罗莎舞团的艺术总监安娜·特蕾莎·德·姬尔美可(Anne Teresa de Keersmaeker）是 80 年代脱颖而出的比利时编舞家，其受到史蒂夫·莱奇极简主义音乐“相位”编曲技法的影响，及自身对数理逻辑、神圣几何的痴迷，创造出兼具数学式理性与戏剧化感性的舞蹈语言与作品风格，给予观众强烈的印象冲击。动作的重复叠加、线路的几何交错、音乐可视化追求等诸多因素，都构成了姬尔美可极具极简美学风格的作品，在现代舞界掀起了极简主义风潮。姬尔美可首支极简主义风格作品《Fase》（《相位》，以史蒂夫·莱奇的四首极简曲目为音乐）横空出世即一鸣惊人，其后作品《Rosas danst Rosas》《Drumming》《Rain》等（《罗莎舞罗莎》《击鼓》《雨》）逐步在这种编舞方法以及极简美学特色上愈加成熟与灵活。本文从极简主义艺术的发展脉络，以及极简主义音乐发展的切入，分析并提炼姬尔美可基于“相位”编曲法而发展出个人独特的的“相位”编舞方法内容，并通过分析其方法所促成的作品风格，探讨姬尔美可的极简主义舞蹈美学哲思。

      本文共分为三个篇章，以历史、方法、舞蹈哲思三个层面进行极简主义舞蹈及姬尔美可的创作实践的梳理与分析。第一篇章从历史层面梳理极简主义进舞蹈领域的过程，以及介绍极简主义音乐和姬尔美可的个人艺术背景，探究其风格形成的背景因素，总结姬尔美可的极简主义舞蹈风格特点。第二篇章针对姬尔美可的“相位”编舞法进行具体的实践分析与提炼。该部分以舞蹈创作构成因素时间、空间、动作三个层面进行提炼，每层面由姬尔美可的创作理念切入，结合其早期极简主义编舞作品《Fase》《Rosas danst rosas》进行具体的实践分析提炼。再结合作品《Rain》的分析，观察其“相位”编舞法的自我演进。第三篇章则透过前文对编舞方法的具体分析提炼，探讨并凝练其实践结果所产生的艺术张力效果而带来的舞蹈哲思。该部分围绕存在与其风格中的三组矛盾的对立统一关系，分别是“简与繁”、“感性与理性”、“东方与西方”，探讨通过编舞方法而协调矛盾后所达到的美学效果，引发创作者共同的哲学思考。

Rosas' Company Director Anne Teresa De Keersmaeker was a Belgian choreographer who came to the fore in the 1980s, influenced by Steve Reich's minimalist musical "phase" arrangement. With his own obsession with mathematical logic and sacred geometry, she created a unique dance language and work style that combines mathematical rationality and dramatic sensibility, giving the audience a strong impression. The repetition and superposition of movements, the geometric staggering of lines, the visual transformation of music, and many other factors constitute Keersmaeker's works with a minimalist aesthetic style, setting off a minimalist trend in the modern dance world. Keersmaeker's first minimalist work "Fase" (to the music of four minimalist tracks by Steve Reich) turned out to be a blockbuster. Followed by "Rosas danst Rosas", "Drumming" and "Rain" gradually become more mature and flexible in this choreography method and minimalist aesthetic features. This article starts from the development of minimalist art and the development of minimalist music, analyzes and refines the content of Keersmaeker's unique "phase" choreography method based on the "phase" arranging method, and analyzes the content of her unique "phase" choreography method based on the "phase" arrangement method. The style of the works promoted by the method explores the minimalist dance aesthetic philosophy of Keersmaeker.

This article is divided into three chapters, which sort out and analyze the minimalist dance and Keersmaeker's creative practice from the three levels of history, method and dance philosophy. The first chapter sorts out the process of minimalism entering the field of dance from a historical perspective, introduces minimalist music and Keersmaeker's personal artistic background, explores the pursuit of the background factors that form her style, and summarizes Keersmaeker's minimalism dance style characteristics. The second chapter conducts specific practical analysis and refinement of Keersmaeker's "phase" choreography. This part is refined based on the three aspects of dance creation: "time, space, and force". Each aspect is cut into by Keersmaeker's creative concept, combined with her early minimalist choreography work "Fase", "Rosa danst Rosas" for specific practical analysis and refinement. Then through the analysis of the work "Rain", observe the self-evolution of its "phase" choreography. The third chapter discusses and condenses the dance philosophy brought about by the "two-pole tension" effect produced by its practical results through the specific analysis and refinement of the choreography method. This part revolves around the unity of opposites and unity of existence and three groups of contradictions in its style, namely "simplicity and complexity", "sensibility and rationality", "east and west", and discusses the aesthetic effect achieved by reconciling the contradictions through choreography, triggering the common philosophical thinking of the creators.