EXHIBITION
《光流格影》周東彥 劇場．影像 十年創作個展
Lights Flowing Out of Frames
➽ 展期 Duration：2013/12/14 (六) – 2014/01/19 (日)
➽ 開幕 Opening：2013/12/14 (六) 14:00
➽ 地點 Venue：台北數位藝術中心
➽ 地址 Address：111台北市士林區福華路180號；近捷運淡水線芝山捷運站二號出口
➽ 展覽介紹
回首凝視一格格的光流格影，影像因光而留下，又因光，再被看見。
一格格的連續播放，究竟留住什麼？
但願這些曾經發亮的世界，再度共聚一堂，訴說，在每格早已不止24格的世界裡。
在此，容我們先專注於一種想像：透過光，事物的形象得以反射，最終抵達腦部，記錄成為記憶。透過鏡頭顯影，由被攝人、事、物，引發觀者展開內在空間的探險。視覺畫面在日常生活空間中，延展進入特殊型構，乃至富涵表演性的舞台空間中流轉，甚至變形，你探詢的眼光更加縝密、充滿了細節，廣納於此、形形色色的新的空間，追溯其原型，來自內在的浩瀚空間。
巴舍拉（Gaston Bachelard）在《空間詩學》中談到：「浩瀚感就在我們自身體內。它與一種存有的擴張狀態緊密關聯，這種狀態總被生活所箝制，被謹小慎微所侷限，但是當我們孤獨一人時，它又再度復甦。一旦我們靜止不動，我們就身在他方，並且在一個浩瀚無垠的世界裡做著好夢。浩瀚感是靜止不動之人的運動；浩瀚感是靜謐白日夢所具有的動感特質之一。（p.280）」
回顧周東彥的創作歷程，不論是短片或結合劇場的影像、裝置作品，其實都不脫渴望呈現出一種具體而微、同時將極微變得極大的內在世界。企圖透過影像穿透有形的現實空間、劇場黑盒子，連結幽微且浩瀚的心理風景。
不同於其他數位藝術創作者多是來自美術或電影背景，周東彥以劇場做起始點再踏上影像與跨界探索之路。或許正因如此，他作品中的Frame──有時是劇場的鏡框，有時是電影院裡的銀幕邊緣，有時是刻意在畫面中又放了更多窗格，也有些時候，是美術館中的分割螢幕──在在呈現出不同於裝置作品的視覺性，而又蘊含了相異於電影作品的敘事性。
「光流格影」以三大主題綜剖跨界創作者周東彥近十年來在劇場和影像結合的探索。囊括甫獲得世界劇場設計大展（World Stage Design 2013）大獎作品《空的記憶》之表演影像裝置，和三支多次入圍國際影展之實驗短片；並立體呈現於留學歸國後數件擔任戲劇／舞蹈／音樂會之劇場影像設計作品。
本展覽為周東彥首度創作個展，同時也是國內少見以表演藝術跨界影像創作為主題之展覽，期待由此為台灣近年數位表演藝術發展留下一個具體而微的切面。
➽ Exhibition Introduction
Gazing back at the light flowing out of frames, images are retained and seen again because of the light. However, what does the stream of frames exactly retain? I wish that the worlds once shining gather together again and tell the story in the world where the number of frame streamed per second has been over 24.
Right here, let us first of all concentrate on the following imagination: the images of objects are illuminated by light. These images will be recorded as memory when they arrive at human brains. The images of people and objects are seen through camera lenses. They prompt the spectators to embark on the adventure in their immanence. The visual images in the space of daily life develop themselves into a special structure and flow or even vary on the stage of great performativity. Your vision of inquiry will be more meticulous and detail-catching. The immense inner space turns out to be the prototype of the diverse new spaces encompassed in the special structure.
In The Poetics of Space, Gaston Bachelard mentioned that “[i]mmensity is within ourselves. It is attached to a sort of expansion of being that life curbs and caution arrests, but which starts again when we are alone. As soon as we become motionless, we are elsewhere; we are dreaming in a world that is immense. Indeed, immensity is the movement of motionless man. It is one of the dynamic characteristics of quiet daydreaming.”
When we review Chou Tung-Yen’s experience of creation, we find that his works, whether they are short films, images combined with theaters, or installations, express his desire for demonstrating an inner world that is small but complete and simultaneously turns the minimum to the maximum. By utilizing images, Chou seeks to penetrate tangible spaces and theatrical black boxes in the real world, and thereby shapes subtle and immense psychological landscapes.
Unlike most digital artists whose backgrounds are in fine arts or film arts, Chou embarked on his exploration of images and interdisciplinary possibilities by treating theater as the point of departure. Perhaps his background distinguishes his works from those of others. The frames alternately appearing in this exhibition include mirror frames of a theater, the screen frame of a movie theater, many deliberately arranged window frames, and segmented scenes of a museum. Accordingly, this exhibition presents the visual effect different from that of installations and contains the narrativity different from that of movies.
The exhibition “Lights Flowing Out of Frames” demonstrates the results of Chou’s exploration of combining theater with image over the last decade in three genres of his works, including the video installation《Emptied Memories》that won the top prize in Interactive and New Media Design at the World Stage Design2013, three experimental short films nominated many times by international film festivals, and several pieces of image design on theater, dance, and concert that he participated after he finished his study abroad.
This is Chou Tung-Yen’s first solo exhibition. It is also a domestically rarely seen exhibition that adopts interdisciplinary image creation of performing art as the theme. We expect this exhibition to create a small but complete dimension for the recent development of multimedia theater in Taiwan.
➽ 關於藝術家
周東彥 CHOU, Tung-Yen
倫敦中央聖馬丁藝術暨設計學院劇場與多媒體碩士（MA Scenography）
國立臺北藝術大學戲劇學系畢業主修導演
狠主流多媒體有限公司負責人
國立臺北藝術大學戲劇學系及新媒體藝術學系兼任講師
創作以影像及劇場為核心，影像作品曾四度入圍台北電影獎。近年投身數位科技表演藝術跨界創作。導演作品《空的記憶》（2011-2013）、《寫給記憶的七封信》（2008）皆備受肯定。其中，《空的記憶》受邀於2013兩岸城市藝術節台北文化週、2012數位表演藝術節演出。
在創作之外，連續三年執行數位表演藝術節幕後紀實影片及【跨域控】專書編撰，並統籌青年跨界創作者聯繫網絡籌辦相關聚會及議題討論，致力於台灣數位表演藝術推廣與教育。
➽ About the Artist
CHOU, Tung-Yen
CHOU, Tung-Yen holds a MA in Scenography with distinction from Central Saint Martins College of Art and Design in London and a BFA in Theatre Directing from Taipei National University (TNUA). He was one of the artists-in-residence at the Cite Internationale des Arts in Paris in 2008. Currently a lecturer teaching in the School of Theatre, TNUA, he is also the director of Very Mainstream Studio.
CHOU works mainly in film and theatre arts. His film and video works have been nominated and screened in various international film festivals. Recently he has collaborated closely as well as diversely with many of Taiwan’s performing arts groups, including Performance Workshop, Godot Theatre Company, Tainaner Ensemble, Flying Group Theatre, Shakespeare’s Wild Sisters Group, Taiwan Drama Performance, Dark Eyes Performance Lab, Scarecrow Contemporary Dance Company, Horse Dance Theatre, National Symphony Orchestra and Taipei Chinese Orchestra.
In addition, CHOU has been dedicate in interdisciplinary creative projects incorporating technology with performing arts.
Award & Sponsorship
2013 World Stage Design, Interactive & New Media Award
2011-2012 Ministry of Culture, Taiwan, Interdisciplinary performance sponsorship
2008 National Cultural and Arts Foundation, “Young stars, new vision” Sponsorship scheme for new performing artist
2005 S-An Cultural Foundation Art Funding- RESIDENCY
2008 Cité Internationale des Arts, sponsored by the Council of Cultural Affairs of Taiwan
➽ 作品介紹 1
睡與醒之間 / Between Being Asleep and Awake
《睡與醒之間》 Between Being Asleep and Awake
形式：三頻道錄像裝置
年份：2013
《自己的空房間》An Emptied Room of One’s Own
形式：單頻道錄像與裝置
年份：2013
《睡與醒之間》和《自己的空房間》由跨界表演作品《空的記憶》(註一)的裝置與長期和周書毅共同發展拍攝的舞蹈影像延伸發展而成。
《睡與醒之間》透過環景攝影機拍攝的數個幾乎超現實空間中的舞蹈影像，串連一場睡與醒之間的旅程。當環景鏡頭不再具備主動捕捉的能力而是全面性的拍攝紀錄時，肢體與空間的關係瞬時放大。圓弧與沒有邊際的視界，企圖於空間流轉變化之下，辯證內在流動與外在世界的緊密與疏離並存。
《自己的空房間》將所有場景抹去，在幾乎沒有邊際的全黑、全白甚或全灰的空間中，人存在一種類真空的狀態裡。肢體繼續奮力探索、找尋，而影子在虛構的空間中，繼續活著。
里爾克說：「這種無邊界的孤寂，它令每一日的生命時光與天地聲息相通，用一個詞來說就是空間，那種人類總能活在裡頭的不可見空間（espace invisible），此空間以數不盡的化現（présences）圍繞著人。」
無論是黑／白／灰其中的人與空間，或是透過環景攝影機納入包容而又變形的「全景」，都是透過肢體向（非日常／日常）外在世界的探索，帶引觀者透過影像，更深入潛進自身內在數不盡的「不可見空間」。
註一：
http://emptiedmemories.com/
《空的記憶》為周東彥延續近年透過劇場、影像對記憶和空間的探索，在2011-2012年的數位表演藝術實驗計畫，邀請編舞家周書毅共同創作，以「空」和「記憶」為核心發展主軸，運用環景攝影、即時影像處理 、感測器與無線舞台裝置等技術之整合，試圖創造出一個虛實並存之「空的空間」。藉由表演者驅動外在物質世界的變形，呼應其內在抽象的心理狀態，呈現出一幅幅心靈景觀的有機流動。 於2012年數位表演藝術節首演，並在2013受兩岸城市藝術節之邀赴廣州大劇院演出。榮獲2013世界劇場設計大展「互動與新媒體設計」首獎。
➽ Work 1
《Between Being Asleep and Awake》
《An Emptied Room of One’s Own》
The works Between Being Asleep and Awake and An Emptied Room of One’s Own extend Chou Tung-Yen’s interdisciplinary work Emptied Memories (note 1) and the experimental dancing images developed by the long-term collaboration between Chou Tung-Yen and Chou Shu-Yi.
Between Being Asleep and Awake depicts the journey between the states of falling asleep and waking up through several nearly surreal dance images taken by a panoramic camera. When the panoramic camera has the ability to comprehensively record but not actively capture images, the relationship between body and space is suddenly strengthened and magnified. Through the flow and variation of spaces and with the arc-shaped and boundless vision, this work seeks to indicate that the closeness and the estrangement between the inner dynamics and the external world coexist.
An Emptied Room of One’s Own erases all visible scenes and backgrounds. The nearly boundless space in pure black, white, or grey implies that the person lives in a semi-vacuum state. His limbs struggle hard for something, while his shadow still lives in the imaginary space.
Rainer Maria Rilke has ever said, “This boundless loneliness creates sympathy between our daily life and the nature, namely the invisible space in which we live. And this space surrounds us with its innumerable presences.”
Both the person in the purely black, white, or grey space and the distorted “panoramas” taken by the panoramic camera represent the corporal exploration of the external (non-daily/daily) world. By utilizing images, this exploration helps the spectators to stare deeper into their internal, innumerable, and invisible spaces.
Note 1:http://emptiedmemories.com/
Emptied Memories is an exploration into space and memory through theater and moving image that director Chou, Tung-Yen has undertaken in recent years. In 2011-2012, under the sponsorship of Ministry of Culture, he invited the choreographer Chou, Shu-Yi to try to co-create an “empty space” by using “memory” as the core from which to start. The creation employs the technological integration of panoramic video, real-time image processing, sensors and wireless stage control system. The performer drives the external deformation of the material world, echoing the internal state, in order to present the organic flow of one’s mind landscape. The piece won the Best interactive and new media design award in the World Stage Design, 2013, in Cardiff, Wales, U.K.
﹉﹉﹉
➽ 作品介紹 2
Kalpa 時光之劫
《Kalpa 時光之劫》 Kalpa
形式：舞台模型、影像設備 Stage Model and video
年份 ：2010
2010年，周東彥以影像設計的角色參與了兩齣製作，彼此雖然無直接關係，但在投影的部份很巧合地具有某種天與地的對應關係：在《Kalpa – 時光之劫》中，他在地面上投影出一條長河，觀眾列坐於河道兩旁；而在舞作《我》中，他則在舞台上方利用投影創造了蒼穹。透過這兩個創作的機會，得以讓他更深入探索劇場空間與投影之間的關係。
《Kalpa -時光之劫》取材自法國女作家瑪格莉特．莒哈絲的「印度系列」作品，藉由聲音、光影與演員形體喚出時間之河中種種再製的回憶幻景。海洋、河流與慾望是莒哈絲創作的母題，在此劇場作品中，周東彥將極富詩意的影像投影在16米長的長形舞台上，創造出一條緩速流動、滿載生命與慾望的長河。
導演 林如萍 / 舞台設計 黎仕祺 / 服裝設計 靳萍萍 / 燈光設計 曹安徽 / 舞台技術設計 楊金源 / 影像設計 周東彥 / 舞蹈設計及指導 孫佳瑩 / 製作 國立臺北藝術大學戲劇學院 / 演出地點 國立臺北藝術大學戲劇廳
➽ Work 2
《Kalpa》
n 2010, the designer simultaneously joined two productions that explore the relationship between theatre space and projection. The projection was in a coincidentally related way: in Kalpa, he projected a long river down dividing the auditorium in two parts, while in I, a sky top on the theatre ceiling.
Kalpa is inspired by MarqueriteDuras’ works in which ocean, river and desire always serve as the significant motifs. Soft, floating, and poetic images were projected on the 16-meters-long stage. With the implementation of projected videos, the designer creates a slow-moving river, which is embedded with lives and desires.
﹉﹉﹉
➽ 作品介紹 3
我 / I
《我》I
形式：舞台模型、影像設備 Stage Model and video
年份 ：2010
《我》是驫舞劇場2010年的創作，打破過往的創作模式，以故事軸線與魔幻寫實編創發展，呈現人虛實錯雜的特性。《我》利用舞蹈、影像及聲音等多種媒材，呈現對於獨特個體「我」的存在與定位的重新思考。
實驗劇場的上方被24*12米的投影幕覆蓋，結冰的天空、雨滴、以及用顯微鏡所拍攝的眼睛被投影其上，凸顯人在此穹頂下生活的一舉一動。此作品中，當聲音形塑了「空間」，而舞者成為此間的「力量」，周東彥所設計的影像則具備了「時間」的功能──呈現出凝滯與永恆的狀態。
燈光設計 陳昭郡 / 舞台設計 黃日俊 / 影像設計 周東彥 / 服裝設計 高端人 / 聲 音 Yannick Dauby 澎葉生 / 技術總監 劉家明 / 製作 驫舞劇場 / 演出地點 國家戲劇院實驗劇場
➽ Work 3
《I》
In I, the acclaimed all male dance company HORSE quest one’s existence with dance, video and sound. While sound being the “space” and the dancers being the “power” in it, the designer Yen created video functioning as “time”— a permanent and stagnated state. On a 24*12 meters screen covering the ceiling of the black box theatre, a sky made of ice, raindrops and microscope of eye were mixed and reflecting the live underneath.
﹉﹉﹉
➽ 作品介紹 4
銀河鐵道之夜 / Night on the Galactic Railroad
《銀河鐵道之夜》Night on the Galactic Railroad
形式：舞台模型、影像設備 Stage Model and video
年份 ：2010
《銀河鐵道之夜》是2010年由人力飛行劇團製作、黎煥雄導演的多媒體音樂劇場作品。該劇改編自宮澤賢治的著名童話《銀河鐵道の夜》，描述兩個小男孩在銀河鐵道中展開的奇幻旅程。故事主人翁喬凡尼搭上一班前往銀河的列車，沿途看見許多奇幻的景致、和各式各樣的人相遇。
在此作品中，影像設計師周東彥充分利用不同的投影方式，創造出多層次的視覺效果。其中，利用正投影加上背投影打造故事所描述的銀河景致；並利用地面投影的效果，讓演員得以被整體空間環繞，站立其上彷彿漂浮在銀河之中：此外，亦利用浮空投影技術將關鍵的象徵元素，如：車票、花朵等，立體且生動地呈現在觀眾面前。
➽ Work 4
《Night on the Galactic Railroad》
Night on the Galactic Railroad is a multimedia musical theatre based on the famous Japanese novel written by Kenji Miyazawa around 1927. In this novel, the protagonist Giovanni gets aboard on a train that is allegorically heading along the galaxy but actually taking people to their afterlives. Along the way, Giovanni sees many fantastic sights and meets various people.
With the multi-layered visual effect made by both front & back projection, the multimedia designer Yen successfully create miraculous galactic scenery. Also, he uses floor projection to make actors be surrounded by the space and look like flying in the galaxy. Furthermore, holographic projection is employed to reveal the key symbols of the story, such as the dramatic magic flying ticket or the flourishing flower. By representing the magical and ever-changing scenes depicted in the novel, this piece conveys not only vivid impressions but also profound implications.
﹉﹉﹉
➽ 作品介紹 5
待消失的影片 / The Vanishing Film
《待消失的影片 》The Vanishing Film
形式：影片
規格：Betacam / Color
年份：2009
長度：9 mins
在莒哈絲死前，她曾寫過一段話，說她要寫一本叫做《等待消失的書》(Le Livre à Disparaître)的書。
如果把她的文字中的「書」改成「電影」的話，會是：「拍吧，不為任何東西。就這樣。為了在你想接近我的時候忘記我。因為你在模仿我可能拍過的東西，藉助你而起的東西，不僅僅是藉助你而拍的東西。相信我吧，人並不存在。存在的是電影。是電影。永遠是第一部電影。已經拍了或還沒拍完的電影，必須不斷地看了又看的電影。」此段話隱然是本片創作的潛在題旨。透過女人自述及男人旁白，以多層次的影像與敘事者視角的輪番轉換，重新詮釋莒哈絲作品中不斷形變的「記憶」主題。
此作品曾入圍2009台北電影獎劇情短片。
➽ Work 5
《The Vanishing Film》
The film interweaves major events selected from Duras’ works and presentes the following sequence: life, man, ocean, letters, writing and death. The narration shifts among three perspectives. With this tactic, the director strives to recapture “the elusive and ephemeral nature of memory” in Duras’ works.
Duras once said she wants to write a book called “the Vanishing Book”. If we change what she wrote about the “Book” to “Film”, it will be like this : “Film it. Not for anything in particular. Believe me, man doesn’t exist. What exists is the film. It’s the film. Forever the first film, the one made or not finished, the one film that needs to be watched over and over.” This paragraph is actually the starting point of The Vanishing Film.
This film got nominated by 2009 Taipei Film Festival, for Best Short fiction film nominated, Taipei, Taiwan.
﹉﹉﹉
➽ 作品介紹 6
我唯一寫過的一封信 / The Only Letter I’ve Ever Written
《我唯一寫過的一封信》The Only Letter I’ve Ever Written
形式：影片
規格：DV/ Color
年份：2005
長度：10 mins
從莒哈絲（Marguerite Duras）的文本《大西洋的男人》出發，試圖串聯記憶與海洋、電影與鏡頭、情感和書寫之間交錯的關係。藉著廢棄空間中影像的重疊，企圖呈現一片內心的風景和場域。人們該如何在記憶中遊走？又如何走出記憶？
此作品曾入圍2006年台北電影獎實驗類影片、2006年法國里爾國際短片影展 （Festival International du Court-Métrage, France, Lille）、2006年多倫多國際同志電影節、2006年紐約同志影展……等。
➽ Work 6
《The Only Letter I’ve Ever Written》
Based on L’homme Atlantique by Marguerite Duras, the film weaves together memories, relationships, the sea, writing and film in an inner landscape of personal resonant space.
Nomination and screening ：
2006 Taipei Film Festival, Best Experimental Video Nominated, Taipei, Taiwan
2006 Festival International du Court-Métrage, Lille, France
2006 Inside Out Toronto Lesbian and Gay Film and Video Festival, Toronto, Canada
2006 NewFest NY LGBT Film Festival, NYC, United States
﹉﹉﹉
➽ 作品介紹 7
自我控訴 / Self-Accusation
《自我控訴》Self-Accusation
形式：影片
規格：Betacam / Color
年份：2003
長度：8 mins
本片原始影像為周東彥於大學時期劇場導演課堂呈現素材。結合表演者與一台電視機呈現奧地利劇作家彼得．漢德克的舞台劇作品《自我控訴》。而後剪輯成為影像作品。全片以交錯的自言自語、喋喋不休的叨唸控訴或挑釁、諷刺的字句交疊而成。似乎在將自己批評的體無完膚之際，真實的「自我」才得以顯露片刻。
本作品曾入圍2004年台北電影獎實驗類影片、2004年Brussels Alternative Film Gender Festival、2004年新導演影展。
➽ Work 7
Self-Accusation
Self-Accusation was originally the footage that Chou Tung-yen used in a theatre directing class presentation where he experiment with one actor and the actor’s image in a TV set. Adapted from a text by Peter Handke ,the film interweaves whisper, chatter, resentment and accusation into one loud yet fragile self-catharsis.
Nomination and screening :
2004 Taipei Film Festival, Best Experimental Video Nominated, Taiwan
2004 Brussels Alternative Film Gender Festival, Belgium
2004 Taiwan New Director Film Festival, Taiwan
➽ 相關活動
開幕座談 《光流格影的微型回顧》
開幕日期：2013/12/14 （六） 14：00
開幕地點：台北數位藝術中心
主持人：田國平（貧窮男） 自由作者，資深電影評論
與談人：陳沛妤 第六＆七屆數位藝術評論獎得主
門票: 免費入場
Date：2013/12/14(Sat)14：00
Opening Hours：10:00~18:00
Location：Digital Art Centre,Taipei
Tickets: Free Entry