穢土天堂

Armageddon

 2011|華山文創園區果酒倉庫

☆台北數位科技藝術獎提名

以二次大戰期間德國希特勒政權和納粹集中營為發想概念,創作的三部曲作品;劇中描述地上社會聽聞地底含有大量天然資源而展開對地底開發,並發現許久前因戰敗潛入地下的地底人族群,為了順利獲得地下資源而展開屠殺;並藉由三位示範用地下女子教導社會禮儀、文化及語言作為宣傳,消弭並掩飾政府對地下社會的屠殺,製造和諧的假象。
“穢土天堂”中的三位地下女子原型來自契科夫的三姐妹,對於原鄉地嚮往和回憶的糾纏。全劇更以變遷如慢性屠殺為中心,地下女子面對地上社會的文化陶冶及展示,削弱地下女子原生社會的獨特性及社會大眾的關注,終而導向社會失去興趣而消亡。三個地下女子再次被送回地下,作為地下社會最後的遺族,面對早已殘破不堪的地下世界,亦只能哼着歌消失于廢墟之中。

The production series of「Armageddon」is the strong, representative work of Shinehouse Theatre director, Po-Yuan Chung, which depicts the cultural aggression against a disadvantaged underground world by a strongly ethnic aboveground world. Through a modern and progressive world aboveground, contrasting with a primitive and underdeveloped world underground, being forced from their homes, and the issue of cultural invasion, extending to the discussion of good and evil in war. 
“Armageddon”, the first piece of the trilogy, three bareheaded Underground Woman open the show. The piece describes how the normal people discovered the underground world; how they invaded, massacred, plundered the ground; and how they used these three women to erase opposing public opinion through media.
There was, however, limited resource only in the underground, and the invasion was highly criticized by the society, which eventually makes the three women be sent back to the already destroyed underground. 

于善祿

劇評人

編導鍾伯淵將整個故事與人物去時空化,但似乎又能感受納粹、屠殺與集中營的影子,甚至是更具普遍性的壓迫與被壓迫的關係、文明與毀滅的關係,這在古今中外的歷史或今日,都不缺例證。

地下女子