“「沒有屍體，就沒有犯罪 ; 沒有空間，惡行無法降落 ; 沒有表演，降落的惡行無法擴充殘響。」摘自你的創作筆記──〈秘密室〉，看似武斷的直述，卻有著深層社會觀察向度的提問。如你多數作品中的書寫參照，大多挾帶著問題意識。再藉由演說或旁白的呈現，導出具多種詮釋的腳本。而現在的你也正在為《切割、破裂、凝聚、碾碎、警察》琢磨一種可能的書寫路徑，用以討論介於警察與編舞之間的未知範圍。你將以何種測繪角度鋪成作品中的書寫脈絡？又如何開發文本擺渡於寫、說、演之間的多種敘事方案？。

“Without a body, there is no crime; without space, malice cannot land; without performance, the landed malice cannot expand its resonance.” This line, excerpted from your creative notes—Secret Room—appears at first glance to be an assertive statement, yet it raises deeper questions rooted in social observation. Much like the textual references that recur throughout your works, it carries a strong sense of inquiry. Through forms such as speech or narration, these writings unfold into scripts open to multiple interpretations.

At present, you are also contemplating a potential writing trajectory for Severing, Fracturing, Uniting, Pulverizing, Policing, in which you seek to explore the undefined territory between policing and choreography. From what cartographic perspective do you envision weaving the textual threads within this piece? And how do you plan to develop narrative strategies that allow the text to navigate fluidly between writing, speaking, and performing? “

打破沈默，如果脫隊，我們在那空白的廣場 ── 寫在《切割、破裂、凝聚、碾碎、警察》演前 彭若瑩/ 國家兩廳院平台