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title
俞是說
description
「詩人用齊鳴的未來回敬一切證據的崩潰」巴赫曼
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俞是說
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2026-01-29 01:56:05
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俞是說 | 「詩人用齊鳴的未來回敬一切證據的崩潰」巴赫曼 俞是說 「詩人用齊鳴的未來回敬一切證據的崩潰」巴赫曼 主選單 直接觀看文章 主頁 About 文章分頁導航 ← 較舊的文章 最後的一首雙人舞 Posted on 30 十二月, 2024 by yu7086 Reply 李：李偉能 俞：俞若玫 李：如果這是最後一篇的話，我提議不如就藉著這個時機變換一種方式，把文章化為段落，對話接龍般拋接。一進一退，不再是並行的敘事和回應，更像是縱橫交錯的步伐，如同一首你我之間的雙人舞。 我在馬凌畫廊看了鄭錦衡（Jeong Geumhyung） 的個展《Spa & Beauty Hong Kong》，除了藝術品裝置外，她也扮作美容按摩師與裝置互動，進行了兩場的演出。她在表演中仔細而認真地把玩，說明，示範人偶身上的毛髮和裝置，反客為主地在假人身上廝磨，身體化為裝置的活動靈件般互動，虛踩在情色，幽默與性別角力的曖昧地帶。這讓我想到在西九自由舞今年的閉幕演出Florentina Holzinger的《舞蹈》（TANZ），展示浪漫芭蕾作為身體的規訓，特別是女性的身體。作品中用到各種極端手法刺激感官，撩動觀者的神經—裸體，假肢，仿真血漿，穿環，便溺等，務求震撼深刻。是否有嘩眾取寵之嫌的確有商榷之處，但反觀鄭錦衡在作品中探索變美這回事，彷彿是更日常的手段去規範身體，無聲無息，卻以鋪天蓋地之勢，用統一化的準則量度提供完美的方程式。對比《舞蹈》的血肉模糊，《Spa & Beauty Hong Kong》中美容的過程又何不是身心得到修正的一套儀式。 我沒有留下來聽Florentina的演後談，我好奇留下來聽的你有甚麼樣的感覺和經驗。 俞： 是的，當晚我有留下，演後談開始前，身邊朋友拋下一句：「她真的很痛恨浪漫芭蕾呀！」，我倆相視而笑。但我不斷細想Florentina Holzinger 有沒有從浪漫芭蕾裡解放身體，還是用上更極端的訓練方法去挑戰身體，成就另一種表演的語言？她以現場穿環、撒尿、頭撞牆、噴血漿、勾肉飛天、雙腿盡開瑜珈姿勢向觀眾直面顯示私處等等，令觀眾看得提心吊膽，目的是震撼觀眾反思美的定義嗎？她在演後談有說及，這些動作對她而言絕不粗鄙，而是美，不論漫畫、雜耍、運動、鐡騎都是她們生活一部份。她也許痛...
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