Скачать с ютуб 2018台北當代藝術館_PULIMA藝術節_首獎介紹_TAI身體劇場 в хорошем качестве

2018台北當代藝術館_PULIMA藝術節_首獎介紹_TAI身體劇場

【翻動MICAWOR ─ 2018 PULIMA藝術節】 MICAWOR ─ 2018 PULIMA Art Festival 展覽時間│2018/11/03(Sat.)~2019/01/13(Sun.) 展覽地點│台北當代藝術館 MOCA Taipei 策展人│那高 ‧卜沌 Nakaw Putun 表演藝術首獎│TAI身體劇場 TAI Body Theatre 首獎作品│尋，山裡的祖居所 Terrace on the Hill 202展間以報紙鋪就大地文脈或斷垣殘壁的紋理氛圍，涵構空間多層次語彙的表達。是山林開發土地的傷痕映現，是原住民對原鄉離散而移居的身體地圖，更是一種破碎意象的現代性共同體象徵。 《尋，山裡的祖居所》為瓦旦督喜與法國打擊樂手羅蘭．奧澤的共同創作。他們從「故事在山裡，我們必須走上去。」開始，跋涉於900公尺高山上的太魯閣族舊部落―大禮部落，踏著獵人足跡及祖靈的步伐，伴隨著山中採石場火藥爆破聲響在山谷裡迴盪，幾經峰迴路轉的溯源尋根，瓦旦思及兒時記憶、祖母的織布聲、父執輩的獵人印記以及祖先的居所等靈感，完成了舞作的核心精神，他們一位從手的擊樂節奏開展，一位從踏地的腳譜出發，不同的節奏及文化脈絡，彷彿擁有某種共通的對話，碰撞不一樣的踏地及相互凝視的經驗。 其中擊樂急切的樂章結構，給人恍若迷走於山林瘴癘之中，彷彿是外在的侵擾與身體的相抗衡，綿延出失落的傳統和真實處境裡的時間軸，如層疊的踏步、似污血塗抹的山川與大地、捻線編織的手勢、和紅色菱形圖騰的「祖靈之眼」等，最後在舞者褪下現代黑衣，似隱喻了祖靈救贖肉體的恩典，以此回應這個世界的迴音，試圖為傳統文化帶來現代生命力。 The old newspapers were spread over R202, creating the quality and texture of the mountains with rich layers of spatial expression. These displays are reflection of the trauma that the land has endured due to forest and mountain development and the exile map of the indigenous people. These designs are also symbols of our fragmented modernity. Terrace on the Hill is a collaboration between Watan Tusi and French percussionist Roland Auzet. Starting with “The story is within the mountains; we must approach them,” the two artists climb up the 900-meter high mountain to reach the old Truku Dali Village. Tracing the footsteps of hunters and ancestors, accompanied by the explosion noises echoing from the quarry in the mountains. The work is inspired by the memories from Watan Tusi’s childhood, the sound of his grandmother weaving fabric, the hunters’ footprints of from his father and uncles, and the homeland of his ancestors. Watan Tusi then manages to shape the essential message of the dance. With Auzet from the point of view of a percussionist and Watan Tusi applying his feet scripts, the artists approach the theme from different rhythms and cultural contexts, displaying the variety of experiences through dialogue between different gazes and methods. The fast-paced structure of the percussion performance gives listeners a sense as if wandering in the misty woods, creating a conflict between the body and the outer environment. This experience gives way to the vanishing tradition and the timeline of happenings in real life, such as the tapping of the feet, the lands that seem to be smeared with blood, hand gestures when weaving fabric, and red diamond-shaped “eye of the ancestor.” Finally, the dancer removes their modern black clothing, symbolling the salvation of the body through the grace of the ancestors as a response to the echoes of this world, injecting new life into.