北京舞蹈学院学报

文章以当代哲学的身体理论话语，对陶身体剧场代表作品《4》《6》加以分析，破译其艺术实践蕴含的智性之思。经由梅洛-庞蒂的身体现象学视角，可以看到《4》呈现日常生活之下更为纯粹的空间经验，通过对原初身体在运动中的感知弥散、空间投射与场域组织的艺术表现，呈现了身体与空间之间的互融、互构与互相归属。《6》化繁为简地摒弃了器官的分化与枝蔓，而专注于躯干、脊柱、肉身的运动表现，呈现出更为深层本源的身体层次，即德勒兹所言的无器官的身体。总体而言，陶身体剧场将身体的概念纯粹性与具身体验的实在性糅合在一起，以其艺术实践为新的剧场性赋义，打开一个充满力与强度的情动空间，在其中身体打破日常生活中的隔绝状态，在整个剧场空间所构成的“舞池”之中互渗与共振。

Based on the contemporary body philosophy, this paper analyzes the representative works 4 and 6 of TAO Dance Theater, and deciphers the ideas contained in the artistic practice. From the perspective of Merleau-Ponty's body phenomenology, we can see that 4 presents a more pure spatial experience in the context of daily life. Through the perceptual dispersion of the original body in motion, and the artistic expression of spatial projection and field organization, it presents mutual integration, mutual construction, and mutual attribution between body and space. The 6 abandons the complexity and the different parts of organs, and focuses on the movement performance of the trunk, spine and flesh body, showing a deeper level of the original body, a kind of organ-free body as Deleuze mentioned. TAO Dance Theater combines the conceptual purity of the body with the reality of physical experience, takes its artistic practice as a new theatrical meaning, and opens an emotional space full of strength, in which the body breaks the isolation state in daily life and infiltrates and resonates with the “dance floor” composed of the whole theater space.