| Summary: | 碩士 === 國立臺灣藝術大學 === 表演藝術研究所 === 94 === Abstract
International art performances, from production, training, organizing and promotion, are closely interrelated with the social environments, cultural policies, political demands, and diplomatic situations of that time. This thesis is focusing on the international performances of Taiwanese dance companies during the period of 1949-1973, analyzing the organizing and preparing process, the philosophy of the dance programs and the media coverage of these activities. This thesis intends to explore the image and cultural characteristics of R.O.C and diplomatic achievement these international dance performances conveyed and achieved and to discuss the interaction between these international dance performances and the nation.
This thesis found that under the authoritative governance, the atmosphere of serving for nation and the mission of competing with People's Republic of China in changeful international politics, Min-Zu dance was noticed and widely promoted by the government and that it was used to emphasize its social-education duty in order to display traditional Chinese culture.. This thesis studies on the performances of four dance companies in international arenas: Li Shu-Fen Dance Company (1959), Republic of China Dance Company (1968), Hwa-Kang Dance Company (1972) and Little Angel Children Dance Company (1972). Although the natures and goals of these four dance companies are different, I found that through the mechanic of censorship and the government application procedures, all of these dance companies did turn out to represent the image of “Chinese nation” and bore the expectation to improve diplomatic situation of this country. Through the research of this thesis, I also discovered that instead of other international audience, the target audience of these performances is overseas Chinese, which reveals the limited diplomatic situation of Taiwan at that time. During the changing 1970s, the choreographers strived to compromise between creativity and national policies by producing compromising works in international dance performances. Therefore, the cultural images conveyed through these dance performances overseas are diverse.
Under the economic hardship and politic difficulties at that time, it was not easy for dance companies to perform overseas without the support from the government. This kind of cultural exchange activities also brought dance information and influences from abroad to this country. However, the highly interference and control from the government also restricted the creativity and diversity. This thesis tries to reflect on the interaction between dance and the influence of nation.
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