【摘要】：自1980年“實(shí)驗(yàn)劇展”與1981年臺(tái)灣“行政院文化建設(shè)委員會(huì)”成立以來(lái),臺(tái)灣當(dāng)代劇場(chǎng)呈現(xiàn)出多向流變的發(fā)展?fàn)顟B(tài)。撥開其紛雜面貌,可窺見(jiàn)一條略顯模糊的線索：歷經(jīng)了實(shí)驗(yàn)戲劇運(yùn)動(dòng)、前衛(wèi)戲劇運(yùn)動(dòng)后,臺(tái)灣當(dāng)代劇場(chǎng)的反叛性、邊緣性與解構(gòu)力量,逐漸消解在意識(shí)形態(tài)主導(dǎo)下的文藝政策與消費(fèi)主義相勾結(jié)的洪流之中。帶著鐐銬跳舞的臺(tái)灣當(dāng)代劇場(chǎng),面對(duì)文藝政策規(guī)訓(xùn)與收編的誘惑,呈現(xiàn)出既依附又反叛的狀態(tài)。 三十年來(lái),“文建會(huì)”與各地方文化局打造出“中心——次中心——衛(wèi)星”模式的劇場(chǎng)空間體系。與此同時(shí),以“文建會(huì)”為代表的各級(jí)文化部門,試圖將臺(tái)灣當(dāng)代劇場(chǎng)打造為讓世界了解臺(tái)灣的“櫥窗”,并以“社區(qū)劇場(chǎng)”為媒介,凝結(jié)執(zhí)政黨所需的“臺(tái)灣認(rèn)同”�！拔慕〞�(huì)”制定各項(xiàng)文藝政策,利用資源傾斜的方式,扶助符合臺(tái)灣“文化主體性”建設(shè)需求的劇團(tuán)。此舉誘導(dǎo)、壓制了劇場(chǎng)藝術(shù)審美空間,影響劇場(chǎng)生態(tài),引發(fā)了劇場(chǎng)界的反叛與質(zhì)疑。 以“向下扎根”與“走向國(guó)際”為基礎(chǔ)而制定的臺(tái)灣當(dāng)代文藝政策,對(duì)劇場(chǎng)主體性構(gòu)建產(chǎn)生了深刻影響。本文考察了在文藝政策作用下形成的“中心輻射式”劇場(chǎng)空間布局、政策扶植下的劇團(tuán)生存狀況以及政策引導(dǎo)下的劇場(chǎng)審美走向,同時(shí)解讀劇場(chǎng)對(duì)文藝政策的反抗力量,力圖勾勒出三十年間文藝政策對(duì)劇場(chǎng)空間布局建設(shè)與劇場(chǎng)功能控制的狀況。
[Abstract]:Since 1980 "Experimental Drama Exhibition" and "Taiwan Executive Yuan Cultural Construction Commission" were set up, Taiwan's contemporary theater has presented a multi-directional development state. Apart from its multifarious features, we can see a slightly vague clue: after the experimental drama movement and the avant-garde drama movement, the rebellion, edge and deconstruction of Taiwan's contemporary theaters, Gradually dispelling the ideological-dominated literary and artistic policy and consumerism collusion in the current. Taiwan's contemporary theater, dancing in shackles, is both dependent and rebellious in the face of the temptation of literary policy discipline and collection. Over the past three decades, CACC and local cultural bureaus have created a theater space system with the model of "center-sub-center-satellite". At the same time, cultural departments at all levels, represented by the "Society for Cultural Development", are trying to turn Taiwan's contemporary theater into a "showcase" for the world to understand Taiwan, and use "community theater" as a medium to condense the "Taiwan identity" required by the ruling party. The Society for Cultural Construction formulated various literary and artistic policies to assist troupes that meet the needs of Taiwan's "cultural subjectivity" construction in a way of tilting resources. This action induces, suppresses the theater art aesthetic space, affects the theater ecology, causes the theater circle revolt and the question. On the basis of "taking root down" and "going international", Taiwan's contemporary literary and artistic policy has exerted a profound influence on the construction of theater subjectivity. This paper investigates the spatial layout of the "central radiation" theater formed under the action of the literary and artistic policy, the living conditions of the theatrical troupe supported by the policy and the aesthetic trend of the theater guided by the policy, and at the same time interprets the resistance force of the theater to the literary and artistic policy. This paper tries to outline the situation of the space layout construction and the function control of theater by literature and art policy in the past 30 years.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J809.2

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本文編號(hào)：2453441