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photo © Liesbeth Bernaerts, Youichi Tsukada, Jean Luc Tanghe

迷幻英雌  Heroïne

舞者被限制在一個節奏、編舞與空間結構複雜且嚴謹的網絡中,她企圖從這網絡中掙脫,尋求自由,為普遍 人類共有的掙扎意象提供多樣的詮釋。迷幻英雌極端的專注於舞蹈三個主要的元素: 空間、時間與力量。目的為創造三個元素間的摩擦與衝突,純粹以身體傳達戲劇性的敘事,而非傳統的敘事法。檢視抽像本身的情感濳力,迷幻英雌是空間(燈光)、時間(音樂)與力量(舞蹈)精確的相互發展結構,三者同等重要的主角建構出抽像式的戲劇。  


蘇文琪完美詮釋了這個充滿神奇魔力的獨舞 - 法國自由報

Haletante, souriante, violente, sans aucune perte d'équilibre, Su Wen-Chi livre un solo magistral. - Liberation

「迷幻英雌」強烈展示了關於藝術本質的思考,從身體、時間、空間的思考面向,向表演者自身及觀眾同時提問。表演者具有極大動能,在有限制的條件下,創造了極大表現,黑暗中持續進行的演出為舞蹈呈現了罕有的視覺及聽覺感受。長達六十分鐘不間斷的獨人表演, 讓觀眾體驗到當下到遙遠世紀的存在感,表演的細節在時間的長度裡堆疊累積,同時爆發能量。蘇文琪的作品不僅風格強烈、形式獨特,而且展示了未來創作高度的預期性。其所意欲探索與發展的主題,勢必被持續關注與期待。

- 2010台新藝術獎評審團獎得獎理由

“Heroine” has demonstrated the contemplation of the essence of art and strongly proposed the question from physical, temporal, and spatial aspects both to the performer herself and the audience. Su, the dancer, has intense dynamic power and has created the maximum impact out of limited resources. Her continuous performance in the darkness has presented a rare visual and acoustic experience of dance.The 60 minute long solo dance enables the audience to experience a sense of existence from the current state to the distant centuries of the future. All the details are accumulated through the length of the performance with explosive energy. Su’s work not only has a strong personal style and unique form, but also demonstrates huge possibilities for her future creations. Whatever are the themes that she wants to explore and develop in the future will definitely become the centre of attention and expectation. _ Jury's Comments 2010 Taishin Arts Award.


The unique framework of this performance leads the audience to turn its gaze inwards and examine every aspect and constituent element of their own experiences in viewing dance. Soloists are deeply introspective. Standing in the midst of a basic stage setting, they use extremely minimal movements to enter into highly specific dialogues with both their internal and external environments. Every single moment is an observation on a body in motion, and this builds to enormous tension, describing a stirring picture of man as caught between heaven and earth. It begins with a supercilious laugh from a figure striking a victorious pose, then progresses through vague body forms and intense exertion. Simple and pure, this piece casts a gaze on the real state of the performance and allows the plastic progression of bodies in motion to return to the place they should occupy within dance. _ Wei Shu-Mei 



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