ANARCHY DANCE THEATRE

الفوضى الرقص المسرح
无政府状态舞蹈剧场
תיאטרון מחול אנרכיה
アナーキーダンスシアター
무정부 댄스 극장

second body

anarchy-dance-theatre-second-body

source: flyglobaltw
相較於此,受邀至2015年奧地利電子藝術節(Ars Electronica)的《Second Body》,將權力問題從「關係」轉向「身體」研究,將他與舞者目前從事的身體覺知、重組與建構等運動邏輯置入作品。人的存在是什麼?謝杰樺從各種狀態一步步建構。

黑暗中,只有呼吸聲、體液流動聲,再進行至腳步聲的環繞音場。燈光微亮,一具赤裸身軀進場,透過效果器發出的聲響,製造出有如科幻電影的複製人工廠。舞者立於場中,從頸部至肩,甚至手指細微關節的覺知與微動,一節節感受骨骼、關節與肌肉的可動性,奇異的身體邏輯與協調性就此展開,彷彿他正不斷覺知、感受著我們主觀中的自然身體(第一層身體)。

從身體細微處至全身快速連動後,舞者靜立,360度的環繞全身投影慢慢爬上全身,如某種具生命力的有機體,蔓延身體各部,甚至全數收進舞者身體。此時的舞者僅能被動接受各種外來資訊、知識的侵入,不若操作第一層身體時來的靈活,他只能匍匐著、爬行著。然而,影像三番兩次從外部佔據身體後,慢慢從舞者身上長出了彷彿城市般的道路線條,此刻,舞者不再被動受影像侵入,而是進一步透過身體與影像的磨合,扭曲、旋轉,操控視覺上的城市道路變化。再一次,因人而生、與人共存的城市圖像,又完全收束至舞者身體,影像與其完全合一,在舞者身上製造出類似《魔鬼終結者2》中,水銀人的表層材質。

不同於第一層身體在構造上的序列邏輯,第二層身體最終所製造的,是一種異化的、痙攣的、難以掌控的身體。透過謝杰樺與「叁式」積極研製的360度全身投影,讓這個人類身體異化的寓言,諷刺地展現在環坐於表演場域四周有如上帝之眼的觀眾面前,彷彿實驗室中的人造人就此為人類自身所開啟的科技浪潮拍打著,以致我們須不斷在日新月異的技術中,不斷調整自身、超越自身也同時限制了自身。

不同的創作階段,從《第七感官》到《Second Body》,謝杰樺雖同樣聚焦於權力,除了以不同的關鍵字(關係、身體)切入,在思考數位科技本質上,從乘著科技的翅膀擴展感知觀眾感知領域,收斂至思考科技本質與人類、身體、社會之間的核心議題,因此丟出的議題與呈現,便更加凝鍊且具貫穿力,而非舞蹈與科技各司其職、各說各話。雖然,乍看之下《Second Body》在作品內容上彷彿悄悄偏離了「權力」主題,將重點聚焦於自然身體(第一層身體)到非自然身體(第二層身體)的異化過程,重新思索與提問「身體」的定義,以及身體建構與知識之間相互影響的關係。但別忘了,知識永遠與權力及社會階層密不可分。在《Second Body》中,也許只見到了身體與知識之間的互為影響,關於權力的延伸尚未見蹤影,但可期待的是安娜琪舞蹈劇場與新媒團體叁式將於陸續於今年七月推出《Second Body》的修正版,2016年推出《Second Body》第二版,期待在連串的細密思考中,謝杰樺能提出更多身體、知識與權力的觀察與研究,透過表演藝術與數位科技的結合開展。
.
.
.
.
.
.
.
source: anarchydancetheatreorg
Work
Second Body starts from establishing the presence of the body, while learning the structure of the natural body through setting up knowledge of the body itself. In addition, the knowledge of the structure of exercise is used to represent what we know of our own first bodies in the moment. Afterwards, a 360º full body-length projection enters the picture to create a non-natural second body, which creates an experience of movement distinct from the movements of the first body. Do we, during the conversion between these two, produce new knowledge to define our bodies with the change in our viewing perspective? Furthermore, How does the second body replace the definition and existence of the first body in the process?

Artist
Anarchy Dance Theatre

Founded in 2010 by architect and choreographer Chieh-Hua Hsieh with focus on contemporary dance theatre style. Anarchy Dance Theatre aims to build up a unique dance vocabulary, training system and a platform that encompasses artist collaboration from all fields. “Anarchy” derived from series of dance pieces Hsieh created in discussion of authority structure in human society. Since motion-sensitive Dance work, Seventh Sense, was created in 2011, the company has been toured in the UK, Netherlands, Spain, Hong Kong, UAE, China and New York and attracted local and international acclaims from performing arts, multimedia and visual arts communities. Seventh Sense II premiered in November 2012 as a significant work for the Digital Art Festival in Taipei.

Choreography / Concept Jeff Chieh-Hua Hsieh

Jeff Chieh-Hua Hsieh, the artistic director of Anarchy Dance Theatre, a Taiwanese‐based choreographer, who received his BA degree in Architecture and MFA in Dance Choreography. A unique texture and strong structural characteristic of his choreographic works are derived from his architecture background, with focus on awareness of body and its relationship in between with time, space and society.

In 2010, he was invited by Singapore’s Frontier Danceland to collaborate and present a new piece with Artistic Director Low Mei Yoke at Esplanade and to choreography at Western Australian Academy of Performing Arts in 2012. His works, Seventh Sense (2011) and Seventh Sense II (2012), were commissioned by Ministry of Culture Taiwan and presented at National Theatre’s black box.
Other choreography credits include Anarchy’s Dream (2009), Anarchy (2008), Gray Mass (2006) and Falling Kiss (2006). His first two works in 2006 have successfully won him prestigious awards of choreography in Taiwan.

Interactive / Visual Design / Sound Design Ultra Combos

Ultra Combos is an interactive new media design house founded in 2010. The name “Ultra Combos” came from the combination of legendary three divinatory tricks in ancient China. When looking for novel ideas for projects, they hope to have broad and thorough thinking just like the “Ultra Combos” divination. Since 2006, team members have been active in art events, including Digital Art Festival Taipei, SIGGRAPH US, Kaohsiung International Container Arts Festival, International Festival of Electronic Art 404, FILE Electronic Language International Festival in Brazil and TSONAMI Festival of Sound Buenos Aires in Argentina, TodaysArt Festival in Hollad and WSD World Stage Design in the UK.

Sound Design Yannick Dauby

Based in Taiwan since 2007. Exploring the soundscapes of this island through field recording, audio documentaries and community projects. Composing electroacoustic music (aka “musique concrète”) and performing improvised music with found objects, analogue devices and digital processing. Creating soundtracks and sound environments for contemporary dance, public art and films. Involved in activities about ecology and local traditional cultures.

Lighting Design We Do Group

We do, was taken from Eastern Jin Dynasty’s literateur Guo Pu’s annotation of the earliest shapes of light fixtures or vessels. We Do Group is a team of creative talents from diverse disciplines. The team creates with lights and has long established stature in the performing arts. Recent years, We Do Group has been involved extensively in contemporary art,architectural lighting, public art and interior lighting projects. The We Do concept seeks to infuse the professionalism of light design into creative lifestyles.