隙 Cracking
2024

This work was part of the 2024 “Ideas Lab” series at the National Theater in Taipei. In it, choreographer Ning Wang reflects on the overwhelming excess of production and hyper-manufacturing driven by global consumer culture. These extreme conditions evoke in her a sense of distortion, imbalance, dissonance—and an experience of bodily exhaustion. Caught in a disjointed rhythm of time, she pauses to ask: Why has my body become what it is? What kind of world are we really living in?
As a Taiwanese female artist born in the 1990s, Ning revisits her personal bodily genealogy, tracing the influence of historical experiences, educational structures, and cultural conditioning. Through this process, she examines the complex systems we now inhabit. Faced with the immensity of those seemingly unshakable structures, she questions how the individual can keep moving—how one might carry the body forward, searching for cracks in the system, and discovering gestures that subvert, slip through, or simply play.
This is a solo journey that appears solitary but resonates collectively. With dance as her method, Ning probes the relationship between self and world, inviting the audience to sense and reflect on our shared contemporary condition.

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此作爲 2024 兩廳院「新點子實驗場」系列節目之一。舞蹈創作者王甯，反思全球消費文化高速運轉下，過量生產與過度製造的極端現象，令他感到詭譎失衡、不協調，與耗竭的身體狀態。並在錯位的時間規律裡停下思考：「我的身體為什麼長成現在的樣子？」、「我們到底身處在什麼樣的世界？」

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作為臺灣 90 世代的女性藝術家，王甯透過回訪個人身體系譜，企圖從歷史經驗、教育制度與文化養成中，體察現今人們共處的複雜結構。然而在難以撼動的龐大體系，他思索個體如何帶著身體前行，尋找結構間的隙縫，拾起可能穿越、顛覆與嬉戲的力量。這是一段看似孤獨卻與集體共振的獨舞旅程，王甯以舞蹈為方法，探索個人與世界的關係，試圖喚起觀者對當下處境的感知與思考。