无舟 No Boat

Experimental theatre

这是一部关于“小男孩”在现代生活中试图寻找自己所处的“位置”的旅程。他听了关于古老的文化,船只和自然的传说。某一天,他看到老人们正在下象棋,他被游戏的世界所牵引,他进入游戏中寻找关于他的世界根源。

游戏中有一条母亲河,河的两岸生存着大量的人类,他们通过船只互通有无,文明在此得以发展,后来左岸的山渐渐秃了,土地渐渐⼲涸,在城市之下形成了沙漠。右岸看着左岸的⼟地渐渐枯竭,城市越来越强大,害怕他们有一天过河侵袭,便也渐渐不与来往。于此,只有每年对母亲河的祭祀,两岸⼈民才会聚集在岸边,却从来不会横渡。隔岸相望, 倾听祭祀关于祖先的、对岸的传说,可始终什么也看不见……

为什么会发生如此的巨变,他面对着两个岛屿的传说,想象着河流与舟的历史以及现在所生活的世界,他渐渐长大,变成了年轻人,他也通过自己看到了祖先的模样。他被河对岸的自然和传统所吸引。最终,他试图放下曾被教导的,在爱的呼吁下,跟随自己的愿望,打捞河底的东西,并去向河的对岸,可是在过河的时候,河水越来越湍急,他的双脚陷入河底的泥土,水流渐渐的淹没他的身体,此刻,许多花从河底泛出,从下游飘向上游。

This is a journey about the “little boy” trying to find his “place” in modern life. He listened to legends about ancient culture, ships and nature. One day, he saw old people playing chess. He was led by the game world, and he entered the game to find the root of his world.

There is a mother river in the game. A large number of humans live on both sides of the river. They communicate with each other through ships, and civilization develops here. Later, the mountains on the left bank gradually became bald, the land gradually dried up, and a desert was formed under the city. From the right bank, watching the land on the left bank gradually dry up, and the city is getting stronger and stronger, fearing that they will cross the river and invade one day, they will gradually lose contact with each other. Here, only the annual sacrifice to the Mother River will people on both sides of the strait gather on the shore, but never cross it. Looking across the bank, listening to the sacrificial ancestors, the legend of the other bank, but still can’t see anything…

Why did such a huge change happen? He faced the legend of two islands, imagined the history of rivers and boats and the world he lives in now. He gradually grew up and became a young man. He also saw his ancestors through himself. appearance. He was attracted by the nature and traditions across the river. In the end, he tried to let go of what he had been taught. Under the appeal of love, he followed his own desire to salvage the things at the bottom of the river and go to the other side of the river. But when he crossed the river, the river became more and more turbulent, and his feet In the mud at the bottom of the river, the water gradually flooded his body. At this moment, many flowers appeared from the bottom of the river and floated from the downstream to the upstream.

编剧(Screenwriter):佐藤信 Makoto Satō
导演(Director):程文明 Wenming Cheng
演员(Performer):王瑾 Jin Wang 赵丹若 Danruo Zhao 孙梦瑶 Mengyao Sun 唐子皓 Zihao Tang 周倜 Ti Zhou
制作人(Producer):李国杰 Jieguo Li
执行制作(Executive production):胡冰玉 Ariel
舞美设计(Stage design):Jeroen Verschoor
服装造型设计(Costume design):刘大珩 Daheng Liu
灯光设计(Lighting design):王淑臻 Shuzhen Wang
声音设计(Sound Design):黄小秋 Xiaoqiu Huang

摄影(Photography):海淀阑尾

肉身映像 Flesh Reflection

*作品与媒体艺术家苏永健联合创作

尺寸:可变
年代:2021
材质:金属、橡胶、软管、电子元件、感温变色材料、传感器

生物技术和计算机的共塑使人类迈进了全新的进化阶段,我们终将迎来一个由生物改造带来的生死界限模糊的境地;由技术种植带来的人机边界混淆的境地;由现实身份与虚拟身份共生带来的身体主体性不明确和感知缺失的境地。

作品由人造机体装置和传感器套装组成,在展演现场,穿戴者身体运动、情绪和生理反应的细微变化经由传感器模块进行精准感知,进而触发装置及整个空间场域反馈带有肉身意象的机械动态、声音和影像予以回应。此刻,人造机体装置、空间环境与人类肉身之间达成了某种感知共振,它们在某种程度上既作为肉身感知维度的延伸介质,也成为了反观自我身体的映像。

消散具身的技术在作品中被转化为重塑身体感知的媒介,以此对后人类语境下身体他治(dependented body)与离身性(disembodiment)的局面进行博弈和试问:技术是否有可能将人类濒临缺失的物性身体和肉身体验重新返还并再度唤醒?



Dimension: Variable
Year: 2021
Material: Metal, rubber, hose, electronic components, heat


discoloration material, sensorsThe co-molding of biotechnology and computers has brought mankind into a new stage of evolution. We will eventually usher in a situation that the boundary between life and death is blurred by biological technology; the boundary between human and machine brought by technological planting is confused; the body’s subjectivity is not clear and the perception is lacking due to the symbiosis of real and virtual identities.

The work consists of an artificial organism installation and a sensor garment. At the exhibition, the subtle changes in the wearer’s body movements, emotion and physiological reactions are accurately sensed by the sensor module, which then triggers the installation and the entire spatial field to feedback mechanical dynamics, sound, and video. At this moment, a certain perceptual resonance has been reached between the artificial organism installation, the space environment and the human body. To a certain extent, they both serve as the extension medium of the physical perception dimension, and also become the reflection of the self-body.

The technology of dissipating embodied is transformed into a medium for reshaping the perception of the body, in order to game and question the situation of dependented body and disembodiment in the post-human context: If smart technology brings human beings on the verge of missing physical body and flesh experience return to it and wake up again?

「特别鸣谢」”Special thanks”

摄影团队(Photography team):Accio 19 Studio
导演(Director):舒莉 Sukki Shu
摄像(Photography):舒莉 Sukki Shu 陶特斯 Tesi Tao
灯光(Lighting):黄玮 Eden Huang
剪辑(Editor):蒋维 Wei Jiang
制片(Producer):洪慕仪 Monnie Hong

​声音设计(Sound Design):谢意浓 Yinong Xie
创作助理(Creative Assistant):王大富 Aimo Wong

画皮·归尘 Painted Skin· Return

Physical Theatre

CAST: Xinran Shi, Haisheng Chen, Pengfei Tan, Danting Huang, Sumi Me

PRODUCER: Jiaxuan He, Hailian Zhu, Haisheng Chen

DIRECTOR: Hailian Zhu

COMPOSER: Gianni Barros, Cheung Ching Yi

CHOREOGRAPH: Xinran Shi

COSTUME & MAKEUP DESIGN: Daheng Liu

COSTUME MAKING: Daheng Liu, Danshu Zhao

LIGHTING DESIGN: Cheung Ching Yi

STAGE MANAGEMENT: Anxiao Yang

PHOTOGRAPH & VIDEO: Bocheng Liu