The Echoes of Our Touch ─ 《A Boundless Walk through Quiet Air》

節目介紹

《A Boundless Walk through Quiet Air》以「集體創作劇場（Devised Theatre）」為創作方法，邀請兩位聾人表演者 Baron Pham 與 Huynh Thanh Nhi 成為作品共同創作者，從真實生命經驗出發，發展出屬於他們的身體語言與舞台敘事。

作品沒有既定劇本，而是透過分享生活故事、共同討論與排練，逐步建構演出內容。例如，他們曾分享申請政府身心障礙資格認定時，只憑外表便被評估障礙程度的經驗。作品中，這段經驗被巧妙翻轉，由兩位表演者「評估」觀眾的聽力能力，引導觀眾重新思考社會對障礙的刻板判斷與權力關係。

另一段創作則源自童年回憶，在寄宿學校裡，每天早餐只能吃泡麵，偶爾偷偷翻牆外出買糯米飯。作品透過身體動作、物件與重複性的表演，呈現規訓、渴望與自由之間的拉扯。

《A Boundless Walk through Quiet Air》融合劇場、舞蹈與肢體創作，透過難以言喻的身體語彙，讓觀眾貼近聾人生命經驗，也重新思考身體、感知與表達的更多可能。

This work is grounded in devised theatre as a collaborative process, positioning Deaf participants as central authors of both content and form. Rather than beginning with a script, we work with two Deaf performers – Baron Pham and Thanh Nhi – through a process of sharing lived experiences and translating those experiences into performative structures. Their stories do not simply become material; they actively shape how the work is constructed, staged, and experienced.

For example, both Baron and Nhi shared their experience of obtaining official government disability certification in the past. In these encounters, their level of disability was often determined through visual judgment alone, without formal medical evaluation. This experience informs a section in the performance, where audience members may get a reversed evaluation from Baron and Nhi who will “assess” their “hearing ability” based solely on appearance and behavior. This reversal exposes the arbitrariness of such assessments, allowing audiences to viscerally experience the absurdity embedded in these systems.

In a more intimate register, Baron recounted his childhood in a boarding school for disabled children, where breakfast was strictly limited to instant noodles. Occasionally, he and his friends would illegally sneak out of the school to buy sticky rice. This memory could become a choreographic and material framework within the performance: instant noodles function as a device of repetition, regulation, and constraint – while sticky rice appears as something rare and desired, associated with agency, care, and shared pleasure.

Through such processes, personal narratives are not only represented but reconfigured into embodied encounters, bringing the lived realities of Deaf individuals into closer, more immediate relation with the audience.

Additionally, we will further develop a movement-based language, building on the approach that we explored in our previous program. Here, emotion is conveyed through physical expression – at times bordering on dance – without the need for fixed or literal meaning. Because movement resists easy translation or categorization, it creates space for ambiguity and multiplicity, allowing Deaf performers to inhabit states that cannot be defined or interpreted by others. In this in-between space, their body becomes a site of autonomy and freedom – where expression is not reduced to explanation, but experienced on its own terms.

創作理念

作品採用集體創作劇場（Devised Theatre）方式，以聾人表演者的生命經驗作為創作核心，不再只是「被表現」的對象，而是共同建構作品內容與形式的重要創作者。

透過身體、動作與情感的流動，建立一種難以被單一定義的肢體語言，讓身體成為自主表達與自由存在的場域，引導觀眾重新理解聾人文化、障礙經驗與共融藝術的多元可能。

This work is developed through devised theatre, with Deaf performers Baron Pham and Thanh Nhi as central authors of both its content and form. Rather than beginning with a script, the performance emerges from their lived experiences, which shape how the work is created, staged, and experienced.

One section draws from their experience of obtaining government disability certification, where their level of disability was often judged through appearance rather than medical evaluation. In the performance, this process is reversed as Baron and Nhi “assess” audience members’ hearing ability based solely on appearance, exposing the arbitrariness of such judgments.

The work also develops a movement-based language that conveys emotion beyond fixed meanings. By resisting easy interpretation, movement creates space for ambiguity, allowing Deaf performers to express experiences on their own terms. Through these embodied encounters, the performance invites audiences into a more immediate understanding of Deaf lived realities.

創作者介紹

Lyon D. Nguyen

Lyon Nguyen 為越南身體藝術家，長期關注身體、故事與社群之間的連結。作品曾於越南及美國多個藝術節與劇場演出，目前致力於推動藝術平權與社群參與，透過工作坊、跨域合作及共融藝術計畫，讓不同背景的人都能以身體作為創作與交流的媒介。

近年發起 The Echoes of Our Touch 計畫，結合免費藝術教育與共創演出，打造聾人與聽人共同學習、共同創作的藝術平台。

Lyon Nguyen is a movement artist whose work explores connection – between bodies, stories, and communities. His performances have been presented at venues and festivals across the United States and Vietnam. Currently living in Vietnam, Lyon’s current practice centers on community engagement and accessibility in the arts. He leads workshops, programs, and collaborates on projects that invite people of all backgrounds to explore movement as a form of expression. Recently, he launched The Echoes of Our Touch, an initiative for Deaf communities that combines free arts education with collaborative performances, creating spaces where Deaf and hearing participants learn and create together.

演出與團隊名單

創作者：Lyon D. Nguyen
表演者：Enny Trang、Thanh Nhi
手語翻譯：Hanh Nguyen
舞台助理：Bao Duy

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