著者

岡 千春

出版者

人体科学会

雑誌

人体科学 (ISSN:09182489)

巻号頁・発行日

vol.22, no.1, pp.65-73, 2013

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In dance performance, the viewer sometimes has a sense that he is attracted to a specific dancer. However the viewer is not attracted to other dancers like he is to the specific one. It can be said that the dancer who attracts the viewers has a special "body" or bodily image. In this study such body is defined as "the dancing body", which is the state of mind-body unity that Yuasa analyses with his mind-body theory. The purpose of this study is to discuss the change in the relation between mind and body of dancer through dance experience, on Yuasa's mind-body theory and Shimizu's field theory. (to discuss how the mind-body relation changes occur through dance experience) The process of a dancer reaching "the dancing body" is the same as the process of discipline (Shugyo) in the Eastern philosophy. The dancer forms his mind and body based on his bodily senses gained from his dance experience. The bodily kinesthetic is a sense unique to a dancer. It can only be obtained through stage experience, and experiencing the state of "non-separation of the self and the other" with the audience. When the dancer dances with his mind and body in unity and becomes one with the audience's mind and body, the dancer can reach the state of mind-body unity.