コンタクト・インプロヴィゼーションにおける"disorientation"の概念  [in Japanese] The Conception of "Disorientation" in Contact Improvisation  [in Japanese]

The purpose of this paper is to clarify the conception and role of the word "disorientation" in Contact Improvisation (CI), a dance improvisation form initiated by Steve Paxton in 1972. Through this paper, it is clarified that CI practitioners have been paying attention to and seeing values in the aspect of "disorientation" experienced in the practice of CI. They are using the word "disorientation" as (1) the unsuitable state that can be seen in beginners losing their direction and caused nausea, (2) the acceptable state/moment with using peripheral vision, developing kinesthetic sensation, yielding to the blended force and trusting one's physical ability, and (3) the desirable state/moment that makes possible to be free from one's habit and experience the essence of improvisation. It is concluded that the conception of "disorientation" has supported the continuous improvising practice in CI and has been the double driving force to product exquisite movements, not only acrobatic which enabled by highly developed physical sensation through CI, but also new movements free from one's habit.

The purpose of this paper is to clarify the conception and role of the word "disorientation" in Contact Improvisation (CI), a dance improvisation form initiated by Steve Paxton in 1972. Through this paper, it is clarified that CI practitioners have been paying attention to and seeing values in the aspect of "disorientation" experienced in the practice of CI. They are using the word "disorientation" as (1) the unsuitable state that can be seen in beginners losing their direction and caused nausea, (2) the acceptable state/moment with using peripheral vision, developing kinesthetic sensation, yielding to the blended force and trusting one's physical ability, and (3) the desirable state/moment that makes possible to be free from one's habit and experience the essence of improvisation. It is concluded that the conception of "disorientation" has supported the continuous improvising practice in CI and has been the double driving force to product exquisite movements, not only acrobatic which enabled by highly developed physical sensation through CI, but also new movements free from one's habit.