關於
滯留島
滯留島舞蹈劇場
「舞，始終來自於身體傳遞所反映出的訊息，我們實驗在舞蹈形式上任何一種可能；找尋著身體與人體之外的元素組成；挖掘在繁雜或者簡易結構中，所存在的意義。在訊息定位以前，行進中的動態物件都有著多種可能性，我們將嘗試著去找尋每一次的定位點。」
「滯留島舞蹈劇場」舞作內容向來以多元觸角為題；以人文關懷為素材進行創作，編舞家積極開發當代舞蹈風格。自2010年開始，舞團作品屢屢獲得國內舞蹈界多項肯定，編舞家張忠安其大膽而深刻的肢體與素材應用，作品總是飽富著旺盛精力與生命能量，以誠摯的原創基調提出對社會現象與生命周遭之訴說與觀點，舞作總是展現超乎想像的精力，簡約的呈現著不受控制的控制；非表象技巧中的高技巧，充分將自我藝術觀點展露無遺，在現今坊間過多的創意模仿與了無新意的編舞走向上，無遺提出了彌足珍貴的「原創性舞作」。在2010年開始創團至今，每年推出一場新製作，並以具突破性、實驗性的表演形態及舞台設計，賦予舞蹈不一樣的思索空間，以後現代的批判前衛角度，持續關心人文與社會議題，詮釋現代人歷經資本社會的高壓下，所面臨的心境及現象。透過舞作肢體語言的溝通形式，進而提升觀眾的直覺、推理、聯想與想像之能力，探討資本主義下的社會問題。
歷年作品
2023年《In Factory》
2021年《冰河時期》
2020年《冰河時期-實驗階段》
2019年《浮游體》
2017年《鏽 塔》《Factory》
2016年《Lost in Grey》
2015年《時代的灰斑-2015玻璃屋系列3》
2014年《魚貫職態-2014玻璃屋系列Ⅱ》
2013年《玻璃屋》
2012年《天堂門鎖》
Resident Island Dance Theatre
"Dance always comes from the message reflected by the body's transmission. We experiment with any possibility in the form of dance; find the elements of the body and the body; the excavation in the complicated or simple structure, before the meaning of existence the message positioning, there were many possibilities for moving objects in motion, and we will try to find every anchor point."
The content of the "Resident Island Dance Theater" has always been the subject of multiple tentacles; the creation of humanistic care as the material, the choreographer actively develops contemporary dance style. Since 2010, the company has repeatedly won many recognitions from the domestic dance industry, choreographer Chung-An, Chang's bold and profound body, and material application, his works are always full of energetic energy and life energy. With his sincere original tone, he presents his opinions and opinions on social phenomena and life. The dance always shows beyond imagination. Energy, simplicity presents uncontrolled control; high skills in non-imagery skills, fully revealing the self-artistic view, in the current practice of too many creative imitations and the no-new choreography, no doubt precious.
"Original dance." Since the beginning of the founding of the company in 2010, the new work has been launched every year. With a groundbreaking and experimental performance form and stage design, the dance has different thinking spaces. After the modern critical avant-garde perspective, it continues to care about humanities and social issues. It interprets the state of mind and phenomena that modern people face under the high pressure of the capitalist society. Through the communication form of body language, the audience's intuition, reasoning, association, and imagination are enhanced, and the social problems under capitalism are discussed.