[[abstract]]At the end of the twentieth century, a trend which was inspired by the concept of“Oriental Body”in the western theater dance had, directly, stimulated the rise of “Oriental Fever”in local theater dance field. This trend seemed inevitable since it was widely held that ‘nativization’ had been viewed as the solution to the long stagnated political atmosphere and cultural ecosystem here in Taiwan. As the result of this latest trend of the feverish pursuit, it is obvious that we no longer see the implementing of body the main and/or only vehicle in dancing representation. In the light of this dramatic shift, the author intends to (1) propose a philosophical rationale and gestalt framework regarding“pure-body”,(2) further clarify the empirical essence of“pure-body”, and (3) use metaphors derived from dancing body to expose the characteristics and richness of dancing body in terms of Chuang Tze’s views of body. Through the dialectics between Chuang Tze and Merleau-Ponty, We can understand, clearly, that the“pure-body”is the most primitive state of being which, according to Chuang Tze, is the path for one to grow and evolve from the physical aspect of being to the spiritual one; whereas the same concept can be found in Buddhist Sutras which state that three bodies were to be found in Buddha: body of self-nature, body of uses, and body of changes. In a sense, the“pure-body”is the equivalent of body of self-nature.“Chi”forms the essence of Chuang Tze’s teachings that“pure-body”which is immersing and fusing, ignorant but objective, empirical and open-minded, and creative and far-reaching in nature while the relations between body and object form the theories by Merleau-Ponty which leads us into a new dimension that is constituted around the“fleshly-body”, the center of existence and flesh and blood, experiences and cognitions, creation and imagination, and transforming and what’s beyond. Though pivoting upon different concepts, their teachings and theories have proved that, even with obvious differences in principles, the“pure-body”is indeed the basis of any eventual implementation of physical one. Then, by means of the implications of metaphors derived from the dancing body, we can discover that the so-called ‘pure’ dancing body poses characteristics of being primitive but organic, original while creative, purified but in union with outside world, imaginary and reflective, and writtenly and readable. It is also because of these characteristics, one can, therefore, open the path of an in-depth journey into most creative, uppermost, purified, intensive, transformational, fulfilling realization of life and its experiences through the return to the pre-body and by ways of conducting the dialectics between pure and fleshly bodies.
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