从巫舞看云门《稻禾》的舞蹈形态与文化内涵

The Dance Form and Cultural Connotation of “Rice” of Cloud Gate from the Perspective of Witch Dance

2013年,云门舞集四十周年,林怀民以新作《稻禾》向孕育云门的台湾土地及人民致敬。云门《稻禾》在"皇帝米"的故乡台东池上演出,唤起了稻作的百年历史记忆,不仅是舞蹈艺术,它更打通了今昔、圣俗的时空隧道,运用身体意向性的原始运动,得到一种神圣时间的回归,重返"稻作"与"巫舞"的场域。固然《稻禾》已不再是传统的"巫舞",但根据其创作的动机、与稻作的互动联想、舞作展演的氛围、神圣性的意涵等,皆可窥探出"巫舞"的传统元素,因此将云门《稻禾》称之为"现代化的巫舞"亦未尝不可。将"稻作"的源流与古代"巫舞"贯穿至云门《稻禾》进行研究,《稻禾》便不只是云门的舞作,而是一部活生生的中华民族生命史,更是我们每个人的生命之作。

2013 witnessed the 40th anniversary of Cloud Gate Dance Theatre. Lin Huaimin, in his new masterpiece ＂Ricer, hailed the land and the people that had brought up Cloud Gate. Performed in ＂the east of Taiwan＂ where king rice is planted, the drama amused the 100-year-old memory of rice, being not only a dance art, but also a link between the past and the present, the holy and the vulgar. Using the primitive movement of the body intentionality, the play gets the return of a sacred time to the field of the ＂rice＂ and ＂witch dance＂. ＂Rice＂ is no longer the traditional witch dance, but according to Lin＇s creative motivation, interaction with rice, the atmosphere of the dance and the sanctity of the performance meaning etc., the traditional elements can be detected. Therefore, ＂Rice＂ can be considered as a ＂modern witch dance＂. Integrating the origin of ＂Rice＂ and ancient witch dance, we can conclude that ＂Rice＂ is not only a play of Cloud Gate, but a living history of the Chinese nation and even the drama of each per- son＇s life.