合氣道技法的進化，從基礎到進階
發表於 : 週三 3月 03, 2010 3:02 pm
合氣道技法的進化，從基礎到進階
The Progression of Aikido Technique from Basic to Advanced
by George Ledyard Published Online
合氣道中有非常令人困惑的一點是進階練習跟基礎練習之間的關係。看到老道主被一群攻擊者圍繞時還能不受影響的走路，並且這些攻擊似乎連碰都碰不到他而是在微妙的碰觸或是連碰都沒碰到就被摔飛到各處，這種情景是合氣道練習者常常見到的。
An area of much confusion in Aikido is the relationship between advanced practice and the basic foundations of technique. The vision of Morihei Ueshiba walking unperturbed surrounded by attackers who seem unable to put a hand on him and instead fly in every direction with little or no physical contact is one that most Aikido practitioners have seen.
很有趣地，老道主在公開示範合氣道時，大部份人並不了解了解他在做什麼。在現今如此多的不同類型的合氣道之間，以及如此多師範所表現的差異性之間，雖然很多師範是直接受教於老道主，但是並不容易看出這麼多師範所展現的“進階“型態之間有什麼共同的基礎。
Interestingly, there is no generally agreed-on viewpoint as to what O-Sensei, Founder of Aikido, was actually doing when he showed this Aikido to the public. Amongst the many different styles of Aikido and amongst the even larger group of individual teachers, many of whom trained directly with the Founder himself, there is almost no common ground when it comes to how the art progresses from its basics, which differ little from style to style or teacher to teacher, to the “Advanced” level.
對某些老師來說，“進階“合氣道看起來跟基礎技法很像，只是更加的流暢，更加的不用力，施技間就像水一般的流暢。 這種情況下，“進階“似乎儘是練習者在面對攻擊時所擁有的放鬆程度。但是對於這些師範而言，似乎沒有嘗試老道主技法中無形（沒有固定技法外形）的一面，而這一面是老道主曾經明確示範的。另一些師範直接拿老道主八十歲時的技法來展現合氣道的精華，這些師範嘗試直接複製老道主武道生涯晚期的那種無特定格式的技法。對於這些師範而言，更重要的是氣（energy, 能量，身體或心理層面）在取受方之間的轉移，而不是培養一個好的強壯的身體層面的技法。事實上，有某些師範甚至認為老道主曾經致力的練習的這個身體層面的鍛練是不重要的。
For some teachers, “advanced” Aikido looks very much like its foundational basics, simply smoother, more effortless, flowing like a stream from technique to technique. Here, “advanced” seems simply to indicate the level of effortless relaxation achieved by the practitioner in dealing with committed attacks initiated by a partner / opponent. But there would seem to be no attempt on the part of these teachers to “lose the form” as the Founder clearly had. Other teachers seem to have taken Morihei Ueshiba at eighty to represent the quintessential Aikido and these teachers have attempted to duplicate the formlessness exhibited by the Founder at the end of his career. For these teachers there is more importance placed on being sensitive to every shift in energy, physical or psychic, from the partner than on developing good strong physical technique. Some, in fact, denigrate powerful physical training as counter to what the Founder intended.
這兩個練習面向的問題是老道主在練習合道氣的生涯中所面對的。那些只是去從老道主生涯中的特定時期技法來看待合氣道，並且認為老道主那個時期所練的是“正統“合氣道的人終將失敗，無法了解到老道主在其餘時期合氣道中所展現的合氣道基礎元素。他們這樣做等於是選擇放棄老道主在其它時期所發展的東西，而這是老道主數十年不間斷的練習所獲得的。他們這樣做似乎是出於個人的偏好，而不是有什麼批評。
The problem with both of these approaches is that Aikido for O-Sensei was a process which continued right until he died. Those who try to pick a particular time in the life of the Founder during which he was doing “orthodox” Aikido inevitably fail to understand the foundations on which the Aikido of that particular time period rested. They also choose to ignore everything which the Founder developed after that point in time, which for him represented often decades of unremitting training. To do this seems to represent more personal preference than having any particular justification.
對於想要直接跳級到老道主合氣道生涯晚期，拿老道主那種進階的、無形的技巧來做練習模型的人，他們是試著在還不了解合氣道基礎的情況下，就想要了解這門武術。老師通常會保存經驗並傳授，如此後學才不需要重新摸索，老道主即是幫我們做了很多這類的事，因此我們不需要重新摸索。但是如果現實生活中有任何例子是跳級還很成功的，那麼這可能還站得住腳。但是我還沒遇到任何實例是不需要認真的身體鍛練就可以達成這樣的神技。在我的經驗裡，試著把自己的了解教給學生而希望學生不用經歷同樣的過程是會完全失敗的。會這樣的理由似乎已經很明顯，在任何洞見或頓悟所導致的程度提升都是基於對上一階段的紮實訓練。我自己並沒有看過任何在程度上可以直接跳級而不需要經歷必需的力學及身體強度訓練的前置階段。不幸的，我遇到很多試著一開始就教高階技巧的人都使學生的技法徒有空殼，失去了這種高階技巧所需要的重視的要點。
For those who wish to jump directly to the end of the career of the Founder and make his advanced and formless technique the model for their own practice, they are attempting to understand an art without understanding the foundations upon which the whole edifice rests. Some teachers would maintain that we do not have to re-invent the wheel, that the Founder did much of this work for us so we wouldn’t have to. This argument might hold water if there were any examples of this in reality. But I have not yet encountered a single instance in which someone had reached an ethereal level in his or her technique without having had a background in very hard physical training. Attempts to pass on their understanding to their students without having them go through the same process have in my own experience failed completely. The reason for this would seem fairly obvious in that every insight, every epiphany which leads to a qualitative jump in the level oftraining seems to be based on the firm foundation of a previous understanding attained. I myself, have yet to see anyone skipping stages and going directly to the highest level of training without going through the necessary preceding steps of the more mechanical and physical training process. Uniformly, the attempts to do this which I have encountered have resulted in students whose movement is hollow, missing the necessary intention necessary to perform technique at this level.
我嘗試要做的是把我所看到技巧的自然成長階段（以我自已目前程度所看到的），從需要對如何用力及身體如何運作有良好且紮實了解的基礎，如何使用移動來培養力量以及如何在沒有互相抵抗的情形下把兩個人的力連結起來，到進階需要更多合氣，即身體跟能量間的互動，身體受到心理的影響進而演化成更少的身體運動及更用更多法則的境界。這樣可以讓合氣道的學生了解從基礎到進階的過程中，不同階段間的關係。這樣的關係在徒手技法跟武器技中都同時存在著。
So what I would like to attempt to do is outline what I see (at this stage in my own training) as the natural progression of technique from the basics as depending on good solid understanding of the mechanics of how the body works, how to use one’s own movement to develop power and how to join that power with that of another without conflicting, to the advanced which depends more on aiki as the interaction of the physical with the energetic, the place at which the Body is effected by the Mind and technique becomes less and less physical and more a matter of principle in action. This should allow the student of Aikido to see the relationship between the different steps in the progression from basic to advanced. This relationship exists equally for empty hand and weapons as well.
訓練的第一步是透過靜態技法來顯現。這個階段是設計來培養對技法結構的了解。一個人的身體是如何的運作？對手的身體又是如何？如何在不遇到衝突的前提下跟對方的力進行接觸？要通過這一個階段，必需要了解這個武術的運作機制，即柔術的部份。練習者必需學習如何放鬆以及了解技法的基本幾何構型。在這個訓練中，我們鼓勵對手盡可能地出力，如此才能得到回饋，真正落實我們所理解的重點在技法之中。
The first level of training is revealed via static technique. This level of technique is designed to develop an understanding of structure. How does one’s own body work, how does the partner’s? How can one meet power without conflicting? To pass beyond this level one must understand the mechanics of the art, the jiu-jutsu component, so to speak. One must learn to relax and one must understand the basic “geometry” of technique. In this training we encourage the partner to be as powerful as possible so we can gain feedback regarding our “understanding” as expressed via our technique.
下一步（通常透過第一階段可達成）是流體的練習。當我們做到持續的專注在靜態練習所培養的技巧，流體的練習會讓我們學習如何掌握空間（距離）及時機，而這可以用來中和攻擊者的力。透過靜態練習培養出強壯的“中心“在此時看起來是會移動的，即使練習者在移動，他們仍然保持著“中心“的感覺。在這個階段，取方讓受方發動攻擊，然後他接招並且使用他的移動來化解對手的攻擊。這個攻擊的能量被導到受方的身上以進行控制，或是導到受方的平衡點來進行投（摔）技。在這個階段學生開始學習如何“引導“能量或是對手的注意力。引導對手的氣是所有合氣道技法的特徵。
The next step in the progression (which is often done simultaneously with the first stage) is technique done from movement. While demanding a continuing focus on the skills being developed via static training, training with movement begins to teach how the manipulation of spacing (ma-ai) and timing (de-ai) can serve to neutralize the power of the attacker. The strong “center” developed through static training is now shown to be moveable, wherever the practitioner is, even when moving, that sense of “center” is maintained. At this stage the nage allows the uke to initiate an attack and he receives it by using his movement to blend with the attack. The energy of the attack is then redirected into the structure of the uke for locking techniques or into the uke’s balance points for a throwing technique. It is at this stage of training that the student begins to work with the concept of how to “lead” the energy or attention of the partner.Leading the Ki of the opponent is one of the hallmarks of Aikido technique.
從武術的觀點，上述的階段受限於轉移力量到攻擊者，在轉移力量之前，攻擊者可以選擇攻擊方式及何時攻擊。有一個事實是所有的人對於察覺到某些東西跟他們實際上可以做反應之間，是需要一段反應時間的（對大部份人而言是0.5秒），允許攻擊者發動攻勢對攻擊者而言是一項很大的優勢。這是一個很大的問題，它代表著 a) 從一開始取方的技法就只能受制於受方做反應，以及 b) 受方可以不盡全力用假攻擊來騙取方，在取方被落進受方的圈套之後改變攻擊方式，這樣會讓取方想做的技法變失效。
From the martial standpoint the previous level of training is limited in that it cedes considerable power to the attacker by allowing him to decide what and when an attack will be. Given the fact that all people have a certain reaction time between when they perceive something and when they can act on what they have seen (about a half a second for most people), allowing the attacker to have the initiative is a major advantage for the attacker. This is a problem as it a) means that from the start of a technique the nage is being re-active to the uke and b) if the attacker chooses to utilize less than fully committed techniques such as feints, the uke can cause the nage to move as he wishes and then suddenly change the attack, thereby making the nage’s attempted technique incorrect.
所以下一個階段的技法重點是改變發動攻擊的人。取方不再只是接受受方的出招。這時取方做選擇，他使用他自己的移動來吸引攻擊者的反應。如果取方靠近受方，他必需打擊一個位置，使得受方必需反擊或是防守。如果這兩個策略都失敗，受方將會出現空隙而被取方打到。因為是取方決定何時進到雙方都必需要發動攻防的關鍵距離，取方不需要“反應時間“，因為他知道受方何時必需因為他的行動而有所反應。這對武術有效性的培養而言是非常重要的，應該要用心研究。這個階段跟上一個階段的差異在於取方在上一階段讓受方可以發動攻擊，然後才用自己的動作來引導受方。這是利用“空間“上的處理來得到“時間“上的控制，這是開始考慮在技法不變時的“快和慢“之間的差異。練習者開始在時間的因素之外考處跟時、空有關的議題。
So the next level of technique changes who initiates. No longer does nage simply accept whatever the uke dishes out. He uses his own movement to begin to draw out a reaction from the attacker at the moment of nage’s choosing. If nage closes the ma-ai (space) with uke, he will hit a point at which uke MUST either commit to his attack or back up. Failure to do one of the two will result in his being open to being struck by nage. Since it is nage who determines when he is crossing the ma-ai point and arriving at “critical distance” he has no “reaction time” because he knows when uke must commit. This is very important in the development of martially effective technique and must be researched carefully. The difference between this stage and the last is that in the last stage the nage allowed uke to initiate and then he led the “attention” of the uke via his own movement. At this level of technique he takes control of the “timing” bymanipulating the “spacing”, this begins to make considerations of “fast and slow” in technique irrelevant. The practitioner begins to operate outside the temporal zone as he begins to control the issues associated with timing and spacing.
到目前為止所培養的各個階段是讓技法有更少的身體上的操作，而使用更多時間和空間的法則來操控攻擊者的移動。在下一個階段，不只是取方發動攻擊來引出受方的動作，而且還要使用氣（energy）來引導受方的動作。在這個階段的練習，要做到讓攻擊者最終只能完全依照取方的意思來反應。取方甚至是在雙方開始動作之前就進行控制。技法看起來更輕盈並且有更多的氣、更少的力，雖然在這個階段，要選擇使用十分有威力的技法也是可以的。這是透過攻擊技法來達成，而不是使用摔技或控制技。可以用這種方式產生十份有爆發性並且有效的技法。實際上攻擊技法並不是要對對手產生傷害。而是一種使用潛在的爆發性能量來吸引受方反應的方法。這可以用來轉移對方的注意力並且透過對對方做技法而把對方的氣從他的身上帶走（就像控制技所做的），或是可以用來吸引對方的注意，在不傷害對方的情形下完成入身。換句話說，在這個階段，攻擊是將對手的注意力或氣導引到自己想要的位置以及避開自己不想要的方向。
What has been happening so far in the development of these “stages” is that technique is getting progressively less physical as the principles of space and timing are used to shape the movement of the attacker. In the next level of technique not only does the nage initiate action to draw out uke’s movement, but he uses the energy of his action to lead the response given him by uke. At this stage of practice the attacker ends up being almost completely reactive to the nage. The nage is controlling his actions even before they start to occur. Technique appears to be lighter and more energetic than powerful and physical although it is quite possible to do technique at this level which is quite powerful if one chooses. This is accomplished by manifesting the principles as atemi waza rather than as throwing or locking techniques. Quite explosive and effective martial technique can be generated in this way. In practice, of course, atemi waza isn’tutilized to inflict injury or create physical dysfunction. Rather, it is a way to use potentially explosive energy to draw a response from the uke. This can serve to distract him and shift his energy away from the area of the body on which a technique is being done (as in a locking technique) or it can be used to draw his attention making an entry possible without being struck. In other words, at this level of technique atemi is about directing the attention or energy of the partner towards what one wishes him to see and away from what one doesn’t.
當這個階段的技法達成後，就可以在沒有身體接觸的前提下摔對手。技法變成從抓或著其它的基本技法形式，變成不需要被抓的形式。不論對手有沒有抓的意圖都好，實際上完成技法是在取方從“氣“的層面引出受方的攻擊而完成的，然後引導攻擊者的注意力並且移動以找到攻擊者的空隙，取方就可以控制攻擊者的中心，而不需要有身體上的接觸，儘是讓攻擊者照自己的意思移動就行了。攻擊的打擊點在於原本受方要發動有效攻擊時必需佔住的那個位置，打這個位置可以讓受方為了避免被打到而閃躲時失去平衡。
When this level of technique is reached, there is often no physical contact which precedes the “throw”. A technique that had been, in its basic form, a technique from a grab of some sort, would now be timed in such a way that there was no grab. There might or not be an intention to grab but the actual technique has moved to the energetic stage at which the partner’s attack is drawn out by the nage, then by leading the attacker’s attention and producing movement by exposing the attacker’s openings (suki) the nage gains control of the attacker’s center without physically manipulating him but rather by creating the situation in which the attacker moves himself as desired. An atemi which is placed in the space which the uke needs to occupy in order to complete his attack will result in uke breaking his own balance in order to escape being hit.
當這個階段的技法完成了，技法的操作完全是透過時空的法則在運作，而不是因為使用基本技法所需的身體接觸來完成。雙手抓天地摔就是一個使用分散法則的例子，它把對手心理及身體的能量分開。最後當我們體會到能量層面（氣）的方式，就不再需要雙手抓的攻擊了。例如天地摔也可以在對手前踢時使用。所謂的“天地“存在於攻擊者的注意力被分散，把他從本來鎖定目標的那個狀態導開，這樣取方就可以在不被傷害的情況下入身。但是“分散法則“要出現，對技法的基礎身體操作必需要徹底了解才行。這個部份不可以被跳過。
When this level of technique is reached, the technique is operating via pure principle rather than by the physical factors that had produced the technique at more basic levels. A technique like ryote-tori tenchi-nage exemplifies the principle of “splitting” the partner’s energy (physical or mental). When it finally gets to its energetic expression it no longer requires the ryote-tori attack. In fact tenchi-nage can be done against a front kick for example. The tenchi exists in how the attention of the attacker is split from its perceived target and directed away allowing nage to enter without being struck. But this manifestation of the “splitting principle” cannot be achieved without a thorough understanding of the basic physical execution of the technique. It cannot be bypassed.
當我們使用這種方式來對學生展現技法，從基礎的、身體操作的、靜態的、到進階的、氣導向的、流體的，這有助於學生了解技法的來源及它成熟時的走向。如此可以對進階技法中的“氣“進行解密，因為這些法則可以拆開分別傳授。這樣也可以清礎的展示在達到合氣道的精華境界之前，有哪些元素是技法的基礎，是必需俱備的。每個階段的開始都是設定在對上一個階段的了解。使用這樣的方法，或許可以讓更多的學生達到合氣道的最高境界。
When technique is presented to the students in this manner, with variations progressing from the elemental, physical, static versions to the advanced, energetic, flowing versions, it can assist the student in understanding both where a given technique has come from and where it might go in its development. This can serve to demystify the energetics of the advanced technique since the principles can be broken down and taught, but it can also clearly show what elements are essential in providing the foundations of a technique before movement towards a more sophisticated version can be reached. Each level assumes understanding of the previous level. Using this type of methodology perhaps there can be more students who do reach the highest levels of this art created for us by the Founder of Aikido.
作者簡介： George Ledyard Sensei 1976 年開始學合氣道，接受五月女貢師範的教導。現在六段。他認為自己的合氣道受到下列師範的影響：Hiroshi Ikeda Sensei, William Gleason Sensei, Mary Heiny Sensei and Tom Read Sensei as strong influences on his Aikido. 他還創辦 Defensive Tactics Options, 這是一個提供警察系統及保全系統訓練的機構。 更多介紹請參考 http://ww.aikieast.com/chief.htm
==更新記錄== 網友 o4e5 提供: tenchi-nage 為天地摔
此篇文章轉貼自：中華民國合氣道推廣協進會網站
http://taiwan-aikido.org/modules.php?na ... pic&t=1104
The Progression of Aikido Technique from Basic to Advanced
by George Ledyard Published Online
合氣道中有非常令人困惑的一點是進階練習跟基礎練習之間的關係。看到老道主被一群攻擊者圍繞時還能不受影響的走路，並且這些攻擊似乎連碰都碰不到他而是在微妙的碰觸或是連碰都沒碰到就被摔飛到各處，這種情景是合氣道練習者常常見到的。
An area of much confusion in Aikido is the relationship between advanced practice and the basic foundations of technique. The vision of Morihei Ueshiba walking unperturbed surrounded by attackers who seem unable to put a hand on him and instead fly in every direction with little or no physical contact is one that most Aikido practitioners have seen.
很有趣地，老道主在公開示範合氣道時，大部份人並不了解了解他在做什麼。在現今如此多的不同類型的合氣道之間，以及如此多師範所表現的差異性之間，雖然很多師範是直接受教於老道主，但是並不容易看出這麼多師範所展現的“進階“型態之間有什麼共同的基礎。
Interestingly, there is no generally agreed-on viewpoint as to what O-Sensei, Founder of Aikido, was actually doing when he showed this Aikido to the public. Amongst the many different styles of Aikido and amongst the even larger group of individual teachers, many of whom trained directly with the Founder himself, there is almost no common ground when it comes to how the art progresses from its basics, which differ little from style to style or teacher to teacher, to the “Advanced” level.
對某些老師來說，“進階“合氣道看起來跟基礎技法很像，只是更加的流暢，更加的不用力，施技間就像水一般的流暢。 這種情況下，“進階“似乎儘是練習者在面對攻擊時所擁有的放鬆程度。但是對於這些師範而言，似乎沒有嘗試老道主技法中無形（沒有固定技法外形）的一面，而這一面是老道主曾經明確示範的。另一些師範直接拿老道主八十歲時的技法來展現合氣道的精華，這些師範嘗試直接複製老道主武道生涯晚期的那種無特定格式的技法。對於這些師範而言，更重要的是氣（energy, 能量，身體或心理層面）在取受方之間的轉移，而不是培養一個好的強壯的身體層面的技法。事實上，有某些師範甚至認為老道主曾經致力的練習的這個身體層面的鍛練是不重要的。
For some teachers, “advanced” Aikido looks very much like its foundational basics, simply smoother, more effortless, flowing like a stream from technique to technique. Here, “advanced” seems simply to indicate the level of effortless relaxation achieved by the practitioner in dealing with committed attacks initiated by a partner / opponent. But there would seem to be no attempt on the part of these teachers to “lose the form” as the Founder clearly had. Other teachers seem to have taken Morihei Ueshiba at eighty to represent the quintessential Aikido and these teachers have attempted to duplicate the formlessness exhibited by the Founder at the end of his career. For these teachers there is more importance placed on being sensitive to every shift in energy, physical or psychic, from the partner than on developing good strong physical technique. Some, in fact, denigrate powerful physical training as counter to what the Founder intended.
這兩個練習面向的問題是老道主在練習合道氣的生涯中所面對的。那些只是去從老道主生涯中的特定時期技法來看待合氣道，並且認為老道主那個時期所練的是“正統“合氣道的人終將失敗，無法了解到老道主在其餘時期合氣道中所展現的合氣道基礎元素。他們這樣做等於是選擇放棄老道主在其它時期所發展的東西，而這是老道主數十年不間斷的練習所獲得的。他們這樣做似乎是出於個人的偏好，而不是有什麼批評。
The problem with both of these approaches is that Aikido for O-Sensei was a process which continued right until he died. Those who try to pick a particular time in the life of the Founder during which he was doing “orthodox” Aikido inevitably fail to understand the foundations on which the Aikido of that particular time period rested. They also choose to ignore everything which the Founder developed after that point in time, which for him represented often decades of unremitting training. To do this seems to represent more personal preference than having any particular justification.
對於想要直接跳級到老道主合氣道生涯晚期，拿老道主那種進階的、無形的技巧來做練習模型的人，他們是試著在還不了解合氣道基礎的情況下，就想要了解這門武術。老師通常會保存經驗並傳授，如此後學才不需要重新摸索，老道主即是幫我們做了很多這類的事，因此我們不需要重新摸索。但是如果現實生活中有任何例子是跳級還很成功的，那麼這可能還站得住腳。但是我還沒遇到任何實例是不需要認真的身體鍛練就可以達成這樣的神技。在我的經驗裡，試著把自己的了解教給學生而希望學生不用經歷同樣的過程是會完全失敗的。會這樣的理由似乎已經很明顯，在任何洞見或頓悟所導致的程度提升都是基於對上一階段的紮實訓練。我自己並沒有看過任何在程度上可以直接跳級而不需要經歷必需的力學及身體強度訓練的前置階段。不幸的，我遇到很多試著一開始就教高階技巧的人都使學生的技法徒有空殼，失去了這種高階技巧所需要的重視的要點。
For those who wish to jump directly to the end of the career of the Founder and make his advanced and formless technique the model for their own practice, they are attempting to understand an art without understanding the foundations upon which the whole edifice rests. Some teachers would maintain that we do not have to re-invent the wheel, that the Founder did much of this work for us so we wouldn’t have to. This argument might hold water if there were any examples of this in reality. But I have not yet encountered a single instance in which someone had reached an ethereal level in his or her technique without having had a background in very hard physical training. Attempts to pass on their understanding to their students without having them go through the same process have in my own experience failed completely. The reason for this would seem fairly obvious in that every insight, every epiphany which leads to a qualitative jump in the level oftraining seems to be based on the firm foundation of a previous understanding attained. I myself, have yet to see anyone skipping stages and going directly to the highest level of training without going through the necessary preceding steps of the more mechanical and physical training process. Uniformly, the attempts to do this which I have encountered have resulted in students whose movement is hollow, missing the necessary intention necessary to perform technique at this level.
我嘗試要做的是把我所看到技巧的自然成長階段（以我自已目前程度所看到的），從需要對如何用力及身體如何運作有良好且紮實了解的基礎，如何使用移動來培養力量以及如何在沒有互相抵抗的情形下把兩個人的力連結起來，到進階需要更多合氣，即身體跟能量間的互動，身體受到心理的影響進而演化成更少的身體運動及更用更多法則的境界。這樣可以讓合氣道的學生了解從基礎到進階的過程中，不同階段間的關係。這樣的關係在徒手技法跟武器技中都同時存在著。
So what I would like to attempt to do is outline what I see (at this stage in my own training) as the natural progression of technique from the basics as depending on good solid understanding of the mechanics of how the body works, how to use one’s own movement to develop power and how to join that power with that of another without conflicting, to the advanced which depends more on aiki as the interaction of the physical with the energetic, the place at which the Body is effected by the Mind and technique becomes less and less physical and more a matter of principle in action. This should allow the student of Aikido to see the relationship between the different steps in the progression from basic to advanced. This relationship exists equally for empty hand and weapons as well.
訓練的第一步是透過靜態技法來顯現。這個階段是設計來培養對技法結構的了解。一個人的身體是如何的運作？對手的身體又是如何？如何在不遇到衝突的前提下跟對方的力進行接觸？要通過這一個階段，必需要了解這個武術的運作機制，即柔術的部份。練習者必需學習如何放鬆以及了解技法的基本幾何構型。在這個訓練中，我們鼓勵對手盡可能地出力，如此才能得到回饋，真正落實我們所理解的重點在技法之中。
The first level of training is revealed via static technique. This level of technique is designed to develop an understanding of structure. How does one’s own body work, how does the partner’s? How can one meet power without conflicting? To pass beyond this level one must understand the mechanics of the art, the jiu-jutsu component, so to speak. One must learn to relax and one must understand the basic “geometry” of technique. In this training we encourage the partner to be as powerful as possible so we can gain feedback regarding our “understanding” as expressed via our technique.
下一步（通常透過第一階段可達成）是流體的練習。當我們做到持續的專注在靜態練習所培養的技巧，流體的練習會讓我們學習如何掌握空間（距離）及時機，而這可以用來中和攻擊者的力。透過靜態練習培養出強壯的“中心“在此時看起來是會移動的，即使練習者在移動，他們仍然保持著“中心“的感覺。在這個階段，取方讓受方發動攻擊，然後他接招並且使用他的移動來化解對手的攻擊。這個攻擊的能量被導到受方的身上以進行控制，或是導到受方的平衡點來進行投（摔）技。在這個階段學生開始學習如何“引導“能量或是對手的注意力。引導對手的氣是所有合氣道技法的特徵。
The next step in the progression (which is often done simultaneously with the first stage) is technique done from movement. While demanding a continuing focus on the skills being developed via static training, training with movement begins to teach how the manipulation of spacing (ma-ai) and timing (de-ai) can serve to neutralize the power of the attacker. The strong “center” developed through static training is now shown to be moveable, wherever the practitioner is, even when moving, that sense of “center” is maintained. At this stage the nage allows the uke to initiate an attack and he receives it by using his movement to blend with the attack. The energy of the attack is then redirected into the structure of the uke for locking techniques or into the uke’s balance points for a throwing technique. It is at this stage of training that the student begins to work with the concept of how to “lead” the energy or attention of the partner.Leading the Ki of the opponent is one of the hallmarks of Aikido technique.
從武術的觀點，上述的階段受限於轉移力量到攻擊者，在轉移力量之前，攻擊者可以選擇攻擊方式及何時攻擊。有一個事實是所有的人對於察覺到某些東西跟他們實際上可以做反應之間，是需要一段反應時間的（對大部份人而言是0.5秒），允許攻擊者發動攻勢對攻擊者而言是一項很大的優勢。這是一個很大的問題，它代表著 a) 從一開始取方的技法就只能受制於受方做反應，以及 b) 受方可以不盡全力用假攻擊來騙取方，在取方被落進受方的圈套之後改變攻擊方式，這樣會讓取方想做的技法變失效。
From the martial standpoint the previous level of training is limited in that it cedes considerable power to the attacker by allowing him to decide what and when an attack will be. Given the fact that all people have a certain reaction time between when they perceive something and when they can act on what they have seen (about a half a second for most people), allowing the attacker to have the initiative is a major advantage for the attacker. This is a problem as it a) means that from the start of a technique the nage is being re-active to the uke and b) if the attacker chooses to utilize less than fully committed techniques such as feints, the uke can cause the nage to move as he wishes and then suddenly change the attack, thereby making the nage’s attempted technique incorrect.
所以下一個階段的技法重點是改變發動攻擊的人。取方不再只是接受受方的出招。這時取方做選擇，他使用他自己的移動來吸引攻擊者的反應。如果取方靠近受方，他必需打擊一個位置，使得受方必需反擊或是防守。如果這兩個策略都失敗，受方將會出現空隙而被取方打到。因為是取方決定何時進到雙方都必需要發動攻防的關鍵距離，取方不需要“反應時間“，因為他知道受方何時必需因為他的行動而有所反應。這對武術有效性的培養而言是非常重要的，應該要用心研究。這個階段跟上一個階段的差異在於取方在上一階段讓受方可以發動攻擊，然後才用自己的動作來引導受方。這是利用“空間“上的處理來得到“時間“上的控制，這是開始考慮在技法不變時的“快和慢“之間的差異。練習者開始在時間的因素之外考處跟時、空有關的議題。
So the next level of technique changes who initiates. No longer does nage simply accept whatever the uke dishes out. He uses his own movement to begin to draw out a reaction from the attacker at the moment of nage’s choosing. If nage closes the ma-ai (space) with uke, he will hit a point at which uke MUST either commit to his attack or back up. Failure to do one of the two will result in his being open to being struck by nage. Since it is nage who determines when he is crossing the ma-ai point and arriving at “critical distance” he has no “reaction time” because he knows when uke must commit. This is very important in the development of martially effective technique and must be researched carefully. The difference between this stage and the last is that in the last stage the nage allowed uke to initiate and then he led the “attention” of the uke via his own movement. At this level of technique he takes control of the “timing” bymanipulating the “spacing”, this begins to make considerations of “fast and slow” in technique irrelevant. The practitioner begins to operate outside the temporal zone as he begins to control the issues associated with timing and spacing.
到目前為止所培養的各個階段是讓技法有更少的身體上的操作，而使用更多時間和空間的法則來操控攻擊者的移動。在下一個階段，不只是取方發動攻擊來引出受方的動作，而且還要使用氣（energy）來引導受方的動作。在這個階段的練習，要做到讓攻擊者最終只能完全依照取方的意思來反應。取方甚至是在雙方開始動作之前就進行控制。技法看起來更輕盈並且有更多的氣、更少的力，雖然在這個階段，要選擇使用十分有威力的技法也是可以的。這是透過攻擊技法來達成，而不是使用摔技或控制技。可以用這種方式產生十份有爆發性並且有效的技法。實際上攻擊技法並不是要對對手產生傷害。而是一種使用潛在的爆發性能量來吸引受方反應的方法。這可以用來轉移對方的注意力並且透過對對方做技法而把對方的氣從他的身上帶走（就像控制技所做的），或是可以用來吸引對方的注意，在不傷害對方的情形下完成入身。換句話說，在這個階段，攻擊是將對手的注意力或氣導引到自己想要的位置以及避開自己不想要的方向。
What has been happening so far in the development of these “stages” is that technique is getting progressively less physical as the principles of space and timing are used to shape the movement of the attacker. In the next level of technique not only does the nage initiate action to draw out uke’s movement, but he uses the energy of his action to lead the response given him by uke. At this stage of practice the attacker ends up being almost completely reactive to the nage. The nage is controlling his actions even before they start to occur. Technique appears to be lighter and more energetic than powerful and physical although it is quite possible to do technique at this level which is quite powerful if one chooses. This is accomplished by manifesting the principles as atemi waza rather than as throwing or locking techniques. Quite explosive and effective martial technique can be generated in this way. In practice, of course, atemi waza isn’tutilized to inflict injury or create physical dysfunction. Rather, it is a way to use potentially explosive energy to draw a response from the uke. This can serve to distract him and shift his energy away from the area of the body on which a technique is being done (as in a locking technique) or it can be used to draw his attention making an entry possible without being struck. In other words, at this level of technique atemi is about directing the attention or energy of the partner towards what one wishes him to see and away from what one doesn’t.
當這個階段的技法達成後，就可以在沒有身體接觸的前提下摔對手。技法變成從抓或著其它的基本技法形式，變成不需要被抓的形式。不論對手有沒有抓的意圖都好，實際上完成技法是在取方從“氣“的層面引出受方的攻擊而完成的，然後引導攻擊者的注意力並且移動以找到攻擊者的空隙，取方就可以控制攻擊者的中心，而不需要有身體上的接觸，儘是讓攻擊者照自己的意思移動就行了。攻擊的打擊點在於原本受方要發動有效攻擊時必需佔住的那個位置，打這個位置可以讓受方為了避免被打到而閃躲時失去平衡。
When this level of technique is reached, there is often no physical contact which precedes the “throw”. A technique that had been, in its basic form, a technique from a grab of some sort, would now be timed in such a way that there was no grab. There might or not be an intention to grab but the actual technique has moved to the energetic stage at which the partner’s attack is drawn out by the nage, then by leading the attacker’s attention and producing movement by exposing the attacker’s openings (suki) the nage gains control of the attacker’s center without physically manipulating him but rather by creating the situation in which the attacker moves himself as desired. An atemi which is placed in the space which the uke needs to occupy in order to complete his attack will result in uke breaking his own balance in order to escape being hit.
當這個階段的技法完成了，技法的操作完全是透過時空的法則在運作，而不是因為使用基本技法所需的身體接觸來完成。雙手抓天地摔就是一個使用分散法則的例子，它把對手心理及身體的能量分開。最後當我們體會到能量層面（氣）的方式，就不再需要雙手抓的攻擊了。例如天地摔也可以在對手前踢時使用。所謂的“天地“存在於攻擊者的注意力被分散，把他從本來鎖定目標的那個狀態導開，這樣取方就可以在不被傷害的情況下入身。但是“分散法則“要出現，對技法的基礎身體操作必需要徹底了解才行。這個部份不可以被跳過。
When this level of technique is reached, the technique is operating via pure principle rather than by the physical factors that had produced the technique at more basic levels. A technique like ryote-tori tenchi-nage exemplifies the principle of “splitting” the partner’s energy (physical or mental). When it finally gets to its energetic expression it no longer requires the ryote-tori attack. In fact tenchi-nage can be done against a front kick for example. The tenchi exists in how the attention of the attacker is split from its perceived target and directed away allowing nage to enter without being struck. But this manifestation of the “splitting principle” cannot be achieved without a thorough understanding of the basic physical execution of the technique. It cannot be bypassed.
當我們使用這種方式來對學生展現技法，從基礎的、身體操作的、靜態的、到進階的、氣導向的、流體的，這有助於學生了解技法的來源及它成熟時的走向。如此可以對進階技法中的“氣“進行解密，因為這些法則可以拆開分別傳授。這樣也可以清礎的展示在達到合氣道的精華境界之前，有哪些元素是技法的基礎，是必需俱備的。每個階段的開始都是設定在對上一個階段的了解。使用這樣的方法，或許可以讓更多的學生達到合氣道的最高境界。
When technique is presented to the students in this manner, with variations progressing from the elemental, physical, static versions to the advanced, energetic, flowing versions, it can assist the student in understanding both where a given technique has come from and where it might go in its development. This can serve to demystify the energetics of the advanced technique since the principles can be broken down and taught, but it can also clearly show what elements are essential in providing the foundations of a technique before movement towards a more sophisticated version can be reached. Each level assumes understanding of the previous level. Using this type of methodology perhaps there can be more students who do reach the highest levels of this art created for us by the Founder of Aikido.
作者簡介： George Ledyard Sensei 1976 年開始學合氣道，接受五月女貢師範的教導。現在六段。他認為自己的合氣道受到下列師範的影響：Hiroshi Ikeda Sensei, William Gleason Sensei, Mary Heiny Sensei and Tom Read Sensei as strong influences on his Aikido. 他還創辦 Defensive Tactics Options, 這是一個提供警察系統及保全系統訓練的機構。 更多介紹請參考 http://ww.aikieast.com/chief.htm
==更新記錄== 網友 o4e5 提供: tenchi-nage 為天地摔
此篇文章轉貼自：中華民國合氣道推廣協進會網站
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