[摘譯] 大野慶人:蘭花,毅力,和芯

※摘譯自 “Hijikata Tatsumi and Ohno Kazuo" 頁114-5


慶人在工作坊裡關於毅力的談話

          慶人的工作坊談話是中村テーマ在2005年3月19日的紀錄與翻譯。依據慶人教導所作的舞蹈體驗,則是加入Fraleigh和中村的準備方式及進一步說明後重新建構並擴充而成。

關於蘭花,毅力,和芯的筆記

          在他的工作坊,慶人有時會教導“不起動作的毅力”,這主題取自しんぴじむ(蕙蘭屬),一種花上7年時間從細菌,從菌類植物開始長成的蘭花。根據慶人的看法,此不動作對一雄而言就是舞踏的精髓。他說這裡面有個重要的元素叫做芯 (歸於中心,心,身體,樹幹,靈魂)。

舞蹈體驗
         芯
         > 以視覺化芯作為開始──你身體的最中心。那並不是一個地方;它是一種感                     覺。慶人說在日文裡芯是寫成くさのこころ(草之心)。現在握著一樣東西開始              走。這樣的走能夠多慢──“不動作的毅力”?慶人說“如果你持續走上7年,當你               握著的那樣東西消失時,你就會在你自己裡面擁有芯了。”他說“你需要毅力才               能達成他所稱的舞踏,而且就像土方在舞蹈時手上也會拿著一朵花,花正是                  一個舞踏的主題。”要記得大野對花有著特別的關聯,將它們視為“感覺器                  官”。慶人說在一雄的世界裡花是最理想的存在形式。

         > 在你心的中心帶著你的花。帶著花一直走下去,直到你變成那朵花。在你
            轉變成花朵時,讓你的心來引導你的舞。在你心中帶著耐性,就像花朵不
            會張揚且不須要求就將它的芳香給予這個世界。現在讓這朵花帶著你。讓
            你的舞蹈以它自己的時間和自己的方式結束。繼續呼吸進入你自己的芯。
            什麼會在你身體留下來呢?

的準備工作
         > 在這練習的一開始將一雄關於花的舞踏譜俳句寫下來,於是在你舞蹈時就可                  參考它並反覆體會。找一段簡單的音樂是柔和與和諧的,有著心與芬芳。要                  用器樂,而非人聲,因為歌詞可能會與你純淨的花一般的意識相牴觸。多用                些時間去自然地看著花,也許那是花園,或是生長在田原和路旁的野花。這                  朵花可能是被遺忘或者有人照顧。選擇你自己的花。在你的工作筆記裡,將                  你的花畫出或描出來,這是練習關於芯的舞蹈體驗。

慶人的回響
         在我首次的獨舞演出,那是1969年,我30歲的時候,我非常努力地在練習,也請土方對我的舞蹈寫些意見。他說,OK,然後寫了:“慶人的舞蹈是花與鳥。”這大家都看得出來,但他就只是寫出花與鳥。嗯,它們確實是內外繫合的要素。



Yoshito’s workshop words on Patience

         Yoshito’s workshop words are recorded and translated by Tamah Nakamura, March 19, 2005. DANCE EXPERIENCES on the teaching of Yoshito are reconstructed and extended with preparations and further instructions by Fraleigh and Nakamura.

Note on Orchids, Patience, and Shin

         In his workshops, Yoshito sometimes teaches “The Patience of Not Starting,” taking this theme from the shinpijimu (Cymbidium), an orchid that takes seven years to grow starting from bacteria, from fungi. For Kazuo this not starting is the essence of butoh, according to Yoshito. He says that an important element of this is shin (centeredness, heart, body, tree trunk, spirit).

DANCE EXPERIENCE
          Shin
         > Begin by visualizing Shin — the very center of your body. This isn’t a place; it is a                        feeling. Yoshito says that in Japanese shin is written as kusa no kokoro (heart of grass).                   Now begin to walk holding something. How slow is this walk – “the patience of not                  starting”? Yoshito says that “if you continue to walk for seven years, when the thing                     you are holding is gone you will have shin in yourself.” He says “you need patience to                   reach what he calls butoh, and that just as Hijikata also danced with a flower in his                  hand, the flower is a butoh theme.” Remember that Ohno had a special relationship to                   flowers, considering them “sensory organs.” Yoshito says that flowers are the most                   ideal form of existence in Kazuo’s world.

         > Carry your flower in the center of your heart. Keep moving on with the flower, until                    you become the flower. As you transform into the flower, let your heart guide your                   dance. Carry patience in your heart, just as the flower is unassuming and gives its                       fragrance to the world without being asked. Let the flower carry you now. Let your                     dance finish in its own time and its own way. Continue to breathe into the shin of                        yourself. What is left residing in your body?


Preparation for Shin
         > Write down Kazuo’s butoh-fu haiku on flowers at the beginning of this section, so you                can refer to it and let it ruminate in your dance. Find simple music that is soft and                     harmonious, that has fragrance and heart. Use instrumental music, not voice, because                 the words can interfere with your pure flower-consciousness. Spend time in nature                    looking at flowers, maybe a garden, or wildflowers in fields and beside the pavement.                 This might be a forgotten flower or one that is tended. Choose your flower. In your                  journal, paint or draw your flower as practice for the DANCE EXPERIENCE on                  Shin.


Reflections from Yoshito
         In my first recital, when I was at the age of thirty, in 1969, I was practicing very hard and I asked Hijikata to write something about my dance. He said, OK, and he wrote: “Yoshito’s dance is flower and bird.” Anyone could see that, but he just wrote flower and bird. Well, they are internal and external elements tied together.




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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