原先實體演出的《練習》，因應疫情重製，轉為線上影像表演。我們回返練習本身，嘗試重新掌握自己的身體與行動節奏，聆聽內在時間，回歸儀式性日常。
我們希望透過這個作品，邀請大家選出一件你的日常練習，它可以是寫字、畫畫、煮飯、沖咖啡、做瑜伽、打球、唱歌、跳舞、彈吉他、冥想⋯⋯任何事，好好地，專注練習，把時間留給自己。
— 2020《練習》演出介紹 —
思考表演如何成為一場表演，生活的型態又是如何成為了當前的這個樣子？舞者練習聽見骨骼間的縫隙，在肌肉與皮膚的舒張壓縮中搖搖晃晃靠近自由，樂手練習在樂器與吸吐轉換間送氣吹向一種自在；這片土地、我們的生活又是經歷了多少調整、慣習的更迭，來到了這裡、此刻、現在？每日每步的練習，練習表演，練習民主。
概念、編導 / 王甯
表演 / 王筑樺、劉家亨
影像 / 張凱翔
音樂出處 / AlmostThere - 噪音印製
場地協力 / 大身體製造
特別感謝 / 王芳寧、陳春春、廖海廷、趙卓琳、蔡承翰、薛祖杰、蘇威嘉、Unwoods、克強我的家、驫舞劇場
宣傳照攝影 / Unwoods
概念｜王甯
自由舞者、編舞。2018首部中長篇創作《丨丨》The Other關注身體凝視與性別界限，以裸身展演測探觀演關係的含混曖昧性。2020獲選參加ARTWAVE「能動者平台#1台灣/日本」計畫；同年發表獨舞《十五分鐘運動提案》，提問純粹在場，藉以探尋具當下性的身體何以介入各式展演空間及場域。2021參與新加坡Dance Nucleus [CP]3當代舞蹈實踐計畫，期待以多元對話培養獨立與批判性思考，策略性地實驗並持續探索當代產製舞蹈的各種可能。近年演出梅田宏明《並存序列》、驫舞劇場《混沌身響》、李銘宸《解体素描》、徐家輝《超自然神樂乩：西伯利亞祖靈》、傑宏‧貝爾╳陳武康、葉名樺《非跳不可》等。
表演｜王筑樺
1991，台灣台北人。
畢業於台北藝術大學舞蹈表演研究所，現為表演藝術工作者。近年對純身體之外的表演方式與形式產生好奇，現階段關注「意識帶領身體行為而產生動作，身體表演如何闡述內心活動」的表演概念。這份嘗試不僅限於身體上，於舞蹈作品之外也嘗試戲劇作品、聲音表演以及攝影。曾獲教育部人才躍升計劃赴法國CNDC, Angers舞團實習、德國福克旺藝術大學交換研習。兩廳院新點子實驗場林素蓮《從一數到五》。驚喜製造／進港浪製作《明日俱樂部》。兩廳院新點子實驗場林祐如《台灣製造》、劉彥成《A piece of cake》。「Helen Simoneau Danse」《Paper wings》於BAM Fisher-New York。
表演｜劉家亨
出生於台北，幼稚園開始接觸音樂，以三分鐘熱度的精神，在各種樂器間多元探索，直至國中學習雙簧管。高中半路出家，把南港高中普通班讀成音樂班，後進入大學臺北市立大學音樂系，接受更專精的訓練。畢業於臺北市立大學音樂研究所，雙簧管師事林欣諭老師、張容慈老師、賴承儀教授、洪千智教授。求學期間，定期舉辦獨奏會，亦積極參與各樂團演出、比賽、大師班及音樂營。畢業後，為尋找音樂與藝術之任何可能，並累積生命經驗的豐富，開始多元拓展，嘗試各種探索與演出，現在亦持續進行。
影像｜張凱翔
彰化囡仔，學過一點電影，沒得過獎。（或是）曾獲得正心中學校內運動會1600公尺銅牌，高一英語朗讀比賽冠軍。
【舞蹈在線上】
當Covid-19疫情肆虐全球，表演藝術也產生了巨幅的變化：聚集、人群、密閉空間被禁止，隔離、不接觸、保持距離成為生活的日常，人與人之間的關係開始被公衛程序重新編寫。當表演藝術不再如過往能夠與觀眾共時、共地的共享呼吸，那麼，表演還能如何回應當下？如何用表演書寫疫情時代的空間與時間？
這次「舞蹈在線上」的系列，想嘗試回應疫情之下的特殊時空，尤其是人們高度仰賴鏡頭、社群媒體、會議軟體做為溝通介面的時刻。這個系列，特邀三組舞蹈工作者針對這些媒材進行創作：鍾長宏在《二次進場》中，以觀看探問觀看，將觀看表演、觀看鏡頭、觀看直播，透過芭蕾舞劇的經典場景相互疊合。王甯透過《Re：練習》，迴返在三級警戒下得以維繫生活的儀式性日常，嘗試重新掌握自己的身體與行動節奏。複象公場則以Gather Town創作《身體是我的構成》，透過2D電玩形式，編碼身體在雲端中的數據與圖像。
這三個作品，不僅是屬於當下的實驗，同時也都在試著提出一種調整與適應的可能：在隔離、遠距、不接觸的前提下，我們要如何重新定義表演、聚集與劇場？
本系列節目包括：
二次進場
策劃團隊：吳孟軒
舞評人、舞蹈構作、獨立策展人。畢業於臺北藝術大學舞蹈研究所，現為藝術團體參零柒成員。近年曾任《Blablabla擴散計畫》策展團隊成員、「編舞性策展：將編舞作為策展方法」研究計畫主持人、臺灣當代文化實驗場進駐Creator、北藝大「妖山混血盃跨域創意實驗室」策展人。
近年關注表演藝術策展、藝術家群集（artists collective）、表演性（performativity）等相關研究，在策展實踐上，主要探索如何將表演作為方法，以靈活、趣味並富有詩意的方式，形成藝術家與社會之間的臨時性社群，擴展對於「共」（the commons）的經驗與想像。
practice, practice, practice
practice, practice, practice (2020) was an on-site performance. Due to the global pandemic, it will be reproduced as an online video performance in 2021. In this working process, we go back to 'practice' itself, and take it as a daily ritual. To hear the rhythm of our body and its movements. To perceive the inner time.
We invite you to pick up anything that you consider as 'your practice'. It could be writing, drawing, cooking, making coffee, doing yoga, playing tennis, singing, dancing, playing guitar, meditating, ect. Allow yourself to just waste a couple of times. Focus on breathing, concentrate on the practice... just gently return to yourself.
Concept & Choreography / Ning Wang
Performers / Chu-Hua Wang, Chia-Heng Liu
Videographer / Kai-Hsiang Chang
Music / AlmostThere - Printed Noise Lab
Venue Partner / Dua shin te Production
Special Thanks / Fang-ning Wang, Spring Chen, Hai-ting Liao, Cheuk-lam Chiu, Eric Tsai, Tzu-chieh Hsueh, Wei-chia Su, Unwoods, Keqian Family, HORSE
Ning Wang
Ning WANG, born in 1991, is a contemporary dancer and choreographer from Taipei, Taiwan. Her first full-length dance piece, 《丨丨》The Other (2018), focused on the gendering spectacle of human bodies. She attempted to create a hybrid teasing curls under the spectatorship on the grounds of nudity. In 2020, she was selected to participate in ARTWAVE "Movers' Platform#1 Taiwan/Japan", and started to collaborate with international artists. Launching a series of experiments about dance making, she debuted her solo, 15-minute Proposal of Movements (2020), to question the pure presence of dancer's body. In her current choreography praxes, Ning attempts to explore the embodiment of democracy from the individual to the community.
Recent work: Concurrent Sequence, Hiroaki Umeda (2021), Primal Chaos- Dance x Sounds improvisation S5E6, HORSE (2021), Disintegration Sketch, LI Ming-Chen (2020), Cosmic Wander: OnGon, CHOY Ka-Fai (2020), The Show Must Go On, Jérôme Bel x CHEN Wu-Kang and YEH Ming-Hwa (2019), Afterimage for Tomorrow, Singing CHEN x CHOU Shu-Yi (2018).
Chu-Hua Wang
Born in 1991 in Taipei, Chu-Hua Wang graduated from the School of Dance of Taipei National University of the Arts. Curious about performance methods and forms that are not purely physical, she seeks to understand how awareness leads to behaviors and actions and how physical performance is used to interpret internal activities. In addition to dance, she has experimented with theatrical works, sound performances, and photography. Through a Ministry of Education talent promotion program, she completed an internship with Compagnie CNDC-Angers in France and a student exchange program at the Folkwang University of the Arts in Germany. She has been involved in NTCH Ideas Lab productions One, and then to Five by Su-Lien Lin and Taiwan Made by Yu-Ju Lin and taken part in Surprise Lab/King Kong Wave's CLUB Tomorrow; Yen-Cheng Liu's A Piece of Cake; and Helen Simoneau Danse's Paper Wings at BAM Fisher-New York.
Chia-Heng Liu
Chia-Heng Liu was born in Taipei and came in contact with music while in kindergarten. He learned to play many musical instruments, enthusiastic about each one for a short period of time. In junior high school, he took up the oboe. While at Nan-Gang High School he focused on music. He received specialized training in the oboe during his undergraduate and graduate studies at the University of Taipei. As a student, he regularly held recitals and participated in orchestra performances, competitions, master classes, and music camps. Since graduating, he has sought to diversify and expand, seeking possibilities for his music and art, through exploration of and involvement in different types of performances.
Kai-Hsiang Chang
Kai-Hsiang Chang is from Changhua and has studied filmmaking. He says he has never won an award except for a bronze medal in the 1600-meter race and first place in an English-language recitation contest in high school.
[ Dance Online Series ]
As the Covid-19 pandemic has raged, relationships between people have been rewritten by public health procedures.
How can the performing arts respond when they no longer share the same space and time as audiences? How can performances be used to describe time and space during a pandemic?
The Dance Online series is an attempt to respond to the unique statuses of time and space during a pandemic.
At this moment, people are relying heavily on cameras, social media, and online meeting platforms as communication interfaces. In this series, three groups of dancers focus on these media and attempt to address the following question: Through performances, how can we gather and play under the premise of isolation, distance, and no contact?
The Dance Online Series includes the following program:
practice practice practice
The Body Is Part of My Structure
Curator: Meng-Hsuan Wu
Meng-Hsuan is a dance critic, dance dramaturge, independent curator, and the member of 307 artists collective. She recently hosted, curated, and participated in those project below: Blablabla project (performance curatorial project).Choreographic Curating: Choreography as Curatorial Strategy (Research Project). As an Art Worker, How Do We Organize Ourselves? (Research Project). TNUA Genie Lab (interdisciplinary art curatorial project).
Meng-Hsuan's interest in recent years including performing art curating, artists collective, and the research of performativity. In her curatorial practice, she is mainly exploring how to expand the imagination and experience of "the commons" through performing and curating, in a flexible, delightful, and poetic way.
