2020臺北藝術節《No.60》
2020臺北藝術節《No.60》
2020 TAF "No.60"
主辦:臺北市政府
「在泰國傳統舞蹈 ──箜舞(Khon)中,身體有五十九個動作。而我們將創建第六十號。」這是皮歇・克朗淳(Pichet Klunchun)最富含溫柔的反叛。

泰國傳統舞蹈被視為國家無形文化資產,其中箜舞更背負著不容質疑的訓練教規與意識型態,傳統訓練下,舞者必須以強記死背的方式去複製五十九個動作直到分毫不差的完美狀態。但是,舞與跳它的人之間,又該有著怎麼樣的關係呢?從過去到此刻,「傳統」面臨到它的承接者們以代代不同的觀念思考自身,於是承接者的樣貌變了,落在其中的傳統,也將因此變身。

皮歇・克朗淳以兩個關鍵的提問「我是誰?」、「我的舞是什麼?」,以「解構」來「建構」傳統在當代的新生。 歷經二十多年, 他剖析箜舞中的五十九個基本動作跟服裝系統,在反覆辯證與實作中將其分類為六大原則,並以手繪的舞譜和筆記加以呈現,藉此,年輕一代的舞者便有足夠的資訊可以理性透析,找到學習傳統舞的思想著力點,而在傳統的精神骨幹之上,生長出擁有個體思維形狀的枝枒。叛逆有時是為了活起來,而人的鮮活,便是藝術的彰顯。

《No.60》一作揭露了學院訓練體系的嚴密,但同時也展現了解構後的即興,兩者相生,將傳統與創新的糾結,纏繞成一縷新的意念,在持續流動的反身檢視中,合舞成一場再忠實不過的繼承與交流。

No.60 is a treatise on Pichet Klunchun’s research over 2 decades on the language of Thai traditional dance. Stripping the classical form of its accoutrement, Pichet scrutinizes the basic 59 poses and movements of the Theppanom canon which all Thai classical dancers learn by rote drill. He then generates 6 new principles that undergird the 700-year-old system and shares a manual of diagrams and notes – thus creating a new transmission for the young generation to think and learn rationally, free of mysticism and ideological imposition of history.

No.60 constitutes 2 choreographic enactments of Pichet’s philosophy of relativity and fluidity. The first one applies the formal logic of abstraction, cool and contemporary. The second one is more mimetic and affective, closer to the expressive nature of Khon dance. Each study reflexively breaks down its choreography for us to observe the rigour of an academic approach and also the potential of structured improvisation for future Thai traditional dance .

As No.60 unfixes the rigidity of classicism, it also embraces the sense and soul of Thai legacy. A sinewy dialogue between tradition and innovation as they inhabit and circulate the same continuum, not as binary opposites, to instigate individual thought and motility in the times of autocracy.

【演出團隊】

泰國|皮歇.克朗淳 (Pichet Klunchun)
皮歇.克朗淳在作品中結合傳統泰國古典舞蹈語彙與當代表現,同時保有傳統既有的心性與智慧。他自16歲起接受箜舞(Khon,泰國古典宮廷面具歌舞)訓練,師事技藝頂尖的泰國箜舞大師柴佑.庫馬尼(Chaiyot Khummanee)。在過去的十五年間,皮歇也因其致力於「箜舞當代化」的發展,而在泰國國內遭受不少非議。然而,他持續參與北美、亞洲與歐洲等地舉辦的跨文化表演藝術節,在多年努力下,得到不少國際大獎肯定:2008年12月9日,歐洲文化基金會的ECF Princess Margriet多元文化獎,此獎設立是為表揚多元文化領域之藝術家與思想家如何協助對抗因「他者」而生的恐懼與輕蔑所做的努力。
2012年,法國文化部頒發藝術與文學勳章,肯定其在法國、泰國甚至全世界的文化影響。
2014年4月,亞洲文化協會(Asian Cultural Council)約翰·洛克菲勒三世獎( John D. Rockefeller 3rd Award),此獎專為來自亞洲或美國之人士所設立,表彰個人為亞洲視覺藝術或表演藝術之國際交流、實踐或研究項目帶來的傑出貢獻。

Pichet Klunchun, Thailand

Pichet Klunchun bridges traditional Thai Classical Dance language with contemporary sensibility, while keeping the heart and wisdom of the convention. He trained in Thai Classical Mask Dance, Khon, from age 16 with Chaiyot Khummanee, one of the best Khon masters in Thailand. Over the past 15 years, Pichet has earned domestic notoriety for his efforts in contemporising Khon. He has continuously participated in intercultural performing arts festivals in North America, Asia and Europe. Over the long time of hard work, Pichet achieved many honorable world-class awards. On December 9, 2008, he received ‘Routes’ ECF Princess Margriet Award for Cultural Diversity from European Cultural Foundation. The purpose of the award is to honor artists and thinkers in the field of cultural diversity for helping to combat fear and disrespect of ‘the other’. In 2012, Pichet received "Chevalier of the French Arts and Literature Order" from the French Ministry of Culture for his contribution to the influence of Culture in France, in Thailand and all over the world. In April 2014, Pichet was awarded the John D. Rockefeller 3rd Award by the Asian Cultural Council which is the award given to an individual from Asia or the United States who has made a significant contribution to the international understanding, practice, or study of the visual or performing arts of Asia.


主辦單位:臺北市政府
承辦單位:臺北市政府文化局、財團法人台北市文化基金會、臺北表演藝術中心


【注意事項】

1. 演出長度60分鐘,無中場休息。
2. 為維護觀賞品質,節目開演後恕無法入場。請提早到場,準時入座。
3.為配合疫情防範措施,入場需全程配戴口罩,若未戴口罩者,水源劇場館方將婉拒入場。
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