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膝蓋以下的關係

    05.14 (一) 至 06.22 (五)
  • 開放時間:週一到週五 11:00-17:00 ( 國定假日休展 )
  • 展覽地點:藝文中心 5F 藝文空間

Relationship Below the Knees

14. MAY. - 22. JUN. 2018(Close on National Holidays)

  • Opening Time: Monday - Friday, from 11:00 to 17:00
  • Venue: Art Gallery, NCCU Art & Culture Center

故事從日常場景中展開。小吃店、眼科醫院、三溫暖、廣播台、家裡、影印店、醫院,十二個角色,是朋友、情侶、夫妻、同事、或是幻象,三三兩兩、叨叨絮絮談著關於愛、背叛、忌妒、猜疑、陷害、狂想、異想。一幕幕看似瑣碎的生活片段,一句句看似無害的對白。

然而話語的源頭是千絲萬縷的思緒,而人與人交遇的場景,是無限迴圈的因果關係;來自於生活中看似隨機的、隨意的、偶然巧合的、無意識的東西,其實都是設計。那麼,種種設計被層層拆解之後,赤裸裸的真實又是什麼模樣?

全劇的第一幕由死者的倒述開始,一男一女的相識、遇見許多離奇的事件、女主角不可知的秘密、好友的失蹤,到一起歷經戀愛的狂喜、朋友的背叛及無預警的謀殺。最後,一切看似合理的故事卻是建構在敘述者的幻想,真實與虛構的混淆之間。

舞台設計因排練過程中的一個畫面,製作了中間隔有一道牆的雙面舞台,讓AB兩面觀眾在同一個時空,理解相同的故事卻有著相異的視覺經驗。台上台下交織成雙面、多面形式的存在狀態。

所謂的AB面舞台,並非一般觀眾圍著舞台三面而坐、或三百六十度旋轉的舞台;在《膚色》的場域空間裡,舞台中間是一道懸空的牆,當一側是演員的表演時,另一側看得是中間那堵牆面的演出投影,以及對面演員小腿以下的移動;劇情敘事在牆的兩面上演,觀眾只能觀看一面的演出。

當時因為一場一個演員躺著而另一個演員站著、兩人中間隔著紗幕對戲的畫面,從設計的角度看過去是完整的躺著的演員,以及站立者的腳,因而思考著「膝蓋以下的關係」,毅然決然在舞台的中間隔了一道牆,而導演王嘉明為了這雙面舞台調整編劇,精算AB兩區在演員與投影上各是均等的時間,平均七到八分鐘就要有演員出現在一邊的台上,並為此調動進出場的走位次序;而投影轉播的畫面則刻意用模糊不清的影像,但腳卻是清楚的,虛實之間強烈的對應。

劇場沒有鏡頭運動,必須要有很強的形式,才能讓觀眾一同存在於一個被定義的世界當中。

劇場或行為藝術挑釁的行為是必要的。劇場,是一個被限制的身體經驗。群眾被關在一個空間裡兩三個小時,看著活生生的人在台上走動,而自己不能恣意移動、說話、做其他事情;當身體被限制規範著,感官警覺則被放大,劇場裡的視覺、聽覺、空間設計,各自是一個邏輯、兩相交乘後又產生另一條支線。這是超乎尋常的感官狀態。

取材至: 誠品站( 誠品展演傳播部 )

The story starts with an ordinary scene of daily life, with food stalls, eye hospitals, saunas, broadcasting stations, homes, printing stores, hospitals; twelve characters that are friends, lovers, married couples, colleagues, or illusions, grouped together and discussing love, betrayal, jealousy, suspicion, false accusations, wild imaginations, and whimsical fantasies. Each scene is like a fragment of life, while the lines form dialogues that seem to be benign.

Speech is the result of thousands of thoughts, while the encounters between people are brought forth through fate; the seemingly random, carefree, coincident, and unconscious events are in truth results of design. What is left when the layers of designs are stripped back? What does bare truth look like?

The first scene starts with the flashback of a deceased character, the encounter between a man and a woman, the happenings of various curious incidents, a deep secret of the leading female character, the disappearance of a close friend, and the ecstasy of love, the betrayal of friends, and murder out of the blue. Finally, the plot that initially seemed reasonable reveals to be constructed upon the imaginations of the narrator within the blurry spheres between reality and fabrications.

Due to an image that appeared during rehearsal, the stage is designed with a double-sided wall erected in the middle: the audiences seated at both sides of the stage remain in the same time and space, immersed in the same story, but presented with different visual experiences. This arrangement allows the scene on-stage and offstage to present dual, or even multiple sceneries.

This stage design is different than original arrangements where viewers are seated at three sides, or stages that are designed to rotate 360 degrees. In the performance space of Once, Upon Hearing the Skin Tone, a suspended wall is placed across the middle of the stage. When the actors are performing on one side, viewers seated on the other side of the stage see the performance projected on the wall and the lower parts of the legs of the actors moving on the other side. The narrative of the plot unfolds on both sides of the wall, but audiences can only see one side of the performance.

During one of the performances, one of the actors was lying down while another stood, with a piece of gauze separating the two. From a design perspective, one sees the person lying on the ground and the lower legs and feet of the standing actor. This inspired the notion of “Relationship Below the Knees” and led to the decision of erecting a wall across the middle of the stage. In order to adjust the play for the double-sided stage, Director Wang Chia-Ming made precise calculations so that actors and projection on both sides of the stage are equal, which means that an actor or actress must appear on either side of the stage in an average of seven to eight minutes, and designed blocking for this to be possible. Meanwhile, projection images are deliberately blurred, while the appearance of legs is clear and sharp, creating a strong contrast between illusion and reality.

Since theatre involves no movements of the camera lens, it requires thoughtful arrangements for the audiences to remain within the same world as the narrative.

In theater and performance art, provocative actions are necessary. Theater is a restricted bodily experience. The audience is bound to a location for two or three hours at a time, watching as people move about on stage while being prohibited from moving, speaking, or engaging in other activities freely. When the body is restricted, the sensations are heightened. Also, the visual, auditory, and space design each operates according to their own logic, merging and combining into a new line of narrative and experience, forming extraordinary sensations.

Information from eslite Station (Cultural Event & Communication Department of the eslite Corporation)

開幕茶會 Reception

    05.30 (三)
  • 時間:18:00-18:30
  • 地點:藝文中心 5F 藝文空間
  • Opening Reception: 18:00-18:30 Wed. 30 MAY. 2018
  • Venue: Art Gallery, NCCU Art & Culture Center
線上報名

開幕講座 Lecture

    05.30 (三)
  • 時間:19:30-21:30
  • 地點:藝文中心 5F 藝文空間
  • Opening Reception: 19:30-21:30 Wed. 30 MAY. 2018
  • Venue: Art Gallery, NCCU Art & Culture Center
線上報名
政治大學藝文中心
校址:11605 臺北市文山區指南路二段 64 號
服務電話:(02)2939-3091 分機 63393
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