[摘譯] 大野慶人:不起動作的毅力

※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.

‘意象’ ‘舞踏譜’ [摘譯自"Hijikata Tatsumi and Ohno Kazuo]

※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。


Hijikata's Butoh-fu“Dribbling Candy”. Courtesy Hijikata Tatsumi Archive (Hijikata and Ohno p53)2
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。


Ohno's Butoh-fu, a photograph of his calligraphy and marks. Courtesy Ohno Kazuo Aechive (Hijikata and Ohno p58)
大野的舞踏譜 ,他的親手筆跡和記號. 版權:大野一雄資料庫




大野一雄的Eros (2)




                                                                            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。




大野一雄的Eros (1)



                                                                            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)




Butoh’s atomic bomb



大野001


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.




デュオ

敘述者:大野慶人(Yoshito Ohno)

無論如何只要是一個人,它就是不完整的。歸根究抵,人類就是一種不完整的存在。

舉例來說,土方巽(Tatsumi Hijikata)總是強調舞蹈中形式的重要性;他相信只要重視結構與編排,其中的內容隨後就會自行出現。以他自己的話來說,“生命總會趕上形式。”然而另一方面,大野一雄認為:只有在具有精神內涵作為開始的情況下,形式才會自己產生。雖然這二種途徑聽起來都很正確,但同一個人要同時執行這兩種如此衝突的方式幾乎是不可能的。

類似的戲劇性緊張狀態標示了我與我父親之間的工作關係。大野一雄的確將舞蹈的精神層面賦予了最高的重要性。大野一雄一向都是讓靈魂帶領著動作。對他而言,身體的動作絕對依賴於一個精神性的存在。相反地,我和他一起演出時,始終更為看重身體性的層面,盡可能地專注在舞蹈所採用的形式上。

關於我們二人途徑的不同有個很好的例子。那是發生在我們到東京的FM Hall,由鋼琴家Miyake Haruna伴奏演出『白蓮』的時候。舞台上擺著一座大鋼琴,它優美的弧線強烈地震撼了我,因此想利用它攝人的形體成為視覺上的背幕。然而大野一雄一如往常,不會有任何這類的想法。他說他要更自由地舞蹈,絕對不被他認為是無關緊要的道具所限制。

但我仍抱持相反立場,下定決心要讓那美麗的造型在這場舞台空間裡發揮作用。那時我想著:“可惡,如果大野一雄不想用這台鋼琴作為背景跳舞,那麼,我自己跳!”

還有,我們對空間的概念是截然不同的。大野一雄傾向於佔滿整個場景空間;他會自由地運用觀眾席,走道,地板,座位,或者任何他認為適合用來創造他的宇宙的地方中跳舞。而我,相反地,是在舞台範圍內的限定區域裡舞蹈。不過我將此點看作是我們工作關係上有正面價值的特色,因為對於與空間的關聯持著相對的觀點和方式只會更為豐富我們的作品。

大野一雄時常引用伊曼紐‧斯威登堡(Emanuel Swedenborg)的故事裡的一對夫妻。儘管他們天生就很不一樣,個性常常互相衝突,然而在他們將要離開這世間的那一刻,二人轉變為一致,並且結合成天堂裡一位單一的天使。我跟大野一雄在舞臺上的關係多少也可以這樣形容。即使各自擁有不同的特質,我們仍然成功地融合成一個整體,一個更大的整體。然而到了最後,就要踏上舞台之時,我們都能理解彼此分開的個體必須合在一起了。

儘管我們一起演出,但不會試圖去搶彼此的戲,或者想一較高下。然後在我們兩人的演出中彷彿創造出一個世界、單一的存在。


原文:“魂の糧”
137,141
やっぱりどうしても一人では、人間は不完全な存在です。
土方さんが、まず踊りには形があって、形が大事でそれに魂がついてくるものだと言った。それに対して、一雄は魂があれば形はついてくるものだと言った。両方正しく聞こえる。けれど両方を一人でやることは不可能なんです。
一雄はどうしても魂を先行させて、それに動きがついてくるようにしかできない。だから反対に僕が一雄とやる時には、僕は絶対に形を優先させて、形の世界をできるだけやるというふうになる。
たとえば『白蓮』の時です。舞台にあったピアノの曲線の形がきれいでした。僕はこの曲線を利用して踊ろうとした。一雄はそういうことはしない。もっと自由に踊りたい。そんな制約はいらないと。
僕は反対にそのきれいな曲線を利用して踊りたい、それを舞台にして踊りたいと思う。一雄が踊らないなら、ちくしょう、じゃあ俺が踊ってやろうと思った。
一雄は舞台全体を使って宇宙で踊る。僕はその限られた空間で踊る。そういうことがあってもいいと思う。
よくスウェーデンボルグの言葉を引用して一雄が言います。「夫婦は天界にあって一人の天使である」。そういう関係かもしれません。二人で別々の要素があるけれども、現れてくるものは一つだと。一つのものであると。でなきゃいけない。一つのものが、そこに現れていなければいけないと。
二人でやってもあんまり競演はしないです。競り合ってやっていくという形じゃない。両方があって一つの世界を、存在をつくってるという感じがある。


英譯本:
”kazuo ohno’s world”  946-41行,第96頁1-8行,第97頁1-6行

      Irrespective of how accomplished or talented one may be, one inevitably remains incomplete without some form of interaction with others. Tatsumi Hijikata, for instance, always stressed the importance of form in dance; he believed that once the structure and choreography had been established, the content would subsequently emerge of itself. In his own words, “Life catches up with form.” Kazuo, on the other hand, even to this very day, holds the diametrically opposite view:form comes of itself, only insofar as there is a spiritual content to begin with. While both approaches sound like viable working practices, one and the same person could never employ such conflicting methods.

A similar dramatic tension underlines my working relationship with my father. It is Kazuo who places the utmost significance on the spiritual aspect of dance. For him, movement is utterly dependent on a spiritual presence. I, on the other hand, invariably emphasize the most physical aspects; I concentrate in as much as possible on the form dance assumes.

A good illustration of our differing approaches could be seen in when we performed A White Lotus in Bloom at Tokyo’s FM Hall accompanied by the pianist Miyake Haruna. There was a grand piano onstage, whose beautiful curved lines struck me forcefully. I wanted to try to incorporate its arresting shape into the visual backdrop. Yet Kazuo, in typical fashion, wouldn’t have anything of the sort. He said he wanted to dance more freely and not be in any way constrained by what he considered an unnecessary prop. Though our opinions openly clashed on this issue, I nonetheless was determined to avail of its beautiful shape in the scenic space. I thought to myself at the same time: “If Kazuo isn’t going to dance with that piano in the background, well then, damm it, I will!”

Also, our conceptions of space clearly differ: Kazuo is inclined to take advantage of the entire scenic space; he freely utilizes the auditorium, the aisles, the floor, the seats, or wherever he deems fit to create his universe. I, on the other hand, dancein a restricted area within the confines of the stage. But I consider this is a positive feature of our working relationship, in that having contrasting viewpoints and ways of relating to space only enriches our work.

Also, our conceptions of space clearly differ: Kazuo is inclined to take advantage of the entire scenic space; he freely utilizes the auditorium, the aisles, the floor, the seats, or wherever he deems fit to create his universe. I, on the other hand, dancein a restricted area within the confines of the stage. But I consider this is a positive feature of our working relationship, in that having contrasting viewpoints and ways of relating to space only enriches our work.

Kazuo frequently quotes from Swendenborg’s tale of a man and wife who, despite their inherently different, and often clashing personalities, went on to become reconciled and united as a single angel in heaven on their departure from this world.23 Our relationship onstage could be described in somewhat similar terms. While having separate identities and completely opposite approaches both to rehearsal and performance, we nonetheless successfully merge into a larger whole. And yet we somehow manage to retain our individual voices. Ultimately though, when it comes to setting foot onstage, we both realize that our separate identities must merge as one.

We don’t try to upstage each other or engage in rivalry. Notwithstanding that we are two individuals, with very independent streaks, the public is left with the impression that we jointly strive to create a single entity in our work.

摘譯:天人戲樂 [p31]


    土方巽の大野一雄との出会いとそれに土方が執着してきた意味である。土方二十一歳、秋田から初めて上京のおり、彼は大野一雄の舞台を観た。大野四十二歳、神田共立講堂での第一回大野一雄舞踏公演『鬼哭』『タンゴ』『リルゲ‧菩提樹の初花が』について土方はこう書いている。
   『東京で〈昭和〉二十三年の秋不思議な舞台に出合った。シミーズをつけた男がこぼれる程の抒情味湛えて踊るのである頻りに顎で空間を切り乍ら感動はながく尾を引いた。この劇薬のダンスは何年たっても私の脳裡から消すことは出来なかった』(「中の素朴/素材」『美貌の青空』所収)。


    土方巽和大野一雄的相遇是土方巽開始其執著的緣由。土方巽21歲時,第一次從秋田至東京觀賞了大野一雄的表演。關於這場大野一雄42歲時,於神田共立講堂舉辦的第一回大野一雄舞踏公演《鬼哭》、《Tango》、《Rilke・菩提樹的初花》,土方巽寫下了:
   「昭和23年的秋天,在東京與一場不可思議的表演相逢了。一個穿著襯裙的男人,滿溢著抒情,讓情感自然流瀉而出地舞著。他在頻繁地用下顎將空間切割的同時,亦能把感動的餘韻延續。這如同毒藥般的舞蹈,不論經過多少年仍在我腦中揮之不去。」(出自「中の素朴/素材」『美貌の青空』)

摘譯:HIJIKATA Tatsumi and OHNO Kazuo [2006, p36&p37]

大野慶人訪談紀錄  採訪者:中村文昭

      When Hijikata asked me what I thought of my father’s dance, I answered with certainty that his dance is modaan dansu (modern dance). Hijikata nodded in total agreement with me. Ohno Kazuo’s dance doesn’t have to be butoh. His dance cannot be called Japanese aging beauty or wabi sabi. Ohno Kazuo has to be lively forever. He has to be modaan.
      當土方問我怎麼看我父親的舞蹈時,我肯定地回答他的舞是“現代舞”.土方十分同意地對我點頭.大野一雄的舞蹈並不一定得是舞踏.他的舞也不能稱作日本式的蒼老之美,或是素雅之寂靜(wabi sabi).大野一雄必定永遠飽滿著生命力.他必須是“現代的”.

      What Hijikata Tatsumi saw in Ohno Kazuo’s body is shigen [natural resource], something he had never seen in any stage art but something he had seen in his own body. Hijikata called what he saw in Ohno Kazuo’s body Ankoku Butoh.
      土方巽在大野一雄的身體裡所看見的是某種天然礦脈,天然能源,某種他從未在任何舞台藝術上看過,卻是在他自己的身體裡見過的東西.土方將他在大野一雄的身體裡所看到的稱為暗黑舞踏(Ankoku Butoh).