《我知道的太多了》以編舞家劉冠詳於安寧病房照顧癌末母親時，錄下種種聲音素材為發展線索，將傷痛記憶打造成舞蹈創作。劉冠詳、林祐如、簡晶瀅三位舞者輪流飾演母親、人子、死神或死亡、病痛的隱喻，在台上以獨特姿勢、律動及身體質感，建立一條通往生與死的連結管道。演出從「小我」情感創傷出發，關懷「大我」面對生離死別的惶恐或傷痛；演出全程配合錄音內容如「我第一次帶你看電影」、「我第一次打你」病榻前親密母子對話、生命回憶或家族故事，直至最終母親因病幾近全盲的幻覺夢囈，毫無隱藏全然傾瀉給觀眾，深情卻不濫情，帶觀眾一起進行一場重回子宮、再次長大的時空歷程。
This work, Kids, was inspired by choreographer LIU Kuan-Hsiang's sorrowful memory and evolved around the sound recordings LIU made with his mother, who suffered from terminal cancer and was being looked after by LIU in the hospice unit. In the performance, LIU and two other dancers, LIN Yu-Ju and CHIEN Ching-Ying, alternated between the roles of Mother, Son, Death, and a symbolic figure of death and illness. With their unique postures, rhythm, and physical interpretation, they interwove a passageway that bridged life and death. From performing the emotion and grief of an individual, the work became an interpretation that addressed our collective fear or sorrow at the time of bidding farewell to our loved ones forever. The performance progressed with what the sound recordings unfolded to the audience without any reservation, from the mother-and-son conversations, to their memories or family anecdotes, such as things like "the first time I took you to see a movie" and "the first time I beat you," to the mother's hallucinations and sleep-talking during the final stage of her illness when she was almost completely blind. Without being overemotional, the affectionate journey brought the audience back to the moments of maternal love and to relive the experience of growing up.
劉冠詳LIU Kuan-Hsiang
目前為獨立編舞家，2017 於雲門文化藝術基金會委託製作《棄者》，2017~2018 獲選雲門創計畫支持，2016《我知道的太多了》成為亞洲首次入選歐陸年輕編舞家網絡平台（Aerowaves Spring Forward）之作品，2011~2016年與驫舞劇場合作，是劉冠詳的重要創作時光。在驫舞劇場的創作有：2014《英雄》入圍第13屆台新藝術獎，並廣受邀演。2015《兩對》並受邀參加首屆墨西哥藝術節、2016 在驫舞劇場全新製作《我知道的太多了》，入圍第15屆台新藝術獎。除此之外，劉冠詳也參與創作2015 「松菸Lab創意實驗室」 編創《野外》，提名第14屆台新藝術獎，並獲「2016台北詩歌節」閉幕演出邀演 ，2013 受邀導演「台北室內合唱團」作品《合唱無設限IV》，提名並入圍第12屆台新藝術獎。劉冠詳曾獲金舞獎最佳編舞/Myfone文學二獎。
LIU Kuan-Hsiang is an independent choreographer.
2017 Commissioned by Cloud Gate Dance Foundation to create a new work, Karma.
2017-2018 Selected by Cloud Gate's Art Makers Project.
2016 Kids became the first Asian work selected by Aerowaves Spring Forward.
The years from 2011 to 2016 marked an important creative period for LIU, during which he collaborated with HORSE Dance Theatre. Together the choreographer and the dance theatre created Hero (2014), which was nominated for the Taishin Arts Award and was invited to be performed in various places. Two Duet (2015) was invited to the first International Contemporary Dance Festival of Mexico City. In 2016, Kids, a new production at HORSE Dance Theatre, was a finalist in the 15th Taishin Arts Award. In addition, he also participated in the creation of Wild Never Exist (2015) at SongYan Creative Lab, which was nominated for the 14th Taishin Arts Award and performed at the closing ceremony of the 2016 Taipei Poetry Festival. In 2013, he was invited to direct Music Unlimited IV by Taipei Chamber Singers, which was nominated for the 12th Taishin Arts Award. He had won the Second Prize in the 4th Myfone Literary Award.
劉冠詳
林祐如、簡晶瀅、劉冠詳
陳芓伃
劉家明
江佑倫
藍靖亭
陳冠宇
陳長志、 陳藝堂、 劉冠詳
李尋歡
雲門淡水劇場
關鍵字
評審談作品
《我知道的太多了》讓人在死之幽谷中看到生之勃然。
入圍理由 Reason for Nomination
極簡的舞台上，白地膠裁切成不規則的矩形，如失去平衡之人生處境。左舞台後方垂著一大塊白色布幔，編舞家劉冠詳十分巧妙地運用這塊布幔，時而如放大的床單，時而成為幽閉密室之帷幕，時而成了光影效果之介面。劉冠詳用錄音方式記錄下與母親生前的對談，通過整理剪輯，成為舞作的軸線。表演者林祐如與簡晶瀅以出神入化的身體表現，駕馭著各自的角色與作品主題意象。 這是一個注定無法取悅觀眾的作品，卻讓人在死之幽暗中因愛而看到生之勃然。編舞不僅藉此找到了心之安放所在，渡化了亡母的靈魂，更重要的，從個人的死生經驗中跳脫，觸及了人類永恆的宿命議題，展現了編舞家在癲狂祭典下的理性之縝密與冷靜，讓觀眾在迷狂的景象中看到精神的昇華。(主筆／張曉雄)
On the minimalistic stage, the white vinyl flooring reveals an irregular rectangle, like a visual symbol of an ill-balanced life. A large piece of white cloth hangs at the left of the stage background. The choreographer, LIU Kuan-Hsiang cleverly uses this cloth to imitate an enlarged bed sheet, the curtain of an enclosed room, or an interface for lighting effect. LIU has recorded his conversations with his mother before she passed away, and edited the recording to be used as the center that the dance evolves around. The dancers, LIN Yu-Ju and JIAN Jing-Ying, have embodied their respective characters and the main imagery of the work with a captivating performance.
This work does not aim to please the audience; however, it allows one to see the exuberance of life in the darkness of death because of love. The choreographer finds a closure in the work and elevates the eternal departure of his mother. More importantly, he surpasses the personal experience of facing death and touches upon the eternal issue of fate that haunts humanity. This work demonstrates the choreographer's rational meticulousness and calmness in the form of a mad ritual, enabling the audience to witness spiritual sublimation in wild and irrational scenes. (Commentator: ZHANG Xiao-Xiong)
第15屆 台新藝術獎表演藝術獎 得獎理由 Jury's Comment for the 15th Performing Arts Award Winner
《我知道的太多了》讓人在死之幽谷中看到生之勃然。編舞家從個人的死生經驗中跳脫，觸及了人類永恆的宿命議題，展現了近乎癲狂的祭典儀式下的理性、冷靜與縝密，讓觀眾在迷狂的景象中看到精神的昇華。
編舞家以極具原創性的肢體語彙和單純的舞台元素，創造出豐富而抽象的舞台意象。尤其使用其母親生前的對話錄音，經由處理、剪輯、轉化，成為聲效／音樂的一部分，強化了舞台的戲劇張力。三位表演者極具爆發力，同時具有豐富的質感與層次，令人激賞。
Kids presents the exuberance of life in the valley of death. This work draws on and goes beyond the choreographer's personal experience facing death to meditate on the ever-present issue of mortality that haunts humanity. It demonstrates the choreographer's rational meticulousness and calmness in the form of almost delirious ritual, enabling the audience to witness the sublimation in wild and irrational scenes.
The choreographer creates abundant and abstract images on the stage with highly original body language and distilled theatre elements. The audio recording of a dialogue between him and his late mother is transformed into a wondrous soundscape, intensifying the explosive, layered and impressive performance by three excellent dancers.
