本論追尋著土方巽創作的軌跡，企圖分析舞踏的身體美學與身體觀的形成與變化。六○年代的土方巽受到惹內的文學與超現實主義的影響甚深。這個時期的作品的式與手法主要是對於既有的藝術形式展開破壞。但是到了七○年代時，土方巽出明顯的「日本回歸」傾向。土方巽開始在舞踏當中尋求「日本」。在這個過程當中，土方巽藉由「東北」概念所建立起的言說來構築「日本人的身體」。「田埂」、「風達磨」(Kazedaruma)、「飯詰」(Idume)、「痲瘋」等所有相關於舞踏身體性的敘述都環繞在「東北」這個概念上。土方巽將舞踏的身體回歸到東北的地形與風土、神話與傳說上面。正是企圖以「文化相對主義」的立場，讓在以前曾經被以歐美為主的西方近代價值觀所否定的這些身體的特殊性在以舞踏，在表演這種「觀看」與「被觀看」的關係當中企圖去肯定它。

Based on following the trace of Tatumi Hizikata’s creations, this paper tries to analyze the forming and the changing of the body aesthetics and the concept of body of Butoh. In 1960s, Tatsumi Hizikata is deeply influenced by Jean Genet’s literary works and super-realism. During this period, the form and technique of his works are to destroy all-the-present art form. Yet in 1970s, He presents the apparent intention of “Japan-Returning.” In the process, he establishes the “Japanese Body” by the discourse of “East-North,” such as “Field,” “Kazedaruma,” “Idume,” and “Leperosy.” All the discourses of body are related to “East-North” concept, such as the geography, customs, myth, legends in the east-north. According to “Cultural relativism,” he tries to affirm the body unique, which was neglected in the western modern value dominated by Euramericans, in Butoh performance lying between “watching” and “being watched.”