2023人權藝術生活節
The 2023 Human Rights Festival
漫遊式劇場 《不易遺忘的聲音們》
Audio Walk Indelible Stories
《&我一起移動的瞬間》世世篇｜張踖米、吳怡瑱
& I, the Moments of Being Dis-Stance Together –Generations Chapter｜Jimi ZHANG, WU Yi-Chen
基本資訊Information
- 日期｜12/2, Sat.～12/10, Sun. （週一休館Closed on Mondays）
＊開放時間內可至現場體驗節目內容 - 建議最後入場時間｜16:00
- 節目時長 ｜節目長度約90分鐘（線上場景約30分鐘+實境場景約60分鐘），實際體驗時間會依個人操作狀態與步行速度而有落差。
- 起點｜白色恐怖景美紀念園區
- Date｜12/2, Sat.～12/10, Sun. （Closed on Mondays）
- Opening Hours｜09:00～17:00
- Recommended Last Entry Time｜16:00
- Starting Point｜Jing-Mei White Terror Memorial Park
- The program length is approximately 90 minutes (around 30 minutes for the online scenes and about 60 minutes for the real-life scenes). The actual experience time may vary based on individual operating conditions and walking speed.
《不易遺忘的聲音們》策展理念Indelible Stories Curatorial Concept
聲音，作為人類五感之一，既可以造成時間性，也可以產生空間。然而曾經在不義遺址所發生的事件已經過去，但是卻透過人們的口傳、書寫而留了下來，那些被迫遺忘卻不易遺忘的，像是一根根髮絲，漂在記憶的湖面上。本計畫嘗試每年將部分不義遺址以地景音場的方式呈現，讓觀眾透過手機下載節目，自行到現場體驗，以聲音作為凝視的方式，並聆聽創作者對該遺址的過去再思考。今年推出的兩個作品分別為《&我一起移動的瞬間》世世篇、《不義而非》。本計畫期望每年都可新增至少一個以上的遺址作品並慢慢累積，直到這些聲音都被聽見、記得。
Sound, as one of the five human senses, can create both time and space. This project attempts to use the method of landscape sound field to bring the events that happened at the Injustice Site and have been preserved through people’s oral transmission and writing through mobile phones as a carrier to allow the audience to experience it live, allowing those who have been forced to forget but have What is not easy to forget is like a strand of hair floating on the lake of memory.
This project attempts to present some unjust sites every year in the form of landscape soundstages, allowing the audience to download the program on their mobile phones, experience the site on their own, use sound as a way of gazing, and listen to the creator's rethinking of the site's past. . The two works released this year are "《& I, the Moments of being Dis-Stance Together — Generations Chapter》" and "Unjust". This project hopes to add at least one more work every year, gradually accumulating these voices until they are heard and remembered by all
本劇場Burn theatre
前身為梗劇場，曾製作過一演員一觀眾的作品，也曾策展製作過100個節目的展節，擅長以顛覆及不合常規的創意，且打破制式劇場空間，試圖發掘表演藝術的無限可能。2021年正式改名為本劇場，並開始以手機創作平台Chito趣淘製作各類非劇場空間的演出，企圖在疫情下重新定義劇場演出，回到劇場之本。
Formerly known as Geng Theater, it has produced works with one actor and one audience, and has curated and produced 100 program exhibitions. It excels in using subversive and unconventional creativity, breaking the standard theater space, and trying to explore the infinite possibilities of performing arts. In 2021, the theater was officially renamed and began to use the mobile creation platform Chito to produce performances in various non-theatre spaces in an attempt to redefine theater performances and return to the essence of theater during the epidemic
策展人|張踖米 Curator｜Jimi ZHANG
劇場工作者，時而書寫文字，1994年開始從事劇場演出以及創作至今。除了一般表演形式外，自2008年開始嘗試接觸創作各類觀演關係的演出活動，以及在各類非典型空間演出，近年開始接觸手機形式的劇場演出，試圖探索劇場演出的多元可能性。現為本劇場負責人、臺北市藝術創作者職業工會(Artcreator)副理事長、小劇場學校(Little Theatre School)課程師資。
Jimi ZHANG has been involved in theater performance and creation since 1994. He has been trying to create various kinds of performance activities with audience relationships since 2008, as well as performing in various kinds of atypical spaces.In recent years, He have begun to engage in mobile phone-based theater performances, trying to explore the diverse possibilities of theater performances. He is currently the person in charge of the theater, the vice chairman of the Taipei Art Creators Union (Art Creator), and a course teacher at the Little Theater School.
《&我一起移動的瞬間》世世篇 節目介紹
& I, the Moments of Being Dis-Stance Together –Generations Chapter
「一個線上手遊壞了，你得到現場才能修復。」想像過「轉世重生」是於此生就可擁有跨越個體的一生嗎？藉由從線上的彼方至自身近處的不斷移動，我們得以在持續重新定位和等待之中往前趨近，一起到達一個實際的歷史地點，一起共構歷史檔案的時空跨距。我們的日常正與科技媒介相互校準，使得開關視窗的彈指之間等同於選擇揉合自身和其他個體的人生。前世的存檔不等於已結束的生命，而是顯現出人類作為生物的不完整狀態。轉世重生去過不同的人生，正是為了讓我們缺失的部分身體，得以在新的一世中有機會生長出來，引領我們分流參雜了自身和他人之記憶的外掛、外衍、外蔽。
An online mobile game is broken, you need to be on-site to fix it. Imagine “reincarnation" as the ability to span across individual lifetimes within the same lifetime. By continuously moving from the online realm to the physical world around us, we can approach a shared historical location while co-constructing a temporal and spatial span of history through ongoing repositioning and waiting. Our daily lives are currently calibrated in harmony with technology, making the act of opening and closing windows equivalent to choosing to blend one's own life with the lives of others. The archives of past lives do not signify the end of a life but rather reveal the incomplete state of human beings as biological entities. Reincarnation into different lifetimes is an opportunity for the missing parts of ourselves to grow in a new era, guiding us through the integration of our own and others' memories, extensions, and concealments.
創作者｜張踖米. Artist｜Jimi ZHANG
劇場工作者，時而書寫文字，1994年開始從事劇場演出以及創作至今。除了一般表演形式外，自2008年開始嘗試接觸創作各類觀演關係的演出活動，以及在各類非典型空間演出，近年開始接觸手機形式的劇場演出，試圖探索劇場演出的多元可能性。現為本劇場負責人、臺北市藝術創作者職業工會(Artcreator)副理事長、小劇場學校(Little Theatre School)課程師資。
Jimi Zhang has been involved in theater performance and creation since 1994. He has been trying to create various kinds of performance activities with audience relationships since 2008, as well as performing in various kinds of atypical spaces.In recent years, He have begun to engage in mobile phone-based theater performances, trying to explore the diverse possibilities of theater performances. He is currently the person in charge of the theater, the vice chairman of the Taipei Art Creators Union (Art Creator), and a course teacher at the Little Theater School
創作者 吳怡瑱 Artist｜WU Yi-Chen
為國立中山大學劇場藝術學系專任助理教授。獲英國University of Exeter戲劇哲學博士，英國Laban Centre, London劇場設計碩士。關注如何透過劇場設計來探究實踐研究（Practice as Research）方法，並熱衷於考察中間中介型態的空間所蘊含的劇場與表演設計之可能性。擔任劇場與表演設計的表演藝術作品榮獲第5屆與第16屆台新藝術獎年度作品入圍、2022兩廳院新點子實驗場獲選節目、2017牯嶺街小劇場年度節目首獎、獲邀參展PQ’07布拉格劇場設計四年展-國家館。著有專書《能動閾所的實踐研究：以劇場服裝設計為例》（2023）。劇場/表演設計與多媒體研究的學術論文已發表於歐洲、美洲、亞洲。
Wu Yi-Chen is an assistant professor in the Department of Theater Arts at National Sun Yat-sen University, Taiwan. She earned her PhD in Drama from the University of Exeter, UK, in 2016. In 2002, with an honour of distinction, she graduated from Laban, where she specialized in scenography in dance. Her design and research interests focus on Practice as Research in Scenography and the potential of theatre and performance design for the “space in-between''. Works featuring her theatre and performance design have been nominated for the 5th and 16th Taishin Arts Awards. They have also been recognized as major award winners of the National Theater and Concert Hall Ideas Lab 2022 and the Gulin Street Avant-garde Theatre 2017 Best Programme. Additionally, her design was showcased in the Prague Quadrennial of Performance Design and Space 2007-Taiwan Exhibition. She is the author of Practice as Research in Agency Liminality (2023). Her research papers have been published in Europe, America, and Asia.
策展人｜張踖米
創作者｜張踖米、吳怡瑱
文本｜鄭智源
聲音演員｜林文尹、李沛恩、蔣韜
動畫製作｜沈培恩
執行製作｜蔡義權
視覺設計｜陳瑞秋
聲音統籌｜蔣韜
專案製作｜楊喆甯
其他說明Note
- Chito使用說明注意事項
本系列節目需自備耳機與2017年後出品的手機，為求節目體驗順暢，建議預留手機空間300M以上參與本節目需於手機下載APP，演出結束即可刪除。
Please bring your own headphones and a mobile phone manufactured after 2017 with at least 300MB of available storage for a seamless program experience. You can delete the app after the program concludes.
- 節目時長｜節目長度約90分鐘（線上場景約30分鐘+實境場景約60分鐘），實際體驗時間會依個人操作狀態與步行速度而有落差。
The program length is approximately 90 minutes (around 30 minutes for the online scenes and about 60 minutes for the real-life scenes). The actual experience time may vary based on individual operating conditions and walking speed.