Techno 音樂離不開柏林，其著名的 Techno 音樂場景(Techno music scene)吸引 了當地人及世界各地的遊客到 Berghain、Tresor 等指標性夜店朝聖。週末，柏林的 Techno 夜店門口絡繹不絕，熱愛派對的舞客(raver)、觀光客(tourist)慕名而來 一探究竟。一個音樂場景的誕生與一地的歷史有著密不可分的關係:1989 年，人們 上街遊行，名為愛的大遊行(Love Parade)的戶外政治活動標誌著場景的開端，數個 月後柏林圍牆倒塌，柏林人在曾經作為死亡地帶(death strip)的地帶舉辦非法派 對，原本壓抑的城市瞬間充滿了無限可能。來自底特律的 Techno 唱片在 Hardwax 引 進下與東德(GDR)的後工業建築擦出了火花，獨一無二的氛圍(atmosphere)、反叛 形式的異質空間(heterotopia)成為柏林的 Techno 音樂場景標誌。直到今日，柏林依 舊藉著 Techno 狂歡、彷彿沒有隔日的派對著。自兩千年以來，柏林的 Techno 夜店 隨著系統化與觀光化現象，原本的反叛性是否消逝成為商業化的消費體驗?筆者 研究柏林 Techno 音樂場景的形成，並分析轉型過程: Techno 音樂場景已不再是一 個純粹的次文化，而是一種以次文化為特徵的音樂觀光。觀光客除了需要長時間排 隊，還有著被保全拒絕的神秘入場規定(door policy)是否作為品味(taste)、風格 (style)以及新部(neo-tribe)的再現。本研究使用多重研究方法，運用文本分析 梳理柏林 Techno 音樂文化脈絡和音樂場景在社會中所扮演的角色，以及利用居住 於柏林一學期對場景中的參與者進行訪談。同時，筆者親自進入田野，深入觀察一 地的音樂場景並一窺其音樂場地的氛圍以及現況。

Berlin is renowned for its techno music scene which has attracted global attention. Both locals and ravers from all over the world filling up Berghain and Tresor every weekend. The birth of this music scene stems from the historical Love Parade, an outdoor political demonstration in 1989 which included electronic music to spread a message of peace. This event contributed to the fall of the Berlin Wall which occurred a few months later. After the wall fell, Berliners held illegal parties in what had been the death strip. Berlin was then instantly filled with euphoric energy and hope. The record store Hardwax introduced techno records from Detroit, which were then fused with the post-industrial architecture of the GDR, resulting in the creation of a unique atmosphere that became the hallmark of Berlin's techno scene. Today, Berlin continues to rave as if there is no tomorrow with the sound of techno blasting through sound systems. Since Berlin's nightclubs have been institutionalized in the 2000s, it begs the question: has the authentic energy of resistance from the 90s faded into a commercialized consumer experience? In this thesis, the transformation of Berlin's techno scene will be examined: techno in Berlin is no longer the subculture it used to be, it is now a branding tool for tourism. The long queues for visitors and the mysterious door policy of being rejected are a reproduction of taste, style and neo-tribe. This study applied multiple research methods; document analysis was employed for the history of Berlin's techno scene and its role in society, in- depth interviews were conducted to capture the participants of the techno scene, and field research was done in order to get a glimpse of the atmosphere and current situation of the music scene.

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