07 MAY 2022
FULL-DAY WORKSHOP
體現編作劇場 EMBODY Devising Theatre
#Butoh #ContactImprovisation #EMBODYDevisingTheatre
因疫情關係，節目由2020年一直延遲耽擱，2022年的春天我們將另覓新徑，計劃將由一個劇場工作坊暨演出，變成兩個工作坊及放映會。「新瓶舊酒」，計劃初衷不變，就換個形式呈現。
The pandemic situation in Hong Kong remains challenging, this programme has been suspended since 2020. In this 2022 spring, we restart the project in another way, the project is restructured from a workshop with solo performance into two workshops and a screening event.
當我們想到獨舞或獨腳戲的時候，許多舉手投足的瞬間，觀眾不禁被表演者的「存在感（Presence）」迷住。當我們講即興的時候，會視「動機（Impulse）」為關鍵詞，總不難發現追隨動機的表演身體有着「一瞬間時間好像靜止了」的能力。重點在於不要錯認「動機」為想法、概念或計劃，「動機」在這個語境底下是與當下有關的，無關呈現，卻有着真實的觸感。如何在即興之中做到隨心所慾而不踰距，身體作為一切動作的源頭，何不回歸身體思考，脈動作為行動而不是大腦想好了再行動。做有着「即興」意味的創作，不止需要一個淬錬的框架，還需要功夫了得的演者及敢於實驗的精神。舞踏 （Butoh）及接觸即興（Contact Improvisation）作品將以上三種特質完美演繹。
When we think about solo performances, those beautiful moments always associate with presence or being. The most basic and most crucial ingredient for improvisation was to follow the impulse, therefore with such a form, the essence of a human body remains and the performativity of a body ravels. It is important to note that an impulse is not an idea, thought or plan, an impulse under this context, can be described as a “sudden wish or urge that prompts an unpremeditated act or feeling”. To be able to build on what is present roots in the fact that only available resources can be used for improvisation; and for a mover, the only available resource is the body and the working frame.
To make an improvisational performance possible, a dedicated frame, the ability of the performer and an experimental spirit are required. Butoh and Contact Improvisation Dance Performances cope with these with their own disciplines, and they beautifully bend improvisation into a performance.
EMBODY
Devising Theatre
Part I - BUTOH
竹之內淳志舞踏網上工作坊
Atsushi Takenouchi
Online Butoh workshop
by JINEN BUTOH
四時生活 - 以舞踏擁抱生死
Four seasons of life - Embracing Life and Death with Butoh
以舞踏體現春夏秋冬，花朵、昆蟲、動物、植物，甚至精靈，將成為舞動的原料。對四時的觀察一直帶給竹之內淳志創作靈感，他的舞踏世界呈現生與死，滿是極樂、洗滌、愛、救贖、犧牲，有如一支安魂曲。「生與死」是老生常談的課題，但心智的理解不及身心的體現來得撼動，你將會成為一朵花，在工作坊裏頭換一個形態去明白生命。
春 – 生生不息，生命從沉寂多時的泥土中蠢蠢欲動；
夏 – 烈日有兩個面向，可以是熾熱激情，也可以是酷熱焦灼；
秋 – 能量逐漸收儉，不張揚的美潛伏在死亡的邊緣，是極樂之美，也是犧牲之美；
冬 – 代表終章的季節，塵歸塵，土歸土，魂斷的花朵何去何從 ？這些死去的生命將迴轉成春季的禮物。
Become flowers, insect, animal and spirit, to dance out this four seasons of their life in order to rediscover the natural rhythm of life. This is the dance of our life. Each of us can explore a lot of precious moments in dance. To embody deeply the theme of each seasons, and to reveal one’s mysterious life. This workshop connects the core theme of Atsushi Takenouchi JINEN BUTOH — “bliss, purification, love, requiem, sacrifice, life & death”. Dance within to embrace life & death. And the resonance from inner body start echoing “death is part of life circulation”. Let’s dance to forget and forgive, to understand the rhythm of nature by embodying this four seasons.
“Spring” – Precious turning point of life. Nourished soil in winter give new life for flowers;
“Summer” – Summer Sun has two faces, one refers energetic, while the other refers blistering;
“Autumn” – The beauty of the flower is lurking quietly. What is this “beauty” ? For the next generation to take over the seed, it is beauty of bliss, beauty of sacrifice.
“Winter” – The ending chapter, flowers that die will return to the soil with nourishment. Where the spirit of flowers will go? Is this spirit also a gift for the Spring?
EMBODY
Devising Theatre
Part 0 -
ContacT Improvisation
朱星朗接觸即興工作坊
Contact Improvisation Workshop by Christopher Chu
（2018..8.27-9.1 HONG KONG）
行動哲思 -「接觸即興」之初探及深省
Mindful Encounters - A preliminary & reflective approach to Contact Improvisation
「接觸即興」肇始於 20 世紀 70 年代，乃影響當代舞蹈至鉅的後現代身體探索。歐 美各大當代舞團入團必備之技，竟又如此平易近人、老少咸宜。其不僅是肢體語彙， 更重要是其背後之哲思與肢體觀。一種兩個人或以上的即興舞蹈，即興者經由「接觸」 以及「彼此跟隨」，形成即興動機，在感知彼此身體狀態下互動，一起成就即興舞蹈。 是一個由身體傳達建議與跟隨，如對話溝通般人際關係的互動。
Contact improvisation (CI) is a form of improvised dance that has been developing internationally since 1972. CI’s influence can be seen throughout modern and postmodern movement research worldwide. CI is a must for professionally trained dancers in both European and American dance troupes, at the same time which is also enjoyed by movers of all kinds. CI is not only a body language, but also a philosophy in action, especially in relationship to partnering and use of weight. The intention of moves is induced by all means of contact, the spontaneous physical dialogues of two or more generate a flow, the interactions through sensing create the improvised dance.