大野一雄研究資料(3) [臉]

大野慶人談話摘錄

The Face

           大野一雄臉上的表情,比起其他任何事情,更能讓人確定他會如何去到觀眾面前。藉由仔細觀察他的表情,我們可以懂得他身體動作的深度。他的臉部的確是無法面具般遮蓋住他心靈和身體的真實狀態。以同是表演者的身分來說,當我面對著你在這張照片裡所看到如此真實的面容時,我變得能夠強烈地意識到自己的局限。這本書裡的相片是一雄獨特工作方法的見證,這些方法讓他可以創造出這麼難以抵擋的臉部表情

首先我應該提出,一雄熱切投入他創作能量的時刻,是遠遠先於他進到排練場準備演出結構。他的做法是用紙筆,不間斷地寫下他的想法和思緒。此外,他的創作過程需要一段很長的孕育時間,在那段期間他會藉由讀詩與俳句,以及研究繪畫和各種視覺藝術家的作品來激發他的想像力。他身上總會帶著黑色粗筆和一般大小的工作日誌,所以他可以迅速記下任何腦海中掠過的靈感印象。以他對詩,文字,和他所掌握到各類資料的深度瞭解為基礎,他那不可遏止的流露逐漸帶領他在紙上重新創造出他內在宇宙的藍圖。事實上,正是因為這樣持續寫下和抹去自己的備註,草稿,與印象,使他的心靈旅程足以啟航,並深入到他內在生命的腹地裡,最後在這過程中發現了一個“新世界”。一雄有講過,在這相當漫長的自我探索期間,他會有豐富頻繁的作夢傾向。


Kazuo Ohno’s facial expression, more than anything else, determineshow he come across to an audience. By observing his expression closely, one canfathom the depths of his movements. His face is simply incapable of masking histrue state of mind and body. Speaking as a performer myself, when confrontedwith an expression as authentic as the one seen in this image, Ibecome keenly aware of my own limitations. The photographs in this book bearwitness to Kazuo;s unique working methods, methods that have enabled him tocreate such compelling facial expressions.

  I should first of all mention that Kazuo delves into his creativepower long before setting foot in the workshop studioto prepare the framework for a performance. He does so with pen and paper, bycontinually writing down his thoughts and reflections. Moreover, he stimulateshis imagination by reading poetry and haiku,studying paintings andother visual artists’ work during the long gestation period required in hiscreative process. He always has a black felt marker and regular-size workjournal at hand so that he can jot down any ideas and sketches that flashthrough his mind. Based upon a deepened understanding of the poems,writings, and other sources at his disposal, his outpourings gradually lead himto recreate a blueprint of his inner universe on paper. In fact, it is thisconstant writing and erasing of notes, sketches, and impressions that enableshim to embark on a psychological journey into the hinterlands of his inner lifeand ultimately discover a “new world” in the process. Kazuo has remarked thathe’s inclined to dream profusely during this very lengthy period ofself-exploration.
                                                                                          
                                                                                                   “Kazuo Ohno’s World"   P9,L1-29

作者

Satyana

曾為劇場表演者 現為奧修門徒 1994年首見大野一雄與大野慶人的舞踏 自2007年至日本向慶人先生學習

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