本研究以比利時編舞家安娜•泰瑞莎•姬爾美可(Anne Teresa De Keersmaeker)之低限舞蹈作品《Fase》(1982)中的〈piano phase〉、〈violin phase〉以及《Rosas Danst Rosas》(1983) 、《Rain》(2001)為研究對象,輔以低限主義哲思作為切入點。研究者發現姬爾美可不只承繼、回應後現代舞蹈先驅的創新態度,更在這些作品中展現了不同於以往低限舞蹈作品的冷靜和疏離,透過舞者間彼此親密的日常動作的舞蹈和默契,結合低限舞蹈緊密的音樂結構,產生了令人震撼的舞蹈張力和表現力。回顧這幾個舞作的主題,繞著與低限音樂的密切關係,在微觀中嘗試用不同的視角,打破並提出對世界新的看法,不但突破了低限主義舞蹈的理性幾何印象,更像解放了低限音樂裡生命的無限。一步一步地,從《Fase》到《Rosas Danst Rosas》,從《Rosas Danst Rosas》到集其大成的《Rain》,姬爾美可的低限舞蹈作品充滿擁抱生命的意識和回歸人性的溫度,再次創新和豐富了後現代舞蹈先驅的宣言。
The study is based on a Belgium choreographer, Anne Teresa De Keersmaeker’s, minimal dance works:《Fase》-〈piano phase〉,〈violin phase〉(1982),《Rosas Danst Rosas》(1983) and 《Rain》 (2001) . Using the philosophy of minimalism as an analytic perspective, the researcher discovered that Anne Teresa De Keersmaeker not only inherits the creative attitude of post-modern dance pioneers but also shows brand new spirit in her own works. Not like the calmness and alienation existed in the past minimal dance works, De Keersmaeker's works are full of stunning tension and strong expression, which are created through the intimate interactions between the dancers and the close union with the minimal music. Among all these works, De Keersmaeker tries to see the world in various angles and tries to explore the world with new methods. She breaks the limits of rationalism in the minimal dance works and unleashes the potential of life. Step by step, from《Fase》,《Rosas Danst Rosas》to《Rain》, the revealing sense to embrace life, the keen desire to regain the warmth of humanity, all together enrich the connotation of post-modern dance.