\n\n
堅持,讓藝術走出去。
\n\n從身體出發,用舞蹈作為與世界溝通的語言,關注人與社會環境之間的關係。在過往的創作及行動中,善用跨界力量的特性,強烈表現在藝術公共性上的著墨。編創聚焦叩問生命的價值,反映個人或群體在不同社會脈絡下的狀態,提出「屬於亞洲的身體語彙」,並以劇場、非傳統劇場、舞蹈錄像等形式呈現,持續以移地移居創作的方式遊走各地。2020年,受邀擔任衛武營首位駐地藝術家,移居南方。
\n\n\n\n
近期概況:
\n\n►2022 臺灣舞蹈平台 策展
\n\n\n\n
\n',tabs:[{programs:[],seq:1,name:"在地推廣",content:'
2022
\n\n衛武營首位駐地藝術家周書毅,曾在十年前發起「舞蹈旅行計畫」,至今走過14座城市60場的演出,以不搭台、不架燈的方式,在每座城市的公共空間起舞。這一次,周書毅希望將這作品重新製作,邀請專業舞者教給當地的舞蹈學子,希望能在高雄以教育合作的方式,以舞入校,與左營高中合作。同時,也招募獨立舞者,讓這個舞作在高雄各區演出,透過衛武營國家藝術文化中心的力量,讓表演藝術走出劇場,在高雄這座城市分享舞蹈。
\n\n追蹤《波麗露在高雄》Instagram | \n\t\t
\n\n
時間
\n\n2022年4月23日至6月26日
\n\n地點
\n\n高雄區域公共空間
\n\n\n\n
2021
\n\n從身體出發,用舞蹈作為與世界溝通的語言,關注人與社會環境之間的關係。在過往的創作及行動中,善用跨界力量的特性,強烈表現在藝術公共性上的著墨。編創聚焦叩問生命的價值,反映個人或群體在不同社會脈絡下的狀態,提出「屬於亞洲的身體語彙」,並以劇場、非傳統劇場、舞蹈錄像等形式呈現,持續以移地移居創作的方式遊走各地。2020年,受邀擔任衛武營首位駐地藝術家,移居南方。
\n\n\n',color:{a:1,r:100,g:100,b:100},type:"content"},{programs:[],seq:2,name:"展演節目",content:'
2021
\n\n他是周書毅。 他是鄭志忠。
\n\n這是一部關於對等與不對等的討論,現代舞蹈工作者周書毅邀請1989年即參與劇場表演工作的鄭志忠一起對話合作,透過身體的差異性與生命不同的起點,開啟生命與家庭、社會、國家依存關係的討論,頻頻叩問何謂生而平等?何謂不平等?
\n\n時間
\n\n2021/9/4(六)14:30
\n\n2021/9/5(日)14:30
\n\n地點
\n\n戲劇院
\n\n►【高雄雄厲害】周書毅x陳芯宜 2021《留給未來的殘影》衛武營特別展演場
\n\n\n\n\n\n2021年,當世界還在習慣著疫情,當所有人都在日常裡尋找如常的記憶痕跡,在生活中試著找到平衡的端點,《留給未來的殘影衛武營特別展演場》2021版,將透過限地創作的這40分鐘,提供溫度,讓觀者汲取在殘影裡的吉光片羽對照自己的生命體驗,感受溫度。
\n\n時間
\n\n2021/11/3(三) - 2021/11/7(日)
\n\n地點
\n\n衛武營三樓樹冠大廳
\n\n\n\n
2020
\n\n►【2020臺灣舞蹈平台】《留給未來的殘影》衛武營特別展演場
\n\n男子醒來在某個意識層面,所見所聽所感的是記憶?夢境?虛擬實景?還是死前的意識回返?
\n\n「您正在使用『生前記憶續存服務』,您將可選擇三段記憶。
\n\n在您生命終結時,本服務將刺激您的神經元使其顯影。記憶記載時間為一根火的時間……」,以眼、耳、鼻、舌、身、意接收下來的記憶,儲存成文字、圖像、聲音、影像……。藉由記憶的碎片,我們得以回返某個特定的時間點,讓時空扭曲交疊,但記憶卻不一定可靠。導演陳芯宜與編舞家周書毅共同創作與演出,以舞蹈呈現記憶中難以言說的部分。我們現在製造的影像或記憶,在未來能留存多久?
\n\n2020年,將首次於高雄衛武營的建築空間裡現地創作《留給未來的殘影》特別展演版。延伸VR影像視角到真實的當下事件,帶領觀眾潛入生命逝去前的殘影風景。
\n\n時間
\n\n2020/11/6 (五) 13:30(英文專場)、19:30
\n\n2020/11/7 (六) 13:30、19:30
\n\n2020/11/8 (日) 13:30
\n\n地點
\n\n衛武營三樓樹冠大廳
\n\n►【2020臺灣舞蹈平台】周書毅X稻草人現代舞蹈團《公園散步的記憶序曲》
\n\n衛武營都會公園裡,有你的記憶嗎?
\n\n連結自然場域的舞蹈探尋,編舞家、舞者與樂手,遊走在閃爍粼粼湖光的樹林間,從劇院散步至都會公園,用身體、舞蹈與樂音,帶領觀眾穿越時光記憶,觀想百年軍事用地蛻變為自由日常的歷史流轉,聆聽樂音吟唱世代承接的生命傳奇。
\n\n由編舞家周書毅與稻草人現代舞蹈團共同發展,「公園現地創作計畫」於2019年首度發表了《臺南公園的身體地圖—百日行走》,藉現代舞走進公園、親近民眾的日常,透過往日記憶的回望、觀賞舞者與林木融為一體的依存關係,感受腳下土地的歷史寓意,回應自然環境延展藝術創造的可能性。迎接2020年尾聲,原班人馬移師高雄衛武營,在城市景觀和自然生態交界之間,邀請觀眾跟著表演者一起行走,親身感受這連結過去、現在,與未來的身體地圖。
\n\n時間
\n\n2020/11/07 (六) 16:00
\n\n2020/11/08 (日) 16:00
\n\n地點
\n\n戶外劇場、衛武營都會公園
\n\n\n\n
\n',color:{a:1,r:0,g:0,b:0},type:"content"},{programs:[],seq:3,name:"工作坊",content:'
2021
\n\n衛武營首位駐地藝術家周書毅,曾在十年前發起 「舞蹈旅行計畫」,帶著舞作《1875 拉威爾與波麗露》走過14座城市60場的演出,以不搭台、不架燈的方式,在每座城市的公共空間起舞。
\n\n這一次衛武營希望將作品重製上演,在高雄市不同地區起舞。透過走出劇場的表演方式,讓更多人有機會與現代舞不期而遇!
\n\n這次工作坊,將尋找願意一起走出劇場參與舞蹈推廣計畫的舞者們,與駐地藝術家一起在高雄分享舞蹈。本推廣演出預計於2021年9月至2022年3月進行排練,2022年4月至6月巡演於高雄地區。
\n\n時間
\n\n2021/8/21(六)14:00
\n\n地點
\n\n衛武營排練室
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衛武營首位駐地藝術家周書毅,將舉辦身體創作工作坊,尋找對身體、舞蹈的創作合作有想法的人。
\n\n無論你是編舞家、舞者、演員或導演,還是燈光、影像、服裝等跨域的相關藝術工作者,你都可以來報名。一起透過對身體創作的練習與覺察,找到與當代舞蹈身體語言合作共生的可能,啟動創作與表演連結的潛能。
\n\n工作坊將分為身體覺察與鍛鍊,以及創作的合作與分組實作。
\n\n透過連續三個月每周一日的工作坊,在衛武營走入一段未知的探索之旅!
\n\n時間
\n\n2021年9月至11月
\n\n地點
\n\n衛武營排練室
\n\n\n',color:{a:1,r:100,g:100,b:100},type:"content"},{programs:[],seq:4,name:"策劃",content:'
2022
\n\n漸進式的課程導引,將帶領你看見不一樣的舞蹈書寫技能
\n\n2022臺灣舞蹈平台首次策劃漸進式舞蹈書寫養成計畫,力邀藝術家、策展人、專業藝評人及藝文媒體工作者等,一步步帶領學員從觀看舞蹈、想像舞蹈,進而書寫舞蹈,以筆尖與身體藝術共感。課程依據內容深淺,規劃「一起來寫舞」與「專業書寫手」同步進行,邀請有興趣的朋友們,一起提筆上陣寫舞去!
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了解更多:
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2020-2022
\n\n每個人都有手機,但不是每個人的手機都會遇見藝術?!疫情期間,表演藝術場館紛紛暫停許多表演,民眾也少了走入藝術表演的機會,現在,無論你在哪,你都可以拍下你的舞蹈,在衛武營放映!我們將用音樂為你創作的身影配樂!在疫情中,向世界分享表演藝術的力量,透過VR全景攝影技術,讓生活重返劇場。
\n\n「衛武營一分鐘 放映舞台- 拍下你的舞蹈」是一個舞蹈影像創作App,希望透過這個程式,用舞蹈和影像,在衛武營國家藝術文化中心的五個場景中,線下創作、線上分享放映,向世界分享困境中的力量!
\n\n文|周書毅 衛武營駐地藝術家
\n\n透過這次波麗露在高雄的活動,我才知道原來高雄有好多喜歡看現代舞的觀眾,只是過去從來沒有機會遇見!也發現比想像中更多的人喜歡跳舞,而且是隨心的自由舞蹈。
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為什麼說是「自由舞蹈」呢?這個詞源自於這次活動中,一段非常美妙的經驗。位在高雄旗山的旗美社區大學裡有一堂課叫作「自由舞蹈」,由美濃在地的文化藝術工作者劉崇鳳老師所開設。她希望帶來身體與土地的感知與連結,拋開局限與框架,讓每一個人都可以用自己的身體去學習如何自由的跳舞。透過鳳山在地「鳳東文創」的小翠與梅珠拜訪,以及藝術顧問林璟如老師的友人,我才得以與劉崇鳳老師和她的自由舞蹈相遇,因著波麗露這首樂曲串起了人與人之間的緣分,讓我有機會也來分享我的自由舞蹈。在那兩個小時裡,我們的內心靜了下來,手牽起手,感受前方的引領,以及後面的人的跟隨。全憑感受帶領身體來移動,在享受中淋漓盡致地完成了這場交流。
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波麗露在高雄,我們在這個傾注了我全部熱情的活動中相遇,往後我也將繼續這樣自由的舞蹈,繼續與大眾一起發掘自己與身體的關係,享受每一個跳舞的當下。(寫於2022/05/16)
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\n',picture:{key:"1876921bb1d60cc1b31fa128b4fe8b3b",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"Meeting People Who Just Want to Dance in Kaohsiung",introduction:"It was not until we did Bolero in Kaohsiung that I realized there are actually so many people in Kaohsiung who enjoy watching contemporary dance but had just not had any opportunities to see it! I also found out that many more people than I had imagined like to dance, including freestyle dancing. ",content:'
It was not until we did Bolero in Kaohsiung that I realized there are actually so many people in Kaohsiung who enjoy watching contemporary dance but had just not had any opportunities to see it! I also found out that many more people than I had imagined like to dance, including freestyle dancing.
\n\n\n\n
What do I mean by “freestyle”? This word actually came from an amazing experience that took place during the event. At Chi-Mei Community University in Qishan District, there is a class called “Freestyle Dance,” taught by LIU Chong-feng, who is from neighboring Meinong District and works in culture and art. For the class, her goal is to bring about perception and connection between the body and the land, encouraging students to break free from boundaries and frameworks so that they can learn to dance as freely as they please. It was only through interviews with Xiao-cui and Mei-zhu of Fengdong Culture and talking with a friend of artistic consultant LIN Jing-ru that I was able to meet LIU and find out about her freestyle dancing. Afterwards, Boléro allowed me to share this type of dance with so many people. During those two hours of the event, our innermost selves calmed down as we held hands, each of us feeling the guidance of the person in front and the connection with the person behind us. Our bodily movements were guided completely by feeling, and we thoroughly enjoyed the entire exchange.
\n\n\n\n
We met through Bolero in Kaohsiung, an event that we poured our hearts and souls into, and I am going to keep up with my freestyle dancing and discovering the relationship between my body and myself along with everyone else who was there, all the while enjoying every moment of it!
\n\n05/15/2022
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Learn More:
\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
\n\n\n\n\n\n
\n',picture:{key:"131538501b410b3b9cd3961698d6e813",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:[],programs:[],top:!1,createdAt:1656570279,updatedAt:1656570477,updatedBy:"林蔚行"}},{from:"articles",key:"621b2e58dbebd900074d18c7",title:"看舞難,還是寫舞難?先看了再說!",data:{_id:"621b2e58dbebd900074d18c7",chinese:{title:"看舞難,還是寫舞難?先看了再說!",introduction:"「你還記得觸動你的舞蹈作品是哪一部嗎?你曾經看舞而落淚嗎?」",content:'
文|周書毅 衛武營駐地藝術家
\n\n我常在想為什麼有些人無法喜歡看舞蹈?結果多半聽到的原因都是很難懂、看不懂,不知道在跳什麼,當然也有人是直覺上的不喜歡。但我總覺得,在忙碌的生活裡,若能靜下心來欣賞一種藝術、聆聽一首樂曲、看一支舞碼,是件很難得的事情。高雄這座城市,如今有愈來愈多文化藝術活動,要接近不難,只需要換個角度去認識自己與藝術的世界,有什麼樣的美妙關係。
\n\n\n\n
「眼前,有一個人靜靜地躺在那邊,他身穿白衣,看起來意識恍惚?他在做什麼?他好像在尋找什麼?我與他之間隔著一面玻璃,也許我們不在同一個世界?那他是誰?我又是誰? 」 看舞有時候會像上面描述的這樣,心中冒出一些問題,而後拋開問題,轉而走入感受後的理解,最後走到感動的入口,產生情緒的激動。如果你是一位喜歡看舞的觀眾,你會邀請你的朋友一起來看舞嗎?還是總是難以開口推薦身邊友人呢?看完後,你會寫下來分享在自己的社群平台嗎?對我而言,邀約第一次走入劇場看舞的朋友,是困難的,但將心得寫下來卻相對容易,能夠讓身邊的人知道自己怎麼看舞,有著什麼樣的感動。寫下想法時,也隱隱企盼身邊的人有一天會因為這些文字,想去一探究竟。
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至於觀後心得與專業舞蹈評論有什麼不同呢?前者是如果你看了很多舞蹈演出,你的大腦會自動將這些感受疊加在一起,成為一種屬於你獨有的思維與感受,而你選擇將這份感受寫下,分享給其他人。後者則除了主觀感受外,另外針對作品的舞蹈姿態、風格等給予客觀的評價。這兩者對我來說各有其意義,有點像是一部電影的推薦,除了幾個星之外,你有時也會想聽聽專業的影評怎麼說,再決定去看或不看。舞蹈作品在臺灣也有專業評論的發表平台,像是「表演藝術評論台」與「ARTalks:藝論紛紛」等。而衛武營也因著「舞蹈書寫計畫」的累積,預計在今年開啟「觀眾投稿」欄位,讓觀眾可以有地方去書寫觀看作品的感受或評論。此外,「舞蹈書寫工作坊」今年將擴大舉辦為一年四期,以吸引更多表演藝術書寫者來衛武營分享經驗,透過文字的力量連結這座島嶼與世界。
\n\n\n\n
「你還記得觸動你的舞蹈作品是哪一部嗎?你曾經看舞而落淚嗎?」
\n\n「有人曾經問你為什麼現代舞那麼難懂嗎?你會怎麼回答呢?」
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在擔任衛武營駐地藝術家一年多後,我仍在探索這些問題,嘗試各種辦法讓更多人靠近當代舞蹈這一門藝術。隨著「波麗露在高雄」推廣計畫前期工作的展開,我與夥伴們開始拜訪鳳山、左營、前鎮、美濃、旗山、大樹、岡山、彌陀、六龜等地區,並不斷思考如何讓這些地方也可以有「武營來跳舞」大眾舞蹈課的發生,一步步與當地的民眾分享不同的舞蹈作品。
\n\n經過大家的努力,在公共空間 「跳舞給你看」 的想法終於被實現,那些曾讓我感動的瞬間,如今我也要一一回饋在眾人眼前。今年四月到六月,我將會帶著一群來高雄跳舞的獨立舞者們和左營高中舞蹈班的學生,一起與衛武營在高雄用舞蹈旅行。請試著邀請你身邊的朋友來看演出吧,期待在旅途中遇見你們!
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\n',picture:{key:"e6d52fbaaaed21963c459824f7c6217d",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"What's harder: watching dance or writing about it? Try both, then decide!",introduction:"I often wonder why some people just don't like watching dance. The answer I usually get is that it's hard to understand...",content:'
by CHOU Shu-yi Weiwuying Artist-In-Residence
\n\nI often wonder why some people just don't like watching dance. The answer I usually get is that it's hard to understand, that they don't know what's going on. Of course there are those who just inherently dislike it. In our busy lives, I think that it is quite rare for people to find time to calm down and enjoy some sort of art, be it listening to a song or watching a dance performance. The city of Kaohsiung is seeing more and more art and cultural events, so it's not hard to find something to go to. If people can just change their perspective of themselves and the art world, they might find something amazing.
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"I see someone wearing a white garment lying down quietly. He looks out of it. What's he doing? It seems like he's looking for something. There's a piece of glass between us, so maybe it's like we're in different worlds. And who am I?" Watching a dance performance might make you feel like the person who made the above statement after seeing a number. Questions come to mind, but you give up on trying to answer them and instead base your understanding on how it made you feel, and then, in the end, you think about how it has touched you, and you become emotionally stimulated. If you enjoy watching dance, do you ever invite your friends to performances? Or do you always find it hard to ask them? And after watching a show, do you tell people about it on social media? It is indeed a challenge for me to invite someone to a dance performance for their first time; in contrast, I find it much easier to share about it on social media. In this way, I can let people know how I feel about dance and how a performance has touched me. When I'm writing these posts, I secretly harbor this hope that those who read it will be inspired to see a show for themselves someday.
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What's the difference between what one subjectively experiences from a show and a professional review? The former refers to writing down and sharing your feelings, which, if you watch a lot of shows, your mind will automatically gather together and turn into your own unique set of ideas. The latter refers to the objective appraisal of the form and style of the performance, as opposed to just subjective perception. I believe that each of these has its significance. It's like the types of reviews for films: Besides wanting to know how many stars it has gotten, you sometimes also want to hear a professional review of it before deciding whether to see it. There are platforms of professional review for dance in Taiwan, such as those of Performing Arts Redefined and ARTalks. Based on what Weiwuying has learned through its Writing About Dance Project, it plans to launch a column this year in which anyone can leave comments on dance performances they have seen. Also, Weiwuying's Writing About Dance Workshop this year will be expanded to four sessions to get more people who enjoy writing about dance to share their experiences with Weiwuying and connect Taiwan to the world through the power of the written word.
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"Do you remember the dance performance that has touched you the most? Have you ever cried while watching one?
\n\n"Has anyone ever asked you why modern dance is so hard to understand? How did/would you answer?
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After having worked as a resident artist at Weiwuying for over a year, I'm still exploring these questions and trying out lots of ways to get people to come closer to contemporary dance. As the first phase of promotion for the event Bolero in Kaohsiung unfolded, my partners and I visited Fengshan, Zuoying, Qianzhen, Meinong, Qishan, Dashu, Gangshan, Mituo, and Liugui districts, thinking about how to bring Weiwuying 365+ Dance and different dance numbers to people there.
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Thanks to everyone's hard work, we are finally going to hold dance events in public spaces where people can show their stuff. I want to give something back to the public in return for the touching moments they've created for me. From April to June this year, I'm going to lead independent dancers who have come to Kaohsiung and students from the dance class at Tsoying Senior High School on a dance journey. We look forward to seeing you – and don't forget to invite your friends!
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Learn More:
\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
\n\n2022 Writing About Dance Workshop (Primary)
\n\n2022 Writing About Dance Workshop (Advanced)
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\n',picture:{key:"9a787acd5b1eeb7ea04322ff7fd6580b",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:["5f8432ff6c88680006585155"],programs:[],top:!1,createdAt:1645948504,updatedAt:1661494587,updatedBy:"林蔚行"}},{from:"articles",key:"61c07bd9d970790007055c9b",title:"用舞蹈與管風琴相遇",data:{_id:"61c07bd9d970790007055c9b",chinese:{title:"用舞蹈與管風琴相遇",introduction:"一個藝術文化中心要如何被認識,表演藝術要如何推廣?衛武營的音樂廳是什麼樣的地方,你有聽過現場的管風琴演出嗎?如果你還沒來過,卻又不知該如何走入音樂廳聽一場表演,你可以試試參與衛武營的管風琴導覽。",content:'
文|周書毅 衛武營駐地藝術家
\n\n一個藝術文化中心要如何被認識,表演藝術要如何推廣?衛武營的音樂廳是什麼樣的地方,你有聽過現場的管風琴演出嗎?如果你還沒來過,卻又不知該如何走入音樂廳聽一場表演,你可以試試參與衛武營的管風琴導覽。這場導覽除了一般敘述性的介紹,還包含了一場演出,讓民眾不僅能增加對於音樂廳與管風琴的知識,也可以透過展演來直接感受這個空間正在發生的藝術。
\n\n在去年疫情下創作「放映舞台 APP」時,認識了臺灣管風琴演奏家劉信宏老師,當時我邀請他來衛武營無人的音樂廳獨自演奏,臺灣數位藝術中心用VR視角記錄下這空蕩空間中的表演。這個畫面作為背景,人們之後可以將自己拍攝的影像短片與這場演奏的音樂結合,在虛擬的世界真實起舞,像是一場無人的動畫音樂會,只有你與音樂共存。合作之後,劉信宏老師約我參與他在衛武營所主持的管風琴導覽演出,我立刻答應了他,除了延續這樣難得的合作挑戰之外,更重要的是不想放棄任何可以與人「推廣」表演藝術的機會。「現場展演」是最直接讓人親近藝術的方式,是我在駐地期間最期待做的事,也是南部許多藝術家正在努力的,讓「分享」藝術變得更頻繁也更多元。
\n\n管風琴是氣鳴樂器,對於身為舞蹈工作者的我來說就是一個會呼吸的樂器,它像是一個巨大的身體,透過呼吸來驅動不同的動作,只是它驅動的是聲音。當我第一次在現場聆聽時,我感覺那聲音像是在身體裡流動著,同時又從外面包覆著我的身體,內外連結,隨著氣鳴上升又下降。也因為這座樂器必須與空間相連,所以當觀眾來到音樂廳聽現場時,那氣流共鳴出的聲音,是真的在空間裡流動的,你看不見,卻能感受得到。我認為這是管風琴最迷人之處。
\n\n信宏老師選擇了三首曲子來與我討論合作,分別是拉威爾(1875-1973)的《悼念公主的帕凡舞曲》、巴赫(1685-1750)的《耶穌,世人仰望的喜悅》、皮亞佐拉(1921-1992)的《遺忘》,三位作曲家跨越了三百多年的時間,在不同時代下創作了各自的音樂,有的是想像中的舞曲,有的是為宗教所作,也有的是在演繹人性之間的情感拉扯。三位作曲家之中只有巴赫是管風琴演奏家,而這三個作品都並非為管風琴而寫,這不僅讓這次的詮釋多了一份神祕感,也讓我有了重新編創詮釋的機會。我有時會遊走於音樂廳二樓的風管前,然後又踱步到舞台上仰望著前方的光與階梯,想像音樂爬升出希望之感──最後一道光灑下,我們一起面對人性的真實,再一起跨越黑暗。我以舞蹈的角度來詮釋,雖然不是曲子的原意,但表演藝術是個充滿想像的世界,每個人的生命經驗不同,體會也可以不同。期待下次在音樂廳見到你,也許你會看到我再次以舞蹈的姿態現身!
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\n',picture:{key:"847d5d1b2b031e8cbbd6e45b8dd5f1f4",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"Dance Meets the Organ",introduction:"How should an art and culture center be understood? How should performing arts be promoted? ",content:'
Written by CHOU Shu-yi Weiwuying Artist-In-Residence
\n\nHow should an art and culture center be understood? How should performing arts be promoted? What is the Weiwuying Concert Hall like? Have you ever attended a live pipe organ performance here? If not, and if you are unsure of what it really means to experience a music performance here, you might try out the organ tour. A general introduction of the instrument and the concert hall will be accompanied by a performance to give you not only theoretical knowledge but an actual experience of art in action within the space.
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With the One Minute VR Stage app we created last year as a result of the effects of Covid, I became acquainted with Taiwanese organist LIU Hsin-hung and invited him to give a solo performance at the empty Concert Hall, which was recorded with VR technology by the Digital Art Center, Taiwan. With a VR background, people were able to blend the music into videos they had made, creating an animated dance between the video-maker and the music within the virtual world. After that, LIU invited me on one of his pipe organ tours at Weiwuying, and I immediately accepted because I wanted to not only continue with our rare cooperative challenge but also, more importantly, not miss an opportunity to promote the performing arts. A live performance is the most direct way to allow people to experience art up close. It is the thing I most look forward to during my time here as well as something that many artists in southern Taiwan are working hard to achieve so as to share art more frequently through more diversified means.
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The organ is an aerophone, so for someone in the field of dance like me, it breathes. It is just like a huge living organism, relying on breathing to move about, though its movements are expressed as sound. The first time I heard it live, I felt as if the sound were both penetrating and surrounding my body, and my body moved with it. Since the instrument is connected to its surrounding environment, when people are listening to it here, the resonant sound it produces truly flows throughout the space. It is invisible, but you certainly feel it. To me, this is the organ's most alluring aspect.
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LIU selected three songs for our cooperation: Ravel's (1875-1973) “Pavane for a Dead Princess,” Bach's (1685-1750) “Jesu, Joy of Man's Desiring,” and Piazzolla's (1921-1992) “Oblivion,” the three having been written at different times over three centuries. The first exhibits what commonly comes to mind when one thinks of music for dance, the second was written for religious purposes, and the third is a commentary on the push and pull of different human emotions. Of these three composers, only Bach was an organist. None of the pieces was written for the organ, so our interpretation has an added sense of wonder, and I am pleased to have been able to interpret it through dance. I sometimes take little walks by the organ, which is on the second floor of the Concert Hall, and then go up onto the stage and look up at the light and stairs in front of me, imagining how the music produces a sense of hope, and then, as the last beam of light remains, we face the reality of human nature and get past the darkness together. My interpretation is from the angle of dance, and though it is not the composers' intended meaning of the music, the realm of performing arts is full of creativity as everyone's life experiences and realizations are different. I hope to see you at the Concert Hall, and if I am performing that day, you will see me too!
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Learn More:
\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
\n',picture:{key:"5edf1f9c1800249dc2d377d9d885ab91",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:["5f8432ff6c88680006585155"],programs:[],top:!1,createdAt:1640004569,updatedAt:1647569585,updatedBy:"林蔚行"}},{from:"articles",key:"616539075e0cd800081dfaba",title:"疫情下,劇場與你之間的距離有多遠",data:{_id:"616539075e0cd800081dfaba",chinese:{title:"疫情下,劇場與你之間的距離有多遠",introduction:"仍記得那一天,因為三級防疫的規定,劇場暫時關閉了,大家心裡都不知道什麼時候可以重開。",content:'文|周書毅 衛武營駐地藝術家
\n\n仍記得那一天,因為三級防疫的規定,劇場暫時關閉了,大家心裡都不知道什麼時候可以重開。我與衛武營場館夥伴們收拾自己的東西準備離開,讓場館進行消毒的工作。因為不確定何時會回來,所以帶了許多可能要在家工作的資料離開。這時我突然想到,身為駐地藝術家,我能帶走什麼?整個衛武營對我最重要的部分是排練場,那是一個裝載創作發展的空間,只可惜帶不走。我想這也是所有表演藝術工作者在面對疫情最擔憂的地方——一個能讓我們維持藝術能量的空間,即將面臨暫停。
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在家工作的期間,身為舞蹈工作者的身體轉換到小空間裡鍛鍊,讓我想起自己過往的租屋經驗,當時在沒有固定排練的時候,我時常在家暖身與鍛鍊,這次才得以很快就適應。但是音樂工作者呢?也能夠獨自在家中練習嗎?馬戲特技表演者不就更加困難?如同演員沒有戲可以排、導演沒了演員,有的幕前表演者開始進行一段日子的修練,找尋其他可以練習的地方,像是家裡的屋頂、陽台等。還有許多幕前幕後的工作者仍是艱難,有人開始送外賣,也有人開始學習其他技藝,也許這樣在疫情過去後,身上還多了幾分原本沒有的能力。該如何在這時局中轉換念頭前行,或許是這次疫情最考驗人的地方。
\n\n衛武營在這段期間不但沒能停下,反而變得更為忙碌,忙著規劃取消與延期的展演、與藝術家和團隊討論應變的決策。維持實體還是轉線上展演形式,成為每個節目與行銷夥伴的課題,也因為分流上班的緣故,大部分工作都必須在線上完成,某次遇到簡文彬總監,他還笑說現在指揮的手都在手機上揮舞所有的線上工作了!
\n\n同樣在這段期間,我在空蕩的公共空間裡遊走,想起過去三年裡表演藝術在這裡帶來的許多瞬間。這個讓生命有所連結與感動的地方,如今停擺,讓所有人都不得不重新適應這份寧靜。我在這裡起舞,探索著無人的空間與光線,心中開始期待起再次啟動的時刻,更希望表演藝術的朋友夥伴們都能夠度過難關。
\n\n除了在家鍛鍊與線上工作之外,我也為所有可能的延期與取消做了準備,沒想到時隔兩個多月,迎來了劇場重啟的消息。我隨即展開《阿忠與我》的排練與巡演,雖然目前座位數少了一半,人心也仍在不穩定的狀態中,未必能夠這麼快重返劇場,但一個劇院(藝術中心)到一個團隊,只要能啟動,產業就能夠運轉起來,至於修復期要多少時間?沒有人知道,只能繼續前行,無論線上還是線下,都是一條跨越未知的道路。表演藝術的風景,在疫情下看似遠離了,但其實更多的藝術家與相關團體都在想方設法的拉近與藝術之間的距離。在逆境中找到出路,是生命的本質之一,也是藝術誕生的珍貴意義。
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現在劇場重啟了,一起踏入劇場尋找生命與藝術的距離吧!
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\n',picture:{key:"795abd25492397497f34c438b1e6ecfa",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"How distanced from theater have you been during the pandemic?",introduction:"I remember the day that the theater closed because of the Level 3 alert, and we all had no idea when it would re-open. ",content:'
Written by CHOU Shu-yi Weiwuying Artist-In-Residence
\n\nI remember the day that the theater closed because of the Level 3 alert, and we all had no idea when it would re-open. My colleagues at Weiwuying and I started putting away all our stuff and getting ready to leave so that disinfection could take place. Since I didn't know when I'd be back, I packed up a lot of materials that I might need while working from home. I suddenly thought, as a resident artist, what could I bring with me? The most important thing Weiwuying gave me was a place to rehearse, a place for creative development. Unfortunately, I couldn't bring that with me! I'm guessing that's what everyone in the performing arts sector worries about most with Covid-19—the temporary closure of spaces where we maintain our artistic energy.
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While working from home, having to train as a dancer in such a small space made me think back on when I used to rent a house. At that time, when I wasn't regularly rehearsing, I usually practiced at home. That's why I've been able to adjust to practicing from home so well. But what about musicians? Can they practice on their own at home? And the difficulty for circus performers goes without saying. At this time when performers have no shows to rehearse for and directors have no performers to work with, some of them have started practicing by themselves, searching for places to do so, like on the roofs and balconies of their homes. A lot of performers and backstage workers are having a tough time. Some have had to start working as food deliveries or learning other skills. When the pandemic is over and they can get back to work, they'll have some extra skills. How we should transform our thinking and make our way forward under such circumstances is perhaps the greatest test this pandemic is giving us!
\n\nDespite the outbreak in May, Weiwuying actually became busier because of work related to canceling and postponing programs and figuring out response strategies with artists. Whether to keep live performances or transition to an all-online model is a question that has had to be resolved for each program and its related marketing. Also, with staggered shifts, most tasks had to be completed online. Once when I bumped into General and Artistic Director CHIEN Wen-pin, he laughed and said that conductors weren't waving their batons anymore; instead, they were just waving their fingers all over their phone screens to get their online work done!
\n\nAs I walked through empty public spaces, I thought about all the interesting moments the performances here have produced over the past three years. There have been aspects that were quite touching and connected to life. The standstill caused people to have no choice but learn how to get used to the new quiet. I started dancing, exploring a space with nobody in it but sunshine, looking forward to when we could begin again and hoping with all my heart that other performers would be able to make it through until that happened.
\n\nBesides practicing at home and working online, I prepared for all the programs that were canceled or postponed. Then, after over two months, good news came: Weiwuying was scheduled to re-open! I immediately initiated rehearsals and a tour for The Center. Even though seating was reduced by half and people probably wouldn't be willing to go to public spaces so soon, as long as an arts center and its team are able to start up again, the industry can get going. As for how long it will take to get back to normal, no one knows. All we can do is strive forward. Whether live or online, each is a path that will take us into the unknown. With the pandemic, it seems that we have become distanced from the performing arts, but a lot of artists and workers in the field are thinking about how to close this distance. Finding a way in the face of adversity is a human instinct and preciously significant in the birth of new art.
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Shows are back on, so come and explore the distance between life and art!
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Learn More:
\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
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\n',picture:{key:"9a11c34400856fa03f2bd704d7b9c9e8",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:["5f8432ff6c88680006585155"],programs:[],top:!1,createdAt:1634023687,updatedAt:1647569567,updatedBy:"林蔚行"}},{from:"articles",key:"612ee1a7103d910007fafd70",title:"當一個藝術的兵有多困難?",data:{_id:"612ee1a7103d910007fafd70",chinese:{title:"當一個藝術的兵有多困難?",introduction:" 聽過許多人說到衛武營某一個時期的記憶,多半都是當兵很苦的日子,衛武營對於曾在這裡從軍的人來說,是個很難忘的記憶。",content:'
照片:©陳長志
\n\n文|周書毅 衛武營駐地藝術家
\n\n聽過許多人說到衛武營某一個時期的記憶,多半都是當兵很苦的日子,衛武營對於曾在這裡從軍的人來說,是個很難忘的記憶。也因為如此,臺灣有許多人都知道高雄鳳山曾經有座軍營叫做衛武營,也正是如今的藝術文化中心。想起去年接獲駐地藝術家這個任務時,未曾當兵的我,真的感覺像是接到兵單一樣,興奮又期待地想著自己會被分發到哪一個單位呢?我當的是藝術兵,只要跟藝術有關的我都必須提起自己的好奇心。當藝術這件事變成一群人的事時,是很不同的,就像一個人跑步會不同於一群人跑步一樣。
\n\n當年因為跳舞受了重傷,所以沒有當兵。那停下來無法跳舞的一年,磨練著我對於生命的意志,也讓我開始思考舞蹈之路究竟要如何走下去?我因此打消了成為專職舞者的夢想,開始專注於創作,當然教學也是自己的生計來源之一。從前我每一天的生活都與舞蹈有關.但受傷的這一年既無法跳舞,也無法教課,連示範動作都成了問題,最嚴重的時候甚至走路都不是很容易。後來我開始了長時間的復健治療,慢慢地回到舞台上,尋找能夠完成的表演作品,同時發展自己的創作之路……。這是一個要寫很久才寫得完的故事,但我想說的是,當你選擇成為一個藝術工作者,那就是一輩子的兵單,要堅持下來是多麼不容易啊!我聽過許多藝術家跟我有類似的生命經歷,那麼一個集結了藝術家心血的藝術文化中心裡,所呈現的藝術之美是什麼呢?我想是藝術家的堅持。這種堅持是難以用肉眼看見的技術鍛鍊,它會在背後一步步累積,當最終成為眾人所見的作品時,它也同時成為了你我眼前獨有的風景,讓每個人看完都產生不同的感受。那就是藝術,是生命!
\n\n疫情之下,場館停了,不只藝術家,連幕後工作人員都不得不停下腳步。但跳舞這件事不受影響,在哪裡都可以跳,雖然沒有表演可以看,但你絕對還能跳舞,而聰明的藝術家們面對生存的挑戰,是不會停止轉變與適應的。原本在榕樹廣場每個月舉辦一次的大眾舞蹈課「武營來跳舞」,在六月三十日時,首次轉為線上,藝術家蘇品文的身體工作坊,在思考線上模式後,透過畫面設計與她的聲音引導,帶領將近二百位學員在線上一起練習身體的觸覺。這讓我感到不可思議,這是藝術家生命力的一種展演,而這種展演是每個人都可以體驗的。此外,高雄在地藝術家左涵潔所創立的「両両製造」,同樣受到疫情衝擊,暫停了實體的展演計畫。曾創作寶寶劇場系列作品的她,開啟了階段性的週日親子工作坊,透過線上互動為親子關係帶來不同的生活能量。這些都是藝術家的力量──在困境中學習面對與改變,同時保有自己的堅持。正是這些力量,讓藝術保有它可貴之處。
\n\n如果當兵有性別之分,那麼藝術的兵是不分性別的,有很多台前幕後的人在這裡堅持著,希望我在駐地創作的路上,也能繼續勇敢分享自己的堅持,在高雄!
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\n\n\n\n\n',picture:{key:"c53595c0afbeb64619a5b579d4049fef",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"How Difficult Is It To Be An Art Soldier",introduction:" I have heard many people talk about their time at Weiwuying, most of which are about their gruesome army days...",content:'
Photo:©陳長志
\n\nWritten by Weiwuying Residency Artist CHOU Shu-yi
\n\nI have heard many people talk about their time at Weiwuying, most of which are about their gruesome army days. Because of these unforgettable military experiences, many people in Taiwan know that there once was a military camp in Fengshan, Kaohsiung, called Weiwuying, which is now a center for the arts. Although I have never served in the military, it felt like I was being drafted when I received the Artist-in-Residence assignment last year. I serve in the art force, so I had to be curious about anything art-related. Just as a person jogging alone is quite different from jogging as a group, when art becomes a communal affair, it is transformed.
\n\nThe year I was supposed to serve in the military, I suffered a severe dance-related injury. Because I could not dance, I sharpened my will to live and contemplated my dance future. I gave up my dream of becoming a professional dancer and began to focus on creating and teaching. My life used to be all about dancing, but that injury made it difficult to demonstrate and even walk, which affected my teaching and dancing. I began a long rehab process and slowly made my way back to the stage. I searched for dance pieces that I could complete and developed my artistic voice...... This story will take forever to finish, but what I want to say is: when you choose to become an artist, it is a lifelong service that takes a lot to carry out. I learned that many artists and I share similar life experiences. So what kind of beauty does an art center that hosts numerous performances display? The artist's persistence. It is a technical exercise invisible to the naked eye that slowly grows. When it is finally ready for the public to see, it has become a sight that speaks to each of us differently. That is art. That is life!
\n\nWhen the pandemic shutdown venues, the artists and staff had to stop all projects. Although there were no performances to attend, you could still dance. In the face of the pandemic, clever artists fought for their survival and adapted. Held initially once a month at the Banyan Plaza, the public dance class "Weiwuying 365+ Dance" relocated online since June 30. In her workshop, artist Su Pin-wen incorporated the online format and led nearly 200 participants to explore their physical senses online through graphics and audio guidance. This is an incredible display of the artist's vitality for all to experience. Kaohsiung artist ZUO Han-chieh, who founded the Double & Cross Theater Group, was also affected by the pandemic and suspended physical performances. ZUO, who has created a baby theater series, started a Sunday parent-child workshop to infuse new energy into the household through online interaction. These are examples of the artists' resilience: learning to face and adapt to adversity while holding onto their vision. It is these strengths that give art its value.
\n\nIf there is a gender difference for soldiers, then art soldiers are gender-neutral. Many people are standing their ground on and off stage, and I hope I can do the same and bravely share my vision right here in Kaohsiung!
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Learn More:
\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
\n\n\n',picture:{key:"8bc0cbb8d100659509579f11bf4a4537",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:["5f8432ff6c88680006585155"],programs:[],top:!1,createdAt:1630462375,updatedAt:1647569515,updatedBy:"林蔚行"}},{from:"articles",key:"612edb4a103d910007fafc96",title:"劇場,是另一個與你相連的世界",data:{_id:"612edb4a103d910007fafc96",chinese:{title:"劇場,是另一個與你相連的世界",introduction:"當你喜歡一場演出,你與它之間的關係是緊密靠近的,而且是一種只有你自己了解的了解...",content:'
照片:《留給未來的殘影》衛武營特別展演場。©林峻永
\n\n文|周書毅 衛武營駐地藝術家
\n\n"這真是一個令我太失望又生氣的演出!",這句話一出,代表你與這場演出的世界是不同的,你無法感受它,它也無法與你交談,你們之間有著非常遙遠的距離,身處於不同的世界。相反的,當你喜歡一場演出,你與它之間的關係是緊密靠近的,而且是一種只有你自己了解的了解,那難以言喻的感動,讓力量充滿身心,感覺像是彼此擁抱相連在一起。劇場藝術,真的是一個非常奇妙的世界,乘載的都是人,卻創造了極為極端的世界,也因如此,劇場正是一個世界,只是它的複雜與混亂是可控制的,它的美好與感動是可創造的,同時也是分裂的。
\n\n最近的我,時常用不同的身分走入劇場,有時是一名編舞,有時是表演者,一個是在台下思考,一個是站在舞台上詮釋,一個能看見全局,另一個用表演感受整個作品,當兩者合而為一的時候,那就是在另一個維度在感受世界了!劇場,是在虛與實之間存在,在看似一切都是假的背後,需要許多真實的人生模擬,才能到達那個叫做「劇場」的地方。這裡除了有創作、表演者與觀眾之外,還有許多你難以想像的角色在其中生活著,像是聽覺的聲音角色、舞台燈光與空間的角色、身體上的服裝角色,以及掌管一切秩序的舞台監督角色等,存在著許多你看不見的重要角色在其中運轉著。
\n\n而當你走入劇場時,你會遇見與你問候的前台人員,還有與你一起看演出的陌生朋友,散場時,你會感受到與你相同頻率的移動步伐,或是在大家激烈拍手叫好時,只有你靜靜地哭著。劇場,像是一個微型的世界,是人類創造的複雜之地,充滿著矛盾與衝突之地,但是卻能夠理性梳理著隨時爆發的瘋狂,而時間在這裡並非是如常的時間,除了你手上的錶會告訴你真正的時間,但你也有可能會被你眼前所見的一切帶走,瞬間蒸發在這世界上,無論你是哪一個角色,在劇場裡,你都終將不是一個人完成的,也不會一輩子都固定身分,如同一個人與社會的關係,沒有選擇的關係,卻又真實的擁有彼此。
\n\n生命如何擁有另一個身體與眼睛去觀看自己,那就是走入劇場,那是另一個與你相連的世界,透過一張票,走進劇場,讓自己和台上的一切慢慢產生關係,無論最後是喜歡還是不喜歡,你的世界都會因為這一段時光而變化。
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\n\n【高雄雄厲害】周書毅x陳芯宜 2021《留給未來的殘影》衛武營特別展演場
\n\n\n\n\n',picture:{key:"ebda5f24bdf8d60ddec5de93b6ce965b",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"Theater, Your Otherworldly Connection",introduction:' When you say, "This is such a disappointing and infuriating show!" It means that you are in a different world than that of the show: you cannot connect with it; it does not speak to you, and there is a tremendous distance between you...',content:'
Written by Weiwuying Residency Artist CHOU Shu-yi
\n\nWhen you say, "This is such a disappointing and infuriating show!" It means that you are in a different world than that of the show: you cannot connect with it; it does not speak to you, and there is a tremendous distance between you. However, when you like a show, your relationship with it is an intimate one. There is a private understanding and an indescribable and empowering feeling in your body and soul like a firm embrace. The theater is a wondrous and extreme world facilitated by humans. A world whose complexity and disorder are controllable, its beauty and emotion creatable. A world divided.
\n\nRecently, I have walked into the theater in different capacities, as a choreographer and a performer. One thinks off stage, the other interprets on stage; one sees the whole picture, the other feels through action. When the two roles become one, you experience the world through another dimension! The theater exists between reality and fantasy. To reach it, everything seemingly fictional should undergo a great deal of life-based simulation. Besides productions, performers, and audiences, other roles also inhabit the theater, such as sounds, stage lighting and space, costumes, the stage manager overseeing order, and many others who play an essential part behind the scenes.
\n\nWhen you enter the theater, the front-of-house staff greets you, and you meet your fellow audience members. At the end of the show, everyone exits at the same pace. During the curtain call, while everyone vigorously applauds, you softly weep. The theater is like a small, artificial, and complex planet filled with contradictions and conflicts. Still, it rationally sorts out the madness that may erupt at any moment. Time is experienced differently in the theater. While your wristwatch may tell you the actual time, you may also be carried away by the spectacle on stage and disappear in an instant. No matter what role you take on in the theater, you do not finish alone or get stuck in the same part, just like the relationship between a person and society, though arbitrary, is firmly in possession of one another.
\n\nBy walking into the theater, a life can examine itself from another form and perspective. By purchasing a ticket, you enter another world connected to you and allow yourself to slowly relate to everything on stage. Whether you like the show or not, your world will be changed by this experience.
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Learn More:
\n\n\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
\n\n\n',picture:{key:"22cc0fed6b4a81013daa1a3d8776ea12",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:["5f8432ff6c88680006585155"],programs:[],top:!1,createdAt:1630460746,updatedAt:1647569498,updatedBy:"林蔚行"}},{from:"articles",key:"6065299dd8c5a600075a80fd",title:"劇場,是否能開啟一條平等之路。《阿忠與我》",data:{_id:"6065299dd8c5a600075a80fd",chinese:{title:"劇場,是否能開啟一條平等之路。《阿忠與我》",introduction:" 你身邊有行動不方便的朋友嗎?你知道劇場有輪椅席的座位嗎?別忘了,你可以帶你的身障朋友一起來劇場看表演!",content:'
照片:《阿忠與我》於衛武營快閃,舞者鄭志忠(左)及舞者周書毅(右)的共舞畫面。
\n\n文|周書毅 衛武營駐地藝術家
\n\n你身邊有行動不方便的朋友嗎?你知道劇場有輪椅席的座位嗎?別忘了,你可以帶你的身障朋友一起來劇場看表演!如果有一天你的雙眼再也看不見,你還會來劇場感受表演嗎?也許有個現代舞的表演,能夠讓你來聽見不同身體交會的存在。那如果你聽不見,你還會來看表演嗎?雖然聽不見,但你仍可以看見光,在空間中起舞。這些自問自答,都是我對於生命的省思,也是我近期創作《阿忠與我》與製作團隊最常思考及需要面對的事。
\n\n三年前,我與鄭志忠(阿忠)首次共舞,在驫舞劇場策畫即興演出《混沌聲響》中,彼此身體撞擊出新的語彙,我在其中感受到強大的力量,關於平等、平權與自由。所以希望能有機會與阿忠合作一個作品,一個關於他與我們之間的作品。為何是他,因為他的力量、他的專注,還有他對於劇場藝術與身體表演的堅持,深深打動了我。而我也從認識他後,開始關注到社會上許多不同身體的處境,那不平等的存在,成為我想創作這作品的動能,像是與阿忠一起在街上開著電動輪椅,你會從路面的不平整與道路規劃,重新認識這個社會的設計,究竟是以誰為中心,所以才有了《阿忠與我》這個想法,如果阿忠代表的是中心,那我們與中心的距離是多遠?我們真的知道這世界的中心是如何運行的嗎?而劇場,正有著這樣的力量,能夠讓人一起齊聚關注你眼前的事,去面對你所願意走進來感受的一件事,拉近你與這世界的距離。
\n\n照片:《阿忠與我》於衛武營快閃,舞者:鄭志忠、周書毅的共舞畫面。
\n\n很幸運的,三年後可以正式開啟這作品的創作探索,由衛武營與兩廳院共同製作,讓這樣看似邊緣的議題,能有機會成為舞台上的主角。並且可以讓更多人認識阿忠,這樣一位臺灣不可多得的劇場工作者,透過身體去感受他的生命力,還有走入他的人生哲思。我將在台上與他共同演出,而舞台燈光設計是香港資深劇場設計師李智偉,音樂設計是高雄在地出生的音樂創作人王榆鈞,還有曾獲得國家文藝獎的林璟如老師擔任創作顧問,跨界製作人吳季娟與藝外創意的夥伴共同合作,希望能透過如此強大的夥伴,為《阿忠與我》開啟一條平等之路。
\n\n劇場,乘載著許多藝術創作的生命故事,那麼觀眾也是由眾人組成,不同年齡、不同身分背景,也因為不同原因而一起坐在同一個地方,感受舞台上的時光。《阿忠與我》這作品,正是期盼讓不同的人,能夠一起來到劇場,透過你我都有的身體,來感受舞蹈、來聽表演、來看屬於你我的生命風景。
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待續
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\n\n\n\n\n',picture:{key:"806f0512cb2fa1fbe7c68bbe49f65bf0",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"The Center: Can Theater Open a Path to Equality? ",introduction:" Do you know anyone with a disability? Do you know that the theater has wheelchair seatings? Bring them to a performance in the theater next time!",content:'Photo:Pop-up show of The Center at Weiwuying. Two main dancers, CHENG Chih-chung (left) and CHOU Shu-yi (right).
\n\nWritten by Weiwuying Residency Artist CHOU Shu-yi
\n\nDo you know anyone with a disability? Do you know that the theater has wheelchair seatings? Bring them to a performance in the theater next time! If you lose your eyesight someday, will you still come to the theater? Maybe there is a modern dance piece that allows you to hear the encounters of different bodies. If you lose your hearing, will you still go to a performance? Although you cannot hear, you can notice the lights and dance in the space. These hypophoras are my reflections on life and musings during the production of The Center.
\n\nThree years ago, I danced with CHENG Chih-chung for the first time at Primal CHAOS, a series of impromptu performances. Our body engaged in a dialogue about equality, rights, and freedom. I hoped I could work with Chih-chung on a piece about him and us. Why him? Because I was moved by his strength, focus, and tenacity in theater and physical performance. Ever since I met him, I began to pay attention to the experience of different bodies in society. The prevalence of inequality drove me to create The Center. For example, when driving an electric wheelchair with Chih-chung, you notice the bumpy road surfaces and planning and realize who the designs really serve. So if Chih-chung became the center, how far apart are we from it? Do we understand how the center of the universe works? Through theater, we bring people together to focus on what is in front of them, face something they have allowed themselves to feel, and to bring them closer to the world.
\n\nPhoto:Two main dancers, CHENG Chih-chung and CHOU Shu-yi, of The Center pop-up at Weiwuying.
\n\nLuckily, three years later, a creative exploration, jointly produced by Weiwuying and the National Theater and Concert Hall, began so that such a marginal issue may take center stage. It is also an opportunity for more people to learn of Chih-chung, a rare breed of theater artist in Taiwan, feel his vitality, and experience his philosophy. I share the stage with him. Stage lighting is designed by senior Hong Kong theater designer LEE Chi-wai. Music by Kaohsiung native artist WANG Yu-jun. Consulted by National Awards for Arts winner LIN Ching-ru. In collaboration with producer Neo WU and our friends at Artexpected. I hope that such an all-star partnership may open a path to equality for The Center.
\n\nThe theater is filled with life stories. Its audience is composed of people of different ages and backgrounds. They share the same space for various reasons to enjoy the performance. The Center aims to bring people together in the theater to feel dance, listen to the performance, and, through our corporeality, witness a scenery of life that belongs to you and me.
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To be continued...
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Learn More:
\n\n\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
\n\n\n',picture:{key:"7736eceee209c1bd94b6eb5f4c137b81",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:["5f8432ff6c88680006585155"],programs:[],top:!1,createdAt:1617242525,updatedAt:1653021837,updatedBy:"通泰系統管理員"}},{from:"articles",key:"5ff2b41cb81fa50007f96ff6",title:"走入藝術迴廊的光影生命",data:{_id:"5ff2b41cb81fa50007f96ff6",chinese:{title:"走入藝術迴廊的光影生命",introduction:" 有一個人遇見了舞蹈影像,然後呼朋引伴的在衛武營藝術迴廊上走來又走去,究竟是什麼風景吸引了他?",content:'
照片:民眾正在欣賞《遇見.舞蹈影像展》的短片
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文|周書毅 衛武營駐地藝術家
\n\n有一個人遇見了舞蹈影像,然後呼朋引伴的在衛武營藝術迴廊上走來又走去,究竟是什麼風景吸引了他?讓他自己看完後,願意走出去找朋友一起來看,這讓躲在一旁的我十分感動,因為是透過這樣的光影與肢體語言來交談,每一個觸動都如此直接,透過觀看走入內心,讓人願意停留、感受、思考,去擁抱生命的各種姿態。
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走道迴廊的盡頭,有一個人在「放映舞台」的觸碰式螢幕滑動著,用360度的視角走入衛武營,展場的解說員發現了我是這作品中的舞者,在一旁偷笑,因為我躲在一旁觀察不同的人對於作品的反應。這天的展場工作人員解說得非常棒!讓看完的人都想要回家下載試試。她也跟我分享說有老師來看完後提到想將app放入課程之中,讓同學下載並發揮自己的創意。我非常開心,因為這又是一個舞蹈走入社會的機會,透過身體的感官,來讓不同族群接觸到表演藝術。這樣開放性的場域也讓更多人能與舞蹈相遇,特別是在「臺灣舞蹈平台」結束後,展覽持續著,繼續等待未知的美好相遇。
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還有一位男子靜靜地坐在地上觀看許海文自導自演的《孿生》,我想他可能是被影像中安靜的氛圍吸引,讓他想坐在地上好好觀賞。這一個作品是透過身體去與自己內在的思緒對話,是一個相對需要與自己共處的作品。這時,有一位衛武營安全事務組的夥伴經過,跟我分享他看這部作品的感覺,並問我:「真的感覺自己的身體裡有兩個自己嗎?」我問他說 : 「你覺得呢?」他說 :「 每個人應該都有兩個不同的自己需要面對吧!」這又是另一種相遇的感動,一個所有人都能共享的藝術,只要你有所感,這些作品都可能與你有關。
\n\n照片:《遇見.舞蹈影像展》展覽現場
\n\n《遇見.舞蹈影像展》集結國內外許多藝術家的作品,他們都用身體與環境中的生命故事對話著,在世界的某一處,透過光影創造了另一個世界。展場設計上。也讓每一個作品都適合每一個人獨自觀賞,頭頂上的聲音裝置是針對小範圍設計的,讓每一個觀者能夠擁有自己的世界,透過舞蹈影像去認識自己,而自己是什麼樣子,就讓我們透過彼此都擁有的身體來對話,讓生活自在而舞。走一趟衛武營,來看演出或是喝一杯咖啡,來公園散步或是遇見舞蹈影像,如果不出門時,你還可以下載「放映舞台」的app,待在家就能舞進衛武營。這疫情時代帶我們來到了一個新的劇場世界,一個高速流動轉變的表演生命。
\n\n照片:民眾正在使用「一分鐘放映舞台」,以不同視角觀覽衛武營
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\n\n\n\n\n',picture:{key:"68c51da58c367b5d37219960bcfc5106",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"Walk into the Light and Shadows of Weiwuying Art Gallery",introduction:"A person encounters dance images and walks up and down Weiwuying Art Gallery with friends. What is the person so captivated by? ",content:'Photo:This lady is watching a film of The Encounter.Dance Film
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Written by CHOU Shu-yi Weiwuying Artist-In-Residence
\n\nA person encounters dance images and walks up and down Weiwuying Art Gallery with friends. What is the person so captivated by? What is so enchanting that drives the person to beckon others to join? Hiding nearby, I was filled with curiosity. Through light, shadow, and bodily movements, each expression is direct in its interpretation of the messages of the heart, enticing us to pause, to immerse ourselves and sink into contemplation, embracing the different stances of life.
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At the end of the gallery, a person is swiping up and down the touch screen of "VR Stage", entering Weiwuying through different angles. The guide finds out that I am the dancer in the work and chuckles secretly, because I was hiding nearby as I observed the different reactions to the work. The guide that day was excellent, and many people are inspired to download the app and try it out for themselves; she even tells me that a teacher had the idea of asking her students to download the application after seeing the work and is thinking about adding the application to her curriculum as a way to let students unleash their creativity. I was happy to hear this, because it was another opportunity for dance to enter society, and for different groups of people to be exposed to performing arts. Open, public spaces such as this allows more people to interact with dance, allowing the exhibition to go on after Taiwan Dance Platform ends, enabling more possibilities for the future.
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One viewer is sitting on the floor, quietly looking at an image work. The work is Siamoise, a self-directed work by HSU Hai-wen. Perhaps the viewer was attracted by the tranquility of the image, leading the viewer to appreciate the work while sitting on the ground. Siamoise is a work about the dialogues with the inner thoughts through the body, a process that requires solitude. A Weiwuying staff walks by and shares his thoughts on the work with me. He asks me, do I really feel there are two persons within me? I ask, what do you think? He replies: I think everyone, one of us needs to face the two different selves within us! This was another moving encounter. A work of art that can be shared and appreciated by all; any work can be relevant as long as it speaks to you.
\n\nPhoto:The site view of The Encounter.Dance Film
The Encounter.Dance Film exhibition assembles works by artists both domestic and abroad. Each work is a dialogue between the body and the stories of life, creating another world with light and shadow. Each overhead sound installation is designed to cover a small scope of space, and the exhibition space is arranged to allow visitors to enjoy the works on their own and to gain a deeper understanding of themselves through dance images. The exhibition encourages dialogue through our bodies, something we all possess, unveiling our true selves and to achieve a life that is authentic and carefree through dance. Take a trip to Weiwuying, see a performance, have a cup of coffee, stroll in the park, or have an encounter with dance images. On days that you prefer to stay indoors, you can download the "VR Stage" app and waltz into Weiwuying at the comfort of your own home. The pandemic era has presented us with a new world of theater, and a new lifestyle that is filled with rapid changes.
\n\nPhoto:Someone is using "VR Stage" to view Weiwuying through special angles
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Learn More:
\n\n【2020 Taiwan Dance Platform】"Encounter.Dance Film" Exhibition
\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
\n',picture:{key:"23da5b1171f9903870dea9757def1053",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:["5f8432ff6c88680006585155"],programs:["5eeefdfe58ad3900060de061"],top:!1,createdAt:1609741340,updatedAt:1647569439,updatedBy:"林蔚行"}},{from:"articles",key:"6045989066c97f00079c285f",title:"高雄,曾經有這麼一位舞蹈家",data:{_id:"6045989066c97f00079c285f",chinese:{title:"高雄,曾經有這麼一位舞蹈家",introduction:" 寫稿的這一天,我突然想起一位已故的編舞家伍國柱,1970 年出生於臺灣高雄縣彌陀鄉,是土生土長的高雄人...",content:'照片:編舞家 伍國柱(©劉振祥,雲門提供)
\n\n文|周書毅 衛武營駐地藝術家
\n\n寫稿的這一天,我突然想起一位已故的編舞家伍國柱,1970年出生於臺灣高雄縣彌陀鄉,是土生土長的高雄人,他於2006年病逝,享年36歲,許多人都曾被他的作品深深感動,而我最感動的作品是《斷章》,2004年時由雲門2演出33分鐘的版本,在他逝去那年,也隨即搬演了全版,2014也再度重演,同樣的讓許多人深深觸動。當然這作品也曾經來過高雄,一個他出生的地方,他在左營高中普通班就讀時,偷偷遙望舞蹈班的夢想之地,也許這裡正是他愛上舞蹈的城市?後來他離開了高雄,到臺北藝術大學戲劇系主修導演,這期間仍繼續學習跳舞,更曾經參與芭蕾舞劇《吉賽兒》中極富戲劇性的要角。畢業後,赴德國考取福克旺藝術學院舞蹈系進修,漸漸開啟了他編舞之路,作品也開始受到了國際藝術節的邀約與肯定,2004年受邀擔任卡塞爾劇院舞蹈劇場藝術總監,同時也成為雲門舞集的客席編舞,他讓臺灣的舞蹈有了與歐洲交流和連結的機會,是我非常欣賞的藝術家,是一位我們應該記得的人。雲門舞集創辦人林懷民曾説:「紀念他最好的方式,就是跳他的舞。」突然間,我想念他的舞,也想讓大家知道,高雄曾經有這樣的一位舞蹈家,帶來如此真實的生命之舞。
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「仍記得那上身赤裸的震動,
\n\n不停止拍打的雙臂。
\n\n一群人遙望著遠方,
\n\n是家鄉還是異鄉?
\n\n突然間響起了卡農的旋律,
\n\n一個女子孤獨的站在樹下,
\n\n風吹動著裙擺,
\n\n陽光曬落。
\n\n生命追著時間,
\n\n渡過無數次的悲喜,
\n\n直至生命的盡頭,
\n\n葉子落下的瞬間。」
\n\n照片:雲門舞集《斷章》演出畫面(©劉振祥,雲門提供)
\n\n我想起《斷章》給予我的感動,寫下片段的記憶,如今正在編舞路上的我,能創造什麼樣的作品。最近,我正在創作《阿忠與我》,與一位臺灣資深劇場工作者鄭志忠合作演出,從身障者的平等與不對等,來看這世界與人的關係。如果伍國柱還在,他們應該差不多年紀,我在他們身上總是能獲得許多力量,曾經與伍國柱短暫的見面,看見他眼中充滿希望的靈光,而阿忠早已跳脫身障身份的困境,在劇場與藝術之間找到自由的可能。這作品將會帶來高雄衛武營演出,這不只是一個舞蹈作品,而是這座城市曾經給予我的希望,那些消逝卻仍然有力的舞步,仍在未知的地方繼續踏著。高雄,曾經有這麼一位舞蹈家,而衛武營也將會有許多的作品在此留下生命,也期待有機會重現那份力量,我也將在高雄駐地中,分享舞蹈生命中的愛與痛。
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\n\n\n',picture:{key:"fe3f07a53e1119c5a9b8b37fe01fc188",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"There was once such a dancer in Kaohsiung…",introduction:"While writing today, I suddenly thought of the late choreographer WU Kuo-chu...",content:'Photo:Choreographer, WU Kuo-chu (©LIU Chen-hsiang, provided by CLOUD GATE )
\n\nWritten by Weiwuying Residency Artist CHOU Shu-yi
\n\nWhile writing today, I suddenly thought of the late choreographer WU Kuo-chu, who was born (in Mituo Township) and raised in Kaohsiung and died of leukemia in 2006 at the age of 36. His work deeply touched many lives, and the piece that touched me most was Oculus. A 33-minute version was performed by Cloud Gate 2 in 2004, and the entire piece was performed the year he passed away. It was also performed in 2014, once again touching so many hearts. It has of course been performed in Kaohsiung, his hometown. Though he was in the regular classes at Tsoying Senior High School, he would at times peek into his "dreamland" of the dance class. Perhaps this is the city where he fell in love with this form of art. Later, he left Kaohsiung to study directing at the School of Theatre Arts at Taipei National University of the Arts. During this time, he continued learning to dance and even got a major, dramatic role in the ballet Giselle. After graduation, he went to Germany to study in the dance department at Folkwang Hochschule, where he embarked on the path to becoming a choreographer. His work started gaining recognition and invitations to international art festivals. In 2004, he was invited to work as the artistic director of the Staatstheater Kassel Dance Company in Germany, and he was also a guest choreographer for Cloud Gate. He thus gave dance in Taiwan and Europe the opportunity to connect. He was an artist whom I greatly admire and whom we should remember. Cloud Gate founder LIN Hwai-min once said of him, "The best way to commemorate him is to perform his work." Upon thinking of all of this, I started to miss his work and started wanting to let everyone know that there was once such a dancer in Kaohsiung who brought so much life to the stage.
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“I still remember that vibration of a half-naked body,
\n\nthose arms that never stopped beating.
\n\nA group of people looking into the distance.
\n\nIs it my hometown or somewhere else?
\n\nAll of a sudden, Canon begins to be played.
\n\nA lone girl stands under a tree,
\n\nthe wind blowing her skirt,
\n\nthe sun shining down on her.
\n\nLife pursues time,
\n\nduring which are countless episodes of joy and grief,
\n\nuntil the end,
\n\nthe instant when the leaves fall.”
\n\nPhoto:Oculus (©LIU Chen-hsiang, provided by CLOUD GATE )
\n\nWhile thinking of how Oculus moved me, I jotted down a few memories. Now, as I am on the path of choreography, I think about what kinds of dances I will create. I have recently been working on The Center with a highly experienced Taiwanese theater artist named CHENG Chih-chung, viewing the relationship of people to the world from the angle of equality and inequality for the physically disabled. If WU were still alive, he would be about the same age as CHENG. I always feel so powered by them. I once briefly met WU, noticing how filled with hope his eyes were. CHENG long ago freed found relief from the difficulties of his identity as a physically disabled person, attaining freedom and possibilities within theater and art. This show will be performed at Weiwuying. It is not just a work of dance. It is the hope that this city gave me. Dance steps that have faded away yet still are sources of power continue to be danced in some unknown place. There was once such a dancer in Kaohsiung.
\n\nWeiwuying will be a venue for many works that will leave behind a sense of life. I look forward to seeing that life once again. I will be living in Kaohsiung for a while too, sharing the love and pain of the life of dance.
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Learn more:
\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
\n\n\n',picture:{key:"fe3f07a53e1119c5a9b8b37fe01fc188",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:["5f8432ff6c88680006585155"],programs:[],top:!1,createdAt:1615173776,updatedAt:1653021889,updatedBy:"通泰系統管理員"}},{from:"articles",key:"5f801467db8e8d0006b85f8e",title:"如果說藝術源自於生活, 那麼要如何在生活中擁有藝術?",data:{_id:"5f801467db8e8d0006b85f8e",chinese:{title:"如果說藝術源自於生活, 那麼要如何在生活中擁有藝術?",introduction:"誰說拉小提琴,是穿燕尾服的專利,不要被定位,人不要以貌取人,人是要接觸後看見內在...",content:'
照片:周書毅在衛武營戶外劇場沉醉在舞蹈影像拍攝中
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文 周書毅 衛武營駐地藝術家
\n\n幾年前在新聞中看過一則「黑手小提琴手」的報導,是在雲林從事修理發電機的呂振裕先生,年輕時,隨著家裡務農,喜歡帶著收音機聽音樂工作,在一次廣播電台播放古典音樂時,覺得不好聽,但過了一陣子又在轉回那陌生又有點感覺的旋律,一首約翰史特勞斯的圓舞曲打動了他,開啟了想學音樂之路,離開務農工作,從事黑手工作,音樂是他生活很重要到一部分。他曾經說:「誰說拉小提琴,是穿燕尾服的專利,不要被定位,人不要以貌取人,人是要接觸後看見內在。」我被這樣的分享深深感動著,藝術來自於生活,也進入了他的生命。
\n\n照片:讓藝術走進生活,座落於衛武營榕樹廣場的公共鋼琴
\n\n去年,聽說在高雄衛武營國家藝術文化中心的公共空間有架鋼琴,總監簡文彬希望讓這裡是眾人的藝術中心,而有了這個想法讓任何人都可以彈奏分享音樂。在年初疫情時局,這裡來了一位客運司機吳䕒晟先生,聽說他時常在下班時,都會來到這裡彈奏幾曲才回家,大多彈奏民歌流行曲,附近的民眾也會跟著哼唱起來,彷彿把這裡當作是一場隱約聚會,多麼美好阿!而衛武營也在疫情時,邀請他彈奏巴哈的經典作品《音樂的奉獻》,他即興彈奏無縫銜接至清朝時期的民歌《茉莉花》,也是臺灣人情感記憶的一部分,這彈奏讓音樂跨越語言的交流,貼近了生活的記憶。這讓我想起在上個月在歌劇院看了載譽重演的歌劇《杜蘭朵》,在1920 年至1924 年時,義大利作曲家普契尼將《茉莉花》的曲調寫入他生前最後一部歌劇《杜蘭朵公主》中,那不斷響起的旋律,是溫暖的力量,同時也是在提醒著我們如何珍惜愛、和平、自由的美好,而藝術在生活中,也可以是如此有力量牽動著我們的記憶,震動著歷史與回憶。
\n\n照片:周書毅在衛武營都會公園連結自然場域創作舞蹈影像
\n\n這一兩年,我時常在公園裡創作,仍遇見許多帶著收音機聽音樂運動的長輩,也有的人帶著樂器來分享音樂給周遭的人,公園就像是沒有邊界的音樂廳,在自然環境中,擁有了藝術,不禁讓我想起了這兩位先生的故事。於是,我決定在公園中創作舞蹈,與音樂共生,讓人零距離靠近表演藝術,與稻草人現代舞團和高雄出生的音樂創作人王榆鈞,從《臺南公園的身體地圖》到衛武營都會公園《公園散步的記憶序曲》,將在11 月「臺灣舞蹈平台」發生!每一次在公園創作排演時,總有許多民眾駐足,直接與舞者對話,好奇我們在這裡做什麼?!我說:跳舞啊~民眾說:好看啊!什麼時候演? 11 月!還有那麼久喔!要練多久啊!許多真切的對話,讓我們用藝術在生活中相遇,我想這些人的生命,也開始擁有了藝術。
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\n\n【2020臺灣舞蹈平台】周書毅X稻草人現代舞蹈團《公園散步的記憶序曲》
\n\n\n',picture:{key:"039473c9f4e6dd6d4024dd19290fcb97",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"They Say Life Gives Birth to Art. But How Does One Implement Art in Everyday Life?",introduction:" ",content:'Photo:CHOU Shu-yi indulges in dance photography at the Outdoor Theater
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Written by Weiwuying Residency Artist CHOU Shu-yi
\n\nThere was a news story a few years ago on a“mechanic-violinist.” Mr. LU Chen-yu is a mechanic in charge of power generator repair in Yunlin who loved listening to music on the radio while working on the family farm while he was young. On one occasion, the radio was broadcasting classical music, and LU initially disliked the music but was moved by a waltz by Strauss. LU took up the profession as a mechanic and started learning music, and music became an indispensable component in his life. LU once stated: “Who says that only those who wear tuxedoes have the right to play violins? Reject the definition of others and the tyranny of appearances, and try to see the inner qualities. “ This story moved me deeply. LU's art originated from living and has become a part of life.
\n\nPhoto:The public piano at the Banyan Plaza embraces art into everyone’s lives
\n\nLast year, I heard that there is a piano in the public space of Weiwuying. Artistic director CHIEN Wen-pin wanted Weiwuying to be an art center for the people and came up with this idea so that anyone could come here and play music. Coach driver WU Chia-sheng often visited the piano to play a few songs when the pandemic broke out at the beginning of the year. WU mostly played popular songs, and nearby visitors would hum along to the tunes; it was like a wonderful, secret gathering. Weiwuying invited WU to participate in the “Music Playing of Musical Offering” and he seamlessly integrated Bach with Jasmine Flower, a Qing Dynasty folk song inscribed in the memories of the people of Taiwan. WU's performance transcends language and incites intimate sentiments of everyday life. This reminded me of seeing the restaging of Turandot at the opera house last month and how Puccini embedded Jasmine Flower into his last work, emitting gentle strength while urging us to cherish the beauty of life, peace, and freedom.
\n\nPhoto:CHOU Shu-yi indulges in dance photography at the Outdoor Theater in Weiwuying Metropolitan Park
\n\nI often work in parks in recent years. Many elders carry radios when exercising; some even bring musical instruments, transforming the park into a concert hall without walls. The approach of implementing art with life and nature reminded me of the two gentlemen mentioned above, which inspired me to choreograph in the park. Body Map in the Tainan Park and The Memory Overture of Strolling in the Park, collaborated with Scarecrow Contemporary Dance Company and Kaohsiung composer WANG Yu-jun, will be presented in November at Taiwan Dance Platform. During rehearsal, people were curious about what we were doing, and I would say: Dancing! They said, ‘Looks nice! When are you performing?'. ‘November', I replied. ‘Then it's still far off! How long do you need to practice for?’ Sincere interactions such as this bring us closer to art; maybe art is now a part of the lives of these people.
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Learn more:
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CHOU Shu-yi ╳ Scarecrow Contemporary Dance Company "The Memory Overture of Strolling in the Park′′
\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
\n\n\n',picture:{key:"60a5432321b440a711c704d643984cfe",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:["5b10e7c4f295ec000672a734","5f8432ff6c88680006585155"],programs:[],top:!1,createdAt:1602229351,updatedAt:1653044761,updatedBy:"通泰系統管理員"}}],seq:5,name:"駐地觀察",content:"",color:{a:1,r:100,g:100,b:100},type:"reference"}],onShelf:!0,onShelfRange:{start:null,end:null},sliders:[{type:"image",key:"e568d013803e474f1ce8a73c3f05f129",title:"衛武營駐地藝術家-周書毅"}],albums:[],albumsColor:{a:.8,r:255,g:255,b:255},albumsSeq:9,writings:[],writingsColor:{a:.8,r:255,g:255,b:255},writingsSeq:8},english:{title:"Weiwuying Artist-In-Residence-CHOU Shu-yi",cover:"000d05abeb386b6622cc8a606b6ea57a",menu:{append:!1},seq:0,description:"CHOU Shu-yi starts out from the body and communicates with the world through dance and choreography. He focuses on the relationship between human beings and the society. In his past creations and actions, he is capable of capturing the powers of cross-disciplinary collaboration to address the publicness of arts.",introduction:'
CHOU Shu-yi starts out from the body and communicates with the world through dance and choreography. He focuses on the relationship between human beings and the society. In his past creations and actions, he is capable of capturing the powers of cross-disciplinary collaboration to address the publicness of arts. His creations focus on the value of life and reflect the state of individuals or collectives in different social contexts. Through his creations, CHOU Shu-yi makes propositions of a “body vocabulary that is specifically Asian” in the forms of theatre, non-traditional theatre and dance video. He continues to create as he travels different sites and places. In 2020, he was invited as the Weiwuying's first artist in residence and has been living in the south ever since.
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News:
\n\n\n\n\n',tabs:[{programs:[],seq:1,name:"Extension",content:'
2022
\n\nWeiwuying's very first artist-in-residence, CHOU Shu-yi, initiated the "Dance-Travel Project" ten years ago and has since traveled to 14 cities and given 60 performances in open spaces without sets and lighting. This time, CHOU plans to restart this project by inviting professionals to teach dance to the dance students of Zuoying High School through educational cooperation. Moreover, with the help of Weiwuying, CHOU intends to recruit freelance dancers to perform a dance piece across Kaohsiung, bringing performing arts out of the theater and into the city...
\n\nFollow up! The Instagram of Bolero in Kaohsiung | \n\t\t
\n\n
Time
\n\nApril to June 2022
\n\nPlace
\n\nPublic areas in Kaohsiung
\n\n\n\n
2021
\n\nSince its first edition in 2020, “Weiwuying 365+ Dance” has been resonating with the public. For the next edition in 2021, four experienced and well-known Taiwanese choreographers: Tjimur Dance Theatre, SU Pin-wen, CHOU Shu-yi and SU Wei-chia are invited to give their tailored-made dance classes for all ages dance lovers at Weiwuying from January to December of 2021.
\n\n\n',color:{a:1,r:100,g:100,b:100},type:"content"},{programs:[],seq:2,name:"Programs",content:'
2021
\n\nHe is CHOU Shu-yi. He is CHENG Chih-chung.
\n\nThis is a discussion about equivalence and in-equivalence. When two people who are good at expressing themselves with their bodies meet, an endless conversation unfolds. A dance, a light, a sound- they are all parts of the incessant process of dialoguing. Modern dancer Chou Shu-Yi invited Cheng Chih-Chung, who has been involved in theater performances since 1988, to engage in a chat, with their bodies, about life, family, and society...
\n\nTime
\n\n2021/9/4(Sat)14:30
\n\n2021/9/5(Sun)14:30
\n\nPlace
\n\nPlayhouse
\n\nIn 2021, the world is still getting accustomed to the epidemic situation and everyone is looking for traces of ordinary memories in their daily lives in the search for balance. "Afterimage for Tomorrow – Weiwuying Special Performance Edition" (2021) is a 40-minute, site-specific creation that allows audiences to compare their own life experiences to the remnants of the afterimage landscape, bringing to them warmth.
\n\nTime
\n\n2021/11/3(Wed) - 2021/11/7(Sun)
\n\nPlace
\n\nWeiwuying 3F Crown Hall
\n\n\n\n
2020
\n\n►【2020 Taiwan Dance Platform】"Afterimage for Tomorrow" Special Edition for Weiwuying
\n\n\n\nA man wakes up in an unknown dimension of consciousness. What is it that he sees, hears and feels? Is it memory, virtual reality or terminal lucidity?
\n\n[Welcome to the "After life Memory Trust." With us, you will be selecting three pieces of your memory to relive by the time you decease. When your life terminates, we will stimulate your neurons to bring out the designated memories. Each vision lasts a light time.]
\n\nTime
\n\n2020/11/6(Fri)-2020/11/8(Sun)13:30
\n\nPlace
\n\nWeiwuying 3F Crown Hall
\n\n►【2020 Taiwan Dance Platform】CHOU Shu-yi ╳ Scarecrow Contemporary Dance Company "The Memory Overture of Strolling in the Park′′
\n\n\n\nDo you have any memories in Weiwuying Park?
\n\nChoreographer, dancers, and musician wander through a forest sparkling with the reflected light of a crystalline lake in this dance exploration that is closely connected with the natural world. They take a stroll away from the theater and into a city park, using their bodies, movements, and music to guide the audience through memories, help them visualize the transformation that freed up a century-old parcel of military land, and listen to legends about life passed down through generations expressed through music and chants.
\n\nTime
\n\n2020/11/7(Sat)16:00
\n\n2020/11/8(Sun)16:00
\n\nPlace
\n\nOutdoor Theater & Weiwuying Metropolitan Park
\n\n\n\n
\n',color:{a:1,r:0,g:0,b:0},type:"content"},{programs:[],seq:4,name:"Creative",content:'
2022
\n\n►2022 Writing About Dance Workshop
\n\n\n\n\n\n\n\n\n\nFrom sitting in the audience to dance writing
\n\nA course with step-by-step guidance that leads you to experience different kinds of dance writing.
\n\nFor 2022 Taiwan Dance Platform's first progressive dance-writing program, we are inviting artists, curators, professional art critics, and art media professionals to join us in leading participants to watch, imagine, and eventually write about dance, creating a unique experience that combines body movements and writing. The courses are designed for participants of different levels, which are the Advanced and the Primary. We cordially invite those who are interested to join and write about dance!
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Learn More:
\n\n►2022 Writing About Dance Workshop (Primary)
\n\n\n\n►2022 Writing About Dance Workshop (Advanced)
\n\n\n\n\n\n
2020-2022
\n\n►Weiwuying ONE Minute VR Stage - Film Your Own Dance
\n\n\n\nWeiwuying ONE Minute VR Stage - Film Your Own Dance is an app for creating dance videos. The idea of this project was born during the predicament of the pandemic in March 2020. At that time, many performances were canceling one after another; people could not go to theaters, and the human race was in deep fear of life. Because of this, we hope to bring people back to the theaters through dances and videos with the help of this app. Create offline and share online in the five scenes at National Kaohsiung Center for the Arts (Weiwuying), and show the world your strengths in the midst of adversity!
\n\n文|周書毅 衛武營駐地藝術家
\n\n透過這次波麗露在高雄的活動,我才知道原來高雄有好多喜歡看現代舞的觀眾,只是過去從來沒有機會遇見!也發現比想像中更多的人喜歡跳舞,而且是隨心的自由舞蹈。
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為什麼說是「自由舞蹈」呢?這個詞源自於這次活動中,一段非常美妙的經驗。位在高雄旗山的旗美社區大學裡有一堂課叫作「自由舞蹈」,由美濃在地的文化藝術工作者劉崇鳳老師所開設。她希望帶來身體與土地的感知與連結,拋開局限與框架,讓每一個人都可以用自己的身體去學習如何自由的跳舞。透過鳳山在地「鳳東文創」的小翠與梅珠拜訪,以及藝術顧問林璟如老師的友人,我才得以與劉崇鳳老師和她的自由舞蹈相遇,因著波麗露這首樂曲串起了人與人之間的緣分,讓我有機會也來分享我的自由舞蹈。在那兩個小時裡,我們的內心靜了下來,手牽起手,感受前方的引領,以及後面的人的跟隨。全憑感受帶領身體來移動,在享受中淋漓盡致地完成了這場交流。
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波麗露在高雄,我們在這個傾注了我全部熱情的活動中相遇,往後我也將繼續這樣自由的舞蹈,繼續與大眾一起發掘自己與身體的關係,享受每一個跳舞的當下。(寫於2022/05/16)
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閱讀更多:
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\n',picture:{key:"1876921bb1d60cc1b31fa128b4fe8b3b",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"Meeting People Who Just Want to Dance in Kaohsiung",introduction:"It was not until we did Bolero in Kaohsiung that I realized there are actually so many people in Kaohsiung who enjoy watching contemporary dance but had just not had any opportunities to see it! I also found out that many more people than I had imagined like to dance, including freestyle dancing. ",content:'
It was not until we did Bolero in Kaohsiung that I realized there are actually so many people in Kaohsiung who enjoy watching contemporary dance but had just not had any opportunities to see it! I also found out that many more people than I had imagined like to dance, including freestyle dancing.
\n\n\n\n
What do I mean by “freestyle”? This word actually came from an amazing experience that took place during the event. At Chi-Mei Community University in Qishan District, there is a class called “Freestyle Dance,” taught by LIU Chong-feng, who is from neighboring Meinong District and works in culture and art. For the class, her goal is to bring about perception and connection between the body and the land, encouraging students to break free from boundaries and frameworks so that they can learn to dance as freely as they please. It was only through interviews with Xiao-cui and Mei-zhu of Fengdong Culture and talking with a friend of artistic consultant LIN Jing-ru that I was able to meet LIU and find out about her freestyle dancing. Afterwards, Boléro allowed me to share this type of dance with so many people. During those two hours of the event, our innermost selves calmed down as we held hands, each of us feeling the guidance of the person in front and the connection with the person behind us. Our bodily movements were guided completely by feeling, and we thoroughly enjoyed the entire exchange.
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We met through Bolero in Kaohsiung, an event that we poured our hearts and souls into, and I am going to keep up with my freestyle dancing and discovering the relationship between my body and myself along with everyone else who was there, all the while enjoying every moment of it!
\n\n05/15/2022
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Learn More:
\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
\n\n\n\n\n\n
\n',picture:{key:"131538501b410b3b9cd3961698d6e813",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:[],programs:[],top:!1,createdAt:1656570279,updatedAt:1656570477,updatedBy:"林蔚行"}},{from:"articles",key:"621b2e58dbebd900074d18c7",title:"What’s harder: watching dance or writing about it? Try both, then decide!",data:{_id:"621b2e58dbebd900074d18c7",chinese:{title:"看舞難,還是寫舞難?先看了再說!",introduction:"「你還記得觸動你的舞蹈作品是哪一部嗎?你曾經看舞而落淚嗎?」",content:'
文|周書毅 衛武營駐地藝術家
\n\n我常在想為什麼有些人無法喜歡看舞蹈?結果多半聽到的原因都是很難懂、看不懂,不知道在跳什麼,當然也有人是直覺上的不喜歡。但我總覺得,在忙碌的生活裡,若能靜下心來欣賞一種藝術、聆聽一首樂曲、看一支舞碼,是件很難得的事情。高雄這座城市,如今有愈來愈多文化藝術活動,要接近不難,只需要換個角度去認識自己與藝術的世界,有什麼樣的美妙關係。
\n\n\n\n
「眼前,有一個人靜靜地躺在那邊,他身穿白衣,看起來意識恍惚?他在做什麼?他好像在尋找什麼?我與他之間隔著一面玻璃,也許我們不在同一個世界?那他是誰?我又是誰? 」 看舞有時候會像上面描述的這樣,心中冒出一些問題,而後拋開問題,轉而走入感受後的理解,最後走到感動的入口,產生情緒的激動。如果你是一位喜歡看舞的觀眾,你會邀請你的朋友一起來看舞嗎?還是總是難以開口推薦身邊友人呢?看完後,你會寫下來分享在自己的社群平台嗎?對我而言,邀約第一次走入劇場看舞的朋友,是困難的,但將心得寫下來卻相對容易,能夠讓身邊的人知道自己怎麼看舞,有著什麼樣的感動。寫下想法時,也隱隱企盼身邊的人有一天會因為這些文字,想去一探究竟。
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至於觀後心得與專業舞蹈評論有什麼不同呢?前者是如果你看了很多舞蹈演出,你的大腦會自動將這些感受疊加在一起,成為一種屬於你獨有的思維與感受,而你選擇將這份感受寫下,分享給其他人。後者則除了主觀感受外,另外針對作品的舞蹈姿態、風格等給予客觀的評價。這兩者對我來說各有其意義,有點像是一部電影的推薦,除了幾個星之外,你有時也會想聽聽專業的影評怎麼說,再決定去看或不看。舞蹈作品在臺灣也有專業評論的發表平台,像是「表演藝術評論台」與「ARTalks:藝論紛紛」等。而衛武營也因著「舞蹈書寫計畫」的累積,預計在今年開啟「觀眾投稿」欄位,讓觀眾可以有地方去書寫觀看作品的感受或評論。此外,「舞蹈書寫工作坊」今年將擴大舉辦為一年四期,以吸引更多表演藝術書寫者來衛武營分享經驗,透過文字的力量連結這座島嶼與世界。
\n\n\n\n
「你還記得觸動你的舞蹈作品是哪一部嗎?你曾經看舞而落淚嗎?」
\n\n「有人曾經問你為什麼現代舞那麼難懂嗎?你會怎麼回答呢?」
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在擔任衛武營駐地藝術家一年多後,我仍在探索這些問題,嘗試各種辦法讓更多人靠近當代舞蹈這一門藝術。隨著「波麗露在高雄」推廣計畫前期工作的展開,我與夥伴們開始拜訪鳳山、左營、前鎮、美濃、旗山、大樹、岡山、彌陀、六龜等地區,並不斷思考如何讓這些地方也可以有「武營來跳舞」大眾舞蹈課的發生,一步步與當地的民眾分享不同的舞蹈作品。
\n\n經過大家的努力,在公共空間 「跳舞給你看」 的想法終於被實現,那些曾讓我感動的瞬間,如今我也要一一回饋在眾人眼前。今年四月到六月,我將會帶著一群來高雄跳舞的獨立舞者們和左營高中舞蹈班的學生,一起與衛武營在高雄用舞蹈旅行。請試著邀請你身邊的朋友來看演出吧,期待在旅途中遇見你們!
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\n',picture:{key:"e6d52fbaaaed21963c459824f7c6217d",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"What's harder: watching dance or writing about it? Try both, then decide!",introduction:"I often wonder why some people just don't like watching dance. The answer I usually get is that it's hard to understand...",content:'
by CHOU Shu-yi Weiwuying Artist-In-Residence
\n\nI often wonder why some people just don't like watching dance. The answer I usually get is that it's hard to understand, that they don't know what's going on. Of course there are those who just inherently dislike it. In our busy lives, I think that it is quite rare for people to find time to calm down and enjoy some sort of art, be it listening to a song or watching a dance performance. The city of Kaohsiung is seeing more and more art and cultural events, so it's not hard to find something to go to. If people can just change their perspective of themselves and the art world, they might find something amazing.
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"I see someone wearing a white garment lying down quietly. He looks out of it. What's he doing? It seems like he's looking for something. There's a piece of glass between us, so maybe it's like we're in different worlds. And who am I?" Watching a dance performance might make you feel like the person who made the above statement after seeing a number. Questions come to mind, but you give up on trying to answer them and instead base your understanding on how it made you feel, and then, in the end, you think about how it has touched you, and you become emotionally stimulated. If you enjoy watching dance, do you ever invite your friends to performances? Or do you always find it hard to ask them? And after watching a show, do you tell people about it on social media? It is indeed a challenge for me to invite someone to a dance performance for their first time; in contrast, I find it much easier to share about it on social media. In this way, I can let people know how I feel about dance and how a performance has touched me. When I'm writing these posts, I secretly harbor this hope that those who read it will be inspired to see a show for themselves someday.
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What's the difference between what one subjectively experiences from a show and a professional review? The former refers to writing down and sharing your feelings, which, if you watch a lot of shows, your mind will automatically gather together and turn into your own unique set of ideas. The latter refers to the objective appraisal of the form and style of the performance, as opposed to just subjective perception. I believe that each of these has its significance. It's like the types of reviews for films: Besides wanting to know how many stars it has gotten, you sometimes also want to hear a professional review of it before deciding whether to see it. There are platforms of professional review for dance in Taiwan, such as those of Performing Arts Redefined and ARTalks. Based on what Weiwuying has learned through its Writing About Dance Project, it plans to launch a column this year in which anyone can leave comments on dance performances they have seen. Also, Weiwuying's Writing About Dance Workshop this year will be expanded to four sessions to get more people who enjoy writing about dance to share their experiences with Weiwuying and connect Taiwan to the world through the power of the written word.
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"Do you remember the dance performance that has touched you the most? Have you ever cried while watching one?
\n\n"Has anyone ever asked you why modern dance is so hard to understand? How did/would you answer?
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After having worked as a resident artist at Weiwuying for over a year, I'm still exploring these questions and trying out lots of ways to get people to come closer to contemporary dance. As the first phase of promotion for the event Bolero in Kaohsiung unfolded, my partners and I visited Fengshan, Zuoying, Qianzhen, Meinong, Qishan, Dashu, Gangshan, Mituo, and Liugui districts, thinking about how to bring Weiwuying 365+ Dance and different dance numbers to people there.
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Thanks to everyone's hard work, we are finally going to hold dance events in public spaces where people can show their stuff. I want to give something back to the public in return for the touching moments they've created for me. From April to June this year, I'm going to lead independent dancers who have come to Kaohsiung and students from the dance class at Tsoying Senior High School on a dance journey. We look forward to seeing you – and don't forget to invite your friends!
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Learn More:
\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
\n\n2022 Writing About Dance Workshop (Primary)
\n\n2022 Writing About Dance Workshop (Advanced)
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\n',picture:{key:"9a787acd5b1eeb7ea04322ff7fd6580b",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:["5f8432ff6c88680006585155"],programs:[],top:!1,createdAt:1645948504,updatedAt:1661494587,updatedBy:"林蔚行"}},{from:"articles",key:"61c07bd9d970790007055c9b",title:"用舞蹈與管風琴相遇",data:{_id:"61c07bd9d970790007055c9b",chinese:{title:"用舞蹈與管風琴相遇",introduction:"一個藝術文化中心要如何被認識,表演藝術要如何推廣?衛武營的音樂廳是什麼樣的地方,你有聽過現場的管風琴演出嗎?如果你還沒來過,卻又不知該如何走入音樂廳聽一場表演,你可以試試參與衛武營的管風琴導覽。",content:'
文|周書毅 衛武營駐地藝術家
\n\n一個藝術文化中心要如何被認識,表演藝術要如何推廣?衛武營的音樂廳是什麼樣的地方,你有聽過現場的管風琴演出嗎?如果你還沒來過,卻又不知該如何走入音樂廳聽一場表演,你可以試試參與衛武營的管風琴導覽。這場導覽除了一般敘述性的介紹,還包含了一場演出,讓民眾不僅能增加對於音樂廳與管風琴的知識,也可以透過展演來直接感受這個空間正在發生的藝術。
\n\n在去年疫情下創作「放映舞台 APP」時,認識了臺灣管風琴演奏家劉信宏老師,當時我邀請他來衛武營無人的音樂廳獨自演奏,臺灣數位藝術中心用VR視角記錄下這空蕩空間中的表演。這個畫面作為背景,人們之後可以將自己拍攝的影像短片與這場演奏的音樂結合,在虛擬的世界真實起舞,像是一場無人的動畫音樂會,只有你與音樂共存。合作之後,劉信宏老師約我參與他在衛武營所主持的管風琴導覽演出,我立刻答應了他,除了延續這樣難得的合作挑戰之外,更重要的是不想放棄任何可以與人「推廣」表演藝術的機會。「現場展演」是最直接讓人親近藝術的方式,是我在駐地期間最期待做的事,也是南部許多藝術家正在努力的,讓「分享」藝術變得更頻繁也更多元。
\n\n管風琴是氣鳴樂器,對於身為舞蹈工作者的我來說就是一個會呼吸的樂器,它像是一個巨大的身體,透過呼吸來驅動不同的動作,只是它驅動的是聲音。當我第一次在現場聆聽時,我感覺那聲音像是在身體裡流動著,同時又從外面包覆著我的身體,內外連結,隨著氣鳴上升又下降。也因為這座樂器必須與空間相連,所以當觀眾來到音樂廳聽現場時,那氣流共鳴出的聲音,是真的在空間裡流動的,你看不見,卻能感受得到。我認為這是管風琴最迷人之處。
\n\n信宏老師選擇了三首曲子來與我討論合作,分別是拉威爾(1875-1973)的《悼念公主的帕凡舞曲》、巴赫(1685-1750)的《耶穌,世人仰望的喜悅》、皮亞佐拉(1921-1992)的《遺忘》,三位作曲家跨越了三百多年的時間,在不同時代下創作了各自的音樂,有的是想像中的舞曲,有的是為宗教所作,也有的是在演繹人性之間的情感拉扯。三位作曲家之中只有巴赫是管風琴演奏家,而這三個作品都並非為管風琴而寫,這不僅讓這次的詮釋多了一份神祕感,也讓我有了重新編創詮釋的機會。我有時會遊走於音樂廳二樓的風管前,然後又踱步到舞台上仰望著前方的光與階梯,想像音樂爬升出希望之感──最後一道光灑下,我們一起面對人性的真實,再一起跨越黑暗。我以舞蹈的角度來詮釋,雖然不是曲子的原意,但表演藝術是個充滿想像的世界,每個人的生命經驗不同,體會也可以不同。期待下次在音樂廳見到你,也許你會看到我再次以舞蹈的姿態現身!
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\n',picture:{key:"847d5d1b2b031e8cbbd6e45b8dd5f1f4",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"Dance Meets the Organ",introduction:"How should an art and culture center be understood? How should performing arts be promoted? ",content:'
Written by CHOU Shu-yi Weiwuying Artist-In-Residence
\n\nHow should an art and culture center be understood? How should performing arts be promoted? What is the Weiwuying Concert Hall like? Have you ever attended a live pipe organ performance here? If not, and if you are unsure of what it really means to experience a music performance here, you might try out the organ tour. A general introduction of the instrument and the concert hall will be accompanied by a performance to give you not only theoretical knowledge but an actual experience of art in action within the space.
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With the One Minute VR Stage app we created last year as a result of the effects of Covid, I became acquainted with Taiwanese organist LIU Hsin-hung and invited him to give a solo performance at the empty Concert Hall, which was recorded with VR technology by the Digital Art Center, Taiwan. With a VR background, people were able to blend the music into videos they had made, creating an animated dance between the video-maker and the music within the virtual world. After that, LIU invited me on one of his pipe organ tours at Weiwuying, and I immediately accepted because I wanted to not only continue with our rare cooperative challenge but also, more importantly, not miss an opportunity to promote the performing arts. A live performance is the most direct way to allow people to experience art up close. It is the thing I most look forward to during my time here as well as something that many artists in southern Taiwan are working hard to achieve so as to share art more frequently through more diversified means.
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The organ is an aerophone, so for someone in the field of dance like me, it breathes. It is just like a huge living organism, relying on breathing to move about, though its movements are expressed as sound. The first time I heard it live, I felt as if the sound were both penetrating and surrounding my body, and my body moved with it. Since the instrument is connected to its surrounding environment, when people are listening to it here, the resonant sound it produces truly flows throughout the space. It is invisible, but you certainly feel it. To me, this is the organ's most alluring aspect.
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LIU selected three songs for our cooperation: Ravel's (1875-1973) “Pavane for a Dead Princess,” Bach's (1685-1750) “Jesu, Joy of Man's Desiring,” and Piazzolla's (1921-1992) “Oblivion,” the three having been written at different times over three centuries. The first exhibits what commonly comes to mind when one thinks of music for dance, the second was written for religious purposes, and the third is a commentary on the push and pull of different human emotions. Of these three composers, only Bach was an organist. None of the pieces was written for the organ, so our interpretation has an added sense of wonder, and I am pleased to have been able to interpret it through dance. I sometimes take little walks by the organ, which is on the second floor of the Concert Hall, and then go up onto the stage and look up at the light and stairs in front of me, imagining how the music produces a sense of hope, and then, as the last beam of light remains, we face the reality of human nature and get past the darkness together. My interpretation is from the angle of dance, and though it is not the composers' intended meaning of the music, the realm of performing arts is full of creativity as everyone's life experiences and realizations are different. I hope to see you at the Concert Hall, and if I am performing that day, you will see me too!
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Learn More:
\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
\n',picture:{key:"5edf1f9c1800249dc2d377d9d885ab91",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:["5f8432ff6c88680006585155"],programs:[],top:!1,createdAt:1640004569,updatedAt:1647569585,updatedBy:"林蔚行"}},{from:"articles",key:"616539075e0cd800081dfaba",title:"疫情下,劇場與你之間的距離有多遠",data:{_id:"616539075e0cd800081dfaba",chinese:{title:"疫情下,劇場與你之間的距離有多遠",introduction:"仍記得那一天,因為三級防疫的規定,劇場暫時關閉了,大家心裡都不知道什麼時候可以重開。",content:'文|周書毅 衛武營駐地藝術家
\n\n仍記得那一天,因為三級防疫的規定,劇場暫時關閉了,大家心裡都不知道什麼時候可以重開。我與衛武營場館夥伴們收拾自己的東西準備離開,讓場館進行消毒的工作。因為不確定何時會回來,所以帶了許多可能要在家工作的資料離開。這時我突然想到,身為駐地藝術家,我能帶走什麼?整個衛武營對我最重要的部分是排練場,那是一個裝載創作發展的空間,只可惜帶不走。我想這也是所有表演藝術工作者在面對疫情最擔憂的地方——一個能讓我們維持藝術能量的空間,即將面臨暫停。
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在家工作的期間,身為舞蹈工作者的身體轉換到小空間裡鍛鍊,讓我想起自己過往的租屋經驗,當時在沒有固定排練的時候,我時常在家暖身與鍛鍊,這次才得以很快就適應。但是音樂工作者呢?也能夠獨自在家中練習嗎?馬戲特技表演者不就更加困難?如同演員沒有戲可以排、導演沒了演員,有的幕前表演者開始進行一段日子的修練,找尋其他可以練習的地方,像是家裡的屋頂、陽台等。還有許多幕前幕後的工作者仍是艱難,有人開始送外賣,也有人開始學習其他技藝,也許這樣在疫情過去後,身上還多了幾分原本沒有的能力。該如何在這時局中轉換念頭前行,或許是這次疫情最考驗人的地方。
\n\n衛武營在這段期間不但沒能停下,反而變得更為忙碌,忙著規劃取消與延期的展演、與藝術家和團隊討論應變的決策。維持實體還是轉線上展演形式,成為每個節目與行銷夥伴的課題,也因為分流上班的緣故,大部分工作都必須在線上完成,某次遇到簡文彬總監,他還笑說現在指揮的手都在手機上揮舞所有的線上工作了!
\n\n同樣在這段期間,我在空蕩的公共空間裡遊走,想起過去三年裡表演藝術在這裡帶來的許多瞬間。這個讓生命有所連結與感動的地方,如今停擺,讓所有人都不得不重新適應這份寧靜。我在這裡起舞,探索著無人的空間與光線,心中開始期待起再次啟動的時刻,更希望表演藝術的朋友夥伴們都能夠度過難關。
\n\n除了在家鍛鍊與線上工作之外,我也為所有可能的延期與取消做了準備,沒想到時隔兩個多月,迎來了劇場重啟的消息。我隨即展開《阿忠與我》的排練與巡演,雖然目前座位數少了一半,人心也仍在不穩定的狀態中,未必能夠這麼快重返劇場,但一個劇院(藝術中心)到一個團隊,只要能啟動,產業就能夠運轉起來,至於修復期要多少時間?沒有人知道,只能繼續前行,無論線上還是線下,都是一條跨越未知的道路。表演藝術的風景,在疫情下看似遠離了,但其實更多的藝術家與相關團體都在想方設法的拉近與藝術之間的距離。在逆境中找到出路,是生命的本質之一,也是藝術誕生的珍貴意義。
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現在劇場重啟了,一起踏入劇場尋找生命與藝術的距離吧!
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\n',picture:{key:"795abd25492397497f34c438b1e6ecfa",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"How distanced from theater have you been during the pandemic?",introduction:"I remember the day that the theater closed because of the Level 3 alert, and we all had no idea when it would re-open. ",content:'
Written by CHOU Shu-yi Weiwuying Artist-In-Residence
\n\nI remember the day that the theater closed because of the Level 3 alert, and we all had no idea when it would re-open. My colleagues at Weiwuying and I started putting away all our stuff and getting ready to leave so that disinfection could take place. Since I didn't know when I'd be back, I packed up a lot of materials that I might need while working from home. I suddenly thought, as a resident artist, what could I bring with me? The most important thing Weiwuying gave me was a place to rehearse, a place for creative development. Unfortunately, I couldn't bring that with me! I'm guessing that's what everyone in the performing arts sector worries about most with Covid-19—the temporary closure of spaces where we maintain our artistic energy.
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While working from home, having to train as a dancer in such a small space made me think back on when I used to rent a house. At that time, when I wasn't regularly rehearsing, I usually practiced at home. That's why I've been able to adjust to practicing from home so well. But what about musicians? Can they practice on their own at home? And the difficulty for circus performers goes without saying. At this time when performers have no shows to rehearse for and directors have no performers to work with, some of them have started practicing by themselves, searching for places to do so, like on the roofs and balconies of their homes. A lot of performers and backstage workers are having a tough time. Some have had to start working as food deliveries or learning other skills. When the pandemic is over and they can get back to work, they'll have some extra skills. How we should transform our thinking and make our way forward under such circumstances is perhaps the greatest test this pandemic is giving us!
\n\nDespite the outbreak in May, Weiwuying actually became busier because of work related to canceling and postponing programs and figuring out response strategies with artists. Whether to keep live performances or transition to an all-online model is a question that has had to be resolved for each program and its related marketing. Also, with staggered shifts, most tasks had to be completed online. Once when I bumped into General and Artistic Director CHIEN Wen-pin, he laughed and said that conductors weren't waving their batons anymore; instead, they were just waving their fingers all over their phone screens to get their online work done!
\n\nAs I walked through empty public spaces, I thought about all the interesting moments the performances here have produced over the past three years. There have been aspects that were quite touching and connected to life. The standstill caused people to have no choice but learn how to get used to the new quiet. I started dancing, exploring a space with nobody in it but sunshine, looking forward to when we could begin again and hoping with all my heart that other performers would be able to make it through until that happened.
\n\nBesides practicing at home and working online, I prepared for all the programs that were canceled or postponed. Then, after over two months, good news came: Weiwuying was scheduled to re-open! I immediately initiated rehearsals and a tour for The Center. Even though seating was reduced by half and people probably wouldn't be willing to go to public spaces so soon, as long as an arts center and its team are able to start up again, the industry can get going. As for how long it will take to get back to normal, no one knows. All we can do is strive forward. Whether live or online, each is a path that will take us into the unknown. With the pandemic, it seems that we have become distanced from the performing arts, but a lot of artists and workers in the field are thinking about how to close this distance. Finding a way in the face of adversity is a human instinct and preciously significant in the birth of new art.
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Shows are back on, so come and explore the distance between life and art!
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Learn More:
\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
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\n',picture:{key:"9a11c34400856fa03f2bd704d7b9c9e8",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:["5f8432ff6c88680006585155"],programs:[],top:!1,createdAt:1634023687,updatedAt:1647569567,updatedBy:"林蔚行"}},{from:"articles",key:"612ee1a7103d910007fafd70",title:"當一個藝術的兵有多困難?",data:{_id:"612ee1a7103d910007fafd70",chinese:{title:"當一個藝術的兵有多困難?",introduction:" 聽過許多人說到衛武營某一個時期的記憶,多半都是當兵很苦的日子,衛武營對於曾在這裡從軍的人來說,是個很難忘的記憶。",content:'
照片:©陳長志
\n\n文|周書毅 衛武營駐地藝術家
\n\n聽過許多人說到衛武營某一個時期的記憶,多半都是當兵很苦的日子,衛武營對於曾在這裡從軍的人來說,是個很難忘的記憶。也因為如此,臺灣有許多人都知道高雄鳳山曾經有座軍營叫做衛武營,也正是如今的藝術文化中心。想起去年接獲駐地藝術家這個任務時,未曾當兵的我,真的感覺像是接到兵單一樣,興奮又期待地想著自己會被分發到哪一個單位呢?我當的是藝術兵,只要跟藝術有關的我都必須提起自己的好奇心。當藝術這件事變成一群人的事時,是很不同的,就像一個人跑步會不同於一群人跑步一樣。
\n\n當年因為跳舞受了重傷,所以沒有當兵。那停下來無法跳舞的一年,磨練著我對於生命的意志,也讓我開始思考舞蹈之路究竟要如何走下去?我因此打消了成為專職舞者的夢想,開始專注於創作,當然教學也是自己的生計來源之一。從前我每一天的生活都與舞蹈有關.但受傷的這一年既無法跳舞,也無法教課,連示範動作都成了問題,最嚴重的時候甚至走路都不是很容易。後來我開始了長時間的復健治療,慢慢地回到舞台上,尋找能夠完成的表演作品,同時發展自己的創作之路……。這是一個要寫很久才寫得完的故事,但我想說的是,當你選擇成為一個藝術工作者,那就是一輩子的兵單,要堅持下來是多麼不容易啊!我聽過許多藝術家跟我有類似的生命經歷,那麼一個集結了藝術家心血的藝術文化中心裡,所呈現的藝術之美是什麼呢?我想是藝術家的堅持。這種堅持是難以用肉眼看見的技術鍛鍊,它會在背後一步步累積,當最終成為眾人所見的作品時,它也同時成為了你我眼前獨有的風景,讓每個人看完都產生不同的感受。那就是藝術,是生命!
\n\n疫情之下,場館停了,不只藝術家,連幕後工作人員都不得不停下腳步。但跳舞這件事不受影響,在哪裡都可以跳,雖然沒有表演可以看,但你絕對還能跳舞,而聰明的藝術家們面對生存的挑戰,是不會停止轉變與適應的。原本在榕樹廣場每個月舉辦一次的大眾舞蹈課「武營來跳舞」,在六月三十日時,首次轉為線上,藝術家蘇品文的身體工作坊,在思考線上模式後,透過畫面設計與她的聲音引導,帶領將近二百位學員在線上一起練習身體的觸覺。這讓我感到不可思議,這是藝術家生命力的一種展演,而這種展演是每個人都可以體驗的。此外,高雄在地藝術家左涵潔所創立的「両両製造」,同樣受到疫情衝擊,暫停了實體的展演計畫。曾創作寶寶劇場系列作品的她,開啟了階段性的週日親子工作坊,透過線上互動為親子關係帶來不同的生活能量。這些都是藝術家的力量──在困境中學習面對與改變,同時保有自己的堅持。正是這些力量,讓藝術保有它可貴之處。
\n\n如果當兵有性別之分,那麼藝術的兵是不分性別的,有很多台前幕後的人在這裡堅持著,希望我在駐地創作的路上,也能繼續勇敢分享自己的堅持,在高雄!
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Photo:©陳長志
\n\nWritten by Weiwuying Residency Artist CHOU Shu-yi
\n\nI have heard many people talk about their time at Weiwuying, most of which are about their gruesome army days. Because of these unforgettable military experiences, many people in Taiwan know that there once was a military camp in Fengshan, Kaohsiung, called Weiwuying, which is now a center for the arts. Although I have never served in the military, it felt like I was being drafted when I received the Artist-in-Residence assignment last year. I serve in the art force, so I had to be curious about anything art-related. Just as a person jogging alone is quite different from jogging as a group, when art becomes a communal affair, it is transformed.
\n\nThe year I was supposed to serve in the military, I suffered a severe dance-related injury. Because I could not dance, I sharpened my will to live and contemplated my dance future. I gave up my dream of becoming a professional dancer and began to focus on creating and teaching. My life used to be all about dancing, but that injury made it difficult to demonstrate and even walk, which affected my teaching and dancing. I began a long rehab process and slowly made my way back to the stage. I searched for dance pieces that I could complete and developed my artistic voice...... This story will take forever to finish, but what I want to say is: when you choose to become an artist, it is a lifelong service that takes a lot to carry out. I learned that many artists and I share similar life experiences. So what kind of beauty does an art center that hosts numerous performances display? The artist's persistence. It is a technical exercise invisible to the naked eye that slowly grows. When it is finally ready for the public to see, it has become a sight that speaks to each of us differently. That is art. That is life!
\n\nWhen the pandemic shutdown venues, the artists and staff had to stop all projects. Although there were no performances to attend, you could still dance. In the face of the pandemic, clever artists fought for their survival and adapted. Held initially once a month at the Banyan Plaza, the public dance class "Weiwuying 365+ Dance" relocated online since June 30. In her workshop, artist Su Pin-wen incorporated the online format and led nearly 200 participants to explore their physical senses online through graphics and audio guidance. This is an incredible display of the artist's vitality for all to experience. Kaohsiung artist ZUO Han-chieh, who founded the Double & Cross Theater Group, was also affected by the pandemic and suspended physical performances. ZUO, who has created a baby theater series, started a Sunday parent-child workshop to infuse new energy into the household through online interaction. These are examples of the artists' resilience: learning to face and adapt to adversity while holding onto their vision. It is these strengths that give art its value.
\n\nIf there is a gender difference for soldiers, then art soldiers are gender-neutral. Many people are standing their ground on and off stage, and I hope I can do the same and bravely share my vision right here in Kaohsiung!
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Learn More:
\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
\n\n\n',picture:{key:"8bc0cbb8d100659509579f11bf4a4537",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:["5f8432ff6c88680006585155"],programs:[],top:!1,createdAt:1630462375,updatedAt:1647569515,updatedBy:"林蔚行"}},{from:"articles",key:"612edb4a103d910007fafc96",title:"劇場,是另一個與你相連的世界",data:{_id:"612edb4a103d910007fafc96",chinese:{title:"劇場,是另一個與你相連的世界",introduction:"當你喜歡一場演出,你與它之間的關係是緊密靠近的,而且是一種只有你自己了解的了解...",content:'
照片:《留給未來的殘影》衛武營特別展演場。©林峻永
\n\n文|周書毅 衛武營駐地藝術家
\n\n"這真是一個令我太失望又生氣的演出!",這句話一出,代表你與這場演出的世界是不同的,你無法感受它,它也無法與你交談,你們之間有著非常遙遠的距離,身處於不同的世界。相反的,當你喜歡一場演出,你與它之間的關係是緊密靠近的,而且是一種只有你自己了解的了解,那難以言喻的感動,讓力量充滿身心,感覺像是彼此擁抱相連在一起。劇場藝術,真的是一個非常奇妙的世界,乘載的都是人,卻創造了極為極端的世界,也因如此,劇場正是一個世界,只是它的複雜與混亂是可控制的,它的美好與感動是可創造的,同時也是分裂的。
\n\n最近的我,時常用不同的身分走入劇場,有時是一名編舞,有時是表演者,一個是在台下思考,一個是站在舞台上詮釋,一個能看見全局,另一個用表演感受整個作品,當兩者合而為一的時候,那就是在另一個維度在感受世界了!劇場,是在虛與實之間存在,在看似一切都是假的背後,需要許多真實的人生模擬,才能到達那個叫做「劇場」的地方。這裡除了有創作、表演者與觀眾之外,還有許多你難以想像的角色在其中生活著,像是聽覺的聲音角色、舞台燈光與空間的角色、身體上的服裝角色,以及掌管一切秩序的舞台監督角色等,存在著許多你看不見的重要角色在其中運轉著。
\n\n而當你走入劇場時,你會遇見與你問候的前台人員,還有與你一起看演出的陌生朋友,散場時,你會感受到與你相同頻率的移動步伐,或是在大家激烈拍手叫好時,只有你靜靜地哭著。劇場,像是一個微型的世界,是人類創造的複雜之地,充滿著矛盾與衝突之地,但是卻能夠理性梳理著隨時爆發的瘋狂,而時間在這裡並非是如常的時間,除了你手上的錶會告訴你真正的時間,但你也有可能會被你眼前所見的一切帶走,瞬間蒸發在這世界上,無論你是哪一個角色,在劇場裡,你都終將不是一個人完成的,也不會一輩子都固定身分,如同一個人與社會的關係,沒有選擇的關係,卻又真實的擁有彼此。
\n\n生命如何擁有另一個身體與眼睛去觀看自己,那就是走入劇場,那是另一個與你相連的世界,透過一張票,走進劇場,讓自己和台上的一切慢慢產生關係,無論最後是喜歡還是不喜歡,你的世界都會因為這一段時光而變化。
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\n\n【高雄雄厲害】周書毅x陳芯宜 2021《留給未來的殘影》衛武營特別展演場
\n\n\n\n\n',picture:{key:"ebda5f24bdf8d60ddec5de93b6ce965b",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"Theater, Your Otherworldly Connection",introduction:' When you say, "This is such a disappointing and infuriating show!" It means that you are in a different world than that of the show: you cannot connect with it; it does not speak to you, and there is a tremendous distance between you...',content:'
Written by Weiwuying Residency Artist CHOU Shu-yi
\n\nWhen you say, "This is such a disappointing and infuriating show!" It means that you are in a different world than that of the show: you cannot connect with it; it does not speak to you, and there is a tremendous distance between you. However, when you like a show, your relationship with it is an intimate one. There is a private understanding and an indescribable and empowering feeling in your body and soul like a firm embrace. The theater is a wondrous and extreme world facilitated by humans. A world whose complexity and disorder are controllable, its beauty and emotion creatable. A world divided.
\n\nRecently, I have walked into the theater in different capacities, as a choreographer and a performer. One thinks off stage, the other interprets on stage; one sees the whole picture, the other feels through action. When the two roles become one, you experience the world through another dimension! The theater exists between reality and fantasy. To reach it, everything seemingly fictional should undergo a great deal of life-based simulation. Besides productions, performers, and audiences, other roles also inhabit the theater, such as sounds, stage lighting and space, costumes, the stage manager overseeing order, and many others who play an essential part behind the scenes.
\n\nWhen you enter the theater, the front-of-house staff greets you, and you meet your fellow audience members. At the end of the show, everyone exits at the same pace. During the curtain call, while everyone vigorously applauds, you softly weep. The theater is like a small, artificial, and complex planet filled with contradictions and conflicts. Still, it rationally sorts out the madness that may erupt at any moment. Time is experienced differently in the theater. While your wristwatch may tell you the actual time, you may also be carried away by the spectacle on stage and disappear in an instant. No matter what role you take on in the theater, you do not finish alone or get stuck in the same part, just like the relationship between a person and society, though arbitrary, is firmly in possession of one another.
\n\nBy walking into the theater, a life can examine itself from another form and perspective. By purchasing a ticket, you enter another world connected to you and allow yourself to slowly relate to everything on stage. Whether you like the show or not, your world will be changed by this experience.
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Learn More:
\n\n\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
\n\n\n',picture:{key:"22cc0fed6b4a81013daa1a3d8776ea12",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:["5f8432ff6c88680006585155"],programs:[],top:!1,createdAt:1630460746,updatedAt:1647569498,updatedBy:"林蔚行"}},{from:"articles",key:"6065299dd8c5a600075a80fd",title:"劇場,是否能開啟一條平等之路。《阿忠與我》",data:{_id:"6065299dd8c5a600075a80fd",chinese:{title:"劇場,是否能開啟一條平等之路。《阿忠與我》",introduction:" 你身邊有行動不方便的朋友嗎?你知道劇場有輪椅席的座位嗎?別忘了,你可以帶你的身障朋友一起來劇場看表演!",content:'
照片:《阿忠與我》於衛武營快閃,舞者鄭志忠(左)及舞者周書毅(右)的共舞畫面。
\n\n文|周書毅 衛武營駐地藝術家
\n\n你身邊有行動不方便的朋友嗎?你知道劇場有輪椅席的座位嗎?別忘了,你可以帶你的身障朋友一起來劇場看表演!如果有一天你的雙眼再也看不見,你還會來劇場感受表演嗎?也許有個現代舞的表演,能夠讓你來聽見不同身體交會的存在。那如果你聽不見,你還會來看表演嗎?雖然聽不見,但你仍可以看見光,在空間中起舞。這些自問自答,都是我對於生命的省思,也是我近期創作《阿忠與我》與製作團隊最常思考及需要面對的事。
\n\n三年前,我與鄭志忠(阿忠)首次共舞,在驫舞劇場策畫即興演出《混沌聲響》中,彼此身體撞擊出新的語彙,我在其中感受到強大的力量,關於平等、平權與自由。所以希望能有機會與阿忠合作一個作品,一個關於他與我們之間的作品。為何是他,因為他的力量、他的專注,還有他對於劇場藝術與身體表演的堅持,深深打動了我。而我也從認識他後,開始關注到社會上許多不同身體的處境,那不平等的存在,成為我想創作這作品的動能,像是與阿忠一起在街上開著電動輪椅,你會從路面的不平整與道路規劃,重新認識這個社會的設計,究竟是以誰為中心,所以才有了《阿忠與我》這個想法,如果阿忠代表的是中心,那我們與中心的距離是多遠?我們真的知道這世界的中心是如何運行的嗎?而劇場,正有著這樣的力量,能夠讓人一起齊聚關注你眼前的事,去面對你所願意走進來感受的一件事,拉近你與這世界的距離。
\n\n照片:《阿忠與我》於衛武營快閃,舞者:鄭志忠、周書毅的共舞畫面。
\n\n很幸運的,三年後可以正式開啟這作品的創作探索,由衛武營與兩廳院共同製作,讓這樣看似邊緣的議題,能有機會成為舞台上的主角。並且可以讓更多人認識阿忠,這樣一位臺灣不可多得的劇場工作者,透過身體去感受他的生命力,還有走入他的人生哲思。我將在台上與他共同演出,而舞台燈光設計是香港資深劇場設計師李智偉,音樂設計是高雄在地出生的音樂創作人王榆鈞,還有曾獲得國家文藝獎的林璟如老師擔任創作顧問,跨界製作人吳季娟與藝外創意的夥伴共同合作,希望能透過如此強大的夥伴,為《阿忠與我》開啟一條平等之路。
\n\n劇場,乘載著許多藝術創作的生命故事,那麼觀眾也是由眾人組成,不同年齡、不同身分背景,也因為不同原因而一起坐在同一個地方,感受舞台上的時光。《阿忠與我》這作品,正是期盼讓不同的人,能夠一起來到劇場,透過你我都有的身體,來感受舞蹈、來聽表演、來看屬於你我的生命風景。
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待續
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閱讀更多:
\n\n\n\n\n',picture:{key:"806f0512cb2fa1fbe7c68bbe49f65bf0",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"The Center: Can Theater Open a Path to Equality? ",introduction:" Do you know anyone with a disability? Do you know that the theater has wheelchair seatings? Bring them to a performance in the theater next time!",content:'Photo:Pop-up show of The Center at Weiwuying. Two main dancers, CHENG Chih-chung (left) and CHOU Shu-yi (right).
\n\nWritten by Weiwuying Residency Artist CHOU Shu-yi
\n\nDo you know anyone with a disability? Do you know that the theater has wheelchair seatings? Bring them to a performance in the theater next time! If you lose your eyesight someday, will you still come to the theater? Maybe there is a modern dance piece that allows you to hear the encounters of different bodies. If you lose your hearing, will you still go to a performance? Although you cannot hear, you can notice the lights and dance in the space. These hypophoras are my reflections on life and musings during the production of The Center.
\n\nThree years ago, I danced with CHENG Chih-chung for the first time at Primal CHAOS, a series of impromptu performances. Our body engaged in a dialogue about equality, rights, and freedom. I hoped I could work with Chih-chung on a piece about him and us. Why him? Because I was moved by his strength, focus, and tenacity in theater and physical performance. Ever since I met him, I began to pay attention to the experience of different bodies in society. The prevalence of inequality drove me to create The Center. For example, when driving an electric wheelchair with Chih-chung, you notice the bumpy road surfaces and planning and realize who the designs really serve. So if Chih-chung became the center, how far apart are we from it? Do we understand how the center of the universe works? Through theater, we bring people together to focus on what is in front of them, face something they have allowed themselves to feel, and to bring them closer to the world.
\n\nPhoto:Two main dancers, CHENG Chih-chung and CHOU Shu-yi, of The Center pop-up at Weiwuying.
\n\nLuckily, three years later, a creative exploration, jointly produced by Weiwuying and the National Theater and Concert Hall, began so that such a marginal issue may take center stage. It is also an opportunity for more people to learn of Chih-chung, a rare breed of theater artist in Taiwan, feel his vitality, and experience his philosophy. I share the stage with him. Stage lighting is designed by senior Hong Kong theater designer LEE Chi-wai. Music by Kaohsiung native artist WANG Yu-jun. Consulted by National Awards for Arts winner LIN Ching-ru. In collaboration with producer Neo WU and our friends at Artexpected. I hope that such an all-star partnership may open a path to equality for The Center.
\n\nThe theater is filled with life stories. Its audience is composed of people of different ages and backgrounds. They share the same space for various reasons to enjoy the performance. The Center aims to bring people together in the theater to feel dance, listen to the performance, and, through our corporeality, witness a scenery of life that belongs to you and me.
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To be continued...
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Learn More:
\n\n\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
\n\n\n',picture:{key:"7736eceee209c1bd94b6eb5f4c137b81",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:["5f8432ff6c88680006585155"],programs:[],top:!1,createdAt:1617242525,updatedAt:1653021837,updatedBy:"通泰系統管理員"}},{from:"articles",key:"5ff2b41cb81fa50007f96ff6",title:"走入藝術迴廊的光影生命",data:{_id:"5ff2b41cb81fa50007f96ff6",chinese:{title:"走入藝術迴廊的光影生命",introduction:" 有一個人遇見了舞蹈影像,然後呼朋引伴的在衛武營藝術迴廊上走來又走去,究竟是什麼風景吸引了他?",content:'
照片:民眾正在欣賞《遇見.舞蹈影像展》的短片
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文|周書毅 衛武營駐地藝術家
\n\n有一個人遇見了舞蹈影像,然後呼朋引伴的在衛武營藝術迴廊上走來又走去,究竟是什麼風景吸引了他?讓他自己看完後,願意走出去找朋友一起來看,這讓躲在一旁的我十分感動,因為是透過這樣的光影與肢體語言來交談,每一個觸動都如此直接,透過觀看走入內心,讓人願意停留、感受、思考,去擁抱生命的各種姿態。
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走道迴廊的盡頭,有一個人在「放映舞台」的觸碰式螢幕滑動著,用360度的視角走入衛武營,展場的解說員發現了我是這作品中的舞者,在一旁偷笑,因為我躲在一旁觀察不同的人對於作品的反應。這天的展場工作人員解說得非常棒!讓看完的人都想要回家下載試試。她也跟我分享說有老師來看完後提到想將app放入課程之中,讓同學下載並發揮自己的創意。我非常開心,因為這又是一個舞蹈走入社會的機會,透過身體的感官,來讓不同族群接觸到表演藝術。這樣開放性的場域也讓更多人能與舞蹈相遇,特別是在「臺灣舞蹈平台」結束後,展覽持續著,繼續等待未知的美好相遇。
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還有一位男子靜靜地坐在地上觀看許海文自導自演的《孿生》,我想他可能是被影像中安靜的氛圍吸引,讓他想坐在地上好好觀賞。這一個作品是透過身體去與自己內在的思緒對話,是一個相對需要與自己共處的作品。這時,有一位衛武營安全事務組的夥伴經過,跟我分享他看這部作品的感覺,並問我:「真的感覺自己的身體裡有兩個自己嗎?」我問他說 : 「你覺得呢?」他說 :「 每個人應該都有兩個不同的自己需要面對吧!」這又是另一種相遇的感動,一個所有人都能共享的藝術,只要你有所感,這些作品都可能與你有關。
\n\n照片:《遇見.舞蹈影像展》展覽現場
\n\n《遇見.舞蹈影像展》集結國內外許多藝術家的作品,他們都用身體與環境中的生命故事對話著,在世界的某一處,透過光影創造了另一個世界。展場設計上。也讓每一個作品都適合每一個人獨自觀賞,頭頂上的聲音裝置是針對小範圍設計的,讓每一個觀者能夠擁有自己的世界,透過舞蹈影像去認識自己,而自己是什麼樣子,就讓我們透過彼此都擁有的身體來對話,讓生活自在而舞。走一趟衛武營,來看演出或是喝一杯咖啡,來公園散步或是遇見舞蹈影像,如果不出門時,你還可以下載「放映舞台」的app,待在家就能舞進衛武營。這疫情時代帶我們來到了一個新的劇場世界,一個高速流動轉變的表演生命。
\n\n照片:民眾正在使用「一分鐘放映舞台」,以不同視角觀覽衛武營
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閱讀更多:
\n\n\n\n\n',picture:{key:"68c51da58c367b5d37219960bcfc5106",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"Walk into the Light and Shadows of Weiwuying Art Gallery",introduction:"A person encounters dance images and walks up and down Weiwuying Art Gallery with friends. What is the person so captivated by? ",content:'Photo:This lady is watching a film of The Encounter.Dance Film
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Written by CHOU Shu-yi Weiwuying Artist-In-Residence
\n\nA person encounters dance images and walks up and down Weiwuying Art Gallery with friends. What is the person so captivated by? What is so enchanting that drives the person to beckon others to join? Hiding nearby, I was filled with curiosity. Through light, shadow, and bodily movements, each expression is direct in its interpretation of the messages of the heart, enticing us to pause, to immerse ourselves and sink into contemplation, embracing the different stances of life.
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At the end of the gallery, a person is swiping up and down the touch screen of "VR Stage", entering Weiwuying through different angles. The guide finds out that I am the dancer in the work and chuckles secretly, because I was hiding nearby as I observed the different reactions to the work. The guide that day was excellent, and many people are inspired to download the app and try it out for themselves; she even tells me that a teacher had the idea of asking her students to download the application after seeing the work and is thinking about adding the application to her curriculum as a way to let students unleash their creativity. I was happy to hear this, because it was another opportunity for dance to enter society, and for different groups of people to be exposed to performing arts. Open, public spaces such as this allows more people to interact with dance, allowing the exhibition to go on after Taiwan Dance Platform ends, enabling more possibilities for the future.
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One viewer is sitting on the floor, quietly looking at an image work. The work is Siamoise, a self-directed work by HSU Hai-wen. Perhaps the viewer was attracted by the tranquility of the image, leading the viewer to appreciate the work while sitting on the ground. Siamoise is a work about the dialogues with the inner thoughts through the body, a process that requires solitude. A Weiwuying staff walks by and shares his thoughts on the work with me. He asks me, do I really feel there are two persons within me? I ask, what do you think? He replies: I think everyone, one of us needs to face the two different selves within us! This was another moving encounter. A work of art that can be shared and appreciated by all; any work can be relevant as long as it speaks to you.
\n\nPhoto:The site view of The Encounter.Dance Film
The Encounter.Dance Film exhibition assembles works by artists both domestic and abroad. Each work is a dialogue between the body and the stories of life, creating another world with light and shadow. Each overhead sound installation is designed to cover a small scope of space, and the exhibition space is arranged to allow visitors to enjoy the works on their own and to gain a deeper understanding of themselves through dance images. The exhibition encourages dialogue through our bodies, something we all possess, unveiling our true selves and to achieve a life that is authentic and carefree through dance. Take a trip to Weiwuying, see a performance, have a cup of coffee, stroll in the park, or have an encounter with dance images. On days that you prefer to stay indoors, you can download the "VR Stage" app and waltz into Weiwuying at the comfort of your own home. The pandemic era has presented us with a new world of theater, and a new lifestyle that is filled with rapid changes.
\n\nPhoto:Someone is using "VR Stage" to view Weiwuying through special angles
\n\n
Learn More:
\n\n【2020 Taiwan Dance Platform】"Encounter.Dance Film" Exhibition
\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
\n',picture:{key:"23da5b1171f9903870dea9757def1053",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:["5f8432ff6c88680006585155"],programs:["5eeefdfe58ad3900060de061"],top:!1,createdAt:1609741340,updatedAt:1647569439,updatedBy:"林蔚行"}},{from:"articles",key:"6045989066c97f00079c285f",title:"高雄,曾經有這麼一位舞蹈家",data:{_id:"6045989066c97f00079c285f",chinese:{title:"高雄,曾經有這麼一位舞蹈家",introduction:" 寫稿的這一天,我突然想起一位已故的編舞家伍國柱,1970 年出生於臺灣高雄縣彌陀鄉,是土生土長的高雄人...",content:'照片:編舞家 伍國柱(©劉振祥,雲門提供)
\n\n文|周書毅 衛武營駐地藝術家
\n\n寫稿的這一天,我突然想起一位已故的編舞家伍國柱,1970年出生於臺灣高雄縣彌陀鄉,是土生土長的高雄人,他於2006年病逝,享年36歲,許多人都曾被他的作品深深感動,而我最感動的作品是《斷章》,2004年時由雲門2演出33分鐘的版本,在他逝去那年,也隨即搬演了全版,2014也再度重演,同樣的讓許多人深深觸動。當然這作品也曾經來過高雄,一個他出生的地方,他在左營高中普通班就讀時,偷偷遙望舞蹈班的夢想之地,也許這裡正是他愛上舞蹈的城市?後來他離開了高雄,到臺北藝術大學戲劇系主修導演,這期間仍繼續學習跳舞,更曾經參與芭蕾舞劇《吉賽兒》中極富戲劇性的要角。畢業後,赴德國考取福克旺藝術學院舞蹈系進修,漸漸開啟了他編舞之路,作品也開始受到了國際藝術節的邀約與肯定,2004年受邀擔任卡塞爾劇院舞蹈劇場藝術總監,同時也成為雲門舞集的客席編舞,他讓臺灣的舞蹈有了與歐洲交流和連結的機會,是我非常欣賞的藝術家,是一位我們應該記得的人。雲門舞集創辦人林懷民曾説:「紀念他最好的方式,就是跳他的舞。」突然間,我想念他的舞,也想讓大家知道,高雄曾經有這樣的一位舞蹈家,帶來如此真實的生命之舞。
\n\n\n\n
「仍記得那上身赤裸的震動,
\n\n不停止拍打的雙臂。
\n\n一群人遙望著遠方,
\n\n是家鄉還是異鄉?
\n\n突然間響起了卡農的旋律,
\n\n一個女子孤獨的站在樹下,
\n\n風吹動著裙擺,
\n\n陽光曬落。
\n\n生命追著時間,
\n\n渡過無數次的悲喜,
\n\n直至生命的盡頭,
\n\n葉子落下的瞬間。」
\n\n照片:雲門舞集《斷章》演出畫面(©劉振祥,雲門提供)
\n\n我想起《斷章》給予我的感動,寫下片段的記憶,如今正在編舞路上的我,能創造什麼樣的作品。最近,我正在創作《阿忠與我》,與一位臺灣資深劇場工作者鄭志忠合作演出,從身障者的平等與不對等,來看這世界與人的關係。如果伍國柱還在,他們應該差不多年紀,我在他們身上總是能獲得許多力量,曾經與伍國柱短暫的見面,看見他眼中充滿希望的靈光,而阿忠早已跳脫身障身份的困境,在劇場與藝術之間找到自由的可能。這作品將會帶來高雄衛武營演出,這不只是一個舞蹈作品,而是這座城市曾經給予我的希望,那些消逝卻仍然有力的舞步,仍在未知的地方繼續踏著。高雄,曾經有這麼一位舞蹈家,而衛武營也將會有許多的作品在此留下生命,也期待有機會重現那份力量,我也將在高雄駐地中,分享舞蹈生命中的愛與痛。
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閱讀更多:
\n\n\n',picture:{key:"fe3f07a53e1119c5a9b8b37fe01fc188",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"There was once such a dancer in Kaohsiung…",introduction:"While writing today, I suddenly thought of the late choreographer WU Kuo-chu...",content:'Photo:Choreographer, WU Kuo-chu (©LIU Chen-hsiang, provided by CLOUD GATE )
\n\nWritten by Weiwuying Residency Artist CHOU Shu-yi
\n\nWhile writing today, I suddenly thought of the late choreographer WU Kuo-chu, who was born (in Mituo Township) and raised in Kaohsiung and died of leukemia in 2006 at the age of 36. His work deeply touched many lives, and the piece that touched me most was Oculus. A 33-minute version was performed by Cloud Gate 2 in 2004, and the entire piece was performed the year he passed away. It was also performed in 2014, once again touching so many hearts. It has of course been performed in Kaohsiung, his hometown. Though he was in the regular classes at Tsoying Senior High School, he would at times peek into his "dreamland" of the dance class. Perhaps this is the city where he fell in love with this form of art. Later, he left Kaohsiung to study directing at the School of Theatre Arts at Taipei National University of the Arts. During this time, he continued learning to dance and even got a major, dramatic role in the ballet Giselle. After graduation, he went to Germany to study in the dance department at Folkwang Hochschule, where he embarked on the path to becoming a choreographer. His work started gaining recognition and invitations to international art festivals. In 2004, he was invited to work as the artistic director of the Staatstheater Kassel Dance Company in Germany, and he was also a guest choreographer for Cloud Gate. He thus gave dance in Taiwan and Europe the opportunity to connect. He was an artist whom I greatly admire and whom we should remember. Cloud Gate founder LIN Hwai-min once said of him, "The best way to commemorate him is to perform his work." Upon thinking of all of this, I started to miss his work and started wanting to let everyone know that there was once such a dancer in Kaohsiung who brought so much life to the stage.
\n\n\n\n
“I still remember that vibration of a half-naked body,
\n\nthose arms that never stopped beating.
\n\nA group of people looking into the distance.
\n\nIs it my hometown or somewhere else?
\n\nAll of a sudden, Canon begins to be played.
\n\nA lone girl stands under a tree,
\n\nthe wind blowing her skirt,
\n\nthe sun shining down on her.
\n\nLife pursues time,
\n\nduring which are countless episodes of joy and grief,
\n\nuntil the end,
\n\nthe instant when the leaves fall.”
\n\nPhoto:Oculus (©LIU Chen-hsiang, provided by CLOUD GATE )
\n\nWhile thinking of how Oculus moved me, I jotted down a few memories. Now, as I am on the path of choreography, I think about what kinds of dances I will create. I have recently been working on The Center with a highly experienced Taiwanese theater artist named CHENG Chih-chung, viewing the relationship of people to the world from the angle of equality and inequality for the physically disabled. If WU were still alive, he would be about the same age as CHENG. I always feel so powered by them. I once briefly met WU, noticing how filled with hope his eyes were. CHENG long ago freed found relief from the difficulties of his identity as a physically disabled person, attaining freedom and possibilities within theater and art. This show will be performed at Weiwuying. It is not just a work of dance. It is the hope that this city gave me. Dance steps that have faded away yet still are sources of power continue to be danced in some unknown place. There was once such a dancer in Kaohsiung.
\n\nWeiwuying will be a venue for many works that will leave behind a sense of life. I look forward to seeing that life once again. I will be living in Kaohsiung for a while too, sharing the love and pain of the life of dance.
\n\n\n\n
Learn more:
\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
\n\n\n',picture:{key:"fe3f07a53e1119c5a9b8b37fe01fc188",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:["5f8432ff6c88680006585155"],programs:[],top:!1,createdAt:1615173776,updatedAt:1653021889,updatedBy:"通泰系統管理員"}},{from:"articles",key:"5f801467db8e8d0006b85f8e",title:"如果說藝術源自於生活, 那麼要如何在生活中擁有藝術?",data:{_id:"5f801467db8e8d0006b85f8e",chinese:{title:"如果說藝術源自於生活, 那麼要如何在生活中擁有藝術?",introduction:"誰說拉小提琴,是穿燕尾服的專利,不要被定位,人不要以貌取人,人是要接觸後看見內在...",content:'
照片:周書毅在衛武營戶外劇場沉醉在舞蹈影像拍攝中
\n\n\n\n
文 周書毅 衛武營駐地藝術家
\n\n幾年前在新聞中看過一則「黑手小提琴手」的報導,是在雲林從事修理發電機的呂振裕先生,年輕時,隨著家裡務農,喜歡帶著收音機聽音樂工作,在一次廣播電台播放古典音樂時,覺得不好聽,但過了一陣子又在轉回那陌生又有點感覺的旋律,一首約翰史特勞斯的圓舞曲打動了他,開啟了想學音樂之路,離開務農工作,從事黑手工作,音樂是他生活很重要到一部分。他曾經說:「誰說拉小提琴,是穿燕尾服的專利,不要被定位,人不要以貌取人,人是要接觸後看見內在。」我被這樣的分享深深感動著,藝術來自於生活,也進入了他的生命。
\n\n照片:讓藝術走進生活,座落於衛武營榕樹廣場的公共鋼琴
\n\n去年,聽說在高雄衛武營國家藝術文化中心的公共空間有架鋼琴,總監簡文彬希望讓這裡是眾人的藝術中心,而有了這個想法讓任何人都可以彈奏分享音樂。在年初疫情時局,這裡來了一位客運司機吳䕒晟先生,聽說他時常在下班時,都會來到這裡彈奏幾曲才回家,大多彈奏民歌流行曲,附近的民眾也會跟著哼唱起來,彷彿把這裡當作是一場隱約聚會,多麼美好阿!而衛武營也在疫情時,邀請他彈奏巴哈的經典作品《音樂的奉獻》,他即興彈奏無縫銜接至清朝時期的民歌《茉莉花》,也是臺灣人情感記憶的一部分,這彈奏讓音樂跨越語言的交流,貼近了生活的記憶。這讓我想起在上個月在歌劇院看了載譽重演的歌劇《杜蘭朵》,在1920 年至1924 年時,義大利作曲家普契尼將《茉莉花》的曲調寫入他生前最後一部歌劇《杜蘭朵公主》中,那不斷響起的旋律,是溫暖的力量,同時也是在提醒著我們如何珍惜愛、和平、自由的美好,而藝術在生活中,也可以是如此有力量牽動著我們的記憶,震動著歷史與回憶。
\n\n照片:周書毅在衛武營都會公園連結自然場域創作舞蹈影像
\n\n這一兩年,我時常在公園裡創作,仍遇見許多帶著收音機聽音樂運動的長輩,也有的人帶著樂器來分享音樂給周遭的人,公園就像是沒有邊界的音樂廳,在自然環境中,擁有了藝術,不禁讓我想起了這兩位先生的故事。於是,我決定在公園中創作舞蹈,與音樂共生,讓人零距離靠近表演藝術,與稻草人現代舞團和高雄出生的音樂創作人王榆鈞,從《臺南公園的身體地圖》到衛武營都會公園《公園散步的記憶序曲》,將在11 月「臺灣舞蹈平台」發生!每一次在公園創作排演時,總有許多民眾駐足,直接與舞者對話,好奇我們在這裡做什麼?!我說:跳舞啊~民眾說:好看啊!什麼時候演? 11 月!還有那麼久喔!要練多久啊!許多真切的對話,讓我們用藝術在生活中相遇,我想這些人的生命,也開始擁有了藝術。
\n\n\n\n
閱讀更多:
\n\n【2020臺灣舞蹈平台】周書毅X稻草人現代舞蹈團《公園散步的記憶序曲》
\n\n\n',picture:{key:"039473c9f4e6dd6d4024dd19290fcb97",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},english:{title:"They Say Life Gives Birth to Art. But How Does One Implement Art in Everyday Life?",introduction:" ",content:'Photo:CHOU Shu-yi indulges in dance photography at the Outdoor Theater
\n\n\n\n
Written by Weiwuying Residency Artist CHOU Shu-yi
\n\nThere was a news story a few years ago on a“mechanic-violinist.” Mr. LU Chen-yu is a mechanic in charge of power generator repair in Yunlin who loved listening to music on the radio while working on the family farm while he was young. On one occasion, the radio was broadcasting classical music, and LU initially disliked the music but was moved by a waltz by Strauss. LU took up the profession as a mechanic and started learning music, and music became an indispensable component in his life. LU once stated: “Who says that only those who wear tuxedoes have the right to play violins? Reject the definition of others and the tyranny of appearances, and try to see the inner qualities. “ This story moved me deeply. LU's art originated from living and has become a part of life.
\n\nPhoto:The public piano at the Banyan Plaza embraces art into everyone’s lives
\n\nLast year, I heard that there is a piano in the public space of Weiwuying. Artistic director CHIEN Wen-pin wanted Weiwuying to be an art center for the people and came up with this idea so that anyone could come here and play music. Coach driver WU Chia-sheng often visited the piano to play a few songs when the pandemic broke out at the beginning of the year. WU mostly played popular songs, and nearby visitors would hum along to the tunes; it was like a wonderful, secret gathering. Weiwuying invited WU to participate in the “Music Playing of Musical Offering” and he seamlessly integrated Bach with Jasmine Flower, a Qing Dynasty folk song inscribed in the memories of the people of Taiwan. WU's performance transcends language and incites intimate sentiments of everyday life. This reminded me of seeing the restaging of Turandot at the opera house last month and how Puccini embedded Jasmine Flower into his last work, emitting gentle strength while urging us to cherish the beauty of life, peace, and freedom.
\n\nPhoto:CHOU Shu-yi indulges in dance photography at the Outdoor Theater in Weiwuying Metropolitan Park
\n\nI often work in parks in recent years. Many elders carry radios when exercising; some even bring musical instruments, transforming the park into a concert hall without walls. The approach of implementing art with life and nature reminded me of the two gentlemen mentioned above, which inspired me to choreograph in the park. Body Map in the Tainan Park and The Memory Overture of Strolling in the Park, collaborated with Scarecrow Contemporary Dance Company and Kaohsiung composer WANG Yu-jun, will be presented in November at Taiwan Dance Platform. During rehearsal, people were curious about what we were doing, and I would say: Dancing! They said, ‘Looks nice! When are you performing?'. ‘November', I replied. ‘Then it's still far off! How long do you need to practice for?’ Sincere interactions such as this bring us closer to art; maybe art is now a part of the lives of these people.
\n\n\n\n
Learn more:
\n\n\n\n
CHOU Shu-yi ╳ Scarecrow Contemporary Dance Company "The Memory Overture of Strolling in the Park′′
\n\nWeiwuying Artist-In-Residence-CHOU Shu-yi
\n\n\n',picture:{key:"60a5432321b440a711c704d643984cfe",description:""},onShelf:!0,onShelfRange:{start:null,end:null}},tags:["5b10e7c4f295ec000672a734","5f8432ff6c88680006585155"],programs:[],top:!1,createdAt:1602229351,updatedAt:1653044761,updatedBy:"通泰系統管理員"}}],seq:5,name:"Blogs",content:"",color:{a:1,r:0,g:0,b:0},type:"reference"}],onShelf:!0,onShelfRange:{start:null,end:null},sliders:[{type:"image",key:"e568d013803e474f1ce8a73c3f05f129",title:"衛武營駐地藝術家-周書毅"}],albums:[],albumsColor:{a:.8,r:255,g:255,b:255},albumsSeq:2,writings:[],writingsColor:{a:.8,r:255,g:255,b:255},writingsSeq:1},createdAt:1642672233,updatedAt:1671612438,updatedBy:"林蔚行",content:{title:"Weiwuying Artist-In-Residence-CHOU Shu-yi",cover:"000d05abeb386b6622cc8a606b6ea57a",menu:{append:!1},seq:0,description:"CHOU Shu-yi starts out from the body and communicates with the world through dance and choreography. He focuses on the relationship between human beings and the society. In his past creations and actions, he is capable of capturing the powers of cross-disciplinary collaboration to address the publicness of arts.",introduction:'
CHOU Shu-yi starts out from the body and communicates with the world through dance and choreography. He focuses on the relationship between human beings and the society. In his past creations and actions, he is capable of capturing the powers of cross-disciplinary collaboration to address the publicness of arts. His creations focus on the value of life and reflect the state of individuals or collectives in different social contexts. Through his creations, CHOU Shu-yi makes propositions of a “body vocabulary that is specifically Asian” in the forms of theatre, non-traditional theatre and dance video. He continues to create as he travels different sites and places. In 2020, he was invited as the Weiwuying's first artist in residence and has been living in the south ever since.
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News:
\n\n\n\n\n',tabs:[{programs:[],seq:1,name:"Extension",content:'
2022
\n\nWeiwuying's very first artist-in-residence, CHOU Shu-yi, initiated the "Dance-Travel Project" ten years ago and has since traveled to 14 cities and given 60 performances in open spaces without sets and lighting. This time, CHOU plans to restart this project by inviting professionals to teach dance to the dance students of Zuoying High School through educational cooperation. Moreover, with the help of Weiwuying, CHOU intends to recruit freelance dancers to perform a dance piece across Kaohsiung, bringing performing arts out of the theater and into the city...
\n\nFollow up! The Instagram of Bolero in Kaohsiung | \n\t\t
\n\n
Time
\n\nApril to June 2022
\n\nPlace
\n\nPublic areas in Kaohsiung
\n\n\n\n
2021
\n\nSince its first edition in 2020, “Weiwuying 365+ Dance” has been resonating with the public. For the next edition in 2021, four experienced and well-known Taiwanese choreographers: Tjimur Dance Theatre, SU Pin-wen, CHOU Shu-yi and SU Wei-chia are invited to give their tailored-made dance classes for all ages dance lovers at Weiwuying from January to December of 2021.
\n\n\n',color:{a:1,r:100,g:100,b:100},type:"content"},{programs:[],seq:2,name:"Programs",content:'
2021
\n\nHe is CHOU Shu-yi. He is CHENG Chih-chung.
\n\nThis is a discussion about equivalence and in-equivalence. When two people who are good at expressing themselves with their bodies meet, an endless conversation unfolds. A dance, a light, a sound- they are all parts of the incessant process of dialoguing. Modern dancer Chou Shu-Yi invited Cheng Chih-Chung, who has been involved in theater performances since 1988, to engage in a chat, with their bodies, about life, family, and society...
\n\nTime
\n\n2021/9/4(Sat)14:30
\n\n2021/9/5(Sun)14:30
\n\nPlace
\n\nPlayhouse
\n\nIn 2021, the world is still getting accustomed to the epidemic situation and everyone is looking for traces of ordinary memories in their daily lives in the search for balance. "Afterimage for Tomorrow – Weiwuying Special Performance Edition" (2021) is a 40-minute, site-specific creation that allows audiences to compare their own life experiences to the remnants of the afterimage landscape, bringing to them warmth.
\n\nTime
\n\n2021/11/3(Wed) - 2021/11/7(Sun)
\n\nPlace
\n\nWeiwuying 3F Crown Hall
\n\n\n\n
2020
\n\n►【2020 Taiwan Dance Platform】"Afterimage for Tomorrow" Special Edition for Weiwuying
\n\n\n\nA man wakes up in an unknown dimension of consciousness. What is it that he sees, hears and feels? Is it memory, virtual reality or terminal lucidity?
\n\n[Welcome to the "After life Memory Trust." With us, you will be selecting three pieces of your memory to relive by the time you decease. When your life terminates, we will stimulate your neurons to bring out the designated memories. Each vision lasts a light time.]
\n\nTime
\n\n2020/11/6(Fri)-2020/11/8(Sun)13:30
\n\nPlace
\n\nWeiwuying 3F Crown Hall
\n\n►【2020 Taiwan Dance Platform】CHOU Shu-yi ╳ Scarecrow Contemporary Dance Company "The Memory Overture of Strolling in the Park′′
\n\n\n\nDo you have any memories in Weiwuying Park?
\n\nChoreographer, dancers, and musician wander through a forest sparkling with the reflected light of a crystalline lake in this dance exploration that is closely connected with the natural world. They take a stroll away from the theater and into a city park, using their bodies, movements, and music to guide the audience through memories, help them visualize the transformation that freed up a century-old parcel of military land, and listen to legends about life passed down through generations expressed through music and chants.
\n\nTime
\n\n2020/11/7(Sat)16:00
\n\n2020/11/8(Sun)16:00
\n\nPlace
\n\nOutdoor Theater & Weiwuying Metropolitan Park
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2022
\n\n►2022 Writing About Dance Workshop
\n\n\n\n\n\n\n\n\n\nFrom sitting in the audience to dance writing
\n\nA course with step-by-step guidance that leads you to experience different kinds of dance writing.
\n\nFor 2022 Taiwan Dance Platform's first progressive dance-writing program, we are inviting artists, curators, professional art critics, and art media professionals to join us in leading participants to watch, imagine, and eventually write about dance, creating a unique experience that combines body movements and writing. The courses are designed for participants of different levels, which are the Advanced and the Primary. We cordially invite those who are interested to join and write about dance!
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Learn More:
\n\n►2022 Writing About Dance Workshop (Primary)
\n\n\n\n►2022 Writing About Dance Workshop (Advanced)
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2020-2022
\n\n►Weiwuying ONE Minute VR Stage - Film Your Own Dance
\n\n\n\nWeiwuying ONE Minute VR Stage - Film Your Own Dance is an app for creating dance videos. The idea of this project was born during the predicament of the pandemic in March 2020. At that time, many performances were canceling one after another; people could not go to theaters, and the human race was in deep fear of life. Because of this, we hope to bring people back to the theaters through dances and videos with the help of this app. Create offline and share online in the five scenes at National Kaohsiung Center for the Arts (Weiwuying), and show the world your strengths in the midst of adversity!
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