黑白劇照 |攝影: 陳藝堂、彩色劇照|松山文化創意園區提供,攝影: 陳又維

 

 2016 松菸Lab新主藝─林宜瑾《彩虹的盡頭》

林宜瑾

首演日期│2016/12/09

首演地點│松菸文創園區──松菸lab實驗室

 

入圍理由

壞鞋子舞蹈劇場團長林宜瑾長期從傳統文化汲取養分,透過田野方法跟隨牽亡歌者了解牽亡儀式,並將之轉化為《彩虹的盡頭》演出,從題材到展演方式的選擇,都是極大的挑戰。藉著樂聲的牽引,舞者們演繹著亡靈超渡的過程,從生到死到靈,藉著神/人/偶的形象轉喻,將一般人覺得陰晦、避之唯恐不及的喪葬儀典,帶入逼人觀視、聆聽的劇場空間。也因為過/渡、轉/化是牽亡陣的核心,演出也特別透過素材的運用、空間的塑造,讓人體驗進出多維度的情境氛圍。該演出不只讓劇場表演與民俗儀典疊合交遇,也提供我們一種距離美感,重新去理解民間臨時性劇場,對於生命、身體的深刻觀照。(主筆/吳瑪悧)

 

關於2016 松菸Lab新主藝─林宜瑾《彩虹的盡頭》

《彩虹的盡頭》從「『ㄢˋ』–身體回家五年創作計畫」(2014~2019)開始,逐漸探索、實驗、發展而成,探討生死之於我們究竟有何意義?生命到底是什麼呢?演出以台灣傳統喪葬儀式「牽亡歌」為核心素材,「牽亡歌」是陪伴生者並超渡亡者的儀式;當「牽亡歌」進入劇場,林宜瑾謹慎看待傳統儀式對應劇場之轉化,不讓其成為徒具形符的象徵。從編舞、音樂、服裝、舞台、燈光,所有設計皆扣合主題;透過儀式的精神,深入尋找「身體為何而動」及「台灣人的身體」可能的答案,企圖完整傳統文化之於當代劇場的意義與內涵。

 

關於人物

《彩虹的盡頭》是由編舞家林宜瑾創作,報名「2016松菸新主藝」甄選活動,經初、複選脫穎而出,發表於松山文創園區「Lab創意實驗室」。此作從台灣傳統喪葬儀式「牽亡歌」出發,發掘儀式與劇場交會的可能,企圖擺脫過度西化的身體觀,接納屬於自身在地的文化身體。

林宜瑾從小喜歡跳舞,愛看歌仔戲的爸爸曾開玩笑要她學歌仔戲,她談到:「當時覺得很俗氣,才不要!要學也學西方舞!教育不斷灌輸我們國外舞團多棒,好像身體就該往那走」。大學主修中國舞,學了許多民族舞藝卻總覺得在硬記動作,逐漸發現幾乎所有民族舞都從「顫」、「蹲」發起,她自問道:「為何簡單動作卻有這麼多變化?會不會跟生長土地有關?」心中問題逐漸匯聚成一個大哉問,「我是誰?我的身體動能來自哪裡?」,她想找答案卻不知從何入手。

關鍵轉捩點是巴黎駐村期間。林宜瑾每天沉浸於巴黎這個城市生活,才驚覺自己對台灣一無所知,心生愧疚,當駐村結束後不眷戀巴黎,收拾行囊返回台灣來認識自己生長的土地。後遇到肢體默劇表演者姚尚德邀約環島演出,她帶著睡袋從北到南,花兩個月上山下海體驗生活。2012年,她成立了壞鞋子舞蹈劇場,兩年後發表創團作《泥土的故事》,作為環島體驗的總結。但「屬於台灣的身體感是什麼?」的疑問仍未解開,於是,她展開了長期探索身體的     《ㄢˋ》計劃,希望能解答不斷膨脹的疑惑。「ㄢˋ」是台語髒話的諧音,另一層則是同音的「岸」。生在海島,「我想靠岸,上岸去找答案」。

出生於雲林西螺,在林宜瑾印象中,外公過世時也遵從傳統儀式辦喪禮,家人卻在喪禮過後改信佛教,「他們說這些儀式沒水準,不要比較好」,在她的成長過程中便逐漸遠離這些傳統禮俗,也沒想過會在舞蹈創作之路再度遇見。2015年三月,林宜瑾參與阮劇團主辦的嘉義草草藝術節,她找了樂團「農村武裝青年」同行演出。排練時,樂手不經意給出一段節奏,卻讓她身心一震,一問才知是「牽亡歌」。她決定從此處著手找身體,和團隊花了三個月,每周末下台南向牽亡歌者林宗範(仙仔)老師學習,「學做樂器、唱歌跳舞,甚至老師帶我們直接去喪家跳,實地感受儀式的力量。」確定「2016松菸新主藝」甄選投案通過,林宜瑾與音樂設計李慈湄到台南採集素材,碰巧遇上林宗範老師做場,她說:「全程參與之後我真的熱淚盈眶,在過程中釋放、化解、道別與感念,有了非常深刻的情感交流,這是真正的台式溫柔。我突然明白為什麼要以此為題材創作,再也不懷疑自己。這些家人以前說沒水準的東西,其實一直在我腦中。」

以前人愛熱鬧,葬禮是地方大事。牽亡歌發跡台南善化,是傳統喪葬儀式陣頭之一,融合釋、道、佛教傳統,也參雜了客家、閩南、台南平埔族特色。唱跳演加上花鼓、車鼓陣腳步,熱鬧非凡,迅速擴張各地鄉鎮,陣頭之間競爭激烈。從早期四個分明角色,到近年統一的蛋糕裙,無論舞步、唱念都因時代而改變,林宜瑾說:「整個故事就是角色帶亡魂過三十六關,最後法師請家屬和死者道別,幾乎整個鄉里全員出動,很有民眾劇場的感覺。」

「彩虹很美卻摸不著,盡頭是哪裡?」排練過程中創作顧問龔卓軍老師不斷提出質問,也讓林宜瑾更明確釐清創作理念。為何要在松菸演出?牽亡歌牽亡魂,舞作牽的是誰?她在劇場設計了一座呼應三十六關的展演空間,讓觀眾可隨著表演者前進或駐足,最後有座擺著紙紮的狹小迷宮,表演者宛如花車人偶,看似無神卻彷彿有魂。觀眾經歷燒紙紮和其他儀式,一路走到最後打開門,外頭光線透進來,彷彿排隊投胎,靈魂身體歸位。林宜瑾說:「舞者中來自阿美族的潘巴奈在東華大學研究阿美族的『巫』,而阿美族也有牽亡概念;另一位阿美族舞者陳彥斌也說,排練過程讓他想起在蘭嶼參加達悟族儀式的過程。」就她來說,這齣舞作是「我的宣示,是對土地的承諾,是一個道別過去西方思維,嚴謹看待自身原動力的過程」,始終是在「找身體的家,會持續實驗,看未來能走到哪。」

 20170315-020.jpg

林宜瑾

1983年生於雲林。臺北藝術大學舞蹈創作研究所畢業。曾獲雲林文化獎舞蹈類首獎、世安美學獎表演藝術類首獎並曾於巴黎西帖藝術村駐村。以極專注並細微的觀察力做為創作基底,風格細膩流暢並富有詩意般的美感張力。近期對於一方水土養一方人、身體如何動與如何形成舞蹈有著極大的好奇。並發起「ㄢˋ--身體回家創作計劃」(自2014年至今),此計劃起初是從河洛與的髒話中看見身體的原始動能,至今則發現地氣、意識與身體的相關性。過程中透過田野採集等方法來尋找「ㄢˋ」的當代肢體語彙。現任壞鞋子舞蹈劇場藝術總監、台北藝術大學推廣中心教師。

 

作品相關評論

壞鞋子舞蹈劇場《彩虹的盡頭》─于善祿2016/12/12

神先走,體未至 《彩虹的盡頭》─表演藝術平台20167/02/06

通過與進入──表演者與觀眾《彩虹的盡頭》─表演藝術平台2016/12/12

身體如何動、為何動—在彩虹的盡頭─ARTALKS2017/01/03

「壞鞋子舞蹈劇場」《彩虹的盡頭》─ARTALKS2017/01/03

 

製作團隊

編舞│林宜瑾

舞者│陳彥斌、劉俊德、彭子玲、潘靜亞

舞台設計│林仕倫

音樂設計│李慈湄

服裝設計│蔡浩天

燈光設計│江佶洋

舞台監督│劉晏綺

執行製作│何冠朋

攝影│陳藝堂、蔡欣邑、陳又維

錄影│廖庭汝

文案│林志洋

牽亡歌顧問&音樂│林宗範

陪伴創作顧問│龔卓軍

 

 

--------------------------------------------------------------------------------------------------------------------------------------------------------

 

2016 New Points on Stage@Lab ──The End of the Rainbow 

I-CHIN LIN

 

Comments from Nomination Committee

The work of LIN I-Chin, director of Mauvais Chausson Dance Theatre, has been inspired and nurtured by traditional culture. She adopts the methodology of field research to study the soul-guiding ritual with the ritual's performer, and transforms it into the performance of The End of Rainbow. Whether the subject matter or the approach for the performance, the work has presented great challenges. Through the guiding of the music, the dancers perform the process of releasing the souls of the deceased from purgatory. From life, to death, to spirit, the work employs the images and symbols of gods, humans, and dolls and brings the dark, shunned ritual of funeral into the theatrical space, where the audience must watch and hear. Because the idea of "transition" and ""transformation" lies at the heart of the soul-guiding ritual, the performance also allows the audience to experience the atmosphere of entering and exiting different dimensions through the use of materials and design of space. This work not only combines theatrical performance and folk ritual, it also offers an aesthetic sense of distance that provides a window for us to understand the "temporary folk theatre" and how it attends to life and the physical existence in a profound way. (Commentator: WU Mali)

About the Artwork

The End of Rainbow began with "Fxxx - Body Returns Home Five-Year Creative Project" (2014 to 2019) and gradually was developed into its current form through exploration and experimentation. The work discusses what life and death mean to us. What is life exactly? The work evolves around "the soul-guiding song" performed in traditional Taiwanese funerals, which is a ritual to accompany the living and release the souls of the deceased from purgatory. Bringing the ritual into theatre, LIN converts it with care by sidestepping the pitfall of turning it into a mere symbol. All the design in the work, including choreography, music, costume, stage, and lighting, corresponds to the theme, and with the spirit of the ritual, the work searches possible answers to questions regarding "what motivates bodily movement" and "the Taiwanese body," attempting to present a comprehensive picture of what traditional culture means to contemporary theatre.

About the Artist

Born in Yunlin in 1983, LIN I-Chin graduated from the Graduate Institute of Dance, Taipei National University of the Arts. She has won the First Prize in Dance of Yunlin Cultural Award, the First Prize in Performing Arts of S-An Art Award, and an artist residency at the Cité International des Arts, Paris. With acute and keen observation as the foundation of her work, LIN has demonstrated an exquisite and fluent style that conveys poetic beauty and tension. Recently, she becomes interested in how an individual is nurtured by the surrounding environment as well as how dancing is created through the bodily movements. She has initiated and continued "Fxxx - Body Returns Home Five-Year Creative Project" since 2014. The project originated from the primal physical energy LIN discovered through the dirty word in Taiwanese. Through the project, LIN has realized the connection between localness, consciousness, and body. To conduct the project, LIN looks for contemporary body language of "fxxx" through field research. She is the current Artist Director of Mauvais Chausson Dance Theatre and a lecturer at Center for Arts Resources and Educational Outreach, Taipei National University of the Arts.