‘魂魄’ ‘暗黑’ [摘譯自"Hijikata Tatsumi and Ohno Kazuo"]

※引自“Hijikata Tatsumi and Ohno Kazuo” (2006 : 頁59-60)

靈性的黑暗:進入大野一雄的
排練場與“魂魄”裡

中嶋夏,舞踏的女性創始者之一,於1997年在台北的輔仁大學進行了一場重要的演說,針對土方巽和大野一雄作品裡靈性的黑暗以及它的女性基礎,作出日本佛教觀點的詮釋,雖然這些舞者並非真的是在任何宗教傳統範圍內工作。她帶我們進到大野一雄的排練場裡,以及他在工作坊中所用的字“魂魄”。她說很多外國人來到大野一雄的排練場,而他會給他們一些詞彙用來舞蹈。例如,“舞在天堂裡。舞在地獄裡。舞在心裡。” 中嶋說,大多數人能做得到並且感覺這很不錯。但是當大野先生說舞在“魂魄”裡時,突然間他們就不知如何動作了。“魂魄”是個連日本人也都遺忘並且感覺陌生訝異的字眼。它描述著亡者與生者於河岸之間往返,平平靜靜地。中嶋特別指出日本人所用的一些佛教詞彙,像是“彼岸”—遠方亡者世界那邊的河岸,以及“此岸”—此處生者世界這邊的河岸。在“魂魄”裡亡者一年數次往返,渡河回到他們祖先的居處。那並不是一個地方,而是“不在那裡的任何地方。”她說我們可將這稱為黑暗,靈性,無形之物,無意識,或者那已滅去並消失的。這是某種無法被見到的東西—某種大野一雄認出它是“魂魄”,而土方巽稱作“暗黑”與“闇”(幽暗)—透露出反差及非理性(中嶋 1997)。

SPIRITUAL DARKNESS: INSIDE OHNO’S
STUDIO AND KONPAKU

Nakajima Natsu, one of the female founders of butoh, gave a pivotal speech at Fu Jen University in Taipei in 1997 explaining a Japanese Buddhist perspective of spiritual darkness in the work of Hijikata and Ohno and its feminine basis, even though these dancers were not working literally within any religious tradition. She takes us inside Ohno Kazuo’s studio and his workshop word Konpaku. She says that many foreigners come to Ohno Kazuo’s studio, and he gives them a phrase to dance on. For example, “Dance in the heavens. Dance in hell. Dance in the heart.” Most people can do this and feel good about it, Nakajima says. But when Ohno says dance in konpaku, all of a sudden they don’t know how to move. Konpaku is a word that even the Japanese have forgotten and would be startled by. It describes the riverbanks where the dead and the living come and go, very much at peace. Nakajima emphasizes that the Japanese use Buddhist terms like higan — the far side of the riverbank for the world of the dead, and shigan — the near side of the riverbank for the world of the living. Konpaku is where the dead come and go several times a year crossing the river to their homes. It is not a place, but “nowhere out there.” She says we can call this darkness, spirituality, something formless, the unconscious, or the destroyed and disappeared. This is something that cannot be seen — something that Ohno identified as Konpaku and Hijikata called ankoku and yami (shadowy darkness) — emanating contradiction and irrationality (Nakajima 1997).

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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