Lắng Nghe Điểm Chạm

• Loại hình biểu diễn: Múa đương đại

• Thời lượng: 50 phút

• Độ tuổi phù hợp: 12+

• Ngôn ngữ: Ngôn ngữ Ký hiệu Thành phố Hồ Chí Minh, Tiếng Việt

• Genre: Contemporary Dance Theatre Performance

• Duration: 50 Minutes

• Age Rating: 12+

• Languages: Ho Chi Minh City Sign Language, Spoken Vietnamese 

Để thể hiện sự tôn trọng đối với văn hóa của cộng đồng người Điếc/Khiếm thính cũng như các nghệ sĩ của chương trình, chúng tôi khuyến khích bạn viết các cụm từ đặc thù như sau:

• Lắng Nghe Điểm Chạm

• người Điếc/Khiếm thính

• người Nghe

• Ngôn Ngữ Ký Hiệu

To show respect for the culture of the Deaf/Hard of Hearing community and our artists, we encourage you to capitalize the following specific phrases:

• Lắng Nghe Điểm Chạm

• Deaf/Hard of Hearing people

• Hearing people

• Sign Language

"...Because the piece does not simply deliver predefined meanings but rather explores them, audiences cannot experience it in a conventional way. Instead, they observe and discover beauty within the movement itself, even without a loud, explicit message.

Beyond creating a space where Deaf/Hard of Hearing people, and hearing communities can practice and experience art together, The Echoes of Our Touch experiments with an alternative way of using the body. This approach is not exclusive to Deaf/Hard of Hearing people; it invites everyone to reflect on their own bodies, exploring both their limitations and potentials."

— By Hoang Hai & Trao

"On stage, the chairs are far more than mere props. At times, they are lined up in perfect order; at others, they are knocked over, piled high, displaced, or isolated. This instantly brings to mind Eugene Ionesco’s play The Chairs (Les Chaises), where chairs symbolize absence, stripped voices, and those who are never allowed to appear yet continue to haunt our existence.

In The Echoes of Our Touch the chairs likely carry a similar weight. They represent the social framework - the structural system of 'who is listened to' and 'who is silenced.' When the artists step out of these rows and disrupt the established order, they stage a quiet yet sharp rebellion: it is not the chair that elevates a person; rather, it is the person who redefines their own status through action."

— Maritza Ti 

"On stage: human beings, movement, breath, light, color — symbols devoid of keywords. The sound drifts in and out; at times, it feels drawn straight from daily life; at others, it echoes back from some distant corner of the universe. It is impossible to tell where a scene changes or where the performance ends.

Powerless before the journey of logic, I finally surrender. Just watching. Just feeling. My hands unconsciously move along with the actors, the light, the rhythm of the sound, and a vague realization dawns on me: Ah… I guess that’s just how it is.

An experience for the eyes that forces you to 'listen' to the touchpoint..."

— Le Thien Tri