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Sorting out divergent historical traces between history and literature.

Art Direction | CI Design | Printing

The Dance Theater XX

Founded in 2011 by Chinese Australian choreographer Zhang Xiao-Xiong who resides in Taipei, Taiwan, The Dance Theater XX integrates dance and theatrical elements through crossover media to represent multidimensional features of dance. The Dance Theater XX expects to break the border of field and culture, connect artists from different countries and provide international performance platforms.

Professor in Dance Department of National Taipei University of Arts, Zhang Xiao-Xiong is dancer, actor, choreographer, photographer and writer all rolled into one. Born in Cambodia in 1958, he moved to China and graduated from the History Department of Jinan University in Guangzhou, China. He moved to Australia in 1983 where he enrolled in the Centre for the Performing Arts in South Australia majoring in modern dance. He was voted by reviewers as "the best male dancer" in 1989, and "the best annul choreography" in 1996.

The Dance Theater XX 張曉雄舞蹈劇場 由旅居台北澳大利亞籍國際編舞家張曉雄成立於2011年。張曉雄舞蹈劇場以跨界多媒體方式,融合舞蹈與戲劇元素,展現舞蹈的多面性,並冀以打破地域文化的疆界,聯結不同國家的藝術家,提供國際展演平台。

藝術總監張曉雄現任國立台北藝術大學舞蹈學院教授,集舞者、演員、編舞、攝影、作家於一身,1958年出生於柬埔寨,少年時負笈中國,1982年畢業於廣州暨南大學歷史系。1983年移民澳洲,進入澳大利亞南省阿德雷德市表演藝術中心主修現代舞,並由此展開其專業表演生涯。曾任澳大利亞國家舞蹈劇場主要舞者。1989年獲舞評家票選「最佳男舞者」,1996年獲舞評家票選「最佳年度編舞」。

Art is a very good bridge to let people understand each other, see one another.

藝術是很好的橋樑讓人們了解彼此、看見彼此

Zhang Xiao-Xiong

Lament of the Exile

Dancers move to create dynamic tension. A Mongolian singer chants as if she weeps into the void while a modern score generates music that continuously spurs the imagination. In this enthralling performance, the different fates and emotions of wanderers separated from their homeland – zeal, melancholy, loneliness, exuberance – are laid bare. For this reinterpretation of Qu Yuan’s ancient epic poem, Li Sao, written in grief and sorrow after his own banishment 2,000 years ago, the performance extends Qu’s work into a soul-searching journey for today’s forced and self-imposed exiles.

The visual design reflects the tension of power and form of dancer's body by using the cursive script of Chinese calligraphy, to present a significant masterpiece with Chinese culture and historiy.

張力澎湃的肢體語言,蒼茫如泣的蒙古吟唱,意象無限的現代音樂,描劃出遠離家園之旅人,或奮起,或神傷,或孤獨,或盛放...種種命運際遇,二千多年前屈原以畢生之沉鬱悲痛寫就的曠世詩篇《離騷》,演繹為當代被放逐與自我放逐者在時代洪流上下求索的旅程。

視覺設計透過草書離騷兩字表現舞者肉身的力道馳斂、氣韻起伏,也呼應一個來自中國,深具文化與歷史意涵的舞作。

Looking back, home country has become another country. Nonetheless, the other country is never home...

暮然回首,故鄉已成他鄉,而他鄉,卻從未是故鄉...

Another Country

History is often composed of incidents that lack details or even beginnings, the reason of which is half out of choice, half out of forgetfulness. The outcome of such fractured history often makes people forget its starting point. Therefore, while looking back into the history, a peculiar sense of drama is ever-present. The stories of a city are mostly constructed by foreigners. In search of hope and ideal life, they take foreign lands as their temporary homes, nonetheless their homelands became rather like foreign lands. Such stories are countless.

歷史往往由一些遺失了細節甚至起點的事件所構成,原因一半來自於選擇,一半來自於健忘。斷裂的歷史之結局,往往會讓人忘了歷史之起始點。因此,回望歷史,往往有一種令人匪夷所思的戲劇感。城市的故事,泰半由異鄉人所建構。在追尋希望與理想生活中,他鄉暫作故鄉,而故鄉,則恍若他鄉。這樣的故事,不勝枚舉。