作為1990年代最活躍的“小劇場”團體之一，台灣沃克自1992年成立以來一直以白話精神為基礎的戲劇美學全神貫注，距離宣布戒嚴5年。 解構了劇院的三部劇目，分別是瑪麗·斯庫特（1993）、混蛋（1996）和我們的頂級角質小說（2000）。他從這些劇中提取角色設計，模仿劇院的戲劇方法，並請業餘演員即興創作 這部作品重新詮釋了這三部劇中提到的速度、黃金時間、叛逆、身體快感和道德雷區，讓人想起劇院曾經描繪的藝術烏托邦；也就是說，一個多義的、混合的藝術世界，其組成部分 範圍從崇高到荒謬。
As one of the most active “little theatre"(小劇場) groups during 1990s, Taiwan Walker had been engrossing for its vernacular spirit-based theatrical aesthetics since its founding in 1992, and it was 5 years after declaring of martial law. Su ingeniously deconstructed three of the theatre’s plays, namely Mary Scooter(1993), Asshole Man(1996), and Our Top Horny Novels(2000). He extracted the character designs from these plays, emulated the theatre’s theatrical method, and asked amateur actors to improvise on site. This work re-interprets the velocity, prime-time, rebellion, physical pleasure and ethical minefield referred to in these three plays, recalling the artistic utopia ever pictured by the theatre; to wit, a polysemous, hybridised art world whose components range from the sublime to the ridiculous.
臺灣國語
English
