| 研究生: |
馬庶瑋 Ma, Su-Wei |
|---|---|
| 論文名稱: |
台灣戰後文化建設表演空間變遷之研究 ─ 以縣市文化中心為例 A study of the evolution of the performance spaces in cultural construction of Post-War Taiwan ─ City and county cultural centers as examples |
| 指導教授: |
傅朝卿
Fu, Chao-Ching |
| 學位類別: |
碩士 Master |
| 系所名稱: |
規劃與設計學院 - 建築學系 Department of Architecture |
| 論文出版年: | 2008 |
| 畢業學年度: | 96 |
| 語文別: | 中文 |
| 論文頁數: | 128 |
| 中文關鍵詞: | 文化建設 、表演空間 、文化中心 、文化政策 |
| 外文關鍵詞: | cultural center, performance space, cultural construction, cultural policy |
| 相關次數: | 點閱:120 下載:6 |
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自1977年台灣推動《十二項建設》最後一項為「建立每一縣市文化中心」,並以此項建設為重點,其中包括「圖書館」、「博物館」、「音樂廳」(即演藝廳)。自此台灣邁向推動長期文化政策與文化建設的時代。縣市文化中心自1977年推行後由教育部主導,由上而下的指導方式同步進行各縣市文化中心計畫,使得1980年代台灣共有十九座縣市文化中心被實踐。然而,1970年代末期正為部分縣市分治的關鍵時刻;部份縣市因經費問題未實現演藝廳建設,最後使得這些案例並未於1980年代完成縣市文化中心,並且至1990年代才陸續完成各項建設。各縣市興建文化中心的過程中,又因台灣解嚴(1987年)前後面對社會及文化環境的差異,產生兩組不同特色的縣市文化中心建設。
本文將論述縣市文化中心建設的重點置於「表演空間」,主要分析1977~1986年、1987~2005年兩段期間縣市文化中心表演空間的演變過程。1997~1986年間,縣市文化中心的表演空間以「演藝廳」為主,因受到教育部由上而下指導的影響,使得縣市文化中心演藝廳在空間與建築外型皆有類似的特質,也因地域的不同而產生變異;1987~2005年間,受到文建會推行「文化地方自治化」的影響,使得文化中心建設開始展現地方的文化特色,除了演藝廳內部出現不同以往的空間形式,更賦予戶外及半戶外空間不同層級的表演性質,使得表演空間由室內延伸至戶外。由縣市文化中心表演空間演變之研究,除了反應台灣解嚴前後對於文化政策與文化建設看法的差異之外,更隱含著「表演」如何由政府認為的教化工具,漸漸演變為文化產業之間的過程。
Since Taiwan promoted the "12 Major Infrastructure Projects" on 1977 ,it embraced cultural construction as the last one item, and the city and county cultural centers with in-built Library, Museum, and Concert Hall was the focus of it. The project started the era of Taiwan’s long-term cultural policy and development. City and county cultural centers, since 1977, was administrated by the Ministry of Education. The program of cities and counties Cultural Center was managed by a top-down approach and concluded in the establishment of 19 City and County Cultural Centers by 1980s.However, in the late 1970s, some counties and cities were at a crucial moment of dividing governing area. Those city and county Cultural Centers couldn’t be designed neither built in the late 1970s. Some others can’t build the Concert Hall due to the reason of budget shortage. The cases mentioned above were carried out and completed until 1987, the lifting of Martial Law. After the lifting of martial law in Taiwan, the administration of Taiwan’s culture construction was transferred from the Ministry of Education to the Council for Cultural Affairs. Council for Cultural Affairs take the policy of “Local culture under self-governing”, which made cultural centers started to show the character of each city and counties.
This paper will discuss the building of cultural centers’ performance space. The emphasis is laid on evolution of performance spaces in the cultural center which were built around 1987, after the lifting of Martial Law. These performance spaces built before the lifting of martial Law are mostly auditorium. The reason why they are sharing the same characteristic is because they are under the up-to-down administration. That made the city and county cultural centers similar in space and outer. However, there are variety due to regional influence. After the lifting of martial law, city and county Cultural Center auditorium’s interior showed different forms of space comparing to the past. They form different strength of performing character by using outdoor and semi-outdoor spaces, and make the space reaching from indoor to outdoor. From the studying of the development of cultural center’s performance space, not only can that reflect he difference viewpoint of cultural policy and construction, but also covered the sequence of performance itself from government’s public-educating tool to cultural industry.
中文書籍
1.于復華編,《國立中正文化中心十週年慶紀念專刊》,台北市:中正文化中心,1997。
2.中興工程