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.

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