檔案1
《從無止境回首》
Infinity Minus One
基本資料
2018-03-02
3/2-3 07:30PM
3/3-4 02:30PM
也許在遠方，那隱藏著消失點的水平線之中，那視線的朦朧隱約之間，我們曾經趨向無限？回首遙望著它，或，只是嘗試感應著它，在所有的不確定裡，都是當下的無限。繼《全然的愛與真實》之後，編舞家蘇文琪持續發展「彩虹三部曲」研究計畫，細細爬梳與實驗著她在2016年獲選歐洲核子研究組織（CERN）「藝術加速」駐村計畫之後，所獲得的各種啟發。此次的第二部曲創作《從無止境回首》，是蘇文琪從基礎實驗「雲霧室」（Cloud Chamber）的感官體驗裡，所延伸的各種想像。 蘇文琪在CERN駐村時，經常聽到科學家談到的兩個概念：「粒子」和「宇宙」，這恰好是兩個極端，粒子是裡面最小的，而宇宙是比例尺當中最大的，那麼這兩種比例尺的經驗，要如何回歸到人的這個比例尺上？如何回歸到我們的身體經驗或生活經驗裡？蘇文琪將這個體驗延伸至肢體能量的思考，從原始的肢體，從吶喊的吟唱，從視線的成像⋯。本次演出除了台灣創作團隊外，也邀請印尼與日本藝術家共同參與，延伸傳統肢體與當代藝術思維之間，對於轉化的各種想像。
It may lie at the faraway distance beneath the horizon that hides the vanishing point. We may have once seen it indistinctly or even approached it: the infinity. Looking at it – OR simply trying to sense its being – there's is, among all the uncertainty, nothing but the infinity at the moment. After Unconditional Love and Fact, SU Wen-chi continues to research and develop her Rainbow Trilogy, further exploring and experimenting on the concepts inspired by her participation in the residency project “ACCELERATE Taiwan | Arts@ CERN” in 2016. The second piece of the trilogy, Infinity Minus One, incorporates all kinds of imagination extended from the sensual experience she obtained in the Cloud Chamber experiment. During her residency at CERN, she heard a lot from scientists about two concepts – “particle” and “universe” – which lie at two extremes, with the particle being the smallest on a scale while the universe the largest. How to present the two extremes on the “human” scale? How to relate them to our everyday experience? SU Wen-chi responses by pondering the physical energy, from primitive physicality and chanting to the formation of image. The production also invites artists from Indonesia and Japan to jointly stretch all sorts of imagination about the transformation between traditional gestures and modern artistic concept.
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
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