TRANSITION REPORTS
TRANSITION REPORTS
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“在当今舞蹈剧场非舞蹈化潮流中，古佳妮坚持以纯粹的‘编舞’意志营造可读的戏剧性，实属罕见。舞者素人化，动作日常化，从漫不经心的跑跳推搡中寻找最基本的身体关系，抑制不住的倚靠瘫倒，消极姿态被置于‘虐/恋’张力中玩弄着摔打不死的打捞拯救，借助一种物料‘储物盒’满台迁徙流转，世界具体化为煞有介事的劳作，虽表现着抽象意绪，劳作/堕怠的中性化诸身体，游戏、警觉又不乏谐谑，仍使作为语言的动作被放大到‘（动）词’的细致级别，堪称一个‘逐字舞蹈剧场’。十口无团舞蹈剧场挑选特别品质的舞者作为real people，通过长期现场排练来生发内容，这个方法能保证自己每次收获不同的‘杂语’特产，呈现dancing other people's words，自己成为一个‘没有风格的风格舞团’，在这里，作品像植物一样缓慢生长，无法从外部予以编辑，恰似土地与生命关系的隐喻：人类看见的万物生长，只是时间在行动。”
—张献，杂语舞蹈剧场
“In the current trend of ‘no dancing’ in dance theaters, Gu Jiani’s insistence on creating readable drama with pure ‘choreography’ is rare. Dancers with casual looks and everyday life moves try to find the most fundamental body relations through casual running and shoving around. Unable to restrain from leaning or collapsing, their bodies are passively ‘played with’ , fall down and then rescued, transiting and moving around with the help of boxes on stage. The world is crystallized into serious work, and although showing abstract emotions, the tired, neutralized bodies are playful and alerted, and movements as language are magnified into ‘verbs’, which renders a verbatim dance theater.United Group selects dancers with special quality as real people, and produce contents through long-term rehearsals. This can ensure gaining heteroglossia every time, dancing other people's words, and becoming ‘a stylistic dance group with no styles’. Here, works grow slowly like plants, non-editable from the outside, as the metaphor of the relationship between earth and life: people see everything growing, that’s the action of life.”
—Zhang Xian, Heteroglossia Dance Theater
“观众们都被剧中一颗像足球一样被踢来踢去的头颅刺激到了，临近惊骇的程度，我们知道它仍还在长在演员的身体上，但这并没有给震撼的冲击带来安慰，反而多增加了感同身受的痛疼和紧张，头的主人宣淇也说，她自己一开始是演在跳的双人交谊舞中一边跳一边‘盘球’的舞者，但是她自己也难以下脚，所以才主动要求扮演把自己脑袋当球的角色。
剧中还有不少身体和行为‘异化’的意象，像现代工业下的半人半兽、混种动物、无机物、代码产品……这些并不是因为被动的适应或被世界压扭曲而形成的，如果我们在现实生活中可能如此被改造，但是至少在剧中这些制造‘异化’的机制不是，它是主动的结果。我非常喜欢这种通过艰苦训练获得的超越常人的身体运用能力和控制力。惊骇和紧张也不是一个主要感受，我在其中升起了一种振奋。正是由于这种主动性的力存在，在我眼里，这部身体戏剧作品超越了当前面对‘异化’的主题时一般通常配置的批判性的、讽刺性的、悲观的理念和心态，它喷发出了强烈的、流动的、新鲜的、莫名的创造力。”
—蒋志，艺术家
“The audience were shocked when they saw a head kicked around like a football on stage. It was almost a frightening scene, and although they knew the head was still growing on the dancer’s body, it didn’t bring much comfort; instead, it brought them a shared feeling of pain and tension. According to the owner of he head, Xuanqi, she originally took the role of the ‘ball kicker’, but she found it hard to do the kicking, so she offered to play the ‘ball’ part instead.
There are quite a few ‘alienated’ images of body and behavior in the dance, such as the half- man, half-beast, hybrid animal, inorganics, or code products under modern industrialization.These are not passive adaptations or distortions of the world. We may be transformed this way in real life, but at least in this dance these ‘alienation’ mechanisms are not. They are the result of the initiative. I really like the extraordinary movement and control ability of the body gained through hard training. The fright and tension was no longer a major feeling, and an exhilaration arose in me. In my eyes, because of this initiative, this body theater piece transcends the critical, satirical and pessimistic ideas and mentality attached to the theme of ‘alienation’, and erupts a strong, flowing, fresh and inexplicable creativity.”
—Jiang Zhi, Artist
“古佳妮的新作《迁徙》沿袭了上一部作品《插销》的做法，又一次在剧场里建构了一个人与大量物件（收纳箱、被肢解的人体模型等）复杂关联的世界。这是一部具有多重隐喻的艺术作品。如同厂房一样堆集着若干收纳箱的舞台时空象征着消费时代人的境况。人在搬运、装配、操弄箱子的同时，不自觉地被这些人造物件所异化、所肢解。人与人之间的关系如物与物一般冷漠甚至对立。大量的箱子构成了一张吞噬人的大网，而人在其中的所谓迁徙辗转只不过是这张大网中的挣扎腾挪。深陷于这张大网中的人，也许不仅仅是所谓单向度的人，而或许，终将成为非人……在这个作品里，古佳妮以其一贯对生活的敏锐洞察力，以及特有的身体语言和舞台装置，对人类的境况给予了毫不留情、犀利深刻的揭示。”
—卿青，中国艺术研究院舞蹈研究所
“Gu Jiani’s ‘Transition’ follows the footsteps of ‘Exit’ in constructing on stage a world where people and lots of objects (boxes, dismembered manikins) are intricately connected. This is a work of art with multiple metaphors. The stage packed with boxes symbolizes people’s situation in the consumption era. When people carry, fill up, or move these boxes, they are unconsciously alienated and dismembered by these artificial objects. People’s relationship is as indifferent and antagonistic as that of objects. A large number of boxes constitute a large net that swallows people, and the so-called transition is merely struggle and movement within this net. People caught up in this net are not only one-dimensional, but may turn inhuman at last... In this work, Gu Jiani showed her usual acute insight in life, her special body language, and innovative stage installation, revealing unsparingly and profoundly the conditions of human.”
—Qing Qing, China National Academy of Arts, Dance Research Center
“对极致身体的追求，无疑是佳妮在创作中一贯所坚持的‘偏执’，而舞者们的精彩表现也无疑显露了编舞和舞者在创作过程中所投入的身心付出，这些令人折服的身体是对‘偏执’最切题的回应。身体作为舞蹈修行者的肉身存在，在这个感官被无限放大和刺激的时代，显得弥足原始、朴素和珍贵。也许也是带着这样的‘偏执’才能抵抗魔幻世界的现实，走入这条孤独的迁徙之路，寻找身体的变异和心理与关系的变量。只是，作为肉身之躯的人，到底在寻求什么样的转变？或者，人，根本无法改变，除非，世界变了。”
—韦曼，艺术家
“The ultimate pursuit of body is undoubtedly Gu Jiani’s ‘paranoia’ in all of her works, and the excellent performance of the dancers shows the choreographer’s and the dancers’ devotion into the creation process. These astonishing bodies are the most relevant evidence of this ‘paranoia’. The body, as the physical existence of the dance practitioner, appears primitive, simple and precious in this era of infinite amplification and stimulation of senses. Perhaps only with such ‘paranoia’ can one resist the reality of the magic world and step on this lonely transition road, looking for physical alienation and psychological and relational variables. But what kind of transformation is the human body seeking? Or people won't change at all, unless the world changes.”
—Wei Man, Artist
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https://www.douban.com/location/drama/35475537/
https://m.thepaper.cn/baijiahao_20432419
https://www.wenweipo.com/a/202110/02/AP61577104e4b08d3407ddac89.html
hhttps://wkassets-production.s3.ap-east-1.amazonaws.com/gu-jiani-transition-house-house-programme-eng.pdf
https://mp.weixin.qq.com/s/tPq_ElbEZKkGWgsJzZ_cAg