1950年代から70年代の前衛的な舞踊と江口隆哉：ポストモダンダンスの視点から

抄録

This study aimed to clarify the thinking of Takaya Eguchi—the architect of modern dance theory in Japan—regarding post-modern-dance, that emerged from the 1950s to the 1970s, re-examining Eguchi’s dance view from a post-modern-dance perspective.

As for the research method, I examined Takaya Eguchi’s books, writing materials, criticisms of Eguchi’s works, and previous research, and interviewed his disciples, postmodern dancers, and dance critics.

The results of the study identified the following four points: (1) Eguchi expressed his understanding of the post-modern dance of Cunningham and Cage in that they danced with their trained bodies, but he had difficulty accepting the fact that there was a strong element of improvisation and that the composition was not elaborated. (2) Against dance with the characteristics of postmodern dance represented by the members of the Judson Church, Eguchi took a critical view because of dance forms ignoring the fundamental axioms of dance works, regarding them as lacking expression, and movement along dance themes, and dance training, as well as being “dance without dancing”; (3) Rather than meta-level projects that questioned the very nature of dance works, overturning his modern dance theory as postmodern dance did, the dance that Eguchi aspired to from the 1950s to the 1970s was dance at an objective level, creating and pursuing new movement and expression strictly within the category of “dance works”; and (4) It is possible to surmise that the emergence of post-modern-dance made Eguchi even more firmly aware of the dance view to which he himself aspired—that is to say, modern dance—while innovative is a dance form that refines unique movement and composition based on dance’s aesthetic principles in order to express a theme through dancing performed by well-trained bodies.