島向臺灣的身體：壞鞋子舞蹈劇場與TAI身體劇場的表演美學（2012—2021）

Abstract

近來，當代臺灣劇場再興「回返土地、尋找身體」的風潮，其中折射出一股臺灣創作者對於表演美學與文化主體的勾連慾望。在眾實踐身影裡，壞鞋子舞蹈劇場與TAI身體劇場雖取徑島上截然相異的文化脈源，但二者的劇場工作方法、美學論述或表演文本皆具相互可參照性。本文以此二組團隊為研究對象，透過深度闡釋其身體檔案、劇場文本構成及其引發之美學主體化效應，提出「島向臺灣的身體」之概念作為一種「在（再）地化」島嶼主體性的另類生成路徑與樣態。

首先，本文從兩位編舞家——壞鞋子的林宜瑾與TAI的瓦旦・督喜——的專訪報導、演講、手稿，兼及舞者的回饋著手，描摹出編舞家／舞者的「土地」認識論轉向、「田野／轉化」的實踐方法論，以及身體美學語彙的策略性意蘊。繼而，本文轉向聚焦劇場文本的分析，並由「島向臺灣的身體」之視角以關照劇場眾元素之流動、置換、部署、交互映現或對峙的動態景況，啟動一種身體、物件與時空鏈結之間的關係化主體樣態。

本文論證，壞鞋子舞蹈劇場力圖敞開「民俗」與「生態」的既定編碼，並導向與她者、環境以及其他物事以共構「依地蔓生，隨物化身」的主體性樣態；TAI身體劇場以「腳譜」與Tminun為方法，創造出時空感的模糊與「身——土關係」的黏合，進而擾動「傳統／當代」的主流時序分界、召喚一種恆處抗拒認同標記的原民性構成。故而，「回返」在此具雙重意涵：一方面返身尋求與土地文化的再連結，另一方面反思與「土地」的關係再組構。由此，「島向臺灣的身體」，既是倒向島嶼的近身感知，更是島嶼導向的主體自反覺知。以此作為交匯點，本文希冀開拓劇場表演研究、生態女性主義、新物質主義與當代島嶼文化主體性的交織潛能。

In recent years, there has been a resurgent movement characterized by “returning to the land and searching for the body” emerging in contemporary Taiwanese theater and dance, reflecting a desire to bridge the gap between performative aesthetics and cultural subjectivity among creators in the current era. Within this context, Bare Feet Dance Theater and TAI Body Theater, while each drawing from distinct source of culture, show inter-referentiality in terms of theatrical methodologies, discourses, and texts centered around the performing body. This thesis, focusing on these two dance companies, explores their body archives, theatrical texts, and the aesthetic effects they evoke, and furthermore proposes a theoretical framework termed “Island-Orientated Taiwanese Bodies” as an alternative approach towards Taiwan’s contemporary island subjectivity.

This thesis commences by investigating the various archives from/around the choreographers/dancers of both companies, and subsequently turns to a close interpretation of their theatrical texts. Through the lens of “Island-Orientated Taiwanese Bodies,” the analysis here shows the multiple dynamics among the theatrical elements, such as the flowing, deployment, and intra-activity between dancing bodies and objects/things or spatio-temporal articulations, ultimately contributing to a deeper understanding of relational subjectification.

The thesis further endeavors to substantiate two arguments: Firstly, Bare Feet Dance Theater challenges the established categorizations of “folklore” and “ecology” and, through co-construction with other entities, environments, and bodies, fosters the subjectification appearing as “growing with(in) the land and embodying in/with the objects.” Secondly, TAI Body Theater deploys the “Footprints Collections” or Tminun as a theatrically embodying methodology to generate the temporal-spatial ambiguity and adhesive “body-land” relationship, therefore leading to unsettling the demarcation between “traditional and modern” and to creating an integral way of Indigeneity that keeps suspending the identification. Consequently, the notion of “returning” holds a dual significance: On one hand, it involves reconnecting with the island’s ecology and culture; on the other, it necessitates a reconfiguration of the relationship with the land.

Facilitating “Island-Orientated Taiwanese Body” as an intersection between an intimate perception aligned with the island and a reflexive consciousness guided by it, this thesis hopes to explore the intertwining potential between performance studies, ecological feminism, new materialism, and discourses on contemporary island subjectivity.