從Water Study到Sea Dreams談舞譜重建

本文旨在闡述由拉邦舞譜重建Water Study與Sea Dreams之過程中，舞譜重建者從符號中按圖索驥重現舞作，將二度空間的拉邦舞譜符號轉譯為三度空間的肢體動作之過程。本文將由舞蹈記錄的沿革、舞蹈作品之特色以及記錄等角度，試著將舞蹈理論實踐為舞蹈作品的過程，勾勒舞譜重建之面貌。另外，希望藉舞譜重建的歷程中探討舞譜符號之於舞蹈的意涵，以及在此過程中是否能將舞蹈精神再現？本文將由兩首重建之作品－韓福瑞（Doris Humphrey）於1928年編作的Water Study以及由優瑞斯（Victoria Uris）於1982年編作之Sea Dreams，進一步探討舞譜的意義。

關鍵字

舞譜重建；符號；拉邦舞譜符號

並列摘要

The purpose of this paper is to illustrate the processes of reconstructing Water Study and Sea Dreams from Labanotation scores in order to understand how the dance director transforms the two-dimensional Labanotation score into three-dimensional bodily movements. The first part of the paper discusses dance notations from ancient times to the 21st century. In order to emphasize the meaning of recording dances, the paper delves into an examination of Water Study and Sea Dreams and their Labanotation scores. How were these two dances created and how can dance directors instruct their dancers by reading from Labanotation scores? Could the dance director capture the essences of the dances from reading Labanotation scores? Could the spirit of dance be revitalized through dance reconstruction? These questions are addressed through the process of directing Water Study and Sea Dreams from the Labanotation scores, ultimately exploring the meaning of dance notation.