※引自“Hijikata Tatsumi and Ohno Kazuo” (2006 : 頁52-54,頁57-59)
HIJIKATA’S BUTOH-FU: WHAT IS AN IMAGE?
土方的舞踏譜：何謂意象？
An image is often understood in terms of visual material, pictures, photographs, and figures in paintings, something discernable to the eye, but images are actually much more than this, as the study of butoh reveals—especially the buto-fu of Hijikata. His imagery is drawn from a wide variety of sensory sources, including the appeal of words. “Images,” as the word suggests, come from and also reflect the imagination. Finally in performance, the dance we see and relate to is itself composed of images, movement images, sometimes called dance images, phrases and larger gestalts of movement resulting from choreography or improvisation—as explored extensively in Dance and the Lived Body (Fraleigh, Part 3, “The Dance Image,” 1987). There are many layers of images in butoh, those that inspire the dance, those that animate its metamorphosis, and the actual images that strike the eye and mind of the audience.
對於意象的理解常常是從視覺物件的角度，即圖片，攝影，畫作裡的形體，某種眼睛能辨識之物，然而就如舞踏研究所顯示的，意象事實上遠大於此—尤其是土方的舞踏譜。他的意象汲取自大量不同類別的知覺來源，也包括文字的藉助。“意象” (images)，如同這個字已經表明的，既來自也反映著想像(imagination)。最後到了演出，我們看見且連繫上的舞蹈本身就是由意象所組成，即動作形象，有時稱為舞蹈意象，語彙，和出自編排或即興的較長動作結構—這在舞蹈與活過的身體裡已有廣泛地探索(第三部分“舞蹈意象”，作者Fraleigh，1987年出版)。舞踏中存在著許多層面的意象，有的啟發了舞蹈，有的使其形態得到改變，也有的意象真實出現，震撼觀眾的雙眼和心靈。
Nowhere in dance do we find such a rich exposition of imagery than in the work of Hijikata. Hijikata did not perform on stage after 1974. He concentrated on choreographing for others and also worked extensively with Ashikawa Yoko. Gradually he recorded his original dance notation, or system of butoh-fu—sixteen scrapbooks of verbal and visual images for dance based on his experiments with surrealist strategies from poetry, painting, and literature. Kurt Wurmli who has studied the scrapbooks extensively says the eclectic assemblage of visual images in Hijikata’s collection range from prehistoric cave paintings to twentieth century street graffiti, including works from all five continents. “The images are partially or entirely cut out and glued-in reproductions of works of art, nature, architecture, and science in the form of photocopies, prints or hand drawings. In all, they make up a collection of over 500 individual works” (‘Images of Dance and the Dance of Images: A Research Report on Hijikata Tatsumi’s Butoh’(Wurmli): 7-8).
舞蹈世界中沒有任何地方可以找到像在土方的作品裡如此豐富的意象闡述。1974年後土方就不再上台表演。他專注於替其他人編舞並頻繁地與芦川羊子一起工作。逐漸地他記錄下他自己原創的舞蹈記譜，或者可稱作舞踏譜體系—16本剪貼簿包含了供舞蹈所用的語言和視覺意象，這些是建立在他對來自於詩，繪畫，文學，超現實主義者的措施和方法所作的實驗。全面研究過這些剪貼本的Kurt Wurmli說，土方所蒐集的那些不拘一格並匯集起來的視覺意象，範圍可從史前洞穴壁畫到二十世紀的街頭塗鴉，包括了所有五個大陸的作品。“這些意象是將關於藝術、自然、建築、和科學的文件圖片，以複印、印記、和手繪的形式，部分或全部地剪出與貼入後的重製。整個來說，它們是由超過5百件的工作成果所彙集而成。(‘舞蹈的意象與意象的舞蹈：關於土方巽舞踏的研究報告’(Wurmli)，頁7-8)
Hijikata’s imagistic style of recording dance provides a basis for present-day understanding of the origins of butoh in surrealist imagery. Wurmli reports that Hijikata did not date his work; thus, the exact time period and order of the books are uncertain. Hijikata started the butoh-fu in the early I 970s and finished them in 1985. They contain Hijikata’s writing, his marks, and the collected visual images. The text itself is handwritten in poetry and phrases, and most of it relates to the visual materials. The marks, mostly in pencil, are lines, circles, arrows and the like, used to emphasize parts of a visual image (Ibid.). We can see from this that Hijikata’s butoh-fu is a collection of highly complex verbal and visual images intended as an illustrated poetic guide for dance movements. For the most part, the images themselves (also called butohfu) do not show exact postures or movements, but leave this open to discovery—except in a few cases where actual photographs of dance are shown.
土方記錄舞蹈的意象式風格提供了今日以超現實主義者的形象化描述來理解舞踏起源的基礎。Wurmli的研究提到土方並沒有替他的作品記下日期；因此，這些簿本的確切時間和順序是不確定的。土方從1970年代初期開始這些舞踏譜而在1985年結束。它們含有土方的書寫，他的記號，以及所蒐集的視覺意象。文本本身是手寫的詩和段落，並且其中絕大多數都與視覺意象有關。那些記號，大都是用鉛筆，則是線條，圈圈，箭頭等等類似之物，用來強調一個視覺意象的某些部分(同上)。從此我們可以看出土方的舞踏譜是高度複雜的語言與視覺意象彙集，用意是為舞蹈動作提供圖解並具詩意的指引。絕大部分而言，這些意象本身(也被稱作舞踏譜)並不顯示明確的姿勢或動作，而是將這點開放讓人探索—除了一些附有實際舞蹈照片的少數情況。
土方的舞踏譜 “糖果溶化". 版權：土方巽資料庫
WORDS THAT DANCE: OHNO’S IMAGES
跳舞的文字：大野的意象
The essential thing in dance is that it haunts and clings to your body the same way that your lifelong experience has.
(Ohno Kazuo)
舞蹈關鍵之處在於它能纏住並緊附在你的身體如同你畢生活過的經驗所作的一般。
(大野一雄)
As we noted earlier, a butoh-fu is not a set of instructions or method on how to do butoh. The literal meaning of fu is a chronicle or history, therefore any dancers’ spoken or written chronicles of their process, in whatever form, is their butoh-fu. According to the Ohno Kazuo Archive in Yokohama, there are a very large number of Ohno’s butoh-fu in existence currently being categorized at the archive. The archive is not yet open to the public.
就像我們先前指出的，舞踏譜並非一套關於如何作出舞踏的指示或方法。譜的字面意義是編年或歷史，所以任何舞者對他們的歷程所說出或寫下的記事，不論任何形式，就是他們的舞踏譜。據橫濱的大野一雄資料庫(Ohno Kazuo Archive)所言，存在著非常大量的大野舞踏譜，正於資料庫裡分類編目中。資料庫目前尚未對大眾開放。
Ohno’s words in butoh-fu and workshop talks are in essays, poems, and notes that he prepares for performances and workshops.
大野在舞踏譜和工作坊談話裡的言語是他為了準備演出和工作坊而作的短文，詩句，及筆記。
Hand
When does it come?
Where does it come from?
Whose hand?
The invisible hand that respond to words
(Essence of eroticism).
Ohno’s butoh-fu for “Episode for the Creation of Genesis"
–Part of his performance in The Dead Sea(1985)
手
它什麼時候會來?
它會從什麼地方過來?
是誰的手?
是看不見的手在回應這些字句
(愛欲的精髓)
大野一雄為"創世紀" —作品"死海"
(1985)中的一幕所寫的舞踏譜
The butoh-fu above represents the type of short poems Ohno writes on the blackboard or pieces of paper in his dance studio when he is practicing for a dance. He jots words down in the form of ideas and rough sketches on specific themes during the course of his daily life as they come to him.
以上的舞踏譜代表著當大野在他的舞蹈工作室練習一段舞蹈時會在黑板或紙張上寫下的短詩型式。在他日常生活的過程中一旦感覺出現，他就會快速記下這些出於靈感的文字以及對於特定主題概略性的草稿。
大野的舞踏譜 ,他的親手筆跡和記號. 版權：大野一雄資料庫
合藏舞踏苑 