【2026臺灣舞蹈平台】安娜琪舞蹈劇場 《Second Body》 Anarchy Dance Theatre - Second Body

《Second Body》從人類學習身體運作的過程出發——從嬰兒時期學會站立、行走，到無意識地操控肢體完成複雜動作，我們逐漸將身體知覺化為本能。而同樣的學習如何運動的經驗也出現在駕駛汽車的過程裡：當駕駛者不需再思考方向盤、油門或煞車的操作，汽車彷彿成為另一具可感知的「延伸身體」，使我們穿梭、停駐在空間之中。因此，身體的定義將如何重新形構？作品從對「第一身體」的學習與建立開始，透過訓練與知覺的累積，形塑出能夠自主行動的身體結構。接著，這具身體開始改變周遭環境，而環境也反過來重塑身體本身。隨後，360度投影影像生成了一個「第二身體」，使舞者進入身體與技術交融的全新場域。當第二身體出現，我們重新學習如何感知、如何移動。面對這個由影像、光線與意識構成的新軀殼，原本的身體經驗產生了衝突與適應。作品在兩種身體之間轉換——真實與虛擬、自然與人工——不斷追問：當感知與動作的主體改變，我們對「身體」的定義是否也隨之改寫？ The concept of the Second Body starts with the process through which human beings learn to operate their bodies—from infancy, as we learn to stand, walk, and move, to the unconscious mastery of complex motion. Our sense of the body gradually turns into instinct. The same learning experience appears when driving a car: once the driver no longer needs to consciously think about steering, accelerating, or braking, the car becomes a perceptible extension of the body, allowing us to move and pause freely through space. How then might this redefine what we call “the body” ?The work begins with the construction of the “first body”, shaped through training and accumulated perception into a self-sustaining, autonomous structure. This body begins to alter its environment, which in turn reshapes it. In the following section, a 360-degree, full-body-length projection enters the scene, creating a non-natural “second body” that transforms the dancer in a new realm where movement intersects with technology. As the second body arises, we begin to relearn how to sense and to move. Confronted with this new shell—composed of image, light, and consciousness—the original bodily experience faces both conflict and adaptation. Between the real and the virtual, the natural and the artificial, the work continuously questions: when the subject of perception and action shifts, does our very definition of the body also begin to transform? 演出人員名單製作｜安娜琪舞蹈劇場概念 & 編舞｜謝杰樺軟體開發 & 視覺設計｜叁式音樂設計｜澎葉生、叁式燈光設計｜瓦豆製作服裝設計｜楊妤德舞者｜趙亭婷戲劇顧問｜林人中策畫嚮導｜Justine BEAUJOUAN 策畫顧問｜Kevin CUNNINGHAM Production｜Anarchy Dance TheatreConcept, Choreography｜HSIEH Chieh-huaSoftware Development, Visual Design｜Ultra CombosSound Design｜Yannick Dauby, Ultra CombosLighting Design｜We Do GroupCostume Designer｜YANG Yu-teh Dancer｜CHAO Ting-tingDramaturgy｜River LINProject Mentor｜Justine BEAUJOUANProject Consultant｜Kevin CUNNINGHAM※委託製作｜廣藝基金會 / QAring※原作首演贊助｜文化部Commissioned by Quanta Arts Foundation／QAringPremiere Supported byMinistry of Culture, Taiwan 演出團隊介紹安娜琪舞蹈劇場成立於 2010 年，舞團名稱來自英文「Anarchy」的音譯。以當代舞蹈為主要創作形式，藉純舞蹈創作思考人與人的關係連結，亦結合科技創作深探人與科技的進退哲思。舞團以肢體的覺察為基礎，嘗試突破劇場形式，探索時間、空間、物體，以及人與社會之間的關係。作品形式涵蓋劇場、舞蹈科技與裝置作品，近年屢獲國際各大舞蹈節、藝術節邀演。2016年獲德國舞蹈年鑑Tanz選為年度舞團之一；2019年作品《永恆的直線》獲第十八屆台新藝術獎年度提名。 創辦人/編舞家 謝杰樺安娜琪舞蹈劇場藝術總監，其橫跨建築與舞蹈的雙重背景，為作品注入獨特的創作思維。擅以空間概念結合科技元素，融入舞蹈與身體創作，為其跨界舞作帶來獨特的藝術性。知名作品包括科技舞作《第七感官》、《Second Body》、《永恆的直線》及《肉身賽博格》，頗受國際好評。曾受邀於奧地利林茲電子藝術節、荷蘭 TodaysArt 藝術節、馬來西亞喬治城藝術節等國際性指標藝術節演出。也與其他編舞家如董怡芬和張可揚共同創作一系列舞蹈裝置作品《日常編舞》系列以及《健康操》系列，嘗試延伸舞蹈的表現形式至表演以外。亦曾擔任2017臺北世界大學運動會開幕典禮文化演出導演之一。 Anarchy Dance TheatreFounded in 2010, Anarchy Dance Theatre is a performance company centered on modern dance. The creative process of which serves as a focal point for contemplating how we connect and relate to one another as humans. Anarchy also actively incorporates cutting edge technology in its creative productions, serving as a reflection on the potentials and limits of our use of technology. Working upon observations of the physical body in motion, the company builds its norm-breaking productions that explore time, space, objects, and the relationship between humans and their society. With its blend of dance, technology and art installation, Anarchy has in recent years been a frequent guest at international arts and dance festivals, and was named as one of 2016’s dance companies of the year by the German dance magazine Tanz. Their 2019 production The Eternal Straight Line was nominated for the 18th annual Taishin Arts Award. Founder / Choreoragphy HSIEH Chieh-huaArtistic director of Anarchy Dance Theatre. HSIEH’s works are composed of a special texture derived from his background in architecture, possessing strong structural characteristics—a creative perspective combining time, space and energy. Notable choreographic works include The Eternal Straight Line (2019), Second Body (2015) and Seventh Sense (2011), all of which feature a strong element of interactive dance performance. In addition to receiving great public acclaim, his works have also been featured at numerous prominent international festivals, including Ars Electronica, TodaysArt Festival, and George Town Festival. The dance-installation series You Choreograph and Exercise done in collaboration with fellow choreographer TUNG I-fen and CHANG Ko-yang, further pushes the boundaries of expression in dance beyond conventional “performance”. In addition to his choreographic work, Hsieh also served as the director for the opening ceremony of the 2017 Summer Universiade.