亞洲折射：全球化時代下戲劇美學區域板塊的建構與移動，1970s~;Asian Reflection: Globalization and the Configuration of Aesthetic Mobilities, 1970s~

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Title:	亞洲折射：全球化時代下戲劇美學區域板塊的建構與移動，1970s~;Asian Reflection: Globalization and the Configuration of Aesthetic Mobilities, 1970s~
Authors:	周慧玲
Contributors:	國立中央大學英美語文學系
Keywords:	文化全球化;世界戲劇;戲劇美學;藝術節;戲劇史論;亞洲折射;cultural globalization;arts festivals in Asia;world theatre;aesthetic plates;theatre historiography
Date:	2018-12-19
Issue Date:	2018-12-20 12:03:28 (UTC+8)
Publisher:	科技部
Abstract:	本計畫採宏觀視野，預計以三年時間，結合文獻分析，田野調查，網路資料探勘三種方式，以全球化時代的區域美學形構為概念，聚焦二戰後開始出現、隨著七零年代經濟全球化發展而愈見蓬勃發展的國際藝術節，重新檢視四十年間亞洲地區國際藝術節如何呼應所謂的「文化全球化」（cultural globalization），又折射／想像出了什麼樣的全球化戲劇美學？這樣的成亞洲式世界戲劇美學板塊，從1970s迄今又歷經了什麼樣的美學板塊移動？本計劃首先以上個世紀七零年代全球化發展下在亞洲創立的三大新興現代藝術節：香港藝術節(1973～)、新加坡藝術節(1977－2012)、台北新象國際藝術節(1979～2008)為研究主幹。第二部分主要聚焦冷戰結束二十年間（1990～2008），國際社會秩序重整導致亞洲地區政經版圖調整下的亞洲國際藝術節重新佈局。第三部分聚焦二十一世紀之後亞洲地區新興藝術節，調查表演藝術邁入數位化媒介之際，金融危機加速亞洲成為世界主要戲劇市場而造就的亞洲版世界戲劇美學板塊另一次移動。本文最終希望回應一個現當代戲劇史書寫的問題：以國際藝術節為例，探索文化全球化和跨區域性戲劇美學的互動，是否有助於我們重新梳理同時間個別城市或社群的現當代戲劇發展脈絡？ ;This three-year project proposes to examine, from the perspective of cultural globalization, the rising concept of ‘international arts festivals in Asia” since the 1970s until today. Applying the methods of documents investigation, field research and big data mining, I will analyze how the newly emerged modern Asian arts festivals had imagined and reflected upon the idea of “world theatre” in the last four decades? Had their reflection configured an Asian version of modern theatre aesthetic plate? How had this aesthetic plate shifted and/or been re-configured?The project will be divided into three parts. The first part charts the path of the first Asian modern arts festivals investigating the compositions of then the three art pillars in Asia, i.e., Hong Kong Arts Festival (1973~), Singapore Arts Festival (1977~2012) and New Aspect Arts Festival (1980~2008, Taiwan). I will then examine the two decades of the post cold-war era, exploring the newly rise little theatre movement in the pan-Asian ring, and their imagination of the “world avant-garde”. Lastly, the digital era beginning in 2000 until today seems to indicate an even faster transmission of theatre aesthetics across the world, but it also witnesses how the 2008 global economic crisis transforms Asia into the core market of world theatre overnight, re-configuring Asian’s reflections upon world theatre. The ultimate objectives of the project is to reconsider the strategy of theatre historiography and to reexamine how the modern concept of arts festival had staged the transmission of aesthetic ideas across the world, and reflections upon one’s identity in the seemingly monolithic global cultural imaginations.
Relation:	財團法人國家實驗研究院科技政策研究與資訊中心
Appears in Collections:	[Department of English] Research Project

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