從身體、舞蹈到創作本身

Abstract

2016 年 7 月9日，國立交通大學跨領域藝術團隊在國立台灣藝術教育館舉行了「書法讃——以身為行」的系列展演。在國立台灣藝術教育館與交通大學跨領域藝術團隊的支持下，筆者得以有幸與林書民、王郁勳等多位藝術家合作，分別創作了舞蹈影像互動作品《邃生身》以及互動作品《身生》。 本文針對此兩件作品進行創作論述，主要通過對於此兩件作品的概念發想及創作過程進行回顧與分析。《邃生身》在創作過程中，無論是現場表演或是影像拍攝部分，均嘗試讓舞者以使用舞蹈身體進行文字的書寫，故開啟了作品中「書法身體」以及「書法舞蹈身體」的可能性。三位表演的舞者與書法家，四人相互產生了特殊的交織、滲透的關係。而在這樣的過程中，相較於傳統的書法，書寫書法的身體從書法家的肩、肘、手轉變成完整的舞者身體；對於舞蹈來說，因使用身體去重新詮釋書法，則舞者不再以之前的舞蹈方式去控制肢體，由此便會產生舞蹈身體狀態的改變，因此可說是因書法介入舞蹈，而重新定義了舞者的身體圖式。筆者希望通過對於此種身體圖式的分析，使得以進一步展開舞蹈和書法兩者對話的創作空間。

In July 9,2016, the TransArt NCTU held a series of performances "Calligraphy Yes!” in the National Taiwan Art Education Center. In the series of performances, it was a fortunate for me to cooperate with Shumin Lin to create a dance interactive performance “Mysterious Unripe Body" and interactive art “Unripe Body”. This paper focuses on reviewing and analysising creative process and thinking concept of these two works. In the process of creating “Mysterious Unripe Body”, whether during live performance or image shooting section, dancers were all asked to use their dance body to write the words, thus the possiblity of "calligraphy-body" and "calligraph- dance-body" in this work can be opened. Three dancers and two calligraphers, these five people produced a special intertwined,and infiltratede relationship.At this moment, compared to the traditional calligraphy, the body of the writing calligraphy changed from the calligraphers’ shoulder, elbow,and hand into a complete dancer’s body; for dancers, since the use of the body to re-interpretated calligraphy, the dance no longer control the body in the previous way, and that will produce changes in the state of dance-body. So it can be said that because of calligraphy involved in dance, the dancers body figure is redefined. I hope that through the analysis of such a body schema, the creative space of dance and calligraphy can be further expanded.