during the performance, the starting point is not based on the director or script, but is solidly attached to each performer's unique characteristics, creating a crucial chemical reaction between the performers. Under the concept of "integration of body movement and sounds", the "Sun Son Theatre" has created many works, with a group of performers who use their bodies and voices to the fullest extent in their performances. This written report aims to explore the performance aesthetics of "Sun Son Theatre"" from 2013 to 2023, using "New Dragon Chaser" as an example. Chapter One is the introduction, which will be divided into research motivation, research methods, and limitations, and will first establish a preliminary understanding and comprehension through literature review. Chapter Two focuses on the development of works between 2013 and 2023, and divides them into four major types:"Sun Son Theatre", "Sun Son Percussion", "Sun Son Plus + Theatre", and "Sun Son World Music Instrument Hall", and finally discusses the style, elements and application of the integration of body movement and sounds. Chapter Three focuses on the work of "New Dragon Chaser". The researcher will describe the origin of the creation, the core ideas that the script intends to convey, and analyze related issues, and explain the new performance aesthetics discovered in this play. The fourth chapter is the performance interpretation report, which will be divided into two sections: explanation of interpretation techniques and performance presentation arrangement. The fifth chapter is the conclusion of this written report.