2014年4月11日 星期五

短暫的韓國 Temporary Korea:詩人與行為藝術家的相遇 The Encounter of a Poet and a Performance Artist




短 暫 的 韓 國       葉 子 啟

Temporary Korea     Yeh Tzu-chi

2003/08   South Korea  

我脫下上衣﹐請觀眾在我身上寫字。我用粉紅緞帶將胸部包圍﹐在胸前打蝴蝶結﹐然後﹐說韓國話。最後﹐到觀眾席裡與觀眾合照。 

I asked the audience to write on my body.  I wrapped my bosoms with pink ribbon and tied a bow on my chest.  Then I spoke some Korean.  Finally, I stepped down to the audience and took pictures with some of them.



詩人與行為藝術家的相遇

2003到韓國參展﹐整天走在韓國大街小巷裡﹐吃韓國食物﹐聽韓語﹐看韓國人﹐索性就讓自己韓國個夠吧!自己一直不是很重視這個作品﹐就是一個簡單的小品﹐多年來幾乎沒再提起過它﹐也許潛意識裡一直認為這個作品有點膚淺與幼稚吧!很怕別人看到我曾做過這樣的作品﹐但是有一個人改變了我對這個作品的態度。
200885日在韓國金泉高鐵車站外表演即將展開之前﹐一位高瘦斯文的中年男子趨前向我問候﹐那時我隱身在觀眾群裡﹐一般的穿著打扮﹐並不顯眼﹐但他向我走來說:「請問你是不是「顏」子啟?」那是我第五次到韓國參與行為藝術活動﹐如果我記得沒錯﹐是我第三次造訪金泉﹐都是同一位策展人Hong O-Bong的活動。 
在剛開始踏上韓國參與行為藝術活動的頭一兩年﹐Hong O-Bong老是把我的姓氏拼錯﹐把Yeh拼成Yen﹐後來我一再提醒他才更正過來。所以早期我老是聽那邊的人叫我「顏」子啟。可見那人是認得我的。他說他看過我的表演﹐隨即拿出一本韓文詩集﹐熟練地翻至某一頁﹐摺下頁角﹐告訴我那首詩是寫我的﹐我因為節目即將進行﹐無法繼續多談所以只能稱謝收下詩集。那一夜﹐我看到他席地而坐靜靜觀賞不同藝術家的現場表演。當然﹐他也再次看到我的表演。 
整個活動結束時﹐人來人往中﹐他再度趨前向我﹐他說他必須趕最後一班高鐵回去﹐然後像是行注目禮般﹐將右手按住胸口定定地看著我好幾秒的時間﹐那一刻﹐我有點錯愕﹐他的眼神專注甚至到深情的地步﹐牢牢將我懾住﹐然後他轉身快步朝高鐵車站走去﹐我回過神來但他已走遠﹐只能定定地站在原地望著他漸行漸遠的背影 
那人﹐那眼神﹐以及那詩﹐便一直放在我心上。對我而言﹐那簡直是個奇遇﹐因為做現場行為多年﹐從沒有觀眾與我(藝術家)產生這樣深層的關係﹐竟有觀眾因為看了我的表演而寫了一首詩﹐而我竟然完全不知道!然後多年之後﹐我們還有機會相遇﹐他特地趕來親手將那詩交到我手上﹐這是何等的機遇啊!只可惜當我突然意識到這是多麼珍貴而稀有的相遇時﹐他已走遠不復出現在我眼前 
他看的是哪一個作品呢?他寫的是什麼呢?我時常納悶著﹐一直到2011年終於找到有人可以幫忙譯成中文﹐一解多年的疑問。原來他看的是我03年做的「短暫的韓國」﹐可能是我最早到韓國做的作品!沒想到他竟動筆為這個作品寫了一首小詩!真是出乎我意料之外﹐而且在我看來寫得還不錯呢 
所以﹐因為他﹐因為他的詩﹐這個作品因而有了不一樣的命運。


The Encounter of a Poet and a Performance Artist 

I went to join a performance art event in Korea, 2003.  Walking on the streets in Korea, eating Korean food, listening Korean, and watching Korean every minute almost made me feel like a Korean.  Then, why not trying to be a Korean for 1 night!
In 2008, just before the performance outside Gimcheon High Speed Rail Station, a tall skinny gentleman came to me.  I was then among the crowd, wearing like an ordinary people.  But he came to me and asked “Are you ‘Yen’ Tzu-chi?”  That’s my fifth participation in performance art events in Korea, and third time in Gimcheon.  Hong O-Bong, the curator, failed to spell my surname in the right way.  It should be Yeh, but he spelt it as Yen.  So Many Korean people called me Yen Tzu-chi in the first two years.  Hong corrected later, but still many people called me Yen Tzu-chi.  So the gentleman really knew me.  He wanted to give me a book of poetry as a gift.  He opened the book to a certain page and pointed the poem on that page, saying that the poem was about me.  He said he had seen my performance before.  I was so surprised but the performance was going to begin that we can’t help but separated, and then he sat quietly on the ground as an audience.  
He came to me again after the performance.  He said he couldn’t stay any longer because he had to take the last train to go home.  Then suddenly he put his hand on his chest and looked at me into the eyes for a few seconds without saying anything.  There was such a strong power in his eyes that I was quite charmed by the way he looked at me.  Then he turned around and walked quickly towards the gate of HSRS.  My eyes followed his back until he disappeared behind the gate.  I still remembered that he was in white suits that day. 
That man, that look, and that poem have always been on my mind for years.  Which performance did he see?  What did he write?  It’s not until March of 2011 that I found someone to translate the poem From Korean to Chinese.  So, it was Temporary Korea that he saw.  It’s a very simple and short piece which I almost categorized as something shallow and childish.  To be honest, I was surprised that it’s the performance he saw and it’s the one that made him to write a poem for me.  
However, it’s a nice poem.  Because of him and his poem, I decided to show the performance here.



空氣中的一紋   

 

朴晉亨(Park Jin Hyoung)   鞠文瀞 譯

大約三十餘歲的台灣女人yen chu qi
在觀眾之前不受拘束的脫掉衣服
在月夜下淡淡的露出雙乳
不定形的中心掛著乳頭
萬物之母的肚臍也被火光喚出

在白嫩的女人背上
男人1, 用紅色的麥克筆畫上圓圓的臉孔
女人1, 用藍色的麥克筆亂畫一隻鳥
小孩1, 用黃色的麥克筆寫上拼音錯誤的名字

一瞬間變成塗鴉板的裸身
被綁在粉色的蝴蝶結
默默的走進觀眾群裡坐下來
圍繞在空氣裡的一線圖紋
悄悄的望過去  

(朴晉亨詩集﹐頁68, 2007

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