台湾当代文艺政策与剧场体系的构建
发布时间：2019-04-03 18:24
【摘要】：自1980年“实验剧展”与1981年台湾“行政院文化建设委员会”成立以来,台湾当代剧场呈现出多向流变的发展状态。拨开其纷杂面貌,可窥见一条略显模糊的线索：历经了实验戏剧运动、前卫戏剧运动后,台湾当代剧场的反叛性、边缘性与解构力量,逐渐消解在意识形态主导下的文艺政策与消费主义相勾结的洪流之中。带着镣铐跳舞的台湾当代剧场,面对文艺政策规训与收编的诱惑,呈现出既依附又反叛的状态。 三十年来,“文建会”与各地方文化局打造出“中心——次中心——卫星”模式的剧场空间体系。与此同时,以“文建会”为代表的各级文化部门,试图将台湾当代剧场打造为让世界了解台湾的“橱窗”,并以“社区剧场”为媒介,凝结执政党所需的“台湾认同”。“文建会”制定各项文艺政策,利用资源倾斜的方式,扶助符合台湾“文化主体性”建设需求的剧团。此举诱导、压制了剧场艺术审美空间,影响剧场生态,引发了剧场界的反叛与质疑。 以“向下扎根”与“走向国际”为基础而制定的台湾当代文艺政策,对剧场主体性构建产生了深刻影响。本文考察了在文艺政策作用下形成的“中心辐射式”剧场空间布局、政策扶植下的剧团生存状况以及政策引导下的剧场审美走向,同时解读剧场对文艺政策的反抗力量,力图勾勒出三十年间文艺政策对剧场空间布局建设与剧场功能控制的状况。
[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.
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J809.2
本文编号：2453441
[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.
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J809.2
【参考文献】
相关期刊论文 前6条
1 王友辉;台湾当代戏剧的跨界趋势[J];福建艺术;2005年01期
2 彭耀春;论台湾当代小剧场的前卫剧[J];台湾研究集刊;1999年02期
3 陈世雄;台湾戏剧三题[J];戏剧艺术;2004年06期
4 王晓红;;多元文化与台湾当代戏剧发展的危机[J];戏剧(中央戏剧学院学报);2011年03期
5 胡星亮;;论现代主义影响下的台湾实验戏剧[J];学术研究;2005年12期
6 林克欢;;《哈姆雷特机器》及后现代——“跨海看戏”之二[J];戏剧文学;1994年09期
，本文编号：2453441
本文链接：https://www.wllwen.com/wenyilunwen/xijuwudaolunwen/2453441.html
