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篇名 |
二十一世紀初的新華人身體觀:以數位表演藝術舞作《黃翊與KUKA》為例
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並列篇名 | Digital Performance in Twenty-first Century Taiwan: Huang Yi & KUKA, a new form of Sino-Corporeality |
作者 | 林亞婷 |
中文摘要 | 台灣近年,為鼓勵文化創意產業人才,在官方政策與民間企業的雙重鼓勵之下,科技表演藝術受到相當的重視。本研究以臺灣新生代編舞者黃翊為例,探討他的創作如何結合舞蹈與數位科技藝術,並分析他與工業機器人於臺上共舞的作品《黃翊與KUKA》(分別為2012年的20分鐘雙人版,以及2015年同名的70分鐘四人版)。 經由提出作品編舞者/程式編碼設計/舞者黃翊與KUKA的人機共舞之雙胞效應,以及物品/機器擬人化(anthropomorphism)的特徵,探索二十一世紀,華人舞動身體的新可能性。本文是作者長期關注華語語系研究(Sinophone studies)中,關於「泛華」議題與舞蹈研究交匯的階段性觀點, 同時展望臺灣未來舞蹈生態的「藝術企業家」之必要性等議題。 |
英文摘要 | This article looks into the rise of digital performance in Taiwan through the case of artist Huang Yi, with a descriptive analysis of his piece performed with an industrial robot, titled: Huang Yi & KUKA (2012, 2015). As a child of the DotCom generation, Huang often incorporates elements from videography, digital arts, and even mechanics in his choreography. Dubbed “l’enfant terrible” by Lin Hwai-min, this thirty-something dancer/choreographer/videographer has won various recognitions both at home and abroad. Huang Yi & KUKA received the top prize from the 2012 Third Annual Taipei Digital Arts Award. Later grants from both the public and private sectors allowed him to expand the duet into a full-length program of the same title in 2015, including two additional dancers from his Huang Yi Studio+. Through Huang Yi’ career, I map out the ecology for digital performance in twenty-first century Taiwan, where an alternate model for multi-talented artists with technological innovation can carve out a space for their new form of creativity. At the same time, Huang Yi’s works also exemplifies and enriches the myriad forms of Sino-corporealities, especially those that not lead the way with the latest twenty-first century inventions. |
起訖頁 | 001-040 |
關鍵詞 | 數位表演藝術、黃翊、人機共舞、物品/機器擬人化、舞蹈與科技在台灣 |
刊名 | 藝術評論 |
期數 | 201607 (31期) |
出版單位 | 國立臺北藝術大學 |
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