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贊助珍奶

圖文插畫

《我不是你看到的樣子》下篇

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。

釀電影，啜一口電影的美好。

《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

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？


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》

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》

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

書海漫遊，時事穿梭。這裡是分享閱讀風景與生活見聞的角落，期待與大家相遇。

胖貓閱讀俱樂部

《我不是你看到的樣子》上篇

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data-fallback-src="https://resize-image.vocus.cc/resize?compression=6&amp;norotation=true&amp;url=https%3A%2F%2Fimages.vocus.cc%2F2af5d0fb-9503-46a1-b2c2-664b31e5fdd9.png&amp;width=740&amp;sign=owtoxuhYvu-jk4bztyHtZDQ3jdr3Nn0_E70oEj5jIp4" data-lowquality="true" data-width="1376" data-height="768" 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="false" alt="vocus｜新世代的創作平台"></picture></div><div></div></div><p class="lexical__paragraph"><br></p>