自由、東方、純肢體：接觸即興在臺灣的論述構成與美學轉譯

接觸即興（Contact Improvisation；簡稱CI）由帕克斯頓（Steve Paxton）與早期實踐者共同發展於紐約1960至1970年代後現代舞蹈時期。最初為醞釀於美國反戰年代的實驗性舞蹈現象，以「接觸」作為基礎展開兩人或多人之間的即興舞蹈，後漸於1980年代轉向為肢體實踐，並於1990年代首次由舞蹈家古名伸引進臺灣。本文關注CI從美國至臺灣的美學轉譯問題：古名伸如何透過「自由」、「無為」、「純肢體」在臺灣脈絡下轉譯原生於美國的CI？筆者以三個歷史與文化事件的討論折射CI於1990年至2000年之定位，重新考慮被研究者運用為既定的史觀與美學標籤：1.「東方身體觀」與CI的並置閱讀；2.CI的「純肢體」論述發展；3.CI得以順利進入臺灣的重要關鍵－小劇場運動。透過上述面向的檢視，重新思考CI在「觸」的純粹化與美學去脈絡化的前提下所體現的自由與開放為何？

關鍵字

臺灣現當代舞蹈；接觸即興；古名伸

並列摘要

Contact Improvisation (CI) was initially developed in the context of postmodern dance in the United States between 1960s and 1970s by Steve Paxton and early practitioners. It is a kind of improvisational dance based on 'touch' happening between two or more people. It was first an experimental dance phenomenon developed during the antiwar period in the U.S., and later in the 1980s turned to a physical practice. Taiwanese Choreographer Ming- Shen Ku had initially introduced CI to Taiwan in the 1990s. This essay focuses on the aesthetical translation of CI from the U.S. to Taiwan: how did Ming-Shen Ku worked on it through the concepts of 'freedom', 'wu-wei' (a Daoist concept), and 'pure physicality'. To reflect on the position of CI between 1990s to 2000s, and reconsider the historical view and aesthetical label which have been taken for granted by most research, I will examine the discourse based on three historical and cultural aspects: 1. How CI has been included in the reading context referring to as an 'Oriental Body'? 2. The development of the term 'Pure Physicality' in CI. 3. The role of a so-called important reason for the survival of CI in Taiwan- Avant-garde Theater in Taiwan. Through these aspects, I will interrogate the understanding of CI as embodiment of being free and openness, under the condition of considering 'touch' as neutral and decontextualizing the aesthetics of CI in Taiwan.