以力動探問舞蹈與音樂的關聯: 從拉邦的圓舞到尤斯的舞蹈劇場

Relating Dance and Music with Dynamics: From Rudolf Laban’s choros to Kurt Jooss’ Tanztheater

謝杰廷(Chieh-Ting Hsieh)

指導教授 ： 楊建章

國立臺灣大學/文學院/音樂學研究所/碩士(2008年)

https://doi.org/10.6342/NTU.2008.00783

摘要

受到柏拉圖(Plato)與畢達格拉斯學派(Pythagorean)的影響，德國的表現舞蹈(Ausdruckstanz)先驅拉邦(Rudolf Laban, 1879-1958)認為舞蹈得以展現出宇宙動作的律動與和諧而試圖探問其中的法則以建立起舞蹈的自立性；既有音樂作品卻僅是去激動、激起而缺少明確性，成為舞蹈的限制。受到歌劇與俄國芭蕾舞團(Ballets Russes)的影響，尤斯作為拉邦的學生，卻不透過模仿(μίμησις)與類比(αναλογία)，藉著闡釋拉邦所探問身體動作的法則性，直接以律動裡的身體性作為基礎，建立起音樂與舞蹈在形式上的連結而成為舞蹈劇場，作為藝術作品的形式。此篇論文試圖以海德格(Martin Heidegger)闡釋亞里斯多德(Aristotle)的《形上學》第九卷一到三節(Metaphysica Θ1-3)力(δύναμις)與動作(κίνησις)的概念為基礎，詮釋拉邦其舞蹈理論與作品中作為關鍵的圓舞(χορός)與尤斯(Kurt Jooss, 1901-1979)所建立起舞蹈劇場(Tanztheater)的意涵，以理解他們於1910年到1932年間關於音樂與舞蹈關聯問題的爭執與談論事實上關涉到宇宙論以及對於力與動作的不同認識。在海德格與亞里斯多德(Aristotle)的闡釋裡，力是變動的起源(αρχή μεταβολής)，作為考量到動作的力(δύναμις κατά κινησιν)關涉到說話(λόγος)與技術(τέχνη)的意涵而能作出、製作出作品。亞里斯多申努斯(Aristoxenus)作為亞里斯多德的學生，則是以聲音的動作與力直接探問音樂裡的力動。音樂與舞蹈即是在此力動的彼此關聯下建立起形式上的連結。

關鍵字

拉邦 ； 尤斯 ； 圓舞 ； 舞蹈劇場 ； 表現舞蹈 ； 海德格 ； 力動 ； 亞里斯多德 ； 亞里斯多申努斯

並列摘要

Influenced by Plato and Pythagorean, the German pioneer of expressionist dance(Ausdruckstanz) Rudolf Laban(1879-1958) believes that dance could reveal the rhythm and harmony of movements in the cosmos, by which the independence of dance can be established. However, the existence of music in dance works, for Laban, merely excites the listeners and becomes the limitation of dance. Influenced by operas and Ballets-Russes, Laban’s contemporaneous choreographer Kurt Jooss(1901-1979), on the other hand, explores the meaning of dance rhythm directly without the application of mimesis(μίμησις) or analogy(αναλογία), but through the elaboration on the rules of body movements. On the basis of body-ness in rhythm, Jooss establishes the formal relation between music and dance to bring out his Tanztheater as the form of dance work. Using Martin Heidegger’s interpretations of the concepts of force(δύναμις) and movement(κίνησις) in Aristotle’s Metaphysica Θ1-3, this thesis interprets the essential concept of choros(χορός) in Laban’s dance theory and Jooss’s Tanztheater, in order to clarify the arguments about the relation of music and dance between 1910 and 1932. For Heidegger, Aristotle and Aristoxenus consider force as the origin of change(αρχή μεταβολής), so that force as force-with-regard-of-movement(δύναμις κατά κινησιν) implies the meaning of logos(λόγος) and technique(τέχνη) and it is from force that art work is produced. It is on this dynamic association that the relation between music and dance could be founded.

並列關鍵字

Rudolf Laban ； Kurt Jooss ； choros ； Tanztheater ； Ausdruckstanz ； Martin Heidegger ； Dynamics ； Aristotle ； Aristoxenus

參考文獻

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Aristoxenus. The Harmonics of Aristoxenus. Edited with translation notes, introduction, and index of words by Henry S. Macran. Oxford: Clarendon Press, 1902.

— . Elementa Rhythmica: The Fragment of Book II and the Additional Evidence for Aristoxeean Rhythmic Theory. Translated and edited, with introduction and commentary by Lionel Pearson. Oxford: Clarendon Press, 1990.

Beardsley, Monroe C. “What is Going on in a Dance?” Dance Research Journal 15, no.1 (fall 1982): 32-36.

Clifton, Thomas. Music as Heard: A Study in Applied Phenomenology. New Haven: Yale University Press, 1983.