• Sarah Tu

2020/1/19 藏紅山海 Saffron | 繪畫×肢體×音樂 跨領域合作表演@群島Islands

Updated: 7 days ago


109年1月19日的演出



109年1月19日演出紀錄影片


本次合作吉他手

郭尚諺



演奏古典吉他資歷 25年,亦開始鑽研烏克麗麗及民謠吉他,並以多元化的方式融合古典技巧與流行曲風,曾赴日進修古典吉他,後與夥伴於2013 年創立「加一吉他」。於 2017 七月發行首張古典吉他創作專輯「夢踐」,流通於誠品書局及各大線上平台,其中不僅限於古典吉他,也收錄了與大提琴、小提琴的四重奏,以多面向的角度詮釋自身的創作,多次受邀至上海樂器展、日本、及台灣各地演出。2006年通過日本吉他交響樂協會IGOA職業團員考試2008年通過亞洲吉他教育協會教師二級資格檢定2013年獲得中友星光舞台木吉他大賽演奏組冠軍2017年發行於誠品書局及各大網路平台發行「夢踐」古典吉他跨界創作專 本次活動合作音樂家


馬 修 / 袁 明 豪 (Yuan Ming-Hwao) 小 提 琴 / 低 音 大 提 琴

2013 年 幫紀錄片 "鐵兔子"紀錄片 創作配樂 2014 年 關島LeoPalace Resort特別活動演出

2014 年 為公視紀錄片 "黑" 錄製配樂(大提琴)

2014 參與3月傳神弦技音樂會與義裔提琴家 Alberto De Meis 演出

2014年 拍攝新社花海微電影

2014年 創作新社花海主題曲 "花舞間"

2015 年 錄製與創作2015年台中新社花海主題曲

2017年 與<逆光飛翔>男主角-黃裕翔 共同演出-民歌時代

2017年 參與發片歌手曾立馨專輯錄音

2017年 發片歌手曾立馨演唱會小提琴手

2018年哥與姊經典時刻樂團與<逆光飛翔>男主角黃裕翔共同演出

2018年官將首演出錄製張菲綜藝菲常讚節目

2019年與鋼琴家黃裕翔泰國演出

2019年廈門母親節活動演出嘉賓

李喬琳 (Chloe Lee) , 小提琴

學歷:朝陽大學視覺傳達設計系(美學)

專長: 平面設計, 小提琴, 企劃, 攝影...

現職:海麗滋提琴工作坊藝術總監, YAMAHA 小提琴老師

近期參與大型演出: 法鼓山歲末感恩分享會受邀演出, 員林藝力萬千活動演出, 員林立年跨年晚會...

長期在各大表演場合演出,擁有豐富的演出經驗,亦擅長與其他樂手配合,達到音樂的完美平衡。

本次演出的戲劇導演總監

歐宸瑋


高雄人,23歲。英文名Samuel Ou。畢業於國立中山大學劇場藝術學系,主修表導演。現於台中群島藝術園區擔任駐村藝術家。 本次作品以敦煌畫作為根源,視覺作品以『紅色』為整體視覺顏色,紅色代表血腥,但也同時代表熱情。用表演者肢體呈現 山與海與雲的流線與脈動。 舞者代表山、海與雲,就如同畫作中的敦煌畫作中如山 如海的線條、形狀。

本次活動合作舞蹈家

傅 蕾 Alexandra, 嘉義人 29歲- 畢業於靜宜大學,主修外文西班牙語文學系,《雙聲火焰Alma Gemela》團員之一,也是花蓮街頭藝人,熱愛跳舞,喜歡挑戰自己,嘗試不同類型的舞蹈。表演呈現以現代舞、漂浮棒與火舞為主,會在台灣一些音樂祭上做演出。本次演出的舞者之一。



Nola, 18歲- 逢甲大學, 企管系, 來自桃園的劉欣燕,大家都叫我Nola或是肉拉,目前18歲,就讀逢甲大學企業管理學系,興趣是跳街舞以及參與戲劇類相關的活動,會這麼喜歡表演的原因是,喜歡在表演中找到真正的自己,讓大家能用肢體的方式更加了解我,而且在表演中也能得到觀眾的掌聲及成就感。很開心這次能在藏紅山海的表演中擔任舞者的部分!


陳佑軒 (柚子), 24歲- 畢業於逢甲大學室內設計系,現職設計師和攝影師。 國小擔任全英文話劇比賽擔任主角,深受舞台魅力感染而熱愛表演,自幼喜歡舞台和演出。從國小開始學習現代舞和街舞,有過各大小表演,並身處在藝術和設計產業多年,善於融合各方面專業和藝文來敘事與展演。 創作過程紀錄



肢體開發


在肢體開發課中, 舞者試著去放鬆自己的身體, 從頭到腳的去了解並發展身體的每個部分。


彩排/排練


在每次排練中, 一位主視覺, 四位舞者, 以及三位音樂家都盡全力的去詮釋演出的每個環節, 在排練的過程中反覆的練習與磨合, 為了讓最終演出的呈現達到最高標準。



準備



總彩排



表演



相簿

(幕後)


平面攝影紀錄

photo credits: 吳政達


構想

我是游主業,一位跨領域藝術創作者。在群島進駐期間,不僅認識、也重新欣賞到了台灣的表演藝術。不管從廟宇的活動到藝穗節,表演藝術與劇場跟台灣的當地文化息息相關。在新加坡,我們沒辦法公共展演,因為政府嚴格下令10年不能有公共表演,進而抹滅掉了表演藝術發展的各種可能性。回過頭來,我一直以來對於西藏與敦煌的視覺與表演藝術保持高度興趣,先前也前往拉薩去做深度研究,最後創作出了藏文的輪盤畫作。這次想挑戰透過表演藝術與音樂跨領域的去呈現當代敦煌美學。


畫作是由六幅作品拼在一起的巨畫(圖一),猶如西藏鎮魔圖 (圖二)。每個畫布上描繪著山脈、河流和谷地,共同穿梭在畫布與畫布的之間。畫家以拼接六幅畫的方式來呈現兩位敦煌舞者, 在創作者服役的過程中纏繞不去的紅色思想中揮舞著。



策劃

在這次作品當中,色調以紅色為最重要主體。紅色表現出創作者沒辦法抹滅掉的情緒、感情與思想。尤其是在親身經歷新加坡2年兵役後,紅色便形成非常兩極化的意境,它可以是熱誠與溫暖,也可以是悲痛及殘酷的象徵。紅色是單一顏色,不像藍色有一系列,深藍代表沈澱與悲傷,水藍代表夢想與舒服的感受。透過反覆的拼湊與解體,讓真實舞者扮演山脈、河流與谷地的角色去探索並碰撞出新的火花。


109年1月19日的演出視覺設計,主要取決自於捲軸式地圖的靈感(圖三),會運用藝術工作室的橫向走廊成為表演空間。整體的『藏紅色』會以六大主要物件元素組成:畫作,雷射,反射投影,服飾,燈光,煙霧。


演出

當天我們原本預計出席人數約為50到70人, 最後統計出有超過130位貴賓參與我們「藏紅山海」的演出。許多人透過我們各方面的宣傳與口碑知道「藏紅山海」。我其實坐在鷹架上看著群眾慢慢的進來,真的非常激動。在和許多朋友打招呼問安的同時, 我可以感受到身體在發抖著,緊張又興奮的心情不斷湧出。當演出開始時,我深深的呼吸,準備好所有的油水物件,並輕輕的移動每件元素到正確的位置。坐在鷹架上,指揮著煙霧機與音樂的開始,這讓我非常緊張。大家一開始也慢慢察覺到舞者在紅色的霧中慢慢行走,甚至有些人完全沒有察覺到因為動作非常緩慢,但是到了主視覺時,大家眼目為之一亮。油水與舞者與音樂的結合讓這次的演出有非常強大的震撼力!許多人在想,一個普通的沙拉油和針車油怎麼可以做到這種效果?很多人沒有看過這樣的現場作畫與投影效果。而投影也僅是用傳統的反射投影機,而許多地方也都找不到這樣的復古器材了。


這次活動對我和參與其中觀眾的來說,超越我們的期待!表演的專業度與大家認真用情感投入的態度都讓觀眾看了目不轉睛。每位觀眾在演出中都非常專注的欣賞這優美又強烈的藏紅!


感想

演出結束後,我真的很激動!再次感謝所有參與的演出者與工作團隊!如果沒有大家一起齊心努力的演出,我們不會有這樣的結果!其實我們只有用短短不到三個禮拜的時間,從大家都彼此陌生到彼此有共鳴與默契,真的是時間壓迫下產出來的寶貴結晶。在排練過程中,我們遇到很多的困難,包括油水的效果不佳,舞蹈不搭,或音樂不對等。我們慢慢磨合,試著了解對方,並調整到最佳的狀態。


即使演出後幾個禮拜,我還是會問我的夥伴 Sarah, 我們是怎麼辦到的?這次的演出讓我們深深的了解到表演藝術真正的價值不只是在於作品的呈現, 而是創作的過程。非常佩服那些成功的表演藝術家,這一路來他們真的不簡單!這是我第一次跨領域的與表演藝術和音樂家合作, 體會到創作的掙扎與艱辛是每位藝術家必須付出的代價。


在這邊我要特別感謝所有贊助單位,謝謝你們相信我們的整個工作團隊,是讓我們可以完成這次的演出的關鍵。有些人可能還不夠解藝術的各個層面,但是所有支持並愛護我們的朋友們是很重要的後盾,激發我們有足夠的動力繼續往前邁進。


我們希望未來還有機會再次演出,如果有人想要再看到這場表演,希望能與我們一同發聲!期待給予我們更多的鼓勵與意見,成為我們進步的養份,帶給大家更好的藝術呈現!我個人對於自己往後的創作,希望能持續與跨領域、屬性不同的創作者合作,學習新知識。我相信跨領域與共同創作會是一個重要的趨勢。在跨領域與合作上,執行力與凝聚力會是創作者最艱難的考驗。我相信之後的創作會更成熟,在合作上都能產生出更美、更強大的藝術火花。


The Idea

I am Benedict Yu, a cross-collaborating art practitioner. During my time as an artist in residence living in Islands, I have not only recognised but also learned to appreciate Taiwan's field of performing arts. From temple activities to local fringe festivals, it is unquestionable that performing arts in Taiwan is relevant and deeply embedded in the nation’s culture. In Singapore, public performances are not allowed because the government has a strict 10-year law prohibiting the existence of public performances, which greatly hinders the possibility of the development of performing arts in Singapore. Looking back, I have always been interested in Tibetan and Dunhuang visual arts. Previously, I went to Lhasa to do research and create paintings of Tibetan’s mandala. This time, I want to challenge the presentation of contemporary Dunhuang’s aesthetic through the cross-collaboration with performing arts and music.


My creation is composed of six individual paintings (Image 1), like the magic map of the Tibetan town (Image 2). Painted on each canvas are mountains, rivers, valleys, all shuttling between the canvases. When the pieces of work are put together, the bigger work resembles two abstract Dunhuang dancers dancing in the red thoughts of the artist during his time in the military as a soldier.


The Plan

In this featured work, red is the main color. Red symbolises the emotions, feelings, thoughts, that the creator is unable to erase. These feelings and emotions come especially from those of his personal experiences after serving in Singaporean military for two years. The artist chose to use the color red because red is a unique color that can represent two extremes, like passion and warmth but also sadness and cruelty. The color red also does not exist on a spectrum of intensity. Take for example, the color blue exists on a spectrum where light blue represents the concept of dreams and feelings of comfort, while dark blue represents feelings of coldness and sorrow. Although red has only one intensity, it can represent many things, like passion, anger, and fierceness. Through the repeated assembly and disintegration of the artwork, this allows the role of mountains, rivers, valleys, portrayed by the realness of the dancers, to explore and collide. There will be spinning disc-like installations paired with red laser technology to produce intense red light carvings, providing the audience with a new level of visual experience, along with music.


The visual design of the performance on January 19, 2020, mainly depends on the inspiration of the scroll map (Image 3). The horizontal corridor of the art studio will be used as the performance space. The overall "saffron color" will be achieved using six major object elements: paintings, lasers, reflection projections, costumes, lights, and smoke.


The Performance

On the day of the performance, we originally expected to have about 50 to 70 attendees, yet in the end, the final count of guests attending our performance "Saffron" was over 130 people. Many people came to know "Saffron" through our various publicity outlets and public reputation. As I was sitting on the scaffold, watching the crowd slowly come in and greeting my friends, I could feel my body shaking and my nervousness and excitement flowing within me. When the show started, I took a deep breath, prepared all the oil and water objects, and gently moved each element to the correct position. Then, I began to direct the entrance of the fog machine and music. In the beginning, the audience slowly noticed that the dancers were making an entrance from the posterior direction, walking slowly in the red fog. At the start of the performance, some people didn't even notice the presence of the dancers because their movement was very slow. However, when the main visual, the reflection projection, was introduced, all eyes lit up and were glued to the main stage. The combination of oil and water, dancing and music made this performance very powerful! Many people wonder, how can ordinary things like salad oil and lubricating oil achieve this effect? Such live painting and projection effects had not been seen my many people before. Not to mention that the projection effects came from a retro equipment, a traditional reflective projector, which was very hard to find.


This event surpassed my expectations and the audience involved. The professionalism of the performance and the fully immersed, emotional attitude of all the performers was what drew the audience to watch so intently. Every audience in the show was very dedicated in appreciating the beautiful and strong saffron!


Reflection

After the show, my level of exhilaration reached its peak! I want to express a huge thank you to all the artists and teams involved! We would not have had such a wonderful performance without the concerted efforts of everyone! In fact, we had less than three weeks to pull of the show. From the strangeness of each other to the mutual resonance and tacit understanding of each other, this performance really is a precious crystal produced under the pressure of time. During the rehearsal process, we encountered many difficulties, including poor oil and water effects, mismatched dance, or mismatched music. We had to learn to compromise, to try and understand each other, and to adjust to our best state.


Even though its been a few weeks after the show, I still ask my assistant Sarah: how did we manage to pull that off? This performance made us deeply understand that the real value of performing arts is not just in the presentation of works, but in the creative process. I really admire those successful performing artists, because I know their journey hasn't been easy along the way. This is the first time I have collaborated with performing arts and musicians across the field. I realize that the struggle and hardship of creation is the price each artist must pay.


I would like to express my gratitude to all the sponsors in particular. Thank you for believing that our entire work team is the key for allowing us to complete this performance. Some people may not be able to understand all aspects of art, but the friends who support and care for us are the truly important backup force, encouraging us to have enough motivation to continue moving forward.


We hope to have a chance to perform again in the future. If you would like to see this performance again, please contact us or recommend us to others! We look forward to and welcome all encouragement and opinions because our hope is to continue bringing you better art presentations! I personally hope I can continue to cooperate with creators from different fields and attributes to learn new knowledge. I believe cross-disciplinary and co-creation will be an important trend. In cross-domain and cooperation, execution and cohesion will be the most difficult test for creators. I strongly believe future creations will be more mature, and future collaborations will produce more beautiful and powerful artistic sparks.


CREDITS


視覺總召與創作: Benedict Yu

音樂家: 郭尚諺, 馬修, Chloe Lee

戲劇導演: 歐宸瑋


演出人員:

陳佑軒

博蕾

歐宸瑋

劉欣燕


工作人員:

Sarah Tu

Joseph Fu

Vivian Tai

Jason

Bota


執行單位:

平面攝影 吳政達

網路宣傳: Sarah Tu

錄像指導:謝鎮安

動態錄像: 吳紅爐 曾嘉芊

錄像後製: 曾嘉芊


贊助單位:

湯育全

張志菱

群島國際藝術園區

陳靜如

劉玉安

段石華

全國廣播股份有限公司

侯淑靜

鑫大略建設股份有限公司

基甸企業有限公司

台中思恩堂

富邦建設

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