本論文分別描述了由賈西亞創作的《邊緣》及沈亞彤所創作的《回憶錄》之舞蹈表演經驗。身為兩個作品的舞者之一，我在舞蹈創過程中特別強調「流體技巧 (liquid technique) 來運用舞蹈意象。理解意象的參考架構是基於「流體技巧」-想像軀幹猶如水中飄動的一張紙；由林文中教授的舞蹈訓練整理而成。此技巧著重於限制中的身體、環形運動及即興舞蹈的運用。這項實踐研究希望反映編舞中探索動作體現之意象使用，因而了解意象是舞者想像與體現動作的有效工具。 This thesis narrates the experience of performing Limbo and Recollection choreographed by Al Bernard Garcia and Alexes Sandino, respectively. As one of the dancers for the two choreographies, utilizing the dance imagery with particular emphasis on liquid technique was applied in the dance making. The frame of reference of understanding imagery is based on the liquid technique- imaging the torso as a floating paper in the water; configured from dance training taught by Professor Wen-Chung Lin. This technique highlights the use of body restriction, circular movements, and improvisation. This practice-based research hopes to reflect the use of imagery in embodying the movements as explored in the choreography. Thus, this posits that imagery is an effective tool for the dancer to visualize and embody the movement.
