檔案1
2026廳院選 雲門舞集《一個藍色的地方》《來》雙舞作
Cloud Gate Dance Theatre of Taiwan Blue Hour / Beckoning A Double Bill by CHENG Tsung-lung
基本資料
2026-06-25
2026/06/25 07:45
2026/06/26 07:45
2026/06/27 02:45
2026/06/28 02:45
2026年，雲門以雙舞作帶回鄭宗龍的兩部早期作品。《一個藍色的地方》從紐約失眠的夜裡長出。六個身影在無聲裡顫動、偏移，像介於夢與醒之間的停格。隨著英國作曲家約翰・塔文納的大提琴浮起，光色由暗轉亮，藍像呼吸一樣慢慢擴散；焦躁、孤單與迷惘無須言語，只由身體層層掀開。舞評形容其「最能表現六神無主的美感」。
《來》把廟埕帶上舞台。鍾成達的音樂經柯智豪編曲後，廟會鑼鼓、街頭聲響與打擊樂交織成拍點；八家將步伐、藝陣行進與民俗身段被熬成動作，舞者在剛猛與玩心之間切換，像擠在進香隊伍裡身不由己。觀眾說，看了會想起家鄉廟口的味道。一支讓寂靜慢慢發亮，一支用聲響把身體敲開。深夜與白晝相照，聽見編舞家的兩種聲音。
In 2026, Cloud Gate Dance Theatre of Taiwan presents a double bill by Cheng Tsung-lung, bringing together two contrasting works that move across the threshold of night and day.
Blue Hour unfolds in the quiet moments before dawn, when sleep feels close but never arrives. Six dancers hover near stillness, their bodies stirred by subtle tremors. As the cello music of British composer John Tavener emerges, deep blue light slowly fades. Time seems to slow, revealing feelings of restlessness, solitude, and thoughts that refuse to settle, described as "the most evocative expression of a mind lost in its own depths."
Beckoning shifts to the open energy of a temple courtyard. Gongs and drums echo through parade rhythms, Ba Jia Jiang elements, and fragments of street life. The dancers move between strength and playfulness, precision and release, creating a scene that feels both familiar and slightly uncanny.
Together, the two works reveal contrasting sides of the choreographer's voice—one inward and suspended, the other communal and vibrant—tracing a subtle passage between stillness and movement.
一個藍色的地方
來
BLUE HOUR
BECKONING
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