圓劇團X法國傑若･湯瑪士劇團Thunar Circus X Compagnie Jérôme Thomas
《手路》Main Agile
臺味馬戲與陣頭技藝的帳篷劇場
晃蕩的腳步、技藝的手路、時代的廣場、漂浪的戲場
圓劇團與法國傑若･湯瑪士劇團（Compagnie Jérôme Thomas）攜手共創全新製作《手路》Main
Agile，以民間陣頭為題，進行台南西港刈香之實地踏查與陣頭技藝學習，從「傳統技藝」取材，到「當代馬戲」的轉化創作。
行著技藝的腳步手路，在生活的時代之埕中，讓玲瓏歌聲伴隨手勢紋路，共擺出真實又虛幻的晃蕩廣場。一起隨著圓劇團的鑼鼓隊伍，踏著遊行的步伐，行著手路來到廟埕廣場的戶外帳篷舞台，作伙熱鬧，作伙看傳統腳步手路的技藝依附在有生命力的生活劇場，它與社群、文化、生活、社會具連帶關係。
身體腳步手路的動作姿態細節與形成發展別具意義，富含故事，更有深層的象徵與內涵，特別是它們與生活和生命的連結，還有因時代所產生的演變與影響。
演出地點：台北市木柵忠順廟，2022年3/24-27首演
提名第21屆【台新藝術獎】
A Tent Theater for Taiwanese Circus and Processional Troupe Dance
Roaming Footsteps, the Art of Folk Acrobatics, the Show Plaza of Our Times, and a Touring Theater Troupe
A collaboration between Thunar Circus from Taiwan and Compagnie Jérôme Thomas from France, Main Agile is based on the folk culture of thin-thau (religious processional troupes) in Taiwan. The production involved field research of the incense-offering pilgrimage of Sai-káng in Tainan and training for the techniques of thin-thau. Drawing inspiration from traditional folk arts, Main Agile creatively translates the old into contemporary circus.
Following the beaten path of traditional performance movements, a real and fictional plaza is staged to present contemporary life, accompanied by lovely singing and patterns of gestures. Come and join the gong and drum band of Thunar Circus. The parade of Main Agile will take you to an outdoor tent theater at a temple courtyard. Celebration is waiting. Let's see how the traditional performance movements are revived by the living theater and is tied to the community, culture, life and society.
The details and formation of every body movement, gait, posture, and gesture of Main Agile are meaningful and rich in stories. They also convey a depth of symbolism and connotations, as they are connected with our lives and reflect the changes and development of the times.
Premiered in March 2022 at the courtyard of the Zhongshun Temple in Mucha, Taipei City
★Nominated of “Taishin Arts Award”★
評論與迴響
★《台新ARTALKS》台新藝術獎提名觀察人：黃亞歷（04/01/2022） 俗藝輓歌
『俗藝輓歌—手路。所有舞台中象徵物，都作為從材質到生活實物之間最直白的指涉。塑膠袋的層層串接、拆離，田野乾草四散褪去，搖晃懸浮飄盪靜置。象徵不再象徵，指涉不再指涉。直喻極致竟成感傷。馬戲已忘卻技藝，也為記憶所遺忘，戲謔詼諧褪去，眷戀卻瀟灑。』
★《表演藝術評論台》專案評論人：紀慧玲（04/06/2022）再民俗的個人戲場《手路》在台北
『《手路》的創造性不僅是技藝本身的進化與研發，在「再現」民俗這個思想行為上，它擱置了創造性論述，讓位給民間模式。技藝本位重建了屬於個人的動作美感與民俗經驗，這是一個個人戲場，一個俗聖混合的表演場域，一個雜技班子浸泡於田野後，借用傳統藝陣搬演成自己的陣式。身體在空間畫布上展現，他們的腳步手路是民俗銜接的渠道，通過這條流動的河，搖搖晃晃，似假似真，敘事消失，只存在巨大的身體，與一整晚聲色光跡，成為一個當代的戲場。』
★《表演藝術評論台》專案評論人：蔡孟凱（03/26/2022）場域、場景、與場所的對話
『場域、場景、與場所的對話。《手路》之中錯縱交錯著或虛或實、古今不同的各種場景，讓這個當代馬戲創作得以觸碰庶民社會記憶的幽微處。』
★《表演藝術評論台》駐站評論人：陳正熙（04/09/2022） 漫入尾韻的台味？——評《手路》
『《手路》是新創馬戲的水準之作，表演物件本身就有其獨特性（高蹺、塑膠袋與塑膠椅凳、輪胎、腳踏車、草堆、竹板），表演者與物件的關係，也頗有創意（單腳高蹺、塑膠椅組成的華蓋、塑膠布大旗），不同表演空間（廟埕、帳篷、戲台）的轉換，不同展演型態（雜技、陣頭、歌舞、戲劇）的串連，也很流暢，特別是全場最具魔幻色彩的元素：自由混搭中西樂器、曲風的現場音樂，創造出時而神秘儼然、時而即興活潑的環境氛圍，切合《手路》創作源頭—本土民間信仰—的特色與內涵，印證劇團對「台味馬戲」的探索。』
★《表演藝術評論台》：李橋河（04/11/2022） 踩在傳統與現代之間《手路》
『兩條線揉合的困難與勉強正巧誠實而誠懇地表露出創作者對於田野踏查的反思——踩著高蹺的腳步前後晃蕩，終難平衡。是該踩著高蹺延伸身體，繼續精煉出「手路」的形狀；抑或是以高蹺作為支點擺弄身體，盡情發揮「手路」所能見到的視野？』
★《台新ARTALKS》：王鏡玲（04/14/2022）遊戲與變身--圓劇團的《手路》
『《手路》這齣戲讓觀眾在一個定居的信仰共同體場所裡，體驗一場浪跡天涯的馬戲特技與民俗混體。這齣戲有流浪馬戲班的演員自我回溯，也有主持人既交陪又疏離的角色曖昧，有歡笑、有哀傷、有驀然回首，陌生的邊緣流浪者和社區信仰共同體，既交陪又疏離。』
★《台新ARTALKS》：李昱伶（04/18/2022）火車載我們去到邊界被消融的地方
『火車火車，汝欲對佗去? 載我們去到有神的地方，這次靠站的地方是忠順廟的廟埕。在這裡審美品味沒有階級高低，在神的面前我們都是愛玩的人，馬戲是眾人同樂的遊戲。』
★《PAR表演藝術雜誌》評論人：林立雄( 346期 / 2022年05月號 / 頁94-97) 歡愉狂喜下的悲觀主義，從《悲傷ㄟ曼波》到《手路》的台味馬戲美學
『自傳統技藝中提精煉神，不需要全然倚靠傳統的馬戲道具…..，而是從在地、常民生活中找尋馬戲，闢出一條獨一無二且可行的當代馬戲之路』
★《國藝會線上誌》：吳岳霖（05/12/2022）在「再現民俗」與「創造馬戲」之間：林正宗的馬戲手路進行中
『創造與開發「屬於台灣的當代馬戲」，或多或少也是關乎「找尋台灣身體的焦慮」。於是，圓劇團「回溯台灣民俗」、「尋找傳統祭儀裡的雜技身體」的做法在馬戲有其特色』
★《PAR表演藝術雜誌》：Stella Tsai ( 346期 / 2022年05月號 ) 林正宗Ｘ林宜瑾從地方民俗提取創作的身體
Reviews and Feedback
★ The Taishin Arts Award Nominators:
Main Agile not only pioneers in creating impressive and powerful physical expression for both circus and dance
theater but connects with the common grass-root experiences of rural live concerts and outdoor theater. The
production introduced circus/dance theater into atypical space and condensed half a century's development of
folk culture, offering engagement, spectacles and entertainment. With a simple and metaphorical narrative,
this hauntingly brilliant show has created unique physical scenarios and musical imagery.
★ CHI Hui-Ling, Critic of Performing Arts Review（04/06/2022）
Using space like a canvas and bodies like brush, the performance movements channeled the energy of folk arts.
The show is like a wavering river which blurs reality and fiction. A contemporary theater was achieved when
narrative was removed, leaving only an evening of merriment and a giant physical presence.
★ CAI Meng-Kai, Critic of Performing Arts Review（03/26/2022）
A dialogue with the space, scenario and venue. Main Agile juxtaposed various scenes of reality/fiction as well
as past/present. Therefore, this production of contemporary circus addressed the nuances of the collective
memories of folk society.
★ CHEN Zheng-Xi, Critic of Performing Arts Review（04/09/2022）
A top-notch work of new circus theater.
★ LI Qiao-He, Critic of Performing Arts Review（04/11/2022）
The expressions, inquiries and attempts made through traditional form and objects are fascinating and full of
tension. They profoundly reflected the creators' exploration of and reflection on the dynamics of modern
forms.
★ WANG Jing-Ling, Professor of the Aletheia University (04/14/2022）
Main Agile offered the audience a mixed experience of circus and folk acrobatics. The show took them on a
nomad's journey in a venue belonged to a settled community of faith.
★ LIN Li-Hsiung, Critic, PAR magazine Issue 346, May, 2022
Drawing the spirits from folk arts while avoiding total reliance on traditional circus props...the show finds
an unique and viable path for contemporary circus by sourcing circus elements from local and everyday life.
★ WU Yue-Lin, NCAFe
Main Agile also adopted a setting which is half circus tent and half traditional ceremonial canopy, implying
the show was half circus and half folk acrobatics.
★ JIANG, Zhao-Lun, Journalist of Central Broadcasting Station（03/22/2022）
A combination of processional troupes and Taiwanese style circus. "Traditional acrobatics were the true circus
of Taiwan." said LIN Cheng-tsung.
Artistic Consultant｜Jérôme THOMAS
Jérôme THOMAS, the famous master of French contemporary circus, is the founder of founder of the first
festival of contemporary, improvised juggling: Dans la Jongle des Villes. He is the artistic director of ARMO
(research workshop in object manipulation) / the Jérôme Thomas Company.
In 2003 he received the SACD (Society of Dramatic Authors and Composers) prize for Circus Arts and was elected
Administrator for the Circus Arts at the SACD in 2009 and 2015.
Compagnie Jérôme Thomas was created in Bourgogne in 1992. Its creations and self-created performance training
system by artistic director Jérôme THOMAS have had a strong influence on the development of juggling around
the world.
Jérôme THOMAS established a training method called cubic juggling which in many ways created the poetic body
of the actor, and focused on how the body engage in juggling, liberating the circus body to be versatile. He
anticipates the communication and interconnection between contemporary circus, body, space, and object and
seeks to find the creative and expression forms for contemporary circus.
https://www.jerome-thomas.fr/
製作團隊：
導演：林正宗
藝術顧問：Jérôme Thomas
研究顧問/題字：龔卓軍
馬戲設計：Jérôme Thomas
馬戲設計助理：Valentin Lechat
音樂設計與演出：黃思農、曾韻方
空間與裝置設計：王鼎曄、林正宗
燈光設計：黃俊諺
舞蹈設計：林廷緒
服裝設計：蔡浩天
道具設計與製作：林正宗、Jérôme Thomas 、胡閏翔、林建成、學甲南台灣第一團穎川高蹺陣
演員：林文尹、林乘寬、崔哲仁、李承漢、黃超銘、杜偉誠、陳佳盈
戲劇表演指導：林文尹
舞台技術總監：張景翔
排練助理：徐岳緯
空間與裝置設計助理：黃淑蓮
文宣設計：羅文岑
製作人：陳怡伶
製作推廣：王序平
執行製作：羅苡榕
行銷宣傳：何穎昭、周經倫
妝髮執行：石蕙瑄
宣傳影片：南洄映画、張景泓
影像紀錄：穀雨展演協創
演出現場劇照：陳長志
排練劇照：陳穎
音響設備執行：陳宇謙 、趙之耀
舞台技術助理：張世諭 、汪亦瑜、 曾詩涵
燈光技術指導：郭欣怡
燈光技術：林致謙
燈光器材公司：聚光工作坊
聚光技術支援：王繹景、 游立夫、 賴進興
法文翻譯：王世偉
Production Team (Premier)
Artistic Consultant: Jérôme THOMAS
Research Consultant/ Calligraphy: GONG Jow-Jiun
Director: LIN Cheng-Tsung
Circus Design: Jérôme THOMAS
Circus Design Assistant: Valentin LECHAT
Music Design & Musicians: HUANG Snow, TSENG Yun-Fang
Space and Installation Design: WANG Ding-Yeh, LIN Cheng-Tsung
Lighting Design: HUANG Chun-Yen
Choreographer: LIN Ting-Syu
Costume Design: TSAI Hao-Tien
Prop Design and Making: LIN Cheng-Tsung, Jérôme THOMAS, HU Jun-Hsiang、LIN Jian-Cheng, Yingchuan Xuejia Jhong
Jhou Stilt-walking Formation Group
Performers: LIN Wen-Yin, James Neil TROY, LI Cheng-Han, LIN Cheng-Kuan, HUANG Chao-Ming, TU Wei-Chang, CHEN
Chia-Ying
Theater Performance Instructor: LIN Wen-Yin
Stage Manager: CHANG Ching-Hsiang
Rehearsal Assistant: HSU Yue-Wei
Space and Installation Design: WONG Shu-Lian
Marketing Material Designer: LO Mirr
Producer: CHEN Yi-Ling
Production Promotion: WANG Hsu-Ping
Executive Producer: LO Yi-Jung
Marketing: CHOU Ching-Lun
Hair & Makeup: SHIH Hui-Shiuan
Promotional Video: SouthLink Film, JHANG Jing-Hong
Documentary: GRain Studio
Live Performance Photography: CHEN Chang-Chih
Rehearsal Photography: CHEN Yin
Head of Lighting: KUO Hsin-I
French Translation: WANG Shih-Wei
影音連結:
1.《手路》宣傳片
2.
精華版
3.
完整影片
4.
圓劇團的馬戲人生
5.
「逗陣來交陪」臺南陣頭踏查與技藝學習
6.
Jérôme Thomas 講《手路》