克里斯汀‧赫佐《依據真實》Christian Rizzo - d'après une histoire vraie

D'après une histoire vraire

基本資料

2004年，在伊斯坦堡。舞台上的演出，再幾分鐘即將結束。忽然間，一群男人闖入舞台，跳了一小段民族舞蹈，然後迅速消失。 一股深沉的、好似久遠以前埋藏心底的感動情緒朝我襲來。是他們的舞蹈，還是他們在舞台上消失後的虛空感，影響了我的情緒？我雖然一直無法釐清這種感覺，但之後這種激動感卻持續地存在我的心中。 這就是《依據真實》這齣新作的起源，來自於我的這段回憶；或者，更明確地說，是去探尋這段回憶給我帶來的影響。 我對於改編已存在多時的完整舞蹈，並不感興趣。我反而更想瞭解為何我對於某些舞蹈的片段及其演出形式會產生共鳴；為何某些舞蹈時至今日依然深具影響力，持續映照當代社會。因此，《依據真實》更近於一個有關追溯我的記憶足跡的探問，用以建構抽象化書寫創作的基底，在那裡，虛構的片段也許得以尋獲對應之處，安身於此。 在這齣作品裡，共有8位舞者及2位音樂家參與演出。我試著開創一處空間，在那裡肢體動作與音樂的互動在「通俗」與「現代」之間。我的想像是，在民族舞蹈記憶的提示下，舞蹈應當與我的品味，與我對「摔落」和「碰觸」的偏好產生一種摩擦，允許每一個人在人群裡，或在與他/她瞬間的接觸中，一次一次優雅地站立。 實際化與去脈絡式的肢體觀察後，發現幾種不同的舞蹈類型中，尤其是較陽剛的及更地中海式的類型中，經常有共通的肢體動作或構成方法，這提供了我一處理想的領域，再一次去探問關於社群的觀念。 在特定的時空中，群體是如何形成的?這齣作品中，人與人在一起，不屬於特定群體或領域的自成一格，然後發展出一種彼此共同承擔的舞 蹈，是向下深植土地又向上追求昇華。 音樂也是《依據真實》的重要元素之一，於是將作曲及現場音樂演出的重責大任託付給鼓手暨作曲家迪狄耶．安巴克特(Didier Ambact)和King Q4兩人。舞台上有兩套鼓，演奏激烈超限的部落節奏與迷幻搖滾，維持了對話與「戰鬥」之間的微妙關係，為舞蹈及凱堤．奧利弗(Caty Olive)的燈光設計提供了一處充滿張力的展示場。

2004, Istanbul. A few minutes before the end of a performance, out of nowhere, a group of men erupt on stage, break out into a very short folk dance, and then immediately disappear. I am overtaken by a deep and almost archaic emotion. Was it their dance, or the void they left after disappearing that overwhelmed me? Though hazy, this sensation has remained anchored in me ever since. The starting point for this new project has been this memory, or more exactly, the quest to find what this memory had left in me. I feel no interest in recreating a pre-existing dance in its entirety. I would rather understand why I felt such empathy with this very precise moment and with this form of dance and why its impact still resonates to this day. It is therefore more a question of retracing the steps of my memory in order to invent the basis of an abstract form of writing; one where possible fictional snippets could find an inherent place in which to lodge themselves. Accompanied by eight dancers and two musicians, I've been looking for a space where movement and its relationship to music plays with the categories of ‘popular' and ‘contemporary.' I imagine a dance that, while taking its cues from memories of folkloric practices, would find friction with my taste for falling and touch, allowing each and everyone to stand gracefully in the presence of others or within his/her immediate contact. The factual and decontextualised observation of movements and systems of composition, often common over several different dances (more masculine and Mediterranean), offers me the ideal terrain to once again question the notions of community. How is a group formed at a given moment? Being together, for a form belonging to no determined group or territory, and thinking up a collegial dance that digs into the ground while simultaneously looking for elevation. Since the music is an essential part of the project, I entrusted the composition (and live performance) to drummer-composers Didier Ambact and King Q4. Two drum kits, at the extreme limits of tribal rhythms and psychedelic rock, will maintain a relationship between dialogue and ‘battling’ in order to offer a zone of tension to the dance and to Caty Olive's atmospheric lighting.

已複製引用網址！