Digital Performance in Twenty-First Century Taiwan: Huang Yi & KUKA, a New Form of Sino-Corporeality.
姓名：林亞婷
系所/單位：舞蹈學系
本文是作者長期關注由史書美等學者發起的華語語系研究（Sinophone studies）中，關於華語語系社會∕政治議題與舞蹈文化研究交匯的階段性思考。近年來，臺灣為增加全球競爭力，追求經濟轉型，推動文化創意產業，並在官方政策與民間企業的雙重鼓勵之下，科技表演藝術受到重視，多元發展。 本研究以臺灣新生代編舞者∕程式編碼設計者∕舞者黃翊為例，探討他在臺灣的環境下，創作數位表演藝術的歷程，尤其著重他與工業機器人KUKA於台上共舞的代表作《黃翊與KUKA》。藉由分析這支2012首演的二十分鐘雙人原版的得獎作品，以及2015年同名延伸為七十分鐘的四人新版，其中真人與機器之間的人機共舞等雙胞效應，以及機器擬人化（anthropomorphism）的特徵，探索二十一世紀科技進步的時代裡，人類舞動身體的新可能性。最後，並提出臺灣未來文化生態中，「藝術企業家」（culturpreneur）之必要性等議題。
This article looks into the rise of digital art in Taiwan through the lens of Huang Yi. As a child of the dotcom generation, Huang often incorporates elements from videography, digital arts, and even mechanics in his choreography. Dubbed “l’enfant terrible” by Lin Hwai-min, this thirty-something dancer/choreographer/videographer has won various recognitions both at home and abroad. Huang Yi & KUKA, his duet with an industrial robot, received the top prize from the 2012 Third Annual Taipei Digital Arts Awards. Later grants from the Quanta Foundation and the Ministry of Culture of Taiwan, among others, allowed him to expand the piece into a full-length program of the same title in 2015, including two additional dancers from his Huang Yi Studio+. Through Huang Yi’s career, I look at the ecology of digital performance in twenty-first century Taiwan within the Sinophone performing arts context, analyze his duet with his anthropomorphic digital double, as well as at an alternate model for multi-talented artists who experiment with innovation in technology, but do so on their own as culturpreneurs, independently of big established dance companies.