ABSTRACT

The themes of transformation, indefinite form, and disintegration haunt the work of many post-World War II artists, who had witnessed the animality of human beings as well as the depths to which human beings can fall in wartime. This paper looks at falling as an artistic and phenomenological practice of the body in the work of the Japanese butoh dancer Tatsumi Hijikata, whose notations refer in places to the work of the Irish-born British painter Francis Bacon and offer new bodily lexicons with which to graph the movement of falling. Drawing explicitly on Bacon and using cross-media collage to produce movement, a body in Hijikata could be deformed or made formless onto the ground. In falling, inhabiting and simultaneously vacating oneself, the body makes contact with a surface and leaves or exteriorizes a graphic mark, visual, and performative, in its wake. This attention to falling was part of an ongoing process at the rise of phenomenological boom in postwar Japan by which artists attempted to understand and recompose the kind of body that could inhabit the nuclear age.

摘要

变换，不确定形式和瓦解的主题困扰着许多第二次世界大战后的艺术家，他们目睹了人类的兽性以及人类在战时可以跌入的深度。本文将跌倒视为日本butoh舞者Tatsumi Hijikata作品中人体的一种艺术和现象学实践，他的表示法在某些地方提到了爱尔兰出生的英国画家弗朗西斯·培根的作品，并提供了新的身体词典来与之相提并论。图下降的运动。明确地在培根上绘图并使用跨媒体拼贴来产生运动，Hikatakata中的身体可能变形或变形为地面。在跌倒，居住并同时自我腾空的过程中，身体与表面接触并离开或外在化醒目的图形，视觉和效果标记。这种对跌落的关注是战后日本现象学繁荣兴起的一个持续过程的一部分，艺术家试图借此了解并重组可能居住在核时代的那种身体。