無 / 非．紀念碑
Concept by Max Schumacher 藝術總監 Artistic Director
德國後劇場團隊 post theater
Nonuments是德國後劇場（post theater）針對新竹六燃二戰遺構所提出的劇場作品。Nonuments– “無/非紀念碑”是由後劇場藝術總監Max Schumacher 所發明的名詞，帶有短暫的意涵。它否認了紀念碑是為了長遠的未來或世代的概念。在經時空轉換下，這件作品將夠過台日雙方互贈紀念碑的故事，以多媒體互動表演形式來呈現。作品的介質是由光和空氣所組成，透過單薄脆弱的皮膜層所呈現，同時也被它所覆蓋。在公共舞台上由觀眾來決定所要製作的「非紀念碑」，而非由公共藝術委員會的委員們來討論產出，將是話語權的轉移與歷史的重新書寫。
導演 Theater Director | Max Schumacher
Max Schumacher studied dramaturgy in Berlin and Performance Studies at New York University (M.A.). He founded post theater in New York in 1999, moved to Berlin in 2002. His media-performances toured internationally, approx. 50 projects to more than 20 countries, including hosts like e.g. International Festival for the Arts CyL, Salamanca, Digital Arts Festival Tokyo, Tanz im August Berlin. He was a fellow at the Akademie Schloss Solitude. He won the Stuttgart Theater Award 2015 for “Jobs in Heaven”, a piece on Steve Jobs and Robert Bosch and 2017 for “House of Hope”, a piece on the crisis of housing in big cities. His artistic focus in on merging theater with media art, motivated by strong content, conducting detailed research and applying thorough dramaturgy.
編劇 Screenwriter | Max Schumacher ＆Hiroko Tanahashi
Hiroko Tanahashi is a graduate of Tisch School of the Arts‘ Film and Television Program at New York University (BFA)
and of the MFA Program in Multi Media Design and Technology at Parsons School of Design, New York (2002). In 2002 she moved to Berlin to work as artistic co-director of post theater.
製作人 Producer｜賴雯淑 Lai, Wen-Shu
Wen-Shu Lai attended the University of Iowa, where she had earned her MA and MFA degrees in Art/Design, and Ph.D. in Art Education. From 2001 to 2004, Lai taught at Angelo State University in Texas as an assistant professor of art. Currently she is an associate professor in the Institute of Applied Arts at the National Chiao Tung University in Taiwan. She is also the project leader of the TransArt NCTU team and a researcher of the International Institute for Cultural Studies at NCTU. She was a recipient of the Fulbright Grant for Art in 2008, and a visiting scholar at UC Berkeley, USA in 2016.
舞台設計與製作 Stage Design & Production｜凌天 Ling, Tien
A broad educational background in both design and engineering has allowed Tien Ling to expand his academic interest in the understanding of architecture to cover a wide spectrum, from digital algorithm to urban strategy. He is currently an assistant professor of architecture at NCTU, has taught at Cornell University, NCKU and Tunghai University, Taiwan.
音樂製作 & 音樂執行 Sound Design & Execution｜董昭民 Tung, Chao-Ming
An associate professor in the Institute of Music, National Chiao Tung University, Chao-Ming Tung doubles as a composer and gu-zheng player (Chinese zither) in Cologne, Germany. His work is a captivating hybrid of music (stage, instrumental, vocal, and electro-acoustic), multimedia performance, visual arts, and dance.
執行製作 Executive Producer｜陳映儒 Chen,Ying-Ju
M.A in Visual Communication Design. B.S. in Applied Physics. She focuses on mixed media visual experiments, and dedicated in combination of physics and visual expression. She worked the interior visual and UI design in technology companies, and participated in many transdisciplinary art projects. Life is full of inspiration and challenges, and therefore she accepts the duty of VIth fuel theater.
投票系統與3D動畫 | NCTU IoTtalk lab
物聯網 IoT technology | 林一平教授 、 鄭昌杰教授、IoTtalk team
技術整合 Technology Integration | 蕭中芸、許尹睿、温子翔
互動3D影像程式設計開發 Interactive 3D Graphics Programming Design and Development | 蕭中芸
網頁全端程式設計開發 Full Stack Web Design and Development | 陳立寬、許尹睿、温子翔、蕭中芸
Characters & Actors
吳柏甫 Wu, Po-Fu 飾
杜思慧 Tu, Shih-Hue 飾
A speculative documentary media performance on gifting memorials over time and space by Taiwanese artists and post theater in two different site-specific versions: (1) Taipei (former General Command of the Air Force) and (2) Hsinchu (former fuel factory)
Monuments are meant to last. They are made of solid materials and placed on prominent locations. When a new monument for a controversial subject matter is announced, public debate can become very heated. Sometimes, monuments are dismantled if the political climate has changed. Sometimes, buildings become symbols – and monuments – beyond their original function. And sometimes, monuments are presents by one nation to another – or by the people of one nation to the people of another: the statue of liberty in New York was a gift by the French for the Americans. Every present says something about the donor, and what the donor wants to be associated with –and what the donor thinks about the recipient of the present. Making presents can be a very charged performance – especially when done on a public stage.
紀念碑是被冀望能長遠留存的。 它們由堅固的材料製成，放置在顯眼的位置。 當宣布一個主題有爭議的新紀念碑時，公眾辯論會變得非常激烈。 有時，如果政治氣候發生變化，紀念碑就會被拆除。有時，建築物成為符號和紀念碑，超出其原有的功能；有時，紀念碑是由一個國家送給另一個國家，或由一個國家的人民送給另一個國家的人民，例如：紐約的自由女神像是法國人送給美國人的禮物。每個在場的人都會談到紀念碑的捐贈者，以及捐贈者想要與之聯繫的內容，以及捐贈者對現在紀念碑接受者的看法。製作禮物可能是引發激烈反應的表現，特別是在公共舞台上完成時。
post theater first had the idea for “Nonuments” after researching colonial and wartime activities of Japan in Taiwan as part of their residency with Taipei Artist Village (2006/2007). This time coincided with the first wave of removals of Chiang Kai Sheck monuments around the country. The lack of monuments in Japan that commemorate the war atrocities and crimes by the Japanese army has been a huge surprise to Hiroko Tanahashi and Max Schumacher, the Japanese-German artistic co-direction of post theater. The ways of remembering the past and dealing with historic guilt could not be more different in Japan and Germany. Not only do (most) Japanese politicians ignore the past or refuse to acknowledge it, they even provoke their neighbors by visiting the Yasukuni shrine in which war criminals (among others) are enshrined. In Berlin, the Holocaust memorial is in the very city center, taking a big and prominent space.
作為台北藝術村駐地（2006/2007）的一部分，在研究日本在台灣的殖民地和戰時活動之後，後劇場post theater首先提出了“Nonuments”的想法， 當時恰逢全國各地蔣介石紀念碑的首次移除。日本缺乏紀念戰爭暴行和日本軍隊犯罪的紀念碑，對於日本、德國的藝術總監Hiroko Tanahash、 Max Schumacher來說是一個大意外。 在日本和德國，記憶過去和處理歷史罪惡的方式也一樣。 日本政客不僅無視過去或拒絕承認，甚至還通過參拜供奉戰犯（以及其他人）的靖國神社來挑戰鄰國。 在柏林，大屠殺紀念館位於市中心的一個巨大而突出的空間。
Commemoration of historic events – be it liberation or oppression, be it for specific “heroes” or abstract movements is never an easy affair, especially when history is made by one interest group when there are several parties involved. post theater has had the chance to have been running into two initiatives that deal with historically charged territories in Taiwan – both of them originating in the Japanese colonial era and relating to the Pacific WWII, and both then being part of the KMT rule after the war. The former Japanese Industrial Research Facility in Taipei had transformed into the General Command of the Republic of China‘s Air Force and is now in the process of being a “culture field”. A former aviation technology factory to extend the range of Japanese aircraft had become a settlement for KMT army veterans and is now in the process of finding its public cultural purpose as a museum. Post theater proposes to create two different performances for both sides, using the same installation, the same technology, and the same cast, but having different texts and video projections. The piece can be re-worked for further venues of similar multi-layered histories – especially once they relate to another country.
“Nonument” is a term invented by post theater – it is a non-monument. It is ephemeral. It consists of light and air – surrounded by a thin vulnerable skin. It denies the concept of a monument for the far future, for generations to come. An inflatable cube of 4 x 4 x 4 meters, out of white fabric, carries images on all four sides, projected by four rear-projection by four video projectors that are inside the cube. Ideally, even the partially blown up object can present images on its then incomplete sides.