• Emptinessしろ)

    Performance( full-record video ),15min,2018

    Emptiness(しろ) is three-act performance created by 5 participants in workshop with me together. Act 1 is about the question of“what’s art?”, we try to abandon the literally meaning and go back to real life to encourage participants to give out their own understanding on it, eg :“energy”, “belief”,” “passion”,“sunset”…Act 2,it points to the symbol of ”sense of loneliness”、the presentation and liberation of non-language communication. Act 3 is to indicate the impact of extremity distortion in confined room and sensibility on Japanese , making them adjust to and live in the space.

       The name of Emptiness(しろ) ,comes from the concept the Japan theology, for constructing a familiar Emptiness(しろ) field in real life as a medium to communicate possibly with deity . That in Japan all the Jinja is a form of Emptiness(しろ) and it also refer to architecture and understanding of communication. In the ancient Japanese spirit circumstance ,” Emptinessしろ” represents the most ideal form of communication, so that people is able to know the meaning when the others begin to express at beginning. In spite of time or space, that Japanese valued to protectEmptiness(しろ) in the relationship between deity and people.

       I carried out 10 workshops with the recruited participants locally. Who are with different age and job, some of whom are porter of warehouse,inspectors of the industry assembly line, housewife,and also energetic students ,and all of them are strange to the ”perform” and total different in personality , helping to fulfil the work and make it completed and real in details.

       I chose a space similar to Emptiness(しろ) as rehearsal place, conducting to explore the related topics on “Art”、”loneliness“、”space“ ,and use non-language mutual communication and introspection lead the participants return to their own purity spiritually through three dimensions of life, space, body ,therefore there is new collective memory and experience. In which space ,where they inter winded and live with each other eventually. As it’s a “performance” , the relationship inside of the society and people,an “ideal way of communication” and reconstruction of social relations.





       作品名“ 依代(よりしろ)”取自日本的神学概念,意思是在现实生活中构建一个类似“依代”的场域,从而让神明有可能经过,实现人和神交流的可能性。例如,日本大街小巷随处可见的神社从形式上来讲就是“依代”的一种化身。“依代”既是日本人对空间的构造,也是他们对沟通的理解。在日本人们所信仰的古神道语境下,最理想的沟通形式就是“代”,即对方一张嘴我就理解你要说的内容。所以无论是在时间上还是在空间上,在同神或人的关系中日本人都保有庇护’代”的价值观。

       前期我与公开招募的日本当地民众共同进行了十场剧场工作坊。他们来自不同的年龄阶层,不同的工作岗位。有的是仓库的搬运工,有的是工厂流水线的检测员,有的是家庭主妇,也有充满活力的学生。正是他们身上所固有的差异性以及初始对彼此对表演的“陌生性”让这个作品更加真实和饱满。 我选择在一个类似“代しろ”的空间作为排演现场,引领大家共同探索现实生活中和“艺术”、“孤独感”、“空间”相关的话题。通过人生,空间,身体三个面向引导参与者回到个体纯净的自我,借助于彼此间的非语言交流进行自省。从而产生新的集体共同记忆和共同经验。在这个“代”内,最终他们彼此交缠共生。这样一场由既定社会关系内的民众的“表演”其实是“最理想的沟通方式”,也是社会关系的二次建构。


    导演/构作 Director / Dramaturgy:王子月 Wang Ziyue

    文本/表演 Text / Performance:

       沖野 竜太 Okino Ryota

       浅田 誠 Asada Makoto

       山田 彩華 Yamada Ayaka

       速水 元 Hayami Gen

       永石 薫 Kaoru

    制作 Production:當間芽 Mei Toma

    翻译Translator:侯文盛Hou Wensheng

    摄影Photographer:顾剑亨Gu Jianheng、王子月 Wang Ziyue

    剪辑 Editor:王子月 Wang Ziyue

    支持/鸣谢 Support / Acknowledgement:

       成都A4美术馆 A4 Art Museum

       京都艺术中心 Kyoto Art Center