The Body between Sensation and Interpretation: Discussing Modern and Contemporary Dance, as well as Works by Ho Hsiao-mei, from the Stance of Phenomenology

Abstract

<p>藝術上的意義是落實在感官可及的場域，抑或說藝術讓意義與我們的身體自我發生親密的糾纏關係。當我們在美學態度下體驗某個藝術作品、藝術行為時，我們首先被凝聚成藝術狀態的意蘊所打擊，之後才面對此意蘊進行詮釋。當美學去探索劇場表演，為了不忽略藝術的感觸力這一面向，便有必要將支配著表演在時空中發生的身體性以及觀眾的身體存在雙方都納入考量。尤其當代舞所展開的，是藝術上之意義所不可或缺的「具體性」。本研究從現象學的視角闡明分析當代舞幾種重要的流派各自所揭露的身體性，最終專門探討何曉玫若干舞作以具體的方式所展演的「身體思維」。</p> <p> </p><p>Meaning in art is related to our embodied self. When we experience any artistic behavior, we first of all are affected by a meaningful configuration, prior to our actually interpreting it. When esthetics investigates a stage performance, both the embodiedness in space and time of what happens on the stage, as well as the spectator’s being embodied, should be taken into account, in order to adequately grasp the affective power of art. Especially in the case of contemporary dance, meaning is to be considered as something “concrete” and “embodied”. On the basis of evidence taken from modern dance, contemporary dance, as well as recent works by the choreographer Ho Hsiao-mei, this paper explores the bodily dimensions inherent to dance performances from a phenomenological stance, so as to elucidate in which manners dance performances make artistic meaning interact with our bodily self.</p> <p> </p>