檔案1
2009兩廳院世界之窗日本系列-梅田宏明：碎拍漸境
Hiroaki Umeda--While Going to a Condition
基本資料
2009-10-09
2009/10/09-2009/10/11
《碎拍漸境》
在為時二十五分鐘的《碎拍漸境》中，編舞者企圖顛覆觀眾的時間感。獨舞者的動作時而細膩緩慢，時而快速激進，舞作就在這樣充滿變化的節奏中，慢慢地展開蛻變，隨著時間一分一秒過去，彷彿從一種狀態轉化到男一種狀態。《碎拍漸境》企圖重新定義觀眾的空間知覺與其他感官經驗。獨舞者隻身一人在舞台上散發出不凡的強大吸引力。舞蹈借用嘻哈街舞與日本舞踏的元素，結合了流暢的律動與怪異的抽動。在本作中影像不只是影像，更是光源之一，影像不容忽視的力量將吸引現場所有觀眾。舞作中不停地穿插無聲的休止，彷彿中斷了時間，二十五分鐘的演出時間感覺好似被膨脹延長，引發了一種暫時的迷失感。
《格局 N 次方》
在本作中編舞者企圖挑戰觀眾的感知。他捨棄了影像設計，純粹以燈光設計來塑造演出空間，並藉由燈光控制了觀眾的知覺範圍。他不斷地調整亮度，時而清晰，時而朦朧，有時因為光源位置的驟然改變，獨舞者與觀眾的相對位置好像突然被重設。編舞者藉此創造不同的知覺條件，觀眾的感受好像不斷地被打破，而最終這些看似破碎感覺的累續加乘，將還原作品真正的樣貌。
while going to a condition In while going to a condition, the artist’s aim is to bring the spectator to experience the rime of the piece in a particular way: both slow and rapid movements will give rhythm to the slow transformation occurring on stage, like a passage from one state to another. Used as a source of light, video creates a kind of magnetic force which the audience will feel and experience live. Described as experiences that redefine the sensation of space and other sensory cognitions, where a performer, alone on stage, is able to exude an unusual and powerful magnetism, while going to a condition borrows from hip-hop and butoh, combining fluidity with jerkiness. Time, punctuated by silences, dilates and triggers a sense of disorientation. Accumulated Layout The artist plays with the spectator’s perceptions. Leaving aside video and working exclusively with light, he sculpts the space and controls the spectator’s perceptions. By alternating between low and bright lights and suddenly changing the light’s sources, he creates special conditions of perception and it is the accumulation of these various states of perception, fragmented and multiple, which gives shape to the work.
碎拍漸境
格局 N 次方
while going to a condition
Accumulated Layout
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媒體類型：紙本
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