空表演實驗場｜Kong Performance Experimental Field
致力於發展從台灣土地長出來的實驗美學，在當代全球化浪潮中，回應當代消費社會、科技發展的生存處境，創造海島的新／心價值。
從生活出發，日常，社會環境取材，以實驗表演，表演作為一種研究方法、溝通的媒介為核心去探究人的身心、與自身、他者、環境的關係，持續去探究「做為人的一種技術」。
每個人的身心體就是一個生態村，每次的表演，從製作團隊、和觀眾、社會、資源交易，就是建立一個無形的生態系。
因為「空」而無限幻化，從有限到無限，在無限寬廣裡，實驗無限的潛能。
透過表演創造「實驗場」，讓人相遇，讓不同族群、自我與他者、身與心、人與自然對話，成為橋樑，穿越刻板印象，在此時此刻相遇、相互同理。
攝影：羅蕙心 於台北當代館
巡演：2024 夏天於 高雄文學館、中山大學、台北當代館
《四隻手的風是你不是你，親愛的，你在哪？》
渾沌生物體，親愛的，花，變螞蟻變成女王、公主和王子？變成變成變成...蝴蝶？渴望的翅膀遇見風最後真實的渴望會長出怎樣的手腳和身體？還沒長？還在長？會是...?
《四隻手的風是你不是你，親愛的，你在哪？》藉由莊子渾沌開七竅而此死的黑色幽默，探討情感與關係，並交織每個表演者的生命書寫、詩和影像拼貼，從腦麻的身體感爲視角看世界，串起肉身、聲音、文字的獨特路徑，乘著幽默的氣，擁抱真實的當下，感受身體的千萬風景。
創作者絮語
導演的話：
混沌有六隻腳，四隻翅膀，沒有頭，但是他很好客，每年北帝和南帝都會來拜訪他，玩得很開心，所以北帝和南帝為了要報答混沌，見大家都有眼耳口鼻，用來看聽吃聞，渾沌沒有七竅，就為他鑿七竅。每天鑿一竅，七天後，七竅出，而渾沌則死了。黑色幽默很像是障礙者在社會中的處境，很多的好意和幫助，卻造成傷害，到底幫助和被幫助的人之間的關係是什麼？什麼才是自己身體真正的需要呢？從腦麻的身體感爲視角看世界，《四隻手的風是你不是你，親愛的，你在哪？》探討情感與關係，並交織每個表演者的生命書寫、詩和影像拼貼。乘著幽默的風起飛吧～
怡然：（輪椅開啟聲）你們知道嗎？我洗澡都要居家服務員幫我洗澡，晚一點回去還不能洗澡耶。戴口罩都要花15分鐘，有人比我慢的嗎！
宗易：我喜歡喝酒，喝酒能讓腦麻感到久違的肌肉放鬆，不管是小米酒、高粱還是Gin、Whisky、Vodka、Tequila通通來者不拒！但是，在寫論文期間跟上台前是不能喝的哦～
可君：嗨！我是可君，是這齣作品的共創者，也是高雄場的表演者，雖然沒有參與台北場的演出，但依然用不同形式參與其中，想到障礙者，你想到什麼？辛苦、努力？勵志？對我來說身為障礙者不辛苦不勵志，就是跟你一樣過著平凡日常，也許我的日常也有著你的共鳴！
素珍：
異身體的交會
花火
閃爍如星
化身
普世
靈魂的篇章
導演：何怡璉HO I-Lien
演員：林宗易Crazy Lin、陳怡然Yi-Ran CHEN
排練助理：林素珍 LIN shu-fünf
影像設計：林宗易Crazy Lin
聲音設計：Da Kung
Kong Performance Experimental Field
Dedicated to developing an experimental aesthetics rooted in Taiwan's soil, responding to the existential conditions of contemporary consumerism society and technological development amidst the wave of globalization, and creating new/heartfelt values for the island.
Starting from life, drawing inspiration from daily life and the social environment, using experimental performance as a research method and a medium of communication to explore the relationships between human body and mind, the self, others, and the environment, continuously investigating "the techniques of being human."
Each person's body and mind is an ecological village, and every performance—through the production team, the audience, society, and resource exchange—builds an ecosystem.
Through the concept of “Emptiness” from Eastern philosophy, infinite transformation occurs, expanding from the finite to the infinite, experimenting with boundless potential with vast possibilities.
By creating an "experimental field" through performance, it allows people to meet, fosters dialogue between different groups, the self and others, the body and mind, humans and non-human, serving as a bridge that transcends stereotypes, allowing sentient beings to encounter and empathize with each other in the present moment.
Four-Handed Wind, Is It or Isn't It You, My Dear, Where Are You?
A primal chaos, my dear, a flower, morphing into ants, queens, princesses, princes? Evolving, evolving, evolving... into a butterfly? Desire's wings kissing the breeze, what will the body and limbs of its heart's desire become? Unformed, forming, to be?
This performance explores emotions and relationships through the dark humor of Zhuangzi's story The Death of Hun Tun. Interweaving the life stories, poetry, and image collages of each performer, the piece offers a unique perspective on the world through the bodily sensations of cerebral palsy, connecting the physical body, voice, and text. Embracing the present moment with a sense of humor, the performance invites the audience to experience the myriad landscapes of the body.
Director's Note:
Hun Tun had six legs, four wings, and no head, yet he was very hospitable. Every year, the Northern Emperor and the Southern Emperor would visit him and have a wonderful time. To repay Hun Tun for his hospitality, they decided to give him eyes, ears, a mouth, and a nose, just like everyone else. They drilled one orifice each day, and after seven days, Hun Tun died. This dark humor mirrors the experiences of people with disabilities in society. Many well-meaning acts of help can actually cause harm. What is the nature of the relationship between the helper and the helped? What does the body truly need? From the perspective of a body with cerebral palsy, "Four-Handed Wind, Is It or Isn't It You, My Dear, Where Are You?" explores emotions and relationships, interweaving the life stories, poetry, and video collages of each performer. Let's take flight on the winds of humor!
Yi-Ran: (Sound of a wheelchair) Can you believe it? I have to rely on a home care worker to help me shower,and if I go home late, I can't even shower. Just putting on a mask takes me a whole 15 minutes! Is anyone slower than me!
Crazy: Hey mate, I love drinking. Alcohol helps relax my muscles, something people with cerebral palsy rarely experience. I'll drink anything from rice wine to sorghum liquor, or even gin, whiskey, vodka, or tequila. But I have to stay away from alcohol while writing my thesis or before going on stage.
Ke-jun: Hi, I'm Ke-jun, a co-creator of this work and a performer in the Kaohsiung show. Even though I didn't participate in the Taipei performance, I'm still involved in different ways. When you think of people with disabilities, what comes to mind? Struggling, hard-working, or inspirational? For me, being disabled isn't about hardship or inspiration. It's just like living an ordinary life, like you. Maybe you'll find some resonance in my ordinary life!
Shu-fünf: Where Disparate Bodies Meet
Fireworks
Sparkling like stars
Transforming into
Universal
Chapters of the soul
Director: HO I-Lien
Cast: LIN Crazy , CHEN Yi-Ran
Rehearsal Assistant: LIN Shu-fünf
Visual Design: LIN Crazy
Sound Design: Da Kung
