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Amazing Beasts & Botanicals 神木灵兽

26 - 27 July 2024 | 8:00pm - 9:00pm | Singapore Chinese Cultural Centre 
Auditorium, Level 9新加坡华族文化中心表演厅,九楼

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BACKGROUND

When the Sanxingdui ruins (translated as three-star mound 三星堆) was first excavated in Sichuan China, it literally rocked the world!   Some of the bronze masks and figures, bearing bulging eyes and huge ears, resembled more like outer space aliens than the traditional aesthetics of the han (汉) Chinese artefacts.  

 

The making of AMAZING BEASTS & BOTANICALS by The Arts Fission Company is pretty much like picking up archaeological fragments and piecing them together in a jigsaw puzzle.  Many of the scenes in the performance are served up in broken parts with abrupt beginnings and endings.  The intentional scrambling of parts is much like the remnants of ancient ruins.  

 

The performance does not provide a linear story but opts to create heightened sense of theatre from the artefacts with mysterious origin.   Hence the stunning bronze statues of the man-face with bird-body, the regal standing tall man, plus the sky-high Tree-of-Life and the delicate sacred bronze tree have all become compelling theatre making material for the creative team.   

 

 

SETTING THE STAGE

The stage design presents the tri-level relationships of heaven/man/earth – an important Chinese metaphysical concept since ancient time.  Four mandala brackets on stage also marked the reference of the Sanxingdui ruins which was once a walled city.   

 

In the performance, dancers and musicians are the contemporary intruders who stumbled into the realm of amazing bestial encounters. Banal as well as enigmatic episodes of sound and movement expressions collide and evolve.  Some of the musical instruments used like the bone flute with its shrieking pitch practically shoves the listener into the mythical unknown.   

 

 

Just like the ancient ruins of Sanxingdui, the dance and music pieces in the performance are symbolic of remnants reminiscent of the once walled city. These “broken” parts are equivalent to excavated fragments for the audience to piece together at the end of the show.  The entire performance is made up of a total of 12 short scenes.  

 

AMAZING BEASTS & BOTANICALS wants people to retrieve the ancient sense of awe and mystery of nature that is lost in modern progress.  

 

Conceived by chief choreographer Angela Liong in collaboration with Composer Chua Jon Lin and Sculptor Yeo Chee Kiong, the performers included Arts Fission Dancers with wind/percussion Soloist Lee Jun Cheng and the Morse Percussion.    

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神木灵兽简介

创作背景

神木灵兽是由新加坡现代舞团 – 化生艺术团以三星堆出土文物为灵感的多元艺术创作。三星堆文物里的青铜突眼头像,青铜大立人和人头鸟身雕像,以及青铜神树等都成了艺术创作的素材,诠释出一场现代人对古老文物遐想的舞台演出。

 

新加坡的艺术工作者从东南亚文化背景的视角来接近探索三星堆给现代人的触发点。创意团队包括艺术总监及编舞梁佩贤,青年作曲家蔡宗玲,和雕刻家杨子强携手创作, 连同吹打独奏李浚诚与打击乐组 Morse Percussion,逞献一场充满当代张力与感性的艺术大汇合。

 

创作动力

一如三星堆出土文物历史由来的神秘,演出没有传统故事线引领的惯例,却采用现代艺术手法的非叙事形式,以个别文物的形象,在通常平铺直述的事件里,抽离出不一样的音响,动作,和舞台空间设计的精髓,来个艺术创作的考古式拼图。这样的演出可以提供观众更多想象和玩意的空间,跳过一般烦琐累赘的直接叙事式逞献。

神木灵兽的创作手法 和演出构思,也借镜考古学和地层学里的研究操作程序。把舞蹈,音乐,舞台设计等创作元素,有如个别出土的文物碎片,一件一件地去探索和把玩,最后才像拼图般把所有的元素粘贴起来。所以神木灵兽可以说是一场非叙事式,时空合拼的舞台实验创作。

 

 

演出亮点

舞蹈创作把青铜大立人和人头鸟身雕像变出两个截然不同的人物。可个别的两位男舞者却不约而同地跳出相似的失落和焦虑。那是一种只有当岁月空间相碰交错时才会发生的困惑。  

由于三星堆出土的文物风格都非常阳刚,演出加进了一支极其阴柔纤细的双人舞以作对比。此舞创作受三星堆出土的青铜圣树(第三号)启发,由两位女舞者各自提着一梗插着羽毛的幼竹,来回奔驰地挥动竹子在空中。迁幼的竹子便忽然展现出隐藏着的无限动力与意象。那是长生圣树朝暮所见的万物生灵周而复返 的自然景象。

 

音乐创作以五行为作曲概念主轴,塑造各舞蹈片段中的音响色彩。  譬如:

  • 人头鸟身雕像独舞,单用一个陶埙去加强孤寂荒凉的气氛,也用黏土做的乐器以示五行之土。

  • 圣树双人舞则引用木制琴键的马林巴琴、竹制的洞箫、木梆子、木鱼、竹筒风铃、枯叶等乐器来表现五行之木,象征着阴柔之美。

  • 青铜大立人以五行之金采用了乐器如云锣、铙钹、颤音琴、钟琴、碰铃等等来加深铮铮作响的金属之声,表现出响亮阳刚的气质。

 

 

舞台装置设计用四个括号标明方形的 ‘曼荼罗’  在台中开劈出 ‘田’ 字空间给舞者活动。一棵以青铜突眼头像重叠而成的生命之树,还有舞台上垂钓着的三片网状铁线里藏着的幼光纤,表现了生命之树的簇叶。这设计是以舞台空间来表达出远古时代之天地人的概念。

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