- CHEN Ya-Ping (PhD in Performance Studies, NYU) is associate professor and director of Master’s and PhD programs at th... moreCHEN Ya-Ping (PhD in Performance Studies, NYU) is associate professor and director of Master’s and PhD programs at the School of Dance, Taipei National University of the Arts, Taiwan. She is the author of the Chinese monograph Enquiry into Subjectivity: Modernity, History, Taiwan Contemporary Dance (2011). Her research interests include Taiwan dance history, theories of modernity, crosscultural studies of corporeal philosophy, Zhuangzi, posthumanism and dance studies. Her most recent publications include chapters in the following anthologies: The Routledge Companion to Dance in Asia and the Pacific: Platforms for Change (2022)，Fifty Contemporary Choreographers, 3rd Edition (2021), Corporeal Politics: Dancing East Asia (2020), Six Hong Kong Contemporary Dance Choreographers (1980-2010): Dance History, Aesthetics, and Identity Issues (in Chinese, 2019), and Contemporary Choreography: A Critical Reader, 2nd edition (2018). She currently serves as the president of the Taiwan Dance Research Society.
陳雅萍：舞蹈學者、舞評人。國立臺北藝術大學舞蹈學院副教授、碩博班總召集人，現任臺灣舞蹈研究學會理事長(2019-)。美國紐約大學(NYU)表演研究博士。主要研究興趣：台灣現代、當代舞蹈史，現代性理論，跨文化身體哲學，莊子、後人類與舞蹈研究。目前正以身體史、莊子的跨文化哲學互文、跨物種存有論的視角及方法，撰寫關於無垢舞蹈劇場的專書。著有《主體的叩問：現代性•歷史•台灣當代舞蹈》(2011)，共同主編《身論集 壹：尋•找•亞•洲•身•體》(2021)。近年學術著作發表於國內外重要期刊及以下專書：The Routledge Companion to Dance in Asia and the Pacific: Platforms for Change (2022)，Fifty Contemporary Choreographers, 3rd Edition (2021)，Corporeal Politics: Dancing East Asia (2020)，《六位香港當代編舞家作品研究(1980-2010)：香港當代舞蹈歷史、美學及身份探求》(2019)，Contemporary Choreography: A Critical Reader, 2nd edition (2018)，Identity and Diversity: Celebrating Dance in Taiwan (2012)等。edit
當「表演」成為「表演檔案」，並且進入如北美館這樣的文化權威機構時，如何抵拒「檔案」成為「表演」的作品化替身，而凝固成「聖物化」的展示與觀看模式？如何解構「檔案」的封閉性與固著性，啟動「表演」本有的「再一次」（re-）的潛勢動能——再脈絡化、再連結、再想像、再創造、再詮釋……，就成為策展人無可迴避的認識論與方法論的挑戰。... more
當「表演」成為「表演檔案」，並且進入如北美館這樣的文化權威機構時，如何抵拒「檔案」成為「表演」的作品化替身，而凝固成「聖物化」的展示與觀看模式？如何解構「檔案」的封閉性與固著性，啟動「表演」本有的「再一次」（re-）的潛勢動能——再脈絡化、再連結、再想像、再創造、再詮釋……，就成為策展人無可迴避的認識論與方法論的挑戰。
「狂八〇」關注的年代正是跨領域藝術家利用「表演」的具身、流動、變易之潛勢動能，以及總在「情境之中」的內外張力，試圖突破戒嚴體制、國家機器、冷戰結構的壓抑與框限；後結構、後現代、後殖民的理論脈流，也幾乎是在此時期傳入台灣，與島內的政治、文化情境激烈對話。
因此，關於「表演」與「檔案」的媒介特質之思考，以及這些特質與意義生產、歷史敘事、權力關係的交鋒辯證，就勢必構成「狂八〇」的觀眾在審視展覽物件之外，置身當代台灣的文化問題與社會情境之中，希望參與的歷史思辯與跨時代的叩問。
文章連結：https://artouch.com/art-views/issue/the-wild-eighties-overtime/content-110510.html
「狂八〇」關注的年代正是跨領域藝術家利用「表演」的具身、流動、變易之潛勢動能，以及總在「情境之中」的內外張力，試圖突破戒嚴體制、國家機器、冷戰結構的壓抑與框限；後結構、後現代、後殖民的理論脈流，也幾乎是在此時期傳入台灣，與島內的政治、文化情境激烈對話。
因此，關於「表演」與「檔案」的媒介特質之思考，以及這些特質與意義生產、歷史敘事、權力關係的交鋒辯證，就勢必構成「狂八〇」的觀眾在審視展覽物件之外，置身當代台灣的文化問題與社會情境之中，希望參與的歷史思辯與跨時代的叩問。
文章連結：https://artouch.com/art-views/issue/the-wild-eighties-overtime/content-110510.html
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當表演成為檔案資料後，一個表演藝術的檔案文件展要展覽的「內容」應該是什麼？如果檔案文件展必定是關於某種「歷史的敘事」，那麼以「表演」為名的「歷史」又該如何敘說？「表演」是否可能一方面作為被研究論述的對象，另一方面作為一種方法論，不僅讓檔案進行反身性的敘說，更透過策展來鬆動逐漸固著化的大敘事（the grand narrative），讓「傳移」（to transfer）與「重述」（to... more
當表演成為檔案資料後，一個表演藝術的檔案文件展要展覽的「內容」應該是什麼？如果檔案文件展必定是關於某種「歷史的敘事」，那麼以「表演」為名的「歷史」又該如何敘說？「表演」是否可能一方面作為被研究論述的對象，另一方面作為一種方法論，不僅讓檔案進行反身性的敘說，更透過策展來鬆動逐漸固著化的大敘事（the grand narrative），讓「傳移」（to transfer）與「重述」（to reiterate）成為展覽的作用與效果。我認為這正是策展人周伶芝與汪俊彥在《平行劇場》文件展所採取的策略，也是這次展覽在近來幾個重要的表演藝術文件展中，讓人驚豔並啟人思考的地方。
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https://artismonline.hk/issues/2023-02/560
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https://artismonline.hk/issues/2023-02/560
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The article looks at two dances by Hong Kong choreographer Helen Lai, HerStory and Tales of Two Cities, within the theoretic framework of hybrid nativism and postcolonial subjectivity, which constitute the essence of Hong Kong identity... more
The article looks at two dances by Hong Kong choreographer Helen Lai, HerStory and Tales of Two Cities, within the theoretic framework of hybrid nativism and postcolonial subjectivity, which constitute the essence of Hong Kong identity and cultural vitality. Lai’s choreographic strategies, through the tactics of intertexuality, polyphonic narrative lines and fluid subjectivities, vividly echo such postcolonial sensibility and cosmopolitan sophistication. Yet, the harsh political measures exercised by Beijing and the Hong Kong SAR government since the Anti-Extradition Movement in 2019 not only jeopardizes the future of this cosmopolis of world finance, but would also mutilate its cultural vitality and artistic freedom.
Please see the link to Critical Stages.
Please see the link to Critical Stages.
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The article explores historically and theoretically the phenomenon of shen-ti wen-hua (culture of the body) in the context of Taiwan's experimental performance in the 1980 s-1990s. By highlighting different corporeal discourses in various... more
The article explores historically and theoretically the phenomenon of shen-ti wen-hua (culture of the body) in the context of Taiwan's experimental performance in the 1980
s-1990s. By highlighting different corporeal discourses in various sociopolitical contexts across time, it addresses such critical issues as the relation between the individual and the collective in the history of Taiwanese modernity, the quests for identity in art and culture, the transformation of the role of the avant-garde in aesthetic and political pursuits, and the ultimate question of the relationship between art and society from the colonial era to a contemporary world dominated by consumer culture and global capitalism. The body, with its materiality and rich semiotic possibilities, has at certain historical moments served as a potent metaphor for questioning the sociopolitical status quo and envisioning new identities and alternative power relations in Taiwanese society: the period under consideration in the article was one of those moments.
s-1990s. By highlighting different corporeal discourses in various sociopolitical contexts across time, it addresses such critical issues as the relation between the individual and the collective in the history of Taiwanese modernity, the quests for identity in art and culture, the transformation of the role of the avant-garde in aesthetic and political pursuits, and the ultimate question of the relationship between art and society from the colonial era to a contemporary world dominated by consumer culture and global capitalism. The body, with its materiality and rich semiotic possibilities, has at certain historical moments served as a potent metaphor for questioning the sociopolitical status quo and envisioning new identities and alternative power relations in Taiwanese society: the period under consideration in the article was one of those moments.
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The essay studies Hong Kong choreographer Helen Lai's work, Revolutionary Pekinese Opera (1997), Tale of Two Cities: Shanghai, Hong Kong, Eileen Chang (2010) and HerStory (2007), within the context of Hong Kong's colonial-postcolonial... more
The essay studies Hong Kong choreographer Helen Lai's work, Revolutionary Pekinese Opera (1997), Tale of Two Cities: Shanghai, Hong Kong, Eileen Chang (2010) and HerStory (2007), within the context of Hong Kong's colonial-postcolonial history. It analyzes the dances in dialogue with theories like Ackbar Abbas's "politics of disappearance," Barrie Shelton's "state of intencity," Chan Koonchung's "hybrid nativism" and Julia Kristeva's "chora."
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The short article draws on C Nadia Seremetakis's theorization of the senses, especially the concept of "re-perception," to discuss embodied memory, political history and the potentiality of sensorial experience in performance.
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The article narrates forty-five years of Cloud Gate Dance Theatre with important works from its repertoire and thematic elaborations within the context of the socio-cultural history of Taiwan. It was published as part of the special... more
The article narrates forty-five years of Cloud Gate Dance Theatre with important works from its repertoire and thematic elaborations within the context of the socio-cultural history of Taiwan. It was published as part of the special program book celebrating the forty-fifth anniversary of the dance company.
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Modernity, as a West originated idea, carries far more complex meanings for Asia than for Euro-American culture. Its evolvement in this part of the world has been closely intertwined with its history of colonisation, both by external and... more
Modernity, as a West originated idea, carries far more complex meanings for Asia than for Euro-American culture. Its evolvement in this part of the world has been closely intertwined with its history of colonisation, both by external and internal colonialists and in modes of political, cultural and economic colonialisms. As a result, t h e c o n c e p t o f ' As i a n mo d e r n i t y ' is intrinsically defined by a dynamics of dialectic dualism-national/individual identity quest, colonial/postcolonial power structure, modern/traditional polemics, globalisation/indigenisation impetus, among others. It is in fact the tension and negotiation within and between these dual structures that distinguish Asian modernity. I would argue that it is exactly this constant need to be in active interaction with its Western counterpart on the one hand and the incessant internal adjustments in response to historical conditions on the other that make Asian modernity a unique and vibrant phenomenon rather than a branch development of a Western original.
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身體是舞蹈最核心的媒介。在傳統的舞蹈論述中，身體往往被視為是本質、先天、普同的存在，一個藉以探索及表達靈魂內在奧秘的最佳工具。然而，以德國編舞家碧娜‧鮑許(Pina Bausch)為代表的舞蹈劇場卻以其特殊的劇場美學與表演策略，論述身體的「非自然」本質，以及其所再現的受社會、文化、人我關係形塑的人之主體(the human... more
身體是舞蹈最核心的媒介。在傳統的舞蹈論述中，身體往往被視為是本質、先天、普同的存在，一個藉以探索及表達靈魂內在奧秘的最佳工具。然而，以德國編舞家碧娜‧鮑許(Pina Bausch)為代表的舞蹈劇場卻以其特殊的劇場美學與表演策略，論述身體的「非自然」本質，以及其所再現的受社會、文化、人我關係形塑的人之主體(the human subject)。1980年代，舞蹈劇場的概念風格傳入台灣，與當時正處於劇烈轉變的台灣社會產生深刻互動，不僅提供舞蹈創作者與當下之政治、社會議題對話的方法，也突顯身體在威權/父權共構的體制中被模塑、制約、馴化的過程，以及做為權力抗爭與顛覆的可能場域。本文將從西方當代舞蹈的身體論述切入，繼而闡述鮑許的舞蹈劇場承襲歐洲二次大戰後的後結構主義思潮，其中的主體概念以及相應而生的身體觀，並指出舞蹈劇場與早期現代舞在這二項關鍵性議題上迥異的思考與作法。接下來將論述舞蹈劇場對台灣當代舞蹈的啟發，並以林懷民1980年代的創作和陶馥蘭、蕭渥廷的作品為例，探討舞蹈劇場的美學與表演策略和台灣在地的社會、歷史與權力意識進行結合或對話的多樣面貌。最後，將以台灣舞蹈劇場破解國族主體與性別窠臼的在地展現作為論述的總結。
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「身體解放論」(尤其是女性的身體)... more
「身體解放論」(尤其是女性的身體) 向來是現代舞歷史論述的核心；然而，近年來愈來愈多的研究顯示，早期現代舞既是身體與精神的解放，但同時也深受當時代各種意識形態的制約與模塑。臺灣早期現代舞因萌芽於1930至40年代的日本殖民時期，因此其內涵與歷史皆無可避免地被鑲嵌於日本國族建構和戰時文化總動員的意識形態網絡之中。前輩舞蹈家們舞動的身體，一方面反應了早期現代舞普遍具有的「解放」與「規訓」之雙重實踐；另一方面也見證了臺灣在日本殖民統治下特殊的「殖民現代性」經驗，尤其是在文化層面的展現。因此，本論文將前輩舞蹈家們舞動的身體置入以下三重論述之歷史脈絡中加以審視：1) 現代舞中被解放的女性身體；2) 廿世紀前半西方霸權主導的世界架構下，亞洲國家追求現代化的國族計畫；3)「殖民現代性」特有的「遲到的現代性」特徵，以及所描繪的具有殖民特質的「啟蒙進步論」。論文後半並以李彩娥與蔡瑞月二位前輩舞蹈家為例，申論殖民現代性與現代舞中女性身體的複雜互動，並試圖在當時的時空脈絡中，剖析李彩娥演出的《太平洋進行曲》以及蔡瑞月編舞和演出的《印度之歌》，其中女性舞動的身體所體現的文化與政治意涵。