Writings

從2011年的1月起，我接受了國立中正文化中心『表演藝術』雜誌的邀請，為從2月起，每個月的專欄寫文章。 當時，我只知道這是一本和”表演”與”藝術”有關的雜誌，而且雜誌社並沒有規定文章必需要什麼風格、內容要和什麼相關，或是寫作的方向為何。文章唯一的限制只有，字數要在1000到1200個字之間。我該怎麼做… …

一開始，我給了這篇專欄一個標題，叫做『藝饗天開』，並希望每次都可以由“現在”與“過去”兩個不同的時間點來寫作一篇文章。過去所發生的事，有時是我以前發生過的，有的則是幾百年前音樂歷史上的事。我都會從兩個不同的時間點所發生的事各自做出發，最後再把兩件事連結在一起。希望讀者會因此期待或好奇，到底這兩件不同的事，是要如何串在一起，事情會有什麼發展，結局又會是如何。

至於風格，我希望文章是隨性、有趣、歡樂的，雖然有時是在描述一個事件，但我希望都可以和別的事做點有趣的連結。因此，我都會盡量不要太學術性、太乏味與嚴肅。

寫了這幾年的文章下來，我學習到許多有趣的經驗，雖然寫的過程總是有些“難產”，但是，我想我會一直寫到彈盡援絕為止。

In January of 2011, I agreed to write a magazine column for Performance Arts Review (PAR), a monthly periodical published by the National Concert Hall in Taipei, Taiwan. Although it was understood that the column would have something to do with the performing arts, the content, direction and tone was totally up to me. The only requirement was length. It had to be between 1000 and 1200 Chinese words in length. No more, no less.

To give it a consistent style, I decided that in each column, I would try to make connections between something that happened recently with an event or person from the past. The past could be represented by either something in my own past or in the last few hundred years, connecting with a figure in music history. The general plan was to weave a storyline from these different starting points, and finally putting them together, creating anticipation and, if successful, satisfaction in the reader to see how these very different stories eventually come together.

Regarding tone, my goal is to exude a spirit that is both capricious and sunny, one that may occasionally look deeply at things, but for the most part finds enjoyment out of making interesting connections. At all costs, it should stay out of the realm of dry, serious academia. 

Happy reading!