摘要
通过对“陶身体剧场”与“云门舞集”的身体训练法进行比较研究,我们区分了舞者的“具身性”身体和“文化性”身体,也看到了中国博大精深的传统文化对舞者身体所产生的深刻烙印。“陶身体剧场”关注的是身体本身,其身体训练法寻求的是躯干、脊柱为主的“圆运动”。相对来说,“云门舞集”寻找的是文化烙印下的身体,一种寻根的身体,一个呈现传统文化属性的身体。两个舞团的身体训练法有内在联系性,又有各自的突破和发展,虽然呈现在舞台上的作品有差异,但演员的身体都走向了身体的“狂喜”和“宁静的觉知”状态。
Through the comparative study of the physical training methods of"Tao Body Theater"and"Cloud Gate Dance Collection",we distinguish the"embodied"body and"cultural"body of dancers,and also see the profound imprint of Chinese extensive and profound traditional culture on dancers'bodies."Tao Body Theater"focuses on the body itself,and its physical training method seeks to"circle movement"based on the trunk and spine.In contrast,"Cloud Gate Dance Collection"is looking for a body imprinted by culture,a body that seeks roots,and a body that presents traditional cultural attributes.The physical training methods of the two dance companies are inherently related,and there are their own breakthroughs and developments.Although the works presented on the stage are different,the bodies of the actors are moving towards the physical"ecstasy"and"peaceful awareness".
作者
徐敏杰
Xu Minjie(College of Music,Fujian Normal University)
出处
《中国舞蹈学》
2024年第1期165-184,358,359,共22页
CHOREOLOGY IN CHINA
关键词
陶身体剧场
云门舞集
身体训练
文化
比较研究
Tao Body Theater
Cloud Gate Dance Collection
physical Training
culture
Comparative Study
