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

Digital Performance in Twenty-first Century Taiwan: Huang Yi & KUKA, a new form of Sino-Corporeality

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。

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.