Name: 凱爾-亞伯拉罕（Kyle Abraham）為《Harper's BAZAAR》當下特刊獻上《2x4》。 (Kyle Abraham Presents '2x4' for The Now Issue | Harper's BAZAAR)
Uploaded: 2025-06-18T18:23:02.000Z
Duration: 3 min 59 s

I'm Kyle Abraham, Artistic Director of AIM, and I'm here with you for the Now Issue.

我是 AIM 的藝術總監凱爾-亞伯拉罕（Kyle Abraham），現在和大家一起討論 "現在 "特刊。

未來簡單式

The dance work that you're going to see today is called Two by Four.

你們今天將看到的舞蹈作品名為《二乘四》。

這是一部由四位舞者共同完成的作品。

The music by Shelly Washington was composed for two baritone saxophone players.

謝利-華盛頓（Shelly Washington）的音樂是為兩位男中音薩克斯管演奏家創作的。

And in that context, it was two dancers and two musicians, thus comes Two by Four.

在這種背景下，它由兩名舞蹈演員和兩名音樂家組成，這就是 "二乘四"。

The kind of themes that come in in this work have to do in a lot of ways with differences, but also ideas around shape and support.

這部作品的主題在很多方面與差異有關，同時也與形狀和支持有關。

So in some ways, I was looking at construction and its most kind of streamlined academic way.

是以，在某種程度上，我是在用最精簡的學術方式研究建築。

But I also started thinking about ideas of support and how can we play with how we're supporting one another and also making the space to kind of have duality within a dance work.

但我也開始思考 "支持 "的概念，以及我們如何在舞蹈作品中發揮相互支持的作用，並創造出具有雙重性的空間。

The origin story behind Two by Four really started with a commission by Gagosian Art

Two by Four 背後的故事起源於高古軒藝術館的一次委託

Antoine Sargent had reached out to me to be a part of a show that he was doing called

安託萬-薩金特（Antoine Sargent）向我發出邀請，希望我參加他正在製作的一個名為

When I looked at some of the artwork that was going to be included, I started getting ideas around movement vocabulary, but more than that, a certain kind of sound.

當我看到其中的一些藝術作品時，我開始圍繞動作詞彙產生了一些想法，但更多的是某種聲音。

I was looking at a painting by visual artist Devin B. Johnson, and it really made me think about baritone saxophone.

我正在看視覺藝術家德文-B-約翰遜（Devin B. Johnson）的一幅畫，它讓我真正想到了男中音薩克斯管。

The brown in his painting and just some of the textures that I was seeing, it made me think about that kind of guttural sound.

他畫中的棕色以及我看到的一些紋理，讓我想到了那種 "咕嚕咕嚕 "的聲音。

And ironically, originally it started as a duet.

具有諷刺意味的是，它最初是以二重唱的形式出現的。

And then I really wanted to think about this idea of support all the more, and I felt like

然後我就更想去思考 "支持 "這個概念了，我覺得

I needed more bodies around me, I needed more support around me.

我需要身邊有更多的人，我需要身邊有更多的支持。

And so I started approaching what was a duet in the form of a quartet, this idea of a singular figure being in some ways supported and in some ways manipulated by the people around them.

於是，我開始用四重奏的形式來表現二重奏，這種想法是，一個單獨的人物在某種程度上得到周圍人的支持，在某種程度上受到周圍人的操縱。

The thing that is charging me the most right now to choreograph is trying to move through and persevere and push myself, hopefully make people feel seen, make them feel loved upon, make them feel empowered.

我現在最想做的事情就是努力克服困難，堅持不懈，鞭策自己，希望能讓人們感受到自己的存在，讓他們感受到自己的愛，讓他們感受到自己的力量。

The reach of dance is one that is dangerous, but it's also comforting.

舞蹈的影響力是危險的，但也是令人欣慰的。

There's this beautiful space in the abstraction of what dance can represent that allow people to feel empowered and make them feel charged in fun ways.

在舞蹈所能代表的抽象概念中，有這樣一個美麗的空間，它能讓人們感受到力量，並以有趣的方式讓他們感到充實。

It can also bring up a lot of questions for people.

So in some ways I'm here to question people, but I'm here to also make the space for them to have fun, for them to laugh, for them to cry, for them to scream.

是以，從某種程度上說，我在這裡是為了質疑別人，但我也在這裡為他們創造空間，讓他們享受樂趣，讓他們歡笑，讓他們哭泣，讓他們尖叫。

And all of that is a big part of what the now is for me.

對我來說，所有這些都是 "現在 "的重要組成部分。

Maybe because you're in the room with me while I'm making a dance, and I have to remain hopeful that I can continue to make dances, that dance will still be an art form that is funded in some capacity and that people will still come to see live in a theater.

也許是因為在我創作舞蹈的時候，你就在我的房間裡，我必須保持希望，希望我能繼續創作舞蹈，希望舞蹈仍然是一種在某種程度上得到資助的藝術形式，希望人們仍然會去劇院觀看現場表演。

I hope that this work can live on well beyond these ideas and constructs that are really kind of rooted in what people expect my experience to be.

我希望這部作品能夠超越人們對我的經歷所抱有的這些想法和構想，繼續存在下去。

I've always felt like as a black dance maker, that in some ways I'm marginalized by this sense that everything that I make has to be racialized.

我一直覺得，作為一名黑人舞蹈製作者，在某種程度上，我被邊緣化了，因為我覺得我所做的一切都必須是種族化的。

But the ironic thing is, I'm not the one necessarily putting that on, I'm just trying to be responsible to who I am and what I represent.

但具有諷刺意味的是，我並不是那個一定要穿上這身衣服的人，我只是想對我的身份和我所代表的事物負責。

So I hope that in 65 years' time, 10 years' time, that I can be making abstract work and it can raise questions well beyond ideas of race, gender, and the like.

是以，我希望 65 年後、10 年後，我還能創作抽象作品，而它所提出的問題能遠遠超出種族、性別等觀念。

We have to remain hopeful in the times that we're in.

在我們所處的時代，我們必須保持希望。

I have to be able to get out of bed and hope that there's something positive that not only

我必須能夠從床上爬起來，希望有一些積極的事情，不僅是

I can put forward in this world, but someone will be open to receive.

我可以在這個世界上提出，但有人會敞開心扉接受。

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凱爾-亞伯拉罕（Kyle Abraham）為《Harper's BAZAAR》當下特刊獻上《2x4》。 (Kyle Abraham Presents '2x4' for The Now Issue | Harper's BAZAAR)

ultimately

approach

context

figure