Becoming Chimera on newspaper in Taiwan

Revisiting an old press on Becoming Chimera (2012), an interdisciplinary experimental new media performance, that was on the newspaper in Taiwan on 2015/03/13, one of my first work that was on the news in Taiwan.

Involving live visuals, live electroacoustic/experimental music, contemporary dance/movements and new media. The performers improvise with instructions of specific signs and rules that’s conducted or by aleatoric algorithm of the computer, or used by wireless controller by the audience and the director.

Deleuze and Guattari once said that “”Man can never say: “I am a bull, a wolf.. .” But he can say: “I am to a woman what the bull is to a cow, I am to another man what the wolf is to the sheep””. It’s about relation, not identification. The color red to sound is as sharp timbre to the movement of the body. Like dreams to memory, synesthesia to sensory and epiphany to temporality. Finally we are no one, but a becoming.

Why does a song, an image, a smell, a touch or a temperature can be so evocative and empowering to you? How much power, affect and contagion are embedded in these memories and sensory? And what if they can speak to each another? In the genesis of our dreams, every moment can be temporal yet perpetual. In a way, every part of memories are improvising and forming unconventional connections, like synesthesia, the boundaries are being challenged and unraveled. In our interdisciplinary collaboration, we are creating an ongoing experimental dialogue with deep intuition, creative technologies as well as phenomenology and multiplicity in order to unfold paths to the undiscovered landscapes.

(the newspaper in written in Chinese, English translation coming in the future)

似不像」於南海藝廊演出即興跨領域實驗表演《夢獸》,舞者隨著現場聲響與光效舒展、起舞。圖╱林韋丞攝

 

哲學融入藝術 科技光影舞夢境

【記者陸慧晶台北報導】「科技打開門檻,讓不同的表演元素相連,互相支持。」表演團隊「Chimerik似不像」10日在南海藝廊結合音樂、視覺、舞蹈和科技,呈現即興跨域表演《Becoming-Chimera 夢獸》。

舞台上,舞者一身白衣,李建隆靜止不動,劉真時而跳著機械式舞蹈動作。大螢幕投射色彩繽紛多媒體圖像,配上演奏者李世揚拍打鋼琴的聲音,融合人聲演繹者張康德淒涼叫喊,加上導演簡上翔所播放的強節奏音效,薩斯風手謝明諺在觀眾右上方吹著李宗盛的〈鼓聲若響〉。

不同類型表演者依舞台上方的符號指示,被輪流賦予不同身分,有具領導能力的「巫師」、直覺思考的「兒童」、效仿他人的「小丑」、特立獨行的「孤狼」、缺乏 自主判斷能力的「機械」和平靜的「植物」,他們用自己的方式詮釋該身份特質。表演第三部分,導演簡上翔把iPad傳入觀眾席,讓現場觀眾控制投影指示,決 定表演者身分。

「似不像」團隊融合不同表演元素研發更多可能,從而激發靈感。《夢獸》以「似不像」宗旨出發,結合德勒茲 (Deleuze)和瓜塔里(Guattari)的哲學概念及共感覺(Synesthesia)的型態。德勒茲和瓜塔里強調,若定義萬物身分,會被人類的 認知限定。簡上翔想詮釋舞者與影像、音樂與新媒體之間的關係,而「共感覺」表示感官刺激不同認知,他舉例:「你可以看到聲音或咬到數字。」簡上翔表示,夢 是進行式,沒有邏輯和限制,因此即興演出。

表演中的「實驗影像」由雲林科技大學工業設計系學生賴宗昀和世新大學廣播電視電影系學生林淑雲提供。首次參與這一類演出就和「似不像」合作,他們表示,可實際觀摩,並且在旁協助演出進行,從而能更了解跨領域表演。

林淑雲認為,即興「實驗影像」不同電影製作的完整流程,有刺激臨場感,「會和預期的不同」。賴宗昀表示,表演元素被賦予不同角色,輪流發揮所長。

觀眾、文化大學中文系學生李金陵說:「即興表演內容是愉悅、未知且不能預測的。」觀眾、文大材料所學生莊偉聖表示,即興演出帶來視覺和聽覺的震撼衝擊,是表演趨勢。

 

#improvisation #newmedia #system #coding #livevisuals #liveprocessing#contemporarydance #butoh #experimentalmusic #electroacoustic#interdisciplinaryperformance #taiwan

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