傅裕惠。〈搏杯與神意：試探個人和群體介入以廟口為核心的宗教場域現象〉。《民俗曲藝》232 (2026.6): 161–97。
Fu Yu-hui. “Between Divine Will and Human Agency: Exploring the Dynamics of Individual and Collective Engagements Within Temple-Centered Religious Fields.” Journal of Chinese Ritual, Theatre and Folklore 232 (2026.6): 161–97.
Abstract
隨着地方創生政策的風潮，現代都會的藝文行政團隊陸續透過政策補助進駐地方社群，對在地社區形成不同層次的擾動與介入，甚至嘗試改變以廟口為核心的宗教場域文化（例如「大溪大禧」地方創生2018–22）。本論文將以文化場域中現代劇場創作者以及視覺藝術策展單位的代表性個案與作為為例，說明文化場域的知識菁英，如何藉由自己熟悉的藝術生產慣習，重構地方在地文化以及自己的美學論述。
與此同時，職業戲班藝人處於賴以生存的經濟與宗教場域，既面臨了都會生活習慣（例如噪音管制）和網路社交娛樂媒介的變動，他們必須不斷調整廟口外臺的活戲內涵以及戲班經營風格，努力超越和協商文化場域與宗教場域各種慣習的挑戰。
當代現代劇場創作者的知識菁英與戲班職業藝人，各自以熟悉的場域習慣，鬆動傳統的美學認知，實質大膽表現了自己的主觀真實，展現宗教個人化的面向。民間信仰所充滿的各種宗教物質性和象徵隱喻，似乎為戲班從業人員和這批介入宗教場域裡的知識菁英，提供了值得探究的認同空間。
Following trends of “local revitalization”
policies, arts administration teams from modern metropolitan areas have
increasingly entered local communities by means of government subsidies,
instigating various levels of disturbance and intervention within local
communities and even attempting to reshape the temple-centric culture of
religious fields—as can be seen in the “Daxi daxi” local revitalization project
(2018–2022). This paper examines a representative case of modern theatre
creators and visual arts curatorial units within cultural fields, and
illustrates how “intellectual elites” utilize their familiarity with artistic
production regulations to reconstruct local cultures and their own aesthetic
discourses.
Simultaneously, professional troupe artists
situated within economic and religious fields—upon which their livelihoods
depend—face shifts in metropolitan lifestyle habits (such as new regulations on
noise control) and changes in social media entertainments. Therefore, they must
continuously adapt the contents of their ways of doing improvisational “living
plays” (huoxi) and their troupes’ management styles, striving to
transcend and negotiate various habitual challenges present in both cultural
and religious fields.
By employing their respective field-specific
regulations in arts production, both the intellectual elites of modern theatre
and professional troupe artists have unsettled traditional aesthetic
perceptions. Through substantial and bold expressions of subjective reality,
they manifest the individualized dimensions of religion. The ritual materiality
and symbolic metaphors which saturate popular religious practices appear to
offer performers and cultural elites who intervene in the religious arena a
meaningful space for exploring new forms of identity.
Also in Journal of Chinese Ritual, Theatre and
Folklore:
傅裕惠。〈歌仔戲現代劇場化的全面演練：試探幾種藝術節機制與場域對新編歌仔戲的影響〉。《民俗曲藝》218 (2022.12): 113-59。
Fu Yu-hui. “A
Comprehensive Drill of Traditional Taiwanese Opera in Modern Theatre: Probing
into the Effects on Its Original Creations from the Field and Mechanism of Several
Theatre Festivals.” Journal of Chinese
Ritual, Theatre and Folklore 218 (2022.12): 113-59.
https://ritualtheatreandfolkloreat.blogspot.com/2022/12/blog-post_29.html
傅裕惠。〈九〇年代以來歌仔戲「正典化」的美學現象〉。《民俗曲藝》209 (2020.9): 67-110。
Fu Yu-hui. “The Aesthetics of Canonization in Traditional
Taiwanese Opera since 1990s.” Journal of
Chinese Ritual, Theatre and Folklore 209 (2020.9): 67-110.
https://ritualtheatreandfolkloreat.blogspot.com/2020/09/blog-post_25.html