六燃國際互動劇場
《for-giving, for-getting》（原諒．遺忘）
《nonuments》（無/非 紀念碑）

時間：2019/11/15(五)、11/16(六)、11/17(日) 晚上6:30入場
地點：原日本海軍第六燃料廠舊址（新竹市建美路24號）

交大跨領域藝術團隊與德國後劇場聯手製作演出的《for-giving, for-getting》（原諒．遺忘）與《nonuments》（無/非 紀念碑） 兩劇，以隱喻的手法帶出堆疊交錯在「原日本海軍第六燃料廠 新竹支廠」不同時間層的故事。

法國哲學家保羅.里克爾(Paul Ricoeur)說：原諒也許不可能，然而，然而原諒確實存在。在聽到祈求原諒這個陌生卻又熟悉的聲音後，我們可以做什麼呢？

《for-giving, for-getting》一劇以「記得才算存在」，探問：如果紀念是對抗遺忘，是否先記起才可能原諒呢？如果一座二戰紀念碑是象徵戰爭悲劇的結束，那麼《nonuments》邀請觀眾透過智慧型手機，在現場使用IoTtalk物聯網科技來建置（無/非）紀念碑的AiPOLLING手法，就是一場辯論的開始：

誰可以豎立紀念碑？
誰擁有話語權？
由誰來進行歷史書寫？
如果歷史被遺忘（dis-remember），原諒是否還可能？
如果for-getting（遺忘是為了拿取）是一場戰爭尚未癒合的傷口，那麼for-giving（原諒是為了給予）是否是一帖療劑，一種修復關係的可能？

製作團隊 Production Teams：
交大跨領域藝術團隊 transArt NCTU
德國後劇場 post theater
交大IoTtalk Lab

＊ 觀眾須憑票入場。索票訊息詳見活動官網或粉專
https://www.facebook.com/HsinchuLivingMuseum/
https://hclm.nctu.edu.tw/

The Sixth Fuel Factory Interactive Theater
“for-giving, for-getting” x “nonuments”
Two interdisciplinary Media Theater Performances World Premiere

11/15 (Sat)、11/16(Fri)、11/17(Sun) @ 18:30
The former Imperial Japanese Navy’s Sixth Fuel Factory, Hsinchu Branch（No. 24, Jian-Mei Road, Hsinchu City,）

The transArt NCTU and the Post Theater from Berlin will premiere their collaborative theatrical pieces — “for-giving, for-getting” and “nonuments” in November 15th 2019. Both works delve deep into the strata of historical memories about the former Imperial Japanese Navy’s Sixth Fuel Factory, Hsinchu Branch, thereby disentangling the intertwined strands of Taiwan’s WWII history. Pondering upon the meaning of Paul Ricoeur’s words “forgiveness maybe impossible, and yet, there is forgiveness”, “for-giving, for-getting” carries the dual dialectical implications of “forgetting is for getting; forgiving is for giving.” It argues that one is inexistent once being forgotten! Forgiving is only possible when those who have been consigned to oblivion are being remembered first.

With the support of IoTtalk technology and interactive computer program, the AiPOLLING system allows the viewers to vote in real-time through their smartphones and construct digital monuments respectively for Taiwan and Japan in a collective manner. If a WWII monument signals the end of the tragedy of war, the process in which the viewers co-construct the “nonument” through the AiPOLLING system on their smartphones marks the beginning of a new debate:

Who is allowed to erect the monument?
Who enjoys the power of discourse?
Who is entitled to write the history?
Is forgiving still possible when history has been dis-remembered?
If for-getting (forgetting is for getting) is an unhealed war wound, is for-giving (forgiving is for giving) a cure for the war trauma, a possibility for fence-mending?

Production Teams
transArt NCTU
post theater
IoTtalk NCTU

For more information, please visit:
https://www.facebook.com/HsinchuLivingMuseum/
https://hclm.nctu.edu.tw/