“主体性”的舞蹈运动经验:知觉结构、时间性与空间性——基于梅洛-庞蒂现象学思想的启示

The Experience of“Subjectivity”in Dance Movement:Perceptual Structure,Temporality,Spatiality—Revelations Based on Merleau-Ponty’s Phenomenology

身体是舞蹈艺术的“本体”。现有的一些相关研究受身心二元论的影响,更倾向于把舞蹈中的身体当作与心灵、意识相对立的客体,导致其主体性被遮蔽。实际上,身体与智慧在舞蹈中是不可分割的统一体,只有借助一种超越身心二元论的整体观念,才能够阐明舞蹈身体的主体性。梅洛-庞蒂把身体与世界的知觉交互关系作为分析人体运动经验的理论框架,由此产生的知觉结构则旨在唤醒身体感知的主体性。在其启示下,可认识到舞蹈运动经验展现了身体与世界之间的辩证关系,从而揭示了身体感知在舞蹈产生及其时空发展中的主体地位。同时,身体感知的主体性还能赋予舞蹈以充实的意义,并透过舞蹈时间与空间结构的发展和变化而深化。

The body is the“essence”of dance art,and existing research is influenced by the dualism of body and mind,which tends to treat the body in dance as an object opposite to the mind and consciousness,resulting in its subjectivity being obscured.In fact,the body and intellect are an inseparable unity in dance,and only with a holistic concept that transcends the dualism of body and mind can the subjectivity of the dance body be elucidated.Merleau-Ponty used the perceptual interaction between the body and the world as a theoretical framework for analyzing the experience of human movement,and the resulting perceptual structure aims to awaken the subjectivity of bodily perception.Under its inspiration,it can be recognized that the experience of dance movement demonstrates the dialectical relationship between the body and the world,thus revealing the subjective position of bodily perception in the emergence and spatiotemporal development of dance.At the same time,the subjectivity of bodily perception can give dance a fulfilling meaning and deepen it through the development and changes of dance time and spatial structure.