2024秋天藝術節 維帢亞．阿塔瑪《捉迷藏》（尋找導演的七個那個）

歷史正發生！無機勝有機，挑戰威權的混種演出，怎麼玩都泰好玩！

耍什麼把戲藏什麼詭計？劇場導演親上火線攤開十年創作歷程，將其與社會脈動交疊，舞臺佈滿對威權的質疑；話鋒一轉，被玩弄於股掌間的7個小道具集結起來，向以創作之名行壓迫之實的導演本人展開逆襲！

泰國導演維帢亞．阿塔瑪以自己的誕生日為起點，沿著時間線，片片切下泰國歷史事件與政治動態，並召喚創作團隊中最重要的物件夥伴，即時拍攝結合檔案錄像，巧妙設計機關翻玩又再造，歷史再演，這些物件成為阿塔瑪規避泰國皇室的法寶，以戲劇挑戰當局思想箝制，進而反向檢視藝術極權。是公審也是自審，當物件找回自我意志，藝術自由終將降臨！

What are the hidden tricks? A theater director looks back on his 10 years of creative practice, while taking the pulse of society. The stage is filled with things used to question authority. As the conversation changes, he gathers seven small props in the palm of his hand. In the name of creation, this oppressive director launches a counterattack!

Thai director Wichaya Artamat follows a timeline that starts from his birth, as he slices through Thailand's historical events and political trends and calls on the most important object partners in his creative team. Combining real-time photography and archival footage, he cleverly designs mechanisms for play and re-creation, while reenacting history. These objects are like magic weapons for circumventing the Thai royal family. The ideological control of the authorities is challenged through drama, followed by an examination of the totalitarianism of art. This is public censorship and also self-censorship. When free will is returned to objects, artistic freedom will follow!

媒體評論

『維帢亞的作品總是讓人深思，雖然有時會感到困惑，但內在的政治意涵、細膩的張力和對比，總能抓住觀眾的心。 』  ——曼谷郵報Amitha Amranand 

『就像觸發器一樣「咔嗒」一聲，再次帶來大量資訊、文字、圖像、聲音和光。讓觀眾重新面對關於現狀的最初問題“我們不能說話，所以我們必須說很多”，壓抑已久的各種情感的釋放點終於從它特定的特定語境中釋放出來。為整個團隊大聲鼓掌！』——日本評論家Fukutomi Sho

『如果我們能夠自由地表達自己的想法和真理，事物就不必充當代理人。不僅導演或故事的主人有權選擇說什麼或做什麼，其他事物或其他人也有表達自由的權利。』——泰國美術雜誌 Fineart Magazine Thailand 

『物體作為符號出現，供觀看者自行解讀。沉默可能是另一種阻止真相或正確性被敘述的力量，令我們震驚的表演！』—— ONCE線上雜誌

©Jukkrit Hanpipatpanich

創作者 維帢亞．阿塔瑪 Wichaya Artamat 

主修電影，著迷於表演。2008年擔任曼谷戲劇節節目專員；2009年加入新劇場協會（New Theatre Society），開始執導戲劇，並以非傳統的戲劇手法與實驗性聞名，熱衷研究當代社會如何透過曆法來記憶或忘卻歷史。2014年協同創辦了「為了什麼劇團」（For What Theatre）。他被譽為「東南亞最令人注目的當代劇場創作者之一」，作品足跡廣布歐洲、亞洲及其他地區。 

He studied film in undergrad and is captivated by performances, starting work in theatre as a project coordinator for Bangkok Theatre Festival 2008. He joined New Theatre Society in 2009, during which he grew to become a director recognised for various experimental forms and unconventional theatrical approaches. Wichaya is especially interested in exploring how society remembers and unremembers its history through certain calendar days. Since 2019, his works have been co-produced by, and toured in, many international festivals.

©Jukkrit Hanpipatpanich

為了什麼劇團For What Theatre

由維帢亞・阿塔瑪（Wichaya Artamat）、莎莎賓．希芮旺吉（Sasapin Siriwanij）和Ben Busarakhamwong三名成員所創立，這是三位藝術家在自己主要領域之外進行實驗的「遊樂場」，其製作了戲劇、木偶劇、裝置藝術、跨學科表演、舞蹈和行為藝術作品，常常提出問題或觸及泰國的爭議性議題，此外，也努力質疑「劇場」本身的概念—這個詞彙在泰國的脈絡下似乎具有固定的、不可撼動的價值。

It's a group of three theater makers from three different existing theater troupes: Wichaya Artamat of New Theatre Society, Sasapin Siriwanij of B-Floor Theatre, and Ben Busarakamwong of Crescent Moon Theatre. The collective has been continuously producing artistic works in various forms, including theater, live performance, story telling, puppetry, party, and exhibition. The three come together, as the group's name suggests, to question their own practices, as well as explore deeper into the variety of artistic forms and processes that can serve to convey social, political, gender, and religious and faith issues. For What Theatre is in a way like a playground, a laboratory, and a free space to pose questions and find answers that they have for themselves and their society.

製作團隊 Credits

概念發想與導演 Concept and Direction｜Wichaya Artamat

文本 Text｜Pathipon Adsavamahampong, Wichaya Artamat
美術與技術指導 Art and Technical Direction｜Pornpan Arayaveerasid, Rueangrith Suntisuk
戲劇構作 Dramaturgy｜Yuya Tsukahara
聲音設計與執行 Sound Design and Operation｜Araki Masamitsu
機械設計與製作 Mechanics Creation｜Laphonphat Duongploy 
技術執行 Technical Operation｜Piti Boonsom, Monthira Jamsri
物件執行 Object Operation｜Surat Kaewseekarm

舞台監督 Stage Management｜Pathipon Adsavamahapong
英文翻譯 English Translation｜Carina Chotirawi, Soi Squad

專案經理 Project Management｜Thongchai Pimapunsri
製作人 Producer｜Sasapin Siriwanij

Co-Produced by Kyoto Experiment, The Japan Foundation, and For What Theatre

Supported by The Saison Foundation (International Project Support Program / Kyoto Experiment × For What Theatre Juggle & Hide [Seven Whatchamacallits in Search of a Director])

延伸閱讀

PAR表演藝術→當代藝術 迂迴進擊，專訪泰國朱拉隆功大學戲劇系系主任Pawit Mahasarinand

PAR表演藝術→身體、疆界與審查之外，泰國曼谷小劇場關鍵字

©DuckUnit

延伸活動

演後座談

*憑該節目任一場次票券即可參與，但因場地空間有限，若已達可容納觀眾人數上限，將優先提供持有該場次票券觀眾入場。
時間｜11.30 (SAT.) 晚場演後
地點｜實驗劇場
講者｜維帢亞．阿塔瑪（《捉迷藏》導演）、莎莎賓．希芮旺吉（《捉迷藏》製作人）

與談｜張正（燦爛時光：東南亞主題書店創辦人）

📌2024.8.5 起，地下停車場愛國東路側入口動線調整，敬請留意公告。

◎演出全長約75分鐘，無中場休息，遲到觀眾無法入場。
◎泰語、英語發音，中英文字幕。
◎演出部分含暴力與成人議題，請留意並斟酌入場。
◎建議12歲以上觀眾欣賞。
◎演後座談：11.29 (FRI.)、11.30 (SAT.) 晚場演後於國家兩廳院實驗劇場。

◎如為使用輪椅之觀眾，為確保您於廳內移動之便利性及安全性，請務必選購輪椅席。

◎本節目提供「藝童PLAY - 演出中孩童陪伴服務」，詳見申請辦法（採報名制，演出日7天前 15:00截止報名）。

◎國家兩廳院主辦節目之輪椅售票席及其陪同席，經參考過往平均售票率偏低，為服務更多觀眾及資源使用最大化，將於演出前一週視實際票房情形轉為一般席銷售，惟保留一組輪椅及陪同席提供購買。

◎持青年席位票券者，請憑證件（身分證或健保卡）入場，如無法出示相符證件之觀眾，節目當天現場不開放入場、亦不進行退/換票。

◎主辦單位保留節目異動權。