WORSHIP
IN THE DUSK黃昏的祭師

“The dance itself becomes a colossal shaman, bridging the audience’s sensory experience to the deeper, wider frontier of the spirit world. It is no longer limited to summoning the ancestral spirits of one particular tribe through drifting smoke, bundles of grass, and rice wine. The shaman’s distinctive gestures are entrusted to young dancers of flesh and blood, who deconstruct and interpret them as though tracing their origins. Again and again, the dancers thrust their outspread palms toward the sky, embodying both the longing and the possibility of communication between the living and the spirit world. In certain passages, the scenic design imprints these raised palms as projections of a tree of life. The violent bending of their bodies and the group’s urgent stamping become acts of offering and grounding, making the body itself a vessel for the spirit. — Lin Yu-Shih, Indigenous contemporary art curator and critic”「舞作本身成了一個巨型的祭師，將觀眾的感受經驗橋接到更深更廣的靈界邊境，不再只侷限於召喚那個在煙薰氤氳中，草捆米酒所能召喚的某個特定部落的祖先神靈。祭師特有的肢體，更交給血肉之驅的年輕舞者來做語源學式的拆解與詮釋。舞者們怒張的手掌，一再在舞作中奮力地張向天頂，是活人與靈界溝通的渴望與可能（舞台設計也在某些段落中將這些高張的手掌拓印為生命樹的投影。）腰肢劇烈的俯仰，群體急切的頓踏，都是將自身肉體作為靈的載體的獻祭與安頓。／原住民當代藝術策展人、藝術評論者－林育世」

不得不為的內在書寫《黃昏的祭師》-表演藝術評論台 · 2014-02-26 ↗