Snow HUANG/Against Again Troupe



  • 〈The First Dream〉, The First Dream 2019, sound, audio devices, 40min, Courtesy of the artist

The First Dream

 

 
“Silence warning the 'living' ones
with here and there a sealed lip”
First Dream, (1692)
Sor Juana Inés de la Cruz
 
Flâneur series is a series of projects that the artist Snow Huang has created since 2016, in which the participants walk on his/her own — without any performers, as they listen to audio files in various corners in a city. The fabricated narratives and sound files turn the cityscape we see into a specter-like existence, unsettling the participants’ accustomed perception of reality in the city through estrangement. In the form of an audio guide, The First Dream story begins with a music festival involving military troops in Vietnam, taking the listeners to the Millenarian movements in Zomia in early 20th Century, then to a young person in Taiwan with the paranormal ability to see beyond a thousand miles.  His  tactile vision takes us through a series of silent dreams, allowing us to see how intangible time shapes our tangible world and bodies, as we travel through past, present and future.

Concept, Direction and Sound Design: Snow Huang 
Dramaturgy and Translation: Betty Chen
Text: Snow Huang, Yarou Chen
Composition: Snow Huang (unless otherwise specified)/ The Stranger (improvisation): Snow Huang, Shuichi Chino, KRITON B @ Berlin, 2014/ The Prophet: Snow Huang, Yunfang Tseng
Production Manager: Yinru Lo
Voice Performers: Hin Yan Wong, Chao Yang Wang, Chih Ching Tsai, Yiling Tsai, Betty Chen
For "The Stranger", original story from Steve Hui
 



About the Artist


Born in Hong Kong in 1981. His wide-ranging art practice engages in theatre, contemporary art, sound and music creation. He founded Against Again Troupe at the age of 20 years old and has served as its director since. In 2014, curator Hung Hung invited Against Again Troupe to produce and perform the production, Götterdämmerung, which was created collectively through an interdisciplinary approach without a designated director. The work reinterpreted the fourth and last opera of Wagner’s operatic masterpiece from a contemporary perspective and within the context of the occupation of Taiwan’s Legislative Yuan. This work was also the starting point of his various Sound Theatre works staged in art museums and environmental theatre in recent years. In these works, all musical performance and making of sounds adopt the theatrical form of physical movement, whereas diversified theatre aesthetics revolving around the development of “sounds” surfaces as the core of the narratives. In the recent two years, Huang has launched a series of “Promenade Theatre,” which features audiences’ solitary walks in an urban setting without any performers. The project combines real urban landscape and fictional texts of detective stories, and employs sound archives to evoke memories of the city. Huang’s recent works of Sound Theatre presented in art museums include the opening performance, entitled Concert of Performance Preview (2017), created for Arena at the Taipei Fine Arts Museum, and his co-creation with artist Joyce Ho, entitled 254 yen (2017), produced for Air Plant: The Greater Taipei Biennial of Contemporary Art.