孔剧（Khon）是源自泰国宫廷的古典舞剧，被列入联合国非遗名录，风格优雅、舞步繁复。泰国当代舞蹈代表人物皮歇·克朗淳自少修习箜舞，《No.60》是他花费二十年钻研古典语汇、将其解构后带入当代世界的集大成之作。

他褪去传统面具与华丽服饰，重新梳理了泰国古典舞准则《特帕侬正典》中的59个基础身段动作——所有古典舞者都必须死记硬背这些内容。在自身修习中，皮歇深感传统传承方式限制了舞者的发挥空间。于是，他在《No.60》中以建筑、物理等不同学科为脉络，用极具科技感的图像化方式分析这59套舞步，融会贯通后生成六个全新原则，为这门七百年历史的舞蹈搭建出一个更自由的当代体系。

《No.60》既打破古典范式的僵化，也同时继承着泰国文化的精神内核。作品在传统与创新之间展开深度对话：二者共生流转、一脉相承。

（由ACT上海当代戏剧节与无边线舞蹈季联合呈现）

Khon as a form of performing arts that originated in the royal courts of Thailand, is an intangible cultural heritage known for its graceful, elaborate dance style. No.60 is the culmination of renowned Thai choreographer Pichet Klunchun’s two-decades-long research into the language of traditional Khon dance.

Stripping the classical form of its face-mask and sequined costume, Pichet scrutinizes the 59 poses and movements in the Theppanom canon which all Thai classical dancers acquire by rote-learning. From his own classical dance training since young, Pichet came to believe how traditional system limited dancers' creativity and started to seek a potential No.60 to break the ancient restriction. He decontructed the canon using diverse fields of knowledge such as architecture and physics, then generates six new principles that undergird the 700-year-old system and presents a manual of hand-drawn diagrams and notes that allows the young generation to think and learn rationally, free of mysticism and ideological imposition of history.

As No.60 unfixes the rigidity of classicism, it also embraces the sense and soul of Thai legacy. It unfolds a complex dialogue between tradition and innovation as they inhabit and circulate within the same continuum.

（Co-presented by ACT Shanghai Contemporary Theatre Festival and Dance Out of Box Festival）