影音檔案庫
BROWSE BY:
Gong Jow-jiun 'Broken Spectre × Folk Art—The Genealogy of Spectre in Aesthetic Documents Taiwan'
Gong Jow-jiun 'Broken Spectre × Folk Art—The Genealogy of Spectre in Aesthetic Documents Taiwan'
資料時間_ 2017/07/15

In mid-December 2016, ET@T organized a series entitled Visual Zone and Time Difference: 90s Theatre Archive Screening. “Social forces broke through a number of limitations in the 1980s; and cultural forces erupted and thrived in the 1990s.” The “little theatre” social movement—represented by Circular Ruins (Hwan Xu), Zero Scene, Rive-Gauche, U Theatre, and Critical Point theatres—also entered into a period of experimenting with various forms of cultural vessels and venues in the 1990s. At the same time, little theatres also began negotiating with the government and entered a process of systemization. However, collective negotiations and unified game rules were lacking in the public sector which was ill prepared for these negotiations with varying formats which were fraught with conflict and pushback. Lin Chi-wei’s description of the noise band, Zero and Sound Liberation Organization (Z.S.L.O.), participating in the 1992 Young Stars College Music Competition at FuJen Catholic University gives an illustration of the overall cultural field at the time: “In reality, our songs could not be repeated. It felt like rock and roll but fundamentally, there were no rules to govern the excessive freedom. It lacked a constant tempo; the lead singer either forgot or refused to remember the melody, because he will not be repeating it.” Though this condition determined the post—(Wild Lily) Student Movement counter-culture tone in 1994 and 1995 for the Taipei Broken Life Festival series (formerly The Rivebank Calling), another aspect that must be considered is that the 2nd Taipei Broken Life Festival was already a product of a collaborative relationship with the Taipei County Government.

“Excerpted from the first paragraph of this article.” 

This article is published in Broken Spectre catalog.

Read more:
1.捕捉文化史的鬼影:「破身影」展覽(2017/07/01-09/17)
2.
〈[ET@T Forum] 重新破裂,或如何從漫長的九〇年代離開?〉,在地實驗影音檔案庫,2017/07/09
3.
「過於喧囂的孤獨--台灣九〇年代的文化轉型」,在地實驗影音檔案庫
4.〈[ET@T Forum] 專訪《台灣美學文件》李疾〉,在地實驗影音檔案庫,1998/09/18

發佈時間_ 2018\05\30
版權資訊
原件著作財產權人: 文/龔卓軍、圖/見文章圖說
數位檔案著作財產權人: 在地實驗
直接連結: https://archive.etat.com/?p=6849
發表迴響

請先登入社群網站,或是填寫兩個必填欄位「姓名」與「電子郵件」後再送出留言,您所輸入的資訊僅供本網站使用。

發表迴響

你的電子郵件位址並不會被公開。 必要欄位標記為 *

延伸閱讀
資料時間_ 1997/01/08
台灣渥克劇團(1992-2005)作品內容結合本土娛樂、俗豔舞台等台灣庶民趣味,多具諧謔嘲諷的風格。1995年開設「台灣渥克咖啡劇場」,並舉辦「四流巨星藝術節」,造成台北一股小劇場熱潮,使當地成為小劇場演出最頻繁的場地,為當時青年前衛文化的重鎮。1996年開始嘗試另類新遊戲「渥克惡劇場」。惡劇場以工作坊的形式,邀請參與者嘗試即興表演及劇場肢體訓練,是渥 ...
發佈時間_ 2016\09\01
0則迴響
資料時間_ 1999/04/11
「零與聲」成員林其蔚將聲響實驗結合身體行為,探索感官與意識的極限,嘗試開發新的知覺模式;作家吳菀菱擅長在散文中詮釋宗教義理,以小說敘述六道輪迴裡人性的部分。兩人都曾是輔大貓劇團成員,也時常在甜蜜蜜活動,卻從未正式合作。這場由在地實驗獨家記錄、於差事藝文中心展開的《空與慢》試演,是兩人的首度共演。演出中,林其蔚的行動持續流動而不明確,吳菀菱對於「書寫」卻 ...
發佈時間_ 2016\11\24
0則迴響
資料時間_ 2017/07/15
硝煙般的抗議身影,就像破車旁一坨不斷漏洩的臭醺機油,從戒嚴狂飆的八〇年代一路延燒至解嚴後,那是一條名為「時間」的長路。 長路沿途,總有較為醒目的主角,與顯眼突出的風景,例如學運人總愛用「話當年勇」的方式,細數九〇年代以降的純 ...
發佈時間_ 2018\05\30
0則迴響