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[中][ENG]促進亞洲舞蹈跨文化合作及理解 雲門《半身相》作為案例 Promoting Cross-cultural Collaboration and Understanding in Asian Dance with Cloud Gate Theatre and Behalf as Case Study

(左起)陳武康與皮歇.克朗淳 (From Left) Chen Wu-kang and Pichet Klunchun ;
《半身相》之官方宣傳照 Official Promotional Photos of Behalf

 

西九文化區於2017年發起探索成立亞洲地區舞蹈網絡的可行之途,經過接近兩年的研究,今年5月Asia Network For Dance (AND+網絡) 正式在港啟動。西九文化區管理局表演藝術主管(舞蹈)、AND+ 2018-19 聯合召集人陳頌瑛介紹,AND+旨在聯結、發展與加強亞洲地區的舞蹈實踐,架構上摒棄層級和會員制,追求信息的自由流動與不同地區同業的平等合作。她看到的是亞洲舞蹈界正面臨重重挑戰,其中跟亞洲多元的文化背景有關。今年五月由西九舉辦的製作人網絡會議及論壇(PNMF)的分組會議中,AND+的成員及亞洲舞蹈業界聚首一堂,討論跨文化合作的例子,當中的挑戰和機遇。

 

In 2017, the West Kowloon Cultural District (West Kowloon) initiated a discussion about the feasible ways to form a new Asian dance network. After nearly two years of study, the Asia Network for Dance (AND+) was founded in Hong Kong in May 2018. Anna CY Chan, Head of Dance at West Kowloon and AND+ Co-Convener 2018 – 2019, said that AND+ aims to connect, develop and strengthen contemporary practice in dance within Asia. Seeking free flow of information and equal collaboration among fellow dance practitioners from different areas, the network has no hierarchical structure and membership system. She notices the present challenges of the Asian dance scene and some of them are related to the diverse cultures of Asia. In the breakout sessions at the Producer’s Network Meeting & Forum (PNMF) organized by West Kowloon in May 2018, members of AND+ met with dance professionals in Asia to discuss cases of cross-cultural collaboration as well as challenges and opportunities they presented.

 

AND+ 核心小組 AND+ core group;
圖片由西九文化區管理局提供 Photo Provided by West Kowloon Cultural District Authority

 

AND+啟動  迎接亞洲舞蹈界各種挑戰

AND+ kicks off to embrace challenges for Asian dance scene

 

西九文化區管理局先後於2017年5月、2017年11月及2018年2月在香港、印尼雅加達及日本橫濱,帶領亞洲地區舞蹈界同業開會商討網絡的目標、願景及合作方式。

 

Leading dance professionals in Asia into discussing the vision, mission and means of collaboration of the network, several meetings were held in Hong Kong (May 2017), Jakarta, Indonesia (November 2017) and Yokohama, Japan (February 2018) by West Kowloon.

 

 

陳頌瑛認為,亞洲舞蹈界正面對重重挑戰,其一,亞洲地域廣闊,有著多元而迥異的語言、歷史、地理和文化,在藝術創作上必然要思考如何面對不同的文化傳統、觀眾需求與實踐差異,「哪怕我們都生活在亞洲,我們對旁邊的地區仍然瞭解甚少」;其二,「當代」一詞有多重含義與多種詮釋方式,需要在不同文化語境中深入地再探索;其三,亞洲地區專門為舞蹈而設的場館少之又少。由此,同業之間的深入交流與資源共享顯得尤為重要。AND+的設立初衷正源於此。

 

Chan believes that the Asian dance scene is facing various challenges. First of all, Asia is a vast area encompassing diverse languages, histories, geographies, and cultures. How to deal with different traditions, audience demands and varying practices are necessary issues to be considered in artistic creation. ‘We know little about our surrounding regions even though we live in Asia’; secondly, there are multiple meanings and interpretations for “contemporary” that we need to explore it in more depth in different cultural contexts; thirdly, dedicated venues for dance within Asia are scarce. Exchange and resource sharing among fellow dance practitioners, therefore, are of utmost importance. This is exactly how the idea of AND+ was brewed up.

 

 

回顧過往的幾次會議,2017年的香港會議初步定出六個大方向,敲定之後兩次會議日程並建立了工作小組;2017年的印尼會議則落實了未來三大目標,並實行「mapping exercise」,讓成員分享、瞭解亞洲的舞蹈地圖,短時間內羅列該地區各種藝術節、駐留項目、網絡平台及資助機構的信息;2018年的橫濱會議落實了網絡的名稱、使命及架構。至今年五月AND+正式啟動,正式公佈其目標為:一,分享業界知識及資訊;二,擴展及加強連繫舞蹈專業人員;三,提升舞蹈在亞洲地區及國際間的可見度。

 

Reviewing the results of past meetings, that the Hong Kong meeting held in 2017 preliminarily identified six key directions, set out itineraries of the forthcoming two meetings and established a task force; the Indonesian meeting in 2017 confirmed three major goals and implemented the “mapping exercise”, a practice to list information about dance festivals, residency programmes, networks and funding platforms of the regions within a short period of time, for members to share and learn about the dance maps in Asia; and the 2018 Yokohama meeting confirmed the name, vision and missions and framework of the network. AND+ was inaugurated in May 2018 with three official goals announced: To share knowledge and information; to expand connections for dance professionals, and to strengthen the visibility of dance within and beyond Asia.   

 

 

至於網絡的運作方式,陳頌瑛表示,希望摒棄由上至下或由下至上的組織層級,打造橫向組織,重視平等開放與分享。來自不同地區的舞蹈專業人員組成了AND+的核心小組,以3年為任期,負責分享資訊、向藝術家與製作人推廣AND+,以及幫AND+連結其他網絡等。今年5月的第一次核心小組會議,開設了AND+的facebook帳號外,也敲定了未來的數次會議,將先後在高雄/台北、墨爾本、新加坡/吉隆坡、橫濱、雅加達、邦加羅爾及上海舉行,並確定了每次會議的召集人。

 

Regarding the operation of the network, Chan said that they want to abandon the top-down or bottom-up hierarchy and set up a horizontal organization attaching great importance to equality, openness, and sharing. A core group of AND+ was formed by dance professionals from various regions with a tenure of three years. The group is responsible for disseminating information, promoting AND+ to artists and producers and to facilitate connections between AND+ and other networks. At the first meeting of the core group held in this May, group members agreed upon that the several upcoming meetings will be held in Kaohsiung/Taipei, Melbourne, Singapore/Kuala Lumpur, Yokohama, Jakarta, Bangalore and Shanghai and they also confirmed the convener of each meeting, in addition to creating an AND+ Facebook account.

 

 

「所有這一切都源於我們熱愛舞蹈,想要做得更多。」陳頌瑛說。參與的製作人們則就AND+的目標及願景展開分組討論,探討AND+如何能運作得更好,以及網絡將如何實質上幫助參與者及其作品的發展。之後一天的計劃分享環節,來自不同地區的製作人分享不同的舞蹈項目詳情,討論藝術創作、觀眾參與、舞蹈社群的發展等方面。

 

“All these are grown from our passion for dance that we are propelled to do more,” said Chan. Producers participating at the meeting engaged in group discussions on the goals and vision of AND+, a better operation of the network and how it can actually benefit participating dance professionals and their works. In the program sharing session on the next day, producers from different areas shared details of their dance projects and had discussions about art making, audience engagement, and development of dance communities, etc…

 

PNMF中舞蹈分舞分組對話
Dance Parallel Session of PNMF: Dance Forum Issue in Presenting Artistic Transnational Collaboration & Co-Production Work; 圖片由西九文化區管理局提供 Photo Provided by West Kowloon Cultural District Authority

 

雲門牽線提供資源  促成台泰藝術家合作

Cloud Gate provides resources to bring about Taiwan-Thailand artist collaboration

 

AND+嘗試連接亞洲不同地區的藝術家和製作人,發展跨文化的舞蹈實驗,不同文化背景的編舞家如何切入對方的創作世界,又如何向不同文化背景的觀眾展現其作品?由台灣雲門劇場牽線,台灣舞者陳武康與泰國舞者皮歇.克朗淳所合作的《半身相》正是一個絕佳的案例。

AND+ tries linking up artists and producers from different areas of Asia to develop cross-cultural dance experiments. How do choreographers of different cultural backgrounds get into one another’s creative worlds? And how do they present their works to audiences of distinct cultural backgrounds? Behalf, a collaboration between the Taiwan choreographer Chen Wu-kang and the Thai choreographer Pichet Klunchun which is facilitated by Cloud Gate Theatre, is an exemplary case to illustrate. 

 

 

雲門劇場節目經理陳品秀說,雲門一直在尋找「下一個編舞家」。除了為年輕藝術家提供展示作品的平台,雲門也希望做得更多,不論是送藝術家去亞洲地區「貧窮旅行」的「流浪者計劃」,資助年輕藝術家做不同項目的曼菲獎助金,還是獲林懷民及鄭宗龍親身指導的「創計劃」,都是提供各種資源,幫助年輕藝術家培養創作能量。「這三個計劃,都不要求有任何的產品出來。」她說,「而為什麼這次要做《半身相》,也是希望提供我們的技術、行銷的策略、市場的資源等,讓藝術家到傳統裡面去,找到自己的答案:我是誰?我想說的是什麼?」

 

Chen Pin-hsiu, Program Manager of Cloud Gate Theatre, said that Cloud Gate has been looking for “the next choreographer”. Besides serving as a platform to showcase the works of emerging artists, Cloud Gate also wants to offer more, be it the “Wanderer Programme” to send artists to areas of Asia for “poor travels”, the LMF Dance Fund to subsidize young talents with their projects, or the “Art Makers Project” in which awardees will receive mentorship from Lin Hwai-min and Cheng Tsung-lung. These are all resourceful programs to help young artists nurture their creative energy. ‘We do not ask for any products from these three programs,’ she said. ‘The reason for us to produce Behalf is, with our technical support, promotional strategy, marketing resources, etc., that we want to help artists dive into traditions to find their own answers [to questions such as]: Who am I? What do I want to say?’

 

 

在別人的傳統文化尋找自己
Finding Oneself in the Traditional Cultures of Others

 

到傳統中,是為了去找自己的路,大概是武康在這次創作中最大的感受。這個祖籍廣西的台灣第三代外省人,本來少年時夢想成為Michael Jackson,卻誤打誤撞在芭蕾中找到內心的平安。「那時積累了很多錄影帶,看到的都是金頭髮藍眼睛的,我就跳著都覺得自己是金頭髮藍眼睛的。」

 

To find his own path in within tradition was probably Chen’s the strongest feeling of this work. A third-generation mainlander in Taiwan with a family history in Guangxi, he dreamt of becoming Michael Jackson when he was a kid. Yet he found his inner peace in ballet by chance. “At that time I had many videotapes and all the people I saw in them had blonde hair and with blue eyes. When I danced, I felt like I was had the same features.”

 

 

後來當完兵,加入舞團,然後又赴紐約進修,與編舞家Eliot Feld展開長期合作關係。美國社會混雜的文化,讓他對自己的身份有多點思考。「想起小時候,老師曾經問我們:你是台灣人嗎?一節課我們都沒有答案。」武康說:「後來回到台灣,有一年《春鬥》,(舞者)布拉瑞陽說他要回家,到部落去編舞。我想:你可以回家,那我呢?」他想起小時候身份證上寫著「廣西合浦」便打算去尋根。結果滿眼都是陌生,他忍不住吐槽:「關我屁事啊!」我是誰?這答案好像很難找,直到……

 

He joined a dance company after his military service. He went to New York for further study later and started his long-term collaboration with the choreographer Eliot Feld. The hybrid culture of America made him reflect on his ident

 

ity more. “I recall that when I was small, a teacher once asked us in class, ‘Are you Taiwanese?’ We hadn’t come up with any answers when the class ended,” Chen said. “After returning to Taiwan, I remember [the dancer] Bulareyang of Spring Riot once said that he was going home and back to his tribe to choreograph. Then I thought to myself, ‘You can go home, but how about me?’” He recalled his ancestral hometown “Hepu, Guangxi” written on his childhood ID card and so he set out to search for his roots. Everything he encountered there, however, was foreign to him and he couldn’t help complaining, “What do these have to do with me?” Who am I? It seemed difficult for him to find the answer, until…

 

 

「2016年,我遇到了皮歇.克朗淳。」

 

“I met Pichet Klunchun in 2016.”     

 

 

克朗淳自16歲起便接受泰國國寶級箜舞大師柴佑.庫馬尼(Chaiyot Khummanee)指導,學習泰國箜舞。卻也因為之後將箜舞「當代化」而在泰國受盡非議。2016年,他受邀訪台做講座,一天傍晚去拜訪武康。「他來了我的排練場,有點被嚇到。我那裡非常小,是一個鐵皮屋,左手邊是資源回收站,右手邊是一個關公廟。我們聊了很多,一起靜坐。那一刻,我的感覺是,我的『不純』,在他的身上找到另外一種對照——純正的泰國護照、純正的泰國傳統舞者……我想,和他合作是否可以找到peace呢?要不我們一起合作?」

 

Klunchun had been a protégé of Chaiyot Khummanee, a master of the traditional Thai Khon, since he was sixteen. His ‘contemporized’ interpretation of Khon, however, drew fierce criticism later. In 2016, he was invited to give a talk in Taiwan and he paid a visit to Chen one evening. “I was a bit scared when he came to my rehearsal studio. It is a tiny tin house. There is a recycling station on the left and a Guan Gong Temple on the right. We talked about many issues and then we meditated together. At that moment, I felt that I had found in him a contrast to my ‘impurity’ – a pure Thai passport, a traditional Thai dancer…Then I thought, would I find peace if I worked with him? How about if we collaborated?”  

 

 

之後兩人的創作交流,全在溫熱的生活中展開持續的對話。他們帶著自己的孩子穿梭曼谷與香港,互相拜訪對方的舞團。聊天、靜坐、暖身、上課、育兒……「我們去找製作人,一起討論是否需要戲劇指導,我們很認真地去思考排練的方向。但是我們一點不刻苦,比如排練時,我們會花兩個小時熱身,然後就聊天。」武康笑。

 

They started their collaboration and exchanges with ongoing dialogues afterwards. They brought along their children to travel back and forth between Bangkok and Hong Kong to visit each other’s dance company. They chatted, meditated, warmed up, went to class, took care of their children… “We had meetings with producers to discuss whether we needed a dramaturg. We thought over our rehearsal. Yet we were not diligent at all. When we rehearsed, for instance, we would spend two hours to warm up and then started chatting,” said Chen.

   

 

進入對方的生活中,卻愈見不同文化與傳統對身體的潤物細無聲。整個製作團隊也逐漸發展成一個跨亞洲的團隊,新加坡籍的獨立戲劇顧問鄧富權加入擔任劇作顧問,日本的藤本隆行來擔任燈光設計……而就在排練到後期,二人仍不放棄「生活」,跑到日本城崎國際藝術中心駐村,泡了兩個禮拜的溫泉。

 

Getting into each other’s life and understanding the refined body nurtured by different cultures and traditions gradually emerged. The production unit has also grown into an established team with professionals across Asia. The independent theater consultant Tang Fu-kuen from Singapore took up the role of dramaturg while Fujimoto Takayuki from Japan serves as lighting designer…Chen and Klunchun did not give up their “quality of life” even at the final stages of rehearsal. They participated in the residency program offered by the Kinosaki International Arts Centre in Japan and soaked themselves in onsen during the two-week residency.

 

 

製作人不斷反思跨文化合作需要什麼支援  如何向觀眾傳達文化意義

Producers Reflect on the Support Cross-cultural Collaboration Needs and Delivering Cultural Meaning to Audiences              

 

《半身相》製作人黃雯回顧這次合作說:「排練時,武康總是非常好笑,皮歇則非常嚴肅,感覺到兩種非常大的反差,然後二人嘗試去平衡。富權則在中間,不斷提醒:你們的目標是什麼。這是個非常獨特的體驗。後來在日本,他們又等於是跳出各自的文化背景,再去體驗,去思考。這時的藝術細節不被自己的文化背景所影響。在這整個過程中,我們不停想:藝術家要完成這麼一個合作需要的是什麼?時間?到現在作品已經進行了大概兩年多,仍然在發展中。空間?有不同的空間很重要,比如去駐村,是給藝術家不同的背景來思考。資源呢?除了硬件,我們還需要不同的觀眾。還有,這次我們嘗試讓藝術家在創作時仍然和孩子在一起,帶著孩子去創作,就連演出時,我們也為他們提供育兒支持。這是他們的生活,而這對創作很重要。」

 

When reviewing the collaboration, Huang Wen, Producer of Behalf, said, “During rehearsals, Wu-kang was always the funny guy while Pichet looked serious. Realizing there was a huge contrast, they both tried to balance it out. Fu-kuen would jump in and kept reminding, ‘What are your goals?’ It was a very unique experience. Later when they were in Japan, it was like they were jumping out of their own cultural contexts to experience and reflect. At that time, artistic details were not influenced by their own cultural backgrounds. During the whole process, we kept thinking what did the artist need for a collaboration like this? Time? We have been doing this work for over two years and it is still growing. Space? It is very important to be in various kinds of space. Taking up residency, for example, will provide artist a different backdrop to deliberate. How about resources? Besides hardwares, we also need a mixed audience. Moreover, this time we tried to let the artists stay with their children during their creative process; we even provided babysitting service when they performed. This is their lives that is key to creation.”

 

 

武康說,近兩年的創作過程中,雲門劇場非常尊重藝術家的選擇,只在舞作的名字上,建議將原有名字「身體傳統」改為「半身相」,這反而觸發了藝術家的再思考,將作品帶到了下一個階段。而在創作之初,團隊也已經考慮到將來會將作品帶到不同地區巡演,面對不同背景的觀眾。演出在形式上,實驗一種更冒險卻也有趣的互動——插入了問答環節,讓觀眾來決定什麼時候作品完結。「我們覺得這種權力的反轉非常重要。而且讓我們察覺觀眾腦中有很多想法正在進行。」武康說。

 

In the creative process, which lasted for about two years, Chen said that Cloud Gate Theatre had showed huge respect for the artists. The only change they proposed was the name of the work and suggested “Behalf” to replace the original “Traditions of the Body”. This inspired the artists to reflect over and brought the work to the next phase. In the beginning, the team already thought about touring to meet with different audiences. In the performance, they experimented with an adventurous yet interesting format – they included a Q&A session and let the audience decide when to end the performance. “Such power reversal is very important. It also enabled us to see that there were many thoughts going on in audiences’ minds,” Chen said.

 

 

這次創作,對藝術家來說是探尋傳統、回望自身的旅程;對製作人而言,則是如何理解不同文化背景藝術家的創作意圖,並將之傳達給觀眾的挑戰性過程。

 

To the artists, this work is a journey to seek out traditions and reflect on themselves; to the producer, it is a challenging process to understand the intentions of artists of different cultural contexts and then deliver them to the audience.

台灣舞者陳武康 Taiwan dancer Chen Wu-kang;
圖片由西九文化區管理局提供 Photo Provided by West Kowloon Cultural District Authority

 

 

每人對陌生文化各有解讀 

Everyone Understands Foreign Culture Differently

 

武康現場向大家示範了一段舞作,特別強調手和頭的動作,完結之後詢問大家看到的是什麼。有人說有泰國傳統舞的影子,有人說可以看到某種對芭蕾傳統的反抗。而武康說,這動作對他而言其實「很芭蕾」,甚至有些道教的感覺。現場不同的反饋有趣地呈現出當面對陌生文化背景的作品時,製作人/觀眾如何由自己的文化出發,解讀作品內涵。

 

Chen demonstrated on-site a part of dance in which hand and head movements were emphasized. After the demonstration, he asked the participants about the dance. Someone said there was significant influence of traditional Thai dance in it while some kind of rebellion against ballet traditions was noted by the other one. These movements, Chen said, were “strictly ballet” to him and even had a touch of Taosim. How producers and audiences interpret the work according to their own cultures when they see a work from a foreign cultural context was shown through various on-site feedback.

 

 

European Dance Network (EDN) 董事局成員來自意大利的 Roberto Casarotto 分享道,與台灣雲門舞集面對藝術總監換代的情況相似,EDN近年來也面臨不同舞蹈中心總監的換代。就網絡內部而言,不同地區的文化差異、代際觀念差異、新的社會環境所帶來的新議題等,都讓製作人們面臨更為複雜的多樣性局面。在面對跨文化合作時,將需要更深入的理解與更微妙的平衡。建立新的對話無疑是重中之重。

 

Roberto Casarotto, the Italian board member of the European Dancehouse Network (EDN), said that EDN has been dealing with the director succession issue for its dance centers, a situation similar to the succession of artistic director of Cloud Gate Dance Theater. Internally, with new issues brought up by cultural differences among different regions, differing values between generations, and new social environments, producers have to face a more complicated and diverse world. They need to achieve a deeper understanding and a more subtle balance when dealing with cross-cultural collaborations. Building up new dialogues is certainly the most important of all tasks.

 

 

而陳頌瑛則認為,當面對跨文化的合作作品時,製作人也許首先需要思索,挑選作品時,有否按自己的理解出發將作品「種族化」,並設定其發展方向?製作人與藝術家之間的力量又如何平衡——製作人多大程度上形塑了作品?

 

Chan believes that, when working on a cross-cultural work, producers may need to consider if they have “racialized” the work according to their own understanding and set the direction for its development in the selection process. And how to balance the power between producers and artists – to what extent has the producer shaped the work?

 

《半身相》的個案中,製作方給藝術家極大的尊重與自由,只提出改動作品名稱,這一改動,也許是出於市場推廣考慮,也許有助更精準地描述藝術家創作方向,都體現出製作人與製作方積極嘗試引導觀眾的視角。

 

In the case of Behalf, the production team gave enormous respect and freedom to the artists given that the only change they suggested was for the title of the work. Whether it is was out of consideration for marketing or to help depict more precisely the creative direction of the artists, such change demonstrates the efforts of the producer and the production team in guiding audiences’ perspective.

 

European Dance Network (EDN) 與 AND+ 在PNMF期間的計劃享環節; Project sharing of END and AND+ during the PNMF; 圖片由西九文化區管理局提供 Photo Provided by West Kowloon Cultural District Authority

 

 

觀眾「誤讀」可以解決也可以利用

Solving and Utilizing ‘Misreading’ by Audiences

 

接下來,如何真正觸及不同文化背景的觀眾,向觀眾傳達作品陌生的文化背景與藝術家的創作意圖,則是另一個考驗。特別對於來自亞洲的作品,當在歐洲或其他地區呈現時,很容易被標籤為「亞洲」或「東方風情」,甚至更簡單粗暴的「異國風情」。

 

How to reach out to audiences of varying cultural contexts and present to them the foreign cultural background of the work as well as the intention of the artist is another challenge. When shown in Europe or other regions, works from Asia in particular are very often labelled as “Asian”, having “oriental flair” or even as “exotic”, a brutally simple description.

 

 

正如陳武康所言,巡演時當然希望被視為普通的當代舞團,「但是我明白,如果不標籤為亞洲或者異國風情的,有時會比較難以歸類和推廣」。面對這種市場現實,製作人將採取何種策略來應對?

As Chen Wu-kang said, they prefer to be considered a normal contemporary dance company when going on tour. “But I understand that, without the ‘Asian’ or ‘exotic’ labels, we may be difficult to categorize and market.” What kinds of strategy will producers adopt to deal with this market reality?

 

 

墨爾本DANCEHOUSE行政總監兼藝術總監Angela Conquet認為,在演出前準備充分的公眾活動是重要一環。她以2015年將法國編舞家Xavier Le Roy的作品帶到澳洲為例,因為作品是非常新潮的觀念主義舞蹈,吸引澳洲觀眾有難度。「在澳洲,對當代舞的理解還停留在就是有『很多很多的動作』,沒人在意Le Roy是誰以及觀念舞蹈是什麼。」

 

Angela Conquet, Executive Director and Artistic Director of DANCEHOUSE from Melbourne, thinks that sufficient pre-performance activities are key. She cited her experience of taking the work of the French choreographer Xavier Le Roy to Australia in 2015 as an example. It was hard for the work to appeal to the Australian audience as it was emergent “Conceptual Dance”. “In Australia, perception of contemporary dance was still confined to having a lot movements and no one would care about Le Roy and Conceptual Dance.”

 

 

於是在演出前,主辦方策劃了系列的講座、對談、放映、展覽活動,圍繞這個作品以及當代舞蹈潮流進行了各種討論,用Angela的話說就是「為觀眾打造語境」。有趣的是,儘管做了詳盡的背景的介紹,演出後仍有觀眾問出了十七年前作品在法國上演時觀眾的同樣疑問:這是當代舞嗎?怎麼這麼動?這個人在做什麼? Angela說:「儘管如此,它仍然提醒我們要不斷嘗試瞭解作品的背景以及觀眾的語境,如果不做這個會是很大問題。」

 

The organizer, therefore, mapped out a series of talks, dialogues, screenings, and exhibitions to ignite discussions around the work and contemporary dance before the performance and “build a context for the audience”, as Angela puts it. Interestingly, although detailed introduction of the background had been done, after the performance audiences still had the same questions as those of the audiences in France when the work was shown there seventeen years before: Was it contemporary dance? Why do they move this way? What was this person doing? “In spite of this, we were reminded to keep trying to understand the background of the work and audience context. It will be a huge problem if we do not do this,” said Angela.

 

 

向觀眾傳達作品的文化內涵,需要製作團隊詳細鋪排。但對藝術而言,不同文化間的誤讀未必是完全的壞事。正如Mercat De Les Flors藝術節目策劃及策展人Marc Olivé所說:「我視(作品)被加上標籤為機會,讓觀眾發現完全意料之外的作品。對我來說觀眾如何標籤你並不重要,反倒是可以利用的。」

 

Production team have to come up with a detailed plan in order to deliver the cultural substance of the work to audiences. In the world of art, however, misinterpretations among varying cultures are not necessarily a bad thing. As Marc Olivé, Program Director and Curator of Mercat De Les Flors, said, “I consider the label [of the work] an opportunity for audiences to discover some totally surprising works. To me, how audiences label you is not important. And you can make good use of it instead.”

 

編按:此文亦刊於舞蹈手札20-5期印刷本,陳頌瑛之專欄「放眼舞林」

Editor's Note: This article is also published in DJ20-5 printed version, under Anna CY Chan's column An Eye On Dance

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