Page 11 - 2021藝文指南針11月號

多元文化協奏曲 NSO新樂季由他開啟 A New NSO Season of Multicultural Scene
「再怎麼熟悉的曲目，在他的指揮下，也都煥然一新了。」這是國外媒體對於國家交響樂團 (NSO)藝術顧問準.馬寇爾(Jun Märkl)的形容。出生於德國慕尼黑，父親為德裔小提琴 家、母親為日裔鋼琴家，準.馬寇爾從小到大在各種文化、國家、語言之間旅行，這也造就 了他在音樂奏鳴間，悠遊文化疆界的能力。對於每位作曲家皆能侃侃而談的他，在精湛詮釋 不同樂派之餘，也將古典音樂帶進遼闊的當代視野。對他而言，音樂象徵著希望，無論多麽 艱難的時刻，它都能讓人們靜下來聆聽，重新感知事物的美好。
將音樂視為世界共通語言的準.馬寇爾，即將自2022年起，接任NSO的音樂總監。對於引 領NSO，準.馬寇爾的展望是:「過去我們聽的是不同文化背景的音樂，所以對音樂的感知 有差異;但音樂也是跨文化溝通最好的工具，只要願意開放心胸、培養對彼此的理解，加上 樂團願意信任我對古典音樂的掌握，我相信能夠幫樂團找到自己屬於臺灣的身份、不同的情 緒，還有獨特的聲音。」
追求卓越演出、滿足音樂知識渴求、讓NSO變得「很臺」-有了準.馬寇爾這些願景的NSO新 樂季，一定精彩可期。
與馬寇爾同樣來自德國的里米尼紀錄劇團 (Rimini Protokoll)，曾在衛武營以《高雄百分 百》，帶著一百位高雄市民站上舞台，呈現城市中的多元文化與族群融合。而他們創作的另 一端，則是將主角濃縮在一人身上。談到獨角戲，演員很難是塑膠做的，舞臺上一舉一動都 逃不過觀眾法眼。但如果今天這名主角，一出場就是個透明人，觀眾該怎麼看下去?本期 「阿特直送」，就要來看里米尼紀錄劇團的神隱獨角戲裡，主角究竟是真的不見，還是存在 了什麼懸疑的分身或分「聲」?
“No matter how familiar the repertoire is, under his conduct, it will be completely new.” This is a foreign press’ description of Jun Märkl, the art consultant of the National Symphony Orchestra (NSO). Born in Munich, Germany, to a German violinist father and a Japanese pianist mother, Jun Märkl grew up traveling across cultures, nations, and languages, equipping him the ability to easily roam through cultural boundaries in the melodies of the music. As a well-informed conductor familiar with every composer, Märkl exquisitely interprets repertoires from different music schools and brings classical music into a broad contemporary vision. For him, music symbolizes hope. No matter how difficult the time is, it allows people to calm down and listen, once again perceiving the beauty around us.
Jun Märkl, who regards music as the universal language, will soon take over as the music director of NSO from 2022. This is his vision for leading NSO: “We used to listen to music from different cultural backgrounds, so our perception of music was different. Bbut music can also be the best tool for cross- cultural communication. As long as we’re willing to be open-minded and build mutual understanding, plus the members’ trust in my knowledge for classical music, I believe that my guidance can help NSO find its Taiwanese identity, diverse emotions, and unique voice.”
Pursuing excellence in performances, satisfying the thirst for music knowledge, and making NSO “very Taiwanese” — with Jun Märkl’s expectations, NSO’s new season will surely present programs that meet the audience’s eager anticipation.
Rimini Protokoll, a theatrical company from Germany as Märkl, brought one hundred Kaohsiung citizens to the stage with Kaohsiung 100% in National Kaohsiung Center for the Arts Weiwuying, presenting the city’s diverse cultures and ethnic integration. Whereas at the other end of their creation, the show concentrates on one protagonist. When it comes to solo performance, it is difficult for the actor to slack off. Every action on the stage cannot escape the audience’s scrutiny. But what if the protagonist is transparent when entering the stage? How should the audience set eyes on? In this issue’s Arts Up to Speed, let’s look at the solo performance of Rimini Protokoll, where the main character is absent. Is the protagonist missing, or is there a suspenseful clone or voice waiting to be found?
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