印尼黑傘劇團 Teater Payung Hitam
印尼當代劇場最具指標性的劇團，將為流浪之歌音樂節今年主題「米河流」特別創作全新劇目，
採用台灣本地稻桿與竹子，呈現融合音樂、儀式舞蹈的跨媒界世界首演。
東南亞當代劇場先鋒：印尼黑傘劇團
「黑傘劇場」成立於1982年，以西爪哇島的藝術重鎮「萬隆」（Bandung）為基地，至今演出超過90部作品。創辦「黑傘」的劇場導演Rachman Sabur，帶領劇團走過蘇哈托政權高壓統治的年代，並奠定其高度政治性與社會批判的意識形態，以及獨樹一格的美學風格。「黑傘」深刻影響印尼當代劇場的發展，被喻為印尼當代劇場藝術的先鋒。
黑傘劇作以「非語言性」（non- verbal），高度象徵性的肢體語言、聲響與視覺裝置，揉合印尼神話與傳統儀式，投射出當代政治與社會的批判，高度藝術性與精準的政治寓意，讓黑傘劇場走在時代前方。不同於西方脈絡的思考，印尼多元共生的族群互動，以及根植內在的傳統養分，歌謠、儀式、舞蹈、文學及宗教，都是他們從傳統過渡至當代情境的深厚基礎。
黑傘另一重要的「環境劇場」美學，以自然元素如石頭、稻米、火、泥土等作為劇場主題，從材質的形狀、聲響延伸思考，創造驚人的視覺與聽覺意像，它們既是象徵物，亦是儀式元素，也是聲音藝術的再創造。自然母題化為文本的表達媒介，指涉更豐富多元的文化思考與社會批判。今年流浪之歌「米河流」，邀請到黑傘為台灣觀眾創作全新劇目《身、土、水》（Tubuh, Tanah, Air），以「環境」為母題，影射背後更無形、巨大的工業發展史與現代化的政治批判，呈現「傳統」與「人」在當代情境中的衝突、斷裂與新的縫合。夜晚星空下，圍坐在稻竹編織的巴剎劇場，見證黑傘將音樂、儀式、戲劇和舞蹈回歸一體，以身體書寫亞洲當代劇場的進行式。
導演｜ Rachman Sabur
1957年出生於印尼萬隆，目前任教於STSI萬隆高等藝術學院，活躍於當代劇場的編導、演員、詩人，也從事學術研究。1982年創立印尼「黑傘劇場」，原創性的劇場風格與實驗美學，以及不畏強權的政治批判性，每部劇作甫推出便獲得廣大迴響與討論。拉曼・薩布不滿足於既有藝術成就與國家機器的審查制度，他一次次嘗試更創新的美學實驗與劇本呈現，超越自我的標竿，奠定了黑傘劇場在當代劇場藝術的高度與定位。
藝術總監｜ Deden Bulqini
舞台燈光設計、攝影、動畫、雕塑、繪畫......德登是難得一見全才型視覺藝術家，擅長以竹子與光作為媒材，呈現亞洲建築與舞台裝置的另類美學。他的創作哲學是「材料主導創作」，擅長以在地環境的自然素材、石頭、枝葉、廢棄瓶罐為媒介，打造一個超越日常經驗的互動建築裝置。德登長年受邀於國際間創作藝術計劃，包括印尼、馬來西亞、新加坡、台灣、泰國、日本⋯⋯2014年，黑傘藝術總監DedenBulqini來台場堪，參考淡水雲門劇場的空間設計，展開歷時一年的音樂節特別企劃。今年，Deden將以台灣小農的稻、竹與在地材料，打造戶外「巴剎劇場」的地景裝置。
演員｜Muhamad Rusli, Fajar Okto Adiputra, Abdul Hafidz, Nugraha Susanto, Sukma Sugara, Indra Frandias, Ryan Putra Purnama
Teater Payung Hitam, Indonesia
Teater Payung Hitam is a contemporary theater group from Indonesia founded by director Rahman Sabur in 1982. Hailed as one of the most compelling modern theater troupes at home, Payung Hitam is best known for its "non-verbal" productions, which emphasize dramatic visual elements and kinetic movement by actors. One of the group's works in this vein, a 1994 adaptation of Austrian writer Peter Handke's "Kaspar," captured widespread attention for its critical commentary on Indonesian politics and society, and reflected a widely-shared dissatisfaction with the long-standing and repressive Suharto government.
After the fall of the "New Order" regime in the late 1990s, Payung Hitam's work shifted to nature and environmental issues. and the group started to use natural materials such as stones, mud, trees, and water on stage.
Payung Hitam plans to utilize the natural outdoor setting of the 2015 Migration Music Festival to stage its new production, "Tubuh, Tanah, Air," which includes elements of music, traditional ceremony, dance and theater.
Rachman Sabur / Director, Teater Payung Hitam
Born in Bandung in 1952, Indonesian director and poet Rachman Sabur trained in cinematography and theater before forming Teater Payung Hitam in 1982. His early career saw him directing plays by both Indonesian and international writers. As he became better known, his work shifted to bringing theater texts to a "non-verbal" level, in which words were replaced with bodily expression and visually striking objects. Violence, injury, and pain are a running theme in his work, which includes directing Payung Hitam's breakthrough "Kaspar" (1994). Sabur is known for his strong work ethic and unwavering discipline, and his work has led to collaborations with theater troupes in Australia, Germany, Holland and Japan.
Deden Jalaludin Bulqini / Artistic Director, Teater Payung Hitam
Deden Bulqini, who hails from Bandung, Indonesia, is a passionate and motivated designer whose creative experience spans many mediums. He specializes in lighting and lighting design for theater, dance and music, and has served as art director for many music videos and theater performances. As a visual artist, Bulgini focuses on painting and art involving found objects and installation. The Migration Music Festival is pleased to have Deden return once again to serve as artistic director.
「印尼當代劇場藝術的先鋒。」
── Don Rubin，著於《世界當代劇場百科 World Encyclopedia of Contemporary Theatre，2000》一書
「黑傘原創劇目《Kapsar》標誌著當代前衛劇場的轉折點⋯⋯印尼多個重要的表演藝術團隊都受導演Rachman Sabur影響，但他所創辦的黑傘劇團一直堅持獨立特行於其他劇團，多年來保持其高度藝術性、劇場美學風格與意識形態。」
── Michael H. Bodden，著於《Resistance on the National Stage: Theater and Politics in. Late New Order Indonesia》一書
「黑傘劇團的作品透過豐富肢體語言和編舞，跳脫直線敘事框架，引發觀眾對文本的延伸想像。」
── Winet, Evan Darwin，著於《Indonesian Postcolonial Theatre: Spectral Genealogies and Absent Faces (Studies in International Performance)》一書。