2002年12月20日 星期五

Contact us

再一次拒絕長大劇團
02-29133303
23143新北市新店區張北里北新路2段80號4樓

Against Again Troupe
4F., No.80, Sec. 2, Beixin Rd., Xindian Dist., New Taipei City 231, Taiwan (R.O.C.)
Postal Code: 23143
Country: Taiwan, Republic Of China
Phone: 886-2-29133303

Email:
against.again@gmail.com

Blogger:
http://against-again.blogspot.com/

Facebook:
https://www.facebook.com/against.again.troupe

introduction to Against-Again Troupe


First of all because they're all young and it's took me a long time to get young and now I consider myself young. And I'm proud of it. I'm proud that I'm young. And I only wish that all you people who are sitting out here today or tonight weren't here and I could see all kinds of faces with hair on their head - and everything like that, everything leading to youngness....

There's no black and white, left and right to me anymore; there's only up and down and down is very close to the ground. And I'm trying to go up without thinking about anything trivial such as politics. They have got nothing to do with it. I'm thinking about the general people and when they get hurt. -Bob Dylan, “Remarks at the Bill Of Rights Dinner at the Americana Hotel” (1963)


About us

Against-Again Troupe was founded in 2002 in Taiwan by a group of theatre practitioners coming from diverse artistic backgrounds. Our productions range from theatre, musical performances, to exhibitions and small-scale performance festivals. Major works lie in the field of site-specific theatre, music theatre and performance poetry, implementing objects, sound, and multimedia to create performance pieces infused with collage, repetition, alienation, and non-narrative text. A large portion of our work is socially conscious and issue-related. Through art we attempt to examine the human condition in our age of globalization, in regards to class, gender, identity and survival.

The literal translation of AAT's mandarin name - zai yi tsi ju jue zhang da - is "to refuse, once again, to grow up." The archetype of the child-god is found in many Asian mythologies from China to India. In Taiwanese folk religion, Nezha is the child-trickster, embodying destruction and noted for his stories of violence and patricide. We believe that the ephemeral act of theatre is akin to the anger of Nezha, inclined to disrupt our habits of sensory perception, and to be the eternal child, forever walking between the lines of death and rebirth.

The recent works of AAT are focused on experimentation with space, objects and sound. Our biennial Apartment Showcase transforms the compact living quarters of urban capitalist Asia into a space for site-specific theatre and a playground for experimenting with performer/spectator relations. Kuroshio and Götterdämmerung are collaborative works of music theatre, redefining the execution of actions as performance and channeling the performative qualities of sound, objects and music. All that's left to happen is some deaths (my own included), created in 2012, is a performance without actors, as well as a series of ventures into the concept of micro-theatre, constantly reinventing itself as it travels through alternative venues from Taipei, Taichung, to Macau and to the World Stage Design festival in Cardiff. The same year, American Dream Factory, was performed at Festival Tokyo (F/T). Through ten scenes of interwoven dreams, this show explores global capitalism as collective mythology, and how theatre art can find new forms of resistance and communication within a world of popular culture, institutions and postmodernity.

Works, 2002-2014

Theatre of the Oppressed: In Search of Brecht
This is the first piece of work created by the core contributing members prior to the official founding of Against-Again Troupe. It was created in collaboration with Dining Theatre who were devoted to the field of dinner theatre at that time. Theatre of the Oppressed: In Search of Brecht transforms the black box theatre space of Guling Street Theatre into a bar/theatre where the lines between house and stage are blurred. Audience are seated among actors including actors in the role of audience. As conversation and confrontation are acted out among the spectators, another performance is being played out which tells the story of a character from Bertolt Brecht's play in search of a playwright in contemporary Taiwan theatre. It is Against-Again's first experimentation with metatheatrical narrative and environmental theatre.
Oct. 29-30, 2002
Production Manager: Pao-shan Liu
Director: Snow Huang
Collaborator: Dining Theatre
Venue: Guling Street Avant-garde Theatre (3 shows)

Déjà vu
Kuling Street Theatre: “Game-War,” Department of Culture Affairs, Taipei City
The concept of this play is taken from an essay by professor Hsiu-Li Juan, entitled Narrative and Memory, which states that “...how big the memory is, how big the forgetting shall be. Forgetting is memory without form.” The play starts out with a scene of a boy falling from a building, proceeding to scenes of fictional storytelling interlaced with projections of rehearsal situations and interviews. The shadows of the live performers are projected onto live or pre-recorded videos in a juxtaposition of illusion and alienation which explores the interactions and ambiguities between death and memory, fictions and the forgotten, in the empirical world.
Dec. 20-22, 2003
Production Manager: Pao-shan Liu
Director: Snow Huang
Venue: Guling Street Avant-garde Theatre (5 Shows)

Dharma
Festival in the Square, CKS Memorial Hall

An interdisciplinary work based on the anthology Deep and Beautiful Asia by Taiwanese poet Ke-hua Chen. Chen's fervent criticism of nationalism and fascist emotions sparked much controversy in the poetic scene at the time. The performance, being a dialogue between the actors' improvised movements, multimedia, and the poetic text, seeks to explore the possibilities of the performance of modern poetry in the theatre. As regards voice, we reject the conventional tonal and rhythmic techniques used in the recitation of Chinese poetry, while preserving the complex nature of its form, combined with repetitive language developed in Taiwan's avant-garde theatre and dada's concept of “sound poetry.” This method of presenting poetic language has, through the rehearsal of later productions, become one of the aesthetic trademarks of Against-Again's theatrical style. The intended effect is not to convey meaning, but to provide a dialectic of meanings, to examine the interstices between fractured meanings and how they interfere with each other.
June 4, 2005
Production Manager: Nelson Wei
Director: Snow Huang
Venue: CKS Memorial Hall Square (1 Show)
Oct. 30, 2005
Venue: Tent Theatre B, CKS Memorial Hall Square (2 Shows)

Specimens of Immorality
Bailemeng Festival
A rendition of Dharma for the Bailemeng apartment.
July 29-31, 2005
Production Manager: Nelson Wei
Director: Snow Huang
Venue: Bailemeng Apartment (3 Shows)

Island
Opening Ceremony Performance of the 7th Taipei Poetry Festival
Adapted from three pieces by Taiwanese poets: Island by Mi-mi Yeh, Era by Hui-zhi Hsu, and Uniform by Xiang Yang. Rather then being a critique on the age of White Terror in Taiwan under martial law, this piece is more of an insight into the themes of affection and exploitation between human beings. The poetic text is rendered as scraps of paper scattered on stage, in order to signify the unspeakable and forgetful nature of trauma, the hopelessness of the living to uncover the truth from mountains of historical information, and how truth is swallowed and buried under empty language.
Nov. 5, 2005
Director: Snow Huang
Venue: Guangfu Theatre, Chungshan Hall

Like a Larva
This piece is based on the written texts of Vaslav Nijinsky, Jean Genet, Antonin Artaud, and Sarah Kane – four figures renowned for their genius and madness. Madness is often interpreted as a kind of “undersocialization,” but this notion is a violent form of denomination. If one has never the chance to change what it means to be “socialized,” then one is forsaken in a violent world for his/her inability to wear the neatly-clad uniform of citizenry. This is a play that only consists of introductions. It is not a commemoration or a biography, but through the use of inverted and overflowing language, it is a ritual summoning of those who have died at least once.
Sept. 8-10, 2006
Production Manager: Snow Huang
Director: Brian Wong
Playwright: Ma Yi-Hang
Venue: Guling Street Avant-garde Theatre (6 Shows)

4F, 80, Beixin Rd. Sec. 2
Against-Again Apartment Showcase 2007
The Apartment Showcase is Against-Again's response to the discourse of “little theatre” in Taiwan from the 90s onward. Although still a popular usage, the term “little” can no longer signify the experimental and critical nature of avant-garde theatre. What is true though, is that in a performance space smaller than “little-theatre,” to the point of being able to be dubbed “micro-theatre,” the sensory perception of both audience and performer are amplified to a certain degree. The creative vocabularies of participating artists are inspired by the specific environment of Against-Again's apartment. A dialogue between body and space is enacted through choreography, videos, installations, wall painting and body performance. In this close proximity of audience and performer, art interlocks with life, and the divine can be glimpsed within everyday details.
Aug. 1-12, 2007
Curator: Snow Huang
Executive Producer: Wei-xiang Huang
Artists: Ding Shiun-bin、Wu Ping-Chen、Kappa Tseng
Venue: 4/F, 80 Beixin Rd., Sec. 2 (7 Shows)

Demon-Revealing Mirror
Opening Ceremony Performance of the 9th Taipei Poetry Festival
This is a segment of The Silent Left Hand, invited to be presented as part of the opening ceremony of the 9th Taipei Poetry Festival. A poetic performance combining sound objects, improvised music, and monologue.
Nov. 3, 2007
Director: Snow Huang
Venue: Guangfu Theatre, Chungshan Hall

The Silent Left Hand
Presented in the unique architectural landscape of former military housing community Sisi South Village, the economic themes of Hans Christian Andersen's The Little Match Girl is transformed, through musical drama and environmental theatre, into an examination of the marginal living conditions of southeast Asian foreign laborers in Taiwan and Muslim immigrants in France. Form and subject matter interact into an introspective contemplation on a history of silence. It was nominated into the 6th Taishin Arts Awards performing arts category.
Theatre art is by nature helpless in the face of violence. Most of the works of Against-Again Troupe are more self-reflection than social commentary. Rather then viewing The Silent Left Hand as a vehicle for speaking out for foreign laborers, it is more of an introspection into how we, as members of the dominant culture, should face our own fears. How is it that we antagonize “the other”? What does it mean when we say “we”? As we raise our torch-lit right hands to impose sanction on the other, is there another, silent, left hand? We ask ourselves these questions and believe that to be “silent” is not to “shut up,” but that silence is the accumulation of rage and the prelude to revolution.
Dec. 20-23, 2007
Production Manager: River Lin Ren-zhong
Director and Playwright: Huang Ting-Wei and Snow Huang
Xinyi Public Assembly Hall, Taipei (Sisi South Village)
The Silent Left Hand Pre-listen Concert
Nov. 4, 2007
Taipei County Arts Center Performance Hall

Home+ 4F, 80, Beixin Rd. Sec. 2
Against-Again Apartment Showcase 2009
To the city-dweller, the “apartment” is perceived as a metaphor for home and shelter, signifying an inherent nature of privacy, a meaning that can only be felt by members of the family. The Apartment Showcase of 09 is based on this notion, positioning the audience within the realm of “home.” Parents arguing, domestic violence, the living condition of a foreign household servant, moving in, moving away, themes of love, death of family members... these themes invite the audience into a whirlpool of universal experience. This production ran 28 shows through 14 days, with each show limited to 10 spectators. The audience are no longer only onlookers but are drawn into the experience of the helpless child or servant, as if in a “living installation”. The close proximity of the audience zooms in on the performance like a voyeuristic movie camera, albeit more three-dimensional than a movie camera. Through these personal experiences, we explore the possibilities of the “micro-theatre,” returning to the most basic of social units, and engage in a presentation of the Taiwan family and the general social conditions within.
July. 4-19, 2009
Curator: Po-hsin Liu
Executive Producer: Grass Wang
Artists: Pao-shan Liu, Chun-Hao Hsueh, Betsy Lan, Wan-yi Lu, Angie Wang, Brian Wong, Yu-yun Peng
Venue: 4/F, 80 Beixin Rd., Sec. 2 (28 Shows)
Home+ 4F, 80, Beixin Rd. Sec. 2 Documentary Screening
Directors: Yang Yi-ann, Fu Yue, Ding Shiun-bin
4/F, 80 Beixin Rd., Sec. 2 (2 Screenings)

Kuroshio Project
Kuroshio is the outcome of Against-Again's art residency at Hualien. Directed by troupe founder Snow Huang in collaboration with guest butoh performer Wei-lian Wang, this performance is focused on the dialogue between sound and body. The “Kuroshio” is an ocean current flowing along the east coast of Taiwan. This flowing current that nourishes the ecosystems along the shoreline is rendered through this performance into a neverending “spring of life.”
Through the integration of butoh and musical theatre, the relationships between man, faith, and nature are explored. A story is told of a man who, after the death of a friend, embarks on a journey. He steps into an old church, where a memorial concert is being held with no one attending. He interacts with a deaf-mute woman in service to the church, and gradually discovers the weight of the dead he carries on his back. The production designs transform the warehouse of an old winery into an abandoned church. Through symbolic imagery and fables, it addresses issues central to the spirit of butoh such as that of sleep and awakening, death and rebirth, and explores the inner meanings of “Requiem.”
Kuroshio
Nov. 13-14, 2009
Production Manager: Nelson Wei
Directors/Performers: Snow Huang, Wei-lian Wang
Hualien Cultural and Creative Industries Park, Red Wine Warehouse (2 shows)
“Hearing the Body” Workshop
Oct. 17–Nov. 1, 2009
Instructors: Snow Huang, Wei-lian Wang
Guest Instructors: Sze-man Huen, Chieh-ting Hsieh
Hualien Cultural and Creative Industries Park, Millet Wine Theatre (8 sessions)
Pacific Poetry Festival
Nov. 7, 2009
Pine Garden, Hualien

American Dream Factory
Since our first production Theatre of the Oppressed: In Search of Brecht, on through Dharma and The Silent Left Hand, Against-Again Troupe have constantly utilized everchanging symbols, repetitions, and collages of non-narrative situations in an attempt to elaborate on the verfremdungseffekt of Bertolt Brecht. American Dream Factory is the culmination of these efforts.
The play is made up of twelve dreams. The stage installation overflows with symbols and totems of popular culture and consumer products, assembled into a maze of signs known as the “Dream Factory.” The inhuman mechanical world that surrounds the lives of the post-80s generation is represented via theatrical means. It explores the themes of existence, labor, and dreams, regarding our generation of young people, how individuals are homogenized by simplified social expectations and ultimately depleted by late capitalist society. The work asks how the modern individual may “wake up” from the homogeneity of manufactured dreams. American Dream Factory has made the rare record in taiwan of selling out 13 shows in two weeks, as well as being nominated for the Taishin Arts Awards of 2010.
May 21-30, 2010
Production Manager: Pao-shan Liu
Director: Snow Huang
Guling Street Avant-garde Theatre (13 shows)

Time of Liberty
In 1989, after 71 days of resisting arrest, Cheng Nan-jung, founder of the Freedom Era Weekly, set himself on fire to protest against the Kuomintang's suppression of the freedom of speech, ending his life of 42 years. How does this one man who died for freedom relate to the “unfreedom” of our own era? And how can we, through an understanding of his death, reflect upon our own value and meaning of life?
In the history of news media, freedom of speech was never as simple an indication as the rationalist notion of “I speak therefore I am.” The fight for the freedom of speech, whether in Taiwan or in western countries, has always been addressed specifically towards the oppressive powers of a given time. From Freedom Era Weekly to a “Time of Liberty,” this play attempts to confront and discuss what it is exactly we are up against when we are fighting for freedom of speech in this day. What is the object of power and what is our objective? And how we can inspect our own values and meanings through the death of an individual?
Sept. 24-Oct. 3, 2010
Production Manager: Betsy Lan
Playwrights: Li-ying Chien, Koh Choon Eiow, Brian Wong
Director: Brian Wong
Guling Street Avant-garde Theatre (8 shows)
Cross-generation Time of Liberty Forum
Aug. 31, 2010
Moderator: Tunghung Ho
Panelists: Mei-na Lin, Benla Kuang, Chiung-li Sun, Mei-Yu Liu, Li-ying Chien, Koh Choon Eiow, Brian Wong
G Straight Cafe

Dispatches on Survival and Resistance: A Concert
New Taipei City Arts Festival Environmental Theatre Series

This is the first musical concert organized by the Against-Again Troupe. The first half of the performance is Atonalitude, a collaboration between Lenny Guo - formerly of the Hong Kong band 'Blackbird,' Japanese musician Chino Shuichi - prominent figure in Tokyo's Perspective Emotion mixed media art festival, and American poet Madeleine Marie Slavick. The three come together to weave an atonal tapestry of poetry, musical improvisation, and experimental sound objects. The second half of the show is Hold Everything Dear, featuring Taiwan's 'Silent Circus,' who incorporate a variety of styles in a musical interpretation of John Berger's book of the same title. Berger's critique on the world's political and economic situation takes us through countless individual choices, exploring themes of enlightenment, sacrifice, despair, and memory, and asks for the meaning of political resistance in today's world. We try to explore how music, as a time-based art form, can help us “share the time that repeatedly exists between moments: the time of Becoming, 
before Being risks to confront one yet again with undefeated despair.” (Berger)
Hold Everything Dear
Oct. 8, 2010
Performers: Jez Fang, Yujun Wang, Snow Huang, Tao Chiang
Atonalitude
Oct. 8, 2010
Performers: Chino Shuichi (JP), Madeleine Marie Slavick (US), Lenny Guo (HK)
Creative Plaza, 823 Memorial Park, Zhonghe, New Taipei City
Forum: A Diaologue of Voices
Speakers: Chino Shuichi (JP), Madeleine Marie Slavick (US), Lenny Guo (HK)
G Straight Cafe

The Evening of Everything
Against-Again Apartment Showcase 2011
Starting in 2007, the Against-Again Apartment Showcase has reached its third biennial. The artists of the first showcase broke away from the realist setting of the home apartment and utilized installations, projections and dance in a dialectic between body and space. The second showcase focused on the apartment as “home,” and explored themes of privacy and life. The third apartment showcase will focus on “the material” as a central theme of focus, and continue to explore the possibilities of environmental theatre in a non-theatre environment.
Nov. 14-27, 2011
Curator: Kappa Tseng
Production Consultant: Pao-shan Liu
Executive Producer: Miss B.
Artists: Grass Wang, An-Ru Chu , River Lin Ren-Zhong, Styx Zheng, Tao Chiang, Chun Hao Hsueh
Against-Again Apartment, 4/F, 80 Beixin Rd., Sec. 2


All that’s left to happen is some deaths (my own included)
All that’s left to happen is some deaths (my own included) is a performance-exhibition project originally curated by artistic director Sze-nung Huang, of the Against-Again Troupe (AAT). It is a series of performance pieces attempting to create a theatre without actors. Through animated daily objects and ambient sound events, the individual pieces reveal the life-traces of an absent woman. Inspired by stream-of- consciousness literary styles,All... attempts to convey presence through absence. As this absence is collectively experienced through the passage of time, it is as though we are experiencing little deaths of moments gone by. The concept examines the absence of the feminine body and its resonance with space to reveal an existence that is, in fact, essentially “present.”
Curator: Snow Huang,
Artists: Kappa Tseng("The Ebb of a Day "), Tao Chiang("Your favorite half-light, your favorite consciousness"), Grass Wang("A Total of...Days"), Joyce Ho(“Boundaries”), River Ren-zhong Lin(“For The Rest Survival”)
Sep. 2012 – MadL Gallery, Taipei (8 shows)
Nov. 2012 – no.47 art space, Macau (2 shows, Macau City Fringe Festival)
Sep. 2013 – Caird Studio, Cardiff (2 shows, "Four at WSD" of World Stage Design 2013)
*nominated for the 11th Taishin Arts Award


Götterdämmerung
In 2014, AAT was invited by curator Hung-ya Yen to participate in “Der Ring des Nibelungen: A Revolution Unarmed,” a festival of new and non-operatic interpretations of Wagner’s Ring Cycle. AAT responded with their take on “Götterdämmerung” fusing a theatre of sound with contemporary puppetry and multisensory experience. As part of the concept, the work was created as a collective effort, experimenting with anarchy in the creative process, and seeking new definitions of ‘total theatre’.

Wagner’s text, with its mythical themes of power, contracts, betrayal and apocalypse, written in the midst of industrial revolution and the rise of elite culture and fascist politics, stood in its time as a battleground between old and new, revolution and oppression, myth and enlighten- ment, etc. Taking this cue, AAT’s “Götterdämmerung” presents a diorama of conflicting values, the dialectical image of destruction and rebirth. Siegfried is presented as a puppet, manipulated and eventually dismembered by powers that be. Brunhilde’s text is juxtaposed with that of a recent Taiwanese worker who charged his truck into the Presidential Palace. Live video projections of chemical reactions are used to represent the fall of Valhalla. Intertextuality, objects and visual elements are set to a live soundtrack of noise, improvisation, rock music, protest song, and sound poetry, to create this vision of New Music Theatre, a shot of heteroglossia to unsettle the homogenizing powers of modern society.
Artists: Yin-Chen Cheng, Tao Chiang, Snow Huang, Ting-Wei Huang, Pao-shan Liu, Kappa Tseng, Grass Wang, Brian Wong, Klaire Wu, Jimi Zhang 
June 13-15, 2014—Huashan Creative Park 
 * nominated for The 13th Taishin Arts Award

關於再拒

「…首先,他們都是年輕人,而我花了許多時間才變的年輕,現在我視自己是年輕的,並爲此而感到驕傲,我為我的年輕而感到驕傲,我只希望今晚坐在下面的你們都不在這裡,而我可以看到各種頭髮茂密的面孔 ─ 諸如此類代表年輕的事物。」

「…對我來說再也沒有黑和白,左和右,只有上和下,底下非常接近到地面,我試圖向上而完全沒有在意政治這樣的小事。政治與此無關,我想的是那些普羅大眾和他們受傷的時候。」
~Transcript Of Bob Dylan`s Remarks At The Bill Of Rights Dinner at the Americana Hotel on 12/13/63


About us
再拒劇團全名「再一次拒絕長大劇團」,2002年由跨域 台灣劇場工作者成立,以劇場、音樂演出、展覽、獨立劇展策畫等各種創作型態推出製作。演出以環境劇場、音樂劇場與詩劇為大宗, 亦常見重複、非敘事、意像拼貼與疏離手 法的運用,及結合物件、聲音藝術及多媒體藝術之創作; 多 部邊緣議題演出, 轉化並置換大眾文化及符碼,以多元的 藝術公共意識,探索全球化影響下階級處境、性別、身份 認同與生存意識,並曾於台北、花蓮、東京、澳門、英國卡爾地夫......等多個城市演出。


在印度與中國神話中,皆有關於「童神」的記述,台灣尚存 的重要民間信仰神「哪吒」,更以破壞殺戮、剔骨割肉的自 伐與弒父故事為所著稱。「再一次拒絕長大」意味著在幕 啟幕落、場燈明滅之間,劇場做為一種即生即死的藝術一 如「忿怒哪吒」現真實身,藝術體驗合該摧毀感官固定的接收模式,而劇場表現的原點, 亦不啻為永恆年輕的童子, 在死亡與重生的意念中輪轉。

再拒劇團近年的作品,聚焦於劇場中空間、聲音與物件結合的各種表現可能及媒介。兩年一次的環境劇場劇展《公寓聯展》,將亞洲高度資本化下狹小的公寓空間做為排練和演出場域,改變既定的觀演關係及藝術經驗。《黑暗 潮》及《諸神黃昏》則為集體創作之音樂劇場,以動作的執行作為表演,聲音、物件成為演出的本體。2012年《接下來,是一些些消亡》則承接並延伸「微型劇場」概念,在台北、澳門及英國卡爾地夫舉辦的劇場設計展等另類空間,演出「無演員」的多媒體藝術劇展。同年,以台灣、中國青年勞動處境為本的《美國夢工廠》,參與東京藝術節 (F/T) 的「新銳公募」,透過10段互文交織的集合夢境 (collective dreams),探索劇場藝術如何在大眾文化、資本主義文化均質化力量及後現代美學去政治的張力之中,逃離失語的狀態。


Works, 2002-2012

《受壓迫者劇場─尋找布萊希特》
這齣戲是再拒劇團第一個創作,彼時雖未正式立團,但基本的創作班底已初步成形,與當時從事Dinner theater的演食百匯劇團的合作,促成這齣戲的誕生與成形。《受壓迫者劇場─尋找布萊希特》是一齣刻意模糊牯嶺街小劇場觀/演區分隔,將黑盒子改造為酒吧與劇場的複合空間的演出,演員、觀眾與演員“假扮”的觀眾雜處一室,時而對話時而互相挑釁;同時上演著德國劇作家布萊希特作品中的劇中人,在台灣小劇場尋找劇作家的故事,為再拒首次以後設文本為主線貫穿的環境劇場實驗。
2002年10/29~30
製作統籌 劉柏珊
編導 黃思農
與演食百匯劇團合作演出
牯嶺街小劇場 演出3場

《DÉJÀ VU》
牯嶺街小劇場第一屆「遊戲戰爭」
這齣戲啟發自阮秀莉教授的論文《敘述和記憶》,「...有多大的記憶就有多大的遺忘,遺忘是沒有形式的記憶。」從一個劇中男孩墬樓的zoom out畫面開始,一幕幕虛構的故事上演,交雜演員排練與訪談的錄像,舞台上演員的光影投射在或者預錄或者即時的影像上,並以幻覺建立和疏離效果並置的手法,探尋死亡與記憶、遺忘與虛構如何在經驗世界裏彼此模塑與互涉的命題。
2002年12/20~22
製作統籌 劉柏珊
編導 黃思農
牯嶺街小劇場 演出5場

《咒》
─第一屆兩廳院廣場藝術節
以台灣詩人陳克華的詩集《美麗深邃的亞細亞》為本,創作發想成一跨領域作品,這本詩集對國族本位主義和法西斯情感的強烈批判,對當時的詩壇亦造成不小的衝擊。演出的發展由演員的身體即興、多媒體與詩文本的對話出發,進而開發現代詩與劇場結合的種種可能性;在聲音上,我們屏棄原本中文詩歌朗誦制式的聲韻處理,卻又保留其「雜沓」的形式,交織以台灣小劇場語言的重複性和達達主義“聲音詩”的形式運用。此詩化語言的聲音處理,日後經過多齣戲的排練與發展逐漸成熟,成為再拒美學上鮮明的標誌,其作用非在意義的給予,而在劇場所能提供於人的,意義的辯證、意義與意義之間的縫隙、互涉和彼此踐踏。
2005年6/4
製作統籌 魏念祖
編導 黃思農
兩廳院藝術競技廣場演出1場
2005年10/30
兩廳院藝文廣場─帳篷劇場B 演出2場

《不道德標本》
─百樂門所在藝術節
《咒》的百樂門公寓復刻版。
2005年7/29~31
製作統籌 魏念祖
編導 黃思農
百樂門公寓 演出3場

《島嶼》
─第七屆台北詩歌節開幕演出
改編自三首台灣詩人作品:葉覓覓「島嶼」、許悔之「年代」及向陽的「制服」,為第七屆台北詩歌節的開幕演出節目之一。
此劇與其說是對台灣的戒嚴時期白色恐怖的反思,不如說是探討廣義的人與人之間,情感的剝削關係。詩文化為舞台上遍布的白紙,凸顯創傷經驗不可記憶和不可言說的本質,亦演繹生者在成山掩沒的歷史資料下,尋找真相的無力,及真實如何的被空洞的言說所吞噬、埋葬。
2005年11/5
編導 黃思農
中山堂光復廳 演出1場

《宛如幼蟲》
這齣戲以瓦斯拉夫.尼金斯基(Vaslav F. Nijinsky)以及尚.惹內(J.Genet)、翁托南.亞陶(Antonin Artaud)、莎拉.肯恩(Sarah Kane)四個被視為所謂瘋狂天才留下的文字做為底本。

關於瘋狂,「低度社會化」是一種被廣為使用的形容,但那僅僅是一種過於簡而言之的命名暴力:如果有人從來沒有機會、沒有辦法去改變什麼叫做「社會化」--那僅僅是被遺棄了,因為來不及穿上那套整齊潔淨的公民服,所以必須裸露在這個凶暴的人間。這是一個只有引言的劇本,但並非作為紀念專輯或是傳記搬演,而是以顛倒溢出的文字做為爐香, 召喚那些至少死過一次的靈魂。
宛如幼蟲
2006年9/8~10
製作統籌 黃思農
編劇 馬翊航
導演 黃緣文
牯嶺街小劇場演出6場
幼蟲書展
2006年8/1~9/4
米倉咖啡酒館.挪威的森林.克立瑪.花徑開咖啡館

《北新路二段80號4樓》
─ 微型劇場/公寓聯展2007
從07年起,再拒劇團以「微型劇場/公寓聯展」回應90年代以降的台灣小劇場論述。當眾人言必稱小劇場的時候,“小”早已不再足以表示劇場中的實驗與批判性,但不可諱言的,在一個比小劇場更小的“微型劇場”中,所有我們(觀/演者)的感知皆被放大。再拒公寓這個獨特地景所發展出的創作語彙,便來自於創作者對該場域特殊風景與生活物件的重新挖掘,並透過舞蹈、影像、裝置、牆面彩繪與表演者的身體語彙,演現人與空間動態的辯證關係。

在這個演員與觀眾如此貼近,藝術與生活彼此互涉的微型劇場裏,我們見微知著,在每一個微小的動作中,看見神,住在我們生活的每一個細節裡。
2007年8/1~12
策展人 黃思農
執行製作 黃煒翔
創作者 丁訓斌、吳霞、曾彥婷
再拒公寓 演出7場

《照妖鏡》
─第九屆台北詩歌節開幕演出
為《沉默的左手》獨立出來的一個片段,受邀參與第九屆的台北詩歌節的開幕演出,該劇以聲音裝置、音樂即興、演員獨白交錯的形式演繹詩作。
2007年11/3
編導 黃思農
中山堂光復廳 演出1場

《沉默的左手》

《沈默的左手》於饒富眷村建築特色的四四南村演出,大 門口的草坪可遙望近在咫尺的台灣地標101大廈;這齣戲 借用了安徒生童話〈賣火柴的小女孩〉寓言故事,以但丁神 曲地獄、天堂與淨界的地獄歷遊記的時空架構,將故事中 的小女孩的階級處境與柴火中的幻夢,透過環境音樂劇場 的演出,轉化為臺灣東南亞婚姻移民、外籍勞工與法國穆 斯林移民的邊緣處境關照,並聚焦於台灣實存的國族主義 及性別歧視問題。
《沈默的左手》亦是再拒劇團第一齣大型音樂劇,空間上 參考了中世紀宗教劇,觀眾於移動馬車戲台觀看的體驗, 並巧妙地將亞洲傳統的水平地獄圖像繪畫,置放在該替代 空間不同的櫥窗之中,由故事主人翁賣火柴的小女孩帶領 觀眾穿越。該演出亦與台灣獨立音樂圈的樂手合作,其後 於台灣發行同名的概念性專輯。

沉默的左手
2007年12/20~23
製作統籌 林人中
編導 黃亭瑋 黃思農
台北信義公民會館(原四四南村) 演出4場
沉默的左手 音樂搶聽會
2007年11/4日
台北縣藝文中心演藝廳



《居+ 北新路二段80號4樓之2》
─ 微型劇場/公寓聯展2009

公寓對於都市人來說,一直以家或避難所的隱喻被想像著,相當程度揭示其“私密”的特質,其意義僅對家庭成員展現;09年的公寓聯展著眼於此,將觀眾投置在「家」的主題上,從父母的爭吵與暴力相向、外籍看護的處境、居住者的搬遷、愛情到親人的死亡,拉入每個人都曾經歷的漩渦當中。該戲連演14天28場,每場卻只能容十名觀眾,如同「活體互動裝置展覽」,觀眾不只是旁觀者,更身歷其境地成了無助的小孩或佣人。比起有距離的劇場表演,更像電影鏡頭的近距窺伺,卻又比電影立體。透過這些個體的生命經驗,我們尋找“微型”的可能,歸返人存在的基本單位,演現台灣家庭與社會的普遍境況。
居+ 北新路二段80號4樓之2
2009年7/4~19
策展人 劉柏欣
執行製作 王詩琪 
創作者 劉柏珊、薛儁豪、藍貝芝、小鼻屎、安琪王、黃緣文、彭郁勻
居+ 小客廳記錄片特映會
導演 楊彝安、傅榆、丁訓斌
再拒公寓 演出28場, 記錄片放映2場

《黑潮樂舞計畫》

《黑暗 潮》為再拒劇團2009年於台灣花蓮的駐地創作,由 團長黃思農與客席舞踏表演者王瑋廉共同主持,為一結合舞 踏身體與音樂劇場的演出。「黑潮」是流經台灣東海岸的重 要洋流,這股餵養沿海生命群體的潮水,在該劇被轉化為永 不枯竭的「生命之泉」。
該劇描述一個年輕人在朋友死去之後踏上旅程,偶然中走入 一間老舊教堂,參與了一場無人出席的追思音樂會,過程中 他與一個在教會服侍的聾啞女人之互動,讓他漸漸發現自己 身上所背負的死者。《黑暗 潮》將花蓮舊酒廠倉庫,化身為 一間廢棄教堂,黃思農以其現場取樣堆疊而成的環境音樂、 殘響與延遲作為聲音的基調,結合王瑋廉的舞踏身體表現, 透過象徵、寓言的手法,演繹沉睡與甦醒、死亡與重生等舞 踏原生之精神意念:「鎮魂」的意義。

黑暗 潮
2009年11/13~14
製作統籌 魏念祖
編導演 王瑋廉、黃思農
花蓮文化創意園區紅酒倉庫 演出兩場
聽見身體工作坊
2009年10/17~11/1
主講 王瑋廉、黃思農
客席講師 禤思敏、謝杰廷
花蓮文化創意園區小米酒劇場, 共8堂
太平洋詩歌節 2009
2009年11/7
花蓮松園別館
《美國夢工廠》

《美國夢工廠》由十二個夢境組成,以充滿流行符碼、大眾文化圖騰與商品的舞台裝置,建立一座名為「夢工廠」的符號迷宮,形構被稱之為後八零的「草莓族」、「玻璃青年」所身處的無人性的機械世界。該戲對大眾文化的挪用,強調時間與空間、物質與人類身體的商品化痕跡,透過重複、非敘事的情境拼貼、疏離以及對大眾文化流行歌曲的挪用等等手法,呈現10段互文交織的夢境,突顯全球資本主義以及現代主義機構化意識型態對政治與美學的割裂,和對人類想像及感受力的壓制。
《美國夢工廠》的每一個片段故事,從80年代台灣經濟起飛,廉價勞動力為國本和青年對首都台北的嚮往,到21世紀初跨國資本的中國工廠發生的富士康跳樓事件的反思,探索亞洲青年的勞動價值、夢想和存在意義,是如何被單一的父權價值、社會期望所化約,又如何被資本社會所消耗殆盡。該戲於次年及後年分別入選東京藝術節「新銳公募」單元,並受邀於高雄「衛武營玩劇節」演出。

首演
2010年5/21~30
製作統籌 劉柏珊
編導 黃思農
牯嶺街小劇場 演出12場

2012第五屆東京藝術節Festival/Tokyo
2012年11/22~24
製作統籌 王詩琪
編導 黃思農
日本東京池袋Theater Green BOX in BOX THEATER 演出3場

2013衛武營玩具藝術節
2013年11/2~3
製作統籌 劉柏珊
編導 黃思農
衛武營文化藝術中心281展演場 演出2場


《自由時代》

《自由時代》創作啟發自黨外時期的鄭南榕自焚事件 ,面對並討論今日我們言論自由的對象、力䟿與目的 為何。再拒劇團首次嘗試以情節劇敘事為主軸,透過 一個虛構的當代台北年輕記者與組織工作者的自焚事 件,平行交錯自焚者的寓言場景和偽追思會詩歌表演 的觀演關係,並穿插許多諷刺短劇片段,試圖辨認框 構我們所處的時代。一個貌似為自由而死的青年,與 我們當下所面對的不自由如何有關?而我們又如何透 過他的死亡,反思自身生存的價值與意義?

正如再拒之前的所有作品皆以意識到差異的實存而展 開,此製作希冀與觀者一起辯證或反轉可能被視為理 所當然的既有價值,並抵拒固有意義對我們的箝制。 與過去封建體制的針對性和威權對異議言論迫害的時 代性相較,從台灣黨外時期的《自由時代週刊》,到 此時此地的貌似「自由時代」,我們面臨著更加混雜 的權力結構,唯有持續透過不同形式的創作與當下的 歷史偶然性和種種需要發生聯繫,才得以䠀清這個世 代自我論述的話語權。

自由時代
2010年9/24~10/3
製作統籌 藍貝芝
編劇 簡莉穎、高俊耀、黃緣文
導演 黃緣文
牯嶺街小劇場 演出8場
「跨世代談『自由時代』的風起雲湧」座談會
2010年8/31 
主持人:何東洪
與談人:林美娜、管中祥、孫窮理、劉美妤
、黃緣文、簡莉穎、高俊耀
直走咖啡

《生存與抵抗的圓舞曲》音樂會
─ 新北市藝術節環境劇場系列
本次演出是再拒劇團首次舉辦的音樂會,上下半場的節目分別為《詩音調無常》與《留住親愛的一切》,前者邀請前香港「黑鳥樂隊」郭達年、東京歷屆「透視與情動」藝術節的主要藝術家千野秀一、美籍詩人Madeleine Marie Slavick,將詩歌、即興性的處境音樂、攝影、實驗聲音裝置,編織出一幅無調性的詩歌情狀。後者則由台灣的「沉默馬戲團」擔綱,以多元的曲風重新演繹詩人John Berger的著作《留住一切親愛的》,這部為當時全球政經情勢而作的評論集之中,他帶領著我們直視無以數計的個人選擇、啟迪、犧牲、絕望與記憶,並進一步追問,政治抵抗在今日意謂著什麼?我們思考,音樂做為一種時間的藝術,如何幫助我們「以永不言敗的絕望再一次冒險面對之前那個生成(becoming)的時間」(John Berger)
留住親愛的一切
2010年10/8
演出者 方宜正、王榆鈞、黃思農、蔣韜
詩音調無常
2010年10/8
演出者 千野秀一(日)、Madeleine Marie Slavick(美)、郭達年(港)
中和823紀念公園創意廣場 演出一場
聲音與聲音對話 A Dialogue of Voices座談會
2010年10/11
與談人 千野秀一(日)、Madeleine Marie Slavick(美)、郭達年(港)
直走咖啡

《The Evening of Everything》
─ 微型劇場/公寓聯展2011

自2007年迄今邁入第三屆的《微型劇場/公寓聯展》,首屆創作者突破原本居家功能空間的寫實性,以裝置、影像與舞蹈演現人與空間動態的辯證關係,第二屆則聚焦於「公寓」作為「家」的隱喻,如何承載私密的生命複調。第三屆的聯展將以“物質”為名,繼續在相悖正規的劇場空間,實踐環境劇場的種種可能。



2011年11/14~27
策展人 曾彥婷
製作顧問 劉柏珊 
執行製作 朱倩儀
創作者 王詩琪、朱安如、林人中、鄭成功、蔣韜、薛儁豪
再拒公寓 演出13場
《接下來, 是一些些消亡(包括我自己的)》

「接下來, 是一些些消亡(包括我自己的),它們的秩 序和它們的方式, 還有待發現。」 - Philip Larkin

這是一個由策展人黃思農所策劃的多媒體藝術的劇展, 2012年到2013年分別在台北另類空間mad L,澳門藝穗節 與英國卡爾地夫舉辦的世界劇場設計展演出。参與展演 的每一個獨立片段,透過賦予日常物件生命、靜態裝置、 環境音樂與聲音事件的流轉,交織出一個(或多個)「不 在場」的女人所留下的生命痕跡和印記,觀者在演出過 程中,會見證並感知這些物件、光影與聲音,被當成一個 又一個接續發生的事件出現並且消失,正如每一個細微 的時刻的流逝與死亡。
這個啟發自吳爾芙意識流小說的演出,含概一個聲音藝 術表演、一個結合動態装置的環境劇演出和一個物件劇 場演出,台北首演則增加一個靜態裝置和現場藝術表演 ,它們皆承接自再拒劇團微型劇場的環境劇場概念,藝 術家順應每次不同的展演空間對演出進行調整。

首演
2012年9/13~15
策展人 黃思農
執行製作 林岱蓉
創作者 王詩琪、何采柔、林人中、曾彥婷、蔣韜
mad L替代空間 演出8場

第12屆澳門城市藝穗節巡迴
2012年11/12~13
策展人 黃思農
執行製作 林岱蓉
創作者 王詩琪、曾彥婷、蔣韜
澳門窮空間(連勝街no.47藝文空間) 演出2場

2013世界劇場設計展World Stage Design
2013年9/9
執行製作 王詩琪
創作者 王詩琪、曾彥婷、蔣韜
英國卡爾第夫Caird Studio 演出2場


《諸神黃昏》
2014年再拒劇團受邀參與策展人鴻鴻主持的《華格納革命指環藝術節》,以聲音劇場、現代偶戲及跨域集體創作的概念,於華山創意文化園區的舊酒廠倉庫,推出全新版本的《諸神黃昏》製作。這是個從創作過程開始,即以安那其主義為基調進行的無導演集體創作,探索總體劇場概念新的定義與 可能。 
《諸神黃昏》寫於19世紀末的工業革命盛期、法西斯及高雅藝術文化工業興起之時,華格納以北歐英雄神話、誓盟叛變 、權力崇拜與末日預言作為書寫範疇,讓他的作品成為傳統與現代、革命與反動、神話與啓蒙間彼此傾軋、對話與抗爭 的首要地點。再拒劇團對於《諸神黃昏》所賦予的當代詮釋,聚焦於各種價值的戰爭,「戰爭盡頭的崩壞,崩壞的盡頭是新生」。本劇的英雄齊格飛以布偶的形象呈現、操控和肢解,女武神布倫希德則和以砂石車衝撞台灣總統府的底層工人在文本與角色上疊合,並透過即時影像拍攝現場進行的化學實驗,勾勒瓦哈拉神殿大火的末日意象......,各種舞台元素被扣合在新音樂與聲響藝術融合交織的敘事結構之中—器物/樂即興、類比噪音與取樣、對華格納音樂動機的拆解、 解說與編曲改造、搖滾樂、工業聲響到社運民謠、聲音詩和廣播劇—有別於後現代的戲仿式姿態,以聲音和物件建立一種有助於藝術體驗和主體性、與過去各種表現形式借鏡的媒介的藝術,對抗資本主義文化的同質化力量。

2014年6/13-15
共同創作— 王詩琪、吳青樺、張亟米、曾彥婷、黃亭瑋、黃思農、黃緣文、劉柏珊、蔣韜、鄭尹真
華山1914文化創意產業園區 演出5場