攝影 | 陳藝堂
《我知道的太多了》
劉冠詳
首演日期│2016/05/13
首演地點│雲門淡水劇場
第15屆 台新藝術獎表演藝術獎 得獎理由
《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。
入圍理由
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)
關於《我知道的太多了》
《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。
關於人物
母親入住癌末安寧病房期間，日夜照護的劉冠詳錄下病榻旁的母子對話。起初只是為了留念，彷彿母親仍在耳邊親暱叮嚀，要他不要害怕，勇敢活下去。短短數年間父母雙逝的劉冠詳，從母親留下的隻字片語得到力量，他挺起胸膛，以創作面對創傷，舞作《我知道的太多了》，闡述母子關係，也深入探討「生死」本質。
來自南投鹿谷的劉冠詳，是家中務農的獨生子，從小愛玩，國小到國中因為交女友、上網咖、打群架，在台中、南投間來回轉了八次學， 一九九九那年遇九二一大地震，家裡房子半倒，成了九二一受災戶，突然了解「一家三口平安就好，第一次學勇敢！」劉冠詳說。
雖有歌星夢，但自認個頭不高不帥，光愛做夢。高中念私校資訊管理科，讀三天就休學，老師塞給他中華藝校傳單，他沒概念地就去唸了。初進藝校上理論課，看全班趴睡和國中班時一樣，看來前途全無長進，正準備放棄，卻被葉亮伶老師抓去舞蹈班，他回想當時會接觸舞蹈，百分百是被女生吸引！第一次看到跳芭蕾舞的女生，滿腦子想加入，母親聽到跳舞也可以進入國立大學，眼睛一亮，從此踏上舞蹈之路。
第一次練舞、看鏡中穿舞衣的自己，彷彿看到從外星登陸地球的異型，「我之前只知道芭蕾是一種舞，哪知道要穿緊身褲！」他沒功底，卻對旁人揶揄嘲笑充耳不聞，因為從小父親便教他「打架，可以打，輸了就別回來」。某次編舞比賽，不識編舞卻熱愛即興的他，自問「生活有啥」？第一個想到的是宿舍髒亂，讓人渾身發癢，於是他編了一首配合「布蘭詩歌」序曲抓癢的舞，一舉奪得首獎；隔年再報三支舞，抓癢延續、古典芭蕾、聲響實驗，居然包辦了前三名。
一個沒有功底的編舞奇才，就這麼跳進了台灣藝術大學，大三那年，家裡接到從中國大陸打來的電話，說在昆陽工作的父親心肌梗塞，他立刻向母親借錢飛去，看到最親密、最威武的父親竟如此虛弱，他壓住害怕，面對繁複手續，一關一關疏通，終取得回臺就醫的登機證明。下飛機送醫前父親還算清醒，「我才剛回家睡覺，醫院就打來通知噩耗。」隔年，2015年，母親因頭痛送醫，卻被宣告已是癌末，入住安寧病房；失怙的獨子為母親清理便溺，「潔淨私處時我心想，這就是我出生的地方！」一家三口從此將只剩下他，當然要勇敢。
讀台藝大時，劉冠詳認識驫舞劇場，受其影響甚深。初進驫舞劇場排練新作《繼承者》的排練場，自我介紹時他脫口說出父親離世故事，驫舞劇場藝術總監陳武康勸他創作療傷，於是有了舞作《英雄》；母親住院直至離世期間，也是舞團夥伴一路做他的精神支柱，讓他收拾心情，專心創作《我知道的太多了》。孓然一身，劉冠詳格外珍惜驫舞這個家，「真的很感謝武康、威嘉和舞團，因為有他們，我才能走到今天，我所有的創作方法都是在這和大家一起摸索、累積和學習的」。他也感謝一路上如林懷民老師等人的提攜和協助，讓他能完成創作，甚至帶作品出國巡演，「感覺像帶我媽出國，滿棒的」。
「我想把親情放進舞作，追求跟觀眾更強的連結。作品如何讓觀眾共感？當沒有語言，光憑身體無邊無際的可能擺在眼前時，如何和觀眾心理戰？這是我們創作者要負責的。」人都有父母，終有一死，不需理論基礎、知識背景也能理解；台上慘白布幕，病母囈語搭配舞者呼吸，舞姿呼應母親生前如雕像般扭曲荒誕的模樣，成長與死亡並行不悖，記憶與幻想共鎔一爐，無以言狀卻肌膚靈魂共振，生命中最深處最重要的也隨之抖震。從自身經驗取材卻不濫情，劉冠詳把自己全然獻身，觀眾來不及思考，只能共感生命無常，一起勇敢。
劉冠詳
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。
作品相關評論
以黑暗探照，在暗中有光 《我知道的太多了》─表演藝術平台2016/05/30
中陰渡化，深情癲狂《我知道的太多了》─表演藝術平台2016/05/27
死亡的總和《我知道的太多了》─表演藝術平台2016/05/13
生死超渡，我們仨—評《我知道的太多了》─ARTALKS2016/05/29
編舞家劉冠詳 歪打正著的舞蹈人生─PAR表演藝術2016年4月號
製作團隊
編舞暨音樂設計│劉冠詳
舞者│林祐如、簡晶瀅、劉冠詳
執行製作│陳芓伃
燈光設計│劉家明
音樂執行│江佑倫
燈光執行│藍靖亭
影片設計│陳冠宇
攝影紀錄│陳長志、 陳藝堂、 劉冠詳
平面設計│李尋歡
英文教練│Ｍauro Sacchi
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Kids
LIU Kuan-Hsiang
Jury's Comment for the 15th Performing Arts Award Winner
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.
Comments from Nomination Committee
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)
About the Artwork
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.
About the Artist
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.
