題名:台灣戰後雜技表演之發展研究（1945∼2006〉
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- 資料類型：
- 來源資料庫:學位論文
- 著作者：
- 創作者名稱:郭憲偉
- 主題與關鍵字：
- 主要分類:民俗傳說
- 中文關鍵詞:臺灣
- 中文關鍵詞:民間傳說
- 中文關鍵詞:戰後
- 中文關鍵詞:雜技表演
- 外文關鍵詞:Taiwan
- 外文關鍵詞:The post – Chinese civil war period of Taiwan
- 外文關鍵詞:acrobatic performance
- 描述：
- 頁碼:229
- 中文摘要:雜技表演為中華民族傳統技藝活動，來台發展至今六十餘年，已有相當程度的發展。本論文擬探究台灣戰後雜技表演的源起脈絡，以及各時期的發展情形，進而解析各時期雜技表演的目的、訓練方式及表演形態。研究結果發現：雜技表演早在日治時期就已傳入台灣，祇是，此時的雜技表演較無系統，且合約結束後，就返回自己國家直至，1945年大陸雜技藝人海長青帶領其子女來台演出，後因戰亂影響下，留置台灣，為台灣戰後雜技表演開啟序章。隨著海家班的來台發展，大陸雜技藝人陸陸續續來台扎根、表演，並發展出家班式、團隊式、集訓式、教育式等四個時期。其次，雜技表演在台灣亦呈現四個不同表演形態：一、「傳統」形態的雜技表演；二、「娛樂」形態的雜技表演；三、「外交」形態的雜技表演；四、「藝術」形態的雜技表演。 總括來說，戰後初期因為社會的需求及政府的需要，雜技表演深受國家及民間的重視，因此雜技藝人為了發揚文化與傳承技藝，必須不斷地努力為雜技表演奉獻心力。而隨著台灣社會的進步，雜技表演由撂地賣藥到戲院表演，從勞軍演出到酒店表演，從國民外交到劇場公演，於不同的場地創造出不同的表演形態。雜技藝人因應社會的進步，需不斷地吸取新知，創作新的節目、新的技巧，進而達到藝術化的境界。是故，雜技表演從傳統走向藝術，創作出獨特台灣本土風格，呈現出台灣多元文化，並邁向國際舞台。所以，雜技表演在多項因素之下應納入教育體系。
- 英文摘要:Acrobatic performance is one the Chinese traditional art activities, and it has been reached to some degree of development since it was propagated to Taiwan from more than sixty years ago. The purpose of this thesis is intended to explore the reasons which cause the acrobatic performance at the post – Chinese civil war period in Taiwan, and the developing situation of each stage. Furthermore, by using these data to analysis the purposes, the training manner and the performing forms of the acrobatic performance at each stage. The research results reveal that the acrobatic performance had been propagated to Taiwan at which under Japanese governing period, however, it did not have systemic acrobatic performance at that time. Acrobatic actors came back to their homeland after the end of contract. Until 1945, the Chinese acrobatics actor, Hai Chang-Qing, led his children performed at Taiwan were affected by the Chinese civil war and stayed in Taiwan. This is the fountainhead of Taiwan acrobatic performance of the post – Chinese Civil war. After the Hai’s acrobatic group had developed in Taiwan, many Chinese acrobatic actors continuously came to Taiwan to settle down, to perform and therefore have developed four different stages, which are the clan, the bloc, the training team and the educational stage. Performing styles of Taiwan acrobatic performance also has four different forms, the traditional style, the entertaining style, the diplomatic style and the art style of acrobatic performance. In conclusion, at beginning of the post – Chinese civil war period, due to the needs of society and the country, country and folk had stressed the importance of the acrobatic performance. Acrobatic actors in order to exalt traditional culture and impartation the skills, them must dedicate themselves to acrobatic performance. To go along with the progress of Taiwan society, Taiwan acrobatic performance in the post – Chinese civil war period has been transformed in many aspects, such as performing place has changed from the street into theater, the purpose of performance has changed from entertaining troops into club show and from extended diplomacy into public presentation, different performing places will mold performance into different styles. For responding to the progress of society, acrobatic actors have to constantly absorb new knowledge and to create new programs and skills, and this will let acrobatic performance sublimate into art. Hence, when acrobatic performance transforms from street-corner skit into art, it can represent the special local fashion of Taiwan and also can represent the multiple culture aspects of Taiwan and so as to let Taiwan step on the international stage. Therefore, according to multiple reasons had been mentioned, acrobatic performance should bring into the education system.
- 出版者：
- 主要出版者:國立臺南大學體育學系碩士班
- 出版地:臺南市
- 日期：
- 出版日期:2008
- 語言：
- 語文:中文
- 關聯：
- 全文電子檔:http://etds.ncl.edu.tw/theabs/service/say.jsp?FT=Y&id=096NTNT5567011
- 管理權：
- 典藏單位:國家圖書館
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