全球競爭與在地創新：一九八○年代初期臺灣舞蹈藝術在歐美影響下的困境與突破

Global Competition and Local Innovation: The Dilemmas and Breakthroughs of Taiwanese Dance under Euro-American Influence in the Early 1980s

一九八○年代臺灣舞蹈創作出現典範轉向，過去將轉變聚焦在解嚴之際。本文拉開舞蹈與解嚴的距離，將源起往前推至八○年代初期，呈現當時的榮景與衝勁，挑戰此時為「冬蟄時期」的說法。本文參照布赫迪厄場域相對自主化理論，提出此時舞蹈創作轉變的主因來自歐美舞團來臺灣巡演的競爭壓力、藝文界對創新的期待，以及能在國際平臺競逐的驅力。當臺灣逐漸整合進國際舞蹈商業平臺，高知名度的雲門舞集首當其衝，回應的速度也越快。其創新之作品不但回應國內藝文界的期待，更能在國際舞臺與歐美舞團、中國舞團競爭，讓臺灣以舞蹈藝術插旗世界。

A paradigm shift took shape in Taiwanese dance in the 1980s—a shift often interpreted through the lens of the lifting of martial law. This article loosens that association by tracing the origins of transformation back to the early 1980s, foregrounding the period’s vitality and momentum and challenging the view that it was a time of“winter hibernation.”Drawing on Bourdieu’s concept of artistic fields operating with relative autonomy while shaped by internal competition as well as external forces, this article foregrounds competition in Taiwan’s dance field as it becomes integrated into international dance competition. The argument is offered that choreographic change was driven by three interlocking factors: competitive pressure created by Euro-American companies touring in Taiwan, heightened expectations for innovation in the local art world, and a growing drive to compete on the international stage. As Taiwan increasingly integrated into international dance markets, Cloud Gate Dance Theatre—already the island’s most visible company—was among the first to respond to these demands, which it did with increasing rapidity. Its innovations not only responded to domestic calls for artistic renewal but also enabled Taiwanese dance to compete on international stages alongside Euro-American and Chinese troupes, thereby affirming Taiwan’s presence on the world stage through dance.