|標題:||展演民進黨── 從展演觀點看民進黨「公平正義 鋪滿臺灣」造勢晚會音聲|
Performing DPP: Performative Approach to The Sounds of DPP’s Campaign Rallies 2011/12
|摘要:||民進黨造勢晚會宛若佈道大會般，具有一定的進行架構與熱烈氣氛，是令所有參與者難以忘懷的深刻印象。而多元且豐富的音聲則是民進黨造勢晚會最獨特的印記，舉凡銅鈸鼓聲、音樂聲、人聲等，綿密交織而成每場晚會。但，回顧台灣學術界與競選相關之研究，多數聚焦於競選歌詞分析，音樂與範圍更廣的音聲則甚少著墨。然而，音聲其實是造勢晚會的靈魂所在，而其使用，又與民進黨本身有著密切的連結。此外，台灣既有儀式音聲研究多注偏重功能性探討，卻忽略音聲使用的文化脈絡。本文闢研究路徑，透過S. J. Tambiah(1985) 以展演角度切入儀式的研究，觀看一系列可類比為儀式化活動的民進黨造勢晚會，突顯造勢晚會音聲運用，及其與民進黨的緊密關聯；並從「文字音聲化、音聲的象徵、重覆、固定與微調、體驗」五個不同的展演概念詮釋此黨於2011／12年舉辦的「公平正義 鋪滿臺灣」造勢晚會音聲。在以音聲為主，視覺、觸覺為輔、刻意營造的氛圍之中，晚會參與者彷彿進入一個獨立時空，接受民進黨競選團隊強勢的音聲攻勢與洗禮。無論是演說者的精彩講演、主持人的串場與口號吶喊、配合演說的音樂與擊樂，以及參與者的回應，由展演視角觀之，皆呈現相當程度民進黨特有的思維與行動。包括民進黨對於族群、語言、女性等抱持的態度，也呈現其政黨所認同的臺灣歷史樣貌。種種具有功能、象徵的音聲使用，使此系列造勢晚會，成為一場場以音聲展演著民進黨本身的表演。|
The campaign rallies held by the Democratic Progressive Party (DPP) take after revival meetings in that they possess a certain fixed procedure and lively ambiance, leaving unforgettable impressions on the attendees. The most peculiar characteristic of DPP campaign rallies is their diverse and rich use of sounds. Such sounds as those of percussion instruments, music and human voices are densely intertwined in every rallies. Looking back on related researches about election in the academic field of Taiwan, however, the author noticed the majority focused on the analysis of lyrics, while little has been written about music and within a wider scope, sounds. Sounds are, in effect, the soul of campaign rallies, and the use of sounds is strongly connected to DPP itself. Moreover, the existing researches on ritual sounds in Taiwan to a large extent emphasized on the investigation of functionality, overlooking the cultural context of sounds use. This study developed its own research pathway by adopting the performative approach to ritual of S. J. Tambiah (1985), delving into a series of DPP campaign rallies comparable to ritualized activities. In particular it highlighted the application of sounds and its close relationship to DPP. In addition, it attempted to interpret the use of sounds in “Fairness And Justice Spread Throughout Taiwan”, a series of campaign rallies held in 2011 and 2012, through five performative views: “vocalization of words”, “symbolical value of sounds”, “repetition”, “rigidity and flexibility”, and “experience”. Immersed in the deliberately contrived atmosphere, which was supported primarily by sounds and in part by the sense of sight and touch, the participants seemed to have entered an independent time and space, where they were showered in the aggressive sounds attack by the DPP campaign team. From the performative approach, the remarkable speeches, fillers and slogan shouting led by campaign hosts, together with the accompanying music and percussion, in conjunction with the reactions from the attendees, all exhibit the ideology and action peculiar to the party to a certain extent. Furthermore, the attitude of DPP toward ethnic groups, languages, the female gender and so forth also epitomizes the Taiwanese history the party identifies with. All types of functional and symbolic sound applications have transformed this series of campaign rallies into performances that demonstrate DPP itself by means of sounds.