表演場雙週刊第九期 - 2019年7月4日 The Art Venue Bi-Weekly Issue 009 - July 4, 2019

issue 09 隔週四出版 On alternate Thursdays 07.04.2019

表演場雙週刊 The Art Venue Bi-Weekly CONNECTING YOU WITH PERFORMING ARTS

Win.Guest.Food. 「明」人飯局

Guest. 今期嘉賓.

Alison M. Friedman Artistic Director, Performing Arts, WKCDA

方美昂

西九表演藝術藝術總監

封面故 事 Cover Story

自由空間 FREESPACE 專 題報導 Featured Story

來 自 法 國 的鬼 才藝 術家 克 里 斯 汀 ． 赫佐 Christian Rizzo ISSN 2663-9521

theartvenue.net

EDWARD LAM DANCE THEATRE — ART SCHOOL MUSICIAL 䲋፥᳄ຂ㤜 — ᶮ⺊⮱㎩ឬ㔲Ծ 03–13.10.19

The Box, Freespace Art Park, West Kowloon ⾾̏ᐷ٪‫⻒Ⳕڈ‬Ռ७ ⦪⁳⑤㟢 ૯↤

$420, $300

䢮Concessions available 設有門票優惠䢯

Tickets available at the Freespace and Xiqu Centre ticket offices 㟓⎡ᑞ⦪⁳⑤㟢ۢᆫᕅˮ࿘⎡‫ⴷف‬Ռ㟚Ⅼߴ

2200 0022

Telephone booking 㣌づ㈂⎡䣀

(No handling fee for tickets bought online, in person or by phone ⛈˖Ǐ⿟㌪ۢ㣌づ㈂⎡঑˙〴ᆾ❾㇉

A contemporary adaptation of The Butterfly Lovers ἆ⚍㉾⦪຃ェᆈთˠ͞ⅲ́о © Ho Tung Shing

Co-produced with Տ‫⽖ܔ‬η

Presented by Freespace ⁳ ⦪⁳⑤㟢 ˹㏇

Tickets and more information ⛈˖㈂⎡ۢでႎ

WWW.WESTKOWLOON.HK/ARTSCHOOL

The Art Venue Bi-Weekly 表演場雙週刊 : 3 :

藝術在於這個混亂與迷失的年代，有

In this chaotic and confused world,

甚麼意義？

what does art mean to all of us?

人的生命中，應該每天都聽聽音樂、

“A man should hear a little music, read

看看詩、看看畫，以免世界上的憂慮 令人抹殺了神放置於人的靈魂裡面， 對美麗事物的認知。（歌德）

a little poetry, and see a fine picture every day of his life, in order that worldly cares may not obliterate the sense of the beautiful which God has

年輕的一代正在絕望之中，請與年輕 人同行，使他們再看到光明。

implanted in the human soul.”

- Johann Wolfgang von Goethe Our younger generation is in despair, let us walk with them and make them see light.

陳慧明 表演場 創辦人及主編

出版、編輯及廣告 Publishing, Editing, and Advertising

表演場 The Art Venue

Winona Chan

Founder & Editor-in-Chief The Art Venue

香港觀塘鴻圖道75號KOHO六樓 6/F, KOHO, 75 Hung To Road, Kwun Tong, Kowloon

電郵 Email: info@theartvenue.net © 表演場。版權所有。歡迎轉載引用，敬請註明出處。 © THE ART VENUE. ALL RIGHTS RESERVED.

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西九表演藝術 藝術總監方美昂接受 表演場訪問 Alison M. Friedman, Artistic Director, Performing Arts of WKCDA and Winona of The Art Venue

方美昂：

自由空間以放膽去的「魂」 與藝術家及觀眾一起衝破界限 來到西九文化區，想起幾年前，這裡

及可作音樂演出的酒吧Livehouse組成。

仍叫西九海濱長廊；還是一片空地，

在五月底，西九文化區管理局已率先舉

已曾利用作舉辦三屆大型的戶外文化

行傳媒招待，公佈一系列今年至明年初

藝 術節─ 自由野，吸引場主每一屆也

的節目；當中最惹人關注的，是闊別香

有參與。還記得在烈日當空下，邊與朋

港逾十年、世界著名日本音樂大師坂本

友野餐邊欣賞本地樂隊熱唱；或是滂沱

龍一的演出。

大雨下，坐在木板步行道上看《拾‧年》 的放映，這些情景依然歷歷在目。

首波節目編排可見用心，更期待與西九 表演藝術藝術總監方美昂（Alison）進行

現在站於相同位置，眼前是西九第二個

訪問，談談自由空間的發展大綱。訪問

啟用的表演藝術場地─ 自由空間；坐

地點在藝術公園內的咖啡店，Alison比約

落於藝術公園的正中央，於剛過去的

定的時間早到，但原來她還沒有吃過午

六 月 正 式 開 幕 。 由可容納四百五十個座

餐，而當時已經是下午三時半了，可見

位（或九百個企位）的黑盒劇場「大盒」、

做決策者的她對工作是何等投入。

兩個多用途空間「細盒」及「盒仔」，以

甫見面便問到Alison關於自由空間的定 位，怎樣在香港云云表演場地中突圍而 出 ， 她 非 常 肯 定 地 回 答 說：「自由空間 之所以不同，全因為BE BOLD（放膽去）

The Art Venue Bi-Weekly 表演場雙週刊 : 5 :

是這個場地的靈魂。我們與藝術家、夥

關於未來會如何跟國際及本地的藝術界

伴及觀眾一起走出舒適圈，衝破界限，

合作，Alison說：「在過去的五年，我們

鼓勵大膽的創意。」不單單是放膽去的

和本地獨立新晉年輕藝術家、具規模的

「魂」，令自由空間不一樣，她更補充

大型藝術團體，均建立起夥伴關係；我

說：「現時香港最大的黑盒劇場，正是

們也跟海外的國際級藝術家和藝術機構

自由空間的『大盒』；樓高十米，座位

建立合作的項目（programmes）。以

可以收起來，方便加入裝置藝術，或變

此為根基，加上自由空間正式啟用，可

作時裝表演的舞台。因為多變靈活的空

以成為展示他們優秀創作的舞台，讓他

間運用，所以這裡絕對可讓創作人放膽

們放膽突破自己的固有界線。」

去創作。」

自由空間是新的場地，西九會有甚麼策

核心概念已成形，下一步是為自由空間的

略拓展觀眾嗎？Alison表示：「由之前的

使用規劃定下方向，而這亦關乎受到公眾

『自由野』、『自由約』甚至其他活動，

關注的場地使用率。Alison表示：「我們

西九這個地方已曾接待不少觀眾；來

的團隊有音樂、舞蹈、劇場等不同領域的

過這裡的人，一直好奇自由空間是甚

專家，我們會共同商討委約或製作甚麼

麼樣子、甚麼時候開幕。現在場地終

節目。另一方面，畢竟政府只撥款興建

於開幕了，相信大家都會急不及待來

場地，我們需要自負盈虧，確實有需要

這裡看個究竟。」

達 到 訂 下 的 關 鍵 績 效 指 標（ k e y performance indicator），以確保一定的 場地租用收入；但我覺得不用單靠提高 場地使用率，可用不同的方式如票房、 資助、募款等等，達到預設的收入目標， 作為支持營運開支及節目製作費用。」 她續說，「所以構思節目時的先決條件，

自由空間的首個節目《來自真實故 事 》已於上月上演，接著將有不同的 節目陸續登場，包括一票難求的香港 話 劇 團 《 如 夢 之 夢》、曾到多處巡演的 非常林奕華《梁祝的繼承者們》 等 等 。 大家可以瀏覽西九的官方網站，留意 最新消息。

是預想通過各項表演，可以帶出甚麼重大 議題。表演藝術是非常獨特的渠道，可以 鼓勵不同的群體聚集在一起，然後探索這 些議題；即使大家的意見分歧，但當中也 能找到彼此認同的地方。舞蹈、音樂、戲 劇、馬戲等等不同的表演形式，都是去激 發我們去思考這些重大議題的方法，同時 亦是不同想法的呈現，所以我們會綜合這 些不同形式去規劃節目內容。」

自由空間 2018-19活動一覽 Freespace 2018-19 programme overview Photo Credit: West Kowloon Cultural District Authority

Alison M. Friedman:

Freespace’s “Be Bold” spirit spurs artists and audiences to go beyond boundaries The first time I set foot on the West

quite firmly in her explanation:

before the West Kowloon Cultural

because of its ‘Be Bold’ spirit. We

Kowloon Waterfront Promenade,

District (WKCD) began to take shape, was to attend the Freespace Fest in 2012. This then empty plot of land subsequently hosted the annual

outdoor festival three more times, and I attended each one with devotion. I

still have vivid memories of having a picnic and listening to local bands play under the scorching sun or

watching the screening of DECADE while sitting on the timber walkway amid the pouring rain.

Now in front of me is the Art Park, and in its centre is the new Freespace, the second performance venue of the

“Freespace is going to stand out

work with our artists, partners, and audiences to break comfort zones,

expand boundaries, and try something new—to experiment, to be bold!” Her

enthusiasm continued as she added: “Freespace’s The Box is one of the largest black box theatres in Hong

Kong, with a 10-metre-tall ceiling. It is completely versatile. We can have

regular, stadium seating, or we can take all the seats away. It can be a

venue for installations or we can make a T-shaped stage for fashion shows. It is incredibly flexible to encourage the creative mind to be bold!”

WKCD that opened in June 2019.

For public performance venues in

450-seat black box theatre that can be

concern. When asked about

Freespace is comprised of The Box, a transformed into a venue that holds 900 standing attendees, as well as

two multipurpose venues, The Room and The Studio, and the Livehouse.

Alison M. Friedman, Artistic Director of Performing Arts at the West

Kowloon Cultural District Authority

(WKCDA), arrived for our interview at the Art Park café earlier than

scheduled. Although it was already

3:30 pm, she still had not eaten lunch.

Hers is a tough job indeed.

I was most curious about Alison’s thoughts on the development of

Freespace, especially how it is to

stand out among all the performance venues in Hong Kong. Alison spoke

Hong Kong, usage is always a popular Freespace’s programming plans,

Alison said: “We have dance, theatre, and music experts working as one

cohesive programming team to plan

our programmes. Of course, we rely on key performance indicators for

hiring revenue as we are not receiving

any government subsidies and need to

The Art Venue Bi-Weekly 表演場雙週刊 : 7 :

be financially sustainable. But we can achieve that in different ways.”

“When we plan programmes, we envision what big issues we can

explore through the arts. Performing arts is a unique vehicle that can

encourage communities to come

artists have a home at Freespace,

where they can come to collaborate,

create, and showcase the best of what they have been doing and push

themselves, as artists, to the next

level—to be bold and go beyond their boundaries.”

together and address things in a way

What can the WKCDA do to help

what we have in common even when

said: “We have amassed a group of

that brings us together, that shows us we disagree. We start from the big questions and the big ideas that inspire us and then find the

programming vehicle to explore these big ideas.”

So how will the WKCDA work with its

Freespace build its audience? Alison audiences from all the years of

previous programmes, so I think a lot of people have been eagerly waiting Freespace’s opening. Now they can

finally come and see it and be a part of it for themselves.”

peers in local and international

Freespace’s first programme, From A

said: “In the past five years, our team

held in June, and more exciting

performing arts communities? Alison have been building all kinds of

partnerships with Hong Kong artists, from emerging independent young

people to the most established big

names in Hong Kong. They have also built partnerships with international

artists and arts institutions, and these partnerships lay the groundwork

before the buildings open. Now these

True Story by Christian Rizzo, was

programmes are already scheduled in the coming months. Check out WKCDA’s website for details. freespacewestkowloon westkowloon

西九文化區

「明」

神秘証人：張X偉 Secret Witness: Cheung X Wai

Paul Klee’s Seiltänzer (Tightrope Walker) The theme of balance was an important one in Klee’s art, and it was a subject which he also emphasised to his students during his time as a teacher at the Bauhaus from 1921-31.

Several of his works feature a tightrope walker, and in a lecture of 1921 Klee stated: “The tightrope walker with his pole (is a) “symbol of the balance of forces.” He holds the forces of gravity in balance (weight and counterweight).

He is a pair of scales.” The tightrope walker in this print is balanced on a structure of horizontal, vertical, and diagonal lines which looks precarious but perfectly balanced.

(Text source: National Galleries Scotland)

誠邀讀者捐出與表演藝術相關的明信片。請將明信片聯同姓名、電郵地址， 信封面註明「明信片徵集」寄送到：香港觀塘鴻圖道75號KOHO 6樓騰訊眾 創空間 (香港)表演場收 If you have any unwanted postcards related to the performing arts, we welcome your donation. Please send the postcards with your name and email address to the following and mark “Postcards Donation” on the envelope: Tencent WeStart (Hong Kong), 6/F, KOHO, 75 Hung To Road, Kwun Tong, Kowloon, Hong Kong (Attn: The Art Venue)

偵探

Hidden stories in postcards

插畫：芝麻羔 Dreamergo

一宿雖有哭泣，早晨定必歡呼。 Weeping may last for the night, but a shout of joy comes in the morning.

The Art Venue Bi-Weekly 表演場雙週刊 : 9 :

V ue Bi-Weekly Ven Bi-Weekl -W -Weekl y 表演場雙週刊 : 11 : The Art Venue

嘉賓

西九表演藝術藝術總監方美昂

Guest

Alison M. Friedman, Artistic Director, Performing Arts, West Kowloon Cultural District Authority

心水餐廳

唞唞咖啡(位於西九海濱長廊)

Restaurant

Rest Coffee House (Located at the West Kowloon Waterfront Promenade)

《表演場》創辦人Winona陳慧明將每 期邀請嘉賓推介心水餐廳，餐桌上講 東講西。

方美昂（Alison M. Friedman），現任西九文化區管理局 表演藝術部藝術總監，此前創立乒乓策劃公司，並曾在中 國工作15年。她於2017年來到香港，加入西九工作。為了 讓大家進一步認識這位來港一年多，能說得一口流利普通 話的美國人，今期《「明」人飯局》特別邀請了Alison擔 任嘉賓，分享她的藝術之路。

陳：你是如何開始加入藝術界工作？ 方：我讀書的時候已喜好藝術，一直 有參與不同的演出。後來在大學修讀 中文，獲得富布萊特獎學金資助，於 2002年至2003年，到北京大學歷史 系和北京舞蹈學院擔任訪問學人。

我在北京的第一份工作是中國國際廣 播電台的DJ（音樂節目主持人），後 來又當過獨立製作人，也曾在不同的 表演團體工作過，包括作曲家及指揮 家譚盾的工作室。後來於2010年成立 自己的公司─乒乓策劃，現在來到西 九。

The Art Venue Bi-Weekly 表演場雙週刊 : 13 :

方：比較香港跟中國的表演藝術環 境，最大的不同之一是藝術資助。中 國的表演藝術機構主要分為兩種，一 種是國家經營及管理，另一種是全商 業營運；香港則有藝術發展局這種獨 立機構提供資助，所以相對而言，為 表演藝術提供較多的支持。不過，現 時香港表演藝術資助的目標，主要集 中於節目製作；因此，西九的表演藝 ▲ 令人印象深刻的和牛三文治，色香味俱全。 A perfect Japanese beef sandwich that is only offered here.

術團隊希望利用我們的空間，去支持 藝術創作，提升藝術創作過程的水平 及作品的質素。

陳：為什麼你會創辦乒乓策劃？而後 來又決定到西九工作呢？ 方：在北京擔任訪問學人時，我發現 通過表演藝術，可有效鼓勵不同國家 的文化交流；所以我創辦了乒乓策 劃，以開展文化交流為使命，希望能 夠藉此搭建橋樑，以表演藝術來促進 東西方的互動關係及理解。 當西九進行全球招聘，物色合適人選 出任藝術總監一職時，我覺得透過加 入西九搭建更大、更多的文化橋樑，

▲ 天氣好的日子，也可以坐在室外，享受香濃的咖啡 與清涼的海風。 Sitting outside during fine weather, enjoying a cup of aromatic coffee and the sea breeze, is a blissful delight.

所以便申請了這個職位。很幸運地， 我現在可以來到這裡，參與西九的工

餐廳資料

作；至於乒乓策劃，我已撒手不管，

Re s t a urant Information

交由我的前同事接手管理及營運。 陳：你曾在中國工作15年，現在來到 香港工作已一年多。你覺得兩地的表 演藝術環境有甚麼差別？

唞唞咖啡 Rest Coffee House

Alison M. Friedman is currently the Artistic Director of Performing Arts at the West Kowloon Cultural

District Authority (WKCDA). Prior to joining the WKCDA, Alison spent more than 15 years working in

China, where she founded Ping Pong Productions to promote

cultural exchanges. A native of

Washington D.C., Alison speaks

fluent Mandarin, and she moved to Hong Kong in 2017 to take up her

current position. Win.Guest.Food is delighted to chat with Alison about her career in the arts.

W: How did you start your career in the arts?

A: I am an arts lover who frequently participated in different performances at school. When I was at Brown University, I studied Chinese and became a 2002-03 Fulbright scholar to China, where I was in residence at Peking University and the Beijing Dance Academy.

My first job in Beijing was as a DJ at China Radio International. I then worked for different performing arts companies, including the office of composer and conductor, Tan Dun. In 2010, I founded my own company, Ping Pong Productions, and now I am here with the WKCDA. W: Why did you found Ping Pong Productions? And why did you join the WKCDA? A: When I was in Beijing as a Fulbright scholar, I realised that performing arts is a very effective way to encourage deeper understanding between different countries and cultures.

This realisation inspired me to use performing arts to bridge different sides of the world to promote interaction and understanding. I founded Ping Pong Productions with a mission of cultural exchange. We averaged more than 200 productions every year and brought our productions to more than 60 countries.

I applied for the position of Artistic Director at the WKCDA when they kicked off their global recruitment efforts, as it was a platform to build bigger bridges. I am lucky to be here as part of the WKCDA. My former colleague has taken over Ping Pong Productions, and I am no longer involved.

W: You have more than 15 years of working experience in China and have been working in Hong Kong for more than a year. Do you see any differences in the ecology of the performing arts sector in these two places?

A: One of the main differences between the two places is arts funding. In China, an arts organisation is operated either by the government or by a private entity.

There is no independent organisation like the Hong Kong Arts Development Council to provide support to the arts.

Compared to China, the support for performing arts is stronger in Hong Kong. Having said that, the support is mainly for final productions. Our performing arts team would like to use our spaces to facilitate the creative process. We are hoping that such support will advance creativity.

Featured Story

專題

The Art Venue Bi-Weekly 表演場雙週刊 : 15 :

Ch r i s ti an Ri zzo

克 里斯汀．赫佐

報導

─ 來自法國 的 鬼 才 藝 術 家

法國蒙彼里埃國家編舞中心藝術總

赫佐 在 香 港 的 日 子 ， 剛 好 遇 上 兩 次

監─ 克里斯汀．赫佐，是當代舞

大規模的遊行示威，分別有一百萬

蹈代表性人物。從二十六歲開始成

及二百萬人出席，訪問時話題很自

為職業舞者，從未師從任何人，對

然便談到世界的混亂，又串連到網

舞蹈的認知都是從小到大在夜店中

絡訊息發布。他說他仍相信人性

學回來的；直至三十五歲成為編舞

（humanity），但認為現今24小時在

家，才開始創出自己的一套動作

線的時代，當人們慣於待在網上獨

（他強調不一定是舞蹈），引起歐

處，問題便會出現。

洲當代舞蹈界的騷動。

擺在眼前不等於真實

在剛過去的六月，赫佐將《來自真實

「社交媒體的興起，可讓人們沈迷其

的故事》帶到香港，是他的作品首次

中，變得自我中心；虛擬世界看似熱

在香港觀眾面前亮相，同時為西九自

鬧，其實卻沒有真正與人溝通，失去

由空間的開幕打響頭炮。在港期間，

了與人們見面所得到的益處。」他舉

他還要主持一場公開講座，及帶領一

例，從前坐火車的時候，大家會跟坐

個五天的舞蹈工作坊；因此場主非常

在自己附近的陌生人打招呼或聊天，

感恩和榮幸，赫佐願意接受「緊急」

但現在人們上到火車後，便低頭滑手

邀請，在離港的當天進行專訪，聊天

機，不會跟人溝通，也不會去觀察身

南地北。

邊的事物。

圖片來源 Photo Credit: Christian Rizzo

只埋頭在網絡裡，會錯過感受真實的 世界，包括忽略現場表演的精彩之 處。赫佐告訴場主，當他問旁人有否 看過他的演出時，很多都會回答說 有，但問到他們在哪裡看，得到的回 覆卻是在網上看影片。赫佐說，看錄 影不等於真的看過那個演出，因為舞 台演出的現場氣氛、在場觀眾的反 應、當時的環境等等，都是演出的一

▲ 法國蒙彼里埃國家編舞中心ICI – CCN Montpellier - Occitani

部分，不在現場觀看是無法感受到這 些種種。 另外，他又指出，現在資訊泛濫，也讓 輕易得到資訊的人們，誤以為已掌握了 知識、體會到經歷，例如在網上看過烹 飪的短片，便自以為學會片中示範的菜 式。「這是個人們將資訊與經驗混淆的 時代，令人的思想變得簡單及薄弱，連 帶影響到思維、生活品質、對事物的理 解、身體反應等等都失去了多樣性。文

創作需要做選擇及承擔後果 「藝術作品不同於工業生產的產品，其 誕生不是純粹只為消費，判斷優劣要看 藏於背後的靈魂。所以如果做出純粹商 業、受人觀迎的演出，一點也不難，但 如果是高質的藝術創作，創作者便要有 所付出及願意冒險。」赫佐認為，好的 藝術創作是必需創作者本身有深厚的經 驗與經歷，然後轉化成創作靈感，再製 作出優秀的演出作品。

化應由豐富的內涵累積出來，如果藝術

常常被問到如何創作出成功的作品，

家或創作人的思維和經驗都是沒有層

他的回應是：「藝術創作不是要找到

次，他們所創作的作品都會變得膚淺，

成功方法（solution）才創作，而是

缺乏文化厚度。」

先要嘗試及經驗，從錯誤中學習

要親身領會內在靈魂 赫佐再以自身作例，證明虛擬與現實 怎樣予人截然不同的影響。他說很喜 歡觸摸得到的東西，因為當一個人接 觸一件物件時，看似只是身體動作， 但其實腦袋也需要配合，是給身體 （physical）與思想（mental）的訓 練。「身體的肌肉是有記憶的，通過 與外物接觸，記憶便從肌肉傳遞到腦

（trial and error）。另一方面，作為 藝術家，要往內看，亦要向外看，即 是創作者需要尊重觀眾，要問自己透 過作品可以帶給些甚麼給觀眾；可以 是關於個人深度的經歷，但不應有自 我良好（ego）的成分；而且應該超 越自己的限制；比如頭腦想像受限 制，便會導致身體動作受限制，演出 便不會好看。」

袋；例如拿起一本印刷書看，不論是 身體、還是腦袋，都會有了記憶，所 以容易保存起來。」 反觀社交媒體或電郵傳遞的訊息，因為 缺少了觸摸那一環，對他而言不容易保 存下來，轉過頭便忘記了。他續道，接 觸一本印刷書，能感受到背後出版人的 靈魂；但一個電郵，卻是冷冰冰的，做 不到相同的效果。同樣道理，藝術作品 的好壞，亦是看其本身能否載有創作者 的靈魂；赫佐話題一轉，開始談到自己 對表演藝術好壞的看法。

▲ 場主Winona跟赫佐在訪問後合照

The Art Venue Bi-Weekly 表演場雙週刊 : 17 :

Christian Rizzo – A dance icon from France Christian Rizzo is the director of ICI – CCN Montpellier - Occitanie. His work From A True Story premiered in Hong Kong in June and was the first official performance of the newly opened Freespace. Winona of The Art Venue had the pleasure of interviewing him on the last day of his stay in Hong Kong, catching him with a last-minute interview invitation.

Rizzo became a professional dancer at 26, even though he never received any formal dance training. All the body movements he learned were from clubbing. When he was 35, he became a choreographer and invented his own set of body movements (which does not have to be dance, he stressed).

During his visit to Hong Kong, there were two large-scale demonstrations that saw millions of people taking to the streets. Rizzo said he still believes in humanity, but when people become accustomed to being alone and self-centred, problems are bound to occur. The rise of social media and people’s addiction to it make people self-centred. It seems as if people are busy communicating with others, but the real communication is actually lost.

People are missing the benefits of meeting people and observing the world around them.

Sometimes people would tell Rizzo that they had seen videos of his works, but he would tell them that they had not really seen his works. This is because a performance is all about being live, which encompasses everything from the atmosphere in the theatre, the reactions of the audience, and the environment at the time. Many people now think that because they have easy access to all kinds of information, they possess experience and knowledge. Yet

watching a cooking video is not the same as knowing how to cook. There is a confusion between information and experience. This simple-mindedness impacts thinking, the quality of life, the understanding of different issues, and even physical movements. As a result, everything loses complexity and diversity. In contrast, a culture is rich because of its different layers. If an artist or a creative worker has a very simple mind-set with very little experience in life, their works will lack taste and cultural depth.

Rizzo like things that can be touched, as touching is an exercise for both the body and the mind. The muscles remember when the body moves. This is just like reading a book; the whole body, including the brain, will remember the experience and the memory lasts.

However, reading information from social media or emails is different because the information is easily forgotten. Rizzo usually does not open promotional emails. He said that when he holds and reads a book, he can sense the soul of the writer. An email does not give him the same sensation because it is cold.

This is the same as artistic creation.

Whether a work is good or bad depends on the creator, who imbues the work with his or her soul. A work is not a manufactured product for consumption. Manufactured products have no soul. It is easy to create a performance that sells, but good artists make tough choices, take risks, and bear the consequences. His or her layers of experience will become ideas and body movements during the creative process, and a high-quality performance will result.

r Venue rt V ue Bi-Weekly Ven Bi-Weekl -W -Weekl y 表演場雙週刊 : 19 : The Art