| Summary: | 碩士 === 國立臺北藝術大學 === 藝術行政與管理研究所 === 100 === The forms and cultures of Taiwan aboriginal rituals are of rich indications. Among them, dance and music are the significant elements to consolidate the aboriginal society as well as to reflect its cultural characteristics. However, the aboriginal society has changed with the environment. “Traditional aboriginal dance and music”has therefore gained a feature to perform for an audience in the tourism performance and stagewise context. Up until now, Taiwan aboriginals’ efforts in fighting for their subjectivities and passing down their cultures have also appeared in the theatre. With its goals of cultural inheritance and theatrical expertise, Formosa Aboriginal Song and Dance Troup (FASDT, founded in 1991) especially shows a unique phenomenon of cultural identity and aboriginal autonomy in performing arts. That the performance of traditional aboriginal dance and music has entered the theatre not only represents the step from their ethnic culture to art, but also induces discourses on their reality and artistry in the theatre halls.
From previous studies, we have learned that not only the forms and meanings of traditional aboriginal dance and music are different from those in their tribes, but also they incurred problems when adapting tribal culture to artistic proficiency. This study stresses on the historical context of how traditional aboriginal dance and music turned into performances, as well as on how theatre influenced the development of aboriginal musical-dancing groups. Based on the theatrical practice of FASDT, this study intends to understand its approach of working on the relationship of traditional aboriginal dance and music and their theatrical artistry.
This study will first investigate the performing phenomena of traditional aboriginal dance and music from the aspects of tourism performance and their stagewise process. Then the process of FASDT’s theatrical practice as well as the changes in their artwork development will be integrated in the study as the basis of further analysis of how FASDT formed its Concept of Stage. Finally, this study will analyze FASDT’s approaches to its theatrical performances and induce its concept of stage, with the hope to offer references for aboriginal musical-dancing groups to blend their music-dancing culture and artistic values, and thus contribute to the multiple facets of performance art in Taiwan.
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