Some Speculative Hypotheses about the Nature and Perception of Dance and Choreography
Some Speculative Hypotheses about the Nature and Perception of Dance and Choreography
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关于舞蹈和编舞的本质和感知的一些推测性假设
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发表时间：
2005
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通讯作者：
I. Hagendoorn
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作者：
I. Hagendoorn
自从我第一次看舞蹈表演以来，我一直在想，为什么我有时会被舞台上的一些人走动所吸引和感动，而有时却对此完全无动于衷。我会争辩说，这个问题的答案必须从大脑处理感觉刺激的方式来寻找。毕竟，我们所有的行为、感知和感觉都是由大脑调节和控制的。舞蹈表演唤起的思想和情感也不例外，因此它们在大脑中也有神经基础。在音乐和视觉艺术中，被称为“神经美学”(Zeki，2001a)和“神经音乐学”的学科已经产生了一些有趣的见解。一项研究表明，蒙德里安绘画的审美吸引力可以与视觉系统的某些心理物理特性有关(Latto等人，2000年)。早期的研究发现，对斜线的感知略逊于对水平线和垂直线的感知。作者巧妙地利用了蒙德里安的一些画有倾斜的框架这一事实，表明人们也更喜欢水平和垂直而不是倾斜的线条。像这样的发现表明，我们对那些与大脑中各自的感觉区域密切协调的刺激有审美偏好。这篇文章通过不同的大脑结构绘制了一个行程，并展示了这些结构如何结合在一起，最终产生我们观看舞蹈表演时的感觉。由于观看舞蹈本质上是一种视觉体验，因此本文的分析集中在视觉加工上。这并不是否认音乐是大多数舞蹈表演不可或缺的一部分，或者动作会产生噪音，这可能会影响视觉处理，如果没有视觉成分，就会产生视觉图像。但是，显而易见的是，如果舞台灯光熄灭，观众对舞者动作的体验将
Ever since I first saw a dance performance I have wondered why it is that I am sometimes fascinated and touched by some people moving about on a stage, while at other times it leaves me completely indifferent. I will argue that an answer to this question has to be searched for in the way sensory stimuli are processed in the brain. After all, all our actions, perceptions and feelings are mediated and controlled by the brain. The thoughts and feelings evoked by a dance performance are no exception and thus they too have a neural substrate in the brain. In music and the visual arts what has been called ‘neuroaesthetics’ (Zeki, 2001a) and ‘neuromusicology’ has already yielded some interesting insights. As one study showed, the aesthetic appeal of Mondrian’s paintings can be related to certain psychophysical properties of the visual system (Latto et al., 2000). Earlier studies had found that the perception of oblique lines is slightly inferior to the perception of horizontal and vertical lines. Making clever use of the fact that some of Mondrian’s paintings have an oblique frame, the authors showed that people also prefer horizontal and vertical to oblique lines. Findings like this suggest that we have an aesthetic preference for those stimuli that are closely tuned to the respective sensory areas in the brain. The present article draws an itinerary through various brain structures and shows how these may combine to ultimately give rise to the sensations we experience when watching a dance performance. Since watching dance is essentially a visual experience the present analysis concentrates on visual processing. This is not to deny that music is an integral part of most dance performances or that movements produce noise, which may influence visual processing and in the absence of a visual component elicit visual images. But, to state the obvious, if the stage lights go out the audience’s experience of the dancers’ movements will