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1 16 Journal of Theater Studies DOI: /JOTS * 前言 1 * H

2 kbach

3 4 lakhon preah reachea trop lakhon preah reachea trop lakhon luong Sihanouk Devaraja cult, god-king the Royal University of Fine Arts Chumvan Sodhachivy Robam Apsara 1999 Devaraja cult, god-king Shiva Vishnu Jayavarman II, Mount Meru chakravartin, ruler of the universe SarDesai, D. R

4 Churning of the Ocean of Milk apsara 6 Lon Nol lakhon robam kbach boran dance drama dance of ancient style theatre using ancient gestures lakhon kbach robam boran Cambodian royal ballet court dance dance drama classical dance dance drama Books LLC ed., Cambodian Dances: Khmer Classical Dance, Robam Moni Mekhala, Apsara Dance, Dance in Cambodia, Yike, Robam Meh Am Bao, Chhayam, Robam Neary Chea Chuour (Memphis, Tennessee: Books LLC, 2010), pp Eileen Blumenthal, Robam Kbach Boran, in Encyclopedia of Asian Theatre, ed. Samuel L. Leiter (Westport, CT: Greenwood Press, 2007), pp Sam Chan Moly, Khmer Court Dance: A Comprehensive Study of Movement, Gestures, and Postures as Applied Techniques (Newington, CT: Khmer Studies Institute, 1987), p. 3. Toni Samantha Phim and Ashley Thompson, Dance in Cambodia (New York: Oxford University Press, 1999), pp Books LLC ed., Performing Arts in Cambodia: Khmer Classical Dance, Reamker, Earth in Flower, Preah Suramarit National Theatre, Yike (Memphis, Tennessee: Books LLC, 2010), p

5 一宮廷舞劇之總體形式特徵 1 Hun Tian naga Manimekhala Ream Eyso 2 3 Ramayana Reamker 9 4 Jataka Manora preah sang robam roeung 12 9 Phim and Thompson, pp James R. Brandon ed., The Cambridge Guide to Asian Theatre (Cambridge: Harvard University Press, 1993), p. 21. Phim and Thompson, p Paul Cravath dance drama roeung Toni Shapiro reuang -137-

6 Robam Robam Apsara apsara Indra roeung roeung robam roeung 13 Robam Tep Manorom Robam Mkaw Robam Phkar Meas Phkar Prak 14 robam roeung Reamker Sovann Machha Manimekhala and Ream Eyso Preah Thong 15 robam roeung pure dance expressive dance neang neayrong Sva yeak 13 Paul Cravath, Earth in Flower: the Divine Mystery of the Cambodian Dance Drama (Holmes Beach, Florida: DatASIA, Inc, 2007), pp Robam Tep Manorom apsara apsara apsara Robam Mkaw Robam Phkar Meas Phkar Prak Reamker Ramayana Sovann Machha Reamker Sovann Hanuman Manimekhala and Ream Eyso Manimekhala Ream Eyso Preah Thong roeung naga

7 21 lakhon khol 18 pin peat ensemble robam roeung 18 Ang Duong, lakhon preah reachea trop lakhon khol lakhon khol lakhon khol 1970 Brandon ed., The Cambridge Guide to Asian Theatre, p. 25. Books LLC ed., Performing Arts in Cambodia, p. 10. Sam Chan Moly, pp. 3, pin peat ensemble lakhon khol sbaek thom sbaek thouc ayong 20 Cravath, pp Brandon ed., The Cambridge Guide to Asian Theatre, p. 25. Cravath, pp

8 22 kbach 二 KBACH kbach kbach kbach kbach lakhon robam kbach boran kbach kbach kbach kbach kbach kbach 23 kbach style 24 kbach cadence 25 kbach kbach 22 Blumenthal, pp Sam Sam-Ang, The Khmer People of Cambodia, in The Garland Handbook of Southeast Asia Music, eds. Terry Miller and Sean Williams (New York: Routledge, 2008), p Toni Shapiro, Dance and the Spirit of Cambodia, (Ph. D. dissertation, Cornell University, 1994), pp kbach Sam Chan Moly, p.76. Books LLC ed., Performing Arts in Cambodia, p Denise Heywood, Cambodian Dance: Celebration of the Gods (Bangkok: River Books Co., Ltd, 2008), p.110. Cravath, p

9 26 Chheng Phon Sam Chan Moly kbach 27 kbach kbach Khmer Court Dance: A Comprehensive Study of Movements, Gestures, and Postures as Applied Techniques kbach dance movement posture gesture phrase 28 Danise Heywood kbach kbach kbach cadence a sequence to movement beat or measure of rhythmic motion kbach Natya Sastra kbach kbach 29 Paul Cravath kbach kbach momentarily static poses kbach pose position 26 Books LLC ed., Performing Arts in Cambodia, p Sam Chan Moly, p

10 kbach Phuong Phan kbach kbach 30 kbach 31 George Groslier gesture-words kbach 32 kbach kbach kbach kbach the Royal University of Fine Arts, RUFA kbach Nuon Kan kbach 33 kbach kbach the Association Ecrivains Khmers Siphath Chhay 30 Cravath, pp Phim and Thompson, p. 46. Shapiro, p. 83. Julie B. Mehta, Dance of Life: The Mythology, History and Politics of Cambodian Culture (Singapore: Graham Brash, 2001), p George Groslier, Cambodian Dancers: Ancient & Modern, ed. Kent Davis, trans. Pedro Rodriguez (Holmes Beach, Florida: DatASIA, 2011), p Cravath, p

11 Sam Sam-Ang A Z kbach neak leng kantuy the dragon plays with its tail yol yok swaying mekhala chaol keo Mekhala Mekhala tosses a crystal ball 34 kbach Bopha Devi 35 kbach Kossamak Mom Kamel kbach 36 Julie B. Mehta kbach 37 kbach kbach kbach kbach kbach kbach kbach Sam Chan Moly, p Sam Chan Moly, p Mehta, p kbach

12 kbach expanding contracting a wave-like sequence kbach pure dance 39 kbach kbach kbach kbach kbach kbach kbach kbach kbach kbach kbach kbach kbach kbach kbach kbach kbach kbach kbach kbach kbach stuoy kbach baok dai Cravath, p kbach stuoy kbach baok dai stuoy veng -144-

baok dai veng 1 kbach Robam Apsara kbach kbach kbach kbach kbach 41 1.

13 baok dai veng 1 kbach Robam Apsara kbach kbach kbach kbach kbach Sovanna Phum Art Association Robam Apsara kbach kbach Robam Apsara Sinun kbach Tep Manorom Punhea Doeur stuoy khley boak dai veng baok dai khley Sam Chan Moly, p

14 Ot Tauch Ot Thom kbach 42 kbach kbach lea a departing cadence kbach choet kbach smeu kbach mul kbach chhoet chhung kbach 43 transitional movement kbach kbach kbach kbach 44 kbach kbach kbach kbach kbach 45 kbach kbach kbach kbach kbach kbach kbach kbach kbach kbach chha banhchos kbach kbach chha banhchos mother postures and movements chha banhchos kbach chha banhchos kbach Heywood, p Sam Chan Moly, pp

15 46 kbach kbach khnat khnat kbach sampeah sampeah 47 三宮廷舞劇手勢根源及手勢種類 kbach Raniner M. Rilke player Jerico 48 kbach 46 Sam Chan Moly, pp. 8, 33. Phim and Thompson, p Sam Chan Moly, pp. 40, Court Sachs, World History of the Dance, trans. Bessis Schonberg (New York: W. W. Norton, 1965), p

16 jelly bone mudra mudra 51 Jeanne Cuisinier expressive dance pure dance 49 Mehta, p Cravath, pp

17 52 Cheam Sophiline mudra UCLA kbach cheep kbach cheep mudra mudra 53 mudra Dale Saunders mudra mudra seal, mark counterpart of a god mudra ritual seal mudra the sign of pact 54 mudra Julie B. Mehta hasta mudra Cheam Sophiline E. Dale Saunders, Mudrâ: A Study of Symbolic Gestures in Japanese Buddhist Sculpture (New York: Pantheon Books, 1960), pp Hasta hand mudra seal, mark gesture -149-

18 hasta mudra kriya padhyati bakus 56 robam roeung 57 kbach 58 kbach lear kbach cheep kbach khoung kbach chang-ol kbach chang- Encyclopædia Britannica, global.britannica.com/ebchecked/topic/396017/mudra Mehta, p Smile with your mouth is of human nature; smile with your hand is of divine origin. Sam Chan Moly, p Groslier, p

19 ol pi kbach kdab dai bonga kbach lear kbach cheep kbach lear kbach cheep lear cheep lear cheep cheep lear lear cheep cheep lear 60 kbach khoung 59 Cravath, pp Heywood, p Sam Chan Moly, pp Shapiro, p Sam Chan Moly, p

20 yeak Krud 61 Manimekhala and Ream Eyso Mekhala 4 kbach chang-ol pointing roeung kbach chang-ol pi kbach kdab dai bonga kbach cheep Robam Apsara 62 kbach lear kbach cheep kbach khoung kbach chang-ol pure dance expressive dance kbach lear kbach cheep KrudSam Chan Moly, p robam roeung Sam Chan Moly, pp Cravath, pp

21 kbach love union smiling modest seduction pursuit flight rejection defiance grief anger combat 64 robam roeung kbach lear kbach lear 3 65 roeung kbach cheep kbach chang-ol kbach

22 kbach kdab dai

23 四柬埔寨宮廷舞蹈的動作特質與能量來源 undulation gliding immaterial 67 queasiness synchronism undulation kbach kbach 67 Groslier, p

24 periodic rapid movement 68 kbach kbach kbach kbach undulation S neang 68 Cravath, p

25 Robam Apsara Chumvan Sodhachivy naga August Rodin naga 71 Toni Shapiro 69 Groslier, p Cravath, pp Heywood, p

26 72 the master control point kbach leuk cheung kbach kbach 74 arch Shapiro, pp Sam Chan Moly, pp Cravath, p

27 76 Eugenio Barba pre-expressivity energy 77 presence scenic bios extra-daily technique 78 energy prama shakti koshi ki-hai yugan taxu bayu 79 Katsuko Azuma I balance in action opposition energy omission equivalence 78 Eugenio Barba Nicola Savarese

28 Made Pasek Tempo vigour covered by softness

29 五沉靜的微笑 Auguste Rodin

30 celebration of slowness apsara serene static without expression 84 Ang Duong Sihanouk apsara inhuman 84 Heywood, p apsara Cravath, pp Shapiro, pp Him Nala Cravath, p

31 88 robam roeung robam apsara roeung robam roeung apsara inhuman 89 apsara apsara Groslier, p Em Theay

32 serene serenity concentration meditation 91 apsara 91 Cravath, p

33 complete meditative serene clear smile in a sense of clam robam roeung kbach cheep Jayavarman VII Bayon Cheam Sophiline 93 Cravath, pp Stefano Vecchia Philippe Stern, The Khmer Smile of the Bayon, The UNESCO Courier 24 (Dec. 1971):

34 mandalas Avalokitesvara Lokesvara 96 Khmer smile 5 Philippe Stern the smile of deep contemplation a union of opposites inwardness transcendental detachment communication communion Tantric Buddhist karma Stern, p David Chandler

35 99 Keo Narom Prum Sisaphantha Robam Apsara apsara apsara apsara apsara 102 inner feeling and sensation tranquility 99 Cravath, pp Keo Narom and Prum Sisaphantha, Apsara Dance (Phnom Penh: Committee of Research on Arts and Culture, 2003), p Sam Chan Moly, p Him Nala -167-

36 kbach chha banhchos kbach 5 kbach chha banhchos kbach

5 2010 Christophe Loviny 104 六 sampeah krou 和 pithi sampeah krou 柬埔寨宮廷舞劇的口傳訓練方式和師徒關係 104

37 Christophe Loviny 104 六 sampeah krou 和 pithi sampeah krou 柬埔寨宮廷舞劇的口傳訓練方式和師徒關係 104 Christophe Loviny, The Apsaras of Angkor (Pairs: Jazz Editions, 2002), p Christophe Loviny -169-

38 105 Faculte des Arts Choregraphiques College of Choreographic Arts the Royal University of Fine Arts Diplome des Arts Choregraphiques Baccalaureat des Arts Choregraphiques 106 the preliminary stage the technical stage the refining stage sampeah kru Cravath, pp Groslier, pp Sam Chan Moly, p Sam Chan Moly, pp21-25,

39 108 kinesthetic 109 kbach chha banhchos 110 Mara 111 half-asleep state automatic trance-like state Heywood, p Phim and Thompson, pp Him Nala 110 Cravath, p Shapiro, pp Mara Margret Dietz 112 Sam Chan Moly, pp

40 James Brandon 113 master-teacher guru gru kru secrets James R. Brandon, Theatre in Southeast Asia (Cambridge: Harvard University Press, 1967), p Shapiro, p

41 sampeah kru pithi sampeah kru sampeah kru sampeah kru 116 sampeah preah kru sampeah kru sampeah kru 117 sampeah kru 118 sampeah kru kru sampeah 119 sampeah kru sampeah Cravath, p Prahoas Shapiro, p Sam Chan Moly, p. 13. Cravath, pp

6. sampeah kru pithi sampeah kru pithi sampeah kru lakhon krob mouk 120 121 Lok Ta Moha Eisey 120 pithi ceremony pithi sampeah krou lakhon krob mouk pithi

42 6. sampeah kru pithi sampeah kru pithi sampeah kru lakhon krob mouk Lok Ta Moha Eisey 120 pithi ceremony pithi sampeah krou lakhon krob mouk pithi sampeah kru pithi sampeah kru Lok Ta Moha Eisey Shapiro, pp , Prumsodum Ok ed., Moni Mekhala and Ream Eyso (Createspace, 2013), p

43 yeak 122 pithi sampeah kru sampho Tep Robam kraing 123 pithi sampeah kru 124 sampeah sampeah kru sampeah kru sampeah kru kru 122 Rab Ravana 123 Kraing Tep Robam Sam Chan Moly, p pithi sampeah kru Sam Chan Moly, pp Prumsodum Ok ed., pp Shapiro, pp ,

44 sampeah kru 125 Rosemary Jeans Antze Narada 126 Edward Shils 125 Sam Chan Moly, pp

45 Edward Shils

46 -178-

47 kbach 關鍵字 :kbach 手勢高棉的微笑沉靜 sampeah kru -179-

48 Smile of Serenity The Movement and Spirituality of Cambodian Court Dance Drama Wei-yu LIN Assistant Professor, Department of Drama Creation and Application, National University of Tainan The Smile of Khmer the famous smile on giant Buddha faces in Bayon is one of the most notable Cambodian cultural emblems. A similar smile can also be found in the performance of Cambodian court dance drama. While dancing, Cambodian court dancers constantly exhibit a motionless, veiled, and mysterious smile with subtle spiritual implications, as in the Smile of Khmer. Cambodian court dance drama has long been revered for its spiritual root in religion, and highly praised for its refined techniques. However, into modern society, the dominant force of religion has waned, and the spiritual characteristics of Cambodian dance drama, which were originally religiously oriented, have been transformed into secular matters mainly related to aesthetics. It is aesthetics rather than religion that offers dancers in contemporary times a context for imagination during training as well as the source of spirituality while performing Cambodian court dance drama. Through close examination of formal characteristics of Cambodian court dance drama, including kbach and hand gesture two major structural elements and the energy of dance movement, this article can then unearth the substantial meaning of the dance movement with emphasis on its spiritual overtones. In addition, owing to the apprenticeship in oral transmission, the techniques of the dance drama remain nearly intact until today, despite drastic social-political changes since 1950s and severe destruction of the dance drama itself during the late 1970s. This article will discuss how the techniques of the dance drama have been preserved and how spirituality of the dance drama has been renewed through the tradition of oral transmission. Keywords: kbach hand gesture the Smile of Khmer serenity sampeah kru -180-

49 徵引書目 David Chandler 2013 Eugenio Barba Nicola Savarese Edward Shils Stefano Vecchia 2009 SarDesai, D. R Blumenthal, Eileen. Robam Kbach Boran. In Encyclopedia of Asian Theatre. Ed. Leiter Samuel L.. Westport, CT: Greenwood Press, Books LLC ed.. Cambodian Dances: Khmer Classical Dance, Robam Moni Mekala, Apsara Dance, Dance in Cambodia, Yike, Robam Meh Am Bao, Chhayam, Robam Neary Chea Chuor. Memphis, Tennessee: Books LLC, Performing Arts in Cambodia: Khmer Classical Dance, Reamker, Earth in Flower, Preah Suramarit National Theatre, Yike. Memphis, Tennessee: Books LLC, Brandon, James R.. Theatre in Southeast Asia. Cambridge: Harvard University Press, ed. The Cambridge Guide to Asian Theatre. Cambridge: Harvard University Press, Cheam, Sophiline Cravath, Paul. Earth in Flower: The Divine Mystery of the Cambodian Dance Drama. Holmes Beach, Florida: DatASIA, Inc, Em, Theay Encyclopædia Britannica Groslier, George. Cambodian Dancers: Ancient & Modern. Ed. Kent Davis. Trans. Pedro Rodriguez. Holmes Beach, Florida: DatASIA, Heywood, Denise. Cambodian Dance: Celebration of the Gods. Bangkok: River Books Co., Ltd, Him, Nala Kbach Loviny, Christophe. The Apsaras of Angkor. Pairs: Jazz Editions,

50 Mehta, Julie B.. Dance of Life: The Mythology, History and Politics of Cambodian Culture. Singapore: Graham Brash, Narom, Keo and Prum Sisaphantha. Apsara Dance. Phnom Penh: Committee of Research on Arts and Culture, Phim, Toni Samantha and Ashley Thompson. Dance in Cambodia. New York: Oxford University Press, Prumsodum, Ok ed.. Moni Mekhala and Ream Eyso. Createspace, Sachs, Court. World History of the Dance. Trans. Bessis Schonberg. New York: W. W. Norton, Sam, Chan Moly. Khmer Court Dance: A Comprehensive Study of Movements, Gestures, and Postures as Applied Techniques. Newington, CT: Khmer Studies Institute, Sam, Sam-Ang. The Khmer People of Cambodia. In The Garland Handbook of Southeast Asia Music. Eds. Terry Miller and Sean Williams. New York: Routledge, Saunders, E. Dale. Mudrâ: A Study of Symbolic Gestures in Japanese Buddhist Sculpture. New York: Pantheon Books, Shapiro, Toni. Dance and the Spirit of Cambodia. Ph. D. dissertation. Cornell University, Stern, Philippe. The Khmer Smile of the Bayon. The UNESCO Courier 24 (Dec. 1971): 14-18, 39 illus

96 戲劇學刊 An Apocalypse from Asian Traditional Theatre Vanishment and Reappearance of Cambodian Court Dance-drama. Lin Wei-Yu* Abstract Cambodian court

96 戲劇學刊 An Apocalypse from Asian Traditional Theatre Vanishment and Reappearance of Cambodian Court Dance-drama. Lin Wei-Yu* Abstract Cambodian court 來自亞洲傳統劇場的啟示柬埔寨傳統宮廷舞劇的消失與重現林偉瑜* 中文摘要柬埔寨宮廷舞劇大約在8-12世紀的吳哥王朝有相當蓬勃的發展 1431年當暹邏人攻陷吳哥城導致王朝滅亡宮廷舞劇被認為因帝國的瓦解而消失據信暹邏人當時擄走大批舞者使柬埔寨宮廷舞劇傳統在泰國被保留下來直到1841年柬埔寨王子安東 Ang Duong 回國繼位從泰國帶回一批舞者重建柬埔寨宮廷舞劇傳統在接下來幾任國王的大力支持下