表演性视角下音乐节的空间生产——以太湖迷笛音乐节为例

Production of the music festival space from the performative perspective: Case of Taihu Midi Music Festival, China

音乐节是近年来在中国迅速蔓延的一种文化地理现象。援引空间生产理论,结合表演理论,以中国最具代表性的户外流行音乐节——迷笛音乐节为例,对具有现场表演性的音乐节空间生产过程进行解析。指出音乐节空间的实践由社会关系所主导,空间的表征集中于音乐节现场的物质空间和即兴空间,而表征性空间贯穿于现场表演过程中,具有延续性。时空间流动中的稳定意向使流行音乐节具有了作为"地方"的内涵,而三元空间的辩证是音乐节具备稳定意义和价值的保障。但音乐节在举办地政府的在地化努力中,却面临着困难,借用流行音乐节来进行地方营销与展示当地文化难以兼得。

Music festival has been a cultural geographical phenomenon spreading rapidly over China in recent years. Taking the case of Midi Music Festival, the earliest and most famous music festival in China, this paper demonstrated the characteristics of the music festival, as a space, and how it is constructed. Combining the theory of the production of space and the performance theory, we established a theoretical frame of ＂triad spaces＂ to illustrate the liveness of the festival scene. They were the operation of social relations, the construction of the live performance and the internalization of the space. It is proved that the integration of the two theories to focus on the performative traits of the festival scene was necessary and useful for understanding the specific ＂realness＂ of the music festival practice, the continuous creation of the space and the transition of the triad spaces. This paper was an attempt of expanding the theory of the production of space. This innovative theoretical frame is a valuable reference to other researches of space which is dynamic, transitory and temporary. Main conclusions can be drawn as follows：（1） The spatial practice of the music festival space was dominated by the operation of the social relations, which supported the construction of the festival space and derived from it further, and the government, the organizers and the musical fans played a dominant role in this process. Representations of music festival space occurred at the very scene of the festival, including the physical space within which the operation of codes was conducted and the impromptu space generated from the performance. This demonstrated the charm of the festival scene which was both representative and performative. The representational spaces of music festival space was a continuation of the performance, having the power to reconcile the difference, to reshape the structure of the space and to resist the rules of the mainstream society, thereby sublimating the political and cultural significance of the music festival space.（2） Though its time and sites had been changing, the music festival had stable meanings—it is the ＂place＂ where musical fans search for freedom, shelter and belongings. Dynamic connections existed between each pair of the triad spaces, embodying as supporting, activating and shaping each other, which contributed significantly to the festival of being a place. It was difficult for the music festival to be embedded into local place for its independence of culture and organization. The local government had tried to connect the music festival with the local culture for place marketing, but it was not desirable.