/ 《夜晚的光明》《 有光的地方 II 》The Silver Lining Of Midnight… / The Place Where There Is No Darkness II

—— 本篇文章為《小花計畫2022-Re：小花盛開的回音》作品介紹 ——






夜晚，是另一個值得欣賞的白晝
Night, is another daytime that deserves appreciation.
我知道光不會拒絕我
I know light will not refuse me;
夜晚，也不會
neither does night.
這裡是夢境的入口
This is the entrance of dreams,
也是出口
and also their exit.
沈溺的時候，是無私
When one indulges, it is selfless,
又極其私密的
and also private.

夢是因為不自量力嗎
Is dream out of overconfidence?
還是有所嚮往
Or is it out of something we desire?
總是在盡頭可以遇見起點
We can always meet the beginning at the end,
在脆弱的時候感受到力量
and always feel the power when we are weak.
眠，不盡力得到，就不會失
Sleep, if we do not labor to acquire it, we will not lose it.
愛 也是
So is love,
你 也是
And so are you.

不需要解釋，才更期待
There is no need of explanation that we expect,
期待被療癒的已知
expect the already known that are healing, and
期待在另一處的未知
expect the unknown at another place.
既然進入更寬廣的空間
Since we have entered a broader space,
當然要自由自在地打滾
of course, we will roll about freely.
不然，天就要亮了
Otherwise, the day is going to break.

— 《有光的地方 II 》獨白 The Place Where There Is No Darkness II: Monologue

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《夜晚的光明》
The Silver Lining Of Midnight…
《有光的地方 II》
The Place Where There Is No Darkness II

劉若英 + 陳建騏 X 邵雅曼
René Liu + George Chen X Yaman Shao


《夜晚的光明》與《有光的地方 II》，由音樂人劉若英、陳建騏與藝術家邵雅曼共同創作。

The Silver Lining of Midnight… and The Place Where There Is No DarknessII are works co-created by singer Rene Liu, musician George Chen, and artist Yaman Shao.

音樂上，陳建騏汲取邵雅曼對於生命猶如夢境的想法，講述夢不是一個連續的篇幅，可能是斷裂的。在空間裡如何運用一首歌曲是此次作曲的創作核心，一首歌裡的不同聲部，成為場域裡各自獨立的聲響，在空間裡觀眾可以自由決定要聽見什麼，譬如喜歡琴聲的人們可以在琴聲的領域多待一點，隨著靠近某個地方，如同光線一般，「明」與「暗」的比例即會產生變化，聲音的感覺隨之波動。這樣的流動不只是人的流動，還有一點點透過聲音、畫面、意識上的起伏。

In the music, George Chen draws on Yaman Shao’s idea that life is like a dream, and the dream is not a continuous text and may be broken. The core of composition for this time is how to use a song in the space. The different voice types of a song become independent sounds in the field. In the space, the audience may freely decide what they want to hear, such as those who like the sound of the piano can stay a little longer in the sound of the piano. As they get closer to a certain place, like light, the ratio of "brightness" to "darkness" will change, and the feeling of sound will fluctuate accordingly. This kind of flow is not only people’s motion, but also bits of ups and downs through sounds, pictures, and consciousness.

創作上，邵雅曼聆聽陳建騏講述有關小時候在高雄故居燒水的經驗，著迷於對於火的感覺，火焰裡中間的地方是一個空洞的空間，跳躍著，因為相對不具象，所以看進去的時候，可能可以看見的即是個人的想像。繪畫與多媒體創作，以光的身分進入，故事從枕頭上幽微的月光進入夢境的入口，運用虛幻的意象，型塑不合邏輯的日月軌跡，模擬夢境裡故事交疊錯位的情節。整組裝置由一座暗室與一座明室所組成，一面是關於夢，一面關於夢醒。人生，如同唱一首歌，無論發生什麼事，輕快、悲傷、思念、想望，都是生命中的一個音符，記憶夢裡的悲歡離合，轉動生命的萬花筒，有歌，就歡唱。簡單的旋律，如同那個小孩子在高雄生活的感覺。

In terms of creation, Yaman Shao has heard George Chen's story about the experience of boiling water in Kaohsiung's former residence when he was a child and was fascinated by the feeling of fire. In the middle of the flame was an empty space, jumping. Since the image was not concrete relatively, when you looked into the fire, what one saw was his/her personal imagination. If light enters paintings and multimedia creations, it was like entering a dream from the faint moonlight on the pillow, using illusory imagery to shape the illogical trajectory of the sun and the moon, simulating the overlapping and dislocated plots in the dreamy story. The whole set of installations consists of a dark room and a bright/lucid room; one side is about dream, while the other is about waking up. Life is like singing a song. No matter what happens, lightness, sadness, longingness, and desire are just a note in life. Remembering the joys and sorrows in dreams; turning the kaleidoscope of life; and singing joyously when there was a song. It was a simple melody, just like the feeling of that child living in Kaohsiung.

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