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| “Contact Improvisation”是一种即兴舞蹈形式，它基于身体之间的重心共享、身体接触、动量和相互回应。它通过触觉、重力、平衡和流动来探索动作，强调实时选择而不是编排。 | | “Contact Improvisation”是一种即兴舞蹈形式，它基于身体之间的重心共享、身体接触、动量和相互回应。它通过触觉、重力、平衡和流动来探索动作，强调实时选择而不是编排。 |
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| | 这种形式在世界各地的课堂、即兴表演、工作坊和演出中都有实践，并被广泛认为是影响当代即兴舞蹈和意识运动的基础实践之一。 |
| The form is practiced worldwide in classes, jams, workshops, and performances, and is widely regarded as one of the foundational practices influencing contemporary improvisational dance and conscious movement.
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| | == 起源 == |
| == Origins ==
| | Contact Improvisation 由美国舞蹈家兼编舞家史蒂夫·帕克斯顿 (Steve Paxton) 于 1972 年创立，他与后现代舞蹈密切相关。这种舞蹈形式源于帕克斯顿对重力、反射、坠落和身体对话的探索，并最初通过在美国的演出和工作坊公开展示。 |
| Contact Improvisation was initiated in '''1972''' by '''Steve Paxton''', an American dancer and choreographer associated with postmodern dance. The form emerged from Paxton’s investigations into gravity, reflexes, falling, and physical dialogue, and was first presented publicly through performances and workshops in the United States. | |
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| | 从一开始，Contact Improvisation 就发展成为一种开放的、不断发展的实践，而不是一种成文的技术，通过同伴交流、实验和社区实践传播开来。 |
| From its beginnings, Contact Improvisation developed as an open, evolving practice rather than a codified technique, spreading through peer exchange, experimentation, and community practice.
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| | == 核心原则 == |
| == Core principles ==
| | Contact Improvisation 遵循以下几个核心原则： |
| Contact Improvisation is guided by several core principles: | |
| * '''Physical listening''' — attending to touch, pressure, and movement cues.
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| * '''Shared weight''' — exploring support, counterbalance, and load-bearing between bodies.
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| * '''Momentum and flow''' — working with inertia, falling, and recovery.
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| * '''Improvisation''' — movement arises spontaneously in response to present conditions.
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| * '''Non-hierarchy''' — no leader–follower roles are predefined.
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| | * “身体聆听”——关注触觉、压力和运动信号。 |
| The practice values sensation, perception, and adaptability over aesthetic form.
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| | * “共享重量”——探索身体间的支撑、平衡和负重。 |
| == Practice ==
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| Contact Improvisation is typically practiced in:
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| * '''classes''' — structured explorations of skills such as rolling, falling, lifting, and sensing. | |
| * '''jams''' — open sessions where dancers freely explore movement in pairs or groups.
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| * '''performances''' — improvised or semi-improvised presentations.
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| | * “动量与流动”——运用惯性、跌倒和恢复。 |
| Movement ranges from subtle weight shifts to dynamic lifts and falls. Dancers continually negotiate boundaries, safety, and consent through embodied awareness and communication.
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| | * “即兴发挥”——动作根据当前情况自发产生。 |
| There is no fixed choreography. Movement emerges from physical interaction, attention to gravity, and responsiveness to partners and space.
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| | * “非等级制”——不预先设定领导者和追随者的角色。 |
| == Touch, safety, and consent ==
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| Touch is central to Contact Improvisation. As a result, contemporary practice places strong emphasis on:
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| * consent and personal boundaries, | |
| * clear communication (verbal and non-verbal),
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| * self-responsibility and care for others,
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| * adaptability to different bodies, abilities, and comfort levels.
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| | 这种实践重视感觉、感知和适应能力，而非美学形式。 |
| Many communities explicitly articulate jam agreements and safety guidelines.
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| | == 练习 == |
| == Music and environment ==
| | Contact Improvisation 通常以以下方式练习： |
| Contact Improvisation may be practiced with music, live sound, or in silence. Silence is often used to heighten attention to physical sensation and partner communication. Music, when present, functions as a supportive atmosphere rather than a driving structure. | |
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| | * “课程”——系统地探索诸如翻滚、跌倒、举起和感知等技能。 |
| == Community and transmission ==
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| Contact Improvisation has no central governing body or certification system. Knowledge is transmitted through:
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| * workshops and festivals, | |
| * local classes and jams,
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| * peer learning and mentorship.
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| | * “即兴练习”——开放的练习环节，舞者可以自由地以两人或多人形式探索动作。 |
| This decentralised structure has contributed to the form’s adaptability and global spread.
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| | * “表演”——即兴或半即兴的呈现。 |
| == Influence and legacy ==
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| Contact Improvisation has had significant influence on:
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| * contemporary dance and performance, | |
| * somatic movement practices,
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| * conscious dance modalities,
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| * physical theatre and experimental performance.
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| | 动作范围从细微的重心转移到动态的托举和跌倒。舞者通过身体感知和沟通，不断地在界限、安全和同意之间寻求平衡。 |
| Many later conscious dance practices draw from Contact Improvisation’s principles of presence, improvisation, and embodied dialogue.
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| | 没有固定的编舞。动作源于身体互动、对重力的感知以及对舞伴和空间的反应。 |
| == Relationship to conscious dance ==
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| While Contact Improvisation is not inherently a meditation or therapeutic practice, it is widely recognised as a key ancestor of the conscious dance field. Its emphasis on awareness, relational movement, and improvisation strongly influenced later practices such as 5Rhythms, Open Floor, and other movement meditation forms.
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| | == 触碰、安全与同意 == |
| == External links ==
| | 触碰是Contact Improvisation的核心。因此，当代实践非常重视： |
| * Contact Improvisation - Canada: https://www.contactimprov.ca
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| | * 同意和个人界限， |
| [[Category:Conscious Dance Practices]] | | |
| [[Category:Movement Improvisation]] | | * 清晰的沟通（口头和非口头）， |
| [[Category:Somatic Practices]] | | |
| [[Category:Contemporary Dance]] | | * 自我负责和对他人的关怀， |
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| | * 对不同体型、能力和舒适度的适应性。 |
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| | 许多社区都明确制定了交通管制协议和安全准则。 |
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| | == 音乐与环境 == |
| | Contact Improvisation 可以在音乐、现场音效或静默中进行练习。静默通常用于增强对身体感觉和伴侣沟通的关注。音乐的存在，更多地是作为一种辅助氛围，而非驱动结构。 |
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| | == 社群与传播 == |
| | Contact Improvisation 没有中央管理机构或认证体系。知识传播途径包括： |
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| | * 工作坊和节庆活动， |
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| | * 本地课程和即兴演奏， |
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| | * 同伴学习和指导。 |
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| | 这种去中心化的结构促进了该形式的适应性和全球传播。 |
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| | == 影响与传承 == |
| | Contact Improvisation 对以下领域产生了重大影响： |
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| | * 当代舞蹈与表演， |
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| | * 身体运动实践， |
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| | * 意识舞蹈模式， |
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| | * 形体剧场与实验表演。 |
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| | 后来的许多有意识的舞蹈实践都借鉴了Contact Improvisation的临场感、即兴创作和具身对话的原则。 |
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| | == 与意识舞蹈的关系 == |
| | 虽然 Contact Improvisation 本身并非冥想或治疗实践，但它被广泛认为是意识舞蹈领域的重要先驱。它对觉知、关系性运动和即兴创作的强调，对后来的实践，例如 5节奏、Open Floor 和其他动态冥想形式，产生了深远的影响。 |
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| | == 外部链接 == |
| | * Contact Improvisation - 加拿大：https://www.contactimprov.ca |
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| | [[Category:意识舞蹈练习]] |
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| | [[Category:动作即兴创作]] |
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| | [[Category:身体练习]] |
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| | [[Category:当代舞蹈]] |
“Contact Improvisation”是一种即兴舞蹈形式，它基于身体之间的重心共享、身体接触、动量和相互回应。它通过触觉、重力、平衡和流动来探索动作，强调实时选择而不是编排。
这种形式在世界各地的课堂、即兴表演、工作坊和演出中都有实践，并被广泛认为是影响当代即兴舞蹈和意识运动的基础实践之一。
起源
Contact Improvisation 由美国舞蹈家兼编舞家史蒂夫·帕克斯顿 (Steve Paxton) 于 1972 年创立，他与后现代舞蹈密切相关。这种舞蹈形式源于帕克斯顿对重力、反射、坠落和身体对话的探索，并最初通过在美国的演出和工作坊公开展示。
从一开始，Contact Improvisation 就发展成为一种开放的、不断发展的实践，而不是一种成文的技术，通过同伴交流、实验和社区实践传播开来。
核心原则
Contact Improvisation 遵循以下几个核心原则：
这种实践重视感觉、感知和适应能力，而非美学形式。
练习
Contact Improvisation 通常以以下方式练习：
- “课程”——系统地探索诸如翻滚、跌倒、举起和感知等技能。
- “即兴练习”——开放的练习环节，舞者可以自由地以两人或多人形式探索动作。
动作范围从细微的重心转移到动态的托举和跌倒。舞者通过身体感知和沟通，不断地在界限、安全和同意之间寻求平衡。
没有固定的编舞。动作源于身体互动、对重力的感知以及对舞伴和空间的反应。
触碰、安全与同意
触碰是Contact Improvisation的核心。因此，当代实践非常重视：
许多社区都明确制定了交通管制协议和安全准则。
音乐与环境
Contact Improvisation 可以在音乐、现场音效或静默中进行练习。静默通常用于增强对身体感觉和伴侣沟通的关注。音乐的存在，更多地是作为一种辅助氛围，而非驱动结构。
社群与传播
Contact Improvisation 没有中央管理机构或认证体系。知识传播途径包括：
这种去中心化的结构促进了该形式的适应性和全球传播。
影响与传承
Contact Improvisation 对以下领域产生了重大影响：
后来的许多有意识的舞蹈实践都借鉴了Contact Improvisation的临场感、即兴创作和具身对话的原则。
与意识舞蹈的关系
虽然 Contact Improvisation 本身并非冥想或治疗实践，但它被广泛认为是意识舞蹈领域的重要先驱。它对觉知、关系性运动和即兴创作的强调，对后来的实践，例如 5节奏、Open Floor 和其他动态冥想形式，产生了深远的影响。
外部链接
