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ALAS poster

西班牙國家現代舞團納丘杜亞托慾望之翼 (CND & Nacho Duato: ALAS)
國家戲劇院
2009/3/7 7:30pm

Duato第一次讓我驚豔是那支他為ABT三位男舞者編的Remansos,多年前他率CND來台演出的記憶不知為何已經所剩無幾,所以這次特別期待他在台北國際藝術節演出的作品慾望之翼(ALAS),親自登台獨舞的這個號召尤其吸引人。

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This "Paloma" song won so many people's tears from Almodovar's film "Hable Con Ella/Talk to her". Brazilian musician Caeteno Veloso sings with guitar and cello in a breezy evening.

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El Yiyo這場演出和演後座談格外引發我思索兩件事:表現 (expressing)和到位(arrived)。

Expressing

舞蹈無非要透過身體去訴說一個人內心的狀態、想法與意念,或許去引發觀眾產生某種狀態、想法與意念。它的藝術和風格包含了一個人肢體、情感和智力等面向,就如同Buffon著名的定義「風格就是一個人本身。」(Style is the man himself),舞蹈因此流洩而出,充塞在舞者和觀眾中的精神與熱情。

El Yiyo年紀小,即便有技巧上的天賦,以有限的歷練,要表達想法、傳達情緒確實難度高。那麼El Yiyo,你倒底想說什麼?這或許是比身體能力或左右腦強度都更重要的事。

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"Granada" is a popular Mexican song written by the composer Agustín Lara, about Granada, one of the beautiful Spanish cities.

Placido Domigo is in my opinion the best interpreter of Granada. As he said in the interview, he felt “himself” in the song, given the duo-originality – Mexico and Spain. He is born in Spain but grows up in Mexico. So in his singing, one finds the perfect but natural combination of passion for Spain and proficiency of demonstrating Mexican aura.

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Flamenco Puro

El Yiyo
新舞風2009
6/6 8pm
新舞台

自認對Flamenco了解很有限---間歇性沉迷Flamenco音樂和舞蹈,十堂基礎課---就這樣。Flamenco永遠都只是我能欣賞但自己絕沒機會成事的藝術形式風格。

這場稱為新佛朗明哥世代的演出,我真的是因為林懷民那篇文章所留下的印象去看的。

看完表演後,重點是什麼?

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Note in the beginning: This is not that "Granada" (by Lara) you used to hear from tenors. (I will have it next week)

Isaac Albéniz's piano work Suite Iberia is arguably the greatest masterpiece of Spanish music of any age. Albeniz finished the set in 1908, just a year before he died, and his subtitle 'impressions' is no accident. Frustrated with Spanish politics and cultural life, he'd moved to France, where he felt his ambitions were better understood, and where he fell under Debussys spell ---impressionism, combined with nostalgia and nationalism in these vivid portraits of Albeniz's homeland.

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Music of the week this week is definitely triggered by the performance by El Yiyo just on 6/6.

Paco de Lucia in my mind is the god of Flamenco guitar. His live performance was phenomenon that drove the whole hall of audience crazy.

The magic of Flamenco music always lays on the interesting chemistry and spirit of the band to improvise together to create a momentum, a mood and a groove.

Paco de Lucia in Carlos Saura’s film “Flamenco”, section “Tangos”

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夜巡林布蘭 - 葛林納威的藝術史課

這部電影對我來說不像電影,較像是一堂豐富的藝術史課。這樣的電影恐怕也只有葛林納威才拍得出來,他最早立志成為畫家,接受繪畫訓練,後來走入電影事業,仍可見其深厚的藝術背景和對於視覺傳達的洞悉與掌握。

葛林納威的鏡頭下常見濃厚的文藝復興與法蘭德斯(Flemish)畫風的影響,他的構圖、光影調度與色彩配置,便如同躍上銀幕的動態畫作。就在不經意的台詞中,葛林納威透露他對於繪畫的深入了解。一開頭,林布蘭和情婦在對話談顏色:紅色像血,濃稠有點溫度,等掉了便凝結變硬;黃色是流動的,比起紅色輕盈,但它又像尿液,過量久放後便臭氣燻天。他點出藝術家過人的觀察力,不光是視覺的,還是嗅覺、觸覺、聽覺的,因此觀者能在偉大藝術家的作品中感受到金屬的溫度、布料的質感、行動或靜止、外在的聲響或內心的話語,如同把一秒瞬間凍結,又好像在靜止的畫布上活動著。

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Night watching poster

在深夜看「夜巡林布蘭」(Night Watching)實在不是件容易的事,我算是坐如針氈強忍眼睛的酸疲,直到電影演完。導演彼得葛林納威(Peter Greenaway)的電影向來以考驗觀眾身心腦力的承受度所著名(很久前我曾經看過他的魔法聖嬰,但現在完全忘得一乾二淨),這次他的敘事影像手法確實緊抓著我的意志力「撐」完全長超過兩個小時的電影。

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