Team Members 成員介紹 鍾伯淵 曉劇場 暨 萬座曉劇 場藝術總監 艋舺國際舞蹈節策展人 張欣怡 國際事務顧問 林佑靜 陳家誼 鄭詠元 吳亦展 陳筱婷

曉劇場2006年成立於臺北，作品方向包括文學改編、社會議題的關懷與創作，以及城市系列，從劇場詮釋經典文學之美，從議題關懷我們共同生活的群體，從創作記錄城市的改變，希望透過每一個作品反映當代社會，更加瞭解生活的土地，也記錄我們存在的當下環境。曉劇場作品也積極向外推廣，曾參與上海、曼谷、日本等各地藝術節，2019年更前往英國愛丁堡藝穗節。曉劇場期望我們的作品能讓不同語言及文化背景的觀眾，都能為同樣的生命演繹所共鳴，藉由戲劇的力量帶給更多人真實的感動。 ENG sunlight, no difference Xiao Theater was established in 2006, and now operates "Tangshu Xiao Theater" in Wanhua Tangshu Cultural Park. Creations include "Swallow", "She Got John's Kiss and Became Hu Lide's Woman - A Prostitute's Room", "The Dirty Earth Trilogy", "Scorched Earth" and other "social issues"-oriented works: adaptations of Zhang Manjuan, Huang Literary adaptation series by Chun Ming, Mishima Yukio, Miyabe Miyuki and other literary masters; and ghost story series of "Slightly Cool Night in Summer" At the same time, based on Wanhua's locality, a community drama class was set up and a series of works "Otter Project" were published, and a drama course for the physically and mentally handicapped was conducted with the Nanhai Development Center with the goal of inclusive theater. She has participated in the Shanghai International Contemporary Theatre Festival, the Bangkok International Theatre Arts Festival, the Tokyo Arts Festival in Japan, the Taipei Arts Festival, the Asian Performing Arts Festival, the Tokyo Arts Festival and the East Asian People's Theatre Arts Festival in South Korea.

Home About Wan Program Visit Venue Our Team History International Development 【憂國】 曉劇場 曉劇場廿週年開春製作 日本文學大家三島由紀夫經典作品 2026東京下北澤演劇祭邀演節目 武山中尉與麗子享受著新婚的快樂，一場叛變讓武山在飄雪的清晨飛奔而出，而麗子懷抱著追隨丈夫於地下的覺悟整理隨身物品；她等待三天，當中尉回來後，她張羅丈夫日常、與之交歡，看著他切腹自盡；而後麗子莊嚴平靜的一人走上成就之道。 導演鍾伯淵以女性視角切入，透過麗子的眼睛回顧兩人共同赴死前的醒悟；看見三島由紀夫對於情欲與死亡的終極書寫，以及藉麗子從容赴死的姿態，展現對於個人精神信仰的極致美學。 查看更多 【毛皮瑪利】 曉劇場 「歷史都是騙人的，過去都是假的，只有明天會出現的鬼魂才是真實的！」 男扮女裝的瑪利依循自己的喜好與規則養育仇人之子，美少年欣也作為對戲的人，配合瑪利的教養，是屈從還是為贏得「母親」 的喜愛與歡心。 耽美頹敗的華麗意象裡， 穿著毛皮的瑪利一次又一次以自身叩問，這個世界的絕對標準究竟為何？ 查看更多 【手舞觸動2- You Will Never Dance Alone】 森林樂聾人舞蹈團 起初，跳舞對Jason來說似乎是一個遙不可及的夢想。在人生路上，Jason不時要面對許多不同的挑戰及挫折，自我懷疑與否定不斷在內心蔓延，但憑着對舞蹈的熱情，身邊人的支持，他鼓起勇氣繼續前進，找到重新出發的力量。跳舞能讓他表達自己的快樂，更能讓他挑戰社會帶來的種種限制。聾人的身份變成了一種力量，給予他一種獨特的視角，豐富了他的舞蹈。希望能夠透過對舞蹈的熱愛，自身對夢想的堅持，生命影響生命，激勵其他聾人及不同能力人士，相信自己的能力，並通過藝術尋找真實的自我。 查看更多 More Program 2024萬座曉劇場贊助合作單位 More About Us Shinehouse Theatre Want To Dance Festival The Shinehouse Theatre Arts Village Wan Theatre 標題 1

Team Members 成員介紹 Jessamine LIN Member of the Shinehouse Theatre, having graduated from the Institute of Arts Administration and Management at Taipei National University of the Arts. She has been involved in arts administration for many years, working on music, dance, and theater productions. She has also been involved in arts festivals and project management. She is currently assisting in the operation of Wan Theater and projects of Shinehouse Theatre. Constantly explore new possibilities in the field of performing arts. Back

2022 5/27-5/29 《電子城市》Electronic City 臺灣，臺北 Taiwan，Taipei 萬座曉劇場 Wan Theatre 6/10-6/12 宮部美幸三島屋奇異百物語《之間》In Between 臺灣，臺北 Taiwan，Taipei 萬座曉劇場 Wan Theatre 7/1-7/3 2022團圓培訓計畫《那些聽說的故事》 臺灣，臺北 Taiwan，Taipei 龍山文創基地 7/15-7/17 《潮來之音》 愛丁堡限定版 The Whisper of the Waves 臺灣，臺北 Taiwan，Taipei 萬座曉劇場 Wan Theatre 8/3-8/28 愛丁堡藝穗節 台灣季 《潮來之音》The Whisper of the Waves 英國，愛丁堡 England，England Summerhall 11/18-11/19 臺東藝穗節 《潮來之音》The Whisper of the Waves 臺灣，臺東 Taiwan，Taitung 三和定置漁場 10/21-10/23 曉劇場年度製作《戰士，乾杯！》To the Warriors! 臺灣，臺北 Taiwan，Taipei 萬座曉劇場 Wan Theatre 11/5-11/6 曉劇場年度製作《戰士，乾杯！》To t he Warriors! 臺灣，臺中 Taiwan，Taichung 臺中國家歌劇院National Taichung Theater 11/27 曉劇場年度製作《戰士，乾杯！》To t he Warriors! 臺灣，屏東 Taiwan，Pingtung 屏東藝術館 Pingtung Performing Arts Hall

「穢土天堂系列」描寫地上與地下世界強勢族群對於弱勢族群的文化侵略。透過一個現代進步的地上世界，對比原始落後的地下世界，從家園迫遷、文化侵略議題，延伸討論戰爭中的善惡。 The production series of「Armageddon」is the strong, representative work of Shinehouse Theatre, which depicts the cultural aggression against a disadvantaged underground world by a strongly ethnic aboveground one. Dirty Paradise Armageddon 2011｜fruit wine warehouse in Huashan Cultural and Creative Park ☆Nominated for Taipei Digital Technology Art Award This trilogy is based on the idea of the German Hitler regime and Nazi concentration camps during the Second World War; the play describes the underground society that heard that the underground contains a lot of natural resources and began to develop the underground, and discovered the underground that had sneaked into the ground after being defeated a long time ago. The human race carried out massacres in order to successfully obtain underground resources; and through three demonstrations of using underground women to teach social etiquette, culture and language as propaganda, to eliminate and cover up the massacre of the underground society by the government and to create an illusion of harmony. The prototypes of the three underground women in "Paradise of Dirty Earth" come from the three sisters of Chekov, who are entangled with yearning and memories of their hometown. The whole play is centered on changes such as slow massacres. The underground women face the cultural edification and display of the above-ground society, which weakens the uniqueness of the underground women's original society and the public's attention, and eventually leads the society to lose interest and die. The three underground women were sent back underground again. As the last survivors of the underground society, facing the already dilapidated underground world, they could only hum a song and disappear into the ruins. The production series of "Armageddon" is the strong, representative work of Shinehouse Theatre director, Po-Yuan Chung, which depicts the cultural aggression against a disadvantaged underground world by a strongly ethnic aboveground world. Through a modern and progressive world aboveground, contrasting with a primitive and underdeveloped world underground, being forced from their homes, and the issue of cultural invasion, extending to the discussion of good and evil in war. “Armageddon”, the first piece of the trilogy, three bareheaded Underground Woman open the show. The piece describes how the normal people discovered the underground world; how they invaded, massacred, plundered the ground; and how they used these three women to erase opposing public opinion through media. There was, however, limited resource only in the underground, and the invasion was highly criticized by the society, which eventually made the three women be sent back to the already destroyed underground. Yu Shanlu drama critic Choreographer Zhong Boyuan de-time-spaces the entire story and characters, but he seems to be able to feel the shadows of the Nazis, massacres and concentration camps, and even the more general relationship between oppression and oppression, civilization and destruction. Or today, there is no shortage of examples. underground woman 曉劇場_穢土天堂三部曲《阿道夫》(3mins) Play Video All Videos

Team Members 成員介紹 葉育伶 Nina YEH Executive Director 曉劇場行政總監 Member of Shinehouse Theatre. Bachelor of Journalism, National Chengchi University. Yeh has been the administration officer for Shinehouse Theatre since 2009, involving its recent productions as well as arts promotion in the community. Her recent participations include Shinehouse Theatre’s “Yugoku”” , “LA Marie Vision”, ”The Whisper of the Waves, Miyabe Miyuki’s “In Between” and the producer of Want to Dance Festival. Back

Home Program Visit Venue Our Team About Wan History International Development Shinehouse Theatre Arts Village Shinehouse Theatre has stayed in Wanhua for more than ten years. We saturate the inner energy of the works through in-depth field research. Since the Want to Dance Festival was held in 2019, dozens of creators have been invited to present their unique dance works in various parts of the Wanhua area, bringing abundant artistic and cultural energy to the region. Through the Shinehouse Theatre Arts Village, we hope to provide a more open space for artists to engage in a more diverse dialogue with residents, creating endless possibilities. The Shinehouse Theatre Arts Village was officially established in 2020. Through the provision of accommodation and creative space, we attract artists from different fields and different country. During the residency period, we will arrange opportunities for artists to meet with local people, so that they can have access to more diverse perspectives and viewpoints. The Want to Dance Festival Want to Dance Festival The Want to Dance Festival is hosted by Shinehouse Theatre since 2018. It is a dance platform for spontaneous exchanges and interactions. Wan Theater artistic director, Po-Yuan Chung, and National Kaohsiung Center for the Arts (Weiwuying) drama consultant, Yi- Wei Keng as the curator, provide independent choreographers with a stage for creation and performance and cordially invite curators, as well as local venue art festival organizers to participate in this grand event. Several atypical theater spaces in Wanhua will be used as stages for the festival. The first area to be developed in Taipei City was Monga, where a dance marathon full of vigor and experimentation and adventure will be launched. More About Us Shinehouse Theatre Want To Dance Festival The Shinehouse Theatre Arts Village Wan Theatre

Home About Wan Program Visit Venue Our Team History International Development TEAM MEMBERS 成員介紹 葉育伶 Nina YEH Executive Director 曉劇場行政總監 Member of Shinehouse Theatre. Bachelor of Journalism, National Chengchi University. Yeh has been the administration officer for Shinehouse Theatre since 2009, involving its recent productions as well as arts promotion in the community. Her recent participations include Shinehouse Theatre’s “Yugoku”” , “LA Marie Vision”, ”The Whisper of the Waves, Miyabe Miyuki’s “In Between” and the producer of Want to Dance Festival. Back More About Us Shinehouse Theatre Want To Dance Festival The Shinehouse Theatre Arts Village Wan Theatre

以日本原爆發生後為背景，描述一個不知名的村莊，四處滿是焦土，乾渴的村民們不斷向天祈雨，期待著雨會落下。在漫長等待降雨的過程中，藉由角色間關係的拉扯與壓制，緩緩揭開潛藏深處的人性黑暗面。《焦土》不只是以71年前的廣島長崎原爆作為背景，更是從身在臺灣生長於和平世代下，對於自身處境的反思。 "Purgator" is based on the atomic bombing of World War II in Japan, extending to the contemporary international community's unease about terrorism and war. "Scorched Earth" 2016｜Tokyo Art Theater, B Warehouse of Taipei Tangshu Cultural Park Purgatory "Scorched Earth" is a Taiwan-Japan transnational creative project. In 2015, Xiao Theater was invited to participate in the Asian Performing Arts Festival. Director Zhong Boyuan came up with the idea of "a hail of bullets", with the atomic bombing in Japan during World War II as the background, with "scorched earth" as the theme, and the In 2016, he was invited by the Asian Performing Arts Festival again to develop last year's concept creation into a complete work. Set in the background after the atomic bombing in Japan, it describes an unknown village full of scorched earth, and the thirsty villagers keep praying to the sky for rain, expecting the rain to fall. In the process of waiting for the rain for a long time, through the pulling and suppression of the relationship between the characters, the dark side of human nature that is hidden in the depths is slowly revealed. "Scorched Earth" is not only based on the atomic bombing of Hiroshima and Nagasaki 71 years ago, but also a reflection on one's own situation from growing up in Taiwan in a peaceful era. 「Purgatory」is the transnational creative project between Taiwan and Japan, supported by the Tokyo Metropolitan Government and the Taipei City Cultural Affairs Bureau, and premiered in 2016 at the Tokyo Metropolitan Festival 2016. The story is based on the atomic bombing of World War II in Japan, extending to the international contemporary community's unease about terrorism and war. Director Po Yuan Chung , adapts the concept of karma from Buddhist Zen, and combines it with the Japanese folk story "Monkey Crab Combat" to discuss the relationship between perpetrator and victim .Looking at the relationship of contemporary international political and social issues via the history of war. Yu Shanlu drama critic If there are other troupes dealing with such a theme, it is usually the translation or adaptation of foreign scripts. Xiao Theater is led by Zhong Boyuan, the core director of the troupe, who insists on caring all the way... Created with the theme of "scorched earth", thinking from it The far-reaching impact of war on people, from the damage, deformation and alienation of the outer body to the inner heart, brings a little extravagant desire for peace. Under its artistic transformation approach, it usually attaches an allegorical narrative to make the content more universal; it also includes reflections on contemporary social issues in Taiwan, and proposes an interpretation and interpretation of local reading. Rumination.

計畫理念 The Lost Civilization is the revelation of a civilization that dwells in the ocean depths of the world of Clorofilla. With the same interactive approach of Clorofilla, this project aim to explore new linguistic possibilities and to portray the multidimensional nature by which human beings perceive and experience the environment. The Lost Civilization aims to address the unsolved social conflicts of our age providing narrative and mystical visual solutions to them. The studio would be used all the 10 days each month to produce the music of the performance and record the tracks. After one week from the start of residency would be provided the plan (discussed together) of the work and goals to achieve, together with the plan of the workshops. Workshop proposal: Audiovisual tool for interactive performance (overview of different software for audiovisual performance and live demonstration). Body Mapping and Optical tracking modules: playing sounds and interact with the virtual world through leap motion Exploration of the virtual world of Clorofilla: how to build a metaverse through real time graphic engine and audiovisual interaction 5) In the ShineHouse Residence I expect to focus on the new project and get in touch with the local artistic scene, in order to merge the new experiences into the project of Niagara. I expect to release the new journey of Clorofilla in a final performance to show to the audience at the end of the residency. The Camp week workshop would allow collaboration with other artists that is one of my main points of interest in the residency' program. Back Latest latest news Artists About Us Sofia Albanese 是一位居住在柏林的作曲家和製作人。她在古典和爵士音樂方面的豐富經驗與她在音樂學院的學習相結合，融入了不同的電子項目以及電影和紀錄片的音樂。在過去的幾年裡，她專注於多媒體創作數位工具深化軟體，如 Ableton、Max MSP 和 Unreal Engine。如今，她的藝術研究主要集中在視聽藝術世界，以揭示跨媒體藝術的令人印象深刻的力量。 More About Us Shinehouse Theatre Want To Dance Festival The Shinehouse Theatre Arts Village Contact Us Address: No. 132-9, Dali Street, Wanhua District, Taipei City 10801 Tel: +886-2-2308-3398 E-mail: shinehousetheatre02@gmail.com

2018年伯淵導演藉國藝會「海外藝遊計畫」前往日本三大靈場之一的恐山，那裡仿若北投地熱谷的火山地形、堆疊一座座石頭塔祭弔亡魂，不停轉動的風車隨風旋去念想；日本八戶市當地的潮來巫女（Itako），必由眼盲的女子擔任，她以口傳遞著生死兩界的訊息，與台灣的觀落陰相似，令猝不及防地生命消逝時，生者得以傳遞思念。《潮來之音》是海潮陣陣逼近的聲響，是徘徊在生死間的低聲喃喃，也是滌淨的潮垢離。 "The Sound of the Tide" The Whisper of the Wave 2020｜Humei Theater, Huashan Huashan 1914 Cultural and Creative Industry Park The sorceress of the tide summons the dead, Through her mouth to murmur the voice of the dead, Cursing each other 's prematurely dead partners, cat lover, A man who is friends with potted plants... the tide comes and goes, Floating they try to anchor their lives, Wandering between bliss and hell In 2018, Director Bo Yuan borrowed the National Art Association's "Overseas Art Tour Program" to go to Mount Osore, one of the three major spiritual sites in Japan, where it resembles the volcanic terrain of Beitou's geothermal valley, where stone towers are stacked to hang the dead, and the spinning keeps turning. The windmill swirls with the wind to think; the local Itako in Hachinohe City, Japan, must be a blind woman. She conveys the message of life and death through her mouth. When life dies, the living can pass on their thoughts. The sound of the coming tide is the sound of the approaching tides, It is a whispered whisper wandering between life and death, and it is also a cleansing tide. Script writing/director︱ Zhong Boyuan's script translation︱ Body Design/Performance by Aoi Tsumura︱ my wife Emiko (Emiko Agatsuma) Performances︱Zeng Pei, Liao Zhiqiang, Zheng Yongyuan Li Tingyi, Chen Jiayi, Tu Jiayuan Producer︱Yeling Ye Stage Supervisor︱Chen Qiling Music Design︱Chen Mingyi Lighting Design︱Dai Cairu Costume Design︱Li Yichen Audio Technology︱Wu Anglin Graphic Design︱Liu Yulu Graphic Photography