碧娜‧鮑許舞蹈劇場 - Palermo Palermo
Palermo Palermo 創作於1989年的作品！
碧娜的每個作品及與團隊在舞台上呈現的視覺效果與設計、舞者整場的飽和能量與從容自信及成熟舞蹈身影肢體總讓人驚喜。至今應該沒有一個舞團的演出者，為專業舞者身份之餘還能將專業演員一職表現得那麼稱職吧 ~ 真的是身心的淬煉阿 ~
PINA習慣在作品中重複動作，每個人做同樣的動作仍能展現他們各自的獨特性，乍看以為他們都被磨得一樣卻能在一些細微處發現到不同的趣味。連髮絲都能成為創作的一部分 ~ 真的不愧是當今最偉大的舞蹈劇場!!
pina style 音樂流串中突然穿插兩段爵士樂及幽默情境很有趣，從一開場的高牆倒蹋，及中間一段從舞台上最後幕上面灑下整片的泥土，所呈現出的效果完全不亞於電影中的特效(原來戲劇院是可以作到這樣的技術配合！)。
下半場真的讓人有如在觀賞一部電影，舞台上同時呈現不同的人物風景，如同電影或電視在同一畫面切了四分格; 還有一個橋段是擺上幾台舊式鋼琴，同時彈奏者同樣曲目~~上半場每位舞者輪流solo之後,接著換每兩位舞者輪流solo,下半場謝幕前舞者一個接一個地出場，都是做著同樣的動作，動作不難，然而一再重覆，舞者仍維持著高度能量……在那瞬間可讓我眼光泛紅了~~
就連約5分鐘的謝幕也不馬乎地，舞台上置放著兩三棵樹花 ~。時而嚴肅、時而幽默....雖有時對當中幾個小片段不很清楚背後所要表達的寓意，但不知為什麼就是會對她的作品感動不已……
或許有人會說，只要有經費都可以作得出來、一個好的製作是需要被投資，但關鍵還是在於創作者本身的思維，想像力，觀察力及組織能力，且融入生活是也是很重要的一件事。
來不及買到票的朋友們，下次可別錯過了。
好的演出，即便影片再清楚，永遠不及現場來的精彩與震撼!
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關於Palermo Palermo
巴勒摩是義大利西西里島首府，鮑許當年應邀為該城打造舞作，1989年該舞全球首演，也是她80年代開始的「世界城市舞作系列」第2部作品，總是透過作品揭開人活著的核心的鮑許，同樣在這部舞作傳達了愛與被愛的想望、絕望世界中的微光與各種生命狀態下的能與不能。
首演14天後柏林圍牆倒塌，外界不免認為舞作中高牆有所隱喻，與鮑許合作30年的舞台設計帕布斯卻笑說，當年他只是在苦無靈感時，剛好看到排練場內壁紙脫落的高牆，「蓋牆」念頭就此萌生，鮑許邊嘆「你瘋了」邊接受。
彼得‧帕布斯表示，這堵牆不是為了傳達什麼概念，就像碧娜‧鮑許也從不會用什麼想法來指導舞者跳舞，只是盡力去找能夠表達想法的方式。他也開玩笑澄清，牆的倒塌有精密的設計，並非不受控制，「我們不是帶著一堵牆，到世界各地去毀滅他們的劇院。」
牆塌之後，碎塊散布舞台上對舞者是莫大挑戰，「我做舞台設計會和碧娜有漫長的對話，往往到很後期才會完全確定表現形式，」帕布斯促狹地說，「舞者能夠上台、試著去征服舞台空間，這是我最喜歡的時刻！」
以特製空心磚築了一道高牆，寬14公尺、高5公尺、重7公噸空心巨牆瞬間崩塌，碎片磚塊隨巨響散落，舞者隨即在塵灰間起舞。舞作就在牆倒後的土灰碎石與斷垣殘壁中開始。28位舞者在快速變換的場景中穿梭來去，自在跳走於滿地碎石之間，他們叫囂著渴望，也彼此拖行，牽手並肩。接連出現6位鋼琴手彈奏起柴可夫斯基的鋼琴曲；女人塗了滿唇的糖，晃著身體尋吻；男人靜坐角落戴上香煙做成的皇冠裝扮自己；還有女人大聲指使男人，要求擁抱，最後還要大家將蕃茄砸自己。舞作動作與畫面都極具戲劇性，沒有明顯敘事線，卻在每一幕的暴烈張狂或絕美殘酷後直指人性的渴求。
鮑許舞作的可看之處，除了舞作本身觸及的生命共感，還有她的舞台。
這是碧娜‧鮑許的舞蹈劇場6度訪台，國家兩廳院藝術總監李惠美表示，因為舞台有承重上限，這次兩廳院克服技術困難，就是要為國人在台北呈現這個震撼的演出。
1997年曾來台演出的《康乃馨》(Nelken (1982))，在台上盛開了8千朵康乃馨，任舞者踏踩輾壓；2013年來台的《春之祭》(Frühlingsopfer (1975))，以6大車的土澆覆滿台，讓土與舞者狂野共舞；還有《舞蹈之夜Ⅱ》的十噸鉀鹽、《與我共舞》的巨型溜滑梯、《穆勒咖啡館》(Café Müller (1978))散落全場的各式椅子、《悲劇》中的水與浮冰。
*By Patricia Boccadoro
PARIS, 17 DECEMBER 2014 — The curtain at the Theatre de la Ville in Paris rises on a solid-looking wall, a "real" wall made of breeze blocks which barricades two thirds of the stage, and seconds later, wham! The whole structure, an idea devised by Bausch’s audacious designer Peter Pabst, topples dramatically backwards, hurtling red dust and grit into the air and into the audience, leaving the ground strewn with uneven piles of rubble, rocks and dirt.
Just as her 1986 work was influenced by a stay of three weeks in Rome, Palermo Palermo is the result of time spent in Sicily,but any idea that Bausch has romanticised the city dominated by Etna, the concrete network of roads criss-crossing the island and the Mafia, can be swept away as the work, absurd and derisive, unfolds on this rubbish covered stage with events connected by the ridiculous and an atmosphere of impending tragedy. But, as is often the case with Bausch’s work, one has only to scratch the surface to perceive an underlying humour and the clear note of life, hope and optimism at the close.
The piece continued with the Australian dancer, Julie Shanahan, tracing a cross on the floor, a cross on her face, before screaming out to have mud and gunge thrown all over her face , hair and body. She wants to be hugged, she wants to be kissed, she wants to be loved. The women totter over the rubble in their long dresses and impossibly high stiletto heels going nowhere,
a man has a shave with the microphone, eggs and then meat are cooked on a steam iron,
a dancer takes off his black sock which has a hole in it, paints his heel black, and puts back the sock, grinning at the audience in sly self-satisfaction. That knowing smirk of his has long become one of Bausch’s trademarks.
Actions follow, each more fanciful than the rest, with the man who puts his broken arm in a bag and with the woman who tries to iron the dress she’s wearing, but is disturbed by someone tipping a satchel of gold coins over her.But the biggest titters from the audience came from the antics of a nice little dog who trotted nonchalantly around the stage,
impervious to the audience before finding his picnic dinner which was gobbled up very politely; having hurt his back leg in rehearsals once, he was doubly careful when clambering up the remains of the wall with his short furry legs, making several abortive attempts before succeeding. "He’s not been trained at all", his owner, the dancer Jean-Laurent Sasportes, told me at the cocktail party afterwards, where the small animal was happily meandering around among the guests, thoroughly at ease; "Each time we perform, he loves going on stage,
and always does something different as did his predecessor, Achuya, who became a member of the cast quite by accident!"
However, when Dance makes its apparition, it is like dance one has never seen before.
A series of solos begin, and the diversity and speed of the movements are mesmerizing.
Bausch finds angles and arm movements not seen before that leave the spectator breathless and when two or three people were dancing at the same time, one needed several pairs of eyes, but she also found a way to turn such beauty into derision by having Andrey Berezin dressed as a drag queen, twirl a pet snake in the air ( a plastic one, which was not totally obvious), and mince along the front of the stage with that Bausch walk, all the while harbouring that sly, knowing grin.
That Bausch is a master choreographer touching on genius has been said time and again,
but what is less often pointed out is that in the chaos she presents there is always hope.
In the last scene, trees in blossom descend. From the sterile cement and rubble, life reappears, beauty from anarchy.
The score was an amalgamation of music from Southern Italy, Sicily, Africa, China, Japan and Scotland as well as excerpts from Paganini, Grieg and Tchaikovsky, including American blues and jazz, arranged by Matthias Burkitt Patricia Boccadoro writes on dance in Europe. She has contributed to The Guardian, The Observer and Dancing Times and was dance consultant to the BBC Omnibus documentary on Rudolf Nureyev. Based in Paris, Patricia Boccadoro is the dance editor for Culturekiosque.