開啟, 創造空間,轉化 -- 舞蹈-劇場實踐之儀式

Open, Make Space, Transform -- The Ritual of Dance-Theater Practices

袋摩道(Mauro Sacchi)

指導教授 ： 林亞婷

國立臺北藝術大學/舞蹈學院展演書面報告/舞蹈研究所表演創作組/碩士(2013年)

https://doi.org/10.6835/TNUA.2013.00063

摘要

Life is transformation and transformation requires a change of spatial relationships, an opening. Since time immemorial, ritual—personal, societal transformation—has always been physical, requiring an action, the physical manifestation of an intention, of a yearning, whether symbolic or literal. The transformation effected by ritual begins as bodily action, and spreads to the ritual subjects’ (and witnesses’) consciousness; it begins with a physical choice, and affects relationships, status, attitude, life.
Based on these postulates, on the conviction set forth by Jerzy Grotowski that theatre is exchange, sharing, an opening to one’s self an others, and inspired by the writing and work of artists/scholars interested in this opening—Eugenio Barba, Grotowski, Steve Paxton, Lin Lee-Chen among others—this thesis attempts to connect psychophysical dance-theatrical disciplines that are inherently and intimately homologous, affirming and discussing their ritual nature.
Arguing that ritual is always a spatial transformation which begins (and results) in opening, it presents three disciplines—Grotowski’s early physico-theatrical training and research, Lin Lee-Chen’s technique and approach toward performance and life, and the practice of Contact Improvisation—as compatible, revolutionary and highly valuable methodologies aimed at shaping a more plastic, organic performative body-mind, less hindered by personal and cultural habits and blockages, more aware, adaptable, at ease.
Expanding upon Richard Schechner’s efficacy-entertainment dyad, extending beyond, betwixt and between its ritual-theatre continuum, this thesis argues that when theatre (dance) is practiced as something beyond mere spectacle, as a live, honest exchange, a sharing of in-formation—putting into form messages and meanings through the performers’ bodies—then it is ritual, from preparations to public sharing. In the space for beholding (theatre’s Greek root, theasthai-tron) what is witnessed and the witnessing itself have the potential to transform spatial, personal, societal relationships.

關鍵字

儀式, 戲劇, 轉化, 開啟, 林麗珍, 接觸即興, 葛羅托斯基, 巴爾巴

並列摘要

Life is transformation and transformation requires a change of spatial relationships, an opening. Since time immemorial, ritual—personal, societal transformation—has always been physical, requiring an action, the physical manifestation of an intention, of a yearning, whether symbolic or literal. The transformation effected by ritual begins as bodily action, and spreads to the ritual subjects’ (and witnesses’) consciousness; it begins with a physical choice, and affects relationships, status, attitude, life.
Based on these postulates, on the conviction set forth by Jerzy Grotowski that theatre is exchange, sharing, an opening to one’s self an others, and inspired by the writing and work of artists/scholars interested in this opening—Eugenio Barba, Grotowski, Steve Paxton, Lin Lee-Chen among others—this thesis attempts to connect psychophysical dance-theatrical disciplines that are inherently and intimately homologous, affirming and discussing their ritual nature.
Arguing that ritual is always a spatial transformation which begins (and results) in opening, it presents three disciplines—Grotowski’s early physico-theatrical training and research, Lin Lee-Chen’s technique and approach toward performance and life, and the practice of Contact Improvisation—as compatible, revolutionary and highly valuable methodologies aimed at shaping a more plastic, organic performative body-mind, less hindered by personal and cultural habits and blockages, more aware, adaptable, at ease.
Expanding upon Richard Schechner’s efficacy-entertainment dyad, extending beyond, betwixt and between its ritual-theatre continuum, this thesis argues that when theatre (dance) is practiced as something beyond mere spectacle, as a live, honest exchange, a sharing of in-formation—putting into form messages and meanings through the performers’ bodies—then it is ritual, from preparations to public sharing. In the space for beholding (theatre’s Greek root, theasthai-tron) what is witnessed and the witnessing itself have the potential to transform spatial, personal, societal relationships.

並列關鍵字

Ritual, theatre, transformation, organicity, opening, Lin Lee-Chen, Jerzy Grotowski, Eugenio Barba, Steve Paxton, Contact Improvisation.

參考文獻

- _______. The Paper Canoe: An Introduction to Theatre Anthropology. London: Routledge, 1995.

- Coleridge, Samuel Taylor. Biographia Literaria, volume II. Oxford: Clarendon Press, 1907.

- De Frantz, Thomas. Dancing Revelations: Alvin Ailey’s Embodiment of African American Culture. Oxford: Oxford University Press, 2004.

- Goldman, Danielle. I Want to Be Ready – Improvised Dance as a Practice of Freedom. Ann Arbor: University of Michigan Press, 2010.

- Grotowski, Jerzy. Towards a Poor Theatre. Edited by Eugenio Barba. London and New York: Routledge, 1965, 2002.