「Kid Box」佔了很大的版面,要更加油了~




About fengdance

Feng Dance Theater 英國Huffington Post 讚譽風乎舞雩的演出「卓越輝煌的冒險家,燦爛而迷人。」 Huffington Post : Brilliant, captivating, enthralling.風乎舞雩 Feng Dance Theater 2015 獲選台南市傑出團隊首選 2014 獲選台南市傑出優良團隊 2014/2 「Kid Box」獲選文化部2014愛丁堡藝穗節台灣季(Taiwan Senson)」節目之一。 2013/4、5 風乎舞雩以文會舞2013春季製作【母親】,獲國家文化藝術基金會、台北市政府文化局補助。 2012/12、2013/2、4、5 風乎舞雩【以文會舞】,獲文化部、臺南市政府文化局補助。 2012/8 風乎舞雩【關係】精緻篇,獲第11屆台新藝術獎–表演藝術第二季提名。為南台灣少數可以在台新藝術被提名的團體與製作。 2012/3 製作風乎舞雩2012年度製作【關係】,獲國家文化藝術基金會補助。 2012/2 獲文建會補助“物件下的肢體實驗”,並與風乎舞雩排練場舉辦實驗呈現以及座談討論會。 2011/7 製作【詠而歸】,獲台積電文教基金會、台南市政府文化局補助。 2011 獲100年台南市傑出演藝團隊—扶植團隊。 2011/3 製作【痕跡下的痕跡,痕跡上的紋路】,獲國家文化藝術基金會、菁霖文化藝術基金會補助。 2010/6 製作顏鳳曦「痕跡」系列作品【痕跡.紋路】,獲衛武營藝術文化中心籌備處補助,並獲衛武營6月月訊藝文活動首選。 2007/11、12製作【2007大膽創作集合】,獲國家文化藝術基金會、文化建設委員會、台南市政府文化觀光局、菁霖文化藝術基金會補助。 2006/9 演出聚團第一次製作【1997~2005顏鳳曦作品集】,獲國家文化藝術基金會、台南市政府文化局補助。 評論: 英國Huffington Post 讚譽風乎舞雩為「卓越的冒險家,燦爛而迷人。」 『新藝見』中國時報 2012年甫開春,顏鳳曦就帶領「風乎舞雩跨領域創作聚團」的一群年輕生命,在古都臺南再度投下一顆震憾彈:2012年度製作《關係》。 在緊密的黑盒子中,觀眾席不斷傳出低低的讚嘆聲。 表演藝術評論台 在檜香屑浸化成長–臺南藝術節《母親》—從早期的霹靂外放逐漸轉入內化的情緒演繹,這應是創作者個人歷程轉變的寫照,也是對生命體悟的另一層表現。看來風乎舞雩跨領域創作聚團已在自己的創演地圖上,《母親》是延續這段新里程的路標。〔戴君安〕 詩意、舞台調度與形而上《母親》—《母親》試圖從文學中找尋舞蹈的詩意,「以文會舞」,從意旨鮮明的動作設計,到舞台空間及視覺意象,到舞者之間的〔母子〕關係,用心製作。〔李時雍〕 Feng Dance Theater Review: The Relationship: Refined Version (2012) Courtesy of Fengdance Multi-Art Creative Ensemble Choreographed and directed by Dominique Yen Nominated for the Performing Arts category in the 11th Taishin Art Awards (Season 2) The formation of all relationships is comparable to growing plants. A satisfying interpersonal relationship is cultivated using a gardener’s approach, with genuine, hands-on care being the pre-requisite for survival and growth in every developmental stage, from encounter, acquaintance to personality-identifying. An untended relationship, on the other hand, is doomed to wither and die! Built around a relationship between two lovers, The Relationship is an effort to expound on loving and being loved, accepting and being accepted, trusting and being trusted, among other emotional states involved. The project depicts different modes of relationships to illustrate how people connect with others, and with themselves. The Relationship has broken the boundary between art and everyday life, turning everything happening on the stage into a family of dance, drama, lighting, music, images and costumes, while at the same time, eliciting the imagination to bridge the gap between art and reality in an attempt to explore relationships. Mother (2013) Courtesy of Fengdance Multi-Art Creative Ensemble Choreographed and directed by Dominique Yen A successful take on transforming literature into, and fusing Asian literature with, dance Fengdance invariably bases its productions on Taiwan’s grassroots literature in the hope of crossing regional and national borders via dance, presenting productions that embody a most intense yearning for one’s homeland. Mother is textually inspired by winning works from the Tainan Literature Award, namely The Door, The Seamstress and Morning Glory by Zhuang Ya-wen and The Small Room by Yang Zong-zhe. “A combination of attitudinal flexibility and inner strength; Asian content presented in a Western art style” Mothers, who do all the seemingly mundane and simple things, are actually the greatest people in the world. The homegrown masterpiece Mother is an adaptation of Taiwanese grassroots literature, which has long lent vitality to Fengdance’s productions. Depicting Taiwan as a place steeped in love and warmth, Fengdance expects the audience to share the joy of seeing in Mother, how the heart-touching Taiwanese soil, or Mother Earth, is manifested in the forms of grassroots culture, grassroots literature and Taiwan itself. ● “As spring began in 2012, Dominique Yen led the young members of Fengdance Multi-Art Creative Ensemble to once again impress the historically significant Tainan City with its annual production: The Relationship.” “The Relationship kept drawing gasps of awe from the audience in an enclosed black box.” Taishin Arts Review, China Times ● “Feng Dance is replacing its signature exuberant style with inward reflections on emotions, which presumably underscores how the producer herself struggled at a personal turning point and emerged with a renewed perspective on life. Mother seems to be an extension of milestones in Fengdance’s roadmap for successful stage productions and performances.” Immersed and Growing in the Hinoki Sawdust: Mother at the Tainan Arts Festival, by Tai Juan-ann ● “Mother is an attempt to scour literary works for the poetic essence of dance. It is a literature-based dance production with attention paid to every detail, from the unequivocally meaningful choreography, stage design and visual effects, to the dancers’ portrayal of a mother and son bond. The producer incorporated literary language into Mother, only to be restricted by the particular form of such language.” The Poetic Theme, Stage Arrangements and Metaphysical Elements of Mother, by Li Shi-yong, Performing Arts Review
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