Zero degrees和Babel (words) 展示了环境戏剧和当代艺术结合的无限可能。作为核心创作团队的Sidi Larbi Cherkaoui和安东尼·格姆雷 (Antony Gormley)已多次在不同剧目中有精彩的合作呈现。A8设计中心研究并整理二人合作的环境戏剧项目Zero degrees、Babel (words) 和 Icon，对话安东尼·格姆雷的三件作品Human、Breathing Room 和Field，探索以当代艺术装置为核心的舞美设计与performance design以及对舞者表演触发的关联。

Zero degrees and Babel (words) show the infinite possibilities of the combination of performance design and contemporary art. As the core members of the creative team, Sidi Larbi Cherkaoui and Antony Gormley have had many wonderful collaborations in different repertoires. A8 Design Center researches and sorts out their cooperative performance design projects Zero degrees, Babel (words) and Icon, initiates a dialogue with Antony Gormley's three works Human, Breathing Room and Field, and explores the association triggered between contemporary art installations and performance design as well as dancers’ performance.

手绘 by 廖青

Sidi Larbi Cherkaoui（生于1976年）是比利时与摩洛哥的舞者、编舞和导演。他已经制作了50多个编舞作品，并获得了两项Laurence Olivier最佳新舞作品奖，三项芭蕾舞团最佳编舞奖（2008，2011，2017）和KAIROS奖（2009）。

Sidi Larbi Cherkaoui (born 1976) is a Belgian-Moroccan dancer and choreographer and director. He has made over 50 choreographic pieces and received two Laurence Olivier Award for Best New Dance Production, three Ballet Tanz awards for best choreographer (2008, 2011, 2017) and the KAIROS Prize (2009).

安东尼·格姆雷

Antony Gormley

安东尼·格姆雷（生于1950年）因雕塑、装置作品以及研究人体与空间关系的公共艺术品而广受赞誉。自20世纪60年代以来，面对人类相对于自然和宇宙所处的位置的基本问题，他的作品通过对自己和他人身体进行批判性探究，从而开拓了雕塑创造的潜力。格姆雷不断尝试将艺术空间定位为一个可以产生新行为，新思想和新感觉的地方。格姆雷于1994年获得透纳奖（Turner Prize），1999年获得南岸视觉艺术奖（South Bank Prize for Visual Art），2007年获得Bernhard Heiliger雕塑奖，2012年获得Obayashi奖，并于2013年获得了日本皇室世界文化奖（Praemium Imperiale）。他还是英国皇家建筑师学会的名誉院士，剑桥大学名誉博士以及剑桥Trinity and Jesus学院院士，自2003年起担任皇家院士。

Antony Gormley (born 1950) is widely acclaimed for his sculptures, installations and public artworks that investigate the relationship of the human body to space. His work has developed the potential opened up by sculpture since the 1960s through a critical engagement with both his own body and those of others in a way that confronts fundamental questions of where human beings stand in relation to nature and the cosmos. Gormley continually tries to identify the space of art as a place of becoming in which new behaviours, thoughts and feelings can arise. Gormley was awarded the Turner Prize in 1994, the South Bank Prize for Visual Art in 1999, the Bernhard Heiliger Award for Sculpture in 2007, the Obayashi Prize in 2012 and the Praemium Imperiale in 2013. He is an Honorary Fellow of the Royal Institute of British Architects, an Honorary Doctor of the University of Cambridge and a Fellow of Trinity and Jesus Colleges, Cambridge. Gormley has been a Royal Academician since 2003.

03-1  Zero degrees

Zero degrees开始于Sidi Larbi Cherkaoui与英属孟加拉的舞蹈指导和舞蹈家Akram Khan表演二重奏的愿望。两位都在欧洲的伊斯兰家庭长大，利用文化的融合，他们将复杂的印度独木舟舞蹈与当代舞蹈的速度和精确度结合在一起。安东尼·格姆雷被邀请进行场景设计，Nitin Sawhney被邀请现场表演音乐，Zero degrees成为了一个转折点。它的灵感来自于一个事物变成另一事物的界点，或是事物与下一个事物之间的灰色区域，比如水变成冰时的温度，生命变成死亡的界线。Zero degrees跟随着Cherkaoui和Khan开启了一个寻找参考点，来源，生命核心的“ 0”的旅程。受他们自己双重身份的启发，两个人通过对相反的对立面寻找中间点。变化/死亡，光明/黑暗，混乱/秩序。Zero degrees探讨边界与如何模糊边界。

两个栩栩如生的假人是Cherkaoui和Khan的副本，舞台上的空虚感让观众看到了编排中许多分裂和统一的象征。假人象征着自我的改变，有时是压迫者，有时是守卫或尸体。Zero Degrees是一个关于人类生命的脆弱性，关于阴和阳的表演。该作品在澳大利亚赢得了Helpmann奖，并在英国获得了Laurence Olivier奖提名。

Zero degrees started as a desire of Sidi Larbi Cherkaoui to dance a duet with British-Bengali choreographer and dancer Akram Khan. Both are sons of Islamic families brought up in Europe, and both draw upon this meeting of cultures, combining complex Indian kathak dance with the speed and precision of contemporary movements. Inviting Antony Gormley for the scenography and Nitin Sawhney for the live performed music; zero degrees became a place of transformation. Inspired by the place where one thing morphs into another, the grey zone between one thing and the next, the degrees where water becomes ice, the line where life becomes death. Zero degrees follows Cherkaoui and Khan on a journey to seek the reference point, the source, the '0' at life's core. Inspired by their own dual identities, the two search for this middle point through polar opposites; becoming/death, light/dark, chaos/order. Zero degrees talks about borders and how blurry they actually are.

With only two lifelike dummies, copies of Cherkaoui and Khan, the emptiness on stage permits the audience to see many symbols of division and unity within the choreography. The dummies are like alter egos, sometimes they are oppressors, sometimes guards or dead bodies. Zero degrees is a performance about the fragility of a human life, about yin and yang. The piece has won a Helpmann Award in Australia and was nominated for a Laurence Olivier Award in the U.K.

Zero degrees，演出现场

Zero degrees 对话/VS  Human

Human，展览现场

Human是安东尼·格姆雷于2015年在意大利佛罗伦萨 Forte di Belvedere进行的展览。Forte di Belvedere，其作为防御性堡垒的功能及其时空力量的表达是本次展览的基础。俯瞰佛罗伦萨这一典型的理想城市，它为人们提供了一个建筑是如何掩蔽、保护和支配人与空间关系的思考。Forte是地貌改造的非凡示例：Ferdinando de’Medici将自然山丘改造成人工制品，它与当代艺术有着深远的联系，经常被用作纪念性雕塑的纪念性背景。格姆雷没有尝试置入一个与场地规模相匹配的作品，而是选择展示与真实大小一样的作品，从而使这非凡建筑的质量和形式得以展示。

Human was a show that Antony Gormley presented at Forte di Belvedere, Florence, Italy, in 2015. The Forte di Belvedere, its function as defensive fortress and its expression of temporal power are the basis of this exhibition. Overlooking Florence, a city that typifies an urban ideal, this site offers a place in which to consider how architecture serves to shelter, protect and dominate people and space. The Forte is an extraordinary example of a terraforming: a natural hill transformed by Ferdinando de'Medici into an artefact. It has a long association with contemporary art and has often been used as a monumental context for monumental sculptures. Rather than attempt to insert works that try to match the scale of the site, Gormley had chosen to exhibit works that are life-size and that will allow the mass and form of this remarkable construction to speak.

Human，展览现场

展览背后的理念是将雕塑作为利针一般，来开辟堡垒：作品被广泛散布，以激发现场所能提供的固有质量、压缩物和全景。在寻找合适的地点进行这些对峙和暗示时，格姆雷想创建绊脚石，以阻止观众前进，并鼓励观众重新考虑自己是谁，以及如何与他们周围的空间交流。

The concept behind the exhibition is to open up the Forte through sculptural acupuncture: the works are widely dispersed to catalyse the inherent masses, constrictions and panoramas that the site affords. In finding the right places to make these confrontations and allusions, he wanted to create stumbling blocks that stop the viewer in their tracks. I want to encourage the viewer to think again about who they are and how they negotiate the spaces around them.' Antony Gormley

Human，展览现场

03-2  Babel (words):

Sidi Larbi Cherkaoui和Damien Jalet与艺术家安东尼·格姆雷联手创作了 Babel (words):，这是一个旨在探讨语言及其与国籍、身份和宗教的关系的舞蹈表演。以“The Tower of Babel”的故事为起点，格姆雷用五个巨大的三维框架暗指边界附近无名的城市中的一个无名的十字路口，它定义了无人区。随着观察，从私人到大众，从亲密到外放，以及从个人到集体的动作的进行，当信仰、空间和社区被做出选择时，我们被提醒Babel的故事在某种程度上代表着启蒙的大门，在其他情况下则代表了混乱、困惑和冲突。

Sidi Larbi Cherkaoui and Damien Jalet joined forces with visual artist Antony Gormley to create Babel(words), a dance performance that explores language and its relationship with nationhood, identity and religion. Taking the tale of 'The Tower of Babel' as its starting point, Gormley's 5 huge 3-dimensional frames hint at a nameless intersection in a faceless city near the borders that define a no man's land. We watch as the action flows from private to public, intimacy to extroversion , and the individual to the collective – while choices of faith, space and community are made and we are reminded that to some the tale of Babel represents the gates to enlightenment, to others - chaos, confusion and conflict.

Babel (words)，演出现场

Babel (Words) 对话/VS Breathing Room