《流轉•瞬間》為筆者及古竺穎於2005年11月共同策劃演出的碩士畢業舞展。本篇論文即由此展演為主軸,在演出落幕近半年之後,筆者企圖從已沈澱的思緒當中,重新回顧並追尋自我掙扎及成長的軌跡。而在此軌跡之中,試圖討論筆者與身心學接觸及學習的經驗對本身所產生的影響及幫助。 本文第一章-前言的部分,從介紹自身進入專業舞校後接觸身心學為開始;第二章-概略介紹身心學的理論學派,並提出對筆者本身影響最為深刻的三個派別觀點,獨立加以介紹;第三章-以《流轉•瞬間》製作為主軸,介紹演出舞作的內容,並探討自身對於角色詮釋及身心調適的內在歷程;第四章-探討身心學的觀點如何協助自我身體特質瞭解及改善,並幫助自身在舞台上的表現;第五章-總結前文之討論並對本文作最後的回顧並提出建議,期待以自身的經驗,能為相同領域的人,帶來不同的思考方式。
On November 18th and 19th 2005, the production “In the Twinkling of the Eye“—Dance performance by Wei-Ning Chen and Zhu-Ying Ku, had been rounded off successfully. According the performance, this thesis will start from my experience. After a half year of the production, I, with a settled mind, try to trace the path of the self-struggling and growing which is induced from the performance. By tracing this path, I try to discuss the influence and benefit from learning Somatics. The structure of the thesis as follows: Chapter One is a brief introduction about my learning experience in dance school. Chapter Two will bring out Somatics, and introduce three theories of Somatics which affected me a lot. Chapter Three focus on the performance《In the Twinkling of the Eye》, introduces four dance pieces and discusses about the inner experiences of dance rule’s interpretation and body-mind adjustment from the angle of a dancer. Chapter Four elaborates that how Somatics helps a dancer on the stage and on self-training. Chapter Five is a conclusion states some reflections from the processes of body exploring. I expect that from my experience, the thesis will bring some new way of thinking to other people who interested in dance.