舞蹈影像的哲学问题——从舞蹈绘画到舞蹈视频

The Philosophical Problem of Dance Images:from Dance Painting to Video Dance

文章立足于更为广阔的图像视野而非电影,尝试建立从媒介角度分析舞蹈与影像的哲学关系。我们通过不同技术和媒介形式,把"舞蹈影像"分为绘画、符号、摄影、电影和信号等类型,从不同时期、不同媒介形式的舞蹈影像的内在张力,去认识舞蹈与影像、不同性质的舞蹈影像之间的差异,以此触及视觉再现时代舞蹈的核心问题:舞蹈在不断地成为影像的同时,也成为一种对图像的张力完成突破的艺术创作,舞蹈通过连续不断生命的自由运动,展现出在绘画的图像性和造型性之间、在符号的精确性与自由性之间、在摄影的给定与摄取之间、在电影的记录与幻觉之间、在视频信号的分解与重组之间,成为一种超越性力量。

This paper attempts to establish a philosophical relationship between dance and image from media view,which based on a broader image vision rather than film. Through different technologies and media forms,"dance images "being categorized into painting,symbols,photography,film and signal,also,the inner tension of"dance images"in different times and distinct media forms lead us to realize the differences between dance,image and different kinds of"dance image",which bring up dance’s central question in visual representation era: While dance constantly becoming images,it also becoming a form of art that break through the tension of images. Through the continuous free movement of life,it shows its transcendental power between the image and modeling of painting,accuracy and freedom of symbols,given and ingestion of photography,recording and illusion of film,and decomposition and reorganization of video signals. Today,there is no dance without image,while dance also liberates image. The representation of the painting image of dance lies in the tension between image and modeling,while the symbolic image of the dance converts the physical movement of body into precise coded symbols on 2-D surface through the encoded dance notation,which lies in the conflict between the spatial intensity of the body and the rhythm of the movement.