神域 (日文:依り代)
表演(三幕表演全记录版录像),15分钟,2018
作品是由前来参加艺术家在京都艺术中心举办剧场工作坊的五位素人参与者共同完成的三幕表演。第一幕,是关于什么是“艺术”,抛弃词汇的即有含义,回到现实中,参与者们给出了不同的答案,如“能量”、“信念”、“激情”、“晚霞”…;第二幕,是对“孤独感”的表征、非语言沟通的呈现和释放;第三幕来自于京都人对空间的敏感,狭小的空间致使人的肢体动作发生改变,被迫适应。在¨是由前来参加艺术家在京都艺术中心举办剧场工作坊的五位素人参与者共同完成的三幕表演。第一幕,是关于什么是“艺术”,抛弃词汇的即有含义,回到现实中,参与者们给出了不同的答案,如“能量”、“信念”、“激情”、“晚霞”…;第二幕,是对“孤独感”的表征、非语言沟通的呈现和释放;第三幕来自于京都人对空间的敏感,狭小的空间致使人的肢体动作发生改变,被迫适应。
作品名“依り代”取自日本的神学概念,即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。“依り代”既是日本人对空间的构造,也是对“沟通”的理解。艺术家选择在一个类似“依り代”的空间作为排演现场,引领参与者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,在这个空间内制造新的“美”的经验。这样一场由既定社会关系内的民众的“表演”是艺术家认为的“最理想的沟通方式”,也是社会关系的二次建构。
Emptiness
Performance( full-record video ),15min,2018
“Emptiness(しろ)” is three-act performance created by five vegetarian participants who came to my theater workshop at the Kyoto Arts Center with me. 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 . WangZiyue 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.
“神域(依り代)”演职人员表:
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
宣传片/Trailer
民众共创计划
2018年10月-12月我在京都艺术中心公开招募民众参与为期两个月的十次剧场工作坊,前来报名的十位参与者,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”让这个民众共创计划更加真实和饱满。最终我们共同创作了“Emptiness(しろ)”这件作品。
Public Co-creating Project
From October to December 2018, I publicly recruited people at the Kyoto Art Center to participate in ten theater workshops for two months. Ten participants 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.In the end, we co-created the work "Emptiness (しろ)".
NO.1“破冰”-肢体游戏工作坊 / "Broken Ice" - Limb Game Workshop
NO.2 人生“艺术”地图/ Life map of “ art”
NO.3 空间感练习/ Sense of space
NO.4 故事营/ Story camp
NO.5 肢体创作练习/ Limb creation practice
NO.6- NO.8 :排演 Rehearsal
NO.9-NO.10 表演+记录/ Performance + Shooting