潘莉君Pan, Li-Chun2017-02-272025-07-302017-02-272017-02-27https://ir.ntus.edu.tw/handle/987654321/71307學位類別：碩士校院名稱：國立臺灣體育運動大學系所名稱：體育舞蹈學系碩士班學號：19703011畢業學年度：101年論文頁數：117頁　　【黑白雙弈】為筆者於2012年4月26日與碩士班表演組同學徐雪茹共同製作完成之畢業舞展。有別於以往研究生的共同製作，兩位製作人分屬不同專長；筆者─中國舞主修、徐雪茹─現代舞主修，藉由不同專長相互激盪呈現之舞作，形塑黑與白交織對話的重重風景。同時集結四位編舞者的智慧與創意，共同為【黑白雙弈】創作全新舞作，藉由各種風格迥異的舞形挑戰自我，並經由舞者間互動、磨合的歷程，探索彼此肢體、舞蹈及跨領域碰撞的可能性。本研究共分七章，主要闡述筆者畢業製作研究成果以及舞作分析、排練與詮釋的個人所知所感及所悟：第一章緒論─探討【黑白雙弈】之研究動機、目的、步驟與名詞解釋；第二章我的舞蹈旅程─探討筆者學舞歷程、各階段專業技巧訓練的影響以及個人心靈和認知上的轉變與突破，進而深入表演製作領域的學習與畢業製作的實務歷程；第三章眾星拱月隨伊《追月》；第四章翎子與現代舞的碰撞《兩個人》；第五章身體述說心靈藝術《墨》；第六章音樂與舞蹈的絕配《Kit》，分別探討各舞作之創作理念、特色、服裝、燈光與舞臺技術等整體的配合，以及忠實地陳述筆者對舞作的掌握與詮釋的歷程轉變，到最後的自我突破與反思；第七章結語─總結筆者籌備畢製的感受與體會以及反思與回饋。　　“Duplex Dancers in Black and White” is the graduation dance production accomplished on April, 26th, 2012 by the author of this thesis and her classmate, Hsueh-Ru Hsu. Different from the previous joint productions, the various scenery embedded in the conversations are shaped by the collision of two different specialties, which are Chinese Dance majored by the author, and Modern Dance majored by Hsueh-Ru Hsu. Also, the creativity of four choreographers are combined in order to challenge the tradition by diverse dancing styles and by the possibility of fusion in body movement, dancing vocabularies, crossing fields as well which are discovered through the integration of dancers. This research is divided into seven chapters and mainly expresses the results of this dance production, the analysis of the works, the rehearsals, and the author’s knowing and feeling. In chapter one, it illustrates the motivation, the purpose, the procedure, and the definitions of the terms from “Duplex Dancers in Black and White.” While in chapter two “My Dancing History,” it investigates the process of how the author had been through since she started learning dance, and the changes of her acknowledge which is affected by every stage of the training of skills and stunts, then get deeply understand the learning of the performance production and the process of graduation production practices. In chapter three, “Chasing the Moon,” talks about a man loved by everyone dancing with a woman. In chapter four, “Two People,” talks about the collision between pheasant feather and Modern Dance. In chapter five, “Ink,” which is related to the mental art expressed through body movement. In chapter six, the perfect match of music and dance “Kit,” individually investigates the ideals, characteristic, customs, spotlights, stage technologies, and cooperation of overall of each works. Moreover, it faithful illustrates the author’s interpretation and master of dance works and her reflection and breakthrough. The chapter seven, “Conclusion”, presents author’s feelings, experiences, reflections, and feedback toward this dance production.目　次 第一章　緒論………………………………………………………………………1 　第一節　研究動機………………………………………………………………1 　第二節　研究目的………………………………………………………………3 　第三節　研究步驟………………………………………………………………5 　第四節　名詞釋義………………………………………………………………8 第二章　我的舞蹈旅程……………………………………………………………11 　第一節　離不開舞蹈的求學歷程………………………………………………11 　第二節　舞蹈的專業養成………………………………………………………15 　第三節　幕後行政的洗禮………………………………………………………20 　第四節　【黑白雙弈】製作實務………………………………………………25 第三章　眾星拱月隨伊《追月》…………………………………………………31 　第一節　舞座發想………………………………………………………………32 　第二節　戲遊鼓間………………………………………………………………36 　第三節　困難與挑戰……………………………………………………………38 第四章　翎子與現代舞的碰撞《兩個人》………………………………………42 　第一節　雞與蟲的對話…………………………………………………………43 　第二節　創作過程與困難………………………………………………………46 　第三節　環境與人的拉扯………………………………………………………48 　第四節　前進或後退的兩人關係………………………………………………51 第五章　身體述說心靈藝術《墨》………………………………………………54 　第一節　我與編舞者……………………………………………………………55 　第二節　海陽秧歌………………………………………………………………56 　第三節　墨之道具………………………………………………………………57 　第四節　書法之於身體用法……………………………………………………60 第六章　音樂與舞蹈的絕配《Kit》………………………………………………66 　第一節　用身體譜曲的編舞者…………………………………………………67 　第二節　舞作樂曲分析…………………………………………………………69 　第三節　舞作分析………………………………………………………………72 　第四節　累積與磨練……………………………………………………………76 第七章　結語………………………………………………………………………80 參考文獻……………………………………………………………………………84 　附錄………………………………………………………………………………867296896 bytesapplication/pdf畢業製作;舞蹈表演;中國舞Graduation Production;Dance Performance;Chinese Dancethesis