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研究生:劉學剛
研究生(外文):Liu, Xue-Gang
論文名稱:舞蹈經驗對舞蹈表演視覺感知的影響
論文名稱(外文):Visual perception of dance performance associated with expertise
指導教授:蔡鏞申蔡鏞申引用關係
指導教授(外文):Tsai, Yung-Shen
口試日期:2020-07-03
學位類別:博士
校院名稱:臺北市立大學
系所名稱:運動科學研究所
學門:民生學門
學類:運動科技學類
論文種類:學術論文
論文出版年:2020
畢業學年度:108
語文別:中文
論文頁數:112
中文關鍵詞:當代舞視線追蹤舞蹈經驗動作分析舞蹈感知
外文關鍵詞:Contemporary DanceEye TrackingDance ExpertiseMovement AnalysisPerception of Dance
相關次數:
  • 被引用被引用:1
  • 點閱點閱:298
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  • 下載下載:75
  • 收藏至我的研究室書目清單書目收藏:0
目的:本研究是以不同經驗的觀眾對舞蹈表演的感知影響為中心
的系列實驗探討不同舞蹈經驗的觀眾對不同主題內容的當代舞表演
感知差異性,以及對舞蹈動作的具體感知影響。方法:實驗一與實驗
二各自在大學招募非舞蹈專業學生所組成的非舞者組(13 名)和大
學一年級舞蹈專業學生所組成的資淺組(13 名)以及大學四年級舞
蹈專業學生和舞蹈專業研究生組成資深組(13 名)組成,三組共39
名受試者,兩個實驗共計招募78 名受試者。使用眼動儀在的電腦顯
示器前觀看當代舞男子獨舞影片,實驗一作品《赦免我們的罪》,實驗
二男子獨舞影片作品《看不見的牆》。通過眼動儀來追蹤分析各組受
試者觀看舞蹈表演時對各個舞段和身體部位的停留時間、凝視時間、
掃視時間、掃視的最大速度等相關參數的差異性。本研究描述性統計
比較各組基本資料(年齡、舞齡),運用單因數變異數分析(One-way
ANOVA)和混合二因數設計分析(Two-way ANOVA)對舞段的視線感知
差異性,運用卡方檢定分析手臂動作對視線的感知差異性,顯著性考
驗設置α =.05。結果:一、經驗對20 秒舞段的視線感知結果中兩個
實驗均顯示資淺組資淺組、資深組分別與非舞者組相比其停留時間和
凝視時間都有顯著差異性(p < .001),兩個舞者組之間無顯著差異
性。實驗一的掃視時間顯示無顯著差異性,在掃視最大速度中資淺組
與非舞者之間有顯著差異性(p = .008);實驗二顯示資淺組與非舞
者組和資深組之間分別有顯著差異性(p < .01)。二、經驗對10 秒
空間快速位移舞段的視線感知結果中兩個實驗結果一致,均顯示非舞
者組停留時間和凝視時間最長,資淺組、資深組與非舞者組相比分別
有顯著差異性(p < .05)。掃視時間結果顯示資淺組與非舞者組、資
深組分別有顯著差異性(p < .05),而資深組與非舞者組之間無顯著
差異性;掃視最大速度顯示資淺組最大,資深組、資淺組與非舞者組
相比分別有顯著差異性(p < .01)。三、各組對身體部位的視線關注
中本實驗的兩個不同主題的舞蹈表演結果有一致性也有差異性,非舞
者組關注最多的是頭部,而資深組關注最多的是軀幹,資淺組的關注
較為平均和分散。四、通過本研究量化實驗分析經驗對舞蹈理論中各
分類動作的視線感知,有助於舞蹈編創策略的拓展以及分類動作在舞
蹈作品的應用技巧。手臂動作離頭部越近時其視線焦點越集中。五、
對舞蹈表演整體的感知表現能力與經驗程度成正比。結論:經驗水準
越高對於舞蹈表演的感知能力就越強,其視線感知中資深組所需的時
間最短,並且對舞蹈表演理解最多,感知能力更好;非舞者所需時間
最久,對舞蹈表演的理解最少,視線追蹤最弱;而資淺組的整體感知
能力是介於資深組與非舞者組之間,資淺組的掃視範圍最廣泛且對身
體各部位動作的關注較為平均。手臂動作、頭部、身體方位三者皆會
對視線產生不同的影響,經驗水準越高對於舞蹈表演的感知能力就越
強。
Objective: This study contains a series of experiments about the influences of audiences’ different levels of experience on their perception of dance performance. Experiment one focused on impacts of different levels of dancing experience on audiences’ points of gaze when they were watching videos of dance performances. It discussed the correlation between the level of experience and eyes’ points of fixation. Experiment two further explored the diversity of perception of contemporary dance performances of different themes and specific perception of dance movements from audiences with different levels of experience. Method: Experiment one and experiment two recruited a non-dancer group with 13 non-dance major college students, the novice group with 13 freshmen majoring in dancing and the expert group with 13 senior students and graduate students majoring in dancing. There were 39 participants in each experiment. Two experiments included a total of 78 participants. Subjects in experiment one watched solo dance Forgive Us Our Sins on a 23-inch computer display wearing a head-mounted eye-tracking device SMI. Subjects in experiment two watched solo dance The Invisible Wall on a 23-inch computer display using a desk-mounted Eyelink 1000 eye-tracking device. Eye-tracking devices were used to analyze the differences of related parameters such as dwell time, fixation time, saccade time, and maximum saccade velocity of each segment of dances and various body parts. This study used SPSS for Windows 25.0 to compare each group’s basic data (age, dancing age) and the dwell time of gaze on different body parts. The differences of points of gaze and perception of segments of dances were analyzed using one-way ANOVA and two-way mixed-design ANOVA and α =.05 was set for the significance test. Results: (1) Results of points of gaze and perception of 20-second segments of dances based on experience levels in both experiments showed that there was a significant difference (p < .05) in dwell time and fixation time in the novice groups and expert groups compared to non-dancer groups. In experiment one, there was a significant difference between novice group and non-dancer group in maximum saccade velocity (p < .05). In experiment two, there was a significant difference comparing novice group with non-dancer group and expert group (p < .05). (2) Results of points of gaze and perception of 10-second segments of dance indicate
that non-dancer groups had the longest dwell time and fixation time, and there was a significant difference comparing novice groups and expert groups with non-dancer
groups (p < .05). Results showed a significant difference when comparing novice groups with non-dancer groups and experts groups (p < .05). A significant difference was found when comparing novice groups and expert groups with non-dancer groups in maximum saccade velocity (p < .05). (3) In this study, the results of points of gaze on body parts when subjects were watching two dance performances with distinct themes showed consistency and difference. Non-dancer groups focused most on the head part and expert groups on the torso. The attention of novice groups was
relatively even and scattered. (4) It has been validated through quantitative experiments and analysis in this study on points of gaze and perception of various categories of movements in dance theories based on experience levels, there was a significant difference in some movements (daily-life movements, emotion movements,
and geometric-style rolling movements). Besides, diverse themes of dances also had various influences on points of gaze and perception of various dance movements. Audiences’ points of gaze were more focused when arm movements were closer to the head. The focus of line of sight could be influenced by arm movements, the head, and body positions. (5) Questionnaires on the influences of experience levels on the overall perception of dance performances were carried out. It was discovered that overall perception capabilities of dance performances were proportional to experience levels. Conclusions: Audiences with higher experience levels have a stronger perception capability of dance performances. Non-dancer groups needed the longest
time in terms of line of sight and perception, displayed the least understanding of dance performances, and were not as competent in the tracking of points of gaze. The
overall perception capability of novice groups was in the middle. However, their saccade time and maximum saccade velocity were the highest among all groups, indicating that they had the widest range of saccades and their focus on movements of different body parts was relatively even. According to the analysis of results from two experiments, novice groups and expert groups shifted their focus on body parts along with changes in themes and movements that indicating content. Qualitative results could validate the rationality in categorizing of movements in dance theories. It has been found that there is a difference in line of sight and perception in daily-life movements, emotion movements, and geometric movements (rolling types). Audiences’ points of gaze are more focused when arm movements were closer to the head. However, arm movements, the head, and body positions all can influence the line of sight in various manners. Audiences with higher experience levels have a stronger perception capability of dance performances.
第壹章緒論..........................................1
第一節研究背景... ................................1
第二節研究目的.....................................6
第三節研究假設.....................................7
第四節研究重要性..................................8
第五節研究範圍及限制..............................9
第六节名词解释及操作性定义.......................11
第貳章文獻探討....................................13
第一節舞蹈的視覺性與聽覺性.......................13
第二節舞蹈經驗對欣賞舞蹈的影響....................17
第三節舞蹈理論中對各類別動作的劃分................20
第四節舞蹈動作與視線及感知的關聯性...............24
第五節文獻總結............................ .......28
第參章研究方法....................................29
第一節研究設計...................................29
第二節研究對象...................................30
第三節實驗儀器與設備..............................32
第四節實驗流程與步驟...............................35
第五節資料處理與統計方法...........................37
XI
第肆章研究結果.....................................48
第一節不同舞蹈經驗對舞段視線焦點的影響.............48
第二節不同舞蹈經驗對舞蹈理論中各分類動作的視線影響..58
第三節不同舞蹈經驗對不同手臂動作的視線感知影響......64
第四節不同舞蹈經驗對舞蹈表演的整體感知表現影響......66
第伍章討論與結論....................................72
第一節不同舞蹈經驗對舞段視線焦點的影響.............74
第二節不同舞蹈經驗對舞蹈理論中各分類動作的視線影響..82
第三節不同舞蹈經驗對不同手臂動作的視線感知影響......87
第四節不同舞蹈經驗對舞蹈表演的整體感知表現影響......91
第五節結論與建議...................................98
參考文獻............................................102
中文部分...........................................102
外文部分............................................103
附錄.................................................105
附錄一實驗一調查問卷...............................105
附錄二實驗二調查問卷...............................107
附錄三受試者同意書..................................109
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103
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