舞蹈动作的本体论阐释

The Ontological Interpretation of Dance Movement

对个体的感受与人类历史两方面的考察表明,动作既是人出现、存在于世间的一切之所从来之元点,又是人在生存中一以贯之的状态与特征。被遗忘、被遮蔽、自动化是动作在本体论上的必然的、首要的存在状态。动作的本体价值与创造性要在舞蹈之中方能获得敞开与澄明。在舞蹈中,动作显露自身、表达自身、发展自身,动作无需再去承接一个特定的利益诉求,无需发挥其物质方面的作用,演化为无目的、无利害的、无用的舞蹈动作。舞蹈动作让舞蹈成为一种独立的艺术,是舞蹈在艺术领域立足之根基。对艺术本体的追求背后是对艺术创造性支点的求索,立足之基是创造之本。舞蹈动作摆脱了日常动作中物质材料的束缚,不再指向物质世界,而是回转到人自身,从精神角度塑造、敞开人的信仰领域,从肉体角度塑造的、敞开人的生命律动本身。一阴一阳之谓道。舞蹈与天地宇宙、人情物理的同构,对人的生命律动的形式化构造,便建基于舞蹈动作的本体论意义的创造性之上。

The human history and the feelings of the individual show that movement is not only the starting point of the person appear and the existence in the world,but also one principle runs through it all in the human existence. Forgotten,shield,automation is the necessity and primary state of being of movement on the ontology. The essential value and creative of movement is opened in the dance. In the dance,the movement reveals itself,expresses itself and develops itself. Movement does not have to accept particular interests,with evolution for no purpose,no interest. It is useless dance movement. Dance movement make dance became a kind of independent art. Dance movement is free from bondage of material and no longer points to the material world,but turns to the human beings. Dance movement shapes the person’s belief and life rhythm. The virtual world of dance is based on the ontological creativity of dance movement.