- 期刊
舞動「自我技藝」：舞蹈即興中身體美學的體現
To Move 'the Technologies of the Self': The Embodiment of Somaesthetics in Dance Improvisation
摘要
本文透過美國哲學家Richard Shusterman（1999）所提出的「身體美學」（somaesthetics）觀點，探討「表現的」（representational）和「經驗的」（experiential）兩個向度在舞蹈即興中各自的意義與相互的關係。在研究操作上，我以觀察者和即興者兩種視角出發，討論「光環舞集的舞者即興」、「賴思穎與黎美光所帶領的即興開放工作坊」如何體現這個哲學觀點。研究發現：舞者即興的路徑是透過改變身體知覺的內在經驗，「由內而外」的從「經驗的」身體美學改變「形式的」身體美學，來超越已經形成的動作慣性；而即興開放工作坊則是用「身體美學的內在經驗」創造出一個脫離日常生活的新視野，透過這個視野重新看待自己，而在「形式的」身體美學與「經驗的」身體美學之間來回調整，最終能產生關於自我的知識，即思想家傅柯所言的「自我技藝」（technologies of the self）。整體而言，舞者與即興開放工作坊的過程都依循著「遺忘」與「想像」的注意力模式，與不同「動態輪廓」（dynamic-contour）所組成的身體感，這個過程中主體經驗能夠自由連結想像與實作並產生對自身不同的意義。
並列摘要
This article explores the meaning and relationships between the representational and experiential dimensions in dance improvisation through the perspective of somaesthetics proposed by American philosopher Richard Shusterman (1999). To carry out this research, I as an observer and an improviser, discuss dancers' improvisation of the Taipei Dance Circle and non-dancers' improvisation in the workshops held by Szu-Ying Lai and Mei- Kuang Li and illustrate how these experiences embody this philosophical viewpoint. The result shows that: dancers' way of the embodiment is to transform the experiential somaesthetics into representational somaesthetics inside out and to transcend their habits in movements while non-dancers' improvisation creates a new and extra-daily horizon to reflect themselves through the inner experience of somaesthetics. Finally, the adjustment between the representational somaesthetics and the experiential somaesthetics can produce 'the technologies of the self' proposed by the thinker Michel Foucault. Overall, dancers' and non-dancers' process of improvisation follows the somatic modes of attention of forgetting and imagination, as well as the different dynamic contours; during this process, the subjective experiences can link the imagination and practice freely and create diverse meaning toward the self.