※摘譯自 “Hijikata Tatsumi and Ohno Kazuo" 頁115-8
舞蹈體驗
毫髮之隔 (紙一重)
慶人在教導毫髮之隔時，他喜歡給大家看一張掛在牆上的土方巽的海報，在海報裡土方巽穿著長禮服，將一朵玫瑰拿在身前。他說土方巽在練習時會一拿著用張面紙捏出來的花一邊走，於是他拿著花，將薄薄的一層空間握在手裡，這朵花也將柔軟產生在他的中心處(芯)。慶人將那芯裡的細柔描述為“毫髮之隔”(紙一重)：
那只是一根頭髮般的間隙。然而有了這間隙你就能吸引到人們的注意。是否具有這小小的間隔將導致大大的不同。土方會練習將一張紙放在他的雙手之間，像這樣：(慶人從放在桌上的盒裡抽出一張面紙來示範。他讓面紙輕輕地飄動，最後停在他舉在胸前的雙手手掌間。)
這會花上很長時間，但我希望你們都能獲得這樣的身形。你必須在靈魂裡感受到它。靜謐。如同芭蕉的閑さや岩にしみ入蝉の声 (靜岩裡之蟬聲)：即使在岩石裡都有真理。並且即使是岩石都知道它。
過程
> 一開始將面紙放在你的手臂下(兩隻手臂)同時兩手交握在身前，就像你在禱告 時會出現的樣子。僅留剛好可將面紙輕輕夾住的空間。歌舞伎演員就是以這方 式而能如同女人般行走(稱為紙一重)—-在手臂和身側之間只有一張面紙的間 隔。
> 以輕柔的音樂來做這個練習，當你能用上大約20分鐘的時間，從排練場地板 的一端漸漸地，一點一點地移動到另一端，這張面紙細柔的空間就會成為你靈 魂和內在生命的一部分。
舞蹈體驗
成為石頭
“大野一雄在拜訪奧斯威辛(Auschwitz)時，”慶人告訴我們，“他發覺到自己無法在那地方跳舞。然後他看到ㄧ些石頭在他所走的路旁牆上，他就能跳舞了。他能舞出存在於那些石頭中的悲痛。
> 慶人給這練習的指示，以中村這次的體驗而言，只有“成為一塊石頭”。他說 在人們裡面有著許許多多不同的石頭。他告訴我們一雄會這麼說：“不要想著 要去變成石頭；只需找出在你裡面的那塊。“
> 在這舞蹈排練場裡，跟著風的聲音來探尋身體，找到你自己的石頭。用一段 風聲的錄音，或是能特別表現出風的音樂。除了排練場裡的體驗還可以有別的 方式來嘗試這舞蹈體驗，也許你會想不用錄製的聲音並且去到自然的環境裡 —-就在真的有石頭的地方。
“成為石頭”的準備工作
> 找一個地方只有你與石頭在那，或者大致是如此。站在它們上面。感覺它們 就在你的腳下，碰觸著你的皮膚。撿起它們，感受各個不同的重量，紋理，看 見它們的色澤。
> 不必擔心對此想得太多：就只是去經驗那些石頭：與它們相處一會兒後再進 行舞蹈體驗。
> 感覺石頭裡面的靜止，也許你會被在它內部的分子運動所吸引，或者是石頭 怎麼呼吸並隨著時間而變化。
> 反思作為石頭的自己。
> 透過石頭體驗到歲月，尤其當你想到大野一雄有著這麼長的壽命，而且要記 得是他啟發了這舞蹈體驗。到2006年時他就100歲了，慶人說他身體現在沒有 任何問題，只是因年邁而虛弱。他會在他的輪椅裡跳舞，有時還會作出一段奮 力從地板挺直上來的舞蹈。它的手臂揮舞擺盪，而當他放鬆在他的舞蹈中時， 他的臉龐柔和並充滿笑容。看著大野人們不會看到皺紋，只有光。
中村的回響
中村描述了她對舞蹈練習成為石頭的觀察：
我坐在橫濱的舞蹈排練場地板上的矮桌周圍，旁邊就是空著的一雄的座椅，從這位置我看著眼前正在成為石頭的人們。拼命緊握著在他雙手手掌間一塊想像的石頭，這年青人扭曲的臉孔表現了那些從石頭中滴落而出的情緒。有個女人將頭往後甩，整個臉朝上並閉起眼睛，蹣跚而行的同時將她的雙臂舉著，扛起她那塊石頭的重擔。有個男人雙腳彈起又落下，以看不見的力量猛烈撞上他的石頭。一個女人跪坐著，在她身前將那些石頭一一堆起。我體驗到這些石頭的能量是極度有活力且相互作用著—-找尋活生生的石頭讓我們與在自己周遭就在那的石頭以及那石頭般的世界相連結。
Fraleigh的回響
在參加了芦川羊子的工作坊後，我馬上在我的舞踏工作本上寫下了這首俳句，石頭。我將它視為我個人對舞蹈的定義。
石頭般靜止的身體
什麼都沒有
那就是不動
如果你有隨身帶著一本舞蹈體驗工作本或剪貼簿，你也許會想寫下你自己關於成為石頭的俳句。寫下三句短行，大約是5/7/5共17個音節。俳句ㄧ般而言都是三行，但可以依據字詞的安排而作改變，5/7/5也只是指引，而非命令。重要的是讓詩句簡短並完整。聽見那些字，不要一開始就去編排它們。對詩句的仔細考慮和修訂可以晚點再作。讓它是簡單的。大野會寫簡單的俳句用來啟發舞蹈，我們在第二章中的那段“跳舞的文字：大野的意象”裡剛剛看過也探討過。
DANCE EXPERIENCE
Hair-split Difference (Kamihitoe)
When Yoshito teaches Hair-split Difference, he likes to show a poster of Hijikata hanging on the wall in which he is wearing a long dress and carrying a rose in front of him. He says that Hijikata walks with a flower wrapped in a tissue during practice so that he carries the flower with a thin layer of space between his hand and the flower creating softness in his center (shin). Yoshito describes that softness in shin as a “hair-split difference” (Kamihitoe):
It is just a hair-split difference. With that difference you can attract people’s attention. Whether you have this small difference or not that makes a great difference. Hijikata practiced placing a piece of paper between his hands, like this: (Yoshito demonstrates by drawing one tissue from the box setting on the table. He allows the tissue to float to a resting position gently between the palms of his hands held in front of his chest.)
It will take a long time, but I hope you will acquire this form. You have to feel it in spirit. Quietness. As Basho’s Shizukasa ya Iwa ni Shimi iru Semi no Koe (The Cicada’s Voice in the Quiet Rock): There is truth even in the rock. And even the rock knows that.
The Process
> Begin by placing a tissue under your arm (both arms) and hold your two hands in front of you,as you might in prayer. Leave just enough space to gently hold the tissue. That is how Kabuki actors walk like women (called kamihikitori) — with one tissue space between the arm and the side of the body.
> The softness of the one tissue space becomes part of your spirit and inner life as you move in minute increments across the studio floor for about twenty minutes practicing this exercise with soft music playing.
DANCE EXPERIENCE
Be a Stone
“When Ohno Kazuo visited Auschwitz,” Yoshito tells us, “he found that he couldn’t dance there. Then he saw some stones in the wall along the path he was walking and he could dance. He could dance the pain in the stones.”
> Yoshito’s only instructions for this exercise, as Nakamura experienced it, are to “be a stone.” He says that there will be many kinds of stones in people. He tells us that Kazuo would say: “Don’t think about being a stone; just find the stone in you.”
> In the dance studio, search your body for your own stone to the sound of wind. Use a recording of wind sounds, or a score that features wind. As an alternative to the studio experience, you might like to try this DANCE EXPERIENCE without recorded sound and out in the environment — in the presence of stones.
Preparation for “Be a Stone” (whether in the studio or natural environment)
> Find a place where you can be alone with stones, or relatively so. Stand on them. Feel them under your feet and on your skin. Pick them up, feel the various weights, textures, and see the colors.
> Never mind thinking too much about this: just experience the stones: be with them for a while before undertaking the DANCE EXPERIENCE.
> Feel the stillness in stones, or maybe you are attracted to the molecular movement inside, or how stones breathe and change with time.
> Reflect on yourself as stone.
> Experience age through the stones, as you connect to Ohno Kazuo’s longevity, and remember he inspires this dance experience. He will be l00 years old in 2006, and Yoshito says there is nothing physically wrong with him, just weakness from old age. He dances from his wheelchair, and sometimes does a dance of struggle for uprightness from the floor. His arms waft and wink, and when he is relaxed in his dance, his face is soft and smiling. One doesn’t see wrinkles when looking at Ohno, just light.
Nakamura’s reflections
Nakamura describes her observations of DANCE EXPERIENCES on Be a Stone:
From my position sitting on the floor at the low table next to Kazuo’s empty chair in the dance studio in Yokohama, I look out at the people being a stone. Desperately wringing an imaginary stone between the palms of his hands, a young man’s grimace expresses the emotions dripping from the stone. A woman with her head flung back and her face looking up staggers forward with closed eyes and her arms hanging, carrying the heavy burden of her stone. A man jumps and lands on his feet, violently crashing his stone against unseen forces. A woman sits in a kneeling position piling up stones in front of her. I experience the energy of the stones as intensely alive and interactive — searching for the living stone connects us to the stone out there in our environment and to the world as stone.
Fraleigh’s reflections
I made this haiku poem, Stone, for my butoh journal immediately after taking a workshop with Ashikawa Yoko. I think of it as my personal definition of dance:
Stone Still Body
There is Nothing
That is Not Moving
If you are keeping a DANCE EXPERIENCE journal or scrapbook, you might want to write your own haiku on Be a Stone. Write three short lines of around 17 syllables of 5/7/5. Haiku are generally three lines, but can vary according to the arrangement of the words, and 5/7/5 is just a guide, not a prescription. The important thing is to keep the poem short and whole. Hear the words. Don’t edit them at first. Thoughtful shaping of the poem can come later. Keep it simple. Ohno wrote simple haiku as inspiration for dance, as we just saw and also considered in Chapter 2 in “Words that Dance: Ohno’s Images.”
合藏舞踏苑 