[摘譯] 大野慶人:不起動作的毅力

※摘譯自 “Hijikata Tatsumi and Ohno Kazuo"   頁112-4

大野慶人:不起動作的毅力(こんきの いる みしゅっぱつ)

       2005年3月中村テーマ在日本橫濱參加了一場大野慶人的工作坊,那時慶人運用了以下的舞踏譜,這是他父親很典型的教學方式。那是四行的俳句,學生們會想將它寫下來作為視覺化的冥想,並以此準備進行接著的舞蹈體驗“不起動作的毅力”。

               花朵生長
               花開而逝去
               臨近鳥兒展翅
               凋零的花瓣四處散落

       慶人,舞踏的主要舞者之一,多年來與他的父親在日本及世界各地同台巡迴演出;在一雄即將於2006年迎接他百歲生日之際,慶人持續照料著他的父親且接下教學的工作。近日,當一雄坐在輪椅上起舞時,慶人就在身旁帶著他進出,以各種需要的方式陪伴與支持他的父親。在日本,父母,老師,和祖先,皆是具有尊崇的地位,此從慶人的一生就可明顯看出。1959年還是青少年的他,在標識出舞踏起點的“禁色”裡開始和土方與一雄共舞,從那時起他就一直反映且補充著他父親的舞蹈(有時是完全的對比)。

       慶人有時會拿出山根有三的著書“宗達”裡三幅連續相關的水墨畫來開始他的工作坊:1)池塘裡的睡蓮盛開;2)鳥展開翅膀;3)睡蓮的花瓣掉落。他解釋舞踏就像這畫裡詩意般的過程:

               睡蓮就是身體,鳥則代表某種社會。此繃緊的關係在空氣中交互運作著。
               宗達在500年前將那池塘與鳥之間充滿張力的關係畫了出來。我認為這就
               是舞踏的情境。

OHNO YOSHITO: THE PATIENCE OF NOT
STARTING (KONKI NO IRU MISHUPPATSU)

       In a workshop that Tamah Nakamura took from Ohno Yoshito in Yokohama, Japan in March of 2005, he used the following butoh-fu typical of his father’s approach to teaching. Students may want to write this down as a meditative visualization, and four line haiku, in preparation for the following dance experiences on “The Patience of Not Starting.”

               The flower grows
               The blossoms die
               A bird takes wing nearby
               And the wilting flower petals scatter

       Yoshito, one of the major dancers of butoh, performed with his father in Japan and on his international tours for many years; he continues to take care of his father and serve his work as a teacher with Kazuo reach-ing his one-hundredth birthday in 2006. Most recently, when Kazuo dances in his wheelchair, Yoshito is nearby to transport him, to accompany and support his father in any way that is needed, and he takes care of him at home with the help of others. In Japan, parents, teachers, and the ancestors, hold a place of respect and honor, as Yoshito’s life reflects. He has mirrored and complemented his father’s dance (in stark contrast sometimes) since his teen years when he began to dance with Hijikata and Kazuo in Kinjiki, the 1959 performance that marked the beginning of butoh.

       Yoshito sometimes opens his workshops by showing an interconnected series of three watercolor prints in the book Sotatsu by Yamane Yuzo: 1) a water lily blossoms in a pond; 2) a bird takes flight; 3) water lily petals fall. He explains that butoh is like the poetic process in this painting:

               This water lily is a body and this bird is a kind of society.
               This is a tense relationship interacting in the air. Sotatsu
               painted that tense relationship between the pond and the bird
               500 years ago. I think this is a scene of butoh.

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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