【2024 臺灣舞蹈平台】林怡芳 & 喬斯林．科頓辛《半屏山》+ 林怡芳《Party》

《半屏山》由林怡芳和視覺藝術家喬斯林．科頓辛共同創作，揭開林怡芳這30年間在法國和臺灣間往來作為演出者和編舞家的生涯。

編舞家悠遊於所有曖昧不明的詞語中，有著盲目與輝煌、浮現與消失、驚愕與驚奇。這些從記憶中攫取的閃現記憶，是帶有魔力的時刻，也無非是對人物或故事的重塑及再利用，時而抽象，時而情感滿盈。透過許多曇花一現的瞬間片段，此作品在表演和編舞間、在裝置和舞蹈間自在遊走，如幽靈般的動作，將那些時刻被召喚到當下。

《半屏山》的舞台成為了一道景觀，音樂、燈光、身體自成風景，彼此間精密地碰撞對話。在這個不斷變化的獨舞中，每個姿態間被細密思華的橋樑搭起，連接一段又一段文字閃現的書寫，在流動中，她既是自己，也不斷變換為他者。

Ban-ping Shan is a constantly renewed crossing. 

In this piece, co-written with the visual artist Jocelyn COTTENCIN, LIN I-fang unrolls a part of her history, between France and Taiwan, and rewrites at present for her thirty- year career as a performer and choreographer. 

Started during the pandemic, the first stage of this work Ébloui was presented in the fall of 2021 at the Théâtre de la Vignette as part of the Montpellier Dance 2021-2022 season. This work plays with all the meanings of this ambiguous word, which suggests blindness and brilliance, appearance and disappearance, amazement and wonder. 

 

Today in Ban-ping Shan, these flashes of light snatched from memory, these moments of pure magic, are nothing but reinvention and re-appropriation of figures or stories, sometimes abstract and sometimes charged with affect. Through ephemeral forms, this piece moves between performance and choreography, installation and dance, allowing phantom movements to emerge and be summoned to the present, thanks to the gestural plasticity of LIN I-fang and the scenic device designed by Jocelyn COTTENCIN. 

 

In Ban-ping Shan, the stage is populated with figures, forms, ghosts and presences. The stage becomes this landscape where each protagonist (the music, light and body) is independent but dialogues by friction and collision. Sublime panoramas are lost in the mists of the stage, a visual remanence, a sound universe makes the silence vibrate. In this solo in perpetual mutation, fine and silky bridges are created from one gesture to another, from one writing to the next. Inhabited by the inexorable flow of a singular and plural dance, LIN I-fang probes the dazzle of interpretation: to be completely herself and completely another.

Ban-ping Shan is a choreographic project that aims to be performed in theatres as well as in non-dedicated places. Ban-ping Shan can also be thought of as a duet, the sound being made live as well as the movements of smoke and light.

 

《Party》

Party 在隱密與公眾、“表演者”與“觀眾”之間開闢了一個空間。此作截取與視覺藝術家 Jocelyn Cottencin在2021年共同創作的Ebloui 的舞蹈素材。

林怡芳引導舞者們保持在模仿和自由表達之間的創造活力，提升身體環境的開放。 從感覺開始，開發一種佔據整個身體的舞動意識，將自己的個性體現在舞蹈中，透過集體舞蹈即興詮釋個人內在故事。

在 PJ Harvey 強勁的音樂和感性的嗓音支撐下，成為一個慾望干擾和情感傳染，從而搭建起同理心的所在。

多年來，林怡芳結合了費登奎斯軀體療法深入在動作和舞蹈參與中。 在Party 中從單獨的個人舞蹈，延伸到雙人、三人舞，直到彼此引導發揮每個人的潛力。Party 根據舞者具備的多元性，他們的能量狀態和個人故事，著重於積累生活經驗和公眾問題，編寫穿越生命並建立親密與無休止的相遇。

 

Party

"Party" opens up a space between the private and the public, between the performer and the audience. This piece originates from the dance material of the solo work "Ébloui" and was collaboratively developed with visual artist Jocelyn Cottencin in 2021.

 

LIN I-fang guides amateur dancers, encouraging their movements to maintain a balance between imitation and free expression, keeping the space open. Starting from sensation, they develop a movement that occupies the entire body, expressing individuality through dance. Through collective dance improvisation, they interpret a story, supported by PJ Harvey's powerful music and emotive voice, creating a space that disrupts desire and spreads emotion, thus fostering empathy.

 

Over the years, LIN I-fang has combined the Feldenkrais Method, delving deeply into movement and dance participation. In "Party",  the progression starts with individual movements, then transitions to duets and trios, leading to mutual guidance and the realization of each dancer's potential. "Party" focuses on the diversity of the amateur dancers, considering their energy levels and personal stories. It emphasizes accumulating life experiences and public issues, gradually rewriting the choreography, traversing life, building intimacy, and encountering each other again with disruption and confusion.

 

特別感謝：法國在台協會

Special Thanks:  Bureau Francais de Taipei

 

演出暨製作團隊 

《半屏山》

構思與概念｜林怡芳、喬斯林．科頓辛

編舞及演出｜林怡芳

燈光及聲音設計｜喬斯林．科頓辛

舞台監督｜朱莉．瓦萊特

服裝｜勞倫斯．阿爾奎爾

 

Ban-ping Shan

Conception｜LIN I-fang, Jocelyn COTTENCIN

Choreographer and Interpretation｜LIN I-fang

Lighting and Sound Designer｜Jocelyn COTTENCIN

Stage Manager｜Julie VALETTE

Costumes｜Laurence ALQUIER

 

 《Party》

編舞｜林怡芳

聲音後製｜尚保羅．杜謝

音樂｜PJ哈維、拍謝少年

排練指導｜楊雅鈞

舞者｜王麗玲、向鳴德、江秋蓮、吳孟渝、吳淑棉、吳凱文、吳慧美、小愉兒、李鳳玉、林文麗、范廷擴、高子恩、高柏銓、張秀蓮、許婉琪、許淑媛、

許媜雅、陳廷俞、陳秀秀、陳若璇、陳恩綺、曾寶賢、楊舜名、鄒家修、劉羽湄、潘秋羽、蔡昀挺、鄭雅蓉、蕭至君、蕭博妃、戴灑儼、薛詒云、譚引弟

 

Party

Choreographer｜LIN I-fang

Sound Editing｜Jean-Paul DUCHÉ

Music｜PJ Harvey, Sorry Youth

Rehearsal Instruction｜YANG Ya-chun

Dancers｜WANG Li-ling, HSIANG Ming-te, CHIANG Chiu-lien, WU Meng-yu,  WU Shu-mien, WU Kai-wen, WU Hui-mei, Emile YU, LEE Feng-yu, LIN Wen-li, FAN Ting-kuo, KAO Tzu-en, GAO Bo-cyuan,

CHANG Hsiu-lien, HSU Wan-chi, HSU Shu-yuan, Yaya HSU, CHEN Ting-yu, CHEN Hsiu-hsiu, CHEN Ruo-shiuan, CHEN En-chi, TSENG Pao-hsien, YANG Shuen-ming, TSOU Chia-hsiu, Chloe LIU, PAN Chiu-yu, TSAI Yun-ting, CHENG Ya-jung, Jean HSIAO, HSIAO Po-fei, TAI Sa-yean, HSUEH Yi-yun, Indi TAN

 

藝術家介紹

林怡芳

臺灣高雄人，舞蹈藝術創作、表演工作者與費登奎斯專業教師（Feldenkrais practitioner）。1989年起旅居法國南部城市蒙彼利埃（Montpellier）。

 

2018年創立Maiastra舞團，關心的編創核心是有關於：存留下來的是什麼 ? 轉變中的是什麼 ? 以及動作和詞彙是如何產生的？

 

近年作品有：2016 《浮光掠影》（En Chinoiseries）、2019 《微塵共感》（Skein Relations）、2020《眩》（Ébloui）、2023《鬥》（CO.M.BAT）、《半屏山》（Ban-ping Shan）。

 

1993年開始與國際藝術家瑪提爾德．慕妮耶（Mathilde MONNIER）、克里斯汀．赫佐（Christian RIZZO）與法朗索．維黑（Fran​ç​ois VERRET）等多位藝術家合作跨界舞台表演計畫，亦受邀參與電影、戲劇、流行音樂、當代音樂等新媒體跨領域合作。

 

她提出了關於自我意識的觀察和醒覺認識的工作觀念，並在歐洲與臺灣開辦肢體訓練課程。演講與工作坊包含：蒙彼利埃國立舞蹈中心（CCN de Montpellier）、洛約蒙基金會（Fondation Royaument）、法國國立教育中心（PREAC）、巴黎國家舞蹈中心（CND de Paris）、里昂國立舞蹈中心（CND de Lyon）、比利時沙勒羅瓦編舞中心（Charleroi Danse）等多個重要劇院單位合作。