草莽進城，藝術下鄉：舞台車的跨域變身與場面塑造

Wilderness in the City while Art in the Country: The Cross-field Transformation of Stage-truck and Its Scene-Making

本文關注文化階序的轉化機制，探討具庶民風格的展演形式，如何在特定社會脈絡下通過美學、奇觀和氣氛營造而改換地方的意義，促成場面塑造效果。作者以參與式觀察和訪談為主要研究方法，首先說明電子花車產業如何在官方政策及本土國族意識中跌落又興起，並跨入了不同場域。接著，作者以角頭音樂「金光舞台車，閃閃嘉年華」節慶和紙風車文教基金會「台灣鄉村卡車藝術工程」計畫為例，討論其展演形式與空間配置，說明舞台車如何將城鄉地方塑造為「奇觀場面」和「藝文場面」。最後，作者勾勒舞台車行業的日常實作，描繪以家族、技術及社會關係構成的巡迴移動營生。作者主張，源自庶民文化的舞台車因本土化風潮而擺脫污名，並因技術發展而進入美學化、精緻化、奇觀化的挪用框架，展現出拚場與開場的氣氛營造魅力，但產業本身仍在持續跑場的不確定性下勉力求生。

This article focuses on the transformative mechanism of cultural hierarchy, discusses how the performance style of folk culture has changed the meaning of places through aesthetics, spectacles and atmosphere creation in specific social contexts, promoting the effect of scene-making. Using participatory observations and interviews as the main research methods, the authors first explain how the electronic float industry had fallen and then rose with official policy and local national consciousness, and has entered different fields. Next, the authors take the Taiwan Colors Music's ＂Taiwan Color Stage Fest＂ and the Paper Windmill Foundation's ＂Taiwan Country Truck Art Project＂ as examples to discuss their performance forms and spatial configuration, and explain how the stage-trucks shape urban and rural areas into ＂spectacular scenes＂ and ＂artistic scenes＂. Finally, the authors outline the daily practice of the stage-struck industry, depicting the touring mobile business composed of family, technology and social relations. The authors argue that the stage-trucks, which originated from folk culture, got rid of the stigma due to the localization trend, and entered the aesthetic, refined, and spectacular appropriation framework due to technological development, showing the charm of the competing and opening atmosphere. The industry itself, however, is still struggling to survive under the uncertainty of the ongoing touring events.