Fat sheep
2022/12/28
Experimental Theatre |
Playing Busy theater present
Co-create by |
陳盈吟
馬慕恩
蔣昕哲
蔡佳璇
張子宣
張子恩
Performers |
馬慕恩
張子宣
張子恩
Lighting Technicians |
陳盈吟
鄭大宇
Sound Design by |
蔡佳璇
Photography |
小7
《肥羊》是一場圍繞「個體與共同體」的實驗劇場。作品透過具象物件——牆體、巨石、鐵框與水——與演者裸身的碰撞，編織出一場關於服從、模仿、反抗與獻祭的儀式性行動。黑麋鹿歷經順從到掙扎、依附到脫離，最終成為被放逐的裸命——那個不再屬於群體，卻也無法被群體遺忘的存在。
演出描繪共在作為危險親密體的現場：因為我們彼此能夠互傷，所以我們不得不思考「如何不傷」。我們身處於一個沒有根的世界，卻仍舊渴望一種承襲——我們既不屬於此地，也無法離開。如同佛洛姆所言：「愛的動力在於其兩面性，一方面為克服孤獨，另一方面又保存自我完整。」我們試圖探問：何為「自發」？當身體本身就是制度的延伸與投影，我們還能如何思考自由？
從群體洗禮（建牆、剃髮、犧牲、獻祭），到無解的敲石人一次又一次荒唐的自我捶打。建築性物件成為制度性權力的具現，我們從未脫離那些硬體結構——不論是文化建築、情感慣性、階級秩序、甚至語言本身——它們不斷被建築於我們的表層之上，直到我們無法分辨。《肥羊》將觀者置於一個無法回應的提問之前：若沒有真正的神，也無真正的家，我們還能否選擇自發地去愛？去勞動？去成為某種與世界重新連結的存在？我們是否能夠不馴、不墮、不轉化為物？是否我們只是透過一次次自我馴服，才得以在彼此身上辨認出微弱而相連的感知？
演出最終發展出一場沒有神的信仰工程；權力邏輯的重演場域，以物質性的行動模擬信仰的生成過程。正如齊澤克所言：「信仰並不來自於內心的真誠，而來自於行動的實踐。在某種程度上，我們是因為做了某件事，才相信那件事是真的。」這樣的行動空殼讓群體得以凝聚、運轉、宰殺與受難。個體被納入一個看似神聖的秩序中，卻同時也在依附與排除之間中被規訓、同化、甚至被剝奪面對自身傷痛的權利。
或許，真正的信仰不是相信某個我們已然脫離、卻仍在幻覺中維繫的「根」，而是在行動時承擔這場虛構的倫理責任。
Fat sheep is a physical experiment centered on the tension between the individual and the collective, unfolding a theatrical landscape suspended between order and chaos. Through the collision of concrete objects—walls, boulders, iron frames, and water—with the performers’ naked bodies, the work weaves a series of ritualistic acts of obedience, mimicry, resistance, and sacrifice. The figure of the Black Elk undergoes a progression from submission to struggle, from attachment to rupture, ultimately becoming the exiled bare life—a being no longer belonging to the collective, yet unable to be forgotten by it.
This performance depicts being-with as a dangerous form of intimacy: because we are capable of wounding one another, we are compelled to ask—how might we not wound? We inhabit a world without roots, and yet we still long for inheritance—for a sense of origin. As Erich Fromm once wrote, “The power of love lies in its dual nature: on the one hand, the desire to overcome separation; on the other, the preservation of one’s own integrity.” We ask: what does it mean to act spontaneously? When our very bodies are extensions and projections of institutional structures, how can we still imagine freedom?
From the collective baptism—wall-building, hair-shaving, sacrifice—to the endless, absurd labor of the stone-striker, Fat sheep enacts a cycle of ritualized futility and self-flagellation. Architectural objects become embodiments of systemic power. We have never truly escaped these structures—be they cultural architecture, emotional inertia, class hierarchy, or language itself—they are continually constructed upon the surface of our bodies until we can no longer discern where we end and they begin. Fat sheep confronts the audience with an unanswerable question: in the absence of a true god, or a true home, can we still choose to love, to labor, to become something capable of reconnecting with the world? Can we remain undomesticated, undiminished, untransformed into objecthood? Or is it through repeated acts of self-domestication that we begin to perceive, however faintly, the possibility of shared sensation?
The performance ultimately develops a faith machine without gods—a reenactment of the logic of power, simulating the production of faith through material gestures. As Slavoj Žižek suggests, “Belief does not arise from inner conviction, but from enacted practice. In a sense, we believe something is true because we have done it.” These hollowed-out actions enable the group to cohere, to function, to sacrifice and suffer. The individual is absorbed into a seemingly sacred order, but is simultaneously disciplined, assimilated, and stripped of the right to face their own pain.
Perhaps true faith does not lie in believing in something we have already left behind, yet still cling to through illusion—but rather, in assuming responsibility for a fiction through the act of doing.
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