2021
8.13 8.14 8.15
Fri. 19:30 Sat. 14:30 Sun. 14:30
臺中國家歌劇院 小劇場 陳長志
演出長度｜全長約80分鐘，無中場休息，每場演出結束後舉行座談 主辦單位｜國家表演藝術中心臺中國家歌劇院 ．主辦單位保留節目內容異動權
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創作者的話 Words from the Choreographer
文／周書毅
《阿忠與我》應該是我創作至今最難的，但是，每一次創作時……我好像總是這麼說，我想是因 為每一個階段都是全新的，都希望不重複自己的重複，如果沒有超越前一次的經驗，那怎麼能夠 是全然的面對眼前的課題呢？ 鄭志忠，是我這一次的課題，一位臺灣重要的資深劇場工作者，是我的前輩，也是我想用身體的 角度走入的，因為他的生命故事給我力量，所以我想為他創作，一起共舞並分享力量。有人問我 為何是他？我想仍是那句「生命的緣份」吧！30歲之後，我不意外的歷經創作低潮，花了幾年時 間，做了幾個不同以往的創作與表演，遇見了不同的人，特別是超過50歲的人；總是選擇走在體 制邊緣的我，思考他們是如何繼續走在藝術的世界裡，如阿忠。於是我開始去向他們學習、請 教、探問，然後邀請他們合作，挖掘那些我們都快遺忘的生命本質。慢慢的，我所困惑的事物， 有了一些光亮，那堅持不懈的背後，可能是最平凡的日子所累積出來的。 我知道我是不能一直在劇場做劇場的人，所以總是在外頭闖，因為劇場是集體眾人才能完成的藝 術，有能力照顧大家是不容易的，所以感謝機會、感謝團隊。因為我終究會離開劇場，那裡是生 命暫時的居所，一切都是看似永恆的存在，能帶著的，就要珍惜，如與你分享的此刻，希望你也 能帶走屬於你的力量。 The Center is probably the most difficult one among all the creations in my career. However, I seem to say so in each of my creations… I guess that’s because each stage in my creations is a whole new one for me and I don’t like to repeat myself. If I am not able to surpass the previous experience, how could I face the subject in front of me with fresh eyes? My subject this time is CHENG Chih-chung, an important senior theater worker in Taiwan as well as my predecessor, who I wish to interpret from the perspective of the physical body. Because his life story inspires me and gives me strength, I wish to create for him and dance with him to share such strength. Someone would ask me, “Why him?” I guess my answer is still the same: “That’s fate.” After the age of 30, I encountered, as expected, a bottleneck in my creation and spent a few years engaging in creations and performances that were different from what I had done, and thus met different people, particularly those over the age of 50. As a person who always chooses to walk at the margin of institutions, I began to wonder how they could continue staying in the world of arts, such as A-chung. Subsequently, I began to explore, consult with and learn from them, and then invite them for collaborations to discover the essences of being that have almost been forgotten. Little by little, I seemed to see some lights in my puzzles and confusions – what lies behind the persistence may be accumulated in the most ordinary days. I know very well that I can’t stay in theaters all the time and always have to leave and wander outside. Theater is the type of arts that requires the assembly of strength from the mass, and it is not easy to have the capability to take care of all. Therefore, I am grateful for the opportunity and grateful for the team. Because I will eventually leave the theater, it becomes a temporary residence for me even if all seems to be eternal existence. I shall treasure all that I can take away, such as the moments shared with you, and hope that you will take away the strength that belongs to you.
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節目介紹 Synopsis 這是一部關於對等與不對等的討論，當兩個善用身體表述思想的人碰在一起，沒有終點的討論從 此展開。一段舞、一束光、一次聲響，都是兩人綿長的對話過程，現代舞蹈工作者周書毅邀請從 1989年開始，就參與劇場表演工作的鄭志忠，用身體暢聊生命、家庭、社會。 這兩個不同身體條件的表演者，從人權的角度拋出無休的對話，企圖把整個社會都拉進來參與， 以單個舞蹈作品作為開端，賣命翻出更多關於人我、關於壓抑、關於平等的辯證，渴望帶起社會 公眾的討論，讓多元的身體經驗一起關注：「平等是什麼？自由在哪裡？」 這是一部獻給「每一個人」都可以觀看的作品，從創作到製作都擁抱多元，期待在文化平權的路 上，每一個人都能自在的參與其中。 This is a discussion about equivalence and in-equivalence. When two people who are good at expressing themselves with their bodies meet, an endless conversation unfolds. A dance, a light, a sound-they are all parts of the incessant process of dialoguing. Modern dancer CHOU Shu-Yi invited CHENG Chih-Chung, who has been involved in theater performances since 1989, to engage in a chat, with their bodies, about life, family, and society. These two performers, of distinct physical conditions, convey discourses about human rights that never stop, attempting to drag the whole society into this dialogue. Starting with a single dance piece, the performers tumble, not just their bodies but their arguments, about oneself and others, about oppression, and about equality. The diverse bodily experience is meant to raise the public's awareness on questions like, “what is equality?" “where is freedom?" This work embraces diversity throughout the creative and production process, warranting comfortable participation.
｜延伸閱讀｜
找到屬於你的力量， 帶走 ——《阿忠與我》訪談與側記
原刊載於《明潮》 文／郭書吟 圖／陳長志
你們在做什麼？
阿忠•阿忠
尋找邏輯之外的「超語言」 舞台燈光設計李智偉
當聲音墜落 音樂設計王榆鈞
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陳長志
共同創作、演出／周書毅 從身體出發，用舞蹈作為與世界溝通的語言，關注人與社會環境之間的關係。在過往的創作及行 動中，善用跨界力量的特性，強烈表現在藝術公共性上的著墨。編創聚焦叩問生命的價值，反映 個人或群體在不同社會脈絡下的狀態，提出「屬於亞洲的身體語彙」，並以劇場、非傳統劇場、 舞蹈錄像等形式呈現，持續以移地移居創作的方式遊走各地。2020年，受邀擔任衛武營首位駐地 藝術家，移居南方。
Co-Creator & Performer／CHOU Shu-yi CHOU Shu-yi starts out from the body and communicates with the world through dance and choreography. He focuses on the relationship between human beings and the society. In his past creations and actions, he is capable of capturing the powers of cross-disciplinary collaboration to address the publicness of arts. His creations focus on the value of life and reflect the state of individuals or collectives in different social contexts. Through his creations, CHOU Shu-yi makes propositions of a “body vocabulary that is specifically Asian” in the forms of theatre, non-traditional theatre and dance video. He continues to create as he travels different sites and places. In 2020, he was invited as the Weiwuying’s first artist in residence and has been living in the south ever since.
陳長志
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陳長志
共同創作、演出／鄭志忠 柳春春劇社前任駐團編導，前臨界點劇象錄劇團團員及行政。曾演出法國盲點劇團《1949 if 6 was 9》、臨界點劇象錄《日蓮－喃喃自語的島》、新寶島視障者藝團《黑洞 2》。身體氣象館 Asia meets Asia《魯迅2008》、《狂人日記》、《關於生之重力的間奏式》。陳界仁作品《幸福大廈》(2012)、 《中空之地》(2017)。主要編導作品柳春春劇社《美麗》各版、《惡童》。主要編導作品柳春春劇 社《美麗》各版、《惡童》。
Co-Creator & Performer／CHENG Chih-chung CHENG Chih-chung joined the Critical Point Theatre Phenomenon in 1988 and was trained by Chi-yuan Tian as a performer. In 1997, he founded the Oz Theater Company, and currently remains its resident playwright and director. He performed in many important productions, including 1949 if 6 was 9 with the Theatre du Point Aveugle, Nichiren—An Island that Murmurs with the Critical Point Theater Phenomenon, Blackhole 2 with the New Bodo Troupe of the Visually Impaired. The outstanding pieces that he wrote and directed includes Beautiful and The Notebook. The artist participated in the Tokyo originated Asia Meets Asia collaboration project many times.
陳長志
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音樂設計／王榆鈞 現為音樂創作者，歌者。近年特別關注實驗聲響與身體的對話，影像共同 創造出的內在聽覺感知，在詩句縫隙間的音樂風景。探究時間軸線裡往未 來未知的聲音，同時也向著古老大地的呼喚，在詩與歌的脈絡裡找到一種 文化對話的方式。
Music Design／WANG Yu-jun A composer and singer-songwriter. WANG Yu-jun deeply concerns about the dialogue in between the experimental sound and body, the inner auditory perception created by images, and the musical landscape among the poetry. Exploring the unknowing sound in the time axis toward the future, calling the ancient earth simultaneously, and becoming the creativity from the trans-disciplinary dialogue.
舞台燈光設計／李智偉 1977年生於香港。以舞台設計的身份活躍於香港舞蹈界別。職業初期有幸 進入城市當代舞蹈團技術部工作，那段日子遇到了不少對日後影響深遠人 和事。現在處於被動但集中的創作階段，希望在這個大時代中能保持頭腦 清醒，堅持做自己以後會記得的作品。
Stage Lighting Design／LEE Chi-wai Born in Hong Kong in 1977. Active in the Hong Kong dance community as a stage designer. Now in a passive but concentrated stage of creation, LEE Chi-wai hopes to keep his head clear in this big era and insist on making works that he himself will remember later.
舞台技術設計／余瑞培 自由工作者，畢業於臺灣大學戲劇學系、倫敦藝術大學中央聖馬丁學院表 演藝術設計與實踐研究所。從事戲劇、舞蹈、電影、電視、展場活動、音 樂節演唱會等各類藝文項目之場景空間設計、技術規劃、佈景繪製。
Stage Technology Design／YU Ray-pei YU Ray-pei majored in Drama and Theater with specialization in Stage Design at National Taiwan University, and received his MA in Performance Design and Practice at Central Saint Martins. He works as artist/ scenographer/ technical director, and has done various projects in many countries; several of his works have toured worldwide.
共同燈光設計／郭蕙瑜 現為劇場自由工作者。畢業於國立臺北藝術大學，主修燈光設計。近期參 與燈光設計作品2017進港浪製作《還陽記》，入圍第16屆台新藝術獎、及 2019布拉格劇場四年展 ─ 臺灣學生館以The Changing Room 獲得最佳學生館 體驗獎。
Co-Lighting Design／KOU Huei-yu KUO Huei-Yu is currently a freelance theatre professional. She graduated from Taipei National University of the Arts and majored in lighting design. She recently participated as lighting design in productions such as Huan Yang Chi ( 2017, selected in the 16th Taishin Arts Award ) and The Changing Room. The Changing Room was exhibited in the Student Exhibition section and was awarded the Best Student Exhibition Experience in the 2019 International Exhibition of Scenography and Prague Quadrennial of Performance Design and Space.
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陳長志
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創作團隊 Creative Team 共同創作│演出｜周書毅、鄭志忠
Co-creation & Performance｜CHOU Shu-yi, CHENG Chih-chung
藝術顧問｜林璟如 音樂設計｜王榆鈞 舞台燈光設計｜李智偉 共同燈光設計｜郭蕙瑜 舞台技術設計｜余瑞培 文字創作｜王榆鈞、余瑞培、李智偉、 周書毅、梁俊文、蔡超聖、 鄭志忠 文本統籌｜周書毅 文本聲音演出｜周書毅、鄭志忠
Art Consultant｜LIN Ching-ju Music Design｜WANG Yu-jun Stage & Lighting Design｜LEE Chi-wai Co-Lighting Design｜KUO Huei-yu Stage Technology Design｜YU Ray-pei Narrative Writing｜WANG Yu-jun, YU Ray-pei, LEE Chi-wai, CHOU Shu-yi, LIANG Chun-wen, TSAI Chao-sheng, CHENG Chih-chung
舞台監督｜鄒雅荃 燈光技術指導｜劉怡彤 音響技術｜陳浩均 音樂執行｜劉椿璐 技術執行｜ 試裝台 │林聖博、陳宇筑、蔡宇倫、 謝慧萍、顏行揚 臺中場 │張君如、周彤、藍靖婷、 王芳寧、林蓉
Stage Manager｜CHOU Ya-chuan Master Electrician｜LIU I-tung Sound Engineer｜CHEN Hao-jun Music Execution｜LIU Chun-lu
演出錄影｜林婉玉、陳冠宇 主視覺設計｜陳文德 平面攝影｜陳長志
Video Team｜LIN Wan-yu, CHEN Kuan-yu Graphic Design｜Winder CHEN Photography｜CHEN Chang-chih
製作人｜吳季娟 執行製作｜郭宇庭、蔡超聖 排練助理｜梁俊文 製作助理｜賴妍方
Producer｜Neo WU Executive production｜Elvis KUO, TSAI Chao-sheng Rehearsal assistant｜LIANG Chun-wen Production Assistant｜LAI Yen-fang
共同委託製作｜國家兩廳院、 衛武營國家藝術文化中心 特別感謝｜康揚輔具、 XY老屋－先奕實業有限公司 合作飯店｜塔木德酒店 排練場地協力｜驫舞劇場、 雲門舞集舞蹈教室 硬體技術協力｜民偉視訊工程有限公司 行政協力｜藝外創意
Commissioned by the National Theater & Concert Hall, National Kaohsiung Center for the Arts – Weiwuying Special Thanks｜Karma medical, Xian Yi Enterprise Co.,ltd Rehearsal Accommodation Support｜Talmud Hotel
Narrative Editing｜CHOU Shu-yi Narrator｜CHOU Shu-yi, CHENG Chih-chung
Technician｜ Try Out │LIN Sheng-bo, CHEN Yu-Chu, TSAI Yu-Luen, HSIEH Huei-ping, YEN Hsing-yang Taichung│CHANG Jun-ru, CHOU Tung, LAN Ching-ting, WANG Fang-ning, LIN Jung
Space Support｜HORSE, Cloud Gate Dance School Equipment & Technical Support｜MEWAY VISION ENGINEERING CO LTD Administrative Cooperation｜Artexpected