侯非胥‧謝克特現代舞團 《政治媽媽》

2012Taiwan International Festival of Arts-Political Mother by Hofesh Shechter Company

基本資料

「謝克特在《政治媽媽》運用他最具個人特色的主題，拆解國家和社會機制的難題，... ... 謝克特給了我們勇氣，讓我們得以重新思考這個世界的歷史。」英國衛報

「這是一齣狂暴的作品，面對萬能邪惡的力量，發自內心深處的怒吼與反抗，振奮人心！」英國泰晤士報

「《政治媽媽》打開一個無聲又灼熱的舞台景色！」英國觀察報

來自以色列與倫敦兩大現代舞重鎮

現代舞壇當紅明星編舞家

侯非胥˙謝克特現代舞團 X 熱血沸騰現場樂團演出

在國際舞壇迅速竄紅的英國侯非胥˙謝克特現代舞團已是現代舞壇的潮流指標，成功征服最挑剔的倫敦舞迷，五年內直搗現代舞重鎮沙德勒之井劇院，成為 該劇院合作藝術家。侯非胥˙謝克特的舞作充滿陽剛魅力，獨樹一格的舞蹈風格，讓他連連奪得國際舞壇重要獎項。全新舞作《政治媽媽》，舞者以垂肩弓背的姿態 暗示壓抑，以不安扭曲的身體象徵即將湧出的情緒暗流；隨即一觸即發的奔跑、鐵血重踏，宛如爆發出對困頓現狀的吶喊！謝克特營造了強烈的超現實舞台圖像，伴 以熱血沸騰的現場樂團演奏，《政治媽媽》即將騷動您不安靈魂與五感神經！

侯非胥．謝克特現代舞團 www.hofesh.co.uk

藝術總監 侯非胥˙謝克特

2008年英國舞評人全國舞蹈大獎最佳編舞獎，2009年德國Movimentos 國際舞蹈節最佳新人獎等。2010愛馬仕Salon de Musique音樂沙龍國際藝術演出編導。足跡遍及雪梨歌劇院、巴黎市立劇院、首爾LG藝術中心等國際各大表演廳。

What came first the choreography or the music?That’s the first question I’m always asked… there is no simple answer to what is a very complex and to some extent random process of creating a dance and music piece. What makes it even more complex and surprising is the number and variety of people I work with to create the piece.I want to concentrate on that aspect when answering this question today.This time, Political Mother, I have an idea – a drum loop that drives us forward, that keeps a train of rhythm that carries us down the rabbit hole. My first instinct is to steal a groove from a Peter Gabriel song - so I do. Yaron and I are sitting in the working room recording it on what is left from my old drum kit, it sounds rough, as usual I didn’t record it on a metronome click – great - that sounds real, like something you found left down the street. This miserable recording grew into what now sounds like ‘the end of the world’. Peter himself wouldn’t know it was inspired by him, and the way it sounds now I‘m not sure he’d want to.During the whole of January the dancers are forced to hear ‘the end of the world’ loop over and over again for at least four or five hours a day without any additions or decorations – it’s an absolute sketch. Something about the sound and the atmosphere it commands inspires us. At that point it feels enough. After a few weeks enough is enough, and something about how the choreography grows in complexity demands proportional response in the music. Time for me to sing over the drum loop to define the colour of the waves the strings will bring about. I’m imagining a late afternoon in some desert city with an old Egyptian band of stings– when I say old I mean they are old, they all probably have cigarettes hanging from their lips while playing and a glass of arak within reach. I’m thinking big wavy unisons. And then I’m singing.

《政治媽媽》

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