論高行健的《夜間行歌》

Strokes and the Trajectory of Bodily Experiences:Introduction to Calligraphy and Somaesthetics

高行健的《夜間行歌》（Ballade Nocturne）中文版劇本於2010年在台灣發表，其稱之為「舞蹈詩劇」。本論文試從文本與劇場演出的錄像來論述該劇，論文主要分成四個部份。第一部分從該高行健的創作意圖談起；第二部份分析該劇文本的戲劇性與劇場性；第三部份試圖與其舞劇《聲聲慢變奏》做比較論述；第四部份探討高行健在文本創作的變與不變，並經觀看該劇在法國演出的錄像，談論該劇在劇場呈現上與文本上的差距。本研究除了肯定高行健的《夜間行歌》對於華文戲劇的文本創作之貢獻，並也對其整體的戲劇創作做一概括性的評論。

The term ''stroke'' refers to the rules which govern the movements of a brush. It has beenpointed out that strokes are expressive of either calligraphers' individual styles or theirnon-transferable skills. They provide a valid criterion for calligraphic writings. Those who marvel atthe art of calligraphy often delve into the nuances of inky strokes in terms of form and content. Whatmight be neglected are the postures and movements of calligraphers as well as the hard materials towrite with such as brushes and paper. In this paper, I ask for a return to the essential core ofcalligraphic writings. I'd like to re-examine the definition of ''strokes'' as ''principles about themovements of a brush.'' By re-examining the definition, I want to focus on the particularity ofcalligraphy as experiences of bodily movements. That is, calligraphy signifies the action of acalligrapher as the thinking subject who employs strokes to embody his/her mentality at a specificmoment of being.'' Calligraphy might refer to the art of handwriting that combines this action withhard materials. By examining the issues of handwriting culture, subjectivity, and bodily experiences inthe context of aesthetic knowledge and practices, I thus hope to provide contemporary discussionson calligraphy and its heritage with a possible approach.