真實的幻象——周書毅《S》《0》《1875》的臨在

Abstract

To date, forms, vocabularies and concepts of theatrical dance have been continuously developed and evolved in Taiwan since the 20th century. Chou Shu-yi, one of the Taiwanese choreographers of the new generation, has amazed international audience with his unique theatrical language and innovative aesthetics of theatre. In retrospect of watching Chou’s dance works titled 0 and 1875 in 2007, the author recalled that multi-layered notion of presence could be perceived at the moment of viewing. In order to further explore the various senses of “reality” in the author’s personal viewing experience, three dance works, S, 0 and 1875, all of which premiered in 2007, were analyzed by means of the discourse of presence in theatre research. In conducting this study, different levels of reality sense in S, 0 and 1875 were analyzed according to the basic structure of three modes of presence proposed by Cormac Power (2008), namely fictional, auratic and literal mode, as well as the different levels of “presence” illusions presented by such. The study discovered that the mixture and alternation of presence illusions in Cho’s works allowed the audience’s imagination to get involved, which furthermore opened up the probabilities of interpreting connotations in these dance works. In addition, the modes of presence expressed in these works indicated resistance against direct representation of aesthetics. Instead, the characteristics of daily-life movements, together with how movements as responses to stimuli became his distinguished choreographic feature, both demonstrated the choreographer’s pursuit for his unique aesthetics of theatrical dance.