| 摘要: | 研究者從參與2018華岡舞展『匯境』裡的《曾經的曾經》舞作中，找尋自我身體轉化歷程。探討如何從表演經歷中找到與作品及角色有所共鳴的地方？如何不斷的去開發及探索身體的可能性？透過對舞作表演的探討分析，利用排練影像、文字紀錄與詮釋方法去發掘研究者自身的表演歷程。
本研究目的有下列三點：
一、解析研究者在現代舞中，身體的感知轉化與成長。
二、如何將角色意象轉化為舞蹈動作情感。
三、探討如何在舞作中找尋身體轉化之詮釋方法與自我專業成長歷程。
藉由舞蹈美學、舞蹈史、詮釋學、表演方法論與舞蹈心理學等文獻之整理並進行探討，採用個案研究、文獻分析法及舞作分析法進行排演歷程剖析。將研究結果呈現七大面向的身體感知轉化，輔以5W1H論述角色意象轉化為舞蹈動作之情感，及以高達美詮釋學的概念針對觀眾、表演者及編舞者三個視野探討自我專業之成長。研究者體悟到舞蹈雖然是透過肢體和觀眾構通，但「好的舞者不應該只是會動身體，還需要靠頭腦跳舞」，經過內在深化、沉澱，積累出從容自在的肢體。最後綜合整理出三點結論:
一、身體感知轉化與成長
二、角色意象轉化為動作情感
三、肢體轉化之詮釋方法與自我專業成長
對日後從事相關研究的舞者或研究者，建議透過七大面向之自我覺察，重新探索自我，建立屬於自己獨特的身體風格。藉由5W1H六向分析法解讀舞作不同範疇之意象。累積更多生活經驗與情感，培養對音樂的敏感性，藉由遊戲概念的多面向思維訓練，進而充實意象的詮釋能力、雙向的溝通能力，以強化自舞的舞蹈專業能力。
This study attempts to discover the researcher's body-transforming process from the dance "Once Upon a Time: in the "Hai Jing" by the 2018 Huagang Dance Troupe. By asking questions like "how to find out the connections between the dance and the role", "how to continuously develop and discover the possibility of one's body?", and analysis with rehearsal images, written records and interpretation methods, the study hopes to gain a better understanding toward the performer's own performing history.
The purpose of this study is to:
1. Analyze the perception transformation of the researcher's body and how it evolves after a specific dance performance.
2. Find out how the role image transforms into dance action emotion.
3. Explore ways to search out interpretation methods of body transformation and the dancer's self-professional progress.
Based on the studies of dance aesthetics, dance history, hermeneutics, performance methodology, and dance psychology, this research analyzed the rehearsal process by applying case studies, literature analysis, and dance analysis. The results are presented as seven aspects of the body perception transformation. The 5W1H analyzing method is used to discuss the transformation of role imagery into the emotion of dance movements. Lastly, the method on hermeneutics proposed by philosopher Hans-Georg Gadamer is used to set a framework for observing from different perspectives, including from the audience, the performer himself, and the choreographer.
Through this research, the researcher has realized that although dancers use their bodies and physical movements to communicate with the audience, "good dancers should not only focus on their movements but also interpret the dance with their minds." By deepening and precipitating oneself internally, a dancer can cultivate a composed body.
The three conclusions are that the following three aspects all play significant roles for a dancer:
1.perception transformation of the researcher's body and how it evolves.
2.how the role image transforms into dance action emotion.
3.Interpretation methods of limb transformation and self-professional growth.
For dancers or researchers who are engaged in similar research in the future, it is recommended to explore him or herself through the seven aspects for self-awareness and establish their unique body style. Besides, interpretation of the images of different categories of dance composition through the 5W1H six-way analysis helps accumulate more life experiences and emotions, as well as cultivate sensitivity to music. Finally, by using the multi-faceted thinking training of game concepts, a dancer is capable of enriching the image interpretation ability and two-way communicating ability to strengthen the professional ability of self-dancing. |
