聚光燈下【王嘉明的親愛人生】
In the Spotlight: WANG Chia-Ming’s Dear Life
「莎士比亞的妹妹們的劇場」導演王嘉明的作品《親愛的人生》，接受巴黎秋季藝術節總監瑪麗．科林Marie Collin的邀請，於2019年前進巴黎演出，這也是秋天藝術節48年歷史以來，第一次有台灣人登上這國際級的舞台。
王嘉明以諾貝爾文學獎孟若的同名小說《親愛的人生》為靈感與創作精神，重新編寫四個在桃園的短篇故事，將鐵皮屋、乩童文化、布袋戲等濃濃「台」味帶進法國。
四個短篇，數十個人生酸苦，Marie Collin認為，作品本身已經超越了文化語言的限制、觸及人類的普世議題，從情愛、衰老到生死，「人生就是這樣子」。
Theatrical director WANG Chia-Ming of Shakespeare Wild Sisters Group was invited by creative director, Marie Colin, to perform his show Dear Life the at the Festival d’Autome à Paris. The breakthrough 2019 performance marked the first time in 48 years of the Festival d’Autome à Paris that a Taiwanese artist was invited to step onto this global stage.
WANG Chia-Ming looked to Dear Life a short story written by Alice Munro, a Nobel Laureate in Literature, as creative inspiration for his latest work where he adapts the novel to tell four short stories set in Taoyuan, Taiwan. The piece introduced unique aspects of Taiwanese culture, including galvanized iron houses, Jitong spiritual mediums, and puppetry to French audiences.
The four short stories describe trials and tribulations in the lives of dozens of people. Marie Colin believes that the piece inherently transcends linguistic and cultural barriers by touching on humanity and universal values; and whether in terms of love, aging, or death, "C'est la vie."
創作這件事 【拚場．建廟】
The Creative Path : Building a Temple with Piànn-tiûnn
「起醮」是台灣廟宇文化中建廟的開端，拚場團隊以此為名，開啟轉型正義主題系列第一個作品，紀念台灣在解嚴前後，爭取民主自由的六位自焚者。
藝術家在展廳內以鷹架搭建一個類似金爐的巨型建物，一片漆黑中僅見紅色綠色的微弱燈光，宛如進入異空間。一位舞者在黑暗中漫舞，彷彿自焚者遺族在此與已逝先人對話。
李文政說，「這個展覽最重要的目標之一，是有關於你如何做一個自由人，一群人如何用他們的生命去抵抗政府和國家的權威。」
「起醮」是台灣廟宇文化中建廟的開端，拚場團隊以此為名，開啟轉型正義主題系列第一個作品，紀念台灣在解嚴前後，爭取民主自由的六位自焚者。
藝術家在展廳內以鷹架搭建一個類似金爐的巨型建物，一片漆黑中僅見紅色綠色的微弱燈光，宛如進入異空間。一位舞者在黑暗中漫舞，彷彿自焚者遺族在此與已逝先人對話。
李文政說，「這個展覽最重要的目標之一，是有關於你如何做一個自由人，一群人如何用他們的生命去抵抗政府和國家的權威。」
Khí-tsiò is a ceremony in Taiwanese temple culture performed to begin consecration of a temple. Piànn-tiûnn used this title to inspire, Khí-tsiò, the first in a series of work about Transitional Justice to commemorate six martyrs who immolated themselves in the fight for democratic freedoms after the lifting of Martial Law.
The artists used scaffolding to build a giant architectural structure inside the exhibition hall. The structure resembles an incense burner; illuminating the darkness with faint red and green lights that transport audiences to a different dimension. A lone performer dancing slowly in the darkness evokes a conversation between the immolated martyrs and survivors of the deceased.
According to LEE Wen-Chung, “A major goal was to consider how you conduct yourself as one who interprets freedom; and how these men gave their lives to fight back against the authority of their country and government.”