歌仔戲現代劇場化的全面演練: 試探幾種藝術節機制與場域 對新編歌仔戲的影響
Since the 90s, programs such as "Xiqu Dreaming Factory/zand Taiwan Traditional Theater Festival (2018-) from National Center for Traditional Arts in Taiwan and the National Theatre (now an affiliate of the National Performing Arts Center established in 2014) and "Production Projects for Outdoor Oper...
| Publicado en: | Journal of Chinese Ritual, Theatre & Folklore / Mínsú Qǔyì no. 218; pp. 113 - 160 |
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| Formato: | Artículo |
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Shih Ho-Cheng Folk Culture Foundation
Dec2022
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=161372982&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 161372982 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 10251383 GYI6 jtl: Journal of Chinese Ritual, Theatre & Folklore / Mínsú Qǔyì issn: 10251383 maglogo: N pubinfo: dt: Dec2022 iid: 218 pid: 90126 pub: Shih Ho-Cheng Folk Culture Foundation artinfo: ui: 161372982 ppf: 113 ppct: 47 formats: fmt: @attributes: type: P size: 22.4MB tig: atl: 歌仔戲現代劇場化的全面演練: 試探幾種藝術節機制與場域 對新編歌仔戲的影響 aug: au: 傅裕惠 affil: 國立臺灣大學戲劇系兼任講師、博士生 su: Drama festivals Centers for the performing arts Spring festivals Art festivals Art appreciation Arts endowments Taiwan sug: subj: Taiwan Drama festivals Centers for the performing arts Spring festivals Art festivals Art appreciation Arts endowments keyword: artistic autonomy festival field habitus Traditional Taiwanese Opera in modern theatre 場域 慣習'藝術節 藝術自主性'現代劇場歌仔戲 ab: Since the 90s, programs such as "Xiqu Dreaming Factory/zand Taiwan Traditional Theater Festival (2018-) from National Center for Traditional Arts in Taiwan and the National Theatre (now an affiliate of the National Performing Arts Center established in 2014) and "Production Projects for Outdoor Opera Troupes" (2003-2012) sponsored by the National Culture and Arts Foundation since 2000z and the Spring Arts Festival Opera Series (2010-) organized by the Bureau of Cultural Affairs for Kaohsiung City Government, are all forming of "the fields of cultural production/while the "institutionalization" of modern theatre, including a fully developed industry of its professional divisions of labor, is growing into its maturity. Due to the development of the professional divisions of labor in modern theatre, Traditional Taiwanese Opera is closely related to the "national symbol/' The intellectual elite, motivated by the ideology of nationalism, has carefully crafted the original works of the opera, which makes the meaning of canonization evident. It is significantly related to the process of planning (curation), review, and evaluation mechanism of the production of works, which not only directly affects the "canonization" of Traditional Taiwanese Opera but also forms a group of a distinctive class of audience, so-called experts and scholars whom the cultural bureaucrats mostly put their trust in and reliance on. In the field of Traditional Taiwanese Opera in the modem theatre (cultural field), a rather exclusive nature is created due to the specific habitus and different demands from the taste of ordinary people. Such a system of cultural production may dissolve the problems or dissipate the tension that undermines artistic autonomy because of the influence of capital power. Moreover,辻 has grown into a supreme artistic taste so that it could possibly blur the class differences between the traditional outdoor opera troupes and those related professionals in the cultural field (modern theatre). This article attempts to study the above-mentioned art festivals and analyze the development of their evaluation system for subsidization. Furthermore, based on the review mechanism and mobilization of resources allocated by the art festivals, I will try to demonstrate the significance and substance of the so-called contemporary Traditional Taiwanese Opera and its ecological impact. 九O年代起, 國家戲劇院（現隸屬2014年成立的國家表演藝術中心） 以及延續至今的企劃邀演, 與2000年之後財團法人國家文化藝術基金會主 辦的「歌仔戲製作及發表專案」（2003-2012）、高雄市政府文化局的春天藝術 節歌仔戲系列（2010-）與國立傳統藝術中心的臺灣戲曲藝術節和「戲曲夢工 廠」（2018-）等節目, 隨着現代劇場表演「機構化」, 及現代劇場生產制度與 專業分工的成熟, 逐漸形成特定的「文化生產場域」。其中關係着作品生成的 策劃（策展）、評審與評鑑機制, 不僅直接影響臺灣歌仔戲的「正典化」, 也因 爲臺灣文化官僚對所謂專家學者的倚賴與信任, 形成了一批特定階層的觀眾。 現代劇場歌仔戲製作（文化場）的場域中, 因爲場域慣習的特殊地位與訴 求別於常民口味的市場, 形成對外的封閉性。這樣的文化生產編制可能會因 爲資本權力的影響, 將損及藝術自主性的問題或現象, 視爲理所當然;甚 者, 形成至高的藝術品味, 以致於模糊了民間職業戲班與文化場域不同的階 級問題。本文試圖探討前述幾個重要的戲曲藝術節, 就其評審評鑑制度詮釋 其中的現代化發展;並從藝術節分派資源的審査機制與參與動員, 嘗試論述 所謂當代歌仔戲對生態影響的意義與內涵。 pubtype: Academic Journal doctype: Article src: R language: Chinese refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal of Chinese Ritual, Theatre & Folklore / Mínsú Qǔyì is the property of Shih Ho-Cheng Folk Culture Foundation and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal of Chinese Ritual, Theatre & Folklore / Mínsú Qǔyì holder: Shih Ho-Cheng Folk Culture Foundation dt: @attributes: year: 2022 holdings: @attributes: islocal: N |
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