舞蹈藝術創作之現象學詮釋

完整的現象學還原方法分為「懸置」、「本質還原」和「先驗還原」三個步驟，也可以說是三個相對獨立的方法，它們體現著「返回事物本身」的現象學態度。現象學的「懸置」意謂著由自然的對待轉向現象學的對待，以及意謂著中止判斷或中立化的視角。即不論對象是否實際存在，「懸置」的目的並不在於否定世界的存在，而是在於改變我們對世界的認識，所以，對舞蹈藝術而言，這是一種藝術價值的轉換。對於舞蹈藝術創作的意義在於卸解「觀念論」與「存在論」的影響，促使創作者在「本質還原」與「先驗還原」的情況下，重新探究舞蹈藝術的形式與內涵。

關鍵字

舞蹈；藝術；創作；現象學

並列摘要

There are three steps in the complete phenomenological reduction. They are ”suspension,” ”eidetic reduction,” and ”transcendental reduction” which are known as three relatively independent methods that indicate the phenomenological attitude of ”returning to the thing itself” In view of phenomenological suspension, it means the transformation from the natural attitude to the phenomenological attitude as well as neutrality. The purpose of the phenomenological suspension is not to deny the existence of the world, but to change our cognition of it. Therefore, the significance of the phenomenological method is to get rid of the effect of idealism and realism, and to provide us with a kind of new thought and method, ”eidetic reduction” and ”transcendental reduction,” in order to rediscover the artistic creation of dance.