平台計劃呈獻
PENTAS PROJECT THEATRE PRODUCTION presents
19～22 December 2024
at Pentas 2, The Kuala Lumpur Performing Arts Centre.
相隔十年 X 再刺登場
returns after 10 years, to remake its Punch
凝視定格下的流動與改變，讓身體再次碰撞心靈的刺點。
一場延伸自攝影作品意象與靈感的舞蹈＋劇場疊加創作。《雙重刺點》由平台計劃呈獻，藝術總監羅國文導演，舞者劉銘和黃志雄，再度擕手登場呈獻＜相紙＞，一個以林偉彬摄影作品為意象靈感，延伸出的舞蹈＋劇場疊加創作。
《雙重刺點》緣起於兩位攝影師林偉彬與莫育榮，他們在中國福建霞浦和九寨溝的攝影之行中，發現鏡頭背後的大自然，有著許多風格獨具、極具舞台張⼒的構圖。因而動念，邀請了羅國文導演和舞者劉銘，前往初冬的九寨溝，透過鏡頭微觀──⼩花⽊的微動、風過湖⽔的聲音、 地上霜的細小變化。隨後以霞浦和九寨溝的攝影作品為素材，延伸作品意象，把照⽚⾥的刺點，疊加在舞者⾝體創作的刺點上，並於2013年舉行首演，是大馬表演藝術中少見的攝影＋舞蹈＋劇場疊加創作。
2013年的《雙重刺點》演出共有兩支作品＜沙＞與＜相紙＞，舞者黃志雄更憑此演出榮獲第11屆BOH金馬崙藝術大獎最佳舞者。《雙重刺點》也同時入圍該屆藝術獎最佳舞台設計及最佳燈光設計。經過十年歲月的沉積，導演羅國文回顧自己對創作、時間意識的反思與掙扎，挑選了＜相紙＞一舞，重新梳理並整合架構，邀請當年的兩位舞者再次擔綱上場。同時也邀得郭偉廉操刀，為《雙重刺點》製作一部小型紀錄片。
經過歲月洗禮的肉身，劉銘和黃志雄通過肢體與心的重新對話。讓過去與現在再次撞擊，直接的連接與表達，凝視定格下的流動與改變——內與外。黑與白。靜與動。瞬間與流動。意像與形式。獨白與對話。重建與創新。
攝影，是在凝視之中用定格留住的瞬間捕捉；舞蹈，則是許多刹那流動組成的情感傳遞。在欣賞照片的構圖意境，又或者舞蹈肢體的张力表現，每個觀者都可以從中找到屬於自己共情的心靈衝擊——刺點。
＂羅蘭巴特說，每一張照片裡，都有一個刺點。刺中觀者的情緒，攪動記憶裡的苦澀甜美。當攝影遇見表演藝術（舞蹈＋劇場），那是刺點與刺點的相遇。刺點與刺點的相遇，相互撞擊的，會是什麼樣的新火花？＂《雙重刺點》2013配合黃楚原的原創音樂、林偉彬的舞台構思、羅國文的燈光設計以及甯振洋的全新服裝概念，《雙重刺點》讓觀者在影像與意象，時空與肉身之中，找到新的碰撞與火花，為雙重曝光的生命景觀再一次創建思考的空間，並留下新的刺點。刺點無法被單獨創造，它存在於凝視的影像與凝視眼中的碰撞；刺點，在時空流動的瘢痕中隱身，存在於身體無名的印刻和深深的追憶當中。
在舞者又一次的情感梳理與導演的重新架構下，在觀賞者張眼凝視與閉眼回神之間，這些刺點將會一一浮現，以不一樣的方式，刺中新的命點。
A contemplation of flow and change in static frames, a punctum where body and soul re-collide.
A dance-theatre hybrid inspired by photography works
Presented by Pentas Project Theatre Production, "Double Punctum" is directed by Artistic Director Loh Kok Man, with dancers Ming Low and Wong Jyh Shyong joining forces once again to present “White Paper”, a dance-theatre hybrid inspired by Pam Lim’s photography works.
"Double Punctum" originated from photographers Pam Lim and William Mok, who - during their photography trips to China’s Xia Pu and Jiuzhaigou - discovered that the natural world captured by lens conveyed many unique styles and powerful stage imagery. This inspired them to invite director Loh Kok Man and dancer Ming Low to Jiuzhaigou in an early winter, where they closely observed through the lens: tiny movements of flowers and trees, the sound of wind across the lake, and the subtle changes of ground frost. Using photography from Xia Pu and Jiuzhaigou as material, they extended the imagery into a work where the puncta in the photos were layered upon the dancers’ body movements. The result was the premiere of “Double Punctum” in 2013, a rare photography-dance-theatre hybrid in the Malaysian performing arts scene.
2013’s performance of “Double Punctum” featured two works, “Sand” and “White Paper”. Dancer Wong Jyh Shyong won Best Dancer at the 11th BOH Cameronian Arts Awards for his performance in this production, which was also nominated for Best Stage Design and Best Lighting Design in the same awards . After a decade of culminating, director Loh Kok Man reflecting on creation and time, and the struggles with them, chose to restructure and refine “White Paper”. The original dancers were invited back to perform, and Will Kok engaged this time to create a documentary about the production.
Seasoned by the passage of time, the bodies of Ming Low and Wong Jyh Shyong will engage in a renewed dialogue of movement and emotion. The work brings the past and present into entropy, in the most direct relation to and expression of the theme. It contemplates the flow and change in what is captured — internal x external ；black x white；stillness x motion；fleeting x flow； imagery x form； monologue x dialogue；reconstruction x creation.
Photography captures fleeting movements through still images; dance conveys emotions through moving stills. Whether appreciating the imagery of a photo composition or the expanse in dance movements, each viewer can experience their own emotional impact—the "punctum".
Roland Barthes once said that every photograph has a punctum — a point that pricks the viewer's emotions, stirring bittersweet memories. When photography meets performing arts (dance and theatre), it is a meeting of punctum with punctum. What kind of new sparks emerge when these puncta collide? <Double Punctum> 2013With original music by Ng Chor Guan, stage design by Pam Lim, lighting design by Loh Kok Man, and an all new costume concept designed by Quito Neng, “Double Punctum” allows the audience to discover new collisions and sparks between imagery and form, space and body. It invites reflection on life under double, creating a new punctum. Puncta cannot be created in isolation; they exist in the collision between the gazed image and the gaze. Puncta hide within the scars of time and space, residing in the body's nameless imprints and deep memories.
Through the dancers’ renewed emotional dialogue and the director’s restructured vision, these puncta will resurface, revealing themselves in different ways, piercing through to new life points as the audience gazes with open eyes or reflects with closed ones.
📹 video link. 🔗攝影 : 林偉彬 ..............................
Photography: Pam Lim 導演：羅國文 .............................
Director: Loh Kok Man 舞者 : 劉銘、黃志雄 ..................
Dance Artists: Ming Low & Wong Jyh Shyong 音樂：黃楚原 .............................
Music: Ng Chor Guan 佈景設計：林偉彬 .....................
Set Design: Pam Lim 服裝設計：甯振洋 .....................
Costume Design: Quito Neng 燈光設計：羅國文 .....................
Lighting Design: Loh Kok Man 紀錄片：郭偉廉 .........................
Documentary: William Kok 畫外音： Ghafir Akbar ...............
Voice Over: Ghafir Akbar
製作人：羅國文 .........................
Producer: Loh Kok Man 助理製作人：何慧婷 .................
Assistant Producer: Hoe Hui Ting 宣傳與行銷：楊宏強 .................
Publicity and Marketing: Dylan Yeo 製作經理：黃真慧 .....................
Production Manager: Valerie Wong Zhen Hui 中文文案：李紅蓮 .....................
Chinese Copywriting: Lee Hoong Lian 英文翻譯：黃建勝 .....................
English Translation: Jason Ng 平面設計：曾期坤 .....................
Graphic Design: Bryan Chang Kee Khoon 舞台監督：Armanzaki Amirolzakri ......
Stage Manager: Armanzaki Amirolzakri
Dates & Timings 日期、時間 ：
19 December 2024 (thursday) 8:30pm
20 December 2024 (friday) 8:30pm
21 December 2024 (saturday) 3:00pm, 8:30pm
22 December 2024 (sunday) 3:00pm
Ticket 票價 : ......................................................... RM88
Group Ticket\ Buy 4 free 1 套票\ 買4送1 ........................ RM352
Early Bird 早鳥優惠 （
END 27/10/2024 截止 ) .............. RM58
Arts Patron Ticket 藝文贊助票 .................................... RM150
Ticketing Hotline 票務熱線 ： +6-016-867-4838
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Artists Profile
舞者 ： 劉銘 Dance Artist : Ming Low
劉銘曾在倫敦芭蕾中央學校深造，畢業後以獨立現代舞者的身分在德國、愛爾蘭、法國和英國等地演出。1991年，在英國文化協會等團體的資助下，他和Loh Pit Fong成立Bi Ma Dance Company。舞團主力創作原創長篇作品，1991年至1999年期間巡迴多國演出，包括英、台、馬、日、美、埃、東歐等地。除了自身創作，劉銘也常和其他舞者合作，作品包括《The Little Man》《1997）、 《Bumming in Beijing》（1998）、《Game Over》 （2008）、《Cross Words》 （2009）與《A Song Within》（2012）。他也曾在倫敦西區的音樂劇《國王與我》中，出演重要角色Simon of Le Gree。2008年返馬後，劉銘參與多部本土舞蹈製作，也身兼自由現代舞教職。
他在2010年受到了Pentas Project 的導演羅國文的邀請，參與了他的製作《Lost》和《The Epiliptic》，並在吉隆坡表演藝術中心和新加坡濱海藝術中心演出。隨後，在2013年創作了合作作品《Double Punctum》，並在目前重新上演。
Trained at the Central School of Ballet, London. He then danced professionally as an independent contemporary dancer in Germany, Ireland, France and UK.
He co-founded Bi Ma Dance Company with Loh Pit Fong in 1991 with the support of The Arts Council of England, British Council, The Place Theatre in London and Dance City in Newcastle. The company created original full-length works from 1991 to 1999 touring extensively in UK, Europe, Taiwan, Malaysia, Japan, USA, Egypt and Eastern Europe.
He was also involved in the West End musical production of ‘King & I’ playing the principal role of ‘Simon of Le Gree’ in 2000 and 2001.
Ming created his own work and also in collaboration with other artists. ‘Half Man Half Myth’ (1991), ‘The Little Man’(1997), ‘Bumming in Beijing’(1998), ‘Game Over’ (2008), ‘Cross Words’ (2009), ‘A Song Within’(2012), ‘Double Punctum’(2013), ‘The Corridor’(2016), 'Half man half myth 2' (2016)
Relocated back to Malaysia in 2008, he has been involved in local dance and musical productions and teaches at the Kwang Tung Dance Company, DPac Dance Company and Dpac Dancers Training Program.
He was invited by Director Loh Kok Man of Pentas Project to be involved in his production of Lost and The Epiliptic in 2010 performing at Kuala Lumpur Performing Arts Center and Singapore Esplanade. Following that in 2013 with the creation of a collaborative work Double Punctum and the current restage.
舞者 ： 黃志雄 Dance Artist : JS Wong
黃志雄專長於現代舞表演、編舞及相關實踐研究。他於2023年畢業於馬來西亞馬來亞大學舞蹈博士課程，並於2013年畢業於台灣國立台北藝術大學舞蹈研究所，主修創作。2005年，他以「一級榮譽藝術學士」畢業於香港演藝學院現代舞系後，隨即加入台灣雲門舞集。2005至2009年間，他隨雲門舞集巡演至歐洲、美洲、亞洲等主要舞蹈表演地點及各大小藝術節。2012年及2014年，他兩度獲頒第九屆及第十一屆馬來西亞Boh Cameronian Arts Awards年度舞者獎項。2013至2016年間，他擔任馬來西亞DPAC表演藝術中心及DPAC舞團的藝術總監。他的個人舞蹈創作除了受邀參演國內MyDance Festival與TARI國際舞蹈節外，也曾巡演至澳洲、日本、台灣、香港、新加坡與印度的藝術節/季。現為馬來亞大學創意藝術學院舞蹈系高級講師暨MyDance Alliance「吾舞聯盟」主席。
Specialising in contemporary dance performance, choreography, and practice-related research, Wong Jyh Shyong (JS) received a Doctor of Philosophy from Universiti Malaya in 2023, a Master of Fine Arts from the Graduate Institute of Choreography, Taipei National University of the Arts in 2013 and a Bachelor of Fine Arts from The Hong Kong Academy for Performing Arts with First Class Honours in 2005. Previously, he was a dancer with Cloud Gate Dance Theatre of Taiwan from 2005 to 2009, and toured with the dance company in Europe, the United States, Asia and other major dance performance centres and festivals. In Malaysia’s 9th and 11th BOH Cameronian Arts Awards, he received the Best Featured Performer award in 2012 and 2014. From 2013 to 2016, he was the artistic director of DPAC Dance Company and Damansara Performing Arts Centre. In addition to being invited to participate in local dance festivals such as MyDance Festival and TARI International Dance Festival, his choreographies have also toured art festivals/seasons in Australia, Japan, Taiwan, Hong Kong, Singapore and India. He is currently a dance department senior lecturer at the Faculty of Creative Arts, Universiti Malaya, and the President of MyDance Alliance.
導演｜製作人｜燈光設計 ：羅國文
Director | Producer | Lighting Design :Loh Kok Man
羅國⽂，劇場導演、演員、燈光設計師、舞台設計師，同時也是經驗豐富的戲劇表演導師。他於2005年創辦了［平台計劃］， 是⼀個⼀直致⼒於搭建橋樑以多元藝術交流為本的團隊。曾獲⾺來⻄亞⾦⾺崙藝術⼤獎的［最佳導演］、［最佳燈光設計］、［最佳舞台設計］獎的羅國⽂，創作向來善於綜合多種劇場的元素，尤其是影像、燈光、聲響、演員肢體和劇場的戲劇架構間交錯互動所呈現的效果，豐富了對劇場視覺空間及時間的探索。羅國⽂認為，跨媒體的合作讓創作者吸收彼此的養分，可為各領域積累開創性的創作，跨⽂化的交流亦然。他的創作開始時多以濃厚的後現代實驗意味，以詩意的邏輯發展肢體和空間的可能性⾒長，後以⽂本為中⼼的路向耕耘，欲深掘多元⽂化的交錯與構成，並從中吸取養分，開始創造獨特當代劇場美學的探索之旅。
2002～2005年受東京世⽥⾕劇場邀請參加為期三年的「亞洲當代劇場交流計劃」。2005年獲得美國”亞洲⽂化協會“獎學⾦遠赴美國遊學半年。2013年獲得歌德學院獎學⾦赴柏林學習⼀個⽉。國⽂也經常受邀參與國際合作交流計劃，曾赴⽇本、韓國、印度、德國、菲律賓、上海、泰國、新加坡、台灣、紐約、柬埔寨及澳⾨等地參與演出和交流。
導演的作品包括了 2023《同棲時間》、2022《夢的故事》、2022/2016《劍⿂⦿妾》、2018《錯誤的悲喜劇》、2015《赤⿁》、2007/2010《城失空想》、2011/2018《⼀個名叫紅⾖妹的摩登師奶》、2013《雙重刺點》、2008/2011《動物農莊》及 2020《多重戀愛⼈⽣遊戲》等。
Loh Kok Man is a theatre director, actor, lighting designer, stage designer, and an experienced theatre acting coach. In 2005, he founded the Pentas Project Theatre Production, a team dedicated to building bridges for artistic exchanges across various disciplines. Loh has won the Malaysia BOH Cameronian Arts Awards for "Best Director," "Best Lighting Design," and "Best Stage Design." His works are known for integrating multiple elements of theatre - particularly through the interaction of visuals, lighting, sound, physicality, and the dramatic structure of theatre - to enrich the exploration of theatre’s visual space and time. Loh believes that collaborations, across media and/or cultures, allow artists to cross pollinate and culminatively break new grounds. His early works had a strong postmodern experimental approach, adept at using poetic logic to develop the potential of movement and space. He later shifted towards text-based works, delving into the intersections of diverse cultures, extracting their essences, and embarking on a journey to create a unique contemporary theatre aesthetic.
From 2002 to 2005, he was invited by Tokyo’s Setagaya Theatre to participate in a three-year "Asian Contemporary Theatre Exchange Programme." In 2005, he received a scholarship from the Asian Cultural Council in the U.S. for a six-month study trip. In 2013, he was awarded a scholarship by the Goethe-Institut for a one-month study trip in Berlin. Loh is frequently invited to participate in international collaborations, visiting Japan, Korea, India, Germany, the Philippines, Shanghai, Thailand, Singapore, Taiwan, New York, Cambodia, Macau, and so on, to perform and for exchanges.
Some of his directorial works include "The Brotherhood" (2023), "The Tales of Dream" (2022), "The Swordfish, Then The Concubine" (2022/2016), "The Tragicomedy Of Errors" (2018), "Red Demon" (2015), "The Lost and The Ecliptic" (2007/2010), "A Modern Woman Called Ang Tau Mui" (2011/2018), "Double Punctum" (2013), "Animal Farm" (2008/2011), and "The Games Of Polyamory Life" (2020).
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