
我想跟你聊在黑盒子劇場以外,我們看到的世界。
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| Issues | 167 | Subscribers | Read | theblackdog.tw |
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小脉放學回家,看到她臉上、手上腳上東一點西一點的擦傷,褲子上更是到處小污漬。一問之下,才知道她在學校常和男生們「打架」。
昨晚睡前,子玲跑來給我看一個 YouTube 影片:眼肉芽的「燒CD是古老的儀式」。影片中的節目主持人認真的說:「以前的人真的會為了喜歡的人搞巫術儀式?其實燒CD的儀式,可以追朔到煉金術,也就是利用火的能量,在光碟上燒錄出紋理⋯⋯」我們兩人看了影片,笑呀笑的,然後突然對彼此說:「我們是不是真的老了?」
去年7月跟著金山高中原民專班到七腳川部落田調後(請閱烏犬排練間第126期),我們用一年的時間帶著高三畢業生們創作,這作品即將在五月底演出了!
今年的兒童節,即將八歲的小脉給我們出了一個題目。
The writers behind this newsletter.
輔現任「烏犬劇場」團長/編劇/武術指導。 武術師承長洪武術陳江山教練與台大武學謝君韜教練,擅長北拳、南拳、太極拳,並對拳擊與巴西柔術等近代格鬥運動有深入的研究。劇場的編劇創作風格,擅長以荒謬、看似離題卻冷血的黑色幽默,來刻畫隱藏現實社會底下各種矛盾與離奇的現象;在身體美學的面向,自2018年起開始注入武術鍛鍊進到烏犬劇場的表演體系,在傳統與現代武術之間找尋表演者在舞台上的「立足」之地。
輔仁大學心理系畢業,現任「烏犬劇場」藝術總監/導演。 演出超過40部戲劇或舞蹈作品、執導10餘部劇場作品的彭子玲,本身具有扎實的心理學訓練背景與豐富多元的劇場跨界經驗。 在劇場創作中,擅長刻畫人在社會結構裡的被擠壓的精神狀態,並刻畫兩者(人與社會)之間如何相互影響的關係。其作品風格以精煉的身體語言、濃縮現實元素的舞台行動框架,來建構能並存「超現實」與「心理寫實」的劇場美學。
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