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| Title: | 舞蹈現場學習與影片學習的比較研究：從1MILLION Dance Studio出發
A Comparative Study of Dance Learning in Live Settings and via Video: A Case Study of 1MILLION Dance Studio |
| Authors: | 林祐亘
Lin, You-Hsuan |
| Contributors: | 謝杰廷
XIE, Jie-Ting
林祐亘
Lin, You-Hsuan |
| Keywords: | 舞蹈學習
舞蹈影片
現場
媒介
靈光
Dance learning
Dance video
Live
Media
Aura |
| Date: | 2024 |
| Issue Date: | 2024-06-03 11:53:09 (UTC+8) |
| Abstract: | 本篇論文嘗試以班雅明（Walter Benjamin）、費蘭（Peggy Phelan）以及奧斯蘭德（Philip Auslander）所提出關於現場以及媒介的理論，去理解舞者用不同方式學習舞蹈時，學習過程的各種細節可以如何去解釋。
本研究從研究者自身個人經驗出發，對不同學習方式的學習歷程感到好奇，因而產生對於現場學習以及透過媒介學習兩者間的不同之問題意識。因此透過回顧過往學者對於現場感、舞蹈工作室以及舞蹈影片的相關文獻後，發現多數研究較少關注學習過程的細節，也較少由理論出發去看現象，因此認為這是一項值得深入探討的問題。
故本研究從班雅明對於機械複製技術的論點出發，討論靈光以及機械複製技術的本質，延伸到費蘭的表演本體論以及奧斯蘭德提出的媒介現場性，透過三位學者的觀點做為分析的切入觀點，並輔以自我民族誌的研究方法，以深入探討自身經驗的方式，去理解在理論框架下學習舞蹈的不同方式具有什麼意義。
研究發現，過往認為涇渭分明的現場以及媒介，在舞蹈學習的領域裡其實具有重疊之處，在現場學習時能夠看到各種媒介的運用，使用媒介學習時也可以看到舞者被過往的現場經驗所影響。而透過理論視角，可以更好的解釋學習過程的細節，了解為何現場經驗會不斷影響用媒介學習的舞者、在舞蹈學習裡不同「重複」的意義，以及在學習過程中靈光顯現之處。但同時也發現理論與實際情形不符之處，諸如靈光的定義也許與班雅明所說的不同，以及費蘭所說的表演本體不一定只存在於現場等等。研究認為，也許在現代社會中，對於靈光的定義已不如以往，且值得更多討論。
This paper attempts to use the theories proposed by Walter Benjamin, Peggy Phelan, and Philip Auslander, to understand how different ways of dance learning can be interpreted.
The research stems from the researcher's personal experiences and curiosity about the learning processes of different learning method. This curiosity led to an awareness of the differences between learning in studio and learning from media. After reviewing relevant literature, it was found that most studies have paid little attention to the details of the learning process, not to mention using theory to explain it. Therefore, this study begins with Benjamin's argument on the technology of mechanical reproduction, discussing aura and mechanical reproduction technology, extending to Phelan's theory of performance ontology and Auslander's theory about liveness of media. By employing the viewpoints of these three scholars as analytical perspectives, and supplementing with autoethnographic, the study aims to understand the significance of different dance learning ways under a theoretical framework.
The research reveals that live experience and media actually overlap in the realm of dance learning. Though there are some differences between them, various media are used during live learning, and dancers utilizing media for learning can also be influenced by past live experiences. Through a theoretical lens, certain details of the learning process can be better explained. However, differences between theory and practical situations were also noted, such as differences in the definition of aura, or the definition of dance ontology. The research considers that perhaps the definition of aura in modern society is no longer as same as it was in the past. |
| Reference: | 英文部分
Auslander, P. (1997). Against ontology: making distinctions between the live and the mediatized. Performance Research, 2(3), 50-55.
Auslander, P. (1999). Liveness: performance in a mediatized culture. London, UK: Routledge.
Auslander, P. (2012). Digital liveness: A historico-philosophical perspective. PAJ: A Journal of Performance and Art, 34(3), 3-11.
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Phelan, P. (1993). Unmarked: the politics of performance, London, UK: Routledge.
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石計生（2006）。〈靈光消逝的足跡 北京講學記〉，《歷史月刊》，216：32-39。
吳翠松（2016）。〈電子時代的現場表演：不同世代閱聽人「現場感」初探〉，《資訊社會研究》，30：61-103。
施昱竹（2012）。《舞動台灣—談嘻哈街舞自1980年代末期進入台灣後，這20年來的發展流變》，國立臺灣大學社會科學院新聞研究所深度報導碩士論文。
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| Description: | 碩士
國立政治大學
傳播學院傳播碩士學位學程
109464038 |
| Source URI: | http://thesis.lib.nccu.edu.tw/record/#G0109464038 |
| Data Type: | thesis |
| Appears in Collections: | [傳播學院傳播碩士學位學程] 學位論文
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