《親愛的》以人際關係的情感主題出發，剔除西方炫目的技巧與傳統文化的動作包袱。以剪
何曉玫擅長利用超現實主義式的意象，創造舞台的驚奇，表面上浪漫的人際關係，卻隱藏親
My Dear starts with the emotional topic of interpersonal relationships, setting aside the dazzling techniques of the West and the burden of movement of traditional culture. The paper-cut imagery hints at the incompleteness of the self, while puppet-like dancers interweave between yin and yang silhouettes. Scene after scene depicting various conditions of life are deduced to precipitate a style of Eastern impressionism. The windbreakers on the dancers replace the concealed curtains of a stage, and serve as a springboard for dancers from which to switch roles. Furthermore, they symbolize an overpowering invisible force, much like the scene being played out on the stage. The last scene of the performance exhibits a collage-styled humanoid that hints at the coexistence between people and the need to erase part of the self to make room for the acceptance of another. This work is also the product of collaboration with Jam Wu, the first Taiwanese artist-in-residence of Espace Culturel Louis Vuitton.
Ho's strength lies in her use of surreal images to create surprising stage effects: The most complicated entanglement of intimate relationships is hidden beneath the romantic ties on the surface. Ho makes no attempt to depict the superficial emotions of today's Taiwan; rather, she aims to represent the emotional experience deep inside Taiwanese people's sub-consciousness.
何曉玫Meimage舞團 MeimageDance
由被譽為「創造超現實想像高手」的中生代編舞家何曉玫創立於2010年。Meimag
Hailed as the "master of creating surreal imaginations," mid-career choreographer HO Hsiao-Mei founded MeimageDance in 2010. The troupe was founded in the spirit of highlighting a distinct style that reflects both dance and visual culture. Beginning in 2011, the group launched the Button*New Choreographer project, which mainly invites dancers living abroad to return to their home country to produce and perform, as well as share their experiences abroad.
何曉玫
盧健英
郎祖明
吳耿禎、何曉玫
吳耿禎
劉培能
曹安徽
覃康寧
王奕盛
Coordt Linke
鄞燦昱
林可夫、陳威光
羅瑋君
李忠貞
劉振祥、林政億
狠主流多媒體有限公司
吳可雲、林千鈺
宋宜倩、余宛倫、周辰燁、施亞廷、梁儉豐、陳映慈、黃煜騰、鄒瑩霖、蕭源斌、羅瑋君
國家戲劇院 The National Theater
關鍵字
- 舞蹈
- 剪紙
- 光影
- 人際關係
- 人偶
藝術家談作品
人與人在相處的過程中，必定要捨去部分的自我，以包容他人的存在。
人與人在相處的過程中，必定要捨去部分的自我，以包容他人的存在。
評審談作品
運用服裝、光影、剪紙藝術，將立體的舞台空間帶來強烈的視覺張力，並創造出新的舞蹈身體。
入圍理由 Reason for Nomination
在特殊的舞台角度上，對於習慣掌控自己身體的舞者產生了新的挑戰，新的舞蹈身體因此產生了。後半段女身男腿的異形組合，一種曖昧而怪異的性別，更將前半段說表現出來的內在，也就是許多不安的緊張情勢同時並存的狀態，更加深刻化了。提名觀察人 ─ 王浩威
The unique angle of the stage poses as a brand new challenge for dancers who are used to control own body; a new dancing body has thus been created. The strange combination of female body and male legs in the latter half of the performance—an ambiguous and weird gender—has further enhanced the emotions, which is a state where number of anxious tensions coexist, presented in the first half. Nominators: WANG Hao-Wei
年度入選獎得獎理由 Reasons for being Shortlisted
長久以來對於「人」與「偶」的辯證，何曉玫發展出其獨特的肢體語彙。利用風衣與肢體的變化，創造出快速流轉的情境，及在這當中瞬息萬變的人際關係。歪斜的水平面改變舞者與地板的關係，也改變情感的重力與平衡。舞者時而飛翔般的奔跑，時而懼怕墜落般的攀附。女性舞者的上半身與男性舞者下半身合體，拼貼出一個詭異扭曲的「自我像」。何曉玫擅長利用超現實主義式的意象，創造舞台的驚奇，表面上浪漫的人際關係，卻隱藏親密關係當中最複雜的糾葛。何曉玫所表現的，並非當今台灣當代的表象情感，而是對於台灣人深層潛意識裡情緒經驗的再現。與剪紙藝術家吳耿禎跨界合作，以一個曲折的地平線做為舞台。此舞作運用服裝、光影、剪紙藝術，將立體的舞台空間帶來強烈的視覺張力，並創造出新的舞蹈身體。複選委員 ─ 陳泰松、林于竝、邱坤良、阮慶岳、林曼麗、陳昌仁、陳郁秀、石瑞仁、吳靜吉
HO Hsiao-Mei has developed her unique body vocabulary over her long dialectics on “humans” and “puppets” over time. Through changes of trench coats and the human body, she creates the rapidly transitioning context, and the constantly changing relationships within. The slanted surface changes the relationship between the dancers and the floor, as well as the emotional gravity and balance. Dancers run as if flying at times, and cling on as if afraid of falling off. The strange combination of a female body and male legs put together a strange and twisted “self-portrait”. Ho’s strength lies in her use of surrealist images to create surprising stage effects; the most complicated entanglement of intimate relationship is hidden under the romantic ties on surface. Ho is not trying to depict the superficial emotions in today’s Taiwan; rather, she wants to represent the emotional experience deep inside Taiwanese people’s sub-consciousness. A twisted horizon is used as the main stage in this interdisciplinary cooperation with paper-cutting artist Jam Wu. The dance performance uses costumes, light and shades, and paper-cutting art to bring strong visual tensions to the three-dimensional space of the stage, creating brand new dancing bodies. Semi-selection jury: CHEN Tai-Song, LIN Yu-Pin, CHIU Kun-Liang, ROAN Ching-Yueh, CHEN Chan-Jen, CHEN Yu-Hsiu, SHIH Jui-jen, LIN Man-Li, WU Jing-Jyi
