最近一次出國，發現自己只要是到了歐洲大城市，河岸是必訪的景點，總一心一意感受它們的美；然後回想起台灣的都市水體，毫無相似感受，而自然的溪流湖泊則在我的認知中，概念上是與其完全切割開的。然後我意識到，自己從小到大再熟悉不過的水體，竟是高雄林園大發工業區的一條大排水溝。原來人與地景之間的連結，存在這麼多種層次，如此緊密也稀薄斷裂。
天然河道本來彎曲寬窄，後來被整治、開鑿圳路，再從灌溉系統變為排水溝，最後被加蓋；我看著我的身體，想到這副身軀為了在不同的敘事框架裡表達，疏通過不同的氣息管道，也在原始和當代的極大光譜間不停跳躍、在勞動與原初慾望間疏密流通著。
一個身體旅行過的水系，也是一種地圖。湖泊、河岸、排水溝、管線在我身體裡留下了隱形的水痕，成為氣脈、成為記憶、成為我的韻律。當它不斷割裂、溢流、重組，我的心跳也開始變得紊亂。
這是場拆解「敘事性」的展演，也是一場對身體節奏的重新編排。以動作、聲音與物件，將地景水體與身體對位，重現那些曾經流動卻現在斷裂的通道。而當表演者選擇讓位，事物原貌是否便得以現身？
本作試圖催化那些從「不整」中誕生的節奏。
演出團隊｜許照慈(+友情超人們)
本作品由表演創作者許照慈發起，並由多元背景之藝術家(她的友情超人們)協力與顧問。
許照慈來自台灣高雄，其展演創作軌跡從劇場表演出發，從獨腳戲、當代馬戲單人小品，至此刻開始實驗跨領域當代展演，試圖推展創作研究場域。作為表演者，她在十年餘的演出經驗中遊走於不同領域，演出語言包含華語、台語、英語；演出可見於現代戲劇、肢體劇場、音樂劇、親子劇場、偶戲、沉浸式演出、配音、主持。她好奇所扮演人物身處的時空，是如何形塑角色的心理機制，同時也觀察編創者是在何種動機與脈絡下安放人物。多重性身份使她渴望建構自身，因此，她開始試圖將上述展演情境檔案化，尋找如何跳脫敘事性，進行當代性的研究與展演。
演職人員名單｜
編創、演出｜許照慈
聲響設計｜吳暋泓
主視覺設計｜許照馨
主視覺攝影｜58kg
本創作實驗由許照慈初始發想，以階段性創作方式逐步累積內容，最新進度與團隊名單，將即時更新於以下專屬網頁。https://bit.ly/C-impulse
注意事項｜
＊演出包含些許遊走，建議輕裝前來，或將個人物品寄放至前台。
本演出為《六分甜,一人一點,不保證對齊》系列作品
《六分甜,一人一點,不保證對齊》是一場由六位表演者構成的SOLO演出計畫，三位男性與三位女性各自展開獨立創作，演出穿梭於兩層樓的通信分隊空間中。
觀眾不一定會被安排座位，表演也不限定舞台區域，演出打破傳統觀演結構，邀請觀眾以遊戲與探索的心態參與現場，尋找屬於自己的觀演節奏與感知軌跡，並期待在演出過程中，觸動彼此的甜蜜時刻。
這場演出不僅是一場表演,更是一場對「觀看」、「存在」與「身體臨界點」的集體試探，也扣合玩聚場藝術節的「玩」、「聚」、「場」三個軸線，觀看不再是被動的凝視，而是一次次進入規則、破壞規則的遊戲，觀眾的觀看本身變成了一種可以玩的行為，而聚，是我們彼此為存在作證的方式，場，不只是空間，而是身體與邊界的遊樂場。
每個SOLO是一次關於臨界、平衡與自我節奏的實驗與試，而觀眾在自由流動中所經歷的路徑，則構成整場演出的另一層結構。這些相遇與錯身、凝視與走失的瞬間，將構成每個人獨一無二的「甜蜜點」。
｜系列演出其他介紹請點以下連結｜
- 樂福福利社｜演出團隊：官建蓁
- 秘密集會：愛的繼承者｜演出團隊：蕭東意
- 自檢測我3-6分鐘：Time Lapse｜演出團隊：王珩
- 移動島嶼｜演出團隊：吳璟賢
- 我夢了一個我｜演出團隊：玲瓏全勤身創作社 x 林方方
Im;)pulse
On my most recent trip abroad, I noticed something: whenever I’m in a major European city, the riverbank becomes an inevitable destination — I go there with full attention, to absorb its beauty. But then I think of the waterways in Taiwanese cities, and feel no such resonance. Natural streams and lakes, in my mind, are conceptually severed from the urban water systems. And then I realize — the waterbody I grew up with, the one I know most intimately, is a massive drainage ditch in the Dafa Industrial Zone of Linyuan, Kaohsiung. It turns out, the ways we relate to landscapes span countless layers — some deeply intimate, others tenuous and fractured.
Natural rivers once curved freely, with varying width and flow. They were later straightened, carved into irrigation channels, turned into drainage systems, and eventually buried beneath concrete. I look at my own body and think about the ways I’ve shaped it — how it has channeled different kinds of breath, voice, and expression to fit various narrative frameworks. I’ve moved constantly across the wide spectrum between primal and contemporary, between labor and desire, letting things flow in dense or diluted currents.
A water system traveled by a body is also a kind of map. Lakes, riverbanks, ditches, and pipelines have left invisible watermarks inside me — becoming meridians, memories, and rhythms. As they are severed, overflowed, and reassembled, my heartbeat, too, grows erratic. But this time, I want to try something else — not just making things "serve" the human body. I don’t yet know what that means, but I want to try.
This is a performance that dismantles narrative — and reconfigures the rhythms of the body. Through movement, sound, and objects, it places landscapes and waterways in correspondence with the body, reanimating channels that once flowed but are now broken. And when the performer steps aside — might things be allowed to appear in their own form?
This work aims to catalyze new rhythms—ones that arise when things fall out of order.
Performer: Chao-Tzu Hsu (+her beloved friends and advisors)
This project is initiated by performance artist Chao-Tzu Hsu, and created in collaboration with a diverse group of artists (her beloved friends and advisors).
Chao-Tzu Hsu is a performance artist from Kaohsiung, Taiwan. Her creative trajectory began in theatrical performance, ranging from solo shows and contemporary circus monodramas to her current experiments in interdisciplinary, contemporary performance practices. She is actively expanding her work into research-based creation.
As a performer, she has spent over a decade moving across disciplines, performing in Mandarin, Taiwanese, and English. Her work spans modern drama, physical theatre, musical theatre, children’s theatre, puppetry, immersive performance, voice acting, and hosting.
She is deeply curious about how the time and place in which a character exists shape their psychological mechanisms. At the same time, she examines the creators' motivations and the contexts in which characters are placed.
Navigating multiple identities has fueled her desire to construct her own voice. In response, she has begun archiving the diverse performative situations she has encountered, seeking ways to break free from narrative frameworks and engage in contemporary research and performance.
Created and Performed by | Chao-Tzu Hsu
Sound Design | MoJo Woo
Key Visual Design | Xin Hsu
Key Visual Photography | 58kg
This creative experiment
was initially conceived by Chao-Tzu Hsu, and is being developed through a
process-based, iterative approach.
The latest updates and
list of collaborators will be continuously posted on the dedicated webpage
below. https://bit.ly/C-impulse
Additional information
＊As the performance includes some walking, we recommend bringing minimal belongings or leaving them at the front desk.
Six Points of Sweetness, A Little Bit of Each, No Guarantee of Alignment
<Six Points of Sweetness, A Little Bit of Each, No Guarantee of Alignment> is a SOLO performance project consisting of six performers, three men and three women, each creating their own independent work, in the Art Space III. The audience is not necessarily seated, nor is the performance limited to a specific stage area. The performance breaks with the traditional structure of a performance, inviting the audience to participate in the scene with a playful and exploratory mindset, searching for their own rhythms and perceptual trajectories, and looking forward to touching each other's sweet moments during the performance. This show is not only a performance, but also a collective exploration of “watching”, “existence” and “body threshold”, which also coincides with the three axes of “play”, ‘gathering’ and “field” in the Play Arts Festival. Watching is no longer passive staring, but a game of entering and breaking rules repeatedly, and the audience's watching itself becomes a kind of playful behavior, and the gathering is a way for us to testify for each other's existence! Gathering is a way for us to witness each other's existence. It is not just a space, but a playground for the body and its boundaries. Each solo is an experiment and trial of liminality, balance and self-rhythm, while the paths that the audience experiences in their free flow constitute another layer of the whole performance. These moments of encounter and dislocation, of gazing and wandering, will constitute a unique “sweet spot” for everyone.
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