演舞の構造 : 演舞概念の形成のために

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Dance is the end of dance-education. Dance is a formed art as well as a performed one, whether it be in the professional field or in the educational field. Therefore, analysis of the structure of dance performance provides a good way to gain a better understanding of the composition of dance. In this paper, writer attempts to form an adequate conception of dance performance. How a work of dance is recognized as the dance ? There is no doubt that dance is found as dance and interpreted by persons who compose, perform and appreciate it, and the case of education, by a teacher and pupils who develop dance as an activity. Having an urge to dance, we pick up a work of dance which has been composed by someone and yet requires performers, i. e., dancers. The dancer, if he/she is thought to be apt for this work, becomes the medium through which the work is realized. A dancing body is the same one that the dancer has in everyday life, but during dancing, it acts as a serviceable instrument which the dancer masters. The process, in which the dancer's body turns itself from "everyday" appendage of the self to the proper material for dancing, poses three key questions: "What is the dancer doing ?", "How does it look to those who appreciate dance ?" and "What kind of appearance must it have ?" Taking the case of "The Dawning Sea", Laban's theory of "effort" is applied to this dance work and the full meaning that is expressed by the dance sentences is analyzed. The appreciators have no means of expressing their impressions of dance, because they can neither regard the dance as a movement nor call the movement a dance. If we observe disinterestedly what is presented in dance, we are just capable of grasping a work of dance as an indivisible wholeness in force-time-space. Space, time and force are indeed, if not seen objectively, apparent in dance, but in fact time and space are not separate structures at all. They form structures which are inherent in the total phenomenal presence of dance. Dance, then, is the creation of illusion of force which is spatially unified and temporally continuous. Moreover, dance is a unity of succession and a cohesive moving form. Dance is also a living, vital human experience as both formed and performed art, and it is, at the same time, a lived experience for both dancer and appreciator. To understand the relationship of live tension between dancers and appreciators, the performance at a certain time on a certain day becomes important. There exist a lot of unsolvable problems. However, for both dance education and dancing art, it is indispensable to overcome the difficulties, to grasp the concept of dance and to clarify the total structure of dance. The structure of dance performance develops from the motive of taking up a dance work to the solidification of its integration through the total grasp and the decomposition of the work. The last and most significant step must be to perform the work of dance as a phenomenon in a state of continuous and unified "being-hereness". This is a dance performance.
社団法人日本体育学会の論文
1979-12-01

演舞の構造 : 演舞概念の形成のために

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