玩偶之家
A DOLL'S HOUSE
《玩偶之家》呈現的是出現在「賽博劇場計畫」中的復仇者群像——21世紀偶化宿命的女性。
「娜拉出走後」的結果是「娜拉」的大量繁殖,她嶄新的形象既被當成蕩婦也被當做聖母。《玩偶之家》像定期更新的電視劇或真人秀般,每集「娜拉」的複製品將送往不同的「家庭」,於不同的「化妝鏡」(荧幕)前,與自己相認——偶像孵化、網路紅人、虛擬歌姬、Cosplay、女僕咖啡、整容科技……一切正在「生成怪物」的女性,以及由這些「怪物」(玩偶)引出的恐怖和理想的後人類場景。

“A Doll's House” presents a group of avengers in the “Cyber Theatre Project”—women with dolled fate in the 21st century.
“Nora's departure” leads to the mass propagation of “Nora”. Her span-new image is regarded as both a slut and a goddess. Like in the regularly updated TV series or live show, the copies of Nora in each episode of “A Doll's House” will be sent to different “families” and identify themselves in front of different makeup mirrors (screens)—idol hatching, online celebrities, virtual singing girls, cosplay, maid coffee, plastic surgery technology… All is “becoming monster” women and the horror and ideal post-human scenes that these “monsters” (dolls) bring about.
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《玩偶之家》第一集:抖音玩偶
“A Doll’s House” Episode I: Tik Tok Doll


《〈玩偶之家〉第一集:抖音玩偶》中的新娜拉們是幾個習得抖音拍攝的短視頻「達人」,她們通過一套自我身體治理和人設打造,或擁有嬌好容顏或舉止乖巧,在濾鏡和美妝特效裏觀看自己,也被別人觀看。手勢舞、娃娃音,她們像永遠長不大的孩子,會向荧幕對面的陌生人以「爸爸」、「老公」相稱,她們扮演可愛,臉上一塵不染,動作仿若小猫、兔子等寵物,發出「喵嗚」的聲音,如果仔細凝視她們,會發現與「玩偶」無異,是昇華抑或墮落?互聯網隨時批量生產的審美範式,在她們身上得以實驗,同化無差別的「臉盲」,也在點贊經濟效應下被崇拜著,俘獲信眾幾十萬甚至幾百萬的關注量,讓她們成為無數人傳閱的少女寫真集。
《〈玩偶之家〉第一集:抖音玩偶》將讓觀眾看到一群「可愛」的女孩是如何養成的,她們如何通過穿衣服、化妝以及舞蹈排練,使自己成為「理想」的形象。但當「可愛」氾濫成災直至「可愛到爆炸」,會否演變成可怖?可怖是否也可以崇高?這些新娜拉們,哪怕嘴裡念出當年娜拉即將毅然决然「離家出走」的臺詞,但不想長大的娃娃音終於使之墜入甜蜜軟糯的呢喃。

In the “‘A Doll’s House’ Episode I: Tik Tok Doll” , the new Noras are the “experts” acquiring the skills of shooting short videos for Tik Tok. Through a series of body adjustments and character settings, they have either good appearances or gentle manners, and they look at themselves in filters and make-up special effects, and are looked at by others. With gesture dances and childlike voices, they were like kids who never grow up, and call strangers on the other side of the screen as “Daddy” or “Hubby”. Having clean faces, they act cute and are like pets, such as cats or rabbits. They even make a sound of “Meow”. If you stare at them, you will find they are just the same as “dolls”. Is it a sublimation or degeneration? The aesthetic paradigms produced by the Internet in volume at any time are practiced on them. The indistinctive “face blindness” is pursued under the economic effect of “giving a like”, and catches the attention of hundreds of thousands and even millions, making them a photo album of young girls viewed by countless people.
“‘A Doll’s House’ Episode I: Tik Tok Doll” will let the audience see how a group of “cute” girls are fostered, how they make themselves “ideal” images through dress collocations, make-ups, and dance rehearsals. However, when “being cute” is seen everywhere and even becomes “being extremely cute”, will it turn into terror? Will such terror become sublime? Though these new Noras speak the words of “running away from home” resolutely, their childlike voices of not wanting to grow up finally turn it to be sweet and soft twittering.
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