表演藝術類入圍Works in the Performing Arts category

     

國立中正文化中心─鄭宗龍作品《在路上》

《在路上》是編舞家鄭宗龍用身體語言書寫個人生命旅程體驗之作,在演出節目單上,他引述了美國作家傑克凱魯亞克 (Jack Kerouac) 同名著作《在路上》的這段話:「每個人都是自己生命旅程的過客。不管你身在何處,進行著何種跋涉、執著於何種理想,在生命停息之前,你都走在無限風景的旅途中。面對現實、忠於理想,走在自己的人生道路上。

這齣舞作,展現了一段奇異旅程的見聞和心思,透過長途旅伴之間的互動,反思旅行的動機與目的,進而探討自身在生命旅程中的角色和意義。在鼓聲、樂聲、西塔琴等不同音樂氛圍中,三位男舞者透過肢體的視覺造形、律動節奏、力量表現、光影變化與音樂時空的有機組合,展現了純粹而獨特的舞蹈之美。評人王墨林讚譽:「充滿用身體內部的抑止力所掌握的極簡動作,特別表現出亞洲農耕文化的內斂之美。」

"入圍理由"  複審委員 :  林亞婷

鄭宗龍的舞作《在路上》,展現他空間編排的純熟,與音樂結構的掌控。透過與兩位舞者共遊中國的靈感,孕育出源自本土文化的動作律動與美學。從雙人版到三人版,除了豐富舞蹈的變化,陣容堅強的服裝、影像等設計團隊,更為此引人入勝的演出增加可看性。首演至今,《在路上》贏得國內資深舞評人的肯定,更在歐洲重大編舞大賽榮獲首獎。這齣精湛的作品,時而幽默,時而嚴謹,或許會聯想到凱魯亞克的同名小說,但表達的卻是不同時空背景下,新世代創作者之獨特心聲。


National Chiang Kai-Shek Cultural Center, R.O.C- On the Road by Cheng, Tsung-Lung

In On the Road, the choreographer Cheng, Tsung-Lung uses body language to write a work on the experiences of his own personal journey. On the performance program notes, he alluded to the words of Jack Kerouac’s On the Road: “Everyone is a passing traveler on the road of his or her life. No matter where you are, no matter what kind of trek you are on, or what ideal you are trying to realize, before journey’s end you are still on a road with a limitless horizon. To face reality and stay true to your ideals is to be on your life’s road.”

The entire dance work shows us a fantastic journey of moods and things heard and seen, through the interactions with long-distance traveling companions and reflections on the journey’s motivations and goals, and also investigating the role and meaning of one’s own life journey. In an ambience created by drums and various music including the sitar, through creating visual form with their limbs, rhythm, expression of strength, changing light and shadow, and an organic assemblage of time and space in music the three male dancers display a unique and pure kind of dance. The critic Wang, Mo-Lin praised it as being “full of the minimalist movement that comes from inner control of the body, it particularly captures the inner restraint that inheres in Asian farming culture.”

"Nomination Reasons"   Commentator :  Lin, Ya-Tin

On the Roadby Cheng, Tsung-Lung exemplified his mastery of spatial composition and musical structure. He developed a unique movement dynamic and aesthetics derived from his own cultural background, through inspirations from his travels to China with his two dancers/collaborators. The expanded trio version, with an excellent production team of costume, video, and other designers, plus the third dancer, added layers and variations to the superbly, enthralling performance. On the Road not only earned rave reviews from the harshest critics at home, but has even garnered top choreographic prizes in Europe. This partly humorous and partly serious work may remind us of Jack Kerouac’s travelogue of the same title, but represents a unique vision of the artist of new generation from a different time and space.


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狂想劇場─賊變

狂想劇場是近年立案的表演藝術團體,以新銳導演廖俊凱、藝術經理人曾瑞蘭為核心,集結了編劇、設計及製作行銷等人才,以狂想為名,期能提供青年人創作發表的空間,透過與社會連結、辯證及反思生活,凝聚台灣劇場界另一股年輕創作力量,本次入圍作品為該團創團作。

本劇透過一場虛構的社會事件,呈現劇中人物截然不同的立場觀點和價值態度。故事始於一位因母親偏心導致個性冷漠的么兒自述;接著,一位佯裝租屋客的盜匪,因見老太太眼盲獨居而起了惻隱之心,由此開展了不同角色之間的切換與對話──匪徒先是化身為老太太大兒子的朋友,進而變成了大兒子本人,兩人之間交叉進行著不同的故事敘述、道德辯護和情感攻防,從中點出了家庭教養兩代情結的難題,也鋪陳出了整齣戲的衝突內容和悲劇氛圍。

"入圍理由 "  複審委員 : 于善祿

揭開社會案件的表層與內裡,歹徒和盲婦間,充滿試探、不安、爆烈的戲劇張力,兩人一動一靜,一剛一柔,彼此以肢體和語言,相互進逼拉扯,如同命定的困獸之鬥。當劇情逆轉成母子關係,長子反斥母親教養之道失之偏頗,並痛斥其弟窩囊,弟卻認為其盲母瘋了。三人各自秉持的道德正義,最後失去平衡,導致無可再逆轉的結局。四圍的方圈,為極具諷刺意味的設計──內爆的瘋狂,既是囚人,也是自囚的牢籠!整齣戲令人屏氣凝神,精彩至極!

 

Fantasy Theatre -Cheat to Cheat

Fantasy Theater is a performance art dance troupe formed in recent years with cutting-edge director Liao, Jun-Kai and Artistic Director Judy Tseng at its core, around which are gathered professionals in theater, design and marketing. It is able to provide young artists with a performance space, as well as a place to make connections, discuss and reflect. It is an alternative place where young people inTaiwan’s theater community can gather, and has become a creative force. Fantasy Theater’s entry in the competition was created and is performed by the company itself.

The play uses an imagined social incident to reveal the entirely different viewpoints and values among the players. The story begins with the narration of a woman whose prejudice leads her to be a cold and indifferent. Then, a con artist pretending to be interested in renting her house appears, and sees that the old woman is blind and lives alone. His plan suddenly changes, and from here begins to play different overlapping roles: first the thief becomes the friend of the old woman’s son, then becomes the adult son himself, and the narration intertwines the two roles in the story, with ethical and emotional argumentation. Hard questions are asked here about raising children and intergenerational conflict, and the piece is suffused with conflict and an atmosphere of tragedy.

"Nomination Reasons" Commentator : Stanley Yu

The play reveals the surface layer and inner content of social cases, between the criminal and the blind woman, there are explosive dramatic tensions of probing and uneasiness. The two characters—one dynamic and one static, one tough and one fragile—struggle with one another both physically and verbally, as if engaging in a death match. The story then takes on a sharp turn to focus on the mother-son relationship—the eldest son criticizes the mother as being biased, and his brother a coward, and the younger brother believes that the blind mother is insane—all three characters believe in their own justice. The balance eventually breaks, leading to an irreversible ending. The square fence around the set is a sarcastic design: the madness of implosion is the jail that holds others and oneself! Audiences are kept on the edge of their seats throughout the play - what a thriller!


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十方樂集─《傳奇Légendes十方樂集與里昂鍵盤打擊樂團

台灣「十方樂集」與法國「里昂鍵盤打擊樂團」,秉持著對現代音樂的熱情,以跨國合作開啟了一場「異中求同、同中求異」的台法音樂對話。

傳奇‧Légendes!音樂會共演出4首曲目,其中有3首為原創新作:一是法國作曲家西耶瑞.佩柯 (Thierry Pécou) 充滿節慶氣氛的新作《繁花之樹》,此作創意融合了墨西哥傳統音樂元素,以及對於前哥倫布時期的歷史想像。二為台灣音樂家楊聰賢的《祭景默思》,他立意「倚賴一種類似於社會/人類學的想像,試圖去尋求一種既超越特定文化參照,卻又微沁著自身文化承襲的質地。」並透過曲目的進行,構設了一種跨文化共享的祭典程序和景觀:進場─祈禱─念咒─驅魔─歌唱─舞蹈─退場。三是法國弗朗索瓦.納波尼 (François Narboni) 的《帕西法爾》,重新詮釋了華格納歌劇《帕西法爾》中,古尼曼說過的一句經典話語:「…在這裡,時間變成了空間。」

"入圍理由" 複審委員:楊建章

十方樂集與里昂鍵盤打擊樂團的跨國合作以《傳奇‧Légendes 》作為發想的起始,音樂會委託台法三位資深作曲家進行創作,從兩地打擊樂團代表的不同文化背景出發,聯手創作演出一場新穎的文化雙向詮釋。其中台灣作曲家楊聰賢的新作《祭景默思》(2011),交融了傳統與當代語彙,傳達出人類文化共同擁有的祭獻聲景與精神追想,本曲運用打擊樂器的成熟度與音響造就的交響特質,堪稱作曲家以及台灣打擊音樂近年來代表作之一。

 

Forum Music -Forum Music and Les Percussions Claviers de Lyon—Légendes !

A dedicated enthusiasm for modern music has led Taiwan’s Forum Music and France’s Les Percussions Claviers de Lyon to mount an international collaboration in the form of a musical dialogue, “seeking commonality, seeking diversity”.

Légendes! is a concert with four song programs, among which three are original creations. L’arbre aux fleurs is by French composer Thierry Pécou and is full of a festival atmosphere. This work creatively combines traditional Mexican elements and hints of pre-Columbian history. The second is by Taiwanese composer Yang, Tsung-Hsien, Meditation on an Imaginary Ceremonial. His intention is “to rely on a kind of social science or anthropological imagination to attempt to go beyond cultural reference, and seek the more profound and ingrained cultural traces that are on oneself.” Through song, a kind of intercultural sharing that is in the process of a ritual takes place: entering the hall, prayer, incantation, exorcism, the singing of songs, dance, and withdrawal from the hall. The third song, François Narboni’s Parzi-fal, reinterprets Wagner’s opera and the line by the role of Gurnemanz in the opera, “zum Raum wird hier die Zeit”: here, time becomes space.

"Nomination Reasons" Commentator: Yang, Chien-Chang

The international collaboration of the Forum Music and Les Percussions Claviers de Lyon started with Légendes !Three experienced composers from Taiwan and France were commissioned to create the music for the show. From the different cultural backgrounds represented by the percussion ensembles, the two sides jointly created and performed a new bidirectional cultural interpretation. The piece by Taiwanese composer Yang, Tsung-Hsien, Meditation on an Imaginary Ceremonial, integrates traditional and contemporary vocabularies, expressing the ceremonial scene and spiritual pursuit jointly possessed by human cultures. The symphonic element of the piece that incorporates the maturity and sound quality of percussion instruments makes it one of Taiwan’s best percussion music in recent years.


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驫舞劇場─繼承者Ⅰ、Ⅱ、Ⅲ

驫舞劇場為台灣第一個全男子舞團,2004年底由五位熱愛跳舞、編舞的新生代陳武康、楊育鳴、蘇威嘉、簡華葆、周書毅共同創立, 以不受拘束無限創意的集體創作、精準到位的舞蹈肢體表現,展現獨樹一幟的舞蹈劇場風格。2008年曾以〈速度〉一作獲得第六屆台新藝術獎「表演藝術類」大獎,創作轉而深化內省,並持續關注於創作形式語彙的破界與回歸。

本屆入圍作品《繼承者》三部曲,是驫舞劇場和法國Volume-Collectif 團隊合力為華山四連棟大空間量身打造的全新舞作。此作以三段舞碼演出,引導觀眾就觀看方式與場域概念進行辯證:首週「提問」式的演出,以散焦的表演方式凸顯生命的多樣層面與多重提問,觀眾無固定席位可任意遊走,也顛覆了演出的習常模式;第二週的「回憶」單元,以表演者置身昏黃燈光中串起記憶的脈絡,而讓聲音和聽覺成為焦點;第三週的「回答」演出,在低限的空間中,透過舞群各自又同時「繼續往前走」的行動演繹,探索人、我、身體、空間、環境、未來的多重互動關係。

"入圍理由" 複審委員:趙玉玲

《繼承者》以空間為主軸、在三週之內以三組舞蹈展演與表演空間設計,改造華山東二館。「驫舞劇場」結合Volume-Collectif以及11位來自舞蹈與戲劇領域的表演者,以日常生活動作、環境噪音聲響、視覺裝置藝術,表現當代的枯槁孤寂。作品兼具哲學性、實驗性與技術性,挑戰觀眾對空間的成見與慣性,同時呈現複合多變的劇場效果與符號意義。

 

HORSE Dance Theatre -Successor I, II, III

HORSE Dance Theater is Taiwan’s first all-male dance troupe, founded in late 2004 by five enthusiasts of the new generation of dance and choreography, Chen, Wu-Kang, Yang, Yu-Min, Su, Wei-chia, Chien, Hua-Bao and Chou, Shu-Yi,to perform collaborative works of boundless, unconstrained creativity in dance that is disciplined and precise. In 2008, their Speed won first prize in the performing arts category in the Sixth Taishin Arts Award. This turned them towards intensified introspection. They continued to interest themselves in both returning to, and breaking through, the form and expression of their works they had been working on.

This year’s entry, the trilogy Successor, is a completely new work created in collaboration with the French troupe Volume-Collectif for four interconnected spaces in theHuashanCreativePark. This work stages a three-part performance, and invites the spectators to undertake an investigation of the very concepts of spectatorship and performance space. The first week’s performance, “Questioning”, in an “interrogative” mode, relies on an unfocused style to make manifest life’s multiplicity of planes of existence and its many kinds of questionings. The spectators, having no fixed seats, may wander at will through the space, subverting normal performance practice. In the second week, a unit dedicated to “Remembrance”, the performers remain within a dim stage light and enact a scheme of connected memories, letting the sound and acoustics become the focal point. In the third week’s performance of “Response”, an investigation of the multiform mutual interactions between people, the self, the body, space, the environment and the future, takes place, using the respective choreographic conclusion of each dancer in the troupe to “forge ahead”.

Nomination ReasonsCommentator: Chao, Yu-Lin

With space as the main axis, Successor reinvents the East Second Hall of Huashan 1914 Creative Park through three sets of dance performances and space designs in three weeks. The HORSE Dance Theatre teams up with Volume-Collectif and eleven performers from other dance and drama disciplines to present the solitude in modern time. The work is philosophical, experimental, and technical, challenging people’s stereotype and existing ideas regarding space; at the same time, the work showcases compound and volatile theatrical effects and symbolic meanings.


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秀琴歌劇團─歌仔新調─安平追想曲 

「秀琴歌劇團」1986年由張秀琴創立,一步一腳印地從民間野台崛起,2000年躍上精緻公演舞台,並於2001年獲選為文建會扶植團隊至今。整齊的素質、動人的唱腔、認真的態度是劇團的堅持和特色,透過跨界合作開創歌仔戲的新局,則是此次台灣歌仔戲劇團與現代劇場名家王友輝通力合作的最大訴求。

本劇以台語老歌《安平追想曲》的歌詞內容為故事框架,融合了現代戲劇的表現美學和歌仔戲曲的底蘊元素,成就了歌唱、舞蹈與戲劇三合一的「歌仔新調」。劇情從台南安平女子與荷蘭船醫的第一代異國戀情,延伸到第二代台荷混血金髮孤女與富家子之間沒有結局的愛情;藉由歌仔戲團主阿祿仙,鋪陳台灣歌仔戲的歷史發展,同時以犧牲奉獻角色捲入玉梅(母親)和思荷(女兒)兩代的愛情悲劇;「戲中戲」的運用,交織了不同人物的情感與心境;海港、海洋與漂泊的意象,也象徵寫照了台灣百年來的歷史光譜。

"入圍理由" 複審委員:張啟豐

《安平追想曲》以民間流傳的故事為情節起點,別出心裁,呈現跨世代的情感流轉。曲詞本色當行,開拓歌仔戲文學創作的多元性;腔調編作與曲詞旋律緊密結合,體現因詞創曲的音樂脈絡,無論舊調新編,均頗融溶。主要演員唱演雙美,聲情兼備,令人耳不寧傾、目不停瞬;編導統合度及劇場設計整體感極高,戲中戲之運用以及藉投影之映照,皆具畫龍點睛之妙。此劇不僅為秀琴歌劇團另開新局之作,亦可視為新世紀臺灣歌仔戲創新實驗的代表作。


ShiuKim Taiwanese Opera Troupe -New Taiwanese OperaRemembering An-Ping

ShiuKim Taiwanese Opera Troupe was founded in 1986 by Chang, Hsiu-Chin(Shiukim), and emerged suddenly from the rural stage and in 2000 leapt to prominence on the public stage. In 2001 the troupe obtained the support of the Executive Yuan’s Council of Cultural Affairs and have had it ever since. The group has been consistent in terms of quality, producing moving arias with professional seriousness. Collaborating with other fields they have begun producing Taiwanese folk opera, however in this they have taken on a demanding challenge in collaborating with the contemporary theater luminary Wang, Yu-Hui.

The theater piece structures a story around the words of the old song Remembering An-Ping, in a pastiche of contemporary performance and aesthetics and specific elements of traditional Taiwanese folk opera, combining the three elements of song, dance and theater into a new style of Taiwanese folk opera. The play tells the story of the love affair of a first-generation couple, a girl from Tainan An-Ping, and a Dutch ship’s doctor, and proceeds to the second generation where their offspring, a fair-haired orphan girl whose love with a son of a rich family is inconclusive. The folk opera’s director, A-lu Xian, narrates in detail the history of folk opera in Taiwan, and at the same time the tragic loves of two generations, of the self-sacrificing Yu-Mei (the mother) and Si-He (the daughter). By means of a “play within a play”, the emotions and moods of different characters are interwoven; images of the harbor, the sea and drifting signify the range of Taiwan’s history over the past one hundred years.

"Nomination Reasons" Commentator: Chang, Chi-Feng

Based on a folk story, Remembering An-Ping is a unique play that exhibits the emotional transfer across generations. The lyrics and music explore diverse new grounds in Taiwanese opera creation. The orchestration and the lyrics are a perfect match, showcasing the concept of composing music to fit the lyrics. Whether it is an old melody or a new composition, everything works in harmony. Main actors display great acting and singing skills, captivating the audience with their magnificent voices and body languages. The play also exhibits high levels of script-directing integration and completeness in set design. The play inside the play is presented through projection, which is a magical touch. This play does not only show that the ShiuKim Taiwanese Opera Troupe has broken new ground, but it also proves to be a representative work of experimental Taiwanese opera in the new age.


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財團法人擊樂文教基金會─2011吳珮菁木琴獨奏會 

吳珮菁18歲時已是朱宗慶打擊樂團的首席,展現了過人的藝術才氣以及在樂團中的重要角色,之後,她投身於木琴樂曲的精煉和自我突破,將木琴獨特而豐沛的和聲,推向六支琴槌並用的最高難度挑戰,追求一種視覺和聽覺皆令人驚艷的演奏境界。

2011的獨奏會以六槌木琴演奏為主軸,演出的六首曲目,除了倍圭子的《稜鏡狂想曲》以及湯山昭的《嬉遊曲》是此中經典,其餘四首則是不同作曲家專程為她譜寫的六槌木琴演奏曲,包括:洪千惠的《夢紅樓》─描寫林黛玉在愛恨生死之間的糾葛和纖細情感;盧煥韋的《半獸人》─以鑼、鼓與木琴對話,搭配錄音延時播放,讓演奏者和自己的音樂相互呼應或追逐輪奏,呈現「半獸人」在自然獸性與人類理性之間的掙扎;Pius Cheung譜曲的《水之詩》,以尼加拉瀑布為靈感來源,用木琴音樂詮釋了水的各種情緒和驚人能量;林京美的《心浪》,透過六槌木琴獨奏與三位擊樂家合奏,表現了「台中高美濕地」的主題和潮汐的意象。

"入圍理由" 複審委員:孫家璁

作為台灣最頂尖的擊樂音樂家之一,現任朱宗慶打擊樂團首席演奏者的吳珮菁,在2011「Wonderland」個人巡迴獨奏會中,挑戰打擊技術中的「不可能任務」-六支琴槌奏法。這項當今擊樂界少有人能掌握的演奏技術,在吳珮菁精采的詮釋下,將其所能展現出多變的音色與音響效果,完美的表現出來。而本場音樂會所安排的曲目之中,有多首新作都是為演奏者及六槌奏法所量身打造的,由於在創作過程中作曲者與演奏家多有交流及討論,也讓這些音樂在最後的呈現上,更多了分說服力。

 

Ju Percussion Group Foundation-2011 Six-Mallet Marimba Concert byWu,Pei-Ching

At age 18 Wu, Pei-Ching was already the principal performer in Ju percussion ensemble, demonstrating outstanding artistic talent and playing an important role in the group. Afterwards she dedicated herself to mastering the marimba repertoire and achieving personal breakthroughs in creating the unique and majestic sound of the marimba, pushing herself to meet most difficult challenge of all, the six-mallet technique. She achieves a level of performance that is both visually and acoustically stunning.

The six pieces in the 2011 solo concert all center on the six-mallet marimba technique. Besides Abe Keiko’s Prism Rhapsody and Akira Yuyama’s Divertimento, both classics in the repertoire, there are four works specially commissioned by her: Hung, Chien-Hui’s Dreaming of the Red Chamber enacts Lin, Dai-Yu’s refined emotions in her entanglements in love and human mortality. Lu, Huan-Wei’s Manimal is a dialogue using gongs, drums and marimba with a tape delay, allowing the performers to interact with the echo of their own music in a kind of reciprocal chase, manifesting the struggle between animal nature and human reason. Pius Cheng’s Poem of Water, inspired by Niagara Falls, uses the marimba to interpret the multifariousness of water’s moods and its power to astonish. Lin, Ching-Mei’s Pulsing Wave features a six-mallet marimba soloist accompanied by three other three percussionists and expresses the theme ofTaichung’s Gaomei Wetland and water imagery.

"Nomination ReasonsCommentator: Joshua Sun

One of the top percussionists in Taiwan, Wu, Pei-Ching is currently the principal of the Ju Percussion Group. In her 2011 solo tour, Wonderland, Wu took on a “mission impossible”—the six-mallet technique. There are only a handful of percussionists currently in the world who can handle the unique technique, yet under Wu’s outstanding skill, the volatile timbre and sound effect of the technique are fully showcased. In the numbers selected for this recital, many new pieces are tailor-made for the six-mallet technique and the performer; interactions and discussions between the composers and the performer during the composition processes have enabled the final presentation of these pieces to be even more persuasive.

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舞蹈空間舞蹈團/台北市立國樂團─2011臺北藝術節《風云》

舞蹈空間1989年由平珩創立,本身除固定發表新作,近年來積極跨領域與國際藝術家、團隊合作,開發新的演出型式與風格。北市立國樂團成立於1979年,除了在國內扎根,歷年也曾出訪各國演出,自2007年由鍾耀光擔任團長以來,以開創性的跨界節目來重寫「國樂」的定義,建構本身獨特的樂團風格與藝術走向。本次合作,東方現代舞作和古典樂曲融合演出,透過柔韌與剛烈詭譎共伴的身心舞碼,重新詮釋了英雄美人的歷史典故。

《風云》發想自秦末楚漢之爭的「霸王別姬」情節,編舞家楊銘隆跳脫史記載述,重新設想楚霸王項羽和愛妾虞姬之間的情義演變,編設了三種不同情境與結局的身體事件與空間氛圍,細膩呈現了東方女性隱忍、犧牲、智取的特質,也探尋了女性從依附性角色到扮演主動積極者的多重可能。整支舞作透過豐富的肢體語彙,拼貼混合了男女舞者剛烈柔韌的情感體相,交織詮釋了劇中角色從身心壓抑到意志昂揚的不同生命情狀。

"入圍理由" 複審委員:梁瑞榮

經過東風系列的探索與累積,編舞家楊銘隆更往前邁進,完成一齣以「霸王別姬」為主題發想的舞作《風云》。舞蹈在紅、白、黑的基調下,述說著霸王剛毅的外表對應其內在沉重之心,以及虞姬柔性中剛烈表現的反差;尤其在後段,更是編舞者揮灑想像與創作的高潮。舞作中善用「布」來表達不同的意涵,整體結構完整而成熟。舞者表現精準、細膩的技巧且配合得天衣無縫,盡情融入舞中角色,展現編舞者之意念。另外,音樂的設計與現場樂器的彈奏,如虎添翼,相得益彰。是一次完整的組合,美好的演出。

 

Dance Forum Taipei/ TaipeiChinese Orchestra-2011 TaipeiArts Festival—Eastern Tale

 “Dance Forum Taipei” was founded in 1989 by Ping, Heng. In addition to producing new works, in recent years it has actively collaborated across disciplines with artists from Taiwanand abroad as well as dance troupes to create new kinds of works and new styles. The Taipei Chinese Orchestra was founded in 1979; it has taken root in this country and over the years it has performed in many countries. Since 2007 it has been under the direction of Chung, Yiu-Kwong, and has actively tried to expand the definition of “traditional Chinese music” with its innovative cross-disciplinary programs. It has a unique orchestral style and aesthetic trajectory. In this collaboration, modern dance is fused with classical song to reinterpret a classic traditional love story of hero and maiden, with dancers that combine toughness, strength and sophistication.

Eastern Tale is inspired by the historical story of Xiang Yu bidding farewell to his concubine [play name: Ba Wang Bie Ji (Farewell My Concubine)] during the struggle between the Han and Chu kingdoms at the end of the Qin Dynasty. Choreographer Yang, Ming-Lung skips over the account in the Historical Records to reimagine the emotional relationship between Xiang Yu and Yu Ji, creating three different atmospheres and conclusions, dispositions of the body and spatial ambiences, creating a refined image of the emotional restraint, forbearance and cunning intelligence of Asian women.  The many possibilities in women’s roles, from passive, clinging ones to assertive, active ones, are also investigated. Throughout the piece, the male and female dancers show a rich gestural vocabulary, weaving together an interpretation of life from the repressed to the elated and willful roles in the piece.

" Nomination Reasons" Commentator: Liang, Rui-Rong

After exploration and accumulation over the “Eastern Wind” series, choreographer Yang, Ming-Lung took a step further and completed the new dance Eastern Tale based on the story of Farewell My Concubine. Under red, white and black tones, the dance narrates the heavy heart of Xiang Yu in contrast to his steadfast appearance, as well as the contrast between Yu Ji’s inner tenderness and her determined actions. The second half of the dance is the climax of the choreographer’s imagination and creativity. Fabric is used masterfully throughout the dance to express different meanings, and the overall structure is complete and mature. The dancers give precise performances, and showcase intricate skills and flawless chemistry. As they indulge in their respective characters, the dancers fully convey the thoughts of the choreographer. Also, the music and live instrumental performance prove to be the icing on the cake. This is one perfect combination, and a wonderful performance.


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河床劇團─「開房間」戲劇節

河床劇團致力於推動表演藝術與視覺藝術之間的對話,探索戲劇創作與演出型態的各種可能性。「開房間」戲劇節共有四部作品,演出地點都選在飯店房間,每場都限定一位觀眾入內觀賞,每部戲各演出28場。

四位導演構設了各具特色、引人入勝的戲碼:郭文泰的《忘我》矇住觀眾的眼睛,使其直接加入一場感官為主的參與式演出;鴻鴻的《屋上積雪》以真人大小的布偶人為中心,透過演員、觀眾及布偶之間虛實交替的對話與後來人物角色的切換,串出反核的社會議題,同時也引導觀眾觀想終老與死亡的人生課題;何采柔的《206號房》探討人生的巧合,立意將平面的繪畫意境轉為抽象劇場的空間體驗;艾賽克的《Zip》以俏皮的語調和電影手法,刻劃一名女子與父親原本緊繃的關係,因為旅行而逐步釋懷的過程。

"入圍理由" 複審委員:楊美英

河床劇團「開房間」系列演出計畫,超越「大」與「多」的迷思,不畏「小」或「少」的圈限,具顯現代劇場藝術本質之於表演、空間、觀眾三者的立體思維,且落實嚴謹真誠的執行,對於劇場策展概念的定義和實踐,深具示範作用、論述深度,展現了一種持恆精實的努力和品質。該系列四件作品,進駐旅館不同房間,於特定場域的表演,提供每場次唯一觀眾五感並用的觀賞經驗,穿梭現實與魔幻的疆界,探向個人與社會記憶深處的甘美與苦澀,聚焦於觀眾與表演之間的互動、權力關係,兼具感受性、思辨空間,為觀演關係嘗試建立深刻、有趣而豐富的可能性。

 

Riverbed Theatre- Just for You Theatre Festival

The Riverbed Theater strives to promote a dialogue between the art of performance and the visual arts, to investigate the many possibilities in dramatic works and performance. The theater festival Just for You includes four works. The site of the performance is a hotel room, each show allows one spectator to watch and each work was performed 28 times.

The four directors have created a unique and fascinating theatrical event: in Craig Quintero’s Amnesia, keeps the audience in darkness allowing a direct participation in a scene based on the senses. Snow on the Roof by Hung Hung centers on a life-sized cloth mannequin. With a dialogue alternating between performers, the audience and the mannequin, and intercut with the point of view of persons of future generations, the play brings together an anti-nuclear social critique, and induce the audience to reflect on the themes of aging, death and life. Room 206 by Joyce Ho investigates the coincidences that happen in life, and turns a flat, painting artistic conception into an experience of abstract theatrical space. Isaac Lai’s Zip uses smart and cinematic means to depict the strained relationship between a woman and her father and who gradually grow closer over the course of a trip together.

"Nomination Reasons" Commentator: Yang, Mei-Ying

The “Just for You” series by the Riverbed Theatre breaks the myths of magnitude and multitude, and is fearless of the limits of diminutiveness and scarcity; with stereoscopic thinking that incorporates performance, space, and audience to display the essence of modern theatrical art. The series demonstrates and discourses in depth, the definition and practice of the concepts of curated theater, and at the same time, showcases the efforts of the continuous pursuit of perfection, and its consequent quality. The series consists of four plays taking place in different hotel rooms. The performances are carried out in specific sites, providing the audience, at each session, a viewing experience that stimulates all five senses. As the play leads the audience back and forth over the border between reality and fantasy, it explores the sweetness and bitterness deeply hidden in each individual’s social memory, and focuses on the interaction and power relationship between the audience and the performance. Through sensitivity and speculative space, it attempts to establish defined, interesting, and rich possibilities for the audience-performance relationship.


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國家交響樂團─2011TIFANSO歌劇音樂會希臘悲劇艾蕾克特拉

國家交響樂團 (National Symphony Orchestra,NSO) 近十年來從保守的公務體系運作,大步朝專業與開放、勇於創新的職業樂團前進。2010年8月起,呂紹嘉成為NSO國家交響樂團音樂總監,帶領NSO踏上世界樂壇迎向更具挑戰的嶄新未來。

本屆入圍作品《艾蕾克特拉》是理查‧史特勞斯最震撼人心的兩大歌劇之一,取材自希臘悲劇。劇情描述迷戀父親的艾蕾克特拉瘋狂執著地向母親復仇,讓犧牲者搖身變成掠奪者,除了全劇充滿了衝突的張力,也是理查‧史特勞斯管絃樂團編制最大的一齣歌劇,主角演唱到最高音時必須能與整個龐大的樂團抗衡,擅長歌劇指揮的呂紹嘉的帶領下,NSO樂團的表現淋漓盡致,而擔任女高音的克蕾兒‧普里姆蘿絲,實地印證了「能具有增加歌劇角色情感表現的魅力魔音」的讚譽,導演黎煥雄則稱職地創造了令人驚奇激賞的劇場氛圍。

"入圍理由" 複審委員:李秋玫

被稱為世紀末樂團作品的極致,《艾蕾克特拉》是作曲家理查‧史特勞斯最前衛、最具革命性的創作,其編制規模不僅龐大、管弦樂法亦達到高峰。然而此節目對一般樂迷來說不但不討喜,音樂對樂團、歌者更是項極大挑戰,而以音樂會形式的演出尤其考驗製作團隊的功力。

音樂會現場在舞台前方搭台讓獨唱與觀眾縮短距離,再將樂團安排至最後方,讓樂團、歌者及指揮三者有完美的配置;而指揮呂紹嘉更成功地激發了演出人員的潛力及向心力,平衡了強大的樂團及歌唱的音響,並將複雜的音樂帶出細膩的層次博得滿堂彩。一百分鐘一氣呵成的表現,與其認為只是場首演,毋寧說是為樂團與台灣樂壇建立了新的里程碑。


National Symphony Orchestra- 2011TIFA-NSO Opera Concert—Elektra

Over the last ten years, the National Symphony Orchestra (NSO) has been changing from running as a conservative business concern to gradually becoming more specialized and unrestrained, bravely growing in the direction of an innovative professional orchestra. Since August of 2010, music direction of the NSO has been taken over by the Chinese conductor Lü, Shao-Chia, who is leading the NSO into a completely new and challenging future in the music scene worldwide.

This year’s entry is Electra, one of Richard Strauss’ two stunning operatic works drawn from Greek tragedy. The opera narrates Electra’s frantic, persistent effort to take revenge on her mother for the murder of her father, and how a victim in the end turns into a predator. The opera is full of tension and conflict, and it is also Richard Strauss’ greatest opera for large-scale orchestra. The protagonist, in singing the upper registers, must contend with the gigantic orchestra, and led by artistic director Lü, Shao-Chia, the NSO’s performance is incisive and vivid. The soprano, Claire Primrose, has been hailed as “bringing to this operatic role an emotive musical charisma”, and conductor Li, Huan-Hsiung succeeds in creating an atmosphere full of surprise and wonder.

"Nomination Reasons" Commentator: Li, Qiu-Mei

Praised as the pinnacle of orchestra music at the end of the century, Elektra is the most avant-garde and revolutionary work by composer Richard Strauss. Not only is the music complex and difficult, the orchestration techniques also reach new heights. However, this piece is not well received by the general audience, and the music itself poses a great challenge to the orchestra and singer. Performing the opera in the format of a concert is especially a great test for the production team.

A platform was located in front of the stage so that the solo singer was closer to the audience. The orchestra was seated at the far back end of the venue, so that the orchestra, singer, and conductor were perfectly positioned. Lu, Shao-Chia, the conductor, brought out the greatest potential and coherence from the performers, and balanced the powerful sound of the orchestra and the singer. Lu was able to present the intricate layer of the complex music and gain acclaim from audiences. The uninterrupted 100-minute performance is not merely a premiere; it is a new milestone for the orchestra and Taiwan’s music circle.


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國立臺灣傳統藝術總處籌備處國光劇團─京典舞台劇《百年戲樓》

國光劇團於1995年由京劇界的名角高手組成後,不斷地嘗試融合傳統精華與現代表演,開創嶄新靈活的劇場形式。

《百年戲樓》是以京劇發展史為主軸的全新創作,透過「舞台劇」形式,穿插京劇經典唱段,演繹三個時代故事:第一幕以1910年代,「男旦」當家的北京戲班子為背景;第二幕描寫1930年代上海海派京劇和北京朝派之間的觀念衝突;第三幕以196070年代文革為背景,演出年輕女演員出賣老班主的悔恨心情和贖罪情節。其間《白蛇傳》、《搜孤救孤》的戲中戲,巧妙鋪陳了戲與現實人生「交互為文」的隱喻。

 

"入圍理由" 複審委員:張啟豐

《百年戲樓》標榜「京典舞台劇」,係延續國光劇團近年持續突破創新的製作脈絡,以舞台劇形製包裝京劇表演與劇目,寓京劇發展於師徒情緣、生旦情愛之中。導演熟稔傳統戲曲與現代劇場,得以共冶一爐而各展所長;全劇以多元手法展現象徵及喻意,劇場設計表現令人印象深刻;演員表演質地相近,統合度高,進出戲曲與戲劇之間,未見扞格之處;主要演員演唱精湛,更增添該劇的藝術華彩與亮度。全場演出極具質感,為年度中少見的精緻之作。

 

Preparatory Office of the National Headquarters of Taiwan-Traditional Arts Guo Guang Opera Company -One Hundred Years On Stage

After the Guo Guang Opera Company was founded in 1995 by professionals in the world of Chinese opera, it has continually tried to fuse the best of traditional opera and modern performance, in a new and agile theatrical style.

One Hundred Years On Stage is a completely new work based on the development of Chinese opera. In its “Stage Play”, it interweaves classical Chinese opera pieces to narrate a story of three eras: the first act is set in the 1910’s, with the story of a Peking opera company led by a male dan (a male actor who plays female parts)  as the background. The second act describes the conflict between the Shanghai “Hai” style and the Beijing style of performing opera. The third act, set against the Cultural Revolution of the 1960s and 70s, describes the remorse of a young actress who betrays the head of her company, and her story of atonement. In this work, The White Serpent and Searching for and Rescuing the Orphan function as plays-within-the-play, and cleverly bring out the hidden, “intertextual” connections between the plays and life as it is lived.

 

"Nomination Reasons" Commentator: Chang, Chi-Feng

One Hundred Years On Stage, claimed to be in a style that “combines Peking opera with contemporary theater,” is a continuation of the recent innovative production trend of Guo Guang Opera Company. With elements and sections of the classic play of Peking opera packaged in the format of modern theater, the play illustrates the development of Peking opera through relationships between master and apprentice, and actor and actress. The director shows profound knowledge in traditional opera and modern theater, and is able to integrate the best of each together. The play displays symbols and implications through a variety of methods, and the set design is also impressive. The ensemble of actors displays a high level of uniformity and showcases high skill levels. The script alternates between classic opera and theater seamlessly. The main actors display outstanding opera skills, further enhancing the artistic level and attractiveness of the play. The performance is of high quality, making it a masterpiece of the year.


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視覺藝術類入圍Works in the Visual Arts category

   

蔡明亮─鍋爐裡的劇場

蔡明亮應台北市文化局之邀,將原松山菸廠內極具特色的鍋爐房,轉換成了影像裝置的展場。

蔡明亮發現台北市有不少的地下道已變成了另一種閒置空間,但卻是一個凝聚過往時間情境的記憶體,蔡明亮以錄像裝置的方式,呈現了演員在劇場/地下道的演出片段,搭配餘音繞樑的老歌,混合了劇場與展場的空間性格,也因此產生了的另類的觀看經驗及空間感受。於此同時,他將一些回收的老舊物件──椅子、時鐘、電視等裝置於展場中,讓觀眾可以隨意坐下,談天、休憩,一邊喝著咖啡,一邊欣賞舊菸廠的建築風情和新置入的作品,感受到一種被時間雕塑的特殊美感與氛圍,並反思現代文明過度快速汰舊換新的消費觀。

【入圍理由】複審委員:蔣伯欣

近年來,蔡明亮由電影中關切空間作為慾望流動的命題,轉為在美術館內將影片放映於特定空間裝置而成的觀影場域,而《鍋爐裡的劇場》則是更進一步將展牆與銀幕合而為一的影像投映。蔡明亮以多層次的投映,結合在地下道拍攝的舞動身體、爐火中的影像、舊戲院座椅等不同介面,形成相互穿透疊映的非敘事活動影像,觀者彷彿可以在舊鍋爐房曾薰蒸滾動的熱氣中,穿透浸潤至不可見的觸覺記憶介面。此作將銀幕、展牆、影像、身體,帶向一融合性的視域形體,揭示了影像在跨域流變的豐富潛能。

 

Tsai, Ming-Liang - The Theater in the Boiler Room

On the invitation of the Taipei Department of Cultural Affairs, Tsai, Ming-Liang has turned a unique old boiler room in the old Songshan Tobacco Factory into an installation space.

Tsai, Ming-Liang discovered that in Taipei there werealready quite a lot of underpasses that have been turned into alternative “idle spaces”, but they are also a kind of memory medium in which the ambience of former times have congealed. Through a video installation, Tsai Ming-Liang has created a performance piece where an actor, simultaneously on a stage and in a tunnel, is paired with the sinuous and lingering sound of an old song, melding the characteristics of stage and performance space. It therefore produces a unique visual and spatial experience. In addition to all this, he has recycled some old-fashioned items—a chair, a clock, a television, and placed them in the installations, allowing the spectators to sit if they like, discuss, relax, drink coffee and enjoy the atmosphere of the old tobacco factory’s architecture and style as well as the art installations. After experiencing an extraordinary beauty and atmosphere molded by time, one can reflect on the hyper-fast consumerist nature of contemporary civilization.

"Nomination ReasonsCommentator: Chiang, Po-Shin

In the films of Tsai, Ming-Liang, he pays attention to spaces formed by flow of desire; in recent years, however, he has shifted his attention elsewhere, to the viewing site formed by spatial installations at which films are played inside museums. The Theatre in the Boiler Room is an image projection project with the exhibition wall and the silver screen further merged together. Through multilayered projection, Tsai combines different interfaces, such as the dancing bodies shot in an underground pass, the images in the furnace fire, and the old theatre seats, to form non-narrative motion images that pierce through and overlap one another. The viewers seem to be able to submerge and dive into the invisible interface of haptic memory through steam that was once rolling in the boiler room. The project merges the silver screen, the exhibition wall, images, and bodies into an integrated visual form, unveiling the great potential of images in interdisciplinary flow.

 

李俊陽─《仙仙仙,福浪共開花》妙工俊陽個展

李俊陽是典型非學院出身的民間藝術家,繪畫圖像的「軟絲」風格,明顯受到台灣草根文化的豐富滋養,同時包含了廟宇彩繪和電影看板藝術的繪圖技法,是從社會底層的熔爐中精煉出的一種藝術仙丹妙效,畫中各種仙佛人物的肢體語彙,充滿了台灣民俗信仰的神祕色彩、生命經驗和哲學辯證。

「福浪共開花」的「福浪共」源於台語的「浮浪貢 (phû-lōng-kòng)」,形容人兩光無用、不務正業,或是壞掉、該丟棄之物品。對於妙工俊陽而言,沒有什麼是不好的東西,甚至沒有什麼不能拿來創作。這個想法與高雄白屋正在做的事情不謀而合,他和李俊賢共同發起新台灣壁畫隊」創作與巡展計畫,現地作畫過程中除了看到一百多位台灣藝術家時時認真地做自己,也看到每個人因而開出自己美麗的花。

"入圍理由" 複審委員:林平

「浮浪郎」妙工李俊陽,從電影看板畫師和布袋戲雕刻入手,台中20號倉庫駐站,彷若是從江湖走入「藝術界」的敲門行動。這只是他生命哲學發展歷程中的推浪,看似不經意地隨緣,卻是在日常中結緣,持續醞釀他個人創作的隱流,進而遊走連結,顛覆「遊手好閒」的價值觀,鼓動台灣庶民社會中玩樂自在、無目的性的勞動美學。這次涵蓋在「白屋事件」中的個展和「新台灣壁畫隊」的發起與全程參與,全面性地開展他的創造性實踐和長久以來在學院外建構的知識體系,讓本土文化中「仙」般的生活意念,著實地演練在當代生活的行動中,以文會友,但求「呼好塗」,弔詭地成就了海島文化、另類的文人美學。

 

Li, Jun-Yang-Fairest Fairies Fair, Phû-lōng-kòng Blossom—Solo Exhibition of Ingenious Craftsman Jun-Yang

Li, Juan-Yang is a typical vernacular artist with no ties to the academy. His “Nńg-si (soft silk)” style of painted images shows the obvious influence and rich nourishment ofTaiwan grassroots culture, and at the same time includes the drawing styles of colorful temple paintings and the art of movie billboards. In his work, he has transmuted lower-class popular culture into an art with magical efficacy, including in his paintings the gestural vocabulary of immortals and Buddhist deities.

His work is full of Taiwanese popular beliefs and religious mystery, life experiences and philosophical investigations.

The title of the show comes from an expression in the Taiwanese language, phû-lōng-kòng, which refers to a stupid, useless person who does not engage in honest work, or to something that is broken and should be thrown away. But as far as the able craftsman Jun-Yang is concerned, there are no useless objects; for him there is nothing that cannot be used in artistic creation. This point of view happens to coincide with the current project of Bywood in Kaohsiung; they collaborated in starting a “Formosa Wall Paint Group”,producing site-specific paintings and in the process of which Li, Jun-Xian encountered many Taiwanese artists and experienced true artistic freedom, and gained insight into the creative potential of every person.

Nomination ReasonsCommentator: Lin, Ping

The “wanderer” master craftsman Li, Jun-Yang adopts cinema billboard paintings and glove puppet carving in this exhibition. His residency at the Taichung No. 20 Warehouse was as if street performers knocked at the doors of the artists. It is merely a pushing wave in the evolution of his philosophy of life. It looks unintentional, yet it is the accumulation of his crossings in life that continue to foster his creation. The artist’ s hidden wave roams on and connects the dots. He reverses the mainstream values and promotes the Taiwanese laborer’s aesthetics of playing at ease and having fun without a purpose. The artist’s solo exhibition in the Bywood Incident and his initiation and full participation in the Formosa Wall Paint Group open ways to his creative practice and knowledge system constructed outside of the schools. The living idea of “immortals” in the local Taiwan culture is actually practiced in modern living actions. The murals paradoxically complete the island culture and alternative aesthetics.

 

饒加恩─REM Sleep

饒加恩於北藝大畢業後,即赴巴黎、倫敦留學創作。異國文化、語言、族群的敏銳觀察和深入接觸,讓其對人際互動的現象和課題產生了嚴肅的關注,並衍生成為其一系列的創作。

饒加恩的創作內容一直圍繞著身份認同、邊緣性、美學與政治體制等社會文化議題,也因此他經常刻意放入異質性的元素或採取一種脈絡式的斷絕,來回應和批判僵化的體制,本次入圍作品《REM Sleep》明顯混合了藝術的政治性、媒體語言形式的操弄,針對1994年後,台灣政府的「南向政策」啟動了外籍勞工大量進入台灣後因而產生的一種社會變化和人文議題。此作援用紀錄片的概念手法,邀請來自印尼、菲律賓、泰國以及越南等不同國度的勞工們,面對鏡頭述說他們在異鄉的思鄉夢境。饒加恩試圖從這些不同的夢境陳述中,去歸納出全球化時代中,個體因經濟因素而遷移到異國他鄉時,新環境對他們的衝擊與影響。

"入圍理由" 複審委員:陳宏星

REM Sleep》是饒加恩創作體系的切片,也是當今台灣社會結構的切片。藝術家繼《Thaïndophiliviet泰國、印尼、菲律賓、越南外語學習營)之後,以「深度睡眠之眼球快速運動」為名,拍攝了來台工作之外籍勞工的夢醒時分。作品以類紀錄片的形式,讓離鄉者述說自己惡夢裡思鄉與憂慮的變體。在三組螢幕並置的安排下,這些異鄉人穿梭於現實(醒)與夢魘(睡)

之間;但或許所謂的「之間」並不存在,對於台灣社會底層的這些「他者」而言,現實即夢魘。雖然《REM Sleep》的形式是極為簡單的陳述呈現,但還有什麼內容是比離鄉的心酸更觸及人心的呢?

 

Jao, Chia-En- REM Sleep

After Jao, Chia-En graduated from the Taipei National University of the Arts, he went to London and Paris to study and work. Being abroad sharpened his perception of culture, language and cultural difference and stimulated deeper contact. He became seriously aware of the phenomena and issues around interpersonal relations, which gave rise to a string of different works.

Jao, Chia-En’s works constantly center on sociocultural questions of personal identity, marginality, aesthetics and politics, and because of this he often painstakingly inserts heterogeneous elements, and adopts a kind of systematic refusal, repeatedly echoing and critiquing a rigid system. The entry REM Sleep combines an aesthetic politics with a manipulation of the language of the media to address theTaiwan government’s “Go South” policy initiated in 1994 to bring in foreign workers on a large scale, and the social changes and issues that resulted from it. Using the conceptual means inherent in the documentary format, the work invited manual laborers fromIndonesia, thePhilippines,Thailand andVietnam to narrate, in front of the camera, the dreams they are having in foreign lands. From these dream narrations, the artist attempts to summarize the impact and effects on individuals of concrete factors of economics and migration to foreign countries in an era of globalization.

"Nomination Reasons" Commentator: Chen, Hung-Hsin

REM Sleep is a biopsy of Jao’s creative system and of contemporary Taiwan’s social structure. Following the project Thaïndophiliviet (foreign languages learning camp of Thai, Indonesian, Filipino, and Vietnamese), the artist captured the awakening moments of foreign laborers in Taiwan in the name of “fast eyeball movements in deep sleep.” In the form of a semi-documentary, the foreigners away from their hometowns describe their homesickness and anxiety in their nightmares. With three parallel screens, these foreigners wander between realities (awake) and nightmares (sleep), yet the so-called between state perhaps does not exist. For those living at the bottom of Taiwan’s society, the reality is a nightmare. Although REM Sleep presents the story in simple narration, what else will touch our hearts better than the agony of being away from home?

   

姚瑞中+失落社會檔案室─海市蜃樓—台灣閒置公共設施攝影計劃

「海市蜃樓」計劃是藝術家姚瑞中,發動北藝大與師大美術系120餘名學生共同組成「失落社會檔案室」(LSD),讓學生各自返鄉展開台灣各地「閒置公共建設」實地探查和攝影的文獻紀錄展,此展鋪陳了2010年3月至2011年10月期間,他們所蒐集到的258處完全閒置、低度使用、延宕開發以及解除列管與活化的「閒置公共建設」(俗稱「蚊子館」)案例照片及檔案。

本計劃透過出版與展覽形式,試圖勾勒出台灣社會的荒謬現狀,藉由圖鑑與短文,客觀呈現隱藏於都會和鄉野間各式「蚊子館」的來龍去脈;除了提供大眾反思的參考,也讓學子藉由攝影的客觀性喚起公民意識,也是對執事者提出一種針砭行動。

"入圍理由" 複審委員:陳泓易

海市蜃樓計畫以一種田野調查式的廣度與深度為基礎,對社會議題進行發聲;以彷彿日常生活的細節照相,卻串聯拼貼成一個巨大的張力,具體達到擾動社會發人深省的效應。近幾年台灣社會在抗爭形式的轉化過程中,許多藝術家積極參與並產生可觀的影響,然而如何能夠不流於以藝術之名的政治行動,不讓藝術被消費架空,這一點一直是創作者的困境。姚瑞中與其團隊以一種文學書寫的策略,在精微的日常敘述中,卻能深入到一般行動者無法企及的程度,從中折射出複雜的隱喻,進而凝聚出深刻感人的詩意。

 

Yao, Jui-Chung + Lost Society Document (LSD) - Mirage—Disused Public Property in Taiwan

Mirage is the project of artist Yao, Jui-Chung and launched through 120 students of theTaipeiNationalUniversity of the Arts and the National Taiwan Normal University Department of Fine Arts. They formed the Lost Social Documentary (LSD) collective, which had students go back to their respective homes inTaiwan and investigate and photographically document “disused public property”. From March of 2010 to October 2011, they assembled up to 258 disused public structures—also known as “Mosquito Halls”—that were abandoned, underused, whose opening was postponed, or whose approval or inauguration was rescinded. These were photographed and documented.

This project, through its publications and exhibitions, has attempted to delineate an absurdity in Taiwanese society, and by means of illustrations and short texts, to objectively reveal the hidden etiology of these “Mosquito Halls” in cities and in rural areas. In addition to providing the public a topic for reflection, it also allows scholars to awaken civic consciousness through the objectivity of photography, and to remonstrate with those who are responsible.

"Nomination Reasons" Commentator:Chen, Hong-Yi

The Mirage project addresses social issues on a basis with broadness and depth of a field study. Photographs that seem to capture the details in everyday life are put together, creating an enormous tension, which materializes into an effect that stirs the society and inspires people. In recent years, the form of protest is in a transition phase, as many artists are now actively participating in protests and have shown substantial influences. However, how to avoid having these protests becoming political actions disguised in the name of art—turning art into a mere slogan—has remained a great difficulty for the artists. Yao, Jui-Chung and his team adopt a literature writing strategy; through precise and detailed narratives in everyday life, they are able to examine the matters to a depth that other activists are unable to reach. Consequently, Yao and his team are able to reflect intricate metaphors that ultimately concentrate into an intense and touching poetic sense.

 

吳達坤(策展)─後民國—沒人共和國

《後民國》展覽是相對於「中華民國建國百年慶」的來臨,由吳達坤特別策劃的一個藝術參照展。本展邀集24位藝術家,就一個虛構的未來國度發想和創作──或對台灣的主體性做了不同提問;或點出島嶼居民未來生活的想像,或針對今日世界與未來時局展開批判。

《後民國》的展覽子題:「沒人共和國Republic without People」一語雙關地再現當下民眾對未來社會及政治之不確定性的焦慮感,繼而反映出今日世界正在擴張的一種去中心及去身分認同的集體意識形態。本質上,「後民國」既是策展人和創作者透過實體展覽虛擬介入現實的一個干擾運動,也展現了對所謂「官方說法」的一種批判意識。

"入圍理由" 複審委員:陳宏星

《後民國》統合了一群藝術好動份子,在中華民國歡慶建國一百年時,於「美麗島」之發源地揭竿起義,以戲謔為刺刀、詼諧當子彈,摧毀了沿路所有的「政治正確」碉堡,最後在這塊不被國際所認可的政權管轄地上,建立起相對於民國的藝術烏托邦。在奠基於過往歷史與文件的礎石上,藝術家們打造了介於童話與神話的國度,提供給中華遊魂一處無法安眠的居所,也讓過往的遊客有了一次難以抹滅的鬼屋經驗,驚悚中帶亢奮地,與民國之屍體進行了一場主體探索的遊戲。


Wu, Dar-Kuen (Curator) -People’s Republic of China— Republic without People

This exhibition, People’s Republic of China was specially planned by Wu, Dar-Kuen to coincide with the centenary of the birth of the Republic of China. Twenty-four artists were invited to speculate and to create works about an imaginary future country, to pose different inquiries about Taiwan itself today, to imagine the future lives of the residents of the island, or to carry out a critique of today’s world and the future political situation.

People’s Republic of China is subtitled “Republic Without People”, a pun that recreates the anxiety concerning the social and political uncertainties confronting the public at present. It also reflects a collective ideology spreading to the heart and very identity of today’s world. Essentially, People’s Republic of China is both an interventionist campaign by the curator and creator to fictitiously intervene in reality and a display of critical awareness with regards to “official speak”

"Nomination Reasons" Commentator: Chen, Hung-Hsin

Republic without People assembles a group of artists. As the R.O.C celebrated its 100th anniversary, the artists staged a revolution in the city where the Formosa Incident took place. The artists used sarcasm as knives and humor as bullets, to destroy all politically-correct strongholds along the way, and established an art utopia against the Republic of China, a country unrecognized by the majority of the world. On the foundation laid the keystone of history and past documents, the artists created a mythical and fairytale-like kingdom, providing the souls of the Republic of China a place they cannot rest in peace, and the visitors a memorable haunted house experience. With horror and excitement, a game of subject exploration versus the corpse of the Republic of China was carried out.


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    作品介紹 About the Artworks @ 台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei :: 痞客邦 PIXNET ::

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