表演日常事物:舞踏的躯体生态学、现象学和禅宗

Sondra Fraleigh
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引用次数: 0

摘要

我通过禅宗和现象学的棱镜来写舞踏,因为它们对表演有着相似的哲学观,它们解释日常事物。在阐述日常生活中的表演时,这篇反思性文章的进展是向内转向意识和身体与自然的生态躯体融合问题。这篇文章的几个线索涉及到“这样”的问题,这是禅宗跨越几种佛教的非双重原则。这样的知觉合一是通过冥想或无依恋或无需要的中性注意而产生的。我把表演中的这种品质理解为细心、慷慨的展示和见证——这些都是由敏锐和指导推动的,而不是批评。在这种情况下,判断也可以有简单的判断力。这种态度接受事物的本来面目,接受人和表演的本来面目,无论是在个人关系中还是在舞台上。期望不会因此而降低;他们对好奇心和惊奇持开放态度。文章进一步发展了生态体表演,供读者体验。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Performing everyday things: Somatic ecologies of butoh, phenomenology and Zen
I write about butoh through a prism of Zen and phenomenology because they share similar philosophical outlooks on performance, and they explain everyday things. In articulating performance in the everyday, the progress of this reflective essay takes a somatic turn inward to matters of consciousness and ecosomatic convergence of body and nature. The several threads of this article relate through matters of ‘suchness’, a non-dual principle of Zen spanning several kinds of Buddhism. Suchness as perceptual oneness arises through meditative or neutral attention without attachment or need. I understand suchness in performance as attentive, generous presentation and witnessing ‐ these propelled by acumen and guidance more than criticism. Judgements can have simple good sense in suchness too. An attitude of suchness accepts things as they are, and people and performances as they are, whether in personal relationships or on the stage. Expectations are not lowered through suchness; they are open to curiosity and wonder. The article further develops ecosomatic performances for the reader to experience.
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