其他作品 Other Works

顏鳳曦作品

(1).【母親】MOM

【母親】MOM(2)

將文字轉換成舞蹈,以東方文學與舞蹈結合。

風乎舞雩取材本土文學並期望用舞蹈跨越地域與國界獻上土地最深情的情感與感受。以文學作者莊雅雯的《門》《裁縫》《藤仔花》與楊宗哲的《小房間》為製作文本。

編導與設計從閱讀文字,感受文字帶來的感受。一同探索舞蹈結合文學的突破性與可能性,使文學延伸更多的想像空間,帶領觀眾進入編導、設計群與作者的想像與意念。編導以生活與生命融入閱讀,將四篇文章作串連與統籌產生概念、發展主軸,連結所有設計共同在台灣土地上打造這世界上最無私的愛-【母親】。

 

【母親】概念

「柔軟的身段,堅毅的內心。東方的內涵,西方的形式」。

母親做著一切看似平凡而簡單的事,卻是世上最偉大的人。在兒女每一階段的成長中,母親將生命與心力奉獻給兒女,給予兒女最溫暖無私的愛。

「母親」意指大地、故鄉。

生命之所以偉大,存在於生命的付出。

 

(2).【關係】

關係精緻篇(2)

※獲「台新藝術獎」-第11屆台新藝術獎:第二季提名

形式:

將打破藝術和生活的界線,創作打破了舞蹈、戲劇、音樂、美術之間的界限。舞蹈劇場與多媒體音樂與影像的跨域結合。劇場引土於地面並運用傢俱及多媒體影像來引發空間與狀態的寫實與超寫實的想像。

場景(四季):

運用劇場設計將舞台打造成一個家,並結合整體劇場設計將空間引發成室內室外的空間概念,來引發寫實與超寫實的想像空間。(以簡單的戲劇結構與對白形成一道主軸來串聯所有的愛情片段。藉由愛情發展的關係下,以闡述關係的建立、關係的發展、關係的過程。進而敘述人在關係中,面對愛人與被愛、認同與被認同,信任與被信任的種種狀態。表面上看似一場愛情故事,但整個製作內容實質在探討人在關係上的建立與發展。)

序:從人與物件的關係帶入,發展至人與人的關係。

第一場:春

交會:個人與所有人的關係,都源自於自己對自己說的話。你對自己描述另一個人的故事。你與他人的關係,表現了你對他人的看法。當對方感覺我們在心中的形象時,就會把那個形象表現出來。

第二場:夏

交往:你來我往,彼此的互相動作產生出不同的關係而長出的花朵。

第三場:秋

交流:一段關係不只是兩人表面的互動,而是更深層與複雜的交流。

第四場:冬

相處:空間距離的遠近和時間的多寡並非會影響關係的建立。關係的建立在於和詣。近距離、多時間,也不一定可產生一朵和諧的花朵。

第五場:花園

和諧的關係如同清新而茂盛的花園。

第六場:個體與關係花園

自處:你與他人的關係反映你與自己的關係,關乎個人也非關個人。不同的我與不同人的關係。

 

(3).【痕跡下的痕跡,痕跡上的紋路】

痕跡下的痕跡,痕跡上的紋路(4)

舞蹈雖然沒有語言,但肢體語言是最貼近「人」的傳達媒材。

畫家Edvard Munch一生的創作,始終圍繞他自己在生命中親身體驗的經歷。

顏鳳曦想用作品表達對生命當下的感受。創作靈感為「人性」、「動物」、「競爭」。

舞蹈不像戲劇般有對話有言語,但肢體語言卻是無國界的。【痕跡下的痕跡,痕跡上的紋路】打破了藝術和生活的界限,也打破了舞蹈、戲劇、音樂、美術之間的界限。

 

總是讓觀眾無法預期的顏鳳曦,擁有洞悉人性的觀察力,創作以人為主,用創作探討人、生活與生命、執著且真實、簡單而深刻的個人獨特創作風格敘述作品中的生命。作品【痕跡下的痕跡,痕跡上的紋路】延續其舊作【痕跡下】之概念發展成整場60分鐘之作品,【痕跡下】首演於2005年台北城市舞台,數隔五年,期間,痕跡下於創作者的生命中生長,於2010年長成【痕跡.紋路】於高雄衛武營藝術中心展演,2011年顏鳳曦使作品更完整,在生活與生命經驗中生成【痕跡下的痕跡,痕跡上的紋路】於台南國際廳原生劇場展演,「痕跡」系列作品在臺灣演過20多場。

 

作品發展如第一段曲目,創作者對事之經過所引發的感受,隱藏在面具底下的是真心或謊話是作品的開始。以小蘇打粉為媒介,利用雪白粉末營造作品與劇場中的氛圍,雪白的粉末是作品中重要的角色,於空氣中、地面上、劇場裡、觀眾的心裡。而善於空間調度的顏鳳曦,結合演出之劇場空間,從大劇場至小劇場至戶外演出空間,使作品與空間融合,讓表演者跳出自身生命的故事並真實的活在作品中,隨著作品的層次與堆疊,為作品傳遞痕跡下的寫實與殘酷、痕跡上的彩虹與生活。以貼近觀眾的方式,讓觀眾如同置身於作品的場景裡,更真實的感受自身生命的痕跡。

【痕跡下的痕跡,痕跡上的紋路】融合舞蹈、戲劇、聲音對台灣的表演藝術發展具有相當的前瞻性意義和十足的獨特性,顏鳳曦的作品具有強烈的生命力與穿透力,【痕跡下的痕跡,痕跡上的紋路】得到許多淚珠,打動無數進場觀賞的觀眾,不僅感動社會上不同階層的人,也感動了不同國籍的觀眾。

 

 

痕跡               文|顏鳳曦

用筆在紙上劃一道,會留下筆痕。

用刀在木頭上刻畫,會留下刻痕。

眼淚流下的雙頰上,會留下淚痕。

當身體被切割開來,會留下傷痕。

傷口即使癒合,依然會看見疤痕。

舞者的身後,可看見舞跡。

蝸牛爬過的土地上,可看見踏實的軌跡。

動物打鬥後的現場,可看見殺戮的血跡。

踩死蟑螂的地面上,可看見無情的足跡。

車禍現場的道路上,可看見出事的殘跡。

 

《痕跡下》

生命裡,有許多痕跡,我們常常只看見表面的痕跡,而默視曾經發生過的事以及掩埋所有的感受。《痕跡下》是闡述在表面痕跡之下所看不見的痕跡…。

 

《痕跡上》

面對痕跡下的內在痕跡後,再度打開心房站在痕跡上道出對生命痕跡的感受。

在面對生命與生活時,如何保有自己最初單純的真心來刻畫生命裡的紋路。

Works of Dominique Feng-Hsi Yen

(1).Production: MOM

【母親】MOM(1)

Choreographed and directed: Dominique Feng-Hsi Yen

 

(2).Production: Relation- Refined Version(2012)

關係精緻篇(1)

Choreographed and directed: Dominique Feng-Hsi Yen

※Nominated for the Performing Arts category in the 11th Taishin Art Awards (Season 2)

 

(3).Production: Trace under the Trace: Grain Patterns above the Trace

痕跡下的痕跡,痕跡上的紋路(1)

Choreographed and directed: Dominique Feng-Hsi Yen

Although dance is an art form without words, its body language is a medium of artistic expression most intimate with humanity.

In a lifelong effort, Edvard Munch invariably constructed his paintings around personal experiences. Similarly, Dominique Yen seeks to express her immediate feelings about life through dance productions that are inspired by humanity, animals and competition.

Unlike drama, which is composed of words in dialogues, dance is an art form relying on body language; thus, it can overcome geographic/linguistic barriers. “Trace under the Trace; Grain Patterns above the Trace” blurs the boundaries between the arts and life, as well as those among dance, drama, music and painting.

 

Yen, who never ceases to surprise her audience with remarkable insights into human nature, takes an anthropocentric approach to dance productions that explore humanity, life and perseverance. She depicts human life in her signature style that combines truthfulness, simplicity and profoundness. The 60-minute “Trace under the Trace: Grain Patterns above the Trace” is a conceptual extension of “Under the Traces” that premiered in 2005 at The Metropolitan Hall in Taipei. Another five years later, “Under the Traces” had expanded again, along with the life of its creator Yen, into “Traces & Grain Patterns,” which debuted in 2010 at Kaohsiung’s Wei Wu Ying Cultural Center for the Arts. To make her art works more complete, Yen presented “Trace under the Trace: Grain Patterns above the Trace” in 2011, as something growing out of her own life-related experiences at the Native Theater of International Hall in Tainan Municipal Cultural Center. By that time, her “Traces” series had been performed more than 20 times nationwide.

 

As suggested by the first song in the repertoire, this dance production unfolds in a manner that reflects the creator’s emotional response to how things develop, which could be a truth or a lie hidden under a mask. The snow-white baking soda is the medium as well as an integral element that creates an ambiance for both the dance production and the theatrical space, permeating the air, floor, auditorium and the hearts of the audience. An expert in spatial arrangement, Yen blends her production into the performance venue, whether it is a large amphitheater, a smaller theater, or an outdoor venue, so that the dancers are able to tell their own life stories and actually live in this production which, along with layering and overlapping, conveys the cruel reality under the traces and the rainbow-hued life above them. This dance production gives the audience a close and realistic look at the traces of their own lives, as if they were part of the stage set.

 

A mixture of dance, drama and audio arts, “Trace under the Trace: Grain Patterns above the Trace” is a significant visionary and unique effort in Taiwan’s history of performing arts. Just like Yen’s previous works that are vigorous and penetrating enough to reach out and touch hearts, “Trace under the Trace: Grain Patterns above the Trace” is a tear-jerker that moves countless audiences of varying social statuses and nationalities.

 

Traces              by Dominique Feng-Hsi Yen

A trace is left when a pen scribbles across the paper;

a knife chips away a piece of wood;

tears trickle down the cheek;

the body is lacerated,

resulting in scars even when the wound is healed.

As a dancer leaves visible traces of body movements,

you will see a clear trail of a snail just crawling by,

a pool of blood after animals’ fierce fight,

the carcass of a cockroach killed by a relentless stamp,

and the tragic remains of a car accident.

 

“Under the Traces”

Our lives are marked with numerous traces, but oftentimes we see only those on the surface while ignoring things that have happened or feelings hidden beneath. “Under the Traces” is an attempt to explore the invisible traces lying under the superficial ones.

 

“Above the Traces”

This production is about how people bravely face the inward traces that lie under the superficial ones, and decide to stand on those traces, reopening their minds to share feelings about life’s traces.

It is also about how people manage to maintain the purest form of sincerity and carve grain patterns into their respective lives, even when tackling challenges in life.

 

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