欣賞表演 - 舞蹈
欣賞表演 - 舞蹈
2022/12/13
2023/08/22
展覽頁面呈現形式
縱式
策展者
沈冬
展覽封面
ecfb25a6be445887ca9658348c6830d9
展覽資料
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"desc": "<span>\n <span>\n <span>\n <span><br> 公會堂初成立,日本知名的現代舞團就登上了舞臺,為臺灣觀眾帶來了不一樣的美學體驗。被稱為「日本現代舞之父」的石井漠和他的舞團於1937年來臺,5月22日、23日在公會堂舉行兩天演出,1940年2月8日再度在公會堂表演。<br></span><span> 石井漠當時年方四十,正是藝術漸趨成熟的階段,對於東亞(日、韓、臺灣)舞蹈界有廣泛而深刻的影響,臺灣早期舞蹈家蔡瑞月、李彩娥、林明德等,大約都在此時赴日留學,拜入石井漠門下。蔡瑞月曾經說,看了石井漠的演出很受感動,更堅定決心要往舞蹈的路子前進。<br></span></span></span></span><span> 石井漠(Ishii Baku,1886-1962)原名石井忠純,日本秋田縣人,被譽為「日本現代舞之父」,年輕時立志成為作曲家, 1909 年移居東京,決定投身舞蹈,開始學習古典芭蕾,1915年與留德音樂家山田耕筰(Yamada Kosaku)提倡「舞蹈詩」。1921年赴歐洲遊歷,學習現代舞,吸取當代許多重要舞蹈家的理念。回日本以後,1928年在東京目黑區自由之丘開設了舞蹈研究所,即是日後的「石井漠舞蹈體育專科學校」,一生致力於追求自由精神的創作,培育眾多舞蹈人才。<br></span> 石井漠曾經多次來臺,兩次在公會堂演出。據《臺灣日日新報》1940年的報導,當時他帶領舞團巡迴東亞地區,為日本軍隊進行勞軍表演,舞團成員裡就包含後來臺灣的著名舞蹈家林明德;1947年,他的學生蔡瑞月從日本返臺,也在中山堂舉辦了首度舞作發表會。<span><span><span><br>\n </span>\n </span>\n</span>",
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"desc": "<br> 劉鳳學舞蹈演出的請柬,從左上截角可見當年票券均須經過政府稅捐處查核蓋章。",
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"desc": "<br> 《春鶯囀》是唐代樂舞,劉鳳學深入研究試圖重建,1967年4月8日於中山堂首演其中兩章〈遊聲〉及〈序〉,2001年同樣在中山堂再演〈颯踏〉、〈入破〉;2002年〈鳥聲〉及〈急聲〉終於在國家劇院登臺,歷時三十五年,劉鳳學終於完成了全部《春鶯囀》的重建工程。",
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"desc": "<br> 1968年5<span>月,劉鳳學在中山堂以「傳統和現代」為名舉辦舞蹈發表會。著名戲劇學者姚一葦發表評論,他說:「我們(姚一葦和俞大綱)都很興奮,我們彷彿感覺出中國的新舞蹈誕生了。」<br></span> 中山堂收藏了劉鳳學申請借用場地的親筆信,這場表演原訂4月20 日,信中申請改到5月17日,最後的批示是5月9日,這才是真正的表演日期。<br>",
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"desc": "<span>\n <span><span>\n <span><br> 戰後三十年,臺灣舞壇是芭蕾舞和民族舞的天下,現代舞僅有保羅泰勒舞團及黃忠良夫婦曾短暫演出,1967、\n <span>1968年間,王仁璐應邀回臺授課,造成轟動,成為臺灣現代舞發展的重要里程碑。<br></span><span> 王仁璐出生於中國雲南,移居香港,十五歲赴美,本來想念醫學院當醫生,因為酷愛舞蹈,最終棄醫從舞,親炙美國現代舞大師瑪莎.葛蘭姆五年。1967年,二十出頭的王仁璐受到戲曲學者俞大綱的邀請,在臺灣開授為期四週的現代舞講座。<br></span><span> 這是一個影響深遠的美麗故事;年已花甲德齒俱尊的古典戲曲學者,慎重地為一位初出茅蘆的年輕女孩舉辦講座,目的是演示一般人並不理解,甚至肆意批評的的新藝術形式,俞大綱的眼光和胸襟令人佩服,而王仁璐的講座猶如巨石投入沈寂的池塘,在臺灣舞蹈界激起耀眼的水花。當時有一個大學生天天去旁聽,就是後來的雲門舞集創辦人林懷民,他深受感動,為王仁璐寫了〈王仁璐的路〉一文,他寫道:「王仁璐已為他們指出一條路;一條崎嶇坎坷,卻不是沒有希望的路。」這條路,預示了臺灣現代舞發展的道路,最終林懷民在王仁璐的鼓勵之下,勇敢追求夢想,赴美專心學舞。<br></span> 1968年6月5日,王仁璐站上中山堂的舞臺,舉行「現代舞作品發表會」, 王仁璐一半示範、一半表演,主要舞碼為《白娘子》,中場還有瑪莎葛蘭姆基本動作的示範。「當時地板很髒,白娘子跳到後來變黑娘子。」王仁璐說。\n 中山堂舞臺在長久的古典芭蕾和民族舞蹈之後,再一次迎來了現代舞,帶動了國內舞壇的風氣轉變。這場表演,王仁璐自認為是她舞蹈人生中最重要的三件事之一,啟發了林懷民和臺灣許多年輕舞者,是臺灣舞蹈史上不得不記下的重要一筆。\n </span>\n </span>\n</span></span>",
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"desc": "<span> 新銳的藝術靈魂,不甘於受困於古老僵化的藝術形式裡。1970年代,一批充滿熱情的新銳年輕藝術家,聚在一起分享夢想,凝結成了「七一樂展」這場跨界與創新的演出。<br></span> 這是一場「混合媒體(Mix-Media)藝術展」,1971年5月6日在中山堂舉行。李泰祥和許博允作曲,陳學同擔綱編舞,葉維廉的詩,由同為詩人的商禽、瘂弦、楚戈、辛鬱、管管等人錄音朗誦,加上顧重光的畫,凌明聲的舞臺設計。一張演出名單,已可看出藝文界跨界動員和重整的力量,如江河匯流,捲起千堆雪。",
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"desc": "<span><br> 主持其事的許博允日後回憶,他們經過十多次的研討,試圖設計出一場結合詩、音樂、畫、舞蹈等不同藝術形的展演。這是當年藝壇一群最出色的年輕人,他們生氣蓬勃,各懷夢想,聚在一起時靈感迸射、興會淋漓,那種光彩和快樂,是臺灣藝文發展史上非常珍貴的一個段落。<br></span><span> 演出手冊上節錄了六位藝術家的創作理念,可以感受到藝術家們內心不可遏抑的、創新突破的渴望。<br></span><span>前輩音樂家許常惠特為之序言:「他們的嘗試是對未來音樂鋪路,提供新素材,成為藝術演變的動力」。<br></span><span> 雖然我們已經看不到、聽不到這一場表演,但由一張節目單,還是可以看出表演形式與樂隊配置極為複雜,除了詩、舞、樂,再加上燈光布景錄音,以當年的音樂會製作能力,可以想像製作人和舞臺總監的工作必然極為繁瑣沈重,是一場耗費巨大心力,眾志成城的演出。<br></span> 許博允說,這場演出迴響熱烈,媒體大篇幅報導不說,葉維廉將李泰祥、許博允共同作曲的〈放〉寄到美國加州大學聖地牙哥分校音樂研究所,該校竟然立刻提供了一名為期一年的研究獎助。許博允將這個機會讓給了李泰祥,李泰祥隨即赴美,他的人生也因這次出國,而有了極大的轉變。<br>",
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"desc": "<br> 1971年底,辦完「七一樂展」之後,許博允經人介紹認識了剛回國的林懷民和吳靜吉,經過一夜深談,他們決定推出第二次的「混合媒體藝術展」,也立刻找到了贊助單位,但這次「六二藝展」因種種原因夭折,最後並未實際演出,此時,林懷民決定不顧一切,發表他個人的舞蹈作品,於是1973<span>年,「雲門舞集」誕生了。<br></span><span> 雲門舞集的首次公演正在中山堂,當時報載「這是留美青年舞蹈家林懷民回國後的第一次正式表演」,演出節目全由林懷民編舞,包含《夏夜》、《秋思》、<b>《</b>烏龍院》、《夢蝶》、《閒情》、《盲》、《風景》、《眠》、《運行》等九齣作品,作曲者包括史惟亮、許常惠、李泰祥、許博允等人,均為當時音樂界的一時之選,在內涵上,其實仍可視為「混合媒體藝術展」的延續。</span><br>",
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