純粹身體之辯證-當代台灣劇場舞蹈東方體熱之反思-

楊綺儷(CHI-LI YANG)

指導教授 ： 劉一民

國立臺灣師範大學/運動與休閒學院/體育學系/博士(2004年)

摘要

二十世紀末，東方身體逐漸被西方劇場舞蹈所看見，間接的激發了台灣劇場舞蹈東方體熱的興起。這股風潮的脈絡，向來與台灣社會長期積滯的政治氛圍、文化生態息息相關，顯見，近年來東方體熱的現象，已使得身體失去作為舞蹈表達主體的純粹性。基於此，本研究首先藉由莊子的身體觀點進入，提擬純粹身體之形上理路和超形上姿態；再進一步釐清純粹身體知覺經驗的本質；接著，以舞蹈身體的隱喻，揭露純粹舞蹈身體的特質及其存有經驗的豐富性。
經由莊子和梅洛龐蒂的對話，我們釐清純粹身體是為人類身體最原初、最根源的本然狀態。這個「身體」，莊子視為是人由形下走向形上精神境界的路徑，我們稱之為「本真身體」；其次，莊子以「氣」來勾勒純粹身體的超形上姿態，揭露其具有滲透的/融合的、無知的/客觀的、先驗的/開放的、創造的/超越的等特質；另一方面，梅洛龐蒂則進入肉身的對話，揭示純粹身體是存有/肉身的主體、是經驗/認知的主體、是創造/想像的主體、是轉換/超越的主體，我們稱之為「肉身體現」。莊子和梅洛龐蒂的身體理論雖有路徑上的差異，但二者對於這個被視為「一」或「無名的」純粹身體的提出，顯示了東西方身體哲學對人類身體最根源的把握，具有相同的指歸，且可能成為相互補充的身體視域。
另一方面，經由舞蹈身體隱喻的揭示，我們發現純粹舞蹈身體具有原初的/有機的、原動的/創造的、淨化的/冥合的、想像的/反身的、書寫的/閱讀的等五個特質。也由於純粹舞蹈身體蘊涵以上特質，因此，只要舞蹈身體回返「前身體」的純粹性，以身體最原初的狀態與具體環境進行肉身對話，那麼純粹舞蹈身體即能深度開展我們創造的、超越的、淨化的、深化的、轉化的、體道的生命經驗。

關鍵字

純粹身體 ； 莊子 ； 梅洛龐蒂 ； 劇場舞蹈 ； 東方體熱

並列摘要

At the end of the twentieth century, a trend which was inspired by the concept of“Oriental Body”in the western theater dance had, directly, stimulated the rise of “Oriental Fever”in local theater dance field. This trend seemed inevitable since it was widely held that ‘nativization’ had been viewed as the solution to the long stagnated political atmosphere and cultural ecosystem here in Taiwan. As the result of this latest trend of the feverish pursuit, it is obvious that we no longer see the implementing of body the main and/or only vehicle in dancing representation. In the light of this dramatic shift, the author intends to (1) propose a philosophical rationale and gestalt framework regarding“pure-body”,(2) further clarify the empirical essence of“pure-body”, and (3) use metaphors derived from dancing body to expose the characteristics and richness of dancing body in terms of Chuang Tze’s views of body.
Through the dialectics between Chuang Tze and Merleau-Ponty, We can understand, clearly, that the“pure-body”is the most primitive state of being which, according to Chuang Tze, is the path for one to grow and evolve from the physical aspect of being to the spiritual one; whereas the same concept can be found in Buddhist Sutras which state that three bodies were to be found in Buddha: body of self-nature, body of uses, and body of changes. In a sense, the“pure-body”is the equivalent of body of self-nature.“Chi”forms the essence of Chuang Tze’s teachings that“pure-body”which is immersing and fusing, ignorant but objective, empirical and open-minded, and creative and far-reaching in nature while the relations between body and object form the theories by Merleau-Ponty which leads us into a new dimension that is constituted around the“fleshly-body”, the center of existence and flesh and blood, experiences and cognitions, creation and imagination, and transforming and what’s beyond. Though pivoting upon different concepts, their teachings and theories have proved that, even with obvious differences in principles, the“pure-body”is indeed the basis of any eventual implementation of physical one.
Then, by means of the implications of metaphors derived from the dancing body, we can discover that the so-called ‘pure’ dancing body poses characteristics of being primitive but organic, original while creative, purified but in union with outside world, imaginary and reflective, and writtenly and readable. It is also because of these characteristics, one can, therefore, open the path of an in-depth journey into most creative, uppermost, purified, intensive, transformational, fulfilling realization of life and its experiences through the return to the pre-body and by ways of conducting the dialectics between pure and fleshly bodies.

並列關鍵字

Chang Tze ； Merleau-Ponty ； Pure-body ； Theater Dance ； Oriental Fever