《Bursting Bodies of Thought: Artaud and Hijikata》摘录 & 理解
Bursting Bodies of Thought: Artaud and Hijikata
Michael Hornblow
安东尼·阿尔托：舞蹈中的身体——
When you have given him a body without organs… Then you will teach him again to dance inside out as in the delirium of our accordion dance halls. (Antonin Artaud 1992: 329)
Artaud’s pronouncement at the end of To Have Done With The Judgment of God called for a new kind of body, one in which the pain of life would ‘BURST OUT’ (Artaud, 1992: 324)
60s/70s日本艺术界被法国文化影响——
In Japan during the 1960’s and 70’s, Hijikata Tatsumi’s development of butoh dance was influenced by his exposure to French literature and philosophy, providing a catalyst for his own emerging body of thought – one of thinking about the body by forcing it to think.
在这个背景下，阿尔托的思考影响了土方的舞踏创作——
Artaud’s writing in particular, inscribed on a body of cruelty and pain, provides by contrast a deeper understanding of Hijikata’s butoh.In his exploration of darkness, death and metamorphosis Hijikata succeeded in constructing a thinking body, a bursting body of thought very much like the one Artaud had given a voice to but not the legs.
一些例证：
- a collaboration with philosopher Uno Kuniichi to be called Experiment with Artaud (see Barber, 2004)
- Hijikata’s student and collaborator Tanaka Min performed Infant Body out of Joint (Montreal, October 2002), preceded by a lecture given by Uno entitled Corps-gense ou temps-catastrophe – Autour de Min Tanaka, de Tatsumi Hijikata et d’Antonin Artaud
- In 1984 Hijikata choreographed Tanaka using the text from To Have Done… in a dance performance entitled Ren-ai Butoh-ha Teiso
但是，由于土方是一个有独立思想见解的艺术家兼思考者，仍需要进一步全面分析他与阿尔托的关联；土方建构一个特殊的“舞踏”身体，这个身体展示了独特的“舞踏性”——
His butoh presents a radical scrutiny of the body’s expressive capacity …… It does not take ‘the body’ as a given but goes about constructing a specifically ‘butoh body’ – seeking to capture its singular qualities (butoh-sei), and attitudes or states (butoh-tai).
作者的兴趣：通过讨论土方和阿尔托，达到认识“舞踏身体”和“舞踏性”的目的——
What I am interested in doing here is to discuss Hijikata and Artaud in an attempt to approach the butoh body as a conceptual and physical practice, to examine its complex dynamics and ideational materials.
德勒兹 n 伽塔利 “无组织躯体“概念可以作为舞踏的分析工具：accessing virtual states of internal potential——
Certainly, Deleuze and Guattari offer a rich conceptual toolbox for theorising butoh, especially in terms of a body turned inside out – accessing virtual states of internal potential rather than the external mechanics of a unitary organism.
内在联系（内容层面）：通过experiential interplay of matter and movement，进入 virtual presence （where symbiosis with other things，becoming through the use of internal imagery）
the butoh body creates a sense of virtual presence through an experiential interplay of matter and movement……The body may then partake in a process of symbiosis with other things, of affective becoming through the use of internal imagery (butoh-fu), proprioception (internal perception of muscular position, contraction and release)
外在联系（社会/历史背景层面）——
- postwar avant-garde - Artaud was a seminal figure.
- Artaud’s groundbreaking text The Theatre and its Double Translated into Japanese in 1965, it may be assumed this text is one with which Hijikata would have been familiar. （？推测）
进一步论证需要分析： several features of BwO （ by Deleuze and Guattari）
‘butoh-BwO’（ Hijikata’s butoh - Japanese conception of the body - Artaud - modernism in the context of the postwar period）
论证步骤：
1. complementary aesthetics of Artaud and Hijikata：“Cruelty”（残酷）和“Terrorism”（恐怖）
2. posit the attributes of the butoh-bwo /the becomings of a ‘dead-body’ a ‘hollow-body’和 Artaud’s body-without-organs
his critique of Being in relation to death
3. the notion of a thinking bod Artaud’s schizophrenia（精神分裂） and Hijikata’s silence（沉默）
(未完)
