唐詩中的樂舞及舞蹈表演書寫

Abstract

本論文以描繪舞蹈表演的唐詩為主要研究對象，旨在呈現唐代舞蹈於詩的書寫世界。全文分為兩個部份，第一是「唐詩中的樂舞」，先說明唐以前融合雜技及使用道具的舞蹈，以及在舞蹈書寫的形式及主題上，由賦、樂府到詠舞詩的變化，以見其與唐代在時代背景、舞蹈文化及書寫情形的異同。唐代由於官方樂舞組織的發展、外來文化的刺激、文人與娼妓的密切關係等獨特的條件與環境，不僅孕育出繁榮多元的舞蹈文化，亦促使詩人注目、描摹。對於唐舞的分析，本文聚焦於有在唐詩呈現其表演情形的舞蹈，梳理、呈現其舞容，為之後的表演書寫之分析提供舞蹈的基礎樣貌。第二部份是「唐詩中的舞蹈表演書寫」，析論詩中呈現舞蹈表演的要素，及其書寫的主題、手法。唐以前的詠舞詩是概括的、平面的、靜態的，相較之下，唐詩寫舞有其不同的視野與特性，是具體、立體、動態的，以此建構、營造出表演現場的殊異性與特質，故更貼近真實演出的情境。本文不沿襲前人所使用的「詠舞詩」、「樂舞詩」等詞，以凸顯其與前期概括式吟詠舞蹈的差異，而是以舞者與觀者、時間與空間架構出表演的要素。本文亦跳脫一般區分舞類之概述式研究，直接從詩作的內容及手法作分析，這些觀舞、寫舞之詩，在內容主題上呈現演出的性質與型態，融入自我的情感、時代之風氣，因此比以往更加深刻、拓展，使舞不僅是耳目之娛，更是進入個我與家國的生命世界。在寫作手法上，唐詩寫舞和現代舞評同樣是針對舞蹈表演而寫，故挪用舞評的要素作為切入的角度，以見唐代舞蹈書寫在敘述、聯想、評價這些面向的運用及表現。另一方面，用自舞之書寫與表演相對照，以見舞蹈從觀者及舞者兩種不同的角色立場與書寫角度。 透過重新梳理唐詩中對舞蹈的描寫，除了期望讓唐舞面貌更為清楚，還有呈現舞蹈此一瞬間即逝的藝術、文化，如何透過詩的書寫，得以跨越時空而上演，保留了舞容姿態及演出情境，構成了一個豐富繽紛的舞蹈書寫世界。

The study object of this thesis is the Tang poetry that describes dance performance, and the purpose is to illustrate the writing world of the dance of Tang in poetry. The thesis was divided into two parts, first, the dance in Tang poetry. To begin with, it is necessary to give a short introduction of the culture and writing of dance in previous dynasties. In comparison with the former work, the uniqueness of the Tang poetry of dance is highlighted. Due to the particular conditions and environment of Tang, the culture of dance not only flourished, but also evoked the poets to pay attention to and depict dance. Focusing on the poetry that describes dance performance offers the basic knowledge of dance for the second part of the thesis, which is, the writing of dance performance in Tang poetry. In this part, the elements of dance performance and the theme and skill of writing it were discussed. Before Tang, the poetry that describes dance, the yong wu poetry, was general, uniplanar, and static. In contrast to this, Tang poetry is more concrete, three-dimensional and dynamic. It constructs dancer, audience, time and space as the elements of performance. Thus, it is closer to the real scenario. Thematically, some poems include erotic meanings caused by the half-naked dancers; others use dance as a means of sarcasm about current affair, or reminiscence that involves the emotions for self and nation. Therefore, dance is not just about sensory pleasure. As for the writing skills, some of the elements for modern dance criticism were used here to see how they function in Tang poetry. Besides, the writing of self-dance is exemplified in the last chapter as a comparison to writing from the standpoint of audience that sees dance, which was the theme of this thesis. Through reading the writing of dance performance in Tang poetry, we could almost see the performance of Tang on-the-scene. It is the poetry that makes the ephemeral dance across time and space, and presents itself between lines.