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    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/151533


    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.
    Al-Abood, S. A., Davids, K., Bennett, S. J., Ashford, D., & Marin, M. M. (2001). Effects of manipulating relative and absolute motion information during observational learning of an aiming task. Journal of Sports Sciences, 19(7), 507-520.
    Berk, R. A. (2009). Multimedia teaching with video clips: TV, movies, YouTube, and mtvU in the college classroom. International Journal of Technology in Teaching & Learning, 5(1), 1-21.
    DeWitt, D., Alias, N., Siraj, S., Yaakub, M. Y., Ayob, J., & Ishak, R. (2013). The potential of YouTube for teaching and learning in the performing arts. Procedia-Social and Behavioral Sciences, 103, 1118-1126.
    Ellis, C., & Bochner, A. (2000). Autoethnography, personal narrative, reflexivity: Researcher as subject.
    Franko, M. (2011). Writing for the body: Notation, reconstruction, and reinvention in dance. Common Knowledge, 17(2), 321-334.
    Fewster, R., Brookman, G., & Chew, R. (2021). Liveness in the digital age: Performance case studies. Australasian Drama Studies, 79, 231-252.
    Gratsiouni, D., Koutsouba, M., Venetsanou, F., & Tyrovola, V. (2016). Learning and digital environment of dance-The case of Greek traditional dance in YouTube. European Journal of Open, Distance and e-learning, 19(2), 80-95.
    Harris, K., & Fenner, D. E. (1995). Video-preservation of dance. Journal of Aesthetic Education, 29(1), 69-78.
    Hong, J. C., Chen, M. L.,& Ye, J. H. (2020). Acceptance of YouTube applied to dance learning. International Journal of Information and Education Technology, 10(1), 7-13.
    Dearborn, K., & Ross, R (2006). Dance Learning and the Mirror: Comparison Study of Dance Phrase Learning with and without Mirrors, Journal of Dance Education, 6:4, 109-115
    Kella, G. (2018). What? Do I look like this? A qualitative study of mirrors’ impact on contemporary dance pedagogy students’ experiences of themselves.
    Leijen, Ä., Lam, I., Wildschut, L., Simons, P. R.-J., & Admiraal, W. (2009). Streaming video to enhance students’ reflection in dance education. Computers & Education, 52(1), 169-176.
    Lie, J. (2012). What Is the K in K-pop? South Korean popular music, the culture industry, and national identity. Korea Observer, 43(3), 339-363.
    Le Lay, M. (2021). Reflection on teaching dance on YouTube: Negotiating between maintaining a culturally relevant pedagogy and participating in the commercialized realities of teaching dance online. The International Journal of Screendance, 12, 264-268.
    Lelievre, N., Germain, L. S., & Ste-Marie, D. M. (2021). Varied speeds of video demonstration do not influence the learning of a dance skill. Human Movement Science, 75, 1-11.
    Mueser, D., & Vlachos, P. (2018). Almost like being there? A conceptualisation of live-streaming theatre. International Journal of Event and Festival Management, 9(2), 183-203.
    Phelan, P. (1993). Unmarked: the politics of performance, London, UK: Routledge.
    Phelan, P. (2004). Marina Abramović: witnessing shadows. Theatre Journal, 56(4), 569-577.
    Reason, M. (2006). Young audiences and live theatre, Part 2: Perceptions of liveness in performance. Studies in Theatre & Performance, 26(3), 221-241.
    Scully, D. M., & Carnegie, E. (1998). Observational learning in motor skill acquisition: A look at demonstrations. Irish Journal of Psychology, 19, 472-485.
    Schupp, K. (2019). Dance competition culture and commercial dance: Intertwined aesthetics, values, and practices. Journal of Dance Education, 19(2), 58-67.
    Wake, C. (2018). Two decades of digital pedagogies in the performing arts: A comparative survey of theatre, performance, and dance. International Journal of Performance Arts and Digital Media, 14(1), 52-69.
    Warburton, E. C. (2022). TikTok challenge: dance education futures in the creator economy. Arts Education Policy Review, 123(1), 1-11.

    中文部分
    王才勇譯（2002）。《机械复制时代的艺术作品》。北京市：中國城市出版社。（原文Benjamin, W. (1936). Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit. Zeitschrift für Sozialforschung）
    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。
    陳燕珩、朱筱微（2013）。〈韓樂來勢洶洶？台灣偶像團體仿製韓國流行音樂公式〉，《犢：傳播與科技》，5：16-29。
    陳虹伶（2018）。《有靈魂的山寨：以台灣K-pop Cover Dance舞團舞者為例》。國立政治大學廣播電視學系碩士班碩士學位論文。
    張宇翔（2021）。《臺灣霹靂舞差異性之研究》。國立臺南大學體育學系碩士班碩士論文。
    張桂菱（2022）。〈舞蹈現場中觀者視見的揭露〉，《運動文化研究》，40：37-68。
    傅讌翔（2007）。《台灣嘻哈舞蹈文化現象之研究―以大台北都會區為例》。中國文化大學舞蹈研究所碩士論文。
    曾瑞媛（2012）。〈從 Water Study 到 Sea Dreams 談舞譜重建〉，《運動研究》，21（1）：49-58。
    游正裕（2016）。〈再生再製的回收電影：探索［舊片衍用］的創作模式〉，《康大學報》，6：135-147。
    蔡偉鼎（2016）。〈重訪班雅明的靈光消逝論〉，《哲學與文化》，43（4）：107-126。
    蔡偉鼎（2017）。〈數位複製時代的靈光消逝論〉，《政治大學哲學學報》，38：121-158。
    蘇子中（2016）。〈靈光，不靈光：數位媒介複製時代中的戲劇表演——論「現場性」及「靈光」的消逝與轉化〉，《藝術學研究》，19：149-178。
    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:[Master`s Program in Communication] Theses

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