From Odd Encounters to a Prospective Confluence: Dance-Philosophy
From Odd Encounters to a Prospective Confluence: Dance-Philosophy
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从奇怪的遭遇到预期的融合：舞蹈哲学
DOI：
10.21476/pp.2015.1129
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发表时间：
2015
期刊：
影响因子：
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通讯作者：
Bojana Cvejić
中科院分区：
文献类型：
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作者：
Bojana Cvejić
本文从西方哲学与西方戏剧舞蹈在现代性中的偶然相遇，到当代舞蹈诗学、批评理论与当代哲学思想的契合，探讨了二者的关系。本研究的出发点是讨论构成舞蹈与哲学之间历史上令人烦恼的关系的三个问题：舞蹈迟来获得艺术学科的地位，舞蹈作品的特殊本体论地位，以及身体运动的“短暂性”和“消失”主题对舞蹈意义生产的限制。在批判性地考察了阿兰·巴迪欧和雅克·朗西埃的方法之后，在他们的哲学中，舞蹈被降级为一种隐喻，甚至更糟的是，被降级为一种普遍本体论的非历史管道，作者提出了另一种思想运动的案例，这种思想运动出现在舞蹈实践中，同时又是哲学的，植根于斯宾诺莎（和德勒兹）的表达原则。Cvejic展示了像Xavier Le Roy和Jonathan Burrows这样的编舞家如何通过“提出问题”来创作，提出了一种“表达概念”的理论，据此编舞有助于对身体，运动和时间之间的关系进行哲学反思。这指出了一种“舞蹈哲学”的新前景，在这种新前景中，认识层次被颠倒了：利害关系不再是哲学能为舞蹈做些什么，而是舞蹈中实验性的、根本实用主义的取向如何为感知、概念形成和其他哲学问题的理论化提供一个实践框架。
This text inquires into the relationship between Western philosophy and Western theatre dance from their odd encounters in modernity to the current affiliations between contemporary choreographic poetics, critical theory and contemporary philosophical thought. The point of departure for the inquiry is a discussion of the three problems that have structured the historically vexed relationship between dance and philosophy: dance’s belated acquisition of the status of an art discipline, the special ontological status of the work of dance, and the limits of dance’s meaning-production set by the theme of bodily movement’s “ephemerality” and “disappearance.” After critically examining the approaches of Alain Badiou and Jacques Ranciere in whose philosophies dance is relegated to a metaphor or, even worse, to an ahistorical conduit for a general ontology, the author makes a case for another movement of thought that arises in dance practice and is at the same time philosophical, rooted in Spinoza’s (and Deleuze’s) principle of expression. Demonstrating how choreographers, like Xavier Le Roy and Jonathan Burrows, create by “posing problems,” Cvejic presents a theory of “expressive concepts,” whereby choreography contributes to a philosophical rethinking of the relationship between the body, movement and time. This points to the new prospects of a kind of “dance-philosophy,” in which the epistemic hierarchy is reversed: the stake is no longer in what philosophy could do for dance, but how an experimental, radically pragmatic orientation in dance offers a practical framework for theorizing perception, concept-formation and other philosophical issues.