2022臺北藝術節《在場》

《在場》是跨視覺及劇場藝術家吳瀚生（Royce Ng）的全新創作。

在疫情影響全球的當前，遠端呈現的技術變得愈加盛行及被運用。《在場》透過遠端遙控、數位頭像、影像科技等技術的結合，建構了一種新的呈現形式與狀態，亦可說是數位的實體化或具象化；透過此一形式，將開啟你未曾有過的感官體驗及感知極限——虛擬的個人，能以什麼樣的形式存在於實體場域中？而你又會有什麼樣的感受？當它們透過感官，傳輸到你體內，啊，終於，你知道了，虛擬便不再只是虛擬。

你聽過幻肢症候群嗎？當失去了一部份四肢後，有一段時間你會誤以為它還在，因為大腦還存有它存在時的感覺。而在此作品中，藝術家宛如創造了一種意識或感受的幻肢（Phantom Consciousness），你將可能體會到最具體的虛無，它實實在在的，就在你面前。

The lecture-performance Presence by visual artist and theatre maker Royce Ng is concerned with the concept of “presence” in technology. It is the subject matter of the piece but is also enacted through the staging of the work. Performed remotely into a physical space, the piece uses various technologies to test the limits of the audience’s perception of the artist’s virtual presence despite his physical absence.

The concept of telepresence is the phenomenon of individuals feeling present in a digital avatar, it also can be understood as digital embodiment or conversely psychophysical disembodiment. As a result of the global pandemic, telepresence technologies have become pervasive, and this performance examines this “feeling” of being virtually present in a space while being physically remote. Not unlike the phantom limb syndrome, but extended to consciousness, it could also be understood as phantom consciousness.

【團隊介紹】

文本、導演｜吳瀚生（Royce Ng）（香港／澳洲）

出生澳洲，現居香港，吳瀚生（Royce Ng）以視覺藝術家身分開始實踐其創作，近期更跨域至表演藝術。他藉由各式數位媒體技術，如：3D動畫、虛擬實境（VR）、全像投影等，使其作品具強烈的視覺效果，多以處理現代亞洲歷史、科技、藥物與美學之間的交互關係。

他的第一個作品《吸血鬼岸信介》（2016）深入研究日本殖民時期統治者、二戰戰犯、時任日本首相岸信介的一生，描述他作為吸血鬼的曲折歷史。在作品《昭和妖怪》（2017）中，他進一步關注那陰魂不散的幽靈，隱晦地糾纏著現代東亞經濟，以及在亞洲國家發展過程中，鴉片所扮演的陰暗而曖昧的歷史。在第三部作品《毒性楊花》（2018）中，藝術家以掌握金三角非法鴉片與海洛英交易的變裝雙性戀軍閥楊金秀作為主角，藉此追溯鴉片的歷史。

最新的作品《在場》，處理並探討在科技運用下，藝術家「在場、存在」的概念。

Royce Ng, Hong Kong and Australia

Born in Australia and based in Hong Kong, Royce Ng started his practice strictly as a visual artist before venturing more recently into performing arts. His work features a strong visual component constructed through various digital media technologies such as 3D animation, VR and holograms and deals with the intersections of modern Asian history, technology, drugs and aesthetics.

His first stage performance, Kishi the Vampire (2016), delved into the life of Japanese colonial administrator, war criminal, and then prime minister Nobusuke Kishi, narrating his convoluted history as a vampire story. In Ghost of Showa (2017), he further looked at the spectres that haunt the economy of modern East Asia and the darkly ambiguous legacy of opium in the development of the Asian state. His third piece Queen Zomia (2018), traces the histories of opium through the figure of Olive Yang, the bisexual, cross-dressing warlord who controlled the illicit opium and heroin trade in the Golden Triangle. His latest performance Presence deals with the concept of “presence” in technology.

【演職人員名單】

文本、導演｜吳瀚生（Royce Ng）

遠端表演者｜吳瀚生（Royce Ng）

舞台暨燈光設計｜Michele Piazzi

舞台助理｜Benedetta Monetti

聲音設計｜John Bartley

動畫設計｜Zheng Mahler Studio

技術總監｜Michele Piazzi

程式設計｜Alvaro Cassinelli

製作統籌｜Stéphane Noël / Materialise形賦亞洲

主辦單位｜臺北市政府

承辦單位｜臺北表演藝術中心

Text and Direction: Royce Ng

Remote Performer: Royce Ng

Stage and Light Design: Michele Piazzi

Stage Assistant: Benedetta Monetti

Sound Design: John Bartley

Animation: Zheng Mahler Studio

Technical Direction: Michele Piazzi

Programming: Alvaro Cassinelli

Production Management: Stéphane Noël / Materialise

• 演出全長：演出長度約45分鐘，無中場休息。

• 字幕語言：英語演出，中文字幕。

• 演出部分含炫光、刺耳聲響，請留意並斟酌入場。

• 到場注意事項：遲到觀眾將無法入場，亦無法退換票。