The Art of Atmosphere 氛圍的藝術

Archetypal atmospheres as balancing forces for our time

這時代原型氛圍作為平衡的力量

Looking at one of our human capacities: the ability to create atmosphere

檢視人類潛能之一 : 創造氛圍的能力

By David Anderson

Contents: 目錄

Introduction導言

Atmosphere is the soul of a space 氛圍是空間的靈魂

A sense” of atmosphere 氛圍的感知

Atmospheres for the actor 演員的氛圍

Personal Atmosphere 個人氛圍

Objective Atmosphere 客觀氛圍

Atmospheres create gestures in the space 氛圍創造空間的姿態

Co-creating atmospheres 共創氛圍

12 Action Steps toward creating a stable, supportive culture of nutritional atmospheres

建立滋養性氛圍,內涵穩定、支持性文化的12個行動步驟

7 Archetypal Atmospheres worth cultivating for nutrition and balance培植滋養與平衡的7大原型氛圍

Conclusion

結論

Reverence Exercises

敬虔練習

 

To affect the quality of the day, that is the highest of arts.

– Henry David Thoreau

“能夠影響一整日品質的,是最上乘的藝術。”

-亨利.梭羅

 

“Atmosphere is the soul of the theater.”

– Michael Chekhov

“氛圍是劇場的靈魂”  麥可.契可夫

 

Introduction

導言

We live in an unique time where most of the world is united in an atmosphere or mood. In some parts of the world this atmosphere presence may be more colored in fear and anxiety, in other parts more strongly colored with uncertainty. But this collective experience works on all of us, even if we do not feel directly affected. We may wake up in the morning and feel a quality of uncertainty or anxiety in our bodies that does not belong to us personally but feels connected to what lives in the collective consciousness of the world just now.

我們生活在一個獨特的年代,全世界大多數都活在一個集體氛圍或情緒狀態當中。某些地區的氛圍可能染有較多恐懼或焦慮的色彩,另一些地區則是較強烈的不確定性。即使我們不覺得直接被影響,這集體經驗仍作用在所有人身上。我們可能一早醒來,即感覺到身體的不確定感及焦慮,它不屬於個人專有,但卻與集體意識的世界相連著。

Children pick up on the atmosphere in their community even if they never see an image or hear a word about what is happening. They absorb what is present in their space, in their community, in their world.

兒童感染著自家社區的氛圍,即使他們未親自看過景象、或聽過任何發生的事。他們吸收著所在空間、社區、國家的一切。

Because an atmosphere is invisible, it is easy to overlook its presence, and the impact of this presence – how it informs what we think, what we feel, and how we act. In turn, this thinking, these feelings, these actions empower the atmosphere, or they create a field of invitation for the highest possible future that wants to emerge (to borrow a phrase from Otto Scharmer). They can build an invisible garden bed for the seeds of the future.

因為氛圍是肉眼看不見的,其存在很容易被忽略,它的影響有: 知會我們該如何思考、如何感覺、如何行動。也就是說,這些思考、感覺、行動會增強氛圍,或是創造一個場域的邀請,邀請想要從中浮現未來更高的可能性(引用自奧圖.夏默Otto Scharmer)。它們可以為未來種子們搭建一個隱匿的花園溫床。

If we are in a smoke-filled room and we don’t like breathing in smoke, we might leave the room, open a window, or see where the smoke was coming from. An atmosphere can work just as deeply into us as smoke. We breathe it in through our senses. It can color our experience, obscure our vision, or be a holding space for incubating our vision. One aspect of atmosphere is its ability to unify all within it.

假設我們在一個充滿煙味的房間,而我們不喜歡吸入煙味,我們可能就離開房間,打開窗戶,或是查看煙味的來源。氛圍深入我們的作用就如同煙一般,我們透過感官將它吸進來。氛圍可以著染我們的經驗,遮蔽我們的眼光,又或是成為一個孵化願景的空間。氛圍當中有一個面向,就是具有統合所有在它之內的能力。

At this time, creating health-supporting atmospheres can help balance, harmonize, or mitigate the effects our current world situation is having on us and especially on our children. For a child, a healthy atmosphere can be as powerful and nutrition-giving as the food they eat. Forces work through the atmosphere and feed the child’s relationship to themselves and to the world. These forces can work like an antidote or remedy for an imbalance or sense of overwhelm. A healthy atmosphere can act like a second skin, a buffer or safe holding space for their learning and growing. Spending more time inside, we now have an opportunity to cultivate new life in our spaces (our inner space and the spaces we share). We might understand our current situation as inviting us to do this.

至此,創造一個支持健康的氛圍,可以幫助我們平衡、和諧、或緩和現今世界情勢對我們、尤其是孩童所造成的影響。對孩子來說,一個健康的氛圍,就等同於他們吃進有力量及滋養的食物。趨力的動能透過氛圍在工作,餵養著孩童與自己、與世界的關係,這趨力,扮演著失衡或全然不知所措的解毒劑或解藥。一個健康的氛圍就如同身體的第二層皮膚、一種緩衝、或一個安全的保護孩子學習與成長的空間。再更深入看,我們現在有機會在我們的空間 (內在的空間和共享的空間) 培養新生活,我們或可將我們的現狀理解為,它正在邀請我們做這樣的事。

The archetypal world, or the world of forces that work with the human being and into human experience, manifests or expresses itself in different ways. In drama we look at archetypal gestures, sounds, and colors, for example. We engage them in order to connect with universal creative forces, with a power that transcends the personal experience; to create a bridge to that divine world. Another way we can invite this world to stream its strength and support into our experience and into our spaces is through working with atmospheres.

原型世界,或是與人類工作並融入人類經驗的世界性趨力,以不同方式顯化或表達它自身。例如,在戲劇裡,我們看到原型的姿態、聲音或顏色,我們介入它們以便於和宇宙的創造力量連結、和轉化個人經驗的力量連結;創造出一條搭往神性世界的橋梁。另一種方式,我們可以邀請原型世界在我們的經驗和空間中,發揮力量與支持,透過各種氛圍來工作。

The space between us can veil a sense of divine presence or can illuminate it. As human beings we have an unique power to create these possibilities through how we engage with atmosphere.

在我們之間的空間,神性的臨在可以被掩蓋,抑或是被照亮。身為人,我們具有此獨特的能力,透過氛圍的參與,創造空間的可能性。

What are the archetypal atmospheres a developing human being is hungry for? How does my personal atmosphere contribute to the collective atmosphere and to a child’s experiences? How can we cultivate atmosphere?

發展中的人類渴求什麼樣的原型氛圍? 個人氛圍如何塑造集體氛圍,以及如何影響一個孩童的經驗? 我們要如何培植氛圍?

Atmosphere is the soul of a space or the enveloping mood garment of a person, space, or situation.

氛圍是空間的靈魂,或是一個人、空間、或情境之情緒外衣的包裝。

I once went to a performance of Twelfth Night on Broadway. Before the play the audience stood in line, joined the hustle and crunch to enter the theater, found our seats, and sat down. We were all strangers sitting together in a dark room facing the same direction. The curtains opened and light, warmth, sound, and energy filled the stage and poured over us and into our attending senses.

我曾經去百老匯看<第十二夜>演出,演出前觀眾們排著隊,趕著進入劇院,找到自己的位置,而後坐下來。一群陌生人一起坐在一個黑暗的房間,面向同一個方向。當簾幕掀開,燈光、溫暖、聲音及能量充滿了舞台,也流向我們,進入到我們參與的感官中。

Hours later the last word was spoken, we sat in silence a moment, reluctant to move, as if to drink deep from this mysterious well of life, and then gradually began to applaud. We were all filled with a similar sensation that felt beyond words. I looked at the stranger next to me, who no longer felt like a stranger, and, though we did not say a word to each other, we knew: we are united in this shared experience. We were reminded of our shared humanity, on this earth, at this time. We have created a community together. As we all began to leave the theater, the tempo was different: slower, more solemn, digesting, as if after a large feast or a religious rite. Our eyes had a steadiness and stillness. I didn’t hear any of the chatting or commotion we entered with.

幾小時後,當最後一個字被說出口,我們安靜的坐了一會,還不想動,如同深醉於神秘的生命之泉,然後逐漸開始鼓掌。我們全都沉浸在語言無法表達、又相似的感知當中,我看了坐在我旁邊的陌生人,我不再感覺對他陌生,雖然我們彼此沒有交談,但我們都知道: 我們被這個共享的經驗結合在一起了。我們被提醒著此時、在地球上、我們共享的人性。我們已經一起創造了一個社群。當我們全部的人開始離開劇院,節奏變的不同了: 更緩慢、更莊重、仍沉殿中的,就如同剛結束一場盛宴或宗教性儀式般。我們的眼神有著穩定及靜定,我並未聽見任何談話聲、或任何剛進入劇院時的騷動。

As we slowly spilled back out into New York City, I could feel this invisible membrane that we had formed together stretch out over the city and get thinner and thinner as it began to weave the light of this community into the fabric of the city. On the subway, moments later, we could still recognize each other. Our luminosity was obvious to each other. We could even nod our heads in knowing.

當人群慢慢的湧進紐約市,我可以感覺我們剛才共同形成不可見的一層似薄膜體延伸至整個城市,且變得愈來愈稀薄。這齣戲的社群之光正編織入紐約市這份織錦上。片刻之後,在地鐵上,我們仍可相互認出,照見彼此的亮光,甚至可以彼此點頭了然。

Of course, we owe some of this mysterious and alchemical happening to the quality of the performance, the beauty of the language, the naked human speech, the live music, even the candlelight they used. But our attendance also contributed to what revealed itself in the space. The atmosphere we shared was beyond any one person’s personal contribution. It was born out of our collective attention.

當然,我們略過了表演過程神秘又鍊金術般的影響,例如演出的語言之美、赤裸的人類演說、現場音樂、甚至是蠟燭的運用,但是我們的參與也對這空間自身所揭露的有所貢獻。而我們共享的氛圍遠超過任何個人的貢獻,它是從我們集體專注中所誕生的。

A sense” of atmosphere

氛圍的感知

If we look at our experience of atmosphere as a sense or sensation, where is its organ of perception? From where in us do we perceive it? When we open our eyes, we see, and the colors of the world appear to us. We touch something and the texture of the world touches us. Some of these experiences are archetypal. The color red or blue, for example, speaks to a part of us where that color lives. Though I may have a personal association with red or blue, they also have a universal, archetypal quality which has a counterpart in me. Beyond my likes and dislikes or any association of red as being connected to love or anger or passion, it has its own objective force. I can live in my experience of my projection upon red or I can also attune to its universal power. When I do, the archetypal force wakes up its counterpart within me and they resonate together. The archetypal world comes to consciousness within the human being and works into the world. We feel enlarged by this eternal presence.

如果我們以一種感知或感官的經驗去看待氛圍,那麼這接收的器官在哪裡? 是內在哪一部分在感知呢? 當我們睜開眼睛,我們就可以看,世界的顏色會呈現給我們。當我們碰觸某樣東西,世界也在碰觸我們。某些這類經驗是屬於原型經驗,例如紅色或藍色,與存在於我們之內的紅藍對話著。雖然我可能跟紅或藍有個人經驗的連結,但它們在我身上依舊會對應到共通性的、原型的品質。在喜歡與不喜歡背後,或是將紅色連結到愛或憤怒或熱情的背後,紅色仍舊有它自己的客觀力量。我可以依照自己對紅色的投射經驗活著,或是我也可以調合它的共通性力量。當我這麼做的時候,原型的力量會喚醒我內在所對應的,並產生共鳴。原型世界進入人類的意識並走進世界工作著,這個永恆的存在擴大了我們的感知。

With atmosphere, the organ of perception is harder to locate and the clarity of its experience may be harder to assess than with other senses. Yet we can recognize the presence of an atmosphere. When it is strong in a space, say in a place of grief, in a community living in fear, in a graveyard, or in the reverential wonder of a kindergarten, its presence is obvious and easy to feel. Other atmospheres may be more subtle.

在氛圍中,感知的器官更難定位,經驗氛圍的清晰度,可能比其他感知更難評估。然而我們可以認出氛圍的存在,當它在一個空間是強烈的,譬如說悲傷、生活在恐懼的社區、墓園、或是在一所幼兒園的高尚奇蹟中,它的存在是明顯容易被感覺到的。其它氛圍或許更加細微。

An atmosphere can be seen as the enveloping soul or invisible garment of a space that our other senses grow and breathe within. Though its qualities resonate in our body and in our soul – they can induce sweating, agitate or calm our breathing, create a feeling of heaviness or lightness in the body – our senses perceive it around our body. It can appear to have a life of its own but, as it lives in the air around us, we are connected to it and it unites us within it.

氛圍可以看成是靈魂的包裝,或是看不見的外衣,我們其它感官在其中得以成長並呼吸的空間。儘管它的品質在我們的身體和我們的心魂中產生共鳴—導致流汗、激怒或讓呼吸平靜、在身體上產生沉重或輕盈的感覺—我們的感官在我們的身體周圍可以感知得到。它看起來擁有自己的生命,但是當它活在我們周圍的空氣裡,我們與之相連,並將我們帶入其中。

Like all senses, the sense of atmosphere is a breathing organ. We breathe it in and enhance it with our out-breath. It may be possible to breathe in an atmosphere, especially if it is a destabilizing or shadow atmosphere, and begin a process of transforming it through what and how we breathe out into it; by how we move and speak and think within it (as forms of out-breath).

如同所有感官,氛圍的感官是個呼吸的器官,我們吸入,並透過呼出來增強它。吸入一種氛圍是有可能的,特別是不穩定或陰影氛圍,透過呼出的內容與方式進入該氛圍,即開始進行氛圍轉化的過程;藉由我們在其中移動、說話、跟思考的方式 (以呼氣的形式) 來進行。

Events can generate atmosphere. A wedding, a funeral, a birth, a death, an accident, a conflict, inspire atmospheres that have an infectious influence on our feelings and our perceptions. They can color how we perceive the world and our relationship with it.

事件也可產生氛圍。婚禮、葬禮、出生、死亡、意外、衝突等都會激發氛圍,對於我們的感覺與感知具有傳染性的影響力。它們可以對我們如何感知世界、以及與我們之間的關係產生影響。

Nature offers perhaps the most harmonizing atmospheres for feeding the soul, if we can open our senses to them. Its archetypal power can work on us only if we can enter its influence and breathe it in through our senses. Perhaps you have had the experience of walking into a forest and feeling as if the invisible hand of the atmosphere were reaching out to welcome you into it. “Let the healing begin.”

大自然或許為養育靈魂提供了最和諧的氛圍,如果我們可以向它們開放感官。大自然的原型力量可以在我們身上工作,但只有當我們可以透過感官進入它的影響,並吸入它,。或許你已經有這個經驗,走入一座森林,感覺就像有一隻看不見的手伸出來歡迎你進入它,”讓療癒開始吧”。

Different times of the day reveal different qualities or moods. Perhaps the most outspoken or profound “voices” of the day are at dawn and at sunset, two powerful transitions. When we turn our senses over to these presences, we can feel there is a quality of energy emanating through the play of color and light. We feel a corresponding movement in our soul.

每一天不同時刻會顯現不同的品質或心情,或許一天中最直白或最深刻的”聲音”出現在黎明破曉時、或是傍晚時分,二個強大的轉換時刻。當我們將感官轉至當下,可以感覺有一種能量的品質從色彩與光線的遊戲中透出,我們的靈魂也感覺到相應的律動。

When we offer our senses to an atmosphere, we can perceive tempo, thickness, weight, temperature, smell, tone, qualities of harmony or discord, of texture and light, and even taste. Every sense can tune into the unique expression of the atmosphere of a space. This perceiving awakens a sense for its qualities. These qualities create a kind of “voice” or presence, a sense of its wholeness.

當我們向氛圍打開感官,我們可以感知到節奏、厚度、重量、溫度、氣味、調性、和諧或不和諧的品質、質地與光線、甚至是味道。每種感官都可以融入空間氛圍的獨特性表達,這種感知喚醒了品質的感受,這品質創造了一種”聲音”或存在,一種整體感。

All that we perceive through the senses is a kind of light. Our perception enlightens it. In experiencing atmosphere, we recognize qualities of light, even when the atmosphere is heavy or dark. A willingness to perceive it – not to resist it – allows qualities of its light to be revealed. These qualities have a corresponding force within us. We can move in harmony with that force, we can resist its presence, or we can bring a transforming gesture or intention to it.

感官所感知的一切是一種光,是我們的感知力點燃了它。在經驗氛圍時,我們認知到光的品質,即使氛圍是沉重或黑暗的。去感知的意願—而非抗拒它—允許光本身品質的顯露,這些品質與我們的內在有一種相呼應的力量。我們可以與該股力量和諧並進,也可以拒絕它的存在,或是為它帶來轉化的姿態或是意圖。

Although children are remarkably vulnerable to experiences of atmosphere (our four-month-old will instantly reflect a new atmosphere with a body and soul response), adults, in moments of openness and attention, can also experience this soul language. But as adults, we can seek activities, filter, protect ourselves, or engage inwardly with balancing forces in order to navigate and make sense of what is happening to us and around us. Children are not able to filter out or buffer what their senses ingest. Like a sponge, everything goes directly into them. In times of intensity or confusion or sensory overload, it becomes more necessary than ever to create spaces where children can digest what they have taken in.

儘管兒童非常容易受到氛圍體驗的影響(四個月大的孩子,其身體和心魂的回應,會快速反應出新的氛圍),成年人在敞開及關注的時刻,也可以經驗這心魂的語言。但身為成人,我們可以尋求活動、進行過濾、保護自己、或向內連結平衡的力量,以便搜尋並理解在自己身上及周圍所發生的事情。兒童無法過濾或緩衝它們的感官所攝入的東西,就像海綿一樣,一切都直接進入他們。在感官緊張、混亂、或超負荷的時代,都比以往任何時候都更需要創造一個空間,讓兒童可以消化他們所吸收進來的。

Babies are such powerful creators of atmosphere because they so purely reflect the atmosphere around them. As their consciousness is not completely in their body yet, we can experience this magical aura of light and warmth in the space around them. They highlight or awaken awareness for the presence of the divine in their space.

嬰兒是氛圍的強大創造者,因為他們純粹反映了周圍的氣氛。由於他們的意識尚未完全進入他們的身體,我們可以在他們周圍的空間中體驗神奇的溫暖及愛的光環,他們強調或喚醒人們對空間中神性意識的存在。

When we tune to or connect to the presence of a healthy atmosphere, our soul connects to an archetypal soul language. Connecting to a universal principle in this way unites the soul with forces beyond the personal. These forces expand a sense of who we are and what we are a part of. We transcend our personal experience and open ourselves for the enlivening presence of the archetypal world.

當我們對應或連結到健康氛圍的存在時,我們的靈魂連接到原型的靈魂語言,以此共通性原則的方式連結,將靈魂與超越個人的力量結合在一起。這力量擴大了自己是誰、以及我們是其中一部分的認知。我們超越了個人經驗,為充滿活力的原型世界打開自己的大門。

Atmospheres for the actor

演員的氛圍

Michael Chekhov, who created the Chekhov method of acting, describes two kinds of atmospheres: a character or personal atmosphere (with subjective individual feelings), which is particularly revealed in the space around a character, and an objective atmosphere (with objective feelings), which all characters live in. In drama we create atmospheres to enhance an artistic picture or experience. It adds dimension and depth to a character or a scene. Both kinds of atmospheres are sources of inspiration.

麥可.契可夫創造了契可夫式的表演方法,他描述了二種氛圍: 一種是角色或個人的氛圍(帶有主觀的個人感受),通常在空間裡的某一個角色周圍會特別顯現出來;以及客觀的氛圍(帶著客觀的感受),所有的角色都在這其中。在戲劇裡,我們創造氛圍去提高藝術感或經驗,增加角色或場景的廣度及深度,這二種氛圍都是靈感的源泉。

My character may have the personal atmosphere of a dark heavy cloud but then step into the objective atmosphere of a busy train station or a quiet library. Both have a presence with us. Their interplay can create dynamic and complexity. If we can radiate these sensations or reflect these presences through our sensing, then the audience wakes up to their presence. The archetypal power works into their experience as well.

自己的角色或許帶有濃厚沉重的個人氣氛,但隨後走進繁忙的火車站或安靜的圖書館的客觀氛圍中,兩者氛圍對我們來說都存在著,他們之間的相互作用會創造動態及複雜性。如果我們能夠散發這些感知,或透過感知反應這些存在,那麼觀眾便對這存在醒過來,原型世界的力量同時也對這經驗工作著。

Every play has an atmosphere and every scene has an atmosphere within a play’s larger atmosphere. Each scene layering atmosphere upon atmosphere until the larger feeling of the play’s atmosphere is created. Although objective atmosphere unites all within it, we all contribute to it, even adding dimension to it, consciously or unconsciously with our personal atmosphere.

每一齣戲都會有氛圍,每一場景在整齣戲更大的氛圍之下,也有它自己的氛圍。每個場景會有不同氛圍的層次,直到創造出更大的戲劇氛圍為止。雖然客觀氛圍統整了所有,但我們也貢獻了個人有意識或無意識的氛圍、甚至增添了一些維度在其中。

Atmospheres can inspire feelings. We may all have a different personal feeling in a busy train station, but it doesn’t take away the reality of its atmosphere and the possibility of our experience of it. A character with a bright personal atmosphere may move into feelings that do not align with their personal atmosphere but still maintain a connection to their personal atmosphere.

氛圍可以啟發感受。我們或許在忙碌的火車站有不同的個人感覺,但這並不會奪走該氛圍的事實,以及經驗它的可能性。具有鮮明個人氛圍的角色可能會陷入與他們的個人氛圍不符,但仍與該個人氛圍保持著聯繫的感受。

Similar places can reveal different qualities of atmosphere. We have all seen a seedy mechanic’s shop and a mechanic’s shop that was meticulously clean, or the messy, full bookshop and the open-space socially-buzzing bookshop. Because atmospheres are space-derived, they have an objective power. They surround and inform us with qualities and, potentially, archetypal presence.

相似的地方可以展現出不同的氛圍,我們都看到了骯髒的技工店和一塵不染的技工店,或者雜亂無章的書店和開放式的社交熱點書店。因為氛圍是源自空間的,所以他們具有客觀的力量,它們圍繞著我們,並告知我們其品質,以及潛在的原型存在。

But atmospheres are limitless and to be found everywhere. Every landscape, every street, house, room; a library, a hospital, a cathedral, a noisy restaurant, a museum; morning, noon, twilight, night; spring, summer, fall, winter – every phenomenon and event has its own particular atmosphere.”*

– Michael Chekhov

但是氛圍是無限的,無處不在的。每一處風景、每條街道、房屋、房間;圖書館、醫院、大教堂、吵雜的餐廳、美術館;早晨、中午、晚上;春、夏、秋、冬每個現象及事件都有它自己獨特的氛圍

麥可.契可夫

Personal Atmosphere

個人氛圍

We are mostly unaware of our personal atmosphere. Although people who seem to live in a heavy, serious tone, for example, may be aware of how they impact others with their presence. A light or funny person may be aware of how others become brighter when they are around. It can feel like the air around them has a different color.

我們最無法覺知到我們的個人氛圍。舉例來說,生活調性看似沉重嚴肅的人,可能會意識到他們的存在帶給他人的影響;一個輕盈或有趣的人可能會意識到在他周圍的人變得較為明亮,感覺周圍的空氣有不同的顏色。

Artistically, this is fun to work with, as we can add imaginations to our personal atmosphere. We can imagine a sphere just around our body filled with dark clouds, full of effervescent little bubbles, or with little tickling feathers floating within it. This can engender a wonderful sensation that can enhance our experience of a character and our relationship to the scene.

從藝術上來說,這很有趣,因為我們可以為個人氛圍增加想像力。我們可以想像一個滿佈烏雲的球體圍繞著我們,裡頭充滿了沸騰的小泡泡、或是漂浮著搔人癢的小羽毛。這可以產生一種奇妙的感覺,增強我們對角色的體驗和與場景的關係。

In a busy and full life, we do not see our personal atmosphere as contributing to the life of a space. However, when we come home with a strong personal atmosphere, our children become aware of it right away. They immediately tune into what we bring into their environment. If this personal space is a deep habit or a fixed reflection of our personality, the children are already inwardly shaped by its presence and respond accordingly. If it is light-filled, they are attracted to it. If it has a more shadow-like quality, they learn how to protect, hide, negotiate or work with it. Some children seem to present a gesture of healing toward such personal atmospheres. Such children never tire to try and bring light into the presence of darkness.

在忙碌而充實的生活中,我們看不見個人氛圍如何影響空間的生命。但是當我們帶著強烈的個人氛圍回到家時,我們的孩子馬上就覺知到了,並馬上調成我們帶入到環境中的。假如這種個人空間是一種深層習慣,或對我們性格的固定反應,孩子的內在已經被它的存在給形塑,並能做出相應的反應。如果它是被光充滿的,孩子們會被吸引。如果它有陰影般的特質,孩子們將學習如何保護、隱藏、協調或與它一起工作。一些孩子似乎表現出了對於這樣的個人氛圍療癒的姿態,這樣的孩子從不厭倦將光帶入黑暗中。

This is not necessarily the same thing as a soul mood, although they can work together. My habit personal atmosphere may be humming with active, busy energy but on a day when I experience a serious conflict at work, my mood may change, though my personal atmosphere is still there.

雖然他們可以一起工作,但心魂的情緒卻不一定可以如此。我的慣性個人氛圍或許哼著活躍忙碌的能量,但遇到工作嚴重衝突的那一天,儘管我的個人氛圍仍然存在,但我的心情可能會改變。

Many factors contribute to our personal atmosphere. Parents, background, life circumstances, biography, attitude, the nature of our work all shape what we present to the world. Generally, a personal atmosphere tends toward a polarity or one-sidedness, as it is in this unique expression of our humanness that we can recognize the freedom to transform it out of ourselves – to bring it to balance. Artistically, we might call this striving toward neutrality, so we can be available to inspiration. A strong personal atmosphere, like a strong personality, can be an obstacle to new experiences.

許多因素都會影響我們的個人氛圍,父母、背景、生活環境、傳記、態度、工作樣態都影響著我們呈現給世界的一切。一般來說,個人氛圍趨向於兩極化或單一性,但在人性獨特的表達中,我們可以從自身之內辨識出將其轉化的自由—使它得到平衡。從藝術上來說,我們可以稱其為追求中立,因此我們可以從中獲得靈感。一個強烈的個人氛圍,譬如強烈的個性,可以是新經驗的障礙。

If we can recognize what is our unique expression of personal atmosphere, we can already begin to sense what kind of balancing or harmonizing gesture we can bring to it. For the hustle and bustle atmosphere, perhaps doing things slowly and deliberately or consciously. Or introducing moments of physical stillness where I allow my “aura of busy-ness” to become still and quiet. Or it could be a soothing bath, a camomile compress, or applying a lavender massage oil. Any moment given to such home remedies contributes significantly to atmosphere.

如果我們能認出什麼是個人氛圍的獨特表達,我們已經開始感知到我們可以帶給它什麼樣的平衡或和諧的姿態。對於熙攘往來的氣氛,或許我們會慢慢的、刻意的、有意識的做著手邊的事;或在引入身體靜止的時刻,允許我的忙碌光環變得靜止和安靜。也可以是舒緩的沐浴,配上濃縮洋甘菊,或塗抹薰衣草按摩油。任何時刻此類家庭療法對氛圍將貢獻良多。

If we can see this contribution we make to a space, it already begins to change. The light of our awareness acts like a yeast in the dough. If we take up working with it, a sense of freedom follows closely behind. We are not stuck in one expression but can create a context for something different.

如果我們能看到我們對空間所做的貢獻,那麼它就已經開始改變。我們意識中的光,就像麵糰的酵母,如果我們開始與他工作,自由的感知將緊隨其後而來。我們不會卡住於一種表達,但我們可以創造不一樣的情境。

Virtues create their own personal atmosphere and can influence the collective atmosphere. We all recognize the quality of kindness, humbleness, or generosity in the air around people who have developed these virtues.

美德創造了他們自己的氛圍,並影響了集體的氛圍。我們都可以認知到那些擁有美德的人身上所散發的良善、謙虛、與慷慨的特質。

Objective Atmosphere

客觀氛圍

It can be fun to go for a walk and, while strolling along, glimpse into the windows of houses – how different each living room seems to be! In our neighborhood here in Taiwan, the living rooms may all have similar kinds of furniture or wall decorations or a similar kind of shrine, but, often, there is a quality that can be very different. It could be a kind of darkness, or chaos, or luminosity, or warmth, or gentleness, or goodness. The objects may be similar but the space surrounding them is different.

散步可以是有趣的,漫步時得以透過窗戶瞥見每棟房子客廳的不同狀態。在台灣,附近鄰居的客廳可能都有類似的家具、牆壁裝飾、或神桌,但感覺上仍非常不同,它有可能是一種黑暗、或混亂、或明亮、或溫暖、或溫和、或良善。品項看來相似,但空間感卻很不同。

We know archetypal atmospheres in a temple, an emergency room, a baby’s room, a restaurant’s kitchen, a meadow, a forest, a seaside. Even the mention of them may produce a little familiar movement in you – a sense memory. Even if you haven’t had a profound experience of these atmospheres, your body knows the experience. As with all archetypal experiences, they reflect a quality that exists in the human being. As every human being has all archetypal characters in them as potential, every objective atmosphere has a soul counterpart. This correspondence may light up as a feeling or a physical sensation. We all recognize the inner experience of a desert, even if we have never been in one.

我們知道寺廟、急診室、嬰兒室、餐廳內的廚房、草原、森林、海邊的氛圍,甚至提及這些就能在你之內產生一種熟悉的感受—一種感官上的記憶。即使你對這些氛圍沒有深刻的經驗,你的身體也會知道。與所有原型經驗一樣,它們反映了人類存在的品質。由於每個人都具有潛在的原型特徵,每個客觀氣氛都有它心魂的對應,這對應可以點燃身體或感覺上的感知,就如同我們都可以認出沙漠的內在經驗,即使我們從未去到那裡。

At this moment in our time we can recognize a collective objective atmosphere in the world. It is fed by media reports, gossip, social network feeds, and all the little inner and outer movements we bring to it. The spaces we live in can be colored by this presence, as the collective environment can work into all spaces, like weather. And, like weather, we can receive it, move with it, react to it, or we can bring a counter gesture toward it. When it gets very cold, we can light a fire or turn on a heater. In the heat of the summer, we seek the comfort of shade.

此時此刻,我們可以認識到世界集體客觀的氛圍,它被媒體報導、八卦、社交網絡,以及所有我們內在與外在每一個微小的動作給豢養著。我們所居住的空間被這個氛圍的存在影響著,這集體的環境可以如天氣一樣,作用於所有的空間,我們接收它、隨它移動、對它做出反應,或是對它做出反姿態。當天氣很冷時,我們可以點燃火或打開暖氣,在炎熱的夏天,我們會尋求陰涼處的舒適感。

Objective atmospheres affect our experience of the world, how we experience ourselves within it, and how we relate to it. An atmosphere full of chaos may close me off and I may be less likely to unfold myself within it. Whatever lives in me is held back and cannot come to expression. If it is an embracing, supportive atmosphere, filled with soul warmth and holding and care and attention, what lives in me is invited into it. Whatever gifts or contributions I have come with can work into the world.

客觀氛圍影響我們對世界的經驗以及體驗的方式,以及我們如何與它連結。一個混亂的氛圍可能會讓我關閉自己,讓我不太可能在其中展現自己。在我之內的都被收縮在裡面,無法表達出來。但如果氛圍是一種擁抱、支持性的氛圍,充滿了心魂的溫暖、守護、照顧與注意力,在我之內的都會被邀請進入。無論我帶著什麼樣的禮物與奉獻,都可以帶入這個世界。

For children, atmospheres create the environment not only for their learning but also for their growth and development. A child that lives in a chaotic atmosphere will often reflect the atmosphere in their movement, behavior, attitude, and even in the quality of their skin and the light in their eyes. An atmosphere with a lot of pressure, stress, or conflict can likewise impact how the child enters their body and trusts the world around them.

對孩童來說,氛圍不只創造了他們學習的環境,也創造了成長和發展的環境。一個生活在混亂氛圍中的孩子,會在他們的動作、行為、態度上反映出來,甚至在他們的皮膚及眼神的亮度上也可見到。一個充滿許多壓力、緊張或衝突的氛圍同樣會影響孩童進入他們的身體、以及信任周遭世界的方式。

Atmospheres create gestures in the space

氛圍創造空間的姿態

We have all been in atmospheres that seem to make a gesture toward us. Whether it suffocates, stifles, pushes, opens, lifts, or buoys us, we can feel this presence do something to us. We experience the will of an atmosphere – it wants to contract or expand us, lift or suppress us, for example. A reaction to this gesture can make the presence more intense and powerful. Our reaction and the atmosphere come into conflict. Like in any conflict, both sides step in more strongly when challenged. If we can meet an unpleasant atmosphere out of as much recognition, even appreciation, for it as possible, perceive its qualities, see the value in its presence and the lesson it is imparting, it can more easily come into movement and possibly move toward transformation.

我們都處在對我們表示某種姿態的氛圍當中,無論是令人壓抑的、窒息的、壓迫的、敞開的、揚升的、或是漂浮的,我們可以感覺這存在對我們的作用。我們經驗到氛圍的意願—例如它想要壓縮或擴張我們、揚升或壓抑我們,一個回應都會讓這個存在變得更激烈和有力量。當我們的反應與氛圍發生衝突,就會像其他衝突一樣,雙方都會更加積極介入這挑戰。若我們遇到不愉快的氣氛,能有更多的辨識,甚至是感激,接收它的品質,在其存在及想傳達的寓意中看見它的價值,它就可以更容易的移動,並有可能邁向轉化。

We have all experienced how Feng Shui principles build powerful atmospheres. Every object carefully contributes a gesture or sense of movement or balance to the space. We may have also experienced an outwardly-perfect Feng Shui environment, like a business lobby, that was devoid of an atmosphere that should match its physical appearance. Because it is a used space – a space for passing through, not for filling with life – and other gestures have dominated the space, it feels soul-less. Its gesture feels empty.

我們都經歷過風水原則如何創造更有力量氛圍的經驗,每一件物品對空間都會營造出一種姿態、動態、或是平衡。我們可能都經驗過外在風水很完美的環境,如商業大廳,但卻缺乏與外觀匹配的氛圍。因為它是一個被使用的空間—一個走路的通道,缺乏生命感—而其他品項的姿態卻主導了該空間,形成了沒有心魂的空間,內涵是空泛的。

In our striving to create atmospheres in our spaces, we are supporting a gesture of holding or embracing in the invisible field around the developing human being. This gesture enables the life and light that seeks that space more freely to enter.

在努力創造空間氛圍的過程中,那環繞在發展中人類周邊看不見的場域,我們會支持一種守護或擁抱的氛圍姿態,讓生命和光更自由的進出該空間。

What is the gesture your spaces are making toward you?

你的空間正為你創造了什麼樣的姿態呢?

Co-creating atmospheres

共創氛圍

Cultivating nutritional, healthy atmospheres is not a matter of doing the right outer thing. A friend of mine was fighting with her husband in the kitchen when their child came home from school. Hearing the door open, although in the middle of the fight, they stopped talking and calmly went about their kitchen business. When the child walked in, he suddenly stopped. Sensing the atmosphere, even among the outwardly calm, welcoming, and well-mannered behavior, he said: “Stop it!”

培育滋養健康的氛圍不是做外在正確的事。我的一位朋友,孩子放學時剛好在廚房裡與她的先生爭論著。聽到大門一開,雖然是在爭論過程中,這對夫妻馬上停了下來,安靜的繼續廚房的事務。當他們的小孩走進來時,他也突然停了下來,感覺到之前的氛圍,即便當時外在環境是安靜、歡迎且好聲好氣的,這個孩子說道 : ”停”!

Cultivating atmospheres requires conscious intention and cannot be faked. A faked atmosphere is another form of hindrance for a child, creating a different kind of stress. It is its own kind of atmosphere. Creating healthy atmospheres takes effort but much less effort than we may think. As with any gesture toward health, it takes an application of will. As soon as our will shifts in alignment with a nutritional atmosphere, it begins to work with us, as if we stood a little closer under the star of it. What kind of shift of will invites a healthy atmosphere presence to work and fill the space with its substance? How do we engender a healthy atmosphere?

培育氛圍需要有意識的意圖,無法造假。虛假的氛圍對一個孩子來說,是阻礙的另一種形式,產生一種不同的壓力,這氣氛可以自成一格。創造健康的氛圍需要努力,這努力比我們想像得的少得多,與任何邁向健康的姿態一樣,它需要意志的運用。一旦我們的意志與滋養的氛圍保持一致,它就開始與我們一起工作,如同我們站得離這顆星更近了一些。何種意志的轉變會吸引建康氛圍的存在來工作、並實質性充滿整個空間? 我們如何產生一個健康的氛圍?

If we are interested in them and open enough, they can reveal themselves like Grace, suddenly filling the space by the virtue and alignment of inner and outer circumstances. For a regular visitation or for establishing a culture for an atmosphere, we can cultivate an invitational gesture through how we bring our senses and attention to the space, and how we organize the space. We have all felt how cleaning and reorganizing a space changed its atmosphere and at the same time shifted our inner experience. How we use our voice, how we listen, what colors and pictures are in the space, how the space is lit, how happenings are structured – if they have a clear beginning, middle, and end, if a strong rhythm shapes the day and the week, all contribute toward welcoming a nourishing atmosphere to work in a space.

如果我們對它們有興趣,並有足夠的敞開,它們會猶如恩典一樣的揭露自己,藉由內外在的美德與環境的一致性突然充滿空間。對於定期拜訪、或是建立氛圍的文化,我們可以透過如何將我們的感官和注意力帶入空間、以及如何設置空間來培養出邀請性的姿態。我們所有人都可以感覺到清潔和重組空間如何改變了氛圍,並同時轉變了我們的內在體驗。我們如何使用聲音、如何聆聽、空間中有什麼顏色及圖像、空間如何採光、其中的發生如何組合–倘若他們有清晰的開始、中段、結束,假如一天和一周都有強烈的節奏,所有這些都將投入歡迎滋養性氛圍協力在空間中工作。

In the theater, the set, positions of objects, lighting, costumes, music, tempo, quality of speaking and quality of movement all contribute to the atmosphere created in the space. We can begin to look at these contributors as we create spaces for the atmospheres we wish to work in our spaces. An early question may be, like in tidying a room: what do I need to remove from the space, what is in the way? Inwardly this translates as: what do I need to give up? As soon as we sincerely ask this question, we can feel a part of us respond. Somewhere in us we know what is in the way, and as we look toward the light of an atmosphere, it helps to show this to us.

在劇場,場景、物品的位置、燈光、服裝、音樂、速度、說話的品質、移動的品質,所有這些會一起營造出空間中的氛圍。當我們在空間中創造我們想要的工作氛圍時,我們可以開始去看這些要素。一個先前的問題是,例如在整理房間時: 我需要移開空間裡的什麼? 有什麼不恰當的地方? 在內在,這問題將被詮釋為: 我需要放棄什麼? 一旦我們真誠的提出這個問題,我們就會感覺自己的一部分作出回應。有一部分的我們知道是什麼不恰當,而當我們望向氛圍之光,將會幫助我們看得更清晰。

We cannot force or manipulate an atmosphere but we can coax or invite it to work. We don’t make it; we open a space for it; we create a context. The world evolves toward the archetypal. If we are present to the atmosphere we are in, if we yield to it, say “yes” to it, we open the door for the atmosphere needed. As soon as I am aware of an imbalance, the remedy presents itself.

我們無法強迫或操弄氛圍,但是可以哄它或邀請它一起來工作。我們不”做”氛圍,我們為它開闢一個空間,創造一個脈絡。世界朝向原型進化,假如我們臨在的待在氛圍中,假如我們對它臣服,對它說”好”,我們為需要的氛圍打開了大門。一旦意識到不平衡,平衡的解藥會自動出現。

Yielding to any atmosphere makes everything new. Familiar objects appear in a new light. Even our familiar sensation takes on new dimension and depth.

臣服於任何一種氛圍會讓每件事變成新的一樣,熟悉的對象以新的光芒展現,即便是我們熟悉的感官感知,也會以新面向及深度展現。

We can begin by sensing what atmosphere is currently present. What qualities or sensations can I discern? How am I contributing to these qualities through my inner tempo, my thoughts, my feelings, my voice and movement, by what I do in the space, and, especially, how I do it?

我們可以從感知現有的存在氛圍為何來開始,我可以辨別出何種品質或感知? 我如何以內在節奏、思想、感覺、聲音及移動投入到這些品質裡? 我在空間中做了什麼、尤其是如何做的?

It could be helpful to ask ourselves: which atmosphere do I have a strong relationship with or is easily accessible in my spaces? Which one could I grow or develop? What atmosphere is needed? What kind of outer step would growing that harmonizing atmosphere require?

自我探問或是有幫助的: 何種氛圍與我的連結性較強,或是在我所在的空間中更容易親近? 哪種氛圍我可以在其中成長或發展? 什麼樣的氛圍是需要的? 為了和諧氛圍所需,外在的何種步驟可以發展?

12 Action Steps for creating a stable, supportive culture of nutritional atmospheres

建立滋養性氛圍,內涵穩定、支持性文化的12個行動步驟

  1. Slowing down; doing any small or large action with deliberate slowness; slow meals, slow play, slow listening.

慢下來,刻意放慢任何大小動作;慢慢吃,慢慢玩,慢慢聽。

  1. Listening in a way that lets your listening breathe into the space, as if you were listening to music; sensing what is there (as Chekhov says: “sensation is the vessel into which your genuine artistic feelings pour easily and by themselves; it is a kind of magnet which draws to it feelings and emotions akin to whatever quality you have chosen…”**); yielding to it gives its presence a voice in the space and allows its will for transformation to be heard; if necessary, when breathing out, let your out breath fill with a more supporting or balancing quality.

用以下的方式聆聽;讓你的聆聽成為與空間共融的呼吸感,如同聆聽音樂一般,感知在那裏的有什麼 (如同契可夫所說: “感知是一種容器,你的真實藝術感受得以簡單並獨立的注入其中;感知就像是一種磁鐵,吸引了趨近於你所選擇的感覺與情緒…”**);臣服於它便是給它的存在成為空間的一種聲音,並允許它轉化的意願得以被聽見;若有需要,當呼出時,讓你的吐氣充滿著更多的支持與平衡的品質。

  1. Adjusting or tuning your voice to the atmosphere you seek; using fewer words.

將你的聲音調整或對頻到你所尋找的氛圍;使用更少的文字。

  1. Inviting a quality like calm or care (or any other desired quality) into a very simple movement, like lifting an arm, and then extending this quality into other movements.

邀請一種類似安靜或關懷的品質(或是其他的想要的品質),進入到一個非常簡單的動作,如舉起一隻手臂,然後延展這個品質再進入到其他的動作。

  1. Changing or reorganizing the space, its lighting and color expressions, its warmth, reducing clutter and unnecessary things, to suit the atmosphere you wish to invite. Simple and quiet are atmosphere enhancers.

改變或重組空間,如燈光或顏色,溫暖度,減少混亂及不必要的東西,以適應你所想要邀請的氛圍。簡單和安靜是氛圍的增強劑。

  1. Creating a ritual or conscious transition (before meals, before bedtime, before setting out into the day) for invoking a quality to join us.

建立一種儀式性或有意識的轉銜(在用餐前、睡前、開始一天之前),呼請一種品質一起加入我們。

  1. Speaking a verse or prayer conjures qualities into the space. Poems can also elicit atmosphere through language, rhythm, and image.

唸一段詩文或禱文可喚起空間的某種品質,詩歌也可以透過語言、節奏及意象引出氛圍。

  1. Singing a song unites us in a common mood.

唱一首歌,集結大家在一種共通的感受當中。

  1. Schooling your “sense of atmosphere”; going to places with different atmospheres, sensing their unique life qualities, to awaken creative feelings, expand and deepen your inner vocabulary and inner flexibility. Speak a poem into the atmosphere and notice how your voice will begin to tune into it.

啟發你的”氛圍感知”,去到有不同氛圍的地方,感知它們獨特的生活品質,可以喚醒創造感,擴展並深化你內在的語彙及彈性。念一段詩文,讓該詩文進入到該氛圍,並注意你的聲音如何開始融入其中。

  1. Avoiding or reducing atmosphere destroyers: gossipy energy, media, unnecessary activities, meaningless idleness or casual, loose attitudes (which is different to meaningful idleness, like day-dreaming, and moments of rest together).

避免或減少氛圍的破壞者: 八卦性的能量、媒體、不需要的活動、無意義的懶散或隨意、鬆散的態度(與有意義的懶散不同,如白日夢、一起休憩的時刻)。

  1. Doing something with a sense of beauty. Beauty is a best friend to atmosphere. Setting a table, making a bed, arranging flowers, watering a garden, cooking a meal can all deepen the art of creating atmosphere. They can also inspire a culture of appreciation.

做些具有美感的事情。美感是氛圍最好的朋友,擺桌、鋪床、插花、花園裡澆水、烹調一餐,這些都能加深營造氛圍的藝術。他們也可以激發一種欣賞的文化。

  1. Going into nature gives an easy to access atmosphere that can work on us even if we have no energy for creating atmosphere; the soul readily sings in alignment with a nature environment.

進入大自然提供了一種容易幫我們進入氛圍的方式,即便我們已無能量營造氛圍;心魂隨時都準備好與自然環境共鳴。

7 Archetypal Atmosphere presences worth cultivating for nutrition and balance

培植滋養與平衡的7大原型氛圍

  1. Reverence – an experience of the divine in all things, in all places, in all moments. A sense of holiness or of the presence of God. Temples and churches can give presence to it. Technically, it often starts with a change of tempo; slowing down, widening our sensing, and softening our attention. Exercising gratitude opens a door to it. Reverence could be seen as the inner gesture we bring to all atmospheres, the starting gesture toward any space and our relationship with it. If a child builds a relationship with reverence, it builds a fortifying foundation in their inner lives. This foundation, if established, will later bear fruit as a capacity to bless – to change the quality of a space or situation through the light of their presence. Reverence awakens an awareness for form. Our outer preparations, which could include other ritual-enhancing details like lighting a candle, preparing a child’s bed, adjusting our voice, create the invitation. Reverence, which can be experienced both as a feeling and a mood, may also inspire awe and wonder. It is a counterforce to indifference and carelessness. (See reverence exercises at the end of this essay.)

敬虔—經驗神性存在於萬事萬物、任何地方、任何時刻。一種聖潔或是神性臨在的感受。寺廟或是教堂可以給人這種感受。技術上來說,敬虔可以從節奏的改變開始,慢下來,擴展我們的感知,柔焦我們的專注。感恩的練習也可為它敞開一扇大門。敬虔可以被看作我們帶給所有氛圍的內在姿態、對任何空間的初步姿態、以及我們與它之間的關係。假如孩子與敬虔建立了關係,那麼就會在他的內在生命中紮下了牢固的基礎。這根基倘若建立,會在日後成就接收祝福的果實,僅只透過他們存在的光,就足以改變一個空間或情境的品質。敬虔喚醒了我們對形式的意識,我們外部的準備工作可能包含其它增強儀式的細節,如點燃蠟燭,幫小孩鋪床,調整我們的聲音,創造邀請等。敬虔可以被當成感覺或是情緒來經驗,也可以激發敬畏和驚奇,它是冷漠和粗心的反作用力 (可參考文末有關敬虔的練習)。

  1. Play – this can include free play on their own, which is a great resource for digesting and processing experiences, play-time with others, and wrestling and roughhousing with parents and siblings. It is the foundational atmosphere for developing imagination and connecting with the archetypal world through characters, images, and soul moods. A sense of ease and adaptability may also be discovered here. It is a counterforce to boredom, idleness, or fixed ness. “If a child has been able in his play to give up his whole loving being to the world around him, he will be able, in the serious tasks of later life, to devote himself with confidence and power to the service of the world.” – Rudolf Steiner

遊戲—這可以包括獨立的自由遊戲,與他人共處的遊戲時段,與父母或兄弟姊妹角力或亂鬧遊戲,這是透過角色、意象、及靈魂的感受而發展出想像力、連結原型世界的基礎氛圍。在這裡也可以發現一種輕鬆和適應的感覺,它也是無聊、懶散、或被定型的反作用力。”如果孩子在玩耍的狀態中,可以將自己的愛給他周圍的世界,他在日後較嚴肅的挑戰中,將會有自信與力量,奉獻他的服務給世界”。- 魯道夫.史代那

  1. Solemnity – certain events often call upon the presence of solemnity: visiting someone in the hospital, standing at the grave of a relative. But also the quietness of an evening spent reading a book, or a late afternoon spent sitting on a garden bench. Solemnity, like reverence, enlivens a sense of form. It helps to develop strength in the face of adversity, tragedy or hardship. It is a counterforce to overwhelming heaviness, insincerity, and dishonesty.

莊嚴—某些事件需要莊嚴的存在,如醫院探訪、站在墓園裡一位親戚的墓  旁,還有一個安靜看書的下午、或是傍晚時分坐在公園的椅凳上。莊嚴,如  同敬虔,使人充滿形式感,它有助於在逆境、悲劇、或困境中發展力量,它  是全面性的沉重感、不真誠及不老實的反作用力。

  1. Peace – comes through inner and outer quietness and inner and outer stillness. It is also a powerful soul force that we can experience inside us but also in the space between us. It can be potently felt after a battle, upheaval, or conflict. A certain quality of light between the eyes of people, between the bodies present. Tranquility and calm move into a space of peacefulness. “My peace I give to you,” Christ says to His disciples. It is a counterforce to agitation and anxiety.

和平—來自內外在的安靜與寂靜,它也是我們可以在內在、及彼此的空間中經驗到的一股強大的靈魂力量。它可以在一場戰役、動盪或衝突之後被強烈的感受,在眼神中、身體中存在著特定質地的光,寧靜與安定進入和平的空間, ”我給你我的平安” 基督向祂的弟子們說道。它是激動和焦慮的反作用力。

  1. Joy – often found at meal times, in community, and at moments of celebration. Joy gives us a relationship to levity, to a sense of beauty, lightness and freedom. The soul experiences a fullness but also a sense that this quality is not only felt in my soul but is a shared atmosphere. Generosity and gratitude and enthusiasm also open a path for joy. It is a counterforce to restlessness.

喜悅—通常在用餐時、在社區、在慶祝時刻會發現它。喜悅使我們和素養、美感、輕盈和自由取得了關係,心魂不只經歷一種飽滿,也感知到這品質不只在自身心魂,也成為一種共享的氛圍。慷慨、感恩與熱情也打開了通往喜悅的大門,它是躁動的反作用力。

  1. Warmth – perhaps this could also be called an atmosphere of embracing community. If we understand it as a sensation of connection and interconnectedness, of being woven into the fabric of something, a feeling of belonging, of knowing my boundary among other boundaries, then we might approach a sense for it. It strengthens a sense of being held and supported. Love, security, contentment, and a sense of wholeness also cultivate in warmth and community. It is a counterforce to isolation and loneliness.

溫暖—或許這也可以稱為一種擁抱社區的氛圍。如果我們將其理解為一種連結、或是相互連結的感受,被編織進入某種事物當中,一種歸屬感,了解在眾多界限中的個人界限,那麼我們可能會對此有了解。它增強了被把持住和被支持著的感知,愛、安全感、知足、及整體感也會在溫暖及社區中被培植。它是孤立和寂寞的反作用力。

  1. Listening is the gate-keeper to all atmospheres. As soon as I engage listening, I open to a sensation for atmosphere. Although it sounds more like an activity than an atmosphere, when one person starts to listen intently, it can contagiously catch on and build a substance in the shared space. Just before a concert is a perfect moment to experience this atmosphere. It creates anticipation and a gesture of welcoming. It is a counterforce to chaos. If I can listen to chaos, I begin to see its outline and shape, and I sense its movement, direction, and potential for change.

聆聽是所有氛圍的守門員,當我開始聆聽,我便對氛圍打開了感知。雖然這  聽起來比氛圍更像是一種活動,當一個人開始專注聆聽時,即會在共享空間  中開始傳染並建立某種內涵。音樂會開始之前,就是一個完美的時刻體驗  這種氛圍。它創造了預期以及歡迎的姿態,它是混亂的反作用力。如果我能  聆聽混亂,就能開始看到它的輪廓和形狀,並感覺到它的移動、方向和變化  的潛力。

These atmospheres, and a sense of atmosphere, can be strengthened through  external supports like nutritional baths (with milk, egg, and honey), lemon foot baths, chamomile or other compresses, and body oiling (with rose or other soothing oils). See the website DevelopingTheSelf.org on the page “The Care and Development of the Senses.”

這些氛圍,以及氛圍的感知,可透過外力支持來增強,如滋養性沐浴(含牛奶、蛋和蜂蜜)、檸檬足浴、洋甘菊或其它濃縮物、和身體用油(含玫瑰或其它舒緩油)。請參閱網站DevelopingTheSelf.org 中 ”感官的照護與發展” 。

Conclusion

結論

This selection of suggested atmospheres is not a complete list of health-supporting or balancing atmospheres. It is a beginning; a starting point. Perhaps you can suggest others or you have other names for these. It is enough that we bring awareness to this realm of our creative presence that might be easy to overlook. One aspect of the presence of media and the time we give to it is that it is an atmosphere destroyer. We have all seen cellphone-touting tourists trample the atmosphere of an old village or a temple. We know what they can do.

文中所選的氛圍建議並非支持健康或平衡的完整性列表,這只是個開始,一個起點。或許你會有其它氛圍建議,或是使用其它名稱,我們足以將這意識帶入容易被忽視的創造性領域。媒體存在的面向以及我們所投入的時間足以成為氛圍的破壞者,我們都已經見識到,愛用手機的遊客如何踐踏了古老村莊或寺廟的氛圍。我們知道他們能做什麼。

This is not to demonize media and phones. They have a helpful role to play as a tool. But they are not the only voices. As technology is soulless, they can do nothing to support a living atmosphere. “What has no soul cannot create soul. Only soul can perceive soul.”^ This perceiving between us and a living atmosphere is a mutual exchange between souls. Giving ourselves media “downtime” gives space for the potent workings of this conversation.

這不是妖魔化媒體或手機,它們可以是發揮有益功能的工具。但他們不是唯一的聲音,因為科技是沒有靈魂的,他們無法去支持一個活生生的氛圍。”沒有靈魂的事物無法創造靈魂,只有靈魂才能感知靈魂”。我們與氛圍之間的感知是靈魂間的相互交流,讓媒體有關機的時段,為這個交流的有效工作騰出空間。

Our attention to atmospheres may be a first line of protection for our spaces and for our children as we strive to invite archetypal nutrition and the sense of greater connection our health and evolution ask for.

我們對氛圍的關注可能是我們保護空間和孩子的第一線,尤其是當我們努力的邀請原型的滋養,並感知到健康與進化需要有更大的連結。

Atmosphere is arguably the most important archetypal teacher in a child’s first seven years. Each atmosphere has a role to play for a child’s learning and contributes a gesture toward their development. Rich atmospheres during story time, family meal times, before bedtime, build the foundation and the invisible home or sheath for the life of their feelings, which will come into clearer and clearer expression. In later years, camaraderie, intimate love, and other nutritional atmospheres will enter their soul landscape.

氛圍可以說是孩子前七年最重要的原型老師,每一種氛圍都可以對孩子的學習發揮作用,並為他們的成長作出了貢獻。在故事時間、家庭用餐時間、睡前時間,營造豐富的氛圍,為他們奠定基礎,打造一個肉眼看不見的家或是生活感受的保護層,這些都會在日後變得愈來愈清晰。在往後的幾年,友愛、親密的愛及滋養氛圍,將會進入他們的心魂景觀當中。

Archetypal atmospheres create a protective membrane, a cocoon-like substance out of which feelings are born and an inner life is developed. Our capacity to pay attention to, to sense, to observe, and to affect atmospheres becomes a child’s greatest support in this development, as they naturally follow the movements of our soul. How we look at the butterfly, touch the petals of a flower, bend down to the fallen bird are huge little “lessons” we give them.

原型氛圍產生一層保護膜,就像繭一樣,感覺從中而生,發展內心生活。我們的專注力、感知力、觀察力、影響氛圍的能力,成為孩子成長中最大的支持,因為他們會自然的跟隨我們的心魂而移動。我們如何看待蝴蝶,如何碰觸花瓣,俯身靠近墜落之鳥,這些小學習,都是我們給予孩子的巨大經驗。

In the same way that adults need to cultivate the right mood for the wholeness giving pictures and experiences in meditation to work into the soul, a child needs the right atmospheres for cosmic nutrition and a sense of connection to feed its soul.

就像成人一樣,需要養成正確的情緒來獲得完整的圖像和冥想的經驗,以進入心魂,孩子也需要正確的氛圍,讓宇宙的滋養及連結可以養育他的心魂。

Reverence Exercises (inspired by Michael Chekhov exercises)

敬虔練習(被麥可.契可夫的練習所啟發)

The exercise can be adapted to any atmosphere

這練習可適用於所有氛圍

  1. Slow your tempo; let your senses widen and begin to breathe. Let your attention soften.

把你的節奏慢下來;擴大你的感知,開始呼吸。柔焦你的專注力。

  1. Notice what is in your environment: how the objects are organized, the distance between them; the quality of light, air, sound, temperature, the thickness and weight of the air. The tone of the space. Let your breath also breathe with these presences. Allow a poetic eye to see them. Yield yourself to their atmosphere. As you open to the space, the space opens up for reverence. You might begin to sense how generously this context has been given to you for your presence. You may have a feeling that it has been waiting for you.

留意你的環境 : 物品如何被擺設以及它們之間的距離;光的品質、空氣、聲音、溫度、空氣的厚度及重量、空間的調性。讓你的呼吸也把這些存在一起吸入。允許詩樣般的眼睛看見它們,臣服你自己在這個氛圍當中。當你對這個空間敞開,這空間即對敬虔打開。你或許會開始感知到這整個存在是如何因著你的存在而被給與,你或許會感覺到它一直在等你。

  1. Notice anything in your body or soul experience. If anything speaks up inwardly, notice it in relationship with what is present around you.

留意身體或心魂裡任何的經驗,如果內在有任何聲音浮現,注意到你周圍的存在與內在聲音的關係。

  1. Move a part of your body slowly in relationship with this constellation of presences. Observe what happens. You can do another simple movement of the body, inviting a quality to work with it. You can say: “I move my arm with… calm (or reverence or another balancing quality).” Sense the impact of this movement on the space. Allow your movements to be in harmony with the atmosphere surrounding you.

與存在星座連結,慢慢的移動你部分的身體,觀察看看會發生什麼。你可以另做一些簡單的動作,邀請一種品質進來一起工作。你可以說 : “我在安靜…中移動我的手臂(或敬虔、或其他平衡性的品質)”。感知到空間中這個移動的影響,允許你的移動與周遭的氛圍是和諧的。

  1. If necessary, you can softly but clearly speak the sentence sequence: “I. I want. I want to experience. I want to experience reverence.” Notice any after-movement in you or as a resonance in the space. Is a sense of reverence there?

若有需要,你可以緩和但清楚的說出下列句子 : “我。我要。我要經驗。我要經驗敬虔”。留意你內在之後的任何移動,或是空間的迴響。有感知到敬虔在那兒嗎?

  1. Notice how the body drinks this in; how this quality opens up an inner landscape in the soul.

留意身體如何吸入這些;這品質如何打開內在心魂的景觀?

  1. If desired, you can speak a text or verse. Allow your voice to tune to the atmosphere. Like with the movement, whether you find this alignment with the atmosphere, or not, either way you are in relationship with it.

若想要的話,你可以說些文句或詩句,允許你的聲音與氛圍一致。如同移動般,不管你發現與氛圍一致與否,你至少已經以一種方式跟它產生關係了。

This is the same sense of nourishment that children experience when we can invite this presence into their space.

當我們可以邀請這種存在進入空間時,我們所感知到的,與孩子經驗滋養的感受是相同的。

Simpler versions: Yield, Imagine, Move, or Name.

簡易闡釋 : 臣服,想像,移動,或命名

Yield: Surrender to the atmosphere present in a space; submit to its qualities. A relationship begins.

臣服 : 屈服於空間中的氛圍;服從於它的品質。一種關係的開始。

Imagine: Imagine the feeling of the desired atmosphere spreading around you, enveloping you and all things in the space, filling the air with its qualities. Play with it.

想像 : 想像你想要某種氛圍的感覺就環繞在你周邊,攏罩著你和空間中所有的事物,空氣中也充滿著該品質。跟它一起玩。

Move: Lift your arm. Lower it. You have made a gesture. Now make the gesture but color it with a quality like carefully or calmly. Be careful not to act or perform the gesture. Repeat several times. The quality begins to permeate your arm and radiate into the space around you. Add other movements.

移動 : 抬起你的手臂,放下你的手臂,你已經做出一種姿態。現在做出某種姿態,呈現一種小心或安靜的品質。注意別落入刻意作為或表演的姿態,重覆做幾次。這品質會開始滲透你的手臂,並放射到你周圍的空間。再加入其他的移動。

Name: Speak out the atmosphere you wish to invite, conjuring its life through the power of your speaking and naming. The gesture of speaking is not demanding but invitational.

命名 : 說出你想要邀請的氛圍,透過你說話和命名的力量來施予它魔法般的生命。說出來的姿態並非是要求性的,而是邀請性的。

Annotations:

註解 :

* and ** are quotes taken from Michael Chekhov’s book To The Actor

^ from Dawn Langman’s book The Art of Acting: BODY – SOUL – SPIRIT – WORD: A

Practical and Spiritual Guide