2024TIFA麥可·基根-多藍✕舞蹈之家《界》

Michael Keegan-Dolan / Teaċ Daṁsa: MÁM

基本資料

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

《界》在 2019 年夏末和秋季製作，舞團齊聚來自世界各地的三十餘人，包含舞者、音樂家、設計師、製作人、音響工程師、舞臺監督、服裝師、廚師和行政人員，大家日復一日耐著性子全心投入長時間工作，盡可能如實呈現。累了的時候，我們就沿著懸崖漫步，在冰冷的海水裡游泳，如果太陽出來了，就躺在大廳外的草地上；精力充沛的時候，我們毫無保留的舞動，尋找能夠織就

《界》世界的語言。有時，柯馬克會演奏手風琴，使出渾身解數，彷彿立刻就會迸發火焰。

我們直言實情並定期公開討論工作進展，《界》如同在一個活力沸騰的大釜中誕生，啟發自真誠的好奇，充滿良好的能量，所以五年後的現在，《界》 繼續鼓勵和啟發許許多多體驗過及演出過這個作品的人。

我已經看過《界》不下百次了，但從來沒有一次是一樣的，這件作品從未讓我感到無聊。我喜歡坐在舞臺邊、角落裡，看著舞者和音樂家透過集體舞蹈和演奏慢慢改變。當演出結束時，集體擁抱以及分享慶祝和祝賀的話語，有著令人變好的療癒力。

每場演出前，我們都會在下午一起訓練，其中結合了瑜珈、武術和舞蹈元素。在演出開始前，我們會舉行凝聚力儀式，召喚好的能量、驅逐壞的能量 ; 我們燒東西、大聲喝斥、唱歌，接著準備就緒。投入其中是很棒的體驗，我希望能更多人有機會參與。

《界》是個複雜的作品，以超越言語或口語的方式進行交流，如此一來大腦負責做夢或想像的區塊更有餘裕放鬆娛樂，這裡是音樂及舞蹈享有充份自由的天地。

對於舞蹈之家舞團的每一個人來說，我們相當榮幸能在 TIFA 台灣國際藝術節呈現我們的作品，同時還能體驗這個城市的文化和生活方式。我們在 2020 年也嘗試推出另一部作品《癲鵝湖》（Swan Lake / Loch na hEala），但因疫情而落空。

我個人非常開心大家現在來到了臺北，我們終於辦到了，舞團裡 21 位傑出的國際藝術家靠著感官覺知，掌握並點出愛爾蘭西凱里蓋爾塔赫特（West Kerry Gaeltacht）的核心，傳遞其精神。這是夢想。

麥可．基根-多藍

2024年1月15日

作品簡介

本作靈感來自於舞蹈之家在過去八年內，沉浸於愛爾蘭西凱里郡丁格爾半島（蓋爾語原名 Corca Dhuibhne）的深刻體驗。《界》是舞蹈之家第一部完全在愛爾蘭語區發想、創作和製作的作品，由 12 位來自世界各地的現代舞者，7 位來自柏林 s t a r g a z e 樂團的音樂家，再加上六角手風琴演奏家柯馬克．貝格利，在編舞家麥可．基根 - 多藍的領導下，共同孕育出這個作品。

作品原文 mám 出自丁格爾半島當地方言，原意可以指責任、牛軛或是一些吸引人的東西，更常見的用法是指山路隘口或超越大型地理障礙的最簡單途徑——可能是逃生路線，也可能是入口，更可能是進入險境，充滿遭遇狂風暴雨的風險。mám 標示著充滿挑戰的山路結束了，眼前出現一條有著各種可能的新路徑。

藝術家介紹：麥可．基根 - 多藍

多藍被認為是當今最具創新性的現代舞編舞家和戲劇製作人，作為神話般的前「優獸舞團」（Fabulous Beast Dance Theatre， 1997-2015） 藝 術 總 監 而 廣 受 讚 譽， 創 作了三部獲英國奧立佛獎（Laurence Olivier Awards）提名的作品。2016 年創立舞蹈之家，其編舞的獨特方式是以協作與集體創作能量來創造美麗與情感共鳴的作品。多藍曾為倫敦巴比肯中心合作藝術家，現任倫敦沙德勒之井劇院合作藝術家。

表演團隊

舞蹈之家

舞蹈之家創建於 2016 年，當時麥可．基根 - 多藍的「優獸舞團」正從愛爾蘭中部地區遷移到西南部海濱的西凱里郡。舞蹈之家的作品跟愛爾蘭古老傳統、語言和音樂產生了深刻而有意義的連結。他們也開闢了一個空間，讓藝術家聚集在一起創作，並藉由創作和觀賞的體驗，讓藝術家與觀眾同時受到啟發。儘管立足於愛爾蘭本土，舞蹈之家卻吸引了來自世界各地的表演藝術家，共同攜手合作，作品不但在愛爾蘭國內，也在全球各地巡演，獲得極大的迴響。

s t a r g a z e

s t a r g a z e 是來自德國的管絃樂團體，其成員組合不斷進化發展，展現出另類的態度與音樂風格。自從在柏林人民劇院舉辦了兩場 s t a r g a z e 音樂節之後，他們開始在各聲譽卓著的音樂廳和流行音樂節中展開影響深遠、顛覆流派的演出，並在當今音樂界中廣受好評。s t a r g a z e 為巴黎愛樂樂團設計了盧恰諾．貝里奧與海灘男孩的音樂節目，將原本不會相遇的音樂家和觀眾牽在一起。在當代流行音樂的推波助瀾之下，s t a r g a z e 與泰瑞．萊利、麗莎．漢尼根、美國音樂團體 Deerhoof 合作，並於米卡．李維、卡西姆．納克維和蘇格蘭電音二人組 Boards Of Canada 等人作品中參與演出。

柯馬克．貝格利

柯馬克．貝格利在過去的一年蓬勃發展，他以第二張個人專輯《B》榮獲 2022 年愛爾蘭電視電臺民俗音樂獎最佳民俗樂器演奏家獎和愛爾蘭時報年度專輯獎。這張專輯以稀有的低音六角手風琴為主題，大膽選擇專注於低音和中音音域，在其音樂類型中皆為首創而備受矚目，被譽為「十年內的最佳專輯」、「音樂上源源不竭的禮物」，並獲得七次五星評論以及愛爾蘭電視電臺 Arena 頻道「開創性」的評價。

演出製作群

由麥可．基根 - 多藍（Michael Keegan-Dolan）與舞蹈之家舞團（Teaċ Daṁsa）共同創作

音樂：Cormac Begley、s t a r g a z e

表演者 Performers：

Imogen Alvares、Cormac Begley、Beatriz C. Bidault、Romain Bly、 Kim Ceysens、Marlies van Gangelen、Caimin Gilmore、James O' Hara、Aki Iwamoto、Zen Jefferson、Mayah Kadish、Timon Koomen、Amit Noy、Keir Patrick、Ellie Poirier- Ní Dhobhailen、Rachel Poirier、James Southward、 Latisha Sparks、Carys Staton、Verena Zeiner

舞臺設計：Sabine Dargent

燈光設計：Adam Silverman

服裝設計：Hyemi Shin

現場音效設計：Sandra Ní Mhathúna

原聲音效設計：Helen Atkinson

附加音效設計：Romain Bly、Jelle Roozenburg

巡演排練指導：Rachel Poirier

製作人：Dawn Prentice

總經理：Áine Ní Éalaí

巡演經理：Fiona Morgan

製作經理：Michael Lonergan

舞團舞監：Marina Dunford

副舞監：Sinéad Cormack

助理舞監：Iain Synnott

技術舞監：Danny Hones

服裝經理：Amanda Donovan

音響技術人員：Daragh Murphy

燈光經理：June Gonzalez

共製單位：Teaċ Daṁsa、Dublin Theatre Festival、Sadler's Wells、London and New Zealand Festival of the Arts with support from NASC and NOMAD touring networks

國際巡演由 Culture Ireland 支持

此製作獲愛爾蘭藝術委員會（the Arts Council of Ireland）an Open Call Award 補助

國家兩廳院製作團隊 NTCH Team

製作統籌：陳巧欣

製作助理：林子琪

行銷統籌：陳敏伶

翻譯接待：蔣宗琦

技術統籌：洪伊柔

場館助理：許雅晴、張尚澤

舞臺技術指導：李伯涵

燈光技術指導：井康羽

舞臺技術執行：顏彗伃、張綺芯、潘羽萍、高堂傑、陳巨綸、徐鴻誠、蕭如君

燈光技術執行：張翊鈞、葛禎、余承諺、喬致皓

服裝管理：莊佩雯

音響技術：唐宋企業有限公司

特別感謝：張竹娣小姐

持本場館當日節目票觀眾，請至廳內折抵機辦理停車優惠

歡迎線上填寫「

觀眾意見調查表

」 ，感謝您費心填寫！

友善環境｜國家兩廳院印刷品皆選擇使用大豆油墨物料。

演出中孩童陪伴服務｜ 國家兩廳院在演出期間提供4-8歲孩童陪伴服務，詳細資訊請見

兩廳院官網

。

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

Making

MÁM

, in the late summer and autumn of 2019, a company of more than thirty people from all over the world; dancers, musicians, designers, producers, sound engineers, stage managers, costume makers, cooks and administrators, all came together and worked patiently for many hours every day. We gave this work our full attention.

We kept things as real as we could. We ate nourishing food together. When we were tired, we went for walks along the cliffs, swam in the cold ocean, or lay on the grass outside the hall (if the sun came out). When we had energy, we danced with everything we had to give, finding the language that would make the fabric of the world of

MÁM

. On some days, Cormac would play the concertina with such force it would feel like he was about to burst into flames.

By speaking our truth and regularly discussing openly the progress of the work,

MÁM

was created in an energetic cauldron that was so full of good energy, inspired by such genuine curiosity that now, five years later,

MÁM

continues to energise and inspire so many people who experience it and so many who perform it.

I have seen the work over a hundred times and never once has it been the same. Never ever have I been bored. I like sitting in the corner, side stage, watching the dancers and musicians change slowly by the action of their collective dancing and playing. And when the show is over, the collective hugging and words of celebration and congratulations that are shared could make a sick person well again.

Before every show we train together in the afternoon, working with a practice that has elements of yoga, martial arts and dance. And just before the performance begins, we enact a kind of coming together ritual, that calls in good energies and chases away the bad. We burn things, huff and puff, sing songs and get ready. I wish more people could have the opportunity to be in the middle of that experience as it feels so good to be part of it.

MÁM

is a complex piece of work, communicating in ways that transcend the verbal or spoken word so the part of the brain that dreams or imagines has more space to relax and play. It's a world where there is maximum freedom for music and dancing.

It is an honour and great pleasure for all of us in Teaċ Daṁsa to bring our work to TIFA and experience something of your city, culture and way of being. We had tried to come in 2020 with another production,

Swan Lake – Loch na hEala

but Covid put a stop to these plans.

I am personally so very happy that we are in Taipei now. That we have finally made it and are sharing with you something of the spirit of the West Kerry Gaeltacht in Ireland, captured and focused through the perceptions of twenty-one extraordinary international artists.

It is a dream.

Michael Keegan-Dolan

January 15th 2024

Synopsis

The work is inspired by the profound immersion in Corca Dhuibhne (the West Kerry Gaeltacht) that Teaċ Daṁsa has experienced over the past 8 years.

MÁM

is Teaċ Daṁsa's first show to be completely devised, created and produced within an Irish-speaking locality. Twelve international contemporary dancers, seven musicians from the Berlin-based s t a r g a z e collective, and the concertina-player Cormac Begley imagined, developed and birthed this composition under the stewardship of the choreographer Michael Keegan-Dolan.

The word mám can mean an obligation, a yoke and a handful of goodies, but it’s more commonly used to refer to a mountain pass or the easiest way of surmounting a large geographical obstacle. It's both an escape route and an accessible entrance-way, but can also be a place of danger, with ferocious funnelled winds and risk of exposure to the elements. A mám marks the end of a challenging climb and the possibility of new routes ahead.

Creator: Michael Keegan-Dolan

Michael Keegan-Dolan rose to acclaim as the artistic director of Fabulous Beast Dance Theatre (1997-2015), creating three Olivier Award-nominated productions. He also has extensive experience teaching and has led workshops for different dance and theatre companies around the world. Michael was an associate artist at the Barbican Centre, London and is now an associate at Sadler's Wells Theatre, London.

Performance Group

Teaċ Daṁsa

Teaċ Daṁsa was established by Michael Keegan-Dolan in 2016 when his company, Fabulous Beast Dance Theatre moved from the midlands of Ireland to the West Kerry Gaeltacht on the South West coast. Teaċ Daṁsa makes dance and theatre work those nurtures deep and meaningful connections with the traditions, language and music of Ireland. Teaċ Daṁsa creates a place where artists can come together to make dance and theatre work that aspires to transform both artist and audience by the experience of the work. While grounded in Ireland the company draws upon an international ensemble of performers, artists and collaborators and has created productions that have toured and resonated both nationally and internationally.

s t a r g a z e

s t a r g a z e is an orchestral collective, an ever-evolving project composition with alternative attitudes and sounds. Following two s t a r g a z e presents festivals at Volksbühne Berlin it was praised for its 'Ausnahmestellung’ in today’s musical landscape with far-reaching and genredefying performances in prestigious concert halls and pop festivals alike. Devising programs with music by Berio and the Beach Boys for Paris 'Philharmonie, s t a r g a z e strives to bring musicians and audiences together that would not have otherwise met. Driven by what’s going on in contemporary pop, the collective has worked with the likes of Terry Riley, Lisa Hannigan and Deerhoof, and have performed material by Mica Levi, Qasim Naqvi and Boards of Canada.

Cormac Begley

Cormac’s career has gone from strength to strength over the past year; winning Best Folk Instrumentalist 2022 at the RTÉ Folk Awards and Irish Times Album of the Year 2022, with his second solo album

B

. The album

B

celebrates the bass concertina, a very rare instrument and on this album, Cormac uses two Dipper-made Bass concertinas to record all 12 tracks. His bold choice to concentrate solely on the bass and baritone register, the first album of i’s kind in any musical genre, has not gone unnoticed for all the right reasons and it has been described as ‘Album of the decade’ Donal Dineen, ‘The musical gift that keeps on giving’ The Irish Times, seven five-star reviews and ‘Ground breaking’ RTÉ Arena. The album and tracks from the album were nominated over three categories at the RTÉ Folk Awards 2022 for ‘Best Folk Album’, ‘Best Original Folk Track’, and ‘Best Folk Track’.

Credits

Created by Michael Keegan-Dolan in collaboration with the company Teaċ Daṁsa

Music: Cormac Begley、s t a r g a z e

Performers: Imogen Alvares, Cormac Begley, Beatriz C. Bidault, Romain Bly, Kim Ceysens, Marlies van Gangelen, Caimin Gilmore, James O' Hara, Aki Iwamoto, Zen Jefferson, Mayah Kadish, Timon Koomen, Amit Noy, Keir Patrick, Ellie Poirier- Ní Dhobhailen, Rachel Poirier, James Southward, Latisha Sparks, Carys Staton, Verena Zeiner

Set Design: Sabine Dargent

Lighting Design: Adam Silverman

Costume Design: Hyemi Shin

Live Sound Design: Sandra Ní Mhathúna

Original Sound Design: Helen Atkinson

Additional Sound Design: Romain Bly、Jelle Roozenburg

Tour Rehearsal Director: Rachel Poirier

Producer: Dawn Prentice

General Manager: Áine Ní Éalaí

Tour Manager: Fiona Morgan

Production Manager: Michael Lonergan

Company Stage Manager: Marina Dunford

Deputy Stage Manager: Sinéad Cormack

Assistant Stage Manager: Iain Synnott

Technical Stage Manager: Danny Hones

Costume Manager: Amanda Donovan

Sound Technician: Daragh Murphy

Lighting Manager: June Gonzalez

Co-produced: Teaċ Daṁsa、Dublin Theatre Festival、Sadler's Wells、London and New Zealand Festival of the Arts with support from NASC and NOMAD touring networks

International Touring is supported by Culture Ireland

This production is funded by an Open Call Award from the Arts Council of Ireland

NTCH Team

Production Coordinator: Chen Chiao-hsin

Production Assistant: Lin Zi-chi

Marketing Project Manager: Chen Min-ling

Interpreter: Lily

Technical Coordinator: Hung Yi-rou

Venue Assistant: Hsu Ya-ching, Chang Shang-tse

Head of Stage: Lee Po-han

Head of Lighting: Kenny Ching

Stage Technician: Yen Hui-yu, Zhang Chi-shin, Pan Yu-ping, Kao Tang-chien, Chen Chu-Lun, Hsu Hung-cheng, Hsiao Ju-chun

Lighting Technician: Chang Yi-chun, Adrian Ko, Yu Cheng-Yan, Chiao Chih-hao

Wardrobe: Jhuang Pei-wun

Sound Technical Team: TOPSOUND CO., LTD.

Special Thanks: 張竹娣小姐

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

Online Questionnaire

《界》

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