蔡明亮：「玄奘這個人可能跟我心裡有塊東西相呼應，比如說往一個方向踽踽獨行、不太理會別人的想法，與出走的概念...一個人孤獨走過那片沙漠，如何面對好像永遠不變的風景，跟那些描述，跟我心靈上的某些層面非常貼近，好像剎那間，有個人在精神上跟我一致。」

入圍理由 Reason for Nomination

固然是蔡明亮的劇作，但穿越了行動與裝置藝術、繪畫與電影，也是先前影片《行走》與劇場《只有你》之後的綜合體，《玄奘》走出了類型限制與文化圈限，也讓人見到了李康生與高俊宏的卓越演出，都是值得喝采的。它體現了蔡明亮關注的個體慾望的政治性，影像豐富寓意，肢體動作在自然狀態與設計中達到渾然天成的結合，游刃於自我心境、古代敘事的想像與當代人的精神焦灼而有餘，在當代台灣電影導演中，無疑是藝術視野最全面、深具跨域能力的創作者。提名觀察人 ─ 陳泰松

This is a work by TSAI Ming-Liang, but it transcends action and installation art, painting or film. It is an amalgamation that follows his earlier film Walker and theater production, Only You. The Monk from Tang Dynasty departs from categorization and cultural boundaries. Exceptional performances by Lee Kang-sheng and Kao Jun-Honn are both worthy of accolade. The work embodies TSAI Ming-Liang’s concerns about the politics of individual desires. Images rich in allegory, and physical movements that are a heavenly combination of nature and design maneuver freely in the psyche, surpassing the combustion of the imagination of ancient narratives and the spirit of contemporary man. Among contemporary Taiwanese film directors, he is undoubtedly a creative force whose artistic vision is the most comprehensive with a depth of interdisciplinary strength. Nominator: CHEN Tai-Song

年度入選獎得獎理由 Jury’s Statement on Award Winners

《玄奘》以極簡的舞台、色彩與劇場元素，緩慢鋪展虛與實、顯現與隱無之間的無盡轉換。畫師以身體在場的方式進行繪畫，並以不同的手感符號，凸顯炭筆與白紙的物質構成，修行者以身體在場的方式，行住坐臥，貼擠日常與無常，成功展現時間在靜默劇場空間中的流經。此劇場作品展現了蔡明亮一貫的慢動作與老歌懷舊風格，以最貼近「現實」的方式，給出最魔幻的「真實」與最敏感的「寫實（時）」。與此同時，此劇場作品更精彩帶入了紙的新元素，可畫可坐，可折疊成蒲團，可縐摺成山巒，讓紙給出了充滿當代「多摺性」空間感性的無盡可能。

《玄奘》穿越了行動與裝置藝術、繪畫與劇場，走出了類型限制與文化圈限，也讓人見到了李康生與高俊宏的卓越演出。

With minimalist staging, color, and theatrical elements, The Monk from Tang Dynasty gradually unfurls the virtual and the real, and reveals their infinite conversions within nothingness. The artist is physically present to paint on site, using different tactile symbols to highlight the material structure of graphite and paper. The meditator is physically present to meditate on site, opposing the quotidian with the impermanent, and successfully demonstrating the passage of time in the silence of the theater space. This theater performance showcases TSAI Ming-liang’s signature slow, nostalgic style that presents a highly magical “reality” and a sensitive “real(time)ism” through an approach closest to “actuality.” The work brings in the element of paper that can be painted on, sat on, folded into a futon, or crinkled to resemble mountain peaks – imbuing paper with the endless possibilities of contemporary manifold perceptual space.

The Monk from Tang Dynasty traverses action and installation art, painting and theater; it transcends the limitations of category and cultural boundaries, and showcases the stellar performances of LEE Kang-sheng and KAO Jun-Honn.