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二○○八年秋天在上海,忙于做《鲁迅二○○八》这出戏。工作了一整天,晚上与一起合作的日本导演大桥宏喝酒。当时聊到参与演出的台湾行为艺术家瓦旦乌玛,曾在军中十多年。大桥于是有了个想法。第二天排练,他请瓦旦在场上行走的人群中,做军人出操及行军礼的动作。瓦旦这个在台湾戒严时期经历多年打造的军人身份,看似早已消散,但在那一刻的演出里,他又回到了他个人的身体历史。那一连串踢起的脚步,
In the autumn of 2008 in Shanghai, he was busy doing the drama “Lu Xun 2008”. Worked all day, night with the Japanese director Daisy macro drink. At that time, she talked to Wadan Uma, a Taiwanese performance artist who participated in the performance, for more than a decade in the military. Bridge then had an idea. Rehearsal the next day, he asked Vadan to walk in the crowd, do military operations and marching movements. Watanabe, who for many years had gone through martial law in Taiwan during the martial law, seems to have disappeared, but at that moment he returned to his personal physical history. That a series of kicked footsteps,