09.對照記-視覺藝術篇、表演藝術篇

視覺藝術篇 Visual Arts
張照堂/李威儀。陳界仁/高俊宏 
Chang Chao-tang / Lee Wei-i   Chen Chieh-jen / Kao Jun-honn

創辦《VOP：攝影之聲》的李威儀，對探索攝影有敏銳的感知與極大的熱情。與資深攝影家張照堂年齡相差了近四十歲的李威儀，於2013年製作了《張照堂專號》，透過這段因緣，張照堂與李威儀開展了後續的對話，藉由交換彼此的生命經驗與對影像創作的思考，深入探究當代攝影藝術的本質，以及攝影論述的價值。

視覺藝術家高俊宏，作品除了回應歷史，也常有自身的感性根源。他的作品《廢墟影像晶體計畫》，源頭來自於因自身的困境而與廢墟相遇；經濟自由化對傳統產業帶來的困境，則見證於母親從事的內衣銷售業。而資深藝術家陳界仁也認為，個人生命經驗的重量並不亞於公共議題，集體經驗連結回個人的記憶和生命課題，產生新的意義，才是重新認識自己、認識歷史的重要過程。

Lee Wei-i, the founder of the Voices of Photography, has great sensitivity and passion for exploring photography. Lee is almost forty years younger than the veteran photographer Chang Chao-tang. Voices of Photography published a special issued on Chang Chao-tang in 2013 , and it initiated a series of conversations between Lee and Chang. Through the exchange of their life experiences and views on how to create images, they look into the essence of the contemporary photography and the value of photographic theories. 

Visual artist Kao Jun-honn’s works not only reflect history but his personal roots. His Ruin Image Crystal Project stems from the difficulties he faces and his encounter with the ruins; the underwear business which Kao’s mother is in has witnessed the decline of the traditional industries triggered by the economic liberalism. Veteran artist Chen Chieh-jen believes that personal experiences are no less important than social issues. To connect personal memories with the collective experience and the meaning of life is a crucial process of re-discovering one’s self as well as history.

表演藝術篇Performing Arts
劉若瑀 /陳紫綸。吳興國 /朱柏澄
Liu Ruo-yu / Chen Tzu-lun Wu Hsing-kuo/ Zhu Howie

表演藝術家劉若瑀在多年的劇場生涯中，創造出屬於「優人神鼓」的表演體系。陳紫綸（小ㄈ）自幼便在母親劉若瑀的劇團中成長，甚至遠赴義大利參加母親早年曾去過的果陀夫斯基的訓練體系，一路走來看似都跟隨著母親的腳步學習。但小ㄈ在自我追尋的過程中，逐漸體悟對表演的另一種想法。

京劇藝術家吳興國創立「當代傳奇劇場」後，致力於京劇藝術的創新，對於傳承他卻有著無比的焦慮。朱柏澄，一位剛滿20歲、吳興國積極栽培的京劇武生，有著樂觀積極的學習態度，但他要如何在學校教育不足、表演舞台缺乏的年代，開拓對表演藝術的眼界，並唱出屬於新一代的京劇新聲？

During her career in theatre, Liu Ruo-yu established the U Theatre. Growing up in her mother’s theatre company, young artist Chen Tzu-lun (Liu’s daughter) goes to Italy to take part in Grotowski’s workshop where her mother trained years ago. Although Chen seems to be following her mother’s steps, she gradually develops her own idea of performing art while searching for her inner self.

Peking opera singer Wu Hsing-kuo founded the Contemporary Legend Theatre and has devoted himself to innovating Peking Opera. However, he is extremely anxious about finding and nurturing his successor. Zhu Howie, a 20-year-old Peking opera singer, is optimistic and eager to learn. Nonetheless, how can Zhu create a new chapter of Peking opera while facing the inadequate training in school and the lack of opportunity on the stage?