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完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 楊建章 | |
dc.contributor.author | Chieh-Ting Hsieh | en |
dc.contributor.author | 謝杰廷 | zh_TW |
dc.date.accessioned | 2021-05-20T20:44:43Z | - |
dc.date.available | 2008-07-21 | |
dc.date.available | 2021-05-20T20:44:43Z | - |
dc.date.copyright | 2008-07-21 | |
dc.date.issued | 2008 | |
dc.date.submitted | 2008-07-15 | |
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Preston-Dunlop, Valerie and Susanne Lahusen, ed. Schrifttanz: A View of German Dance in the Weimar Republic. London : Dance Books; Pennington, NJ: Distributed in the United States of America by Princeton Book Co., 1990. Schlicher, Suzanne. “The West German Dance Theater.” Choreography and Dance 3, no.2 (1993): 25-43. Siegel, Marcia. “The Green Table: Sources of a Classic.” Dance Research Journal 21, no.1 (spring 1989):15-21. Smith, F. Joseph. The Experiencing of Musical Sound: Prelude to a Phenomenology of Music, Musicology Series. New York: Gordon and Breach, 1979. Stöckemann, Patricia. Etwas ganz Neues muß nun entstehen: Kurt Jooss und das Tanztheater. München: Kieser, 2001. Toepfer, Karl. Empire of Ecstasy: Nudity and Movement in German Body Culture, 1910-1935. Berkeley: University of California Press, 1998. Walther, Suzanne K. “The Dance of Death.” Choreography and Dance 3, no.2 (1993): 53-77. — . The Dance of Death: Kurt Jooss and the Weimar Years. Chur: Harwood Academic Publishers GmbH., 1994. Young, Julian. Heidegger's Philosophy of Art. Cambridge, U.K.; New York: Cambridge University Press, 2001. | |
dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/9843 | - |
dc.description.abstract | 受到柏拉圖(Plato)與畢達格拉斯學派(Pythagorean)的影響,德國的表現舞蹈(Ausdruckstanz)先驅拉邦(Rudolf Laban, 1879-1958)認為舞蹈得以展現出宇宙動作的律動與和諧而試圖探問其中的法則以建立起舞蹈的自立性;既有音樂作品卻僅是去激動、激起而缺少明確性,成為舞蹈的限制。受到歌劇與俄國芭蕾舞團(Ballets Russes)的影響,尤斯作為拉邦的學生,卻不透過模仿(μίμησις)與類比(αναλογία),藉著闡釋拉邦所探問身體動作的法則性,直接以律動裡的身體性作為基礎,建立起音樂與舞蹈在形式上的連結而成為舞蹈劇場,作為藝術作品的形式。此篇論文試圖以海德格(Martin Heidegger)闡釋亞里斯多德(Aristotle)的《形上學》第九卷一到三節(Metaphysica Θ1-3)力(δύναμις)與動作(κίνησις)的概念為基礎,詮釋拉邦其舞蹈理論與作品中作為關鍵的圓舞(χορός)與尤斯(Kurt Jooss, 1901-1979)所建立起舞蹈劇場(Tanztheater)的意涵,以理解他們於1910年到1932年間關於音樂與舞蹈關聯問題的爭執與談論事實上關涉到宇宙論以及對於力與動作的不同認識。在海德格與亞里斯多德(Aristotle)的闡釋裡,力是變動的起源(αρχή μεταβολής),作為考量到動作的力(δύναμις κατά κινησιν)關涉到說話(λόγος)與技術(τέχνη)的意涵而能作出、製作出作品。亞里斯多申努斯(Aristoxenus)作為亞里斯多德的學生,則是以聲音的動作與力直接探問音樂裡的力動。音樂與舞蹈即是在此力動的彼此關聯下建立起形式上的連結。 | zh_TW |
dc.description.abstract | Influenced by Plato and Pythagorean, the German pioneer of expressionist dance(Ausdruckstanz) Rudolf Laban(1879-1958) believes that dance could reveal the rhythm and harmony of movements in the cosmos, by which the independence of dance can be established. However, the existence of music in dance works, for Laban, merely excites the listeners and becomes the limitation of dance. Influenced by operas and Ballets-Russes, Laban’s contemporaneous choreographer Kurt Jooss(1901-1979), on the other hand, explores the meaning of dance rhythm directly without the application of mimesis(μίμησις) or analogy(αναλογία), but through the elaboration on the rules of body movements. On the basis of body-ness in rhythm, Jooss establishes the formal relation between music and dance to bring out his Tanztheater as the form of dance work. Using Martin Heidegger’s interpretations of the concepts of force(δύναμις) and movement(κίνησις) in Aristotle’s Metaphysica Θ1-3, this thesis interprets the essential concept of choros(χορός) in Laban’s dance theory and Jooss’s Tanztheater, in order to clarify the arguments about the relation of music and dance between 1910 and 1932. For Heidegger, Aristotle and Aristoxenus consider force as the origin of change(αρχή μεταβολής), so that force as force-with-regard-of-movement(δύναμις κατά κινησιν) implies the meaning of logos(λόγος) and technique(τέχνη) and it is from force that art work is produced. It is on this dynamic association that the relation between music and dance could be founded. | en |
dc.description.provenance | Made available in DSpace on 2021-05-20T20:44:43Z (GMT). No. of bitstreams: 1 ntu-97-R93144001-1.pdf: 10181014 bytes, checksum: 95fd6bf594f24bfeae0cd04fceb7c28f (MD5) Previous issue date: 2008 | en |
dc.description.tableofcontents | 導論 1
第一章 拉邦以圓舞(χορός)涵括音樂與舞蹈的意涵 13 第一節 音樂與舞蹈的關聯問題 1.1.1 鄧肯:音樂在個人詮釋裡所喚起的情感 14 1.1.2 達克洛茲:強調音樂節奏的優律動(Eurhythmics) 18 第二節 拉邦的圓舞 1.2.1 表現主義、柏拉圖與畢達格拉斯學派對拉邦的影響: 《空間學》(Choreutics) 21 1.2.2 拉邦的動作舞蹈歌隊(Bewegungschor)、圓舞作品(Reigenwerk) 32 第二章 海德格所闡釋的力與動作:聽見音樂裡的力動 40 第一節 海德格的聽 2.1.1 伽利略的望遠鏡 41 2.1.2 海德格所開展出聽的界域 43 第二節 從柏拉圖與畢達格拉斯學派到亞里斯多德與亞里斯多申努斯 2.2.1 柏拉圖與畢達格拉斯學派:宇宙論 47 2.2.2 亞里斯多德:力作為變動的起源(αρχή μεταβολής) 50 2.2.3 亞里斯多申努斯:聲音的動作(η τής ψωνής κίνησις)與力(δύναμις) 54 第三章 尤斯以舞蹈劇場(Tanztheater)連結音樂與舞蹈的意涵 62 第一節 表現舞蹈與音樂的關聯問題 3.1.1 戲劇舞蹈的爭論 63 3.1.2 俄國芭蕾舞團(Ballets Russes)作為表現舞蹈困境的解決 66 第二節 尤斯的舞蹈劇場(Tanztheater) 3.2.1 傳統劇場對於尤斯的影響:律動的身體性 70 3.2.2 尤斯的《綠桌》(La table verte) 80 結語 105 徵引文獻 108 | |
dc.language.iso | zh-TW | |
dc.title | 以力動探問舞蹈與音樂的關聯: 從拉邦的圓舞到尤斯的舞蹈劇場 | zh_TW |
dc.title | Relating Dance and Music with Dynamics: From Rudolf Laban’s choros to Kurt Jooss’ Tanztheater | en |
dc.type | Thesis | |
dc.date.schoolyear | 96-2 | |
dc.description.degree | 碩士 | |
dc.contributor.oralexamcommittee | 金立群,張鼎國 | |
dc.subject.keyword | 拉邦,尤斯,圓舞,舞蹈劇場,表現舞蹈,海德格,力動,亞里斯多德,亞里斯多申努斯, | zh_TW |
dc.subject.keyword | Rudolf Laban,Kurt Jooss,choros,Tanztheater,Ausdruckstanz,Martin Heidegger,Dynamics,Aristotle,Aristoxenus, | en |
dc.relation.page | 114 | |
dc.rights.note | 同意授權(全球公開) | |
dc.date.accepted | 2008-07-15 | |
dc.contributor.author-college | 文學院 | zh_TW |
dc.contributor.author-dept | 音樂學研究所 | zh_TW |
顯示於系所單位: | 音樂學研究所 |
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