we are all in this together 舞蹈的八卦，Yahoo名人娛樂都在討論

Well, baby still doesn’t want to come out and one of the ways to naturally induce is to DANCE - Maybe I should join in another Mommy flash mob dance routine! Hahaha.
啊呀～ baby還是不想出來跟大家見面啊！不過聽說一個自然催生的方法是跳舞！也許我應該再安排一次孕媽咪熱舞快閃活動！哈哈！

It was so much fun to join this group of fun-loving, energetic moms for our flash mob at the Taipei Main Station a few weeks ago. It takes a lot to coordinate so many moms to come together (some even came all the way up from Kaohsiung!) so thank you to everybody that participated (21 moms. 21 babies :):))
跟著這些愛玩、有活力的媽咪們在台北車站熱舞快閃真的很high！要安排這樣的快閃真的不簡單但是沒有想到有這麼多準媽咪們願意跟著我完成這個 #跟Janet一起瘋好孕 夢想。 還有人特別從高雄上來跟我們跳舞耶！謝謝所有的準媽咪跟寶寶們跟我一起（加在一起，我們總共42位喔！）

If you are lucky enough to have a smooth pregnancy and get the OK from the doctors, don’t be afraid to go out there and live a normal life! Walk, exercise, and yes, even dance! You actually will feel quite good about yourself and the time goes by much faster. I even think that my body is better prepared to deal with some of the uncomfortable parts of pregnancy (back ache, sore waist, morning sickness, etc…) if you can try and stay active and do what makes you happy.
如果你是一位幸運的孕婦而且孕期基本上沒有什麼問題，再加上醫生也都說妳跟寶寶都是健康的話，真的不要怕繼續正常的生活！ 走路、 運動，甚至⋯⋯去跳舞吧！去釋放吧！去解放自己吧！也許妳的身體會感覺滿舒服或是放鬆的喔，而且，時間也真的過的比較快（樂）！ 我覺得也許平常因為有持續的動，所以我比較有力氣去面對懷孕過程比較不舒服的地方（腰酸背痛、骨盆鬆掉、 疲勞、孕吐等）。 所以我還是非常鼓勵孕媽咪們還有孕媽咪們身邊的家人⋯⋯我們應該做會讓我們開心的事。就像這些勇敢參與熱舞快閃、展露美美肚子在公共場合開心地跳舞，大家都好自信、好美、好開心！不過我也不是說每一位孕媽咪都要趕快去學嘻哈舞蹈啦哈！我想說的是～妳可以自己選擇妳想要的孕婦生活！

I think we need to do a reunion flash mob dance once we all have given birth to our babies… what do you think? Anybody else want to join in on a mom-baby dance? Or maybe a dad-baby dance this time?! George Young
我覺得等這次所有參與熱舞快閃的孕媽咪們生完小孩，應該再安排一次帶著小寶寶一起快閃， 你覺得呢？ 有人想要加入嗎？ 還是這次我們讓爸爸們帶著小baby來玩呢？！

感謝莉亞騷莎舞團舞步建議、遠銘燈光音響有限公司提供音響，也感謝台鐵台北車站場地提供與支持。

🖐🏽 五分鐘來關心國際時事— 挑戰性別規範 🇰🇿 🇰🇷

📘《Ken的文法筆記 I.》一月出售(詳置頂貼文)

📰 The K-pop inspired band that challenged gender norms in Kazakhstan
韓國男團挑戰哈薩克性別規範

They made their debut as a boy band, expecting to create music and amass fans along the way. Instead they were met with anger, protests and even threats.

這篇文章關於哈薩克斯坦(Kazakhstan)男孩樂隊(boy band)。這對樂隊是給韓國流行音樂(K-pop)所啓發的，目的是創造音樂(create music)和累積粉絲(amass fans)，結果他們遇到憤怒 (anger)、抗議 (protests)和威脅 (threats)，原因是他們挑戰性別規範（challenge gender norms）。

They perform choreographed dance routines, sing addictive tunes and have shockingly slick music videos - and no, we're not talking about a K-pop group.
This is Q-pop, or Qazaq-pop - an up and coming pop genre in Kazakhstan, which all started with one band, Ninety One.

這兩段介紹了哈薩克斯坦的有前途的流行文化類型(up and coming pop genre)，跟K-pop差不多：給刻意安排的舞蹈動作(choreographed dance routines)、上癮的曲調 (addictive tunes)和華而不實的音樂錄像 (slick music videos)。

But the band has not only made a name for itself through its music.
It also made a huge statement when its five androgynous looking members - complete with long hair, guyliner and makeup, burst onto the scene in the deeply conservative country - and challenged its gender norms.

這對樂隊不是因爲音樂成名(make a name)，而是因為他們的外形：雌雄同體樣子的(androgynous looking)、長髮(long hair)、給男性使用的眼線液 (guyliner) 和化妝(makeup)。

In 2014, an entertainment group in Kazakhstan held a singing competition - looking for talented individuals who could form a band.
Four boys - A.Z. and Zaq were selected, with Bala and Alem cast separately. They were joined by Ace, who had come from South Korea's famous SM Entertainment - the group behind some of the country's most popular K-pop acts.

"We became a team, wrote songs together, learned to dance and perform, and finally... debuted when we were ready," the band told the BBC in an email interview.

這幾段介紹樂隊的由來，部分成員來自一個唱歌比賽 (singing competition)，其中一名成員是韓國人。

But the band's producer and the man responsible for creating the group, Yerbolat Bedelkhan, wanted more than just one band.
His aim was to create a whole new genre of music in Kazkahstan, known as Q-pop, or Qazaq pop, inspired by K-pop.
Although it has now swept the globe, back in 2014 K-pop was arguably less well known in the West although it had a massive Asian following.

樂隊製作人(producer) 希望創造一個全新音樂類型 (a whole new genre of music)，他參考的K-pop的經驗，在2014年K-pop在西方不是很知名 (well known)。

"Ninety One were conceptualised as a domestic version of K-pop and to some extent are a manufactured group," said Megan Rancier, Associate Teaching Professor of Ethnomusicology at Bowling Green State University.

But when they made their debut, their appearance was a shock to many in the highly conservative country.
"The boys dressed in brighter colours, skinny jeans... their style was more provocative," Mr Bedelkhan told the BBC.
"When they went outside they were dressed in a way that people in the street don't usually dress. In our country, it's not accepted that men can dress brightly."

樂隊成員過的穿著在一個非常保守的國家 (a highly conservative country) 是個震撼 (shock)，他們的風格被視爲挑釁的 (provocative)。

People were so scandalised there were even protests, demanding the cancellation of their concerts and calling them "gay".
"People in Kazakhstan are very protective of what they believe Kazakh men and women look like," Aizada Arystanbek, a Kazakhstani gender-related issues specialist told the BBC.

"People's bodies and behaviour is policed by the public in a sense that there is always this notion of 'Is that a Kazakh thing to do?'"
Many of those who protested were young men.

"My father served in the army. When I show his photo, I am proud to say that... he's a real man. What about Ninety One?" one student against Ninety One says in a documentary about Q-pop, titled "Face the Music".

"I can't say they are not men, but they can't be called men either."

當地人要求樂隊取消演唱會(cancel concerts)和稱他們是同性戀(gay)，很多抗議人士是年輕男人，他們不接受樂隊成員的外表。

全文請至
https://reurl.cc/Q7nDeo

📘【Ken的高頻單字筆記 I】
購買辦法：https://is.gd/H8W7Qj

👨‍🏫【實用英語扎根培訓】
課程網址：https://reurl.cc/m95QDl

🎊上則貼文中獎名單
📮詹貝翎
📮黃阿喵
📮黃翠萍

(請私訊您的真實姓名 + 電話+地址，之前得過明信片的學員請告知國家，避免重複)
🎁 領獎期限: 01/09 20:00

《親密戲導演》

American Theatre，2018年11月號。
《演員的親密戲》

擷自內文：
「性愛場景，如同設計武打場，或是舞蹈動作一般，需要同樣細心編排的動作設計，特別是在這個 #MeToo時代。 」

「我在研究所時期也是演員，所以我有親身體驗—那種來自同事的不恰當經驗，一起跟我上台的人，或是導演完全不知道該怎麼處理這些(親密戲)場景，所以他們索性就完全不處理。」Sina說 「如果你有一個比較年長的導演，碰到親密戲他會跟你們說:你們就做吧，就試看各種可能。所以你們就開始在性愛場景中即興，這是非常不舒服的經驗，而且大多數時候非常令人受傷。」

「親密戲的指示，從來沒有在演員Emily與她的女搭檔編排動作設計遇到困難時出現(她們當時在編排一個充滿戲劇衝突的雙人愛情戲)，即使Emily之前演過同性間的愛情戲，她仍然發現自己舉步維艱， 而她的導演除了不斷對著她們大吼舞臺指示「洶湧的情慾」以外，毫無建樹。兩位演員根本沒有辦法自己演完這場戲，而她們發現到了排練最後階段，她們的導演對著她們大喊「就做吧。時候到了。」

「劇場的一切都是假的，」Sina說，「那是一個由演員搬演的假故事，我們必須永遠記得這點，你不應該因此失去自我，你必須在自我跟所做事情之間取得很好的平衡。是的，你必須把自己奉獻給角色，但你也必須要在適當時候離開。」
.
.
.
.
.
.
.
.
.
前言：
自己日常閱讀時發現這篇文章，其中許多觀念頗為受用，花了幾天翻譯出來，希望能給台灣帶來不同觀念交流、分享，人家對身體以及一切相關觀念，已經好前面了。

雖為英文系畢業，但仍非專業翻譯，謬誤之處歡迎指正。

歡迎轉貼，請勿用做商業用途。
.
.
.
.
.
.
.
.
正文：

Intimate Exchanges
Sex scenes require as much careful choreography as flight or dances, especially in the #MeToo era.

《交換親密》
性愛場景，如同設計武打場，或是舞蹈動作一般，需要同樣細心編排的動作設計，特別是在這個 #MeToo時代。

Adam Noble had been teaching an advanced scene class for just one month when he faced a startling encounter with sexual assault in acting. A student came to him asking for a new scene partner, saying she thought the man she had been working with, on the final scene between Stanley and Blanche in A Streetcar Named Desire, had tried to rape her.

Adam Noble在他的進階場景分析課上遇到一件令他膽戰心驚的表演性騷擾事件，一名學生跟他要求更換場景搭檔，她說她的搭檔企圖在他們一起工作《慾望街車》最後一景Stanley跟Blanche的戲時，企圖強暴她。

Noble immediately offered to serve as a mediator for the two students, who had been rehearsing alone in the young man’s dorm room, in order to clarify what had happened. The situation was resolved as a misunderstanding, and the two were able to continue working together. But for Noble, who had staged his first theatrical flight in 1992, the incident served as a wake-up call.

Noble立即以協調者身分為兩位同學提供幫助(他們一直單獨在男同學宿舍房間單獨排練)，以求能夠釐清事實真相。後來發現整起事件其實是個誤會，兩位同學也因此能夠繼續一起順利工作。但對於Noble來說—他從1992年就設計了他的人生第一場舞台打搏鬥戲—這起突發事件有如一記響鐘。

“We were sending these kids off on their own devices with no foundation for how to approach this stuff,” he recalled. The lack of resources for both students and teachers regarding the staging of intimate scenes was apparent.

「我們讓這些孩子在完全不具備如何處理理這種事的相關基礎知識時候，就放手要他們自己發展，」他這麼回憶。「因此，老師與學生雙方都缺乏排練親密戲的必須知識，這件事是顯而易見的。」

Noble developed a method called Extreme Stage Physicality to provide students with a framework to address what he called in an article for The Flight Master maginize “scenarios of intense physicality” with comfort and confidence. He began teaching ESP to high school, undergraduate, nd graduate students across the country. He found that the methodology was effective for all ages, and the number of reported incidents and problems dropped to zero.

Noble後來發展出了一套他稱之為「極端舞台形體」（ESP)的技巧，他對《The Fight Master》雜誌表⽰這個技巧提供了一組完整架構給學生使用，讓他們在「激烈的肢體情境」中可以感到安心並且擁有自信。他開始在高中、大學、研究所教導這套ESP技巧。他發現這套方法適用於所有年齡層，後來這些單位的性騷擾通報數量為零。

“For me as a director, it had to work for aggression, and it had to work for intimacy,” Noble said. “ It had to work across the board for those moments when the body steps in to fill the void, whether it’s violence or intimacy. Theres’s a point where the text and the words are no longer enough and the body steps in. There had to be a way for them to work on it safely.”

「身為導演，我認為在工作時，必須涵蓋侵略性以及親密性這些面向，」Noble說，「這些都必須要被全面地工作到的，特別是在那些時刻，當你的身體必須要介入來填補空缺的時候，會有那麼一個點，光靠文本跟台詞已經不足以支撐而你的身體必須要介入，在這時候必須要有一個安全工作的方法。」

That way would later be referred to as intimacy choreography, a term first used in 2006 by Tonia Sina, creator of the Intimacy Directors International. While studying movement pedagogy, including flowing and mime, Sina was helping to choreograph intimate scenes in student-directed plays and found what she described as “a hole” in choreography and no resources to help with her work.

那套方法，後來被「國際親密戲導演工作坊」創辦人之一Tonia Sina稱為「親密戲形體排練」。當 Sina在鑽研動作教育學時—其中包含小丑與默劇—一面幫忙在學生執導的劇目中擔任動作設計，就在這時候，她發現了在動作設計這個領域中的「空缺」，而這方面，她發現自己完全沒有任何資源可以幫上忙。

For her thesis he created a technique to help actors improve the conditions of their work as well as the results. Published in 2006, “ Intimate Encounters; Staging Intimacy and Sensuality” drew from her own experience as an actor. While attending graduate school at Virginia Commonwealth University, Sina’s personal life was disrupted due to the lack of structure provided for staging intimate sscenes. While rehearsing Picasso at the Latin Agile, she and her acting partner staged a love scene together, alone-a standard practice for such scenarios- with unnerving results.

她在她的論文創造了一套技巧，來幫助演員精進他們工作的狀態以及成果。2006年，她從自身演員經驗出發，發表了《親密接觸:表演中的親密性及其感官性》。大學就讀維吉尼亞聯邦大學時，Sina的私生活就因為沒有一套擁有完整架構的技巧來排演親密場景，而深受其苦。在排練Picasso at the Latin Agile 時，Sina跟她的表演搭擋需要排練一段愛情戲，而且是獨自排練—一個司空見慣的情況—然後最後結果卻令人不安。

“The second our lips touched it was not rehearing,” Sina recalled. “It was just kissing. We both felt it. We both knew. It ended up spiraling. We ended up leaving our parters for a month and we had a showmance. It caused a lot of mayhem in our personal lives because we couldn’t let these characters go. We didn’t have a safe way to do the intimacy, and we didn’t have a safe way of coming out of it.”

「當我們的嘴唇碰在一起時，那就不是在排練了。」Sina回憶道。「那就只是單純在接吻而已。我們都感覺到了，最後越演越烈，我們都因此而跟各自伴侶分手，在那個演出期間我們的私生活真的變得很混亂，因為我們都不肯放下我們劇中角色。我們沒有一個安全的方法來做親密戲，也沒有一個安全的方法來離開它。」

The two dated for a month, but their romantic relationship ended shortly after the show closed. And while Sina’s experience was consensual, there are many cases in which an intimacy director could have prevented non-consensual encounters and abuses of power, especially for young women in the industry.

他們兩個交往了一個月，但隨著戲告一段落感情也就馬上結束了。儘管Sina的案例是當事者雙方都心甘情願，仍然有非常多的例子不是如此，在那樣的狀況下其實親密戲導演是有大把機會可以防止這種違反自身意願的接觸，以及權力的濫用，特別是對業界年輕女性而言。

“While I was in grad school I was also an actress, so I was experiencing it firsthand- situations that had been completely inappropriate from co-workers, people who had been onstage with me, director and there’s a sex scene and they say, ‘You guys just do it. Just try something.’ So you’re improvising a sex scene with your partner. That’s extremely uncomfortable and very victimizing at times.”

「我在研究所時期也是演員，所以我有親身體驗—那種來自同事的不恰當經驗，一起跟我上台的人，或是導演完全不知道該怎麼處理這些(親密戲)場景，所以他們索性就完全不處理。」Sina說 「如果你有一個比較年長的導演，碰到親密戲他會跟你們說:你們就做吧，就試看各種可能。所以你們就開始在性愛場景中即興，這是非常不舒服的經驗，而且大多數時候非常令人受傷。」

Alcoa Rodies, co-founder of Intimacy Directors Internatial, witnessed and was a victim in such scenarios throughout her career. After almost chipping a tooth when a scene partner decided to intensify a kiss onstage, she was told, “ That’s part of the profession. Get used to it.” Knowing there were hundreds of other women who would gladly take her spot in a show if she left, Rodis thought she had to accept that kind of behavior for the rest of her career.

IDI共同創辦人Alcia Rodis在她自己生涯中，親眼見過幾個案例，並且，也曾經有過身為受害者的經驗。在她的對手演員決定在場上把吻戲變得異常激烈時，她的牙齒幾乎都要裂了，儘管如此，她還是被告知「這行就是這樣。早點習慣吧。」因為Rodis清楚知道如果她選擇離開的話，會有其他幾百位女性會搶破頭想要她的位置，她一度以為她必須要在整個職涯中接受這種狀況。

“We sort of learned that’s not the case, and we don’t have to just take it. We can actually be part of the process and work together,” Rodis said.

「我們後來知道其實並不是這樣的，我們不需要逆來順受。我們其實可以在整個工作過程中同心協力地工作。」Rodis 說。

Sina and Rodies, along with co-founder Siobhan Richardson, created the Pillars, the core protocol of IDI’s work and teaching. A codified process, the Pillars consist of Context, Commumication, Consent and Choreography. (They recently estabished a fifth pillar, Closure, to assist actors in walking away from a character after a performance.) Not having this process, Sina said, can be damaging and dangerous.

Sina跟Rodis，以及創辦夥伴Siobhan Richardson發明了「骨幹」這個IDI在工作及教學上的核心要素草案。其中包含：文本、溝通、同意以及動作(近期還加上了第五個骨幹:收尾。來幫助演員在戲結束之後順利離開他的角色。)Sina說，沒有這些幫助的話，是有可能帶來危害的。

“None of it’s real-it’s theatre,” said Sina. “It’s a fake story that is being portrayed by actors, and we have to keep remembering that. You shouldn’t be losing yourself. You need to have some semblance of yourself and some awareness of what you’re doing. Yes you can commit to the character, but you need to come out again.”

「劇場的一切都是假的，」Sina說，「那是一個由演員搬演的假故事，我們必須永遠記得這點，你不應該因此失去自我，你必須在自我跟所做事情之間取得很好的平衡。是的，你必須把自己奉獻給角色，但你也必須要在適當時候離開。」

IDI currently recommends four certified Intimacy Directors, with 16 candidates in training to become certified. Currently only established movement teachers, choreographers, and directors who have worked directly with a founder are able to apply for training. The organization also offers workshops for actors, directors who want to learn basic consent and choreography, and for stage managers and choreographers wanting to learn more about intimacy direction. In August 2018, a 10-day International Intimacy Pedagogy was held in Illinois.

IDI最近推薦了四位經過認證的親密戲導演，陸續還有其他十六位正在培訓。目前，機構只提供專業的、並且曾和創辦者共事過的動作老師、編舞以及導演可以申請接受培訓。IDI有提供工作坊給演員及導演學習「同意」與「動作」的基礎概念，另有舉辦工作坊，給有意願了解更多關於「如何給予親密戲指示」的舞臺經理與動作設計。2018年8月，他們在伊利諾州舉辦了為期10天的國際親密戲教育學工作坊。

Along with the Pillars, another crucial aspect of intimacy directing is recognizing and respecting traumas in one’s colleagues. All IDI-certified choreographers have completed state-offered metal health certification courses.

除了「骨幹」之外，另有一個至關重要的概念：辨識並且尊重同事的創傷。所有IDI的動作設計都完成了由州政府認證的心理健康課程。

“None of us are therapists, and none of us are counselors,” Rodis said. “But we know what to do if someone is having a metal health crisis, and we know what resources to give them. Because of the nature of the work we’re doing, and because some of us are so new, we’re getting further education on trauma.”

「我們都不是心理治療師，我們也都不是諮商師，」Rodis說「但是，我們知道當有人心理出現危機時該給他們什麼資源。因為就我們現在所做的工作本質上來說，我們都是新手，所以我們有必要持續在創傷這個議題上進修。」

While recognizing that theatre professionals are just that- professionals hired to tell a story- the founders also understand that that job can involve actors putting themselves through traumatic experiences night after night.
“We know what you’re doing is different than going to the office every day,” Rodis said, “If you’re playing Lady Macbeth every night, after a while it’s going to wear on you. So we also offer resources on how to close out at the end of every night.”

正因為知道劇場這個職業就是由一群受聘的專業演員來講一則故事，創辦者清楚的認識到這個工作可能需要演員讓他們自己日復一日、夜復一夜的經歷那些創傷。「我們明⽩你的工作不同於朝九晚五的上班族，」Rodis說，「如果妳每天晚上都在飾演馬克白夫人，過一陣子這個角色其實是會影響到妳本人的，正因為如此，我們也提供方法讓你在每晚演出過後把角色給關起來。」

One such resource is the ability to discuss sexuality and sexual experiences openly and without discomfort- a shift from the norm in American culture, which, as actor/director/teacher Claire Warden observed, has little problem with violence but tends to balk when it comes to sex, leaving directors feeling uncomfortable and embarrassed.

其中一個資源，就是擁有能力來討論性以及性經驗而不會感到不適。談論性這件事，不同於具有多重身份(演員、導演與老師)的Claire Warden觀察到的一個美國文化現象:談到暴力時大家都沒問題，不過一但談到性的時候大家都顯得有點畏畏縮縮的，這其實讓導演們都覺得不舒服與尷尬。

“We’ve got this really skewed view of sex and sexuality and intimacy, and an obsession with it,“ Warden Said, “ A lot of shame, judgment, power, and confusion lies around it, which has made it uncomfortable and awkward to talk about openly.” The root problem, she said, may be that “sexuality and intimacy have kind of blurred into one.”

「我們對於性與親密的相關議題有一種扭曲的觀念，同時卻又深深為其著迷」Warden說，「這同時又有許多羞愧、判斷、權力以及困惑參雜其中，因此讓它成為一個公開談論時會帶來不適與尷尬的議題。」根據她說，其實真正根深蒂固的問題是，我們把「性」與「親密」混為一談。

Intimacy direction was never mentioned when an actor we’ll call Emily(not her real name) was performing in a dramatic two-handler and struggled to choreograph a love scene with her female scene partner. Having never performed a same-sex love scene before, Emily found herself at a loss, and her director- whose only technique was to yell the stage direction “Rolling heat!” Repeatedly- was no help. The two actors were unable to stage the scene on their own and found themselves onstage at the end of rehearsal with the director yelling. “Just do it. It’s time.”

親密戲的指導，從來沒有在演員Emily與她的女搭檔編排動作設計遇到困難時出現(她們當時在編排一個充滿戲劇衝突的雙人愛情戲)，即使Emily之前演過同性間的愛情戲，她仍然發現自己舉步維艱， 而她的導演除了不斷對著她們大吼舞臺指示「洶湧的情慾」以外，毫無建樹。兩位演員根本沒有辦法自己演完這場戲，而她們發現到了排練最後階段，她們的導演對著她們大喊「就做吧。時候到了。」

Emily recalled that “when it came time to do it in performances, fight director friends of mine ho came to see the how said, ‘That look incredibly uncomfortable for you both. You looked like you were in pain and it was obvious.’’’ Her friends asked her where the intimacy director was. Emily had never heard of such a director, saying, “ I wish I’d known about it at the time when all the yelling was happening.”

Emily後來說，「後來真的演出時，我有個舞台搏鬥導演朋友來看演出，到了所謂的『就做吧』片段時，他說『那看起來對妳們兩個都極其不舒服，妳們看起來超痛苦，而且非常明顯。」她的朋友繼續問她親密戲導演在哪。Emily那時從來沒有聽過有「親密戲導演」這種導演，她說「我真希望在所有的吼叫發叫的當下，我能夠知道『其實有親密戲導演』這件事。」

Emily now a director herself, said she is carful to ensure that her actors are comfortable when staging intimate scenes. “I am hyper-aware of my actors’ sensitivity and I’m constantly checking in with them: ‘Are you okay? Are you comfortable with this? Let me know if you’re not comfortable. We don’t have to do this. We can do something else.’ And my actors thank me for it. They’re not used to that.”

現在身為導演的Emily表示:「在排練親密戲時，我總是對我的演員的感受保持超級高的敏感度，我會不停的詢問他們『你還好嗎？你對這個覺得自在嗎？如果有不舒服要讓我知道。我們不一定要這麼做，我們可以有替代方案的。』我的演員總是對此心存感激，他們對這樣的工作方式其實還不是那麼習慣。」

Uncomfortable situations can present themselves with or without directors in the room. Often scene partners are encouraged to stage the scenes on their own, outside of rehearsal, a practice that can lead to feelings of fear and helplessness. Sina was kissed inappropriately- a kiss that hadn’t been choreographed or rehearsed- in front of an audience of 500 people and had to be in character as she received it.

不舒服的狀況不論導演在不在場都有可能發生。通常演員們會被鼓勵私下自己排練，其實，這麼做很容易引發恐懼與無助感。Sina曾在500位觀眾面前被不當的親吻—一個沒被事先設計或是排練過的吻 —而她在被親的同時還要想辦法讓自己「待在角色裡」。

“There are times where it’s, ‘Kiss, but don’t kiss until previews.’ It’s the worst,” Rodis said. “At best it’s a bad story, at worst they start grabbing you, ‘be in the moment.’ That’s the definition of assault.”

「有時候的情況是親，但是在試演前不會真的親，那種是最糟的。」Rodis說，「當那種狀況發生時，你能得到最好的結果是一個爛故事，最糟的結果是你開始被這件事給抓住還要『待在當下』， 這其實就是侵犯的定義。」

Along with establishing the definition of assault, IDI training also defines consent in clear, unquestionable terms that differentiate between that and permission. A director can give permission to touch another actor, but only a fellow actor can give consent.

除了建立侵犯的定義以外，IDI還以清清楚楚、不容模糊的語彙界定了「同意」與「允許」的差異。 導演可以「允許」演員去觸摸對手，但只有對手演員自己才可以真的表示「同意」。

“The conversation is always very professional and technical, so when we’re talking about parts of the body, it’s the biological name of the part of the body.” said Warden. “And we as intimacy directors never ask anything about and never inquire about the actors’, directors’ or anyone else’s personal sexual life, history, story, proclivities, etc.”

「所有的討論都是非常專業的，當我們必須要談論身體的部位時，我們都會用生物學名稱。」 Warden說，「身為親密戲導演，我們絕對不會去問任何演員、導演或是任何人的個人性愛生活、歷史、故事或是性傾向...等等任何事情。」

The language doesn’t change when the workshops contain students, Warden said, though she may move more slowly.

語彙的使用並不會因為工作坊有學生而改變，Warden說，只是她會教的更慢而已。

“A lot of what we’re saying for adults is still, ‘That is not real. None of this is real.’’’ said Sina. “In rehearsal, we don’t add acting to it until the very last minute, We choreograph it like we do anything else. Just do the moves so everyone knows what’s happening. Then they can add the emotion to it when the actors are ready and they feel they know the choreography well enough. And if you can get that to happen for minors, it separates the sexuality from the choreography and allows them to treat it like it is: choreography.”

「即便我們跟成年人都一直在強調『這都不是真的，這一切都是假的。』」Sina說。「排練的時候，我們不到最後一分鐘是不會加上『表演』的。在最後關頭之前。我們都像是處理其他素材一樣，做形體動作讓大家都知道會發生什麼事。一直到演員們都準備好了，對動作都夠熟悉時，他們才會真的帶入感情去演出。如果你能夠讓這些未成年先開始這麼做，慢慢的所有人就能夠把性跟動作設計分開來來看，然後以正確的眼光看它:動作設計。」

The inability to treat intimate scenes as simply choreography is a problem Sina has observed at numerous drama competitions, where students without sexual experience or knowledge, let alone the ability to separate themselves from the characters they were playing, have performed sex scenes. These situations can be traumatizing for people without the knowledge or resources to handle it.

Sina在無數個戲劇比賽上觀察到一個問題，學生們往無法把親密場景當成動作設計一樣來處理，這群學生們沒有性經驗或是相關知識，想當然就無法在性愛戲中把自己跟扮演的人物切割開來看待。這種狀況是非常有可能讓人受創的，特別是對那些沒有相關知識，或是資源來處理這種狀況的人。

“If they’re not being led through it properly, it can be very, very dangerous,” she said. “It’s illegal in our country to do anything sexual with a minor or have two minors do something sexual in front of an adult. It’s very thin line between choreography and a crime when you’re dealing with minors.”

「如果他們沒有被好好引導的話，那真的非常非常的危險。」她說，「根據我們國家的法律，讓一個或多個未成年人在成年人面前做出帶有性愛意味的事情是違法的。所以面對未成年時，在『動作設計』跟『犯罪』之間其實只有一條非常模糊的線。」

Demand for IDI services and training has spiked in the past year, since the #MeToo movement has exposed abuse in the entertainment field, including theatre, and the issues of consent and empowerment in the workplace (not to mention outside of it) have become central.

自從去年#MeToo運動開始後，對IDI這個機構的服務與訓練來說，他們面臨了重要挑戰。在娛樂產業(包含劇場)的職場上(更別提職場外也是)，現在，關於「同意」與「權力」的議題都變得重要無比了。

“At the moment there’s so much need and demand and only so many of us to go around,” Warden said. “I cannot be in every single room and play out there, but what I can do is empower actors or directors or even stag managers to go into a room and say, ‘I would like to offer a way of talking about this.”

「目前來看，親密戲導演的需求與實際從業人數是不成正比的，」Warden說。「很顯然的，我不可能出現在每一個房間裡指導，但我可以做的是賦予演員、導演甚是舞臺經理權力，讓他們能夠在每個房間替自己發聲『我想要提供另外一種工作方式』。」

Also encouraging to Warden is the increased awareness among young students.

對Warden來說，令他欣慰的是年輕一代學生中對這件事情有意識的人數越來越多了。

“My hope, my intentions and my dream is that the next generation of actors, writers, and directors come out with a very different understating of respect and consent with their bodies and each others’ bodies,” Warden said. “And that leads us into an even more free and safe way to creat deep, authentic, risky stories.”

「我的願望、我的本意、以及我的夢想都是下個世代的演員、作家、以及導演都能夠對他們自己以及他人的身體，有一種非常不同於現在的理解、尊重、權利，」Warden說，「這可以讓我們以更自由，同時也更加安全的方式來創造出具深度、真誠、精彩的故事。」

Carey Purcell, New York city-based reporter

🎇【核心理念】—
台灣兒童街舞舞團「萌世代」與「動手動腳」於南投鹿谷鄉溪頭妖怪村🚺🚹
💖共同完成以「愛」為出發點、秉持著「Dance for Love & Hope 為愛舞動」的精神讓「愛，舞所不在」的企劃作品─《妖怪大集合》👿👿👿

🎬【作品介紹】—
在這支作品中我們可以看見，每個孩子看似小小的身體中卻有著大大的單純、活力與夢想支撐著他們的舞姿☀💃✨

🚩選擇以台灣南投縣鹿谷鄉溪頭「妖怪村」(又稱松林町) 為主題景點 ，是因為「妖怪村」始源於一段富有台灣人與自然環境密切情誼的傳說故事👹👺🏮為了要紀念松林勝一與台灣本土動物互動之溫情，故「妖怪村」因此而誕生。此故事中隱含著台灣人對自然生命之情感及保育概念🌿🐻🐱

☀【期望與目標】—
📢📢製作團隊希望透過此舞蹈作品向國內人提倡愛護和尊重一切生命與情誼，共同創造美好的社會環境💞
📢📢讓大家看見學習街舞的孩子心中有愛有夢！支持與推廣孩子們在正確的態度與認知下，一邊學習街舞一邊學習品格，培養下一代更積極正向的夢想與人生🙌🙌🙌

🙆 由「禾一文化傳承舞團」張益彰A-King老師編排與執導監製。
🌎期望透過此舞蹈作品「讓世界看見台灣」📣📣📣
能讓國內外更看見與認識「台灣」的兒童街舞、文化、景點、人情和故事👀💝👍👍👍👍

==========================================

動手動腳 FACEBOOK :https://goo.gl/4dfCtV
萌世代 FACEBOOK :https://goo.gl/E1KDDR

Chareography By A-King
Facebook : https://reurl.cc/WL825D
E-mail: locking25@gmail.com

Music Song :
J. Sheon - Cover 妖怪手錶/
ようかい体操第一 永安 二胡版
- 妖怪體操第一
【妖怪ウォッチ】ようかい体操第一


**NO COPYRIGHT INFRINGEMENT INTENDED**
-----------------------------------------------------------------------------------------

[Our Core Spirit]—
Two Taiwanese street dance groups for children, DSDJ and Monsda, have worked together to present《The United Monsters》 , which is all about love! They are united by the spirit of “Dance for Love & Hope” and the idea of “Dance Love Everywhere”.

[Children’s Infinite Power!]—
Within their small frames, there is vast innocence and energy powering the children’s dance with dreams. Even children can have great influences when they all unite for the same goal. Street dance is the way of their self-expression, dancing outside the box of language barrier. The audience gets to focus on nothing but the dance itself, witnessing the pure innovation, life and diversity of Taiwanese street dance.

[Monster Village, Taiwan]—
We traveled around in Taiwan and chose ‘Xitou Monster Village’ (Yaoguai Village) in Lugu Township, Nantou County as the background for “The United Monsters“. There is a folk tale about the close relationship between Taiwanese people and nature which originated from this village. Legend has it that it was built to commemorate the heartwarming interaction between Katsuichi Matsubayashi and native animals. As Matsubayashi was himself an orphan, he symathized with the orphaned Kuma, a sun bear, and Bado, a cloud leopard, so he adopted them and took them under his wing . Inevitably, it was soon time to bid painful farewell when Kuma’s and Badou’s appetite increased with their maturity. Matsubayashi released them to the wild with sorrow. One day, he ran into monsters in the forest. Kuma and Badou immediately appeared and rescued him. This story implies the warm relationship between Taiwanese people and nature as well as the concept of animal conservation.

[Our Goals]—
Our production team wishes to promote love, care and respect for all life forms and relationships to people through “The United Monsters“. Such union can build a better society. We support and encourage children to learn about street dance and virtue simultaneously with good attitudes which will cultivate a more active and positive dream and life for the next generation. A-King, our dance choreographer, has always seen the spirit of ‘Dance for Love & Hope’ as his teaching philosophy, hoping he can influence children of the next generation to dance for love instead of competition. Our vision is to bring Taiwan to the world stage for more people to see Taiwanese child street dance, culture, scenery, hospitality and legend.

週五終於來了！但這次的週五影片跟其他妹妹娃娃週五影片有些不一樣喔！說好的新一代台灣韓國女子團體mixxxUP! 來了！首波單曲「HOT 嚕啦啦」是團員 Lara A.K.A ‘Single Lady V’, Esther A.K.A E-Z-E和 Erica A.K.A ‘Mizz Jones’的第一首原創作品。負責發行單曲的公司妹妹娃娃多媒體表示三位藝人因為都是混血兒的關係而在製作的過程中很談得來。在訪問中mixxxUP! 團隊的主唱 Lara梁心頤 分享了對這次的合作的心得：「這次能完成這首歌真的是謝天謝地。寫詞已經不是一件容易的事，還叫我寫韓文歌詞，都不知道公司到底在想什麼。然後Erica錄音一直NG, Esther兇巴巴的樣子差點把所有的backup dancers嚇死，在過程當中，我一直都在想：’我們到底適不適合組韓國女子團體？’但到最後還是想通了，粉絲一直鬧著要聽新歌，別說我Lara梁心頤不講道理喔！」

上當了嗎？妹妹娃娃這次打扮像K-POP女團體是不是有點太適合了呢？誰有被我們整到了呢？趕快來舉手報到！但誠實說，妹妹娃娃團隊這次真的費很多心思把這次的影片製作出來,也與所有幫助我們的工作夥伴合作地很愉快！所以這次當作妹妹娃娃與Erica為了萬聖節打扮成K-POP女團體都大家開心吧～一起開心聽歌，笑一笑吧！ 在此祝所有妹娃星星們萬聖節愉快！
P.S.以上的訪問內容都是假的，Lara從來沒說過這種話！也在這提醒大家，Lara的正式單曲年底就要發了喔，可以期待一下。

Just like we promised, presenting the first single from the all-new K-Pop girl group mixxxUP!, ‘HOT (Lu La La)’. The song is the debut original single of members @Lara a.k.a ‘Lady V’, @Esther a.k.a ‘E-Z-E’, and @Erica, a.k.a ‘Mizz Jones’. Their representing company Meimeiwawa Multimedia has expressed that the three girls had an especially good time working together due to their multicultural backgrounds. During an interview, mixxxUP! Lead vocalist Lara Liang Veronin talked a little about the experience of producing their first single: “I’m thanking god this first single is done. Writing lyrics is no easy feat, but they even asked me to write Korean lyrics! I don’t even know what the company was thinking! And then Erica kept messing up the lyrics and re-recording, and Esther’s gangsta’ attitude scared all the backup dancers away too, it was a nightmare. During the production process, I kept thinking to myself: ‘Are we really suitable to take the leap and form a K-Pop girl group?’ But at the end of it all it seemed like a good choice, the fans keep nagging me to release a new song, so don’t say that I, Lara Liang Veronin didn’t keep my promise. I never said what kind of single, so here you go!”
...
HAPPY HALLOWEEN FOOLS! Who actually believed Meimeiwawa formed a K-Pop girl group? Comment below to let us know if you got pranked! In the spirit of Halloween and all things prank-related, we decided to ‘dress up’ as a Korean girl group and prank the living hell out of our fans! That’s how you know we love you :) In all seriousness, this was not an easy project to put together, so we’d like to thank all the sponsors and team members who got involved! So to all, happy Friday and an even happier Halloween!

Director導演－Esther Liang Veronin梁妍熙
Music & Lyrics辭去-Lara Liang Veronin梁心頤
Choreography舞蹈編排-Erica Song Jones宋瑞婷
Cinematography攝影：Yoga Zheng & Jesse Chui
Music Production/mixing音樂製作／混音：Sean Sinclair
Music & Arrangement曲／編曲：Jason Lu
Lyrics詞：Jay Choi

Special Thanks/Sponsors
Hair髮型：Sam Kuo & AB Hair Design
Special thanks／特別感謝： Ecouter & EVOKE
Makeup妝:喬姊
Styling造型: Jenna (Rice Society)
Shoes鞋子: Alla Prima
Clothing服裝：CHENG PAI CHENG
DVMGVE
Venue場地：Rhythm Alley 享港
Ronin Photography
Beryl Studio
Artist sponsor表演合作單位: Erida Studio 藝術文創工作時
Crew members側拍／剪接／執行： Yoga Zheng, Fanny Hsu

Subscribe to Our Channel for More Videos
每週創作新影片，請訂閱
https://www.youtube.com/channel/UCVNUjsLN4sbQHIfFclaK6qQ

Official Website: www.meiwamedia.com

Like us on Facebook 請按讚～！
妹妹娃娃多媒體 Meimeiwawa Multimedia
https://www.facebook.com/meiwamedia

Twitter
http://twitter.com/meiwamedia

Instagram
https://www.instagram.com/meiwasisters/

妹妹娃娃多媒體 Weibo微博
http://weibo.com/meiwamedia

妹妹娃娃多媒體 Youtube
https://www.youtube.com/user/meiwamedia/

Lara梁心頤 Facebook
https://www.facebook.com/hellolaraliang

Lara梁心頤 微博 Weibo
http://weibo.com/lianglara

Esther梁妍熙 Facebook
https://www.facebook.com/esther.veronin/

Esther梁妍熙 微博 Weibo
http://weibo.com/u/liangesther