05.03 河床，顛覆劇場集體看戲的《開房間》戲劇節___ 何采柔（主講人）x 王柏偉（主持人）
(For English please scroll down)
主講人：何采柔
主持人：王柏偉
時間：05.03 7:30pm
河床劇團從2011年起推出《開房間》戲劇節，顛覆劇場集體看戲的規則，以「一個人看戲」的概念重新詮釋觀演關係，打破觀眾與表演者之間的界限，同時提供了觀眾五感並用的觀賞經驗。不同於前兩次以旅館房間為主要表演空間，2013的「開房間」計劃更與展覽結合，將現場表演帶入美術館的場域。這次座談將由「開房間」計劃導演之一何采柔（JOYCE HO）介紹「開房間」計劃的策劃概念及發展脈絡，及本計劃如何呈現現代劇場藝術之於表演、空間、觀眾之間關係的立體思維。
https://www.facebook.com/video/video.php?v=10151347139942535
主講人 何采柔
學經歷
愛荷華大學 Master of Fine Arts, Painting
加州大學爾灣分校 BA, International Relations
國內外獲得獎助
2011 入選, 高雄美術獎
2011 外交部國際交流獎助
2009 優勝, 神戶雙年展貨櫃藝術展
2009 台北市文化局藝文國際交流獎助 2008 首獎, MFAnow 國際繪畫大賽
2008 Ester Madison Painting Scholarship, 愛荷華大學
個展
2013 《擬態－何采柔X高孝午雙人展》, 上海當代藝術館, 上海
2011 《旁觀者－何采柔X陳怡潔雙人展》，非畫廊，台北，台灣
2010 《 過境 》, 非畫廊, 台北
2010 《 Transitions 》, Praxis International Art, 邁阿密
2007 《 分裂 》, 愛你米克思 , 北京
聯展
2013 《 真-真：當代超常經驗 》, 台北美術館, 台北
2012 《 2012台北國際藝術博覽會 》, 台北世界貿易中心, 台北
2012 《 第十屆台新藝術獎入圍特展 》, 台北當代藝術館, 台北
2012 《 凝視 》, 索卡藝術中心, 台北
2012 《 Fifteen Contermporary Artists 》, Spanierman Gallery, 紐約
2011 《 百家照性別, 淡水漁人碼頭藝文空間 》, 台北
2011 《 未來通行證 》,Abbazia di San Gregorio, 第五十四屆威尼斯雙年展平行
展, 威尼斯
2011 《 Depict: Here and Now 》, Hous Projects Gallery, 洛杉磯
2011 《 高雄美術獎 》, 高雄美術館, 高雄
主持人 王柏偉
王柏偉，1975年生。德國Witten/Herdecke大學文化系社會學博士候選人。曾獲數位藝術評論獎、國藝會藝評台評論獎、教育部公費留學補助。主要研究領域為媒介理論、當代藝術史、文化與藝術社會學、藝術/科學/科技（AST）。與人合譯有Niklas Luhmann所著《愛情作為激情：論親密性的符碼化》（台北：五南）。進行中計畫包括《台灣媒體藝術史與語意網》與《藝術、生物學、實驗室：生物藝術的系譜學初探》。現為《藝外》與《藝術家》雜誌特約撰稿人。藝術類文章請見：http://www.itpark.com.tw/people/essays/667
著作（摘錄）：
- 展演與感受：從《超旅程：2012未來媒體藝術節》談媒體藝術的美學特質（《藝術家》雜誌2012年2月號 ）
- 生成 – 動物、視域與動機：一當代舞團舞作《W.A.V.E.城市微幅》中的激情模式（《藝術家》雜誌2011年12月號）
- 再也沒有安全區了：Pierre Huyghe等人《沒有靈魂的軀殼》中的靈魂問題（《藝外》2011年11月號）
- 運動 – 影像、大眾媒體與個人：《時空敘事》展中的影像表現形式問題（刊載於《現代美術》2011年10月號）
- 時間、記憶與漫長的告別：袁廣鳴《在記憶之前》個展（刊載於袁廣鳴《在記憶之前》畫冊）
- 後民國在哪裡？（刊載於《後民國》畫冊）
- 大眾媒體與個體：許哲瑜《無姓之人》中的溝通結構問題
- 意義批判、意識形態批判與時間批判（收於《數位藝述》2011年創刊號）
- 如何幻化一座迷霧森林：論當代台灣三件錄像裝置作品中的沈浸策略（刊載於《ACT藝術觀點》2011年春季號）
活動記錄：
文字 text（中文/ ch）：鄭凱莉 Kelly Jheng
攝影 photo：張巧怡 Joy Chang
只為一人《開房間》 河床導演分享創作理念
延續正在北美館的2013「開房間」計劃，河床劇團導演何采柔受邀至台北當代藝術中心（TCAC）舉行座談，並有藝評王柏偉、河床演員許家玲參與，一同分享《開房間》戲劇節的策劃概念。
河床劇團1998年在台北成立，擅長將寧靜優雅且意象豐饒的超現實感受放入表演藝術中，強調不委外製作、原創編製；此外，該劇團的另一特色，就是把觀眾帶入戲劇之中，讓觀眾與表演者同在表演場域，塑造出總體劇場的效果。
對談中，導演以去年五月在國家戲劇院實驗劇場上演的《美麗的殘酷》劇碼為例，分享排練與演出的心得。導演表示，演員首先在未定型的空間內排戲，所有工作人員即興操作使舞台不斷改變，全劇去除文本、沒有任何對白，並以音樂作為戲劇發展的軸線，舞台則架高讓觀眾仰角觀看，期待以無須言語的共同生活經驗為基底，讓觀眾自由想像該戲的意境。
接著，三人談到河床劇團從2011年就推出的《開房間》戲劇節。《開房間》顛覆以往集體看戲的規則，用「一個人看戲」的形式重新演繹劇場關係，打破觀眾與演員身分壁壘分明的界線，觀眾可能是觀看者，也可能是表演者，演員會隨著觀眾的表情、動作與話語調整戲劇的步調。
2013年的《開房間》計畫與北美館《真真：當代超常經驗》展覽檔次合作，置放於該展展場內最後一站。今年《開房間》僅有兩個小房間作為演出場地，一次只開放一個觀眾入場。第一個房間為郭文泰導演的劇碼《不會有人受傷》，在劇中演員引導觀眾上車輛駕駛座，透過車窗窗框的放大與縮小與車子無聲的前後移動，觀眾視線被推進拉遠，呈現在眼前的真人演出也從2D轉為3D。
第二個房間的劇碼則是導演何采柔自己的《四季》，創作發想源於導演親人的一場葬禮儀式。入場後，戴著兔子面具的演員引導觀眾面對一名頭為液晶螢幕老人肖像的畫家前就座，在幽暗的密室中，畫家緩緩將花朵塗成白色，隨著空間中逐漸加速閃爍的攝影白光，以及逐漸劇增的電子音效，畫家在花朵上塗色的動作越來越快，並加快至最終失速而背歇斯底里地塗起自己的手，就在近乎失控的節奏中，突然燈亮了，空間泛起了一片鮮明飽和的豔黃，而演員的動作也歸於靜止。在何采柔帶來的記錄短片中，觀眾被帶出了這個黃色密室，並在他面前打開一處通往地底之門，觀眾並未能真實向下走，但透過這個垂直的景框，觀者能看見演員正以麻繩在地上圍出一個房屋的形狀，並以此圖形發展出一系列相應的儀式行動。
參與《不會有人受傷》劇碼的演員許家玲表示，日常生活接收的資訊，是供養她進入戲劇狀態的養分。這次導演拋出美國911恐怖攻擊的議題，他便聯想與事件相似的要素，像是電視新聞中有人受傷、悲傷的畫面。不過，她也表示：「現實生活真的不會有人受傷嗎？其實每個人都在受傷」，雖然身為演員，必須傳遞導演欲表達的意象，但她還是很滿足於能自由地透過戲劇說故事。
最後，三人談到河床劇團的願景，導演表示，希望藉著《開房間》計畫，突破一般劇團對演員的想像，挑戰演員與觀眾的定位，並期許該劇團未來能跨領域邀請各類藝術家、音樂家甚至是電影導演來合作，另外，她也希望能將計畫移置戶外演出，把處於實境的觀眾帶入幻境，用行動而非表演的方式引導觀眾融入戲劇情境。
Personal Drama ：Just For You Festival （Riverbed Theatre）___ JOYCE HO（Speaker） x Po-Wei WANG（Host）7:30pm
Since 2011, Riverbed Theatre has presented Just For You Festival, in which, each audience was allowed to see the only one presentation of each performance. By presenting it, Riverbed Theatre expected to break the impasse between viewers and performers, to explore the possibilities of integration and create a unique performance for each viewer. Furthermore, the new production – Just For You Festival in 2013 was combined with an exhibition project (True Illusion, Illusory Truth: Contemporary Art beyond Ordinary Experience), and brought their live performances and the audiences into a museum space.
We are delighted to invite Joyce Ho to share us the concept and development context of this project, and how it presented the art of modern theater as well as the interwoven idea between performance, space, audience.
Speaker: Joyce Ho
Education
University of Iowa
Master of Fine Arts, Painting
University of California, Irvine
BA, International Relations
Award and Grants
2011 Finalist, Kaohsiung Fine Arts Award
2011 MOFA (Taiwan) travel grant for visual art
2009 NCAF grant for visual art
2009 Prize Winner, Kobe Biennale Art in Container Competition
2009 Ester Madison Painting Scholarship, University of Iowa
2009 University Travel Grant, University of Iowa
2008 MFAnow International Painting Competition
Museum Collections
2012 On my way home, Museum of Fine Art, Taiwan
Solo Exhibitions
2013 Mimesis, Museum of Contemporary Art, Shanghai ( dual solo with Gao
Xiaowu)
2011 Spectator, L’orange Gallery, Taipei, Taiwan
2010 Transitions, L’orange Gallery, Taipei, Taiwan
2010 Transitions, Praxis International Art, Miami, USA
2008 In Between- Animamix, Beijing, China
Group Exhibitions
2013 True Illusion, Illusional Truth-Contemporary Art Beyond Ordinary
Experience, Taipei Fine Art Museum, Taipei
2012 Art Taipei 2012, Taipei World Trade Center, Taipei
2012 The 10th TaiShin Arts Award Exhibition, Museum of Contemporary Art,
Taipei
2012 Fifteen Contemporary Artists, Spanierman Gallery, New York
2012 Future Pass, Wereldmuseum, Rotterdam
2011 Future Pass, Abbazia di San Gregorio, 54th Venice Biennale Collateral
Events, Venice, Italy
2011 Depict: Here and Now, Hous Projects Gallery, Los Angeles
2011 Kaohsiung Fine Arts Award, Kaohsiung Fine Ares Museum, Kaohsiung,
Taiwan
2011 Ambiguousness, La Chambre Art Gallery, Taipei, Taiwan
Host
Po-Wei Wang, born in 1975, is a Ph.D. candidate of sociology at the Department of Culture Studies, Witten/Herdecke University, Germany. His research interests include Media Theory, History of Contemporary Art, Sociology of Culture and Art, and Art/Science/Technology (AST). He has received the Digital Art Criticism Award and the NCAF Art Review Award. Translate Niklas Luhmann´s Liebe als Passion: Zur Codierung von Intimität together with Chin-Hui Chang. Ongoing projects include “History of Taiwanese Media Art and Semantic Web”, and “Art, Biology, and Laboratory: A Probe into the Genealogy of Bio-Art”. He is currently the special contributor to the Artitude and Artist Magazine.
Articles please see http://www.itpark.com.tw/people/essays/667
Bibliography:
- Performance and Aisthesis: The Aesthetics of Media Art and The ´Transjourney: Future Media Festival´ (Artist Magazine, 2011/2 )
- Becoming – Animal, Horizon and Motive: The Pattern of Passion of YiLab´s W.A.V.E. (Artist Magazine, 2011/2)
- Save Zone No More: No Ghost Just a Shell by Pierre Huyghe and Others (Artitude, 2011/12)
- Movement-Image, Mass Media and the Individual: Forms of Expression in Entre-Temps (Modern Art, 2011/10)
- Time, Memory and the Long Goodbye: Before Memory – A Solo Exhibition by Yuan Goang-Ming
- Where is the People’s Republic of China?
- Mass Media and the Individual: On the Structure of Communication of Che-Yu Hsu´s The Perfect Suspects
- Critic of Meaning, Critic of Ideology and Time-based Media (Digital Art Criticism 2011)
- How to Conjure a Forest Out of Dense Fog: On the Immersion Strategy in the Three Taiwan Contemporary Video Installations (A/C/T 2011/4 (46))
Event Record
By 周思婷 Christine Chou
Riverbed Theatre Director Shares Thoughts Behind Just For You Festival
Director of the Riverbed Theatre, Joyce Ho, was invited to TCAC to share the concept behind the 2013 Just For You Festival and join in a conversation with art critic Po-Wei Wang and Riverbed actor Jia-Ling Hsu.
The speakers started off by introducing this year’s festival—The 2013 Just For You Festival has collaborated with the Taipei Fine Arts Museum exhibition True Illusion, Illusory truth: Contemporary Art Beyond Ordinary Experience, and the project has been displayed as the final stop within the exhibition space. Only two small rooms served as the stage, and members of the audience were only allowed entrance one at a time. The first room would be Director Craig Quintero’s play “Nobody Gets Hurt”: Actors guide the audience into the driver’s seat of a car, and as the windows enlarge and shrink and the car itself silently shifts to and fro, not only does the visual perception of the audience shifts, the performance also makes a shift from 2D to a 3D real-life sensation. The second room, “Four Seasons,” was directed by Joyce Ho, where Ho incorporated her personal experience of attending a relative’s funeral into her script and invited the audience into the depths of memories of their own.
The three speakers then went on to share the history and concept behind the Just For You Festival. Riverbed Theatre initiated the Festival in 2011, and this was revolutionary in a way that it overthrew the convention of a collective audience through blurring boundaries between the performers and the audience.
Finally, as the speakers discussed their visions for Riverbed Theatre, Director Joyce Ho expressed her hopes of challenging the perception and self-positioning of the actors and the audience, collaborating with artists, musicians and even movie directors of different backgrounds. She also hopes to see the project one day performed in an outdoors setting and to bring the audience from reality into imagination through actions instead of performances.
Riverbed Theatre was established in Taipei in 1998, and they are best known for incorporating surrealist sensations into performing arts, creating a macro-theatre effect through blurring boundaries between actor and audience and producing original performances.
