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近期舞作

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2015聽舞觀聲 / Find the Natural Meeting Points

《生‧萌》(Raw Impluse)  聲音設計與集體即興】


                       When Sound and Movement Find the Natural Meeting Points


 

In Western art music and dance, sound and movements are rigorously controlled by what they present and what is taught, from one generation to the next. Not only that; it is also controlled by what is not presented, by that which is controlled by expelling it. Musicians are basically taught to play their instrument from a still position, and not to make unwanted movements. The accepted movements that we see from a pianist or violinist are highly stylised and may be likened to a kind of choreography.



                                                                                                                                                                                                                                                                                                                                                                                (攝影:李銘訓)


Many musicians and dancers alike were taught not only to control their movements but also to suppress the sounds that might accompany those movements. The presence of unwanted sounds almost amounts to a taboo, both for dancers and for musicians. There may be valid practical and also esthetic reasons for it, but are we not robbing dancers or musicians of some of their most powerful means of expression when we subjugate the performing body to these unwritten rules? What do we find, for example, when we allow the performing body to freely make noise, make sound, make music, and when we allow the musicking body to move or to dance?

These questions are not new, and have been explored from various angles in the past decades, not in the least in many of the late works of Liu Shao Lu, who was deeply committed to integrating sound with movement. Yet unwritten performance rules run deep in the veins of artists, be they musicians or dancers. It is hard for the dancer to work the muscles of the vocal cords and mouth just like she is used to work the muscles of torso, arms and legs. And it is hard for the musician to really see himself moving, and to move freely beyond the need of musical gestures.

Trained in one art form, we are partly blinded by the aesthetic language we are most familiar with. How can we re-integrate these two seemingly different languages of dance and music with each other? Can we find some more or less natural meeting points? Is it even possible, perhaps, to really ‘forget’ our own disciplines and create something from a common bodily language, becoming sound and movement at the same time?

This piece evolved as a collaboration between the TDC dancers and Mark van Tongeren, a performer who teaches lay people and artists to listen for and create new sounds with the body. For Mark, the body, as well as the world at large, is a site for listening, and not just for looking. Even though we do not see sounds, we do see, feel and control the sounds of the speaking or singing voice when we pay attention to it, and we can engage with these and other ‘sonic movements’ of the body more consciously.

TDC’s history of exploring voices live onstage goes a long way back, with a strong focus on using vowels. For this new collaboration, the extended group has explored many other ways of making sounds, and of letting sounds become a guiding principle for movements. The performers use basic vocal expressions such as groans and grunts, sighs and squeeks, hisses and yells, cries and calls, as well as more stylised sound patterns. From these experiments a piece of a raw, archaic nature emerged. One sees creatures, at times alone, at times together, engaging in richly symbolic gestures and sounds. What are they doing? What does it mean? (/Mark van Tongeren (Incorprate Sound Into Dance  and  Collective Improvisation))

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