雲淡風輕近午天,傍花隨柳過前川


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以行動支持創作者！付費即可解鎖

贊助珍奶

文化生活

拾文13

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》

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

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

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》

撿拾碎片

頃刻微光

寫那些醒來不太能說出口的場景，寫生活中看似無關緊要的小事，有時是一句話撞進心裡，有時是一場戲的發想。

喃喃自語

瑣碎煙火

追劇的那些心情

某部劇 x 那首歌

戲散餘溫

名相小筆記

經心隨想

閱經知津

解夢篇

記錄篇

夢境顯影

拾文14

小說

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雲淡風輕近午天傍花隨柳過前川時人不識余心樂將謂偷閒學少年

雲淡風輕近午天
傍花隨柳過前川
時人不識余心樂
將謂偷閒學少年