檔案1
藝像臺灣：心心南管樂坊《羽》
Xin Xin Nanguan Ensemble """"""""Feather""""""""
基本資料
2010-08-13
2010/08/13-2010/08/15
在卓玫君的劇本參與下，架構在牛郎織女七夕傳說下的《羽》逐漸成形，玫君和導演討論出一個後設的議題：如果仙女留在人間，後來呢？仙女長生不死，那麼滯留人間的她，豈不陷入永恆的孤獨？
本劇從中國古老神話提出當代觀點，探討面對科技與自然的失衡，人類何以自處之全球性議題，也是首度嘗試「南管現代歌劇」的型態製作。場景設定在台北最浪漫蓬勃的產業－婚紗店，但卻以東方最古老的藝術型式－書法，來表現古老與現代的對話，華人書法名家董陽致以接近叢書的行筆展現中國文字的內在哲學。仙女重返天堂之路模糊而遙遠。因為眾神之門已然關閉。在世紀之末，僅以此劇場儀式，獻給被世人遺棄的眾神。
When with Mei-Chun Cho's script, Feather took shape with the legend of the Cowherd and the Weaving Maid as inspiration. She and the director discussed an idea: what if the Weaving Maid had remained in the human world? Would the imrnortal Maid not suffer eternal solitude? The play proposes a contemporary viewpoint on an ancient Chinese myth, dealing with the irnbalance between technology and nature, and such a global issue is the flfst attempt to produce “modern Nanguan opera." Set in Taipei's most flourishing industry-wedding gowns, the play presents the dialogue between tradition and modernity through the most ancient art forrn-calligraphy. Yang-Zi Dong expresses the philosophy of Chinese characters by seal-script-like regular script. Since the gate of gods is closed, the Weaving Maid's return to Heaven is obscure and distant. At the end of a century, we present this theatrical ritual to the forgotten gods.
〈請神〉
〈婚紗公司〉
〈銀河〉
〈淨化〉
Act One: Invocation of the gods
Act Two: A Wedding Dress Company
Act Three: On the Milky Way
Act Four: Catharsis
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
評分
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