點子鞋子2010 黃懷德 chocolate costume sketch

Notebook Date: 1.22.2010
Title chocolate sometimes lead to an image of brown costume, that is not entirely the idea here. Instead, we use stretch spandex shinny fabric with the idea of presenting the dancer with a sharper futuristic look. It suppose to offset the conventional thought of classical ballet. The contour line should draw interesting line when the leg cross over in 5th position.

sketches by Jordan K

點子鞋子2010 葉名樺 ponytail: rehearsal 看排

Notebook Date: 1.18.2010
Project: costume design
Event: Dance Shoe 點子鞋子2010
Event Date: 2.06-07 at 國家戲劇院實驗劇場
Presented by: KaohHsiung City Ballet 高雄城市芭蕾舞團
Title: "ponytail"
Choreographer: Ming-Hwa Yeh 葉名樺
Dancers: 郭秋妙���吳和儒���田懿葳

Ming-Hwa tackling creative ballet with humorous touch, featuring 3 girls in point shoes and unusual storyline. My first impression was to create 3 characters with completely different outfit yet still belongs. It is my first costume design in ballet performances. stay tune for more creative images..
1.18.10 排練場看排紀錄

photos by Jordan K

點子鞋 2010 黃懷德 chocolate : rehearsal 看排

Notebook Date: 1.18.2010
Project: costume design
Event: Dance Shoe 點子鞋子2010
Event Date���2.06-07 at 國家戲劇院實驗劇場
Presented by: KaohHsiung City Ballet 高雄城市芭蕾舞團
Title: "Chocolate" 咖啡色
Choreographer: Huai-Te Huang 黃懷德
Dancer: Ming-Hwa Yeh 葉名樺
A sharp face pace solo modern ballet, beautiful dancer with precise 5th position movement. Chocolate, according to choreographer Huang is the color of full concentration in a dance.
1.18 排練場看排

Photos by Jordan K

驫舞劇場2009《正在長高》dress Part 2 服裝的成張與衰退

Soil all over the dance floor

Dancers wearing mobile life-vest sliding on the floor

服裝設計dress rehearsal看排
Notebook Date: 12.03.09 看排紀錄
Project: costume design
Event: Growing Up 正在張高
Event Date: 12月4日���五���20:00 pm 12月5-6日���六-日���14:45 pm 12月6日���六���19:45 pm
Event Venue: 台北藝術大學展演藝術中心戲劇廳
Presented by: Horse Dance Theatre 驫舞劇場
Choreographer: 陳武康,張堅志,黃懷德,張子凌,蘇威嘉,楊育鳴
Dancers: 陳武康, 張堅志,黃懷德,張子凌,蘇威嘉,楊育鳴

"舞劇場成員以「命題作文」方式創作出《樓梯》、《速度》、《<wbr>骨》等作品���從嘗試中逐漸發展出集體創作的方法及觀念���編舞、<wbr>音樂、服裝設計及舞台設計都是集體創作的內容���<wbr>創作之初雖有明確主題及動機���藉由集體排練、辨論與相互觀摩���<wbr>舞作內容循序往主題核心靠攏���慢慢成形具體���<wbr>其過程需要長時間蘊釀���創作時間長達六個月之久。" excerpt from Horse Dance theatre

Let me share a little on how this creative process begin at Horse with a collective group of artist.

In each of the 3 dances(2007 速度 velocity, 2008 骨 bones, 2009 正在張高 Growing up I have designed this far, it always start with a theme ( in this case, "Growing Up" ), and it leads to a series of clear cut ideas and concepts regarding the development of the theme.

Horse's concept for Growing Up was to explore the life and death issue surrounding each one of us. There is beginning and ends to human exploration. It began on a bed and end elsewhere. What we have left off are memories, personal belongings, friendship and so forth. During this process, we explore the possibilities of human legacy or simply what we have left behind; or what we have grown into or became. The concepts also deal with our life-forming capabilities and the needs to grow up quickly at an alarming rate, which eventually lead to decaying and dying and finally death.

黃懷德 wearing 100% linen pants + 100% cotton top + patches

張堅志 wearing 100% cotton topstitching pants + 100% cotton top + paneling + patches

During the costume design process, I had written down the following keywords from what I thought at the time to be inspirational for this project.

Growing - organic, grounded, patches

Decaying - dirty, patches, stitching, earthy

The growing process 成張過程

The process was to finish the majority of the costume to be worn before or during the rehearsal so they go through daily grinding and abrasion of the fabrics. Dancer's hardwork and sweat therefore left life and momories in these costume, at times, the wear-and-tear lead to a series of patchwork and re-stitching.

The decaying process 衰退過程

By using majority linen, or linen blended fabrics, it helps to ground the colors and make it more organic, therefore prone to destruction and tear in fabric. The washing of the linen fabric creates interesting textures and creases, very much like "growing pain "

In retrospect, The Horse dance project is one of the most challenging because of it's continuity in searching of freedom in movement and defy the conventional story and role playing character in dance costume.

All photos courtesy of Chang-Chih Chen 陳長志

驫舞劇場2009《正在長高》dress Part 1

服裝設計dress rehearsal看排
Notebook Date: 12.03.09 看排紀錄
Project: costume design
Event: Growing Up 正在張高
Event Date: 12月4日���五���20:00 pm 12月5-6日���六-日���14:45 pm 12月6日���六���19:45 pm
Event Venue: 台北藝術大學展演藝術中心戲劇廳
Presented by: Horse Dance Theatre 驫舞劇場
Choreographer: 陳武康,張堅志,黃懷德,張子凌,蘇威嘉,楊育鳴
Dancers: 陳武康, 張堅志,黃懷德,張子凌,蘇威嘉,楊育鳴

In last year "Growing Up", I went on an adventures along with the Horse members. Pictures shown rocking of the 5-men rafting trip to nirvana !
99年12月的《正在張高》和驫舞一起探險���

張志凌獨舞 solo
Top: Black cotton reverse jersey knit top with white topstitching patch + exposed seaming.
Bottom: Brick Red cotton drawstring pants + folded knee length

蘇威嘉���張志凌 拖拉雙人 pull and drag duet
蘇:
Top: Taupe crewneck multiple panel cut and sewn + patches + exposed seaming
bottom: Grey wide-leg drawstring pants + patched up square pockets with exposed seam.
張:
Top: Grey/White store-bought short sleeve cotton/polyester knit top
Bottom: Green Cotton/Linen twill drawstring pants

黃懷德���張堅志 平面雙人 floor duet
黃:
Top: Grey heather knit T with exposed hem + cotton square patches
Bottom: Linen drawstring pants + heavy wrinkle wash
張:
Top: V-neck Grey heather Top with side rectangular patch + back panel cut and sewn seaming
Bottom: Dove Grey drawstring pants with contrast topstitching + yoke

陳武康���楊育鳴 探險雙人 duet
陳:
Top: Beige heavy rib neckline 3/4 length long sleeve knit top + shoulder patch
Bottom: Brown cotton plain weave drawstring pants + cut/repair/sewn multiple patches
楊:
Top: Sand V-neck short sleeve knit top + patches + seaming
Bottom: Mustard Linen drawstring pants

張子凌���張堅志 探險雙人 duet
子凌:
Top: Grey/White store-bought short sleeve cotton/polyester knit top
Bottom: Green Cotton/Linen twill drawstring pants
堅志
Top: Pink heather store-bought short sleeve cotton knit top + polyester netted velcro patch sliding vest
Bottom: Beige linen wrinkle drawstring pants + sewn/repair patches

蘇威嘉���黃懷德 抖雙人 body trembling duet
蘇:
Top: Taupe crewneck multiple panel cut and sewn + patches + exposed seaming
bottom: Grey wide-leg drawstring pants + patched up square pockets with exposed seam.
黃:
Top: Grey heather knit T with exposed hem + cotton square patches
Bottom: Linen drawstring pants + heavy wrinkle wash

All members preparing for "adventures" 探險前奏

All members on "the adventures on the raft"

All photos courtesy of Chang-Chih Chen 陳長志

紐約時報 NY TIMES review of "BONES" Deadpan Expresssions but Lively Connections in Acrobatic Tableaus

Here is the full Chinese translation of review from "BONES" performance in NY joyce theatre in April, 2009.

Notebook Date: 4.15.2009
Project: costume design
Event: Bones 骨
Event Date: premiere 10.02.2009 at National Experimental Theatre 國家實驗劇場
Presented by: Horse Dance Theatre 驫舞劇場
Title: Bones 骨
Choreographer: Wu-Kang Chen 陳武康���Wei-Chia Su 蘇威嘉���Shu-Yi Chou 周書毅���Tsung-Lung Cheng 鄭宗龍���Yu-Min Yang 楊育鳴
Dancers: 陳武康���蘇威嘉���周書毅���鄭宗龍���楊育鳴

costume design 服裝設計���Jordan K 高端人

舞評���ROSLYN SULCAS

翻譯���王序平

今年是艾略特���費爾德第二度具名邀請驫舞劇場���<wbr>五位才華洋溢男性所組成的台灣舞團���<wbr>至喬伊斯劇院參與費爾德主辦的「Mandance Project」。(譯註1���

費爾德與驫舞劇場二者間淵源極深──<wbr>身兼驫舞劇場創辦人與舞者的陳武康���是費爾德舞團的資深舞者���<wbr>而他與另一位驫舞舞者蘇威嘉���也都曾在另一套節目中演出。

週三與週四晚間���驫舞劇場演出實驗性怪誕的《骨》���<wbr>該作並非是喬伊斯劇院觀眾的習慣口味���<wbr>費爾德比起溫和派的喬伊斯劇院���更敢於向觀眾挑戰。���譯註2���

《骨》是驫舞劇場舞者的集體創作���其實並非難以下嚥。Yanni<wbr>ck Dauby包含了多元樂曲與工業聲音的創新音樂���<wbr>迴盪在呈扇形延展至四方的高大白牆中���舞台後方有扇門���舞者���<wbr>陳武康、蘇威嘉、周書毅、鄭宗龍和楊育鳴���<wbr>身著時下現代舞常見的緊身短褲和寬鬆T恤���穿梭其中。

一開始他們刻意以特殊的方式舞動���怪異的角度和身形���<wbr>在舞台上構成凍結般的畫面���他們的身形僵固���<wbr>但動作結構上卻表現出人類的關係連結���例如���<wbr>舞者將手平放在他人的胸前���然後往後墜入另一人的懷中���<wbr>然後被拉下舞台。

在近一個小時的演出中���這樣的肢體語彙隨處可見���<wbr>包括小心地相互連結著雜技表演般的身體���<wbr>不明確又出人意表的轉折���傾斜的肩膀���<wbr>以奇妙方式轉動著的手和臂膀���以及往地板墜落的身體。

肢體動作展現的熱烈情感���<wbr>一個表演者繞著舞台滿場追逐著另一個表演者���還脫掉他的衣服������<wbr>和舞者冷漠的態度間所產生的反差���也許正是《骨》<wbr>有時候顯得迂迴又晦澀的原因。<wbr>整個作品也偏向以平整規律的步調進行���<wbr>直至最後舞者相互追逐卻不碰觸���周書毅跳躍、摔落、<wbr>顫抖的獨舞部分才略顯不同。

然而���《骨》的演出仍是讓人覺得新鮮有趣���<wbr>是一部喬伊斯觀眾不常見到的時下現代舞作品。

譯註1���Mandance Project可譯為「男人跳舞計劃」���由Ballet Tech. Foundation主辦���艾略特���費爾德���Eliot Feld���擔任藝術總監及編舞家���每年在喬伊斯劇院演出���<wbr>為期二週。

譯註2���喬伊斯劇院成立於1872年���位於紐約市���<wbr>是座僅供舞蹈演出的劇院���選擇作品以鼓勵、<wbr>維持與教育觀眾參與活動為前提。過去曾邀請MOMIX魔妙秀表演<wbr>團、PILOBOLUS、荷蘭芭蕾舞團2、艾文���艾利舞團2、<wbr>芝加哥賀伯街舞團等。

2009 "Bones" costume review in Thirteen by Susan Yung "骨“ 服裝設計評論

Notebook Date: 4.06.2009
Project: costume design
Event: Bones 骨
Event Date: premiere 10.02.2009 at National Experimental Theatre 國家實驗劇場
Presented by: Horse Dance Theatre 驫舞劇場
Title: Bones 骨
Choreographer: Wu-Kang Chen 陳武康���Wei-Chia Su 蘇威嘉���Shu-Yi Chou 周書毅���Tsung-Lung Cheng 鄭宗龍���Yu-Min Yang 楊育鳴
Dancers: 陳武康���蘇威嘉���周書毅���鄭宗龍���楊育鳴

costume design 服裝設計���Jordan K 高端人

Horseplay

by Susan Yung

Horse, the male troupe from Taiwan presented by Eliot Feld’s Mandance Project, performed two evenings at the Joyce Theater recently. Wedged among eleven shows of Feld repertory, the evenings have in common the dancers Wu-Kang Chen and Wei-Chia Su. The company performed the US premiere of Bones, an austere work that edges away from a reliance on visual jokes and puns—horseplay, if you will.

The setting and costumes beg comparison to a Calvin Klein ad—in a good way. The five men wear different colored briefs and tees (costumes by Jordan Koh). They’re set against clean white walls with jagged angled tops lining the stage; with one swinging door for entrances, plus downstage openings (set by Jih-Chun Huang). As the show progresses, clothing is added and subtracted.

The movement is appealing in part because it looks like experimentation that anyone could do, but taken to an extreme—as if one rule was set and then followed to exhaustion. This “naïve” style alternates with flashes of virtuosity, pushing the limits of the technique to satisfy purists. Shu-Yi Chou, in particular, has an elegant, vivid line. Frenetic phrases of whipping legs and arms, or two dancers leaning on one another, can yield to complex, knotty trio work, or a would-be animal herd.

Velocity, seen here in 2008, contained more slapstick humor and use of props. In Bones, one funny segment features a man who, despite being chased and disrobed piece by piece by another dancer, doesn’t break stride. In another part, one man sits atop another to form a giant.

Set to “music details” by Yannick Dauby, some of the sections blur together in the mind or run on a bit long, but there is a basic curiosity and sweetness that appeals. I just hope the company doesn’t completely lose the sense of humor that sets them apart.

Photo: Chiang Chih Chen 陳長志