2024臺北藝術節：麿赤兒X馮莎．夏紐《黃金雨》

★麿赤兒Ｘ馮莎・夏紐　當日本舞踏遇上性別流動的現代舞者

★一場超越國籍、文化與傳統的身體交流

★世界巡迴最終站　封箱演出在臺北

「這是一場以身體作為賭注的成人之舞，凝視人性的未來，並質疑此間生存的方式。」——大駱駝鑑藝術總監麿赤兒

希臘神話中，宙斯降下神跡般的黃金雨，讓被禁錮的公主誕下子嗣，驗證了神諭。而在舞作《黃金雨》中，兩名舞者分別以太陽神和愛神的形象出現，開啟各種相遇、試探與互動，時而建立誘惑關係，時而交換主從遊戲；他們交換聲音與體液，推開正統與理性，從肉體、性別到歷史，透過無止盡的探索與遊戲，用各種荒誕的方式認識彼此。

日本舞踏大師麿赤兒（Akaji Maro）與法國編舞家兼舞者馮莎・夏紐（François Chaignaud），從年齡、文化、傳統到舞蹈身體，都各自分據光譜的兩端，唯一的共通點，是兩人都有著將舞蹈作為轉化身體無限潛能的使命。當81歲的暗黑舞踏代表人物碰上性別流動的現代舞者，《黃金雨》倏地變成一場跨時代與跨世代的嘉年華。獵奇、超乎預期，卻滿含生命力的節奏，既是舞蹈，也像是一場探索人類身體的神聖儀式。

《黃金雨》將各種不同的身體現象並置在一起，年輕vs年邁的身體，東方vs西方的身體技術。夏紐的扮裝來自他過往的創作風格，他非常喜歡扮裝，在不同作品會有不同扮相，比如《含羞》((M)imosa, 2011)中他穿了丁字褲與羽毛服，在《不確定的羅曼史，另一個歐蘭多》(Romances inciertos, un autre Orlando, 2017)中則扮演天使。磨赤兒在《黃金雨》頂著一頭金黃色超級爆炸頭，令人思念起他在大駱駝艦的演出中，比如《罪與罰》(2018)、《灰之人》(2011)或是《海印之馬》(2004)等，經常出現那一頭張狂的招牌頭髮。 至少，我們可以說，服裝在這部作品中扮演了重要的角色，除了身體動作外，服裝不僅呈現了角色個性，也是透過服裝，我們才意識到背後所代表的文化與傳統。

《黃金雨》整部作品表現的，就是一個異色身體的跨文化調情，磨赤兒追逐著夏紐，試圖馴服這頭年輕的野馬。但是過程中，我們可以看見服裝的變化，甚至到了最後，兩人的服裝都有了明顯的創造性表現，象徵了另一種拋棄了東西方的原始身分認同，因為愛而創造了一種新境界，不但抹平了文化差異，也消除了年齡所帶來的身體差異。

— 耿一偉：麿赤兒X馮莎．夏紐《黃金雨》：異色身體的跨文化調情

★延伸閱讀：

『幽契』我們在出生之前就已經結下契約—專訪《黃金雨》主創麿赤兒

[ 2024 TAF｜北藝人物 系列講座 ]

2024-08-10 (六) 16:30《什麼是舞踏？》

2024-08-15 (四) 19:00《叛逆起舞：藝術家的身體戰鬥》

麿赤兒（Akaji Maro）

出生於1943年，師事日本舞踏先驅土方巽，創辦大駱駝艦劇團。以「暗黑」的表演形式名揚國際，在六、七〇年代啟發了眾多表演藝術家，現為日本舞踏代表性人物。除了身兼導演、編舞家與舞者，他也參與多部影視作品的演出，如《菊次郎的夏天》、《部屋》、《追殺比爾》等。

 馮莎・夏紐（François Chaignaud）

畢業於國立巴黎高等音樂暨舞蹈學院，作品兼擅舞蹈與音樂元素，常與不同領域的藝術家合作，如傳奇變裝皇后 Rumi Missabu，挑戰多元表演形式。風格明確，充滿驚喜，是當代歐洲舞壇炙手可熱的跨域表演者。2009年以《Sylphides》獲巴黎評論大獎，與2014年韓國光州雙年展青年藝術家獎。演出足跡遍及各大藝術節，如里昂舞蹈雙年展、巴黎秋天藝術節、亞維儂藝術節，與巴黎龐畢度中心、倫敦沙德勒之井劇院等。

演出暨製作人員名單

概念設計與演出｜François Chaignaud、Akaji Maro

服裝設計｜Romain Brau, Cédrick Debeuf, Kyoko Domoto

能劇面具｜Seitaro Ozu

燈光設計｜Abigail Flowler

布景｜François Chaignaud, Abigail Fowler, Akaji Maro

舞台監督｜François Boulet

聲音監督｜Nicolas Hadot

日文翻譯｜Mohamed Ghanem

麿赤兒助理｜Naomi Muku (大駱駝艦)

藝術協作 (François Chaignaud)｜ Baudouin Woehl

管理/製作｜ Chloé Perol, Jeanne Lefèvre, Emma Forster

製作及巡演｜Mandorle productions

國際巡演 ｜A Propic

特別感謝｜ Dominique Laulanné, Aya Soejima, Kei Osawa, Yoko Shinfune and all the team from Dairakudakan

“In the end, this will also be a dance of coming-of-age with our bodies at stake, staring into the future of humanity and questioning the ways to live in it.” - Akaji Maro

Gold Shower marks the improbable collaboration between the Japanese Butoh pioneer Akaji Maro and the French performing artist François Chaignaud with multiple talents after their first encounter 10 years ago. This piece is a bold and unrestrained, yet delicate, rendezvous originating from two ends of various spectrums: age, language, dance form, and culture.

In this shared dance, Maro and Chaignaud reinvent it as a ritual of flesh in subversion by confronting their different sensitivities and aesthetics. The title echoes the golden rain falling on the imprisoned Danaëthe, alludes to the urophilia fetish, and mirrors the kimpun-show, the burlesque cabaret act initiated by Maro.

While bodies attract and surrender to one another, exchanging fluid and artifice, Gold Shower transforms seriousness into frivolity and unpacks the complicity in epicene, extravagance, and outrageousness. Through a sublime and perverse parade, this piece transports both the beings on and off stage to the grotesque and mythological dimension of humanity.

MANDORLE PRODUCTIONS

Mandorle production is subsidised by the Ministère de la Culture (DRAC Auvergne- Rhône-Alpes) and the Région Auvergne-Rhône-Alpes. François Chaignaud is an associate artist in Chaillot – Théâtre national de la Danse, at the Maison de la danse and at the Biennale de la danse de Lyon.

Akaji Maro

Akaji Maro was born in Nara prefecture, Japan in 1943.

In 1965, under the strong influence of butoh pioneer Tatsumi Hijikata, he co-founded the theater company Jōkyō Gekijō with renowned Japanese actor and director Jurō Kara. In their productions, Maro was acknowledged as an actor who embodied Kara’s “privileged physical theory” with his own spectacular acting approach and inspired many performing artists during the 1960’s and 70’s. In 1966, he studied under Tatsumi Hijikata. In 1972, Maro founded his own company Dairakudakan, where he brought his spectacular performing technique into butoh dance pieces. One of his basic teachings, tempu tenshiki, became controversial not only in Japan but also in other countries after its shocking debut at numerous dance festivals in France and the U.S. in 1982. Since then, butoh has held a strong influence on the international dance scene. With the belief ichinin ippa (“one dancer, one school”- the idea that each individual should be able to express/create her/his own movement vocabulary), Maro has fostered emerging dancers, and has produced famous butoh groups such as Ushio Amagatsu (Sankai Juku), Carlotta Ikeda (Ariadone) and Ko Murobushi, among others.

As an actor, dancer and director/choreographer, Maro has been constantly challenged to cross the borders of different art forms. He has also starred in such films as Kikujiro (directed by Takeshi Kitano), Room (directed by Shion Sono) and Kill Bill (directed by Quentin Tarantino).

François Chaignaud

After graduating in 2003 from the National Superior Conservatory of Paris for Music and Dance, François Chaignaud has danced for many choreographers, including Alain Buffard, Boris Charmatz, Emmanuelle Huynh, and Gilles Jobin. Since his first piece in 2004, his work is characterized by the articulation of singing and dance (Думи мої, 2013) and a profound relationship to history, evinced in his own work as well as in the collaborations he has formed with multiple artists (with Jérôme Marin, Marie Caroline Hominal, or Théo Mercier). Between 2005 and 2016, together with Cecilia Bangolea, he created a series of noteworthy shows that were presented worldwide. In 2021, he founded mandorle productions, whose artistic line is based on the cooperation with other artists such as Nina Laisné, Marie-Pierre Brébant, Akaji Maro, Dominique Brun, and Sasha J. Blondeau. He also creates pieces for large groups of performers: Soufflette 2018 for Carte Blanche, the piece t u m u l u s with Geoffroy Jourdain (Les Cris de Paris) in 2022. In 2023 he created with the beatboxer Aymeric Hainaux the piece Mirlitons. He is an associate artist at Chaillot - Théâtre national de la Danse in Paris as well as the Maison de la danse and the Biennale de la danse de Lyon.

Concept and performance｜ François Chaignaud and Akaji Maro

Costumes｜Romain Brau, Cédrick Debeuf, Kyoko Domoto

Omote (japanese theater mask)｜ Seitaro Ozu

Lights conception｜Abigail Flowler

Setting｜François Chaignaud, Abigail Fowler, Akaji Maro

Set Manager｜François Boulet

Sound manager｜Nicolas Hadot

Japanese interpreter｜Mohamed Ghanem

Assistant for Akaji Maro｜Naomi Muku (Dairakudakan)

Artistic collaborator for François Chaignaud｜Baudouin Woehl

Administration/production｜ Chloé Perol, Jeanne Lefèvre, Emma Forster

Diffusion｜Mandorle productions

International｜A Propic

Special thanks to Dominique Laulanné, Aya Soejima, Kei Osawa, Yoko Shinfune and all the team from Dairakudakan

演出全長：節目全長約60-70分鐘，無中場休息。

字幕語言：無語言，無字幕。

到場注意事項：

◎演出部分含成人議題，請留意並斟酌入場。

◎遲到或中途離席的觀眾，須依工作人員引導等候入場。

◎ 60-70 mins, no intermission

◎ No language, no surtitles.

◎ Latecomers and re-entry subject to discretion.

◎ Suggested Age 7+ Years Old. ◎ Contains nudity and adult issue.