Dancers and dance philosophers report on experiences of a certain form of sense making and bodily thinking through the dancing body. Yet, discussions on expertise and consciousness are often framed within canonical philosophical world-views that make it difficult to fully recognize, verbalize, and value the full variety of embodied and affective facets of subjectivity. Using qualitative interviews with five professional dancers and choreographers, I make an attempt to disclose the characteristics of what I consider to be a largely overseen state of consciousness: embodied reflection. Dancers are familiar with this attentive bodily presence, which constitutes their work mode and heightens their abilities as experts. Detailed descriptions of their daily work at the theatre help us grasp the qualities and understand the enigmas of the absorbed state of bodily thinking. Husserl’s theories on reflection and Merleau-Ponty’s work on motoricity support our understanding of the structures behind embodied reflection. I believe it is a common human resource, and that whether we are experts or not, we all have the ability to reflect non-conceptually through bodily and/or affective activity.

舞者和舞蹈哲学家通过舞蹈身体报告某种形式的感觉和身体思维的经历。但是，关于专业知识和意识的讨论通常是在规范的哲学世界观中进行的，这使得很难充分认识，表达和评价主体性的各种体现和情感方面。通过对五位专业舞者和编舞的定性访谈，我试图揭示我认为在很大程度上可以忽略的意识状态的特征：体现的反思。舞者熟悉这种细心的身体状态，构成了他们的工作模式并提高了其作为专家的能力。他们在剧院的日常工作的详细描述有助于我们掌握特质，并了解身体思维吸收状态的谜团。胡塞尔的反射理论和梅洛-庞蒂的运动学理论支持了我们对体现反射背后的结构的理解。我认为这是一种共同的人力资源，无论我们是否是专家，我们都有能力通过身体和/或情感活动以非概念的方式进行反思。