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陶身体剧场《4》、《5》
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2016.09.02

上海文化广场-大剧场

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演出详情

《4》

编舞:陶冶

音乐:小河

灯光设计:马悦、陶冶

服装:陶冶、李忞

时长:26分钟

舞者:付立唯、毛雪、李顺杰、余锦鹰

首演:2012年7月17日波兰格但斯克艺术节Gdansk Festival


《5》

编舞:陶冶

音乐:小河

灯光设计:马悦、陶冶

服装:陶冶、段妮、李忞

时长:30分钟

舞者:段妮、付立唯、毛雪、李顺杰、余锦鹰

首演:2013年7月3日阿姆斯特丹Julidans Festival“七月舞蹈节”


陶身体剧场《4》、《5》


编舞陶冶认为一个名字或一组词句在当代很难概括一部身体剧场作品赋予给观众所有的想象空间,反而会先入为主在观演之前就局限了作品的理解方向。而符号作为作品的意义(如数字)就在于区别打破二元性具象与抽象的两极思维方式,陶冶同时认为作品可以释放给每个人不同的诠释和想象空间,从而使作品的生命力得到更多元性的发展及延续。

《4》作为陶身体剧场数位系列的第三部作品,进一步发展了编舞陶冶在《重3》和《2》中对身体运动作为纯符号性创作素材的思考,在延续其简约主义的创作基础上,对动作技术的开发、身体质感的美学进行了更深入的探索及创新。舞台上四位舞者在共同的外在空间与各自独立的内在空间之间以菱形方阵回旋游走,创造出一个在有序中不断变幻流动的视觉画面。舞者彼此相互不接触,通过圆的律动进行整齐有序的重心转换运动,内外之间的默契配合体现出的一致性像是充满磁力般而凝聚成一股强大气场,不断推演着关于能量守恒与消逝本质的极限过程。


陶身体剧场《4》、《5》


陶身体剧场《4》、《5》


陶身体剧场《4》、《5》


作品《4》之后,随着新的舞者的加入,编舞陶冶延续探索“最简单的复杂”理念,发展对身体关系的思考,并进行了《5》的创作。在这部作品中,5位舞者自始至终相互保持连接,从不分开而浑然一体,彼此之间像编绳一样,如何打结、如何解开,以连绵不断的支撑运动进行无尽的形变与行进。身体整体的交缠与堆叠又如同活动的建筑,无限展开关于空间建构与限制的不同可能。


陶身体剧场《4》、《5》


陶身体剧场《4》、《5》


陶身体剧场《4》、《5》


音乐家小河根据作品将金、木、水、火、土五个元素融入创作,从宇宙音到密咒,从巴洛克到新古典,如同视觉的交响乐,进行着变与不变的完美对照。

编舞陶冶认为:“这是一部表达人对于事物理解感受的作品。有人在作品里看见了快乐与希望;有人则觉得压抑和绝望;我看到的是一种宇宙的规律,如天地万物,形态各异,却彼此联系,相互依存且有着共同的规律。无论我是否活着,或者人类是否灭亡,这个宇宙仍然欣欣向荣,所有的生命力都在永无止境地迸发。这就是一个规律。”


TAO Dance Theater 4 & 5

4

Choreographer: Tao Ye

Music: Xiao He

Lighting Design: Ma Yue, Tao Ye

Costumes: Tao Ye, Li Min

Duration: 26 minutes

Dancers: Fu Liwei、Mao Xue、Li Shunjie、Yu Jinying  

Premiere: 2012, Gdansk Festival, Poland

Commissioning support from Gdansk Festival, Poland


5

Choreography: Tao Ye

Music: Xiao He

Lighting Design: Ma Yue, Tao Ye

Costumes: Tao Ye, Duan Ni, Li Min

Duration:  30 minutes

Dancers: Duan Ni、Fu Liwei、Mao Xue、Li Shunjie、Yu Jinying

Premiere: 2013, Julidans Festival, Amsterdam


Tao Ye believes that a single word or phrase cannot possibly capture the imaginative space afforded by a dance piece. On the contrary, a definite title might impose restrictions and misunderstanding to the audience's individual interpretation before the pieces are performed. A  number, on the other hand, signifies the rejection of duality between abstract and concrete thinking. Tao believes his works can offer limitless interpretation and imaginative possibilities to each of the audience. And from there, his works can develop and continue with greater vitality and variety.

4, being the third piece of choreographer Tao Ye’s “Numerical Series”, builds upon Weight x 3 and 2 in its characteristically meticulous reflection on the human body as a pure and symbolic creative element. Technically pioneering notwithstanding, 4inherits the minimalistic outlook from its predecessors, and excavates still deeper layers of a new body-texture aesthetic. As the four dancers, standing in a diamond formation, whirl and slice simultaneously through a shared, external space and each of their own internal, private space, an orderly flow of transformations emerges from the dynamic picture. The four dancers never touch, but a powerful and seemingly magnetic sense of unity condenses itself around the mesmerizing, intersubjectively coordinated movements. It is as if a demonstration of the conservation of energy and the ultimate process of becoming depleted is contained in the dancers’ rhythmic and cyclical shifting of body weight in their uniform and circular movements.

Following the success of 4 and the recruitment of new dancers, choreographer Tao Ye continues his exploration with the idea of “the simplest complexity” unto new grounds in the presentation of the possibilities inherent to the human body, of which 5 is the new artistic output. In 5, 5 individual dancers retain a close physical connection that unifies them as strings to a rope for the entire duration of the piece. The knotting and unknotting of the body are interwoven in a stream of processual change of mutually supporting movements and body shapes. The interlocking and heaping of bodies seem to effect a living edifice, on which the multiform possibilities of spatial constructs and human limitations are explored in an infinitely complex fashion. Music artist Xiao He fuses Metal, Wood, Water, Fire and Earth in his composition for 5. From cosmic background radiation to esoteric mantras, from Baroque to Neo-Classicism, a free play between change and non-change creates an almost visible orchestra that complements the dance flawlessly. Choreographer Tao Ye believes 5 to be a “piece that expresses one’s understanding of the world at large. Some see happiness and hope in this piece, some see oppression and despair; I see a universal principle: the myriad things in this universe are interconnected, interdependent and subject to the same principles. No matter whether I live or die, no matter whether humanity exists, this universe is imbued with an incessant life force. The cosmic outburst of active power has no end. That is what I call a principle.”

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