這篇論文是作者八十八學年度上半期，在英國語文學研究所開設之單學期課程－ 「當代文學理論與媒體藝術」－的個案研究之二。當初之所以會選擇新力公司在一九九七年 推出，而且大賣的大提琴六組曲音樂電影－＜馬友友的巴哈靈感＞為學術研究的對象，是因 為這部作品呈現出許多當代文學理論所關切的媒體藝術現象。早先研究六組曲中之第五部＜ 追尋希望＞的個案報告－＜靈光和欲望＞，已於第七期＜華岡外語學報＞刊出。爾後整個＜ 馬友友的巴哈靈感＞六組曲研究， 被擴編為一學年的專題計畫， 並獲得國科會補助（ NSC 89-2411-034-021- ）。 現今本篇論文旨在探討六組曲音樂電影中之第三部＜跳躍舞臺＞， 馬友友與美國現代舞編舞家馬克．莫里斯及他的舞團合力演繹出巴哈＜第三號無伴奏大提琴 組曲＞的種種可能性。透過導演芭芭拉．魏莉絲．史威特的鏡頭，我們看到屬於理性阿波羅 的音樂和歸於感性戴奧尼索斯的舞蹈，在不斷相互影響的討論、實驗、尋索、與創作下，將 音樂家所思慮的音階與琶音，結合舞蹈家懼怕摔落舞臺的夢魘，步步為繼地解構了古典的巴 哈詮釋，共同建構成新的典律及戲劇的張力。這非制式而前衛的整體視聽表演，其中的多樣 性、延展性與衍生性，鋪陳出後現代釋經學理論所持續演示的文本與互文、詮釋與典律、權 威與顛覆、解構與建構論述等等比較文學與文化研究議題。
This essay focuses on the diversities of interpretation and the clash between interpretive canons and renovation as well as orthodoxy and creativeness, in relation to the versatile conceptions of J. S. Bach's Third Cells Suite by Yo-yo Ma's cello music, Mark Morris' choreography, Barbara Willis Sweete's visual images, and also viewer's reflections of "Falling Down Stairs," one of a series of six films collectively titled Yo-yo Ma: Inspired by Bach. The musician's puzzle of scales and arpeggios integrates along with the choreographer's "nightmare" of falling down stairs and eventually falls into the steps of dancers and constructs a dynamic new context. The possible merger of the Apollonian and Dionysian elements is accomplished in the present collaboration while both the quality of reason and emotion, or restraint and ecstasy are involved as the necessary ingredients of spiritual fulfillment in reading Bach's original notes, even though some musical purists may complain of distortion in this current account of a fabulous piece of classical music. The respective conception and de/construction of every individual involved in "Falling Down Stairs" is like a continuous interpretation in the bounded and defining contexts of art, literature, and culture, as exposed in the argumentations of some of the contemporary literary theorists of the hermeneutic circle.
