https://scholars.lib.ntu.edu.tw/handle/123456789/20366
標題: | 以力動探問舞蹈與音樂的關聯: 從拉邦的圓舞到尤斯的舞蹈劇場 Relating Dance and Music with Dynamics: From Rudolf Laban’s choros to Kurt Jooss’ Tanztheater |
作者: | 謝杰廷 Hsieh, Chieh-Ting |
關鍵字: | 拉邦;尤斯;圓舞;舞蹈劇場;表現舞蹈;海德格;力動;亞里斯多德;亞里斯多申努斯;Rudolf Laban;Kurt Jooss;choros;Tanztheater;Ausdruckstanz;Martin Heidegger;Dynamics;Aristotle;Aristoxenus | 公開日期: | 2008 | 摘要: | 此篇論文試圖以海德格(Martin Heidegger)闡釋亞里斯多德(Aristotle)的《形上學》第九卷一到三節(Metaphysica Θ1-3)力(dynamis)與動作(kimesis)的概念為基礎,詮釋1910年到1932年間拉邦(Rudolf Laban)其舞蹈理論與作品中作為關鍵的圓舞(choros)與尤斯(Kurt Jooss)所建立起舞蹈劇場(Tanztheater)的意涵,以及他們對於音樂與舞蹈關聯問題的爭執與談論。拉邦(1879-1958)受到柏拉圖(Plato)與畢達格拉斯學派(Pythagorean)的影響認為舞蹈得以展現出宇宙動作的律動與和諧而試圖探問其中的法則以建立起舞蹈的自立性;既有音樂作品卻僅是去激動、激起而缺少明確性,成為舞蹈的限制。受到歌劇與俄國芭蕾舞團(Ballets Russes)的影響,尤斯(1901-1979)則不透過模仿(mimesis)與類比(analogy),而藉著闡釋拉邦所探問身體動作的法則性,以律動裡的身體性作為基礎,建立起音樂與舞蹈在形式上的連結而成為舞蹈劇場,作為藝術作品的形式。在海德格、亞里斯多德(Aristotle)與亞里斯多申努斯(Aristoxenus)的闡釋裡,力是變動的起源,作為考量到動作的力關涉到說話與技術的意涵而能作出、製作出作品。音樂作為作品則應作為力動的事物(res actio),其形式因而是以力動作為基礎。音樂與舞蹈則是在力動的彼此關聯下直接地建立起形式上的連結。 Influenced by Plato and Pythagorean, the German pioneer of expressionist dance Rudolph Laban (1879-1958) believes that dance could reveal the rhythm and harmony of movements in the cosmos, by which the independence of dance can be established. However, the existence of music in dance works, for Laban, merely excites the listeners and becomes the limitation of dance. Influenced by operas and Ballets-Russes, Laban’s contemporaneous choreographer Kurt Jooss (1901-1979), on the other hand, explores the meaning of dance rhythm directly without the application of mimesis or analogy, but through the elaboration on the rules of body movements. On the basis of body-ness in rhythm, Jooss establishes the formal relation between music and dance to bring out his Tanztheater as the form of dance work. Using Martin Heidegger’s interpretations of the concepts of force(dynamis) and movement(kinesis) in Aristotle’s Metaphysica Θ1-3, this thesis interprets the essential concept of choros(choros) in Laban’s dance theory and Jooss’s Tanztheater, in order to clarify the arguments about the relation of music and dance between 1910 and 1932. For Heidegger, Aristotle and Aristoxenus consider force as the origin of change. Force as force-with-regard-of-movement implies the meaning of technique and work and it is from force that art work is produced. Accordingly, musical work should be considered as res actio, and musical form should be based on dynamics. It is on this dynamic association that the relation between music and dance could be founded. |
URI: | http://ntur.lib.ntu.edu.tw//handle/246246/178974 |
顯示於: | 音樂學研究所 |
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ntu-97-R93144001-1.pdf | 23.53 kB | Adobe PDF | 檢視/開啟 |
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