深光印記為桑雅劇場2012年度展演的思路隨筆, 原刊載於：https://sites.google.com/site/2012deeplight/shen-guang-yin-ji

 

2013/1/13  22:05

“那麼，大野一雄，他怎麼樣？”
    譯自"大野一雄生平紀年" 1906-2010
    作者 Eugenia Casini Ropa  Bologna大學教授

    “你該不會是說他一直活到現在吧?”大多數人都是在嘴邊這麼唸著，當他們讀到六月初的報紙上大野一雄，一位現代舞宗師去世的消息時。

        在一個為匆忙和速食所支配的世界裡，新聞與事件都是在瞬間被混淆和消耗掉，意象必須著魔般地反覆重現才可能在我們的群體記憶裡留下些許的痕跡，於是一位年老，亞洲的舞者靜靜，緩緩凋零的最後歲月自然不被認為值得留意。就好像他早已不在這世上一樣。即使在許多圈內人，舞評，劇場導演，以及那群向來很投入的觀眾裡，對於不久前他們曾熱烈鼓掌的某個人他生命的結束，普遍的反應仍是令人難過的不明確，甚至肯定是漠不關心的。雖然在他100歲生日時，義大利以及全歐各個地方舉行了各種特別活動，尤其在學生和文化圈子裡快速地恢復了他的受歡迎度，然而這些慶祝活動幾乎就像是他棺材上的最後一根釘子。隨後大野一雄就變成了歷史且不重要了，一位只能在檔案裡被找到的藝術家。

        從大野一雄最後一次在義大利，在威尼斯公開露面至今，應該已有11年了；即使在那次場合也沒有太多人有幸看見他在舞台上的演出。近來舞踏的表演，在歐洲這和大野一雄的名字被視為是同一件事，已很明顯地變得太稀有了，尤其是在義大利。今日，它已成為一種特定形式，年輕的舞者視為一種提升個人，詩意，和技巧的方法來練習，也是某種可用形式或美學呈現。對那些四十歲以下—甚至很多更大年紀—的人而言，大野先生的存在已經被歸類為朋友間談到的懷舊話題，或者是翻著書本時所看見令人有點不知所措的圖像，總是可以用來增添對一個遙遠文化的模糊印象。

        雖然是有重新喚起潛藏的好奇心，大家好像還是都沒注意到他突然的死訊，最主要是因為他被認為早就過世了。而且命運的安排是大野先生的逝世就緊隨在另外兩位20世紀後期舞壇“偉人”離世之後：摩斯‧康寧漢(Merce Cunningham)，以及令人哀痛，早逝的碧娜·鮑許(Pina Bausch)。這些舞台的傳奇，在他們之間產生出屬於最震撼人心的創造經驗。而他們的消失有著刺激作用，讓人再次升起渴望，去認識一位訃聞裡指說是獨一無二與無可仿效的藝術家，至少是透過其他人的經驗。學生，舞者，朋友，研究者，每個人的第一個問題總是不變地這麼提起：“作為看過大野一雄表演的人，對妳而言，他在舞台上怎麼樣？”

        他們真正想知道的是大野一雄怎麼舞蹈，在舞台上怎麼動作，特別是怎麼有可能這樣一位老先生可以把他的觀眾迷到那種程度，以致於他們的雙眼一見到他表演就閃亮起來，甚至只是回憶起見過他在舞台上都會再度閃亮。由於這一點，那些見證過的人就變得勇敢起來，覺得自己享有殊榮，但也有責任為未來的世代傳遞與留存，以最適宜的方式，關於一位藝術家的記億；他是如此珍貴且獨特，他的舞蹈是他整個存在與哲學的基石，他那小小的，年邁的身軀奇蹟般地展現出宇宙蓬勃的能量，而且直到有限歲月的最後一刻他都仍準備好去徹底蛻變。現在大野一雄已快樂地在死亡寂靜的國度裡坐好他的位子，責任是落在我們身上，去確實地把握住他在人類歷史裡真正的分量，讓一位藝術家的奧秘始終成為不朽。


“And how was he, Kazuo Ohno?"
excerpted from “Kazuo Ohno Chronicle of a Life Time 1906-2010”
by Eugenia Casini Ropa Professor of University of Bologna

       “You don’t mean to say he was still alive?" was the phrase that
sprang to most people’s lips on reading the newspapers’ announcement of the death
of Kazuo Ohno, the grand master of modern Japanese dance in early June.

        In a world governed by haste and immediacy, where news and events are confused and consumed in a flash-second, where images need to be obsessively repeated in order to leave the slightest trace in our collective memories, the slow, silently wasting away final years of an ancient, Asian dancer were not deemed newsworthy. It was simply as as though he was no longer alive. Even among those many insiders, dance critics, theatre directors and impassioned theatregoers reigned a sad uncertainty, even a certain
indifference, regarding the fate of somebody who until not so long ago, they enthusiastically applauded. While the various events held to mark his 100th birthday in Italy, as well as in other locations throughout Europe, fleetingly revived his popularity,
notably in student and cultural circles, these celebrations were almost like the last nail in his coffin. Kazuo Ohno subsequently became history and devoid of significance, an artist only to be discovered in his archives.

Some eleven years have passed since Kazuo Ohno’s last public Italian appearance in Venice; even on that occasion not many were fortunate to see him perform on-stage. In recent rimes, Butoh performances, with which Ohno’s name has invariably been identified in Europe, have become noticeably all-too-rare, particularly in Italy. Nowadays, it has turned into a specialised form, practised by young dancers as a means of personal, poetic, and technical enhancement, as well as a form or aesthetic representation. For those under forty, — or even for many of those older — Ohno’s existence had been relegated to nostalgic phrases uttered among friends, or disconcerting images seen while browsing through a book, all the while somehow underpinning vague impressions of a distant culture.

Reawakening a dormant curiosity, his unexpected death took everybody unawares more so for the reason he was presumed already dead. Circumstances were such that Ohno’s passing came in the wake of the departure of two other ‘greats’ in the dance world of the late 20th century: Merce Cunningham, and the painfully premature death of Pina Bausch. Between them, these stage legends engendered some of the most striking creative experience. Their disappearance acted as a stimulus, and renewed the desire to get to know, at least through the experience of another, an artist, whose obituaries referred to as unique and inimitable. Invariably everybody, students, dancers, friends, researchers would follow the first question with: “For you, as somebody who saw Ohno perform, how was he on-stage?"

What they really want to know was how Ohno danced, how he moved on-stage, and particularly how was it possible that such an elderly man could fascinate his spectators to such an extent that their eyes twinkled on seeing him perform, and were to twinkle yet again as they recalled witnessing him on-stage. At this point, the eye witnesses become emboldened, feeling themselves privileged and yet responsible to hand-on and transmit to future generations, in the most convenient form, the memory of an artist so cherished and unique, of a man whose dance was the cornerstone of his existence and philosophy, and whose small, ageing body miraculously manifested the universe’s vital energy, and until the last moment of his mortal existence was ever ready to metamorphosize. Now that Kazuo Ohno has happily taken his place in death’s silent realm, the onus falls upon us to correctly grasp his true measure in the history of mankind, all the while perpetuating the mystery of an artist.

   永恆回歸至存在深處
    譯自"大野一雄生平紀年" 1906-2010
    作者   Antunes Filho   Macunaima劇團團長

     舞踏是最接近原型的藝術形式之一。它是種極端的舞蹈，危機緊迫的舞蹈，它涉及到關於存在的根本部分：生與死，喜悅與恐懼。

           在危機的時刻原型會洶湧而出。近數十年，在巴西有著許多關於原型，關於榮格(Jung)的討論，同時東方思想也興盛起來。舞踏完美地對焦著我們正活過的時代。它正是這當代的刻記。它是最具活力的藝術型式之一，在所有這般由粗暴媒體的侵襲所帶領出的商業主義下穩定它的根基。它標示了對於原初的一個偉大回歸。我並不喜歡‘現代’(modern)這個字。我會選擇談論現在。從精神性的觀點來看，所有當下的層面都會讓我感興趣，而不是潮流趨勢裡的那種現代。作為一個滋養的環境，現今的世界越來越大程度地適合舞踏。它的本質關連著存在裡的根基，根本性的原則。深層焦慮，生與死，兩人結合，父母連繫，絕望，喜悅。舞踏不是戲劇性的因為它超出了戲劇的疆界。更確切地說，它所接近的是悲劇元素，論及到超驗，形而上學方面。

           我的劇場一直為此意義下的超驗性所影響。人並不是受限於‘他自己的’實象，而是結合進宇宙裡，認真領會著天地萬物的焦慮與喜悅。當我第一次看見大野一雄表演時，我體認到他會是我一生的師父。那是1980年在法國南斯(Nancy)，他的舞團正進行首次歐洲巡演。所有他在那裡的表演我我很榮幸都有在場—那是個非常猛烈的經驗。我的思想改變了。我是多麼驚訝於看見舞台上出現某種我一直想在自己的演出裡找到的事情：解構中的舞者，演員。那所揭露出的景象一直留在我們的無意識裡。觀看者創造了表演。在南斯，我看見的並不是大野一雄，而是一片黑色背幕混合了我的無意識，屬於我個人原生的意象。它是如此非比尋常且深深地衝擊著我，以一種正向的方式使我完全被壓垮。在溶解中我開始‘成為’另一個不同的人。大野一雄秘密地暗示著，工作者那偉大的空無。不意外地後來我花了許多力氣邀請他來巴西並且努力要再邀他來一次。

           我從未有機會認識土方巽。三年前在一個日本的偏遠角落我看到一部在他1986年去世後所製作的影片，這影片將會在聖保羅的SESC上映。當影片播完時，我和另外十個觀眾一起，全都是不同國籍，從椅子上跳起來又大叫又鼓掌。後來我才驚覺這有多麼瘋狂：所有人對著一部關於一個已死去的人的影片高聲歡呼！但那時我們是多麼受到感動啊！有段滿長的時間我一直努力想讓人們認識到土方巽大師般的才華，他是曾活在這世界上最偉大的編舞者之一。

           土方巽和大野一雄是舞踏裡兩位關鍵人物：土方巽體現了存在的陽性面並工作著巨大的混亂，而大野一雄則是表現出我們的陰性面，偉大的母親。舞踏出現在美國在日本丟下原子彈之後。美國駐軍占領的結果是掀起了新的價值，並導致西方學說主義的引進。巨大的動盪因而產生在這如此堅守傳統的國家。舞踏是在這樣的危機下出現。土方巽較多處理著混亂，演化，末世。至於大野一雄，感覺好像人類全體在原子彈後就消失結束了。他工作了很多關於記憶，偉大的母親，受苦的地球，嬰兒在子宮裡的時期。他經常記起那已不存在的人類。

  大野一雄的本質可以從他是如何與內在的宇宙互動來理解，並且藉由這宇宙內含的靈魂他可以通往我們所在的幻象世界。他所工作的正是那個通道。對我來說看著土方巽就像面對著一顆原子彈：這提示著我所有事物化為原子，結束，混亂。大野一雄則是記憶的寶庫：母親，阿根廷娜女士。彷彿地球自己儲藏著記憶，而藉著這些原型他可以將它們全都一起拉回來。他始終不變地在偉大的空無，在通往我們所在的感官世界的通道裡工作。他總是在邊緣處，在那兩個宇宙的交界上。他所做的每一件事情都是來自這宇宙的層面。他是魅惑本身，並超越了。在我自己的演出裡，我總是在尋找這樣的超越性。我的作品具有感官的層面，但也暗示著宇宙，偉大的空無，唯心的，柏拉圖的世界，一切都存在於那裡，一切都是在那裡。

          大野一雄影響著我在原型層面裡的追尋。近年來我一直尋找著某種能夠超越，某種如同大野一雄的事物。看到他表演之後，我發現了一條路，它越來越強烈吸引著我。我遇見了原生的意象，既是感官同時也是形而上的意象感受。它們令人感覺既是個人經歷的又是超越性的意象。這是種變動狀態下的意識經驗。要表演舞踏，你必須處在一種變動狀態的意識裡。

       (刊登於1994年11月20日的O Estado de So Paulo日報)

The Eternal Return to the Depths of Existence
excerpted from “Kazuo Ohno Chronicle of a Life Time 1906-2010”
by Antunes Filho Director of Teatro Macunaima

Butoh is one of the artistic forms closest to the archetypes. It is a radical dance, a dance of crisis, one that deals with what is radical about existence: life and death, joy and terror.

Archetypes surge at times of crisis. In recent decades, there has been lots of talk in Brazil about archetypes, about Jung, as well as a proliferation of Eastern thought. Butoh is perfectly tuned to the times we’re living through. It’s contemporaneity impresses. It is one of the most vital art-forms holding its ground amidst all this commercialism, led by the onslaught of a violent media. It signals a great return to the primordial. I don’t like the word ‘modern’. I prefer to speak of now. From a spiritual point of view, all aspects of the present interest me, and not being modern in the trendy sense. As a breeding ground, today’s world is increasingly propitious to Butoh. Its essence refers to radicals, to the radicalism of existence. Deep anguish, life and death, marriage, parenthood, despair, joy. Butoh is not dramatic since it goes beyond drama. Rather, it lies close to the tragic, dealing with the transcendent, with metaphysics.

My theater has been influenced by this sense of the transcendence. Man isn’t confined to ‘his’ reality, but integrated in cosmos, trying to understand the anguish and joys of the universe. When I first saw KazuO Ohno perform, I realised he would be my guru for life. That was in 1980 in Nancy, France, during his dance company’s first European tour. I had the privilege of attending all his performances there—a very violent experience. My thinking changed. I was so amazed to see something on-stage that I had been searching for in my own performances: the dancer, the actor disintegrating. And the unfolding imagery remains in our unconscious. The spectator creates the performance. In Nancy, what I saw was not Kazuo Ohno, but a black background which merged with my unconscious, my own ancestral images. It was extraordinary and impacted upon me so deeply, leaving me devastated in a positive way. On dissolving I began to ‘be’ a different person. Kazuo Ohno intimates, working with the great void. Little wonder I tried so hard to invite him to Brazil and endeavouring to invite him once again.

    

   I never got to know Hijikata. Three years ago I saw a film about him in some remote corner of Japan that had been edited after his death in 1986, and that will be shown at the SESC in Sao Paolo. As the projection came to an end, I along with the ten other spectators, all different nationalities, rose to our feet and started to shout and applaud. Afterwards it struck me how mad it had been: everyone shouting and cheering over a film about a dead man! But we were so impressed! I’ve been fighting for quite some time for people to recognise Hijikata’s genius as one of the greatest choreographers that ever lived.

     

   Hijikata and Kazuo Ohno are the two key figures in Butoh: While Hijikata embodied the masculine side of existence and worked with the great chaos, Kazuo Ohno expresses our feminine side, the great mother. Butoh emerged after the U.S. dropped atomic bombs in Japan. The American occupation was to instigate new values, and led to the importation of the western isms. A tremendous upheaval ensued in a country so bound to tradition. Butoh rose from this crisis. Hijikata deals more with the chaos, cosmogony, with eschatology. For Kazuo Ohno, it’s as if mankind itself died after the atomic bomb. He works a lot with memory, with the great mother, the Earth that suffered, a child’s gestation. He is constantly remembering a humanity that no longer exists.

Kazuo Ohno’s essence can be grasped in how he interacts with the underlying universe, and by means of the universe’s implicit spirit he passes to the illusory world where we are. And he works precisely with that passage. Watching Hijikata is for me like being faced with an atomic bomb: it reminds me about the atomisation of all things, the end, chaos. Kazuo Ohno is memory’s repository: a mother, La Argentina. It is as if the earth itself possessed a memory, and with these archetypes he can poll it all back together. He invariably works in the great void, in the passage to the sensorial world where we exist. He is always on-the-edge, above the line between those two universes. Everything he does comes from the cosmic sphere. He is enchantment itself, and transcends. In my performances, I’m always in search of  this kind of transcendence. My pieces have a sensorial aspect, but also imply the cosmic, the great void, the world of ideas, of Plato, where everything exists, where everything is.

Kazuo Ohno influences me in my quest for an archetypal dimension. In recent years I’ m searching for something that transcends, something like Kazuo Ohno. After seeing him perform, I found a way that fascinates me increasingly. I came across ancestral images, feelings that also are sensorial as well as metaphysical images. They came across as biographical and transcendental images. It was an experience of an altered state of consciousness. To perform Butoh, you have to be in an altered stare of consciousness.

      (Published in the daily O Estado de So Paulo November 20, 1994)

   後記
    譯自“舞踏──暗黑靈魂之舞”
    作者; Haven O’More   傳統科學院院長，研究工作包含早期新柏拉圖主義者的重要著作。

  舞踏如同生命一樣是從母親的子宮裡創造出來的，而且它的能量與機制也應同是如此。舞踏的世界必須就是那母親子宮的世界。大野一雄

舞踏透過它的舞蹈藝術直接運作心靈層面。

但這是意味著什麼？
這指出舞踏產生令人震撼的印象，是藉由寧靜與聲音，赤裸與多重裝扮，靜止與動態之間熟練的重疊交置而成。

至於說舞踏直接運作著心靈是包括了兩個層面上的領會。首先，我們瞭解心靈含有意識或覺知的作用，以及對清醒狀態而言並非明顯易見，所謂的潛意識或無覺知的作用；進一步而言，心靈包含有相連對應成更高層面的整合體，而這，在它們的全體性中，作用為智慧或者說對思想和行動都能給予啟示的運作程序。第二，我們明白絕大部分的心靈(如果我們是可以說心靈具有“部分”的話)仍然保持隱藏且大多是未知的。

      那為我們揭露更多潛藏與未知層面的藝術能給予我們更多覺知。接著，覺知會帶給我們更高層次的掌握度：我們就較不會受害於意外與衝動──我們自己的以及會透過他人行為與環境顯然是不可預測而出現的。藝術家並不總是在一開始就必須認真提升瞭解以取得對意識更深的掌握，但偉大的藝術確實能提供這點。而且我們認為最為偉大的藝術，在打開心靈潛藏與未知領域使其當下可知這點上，就是會走得最遠。

  在一場二小時的演出過程裡，土方巽開始時是39歲，然後他就逐漸變得越來越年青。他變成35歲，接下來他是25歲，18歲，12歲，我記得自己當時在想著這一定是有什麼秘密。這一定就是舞蹈的奧秘。芦川羊子 

 在任何藝術裡都僅有很少的層面可讓創造性的無意識或潛意識，藉由達到極致的作用力與可能性，以客觀方式呈現出來。譬如，詩與音樂是透過節奏與結構來提供作品。舞蹈則是與時間，行動，和人的身體交互作用而發展出自然運作的架構。

將創造性的潛意識放在觀眾眼前這個觀念甚至是變得更強而有力，當它點出並反駁了由佛洛伊德及其同事所推展的精神分析學──這些精神分析學家在大半個現今的世紀裡一直試圖“解釋”與“處理”潛意識。解釋它，處理它？好的，但如何解釋，如何處理？所謂解釋與處理常常是在刺入潛意識裡牽涉負面與破壞的部分。將潛意識裡與黑暗，負面，破壞性相關的部分標示出來是有價值。然而潛意識具有某種存在狀態並不是新的發現，肯定不是出自心理分析學家。舉例來說，弗洛伊德的著作裡常常提及早期的文獻，而且佛洛伊德一定很為詩所感動。他特別研究聖經，這只在一重要情形下有提到。佛洛伊德發覺聖經的內容指引出所有通過無意識(地獄)到達越性(天堂)之路。如同聖經經文所言，沒有人曾經上升到天堂，除非他通過了犧牲與死亡，以及接著而來發生在地獄裡的覺醒。新約見證了聖經裡的主要事蹟：基督在他被釘上十字架(犧牲)與死亡後降入地獄裡三天。之後他回到人群中現身，在上升到天堂前為征服了死亡作見證。

 當我訓練自己如同嬰兒般舞蹈時，有件對我而言是最重要的事情，那就是去探索和發現光。芦川羊子

      在潛意識裡沒有其他力量了嗎；難道破壞性就是它的主宰力量嗎？當然不是。舞踏示範了潛意識很大程度是更具有創造性而非破壞性。

舞踏將潛意識帶到就在我們的雙眼之前，讓我們可以在創造性的交互作用下見到它，聽到它，和聞到它。但這樣作的目的是什麼呢? 難道舞踏有時不是很醜陋嗎？舞踏不是骯髒混亂的嗎?甚至，對一個經過洽當整理，乾淨，衛生的心靈而言，舞踏不是常常令人作嘔的嗎?對這些疑問我們必須表示同意。然而，在我們更進一步去審視之前，我們可以先談舞踏不是什麼。舞踏不是宗教的，也不是非宗教的。舞踏不是人文主義的。舞踏沒有宣稱任何事情：沒有私人儀式，沒有宗教，沒有政治上的此或彼，沒有主義。舞踏不作宣示。舞踏一再一再地堅持：讓我們達到真理。沒有別的，除了真理沒有別的‧‧‧心靈，要能免於騷動不安，需要的是真理。我們是從這點來開始思索舞踏。

  舞踏的服裝就像把宇宙丟到一個人的肩膀上。並且對舞踏而言，雖然是服裝覆蓋著身體，卻正是身體成為了靈魂的服裝。大野一雄

現在，該怎麼來看那經過恰當整理，乾淨，衛生，徹底“理性地”相信不是這樣就全是那樣的心靈？如此的心靈是被毒化了。這般的心靈會滋生惡疾。事實上，這種心靈是將生命整個交到惡疾的手上。像這樣的心靈會設立假神；它會將無情的戰爭籠罩在所有生靈上。

舞踏對這種心靈來說是很難承受的。舞踏讓這種心靈難受的程度，幾乎快跟上有這樣心靈的男生或女生讓他或她自己難受的程度。文明從它的初始到現在──尤其是現在，在這些歷程中顯示了沒有什麼比一個經過恰當整理，乾淨，衛生，全然相信不是這個主義就是那個主義的心靈，更讓所有人難以承受，無論生者或死者。可以歸結此種心靈的一個詞彙是幽冥般的心靈，它受陰間神靈的力量所驅使。簡言之，就是一個徹徹底底的現代心靈！

舞踏反對有病的心靈。舞踏要讓心靈神聖(holy)──完整(whole)和健康(healthy)。舞踏向我們證明了，如威廉‧布雷克(William Blake)所說，“任何事物活著就是神聖的，生命因生命而喜悅。”舞踏表明且提醒我們：“生命因生命而喜悅。”這，更確切地，是在說舞踏的藝術是在努力幫助我們找出我們自己的心靈並創造性地釋放它的內容物。所有真正的藝術都是朝這點推進。偉大的藝術則達成這點。

舞踏進入了最深的黑暗。光穿入了光透不進去之處。藉由直接在我們前面運作身體，舞踏將身體剝去僅留它的本質。舞踏接下它所發現的那個身體。舞踏用身體開始工作。舞踏期望去教導身體，但它也讓自己順從以及向身體學習。身體會學到甚麼又會教導甚麼？它不會期望學到與教導光嗎？它不會不學習到要真的瞭解光的話它必須進入黑暗：身體必須重新進入子宮裡。從子宮裡覺知到它正在子宮裡，於是身體能夠開始它的整合過程。它能夠開始知道了。

舞踏在我們眼前演出了子宮和它的內容物與它的掙扎。我們就在子宮裡那個地方：我們正在子宮裡掙扎著；我們期望從子宮裡誕生：我們奮力期盼著光；我們想要，我們必須體驗到；我們需求知識：一生下來每次呼吸間我們都渴求著知識！舞踏將我們帶入這同時在我們裡面和外面上演著的生死世界。

舞踏變成了進入心靈的探尋。要使心靈成為創造性的心靈它必須再次回到，一再一再地，它的起源。我們必須不期望任何事情除了回到宇宙的無盡，重新誕生。田中泯告訴我們“土方巽不期望任何事情。”這是說，他不期望任何事情，除了一再一再地誕生。如他自己所說，“我出生了並轉變了。只是從子宮裡生下來已經不再足夠了。”

當土方巽談到“再死一次”與“作出死者的姿態”時，他是在說記憶與進入記憶確實的必要性以接觸到死者──同時在我們裡面和外面。這意思是我們必須與屬於自己的死者有所聯繫：與人所出自的世世代代亡者，通過了許多層級，而存在於此時這個生命。這也是指在人的一生中應善待死者，他們的死亡，他們的生命，好讓每個呼吸間都變得更加充分地活著，每個瞬間對自己和其他人類的生命都更加充實。這意思是變得更有覺知意識。而變得更有覺知意識的意思是變得更有創造性，更能去幫助，更能夠愛。

以前是難以理解的現在變成創造與轉變的力量。藝術家和觀眾一起去碰觸到光：他們一起掙扎，他們一起受苦，他們一起相愛，他們一起成長，他們一起發現知識，他們一起慶祝。

此刻，讓我們慶祝這個新的舞蹈形式。讓我們不去譴責自己，讓我們慶祝我們自己！讓我們一起慶祝舞踏！

  我們牽著死者的手，他們鼓勵著我們超越我們的身體；這是舞踏沒有極限的力量。土方巽

AFTERWORD
excerpted from “Butoh–Dance of the Dark Soul” 
By Haven O’More  director of the Institute of Traditional Science, working from the critical scripture of early Neoplatonist.

  Butoh is created in the mother’s womb as life is, and its energy and mechanism should be the same. The world of Butoh must be that of the mother’s womb. KAZUO OHNO

Butoh deals directly with the mind through its art of dance.

But what does this mean?                      

It means Butoh makes its striking impression by skillful interpositions of silence and sound, nakedness and various levels of dress, stillness and motion.

To say Butoh deals directly with the mind includes two levels of understanding. First, we understand that mind involves functions of consciousness or awareness and so-called subconsciousness or non-aware functions not immediately evident to waking-state consciousness; further, mind includes tie-ins to higher levels of integration which, in their collectivity, function as intelligence or light-giving procedures for both thought and action. Second, we understand that the vastly greater part of mind (if we may even speak of mind as having a “part") remains hidden and largely unknown.

That art which reveals to us more of the hidden and unknown gives us more awareness. Awareness, in turn, gives us superior control: we are less the victims of chance and impulse─our own and the apparent randomness that can come about through the actions of other persons and circumstances. In the beginning the artist does not always necessarily set out to gain deeper control over consciousness by increasing understanding, but great art does provide this. And we feel that art to be the very greatest which goes furthest in opening up the hidden and unknown territory of the mind into the now known.

 

In the course of a two-hour performance, Hijikata started as a thirty-nine year old, and gradually he became younger and younger. He became thirty-five, then he was twenty-five, eighteen, twelve, and I  remember thinking there must be a secret. This must be the secret of dance. YOKO ASHIKAWA                  

There are few aspects of any art where the creative unconscious or subconscious, with extremes of force and possibility, is displayed in an objective manner. As examples, poetry and music provide displays through rhythms and structure. Dance interacts with time, motion, and the human body developing spontaneous structures.

The concept of the creative subconscious being on view before an audience becomes even more powerful when held up against psychoanalysis as advanced by Freud and company─psychoanalysts who have been trying for the better part of a century now to “explain" and “treat” the subconscious. Explain it, treat it? Yes, but how to explain, how to treat? Explaining and treating frequently probes the negative and destructive associations of the subconscious. It is valuable to make the dark, negative, destructive association of the subconscious more apparent. That the subconscious has a state of being is not a new discovery, certainly not by psychoanalysis. Freud’s writings, for example, are full of references to earlier literature, and Freud must much moved by poetry. He especially studied the Bible, to mention only one supreme case. Freud became aware that the text of the Bible leads all the way through the subconscious (hell) to transcendence (Heaven). As the biblical text shows, no one has ever risen to Heaven except through sacrifice and death, followed by the awakening that takes place in hell. The New Testament testifies to the major event in the Bible: Christ after his crucifixion (sacrifice) and death descended into hell for three days. Afterwards he appeared back among men as witness to the overcoming of death before ascending to heaven.

  When I trained to dance like a baby, the one thing that was most important to me was to explore and find the light. YOKO ASHIKAWA

  
Doesn’t the subconscious have other forces; is the destructive its dominant force? Surely not. Butoh demonstrates that the subconscious is enormously more creative than destructive.

Butoh brings the subconscious before our very eyes, allowing us to see it and hear it and smell it in creative interaction. But what is the purpose of it? Is Butoh not ugly at times? Is Butoh not messy? Is Butoh not, even, frequently disgusting to a properly organized, clean, wholesome mind? We must answer yes to these questions. However, before we look at this further, we must say what Butoh is not. Butoh is not religious, nor is it non-religious. Butoh is not humanistic. Butoh professes nothing: no personality cult, no religion, no political this-or-that, no ism. Butoh does not profess. Butoh insists over and over: let us get at the truth. Nothing else, nothing but he truth. . . Mind, to be dis-ease free, demands truth. We begin to contemplate Butoh from this point.

  The Butoh costume is like throwing the cosmos onto one’s shoulders. And for Butoh, while the costume covers the body, it is the body that is the costume of the soul. KAZUO OHNO 

Now, what about the properly organized, clean, wholesome, completely “rational” believing-completely-in-this-or-that-mind? Such a mind is poisoned. Such a mind breeds pestilence. In fact, this mind gives life over to pestilence. Such a mind sets up false gods; it makes merciless war on all creation.

Butoh is hard on such a mind. Butoh is almost as hard on such a mind as the man or woman having such a mind is hard on him or herself. Civilization from its earliest times until now─especially now, in these times shows nothing is harder on everyone, living and dead, than a properly organized, clean, wholesome, believing-completely-in-this-or-that-ism mind. Such a mind can be summed up in one word as a chthonic mind, one driven by the forces of the infernal deities. In short, a thoroughly modern mind!

Butoh opposes diseased mind. Butoh would have mind holy─whole and healthy. Butoh demonstrates for us, as William Blake has said, “For everything that lives is holy, life delights in life.” Butoh shows and reminds us: “life delights in life." This, more precisely, is to say that Butoh’s art endeavors to help us find out our own mind and creatively release its contents. All true art reaches out toward this. Great art achieves it.

Butoh enters the deepest darkness. Light pierces the opaque. Dealing directly before us with the body, Butoh strips the body to its essence. Butoh takes the body as it finds it. Butoh begins working with the body. Butoh wishes to teach the body but it also submits itself to learning from the body. What would the body be taught and what would it teach? Would it not wish to be taught and to teach about light? Would it not be taught that to really understand light it must enter into darkness: that the body must re-enter the womb. From the womb being aware that it is in the womb, the body can begin its integration process. It can begin to know.

Butoh enacts the womb and its contents and its struggles before our eyes. We are there in the womb; we are struggling in the womb; we are wishing to be born from womb; we are fighting for light; we want, we must have experience; we demand knowledge: at birth with each breath we demand knowledge! Butoh takes into us this world of life and death enacted both within us and before us.

 

Butoh (dance) is not the dance of the epoch. It is said that Butoh was the manifestation of a desire for metamorphosis. But I don’t think so. Butoh engaged itself in a combat with a painted body, but the body remained raw. Tatsumi Hijikata longed for nothing. Min Tanaka

Butoh becomes the search into the mind. For the mind to be the creative mind it must return, over and over, to its origins. We must long for nothing but to return to the endlessness of the cosmos, to be reborn. Min Tanaka tell us “Tatsumi Hijikata longed for nothing." He longed for nothing, that is, except to be born over and over. As he himself says, “I was born and transformed. It was no longer enough to be born only from the womb."

When Hijikata speaks of “dying again" and “making gestures of the dead,” he is speaking of memory and the real necessity of going into memory to make contact with the dead─both within us and without. This means one must connect with one’s own dead: with the generations of the dead one is descended from, through many levels, to be in this life. It also means appropriating the dead, their deaths, their lives, within one’s own life in
order to become more fully alive with each breath, with each instant more full both to oneself and to other human beings. This means becoming more aware-conscious. And to become more aware-conscious means to become more creative, more helpful, more loving.

What was mystery becomes creative and transforming force. Artist and audience reach for the light together: they struggle together, they suffer together, they love together, they grow together, they find knowledge together, they celebrate together.

Let us, now, celebrate this new form of dance. Let us not condemn ourselves, let us celebrate ourselves! Let us celebrate Butoh together!

 

We shake hands with the dead, who send us encouragement from beyond our body; this is the unlimited power of Butoh. TATSUMI HIJIKATA

                           台南演出照片

         台南的表演結束了
         I am darkness, and all the light.
         I find myself only myself, so painful and peaceful.
         I firmly clear out any thing surrounds me, any one, any time, any breath.
         No need to change the unchangable, just die.
         Die! and perhaps
         also live in the boundless, endless space.
               That is Butoh
               That is Sannyas
         That is me, or will be me.
               My name is Satyana — Deva Satyana

2012/9/4  11:20

(Words from Yoshito Ohno)

     At the workshops, Kazuo repeatedly stresses the necessity to start looking with the underside of the foot. He wants us to arrive at a stage where we can see with our feet. The eyes, in his estimation, should be able to migrate throughout the body, thus enabling what one might call a fine tuning of our perception of both outer and inner worlds. Onstage, Kazuo’s eyes, while continuing to focus on his surroundings, pass down through the body and cling tightly to the soles of his feet. By attaching themselves to the feet, their gaze becomes more penetrating, for the body itself then begins to respond to external stimuli. Kazuo insists that one shouldn’t rely entirely on the eyes to see because their ability to penetrate the visual field—even when making accommodation for focusing on nearby objects—is negligible when compared with the visual acuity of the body. In his own words, “It’s impossible for me to dance if I continue to look at things in my habitual way." Many years ago he primarily concentrated on the eyes in training sessions.

         For me, the learning process is quite the opposite: I first of all need to thoroughly grasp what it means to “see" before working on what Kazuo calls “non-seeing eyes." Once I’ve clearly understood how the eye functions in the conventional sense of the term, I can then turn my focus on how to make the other parts of the body visually sensitive. This deconstructive process obviously requires a step-by-step preparation. At practice sessions, I might first attempt to sensitize, let’s say, the fingertips. Using the palm of the hand as an eyeball, I lie down on the floorboards. I then try to imbue my hands’ movements with contrasting qualities such as strength and gentleness. By bringing my eyes down to floor level, I’m ultimately striving to transform the way my feet visually respond to their surroundings. I suppose what I’m trying to say is that I want to the soles of my feet to be able to see. It’s impossible for me to walk out onstage without first experiencing that the soles of my feet have been transformed into my eyes. Put another way, my body won’t come alive in performance unless my way of interacting with the immediate world undergoes a significant change. Hands have a natural advantage over the feet in this respect because of their innate sensitivity and dexterity.

(大野慶人先生的話)                                        

    在工作坊裡，大野一雄一再地強調開始用腳底去看的必要性。他想要我們到達一種可以用自己的腳去看見的階段。眼睛，就他的想法，應該要能通過全身內外移動到不同位置,因此使我們對外在和內在世界兩邊的知覺感受得以出現一種可稱為微調的諧合。舞台上，大野一雄的雙眼持續專注在四周的同時，會經過身體往下走然後緊盯住他的腳踝。藉由將它們緊繫在腳踝上，它們的注視就變得更有穿透力，因為這時身體會開始自己回應外界的刺激。一雄堅持人不該完全依靠用眼睛去看，因為它們洞察形象場域的能力—即使是將焦點停駐在近處的物體時—相較於身體目光的敏銳度而言是不甚重要的。他自己是這麼說的，“如果我繼續用自己習慣的方式去看事物，我是不可能把舞跳出來的。”許多年前的訓練階段他主要就是集中心力在雙眼上。

    對我而言，學習這件事的過程是剛好反過來的：在開始工作大野一雄所謂的“不去看見的眼睛”之前，首先我需要徹底掌握“看見”的含意。當我已清楚瞭解通常意義下雙眼是如何運作，那時我就能將自己的焦點轉到如何讓身體其他的部分是敏銳能見的。這般解構式的過程明顯地需要循序漸進的準備。在實際練習的時間，我可能會先試圖敏銳化，比方說，指尖的部分。我會躺在地板上，將手掌心當成眼珠來用。然後我會試著將力量與輕柔等相反的質地注入在我手的動作裡。藉由將我的視線高度降到地板的水平，最終我是努力去轉變我的雙腳目視般地回應它們四周的方式。我想我試著要說的是我期望包括到我腳底的部分都能夠去看見。如果沒有先感受到我的腳底已經轉變成我的眼睛，我不可能往舞台上走出去。換句話說，除非我與當下世界相互作用的方式經歷過重要的改變，我的身體是無法在演出中活過來的。在這方面手比起腳來有著天生的優勢，因為它們與生俱來的敏感與靈巧程度。

2012/8/29  20:52

(Words from Kazuo Ohno)

        I’ve been watching your gaze. Once you open your eyes in such a way that allows your soul to slip out, a birdlike creature, the soul of a birdlike creature will emerge. Will it penetrate the passageway to our soul? Are your eyes open in such a way that your soul can come and go without hindrance? Are they ready to welcome that bird as it tries to enter? Your soul constantly needs to come and go, so keep your eyes wide open as you move at all times. As your soul takes flight, do you share with us your joys and sorrows? What happens as your soul flies in and out? Don’t birds flap their wings on taking to, and returning from flight? Are your wings flapping in joy, or in sorrow? How are you responding? Your emotions are in a constant state of flux, ever changing. Your dance should reflect that ever shifting reality. Pay careful attention to the way you gaze about you, for it’s possible to create a dance solely with the eyes. They are a world onto themselves. Well, let’s focus on how you use your eyes for a while.

(大野一雄先生的話)

    我一直在注意你們眼睛裡的目光。一旦你們張開雙眼的方式甚至能讓你們的靈魂從中溜出，那麼某種像鳥一樣的生物，那鳥一般生物的靈魂就會出現。它會穿入通往我們靈魂的通道嗎？你的雙眼睜開的樣子是使你的靈魂進出不受阻礙的嗎？當那隻鳥想要進來時它們已準備好歡迎它嗎？你的靈魂需要經常地進出，所以當你在動作時始終要睜大你的眼睛。當你的靈魂飛起來時，你是在與我們分享你的喜悅與哀傷嗎?在你的靈魂飛進又飛出時發生了什麼?鳥兒在飛起，和飛落時，不是會振動它們的翅膀嗎？你的翅膀是喜悅地，或悲傷地振動著？你如何去回應？你的情感處在一種波濤不斷的狀態，始終變動著。你的舞蹈應該要能反映那變遷不已的真實。仔細留意你注視自己的方式，因為有可能僅是以雙眼就創造出一支舞蹈來。它們自己就是一個完整的世界。好了，我們來專注地練習一會兒你如何運用你的眼睛吧。

2012/8/22  02:10
      在光與黑暗的交替衝擊後, 你終於能來到獨自一人,
      沒有別人與自己的安靜.

迷惘無法以任何質疑除去,
尤其在面對如同愛或死亡這般巨大的真理時,
常常, 唯一的選擇是找到溶解的方式…包括愛, 恨, 疑惑, 信念, 以及所有的自己,
對桑雅而言, 種種方式中最好的就是大野一雄先生的舞踏,
但我們能實現的部分真的很少……

       Lumbini, 尼泊爾南邊靠近印度邊界處, 佛陀的出生地.

2012/8/12  13:57

2012/8/12  13:32

     深光是空無一人, 尤其沒有自己.

2012/8/7  01:18

    在這二張圖裡, 有“深光”想說的一切.