極至舞蹈團2012新作【衣起裝傻】（“Dress Up”）

【衣起裝傻】（“Dress Up”）這個作品構想是源自於2011年的賣座作品：【小心輕放】 (“Fragile”)，同樣利用生活取材，編創戲劇性舞蹈的手法，利用穿著不同的衣服，帶出人們內心感受，也展現外在的情感與行為。戲劇化的服裝闡現肢體語言和視覺藝術的創意，用幽默手法再現。另外，音樂性在此作品中也相當重要，從交響樂、搖滾樂、現場收音編曲、無俚頭的拼貼混音到清亮的水晶樂音，不只表達出每一段的心境，更藉由舞者們不同的精力和情緒轉換，來展現每一段的故事情節。

透過衣服這個主題，我們看到人們在不同年齡、階層、場合，對於穿衣的態度。例如，在舞會中，仕女穿著亮麗的服裝，爭奇鬥艷；男士們西裝筆挺，散發雄性激素，努力取得女士的注目，一場斯文的美女爭奪戰悄悄開打。還有，在寒夜中，佇立公車站牌下的女子，久候遲遲未來的巴士，孤身單影僅憑藉單薄細長的圍巾來取暖，在風中出現厚實暖和的大衣男子，兩人在一件大衣、一條圍巾之間發展出溫馨甜美的風中奇緣。場景轉換到百貨公司的限時搶購，我們看見為了Shopping陷入瘋狂開打的場面，或許也悄悄的看見自己的身影。最後用「國王的新衣」闡述Less is more的設計構想，舞者演繹穿著「隱形衣褲」，除了開發肢體語彙，也玩味肢體細節的表現。從穿衣到玩弄衣服的功能過程中，舞者善用個人的肢體特色語言，來呈現每個人生來不同的外型和身體用法。【衣起裝傻】的瘋狂創意，讓服裝穿著的轉變與衝突，依附在有趣的故事，讓幕幕觸擊觀眾的心靈。

舞台視覺上朝向簡約時尚的設計風格，一向是近幾年來極至體能舞蹈團（MAD Theater）擅長表現的特色之一。導演及編舞者石吉智先生，本身具有視覺藝術創作背景，跨領域的多重編創經驗，擅於肢體開發和自然環境共舞。從台灣意向的風格，重新回歸視覺裝置藝術，讓舞台活靈活現，【衣起裝傻】用平凡的材料，打造嶄新的舞台視覺效果，從上百支的紙箱到戲劇性的服裝，提煉了我們日常生活的細膩心思。除此之外，故事的內容也點出了人們在各種情緒邊緣的反應，【衣起裝傻】可視為一齣讓人愉悅及發人省思的藝術作品。本作品藉由與資深、知名的服裝設計師蔣文慈、資深燈光設計師項人豪合作，締造突破，再創高峰。在台灣尚未首演之前，已獲印度Interface2012藝術節邀請演出，已為極至體能舞蹈團在海外發聲。

The ideas and features of “Dress Up” are extended from the piece “Fragile” in 2011 by using the substances in our daily life to make up a new concept of dramatic dance of innovation, and represent it in a humorous way; through fitting in different clothes brings out the inside feelings of everyday people and be shown at their outside emotions and behavior. Dramatic costumes also spell out the creations of body languages and visual art; moreover, the musicality as well takes an important place in this piece; from symphony to little drops of sound not only shows each frame of mind but also as a good result of our experienced dancers on techniques.

By the topic of “Clothing”, we see people from different age and level have put their mindset differently in dressing up; for instance, dancing at the ball in fancy suits with the competitions among men to earn the attention from the lady; the very one jacket in dark and cold keeps the lovers warm in hearts; the craze of shopping rush within a limited time pushes people to the attitude of insanity; at last the “Invisible Clothes” illustrates the idea of “Less is More” by focusing on each body motion. The process from dressing up to playing with the functions of the clothes, dancers use owns’ body languages to represent the madness of creation in this piece, the transition and conflict of the dresses and dressing combined with interesting stories in the scenes truly touch the audiences’ hearts.

A simple style of stage view is well –designed as one of the best features of MAD Theater for all these years. Director and choreographer Shih Gee-Tze comes with the background of visual art, who has well experienced on body exploration & development, dancing with nature, and Taiwanese imagism; Transformed back into “Visual/ Installation Art” and made the stage itself come alive. “Dress Up” continues the idea of using daily substances but to re-create a new vision on stage, from cardboard boxes to dramatic costumes show the innovation in our ordinary lives. Besides, the content of the stories point out people’s reactions at the edge of various emotions, as an entertaining and also introspective artwork. The cooperation with experienced designers and artists Jiang wen-tsz ,Lighting designer shiang ren-hau makes an outstanding breakthrough to a higher level and volumes up the MAD voice overseas.

(前文來自極至體能舞蹈團)