本作品獲選為「2025艋舺國際舞蹈節」公開徵件節目之一
The Other Among Us was selected as part of the Open Call Program of the 2025 Want to Dance Festival.
《舉起手指向星辰》The Other Among Us
演出時間及地點：
2025年期間｜演出時間及地點待公告
概念、編創、演出：陳柏潔
作品長度：約15-20分鐘
Performance Date/Place:
Scheduled to premiere in 2025, with details to be announced.
Concept, Choreography and Performance: Po-Chieh CHEN
Duration: approximant 20 minutes
《舉起手指向星辰》為編舞家陳柏潔受到哲學中「Alteritas」概念的啟發，欲探索現代社會「他者化」現象的創作。透過劇場語彙，反思自我與他者的關係，直視主流文化對於差異的偏見與邊緣化。作品強調「他者」是一種人人可能經歷的身份轉換，流動於模糊的邊界，並邀請觀者重新思索「我們的存在須透過他者映照與確認」的深層意涵。
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我總覺得，「他者」存在於模糊的界線之中。
人們認為「他者」是那些陌生的、與我們不同的人。可是在日常生活裡，當我們與他人擦肩而過、當我們注視新聞影像的片段、甚至當我們凝視鏡中的自己時，我發現這個「他者」就在我們之中，甚至就是我們自己。
《舉起手指向星辰》是我在這個想法中的探索過程。那些「被忽略的面孔」在資訊洪流裡出現又消失的人事物，不斷的被遺忘。故事和臉孔開始模糊、變得遙遠，讓我開始思考對於「他者」感知上的落差。每個個體試圖融入群體，然而過程中，新的界線又不斷被畫出來。
對我來說，這部作品就像一場對話，一場不需要語言的對話。透過劇場藝術的語彙，我希望邀請觀眾一起去感受這種「看見」的瞬間，以此作品為起點，驅動我們前進，重新凝視曾被忽視的模糊邊界。
Choreographer CHEN Po-Chieh is inspired by the philosophical concept of “Alteritas” to explore the phenomenon of “otherness” in contemporary society. Through the language of theater art, she reflects on the relationship between self and other, confronting mainstream culture’s prejudice and marginalization of differences. The work emphasizes that “the other” is not merely an external group but an identity shift that anyone can experience, flowing within blurred boundaries. It invites the audience to reconsider the profound notion that “our existence is mirrored and affirmed through the other.”
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I have always felt that “the Other” exists within blurred boundaries.
People often think of “the Other” as someone distant, unfamiliar, or different from themselves. However, in everyday life, when we brush past strangers, glance at fleeting images in the news, or even look into our own reflection in the mirror, I realize that “the Other” exists right here among us — sometimes, it even is us.
This work is my exploration of that concept. The forgotten faces, the overlooked figures, and the stories that emerge and vanish in the endless stream of information — they seem like a continuous process of collective forgetting. These faces and stories fade, becoming distant and blurred, prompting me to reflect on the gaps in how we perceive “the Other.”
In the pursuit of belonging, each individual tries to fit into a group. Yet, during this process, new boundaries are constantly drawn, defining who belongs and who doesn’t.
For me, this work is like a conversation—a dialogue without words. Through the language of theater art, I hope to invite the audience to experience the moment of “seeing.” I envision this work as a starting point, driving us forward to re-examine the blurred boundaries that have been overlooked.
