李昱伶。〈儀式樂舞做為溯源技術：日本雅樂《蘭陵王入陣曲》身體行動方法研究〉。《民俗曲藝》233 (2026.9): 65–119。
Li Yu-ling. “Ritual Music and Dance as Techniques for Source Tracing: A Study of Method of Physical Actions in Japan’s Gagaku Piece King Lanling.” Journal of Chinese Ritual, Theatre and Folklore 233 (2026.9): 65–119.
Abstract
日本雅樂源自於皇室慶典與宗教儀式，於2009年被聯合國教科文組織列為「人類非物質文化遺產」。《蘭陵王入陣曲》為日本雅樂具代表性的曲目之一，常見於皇室節慶、宗教祭典、劇院與商業演出。隨着本曲之演出空間與表演團體日益多元，其發展反映當代儀式樂舞在祭儀功能之外，亦逐漸演變成一種文化展演。本文從「文化展演」與「身體行動方法」切入，探討當代儀式樂舞之觀演關係。日本前衛舞蹈家土方巽在二次世界大戰之後，與大野一雄共同開創「暗黑舞踏」。創始團員中嶋夏，與曾師事葛羅托斯基的陳偉誠，皆將身體視為進行精神探索的場所。「能量」意指進入身心合一之意識狀態，來自波蘭的葛氏於1976至1982年間進行跨文化的溯源技術研究旨在尋找能量的源頭，並遠赴中國、印度、海地與墨西哥取經；後於1986至1999年間專注於「藝乘」研究。葛氏認為藝術是可使表演者與觀眾皆產生意識轉化的乘具，自身體行動方法觀之，《蘭陵王入陣曲》為消弭藝術與「藝乘」界線的溯源劇場。本文採文獻分析法與文本分析法，並藉由對影響臺灣劇場發展甚深的葛氏身體行動方法，探討《蘭陵王入陣曲》如何成為一項提升內在覺察的工具，同時亦以「文化展演」的角度，分析本曲的社會功能，並自宏觀與微觀雙重面向探討儀式樂舞的當代意義。
Japanese gagaku originates from imperial court
celebrations and religious ceremonies, and was inscribed by UNESCO in 2009 as a
“masterpiece of the oral and intangible heritage of humanity.” King Lanling is
a representative piece of Japanese gagaku commonly performed at imperial
celebrations, religious ceremonies, theaters, and commercial shows. As the
performance venues and groups presenting this piece have become increasingly
diverse, its development reflects how contemporary ritual music and dance have
evolved beyond their ceremonial functions into forms of cultural performance.
This article adopts the perspectives of “cultural performance” and “method of
physical actions” to explore the audience-performer relationship in
contemporary ritual music and dance. The Japanese avant-garde dancer Tatsumi
Hijikata, after World War II, together with Kazuo Ohno, co-founded “dark butoh
dance.” Nakajima Natsu, a founding member of the dark butoh dance, and
Wei-cheng Chen, who studied under Jerzy Grotowski, both regard the body as a
site for spiritual exploration. “Energy” refers to a state of consciousness
where body and mind are unified. A native of Poland, Grotowski conducted
cross-cultural source-tracing research on energy techniques between 1976 and
1982, seeking the origins of energy by traveling to China, India, Haiti, and
Mexico. From 1986 to 1999, he focused on the study of “art as a vehicle,”
believing that art could serve as a vehicle capable of producing transformative
consciousness in both performers and spectators. From the perspective of method
of physical actions, King Lanling is regarded as a source-tracing form
of theater that dissolves the boundary between art and art as vehicle. Drawing
on literature analysis, textual analysis, and Grotowski’s method of physical
actions—which has profoundly influenced Taiwanese theater development—this
article explores how King Lanling has become a tool for enhancing inner
awareness. At the same time, it draws on the viewpoint of “cultural
performance” to analyze the social functions of this piece, and examines the
contemporary significance of ritual music and dance from both macro- and
micro-level perspectives.