Einav Katan’s Embodied Philosophy in Dance presents a phenomenological reading of Gaga, the movement practice elaborated by Batsheva Dance Company’s artistic director, Ohad Naharin, and employed as a daily training and research practice by Batsheva and many professional and amateur dancers around the world. Katan’s work is praiseworthy for its gesture of layering definitions of Gaga throughout the book. As the title informs, Gaga is first of all an instruction-based method that Naharin utilizes to explore and combine movement (he now defines it as a “toolbox”). Thus, it is a research practice that defines and distinguishes “tonalities of feelings” (50) that dancers experience as a creative “process of growth” (26). This book offers a journey through the somatic, emotional, and cognitive experience of Gaga, especially to those who are not familiar with the transformative and generative force of dance research practice. The first part of the book, “Embodied Philosophy in Dance: Introduction,” seeks to affirm the legitimacy of dance as knowledge and thinking, which is a fundamental assumption in dance scholarship. Addressing readers who are more familiar with the Western philosophical tradition of phenomenology and aesthetics than with dance studies literature, Katan sets the stage for a consideration of Gaga as a “body of ideas” that works as “an excellent point of access for reflecting on the cognitive aspects of dancing, and the interaction of body and mind” (18). Focusing on perception and its interaction with imagination as sources of cognition in dance practice, part 2, “The Sensual Emphasis of Gaga,” takes on an idea integral to Naharin’s research, namely, the discovery and transmission of the moving body’s sensuality. Here, Katan articulates the cognitive responses triggered by the vocabulary utilized by Gaga teachers. Katan explores how the notorious “instructive metaphor,” “Float!” (the title of chapter 5), enhances the dancer’s awareness of gravity and energy, generating imagery to which the dancer can refer in order to reactivate sensorial experience. Katan claims that in this process of physical actualization of a verbal metaphor, dancers affirm their individuality. This process, however, is debatable: during Gaga intensives, participants tend to move alike and (inadvertently or otherwise) try to mimic a certain Gaga or Batsheva style. Katan’s phenomenological/philosophical inquiry does not attend to this tendency, but rather to the ideational principles of Gaga. The final chapters of part 2 provide an entry point to Naharin’s creative process as a “perceptual work in which sensuality plays a constitutive part” (51). According to Katan, Gaga draws on sensation; thus, Naharin’s choreographies can be read as generators of sensation. However, it is difficult to ascertain the specificities of the “phenomenological method of Gaga” (the title of chapter 9) that distinguishes it from other somatic research practices that rely on the dancer’s combined sensorial awareness and intentionality. Part 3, “The Mental Emphasis of Gaga,” analyzes Gaga as a strategy to direct moods and addresses the relation between instructor and respondent. Framing her analysis around Heidegger’s concepts of Stimmung and Dasein, Katan explains that the Gaga teacher functions as a “mood instructor” (113). Stimulated by the verbal directions designed to trigger a joint body-mind response, the dancer develops a practice of “self-regulation” meant to enhance the fluidity of movement and energy (91). Katan goes on to elaborate a definition of Gaga as a creative and hermeneutical process for the development of a perceptual, mental, and physical “attunement” within a dancer’s control, combining Gadamer’s hermeneutical approach and Merleau-Ponty’s phenomenology of perception. This definition leads to an idea central to Katan’s conceptualization of Gaga and of Batsheva’s bodies. The stream of instructions requires the dancer to move in “. . . a state of attentiveness, mental as well as physical. In it, attention is directed to all possible aspects of sensing. The eyes are open and calm; there is no concrete focus of the gaze. However, although the gaze is calm, it is ready to direct its focus immediately following the signal” (124). Katan eventually argues that the Gaga

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舞蹈中的体现哲学：Einav Katan 的 Gaga 和 Ohad Naharin 的运动研究。2016. 伦敦：帕尔格雷夫麦克米兰。228 页，10 幅插图，作品引用，索引。布 99.98 美元。国际标准书号：9781137601858。

Einav Katan 的舞蹈哲学体现了对 Gaga 的现象学解读，Gaga 是由 Batsheva 舞蹈团的艺术总监 Ohad Naharin 阐述的运动实践，并被 Batsheva 和世界各地的许多专业和业余舞者用作日常培训和研究实践。Katan 的作品因其在整本书中对 Gaga 的定义分层的姿态而值得称赞。正如标题所示，Gaga 首先是一种基于指令的方法，Naharin 用它来探索和组合运动（他现在将其定义为“工具箱”）。因此，它是一种研究实践，它定义和区分了舞者作为创造性“成长过程”（26）所体验的“感受的音调”（50）。本书提供了 Gaga 的躯体、情感和认知体验之旅，尤其是那些不熟悉舞蹈研究实践的变革性和生成性力量的人。这本书的第一部分“舞蹈中的体现哲学：介绍”试图肯定舞蹈作为知识和思维的合法性，这是舞蹈学术的一个基本假设。针对那些更熟悉西方现象学和美学哲学传统而不是舞蹈研究文学的读者，Katan 为将 Gaga 视为一个“思想体系”奠定了基础，它是“反思社会现象的绝佳途径”。舞蹈的认知方面，以及身心的互动”（18）。专注于作为舞蹈练习中认知来源的感知及其与想象的相互作用，第 2 部分，“Gaga 的感性强调，”采用了纳哈林研究中不可或缺的一个想法，即运动身体的性感的发现和传播。在这里，Katan 阐述了由 Gaga 教师使用的词汇引发的认知反应。卡坦探索了臭名昭著的“有启发性的比喻”，“漂浮！” （第 5 章的标题），增强舞者对重力和能量的意识，生成舞者可以参考的意象，以重新激活感官体验。卡坦声称，在这个口头隐喻的物理实现过程中，舞者肯定了他们的个性。然而，这个过程是有争议的：在 Gaga 强化期间，参与者倾向于相似的动作，并且（无意或以其他方式）试图模仿某种 Gaga 或 Batsheva 风格。卡坦的现象学/哲学探究并未关注这种趋势，而是 Gaga 的理念原则。第 2 部分的最后几章为 Naharin 的创作过程提供了一个切入点，即“感性在其中扮演重要角色的感性作品”（51）。据 Katan 所说，Gaga 靠的是感觉；因此，纳哈林的编舞可以被解读为感觉的发生器。然而，很难确定“Gaga 的现象学方法”（第 9 章的标题）的特殊性，以区别于其他依赖于舞者的综合感官意识和意向性的躯体研究实践。第 3 部分，“Gaga 的心理重点”，将 Gaga 分析为一种引导情绪的策略，并解决了教师和受访者之间的关系。她围绕海德格尔的刺激和此在概念进行分析，Katan 解释说 Gaga 老师的功能是“情绪导师”（113）。受到旨在引发身心联合反应的口头指示的刺激，舞者发展出一种“自我调节”的做法，旨在增强运动和能量的流动性（91）。卡坦进一步阐述了 Gaga 的定义，它结合了伽达默尔的诠释学方法和梅洛-庞蒂的感知现象学，将其定义为在舞者的控制范围内发展感知、心理和身体“协调”的创造性和诠释学过程。这个定义导致了卡坦对 Gaga 和 Batsheva 身体的概念化的核心思想。指令流要求舞者移动“. . . 一种专注的状态，精神上的和身体上的。其中，注意力集中在传感的所有可能方面。眼睛睁着，平静；没有具体的凝视焦点。然而，尽管凝视是平静的，但它已准备好在信号发出后立即将注意力集中”（124）。Katan 最终辩称 Gaga