Mending Dance Theater

新秩序藍色星期一 / A New Order: The Blue Monday

The  Performing Art Critics Forum’s Reviews

 

Set in a stage space designed using the light strips, the scenario manifested by the performers conjures a sense of belonging and an individual’s survival space, and further through the music and visual changes, coupled with physical interactive movements, it comes to highlight a subtle sense of distance.  (Guo Jia-yen)

 

2018-06-05 The dance art

 

The Color of the Soul [A new order – the Blue Monday]

 

Performance:  The Mending Dance Theater

Date:  20:00, 2018/05/26

Venue:  The Performing 36 Rooftop Little Theater

 

Article by Guo Jia-yen (dance department graduate student, National Taiwan University of Arts)

 

What conjures up in your mind on “Blue Monday”?  Blue: it is trepidation; Monday: the first day of each workweek.  The Blue Monday, perhaps so?

 

Upon entering into the theater, a psychedelic music envelops the audience through perceiving the sound, which goes on until the performance begins.  The lights go on gradually, the black box condenses an air of trepidation, where the performers utilize their bodies to convey each individual entity’s choice of varied mindsets and moods stepping into the “Blue Monday”, unfolding the very core of the entire performance work.

 

The dancers embark with dance elements, and in bodily control, they steadfastly increase the dynamic strength’s fluctuations, or turn to a trembling bodily language to convey a speed development of the inner struggle in emotional yearning, deploying the dance, drama, music, lighting and stage devices, and through a diverse range of artistic medium combined in the work, complete with exploring the link and correlation between individual and individual, to manifest an intertwined sense of beauty in space and the human body, which in other words suggests deploying an imaginary scene projecting through the stage onto the eyes of the audience.

 

The work combines the modern dance, street dance and an innovative storyline, smartly integrating a diverse yet dissimilar linguistic essence to harbor new linguistic elements, emphasizing major events in live that living is less easy by listening to the lonely hearts when faced with life’s hardship and struggles in this world.  Each dancer enacts a different role and appears on stage from varied positions, relying on the colors to awaken themselves in life, and be it the pressure, fear, chaotic fracture or isolation imposed by the individual, familial, societal aspects, the choreographer attempts to aspire the audience to self-reflection, to rediscover hope in their mind and soul amid the pressures by turning the hidden oppression and outburst into positive viewpoints by regarding crises as a turning point for cooling evaluation, to ponder how best to jointly face up and handle the situation.  By recapping the foregoing described, if able to transform the so-called blue, the inner anxiety of one’s heart, into a positive thinking, a good live would exist in a cyclical manner between you and me.

 

Set in a stage space designed using the light strips, the ambience the performers manifest conjures a sense of belonging and an individual’s survival space, and then through the music and visual changes, coupled with intertwined bodily movements, privacy between the people as emphasized in today’s society can be discovered, where although there are many physical contacts, but they are merely shoulder-brushing, a sign further highlights a subtle phenomenon of a social distance, which can be true yet a form of escapism shunning from face to face encounter, but such kind of the “option” eventually ties to what one decides on all things.

 

When time is likened to a timer on the runway of life, we often hear the phrase “An inch of time is worth an inch of gold; yet you can’t buy an inch of time at an inch of gold”, as time is rather precious and the clock cannot be turned back, where it simply vanishes in the tick tock of the clock, constantly wiping out all things occurred in the past, and it does not stop even a little for particularly good things; nevertheless, we see the story scenario as interpreted by the performers who constantly turn back and then turn back again to choose their lives, as their thoughts also endure the conundrum in their minds that seem to revolve around chaos.

 

If we turn back to examine it from the reality perspective, the most intimate person around you is he, and because of the overlap, so exist the smiles, sorrows and worries, which the performers manifest such sensations through their bodies, an element that can be subtle or untamed.  In this world, neither sadness or happiness can be observed or perceived, but requires one to experience on his/her own, in order to comprehend the so-called empathy, which is all just emotion by any name. The blue in her work resembles to a trinket box of the human heart as seen from the black box.


 

The Taishin Arts Award’s critic

 

The dance poet Jhu Wei-ting’s “A New Order: The Blue Money”

 

Author:  “the affiliated critic” Chou Ze-mu, 11:23, June 11, 2018

 

Criticized performance:  the 2018 Mending Dance Theater’s Street Dance x Modern Dance [A New Order: The Blue Monday”

 

Jhu Wei-ting’s work astounds me.  For a decade, she enters into a more formal theater venue for the first time, which looks rather befitting!  Ever since she is first discovered at the first Taipei Fringe Festival in 2008, National Tsing Hua University economic department graduate, enrolling to study at Taipei National University of the Arts School of Graduate for her passion of dance (but inadvertently at the theoretic section) has continued to debut and launch her own dance troupe …, a girl who traverses along the “dance sector’s” fringes (but has since been more matured), and after seeing roughly six of her works, it has always comes off as a “rebellion” (in her own word) to the “convention” theater.  From Guling Street’s little theater, the ruinous architectural college, the International Arts Village, the Lab at the former Songshan Tobacco Plant, the Huwei battery in Dansui … where she consciously, unconsciously, also in forms and storytelling, seem to differ from the facets of the general dance. The current event, which perhaps marks her moving forward to the next phase (which she is conscientious of), marks her attempt to try some fresh perspectives. Perhaps being nominated to the “Newcomers’ New Horizon” in 2016 is also a niche opportunity; perhaps the dance company is becoming more steadfast.  At the current event, it combines the modern dance and the street dance. Her dance, at the outset, has been gravitated towards the street dance; in fact, her first work – “The Sea Turtle’s Heatwave” at Guling Street is actually presented in street dance style. Subject matter is something close to her heart: the modern people living at present …, and the little inner voice.

 

Music give a suspicious atmosphere suspense

 

This time, she recruits two street dance male dancers, and two dance department girls, and then one boy and girl each of non-theater major.  At her “Man ∞ Man  Huwei Battery show” at Huwei Battery in 2016, she even recruits elderly women learning to dance; Jhu Wei-ting, as a non-dance major, deals with amazing tact!  At the current event, I see that the dancers have performed to be a great unison. Rehearsing from last December to now, coupled with adopting the creative title of “a dance leader” (filled by the two street dance male dancers) (which comes off as a mission-based perception”, she says with a grin, “just as the “Sea Turtle Troops” from then!), where the six young people sharing a common goal on stage elevate an unprecedented solidarity!  Right at the outset, with a grand entrance, the six dancers raise their arms forward, in a lineup trooping formation looking like zombies. The music has an element of suspense. At the current staging, music still plays a textural role to the work. Collaborating starting from U.S.-based Mainland composer Bai Sui creating works for the “Man ∞ Man” staged at 2014 International Arts Village based on the storyline and tonality she provides, Jhu Wei-ting then choses and pieces together from the extensive repertories he provides.  In a separate segment of each individual dancer’s monologue, she has even recorded on her own a segment of rather remarkable vocalization effect, dubbed to their respective O.S. For that, she has always had the sensitivity and design participation in music and sound.

 

With the additional challenge of the set at the current performance, Jhu Wei-ting required a large object likened to a bell but not exactly set in the middle of the stage; flaked on two sides with upright and hidden varied tilting light tubes, where each expresses an emotion and a rhythmic lighting method and color.  While the lighting design struggles amid the mere darkness in a bedazzling set, adopting a distinguishing approach to highlight the figure’s delicate mindsets and storytelling. When performing at the House 36 rooftop, it is, in fact, unconventionally, and amid the extra overhead and a square stage, it nevertheless successfully conveys the existence of a certain oppression through the uncomplicated devices.

 

The costumes are realistic yet with an unadulterated touch.  The character design encompasses the office worker, bearded man shunning from work, unemployed man with tie-dyed HK shirt, and braided woman burdened by life, long-skirted woman trapped in a treacherous relationship, and short-haired girl projecting a group dance vitality.  The work explores the standard working class and what kind of freedom people enjoy? At the start of the dance, when the dancers ask themselves in uniform: What is “Blue”, indeed, poses a worrying trajectory into the subject in a blunt way, while echoing the same uniformed recitation of Q&A at Huwei Battery show.  But with the text rapidly transcending to a poetic element, the linguistic texture and ambience orientation gradually become clear, as the work’s texture and characteristics project – by weeding out its surface youthful straightness and the stage element’s loose ends (burs) – which surface gradually. This is what sets Jhu Wei-ting to differ from the others.

 

Having been a “dream tutor” to her nominated work of the “Soul’s Map” at the “Newcomers’ New Horizon”, I am rather clear of the deficiency in her work.  At times too rush, it jumps straightforward. This time, the office worker enacted by Ping-jeh clad in red pants removes the shirt puts himself on a sitting platform erected high by the dances transforming into a lightbox that trembles and twitches …, which strikes me as a transformation needing refinement.  With clear-cut information, yet it seems a little rushed on stage. She often deploys the dancers’ vocalization, which perhaps is a form resembling to “persistence”. Yet I have alleviated in the current work the long struggle used to describe her difficulties; perhaps she is also evolving (refining) herself; -- meaning she herself perhaps does not care so much of such … “loose ends”, and not behind able to be fully comprehended.  She is a poet. The poetic language, caring intention, the superficial romping in the current staging (the overlapping language, sounds, music, flickering lights, colors, rhythms …), and the performers indeed exist of the limbs, scenes …, which are the focal points. Nonetheless, her works are never about the simplistic fluffs. Previously, involving the society, familial relations …, this time, it focuses on work. Perhaps, as a non-dance major, she invariably tries to achieve much through her dance!  She is consistently caring of the humanity.

 

At the current staging, a few dance segments are rather eye-catching; the street dance has the right touch, and the addition of the modern dance adds a touch of flexibility to the storytelling: i.e. the lone dance by the long-skirted woman in a spotlight, and the emotional subtleness of the two male dancers in the street dance.

 

Jhu Wei-ting’s works do not follow the ordinary storylines, but they are full of “fantastical” moments.  Just as depicted by the segment on Yao Chen-ying as an unemployed man in a moonwalk-style dance move (the O.S.:  “I can venture out at any time” and the tidal sound that ensues), or theater actor Lin Fang-fang depicting a braided hair woman who shifts and dances erratically for several minutes amid the Orwellis-styled Bid Ben.  The work’s buildup strength stems from how she never shies away of deep thoughts to surpass the dark path. Looking proud and sunny on the surface, Jhu Wei-ting also knows the depth of her inner sanctum. This is what constitutes as the universal value.  Her works often contains a certain kind of ceremonial element, such as how the dancers remove their shirts towards the end forming a circle, making what appears to be a vocal exercise, or rather a self-deprecating ridicule giggling together, slumbering on the floor, or which perhaps depicts her own humility.


 

At the final relatively bright music, the angularly placed light tubes project suddenly enlivening colors, a prerecorded female voice emerges by the ear at last saying: “Don’t worry, ease me down …  … will cover me, nurture me, and I would not leave; I am here every day”. The text in her literature campaign – “ponder … major events in life making living less easy”. On the poster, I am partial to the print design that is almost old-school depicting a group of people dancing to an enormous gear …, all faceless!  The poem by the side says: “we exchange dialogs on the boat towards the warmth of the homestead for how the youth of yesteryear who had a garden in their hearts or not, shun from the looks of grownups, as they levitate their bodies amid a midsummer night leaving the longlines behind! The next time, if she debuts new works, please go see her, and among the limited audience not good at promoting, all of you perhaps are aware of what I am trying to say!



 

The youth Performing Art critic Chen Qing-lin’s review

 

Yi Ya Ya, Ah …

“My dear self, welcome to your inner sanctum’s tiny world!  We are very glad to have you join us today, and the subject we are going to discuss is – Monday, so what are we going to do?”

 

“Monday, yeah!  Naturally, you will do better than the last week!  Fighting!”

 

“Howl but stop scolding, but once again ready for the gang rape over five days, which is rather hen tired!”

 

“Yeh, yeh, yeh, yeh, yeh!  Don’t you all look at me! There are thirty days before the payday, and it really doesn’t matter which weekday it is.”

 

I:  …

 

Rather ridiculously?  Rather bemusing? Or Rather maddening?  Yet, this is my inner struggle on every Monday, for there is fire in my heart but fearful that I would not be able to have the drive to achieve it, perhaps this is how the term Blue Monday came about!

 

Coincidentally, I come across the “Mending”, and have also seen their latest work “A New Order: The Blue Monday”, yet the opening segment inadvertently steers me to my inner sanctum and aspires me face up again to these issues.

 

As people of different ages may view it with different perspectives, the way I see it, it is exactly the true issue that the youth are confronting every day!  Every performer in the performance projects one’s inner sanctum’s varied attitudes, regardless whether they be positive or negative, compromises and so forth, much like the human’s inherent emotions yet their dialogs, their dances, their movements have all perfected every kind of emotion, as if reenacting the such kinds of emotions to perfection!

 

The portion of the music and sound effect brings me right into the scenario, and what I must say is that the serial booster has made the entire performance that much more titillating, as if transcending into it, where the inner emotional drama in gift one has been transformed onto the stage!

 

But just that, what truly enlightens me as if awakening from a dream, where I am truly moved is the segment in describing how the youth confront the socialization process and their burdens, a segment I perceive should be “an experience of tear welling up when viewing the performance for the first time”, in which it describes the varied pressures the youth confront in the society to be forced to make unconvincing choices against their minds by choosing a lesser evil for the good of the big picture, all for earning the majority people’s recognition, yet assume so with a trying smile at the same time, a segment that still stabs the wound in my heart!  Darn!

 

As a student having studied abroad, and as a member of the youth, I can assimilate personally that on an individual level, after we graduate or at present, we want very much to pursue many varied dreams, an idealistic life, for I want to be a councilman servicing the poor, rallying for their rightful benefits and equity, yet in terms of my burdens, there are my aging parents who have labored for the family for half of their lives, worrying for every little thing in the family, and even if I can solve all these problems, there is more scorn and insinuation coming from the society, reckoning that we are merely daydreaming, detaching from the reality, by simply denying our efforts and reasoning, leaving us only to make the most conservative weighing, which the entire performance is, in fact, able to spot the point and reenact it, which I see it is well worth the trip!  The circumstances the youth are in are seen by some after all.

 

(Ahh, typing out this text record traps me down the road of reminisce!!)

 

Seeing the entire performance as a whole, I would give it a 99 out of a full score of 10, leaving 1 point out being that I did not hear clearly the onset sound recording, a regretful segment, yet meanwhile when the entire performance is a rather perfection, I dread having to miss it.

 

While the society needs this type of performance, because it truly leads the audience to reflect on it, I for one have rehashed it in my mind roughly three, four times, as it not only serves to steer the audience to reflect, but more important as a form of soul therapy, leading me/the others to leave the darkness behind and confront all these once again.  Truthfully speaking as far as the society is concern, everyone faces significant pressures, and with the society as a whole or the places we live being twisted and distorted day and night, everyone needs a little tender, loving care, or be open to redemption, elevating your performance, your work to be truly important! I envision that I would be able to see Mending devoting to its works on this aspect (leave my ∧∧ aside).

 

Then I would very much anticipate to see more of Ms. Wei Ting’s work, as I would keep my eye out for it.

 

September 3 ~ September 11, 2016      at the Tamsui Huwei Battery

 

Recalling and Reflecting on Echo

Transcribing from the “Par Performing Art Magazine”, Echo issue 286, p.82 (the October issue)

滬尾砲台Man∞ Man 演出行動

 

A Non-academic Revolution of Passion 

 

All Eyes on Jhu Wei-ting – “The Huiwei Battery’s “Man * Man” performance action”

It is a work Jhu Wei-ting has jointly created with her longtime tutorial guidance subjects – members of the Tamsui Presbyterian Church.  Drawing from the daily dialog and experience of a group of moms and their kids to derive the generational communication difficulties and closemindedness, which appears to be sedated and serious when devising such a performance with community members taking part, yet Jhu Wei-ting chooses to manifest it in a friendly and personal approach, thus highlighting a unique solemn ambience.

 

The Huiwei Battery’s “Man * Man” performaning action 

 

September 3 ~ September 11, 2016      at the Tamsui Huwei Battery

 

Text – Zhou Zhe-mu, dance critic 

Photos courtesy of Mending Dance Theater 

 

From year one of the Fringe, I have noticed choreographer Jhu Wei-ting, who has debuted her work since 2008, formed a dance company, and gotten nominated into the “Newcomers, New Horizon”, and her new work “Man * Man dance performing action”, and from that I feel that she has attempted a few remarkable things:  First, her dance work performed at the Huwei Battery; secondly, the insertion of voluminous dialog, script in the dance; thirdly, integrating local community participating in her work; as far as dance is concerned, none of the three appears easy.  Yet as a graduate of economics from National Tsing Hua University, Jhu Wei-ting has managed to blend all three in to.

 

The venue is chosen a dirt mount, a nearby corridor, and by a section of an open-air wall next to the Huwei Battery, flanked by carpet-like trees and grass.  I have seen a few performances at Huwei Battery, yet I have never found out that the Huwei Battery can be seen with such simple dilapidation.  Set to open at five P.M. on the afternoon of each day, rays of the remaining light before the sunset divides the day and night.  Four neutral bathtubs derived from her earlier work, the “Fix”, appear on stage, scattering around in their enormity, echoing a primal existentialism; underneath the black turpentine exposes the battery’s unadulterated boulders, depicting a primordial savagery.  The dancers appear from the tubs, folks and members of the audience are invited onto the stage for a Q&A dialog on “Are you a thoughtful child?”

 

Projecting an air of unique solemnity in the ambience 

 

It is a work Jhu Wei-ting has jointly created with her longtime tutorial guidance subjects – members of the Tamsui Presbyterian Church.  Drawing from the daily dialog and experience of a group of moms and their kids to derive the generational communication difficulties and closemindedness, which appears to be sedated and serious when devising such a performance with community members taking part, yet Jhu Wei-ting chooses to manifest it in a friendly and personal approach, thus highlighting a unique solemn ambience.  When the invitees rush to telling freely that they are not “a thoughtful child”, the dancers cladded in nude fabric, who seemingly continuing with their routine dialog, suddenly hang a few simple placards, depicting the “mother”, “son”, and “father”, enacting on a role-conflicting quasi-dramatic performance, yet the movements progress with a strong dance beat, some exhibiting an extension of the phrases, and others in a monolog, suggestive bodily expression … occasionally remerging from the tubs, suggesting the tubs as their caves a primal yearning, a sense of belonging.  Music designer Peng Yen-sheng brings in a magical touch to the music, the dance mentor is invited by unknown Jhu Wei-ting, and him, as a musician prolific in ambience music, has responded to the choreographer’s request, in creating many what Jhu Wei-ting refers to as a “theme-oriented” dynamic music, laced with trepidation, inwardness, tremble … the very attributes found in Jhu Wei-ting’s works, whilst she has been managing to find her own music her dance work before this.

 

With hit phrases manifesting in the dialog on stage, be it the family relations, social anticipation, youth ideology …, being the “boss”, the “employee” and similar meaning placards in insinuation and conversation to reflect an age approaching chaos and disorder, the work takes a sudden turn venturing into yet another domain – a section of closed off corridor nearby, where through the twist and turn of the corridor, Jhu Wei-ting finds another realm.  With the autumnal sun still radiating the sweltering heat, three female and two male dances, reflecting on dancer Li Shao-lu’s work, are lit up, amid the pit cut out of the boulders laid simply with black turpentine, thus deriving a perfect set.  Accompanied by Peng Yeh-sheng’s deep-rooting music, the dancers venture further back to the primordial mode, concocting Jhu’s work with a touch distinct meditative thoughts, fancifulness.  She lets the dancers recite again the symbolic phrases, and also derive the loops from the phrases, further transcending the musical rhythm and the dance movements with further refinement and manifestation.  Later pursued dance critic study, Jhu Wei-ting holds more professional credentials, after choreographing the “Man * Man” series.  The work exhibits significant aesthetics, and prolongs the elements of the earlier movements.

 

Showcasing a dynamic revolutionary ambition 

 

With ample exuberating passion found among the participating group volunteers, it highlights a camaraderie manifesting as a big family.  The crew enthusiastically turn on the electric fans nearby rather stealthily, fearing of the encroaching heat, Jhu Wei-ting manning the music on her own steers everyone to move onto the next realm, knowingly or unknowingly the uninterrupted music is as spellbindingly moving as her electric cord …

 

Moving from the humid corridor to an open-air outdoor space, the audiences shift their eyes adjusting to the horizon.  Finding a favorite spot to put down their chairs, under the tree, the professional dancers and the everyday folks, moms and grandmas (pardon my expression) paired up dance to the in-tune (synchronous) beat.  Finding the music on her own, which I refer to as the Nanou Circus tune, imbued with a sorrowful humoresque tune (which in fact is created by grassroots musician born and raised in Taiwan).  With moms and grands twisting at ease, the job is quite done as long as they keep to the formation!  At last, it once again returns to the very outset of the “dirt-mount stage”.  When the audience arrives, the dancers are already donned in everyday street clothes, reuniting with the group of interns and elders on stage who they spend many hours a day together, boasting a commanding scene!  The music also appears somewhat New Age.  With dusk closing in, five pairs of performers stand face to face, reciting: “Come, put your hands on the walls of the room, and sense what you feel?”, which steers and touches.  “The wrinkles on his face, the fine hair, you embody all such”.  Friends of the performers have been invited on stage, as the work reaches the climax, amid the smoothing evening breeze.

 

This is a dance composition that entails more than public participation, and also a smart use of the battery’s rustic and barren elements.  With the goodwill of the moms and grands, the usual attires, appearances, it is yet a dance work that criticizes stringently on social selfies, the lack of communication …, yet plays the words, sounds, music, visual iconography with abandonment, whimsical extent.  This is a mindlessly miss out on promotional tickets of the current month’s program at the National Theater and Concert Hall dance work in Tamsui “grassroots” performing, I have seen the passion and ambition of a flaring quasi-revolution! 

 

曼丁身體劇場邀大家跳舞 - 新北市政府文化局 - 曼∞曼

作者: 【記者潘鴻志、潘昱帆/新北報導】 | 台灣新生報 – 2015年5月27日 上午12:00

「舞 蹈就像一張地圖,想要畫出一些道路,讓人們通往過去,並為今日淡水的現實存在與東方的靈性世界建立一種聯繫。」由曼丁身體劇場所帶來的《man∞man》演出(見圖),藉由古蹟空間的歷史與環境成為舞蹈的養份,不只不斷探詢與淡水地方文化的連結,更要帶領民眾探索身體與靈性的對話,將於三十日十 四時在淡水得忌利士洋行後棟演出及舉辦工作坊,均為免費參與,歡迎有興趣的民眾前往參加。

新北市政府文化局表示,淡水是新北市極為重要的古蹟聚落,它們除了承載因 歷史變遷而遺留的記憶以外,這些文化記憶也是創作、詮釋乃至社會實踐的重要養份。工作坊為免費參加,採網路報名,欲參加者請Email姓名、手機、年齡至mendingdance@gmail.com,或至FB活動頁 面報名。

 

2014年《灶‧心》受邀演出於新北市政府文化局所舉辦「FUN!淡水夏日文化樂園」

「 FUN !淡水夏日文化樂園」系列活動,邀請大家來淡水「觀潮藝術廣場」免費看表演、逛市集!週六下午 13:00-18:00 邀請到「聲動樂團」、「精靈幻舞舞團」、「亦宛然掌中劇團」、「曼丁身體劇場」、「匯川聚場」、「真理大學蘇格風笛樂團」等高水準藝文團體演出,內容囊括了原創音樂、舞蹈、傳統布袋戲等相當多元的藝術領域。(自立晚報2014/07/25) (記者黃秀麗新北報導)於觀潮藝術廣場(Tide Art plaza)演出週末午後,在樹蔭和陽光下、在山與河面前,交融在自然中盡情舞動他們熾熱的靈魂,總用再真實不過的身體姿態,不羈地書寫生命。

2013《灶‧心》入選Guling Street Avant-Garde Theatre 2013最佳年度節目

 

《Fix2》受邀演出 與表演藝術評論吳思鋒評論

《Fix2》受邀演出 與表演藝術評論吳思鋒評論

吳思鋒評論五顆星:「這是一則關於受傷者的身體修復寓言。先在一樓,舞者著上肉色,失序、鄰近崩潰的動作,輔以沉鬱的音樂,被心理之牆獸困,原本即如廢墟的空間變得更加廢墟,晦暗而潮濕。再到三樓,三台外壁帶著血跡的,盛了水的浴缸,舞者互潑、浸泡、騰出、倒下,水既是浮沉與危溺,也是清滌和療癒。後段,好似有個擬性姿態,代表某種生命不可言說的私密性的,被擺入廢墟時間;這是受傷者給自己的二度傷害,卻也是以火攻火,方死方生。最後走上四樓(頂樓),其中兩名舞者套穿類似田徑或游泳的服裝,音樂比重剎那銳減,調度也趨向簡單,卻沒有乏力之勢,給了一個小幽默、微勵志,具有想像力的結尾。能放也能收,這不只是編舞者乃至各式創作者的必備本領,也是生命必然的學習課題。」

達人推薦-Women on/in the Fringe Part Ⅰ

每年在藝穗節總會看到令人驚艷和期待的女性創作者身影,今年的節目已經是破紀錄的多了,想看的節目更多,好想知道這些有趣又厲害的女生腦袋裡裝了甚麼東西!要首推的是修復舞團的《FIX2》,編舞者朱蔚庭往年以「海龜特攻隊」發表作品,去年在牯嶺街小劇場的《FIX》,其大膽奔放的舞蹈語彙,讓評審和觀眾們眼睛為之一亮,一舉摘下2010藝穗亮晶晶獎的「最有勇氣獎」。今年藝穗特地媒合朱蔚庭在廢墟建築學院發表新作,廢墟特殊的空間氛圍加上熱烈的舞蹈,在不同樓層中放肆,第一集中的浴缸將重現江湖,未演先轟動,令人心癢!

 

《 Fix》 鴻鴻 鄒之牧兩篇評論與藝穗獲獎

《 Fix》 鴻鴻 鄒之牧兩篇評論與藝穗獲獎

藝術評論鴻鴻評論五顆星:

「誠懇而不濫情、多面向的美感品味、強大的能量,這三點已經讓我深深喜愛這支作品。不同的肢體語彙、不同質感的年輕舞者,可以被連貫的情感統合,真的不簡單。音樂與燈光富有意境,水與泥的材質變化,賦予舞蹈更多層次。唯有浴缸一場,可以發展得更精彩。記住朱蔚庭、我不會錯過這位編舞家之後的任何一場演出。

藝術評論鄒之牧評論五顆星

第一屆驚鴻一瞥後,兩年後,不負期待。編創者講究從physicality帶出mind,甚或情境, 舞台上首見的沙土為海龜般的生存情境提供了很好的 附著,服裝出色,四個訂製的浴缸在牿嶺街的舞台上比例也剛好,燈光大膽,

這樣的條件這樣的成果,起立鼓 掌!超猛!酷斃了。

台北市政府主辦台北藝穗節邁入第三屆,邀請來自國內外70個藝術工作團隊,

上演250場精采好戲。

記者:黃振文 時間:7/13(曾郁崴攝影)  

在藝穗節首度發表舞蹈創作《海龜的熱潮》的熱潮身體工作坊-海龜特攻隊,也應邀參加此次活動,將推出全新舞碼《Fix》。Fix編舞者朱蔚庭及其舞者。這次特別邀請到法籍台裔跨界音樂創作者吳亞林和台灣獨立樂團吉他手鍾語桐攜手合作,量身訂做出極具實驗性又飽滿豐沛的音浪。編舞者朱蔚庭指出,這次的作品主要是表達現代人的愛、死亡和悲傷這些憂鬱的感覺,透過現代人身體的同質性和差異性所造成的收縮感和擴張感,去強調人和人之間一種完整的連結感。她表示,這是一部屬於療癒性質的作品,

希望用身體去表達一些語言所無法表達的東西。

 

海龜的熱潮