What binds us together when everything else is pulling us apart?

Inspired by the Rat King — the rare, uncanny phenomenon where creatures become so entangled they can never separate — Palingenesis takes its name from something older still: the idea, woven through biology, theology, philosophy and politics for centuries, that something can be reborn as fundamentally more than it was.

Three lithe, masked bodies emerge and begin to morph, through each other, around each other, as each other. Are they individuals, a single organism, or something that lives in the space between?

Taiwanese choreographer Chuang Po-Hsiang — hailed as his generation’s most promising choreographer — has spent four years making that question breathtakingly, impossibly physical.

This is dance as an extreme expression of intimacy, trust and transformation. Dream-like audio enhances the cast’s extraordinary kaleidoscopic control, and the net effect is intense, strangely arresting, and possibly ecstatic. A reminder that what the body can do, and what connection can feel like, might well be limitless. Australian premiere.

---

 

《㒩》

三個人走上舞台，離開時，卻已成了另一種模樣。

當一切都在將我們彼此拉開時，是什麼仍將我們緊緊繫在一起？

作品靈感來自鼠王（Rat King）現象，一種罕見而詭異的自然現象，多個生物因彼此
糾纏而再也無法分離。《㒩》的名稱源自一個更古老的概念，數百年來貫穿於生物
學、神學、哲學與政治思想之中，相信事物得以重生，並超越原本的自身。

三具柔韌、戴著面具的身體緩緩現身，開始彼此變形、彼此環繞、彼此交融。他們究
竟是獨立的個體、單一有機體，還是某種存在於兩者之間的生命形式？

臺灣編舞家莊博翔被譽為同世代最受矚目的編舞家之一，歷時四年，將這個問題化為
一場令人屏息、近乎不可能的身體實踐。

這是一部以舞蹈體現親密、信任與轉化極限的作品。夢境般的聲響設計，襯托出舞者
令人驚嘆、如萬花筒般變幻的身體控制力。整體效果強烈而懾人，甚至近乎狂喜。

它提醒著我們，身體的可能，以及人與人之間連結所能帶來的感受，也許從來沒有界
限。

澳洲首演。