ABSTRACT

The concept of ‘bodyworld’ refers to the performer’s entangled engagement with the material world. It revises and expands the psychophysical notion of ‘bodymind’ that leaves the human–non-human dichotomy unchallenged. ‘Bodyworld’ is explained via the sociomaterial perspectives of what are termed the 3As: assemblages, affordances, and actants; i.e. bodyworld as mind–body–world assemblage whose constituent components offer a number of possibilities or affordances, some of which are actualized and/or transformed into performance material and which come to function as active socio-cultural elements or actants in the resultant multi-sourced/assembled product. The conceptualization of the 3As is informed by outlooks like Jane Bennett’s vibrant materiality that address the inter-connectedness of the social and the material in the organization of everyday life and practices. To exemplify ‘bodyworld’ reference is made to puppetry and material performance, which also serves to update the figure of the marionette as a metaphor for the performer’s work.

摘要

“身体世界”的概念是指表演者与物质世界的纠缠接触。它修正并扩展了“身心”的心理物理学概念，使人类与非人类的二分法没有受到挑战。“身体世界”是通过被称为 3A 的社会物质视角来解释的：组合、可供性和行为体；即身体世界作为心-身-世界的组合，其组成成分提供了许多可能性或启示，其中一些被实现和/或转化为表演材料，并作为积极的社会文化元素或行为体发挥作用在由此产生的多源/组装产品中。3A 的概念化是由 Jane Bennett 充满活力的物质性等观点提供的，这些观点解决了日常生活和实践组织中社会和物质的相互联系。为了举例说明“身体世界”，参考了木偶和物质表演，这也有助于更新木偶的形象，作为表演者作品的隐喻。