《此声撇断》是姚春旸声音剧场系列新作，延续她《此地》的方向，材料不多，动作更少。接触麦克风贴近物体的表面，把最细微的摩擦、最突兀的爆响放大到无法忽视。撇断是动作，也是方法。没有故事，没有安全的距离。声音不是被演奏出来，而是被释放出来。 Fracture, the Sound extends the trajectory of Yao’s earlier Her/e (此地) in the Sound Theatre series. Employing sparse materials and minimal movements, the work features contact microphones pressed against surfaces, amplifying the subtlest friction and most abrupt cracks into visceral sonic experiences. “Fracture” here operates as both action and methodology. This performance rejects narrative constructs and safe detachment. Within its sonic landscape, sound is not performed – but released.
Guangxu is from Dali, Yunnan. The first time I saw his drum set and vocal performance at Fond-De-L’etang, his fierce and wild roaring was truly unforgettable.
I watched Lu Zheng’s performance at “You and Me” in Beijing. This Guangdong young musician with a fresh appearance left a deep impression on me during his guitar duet with Li Jianhong, showcasing explosive energy and delicate tone processing.
来自深圳的 若瑜 来自卢政的推荐，看了她演出视频中对非常规管乐的使用与演奏，让我惊喜和好奇。
Recommended to me by Lu Zheng, Ruoyu from Shenzhen intrigued me with her use of unconventional wind instruments in performance videos I’ve seen—both surprising and captivating.
当天的演出，我也会有一段人声来与三位伙伴一同呈现这场稍显挑战“聆听惯性”的演出。
At the show, I will also join the three musicians with a vocal performance, together presenting this show that slightly challenges conventional “listening habits.”
独奏，
就像对着山谷呐喊会等待回声。
每个音符都是即时的回应，
沉默有了形状。
即兴，
每个音符的生成与消逝均为一次性事件，
听众身处其中，
实则是参与一系列不可验证的声音事件。
每一次听觉接收，
都成为对“此刻”的独家见证。
Solo，
Just like waiting for an echo
when shouting towards a valley.
During a solo performance,
every musical note is an immediate response,
Silence takes on a form.
Improvisation,
The generation and disappearance of each musical note
are one-time events.
The audience, being in it,
Is actually participating in a series of sound events that cannot be verified.
Each auditory reception,
Becomes an exclusive witness to the “present moment”.
