新身体、幻觉与叠加力效——从早期舞蹈影像看现代舞的出现

New Bodies,Illusions,and Superimposed Force Effects: the Emergence of Modern Dance from the Perspective of the Early Dance Films

媒介考古学为早期舞蹈影像的研究提供了新的历史视角,文章分析了19世纪末到20世纪初三位舞蹈家的舞蹈影像创作,提出舞蹈与电影的相遇不仅是记录手段的革新,而且也为彼此打开了新的创作可能。从古典芭蕾的衰落到以邓肯为代表的现代舞的兴起,美国舞蹈家洛依·富勒通过探索新技术发现了舞蹈的"新身体";俄罗斯舞蹈家亚历山大·希里亚耶夫在用摄影机拍摄芭蕾舞剧的过程中,发现了电影影像的本质不仅是再现,更是幻觉,从而展开电影史上最早的定格动画创作;舞蹈理论家鲁道夫·拉班在发明拉班舞谱的同时,看到了作为抽象语言的舞谱与具象的电影运动之间相互融合的可能,舞谱与电影为作为身体运动的舞蹈提供了不同性质的力效。这三位舞蹈家在"舞蹈影像"上的探索,让影像与影像技术参与了现代舞观念的发生与形成。

Media archaeology provides a new historical perspective for the study of early dance images. This paper analyzes the creation of dance films by three dancers from the late 19 th century to the early 20th century,and proposes that the encounter between dance and film is not only an innovation of recording means,but also opens up new creation possibilities. From the decline of classical ballet to the rise of modern dance represented by Duncan,American dancer Lo? e Fuller discovered the “new body ” of dance through exploring new technologies;In the process of shooting ballet with camera,Russian dancer Alexander Shryayev found that the essence of film image is not only reproduction,but also illusion,thus launched the earliest stop-motion animation creation in the history of film. When the dance theorist Rudolf Laban invented the Labanotation,he saw the possibility of mutual integration between the dance score as an abstract language and the concrete motion film,which provided different force effects for the dance as a body movement. The exploration of“dance film”by these three dancers enables films and film technology to participate in the emergence and formation of modern dance concepts.