生の救済の試みとしての「未来の舞踊」構想

ジャック=ダルクローズとホーフマンスタールの“リズム”に対するアプローチの比較

抄録

From the critiques of ballet after the appearance of Isadora Duncan until the end of World War I, we can infer that impulse to seek for experience of vitality was deeply rooted in the background of the historical change of stage dance, i. e. the conversion of tradition to “the dances of the future”. Starting with that notice, this study intends to analyze discourse on rhythm of two artists, Emile Jacques-Dalcroze and Hugo von Hofmannsthal to ascertain their solutions to regenerate vitality in dance as follows:
1. Through his educational practice, Jaques-Dalcroze became aware of the effects of bodily movement in rhythm to music and established his own method, called “rhythmic”, which contributed to training dancers. However, his systematization and canonization of rhythm contained the potential suppression of subconscious and irrational rhythm, and the contradict between meters of music pieces and individual rhythm.
2. In collaboration with Grethe Wiesenthal, a dancer trying to be liberated from such a music structure, Hofmannsthal created personalities in his scripts who followed their own nature and deviated from the semiotic system of western culture. In their notion, rhythm is not an attribute of music but an irrational phenomenon which emerges in a moment where dancers impulse overflows and the gap between performers and spectators is filled.
Though sharing the same purpose, the both pioneers showed an interesting contrast in their approaches to rhythm which reflect their basic attitudes toward their cultural ground.