陶身体剧场作为当代最具先锋力量、国际舞台上最受瞩目的中国现代舞团之一，其数位系列作品向观众传达着极致的身体运动，这得益于陶身体两位艺术总监陶冶、段妮共同研发的“圆运动技术”，在圆运动技术体系下传达着陶身体的运动方式、身体语言和美学理念。本文通过身体实践，将圆运动技术具有典型的技术组合进行提炼和转化，为舞蹈作品《极》提供了创作思路。结合拉班动作分析、舞蹈身体语言学、知觉现象学等相关理论作为指导，尝试将论文通过以下三个部分展开：

第一，如何定义“圆运动”。通过搜索有关陶身体剧场（及创团舞者）的创团史、学习历程、作品分析等文献资料及艺术总监采访，梳理出陶身体剧场圆运动技术中“圆”的身体属性。从圆的概念出发，进而分析圆运动的身体概念，了解身体驱动圆运动技术所应具备的身体要素：身体基本形态、身体能力要求和空间基本概念。第二，通过实践结合理论的方式，剖析圆运动技术的基础技术构成，并作用于作品《极》的舞者身上。圆运动技术作为集大成者，包含了以空间意识、身体序列传导为核心的空间技术，以重心外移至移位恢复的物理技术，和融合陶身体剧场独创的生笔画圆技法的圆运动技术，通过典型的组合案例，分析其运动原理，并训练参与作品《极》的舞者。第三，聚焦于如何将作品《极》与圆运动技术融会贯通，通过具有典型性、综合性的“折叠组合”、“顶胯组合”、“画胸组合”为例，从技术组合中寻找新的创作点，以组合的运动限制作为作品中的形式，将技术再次打破与重组，以“多线性”序列运动、四维空间中“流动的身体建筑”、身体记忆中的协调同步的创作方法，形成作品《极》整体的舞蹈内容，从技术中发现其表达的含义，诠释着作品《极》的思考与感悟。

Tao Dance Theater (TDT) is one of the most avant-garde Chinese modern dance troupes in the contemporary era and one of the most watched modern dance troupes on the international stage. Its digital series of works convey the ultimate body movement to the audience, thanks to the "circular motion technology" jointly developed by Tao ye and Duan Ni, the two artistic directors of Tao body, which conveys the movement mode, body language and aesthetic concept of Tao body under the circular movement technology system. Through body practice, this paper refines and transforms the typical technical combination of circular motion technology, and provides creative ideas for the dance work "JI". Under the guidance of Laban's movement analysis, dance body linguistics, perceptual phenomenology and other related theories, this paper attempts to launch the paper through the following three parts:

First, how to define "circular motion". By searching the literature about the founding history, learning process, work analysis and the interview with the artistic director of the pottery body theater (and the founding dancers), this paper combs out the body attribute of "circle" in the circular movement technology of the pottery body theater. Starting from the concept of circle, this paper analyzes the body concept of circular motion, and understands the body elements that body driven circular motion technology should have: basic body shape, body ability requirements and basic space concepts. Second, through the way of combining practice with theory, this paper analyzes the basic technical composition of circular motion technology, and acts on the dancers of the work "JI". As a master, circular motion technology includes space technology with spatial consciousness and body sequence transmission as the core, physical technology with the center of gravity moving outward to shift and recover, and circular motion technology integrating the original pen and stroke circular technique of Tao body theater. Through typical combination cases, it analyzes its motion principle and trains the dancers participating in the work "JI". Thirdly, it focuses on how to integrate the work "JI" with the circular motion technology. Taking the typical and comprehensive "folding combination", "crotch combination" and "chest painting combination" as examples, it looks for new creative points from the technical combination, and takes the combined movement restriction as the form in the work to break and reorganize the technology again, with the "multi linear" sequence movement and the "flowing body building" in the four-dimensional space The creation method of internal and external coordination and synchronization in body memory forms the overall dance content of the work "JI", finds the meaning of its expression from the technology, and interprets the thinking and perception of the work "JI".