禅宗心性思想与西方形式论美学的“主体”之辩——以默斯·坎宁汉的舞蹈艺术为例  

The Debate between the Zen Mind and Nature Thought and the"Subject"of the Western Aesthetics of Formalism——Taking the Dance Art of Merce Cunningham as an Example

作　　者：张仁伟 Zhang Renwei

机构地区：[1]河北大学艺术学院,河北保定071000

出　　处：《南京艺术学院学报（音乐与表演版）》2024年第5期184-189,I0003,共7页JOURNAL OF NANJING UNIVERSITY OF THE ARTS:Music & Performance

基　　金：河北省研究生创新资助项目“默斯·坎宁汉艺术思想研究”(项目编号:CXZZBS2023015)的阶段性成果。

摘　　要：美国现代舞蹈家默斯·坎宁汉在东方禅宗思想影响下,以禅宗之“心性”思想彰显主体的存在价值。坎宁汉通过对“自我”的强调,以看似荒诞的行为实践了主体对生命意义的探寻。形式论美学建基于西方现代性思想主客二分的基础上,通过对艺术“自足独立”的强调遮蔽了主体的在场,但却在彼此相对的意义上进一步强化了主体的霸权主义与主、客分裂的二元对立。“心性”思想与形式论美学具有本质性差异,坎宁汉借助心性思想瓦解了舞蹈艺术的意义外指,通过对事物本身的强调,实践了主体生命的自由。Under the influence of Eastern Zen philosophy,American modern dancer Merce Cunningham demonstrated the value of the subject's existence through the Zen concept of"mind nature".Cunningham practiced the subject's exploration of the meaning of life through seemingly absurd behavior by emphasizing the"self".Aesthetics of formalism is based on the dichotomy of subject and object in Western modernity thought.By emphasizing the"self-sufficiency and independence"of art,it obscures the presence of the subject,but further strengthens the hegemony of the subject and the binary opposition between subject and object in a relative sense.The concept of"mind nature"differs fundamentally from the aesthetics of formalism.Cunningham used the concept of mind nature to deconstruct the external meaning of dance art,and through emphasizing the things themselves,practiced the freedom of subject life.

关 键 词：默斯·坎宁汉 形式论 心性 荒诞 主体间性 

分 类 号：J70-02[艺术—舞蹈]