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\n\n2019年,首度於衛武營國家藝術文化中心歌劇院盛大演出!
\n\n義大利歌劇巨擘普契尼的三幕歌劇《杜蘭朵》,傳頌九十幾年,無論是穿梭劇中的中國民謠《茉莉花》、亦或是男主角卡拉富王子深情演唱的《公主徹夜未眠》早已深植歌劇迷心中。經典旋律交織,宛如跟隨杜蘭朵進入夢境,走入公主三道謎題難以猜透的情節中並以愛終結。導演黎煥雄將場景想像成一個被下令不許入睡,而開始集體夢遊起來的紫禁城,將舞台打造成一片傘海、一個下著滂沱大雨的城市;並跳脫「西方的東方想像」,透過一位現代女孩的夢境穿越古今,藉由夢境的虛幻及時空拼貼,解套原始劇情細節的超現實與過度跳躍的情節,進一步深層投射當代觀點。
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臺德攜手共同打造的全本《杜蘭朵》,由指揮簡文彬﹑導演黎煥雄,率領藝術暨創意團隊─舞台設計梁若珊、新媒體影像設計王俊傑、服裝設計賴宣吾,並結集世界頂尖歌手,特邀長榮交響樂團、高雄室內合唱團與世紀合唱團全本鉅獻。席捲全球的國際共製歌劇《杜蘭朵》,終於回臺上演!
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演前導聆
\n\n4/04(四)18:50-19:10於歌劇院2樓大廳由衛武營藝術總監 簡文彬與導演 黎煥雄進行演前導聆
\n4/05(五)18:50-19:10於歌劇院2樓大廳由衛武營藝術總監 簡文彬與導演 黎煥雄進行演前導聆
\n4/06(六)18:50-19:10於歌劇院2樓大廳由衛武營藝術總監 簡文彬與導演 黎煥雄進行演前導聆
\n4/07(日)13:50-14:10於歌劇院2樓大廳由衛武營藝術總監 簡文彬與導演 黎煥雄進行演前導聆
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演出人員
\n\n指揮|簡文彬
\n杜蘭朵|左涵瀛 (4/5、4/7場次)、德嘉娜.拉達科薇 (4/4、4/6場次)
\n皇帝|張玉胤
\n帖木兒|朴泰桓
\n卡拉富|達里歐.迪.維耶特利(4/5、4/7場次)、 佐藍.托多羅維奇(4/4、4/6場次)
\n柳兒|林玲慧(4/5、4/7場次)、 安可.克拉貝(4/4、4/6場次)
\n平|吳翰衛
\n龐|林健吉
\n彭|胡中良
\n宣旨官|李增銘
\n意象女孩|余承蓉
\n意象演員|吳佩芝、林靖家、郭彥緯、張皓瑀、馮性穎、黃雅美、黃程尉、彭琮硯、童謹利、
\n楊智翔、蔡旻倩、蔡紫縈、蔡豐旭、蘇莞筑
\n樂團|長榮交響樂團
\n合唱團|高雄室內合唱團
\n兒童合唱團|世紀合唱團
\n舞台樂隊|高雄市管樂團
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藝術暨製作團隊
\n\n導演|黎煥雄
\n舞台設計|梁若珊
\n新媒體影像設計|王俊傑
\n服裝設計|賴宣吾
\n燈光設計|郭建豪
\n肢體指導|張雅婷
\n聲樂指導|王佩瑤
\n合唱指導|朱如鳳、翁佳芬
\n兒童合唱指導|楊惠宮
\n舞台監督|李立菁
\n助理舞監|鄒昌荃
\n舞台技術指導|張富強
\n服裝管理統籌|邱翊蕙、陳文蕙
\n彩妝執行統籌|黃慧貞
\n髮型執行統籌|楊攸仁
\n導演助理|崔台鎬、吳子敬
\n舞台設計助理|曾穎慧
\n新媒體影像設計助理|楊承翰
\n肢體指導助理|黃筱哲
\n舞監助理|柯佳儀
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照片版權|Hans Jörg Michel
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因節目異動而希望退換票的觀眾,即日起至開演前一日可全額退票,相關退換票流程與說明請見
\n退票流程與說明
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本節目由衛武營國家藝術文化中心與德國萊茵歌劇院共同製作。
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贊助單位
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Evergreen Symphony Orchestra
\n\nFounded and supervised by the Chang Yung-Fa Foundation, the Evergreen Symphony Orchestra (ESO) is exceptional in being the only professional orchestra in Taiwan overseen by a private foundation, and one of but a few of its kind on the international stage. Young and energetic, full of team spirit and discipline, and characterized by outstanding professionalism and a unique style, the ESO's mission is to offer the public superior performances of classical music by training and employing local talent. It is devoted to fostering young musicians and cultivating an environment and outlook that is both rooted in Taiwan and open to the world, an aspiration that is amply reflected in the musical repertoire.
\nIn 2001, the Chang Yung-Fa Foundation invited a number of Chinese musicians and eminent international arts consultants to help form the Evergreen Orchestra, which initially consisted of 20 members. This was expanded to a full-blown symphony orchestra with 71 members in 2002: the Evergreen Symphony Orchestra (ESO). Its first two music directors were Kek-tjiang Lim (2002-2004) and Ya-hui Wang (2004- 2007). Since 2007, the post of music director and chief conductor has been held by Gernot Schmalfuss, former guest conductor of the Munich Chamber Orchestra, the Munich Philharmonic Orchestra, and the Stuttgart Radio Symphony Orchestra.
\nSince 2004, the ESO has toured abroad, and today no other Taiwan orchestra has more international concert tours under its belt, In September 2011 & June 2013, Samsung Heavy Industries twice invited the ESO to Seoul, Busuan in South Korea for performances. In June 2012, the ESO performed at Italy's two most famous musical events—the Ravenna Festival and the Ravello Festival. In July 2015 the ESO was invited to perform in Sydney & Brisbane Australia, breaking a historical record of Taiwan Symphony Orchestra debuting at the Sydney Opera House.In2014 and 2016, the National Centre for the Performing Arts invited the ESO to Beijing twice for the 4th and 5th China Orchestra Festival.
\nClearly, the ESO is taking Taiwan to the world, following the footsteps of the Evergreen Group, whose EVA Air and Evergreen Lines have blazed many trails for Taiwan with the rest of the world. The ESO will continue to export Taiwan’s music and culture to every corner of the global village.
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Kaohsiung Chamber Choir
\n\nKaohsiung Chamber Choir (KCC) is one of the most prosperous ensembles in
\n\nsouthern Taiwan. Founded by a group of choral music lovers in 2002, KCC has leaded the choral music community to an unceasing advancement in southern Taiwan. KCC performs a vast selection of local and international repertoires, female or male choral works, a cappella pieces, contemporary chamber choir music, and newly commissioned compositions in its semi-annual concerts and on other occasions. KCC's active presence on stage has brought several acclaimed rewards from private and public offices.
\n\nWith the skilful and apt members and a sound organizational structure, KCC thrives with the delicate art of choral music to promote the harbor city of Kaohsiung to the international arena. It is the power of this music that brings the beauty of Taiwan vis-à-vis the world.
\n'}],onShelf:!0,sliders:[],related:[],title:"Puccini Turandot",cover:"fbe5f3dc130f6e6ac6bf9dbad0fd3d08",site:{isOther:!1,site:"5aec4743b01ea6000520f65e",other:""},cautions:"In 2019, a grand-scale co-production of National Kaohsiung Center for the Arts (Weiwuying) and Deutsche Oper am Rhein will astonish all the audiences in Taiwan!
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“It is a dream. An exotic dream mixed with romance and cruelty. And it is how most of the people might choose their perspective to interpret Giacomo Puccini's Turandot. The three-act opera seems so surrealistic that some of the scenes are not historically truthful, and the characters are in lack of convincing motif to serve the plot twists. It is sometimes incoherent, and sometimes illogically bizarre. So, it has to be a dream. Even the lyrics mention the images of “dream” and “sleep” several times on foreground. How can it, the Forbidden City (known as Violet City in Turandot) where everyone is forbidden to sleep when all of them wander in their dream, not be a dream? But, whose dream is it after all? Is it a nightmare or a sweet dream?”Director Huan-Hsiung LI
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Conductor|CHIEN Wen-pin
\nTurandot|Hanying TSO-PETANAJ (April 5, April 7), Dragana RADAKOVIC (April 4,April 6)
\nThe Emperor Altoum|Yuh-Yin CHANG
\nTimur|Taihwan PARK
\nCalaf|Dario DI VIETRI (April 5, April 7), Zoran Todorovich (April 4April 6)
\nLiu|Ling-hui LIN (April 5, April 7), Anke KRABBE (April 4,April 6)
\nPing|Martin NG
\nPang|Claude LIN
\nPong|Joseph HU
\nMandarin|Rios Li
\nDancer|Yu-Cheng JUNG
\nExtra (Acting) |Pei-Chih WU、Jing-Jia LIN、Yen-Wei KUO、Hao-Yu CHANG、Hsing-Ying FENG、Ya-Mei Huang、Cheng-Wei HUANG、Tsung-Yen PENG、Ching-Li TUNG、Zhi-Xiang YANG、Min-Chien TSAI、Tzu-Ying TSAI、Fong-Syu CAI、Wan-Chu SU
\nOrchestra|Evergreen Symphony Orchestra
\nChorus|Kaohsiung Chamber Choir
\nChildren Chorus|Century Voice Choir
\nBanda|
\nThe Kaohsiung City Wind Orchestra
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Creative and Production Team
\n\nDirector|Huan-Hsiung LI
\nSet Designer|Jo-Shan LIANG
\nNew Media Designer|Jun-Jieh WANG
\nCostumes Designer|Hsuan-Wu LAI
\nLighting Designer|Chien-Hao KUO
\nMovement Supervisor|Ya-Ting CHANG
\nVocal Coach|Pei-Yao WANG
\nChorus Coach|Ju-fung CHU, Chia-Fen WENG
\nChildren Chorus Coach|Huei-Gong YANG
\nStage Manager|Regin LEE
\nAssistant Stage Manager|Annie JHU
\nTechnical Director|Jeremy CHANG
\nWardrobe Supervisor|Yi-Huei CHIOU, Wen Hui CHEN
\nMakeup Supervisor|Hui-Jen HUANG
\nHair Supervisor|Yu-Jen YANG
\nAssistant to Director|Tai-Hao TSUEI, Jing WU
\nAssistant to Set Designer|Ying-Hui CHEN
\nAssistant to New Media Designer|Chen-Han YANG
\nAssistant to Movement Supervisor|Hsaio-Che HAUNG
\nAssistant to Stage Manager|Chia-Yi KO
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The program is co-produced by National Kaohsiung Center for the Arts (Weiwuying) and Deutsche Oper am Rhein.
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Sponsor
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鄭宗龍攪動雲門新風暴
\n\n挑戰 22°的美麗與不安 冰冷與爆烈
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月暈,俗稱「毛月亮」。古語「月暈而風」,暗喻風起,有事情要發生了。
\n\n當月光穿透高空卷雲層的細小冰晶,折射22度角的剎那,月亮周圍築起一圈銀白的美麗光環。飄忽、朦朧又高冷的氣息,令鄭宗龍深深著迷。
\n\n鄭宗龍前往冰島追尋靈感,並以後搖滾天團Sigur Rós極地空靈音樂創作;邀請LV路易威登藝術首獎的剪紙藝術家吳耿禎,創造舞台幻境,並與世界劇場設計大獎的王奕盛聯手,以數座拼接的發光螢幕,映照變形的舞影與現境的虛實。
\n\n14位舞者幻化如獸,如原始神秘的部族,姿態蟄伏、肉體顫動,在精準切割的鏡面舞台上,演繹人性的欲望與爭奪,愛戀與孤寂,攪動《毛月亮》的現代傳說。
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演前導聆
\n\n4/13(六)18:50-19:10於歌劇院2樓大廳由雲門 陳品秀進行演前導聆
\n4/14(日)13:50-14:10於歌劇院2樓大廳由雲門 陳品秀進行演前導聆
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\n演後座談
\n4/14(日)演出結束後由雲門2藝術總監鄭宗龍進行演後座談
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藝術總監|鄭宗龍
\n\n生於臺北艋舺的鄭宗龍,街頭活力和人生百態是他的創作泉源。作品在德國、西班牙、羅馬、台灣獲頒大獎。2014年起擔任雲門2藝術總監,率領舞團深耕台灣,作品受邀巡演歐美澳亞,被讚譽為「國際舞蹈界新鮮而獨特的聲音」。2020年林懷民退休後,接任雲門舞集藝術總監。
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雲門2
\n\n雲門2於1999年創立,以培育編舞家、舞者及培養多元觀眾為目標。多次應邀赴紐約、倫敦、德國、新加坡、中國等地演出。不僅活躍於國際舞臺,更投注極大心力深耕基層,他們深入鄉鎮、校園推廣舞蹈藝術。學校、醫院、地震水災重建區、部落廣場,都是雲門2的舞臺。
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製作團隊
\n\n編舞|鄭宗龍
\n音樂|席格若斯
\n音樂統籌|查丹·霍姆
\n視覺設計暨統籌|吳耿禎
\n燈光設計|沈柏宏
\n影像設計|王奕盛
\n服裝設計|陳劭彥
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委託創作|國家表演藝術中心-衛武營國家藝術文化中心、國家兩廳院、臺中國家歌劇院
\n演 出|雲門2
\n製 作|財團法人雲門文化藝術基金會
\n指導單位|文化部
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其他巡迴場次
\n\n2019/4/19-21 臺北國家兩廳院國家戲劇院
\n\n2019/4/27-28 臺中國家歌劇院
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照片攝影|李佳曄
\n照片版權|雲門文化藝術基金會
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贊助單位
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\n",benefits:'
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In ancient folklore, a lunar halo is a sign foreboding changes, while scientifically it appears when the moonlight is refracted by 22 degrees through millions of ice crystals suspended in the atmosphere. In his new dance piece 22° Lunar Halo, CHENG Tsung-lung draws on this natural phenomenon to explore the themes of human anxieties, struggles, desires, love and loneliness in the lunatic, ever-changing world. Set to the music by the internationally renowned Icelandic band Sigur Rós, CHENG unfolds an exotic modern fable, as 14 dancers, like mystic animals, squeeze one another, creep, mate, fight, and kill on the deep-black mirror floor.
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CHENG Tsung-lung, Artistic Director
\n\nFrom hawking slippers on the streets of Taipei in childhood, CHENG Tsung-lung has grown into the Artistic Director of Cloud Gate 2 since 2014. Inspired by the dynamics of street life, his breathtaking works have been seen as a fresh and unique voice in the international dance world. He will succeed as the Artistic Director of Cloud Gate Dance Theatre of Taiwan since 2020 after Lin Hwai-min retires from the post.
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Cloud Gate 2
\n\nCloud Gate 2 was founded in 1999 by Lin Hwai-min, focusing on showcasing talented young choreographers and dancers from Taiwan. Since 2014, choreographer CHENG Tsung-lung has served as its artistic director. The Company has been acclaimed in venues and festivals worldwide, including Fall for Dance Festival and the Joyce Theater in New York; Sadler’s Wells in London; Internationale Tanzmesse NRW in Düsseldorf; Esplanade-Theatres on the Bay in Singapore; and major cities in China. It also reaches out to thousands of people by holding free outdoor performances and residency programs on campuses and in grass-roots communities in Taiwan.
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Production Team
\n\nChoreography|CHENG Tsung-lung
\nMusic|Sigur Rós
\nMusic Direction|Kjartan Holm
\nVisual Design and Direction| Jam WU
\nLighting Design|SHEN Po-hung
\nVideo Design|Ethan WANG
\nCostume Design|CHEN Shao-yen
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Commissioned by National Performing Arts Center-National Kaohsiung Center for the Arts (Weiwuying), National Theater & Concert Hall, National Taichung Theater
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Sponsor
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臺灣首演
\n勇敢是一生的課題 讓大人與孩子共享的童話改編劇作
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「喬埃.波默拉是當代最傑出、最有創意的導演之一……他不僅是作家、或導演,他能同時想到文字、表演、舞台設計、聲響與社會意義……。他的作品常讓人坐立難安,需要觀眾敞開心胸去接受。」—當代劇場大師 彼得.布魯克
\n「喬埃・波默拉與路易霧靄劇團的製作構思巧妙,文字、燈光與聲音彼此對話,向觀眾描繪世界與存有的狀態。」 —法國《世界報》
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2004年首演的《小紅帽》,是喬埃・波默拉在《小木偶》(2008)和《仙杜拉》(2011)之前創作的第一個童話改編作品。波默拉為女兒創作了這齣戲,創作同時也懷念著他的母親。波默拉想向現今的孩子們談談今日的社會,盡可能用最簡單且具體的方式,再一次去敘說這個小女孩的故事:她從母親家出發前往外婆家,並在途中遇到了一隻狼。
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世代間的交接、對成長的渴望和恐懼、孤獨、人與人之間的相遇…這些議題在故事中,都沒有被角色直接地著手處理,但正是如此,才讓《小紅帽》這個故事深深吸引著小孩以及大人。
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演前導聆
\n\n04/20(六) 13:50-14:10於戲劇院2樓大廳由周伶芝進行演前導聆
\n04/21(日) 13:50-14:10於戲劇院2樓大廳由周伶芝進行演前導聆
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導演、劇作家|喬埃‧波默拉
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喬埃.波默拉生於1963年,1990年他創立了路易霧靄劇團,集劇作家與導演於一身,只搬演自己的文本是他的特點。對他來說,舞台場面調度和文本這兩者並沒有層級先後順序之分,而是一個創作中平行且交互的兩個部分,是在排練過程的同時互相作用的。這就是為甚麼他稱自己是「舞台的作者」。喬埃.波默拉其作品獲得了無數個獎項。從早期創作階段以來,他受到其長期合作夥伴—奧爾日河畔布雷提尼劇院和巴黎維萊特劇院的支持,且應劇場大師彼得.布魯克的邀請,他同時也是巴黎北方劇院於2007至2010年期間駐院的藝術家。喬埃.波默拉試圖去創建一個同時親密且壯觀的視覺劇場。他鑽研了演員如何在舞台上塑造強烈的臨場感,以及劇場如何造成觀眾心神不寧的撼動。
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製作團隊
\n\n導演、劇作家/喬埃.波默拉
\n演出/羅多爾夫.馬丁、穆里愛.馬蒂內利、瓦萊麗.萬喜、伊莎貝.希沃阿勒
\n舞台與服裝設計/瑪格麗特.波爾達
\n舞台與燈光設計/艾西克.索耶爾
\n音效設計/格雷戈里.雷馬西、弗朗索瓦.雷馬西
\n舞台監督/湯瑪.哈蒙
\n製作/路易霧靄劇團
\n照片版權|Philippe Carbonneaux
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本作品由圖爾戲劇中心、奧爾日河畔布雷提尼劇院共同製作,由上諾曼第政府支持創作。
\n\n主辦單位|衛武營國家藝術文化中心
\n共同主辦|臺中國家歌劇院
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贊助單位
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\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[],related:[],title:"Compagnie Louis Brouillard Le Petit Chaperon rouge",cover:"993088b8d94e36ffbaa62359c19e89a5",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:"
Le Petit Chaperon rouge (2004) is the first tale rewritten by Joël Pommerat, prior to Pinocchio (2008) and Cendrillon (2011). He created this piece for one of his daughters, at the same time thinking about his mother.
\n\nHe intends to talk to today's children about the society nowadays through this play, to tell gain, as clearly and concretely as possible, the story of this little girl, who goes to her grandmother's house from her mother's and then meets a wolf.
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The transition from one generation to the next, the desire and fear of growing up, solitude, encounters…these issues have never been addressed directly by the characters. Yet, this is exactly what makes the story so mesmerizing for children and adults alike.
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Director/playwright|Joël Pommerat
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Joël Pommerat was born in 1963. In 1990 he founded Compagnie Louis Brouillard. Both as a playwright and director, he is known for only staging the plays he writes. Pommerat believes there is no hierarchy between mise-en-scène and text. Instead, both function and affect each other during rehearsals. This is why Pommerat calls himself “the author of performance”.
\nPommerat's works have won him numerous awards. Since his early period of creating plays, he has been supported by his long-time partners, Théâtre de Brétigny-sur-Orge and Théâtre Paris-Villette. In addition, invited by Peter Brook, he was also a resident artist at Théâtre des Bouffes du Nord from 2007-2010.
\nPommerat intends to build up a visual theatre, intimate and spectacular at the same time. He has been working on the ways to create potent presence of actors on stage, and the ways performance can disturb the audience.
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Production Team
\n\nWriter and Director| Joël Pommerat
\nSet and Costumes|Marguerite Bordat
\nSet and Lighting |Eric Soyer
\nSound |Gregoire Leymarie, François Leymarie
\nPerformers | Rodolphe Martin, Isabelle Rivoal, and Valérie Vinci
\nTechnical management|Emmanuel Abate
\nSound engineer| Yann Priest
\nLight engineer| Cyril Cottet
\nSur-title engineer|Jorge Tomé / Opus
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\nProduction|Compagnie Louis Brouillard
\nCo-production|Centre Dramatique Régional de Tours, Théâtre Brétigny – Scène conventionnée du Val d’Orge (subsidised theatre space), with the support of the Haute- Normandie, Region of France
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\nPresented by National Kaohsiung Center for the Arts (Weiwuying)
\nCo-presented by National Taichung Theater
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Photo by Philippe Carbonneaux
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Sponsor
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\n',team:""},createdAt:1544323627,updatedAt:1555504552,updatedBy:"葉奕萱"},{_id:"5c0c91b4a386a20006ededf2",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1556433e3,discrete:[{time:1556433e3}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,500,800,1200,1600,2e3],link:"https://www.artsticket.com.tw/CKSCC2005/Product/Product00/ProductsDetailsPage.aspx?ProductID=rotyiUrPteQHhcV8usYoag"}},sliders:[{type:"image",key:"fbba1d24c3df7ef495c83ece9d7392ff"},{type:"image",key:"4b9a6ca061ee861bdf07a7f2e246ba9a"},{type:"image",key:"d535708c999740640b59565e0ab9291c"}],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[],related:[],title:"福爾摩沙巴洛克古樂團《驚艷凡爾賽II》",cover:"fbba1d24c3df7ef495c83ece9d7392ff",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:"
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音符敲開巴洛克音樂的亙古源流 器樂穿梭於歐洲華麗宮廷
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十七、十八世紀的古歐洲,猶如盤古開天,光之初,人們亟望嶄新的事物。「法國太陽王-路易十四」帶動歐洲一連串的時尚革命,奠定優雅與威嚴的法式巴洛克風格,縱橫巴洛克時期的歐洲樂壇。
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法國頂尖大鍵琴家皮耶‧韓岱(Pierre Hantai)領軍的法蘭西斯古樂團(Le Concert Français)跨國界共製,該古樂團於1980年成立至今歷經三十多年歷史,將與一群臺灣年輕的福爾摩沙巴洛克古樂團員相輔相成。歐洲古樂復興運動的中堅大師團,與年輕有活力的臺灣古樂新秀,以原汁原味的法國路易十五時期的拉摩歌劇為契機,結合樂團、聲樂的形式,彰顯了藝術在亙古流傳中又一次次創新的生命力。
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摩娑古樂的脈絡,訴說一場歷史文化行旅
\n\n音樂部分挑選法國宮廷音樂師──盧利、拉摩的歌劇選曲及音樂之父巴赫的協奏曲。身如貴族般遊走於凡爾賽宮的鏡廳長廊,讓時光旅團帶領觀眾走訪十八世紀的歐洲,從陽光萬丈的凡爾賽庭院啟程,一路追尋至東方拂曉之地,見證東西文化結合的一瞬。
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演前導聆
\n\n4/28(日) 13:50-14:10於音樂廳3樓大廳由福爾摩沙巴洛克古樂團 陳逸芬 進行演前導聆
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福爾摩沙巴洛克古樂團
\n\n來自高雄旅法30年的古長笛陳逸芬,赴歐美接受完整古樂訓練,多年來參與許多歐洲知名古樂團;2010年起,將她在國際努力多年的成果回饋於臺灣古樂推廣,同年成立「庫普蘭巴洛克合奏團」以「18世紀歐洲宮廷音樂會系列」為臺灣開啟欣賞歐洲宮廷音樂的大門,隨後將活動延伸至全國各地;於2016年帶領一群旅居歐洲的臺灣新生代音樂家將樂團更名為「福爾摩沙巴洛克古樂團」,團員除了來自臺灣,還包括亞洲中日韓,並結集多位歐洲重量級客席古樂演奏家,並於同年3月首次在臺灣巡迴公演。短短的三年內已受邀於屏東南國音樂節、臺南藝術節、臺東藝術節、太平洋左岸藝術節登台獻藝,更受到國際上的關注。今年更受邀至北京《紫禁城‧古樂季》及天津大劇院登台亮相,也將是古樂團第一次進軍國際。
\n\n古樂團以「返璞歸真、重現作曲家當時之藝術理念」,並以當時作曲家所使用的古樂器演奏,搭配音樂講座、古樂器示範,以提攜臺灣新生代,推動古樂藝術教育與扎根,並朝國際舞台邁進。
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演出曲目
\n\n泰勒曼:F大調管絃樂組曲,編號55:F1
\n巴赫:小提琴與雙簧管C小調協奏曲,BWV 1060
\n盧利:《賽姬》、《羅朗》歌劇選曲
\n拉摩:《達爾達奴斯》、《伊坡里特與雅莉西》歌劇選曲
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演出人員
\n\n指揮 | 皮耶‧韓岱
\n男中音| 馬克‧摹雍
\n樂團編制:
\n首席 | 路易斯‧奧塔威‧桑托
\n巴洛克小提琴 | 近藤倫代、馬艷、大下詩央、金雲、鳥生真理絵、畑野達哉
\n巴洛克中提琴 | 林文娟、盧純瑛
\n巴洛克長笛 | 馬克‧韓岱 、陳逸芬
\n巴洛克雙簧管 | 帕提克‧柏繼厚 、張端庭
\n巴洛克巴松管 | 茱莉亞‧瑪麗翁
\n巴洛克大提琴 | 瑞納‧齊布林 、江佳樺
\n巴洛克低音提琴 | 菅間周子
\n大鍵琴 | 弗朗索瓦‧格里耶
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贊助單位
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\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[],related:[],title:"Formosa Baroque—Dreams of Versailles II",cover:"fbba1d24c3df7ef495c83ece9d7392ff",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:"
Formosa Baroque presents “Stunning Versailles “
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\nThe beginning of the 17th century was one of the most dramatic turning points in European history. People were eager for new inspirations and this was reflected in many aspects of art throughout the 17 and 18th century.
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In France the Sun King, Louis 14, led the fashion and established the Baroque style to the highest level with Palace de Versailles.
\n\nproject Stunning Versailles is a collaboration of well-established musicians from Le Concert Français ( founded in 1980) and young energized musicians from Formosa Baroque, led by foremost French harpsichordist Pierre Hantai. All the musicians are specialized performers on period instruments and understand the musical language of Baroque music.
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With singer Marc MAUILLON, we would like to invite you to go back in time, experience the 18th century's Europe, the glory and the beauty of Baroque masters music as it was heard 300 years ago.
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Formosa Baroque
\n\nCreated with the desire to develop knowledge of Early Music in Taiwan, Formosa Baroque had its first country-wide tour in March 2016. The ensemble is comprised of young musicians originally from Asia ( Taiwan, Japan, China, Korea...), who finished their Early Music studies in some of the major music conservatories of Europe, performing on original instruments under the guidance of eminent musicians such as François Fernandez, Marc Hantai, Rainer Zipperling, François Guerrier, Marc Mauillon, Pierre Hantai….
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Since 2010 under the direction of Baroque flutist Yifen Chen of the Taiwan Early Music Society, the orchestra became part of projects including Chamber music tours, masterclasses, a number of workshops specifically designed for a young audience to discover the richness of the Early music repertoire, and at the same time with the wish to see its continued growth in Taiwan.
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After its Taiwan tour with Baroque Suites and Concertos in 2017 and a project with Mozart Quartets and baryton arias in 2018, Formosa Baroque will have its first tour abroad and is invited by the Forbidden City Early Music Festival in Beijing and the Grand Theater in Tianjin.
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Program
\n\nG. P. Telemann: Orchestral suite in F Major, TWV 55:F1
\nJ. S. Bach: Concerto for Violin and Oboe in C minor, BWV 1060
\nJean-Baptiste Lully: Arias and dances from Roland and Psychée
\nJean-Philippe Rameau: Arias and dances from Dardanus and Hippolyte et Aricie
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Production Team
\n\nConductor | Pierre HANTAI
\n\nBaritone | Marc MAUILLON
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Formosa Baroque (period instruments):
\n\nConcert Master | Luis Otavio SANTOS
\n\nViolin | Michiyo KONDO、Yan MA、Shio OHSHITA、Yun KIM 、Marie TORIU、Tatsuya HATANO
\n\nViola | Wen-Chuan LIN、Chen-Ting LU
\n\nFlute | Marc HANTAI、Yi-Fen CHEN
\n\nOboe | Patrick BEAUGIRAUD、Duan-Ting CHANG
\n\nBassoon | Julia MARION
\n\nCello | Rainer ZIPPERLING、Chia-Hua CHIANG
\n\nDouble-Bass | Shuko SUGAMA
\n\nHarpsichord | François GUERRIER
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Sponsor
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\n',team:""},createdAt:1544327604,updatedAt:1556190310,updatedBy:"許哲維"},{_id:"5c0cb32ba386a20006edefeb",catalogs:["5aec418cb01ea6000520f635"],dateTime:{first:1556796600,discrete:[{time:1556796600},{time:1556883e3},{time:1556969400},{time:1557037821}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,600,900,1200,1600,2e3],link:"https://www.artsticket.com.tw/CKSCC2005/Product/Product00/ProductsDetailsPage.aspx?ProductID=rotyiUrPteRn360RBoaq%2fw"}},sliders:[{type:"image",key:"795be3844a2717762680bcce2b36abac"},{type:"image",key:"1523d626462e39f1944090b646df8a78"},{type:"image",key:"0a42890b20545f7e56976bdc33467cc5"},{type:"image",key:"99c550c38d287c1370663b541d703972"}],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[],related:[],title:"《釧兒》原創中文音樂劇",cover:"84346586e6f051a95594343b4fbb14b9",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:"
臺灣原創音樂劇口碑連演22場改版再現不必等
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一個不敢搬演《薛平貴與王寶釧》的歌仔戲班,存在著一段大家都不願提及的過往⋯⋯喪失記憶的團長兒子阿強,總在戲台上出神地尋找那段失落的曾經;一位年輕女子釧兒,每日等在戲台下期待薛平貴回窯時「身騎白馬」的曲調能再次響起;團長老友因為樂透中獎,委託財務困難即將解散的戲班於廟會連演30場,向廟方表達酬神敬謝之意,唯一條件就是戲班一定得再次搬演《薛平貴與王寶釧》⋯⋯當戲台上再次響起那段離窯與回窯的一世承諾,阿強的回憶逐漸浮現,一場穿越生死的鑼鼓大戲,就此展開。
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《釧兒》講述一個落魄的歌仔戲班和一段相知相守的愛情。當中「我身騎白馬過三關」的唱段,透過戲曲與流行音樂的交融,深植在多數人的記憶裡。《釧兒》以臺灣歌仔戲文化為底蘊,在西方的音樂劇架構中,創造出屬於臺灣人的現代戲劇唱謠。
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2015年《釧兒》在衛武營戶外榕園震撼首演,讓觀眾在戶外榕樹旁感受到臺灣本土的精神,結合地方故事情節,使得《釧兒》更加體現出屬於臺灣的文化故事。2019年,製作團隊將重新設計室內音樂劇版的呈現,淬鍊精彩可期的《釧兒》,讓更多人看到臺灣音樂劇的豐沛能量。
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演前導聆
\n\n5/02(四)18:50-19:10於戲劇院2樓大廳由曾慧誠進行演前導聆
\n5/03(五)18:50-19:10於戲劇院2樓大廳由曾慧誠進行演前導聆
\n5/04(六)18:50-19:10於戲劇院2樓大廳由曾慧誠進行演前導聆
\n5/05(日)13:50-14:10於戲劇院2樓大廳由曾慧誠進行演前導聆
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躍演
\n\n音樂劇團「躍演」創立于2007年。「躍演」致力于發展中文音樂劇創作與演出。音樂劇中的歌、舞如同戲劇中自然的講話與走位,舞臺上所要展現的不僅是一場表演,而是展現生命。借著創作者筆下結構性的文本、舞蹈與音樂,演員在舞臺上真實呈現人類共同的生活經驗,當下戲劇即成爲臺上與臺下共有的情感分享,以此觸動人心。
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\n以「紐約音樂劇表演概念與創作架構」為枝幹,在「本身文化」中尋找創作的能源與養分,由「人」的觀點出發,尋找貼近當代觀衆生活的寫實題材,幷積極結合新生代音樂、舞蹈、文字與戲劇創作者,藉由交互切磋與碰撞,激發出跨界的創作火花,建立屬於臺灣的音樂劇文化。
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贊助單位
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製作團隊
\n\n故事原創|澎恰恰
\n藝術總監・導演|曾慧誠
\n編劇・作詞|梁越玲
\n音樂總監、作曲暨指揮|李哲藝
\n音樂劇結構|曾慧誠
\n助理導演|林羣翊
\n舞台設計|謝均安
\n燈光設計|何定宗
\n影像設計|徐逸君
\n服裝設計|林恒正
\n髮妝設計|黃慧貞
\n道具設計|李宏美
\n舞蹈設計|張雅婷
\n鋼管舞設計|莊佳卉
\n編腔設計|陳文龍
\n戲劇指導|唐涵
\n身段指導|劉冠良
\n歌唱指導|謝淳雅
\n平面設計|好春設計・陳佩琦
\n演出樂團|灣聲樂團
\n協力演出|九天民俗技藝團
\n演出者|澎恰恰、呂名堯、張芳瑜、呂承祐、張瓈丹、葉文豪、王悅甄、張擎佳、黃奕豪、余子嫣、王意萱、蘇育玄、胡雅絜、徐宏愷、宮能安、李旻潔、張智一、王雯婷、周貞妤、柯長志、黃巨東、周宛怡、黃盛煜
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執行團隊
\n\n舞台監督|謝鴻廷
\n舞台監督助理|柯依杰
\n舞台設計助理|簡言行
\n影像設計助理|劉晏綺
\n舞台技術指導|雷陽隆
\n燈光技術指導|陳慶雄
\n舞台技術人員|李佩蓉、蔡宗運、王庭軒、黃鴻凱、謝青鈺、温承翰、詹牧恩、林宥洋、祁浩
\n燈光技術人員|曾羿佳、童偉倫、黃彥文、薛竣豪
\n音效執行|劉椿璐
\n服裝管理|林俞伶、林昕誼、呂沅螢、陳瑩鈞
\n髮型彩妝人員|楊攸仁、曾均峰、周采丰、韓宗憲
\n排練助理|高意雯、陳欣璟、蔡宜真
\n指揮助理|曾維庸
\n劇團經理暨製作統籌|林易衡
\n執行製作|史潔、李啟源
\n行銷宣傳|楊佩芬、林莫凡、凌韻筑、廖苑喻
\n執行美編|馬顥
\n英文翻譯|Jim Reynolds、蔡明慈
\n鋼琴伴奏|李妮穎、黃育翎、陳昶安、潘倍妤、林冠君
\n舞台工程|尚興舞台有限公司
\n燈光工程|群動藝術有限公司
\n音響工程|唐宋音響 Topsound
\n影像工程|博揚國際有限公司
\n影像拍攝|若思影像工作室
\n攝影|林政億
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\n\n
\n'},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[],related:[],title:"Reed Unbroken - A Musical",cover:"df90ad6a1b13d51893f1871f981084b4",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:"
Reed Unbroken is a story about a Taiwanese Opera troupe which is struggles to survive and a beautiful romance. A-Qiang, the only son of a leading Taiwanese Opera troupe, lost all memory of his love of Taiwanese opera in a tragic accident. Chuan, a mysterious and beautiful woman, stays always at his side, trying to help him recover his memories and his caring for the troupe by watching their favorite opera scene—Xue Ping-Gui & Wang Bao-Chuan, which is forbidden to perform for many years since the tragic accident. When circumstances eventually require the troupe to perform the scene, the bittersweet mystery erupts, generating shock waves that resound across heaven and earth.
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After four years from the premiere, Reed Unbroken will be reimagined and transformed, with a vision to expose a greater audience to the awe-inspiring power of Taiwanese musicals.
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The VMTheatre Company
\n\nThe VMTheatre Company, founded in 2007, is based on the performance concepts and creative structure of New York's musicals and feeds on local culture. The Company looks for realistic themes which are close to contemporary life from a humanistic point of view. It is especially interested in working and developing with young artists in music, dance, literature and theater in the hope of helping to contribute to the evolution of Taiwan's own musical culture through exchanging views and crossover collaborations.
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The company expects the audience to witness a piece of genuine human life, not merely a performance. As the actors experience aspects of life through structured speech, dance and music, the productions aim to become an experience that is not only emotionally shared between the performers and the audience, but actually co-created by performer and audience member.
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Production Team
\n\nArtistic Director, Director|Hui-Cheng Tseng
\nBookwriter, Lyricist|Yue-Ling Liang
\nMusic Director, Composer, Conductor|Che-Yi Lee
\nStory by|Cha-Cha Peng
\nAssistant Director|Chun-Yi Lin
\nStage Design|Chun-An Hsieh
\nLighting Design|Ting-Tsung Ho
\nTechnical Design|Chin-Yuan Yang
\nVisual Design | Yi-Chun Hsu
\nCostume Design | Heng-Chung Lin
\nHair & Make Up Design| Hui-Jen Huang
\nProp Design|Hiromi Lee
\nGraphic Design | Hao Spiring, Peggy Chen
\nChoreography | Ya-Ting Chung
\nActing Coach|Han Tang
\nTaiwanese Opera Figure Director | Kuan-Liang Liu
\nSinging Coach | Chun-Ya Hsieh
\nSound Design | Michele Paciulli
\nSound Engineer | TopSound co., Ltd
\nStage Manager | Hung-Ting Xie
\nProduction Management & Company Manager | Yi-Heng Lin
\nAssistant Executive Producer | Chieh Shih, Mardy Lee
\nOrchestra | One Song Orchestra
\nPerformers | Cha-cha Peng, Ming-Yao Lu, Fang-Yu Chang, Li-Dan Zhang, Wen-Hao Yeh, Yueh-Chen Wang, Cheng-Yu Lu, Ching-Chia Chang, Tzu-Yen Yu, Yi-Hsuan Wang, Yu-Hsuan Su, Ya-Chieh Hu, Honk-Kai Hsu, Neng-An Kung, Min-Chieh Li, Chih-Yi Chang, Yi-Hao Huang, Wen-Ting Wang, Chen-Yu Chou, Chang-Chih Ko, Chu-Tong Huang, Wan-Yi Chou, Sheng-Yu Huang
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Sponsor
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\n',team:""},createdAt:1544336171,updatedAt:1566891361,updatedBy:"葉奕萱"},{_id:"5c0cc7b6a386a20006edf132",catalogs:["5aec418cb01ea6000520f635"],dateTime:{first:1556969400,discrete:[{time:1556969400},{time:1557037800}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,600,900,1200,1600,2e3],link:"https://www.artsticket.com.tw/CKSCC2005/Product/Product00/ProductsDetailsPage.aspx?ProductID=rotyiUrPteRcbXYUrpKfng"}},sliders:[{type:"image",key:"272c9d96a333e045717aca97c64c6866"},{type:"image",key:"21b007122337805fe31865533b7344cf"},{type:"image",key:"5b74baa093b1ab2e3b7f2f045640cad4"}],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[],related:[],title:"明華園戲劇總團《龍城爭霸》",cover:"ef168868c9a77fa22f8e2092258be918",site:{isOther:!1,site:"5aec4743b01ea6000520f65e",other:""},cautions:"
\n明華園創團90年代表作 用青春接力延續戲曲薪傳
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明華園戲劇總團
\n創團90週年代表作—青春接力《龍城爭霸》
\n誰是龍城真正的霸主?—
\n充滿心機的城主— 龍麒麟?
\n正義勇敢的小么嘍— 蔡賽? 冒八?
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創團邁向90週年,明華園從「父母無聲勢,送子去做戲」的年代,到現在「做戲」成為代代相傳的志業,近年來全面投入「世代傳承」,由首席編導陳勝國為青年演員量身打造的「青春劇作」,讓新生代演員擁有恣意揮灑的舞台,期待為臺灣傳統藝術注入新的能量!
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明華園戲劇總團90週年代表作《龍城爭霸》,故事發想來自亂世中打家劫舍的山賊常常出現的台詞「眾么嘍!下山搶劫……」,從小人物的角度來看世界。
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首部曲《么嘍正傳》中敘述山寨中的小小么嘍,一群普通平凡的小人物,在紛亂的大環境中,證明只要力爭上游,小卒仔也能變英雄 !而最終回《龍城爭霸》,在看似「官逼民反」弱肉強食的戰爭中,充滿懸疑,真正的霸主即將現身!
\n\n盤踞著走虎嶺的虎潭寨山賊,遇見無不克的龍城官兵,山賊遇到兵恩怨情仇理不清;龍城城主龍麒麟攻破虎潭寨,留下美貌「過人」的虎潭山四寨主鹿靈犀,眾么嘍們將何去何從?
\n\n重病纏身的鹿靈犀,背棄父親龍城丞相鹿踏青,加入虎潭寨山賊行列,成為山寨首領,面對未婚夫龍城城主龍麒麟與虎潭寨么嘍陳林李蔡賽,三人之間情感的糾葛,結局又該如何?
\n\n龍城與虎潭寨之間,牽繫著什麼樣的情緣? 一段塵封的往事,隨著虎潭寨被攻破,將一頁一頁地被揭開。誰是龍城真正的霸主?──充滿心機的城主龍麒麟?正義勇敢的小么嘍蔡賽?還是冒八?
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明華園戲劇總團-寫下東方戲劇 傳奇歷史扉頁
\n\n明華園戲劇總團創立於1929年,歷經歌仔戲發展的興衰浮沈,以親切活潑的表演方式,狂野亮麗的舞台色彩,活潑奔放的演出形態,呼應時代脈動的戲劇內涵,讓來自草根的歌仔戲,從外台登上國家藝術殿堂,成功使瀕臨沒落的歌仔戲藝術,化身現今最有群眾魅力的文化創意產業。以打造「東方音樂劇」為目標,讓臺灣歌仔戲向世界發聲,足跡遍及全球五大洲,驚豔國際舞台。
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製作團隊
\n\n藝術總監暨製作人 | 陳勝福
\n編劇暨總導演 | 陳勝國
\n演出 | 孫翠鳳、陳昭賢、陳昭婷、陳子豪、李郁真、晨翎暨明華園戲劇家族
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贊助單位
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\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[],related:[],title:"The Battle of Dragon City",cover:"ef168868c9a77fa22f8e2092258be918",site:{isOther:!1,site:"5aec4743b01ea6000520f65e",other:""},cautions:"
●Duration is 170 mins with 20 mins intermission.
\n\t●Performed in Taiwanese with Chinese subtitles.
\n\t●Suitable for age 7+.\n\n\t●Latecomers must follow staff instructions for entry and re-entry.
\n\tWho is the rightful Lord of Dragon City?
\nThe existing scheming lord?
\nThe brave common bandit?
\nOr someone else?
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Reaching the 90th anniversary since its formation, Ming Hwa Yuan has transformed from “the ditch of career choice” to choice artistic career that transcend generations. In recent years, the group focuses on preserving their legacy with efforts like creating series of youth oriented productions by Playwright/director CHEN Sheng-Guo. These productions serve as a platform for new talents to shine, with the hope of injecting new breeze of life into Taiwanese traditional performing arts.
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The Battle of Dragon City marks the 90th anniversary memorial production of Ming Hwa Yuan, forming the narrative from a common war cry of bandits “fellas, let's rob!“, to depict a world through the lens of commoners.
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The Bandits portrays the rise of common bandits, their journey from zeroes to heroes. This proves that even commoners can achieve greatness in this chaotic world. In the sequel production, The Battle of Dragon City, what seems like a conflict between common folks and the authority lies the suspenseful reveal of the rightful Lord of Dragon City.
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The Bandits of the Tiger Ridge encounter the soldiers of the Dragon City; the force of Tiger-Pond Fort was vanquished, yet the beautiful bandit leader Lu Ling-Xi was pardoned by the victor. What fate awaits the defeated bandits?
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The ill stricken Lu Ling-Xi betrays her paternal family and her fiancé, the existing Lord of Dragon City, to join Tiger-Pond Fort. How will the love conflict formed by these individuals play out and resolve?
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What is the secret bond between Dragon City and Tiger-Pond Fort? A hidden pass will be uncovered with the fall of the Fort. Who is the rightful Lord of Dragon City? The existing scheming lord? The brave common bandit? Or someone else?
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Ming Hwa Yuan Arts & Cultural Group
\n\nEstablished in 1929, Ming Hwa Yuan went through thick and thin of GeZaiXi over the years, elevating the art form through the ages into a lively, colorfully imaginative, contemporary stage performance. With engaging stories that tackle modern issues, Ming Hwa Yuan was able to elevate GeZaiXi, Taiwanese Opera, a folk art performed on outdoor stage into the pantheon of national theatre, transforming a waning traditional art form to a shining beacon of Taiwan's cultural industry.
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The group continues to develop GeZaiXi as a medium to catapult Taiwan's unique culture to the global theatre scene, touring various continents and presenting the “Musical of the Orient” to more audiences around the world.
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Production Team
\n\nArtistic Director & Producer | CHEN Sheng-Fu
\nPlaywright & Director | CHEN Sheng-Kuo
\nCharacter | SUN Tsui-Feng、CHEN Chao-Ting、 CHEN Chao-Hsien
\nCHEN Tsu-hao、 LI Yu-Chen、CHEN Ling
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Sponsor
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\n',team:""},createdAt:1544341430,updatedAt:1566895352,updatedBy:"葉奕萱"},{_id:"5c0cd318a386a20006edf1fa",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1557037800,discrete:[{time:1557037800}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,500,800,1200,1600,2e3],link:"https://www.artsticket.com.tw/CKSCC2005/Product/Product00/ProductsDetailsPage.aspx?ProductID=rotyiUrPteRrAFjf6euJjw"}},sliders:[{type:"image",key:"7e3e635f4cbb48f94207b4635e7a7e70"},{type:"image",key:"dc92d29408cfa115fcff88c7d1a577a5"}],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[],related:[],title:"烏果斯基鋼琴獨奏會",cover:"3dcb20b8fe171ffb2cecac568393eba8",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:"
隱士般的鋼琴大師 首度來臺鋼琴獨奏會
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「烏果斯基是不可多得的鋼琴家,技巧令人信服,音樂更是刻劃動人」--紐約時報
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「烏果斯基確實有令人著迷的本事。他的音色非常美麗豐富,快速音粒乾淨清晰,又有寬廣音量幅度,最強奏至最弱音都有精細控制,還能自在駕馭各式艱深技巧……更特殊的是他的詮釋。貝多芬最後一首鋼琴奏鳴曲的最後一個樂章,演奏時間一般落在十五至十八分鐘,他竟然彈到二十七分鐘,能和晚年伯恩斯坦別出心裁的慢速比美。」——焦元溥
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鋼琴家烏果斯基彷彿是一位遺世而獨立的音樂家,又或者可說是一個鋼琴思想家。烏果斯基生於列寧格勒,他的詮釋有著極具個人色彩的高度藝術性,自由且自信,無論是在節奏上、或是輕重強弱對比上,都有其獨到的觀點,在烏果斯基的音樂哲學中,音樂沒有絕對地詮釋規則或明確解釋手法,音樂是活的,每次演奏都是依照他當時覺得正確的方向演繹。
\n\n2019年5月,被譽為俄羅斯鋼琴傳奇怪傑的烏果斯基首度來臺並於北中南三地演出,衛武營國家藝術文化中心為臺灣首站,曲目包含蕭士塔高維契、史特拉汶斯基與李斯特鋼琴作品。
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演前導聆
\n5/5(日)13:50-14:10由衛武營藝術總監 簡文彬與 陳宜鍾老師於音樂廳三樓大廳進行演前導聆
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烏果斯基
\n\n俄羅斯鋼琴家安納托.烏果斯基1942年生於列寧格勒,一台木琴和他的歌喉是他清貧的成長過程中僅有的樂器。他在六歲參加列寧格勒音樂院的資格考時,尚無接受任何音樂教育,但儘管從未演奏過鋼琴,他依舊順利錄取該校。烏果斯基在成為DG的專屬音樂家之後,先後發行了貝多芬《迪亞貝里變奏曲》、第32號鋼琴奏鳴曲、舒曼《大衛同盟舞曲》、穆索斯基《展覽會之畫》、布拉姆斯鋼琴奏鳴曲全集、梅湘《鳥類圖誌》等風格相當獨特的錄音;而2000年2月,他與芝加哥交響樂團與布列茲灌錄的史克里亞賓鋼琴協奏曲以及《普羅米修斯-火之詩》入圍葛萊美獎;近年來他在Avi灌錄的史克里亞賓鋼琴奏鳴曲全集也獲得高度讚譽。烏果斯基目前定居德特蒙,他在當地的音樂院擔任鋼琴教授直到2007年。
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曲目
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照片版權|Susesch Bayat、鵬博藝術
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贊助單位
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\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[],related:[],title:"Anatol UGORSKI Piano Recital - Taiwan Debut",cover:"3dcb20b8fe171ffb2cecac568393eba8",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:"
Ugorski's interpretations are informed by his personal beliefs. An intrinsic aspect of his artistic personality is that he challenges audiences and critics to discourse. Some considered his tempo to be a wholehearted intellectual testing of the musical material, others were outraged by the freedom he took with his interpretation. Unaffected by such debates, Ugorski holds to the musico-philosophical mantra that there is no supreme interpretative rule or ‘definative’ interpretation, only the “truth of the moment.”
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Anatol Ugorski is one of the very few pianists who experienced a meteoric rise in fame who also kept up and even refined his deep pianistic beliefs. Deeply rooted in the often-cited “Russian tradition” he is also a highly individualistic virtuoso personality. His distinctive commitment to 20th century composers like Messiaen and Boulez is characterized in an anecdote from 1967 when he attended one of the few guest concerts of Pierre Boulez in the Soviet Union. In May 2019, this extraordinary pianist is going to make his debut in Taiwan for all the Weiwuying's Audiences!
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Anatol Ugorski
\n\nAnatol Ugorski was born in Leningrad in 1942 and grew up in a poor background: a xylophone and his voice were his only instruments. When he was six years old he took part at the qualifying exam for Leningrad Conservatory, having had no previous musical education. He was accepted, despite never having played a piano before. He left the school in 1960 and continued his studies with Nadeshda Golubovskaya until 1965.
\n\nIn February 2000 Anatol Ugorski was nominated for the American Grammy for his recording of Scriabin's piano concerts and “Promethée. Le Poème du feu” with the Chicago Symphony Orchestra, conducted by Pierre Boulez.
\n\nToday Anatol Ugorski lives in Detmold, where he taught as professor for piano at the Music Academy until 2007.
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Program
\n\nD. Shostakovich: 24 Preludes and Fugues, Op. 87, No. 1 in C major, No. 19 in E-flat major, No. 24 in D minor
\n\tStravinsky: Three Movements from Petrushka
\n\tF. Liszt: Von der Wiege bis zum Grabe, S. 512
\n\tF. Liszt: Toccata, S. 197/a
\n\tF. Liszt: Piano Sonata in B minor, S. 178
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Photo by Susesch Bayat、Blooming Arts
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Sponsor
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\n',team:""},createdAt:1544344344,updatedAt:1566895060,updatedBy:"葉奕萱"},{_id:"5c0cdbefa386a20006edf267",catalogs:["5aec41a4b01ea6000520f63c","5aec4195b01ea6000520f637","5c1f074d5a5bea0006f3eb13"],dateTime:{first:1554346800,discrete:[],type:"continuous",continuous:{time:[1545534e3,1545544800,1545552e3],endTime:[1545536100,1545546900,1545554100],start:1554307200,end:1554566400}},activity:{type:"ticket",ticket:{price:[400],link:"https://www.artsticket.com.tw/CKSCC2005/Product/Product00/ProductsDetailsPage.aspx?ProductID=rotyiUrPteRf2CtL3z8gow"}},sliders:[{type:"image",key:"a3a852a3b52dc77998185afa9920bdfe"}],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[],related:[],title:"【家庭系列】小乳牛劇團《披頭四-寶寶音樂會》",cover:"ec4e7d58b6e37fbcb70ffdaaabaadffc",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:"
與孩子共度一場又像演出又像音樂會的温馨旅程
\n\n「不難看出為何這齣幾乎沒有語言成分的演出會風靡全球。」──英國《舞台報》
\n\n「小乳牛劇團融合了音樂、肢體、視覺藝術,創造出嚴謹、迷人,又充滿活力的演出。」──西班牙《TIME OUT》
\n\n「小乳牛劇團是最迷人的團隊之一。」──西班牙《國家報》
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介紹小朋友認識披頭四,永遠不嫌晚!這場音樂會以活潑的方式改編音樂,向披頭四致敬;專為寶寶及幼兒設計,適合闔家觀賞。由四位樂手演奏小提琴、薩克斯風、大提琴、打擊樂,搭配一位舞者,精心打造一個充滿活力的演出。
\n\n演出過程中,觀眾可隨著披頭四經典曲目的節奏,起舞、拍手、打拍子,甚至在舞台四周自由走動。歡迎大人小孩一同歡唱共舞,或是加入打擊樂器的行列,一起來同樂!
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小乳牛劇團
\n\n國際知名的小乳牛劇團,成員皆來自巴塞隆納,由世界頂尖舞者和音樂家組成;他們開創獨特的方式,使表演藝術和小寶寶、幼兒這群最棒的觀眾交流。小乳牛劇團的作品在全球許多知名劇院和藝術節巡演,並被評論家視為目前國際上寶寶劇場領域的佼佼者。小乳牛劇團希冀運用不幼稚且具啟發性的語言,創作出傑出的當代作品。
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製作團隊
\n\n藝術指導|艾伯特・比拉、伊娃・维拉米哈娜
\n編舞|伊娃・维拉米哈娜
\n演出者|雅柏・哈洛(大提琴)、勞拉・瑪琳(中提琴)、尼爾・維拉(薩克斯風)、艾伯特・比拉(打擊樂器)、伊娃・维拉米哈娜(舞蹈)
\n編曲|佐迪・貝蘿
\n影像互動設計|安娜・卡列拉斯
\n舞台設計|小乳牛劇團、寶拉・博世
\n服裝設計|小乳牛劇團
\n燈光設計|克勞迪・帕洛米諾、小乳牛劇團
\n燈光及音響工程|伊凡・魯比歐
\n製作|小乳牛劇團、Percussity Ltd.
\n特別感謝|加泰隆尼亞文化處、西班牙文化部、L’Estruch Sabadell
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贊助單位
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\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[],related:[],title:"【Family Series】La petita malumaluga Beatles for Babies",cover:"6aa733e2a173e86c5cf08d7c3591db2e",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:"
“It's not hard to see why this nearly wordless show has gone down such a storm internationally”. ──THE STAGE (United Kingdom)
\n\n“They have created a serious, attractive and energetic show that fusions music, movement and visual arts.” ──TIME OUT (Spain)
\n\n“La petita malumaluga is one of the most attractive companies.” ──EL PAÍS (Spain)
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It is never too early to introduce the youngest members of the family to the Beatles. This is an exciting and energetic tribute to the Beatles, adapted for babies, toddlers and their families by four musicians on violin, saxophone, cello and percussion team up with a dancer in a sophisticated and energetic production.
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At this concert performance, the audience is encouraged to dance, clap their hands, drum, and even move freely around the stage to the beat of the classic Beatles' songs. Adults and kids are welcome to participate in the performance by singing with the music, dancing along with others, or even becoming part of the percussion section.
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La petita malumaluga
\n\nLa petita malumaluga is an internationally acclaimed company of world-class dancers and musicians from Barcelona that have created a unique approach to interact performing arts with the most incredible audience: babies, toddlers and their families. Their productions have toured at some of the most relevant theatres and festivals around the globe and the critics have considered them one of the worldwide references in their field.
\n\nLa petita malumaluga believes in respectful creative projects, provocatively non-childish language and artistically contemporary productions.
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Production Team
\n\nDirection|Albert Vilà, Eva Vilamitjana
\nChoreography|Eva Vilamitjana
\nPerformers|Alba Haro (Cello), Laura Marín (Violín), Nil Villà (Saxo), Albert Vilà (Percussion), Marina Fullana (Dance)
\nMusical Arrangements|Jordi Bello
\nInteractive Video|Anna Carreras
\nStage|La petita malumaluga, Paula Bosch
\nCostume|La petita malumaluga
\nLighting|Claudi Palomino, La petita malumaluga
\nLighting and Sound Engineer|Ivan Rubio
\nProduction|Companyia Malumaluga , Percussity Ltd.
\nSpecial Thanks|Department of Culture of the Government of Catalonia, Ministry of Culture from Spain, L'Estruch Sabadell
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Sponsor
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\n',team:""},createdAt:1544346607,updatedAt:1552449488,updatedBy:"許哲維"},{_id:"5c135914924fb30006bd6f3d",catalogs:["5aec4184b01ea6000520f633","5c20aa1e5a5bea0006f404ab","5c930af4c74fa700062262d1","5c931152c74fa700062263f0"],dateTime:{first:1555729200,discrete:[{time:1555729200},{time:1555741800},{time:1555750800},{time:1555815600},{time:1555828200},{time:1555837200}],type:"discrete"},activity:{type:"ticket",ticket:{price:[900],link:"https://www.artsticket.com.tw/CKSCC2005/Product/Product00/ProductsDetailsPage.aspx?ProductID=rotyiUrPteTUW2ylyl5kgg"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"c2d74bbdc66bb0bbf18f3281336f907a",title:"衛武營—TIFA當代音樂平台|柏林新音樂室內樂團《立體鏡》"},{type:"image",key:"c495727b407c104194cd88b79dd22d45",title:"衛武營—TIFA當代音樂平台|柏林新音樂室內樂團《立體鏡》"}],related:[],title:"衛武營—TIFA當代音樂平台|柏林新音樂室內樂團《立體鏡》",cover:"5a3a9ef952308d28843f1c43643f3af0",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:"
《立體鏡》2015年以Le Stéréoscope des Solitaires之名稱於法國首演,演出以「音樂劇場裝置藝術」模式呈現,融合音樂會、劇場、舞蹈及裝置藝術等形式。表演的空間將會開放給觀眾自由進出。
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《立體鏡》取材自1972年阿根廷裔義大利籍作家暨詩人威科克(Juan Rodolfo Wilcock)所發表的66篇短篇故事集,威科克於作品中呈現了70個孤獨的不同角色,有:一對食人族夫婦、落入凡間的神祇、無法忍受日曬的書呆子、愛畫靜物畫的瘦削人馬、失業的天使,還有一隻不住在地中海邊的美麗洞穴、而是住在醜陋河流邊糞肥堆的美人魚。這些角色雖處於世界的邊緣,和外界毫無連結,但他們憑藉決心、勇氣、瘋狂和聰慧,為自己而活、替人生做主。
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製作團隊將這個非比尋常到極為怪異的世界,詮釋為一個奇異的城市,當中有個詭異奇妙的樂團,樂團一半成員是人類、一半是動物。這群音樂家企圖挑戰不可能的任務──儘管遺世獨立,儘管各有各的心事和阻礙,他們都會繼續尋找一個由共同音樂語言構築的烏托邦。
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演前導聆
\n\n4/20(六)10:20-10:40、13:50-14:10、16:20-16:40於音樂廳三樓大廳內由臺灣新銳作曲家周久渝老師 進行演前導聆
\n4/21(日)10:20-10:40、13:50-14:10、16:20-16:40於音樂廳三樓大廳內由臺灣新銳作曲家周久渝老師 進行演前導聆
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製作團隊
\n\n作曲及電子伴奏|安娜.瑪麗亞.路德里格
\n導演|英格麗.馮.凡托荷.雷科夫斯基
\n燈光&舞台設計|弗雷.波莫林
\n音效設計| 安德烈.巴帖茲基
\n服裝設計|嘉比莉樂.科特曼
\n製作經理|湯姆士.布恩斯
\n演奏|柏林新音樂室內樂團
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照片版權|Pierre Gondard
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贊助單位
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\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[],related:[],title:"Weiwuying - TIFA Contemporary Music Platform|Ensemble KNM Berlin “Stereoscope”",cover:"5a3a9ef952308d28843f1c43643f3af0",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:"
Stereoscope has been premiered under the French title Le Stéréoscope des Solitaires at the National Scene “Manège” in Reims (France) in the frame of the Festival “Reims Scènes d'Europe” in 2015.
\n\nStereoscope is a Music-Theatre-Installation combining means of concert, theatre, dance, and installation art. The performing space will be open for the audience to step in and to discover music, dance and installation work from nearby or from distance by walking around.
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Stereoscope is based on the collection of sixty-six short stories published in 1972 by the Argentine-Italian author and poet Juan Rodolfo Wilcock. In this work, Wilcock presents seventy different lonely personalities, for example: a couple who are cannibals; Gods who somehow ended up living in our everyday world; nerds who cannot stand being in the sun; a scrawny centaur who paints still life; an out-of-work angel; and a mermaid who is not in a pretty cave by the Mediterranean but rather lives in manure on the banks of a putrid river. The characters live on the edge; they are out of sync, and they stand up for themselves and their life choices with determination, bravery, madness and intelligence.
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The artistic team interprets this fantastical, even eccentric world as a strange city, home to a weird and wonderful orchestra which is half-human, half-animal. There, the musicians will attempt the impossible: despite their isolation, their respective obsessions and hindrances, they continue their quest for the utopia of one common musical language.
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Production Team
\n\nMusic and Live-Electronics|Ana Maria Rodriguez
\nDirection|Ingrid von Wantoch Rekowski
\nLighting and Stage Design|Fred Pommerehn
\nSound Design|Andre Bartetzki
\nCostumes|Gabriele Kortmann
\nProduction Management|Thomas Bruns
\nMusician|Ensemble KNM Berlin
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Photo by Pierre Gondard
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Sponsor
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\n',team:""},createdAt:1544771860,updatedAt:1604373870,updatedBy:"林蔚行"},{_id:"5c135ff7924fb30006bd7035",catalogs:["5aec4184b01ea6000520f633","5c20aa1e5a5bea0006f404ab","5c930af4c74fa700062262d1","5c931152c74fa700062263f0"],dateTime:{first:1556364600,discrete:[{time:1556364600}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,600],link:"https://www.artsticket.com.tw/CKSCC2005/Product/Product00/ProductsDetailsPage.aspx?ProductID=rotyiUrPteTLQnfYgza2ww"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"2ff7a496522c7d71f3d06e5edee31060",title:"輪播圖片1"},{type:"image",key:"7937b2b05e5c071ab13182a623240ac3",title:"輪播圖片2"},{type:"image",key:"cca6ae3505ec25238e937afad81a3f46",title:"輪播圖片3"},{type:"image",key:"982b41ec57d3dbbf34776fb7cc6d86fa",title:"輪播圖片4"}],related:[],title:"衛武營—TIFA當代音樂平台|廖曉玲╳香港創樂團《崢嶸之樂》",cover:"778663dfd09eb546a4209629092ac830",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:"
2019 TIFA【衛武營當代音樂平台】
\n\n特邀被譽為「全港最前衞的音樂團體之一」香港創樂團登臺!
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一場青年作曲家們的作品,指向下一個世代的聲音美學。本場曲目以青年作曲家們的得獎作品,呈現來自臺灣、香港、澳洲等不同文化背景的當代樂想,並以二十世紀大師喬治.班傑明的青年之作相呼應,窺探古典音樂進入現代時期後,再歷經一整個世紀的轉變。
\n\n由音樂家凌藝廉(William Lane)於2008年移居香港並成立香港創樂團(Hong Kong New Music Ensemble),以打破形式界限、帶來多元的現代音樂演出為宗旨。將香港這一個充滿未知的地方,打破觀眾對音樂的既有想像。香港創樂團發展至今,成員包括十五位專業樂手,曾被美國有線電視新聞網譽為「全港最前衞的音樂團體之一」。
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指揮|廖曉玲
\n\n生於台中,於國立台北藝術大學主修理論作曲。1993年負笈奧地利入國立維也納音樂暨表演藝術大學鑽研指揮,2000年以最高榮譽獎畢業。1998年廖曉玲獲聘於德國克姆尼茨歌劇院擔任歌劇伴奏兼指揮,至2001年止。2001/2002樂季,擔任中德維滕貝格州立歌劇院首席駐院指揮。2002至2005年間,則擔任北德Schleswig-Holstein 州立歌劇院首席駐院指揮。近年來活躍於當代音樂的演出且備受矚目,2015年起更應邀擔任Ensemble Laboratorium之藝術總監及常任指揮。
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香港創樂團
\n\n被美國有線電視新聞網譽為「香港最前衛的音樂團體之一」,香港創樂團於2008年成立,製作包括音樂會、教育外展活動及與其他界別藝術家的研究計劃等,極具創新的演出節目備受廣泛讚賞。香港創樂團現由十二位成員及數名副團員組成,以各種靈活組合於不同場境演出。樂團多年來演出多首當代音樂大師的經典名作,並為多位本地及海外作曲家的新作作首演,當中包括不少由香港創樂團委約創作的作品。
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演前導聆
\n\n4/27(六)18:50-19:10於表演廳內由衛武營藝術總監簡文彬與策展人林芳宜進行演前導聆
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演出曲目
\n\n林佳瑩 (臺灣):絲綢之旅(2017)
\n\n盧定彰 (香港):重若鴻毛 (2018/19)
\n\n劉韋志 (臺灣):朱雀之火 (2014)
\n\n麗莎・伊琳(澳洲):歌唱者 (2017)
\n\n喬治‧班傑明(英國):第一道光芒 (1982)
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製作暨演出單位
\n\n香港創樂團
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贊助單位
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\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[],related:[],title:"Weiwuying - TIFA Contemporary Music Platform| Lin Liao X Hong Kong New Music Ensemble 'The Sound of Bloom's Epoch'",cover:"778663dfd09eb546a4209629092ac830",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:"
This concert curates works of young composers to celebrate the acoustic aesthetics of the next generation. Programs include awarded pieces of young composers to present contemporary music from diverse cultural backgrounds of Taiwan, Hong Kong and Australia, and respond to earlier works of George BENJAMIN. The concert explores a century of transformation after classical music entered the modern era.
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In 2008, William Lane moved to Hong Kong and established the Hong Kong New Music Ensemble to break the boundaries of forms and to bring a variety to the contemporary music performances. In Hong Kong, a place full of the unknown, he transforms the audience's imagination of music. Hong Kong New Music Ensemble has developed to a collective of fifteen professional musicians, and has been praised by CNN as one of the most avant-garde music groups in Hong Kong. The ensemble is now composed of 12 members and several deputy members, performing in various venues with different ensemble combinations. Over the years, the ensemble has performed many masterpieces of contemporary composers and premiered a number of new works by local and overseas composers, including works commissioned by the Hong Kong New Music Ensemble.
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Conductor|Lin Liao
\n\nBorn in Taichung, Lin majored in Music Theory and Composition at the National Taipei University of the Arts. In 1993, she moved to Austria and studied conducting at the University of Music and Performing Arts Vienna. She graduated in 2000 with distinction. In 1998, Liao Xiaoling started working as an opera accompaniment and conductor at the Chemnitz Operahaus in Germany until the end of 2001. In the 2001/2002 season, she served as the chief resident conductor of the Lutherstadt Wittenberg State Opera. From 2002 to 2005, she served as the chief resident conductor of the Schleswig-Holstein State Opera. In recent years, Liao has worked vigorously in contemporary music and received much attention. Since 2015, she has been invited to work as the artistic director and permanent conductor of Ensemble Laboratorium.
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Hong Kong New Music Ensemble
\n\nFounded in 2008, the Hong Kong New Music Ensemble (HKNME) is hailed as “one of Hong Kong's most progressive groups of musicians” (CNN). Widely praised for its innovative programming, the Ensemble's productions include concerts, educational outreach events, and interdisciplinary collaborations and research projects with artists from different artistic fields.
\n\nThe HKNME currently consists of fifteen core members who perform in versatile combinations in a variety of settings. Over the years, the HKNME has performed masterpieces of the contemporary repertoire as well as numerous premières by composers from Hong Kong and overseas, including many commissioned by the HKNME itself.
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Program
\n\nChia-Ying LIN (Taiwan):Viaggio della Seta (2017)
\n\nDaniel LO (Hong Kong):Poids (2018/19)
\n\nLIU Wei-Chih (Taiwan):The Fire of Zhu-Que (2014)
\n\nLisa ILLEAN (Australia):Cantor (2017)
\n\nGeorge BENJAMIN:At First Light (1982)
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Production Team
\n\nHong Kong New Music Ensemble
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Sponsor
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\n',team:""},createdAt:1544773623,updatedAt:1653045177,updatedBy:"通泰系統管理員",host:!1},{_id:"5c136c51924fb30006bd715e",catalogs:["5aec4184b01ea6000520f633","5c20aa1e5a5bea0006f404ab","5c930af4c74fa700062262d1","5c931152c74fa700062263f0"],dateTime:{first:1555759800,discrete:[{time:1555759800},{time:1555828200}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,600],link:"https://www.artsticket.com.tw/CKSCC2005/Product/Product00/ProductsDetailsPage.aspx?ProductID=rotyiUrPteTzdcOIeWhsbQ"}},sliders:[{type:"image",key:"f487c6943c599f47f8d7fb49410ca012"},{type:"image",key:"25a3199debe44f1fc6a62d098fedd923"},{type:"image",key:"8ba93aa88d81f2a294af397eff1255bd"},{type:"image",key:"295e029249645574c2bba6d347ff9620"}],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[],related:[],title:"衛武營—TIFA當代音樂平台|李勁松╳蔡雅藝《南音味自慢-現代古韻》",cover:"9c51aa16cf20d6dfd8e3af5533c24521",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:"
衛武營當代音樂平台
\n\nJam出不一般的色彩!
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TIFA【衛武營當代音樂平台】邀約各界藝術家共赴兩場《南音味自慢》!2018香港新視野藝術節的委託創作,為電聲音樂家李勁松與南音藝術家蔡雅藝近幾年工作的成果,創作主軸以傳統南音與即興電聲的互動與融合,帶您玩味南音即興電幻物語。
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電音達人李勁松生於福建,自幼受千年古樂泉州南音的薰陶,移居香港,發現始於清末的地水南音,但覺前者靜美,後者婉轉。因緣際會,他的聲音合成器將碰撞泉州南音傳承人蔡雅藝,和應「一才鑼鼓」陳志江的說唱南音,Jam出不一般的色彩。除此之外,跨媒體藝術家米路什 ‧ 盧澄斯基(Milosh Luczynski)、舞者曾景輝和詩人宋子江更將攜手同台,眾人大玩即興!
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\n演前導聆
4/20(六)19:00-19:15於表演廳內由國立嘉義大學音樂學系暨研究所副教授 陳宜貞進行演前導聆
\n4/21(日)14:00-14:15於表演廳內由國立嘉義大學音樂學系暨研究所副教授 陳宜貞進行演前導聆
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聲音、電子、概念與創作|李勁松
\n\n李勁松 1989年以平面設計學生身份,成為香港首家獨立音樂廠牌創立人之一。1992年開始創作聲音作品,後以製作人身份參與一百多張專輯的製作和出版,並以聲音藝術家身份在台前演出,為電影、現代舞、實驗影像配樂,廣泛參與世界各地藝術、文化、音樂活動的策展、監製、製作、交流等,通過不同藝術專案和多個音樂組合,在亞洲和歐洲以出版、表演、展覽等形式活躍至今。
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泉州南音|蔡雅藝
\n\n出生南音世家的蔡雅藝,從小受到母親與民間南音樂師的藝術感染,從閩南民間土壤得到滋養,有系統地研習南音,與它結緣三十餘年。 由於深諳南音的文化內涵、以至它在現代社會中的困境,2012年,蔡氏從新加坡回到泉州,先後創立「南音雅藝」推廣平台和南音雅藝文化館,走進不同場所空間分享南音,有別於以往只局限在傳統社團裡。 近年,南音雅藝初步實現了南音的跨方言地區傳播,獲得不少青年人的喜愛與支持,無論是否閩南語系的,都能共唱一曲。
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泉州南音|陳思來
\n\n陳思來自2003年起,透過錄音工作與多位南音大師交流,尤擅南音琵琶彈奏。2006年參與閩南南音生態研究課題,走訪廈門、漳州和泉州近百個南音社團,並主持多張南音專輯的錄製與出版。2008年赴新加坡工作,曾擔任新加坡城隍藝術學院藝術策劃及世界南音聯誼會理事;2012年起擔任「泉州南音記錄工程」主要錄音師及琵琶彈奏。2015年與南音雅藝團隊一同受邀,遠赴瑞士日內瓦聯合國總部作南音文化交流活動。
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說唱南音|陳志江
\n\n陳志江在2010 年畢業於香港演藝學院中國戲曲課程,主修戲曲伴奏。陳氏自小隨父習粤曲,又先後隨名家張向華、林斯昆、孫永志學習笛子,學生時期活躍於香港各大小型中樂團,又隨關秉文、歐陽婷學習胡琴。2013年於新編粤劇《李治與武媚》(廖玉鳳編劇)擔任音樂設計;2014至17年間,於香港中文大學戲曲資料中心主辦之「民初粤樂探微」講座音樂會系列擔任樂師,重構早期樂譜。2012年創辦「一才鑼鼓」,致力撰寫説唱南音,並發掘戲曲的各種表演形式。
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MOD、影像|米路什.盧澄斯基
\n\n米路什是新媒體設計師及跨媒介藝術家,現於巴黎生活和工作。他在視覺和新媒體藝術方面造詣深厚,同時涉獵設計、塗鴉、視頻等領域,熟悉文化人類學和多媒體研究。他熱愛音樂和藝術演出,與電子音樂家、當代作曲家、詩人、作家、視覺和多媒體藝術家等合作,開創出獨具個人特色的電子文化。 米路什活躍於各種國際活動,2000至08年間,致力於影像藝術的開發和拓展,尤其在3D和投映領域,製作出360度沉浸式視頻裝置。
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舞者|曾景輝
\n\n曾景輝自幼熱愛舞蹈和音樂,於2010年入讀香港演藝學院舞蹈學院,主修當代舞。2013年加入城市當代舞蹈團(CCDC),成為全職專業舞者至今。 曾氏在學期間已積極參與編舞工作,兩度獲頒CCDC舞蹈中心獎學金。其編舞作品《異域》於2012年獲邀參與廣東現代舞周,2014年於東邊舞蹈圑《炫創者》節目中再度公演。2016年,在CCDC《舞人習作》節目中發表作品《暪.逃》,大獲好評;同年於舞蹈年獎頒獎典禮中發表獨舞新作《獨》。2017年在香港藝術節「香港賽馬會當代舞蹈平台」節目中發表作品《叁角厝》。
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製作團隊
\n\n聲音、電子、概念與創作、監製|李勁松
\n泉州南音|蔡雅藝、陳思來
\n說唱南音|陳志江(一才鑼鼓)
\n瓷笛、瓷瓯|朱琴
\nMOD.影像|米路什.盧澄斯基 (Milosh Luczynski)
\n舞者|曾景輝
\n原創詩|宋子江
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照片版權|Noise Asia Publishing
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贊助單位
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\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[],related:[],title:"Weiwuying - TIFA Contemporary Music Platform|The Modern-Day Flavours Of Namyin and Naamyam",cover:"9c51aa16cf20d6dfd8e3af5533c24521",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:"
Weiwuying - TIFA Contemporary Music Platform
\n\nSynthesised jam session of traditional sounds
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This work is commissioned by New Vision Arts Festival, Hong Kong, 2018, and created by electronic musician Dickson DEE and nanyin artist CAI Yayi. Together, they have been integrating and blending traditional nanyin and electronic jam for years. We sincerely invite you to explore the synthesized jam session of electronic and traditional sounds.
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Born in Fujian, experimental musician Dickson DEE grew up immersing in the province's serene millennium-old Quanzhou nanyin music. After moving to Hong Kong, he discovered the contrasting Cantonese “southern tone” of naamyam from the Qing dynasty and found it melodic while the former is much more serene. For this cutting-edge concert, Dee and his synthesizer remix music of influential Quanzhou nanyin performer CAI Yayi and naamyam artist CHAN Chi-kong of Chinese music ensemble The Gong Strikes One. This work also present their collaboration with multimedia artist Milosh Luczynski, dancer Terry TSANG and poet Chris SONG.
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Sound/Electronics/Concept & Creation|Dickson DEE (Hong Kong)
\n\nStudying graphic design back in 1989, Dickson DEE became one of the founders of the first independent music label in Hong Kong. He started creating sound works in 1992 and, as a producer, has participated in the productions and release of more than 100 albums to date. He also performs as a sound artist and composes scores for film, modern dance, and experimental video. He is involved extensively with curating, producing and cultural exchange. An active and prolific artist, DEE is widely seen in art projects and multiple music groups, while his works launched, performed, exhibited in Asia and Europe.
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Nanyin from Quanzhou|CAI Yayi (Quanzhou, Fujian Province)
\n\nCAI Yayi, surrounded by nanyin since she was born, was constantly exposed to and influenced by the art of her mother and other nanyin masters, as she was raised in Fujian in Southern China. Later, she studied nanyin systematically and has been in close ties with it for more than 30 years. Well aware of nanyin's cultural embediment and its predicament in modern society, CAI returned to Quanzhou from Singapore in 2012 and founded the outreach platform “Nanyin Yayi” and the Nanyin Yayi Culture Museum. Instead of confining herself to traditional nanyin communities, she chose to reach a wider audience through different approaches. In recent years, Nanyin Yayi Musical Association has stretched its reach beyond Minnanese-speaking areas towards dissemination of nanyin across dialect regions. It has won the admiration and support of young audience, who are able to sing a nanyin piece together regardless of dialectical differences.
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Nanyin from Quanzhou|CHEN Silai (Quanzhou, Fujian Province)
\n\nSince 2003, CHEN Silai, especially specializing in the nanyin pipa, has been working with a number of nanyin masters through recording works. In 2006, CHEN participated in the Minnan Nanyin Ecological Research Project and visited nearly a hundred nanyin societies and groups in Xiamen, Zhangzhou, and Quanzhou. He also took charge of the recording and release of several nanyin albums. In 2008, he started working in Singapore and became the artistic director at Singapore's Sheng Hong Arts Institute and council member of World Southern Music Friendship Association. Since 2012, CHEN has served as the main sound engineer/recordist and pipa performer of the Quanzhou Nanyin Record Project. In 2015, CHEN and Nanyin Yayi Musical Association were invited to the United Nations Headquarters in Geneva, Switzerland for cultural exchange.
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Naamyam (The Gong Strikes One)|CHAN Chi-kong (Hong Kong)
\n\nGraduated from the Hong Kong Academy for Performing Arts in 2010, CHAN Chi-kong majors in Chinese opera accompaniment. He learned Cantonese opera from his father in his youth, and later studied dizi under famous artists CHEUNG Heung-wah, LAM Si-kwan and SUN Yongzhi. While at school, he was active in various Chinese orchestras in Hong Kong. He also studied huqin under KWAN Bing-man and Auyeung TING. In 2013, he designed music for the new Cantonese opera Li Zhi and Wu Mei (scripted by Liu Yuk-fung). From 2014 to 2017, he helped reconstruct the early music scores at the “Interpreting Early Cantonese Music” Lecture-Concert Series organized by the Chinese Opera Information Centre of the Chinese University of Hong Kong. In 2012, he founded The Gong Strikes One and has devoted himself to writing nanyin pieces, while exploring various forms of expression in Chinese opera.
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MOD/Image|Milosh Luczynski (Poland/Paris)
\n\nLuczynski is a Paris-based visual, intermedia, A/V and light artist. He creates works in designs, graffiti, videos and has insights in anthropology and multimedia studies. Luczynski collaborates with electronic musicians, contemporary composers, writers, poets and media artists, creating distinguished styles in electronic cultures. Having participated in many festivals, he has dedicated to the development of video art from 2000 to 2008, especially in 3D and projection, including some immersive works.
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\nDance Artist|Terry TSANG (Hong Kong)
Terry TSANG founds his interest in dance and music at a young age. He graduated from the Hong Kong Academy for Performing Arts, majoring in contemporary dance. He joined City Contemporary Dance Company (CCDC) in 2013 and as a full-time dancer since. During his studies, TSANG started choreography and was awarded scholarship twice by the CCDC Dance Centre. He presented his choreographic work Exotic Territory, which was invited to the 9th Guangdong Dance Festival in 2012, to the Imagination Boom for E-Side Dance Company in 2014. In 2016, his new work Hide • Flee premiered at CCDC's 2016 Dancers' Homework to critical success. In the same year, TSANG also staged his latest work, Sole, at the 18th Hong Kong Dance Awards Presentation & Gala Performance. In 2017, his new work Trinity premiered at the Hong Kong Jockey Club Contemporary Dance Series presented by the Hong Kong Arts Festival.
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Performance and Production Team
\n\nSound.Electronic Music.Concept and Creation.Producer|Dickson DEE
\n\nQuanzhou Nanyin| CAI Yayi, CHEN Silai
\n\nNaamyam|CHAN Chi-kong (The Gong Strikes One)
\n\nMOD.Multi-media|Milosh Luczynski
\n\nDancer|Terry TSANG
\n\nPoet|Chris SONG
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Photo by Noise Asia Publishing
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Sponsor
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一個時間性延長的流動型舞蹈展演計畫。在創作的整體脈絡發展上,探索傳統劇場空間外的各種可能性,透過不同空間與時空狀態,刺激編舞者蘇威嘉,生產出新的身體素材。特別在衛武營挑選了一個具有聚光等效果的樹冠大廳,試圖讓觀眾環繞觀賞,創造有趣的觀舞經驗。
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一盞燈、一位舞者、一幅持續細膩流動的身體雕塑形式,在人來人往節奏快速的都市樣貌中,可以呈現什麼樣的互視與對話?當人們開始停下腳步,自由地觀看這幅動態形體時,對他們的生活、社會身體的制約性,有可能產生什麼樣的擾動與想像?而對於編舞者與舞者而言,透過在不同的公共空間中,隨著時間性累積而開展的編舞與表演經驗,可以與觀眾有著什麼樣不同的連結?能夠對於編舞的觀看與被觀看之間,有著什麼樣的刺激?
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\n這是編舞者蘇威嘉,在十年編舞計畫《自由步》中,對於即將來臨的第六年,期待更能進入的不同時空與創作思維,走出劇場,也走出舒適圈,讓《自由步》更大膽地探索,舞蹈與群眾,自由地相遇,創造當下那細緻而無可取代的感動。
\n《自由步》是蘇威嘉的十年編舞計畫,也是一種對於當代舞蹈與編舞形式的思考,蘇威嘉持續與不同的舞者及其身體質地為素材,以如同雕塑的創作方式,細密刻畫每位舞者的形體,開挖他/她們未曾展現的姿態,以如此古典而純粹的創作方式,透過長時間性的凝結與蒸餾,讓一幅幅的當代身體風景畫顯影而立,同時也以此展現其對於舞蹈之於當代,如何被欣賞、被討論,以及如何邀請觀眾進入舞蹈的編舞者觀點。
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演前導聆
\n\n4/13(六)14:40-15:00於樹冠大廳由張欣怡與蔡宛璇進行演前導聆
\n4/14(日)14:40-15:00於樹冠大廳由張欣怡與蔡宛璇進行演前導聆
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演後座談
\n\n4/13(六)17:20-17:40於樹冠大廳由蘇威嘉進行演後座談
\n4/14(日)17:20-17:40於樹冠大廳由蘇威嘉進行演後座談
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編舞|蘇威嘉
\n\n蘇威嘉,1981出生於臺灣高雄,畢業於國立臺灣藝術專科學校,受吳素芬教授啟發,畢業後於2004年成立驫舞劇場,長期為舞團編創新作與演出,2007年集體創作作品《速度》獲得第六屆台新藝術獎表演類年度大獎,2012與陳武康合作的自傳式作品《兩男關係》隔年於德國獲科特尤斯編舞大賽金獎與最佳觀眾票選獎,2009至2013年在美國芭蕾大師艾略特費爾德邀請下,加入Ballet Tech舞團,擔任客席舞者,2013年開始蘇威嘉開始進行以《自由步》為題的十年編舞計畫,加深探索線條、舞步、造型、律動與音樂及光線的關聯,追求舞蹈身體的細緻、極限,進而引領觀眾賦予表演者各種想像與情感的連結。2016年蘇威嘉於國家兩廳院擔任駐館藝術家。近年除了持續跳舞、創作,也開始關注做為舞蹈工作者的社會責任並四處分享跳舞的喜悅於各地。
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舞者|方妤婷
\n\n高雄人,畢業於國立臺灣藝術大學舞蹈系。畢業後隨即加入雲門舞集,演出《家族合唱》、《如果沒有你》及《九歌》。2015年加入驫舞劇場擔任舞者與排練指導至今,現為蘇威嘉《自由步》系列主要舞者,演出作品有《自由步-蘇威嘉最色的想像》、《自由步-沉浸式曲線》、《自由步-聽身變位》、《自由步-日光、軌跡、身影》。2017年參與『國家戲劇院30奏新章』開幕,演出周書毅編導作品《Retime》、新點子舞展陳武康作品《One Dance, One Dances, One Danced》;同年演出TIFA臺灣國際藝術節比利時尼德劇團作品《兩個錯誤間的時光》。近年,擔任國家兩廳院Outreach推廣項目《原來現代舞好有趣》工作坊教師,並於2018年擔任碧納鮑許《The NELKEN-Line》拍攝計畫動作指導。
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聲音設計|澎葉生
\n\n澎葉生,1974年生於法國。聲音藝術工作者,他的創作和研究從音樂開始,並延展極廣:即興演出,電子原音音樂(electroacoustic)編曲,以及人類音樂學。他持續不斷在大自然,都會和工業環境中進行錄音工作(音景soundscape,特別在歐洲各地和其它地區(如:印度、臺灣)。這些聲音成為他編曲和CD出版品的素材,或是其它聲音創作發表的方式:時而與影像創作結合,如音樂會,聲音裝置作品,時而透過網路,如集體創作實驗,線上播放或作品下載。
\n\n其創作主軸為對於聽覺經驗的實驗和探索,他的作品經常參與在國際活動。而他的聲音創作也與其學術研究有緊密關連,其研究主題在於聲音風景,以及人與動物在聽覺上所彼此建立出的關係網絡。
\n\n近幾年來持續來臺發表聲音創作,並至臺灣各地進行田野錄音。許多在臺灣錄製的音景被轉化成一些個人編曲作品的創作源頭,且至今已有不少臺灣音景或特有的動物聲音被收錄在法國等地的出版品中。
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燈光設計|劉家明
\n\n目前專職於劇場及商業活動擔任燈光設計及技術統籌之工作。
\n\n常與表演藝術團隊赴美國、馬來西亞、新加坡、日本、匈牙利、捷克、上海、北京等參加國際藝術節訪問演出。現任驫舞劇場技術總監2006《樓梯》、2007《速度》、2008《骨》、2009《正在長高》、2010《M Dans》《我》、2011《繼承者》、2012《兩男關係》《翻滾吧舞男》、2013《男人與狗》《馬上三人》、2014《裝死》、2015《自由步》、2016《兩對》、雲門劇場《我知道的太多了》、劉冠詳《棄者》及董陽孜書法藝術跨界劇場2015《騷+》及2016《騷》、2016 何曉玫Meimage Dance《鈕扣計畫》、李欣芸 《心情電影院》、金光舞臺車 閃閃嘉年華《臺灣跳起來》舞台車搖滾⾳樂節、愛愛搖滾帳棚音樂節《愛,可以讓我們在一起》活動等並隨團至紐約JOYCE THEATRE、羅德島 Firstworks Festival、廣州現代舞週、法國亞維農藝術節演出。
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製作團隊
\n\n編舞者│ 蘇威嘉
\n表演者│ 方妤婷
\n聲音設計│ 澎葉生
\n燈光設計│ 劉家明
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本節目由國家表演藝術中心國家兩廳院委託製作
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贊助單位
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\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[],related:[],title:"FreeSteps - NiNi",cover:"",site:{isOther:!0,site:"",other:"3F Crown Hall"},cautions:"
FreeSteps - NiNi is a dance project of extended temporality emphasizing on flows. It explores the possibilities beyond conventional theatre spaces. Through investigations of different temporality and spatiality, dance artist SU Wei-Chia is inspired to create new concept of physicality. The artist especially selects to perform at the Crown Hall, Weiwuyin, with caustic lighting effects, to invite the audience to appreciate in a rounded space and have inspiring viewing experience.
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A lamp, a dancer, and a continuous flowing physical sculpture. How would these elements converse and interact with one another, in this fast-paced, overcrowded cityscape? When people start to slow down their steps, to freely observe the flowing form, how would their conditioning of living, social bodies be disturbed and inspired for imagination? For the choreographer and the dancer, how would their choreographic and performing experience in different public spaces connect to the audience in an unconventional way? What would be generated and respond to the relationship of the viewer and the object in choreography?
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FreeSteps - NiNi is SU Wei-Chia’s work at the sixth year in his 10-year choreography project. He hopes to create in a more accessible way, to explore diverse time/spaces and artistic mindsets, to step out of comfort zone(conventional theatre spaces), and to boldly explore the encounter of the dance and the community, creating the irreplaceable delicate experience of the present.
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The FreeSteps series is SU Wei-Chia’s 10-year choreography project, an investigation of contemporary dance and its choreographic forms. SU continues to collaborate with different dance artists and use their physical texture as central element, as if creating a sculpture, to portray the physical existence of every dancers in details, to bring out their unrevealed pose and quality. With this classical and pure creative process of a long period of “condensation” and “distillation”, SU reveals a series of contemporary body landscape paintings that explores how dance as an art form is appreciated and discussed in contemporary era, and invites the audience to see from the choreographer’s perspective.
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Creative and Production Team
\n\nChoreographer │ SU Wei-chia
\nPerformer │ FANG Yu-ting Sound
\nDesign │ Yannick Dauby
\nLight Design │ LIU Chia-ming
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Commissioned by National Theater & Concert Hall
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Sponsor
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