現身舞蹈場域的觀看美學——流形的身體影像
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2022
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本文藉由杜夫海納(Mikel Dufrenne,1910-1995)、梅洛龐蒂(Maurice Merleau-Ponty, 1908-1961)及李歐塔 (Jean-François Lyotard, 1924-1998)於感性、知覺與視覺的論述，為經驗反思提供學理上的進路，從而探究舞蹈場域視覺對身體影像的捕捉，於此之中視見流形(figural)的力量。受當代美學思潮的影響，觀看從審美知覺的感性經驗，走向非秩序、不穩定或差異的視覺經驗，這是因為在圖形的世界中隱含著一股不斷流動的形體能量；而視覺對圖形所見皆源自於欲(libido)的閃現，導致視覺難以把握圖形內部的流形力量，也因此造成觀看的困難性。在舞蹈場域中，舞蹈的身體是視覺主體，其捕捉動態的身體影像之際，發現流形的蹤跡於形體的內部，隱身在可見與不可見的圖形間，以無序的滑動狀態展現出流形的力量，使舞蹈的身體在捕捉流形的同時成為可見的形體，並於生成、調變與差異之中，為觀看美學增添了許多可能。
Drawing on the discourses of Mikel Dufrenne (1910-1995), Maurice Merleau-Ponty (1908-1961), and Jean-François Lyotard (1924-1998) on sensibilities, perceptions, and vision, this paper seeks to provide a theoretical approach for experience reflection, so as to investigate the capturing of body images by the vision of the dance field, and to get an insight into the power of the figural in such an investigation. Under the influence of contemporary aesthetic thought, viewing has moved from the sentimental experience of aesthetic perception to a visual experience that is disorderly, unstable, or different. This is because, there is implicit in the world of figures an incessantly flowing figural; and all that vision perceives in figures originate from the flashing of the libido, making it difficult for vision to grasp the power of the figural inside the figures. As a result, viewing also becomes difficult. In the dance field, the dancing body is the visual subject, and in its capturing of dynamic body images, it discovers traces of the figural inside the figures, hidden between the visible and invisible. It expresses the power of the figural spontaneously. This renders the dancing body to become a visible figure at the same time when it is nurtured in the figurals; and in the becoming, modulation, and difference, many possibilities are opened up for the aesthetics of viewing.
Drawing on the discourses of Mikel Dufrenne (1910-1995), Maurice Merleau-Ponty (1908-1961), and Jean-François Lyotard (1924-1998) on sensibilities, perceptions, and vision, this paper seeks to provide a theoretical approach for experience reflection, so as to investigate the capturing of body images by the vision of the dance field, and to get an insight into the power of the figural in such an investigation. Under the influence of contemporary aesthetic thought, viewing has moved from the sentimental experience of aesthetic perception to a visual experience that is disorderly, unstable, or different. This is because, there is implicit in the world of figures an incessantly flowing figural; and all that vision perceives in figures originate from the flashing of the libido, making it difficult for vision to grasp the power of the figural inside the figures. As a result, viewing also becomes difficult. In the dance field, the dancing body is the visual subject, and in its capturing of dynamic body images, it discovers traces of the figural inside the figures, hidden between the visible and invisible. It expresses the power of the figural spontaneously. This renders the dancing body to become a visible figure at the same time when it is nurtured in the figurals; and in the becoming, modulation, and difference, many possibilities are opened up for the aesthetics of viewing.
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舞蹈, 美學, 視覺經驗, 流形, 審美經驗, dance, aesthetics, visual experience, figural, aesthetic experience