《灰音札記》002：致 永遠的梅慧



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               padding: 1px 0.25rem;                font-family: Menlo, Consolas, Monaco, monospace;                font-size: 94%;              }            </style></head><body><div class="article-container"><h3 class="graf--h3" dir="ltr"><span style="white-space: pre-wrap;">《灰音札記》002：</span></h3><div class="graf--img center"><div class="lexical__imageWrapper"><img src="https://images.vocus.cc/c6dd0d09-83ce-4493-8a11-6908edbdfe82.png" data-src="https://resize-image.vocus.cc/resize?compression=6&norotation=true&url=https%3A%2F%2Fimages.vocus.cc%2Fc6dd0d09-83ce-4493-8a11-6908edbdfe82.png&width=740&sign=6ZuXZxVPx46TlWERDC2jlsngUkW9XYuqw1oaAo8oGUM" class="lazy" data-loaded="false" data-original-src="https://images.vocus.cc/c6dd0d09-83ce-4493-8a11-6908edbdfe82.png" data-lowquality="false" data-width="1024" data-height="1536" data-retry="0" onerror="Number(this.dataset.retry) > 4 ? this.src='/static/default-error-img.svg': (() => {this.src=this.dataset.originalSrc; this.dataset.retry = Number(this.dataset.retry)+1;})()" data-istopthreeimage="false" alt="致 永遠的陳梅慧"></div><div class="captionTheme__wrapper"><p class="captionTheme__paragraph">致 永遠的陳梅慧</p></div></div><p class="graf--p"><br></p></div></body></html>

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贊助珍奶

圖文插畫

音兒與小紅書

《灰音札記》001：末日說

若說易卜生的《玩偶之家》為 19 世紀的女性，開啟了一扇離家的窄門，那麼《海妲．蓋柏樂》展現的便是門後的窒息世界。本篇文章由劇場演員 Amily 執筆，同為熟稔文本的演員，亦是深刻體察制度縫隙的當代女性，此文所看見的不僅僅是崩壞前夕的最後發聲，更是女人被迫置於冷酷的制度之下，步步陷入無以言說的困境。

Amily的沙龍

在理解與拒絕之間：從多重身分觀看《海妲．蓋柏樂》

全新版本的《三便士歌劇》如何不落入「復刻經典」的巢臼，反而利用華麗的秀場視覺，引導觀眾在晚期資本主義的消費愉悅之中，而能驚覺「批判」本身亦可能被收編——而當絞繩升起，這場關於如何生存的黑色遊戲，又將帶領新時代的我們走向何種後現代的自我解構？


釀電影，啜一口電影的美好。

吃完飯後再談道德，除魅之後再復魅：巴里．柯斯基與柏林劇團的《三便士歌劇》

長期以來，西方美學以《維特魯威人》式的幾何比例定義「完美身體」，這種視覺標準無形中成為殖民擴張與種族分類的暴力工具。本文透過分析奈及利亞編舞家庫德斯．奧尼奎庫的舞作《轉轉生》，探討當代非洲舞蹈如何跳脫「標本式」的文化觀看。

趙鐸的沙龍

《轉轉生 Re:INCARNATION》：釋放差異的身體裂縫

本文深度解析賽勒布倫尼科夫的舞臺作品《傳奇：帕拉贊諾夫的十段殘篇》，如何以十段殘篇，結合帕拉贊諾夫的電影美學、象徵意象與當代政治流亡抗爭，探討藝術在儀式消失的現代社會如何承接意義，並展現不羈的自由靈魂。

《傳奇：帕拉贊諾夫的十段殘篇》：一場跨越時空的藝術對話，在舞臺上重現自由靈魂

紀錄小音兒與灰人相遇的可愛故事集

灰音札記

致 永遠的梅慧

<h3 class="lexical__h3" dir="ltr" id="heading-427832"><span style="white-space: pre-wrap;">《灰音札記》002：</span></h3><div class="lexical__image center"><div class="lexical__imageWrapper"><picture><source type="image/avif" srcset="https://img.vocus.cc/87ALPi5DZWqY1r8QpSDKkQK-VNHrJFi-nQqqRHgqiUQ/w:740/f:avif/plain/https://images.vocus.cc/c6dd0d09-83ce-4493-8a11-6908edbdfe82.png"><img src="https://img.vocus.cc/FXYrm8yTQ-nuVchM6yRkS9RhuquRWGyDqftEYynF7K0/w:740/f:webp/plain/https://images.vocus.cc/c6dd0d09-83ce-4493-8a11-6908edbdfe82.png" fetchpriority="high" data-src="https://img.vocus.cc/FXYrm8yTQ-nuVchM6yRkS9RhuquRWGyDqftEYynF7K0/w:740/f:webp/plain/https://images.vocus.cc/c6dd0d09-83ce-4493-8a11-6908edbdfe82.png" data-loaded="true" data-original-src="https://images.vocus.cc/c6dd0d09-83ce-4493-8a11-6908edbdfe82.png" data-fallback-src="https://resize-image.vocus.cc/resize?compression=6&amp;norotation=true&amp;url=https%3A%2F%2Fimages.vocus.cc%2Fc6dd0d09-83ce-4493-8a11-6908edbdfe82.png&amp;width=740&amp;sign=6ZuXZxVPx46TlWERDC2jlsngUkW9XYuqw1oaAo8oGUM" data-lowquality="false" data-width="1024" data-height="1536" data-retry="0" onerror="var p=this.parentNode;if(p&amp;&amp;p.tagName==='PICTURE'){var ss=p.querySelectorAll('source');for(var i=0;i<ss.length;i++)p.removeChild(ss[i])}var r=Number(this.dataset.retry);if(r>=2){this.src='/static/default-error-img.svg';this.onerror=null;return}if(r===0&amp;&amp;this.dataset.fallbackSrc){this.src=this.dataset.fallbackSrc}else{this.src=this.dataset.originalSrc}this.dataset.retry=r+1" data-istopthreeimage="true" alt="致 永遠的陳梅慧"></picture></div><div class="captionTheme__wrapper"><p class="captionTheme__paragraph">致 永遠的陳梅慧</p></div></div><p class="lexical__paragraph"><br></p>