2020臺北藝術節《攏是為著‧陳武康》
2020臺北藝術節《攏是為著‧陳武康》
2020 TAF "Dances for Wu-Kang Chen"
主辦:臺北市政府
「一年前,出於環境生態的考量,我的創作夥伴和我停止了所有需要搭機的行程。不飛了,我開始思考新的編舞實踐方式。去年在臺北藝術節,我們透過Skype,和全部來自當地的演出者,以及執行導演葉名樺與陳武康一起完成了《非跳不可》這個作品。整個過程非常令人滿足。不過,我仍希望進一步寫作獨舞譜,作為可清楚表達的傳遞媒介,那麼我便不必和舞者見面。就在我書寫這些舞譜的時候,新冠病毒迅速席捲全球。這個計畫因此變得更加迫切而必要,尤其因為各地的劇院都關閉了。策展人鄧富權和我決定在臺北藝術節繼續這項實驗,臺北藝術節也許是今年夏天這個特殊時節裡,唯一仍開放的平台。我馬上想到陳武康會是這項實驗的絕佳人選,這個新作品需要像他這樣出色、對新的經驗又抱持開放態度的人。」

傑宏 ・ 貝爾 (Jérôme Bel),二○二○年四月寫於巴黎

‘A year ago - for ecological reasons - my dance collaborators and I stopped all air-travel. Instead, I started contemplating new practices in choreography. Last year, for Taipei Arts Festival, we put together via Skype communication, the performance "The Show Must Go On" with an all-local cast and co-directors Ming-hwa Yeh and Wu-Kang Chen. It was a truly satisfying process. But still, I wish to go further by writing solo dance scores which are eloquent transmissions, so that I do not have to meet the dancer. Whilst I was formulating the dance scores, the Coronavirus crisis started spreading fast across the globe. This project thus became all the more urgent and necessary, especially since theatres everywhere were shutting down. Curator Tang Fu Kuen and I decided to carry out this experiment in the Festival, perhaps the only summer platform to remain open in this exceptional year. Very quickly, I thought the ideal dancer would be Wu-Kang Chen. This new piece entails someone like him who is both skilful and open to new experience. ‘

Jérôme Bel, April 2020, Paris.

【演出團隊】

臺灣|陳武康
出生臺灣,2001年與紐約編舞家Eliot Feld 展開12年長期合作,擔任舞者,受其影響極深。2004年與友共創驫舞劇場,擔任藝術總監一職至今。2007年《速度》獲台新藝術獎表演藝術大獎。2009年任臺北聽障奧運開幕式舞蹈總監。2012年《兩男關係》獲德國科特尤斯編舞大賽首獎。2011年開始與不同領域藝術家進行跨界創作,包括展覽結合演出的《繼承者》,以及即興創作平台《混沌聲響》(與即興音樂鋼琴家李世揚共同策劃)等。2016年開始與泰國當代舞蹈大師皮歇・克朗淳(Pichet Klunchun)進行跨國文化交流與實地探究計畫,創作《半身相》(2018),同時展開三年計畫《打開羅摩衍那的身體史詩》。2019年臺北藝術節《非跳不可》擔任導演執行,同年於大觀國際表演藝術節擔任驫舞劇場《非常感謝您的參與》概念創作、編舞暨演出。

Chen Wu-Kang, Taiwan
Born in Taiwan, Wu-Kang started his 12-year collaboration with New York -based choreographer Eliot Feld in 2001, whose practice influenced him greatly. In 2004, he co-founded HORSE Dance Theatre as artistic director, significant works of the company include Velocity (2007, Tai shin Art Award), 2 Men (2012, Kurt Jooss Preis) which toured in Asia, the US, and Europe. He was the dance director for the opening of the Deaflympics in 2009. He started to collaborate with Artist indifferent fields in 2011, including Exhibition X Performance Successor, and Dance X Sounds seasonal improvisation platform Primal Chaos (co-curated with improvisation pianist, Lee Shih-Yang since 2016). In 2016, he began an intercultural/dance dialogue with Thai master Pichet Klunchun. They presented Behalf in 2018. The two is currently collaborating on the three-year project “An expedition to the embodiment of Ramayana”. In 2019, he was the stage direction of “The show must go on” in Taipei Arts Festival. The same year, he was the conception, choreographer and dancer for “Thank you so much for your time” in DAGUAN International Performing Arts Festival.

法國|傑宏・貝爾 (Jérôme Bel)
在其早期作品(傑宏・貝爾命名為《Shirtology》),傑宏・貝爾運用結構手法來跳舞,從劇場奇觀中凸顯基本元素。中和形式準則以及傑宏・貝爾自編舞語彙所拉出的距離,讓傑宏・貝爾得以將作品簡化為最低運作限度,更能引發關於舞台、關於台上身體之經濟的批判性思考。

傑宏・貝爾接著將興趣自舞蹈作為舞台實踐,轉移至表演者作為特定個體之相關議題。一系列對於舞者的刻畫(維若妮克.多斯諾Véronique Doisneau、賽德里克.安德列斯Cédric Andrieux與伊莎朵拉·鄧肯),透過實踐者的故事,引發了關於舞蹈的討論,在舞蹈奇觀(spectacle)中彰顯文字,並強調舞台的特殊性。在此,形式與機制之批判,藉論述而呈現出某種解構之形,以顛覆之姿激化了與編舞的關係。
傑宏・貝爾透過對自傳形式的運用,進一步極端化他的提問,且同時意識到此主題在當代社會中、抑或是此形式在舞台上再現的方式所面臨的危機。在《非跳不可》(The show must go on)的原初形式中,傑宏・貝爾試圖處理劇場就政治意義而言還可以是什麼?並在後續作品如《障礙者劇場》(Disabled Theater)與《歡聚今宵》(Gala)中得到凸顯。他將舞台讓給非典型表演者(素人、身心障礙者、兒童等),偏好多元群體更甚於格式化的團體,懷抱著讓跳舞超越編舞的渴望,並適切地實踐「以藝術達成解放」之過程。

傑宏・貝爾多次於當代藝術雙年展與美術館(泰特現代藝術館、現代藝術博物館、第13 屆卡塞爾文件大展、羅浮宮等)展出影片或演出呈現。其中兩支作品《維若妮克.多斯諾》(Véronique Doisneau)與《Shirtology》為龐畢度國家藝術和文化中心所典藏。傑宏・貝爾也頻繁受邀於早稻田、史丹福、UCLA 等大學演講。2013年,傑宏・貝爾與編舞家波赫士.夏瑪茲(Boris Charmatz)合著《電子郵件2009-2010》(Emails 2009-2010)一書,由Les Presses du Réel出版社發行。

2005年,傑宏・貝爾以《非跳不可》獲紐約舞蹈與表演獎(又稱貝西獎)肯定。三年後,他與皮歇.克朗淳共同以《泰國製造》(Pichet Klunchun and Myself)獲頒歐洲文化基金會的ECF Princess Margriet多元文化獎。《障礙者劇場》則於2013年入選柏林戲劇盛會,並得到瑞士「今日舞蹈創作」獎肯定。

Jérôme Bel, France
In his early pieces, Jérôme Bel applied structuralist operations to dance in order to single out the primary elements from theatrical spectacle.

His interest subsequently shifted from dance as a stage practice to the issue of the performer as a particular individual. The series of portraits of dancers broaches dance through the narrative of those who practice it, emphasizes words in a dance spectacle, and stresses the issue of the singularity of the stage.

Through his use of biography, Jérôme Bel politicizes his questions, aware as he is of the crisis involving the subject in contemporary society and the forms its representation takes on stage. In offering the stage to non-traditional performers, he shows a preference for the community of differences over the formatted group, and a desire to dance over choreography, and duly applies the methods of a process of emancipation through art.
In 2005, Jérôme Bel received a Bessie Award for the performances of The show must go on given in New York. In 2008, with Pichet Klunchun, he won the Routes Princesse Margriet Award for Cultural Diversity (European Cultural Foundation) for the performance Pichet Klunchun and myself. Disabled Theater was chosen in 2013 for the Theatertreffen in Berlin and won the Swiss “present-day dance creation” prize.


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75分鐘,無中場休息。中文演出,無字幕。
2. 遲到觀眾無法入場,亦無法退換票。
3. 本演出有裸露片段,請自行斟酌入場。
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