皮娜·鲍什舞蹈剧场中的身体语言及文化逻辑

Body Language and Cultural Logic in Pina Bausch’s Dance Theatre

皮娜·鲍什是非常受欢迎的德国现代舞蹈家。她带领的乌珀塔尔舞蹈剧场是德国重要的文化窗口,也是当代三大新舞蹈流派之一。每当人们提及皮娜舞蹈剧场中日常行为、语言等非技术化的肢体语言时,都会引起一番争论。有的人认为舞蹈剧场作为一种以肢体为主要表现手段的舞蹈形式,虽然增加了台词等表现形式,但还是属于舞蹈的范畴;有的人认为日常化肢体语言和台词的加入,使舞蹈剧场更接近于传统的戏剧,让舞蹈剧场看起来更像是一种从舞蹈走向戏剧的综合性艺术形式。因此,本文试图从皮娜·鲍什舞蹈剧场中的肢体语言入手,考察和分析其肢体语言的独特性与生产机制,以及隐藏在身体语言背后的文化逻辑。

Pina Bausch was a prominent and popular contemporary dancer and choreographer in Germany. The Dance Theatre she led is an important cultural showcase for Germany and a leading school for contemporary dance. It has also fomented some controversies. Some people think that dance theatre that takes body parts as the main medium of expression is still within the realm of dance, although it includes lines as an additional mode of expression. While others think that, with the inclusion of body language and lines, dance theatre is a medium closer to traditional opera, and makes the dance theater look more like a comprehensive artistic form that connects dance with theatre. Hence, based on the body language in Pina Bausch’s Dance Theatre, this article analyzes the uniqueness and productive mechanism of its body language as well as the cultural logic underneath.