2025 Camping Asia：《崩世光景》

★「一根驕傲高舉的中指，對著世界的崩壞。」——法國雜誌《Les Inrocks》
★「終於有一部真正屬於21世紀的嶄新舞作。」——法國周刊《Le Point》
★「令人振奮的集體能量展現。」——《Dance Art Journal》 

末日角落，一座「大理石採石場」兀自矗立。機器睜開它野獸似的眼睛，忙著切割材料、拋光岩石。如疊疊樂般，慢慢地，從中推出一幅崩世光景，潔白而空洞。法國電子音樂翹楚霍恩坐鎮機器與岩塊背後，以電子節拍雕塑音場地景，房間裡躁動的身體隨之失神跳動。然而，狂歡有它的時限——在高潮的瞬間，派對結束了。

青春的挫敗、哀傷與憂鬱，混合成強烈的暴力。兩兩成對的戀人們繾綣糾纏。他們姿態優美，絕望而哀傷，時而合一，時而分裂，相互擁抱觸摸，彼此施暴然後推離。世界尖銳地指過來，像責備，透露腐爛的愧疚、發餿的關係、融化的奶油般，柔弱無憑依的吻。糟的太糟，好的太好。因此只有恍惚與痛苦。

舞者們團結地以優雅的中指回敬，不知羞恥地在白天亮晃晃的裸奔。那是石與肉的交歡，在最堅硬的外殼內有最柔軟的渴望。什麼樣的渴望？比如，我希望當我一躍而下時，有人將我接住、我希望尖叫的時候，有人和我合聲、我希望回到一種連續的生命裡，我不要只是身體，我要是舌頭，是手臂，是心臟，我要是我每一個分裂的感官尖端，那甜美的體驗。我要是其所是。

法國前衛編舞團隊狂徒2019年起接任馬賽國立芭蕾舞團藝術總監，首部作品《崩世光景》(Room With A View) 延續其帶有激進政治性的美學實驗，與法國電子音樂製作人霍恩攜手，將舞臺重塑為一座蘊藏憤怒的末日景觀。將狂烈怒吼轉變為不馴的戰歌，以脆弱肉身衝撞巨大的怪物，為年輕世代贖回面對氣候災變、父權瓦解、社群疏離種種崩壞的勇氣。末日裡的餘生，也是重生。

【團隊介紹】

馬賽國立芭蕾舞團｜Ballet national de Marseille

法國馬賽國立芭蕾舞團由羅蘭比堤 (Roland Petit) 於1972年創立，1984年榮列國家編舞中心之列，由來自16個不同國家的22名舞者組成。跨領域藝術團隊狂徒 ((LA)HORDE) 自2019年起擔任馬賽國立芭蕾舞團藝術總監。透過影像與現場表演，包括2015《Novaciéries》、2017《The Master’s Tool》、 2019《Cultes》，以及編舞作品包括2017《To Da Bone》、2019《Marry Me in Bassiani》、2020《Room With A View》，探索舞蹈的政治影響，剖析各種舞蹈在大眾時尚潮流中存在的意義，無論是群舞還是獨舞，從Raves 、Jumpstyle到民族舞蹈，均囊括其中。

狂徒｜(LA)HORDE

2013年成立的狂徒 ((LA)HORDE)，由瑪琳．布魯蒂 (Marine Brutti)、喬納森．德布爾 (Jonathan Debrouwer) 與亞瑟．哈瑞爾 (Arthur Harel) 發起，揉合性別流動、集體創作與數位文化。他們關注後網路時代的身體處境，從《To Da Bone》探索網路舞蹈的躁動，到《Age of Content》剖析虛實交錯中的慾望與認同。2019年起接任馬賽國立芭蕾舞團藝術總監，以《崩世光景》(Room With A View) 打造末日景觀，結合電音與政治憤怒，將舞蹈化為對當代巨獸的激進對抗與自由吶喊。

霍恩｜RONE

霍恩 (RONE)，原名Erwan Castex，是法國電子音樂重要人物，擅長融合電子與古典，突破聲音疆界。2017年於巴黎愛樂廳 (Philharmonie de Paris) 演出獲法國獨立音樂大獎 (Prix des Indés)，並與法國廣播電台和聲學院 (Maîtrise de Radio France) 合作改編作曲家班傑明·布瑞頓 (Benjamin Britten) 作品。其後與法國世紀樂團 (Les Siècles) 合作推出長達 12 分鐘的電子古典作品《Motion》。霍恩亦關注環境議題，音樂被瑞典環保倡議者格蕾塔·童貝里 (Greta Thunberg)與法國航海家雨果·皮卡德 (Hugo Picard) 引用。2020年與狂徒 ((LA)HORDE) 合作《崩世光景》(Room With A View)，並發行同名專輯。他為弗雷德里克·法魯奇 (Frédéric Farrucci) 執導的長片《夜行巴黎》創作配樂獲2021年凱撒電影獎最佳原創配樂。

✪會員限定✪
2025 Camping Asia 獨家活動《崩世光景》：來場末日前的狂舞派對──楊乃璇身體工作坊　▶了解詳情

✪延伸閱讀✪
電子聲牆下的人類未來辯證—— 霍恩 (Rone) /《崩世光景》(Room With A View)｜文／克里夫異象　▶閱讀更多

【演出暨製作人員名單】

藝術概念：RONE & (LA)HORDE

音樂：RONE

導演與編舞：(LA)HORDE與馬賽國立芭蕾舞團舞者共同創作

舞者：Nina Auerbach、Isaia Badaoui、Gabriella Sibeko、Arno Brys、Joao Paulo De Castro Franca、Isla Clarke、Pierpaolo Cosentino、Titouan Crozier、Nathan Gombert、Jonathan Myhre JØrgensen、Yoshiko Kinoshita、Yen Lung-Ssu(嚴龍賜)、Dana Pajarillaga、Kevin Pajarillaga、Aya Sato、Elena Valls Garcia、Luca Völkel、Layne Willis

藝術助理： Julien Ticot

舞臺設計： Julien Peissel

導演助理：Eléna Lebrun

舞台技術顧問：Sébastien Mathé

燈光設計：Eric Wurtz

燈光設計助理：Mathieu Cabanes

音效：Vincent Philippart

音效製作助理：César Urbina

服裝設計：Salomé Poloudenny

服裝設計助理：Nicole Murru

共同製作：夏特雷劇院、馬賽國立芭蕾舞團、普羅旺斯大劇院

馬賽國家芭蕾舞團由法國文化部／藝術創作總署、普羅旺斯-阿爾卑斯-蔚藍海岸大區文化事務局（DRAC PACA）、馬賽市政府與法國巴黎銀行基金會（Fondation BNP PARIBAS）支持。

【About the Performance】

In just a few albums, Rone has secured his place as one of the most influential French producers around, putting some of his own soul into electro. He is now adding another dimension to his career with the creation of the show Room with a View and his eponymous fifth album. Having been invited by the Théâtre du Châtelet for a carte blanche, he was keen to work with (LA)HORDE and consequently with the dancers of the Ballet National de Marseille.

In a marble quarry, various machines are in action, cutting and polishing the rock. In this otherworldly place and behind his machines, Rone sculpts sweeping electronic and emotional landscapes that he offers to a group of dancers.

While sculptors worked with marble to “free the human form inside the block” (Michelangelo), the performers dance to escape the stones’ white immobility, rising up to scrutinise the infinitely human contours of impending disaster and envisaging the very possibility of its beauty.

(LA)HORDE continues to explore forms of protest and rebellion through dance. Room with a View is a blank page, a space devised as a naturalist white cube in which sounds, bodies and images can be inscribed to reflect on the shifting place of humanity. For Rone it provided the opportunity required for a new album, a unique performance in which the cries of his machines resonate, inviting us to break away and trace vanishing lines towards songs that exist far beyond mankind itself.

【Artist Profile】

Ballet national de Marseille

In 1972, the Mayor of Marseille, Gaston Deferre, suggested to choreographer Roland Petit that he move his company to Marseille. Petit accepted and created the Ballets de Marseille, rooting it in the modern choreographic style of the 1970s and 80s.

In 1981, the company became the Ballet national de Marseille (BNM), and 11 years later invested in a site designed by architect Roland Simounet. The BNM then became the National Choreographic Centre in 1984, under the direction of Roland Petit. He was succeeded by Marie-Claude Pietragalla (1998-2004), Frédéric Flamand (2004-2014), and Emio Greco and Pieter C. Scholten (2015-2019). Each director has developed new artistic dynamics and increased awareness of the center.

The collective (LA)HORDE took over direction of the BNM in 2019. For (LA)HORDE, the BNM is a safe space, focused on youth and young artists, for exploring new ways of representation and sharing of artistic forms. In their transdisciplinary creations, they question what ballet is in the digital age and consider the political concerns that mark our time: diversity, inclusivity, and openness of institutional and cultural sites to bodies and practices that still do not have enough visibility.

(LA)HORDE

In 2013, choreographers and visual artists Marine Brutti, Jonathan Debrouwer, and Arthur Harel formed this collective, which took on the direction of the Ballet national de Marseille (BNM) in 2019.

Through films and performances (Novaciéries, 2015; The Master’s Tools, 2017; Cultes, 2019; Ghosts, 2021), as well as choreographic pieces (Night Owl, 2016; To Da Bone, 2017; Marry Me in Bassiani, 2019; Room With A View, 2020), (LA)HORDE interrogates the political component of dance, while mapping diverse choreographic forms of popular uprising, transitioning from raves to traditional dances and jumpstyle. Their exploration of the new dynamics of circulation and representation of dance and body that have developed online led them to explore the concept of “post-internet dances”. 

Created with artist Rone in 2020, Room With A View was their first choreographic piece with the BNM. In 2022, they presented Roommates, a program of six short pieces connecting hyperrealism and minimalism by Lucinda Childs, Claude Brumachon, Benjamin Lamarche, Peeping Tom, Cecilia Bengolea, and François Chaignaud, as well as a large-scale dance exhibition, entitled We Should Have Never Walked on the Moon, in which musicals and live-action films were mixed with avant-garde choreography. 

RONE

Erwan Castex aka RONE is a key figure in the French electronic music scene. His live performance at the Philharmonie de Paris in 2017 earned him the Prix des Indés. This was followed by Variations, a reinterpretation of works by composer Benjamin Britten, accompanied by Maîtrise de Radio France and its choir director Sofi Jeannin.

RONE then presented Motion, a 12-minute electro-classical piece, with the orchestra Les Siècles conducted by François-Xavier Roth.
His music has become associated with environmental advocacy as Hugo Picard aka The Sailing Frenchman has used his tracks to communicate with whales and dolphins and Greta Thunberg has featured them in one of her videos.

In 2020, the collaborative work Room With A View premiered at the Théâtre du Châtelet, followed by the release of his fifth album. His next album, Rone & Friends, was released in 2021 and featured collaborations with Jehnny Beth, Dominique A, Flavien Berger, Yael Naim, Camelia Jordana, and Georgia and Alain Damasio.

RONE composed the soundtrack for the 2020 feature film La Nuit venue by Frédéric Farrucci and won the César award for best original music in 2021. He also composed the soundtrack for the film Les Olympiades by Jacques Audiard.
 

【Creative and Production Team】

Artistic Concept: Rone & (LA)HORDE

Music: Rone

Staging & Choreography: (LA)HORDE With the dancers of the Ballet National de Marseille

Artistic Assistant: Julien Ticot

Set Design: Julien Peissel

Staging Assistant: Eléna Lebrun

Staging Technical Advisor: Sébastien Mathé

Light Design: Eric Wurtz

Light Design Assistant: Mathieu Cabanes

Sound: Vincent Philippart

Sound Production Assistant: César Urbina

Costumes Design: Salomé Poloudenny

Costumes Design Assistant: Nicole Murru

Coproduction: Théâtre du Châtelet, Ballet National de Marseille, Grand Théâtre de Provence

Ballet National de Marseille is supported by the Ministry of Culture / Direction Générale de la Création Artistique, of DRAC Paca, the City of Marseille and the Fundation BNP Paribas.

◎ 節目全長約70分鐘，無中場休息。

◎ 建議12歲以上觀眾欣賞。

◎ 演出部分含裸露、炫光、煙霧效果、抽菸、巨大聲響，請留意並斟酌入場。年長者及有心臟病或相關疾病者，請特別留意。

◎ 遲到及中途離席的觀眾，須依工作人員引導等候入場。本場演出最後遲進點後即無再入場機會，無法因此退換票，請您特別留意。 

◎ 演前導聆：11/15 (SAT.) 演出前40分鐘於 臺北表演藝術中心太陽廳2F東南角 舉行。

◎ 演後座談：11/14 (FRI.) 演後於 大劇院 觀眾席舉行。

【Important Information】
◎ 70 mins, no intermission.

◎ Suggested Age 12+ years old.

◎ The performance contains nudity, strobe lighting, smoke effects, smoking, and loud sounds. Please consider these factors before attending.Elderly patrons and those with heart conditions or related health concerns are advised to exercise caution.

◎ Latecomers and re-entry subject to discretion.

◎ Pre-performance talk: 40 minutes before the performance on November 15 at the TPAC 2F Sun Hall.

◎ Post-show talk: After the performance on November 14 in the Grand Theatre auditorium.