一種「身體—時間」與「語言—時間」：土方巽舞踏的追憶似水年華

“Body-Time” and “Language-Time”: “In Search of Lost Time” of Hijikata Tatsumi’s Butoh

於土方巽（1928－1986）通過身體與語言所營建的另類時空中，其無處不展示著一款傾力於感性操演的極限運動，並調度巨量失衡、精神分裂式的時間拓樸學，迫使舞蹈與書寫一再地成為一項朝自我內部摺曲並外向掀露的匠人技藝。舞踏以「身體—時間」作為「記憶的儲存庫」，而穿遊於土方的「語言—時間」間「既不屬於童年，也不屬於過去」的非我／人之「我」則無盡驅迫著時間的變態及脫節。蔓延在舞踏的身體與語言間的「回憶」工程砌建出土方藝術幅員上關於差異與重複的最幽邃疊奏，搭築為皺摺著一幢幢異質時空的虛擬造鎮，且最終凝縮於故鄉「東北」那面鐫寫著土方生命真實的大寫事件基底。並於每一個情動交鋒的暴力瞬間，曝光出最強烈的事件強度與逼抵認識之絕境的超級經驗。 In the alternative time and space that Hijikata Tatsumi (1928-1986) creates through his body and language, extreme movements with sensibility are seen here and there. The schizophrenia-like temporal topology has transformed dancing and writing into master skills that simultaneously fold and expose themselves. The body of Butoh is taken as the storage of memories. The “I” in which Nonego and Nonhuman “do not belong to any childhood or past” constantly shuffles in Yameru Maihime and pursues the metamorphosis and dislocation of time. The memories in the body and language of Hijikata present deepest refrain regarding the difference and repetition of art. They are folded into the construction of heterogeneity in space and time and condensed into the real life events of Hijikata about his homeland “Touhoku.” All memory is a kind of deterritorialization. Memory restarts the past that is constantly renewed and creates the new future that has not yet existed. In other words, restarting memory refers to the creation of “people who have not yet been born”—the purpose of repeating the intensity and difference of time is to express certain untimely power that constantly shuffles in the divisions of reality. The combination of “body-time” and “language-time” in Hijikata’s Butoh shows certain sensational arrangement that initiates cross-field movements. It embeds the differences of becoming and presents the strongest intensity of events at every moment when affects interact with each other.

In the alternative time and space that Hijikata Tatsumi (1928-1986) creates through his body and language, extreme movements with sensibility are seen here and there. The schizophrenia-like temporal topology has transformed dancing and writing into master skills that simultaneously fold and expose themselves. The body of Butoh is taken as the storage of memories. The “I” in which Nonego and Nonhuman “do not belong to any childhood or past” constantly shuffles in Yameru Maihime and pursues the metamorphosis and dislocation of time. The memories in the body and language of Hijikata present deepest refrain regarding the difference and repetition of art. They are folded into the construction of heterogeneity in space and time and condensed into the real life events of Hijikata about his homeland “Touhoku.” All memory is a kind of deterritorialization. Memory restarts the past that is constantly renewed and creates the new future that has not yet existed. In other words, restarting memory refers to the creation of “people who have not yet been born”—the purpose of repeating the intensity and difference of time is to express certain untimely power that constantly shuffles in the divisions of reality. The combination of “body-time” and “language-time” in Hijikata’s Butoh shows certain sensational arrangement that initiates cross-field movements. It embeds the differences of becoming and presents the strongest intensity of events at every moment when affects interact with each other.