2

總監的話 Words from General and Artistic Director

3

策展人介紹 Words from Curator

4

策展概念 Curatorial Concept

8

活動地圖 Map

10

連結舞台 Connection Stage

28

亞洲連結 Asian Connection

46

開放舞台 Open Stage

72

展覽 Exhibition

1

連
結
上
線

總
監
的
話

Words from General and Artistic Director

讓身體重新上線，繼續來衛武營共舞吧！

策
展
人
介
紹

Words from Curator

衛武營駐地藝術家 周書毅Bring your body back online and keep dancing with Weiwuying!

Weiwuying Artist-In-Residence CHOU Shu-yi臺灣舞蹈平台邁入第四屆，今年由衛武營駐地藝術家周書毅擔任策展人，以「島嶼連結 : 身體上線」為題，
歷時 1 年半的策劃，在今年 10 月 22 日至 11 月 13 日展開一系列呈現當代舞蹈風貌的精彩活動。包括 4 檔售
票演出，4 檔衛武營獨有空間中的免費演出，3 大主題展覽，以及 3 場舞蹈專業講座。自 9 月起更陸續展開
各種導覽、講座與工作坊等活動，帶領觀眾認識身體的可能，並發現後疫情時代嶄新的舞蹈形式。
衛武營是「眾人的藝術中心」，有著最具包容性的建築空間，多元豐富的活動在這裡發生，讓走進來的每一個人輕鬆和藝術連結。過去三年，雖然受疫情影響甚鉅，但每月在衛武營公共空間舉辦的「武營來跳舞」系
列卻不曾停歇，從肢體的擺動、表情的交流，我們著實感受到南方民眾對於舞動的濃厚樂趣。
我們期許衛武營成為一座匯聚眾人的島嶼，透過感受各種風貌的舞蹈創作，支持不同的你我敞開身心，連繫
彼此，連結衛武營，連接臺灣，連動世界。
This year will be the fourth Taiwan Dance Platform, curated by Weiwuying resident artist CHOU Shu-yi with the themeof Island Connection: Body Online. Planning has been underway for a year and a half for the series of brilliant contemporary
dance programs that will go on from October 22 to November 13. There will be four ticketed performances, four nonticketed performances, three exhibitions, and three forums on dance. In September, we started launching a variety ofrelated tours, forums, and workshops. All of this shows the body's potential and how dance may develop in new ways in從身體出發，用舞蹈作為與世界溝通的語言，關注人與社會環境之間的關係，編創聚焦叩問生命的價值。作

post-Covid times.

品以劇場、非傳統劇場、舞蹈錄像等形式呈現，持續以移地移居的創作方式遊走各地，在過往的創作及行動As a place that seeks to make the arts accessible to all, Weiwuying has a highly inclusive architectural design where all

中，強調藝術公共性與社會性的發生。近年專注尋找屬於「亞洲的身體語彙」。2020 年，受邀擔任衛武營首kinds of events take place that allow visitors to readily connect with art. Over the past three years, despite the massive

位駐地藝術家，移居高雄，開啟一連串的駐地計畫，期待可以讓更多人關注南方的藝術文化風景。2022 年，

impact of Covid, Weiwuying 365+ Dance has kept going once a month, showing just how much southern Taiwanese

提出以「島嶼連結：身體上線」為題，策劃臺灣舞蹈平台。

people love to move and dance!
We look forward to Weiwuying becoming an island for everyone where, by experiencing di erent forms of dance, we
can support each other, regardless of our di erences, in opening up our bodies and minds and connect with each other,
Weiwuying, Taiwan, and the world.

CHOU Shu-yi starts out from the body and communicates with the world through dance and choreography. He focuseson the relationship between human beings and society. His creations focus on the value of life and re ect the state ofindividuals or collectives in di erent social contexts. Through his creations, CHOU Shu-yi makes propositions of a“bodyvocabulary that is speci cally Asian" in the forms of theatre, non-traditional theatre and dance video. He continues to

衛武營國家藝術文化中心
藝術總監
CHIEN Wen-pin
Weiwuying General and Artistic Director

2create as he travels to di erent sites and places. In 2020, he was invited as Weiwuying's rst artist in residence and has
been living in the south ever since. In 2022, he curated Taiwan Dance Platform and proposed "Island Connection: Body
Online" as the theme.

3

島嶼南方的
身體聚匯

策
展
概
念

在當前的學術脈絡下，「南方」指的並不是地理目台上的表演者透過作品分享身體文化性的差

方位，過去它曾被用以指示工業化、現代化程度異。樹冠露台的節目，包括臺印舞蹈家跨文化相

較落後，經濟貧瘠的國家，如今則具備更積極的互詰問，從而探討自身的合作作品《去你的島》，

意義。南方，代表著對挑戰線性史觀的多元異質以及由高雄出身的二位編舞者，回溯自身接受過性的強調。

的傳統訓練、生命經驗，對我們所身在的華人文化展開貼身觀察後，從傳統技藝提萃的當代舞作

在 2022 年衛武營舞蹈平台，重新提起南方這個《羽人》，和從源自民俗文化採集進而延伸至探詞，是希望從臺灣的藝文生態、高雄的文化地域

尋身分認同的作品《採 身》。

性為出發，並結合兩年來的駐地觀察，與過去曾在此創作的生活經驗，試著回答這個地方的藝術

放映舞蹈影像、聲音的展覽廳，則是「流動的工作者相對臺北、臺中、臺南有何不同？他們如

島」，由於存在於虛擬空間之中，更能觀照世界

何表現身體及編舞？

各地正上演的不平等現況。在本屆參加徵選的作品當中，我們看見被用來回應自身與城市、社會「島嶼連結 : 身體上線」的概念是在疫情中誕

關係的舞蹈、被附加存在主義哲學意涵的舞蹈，生，臺灣作為一座島嶼國家，我們必須穿過海洋

以及象徵東南亞女性意識抬頭的舞蹈，正因為發

天空、網路世界才能夠與另一方交流，而這樣的

想自日常生活中種種不平、尷尬，它們都與「南熱望，也反應在即便病毒大流行造成實體交流中
斷，表演節目停擺，也不能阻攔創作在線上線
下、真實虛擬中發生。舞蹈平台的任務，就是將

場地比擬為一座座島嶼，它們對著觀眾釋出不同

自高雄在地為兒童創作《小孩筆記－身體是我的的文化、藝術、身體姿態等訊息，產生的不只是搭檔》。

方」概念的能動性緊緊相連。
我期待本屆的舞蹈平台，能夠催生疫情後文化流

傳統，也是當代身分認同的追尋意識。我們暱稱

這一個個獨立的個體、舞團帶到觀眾眼前，證明
在全球封鎖的不利條件下，舞蹈依然能夠有力量
的與人接觸。
將島嶼的意象做延伸聯想，將舞蹈平台的節目主4

為「大島」的開放舞台，在衛武營榕樹廣場下承「中島」是位在衛武營東側的樹冠露台，則以載的是南方不同城市的舞蹈樣貌，如談芭蕾舞之「亞洲連結」視角思索亞洲的舞蹈身體語彙。為

於高雄、臺灣的意義的《跳芭蕾》、以臺南素人

了清楚看見這些身體的歧異，空間設計團隊「李為主軸的《他們的故事－白晝》、討論排灣族當維造物」別出心裁地在這可以看見天空感受氣候

代劇場可能性，來自屏東的《去排灣》，以及來的空間，打造了階梯式圍觀劇場，令觀眾得以注

動的復甦，讓所有人都能夠見證在地創作者將以
什麼樣的姿態，再次走入國際，而那也是經歷過兩年苦悶的他們，能在本次節目安排中相互撞擊，擦出火花的力量。

5

A Gathering of Human Figures
in Southern Taiwan

Curatorial
Concept

In current academia, the word "south" does notre ected in how art continued to develop on- andTerrace, ponders the vocabulary of dance and thein the world today. Of the pieces submitted, we saw

necessarily refer to the geographic meaning we

o ine here despite the broken traditional forms ofbody in Asia from the perspective of the "Asiandances that re ect the relationships between theare all familiar with. It was often used to negatively

connection and cancellation of performances. The

connection." To allow for a clear view of the bodily

self and the city/society, incorporate existentialism,refer to poor nations with low degrees of industrial

Taiwan Dance Platform's task is to bring performers

divergence here, the interior design team LEEWEI

and symbolize the rising consciousness of women indevelopment and modernization. Now, it has a

to audiences to prove that dance has the power to

DESIGN has ingeniously created a stepped theater

Southeast Asia. As the videos were inspired by the

positive connotation, representing a challenge toreach people even when the world is in lockdown.

in the round, where people can see the sky and feelvariety of inequalities and awkward moments in daily

the weather as they watch the performers share thelife, they match well with the dynamics of the concept

Taking the image of an island, the main venues

di erences in their bodily cultures. Programs atof the "south."of the Taiwan Dance Platform may be viewed as

this venue include A Quest for Relationship: Island ofThis word is reconsidered at the 2022 Taiwan Dance

independent islands that transmit information__________, a collaboration by dancers from Taiwan

I am really looking forward to this year's Taiwan

Platform at Weiwuying. Starting with Taiwan's art

on di erent cultures, art, and physical positions,and Indonesia in which the performers examine each

Dance Platform, as it will expedite the revival of

ecology and Kaohsiung's culture, along with my two

producing a conscious pursuit of both traditional

other and present their di erences; Birdy, which

cultural mobility now that Covid is winding down. It

years of observation as a resident artist at Weiwuying

and contemporary identity. The Open Stage, whichis by two dancers from Kaohsiung who looked atwill allow everyone to witness how local artists will

and previous experiences here, I am attempting

we have nicknamed the "Big Island," is at Banyan

their traditional training and life experiences andonce again make their way into the global realm after

to nd out what is di erent about the artists here

Plaza, which is where dance programs from southerncreated this contemporary piece based on traditional

two di cult years of holding back. Here, they will becompared with those in Taipei, Taichung, andTaiwanese cities will take place, such as Dancing Ballet,

technique after closely observing the local Chineseable to come together and create brilliant sparks for

Tainan, and to see how they express the body andwhich looks at ballet in Kaohsiung and all of Taiwan;

culture; and Picking the Corpus, an exploration of

the future.

choreography.

Their Stories - Daylight, which revolves around amateur

identity inspired by Taiwanese folk culture.

the old, linear-oriented outlook of history andemphasizing plurality in culture and lifestyle.

performers from Tainan; GO PAIWAN, put on by a
The concept behind Island Connection: Body Online

group from Pingtung; and Kid's Notes - My Body, My

The Exhibition Hall, where videos and music related

was born during Covid. As an island nation, we must

Partner, a piece from Kaohsiung made for children.

to dance will be on display, is the "Mobility Island."y, sail, or use the Internet to connect with those inSince the content here resides in the virtual world,

other countries. Taiwan's capacity in that aspect was

The "Medium Island," at Weiwuying's East Crown
6

we can better see and contemplate the inequality
7

A

田孝慈 × 李世揚 × 戴孜嬣《連篇歌曲》
TIEN Hsiao-tzu × LEE Shih-yang × TAI Zih-ning Liederzyklus

11.11 Fri. 20:30
11.12 Sat. 19:30

戲劇院Playhouse

B

蘇品文《少女須知》
SU Pin-wen Girl's Notes

11.11 Fri. 20:30
11.12 Sat. 19:30

戲劇院Playhouse

驫舞劇場《自由步－搖擺歲月》
HORSE FreeSteps - Swinging Years

11.13 Sun. 15:00

D

王宇光 ×Danang Pamungkas《去你的島》
WANG Yeu-kwn×Danang Pamungkas
A Quest for Relationship:Island of _________

11.11 Fri. 20:30
11.12 Sat. 20:30

翃舞製作《羽人》
Hung Dance Birdy

11.12 Sat. 15:00
11.13 Sun. 15:00

E

歌劇院
Opera House

樹冠大廳東側露台
Crown Hall 3F (East Terrace)G

葉名樺 × 高雄城市芭蕾舞團《跳芭蕾》
YEH Ming-hwa×Kaohsiung City Ballet Dancing Ballet

11.11 Fri. 19:00

榕樹廣場
Banyan Plaza

H

左涵潔《小孩筆記－身體是我的搭檔》
TSO Han-chieh Kid's Notes-My body, My partner

11.12 Sat. 10:00
11.13 Sun. 10:00

榕樹廣場
Banyan Plaza

I蒂摩爾古薪舞集 × 林文中《去排灣》選粹
Tjimur Dance Theatre×LIN Wen-chung GO PAIWAN

11.12 Sat. 13:30
11.13 Sun. 13:30

榕樹廣場
Banyan Plaza

J賴翠霜舞創劇場《他們的故事－白晝》
Lais Creative Dance Theater Their Stories-Daylight

11.12 Sat. 17:00
11.13 Sun. 17:00

榕樹廣場
Banyan PlazaK

身體上線－舞蹈影像∕聲音展
Body Online-Screendance Showcase

10.22 Sat.-11.20 Sun.
11:00-19:00

展覽廳
Exhibition HallL身體上線－舞蹈攝影展
Body Online-Dance through Photography

10.8 Sat.-12.4 Sun.
11:00-22:00

榕樹廣場 ( 歌劇院櫥窗 )Banyan Plaza(Opera House window display)N

11.11 Fri. 11:30-13:00

演講廳Lecture Hall

南方舞蹈教育談 - 舞蹈的未來要如何教 ?
The Dance Education in the South How to Open the Future for Dance?

11.12 Sat. 11:30-13:00

演講廳Lecture Hall

開始跳舞的一座城市 - 城市中的表演觀察
The City that Starts Dancing Observation of Performances in the City

11.13 Sun. 11:30-13:00

演講廳Lecture Hall身體上線 - 即刻拍攝Body Online - Dance Livestream

10.22 Sat. 16:40-17:00
11.13 Sun. 16:20-16:40
張忠安 CHANG Chung-an

810.23 Sun. 16:40-17:00
11.12 Sat. 16:20-16:40
吳思瑋 WU Szu-wei

M

D E F

表演廳
Rectial Hall

樹冠露台（西）Crown Terrace (West)展覽廳
Exhibition Hall

歌劇院
3F西口
Gate West戲劇院Playhouse演講廳Lecture Hall

歌劇院
Opera House

歌劇院
3F東口
Gate East音樂廳Concert Hall

歌劇院
3F南口
Gate South

3F
樹
冠
大
廳

音樂廳3F大廳Concert Hall 3F Lobby

戲劇院
3F入口
Gate

入口大廳
Main EntranceL

通往3F樹冠大廳
To 3F Crown Hall
表演廳
Rectial Hall

歌劇院
Opera House
歌劇院西主入口
Main Gate West

歌劇院東主入口
Main Gate East音樂廳Concert Hall
音樂廳西主入口
Main Gate West戲劇院Playhouse戲劇院主入口Main Gate

戶外劇場
Outdoor Theater

樹冠大廳西側露台
Crown Hall 3F (West Terrace)

G H I

9

J

音樂廳東主入口
Main Gate East

1F
榕
樹
廣
場
Banyan Plaza

11.12 Sat. 15:00
11.13 Sun. 15:00

C

樹冠露台（東）Crown Terrace (East)

樹冠大廳東側露台
Crown Hall 3F (East Terrace)

秋杉所在《採 身》
Autumn Cedar Sóo-Tsāi Picking the Corpus

英文舞蹈書寫在臺灣 -Diane Baker 紀念專題Dance Writing in English from Taiwan - in Memory of Diane Baker

K

樹冠大廳東側露台
Crown Hall 3F (East Terrace)

F

M

N

Crown Hall

C

A B

連

連結舞台

Connection Stage結CONNECTION
10

舞

連結舞台

Connection Stage

STAGE
11

台

連結舞台

連結舞台

Connection Stage

田孝慈 × 李世揚 × 戴孜嬣

連篇歌曲

TIEN Hsiao-tzu

Connection StageLEE Shih-yang TAI Zih-ning

Liederzyklus

Girl's Note

少女須知

《連篇歌曲》與《少女須知》將共台接續上演，《 連 篇 歌 曲 》與《少女須知》將共台 接續上演，觀眾憑票可同時欣賞兩檔演出。

觀 眾 憑 票 可 同時欣賞兩檔演出。

11.11
11.12

蘇品文

SU Pin-wen

11.11
11.12

FRI.
20:30
SAT.
19:30

FRI.
20:30
SAT.
19:30

戲劇院 Playhouse戲劇院 Playhouse票價 Tickets NT$ 300/600/900

票價 Tickets NT$ 300/600/900
演出全長約 60 分鐘演出全長約 40 分鐘

建議 7 歲以上觀眾觀賞

建議 7 歲以上觀眾觀賞
演出有裸露畫面，請斟酌入場11.12 Sat. 為同步錄影場次

11.12 Sat. 為同步錄影場次

Duration is 60 minutes
Suitable for age 7+

Duration is 40 minutes

The program will be lmed on Saturday, 12th November

Suitable for age 7+
The performance contains nudity e ects viewer discretion is advised
The program will be lmed on Saturday, 12th November

演後座談 Post-talk
11.12 Sat. 戲劇院觀眾席 Playhouse Auditorium

演後座談 Post-talk
11.12 Sat. 戲劇院觀眾席 Playhouse Auditorium

若是人生如河 ，每次相遇後的篇章，是偶然？

女性主義藝術家蘇品文以當代女性的觀點，為是必然？連篇歌曲取自古典音樂曲式，由舞者與

《少女須知》一書進行單身（Single-Body）獨

樂手組成重奏關係，在即興應答之間書寫生活的角創作， 從動作實踐探討「女性」的模樣，用

©

幽微光點。

身體發表的《少女須知》讀書報告。

If life is like a river, is the chapter that follows each

創作暨演出：田孝慈、李世揚、戴孜嬣｜客席藝術家：高辛毓｜作品概念：

SU Pin-wen, a feminism artist, has created a

encounter serendipitous or inevitable?

林芳宜｜舞蹈顧問：陳品秀｜燈光設計：吳文安｜攝影：陳長志｜製作經理："Single-Body" solo performance for the book Girl's

Inspired by the art song genre, Liederzyklus is an

金會｜特別感謝：和碩設計

Notes from a contemporary female point of view.

Artists: TIEN Hsiao-tzu, LEE Shih-yang, TAI Zih-ning ｜ Guest Dancer: KAO Hsin-yu ｜ Artistic

The work explores the presentation of "women''ensemble performance by dancers and musicians,
where they address the delicate lights of lives
through improvisation.

黃珮婕｜國際聯繫：王詠鑑｜製作：捕貓人製品｜贊助單位：國家文化藝術基Concept: LIN Fang-yi ｜ Dance Advisor: CHEN Pin-hsiu ｜ Lighting Design: GOH Boon-ann ｜Photographer: CHEN Chang-chih ｜ Production Manager: HUANG Pei-jie ｜ International A airs:
WANG Yung-chieng ｜ Production: Katzenfänger Production ｜ Sponsor: National Culture and

藝術家：蘇品文｜鋼琴家：林麥可｜燈光設計：林秉昕Arts Foundation (NCAF) ｜ Special Thanks: PEGA Design & Engineering

Artist: SU Pin-wen ｜ Piano: LIN Mai-ke ｜ Lighting Design: LIN Ping-hsin

12through movement while presenting SU's reporton Girl's Notes with one's body.
13

連結舞台

連結舞台
Connection
Stage
Connection Stage

連結舞台

連結舞台
Connection
Stage
Connection Stage

對自己人生提出質問和回答的過程，
那也是一種生命的流動

#

#

#舞

林捌
芳號
宜會
專所
訪藝
術
總
監

#連

對捌號會所的藝術總監林芳宜而言，藝術雖然形出對人生的看法，並轉換為藝術語言在舞台上呈形色色，所涉及的卻是同一件事。那便是創作者

現，那將是一種對應關係，藝術家們可能是友好

如何在實踐中，表達自己對美學、對生命的觀的夥伴，也可能彼此叫陣，就好像我們平時面對點。不過，舞蹈更有其獨特迷人之處，它無須假

一個狂怒中的人，會有安撫和諷刺挑釁等不同選

手他人，舞者的唯一任務是精進身體的鍛鍊，以項。在《連篇歌曲》中，你可以看到諸如此類充及對傳達精神性思考的實踐方法摸索。

滿即興對話以及藝術家對自己人生提出質問和回
答的過程，而那也是一種生命的流動。

但這不是支持舞者閉門造車的論調，她清楚，只有將身懷絕技的眾人聚集起來，才能成就更宏大

林芳宜表示，她希望觀眾可以看見藝術家間的協的目標。「我好像對洞察他人能力有特別的天作與和諧狀態，「『和諧』指的不是表面的溫馨分。藝術家分很多種，有創作者、有表演者，我平和，而是高度意識到，人生裡會有不同的人與擅長的是媒合各方的藝術家一起走向同一個目標。」這是捌號會所之所以誕生的由來，也是今
年於舞蹈平台上推出的節目《連篇歌曲》所秉持
的核心精神。
《連篇歌曲》是捌號會所於 2019 年啟動的創作
計畫，製作時程長達三年。要是你熟悉臺灣的藝14

術製作生態，肯定會為它的製作期程咋舌，林芳

不像一般按音樂來編舞，或配合舞步的節奏情緒

宜不諱言，三年製作期確實是因為受到疫情的影

譜寫樂曲的作法，這裡沒有主從，樂手要學習律

響，但她也將《連篇歌曲》形容為意外的禮物。

動身體，舞者要觀察樂句走向，雙方起跑點同樣

因為，他們終於能推出一部作品，是允許參與其為零。《連篇歌曲》取自古典音樂曲式，將作品

中的藝術家完整經歷過觀望、磨合、信任等階

中可獨立演奏、卻存在聯立關係的歌曲比喻為生段，最終攜手推出一部真正的共同創作。

命中的不同階段或事件，表演者在此一結構上提我們交會，合意的、討厭的、各種對應關係，無論我們喜不喜歡，依然出現在我們的人生裡，而
在面對這些人生風景的過程，藝術家們在這個作
品中呈現三年來的過程，淬鍊出的互相珍惜、理解，是很動人的。」

15

連結舞台

連結舞台

Connection Stage

Connection Stage

Artists pose questions about life andanswer themselves, which is part ofthe process of life.

Interview with
Studio Acht artistic director
LIN Fang-yi

For Studio Acht artistic director LIN Fang-yi, thoughof and occurrences in life. Through this structure,art comes in a multitude of forms, it deals with thethe performers propose their viewpoints on life.

same thing: how an artist expresses their viewpoint

The performers may be good friends or at odds

on aesthetics and life. In addition, dance has a unique,with each other. They may choose how to deal withappealing aspect: it has no need for a proxy. That is,someone who is enraged, perhaps, for example, by

all dancers have to do is re ne themselves physicallyappeasement or sarcastic provocation, just as we haveand explore how to physically convey ideas.

such choices in everyday life. The piece is full of such
impromptu dialogue and the artists posing questions

This is not an argument for dancers to shutabout life and answering themselves, which are part ofthemselves o from the world though. Only by

the process of life.

gathering together can dancers achieve grand
ambitions. LIN says, "I'm especially good at seeing

LIN hopes the audience will see the cooperation andcapability in others. There are lots of kinds of artists,

harmony among the performers. She says, however,including creators and performers. My specialty isthat " 'harmony' does mean a super cial peace but

guiding a group of all di erent kinds of people towarda very clear awareness that in life, I will have to deal

a common goal." This is why Studio Acht was bornwith di erent kinds of people. There will be thoseand is the core spirit of Liederzyklus.

who are likable and those who are detestable. There
will be all kinds whether we like them or not. As a

Liederzyklus is a project initiated by Studio Acht ingone through the stages of wait-and-seeing, adjusting,here. The musicians must learn to move rhythmicallyresult, the artists who have worked on this piece

2019. If you know anything about art production inand nding trust in each other.

while the dancers need to pay attention to thefor three years have worked out how to cherish anddirection of the music - both start on equal footing.

understand each other, and that really touches me tothe heart."

Taiwan, you will be speechless upon realizing it has
taken three years. The delay was caused by Covid,

Unlike most pieces, which are either choreographed

but LIN says the extended production process was

Liederzyklus is derived from classical music and takes

to music or have their music written to match thesongs that can be performed as solos yet are related,

an unexpected gift because it allowed the artists tochoreography, there is no "master-slave" relationshipusing them as a metaphor for the di erent stages

produce a piece of true cooperation, as they have
16

17

連結舞台

連結舞台

Connection Stage

Connection Stage

裸體為藝術表達，除去社會符號探討人與社會的關係

#

#

舞#

蘇女
品性
文主
專義
訪藝
術
家

#

要是有人一碰上面就說他想著你的裸體，你肯定

敏銳度，他請到本地鋼琴家林麥可合作，本次演

反手就是啪啪兩巴掌，性騷擾嘛。可換作是你，出也是《少女須知》自 2018 年發表以來，第一不想裸體的你又會觀察對方哪些特質？髮型？聲

次出現兩個身體（Double Body）。當肉眼可辨

音？穿著打扮？要為一名陌生人作分類，這是最

識的生理男性與裸身的女體於同一舞台上共處，

便捷的法子，但你在審視的，究竟是眼前這個活

也刺激著觀眾聯想性別∕兩性間可能產生的作用

生生，有精神有肉體的人，還是他在社會上扮演

關係。

的角色？這是《少女須知》使用裸體為藝術表達
手段的理由，只有除去社會符號，才能真正探討「表演藝術是個探索的過程，建議觀眾可以留意人與社會的關係。

兩名藝術家是怎麼溝通協調出這個版本的少女須知。」藝術家說，兩年的疫情令他認知到《少女「不過，哪怕是一絲不掛的時刻，我的身體真的

須知》是必須在現場發生的作品，它有著線上媒

是屬於我的嗎？」蘇品文狡黠地問。

體無法企及的特殊感受，如陌生人聚集在劇場時
的氣味，又或者觀眾變化的心理，「我認為，這《少女須知》是蘇品文以 1984 年出版的 「女性「少女」形象的迷思及投射，若非鼓勵人成為什

行為指南」《少女須知》為研究對象，使用裸體 麼，至少也是期待人成為什麼，進而展開或粗糙撰寫的書評，是藝術家首次獨立製作的長篇獨身 或細膩的操作，為某種功利目的服務。其勸誘的（Single-Body）作品，該作品挑戰臺灣相對少見 對象，也不針對特定年齡族群，「並不是只有未的裸體手法，且將藝術家所關注的女性主義觀點 成年才能當少女——許多人有一定年紀了，還是
納為創作目標。在性別意識的檢視下，上世紀八 希望把自己打扮得更年輕。不管是幾歲的人，都零年代出版的《少女須知》，象徵著主流社會對
18

件作品特別能與擁有具體女性經驗的人產生連

有這種面對身體形象的經驗。」

結。過去臺灣社會並不鼓勵對情感，尤其身體感

登上舞蹈平台的《少女須知》，是藝術家專為高 知的表達，但從演出結束後過來跟我擁抱的觀眾雄規劃的衛武營獨家版本。在思考作品與城市藝 身上，我能察覺到她們的情緒起伏，好像因為我
的表演重新啟動了她的身體，這是既有趣也深刻

術文化的連結時，蘇品文注意到衛武營過去邀請的。」

的表演以音樂節目為主，感於城市居民對音樂的

19

連結舞台

連結舞台

Connection Stage

Connection Stage

Performance in the nude eliminates
social symbols so you can truly
explore the relationship between
people and society.

Interview with
the Feminism artist
SU Pin-wen

If someone came up to you out of the blue and said

debut. Seeing the bodies of a male and female on stage

they wanted to see you naked, you might slap them.

is sure to make people ponder gender and what can

But what do you look at in people? Their hairstyle,happen between two people of the opposite sex.

voice, how they dress? That is indeed the easiest way
to categorize a stranger, but during your inspection,"The performing arts are a journey of exploration.

are you looking at the person as a human with a body

The audience should watch how the performers

and spirit, or are you trying to gure out their role incommunicate and work together to make the piecesociety? This is why Girl's Notes is performed in thehappen," SU says. Two years of Covid showed SU

nude: only by eliminating social symbols can you truly

that Girl's Notes is a performance that must be viewed

explore the relationship between people and society.

live because it has a certain feeling that cannot be"But even when I'm naked, is my body really mytransmitted through modern media, such as theown?" SU Pin-wen asks with a sly grin.

atmosphere that comes with strangers gathered inGirl's Notes is a nude-performed commentary on the

one place and the way the viewer's mentality can

1984-published book by the same name writtenchange. SU concludes, "The piece is particularly goodas a "social guidebook" for girls. It is SU's rst self-

at reaching those who have had female experiences.

produced, long Single-Body work. Through nudity -In the past, Taiwanese society didn't encourage

an uncommon sight in Taiwan - it focuses on women's
issues. The book that inspired the piece symbolizes
mainstream society's ideas on "young ladies." It may
not encourage them to become someone, but it doeslay down expectations and provides both rough and"It's not just for adolescents - many adult women want

Weiwuying. SU discovered that most programs

to know how to make themselves appear younger.

invited by Weiwuying are musical in nature and thus

Women of all ages have to deal with their bodyrealized that the locals have quite a keen musicalimage."

sense. So SU invited Kaohsiung pianist LIN Mai-ke toemotional expression or, especially, expression of
bodily perception, but some viewers have been so
moved as to come up to hug me after the show. It'sboth interesting and deeply touching."

join this performance, making it the rst time for there ned means for attaining certain utilitarian gains.

This version of SU's piece was made especially for

The book is not directed at any age group: SU says,

20

piece to be done in double-body mode since its 2018

21

連結舞台

連結舞台

Connection Stage

驫舞劇場

HORSE

自由步－搖擺歲月
11.13

Connection Stage

FreeSteps - Swinging Years

SUN.
15:00

歌劇院 Opera House票價 Tickets NT$ 300/500/800
演出全長約 70 分鐘
建議 7 歲以上觀眾觀賞
Duration is 70 minutes
Suitable for age 7+

演後座談 Post-talk
11.13 Sun. 16:10
歌劇院觀眾席 Opera House Auditorium

Life grants us fascinating vistas. Let's take the stage
and swing freely. Kaohsiung-born choreographer
SU Wei-chia explores the choreographic andphysical possibilities with his ten-year project
FreeSteps, which depicts and discovers the forms of
di erent dancers. With the purely dancing bodyas material, SU ponders the possibilities of the

出生於高雄的編舞者蘇威嘉，以十年編舞計畫

performer-audience relationship in contemporary《自由步》，持續開發舞步與身體的可能，在不

dance, looking to introduce a di erent viewing

同的舞者身上刻劃與挖掘舞蹈的樣態，以純粹的

experience.

舞蹈身體為素材，持續思考當代舞蹈觀演關係的可能，並帶給觀眾觀賞舞蹈演出不同的體驗。

2022 marks the ninth year of the ten-year
choreography project FreeSteps. Choreographer SU

2022 年是十年編舞計畫《自由步》的第九年，出生高雄的編舞者蘇威嘉，期待在他生長的地方，與這裡的大家，共同探索舞蹈的美好與生命
的韻味，一起創造這份身體的共同經驗；蘇威嘉與近百位樂齡舞者共同合作，將不同的生命經歷轉化到舞蹈肢體，呈現一場獨特限定的「眾人的舞」，讓衛武營的舞台，成為大家用肢體表現並編舞：蘇威嘉｜音樂設計：柯智豪｜燈光設計：劉家明｜文字協作：張智一｜排練指導：
方妤婷、王思涵、陳珮榕、黎偉翰｜專案執行：王璽｜演出者：崔硯貞、鄭淑芬、王麗玲、Choreographer: SU Wei-chia ｜ Music Design: Blaire KO ｜ Lighting Design: LIU Chia-ming ｜ Text: CHANG Chihyi ｜ Rehearsal Director: FANG Yu-ting, WANG Ssu-han, CHEN Pei-yung, LI Wei-han ｜ Project Execution: Damon
WANG ｜ Performer(s): TSUI Yen-chen, CHENG Shu-fen, WANG Li-ling, HSIN Mei-chih, SUNG Su-feng, WANG

辛美智、宋素鳳、王小玲、郭錦秀、周倖如、程素真、陳秀秀、范廷擴、向鳴德、陳俐雯、

Hsiao-ling, KUO Chin-hsiu, CHOU Hsing-ju, CHENG Su-chen, CHEN Hsiu-hsiu, FAN Ting-kuo, HSIANG Ming-

楊惠誠、鄒家修、黃琦美、黄源明、黃素美、莊永任、楊碧華、林文麗、劉淑惠、趙揚媛、

CHUANG Yung-jen, YANG Pi-hua, LIN Wen-li, LIU Shu-hui, CHAO Yang-yuan, CHEN Ching-chih, KAN Ting-yuehte, CHEN Li-wen, YANG Hui-cheng, TSOU Chia-hsiu, HUANG Chi-mei, HUANG Yuan-ming, HUANG Su-mei ,陳靜智、甘庭岳、黃雪惠、吳宛縈、吳素眞、王素茹、朱淑芳、李筑宇、吳純慈、孫耀立、

HUANG Hsueh-hui, WU Wan-ying, WU Su-chen, WANG Su-ju, CHU Shu-fang, LI Chu-yu, WU Chun-tzu, SUN Yao-

郭淑芬、戴灑儼、王惠美、黃秀蓮、李鳳玉、焦婷婷、吳麗雅、李貞誼、許淑媛、伍珮瑩、

yi, HSU Shu-yuan, WU Pei-ying, LAI Chen-chu, LIN Yu-ping, WU Mei-yi, KAO Hui-chen, TSAI Ching-pei, TANG

li, KUO Shu-fen, TAI Sa-yen, WANG Hui-meivHUANG Hsiu-lien, LI Feng-yu, CHIAO Ting-ting, WU Li-ya, LI Chen-

賴珍珠、林玉萍、吳美誼、高惠珍、蔡璟佩、湯素惠、黃羽瑄、黃建銘、張淑娥、吳秀丹、

Su-hui, HUANG Yu-hsuan, HUANG Chien-ming, CHANG Shu-e, WU Hsiu-tan, LO Mei-hui, LIN Su-chen, LIN Hsiu-

羅美惠、林素珍、林秀英、陳錦綢、詹凱箴、陳香孆、陳英珍、劉恒菁、郭明玉、蔡媄齡、

TSAI Mei-ling, AN Pi-e, KUO Tse-hsien, CHEN Mei-fen, HSIEH Hsiu-chih, CHEN Su-tuan

安碧娥、郭則嫻、陳美芬、謝秀枝、陳素端

ying, CHEN Chin-chou, CHAN Kai-chen, CHEN Hsiang-ying, CHEN Ying-chen, LIU Heng-ching, KUO Ming-yu,

of dance and the rhythms of life with the citizensof his hometown, Kaohsiung. SU collaborates withnearly 100 senior dancers to transform di erent
life experiences into dance forms and present an
exclusive "dance of the masses" at Weiwuying,
where they tell stories through their bodies.

訴說故事的地方。
22

Wei-chia looks forward to exploring the beauties

23

連結舞台

連結舞台

Connection Stage

Connection Stage

舞台屬於誰？
舞台上只能站著專業的表演者嗎？

#

#

#

舞#

蘇驫
威舞
嘉劇
專場
訪團
長

#

什麼是舞蹈？驫舞劇場團長蘇威嘉會這麼回答：

入劇場的「眾人」，是蘇威嘉的私心也是襟懷。

「舞蹈是通過對自我內心的覺察，進而體會到世《自由步－搖擺歲月》雖非驫舞劇場在舞蹈平台間萬物。」這聽起來似乎很抽象，但就根本而言，的首演，也不是首次以工作坊的形式籌備，但對其實就是喜歡自己的身體、得當地控制自己的身

他而言，卻可能是第一次將上座率及利潤考量放體。能做到這點，誰又能否定任何他人有踏上舞

到一邊，純粹地散播舞蹈的樂趣，「如果不是為

台的資格呢？這也是蘇威嘉在本屆臺灣舞蹈平台

了賣票，而是為了喜歡跳舞，我好像可以持續的

拋出的問題：舞台屬於誰？舞台上只能站著專業

分享很多。」

的表演者嗎？
持續分享，是不是也為了發掘新的舞者、新的形
探索舞蹈身體極限的《自由步》給出的答案是否©

定的。驫舞劇場於 2022 年推出的節目《自由步－或許我們該這麼說，儘管為節目宣傳，仍不免以體姿態？雖然我們來不及向蘇威嘉詢問這個問
發光的時刻。他形容，那感覺就宛如看到一件極 題，答案已不言而喻。在這層意義上，蘇威嘉與搖擺歲月》，透過工作坊形式招募樂齡舞者，成 樂齡為噱頭，但當真要強調舞者的特性，目的也

好的藝術品，希望能有複製品或影像記錄擺在家

他的《自由步》，最需要的不是可以長時間居留員年齡自 50 歲至 77 歲不等。蘇威嘉表示，專業

只會是為了凸顯不同的身體條件，及其相對應的裡一樣。

的進駐地或規格完整的劇場空間，而是流變的人

與否取決於作品走向，而在本次作品中，專業，

舞步、造型、律動。探索，是這十年間不斷推進

物，以及空間和時間狀態。誠如他所言，這是一

正是指這群願意在一般觀念裡該減少活動的年 《自由步》的動因，而這種挖掘到什麼新鮮事物在「眾人的藝術中心」，給一支「眾人的舞」，

紀，仍願意接受訓練，挑戰自己身體的人。

召喚那些向來對劇場沒興趣，卻因親友參演而步的滿足感，也刺激著蘇威嘉繼續尋找下一次身體

24

份不駐館也能完成的計畫。

25

連結舞台

連結舞台

Connection Stage

Connection StageIs the stage only for professionals?

Interview with
HORSE leader
SU Wei-chia

What is dance? HORSE leader SU Wei-chia says

accessible to all." His "sel sh" yet unhidden motive

dance is a way to experience everything in the world

is to call to those who have never had any interest in

by being aware of your inner self. That sounds pretty

performing arts but may come to see their friends/

abstract, but it essentially means that you like yourfamily who are dancing in the show. Although Swinging

body and can control it in a designated space. If you

Years is not the rst stage show put on by HORSE or

can do these two things, then who has the right tothe rst such endeavor achieved through a workshop,

say you can't go on stage? Accordingly, SU poses thisfor SU, it may be the rst time he has cast aside hisquestion for the Taiwan Dance Platform: Is the stage

considerations for attendance and pro t gures andonly for professionals?

just concentrated on the fun of dancing. He says, "If I
could do things just for the pleasure of dance and not

Exploring the limits of the dancing body, FreeStepsfor ticket sales, I could continue to share much more."

has found the answer: NO. HORSE's 2022 program
Swinging Years was arranged by holding a workshop for

Would continuing to share be a means of discovering

older people, who ended up ranging from age 50 to

new dancers, new physiques, and new forms of

77. SU says that whether something is "professional" ismovement? Though we missed out on asking SU

decided by the direction chosen for the piece. In this

this question, the answer is self-evident. From thispiece, "professional" refers to people who are being

perspective, what SU and his FreeSteps need most is nottold to reduce their amount of physical activity but

to highlight their di erent physical conditions andsays it is the same feeling you experience upon seeing

a long-term venue or a space with the proper specs

instead choose to train themselves and challenge their

the corresponding steps, look, and rhythm of thean extremely ne piece of art - you want a copy or

but a continual ow of new arrivals and su cientbodies.

dance. Exploration is what has continually driven

picture of it to take home.

space and time. Indeed, he has said that this is a
project that can be conducted without the need forthe progress of FreeSteps, and the satisfaction of

Even though we must mention the dancers are
elderly for the sake of publicity, we really must

discovering something new is what motivates SU to

At Weiwuying, a place that seeks to make the arts

keep looking for the body's next shining moment. He

accessible to all, SU seeks to provide a "dance that isany designated venue.

emphasize their features, the reason simply being
26

27

亞

連結

Asian Connection

ASIAN
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洲

連

連結

Asian Connection

CONNECTION
29

結

連結

Asian Connection

王宇光 × Danang Pamungkas

WANG Yeu-kwn×Danang Pamungkas

A Quest for Relationship:
Island of __________

去你的島
11.11
11.12

連結

Asian Connection

FRI.
20:30
SAT.
20:30

樹冠大廳東側露台 Crown Hall 3F (East Terrace)票價 Tickets NT$ 800
演出全長約 40 分鐘，無中場休息
建議 7 歲以上觀眾觀賞
本演出為同步錄影場次
Duration is 40 minutes without intermission
Suitable for age 7+
The program will be lmed
演後座談 Post-talk
11.11 Fri. / 11.12 Sat. 21:20
3 樓樹冠大廳東側露台
Crown Hall 3F (East Terrace)

Bodies are like vessels drifting with the waves ofthe ocean; perhaps we began to understand eachother as we left our islands.
Taiwanese choreographer WANG Yeu-kwn
以身體為載體，隨著波浪搖晃，invites renowned Indonesian dance artist Danang

也許，到了島嶼之外，我們才開始認識了我們。

Pamungkas to join his new choreography － A
Quest for Relationship: Island of_______ ". Together,《去你的島》邀請印尼舞蹈家 Danang Pamungkas

they'll conduct a dialogue about "who am I (we)",

共同合作，進行一場關於「我（們）是誰」的對

to explore the appearance of the cultural heritage
hidden in each other's bodies, and to seek beyond

話，探問藏匿在彼此身體中所刻畫的文化底蘊的
樣貌，在跨文化的對話當中，尋找超越個人的探概念暨編舞：王宇光｜共同發展：Danang Pamungkas ｜戲劇構作：王世偉｜演出：

索與關懷。

執行製作：簡姵伽｜製作單位：微光製造｜製作行政支援：藝術報國有限公司

王宇光、Danang Pamungkas ｜製作人：陳柏潔｜燈光設計：黃羽菲｜舞台監督：藍靖婷｜

30

Concept & Choreography: WANG Yeu-kwn ｜ Co-development: Danang Pamungkas ｜ Dramaturge :WANG Shih-wei ｜ Performers: WANG Yeu-kwn, Danang Pamungkas ｜ Producer: CHEN Po-chieh ｜Lighting Design: Faye HUANG ｜ Stage Manager: LAN Chin-ting ｜ Executive Producer: Angelina JIAN ｜Production: Shimmering Production ｜ Production Administrative Support: Ars Association Ltd.

31

personal exploration and solicitude in this crosscultural dialogue.

連結

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連

Asian Connection

Asian Connection
Connection
Asian

王編
宇舞
光家
專
訪

邁步踏上對方的島嶼，
用身體去認識、交談彼此的文化

#

#

#

一名大學才學舞稻的表演者，在這個專業領域當

的是他們的膚色、骨架、輪廓，相似則是臺灣和

中是佔優勢還是劣勢？沒有人能斷言。但在王宇印尼同作為海島，所具備的獨特海洋性格，「這光這個案例裡，那反而構成他創作上的敏銳度。

連結雖然薄弱，但海洋性格中的包容性不會消對同年齡卻長期習舞的同儕來說理所當然的安失。《去你的島》，是關於我們邁步踏上對方的排，他都要質問為什麼——動作的目的是什麼？

島嶼，用身體去認識、交談彼此的文化，透過異要訓練哪一部分的肌肉？「直到現在，我還是會

邦人對母國的提問，理解自己究竟是誰、生活在用身體進行提問，就事情的某個面向慢慢抽絲剝

島嶼上的人是什麼模樣。」

繭。於我，創作就是提問的工具。」《去你的島》發想於 2019 年，卻經歷整整三年
王宇光認為，其實每個人都會使用身體說話，因的時光才得以面世。王宇光雖自嘲創作節奏慢，

為一個人的慣用語種，會影響到身體節奏以及肢卻也強調慢的可貴，「劇場是手工藝，需要不斷©

體語言的幅度，世界上之所以有那麼多不同的舞

蹈身體及地區舞蹈的發展，全是語言特性（節奏 出 演《 去 你 的 島 》 的 印 尼 傳 統 舞 者 Danang拋光修正，舞台上亮相一小時，創意發展和前置
浪者計劃的機會前往印尼，在拜訪 Danang 並理 作業可能就要花去好幾個月甚至好幾年，但這就強烈或富韻律感）和傳統文化一同建構出來的。

Pamungkas 和 王 宇 光 結 識 於 2009 年，Danang

解到其能量源自文化薰陶後，也更進一步好奇讓

是劇場的存在意義。疫情下雖然有很多創作改用編舞家和常人不同之處，在於他用自己的一套方受林懷民老師邀請來到「雲門 2」。王宇光表示，

背景截然不同、卻又有相似之處的兩具身體站上

不同媒材呈現，但我還是珍惜一群人一起進到空

同一舞台將產生的對話。

間，一起感受溫度、呼吸喘息、選擇想看的細節。

式說出想說的話，而創作的欲望，則發生在不再 Danang 雖然像那個剛上大學，對各種舞蹈系統、
術語一竅不通的自己，體內蘊藉的能量卻能讓人

想順著別人的符號語意發聲的當下。

留下深刻印象。這個謎使他在 2019 年藉雲門流

32

我覺得劇場代表著人跟人精緻的連結，而那樣的相似與有別，是《去你的島》的創作核心，有別

連結是人類本質上的渴望。」

33

連結

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Asian Connection

Asian Connection
Connection
Asian

It's "about going to each other's islands
and using our bodies to get to know andconverse about each other's cultures."Interview withchoreographer
WANG Yeu-kwn

Is it better for a professional in the dance eld tothat is no major connection, islanders have a certain

have only started learning to dance in university? No

inclusiveness. This piece is about going to each

one can really answer that. But for WANG Yeu-kwn,other's islands and using our bodies to get to know

it is that very trait that has given him such a keen

and converse about each other's cultures. This in turnsense of creativity. He always has to ask himself why

allows us to become better acquainted with ourselves

movements in a dance are arranged just so and which

and further understand what living on an island

muscles need to be trained, while those who grew upmeans."

dancing already "know" the answers as second nature.
He says, "Even now, I still investigate, gradually andBorn mentally in 2019, it has taken three years for thethoroughly, through bodily movement."piece to make its public debut. WANG laughs aboutthat but he also stresses the value of going slow: "TheWANG believes that everyone uses their body to

performing arts are a form of handicraft: a piece must

speak because the way they talk a ects how their body

be continually polished and tweaked. Just one brilliant

moves. The reason dance has developed so di erently

hour of performance can require months or eventhroughout the world is because of the di erences inyears of development and work, and that's part of thelanguage (tempo and rhythm) and traditional culture.

signi cance of this form of art. Though many pieces

The di erence between choreographers and everyone

have been created using di erent forms of media

else is how they are accustomed to expressing

during COVID-19, I still prefer being with everyone inthemselves, and the desire to create emerges when

one space, experiencing the atmosphere, breathing,

they wish to express themselves di erently from theprodded WANG to seize the opportunity o ered bysymbols and semantics used by others.

and selecting which details to look at together. I

came together on stage.

think the performing arts represent the delicate

Cloud Gate's Wanderer Project to go to Indonesia

Danang Pamungkas met WANG in 2009 and wasa member of Cloud Gate 2. WANG says that eventhough Danang seemed a rookie in many aspects, he
had an energy with an unknown source. This mystery34

in 2019, where he visited him and discovered theSimilarities and di erences are the core of A Quest forsource: cultural nourishment. That made him curious

Relationship: Island of _______. Di erent in skin color,

about what would happen if two bodies with certainbone structure, and physical contour, the two sharesimilarities yet thoroughly di erent backgrounds

traits unique to islanders. WANG says, "Althoughconnections between people, and these connections
are what humans inherently desire."

35

連結

連結

Asian Connection

翃舞製作

羽人

Hung Dance

Birdy

Asian Connection

Picking the Corpus

採身《羽人》與《採 身》將共台接續上演，《 羽 人 》 與 《採 身》將共台接續上演，觀眾憑票可同時欣賞兩檔演出。

觀 眾 憑 票 可 同時欣賞兩檔演出。

11.12
11.13

秋杉所在

Autumn Cedar Sóo-Tsāi

11.12
11.13

SAT.
15:00
SUN.
15:00

SAT.
15:00
SUN.
15:00

三樓樹冠大廳東側露台
Crown Hall 3F (East Terrace)票價 Tickets NT$ 800

三樓樹冠大廳東側露台
Crown Hall 3F (East Terrace)票價 Tickets NT$ 800

演出全長 20 分鐘
本演出為同步錄影場次
演出有裸露畫面，請斟酌入場
Duration is 20 minutes
The program will be lmed
The performance contains nudity e ects
viewer discretion is advised

演出全長 18 分鐘
本演出為同步錄影場次
Duration is 18 minutes
The program will be lmed
演後座談 Post-talk
11.12 Sat. / 11.13 Sun. 15:50

演後座談 Post-talk

樹冠大廳東側露台 Crown Hall 3F (East Terrace)

11.12 Sat. / 11.13 Sun. 15:50
3 樓樹冠大廳東側露台
Crown Hall 3F (East Terrace)《羽人》，雙人舞，結合傳統戲曲中常見的物件

來自日子的試煉，承接了世世的聚集，在此時「翎子」，表現出鳥獸意象、逃離現實渴望，以與此刻，找到回家的路與本來的面目。用純然及追尋夢想。藉由翎子的擺盪，呈現舞者內心的

的身體使之，牽動那不存在也既存在的精神體奮鬥與掙扎，最後回歸平靜。

與肉體，在沒有時間限制的烏托邦裡。
©Sugawara Kota

The creative motivation of Birdy starts from the

The trials from days of life bear the cluster ofdesire to accomplish dreams. In this duet, thechoices throughout generations and lifetimes.

female dancer dreams of a life of a bird and theHere and now, we once again nd the way home,
and the way we were. We all long for a better placemale dancer symbolizes a supporter, a cage, a heart

and a better self. If there was an utopia beyondof mirror and a dream. However, in reality, people

the limit of time, would it be a paradise in which

often feel trapped in their own little bubbles
because of di erent morality, di erent beliefs,
di erent ideals, and di erent responsibility.

編舞：林廷緒｜表演者：陳欣瑜、文韻筑｜音樂暨聲音設計：顏晟文｜文字構思：
編舞：賴翃中｜表演者：鄭伊涵、黃于軒｜執行舞台監督：林汝珊

樊香君｜執行舞台監督：林汝珊

Choreographer: LAI Hung-chung ｜ Performers: CHENG I-han, HUANG Yu-hsuan ｜Choreographer: LIN Ting-syu ｜ Performers: CHEN Hsin-yu, WEN Yun-chu ｜ Music and Sound

Deputy Stage Manager: Hannah Lin

Design: YAN Sheng-wen ｜ Text Ideation: FAN Xiang-jun ｜ Deputy Stage Manager: Hannah LIN

3637

everything exists for eternity? With utilizing thepure corpus, we a ect the existing mental andphysical body which does not exist.

連結

連
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結

Asian Connection

Asian
Asian Connection
Connection

賴翃
翃舞
中製
專作
訪藝
術
總
監

去感受我們是如何義無反顧地
去做熱愛的事情###

曾是舞者，現為「翃舞製作」藝術總監的賴翃中將帥身分，只佩戴一根的角色則多為反派，但形容，練舞和情感上的曖昧很相似，每次都要想《羽人》跳脫它的象徵涵義，僅在技巧層面使用，

著怎麼做到更好、更上一層樓。由於同套動作可既與作品主旨不牴觸，視覺上也將舞者內心的糾

能要跳上一整年甚至一輩子，舞者與自己的身體葛意象化，不願受到框架所約束局限，決意向外

無比靠近，時時刻刻都要瞭解當下的狀態，就像

擴張。

跟自己談戀愛一樣。而編舞，反而是站到一邊，
以冷靜第三人的角度——或說，整個戀愛情境設「我認為舞蹈是種說話方式，也是文字書寫，只計者的角度，來看待整件事情的發生：讓舞者們

不過是用身體的姿態展現語言的力量，格式上有

認識自己、感動自己，以及引領觀眾發現主題與點接近文言文或古文，有韻律感且精煉，懂得什舞蹈之美。編舞家不只提供畫面的美感，同時也麼是留白，而不是非將每件事交代得清清楚楚不是舞者內在狀態與觀眾的橋樑。

可。舞蹈最吸引人的狀態，就是它允許抽象和具

力和生理解構，那限制人們真我的，就是價值觀

舞蹈身體淺顯易懂的符號及亮點，「後來卻發與道德陋習了。

現，我們其實可以用脊椎去控制翎子的甩動，進 象同時發生。」賴翃中說：「《羽人》是件很正

創作內容側重人與人、人與自然相關議題的賴翃
中，今年為舞蹈平台帶來的是在國際間屢獲獎項《羽人》最引人注目之處，肯定是舞者們頭上佩

的作品《羽人》，將受到重重桎梏，渴望解放的

戴的國劇道具「翎子」。賴翃中表示，引進翎子

苦悶，比擬為千年來人類翱翔天空的願望、對鳥 最當初的目的，只是取其近似鳥獸的意象，賦予而營造出一種奇妙的身體延伸感，以及緊張和平

面的作品，我希望大家能感到那股想要高飛的衝

靜的情緒。」

勁和勇敢，感受到我們是如何義無反顧地去做熱
愛的事情。也許，這份印象會成為你的人生當中
一個小小的記憶點。」

在傳統戲曲的脈絡中，一對翎子代表著佩戴者的獸的艷羨。如果讓你我無法離開地表的是地心引
38

39

連結

Asian Connection

連
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結

Asian
Asian Connection
Connection

I hope it makes people feel...
how we can do what we love without
ever having to look back.

Interview with
Hung Dance artistic director
LAI Hung-chung

LAI Hung-chung, former dancer and current

moves, creating a fantastic sense of bodily extension

Hung Dance artistic director, says that dancing andand a feeling of both tension and tranquility."

ambiguous irting are very similar: you are always

In traditional Chinese opera, a pair of these tails

thinking about how to do it better the next time anddenotes that the wearer is a general, whereas just one

get to another level. A dancer might perform a set

is for a villain, but this is not the case in Birdy. It alsoof moves for a whole year or even a lifetime, so he/visually represents the inner con ict of the character.

she must become superlatively close to his/her body,knowing what is happening at every moment, just

HUNG concludes, "I think dance is a mode of speech

as if you were pursuing yourself romantically. Withand writing, but it expresses meaning through thechoreography, on the other hand, you are a thirdbody. In format, it is similar to classical and ancient

party, cool and calm. Or you might say you are thelanguage because it has a sense of rhythm and is

grand designer of the entire romantic a air and are

re ned; it knows what can remain left unsaid, that not

watching how it plays out, getting the dancers toeverything has to be clearly spelled out. The mostknow and move themselves emotionally and guiding

appealing aspect of dance is that it allows the abstract

the audience in discovering the theme and beauty ofand the gurative to simultaneously take place.

the dance. A choreographer not only produces visual

Birdy is positive, and I hope it makes people feel thataesthetic but also serves to bridge the dancers' innerselves and the audience.
HUNG's work emphasizes relationships amongpeople and between humanity and nature. This year,
he is bringing international award-laden Birdy to the
Taiwan Dance Platform. It compares the dejection

we feel of being shackled and the related desire for

The most eye-catching thing in Birdy is the female

freedom to the admiration we humans have long haddancer's pheasant tail, traditionally worn in Chinese

for birds, who can soar through the sky. As gravity

opera. HUNG says that the tail was originally justand our physical structure keep us from ying,meant as a highlight and to make the character readily

corrupt values and customs keep us from being ourunderstood as a bird, but "I later realized the dancer

true selves.

uses her spinal movements to control how the tail40

desire and courage to y, and how we can do what welove without ever having to look back. Perhaps theimpression you get will become a small yet important
memory for you."

41

連結

Asian Connection

連
連結
結

Asian
Asian Connection
Connection

林秋
廷杉
緒所
專在
訪藝
術
總
監

這是一部關於找到回家的路、
與自己本來的面目的作品

#

#

#

創作編舞，在不諳舞蹈的人眼中可能是同一件

者的身世以後，我開始好奇要是把那些熱情排除事，但秋杉所在的藝術總監林廷緒把它細分為兩

掉，得出來的『我』是誰？又，這些以往協助

個階段，先創作，然後才是編舞。編舞是在排練

我的表演者，在排練場以外的生活又是什麼模場琢磨身體動作，創作卻是要多到外頭走走。走樣？」

訪田野，自民俗和宗教祭儀取材，是林廷緒作品
中最濃墨重彩的一筆，如親赴風災後重建的小林

按此，《採 身》的核心將是舞者們的生命故事，村，自追悼亡者的法會中獲得靈感的《八八》，那甚至重於一般藝評慣以精緻文字捕捉的肢體編以及將廟宇神像開光點睛儀式轉化為舞蹈動作的排、空間交融。「至少在宣傳上，我更想強調創《金烏雲薦》。

作源頭，而不是排練場雕刻出的身體！」林廷緒
花感於生命之易逝，從而回首逼視自身。

但，這並不代表能給秋杉所在貼上「鄉土」這麼

簡單的標籤。正如林廷緒所言，舞蹈是個體跟社 秋杉所在帶來的節目《採 身》也有類似的特質，會的對話，他習慣用當代舞與某個社會議題對話 不過它更特別一點。過往的作品都是由林廷緒個連結，但也重視人的內心狀態和精神層面，如作 人的生命經驗出發，這回卻與長期合作的表演者
品《在山海來去》，雖是造訪蘭嶼得到的啟發， 的故事有關：文韻筑有排灣族血統，在原鄉部落卻與蘭嶼和達悟族的故事無關，而是由拍岸的浪42

裡身分是貴族，陳欣瑜的家庭自 80 年代自營加 笑道：「不過，如果『找身分』在其他媒介比如
影像，或許是相對容易的事情，那舞蹈呢？這也
工廠、十年前至親因病痛離世。
是製作《採 身》樂趣所在。希望觀眾在看過我「我覺得，這是一部關於找到回家的路、與自己 們的身體表述後能夠被觸動，進而想想自己從哪本來的面目的作品。」林廷緒說：「前幾年我對 裡來，以及生命的各階段在社會中的價值是什麼。」

在民間信仰裡找素材很熱衷，但認識到二位表演

43

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連結

Asian Connection

Asian Connection

This piece is about nding a way
home and who you really are.

Interview with
Autumn Cedar Sóo-Tsāiartistic director
LIN Ting-syu

Creating and choreography might be viewed as
the same thing by someone who is unfamiliar with"I think this piece is about nding a way home anddance, but Autumn Cedar Sóo-Tsāi artistic director

who you really are," LIN says. "In recent years, I've

LIN Ting-syu clearly divides them into two separate

been so into gathering material from local traditional

phases: rst create, then choreograph. Creating

religion, but once I learned about the lives of theseis mainly going out and seeing the world, while

two performers, I started to wonder what kind ofchoreography is the act of using the body on the"me" would emerge if I put that enthusiasm aside.

rehearsal stage to polish what you have created.

Also, I wondered what the lives of these performers,

Doing eld surveys to collect material from folk andwho have worked with me for so long, were like oreligious culture is what produces the heaviest marks

the stage."on LIN's canvases. For instance, he visited Siaolin
Village during the rebuilding process after it was

As a result, Picking the Corpus became a story of thedestroyed by a typhoon and gained the inspiration

dancers. LIN views the story as even more importantfor August 8 from a mourning ritual. Similarly, Straw

than the use of the body and incorporation of space,

Mat of Dark Golden Clouds was born by observing awhich critics write so meticulously about. "At least inconsecration ritual for temple idols.

the aspect of publicity, I want to emphasize the sourceof the work as opposed to the physical aspect," LIN

Nonetheless, you can't just label Autumn Cedar Sóo-says, before continuing with a laugh, "The theme of

Tsāi's work as "local." LIN has said that dance is anding one's identity may be easy to portray in otherdialogue between the individual and all of society.

art forms, such as video, but what about dance? This

Though he links contemporary dance to dialogue

people; instead, it ponders life's temporality bypersonal experiences, but this dance is related to theis part of what's so interesting about the piece. I hopeon social issues, he also emphasizes the state of theconsidering how waves lap against the shore, in turn

lives of LIN's performers: WEN Yun-chu is part of

the audience will be moved by our bodily narration

human heart and mind, as can be seen in Travelingleading to a close-up study of the self.

the nobility in her home Paiwan village; CHEN Hsin-

and then think about where they are from and the

Between the Sea and Mountains. Despite being inspired

Picking the Corpus shares this feature of internal

yu's family has run a processing plant since the 1990s,

value of each stage of their lives within society.”by a visit to Orchid Island, it is completely unrelated

exploration, though it is unique in the group's

and a decade ago, a family member very dear to her

to the island or its indigenous inhabitants, the Yami

repertoire. Previous pieces mainly sprang from LIN'spassed away.

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葉名樺 × 高雄城市芭蕾舞團

YEH Ming-hwa×Kaohsiung City Ballet

Dancing Ballet

跳芭蕾
11.11

FRI.
19:00

榕樹廣場 Banyan Plaza
自由入場 Free admission
節目全長約 50 分鐘，無中場休息
無年齡限制觀賞，自由入場
Duration in 50 minutes without intermission
Suitable for all ages, free admission"Before they reach adulthood, dancing girls always
like to put on their skin-colored pantyhose, look

「跳舞的女孩在成年以前，總是喜歡先穿好膚色

forward to the dance class after school, stu a

的褲襪，期待學校下課後舞蹈課前胡亂塞一口點bite of snacks, wait for their parents to come by心，等著爸媽騎來的機車，戴上安全帽就可直奔

motorcycle, put on a helmet and head straight to

練舞的天堂……」— 葉名樺《跳芭蕾》

the dance practice paradise..." - YEH Ming-hwa

Choreographer: YEH Ming-hwa ｜ Artistic Director：CHANG Hsiu-ru ｜ Artistic Advisor: LIN Jing-ru ｜ Music Coordinator: WANG Yu-jun ｜ Lighting Designer: GUO Jian-hao ｜ Production

編舞：葉名樺｜藝術總監：張秀如｜藝術顧問：林璟如｜音樂統籌：王榆鈞｜燈光設計：郭建豪｜製作統籌暨舞台監督：李聚慧｜排練指導：吳和儒｜助理舞台監督：

Coordinator and Stage Manager: LEE Chu-hui ｜ Rehearsal Director：WU Ho-ju ｜ Assistant Stage manager: Kai LIN ｜ Project Execution: HSUEH Mei-chu ｜ Guest Performers: LIU Shu-ling,

林孝鍇｜專案執行：薛梅珠｜客席演出：劉淑玲、陳怜妏、葉淑萍∕團員：夏嘉徽、許佳蓉、郭蓉安、劉諭萱、廖炎勇、蘇紹明∕儲備團員：吳沁瑀、何語婕、陳妍臻、

CHEN Ren-wei, YEH Shu-ping ｜ Company Members: XIA Jia-hui , HSU Chia-rong, HUO Rong-an, LIU Fu-xuan, LIAO Yan-yong, SU Shao-ming ｜ Reserve Members: WU Qin-yu, HE Yu-jie, ChEN

王筠晴、王宜穠、楊婕希∕成人芭蕾：李翠玉、李寧栩、郭玉芬、柯嵐馨、謝婉筠、林欣儀、林紜靚、許雅慧、吳素鋆∕小舞者：葉芯瑜、洪紫玲、劉雅祈、李承音、林宥廷、王芮淇、陳柚羽、曾珮瑜、林妤欣、王若語、黃梓涵、鄭詩俞、呂宓橖、陳奕臻

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Yan-zhen, WANG Yun-qing, WANG Yi-yi, YANG Jie-xi / Adult Ballet: LI Cui-yu, LI Ning-xu, GUO Yu-fen, KE Lan-xin, XIE Wan-qun, LIN Xin-yi, LIN Shuang-liang, XU Ya-hui, WU Suhua ｜ Young
dancers: YEH Xin-yu, HONG Zi-ling, LIU Ya-qi, LI Cheng-yin, LIN Yu-ting, WANG Rui-qi, CHEN Yu-yu, ZENG Pei-yu, LIN Yu-xin, WANG Ru-yue, HUANG Zi-han, ZHENG Shi-yu, LU Mi-hua,
CHEN Yi-zhen

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葉編
名舞
樺家
專
訪

芭蕾舞挺有趣的，下次再來吧！

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翻看 2022 舞蹈平台的簡介手冊，你可能疑惑為蕾舞團合作，葉名樺將個人小時候學舞的回憶，

什麼在這麼多節目裡，偏偏就是《跳芭蕾》特別投射為芭蕾舞在臺灣的縮影。觀眾可以看到年

強調高雄有芭蕾舞者這回事？理由無他，因為高齡、身分明顯有別的表演者，他們是學員、現任

雄—或說整個臺灣，都很難稱得上是培育芭蕾舞

團員、舞團老師，又或堅持不懈的成人芭蕾舞者的沃土。如果東方人的身體條件在先天上就吃者，在個別的情境裡演繹著與古典芭蕾的夢幻感

了虧，那麼早年臺灣芭蕾訓練體系重視儀態氣質

大相逕庭的寫實戲碼，由年輕到老不同階段，如多過身體線條延展的特性，同樣也令發展受到限全副武裝準備去排練場的女孩、總要承受異樣眼制，加以高雄本地大學並沒有舞蹈科系，任何想

光，卻對芭蕾有渴望的男孩……葉名樺表示，它

跳舞的孩子只有遠走他方，以上種種，都令「高們或許瑣碎無謂，卻讓人看了好氣又好笑，「就雄有一支芭蕾舞團」顯得不可思議。

是這些人，他們一起構成了臺灣的芭蕾風景，而
現在的芭蕾在臺灣也漸漸有了更多的發展和可能「這次的《跳芭蕾》裡安排了一支很重要的舞，性。」

選自芭蕾舞劇《胡桃鉗》的〈雪花〉。我覺得這個呼應很有趣，臺灣南部是不可能會下雪的，卻
有一群人在這個地方用身體營造雪國幻境，那代
表著即使現實環境再艱困，我們還是可以持續做
夢。」編舞家葉名樺這麼說。

蕾舞的情境角色所吸引，也與芭蕾特別投契，國的素材、在學制中習得的知識見聞，與自己的中畢業後受惠於林懷民、羅曼菲老師推動的「舞想法融合，陸續交出處理女性身體、舞蹈史的

蹈學系七年一貫制」進入北藝大就讀，由於該教《SHE》、將建築師王大閎的生平轉譯為舞蹈的

育體制鼓勵學生開發身體以外的感知，也令得日《牆後的院宅》等作品。

「身為高雄人，我覺得高雄人的性格是放鬆中又有點狂，只要被吸引住就會給很直接的回饋。」
葉名樺說：「所以我想作一場能吸引到各個年齡
層的舞蹈，有歡笑愉悅也有層次，讓人在露出
微笑的同時，還能感覺到跟情境裡的角色有連

後的她勇於走出劇場，進入非典型空間和其他藝

四歲半，可能是許多人剛學會說「媽媽十塊」的

術形式共同呈現。近年，葉名樺更將西方舞蹈

年紀，而葉名樺已經開始跳舞了。自幼她便被芭
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結——我想要觀眾帶走的，是『芭蕾舞挺有趣在《跳芭蕾》，通過和與帶來舞蹈啟蒙的城市芭的，下次再來吧！』這樣的想法。」
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Ballet's fun! I can't wait to see another one!

Interview withchoreographer
YEH Ming-hwa

You might wonder why the fact that there are

the Wall, an interpretation of architect WANG Da-

ballet dancers from Kaohsiung in Dancing Ballet ishong's life.

so underscored in the 2022 Taiwan Dance Platform
Guide. The reason is simple: you don't normally think

In Ballet, through inspiration received by workingof Kaohsiung (or even Taiwan) as a producer of balletwith the Kaohsiung City Ballet, YEH projects herdancers. East Asians lack the physique preferredchildhood memories of learning dance as an image

by this art, so Taiwan's early ballet focused moreof ballet in Taiwan. The troupe has performers of

on deportment than physical extension, limiting its

clearly di erent ages and identities. They keep todevelopment here. In addition, no universities inrealism as opposed to the fantasy of classical ballet.

Kaohsiung have a ballet department, so anyone who

Among the performers, YEH sees girls fully arrayedreally wants to learn it has to go somewhere else. So

in their practice attire and boys who love ballet so

Kaohsiung having a ballet troupe is indeed a big deal!

much despite the looks they get, just as she saw in thepast. She says that these memories may be trivial and

For Dancing Ballet, we have prepared a very importantmeaningless, but they are really pleasant and evennumber, The Nutcracker's "Waltz of the Snow akes."

The age of four and a half is when most kids areprogram initiated by LIN Hwai-min and LO Man-fei.

funny: "These are the people who make up Taiwan's

Though you never see snow in southern Taiwan, we

learning to say, "Mom, I need some money," but

It indirectly encouraged YEH to explore outside ofballet landscape, and ballet here is indeed developing

are creating a winter wonderland through bodily

YEH was learning to dance. In her youth, she wastradition. In recent years, she has blended Westernand seeing greater possibilities."

movement. It metaphorically implies that evenattracted to the stories and roles in ballet, and she

dance, knowledge from her studies, and her own

though current circumstances may be di cult, wedanced well too. After junior high, she went to Taipei

can still dream," says choreographer YEH Ming-hwa.

thoughts in producing SHE, which deals with the

National University of the Arts for a seven-year dance

female body and dance history, and The House Behind

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Open Stage左涵潔TSO Han-chieh

小孩筆記－身體是我的搭檔
11.12
11.13

Open Stage

Kid's Notes - My body, My partner

SAT.
10:00
SUN.
10:00

榕樹廣場 Banyan Plaza
自由入場 Free admission
演出全長約 40 分鐘，無中場休息
無年齡限制觀賞，自由入場
Duration is 40 minutes without intermission
Suitable for all ages, free admission
演後座談 Post-talk
11.12 Sat. / 11.13 Sun. 10:40
榕樹廣場 Banyan Plaza©

「斑馬線的間距對我來說有點寬！」－看我用跳的
A physical collaborative project between TSO「洗手台太高我構不到？」－看我踮起腳尖Han-chieh and children aged 6-12.

「這門太重我推不動∼」－啊∼∼看我使出風力拳
Artistic Director: TSO Han-chieh ｜ Artist Assistant: ZHU Show ｜ Project Manager: MA Chia-chia ｜孩子的身體成為測量的單位，在室內與戶外空間進

計畫發起人：左涵潔｜協同藝術家：朱殷秀｜專案經理：馬嘉佳｜行政協力：李芳華｜
共同創作與演出：朱錞珈、吳貝萱、吳芷辰、李昀珊、李姝瑛、邱沛芸、柯琦安、孫瑞莃、

Yun-shan, LI Shu-ying, CHIU Pei-yun, KE Qi-an, SUN Rui-xi, MA Ke-run, CHANG Yu- jo, CHUANG

行特別的丈量練習；城市中的各種障礙成為創造舞馬可倫、張楀若、莊庭熙、傅孜雁、黃垛菈、黃筠媛、葉芮妍、劉皓允、劉硯庭、潘

Ting-his, FU Zi-yan, HUANG Duo-la, HUANG Yun-yuan, YEH Ruei-yen, LIU Ho-wan, LIU Yan-ting,蹈的開關！

奕心｜攝影紀錄：口天吳影像紀錄所｜現場樂手：薛詠之｜執行舞台監督：邱劉亞婷｜
特別感謝：于芯婕、王乙棠、王晨睿、林芮安、梁華庭、莊芮齊

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Executive Producer: LEE Fang-hua ｜ Performers: CHU Chun-chia, WU Pei-hsuan, WU Zhi-chen, LI

PAN Yi-hsin ｜ Photographer: Po Yuan Photography Studio ｜ Live Musician：HSUEH Yung-chih /Deputy Stage Manager：Palahu Istanda ｜ Special Thanks to YU Xin-jie, WANG Yi-tang, WANG Chenrui, LIN Rui-an, LIANG Hua-ting, ZHUANG Rui-qi

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As we dwell in the indoor and outdoor spacesof the city, we use a child's body as a unit ofmeasurement and take note of every movementand dance under various measurement exercises.

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左藝
涵術
潔家
專
訪

回想你我的童年，誰不是用身體
表達無法言說的情感呢？

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假如有人問你，公共空間中的無障礙設施及輔具

度規劃，在《小孩筆記》中是不存在的，那不符

是為誰設置的，你可能想都不想，便回答是殘障合他們對跟孩子一起工作的想像。在這檔以兒童

人士——但你可曾考慮到，使用公共空間的族

為主體的舞蹈創作中，嘗試以肢體測量、感官探群，除了身障者和其他成年人外，也包括還未進索，將差異實體化，讓人們彼此更能感同身受，

入發育期的小孩嗎？儘管在直覺上，我們不會將藉此也想喚起公共空間中共融共好的重視。

他們放在一起思考，但仔細想想，我們都曾經在《小孩筆記》還有另一個任務，就是所有人們都

公共空間中，遇到需要一些幫助才能順利完成一可以輕鬆看待舞蹈這件事：「我想透過孩子的身©

些事情的孩子們，比方說：開水龍頭跟抽衛生紙，

體告訴大家，身體很簡單，並不可怕。當我們花
成了招募，七八月進行密集工作坊，九月才進入

像做溏心蛋一樣，需要長時間浸潤在滷汁中，這 很長的時間跟身體相處，舞蹈，它會是與自己的夠完善的。這也是本屆舞蹈平台中《小孩筆記 - 到正式創作跟排練的階段，與另一位藝術家朱殷

就是左涵潔與夥伴們選擇以工作坊形式進行的理 溝通、協商、對話，是你想要站到一束光裡的衝

身體是我的搭檔》會以孩童的身體部位為空間丈 秀還有両両製造的夥伴們，讓孩子們一步步理解由。

不能不說我們對於無障礙的想像跟設計，還是不動，它是你和善地接近某一個人，它是你所有有劇場，發現可能性，從跟著指令到延伸發想，讓

量尺度的理由。

意識的動作——這些，都是基本的舞蹈呈現。」

他們認識到自己的身體原來是多樣的。在真正進

過往的演出籌備過程，會有密集的排訓、力求即

於是，《小孩筆記 - 身體是我的搭檔》在五月完 到創作之前，要先把藝術的思維種進去，其實就

時達成預想中的編舞目標 ...... 這些理所當然的進

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Open Stage

Open Stage

Think about childhood: who has neverused their body to say something they
were unable to express through speech?

Interview with
the Artist
TSO Han-chieh

If someone asked you for whom the accessibility

hit progress targets) are non-existent in Kid's Notes

facilities and devices in public places are, you would

because such requirements do not comply withprobably answer without a second thought that they

TSO's concept of working with kids. In this child-are for the disabled. But have you ever consideredcentered program, through physical measurements,

that, besides the disabled and other adults, anotherexploration of the senses, and highlighting thegroup who uses public places is children? Though

di erences between kids and adults, this project

we do not intuitively categorize them as being

wishes to awaken people's notice to the importancedisadvantaged, think about how many times you haveof accessibility to public facilities and co-exist for all

seen kids standing on their toes to wash their hands atgroups of people.

a public sink or reaching for a tissue. This is why TSO
Han-chieh emphasizes the size of children's bodies

And another plan for Kid's Note is to allow everyone

in her Kid's Notes - My Body, My Partner for the 2022

who is not in the performing arts to just relax and

Taiwan Dance Platform.

enjoy dance. TSO continues: "I want to show people
through children that the body is simple and nothing©

to be afraid of. When we spend enough time with

Kid's Notes - My Body, My Partner is a project for which
TSO had nished recruiting kids in May. After two-

possibilities that derive from the orders, showing

time, and you need to make sure of your direction

our body, dance becomes a form of communication,month workshops in both July and August, it steps

them the diversity of their bodies.

repeatedly. That's why TSO and her co-workers did it

negotiation, and dialogue with yourself. It's youras a workshop.

impulse to want to stand in the spotlight. It's ainto the part of creating and rehearsing in September.
With the assistance of the artist Show CHU and co-It's very important for putting your sense of artistry

workers at Her Double & Cross Theater, It teaches

rst before creation, which is much like marinating

The things that are always part of preparing ayour conscious movements. All of these things are

the kids about theater and nds out the creativea soft-boiled egg: it needs to be immersed for a long

performance (extensive rehearsals and striving toessentially manifestations of dance."

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way to approach someone in a friendly way. It's all

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Open Stage

Open Stage蒂摩爾古薪舞集 × 林文中

Tjimur Dance Theatre×LIN Wen-chung

GO PAIWAN

去排灣 選粹
11.12
11.13

SAT.
13:30
SUN.
13:30

榕樹廣場 Banyan Plaza
自由入場 Free admission
活動全長約 60 分鐘 ( 含演後交流 )，無中場休息
D u ra t i o n i s 6 0 m i n u t e s ( i n c l u d e s p o s t - t a l k )without intermission

In GO PAIWAN, the performers' voices are the©

music, and their vocal line develops into a unique
physical language. The intertwining of ancient《去排灣》，表演者們的聲音就是音樂，由聲線發

Paiwan tunes and physical expression creates a

展出表演者們獨立及群體的身體發展，在排灣族傳

distinctive contemporary Paiwan symbolism in

統古謠與肢體中，交織出獨一無二的排灣族當代語
彙，於非典型劇場的演出模式，邀請大家在自己最喜歡的角落觀看與互動。

this non-traditional performance venue. We invite
團長暨藝術總監：路之·瑪迪霖｜舞蹈總監：巴魯·瑪迪霖｜駐團編舞家 (2019-2020)：
林文中｜演出者：楊淨皓、舞祖·達卜拉旮茲、江聖祥、賈西亞、康書瑄、王秋茹｜
服裝設計：林文中｜團務經理：邱書婷

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Founder and Artistic Director: Ljuzem Madiljin ｜ Dance Director: Baru Madiljin ｜ Risident
Choreographer(2019-2020): LIN Wen-chung ｜ Performers: YANG Ching-hao, LJAUCU Tapurakac,
CHIANG Sheng-hsiang, GARCIA, AL bernard velarde, KANG Shu-hsuan, WANG Chiu-ju ｜ Costume
Designer: LIN Wen-chung ｜ Company Manager: CHIU Shu-ting

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participants to sit in their favorite spot to watch
the performance and interact with the performers.

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Open Stage將古謠特有的律動、呼吸方法，
轉化為當代

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路蒂
之摩
·爾
瑪古
迪薪
霖舞
專集
訪藝
術
總
監

#

蒂摩爾古薪舞集是臺灣第一支以排灣族文化為主

過與路之及其親弟，同為編舞家的巴魯·瑪迪霖體的當代舞團——不過，它並不是一支原住民舞（Baru Madiljin） 長時間討論後，才創作出《去團。這段描述矛盾嗎？一點都不。好比你不會強排灣》。

調一支芭蕾舞團是東斯拉夫舞團或拉丁民族舞團，蒂摩爾裡，有排灣族、漢族，甚至來自菲律路之解釋，《去排灣》的「去」字有兩層意思，

賓的舞者，他們在舞團位於屏東三地門地磨兒部

一層是前往，一層是為被奇觀化的排灣風景除落的基地排練，也在那生活。通過學習排灣族的魅，將觀光廣告中的傳統服飾、節慶祭儀等文化

傳統古謠，舞者們將古謠特有的律動、呼吸方符號自表演中排除，還排灣族舞蹈身體最純粹的法，轉化為當代，卻專屬排灣族文化的舞蹈身體

本貌。它的創作目的不在凸顯與觀眾之間的差©

語彙。
「對現在的我來說，舞蹈是一種文化傳承、生命
的延續、社會的責任。」舞團藝術總監路之·瑪

其美好的事物。為此，他們積極地尋找不同背景

林文中之手。觀其過往作品，曾有將南管古調、的藝術家進駐，希望拓展排灣族劇場發展的多元

民族舞蹈與現代舞匯流的嘗試，但為製作《去排可能。

灣》，編舞家在地磨兒部落足足待了超過一年。

異，而是解構刻板印象中的原民部落，為可能發
生的尊重、對等的交流遞上邀請函。「我想對觀眾說，舞台上每一秒、每個動靜都值得認真觀察，也許最後你會發現，台上台下其實存在著某期間，他參加收穫祭、婚禮，感受排灣族人間的迪霖（Ljuzem Madiljin）這麼說。和排灣族人一起生活才能體察的文化細節及情感交流，是蒂摩
爾的根、創作之本，也是路之想和普羅大眾分享
62

如舞團今年帶來的節目《去排灣》（選粹），出關係、漢文化與排灣文化的連結，並發現真實的自蒂摩爾成立十四年以來首度請到的客席編舞家

原住民部落和與自己原先的想像相去甚遠，在經

種連結，某種所有人都會欣賞的共通美感。」

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舞台

舞台

Open Stage

Open Stage

Turning the unique rhythm of andbreathing associated with traditional
Paiwan songs into contemporary
dance pieces.

Interview withTjimur Dance Theatre
artistic director
Ljuzem MADILJIN

Tjimur Dance Theatre is Taiwan's rst contemporary

original assumptions. After extensive discussion withdance troupe that focuses on Paiwan culture - but

Ljuzem's younger brother (and choreographer) Baru,

they are not all members of the Paiwan tribe, which isthe piece was born.

no big deal. After all, does a ballet company need tobe made up entirely of Italians or Russians? Tjimur

Ljuzem says that the word "go" in the name of thehas Paiwan, Han-Chinese, and Filipino dancers.

piece has two levels of meaning, one being “to move

They rehearse and live in the Paiwan community offorward,” while the other refers to the restoration of

Timur in Sandimen, Pingtung. Having learned thethe purity of the body in Paiwan dance (as opposed

traditional songs of the Paiwan, the troupe turns theto what is normally seen: the transformation ofunique rhythm of and breathing associated with thecultural symbols, such as clothing, into a spectacle

songs into contemporary dance pieces that maintain afor commercial gain). The point of the piece is not tostrictly Paiwan dance vocabulary.

highlight the di erences between the dancers and theaudience but to deconstruct the stereotypes people"For me, now, dance is a form of cultural transmission,

have of Indigenous communities and invite people toan extension of life, and a social duty," says Ljuzem

take part in exchanges based on mutual respect and

MADILJIN. Only by living with the Paiwan were theequality. She concludes, "I want to say to the audience©

dancers truly able to experience and see cultural

GO PAIWAN, Tjimur's piece for this year's

the community for over a year in order to be able tothat every second and every movement on the stage

particulars and emotional exchanges. That is the

Taiwan Dance Platform, is the brainchild of guest

choreograph the piece, during which time he attended

is something worth looking really closely at because,root of Tjimur and its creative concept, and it is whatchoreographer LIN Wen-chung, who is working witha harvest festival and weddings, allowing him toin the end, you may realize a connection between

Ljuzem wishes to share with the public. Thus, theyTjimur for the rst time since its founding 14 years

observe interpersonal relationships, the connection

the performers and yourself, a shared aesthetic that

actively recruit artists with di erent backgrounds,

ago. He has done work that integrates nanguan music,

between the Han and Paiwan cultures, and just how

everyone can enjoy."looking to expand the potential for diverse

folk dance, and contemporary dance. He lived indi erent an Indigenous village is compared to hisdevelopment for the Paiwan performing arts.
64

65

舞台

舞台

Open Stage

Open Stage賴翠霜舞創劇場

Lais Creative Dance Theater

Their Stories - Daylight

他們的故事－白晝
11.12
11.13

SAT.
17:00
SUN.
17:00

榕樹廣場 Banyan Plaza
自由入場 Free admission
演出全長約 60 分鐘，無中場休息
Duration is 60 minutes without intermission

Their Stories-Daylight is a work in which dramaand bodily expression abound. Tainan-born《他們的故事－白晝》是一個大量參雜戲劇與舞蹈
肢體的作品，編舞家賴翠霜與 11 位素人表演者共同
合作，述說著關於過去、現在、未來以及自我的旅程。

choreographer LAI Tsui-shuang collaborated with
編舞：賴翠霜｜表演者：吳孟渝、蘇琬婷、沈萱姿、涂慧珠、小愉兒、葉美娥、陳曜銘、
彭揚閔、梁瓊芬、蘇意琪、吳淑棉｜舞團行政： 陳思妤｜排練助理：陳盈琪｜燈光設計：
沈玉晏 、邱郁雯｜燈光執行：沈玉晏｜執行舞台監督：李聚慧｜特別感謝：臺南市政
府文化局－台江文化中心

66

Choreographer: LAI Tsui-shuang ｜ Performer(s): WU Meng-yu, SU Wan-ting, SHEN Syuan-zih, TU
Hui-chu, Emile YU, YEH Me-or, CHEN Yao-ming, PENG Yang-min, LIANG Chiung-fen, SU Yi-chi, WU
Shu-mien ｜ Company Executive: CHEN Ssu-yu ｜ Rehearsal Assistant: CHEN Ying-chi ｜ Lighting
Design : SHEN Yu-yen, CIOU Yu-wun ｜ Lighting Executive: SHEN Yu-yen ｜ Deputy Stage manager:
LEE Chu-hui ｜ Special Thanks: Taikang Cultural Center

67

11 amateur performers, which depicts a journeyof the past, present, future, and the self, frommultiple angles.

舞台

舞台

Open Stage

Open Stage

引導劇場素人接觸情境式肢體表演，從無到有，從沒有自信到發現自信

#舞

#

賴編
翠舞
霜家
專
訪

舞#

和許多舞蹈工作者一樣，編舞家賴翠霜也將身體

光技術的輔助，要讓素人在表現出一定水準演出

視為舞蹈人表達情緒的媒介，她還說，在表演藝的同時，還要撐起沒有任何氛圍的舞台是項艱鉅

術領域，詢問「為什麼愛上舞蹈」是沒有絕對必的挑戰，但她同樣也信任素人們經過工作坊磨練要，愛是一種直覺，從學舞的那一刻起，舞蹈已

出的經驗與心態，必能和自己一起克服赤裸的舞

是深植在生活裡便無法分離。如果你感覺這樣的台。

陳述帶有一股強烈的，甚至可說是強硬的決然，那麼多半會意外她的作品當中的柔軟，她對人「 跟素人工作最大的成就感，是看他們從無到心、社會議題、地方的關懷。

有，從沒有自信到發現自信，找到另一個面向的真我。」賴翠霜這麼說。也許這正是素人表演的2017 年南下深耕、致力於推廣舞蹈藝術、挖掘

不可取代性—

其可能性的賴翠霜舞創劇場，此前與臺南台江文

素人蓄積能量的位址不在他方，而在於他們處理

化中心合作的素人雙年演出計畫《他們的故事》

那些從前有口難言的陰霾時，所坦露出的脆弱及會條件，性格與當下的感受。

廣獲好評，該計畫係以工作坊的形式，引導劇場
素人接觸情境式肢體表演，並採用不同年齡層的

對參與工作坊的素人而言，那不啻能幫助體能的

學員的生活經驗為創作靈感，將對應其歲數的心改善，還是關係的修補、自我內在的質變、習慣本次與衛武營合作的《他們的故事 - 白晝》是前

理、情感、回憶，轉譯為舞蹈表演動作，並在時聆聽身體狀態，以及日常交際間更加細膩的觀

作的再延伸，有別於《他們的故事》發生在擁有

空交錯的編排下，將個體的生命感觸放大為渲染察。如有學員反應道，在工作坊告一段落以後，

專業劇場技術的黑盒子劇場，《白晝》必須在戶

全場的張力。

已經能從陌生人的動作習慣、軀體外型推論其社

外、強烈的日照下演出，賴翠霜不諱言，沒有燈68韌性。如果在《他們的故事》能夠穿透空曠的舞台，在《白晝》沒道理不可行。

69

舞台

舞台

Open Stage

Open Stage

Giving amateurs a try at situational
physical theatre as they start fromzero and their con dence grows

Interview withchoreographer
LAI Tsui-shuang

Like many choreographers, LAI Tsui-shuang views

Their Stories - Daylight, a collaboration with Weiwuying,

the body as a medium through which the dancer

is an o shoot of Their Stories, but it is di erent because

expresses emotion. She believes that in performing

it will be performed outdoors under the sun. LAI

arts, you don't have to ask why one loves to dance.

does not shy away from admitting that the lack

Love is intuitive. Since she started learning dance, itof controlled lighting and a stage with a designed

has become an inseparable part of her. While people

ambiance make it quite challenging to get amateurs

may think that description is made with strong, if

to perform to a certain standard. Nonetheless, she has

not unyielding, resolve, they are surprised to see how

con dence that they will do well based on how the

gentle her work can be and the concern she has forworkshop has re ned them.

the human heart, social issues, and the locality she isworking in.

"The biggest sense of achievement in working withamateurs is seeing them start from zero, watching

Lais Creative Dance Theatre moved to southern

them as their con dence grows and as they nd

Taiwan in 2017 to diligently promote dance andanother aspect of their true selves," LAI says. Thissearch for new possibilities. Their Stories, created foris perhaps something irreplaceable about amateur

the Taikang Cultural Center 2020-2021 Amateur

performances: they accumulate energy not from other

Biennale Performance Project, has received greatplaces but from how they handle their weaknesses

reviews. The project was done in the form of aworkshop to give amateurs of varying ages a try atsituational physical theatre. The creative inspiration

thoughts and feelings were magni ed as a means ofmore meticulously observe what happens in everyday

rendering the entire piece.

social intercourse. One participant said that after aand resilience that come from dark times of the pastthat are di cult to speak about. If that can penetrate
the stage of Their Stories, then there is no reason why itwhile at the workshop, he/she became able to deducefor pieces came from the life experiences of theperformers. That is, their psychologies, emotions,and memories were translated into acts of dance, andamong a blend of space and time, their individual70

It helped the performers enhance their skills as wella stranger's social status, character, and feelings at theas mend relationships, transform their inner selves,time based on the stranger's mannerisms and physicalbecome accustomed to listening to their bodies, andappearance.

should not do so in Their Stories - Daylight.

71

Exhibition

Exhibition

讓舞蹈聲音展成為原創劇場
音樂平台的契機！

©

顏晟文

#舞

#舞

王榆鈞

#

林強

©

李世揚

許雁婷

舞

看過本屆舞蹈平台的導覽手冊，你應該知道除了 「 我 希 望 讓 觀 眾 認 識 構 成 當 代 舞 蹈 的 不 同 專榕樹廣場及樹冠露台外，還有一個擺設靜態作品 業。」周書毅說：「在舞者和編舞家外，舞蹈還
的展覽廳，它分為影像與聲音兩個展區，和位於 涉及空間、時間、聲音，這些被歸類為劇場設計
戶外空間的平面攝影展一起被策展人暱稱為「流 的工作，但它其實分得很細，在這次舞蹈平台想動的島」。你可以在這裡觀看評審團精選的十部 先抽出『聲音』一項來談，為將來可能發生的原
舞蹈影像，聆聽舞蹈聲音——但什麼是舞蹈聲 創音樂檔案庫打下基礎。」
音？舞者發出的聲音嗎？他們的腳步、喘息，千我們可能被舞蹈作品中的不同元素給吸引，但真姿百態在空間中造成的迴響？

正能讓所有感官醒覺過來、召喚連結彼此的，會答案是以上皆非。當然，那可能是策展人周書毅 是音樂和身體連動的時刻。在那樣的時刻，你彷對下一件作品的靈感，但在這次展出中，「舞蹈 彿能「感覺」到舞蹈的聲音，你的皮膚好像觸碰
聲音」指的是舞台上與舞者合拍的音樂，五名作 到什麼，你的心臟好像被彈貝斯的手指撥動。舞曲家所釋出的音樂作品，不僅是針對舞蹈作品量 蹈的聲音是立體的，周書毅形容，那建立在有機的對話上。

身訂製，在其個人創作脈絡中，也別具意義。

周策
書展
毅人
專
訪

展場聲音區的五個小隔間，各代表林強、王榆

歌曲》聽到他最擅長的即興表演，晟文對電子音鈞、李世揚、許雁婷、顏晟文（晟 SHENG）五樂技術的熟悉，讓他能輕易營造出虛幻失真的聽位音樂創作人，觀眾在此處使用 iPad 及耳機聆覺風景，在《採 身》也有非常精采的表現。」在聽他們親自挑選的，在舞蹈音樂創作上的關鍵作

音樂作品展出之外，他也邀請五位音樂創作者召品，那是創作者在本屆節目中演出的內容，或第開講座，帶領觀眾認識舞蹈音樂創作與眾不同之

一次為舞蹈設計的音樂，亦有創作者挑選的曲

處，「例如第一次做舞蹈音樂遇到哪些難處？看目。對他們而言，是首次認知到自己做的是舞蹈

過排演，也跟編舞家溝通過後，第一件事做的是音樂，而非服務於其他目的的作品。

什麼？等等音樂背後的故事，我認為，『聽見舞蹈聲音』就是包括幕後的對話。」

如林強所帶來的，與雲門舞集合作的《十三聲》
選粹，就是後一種情況的最佳例子。「林強大哥

周書毅也提及個人對舞蹈聲音展最大的期待：以跟我提過，他在為《十三聲》作曲的期間，每看

此為出發點，逐步建立舞蹈原創音樂的檔案庫。

一次排練就得回家修改草稿，最後只能完全信任

他指出，臺灣觀眾對舞蹈音樂之所以陌生，主要編舞家的判斷，依據編舞的指示做細部調整。無原因是市場有限，加以發行必然要面對的版權問數次的修整…」，周書毅笑道：「雁婷則有聲音

題、後製作業，都讓創作者望之卻步，「但市場採集的背景，對於聲音有著獨有的細膩感知，她

規模有限，是因為大家在觀賞節目的時候都把音

能為舞蹈劇場做到的除了配樂，也包括聲音設計樂當耳邊風嗎？好像也不是這樣，如果我們能建

這塊。其他像榆鈞、世揚、晟文在這次節目中都立一個專門蒐集舞蹈音樂的平台，或許一切就能

有作品，榆鈞參與眾多劇場音樂設計，她總是能有改觀——我想藉今年的舞蹈平台為契機，向在舞作中看見和編舞家不一樣的東西，通過樂

臺灣為劇場創作音樂的藝文工作者拋出這個議器、合成器等不同途徑去達成舞蹈音樂。世揚的題。」

作品重視現場性，你可以在本次有演出的《連篇7273

Exhibition

Exhibition

Turning the Sounds of Dance into
Opportunity for a Performing
Arts Music Platform

Interview with curator
CHOU Shu-yi

If you have looked at the Taiwan Dance Platform

but are actually clearly subdivided. For this event,

Guide, you know that, besides the programs at

I want to discuss the aspect of sound to potentially

Banyan Plaza and the East Crown Terrace, there islay a foundation for the formation of a dance music

LIM Giong's highlights from his collaboration

talk about the di culties they had on their rst dance

a non-live program whose space is divided into thearchive."with Cloud Gate on 13 Tongues is the best example

project, what they do after having seen a rehearsal andof the last type of song described above. CHOU

talked with the choreographer, and other such stories.

Sound Zone and Video Zone in the Exhibition Hall,

speci cally for dance.

forums on the di erences between music composition
for dance and other purposes. "For instance, they'll

which, together with the photo exhibit outside, has

We may be attracted to di erent elements of dancesays, "LIM Giong once told me that while he was

I think listening to 'the sounds of dance' includes

been nicknamed the "Mobility Island." Here, youpieces, but what really awakens and connects all thecomposing music for 13 Tongues, he had to revise

hearing about what goes on behind the scenes."

can see ten videos on dance selected by our judging

senses is the moment the music and dancers begin

it after each rehearsal. He just had to completely

panel and hear the sounds of dance － wait, whatmoving in unison. When that happens, you can almost

trust the choreographer's judgment and make all

CHOU's biggest expectation for the Sound Zone

are "the sounds of dance!?" Does that mean sounds"feel" the sound of the dance. You feel as if something

the minuscule changes the choreographer required.

exhibit is that it is to be a starting point for themade by dancers, like their footsteps, breathing, andhas touched your skin, and your heartstrings feel as if

The revisions were countless. Yen-ting, with herformation of a dance music archive. He believes thatmovements?

they have been plucked by the ngers of a bassist. The

background in sound collection, has a uniquely

the Taiwanese public's unfamiliarity with music that issound of dance is alive. CHOU says it is establishedre ned capacity to perceive sound, so she can notmade for dance is mainly a result of the limited market

None of the above. While that may be inspiration

on an organic dialogue between the dance and theonly create music but also handles sound design forand the fact that artists shrink away from releasingfor curator CHOU Shu-yi's next piece, here, "thedancers' movements.

dance troupes. Yu-jun, Shih-yang, and Sheng-wen also

such music as it involves the headache of dealing withsounds of dance" refers to the music performers

have pieces at the event. Yu-jun has made music for

copyrights and post-production, "but is the market

dance to. The musical works on exhibit here not

The ve sections in the Exhibition Hall's Sound

many dance performances, using both instruments

limited because people just view the music as a minor

only were written speci cally for dance numbers but

Zone are where you can listen to the work of the veand synthesizers, and she can always see something

part of the show that can be forgotten? I don't thinkare uniquely signi cant to the ve songwriters who

songwriters, LIM Giong, WANG Yu-jun, LEE Shih-in dances that the choreographers miss. Shih-yang's

so. If we could establish a platform exclusively forcomposed them.

yang, HSU Yen-ting, and YAN Sheng-wen. Visitors

work emphasizes the liveness of the performance. In

collecting music made for dance, maybe everything

may use iPads and earphones to listen to exceptional

his music for the performance Liederzyklus, you canwould change. I think this year's Taiwan Dance"I want visitors to get to know another profession

made-for-dance music the artists have selected

hear his improvisation, which he is so good at. Sheng-

Platform is the perfect opportunity to propose thisin the contemporary dance eld," CHOU explains.

from their quivers themselves. The songs may be

wen excels at electronic music, through which heidea to performing arts music composers.""Besides the dancers and choreographers, dance also

from programs for this event, their rst pieces madealmost e ortlessly produces a soundscape of fantasy,

implicates space, time, and sound, which are usuallyfor dance numbers, or pieces that allowed them towhich you can hear in the dance piece Picking theviewed collectively as the work of the venue designers

realize for the rst time that they were making music

Corpus." Besides this exhibit, the artists will also hold74

75

Exhibition

Exhibition

平衡舞蹈、鏡頭語言、視覺語彙，
尋找舞蹈影像更多可能性

周策
書展
毅人
專
訪

©

#舞

#舞

#

Stella MASTOROSTERIOUI DON'T SEE DEER舞

如果兩年前的表演藝術工作者，是被逼著面對劇 是由影像創造出來的嗎？我期待從藝術家那裡得

評委 Raymond 觀察到，疫情後的舞蹈影像，似前跳舞。但舞蹈影像一定還存在其他層次，這是場停擺窘境下與觀眾重新連結的難題，那麼來到 到回應。」策展人周書毅表示。

乎正由原本對編舞精緻度的講究，逐步往概念的

我和其他三位評審的根本共識。」

今年，或許該是收考卷的時候了。2022 年衛武表達延伸。如《Slow》，是荷蘭藝術家 Karel van

營舞蹈平台以「身體上線」為命題，首次對全球 參加本屆徵選的作品總計有 257 件，由策展人

Laere 在臺進行的創作，該位藝術家以極緩慢的

國標舞、民族舞、當代舞、在生活空間發生的即創作者發出舞蹈影像徵件，該單元的性質雖有別 周書毅、現任衛武營營運副總監 Raymond（黃肢體動作，凸顯與臺灣城市生活的對比，繁忙與

興舞蹈 ...... 在周書毅眼中，形形色色的舞蹈，其於一般電影節的短片競賽，卻也是向藝術家們提 國威）、導演陳芯宜、演員吳可熙組成的評委

極緩構成的視覺反差，令評委們留下深刻印象。

實都代表著生活在世界上某處的人，試圖通過舞

問：舞蹈可能存在於虛擬空間嗎？它依然遵照過 會，在評選過程中各自以舞蹈製作人、電影工作

自高中時期便開始跳街舞，也曾接觸現代舞的吳蹈溝通的身體語境。即便文化差異性不總是能被往發行現場紀錄的拍攝手法，還是需要導入鏡頭 者的角度就表演、鏡頭運用創意、內容情節提出

可熙則表示，整個評選過程中最困難的，是找出

舞蹈世界的共通語言所克服，卻也是樂趣所在。

語言，更加電影化？又，舞者們的身體、舞蹈該 意見，選出十部展出影片，從《等待果陀》式存能真正代表舞蹈影像更多可能性——透過彙整舞周書毅說：「如何洞察影像語言背後潛藏的文化、在主義辯證的《The fog》，反映東南亞女性意

蹈、鏡頭語言、視覺語彙，呈現出與現場截然不如何從飽含文化的舞蹈身體看出創作者的藝術思

識 的《Dotted Bodies》、《Movement: We Are

同，富有影像力量的作品。

維，我想，臺灣舞蹈與世界的對話、連結就是這

如何自處？

麼發生的。」「當舞者的身體必須因應影像的特性調整，他的 Bodies》，到回應自身與社會、城市關係的《I表演意識會不會改變？他的關懷呢？是像過去一 DON'T SEE DEER》、《Tramways》、《SLow》「在社群媒體成熟，或說大家習慣用手機拍生活樣，我們不斷挖掘身體的想法，藉此回應自己身 等作品，相信能同時滿足電影短片及舞蹈影像的影片以後，舞蹈被大量的紀錄，抖音、IG，以至在的社會環境、遠方的戰爭？跳舞這件事會變成 愛好者。

於任何地方你都可以看到有人站在架好的攝影機

76

77

Exhibition

Exhibition

A Balanced Mix of Dance, theLanguage of Film, and VisualVocabulary to Find More
Possibilities for Dance Videos

Interview with curator
CHOU Shu-yi

Performing artists were forced to stop working two

our social environment and faraway wars? Does dance

WONG noticed that the videos seemed toall over the world dancing in front of their cameras.

years ago as venues shut down, so they had to gurebecome a creative product of video? I was reallyhave evolved from the original re nement that

But there are more levels to dance videos than that,out how to reconnect with audiences. Now, perhaps

looking forward to seeing how the artists answer thischaracterizes choreography to pieces of conceptualand that is what we judges focused on as a common

question," says event curator CHOU Shu-yi.

expression. For example, SLow, a piece made in

thread in our selection," says CHOU.

it is time for a test. With the theme of "Body Online,"
this year, for the rst time, the Taiwan Music Platform

Taiwan by Karel van Laere of the Netherlands, depicts

has invited artists from all over the world to submit

257 submissions were made for the event. The

extremely sluggish physical movement to produce a

To CHOU, each type of dance, from ballroom andcreations. Though it di ers from most short- lm

judging panel consisted of CHOU, Weiwuying deputy

contrast with the urban lifestyle in Taiwan, making

ethnic to contemporary and improvised dancing,competitions, the event asked artists this question:

director of operations Raymond WONG, lm director

quite an impression on the judges. WU, who started

represents a certain group of people somewhere on

Can dance thrive in virtual spaces? Can it continue

Singing CHEN, and actress WU Ke-xi. Based on theirstreet dancing in high school and has dabbled in

the planet who are attempting to communicate theas the simple documentation of live performances

expertise as dance producers and lm workers, thecontemporary dance, said the hardest part of thecontext of the body. Although cultural di erences

as in the past, or does it need the integration of thejudges looked at the aspects of performance, creative

judging was selecting pieces that truly represent

cannot always be overcome by the common global

language of lm and to become more cinematic? And

use of the camera, and plot in choosing ten videos

more possibilities for dance videos, that is, pieces that

language of dance, there is still fun in it! CHOU says,

how should the dancers handle their bodies and thefor the event. The pieces range from the dialectic,

incorporate dance, the language of lm, and visual"I think the way we gain insight into the possibilities

choreography?

existential, Waiting for Godot-ish The fog to Dotted

vocabulary; that o er something completely di erent

hidden within the language of lm and the way we

Bodies and Movement: We Are Bodies, which discuss thefrom live performances; and that are rich with thesee the creative concept of artists via culture- lled

"When the dancer's body needs to make changes

feminine consciousness in Southeast Asia, and again

power of lm.

dances are how dance in Taiwan can communicate

based on the characteristics of lm, does theirto I DON'T SEE DEER, Tramways, and SLow, which

consciousness of performance change? What aboutlook at the relationship between the self and society/"With the advanced development of social media andthe focus of their concern? Is it as it was in the past?

the city. All of them are sure to be popular with short-people's growing habit of lming things from daily

Do we keep digging for the opinions of our bodies

lm and dance enthusiasts alike.

life, dance has been documented on a huge scale.

and, through such means, respond to such things as

and connect with dance in the rest of the world."

With TikTok and Instagram, you can see people from78

79

島嶼連結 - 談舞、說舞Island Connection - Forum

11.11

FRI.
11:30-13:00

身體上線 - 即刻拍攝Body Online - Dance Livestream

演出藝術家 Performing Artists

演講廳
Lecture Hall

英文舞蹈書寫在臺灣 - Diane Baker 紀念專題Dance Writing in English from Taiwan - in Memory of Diane Baker

什麼是編舞？什麼即興表演？什麼是舞蹈影像？邀你一起與舞蹈家走入創作的世界。
Ever wondering how artists choreograph and create improvisational performances?
What is a dance lm? We will lead you into artists' world of creation

講者 Speaker ｜林亞婷 LIN Ya-tin

CHANG Chung-an

張忠
安

主持 Host ｜周書毅 CHOU Shu-yi

11.12

SAT.
11:30-13:00

演講廳Lecture Hall

南方舞蹈教育談 - 舞蹈的未來要如何教 ?
The Dance Education in the South - How to Open the Future for Dance?
講者 Speaker ｜范瀞文、蘇威嘉 、左涵潔 、歐弘承 FAN Jing-wen, SU Wei-chia, TSO Han-chieh, OU Hung-cheng

10.22

SAT.
16:40

11.13

SUN.
16:20

樹冠大廳西側露台
Crown Hall 3F (West Terrace)
自由參與
Free Entry©

主持 Host ｜周書毅 CHOU Shu-yi吳思瑋WU Szu-wei

11.13

SUN.
11:30-13:00

演講廳Lecture Hall

開始跳舞的一座城市 - 城市中的表演觀察
The City that Starts Dancing - Observation of Performances in the City

10.23

SUN.
16:40

樹冠大廳西側露台
Crown Hall 3F (West Terrace)
自由參與
Free Entry

講者 Speaker ｜黃祺瑋 、林喚玲、黃子溢 、洪榆澄 HUANG Chi-wei, LIN Huan-ling, HUANG Tzu-yi, HUNG Yu-cheng

11.12

SAT.
16:20
演出全長約 20 分鐘，無中場休息
無年齡限制
民眾可現場拍攝錄影
開放演後民眾可與藝術家現場交流
Duration is 20 minutes without intermission

主持 Host ｜周書毅 CHOU Shu-yi

Filming and photographing is allowed©

Suitable for all ages
80

81Open for public to interact with the artists after performance身體上線－舞蹈影像展
Body Online - Dance through Films

©

14

2021

Lucid Dream in 14 minutes / 2021 / 14 mins / Taiwan

14

10.22

SAT.

11.20

SUN.

©Sugawara Kota

11:00-19:00

展覽廳 Exhibition Hall

Special Screening余彥芳 2021 五國駐地計畫—《你跳舞嗎 ?》YU Yen-fang 2021 M

劉彥成 2021 五國駐地計畫 2.0—《回顧 2022 匿名者二號 》

Museum of Human Emotions—Do You Dance?

微光製造 《半島來跳舞》
黎宇文《波麗露在高雄》

LIU Yen-cheng 2021 Museum of Human Emotions 2.0—
Retrospection 2022—Anonymous No. 2Shimmering Production Hand in Hand, We Dance
Maurice LAI Bolero in Kaohsiung

田孝慈 《14 分鐘的清醒夢》

TIEN Hsiao-tzu Lucid Dream in 14 minutes

黎宇文 ╳ 巴魯·瑪迪霖 《bulabulay mun? (Variation)》

Maurice LAI X Baru MADILJIN bulabulay mun? (Variation)

驫舞劇場《自由步—與百年相遇的美好—濁水水力發電所》
葉名樺 《SHE O.S.》

身體上線－舞蹈聲音展
Body Online - Dance through Sound

HORSE FreeSteps: The Beauty of Meeting a Centennial / Linnei Zhoushui Power Plant
YEH Ming-hwa SHE O.S.

Open Call陳傑孝《馬不停蹄》

CHEN Jiexiao Amaranthine薩加里卡 · 德比納特 & 帕拉迪·薩達 《點陣身體》

Sagarika DEBNATH & Prakriti SHARDA Dotted Bodies

小事製作《五虎將》 FIGHTERS

Les Petites Choses Production FIGHTERS

安東 · 奧夫欽尼科夫《單一》

Marko PEJOVIĆ Glance

馬科 · 佩喬維 《瞥見》Stella MASTOROSTERIOU I DON'T SEE DEER

絲特菈 · 馬斯托羅斯特奧斯 《我沒看見鹿》

LOW Pey Sien Movement: We Are Bodies (Part 1)劉佩鑫《當代舞：我記得的身體
Seni Tari Kontemporari: Memori Seketul Jasad 》

Trust Dance Theatre Order In Chaos

Trust Dance Theatre《紛亂中的秩序》

Dina VERYUTINA The Fog迪娜 · 維魯蒂娜《霧》

Jeremy Chi-hang AU Tramways

區志恒《電車路》

Anton OVCHINNIKOV Monochrome

Karel van LAERE SLow

卡爾·范·拉爾《緩慢》
82

10.22

SAT.

11.20

SUN.

11:00-19:00

展覽廳 Exhibition Hall

雲門舞集《聲聞》

LIM Giong
Cloud Gate Dance Theatre of Taiwan The Sound of Enlightenment

周書毅《無用之地》
人·舞團《盤》
周書毅、鄭志忠 &《阿忠與我》

WANG Yu-ju
CHOU Shu-Yi Break&Break!
The Human Expression Dance Company Pán
CHOU Shu-yi & CHENG Chih-chung The Center

驫舞劇場《兩男關係 》
張婷婷獨立製作《肢·色系列 2：時空抽屜》

LEE Shih-yan
HORSE 2 Men
T.T.C.Dance Body Platform: Persistence of Memory (Cabinet 2)

張婷婷獨立製作 / 陳逸恩《不回家》
安娜琪舞蹈劇場 / 董怡芬《與時間牽手 II—
我們就是時間》
葉名樺 《寂靜敲門》
葉名樺 《十七年蟬》
林廷緒 《在山海來去》
林廷緒 《八八 》

HSU Yen-ting
T.T.C.Dance / CHEN Yi-en No Returning Back
Anarchy Dance Theatre / TUNG I-feng Time Within Us
SHENG
YEH Ming-hwa Nordic
YEH Ming-hwa Magicicada Septendecim
LIN Ting-syu Voyage through Mountains and Seas
LIN Ting-syu Deluge身體上線－舞蹈攝影展 Body Online - Dance through Photography

10.8 SAT.

12.4 SUN. 11:00-22:00

劉振祥、陳長志、林峻永、陳建豪、李奕瑲榕樹廣場（歌劇院櫥窗）Banyan Plaza (Opera House Window Facade)83

Photographer LIU Chen-hsiang, CHEN Chang-chih,
LIN Chun-yung, CHEN Chien-hao, and Kito LI

衛武營國家藝術文化中心
National Kaohsiung Center for the Arts (Weiwuying)谁遯籏湌 General and Artistic Director

簡文彬 CHIEN Wen-pin
ⶰ籏湌 Production Director

郭遠仙 Jack KUO斊麌ⶰ籏湌 Deputy General Director

黃國威 Raymond WONG瘼㾝➃ Curator

周書毅 CHOU shu-yi眏湡竤椚 Director of Artistic Planning

專案執行 Project Execution
王昭驊 Joanna WANG
吳佩芝 WU Pei-chih李奕萱 LI I-hsuan
王雨婕 WANG Yu-jie

藝術家接待 Artist Services
許慈茵 HSU Tzu-yin
楊雅鈞 YANG Ya-chun
蔡宛育 TSAI Wan-yu
林蔓葶 LIN Man-ting
陳品霓 CHEN Pin-ni
黃程尉 HUANG Cheng-wei

林娟代 Elise LIN眏湡窡硁 Chief Program Coordinator

技術人員 Production Technician眏湡⼿⸂ Program Coordination莻〵湌漛 Stage Manager

羅仕儒 LO Shih-ju

林孝鍇 Kai LIN、陳雯真 Sandy CHEN、黃伊涵 HUANG Yi-han、℡秋香 TU Chiou-shiang、陳雲翊 Ellen CHEN䪮遯竤椚冸醢⡲窡硁穉穉Ꟁ
Director of Technical Management and Head of Production Coordination

陳美玲 CHEN Mei-lin醢⡲窡硁 Production Coordinator李聚慧 LEE Chu-hui䪮遯窡硁 Technical Management

李聚慧 LEE Chu-hui、許志偉 Slash、郭建豪 KUO Chien-hao遤ꌼ竤椚 Director of Marketing & Communication

朱逸群 CHU Yi-chun遤ꌼ窡硁 Project Marketing Coordinator林玫茵 LIN Mei-yin

蔡翔任 TSAI Hsiang-jen䎂꬗鏤鎙 Graphic Design

林正祐 LIN Cheng-yu䕧⫹醢⡲ Video Production

趙任威 CHAO Jen-wei、張雅茜 CHANG Ya-chieh
陳大大國際影業有限公司 Big Big Chen International Film嚩埠䑞㜥Banyan Plaza李聚慧 LEE Chu-hui㛂遤莻〵湌漛 Deputy Stage Manager

林孝鍇 Kai LIN莻湌⸔椚 Assitant of Stage Manager

方琬婷 FANG Wan-ting莻〵䪮遯䭸㼬 Stage Supervisor

林惠兒 LIN Huei-er莻〵䪮遯➃㆞ Stage Crew

李佳璘 LEE Cha-lin、陳冠廷 CHEN Guan-ting剪酤盘椚 Wardrobe

邱翊蕙 CHIU Yi-hui敚⯕䪮遯 Lighting Technician

秉冠有限公司 PING GUNE CO., LTD.
갉갠䪮遯 Audio Technician

愛迪生燈光工程有限公司 EDISON LIGHTING ENGINEER LTD.
埠ⱟꪫ〵匌⩎Crown Hall 3F (East Terrace)莻〵湌漛 Stage Maneger

林汝珊 LIN Ju-shan伢䕧㛂遤 Photographer敚⯕䪮遯 Lighting Technician

陳長志 CHEN Chang-chih、林峻永 LIN Chun-yung

圓點聯合設計製作有限公司 Gear Creation CO.

鹿港囝仔文化事業有限公司 THE KIDS FROM LUKANG

갉갠䪮遯 Audio Technician㼠俒䱰鏞 Journalist

郭心芯 KUO Sin-sin
康世剛 KANG Shih-gang䩛ⱁ管鱀 Cooy Editor黃瑋琳 HUANG Wei-lin

愛迪生燈光工程有限公司 EDISON LIGHTING ENGINEER LTD.
現象聲音有限公司 Phenomenon Sound Co.,Ltd㾝錒㛂遤㋲⡙ Exhibition Executive Team

日青創藝 Kelio Arts㾝㜥醢⡲ Exhibition Production

李維造物 LEEWEI DESIGN84