身體表演藝術的默會感知

Tacit Perception of Body Performing Arts

10.6162/SRR.2012.121.01

鄭仕一(Shih-Yi Cheng)；蕭君玲(Chiin-Ling Hsiao)；鄭幸洵(Hsin-Hsun Cheng)

身體文化 ； 隱晦經驗 ； 反映 ； body culture ； obscure experience ； reflection

大專體育

121期（2012 / 08 / 01）

1 - 8

繁體中文

在個人知識體系中，尤其是關於技能實踐的知識體系，有著大部分與深層次的難以言傳的知識，它屬於個人性的內在深隱的知識，主體自身感知能受其引導，因此，它屬於技能實踐相當重要的地位。關於「默會感知」，本文的定義如下：「默會感知」意指：在個人知識體系中，有著重要影響力但卻又是難以言傳的經驗，其特性是內隱的、不明確的經驗知識。意識與肉體原本是一個整體的環節問題，但人們總習慣性地將之分開來看、分開來談，心靈意識總需由肉體來顯現、出場，肉體上的總總感知、反應、動作亦總是向內回饋至心靈意識，二者是互為作用的關係，這是「身體存在性」的二種轉化現象。本文在此議題上將透過對身體的一種重新認識的概念來看待並深入地探討其在文化的影響下，軀體性態式與心靈性漾動的現象，進一步瞭解表演藝術的默會感知之特性為何，創作者又如何傳達其默會感知，及默會感知與身體反映的關係。

In the personal knowledge system, especially in the knowledge system of skills practice, there exists a large portion of in-depth knowledge that is hard to be expressed in words. It is an individualized, internal, and deeply hidden knowledge that can guide the body's perception. Therefore, its role in skills practice is very important. In this article, we define ”tacit perception” as an important influence, but hard to be expressed in words, in the personal knowledge system. It is an empirical knowledge with the features of implicity and uncertainty. The consciousness and the body are originally an integrated issue, but people often view and talk about them separately. The spiritual consciousness always needs to be performed and appeared through the body. The physical perception, reaction, and motions always feed back to the spiritual consciousness. They are mutually interacted, and compose two transforming phenomena of ”physical presence.” This paper reviews and explores in-depth of the phenomena of somatic state and spiritual fluctuation through the concept of re-discovering the body under cultural impact. We further learn more about the characteristics of tacit perception in performing arts; and how the creators convey their tacit experience as well as the relationship between the tacit experience and the body reflection.

1. Schön, Donald A.、夏林清譯(2004)。反映的實踐者：專業工作者如何在行動中思考。臺北:遠流。
2. 吳汝鈞(2001)。胡塞爾現象學解析。臺北:臺灣商務印書館。
3. 佘碧平(2007)。梅羅龐蒂歷史現象學研究。上海:復旦大學。
4. 楊儒賓編、何乏筆編(2004)。身體與社會。臺北:唐山。
5. 赫伯特 ‧ 里德、梁錦鋆譯(2006)。藝術的意義。臺北:遠流。
6. 蕭錦龍(2004)。德里達的解構理論思想性質論。北京:中國社會科學。

1. 黃桐絹(2014)。特技舞蹈與特技體操之異同。大專體育，128，1-8。