合藏舞踏苑

※摘譯自 “Hijikata Tatsumi: The Words of Butoh: [Introduction]    作者 Kurihara Nanako    資料來源 http://www.jstor.org/stable/1146810



    “舞踏”(butoh)一詞，如今已被接受為此類型的名稱，是源自於1960年代初期的暗黑舞踊(ankoku buyō)。“暗黑”(ankoku)的意思是“徹底的黑暗”。“舞踊”，一種舞蹈類型名稱, 則是用在許多複合的詞彙：例如, 現代舞踊(gendai buyō)，現代舞蹈；以及古典舞踊(koten buyō)， 古典舞蹈。在之後的1960年代，暗黑舞踊演變成暗黑舞踏(ankoku butō)。“舞踏”這個字用在複合詞彙像舞踏会(butō-kai)，歐式型態的舞會，或者死の舞踏(shi no butō)，中世紀歐洲的死亡舞蹈。也就是說，“舞踏”是用來指稱西方的舞蹈形式。然而，根據日文字典広辞苑(Kōjien)，舞踏也釋為拝舞(haimu)，皇宮裡的一種特定禮儀，行禮者揮動身上傳統和服的長袖並踩踏其足。(新村 1991:2037)。“踏”的意思是踏腳。雖然踏的動作並不是典型的舞踏，土方創造了“暗黑舞踏”一詞來代表一種宇宙性的舞蹈，它完全背離了既有的舞蹈並且探索著人類本性最黑暗的層面。


    The word “butoh," now the accepted name of the genre, originated as ankoku buyō in the early I960s. “Ankoku" means “utter darkness." “Buyō," a generic term for dance, is used in many compounds: for example, gendai buyō, modem dance; and koten buyō,classical dance. Later in the I960s, ankoku buyō evolved into ankoku butō. The word “butō" is used in compounds such as butō-kai, a European-type ball dance, or shi no butō, the medieval European dance of death. That is, “butō" was used to refer to Western dance forms. However, according to the Japanese dictionary Kōjien, butō also means haimu, a specific ceremonial salutation at the imperial court in which a person flings the long sleeves of traditional Japanese dress and stamps the feet (Shinmura 1991:2037). “Tō" means stamping feet. Although a stamping movement is not typical of butoh, Hijikata created the term “ankoku butoh" to denote a cosmological dance which completely departed from existing dances and explored the darkest side of human nature.

※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.”

※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？

芯的準備工作
         > 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.

※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.

※引自 “Hijikata Tatsumi and Ohno Kazuo"   頁113

                                                            “死海”(1985)裡的大野慶人         攝影 池上直哉

※引自“Hijikata Tatsumi and Ohno Kazuo” (2006 : 頁52-54,頁57-59)


HIJIKATA’S BUTOH-FU: WHAT IS AN IMAGE?
土方的舞踏譜：何謂意象？

      An image is often understood in terms of visual material, pictures, photographs, and figures in paintings, something discernable to the eye, but images are actually much more than this, as the study of butoh reveals—especially the buto-fu of Hijikata. His imagery is drawn from a wide variety of sensory sources, including the appeal of words. “Images,” as the word suggests, come from and also reflect the imagination. Finally in performance, the dance we see and relate to is itself composed of images, movement images, sometimes called dance images, phrases and larger gestalts of movement resulting from choreography or improvisation—as explored extensively in Dance and the Lived Body (Fraleigh, Part 3, “The Dance Image,” 1987). There are many layers of images in butoh, those that inspire the dance, those that animate its metamorphosis, and the actual images that strike the eye and mind of the audience.
      對於意象的理解常常是從視覺物件的角度，即圖片，攝影，畫作裡的形體，某種眼睛能辨識之物，然而就如舞踏研究所顯示的，意象事實上遠大於此—尤其是土方的舞踏譜。他的意象汲取自大量不同類別的知覺來源，也包括文字的藉助。“意象”  (images)，如同這個字已經表明的，既來自也反映著想像(imagination)。最後到了演出，我們看見且連繫上的舞蹈本身就是由意象所組成，即動作形象，有時稱為舞蹈意象，語彙，和出自編排或即興的較長動作結構—這在舞蹈與活過的身體裡已有廣泛地探索(第三部分“舞蹈意象”，作者Fraleigh，1987年出版)。舞踏中存在著許多層面的意象，有的啟發了舞蹈，有的使其形態得到改變，也有的意象真實出現，震撼觀眾的雙眼和心靈。

      Nowhere in dance do we find such a rich exposition of imagery than in the work of Hijikata. Hijikata did not perform on stage after 1974. He concentrated on choreographing for others and also worked extensively with Ashikawa Yoko. Gradually he recorded his original dance notation, or system of butoh-fu—sixteen scrapbooks of verbal and visual images for dance based on his experiments with surrealist strategies from poetry, painting, and literature. Kurt Wurmli who has studied the scrapbooks extensively says the eclectic assemblage of visual images in Hijikata’s collection range from prehistoric cave paintings to twentieth century street graffiti, including works from all five continents. “The images are partially or entirely cut out and glued-in reproductions of works of art, nature, architecture, and science in the form of photocopies, prints or hand drawings. In all, they make up a collection of over 500 individual works” (‘Images of Dance and the Dance of Images: A Research Report on Hijikata Tatsumi’s Butoh’(Wurmli): 7-8).
      舞蹈世界中沒有任何地方可以找到像在土方的作品裡如此豐富的意象闡述。1974年後土方就不再上台表演。他專注於替其他人編舞並頻繁地與芦川羊子一起工作。逐漸地他記錄下他自己原創的舞蹈記譜，或者可稱作舞踏譜體系—16本剪貼簿包含了供舞蹈所用的語言和視覺意象，這些是建立在他對來自於詩，繪畫，文學，超現實主義者的措施和方法所作的實驗。全面研究過這些剪貼本的Kurt Wurmli說，土方所蒐集的那些不拘一格並匯集起來的視覺意象，範圍可從史前洞穴壁畫到二十世紀的街頭塗鴉，包括了所有五個大陸的作品。“這些意象是將關於藝術、自然、建築、和科學的文件圖片，以複印、印記、和手繪的形式，部分或全部地剪出與貼入後的重製。整個來說，它們是由超過5百件的工作成果所彙集而成。(‘舞蹈的意象與意象的舞蹈：關於土方巽舞踏的研究報告’(Wurmli)，頁7-8)

      Hijikata’s imagistic style of recording dance provides a basis for present-day understanding of the origins of butoh in surrealist imagery. Wurmli reports that Hijikata did not date his work; thus, the exact time period and order of the books are uncertain. Hijikata started the butoh-fu in the early I 970s and finished them in 1985. They contain Hijikata’s writing, his marks, and the collected visual images. The text itself is handwritten in poetry and phrases, and most of it relates to the visual materials. The marks, mostly in pencil, are lines, circles, arrows and the like, used to emphasize parts of a visual image (Ibid.). We can see from this that Hijikata’s butoh-fu is a collection of highly complex verbal and visual images intended as an illustrated poetic guide for dance movements. For the most part, the images themselves (also called butohfu) do not show exact postures or movements, but leave this open to discovery—except in a few cases where actual photographs of dance are shown.
      土方記錄舞蹈的意象式風格提供了今日以超現實主義者的形象化描述來理解舞踏起源的基礎。Wurmli的研究提到土方並沒有替他的作品記下日期；因此，這些簿本的確切時間和順序是不確定的。土方從1970年代初期開始這些舞踏譜而在1985年結束。它們含有土方的書寫，他的記號，以及所蒐集的視覺意象。文本本身是手寫的詩和段落，並且其中絕大多數都與視覺意象有關。那些記號，大都是用鉛筆，則是線條，圈圈，箭頭等等類似之物，用來強調一個視覺意象的某些部分(同上)。從此我們可以看出土方的舞踏譜是高度複雜的語言與視覺意象彙集，用意是為舞蹈動作提供圖解並具詩意的指引。絕大部分而言，這些意象本身(也被稱作舞踏譜)並不顯示明確的姿勢或動作，而是將這點開放讓人探索—除了一些附有實際舞蹈照片的少數情況。



土方的舞踏譜 “糖果溶化".    版權：土方巽資料庫





WORDS THAT DANCE: OHNO’S IMAGES
跳舞的文字：大野的意象

                  The essential thing in dance is that it haunts and clings to your body the same way that your lifelong experience has.
                                                                                                                        (Ohno Kazuo)
                  舞蹈關鍵之處在於它能纏住並緊附在你的身體如同你畢生活過的經驗所作的一般。
                                                                                                                        (大野一雄)

      As we noted earlier, a butoh-fu is not a set of instructions or method on how to do butoh. The literal meaning of fu is a chronicle or history, therefore any dancers’ spoken or written chronicles of their process, in whatever form, is their butoh-fu. According to the Ohno Kazuo Archive in Yokohama, there are a very large number of Ohno’s butoh-fu in existence currently being categorized at the archive. The archive is not yet open to the public.
      就像我們先前指出的，舞踏譜並非一套關於如何作出舞踏的指示或方法。譜的字面意義是編年或歷史，所以任何舞者對他們的歷程所說出或寫下的記事，不論任何形式，就是他們的舞踏譜。據橫濱的大野一雄資料庫(Ohno Kazuo Archive)所言，存在著非常大量的大野舞踏譜，正於資料庫裡分類編目中。資料庫目前尚未對大眾開放。

      Ohno’s words in butoh-fu and workshop talks are in essays, poems, and notes that he prepares for performances and workshops.
      大野在舞踏譜和工作坊談話裡的言語是他為了準備演出和工作坊而作的短文，詩句，及筆記。


                   Hand
                       When does it come?
                       Where does it come from?
                       Whose hand?
                       The invisible hand that respond to words
                       (Essence of eroticism).

                                                     Ohno’s butoh-fu for “Episode for the Creation of Genesis"
                                                               –Part of his performance in The Dead Sea(1985)
                  手
                       它什麼時候會來?
                       它會從什麼地方過來?
                       是誰的手?
                       是看不見的手在回應這些字句
                       (愛欲的精髓)

                                                                                大野一雄為"創世紀" —作品"死海"
                                                                                        (1985)中的一幕所寫的舞踏譜

         The butoh-fu above represents the type of short poems Ohno writes on the blackboard or pieces of paper in his dance studio when he is practicing for a dance. He jots words down in the form of ideas and rough sketches on specific themes during the course of his daily life as they come to him.
         以上的舞踏譜代表著當大野在他的舞蹈工作室練習一段舞蹈時會在黑板或紙張上寫下的短詩型式。在他日常生活的過程中一旦感覺出現，他就會快速記下這些出於靈感的文字以及對於特定主題概略性的草稿。



大野的舞踏譜 ,他的親手筆跡和記號. 版權：大野一雄資料庫

                                                                            影片出處： http://youtu.be/3lbLkYxDgTY

A Message from Kazuo Ohno on International Dance Day in 1998
1998年國際舞蹈日來自大野一雄的訊息

A Message to the Universe
給宇宙的訊息

On the verge of death one revisits the joyful moments of a lifetime.
One’s eyes are opened wide-gazing into the palm, seeing death, life, joy and sorrow with a sense of tranquility.
This daily studying of the soul, is this the beginning of the journey?
I sit bewildered in the playground of the dead. Here I wish to dance and dance and dance and dance, the life of the wild grass.
I see the wild grass, I am the wild grass, I become one with the universe. That metamorphosis is the cosmology and studying of the soul.
In the abundance of nature I see the foundation of dance. Is this because my soul wants to physically touch the truth?
When my mother was dying I caressed her hair all night long without being able to speak one word of comfort. Afterwards, I realized that I was not taking care of her, but that she was taking care of me.
The palms of my mother’s hands are precious wild grass to me.
I wish to dance the dance of wild grass to the utmost of my heart.

臨近死亡的邊緣，人會重新來到一生中那些喜悅的時刻。
他的眼睛會睜得大大地凝視著掌心，以一種平靜的感受看見死亡、生命、 喜悅、與哀傷。
每天這樣地研讀著靈魂，這是否就是旅程的開始？
我迷惑地坐在死者的遊樂場裡。我渴望能在這裡跳舞、跳舞、跳舞、不停地跳舞，就像野草的生命一樣。
我看見了野草，我就是野草，我與宇宙成為一體的。像這樣徹底的質變即是靈魂的宇宙定律，也是它自身的研習歷程。
在大自然蓬勃豐饒之處，我看到了舞蹈的根基。這是因為我的靈魂想要用這身體確實地碰觸到真理嗎？
在我的母親將要過世時，整個晚上我只能撫摸她的頭髮，一句安慰的話都說不出來。之後我才明白，當時並不是我在照顧她，反而仍是她仍在照顧著我。
對我而言，我母親的手掌心就是珍貴無比的野草。
我渴望能舞出野草之舞，這是我心最大的願望。

                                                                            影片出處： http://youtu.be/T6Ix96_t_ZU


                                     手
                                      它什麼時候會來?
                                      它會從什麼地方過來?
                                      是誰的手?
                                      是看不見的手在回應這些字句
                                      (愛欲的精髓)

                                                                                大野一雄為"創世紀" —作品"死海"
                                                                                        (1985)中的一幕所寫的舞踏譜

                                                                                               譯自"Hijikata Tatsumi and
                                                                                                  Kazuo Ohno" (2006:p59)

       舞踏的核心是Eros…然而是哪一種? 到了何種層次?
       僅指出Eros但沒有加以界定, 會讓對舞踏的瞭解甚至其發展限制在Marquis de Sade和Georges Bataille的範圍, 輕忽掉舞踏第三脈絡已達成的境地, 包括土方巽本人的.(可參考他的演出http://youtu.be/vetSYKychwI   所用的音樂是 Joseph Canteloube的"Bailero",牧羊女之歌)
       本文也沒有成功界定出什麼, 那需要融會運用大量的大野一雄和土方巽資料. 然而即使做到了這點, 未必就等於瞭解舞踏, 因為身體裡靈魂裡那股特殊頻率的振動還不夠深, 還不夠充足. 許多知名舞踏者雖然擁有振動, 但並無法對焦到那頻率.
       這就是為什麼大野一雄先生值得更多的探索和學習. 如果你真正看懂了他在表演時例如上面那段影片的狀態, 你就會感受到那種振動, 並發現那樣的振動就是最精華的Eros, 既是生命地底的撼動也是靈魂天際的開啟.
       這就是為什麼, 大野一雄先生值得那麼多人的愛.


                                  「舞踏的根源是愛」
                                                                         大野一雄  “魂の糧” (1999:p113)

舞踏不能停滯在原子彈後的日本, 二戰後的歐洲精神思維,
舞踏也絕不能陷落在21世紀的閃爍, 漂浮, 當代心靈的氛圍中,
真正的舞踏者是回到自己, 但那樣的自己是潛入舞踏的根源, 確切碰觸到土方巽,大野一雄等人的身體和靈魂, 再與之對撞,崩解,結合,重生後的自己,
是的, 仍然是原子彈爆發, 但這是在身心靈魂裡的爆發, 燃燒殆盡一切的身體和非身體, 物質和非物質, 權威和反權威, 文明和反文明, 界限和沒有界限, 正正反反裡裡外外全部都爆發淨空,
淨空, 同時等於真正的完整的宇宙和存在,
然後, 再來談舞踏.
這是Satyana的2014宣言.

位在橫濱市海岸通.
除了大野慶人先生的演出, 也是Kazuo Ohno Festival的主場地.