著者

竹谷 美佐子

出版者

日本メルロ=ポンティ・サークル

雑誌

メルロ=ポンティ研究 (ISSN:18845479)

巻号頁・発行日

vol.21, pp.1-20, 2016-09-01 (Released:2017-11-09)

参考文献数

17

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How does dancer acquire Body Technique in dance practice? This paper aims to give answer to this question through consideration from the intercorporeality between a teacher and students in a modern dance practice. In a modern dance practice, intercorporeality appears as the process of bodily “matching” and “synchrony”. Cosideration from bodily matching, when students are moving together, each students is not matching with others. Rather, each students are matching with a teacher. This bodily matching construct the place of cooperativity. In the point of view of bodily synchrony, a teacher percept each studentsmovement,and instruct to prompt to their movement.This direction did not act merely operation of body, but the images of movement in potential layer. A teacher organize the potential layer of movement through the direction, students are entrained by direction and generated movement. Through these experiences of bodily matching and synchrony, they try to explain these experience linguistically and to project the images of movement in situation. When they accomplish them trying, they acquire this bodily technique.

著者

竹谷 美佐子 酒井 麻依子 澤田 哲生 河野 哲也 檜垣 立哉 福田 肇 Michel DALISSIER

出版者

日本メルロ=ポンティ・サークル

雑誌

メルロ=ポンティ研究 (ISSN:18845479)

巻号頁・発行日

vol.21, pp.21-115, 2016 (Released:2017-11-09)

著者

竹谷 美佐子

出版者

日本メルロ=ポンティ・サークル

雑誌

メルロ=ポンティ研究 (ISSN:18845479)

巻号頁・発行日

vol.18, pp.29-39, 2014-07-30 (Released:2014-09-22)

参考文献数

8

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How does a dancer activate “scheme corporel” and generate the movement? This study aims to give answers to this question through consideration of the narrative by a modern dancer in her practice, by using the phenomenological instruments developed by Merleau-Ponty: “structure of bodily existence” and “figure/ground” structure.The movement of dance is not generated as a result of physical operation by the will, but rather by the body intentionally controlling respiration as a subject of the movement. The inhalation individualizes the dancer’s body with its function as movement to push outside from inner body, then dancer’s body is organize as a “lived body” that involves everything around her. The inspiration organizes the system of the body and the situation. The exhalation triggers movement as body techniques. When a dancer exhales, concrete dance movement is generated in context of the system made through inhalation.Overt movement in dance is generated through activation of the latent “system of body-situation”by intentional inhalation in dancer’s lived body.