A8研究院 | 设计师带你读懂当代戏剧：Zero degrees & Babel (words)

Babel (words)，演出现场

Zero degrees和Babel (words) 展示了环境戏剧和当代艺术结合的无限可能。作为核心创作团队的Sidi Larbi Cherkaoui和安东尼·格姆雷 (Antony Gormley)已多次在不同剧目中有精彩的合作呈现。A8设计中心研究并整理二人合作的环境戏剧项目Zero degrees、Babel (words) 和 Icon，对话安东尼·格姆雷的三件作品Human、Breathing Room 和Field，探索以当代艺术装置为核心的舞美设计与performance design以及对舞者表演触发的关联。

Zero degrees and Babel (words) show the infinite possibilities of the combination of performance design and contemporary art. As the core members of the creative team, Sidi Larbi Cherkaoui and Antony Gormley have had many wonderful collaborations in different repertoires. A8 Design Center researches and sorts out their cooperative performance design projects Zero degrees, Babel (words) and Icon, initiates a dialogue with Antony Gormley's three works Human, Breathing Room and Field, and explores the association triggered between contemporary art installations and performance design as well as dancers’ performance.

01

设计师的看剧笔记

Designer's Note

手绘 by 廖青

02

关于编舞和艺术家

About the Choreographer and Artist

Sidi Larbi Cherkaoui

Sidi Larbi Cherkaoui（生于1976年）是比利时与摩洛哥的舞者、编舞和导演。他已经制作了50多个编舞作品，并获得了两项Laurence Olivier最佳新舞作品奖，三项芭蕾舞团最佳编舞奖（2008，2011，2017）和KAIROS奖（2009）。

Sidi Larbi Cherkaoui (born 1976) is a Belgian-Moroccan dancer and choreographer and director. He has made over 50 choreographic pieces and received two Laurence Olivier Award for Best New Dance Production, three Ballet Tanz awards for best choreographer (2008, 2011, 2017) and the KAIROS Prize (2009).

安东尼·格姆雷

Antony Gormley

安东尼·格姆雷（生于1950年）因雕塑、装置作品以及研究人体与空间关系的公共艺术品而广受赞誉。自20世纪60年代以来，面对人类相对于自然和宇宙所处的位置的基本问题，他的作品通过对自己和他人身体进行批判性探究，从而开拓了雕塑创造的潜力。格姆雷不断尝试将艺术空间定位为一个可以产生新行为，新思想和新感觉的地方。格姆雷于1994年获得透纳奖（Turner Prize），1999年获得南岸视觉艺术奖（South Bank Prize for Visual Art），2007年获得Bernhard Heiliger雕塑奖，2012年获得Obayashi奖，并于2013年获得了日本皇室世界文化奖（Praemium Imperiale）。他还是英国皇家建筑师学会的名誉院士，剑桥大学名誉博士以及剑桥Trinity and Jesus学院院士，自2003年起担任皇家院士。

Antony Gormley (born 1950) is widely acclaimed for his sculptures, installations and public artworks that investigate the relationship of the human body to space. His work has developed the potential opened up by sculpture since the 1960s through a critical engagement with both his own body and those of others in a way that confronts fundamental questions of where human beings stand in relation to nature and the cosmos. Gormley continually tries to identify the space of art as a place of becoming in which new behaviours, thoughts and feelings can arise. Gormley was awarded the Turner Prize in 1994, the South Bank Prize for Visual Art in 1999, the Bernhard Heiliger Award for Sculpture in 2007, the Obayashi Prize in 2012 and the Praemium Imperiale in 2013. He is an Honorary Fellow of the Royal Institute of British Architects, an Honorary Doctor of the University of Cambridge and a Fellow of Trinity and Jesus Colleges, Cambridge. Gormley has been a Royal Academician since 2003.

03

环境戏剧 VS 艺术装置舞美设计

Performance Design VS Contemporary Art Scenography

03-1  Zero degrees

Zero degrees，演出现场

Zero degrees开始于Sidi Larbi Cherkaoui与英属孟加拉的舞蹈指导和舞蹈家Akram Khan表演二重奏的愿望。两位都在欧洲的伊斯兰家庭长大，利用文化的融合，他们将复杂的印度独木舟舞蹈与当代舞蹈的速度和精确度结合在一起。安东尼·格姆雷被邀请进行场景设计，Nitin Sawhney被邀请现场表演音乐，Zero degrees成为了一个转折点。它的灵感来自于一个事物变成另一事物的界点，或是事物与下一个事物之间的灰色区域，比如水变成冰时的温度，生命变成死亡的界线。Zero degrees跟随着Cherkaoui和Khan开启了一个寻找参考点，来源，生命核心的“ 0”的旅程。受他们自己双重身份的启发，两个人通过对相反的对立面寻找中间点。变化/死亡，光明/黑暗，混乱/秩序。Zero degrees探讨边界与如何模糊边界。

两个栩栩如生的假人是Cherkaoui和Khan的副本，舞台上的空虚感让观众看到了编排中许多分裂和统一的象征。假人象征着自我的改变，有时是压迫者，有时是守卫或尸体。Zero Degrees是一个关于人类生命的脆弱性，关于阴和阳的表演。该作品在澳大利亚赢得了Helpmann奖，并在英国获得了Laurence Olivier奖提名。

Zero degrees started as a desire of Sidi Larbi Cherkaoui to dance a duet with British-Bengali choreographer and dancer Akram Khan. Both are sons of Islamic families brought up in Europe, and both draw upon this meeting of cultures, combining complex Indian kathak dance with the speed and precision of contemporary movements. Inviting Antony Gormley for the scenography and Nitin Sawhney for the live performed music; zero degrees became a place of transformation. Inspired by the place where one thing morphs into another, the grey zone between one thing and the next, the degrees where water becomes ice, the line where life becomes death. Zero degrees follows Cherkaoui and Khan on a journey to seek the reference point, the source, the '0' at life's core. Inspired by their own dual identities, the two search for this middle point through polar opposites; becoming/death, light/dark, chaos/order. Zero degrees talks about borders and how blurry they actually are.

With only two lifelike dummies, copies of Cherkaoui and Khan, the emptiness on stage permits the audience to see many symbols of division and unity within the choreography. The dummies are like alter egos, sometimes they are oppressors, sometimes guards or dead bodies. Zero degrees is a performance about the fragility of a human life, about yin and yang. The piece has won a Helpmann Award in Australia and was nominated for a Laurence Olivier Award in the U.K.

Zero degrees，演出现场

Zero degrees 对话/VS  Human

Human，展览现场

Human是安东尼·格姆雷于2015年在意大利佛罗伦萨 Forte di Belvedere进行的展览。Forte di Belvedere，其作为防御性堡垒的功能及其时空力量的表达是本次展览的基础。俯瞰佛罗伦萨这一典型的理想城市，它为人们提供了一个建筑是如何掩蔽、保护和支配人与空间关系的思考。Forte是地貌改造的非凡示例：Ferdinando de’Medici将自然山丘改造成人工制品，它与当代艺术有着深远的联系，经常被用作纪念性雕塑的纪念性背景。格姆雷没有尝试置入一个与场地规模相匹配的作品，而是选择展示与真实大小一样的作品，从而使这非凡建筑的质量和形式得以展示。

Human was a show that Antony Gormley presented at Forte di Belvedere, Florence, Italy, in 2015. The Forte di Belvedere, its function as defensive fortress and its expression of temporal power are the basis of this exhibition. Overlooking Florence, a city that typifies an urban ideal, this site offers a place in which to consider how architecture serves to shelter, protect and dominate people and space. The Forte is an extraordinary example of a terraforming: a natural hill transformed by Ferdinando de'Medici into an artefact. It has a long association with contemporary art and has often been used as a monumental context for monumental sculptures. Rather than attempt to insert works that try to match the scale of the site, Gormley had chosen to exhibit works that are life-size and that will allow the mass and form of this remarkable construction to speak.

Human，展览现场

展览背后的理念是将雕塑作为利针一般，来开辟堡垒：作品被广泛散布，以激发现场所能提供的固有质量、压缩物和全景。在寻找合适的地点进行这些对峙和暗示时，格姆雷想创建绊脚石，以阻止观众前进，并鼓励观众重新考虑自己是谁，以及如何与他们周围的空间交流。

The concept behind the exhibition is to open up the Forte through sculptural acupuncture: the works are widely dispersed to catalyse the inherent masses, constrictions and panoramas that the site affords. In finding the right places to make these confrontations and allusions, he wanted to create stumbling blocks that stop the viewer in their tracks. I want to encourage the viewer to think again about who they are and how they negotiate the spaces around them.' Antony Gormley

Human，展览现场

03-2  Babel (words):

Babel (words)，演出现场

Sidi Larbi Cherkaoui和Damien Jalet与艺术家安东尼·格姆雷联手创作了 Babel (words):，这是一个旨在探讨语言及其与国籍、身份和宗教的关系的舞蹈表演。以“The Tower of Babel”的故事为起点，格姆雷用五个巨大的三维框架暗指边界附近无名的城市中的一个无名的十字路口，它定义了无人区。随着观察，从私人到大众，从亲密到外放，以及从个人到集体的动作的进行，当信仰、空间和社区被做出选择时，我们被提醒Babel的故事在某种程度上代表着启蒙的大门，在其他情况下则代表了混乱、困惑和冲突。

Sidi Larbi Cherkaoui and Damien Jalet joined forces with visual artist Antony Gormley to create Babel(words), a dance performance that explores language and its relationship with nationhood, identity and religion. Taking the tale of 'The Tower of Babel' as its starting point, Gormley's 5 huge 3-dimensional frames hint at a nameless intersection in a faceless city near the borders that define a no man's land. We watch as the action flows from private to public, intimacy to extroversion , and the individual to the collective – while choices of faith, space and community are made and we are reminded that to some the tale of Babel represents the gates to enlightenment, to others - chaos, confusion and conflict.

Babel (words)，演出现场

Babel (Words) 对话/VS Breathing Room

Breathing Room，展览现场

Breathing Room是一次在空间中绘制三维图形的尝试，它既是图表也是物体。它通过创建七个相互渗透的嵌套空间，并且占据房间的中心位置，使观看者成为被观看对象。每一次，框架在不同的轴上被延展时都可以保持恒定从而勾勒出体积的轮廓。地面上的曼荼罗状图画构成了这七个房间发散的平面图。该结构由25 mm x 25 mm的方形铝管制成。物体徘徊在成为建筑和成为建筑的图像之间。它是一个在限定的内部空间中被包含的物体。在Ropac Gallery的装置中，所有的电灯都被移除了，框架上涂了两层磷光漆，这些磷光漆白天吸收光，晚上发射光。在夜间状态下，这个作品呈现出一个介于虚拟和真实之间的不稳定状态。如果说西方的透视图和正交结构是描述和容纳空间的方式，那么这会是一个开拓那些限制性特征的尝试。

BREATHING ROOM is an attempt to make a three-dimensional drawing in space that is both a diagram and a thing. It is an instrument that allows the viewers to become the viewed, by creating an interpenetrating nest of seven space-frames that occupy a central position in the room. The volume outlined by the frame remains constant whilst being extended, in each case, on a different axis. A mandala-like drawing on the floor forms the groundplan from which the seven rooms grow. The structure is made from 25 mm x 25 mm square aluminium tube. The object hovers between being architecture and being an image of architecture. It is a contained object in a defined internal space. In the Ropac Gallery installation, all electrical lights were removed and the frames were painted with two layers of phosphorescent paint that absorbed light during the day and emitted it at night. In its night state, the work assumes an unstable position between the virtual and the real. If perspective and orthogonal architecture in the West are the way in which space is described and contained, this is an attempt to open up those limiting characteristics.

Breathing Room，展览现场

03-3  Icon

Icon，演出现场

宗教领袖、政客、流行歌星、榜样——我们创造，重复生产并且崇拜它们，直到下一个政权，文化或趋势用新的图标来接管并取代它们。这个想法是Sidi Larbi Cherkaoui关于Icon的主旨，这是他在2014年创立Noetic之后为Göteborgs Operans Danskompani创作的第二个作品。Cherkaui决定为这部作品委托年轻的安特卫普时装设计师Jan-Jan Van Essche创作服装，以追求和艺术家安东尼·格姆雷（Antony Gormley）的长久而富有成果的合作，后者于2005年首次为Zero degrees加入了Cherkaoui。在Icon中，舞台设计包括3.5吨粘土，这是一种具有极其短暂性质的可塑性物质。

Icon. Religious leaders, politicians, pop stars, role models. We create them, reproduce them, and worship them. All until the next regime, culture or trend takes over and replaces them with new ones. This idea is Sidi Larbi Cherkaoui’s leitmotif for Icon, his second creation for the GöteborgsOperans Danskompani after creating Noetic in 2014. For this production Cherkaoui decided to both break new ground, and so he commissioned the young Antwerp-based fashion designer Jan-Jan Van Essche to create the costumes, as to pursue his lasting and fruitful collaboration with visual artist Antony Gormley, who joined Cherkaoui for the first time in 2005 for Zero degrees. In Icon the set consists of 3,5 tons of clay, a malleable substance with a huge ephemeral quality. 

“当您看到舞者与泥土互动时，它充分展现了他们作为个体的身份。通过将自己的能量转移到另一种材料来塑造某些事物的方式非常有趣。粘土是一种非常情绪化的材料，它没有精神上的东西。黏土极度接地。它有重量。它永远不会以您想的方式做出反应。它是不可预测的，好像它有自己的想法一样。从这个意义上讲，Icon与Noetic相反，在这里我可以和空气元素和圆形等形状一起工作。在Icon，黏土使我保持接地。利用这种材料，重力不断将我拖垮。当我开始研究这一新作品时，我想到的最大问题是关于图标和圣像的概念。我们如何制作图标；如何在某个时候赋予他们力量，然后倾向于打破他们。想谈论一些话，这些话关于我们如何需要偶尔在生活中通过打破事物来开始新的篇章。让我喜悦的是看到我们如何作为一个社会去应对某些破坏。我们对某些拆迁感到非常痛苦，但是十分奇怪的是，我们对某些损失感到欣喜若狂，尽管实际上它们可能同样令人痛苦。” – Sidi Larbi Cherkaoui

在由意大利，日本和韩国的音乐家和歌手表演的特殊音乐作品中，舞者通过复杂的暗示性仪式形式与陶土互动。这种体验充满神秘主义和自然主义。

“When you see dancers interact with the clay, it speaks volumes about who they are as individuals. Shaping something is very interesting in the way you transfer your energy to another material. Clay is a very emotional material. There’s nothing spiritual about clay. Clay is extremely earth-bound. It has weight. It never reacts the way you would think. It’s unpredictable, as if it had a mind of its own. In that sense, Icon is the opposite of Noetic, where I could work with the element of air and shapes such as circles. In Icon, the clay keeps me grounded. Working with this material, gravity constantly drags me down. When I started working on this new piece, the biggest questions that came to mind were around the concepts of icon and iconoclasm. How we make icons; how, at some point, we give them power, and then have a tendency to break them. There’s something to say about how we need at times in our lives to start a new phase by breaking things. It is fascinating for me to see how we as a society react to certain destructions. Certain demolitions we find very painful to watch, and – strangely enough – at certain losses we feel almost euphoric, although actually they may be just as painful.” – Sidi Larbi Cherkaoui

To specially-composed music, performed by musicians and singers from Italy, Japan and South-Korea, the dancers interact with the clay in sophisticated, suggestively ritual patterns. An experience steeped in both mysticism and naturalism.

Icon，演出现场

安东尼·格姆雷与舞者

Icon 对话/VS Field

Field，展览现场

从一开始，安东尼·格姆雷就试图用粘土制作尽可能直接的东西：土地。他想与人们一起工作，为人类的集体未来及其责任做一个作品。格姆雷希望艺术品回顾它的制造者（以及后来的观众），仿佛这些制造者是有责任的——要对它（FIELD）和人们所处的世界负责。

From the beginning Gormley was trying to make something as direct as possible with clay: the earth. He wanted to work with people and to make a work about our collective future and our responsibility for it. He wanted the art to look back at us, its makers (and later viewers), as if we were responsible--responsible for the world that it (FIELD) and we were in. 

Field，展览现场

最近的一次来自中国广州，并于2003年在广州，北京，上海和重庆展出。它由125吨的粘土制成，这些粘土由火激发，通过触摸而变得敏锐，并具有肉眼的意识。这21万个人体代理完全占据了它们的放置空间，采用建筑物的形式并排除我们，但允许视觉访问。它总是由单个阈值被看到。观看区域的尺寸至少等于作品总地板面积的六分之一。这个观看区域完全是空的。然后观看者在给定建筑物的已占用和未占用区域之间进行调和。格姆雷喜欢这个把被占据的物理区域服务于观看者的想象空间的想法。

The most recent is from Guangzhou, China, and was exhibited in Guangzhou, Beijing, Shanghai and Chongqing in 2003. It is made from 125 tonnes of clay energised by fire, sensitised by touch and made conscious by being given eyes. The 210,000 body-surrogates completely occupy the space in which they are installed, taking the form of the building and excluding us, but allowing visual access. It is always seen from a single threshold. The dimensions of the viewing area are equivalent to no less than one sixth of the total floor area of the piece. This viewing area is completely empty. The viewer then mediates between the occupied and unoccupied areas of a given building. Gormley liked the idea of the physical area occupied being put at the service of the imaginative space of the witness.

Field，制作现场

04

致谢

Credits

Zero degrees

首映：2005.7.8，Sadler’s Wells

导演：Sidi Larbi Cherkaoui，Akram Khan

编舞：Sidi Larbi Cherkaoui，Akram Khan

音乐创作：Nitin Sawhney

布景设计：Antony Gormley

舞蹈：Sidi Larbi Cherkaoui，Akram Khan

现场音乐：Tim Blake，Faheem Mazhar，Alies Sluiter，Joby Burgess， Coordt Linke

戏剧：Guy Cools

服装设计：Kei Ito

灯光设计：Mikki Kunttu

Babel (words):

首映：2010.4.27，De Munt / La Monnaie

编舞: Sidi Larbi Cherkaoui

音乐创作: Patrizia Bovi，Mahabub Khan，Sattar Khan，Gabriele Miracle，Shogo Yoshii

音乐顾问：Fahrettin Yarkin

布景设计：Antony Gormley

舞蹈：Mohamed 'Benfury' Benaji, Christine Leboutte, Ulrika Kinn Svensson, Darryl E. Woods, Kazutomi 'Tsuki' Kozuki, James O’Hara, Moya Michael, Helder Seabra, Paea Leach, Jon Filip Fahlstrøm, Francis Ducharme, Damien Fournier, Navala 'Niku' Chaudhari

现场音乐：Patrizia Bovi, Mahabub Khan, Sattar Khan, Gabriele Miracle, Shogo Yoshii

编舞助理：Nienke Reehorst

戏剧：Lou Cope

文字：Lou Cope，Vilayanur Ramachandran

服装设计：Alexandra Gilbert

灯光设计：AdamCarrée

排演导演：Navala’Niku'Chaudhari

Icon

编舞：Sidi Larbi Cherkaoui

布景设计：Antony Gormley

服装设计：Jan-Jan Van Essche

戏剧性：Antonio Cuenca Ruiz

音乐创作：Patrizia Bovi，Gabriele Miracle，Kazunari Abe，Anna Sato，Woojae Park

现场音乐：Patrizia Bovi，Gabriele Miracle，Kazunari Abe，Anna Sato，Woojae Park

灯光设计：David Stokholm

舞蹈：Kazutomi 'Tsuki' Kozuki, Nicola Leahey, Georgios Kotsifakis, Patrick Williams Seebacher (TwoFace), Elias Lazaridis, James Vu Anh Pham, GöteborgsOperans Danskompani

编舞助理：Jason Kittelberger

音效设计：Joachim Bohäl

关于设计师

About the Designer

廖青

莫方 Eating Lab+Gallery+Theater 主理人

荷兰皇家艺术学院室内建筑专业(Interior Architecture)  研究生

清华大学美术学院环境艺术设计系室内设计专业  本科

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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