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節目名稱 帷幕之後:2018表演藝術直播藝術季
展演團隊 再一次拒絕長大劇團
展演類型 網路直播
請按時鎖定「玩聚場粉絲專頁」
節目介紹在演出與演出之間的空隙,步下舞台的表演藝術工作者、獨立音樂人究竟過著怎樣的生活?一首歌背後可能有多少故事?一段改變劇場史的獨白如何在街頭巷弄真實上演?
本次第一屆表演藝術直播藝術季,將以「直擊幕後」為主軸,一場場的「直播」節目,將由表演者來談談自身創作與自己生活城市的聯繫、記憶的分享:練團室裡音箱的狂飆轟鳴,地下偶像突擊里民卡啦OK,馬路邊的莎士比亞或旅館房間裡的讀劇,過勞過激而存款過少的腦內爆炸⋯⋯我們將用雲端作為舞台,在2018年9月8日-16日之間,每天不定時演出。歡迎在藝術節粉專按下「追蹤」,參與發生在虛擬世界上演的藝術節吧!
#單元一:全民佔領空總電台
單元統籌/主持人:余永寬×黃大旺
A.〈我為你點歌〉9/15 (六)15:00~17:00 聯合餐廳展演空間 二樓
B.〈空軍總部卡拉OK〉9/16 (日)15:30~17:30 中正堂
演出:大安區全體里民、余永寬、黃大旺等(陸續邀請中)
有些耳熟能詳的老歌,它們無私陪伴著聽眾成長,但其實我們對這些歌所知甚少⋯⋯人類真是太絕情了⋯⋯本節目將透過主持人豐富的流行文化知識,引介庶民音樂、次文化音樂與時代記憶的連結,稍稍解開它們的身世之謎。並開放民眾及網友報名,不論你要點歌給你的良心到底在哪裡的前男友、想問天問大地的曖昧對象、是誰在敲打我窗的郵差先生,歡迎貼文留言讓社群媒體的使用回到舊日的電台時光。
另一天在假日午後的放風時間,讓我們打開當地里民、外籍看護及勞工的點歌本,欣賞螢幕上外國神秘女郎不知所出但很chill的各種姿勢,尋找隱藏在巷弄之間的民間美聲⋯⋯什麼這不就是傳說中的Daan District’s Got Talent嗎?
#單元二:怒之傷秋練團夜
單元統籌/主持人:小樹
A.〈暴女與吠陀的邪典約會〉高小糕×鹿比吠陀 9/14 (五)19:30-21:00
B.〈一頁愁城,或愁城一夜〉無妄合作社×共犯結構 9/13(四) 20:00-21:30
C.〈台北製造:Beatmakers的節拍放送〉Beatmakers Taipei 9/16(日) 19:30-21:30 聯合餐廳展演空間2樓
暗暝就是要練團呀,不然要幹嘛?好啦還可以暢喝暢聊說一些隔天不會記得的那些____。
本單元將著重在台灣獨立音樂場境的介紹——致力於東亞龐克串連的「愁城」,從發行自己的小誌,到與東亞大笨蛋們一起實踐用喝酒打敗資本主義(咦還沒有打敗的樣子);搖滾怒女高小糕與暗黑魔女鹿比吠陀,風格迥異的兩人迷幻樂音下的深夜塔羅漫談瑜伽;再到近年台灣電音場景的重要創造者Beatmakers Taipei如何帶起將眾潛力股們重新混音的帥宅風潮。
我們將透過本單元展現這三組真性情的音樂人,音樂絕不只有什麼台下十年工的練團、錄音然後上台表演的線性生產或技術精進,它還是在杯觥交錯中人與人情感的聯繫,革命同志交換生活、創作與記憶的方式!
#單元三:路邊家裡讀劇連發
A.〈旅館裡的午後雷陣雨,簡稱雷雨〉9/9(日) 13:30-15:30
統籌/主持人:陳雅柔
演員:梁晧嵐、廖原慶、賴玟君、鮑奕安、蘇志翔
讀本:〈雷雨〉
B.〈馬路邊的獨白專送〉9/10(一) 11:30-13:00
統籌/主持人:陶維均
演員:王肇陽、胡書綿、黃士勛、賀湘儀、鄭尹真
選讀:不分區經典獨白
C.〈夢蘭嬌的閨房讀劇〉9/9(日) 21:00-22:30
統籌/主持人:陶維均
導演:夢蘭嬌
演員:達康.com、哈利
選讀:〈約翰與喬〉、〈降E大調〉、〈備忘錄〉
有一些我們聽說過卻沒認真讀過的經典劇本,本單元是想起它們的好時機!來參加的演員都是劇場勇士,他們挺身而出,打造史上最輕薄的第四面牆,which is 你的螢幕玻璃。
讓我們走進旅館房間,看女演員們扮演少男少爺董事長,而男演員們如何詮釋嗆辣後母俏丫鬟(他們等很久了);以及劇場傳奇夢蘭嬌如何貼身指導閨房愛情喜劇;還有不分區嚴選經典獨白大挑戰,大口吸馬路邊的廢氣,看吐出來的莎翁劇本是否還一樣芳香。這是賭上職業生涯的直播,搭配溫馨且深入淺出的經典導覽旁白~
#單元四:劇場幕後直擊
A.〈前線演員的人生切片I:又仁 X 蔡佾玲〉
主持 X 對談:又仁 X 蔡佾玲
時間:9月12日 20:00-21:30
B.〈前線演員的人生切片II:王安琪X楊子儀〉
主持X對談:王安琪、楊子儀
時間:9月15日 20:00-21:30
C.〈十二星座的劇場生存術〉9/8(六)22:10-23:40
統籌/主持人:陳雅柔
星座達人:鄒欣寧
星代表:鮑奕安(牡羊)、馮琪鈞(金牛)、蔡佾玲(雙子)、黃郁晴(巨)、
趙逸嵐(獅子)、陳星合(處女)、李銘宸(天枰)、劉彥成(天蠍)、
陳汗青(射手)、廖原慶(摩羯)、楊乃璇(水瓶)、朱倩儀(雙魚)
「我為你付出的~青春 那麼多年
卻換來一句 這~裡回收問卷」
你以為劇場只有幕和黑膠地板是黑的嗎?下了舞台,劇場工作者的心中是否還有spot light?
本單元有劇場女演員王安琪、蔡佾玲、楊子儀,接力帶領你走訪街區,分享屬於他們的私人景點,包括隱身於巷弄間的排練場、小吃,以及身為演員生活中酸甜苦辣的點點滴滴;也有深夜限定的十二星座代表現身,拿出真心讓酒精泡一泡,看能否回到最純潔的起點(咳),附送占星行家精闢吐槽與人生開導,什麼shot來個3回合之後會發生什麼事情,嗯其實主辦單位也還不知道。
策劃單位|再拒劇團
節目協同策劃|(按單元排序)余永寬、黃大旺、陳弘樹、陳雅柔
單元主持人|(按單元排序)余永寬、黃大旺、陳弘樹、陳雅柔、陶維均
直播攝影 |王玫心
節目統籌|黃思農
行政總監 |黃亭瑋
劇團行政 |鮑奕安
文 案 |陳雅柔
美 編 |關曉祺
C-LAB Radio Live Streaming Arts Festival
Against-Again Troupe
2018/9/8-9/16 live
This is a continuously artistic guerrilla action, under the theme of ""the live coverage of the backstage of performing art."" The speakers are roaring in the jamming room, the talk show in our daily life, and the script-reading on the grass. The Cloud is the stage, and the social media online streaming homepage is the platform. We will randomly start the online streaming from September 8th to 16th, 2018. Click the “follow” button, you can be one of the participants of the TAF Online Streaming Arts Festival at home in the virtual world. The result of all these artworks are not what we care about, but the process of them. All the practices, seminars, lectures performances, rehearsals, and projects that are under “Work in Progress” could be a platform for TAF neighbours and youngsters in front of laptops, to share their lives and memories. Rather than a digitalised presentation of performance, literature or arts, it is a form that utilised by performers and creators. Through online streaming, performers and creators can connect their artworks with space as well as the city they live in.
One: People’s C-LAB radio
a. “Retro” People’s Karaoke
b. Who know’s DJ’s bittersweetness
Two: Read for You, Play for You
Three: The Fury of Summer Night Rock’n’Roll
Four: Script-reading Marathon
Five: The Secret of Theatre Backstage
Six: The Criticism of the Creation of Criticism
Company Intro
"Against-Again Troupe was founded in 2002 in Taiwan by a group of theatre practitioners coming from diverse artistic backgrounds. Our productions range from theatre, musical performances, to exhibitions and small-scale performance festivals. Major works lie in the field of site-specific theatre, music theatre and performance poetry, implementing objects, sound, and multimedia to create performance pieces infused with collage, repetition, alienation, and non-narrative text. A large portion of our work is socially conscious and issue-related. Through art we attempt to examine the human condition in our age of globalization, in regards to class, gender, identity and survival.
The literal translation of AAT's mandarin name - zai yi tsi ju jue zhang da - is ""to refuse, once again, to grow up."" The archetype of the child-god is found in many Asian mythologies from China to India. In Taiwanese folk religion, Nezha is the child-trickster, embodying destruction and noted for his stories of violence and patricide. We believe that the ephemeral act of theatre is akin to the anger of Nezha, inclined to disrupt our habits of sensory perception, and to be the eternal child, forever walking between the lines of death and rebirth.
The recent works of AAT are focused on experimentation with space, objects and sound. Our biennial Apartment Showcase transforms the compact living quarters of urban capitalist Asia into a space for site-specific theatre and a playground for experimenting with performer/spectator relations. Kuroshio and Götterdämmerung are collaborative works of music theatre, redefining the execution of actions as performance and channeling the performative qualities of sound, objects and music. All that's left to happen is some deaths (my own included), created in 2012, is a performance without actors, as well as a series of ventures into the concept of micro-theatre, constantly reinventing itself as it travels through alternative venues from Taipei, Taichung, to Macau and to the World Stage Design festival in Cardiff. The same year, American Dream Factory, was performed at Festival Tokyo (F/T). Through ten scenes of interwoven dreams, this show explores global capitalism as collective mythology, and how theatre art can find new forms of resistance and communication within a world of popular culture, institutions and postmodernity. "