20mins
W
2026/4/17 16:30
萬座曉劇場
Wan Theater
IT'S THE END OF THE AMUSEMENT PHASE -research solo version
在一個從未發生過的技術與社會革命餘波中，「IT’S THE END OF THE AMUSEMENT PHASE」旨在反思當下的情感歷史。這是一次嘗試，試圖上演一場關於衝向太陽與墜入數位宇宙的「反史詩」敘事。
從一個從未向外太空發射過火箭、在慢速網路中成長的南方土地進行廣播，這是為一場關於「未來的緩慢取消」[1] 以及「科技憂鬱（techno-sadness）」感知的動態與聲音紀事所作的草圖。
本作品以舞動的身體為核心，並以聲音與詩歌作為素材，探討「進步」這一備受爭議的概念。這是一次嘗試，旨在創作一段關於聲音與舞蹈的敘事：
關於由衝向外太空與同時墜入網路空間所產生的集體情感；
關於一場未被實現的永久墜毀演習；
關於數位兔子洞帶來的眩暈感；
關於像太空碎片般漂浮的身體。
儘管如此，「IT’S THE END OF THE AMUSEMENT PHASE」並非另一種可供消費的末世論，亦非對異域化過去的懷舊，而是接受了這場實驗已幸運地宣告失敗。這還不是世界的終結，當然也不是歷史的終結。在我們墜落之際，眩暈的詩學展現為最溫柔的姿態。
[1] Franco “Bifo” Berardi [Gary Genosko & Nicholas Thoburn (編)], 《After the Future》(2011), AK Press, 第 18 頁。
In the aftermath of a technological and social revolution that never happened, “IT’S THE END OF THE AMUSEMENT PHASE” wants to reflect on the emotional history of the present. It is an attempt to stage a counter-epic narrative about the rush towards the sun and the freefall into the digital universe.
Broadcasting from a land in the South that never sent a rocket into outer space and grew up with slow internet, this is a sketch for a kinetic and sound chronicle about the "slow cancelation of the future,”[1] and the feeling of techno-sadness.
With a focus on the dancing body and using sound and poetry as its material, the work deals with the contested notion of progress. It is an attempt to compose a sonic and dance narrative
about the collective emotion generated by the take-off into outer space and the simultaneous plunge into cyberspace;
about a permanent crash rehearsal that is not being fulfilled;
about the vertigo of digital rabbit holes;
about bodies floating like space debris.
Nevertheless, “IT’S THE END OF THE AMUSEMENT PHASE” is not yet another eschatology for use, not a nostalgia for an exoticized past, but an acceptance that the experiment has fortunately failed. It’s not the end of the world yet, and certainly not the end of history. The poetics of vertigo emerges as the most tender gesture while we fall.
[1] Franco “Bifo” Berardi [Gary Genosko & Nicholas Thoburn (eds.)], After the Future (2011), AK Press, p. 18.
Chara Kotsali
Chara Kotsali 是一位定居於希臘的舞蹈創作者、表演者與教師。她畢業於 Rallou Manou 專業舞蹈學校，目前在該校及 Marmarinou 專業舞蹈學校擔任現代舞教師，同時她也曾受邀於薩爾斯堡實驗舞蹈學院 (SEAD) 及歐洲多個藝術節擔任客座教師與編舞家。她還擁有劇場研究學士學位、社會與文化人類學碩士學位，並於現代音樂學校接受過專業爵士鼓訓練。
她透過一種擴展的路徑來探索編舞與表演，試圖納入人類學、紀錄片藝術、音樂和其他表演語言的方法論，同時特別關注聲音與運動的政治性。她的實踐涵蓋了寫作、田野錄音和 DIY 聲音創作。她的作品已在世界各地的多個場館與藝術節展出，同時她也被選為 Twenty24 Aerowaves 藝術家、Twenty26 藝術家，以及 2026 年 Moving Balkans 平台的入選藝術家。
chara kotsali is a dance maker, performer, and teacher based in Greece. She graduated from Rallou Manou Professional School of Dance, where she currently works as a teacher of contemporary dance, along with Marmarinou Professional Dance School, while she has been a guest teacher and choreographer at Salzburg Experimental Academy of Dance (SEAD) and several festivals across Europe. She also holds a bachelor’s degree in Theater Studies and a master’s degree in Social and Cultural Anthropology, as well as professional drums training in Modern Music School.
She explores choreography and performance through an expanded approach, attempting to involve methodologies from anthropology, documentary art, music, and other performing languages while being particularly concerned with the politics of sound and movement. Her practice includes writing, field recordings, and DIY sound composition. Her work has been presented in several venues and festivals around the world, while she has been selected as one of the Twenty24 Aerowaves artists, and Twenty26 artists, as well as for the Moving Balkans Platform 2026.
編舞、文本、混音與表演：Chara Kotsali
Choreography, Text, Sound mixing and performance: Chara Kotsali
