※摘譯自 “Hijikata Tatsumi and Ohno Kazuo" 頁115-8
> 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。
> 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。
> 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。
> 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。
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.
> 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.
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 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.
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.”