成為影像的身體：何曉玫的舞蹈蒙太奇

The Body Becomes Image: The Dance Montage of Hsiao-Mei Ho

10.53106/101562402023070045002

許鈞宜(Hsu, Chun-Yi)

何曉玫 ； 舞蹈 ； 影像 ； 身體 ； 蒙太奇 ； Hsiao-Mei Ho ； Dance ； Image ； Body ； Montage

藝術評論

45期（2023 / 07 / 01）

37 - 70

繁體中文;英文

台灣舞蹈家、編舞家何曉玫的作品不斷探究身體的極限，透過舞蹈創造出獨特的觀看場域，使身體成為一種有生命之影像。當肉身即是影像，舞蹈亦等同於由關節與肌肉啟動的蒙太奇。正是在此，一種獨特的舞蹈知覺得以被傳遞，身體亦將在觸與碰的邊界間被重新組構。本論文以《默島新樂園》（2017）與《極相林》（2018）兩部舞作之間的劇烈變化開始，將彼此之差異視作影像的多樣性生成，並聚焦於身體的視覺化，諸如身體與影像共舞、無可區分等狀態，甚至是肉身轉化為螢幕、景框或影格般的存有。匯聚著對於舞蹈的身體、影像技術、視覺藝術以及哲學思想等問題辯證，本文試圖將肉身與影像這一組原先對立的概念思考為一種共時創造，以極具生機的狀態思考舞蹈的當代性。

Taiwan dancer, choreographer Hsiao-Mei Ho's works constantly explore the limits of the body and create unique viewing fields through dance, making the body become a living image. While the body is the image, dance is also equivalent to a montage of joints and muscles. In here, a unique perception of dance is transmitted and the body is reorganized between the boundaries of touch and being touched. This thesis starts with the dramatic changes between New Paradise of Silent Island (2017) and Renaissance of Its Ashes (2018), regarding the differences between the two dance works as diverse becoming of image, and focuses on the visualization of body, such as the indivisible status of dance with body and image, and even the mode of being that the flesh transformed into screen, frame, or photogram. The dialectics of dancing body, technics of image, visual arts and philosophical thoughts converge in this thesis attempting to consider the body and image, which were originally opposite concepts, as a kind of synchronic creation and think about the contemporaneity of dance in a very vital state.

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