從1973年起,鮑許和烏帕塔舞蹈劇場的創作歷程根本地通過對於舞蹈創作的語言──動作質地、舞作結構與創作方法──以及風格的內省與實踐,體現出「症狀身體」。她們不僅在風格上兼容戰前德國威瑪時期現代舞風格和1960年代晚期歐陸藝術創作的前衛風潮,而質問著受到歌劇院芭蕾舞和美國現代舞 / 芭蕾影響的戰後西德舞蹈文化;更在1970-1980年代的創作歷程中,藉由「提問—回應」的創作方法和劇場形式,具體地將「症狀身體」標示在當下 / 歷史的社會場域當中,而觀照著「身體」在二十世紀德國──特別是戰時──所經歷的社會歷史、以及「身體」在西方父權社會當中受到壓迫的困境。筆者將以鮑許和烏帕塔舞蹈劇場1970-1980年代的舞蹈實驗所書寫的「身體歷史」為研究目的,首先探究拉岡精神分析理論對主體結構的討論,鋪陳「以症狀踰越符號結構」的分析架構,最後深入探究拉岡所述的「懸宕」概念,藉以分析鮑許舞作當中舞蹈身體與文化社會體系的張力狀態;其次,筆者將敘說德國早期現代舞的發展脈絡,藉以理解鮑許所面對的舞蹈文化。研究主體部分,筆者將回顧鮑許和烏帕塔舞蹈劇場1970-1980年代的實驗軌跡;最後以《穆勒咖啡館》和《康乃馨》為例,分析鮑許對於舞蹈空間和舞蹈身體更微觀的內省所體現的「懸宕空間」:除了內向觀照主體對於欲望的追尋和身體受到權力壓迫的記憶,更運用舞者的身體與重力的細微張力以及身體行動抗拒客觀時間空間原則。在「懸宕空間」當中,欲望、權力、以及對於自由的想望彼此交織、撞擊,直到舞蹈身體和空間的張力全然失衡,進而否定被文化社會體系所寫定的身體歷史。
Pina Bausch (1940-2009) and the dancers of the Tanztheater Wuppertal had performed the “symptomatic body” by means of their practices and reflections on the movement quality, structure and creative process. Bausch intertwined the tradition of Weimar modern dance and the avant-garde impulse in the European contemporary art 1960s, problematizing the the post-war dance culture, which had been influenced by opernballett and the modern dance / ballet form the U.S.A. Furthermore, they located the formal “symptomatic body” in experienced and/or historical social conditions by means of “Questioning-respnding” process and the theatrical form; thus, they expressed their concerns for the social history experienced by the “body” in the 20th century Germany and the conditions of the oppressed individual body. This study aims at the “body history” written by the experiments of Bausch and Tanztheater Wuppertal in 1970s-1980s. To establish my framework of analysis, I shall review Lacan’s discourse of the “subject structure.” In order to analyze the tension between the dancing body and the cultural-social system, I should have a detailed review on Lacan’s idea about souffrance. Secondly, I should construct a narrative of the history of the German modern dance – especially focused on the dance cultures in the post-war West Germany. In the main body of the study, I shall narrate the experimental traces of Bausch and Tanztheater Wuppertal in 1970s-1980s; eventually taking Café Müller and Nelken as examples, I shall give a detailed analysis of the dance texts, observing the souffrance embodied by Bausch’s subtle reflections on the dancing body and the space: the introspection on the subject’s pursuit for desire and on the body’s memory of being oppressed, and the dancing body’s resistance against temporal-spatial principles. In souffrance, desire, power and longing for liberation collide with each other, denying the body history written by the cultural-social system.