2024TIFA 皮歇．克朗淳《泰．未來》

Pichet Klunchun: Cyber Subin

基本資料

TIFA，劇場中的多重宇宙

劇場裡的時間不是線性的，過去、現在與未來，常常同時出現，相互糾纏。而藝術家們總是那麼敏捷的穿梭其間，時而從記憶中取材，時而站在未來回望。彷彿是旁觀者的我們，則常常要忍不住驚呼：「現在既是過去，同時也是未來！」

今年，我們想邀請大家，穿梭劇場裡關於時間的多重宇宙。除了重溫無數讓人流連忘返、心跳加速的時刻，藝術家亦不約而同在歷史傳統的豐富與輝煌中，以不同的形式，發出與未來共振的頻率，自經典找尋創新的能量，或以創作探討現代社群關係。甚至，跳上科技打造的時光機器，回到事件現場，藉由作品與我們對話。

所以走吧！現在讓我們跟著無極限的藝術家們，一起穿梭在劇場裡的多重宇宙。「過去可以重現，未來伸手可及」，這已不再是物理學家的功課，而是你我的當下！

編舞家的話

皮歇．克朗淳

控制論舞蹈：人類與科技的共生，現在與未來

舞蹈是控制論的一種嗎？

控制論之父諾伯特．維納（Norbert Wiener）認為控制論是「動物和機器內部控制與溝通的科學」；這個詞彙通常用來指稱傳輸資訊，而後產生特定作用的封閉迴路系統。

以舞者和舞蹈為例，舞蹈是個封閉系統 ，編舞則是傳輸給舞者的資訊或「反饋」——這種反饋傳遞到舞者的大腦和動覺身體，幫助舞者作出回應並創造更多動作。透過我在前作發展的「《No.60》原則」中的六大元素來引導舞者，特定編舞所構成的封閉系統，將回應先前的動作，展現出許多創意姿態。

與控制論系統相關聯的概念包括自主行為動作、人類生理學及神經系統，舞蹈也是；由身體運用創意展現的動作，受到大腦、神經系統與皮膚、肌肉、骨骼的控制。我的理論是，舞蹈是創新的控制論形式，受到編舞家創造的編舞規則或標準所掌控。我試圖在《泰．未來》中驗證這項理論。

《泰．未來》也以實驗探究人體的舞蹈控制論如何隨機器的控制論——也就是本作中所使用的人工智慧（AI）——而變動。人體能夠動作的方式已近乎無限多種。傳統舞蹈教我們如何動作，但也限制我們的動作方法。《No.60》原則以傳統泰國舞動作的語彙為基礎，為跳舞的方式開啟無窮可能。

我希望傳統泰國舞能在未來繼續蓬勃發展。然而，高度電腦化的將來無可避免，要是能運用電腦與 AI，搭配人體、舞者和舞蹈藝術家，讓舞蹈獲得進一步發展呢？以此為目標，我很感謝有機會與麻省理工學院媒體實驗室的帕特．帕塔拉努塔蓬（Pat Pataranutaporn）攜手合作，實現《泰．未來 》的願景。

人類藝術家雖然能借助藝術本能和感受力進行創作，但或許還能嘗試運用演算法、電腦程式、編碼，想像出不同類型的舞蹈編排。也許在未來，傳統藝術形式和文化能與AI和機器科技一同發展。只不過，這勢必要依靠人類的豐沛想像力、無窮創意和藝術直覺才能實現。

作品簡介

Cybernetics（英文）

：控制論，為跨領域概念，描述活體與非活體系統如何透過封閉感測與驅動（機器運作）採取下一步行動。系統必須藉由封閉迴路反饋，才得以學習自我掌舵與控制。控制論的觀念在人體中也有所體現：葡萄糖與胰島素之間，前者受到後者控管的關係，就是生理學中的例子。

Subin ( 泰文 )

：夢境

Subinnimitr ( 泰文 )

：預兆、幻象，或來自夢境的徵兆。

印度史詩《羅摩衍那》(Ramayana) 的著名段落中，魔王羅波那 (Ravana) 試圖釐清揮之不去的陰鬱夢境。巫師毗赫 (Bibhek)，羅波那的兄弟，認為這些夢預示末日般的戰爭即將到來，很可能讓魔界陷入毀滅。羅波那因毗赫的解夢而震怒，將毗赫逐出王國，促使毗赫與羅摩王子結為盟友，最終導致羅波那的喪亡。

這部關於聽從預兆的警世故事，在當今這個世代仍值得留意，特別是考量到人工智慧的興起。毗赫對於魔界面臨毀滅的預言，反映了人類藝術創造力與精神可能受到 AI 掩蔽的恐懼，引起很深的共鳴。相對於拋下這種複雜危險的想像，編舞家皮歇．克朗淳與科技巫師、麻省理工學院科學家帕特．帕塔拉努塔蓬及跨領域團隊聯手，重新解夢，提出有助人類與機器以控制論方式保持共生關係的道路，耕耘創造出嶄新的當代舞蹈形式。

在《泰．未來》中，藝術家的夢境讓觀眾一窺傳統如何在當代世界繼續興盛，讓機器、人類、傳說與神話融合交織。本作開啟了克朗淳《No.60》原則的全新篇章；編舞家將取自泰國傳統舞動作中的六大元素（能量、圓與曲線、軸點、肢體同步、身體外部空間、過渡關係），運用於控制論學說。也運用這六大元素塑造出一套演算法，解構與重構傳統舞動作，轉化成可與人類舞者共舞的虛擬化身。因此，舞蹈的編排既發生於人體之外，也與人體一同進行。

克朗淳強調人類舞者如何運用六大元素與機器互動，機器透過舞臺上的感測器，根據舞者的身體動作即時反應，舞者則回應機器產出的反饋，為自己的人性與之協商。機器對舞者的影響以及舞者對於機器的作用形成了控制論迴圈，引發對於未來人性意識的疑問。《泰．未來》邀請觀眾一同思索，探究人類在控制論系統下是否真正享有自由意志；人類與機器的組合如何相得益彰；以及科技在文化遺產和傳統藝術的重新想像下，又扮演什麼樣的角色。隨著世界躁動不安的邁向未來，將控制論引入泰國傳統表演的作法，使文化保存的理念轉化為文化創新，展現藝術家與科學家和諧聯手的新夢想。

藝術家介紹

編舞家：皮歇．克朗淳

皮歇．克朗淳融合了傳統泰國舞蹈和當代舞，將泰國舞帶入一個新紀元。他 16 歲時開始學習泰國傳統箜舞（Khon），他的老師柴佑．庫馬尼（Chaiyot Khummanee）是泰國該形式舞蹈的最高等級大師。皮歇．克朗淳在朱拉隆功大學取得泰國古典舞學歷，1998年，他結合了戲劇和舞蹈表演在亞洲運動會（Asian Games）上大放異彩。接著，他持續致力於當代舞蹈的創作和表演，並在西方各地廣受邀約演出。

皮歇．克朗淳是泰國最具代表性的當代舞蹈藝術家，他為泰國箜舞的當代表演所付出的努力，使他享譽國際，林懷民也大力推薦他在「新舞臺．新舞風——男人跳舞」系列節目中精湛的演出。皮歇．克朗淳是少數與歐洲表演藝術團體合作的泰國舞者，他運用自己獨特且創新的舞蹈形式，讓西方與亞洲兩種不同的文化相遇。2008年，皮歇．克朗淳獲歐洲文化基金會 (European Cultural Foundation) Princess Margriet 獎；2012年，獲法國文化部藝術文化獎，讚美他對法國表演藝術的重大影響。皮歇．克朗淳於2014年獲頒美國亞洲文化協會洛克斐勒 (Rockefeller) 三世大獎，達成藝術家生涯的另一成就。皮歇．克朗淳創造了一套自己獨有的當代舞蹈形式，完整的跳脫了西方人對於泰國舞者既有的印象和想像。

共同創作：帕特．帕塔拉努塔蓬

帕特．帕塔拉努塔蓬目前是麻省理工學院媒體實驗室（MIT Media Lab）流體介面（Fluid Interfaces）研究小組 博士候選人， 也是泰國 KBTG（KASIKORN BusinessTechnology Group）研究員。他的研究主要聚焦在人類與人工智慧的互動、人類擴增智慧、合成虛擬人和合成生物學。研究成果發表於《Nature Machine Intelligence》、《Nature Biotechnology》、IEEE、ACM CHI、ACM SIGGRAPH 等頂級的國際會議與刊物上，並在《富比士》、《科學美國人》、《麻省理工科技評論》、《國家地理》等雜誌發表文章。身為 AI 藝術家，他曾在世界各國展出自己的作品，包括義大利二十一世紀藝術博物館 MAXXI、新加坡國家博物館、美國皮博迪埃塞克斯博物館、倫敦設計節、柏林跨媒體藝術節等。

表演團隊

皮歇．克朗淳舞團

皮歇．克朗淳舞團由獨立舞蹈藝術家及國際編舞家皮歇．克朗淳所創立。克朗淳精通泰國傳統舞、當代舞蹈和舞蹈創作，擁有豐富的國際經驗，他創立皮歇．克朗淳舞團，期望以創作純藝術演出，培養一批具有深厚泰國傳統舞背景的新生代舞者。

演出製作群

編舞家暨導演：皮歇．克朗淳

共同創作：皮歇．克朗淳、帕特．帕塔拉努塔蓬

舞者：Padung Jumpan、 Tas Chongchadklang、鍾長宏、曾景輝

音樂 AI 總監暨作曲：Lamtharn Hantrakul

賽博格暨 AI 研究員 ：帕特．帕塔拉努塔蓬

創意科技設計師：Phoomparin Mano、Chayapatr Archiwaranguprok

3D 動畫設計師：Piyaporn Bhongse-tong

燈光設計：曾睿琁

構作：How Ngean Lim

製作人：Sojirat Singholka

舞臺監督：Jirach Eaimsa-Ard

共製單位：

國家兩廳院

Ministry of Education, Culture, Research, and Technology of the Republic of Indonesia-Directorate General of Culture- Directorate of Film, Music and Media

Indonesia Bertutur 2024

國家兩廳院製作團隊

製作統籌：陳巧欣

製作助理：林子琪

行銷統籌：謝澤旻

技術統籌：林鈺珊

場館助理：林芷君、張耀心、陳俐君

舞臺技術指導：王建庭

舞臺技術執行：王彥硯、謝顓伊、 陳品睿

燈光技術指導：鄭悠

燈光技術執行：陳崇文、李宏竣、劉柏漢、劉怡彤

音響技術指導：賴韋佑

音響技術執行：林省吾、邱家馨、蕭堯

影像技術：余竑賢、蕭如君

服裝管理：王彥硯

TIFA, Multiverses in Theater

The concept of time in theater is inherently non-linear. Artists deftly navigate between the simultaneously existing and entangled past, present, and future. Often, they extract materials from memories or look back at the present from the perspective of the future. As spectators, we marvel at the fluidity of time and exclaim: “The present is simultaneously the past and the future!”

For the 2024 TIFA, we invite audiences to traverse the temporal multiverses. We aim to revisit those unforgettable, exhilarating moments. Artists draw from their robust and radiant traditions to create works in a variety of formats that resonate with future. They rediscover innovative power within the classics or explore contemporary social interaction through creativity. We can even hop on a time machine created through technology to return to the site of an event, to engage in dialogue through the work.

Join us in this journey! Let's accompany the boundary-defying artists as we navigate between the multiverses in theater. “The past can be revisited, and the future is within reach.” This journey transcends the realm of physics; it is our present moment.

Choreographer's Note

On Cybernetic Dance: The Symbiosis of Human, Technology, Past, and Future

By Pichet Klunchun

Is dance a form of cybernetics?

The term 'cybernetics' was described by Norbert Wiener – who is credited as the father of cybernetics – as “the science of control and communication in the animal and machines”. It is usually described as a closed-loop system that relays information that in turn causes certain actions.

If we take the example of a dancer and the dance, the closed system is the dance where the choreography is the information or 'feedback' relayed to the dancer. This feedback to the dancer's mind and kinesthetic body would then help the dancer to respond and create more movements. With the help of six choreographic elements, that I have formulated in my “No. 60 Principle,” to guide the dancer, the closed system of a particular choreography would produce many creative movement responses to prior dance movements.

Cybernetic systems have been connected to ideas of autonomous actions and movements, human physiology and the nervous system. So has dance; with the idea of movement that is produced in a creative manner by the body, controlled by the brain and the nervous system with skin, muscle and bone.

My theory is that dance is a creative form of cybernetics governed by certain choreographic rules or criteria that are created by the choreographer. I try to test this theory in

Cyber Subin

.

Cyber Subin

also tests the idea of dance cybernetics in the human body moving with cybernetics in machines, which is artificial intelligence (AI) in this dance project. The human body is capable of almost infinite ways of moving. Traditional dance teaches us ways to move but limits the ways we can move. The “No. 60 Principle” opens infinite ways we can dance based on traditional Thai movement vocabulary.

It is my hope that traditional Thai dance can flourish into the future, but we cannot escape a highly computerized future. What if dance can be further developed with computers and AI, alongside human bodies, dancers and dance artists? For this, I am grateful to have Pat Pataranutaporn from MIT Media Lab to collaborate with me in materializing the vision of

Cyber Subin.

While human artists have instinct and artistic sense to help them create, we can perhaps use and play with algorithms, coding, and programming for dreaming different kinds of choreography. Perhaps the future of traditional artforms and cultures can be developed for the future with AI and machine technology. But this is always with the vast imagination of humans, the endless creativity of humans and the artistic intuition of humans.

Synopsis

Cybernetics (English):

A transdisciplinary concept of how living and non-living systems steer themselves through closed-loop sensing and actuation (the act of the machine working). It is through the idea of a closedloop feedback, one can learn to steer and control itself. The idea of cybernetics is also present in the human body: the relationship between glucose and insulin, where one regulates the other, as a physiological example.

Subin (Thai)

: Dream

The cautionary tale of heeding a premonition holds significant relevance in our modern era, particularly with the rise of artificial intelligence (AI). Bibhek's foretelling of destruction facing the demons resonates deeply as it mirrors the formidable prospect of AI overshadowing human artistic creativity and spirit. Instead of casting aside this complex, perilous vision, choreographer Pichet Klunchun, and technological shaman Pat Pataranutaporn, an MIT scientist, with an interdisciplinary team, embark upon a reinterpretation of this dream, proposing an alternate path where humankind could have a symbiotic relationship with machines in a cybernetic manner, cultivating a novel form of contemporary dance.

In

Cyber Subin

, the artist's dream presents a glimpse of how tradition can thrive in the contemporary world, where machines, humans, legends, and myths intermingle. This marks a new chapter in Klunchun's “No. 60 Principle” as he applies his six choreographic elements, extracted from Thai traditional movements (Energy, Circles & Curves, Axis Points, Synchronous Limbs, External Body Spaces, and Shifting Relations), to cybernetic theory. The six elements are also used to formulate an algorithm that deconstructs and reconstructs traditional movements in an embodied avatar that could dance alongside the human dancer. Hence, the choreography occurs outside and together with the human body.

Klunchun focuses on how human dancers can utilize the six principles in reacting and re-negotiating their humanity with the output from machines that respond to their bodies in real-time through sensors on stage. The influence of the machine on the dancer and the dancer's influence on the machine, forming a cybernetic loop, prompts inquiry into the future of the human spirit.

Cyber Subin

invites the audience to ponder and explore whether humans have true freedom in the cybernetic system, how a human-machine assemblage could be more than the sum of its parts, and what role technology plays in reimagining cultural heritage and traditional art.

As the world restlessly moves into the future, the introduction of cybernetics to Thai traditional performance shifts the idea of cultural preservation to cultural innovation, presenting new dreams for artists and technologists to work in harmony.

Creators

Choreographer: Pichet Klunchun

Pichet Klunchun bridges traditional Thai Classical Dance language with contemporary sensibility, while keeping the heart and wisdom of the convention. He has earned widespread acclaim both domestically and internationally, performing throughout North America, Asia, and Europe. In 2008, he received ‘Routes’ ECF Princess Margriet Award for Cultural Diversity from European Cultural Foundation. In 2012, he received another award “Chevalier of the French Arts and Literature Order” from the French Ministry of Culture for his contribution to the influence of Culture in France, in Thailand and all over the world. In 2014, Klunchun was awarded the John D. Rockefeller 3rd Award by the Asian Cultural Council for significant contribution to the international understanding, practice, or study of the visual or performing arts of Asia. Pichet Klunchun has created a unique contemporary dance style that breaks away from the stereotypical Western perceptions and imaginations of Thai dancers.

Co-create: Pat Pataranutaporn

Pataranutaporn is a technologist and a researcher at the Massachusetts Institute of Technology (MIT) where he explores humanAI interaction, and cognitive augmentation. He is currently a Ph.D. candidate in the Fluid Interfaces research group at the MIT Media Lab and a KBTG Fellow. Pat has also held a position as a researcher at the NASA SETI Frontier Development Lab. Pat's research projects have received global recognition, including being named in

TIME Magazine

's Best Inventions,

Fast Company

's World Changing Ideas, and more. Further, his research has been featured in the United Nations AI for Good forum,

Forbes, Scientific American,



MIT Tech Review, National Geographic, The Guardian

, and more.

Performance Group

Pichet Klunchun Dance Company

Founded by Pichet Klunchun, Thai dancer and choreographer who is competent in Thai Classical Dance and Contemporary Dance. With his international working experiences and desire to establish a professional standard, Pichet founded Pichet Klunchun Dance Company to create pure art performance and to train a number of young-blood professional dancers with strong Thai classical dance backgrounds. M



Credits

Choreographer and Director: Pichet Klunchun

Co-creators: Pichet Klunchun, Pat Pataranutaporn

Dancers: Padung Jumpan, Tas Chongchadklang, Chung Chang-hong, Tsang King-fai

Music AI Director and Composer: Lamtharn Hantrakul

Cyborg Scientist & Human-AI Interaction Researcher: Pat Pataranutaporn

Creative Technologists: Phoomparin Mano, Chayapatr Archiwaranguprok

3D and Animation Creator: Piyaporn Bhongse-tong

Lighting Designer: Ray Tseng

Dramaturg: How Ngean Lim

Producer: Sojirat Singholka

Stage Manager: Jirach Eaimsa-Ard

Co-Production:

National Theater & Concert Hall (NTCH)

Ministry of Education, Culture, Research, and Technology of the Republic of Indonesia-Directorate General of Culture- Directorate of Film, Music and Media

Indonesia Bertutur 2024

NTCH Team

Production Coordinator: Chen Chiao-hsin

Production Assistant: Lin Zi-chi

Marketing Project Manager: Hsieh Che-min

Technical Coordinator: Lin Yu-shan

Venue Assistants: Lin Chih-chun, Chang Yao-hsin, Chen Li-jyun

Head of Stage: Wang Jian-ting

Stage Technicians: Wang Yen-yen, Hsieh Chuan-i, Chen Pin-rui

Head of Lighting: Tee You

Lighting Technicians: Chen Chung-wen, Lee Hong-jyun, Liu Po-han, Liu Yi-tung

Sound Engineer: Lai Wei-yu

Sound Technicians: Barrett, Chiu Chia-hsin, Hsiao Yao

Video Technicians: Yu Hung-hsien, Hsiao Ru-jhun

Wardrobe: Wang Yen-yen

Very appreciate for your feedback! This is an online questionnaire:

Online Questionnaire

《泰．未來》

"Cyber Subin"

已複製引用網址！