● 生活卡9折
\n\n● 青年卡75折
\n\n● 適用無限卡卡友
\n\n● 會員優惠詳見會員優惠辦法
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衛武營的舞蹈、馬戲與當代音樂三大平台,扮演著串連國內外專業表演藝術社群的重要角色,2019年首次舉辦的「衛武營TIFA當代音樂平台」透過音樂展演、人才培訓、創意實驗與實踐,由多面向破解當代音樂密碼,降低大眾對當代音樂的陌生與恐懼。2020年,諸多表演節目因政府防疫措施而取消,經過了一年,臺灣不但疫情控制卓著,藝文活動也能正常進行,「2021衛武營TIFA當代音樂平台」也回來了。
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「2021衛武營TIFA當代音樂平台」的系列節目分布在衛武營五個不同的表演場域,並以「女性」、「亞洲力量」為兩大策展概念。在音樂廳舉行的開幕音樂會,以目前全球樂壇最具代表性與影響力的韓裔旅德作曲家陳銀淑之重要管絃樂作品貫穿全場;在高雄出生、基隆成長、目前定居紐約的鋼琴家林佳靜將在表演廳帶來兩位當代音樂巨人的鋼琴作品。在戲劇院登場的是《共鳴体》,由動見体核心藝術家林桂如、聲音裝置藝術家王仲堃和打擊樂團「自由擊」攜手合作,透過機械裝置、燈光、擊樂、肢體等形塑出由聽覺、視覺、觀演關係組成的演出。在榕樹廣場呈現的《在.不在》由三位舞蹈家與四位演奏家共同打造,以「樂舞共生」的本質,讓觀眾零距離感受表演中的「身聲交流」。在藝術迴廊則有KNM柏林新音樂室內樂團的《閱讀音樂》計畫放映,包括來自臺灣、德國、阿根廷與墨西哥的六位作曲家參與,他們以錄像規格創作,企圖凸顯當代音樂「以文本替代五線譜」的獨特之處。選擇在藝術迴廊播映,更讓觀眾感受當代音樂在非典型空間的非常規創作方式與結果。
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\n無論是業界人士,或是有點好奇卻又有點恐懼的初來者,我們都誠摯歡迎大家踏出一步,進入「衛武營TIFA當代音樂平台」的繽紛世界,在這裡隨著音樂與身體脈動,一起呼吸、一起聆聽。
策展人的話
\n\n衛武營當代音樂平台策展人|林芳宜
\n\n攝影:陳又維
\n\n國際當代樂壇的亞洲女力
\n\n「亞洲文化」與「女性」,一向是藝術研究的兩大領域,而亞洲女性作曲家在當代音樂上的成就,亦是國際樂壇的發展脈絡裡,極被注目的一環。從透過西方學院系統的訓練,傳達自身的文化基因,到全球化之後開始回溯母文化的探索與滋養,亞洲女性作曲家在西方龐大的音樂產業網絡中,以獨特的美學和藝術語彙,在一百年的新音樂史上寫下豐富的篇章。
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\n 德國音樂學學者狄貝流士(Ulrich Dibelius)以第二次世界大戰結束的1945年作為當代音樂的起始點,以區分大戰前的「現代音樂」(Moderne Musik) ,戰爭帶給整個社會結構與人文發展巨大的影響,其中國家之間的交流和人口的遷移,對於藝術發展更帶來推波助瀾的效能。戰後首位名列樂壇的亞洲女性作曲家為來自南韓的朴泳姬(Younghi Pagh-Paan, 1945-)。一如亞洲許多戰後第一代的藝術家,朴泳姬在首爾大學完成西方音樂學與作曲的完整教育後,獲得德國學術交流總署獎學金(DAAD), 帶著母文化的美學薰陶,赴歐洲歷練東西方的文化衝擊與最前衛的藝術創作方法。1980年她在德國最悠久的現代音樂節--多瑙耳辛根音樂日(Donaueschinger Musiktagen)發表大型管弦樂作品《Sori》,受到樂壇矚目,並以此開啟作曲家生涯。朴泳姬的作品緊密結合韓國傳統文化的涵養和西方音樂學的嚴謹,從藝術品鑑賞的角度來說,正是能夠窺見創作者美學風格和藝術哲思,同時又禁得起學術分析、具備技術含量的作品,這讓她在幾乎清一色男性作曲家的年代,樹立日後成為典範的基礎。朴泳姬同時也是當代音樂史上,不可忽略的一位教師,多年在德國不來梅音樂院(Hochschule für Künste Bremen)任教並在該校創立「新音樂工作坊」(Atelier Neue Musik) ,透過作品演練與實踐,培訓新生代創作者與演奏者,同時也多年於最重要的當代音樂人才搖籃-達姆城假日學校(Darmstädter Ferienkurse)擔任導師,2020年她獲頒「柏林藝術大獎」(Großer Berliner Kunstpreis),是該獎項自1948年創立至今唯一亞洲女性。
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繼朴泳姬之後,來自中國的陳怡(Chen Yi, 1953- )為中國文化大革命之後第一批得以接受大學教育的音樂家,她與中央音樂院的同班同學譚盾(Tan Dun,1957-)、郭文景(Guo Wenjing,1956-)、陳其綱(Chen Qigang,1951-)等人被稱為「中國第五代作曲家」,都在文革期間歷經「知青下鄉」並擁有豐富的民族音樂采風經驗。第五代作曲家在完成國內教育後,大部分前往美國與歐洲,接收西方前衛音樂的創作訓練,而他們所帶來的中國元素與中國絲竹樂器,為西方樂壇帶來一股風潮。陳怡於1986年前往美國,拜在周文中(Chou Wen-chung)門下,作為第五代曲家在西方國家發展的唯一女性,她不似譚盾等人在作品中大量引用民樂,而是承襲周文中以西方前衛技法探究中國美學的發展路線,加上陳怡自幼學習小提琴,西樂基礎和樂團經驗深厚,讓她的作品無論是在技法或架構格局上,都能呈現更高的藝術性。陳怡於2006以作品《四季》獲頒普立茲音樂獎(Pulitzer Prize for Music),是首位獲得此獎項的亞裔作曲家。
\n\n戰後第一代的藝術家背靠傳統、面向前衛、大破大立,無論是西方音樂的傳統或是母文化傳統,都不難在其作品中窺見,而第二代藝術家則乘著全球化的風潮與隨著科技而來的多媒材,開啟百家齊鳴的世代,其中最具代表性的人物當屬來自韓國的陳銀淑(Chin Unsuk, 1961-)和來自日本的向井山朋子(Tomoko Mukaiyama, 1963-)。陳銀淑先於首爾大學主修作曲,極早即獲得國際獎項,後取得德國學術交流總署獎學金前往德國深造。1985年1988年師從李給悌(György Ligeti)期間,她並無繼續參賽和正式發表作品,而是潛心解構僵化的後音列技法,在理論與美學實踐之間,找到自己的音樂語彙。這個蛻變過程,常可見於來自理論先行於創意表達的國家--通常也是非西方古典音樂的主流國家,而這也正是學習一種「外來文化」藝術創作方法的必經過程。陳銀淑的作品並不特別標榜亞洲素材,亦不強調文化根源,而是以精湛的創作技法實踐聲響藝術。陳銀淑的作曲家生涯發展緊密連結當代音樂的產業網絡,是現今當代樂壇壇最活躍、也最受矚目的亞洲女性作曲家。
\n相較於陳銀淑,以演奏當代音樂崛起歐洲樂壇的鋼琴家向井山朋子,嚴格說來並不在作曲家之列,然而多年來,她融合演奏、視覺藝術、劇場藝術與行為藝術的跨域製作,無論是創意、藝術性或數量、製作規模,放眼國際樂壇,鮮少音樂家能夠與之比擬。向井山朋子的作品無疑完全展現「國際公民」的特點:不以國界自限、不以文化特色為訴求,而是直取各藝術領域的本質,並扣緊各類藝術的當代脈動。
同樣來自日本的望月京(Misato Mochizuki, 1969-)屬於接收全球化隨之而來的大量文化資源、同時也開始回望母文化相貌的世代。她在東京大學取得碩士學位後,前往巴黎深造,承襲了法國當代音樂的聲響色彩與東方的美學哲思,因此在她的作品中,可看到西方的精準和東方的自由並存。這種反應全球人文發展的特質,一直延續至今,相較於獲得主流國家的認可,新世代的亞洲作曲家更追求自我的表達和個人風格。來自中國的王穎(Wang Ying, 1976-)和杜韻(Du Yun, 1977-)同樣畢業於上海音樂院,王穎前往德國、杜韻則選擇美國,兩人朝截然不同的美學風格發展,卻都不再乘載亞洲文化的傳承包袱。 王穎結合德法當代音樂的優點、掌握西方樂器、絲竹樂器、電聲與多媒材,兼具嚴謹結構和聲響創意的作品,不刻意鋪排設計屬於中國或亞洲的傳統,但來自傳統的美學語彙卻也不時顯露在作品的脈絡中。杜韻則將一位藝術家的國際性發揮得淋漓盡致,並在高度國際化的同時,直面非主流文化的發展議題。杜韻可謂最不設限的創作者、表演者與策展人,作品風格涵蓋嘻哈、戲曲、古典和流行,透過策展與製作,她開啟一個新世代--不再以外來者角度,融入歐美音樂產業與網絡,而是以個人的藝術實踐,在縝密的既有產業結構中,建立新的社交與發展網絡,進而站在世界的高度探索自身的文化淵源。杜韻的多功發展讓她成為第二位普立茲音樂獎的亞洲女性藝術家。
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亞洲女性作曲家的數量並不少,然而即使當代音樂是極小眾的藝術,創作者仍無法自外於社會連結,綜觀這幾位作曲家的職涯發展,不難發現創作與社交網絡是相輔相成的,她們都是在亞洲完成大學教育、成年後才移居歐洲繼續深造,對她們而言,難以克服的從來不是創作技法的學習和演練,而是由主流國家和男性掌握多數發語權的產業暨社交結構。她們目前各居一方、作品在全球不間斷被演出,同時也持續書寫音樂史中,屬於亞洲女性的章節。
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Words from Executive and Artistic Director
\n\nNational Kaohsiung Center for the Arts (Weiwuying), Executive and Artistic Director |CHIEN Wen-Pin
\n\nTaiwan Dance Platform, Weiwuying Circus Platform, and TIFA Contemporary Music Platform in Weiwuying play an important role in connecting Taiwanese and International professional performing arts communities. Inaugurated in 2019, Weiwuying TIFA Contemporary Music Platform had successfully led the public to understand and overcome the fear of contemporary music through holding a variety of events and activities, including music exhibitions and performances, talent cultivation workshops, creative experiments and practices. In 2020, many art programs were cancelled due to the government's pandemic prevention policies. However, in the past year, Taiwan has exhibited great control of the pandemic, with many art events taking place as planned, including the return of the Weiwuying TIFA Contemporary Music Platform.
\n\nThe 2021 Weiwuying TIFA Contemporary Music Platform takes place in Weiwuying's five different venues and are based on the two major curation themes of "female" and "Asian strength". The Opening Concert will take place in the Concert Hall, featuring the important orchestral works of German-based Unsuk CHIN, one of the most representative and impactful ethnic-Korean composers globally today. In the Recital Hall, New York-based Jenny LIN, born in Kaohsiung and raised in Keelung, will present the piano works of two leading contemporary composers. In the Playhouse, artist LIN Kuei-ju from M.O.V.E. Theatre will collaborate with sound installation artist WANG Chung-kun and percussion ensemble Freedom Beat to present Resonance: Into the Maze, which combines mechanical devices, lighting, percussion sounds, and body movements to present a performance consisting of aural and visual experiences as well as interactions between the performers and the audience. Here and Now at Banyan Plaza will be presented by three dancers and four instrumentalists and uses the essence of "coexistence of music and dance" to allow the audience to closely observe how body and sound interact. Weiwuying Art Gallery will show a screening of KNM Berlin's Tunings of the World 2.0, which involved six composers from Taiwan, Germany, Argentina, and Mexico who used the composition method of video recordings to show the uniqueness of substituting staff with text in contemporary music. The Art Gallery was selected as the location for the screening so as to allow the audience to experience how contemporary music is performed and how it sounds in an uncommon performing space.
\n\nWhether you are a professional musician, or a newcomer with a little bit of curiosity and fear, we welcome you to step into the colorful world of Weiwuying TIFA Contemporary Music Platform, where we can breathe and listen together with music and bodily rhythms.
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Words from the Curator
\n\nCurator, Weiwuying Contemporary Music Platform|LIN Fang-Yi
\n\n©CHEN You-wei
\n\nAsian Female Power in the International Contemporary Music World
\n\n"Asian culture" and "female" have persisted as two major fields in art studies. Moreover, the achievements of Asian females in contemporary music have received tremendous attention within the developing context of the international music world. From expressing one's cultural inheritance through systematic training in Western schools, to returning to the exploration and nurturing of one's mother culture post-globalization, Asian female composers have, within the colossal network of the Western music industry, created a rich collection of works in 100 years of new music history through their unique aesthetic and artistic vocabularies.
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German music scholar Ulrich Dibelius used 1945, the ending year of WWII, as the starting point for contemporary music and the point of differentiation from ModerneMusik (modern music) before WWII. The War brought a huge impact on social structure and cultural development, wherein the interaction and immigration between countries further accelerated artistic development. Korean composer Younghi Pagh-Paan (1945-) was the first renowned Asian female composer post-war. Like many first-generation artists after the war, after completing her study of musicology and composition at Seoul National University, she won the German Academic Exchange Service and carried the aesthetic influence of her mother culture with her as she headed to Europe, where she learned the cultural impact between East and West and the most avant-garde musical styles. In 1980, she received the attention of the musical world when she presented her large-scale orchestral work Sori at DonaueschingerMusiktagen, the most longstanding modern music festival in Germany, with her composing career thus taking off. Younghi Pagh-Paan's works combine the restraint of traditional Korean culture and the rigorousness of Western music. From the perspective of art-appreciation, one is precisely able to see the artist's aesthetic style and artistic thinking. At the same time, her works withstand academic analysis and are rich in artistic techniques, laying the foundation for her to become a paragon in the later era made up almost exclusively of male composers. Younghi Pagh-Paan is also a prominent teacher in contemporary music history. She has taught for many years at Hochschule für Künste Bremen in Germany, where she created the contemporary music workshop Atelier Neue Musik, which cultivates new composers and performers through the practice and actualization of works. She was also a long-time mentor at Darmstädter Ferienkurse, the most important spot for the cultivation of contemporary music talents. In 2020, she was awarded Großer Berliner Kunstpreis (Berlin Art Prize) and is the only Asian woman to receive the award since the award's establishment in 1948.
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In succession to Pagh-Paan, Chinese composer Chen Yi (1953-) was among the first generation to be able to attend university after the Cultural Revolution. She, together with her classmates at Central Conservatory of Music, Tan Dun (1957-), Guo Wenjing (1956-), and Chen Qigang (1951-), were named by the people as the "5th generation composers of China"; they all experienced the "sent-down educated youth" program and had rich experiences in ethnomusicology. Composers of the 5th generation usually go to the US or Europe after completing education in China to learn the avant-garde style of Western music, where the Chinese musical elements and Chinese traditional instruments that they bring along also became a trend in the Western music world. Chen Yi went to the US in 1986, where she studied with Chou Wen-chung. As the only female among the 5th generation composers, Chou did not incorporate large amounts of Chinese folk music in her works like Tan Dun, but instead inherited Chou Wen-chung's development path of using Western avant-garde techniques to explore Chinese aesthetics. Chen Yi also started playing the violin at a young age and thus had a solid foundation in Western music as well as abundant experience playing in the orchestra. Therefore, her works demonstrate a sublime level of artistry in terms of techniques and structures. Chen Yi was awarded the 2006 Pulitzer Prize for Music with Si Ji and was the first Asian composer to win this award. The first post-war generation was rooted in tradition and progressed towards the avant-garde and breaking the norm; thus, one sees both Western musical traditions and traditions of the composers' own countries in their works. Meanwhile the second generation, with globalization and the multimedia brought about by technological advancements, initiated an era where many school of thoughts prospered. The most representative among these composers were Chin Unsuk (1961-) and Tomoko Mukaiyama (1963-).Chin Unsuk majored in composition in Seoul National University and was awarded an international award at an early age. She later received the German Academic Exchange Service to study in Germany. While studying with György Ligeti from 1985 to 1988, she did not participate in any competitions or premier any works; instead, she committed herself to deconstructing post serial techniques that had already become rigid, and through a balance of theory and aesthetic practice, finding her own musical language. Such a metamorphosis is often seen in countries where theory comes before creative expression, which are usually not the mainstream countries that come to mind when one thinks of Western classical music. This is also a necessary process for learning the composition methods of a foreign culture. Chin Unsuk's works do not specifically feature Asian elements or cultural origins; instead, sound art is demonstrated through the use of virtuosic composing techniques. The development of Chin Unsuk's composition career is closely tied with the network of the contemporary music industry, and she is the most active and prominent Asian female composer in today's contemporary music world.
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Compared to Chin Unsuk, Tomoko Mukaiyama, a pianist who emerged in the European music world as a contemporary music performer, is not a composer strictly speaking. However, she has participated in interdisciplinary projects that combine music performance, visual art, theater art and the behavioral art for many years. In the international music world, few musicians can compete with her in regards to creativity, artistry, and numbers and scales of creation. Tomoko Mukaiyama's works fully demonstrate the characteristics of what it means to be an international citizen: free of self-imposed national boundaries and the seeking of cultural characteristics; instead, she directly touches upon the core of each art field and closely follows their modern developments.
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\nAlso from Japan, Misato Mochizuki (1969-) belongs to the generation that began looking back at one's mother culture after receiving huge amount of culture resources due to globalization. After receiving her master’s degree from University of Tokyo, she continued her studies in Paris, inheriting both French contemporary acoustic colors and Eastern aesthetic thinking. Therefore, in her works one sees both the precision of the West and the freedom of the East. Such a quality that reflects the global cultural development has continued to today. Compared to gaining recognition from mainstream countries, Asian composers of the new generation focus more on self-expression and the development of their own styles. Chinese composers Wang Ying (1976-) and Du Yun (1977) both graduated from the Shanghai Conservatory of Music, after which Wang Ying went to Germany and Du Yun went to the US. Though they undertook drastically different paths of aesthetic development, neither continued to undertake the burden of passing on the Asian culture. Wang Ying combines the merits of German and French contemporary music with Western instruments, traditional Chinese instruments, electronics, and multimedia, creating works with precise structures and acoustic creativity. She does not intentionally exhibit Chinese or Asian traditions, but the Chinese traditional aesthetic language does occasionally present itself in her works. Du Yun, on the other hand, brings the internationality of an artist into full play; and amidst a high-degree of internationalization, she also directly addresses the development topics of non-mainstream culture. Du Yun can be said to be the artist, performer, and curator with the least boundaries, with her works including the styles of hip-hop, Chinese dramas, Western classical music, and pop music. Through curating for and producing projects, she opened a new era where one no longer incorporates the European/American music industry and network as an outsider; instead, the actualization of one's own art is used to establish a new social and development network within the closely knitted structure of the music industry, which is further used to explore one's own cultural context from a global perspective. Du Yun's multi-functional development allowed her to become the second Asian female artist to win the Pulitzer Prize for Music.
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\nAlthough Asian female composers are not small in number, it is still hard for them to connect with society despite contemporary music being a non-mainstream art form. From the career development of the above composers, we can see how work creation and social network are closely related. They all continued their studies in Europe and the US after coming of age and completing college education in Asia. For them, the real challenge does not lie in leaning new composition techniques and practices, but in the industrial and social structure whose speaking rights are predominantly controlled by mainstream countries and males. They have each built their own reputations and statuses, and as their works continue to be performed around the world, they continue to write new chapters for the Asian female in music history.
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總監的話
\n\n衛武營國家藝術文化中心 藝術總監|簡文彬
\n\n衛武營的舞蹈、馬戲與當代音樂三大平台,扮演著串連國內外專業表演藝術社群的重要角色,2019年首次舉辦的「衛武營TIFA當代音樂平台」透過音樂展演、人才培訓、創意實驗與實踐,由多面向破解當代音樂密碼,降低大眾對當代音樂的陌生與恐懼。2020年,諸多表演節目因政府防疫措施而取消,經過了一年,臺灣不但疫情控制卓著,藝文活動也能正常進行,「2021衛武營TIFA當代音樂平台」也回來了。
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「2021衛武營TIFA當代音樂平台」的系列節目分布在衛武營五個不同的表演場域,並以「女性」、「亞洲力量」為兩大策展概念。在音樂廳舉行的開幕音樂會,以目前全球樂壇最具代表性與影響力的韓裔旅德作曲家陳銀淑之重要管絃樂作品貫穿全場;在高雄出生、基隆成長、目前定居紐約的鋼琴家林佳靜將在表演廳帶來兩位當代音樂巨人的鋼琴作品。在戲劇院登場的是《共鳴体》,由動見体核心藝術家林桂如、聲音裝置藝術家王仲堃和打擊樂團「自由擊」攜手合作,透過機械裝置、燈光、擊樂、肢體等形塑出由聽覺、視覺、觀演關係組成的演出。在榕樹廣場呈現的《在.不在》由三位舞蹈家與四位演奏家共同打造,以「樂舞共生」的本質,讓觀眾零距離感受表演中的「身聲交流」。在藝術迴廊則有KNM柏林新音樂室內樂團的《閱讀音樂》計畫放映,包括來自臺灣、德國、阿根廷與墨西哥的六位作曲家參與,他們以錄像規格創作,企圖凸顯當代音樂「以文本替代五線譜」的獨特之處。選擇在藝術迴廊播映,更讓觀眾感受當代音樂在非典型空間的非常規創作方式與結果。
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\n無論是業界人士,或是有點好奇卻又有點恐懼的初來者,我們都誠摯歡迎大家踏出一步,進入「衛武營TIFA當代音樂平台」的繽紛世界,在這裡隨著音樂與身體脈動,一起呼吸、一起聆聽。
策展人的話
\n\n衛武營當代音樂平台策展人|林芳宜
\n\n攝影:陳又維
\n\n國際當代樂壇的亞洲女力
\n\n「亞洲文化」與「女性」,一向是藝術研究的兩大領域,而亞洲女性作曲家在當代音樂上的成就,亦是國際樂壇的發展脈絡裡,極被注目的一環。從透過西方學院系統的訓練,傳達自身的文化基因,到全球化之後開始回溯母文化的探索與滋養,亞洲女性作曲家在西方龐大的音樂產業網絡中,以獨特的美學和藝術語彙,在一百年的新音樂史上寫下豐富的篇章。
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\n 德國音樂學學者狄貝流士(Ulrich Dibelius)以第二次世界大戰結束的1945年作為當代音樂的起始點,以區分大戰前的「現代音樂」(Moderne Musik) ,戰爭帶給整個社會結構與人文發展巨大的影響,其中國家之間的交流和人口的遷移,對於藝術發展更帶來推波助瀾的效能。戰後首位名列樂壇的亞洲女性作曲家為來自南韓的朴泳姬(Younghi Pagh-Paan, 1945-)。一如亞洲許多戰後第一代的藝術家,朴泳姬在首爾大學完成西方音樂學與作曲的完整教育後,獲得德國學術交流總署獎學金(DAAD), 帶著母文化的美學薰陶,赴歐洲歷練東西方的文化衝擊與最前衛的藝術創作方法。1980年她在德國最悠久的現代音樂節--多瑙耳辛根音樂日(Donaueschinger Musiktagen)發表大型管弦樂作品《Sori》,受到樂壇矚目,並以此開啟作曲家生涯。朴泳姬的作品緊密結合韓國傳統文化的涵養和西方音樂學的嚴謹,從藝術品鑑賞的角度來說,正是能夠窺見創作者美學風格和藝術哲思,同時又禁得起學術分析、具備技術含量的作品,這讓她在幾乎清一色男性作曲家的年代,樹立日後成為典範的基礎。朴泳姬同時也是當代音樂史上,不可忽略的一位教師,多年在德國不來梅音樂院(Hochschule für Künste Bremen)任教並在該校創立「新音樂工作坊」(Atelier Neue Musik) ,透過作品演練與實踐,培訓新生代創作者與演奏者,同時也多年於最重要的當代音樂人才搖籃-達姆城假日學校(Darmstädter Ferienkurse)擔任導師,2020年她獲頒「柏林藝術大獎」(Großer Berliner Kunstpreis),是該獎項自1948年創立至今唯一亞洲女性。
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繼朴泳姬之後,來自中國的陳怡(Chen Yi, 1953- )為中國文化大革命之後第一批得以接受大學教育的音樂家,她與中央音樂院的同班同學譚盾(Tan Dun,1957-)、郭文景(Guo Wenjing,1956-)、陳其綱(Chen Qigang,1951-)等人被稱為「中國第五代作曲家」,都在文革期間歷經「知青下鄉」並擁有豐富的民族音樂采風經驗。第五代作曲家在完成國內教育後,大部分前往美國與歐洲,接收西方前衛音樂的創作訓練,而他們所帶來的中國元素與中國絲竹樂器,為西方樂壇帶來一股風潮。陳怡於1986年前往美國,拜在周文中(Chou Wen-chung)門下,作為第五代曲家在西方國家發展的唯一女性,她不似譚盾等人在作品中大量引用民樂,而是承襲周文中以西方前衛技法探究中國美學的發展路線,加上陳怡自幼學習小提琴,西樂基礎和樂團經驗深厚,讓她的作品無論是在技法或架構格局上,都能呈現更高的藝術性。陳怡於2006以作品《四季》獲頒普立茲音樂獎(Pulitzer Prize for Music),是首位獲得此獎項的亞裔作曲家。
\n\n戰後第一代的藝術家背靠傳統、面向前衛、大破大立,無論是西方音樂的傳統或是母文化傳統,都不難在其作品中窺見,而第二代藝術家則乘著全球化的風潮與隨著科技而來的多媒材,開啟百家齊鳴的世代,其中最具代表性的人物當屬來自韓國的陳銀淑(Chin Unsuk, 1961-)和來自日本的向井山朋子(Tomoko Mukaiyama, 1963-)。陳銀淑先於首爾大學主修作曲,極早即獲得國際獎項,後取得德國學術交流總署獎學金前往德國深造。1985年1988年師從李給悌(György Ligeti)期間,她並無繼續參賽和正式發表作品,而是潛心解構僵化的後音列技法,在理論與美學實踐之間,找到自己的音樂語彙。這個蛻變過程,常可見於來自理論先行於創意表達的國家--通常也是非西方古典音樂的主流國家,而這也正是學習一種「外來文化」藝術創作方法的必經過程。陳銀淑的作品並不特別標榜亞洲素材,亦不強調文化根源,而是以精湛的創作技法實踐聲響藝術。陳銀淑的作曲家生涯發展緊密連結當代音樂的產業網絡,是現今當代樂壇壇最活躍、也最受矚目的亞洲女性作曲家。
\n相較於陳銀淑,以演奏當代音樂崛起歐洲樂壇的鋼琴家向井山朋子,嚴格說來並不在作曲家之列,然而多年來,她融合演奏、視覺藝術、劇場藝術與行為藝術的跨域製作,無論是創意、藝術性或數量、製作規模,放眼國際樂壇,鮮少音樂家能夠與之比擬。向井山朋子的作品無疑完全展現「國際公民」的特點:不以國界自限、不以文化特色為訴求,而是直取各藝術領域的本質,並扣緊各類藝術的當代脈動。
同樣來自日本的望月京(Misato Mochizuki, 1969-)屬於接收全球化隨之而來的大量文化資源、同時也開始回望母文化相貌的世代。她在東京大學取得碩士學位後,前往巴黎深造,承襲了法國當代音樂的聲響色彩與東方的美學哲思,因此在她的作品中,可看到西方的精準和東方的自由並存。這種反應全球人文發展的特質,一直延續至今,相較於獲得主流國家的認可,新世代的亞洲作曲家更追求自我的表達和個人風格。來自中國的王穎(Wang Ying, 1976-)和杜韻(Du Yun, 1977-)同樣畢業於上海音樂院,王穎前往德國、杜韻則選擇美國,兩人朝截然不同的美學風格發展,卻都不再乘載亞洲文化的傳承包袱。 王穎結合德法當代音樂的優點、掌握西方樂器、絲竹樂器、電聲與多媒材,兼具嚴謹結構和聲響創意的作品,不刻意鋪排設計屬於中國或亞洲的傳統,但來自傳統的美學語彙卻也不時顯露在作品的脈絡中。杜韻則將一位藝術家的國際性發揮得淋漓盡致,並在高度國際化的同時,直面非主流文化的發展議題。杜韻可謂最不設限的創作者、表演者與策展人,作品風格涵蓋嘻哈、戲曲、古典和流行,透過策展與製作,她開啟一個新世代--不再以外來者角度,融入歐美音樂產業與網絡,而是以個人的藝術實踐,在縝密的既有產業結構中,建立新的社交與發展網絡,進而站在世界的高度探索自身的文化淵源。杜韻的多功發展讓她成為第二位普立茲音樂獎的亞洲女性藝術家。
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亞洲女性作曲家的數量並不少,然而即使當代音樂是極小眾的藝術,創作者仍無法自外於社會連結,綜觀這幾位作曲家的職涯發展,不難發現創作與社交網絡是相輔相成的,她們都是在亞洲完成大學教育、成年後才移居歐洲繼續深造,對她們而言,難以克服的從來不是創作技法的學習和演練,而是由主流國家和男性掌握多數發語權的產業暨社交結構。她們目前各居一方、作品在全球不間斷被演出,同時也持續書寫音樂史中,屬於亞洲女性的章節。
\n\n\n',color:{a:1,r:72,g:161,b:93},type:"content"},{programs:[{from:"programs",key:"60179cf2537e520007436b1e",title:"【2021衛武營TIFA當代音樂平台】《開幕音樂會》陳銀淑管絃樂作品專場 X 演後座談",data:{_id:"60179cf2537e520007436b1e",catalogs:[{_id:"5fe2bffdde1961000737545c",tag:"program",chinese:{onShelf:!0,name:"衛武營主合辦節目"},english:{onShelf:!0,name:"Weiwuying Selected Programs"},createdAt:1608695805,updatedAt:1698138502,updatedBy:"林蔚行",seq:36},{_id:"5aec4184b01ea6000520f633",tag:"program",chinese:{onShelf:!0,name:"音樂"},english:{onShelf:!0,name:"Music"},createdAt:1525432708,updatedAt:1698138506,updatedBy:"通泰系統管理員",seq:32}],dateTime:{first:1618641e3,discrete:[{time:1618641e3}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,600,900,1200],link:"https://www.opentix.life/program/1356949128742813700"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"e58ae980ac3e2bb5b2b757581ad122c2",title:"【2021衛武營TIFA當代音樂平台】《開幕音樂會》陳銀淑管絃樂作品專場 X 演後座談"}],related:[],title:"【2021衛武營TIFA當代音樂平台】《開幕音樂會》陳銀淑管絃樂作品專場 X 演後座談",cover:"e6ba9735aceb58783a0318f76f02ac97",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
● 衛武營主辦節目
\n\n● 節目全長約75分鐘,無中場休息。
\n\n● 建議7歲以上觀眾觀賞。
\n\n● 遲到觀眾須遵循工作人員指示入場。
\n\n衛武營會員綁定OPENTIX
\n\n「OPENTIX兩廳院文化生活」為全新售票平台,邀請您註冊OPENTIX帳號並綁定衛武營會員卡,即可享有會員購票優惠。綁定教學
\n\n優惠方案
\n\n● 3/2(二)12:00 - 3/9(二)12:00會員優先購票75折
\n\n● 3/9(二)12:00 - 3/23(二)12:00全民早鳥75折
\n\n● 3/2(二)12:00起會員優先預購【2021衛武營TIFA當代音樂平台】限量超值套票:購買【2021衛武營TIFA當代音樂平台】三場節目,《開幕音樂會》陳銀淑管絃樂作品專場 X 演後座談、《當代大師的極簡世界 - 林佳靜鋼琴獨奏會》、《共鳴体》各1張,優惠價1,500元(數量有限)。
\n\n● 更多優惠資訊
\n\n※300元(含)以下票級不提供折扣。
\n\n團票優惠
\n\n購票同場次:
\n\n● 單筆訂單 20 張(含)以上 85 折
\n\n● 單筆訂單 40 張(含)以上 8 折
\n\n● 單筆訂單 60 張(含)以上 75 折
\n\n※300元(含)以下票級不提供折扣。
\n\n※相關優惠請洽07-262-6666
\n\n\n\n衛武營實聯登記
\n\n因應「嚴重特殊傳染性肺炎(COVID-19)」防疫措施,您可於演出前三日填寫衛武營實聯登記,於演出當日進場時,出示電子信件確認信給現場工作人員,以便您進場,謝謝。
\n',benefits:'\n',description:"2021衛武營TIFA當代音樂平台邀請當前國際樂壇最具代表性的亞洲女性作曲家陳銀淑,作為駐節作曲家...",introduction:'\n\n\n\n2021衛武營當代音樂平台邀請當前國際樂壇最具代表性的亞洲女性作曲家陳銀淑,作為駐節作曲家,本場演出由衛武營藝術總監簡文彬、鋼琴家林佳靜與高雄市交響樂團,演出陳銀淑管絃樂作品專場。
\n這場創作年代跨越二十多年的作品展演,從1996年展露純熟管弦樂技法的鋼琴協奏曲,到甫由阿姆斯特丹皇家大會堂管弦樂團世界首演、到2019年由北德廣播交響樂團委託創作的《卷首》,不僅能夠聽到作曲家創作脈絡的演進,更能一覽陳銀淑以一位亞洲女性作曲家在當代音樂主戰場的歐洲崛起,從崛起到屹立不搖的藝術深度。
\n音樂會後將由衛武營藝術總監簡文彬邀請陳銀淑進行對談,從兩人相似的人文背景和專業養成,探討亞洲DNA在國際樂壇、尤其是當代音樂領域中的優勢與劣勢,同時更近一步從人才培育、場館機制等面向,提出兩人對當代音樂現況與下一個世代的觀察。
\n\n
演出曲目
\n\n● 歌劇《愛麗絲夢遊仙境》第五景前奏曲
\n\n● 鋼琴協奏曲
\n\n●《卷首》管弦樂曲
\n\n●《人型》給管絃樂團的生動音畫
\n\n\n\n
演後座談
\n\n4/17(六)16:00-17:00 音樂廳
\n\n\n\n
演出暨製作團隊
\n\n指揮|簡文彬
\n\n鋼琴|林佳靜
\n\n樂團|高雄市交響樂團
\n\n\n\n
藝術家介紹
\n\n陳銀淑
\n\n身兼作曲家與音樂策展人的陳銀淑生於1961年的韓國首爾,並自1985年起旅居德國。其職業生涯中曾獲頒許多古典音樂獎項,包含1985年荷蘭葛第姆斯作曲獎、2004年格文美爾作曲獎(以小提琴協奏曲奪下該獎項)、2005年荀貝格獎、2010年摩納哥皮埃爾王子基金會音樂作曲獎、2012年韓國湖岩獎、2017年西貝柳斯獎、2018年克拉維斯獎、2019年巴哈獎,以及2021年丹麥森寧音樂獎。她的音樂也吸引了許多國際級指揮大師的矚目,其中包括賽門‧拉圖爵士、埃薩-佩卡‧薩洛寧、長野健、古斯塔沃‧杜達美、艾倫‧吉伯特、鄭明勳、蘇珊娜‧麥爾基、大衛‧羅伯森、尤卡-佩卡‧薩拉斯特,以及漢努‧林圖、彼得‧于特福許、喬治‧班傑明和弗朗索瓦-澤維爾‧羅斯。陳銀淑更經常受邀為許多全球知名樂團譜寫演奏曲目,曾演出其作品的樂團有柏林愛樂樂團、紐約愛樂樂團、愛樂管弦樂團、阿姆斯特丹皇家大會堂管弦樂團、芝加哥交響樂團、萊比錫布商大廈管弦樂團、倫敦愛樂樂團、洛杉磯愛樂樂團、BBC交響樂團、波士頓交響樂團、法國廣播愛樂樂團、皇家斯德哥爾摩愛樂樂團,以及東京交響樂團等等。她也曾在不同音樂節或樂團擔任駐場或駐團作曲家,前者如瑞士琉森音樂節、巴黎秋季藝術節、BBC交響樂團舉辦的沉浸式音樂節,而後者則如北德廣播交響樂團、柏林德意志交響樂團等等。
\n\n2007年,陳銀淑的首部歌劇作品《愛麗絲夢遊仙境》在德國巴伐利亞國立歌劇院舉行全球首演,並由此揭開了慕尼黑歌劇節的序幕。該作品隨後以DVD和藍光形式發行,如德意志唱片公司、凱羅斯唱片和艾納列克塔公司等歐美唱片廠牌,也紛紛推出其個人作品精選專輯。此外,陳銀淑同時也以音樂策展人的身分活躍於樂壇。於2006年至2017年間,她在首爾愛樂樂團負責監督現代音樂節「新視界」系列的演出(該音樂節由她本人所創辦);於2011年至2020年間,則在倫敦擔任愛樂管弦樂團「當代音樂」系列音樂會的藝術總監。此外,她也在2021年出任洛杉磯愛樂樂團首爾音樂節總監一職。
\n\n其作品目前均由英國古典音樂出版商博浩公司獨家代理發行。
\n\n\n\n
指揮|簡文彬
\n\n衛武營國家藝術文化中心藝術總監。簡文彬1967年生,國立藝專(今國立臺灣藝術大學)鍵盤組畢業,維也納音樂暨表演藝術大學指揮碩士學位。1996年起擔任德國萊茵歌劇院〈Deutsche Oper am Rhein〉駐院指揮長達22年;1998-2004年為日本太平洋音樂節(Pacific Music Festival)駐節指揮;2001-2007年為國家交響樂團(NSO)音樂總監,在其任內推動「定期音樂會系列」、國人作品委託創作及錄製、「歌劇系列」等創舉,並在2006年樂團20週年時推出華語地區首次自製之華格納《尼貝龍指環》四部曲;2014-2016擔任國立臺灣交響樂團藝術顧問。
\n\n2014年9月簡文彬獲頒第十八屆國家文藝獎。
\n\n\n\n
鋼琴|林佳靜
\n\n鋼琴家林佳靜不僅擁有敏銳的音樂性和精湛的演奏技巧,更以其對全球各地文化的深刻認識,形塑出一套自成一格、引人入勝的音樂語彙。生於臺灣、長於奧地利的林佳靜,曾在歐洲和美國接受教育,並因此而活躍於國際樂壇。她與眾多藝術家和創作者間的創新合作,更讓其成為眾所矚目的焦點。
\n\n在這個極不尋常的樂季期間,林佳靜將以數位和現場表演兩種型態在各地進行演出,包括紐約莫札特音樂節、美國華盛頓表演藝術協會、加拿大溫尼伯新音樂節、美國莫里斯博物館及聖奧拉夫學院。
\n\n她也持續與美國作曲家菲利普‧葛拉斯合作,在世界各地的音樂會上彈奏其譜寫的練習曲。而這次的合作經歷更激發她創立了「練習曲計畫」,藉此攜手眾多當代作曲家創作新的鋼琴練習曲,並將每首新作品與古典樂中的正統練習曲進行配對。相關作品收錄在知名唱片品牌Sono Luminus所發行的專輯中:第1輯展示了林佳靜與紐約冰山新音樂創作團體間的合作成果;第2輯則預計將於2021年發行。
\n\n林佳靜也在作曲家艾略特‧高登索所譜寫的電影配樂原聲帶中,擔綱主要鋼琴演奏者的工作;該配樂是為2020年由導演茱莉‧泰莫執導的電影《我的行進人生》所作。此外,她近期也與手風琴家古伊‧克魯傑夫塞克共同錄製了一張專輯(以「零接觸」方式製作),並在其中演奏喬治亞作曲家吉雅‧坎切利的作品。她的錄音作品(與漢斯勒古典唱片、eOne唱片、BIS唱片、新世界唱片、阿爾巴尼唱片等廠牌合作,發行超過30張專輯)涵蓋了奧地利作曲家阿圖爾‧施納貝爾的創作、蕭邦的夜曲、蕭士塔高維契的前奏曲與賦格、華語歌手鄧麗君作品的改編曲,以及《小音符的圖畫日記》鋼琴小品輯(不僅是一張專輯,更搭配了知名插畫家作品,為兒童精心演繹一場多媒體音樂會)。
\n\n林佳靜曾與全球各地知名樂團同台演出,如美國交響樂團、北德和西南德廣播交響樂團、義大利廣播電視公司國家交響樂團等等。此外,她也曾在卡內基音樂廳、林肯中心、甘迺迪中心,以及布魯克林音樂學院下一波藝術節、美國斯波萊多藝術節、德國什列斯威-霍爾斯坦音樂節等場合登台表演。
\n\n林佳靜精通英語、德語、中文和法語,擁有約翰霍普金斯大學德國文學學士學位,並曾在維也納音樂大學和美國琵琶地音樂學院研習音樂。
\n\n目前與家人定居紐約。
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樂團|高雄市交響樂團
\n\n對一個城市而言,有專屬的樂團是難得珍貴的。高雄市交響樂團是一個很年輕有活力的樂團,經常性邀請國際級指揮與名家大師們合作共鳴,也勇於嘗試多元型態的演出,古典與跨界同時是樂團發展的主軸,為市民朋友及樂迷創造更多優質的音樂饗宴,也培育無數表演與欣賞的種子,延展了古典音樂創新的鴻翅。
\n\n1981年成立,2009年高雄市交響樂團及高雄市國樂團基金會整併為「財團法人高雄市愛樂文化藝術基金會」,現任董事長為高雄市文化局長王文翠。2012年樂團正式進駐大東文化藝術中心,成員們擁有更專業穩妥的排練空間;2018年底衛武營國家文化藝術中心開幕,高雄市交響樂團參與重要的啟用典禮演出,相信未來在這座台灣獨一無二的環繞式座席「音樂廳」中,高雄市交響樂團將扮演更重要的角色。
\n\n近十年來,不間斷地迎接各方來自國際間的深礪與琢磨,與國內外名家聯演之【名家系列】,如:指揮家馬卡爾、康澤爾、喬治芬頓、波本、西本智實、譚盾、簡文彬、陳美安、莊東杰、林勤超等;演唱家卡列拉斯、海莉、羅素華生、艾瑞卡;小提琴家列賓、明玆、諏訪內晶子、林昭亮、胡乃元、阿卡多、安梅耶、寧峰、庄司紗矢香、神尾真由子、曾宇謙;大提琴家麥斯基、堤剛、楊文信、阿爾班‧蓋哈特、利普金;鋼琴家布赫賓德、波哥雷里奇、加伏里洛夫、李雲迪、爵士鋼琴家小曾根真、吉他手殷維馬姆斯汀、小號納卡里亞可夫、露西安‧勒諾丹-瓦里、豎笛騎士保羅‧梅耶等。
\n\n2009年起,擔任高雄春天藝術節重要角色與推手,成功打響「高雄春天藝術節草地音樂會」品牌,從2009年開始的《臥虎藏龍》、BBC與Discovery《藍色星球》、《魔戒首部曲-魔戒現身》、《NASA星世界》、《提姆波頓─影展交響》、《哈利波特─好萊塢十大魔幻電影》、《鐵達尼號》、《阿瑪迪斯》、《侏儸紀公園》、《愛是你愛是我》、《E.T.外星人》、《新天堂樂園》等影音交響音樂會;完全自製的:《賽德克.巴萊》、《影•響台灣50年50部》、《咱的電影咱的歌》,及全本自製歌劇:《魔笛》、《茶花女》、《卡門》及《波希米亞人》,皆獲得觀眾廣大的迴響與讚譽。
\n\n除了正式廳堂演出,音樂尋旅軌跡遍及不同區域,播種式的【校園及社區推廣】,帶領學童認識古典樂與音樂廳的《跟我來找樂去》學童音樂會,還有走進社區或地方表演廳的「岡東有樂町」系列音樂演出,亦深受市民與師生的喜愛。
\n\n在國際舞台上,樂團先後獲邀至美國、澳門、南京、上海、青島、蘇州、新加坡及北京演出;2017年受邀赴日本金澤參加貝多芬音樂節及香港《台灣月-樂見台灣》音樂會的演出,逐步跨越城市與國界,以國際級樂團為自我提升與成長目標,堅定向前。
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合作夥伴
\n\n高雄春天藝術節
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照片版權 Priska Ketterer 提供
\n\n藝玩伴計畫 ART-FUN-PLAY
\n\n爸媽看戲、孩子玩戲
\n\n發現很想看衛武營的節目,但沒有人幫您陪伴孩子嗎?
\n\n衛武營特別推出『藝玩伴計畫』,在您欣賞演出節目的同時,規劃各種活動,讓孩子們在等待父母看戲的同時,與您在平行時空同步接收演出節目的精彩內容...
\n\n\n\n\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"e58ae980ac3e2bb5b2b757581ad122c2",title:"【2021衛武營TIFA當代音樂平台】《開幕音樂會》陳銀淑管絃樂作品專場 X 演後座談"}],related:[],title:"【2021 Weiwuying TIFA Contemporary Music Platform】Opening Concert—The Orchestral Works by Unsuk CHIN X Open-talk",cover:"e6ba9735aceb58783a0318f76f02ac97",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
● Presenter: Weiwuying
\n\n● Approx. 75 mins without interval.
\n\n● Suitable for age 7+.
\n\n● Latecomers must follow staff instructions for entry and re-entry.
\n\n● 3/2(Tue)12:00 to 3/9(Tue)12:00 25% off for Weiwuying member
\n\n● 3/9(Tue)12:00 to 3/23(Tue)12:00 25% off for sales
\n\n● For Group Purchase Discounts, please contact 07-262-6666.
\n\n\n',benefits:'● 10% off for Weiwuying Lifestyle member
\n\n● 25% off for Weiwuying Youth member
\n\n● Applicable for Weiwuying Unlimited member
\n● For details, please see Weiwuying Members Benefit
The 2021 TIFA Weiwuying Contemporary Music Platform will be presenting internationally-renowned composer Unsuk Chin as the resident composer. Artistic Director CHIEN Wen-pin will be leading KSO in staging the Taiwan premiere of Unsuk Chin's orchestra concert. Pianist Jenny LIN will perform Unsuk CHIN's Piano Concerto as a soloist.
\n\nThe program includes works that span across two decades that not only manifest the musician's creative context but also provide a viewpoint into Chin's status as a female Asian composer in Europe, the arena for contemporary music.
\n\nAfter the concert, Artitsic Director CHIEN Wen-pin will invite Unsuk CHIN having an Open-talk for the audiences. The two artists will explore the advantages of the Asian DNA in the international music stage, especially its advantages and disadvantages in contemporary music, from their similar cultural and professional backgrounds. Furthermore, the two speakers will share ideas on contemporary music, the responsibility of venues, and education."
\n\n\n\n
Program
\n\n● Alice in Wonderland - Prelude to Scene V
\n● Piano Concerto
\n● Frontispiece for Orchestra ( Asia Premiere)
\n● Mannequin-Tableaux vivants for orchestra ( Asia Premiere)
\n\n
Post-talk
\n\n4/17(Sat)16:00-17:00 Concert Hall
\n\n\n\n
Creative and Production Team
\n\nConductor|CHIEN Wen-pin
\n\nPiano|Jenny LIN
\n\nOrchestra|Kaohsiung Symphony Orchestra
\n\n\n\n
Artists introduction
\n\nUnsuk CHIN
\n\nComposer and curator Unsuk Chin was born in 1961 in Seoul and she has lived in Germany since 1985. Chin's career has been celebrated with a series of classical music awards, so far receiving the 1985 Gaudeamus Award, the 2004 Grawemeyer Award for Music Composition for her Violin Concerto, the 2005 Arnold Schoenberg Prize, the 2010 Prince Pierre Foundation Music Award, the 2012 Ho-Am Prize, the 2017 Wihuri Sibelius Prize, the 2018 Kravis Prize, the 2019 Bach-Preis and the 2021 Léonie Sonning Music Prize. Her music has attracted the attention of international conductors including Sir Simon Rattle, Esa-Pekka Salonen, Kent Nagano, Gustavo Dudamel, Alan Gilbert, Myung-Whun Chung, Susanna Mälkki, David Robertson, Jukka-Pekka Saraste, Hannu Lintu, Peter Eötvös, George Benjamin, and François-Xavier Roth. Regularly commissioned by leading performing organisations around the world, her music has been performed by orchestras such as the Berlin Philharmonic, New York Philharmonic, Philharmonia Orchestra, Concertgebouw, Chicago Symphony Orchestra, Leipzig Gewandhaus, London Philharmonic Orchestra, Los Angeles Philharmonic Orchestra, BBC Symphony Orchestra, Boston Symphony Orchestra, Orchestre Philharmonique de Radio France, Royal Stockholm Philharmonic, and the Tokyo Symphony, among others. She has been Composer-in-Residence of the Lucerne Festival, the NDR Elbphilharmonie Orchestra, the Deutsches Symphonie-Orchester Berlin, the Festival d’Automne, the BBC's Total Immersion Festival, and many more.
\n\nIn 2007, Chin's first opera Alice in Wonderland received its world premiere at the Bavarian State Opera, opening the Munich Opera Festival, and it was subsequently released on DVD and Blu-Ray. Portrait CDs of Chin’s music have appeared on Deutsche Grammophon, Kairos and Analekta. Chin has also been active as a concert curator, overseeing the Ars Nova series at the Seoul Philharmonic from 2006 to 2017 - a series which she founded herself, from 2011 to 2020 as Artistic Director of the Music of Today series of the Philharmonia Orchestra in London and in 2021 as Director of the Seoul Festival of the Los Angeles Philharmonic.
\n\nHer works are published exclusively by Boosey & Hawkes.
\n\n\n\n
Partner
\n\nKaohsiung Spring Arts Festival
\n\n\n\n
PHOTO©Priska Ketterer
\n',team:""},createdAt:1612160242,updatedAt:1653276838,updatedBy:"通泰系統管理員",host:!0}},{from:"programs",key:"602b7790196f1e0007b81a3a",title:"【2021衛武營TIFA當代音樂平台】《當代大師的極簡世界 - 林佳靜鋼琴獨奏會》",data:{_id:"602b7790196f1e0007b81a3a",catalogs:[{_id:"5fe2bffdde1961000737545c",tag:"program",chinese:{onShelf:!0,name:"衛武營主合辦節目"},english:{onShelf:!0,name:"Weiwuying Selected Programs"},createdAt:1608695805,updatedAt:1698138502,updatedBy:"林蔚行",seq:36},{_id:"5aec4184b01ea6000520f633",tag:"program",chinese:{onShelf:!0,name:"音樂"},english:{onShelf:!0,name:"Music"},createdAt:1525432708,updatedAt:1698138506,updatedBy:"通泰系統管理員",seq:32}],dateTime:{first:1618727400,discrete:[{time:1618727400}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,500,800],link:"https://www.opentix.life/program/1362338186527129605"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"cb5300284fc6395a45c9b2214e1dd25e",title:"【2021衛武營TIFA當代音樂平台】《當代大師的極簡世界 - 林佳靜鋼琴獨奏會》"}],related:[],title:"【2021衛武營TIFA當代音樂平台】《當代大師的極簡世界 - 林佳靜鋼琴獨奏會》",cover:"fcb881539337a491739ca90bb39e0ba3",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'● 衛武營主辦節目
\n\n● 節目全長約70分鐘,無中場休息。
\n\n● 建議7歲以上觀眾觀賞。
\n\n● 遲到觀眾須遵循工作人員指示入場。
\n\n衛武營會員綁定OPENTIX
\n\n「OPENTIX兩廳院文化生活」為全新售票平台,邀請您註冊OPENTIX帳號並綁定衛武營會員卡,即可享有會員購票優惠。綁定教學
\n\n優惠方案
\n\n● 3/2(二)12:00 - 3/9(二)12:00會員優先購票75折
\n\n● 3/9(二)12:00 - 3/23(二)12:00全民早鳥75折
\n\n● 3/2(二)12:00起會員優先預購【2021衛武營TIFA當代音樂平台】限量超值套票:購買【2021衛武營TIFA當代音樂平台】三場節目,《開幕音樂會》陳銀淑管絃樂作品專場 X 演後座談、《當代大師的極簡世界 - 林佳靜鋼琴獨奏會》、《共鳴体》各1張,優惠價1,500元(數量有限)。
\n\n● 更多優惠資訊
\n\n※300元(含)以下票級不提供折扣。
\n\n團票優惠
\n\n購票同場次:
\n\n● 單筆訂單 20 張(含)以上 85 折
\n\n● 單筆訂單 40 張(含)以上 8 折
\n\n● 單筆訂單 60 張(含)以上 75 折
\n\n※300元(含)以下票級不提供折扣。
\n\n※相關優惠請洽07-262-6666
\n\n\n\n衛武營實聯登記
\n\n因應「嚴重特殊傳染性肺炎(COVID-19)」防疫措施,您可於演出前三日填寫衛武營實聯登記,於演出當日進場時,出示電子信件確認信給現場工作人員,以便您進場,謝謝。
\n',benefits:'\n',description:"林佳靜可說是「世界的鋼琴家」,今年不但要為衛武營TIFA當代音樂平台揭開序幕,更要獻上在衛武營的第一場獨奏會!",introduction:'\n\n\n\n「鋼琴家林佳靜作為今晚的主要表演者,以靈活的指法彈奏了蕭士塔高維契《二十四首前奏曲與賦格》中的五首曲目,從其演出的身影中彷彿可窺見巴哈的影子……這一夜,她完美詮釋了蕭士塔高維契作品中的新古典主義形式與高雅氣質……」《紐約時報》
\n\n「……鋼琴家林佳靜以堪稱本年度最富想像力的曲目組合,為自身在樂壇中確立了一席之地……任何有幸在現場聆賞其表演的聽眾……可能會一致同意,這場獨奏會可說是餘音繞樑,具有令人難以忘懷的魅力。」《舊金山觀察家報》
\n\n「鋼琴家林佳靜的獨奏會……構思縝密,並以優美的旋律呈現在眾人面前。……她動人心弦的演出……讓今晚在座的聽眾們都一飽耳福。」《華盛頓郵報》
\n\n\n\n
生於臺灣、長於奧地利、定居於紐約,林佳靜可說是「世界的鋼琴家」,今年不但要為衛武營TIFA當代音樂平台揭開序幕,更要獻上在衛武營的第一場獨奏會!遊走於各大古典、即興、爵士甚至是融合音樂節的她,排出了耳目一新的曲目:匈牙利作曲家李蓋悌最早期的《音樂習作》與最晚期的《鋼琴練習曲》,對照出大師歷經數十年探索後,在音色表現上的返樸歸真;葛拉斯寫給鋼琴獨奏的帕薩卡亞舞曲《遙遠的人影》與《鋼琴練習曲》,則呈現出極微主義如何在從一而終的實踐裡,讓聽者感受到織體的細微變化。更值得一提的是,林佳靜自2014年來便與葛拉斯合作緊密,固定在各地演出其《鋼琴練習曲》,自成一家權威。今年4月,且聽林佳靜讓20世紀兩大作曲巨匠面對面,呈現出當代音樂世界無限可能中的兩個極點。
\n\n\n\n
演出曲目
\n\n捷爾吉.李蓋悌
\n\n《音樂習作》
\n\n第十六號鋼琴練習曲《獻給艾琳娜》
\n\n第一號鋼琴練習曲《混亂》
\n\n\n\n
菲利普.葛拉斯
\n\n寫給鋼琴獨奏的帕薩卡亞舞曲《遙遠的人影》(亞洲首演)
\n\n第十三號鋼琴練習曲
\n\n第二號鋼琴練習曲
\n\n第六號鋼琴練習曲
\n\n\n\n
演後座談
\n\n4月18日(日)15:40-16:00 表演廳
\n\n\n\n
藝術家介紹
\n\n鋼琴|林佳靜
\n\n鋼琴家林佳靜不僅擁有敏銳的音樂性和精湛的演奏技巧,更以其對全球各地文化的深刻認識,形塑引人入勝的音樂語彙。生於臺灣、長於奧地利,曾在歐洲和美國接受教育,並因此而活躍於國際樂壇。她與眾多藝術家和創作者間的創新合作,更讓其成為眾所矚目的焦點。
\n\n林佳靜曾與全球各地知名樂團同台演出,如美國交響樂團、北德和西南德廣播交響樂團、義大利廣播電視公司國家交響樂團等等。她亦曾在卡內基音樂廳、林肯中心、甘迺迪中心,以及布魯克林音樂學院下一波藝術節、美國斯波萊多藝術節、德國什列斯威-霍爾斯坦音樂節等場合登台表演。林佳靜精通英語、德語、中文和法語,擁有約翰霍普金斯大學德國文學學士學位,並曾在維也納音樂大學和美國琵琶地音樂學院研習音樂。
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"cb5300284fc6395a45c9b2214e1dd25e",title:"【2021衛武營TIFA當代音樂平台】《當代大師的極簡世界 - 林佳靜鋼琴獨奏會》"}],related:[],title:"【2021 Weiwuying TIFA Contemporary Music Platform】The Minimalism World of Contemporary Virtuosos - Jenny LIN Piano Recital",cover:"fcb881539337a491739ca90bb39e0ba3",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'● Presenter: Weiwuying
\n\n● Approx 70 mins without interval
\n\n● Suitable for age 7+.
\n\n● Latecomers must follow staff instructions for entry and re-entry.
\n\n● 3/2(Tue)12:00 to 3/9(Tue)12:00 25% off for Weiwuying member
\n\n● 3/9(Tue)12:00 to 3/23(Tue)12:00 25% off for sales
\n\n● For Group Purchase Discounts, please contact 07-262-6666.
\n\n\n',benefits:'● 10% off for Weiwuying Lifestyle member
\n\n● 25% off for Weiwuying Youth member
\n\n● Applicable for Weiwuying Unlimited member
\n● For details, please see Weiwuying Members Benefit
“Bach's presence also hovered over the featured artist of the evening, the dynamic pianist Jenny Lin, who played 5 of the 24 Preludes and Fugues by Shostakovich… On this night she was beautifully attentive to the Neo-Classical formalities and elegance of the Shostakovich works… - The New York Times
\n\n“…pianist Jenny Lin may have established herself with the most imaginatively conceived program of the year… Anyone lucky enough to have been there … will probably agree that this was a recital that will not easily be forgotten.”- The San Francisco Examiner
\n\n“Pianist Jenny Lin gave a recital…that was as thoughtfully conceived as it was beautifully executed. …deeply felt performances… extraordinarily satisfying evening.”- The Washington Post
\n\n\n\n
Born in Taiwan and raised in Austria, Jenny LIN currently lives in New York. Known as a "pianist of the world", she will not only be playing for the opening concert of 2021 Weiwuying TIFA Contemporary Music Platform, but will be giving her first solo concert at Weiwuying! As an experienced performer at major classical, improvisation, jazz, and even mixed-styled music festivals, she will be presenting a fresh and diverse program: from Hungarian composer György LIGETI's earliest work Musica ricercata to his later Etudes, we see how this master returned to tones of simplicity after decades of exploration. Philip GLASS's Passacaglia for Solo Piano Distant Figure and his Etudes allow listeners to perceive how minimalism expresses subtle changes in texture within the framework of consistent practice. What's more, Jenny LIN has been working closely with GLASS since 2014 and regularly performs his Etudes around the world, becoming an expert of his music. In April this year, let's listen to how Jenny LIN juxtaposes the works of two great composers to show the two extremes in the infinite possibilities of contemporary music.
\n\n\n\n
Program
\n\nGyörgy LIGETI
\n\nMusica ricercata
\n\nPiano Etude No. 16 Pour Irina
\n\nPiano Etude No. 1 Désordre
\n\n\n\n
Philip GLASS
\n\nPassacaglia for Solo Piano Distant Figure (Asia Premiere)
\n\nPiano Etude No. 13
\n\nPiano Etude No. 2
\n\nPiano Etude No. 6
\n\n\n\n
Post-talk
\n\n4/18 (Sun) 15:40-16:00 Recital Hall
\n\n\n\n
Artists introduction
\n\nPiano|Jenny LIN
\n\nPianist Jenny LIN is an artist of keen musicianship, brilliant technique, and a compelling perspective shaped by a deep fluency in global culture. Born in Taiwan, raised in Austria, educated in Europe and America, Lin has built a vibrant international career, notable for innovative collaborations with a range of artists and creators. In this most unusual season, Lin has performances – both digital and in person – at the Mostly Mozart Festival, Washington Performing Arts, Winnipeg New Music, the Morris Museum, St. Olaf College, and elsewhere.
\n\nLIN has performed with orchestras throughout the world, including the American Symphony Orchestra, NDR and SWR German Radio Orchestras, the RAI National Symphony Orchestra, and others. She has performed at Carnegie Hall, Lincoln Center, the Kennedy Center, at BAM Next Wave, Spoleto USA, the Schleswig-Holstein Festival, and elsewhere.
\n\nFluent in English, German, Mandarin, and French, Jenny Lin holds a bachelor's degree in German Literature from The Johns Hopkins University and studied music at the Hochschule für Musik, and at the Peabody Conservatory. Jenny LIN currently resides with her family in New York City.
\n',team:""},createdAt:1613461392,updatedAt:1653276878,updatedBy:"通泰系統管理員",host:!0}},{from:"programs",key:"6018fd60fb81540009f694ca",title:"【2021衛武營TIFA當代音樂平台】《共鳴体》",data:{_id:"6018fd60fb81540009f694ca",catalogs:[{_id:"5fe2bffdde1961000737545c",tag:"program",chinese:{onShelf:!0,name:"衛武營主合辦節目"},english:{onShelf:!0,name:"Weiwuying Selected Programs"},createdAt:1608695805,updatedAt:1698138502,updatedBy:"林蔚行",seq:36},{_id:"5aec4184b01ea6000520f633",tag:"program",chinese:{onShelf:!0,name:"音樂"},english:{onShelf:!0,name:"Music"},createdAt:1525432708,updatedAt:1698138506,updatedBy:"通泰系統管理員",seq:32}],dateTime:{first:1619245800,discrete:[{time:1619245800},{time:1619263800},{time:1619319600},{time:1619332200}],type:"discrete"},activity:{type:"ticket",ticket:{price:[800],link:"https://www.opentix.life/program/1363057304035000320"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"eb68efdaf034760e74810c39d2203044",title:"【2021衛武營TIFA當代音樂平台】《共鳴体》"},{type:"image",key:"5117dd877f632b4ad14932a62db4780d",title:"【2021衛武營TIFA當代音樂平台】《共鳴体》"},{type:"image",key:"eb3afd470b1ad6ad72e62e20ac703da8",title:"【2021衛武營TIFA當代音樂平台】《共鳴体》"}],related:[],title:"【2021衛武營TIFA當代音樂平台】《共鳴体》",cover:"56c3b3e5fe648d9d0427dc0d5e852bd9",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:'● 衛武營主辦節目
\n\n● 節目全長約60分鐘,無中場休息。
\n\n● 本作品含有煙霧效果,請留意並斟酌入場。
\n\n● 觀眾席採自由入座,敬請提早進場。
\n\n● 建議7歲以上觀眾觀賞。
\n\n● 遲到觀眾須遵循工作人員指示入場。
\n\n衛武營會員綁定OPENTIX
\n\n「OPENTIX兩廳院文化生活」為全新售票平台,邀請您註冊OPENTIX帳號並綁定衛武營會員卡,即可享有會員購票優惠。綁定教學
\n\n優惠方案
\n\n● 3/2(二)12:00 - 3/9(二)12:00會員優先購票75折
\n\n● 3/9(二)12:00 - 3/23(二)12:00全民早鳥75折
\n\n● 3/2(二)12:00起會員優先預購【2021衛武營TIFA當代音樂平台】限量超值套票:購買【2021衛武營TIFA當代音樂平台】三場節目,《開幕音樂會》陳銀淑管絃樂作品專場 X 演後座談、《當代大師的極簡世界 - 林佳靜鋼琴獨奏會》、《共鳴体》各1張,優惠價1,500元(數量有限)。
\n\n● 更多優惠資訊
\n\n※300元(含)以下票級不提供折扣。
\n\n團票優惠
\n\n購票同場次:
\n\n● 單筆訂單 20 張(含)以上 85 折
\n\n● 單筆訂單 40 張(含)以上 8 折
\n\n● 單筆訂單 60 張(含)以上 75 折
\n\n※300元(含)以下票級不提供折扣。
\n\n※相關優惠請洽07-262-6666
\n\n\n\n衛武營實聯登記
\n\n因應「嚴重特殊傳染性肺炎(COVID-19)」防疫措施,您可於演出前三日填寫衛武營實聯登記,於演出當日進場時,出示電子信件確認信給現場工作人員,以便您進場,謝謝。
\n',benefits:'\n',description:"想像空間成為共鳴体,引領我們踏出各種各樣的感知路徑,一起尋聲漫遊、聲歷其境吧!",introduction:'\n\n繼榮獲2013年台新藝術獎年度五大作品《凱吉一歲》後,動見体核心藝術家林桂如,與聲音裝置藝術家王仲堃攜手合作,邀請具跨界創作經驗的打擊樂團「自由擊」,與擅長以身體及社會議題共編的董怡芬與陳彥斌(Fangas Nayaw),攜手合作結合原創音樂、互動探索與聲音裝置的全新作品《共鳴体》。
\n\n《共鳴体》以聲音的「振動」與「共鳴」為創作核心,以「空間」與「觀眾參與」為發展軸線,透過機械裝置、燈光、打擊肢體等多元創作表現,聽見音樂的色彩, 觸碰聲波的流動,打造一個由聽覺、視覺、觀演關係三種不同的層面形塑的大型共鳴箱。
\n\n然而2020年首演之後,疫情持續改變了我們所有的日常,人與人之間、創作與觀眾之間的關係,持續地浮動變化。《共鳴体》的創作團隊,企圖在不同的隔離或孤寂狀態中,再次討論並提出,對於「共鳴」與「共感」的渴望,思考另一種詮釋、另一種意義、以及新的經驗可能; 在2021年衛武營當代音樂平台中,以特別演出的版本,回應此時此刻的狀態與疫情,持續以當代音樂與劇場激盪對話,想像空間成為共鳴体,引領我們踏出各種各樣的感知路徑。
\n\n驚喜交疊原本就是創作的常態,而聲音,其實一直都在,只是取決於我們是否選擇去聆聽;也盼望這個作品,有緣翻攪了一些,你心底的共鳴。
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演前導聆
\n\n4月24日(六)13:50/18:50
\n\n4月25日(日)10:20/13:50
\n\n戲劇院大廳
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演出暨製作團隊
\n\n製作團隊|動見体
\n作曲|林桂如
\n聲音裝置設計|王仲堃
\n肢體編創設計|董怡芬
\n戲劇構作|陳彥斌
\n擊樂共同創作暨演出/自由擊|朱純瑩、葉柏岑、劉冠萍
裝置設計執行|王量
\n燈光設計|賴科竹
\n音響設計|鐵吹製作
音樂執行助理|徐鈺婷
\n服裝設計|范玉霖
\n攝影|林育全
\n錄影|陳冠宇
\n舞台監督|陳正華
\n舞台技術指導|陳人碩
舞台執行監督|蔡依昀
\n\n製作人|黃雯
\n執行製作|吳伯山
\n自由擊行政聯繫|林靜蓉
\n劇團製作人|藍浩之
\n劇團經理|張乃惠
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藝術家介紹
\n\n作曲|林桂如
\n\n國立藝術學院理論與作曲學士,加州大學聖地牙哥分校作曲博士,並曾獲選於法國IRCAM 電腦音樂中心研習進修。現為動見体劇團核心藝術家及實踐大學音樂系專任助理教授。
\n\n音樂創作型態多元,除器樂創作外,亦投身音樂劇場、電腦音樂、裝置藝術等跨領域創作,並為電影、紀錄片、劇場及舞蹈作品擔任音樂設計工作,近期參與之作品持續於國內外藝術節演出,包括法國外亞維儂藝術節、澳洲OzAsia 藝術節、韓國釜山國際表演藝術節、西班牙Murcia藝術節、西班牙Palma舞蹈節、台灣國際藝術節、台北藝術節、上海藝術節等。曾獲委託創作包括: 美國La Jolla Symphony and Chorus、Nouvel Ensemble Moderne、 十方樂集、打擊樂家黃皚雲等。亦熱衷於鋼琴即興演奏,2010年底發行首張專輯「林桂如音樂即興現場實錄─古典音噪」。
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聲音裝置設計|王仲堃
\n\n臺北藝術大學美術系及科技藝術研究所畢,「噪咖藝術」藝術總監。他創造各式各樣單純而耐人尋味、具獨特美感的機器,其聲音作品具有一種音樂性,刻意把「聲音」的抽象性解放出來,轉化為較為具象的音樂。
\n\n近期個展:「聆聽的機器 – 紀伯豪、王仲堃雙個展,臺北國際藝術村(2019)」、「台新銀行個展–風聽(2018)」「造聲–王仲堃個展,就在藝術空間(2016)」「另一種音景系列–王仲堃個展,新畫廊(2013)」;「+ - * /王仲堃-聲音裝置個展,台北數位藝術中心(2010) 」。近期聯展:「城市之音-國際聲音藝術節,蒙斯,比利時(2015) 」;「2013 亞洲時基:新媒體藝術節 – 微型城市,紐約,美國(2013)」;「超旅程 – 未來媒體藝術節,關渡美術館(2012)」。
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肢體編創設計|董怡芬
\n\n現任軟硬倍事聯合藝術總監、動見体核心藝術家、舞蹈空間及安娜琪舞蹈劇場客席編舞家。於臺灣大學、清華大學、臺北藝術大學、臺灣藝術大學等兼任講師。曾為巴黎西帖駐村藝術家、美國科羅拉多學院及喬治華盛頓大學駐校藝術家。作品多次赴國際藝術節演出,並任藝文活動策劃與主持工作。2014、2018二度獲得羅曼菲獎助金赴歐洲進修。近年參與劇場、音樂劇舞蹈設計與動作指導,另專研聲音、物件與肢體連結,發展相關系列及參與式作品。
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構作協作|陳彥斌
\n\n軟硬倍事聯合藝術總監。原住民籍表演藝術創作工作者。演出、編導及創作領域橫跨影像、戲劇及舞蹈,探討分享「人」的趨性、動向。導演作品《牆上。痕 Mailulay》獲第十四屆臺新藝術獎提名、入圍並榮獲年度五大作品獎。執導之《Oli邊境》入圍SXSW、高雄電影節VR競賽影片。2017年臺北世大運開幕編舞家。2018年巴黎西帖國際藝術村駐村藝術家。策展暨導演作品《masingkiay, 嗨歌三百首》受邀至巴黎龐畢度藝術中心2019 Cosmopoli #2 雙年展。2020臺北白晝之夜表演藝術策展統籌。
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演出|自由擊
\n\n於2010年成立,現由葉柏岑、朱純瑩與劉冠萍組成。三名受完整學院科班訓練之打擊樂演奏家累積十多年打擊樂器舞台表演經驗,自由擊演出曲目皆為自創或量身訂做的委託創作,是臺灣少見的創作型打擊樂團。擅長改造、自製樂器的自由擊,經常利用日常生活中的物品,加工重製為音響效果有趣特別的樂器。
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製作團隊|動見体
\n\n2006年由馬華導演符宏征成立並擔任藝術總監,以及三位核心藝術家 : 林桂如、董怡芬、王靖惇,分別來自戲劇、音樂及舞蹈等不同藝術領域,首以實踐總體劇場為其藝術視野,輔以「動作、觀照、實驗」作為身體性劇場美學的創作基源。透過創作的分享,交換、擴大並轉化觀演者之間共同的凝視。
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製作單位
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委託製作
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藝玩伴計畫 ART-FUN-PLAY
\n\n爸媽看戲、孩子玩戲
\n\n發現很想看衛武營的節目,但沒有人幫您陪伴孩子嗎?
\n\n衛武營特別推出『藝玩伴計畫』,在您欣賞演出節目的同時,規劃各種活動,讓孩子們在等待父母看戲的同時,與您在平行時空同步接收演出節目的精彩內容...
\n\n\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"eb68efdaf034760e74810c39d2203044",title:"【2021衛武營TIFA當代音樂平台】《共鳴体》"},{type:"image",key:"5117dd877f632b4ad14932a62db4780d",title:"【2021衛武營TIFA當代音樂平台】《共鳴体》"},{type:"image",key:"eb3afd470b1ad6ad72e62e20ac703da8",title:"【2021衛武營TIFA當代音樂平台】《共鳴体》"}],related:[],title:"【2021 Weiwuying TIFA Contemporary Music Platform】Resonance: Into the Maze",cover:"56c3b3e5fe648d9d0427dc0d5e852bd9",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:'● Presenter: Weiwuying
\n\n● Approx 60 mins without interval.
\n\n● Suitable for age 7+.
\n\n● The program contains theatrical smoke, Viewer discretion is advised.
\n\n● Latecomers must follow staff instructions for entry and re-entry.
\n\n● 3/2(Tue)12:00 to 3/9(Tue)12:00 25% off for Weiwuying member
\n\n● 3/9(Tue)12:00 to 3/23(Tue)12:00 25% off for sales
\n\n● For Group Purchase Discounts, please contact 07-262-6666.
\n\n\n',benefits:'● 10% off for Weiwuying Lifestyle member
\n\n● 25% off for Weiwuying Youth member
\n\n● Applicable for Weiwuying Unlimited member
\n● For details, please see Weiwuying Members Benefit
The artistic team of 2013 Taishin Art Award winner Dear John, composer LIN Kuei-ju, sound installation artist WANG Chung-kun, together with innovative percussion ensemble Freedom Beat, choreographer TUNG I-fen and Fangas Nayaw as dramaturg, jointly create the Resonance: Into the Maze.
\n\nThe creation focuses on “vibration” and “resonance” of sounds and develops along with space and audience's participation. Through kinetic installation, lighting, percussion and body movement, it builds up a large-scale resonance box shaped by sound, visual and spectatorship. It amplifies the colors of music and embodies the flow of sound waves. This is an exciting dialogue between contemporary music and theater, turning the space into a resonance agent and leading us to explore various possible paths for perception.
\n\nFor this year's Weiwuying Contemporary Music Platform, the creative team together offered this special edition as a response to the COVID-19 pandemic. When the audience participation is no longer allowed through freely wondering around during the performance, we hope to offer another interpretation of “togetherness” as a way to emphasize people's longing for resonance and gathering. Let's travel with the sounds together to explore the experiences in the sounds!
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Pre-talk
\n\n4/24 (Sat) 13:50/18:50
\n\n4/25 (Sun) 10:20/13:50
\n\nPlayhouse lobby
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Creative and Production Team
\n\nProduction|M.O.V.E. Theatre
\nComposer|LIN Kuei-ju
\nSound Installation Design|WANG Chung-kun
\nChoreography|TUNG I-fen
\nDramaturgy|Fangas Nayaw
\nPercussion Collaborative & Performers/Freedom Beat|CHU Chun-ying (Clara), YEH Po-tsen (Xero), LIU Kuan-ping (Gray))
\nInstallation Execution|WANG Liang
\nLighting Design|LAI Ke-chu
\nSound Engineer|Feblow Production
Music Execution|HSU Yu-ting
\nCostumes Design|FANN Yu-lin
\nPhotographer|LIN Yu-quan
\nVideographer|CHEN Kuan-yu
\nStage Manager|CHEN Cheng-hua
Deputy Stage Manager |TSAI Yi-yu
\nTechnical Director|CHEN Ren-shou
\nProducer|HUANG Wen
\nProduction Manager|WU Po-shan
\nFreedom Beat Admin|Jamie LIN
\nCompany Producer|LAN Hao-chih
\nCompany Manager|CHANG Nai-hui
\n\n
Production
\n\n\n\n
Commissioned
\n\n\n',team:""},createdAt:1612250464,updatedAt:1653366678,updatedBy:"通泰系統管理員",host:!0}},{from:"programs",key:"60190f4b537e520007439aad",title:"【2021衛武營TIFA當代音樂平台】《在 . 不在》",data:{_id:"60190f4b537e520007439aad",catalogs:[{_id:"5fe2bffdde1961000737545c",tag:"program",chinese:{onShelf:!0,name:"衛武營主合辦節目"},english:{onShelf:!0,name:"Weiwuying Selected Programs"},createdAt:1608695805,updatedAt:1698138502,updatedBy:"林蔚行",seq:36},{_id:"5aec4184b01ea6000520f633",tag:"program",chinese:{onShelf:!0,name:"音樂"},english:{onShelf:!0,name:"Music"},createdAt:1525432708,updatedAt:1698138506,updatedBy:"通泰系統管理員",seq:32}],dateTime:{first:1619254800,discrete:[{time:1619254800},{time:1619341200}],type:"discrete"},activity:{type:"free",free:{description:"免費欣賞",englishDescription:"Free Entry"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"1ae767169e6c80baa759ffae13304a57",title:"【2021衛武營TIFA當代音樂平台】《在 . 不在》"}],related:[],title:"【2021衛武營TIFA當代音樂平台】《在 . 不在》",cover:"5d25c95d86ad17a882fbe47b2f6cab1f",site:{isOther:!0,site:"",other:"榕樹廣場西側平台"},cautions:'
● 衛武營主辦節目
\n\n● 節目全長約50分鐘,無中場休息。
\n\n● 建議7歲以上觀眾觀賞。
\n\n● 遲到觀眾須遵循工作人員指示入場。
\n\n\n',benefits:"",description:"《在.不在》意識與肉身的存在關聯,強調每位表演者當下的主體性與創造性。",introduction:'榕樹廣場過去曾邀請大眾參與許多不同的肢體課程,皆讓不同年齡族群的觀眾都能相遇尬舞或輕鬆搖擺,這次當代音樂平台將推出現場的音樂與舞蹈共創作品,邀請大家享受在青年舞蹈家與音樂家的相乘時光。
\n\n為推動音樂家與舞蹈家的藝術理解與合作,捌號會所與雲門劇場於2020年共同主辦「樂舞跨域大師工作坊」,透過舞蹈導師古名伸與音樂導師林芳宜的交叉教學、創作陪伴與引導,讓兩個領域的藝術家從彼此的角度建立新的交流方法、共同實踐與創作,回歸音樂與舞蹈共生與互文的本質,再度相遇。
\n《在.不在》意識與肉身的存在關聯,強調每位表演者當下的主體性與創造性。場上的表演者們傾聽彼此的呼吸,共享彼此的脈動,再來一點腎上腺素的衝撞。觀眾更能在零距離的呼吸裡找尋最純粹的樂舞關係,觀察表演中的身聲交流,沈浸在無與倫比的餘暉時刻。
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演後座談
\n\nQ&A:演出後於榕樹廣場西側平台舉行
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演出暨製作團隊
\n\n舞蹈|郭箏、田孝慈、黃韋捷
\n\n音樂|何侊倢、張君慈、黃雅農、戴孜嬣
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藝術家介紹
\n\n舞蹈| 郭箏
\n\n生於蘭嶼,成長過程中,接觸最多的即為與蘭嶼有關的社會議題,對於原住民族的自我認同、島嶼文化的生成與轉變、以及蘭嶼與臺灣本島的對應關係與歷史,她有著遠超過實際年齡的思慮。近年她透過閱讀、書寫、影像紀錄與舞蹈嘗試爬梳從自身到蘭嶼的文化脈絡,進而建構藝術創作的論述與方法。對各類藝術領域有濃厚興趣,主要專注於當代舞蹈及身體劇場的工作,其他如攝影、電影、音樂等創作也一直持續關注學習,現為維也納表演藝術大學所主持的「創作性的(誤)理解」藝術研究計畫成員。
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舞蹈|黃韋捷
\n\n身體表演藝術工作者、阿卡西紀錄三階能者、人體模特兒。1991年出生臺灣臺北,國立中央大學大氣科學學系畢業,2012年接觸舞蹈劇場、表演藝術。2015-2019年擔任布拉瑞揚舞團專職暨創團舞者,常任獨舞段落。現為自由工作者,曾參與戲劇、音樂、影視、展覽、音樂劇等不同類型表演、創作,及身體課程分享教學。
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舞蹈|田孝慈
\n\n國立臺灣藝術大學舞蹈系研究所畢業。現為自由藝術工作者,近年專注於觀察時代、歷史文化與環境形塑出之建立於人之上的情感以及其透過身體表述之形式。作品曾受邀至法國亞維儂國家編舞中心、釜山藝術市集、印度加爾各答 Dance Bridge Festival及深圳戲劇雙年展。2008年起於國內外諸多平台發表個人創作,如墨爾本Dance Massive、美國舞蹈節、臺北藝術節、兩廳院新人新視野、下一個編舞計畫、嘉義新舞風及草草戲劇節等。
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電聲|張君慈
\n\n跨領域藝術工作者。作品以繪畫、詩句、裝置、田野錄音與即興演出等形式,探索在空間中可聽與不可聽之間的身體感知以及意識流動。近期關注於聲音與個體記憶的互動性和訊息傳遞失真的主體性再造,也將聲音記憶的脆弱性視為一種自我治療、一種形成、重組與消逝的反覆過程。作品曾於國內外各地展出發表,其中「月潮搖籃曲」甫獲2020南瀛獎新媒體類首獎。
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電Bass|何侊倢
\n\n穿梭於文字、音樂、影像、舞蹈之間,常無意間神遊在重疊時空之中,因為時常記得夢,所以寫夢,偶爾也幫自己解夢。當她聽到時她看見,當她書寫時她聽見,她用最獨立的態度去安靜,用最熱烈的靜默去舞蹈。創作時她成長,即興時她享受當下。
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嗩吶|黃雅農
\n\n專長橫跨插畫、設計、攝影、錄像,擅長以簡潔具質感的畫面敘事;同時也是一位音樂家,專職演奏國樂「嗩吶」。攻讀研究所時始投身藝術領域,具備敏感的社會覺察,對於人與人、人與空間的互動及其中之權力關係相當感興趣,以社會理論為基礎,視覺藝術為工具,漸發展出結合影像、聲音、及肢體即興的創作模式;跨領域身兼多重角色,創作過程中,穿梭鏡頭前與後,在觀看與被觀看的定位中來去自如。近年致力於實驗影像,探討人在空間中的狀態及其交互作用,試圖創造與環境對話的橋樑;並以社區藝術擾動為實踐,落實「藝術即生活」,拉近藝術與大眾之間的距離。
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小提琴|戴孜嬣
\n\n三歲半由母親啟蒙鋼琴,從此人生和音樂密不可分。經歷多種音樂類型衝擊後,慢慢地終於找到自己,並期許自己離開本我的枷鎖。在創作裡力求尋找更多聲音的可能性,更純粹的與空間、環境、人對話,喚醒聽者心中某些生命片刻。從古典音樂的養分,跨足實驗與當代聲音創作,創作多參與實驗音樂,以物件 作為預置提琴作為發聲,以 21 世紀當代演奏技法,發展出具當代聲響特質的實驗音樂,並長期關注與多種藝術媒材、不同語法、風格的聲響跨域合作。近期也嘗試新音樂劇場作曲創作,以當代音樂語彙結合新媒材開發新形態的音樂創作展延,以音樂演奏家為主體,並向華格納提倡的「總體藝術」概念看齊,結合不同藝術領域而發展出的器樂音樂劇場。近期入選新竹市鐵道藝術村 2021 駐村計畫。
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"1ae767169e6c80baa759ffae13304a57",title:"【2021衛武營TIFA當代音樂平台】《在 . 不在》"}],related:[],title:"【2021 Weiwuying TIFA Contemporary Music Platform】Here and Now",cover:"5d25c95d86ad17a882fbe47b2f6cab1f",site:{isOther:!1,site:"5be1594c77d0790006d80c56",other:""},cautions:"● Presenter: Weiwuying
\n\n● Approx 50 mins without interval.
\n\n● Suitable for age 7+.
\n\n● Latecomers must follow staff instructions for entry and re-entry.
\n",benefits:'● 10% off for Weiwuying Lifestyle member
\n\n● 25% off for Weiwuying Youth member
\n\n● Applicable for Weiwuying Unlimited member
\n● For details, please see Weiwuying Members Benefit
Banyan Plaza has hosted numerous physical activities for the public in the past, where people of all ages were introduced to awkward dance moves or given the opportunity to lightly sway around. This time, the Weiwuying TIFA Contemporary Music Platform is launching live, joint music and dance creations. Everyone is invited to come and watch the synergy creation of young musicians and dancers.
\n\nIn 2020, Studio Acht and Cloud Gate Theater jointly organized a music and dance workshop to promote mutual artistic understanding and collaboration between musicians and dancers. The workshop employed dancer mentor KU Ming-shen and music mentor LIN Fang-yi to conduct cross-teaching, assist in the creative process, and provide guidance, allowing the artists of the two fields to establish new methods of communication and engage in mutual application and creation, thereby restoring the intrinsic symbiosis and interconnection between music and dance.
\nIn Here and Now, the connection between consciousness and the physical body is used to emphasize the subjectivity and creativity of every performer in the present time. The performers hear each other's breathing and share in each other's pulses, in addition to some collisions of adrenaline. Through face-to-face breathing conducted at zero distance, the audience is able to realize the purest relationship between music and dance and observe how body and sound interact in the performance, immersing themselves in an incomparable afterglow.
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Post-talk.
\n\nQ&A: After performance at Banyan Plaza.
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Creative and Production Team
\n\nDance|Si Pehbowen, TIEN Hsiao-tzu, HUANG Wei-jie
\n\nMusic|HO Guang-jie, CHANG Chun-tzu, HUANG Ya-nung, TAI Zih-ning
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Artists introduction
\n\nDance|Si Pehbowen
\n\nSi Pehbowen, born in Lanyu. Growing up, social issues regarding Lanyu were what she was most exposed to, and therefore she has deep understanding far beyond her years of aboriginal self-identity, the formation and change of island culture, and the relationship and history between Lanyu and the island of Taiwan. Through reading, writing, video recording, and dancing, she tries to map the cultural context spanning from herself to Lanyu in order to establish descriptions and methods of artistic creation. She is highly interested in many fields of art, with a focus on modern dancing and body theater. On the side, she also studies and follows trends in photography, films, and music. She is currently a member of the University of Music and Performing Arts Vienna's art research program "Creative (Mis)Understandings".
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Dance|HUANG Wei-jie
\n\nHUANG Wei-jie, body-performing artist, level-3 practitioner of Akashic Records, and model. Born in Taipei in 1991 and graduated from the Department of Atmospheric Sciences of National Central University in Taiwan, he was exposed to dance theater and the performing arts in 2012. He was the founding member and full-time dancer of Bulareyaung Dance Company from 2015 to 2019, during which he often took on the role of solo dancer. He is now a freelancer, and has participated as a performer, creator, and teacher of body-related courses in the fields of drama, musical performance, filmmaking, exhibitions, and musicals.
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Dance|TIEN Hsiao-tzu
\n\nTIEN Hsiao-tzu graduated from the master's program of the Department of Dance of National Taiwan University of Arts in Taiwan. She is currently a freelancer who focuses on human emotions shaped by different times, histories, cultures, and environments, and how such emotions are expressed through body movements. Her works have been presented in National Choreographic Development Center in Avignon in France, Busan Art Fair, Dance Bridges Festival in Kolkata in India, and Contemporary Theater Biennale in Shenzhen. Since 2008, she has published her works on many platforms both in Taiwan and abroad, including Dance Massive in Melbourne, American Dance Festival, Taipei Arts Festival, Young Stars New Vision by National Theater & Concert Hall in Taiwan, Next Choreography Project, Chiayi New Style Choreography, and The Grasstraw Festival.
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Electro Acoustics|CHANG Chun-tzu
\n\nAn art worker that specializes in many fields of art. With works in painting, poetry, installation, field recording, and improvisatory performance, she explores audible and inaudible bodily senses and consciousness flows in space. Her recent works focus on the interaction between sound and individual memories and the subjectivity reconstruction of message distortion. She considers the fragility of sonic memories a form of self-healing and a repeated process of formation, reconstruction, and disappearance. Her works have been exhibited in venues both in Taiwan and abroad, with Moon Tide Lullaby: Fragility of Sonic Memory receiving the first prize in the new media category of the 2020 Nanying Awards.
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Electro Bass|HO Guang-jie
\n\nA constant shuttler between writing, music, images, and dancing, HO often inadvertently dwells in overlapping times and dimensions. Because she often recalls her dreams, she sometimes writes about them, and occasionally, tries to interpret them. She sees when hearing, and hears when writing; additionally, she uses the most independent attitude to calm herself and the fiercest silence to dance. She grows when creating and enjoys the moment when improvising.
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Suona|HUANG Ya-nung
\n\nA visual artist who received her master's degree of design and art direction from Manchester Metropolitan University in the UK. With a talent in expression through images through a simple yet refined style, she specializes in illustration, design, photography, and video recording. She is also a professional suona player. Using social theories as the foundation and visual arts as the tool, she has developed an improvisatory style of creation that combines image, sound, and body movements. During the process of creating artworks, she wanders in and out of the camera and oscillates freely between the positions of the viewer and the viewed.
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Violin|TAI Zih-ning
\n\nTAI constantly explores the possibilities of sound in the art-creating process, and by way of having purer dialogues with the space, environment, and people, evokes the specific life memories of listeners. With a background in classical music, she now explores experimental and modern sound works. She has participated in many experimental work creations, in which prepared violins were combined with 21st century playing techniques to develop experimental music that is representative of modern sound qualities. In addition, she places great attention to the long-term cross-collaboration between artists of different sounds, art media, languages and styles.
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\n\n● 衛武營主辦節目
\n\n● 節目全長約45分鐘,共有6部影片,採輪播方式進行
\n\n● 建議7歲以上觀眾觀賞。
\n",benefits:"",description:"文字的聲音X閱讀的演奏、舞台不是舞台、樂譜不是樂譜、用說的音樂、用聽的文本、以錄像前進舞台。",introduction:'\n\t\t\t ※暫停開放觀賞時間 :4/18(日)13:00-17:00, \n\n\t\t\t※4/24(六)、4/25(日)延長展覽時間至21:00。 \n\t\t\t | \n\t\t