2024新點子實驗場 王甯《隙》

Cracking

基本資料

所有事物第一時間來到我們面前都是徹底的整體，唯當裂隙出現，空間被撐開，思考與運動才得以發生。

舞蹈創作者王甯，反思全球消費文化高速運轉下，過量生產與過度製造的極端現象，令他感到詭譎失衡、不協調，甚至耗竭的身體狀態。在錯位的時間規律裡停下思考。

我的身體為什麼長成現在的樣子？

我們到底身處在一個什麼樣的世界？

這位臺灣的、女性的、90後的藝術家，藉由回訪個人身體系譜，企圖從歷史經驗及教育模式體察現今人們共處的複雜結構。面對難以撼動的龐大體系，他想問，一個人，要如何帶著他的身體，奮力尋找並試圖瞥見結構之間可能的隙縫，拾起能夠穿越、顛覆與嬉戲的力量。這趟看似孤寂的獨舞探索，卻也是與集體的共舞；從個人微觀感受，反映社會現象。

王甯攜手擊樂家薛詠之即興譜曲，在音景設計鄭兆恩與空間設計趙卓琳切割後重組的傾斜空間裡，透過充滿流動的詩性語彙，邀請觀眾進入他們共同建構的這部混亂、破碎、奇異的多重時空。

 

Prologue

NTCH IDEAS Lab encourages creators to break free from established frameworks and unleash their imaginations. It provides support for realizing innovative concepts, experimenting with new performance forms, and engaging in dialogues from fresh perspectives. The theme of "breaking" is central to the productions of NTCH IDEAS Lab 2024. In these works, the four creators push beyond previous boundaries, seeking to transcend the limits of their past creations and life experiences by crafting unconventional works from unique viewpoints.

Two works among the four productions are selected for the 2023 IDEAS Lab -R&D program. Approaching the staging of a dramatic text with innovative methods, Lee Yo-wei offers a modern-day rap rendition of the classic Greek tragedy in

Oedipus Rap Rex. In Cracking

, Wang Ning reflects on how an individual confronts power structures and explores the energy of the body's fluidity. The lineup also includes Lin Ting-syu's

Guardians on a



Glazed Tile Roof

, which depicts the sweat and toil of grassroots workers through creative expression and recreates the true essence of labor with contemporary bodies. Liu I-ling's

Turn Out

combines the "voices" of stand-up comedy with the "body" movements of dance for a solo enactment portraying the youthful complexities of a dancer's life.

IDEAS Lab not only celebrates the fleeting spontaneity of creative sparks; it also serves as a challenging and ultimate experiment, exploring the world through artistic creations.

About the Work

At the outset, all things present themselves as whole and complete entities. It is only when gaps emerge and spaces open up that thoughts and movements can transpire.

Choreographer Wang Ning reflects on the extreme phenomena of overproduction and over-manufacturing within a high-speed global Capitalism, which leaves her with a corporeal sense of imbalance, discordance, and exhaustion. She pauses within this disjointed temporal pattern to contemplate:

Why has my body become the way it appears?

What kind of world are we inhabiting?

This Taiwanese, female, post-90s artist revisits her personal dance genealogy to interrogate our current complex structure of coexistence through historical experience and pedagogy system. Confronted with an immense, unyielding system, she questions how, using the body, an individual can strive to find and attempt to glimpse possible fissures within these structures in order to reclaim the power to traverse, subvert, and play. This seemingly solitary dance exploration also resonates with the collective; it reflects social phenomena through the microcosm of personal perceptions.

With the improvisational music of percussionist Hsueh Yung-chih, and within a fragmented space reimagined by soundscape designer Cheng Chao-en and space designer Adrianne Chiu, Wang Ning invites the audience through a fluid poetic lexicon to enter this collaborative construction—this chaotic, fragmented, and uncanny multiplicity of time and space.

Words from the Choreographer

by Wang Ning

My solo dance creations over the years have been a dialectical journey of liberation between mind and body. The imprint of "dance" on me and the resulting "trouble"guides me to approach an understanding of freedom through continuous movement and transformation.

"Why has my body become the way it appears?" With this simple yet profound question,

Cracking

revisits the dance genealogy of "Wang Ning" to explore how an individual is formed within Taiwan's dance pedagogy system and how, driven by a certain life sensibility, I become "me" through artistic expression and action.

The 2014 Sunflower Movement coincided with my mother's passing. If "mother" serves as a crucial reference point in life's growth, then perhaps for me, the disorientation of losing this coordinate a decade ago has also become a "cracking," an interrogation of: What is life? Why do we live? And, through questioning, arrive at an overwhelming desire to survive in this existing world as a woman.

If the goal of asking questions is not to find solutions, then the aim of "choreography" might not be to create a new and definitive dance style in order to establish a benchmark. In

Cracking

, I chose to be reinhabited by the ghosts of history, and to replay the roles of the dancing spirits that truly exist within my body, playing with them and being played by them.

Feminist scholar Julia Kristeva once said, "I give birth to myself amid the violence of sobs, of vomit." Perhaps

Cracking

seeks to share the process of reclaiming one's own regurgitated parts. Those subtle emotions and vibrations experienced by the body and life—the parts that were once intentionally or unintentionally obscured or evaded—might be worth revisiting.

Main Creator

Choreographer and Performer︱Wang Ning

Wang Ning, b.1991, is a contemporary dancer and choreographer from Taipei, Taiwan. Ning engaged in various art forms, including dance, theater, contemporary circus, percussion, new media, experimental/ VR film, and performance art.

The Other (2018), the first full-length work that Ning has choreographed focus on the gendering spectacle of human bodies. In

Movement

(2021), it questioned the composition of a dance performance through de-constructed theater elements. The work was nominated by 20th Tai-Shin Art Awards in season 4. Recently, her choreography reached out to video-dance, such as

body image: avalanche

(2021) and

Dérive à NangangXizhi

(2022). She tries to see the body as a medium and explore the intertextuality narratives between individuals and society.

Ning has worked with Taiwan artists and groups, including Chou Shu-yi, Tien Hsiao-tzu, Jérôme Bel×Chen Wu-kang×Yeh Ming-hua, Liu Yu, Circus Gate, Bon Appetit Theatre, etc. Besides, she has collaborated with artists internationally, including Hiroaki Umeda (Japan), Choy Ka-Fai (Singapore & Berlin), and Alex Schweder×Ward Shelley (USA). The international platforms she has participated in included Movers' Platform #1 (2020) & #4 (2023), Dance Nucleus [CP]3 (2021), and Connect with South East Asia 2.0 (Gender & Sexuality): Residency Onsite & Online (2022).

Live Musician and Sound Design︱Hsueh Yung-chih

Percussion and sound artist, UniProduction

As a contemporary percussionist, Hsueh begins with percussion and sound as foundations for experimentation and collaboration with artists from diverse areas of practice, including drama, dance, installation, and performance. Through collaboration, he discovers a mutual understanding of logic and a shared language. Her recent works include

An Inner Temple Built By Sound

,

Banhsian Score

,

The Secret Timbreland Headquarters of the Ear Monster sound installation exhibition

,

Temple Fair with Myself

,

Between Two Breaths

:

Sound Installation Exhibition

, and the NTCH 2019 IDEA Lab:

Allegory of the Cave

.

Soundscape and Electroacoustic Designer︱ Cheng Chao-en

Graduated from the Department of Performing Arts at Shu-Te University in Kaohsiung. A core member of Mellow Step Studio, he primarily engages in arrangement, music design, and sound design. His works focus on electronic music and experimental sounds.

Recent collaborative works include:

‧

The Immortal

by Co-coism

‧

Touchdown

by Demian Cheng

‧

Performing Insanity

by Huang Ding-yun

‧

Little Road Decides to Go Far Away

by Co-coism

‧

The Gret Tipsy 2: 1980s

by KingKong Wave X Surprise Lab

‧

Three Lives and All Things

by Hung Chien-han X Hong Wei-yao

‧

Louver/Shutter/Blinds/Hundred Leaves

by Style Lab

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