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臺北藝術節 Taipei Arts Festiva｜時間博物館 Embodying Theirstories
08/20 @ 8:00 上午 - 09/08 @ 5:00 下午
邁入第廿六屆的臺北藝術節於八月二日至九月八日登場，今年的主題為「時間博物館」，包括十檔售票、一檔免費節目、二場免費駐地研究分享，共計四十場次的演出，參演藝術家來自日本、法國、比利時、泰國、臺灣，從不同角度、以不同形式，展現看待及處理歷史的多元角度。
在時間博物館，「劇場史」可以是透過劇場重述歷史，如黎煥雄與吳子敬的跨世代合作，重塑1987年臺灣小劇場運動的代表作品《闖入者》；金枝演社劇團《西來庵》與同黨劇團《父親母親》，在政局變異中召喚身分認同，再探台灣人權歷程。
除了集體記憶，「劇場史」也可以是個人生命經驗的再回溯，維帢亞．阿塔瑪（Wichaya Artamat）《曼谷公寓》用雙視角探尋泰國社會文化的另一面；即將擺脫少女身分的蘇品文，一頭鑽進剩女經濟學，企圖透過與法國國家舞蹈中心（Centre National de la Danse）共製之作品《剩女經濟》對厭女社會展開大逆襲；米耶・沃洛普（Miet Warlop）《一路到底》的瘋狂演奏，回應的是每個人生命中都會經歷過的巨大失去。前法國國家舞蹈中心藝術總監瑪蒂德・莫尼葉（Mathilde Monnier）的《黑暗之光》，企圖說服我們，身上的傷痕，其實是復原與重生的起點。
「劇場史」還可以是架空歷史，如馮莎．夏紐（François Chaignaud）與麿赤兒（Akaji Maro）的《黃金雨》，揉合神話帶來一場超越年齡、性別的無邊界探索。四把椅子劇團《太陽》在架空的疫後世界，準確預言人性的光明與黑暗。
當藝術家與我們共同在劇場創造了歷史上的某個時刻，其實都在書寫劇場史的篇章，而所有的歷史都是當代史，無論是「重述」歷史、經驗的「再」回溯、「架空」的歷史，這些說故事的方式，都是臺灣當代劇場的重要時刻。
The 26th Taipei Arts Festival is set to take place from August 2 to September 8. This year’s theme, “Embodying Theirstories”, features ten ticketed performances, one free program, and two free residency research presentations, totaling 40 performances. Artists from Japan, France, Belgium, Thailand, and Taiwan will participate, showcasing diverse perspectives on history through various forms and approaches.
In the Museum of Time, “Theater History” can be a retelling of history through the stage, such as the intergenerational collaboration between Li Huan-xiong and Wu Tzu-ching, which recreates the 1987 representative work of Taiwan’s small theater movement, The Intruder. The Golden Bough Theatre’s Xilai’an and Same Party Theatre’s Father Mother explore identity and revisit Taiwan’s human rights journey amidst political changes.
Beyond collective memory, “Theater History” can also be a retrospective of personal life experiences. Wichaya Artamat’s Bangkok Apartment offers a dual perspective on Thai social and cultural issues, while Su Pin-wen, on the verge of leaving her girlhood behind, dives into the economics of “leftover women” with her work The Leftover Woman’s Economy, co-produced with the Centre National de la Danse, launching a fierce counterattack against a misogynistic society. Miet Warlop’s One Song is a frenzied performance responding to the profound losses everyone experiences in life. Former artistic director of the Centre National de la Danse, Mathilde Monnier, in A Light in the Dark, attempts to convince us that our scars are actually the starting point of recovery and rebirth.
“Theater History” can also involve an alternate history, such as François Chaignaud and Akaji Maro’s Gold Shower, which blends myth to create a boundless exploration beyond age and gender. Four Chairs Theatre’s Sun accurately predicts the light and darkness of human nature in a post-pandemic world.
When artists create a moment in history with us in the theater, they are writing a chapter in the history of theater, and all history is contemporary history. Whether it’s the “retelling” of history, the “re” exploration of experiences, or the “alternate” history, these storytelling methods represent significant moments in Taiwan’s contemporary theater.
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