2007年10月20日—21日，在中國澳門的牛房倉庫藝術空間，《第五屆“大道”現場藝術節》巡迴活動的第三站暨《第二屆澳門國際現場行爲藝術節》拉開了大幕。值得注意的是，這是兩套人馬的兩個藝術活動在同時同地進行（澳門方面總策劃爲挪亞先生），頗有意味。在有著葡式建築特色並與“牛”有著歷史淵源的牛房，黃色的斑駁與厚實的牆體間，透出蒼桑如逝水，往事如雲煙。同爲曾經的殖民地，這裏卻和香港的人文氣場有著顯著差異。這裏的GDP總量不及後者，但人均GDP含量卻已超過後者；後者的經濟支柱是金融貿易，而這裏的經濟支柱卻是在內地被視作禁區的博彩業；後者的大街上是永遠的熙來人往，和精神重壓下的疲於奔命的蕓蕓衆生，這裏卻是人煙稀少散淡平靜。這種恍兮惚兮適於生長藝術的感覺，與地處內陸的成都很有幾分相象。這也是爲什麽近幾年來，澳門的當代文化藝術的進步要快於香港的基本原因之一。除此之外，這裏的藝術機構和團隊的組織及辦事效率，都在一個高水準和高質量上，從而有效地保證了許多當代文化藝術的專案計劃的順利完成。來自日本的資深藝術家霜田誠二(Seiji Shimoda)，其作品《桌上》，通過系列複雜而困難的形體動作，在人與桌子的實用關係與哲學關係之間，尋找一種難於兩全的平衡。桌子是人類的發明，而將其概念肢解，卻是藝術的發明。重要的可能不是桌子能給我們帶來什麽，而是桌子能讓我們失去什麽。吳方洲的作品《澳門龍》，在橫梁上懸挂用黑膠袋裝的採自黑沙灘的黑沙，裸著上身，下身著白絲襪的作者拖著用紅紙團連成的“尾巴”。膠袋裏的黑沙不斷流向正閱讀法律文本的作者身上和嘴裏，又噴向在牆上用白膠畫的“龍”和澳門行政區圖上，“沙龍”和地圖漸顯形。他用個人化的方式，爲這一有著沈重的關乎歷史的、文化的、民族的綜合負載的概念，研製結果異常的注解。“龍”這個帶有神話色彩的子虛烏有的“動物”，與其身後龐大的精神寄託之間，虛擬寬泛的力量遠大於真切實體的力量。全黛馨，一位來自澳門科技大學一年級的小姑娘，對行爲藝術的瞭解並不算多，但卻很有勇氣成爲新生力量的一員，僅此一點就值得肯定與鼓勵。其作品《認知的帝國時代》，從她們這一代人的角度，試圖在人類認知的小與客觀世界的大之間，已知與未知之間，找到更多的和前人不一樣的結論。馮錦基也是澳門的藝術家，先做陶藝，後學行爲藝術。其作品《有飯食 X有送食》，在人們司空見慣的吃飯問題上，提出關乎消費質量和義務的問題。在看似渺小的問題上，牽扯出國計民生的大問題。周斌的作品《22米墨迹》，選擇了牛房門外的有著葡式情調的一段22米長的老院牆。作者俯身牆上，用手緩慢地推動一塊事先預凍好的墨磚到圍牆的另一端頭。說“緩慢”，那是因爲這個過程長達四個小時。“墨迹”染黑了牆頭，牆頭的尖刺也挂爛了作者的衣褲。這裏的環境和現場與作者此前所經歷過的現場大不一樣，作者自身的困難體驗，現場公衆的反應，會産生移境、移情的相應變化。而這種與心理的和精神的層面有著微妙關聯的變化效應，是人的可知或不可知的潛在世界的另類存在。只不過，這種存在常常被人們莫視。舒陽的作品《印》，續做著此前曾做過的主題。但和此前大不一樣的是，他將口紅塗抹於含在嘴裏的刀上，並用口紅在胸口書寫“緬甸”字樣，用嘴吻刀上的口紅，“拓印”於手背上，再將刀上的口紅反復拍印在臉上。內容與細節形成的語境，直指以“緬甸”的政治局勢導入的主題中。“紅”、“刀”、“臉”、“手”，這些指代性極強的元素，上升爲社會意識象徵符號，表達著作者對該問題的十分鮮明的態度。王楚禹的作品《走》，將雜技和柔術的高技術含量的動作，與其艱難異常的“走”，在同一時態中反常出現。其雙腳腳心一左一右寫著的年代字元，並非隨意的數位，而是記錄了一代老知識份子苦難經歷的文化傷疤。與生理性傷疤一樣，會不時地作痛的。滿宇的作品《測》，在牛房空間內取一個大角，用身體的長度去實“測”由大角形成的三角形的兩個直角邊和斜邊的“長度”，而“長度”的資料，是由多少個身體的“長度”來表示的。作者的願望是如何在行爲作品的實施中，能最大限度地體現一種類似科學式的“嚴謹”。由作品提出的“精確”問題，不管在我們的社會生活中還是藝術方式中，“實現”的本身就帶有反諷和調侃性。人爲的空間也許能夠測量，但人性、人格也是可以精確“測量”的麽？越南的陳龍（Tran luong），作品《墳墓》，主體道具是一具牛頭骨架。圍繞著牛頭，進行著一系列詭異的舞蹈儀式。骨架作爲生命的組成部分，具有超越時空的神奇力量。對生命的崇拜，一直延續在人類發展史中。塔瑪·拉班（Tmar Raban），在不一樣的空間，續做著《L·E·P·P》。對我們慣稱的“行爲”概念，在西方則定義爲“表演”、“現場”，甚至有學者戲稱可以給出上百種非確定含意。爲什麽已存在半個世紀的藝術方式，直到今天仍不能對其驗明正身呢？難度究競在學術之內，還是學術之外？來自愛爾蘭的費古斯·奧坎楚（Fearghus O’ Conchuir），以一種似舞蹈又不似舞蹈的方式，用肢體語言，表達著來自異國它鄉的對生命的感悟。雖然也存在著對他的作品定性的爭議，但就像對“行爲”的爭議一直存在一樣，爭議可能會促進學理的豐富與多元。賈柯莫·卡拉布萊斯(Giacomo Calabrese)，在不同的人文環境，其演義的《房間》，便會産生迥異的現場效果。“房間”是人類的發明，既能遮風避雨，也善收藏隱私，是社會大空間的基本構成單元。每個“單元”的有效存活，是社會機體健康的基本前提。現場藝術節和巡迴活動在澳門的內容如期結束。但遠沒“結束”的，是大家對這裏的當代藝術未來發展的良好預期。
陳默
2007年10月于澳門美副將大馬路
2007年11月15日星期四
2007年11月8日星期四
1.紅彩仙子－給你如甜心玫瑰般的千人抱抱 Rainbow Fairy –Honey Baby Hug
時間/Duration: 60min
藝術家/Artist: 葉怡利 Yeh Yi Li (台灣/Taiwan)
若是你是正常人打扮並隨意在街上擁抱陌生人，你可能會被推開、被罵，但假如你裝扮成可愛的卡通、漫畫或電玩人物，那麼將會有許多許多人圍繞著你擁抱你並搶著和你拍照…等，因為那是多麼的不真實卻又多麼的夢幻，然而這個不真實存在的身分卻讓你的腦部分泌超眞實並且無限大的幸福！
Imagine yourself dressed normally and start hugging people on the streets, you would probably be pushed away or get yelled at. However, when it comes to anyone dressed in cute comic figures, people will start line up to take pictures with them and can’t wait to give these unrealistic characters big hugs. What is all this about? It’s the pleasure of allowing being unrealistic and fantasizing in anyway, and the disguised identities create true infinite happiness in the brains of the people.
藝術家簡介/Artists' CV
葉怡利 Yeh Yi Li (台灣/Taiwan)
1973年生，畢業於國立台灣藝術學院與台南藝術大學應用藝術研究所。2000年獲台北奬入選。2005年，曾獲選參加澳門「以身觀身：中國行為藝術文獻展」，並參加過第四屆大道現場藝術節，作品也在南韓、英國、俄羅斯、馬其頓等地發表。
Born in Taiwan in 1973, graduated from the Graduate Institute of Applied Arts, Tainan National University of the Arts. In 2000, Yeh’s work was selected by Taipei Awards. In 2005, she participated in “Inward Gazes – Documentaries of Chinese Performance Arts” in Macau and China’s 4th DaDao Live Art Festival” in Beijing. Yeh also performed in several countries including South Korea, England, Russia and Macedonia.
藝術家/Artist: 葉怡利 Yeh Yi Li (台灣/Taiwan)
若是你是正常人打扮並隨意在街上擁抱陌生人，你可能會被推開、被罵，但假如你裝扮成可愛的卡通、漫畫或電玩人物，那麼將會有許多許多人圍繞著你擁抱你並搶著和你拍照…等，因為那是多麼的不真實卻又多麼的夢幻，然而這個不真實存在的身分卻讓你的腦部分泌超眞實並且無限大的幸福！
Imagine yourself dressed normally and start hugging people on the streets, you would probably be pushed away or get yelled at. However, when it comes to anyone dressed in cute comic figures, people will start line up to take pictures with them and can’t wait to give these unrealistic characters big hugs. What is all this about? It’s the pleasure of allowing being unrealistic and fantasizing in anyway, and the disguised identities create true infinite happiness in the brains of the people.
藝術家簡介/Artists' CV
葉怡利 Yeh Yi Li (台灣/Taiwan)
1973年生，畢業於國立台灣藝術學院與台南藝術大學應用藝術研究所。2000年獲台北奬入選。2005年，曾獲選參加澳門「以身觀身：中國行為藝術文獻展」，並參加過第四屆大道現場藝術節，作品也在南韓、英國、俄羅斯、馬其頓等地發表。
Born in Taiwan in 1973, graduated from the Graduate Institute of Applied Arts, Tainan National University of the Arts. In 2000, Yeh’s work was selected by Taipei Awards. In 2005, she participated in “Inward Gazes – Documentaries of Chinese Performance Arts” in Macau and China’s 4th DaDao Live Art Festival” in Beijing. Yeh also performed in several countries including South Korea, England, Russia and Macedonia.
2.Cosán Dearg
時間/Duration: 15min
藝術家/Artist: Fearghus O’Conchuir (Ireland/愛爾蘭)
“紅色的道路”，形容地面不斷的被踐踏而磨損；亦象徵強制力，反覆和情感。舞蹈指導Fearghus Ó Conchúir與劇場指導Jason Byrne，作曲家Julie Feeney和演出者Bernadette Iglich共同給予每次演出的新演繹。
literally ‘red path’, is a phrase used to describe ground worn by the frequent tread of footsteps. It is a physical metaphor for compulsion, repetition and attachment. Choreographer Fearghus Ó Conchúir has collaborated with theatre director Jason Byrne, composer Julie Feeney and performer Bernadette Iglich to create an uncompromising physical script for a relationship that emerges from the bodies of audience and performers in a new way each time it is performed.
藝術家/Artist: Fearghus O’Conchuir (Ireland/愛爾蘭)
“紅色的道路”，形容地面不斷的被踐踏而磨損；亦象徵強制力，反覆和情感。舞蹈指導Fearghus Ó Conchúir與劇場指導Jason Byrne，作曲家Julie Feeney和演出者Bernadette Iglich共同給予每次演出的新演繹。
literally ‘red path’, is a phrase used to describe ground worn by the frequent tread of footsteps. It is a physical metaphor for compulsion, repetition and attachment. Choreographer Fearghus Ó Conchúir has collaborated with theatre director Jason Byrne, composer Julie Feeney and performer Bernadette Iglich to create an uncompromising physical script for a relationship that emerges from the bodies of audience and performers in a new way each time it is performed.
藝術家簡介/Artists' CV
Fearghus O’ Conchuir (Ireland/愛爾蘭)
Brought up in An Rinn, an Irish-speaking area of Ireland, Fearghus Ó Conchúir completed degrees in English and European Literature at Magdalen College Oxford, before training at London Contemporary Dance School. He has danced for companies in the UK and Ireland. In 2001 he set up Corp Feasa Dance Company to perform his own choreography which has included Vespers, Tearmann, Sulán, An dá thrá and Cosán Dearg. He was Artist in Residence in the Muskerry Gaeltacht in 2003/2004 and continues to develop his work in collaboration with other artists and in association with rural communities across Ireland. He was a recipient of RTÉ/An Comhairle Ealaíon inaugural Dance on the Box Commission for which he created Match. He is the first Ireland Fellow on the Clore Leadership Programme and Dance Artist in Residence for Dublin City Council. His current creative preoccupation is the relationship between bodies and buildings in the context of urban regeneration, a preoccupation that has manifested itself in work in Dublin and Shanghai.
在使用愛爾蘭語的安林半島長大。在牛津大學莫德林學院修讀英文和歐洲文學，隨後在倫敦當代舞蹈學校學習。在2001年成立 Corp Feasa Dance Company；與Vespers, Tearmann, Sulán, An dá thrá和Cosán Dearg一起演出其創作的舞藝。在2003/2004年被邀為Muskerry Gaeltacht的駐場藝術家；從而繼續在愛爾蘭與其他藝術家交流創作。他是 RTÉ/An Comhairle Ealaíon inaugural Dance on the Box Commission的獲獎者，創作了“Match”；亦是Clore Leadership Programme的首位”Ireland Fellow”和都柏林市議會的舞蹈駐場藝術家。現時的創作專注於身體與建築物在城市革新中的關係 – 已搶先在都柏林市和上海演出過。
Fearghus O’ Conchuir (Ireland/愛爾蘭)
Brought up in An Rinn, an Irish-speaking area of Ireland, Fearghus Ó Conchúir completed degrees in English and European Literature at Magdalen College Oxford, before training at London Contemporary Dance School. He has danced for companies in the UK and Ireland. In 2001 he set up Corp Feasa Dance Company to perform his own choreography which has included Vespers, Tearmann, Sulán, An dá thrá and Cosán Dearg. He was Artist in Residence in the Muskerry Gaeltacht in 2003/2004 and continues to develop his work in collaboration with other artists and in association with rural communities across Ireland. He was a recipient of RTÉ/An Comhairle Ealaíon inaugural Dance on the Box Commission for which he created Match. He is the first Ireland Fellow on the Clore Leadership Programme and Dance Artist in Residence for Dublin City Council. His current creative preoccupation is the relationship between bodies and buildings in the context of urban regeneration, a preoccupation that has manifested itself in work in Dublin and Shanghai.
在使用愛爾蘭語的安林半島長大。在牛津大學莫德林學院修讀英文和歐洲文學，隨後在倫敦當代舞蹈學校學習。在2001年成立 Corp Feasa Dance Company；與Vespers, Tearmann, Sulán, An dá thrá和Cosán Dearg一起演出其創作的舞藝。在2003/2004年被邀為Muskerry Gaeltacht的駐場藝術家；從而繼續在愛爾蘭與其他藝術家交流創作。他是 RTÉ/An Comhairle Ealaíon inaugural Dance on the Box Commission的獲獎者，創作了“Match”；亦是Clore Leadership Programme的首位”Ireland Fellow”和都柏林市議會的舞蹈駐場藝術家。現時的創作專注於身體與建築物在城市革新中的關係 – 已搶先在都柏林市和上海演出過。
3.The construction of happiness --- greetings from Shenzhen
時間/Duration: 隨機/ On going
藝術家/ Artist: Mandy Romero (英國/UK) 
藝術家/ Artist: Mandy Romero (英國/UK)
藝術家簡介/ Artists' CV
Roger Hill (英國/UK)
在英國利物浦居住與工作的Roger Hill畢業於劍橋大學的英文學士/碩士課程；和里茲大學的英國中高等教育教師資格。
他從事的工作包括學術、研究、顧問、廣播；現專注寫作和現場表演。過去曾擔任Everyman Theatre助理指導(1982-3)；利物浦表演藝術學院講師(1996-2003)和參與青年戲劇的工作。他亦為各機構擔任顧問，包括瑞典文化部和英國文化部等。他的文章亦被發表和刊載。
Roger Hill lives and works in Liverpool, England. He completed a BA in English (then MA) at Cantab and a PGCE at Leeds University.
His career has incorporated diverse roles, including: teaching, facilitation, research, consultancy, broadcasting and, currently the most prominent element, writing and live performance. Past roles include: Assistant Director at the Liverpool Everyman Theatre (1982-3); Lecturer/Senior Lecturer in Community Arts (Drama) at Liverpool Institute for Performing Arts (1996-2003); and youth theatre work for organisations including Manchester Contact Theatre and the National Association of Youth Theatres. Roger carried out consultancy work for a wide range of organisations, including The Swedish Culture Ministry, Yorkshire Arts and Scottish Arts Council, as well as advisory work for Council of Europe Programmes. He has published a number of articles and papers.
Roger Hill (英國/UK)
在英國利物浦居住與工作的Roger Hill畢業於劍橋大學的英文學士/碩士課程；和里茲大學的英國中高等教育教師資格。
他從事的工作包括學術、研究、顧問、廣播；現專注寫作和現場表演。過去曾擔任Everyman Theatre助理指導(1982-3)；利物浦表演藝術學院講師(1996-2003)和參與青年戲劇的工作。他亦為各機構擔任顧問，包括瑞典文化部和英國文化部等。他的文章亦被發表和刊載。
Roger Hill lives and works in Liverpool, England. He completed a BA in English (then MA) at Cantab and a PGCE at Leeds University.
His career has incorporated diverse roles, including: teaching, facilitation, research, consultancy, broadcasting and, currently the most prominent element, writing and live performance. Past roles include: Assistant Director at the Liverpool Everyman Theatre (1982-3); Lecturer/Senior Lecturer in Community Arts (Drama) at Liverpool Institute for Performing Arts (1996-2003); and youth theatre work for organisations including Manchester Contact Theatre and the National Association of Youth Theatres. Roger carried out consultancy work for a wide range of organisations, including The Swedish Culture Ministry, Yorkshire Arts and Scottish Arts Council, as well as advisory work for Council of Europe Programmes. He has published a number of articles and papers.
4.走 Run
時間/Duration: 20min
藝術家/Artist:王楚禹 Wang Chu Yu (北京/ Beijing) 
藝術家/Artist:王楚禹 Wang Chu Yu (北京/ Beijing)
將右腳抬起，放於腦袋後面，用左腳蹦跳行走20米，再將左腳放於腦袋後面，蹦跳著返回。所走路線有1949、1957、1966、1989、2007標記。左腳掌寫有“1957左”，右腳掌寫有“1957右”字樣。
Lift up right leg stretching to the back of the head, skipping with left leg for 20 meters, in exchange stretching left leg to the back of the head and skipping back. The route is marked with years 1949, 1957, 1966, 1989 and 2007; while '1957 left' is written on the left palm, while '1957 right' on the right palm.
Lift up right leg stretching to the back of the head, skipping with left leg for 20 meters, in exchange stretching left leg to the back of the head and skipping back. The route is marked with years 1949, 1957, 1966, 1989 and 2007; while '1957 left' is written on the left palm, while '1957 right' on the right palm.
藝術家簡介/Artists' CV
王楚禹 Wang Chu Yu (北京/ Beijing)
1974年生於中國陝西，1993畢業於陝西藝術師範，1994年開始在北京從事藝術創作至今，除了發表個人行為藝術作品外，也參與策劃「大道現場藝術節」、「打開國際行為藝術節」及「六月聯合行為藝術營」等國際行為藝術節，近年曾陸續獲邀於英國、香港、日本及台灣發表作品。
Born in 1974, Shanxi, China. Graduated from Shanxi Provincial Arts School (Education), and has been actively involved in arts creation since 1994 in Beijing. Participated in DaDao Live Art Festival etc.; and is continuously invited to perform in UK, Hong Kong, Japan and Taiwan.
王楚禹 Wang Chu Yu (北京/ Beijing)
1974年生於中國陝西，1993畢業於陝西藝術師範，1994年開始在北京從事藝術創作至今，除了發表個人行為藝術作品外，也參與策劃「大道現場藝術節」、「打開國際行為藝術節」及「六月聯合行為藝術營」等國際行為藝術節，近年曾陸續獲邀於英國、香港、日本及台灣發表作品。
Born in 1974, Shanxi, China. Graduated from Shanxi Provincial Arts School (Education), and has been actively involved in arts creation since 1994 in Beijing. Participated in DaDao Live Art Festival etc.; and is continuously invited to perform in UK, Hong Kong, Japan and Taiwan.
5.Field Study
時間/Duration: 20min
藝術家/Artist: Lin Yuan Shang (法國/France); Michael Klien (奧地利/Austria)
Field Study是Michael Klien的新作，由台灣旅法名舞蹈家Lin Yuan Shang（法國）演出。‘Field Study’亦是二人的第一次合作。林原上利用身體動作去思索自身的生命和意識形態。即興的創作表演和舞者對自身的觀感帶給觀眾嶄新的角度去欣賞這場演出。
This is a new work choreographed by Michael Klien on artist Lin Yuan Shang of Eolipile Cie, France. ‘Field Study’ represents a first time collaboration between these two artists. In this performance Yuan Shang explores his own life and mental patterns through bodily thinking and movement. Klien and Yuan Shang have created a choreographic language that utilises improvisation and the dancer’s perception of the world creating a mesmerising and intriguing solo performance. 
藝術家/Artist: Lin Yuan Shang (法國/France); Michael Klien (奧地利/Austria)
Field Study是Michael Klien的新作，由台灣旅法名舞蹈家Lin Yuan Shang（法國）演出。‘Field Study’亦是二人的第一次合作。林原上利用身體動作去思索自身的生命和意識形態。即興的創作表演和舞者對自身的觀感帶給觀眾嶄新的角度去欣賞這場演出。
This is a new work choreographed by Michael Klien on artist Lin Yuan Shang of Eolipile Cie, France. ‘Field Study’ represents a first time collaboration between these two artists. In this performance Yuan Shang explores his own life and mental patterns through bodily thinking and movement. Klien and Yuan Shang have created a choreographic language that utilises improvisation and the dancer’s perception of the world creating a mesmerising and intriguing solo performance.
藝術家簡介/Artists' cv
Lin Yuan Shang (法國/France)
出生於台北，台灣。Lin Yuan Shang 11歲時已到京戲班學習武生和雜耍。經過幾年的刻板學習和工作，他轉向學習其他戲劇的可能性 – 當代舞蹈和戲劇。
他來到法國加入了"Festival du Cirque de Demain"，因而被Ariane Mnouchkine (陽光劇團)發掘；並與她在1986-88年間合作，而在法國定下來，再與Maguy Marin合作；直到後期發表其個人作品而成立Eolipile Company。
在1996年11月創作的個人演出 “On which voyage are you taking me tonight?” 大獲評論界讚頌；亦向外伸展,。
Born in Taipei - Taiwan, Lin Yuan Shang entered the Peking Opera school at age eleven and specialised in warrior roles and acrobatics. He suffered from the rigid aesthetic he had to respect and, after a few years within Peking Opera companies, he decided to study other theatrical languages - contemporary dance and theatre.
He first arrived in France for the "Festival du Cirque de Demain" - and was noticed by Ariane Mnouchkine (Théâtre du Soleil). He worked with her from 1986 to 1988. In 1994, he settled in France and worked with Maguy Marin before starting personal work and founding Eolipile Company.
His solo On which voyage are you taking me tonight? created in November 1996, was warmly welcomed and opened the gate for an international diffusion.
Michael Klien (奧地利/Austria)
Michael Klien從1991-93年在維也納藝術學院修讀藝術；96年在倫敦拉邦中心完成行為藝術的學位課程。1996年共同創立BOHILtd. 制作公司。1994-2000年擔任Barriedale Operahouse (London) 的藝術總監；由1998年至今為新媒體與行為藝術講課。他的編舞作品和裝置藝術走遍全歐洲。2003年擔任Daghdha Dance Company的藝術總監；在這的前2年亦為Ballett Frankfurt作客席編舞和擔當 William Forsythe的藝術顧問。
Michael Klien studied Fine arts in the Vienna academy of Fine Arts from 1991 to 1993 and in 1996 he completed a BA in Performing Arts in the Laban Centre, London. In 1996 he co-founded BOHILtd. – a Greenwich (London) based Production Company for creative direction and production in the multimedia and live sector and from 1994 to 2000 was Artistic Director of Barriedale Operahouse, a multimedia Arts group based in London. Since 1998 Michael has been lecturing internationally on new media and performing arts. His choreographed works and installations have been performed at venues around Europe. In 2003 he was appointed Artistic Director of Daghdha Dance Company and prior to this appointment he worked for two years as guest-choreographer for Ballett Frankfurt and artistic advisor to William Forsythe.
Daghdha Dance Company
成立於1988年，是愛爾蘭最早的當代舞團，這次藝術節將呈獻由Michael Klien編舞的“Einem”和 “Field Study”兩組20分鐘的單獨表演。
Established in 1988 Daghdha Dance Company is Ireland’s oldest contemporary dance company. For this Festival Daghdha Dance Company will present ‘Einem…’ and ‘Field Study’, two twenty minute solo performances choreographed by Artistic Director Michael Klien.
Lin Yuan Shang (法國/France)
出生於台北，台灣。Lin Yuan Shang 11歲時已到京戲班學習武生和雜耍。經過幾年的刻板學習和工作，他轉向學習其他戲劇的可能性 – 當代舞蹈和戲劇。
他來到法國加入了"Festival du Cirque de Demain"，因而被Ariane Mnouchkine (陽光劇團)發掘；並與她在1986-88年間合作，而在法國定下來，再與Maguy Marin合作；直到後期發表其個人作品而成立Eolipile Company。
在1996年11月創作的個人演出 “On which voyage are you taking me tonight?” 大獲評論界讚頌；亦向外伸展,。
Born in Taipei - Taiwan, Lin Yuan Shang entered the Peking Opera school at age eleven and specialised in warrior roles and acrobatics. He suffered from the rigid aesthetic he had to respect and, after a few years within Peking Opera companies, he decided to study other theatrical languages - contemporary dance and theatre.
He first arrived in France for the "Festival du Cirque de Demain" - and was noticed by Ariane Mnouchkine (Théâtre du Soleil). He worked with her from 1986 to 1988. In 1994, he settled in France and worked with Maguy Marin before starting personal work and founding Eolipile Company.
His solo On which voyage are you taking me tonight? created in November 1996, was warmly welcomed and opened the gate for an international diffusion.
Michael Klien (奧地利/Austria)
Michael Klien從1991-93年在維也納藝術學院修讀藝術；96年在倫敦拉邦中心完成行為藝術的學位課程。1996年共同創立BOHILtd. 制作公司。1994-2000年擔任Barriedale Operahouse (London) 的藝術總監；由1998年至今為新媒體與行為藝術講課。他的編舞作品和裝置藝術走遍全歐洲。2003年擔任Daghdha Dance Company的藝術總監；在這的前2年亦為Ballett Frankfurt作客席編舞和擔當 William Forsythe的藝術顧問。
Michael Klien studied Fine arts in the Vienna academy of Fine Arts from 1991 to 1993 and in 1996 he completed a BA in Performing Arts in the Laban Centre, London. In 1996 he co-founded BOHILtd. – a Greenwich (London) based Production Company for creative direction and production in the multimedia and live sector and from 1994 to 2000 was Artistic Director of Barriedale Operahouse, a multimedia Arts group based in London. Since 1998 Michael has been lecturing internationally on new media and performing arts. His choreographed works and installations have been performed at venues around Europe. In 2003 he was appointed Artistic Director of Daghdha Dance Company and prior to this appointment he worked for two years as guest-choreographer for Ballett Frankfurt and artistic advisor to William Forsythe.
Daghdha Dance Company
成立於1988年，是愛爾蘭最早的當代舞團，這次藝術節將呈獻由Michael Klien編舞的“Einem”和 “Field Study”兩組20分鐘的單獨表演。
Established in 1988 Daghdha Dance Company is Ireland’s oldest contemporary dance company. For this Festival Daghdha Dance Company will present ‘Einem…’ and ‘Field Study’, two twenty minute solo performances choreographed by Artistic Director Michael Klien.
6.L.E.P.P.
時間/Duration: 20min
藝術家/Artist: Tmar Raban (以色列/Isarel)
英語的演出課程
演出的英語課程
英語演出的課程
演出在英語課程
Tamar Raban從2006年開始在動作與圖像上創作一系列的現場表演探索。利用隨機抽取的字組拼成“performance”，從而產生實現願望之行為的語法。
Lesson on Performance in English
English Lesson on Performance
Performance in English on Lesson
Performance on English Lesson
During 2006 Tamar Raban began to create a series of exploratory performances as the foundation of a kind of living dictionary of actions and images. The random selection of words (each time different words) starting with letters that make up the term "performance" acts as the stimulus for building a performative syntax.
藝術家簡介/Artists' CV
Tmar Raban (以色列/Isarel)
出生於以色列，畢業於海法大學(藝術課程)
在世界各地的活動，博物館和美術館演繹其創作的行為藝術。以色列推廣跨科際藝術的慈善機構“Shelter 209”的其一創辦人和總監； “Performance Art Platform” 的創辦人和“Ensemble 209”.的藝術總監。
Born in Israel, graduate of Haifa University, Art studies.
Creator of Performance Art that are performed at festivals, museums, galleries & theaters, in many countries. One of the founders and current director of Shelter 209, a non-profit organization for the promotion of inter-disciplinary art in Israel, founder of “Performance Art Platform” – center for performance art in Tel Aviv and artistic director of “Ensemble 209”.
藝術家/Artist: Tmar Raban (以色列/Isarel)
英語的演出課程
演出的英語課程
英語演出的課程
演出在英語課程
Tamar Raban從2006年開始在動作與圖像上創作一系列的現場表演探索。利用隨機抽取的字組拼成“performance”，從而產生實現願望之行為的語法。
Lesson on Performance in English
English Lesson on Performance
Performance in English on Lesson
Performance on English Lesson
During 2006 Tamar Raban began to create a series of exploratory performances as the foundation of a kind of living dictionary of actions and images. The random selection of words (each time different words) starting with letters that make up the term "performance" acts as the stimulus for building a performative syntax.
藝術家簡介/Artists' CV
Tmar Raban (以色列/Isarel)
出生於以色列，畢業於海法大學(藝術課程)
在世界各地的活動，博物館和美術館演繹其創作的行為藝術。以色列推廣跨科際藝術的慈善機構“Shelter 209”的其一創辦人和總監； “Performance Art Platform” 的創辦人和“Ensemble 209”.的藝術總監。
Born in Israel, graduate of Haifa University, Art studies.
Creator of Performance Art that are performed at festivals, museums, galleries & theaters, in many countries. One of the founders and current director of Shelter 209, a non-profit organization for the promotion of inter-disciplinary art in Israel, founder of “Performance Art Platform” – center for performance art in Tel Aviv and artistic director of “Ensemble 209”.
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