作品 Works

  • (1).作品:孩子磁場 The Magnetic of Child

孩子磁場(3)

編舞:顏鳳曦 Choreographer: Dominique Feng-Hsi Yen

從東方文學中最美麗的形式「詩篇」,轉化成表演藝術創作中最具詩意的媒介「舞蹈」。 以文學詩篇「孩子磁場」為文本,深入詩篇文字中的詩意。將詩意轉化成詩意的身體語言。 舞作「孩子磁場」打破文字語言的藩籬,將文字轉化成肢體語言。她將東方文學更進一步的轉化成肢體語言進而使得其他語言世界的觀眾可以藉由觀賞舞作來進入東方文學,東方思維,東方文化的閱讀。「孩子磁場」是一首結合東西方肢體舞蹈與劇場美學的藝術創作作品。編舞者顏鳳曦以讀者角度閱讀,舞作以光來表現孩子的角色,光影的互動如母親與孩子間的關係。舞作中具有影子與實體的互動以及動作與影子的互動。動作在溫柔與剛強間交錯。一位舞者以剪影方式呈現,另一位則清楚見到。兩位舞者會由一明一暗處漸漸融為一體,當燈光轉場消失時,母親動作溫柔並充滿著溫暖的擁抱與移動。 音效的設計意象地表示想像中的媒材,以噪音、聲音、旋律的運用,挑戰並牽動觀眾的聽覺。旋律的使用引動舞作的情感。

《孩子磁場》作家:顏艾琳

你是一把溫柔的剪刀,將我剪成母親的形狀,在有光的地方,我是你的影子, 彷彿還懷孕著你,兩人一體。當光消逸之時,我看見獨立的你,而你有強烈的磁性,我黏黏地,再次將你擁抱。

The  dance project that transforms poetry, the most stunning form of Eastern literature, into the most poetic medium in performance art: dance. The project delves into the literary essence of its namesake poem, or underlying text, and then turns that poetic essence into a poetic variety of body language. It breaks through the textural/language barriers as the text becomes body language. In other words, the project’s producer, Dominique Yen, converted Eastern literature into body language so that audiences speaking different languages can “read” the Eastern literature, way of thinking and culture simply by appreciating her dance project. Kid is an artistic feat that incorporates East and West in terms of physical dancing and theatrical aesthetics.

From a reader’s viewpoint, choreographer Dominique Yen “reads” her project and engineers the interplay of light and shadows to depict a mother-child relationship, with light being the child. The project features interactions between shadows and physical objects as well as those between shadows and the dancers’ movements, which are alternately gentle and forceful. The two dancers, one of whom performs in the form of a silhouette while the other is clearly seen, represent darkness and light merging into one. The mother makes warm, gentle hugging and other movements when the lighting dims during the interlude. In this project, noise is interwoven with sounds and melodies into audio effects that symbolize an imaginary medium challenging and evoking auditory sensations of the audience, with the melodies serving as an emotional trigger.

Author: Ai-Lin Yen

You are a pair of scissors that gently

cut me into the shape of a mother,

Wherever there is light,

I am your shadow.

As if I were still pregnant with you,

we are one.

Whenever the light goes off,

I see you standing, alone and independent.

You are a strong magnet,

attracting me,

I want to embrace you tightly, once more.

  • (2).作品:箱子 Box

箱子(3)

編舞:顏鳳曦      Choreographed by Dominique Feng-Hsi Yen

『出生時睜開眼睛,看見世界;入睡時闔上眼睛,進入睡夢裡。打開箱子,看見夢想;闔上箱子,看見世界。』四方的立體空間常存在於生活周圍中,我們常手提公事包,出國推行李箱, 住在房子裡,處於城市中,活在世界上,甚至正在黑箱劇場看這支作品,作品裡我以箱子為四方形的基礎,帶出四方空間的想法,進而引申空間至整個黑箱劇場,甚至擴大四方空間的想像介面至城市、社會或世界…“箱子”這個道具,它是一個符號,也是一個影射。藉由一口舊皮箱來影射小孩單純的夢想。爾後,以小孩旅途時間的推移為主軸,空間介面為副軸,帶入小男孩在旅途過程中,雖然空間周遭發生了變化,但小孩的夢想依然在箱子裡。

At birth I opened my eyes and saw the world; at night I close my eyes and enter dreamland. Opening the box to see my dream; closing it to see the world!”

Cubes are ubiquitous in our surroundings: the briefcase we carry to work, the luggage we travel abroad with, the house, city and the world we live in, and even the Black Box Theater in which we watch this particular production. This dance production is an attempt of mine to derive an imaginary cubic interface from a box, and extend it to include the entire Black Box Theater and even the entire city, society or world…While the box is a stage prop, it is also a symbol and a metaphor. An old suitcase is used to represent a little boy’s simple dream. Later on, the boy’s journey is the successive temporal main axis, while the spatial interface is the secondary axis. Despite the surrounding spatial changes during the journey, the little boy’s dream remains intact inside the box.

 

  • 【母親】MOM

Choreographed and directed: Dominique Feng-Hsi Yen

【母親】MOM(2)

將文字轉換成舞蹈,以東方文學與舞蹈結合。

風乎舞雩取材本土文學並期望用舞蹈跨越地域與國界獻上土地最深情的情感與感受。以文學作者莊雅雯的《門》《裁縫》《藤仔花》與楊宗哲的《小房間》為製作文本。

編導與設計從閱讀文字,感受文字帶來的感受。一同探索舞蹈結合文學的突破性與可能性,使文學延伸更多的想像空間,帶領觀眾進入編導、設計群與作者的想像與意念。編導以生活與生命融入閱讀,將四篇文章作串連與統籌產生概念、發展主軸,連結所有設計共同在台灣土地上打造這世界上最無私的愛-【母親】。

【母親】概念

「柔軟的身段,堅毅的內心。東方的內涵,西方的形式」。

母親做著一切看似平凡而簡單的事,卻是世上最偉大的人。在兒女每一階段的成長中,母親將生命與心力奉獻給兒女,給予兒女最溫暖無私的愛。

「母親」意指大地、故鄉。

生命之所以偉大,存在於生命的付出。

 

  • 【關係】Relation

Choreographed and directed: Dominique Feng-Hsi Yen

※Nominated for the Performing Arts category in the 11th Taishin Art Awards (Season 2)

關係精緻篇(1)

※獲「台新藝術獎」-第11屆台新藝術獎:第二季提名

形式:

將打破藝術和生活的界線,創作打破了舞蹈、戲劇、音樂、美術之間的界限。舞蹈劇場與多媒體音樂與影像的跨域結合。劇場引土於地面並運用傢俱及多媒體影像來引發空間與狀態的寫實與超寫實的想像。

場景(四季):

運用劇場設計將舞台打造成一個家,並結合整體劇場設計將空間引發成室內室外的空間概念,來引發寫實與超寫實的想像空間。(以簡單的戲劇結構與對白形成一道主軸來串聯所有的愛情片段。藉由愛情發展的關係下,以闡述關係的建立、關係的發展、關係的過程。進而敘述人在關係中,面對愛人與被愛、認同與被認同,信任與被信任的種種狀態。表面上看似一場愛情故事,但整個製作內容實質在探討人在關係上的建立與發展。)

 

  • 【痕跡下的痕跡,痕跡上的紋路】

    Trace under the Trace: Grain Patterns above the Trace

Choreographed and directed: Dominique Feng-Hsi Yen

痕跡下的痕跡,痕跡上的紋路(4)

舞蹈雖然沒有語言,但肢體語言是最貼近「人」的傳達媒材。

畫家Edvard Munch一生的創作,始終圍繞他自己在生命中親身體驗的經歷。

顏鳳曦想用作品表達對生命當下的感受。創作靈感為「人性」、「動物」、「競爭」。

舞蹈不像戲劇般有對話有言語,但肢體語言卻是無國界的。【痕跡下的痕跡,痕跡上的紋路】打破了藝術和生活的界限,也打破了舞蹈、戲劇、音樂、美術之間的界限。

 

總是讓觀眾無法預期的顏鳳曦,擁有洞悉人性的觀察力,創作以人為主,用創作探討人、生活與生命、執著且真實、簡單而深刻的個人獨特創作風格敘述作品中的生命。作品【痕跡下的痕跡,痕跡上的紋路】延續其舊作【痕跡下】之概念發展成整場60分鐘之作品,【痕跡下】首演於2005年台北城市舞台,數隔五年,期間,痕跡下於創作者的生命中生長,於2010年長成【痕跡.紋路】於高雄衛武營藝術中心展演,2011年顏鳳曦使作品更完整,在生活與生命經驗中生成【痕跡下的痕跡,痕跡上的紋路】於台南國際廳原生劇場展演,「痕跡」系列作品在臺灣演過20多場。

 

作品發展如第一段曲目,創作者對事之經過所引發的感受,隱藏在面具底下的是真心或謊話是作品的開始。以小蘇打粉為媒介,利用雪白粉末營造作品與劇場中的氛圍,雪白的粉末是作品中重要的角色,於空氣中、地面上、劇場裡、觀眾的心裡。而善於空間調度的顏鳳曦,結合演出之劇場空間,從大劇場至小劇場至戶外演出空間,使作品與空間融合,讓表演者跳出自身生命的故事並真實的活在作品中,隨著作品的層次與堆疊,為作品傳遞痕跡下的寫實與殘酷、痕跡上的彩虹與生活。以貼近觀眾的方式,讓觀眾如同置身於作品的場景裡,更真實的感受自身生命的痕跡。

【痕跡下的痕跡,痕跡上的紋路】融合舞蹈、戲劇、聲音對台灣的表演藝術發展具有相當的前瞻性意義和十足的獨特性,顏鳳曦的作品具有強烈的生命力與穿透力,【痕跡下的痕跡,痕跡上的紋路】得到許多淚珠,打動無數進場觀賞的觀眾,不僅感動社會上不同階層的人,也感動了不同國籍的觀眾。

 

 

痕跡               文|顏鳳曦

用筆在紙上劃一道,會留下筆痕。

用刀在木頭上刻畫,會留下刻痕。

眼淚流下的雙頰上,會留下淚痕。

當身體被切割開來,會留下傷痕。

傷口即使癒合,依然會看見疤痕。

舞者的身後,可看見舞跡。

蝸牛爬過的土地上,可看見踏實的軌跡。

動物打鬥後的現場,可看見殺戮的血跡。

踩死蟑螂的地面上,可看見無情的足跡。

車禍現場的道路上,可看見出事的殘跡。

 

《痕跡下》

生命裡,有許多痕跡,我們常常只看見表面的痕跡,而默視曾經發生過的事以及掩埋所有的感受。《痕跡下》是闡述在表面痕跡之下所看不見的痕跡…。

 

《痕跡上》

面對痕跡下的內在痕跡後,再度打開心房站在痕跡上道出對生命痕跡的感受。

在面對生命與生活時,如何保有自己最初單純的真心來刻畫生命裡的紋路。

Although dance is an art form without words, its body language is a medium of artistic expression most intimate with humanity.

In a lifelong effort, Edvard Munch invariably constructed his paintings around personal experiences. Similarly, Dominique Yen seeks to express her immediate feelings about life through dance productions that are inspired by humanity, animals and competition.

Unlike drama, which is composed of words in dialogues, dance is an art form relying on body language; thus, it can overcome geographic/linguistic barriers. “Trace under the Trace; Grain Patterns above the Trace” blurs the boundaries between the arts and life, as well as those among dance, drama, music and painting.

 

Yen, who never ceases to surprise her audience with remarkable insights into human nature, takes an anthropocentric approach to dance productions that explore humanity, life and perseverance. She depicts human life in her signature style that combines truthfulness, simplicity and profoundness. The 60-minute “Trace under the Trace: Grain Patterns above the Trace” is a conceptual extension of “Under the Traces” that premiered in 2005 at The Metropolitan Hall in Taipei. Another five years later, “Under the Traces” had expanded again, along with the life of its creator Yen, into “Traces & Grain Patterns,” which debuted in 2010 at Kaohsiung’s Wei Wu Ying Cultural Center for the Arts. To make her art works more complete, Yen presented “Trace under the Trace: Grain Patterns above the Trace” in 2011, as something growing out of her own life-related experiences at the Native Theater of International Hall in Tainan Municipal Cultural Center. By that time, her “Traces” series had been performed more than 20 times nationwide.

 

As suggested by the first song in the repertoire, this dance production unfolds in a manner that reflects the creator’s emotional response to how things develop, which could be a truth or a lie hidden under a mask. The snow-white baking soda is the medium as well as an integral element that creates an ambiance for both the dance production and the theatrical space, permeating the air, floor, auditorium and the hearts of the audience. An expert in spatial arrangement, Yen blends her production into the performance venue, whether it is a large amphitheater, a smaller theater, or an outdoor venue, so that the dancers are able to tell their own life stories and actually live in this production which, along with layering and overlapping, conveys the cruel reality under the traces and the rainbow-hued life above them. This dance production gives the audience a close and realistic look at the traces of their own lives, as if they were part of the stage set.

 

A mixture of dance, drama and audio arts, “Trace under the Trace: Grain Patterns above the Trace” is a significant visionary and unique effort in Taiwan’s history of performing arts. Just like Yen’s previous works that are vigorous and penetrating enough to reach out and touch hearts, “Trace under the Trace: Grain Patterns above the Trace” is a tear-jerker that moves countless audiences of varying social statuses and nationalities.

 

Traces              by Dominique Feng-Hsi Yen

A trace is left when a pen scribbles across the paper;

a knife chips away a piece of wood;

tears trickle down the cheek;

the body is lacerated,

resulting in scars even when the wound is healed.

As a dancer leaves visible traces of body movements,

you will see a clear trail of a snail just crawling by,

a pool of blood after animals’ fierce fight,

the carcass of a cockroach killed by a relentless stamp,

and the tragic remains of a car accident.

 

“Under the Traces”

Our lives are marked with numerous traces, but oftentimes we see only those on the surface while ignoring things that have happened or feelings hidden beneath. “Under the Traces” is an attempt to explore the invisible traces lying under the superficial ones.

 

“Above the Traces”

This production is about how people bravely face the inward traces that lie under the superficial ones, and decide to stand on those traces, reopening their minds to share feelings about life’s traces.

It is also about how people manage to maintain the purest form of sincerity and carve grain patterns into their respective lives, even when tackling challenges in life.

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