| 摘要: | 二十一世紀，台灣新生代舞蹈家以後現代舞蹈的實驗精神，在劇場舞蹈的創作裡，加入多媒體、裝置藝術等不同的混搭元素，並與各領域的人才進行跨界合作，創作內容從以往強調的中華文化傳統精神，轉向社會議題與自身關照。
2010年，姚淑芬以舞蹈劇場的形式創作《婚禮／春之祭》，獲得第九屆台新表演藝術獎，內容探討婚姻中的男女關係及兩性對於性的慾求；2012年她發表《器官感_性》延續慾望議題，專注描寫女人的慾望。這三部作品，突顯了女性主義之特色，即是女性創作者不再避諱面對自我的性需求，並且將此議題嵌入於作品中，以大膽前衛的手法，挑戰大尺度女性主義議題，為台灣女性舞蹈作品開拓新的方向。
本研究以個案研究法、舞蹈分析法與女性主義思想，對《婚禮／春之祭》與《器官感_性》三部作品進行分析，以達到：一、瞭解女性主義中之兩性關係。二、探討姚淑芬的舞蹈創作理念。三、分析姚淑芬舞作《婚禮／春之祭》與《器官感_性》中女性主義的思維。
In the 21st century, the new generation of Taiwanese dancers add multimedia, installation art and other different mixed elements into the composition of the theater dance with an experimental spirits of post- modern dance. They also cooperate with people in different fields and emphasizes their composition on the traditional Chinese Cultural spirit before, but now turns to some social issues and selfcare.
In 2010, Su-Fen Yao creates The Les Noces/Le Sacre Du Printemps in the form of Dance Theater, earning the Taisin Arts Award. The content is about the relationship between males and females in marriage and the sexual desire of genders. In 2012, she performed the extended issue of the sexual desire with the work Dangerous Breath trilogy, especially describing the sexual desire of the women. These three works highlights the characteristic of feminism. That is, the female composer did not avoid the self need of sexual desire and dubs the issue into the work, using the bold and fashionable way to challenge the issue of the large scale feminism and expand the direction of Taiwanese female dance works.
This study aims to analyze the following works : The Les Noces/Le Sacre Du Printemps and Dangerous Breath Trilogy by the Case Study, microanalysis and macroanalysis as well as the thoughts of feminism, in order to achieve the goals below. First, to understand the gender relationship of feminism. Second, to discuss the notion of the choreography of Su-Fen Yao. Third, to analyze the thinking of the work The Les Noces/Le Sacre Du Printemps and Dangerous Breath. |
