A8 Performance | 猫来了！沉浸式原创戏剧《猫之恋》首秀！
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关于Performance
About Performance
Performance (环境戏剧) 是在传统的跨学科的艺术背景下呈现给观众的表演。表演可以是有剧本的或无剧本的，随机的或精心安排的，自发的或精心策划的，有或没有观众的参与。演出可以现场直播，也可以通过媒体进行；表演者可以出席，也可以缺席。它可以是任何涉及四个基本元素的情况：时间、空间、表演者的身体或在媒介中的存在，以及表演者和观众之间的关系。
Performance is presented to an audience within a fine art context, traditionally interdisciplinary. Performance may be either scripted or unscripted, random or carefully orchestrated, spontaneous or otherwise carefully planned with or without audience participation. The performance can be live or via media; the performer can be present or absent. It can be any situation that involves four basic elements: time, space, the performer's body or presence in a medium, and a relationship between performer and audience.
Dada Performance, Theatre costumes, VOGUE US
Sophie Taeuber-Arp’s set design for König Hirsch, 1918
Photography by E. Linck
All rights reserved, Fondation Arp photographic archives
虽然“Performance”这个术语只是在20世纪70年代才被广泛使用，但视觉艺术表演的历史往往可以追溯到20世纪10年代的未来主义作品和达达卡巴莱(dada cabarets)。在整个二十世纪，表演常常被视为一种非传统的艺术创作方式。生活、身体的运动和无常为艺术家提供了绘画和雕塑的静态永久性的替代品。在战后时期，表演与概念艺术结合在一起，因为它通常是非物质的。如今，这个词已被视觉艺术界所接受，它也被用来描述电影、录像、摄影和装置艺术作品，艺术家、表演者或观众的行为通过这些艺术作品得以传达。最近，表演被理解为一种直接参与社会现实、空间细节和身份政治的方式。2016年，理论家乔纳·韦斯特曼 (Jonah Westerman) 评论道:“表演不是（也从来不是）一种媒介，不是艺术品可以成为的东西，而是一系列关于艺术如何与人以及更广泛的社会世界联系在一起的问题和担忧。”
While the terms “performance” only became widely used in the 1970s, the history of performance in the visual arts is often traced back to futurist productions and dada cabarets of the 1910s. Throughout the twentieth century performance was often seen as a non-traditional way of making art. Live-ness, physical movement and impermanence offered artists alternatives to the static permanence of painting and sculpture. In the post-war period performance became aligned with conceptual art, because of its often immaterial nature. Now an accepted part of the visual art world, the term has since been used to also describe film, video, photographic and installation-based artworks through which the actions of artists, performers or the audience are conveyed. More recently, performance has been understood as a way of engaging directly with social reality, the specifics of space and the politics of identity. In 2016, theorist Jonah Westerman remarked “performance is not (and never was) a medium, not something that an artwork can be but rather a set of questions and concerns about how art relates to people and the wider social world”.
Sleep No More
Seeing You
Performance by Liminality
The Sequence, Photo by Alone
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关于《猫之恋》
About The Lover Cat
《猫之恋》总导演余颖平硕士毕业于伦敦艺术大学中央圣马丁学院戏剧系表演设计与实践专业。《猫之恋》系列一（The Lover Cat）曾于2019年4月24 日在伦敦布里顿剧院成功公演。这个实验性现代舞是根据 Kobayashi Issa (1763 - 1828): Various Haikus 的八首以猫为主题的俳句诗为灵感，以画家根据音乐作画投影到舞台上为牵引，让芭蕾舞者与画家现场绘画影像及音乐互动，展现出八首诗里的不同的猫的故事。
《猫之恋》系列一，伦敦布里顿剧院，2019
今年7月，SIA国际艺术教育 X A8设计中心将带来《猫之恋》系列二，以四首新的关于猫的诗为灵感，将现代舞与绘画、多媒体投影、装置艺术、气味设计相融合，并根据这四首诗歌进行不同的内容设计，把表演分为四个章节。
第一章：气味
陆游《得猫於近村以雪儿名之戏为作诗》
从诗句“薄荷时时醉，氍毹夜夜温。”中提取薄荷这一气味为元素，在现场加入薄荷香薰，让现场投影或绘画投影的形式与舞者的表演相融合，让观众享受到从视觉到嗅觉的双重体验。
第二章：光影
小林一茶 “暗中来，暗中去”
观众置身于黑暗中，通过追光打在镜子里的折射来找到猫；舞者在黑暗与折射光中穿梭，结合快节奏的音乐，展现出猫的俏皮与神秘。观众每人会发一小个手电筒，自己在场地里寻找消失的猫，与舞者互动。
第三章：声音
格莉特·怀兹·布朗《小猫的梦》
诗句里都是小猫在梦里听见鸟、跳蚤、树、黄蜂、雨水……这些美妙的声音都会设计为自然的音效牵引舞者，最后结合“猫和生日蛋糕的战争难以挣脱”，设计一个巨型的生日蛋糕，猫在蛋糕里舞蹈。
第四章：融合
巴勃罗·聂鲁达《猫颂》
前三章的三只猫集合，并加入素人演员，进行一个群像的表演，展现出每一个人心中不同的猫。
《猫之恋》系列一，伦敦布里顿剧院，2019
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项目节点
Project Schedule
5月18日 项目正式启动
5月22日 专业舞者招募开始
6月2—3日 专业舞者面试
6月4日 专业舞者确认
6月8日 素人演员招募开始
6月22日 素人演员确认
7月4日—5日 公演
4—5th July, On Stage
专业舞者和素人演员招募信息将会通过后续推文发布
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关于SIA
About SIA
SIA: 全称SIA国际艺术教育，SIA国际艺术教育在2011年成立于纽约曼哈顿，自创立至今，SIA一直着眼于打造“国际化艺术指导、专业作品集培训、留学艺术规划、世界名校申请”的多元化服务体系。同时，SIA以尊重艺术，培养未来新兴艺术家为基础，致力于为学生建立正统的西方艺术思维方式。此外，SIA还致力于打造一个优秀的课外艺术环境，积极参与各类新锐艺术活动，长期鼓励并支持有趣有创意的线下活动，并与各大知名美术馆保持友好互动和链接，希望丰富并将最新最好的设计与艺术带给大家。
SIA International Art Education (“SIA”) was established in Manhattan of New York in 2011. Since its establishment, SIA has been committed to providing a system of multi-dimensional services covering “international art guidance, professional portfolio training, overseas art study planning, and world-famous university application”. SIA highly respects art, and endeavors to train potential artists for the future. Based on this philosophy, we devote ourselves to helping students build a standard western perspective of artwork creation. Moreover, SIA also strives to create a good climate for extracurricular art exploration. We proactively participate in varied cutting-edge art activities. We always encourage and support interestingly creative offline activities. We furthermore maintain good relationship and sound interaction with big galleries. Through these efforts, we work to enrich our programs and bring best possible art design ideas to each and every student.
关于A8设计中心
About A8 Design Center
A8设计中心依托成都麓湖水城，关注年青设计师成长。通过寻找挖掘麓湖内有趣或有研究意义的命题，启动讲座沙龙、教育合作、设计师招募、竞赛及设计展览等系列活动。作为设计文化平台，A8设计中心通过整合上下游产业链，为年青设计师群体寻求更多展示机会，推动设计产业发展 。
A8 Design Center is located at Chengdu LUXELAKES Water City and focuses on the growth of young designers. By looking for interesting or significant research topics in LUXELAKES, a series of activities such as lecture, salon, education cooperation, designer open call, competition and design exhibition are launched. As a design culture platform, A8 Design Center seeks to provide more display opportunities for young designers and promotes the development of design industry by integrating upstream and downstream industry chains.
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