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    题名: 兩岸表演藝術交流之發展（1988~2004）
    作者: 劉勝驥
    日期: 2005-09
    上传时间: 2009-01-08 15:09:25 (UTC+8)
    摘要: 舞蹈, 戲劇等表演藝術從創作和市場的角度, 必然走向兩岸藝術交流, 乃至全球公演, 但當兩岸有政治對峙時, 文化交流是潤滑劑或抵制工具或顛覆對方的武器? 探討主題中, 先從領導發言, 政策文件, 法令規章試圖釐清兩岸表演藝術交流的背景, 環境與政策, 並從而說明兩岸的文化交流中的藝文合作與政治對抗關係. 兩岸交流發展進程方面: 一九九0年北京[亞運], 邀請我方[明華園歌仔戲團]參加亞運藝術節演出以來, 兩岸京劇, 崑曲, 芭蕾舞團, 評彈團, 高甲戲, 南音, 木偶戲, 皮影戲等表演藝術交流不斷. 台灣劇團因成本考慮赴大陸較少, 大陸表演藝術領域來台交流則呈現穩定熱絡的景象, 平均每個月二至三團, 每年總人數皆過千人. 表演藝術交流發展至合作者如同台演出, 相互配角, 合編劇本, 拜師授藝, 學術會議研討. 至於雙方交流的不對等問題, 只有寄望大陸經濟更加發展, 能支持我方劇團登陸的酬勞. 表演藝術交流內容方面:為兩岸藝人的傳習技藝與演出合作, 作曲合作, 兩岸人民的交流與合作關係更形融洽. 這使得兩岸政府雖然處處防範, 以政治教條和意識型態向人民提醒警愓, 似乎成效有限; 但是演出合同糾紛等, 則需要公權力的介入, 比較弱勢的表演藝術團體到對岸獻演, 也需要兩岸政府的輔導和補助.
    From a viewpoint of creativity and the market, the performing arts, such as dance and drama are intended to head for cross-strait exchange, and eventualloy toward global performances. But with the political confrontation across the strait, would cultural interaction become the lubricant, a tool for boycotts, or the weapon to undermine the other government? This paper attempts to discuss and clarify the background, environment, and policies of cross-strait exchange from the speeches of the leaders, policy documents, and judicial regulations. It also explains the cooperation in Arts and Literature and the political confrontation involved in the cross-strait exchange of performance arts. An example of progress in cross-strait exchange includesa Beijing invitation extended to the "Ming Hua Yuan Taiwanese Opera Group." They began their exchange with the Aisan Games in 1990. The exchanges continued and so did interaction among performers. Groups that benefited include: the Chinese Opera, Kunshan tunes, ballet, the story-telling/singing (Pingtan) groups, Kaochia drama, Nan(South) tunes, puppet shows, shadowgraph shows, and various Chinese music performances. Due to cost considerations, Taiwanese artists have visited Mainland China less yet Chinese art groups have visited Taiwan regularly and ardently. They average two to three groups per month,and over a thousand people per year. The artists interact by performing on the same stage, exchanging roles, co-operative script writing, skill teaching, and academic conferences. Regarding the imbalanced interaction, Taiwan could rely on Mainland China to further develop economically and provide reasonable financial support for Taiwanese performance art groups for visits to Chinal. As far as the content of cross-strait exchange, with the exchange of skills in co-operative performances and co-operative music composition, the interaction between groups across the strait have become more and more harmonious. As a result, despite both governments` attempts to guard the people with political dogma, the effect is limited. However, occasional disputes regarding the performance contract still require judicial ruling; and minority performance art groups also need assistance and support rom both governments.
    關聯: 中國大陸研究, 48(3), 111-145
    数据类型: article
    显示于类别:[國際關係研究中心] 期刊論文

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    档案 大小格式浏览次数
    48-3-p111~145.pdf1687KbAdobe PDF21749检视/开启


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