1970 ～ 1980 年代的「雲門舞集」與臺灣現代音樂：以賴德和《白蛇傳》、《紅樓夢》與馬水龍《廖添丁》為例

"Cloud Gate Dance Theater" in the 1970s -1980s and the Taiwanese Modern Music ─ With the Works of Deh-Ho Lai and Shui-long Ma as Examples

本文主要研究1973—1985年間「雲門舞集」所運用的台灣現代音樂。「雲門舞集」於1973年創團時的宗旨為：「中國人作曲，中國人編舞，中國人跳給中國人看」。所以在「雲門」創團後的前12年中(1973-1985)所運用的音樂主要是台灣藝術音樂作曲家所創作的現代音樂，而與「雲門」合作過的音樂家幾乎囊括台灣當代重要的作曲家，他們和「雲門」合作的音樂創作絕大部分也成為台灣現代音樂中的經典之作。在1970至1980年代「雲門」催生了許多台灣現代音樂，或是使它們獲得重要的演出機會，因此「雲門」大力幫助了台灣現代音樂於這些年間的蓬勃發展；相對地，這些精采的音樂創作，也是促進雲門舞作成功的因素。「雲門舞集」獲得國內外的讚賞，回答了東方藝術家最關注的一個問題――東方傳統性如何與西方現代性結合，並如何從中達到創新的可能？「雲門」不只是在舞蹈動作上成功的結合中國、台灣的傳統性與西方現代性，這樣成功的融合東方傳統與西方現代性也是它所運用的台灣現代音樂之特色，所以與舞作整體風格上形成一致性。

 

本論文的目的，在於深入研究以下幾個問題意識：

 

1. 早期「雲門」(1973 – 1985)與台灣現代音樂的關係，二者合作的歷史與背景。

 

2. 早期「雲門」所運用的台灣現代音樂作品的風格與形式為何？

 

3. 早期「雲門舞集」所運用的台灣現代音樂是否相應於雲門舞作風格之演變?

 

4. 這些早期「雲門」運用的台灣現代音樂之風格特色是否有共通點？

 

其中以「雲門」重要的代表舞樂─賴德和為《白蛇傳》所寫的音樂《眾妙》與他的《紅樓夢》以及馬水龍《廖添丁》為例，作深入之音樂分析，來理解它們之風格特色。音樂為「雲門舞集」藝術中很重要的一部分，釐清了上述的問題之後，我們不僅對於這些和本國作曲家合作的「雲門」舞作有進一步的認識，同時也對於台灣現代音樂的歷史與發展會有更深的理解。

 

This paper aims to study the use of Taiwanese modern music by the ""Cloud Gate Dance Theater""[雲門舞集CGDT]. Founded in 1973, CGDT had its guideline as following: “Chinese composing, Chinese choreographing, Chinese dancing for Chinese”. Therefore, in the first 12 years of CGDT the use of its dance music is mainly based on modern music composed by Taiwanese composers. Most of their compositions cooperated with CGDT became the classical works of their time. Those works during 70er were either submitted by CGDT or obtained their performance chance because of CGDT. These were so to speak the important impulse of the development of modern Taiwanese music. Reversely, those ingenious works are the important factors to the success of CGDT.

 

The domestic and overseas success of CGDT is also an answer to the following question of all oriental artists: How can they combine the oriental tradition with the occidental modernity, and how can they create new possibility between them? CGDT has not only realized the goal of combining the oriental (Taiwanese and Chinese) tradition with occidental modernity in the elements of dance, but also succeeded in the application of the similar characteristic with respect to musical elements, so that their musical styles are fully consistent with those of dance.

 

Therefore, in this study the following questions will be asked: 1. The relationship between the early period of CGDT (1973-1985) and modern music in Taiwan, the history and background of their cooperation.

 

2. What are the styles and the forms of modern Taiwanese music used by CGDT?

 

3. Are those modern Taiwanese music used by CGDT corresponding the latter’s change of choreographic style?

 

4. Are there any common elements of those musical works used by CGDT ?

 

Among those music works of dance of CGDT I choose Deh-Ho Lai’s White Snake, Red Dream of Chamber, and Shui-Long Ma’s Liao Tien-Ding as examples for musical analysis. Since music plays a very important role in the art of CGDT, and after the above-mentioned questions were exposed, we would have a better understanding not only of those works of domestic composers used by CGDT, but also of the history and development of modern Taiwanese music.