山海塾

影見 KAGEMI

水鏡之彼方

Beyond the Metaphors of Mirrors

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「一個精采無比的旅程，

帶領我們進入舞蹈最核心的神秘境地。

在一片漫天荷葉裡……

生命的循環以緩慢卻無止的姿態悄然變化。」

                    ——法國世界報

日本舞踏巨擘天兒牛大傾注畢生美學修為所鑄就的《水鏡之彼方－影見》，自千禧年於巴黎市立劇院首演以來，便以其超凡脫俗的靈性美學震撼世界舞壇，成為山海塾最令人屏息凝神的經典鉅作。這齣融合東方哲思與當代舞踏語彙的作品，將人類最原始的本性化作詩意的肢體敘事，在光影交錯的鏡面世界中探尋生命的終極奧義。天兒牛大以其獨特的暗黑美學視角，將舞踏藝術中慣見的身體苦難與否定意象昇華為令人暈眩的視覺奇觀，透過極致純粹的肢體語言編織出一幅幅動人心魄的生命圖景。

舞台上，光滑如鏡的地面倒映著舞者緩慢流動的身軀，朵朵蓮葉漂浮其間，隨著舞者的呼吸節奏緩緩騰空而上，營造出水面下神祕莫測的幻境空間。這些精心設計的視覺元素相互反射、彼此抗衡，既象徵著實體的鏡子，更隱喻著人類內在的本我映照。天兒牛大的獨舞展現了驚人的身體控制力與表現張力，從髮梢到足尖的每一寸肌理都蘊含著深邃的哲學意涵，每個微小的顫動都述說著存在的奧祕，彷彿將觀者帶入一場關於生命本質的形而上冥想。

當獨舞者與其他舞者共同演繹群舞段落時，交織纏繞的肢體創造出強大的動態能量場域，時而如水波般柔軟流動，時而如雷電般剛猛有力，在極靜與極動之間展現生命的無限可能。聲響設計同樣匠心獨運，在寂靜的空間中，單一光束的閃動伴隨著時而沉靜時而幽揚的樂音，如同來自深淵的召喚，引領觀眾進入一個超越現實的精神維度。整齣作品以水為核心意象，探討本體與鏡中倒影的永恆對話，舞者們漫舞於蓮葉之間的優美身姿，既展現了東方美學的含蓄內斂，又流露出當代舞蹈的創新精神。

 

KAGEMI was performed in December 2000 for the first time, as the last program of the 20th century at Théâtre de la Ville, Paris. The audience was enraptured by the solo performance of AMAGATSU whose every choreography - down to those of each finger - has a meaning, and by the tension and dynamism woven by group dancing. It was highly appreciated, and the newspaper Le Monde applauded the performance as "a wonderful process that lures us into the mysterious core of dancing."

The world presented by AMAGATSU, who has in particular created dance programs concerning the roots of human beings, is composed of an accumulation of breathtaking moments such as when one witnesses a water surface and its profound depth: The light and shadow overflow. Here, even the performance of sounds turns into light amid silence, and then they change to shadow. The seven scenes of KAGEMI reflect each other like opposing mirrors. This is a dialogue with mirrors that have derived from water reflections.

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