潘莉君Pan, Li-Chun2017-02-222025-07-302017-02-222017-02-22https://ir.ntus.edu.tw/handle/987654321/70911學位類別：碩士校院名稱：國立台灣體育大學系所名稱：體育舞蹈學系碩士班學號：19403002畢業學年度：98年論文頁數：110頁　　2009年5月26日於台中市中興堂演出之【京天動地】－張建濱、梁雍樺雙人聯展主要是體現舞蹈多元面貌組合的可能性，以及筆者個人內在經驗對角色的詮釋和肢體表達的突破，藉由別於以往的表演模式，以及與多位編舞者賦予的意念，將個人對於舞蹈的熱誠呈現在不同領域的舞蹈風格之中。文中介紹筆者對於特有人物角色的性格演繹方式，以及個人將自身內在經驗的轉化想像，透過雙人舞及三人舞的互動來傳達編舞者的意念，進而詮釋舞作的意涵。 　　過程中發現情緒的模擬想像對肢體的表現有著深刻的影響；透過肢體詮釋所傳達的情緒，對於角色活化更具說服力。本研究將以個人最深層的情感與多年舞蹈專業教育養成之表演能力，挑戰三支風格鮮明的舞作為論述重點；在第一章【緒論】，主要陳述個人所受的舞蹈訓練，及如何將舞台上的「虛」與生活中的「實」結合來呈現舞作；第二章【怎麼舞？如何舞？】陳述個人的舞蹈歷程及自我訓練方式；第三章【《林沖夜奔》－崑曲傳統文化的洗禮】、第四章【《Forbidden Love》－父權遺毒】、第五章【《Dance for Sorrow》－與真實對話】，則分別介紹每支舞作所帶來的不同風貌，在身體、表演性及個人內在經驗挑戰舞作的詮釋；最後第六章【結語－突破與克服】，將陳述個人製作此演出的心路歷程及遇到的困難與挫折，經過調適與修正，最後終於圓滿順利完成碩士班畢業製作－【京天動地】。　　“Jing Tian Dong Di” is performed by the dancers Chian-Bing Chang and Yong-Hua Liang. The performance is presented at the Taichung Chong-Hsing Concert Hall,on May 26th, 2009 that demonstrated multifaceted elements and possibilities of dance and movement. Combined with a clear character and emotional interpretation through body language, with thoughts from different choreographers, the writer is able to express a personal devotion to dance through different domains and styles. The thesis provides a path for the writer’s to experience the process of the production. He carefully analyses each character as interpreted through personal experience, performed in pas de deux and pas de trios, The writer progressively translats such experiences into each movement to convey its truly emotion and intentions. 　　In the process of learning the choreography, the writer finds a keen link between emotion and that impact body language and movement, providing an added layer of persuasiveness to the dance. The thesis compares the writer’s performances with three different and distinct choreographies and demonstrates how he is able to utilize dance training and emotion to convey the thoughts of the choreographers. In the Introduction of the thesis, it chronicled the writer’s training experience and describes how he is able to combine the “falsified reality” of the stage and the “truth” of everyday life to present dance in a personal level. The second chapter, “What’s Dance? How to Dance”, portrays the discipline and the progression of the training needed to be evolved in order to become a better dancer. In the following three chapters, “Lin Chong Yie Ben – An Initiation of Traditional KunQu Culture”, “Forbidden Love” and “Dance for Sorrow”, presented different styles of dance and its inherent challenges to the body, the emotion and the movement one for makeing a perfect of the performance. The last chapter, “Conclusion – Breakthrough and Conquer”, describes the difficulties and the frustrations experienced while producing this complex exhibition. Through countless hours of hard work, adjustment and improvements, the end result was a successful accomplishment that is the Graduate School of Dance Production – “Jing Tian Dong Di”.目　次 中文摘要………………………………………………………………I 英文摘要………………………………………………………………III 謝誌……………………………………………………………………V 目錄……………………………………………………………………VII 第一章　緒論…………………………………………………………1 　第一節　研究動機…………………………………………………1 　第二節　研究目的…………………………………………………1 　第三節　研究方法…………………………………………………2 　第四節　名詞解釋…………………………………………………2 第二章　怎麼舞？如何舞……………………………………………6 　第一節　舞蹈是這麼愛上的………………………………………6 　第二節　學校的舞蹈專業訓練……………………………………11 　第三節　男性身體V.S舞蹈的自我開發與創造 …………………14 第三章　《林沖夜奔》—崑曲傳統文化的洗禮……………………18 　第一節　崑曲風貌的植入…………………………………………19 　第二節　《林沖夜奔》的程式美學………………………………24 　第三節　舞蹈與戲曲程式的碰撞…………………………………37 第四章　《Forbidden Love》—父權遺毒……………………………47 　第一節　創作意念與構思…………………………………………48 　第二節　音樂觸動身體的情緒……………………………………50 　第三節　身體感知與內在情緒的相容……………………………53 第五章　《Dance for Sorrow》—與真實對話………………………56 　第一節　進入編舞者的領域………………………………………57 　第二節　舞蹈情義的進入…………………………………………60 　第三節　動作詮釋…………………………………………………65 第六章　結語—克服與突破 …………………………………………67 參考文獻………………………………………………………………701113419 bytesapplication/pdf京天動地;林沖夜奔;崑曲Jing Tian Dong Di;Lin Chong Yie Ben;Kun Quthesis