TIFA - SUN-SHIER DANCE THEATRE " take off"2015台灣國際藝術節–三十舞蹈劇場《逃亡2015》

2015 TIFA-Sun-Shier Dance Theatre Take Off

基本資料

逃出既有的現實　進入一個未被確立的處境 是勇敢還是懦弱 但同樣地義無反顧 2013年發表的《逃亡》是在一種很悶的情境下發想出來的，與現今的社會氛圍有關。在醞釀的過程中，一些很想改變現狀的蠢蠢欲動逐漸被激發、累積，並且發現「有所行動」，是緩解悶的方法之一。在這個作品中，我將「逃亡」視為脫離某種處境的正向能量。同時也覺得逃亡就是要「移動」，所以帶著這個概念去法國演出、去韓國找劇團共同創作、向兩廳院提案跨國創作計畫……等等，都是我想改變現狀而付諸行動的實際作為。 對人類的處境做有限的觀察及關懷，是我這幾年創作的核心，也因此讓我嘗試著去探索醫學、科學、倫理學、社會狀態甚至政治等議題，並尋找運用舞蹈來表現的可能性。在創作過程中，當然伴隨著一些反省與重估，難免會捨棄便利於理解的視角，也因此犧牲掉輕易被認同的可能。但相信這些有限的範疇彼此之間難以避免的關連性，可以積累成較宏觀且清晰的視野。 有感於全球人口遷移（不管是自願或非自願）持續頻繁且蓬勃進行的現象，2015年的逃亡計畫，延續「逃亡為脫離某種處境的能量」這個概念，邀請韓國劇場導演與演員加入，共同發展文本，並尋求不同以往的舞台調度。在作品中，我們將戲劇立基於較寫實的表現方式，而舞蹈則構造一些超現實場景，二者的結合希望可以表現想要「逃出既有的現實，進入一個未被確立的處境」，而這裡指的超現實場景其實是我們心裡所幻想的一些不可能達到或企及的虛幻空間及夢想。《逃亡2015》呈現的是很想逃開，卻又走不掉的一種煩擾／悶的狀態，這其實也是人類很基本的存在狀態。同時我們逐漸感受到，現代的遷移現象不總是為了安身立命，而是會轉幻成一種慾望… 感謝兩廳院的支持，讓我們在資源較寬裕的條件下繼續逃亡。 謝謝韓國藝術家前來，讓我們有機會學習當主人。 謝謝三十舞蹈劇場這十幾年來的情義相挺，讓我得以任性地創作。 更感謝所有長久支持愛護三十的朋友們！ （附註：部分台詞摘錄自山謬．貝克特所著劇本《等待果陀》。）

Flee the status quo, into uncertainty. Cowardice is it not, or bravery？ Go forward, be that as it may！ Drown in a gloomy and vexed mood, I started the idea of Take Off and premiered it in 2013. During the process of creation, my urge of changing the status of quo gradually led to a conclusion- to lift one out of such mood is to go into action. In Take Off, the action is escape, yet, not to avoid but head towards positivity. With this concept, we brought Take Off to France for a tour performance, to Korea for collaboration with a theatre company, and to NCTH, proposing this international collaboration project you see today. My concerns over and limited observations about our present circumstances of humanity have always been my creativity's fulcrum. Into which and through dance, I try to explore from various perspectives that includes medicine, science, and logic, social or political issues and etc. In the creative process, with introspection and reevaluation, I sometimes have to give up some of them that seem easily comprehensible by some people, and hence sacrifice their recognitions. However, I believe an accumulation of these limited but unavoidable associations between these perspectives will consequently evolve into a clear and macro viewpoint of the work. In Take Off 2015, we continue with the original concept and invite two Korean directors to further explore and develop the context of the work, as our reflections on the recent increase in global population migration（whether it is voluntary or forced）. By introducing also Korean actors into the original all-dancer team, we wish to create a ‘surreal scene’, a combination of theatrical realism and dance abstraction, which mirrors an escape from the reality of status quo into the abstraction of uncertainty. Here in Take Off 2015, we confront the fundamental status quo, an ineluctable destiny. We ferret out that the migration is not for settlement and content in life only, but is a transfiguration into a desire. We would like to thank NCTH for their support in this project, enabling a take off With more allowance; to our Korean guest artists for their generous offer in this collaboration; and to you all, friends and members of Sun-Shier Dance Theatre, for a longtime support. （Note: parts of the text quoted from Waiting for Godot, written by Samuel Beckett.）

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