文 | 采访 | 韩馨逸
戴陈连毕业于中国美术学院油画系，但通过对于欧洲、日本九十年代剧场表演艺术的发展进程研究，他开始逐渐转入剧场艺术的创作之中，并在2005年前往德国进行驻地与交流。2008年起艺术家在上海创办了妈妈拉剧场艺术节，三年组合式的创作方法让艺术家开始反思。2013年戴陈连开始了 “一江春水向东流” 家庭剧场的创作，艺术家先后以艺术家杨勋、杨健、闫冰、贺勋以及艺术家母亲为创作原型，并在与其相关的环境之中进行剧场表演，艺术家将创作建立于扎实的对于他人个体经验的理解之上，试图在流动的家庭环境之中完成丰富的个体样本采集与分析。
Spring River Flowing East
The idea of doing home theatre originated in 2011, and the people I chose to work with were the people that I knew. Usually I spent around one or two weeks drinking, eating, and talking with him, during which I try to observe all their physical movements. Everyone has his own body habits and features, and I'd first find these movements that are easily overlooked, even by himself, and treat those traits as performance material. The movements can sometimes be ugly, or even wrong or shouldn't be shown.
But this approach appeared problematic when working with the home theatre of Yan Bing, as he shows very limited body language and he’s always sitting up straight and looking a bit shy. He only shows a little different when smoking. From then on, I decided to change my way of working. In 2013 I started my own home theatre in my studio, and sometimes when there’s no audience, I shut the door and perform for myself. It wasn't until my grandmother died last year that I realized, I had to do what I wanted to do because I couldn't predict which day my body would suddenly collapse.
In fact, home theatre requires a large number of cases, and this way of working is actually like making a documentary, where you need to collect a lot of material. It’s like an anthropology professor doing research. He needs to collect a large number of cases from Asia, Europe or Africa, and only then will he be able to classify into categories, and make reasonable summaries on their ways of action and thinking. In fact, the participants in the home theatre, including the objects of my work, were all my friends: artists, aunts and uncles, illegal taxi drivers, the delivery guys, etc. I just want to work on individuals. The very subtle messages from these individuals touch me a lot. I like the way I work. I want to get to know everyone’s personal information in the home theatre, of course, if they give me the permission to get to know them. Because that's the only way to create something concrete, something with real bones and blood. As Spring Water Flows East puts it, the times swallows us into its tides. Then how can we move forward? I choose to face the individual and participate in the process of the times with my own experiences.
In my theatre there are instructions, but the instructions actually represent "mistakes". Because in drama the normal relationship between actors and audience is ritualized and fixed. You watch, and I perform, and when the performance is over, and the audience disperses. But in my theatre I want to present all the processes of thought. My instructions are telling the audience the actions I’m making, and this is how "mistakes" are made. Because in a“correct” performance, the audience sees what has been rehearsed behind the scenes, or the audience just can't see the instructions in the background. But I intentionally program them into the action of the performance. My views on this issue is rooted in my own physical experience. I was born with a cleft lip and palate, which is inherently a mistake in terms of physical construction. So I'm very concerned about these incorrect behaviors, you know, and I've always been suspicious of people's definition of "correct". That is to say, I've been using " mistakes " as my working methodology.
I keep all the textual material I can gather, transcribe it into sound, and the images in each home theatre are based on the objects I work on. For this home theatre I used the household items from Hexun's studio: easels, plants, and hats, which were all readily-available, and all items that he’s most familiar with. However, this time there is no full-open performance, and the audience could only see a partial performance through a live projection on the exterior wall of the studio, because I just wanted to It reinforces the point of view that you can't really feel everything. That's why the theatre is different this time, but also because the object of the work, Hexun, is a poet. Actually, I’m trying to emphasize this point throughout my performance. For example, in my performance in the video, my actions follow single syllables, actually like words. In the video, I am breaking the branches of flowers, breaking them and putting them back, which is equivalent to the level and oblique rhymes in poetry. In one scene of the performance, there are a lot of mirrors and white cubics made of pieces of paper, which is like the substitution of words in poetry. Therefore, there’s a threshold in this theatre for those who are unfamiliar with HeXun. In the next production, I plan to collaborate with the illegal taxi driver for the next family theatre.
Introduction to the family theatre project
The family theater project is the artistic creation project of artist Chenlian Dai. It is a "Customized" theater that takes individuals as the research object and uses their life experience, personality and physical characteristics as the materials.The family theater project to combine the oral history, image, shadow puppetry performance, painting, writing, sound and other linguistic means to form a complex interactive body. Combining the ordinary stories of each family object，expand the imagination and narrative of current China.With this project, the artist hopes to outline the cost that ordinary people have to bear in an era of social transformation, and to explore the emotions and events that have been concealed.