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劉紹爐經典典藏

劉紹爐經典典藏

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劉紹爐與光環舞集



                                               
光環舞集作品回顧
                                                                                        Taipei Dance Circle: Repertoire in Retrospect

 

19851992 鄉土時期 
在光環創團之後活躍的19851990年之間,正是臺灣經濟起飛的時候。光環的第一場正式演出是在臺北的皇冠小劇場,也是皇冠小劇場成立以來的首檔節目,當時演出的是具有鄉土情懷的《鄉旅》系列(1985),以「舞出中國風味.藝術向下紮根」為訴求。在劉紹爐的作品中,像《扛石頭的老人》(1985)、《霸王別姬》(1986)較具有鄉土情懷或故事性題材,另外還有強調肢體探索的《主題與變奏》(1986)、《另一波》、《野聲》(1988)等具有抽象意識的作品。1990年,光環舞集推出最後一次演出《念天地之悠悠》,劉紹爐即赴美進修,暫停舞團。
1985~1992:Period Close to Home --Down the Country Roadshowing full nostalgia
The extremely active early years of the Taipei Dance Circle starting in 1985 until 1990 happened to see Taiwan’s economy taking off. The company’s first formal performance took place at the CrownArtCenter. The group’s program, in fact, inaugurated this little theater venue in Taipei. 
The pieces from the Down the Country Road Series (1985) showing full nostalgia for the old hometown at that time tried to capture the Chinese dance style and to let art grow roots. Of Liou Shaw-lu’s works at this time, The Stone-Carrying Old Man (1985) and Farewell, My Concubine (1986) could be said to be pieces particularly indicating nostalgia for home and generally with stories to tell. Theme and Variation (1986), Another Wave and Country Sound (1988) were abstract works. In 1990, the Taipei Dance Circle presented for the last time Hermits in the BambooForest. Liou Shaw-lu shortly left for the United States to pursue further dance education. The company disbanded temporar

【鄉土時期】 Works from Period Close to Home  

NO.1

1985

《鄉旅》
Down the Country Road

NO.2

1985

《扛石頭的老人》
The Old Man Carrying Stone

NO.3

1986

《霸王別姬》
Farewell My Concubine

NO.4

1986

《主題與變奏》
Theme and Variation

NO.5

1987

《視覺與心靈的》
Encounter of Vision and Spirit

NO.6

1988

《生活的舞》
Dancers in Life

NO.7

1988

《野聲》
Country Sound

NO.8

1989

《舞蹈創意另一波》
Another Wave of Dance Creativity

 


1993~迄今  嬰兒油上的現代舞


1994《奧林匹克》。(圖:光環舞集)

《大地漫游》作試金石 

19932月,光環舞集在國家戲劇院的實驗劇場推出舞作《大地漫游》,作為重新出發的第一份成績單,舞展的所有內容,是劉紹爐「氣身心合一」理念的初次呈現,也令人眼睛一亮。
《大地漫游》,全舞分為三段:<空中飄>、<箱上走>、<地上游>。其中又以<空中飄>和<地上游>最為特殊。在<空中飄>這支舞蹈中,一塊手繪的大布覆蓋在三位男舞者的身上,再由三位女舞者隔著布站在他們的背上,逐一完成動作,透過氣流的迴旋,布料本身會產生輕飄飄的質感,觀眾看起來就覺得女舞者們彷彿在空中飄一般,饒富趣味。劉紹爐將布帶入了禪與幻想的意境,另外創造出一種新的展現方式。
<地上游>四位舞者全身塗滿嬰兒油,在毫無摩擦力的地板上,利用油質的滑溜特性,不斷做出轉動、滑、滾、跳等舞蹈動作。無論是舞者的衣服或舞台的布景道具,甚至連配樂,都達到了「極簡」的境界,而人類肢體的純淨無瑕,也在此時毫不保留地展現出來,讓人產生一種「回到原點」的聯想,整個舞台是個極純粹的「空間」,從嬰兒油所造成的「無礙」狀態中,觀眾看到了最單純的美感。 

1993 to Present: Modern Dance Series Using Baby Oil --
Dance Over the Universe Became Touchstone of Quality 
The Taipei Dance Circle staged a comeback in February 1993, presenting “Dance Over the Universe at the National Theater’s Experimental Theater. Liou Shaw-lu’s “Chi (Breath), Body and Heart concept emerged for the first time, calling attention and drawing positive feedback. 
Dance Over the Universe consisted of three parts: Floating in the Air》,Going Up and Swimming on the Floor.Floating in the Air and Swimming on the Floor gave the strongest impression. In Floating in the Air, an enormous piece of handpainted cloth covered three male dancers and three female dancers performed dance moves while being supported by the hidden male dancers with strong backs. The natural air movement created a special undulating effect on the fabric, helping bring about an interesting picture of female dancers seemingly floating in the air. Liou took the fabric prop into the realm of Zen and fantasy, developing a new form of artistic expression. 
Swimming on the Floor required four female dancers to cover their entire bodies with baby oil to completely eliminate any possible friction when brought in contact with the floor. Exploiting the slippery nature of oil, bodies endlessly turned around, glided, rolled about and jumped to execute the choreography. Costumes, stage design, and even the accompanying music veered towards minimalism. The human body was reduced to something pure and flawless. And in going all the way to achieve this, it gave the impression of “going back to its very beginning and origin.” All the stage just became “space.” With the use of baby oil to remove all physical obstruction, the Taipei Dance Circle made it possible for spectators to experience a sense of beauty at its purest. 

從《奧林匹克》到《草履蟲之歌》 
《奧林匹克》是劉紹爐第一齣整場皆為嬰兒油作品的舞展,它由九支獨立小品所組成,所有嬰兒油的動作元素,包括推、拉、滑、滾等,都在這支舞中,可以說是個純粹舞蹈的小小經典作品,也是日後嬰兒油之舞發展的基礎。光環舞集帶著它遠征東京、紐約、柏林、墨爾本、布拉格,都獲得了好評與青睞。《奧林匹克》之後,光環推出了《舞田》、《移植》(1995),以及《框架》(1996),在這些作品中,嬰兒油只是其中的一部份。19972月,《奧林匹克》在柏林造成轟動,光環終於決定以嬰兒油為主的發展導向,同年9月,劉紹爐推出他的第二齣整場嬰兒油作品《油畫》,結構顯然比《奧林匹克》要龐大許多!
繼《油畫》之後,現在的光環又陸續推出《草履蟲之歌》和《黑潮》,若說《奧林匹克》是小品的組曲,那麼《油畫》就是奏鳴曲,到了《草履蟲之歌》時,已經近似結構龐大完整的交響曲了,而嬰兒油的素材與潛力仍舊在開發中。
From《 Olypmpics 》to《 Ode to a Paramecium》 
Liou Shaw-lu’s first piece of choreography to make use of the baby oil all throughout was Olympics. This work had nine independent parts. Pushing, pulling, gliding, rolling and so forth were moves carried out throughout the choreography with dancers greased with baby oil and on an oil-slicked surface. The piece was to become the basis for the development of future choreographies. The Taipei Dance Circle took this production to TokyoNew YorkBerlinMelbourne, and Prague, receiving critical acclaim each time. 
After 《Olympics》came Dance Field (1994), Transplant (1995), and Framework (1996). In all these works, the baby oil found its place. After Olympics became a great success in AachenGermany, in February 1997, the Taipei Dance Circle decided to focus on the crucial use of the baby oil in the development of future dance pieces. 
In September of 1997, Liou Shaw-lu created a second full-length dance, using the baby oil. The structure of Oil Painting was a lot bigger than Olympics. Works like Ode to a Paramecium and Black Tide followed. If Olympics could be described as a suite, Oil Painting could be said to be a sonata. With Ode to a Paramecium》, the complete structure attained that of a symphony. At this point, the baby oil as source material with potential continued to undergo development .

《黑潮》迎接15週年慶
《黑潮》是光環舞集15周年慶的作品,劉紹爐從人體的小宇宙出發,進而探索人與海洋的關係。舞團也將首度進駐國家劇院公演,是一大鼓勵與肯定;此次劉紹爐編作「黑潮」,邀請青年作曲家李子聲為整場85分鐘的舞蹈寫曲子,由「十方樂集」現場伴奏,這些均是光環舞集嶄新的嘗試,代表著邁向廿一世紀的雄心壯志。
舞作《黑潮》除了繼續發展嬰兒油肢體語彙之外,也強調要挖掘嬰兒油舞蹈更原始純粹的新面向,劉紹爐採自然導引的方式,結合氣、身、心的理念,帶領舞者冥想海水流過身體的感覺,再透過集體即興創作的互動模式,從呼吸、肌肉和骨骼的運動,走進探索大自然奧秘的通道。根據地理學的解釋,「黑潮」屬於太平洋中的北赤道暖流,東北走向,是所有海流中速度最快者,也孕育了中、日、韓、菲等國共同形成的「黑潮文化圈」。劉紹爐說:「這支舞是光環十五周年慶的大型作品,舞作分為春生、夏潮、秋迴、冬藏和不息五個段落,體現生生不息的黑潮脈動。」
《Black Tide》 Celebrated Taipei Dance Circle’s 15-year Milestone 
《Black Tide》was the work created in celebration of the dance company’s 15th anniversary. The human body as a miniature world or universe served as point of departure in exploring the relationship of man and the ocean. The dance company made their debut at the National Theater. This served as a very big encouragement. The Taipei Dance Circle even commissioned young composer Li Tsu-sheng to write the music for the 85-minute dance. Forum Music was invited to provide live music accompaniment to the dance performance. The completely new experiment showed the boldness and daring with which the Taipei Dance Circle ventured forth to greet the 21st century. 
While continuing to develop further the body language associated with earlier baby oil dances, “Black Tdie” emphasized digging deeper in search of something raw and pure. Liou himself showed his dancers the way to do it, summoning the concept of “chi (breath), body and heart” while imagining the feeling of the ocean tide lapping and splashing the body. Group improvisation and creation characterized largely by interactive activity, at the same time involving breathing and exercises for the muscle and the bone, opened the way for the exploration of the wonders of nature. 
According to geographic explanation, the black tide, originally called “kuroshio,” is a strong current flowing northeastward in the Pacific Ocean, transporting warm tropical water to sustain the coral reef. This fastest of all currents gives birth to the “black tide cultural circle” covering ChinaJapanKorea and the Philippines, among others. According to Liou, the choreography – a major work – was created to coincide with the Taipei Dance Circle’s 15th anniversary celebration. It consisted of five parts: “Spring,” “Summer,” “Autumn,” “Winter” and “Endless.” Captured was the unending rhythmically expanding and contracting black tide.       

《斷層》舞進921災區 
光環舞集2000年的舞作《斷層》,拿掉以往嬰兒油舞作尚存的裝飾性、討好與美的東西,完全取自在原生的、不穩定的生命脈動,也讓劉紹爐跨進了生命中那不可說的原生能量。整支作品包含三段,第一段<關係>呈現人際互動中的複雜,以及複雜中呈現的秩序,配樂摘自波蘭現代作曲家葛列茲基第三號交響曲之第一、第二樂章<悲愁之歌>,呈現肉體與靈魂的拉鋸。 
第二段「塵埋」則是一段走過地獄的歷程,以雙人舞、單人舞相互輝映襯托方式,呈現肉體與靈魄的拉鋸。舞者隨著麥可尼曼的單音重複、節奏強烈的快速音樂,不停地顫抖身體、齜牙咧嘴、嘶聲厲叫。第三段<入化>則在短暫的安詳之後,開始找尋身邊的點滴,重新進行如細胞分裂般的複製、重組與再斷裂的歷程。  
《斷層》公演期間正好遇到921地震,大地震帶給台灣土地及人民難以承受的衝擊,光環舞集的舞者也受到極大的震撼。許多看過《斷層》的人都認為這支舞可以撫慰災民,而光環後來也真的把《斷層》帶到災區去巡演。
《Faults》Toured 9-21 Calamity Area 
“Faults,” the work which emerged in the year 2000, saw the removal of the reliance on the baby oil to enhance the beauty of the dance. The direction taken was to draw from what was originally there, including the unstable pulse of life, enabling Liou to turn to and draw from life’s raw energy. 
There were three parts in this dance. “Relations” highlighted the complicated nature of interpersonal relationships as well as the law and order coming out of such complications. Polish composer Henryk Gorecki’s “Symphony No. 3” was the music selected for this dance to achieve a kind of dragsaw effect between flesh and spirit. 
The second part “Buried in Dust” was a virtual walk through purgatorial or even hellish experience with a solo serving as foil to a dance duet, demonstrating a semblance of a dragsaw effect. Responding to Michael Nyman’s “MGV” with repetitive sound and the powerful rhythm of the fast music, dancers relentlessly shook their bodies, gnashed their teeth and cried out like animals. 
In the third part, “Faults,” after a brief calming down, the dancers appeared like cells breaking up and then forming new ones, engaging in a process of regrouping and then tearing apart. Estonian composer Avro Part’s music was used. 
The creation of “Faults” coincided with the happening of the highly destructive and tragic earthquake of September 21, 1999, in Taiwan. The natural calamity hit a region very hard. People, including the dancers, were badly shaken by the traumatic experience. Many who saw the dance were of the opinion that it would have a healing effect on the surviving victims of the disastrous earthquake. The Taipei Dance Circle eventually had the occasion to bring “Faults” to the worst-hit region of Taiwan

《流轉》表現道家禪宗身體觀 
《流轉》是光環舞集劉紹爐在2002年的作品,包含了<土>、<水>、<風>、<空>和<火>五個部分的舞碼。在舞作中,劉紹爐以他的靈感把握了道家禪宗的身體觀,重新用「嬰兒油上的現代舞」來表現身體覺醒的過程與萬物輝映的終局。萬物流轉,在流轉之中,物性自發漫衍,終於曼舞成萬物輝映的法界。《流轉》一舞表現了身體逐步自我覺醒而啟悟的過程。
這是劉紹爐首次遇上作曲家李泰祥,兩人創作激盪出的最新力作。光環選用了李泰祥《運行三篇》、《流》、《安靜在五月的懷柔裡》及《生民》第三部〈大腳印〉等段落組合為樂。整個演出在樂舞相融中,透著淡淡宗教味。
《流轉》是以「土、水、風、空、火」五元素變化出各種相容、相剋的舞台意象,舞者先將肉身、肌肉、骨骼幻化為既重又沉的<土>,接著以沖洗體內汙濁之氣,詮釋如血液般循環不息的<水>,<風>要呈現舞者如沐和風、手足飄然之感,另有以身體感知萬物生滅,在虛無間變化流轉的<空>,隨體溫升高進入恍惚之境,如祭儀中禮讚驅魔之舞的<火>。褪去輔助的道具布景,回歸單純的身體律動,李泰祥的音樂和劉紹爐的舞蹈在時空流轉間,融合為一。
“Flow” Highlighted the Taoist Zen View of the Human Body 
Liou Shaw-lu created “Flow” for the Taipei Dance Circle in 2002. He tried to apply a Taoist Zen interpretation of the workings of the human body to the dance. This time, the choreography was divided into five parts, namely “Earth,” “Water,” “Wind,” “Space” and “Fire.” Liou deemed it best to bring back his modern dance revolving around the use of baby oil to express the awakening of the human body. And so dancers with bodies slicked with baby oil returned to the slippery floor to execute choreographed moves. Forms flowed and their nature kept evolving to slowly reflect through dance the boundary of law. The dance “Flow” traced how the body went through self-awakening 
This was Liou Shaw-lu’s first collaboration with composer Lee Tai-hsiang. Lee’s ”Andante No. 3,” “Flow,” “Tranquility in the Bosom of May” for the dance. The entire performance had subtle religious undertone. The five natural elements of earth, water, wind, space and fire came to be suggested in different ways by the dancers. Each performer’s body, flesh and bone structure were first transformed into weighed-down “Earth.” Sweating, a process like continuing blood circulation, called to mind “Water.” A solo dancer listened to the sounds inside him, reflecting on something there and something not there in “Space.” Frenzied dancing ritual had temperature rising and passion building in “Fire.” With props and sets removed, the dance reverted to a show of simple and pure body forms moving to the rhythmic beat. Lee Tai-hsiang’s music and Liou Shaw-lu’s choreography connected to appear as one.

關懷生態的大地之舞《水域70% 
 《水域70%可以說是「生態舞蹈」,是苦難和歡樂的互為其體的大地之舞。水,自古被稱做是生命的起源、靈性的象徵,所以,人體和地球都70%由水組成,二者也因此而在生態的深層之中,融為一體。《水域70%》,以氣身心合一的舞蹈,探索人與地球深層融通的生態奧秘、歡愛和苦痛互為其體的弔詭,和生命超越的終極和平。
《水域70%》加入光環近年來嘗試探索的「肢體與聲音」,在完全沒有音樂伴奏下,舞者不僅要在抹了油的地板上舞動,還要以自己的聲音為配樂,將身與音做更深入的結合。劉紹爐說,人體內在70%是個水域,嬰兒油灑滿的舞台也像個波光粼粼的水域。舞者們在水域中追逐、躲閃、爭鬥、嬉戲、愛撫,呈現爭奇鬥艷、光怪陸離的景觀。整舞不敘事、中場不落幕休息,最特別的是整場均無配樂,結合燈光、舞台、服裝設計,企圖賦予「嬰兒油上的現代舞」一種新的面貌,傳達出一種不同以往的視覺感受。 
《水域70%》一舞有七段,從<潮生>、<網戲>的生命初萌,到<神形>和<澤鳴>的生命開展,經歷<雷雨>的洗滌罪孽和<輪迴吶喊>的返還修煉,最後是<和平之螺>,是向上盤旋的終極運動,在永恆和平之中,超越昇華。整支舞作呈現游魚、波浪、海蟲、暴風雨、急流沖刷等不同的水世界,搭配舞者們的聲音演出,是一場過癮的視覺與聽覺饗宴。
Ecological Concern Surfaced inBody Water 70% 
“Body Water 70%” could be described as dance about ecology. The dance about mother earth played out distress and joy. Water, long recognized as the source of life and symbol of the spiritual, constitutes 70% of the human body as well as the earth. Thus, it forms an essential and deep part of the ecology of nature. Using a combination of “breath, body and heart,” this dance probed the mystery and wonder of man and the earth. Joy and pain in life as suggested in the choreography culminated in a peaceful denouement.. 
“Body Water 70%” became an experiment in “body and sound” of the Taipei Dance Circle. This meant that dancers did not just cover their bodies with baby oil and get down to the oil-slicked floor to do choreographed moves but also emit human sounds to serve as music accompaniment during a performance. If the human body was 70% water, said Liou Shaw-lu, the shiny oil-covered floor seemed to be a watery realm. The chasing, the hiding, the struggling, the playing, and caressing gave rise to competitively dazzling outcome. At other times, strange-looking images emerged. This choreography did not follow a narrative. There was no intermission. The entire program had no musical accompaniment. Lighting, stage and costume design were the only inputs at this new development stage of the so-called “baby oil modern dance.” They contributed to the new visual experience for the audience. 
“Body Water 70%” had seven parts. “Rising Tide” and “Playful Web” caught nature springing to life. “Spiritual Configuration” and “Call of the Swamp” focused on the development of life. “Thunderstorm” sought to interpret the message of sin cleansing. “Reincarnation/Scream” saw discipline as important in the return to original goodness. Finally eternal calm returned with the “Nautilus of Peace.” Images like swimming fish, ocean waves, living marine life, thunderstorm, and sudden downpour, all associated with the water world, were created as dancers performed, accompanied by sounds of their own creation, to spring a feast for the eyes and the ears on the audience.

《朝聖者之夢》向希望出發 
相隔嬰兒油舞蹈創作的4年之後,劉紹爐於2008年創作《朝聖者之夢》,舞者們再次感受到身體的束縛與奔放。舞者倘佯在滑溜溜又香氣撲鼻的嬰兒油中,彼此推、拉、滾、滑、摔的動作已不能滿足,想藉由不同動作特質的個性,來訴說一個深層心靈的渴望。亦即抱著朝聖者的虔敬心,表達出繁華落盡後與悲憫的心靈,一遍遍去尋思生命的意義,面對唯一的目標或許辛苦孤單,但是通過一次又一次的各種障礙,眼前豁然開朗。
《朝聖者之夢》共分為五個舞碼:<暗夜>、<黑暗的光>、<晨祭>、<沙漠中的雨季>、<迷途>、<聖徒之吻>。舞作中從零的基本出發進入點、線、面和體的經驗,舞者們像種子般發芽然後茁壯,衝突、矛盾和扶持。在近日的各種喧鬧事件中,光環舞集想要透過新舞《朝聖者之夢》讓大家看見生活中的希望。劉紹爐指出透過《朝聖者之夢》傳達藝術家就像朝聖者,舞者的情緒像海浪似的高低起伏,將意念與身心連結,不管生活中如何崎嶇,只要每人盡力做自己,都將看見生活中的希望。
《Pilgrims’ Dream Set Out With Hope  
Four years after his choreography of his baby oil modern dance, Liou Shaw-lu created “Pilgrims’ Dream” in 2008. The dancers experienced their bodies subjected to restraint and then release. Dancers sought to try something different and deeper to express profound spiritual craving than just by pushing, pulling, rolling, sliding and stumbling on a floor made slippery and fragrant by baby oil. With reverence, the pilgrims searched for and reflected on the meaning of life and this was after being exhausted by exposure to ostentatious prosperity. A difficult loneliness fell on them. But after dealing with all kinds of obstacles, they ended up with open hearts and minds. 
“Pilgrims’ Dream” had five parts: “Dark Night,” “Light in the Dark,” “Morning Ritual,” “Rainy Season in the Desert,” “Getting Lost” and “Holy One’s Kiss.” The dance experience set out from zero then to point, line, face and body. Performers were like seeds sprouting and growing to be healthy and strong. Then came conflict and contradiction and finally support. 
Through it all, the Taipei Dance Circle aspired to let everyone see hope in life through “Pilgrims’ Dream.” Liou Shaw-lu reminded the public that artists were like pilgrims and dancers went through emotional highs and lows. Their experiences were similar to the rising and ebbing ocean waves. Doing the best possible in life was bound to lead to hope regardless of how rugged the road taken was. 

 【嬰兒油上的現代舞蹈】系列  Modern Dance Series Using Baby Oil 

NO.1

1993

大地漫遊
Dance Over the Universe

NO.2

1994

奧林匹克
Olympics

NO.3

1995

舞田
Dance Field

NO.4

1997

油畫
Oil Painting

NO.5

1998

草履蟲之歌
Ode to a Paramecium

NO.6

1999

黑潮
Black Tide

NO.7

2000

斷層
Faults

NO.8

2002

流轉
Flow

NO.9

2004

水域70
Body Water 70%

NO.10

2008

朝聖者之夢
Pilgrims’ Dream

 


2001~迄今  觀音聽舞
《肢體延伸》到《身音書寫》 
劉紹爐以「嬰兒油上的現代舞」獨樹一幟的表演風格,在舞壇打響了知名度;跨入廿一世紀,劉紹爐嘗試一項嶄新的實驗《肢體延伸》,讓舞者身上綁著金屬或塑膠管,延伸肢體線條,在垂直、彎曲的線型中展現舞作,強調用視覺與心靈來感受身體線條的流動,劉紹爐要求舞者掌握身體內在自發性的節奏旋律,並用人聲傳達能量。這也是劉紹爐在「氣身心合一」的理念下,另一舞作系列「觀音聽舞」的開始。
《身音書寫》為「觀音聽舞」系列的第二部作品,舞作在探索舞者自發聲音與動作合一,然後牽引出身體內在原始的能量。一開始,舞者敏銳感覺其體內氣的流動,通過喉嚨,自然發聲,調和聲音與動作成一氣,始於個人,進而二三成群或合唱,舞者們依靠團隊的氣場,彼此支撐與互動對答。
用眼睛看到旋律,用耳朵聽到聲音的形狀為「觀音聽舞」系列舞作的創作理念,《肢體延伸》為強調肢體延伸的舞作,而《身音書寫》為探索聲音與動作合一的嘗試。《身音書寫》完全不播放任何預錄的配樂或現場樂器伴奏,整個演出過程中,舞者自發聲音,此種聲音乃源於身體的律動,有別於音樂家的聲樂。 
全舞共有四段:第一段以簡單太極原理的慢板開始,以流動的三拍子作結尾。第二段以慢板的三人舞及伴唱歌隊開始,至中段時,帶出快速震動的節奏。第三段以爬行及半蹲動作配以聲音來發展變化。第四段以沉重的三人舞開始,接著是觀音菩薩滅業障真言的藏密版,引出布農族的八部音合唱,最後以快速旋轉直到舞蹈結束。幾近全裸的舞者,閃亮的肌理牽引出內在最底層的律動,再次呈現光環舞集特殊的肢體風格。
2001 to Present: Sight and Sound--
From 《Sight and Sound – Exercise One》 to 《Sight and Sound – Exercise Two》 

Liou Shaw-lu made a name for himself in the field of dance by coming up with the unique modern dance using baby oil. Moving into the 21st century, he experimented with “Sight and Sound – Exercise One.” He tied metal or plastic tubes to his dancers to extend their perpendicular and curving body lines, enhancing visual feeling of linear movement. Liou urged his dancers to listen to their inner body rhythms and sounds as well as to use their voices to show their energy. Liou fell back on the concept of “breath, body and heart,” starting his “Sight and Sound” series. 
“Sight and Sound – Exercise Two” followed. This work explored how the dancers could emit sounds while they were busy breathing and engaged in body moves. Such exercise induced raw energy to surface. In the beginning, the dancers felt the air inside their bodies moving, passing through their throats and naturally generating sounds. Sounds blended with the physical moves individually at first. Two and then three dancers banded together to sing and dance within an interactive group. 
Using the eyes to see the melody and relying on the ears to hear the form of the .sound became the concept behind the “Sight and Sound” dance series. “Sight and Sound – Exercise One” was a dance with emphasis on the extension of the body. “Sight and Sound – Exercise Two” was an experiment on sound and body coming together. The second exercise did away completely with music accompaniment, whether taped or live. Throughout the performance, the dancers produced sounds triggered naturally by body motions. These were quite different from the singing of vocalists. 
The choreography was made up of four parts. The first part began very slow basically “tai chi” moves, ending with three-beat dance. Three singing dancers began very slow, proceeding this way until midway in the second part. The rhythm then changed to fast vibration. The performance then changed and developed with dancers crawling and half-squatting in the third part. Sounds coming from the dancers served as music accompaniment. The heavy fourth part was inspired by Tibetan Buddhism. It brought in the eight-tone singing of the Bunun aboriginal tribe. This portion concluded with rapid spinning. The dancers who as usual had to dress down to the minimum bared flesh rhythmically moving to highlight the characteristic style of the Taipei Dance Circle. 

一點也不平板的《流轉》

《流轉》是光環舞集劉紹爐在2002年的作品,包含了<土>、<水>、<風>、<空>和<火>五個部分的舞碼。在舞作中,劉紹爐以他的靈感把握了道家禪宗的身體觀,重新用「嬰兒油上的現代舞」來表現身體覺醒的過程與萬物輝映的終局。萬物流轉,在流轉之中,物性自發漫衍,終於曼舞成萬物輝映的法界。《流轉》一舞表現了身體逐步自我覺醒而啟悟的過程。
這是劉紹爐首次遇上作曲家李泰祥,兩人創作激盪出的最新力作。光環選用了李泰祥《運行三篇》、《流》、《安靜在五月的懷柔裡》及《生民》第三部〈大腳印〉等段落組合為樂。整個演出在樂舞相融中,透著淡淡宗教味。
《流轉》是以「土、水、風、空、火」五元素變化出各種相容、相剋的舞台意象,舞者先將肉身、肌肉、骨骼幻化為既重又沉的<土>,接著以沖洗體內汙濁之氣,詮釋如血液般循環不息的<水>,<風>要呈現舞者如沐和風、手足飄然之感,另有以身體感知萬物生滅,在虛無間變化流轉的<空>,隨體溫升高進入恍惚之境,如祭儀中禮讚驅魔之舞的<火>。褪去輔助的道具布景,回歸單純的身體律動,李泰祥的音樂和劉紹爐的舞蹈在時空流轉間,融合為一。 
《平板》主要以「身體唱歌」的方式入舞。由於劉紹爐是典型客家農村子弟,對於幼時農家樂天知命的律動,以及離開農村後漂泊在外的心境,非常熟悉。選擇客家題材,劉紹爐指出,「平板」是客家歌調裡最自由的一種,為了演出,他還參考客家山歌及原住民有音無字的歌唱方式,要讓「身體作為樂器而舞動」。
這是一齣回溯客家先民開山打林之團結奮鬥精神的舞作,舞台上架了兩座梯子,製造不同片段的裝置效果,舞者藉由高低不同的階梯發出相異的聲音。除了<協力同心>外,其他皆以兩座梯子及管筒作為佈景、道具貫穿整齣舞蹈,隱喻先民開墾的場域。梯子有時是象徵山的斜坡、橋墩、隘口或祭壇,管筒則是象徵扁擔、拐杖(<人生>)、氣場或畫框似的造型(<搭橋>)、防衛武器、聲音變化的擊樂或法器(<逐疫>)。 
有別於《身音書寫》完全由舞者發聲而不加任何配樂,《平板》由李子聲作曲,另有七名外聘、由音樂及戲劇界演員組成的「身音工作者」加入舞台,藉此與舞者激盪火光。
“Pingban or Moderato” Proved Far from Flat and Boring 
“Pingban or Moderato” was a dance which incorporated “body sound.” Liou Shaw-lu was a son of a typical farming family in the Hakka countryside. He grew to have fond memories of a happy childhood. After leaving home, he grew to be very familiar with the feelings of a wanderer. Of his decision to draw his choreographic theme from Hakka culture, Liou explained that the Hakka chant known as “pingban” could be described as the most free. He even had to do research on “shan ko tzu” or Hakka yodel song and the aboriginal way of singing without lyrics, constantly focusing on “turning the body into a musical instrument through movement” in his choreography. 
The dance drew inspiration from the persevering spirit of the early Hakka settlers of the mountain areas. Props which were built to look like two stairs could be moved around to create different views, suggesting a highland landscape, a bridge, a mountain pass, or even a sacrificial altar. Dancers perched on different levels emitted different sounds. Poles were also used throughout to tell the story of the pioneering settlers of the remote highland. The sticks suggested shoulder poles or protective canes.in the portion called “Life.” The breathing exercise and the building of a frame were incorporated into the “Bridging of the Divide.” Defense weapons and changing human sounds belonged to the part called “Chasing Evil.” 
“Sight and Sound – Exercise Two” relied completely on the dancers’ voices for music accompaniment. But composer Lee Tzy-sheng composed the music for “Pingban or Moderato.” In addition, seven performers from the fields of music and theater formed a group and contributed their body voices to the dance presentation.  

揉合客家精神的《滿山趖》
《滿山趖》為劉紹爐2005年編作,揉合客家傳統文化精神與現代舞語彙,以邊跳舞邊唱歌的方式編創而成。「滿山趖」的意思為東勢客家山歌即興的一種曲式,隨意隨興、不按照節拍演唱的散板形式,為了表達舞蹈的編作方式,也是採取即興方式完成,就以此意象為舞名。
整個作品隱喻客家族群樂天知命的一面,舞蹈編作以結合民俗與現代的方向來編創,音樂歌曲方面是參考客家山歌各種曲調、二旦一丑的山腳採茶戲等。服裝由國內知名服裝設計家徐秋宜參考傳統客家服裝所設計製作。《滿山趖》是劉紹爐創新客家文化藝術的表演形式。
Consolidating Hakka Spirit in “Meandering Over the Mountain” 
Liou Shaw-lu created “Meandering Over the Mountain” in 2005. He sought to bring together the spirit of the Hakka traditional culture and the language of modern dance. This meant adopting the song-and-dance style of choreography. A loose, unrestricted style largely dictated by improvisation resulted in the work with a descriptive title. 
The piece showed the Hakka people’s contentment with their life. The dance had been created, using both folk and modern approaches. The music had suggestions of the “shan ko tzu” or Hakka yodel song. Even the influence of Hakka tea-picking drama was indicated. Hsu Chiu-yi, a well-known wardrobe designer, turned to the traditional Hakka outfit for ideas. “Meandering Over the Mountain” could be regarded as Liou Shaw-lu’s innovative dance expression of Hakka culture and art.  

幻想、驚異、詭譎的《人物語》 

舞台上幻化多變的奇異生物,到底是人?還是物?
光環舞集2007舞作《人物語》是劉紹爐以實驗的精神,以「人」靈活的肢體與呼吸脈動,輕鬆又幽默地與伸縮自如的「物」──海綿墊合為一體。幻想、驚異、詭譎,再一次衝擊觀眾的想像,可以說是劉紹爐舞道的另一絕佳創意作品。舞團特邀日本當代新銳作曲家原田敬子作曲,劉紹爐適切地加入一些動作與聲音的統合段落,譜成整齣舞作。
《人物語》舞碼分為八段:<序曲>、<新生>、<探尋>、<幽谷>、<嬉戲>、<浪潮>、<騷動>、<終局>等。整齣舞對於「異化」的反思,間以幻想、誇張、詼諧、詭譎、弔詭的方式加以表現,一個人可以化物、物可以化人的壓力和動感。舞作很敏感地反應出物化的人之處境,這是劉紹爐對我們的時代與世界,既天真又生動的一瞥。
“Of Man and Object” Packed Fantasy, Amazement, Tricky Change 
Was the illusory and constantly changing creature on the stage a man or an object? 
Liou Shaw-lu went experimental in his 2007 piece of choreography titled “Of Man and Object” He depicted “man” through the nimble body and pulsating breath. His “object” stretched and contracted, using sponge cushion in a light and humorous manner. Fantasy, amazement and tricky change played out on the spectators, reinforcing Liou’s dance creativity.. The dance company invited young contemporary Japanese composer Keiko Harada to write the music for the dance. Liou added a segment using only body sounds and moves to complete the choreography. 
“Of Man and Object” had eight parts: “Prologue,” “Rebirth,” “Search,” “Valley,” “Disport,” “Wave,” “Agitation,” and “Finale.” The work played on the mind. Fantasy, exaggeration, humor, and tricky change were all thrown in. A man could become an object and an object could change into a man. The processes were handled by Liou with sensitivity to the times and the present-day world. 

《山歌踏舞》巡迴客家庄 

劉紹爐認為,跳舞時,舞者的身體與心通常是分開的,唯有透過呼吸才可以結合,展現出肢體的深度,然後舞者再加入自己的聲音為元素,探索出身體與聲音的關係。
若運用到客家山歌的現代舞蹈上,由於客家山歌多是在工作時創作出來的,在爬坡挑擔、施力工作中唱出來的歌,就必須要靠丹田,也因為工作中的呼吸、走路中的呼吸、挑擔的呼吸,各有所不同,需要用氣來啟動,丹田就啟動了聲音和動作,讓歌曲中的呼吸有了輕與重,和力度上的變化,旋律節奏自然而出,這正是劉紹爐現代客家舞蹈的最精華之處。
2006年榮獲客家終身貢獻獎的劉紹爐,曾帶領著光環舞集以客家舞作《山歌踏舞》巡迴桃竹苗的客家庄演出。舞者除了邊跳邊唱外,在每一個動作之中,還要回返身體內在的氣感,靈感地自在吟揉出身體內發的聲音。這樣的「氣、身、心」的三位一體,要化為舞蹈的具體藝術表現,困難度可想而知。
“Dancing to Mountain Songs” Toured Hakka Communities 
Liou Shaw-lu observed that a dancer’s body and heart could come together only through breathing. Thus could the dancer show depth of body language. If the person could add the element of voice, then the exploration of the relation between body and sound could take place. 
Hakka yodel songs were born while the Hakka people were hard at work, while going up a slope and carrying a load on a pole. Reliance on the lower part of the abdomen and on breathing while at work became obvious. But different physical exertions called for breathing with difference. Walking long distance, for example, called for different breathing from that required while carrying a heavy load on the shoulder. The breathing affected the lower part of the abdomen. Awareness of the process gave birth to Liou’s dance development. Body sounds and moves ranging from light to heavy, depending on the strength of force, were tapped. Melodic rhythm just came naturally. In fact, this emerged the most colorful aspect of his choreography. 
Liou Shaw-lu received the Hakka Lifetime Achievement Award in 2006. Liou then brought the Taipei Dance Circle and “Dancing to Mountain Songs” to the Hakka communities in Taoyuan, Hsinchu and MiaoliCounties. The dancers had to dance and sing. Every move entailed breathing and release of body sounds. Demonstrating the principle combining “breath, body and heart” remained quite a challenge to the dancers.

25週年《無言2009》省思生態環境
「不以言語來表透我的態度,用我身體來呈現脫俗、空寂、古拙,但又時而透露出瀟灑、風流而活潑的肢體氣息。」這是劉紹爐對光環25週年新作《無言2009》的詮釋。
《無言2009》是光環舞集2009年的新作,不用任何介面只在舞與音之間游走,單純的只是肢體舞動穿梭在現代音符之中,表達素雅輕鬆的一面,無拘自在的樣態。如果說2008年的《朝聖者之夢》是代表劉紹爐對生態危機的省思,藉舞表達危機之中的恐懼、掙扎與希望、喜悅重生之夢境。那麼,承接著《朝聖者之夢》的《無言2009》,便是在大夢之後的無言省悟,不再是夢境,也是生態危機的恐懼掙扎與重新創世的見證。在莫拉克颱風造成八八水災、土石流等台灣重大自然災害的此時,《無言2009》的這些演出格外具有意義。
《無言2009》包含九個片段:<初始之歌>、<冰天雪地>、<穿越死谷>、<冰山崩裂>、<交涉向上>、<空中廻向>、<微妙共振>、<重新創世>、<聖言無言>。此次光環與作曲家盧炎、曾毓忠、李子聲合作,以大提琴、低音提琴、鋼琴及電子音樂所譜成的現代樂曲,搭配獨舞、雙人舞、三人舞、四人舞等形式,呈現出意象豐富而意涵深遠的舞蹈。
25th Anniversary Offering “Silent Dance” Deals With Ecology 
Without turning to verbal language, this dance tried to use the body to convey absence of vulgarity, emptiness, and clumsiness, but at the same time show dashing refinement, amorousness and vivacity, pointed out Liou Shaw-lu in describing “Silent Dance.” 
“Silent Dance” is the new work created in 2009 for the Taipei Dance Circle. It focuses on dance and sound. The body moves carried out with modern music tend to bgive elegant and light impression. If “Pilgrims’ Dream” in 2008 represented Liou Shaw-lu’s reflection on ecological threat and his way of expressing his fear, agony and hope through dance, “Silent Dance” reinforces his great ecological fear articulated without words. Floods and mudslides brought by typhoon Morakot attest to this. “Silent Dance” becomes very significant at this point. 
“Silent Dance” is divided into nine segments: “Song of the Beginning,” “Of Ice and Snow,” “Going Through Death Valley,” “Glacier Breaks Up,” “Taking Up Matter With Authorities,” “Circling Direction,” “Delicate Resonance,” “Earth’s Renewal” and “Wordless Holy Message.” The Taipei Dance Circle seeks the collaboration of composers Ly Yen, Tseng Yuh-chung and Lee Tzy-sheng, using cello, bass, piano and electronic music to accompany solo, duo, trio and quartet dances. The choreography is rich in imagery and deep in meaning.

【觀音聽舞】系列作品     Works in the 《Sight and Sound》Series

NO.1

2001

肢體延伸
Sight and Sound  Exercise One

NO.2

2002

身音書寫
Sight and Sound  Exercise Two

NO.3

2003

平板
Pingban or Moderato

NO.4

2004

滿山趖
Meandering Over the Mountain

NO.5

2005

人物語
Of Man and Object 

NO.6

2006

山歌踏舞
Dancing to Mountain Songs

NO.7

2007

無言2009
Silent Dance


         1993~2008 作品 

1993

《大地漫游》 Dance over the Universe

1994

《奧林匹克》 Olympics

1995

《舞田》 Dance Field

1996

《框架》 Framework

 

《移植》Transplantation

1997

《油畫》 Oil painting 

1998

《草履蟲之歌》 Ode to a Paramecium 

1999

《黑潮》 Black Tide    

2000

《斷層》 Faults 

2001

《神曲2001 Divine Comedy 2001

 

《肢體延伸》 Sight and Sound - Exercise One

2002

《流轉》 Flow

 

《身音書寫》 Sight and Sound - Exercise Two

2003

《平板》 Pingban or Moderato  

2004

《水域70%Body Water

 

「光環20‧精華再現」20th Anniversary Retrospective of the Taipei Dance Circle

2005

《水際》Waterside

 

《滿山趖》Meandering Over the Mountain

2006

《奧林匹克》 (新版) Olympics

2007

《人物語》Of Man and Object

2007

《山歌踏舞》Dancing to Mountain Songs

2008

《朝聖者之夢》Pilgrims’ Dream

2009

《無言2009Silent Dance

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