一 種 趨 勢 葉 子 啟
舞台上，瘦高花美男全身塗白，包括頭髮和臉，他背上背著像乾草的東西也是，那是翅膀嗎？
舞台上另一個花美男是米開朗基羅的大衛石膏雕像，大概2到3倍於真人的頭頸部雕像，也是全白。
大衛前躺著幾朵紅色玫瑰花，挨著他。
花美男隔空狀似拿筆端詳目測大衛，然後做勢似在紙上描繪大衛。畫著畫著繼而趨前愛撫親吻大衛，良久。
接著他突然取出噴槍將大衛噴黑。
然後，一塊大布拉起隔開舞台與觀眾。舞台上有動靜，但觀眾看不到。良久。
布幕終於放下，花美男也一身黑了。
這時他高舉起大衛，在舞台上恣意移動，觀眾漸漸看出他可能是在跳芭蕾，扛著沉重的大衛，原先的翅膀此時也往下拗，如今看來倒像是芭蕾舞裙。
跳著跳著他力氣用盡了，再也扛不住大衛了，大衛於是一下摔到地上碎了。
最後，他抱著大衛碎片走出舞台。
很像劇場，但這是2014年9月14日，在北京798藝術特區樹畫廊舉辦的OPEN國際行為藝術節裡的表演。花美男藝術家後來說他之前的作品都比較簡潔，但此作他嘗試帶進劇場元素，因為「現在劇場好像挺時髦的」。這位藝術家是以《遛白菜》聞名的韓冰。
無獨有偶，自2000年起在西安以「谷雨行動」為名推動現場行為藝術的相西石，從2012年開始其「行為劇場」表演，他在2015年寫就的〈西安「行為劇場」簡述〉一文中指出
“行为剧场”是以“行为艺术”的观念和方式为基本要素的
“场域化”剧场形式。是行为艺术在现实中另一种方式的
延伸与呈现。
所以，在今日中國大陸，有一些行為藝術家開始借鏡劇場了。
有趣的是，台灣卻呈現相反的態勢。2014年7月冉而山劇團三名成員遠從花蓮來參加「阿川行為群」舉辦的行為藝術工作坊，並接續觀賞「心與海國際行為藝術節」 近20位中外藝術家的演出，為該劇團8月赴英參加愛丁堡藝穗節台灣季演出作準備，因為他們帶去的新作「企圖將行為藝術中關於時間空間的表演形式劇場化」 。接著12月中旬，另一位阿川行為藝術工作坊學員顏佳玟帶領其舞團在台南呈現「不純unPURE舞蹈行為」，在表演中融合了行為，舞蹈，與劇場的元素。
而今年5月，趙虹惠從台北請來Baboo導的戲〈棄，時間的聲音並不哀傷〉即將登場，從宣傳照看來，很行為，我特地在臉書私訊請教，趙虹惠的回應是「導演Baboo近年的作品確實帶有觀念或行為的語言」。所以，在台灣，有一些劇場或舞團已經開始熱衷向現場行為藝術取經了！
在中國大陸，現場行為藝術興起於1980年代，現代劇場的出現是近10年的事。
在台灣，小劇場則興起於1980年代，而現場行為的出現則是近15年的事。
看來老靈魂企待新血注入！兩岸皆然。更何況跨領域已然政治正確。但以在下所見，行為是行為，劇場是劇場，舞蹈是舞蹈。它們之間可以互借元素，跨界合作，但卻無法互相取代。
跳脫兩岸，國際現場行為藝術圈近年則是佳音頻傳。2013年，Irma Optimist榮獲芬蘭國家藝術獎。今年，Marilyn Arsem榮獲美國波士頓美術館首度頒發給行為藝術家的Maud Morgan獎；Melati Suryodarmo 則榮獲新加坡藝術獎的評審大獎。而在05年獲頒過新加坡文化獎的Lee Wen李文，今年又獲提名新加坡自由藝術獎！值得一提的是前三位藝術家曾受邀來台參與 阿川國際行為藝術節，在台灣留下寶貴的藝術身影。他們以及其他尚在現場行為藝術領域奮鬥不懈的前輩/資深藝術家是我們追隨的典範，鼓舞我們再向下一個十年邁步前進。 （寫於 2015 / 4 / 8）
（本文原刊載於《 心與海 》－阿川國際行為藝術節記錄手冊）
A Kind of Trend Yeh Tzu-Chi
On stage, the body of the skinny tall beautiful man was painted white, including his hair, face and the hay-like things on his back. Are they the wings?
The plaster figure of the head and neck of Michelangelo's David is another beautiful man on stage. It’s about 2 to 3 times of a real man and also all white.
There are some red roses in front of David, lying on the floor.
The beautiful man act like taking a pencil measuring David and drawing him on the paper, from a distance. After a while, he approached to David, caressed him, and kissed him for a long time.
Suddenly he took out airbrush and sprayed David into all black.
Then, a large cloth was pulled up to separate the stage and the audience. Something happened on the stage, but the audience couldn’t see it. When the cloth finally put down, the audience saw the beautiful man had also become all black.
Then he lifted the heavy David on his right shoulder, moving difficultly like dancing. The wings-like things on his back now also put down like a ballet skirt on his waist.
When he was exhausted by dancing and couldn’t carry David any longer, he let go of it, which made David break into pieces.
Finally, he held some of the debris in his arms and stepped down the stage.
It’s almost like a theater piece, but it was one of the art performances shown in Open International Performance Art Festival held in the Tree Gallery of 798 Art Zone on September 14, 2014. After the performance, the artist said his earlier works had been simpler in form, but he tried to show something more complicate and theatrical this time because "now theater seems quite trendy." The artist is Han Bing who is famous for walking a cabbage on the street.
Xiang Xi-Shi has started and promoted live performance event Gu Yu Action in Xian since 2000. He started Performance-Theatre in 2012 and declared his concept on his website:
“Performance Theatre” is a “sited” theatre form based
on the concept and method of “performance art.” It’s
another way for performance art to extend and show in
the reality.
So in mainland China today, some performance artists began to borrow elements from the theater.
Interestingly, there’s an opposite trend in Taiwan. In July 2014, as a preparation for presentation at the Edinburgh Fringe Festival in August, three members of Langasan Theatre came from Hualien to join our performance art workshop and stayed to see the following performances shown by 20 international and local artists in Mind & Sea：ArTrend International Performance Art Festival. According to them, they tried to theatricalize the performing forms of time and space in the performance art in their new piece for EFF. In the mid-December, Nina Yen，another participant of our workshop, presented UnPure Dancing Performance in Tainan where she mixed the elements of performance, dancing, and theatre.
And this coming May, Le Bruit du Temps N’est Pas Triste, a small scaled theatre piece will be shown in Tainan. It’s directed by Baboo from Taipei. It looks like performance art from the photos released as advertisement. Zhao Hong-Hui, who invited Baboo to direct this piece, answered my question on face book “Indeed, the works by Baboo in recent years have the language of concept or performance art.” So, in Taiwan, some theatre and dance troupes have been highly interested in learning and adopting elements from performance art in recent days.
In mainland China, live performance art emerged in the 1980s; the modern theater, recent ten years.
In Taiwan, the small-scaled theatre emerged in the 1980s; live performance art, recent 15 years.
Old soul aches for new blood! It seems to be same on both sides across the strait. Not to mention the cross-discipline political correctness. However, for me, performance art is performance art, theater is theater, and dance is dance. They can borrow elements, cross-border cooperation, but cannot replace one another.
Looking beyond Taiwan and mainland China, we are more than happy to find that good news keeps pouring into the international performance art circle. In 2012, Irma Optimist got the Lifetime Achievement Award of Finnish Art Society; 2013, the State Prize of Art. Marilyn Arsem is the winner of the 2015 Maud Morgan Prize in Boston. Melati Suryodarmo has won the Jurors' Choice Award in 2015 Singapore Art Prizes. And Lee Wen, awarded the Cultural Medallion Singapore in 2005, has been named as one of seven nominees for the inaugural Joseph Balestier Award for the Freedom of Art 2015. What’s worth mentioning is that Marilyn and Melati have been invited to Taiwan by ArTrend to join 2009 On the Way International Performance Art Meeting; Irma, 2014 Mind & Sea IPAF. They and the other senior artists that are still working very hard for performance art play as our role model. It’s them that encourage us to move on toward the next decade. ( 2015 / 4 / 20 )
（The article is originally published in Mind & Sea : Document Catalogue of ArTrend International Performance Art Festival)
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