抄録
The method of Hijikata Tatsumi’s notational Butoh has been analyzed based on Body Schema
proposed by Maurice Merleau-Ponty. Focusing on the spatial theory of Body Schema, the preceding
studies indicated that Hijikata’s method “breaks” two things: spatial integration of body and habit of
body.
This framework has explained dancer’s experience in doing “Walk of Insects” in the method. On
the contrary, Butoh dancer Seisaku who had studied under Hijikata as a pupil highlighted a temporal
aspect of the same practice. This study analyzed, therefore, Seisaku’s experience to reappraise “Walk
of Insects”, referring the temporal theory of Body Schema.
The result is as follows. In “Walk of Insects”, dancer must image different tiny insects that crawl
on each body parts of them. It is crucial for this practice that the dancer imagine different insects
extremely close to simultaneous. For that purpose, they must switch what he/she images in turn,
as rapid as possible. This effort, called “Mawashi” (circulation) by Seisaku, leads dancer’s body to the
following conditions.
First, spatial links between distant body parts are imagined. Second, as “Mawashi” is repeated,
physical sensation touched by imaginary insects become a habit.
From the spatial and habitual view point, these conditions occur from the opposite intention to
“break” body. That is, the experience in “Walk of Insects” is ambiguous : the intentions to “break” and
“construct” are experienced at the same time, in terms of space and habit of body.
