曾彥婷, Kappa,,

BIO

2015-09-14T05:15:00.000-07:00

Yen-Ting Tseng/ Kappa is a Taiwan-based artist. She has designed lighting for a huge range of theatrical productions and worked with the well-known companies internationally. On the other hand, she continues to produce a diverse body of work that also includes theatre, installation, live performance or film. She is particularly interested in site-specific experience and the relationship between daily objects and people. Her works show surreal and sentimental landscape within human beings via unexpected narrative.

【春眠】

2012-01-31T00:58:00.001-08:00

【外表坊時驗團】可能是最後一號作品

《春眠》

跟我說，說我們老的時候。

我們正在打架。

然後呢？

然後你勒死我啦！

跟我說，說我們老的時候。

好了，該睡覺囉，晚安。

然後呢？

晚安。

你睡著了。我勒住了你。我鬆開了手。

發現自己已經忘記你的皮膚摸起來是這種感覺了。

製作人：李建常

執行製作：姜睿明

編劇：簡莉穎

導演：黃郁晴

演員：林如萍

安原良

　鄭莉穎

林文尹

舞台設計：陳佳慧

燈光設計：曾彥婷

聲響設計：蔣　韜

服化設計：廖治強

服化執行：廖雪芬

舞台監督：馮琪鈞

助理群：曾仲儀

張家綾

尹宣方

特別感謝：趙毓英

林子喬

演出時間：

2012/2/17 (五) 19:30

2012/2/18 (六) 19:30

2012/2/19 (日) 19:30

2012/2/20 (一) 19:30

2012/2/21 (二) 19:30

2012/2/22 (三) 19:30

2012/2/23 (四) 19:30

2012/2/24 (五) 19:30

2012/2/25 (六) 19:30

2012/2/26 (日) 19:30

連演十夜十場，演出長度約一百分鐘，無中場休息

演出地點：外表坊時驗團 363小劇場

台北市復興南路一段36-3號四樓，微風廣場正對面

票　　價：

全票五百元

學生打八折

每場座位35人，遲到觀眾恕不開放入場

※售票請洽兩廳院售票系統 http://www.artsticket.com.tw/

※外表坊部落格 http://www.wretch.cc/blog/offpw

【公寓聯展2011- The Evening of Everything.】

2011-12-10T03:57:00.000-08:00

再一次拒絕長大劇團
【公寓聯展2011- The Evening of Everything.】

November 14th-27th, 2011
再拒公寓

策展人/ 曾彥婷
執行製作/ 大大
策展顧問/ 黃思農
製作顧問/ 劉柏珊
創作者/
蔣韜《腦惱食蝕》
王詩琪《總共十三天》
鄭成功《回家吃飯》
薛儁豪《逗》
朱安如《阿one的漱口杯》
林人中《take a shower》

2011年的最後一個第一次
第一個策展作品
六個他人的作品
多少個在公寓度過的日夜
十三個與觀眾共享的夜晚
the evening of everything.
我們也只是用我們的方式說了一切

【一條日光大道 Way Home 】

2011-12-08T08:19:00.000-08:00

偶趣山海玩
青年偶戲藝術家駐村創作
【一條日光大道】

November 6th-7th, 2011
無獨有偶工作室劇團
花蓮市鐵道文化園區二館附屬工廠

創作者／曾彥婷

創作夥伴／黃郁晴

音樂設計又現場樂手／黃思農

後台協力／劉毓真

為什麼會有離家的衝動？離開家之後又往哪裡走？我們離開台北的家，沿著鐵路經過山經過海，在花蓮停下。在花蓮這個陌生的城市，我們和前往異鄉又回來的花蓮人聊聊天，和離開家鄉就此佇留在花蓮的異鄉人聊聊天，還有短暫經過花蓮還不知道下一站會落腳在哪裡的人。我們看著窗外一樣的風景，卻懷著不一樣的心情。離家，可以成家嗎？

極為幸運地即使到了異鄉還可以在行囊裡帶上最有默契的兩位創作夥伴，
當然還有小綠和小紅，
以及這裡是有山又有海的花蓮，
掀開蓋板，
找到了一條日光大道，
奔走在日光大道上，
也弄不清是回家還是離家，
只知道我們還在路上。

〈中國時報〉來看「公寓聯展」邀你聊天吃飯

2011-10-13T19:43:00.000-07:00

來看「公寓聯展」邀你聊天吃飯

2011-10-14 中國時報【汪宜儒／台北報導】

下班、放學後，來我家做客，吃個便飯，看演出，自在隨性地坐在沙發上聊聊吧！再拒劇團「公寓聯展」邀請觀眾在公寓裡欣賞演出。

「公寓聯展」的演出自二○○七年開始，每兩年一次，邀請多位創作者以劇團創團人黃思農的公寓為舞台演出，客廳、廚房、浴室或臥房、儲物間，處處都是作品的靈感之地。

今年的策展人曾彥婷，去年剛從英國倫敦藝術大學溫布頓學院拿到碩士。她畢業自台北藝術大學劇場設計系，過去多半從事舞台監督、燈光設計等幕後工作，飛人集社的《初生》、莫比斯圓環創作公社的《十牛圖》等，都是她參與的作品。她在英國就以「在表演中所使用的物件」為題創作、研究。

朱安如《阿one的漱口杯》以臥室為場景，以牙齒為整齣戲關鍵物件，主角囈語般地表現出自己對牙齒的記憶，有夢境裡的疑惑、就醫的恐懼與成長的表徵。鄭成功以廚房為舞台，在《回家吃飯》中，分享自己與家人飯桌相處的點滴。林人中將以浴室為舞台，作品《take a shower》透過沐浴、掃除等與水相關的狀態表現。「公寓聯展」十一月十四日至廿七日晚間在新店北新路二段上的再拒公寓演出。

http://news.chinatimes.com/reading/51303286/112011101400469.html#

九月十四日

2011-09-14T17:54:00.000-07:00

去年的九月十四日我在從倫敦飛回台北的班機上，那一天就消失在換日線上，降落後只剩下兩個小時。
今年的九月十四日，在莫比斯放很多牛的場次之間，早上六點半之後的八個小時在即將離職的麵包店裡，下午去華山設計師周做彩色的燈光，晚上帶了瓶啤酒坐在階梯上看珠子眼，給自己的小小犒賞。
九月十四日，二十七歲了，公寓聯展的一百五十六張票也開始在直走開賣，年初的塔羅數字書說從今天開始的這一年會啟動與被啟動，會開始或結束，會開始成為隱士。
我很期待往下走。

【洪。通。計。畫Who’s Hung Tung】

2011-09-10T02:18:00.000-07:00

台北藝術節2011

無獨有偶工作室劇團

August 16th-21st, 2011

松山文創園區一號倉庫

主辦單位：臺北市政府

承辦單位：台北市文化局

台北市文化基金會

製作單位：無獨有偶工作室劇團

藝術總監/導演：鄭嘉音

空間設計/美術導演：曾文通

服裝設計：林璟如

燈光設計：王天宏

音樂設計：黃思農

技術總監：楊淑雯

戲偶設計：梁夢涵、洪瑞霞

創作構想：曾彥婷、劉毓真、周伶芝、郭亮廷

演員：杜逸帆、李玉嵐、林正宗、周浚鵬、洪瑞霞、賀湘儀、黃郁晴、

黃秋容、黃志勇、黃煒翔、廖威迪、薛美華、劉毓真、劉郁岑、盧侑典

排練助理：林孟寰

製作人：曾麗真

行銷公關：鄭成功

企劃文案：安安亮

影片紀錄：尚若白

宣傳影片：林永杰

攝影/視覺設計：陳又維

行政票務：蔡宜玶

感謝單位：雄獅美術

2011年下半

2011-07-18T09:30:00.000-07:00

2011年才過了一半，還是該說已經過了一半，上半年做了好多事，卻都像是好久以前的事了。(等年底大回顧。)下半年就要開始了，接下來是八月台北藝術節與無獨有偶工作室劇團合作的洪通計畫，我所處的創作團隊與設計群演員們洋洋灑灑一共二十多人共同玩耍了好幾個月，而計畫終於要搬上舞台成為一場演出了。十一月再拒劇團的公寓聯展也開跑了，身為四年前的創始者之一，公寓聯展之於我的意義一直都不言自明，這次我初次嘗試擔綱策展人的角色，與六位創作者及其他夥伴共同揉捏再拒公寓的全新樣貌。
是啊，今年給自己的最大課題是要好好與人(而且是很多人)工作。

The major projects following in 2011 are "WHO'S HUNG TUNG" in Taipei Arts Festival and "MICRO-THEATRE PROJECT: APARTMENT EXHIBIT" of Against Again Troupe. In "WHO'S HUNG TUNG", I work with the conception team and build the show collectively from different aspects. The show will open in August. In November, I curate "APARTMENT EXHIBIT" in a real apartment. This event takes place every two years and I have participated in every time. This time, I do hope it will be more interesting than ever!

【雙頭鷹The Eagle With Two Heads】

2011-07-10T02:38:00.000-07:00

小良戲劇合作社

【雙頭鷹】

June 17th-19th, 2011

中山堂光復廳

劇作家：考克圖 Jean Cocteau

導演：莊雲麟

演員：蘇慶元許乃涵沈威年連俞涵曾士益莊雲麟

燈光設計：曾彥婷

服裝設計：李炫霆

音樂音效設計：陸伊潔、吳雋然

小良戲劇合作社【雙頭鷹】

2011-05-02T09:38:00.000-07:00

http://goodness108.blogspot.com/

她的不幸在於成為了皇后…單純的生活、愛與自由, 都變成她遙不可及的夢想...

或許，上帝真正要賜與她的禮物是那墜入瘋狂的勇氣，用她的孤獨引領人們——學習愛與美的真諦。

法國詩人Jean Cocteau創造了美麗如詩的劇本是為了追懷19世紀的兩個傳奇：建造德國新天鵝堡的Ludwig II以及歐洲史上最美的Sisi皇后。他們遭逢的不幸與浪漫軼事留給人們無限的緬懷與想像…

在多變喧囂的世局中，我們背道而馳…尋找劇場裡最純粹的感動。《雙頭鷹》將會是一段旅行，帶你離開這裡，離開現在。如果你也能放手一搏的話…

中山堂光復廳曾舉行過受降典禮、舞會、音樂會以及婚禮…也會偶然浮現一場夢…或許你我的生命只是一個熟睡的人所做的夢，他睡得那麼熟，以致連他都不知道夢到了我們…

演出時間

6/17（五）、6/18（六）19:30
6/18（六）、6/19（日）14:30

演出地點
台北市中山堂光復廳
創作團隊
導演／莊雲麟
燈光設計／曾彥婷
服裝設計／李炫霆
音樂設計／陸伊潔 x 張瀚中(十九兩樂團)
演員／蘇慶元、許乃涵、沈威年、連俞涵、曾士益、莊雲麟

票價 300 350 400 450 500

學生、兩廳院之友 9折優待
團體6人以上85折、12人以上8折優惠
訂票細節請前往 http://goodness108.blogspot.com/2011/04/blog-post_8846.html

第一次進《雙頭鷹》劇組的時候還是小大一，看排演出到半夜兩三點然後白天一臉灰白被老師指著鼻子說你們三隻貓頭鷹。七年前的雙頭鷹是在關渡山上的竹林中發生，燈光設計學長拿了八支火把給我們就再也沒有出現過了；七年後我即將在巴洛克古蹟光復廳為雙頭鷹設計燈光，喔，想點支蠟燭都不容易。

無獨有偶／台北國際花卉博覽會【最美麗的花】

2011-04-28T21:01:00.000-07:00

台北國際花卉博覽會

Taipei International Flora Expo

【最美麗的花】

La Fleur Secrete

April 4th-10th, 2011

無獨有偶工作室劇團

present by The Puppet & Its Double Theater

大佳河濱公園行動巨蛋

at Expo Arena

導演／鄭嘉音

編劇／陳威宇

動作指導／陳鴻秋

服裝設計／林璟如

舞台設計／黃廉棨

音樂設計／許向豪

戲偶設計／梁夢涵、曾彥婷

燈光設計／王天宏

視覺統籌／丸正

特約攝影／陳又維

演員／王宏元、杜逸帆、邱米溱、周佳吟、周浚鵬、侯欣佑、洪瑞霞、高友怡、許韶恩、劉毓真、楊雯涵、盧侑典、賀湘儀

舞台監督／林思妤

技術總監／蘇俊學

導演助理／林孟寰

製作人／曾麗真

製作經理／鄭成功

企劃文宣／周伶芝

行政助理／蔡宜玶

The Puppet & Its Double is a company that I have worked with for a long time. Thanks for their courage to let me design and make huge puppets with another designer for this production. This is my first time to be a puppet designer! I truely learn a lot from the progress and realize that I still have a lot to learn.

德國圖賓根形體劇場《飛跳‧詠嘆調》

2011-04-25T08:48:00.000-07:00

We have seen this show in International Puppet Festival in Dordrecht, Nederland. We were charmed by their performing then, and we will have them in Taiwan soon! I feel excited to work with them and to see how they build up all the magic!

無獨有偶2011國際偶戲交流─德國圖賓根形體劇場
《飛跳‧詠嘆調 Salto. Lamento》

http://www.puppetx2.com.tw/home.asp

演出/ 德國圖賓根形體劇場 Figuren Theater Tübingen

演員與製偶/ 法蘭克‧索恩樂 Frank Soehnle
音樂/ rat’n’X ─ Johannes Frisch and Stefan Mertin
導演/ Enno Podehl,Karin Ersching and Frank Soehnle
服裝/ Karin Ersching
編舞助理/ Karin Ould Chih
攝影/ Klaus Kühn and Christian Glötzner

製作人/ 鄭嘉音
劇團經理/ 曾麗真
製作經理/ 鄭成功
企劃宣傳/ 安安亮
舞台監督/ 曾彥婷
演出管理/ 洪瑞霞
票務/ 蔡宜玶
工作坊統籌/ 劉毓真
視覺統籌/ 丸正

台北＼ 2011/5/12-14 (thu-sat)　19:45
2011/5/14-15 (sat-sun)　14:45
國家戲劇院實驗劇場
票價$650

台南＼ 2011/5/21 (sat)　14:45‧19:45
台南市立文化中心國際廳原生劇場
票價$500

Dobos: 練習穿粉紅色

2011-02-25T08:36:00.000-08:00

Today is my first day working in the bakery.

I know why eventually.

It is quite simple.

Working in the bakery is part of the life which I was far far away from.

The tiredness after working makes me want to work more not for but on my life.

That is the main difference from theatre.

Is my life too romantic or my dream too practical?

from London Post to Post-London

2011-02-17T06:38:00.000-08:00

後倫敦時期其實才維持短短的三四個月
現在是後巴黎時期

前倫敦時期和後倫敦時期的確有很大的不同
離開倫敦的前一刻曾經以為自己已經找到了一個答案
雖然答案本身沒有很切合問題
一個季節過去後發現答案竟然已經失效
問題從想要從事什麼樣的工作擴大成想要什麼樣的生活

其實跟巴黎沒有什麼關係
說嘴罷了
農曆年去了法國工作就視作一個時間點
新的一年有新的計畫
我試著和身邊的人解釋
但具象或抽象來說都有點難解釋清楚
甚至很難對那個曾經只要進劇場就沒來由滿足的自己解釋
來和去的原因總是同一個
想著不要解釋了
做了就是了

飛人集社劇團 x 東西社【初生La Naissance】

2011-01-09T00:40:00.001-08:00

【初生La Naissance 】.

飛人集社劇團 x 東西社

Flying group x .L'est Et L'ouest

小女孩在鯨魚的嘴巴裡，撿到了一顆蛋，他們一起出發，要替蛋找回媽媽。他們遇到愛唱歌的海鷗、喜歡玩捉迷藏的小丑魚、負責生小孩的海馬爸爸、還有變成世界的巨人。這是一個遇見各式各樣誕生的奇妙旅程，最後，鯨魚對小女孩說：「數到七，你就會到一個不可思議的世界…」

住在法國的台灣人周蓉詩、住在台灣的台灣人石佩玉和住在法國的法國人莒絲蓮‧額貝哈Ghislaine Herbéra，三位女性溫柔觀點、跨洋創作，聯手為孩子打造親密的親子偶戲小劇場：【一睡一醒之間】系列。首部主打《初生》，以「出生」為主題，看待生命的美好；以精緻光影、小偶和聲音遊戲，創造無盡想像空間和神奇的生命之旅。

Jan 31st - Feb 5, 2011

Théâtre Massalia, France 瑪薩利亞劇場 ( 法國馬賽 )
Feb 18th-20th, 2011
Guling Street Theatre, Taipei 牯嶺街小劇場 (台灣台北)

主辦單位：飛人集社劇團、東西社
合辦單位：瑪薩利亞劇場Théâtre Massalia ( 法國馬賽 )
贊助單位：國家文化藝術基金會
導演、戲偶設計、演員 / 石佩玉
編劇、演員 / 周蓉詩
視覺設計 / 莒絲蓮‧額貝哈 Ghislaine Herbéra
音樂設計 / 王榆鈞
燈光設計 / 曾彥婷
演出者 / 石佩玉、周蓉詩、王榆鈞
舞台監督 / 林岱蓉(台北場)
動作設計 /于明珠
排練助理 / 詹凱安
製作人 / 高名辰
票務行銷 / 蔡雅庭
文字宣傳 / 周伶芝
網路宣傳 / 修筠筑

It is also an adventure in reality that all the performers and designers worked collectively with each other for the first time, far away home. However, it is great to see there are something beyond nations. Back to design lighting makes me feel awesome. And this time I played with the shadow puppets as well.

【here she is - 張明】

2010-12-30T07:22:00.000-08:00

【here she is - 張明 Zhang Ming】

超親密小戲節
Close To You International Puppet Festival

October 1st-3rd, 2010
師大區秘密髮廊
Secret Hair Salon, Taipei, Taiwan

主辦單位/ 飛人集社
創作/ 曾彥婷
音樂創作/ 黃思農
攝影/ 陳又維

produced/ Flying group
created/ Kappa Tseng
music/ Sze-Nung Huang

SECRET CINEMA 【WEIGHTLESS】

2010-12-03T08:03:00.000-08:00

SECRET CINEMA
http://www.secretcinema.org/

November 10-21, 2010
at Old Princess Louise Hospital

installation by Kappa Tseng
'WEIGHTLESS'

【唉唉內含光Clair-Obscur】

2010-11-17T02:18:00.000-08:00

國立臺北藝術大學劇場藝術研究所表演組獨奏會
Graduate Institute of Theatre Performance, Taipei National University of the Arts
【唉唉內含光Clair-Obscur】

November 4-6th, 2010
國立臺北藝術大學戲劇系館T205教室
T205, Department of Theatre Arts, TNUA, Taiwan

創作者/ 黃郁晴
共同創作/ 趙毓英、曾彥婷

指導老師/ 林如萍
製作人/ 陳盈達
舞台監督/ 吳孟糖

creator/ Palmers Huang
co-creator/ Yu-Ying Jhao、Kappa Tseng

supervisor/ Ru-Ping Lin
producer/ Ying-Da Chen
stage manager/ Meng-Tang Wu

【一、二、三、四】

2010-11-12T02:45:00.000-08:00

[ 一、二、三、四 ]
[ One, Two, Three, Four. ]

新北市藝術節之小小玩意匯演戲
Xinbei City Arts Festival

October 16-17th, 2010
三峽老街愛嬌姨冰果室
at Sanxia Township, Taiwan

由崩壞消融成長的瞬間所構成的極短篇集錦。
The short short scenes about the process of collapse, melting & growing up.

創作/ 曾彥婷
音樂創作/ 黃思農
協力/ 黃郁晴

created/ Kappa Tseng
music/ Sze-Nung Huang
assistant/ Palmers Huang

【here she is - ANN】演出資訊 info

2010-11-09T23:19:00.000-08:00

installation theatre/ object theatre/ no-man show

September 10-11th, 2010

at Wimbledon College of Art

'Here she is' is a site-specific performance project which intends to find a unique character within a specific location. The woman never turns up. Instead, we can imagine her presence with all these trifles and everyday objects around.

This project has started from the Summer show in Wimbledon College of Art with the character named 'ANN'. No one can reach ANN as she disappears in her own room. Nevertheless, this decayed room is still filled by her flowing consciousness so that nothing keeps still.

created & performed/ Kappa Tseng

voice/ Filipe Canha & Esteban Nunez

assistant/ Yuemin Cheng

camera/ Liushan Lin

photograph/ Ting Ting Cheng & Kappa Tseng

here she is是一個與空間互動的物件表演計畫，意圖在不同的場域中尋找一個人的輪廓。「她」在演出中從來不曾現身，取而代之的是那些日常生活中我們再熟悉也不過的物件，從中揣想她的樣態和她的私密。

here she is - ANN 首演於倫敦溫布頓藝術學院。在一間充滿生活痕跡卻已然頹圮的房間內，不見ANN的蹤影，她的意識似乎深藏在房間的某個角落，惹得那些被遺忘的所有物們悄悄騷動。

演出構想及執行/ 曾彥婷

人聲/ Filipe Canha & Esteban Nunez

協力/ 程月旻

攝影/ 林柳珊

劇照/ 鄭亭亭 & 曾彥婷

【here she is - ANN】演出片段 video clip

2010-11-09T23:01:00.000-08:00

【here she is - ANN】劇照I photograph I

2010-11-09T12:12:00.000-08:00

【here she is - ANN】劇照II photograph II

2010-11-09T12:00:00.000-08:00

【here she is - ANN】劇照III photograph III

2010-11-09T11:23:00.000-08:00

2010 NOVEMBER update

2010-11-03T22:01:00.000-07:00

it's November.

September,

October,

and November.

Only when I couldn't find the right way, I would be aware that I had left Taiwan for a while.

It is hard to say anything at this moment. I am thinking whether I should have some free time to think and consider.

I ran off from London in a hurry. I thought I won't be London again, at least in these five years. But I am going. I am going to fly to London next week. Sounds so stupid because I just left there. And I am back for two weeks. No matter what's going on in the following trip, maybe it is a chance that I can formally say good-bye to my year in London.

大為光火

2010-10-20T00:24:00.000-07:00

(九年前穿著綠制服一塊牽著手跳入劇場的黃郁晴要做獨奏會了，河童插刀)
(Kappa has been involved a solo show of an oooooooooold friend, Palmers.)

大　為　光　火
鄭莉穎Ｘ黃郁晴

劇場藝術研究所表演組獨奏會
雙姝指導老師：林如萍

路見喵哩　製作人：陳盈達
拔刀相助　舞台監督：吳孟糖

鄭莉穎【我的Fire人生】
地　　點：北藝大戲劇系館T106教室
時　　間：
11/5 Fri. 20:30
11/6 Sat. 14:30
11/6 Sat. 20:30

創作群：楊懿慈、靳孟達、黃婕
特別感謝：黃緣文、周莉婷、李南煖

黃郁晴【唉唉內含光Clair-Obscur】
地　　點：北藝大戲劇系館T205教室
時　　間：
11/5 Fri. 19:30
11/5 Fri. 21:30
11/5 Fri. 23:00
11/6 Sat. 15:30
11/6 Sat. 19:30
11/6 Sat. 21:30

共同創作：趙毓英、曾彥婷
特別感謝：孫斌立、黃柏森、林玉媛
　　　　　湯京哲、尹宣方、林擎天
備　　註： VIP觀眾限定12人，請先索票；
一般觀眾開放13人，現場直播。

演出長度各約40分鐘　分開索票
索票專線：0937-213-198黃小花

一、二、三、四

2010-10-11T05:33:00.000-07:00

原定要在新北市藝術節內再度搬演《here she is》計畫，但是因為一些客觀主觀的因素，最後決定捨掉了。

於是這周末即將帶去三峽老街愛嬌姨冰果室的是新作《一、二、三、四》，河童和黃思農在短時間內推出的第二件共同創作，一樣以日常物件及現場音樂為主軸的極短篇集錦，歡迎來逛逛老街看看戲吃吃冰！

相關資訊及新北市藝術節活動消息請洽：

http://www.xinbei-arts.com/

http://www.ssps.com.tw/

[ 一、二、三、四 ]

[One, Two, Three, Four ]

三峽老街愛嬌姨冰果室

Sanxia Township, Taipei County, Taiwan

10/16 14.30 & 15.30 & 16.30

10/17 14.30 & 15.30 & 16.30

免費入場

free admission

here she is - Zhang Ming over

2010-10-04T09:04:00.000-07:00

張明在台北秘密髮廊的十五場演出已全部結束

the fifteen shows of Zhang Ming in Taipei have finished

here she is - 張明之前

2010-09-30T08:57:00.000-07:00

昨天有個製作組內的開放彩排

來了浩浩蕩蕩認識或不認識的劇場前輩後生們心頭擰著

今天髮廊老闆有兩位客人

剪頭髮的同時我們在一旁測試新的效果討論合不合理或忘了放低音量地演奏

感覺是小崩潰後的柳暗花明或是暴風雨前的小寧靜

該是兩個月的起伏跌宕被壓縮在兩個星期內完成

明天就要迎接首演了

張明仍然像煙霧一樣在髮廊裡飄渺

給了光

就能看見了

Tomorrow is the opening of CLOSE TO YOU puppet festival, and the premiere of 'here she is - Zhang Ming'. After two weeks full of inspirations, struggles and breakdowns, we seem to be ready, or just ready enough to calm ourselves down. I had no idea that the show would be so different from the previous show in London. You see a girl walking, a man singing, a gown dancing; but none of them is Zhang Ming. Where is she?

here she is - 0928

2010-09-27T09:08:00.000-07:00

我們倒數三天
3 days countdown to the opening of Zhang Ming.

There are still so many things to sleep on, everyday, oh my.

here she is - 聯合報上

2010-09-23T08:46:00.000-07:00

來髮廊、畫廊、書店、咖啡館、住家看戲！近年不少台灣小劇場盛行在非劇場空間演「小戲」，本刊今天帶你走入親密的小戲世界，迎向小劇場的新時代氛圍。
【本報記者何定照】

全新感官凝聚美學

超親密小戲節還結合物件與偶戲。如美國的洛夫，結合錄影影像和現場影偶，讓hi-tech的超大真實女人影像和low-tech小紙偶對話；台灣的曾彥婷和黃思農，打造連人偶都沒有的劇場，讓吹風機、躺椅等物件說話。
這些在非劇場空間的親密小戲，正為觀眾開創全新經驗，也凝聚新的劇場美學。藍貝芝認為，這或許顯示劇場在各種反叛、實驗後，又回到人身上。還沒體驗過演員和觀眾擠在一起的「小」劇場嗎？下次走進咖啡館，不妨先問問有沒有演出。

表演空間相當難尋

尋找非劇場空間演出相當不易。石佩玉坦言，為尋找超親密小戲節演出地點，每個區域至少走訪8、9家店，但有的店因演出時段逢周末，認為影響營收而婉拒；也有店因處於住商混合區，擔憂吵雜影響住戶觀感，只得抱歉。
更大的問題是演出單位與店面溝通問題。台北藝穗節節目組經理王惠娟指出，部分團隊不夠尊重演出場地，「把方便當隨便」，忽略自己僅能借用他人營業時間演出。
曾有團隊搬道具時，破壞場地大門，卻無人認帳；還有人把店家精緻古甕當垃圾桶；這次也有團隊宣稱「我們是藝穗節單位」，十幾人在演出地營業時間大搖大擺上門討論，嚴重影響店面秩序。
演出場所適法性也經費力協調。王惠娟指出，非演出空間等若有表演，都要另請營業執照，還得通過消防安全等檢查，藝穗節去年底因此遭文建會查核。後經各單位開會討論，達成特殊活動「可依文創法的精神自主管理」的共識，今年藝穗節才能繼續發揮想像力。

小戲中產階級樂趣

台灣小劇場在非劇場空間小型演出，早在1980、1990年代就不少見，例如河左岸、臨界點劇團等，紅極一時的甜蜜蜜咖啡館，還成為另類實驗演出的重鎮。然而時代改變，演出意義也轉變，劇評家鴻鴻認為，早年劇團在體制外「占地為王」、不經審查演出，批判意味較重，如今許多小戲則著重「文藝青年、中產階級的生活樂趣」。
超親密小戲策畫人石佩玉指出，相對於早期劇場，「我們更思考觀眾要的是什麼」。早期劇場著重反體制，他們則非基於「不可以、不能、不夠」，而是直接從美學出發，開創新型體驗。
紐約從1992年舉辦的「偉大小工程（Great Small Works）」玩具偶戲節，就給劇場人許多啟發。該節在玩具劇場博物館的演出，邀請5到6支團隊在不同角落，同時演出5分鐘小戲給10人內觀眾觀賞，許多藝術家甚至以身體為舞台：例如在頭部蓋房子，以表情與眼神指引觀眾跟著演員視線看表演；或把偶台設在演員口中，在在讓人驚嘆「好個小世界」。

【2010-09-19/聯合報/D2版/文化廣場】

here she is - 0918

2010-09-18T07:11:00.000-07:00

張明
推敲了許多字後隔海決定了這個出現在秘密髮廊的安全名字
後來怎麼看都覺得太文藝氣或九零年代了

一走進秘密髮廊卻發現意外地貼合

張明這個女子(光是女子這個詞就九零年代了)
該是充滿文藝氣的
不會是出沒在二手書店或光點台北那樣的文藝氣
而是被書寫的那種
該是出現在簡媜早期小說裡的那麼走不出又想不開
私密細膩得像是自傳體的女性書寫

星期二晚上回到台灣
星期三造訪秘密髮廊
星期五和佩玉見面
又去了一趟髮廊
關了大燈坐在昏暗中

颱風來了

The woman in Taipei called 'Zhang Ming'.
'Zhang' is an ordinary family name.
'Ming' consists sun and moon in pictography, and it means brightness or clearness.

I just arrived Taiwan this week.
In these days, I visited the venue, Secret Hair Salon, met the curator and the production team, and I am working on the new plot which is inspired by this lovely vintage salon. The story will be about one personal moment of Zhang Ming, one page of her semi-autobiography.

We have typhoon in Taiwan tonight.

CLOSE TO YOU International Puppet Festival 2010

2010-09-16T12:47:00.000-07:00

http://www.wretch.cc/blog/flyinggroup

Kappa's performance will take place in Taipei, Taiwan in this autumn.

Details will be revealed later.

here she is - ann over

2010-09-12T18:54:00.000-07:00

Show must go on. Show must end. Three shows of 'here she is - ANN' have finished in London. I am having a quick nap & then start to work on the piece in Taipei.

here she is - the night before private view

2010-09-08T14:07:00.001-07:00

I am being anxious far more than in a reasonable way. I had my final rehearsal with some audiences today and it didn't go well, at least not well enough. I think it is because I haven't reheare for two days. I didn't sleep well last night, also tonight, I assume, keeping think every detail I made or I will make or I didn't make. I broke my glasses last night, of course it wasn't broken by my axiety but by the roll on the floor I did. But it is a sign of little breakdown when I need to roll on the floor. I murmur. Just murmuring, plus wondering. It will be fine because I did such a great job.

here she is - edm

2010-09-04T01:54:00.000-07:00

(sorry to those who have received my wrong spelling version... i am completely dizzy in these weeks... & embarrassed right now!)

here she is - time & venue

2010-09-04T01:23:00.000-07:00

MA SHOW/
September
9th 18.00-21.00 (private view)
10th 10.00-20.00
11th 10.00-17.00
12th closed
13th 10.00-20.00
14th 10.00-20.00
15th 10.00-20.00

PERFORMANCE TIME/
September
10th 19.30
11th 13.30 & 16.30

EXHIBITION TIME/
(my documentation with the set)
(not exhibit during performances occurring in the space)
September
9th 18.00-21.00 (private view)
10th 10.00-17.00
11th 10.00-13.00
12th closed
13th 10.00-20.00
14th 10.00-11.00 & 13.00-20.00
15th 10.00-17.00

VENUE/
Wimbledon College of Art
Merton Hall Road
London
SW19 3QA
+44 20 7514 9641

http://www.wimbledonmashow2010.com/
http://www.wimbledon.arts.ac.uk/summershows2010.htm

here she is - 0825

2010-08-25T07:00:00.000-07:00

Thank you who came to see my open-rehearsal yesterday. In some levels, I have finished the work. However I am still looking for the final touch which I have no idea what it is. I think it is time to leave my work alone for a while. I have worked inside for too long. I can imagine if I keep working everyday like I used to do that I will stick on these trifles and be not able to see the whole piece overall. See you, ANN.

I feel interested that people did see depression or sadness in my work all the time which was not my intention in the first place. Most of time, I just want to convey the truth that I feel. I have no idea how to describe them, in language. I have a plot, there are only direct sentences such as, 'a tree falls down slowly'. I have a moment that I feel I were not the practitioner, and then I feel confused about the plot indeed. I am confused about how can these movements of the objects be a symphoy.

here she is - 0817

2010-08-17T13:51:00.000-07:00

The technique in my work seems (stupidly) complicated but imaginable. After a few times rehearsals, most of the technical problems are solved. Now I face the bigger problem: how to be moving while I just move these things around? Everything imaged in head or written down on the paper might be beautiful but not always works in reality. I am staring at what I have done so far and try to reconstruct. It has to work.

A SHORT LIFE OF THE ONE WHO IS ABSENT

2010-08-14T04:57:00.000-07:00

3pm, April 13th, 2010
at Wimbledon College of Art, London

The walking performance, 'A SHORT LIFE OF THE ONE WHO IS ABSENT', was building an image of an absent person through the objects he left. During the process of tracing, these ordinary objects recalled the memories and produced the associations to the man who is not here.

here she is - 0813

2010-08-13T10:43:00.000-07:00

First rehearsal, 30% technical problems need to be solved; the whole scene is too vague to my expectation. I am going to finish the audio and video part this weekend & I can put everything together next week. I still have a lot of jobs to do to make it work.

I tied my keys on the string yesterday to try one of my mechanisms, and then I was locked out of my flat. Today, I went to key cutting shops to ask for spare keys. The owner of the second shop has given my many keys from his bin. Thanks for that. And I am thankful to have these people who help me a lot during the progress whenever I am up or down.

here she is - 0812

2010-08-12T14:06:00.001-07:00

After proceeding in these weeks, most of my setting are done. Eventually, all the low-tech mechanisms & tricks are fixed and ready for rehearsal. There is about 20% adjustment from my plot to the real work with these objects. Feel great so far. Next, let me see how their performing is.

to see more photographs ( & take the risk losing surprise in the show):
http://www.flickr.com/photos/goodkappa/sets/72157624709673206/

here she is - 0807

2010-08-07T13:15:00.000-07:00

Here she is?
Here she is.
She cries a little and then stops. Her tear drops into the fish bowl but the pop-eyed goldfish ignores. It wags its tail and leaves.

'Here she is' is a site-specific performance project which intends to find a unique role within a specific location. The role never turns up. Instead, we can recall her with all these trifles and everyday objects around.
The project starts from the old studio in London, moves to the secret hairdresser and the vintage ice shop in Taipei. Everywhere, there is a different ‘she’ waiting for be heard.

Here she is?
Here she is.
她小聲地哭泣然後停止，淚水掉進了魚缸但凸眼的金魚並不領情，牠擺擺尾地閃避掉了。

here she is是一個與空間互動的物件表演計畫，意圖在不同的場域中尋找一個人的輪廓。「她」在演出中從來不曾現身，取而代之的是那些日常生活中我們再熟悉也不過的物件，從中揣想她的樣態和她的私密。
這個計畫從倫敦的舊工作室出發，移動到了師大區的秘密髮廊以及三峽老街上的冰果室，每到一個不同的場域，就會出現一個不同的「她」，在等待她的故事被傾聽。

Master Dissertation

2010-07-24T12:14:00.000-07:00

WHEN OBJECTS BECOME SUBJECTS:

The Doubling Phenomenon of the objects in theatre

(July 2010)

超親密小戲節EDM 2

2010-07-21T03:34:00.000-07:00

http://www.wretch.cc/blog/flyinggroup

魏雋展是河童近年來新增(暫定)的劇場偶像之一，

很榮幸也很害羞看見他出現推薦十月的小戲節演出。

here she is - space at WCA

2010-07-19T17:05:00.000-07:00

official dateline

2010-07-17T14:33:00.000-07:00

(it means there is an unofficial version in the world.)

Attempting to Describe Her

2010-07-17T14:02:00.000-07:00

The object in theatre is the medium I keep exploring, yet the content is always rooted in the human being as the subject. The script I am reading recently is written by Martin Crimp in 1997, called ‘Attempts on her Life.’ This play is using another medium, which is language, to describe or to destroy the life of the character, Anne, from a non-narrative structure.

Using language to tell a story is a form that we are too familiar in theatre. ‘Attempts on her Life’ does not want to repeat the conventional storytelling but to present the fragments around Anne’s life without her. There are seventeen scenarios in the play. All the scenarios consist of the languages with different forms, such as the dialogues, the poem or the voice recorded in the answering machine. Few actions happen in the script. Most of time, the reader cannot tell who is speaking and what for. And the leading character, Anne, does not appear, from the beginning to the end of the play. She is absent.

Anne, the absent woman, is the subjects through the script. The script is like a puzzle while the final answer is Anne. The figure of Anne is built on the words of the others, rather than any physical trace or event. However, these fragments are too broken to be pieced up. The scenarios show different aspects of Anne as a woman, as a daughter, as a terrorist and more. Sometimes, these descriptions seem too impossible to indicate the same person. Uncannily, most lines sound from the people who barely know her. As they are trying to imagine who Anne is according to the appearance they apprehend, they are questioning themselves at the same time. The imperfect statements present trifles and rumours about Anne. It keeps Anne a mystery. Can we really know who she is through these uncertain facts? Or it attempts to deny the existence of her? Who is Anne?

- Some of the strange things she says to her Mum and Dad as a child: ‘I feel like a screen.’
- ‘I feel like a screen.’
- She’s lying there, isn’t she, with the tube in her poor thin arm, looking terribly pale, whiter in fact than the pillow.
- ‘Like a TV screen,’ she says, ‘where everything from the front looks real and alive, but round the back there’s just dust and a few wires.’
(Crimp, 1997 p.24)

The obscuration and the complexity of human being are the issues in this script, also in reality. The question, how to fictionalize a person in theatre, firstly needs to be traced back to the reality. The life of a person cannot be simplified into a linear story for sure. The trifles of live are more significant than the vivid events during the life, so that these fragments might possibly represent the facts of life better than a direct story. Also, we never know a person only via a linear story. We know him/her from the limited information and knowledge we collect. It reminds me the plays of Harold Pinter (1930-2008), as he has never written a story but a slice of life. While we think of someone we consider knowing well, in fact we only know parts of the dimensions of him/her. Plus the subjective judgements, the person we know is just the interpretation of ours. Nevertheless, the identity of a person is based on the awareness from himself/herself and the others. These meant-to-be subjectivities are essential to create the identities. No matter how objective we attempt, the facts shall be subjective. This is the destiny we cannot escape.

A LIFE OF MATTERS: video clip

2010-07-10T12:25:00.000-07:00

video; 1'59"

Sometimes, the thing we go for, is the same thing we are destroyed by.

A LIFE OF MATTERS: photos

2010-07-10T10:23:00.000-07:00

( photographed by Yudun & Kappa)

A LIFE OF MATTERS: about the exhibition

2010-07-10T09:37:00.000-07:00

2010, June, 24th
17.30-21.30

at The Rag Factory
(16 Heneage Street, London E1 5LJ)
(off Brick Lane)

EYES ON HANDS is an exhibition curated by Kappa and other colleagues. The intention of the exhibition is to show our works out of the college, and communicate with broader spectators. We expect to bring different ideas via visual and sensual experiences.

HAVE A PICNIC - info

2010-07-09T01:58:00.000-07:00

December 4th, 2009
at Dundonald Ground, Wimbledon, London

HAVE A PICNIC is an off-site performance happening in the park. The performance explores how the material create and destroy the illusion in front of us.

(photographed by Milka Panayotova)

HAVE A PICNIC - video clip

2010-07-09T01:10:00.000-07:00

December 4th, 2009
at Dundonald Ground, Wimbledon, London

(shot by Di Song; edited by Kappa)

IT SMELLS

2010-07-01T15:09:00.000-07:00

'IT SMELLS'

August, 2007

in "Against Again Apartment Exhibit: Installation Art and Drama”

presented by Against Again Troupe

http://againstagain.nobody.jp/againstagainHi.htm

written & directed by Kappa Tseng

It starts from a room which is being left. The room is waiting for so long, with all the dust, trifles, smells, brightness and darkness. They grow and grow, eventually become something that no one can recognize anymore.

It is a surreal work developed specifically for the single room of Against Again Apartment.

The Matter of Presence: after cluster discussion

2010-06-28T12:41:00.000-07:00

We have divided three clusters in our class to discuss the general issues about our research and present one topic per group. Unsurprisingly, all our topics surrounded ‘body’ which is obviously significant in live performance. Furthermore, many of us talked about the matter of being present or absent.

Jeanne shared with us her experience in live music concert. Most of audience want to be close the stage as much as possible even the view is restricted from there. Few people’s intention is to stand far away to see the performing on a big and clear screen. For them, the charm of live concert is to feel the sweat of musicians in person, not to see the clear figures on the big screen. It reflected one feature of performance or performing art that is being live and sharing the real space and real time between audience and performers. The strong engagement from live performance is hardly replaced by other media. As Peter Brook has a classical definition that suggests the radical elements of theatre should be ‘space’ and the ‘presence of both performer and audience’:

'' I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged." (Brook, 1968)

At the same time, our group is challenging the idea that the presence of performers is necessary to a performance. Can we remove the bodies of performers? Can we replace the performers with something else? Some of us are interested in putting virtual video, objects even audience in the position where performers should be. Considering what audience receive is not only the ‘presence’ but also the ‘absence’ created by performers and audience, performers are mediums as well in this case. The ‘absence’ called ‘double’.

“The double in this sense is not a reflection or imitation of an original but an appearance of a dynamic contradiction or opposition that cannot come to rest in either what is visible or what is invisible. Doubling in the sense is a representational practice that does not necessarily represent or imitate anything in the world.” (Rayner, 2006)

In fact, most things audience see are the ‘doubles’ instead of ‘presence’. The double might be what audience choose to see or what performers want audience to see. The double beyond physical presence consists of people’s experience, memories, imaginations, sensations and so on. Maybe that is why some people hold the prejudice saying that theatre is full of fake and illusion. But the thing you cannot see does not mean it is not real. The invisible double is part of the fact which is not just simply made up.

I am not suggesting the double can dominate the performance so that the presence does not necessary anymore. Rather, the double comes from the presence, whether it is the presence of a performer, an object, or a two-dimensional video. Different mediums bring different effects as doubles. No one can really replace another medium completely. However, people are exploring new mediums all the time. The presence of performer can be removed, let us look forward what the next trend is.

intermission

2010-06-20T02:19:00.000-07:00

The image was for my final show. I have planned it since April. But everything changed dramatically last week.

I met Ku on Monday evening.
I told him my final show plan on Tuesday.
The collaboration was proposed on Wednesday.
On Thursday, we have decided to get rid of all previous ideas and create a new piece together.
Then, on Friday, I brought our new proposal to the space & technique meeting.

It will be an on-going project, from London to Taipei and Sanxia, from now to… at least October.

Memory Weaving

2010-06-14T11:20:00.000-07:00

I attended a tapestry weaving workshop last week. It interests me because it is a weaving workshop but held by Freud Museum with an artist, Melanie. I am not a Freud person, however, I was curious about how they connect the process of weaving to personal memory and dream.

The task was to weave a small tapestry which is 9 by 10 (cm). They asked me to pick a colour for today. I started with the colour between indigo and purple. That day was so cloudy that I felt ironic when I saw a poster of ‘Summer Fair’ in the morning under the dark, cloudy sky. Then they asked me to draw a sketch for my tapestry according to free association with my childhood memories in colours. I did, and I started to weave the following part of the tapestry according to my sketch, or just what I felt in that moment. During the process, they were not analysing my work but talking with me casually. I did not really see a pattern until they found that all my representations of childhood are shown as places. The apartments, the unfinished park, the farm, and the red brick house, I documented my childhood with places.

I thought of my previous project, ‘THEATRE WITHIN’. We all want to catch individual difference about an object. At this time, the object was the childhood memory of the participant. The colour of the wool was the medium, and the participant was encouraged to be active (to pick the colour and weave their tapestry). The process of weaving was significant that the participants could think nothing but concentrate on the weaving, and then they might hear another voice from their mind.

I have done some weaving before. Abnormally, weaving or knitting does not calm me down in the way people think. I lack patience so I always think when I can reach the end. But I still enjoy the process of weaving and knitting. I do not plan anything in advance that the fun comes from I will know how to do during the process, the material will inspire me via different forms.

I finished my first tapestry for Freud Museum, and I made the second one. There is no restriction at this time. I made a piece of sea. I weaved what I felt and I can see the sea, the wave, the coast, and hill just like what I remember after I finished it.

'SUMMER'

2010-06-09T15:45:00.001-07:00

I am working on an old work in these days. It is a short film from a project called ‘BY SEASONS’. The project consists four episodes, that is four seasons which filmed from 2007-2008. I know nothing about making a film so that it takes me long time to work on everything, from writing to post-production. This is my first film. Maybe it will be my last one.

The piece I have finished right this moment is ‘SUMMER’. It is a story of three cicadas and their short lives. I am still struggling with these technical issues which are too new to me. Struggle but learn a lot. That is the advantage when you work on something you are not good at. I try to convince myself in a way. And I am busy to submit it to some places and wish to have some opportunities to screen in public!

Also when I see the piece again, I pick the idea of cicada and want to apply in my final performance. You will see.

EYES ON HANDS

2010-06-07T16:23:00.000-07:00

2010, June, 24th

17.30-21.30

at The Rag Factory

(16 Heneage Street, London E1 5LJ)

(off Brick Lane)

admission free

free drinks

Kappa & friends are holding an exhibition/performance later. Please drop in and enjoy our works. I will be there all the time and expect to chat with you.

research quest

2010-06-05T15:12:00.000-07:00

It seems I am keeping my research about object theatre through this year, in fact the content varies every month. It is difficult to me but I try to read something new (to me) as much as I can. And after reading I always find more to read...

Here's the keyword (so far):
Object
Theatre
Everyday
Double
Reality
Presence
Ontology
Punctum

1.1 Theatre is real as reality.
1.2 The presence of object in theatre makes significance.
2.1 How real is reality?
2.2 The object as a double or echo.

'Eurydice'

2010-06-03T14:56:00.000-07:00

'Eurydice'
by Sarah Ruhl

27, May, 2010
20.00 at Young Vic

EURYDICE is a play I saw few weeks ago. I have designed lighting for a production called ‘Clean House’ in Taipei last year, and that was the first time I read the script from Sarah Ruhl. Her script is easy but complicated. When I read ‘Clean House’ at the first time, I know I felt something, and I know I might not be able to explain it in my age. That is why I am curious about this production in Young Vic.

Generally, the performance was not excellent. In a way, it made me think more about how I would do if I am directing this play. Of course, the thoughts were pointless.

Eurydice went to the hell and she lost all her memories. She received a letter from earth but she didn’t know how to read, so that she put her feet on the letter. That was a silly action and the audience laughed. In the end of the play, Eurydice’s husband came to hell; he had got a letter from Eurydice, and then he put his feet on the letter, like Eurydice did before. The audience were silent. We all realized that he never knew what is written in the letter. It was a heartbreaking moment. It is related to one of my issues in my final performance. If we lost all our memory, language, heritage, identity, if we start from the very beginning to know this world, where are we going to start?

'a life of matters' -3

2010-05-28T13:58:00.000-07:00

a try out version of 'a life of matters'.

'a life of matters' -2

2010-05-26T11:00:00.000-07:00

The thing we go for sometimes is the same thing destroy us. And we will see everything until the last minute, or never.

RESUME 2001-2011

2010-05-20T16:19:00.000-07:00

2011

Against-Again Apartment Showcase 2011 ‘The Evening of Everything’ - Curator

The Puppet & Its Double Theater- Artist Residency 'Way Home'
Mobius Strip Theatre '十牛圖'– Lighting Design/ Stage Manager
Taipei Arts Festival / The Puppet & Its Double Theater
'Who’s Hung Tung' – Conceiver/ Puppet Building/ Lighting Operator
Feng Zikai Children’s Book Exhibition (Hong Kong) - Lighting Execution
Xia-Liang Theater ‘The Eagle With Two Heads’ – Lighting Design
The Puppet & Its Double Theater / Figuren Theater Tubingen
'Salto. Lamento ' Tour – Stage Manager
Taipei International Flora Exposition / The Puppet & Its Double Theater
'La Fleur Secrète' - Puppet Design
Flying Group / L'est et L'ouest 'La Naissance' - Lighting Design

2010
The Puppet & Its Double Theater 'Der Schönste Moment' - Lighting Execution
Secret Cinema - Installation Artist
Dept. of Theatre Arts, TNUA 'Clair-Obscur'- Co-creator
Xinbei City International Arts Festival 'one, two, three, four'
Close To You International Puppet Festival 'here she is - Zhang Ming'
Wimbledon College of Art Summer Show 'here she is - ANN'
short films project 'BY SEASONS' (post-production) - Director/ Writer
video work 'A LIFE OF MATTERS' in group exhibition 'EYES ON HANDS'
'A SHORT LIFE OF THE ONE WHO IS ABSENT' - Director/ Performer
Installation Project 'THEATRE WITHIN'

2009
'HAVE A PICNIC'- Director/ Performer
The Puppet & Its Double Theater 'I AM ANOTHER YOURSELF' European Tour – Master Electrician
Against-Again Apartment Showcase 2009 – Graphic Design
Guling Street International Avant-garde Theatre Festival – Stage Manager
Dept. of Theatre Arts, TNUA 'CLEAN HOUSE'– Lighting Design
The Puppet & Its Double Theater / Richard Bradshaw
'MAGIC SHADOWS OF RICHARD BRADSHAW' Tour – Stage Manager
The Puppet & Its Double Theater / Bluescreen & Huang Pei-Shan
'IN-BETWEEN / A JIAOCHA EXPERIENCE' – Lighting Design
The Puppet & Its Double Theater 'THE PRINCESS AND THE JESTERS' – Master Electrician

2008
Mobius Strip Theatre 'DIVING IN THE MOMENT……'– Lighting Design/ Stage Manager
The Puppet & Its Double Theater 'THE HAPPY PRINCE' Tour – Master Electrician
The Party Theater Group 'THE SKY CRISIS' –Lighting Design
Mr. Lonely 'WINNIE' –Lighting Design
Taiwan Women Theatre Festival 'MY ANGEL FRIENDS'
'THE ENEMY WITHIN' –Lighting Design
12th Annual Republic of China Presidential Inauguration – Assistant Stage Manager
OFF Performance Workshop 'LOVE LETTERS' – Assistant Lighting Design
Fourth Art 'LOST & FOUND' – Stage Manager
National Taiwan University / M.O.V.E. Theatre 'COPENHAGEN' – Stage Manager

2007
Edward Lam Dance Theatre 'MADAME BOVARY IS ME' China Tour - Master Electrician
Association of Vocal Artists of R.O.C 'World’s Best Classical Songs' – Lighting Design
The Puppet & Its Double Theater 'PORTRAIT OF DORA' – Stage Manager
The Lan Yang Dancers 'FLOWER LISTENER' – Assistant Lighting Design
Against Again Troupe 'IT SMELLS'– Director/ Writer
Gigi Chan 'THE STORY OF LOVE' Vocal Recital – Lighting Design
College of Theatre Arts, TNUA '1:24 Psychosis' – Lighting Design

2006
Dept. of Theatre Design & Technology, TNUA 'LITTLE LITTLE KID' –Lighting Design
College of Dance, TNUA 'DANCE FEST' – Assistant Lighting Design
Fourth Art 'WIND OF SUMMER' – Stage Manager
Against Again Troupe 'LIKE A LARVA'– Stage Manager
Angel Egg Theatrical Company 'MAGIC SCHOOL' – Assistant Lighting Design
Dept. of Theatre Design & Technology, TNUA 'SHE SAID' – Moving Light Design
Dept. of Theatre Arts, TNUA 'SICKROOM SIX' 'MEN'S MAMBO'– Lighting Design
National Taiwan University Drama Club 'THE RIVER' – Lighting Design
Aletheia University Drama Club 'ASSASSINATE' – Lighting Design

2005
Dept. of Theatre Arts, TNUA 'WAITING FOR GODOT'– Lighting Design
Dept. of Theatre Arts, TNUA 'THE WALL' – Director
College of Theatre Arts, TNUA 'JUNGLE OF CITIES' – Assistant Stage Manager
Dept. of Theatre Arts, TNUA 'THE THUNDERSTORM' 'THE BALD SOPRANO' 'WAITING FOR GODOT'– Lighting Design
Dept. of Theatre Arts, TNUA 'TALK TOO MUCH'– Stage Manager
Dept. of Theatre Arts, TNUA 'CALIGULA'– Stage Manager
Ming Chuan University Drama Club 'OKAY' – Lighting Design

2004
Dept. of Theatre Arts, TNUA 'KRAPP’S LAT TAPE'– Assistant Rehearsal
Angel Egg Theatrical Company 'WU-SONG AND AUNT TIGER' – Assistant Rehearsal
Dept. of Theatre Design & Technology, TNUA 'THE PEACH BLOSSOM LAND' – Actress

2003
National Taiwan University Drama Club 'TEAM 1' – Performer
Dept. of Theatre Arts, TNUA 'BRIGHT AND DARK' – Performer
Dept. of Theatre Design & Technology, TNUA 'FICTION PARK' – Performer

2002
TFG Drama Club Festival 'WORD, WORLD, WOUND.'– Producer
TFG Drama Club 'YOU & ME, ME OR YOU' – Writer
TFG Drama Club 'AUTOPHAGY' – Director
TFG Drama Club Festival 'CATCH'– Producer
TFG Drama Club 'SHUI & OTHERS' – Director/ Writer

2001
TFG Drama Club 'IN. 18. OUT'– Actress
TFG Drama Club 'FANIS'– Costume Design/ Prop Design
TFG Drama Club 'THE MADHOUSE'– Actress
TFG Drama Club 'MY FATHER IS A VETERAN'– Actress
TFG Drama Club 'LOVE OF ROBOT'– Actress

作品經歷 2001-2011

2010-05-20T15:53:00.000-07:00

2011

再拒劇團《公寓聯展2011-The Evening of Everything》策展人
無獨有偶工作室劇團-偶趣山海玩《一條日光大道》創作者

莫比斯圓環創作公社《十牛圖》舞台監督燈光設計
台北藝術節／無獨有偶工作室劇團
《洪。通。計。畫》創作構想戲偶製作
豐子愷童書展(香港) 燈光執行
小良戲劇合作社《雙頭鷹》燈光設計
無獨有偶工作室劇團／Figuren Theater Tubingen《飛跳‧詠嘆調》舞台監督
台北國際花卉博覽會／無獨有偶工作室劇團
《最美麗的花》戲偶設計及製作
飛人集社／東西社《初生》燈光設計光影執行

2010
無獨有偶工作室劇團《最美的時刻》燈光執行
Secret Cinema 合作裝置藝術家
台北藝術大學劇場藝術研究所表演組黃郁晴獨奏會
《唉唉內含光Clair-Obscur》創作協力
新北市藝術節-小小玩意兒匯演戲《一、二、三、四》創作者
超親密小戲節《here she is - 張明》創作者
Wimbledon College of Art Summer Show《here she is - ANN》創作者
影像短片《不管幾年都只有四個季節》(後製中) 編劇／導演
錄像作品《a life of matters》(參與團體展覽EYES ON HANDS) 創作者
《A Short Life of the One Who Is Absent》單人表演
裝置計畫《THEATRE WITHIN》創作者

2009
《have a picnic》單人表演
無獨有偶工作室劇團《我是另一個你自己》荷蘭及法國巡演燈光技術
再拒劇團公寓聯展《居+ 北新路二段八十號四樓》平面設計
牯嶺街國際小劇場藝術節《形影相析(/晰)》統籌舞台監督
台北藝術大學戲劇學系獨立畢業製作《窗明几淨》燈光設計
無獨有偶工作室劇團／Richard Bradshaw《影窗內的天空》巡迴舞台監督
無獨有偶工作室劇團／Bluescreen & Huang Pei-Shan 裝置展演《間- a jiaocha experience》燈光設計
無獨有偶工作室劇團《小丑與公主》燈光技術

2008
莫比斯圓環創作公社《潛水中》舞台監督／燈光設計
無獨有偶工作室劇團《快樂王子》巡迴燈光技術
同黨劇團《飛天行動》燈光設計
Mr.隆尼表演創意團隊《維妮》燈光設計
第四屆女節《我的敵人》《我的天使朋友》燈光設計
中華民國第十二任總統副總統就職慶典助理舞台監督
外表坊時驗團《收信快樂》燈光設計助理
第四人稱表演域《失物招領》舞台監督
國立台灣大學／動見体《哥本哈根》舞台監督

2007
非常林奕華《包法利夫人們》中國大陸巡迴燈光技術指導
中華民國聲樂家協會《歲月悠悠-世界名曲經典》音樂會燈光設計
蘭陽舞蹈團台北團《聽花人》燈光設計助理
詹怡嘉《愛的故事》獨唱會燈光設計
無獨有偶工作室劇團《心理醫生愛上我》舞台監督
再拒劇團北新路二段八十號四樓聯展《餘腥味》導演編劇
台北藝術大學2007春季公演《1:24混合發作》燈光設計

2006
台北藝術大學排演基礎呈現《小小孩》燈光設計
台北藝術大學舞蹈系歲末展演燈光設計助理
第四人稱表演域《聽見夏天的風》舞台監督
再拒劇團《宛如幼蟲》舞台監督
稼家青少年舞蹈團舞展《遇見幸福》海報及專刊設計
天使蛋劇團《魔法精靈》燈光設計助理
台北藝術大學電腦燈光設計專題呈現《她說》電腦燈光設計
台北藝術大學劇場藝術研究所表演組聯合獨奏會《六病房》《男的曼波》燈光設計
台大話劇社《河流》燈光設計
真理大學冒險棧Gamble Ltd.《暗殺》燈光設計

2005
台北藝術大學劇場藝術研究所導演一呈現《等待高德》燈光設計
台北藝術大學戲劇學系導演一呈現《壁》片段導演
台北藝術大學戲劇學院學期製作《都市叢林》舞監助理
台北藝術大學戲劇學系導演二呈現《雷雨》《禿頭女高音》《等待果陀》燈光設計
台北藝術大學劇場藝術研究所畢業製作《Talk Too Much》舞台監督
台北藝術大學畢業製作《柯里古拉》舞台監督
銘傳大學傳話工作坊《好吧》燈光設計

2004
台北藝術大學劇場藝術研究所導演一呈現《克拉普最後的錄音帶》排演助理
稼家青少年舞蹈團舞展《當古典遇上現代》戲劇編排助理及演員
台北藝術大學天使蛋劇團《武松打虎姑婆》排演助理
台北藝術大學表演基礎呈現《暗戀》演員
台灣藝人館《流亡》平面設計

2003
台大話劇社呈現《第一組呈現》集體創作演員
台北藝術大學表演方法呈現《黑暗與光明》集體創作演員
台北藝術大學排演基礎呈現《Fiction Park》集體創作演員
第一屆青創會學員

2002
台北市政府客委會客家文化研習班客語劇場班學員
北一女中FreeMan戲劇社《你和我，我或你》編劇
北一女中FreeMan戲劇社《Autophagy》導演
北一女中FreeMan戲劇社夏季公演《Word World Wound》製作人
北一女中FreeMan戲劇社《阿水與其他》導演編劇
北一女中FreeMan戲劇社春季公演《攫》製作人

2001
北一女中FreeMan戲劇社《in‧18‧out》演員
北一女中FreeMan戲劇社《FANIS》服裝設計道具設計
北一女中FreeMan戲劇社《瘋人院》集體創作演員
北一女中FreeMan戲劇社《我的阿爸是榮民》演員
北一女中FreeMan戲劇社夏季公演平面設計
北一女中FreeMan戲劇社《機械人之愛》演員

'a life of matters' -1

2010-05-19T11:25:00.000-07:00

a life of matters, this is the title of my new project. Before preparing my final project, I want to start and finish this small project as a break. The concept is based on the question I always concern: the conflict in the material itself. Different to live performance, I am going to put some issues behind and using video as a narrative medium. To frame my work in the screen once.

'Supermarket Shakespeare'

2010-05-17T12:29:00.000-07:00

'Supermarket Shakespeare'

by Teatro Vivo

15, May, 2010

12.oo at Sainsbury Lewisham

http://www.teatrovivo.co.uk/supermarket.html

As an unperfect actor on the stage
Who with his fear is put besides his part,
Or some fierce thing replete with too much rage,
Whose strength's abundance weakens his own heart.
(from Sonnet 23, Shakespeare)

Shakespeare and Sainsbury, what an odd thing to put them together. Liushan and I went to a Sainsbury far away for a performance particularly. I believe some audience did not expect to see a Shakespeare as they came just for grocery.

The staff told us to meet at the fruit section, when the performance started, we have to choose one actor/actress and follow him/her during the whole show. The actor/actress was not so different from us; they dressed like us, and came to find someone or something in the supermarket. And we audience were his/her friends, team members, facebook fans. During his/her journey in Sainsbury, he/she met other actors/actresses and made more stories happen. We never know the whole story occurred with every character although we saw the performance three times and followed three different roles. It’s complicated, like we never know someone’s story entirely. We can only guess from what we see.

It was an extraordinary experience to participant within a performance in a supermarket. There were some beautiful moments that the shopper affected the performance dramatically and accidentally. And sometimes we can not recognize if the actor/actress is acting or not. It blurred the boundary between everyday life and performance. The shopper might not see herself is an actress but eventually she showed up in the performance. And if we never know the actor is acting, how would I consider them in my shopping weekend?

Also, it embarrassed me at some times. While there’s a fight or an upset scene, I, as an audience, knew that was just nothing but acting. At the same time, the role was given to me that I should react as a friend or something. Some audience were really active and feeling free to participant. However, I felt uncomfortable if it became a role playing game. It is easy to put actors everywhere, but how to locate the audience?

after A SHORT LIFE...

2010-04-29T10:08:00.000-07:00

A Short Life of the One Who is Absent

After I explored the subjective perception about objects in my lab, I decided to experiment another extremeness, objective perception, in my interim show project, A Short Life of the One Who is Absent.

In this performance, I tried to build someone’s life via everyday objects. I brought audience to a journey from a grave, the end of the life, to his youth and childhood. The performing involved only daily behaviour and representative objects that intended to keep my performing as minimum but to focus on the objects. The objects, from the stone to the clothes, hinted the person who was absent once lived here. His property reminded me, the person who was being left, every trifle within his and my life. That is what I want to convey to the audience. For keeping the narrative easy to understand, these objects I chose were objectively representative. However, from the peer review, I noticed that it did reduce the depth of the objects which I felt shamed.

Again, back to the question of my lab, how to balance the subjective and the objective perception?

(The answer has not been found. Not yet.)

One element showed in my performance at first time but appears in my life at all times: the knitting. In this performance, the knitting was the connection between all the objects; it represented a lead or a trace of life. Also, the whole narrative was a backward life as I unknitted everything during the whole journey. It was a sensation of lost when I unknitted, and the audience might feel the same way. That is the particular feature of object I want to find. I may not be able to explain why, but it does work and touch people in a certain manner. I plan to keep applying the knitting in my next stage.

I did not work with the idea of site-specific intentionally. Nevertheless, the space always plays an important part in my work. While I am researching for the story behind the tangible objects, the space has the story that I cannot ignore. I used many sites in college during this performance. I waited in the reception, made phone call in the yard, calmed myself down in the toilet, and hesitated in the terribly long corridor. The long stairs to the upper floor was somewhere you cannot see what is waiting in the end. It was a mystery like life that we can only keep going on. The space was as physical as the objects I was finding for.

LAB report- result

2010-04-24T14:19:00.000-07:00

The result of this lab was achieving my aim but also suggested some new issues to me at the same time.

During the first event in park, I had some great talk with the spectators and believed it indeed gave them an unusual experience in an usual day. They shared their stories with me, and some of them were really beyond my expectation. What they saw or felt in the event partly reflected their different life experiences, personalities or moods in that moment. Both the work and the spectators were affected by each other. Nevertheless, the ‘personal space’ for some spectators might be a pressure. They felt they were forced to think and talk which made them too uncomfortable to take it easy. That was one problem I did not consider properly before.

The second installation was so different from the pervious one. Firstly, the space became more private that spectator might feel free to be alone. Secondly, the arrangement of the elements was more complete but still did not outline an existed story for the spectators. However, most of the spectators were colleagues and they had the awareness to attend a work in advance. That produced a very different expectation from the random passing-by spectators in the park. According to their feedback, some of they had fun in this personal experience and felt allowed to interpret everything by themselves, but some of they still tried hard to find the meaning behind the work or the connection between all the elements and failed.

A brand new question was raised: how to balance the subjective and the objective perception in a performance? How to create a proper environment not only allowed spectators to interpret subjectively but also hold an objective dramaturge to enjoy?

LAB report- aim

2010-04-24T14:15:00.000-07:00

In my research, I intend to discuss about the perception of the spectators while they are facing the performing objects. Instead of finding the general reception people share and easy to understand, I am more interested in individual difference of what they see within these objects. Before doing one completed performance, this lab was an opportunity for me to experiment how spectators see differently as they were looking at exactly the same object.

The lab consisted of one event and one installation. Both I built personal space that intended to bring the spectator an individual experience to avoid too many distraction from others. I selected some tangible objects mostly by intuition and arranged them without leaving clear trace or structure to follow. The story and meaning of the work were expected to be filled by the spectators.

LAB report 3

2010-04-20T16:29:00.000-07:00

3.1
I removed all the characters in the theatre box and put them into different daily containers separately. They were all settled in a wooden drawer.

3.2
I made a series of slides which I was inspired by spectators from previous event. In the slides, trees grew, birds flew, audience come in and out, ballerina danced, water flooded, somebody showed and hid. It was another possibility of this theatre we saw. Afterwards, I projected all the slides on the empty theatre.

3.3
I edited the soundtrack from the previous spectators that they were talking in their words. Music was added as a background.

3.4
At last, all the items were exhibited in room119.

3.5
‘It is warm and close.’
‘It’s moving and sad.’
‘Light and sound from the slide machine.’
‘Two chairs face different sides.’
‘The conversation interests me.’
‘The music.’
‘These objects in bottles are memories kept according to something.’
‘Audience on stage, chicks in the egg container..., all the relationship was being exchanged.'
‘I can take my time and I am allowed to make daydream.’
‘I was intrigued by the possible meaning.’

‘It’s about me.’

LAB report 2

2010-04-20T03:22:00.000-07:00

2.1

The theatre box was rigged on a tree in the park.

2.2

The spectator inside saw the theatre and the landscape of the park behind at the same time.

2.3

There were some objects as characters put on the auditorium, staring at the spectator or doing their own business.

2.4

I would talk with the spectator who was invited to come in about their individual feeling while being within the theatre box in the park.

2.5

‘It’s an odd experience as I am in the park, in Wimbledon.’

‘There might be an animal farm.’

‘There are big battle scenes there.’

‘Alice in wonderland.’

‘I am one of the soldiers.’

‘I am an actress, they are my audience.’

‘Find a woman lying dead in the cinema.’

‘Dreams.’

‘My goldfish, his name is Bubble.’

‘All the delicate architecture of the theatre.’

‘Nursery stories, fairy tales.’

‘I am bigger than everything else, I feel powerful.’

‘I feel lost. I feel I do not belong to here.’

‘King and Queen.’

‘I am observing.’

‘I am being watched.’

‘I am expecting something will happen.’

LAB report 1

2010-04-18T14:51:00.000-07:00

1.1
I was building up one 1/20-scale theatre which allowed one spectator to stay.

1.2

The spectator needed to bend down and get into the small space of the theatre and he/she might find out that he/she was looking at the auditorium from the stage.

1.3
The structure of theatre was consisting of balsa and paper which looked pretty hand-made and fragile.

A Short Life of the One Who is Absent

2010-04-10T04:12:00.000-07:00

Kappa Tseng
'A Short Life of the One Who is Absent'

13, 4, 2010
15.00 Meet at reception

A story of whom left no name and no words but traces of his/hers.
(Spectators are expected to walk with performer.)

more information about MA VLP interim show:
http://rendering53.blogspot.com/

Does Anyone Really Work On These At The Same Time?

2010-04-05T15:50:00.000-07:00

RESEARCH PAPER draft

INTERIM SHOW

LAB report

'Grafting & Budding'

2010-04-01T05:38:00.000-07:00

'Grafting & Budding'
by Sheila Ghelani

28, Mar, 2010
8.oo at Camden People's Theatre

The experience at Camden People’s Theatre reminds my friend and me the days in Avignon Off Festival. A small desk is the box office at reception and a few installations hanging on the wall as an exhibition. Also the performance itself gives me the same impression: raw and sincere.

I have to say I didn’t feel the same way during whole performance. When I entered the theatre, I saw a small stage with everyday materials and tools around, I had a thought it might interest me a lot. But when the performer started to cut her finger and apples with smile on her face, I began to wonder. I stayed doubted until I realize what she is trying to convey. Her performance is around the fact that she is an Anglo-Indian girl which met difficulties in this real world. It’s not a complicated-organized story but amazing touching. Sheila Ghelani manipulated those objects we are familiar with as a symbol or a medium. At one scene, she only applied dozens of conventional postcards with single word or simple sentence on the back to convey her viewpoint or confusion as it’s ironic that these images on postcards were supposed to show the beautiful aspect of cultures.

I am not the person who cares ethnic issues all the time. Somehow, through her naïve performing, it really attracted me to know more from her.

http://sheilaghelani.co.uk/

'QUILT 1700-2010'

2010-03-22T07:23:00.001-07:00

20, Mar, 2010
at V&A Museum

I can see a story within a quilt. The story is shown by different forms. It can be a pattern with print, embroidery, patch or dye. It may be more personal such as a quilt consists of someone’s old clothes. Or it may be totally invisible while the quilt maker stitched her hair into the quilt. The quilt is a canvas which is able to carry our myth, history, memory, dream and all the imagination.

And we are able to sleep above these, wake up above these.

extended reference:
How to Make an American Quilt (1995)
http://www.youtube.com/watch?v=Yi9f0l02Ls8

starting over

2010-03-22T06:11:00.000-07:00

I tried hard to find a proper subject for my research during this whole term. There were many bad ideas never been seen before I deleted them. However, it is starting over......

In theatre, we are used to go for finding story among roles. Nevertheless, role does not always exist or is being kept in minimum. Here I want to focus on the object theatre which is particularly lack of role within object. In other word, the intention of these performing objects is not for personification. How do these objects tell spectators a story without roles? That is the question I raised that I am going to explore.

I. There are different modes of object in performance. What are the intention and the perception of spectators while performer is choosing one of them?
§ Role
§ Practical Function
§ Landscape

II. Applying Everyday Object in Performance
§ Objects are part of people’s life, or people’s life consists of objects. What is the effect as people are familiar with these everyday objects in performance?
§ Working with found material instead of creating something from zero.
§ Portray a life or live in performance?

THEATRE WITHIN- the elements

2010-03-19T03:13:00.000-07:00

a. VISUAL IMAGES
b. SOUND
c. PHYSICAL OBJECT

These elements are allowed to involve story with them.
What is the different effect between them?

THEATRE WITHIN- a chart

2010-03-13T16:06:00.000-08:00

' This Too Shall Pass ' (Music Video)

2010-03-12T00:13:00.000-08:00

amazing way to apply everyday objects & machines building up a dramatic moment!

THEATRE WITHIN- their voices

2010-03-06T02:44:00.000-08:00

This soundtrack is what I edited from my documenatation.
How interesting these reponses are!

'Wendy's World'

2010-03-05T03:25:00.000-08:00

http://www.etienneclement.com/

4, Mar, 2010
at V&A Museum of Childhood

I went to see three exhibitions last night (what a Thursday night!). This is one of them. I saw some common ideas with my toy theatre, that's why I am interested in. Nevertheless, the artist, Etienne Clement, is doing total different thing. His work collages toy characters, set models and real landscape into final outcome, photograph. I can see the effort he aim to build this little messy world, and the great concept with conflict between childish toy and adult reality. However, I believe something is missing through the photograph. It is completely different between a photograph of object and an object. It is irreplaceable to be there, live.

' THE FOREST '

2010-02-27T03:35:00.000-08:00

' THE FOREST '
by Fevered Sleep

19, Feb, 2010
13.30 at Lilian Baylis Studio

I was fascinated by the image of forest, also by the simple objects they applied in, such as bulbs and strings. However, the most important thing inspires me a lot is that the performers were playing like children. There was no story or information needs to be conveyed. They truly played in their small forest and shared the joy with us. Especially the japanese performer, I counldn't recognize any adult vestige on her. Her smile was so convincing that can create a new world.

Of course, the kids understood them most.

THEATRE WITHIN- stage I

2010-02-25T14:42:00.000-08:00

This morning I have done my first stage in this (unknown?) project. This stage is to communicate with others and collect their thoughts and stories instead of my personal aspect.

Thanks god it didn't rain, although it did wind strongly which is not ideal for my fragile theatre.

I moved my small theatre to the field near college and rig it on the tree. After that I invited strangers passing by getting into my theatre, having a little talk with me.

At first I got frustrated due to my disability of social talks. Then it was getting better and better but still far away from I thought. Playing with spectators/participators seems easy but actually not. My intention is to lead them from my theatre to their individual stories. Nevertheless, it's hard to get in strangers' mind within a short time. In the end, from my participators, I have received some great thoughts that I see them as additional presents.

Also thanks Yen, Jinyu & LiuShan helped me with documentation and trifles.

I had great time in this small event, and I am ready to go next.

THEATRE WITHIN- stage by stage

2010-02-25T10:38:00.000-08:00

'Punctum', the concept is too personal to catch. It is a sparkle which cannot be represented. What I do is to inspired by others' punctum and create a new work which is expected to inspire more punctum. Nothing is the same but nothing is without history.

I / collect viewers' individual thoughts and stories.

II / transform and reflect it in a different way.

III / final work.

good weather limited

2010-02-24T15:32:00.000-08:00

a fetish

2010-02-22T14:36:00.000-08:00

' A fetish is a story masquerading as an object.'

(Stoller, 1985)

FETISH

2010-02-20T12:26:00.000-08:00

FETISH
* FETISHISM
* FETISHIST

- a form of behaviour in which a person derives sexual satisfaction from handling an object.
- any object that is involved in such behaviour.

- any object, activity, etc, to which one is excessively devoted.
- an object that is belived to have magical powers.

so far...

2010-02-19T15:58:00.000-08:00

Lots of people saw me working on my small theatre couples of weeks. Sometimes I am concentrated and knowing what should I do, but sometimes not. And it's not because I am not concentrated enough. (or is it?)

I have been blocked by myself many times in this project. I keep wondering what should I put in my theatre and what should my spectator meet inside. Could I figure it out in real life?

Anyway, there will be something happening on Thursday morning. It may call a 'pause' and I want to see if it can help me in some ways.

At least it will help me move on.

the first image

2010-02-14T06:46:00.000-08:00

PUNCTUM

2010-02-13T03:40:00.000-08:00

‘In this habitually unary space, occasionally (but alas all too rarely) a “detail” attracts me. I feel that its mere presence changes my reading, that I am looking at a new photograph, marked in my eyes with a higher value. This “detail” is the punctum. […] In order to perceive the punctum, no analysis would be of any use to me (but perhaps memory sometimes would, as we shall see): it suffices that the image be large enough, that I do not have to study it (this would be of no help at all), that, given right there on the page, I should receive it right here in my eyes.’ (Barther, 1993)

PUNCTUM is a term from Roland Barther as I feel amazing that it explains a lot. It is something completely individual and sometimes above all the consciousness. I realize why I am fascinated by those physical objects around me while the PUNCTUM exists within them.

Do you see what I see? If not, what do you see?

transition#

2010-02-08T13:30:00.000-08:00

I was distracted by myself last week.

I went to V&A Museum of Childhood finding some inspirations last weekend as I had no, or too much idea. While I was sitting there, trying to dig something useful from what I have got, I realize that is useless. I saw all the kids around; I found I have no interest to understand them. However, they have interest in everything around them. At that time I realize so far I kept working by my intuition or preference. How about others? The performance should be built on both performer and spectator. What do spectators like? What do they think? What is their history?

I have decided in mind what to do next.

TSCHUMI, B.

2010-02-06T13:51:00.000-08:00

'Just as there is a logic of words or of drawings, there is a logic of materials, and there are not the same. And, however much they as subverted, something ultimately resist [...] a word is not a concrete block.'

TSCHUMI, B. (1994) 'Disjunctions' in Bernard Tschumi Architecture and Disjunction, London, MIT Press. 207-214

reading list

2010-02-06T07:58:00.000-08:00

- Site-specific art / Kaye, Nick.

- Subversive expectations / Banes, Sally

- Secret life of puppets / Nelson, Victoria.

- Theatre advancing / E. Gordon Craig.
- What is architecture? : an essay on landscapes, buildings, and machines / Paul Shepheard
- Engineers of the imagination : the Welfare State handbook / edited by Tony Coult and Baz Kershaw
- Puppets, masks, and performing objects / edited by John Bell
- Art into theatre : performance interviews and documents / Nick Kaye
- Between two silences : talking with Peter Brook / edited by Dale Moffitt

under construction

2010-02-03T12:23:00.001-08:00

I am still building my theatre.
I always know what to do next.
But I don't know what to do after that.

...my mind starts to fly far far away & I wish I can keep it in my tiny theatre.

‘A DISTANCES’

2010-01-31T06:47:00.000-08:00

‘A DISTANCES’
by Les Ateliers du Spectacle

29, Jan, 2010
20 at ICA theatre

Yes, Dora and I have seen the same performances in these days without any commitment. However, we do not share the same interest or consensus that you can see from our blogs, ha.

I love this performance a lot! It is all about distance, relationship, manipulation between object and performer. I am amazed by the mechanism that they applied to make movement or sound in performance. I cannot imagine how difficult to build up this performance from zero and balance all the fragments.

Except my subjective adoration, I have found their ethos with the performing object that I missed before. They treat object as object. They do not ask object to portray a role or use object as medium. It reminds me object has a lot of aspects to explore, then, where am I going?

A Beautiful Mistake

2010-01-28T12:23:00.000-08:00

Few days ago, I wanted to check my gmail but typed in www.gamil.com by mistake. As a result, I have found something very interesting!

http://petercallesen.com/index.html
http://yukenteruyastudio.com/
(links of artists’ websites)

The concept is to use pure material, i.e. book, paper or toilet roll to create something beyond. These works are not only beautiful and well-made but also respond to the material itself.

Simple & meaningful.

Back to my work, what message I am going to present with my material?

Work & See

2010-01-27T04:36:00.000-08:00

1. building up small-scale theatre
2. designing the interior
3. developing the event

As I was finding references for my practice, I saw this one that reminds me everytime I stands on stage seeing whole auditorium, it is totally different view. Then, I thought, what if I put the audience on stage instead of in auditorium? Afterwards, what kind of event will happen in auditorium?

Anyway, I decide to go on and see.

'KEFAR NAHUM'

2010-01-26T14:22:00.000-08:00

'KEFAR NAHUM'
by Compagnie Mossoux-Bonte

23, Jan, 2010
19.45 at Barbican/ the pit theatre

Under the dim light, every object was flux and unclarity. Once I realized what it was and it was not anymore. It was too empty and shapeless as a fifty-minute-performance to me. However, I was impressed by the last image that performer put herself in the same situation as other objects.

Then, I read the programme on the way home. The story is about a God who completely messes up his own creation. All the creations were deformed or out of control as creator intended to do something. It is very interesting to discuss the relationship between creator and his creations. Every culture has its own myth of creation, while we are creating, we question the one who created us.

A philosophic question.

曾彥婷, Kappa,,

BIO

【春眠】

【公寓聯展2011- The Evening of Everything.】

【一條日光大道 Way Home 】

〈中國時報〉來看「公寓聯展」 邀你聊天吃飯

九月十四日

【洪。通。計。畫Who’s Hung Tung】

2011年下半

【雙頭鷹The Eagle With Two Heads】

小良戲劇合作社 【雙頭鷹】

無獨有偶／台北國際花卉博覽會【最美麗的花】

德國 圖賓根形體劇場《飛跳‧詠嘆調》

Dobos: 練習穿粉紅色

from London Post to Post-London

飛人集社劇團 x 東西社 【初生La Naissance】

【here she is - 張明】

SECRET CINEMA 【WEIGHTLESS】

【唉唉內含光Clair-Obscur】

【一、二、三、四 】

【here she is - ANN】演出資訊 info

【here she is - ANN】演出片段 video clip

【here she is - ANN】劇照I photograph I

【here she is - ANN】劇照II photograph II

【here she is - ANN】劇照III photograph III

2010 NOVEMBER update

大為光火

一、二、三、四

here she is - Zhang Ming over

here she is - 張明之前

here she is - 0928

here she is - 聯合報上

here she is - 0918

CLOSE TO YOU International Puppet Festival 2010

here she is - ann over

here she is - the night before private view

here she is - edm

here she is - time & venue

here she is - 0825

here she is - 0817

A SHORT LIFE OF THE ONE WHO IS ABSENT

here she is - 0813

here she is - 0812

here she is - 0807

Master Dissertation

超親密小戲節EDM 2

here she is - space at WCA

official dateline

Attempting to Describe Her

A LIFE OF MATTERS: video clip

A LIFE OF MATTERS: photos

A LIFE OF MATTERS: about the exhibition

HAVE A PICNIC - info

HAVE A PICNIC - video clip

IT SMELLS

The Matter of Presence: after cluster discussion

intermission

Memory Weaving

'SUMMER'

EYES ON HANDS

research quest

'Eurydice'

'a life of matters' -3

'a life of matters' -2

RESUME 2001-2011

作品經歷 2001-2011

'a life of matters' -1

'Supermarket Shakespeare'

after A SHORT LIFE...

LAB report- result

LAB report- aim

LAB report 3

LAB report 2

LAB report 1

A Short Life of the One Who is Absent

Does Anyone Really Work On These At The Same Time?

'Grafting & Budding'

'QUILT 1700-2010'

starting over

THEATRE WITHIN- the elements

〈中國時報〉來看「公寓聯展」邀你聊天吃飯

小良戲劇合作社【雙頭鷹】

德國圖賓根形體劇場《飛跳‧詠嘆調》

飛人集社劇團 x 東西社【初生La Naissance】

【一、二、三、四】