Txt: Wu, Ting-Hsien, Photo: YAO Chung-Han, Records: CHANG Yung-Ta, Translate: Brenda Chan文字:吳庭嫻, 攝影:姚仲涵, 錄音:張永達
轉貼自http://lsf.iolab.tw/2010/10/listen-39-–-audio-and-photo/
影片連結http://www.youtube.com/watch?v=7EunVHCBueU
"un escargot vide" was originally written as "un escargot vide?". Because a friend thought the question mark made it seems sad, he added an exclamation mark after it. Séba is like a status, it can be fragile, and it can also be tough; for the creator (Sebastien Szczyrk), the question mark stands for the possibility of "what kind of sounds can be heard?", and the exclamation mark stands for the possibility of "there are more sounds can be made!".
Séba travels a lot, so in the experimental performances, he tries to present those sounds absorbed by our earlaps as image-like frame to audiences' cerebral cortex by mixing the sounds in past and present time. He hopes the audiences will be taken to travel everywhere by this way. In fact, those voice of children recorded in France, Taiwan, Indonesia, Japan, and China, including some laughter, the voice of calling their moms, and weeping sounds got fully combined in the whole performance; the voice of children is too authentic, it echos with the space, it's an incommunicable feeling. By the sounds we can imagining the images, but somehow we can't tell what's happening to the children. Whether they're laughing or crying. The creator left some ambiguous space for audiences to respond it spontaneously by their own memories.
「無殼蝸牛」本來的寫法是「無殼蝸牛?」，因為朋友覺得後面的問號感覺很哀傷，他便在問號之後再加上一個驚歎號，無殼蝸牛像是一個身分，可以很脆弱，也可以很堅硬；對創作者(SebastienSzczyrk)而言，問號代表「可以聽到甚麼聲音呢?」而驚嘆號則表示「可以做出更多聲音！」的可能。
不斷到處旅行的無殼蝸牛在實驗性音樂演出時，透過從過去到現在的聲音混合，試圖讓被耳殼吸收的聲音以圖像般電影感的畫面呈現在觀眾的大腦皮質裡，希望可以藉由這種方式引領觀者到處去旅行。而事實上，在法國、台灣、印尼、日本、中國錄製的孩子聲音，一些笑聲、叫媽媽的聲音、哭聲巧妙而豐沛的的融合在整段的演出中；孩子的聲音太過於真實，迴盪在表演空間裡，形成一種難以言喻的感覺，藉著聲音想像的畫面卻不知道小孩面臨到什麼樣的狀況，他們到底是在開心的笑，還是在哭，創作者留下的曖昧空間讓觀者可以主動回應和自身的記憶有關的回憶。
Lsf 39 - Séba (無殼蝸牛) by iolab.tw
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