自民國 60 年代起,居民大量遷入寶藏巖地區,住宅居所更如雨後春筍冒出。歷經數十年「違建」爭議,在居民及社運團體奔走抗爭之下,如桃花源般遺世獨立於台北都會內的寶藏巖聚落,最終得以保留其殊異的城市面貌。
《晷跡》以「時」為脈,以「光」為絡,結合劇場幕後設計背景,運用舞台演出常見的「雷射光束」及「蓄光材料」為媒材,雷射光束於空間中刻劃出轉瞬即逝的一抹抹光痕,蓄光材料則於牆上捕捉一抹抹光痕,觀眾彷如生活於此的居民,共同流轉於時光之中。 蓄光材料在牆面上發出的微光,象徵在日常空間中,「光」隨著時間的荏苒 與生活的推移,留下痕跡。好似照相顯影劑般,紀錄及再現寶藏巖聚落於歷史的長河中,看似亂無章序卻又異乎尋常的生命樣貌。
Many People moved to Treasure Hill village from other areas since 1970s, and thus the houses sprang up like mushrooms, the village rapidly grew. This raised controversy over issues of whether to preserve or relocate the village over decades. After a series of protests by the residents and social movement groups, Taipei City government eventually agreed to name Treasure Hill village as a historical settlement and preserved its unique environment.
Sundial of Being explores the concept of time by using the medium of light. As a light designer, Chuang combines laser beam and light-storing material, which are both commonly used at stage performance. The laser beam depicts the trace of light in the house while the light-storing material captures the trace of light on the wall. As the light fades and time goes by, audiences seemingly used to live here. The shimmer on the wall symbolizes the sign left by light in the daily living space as time passing by. Even though it may seem unorganized, Sundial of Being is like photographic developer, recording and representing the uniqueness of Treasure Hill village of bygone days.
《晷跡》以「時」為脈,以「光」為絡,結合劇場幕後設計背景,運用舞台演出常見的「雷射光束」及「蓄光材料」為媒材,雷射光束於空間中刻劃出轉瞬即逝的一抹抹光痕,蓄光材料則於牆上捕捉一抹抹光痕,觀眾彷如生活於此的居民,共同流轉於時光之中。 蓄光材料在牆面上發出的微光,象徵在日常空間中,「光」隨著時間的荏苒 與生活的推移,留下痕跡。好似照相顯影劑般,紀錄及再現寶藏巖聚落於歷史的長河中,看似亂無章序卻又異乎尋常的生命樣貌。
Many People moved to Treasure Hill village from other areas since 1970s, and thus the houses sprang up like mushrooms, the village rapidly grew. This raised controversy over issues of whether to preserve or relocate the village over decades. After a series of protests by the residents and social movement groups, Taipei City government eventually agreed to name Treasure Hill village as a historical settlement and preserved its unique environment.
Sundial of Being explores the concept of time by using the medium of light. As a light designer, Chuang combines laser beam and light-storing material, which are both commonly used at stage performance. The laser beam depicts the trace of light in the house while the light-storing material captures the trace of light on the wall. As the light fades and time goes by, audiences seemingly used to live here. The shimmer on the wall symbolizes the sign left by light in the daily living space as time passing by. Even though it may seem unorganized, Sundial of Being is like photographic developer, recording and representing the uniqueness of Treasure Hill village of bygone days.