舞蹈治療發展史中對身體運作理路的回顧與反思

A Critical Review of Dance Therapy: A Reflection on the Therapeutic Meanings of the Body-movement Process

研究目的：本文從舞蹈治療的發展史，來探究不同治療模式對「身體」的介入方法，以建立「身體知識論」於「治療學」上的意義。研究方法：透過分析兩種舞蹈治療的運作模式：「拉邦動作分析／凱氏動作圖表模式」和「創造性模式／真實動作模式」，來省思在理論上與運作上的差異本質。研究結果：在分析兩種模式的理論基礎與運作模式中，發現這兩類模式有截然不同之處：第一類是身體評量分析模式，依賴客觀身體心理圖式的比對和應用，發展「動作分類」作為舞蹈治療師掌握與解釋的依據。第二類是體驗與發現性模式，使用身體動作為表達媒介，而達成「身體心理」的轉化，由體驗、覺察身體、到出現身體情緒中的心理素材。研究結論：這兩種對身體的觀點不同，亦影響到我們對身體的理解與表述，本文依此探問路徑，來釐清身體的認識論。

Purpose: Dance therapy has been a part of expressive art therapy for more than 60 years in Western countries. Historically, two major working models have been applied. First, the movement analysis model included Laban movement analysis and the Kesternberg movement profile. The former analyzed the patient’s body quality to infer his or her psychological state. The latter used Freud’s sexual development concepts to describe the patient’s body rhythm. Observation of the patient’s body movement allowed therapists to identify the deficits of body schema and to plan treatment. Second, the experiential and discovery model included the creative and authentic movement models. The creative model followed the idea of free dance from Duncan and focused on body expression and creativity. The authentic movement model applied psychoanalytic theory to explain the unconsciousness and then identified the individual’s inner growth processes. The purpose of this article is to propose the therapeutic meanings of body epistemology based on these two models. Methods: A literature review of dance therapy was used to compare and analyze the two models using theoretical and practical perspectives. Results: The movement analysis model relied on objective body-psychological schema and measured and developed categories of movement as a tool to explain the client’s condition and to intervene in it. The experiential and discovery model relied on the movement process to provide another way of knowing and associating inner feelings with images. Therapists used the client’s body as a vehicle to transform body sensation and experience, to enhance understanding of the body-emotion relationship, and to reintegrate the body process for therapeutic change. Conclusions: The author clarified the body epistemology of both models. Dance therapists tapped emotional rather than cognitive processes and evoked responses more directly than verbal therapies. There is a need to integrate the body of knowledge surrounding dance therapy and to rethink the therapeutic process and how therapy is conducted.