檔案1
2009兩廳院世界之窗日本系列-黑川良一視覺聲音劇場：光速
A Visual Theatre by RYOICHI KUROKAWA--CELERITAS
基本資料
2009-10-22
2009/10/22-2009/10/25
嬰兒，在子宮內無法接觸光線亦無法思考，下意識地，如同夢遊水中般。
「水，最常見的無集體意識象徵」榮格 ( C‧ G‧ Jung ) 。深不見光的液體中，我們竭力地聽著聲音流轉竄動。水域中，回到那流體最暗之處，是海洋；是子宮，我們幾乎全然地依賴著視覺感官，透過視線決定了事物形體與記憶，在無盡黑暗透過聽覺，看見了什麼？水中的聲音觸動原始感官、知能，深沈的舊回憶也被喚起，又如扣下板機般，影像瞬間卻又令人驚醒。在視覺藝術劇場，在空間與聲音中，每個人都將找到屬於自己的意象。這，是感知的實驗。
此次演出，黑川良一將與留法作曲家王思雅及國內知名打擊樂家吳思珊合作，表演將抽離傳統打擊樂器的表演形式，將以裝置呈現聲音與錄像的關係，在肢體的律動中，處理聲音及錄像的重疊、流動、消失及互動，並以時間來呈現層次感。
Baby in the womb can not register the light and is incapable of thinking. Baby is subconsciously dreaming the waters.According to Carl Gustav Jung, “Water is the commonest symbol for the unconscious”. In the deep waters where there is out of light, we strain to hear the running sounds. We go back into the waters. There is the dark space of fluid It is the sea and it’s the womb. We are almost dependent on seeing and we have already our memories and our own images through our sight. In the darkness, what can we see with only hearing? The sound inside of water that is the root of our sense would evoke out old emories.And the flash imagery can also act as a trigger for awaking.In the theatre, the place for visual art, we could find our sight in our own time and space.It’s experimental approaches to our perception. In Celeritas, Kurokawa will be cooperating with composer Sue-Ya Wang and percussionist Shin-San Wu. The traditional form of percussion instruments is detached from the performance in Celeritas. The relationship between sounds and images will be presented by audio and video devices instead. Furthermore, the movement of the bodies is applied to represent the superimposition, flow, disappearance and interaction of audio and video, while the passage of rime lays out a sense of gradation.
光速
CELERITAS
典藏單位：國家兩廳院，實體文物請至兩廳院表演藝術圖書館申請觀看。
媒體類型：紙本
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