Edited by 編輯：Ava Davies
Translated by 翻譯：Li Ruixue 李瑞雪
Information Provided by 資料來源：DV8 背離劇團
DV8 are a dance and theatre troupe who look to challenge boundaries and subvert preconceptions, whether in their physical performances or in the intellectually challenging issues they grapple with. Set up in 1986 by Lloyd Newson, who remains their artistic director today, they have an equal commitment to the process of creation as they do to their final product. Above anything else, they are unafraid to take risks and create alienating and confounding pieces of theatre that deliberately force their audience out of their comfort zone and into the wilderness.
Their very name is indicative of the work they do: DV8 is an abbreviation for Dance and Video 8, which suggests their total commitment to the practice of visual theatre, and the slight pun on ‘deviate’ suggests their artistic intentions with a sly humour. They use dance to push past preconceptions of what traditional, classical dance can show an audience and demonstrate the power of dance to create works that are severely contemporary and pertinent. Newson’s creation of DV8 arose after studying and performing dance, when although he began to feel technically advanced, he felt that the material he was performing was not urgent or vital enough. Newson’s drive and touch has pervaded every part of the troupe, making them the fiercely dedicated dance powerhouse they are today. There is certainly pain in his productions, but it is combined with the total exhilaration of the way in which this pain is expressed.
The work that best sums up DV8’s attitude towards their art is ‘Can we talk about this?’, a production put on at the National Theatre after touring in 2012. Newson tackles one of the most controversial topics in contemporary geopolitics: radical Islam. Using verbatim responses from a variety of different interviewees, all interviewed by members of the company themselves, and using tightly controlled physical movement, the piece stirred controversy easily. But this is just testament to the company’s bravery and their ability to stage new, important works other companies would not dare touch. DV8 consistently maintain that their ultimate focus is the creation of art, and that financial matters are of far less importance than the work they produce.
Their newest production is JOHN, a co-production with the National Theatre that, once again, is a verbatim and dance piece……..
最能表現DV8 創作風格的作品莫過於《Can We Talk About This?》，曾在2012年巡演結束後於英國國家劇院上演。Newson選擇了當代最具有爭議的政治話題：激進的伊斯蘭教主義作為整個表演的主線。這部作品引起了非常大的爭議，表演中旁白部分均使用劇團的演員們對不同人進行採訪的內容，結合經過嚴格控制且令人感覺非常僵硬的舞蹈動作。這一作品表明了劇團的膽識，表明他們想要製作其他任何一個公司都不會去觸碰的主題的決心。DV8始終堅持把劇團焦點放在藝術創作上，作品的盈利問題顯得並不是那麼重要。
An interview with Lloyd Newson,
conducted by Sita Popat, Professor of Performance and Technology at the University of Leeds.
Lloyd Newson had performed the works of 26 choreographers in four different companies across three continents before deciding to form his own company. Feeling disillusioned with the state of contemporary dance, in 1986 he assembled a group of like-minded dancers and created DV8 Physical Theatre..
What was it about your experiences of performing for other choreographers that led to the creation of DV8?
“The works I was being asked to perform, with rare exceptions, were largely devoid of meaning, regardless of what the program notes said. When you’re trained in a movement aesthetic, it’s easy to be seduced by ‘the look’ of a movement. But what is the point of a pointed foot or a high leg kick? Meaning is constantly sacrificed for the sake of ‘beauty’ and virtuosic displays, so it’s difficult for such a form to satisfactorily speak about complex social, psychological and political issues. I appreciate some people love beauty, the visceral power of movement alone, but after 37 years in the business it leaves me brain dead. I’m fascinated by movement and its relationship to meaning, but I’m not a dance junkie”.
You completed a degree in psychology and social work at Melbourne University before dancing professionally, and the influence of your studies is clearly visible in your works. Do you feel that there are other choreographers who have managed to speak coherently using dance?
“‘Choreographers’ is an odd word, as it just implies people who arrange steps, in the same way people arrange flowers. The people I admire the most are directors, choreographers and writers rolled into one, like Pina Bausch. I remember when her company first came to Britain in 1980, about a quarter of the audience walked out, many mumbling that it ‘wasn’t dance’. Few choreographers have the tenacity and courage she had to break convention, to offend traditionalists. That’s not to say she wasn’t seduced by beauty but she also wasn’t afraid to have her highly trained dancers come on stage and ‘not dance’.”
Since DV8’s inception, you have conceived and directed all of DV8’s 18 stage productions – with the exception of My Sex, Our Dance, which you made jointly with Nigel Charnock. Which do you consider to be the most significant of your works?
“There are some works that I’ve made which were particularly apt for that period in time. There are a couple that frankly didn’t work, which I’d prefer to forget. I hope I’ve learnt from those experiences, good and bad. I have to remind myself that if you are making work from scratch, avoiding repetition and deliberately taking risks, some failures are inevitable. Our shows are uncompromising and tough in most senses of the word and there have been a few times I’ve wanted to quit and no doubt some people would have been grateful if I had.”
SP:DV8自建立以来，你独立构思并执导了舞团共18出舞台作品——除了与Nigel Charnock合作的My Sex以及Our Dance。在这些作品之中，你觉得哪一出最重要？
Many of the people who’ve worked with DV8 at the beginning of their careers have gone on to choreograph for West End musicals, films and major ballet companies. Despite approaches from people like Madonna and Take That, you have avoided commercial work. What are the reasons behind that decision?
“While there are many artists I admire in the commercial world, their artistic sensibilities are generally not mine, although looking at their massive audiences, sometimes I wish they were. If someone could offer me what I have with my own company, time and complete artistic control, they should call me.
“What’s important about DV8’s work is that it consists of ordinary people, not stars. I strive for a sense of egalitarianism within the company. Everyone is expected to muck in and needs to be available for the entire rehearsal period, which is often long and demanding. Inevitably the commitment required to be in the company attracts committed artists. Nigel Charnock and Wendy Houstoun were there in the early days of DV8 and I’ll always be indebted to what they taught me about passion and performance. I’ve worked with many exceptional artists over the years who have given their all to the work and its success is dependent on their talent and integrity. Making a DV8 work is a bit like a religious experience but without God; you’ve got to submerge yourself in the process and believe in it totally.”
DV8作品的重要性在于，这些作品是由普通人共同创作的，不是明星。我希望在舞团内创造一种平均主义。每个人都需要投入，在整个排练过程中都要在场，尽管排练过程一般是漫长而高要求的。自然地，这个要求演员全身心投入的剧团吸引了许多有着高要求的艺术家。Nigel Charnock及Wendy houstoun在DV8组建初期加入了我们，而我仍然对他们关于激情以及表演的教导心存感激。这些年来，我与许多了不起的艺术家合作过，他们为创作付出了所有，而演出的成功与他们的才华以及美好个性密不可分。创作一个DV8演出有一点像一个没有上帝的宗教经验；你需要完全沉浸于其中，并绝对相信这件事。
So what does the future hold for you and DV8?
‘I’m interested in change, of not getting stuck in one way of working and being. DV8’s structure is highly flexible, with a Board of Directors who have supported me to present works about the social and political issues that have preoccupied me. There have been a number of times I’ve made major changes to the way I work; moving from the hard-hitting and aggressive works of My Sex, Our Dance and Dead Dreams in the eighties to the more poetic work of If Only.., and Strange Fish in the nineties. In the last few years the interrelationship between text and movement has become my main preoccupation.
LN:我感兴趣于改变，而不满足于一条道走到黑。DV8的组织结构是非常灵活的，各位总监也非常支持我推动有关社会以及政治议题的作品。在过去，我曾经大量地改变我的创作方式；从上个世纪80年代My Sex、Our Dance以及Dead Dreams等硬性、进攻性的创作，到90年代包括If Only…以及Strange Fish在内的更加富有诗意的作品。在过去的几年内，有关文本以及肢体运动关系的思考占据了我的头脑。