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FESTIVAL

關於  大稻埕國際藝術節

歡迎來到大稻埕國際藝術節。

這裡是連結1920年代與2021年代的時空劇場。

大稻埕的精神就是1920年代精神。

臺灣與世界邁入現代的1920年代,是一個充滿熱情理想的年代。

全世界的知識青年蜂起,爭取自由平等獨立。

彼時的大稻埕,日治時期的台灣人市街,是台灣的商業與貿易重鎮,也是現代台灣意識的起源地,台灣文化運動的搖籃基地。

1921年10月17日,蔣渭水等先賢在大稻埕創立臺灣文化協會,指出台灣人的天命即是促進人類文明。從此新文化運動蔓延全台灣。

代表著現代台灣意識的各類藝文創作蓬勃盛行。

文學、美術、戲劇、音樂,匯聚於此。以戲劇領域而論,各式藝人聚集在昔日的新舞臺、永樂座、第一劇場,新劇、文明戲、京戲、歌仔戲、布袋戲不間歇地在此上演,讓大稻埕有百戲匯聚的「戲窟」之稱。反映出大稻埕確為現代台灣藝術文化總匯之地。

「大稻埕國際藝術節」由思劇場、Bookbar 1920s、蔣渭水文化基金會發起,結合多個深耕大稻埕的在地文化單位,每年整個10月舉辦近百場的藝文展演活動。

大稻埕國際藝術節著重在跨時代、跨領域、跨國籍、跨文化甚至跨語言的藝術表演,結合創新實驗表演形式連結在地文化歷史,並使用大稻埕歷史街區建築為演出場地,發展在地創作作品。

每年10月17日當週週末的「1920變裝遊行」為「大稻埕國際藝術節」的重頭戲之一,邀請大家一起打扮成喜愛的1920年代人物,走過當年繁榮的大街小巷,聽聽那些被遺忘的動人故事。遊行中穿插許多精彩表演,彷彿穿越百年,回到1920年,世界的大稻埕!

About the Tua-Tiu-Tiann International Festival of Arts
Welcome to the Tua-Tiu-Tiann International Festival of Arts.
This is a space-time theater that connects the 1920s and the 2020s. The spirit of Dadaocheng is the spirit of the 1920s.
In the 1920s, Taiwan and the world entered a modern era filled with passionate ideals. Young intellectuals worldwide rose up and fought for freedom, equality, and independence.
At that time, Dadaocheng, the Taiwanese business and trade center during the Japanese occupation, was the birthplace of modern Taiwanese consciousness and the cradle of the Taiwan cultural movement.
On October 17, 1921, Chiang Wei-shui and other pioneers founded the Taiwan Cultural Association in Dadaocheng, stating that the destiny of the Taiwanese people was to promote human civilization.
From then on, the New Culture Movement spread throughout Taiwan, and various artistic and cultural creations representing modern Taiwanese consciousness flourished. Literature, art, drama, and music converged here.
Speaking of the performing arts, all kinds of artists gathered at the former Xinwustage, Yongle Theater, and First Theater, and new plays, civilized drama, Beijing opera, Taiwanese opera, and puppet shows were performed non-stop, earning Dadaocheng the nickname “Theater Hub” with hundreds of plays. This reflects that Dadaocheng is indeed the hub of modern Taiwanese art and culture.
The “Tua-Tiu-Tiann International Festival of Arts” was initiated by the Thinkers’ Theater, Bookbar 1920s, and the Chiang Wei-shui Cultural Foundation, combining multiple local cultural units that have deep roots in Dadaocheng to hold nearly a hundred arts and cultural performances and events every October.
The Tua-Tiu-Tiann International Festival of Arts focuses on cross-era, cross-disciplinary, cross-nationality, cross-cultural, and even cross-lingual artistic performances, combining innovative experimental performance forms to link local cultural history and using historical buildings in the Dadaocheng historical district as performance venues to develop locally created works.

「狂騷的20年代」,這是日文漢字對英文「Roaring 20s」的譯寫。

「狂騷」放在當代臺灣中文的語意,似乎比任何詞語都更適切地表達我們對上一個20年代的感受,也透露了我們對下一個20年代的某種預期。

因此我們用「狂騷」作為大稻埕國際藝術節的主標語。

用「狂騷」,我們想說的其實是創造力(Creativity),那是最適切於標識1920年代的特質。

狂騷的年代,看起來狂熱而騷動,表現爲各種各樣挑戰傳統的激進思潮與社會行動,但在近百年後我們回顧,發現其中最重要的質素即是當時人們對時代變化的回應。

畢卡索、達利的繪畫,魯迅、芥川龍之介、海明威、費滋傑羅的小説,包浩斯學派的建築,甘地的不合作運動,葛蘭西的革命理論,陳獨秀的新青年雜誌,蔣渭水與文化協會的文化運動,皆是當時人們出於生命本質之創造力的驅動,對時代的不滿做出反響、反擊。

在臺灣,那個年代是現代臺灣認同初次形成的時代,也是臺灣人在世界之獨特使命初次被指認的時代。我們認爲,帶領新世代的創作人去認識理解那個年代,對未來的臺灣文化創造是非常重要的。

從更大的視野來看,今天整個人類所面臨的生存問題,其實都在世界進入現代化的1920年代就植下了根源。要看清2020年代人類的困境與出路,一定要回頭審視百年前的現代化之路是哪裡走對了,哪裡走錯了。

質言之,我們關心的不只是文藝而是文化,甚至不只是文化而是文明。

大稻埕在1920年代是臺灣文化運動的基地,是最能夠代表現代臺灣精神的所在。

我們再次以大稻埕作為下一波臺灣文化運動的基地,我們所想要表現、想要描繪、想要影響的對象,直指向2020年代之後的臺灣與世界,也就是現在與未來。

從上一個20年代到下一個20年代,結合我的20年代與你的20年代,通過激發許多的創作累積而成爲文化運動。新世代的藝術狂騷,經過時間沉澱,將成爲思想文化的質地。

這就是大稻埕國際藝術節的願景與夢想。

 

The 1920s were a time of creativity and innovation, characterized by the Roaring Twenties in the English-speaking world and “狂騷” in Japanese. In Taiwan, this era was the beginning of the modern Taiwanese identity and recognition. The use of “狂騷” as the main slogan for the upcoming Tua-Tiu-Tiann International Festival of Arts is intended to express creativity, the most appropriate characteristic for identifying the 1920s.

The Roaring Twenties appeared to be a time of frenzy and upheaval, with various radical ideologies and social movements challenging tradition. However, looking back after nearly a century, the most important aspect was how people responded to the changing times. Artists such as Picasso and Dali, writers like Lu Xun, Akutagawa Ryunosuke, Ernest Hemingway, and F. Scott Fitzgerald, and the Bauhaus school of architecture were all driven by the creative force of their life essence and reacted against dissatisfaction with the times.
In Taiwan, the 1920s was the era when the modern Taiwanese identity first took shape and our unique mission in the world was recognized. We believe that it is essential for the new generation of creative people to understand and appreciate this era to create the future of Taiwan’s cultural innovation.
The survival problems facing humanity today have their roots in the modernization of the 1920s. To understand the dilemma and a way out of it, we need to examine where modernization went right and where it went wrong.
Therefore, we focus not only on art but on culture and even civilization. Dadaocheng was the base of the cultural movement in Taiwan in the 1920s and the best representative of modern Taiwanese spirit. It is once again chosen as the base for the next wave of cultural movement in Taiwan, which aims to influence Taiwan and the world beyond the 2020s.
Combining the organizers’ 20s with the participants’ 20s, we aims to inspire many creations that will accumulate into a cultural movement. The artistic frenzy of the new generation, after time, will become the substance of thought and culture.