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微型舞蹈製作
Koyin Mini Dance Production 2019
對於人類個體與群體的樣貌除去性別視角
以舞蹈肢體的純粹建構表達方式
分享情緒與情感的溫度流動
連結表演者內在與外在的感知
與舞共處的時間
25 年
如果從第一次踏進舞蹈教室算起
在舞蹈世界裡感受自己的存在是一種活著的姿態
撿拾初心,作為一名舞者,擁有的是身體,僅有的最大財富也是身體,而風格就像一個程式,依照身體的年份、經驗與
性能,會有著不同的執行效果,我在這裡,是臺灣,但我渴望在這裡,用身體來旅行未曾浸泡過的歐洲舞蹈文化,試圖
在其中分享,關於人類共同的生命課題。
透過分別來自臺灣、法國、盧森堡,三位編舞家的作品,試圖以人的個體為出發,延伸至群體,像是人的感性、身體感
知與人的理性,如何表述意志的三種層次,由抽象的內在肢體感受,到顯明的外在肢體表述,探討自我需求、親密關係
與個體在社會互動關係中的表現。之於表演者,則是一個思考連結身體內在與外在表現的實驗場,藉著專注每個編舞家
對於身體感觸,個別的獨特需求,練習與分辨,串聯與轉換身體語言,使得作品風格更加立體化。
An interpretation of contemporary dance as a "person."
The recent dance of European contemporary style has prompted many dance artists to yearn for European
dance. They will not only study in Europe, but also participate in art festival exchanges and performances. There
are also many outstanding Taiwanese dancers working in the European dance group, due to the producer Yan
Keyin. As a Taiwanese dancer, I have no experience in actually working in Europe. However, through various
resources in Taiwan, I often have the opportunity to study and work with European-style dancers. This is
different from the European dance class education system. Impressed by the contemporary dance style.
Picking up the original intention, as a dancer, we have our body, the only wealth is also. Then, the dance style of
body (how to move) is similar like the program. According to the edge, experience and ability of the body, there
will be different execution effects. I stand, here is Taiwan, but I eager to experience the european dance culture
that I have never soak in, trying to share the common life issues of humanity.
Through the works of three choreographers from Taiwan, France and Luxembourg, we try to extend the
individual to the group, such as human sensibility, body perception and human reason, and how to express the
three levels of will. The abstract inner body feels, to the explicit external body expression, to explore the
self-demand, intimacy and individual performance in social interaction.For the performer, it is a test field that
connects the inner and outer performances of the body. By focusing on each choreographer's personal feelings,
individual unique needs, practicing and distinguishing, concatenating and transforming body language, making
the style of the work More three-dimensional.
自由舞蹈工作者。國立臺北藝術大學舞蹈研究所
曾與澳洲舞蹈劇場創辦人 Elizabeth Cameron Dalman (Director of Mirramu Creative Arts Centre)、荷蘭 NDTIII 舞者 David Krugel、德國福克旺
駐校編舞家 Henrietta Horn、法國編舞家 Lucas Viallefond、Claude Aymon (Claude Aymon-c2a)、英國編舞家 Avatara Ayuso(AVA dance company)、
台灣編舞家董怡芬、林文中、蔡博丞、詹天甄、日本編舞家折田克子、紐西蘭編舞家 Rosalie van Horik、Mauric Fraga 工作,並擔任其作
品舞者。
2018 年參與文化論壇演出、<親愛的寂> _KoyinEyes 製作召集人與編創小品< Double H. 人人>
2017 年參與索拉舞蹈空間年度製作<打南無>、<聲體>音樂舞蹈跨域創作;並於全國研究生舞蹈學術研討會,發表編舞作品<渺>,同年
也在台北藝術大學舞蹈系主辦的北北風之夜,發表編舞得獎作品<線>
2016 年參與文化部東南亞交流計畫 DANCE IN ASEAN-Sart Kampuchea,與柬埔寨當地傳統舞者進行一個月的交流與編創演出,並加入
水影舞集年度製作<繁花>,以及台北藝術大學秋季展演-輕狂,擔任張國韋作品<鏡界>之舞者
2015 年擔任國際青春編舞營編舞者,編創作品<Immersion 沒>,並參與北藝大舞蹈系初夏展演,擔任林文中作品<長河>之舞者,同年加
入太古踏舞團年度製作。於 2014 年獲 ADF-中國河南課程獎學金,進行一個月的舞蹈交流與編創
Freelancer. A dancer, choreographer, dance teacher. Studying in dance performing arts of dance school, Taipei National University of the Arts.
Had worked and performed with Elizabeth Cameron Dalman (Australian Dance Theatre Founder)、Claude Aymon (c2a)、Po-Cheng Tsai (B.Dance
director)、I-Feng Tung(Taiwan)、折田克子(Japan)、Avatara Ayuso(AVA dance company)、Rosalie van Horik(New Zealand)、Mauric Fraga、
Harold Collins、Martin Fredmann. Also played main role in some works with theatrical company and joined some short tern works of other
group.
+表演者群 Performers /
李宗霖 Zong-Lin Li
國立台灣藝術大學舞蹈系畢。台北人。自由藝術工作人員。
關於《FREE STEPS》
起始於 2012 年的編舞計畫,每一次的編舞機會都以 Free Steps
為題目,以舞者的身體與舞步為顏料,聲音與空間為畫布,盡情
揮灑。
Is series of choreographic project for myself, start from
2012. Everytime are take “Free Steps“ for main point. Use
body and step for pigment, sounds and space for canvas,
do improvisation freely.
音樂 Music:Yannick Dauby
肆 SI’
「肆」,在中文代表著正規數字四,同時也有著放
縱,恣意而為的意思。
放入作品裡,正是舞者的人數。 四個分別的個體,
藉由機械式與人性化的節奏,帶出精確的時間感和
空間性。
作品對於個體在群體中的存在性,提出了疑問:群
體的構造與形成過程,以及集體力量的存在對於每
一個人的影響性。封鎖在舞者身體裡去創造解放與
壓迫之間的動作變化,將作為視覺空間裡一種可被
看見的脈絡,這也是編舞家 Jill Crovisier 最感興趣的部分。
SÌ, which means four in Chinese, stands for thnumber of dancers in this work. Four individuals share for a precise
moment their time and space guided by a geometric and human rhythm. This work questions the existence of
an individual inside of a group, the formation and deformation of the herd and the importance of each person
to create the force of the unity. Appearing as white tracing lines in space, the evolution inside the dancers
body, enclosed between liberation and oppression , is what interests the choreographer here most.