“主體”與“客體”的美學辯證空間中－論前衛舞蹈藝術美感本質的解構

一種藝術啟蒙，躍然發生於十九至二十世紀中葉，這個時代之所以重要，在它填補了現代藝術發展前的空白，並持續影響至今。隨著康德、黑格爾與阿多諾對美學思維的建構歷程中，一直存在著主、客體的美學辯證空間。美學理論因著對藝術美感三個基質即：美感的生理超脫本質、美感的非目的性本質、美感的非概念性本質等加以正反辯證，於是在對舊有美學思維加以否定與重建之下，前衛藝術運動於焉誕生。在普遍性與特殊性的探究角度下，那段思想遽變的時代裡，舞蹈藝術亦孕育了一股前衛生命，並在美學思維的激盪與滲透下，讓我們得以一窺其前衛藝術本質的解構面貌。

關鍵字

主體；客體；美學；前衛藝術

並列摘要

An enlightenment of art vividly appeared in the 19th to mid 20th century. The reason that this time was so important was that it filled the gap, the time before the development of modern art, and it still has impact till now. During the course of Kant, Hegel and Adorno's construct of aesthetic though, the aesthetic dialectic space of subject and object always exists. The three basic elements of the though of art perception are: the original essence of esthetic sensibility, the non-purposive essence of esthetic sensibility and the non-conceptual essence of esthetic sensibility. The aesthetic theory discriminated these three basic elements positively and negatively. Under the negation to the old aesthetic thought and the reconstruction, the movement avant-garde art came. With the explorative view of universality and specialty, in the time that though suddenly changed, the art of dance also gestated an avant life. Moreover, with the drastic motion and the pervasion of aesthetic thought, we can know the deconstruction texture of avant-garde art.