EXHIBITION
Archive or Alive：劉守曜獨舞數位典藏
基於對數位工具的探索，以及持續探問「線上影音檔案庫」的可能性，繼彙整近百支九〇年代小劇場紀錄影片，在地實驗試圖發展「身體」、「動作」的檔案與詮釋資料，補充檔案使用者「人事時地物」等基本資料以外的識讀介面。進而，在建構詞彙之際，擴充藝評的詞庫，讓非語言（nonverbal）的表演作品有更多藉語言敘述、評論的空間。
數位典藏內容以劉守曜2014年獨舞作品《Shapde5.5》的三段身體表演為主，因其不僅是他三十年來對「身體表演」的探索與積累成果，呈現舞者「由內而外」的內在真實意識，更包含身體與物質、非物質等不同「對象」間的關係：身體與動作、身體與裸身、身體與服裝、身體與物件（佈景道具）、身體與聲音、身體與意識、身體與時間、空間等。此外，紀錄內容還包含劉守曜的三段「即興」──他的獨舞創作原點。
2018年「Archive or Alive：劉守曜獨舞數位典藏」計劃，便是這樣企圖下的實踐。
於此同時，我們期望典藏（archive）在當代不僅是物件保存，更要讓檔案還原栩栩如生（alive）的藝術能量。觀者或作表演觀之，或作研究探之。無論採取什麼立場，「全景影像」結合「VR頭顯」的沉浸式、自由觀看經驗，勢必觸發迥異於過往二維、第三人稱邏輯的線性敘事影音感知。這無疑是一場果敢的實驗，將「身體表演」與「多視點全景影像」結構在「紀錄－映演」的生產關係，應將擾動錯綜於表演－視聽－評議三方的認知系統：關於身體的紀錄與論述、關於表演的即興與出神、關於紀錄的如實與重製。
Archive or Alive: Digital Archiving Development of a Solo Dance by Shou-Yuo Liu
Based on its fervent exploration on using digital tools, ET@T has been driven by its relentless quest to push the possibility of “online video archive.” After their previous initiative to contextualize nearly a hundred documentation footages on “avant-garde theatre” of the 90s, ET@T has now furthered its attempt to archiving “Body” and “Physical Movements,” and deriving the corresponding “metadata.” This initiative is expected to provide the viewers with an understanding framework beyond primary information such as “What/Who/When/Where/Why,” and while constructing the vocabularies available for the critics, hopefully, it will allow more room for discourses and critiques for nonverbal performing arts.
This digital archiving project revolves around three sections of the physical performance in Shapde5.5, a solo dance work by Shou-Yuo Liu in 2014. These three sections are to be construed as more than Liu’s accumulation and crystallization of “physical performance” for the past 30 years, but a representation of the artist’s innate and true consciousness from the inside out, as well as the thoughts of relationship between “objects” in the spectrum of the body, the material and the immaterial. The relations that are dealt with range from body and movement, body and nudity, costume, objects (props), sounds, consciousness, time, space, and so on. The digital archiving also includes three pieces of improvisations—the very starting point where Liu’s solo dance pieces unfolded.
In 2018, Archive or Alive: Digital Archiving Development of a Solo Dance by Shou-Yuo Liu was carried out under the aforementioned attempt.
Meanwhile, we hope that, in contemporary times, archive serves more than the purpose of conserving objects but also keeping alive the artistic energy residing within itself. Whether it is to be viewed as performance or probed as research materials, the immersive and dynamic viewing experience offered by “panoramic image”, along with “VR headset,” definitely challenges the conventional way of perception given by linear narratives set in two-dimensional and third-person perspective videos. The project is undoubtedly a bold initiative to structure “physical performance” and “panoramic images of multiple viewing perspectives” into the framework of the production relations between “documentation and screening.” This dynamic perception system is established amidst performance, audio-visual content, and critiques. And, it is about the documentation of and discourse on the body, the improvisation and spiritual trance state of the performer, and the authenticity and representation of the documentation.