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F3, L4

Alina Belyagina

ОБiЙМИ (hold me hold me hold)

作品中使用兩位舞者、毛髮、聲音、一位現場演出的音樂家和風景。如果主辦單位沒有相應的技術設備,我們可以進行技術上的調整和適應。
這個作品靈感來自於我的個人研究《薩滿教裡的跨性別》和P. Preciado著作《怪物能說話嗎》。我以書中的語句來直面觀眾,於其中呈現「脆弱性」的概念、以及「脆弱性」在塔可夫斯基電影《潛行者》中的隱喻性形象。這件作品在我的母國(烏克蘭)戰爭期間所製作,試圖向觀眾傳達脆弱性的概念、操弄怪物的形象、放入反諷的情緒以進行挑釁的提問。
《Hold me, hold me, hold》融鑄現實和想象,透過兩位舞者與動態影像、以及結合電子遊戲真實的電子頻率、教堂唱詩班的歌聲和浩室(House)音樂的聲景進行協作,為顛覆性的體驗——該體驗具有使想像成真的潛力——創造出一個空間,幻想在其中彷彿觸手可及。舞者們無法被定義為人類或動物的身體,轉化成類似怪獸、獸性的存在,並延伸至諸如麥克風和煙霧機等技術設備中。表演所創造出轉型的生態空間將各種矛盾的二分法聯繫在一起:真實與虛擬的身體體驗之共時性、源自脆弱的力量等等。這種混淆也彰顯在表演者之間的關係,它無法藉由任何特定的語言等價物來掌握。表演中最引人注目的一個場景,是當兩個身體相互傾靠:一個身體傾倒時,另一個身體會溫柔悉心地接住他,直至最後兩個身體交織在一塊,且互相成為襯托對方的地景。屬於感官、癲狂和叛逆身體的動物寓言在街舞對決中到達高潮,伴隨著煙霧機和對著麥克風喊叫的戲劇性生猛姿態。

Two dancers, hair, voice, one live musician, landscape. We are open for the technical adaptation, if you don't have a possibility, we can change technical needs. The work was inspired by my research "Transgenderism in shamanism" and by the book "Can the monster speak" by P.Preciado. I use sentences from the book to confront the audience. I put there the idea of "fragility" and metaphoric image of it from "Stalker" Tarkovsky. The work was produced during the war time in my origin country (Ukraine) and I address the idea of fragility to the audience. I play with the monstrosity and I put the ironic mood there asking provocative questions.
Merging together the real and the imaginary, two dancers together with the moving images and with soundscape that amalgamate together the electronic frequencies of the reality of a videogame with church singing with house music create a space for transgressive experience that holds a potentiality for becoming the imaginary, making the imaginary palpable. Indefinable as either human or animal bodies transmute into either monstrous animalistic beasts extending into the technological devices like microphone and fog machine. The transformational ecology of the space created by the performance holds together the dichotomy of various contradictions: the simultaneity of the somatic experience of the real and the virtual, empowerment that originates from vulnerability. This confusion also manifests itself in the relationship between the performers that cannot be grasped with any particular verbal equivalent. One of the most striking images of the performance is a scene where two bodies fall into each other: when one body falls, the other - catches tenderly and with care, till the moment when both bodies are woven together and one becomes a landscape for the other. The bestiary of sensual, delirious, and rebellious bodies climaxes into a street dance battle accompanied by raw theatrical gestures like fog machine and screaming into a microphone.

創作者|About Artists

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Alina Belyagina畢業於莫斯科國立藝術與文化大學新聞學系。她在波蘭學習了三年的古希臘語和拉丁語,並在Silesian Dance Theater 和 Rozbark Dance and Movement Theater擔任芭蕾舞老師。搬到德國後,她在塔林加入Soltunatu Tantsu Lava The PREMIERE`18駐村計劃,從此展開編舞生涯,而後開始與Freies Theater München合作。在布魯塞爾和特拉維夫進行創作計畫期間,她持續研讀舞蹈。
作為一名舞者,Alina曾與United-C、Hege Haagenrud、Isabelle Schad、Claudia Castellucci、Helena Waldmann、Alexandra Pirici、Sharon Eyal和Yasmeen Godder Company (dance for Parkinson) 等創作者合作。 Alina的作品廣泛見於國際舞台,包括:寮國當代舞蹈節、聖彼得堡Open Look Festival、慕尼黑Tanzwerkstatt Europa、萊比錫Euro-Scene、斯圖加特International Solo Tanz Theater、特拉維夫Suzanne Dellal的Process/Talk、克里斯蒂安桑Soar Festival和法蘭克福Sommerwerft。
2022年起,Alina Belyagina由慕尼黑Kulturreferat、V-A-C基金會和丹麥歌德學院「Chanel Culture Fund」贊助支持。
Alina目前工作、往來於漢堡與慕尼黑。

Alina is educated at the Moscow State University of Culture and Arts (Journalism) . She spent three years in Poland learning ancient Greek and Latin and working as a ballet teacher in Silesian Dance Theater and Rozbark Dance and Movement Theater. After moving to Germany she started her choreographic career by participating in Soltunatu Tantsu Lava The PREMIERE`18 residency in Tallinn and then started working with Freies Theater München. She continued to study dance while doing projects in Brussels and Tel Aviv.

As a dancer, Alina worked with, among others,United-C, Hege Haagenrud, Isabelle Schad, Claudia Castellucci, Helena Waldmann, Alexandra Pirici
Choreographic internship with Sharon Eyal ,Yasmeen Godder Company (dance for Parkinson)

Alina ’s works are presented internationally in platforms such as: LAOS Contemporary Dance Festival, Open Look Festival Saint-Petersburg, Tanzwerkstatt Europa Munich, Euro-Scene Leipzig, International Solo Tanz Theater Stuttgart, Process/Talk Tel-Aviv Suzanne Dellal, Soar Festival Kristiansand, Sommerwerft Frankfurt.

From 2022 Alina Belyagina is supported by Kulturreferat Munich, V-A-C Foundation and Chanel Culture Fund, Goethe Institut Dänemark

Alina works between Hamburg and Munich.

演出團隊|Cast

編舞:Alina Belyagina
舞者: Maya Selezneva、Veronika Tikhonova
音樂設計: Symphocat
視覺設計: Polina Zinziver
服裝設計: Dima Magny
燈光設計: Lena Perelmann
演出顧問:Eugenia Safonova

Choreographer: Alina Belyagina
Dancers:Maya Selezneva, Veronika Tikhonova
Music: Symphocat
Visuals:Polina Zinziver
Costume:Dima Magny
Light:Lena Perelmann
Outside Eye: Eugenia Safonova

演出場地&時間|Venue&Time

剝皮寮三連棟

Bopiliao Historic Block No.167-169-174

2023/4/22 18:40

西園29服飾創作基地

Fashion Institute of Taipei

2023/4/23 16:30

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