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【STAGE BEYOND BORDERS】《春之祭》《殘影之庭》 / 春の祭典+残影の庭 / The Rite of Spring / Traces Garden
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This show has ended.
Price
NT$0.00
from
NT$0.00
All Fees Included
Duration: 72分鐘
《春之祭》的男女舞者皆穿著相似的白色病服。2021年首映時，讓觀眾們聯想起關於疫情下的種種。
Ticketing
Wednesday
30th
Mar 2022
2022/3/30-9/30
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About
日本國際交流基金會 (Japan Foundation)
由日本國際交流基金會(Japan Foundation)推出的「日本雲端舞台」(STAGE BEYOND BORDERS –Selection of Japanese Performances)，在國際疫情持續當中，嚴選優質的日本舞台劇、舞蹈、傳統藝能等作品線上全版播映，並提供多語字幕，讓世界各地觀眾跨越語言與時空的限制，免費觀賞日本精彩表演藝術作品。 此次與雲劇場合作，精選10部舞蹈作品放映，在表演藝術持續台日友好的情誼。
關於演出 《春之祭》《殘影之庭》/ 春の祭典+残影の庭
《春之祭》的男女舞者皆穿著相似的白色病服。2021年首映時，讓觀眾們聯想起關於疫情下的種種。《春之祭》原本是關於人類向超越其認知的大自然獻禮，選擇弱者作為「祭品」的故事。金森的演繹則超越這個主題，描繪人們一起直面災難的景象。 《殘影之——Traces Garden》為當代雅樂經典《秋庭歌一具》由武滿徹作曲，伶楽舎演奏。光是最初登場的三人並列在舞台上，以呼吸取代數拍來配合動作，就令整場表演充滿張力。這是一場沒有指揮的雅樂和嚴謹配合節拍起舞的芭蕾融合之作。井關穿著華麗的羽衣起舞，和可與死者對話的能樂所具備的神秘感共存。這部作品中日本和西方元素的融合並非僅僅於形式，更是在既有的身體形式結合的難得佳作。
關於演出單位 Noism Company Niigata
Noism Company Niigata 是日本唯一一個隸屬於公立劇場的團體。藝術總監金森穰曾活躍於 NDT等海外知名舞團。不僅善於靈活運用芭蕾舞等西方舞蹈技巧，更創造了獨一無二的身體方法論。
Noism Company Niigata is the only company in Japan that is a resident company of a public theater. The artistic director KANAMORI Jo, has worked with prominent international dance companies like Nederlands Dans Theater. His choreography is based not only on the flexible use of ballet, but his own original method.
In The Rite of Spring, a man and a woman are wearing white hospital gowns. Since the premiere was in 2021, the audience is reminded of the Covid pandemic. The Rite of Spring is a story of humans prostrating to nature that is beyond comprehension, and select the weaker ones as sacrifice. But KANAMORI takes it even further to depict people confronting the pandemic together.
Traces Garden is a collaboration of In an Autumn Garden, a modern Gagaku classic composed by TAKEMITSU Toru, and Reigakusha, who perform the piece. The piece begins with three dancers moving in a line, filling the space with tension, as they match their movements not by count, but breath. It is a fusion of gagaku which has no conductor, and ballet which is based on counts. ISEKI dances in a lustrous hagoromo robe, and her movement coexists with the ethereal atmosphere of Noh, which often has stories about conversations with the dead. This is a rare piece in which Japanese and Western elements coexist not in form, but in the way the body is used.
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