Saturday, September 3, 2005

舞踏. Butoh


源自1960年代,日本舞踏先驱土方巽Tatzumi Hijikata 及大野一雄 Kazuo Ohno 当时把它视为着重于自身的独特性,富有强烈自我主义的舞蹈。他们重新考量现代舞的文化特质,主张回归纯粹性的身体语言与心理状态。Hijikata 探索以动作为词汇的一种语言,回溯叙述他在日本北方的农耕地根本。与此同时,Ohno 着重于表达生命的灵魂,以肢体动作寻找生死循环的意义。他们两人同样来自德国表现主义舞蹈训练背景,可是却突破西方舞蹈传统,独创舞踏,一种结合神秘与表达的现代舞蹈艺术。舞踏有别于主流的舞蹈方式,以革命性的姿态展现其精神面貌。
80年代起,舞踏逐渐遍布欧美


变态之美

舞踏颠覆主流社会的审美尺度,也被称为前卫舞蹈的舞踏往往给予观众一种冲击力的伤害,从审美、道德以至生理反应都受到一种崩泄的挑战。污秽、变态、猥琐、残酷、疯癫、扭曲的面相都赤裸裸地当头棒喝。这都是你我拼命活在主流大体制下以及虚构社会中所竭力掩盖的真实人性。


A twisted beauty

Butoh was burst on to the scene in 1959 as a result of a clash of cultures and a revolutionary arts scene that was taking place in Japan at the time. Since then, it has taken the arts world by storm, reaching the height of its popularity in the ‘80s. While in the ‘90s the momentum started to fade, butoh began to seep into Europe and America.

As butoh overthrows aesthetic standards set by mainstream society, it can provoke audience members unused to its form to the point of aesthetic, moral or physical outrage. Confronting audiences with filthy, morbid, indecent, cruel, hysterical and twisted facial / physical expression, buto nakedly confronts the aspects of human nature that we attempt to shelve away in order to fit into contemporary society.

寿板舞踏. Nyoba Kan's Butoh

寿板的舞踏结合了气功、瑜伽、佛家、道家以及现代舞的概念朝向内在能量及灵性的发展。

能知能觉

清明。自由的内省态度
从身体到灵性的艺术修行

生命的本质是无常的,它隐含了无穷的可能性,创造力和活力,
要启动这万变不息的原始能量,然后好好地养着,并发展内在的“定 与静”。
再以《金刚经》的“非法,非非法”透视生命存在的状态。

清明。自由
若有。若无
不生。不灭

是精神超然的道家精髓,亦是佛家宇宙观的太极思想。
寿板舞踏整合许多先人的智慧,以个人的学习经验与领会统合了一系列以“修身养性”为本,再以舞踏反照实相的技巧,是一种两极的矛盾磨合。
重塑变态的身体与心灵层次,透视人们求生欲死的内在层面,并且作自我观察,以一种“内观”的观念,重新体悟自我刻板的身体模式与内在的能量体。
从根本的生命能量与原始的身体做一歇斯底里的转化与净化。
这时,你将回归到“清明的本体”, 一种自我疗愈的过程。

Nyoba Kan’s Buto fuses the concepts of Qi Gong, Yoga, Buddhism, Taoism, and contemporary dance to explore the inner energy and spiritual development.


Clarity.Freedom.

As if.As if not
Neither creation.Nor destruction

This is the essence of Taoism, and also is the ultimate principle in the cosmology of Buddhism.

Performing artists act with flesh and bone. They initiate, challenge, and even savage their body to produce art for an audience. However, when the performer is devoted to developing his or her inner spiritual nature, the body becomes charismatic with a truth that is powerfully and strongly contagious. This wonderful state of being is precisely embodied in Zen.
Nyoba Kan draws upon the above mentioned traditions and through the process of personal investigation, has formed a series of technique that brings together two poles: the healthy cultivation of one's body and spirit, and the distortions of buto to reflect the truth in human nature.
Through the resculpturing of the body and delving into the intricacies of the mind, we may penetrate our attachment to life and death. Through keen observation of the self and vispassana awareness, we are able to recognize the self-stereotyped nature of our bodies and reconnect with our original source of energy. This purification and self-healing process returns us to an original state of clarity.