推荐 | 《绝妙的冒险》第三届上海即兴艺术节剧院专场演出

《绝妙的冒险》

2019年上海即兴艺术节

艺术家跨界融合即兴演出剧院专场

2019年8月30日周五 19:30

2019年8月31日周六 19:30

长江剧场

上海市黄浦区黄河路21-8

票价：¥180/¥260

第三届上海即兴艺术节除了丰富多样的工作坊、活动和环境即兴演出外，还有一个备受瞩目和期待的重头戏，也就是由受邀艺术家们共同带来的跨界融合即兴演出的剧院专场——《绝妙的冒险》。

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如何欣赏“即兴”作为正式演出呢？

以下是我们为各位准备的几个开启方式，更多的碰撞必须要到现场感受，并且留下来参与和艺术家们的演后交流！

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为什么高超的即兴表演现场有勾人的生命力？

以爵士乐为例，爵士乐在曲式的结构之中蕴含了让乐手即兴发挥的空间，乐手在规则与彼此的共识与互相聆听之际，于每一次现场演出演绎无尽的自由与创意。

爵士乐大师路易·阿姆斯壮（Louis Armstrong, 1901-1971）可以就同一个主题即兴一个半小时以上，一段比一段更精彩，想象力无穷！现场艺术的极致，就是体验艺术家的生命内涵转化为“当场创作”（instant composition）的分秒过程！

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跨界融合即兴演出是怎么做到的？

当即兴演出实现跨界融合，那么其生命力和趣味也有可能成倍的勃发。

承袭于美国1960年代后现代舞蹈的“即兴”方式，当时的舞者是受到爵士乐的影响而发展出“结构即兴”、score 等词汇与方法，当然后来越开发越多元。

跨界融合即兴如何做到呢？在《绝妙的冒险》演出里，艺术家会使用 “结构即兴”、score（原意为“乐谱”的“结构”或“游戏规则”的制定）、主题等方法来发展即兴演出。有时候，score 是艺术家们在排练时所开发出来的，有时候，score可能是上场前才大家一起决定的，而许多资深即兴艺术家甚至会选择不要使用任何score，真正交付“当下”。Score可能只是一个起点，可能是某种依归，却又是开放而包容的，有待所有人当下的抉择、接续、与创造。

有没有或者你看不看得到所谓的score, 不是重点，重点是体验与你同处在一个时空“当下”的艺术家们转瞬间的抉择、表现、支援、与收放，在分秒未知之中的“冒险”。

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灯光设计师也要即兴设计？

除了音乐、肢体等表演艺术家，我们的灯光设计师也是在灯控室里跟着台上的表演者们一起“即兴设计”！

难以想象？只能来现场见证！

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即兴需要“排练”吗？

“即兴”的准备、训练、与技术是什么？为什么常听到资深即兴表演者说“即兴”是艺术也是一种生活态度？透过工作坊+观演+演后谈的多维体验，来现场交流与挖掘自己的答案吧！

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《绝妙的冒险》中有哪些作品？

《绝妙的冒险》集合远道而来第三届上海即兴艺术节的艺术家们，带来两晚高品质、高冲击力的剧院专场演出。

两晚均有三支结构即兴舞作，包括由亚洲接触即兴第一人，来自台湾的古名伸带来的独舞《我曾经是个编舞者》，来自香港的泰斗级即兴艺术家，多空间舞团的马才和、严明然以及音乐家Nelson Samuel Hiu 带来的《被屠宰的牛的禅眼》，以及艺术节主要艺术家们一起演出的跨界融合大即兴。

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《绝妙的冒险》中的参演艺术家？

《绝妙的冒险》参与艺术家包括

音乐家

Eldar Baruch（以色列）、Nelson Samuel Hiu（美国）、马海平（上海）、Wes Swing（美国）*

舞者、演员

Marsell Anhel Chavarria（美国）、古名伸（中国台湾）、马才和（中国香港）、Angela Stoecklin（瑞士）、司徒嘉怡（美国）、Rebecca Weingartner（瑞士）、吴艳丹Nunu Kong（上海）、严明然（中国香港）、张黎韫（旅法）、郑聿倩（中国台湾）。*

灯光设计师

廖崇荣（中国台湾）

*按姓氏拼音排序

无可复制的艺术家组合

每场皆独一无二

精彩可期

你，准备好一同加入这场绝妙的冒险了吗？

[《绝妙的冒险》购票链接 ]

[Purchase ticket for The Fantastic Adventure]

大麦购票通道，可直接在线选座

点击最下方“阅读原文”

将享受上海即兴艺术节官方渠道购票折扣福利哟！

The Fantastic Adventure

2019 Shanghai Improvisation Festival

Cross-disciplinary Artists Improvisation Performance

19:30, Friday, August 30, 2019

19:30, Saturday, August 31, 2019

Chang Jiang Theatre

No. 21-8, Huanghe Road, Huangpu District, Shanghai

Ticket： ¥180/¥260

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The Fantastic Adventure gathers the local and international artists attending The 3 ^rd Shanghai Improvisation Festival to present two evenings of high-quality, high-impact improvisation performances. Both evenings include three structured improvisation pieces. I Used to Be A Choreographer, a solo performance by KU Ming-Shen from Taiwan, the leading figure of Contact Improvisation in Asia. Zen Eyes of the Butchered Cow, by senior improvisation artists Victor Choi-Wo MA and Mandy Ming-Yin YIM of Y-Space, Hong Kong, accompanied by musician Nelson Samuel Hiu. Finally, a collective improvisation performance by the main artists attending the festival working in areas of dance, theatre, music, and lighting design.

Artists performing in The Fantastic Adventure include

Musicians

Eldar Baruch (Israel), Nelson Samuel Hiu (USA), MA Haiping (Shanghai), Wes Swing (USA)

Performance Artists

Marsell Anhel Chavarria (USA), Zoe Yu Chien CHENG (Taiwan), KU Ming-Shen (Taiwan), Victor Choi-Wo MA (Hong Kong), Chiayi Jess SEETOO (USA), Angela Stoecklin (Switzerland), Rebecca Weingartner (Switzerland), WU Yandan (Nunu Kong) (Shanghai), Mandy Ming-Yin YIM (Hong Kong), ZHANG Liyun (France-based)

Lighting Designer

LIAO Chung-Jung (Taiwan)

An unrepeatable lineup of artists and unique performances each night. Don’t miss out on this most fantastic adventure!

How to watch “improvisation” as a formal performance?

Below are a few entry points provided by us. Yet, it is your live experience that counts, so do come and join the post-show conversation to investigate the art of improvisation!

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Like the spirit of live jazz?

In jazz musical composition, room is made for musicians to improvise within the musical structure, and they play upon it with infinite creativity. Louis Armstrong (1901-1971) could improvise upon a theme for over one and a half hour, each chorus more beautiful than the previous one, imbuing immense imagination. That’s the wonder of live performance—to experience the artists transforming their lifelong inner richness into “instant composition”!

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Something about "structured improvisation" ,"score", and "theme".

The artists in The Fantastic Adventure may also use “structured improvisation,” “score,” or “theme” as ways to create improvisatory performance. At times, the “score” is developed by the collaborating artists during their rehearsal. At times, the “score” is determined collectively right before the show. Many experienced improvisers even choose not to have a “score” at all and truly give in to “the moment.” The “score” may be a point to begin or a basis to depend on, but it is also open and encompassing, allowing everyone to make decisions, pick up and continue, and create in the moment.

It does not matter whether or not there is a “score,” or whether or not you can see the so-called “score” for a given performance. The point is to experience the artists, being in the same moment as you, making instant decisions, performance, support, expressions of doing and non-doing—taking risks (and adventures) in the unknown.

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The lighting designer will also "improvise lighting design"?

Besides musicians and performance artists, our lighting designer will also “improvise lighting design” in the control room during the performance. Hard to imagine? You can only come and witness!

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Does improvisation need "rehearsal"?

What is the preparation, training, and technique of “improvisation”? Why do experienced improvisers often say “improvisation” is both art and a way of life? Discover and get inspired for your own answer with the multidimensional experience of workshop + performance viewing + post-show conversation!