2019 《悲傷ㄟ曼波》 Melancholic Mambo

〝弄鐃〞田野調查 × 馬戲創作演出 × 錄像藝術展覽 × 台式帳篷的搖擺曼波

「弄鐃」是台灣民間喪葬儀式裡的雜技性表演，也是最傳統的儀式性雜技表演。它像悲傷的舞蹈般，在喪事的場合裡扮演一種調節與昇華的功能，調劑著悲與喜，也像馬戲團一樣能在黯淡的生活中帶來詩意的歡樂。我們笑看著世俗與慾望並幽默的嘲諷與面對生命中的殘酷與消沉，就像弄鐃中的雜技身體與鐃鈸物件，試著擺渡著集體的悲傷從沉重的此岸到達搖擺曼波的輕盈彼岸。
圓劇團以一年的田野調查、研究、技藝學習與創作，從逐漸消逝的弄鐃文化中，探索出一種具傳統性又具當代性的馬戲身體與作品。

Nong Nao Field Research X Circus Creation X Video Art Exhibition X Taiwanese Tent

Nong Nao is an acrobatic performance displayed as part of Taiwan’s traditional funeral rites. It is also the oldest ceremonial acrobatic performances. Like a dance of grief, it plays a role of harmonization and sublimation at occasions of mourning. Grief and happiness would be balanced by it. Nong Nao , as circus works, brings poetic joy to difficult times . It allows us to look at the worldliness and desire straight, and face the cruelties and despondency in life with a sense of humor.. Nong Nao’s acrobatic displays and its use of crotales (a small cymbal) is an attempt to ferry collective sorrow from this shore of heaviness and darkness to a shore beyond where it can be released into light, freedom, and dance.
Engaged in one year of field surveys, research, artistic learning, and creative works, Thunar Circus has come to develop, through the fading Nong Nao cultural tradition, a circus body and associated works complete with both traditional and modern elements.

演出地點：國家兩廳院戲劇院生活廣場（愛國東路側）戶外帳篷劇場

評論與迴響

★雲門舞集 藝術總監-林懷民（07/08/2019）
『沒有故事，但感覺很親切，這裡面像是個馬戲，又像是在路邊演出的王祿仙(江湖賣藥賣藝者)我感覺很感動、很有趣』

★《最近在台灣最有趣的演出節目》 日本導演-流山兒祥Show Ryuzanji （07/25/2019）
『當代馬戲：雜耍+舞踏(舞蹈)+些許的滑稽劇場藝術。喪葬儀式。民間信仰「弄鐃」儀式。』

★台北藝術大學教授、戲劇學者-邱坤良
『我極欣賞導演的創作理念與排演方法，能善用稀罕的民俗信仰，轉換成動人的當代藝術』★《表演藝術評論台》專案評論人：紀慧玲（07/12/2019）
『表演與生活如此貼近，不僅是生與死的距離，更是傳統與當代的距離。一場土俑百戲，無言歡歌，如此迷盪人心，度脫悲喜。流動的演出現場遍置各種訊息：生與死、悲與喜、冷與熱、物與偶、靈與人、美與醜、靜與動、暗與亮、觀與演、新與舊、內與外，幾乎全是二元性的對立元素共時性地並置，彼此連接、錯位、合置、共融、轉化，呈現一種無法定著或者定義的時刻。』

★《表演藝術評論台》專案評論人：羅倩（07/13/2019）
『演出裡頭並沒有真正的死亡發生，儀式表演轉換成表演藝術的舞台，是否還保有其中的神聖性或是淨化功能？我們是否還有共同的信仰來支撐觀看？或是對遺失許久的文化在記憶中的再次複習？就像林正宗試圖透過《悲傷ㄟ曼波》為我們找回來的文化記憶。』

★《表演藝術評論台》專案評論人：蔡孟凱（07/15/2019）
『將原本的儀式過程以戲劇手法包裝得歡樂愉快而娛樂十足，表面似乎是為了挑戰悲喜情緒的界線，提供面對生死的另一種觀點與關懷。然而，《悲傷ㄟ曼波》所流轉出的意涵可能更加驚心。』

★《PAR表演藝術雜誌》 320 期 / 2019年08月號，評論人：林立雄:
『看著精采的弄鐃或演員纏繞扭曲的肢體，隨著音樂輕輕搖晃，勾起誰的回憶又或是誰的傷悲或許不重要，但在科儀的重現與演員的糾纏中，似乎可以看見自我與悲傷的難分難捨，在輕輕搖晃、癡癡傻笑後，觀眾終究得走出劇場(或祭場)，面對自己剩餘的人生。』

Reviews and Feeback

★Lin, Hwai-Min Cloud Gate Dance Theatre Artistic Director,(07/08/2019)
‘It is an accessible non-narrative production. It is like a circus show, also like a street vendor performance. I find it very touching and fascinating.’

★‘The most fun show in Taiwan recently’. Show Ryuzanji, Japanese Stage Director (07/25/2019)


★Qiu, Kun-Liang Professor of Taipei National University of Arts
‘I appreciate Lin’s ideas and methods of art-making. He smoothly transforms the rare folk beliefs to moving contemporary arts.’

★Chi, Hui-Ling Critic of Performing Arts Review (07/12/2019)
‘This performance is so close to life. It not only shortens the distance between life and death, also the tradition and modern. It is simple but with a lot of messages at the same time: life and death, sorrow and joy, cold and hot, object and puppet, soul and human beings, beauty and ugliness, stillness and movement, darkness and brightness, viewing and playing, new and old, inside and outside. They are almost all binary opposite elements being juxtaposed in a synchronic manner. The connection, dislocation, coordination, communion, and transformation between them present some not fixed or undefinable moments.’
v ★Luo, Qian Critic of Performing Arts Review (07/13/2019)
‘There is no death scene in the show. Funeral rites are staged as a performance. Do the sanctity and the purifying function still retain? Do we have shared belief to watch it? Or do we review the long-lost culture in our memories as what Lin tries to recall in Melancholic Mambo?’

★Cai, Meng-Kai Critic of Performing Arts Review (07/15/2019)
‘The original ritual process is wrapped in dramatic ways to be happy and entertaining. It appears to challenge the boundary of sadness and joy, and offers another perspective regarding life and death. What Melancholic Mambo achieves, however, might be more alarming.’

★Lin, Li-Hsiung Critic, PAR magazine Issue 320, August, 2019
‘As looking at fantastic Nong Nao or the twined and twisted bodies in front of our eyes, we move gently with the music. It may not important that whose memory or sadness being triggered by the performance. Yet in this representation of funeral rites and performers’ entanglement, the difficulty of separating oneself and his sorrow seems to be reflected. The audiences might still have to be face their own lives after gently moving with the music, giggling in the show and walking out the theatre (or funeral ceremony).’

製作團隊：

藝術顧問：邱坤良
喪葬科儀顧問：楊士賢
戲劇構作：周伶芝
導演：林正宗
錄像展覽創作：陳長志
舞蹈設計：黃懷德
馬戲動作設計：張國韋
現場音樂暨聲音設計：黃思農、曾韻方
燈光設計：江佶洋
服裝設計：蔡浩天
舞台空間設計： 新興糊紙文化
鐃鈸設計：林午銅鑼、詹介卿
道具設計：詹介卿、彰化永靖詹家民俗特技團、桃園許厝港許家班振德壇
舞台監督：張景翔
視覺設計：羅文岑
演出人員：林文尹、温其偉、林乘寬、郭爵愷、許偉倫、許偉翔（桃園許厝港許家班振德壇）
劇照：陳長志、林育全
錄影紀錄：Amandine Dubois

Production Team （Premiered）

Art Consultant｜Kun liang Qiu
Traditional Folk Funeral Rites Consultant｜Shi xia Yang
Dramaturge｜Ling Chih Chow
Director｜Cheng-Tsung Lin
Video Art Creation｜Chang Chih Chen
Dance Design｜Huai Te Huang
Acrobatics Design｜ Kuo Wei Chang
Music Designer and Live Music｜Snow Huang（S Zenung Huang）、Yun Fang Tseng
Lighting Designer｜Chi Yang Chiang Costume
Design：Hao Tien Tsai
Space Design｜ Hsin Hsin Joss Paper
Crotales Design｜LinWuTongLuo（Gong）、Jie Qing Zhan
Props Design｜Jie Qing Zhan、彰化永靖詹家民俗特技團、桃園許厝港許家班振德壇
Stage Manager｜Ching- Hsiang CHANG
Visual Designer｜Mirr Lo
Producer｜Ying Lv Wang
Circus Actor｜Wen Yin Lin、Chi Wei Wen、Chen Kuan Lin、Chueh Kai Kuo、Wei Lun Hu、Wei Xiang Hu
Stage Photo｜Chang Chih Chen、Yu Quan Lin Video recording｜Amandine Dubois