\nA crossover creation of the ultimate version
\n"An accident of love"
\n
The musical ""An Accent Of Love" departed from Taichung in the summer of 2018 and boarded the highest performances in Taichung, Taipei, Kaohsiung, Xiamen, Toronto, Vancouver, Shanghai, Nanjing, Wuhan, Beijing, Singapore, Malaysia , total of 26 world tours in a year and a half.
\n\n\n\n
The musical
\nAn accident of love
\nBackground
\n\n
The musical "Papa, Can You Hear Me Sing" is adapted from a classic Chinese film back in 1983. The story is about an old scavenger known as "Uncle" that finds in the dump a baby girl named "Mei" and raises her up.
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As Mei's talent becomes known and gradually proceeds as a star in her music career, her dilapidated home gets demolished. However, in order not to affect her future career, Mei is forced by her talent agent not to recognize Uncle as her dad. How does Mei deal with these successive challenges involving choices? As Mei fulfills her dream of shining on the stage, she is constantly haunted by the image of her beloved father that’s critically ill. However, she is not there with him to pay her last respects.
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Cast
\n\nSun Ruiqi(Mei)- played by Della Wu
\n\nSun Xingya(Uncle)- played by Berson Wang
\n\nShi Junmai - played by Nylon Chen
\n\nLi Guoming(A-Ming)- played by YEH Wen-hao
\n\nThe Has-Been Diva:Shen Ni – played by Winnie Chang
\n\nThe neighbor:hilan – played by Zhang Fang yu
\n\nThe Agent:Yu Guangtai – played by Tseng chih yuan
\n\n\n\n
Art Director/Screenwriter/Lyricist:Fred Chen
\n\nDirector:Zeng Huicheng
\n\nMusic Director:Andrew Chu
\n\nPresented by Hsieh Chih-Fen
\n\nProduced by Yuan Yulan
\n\nProduction & Technical Director: Lin Hongchang
\n\nPremier Production Director:Zhang Fengmei
\n\nStage Design - Zhang Zhelong
\n\nImage Design - Wang Yisheng
\n\nLighting Design - Che Keqian
\n\nModeling Director -Huang Huizhen
\n\nMusic Design - Huang Guanhao
\n\nChoreography - Zhang Qingjia
\n\nChoreography - Li Mingjie
\n',team:""},createdAt:1594832111,updatedAt:1651224373,updatedBy:"林蔚行",host:!1},{_id:"600a5343a6b9ff0007b880a4",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1651059e3,discrete:[{time:1651059e3},{time:1651145400},{time:1651231800},{time:1651300200},{time:1651318200},{time:1651386600},{time:1651404600}],type:"discrete"},activity:{type:"ticket",ticket:{price:[800,900,1200,1500,1600,1800,2e3,2200,2500,2800,3e3,3500,3800,4e3,4300],link:"https://tickets.udnfunlife.com/application/UTK02/UTK0203_.aspx?PRODUCT_ID=N106B2BX"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"f733f294db2c6cea4ec5d6670c8e2a13",title:"2021經典法文音樂劇《鐘樓怪人》"},{type:"image",key:"7a1c2b31082044259dbc4b544cb8a1a8",title:"2021經典法文音樂劇《鐘樓怪人》"},{type:"image",key:"60f85a2abbf199d36a22b97b740f552d",title:"2021經典法文音樂劇《鐘樓怪人》"},{type:"image",key:"646b95d228647e891dbee99eea7195e2",title:"2021經典法文音樂劇《鐘樓怪人》"}],related:[{from:"programs",key:"6194dda2d4bd45000a19ac46",title:"台北歌劇劇場《50年回顧展演》"},{from:"programs",key:"6268a28302b8ab0007c7e112",title:"NSO《詩琴畫語》"}],title:"經典法文音樂劇《鐘樓怪人》",cover:"af6581f52f6ed654a8f41eaa020cb0b4",site:{isOther:!1,site:"5aec4743b01ea6000520f65e",other:""},cautions:'● 相關優惠請至購票網站查詢。
\n\n● 本節目票價分平日場及假日場。
\n\n● 本節目為法文發音,中文字幕。
\n\n● 節目全長約140分鐘,含中場休息20分鐘。
\n\n● 建議6歲以上觀眾觀賞。
\n\n● 遲到觀眾須遵循工作人員指示入場。
\n\n● 主辦:聯合數位文創
\n\n● 購票請洽UDN或02-77216958
\n\n衛武營實聯登記
\n\n因應「嚴重特殊傳染性肺炎(COVID-19)」防疫措施,您可於演出前三日填寫衛武營實聯登記,於演出當日進場時,出示電子信件確認信給現場工作人員,以便您進場,謝謝。
\n',benefits:"",description:"榮登金氏世界紀錄:連續七次「史上開演後最賣座的音樂劇」",introduction:'\n\t\t\t ※原訂2021年5月19日(三)至23日(日)於歌劇院演出2021經典法文音樂劇《鐘樓怪人》,節目延期至2022年4月27日(三)至5月1日(日)原場地演出,造成不便,敬請見諒。 \n\n\t\t\t※因節目異動,已購票觀眾可持原票券入場,或辦理全額退票,最遲請於2021年8月12日(四)前完成辦理全額退票,退票方式請詳異動公告。 \n\t\t\t | \n\t\t
\n\n
★ 榮登金氏世界紀錄:連續七次「史上開演後最賣座的音樂劇」
\n\n★ 全球風靡:1998年開演至今,被翻譯9種語言並於超過23個國家演出,各國版本《鐘樓怪人》於全球觀眾數更達1500萬人。
\n\n★ 金曲紀錄:劇中暢銷金曲《Belle》於全球創下銷售350萬張單曲佳績,唱片銷量全球超過3000萬張,DVD銷量超過1000萬
\n\n★ 第一部法語音樂劇前進倫敦西區:英文版鐘樓怪人2000年起在英國上演,於倫敦演出長達17個月,獲當地每日電訊報評為「法語世界的歌劇魅影」,開啟法國當代音樂劇之新紀元。
\n\n★ 2019年全球最受歡迎音樂劇前三:百老匯Playbill票選最受歡迎音樂劇前三名,擊敗經典百老匯音樂劇《歌劇魅影》
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經典法⽂音樂劇《鐘樓怪人》改編自法國⼤文豪雨果(Victor Hugo)巨作,以十五世紀末巴黎聖母院為背景,故事描述美麗的吉普賽女郎艾斯梅拉達,與四位不同階級的角色-副主教弗侯洛、侍衛隊長菲比斯、遊唱詩人葛林果利與鐘樓怪人科西莫多之間的愛恨情結。
\n\n艾斯梅拉達對菲比斯一見鐘情,而菲比斯雖有未婚妻芙蘿德莉卻想要兩者兼得。於此同時,副主教弗侯洛無法抗拒神職人員禁忌,也拜倒在艾斯梅拉達裙下;自小被副主教收養、 長相畸形的敲鐘人科西莫多也傾慕著艾斯梅拉達,卻⾃慚形穢,⽽將愛意藏在⼼中。
\n\n這齣劇的人物生存在動盪不安的封建社會中,深刻刻劃出對立衝突,突顯人性良善與醜惡、忠誠與背叛的對比,表達強烈的戲劇張力。
\n\n\n\n
票價
\n\n平日場|2022/4/27(三)、2022/4/28(四)
\n\n票價:800、1,200、1,600、1,800、2,200、2,800、3,500、4,000
\n\n假日場|2022/4/29(五)、2022/4/30(六)、2022/5/1(日)
\n\n票價:900、1,500、1,800、2,000、2,500、3,000、3,800、4,300
\n\n\n\n
演出曲目
\n\nLe temps des cathédrales 大教堂時代
\nLes sans-papiers 非法移民
\nBohémienne 波西米亞的女人
\nLa fête des fous 愚人慶典
\nDéchiré 心痛欲裂
\nBelle 美麗佳人
\nTu vas me détruire 致命狂戀
\nLes cloches 大鐘
\nLune 月亮
\nVivre 求存
\nDanse mon Esmeralda 舞吧!我的艾斯梅拉達
\n※以上為重點曲目,本劇總含曲目23首
\n\n
演出暨製作團隊
\n\n製作人|查爾斯.泰勒 & 尼古拉斯.泰勒
\n\n編劇、作詞|呂克.普拉蒙東
\n\n作曲|理查.科強特
\n\n導演|基利斯.馬胡
\n\n編舞|馬汀諾.慕勒
\n\n鐘樓怪人 科⻄莫多|Angelo Del Vecchio
\n\n吉普賽女郎 艾斯梅拉達│Elhaida Dani
\n\n副主教 弗侯洛|Laurent Ban、Solal
\n\n遊唱詩人 葛林果利|John Eyzen
\n\n侍衛隊長 菲比斯│Gian Marco Schiaretti
\n\n侍衛隊長未婚妻 弗羅德莉|Emma LEPINE
\n\n首領 克洛平|Jay
\n\n※劇中演員可能隨國外劇團選角改變
\n\n\n\n
照片版權由 聯合數位文創 提供
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"f733f294db2c6cea4ec5d6670c8e2a13",title:"2021經典法文音樂劇《鐘樓怪人》"},{type:"image",key:"7a1c2b31082044259dbc4b544cb8a1a8",title:"2021經典法文音樂劇《鐘樓怪人》"},{type:"image",key:"60f85a2abbf199d36a22b97b740f552d",title:"2021經典法文音樂劇《鐘樓怪人》"},{type:"image",key:"646b95d228647e891dbee99eea7195e2",title:"2021經典法文音樂劇《鐘樓怪人》"}],related:[],title:"Notre Dame de Paris",cover:"af6581f52f6ed654a8f41eaa020cb0b4",site:{isOther:!1,site:"5aec4743b01ea6000520f65e",other:""},cautions:"● Performed in French with chinese surtitles.
\n\n● Approx 140 mins incl. 1 interval of 20 mins
\n\n● Age guidance 6+
\n\n● Latecomers must follow staff instructions for entry and re-entry
\n\n● Presenter: udnFunLife
\n\n● For ticket information, please contact UDN or 02-77216958
\n",benefits:"",description:"D'après le roman de Victor Hugo",introduction:'※The performance has been changed. For more information, please contact +886-02-77216958. | \n\t\t
\n\n
The musical "Notre Dame de Paris" is adapted from the masterpiece of the famous French writer Victor Hugo, telling a timeless love story in the 14th century. The musical has achieved unprecedented success in more than 23 countries in the past 20 years.
\n\nThe classic songs in the musical are collective memories of the public, and the values of "tolerance and unity" emphasized in the musical are still being fermented in today’s society.
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Ticket Price
\n\n2022/4/27(Wed)、2022/4/28(Thu)
\n\nPrice:800、1,200、1,600、1,800、2,200、2,800、3,500、4,000
\n\n2022/4/29(Fri)、2022/4/30(Sat)、2022/5/1(Sun)
\n\nPrice:900、1,500、1,800、2,000、2,500、3,000、3,800、4,300
\n\n\n\n
Creative and Production Team
\n\nProducer|Charles Talar & Nicolas Talar
\n\nLyrics|Luc Plamondon
\n\nMusic|Richard Cocciante
\n\nDirector|Gilles Maheu
\n\nChoreographer|Martino Müller
\n\nQuasimodo|Angelo Del Vecchio
\n\nEsmeralda|Elhaida Dani
\n\nFrollo|Laurent Ban、Solal
\n\nGringoire|John Eyzen
\n\nPhoebus|Gian Marco Schiaretti
\n\nFleur-de-Lys|Emma LEPINE
\n\nClopin|Jay
\n\n※The cast may change with the casting of the french troupe
\n\n\n\n
PHOTO©udnFunLife
\n',team:""},createdAt:1611289411,updatedAt:1651119648,updatedBy:"林蔚行",host:!1},{_id:"61812b87207c7f00098b60dc",catalogs:["5fe2bffdde1961000737545c","5aec418cb01ea6000520f635"],dateTime:{first:1651665600,discrete:[{time:1651665600}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,500],link:"https://www.opentix.life/event/1455785058084544516"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:1638856380,end:4794566399},tabs:[],onShelf:!0,sliders:[{type:"image",key:"eacc096fb86e2391226f6820aad8d59f",title:"【衛武營小時光】卡米地喜劇俱樂部《笑正回歸》"}],related:[{from:"news",key:"621b26f2c446a600074170fe",title:"衛武營小時光+海邊走走 聯名蛋捲禮盒全臺上市"},{from:"features",key:"619c57f8d970790007fc110d",title:"2022衛武營小時光"}],title:"【衛武營小時光】卡米地喜劇俱樂部《笑正回歸》",cover:"43e12ae272e6084884150e29db1f6d38",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'\n\t\t\t ※因疫情影響,本節目演出人員東區德,改由大可愛演出,其餘演出者不變。 \n\t\t\t | \n\t\t
\n\n\n\n
\n\n
🔽喜劇演員演出片段
\n\n\n\n我們要談談生老病死、氣候變遷、地球暖化、中美對抗,全部給出喜劇神解答。
\n\n\n\n
喜劇的根源來自於負面的人事物,但這兩年的疫情帶給舉世太多的困苦,要怎麼搞笑,成為一個大難題。許多觀眾都反應:「笑不出來。」但喜劇演員的任務就是打破僵局,要給大家紓壓。於是這次我們決定與全世界所面臨的大問題們,來個直球對決,我們要談談生老病死、氣候變遷、地球暖化、中美對抗,全部給出喜劇神解答。
\n\n脫口秀喜劇的直接、即時性、高度發洩、強力共鳴等特性,讓它成為類網路的自由藝術,也成為真庶民的最愛。美式脫口秀的演出表演,是透過各種不同的演員不同的生活體驗的脫口秀的段子,時不時的刺中觀眾笑點,所以將大家的生活體驗與苦惱,喜劇化搬演上台,就是大笑的開始。
\n\n此次集合資深喜劇演員壯壯、夏大寶、大可愛、馬克吐司,外加音樂喜劇小精靈怡岑,一晚帶來站立喜劇、搞笑歌曲、短劇、末日局勢分析,內容多元而豐富,話題犀利、毫不保留,於是……恐怕會把問題搞更大。
\n\n\n\n
預計本次推出的節目內容:
\n\n\n\n
演出暨製作團隊
\n\n編導|張碩修
\n\n喜劇演員|大可愛、壯壯、馬克吐司、夏大寶、怡岑
\n\n\n\n
藝術家介紹
\n\n編劇導演/節目總監|張碩修
\n\n張碩修是卡米地喜劇俱樂部Live Comedy ClubTaipei的主要創始人,也是俱樂部裡的節目總監。曾任90年代國內最重要的小劇場之一【台灣渥克劇團】團長。2007年前開設卡米地喜劇俱樂部Live Comedy Club Taipei開創臺北新一波的藝術娛樂文化風潮,可說是一位一直走在時代前端的創作人。
\n\n\n\n
主演|大可愛
\n\n畢業於世新大學圖文傳播學系。
\n\n卡米地脫口秀第一天團站立幫成員,亦參與許多短片、電影、網路劇演出,是一oneliner好手,自嘲連發的處男及胖子梗總是讓觀眾接招接到手軟,笑到來不及喘氣,是卡米地不可或缺的討喜吉祥物擔當。
\n\n\n\n
主演|壯壯-陳彥壯
\n\n遊走於電視、廣告、舞台劇、網路影片以及脫口秀,2020上映了兩部他出演的電影與兩部電視劇,包括Netflix「誰是被害者」裡的...加害者。號稱脫口秀界的無節操一哥:用嘴就讓你興奮,一動作就只能報警。擅長使用「最溫柔的下流」令觀眾痴狂,不論是角色強度、臨場反應或是文本腥羶程度,都可以說是脫口秀界的最佳巨「腥」。
\n\n\n\n
主演|馬克吐司
\n\n卡米地喜劇小鋼砲,脫口秀站立幫成員,同時也是卡米地雙人漫才團體「馬丹娜」,參與不少短片、網路劇演出,演出中隨時會高能量爆走、有著「我就是要讓你笑」的陽光自信,是一超直觀搞笑神童。
\n\n\n\n
主演|夏大寶
\n\n「最具份量」的資深搞笑者,喜劇資歷長達14年。從小就會用搞笑博取長輩師長的喜愛,立志將歡笑帶給全人類。以豐富的肢體與表情見長,並佐以極具畫面感的爆發力與演技,擅長漫才,擔任裝傻的角色。2020年並以<噬罪者>5 之演出入圍金鐘獎戲劇節目最具潛力新人獎。
\n\n\n\n
主演|怡岑
\n\n人氣竄升的新生代搞笑女聲,自稱外表與實力兼具的音樂寶貝甜心。憑著自彈自唱的歪歌,配合手繪漫畫演出,屢屢創下大受歡迎的段子。
\n\n\n\n
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:1638856380,end:4794566399},tabs:[],onShelf:!0,sliders:[{type:"image",key:"eacc096fb86e2391226f6820aad8d59f",title:"【衛武營小時光】卡米地喜劇俱樂部《笑正回歸》"}],related:[],title:"【Weiwuying Showtime】Live Comedy Club Taipei - Laugh Revision",cover:"43e12ae272e6084884150e29db1f6d38",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
Comedy originates from negative people and things. The pandemic and climate change facts have brought the world with too much suffering. So how to make jokes out of it becomes a major difficulty for the comedians. In order to break the deadlock and release the pressure, we decided to make a head-on confrontation. We will make fun of death and illness, climate change, China–United States conflicts, and give out comedy solutions for them.
\n\nStand-up comedy is characterized by straightness, immediacy, abreaction, and empathy. Thus makes it the freest art form that is loved by common people. Through the life experience of different actors, the audience can relate to their worries and considerations. When all these are carefully narrated, it's the moment of big fun.
\n\nWe assembles senior comedians including Strong, Big Cute, Dirty Derr, Mark Toast, as well as genie of music I-cen. This will be a night of stand-up, funny songs, sketches, and more.
\n\n\n\n
Creative and Production Team
\n\nWritten and directed by Social Chang
\n\nComedian|Strong, Big Cute, Dirty Derr, Mark Toast, I-cen
\n\n\n\n
\n',team:""},createdAt:1635855239,updatedAt:1652763984,updatedBy:"通泰系統管理員",host:!0},{_id:"618a22dd4490a4000790d3d3",catalogs:["5fe2bffdde1961000737545c","5aec418cb01ea6000520f635"],dateTime:{first:1653719400,discrete:[{time:1653719400},{time:1653737400},{time:1653805800}],type:"discrete"},activity:{type:"free",free:{description:"節目取消",englishDescription:"Program cancelled"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:1638856260,end:4794566399},tabs:[{reference:[],type:"content",name:"劇情內容",content:'
第一段 「兩人三番叟」
\n\n原來的「三番叟」雖有著祈求五穀豐穰的意蘊,在幾經轉折後變成了經常在祝賀或開幕時上演的劇目。不僅僅是文樂,對能劇、歌舞伎、神樂等日本傳統戲劇藝術來說,都是首能夠上演並相當受到重視的禮儀曲。在乙女文樂裡由兩個人進行演出,是在莊重之中仍能感受到華麗之處的劇目。
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第二段「傾城阿波鳴門」 順禮歌之段
\n\n阿波國的玉木家遺失了傳家之寶——國次刀,家臣十郎兵衛身負重任,留下年幼的女兒在祖國,化身盜賊與妻子兩人隱姓埋名秘密地尋找國刺刀下落。
\n\n五年後,夫婦兩人居住在大阪郊外。某一天,妻子阿弓一人在家時,收到一封盜賊同伴寄來的信函,警示追捕者逼近、危機將到。此時,一位年幼的巡禮女孩造訪阿弓。阿弓細問之下,得知這位女孩來自阿波國,一人獨自外出尋找三歲時分離的雙親。再問女孩父母姓名,才知原來她是自己的女兒——阿鶴。阿弓情不自禁地欲表明身份時,卻想到相認後將連累女兒一併被抓,最後強忍愛女之心,叫她離開。
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第三段 「增補大江山酒呑童子」 歸橋之段
\n\n此為一位英勇武士識破幻化成美女的鬼怪,進而擊退鬼怪的故事。前半場展現美麗女子的優雅舉止,後半為激烈的打鬥場面,演出變化多端。
\n\n京都的一條歸橋上。源賴光的家臣——渡邊綱經過歸橋時,看見一名美麗的女子佇立於橋上。思量夜晚女子一人獨行十分危險,渡邊綱便送女子一程,卻在途中發現映在河面上女子的姿態是可怖的鬼怪模樣。渡邊綱佯裝受騙同行,在美麗女子展露豔麗的舞姿時,渡邊綱揭穿其真面目,美麗女子變回鬼怪,兩者展開激烈的打鬥。
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\n'}],onShelf:!0,sliders:[{type:"image",key:"0f8523cd959c86f5f3d476839939433e",title:"瞳座乙女文樂(ひとみ座乙女文楽)"}],related:[],title:"「節目取消」日本傳統戲曲《瞳座乙女文樂》",cover:"668e600dcf049ce5bcc7573be264c4c4",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:'
衛武營會員綁定OPENTIX
\n\n邀請您註冊「OPENTIX兩廳院文化生活」帳號並綁定衛武營會員卡,即可享有會員購票優惠。綁定教學
\n\n優惠方案
\n\n※300元(含)以下票級不提供折扣。
\n\n團票優惠
\n\n購票同場次:
\n\n※300元(含)以下票級不提供折扣。
\n\n※相關優惠請洽07-262-6666
\n',benefits:'\n\t\t\t ※原訂2022年5月28日(六)14:30 & 19:30及5月29日(日)14:30於戲劇院演出之日本傳統戲曲《瞳座乙女文樂》,節目取消。 \n\n\t\t\t※已購票觀眾,最遲請於2022年6月30日(四)前完成辦理全額退票,退票方式請詳異動公告。 \n\t\t\t | \n\t\t
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百年女力 傳統偶戲
\n\n凝止於動靜之間的細膩與堅持
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文樂是結合日本古典藝術精華的傳統偶戲,蘊藏著說唱淨琉璃太夫、三味線樂師以及人偶師「三業一體」的豐富功力。誕生於距今400年前,在經歷幾番衝擊與消沈後,從困境中再度掀起熱潮,與歌舞伎、能劇並稱日本三大傳統藝術。
\n\n乙女文樂承襲自傳統文樂,有別於傳統三位男性共同操作人偶,僅由一位女性人偶師操作超越自己半身尺寸的木偶,舞台上人與偶同步展現出如日本舞踊的優雅身段與細膩情感。第一眼震撼於木偶若有靈魂的流暢動作,第二眼牽動於三味線情感多變的琴音,第三眼驚艷於太夫說書、琴音與木偶動作之間的絕佳默契。
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此次將透過三段演出介紹給臺灣觀眾乙女文樂近百年間走出由男性主導的文樂世界,吸引著千萬戲迷的樂趣與魅力。
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首段以祈求天下太平、五穀豐登的神舞「三番叟」華麗開場,從經典段落進入日本傳統劇藝的美學世界。第二段「傾城阿波鳴門」是文樂故事中著名的悲劇,其中第八段名為「順禮歌之段」描述了女兒對父母深深的思念和淚水、父母保護子女的愛與掙扎,演繹出封建時代裡壓抑的情感與悲嘆的命運。第三段「增補大江山酒吞童子」中妖嬈嬌媚的女子舞姿、精彩絕倫的打鬥場面、人與妖怪之間的莫測變幻,更可說是將文樂人偶淋漓盡致的表現推向極致。古老而華麗的禮儀之曲、在命運中流轉的詠嘆之詩、正邪對決的奇幻之武,這三段精華選粹,乙女文樂的多滋風味一覽眼底。(文/盧崇瑋)
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周邊活動
\n\n文樂人偶工作坊
\n\n2022/5/26(二) 19:00-21:00
\n\n報名詳情請留意後續官網公布資訊
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演出暨製作團隊
\n\n演出單位|瞳座乙女文樂(ひとみ座乙女文楽)
\n\n人偶操作|松本幸子、山下潤子、鈴木文、村松有紀、安藤麻衣 、田川陽香
\n\n浄瑠璃|竹本越孝、竹本越京
\n\n三味線|鶴澤寛也、鶴澤津賀花
\n\n舞台監督|あおき たかし
\n\n燈光設計|松本 永 (eimatsumoto Co.Ltd)
\n\n劇團行政|塚田千恵美、藤原なつ
\n\n製作單位|公益財團法人現代人形劇中心
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團隊介紹
\n\n瞳座乙女文樂
\n\n1967年人偶劇團「瞳座」的女性成員拜師桐竹智惠子,其為「乙女文樂」創建以來一直十分活躍的先驅者,隔年1968年組成「瞳座乙女文樂」,舉辦了第一次公演。其後除了在日本全國各地演出,也跨足至歐洲、亞洲及美國等各國進行海外演出。
\n\n此外,「瞳座乙女文樂」在主要活動據點——川崎市,致力於向青少年普及推廣此項傳統藝能活動。
\n\n從2010年起每年定期舉辦公演,2018年該團被列入川崎市地區文化財產,2019年獲得松尾藝能大賞特別獎。
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小知識
\n\n「乙女文樂」約在90年前由日本傳統人偶劇「文樂」衍生而出。
\n\n日本傳統戲劇「文樂」為男性三人操縱一個人偶,但「乙女文樂」則由女性單人操縱,因此乙女文樂的人偶在構造上加上許多巧思以便單人操縱。
\n\n「乙女文樂」最大特徵是全由女性進行人偶操縱演出,是以「文樂」的人偶操縱師——五世桐竹門造為首規劃設計而創建的。
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合作夥伴:
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\n',team:""},english:{onShelfRange:{start:1638856260,end:4794566399},tabs:[{reference:[],type:"content",name:"Section Introductions",content:'
Section I Ninin Sanbasou
\n\nAlthough the original Sanbasou carries the connotation of praying for abundant harvests, it has since experienced several transformations and is now a dance often used for celebrations or store-openings. Additionally, apart from its use in Bunraku, Sanbasou is also a highly-valued ceremonial work in other traditional Japanese theater art forms, such as Noh, Kabuki, or Kagura. In Maiden's Bunraku, Sanbasou is performed by two people, whose solemn performance is interlaced with spectacles of beauty.
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Section II Keisei Awa no Naruto – Junrei-uta no Dan
\n\nThe TAMAKI family in Awanokuni lost their heirloom – a kiritsugu knife. The family's retainer Juuroubee undertook the great responsibility of retrieving the knife, leaving his young daughter at home and departing with his wife to look for the knife under the disguise of an anonymous thief.
\n\nFive years later, the couple was living in suburban Osaka. One day, when the wife A-Gong was alone at home, she received a letter from a fellow thief warning them that the troops were approaching. At this moment, a young Junrei girl came to visit. After asking her a few questions, A-Gong knew that she was from Awanokuni and was looking for her parents, who had left her when she was only 3 years old. It was only after asking what her parents' names did A-Gong realize that this girl was her own daughter, A-He. Although A-Gong deeply wished to reveal her identity to A-He, out of consideration for the fact that this may cause her daughter to be captured along with them, she forced herself to suppress her strong feelings, instead of asking her daughter to depart.
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Section III Added Oeyama Shuten-doji – Modori-bashi no Dan
\n\nThis is a story about how a brave samurai was able to identify and defeat a monster that was disguised as beauty. The first half of the section presents the elegant bearing of a beautiful woman, while the second half is marked by intense battles, thus delivering diverse flavors to the audience.
\n\nOn a modori-bashi (bridge) in Kyoto, just as MINAMOTO no Yorimitsu's retainer WATANABE was passing by, the samurai saw a beautiful woman standing on the bridge. Thinking it'd be dangerous for the woman to be alone at night, he decided to walk her back, but on the way, noticed that her reflection on the river was that of a menacing monster. The samurai then pretended to be deceived, and as the woman was giving an enchanting dance, exposed her true identity. Subsequently, the woman turned back into a monster, and the two fought intensely.
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Performed in Japanese with Mandarin and English surtitles.
\n\t※Discounts are not applicable for tickets tier at NT$300 and lower.
\n',benefits:'※The program has been cancelled. For more information, please contact +886-7-262-6666. | \n\t\t
\n\n
Women's Power in Traditional Puppet Theater
\n\nDelicacy and Persistence Captured In-between Movement and Silence
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Bunraku—traditional puppet theater, captures the essence of Japanese classical arts and requires the combined talents of tayu (chanters/narrators), shamisen musicians, and puppeteers. Originating back to 400 years ago, Bunraku has experienced several setbacks and stagnant periods over the years, but has since regained its popularity and is today regarded as one of the three major Japanese traditional arts together with Kabuki and Noh.
\n\nBased off of traditional Bunraku, Maiden's Bunraku diverges from having puppets operated by three male puppeteers, instead using a single female puppeteer who operates puppets whose sizes surpass that of the half-length of her body. Onstage, the puppeteers and puppets synchronize with one another, demonstrating elegant movements and delicate emotions reminiscent of Japanese buyo. When viewing Maiden's Bunraku, audiences will first be amazed by the extremely smooth movements of the puppets. Next, they will be touched by the intricate emotions contained in the shamisen's music. And finally, they will be astonished by the exceptional synchronization between the tayu, music, and the movements of the puppets.
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The upcoming performance will introduce to the Taiwanese audience how Maiden's Bunraku managed to break free from the male-dominant Bunraku of one hundred years past and how this charming and interesting art form has been able to attract tens of millions of dedicated fans.
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Section I begins with a Sanbasou, a dance that prays for world peace and bumper harvests, thus adopting a classic opening section to lead the audience into the aesthetic world of Japanese traditional theater. Section II "Keisei Awa no Naruto" is a famous tragedy in Bunraku lore. The 8th part in this section—Junrei-uta no Dan, depicts a daughter's desperate longing for her parents and the parents' love and struggle in protecting her, thereby enacting the suppressed emotions and lamentable fate characteristic of the feudal period. In Section III "Added Oeyama Shuten-doji", the most brilliant showing of Bunraku puppetry is demonstrated through various aspects, such as dance of the enchanting woman, the thrilling fighting scenes, and the unpredictable contests between the human and monster. Featuring ancient and splendid ceremonial music, poems that lament fate, and the dual between righteous and evil, these three classic sections will surely present the diverse faces of Maiden's Bunraku. (By LU Chung-Wei)
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Related Activitie
\n\nBunraku Puppeteer Workshop
\n\n2022/5/26(Thu)19:00-21:00 (Limited availability, visit the website for more information)
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Creative and Production Team
\n\nCompany|Hitomiza Otome Bunraku
\n\nPuppeteer|MATSUMOTO Sachiko, YAMASHITA Junko, SUZUKI Aya, MURAMATSU Yuki, ANDO Mai, TAGAWA Haruka
\n\nNarrator|TAKEMOTO Koshikou, TAKEMOTO Koshikyo
\n\nShamisen player|TSURUZAWA Kanya, TSURUZAWA Tsugahana
\n\nStage Manager|AOKI Takashi
\n\nLight Design|MATSUMOTO Ei (eimatsumoto Co.Ltd)
\n\nCompany Manager|TSUKADA Chiemi, FUJIWARA Natsu
\n\nProduction Company|Foundation Modern Puppet Center
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Team Introduction
\n\nHitomiza Otome Bunraku
\n\nIn 1967, the members of theater group Hitomiza studied with KILITAKE Chieko, a working Otome Bunraku puppeteer who, in the following year, founded Hitomiza Otome Bunraku and organized its debut performance. The group has performed in Japan, Europe, Asia, and the United States. They are also committed to promoting this traditional art form among youngsters in their home base, Kawasaki City.
\n\nHitomiza Otome Bunraku has given annual performances since 2010. In 2018, they were categorized as a cultural property of Kawasaki City, and in 2019 they received the Matsuo Performing Arts Awards Special Prize.
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Learn More
\n\nOtome Bunraku was derived from traditional Japanese Bunraku puppet performances around 90 years ago.
\n\nIn traditional Bunraku, a single puppet is operated by three male puppeteers working together, but in Otome Bunraku, a single female puppeteer performs on her own; thus, the puppets have some added features for easier manipulation.
\n\nThe most unique feature of the art form is that the puppeteers are all female. This tradition was inaugurated by the fifth generation of traditional Bunraku puppeteers the KILITAKE Monzo clan.
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Partner:
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\n',team:""},createdAt:1636442845,updatedAt:1652764483,updatedBy:"通泰系統管理員",host:!0},{_id:"618ca672d4bd45000a17cb6f",catalogs:["5fe2bffdde1961000737545c","5aec4184b01ea6000520f633"],dateTime:{first:1651386600,discrete:[{time:1651386600}],type:"discrete"},activity:{type:"free",free:{description:"節目取消",englishDescription:"Program cancelled"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:1638856260,end:4794566399},tabs:[],onShelf:!0,sliders:[{type:"image",key:"34b444507a17be0da833b42b769d97db",title:"2022 TSO臺北市立交響樂團 大師系列《冰雪烈焰》─殷巴爾與陳毓襄"}],related:[],title:"「節目取消」2022 TSO臺北市立交響樂團 大師系列《冰雪烈焰》─殷巴爾與陳毓襄",cover:"a799feaded9114aa02968693fb24ab1f",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
\n\t\t\t ※原訂2022年5月1日(日)14:3O於衛武營國家藝術文化中心音樂廳演出之《2022 TSO大師系列冰雪烈焰─殷巴爾與陳毓襄》音樂會,節目取消。 \n\n\t\t\t※已購票觀眾,最遲請於2022年5月16日(ㄧ)前完成辦理全額退票,退票方式請詳異動公告。 \n\t\t\t | \n\t\t
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C大調第三號鋼琴協奏曲完成於30歲之時,普羅高菲夫透過音程、節奏與和聲精心鋪陳新穎而奔放的三樂章。整首曲子,鋼琴與樂團如同共演高潮迭起的戲,對峙、嘲諷、爭辯,衝突不斷,動力從龐大的和弦與迅疾的速度中噴湧而出,鋼琴家以極大的情緒跨度駕馭88個琴鍵與密密麻麻的音符,冷靜、大膽、不容遲疑,宛如攀登至酷寒巔峰取火的超級任務。《達芙尼和克羅伊》原本為芭蕾舞劇而寫,管弦魔法師拉威爾耗時三年以希臘神話為本雕琢而成,日出光彩、自然花草蔓生、精靈共舞等仙境場景,在拉威爾才華匠心之下,都由各樂器聲部極盡炫技之能事活靈活現於舞台,就像施展幻術。此作品除了三管編制樂團外,還包含一個混聲四部合唱團,是拉威爾規模最大的作品。
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演前導聆
\n\n2022/5/1(日)13:50-14:10 音樂廳三樓大廳
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演出曲目
\n\n拉威爾:《西班牙狂想曲》,M.54
\n\n普羅高菲夫:C大調第三號鋼琴協奏曲,作品26
\n\n拉威爾:《達芙尼和克羅伊》第一號與第二號組曲
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演出暨製作團隊
\n\n指揮|伊利亞胡‧殷巴爾
\n\n鋼琴|陳毓襄
\n\n合唱指導:彭孟賢
\n\nTSO合唱團
\n\n臺北市立交響樂團
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藝術家介紹
\n\n指揮:伊利亞胡.殷巴爾
\n\n「在殷巴爾身上不難看見像是弗蘭克・法拉拉與塞爾吉烏・傑利畢達克等幾位大師的身影;這些人物散發一股寧靜的力量以及戲劇性的創造力與熱情。」 ──世界報
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殷巴爾26歲時贏得坎泰利國際指揮比賽首獎,從此展開國際指揮生涯。曾任法蘭克福廣播交響樂團、威尼斯鳳凰劇院管弦樂團、都靈廣播交響樂團、柏林音樂廳管弦樂團、捷克愛樂與東京都交響樂團的首席指揮,並於2014年由東京都交響樂團授予桂冠指揮榮銜。2019年8月起擔任臺北市立交響樂團首席指揮。
\n\n至今他仍是法蘭克福廣播交響樂團的榮譽指揮,帶領該團期間,他的傑出音樂表現享譽世界。這位魅力十足的以色列指揮家的馬勒、布魯克納及蕭斯塔科維契的詮釋深受國際讚譽,其所灌錄唱片獲獎無數,他也是灌錄布魯克納原版交響曲全集的第一人。而他與維也納交響樂團所詮釋的蕭斯塔科維契更為人稱道。他所參與演出並屢獲殊榮的作品,包含華格納歌劇《帕西法爾》、《崔斯坦與伊索德》及《尼伯龍根的指環》,而2010年他與荷蘭皇家大會堂管弦樂團演繹的馬勒全集中,演出馬勒第十號交響曲的精彩表現也已發行DVD。
\n\n殷巴爾生於以色列,早期在耶路撒冷音樂學院學習小提琴和作曲,之後受伯恩斯坦推薦進入巴黎高等音樂院就讀,師事佛瑞斯提耶、梅湘與布朗惹,他也深受費拉拉與傑利畢達克的影響。曾獲頒法國藝術暨文學勳章、維也納市金牌勳章、法蘭克福市歌德榮譽勳章及德意志聯邦功績勳章。
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鋼琴:陳毓襄
\n\n鋼琴家陳毓襄,1993年以最年輕的參賽者及卓越琴藝勇奪「波哥雷里奇國際鋼琴大賽」桂冠。賽後,波哥雷里奇還盛讚她的才華「好得令人難以置信。」並獲美國CNN電視於國際間報導轉播。
\n\n陳毓襄出生於臺灣,9歲赴美求學跟隨Robert Turner和Aube Tzerko。隨後進入茱莉亞音樂學院取得學士與碩士,在紐約期間跟隨Martin Canin、Byron Janis和殷承宗大師學習。
\n\n12歲時,獲全美50州鋼琴比賽少年組冠軍,三年後又榮獲高中組冠軍,接下來又在Bullocks 全美國鋼琴比賽首獎、全美國青少年鍵盤藝術家比賽、國際鋼琴錄音比賽贏得首獎,在18歲前創造美國鋼琴比賽的五冠王紀錄。
\n\n1990 年,陳毓襄在「柴可夫斯基國際鋼琴大賽」以唯一女性也是唯一的亞裔鋼琴家進入決賽,榮獲最佳女性獎和Alfred Cortot獎。
\n\n1995年陳毓襄獲選為美國100位頂尖華人代表。1997年在李登輝總統的「總統府介壽館音樂會」演奏,2008年在馬英九總統就職典禮演奏,同年,陳毓襄以「臺灣之光」代表參加北京奧運慶祝音樂會,和臺北市立交響樂團於北京國家大劇院合作演出。2018 年,陳毓襄再次代表臺灣在洛杉磯迪士尼音樂廳,和國立臺灣交響樂團演出。
\n\n2011年陳毓襄的專輯《珍愛的蕭邦》獲得金曲獎最佳演奏獎。身為史坦威藝術家,她在2017年拍了史坦威全球廣告;2018年在北京史坦威165週年慶祝晚宴演出。
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TSO合唱團
\n\n成立於1993年,由TSO前任團長陳秋盛老師催生,宗旨於推展精緻音樂文化、提昇生活品質、擴展樂團演奏曲目;而受前任助理指揮吳琇玲老師紮實的音樂薰陶,演出涉獵多國文化,並培養出穩定專業的表演實力。現由李琇錦老師擔任聲樂指導、莫啟慧老師擔任鋼琴合作。
\n\n創團演出威爾第《安魂曲》,歷年演出《卡門》、《杜蘭朵》、《阿依達》、《茶花女》、《蝴蝶夫人》等經典劇碼;並曾受邀至澳門演出及赴美西巡演交流,出色表現深獲好評。
\n\n近年演出:馬勒第三號交響曲、馬水龍教授紀念音樂會、拉赫瑪尼諾夫《鐘》、莫札特《安魂曲》、《伯恩斯坦百歲禮讚》、《號角‧人聲齊揚》、馬勒第八號交響曲及多場大安森林音樂會,讓民眾感受合唱、愛上合唱!
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臺北市立交響樂團(Taipei Symphony Orchestra)
\n\n「由91名成員組成的交響樂團音響渾厚…在明亮的弦樂、雄偉的銅管及光彩奪目的木管之間取得完美平衡。」──《華盛頓郵報》,2019年11月
\n\n「臺北市立交響樂團的演出純淨、靈活以及強烈表現感,給人強烈的印象,亦藉此躋身國際頂尖交響樂團之流。」──《薩布呂肯日報》
\n\n「你們具有毋庸置疑的國際演奏水準,是令人振奮的傑出音樂家。我真的很享受與大家共事,尤其是你們與瓦格指揮的人情味,對我而言就像與朋友同樂。」──莎賓‧ 梅耶
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臺北市立交響樂團創立於1969 年。創團超過50年,臺北市立交響樂團從原本只有少數一群音樂家組成的小樂團,成長為超過百位團員的大型樂團。為臺灣的音樂演出史增添全新又輝煌的一章,亦是真正屬於這個世界上最友善的都市獨一無二的西方樂團。
\n從成立之初,臺北市立交響樂團就以高水準的音樂品質聞名,邀請合作的知名音樂家不計其數,包括女高音安娜.涅翠科、安琪拉.蓋兒基爾,小提琴家祖克曼、凡格羅夫,大提琴家馬友友、羅斯托波維奇,指揮家泰密卡諾夫、單簧管演奏家莎賓.梅耶、長號演奏家林柏格、作曲家譚盾等。1979 年開辦「臺北市音樂季」,創立臺灣大型音樂季之先河,除了邀請國際知名樂團來臺外,更建立每年進行歌劇製作的悠久傳統,曾演出《丑角》、《茶花女》、《浮士德》、《卡門》、《杜蘭朵》、《波西米亞人》等經典劇碼。2011年10月《阿依達 在臺北》,成為首齣登上臺北小巨蛋的全本歌劇表演,確立臺北市立交響樂團在臺灣歌劇製作上的重要性。除了國內演出,臺北市立交響樂團更沒有缺席於國際舞臺,曾赴奧地利、美國、日本、俄羅斯、法國、西班牙、德國、盧森堡、新加坡、中國、菲律賓等地演出;近年來更參與許多國際藝術節慶及重要活動,如2010年上海世博會、2011年亞洲文化推展聯盟大會閉幕演出、2012年日本金澤、富山及東京熱狂之日音樂節、2014年日本巡迴、2015年法國漢斯夏日漫步音樂節、2016年上海國際藝術節、2017年美國巡迴及2019年中國大陸巡迴,2019年11月應華府表演藝術協會(WPA)邀請於美國華府演出。
\n2019年8月起國際指揮大師伊利亞胡.殷巴爾應邀擔任首席指揮,在全球疫情肆虐的窘況中,不間斷地呈現完美的音樂成果,推動樂團持續成長並向國際發聲,臺北市立交響樂團將成為臺北市最美的聲音,讓全世界聽見TSO!
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共同主辦:國家表演藝術中心衛武營藝術文化中心、臺北市立交響樂團
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藝玩伴計畫 ART-FUN-PLAY
\n\n爸媽看戲、孩子玩戲
\n\n發現很想看衛武營的節目,但沒有人幫您陪伴孩子嗎?
\n\n衛武營特別推出『藝玩伴計畫』,在您欣賞演出節目的同時,規劃各種活動,讓孩子們在等待父母看戲的同時,與您在平行時空同步接收演出節目的精彩內容...
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\n',team:""},english:{onShelfRange:{start:1638856260,end:4794566399},tabs:[],onShelf:!0,sliders:[{type:"image",key:"34b444507a17be0da833b42b769d97db",title:"2022 TSO Classic—大師系列《殷巴爾與凡格羅夫》"}],related:[],title:" (Program cancelled) 2022 TSO Classic- Eliahu INBAL & Gwhyneth CHEN",cover:"a799feaded9114aa02968693fb24ab1f",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
※The program has been changed. For more information, please contact +886-7-2626666. | \n\t\t
\n\n
Pre-talk
\n\n2022/5/1(Sun)13:50-14:10 Concert Hall 3rd Floor
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Program
\n\nMaurice RAVEL: Rapsodie Espagnole, M.54
\n\nSergey PROKOFIEV: Piano Concerto No.3 in C Major, Op.26
\n\nMaurice RAVEL: Daphnis et Chloé Suite No.1 & 2
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Creative and Production Team
\n\nConductor|Eliahu INBAL
\n\nPiano|Gwhyneth CHEN
\n\nChorus Master : PENG Meng-hsien
\n\nTSO Chorus
\n\nTaipei Symphony Orchestra
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Artists Introduction
\n\nConductor:Eliahu INBAL
\n\n"In INBAL, one can trace the clear traits of role models and teachers such as Franco FERRARA and Sergiu CELIBIDACHE; he possesses the strength for tranquility and the sense to create unbridled passion and dramatic effect."——Die Welt
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Since winning first prize in the Cantelli Conducting Competition at the age of 26, INBAL has enjoyed a career of international renown, conducting leading orchestras around the world. Over the years, he has been appointed principal conductor of the Frankfurt Radio Symphony (hr-Sinfonieorchester), Teatro La Fenice in Venice, RAI National Symphony, Konzerthausorchester Berlin, Czech Philharmonic, and the Tokyo Metropolitan Symphony, who named him Conductor Laureate in 2014. From August 2019 on, Eliahu INBAL will take on the role of Principal Conductor of the Taipei Symphony Orchestra.
\n\nDuring his tenure with the hr-Sinfonieorchester, whose honorary conductor he remains today, he distinguished himself with his outstanding musicianship. Based in Berlin, the charismatic Israeli conductor has garnered international acclaim for his interpretations of Mahler and Bruckner on a number of award-winning recordings (Deutscher Schallplattenpreis, Grand Prix du Disque), and was the first to record the original versions of Bruckner's symphonies. He has received special recognition particularly for his interpretations of Dmitri Shostakovich's symphonies with the Vienna Symphony Orchestra. Eliahu INBAL's operatic engagements include an award-winning production of Parsifal, as well as Tristan and Isolde and The Ring tetralogy of Wagner. His extensive discography features a performance of MAHLER's Symphony No.10 (completed version by D. Cooke), as part of the Royal Concertgebouw Orchestra's MAHLER cycle in 2010, which was also released on DVD.
\n\nBorn in Israel, INBAL studied violin and composition at the Jerusalem Music Academy before completing his studies at the Conservatoire National Supérieur in Paris on the recommendation of Leonard Bernstein. His teachers there included Louis Fourestier, Olivier Messiaen, and Nadia Boulanger. He was also greatly influenced by Franco Ferrara in Hilversum (Netherlands) and Sergiu Celibidache in Siena (Italy). In 1990, the French government named Eliahu Inbal an officer of the Order of Arts and Letters. In February 2001 he was awarded the Golden Medal of Merit from the city of Vienna. He received the Goethe Badge of Honour from the City of Frankfurt and the Order of Merit from the Federal Republic of Germany in 2006.
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Piano:Gwhyneth CHEN
\n\nGwhyneth CHEN is a Taiwanese-American pianist who won Grand Prix at the 1993 Ivo Pogorelich International Piano Competition. Subsequent to the award, Mr. POGORELICH himself said of her talent, "She is too good to be true." Immediately recognized as one of the foremost pianists of her generation, the victory was broadcast internationally on CNN television.
\n\nBorn in Taiwan, Ms. CHEN emigrated to the United States with her family in 1980, where she continued her musical studies with Robert Turner, and Aube Tzerko. She received her Bachelor and Master of Music from the Juilliard School under the tutelage of Martin CANIN. While in New York, she also studied with Byron JANIS and YIN Cheng-zong.
\n\nAt the age of 12, CHEN was the first prize national winner at the 50-state Music Teachers National Piano Association Competition in the Junior High School Division. Three years later, she was again the national winner in the Senior High School Division at the MTNA Competition. She continued on to capture first prizes at the International Piano Recording Competition, Bullocks National Piano Competition and Young Keyboard Artists Association Competition (where she also won a grand piano), setting the American record for winning five U.S. national piano competitions before the age of 18.
\n\nGwhyneth CHEN was a finalist in the 1990 Tschaikovsky International Piano Competition in Moscow. She was also awarded the “Best Lady Prize” for being the only female finalist.
\n\nA leading musical figure, Gwhyneth CHEN was included in the 1995 edition of the 100 Most Successful Chinese People. In 1997, Ms. CHEN performed at the Presidential Palace for President LEE Deng-hui, in 2008 she performed at the inauguration of President MA Ing-jeou. In the same year, Ms. CHEN represented her country with the Taipei Symphony Orchestra under the direction of LU Shao-chia, as "the Pride of Taiwan" at the countdown concert in the National Grand Theatre ("Steel Egg") in Beijing, China, to celebrate the 2008 Olympics. In 2018, she represented her country again as a soloist with the National Taiwan Symphony Orchestra at the Disney Concert Hall in Los Angeles
\n\nMs. CHEN's CD on the Chimei label, "Gwhyneth CHEN: Chopin Favorites", celebrating Chopin's 200th anniversary, won "Best Performance" in the Golden Melody Awards in 2011. Gwhyneth CHEN is a Steinway Artist and was recently featured by Steinway & Sons in the global promotional video for the innovative Steinway SPIRIO, the world’s finest high resolution player piano.
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TSO Chorus
\n\nThe TSO Chorus was founded in 1993 on the initiative of the former Taipei Symphony Orchestra General Director, Maestro Felix Chiu-Sheng CHEN. TSO Chorus's founding mission is to promote the musical and cultural life of Taipei as well as expanding TSO's performance repertoire. Under the direction of former assistant conductor WU Hsiu-ling, TSO Chorus has developed solid musicality in a diverse range of performances, preparing TSO Chorus for professional performance. At present, Ms. LI Hsiu-chin and Ms. MO Ch'i-hui are in charge of vocal coaching and piano accompaniment, respectively.
\n\nIn its debut performance, TSO Chorus performed Verdi's Requiem and makes regular appearances in TSO's annual concert program. TSO Chorus has also pioneered productions of several opera classics in Taiwan such as Carmen, Turandot, Aida, La Traviata, and Madama Butterfly among other classic playbills. TSO Chorus has also received invitations to perform in Macau and has before embarked on a concert tour on the West Coast of the USA, which were both met with rave reviews for the choir's outstanding professionalism..
\n\nRecent performances include MAHLER's Symphony No. 3, Commemorative Concert in honor of Maestro MA Shui-long, RACHMANINOFF's Symphony op. 35 The Bells, MOZART's Requiem, Bernstein Centennial Celebration, MAHLER's Symphony No. 8, as well as numerous appearances in Daan Forest Park Music Festival, promoting interest in choral music among the public.
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Taipei Symphony Orchestra
\n\n"....the 91-member orchestra played with a sonorous sound......, striking a warm balance between the radiant strings, majestic brass and glowing winds..." -" The Washington Post", Nov. 2019
\n\n"The clarity, agility, and expressiveness of the TSO are awe–inspiring, an orchestra destined to take its place as one of the world's top symphony orchestras." -"Saarbrücker Zeitung"
\n\n"You are outstanding musicians with an inspiring enthusiasm who play on a technical level of doubtlessly international standard. I really loved working with you and especially enjoyed the warm personal contact with you and Maestro Varga. For me it was like playing with friends and I hope to come back soon."- Sabine Meyer
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Taipei Symphony Orchestra was founded in 1969, in the past 5 decades, it has evolved from a small group of musicians into a professional ensemble with over 100 members. TSO has graced the city with beautiful music since it was first founded, and its 50th anniversary also opened a brilliant new chapter in Taiwan's music history.
\n\nFrom the ensemble's inception, TSO has been known for its high musical standards, and has invited innumerable renowned musicians to perform and collaborate with them, including sopranos Anna Netrebko and Angela Gheorghiu, violinist Pinchas Zukerman and Maxim Vengerov, cellists Yo-Yo Ma and Mstislav Rostropovich, conductor Yuri Temirkanov, clarinetist Sabine Meyer, trombonist Christian Lindberg and composer Tan Dun. In 1979, when the first Taipei Music Festival was held, it set the precedent for large-scale music festivals in Taiwan, and aside from inviting renowned international orchestras, such as the Pittsburgh Symphony Orchestra, the Oslo Philharmonic, and the Saint Petersburg Philharmonic Orchestra, TSO also established its long tradition of performing an opera every year, including such classic works as "Pagliacci", "La Dame aux Camelias", "Faust", "Carmen", "Turandot", and "La bohème". In October of 2011, TSO's production of Verdi's "Aida" was the first time a full opera was ever performed at the Taipei Arena. In recent years, TSO performed "La Clemenza di Tito" in its entirety for the first time ever in Taiwan, as well as the Taiwan debuts of "Ariadne auf Naxos", "Eugene Onegin", "Die Kluge" and "Der Mond", establishing the importance of TSO in the performance of opera in Taiwan.
\n\nApart from performing in Taiwan, TSO is also no stranger to international concert halls, having performed in Austria, the U.S., Japan, Russia, France, Spain, Germany, Luxembourg, Singapore, China, and the Philippines; in particular, TSO's 2017 return tour of the west coast of the United states after 26 years gave fans on the other side of the Pacific Ocean the opportunity to hear the pride of Taipei and indeed the whole of Taiwan! In recent years, the orchestra has participated in many international music festivals and important events, such as the Expo 2010 Shanghai China, the closing ceremony of the Federation for Asian Cultural Promotion in 2011, La Folle Journee in Kanazawa, Toyama and Tokyo, Japan in 2012, a tour of Japan in 2014, and performing at France's Les Flaneries Musicales de Reims in June 2015, Shanghai International Arts Festival in 2016, a U.S tour in 2017, as well as a China tour in 2019, and has been invited by Washington Performing Arts(WPA) in Washington, D.C. to perform at The Music Center at Strathmore in November 2019.
\n\nIn 2019, TSO also invited Maestro Eliahu Inbal as Principal Conductor. Under the predicament of the raging global epidemic, we continuous presents the great music and quality sound to the world.Taipei Symphony Orchestra will become the most beautiful sound in Taipei City and let the world hear TSO!
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Co-Presented: National Kaohsiung Center for the Arts (Weiwuying), Taipei Symphony Orchestra
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單元一:劇場回溯與舞蹈跨域
\n\nTime | \n\t\t\tDAY 1 (4月2日) | \n\t\t\tDAY 2(4月3日) | \n\t\t
課程名稱 | \n\t\t\t課程名稱 | \n\t\t|
10:00-12:00 | \n\t\t\t形影相析:舞蹈與空間 I* \n\t\t\t姚立群 | \n\t\t\t形影相析:舞蹈與空間 II* \n\t\t\t姚立群 | \n\t\t
12:00-13:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
13:30-15:00 | \n\t\t\t身體裡的頻率振動 \n\t\t\t王榆鈞 | \n\t\t\t數位裡的我們 \n\t\t\t謝杰樺 | \n\t\t
15:00-15:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
15:30-17:00 | \n\t\t\t圖像、影像與身體 I \n\t\t\t王柏偉 | \n\t\t\t圖像、影像與身體 II \n\t\t\t王柏偉 | \n\t\t
17:00-17:30 | \n\t\t\t交流 | \n\t\t\t交流 | \n\t\t
註1:*為「一起來寫舞」與「專業書寫手」合班上課。
\n註2:「形影相析:舞蹈與空間」課程規劃有肢體暖身活動,請穿著方便活動之服裝。
\n註3:第一季課程介紹(一起來寫舞).pdf
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單元二:評論技巧與創作直擊
\n\nTime | \n\t\t\tDAY 1 (7月2日) | \n\t\t\tDAY 2(7月3日) | \n\t\t
課程名稱 | \n\t\t\t課程名稱 | \n\t\t|
10:00-12:00 | \n\t\t\t從感受到批評-認知學習之養成* \n\t\t\t紀慧玲 | \n\t\t\t自由步身體工作坊* \n\t\t\t蘇威嘉&方妤婷 | \n\t\t
12:00-13:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
13:30-15:00 | \n\t\t\t你的第一篇舞蹈評論 \n\t\t\t魏琬容 | \n\t\t\t搬演現場 - 尋找身體關鍵字* \n\t\t\t蘇威嘉&方妤婷 | \n\t\t
15:00-15:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
15:30-17:00 | \n\t\t\t線上舞蹈演出的100種看法* \n\t\t\t魏琬容 | \n\t\t\t舞蹈速寫* \n\t\t\t魏琬容 | \n\t\t
17:00-17:30 | \n\t\t\t交流 | \n\t\t\t交流 | \n\t\t
註1:*為「一起來寫舞」與「專業書寫手」合班上課。
\n註2:「自由步身體工作坊」請著可運動之衣褲,勿著牛仔褲、裙裝、配戴不適合運動之飾品。
\n註3:課程介紹敬請期待。
\n\n
單元三:媒體書寫與觀點建立
\n\nTime | \n\t\t\tDAY 1 (9月10日) | \n\t\t\tDAY 2(9月11日) | \n\t\t
課程名稱 | \n\t\t\t課程名稱 | \n\t\t|
10:00-12:00 | \n\t\t\t舞蹈書寫9式* \n\t\t\t陳品秀 | \n\t\t\t英文書寫的臺灣舞蹈* \n\t\t\t林亞婷 | \n\t\t
12:00-13:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
13:30-15:00 | \n\t\t\t\n\t\t\t 當我們在紙上跳舞-7項舞蹈書寫計畫 \n\n\t\t\t李欣恬 \n\t\t\t | \n\t\t\t我的看舞之路 \n\t\t\t魏琬容 | \n\t\t
15:00-15:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
15:30-17:00 | \n\t\t\t聆聽:與藝術家的真情時刻 \n\t\t\t許雁婷 | \n\t\t\t前進『灰地帶』——舞蹈創作與策展意識* \n\t\t\t周伶芝 | \n\t\t
17:00-17:30 | \n\t\t\t交流 | \n\t\t\t交流 | \n\t\t
註1:*為「一起來寫舞」與「專業書寫手」合班上課。
\n註2:課程介紹敬請期待。
\n\n\n\n
\n'},{reference:[],type:"content",name:"講師介紹",content:'
講師介紹(按課程順序排列)
\n\n姚立群(牯嶺街小劇場館長)
\n\n©林育全
\n\n劇場製作人、導演,現任牯嶺街小劇場館長、身體氣象館負責人。長期以演出製作、國際藝術節與工作坊等推動臺灣與歐亞等地的表演藝術交流,亦曾舉辦多屆「第六種官能表演藝術祭」與「暗中有戲」工作坊,發展視障者等身心障礙者的表演藝術。同時為「亞洲相遇」匯演計畫成員、臺灣國際實驗媒體藝術展聯合發起人。
\n\n\n\n
王柏偉(數位藝術基金會藝術總監)
\n\n藝評人。主要研究領域為媒介理論、設計理論、當代藝術史、文化與藝術社會學、藝術/科學/科技(AST)。與人合譯有Niklas Luhmann所著《愛情作為激情:論親密性的符碼化》(臺北:五南)。現為數位藝術基金會藝術總監,曾任北美館助理研究員。
\n\n\n\n
王榆鈞(音樂藝術家)
\n\n1982 年生,高雄人,畢業於國立臺灣藝術大學戲劇系。現為音樂創作者、歌者,同時積極參與各類創作計畫。近年特別關注實驗聲響與身體的對話、影像共同創造出的內在聽覺空間,在詩句縫隙間的音樂風景。探究時間軸線裡往未來未知的聲音,同時也向著古老大地的呼喚。期待能繼續在世界不同角落創作,紀錄當下空氣裡的振動,以及生活的氣息;在詩與歌的脈絡裡找到一種文化對話的方式。並期許自身成為一位音樂創作者之前,更要成為一位傾聽他人、傾聽世界的人。
\n\n\n\n
謝杰樺(安娜琪舞蹈劇場藝術總監)
\n\n©Kris Kang
\n\n橫跨建築與舞蹈的雙重背景,為其作品注入獨特的創作思維;擅以空間概念結合科技元素,融入舞蹈與身體創作,為其跨界舞作帶來獨特的藝術性。知名作品包括科技舞作《第七感官》(2011) 、《Second Body》(2015)與《永恆的直線》(2019),頗受國際好評。曾受邀於奧地利林茲電子藝術節、荷蘭 TodaysArt 藝術節、馬來西亞喬治城藝術節等國際性指標藝術節演出。曾擔任2017臺北世界大學運動會開幕典禮文化演出導演之一。
\n\n\n\n
紀慧玲(表演藝術評論台台長)
\n\n評論人、自由撰稿人。國藝會「表演藝術評論台」召集人暨駐站評論人(2011~)。
\n曾任《民生報》藝文版記者近二十年,臺灣大學戲劇學系研究所畢,臺北藝術大學戲劇研究所博士班肄業。
\n著有《喧蟬鬧荷說九歌》(與林懷民、徐開塵合著)、《凍水牡丹─廖瓊枝》、《梆子姑娘─王海玲》。主編《bravo精采20─兩廳院二十週年舞台回顧》(國立中正文化中心,2008)、《藝起南方─衛武營藝術文化中心籌建實錄》(2009)。
\n\n
魏琬容(OISTAT國際劇場組織執行長、舞評人)
\n\nOISTAT自1968年創立以來最年輕的、也是唯一具有外交背景的執行長,少年時代學習街舞與現代舞,美國紐約大學Tisch藝術學院藝術政治碩士畢(MA in Arts Politics, New York University)。相信政治和表演藝術的共同點是「在日常生活中創造對話」。以工作結合表演藝術與外交,以舞評探問當代舞蹈和政治社會的關係,特別關注女性主義與性別議題。
\n\n\n\n
蘇威嘉(驫舞劇場團長)
\n\n©呂國瑋
\n\n高雄人,驫舞劇場創辦人之一,長期為舞團編創新作與演出,集體創作作品《速度》獲得第六屆台新藝術獎表演類大獎,與陳武康合作的《兩男關係》於德國獲科特尤斯編舞大賽金獎與觀眾票選獎,2009至2013年受芭蕾大師艾略特.費爾德邀請下,加入Ballet Tech舞團。以《自由步》為題的十年編舞計畫,被舞評形容為將美感耕耘至極致的演出。近年除了持續跳舞、創作,也開始關注作為舞蹈工作者的社會責任並四處分享跳舞的喜悅。
\n\n\n\n
方妤婷(表演者)
\n\n©呂國瑋
\n\n高雄人,當代舞蹈表演者。 紐約時報稱她「舞蹈精彩而生動,如同移動的雕塑品,最適合觀眾親自觀賞的三維立體研究」。現為蘇威嘉十年編舞計畫《自由步》系列之主要舞者與排練指導,2019年獨舞作品《自由步–一盞燈的景身》於兩廳院 TIFA 臺灣國際藝術節演出,入圍台新藝術獎年度十大表演藝術作品。她也多次與編舞家陳武康、周書毅等人合作,專業舞者生涯始於雲門舞集,曾演出林懷民經典作品《家族合唱》、《如果沒有你》、《九歌》。
\n\n\n\n
陳品秀(雲門基金會 舞團舞蹈構作暨文獻主任)
\n\n©劉振祥
\n\n曾任《Par表演藝術》雜誌資深舞蹈編輯,評論文章散見於表演藝術評論台及其他媒體。
\n舞蹈背景出身,在雲門20年,任職文獻室主任,負責雲門文獻數位典藏,及書籍、影像出版、展覽等。她也是雲門獎助計畫主任,協助年輕優秀藝術家發展潛力。2015年雲門劇場開幕,擔任劇場節目經理,2021年起轉任舞團舞蹈構作,協助藝術家創作。
\n\n
許雁婷(文字工作者、藝術家)
\n\n©臺灣當代文化實驗場
\n\n曾任舞蹈平台「下一個編舞計畫」之企劃、顧問及編舞者專訪撰稿人,連續三屆以參與編舞者的生命故事及編舞概念、創作內容為旨,撰寫專訪文稿。採訪撰文經驗近20年,文章散見於《大劇報》、《歌劇院時刻》、《Par表演藝術雜誌》、《本事》、《Art Plus》、《數位表演藝術節跨域控》、《新絲路》、《非常木蘭》等;書籍《打開雲門》、《空的記憶》、《新北市藝遊》、《運字的人》等。
\n\n\n\n
李欣恬(中國時報文化組撰述委員)
\n\n小時候學音樂,長大後當記者。畢業於北藝大音樂學研究所,現任職於媒體。曾任《MUZIK》古典樂刊編輯、《Art Plus》藝術地圖(臺港澳發行)執行編輯。畢業於北藝大音樂學研究所。曾於《Art Plus》開設樂評專欄,並於2018年入選臺南藝術節《望南藝評》成員。
\n\n\n\n
林亞婷(國立臺北藝術大學舞蹈學院副教授)
\n\n©張曉雄
\n\n舞蹈學者,加州大學河濱分校舞蹈史與理論博士。
\n\n出版英文專書《華身論:臺北,香港,與紐約的當代舞蹈》,中/英文章收錄於《身體政治:舞動東亞》,《台灣理論關鍵詞》,並主編與合著《碧娜鮑許:為世界起舞》。文章也譯成法文,韓文,與葡萄牙文。
\n\n前「台灣舞蹈研究學會」理事長,與(美國)「舞蹈史學者學會」理事,和第十屆「台新藝術獎」(2011)聯合主席。
\n\n\n\n
周伶芝(藝評人、策展人)
\n\n藝評、策展、劇場構作、文字工作者、創作美學相關課程講師等。以不同角色參與各藝術節、表演藝術創作、團隊和場館之研究計畫。
\n\n\n\n
\n'}],onShelf:!0,sliders:[{type:"image",key:"d532a4cb019e0ebb0bd40ce0f4368d02",title:"2022 舞蹈書寫工作坊—提筆上陣"}],related:[{from:"programs",key:"6204bb0606407a00079d566d",title:"2022舞蹈書寫工作坊—提筆上陣(專業書寫手)"},{from:"programs",key:"618ce3354490a40007918ccb",title:"《波麗露在高雄》"},{from:"features",key:"61e930697236db00087e3972",title:"衛武營駐地藝術家-周書毅"}],title:"2022舞蹈書寫工作坊—提筆上陣(一起來寫舞)",cover:"695499b72c6c57cdfd1fb6ae3ed583f0",site:{isOther:!0,site:"",other:"衛武營排練室"},cautions:'
保證金將於每單元課程第二日活動結束後現場退還當次保證金,未能全程參與者恕不退費。
\n\t本工作坊將有專門活動攝錄影紀錄,報名學員需於「肖像授權書」同意肖像權露出相關事宜。本影像紀錄以藝文推廣或非營利性之目的為限。
\n\t主辦單位保留本活動變更權利。
\n\t相關問題請洽衛武營節目部羅先生(shihju.lo@npac-weiwuying.org)
\n\t退費機制
\n\n報名人需於每一單元活動首日前10個工作天主動聯絡主辦單位申請退費(shihju.lo@npac-weiwuying.org);取消報名將酌收保證金10%的手續費,逾期恕不受理。
\n\t漸進式的課程導引,將帶領你看見不一樣的舞蹈書寫技能
\n\n2022臺灣舞蹈平台首次策劃漸進式舞蹈書寫養成計畫,力邀藝術家、策展人、專業藝評人及藝文媒體工作者等,一步步帶領學員從觀看舞蹈、想像舞蹈,進而書寫舞蹈,以筆尖與身體藝術共感。課程依據內容深淺,規劃「一起來寫舞」與「專業書寫手」同步進行,邀請有興趣的朋友們,一起提筆上陣寫舞去!
\n\n\n\n
活動時間與主題
\n\n2022年4月2日(六)-4月3日(日)10:00-17:30
\n\n單元一:劇場回溯與舞蹈跨域
\n\n劇場在時代流轉的演變下,舞蹈與身體的觀看有什麼不同?在科技進步的現代劇場,舞蹈跨域是什麼?是音樂是聲響?是科技還是數位?跨域創作的路徑從何開始?我們如何用筆,寫下舞蹈的過去、現在與未來。
\n\n\n\n
2022年7月2日(六)-7月3日(日)10:00-17:30
\n\n單元二:評論技巧與創作直擊
\n\n看完演出的你會看評論嗎?會抒發你的心得感想嗎?你想知道舞蹈創作的過程嗎?舞蹈要如何感受、如何比較?是舉腳的高度,還是舉腳的意義?想挑戰看看即時觀看、即時參與及即時寫作的特別經驗嗎?下筆之前,我們先來看看評論怎麼寫,舞怎麼跳。
\n\n準備好用文字跳舞了嗎?
\n\n\n\n
2022年9月10日(六)-9月11日(日)10:00-17:30
\n\n單元三:媒體書寫與觀點建立
\n\n你曾經因為一篇報導而去看一場演出嗎?一篇藝術家的專訪,是不是讓你更瞭解藝術家在想什麼?看完演出的你,是否曾經也有一股衝動想再挖掘更多作品的故事?
\n\n當書寫不再只是評論,看看拿筆的人們,是如何用不同的文化眼睛透過不同的媒介,激起讀者看舞的好奇心。
\n\n\n\n
報名資格與方式
\n\n報名資格:16歲以上,喜歡看舞、對於書寫有興趣並曾於觀賞演出後留下文字紀錄之一般大眾。
\n\n報名期間:自2022年2月14日起至額滿為止。
\n\n報名人數:15人。
\n\n報名流程:填寫報名表 → 審核通過 → 繳交保證金費用 → 收到確認通知信 → 完成報名
\n\n報名費用:保證金新臺幣 1,000 元整/單元。可分別報名,建議同時報名三個單元。
\n\n\n\n
\n\n
\n\n
製作團隊
\n\n策劃|周書毅
\n\n共同策劃|吳佩芝
\n\n執行製作|羅仕儒、李奕萱
\n\n\n\n
資源下載
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[{reference:[],type:"content",name:"Course",content:'
Unit 1: Recollections of theatre and cross-disciplinary dance
\n\nTime | \n\t\t\tDAY 1 (April 2) | \n\t\t\tDAY 2 (April 3) | \n\t\t
Course Content | \n\t\t\tIntro | \n\t\t|
10:00-12:00 | \n\t\t\tRethinking the Performance in Theatre I* \n\t\t\tYAO Lee-chun | \n\t\t\tRethinking the Performance in Theatre II* \n\t\t\tYAO Lee-chun | \n\t\t
12:00-13:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
13:30-15:00 | \n\t\t\tThe Vibrations Inside the Body \n\t\t\tWANG Yujun | \n\t\t\tUs in the Digital World \n\t\t\tHSIEH Chieh-hua | \n\t\t
15:00-15:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
15:30-17:00 | \n\t\t\tImage and Body I \n\t\t\tWANG Po-wei | \n\t\t\tImage and Body II \n\t\t\tWANG Po-wei | \n\t\t
17:00-17:30 | \n\t\t\tDiscussion | \n\t\t\tDiscussion | \n\t\t
Note 1: * refers to the combined sessions of Primary and Advanced class.
\nNote 2: Rethinking the Performance in Theatre includes a physical warm-up session, so please wear clothes that are easy to move in.
\n\n
Unit 2: Critic skills and examining the process of creation in person
\n\nTime | \n\t\t\tDAY 1 (July 2) | \n\t\t\tDAY 2 (July 3) | \n\t\t
Course Content | \n\t\t\tIntro | \n\t\t|
10:00-12:00 | \n\t\t\tFrom Feeling to Criticizing – The Path of Cognitive Learning* \n\t\t\tCHI Hui-ling | \n\t\t\tFreeSteps Body Workshop* \n\t\t\tSU Wei-chia & FANG Yu-ting | \n\t\t
12:00-13:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
13:30-15:00 | \n\t\t\tYour First Dance Review \n\t\t\tWEI Wan-jung | \n\t\t\tThe Dance Scene – Looking for Keywords of Body* \n\t\t\tSU Wei-chia & FANG Yu-ting | \n\t\t
15:00-15:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
15:30-17:00 | \n\t\t\t100 Perspectives on Online Dance Performances* \n\t\t\tWEI Wan-jung | \n\t\t\tDance Sketch* \n\t\t\tWEI Wan-jung | \n\t\t
17:00-17:30 | \n\t\t\tDiscussion | \n\t\t\tDiscussion | \n\t\t
Note 1: * refers to the combined sessions of Primary and Advanced class.
\nNote 2: For FreeSteps Body Workshop, please wear clothes that are easy to move in and refrain from wearing jeans or skirts/dresses and accessories that may hinder your movements.
\n\n
Unit 3: Media writing and forming perspectives
\n\nTime | \n\t\t\tDAY 1 (September 10) | \n\t\t\tDAY 2 (September 11) | \n\t\t
Course Content | \n\t\t\tIntro | \n\t\t|
10:00-12:00 | \n\t\t\tThe Changing Face of Dance Writing* \n\t\t\tCHEN Pin-hsiu | \n\t\t\tObservations of Writings in English of the Taiwan Dance Scene* \n\t\t\tLIN Ya-ting | \n\t\t
12:00-13:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
13:30-15:00 | \n\t\t\t\n\t\t\t Dancing Words — 7 Writing Ideas about Dance \n\n\t\t\tLEE Hsin-tien \n\t\t\t | \n\t\t\tMy Journey of Watching Dance \n\t\t\tWEI Wan-jung | \n\t\t
15:00-15:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
15:30-17:00 | \n\t\t\tListen: A Moment with the Artist \n\t\t\tHSU Yen-ting | \n\t\t\tMarching to the "Grey Zone" – Dance Creation and Curation Awareness* \n\t\t\tCHOW Ling-chih | \n\t\t
17:00-17:30 | \n\t\t\tDiscussion | \n\t\t\tDiscussion | \n\t\t
Note 1: * refers to the combined sessions of Primary and Advanced class.
\n\n\n'},{reference:[],type:"content",name:"Lecturer",content:'
YAO Lee-chun (Director of Guling Street Avant-Garde Theatre)
\n\n©林育全
\n\nYAO is a theatre director, producer, festival director as well as film researcher and curator. YAO has been the Director of Body Phase Studio and Guling Street Avant-Garde Theatre since 2007-2008. Over the past ten years, he has produced / curated several theatre events including Taiwan International Performance Art Festival (TIPAF) and Sixth Sense in Performance Arts Festival, the only international performing arts festival for/of the disabled in Taiwan. Besides, he is a member of Asia Meets Asia collaboration project and co-founder of the Experimental Media Art Festival in Taiwan.
\n\n\n\n
WANG Po-wei (Artistic Director of Digital Art Foundation, Taiwan)
\n\nWANG is the Artistic Director of Digital Art Foundation, Taiwan. His research interests include Media Theory, Design Theory, History of Contemporary Art, Sociology of Culture and Art, and Art/Science/Technology (AST). Translated Niklas Luhmann's Liebe als Passion: Zur Codierung von Intimität into Chinese together with CHANG Chin-hui.
\n\n\n\n
WANG Yujun (Musician)
\n\nBorn in 1982, Kaohsiung, Taiwan, Wang studied Applied Drama and Theater at the National Taiwan University of Arts. She currently works as an artist, singer-songwriter and composer, and is keen to explore a range of creative projects. Recently she is interested in experimenting with the dialogue between sound and the body: how the visual can actualize the inner spaces of the hearing, how the landscape of musical beauty is presented in and between the lines of the verse. Music to her is to explore what is yet to be known in linear time, and simultaneously, a call to the lineage of being. She looks forward to continuing her creative processes and artistic search in different corners of the world, to capture the everyday moments and being in life. Using poetry and sound as the carrier of intercultural dialogue, it is Wang's yearning that she first becomes a listener to the other and a listener to the world above all of her musical pursuits.
\n\n\n\n
HSIEH Chieh-hua (Artistic Director of Anarchy Dance Theatre)
\n\n©Kris Kang
\n\nHSIEH's works are composed of a special texture derived from his background in architecture, possessing strong structural characteristics—a creative perspective combining time, space and energy. Notable choreographic works include The Eternal Straight Line (2019), Second Body (2015) and Seventh Sense (2011), all of which feature a strong element of interactive dance performance. In addition to receiving great public acclaim, his works have also been featured at numerous prominent international festivals, including Ars Electronica, TodaysArt Festival, and George Town Festival. In addition to his choreographic work, HSIEH also served as the director for the opening ceremony of the 2017 Summer Universiade.
\n\n\n\n
CHI Hui-ling (Chief Director of the Performing Arts Review On-line)
\n\nCritic and freelance writer. Currently the convener and critic-in-residence of National Culture and Arts Foundation's Performing Arts Reviews (2011-). CHI previously worked as a journalist for the art section of Min Sheng Daily for close to 20 years, and acquired her master's degree from the graduate program of Department of Drama and Theater of National Taiwan University and partially completed the doctorate program of School of Theatre Arts of Taipei National University of the Arts.
\n\nHer works include Talking about Nine Songs against Buzzing Cicadas and Blossoming Lotus (co-authored with LIN Hwai-min and HSU Kai-chen), Peony in Frozen Water – Chiung-Chih Liao, and The Claves Girl – Hai-Ling Wang. CHI was the editor-in-chief for bravo 20 - the 20th Anniversary Review on the Stage of National Theater & Concert Hall (National Zhongzheng Cultural Center, 2008) and Re-Staging the South: A Documentation of Founding Wei Wu Ying Center for the Arts (2009).
\n\n\n\n
WEI Wan-jung (Executive Director of OISTAT、Dance Critic)
\n\nWan-jung is the youngest Executive Director of OISTAT since its inception, also the first with diplomatic training. She holds an MA degree in Arts Politics & Public Policy in New York University and joined OISTAT in 2011 to combine her passion for dance, theatre and international affairs, applying this blend of skills to her daily works. She continuously explores the relation between performing arts and politics with a focus on women's rights and gender equality.
\n\n\n\n
SU Wei-chia (Director of Horse)
\n\n©呂國瑋
\n\nBorn in Kaohsiung. Co-founder of HORSE, for whom SU is a long-time choreographer and performer. His group work Velocity won the Performing Arts Award of the 2007 Taishin Arts Award, and his work 2 Mencreated and performed with CHEN Wu-kang won both first prize and Audiences' Choice at the 2013 Kurt-Jooss-Preis in Germany. Upon the invitation of Eliot FELD, he joined and was a member of Ballet Tech in New York from 2009 to 2013. His ten-year choreography program FreeSteps is described by critics as a performance that cultivates beauty to the utmost extreme. In recent years, in addition to dancing and choreographing, he's also begun to explore the social responsibility of dance artists and share the joy of dancing with different regions.
\n\n\n\n
FANG Yu-ting (Performer)
\n\n©呂國瑋
\n\nBorn in Kaohsiung, a contemporary dance performer. FANG was praised by The New York Times as "a dancer whose brilliant and vivid movements resemble those of a moving sculpture, and that presents a 3D experience most suitable for audiences to watch in person". She's currently the main dancer and rehearsal coach for SU Wei-chia's ten-year choreography program FreeSteps, and her 2019 performance of solo dance "FreeSetps – Nini" at National Theater & Concert Hall's Taiwan International Festival of Arts was selected as one of the ten major performing artworks by the Taishin Arts Award. She frequently collaborates with choreographers CHEN Wu-kang and CHOU Shu-yi. Her career as a professional dancer started at Cloud Gate. She has performed in LIN Hwai-min's classic works, including Portrait of the Families, How Can I Live On Without You, and Nine Songs.
\n\n\n\n
CHEN Pin-hsiu (Dramaturg & Archivist Cloud Gate Culture and Arts Foundation)
\n\n©劉振祥
\n\nCurrent dramaturg at Cloud Gate, former senior dance editor of the PAR magazine, and a veteran dance critic in Taiwan, CEHN Pin-hsiu graduated from Dance Department of the Taipei National University of the Arts. She had curated programs and exhibitions as the Programming Manager of Cloud Gate Theater since its opening in 2015 to 2020. Joining Cloud Gate since 2002, she has committed to establishing the Archive Division for digitalizing, licensing, publishing, and exhibiting of the company's archives. She is also the head of the various projects organized by Cloud Gate Foundation to support young talents in arts and social fields.
\n\n\n\n
HSU Yen-ting (Writer, Artist)
\n\n©臺灣當代文化實驗場
\n\nHSU was the planner, consultant, and writer for Next Choreography Project, for whom she organized interviews on choreographers' life stories and creative visions into articles for three consecutive years. Having been an interview writer for close to 20 years, she has had her works published in NTT Post, What's On, PAR Magazine, BENSHI, Art Plus, Digital Performance Festival Cross-Disciplinary Freak, New Silkroad, and Very Mulan. She has also co-authored the books The Making of Cloud Gate, Emptied Memories, Arts and Museum Events in New Taipei City, and Art Creators.
\n\n\n\n
LEE Hsin-tien (China Times senior reporter)
\n\nI was a young musician and am a senior reporter.
\n\n\n\n
LIN Ya-ting (Associate Professor, School of Dance, Taipei National University of the Arts )
\n\n©張曉雄
\n\nDance scholar, Ph.D. in Dance History & Theory, University of California, Riverside.
\n\nAssociate Professor of Dance Studies, Taipei National University of the Arts.
\n\nShe published Sino-Corporealities: Contemporary Choreographies from Taipei, Hong Kong, and New York and contributed to Corporeal Politics: Dancing East Asia, the Routledge Dance Studies Reader, Keywords of Taiwan Theory, as well as edited and co-authored Pina Bausch. Her writings are available in French, Korean, and Portuguese.
\n\nFormer President of Taiwan Dance Research Society and past Director of the Society for Dance History Scholars, she co-chaired the 10th Taishin Arts Award (2011).
\n\n\n\n
CHOW Ling-chih (Art critic, Curator)
\n\nArt critic, curator, dramaturgist, writer, and lecturer of aesthetics-related topics. CHOW has played a variety of roles, including those in festivals, performing arts works, and the research programs of various groups and venues.
\n\n\n'}],onShelf:!0,sliders:[{type:"image",key:"d532a4cb019e0ebb0bd40ce0f4368d02",title:"2022 舞蹈書寫工作坊—提筆上陣"}],related:[],title:"2022 Writing About Dance Workshop (Primary)",cover:"695499b72c6c57cdfd1fb6ae3ed583f0",site:{isOther:!0,site:"",other:"Weiwuying Rehearsal Studio"},cautions:"",benefits:"",description:"From sitting in the audience to dance writing",introduction:'
From sitting in the audience to dance writing
\n\nA course with step-by-step guidance that leads you to experience different kinds of dance writing
\n\nFor 2022 Taiwan Dance Platform's first progressive dance-writing program, we are inviting artists, curators, professional art critics, and art media professionals to join us in leading participants to watch, imagine, and eventually write about dance, creating a unique experience that combines body movements and writing. The courses are designed for participants of different levels, which are the Advanced and the Primary. We cordially invite those who are interested to join and write about dance!
\n\n\n\n
Time & Course Content
\n\n2022/04/02 - 2022/04/03 10:00-17:30
\n\nUnit 1: Recollections of theatre and cross-disciplinary dance
\n\n\n\n
2022/07/02 - 2022/07/03 10:00-17:30
\n\nUnit 2: Critic skills and examining the process of creation in person
\n\n\n\n
2022/09/10 - 2022/09/11 10:00-17:30
\n\nUnit 3: Media writing and forming perspectives
\n\n\n\n
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左營高中舞蹈班(依姓氏筆畫順序):
\n\n王姝雅 臺中市西屯區人 左營高中舞蹈班
\n\n從小便被音樂聲吸引並隨之舞動,那刻我知道,我喜歡跳舞。在跳舞,盡情揮灑汗水時,能使我忘卻一切煩憂,讓我深深感受世間一切都是如此單純且美好。
\n\n\n\n
►請分享跳這支舞作的感覺。
\n跳波麗露時需要高度的專注。當沈浸其中,隨著吼叫與跑跳連結與環境的關係,我到了另一個新世界。
►最期待哪一場次的演出?為什麼?
\n我最期待在蓮池潭龍虎塔的場次。在去年,我們在那邊拍了劇照,第一次感受到在戶外演出的感覺。行人與車輛的來來去去,微風吹過、下起了小雨…都成了舞台的一部分。
►分享一個在排練過程中,最難忘的事。
\n最難忘的是書毅老師帶我們去籃球場練習,那是第一次到戶外。到了戶外,又是一個新的挑戰,需要馬上適應場地的大小,而吼叫聲也因為到了室外顯得沒有力量。
\n\n
王祥宇 高雄市岡山人 左營高中舞蹈班
\n\n小時候,我的體力就差於別人,我有氣喘,所以一開始碰觸舞蹈時,心中是很害怕的。但遇到左營高中這群同學時,這份莫名的緣分讓我們靠近,我們一起跳出屬於自己的舞蹈,我開始學會勇敢,勇敢面對自己的不足,勇敢的看見自己的長處。
\n\n\n\n
►請分享跳這支舞作的感覺。
\n波麗露是一首可以詮釋自己當下心情的舞作。它需要不緊繃的身體與心靈,對於我跳起舞來較緊繃的身體來講,是非常大的挑戰。
►最期待哪一場次的演出?為什麼?
\n岡山文化中心,因為高雄市是我的家鄉,而岡山是我家鄉的歸屬。
►分享一個在排練過程中,最難忘的事。
\n在我們第一次將波麗露學完並且跳完時,讓我非常感動且印象深刻。
\n\n
李均君 高雄市楠梓區人 左營高中舞蹈班
\n\n舞蹈是一面鏡子,透過它的反射,能映照出自己的不同的樣貌,一個自由無拘束的靈魂、一個自在享受肢體的氛圍、一個獨有魅力不一樣自我,它很誠實,誠實讓我看到真正的自己。
\n\n\n\n
►請分享跳這支舞作的感覺。
\n每一次跳波麗露都在突破自己,也都在重新思考每一次的掉落,要以何種方式爬起。不管是跳舞還是日常生活,都有很多的情緒和煩惱。藉由這首波麗露,讓埋藏在心底的情緒有宣洩之地 也讓我享受活在當下的樂趣~
►最期待哪一場次的演出?為什麼?
\n左營場。在左營這個地方生活了整整3年,終於有機會在不是劇場的地方演出,也終於有機會可以讓不只是家人的一般民眾看到舞蹈,讓他們知道表演藝術時時存在我們的身旁,其實我們的存在都是一種藝術,我們的情緒我們的日常也可以成為一種舞蹈。
►分享一個在排練過程中,最難忘的事。
\n有一次排練時臺灣大停電,我們依舊在教室中。靠著自然的陽光排練,沒有電的我們吹著徐徐的微風跳著波麗露,我覺得這是我們最接近表演的一次排練。跳完波麗露的我,雖然又熱又喘,但卻有一種說不出的爽快感,我想這應該就是活在當下的感覺吧!
\n\n
李思婕 新竹市人 左營高中舞蹈班
\n\n舞蹈是我生命中不可或缺的一部分。或許在這一路上,顛簸難行,但也總會慢慢的,慢慢的在舞蹈中,找回自己的那份熱情與愛。舞出屬於自己的樣子,那才是我,最真實的我。
\n\n\n\n
►請分享跳這支舞作的感覺。
\n波麗露對我來說是一個全新的嘗試,全新的體驗。不同於以往在舞台上的作品,更多的是自我的呈現,真實的感情流露,人與人之間的關係,同時聚匯於其中。
►最期待哪一場次的演出?為什麼?
\n最期待在美濃的那一場演出,因為我從來沒有去過那裡,感覺會是很美很有味道的地方,也感謝這次的波麗露可以帶著我到那裡。
►分享一個在排練過程中,最難忘的事。
\n那天由於中央配線的問題而突然停電了。還在排練中的我們,也未因此而停下腳步,利用窗外的自然光,持續吶喊著、舞蹈著。從天亮到天暗,依然享受在波麗露裡。
\n\n
李桐馨 彰化縣鹿港鎮人 左營高中舞蹈班
\n\n五歲踏上舞蹈這條路,而跳舞已經成為日常。很開心十八歲的青春,可以因為舞蹈遇見這些人們、一起跳舞,這樣跳舞的瞬間我面對自己最真實的樣子,那是無比的幸福。
\n\n\n\n
►請分享跳這支舞作的感覺。
\n跳脫過往經驗的華麗舞台,走入大自然的演出其實更加的困難,但是在大太陽下、風吹過身體時舞動,卻是以往感受不到的快樂。
►最期待哪一場次的演出?為什麼?
\n衛武營。衛武營是我們演出的最後一個場次,是我們見證練習以來的成果,也是最後一次享受波麗露的快樂,我想那將會是情感最為豐富的一次,因為既帶有興奮也帶有不捨。
►分享一個在排練過程中,最難忘的事。
\n3月份高雄停電的那一天,排練並沒有因為停電而暫停。我永遠記得我們在練習最後一段群舞,沒有燈的情況下因天色越來越暗,我們越來越看不清楚彼此,但依然數著拍子、跳著舞。
\n\n
李境潔 高雄市左營人 左營高中舞蹈班
\n\n舞蹈,讓我看見的是不一樣角度的自己,別於日常,我能從跳舞的當下,看見自己敏銳的觀察力、細心的洞察力還有努力向未來前進的勇氣。
\n\n\n\n
►請分享跳這支舞作的感覺。
\n在第一次的嘗試下,時常找不到那自然的律動。經過一次又一次的練習,當一口氣從頭到尾跳完,換來了氣喘吁吁的身體,心中卻充滿著超爽兩個字和愉悅的心情。
►最期待哪一場次的演出?為什麼?
\n最後一場:衛武營。這會是我最期待的一場氣勢磅礴的演出,由兩個團隊一起,只要精神與意識同在,那份力量、那份感動會是一個值得驕傲紀念的回憶與經驗。
►分享一個在排練過程中,最難忘的事。
\n4/7那天,書毅老師帶著我們到學校的戶外籃球場練習,一個人在試音沒什麼感覺,可是當我們開始走烏雲時,20個人的聲音渲染整個球場,加上回音的效果,那份嘶吼聲震撼每一個人,瞬間有落淚的感動,但是我們並還沒演出完,所以必須含著淚吸回去,換成淚水繼續向前努力。
\n\n
林瑀倩 雲林縣斗六市人 左營高中舞蹈班
\n\n人生或者舞蹈生涯中沒有經曆過各色滋味的話,可能會缺少人生的體驗。不管結果什麼樣,回頭再看這段時間,我覺得帶給我的遠遠超過幾支舞蹈的積累。我很期待每一次滋味帶給我的回味。
\n\n\n\n
►請分享跳這支舞作的感覺。
\n和傳統舞台不一樣。這支舞作是環繞的,觀眾們圍著四周,形成了一個很特殊的能量場,從互相的傳遞與連結擁有不同的收穫。跳的當下更能感受到活在當下的心情。
►最期待哪一場次的演出?為什麼?
\n最期待衛武營場演出。因為經過記者會和與衛武營舞者們相處過之後有許多耐人尋味的回憶。一樣的人,做著一樣的事,時光卻不同,還會激起什麼不同的火花,這是此次最期待的部分。
►分享一個在排練過程中,最難忘的事。
\n某次排練的時候已經接近傍晚,停電的情況下,彼此的輪廓在光漸漸暗去時,越來越模糊,此時更需要用心感受彼此的關係。結束之後每位舞者都有許多不同的感受。
\n\n
林穎 南投市營南里人 左營高中舞蹈班
\n\n舞蹈,是一份信仰,我的人生可以很平凡,卻也能找到不凡。在舞裡,我可以是千奇百怪的怪物,歪扭出不一樣的角度;可以是古典畫中的俠客,揮舞著光輝亮旗;可以是每個不同變化像風一般摸不透的自己。透過肢體語言總能表達—每一個不止於零的我。
\n\n\n\n
►請分享跳這支舞作的感覺。
\n活在當下。波麗露是一支會呼吸的作品,每當音樂一下,人的情緒會不自覺地被波盪,就像每一個不同樂器一一進入音樂時,情緒堆疊般的滂薄;每當舞步開始,人的動作會不由自主地自在許多,開始感受每一分每一秒不同的知覺;每當一到每個不同場地時,陽光、空氣和風總能讓我再一次的相信自己,相信自己能完成波麗露,波麗露能再一次地完成我。
►最期待哪一場次的演出?為什麼?
\n高雄衛武營。因為這裡是我們第一次波麗露的戶外展演,走過八場後,再一次回來原點時,不知道那時候的我,會是什麼樣子,因為未知而讓人充滿期待,期盼那時候的自己,可以帶著每一份不一樣的波麗露回憶,走向更好的明天。
►分享一個在排練過程中,最難忘的事。
\n其實我很害怕黑暗,小時候我總是畏懼停電,但有一次我們在停電的傍晚裡,一路排練波麗露到晚上,那時候的我,感受到從未感受過的勇敢,團結總能讓人忘記害怕,也因為波麗露讓我更深刻於這第一次的突破。
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洪愷均 嘉義市東區人 左營高中舞蹈班
\n\n從國小二年級接觸舞蹈,它陪伴著我度過每個成長的階段,會因它開心也因它難過,喜歡不斷的挑戰新事物,從中得到的成就感就是不斷堅持下去的動力。
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►請分享跳這支舞作的感覺。
\n伴隨著時而輕快時而澎湃的音樂,儘管身體體力已經達到極限,但總會被身邊的夥伴與節奏所推動,每一瞬間的流動與情緒釋放,一波一波的推向最高潮,最後是享受環境和自己,沈溺於波麗露帶來的美好。
►最期待哪一場次的演出?為什麼?
\n\n6/26衛武營場。波麗露的最後一場,從一開始覺得自己沒辦法完成一整首演出,到堅持到最後一場的過程,這是我們班最後一次一起完成的演出,也為來高雄求學的三年劃下一個句點。和同學們所有跳舞的回憶,難免期待、難免不捨。
\n\n►分享一個在排練過程中,最難忘的事。
\n有一次停電夜在漆黑的教室排練,那禮拜也剛好是我們的第一場大學考試,滿滿的身心靈壓力,藉由著八仙樂園的吼叫釋放出來,那天叫完就是好爽!
\n\n
高瑨恩 臺南市東區人 左營高中舞蹈班
\n\n跳舞的時候,讓我感受到我活著。
\n\n「舞蹈是有節拍的步調,就像詩歌是有韻律的文體一樣。」-培根
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►請分享跳這支舞作的感覺。
\n跳波麗露的時候,我感覺煩惱好像隨著吼叫煙消雲散,那個瞬間,我不是一位肩負升學壓力的學生,而是一位享受舞蹈與時間的舞者。那刻,好像一切煩憂都不重要了。
►最期待哪一場次的演出?為什麼?
\n我最期待第一場次,也就是在高雄火車站的演出,因為從來沒有體會在人來人往中演出的感覺,也期許當天能順利並開心的享受在其中。
►分享一個在排練過程中,最難忘的事。
\n排練最難忘的一次大概是在停電時大家一起學著波麗露其中一段複雜又快速的步伐,隨著天色漸漸變暗,視線也越來越模糊。但最後在大家都在專注下完成排練。
\n\n
陳世濱 南投縣竹山鎮人 左營高中舞蹈班
\n\n一時的熱情,將我帶入了舞蹈中。在這路上不停的追尋他人,一次次的的將自己推到極限又掉落後,才明白我與舞蹈的連結並非因他人而存在,而是舞蹈將我舞了出來。
\n\n\n\n
►請分享跳這支舞作的感覺。
\n從個人到群體,我們的心漸漸凝聚,我們彼此不同,卻又相同,其中的情緒都在微妙的變化著,層層堆疊,舞出屬於我們的地方。
►最期待哪一場次的演出?為什麼?
\n衛武營,就像是一個大型的公園,是許多的當地人經常前往的地方,我們也會在那時與高雄當地舞者共同演出,當下的景象一定相當盛大。
►分享一個在排練過程中,最難忘的事。
\n第一次完成波麗露,每個人都氣喘吁吁,臉上卻帶著自然的笑容,似乎還沉浸在波麗露中,我們鼓勵彼此,也鼓勵自己,此時的心繫在一起,完成了我們的波麗露。
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陳郁晴 臺南市仁德區人 左營高中舞蹈班
\n\n在成長時期,別於舞蹈,感情和欲望在表達時會令我感到羞澀。但透過舞蹈,一步一步找尋自己的過程時,我開始可以應付自如,而不再覺得羞澀,找到每一個不同面向的我後,才發現那個不平凡、朝向目標勇敢的自己。
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►請分享跳這支舞作的感覺。
\n會想像每一段舞蹈的畫面,讓自己融入在舞作中,並去感受在每個當下最真實的情感,時而開心、時而難過、時而憤怒,情緒會帶著妳在波麗露中舞蹈,甚至心情的上下起伏也會伴隨著妳。
►最期待哪一場次的演出?為什麼?
\n6/26 最後一場波麗露演出。會期待到時候自己輕鬆、快樂又自在地跳舞,到了舞作最熟練的階段,能清楚掌握舞動當下的情緒,真誠地感受內心深處跳舞的喜悅,我也期待與衛武營的舞者一同舞動,把每個人在波麗露背後的故事一一渲染。
►分享一個在排練過程中,最難忘的事。
\n某一次排練巧遇停電,雖然天氣很炎熱,使得我們很煩躁,但我發現當我們靜下心來、慢慢跟自己的身體對話,就會開始找到平常沒有過的身體語言,在那一次排練,我感覺到那份單純平凡的快樂時光。
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倪堉昕 臺南市永康人 左營高中舞蹈班
\n\n舞蹈使我快樂,舞蹈使我疲倦,一次次的舞動,一次次的享受,即便疲累,我也再戰。
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►請分享跳這支舞作的感覺。
\n情緒多變,從快樂到憤怒,從悲傷到興奮,肢體則是看似輕鬆,跳起來卻很累。
►最期待哪一場次的演出?為什麼?
\n高雄火車站,有人說過好的開始是成功的一半,但願我們的第一場能夠順順利利,後面能更勝一籌,一場比一場更精彩。對我來說,第一場是一種信念,只要第一場好,後面就一定會更好。
►分享一個在排練過程中,最難忘的事。
\n我記得有一次學姊講完動作後,我完全記不起來,後來學姊一個動作一個動作慢慢的教我。
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張芷瑄 雲林縣斗南鎮人 左營高中舞蹈班
\n\n舞蹈中的我是四季,經歷所有溫暖和寒冷。
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►請分享跳這支舞作的感覺。
\n波麗露帶給我的是發洩的機會,舞動的當下會發現視線不自覺的模糊。起初思考動作方位動力,後來多於思考情緒來源,跳著雖然累但有種舒暢感。
►最期待哪一場次的演出?為什麼?
\n最期待的是衛武營那一場,因為也許能跟衛武營的舞者哥哥姊姊們一起演出。期待一起在戶外舞出火花。
►分享一個在排練過程中,最難忘的事。
\n最難忘的是第一次跳完整首的那一天排練,原本的心態是「完了,要體力透支了」,但跳完的那一刻,看向時鐘已經過了25分鐘,原來跳完是那麼痛快。
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張詠淇 雲林縣莿桐鄉人 左營高中舞蹈班
\n\n舞蹈,是一份信念。它,讓我看到一個不一樣的自己,我平常是細心待人的,但有時候,我總能看見自己的鬥爭心,找到自己的優勢後,讓亮光能從我的身體默默的發光,而這些亮點使我學會怎麼讓自己看見未來。
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►請分享跳這支舞作的感覺。
\n在種種的舞動玩樂之中,拋出當下的情緒。即使當下很累,腦海浮出放棄的念頭,那都是一瞬之間。感受當下,享受當下,展現自己,此時此刻,我就是我。
►最期待哪一場次的演出?為什麼?
\n衛武營。波麗露最後一場演出,35位舞者盡情舞動身體,舞蹈感染與張力更強大,期待給予觀眾不同的藝術饗宴。
►分享一個在排練過程中,最難忘的事。
\n戶外排練,在校園中舞動身體。夕陽西下,微風徐徐,籃球場上揮舞著肢體,首次在戶外排練的我們對一切感到非常新奇有趣,感受周遭環境,感受環境氛圍,享受當下波麗露的樂趣。
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莊嘉杰 高雄市大社區人 左營高中舞蹈班
\n\n我是一個求學態度認真,力求效率的人,我認為舞蹈就是一種尋覓自己的方式,即便沒有舞者先天的良好條件,只要樂在其中足矣。
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►請分享跳這支舞作的感覺。
\n回歸到最真實的情緒,沒有生活的壓迫,沒有強加的包裝,想歡笑就歡笑,想吶喊就吶喊,不需要在意他人投注的不解和嫌棄。
►最期待哪一場次的演出?為什麼?
\n衛武營國家藝術文化中心,因為和衛武營的舞者一起工作,能獲益良多。
►分享一個在排練過程中,最難忘的事。
\n因為參加波麗露在高雄的排練,讓我能夠更真實的表露自己的心情,一次次的卸下自己戴上的成熟偽裝。
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黃敏薰 屏東縣九如鄉人 左營高中舞蹈班
\n\n我跳舞,因為我喜歡,自學舞以來,秉持著這樣的信念,一路走下去。
\n\n\n\n
►請分享跳這支舞作的感覺。
\n又累又開心,又氣又喜歡,能讓我自在的做自己,在跳舞的時候,也能讓我感受到發自內心的情緒。
►最期待哪一場次的演出?為什麼?
\n我最期待最後一場6/26在衛武營的演出,因為那是波麗露的殺青場,也是我最後一次和高中同學們一起完成一場演出,期待之餘其實也多了一點不捨。
►分享一個在排練過程中,最難忘的事。
\n第一次從頭到尾跳完波麗露的那次排練,我還以為會累到倒地不起,但其實跳完的那一剎那,心情上是開心舒暢的,這是我最難忘的事。
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黃湘惠 高雄市大社區人 左營高中舞蹈班
\n\n在我成長時期,表現情感令我羞澀。而透過舞蹈,我可以真實的面對自己,不再覺得羞澀,多相信自己一點。
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►請分享跳這支舞作的感覺。
\n跳波麗露時的我,可以毫不保留的發洩情緒,隨著自己的心情去表達,那個忘記煩憂大聲喧吼的我,那個再一次勇敢站起的我,那個每一次堅持到最後完成舞作的我,波麗露總是帶給我每一次不同的感受和意念。
►最期待哪一場次的演出?為什麼?
\n舊鐵橋,因為外公外婆家就住在附近,小時候常常去那裡散步、玩耍,很期待能在自己熟悉的地方演出波麗露。
►分享一個在排練過程中,最難忘的事。
\n有一堂排練突然停電,在黑暗中跳著波麗露,看不到任何人的臉,只能看見對方的剪影,聽著對方喘息的聲音,感受跳波麗露最真實的情感。
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葉柔妡 雲林縣斗六市人 左營高中舞蹈班
\n\n有一位幫助我很多的老師曾經告訴我一句話:「跳舞,沒有想不想,只有要不要」,秉持著這樣的信念,讓我成為了勇敢且堅定的舞者。
\n\n\n\n
►請分享跳這支舞作的感覺。
\n喜歡這樣放鬆心情的跳舞,保有自己獨特風格的舞蹈,讓我明白到跳舞真正的收穫,不在於你掌握了多少技巧,而在於你收穫了多少自信!
►最期待哪一場次的演出?為什麼?
\n6/26衛武營的場次,因為那是我最後一次以高中生的身分,在高雄跳的最後一場演出,也有可能是最後一次與班上的各位同台演出。
►分享一個在排練過程中,最難忘的事。
\n記得有一次的戶外排練,午後的天空沒有強烈的太陽,喜歡被微風吹拂,那輕鬆自在的感受,儘管過程中被蚊蟲叮咬,動作也滑稽了起來,我們仍然完成了愉快的排練。
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戴伊辰 臺中市南屯區人 左營高中舞蹈班
\n\n生活就是不斷遇見,不斷學習,不斷與人碰撞,碰撞出生活的色彩。
\n\n\n\n
►請分享跳這支舞作的感覺。
\n它是一支有情緒、有即興也有肢體的作品,還蠻有挑戰性的。就算跳錯了,也不能展現出任何驚慌失挫,要時刻微笑,享受當下。
►最期待哪一場次的演出?為什麼?
\n最期待衛武營場,因為是最後一場,同時也能和衛武營的舞者們一起演出。
►分享一個在排練過程中,最難忘的事。
\n在某個下午鄰近傍晚的一次排練,忽然眼前一暗,學校停電了,但我們仍沒有停止舞動,直到看不見其他人的臉,只能看見一個又一個幢幢人影閃過眼前,那一次排練的光景是我前所未有的。
\n\n
\n\n
\n'},{reference:[],type:"content",name:"在地獨立舞者們",content:'
在地獨立舞者們(依姓氏筆畫順序):
\n\n王雨婕/舞者
\n\n『人與人之間的關係和獨特性,每個人都是一個個體,再怎麼不同,都還是需要彼此包容諒解。』
\n\n作品想傳達的似乎也呼應這次舞者們相遇的情景,雨婕特別珍惜所有來自不同地方、年齡、背景的舞者們因這次的徵選成團,排練過程一起感受波麗露前進的力量,詮釋作品的同時,全團的情感也支持著作品的情感表達!
\n\n過去也有戶外演出的經歷,但都是在有架臺的情況下演出,一直很喜歡也很期待可以近距離的在觀眾身邊演出,這次不架台不架燈的演出距離更近了,王雨婕很好奇會有什麼樣的火花?住在高雄,但演出地點好些都尚未拜訪過,期待透過這次巡演成為更認識高雄的高雄人。
\n\n
\n我來自高雄,從小什麼都不懂的情況下就被我媽送去學舞,一直到了左中舞蹈班畢業,到了澳洲讀大學時毅然決定轉系讀設計,期間仍於MAD Dance House參與舞蹈課程,並接觸了街舞、爵士等不同舞風,也一同參與各式演出及比賽。
出社會進入航空公司工作後,閒暇之餘參與工作坊及上課,也因此獲得參與爵劇影色所舉辦的阿修羅王公演的機會,並與其中舞者以團體MissTic前往日本大阪參加Jazz Sensation比賽及高雄OSTA比賽獲得金牌。同時也因工作福利得以定期出國接觸不同老師的課程,2018年為了熱愛的舞者Galen Hooks所舉辦的The Glaen Hooks舞者進修課程,三天兩夜來回臺灣與美國休斯頓。
\n\n也就以這樣的模式,持續與舞蹈相處了一段時間,轉了一圈,沒想到還能因波麗露再次走回舞者這個身份,今年更因此參加臺北時裝週Project by H.的難得演出機會,我想這就是我跟舞蹈之間的一種緣份吧!
\n\n\n\n
李宛蓁/舞者
\n\n『舞動到懷疑人生,卻在過程中逐漸找到自我的旅程。』
\n\n宛蓁高三那年為了學跳舞,一直臺南高雄兩地跑,印象最深刻就是街舞教室,新崛江一帶。這次因為看到徵選消息,決定試試,沒想到選上了,再次展開往返兩地的旅行。
\n\n談起訓練過程中,她印象最深刻的便是書毅安排前輩們來觀看和指導,腦子一直接收到過去演出過的相關訊息,有一種時空交錯跟傳承的感動,覺得是很特別的經驗!這是她第一次要挑戰在場上跳這麼久的舞作,體力上是考驗;再者,所有的動作質地與自己以往的習慣都不同!有種被重新建構的身體感受!
\n\n期待哪一場演出?每一場!
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\n我是舞者李宛蓁,我來自臺南,平時主要從事街舞相關的演出與教學活動。參與過許多大大小小的流行商業演出、與藝人合作、擔任演唱會舞者,到國外演出!但是這次波麗露,真的對我是一大挑戰!非常不同地身體運用以及表演詮釋,希望大家都可以來看看我的蛻變。
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吳兆容/舞者
\n\n『這個團隊意外契合,好的壞的彼此都能互相方享。』
\n\n去年7月開始了自由藝術工作者的身份,正尋找演出機會,就看到了徵選消息,雖然宜蘭到高雄的路途遙遠,但兆容認為這會是一個很好的經驗,於是加入。
\n\n高雄市對她而言是個相當陌生的城市,起初為了參加排練,一個人週四晚上總是旅行到高雄,前往同一間輕旅下榻,排練之餘頂多附近隨意走走看看,開始慢慢認識這座城市。和一群完全陌生且不同領域的舞者們工作,也是人生第一次,期間感受到團隊相處意外地契合,15位來自不同地方、不同背景、不同年齡層的舞者,因為作品而相遇,是很在一起的狀態,兆容說整個團隊連私下相處都是很合得來。
\n\n她喜歡在排練過後有新的感受或疑問時,會用文字紀錄的方式寫下,也會在生活中更多觀察周遭人事物,找到與波麗露之間的連結,甚或不相似的地方也能有所反思,這是一段很長的內心對話,層層疊疊。
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我來自宜蘭,自小學習舞蹈於高中進入舞蹈科班,臺灣體大舞蹈系畢業,原先是以教學為重,現在則是以表演藝術為主,近期參與台北時裝周PROJECTbyH展演,曾參與2021許程崴製作舞團既曉劇場駐地創作《上造》、宜蘭龜隻劇場《風景中的變奏》、2020陳逸恩 ⟪身體發酵⟫用生活一起創作計畫《三相身軀》、臺北藝穗節作品《虎刺梅》,2019宜蘭戲曲節《西北雨傳說》、臺中國家歌劇院開場計畫-許庭瑋《一半 一半》等演出,在合作過程中試圖挖掘更多的自己及與他人激發新的事物。
\n\n是一個很射手的射手女,特愛橘色,喜歡跑來跑去到不同的城市,不管是遊玩還是工作,最近給了自己一個"環島舞者"的名字,希望能跳遍臺灣各地,在每個地方留下屬於自己的身體的記憶。
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吳凱文/舞者
\n\n『波麗露是無可救藥的浪漫。』
\n\n因為作品波麗露再次與高雄連結,這個凱文表演藝術生涯的起始點。參與在團隊中,他期望找到不一樣的身體與舞蹈更深的連結,同時希望透過28場演出,讓高雄有更多的舞蹈能量,這是凱文對這個地方的情感。
\n\n觀看過往舞蹈旅行紀錄片時,最喜歡看觀眾的反應與訪問回饋,很多有趣的小細節,完全體現了這個舞蹈出走的意義,讓更多人遇見現代舞,推薦大家去看,更推薦大家親自來看舞。
\n\n凱文所感受的波麗露,是無可救藥的浪漫、紀錄人與人觸動心的時刻、述說自由。於是他這段日子練舞聽著《波麗露》散步《波麗露》準備自己也再再感受到舞作的輕盈,陪伴著生活。
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來自桃園,自由藝術工作者,喜歡散步,喜愛文字,專職Breaking、當代舞蹈表演者、創作者,並以藝術管理與舞蹈教學為輔。
\n\n以舞蹈肢體語彙為根基,跨域參與不同形式的藝術作品,近年參與歌劇、舞蹈劇場、環境劇場、沉浸式劇場、參與式劇場、錄像藝術、行為藝術、裸體藝術、實驗藝術、臨場藝術等
\n\n2020年赴印尼駐村,並在當地發表作品《A Time And Place For Maybe》。
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林思綺/舞者
\n\n『讓它去!過去的讓它去,放手以後會有不同的風景。』
\n\n『自從加入了波麗露,出門散心的時候看見一片空地,一個覺得舒適的空間,就會在心中響起音樂,然後就會默默的開始動起自己的身體。』這是屬於思綺的美好片刻,是她的找尋。
\n\n聊起參訓期間的小插曲:『波麗露開排後沒有多久,我在某次排練時扭傷了腳,心想完蛋了,影響到大家練習了,但所有人的溫暖關心和幫助,還有老闆書毅的各種協助,我剎那間不像是來到了遠處工作的孤身一個人,那些無助感慢慢被溶解,這個團隊是如此的有溫度,像家一樣,也更讓我在那次受傷後可以讓傷好好被修復。』
\n\n這次的參與,思綺對內最期待的就是在一次次的排練裡,看見自己身體的變化。對團隊,最期待的是和所有人一起慢慢走過每一場,一起在每個地方留下舞蹈的身影。
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我來自臺中,剛畢業就受到疫情的各種阻攔,但就算如此也阻攔不了我對舞蹈的熱情,我是個自由接案舞者,即使現在的工作是北、中、南跑,也讓我感到十分有趣,把身體交給當下的擇,發現更多的自己。
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林蔓葶/舞者
\n\n『這是我頭一次回家鄉跳舞。』
\n\n『看到徵選消息的第一時間,去查了波麗露的音樂,並且聽了好多個不同的版本,沒有想太多,期待著可以回家鄉跳舞,就報名了!』這次出發,蔓葶帶著滿滿的興奮與期待!這段日子時不時會播放波麗露,通勤的時候、洗澡的時候、試著在生活中感受波麗露不停向前的動力。
\n\n波麗露對蔓葶而言就是『當下、生命、找尋』她第一次參與時程這麼長的製作,也頭一次回家鄉跳舞,所謂找尋,除了舞作中的訊息之外,也包括了過去與未來的自己。
\n\n從小在鳳山區長大,高中時期看著衛武營的建造從無到有。她最期待演出彌陀場,彌陀是蔓葶爸爸的老家,彌壽宮是每年過年會與家人們去的景點。『記憶中的彌陀一直以來都很親切,承載著長大的回憶,很期待在彌陀跳舞遇見回憶中的我。』
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我是蔓葶,來自高雄,大學在臺北念書,這次藉著波麗路回家跳舞。國中國小唸的是舞蹈班,高中就念在衛武營旁邊的鳳新高中。想起高中每一年都會在衛武營辦路跑,我看著衛武營建造完成,同時衛武營也看著我長大。今年我回家,回到我的家鄉跳舞,回到家鄉遇見自己。
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柯凱峰/舞者
\n\n『在南部終於有公開甄選舞者的演出了!』
\n\n一看到徵選消息,就瞬間決定要報名了。想起曾經在北藝大表演廳看過波麗露劇場版,演出的都是學長姐,覺得他們的肢體很厲害!
\n\n當自己參與作品之後,凱峰感受到作品中述說的是『維繫人與人之間的關聯性』很享受在這次跳舞的自由度中,不必受限於制式化的動作,在家鄉高雄演出特別有感,高雄生活中最喜歡騎著腳踏車到柴山上運動,是都會中離大自然最近的地方。
\n\n面對有別於過往經驗的戶外演出,跟著團隊持續準備中,持續期待在家鄉的28場,每一場詮釋好這個作品的情境,更期待到每一個場地創造出不同的風景。
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我來自高雄。臺北市立大學舞蹈系畢業,從國小一路唸舞蹈班到大學舞蹈系畢業,舞蹈已經深入到我身體的任何一個角落,要說舞蹈與我有甚麼連結,我會毫不猶豫的回答如同日常生活一樣如影隨形的陪伴在我身邊。
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柯貴婷/舞者
\n\n『我感受到的波麗露是變化無常的。』
\n\n遇見波麗露之後貴婷發現每次跳都有不同的感受,也因為每次狀態的不同而感受到不同的訊息,和同伴之間的傳遞與連結也是在每次的嘗試當中有不同的收穫,在舞動的同時用肢體和感受去接收與傳遞訊息,這是在這些過程中莫大的收穫之一。
\n\n『在戶外演出即便是練習,每次都有不一樣的意外或驚喜會發生,在戶外不可預測的事情太多太多了,尤其有觀眾時更是難掌控和預料,這也是在戶外沒有舞台的演出最有趣、迷人的地方。』因為參與波麗露舞作,貴婷人生第一次在高雄跳舞和短暫的住下來,最期待從衛武營出走出,最後帶著全部場次的觀眾回到衛武營!現階段全然的享受著作品,在舞作當中去找到自己的模樣、認識自己的特別。
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我是阿貴。我來自臺南,因為波麗露這個計畫從臺中搬到了高雄,也開始在南部教課、跳舞並做一些個人的小創作。2018年參與了NTT遇見巨人-拉斐爾藝術合作社-臺中國家歌劇院的《美國 民主》,2021年也參與了國立臺灣體育運動大學舞蹈系舞團年度公演-臺中國家歌劇院-《奪》,在演出當中擔任舞者。
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陳品霓/舞者
\n\n『期待很多街舞人來觀看。』
\n\n大學讀流行設計系,舞蹈專項是街舞,作品累積及參與製作大多與現代舞沒有直接的關聯,但當凱文丟了波麗露徵選的連結給品霓,她投件了,開始了自己的波麗露旅程。
\n\n翻看過往舞蹈旅行影片,驚訝於臺南神農街場次的樣貌『狹小的巷弄中跳出了屬於波麗露的路徑,與當地的景色作為連結。影片開頭出現了廟會活動的片段,正如我生長的環境。』品霓在意識上被波麗露吸引了。喜歡波麗露的正向精神,作品的傳遞讓品霓想到自己很愛的靈魂沙發歌曲《I wonder 》在心靈上找到與作品的契合。緊接著在肢體上進入作品。
\n\n(文字訪談的當時)品霓說:『我還不敢問家人能不能來看,怕自己在情緒控管中失控。』這樣一個內心柔軟又自我要求的舞者,讓人很期待看到她的表現。
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我是一名來自嘉義的街舞舞者-陳品霓,歷經無數場的戰鬥經驗,因生活型態的改變,讓我對即興舞蹈有了渴望,力量的內化時而抽離時而融合,在創作過程中找尋更多的突破性與可能性。期盼也尋找機會與不同舞蹈形態的舞者,共同激盪出不同風貌,盼望擴大舞蹈的型態,讓人更輕易地接觸這快樂的日常。最近一次的獲獎紀錄是2019臺南OA來了 vol.10 freestyle battle / 亞軍。
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郭彥緯/舞者
\n\n『這一段旅程的每一刻都充滿驚奇。』
\n\n作品中有冀望、跌跌撞撞、再前行,這是彥緯內心的感動。在高雄生活已久,演出倒數,想到即將面臨熱辣辣的高雄太陽,覺得是最大難題。談起這次和觀眾零距離的相遇,他想到自己與舞作的距離,包含物理跟心理上的,希望能在這兩個層面,把舞作想表達的透過自己的表演狀態,傳遞出去!
\n\n說自己是土生土長在地高雄人,家住西子灣也最愛西子灣,看到海就覺得舒服自在,也特別期待即將到新光碼頭的演出,眾多場中唯一靠海的演出,期待波麗露在夕陽揮灑的海浪上閃耀的樣子。
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我來自高雄,是個自由接案的表演藝術工作者,近期參與過衛武營《茶花女》、《杜蘭朵》等作品,除了是一名舞者之外,在控台的舞台監督、在前台的服務也都能看見我的身影,期待能透過波麗露以嶄新的樣貌與大家相見。
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黃程尉/舞者
\n\n『戶外每一場都是挑戰,也都是享受。』
\n\n程尉感受的舞作有強烈的信息:關於生命、生活、生存,作品中的情緒以及身體的有機性是在其他舞作中不曾感受到的。因此他會經常回想生命經驗,並把情緒放大溶入要練習的片段中。
\n\n談起家鄉高雄市,程尉最喜歡去高雄的各個咖啡廳以及酒吧,就是日常。而近期突破自我懷疑再度回到舞者身份,盡情享受所感受到的。深感戶外演出最需要隨機應變,期待在各場觀察觀眾的反應,期待每一場的享受。
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來自高雄,從小學到研究所一直都是舞蹈班,因著高雄不會輸臺北的心,回到家鄉高雄並成立了自己的舞團–「嵬舞劇場舞蹈團」,致力於讓更多人理解舞蹈,並勵志打破舞蹈就是看不懂的刻板印象!
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葉佩玲/舞者
\n\n『只要步伐沒有踩好,就會跟伙伴差很遠,所以要很清醒。』
\n\n談到作品,佩玲其實內心有個小宇宙爆發開來『如何在停不下來的身體、情感和音樂中保持呼吸和笑容。從演出開始,腳步不曾停下來,也不能停下來。』聊起過往曾經在成功大學的聽到書毅的分享,知道舞蹈旅行去了臺灣很多地方。想起那場分享,佩玲腦中出現一把風扇向著一群舞者狂吹,舞者身上都是花花的衣服,已經忘了是哪一站的演出,而今,自己是舞者之一。
\n\n參加排練,佩玲說:『當身體極度疲乏時不能只靠個人意志力,這樣的「撐」會很幸苦。找到身邊的伙伴,相互一個笑容、一人眼神,一個共同的呼吸聲,讓大家的能量幫自己。這個我還在學習,如何把自己「安放」在一個群體裡,接收彼此的能量。』
\n\n拜訪高雄,她喜歡去武廟市場,生活壓力大的時就會跑去市場亂買水果,之後狂吃。晚上騎腳踏車去西子灣看海,覺得晚上沒有太陽的高雄比較可愛,但會一直迷路。找到一起跳舞的同伴,或者會一起愛上艷陽下的高雄?
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我來自香港元朗,十一年前來臺留學,2014年開始活躍於中南部劇場。現就讀高師大跨藝所。近年與南風劇團、愛慕劇團、空表演實驗場和影響新劇團合作,以演員、教學、導演、助理或行政身份參與社區、銀髮族、身心障礙者之劇場製作。
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楊以灣/舞者
\n\n『最近我會觀看世界正發生的事情,再默默想像波麗露的樂聲響起。』
\n\n在媽媽的鼓勵下,以灣報名了徵選,是她畢業後的第一個演出機會,所以沒有太多猶豫。遇上波麗露,感受到作品中的隱喻:人生總是充滿許多荒謬、荒唐到無法用言語形容的際遇,但是在經歷每一次的跌落、重新站立之後,還是持續著我們的腳步,面對變動與未知的一切,找到流動與自由。
\n\n小時候住在南投,當在 YouTube上看見家鄉曾經也有過波麗露的影子,看見大榕樹下滿滿的觀眾,就特別感動。於是就算這次排練的路途遙遠,以灣還是來了!談起最挑戰之處,應該是這支舞作帶有些戲劇成份,情緒該如何拿捏?而舞作即興的部分,有些時候會遲疑,於是在排練中做了很多不同於過去的練習,有種打開新世界的感覺。
\n\n『戶外演出,我覺得跟觀眾之間的關係,可以不需要跟在劇場一樣隔著一個鏡框,也許會有近距離的對視,也許就讓它自然的發生。很期待去六龜,因為書毅常常提到六龜。』
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我來自臺灣,苗栗泰安鄉泰雅族人,畢業於臺北藝術大學舞蹈系,現為獨立舞者。2019年獲教育部學海飛颺計畫獎學金,赴德國福克旺藝術學院及比利時羅莎舞團交流研習;2016~2019與新北市合作擔任舞蹈創作及演出,代表臺灣赴歐洲參與國際藝術節演出;2022年參與《雲劇團》流動藝術饗宴三部曲,擔任舞蹈創作及演出。相信藝術無界,在表演的路途中,持續尋找生命、生活與藝術的相連。
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廖玟淯/舞者
\n\n『大部分的時候我都很快樂,而快樂背後也都藏著許多的故事和悲傷。』
\n\n國小時期曾在虎尾布袋戲紀念館看到波麗露戶外演出,玟淯說小時候完全不懂藝術、不懂舞者為什麼要尖叫、藍色電風扇代表什麼意義?但記得這支舞的編舞家,大家喊他『周先生』無誤。多年過後成為舞者之一,隨著周先生的引導真正進入作品的內涵探索,很享受來自各地的舞者成為一個大家庭的美好,舞蹈的學習之外,也很多生活觀點的碰撞。
\n\n每次練習思考著人類的情緒:為什麼悲傷?為什麼傷心?而自己面對著作品極具張力的情緒表達,也試著找方法進入。這段日子騎車也波麗露、洗澡也聽波麗露,不斷期待著4月的高雄,精彩的每一場戶外演出。
\n\n\n\n
我是玟淯,來自雲林西螺,因為舞蹈從16歲就來到臺中學習,高中畢業後也在臺中生活,大學期間接觸不同編舞家的作品,參與了2021嘉義新舞風,2020、2021彰化圓舞集的作品,在2022與波麗露相遇很榮幸與書毅一起工作,讓我能夠再一次享受舞蹈帶給我的幸福。
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蔡宛育/舞者
\n\n『人,始於個人、活於群體、終於個體。』
\n\n最近的生活中我常使用這三個方式準備自己。第一種是為了波麗露舞作本身準備:一直回放音樂,在腦中跳過一遍又一遍;第二種還是從音樂出發,但不去想動作,純粹只是聽音樂,有時什麼都不想,有時隨著音樂產生出自己的即興;最後一種是隨時觀察身處的環境以及身邊的人,觀察植物、建築在空間的關係,觀察人們的動作,有時會發現非刻意的和諧。
\n\n關於即將出發的波麗露在高雄,宛育說:『光是想到每場不同的溫度、空氣、觀眾,而產生不同的火花就十分興奮。』特別期待高雄車站的演出,因為近來的日子每當要到衛武營排練,到達高雄的第一站就是高雄車站,然後轉捷運到衛武營。可以想像四月開始,從各地來的觀眾將會聚集在高雄車站,再往四面八方前進,就像是舞者們從各地而來的必經之地,接著把波麗露帶到高雄各地,都是以高雄車站為起點。
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我是蔡宛育,來自臺南。從就學就開始跨領域人生,分別主修應用外語、國際企業及應用戲劇,同時並行不間斷在舞蹈路上,目前攻讀臺灣藝術大學跨域表演藝術研究所。從不限制自己只能跳舞,除了舞蹈演出也多方嘗試不同藝術形式。曾參加大唐民族舞團《如夢乍回》《夜光蟲傳奇》《情穿水雲間》《雨夜花綻放》、釜山藝術節、PROJECTbyH臺北時裝週AW22《Let Go》、尚和歌仔戲劇團《敬瑭圍城》《將軍的押不蘆花》《半人》、擔任橄欖葉劇團《漢武帝與李夫人》演員、愚者表演工作室《愛情生活》演員、美好的事劇團《憶像實驗室:離開時請關門》動作設計、電影《愛的麵包魂》舞者。
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\n'},{reference:[],type:"content",name:"推廣工作坊",content:'
時間 | \n\t\t\t地點 | \n\t\t\t合作單位 | \n\t\t\t活動連結 | \n\t\t
3/24(四) \n\t\t\t19:00-21:00 | \n\t\t\t高雄李科永紀念圖書館多功能教室 | \n\t\t\t高雄李科永紀念圖書館 | \n\t\t\tLINK \n\t\t\t額滿 | \n\t\t
\n\t\t\t09:20-12:10 | \n\t\t\t\n\t\t\t 因為疫情延期,時間改成7/15(五)09:20-12:10衛武營1186排練室、公共空間 \n\t\t\t | \n\t\t\t高雄市國教輔導團 | \n\t\t\tLINK \n\t\t\t額滿 | \n\t\t
4/15(五) \n\t\t\t09:00-12:00 | \n\t\t\t高雄市婦女館展示室 | \n\t\t\t高雄市政府社會局高雄婦女青少年活動中心 | \n\t\t\tLINK \n\t\t\t額滿 | \n\t\t
4/15(五) \n\t\t\t15:20-15:40 | \n\t\t\t高雄市鹽埕區忠孝國小中庭 | \n\t\t\t高雄市鹽埕區忠孝國小 | \n\t\t\t\n\t\t\t 僅校內活動,無對外開放。 \n\t\t\t | \n\t\t
\n\t\t\t09:20-12:10 | \n\t\t\t\n\t\t\t 因為疫情延期,時間改成7/14(四)09:20-12:10衛武營1186排練室 \n\t\t\t | \n\t\t\t高雄市國教輔導團 | \n\t\t\tLINK \n\t\t\t額滿 | \n\t\t
4/19(二) \n\t\t\t10:30-12:00 | \n\t\t\t高雄市鹽埕區忠孝國小中庭 | \n\t\t\t高雄市鹽埕區忠孝國小 | \n\t\t\t\n\t\t\t 僅校內活動,無對外開放。 \n\t\t\t | \n\t\t
4/19(二) \n\t\t\t14:00-16:00 | \n\t\t\t\n\t\t\t 高雄市立圖書館草衙分館1F藝文研習室 \n\t\t\t | \n\t\t\t高雄市立圖書館草衙分館 | \n\t\t\tLINK \n\t\t\t額滿 | \n\t\t
5/10(二) \n\t\t\t09:00-12:00 | \n\t\t\t高雄市大樹區竹子寮靶場 | \n\t\t\t高雄市大樹區竹寮社區 | \n\t\t\t\n\t\t\t 僅社區活動,無對外開放。 \n\t\t\t | \n\t\t
5/10(二) \n\t\t\t13:30-15:00 | \n\t\t\t高雄市六龜區新威國小 | \n\t\t\t高雄市六龜區新威國小 | \n\t\t\t\n\t\t\t 僅校內活動,無對外開放。 \n\t\t\t | \n\t\t
5/19(四) \n\t\t\t10:20-12:00 | \n\t\t\t高雄市六龜區寶來國中 | \n\t\t\t高雄市六龜區寶來國中 | \n\t\t\t\n\t\t\t 僅校內活動,無對外開放。 \n\t\t\t | \n\t\t
5/19(四) \n\t\t\t19:00-20:30 | \n\t\t\t高雄市六龜區尼布恩學堂 | \n\t\t\t高雄市尼布恩人文教育關懷協會 | \n\t\t\t\n\t\t\t 僅校內活動,無對外開放。 \n\t\t\t | \n\t\t
5/28(六) \n\t\t\t13:30-18:30 | \n\t\t\t大樹區-舊鐵橋濕地教育園區 | \n\t\t\t高雄市政府社會局高雄婦女青少年活動中心 | \n\t\t\tLINK \n\t\t\t額滿 | \n\t\t
★場次持續增加中
\n\n★報名及活動資訊請詳閱活動連結
\n'},{reference:[],type:"content",name:"演出紀錄",content:'\n\n\n\n\n\n\n'}],onShelf:!0,sliders:[{type:"image",key:"b6b535e69c72a13e59732828c53a188c",title:"《波麗露在高雄》"},{type:"image",key:"78fffe1265c683af279ffd44b5af6124",title:"《波麗露在高雄》"}],related:[{from:"articles",key:"625cca547406e30007ca91f2",title:"波麗露在高雄專訪"},{from:"features",key:"61e930697236db00087e3972",title:"衛武營駐地藝術家-周書毅"}],title:"《波麗露在高雄》",cover:"9f17f72fca70fbcdbb1a5610f7dcf3d2",site:{isOther:!0,site:"",other:"高雄區域公共空間"},cautions:'演出全長約30分鐘,無中場休息
\n\t因氣候及其他不可抗力因素,本次演出將有權取消或延期,敬請見諒。
\n\t無限制年齡觀賞
\n\t走出衛武營,跳舞給你看!
\n一齣舞作,28場演出,35位舞者,在高雄各地輪番起舞
最吸引人的是碰觸到第一次看現代舞的人,那是最有趣也最有價值的事!
\n\n衛武營首位駐地藝術家周書毅,即將帶著舞蹈在高雄旅行,而這一切都是從「如何跳舞給更多人看?」的提問開始的,於是開始思考如何將表演延伸至戶外,讓更多人有機會認識現代舞。
\n\n2010年時,「周先生與舞者們」首次帶著在英國沙徳勒之井劇院獲獎的作品《1875 拉威爾與波麗露》在板橋火車站演出。隔年正式啟動「舞蹈旅行計畫」,以不搭台、不架燈因地制宜的方式,免費在各城市的公共空間演出,迄今走過14座城市60場的演出。
\n\n文化不是只存於殿堂,打破空間意義,從一個概念延伸開始走到戶外,為觀眾而旅行,在時間和空間如地圖般不斷積累擴張,到訪之處不是單為了靠近演出場域的在地性,或者挖掘地方的某種歷史性而跳。
\n\n2022年再度出發,4月到6月從藝術推廣的層面,以「波麗露在高雄」為名,將帶著一群來高雄跳舞的獨立舞者們與左營高中舞蹈班,跳出衛武營;隨著波麗露的樂曲,在都會區、新興文化場域、歷史人文地景、隱身小城小巷內,用舞蹈拜訪高雄各區演出28場,讓表演與觀眾之間相互靠近,是知悉而來或偶然巧遇都好,瞬時改變日常場域運用上的重新想像,因為觀看而擁有新的意義,引領進到作品裡的想像,在高雄感受舞蹈旅行的美好。
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活動場次表
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編舞
\n\n編舞|周書毅
\n\n作為創作者,關注人與社會之間的關係;身為舞者,具獨特的身體語彙。近年編創主旨聚焦叩問生命的價值,反映個人或群體在不同社會脈絡下的狀態,以劇場、非傳統劇場、舞蹈錄像等形式呈現。奠基於多年創作經驗上,積極嘗試不同的創作方法,並持續探索與其他創作媒材合作的可能。
\n\n在製作面向上,在成立「周先生與舞者們」期間,曾創辦「下一個編舞計畫」舞蹈平台(2011-2014),身兼策劃製作,省思舞蹈創作環境,期望累積建立臺灣的舞蹈劇場美學,及舞蹈與觀眾間更良好的溝通橋樑。發起「舞蹈旅行」計畫(2011~2014),帶舞蹈走出戶外生活空間,將舞蹈的美好與更多人分享。2020年為回應新冠肺炎對社會的衝擊並提出藝術的反思,策畫「靜觀未來-身體影像短片展」。
\n\n2009年作品《1875拉威爾與波麗露》獲英國表演藝術殿堂「沙德勒之井」劇院第一屆全球網路影片比賽首獎;同年《從身體出發》獲丹麥Cross Connection Ballet編舞大賽銅牌。2019年,《Break & Break!無用之地》獲台新藝術獎表演藝術大獎。2020年成為衛武營國家藝術文化中心首位駐地藝術家。
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演出者
\n\n獨立舞者:
\n黃程尉、陳品霓、郭彥緯、蔡宛育、葉佩玲、王雨婕、楊以灣、柯貴婷、柯凱峰、林蔓葶、李宛蓁、吳凱文、吳兆容、林思綺、廖玟淯
左營高中舞蹈班:
\n王姝雅、李均君、李思婕、李桐馨、李境潔、林瑀倩、林穎、洪愷均、高瑨恩、張芷瑄、張詠淇、莊嘉杰、陳郁晴、黃敏薰、黃湘惠、葉柔妡、戴伊辰、王祥宇、倪堉昕、陳世濱
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製作團隊
\n\n排練指導|林祐如、楊雅鈞、潘柏伶
\n\n執行製作|羅仕儒、劉孝聆
\n\n製作協力|Project Zero
\n\n行銷協力|鳳東文創
\n\n宣傳文案|余佩珊
\n\n影像紀錄|黎宇文
\n\n視覺攝影|陳長志
\n\n平面設計|陳文德
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宣傳協力單位|(依筆畫多寡排序)
\n\n大樹區公所、大樹文史協會、大樹區竹寮社區發展協會、六龜區公所、六龜區新威國小、花·酵 YEAST、美濃愛鄉協進會、長榮大學、高雄市政府文化局、高雄市立美術館、高雄市歷史博物館、高雄市政府社會局婦女館、高雄市李科永紀念圖書館、高雄市圖書館-彌陀公園分館、高雄市立圖書館-草衙分館、高雄市國教輔導團、高雄市舊鐵橋協會、高雄市旗美社區大學、高雄市民宿發展協會、尊懷文教基金會、旗山天后宮、彌陀彌壽宮、鹽埕區忠孝國小、劉崇鳳老師、陳俊志醫師、李秀芳老師
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特別感謝
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贊助單位
\n\nDuration is 30 minutes without intermission.
\n\tNo age limitation, free admission.
\n\tWeiwuying's very first artist-in-residence, CHOU Shu-yi, initiated the "Dance-Travel Project" ten years ago and has since traveled to 14 cities and given 60 performances in open spaces without sets and lighting. This time, CHOU plans to restart this project by inviting professionals to teach dance to the dance students of Zuoying High School through educational cooperation. Moreover, with the help of Weiwuying, CHOU intends to recruit freelance dancers to perform a dance piece across Kaohsiung, bringing performing arts out of the theater and into the city.
\n\n\n\n
When you wear that dress with floral print which you find in your mother's or auntie's wardrobe, you actually demonstrate the combination of an old-fashion style and a young body. It indeed reminds us of the long-forgotten golden age. Inspired by the personal experience during his artistic residence around the world, the choreographer Shu-Yi Chou visualizes his careful observation and reflection on urban life in the work. He also invites his fellow dancers to collect their personal experiences together, using the ordinary physical movement and the abstract body language to express the ups-and-downs of life. Just like the exciting feeling when we take a ride on a roller coaster, the work presents the juxtaposition of the contrasting emotions. Through the dancers' bodies, Chou interprets each moment of repetition, transition, or tranquility. Experiencing the ephemerality of time, we feel the existence of the "present".
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The work "1875 Ravel and Bolero" premiered in the year of 2006. The re-adapted version premiered at Taipei in the following year. In 2009, the work won the first prize of Sadler's Wells Theatre (England) first "International Dance Competition Award". In January of 2010, it was invited to perform in London. In October of the same year, she was invited to perform at "Fall for Dance Festival" in New York. Later, it traveled back to Taiwan and performed in a non-traditional space for theatre performance.
\n\nThe open space allows dancers to walk into the crowd and dance their way out. The production has inspired us to dance in the city and to communicate with each other through dance. It thus opens up the possibility of the 2011 dance-travel project "1875 Ravel and Bolero". The 16 cities make dance an unexpected part of our life, naturally but yet surprisingly.
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Session
\n\n\n\n
Performers
\n\nTsoying Senior High School Dance Class:
\nWANG Shu-ya, LI Jun-jun, LEE Szu-chieh, LI Tong-xin, LI Jing,jie, LIN Yu-qian, LIN Ying, HONG Kai-jun, KAO Chin-en, ZHANG Zhi-xuan, CHANG Yung-chi, CHUANG Chia-jie, CHEN Yu-ching,
HUANG Min-hsun, YE Rou-xin, DAI Yi-chen, WANG Siang-yu, NI Yu-xin, CHEN Shih-bin
\n\nIndependent dancer:
\nHUANG Cheng-wei, CHEN Pin-ni, KUO Yen-wei, TSAI Wan-yu, IP Pui-ling, WANG Yu-jie, YANG I-wan, KE Gui-ting, KO Kai-feng, LIN Man-ting, LI Wan-jhen, WU Kai-wen, WU Chao-jung, LIN Si-qi, Liao Wen-yu
\n\n
Artists Introduction
\n\nCHOU Shu-Yi
\n\nBorn in 1983, Chou is a choreographer and dancer. His recent creations, in the forms of theatre, site-specific performance or dance video, question the value of life and reflect the status of an individual or a group in different social contexts, and create "a body vocabulary that belongs to Asia". Chou continues to seek new methods of creation, and potentials of cross-disciplinary collaboration using different mediums.
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Sponsor
\n\n\n\n
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衛武營會員綁定OPENTIX
\n\n邀請您註冊「OPENTIX兩廳院文化生活」帳號並綁定衛武營會員卡,即可享有會員購票優惠。綁定教學
\n\n優惠方案
\n\n※300元(含)以下票級不提供折扣。
\n\n團票優惠
\n\n購票同場次:
\n\n※300元(含)以下票級不提供折扣。
\n\n※相關優惠請洽07-262-6666
\n',benefits:'\n\t\t\t ※原訂2022年5月21日(六)19:30於音樂廳演出之《高音之王—尤納斯.考夫曼獨唱會》,節目取消。 \n\n\t\t\t※已購票觀眾,最遲請於2022年2月11日(五)前完成辦理全額退票,退票方式請詳異動公告。 \n\t\t\t | \n\t\t
\n\n
說到世界最著名男高音,大家一定會想到帕華洛帝,卡列拉斯、多明哥,但是當前我們這個世代能繼承他們鐵王座封號的就屬尤納斯.考夫曼。來自德國,被譽爲21世紀男高音天王的尤納斯.考夫曼,不但擁有沈著渾厚的男中音音質,高音更如帕華洛帝嗓音般溫潤柔美,加以他充滿爆發力的詮釋,使全世界樂迷為之神往。
\n\n考夫曼外型英俊挺拔,除了有天籟歌喉,更有精湛的演技,為華格納歌劇男高音之首選,而無論是在紐約大都會歌劇院演出歌劇,或在全球一流的音樂廳獨唱藝術歌曲,考夫曼的巨星風采總能震懾全場。此次登臺, 考夫曼將與長期合作的著名鋼琴家-赫爾穆特.多伊奇攜手為樂迷帶來完美的聽覺饗宴。
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演前導聆
\n\n2022/5/21(六)18:50-19:10 音樂廳三樓大廳
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演出暨製作團隊
\n\n男高音 | 尤納斯.考夫曼
\n\n鋼琴 | 赫爾穆特.多伊奇
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藝術家介紹
\n\n尤納斯.考夫曼
\n\n作為藝術歌曲詮釋者以及歌劇與音樂會演唱家,考夫曼多年來一直是全世界最受歡迎的歌者之一。他曾在倫敦與慕尼黑演唱威爾第《奧泰羅》,在巴黎、維也納與紐約演唱馬斯奈《維特》,並在拜魯特、斯卡拉大劇院與巴黎演唱華格納《羅恩格林》。考夫曼注重演出的豐富及多樣性,無論是神劇、輕歌劇,拿波里民謠還是維也納歌曲,都能夠靈活地全面掌握其中的聲樂、音樂、風格及語言。對他而言,藝術歌曲是「歌唱的最高等級」,比起其他領域需要更高超的技巧與更細膩的情感。考夫曼和搭擋赫爾穆特.多伊奇的合作始於慕尼黑求學期間,兩人在錄音室與無數的音樂會中證明了彼此的默契,而2011年在紐約大都會歌劇院的演出,更是繼1994年的帕華洛帝後第一個在大都會歌劇院舉行的獨唱會。在因疫情而被迫中斷演出期間,考夫曼和多伊奇錄製了更多的曲目,包括專輯《祝福的時光》及《喜樂與憂傷》。
\n\n考夫曼是索尼音樂的專屬音樂家,其多張CD及DVD曾獲得包括「留聲機大獎」在內的國際獎項肯定,本人則多次獲德國雜誌《歌劇世界》、古典音樂雜誌《音叉》與《音樂美國》,以及「國際歌劇獎」與「古典音樂回聲獎」評選為「年度歌手」。考夫曼於2013年獲得巴伐利亞室內歌手的榮銜、於2014年獲得古典音樂「斑比獎」,於2015年獲得普契尼獎,2016年則獲頒德國聯邦十字勳章,並於2018年獲頒法國藝術與文學勳章,以及巴伐利亞馬克西米安科學與藝術勳章。
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赫爾穆特.多伊奇
\n\n赫爾穆特・多伊奇是當前最炙手可熱,全球頂尖的鋼琴伴奏。出生於維也納,多伊奇曾就讀當地知名的音樂學院,以及維也納音樂暨表演藝術大學。他在 1965 年榮獲維也納作曲獎,並在 24 歲時受聘為大學教授。 多伊奇曾與多位優秀的音樂家們合作演出室內樂,之後便專注發展於鋼琴伴奏。
\n\n多伊奇早期曾為女高音澤芙莉德(Irmgard Seefried)伴奏,而後遇到了職業生涯初期最重要的歌手普萊(Hermann Prey),並成為他的固定合作伴奏長達十二年。多伊奇陸續與重要的獨唱歌手合作,表演於世界各大音樂廳,其中考夫曼(JonasKaufmann),丹姆勞(Diana Damrau)及沃勒(Michael Volle)是他目前合作最密切的歌手。多伊奇曾錄製上百張專輯。近年,他致力投身於教育英才,在他結束了維也納的教授任期後,他決定繼續發展音樂教育,目前在慕尼黑音樂和戲劇學院擔任音樂教授,主講歌曲詮釋已有 28 年。
\n\n除此之外,多伊奇也擔任多所大學的客座教授,並受邀在歐洲及遠東開授大師班。後起之秀如瑞士男高音彼得(Mauro Peter)即為多伊奇在慕尼黑的得意門生,他們也成為彼此重要的表演夥伴。
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Tour Presenter: CCM Classic Concerts Management, www.ccm-international.de
\n\n\n\n
\n\n
\n',team:""},english:{onShelfRange:{start:1638856260,end:4794566399},tabs:[],onShelf:!0,sliders:[{type:"image",key:"9ac771dd2ebad8177d1bd5fbf09cc7bd",title:"高音之王—尤納斯.考夫曼獨唱會"}],related:[],title:"(Program cancelled) Jonas KAUFMANN in Recital",cover:"08b4a6df331e78c3e12c85a15bf76aa9",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
※Discounts are not applicable for tickets tier at NT$300 and lower.
\n',benefits:'※The program has been cancelled. For more information, please contact +886-7-262-6666. | \n\t\t
\n\n
When thinking of the world's greatest tenors, where Luciano PAVAROTTI, José CARRERAS and Plácido DOMINGO come to mind for every opera fan as the giants of the 20th century, German operatic singer Jonas KAUFMANN is being hailed as the tenor of the 21st century, with the warm and dark timbre of the baritone and a higher range that soars effortlessly like PAVAROTTI, adding fire to his interpretations.
\n\nWith his handsome looks, KAUFMANN brings not only an angel-like voice but extraordinary acting skills. He is the most sought-after Wagnerian tenor. Whether it's opera performances on the world's most important opera stages such as the Met or recitals in the leading concert halls around the world, KAUFMANN can always stun the crowd with his superstar charm. This time, the tenor will be performed together with his long-time partner, pianist Helmut DEUTSCH, bringing a splendid sonic feast to Taiwan.
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Pre-talk
\n\n2022/5/21(Sat)18:50-19:10 Concert Hall 3rd Floor
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Creative and Production Team
\n\nTenor|Jonas KAUFMANN
\n\nPiano|Helmut DEUTSCH
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Artists Introduction
\n\nJonas KAUFMANN
\n\nHailed as "the world's greatest tenor" by The Telegraph, Jonas KAUFMANN has performed over 70 roles in the world's leading opera houses. The New York Times has described him as having "clarion top notes, the blend of virility and tenderness in his singing," and praised his "refined musicianship." Not only a great vocal technician, his performances are also praised for their dramatic impact, "He embodies each role with such an investment that he makes the viewer think that this is the last time he will perform this work." (Telerama). One of today's greatest interpreters of Lieder repertoire, KAUFMANN is also in very high demand in concert. His performance and recording have earned him multiple honors and awards including nine ECHO/OPUS Klassik awards, "Singer of the Year" from multiple classical music magazines including Opernwelt, Diapason and Musical America, has been knighted as a "Chevalier de l'Ordre de l'Art et des Lettres," and has been named a member of the Bayerischer Maximiliansorden.
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Helmut DEUTSCH
\n\nHelmut DEUTSCH ranks among the finest, most successful and in-demand song recital accompanists of the world. He was born in Vienna, where he studied at the Conservatory, the Music Academy and the University.
\n\nHe was awarded the Composition Prize of Vienna in 1965 and appointed professor at the age of twenty-four.
\n\nAlthough he has performed with leading instrumentalists as a chamber musician, he has concentrated primarily on accompanying in song recitals.
\n\nAt the beginning of his career he worked with the soprano Irmgard SEEFRIED, but the most important singer of his early years was Hermann PREY, whom he accompanied as a permanent partner for twelve years. Subsequently he has worked with many of the most important recital singers and played in the world's major music centres. His collaborations with Jonas KAUFMANN, Diana DAMRAU and Michael VOLLE are currently among his most important.
\n\nDEUTSCH has recorded more than a hundred CDs. In recent years the development of young talent has been especially close to his heart. After his professorship in Vienna he continued his teaching primarily in Munich at the Hochschule für Musik und Theater, where he worked as a professor of song interpretation for 28 years.
\n\nIn addition he is a visiting professor at various other universities and is sought-after for an increasing number of masterclasses in Europe and the Far East. The young Swiss tenor Mauro PETER was one of his last students in Munich and has become one of his favourite recital partners.
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Tour Presenter: CCM Classic Concerts Management, www.ccm-international.de (plus CCM-logo)
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衛武營會員綁定OPENTIX
\n\n邀請您註冊「OPENTIX兩廳院文化生活」帳號並綁定衛武營會員卡,即可享有會員購票優惠。綁定教學
\n\n優惠方案
\n\n※300元(含)以下票級不提供折扣。
\n\n團票優惠
\n\n購票同場次:
\n\n※300元(含)以下票級不提供折扣。
\n\n※相關優惠請洽07-262-6666
\n',benefits:'\n\t\t\t ※原訂2022年5月21日(六)至5月22日(日)於戲劇院演出之臺灣國樂團《魔幻時空大稻埕》,節目取消。 \n\n\t\t\t※已購票觀眾,最遲請於2022年6月30日(四)前完成辦理全額退票,退票方式請詳異動公告。 \n\t\t\t | \n\t\t
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臺灣國樂團創新跨域演出,將臺北大稻埕豐富的文化資產,透過新馬戲的結合,並由黎煥雄導演執導,將帶領觀眾走進大稻埕全盛時期的時光隧道,探訪迪化街豐富多姿的歷史。
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故事的入口在一座碼頭邊、存在並不長久的火車站—大稻埕市街南側的大稻埕乘降場。
\n\n商行、碼頭、車站、廟埕,透過國樂結合了特技舞蹈、大環、綢吊等各式馬戲,帶領觀眾一同穿梭大稻埕街市的百年時空。有人遺落了行李,有人錯過了愛情,有人思念著遠方的家鄉,有魔法的列車長忙碌指揮著通往不同時代的旅運。當愛跨過時間的維度,嘴笨的茶樹少年和俏皮的茶花少女,緣分像連結他們手上的紅繩,穿越大街小巷。少女成了少年在世上的羈絆,為她佇足人間幾百年。當魔法列車啟動,他們的愛情重新踏上了旅程,少年追隨著少女落下的背影,他們的故事隨著大稻埕的跌宕而起落翻湧。城隍廟、江山樓、波麗路西餐廳,都留下了他們的步伐,互為見證。揉雜了多樣文化與繁盛商業的夢的重疊。當列車航向未來,從淡水河面閃動著夜晚的黝黑波紋,逸出了一整座銀河,魔法繼續存在大稻埕。
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延伸資料
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演前導聆
\n\n2022/5/21(六)13:50-14:10 戲劇院二樓大廳
\n\n2022/5/22(日)13:50-14:10 戲劇院二樓大廳
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演出暨製作團隊
\n\n監製|陳悅宜
\n\n副監製|鄒求強、賴銘仁
\n\n製作|劉麗貞
\n\n音樂總監、指揮|江靖波
\n\n導演、文本創作|黎煥雄
\n\n音樂設計|王乙聿、巨彥博、櫻井弘二
\n\n文化指導|林承緯
\n\n馬戲指導|陳星合
\n\n執行導演|吳子敬
\n\n舞臺設計|陳瓊珠
\n\n燈光設計|車克謙
\n\n服裝設計|謝贏瑩
\n\n新媒體設計|張博智
\n\n動作設計|林祐如
\n\n音場設計|陳鐸夫
\n\n文本創作協力|張加欣
\n\n馬戲統籌|江侑倫
\n\n馬戲表演者|孫正學、夏鈴、楊世豪、梅芷菱、温其偉、杜偉誠
\n\n演出|臺灣國樂團、合作社
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藝術家介紹
\n\n臺灣國樂團隸屬於國立傳統藝術中心,是文化部轄下的國家級國樂團。係由國內國樂界菁英組成,矢志探索傳統、立足本土、擁抱當代,藉由創作為臺灣傳統音樂扎根,用演出傳遞臺灣美學品味,以提昇臺灣傳統及當代音樂為目標,以國際為舞臺,用醇厚的音樂深化臺灣之美。
\n\n近年來逐步推動「用國樂訴說臺灣最美的故事」、「在地取材、取才」、「以音樂連結世界和臺灣」等理念,建立臺灣國樂團的品牌精神。臺灣國樂團的演出,融合戲劇、舞蹈、美術、詩歌、文學等各類元素,兼具創新與傳統,多年來亦出版多張音樂CD專輯,均獲佳評,成果斐然。
\n\n全團亦致力於傳統音樂之推廣,長年擔任國家文化外交的大使,演奏行跡遍及歐洲、美洲及亞洲各大城市,傳遞動人的樂章。
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指導單位 文化部
\n\n主辦單位 衛武營國家藝術文化中心、國立傳統藝術中心
\n\n演出單位 臺灣國樂團、合作社
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藝玩伴計畫 ART-FUN-PLAY
\n\n爸媽看戲、孩子玩戲
\n\n發現很想看衛武營的節目,但沒有人幫您陪伴孩子嗎?
\n\n衛武營特別推出『藝玩伴計畫』,在您欣賞演出節目的同時,規劃各種活動,讓孩子們在等待父母看戲的同時,與您在平行時空同步接收演出節目的精彩內容...
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※Discounts are not applicable for tickets tier at NT$300 and lower.
\n',benefits:'※The program has been cancelled. For more information, please contact +886-7-262-6666. | \n\t\t
\n\n
In this innovative cross-disciplinary performance of National Chinese Orchestra Taiwan's, LI Huan-hsiung serves as the director and the rich cultural heritage of Twatutia and new circus techniques are appropriated to take the audience back in time to the golden age of Twatutia to explore the colorful history of Dihua Street.
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The story entrance is located in a relatively new train station beside a pier – the Twatutia distribution center in the southern Twatutia area.
\n\nBy combining acrobatic dances and circus techniques such as the cyr wheel and aerial silk with traditional Taiwanese music, audiences are led to explore the shops, pier, train station, and temple in Twatutia a century ago. Some people lost their luggage, some people missed out on love, some people are longing for their distant homes, and the conductor of a magical train is busy directing trains bound for different times. When love surpasses the limit of time, the red thread of fate takes the simple tea tree boy and the playful tea flower girl to traverse the streets and alleys. The girl becomes the reason for the boy to linger around for hundreds of years. When the magical train departs, their love story continues. The boy follows in the heels of the girl's falling figure, and their story undulates alongside the ups and downs of Twatutia. City God Temple, Kang San Lau, and BOLERO Western Restaurant all leave their own traces as testimonies in this place, leaving behind a motley of diverse cultures and dreams of prosperous commercial success. As the train runs towards the future, the glistening reflection on the nighttime Tamsui River manifests itself as the Milky Way, while all the while magic continues to work itself in Twatutia.
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Pre-talk
\n\n2022/5/21(Sat)13:50-14:10 Playhouse 2nd Floor
\n\n2022/5/22(Sun)13:50-14:10 Playhouse 2nd Floor
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Creative and Production Team
\n\nProduction Supervisor| CHEN Yue-yi
\n\nDeputy Supervisor|TSOU Chiu-chiang, LAI Ming-jen
\n\nProducer|LIU Li-chen
\n\nMusic Director/Conductor|CHIANG Ching-po
\n\nDirector/Playwright|LI Huan-hsiung
\n\nComposer|WANG I-yu, CHU Yen-Po, Koji SAKURAI (in surname stroke order)
\n\nCultural Advisor|LIN Cheng-wei
\n\nCircus Consultant|CHEN Hsing-ho
\n\nExecutive Director|WU Tzu-ching
\n\nStage Designer|CHEN Chiung-chu
\n\nLighting Designer|CHE Ko-chien
\n\nCostume Designer|XIE Ying-ying
\n\nNew Media Designer|CHANG Po-chih
\n\nChoreographer|LIN Yu-ju
\n\nSound Designer|CHEN To-fu
\n\nAssociate Playwright|CHEUNG Ka-yan
\n\nCircus Coordinator|CHIANG Yu-lun
\n\nCircus Performer|SUN Cheng-hsueh、HSIA Ling、YANG Shih-hao、MEI Chih-ling、WEN Chi-wei、TU Wei-cheng
\n\nPerformer|National Chinese Orchestra Taiwan、HoooH
\n\n\n\n
\n',team:""},createdAt:1636778699,updatedAt:1652756535,updatedBy:"通泰系統管理員",host:!0},{_id:"6194dda2d4bd45000a19ac46",catalogs:["5fe2bffdde1961000737545c","5aec418cb01ea6000520f635"],dateTime:{first:1654410600,discrete:[{time:1654410600}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,600,900,1200,1600,2e3],link:"https://www.opentix.life/event/1469585661010198531"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:1638856320,end:4794566399},tabs:[],onShelf:!0,sliders:[{type:"image",key:"cbc7bc605645405ba970db2d775b5d58",title:"台北歌劇劇場《50年回顧展演》"}],related:[{from:"programs",key:"6268a28302b8ab0007c7e112",title:"NSO《詩琴畫語》"},{from:"programs",key:"62399e347afcc40008ee9c8a",title:"《戀戀35-陳明章現場作品三十五年》"}],title:"台北歌劇劇場《50年回顧展演》",cover:"ec49407bd781c0f7377c530bae95481e",site:{isOther:!1,site:"5aec4743b01ea6000520f65e",other:""},cautions:'
衛武營會員綁定OPENTIX
\n\n邀請您註冊「OPENTIX兩廳院文化生活」帳號並綁定衛武營會員卡,即可享有會員購票優惠。綁定教學
\n\n優惠方案
\n\n※300元(含)以下票級不提供折扣。
\n\n團票優惠
\n\n購票同場次:
\n\n※300元(含)以下票級不提供折扣。
\n\n※相關優惠請洽07-262-6666
\n',benefits:'\n\t\t\t ※2022年6月5日(日)14:30於歌劇院演出之台北歌劇劇場《50年回顧展演》,高雄室內合唱團因疫情影響無法參與演出,節目內容、其他演出成員與團隊維持不變。 \n\t\t\t | \n\t\t
\n\n\n\n
享譽國內外的台北歌劇劇場,由藝術總監曾道雄帶領,將五十年演出之精華選粹場景,結合不同主題之歌劇精萃匯演,並與國內的愛樂者共享。
\n\n\n\n
台北歌劇劇場為一歷史悠久的歌劇演出團體,由曾道雄教授於70年代所創設,旨在培訓國內優秀之聲樂人才,更與國際歌劇團體接軌,從事教育於嚴謹的歌劇製作演出。自 1971首次與臺北市立交響樂團推出歌劇選粹之後,半世紀以來在國內及國際間,演出歌劇達五十餘齣,包括首創之中文歌劇,其中很多是當地的首演,為拓展觀眾欣賞領域,更推出較少演出的珍貴作品。茲僅將演出之精華選粹場景,集成為一場之歌劇選粹黃金節目Opera Gala,用以紀念台北歌劇劇場五十年之演出,並與國內的愛樂者共享。
\n\n上半場為德語系歌劇之精華場景,包括莫札特、韋伯、華格納,以及史特勞斯之歌劇代表作。下半場則為義大利、法國以及西班牙等拉丁語系歌劇,包括羅西尼、威爾第、古諾、馬斯奈、法雅,終曲則演出曾道雄親自創作之作品。
\n\n\n\n
演前導聆
\n\n2022/6/5(日)13:50 歌劇院大廳
\n\n\n\n
演出曲目
\n\n莫札特:《唐・喬凡尼》序曲
\n\n莫札特:〈偷香、決鬥與復仇之誓言〉選自《唐・喬凡尼》
\n\n莫札特:〈愛與和平的勝利,讚頌海神〉選自《伊多美聶歐》
\n\n莫札特:〈當愛人久別重逢時〉選自《後宮誘逃》
\n\n莫札特:〈救命啊!怪獸要吞噬我!〉選自《魔笛》
\n\n韋伯:〈我們號角與歌聲響徹山谷〉選自《魔彈射手》
\n\n史特勞斯:〈當真命天子出現在我眼前〉選自《阿拉貝拉》
\n\n華格納:〈歌樂聖殿進堂曲〉選自《唐懷瑟》
\n\n\n\n
威爾第:《拿布果》序曲
\n\n威爾第:〈狂野的亞述王已兵臨城下〉選自《拿布果》
\n\n威爾第:〈沒錯,我就是妳的情敵!〉選自《阿依達》
\n\n威爾第:〈馬克白弒君〉選自《馬克白》
\n\n羅西尼:〈這迷團嘛,越纏越紊亂!〉選自《灰姑娘》
\n\n馬斯奈:〈神父,您來了…〉選自《黛旖思》
\n\n法雅:〈西班牙舞曲〉選自《短促的人生》
\n\n古諾:〈她已得到救贖!〉選自《浮士德》
\n\n曾道雄:〈我渴,一定要喝水!〉選自《長崎少女》
\n\n曾道雄:〈時序運行,萬物滋生〉選自《鄭莊公涉泉會母》
\n\n\n\n
演出暨製作團隊
\n\n指揮/導演|曾道雄
\n\n樂團|高雄市交響樂團
\n\n合唱團|臺北歌劇合唱團
\n\n女高音|王嘉琳、林映旻、林慈音、許育甄、傅孟倩、蔣啟真、羅心汝、羅明芳、羅惠真
\n\n次女高音|王郁馨、翁若珮、鄭海芸
\n\n男高音|孔孝誠、林健吉、張殷齊、劉成華、謝奇儔
\n\n男中音|丁一憲、李增銘、巫白玉璽
\n\n男低音|張坤元 、謝銘謀、羅俊穎
\n\n舞者|薛喻鮮
\n\n\n\n
藝術家介紹
\n\n曾道雄
\n\n臺灣彰化人,畢業於臺中師範,師大音樂系與馬德里皇家音樂院,主修聲樂,副修鋼琴與單簧管。先後在UCLA與Jan Popper學習歌劇藝術,在義大利Siena參加Franco Ferara的指揮研習營,在海內外從事歌劇教育與演出逾半世紀,演出歌劇超過50部之多。曾擔任師大音樂系所主任,也曾在美國愛渥華州立大學任教,並赴比利時魯汶、英國劍橋與里茲等大學講學。
\n\n曾道雄也戮力推介給觀眾少為人知,卻十分珍貴的歌劇作品。並親自編劇作曲,創作青少年歌劇《稻草人與小偷》,及取材於左傳典故的《鄭莊公涉泉會母》。他棄絕核戰,為世界和平祈福,譜作女高音獨唱與管絃樂曲《長崎少女》,首演於日本福岡與關渡北藝大。
\n\n曾教授是2011年國家文藝獎得獎人,並獲頒「師大大師」榮銜。
\n\n\n\n
\n\n
藝玩伴計畫 ART-FUN-PLAY
\n\n爸媽看戲、孩子玩戲
\n\n發現很想看衛武營的節目,但沒有人幫您陪伴孩子嗎?
\n\n衛武營特別推出『藝玩伴計畫』,在您欣賞演出節目的同時,規劃各種活動,讓孩子們在等待父母看戲的同時,與您在平行時空同步接收演出節目的精彩內容...
\n\n\n\n\n\n
\n',team:""},english:{onShelfRange:{start:1638856320,end:4794566399},tabs:[],onShelf:!0,sliders:[{type:"image",key:"cbc7bc605645405ba970db2d775b5d58",title:"Taipei Opera Theater 50th Anniversary Concert"}],related:[],title:"Taipei Opera Theater 50th Anniversary Concert",cover:"ec49407bd781c0f7377c530bae95481e",site:{isOther:!1,site:"5aec4743b01ea6000520f65e",other:""},cautions:'
※Discounts are not applicable for tickets tier at NT$300 and lower.
\n',benefits:'The renowned Taipei Opera Theater, under the leadership of art director TSENG Dau-hsiang, has drawn from the absolute best of its 50 years of performances to create one encore opera show with different themes to share with music lovers in Taiwan.
\n\n\n\n
Founded by TSENG in the 1970s, the Taipei Opera Theater has a long history of training outstanding domestic vocal talents on par with international opera troupes in order to put on first-class opera productions and performances through high-standard education. Since its first opera selections staged with the Taipei Symphony Orchestra in 1971, the Theater has performed more than 50 operas both domestically and internationally over the last half-century; these performances included the first Chinese-language operas (many of which premiered locally) as well as shorter runs of a number of rarer works to help expand the audience's appreciation of this unique art form. This year, to commemorate their fifty years on stage, the Taipei Opera Theater selected essential scenes from past performances to present Taiwan's music lovers with two separate shows in a true Opera Gala.
\n\nThe first part is a dazzling retrospective of the German maestros, with signature works by the likes of MOZART, WEBER, WAGNER, and STRAUSS.
\n\nThe second parts feature Italian, French, and Spanish operas including ROSSINI, VERDI, GOUNOD, MASSENET, and FALLA, topped with a finale performance of TSENG Dau-hsiang's own works.
\n\n\n\n
Pre-talk
\n\n2022/6/5(Sun)13:50 Opera House 2nd Floor
\n\n\n\n
Program
\n\nW. A. MOZART: Overture from Don Giovanni
\n\nW. A. MOZART : 'Notte e giorno fatica' from Don Giovanni
\n\nW. A. MOZART : 'Godiam la pace & Netuno s'onori' from Idomeneo
\n\nW. A. MOZART : 'Ach Belmonte!' from Die Entführung aus dem Serial
\n\nW. A. MOZART : 'Zu Hülfe, zu Hülfe!' from Die Zauberflöte
\n\nC. M. WEBER : 'Jägerchor' from Der Freischütz
\n\nR. STRAUSS: 'Aber der Richtiger' from Arabella
\n\nR. WAGNER : 'Freudig begrüssen wir die edle Halle' from Tannhäuser
\n\n\n\n
G. VERDI : Overture from Nabucco
\n\nG. VERDI : 'Gli arredi festivi giù cadano infranti' from Nabucco
\n\nG. VERDI : 'Silenzio, Aida verso noi s'avanza' from Aida
\n\nG. VERDI : 'Mi si affanccia un pugnal' from Macbeth
\n\nG. ROSSINI: 'Questo e un nodo avviluppato' from La Cenerentola
\n\nJ. MASSENET: 'Cest toi, mon père!' from Thais
\n\nM. FALLA: 'Spanish Dance' from La vida Breve
\n\nC. GOUNOD : 'Mon coeur est penetre d'epouvante' from Faust
\n\nTSENG Dau-hsiung: 'I am so thirsty that I must drink water!' from The maiden of Nagasaki
\n\nTSENG Dau-hsiung: 'Time changes with seasons, lives flourish with wind' from A Vow to the Underworld Spring
\n\n\n\n
Creative and Production Team
\n\nConductor/Director|TSENG Dau-hsiang
\n\nOrchestra: Kaohsiung Symphony Orchestra
\n\nChorus|Taipei Opera Chorus
\n\nSoprano|WANG Chia-ling、LIN Ying-min、Grace LIN, HSU Yu-chen、FU Meng-chien、Jeannie CHIANG、LO Hsin-ju、LO Ming-fang、LUO Hwei-jan
\n\nMezzo-soprano|WANG Yu-hsin 、WENG Jo-pei 、CHENG Hai-yun
\n\nTenor|Ezio KONG、Claude LIN、CHANG Yin-chi、LIU Cheng-hwa、HSIEH Chi-chou
\n\nBaritone|JUNG Ilhun、Rios LI、WUBAI Yuhsi
\n\nBass|CHANG Kuen-yuan、HSIEH Ming-mou、Julian LO
\n\nDancer|HSUEH Yu-Sien
\n\n\n\n
Artists Introduction
\n\n\n\n
TSENG Dau-hsiang
\n\nProfessor TSENG Dau-hsiang was born in Changhwa, Taiwan. After graduating from National Taichung University of Education (then Taichung Teacher's School), he went on to study at National Taiwan Normal University's Music Department and the Royal Conservatory of Music in Madrid, where he majored in vocal music and minored in the piano and clarinet. He studied opera with Jan Popper at UCLA, and learned conducting under Franco Ferrara at his training camp in Siena, Italy. TSENG has been involved in opera education and performances in Taiwan and abroad for more than half a century, and has performed more than fifty operas. He served as the chair of the Music Department at National Taiwan Normal University and taught at Iowa State University in the United States. He has also lectured at the Katholieke Universiteit Leuven, in Belgium, and the Universities of Cambridge and Leeds, in England.
\n\n\n\n
Over the years, TSENG Dau-hsiang has remained committed to introducing Taiwanese audiences to little-known but precious opera works. He himself wrote and composed the opera The Scarecrow and the Thief for teens, and Cheng Chuang Gong Crosses the River to Meet his Mother, which is based on a parable in Zuo Zhuan.
\n\nTSENG also composed the soprano solo and orchestral music for Nagasaki Girl, which premiered in Fukuoka, Japan and Taipei National University of the Arts in Guandu, as a renunciation of nuclear war and a prayer for world peace.
\n\nTSENG was selected to win a National Award for Arts in 2011 and has been named a Distinguished Graduate of National Taiwan Normal University.
\n\n\n\n
\n\n
\n',team:""},createdAt:1637146018,updatedAt:1652950132,updatedBy:"林蔚行",host:!0},{_id:"61977732a57c9b00072c44d5",catalogs:["5fe2bffdde1961000737545c","5aec4184b01ea6000520f633"],dateTime:{first:1652270400,discrete:[{time:1652270400}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,500,800],link:"https://www.opentix.life/event/1461189665196032004"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:1638856200,end:4794566399},tabs:[],onShelf:!0,sliders:[{type:"image",key:"6f021801769a274d734112b1202ccfb7",title:"【衛武營小時光】尋人啟事《阿卡貝拉劇場版》"}],related:[{from:"news",key:"621b26f2c446a600074170fe",title:"衛武營小時光+海邊走走 聯名蛋捲禮盒全臺上市"},{from:"features",key:"619c57f8d970790007fc110d",title:"2022衛武營小時光"}],title:"【衛武營小時光】尋人啟事《阿卡貝拉劇場版》",cover:"2efeeab7a286a1ef03d59da53da11498",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
\n\n
一天的工作告一段落
\n\n有點疲憊卻又不想回家的你
\n\n是否需要一點「唱」快淋漓
\n\n汲取勇氣與正能量
\n\n來面對明天的挑戰
\n\n這個小週末共渡小時光
\n\n跟著我們Lost in the City
\n\n\n\n
尋人啟事樂團是華語音樂圈第一組發行創作專輯的阿卡貝拉樂團,成團後獲得多項國際阿卡貝拉大賽冠軍,並以首張專輯《Dear Adult》榮獲第32屆金曲獎最佳演唱組合獎。
\n\n音樂風格多元,演出經驗豐富,擁有獨特舞台魅力與現場感染力。成員們兼具和聲與主唱的能力,採用多主唱輪唱的編制,同一首歌裡有不同詮釋卻又彼此連結,交織飽滿的和聲與張力,同時他們也不斷的突破人聲音樂的框架,在編曲中融入效果器,創造更多可能性。
\n\n身為純人聲樂團,尋人啟事已然成為新生代團隊的指標,期望能將人聲音樂帶往更大的舞台。
\n\n\n\n
藝術家介紹
\n\n尋人啟事樂團
\n\n成團後獲得多項國際阿卡貝拉大賽冠軍,並以首張專輯《Dear Adult》榮獲第32屆金曲獎最佳演唱組合獎。
\n\n音樂風格多元,演出經驗豐富,擁有獨特舞台魅力與現場感染力。成員們兼具和聲與主唱的能力,採用多主唱輪唱的編制,同一首歌裡有不同詮釋卻又彼此連結,交織飽滿的和聲與張力,同時他們也不斷的突破人聲音樂的框架,在編曲中融入效果器,創造更多可能性。
\n\n\n\n\n\n
\n',team:""},english:{onShelfRange:{start:1638856200,end:4794566399},tabs:[],onShelf:!0,sliders:[{type:"image",key:"6f021801769a274d734112b1202ccfb7",title:"【衛武營小時光】尋人啟事《阿卡貝拉劇場版》"}],related:[],title:"【Weiwuying Showtime】The Wanted - Acapella for the Theater",cover:"2efeeab7a286a1ef03d59da53da11498",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
Available starting 12/15(Wed)12:00 !
\n\tA day's work has come to an end. You're a little tired but you don't want to go home just yet
\n\nDo you need to unwind? Draw some courage and good vibes
\n\nTo face the challenges of tomorrow?
\n\nCome to Weiwuying Showtime this hump day
\n\nAnd let's get lost in the city
\n\n\n\n
The Wanted is the first Mandarin acapella group to release an album, the group won several international capella competitions and the 32nd Golden Melody Awards for Best Group with its debut album Dear Adult.
\n\nThe group has a versatile repertoire, extensive performance experience, and a distinctive on-stage presence. Since all members can harmonize and lead, the band uses a multi-vocalist rotation where individual interpretation within a song, although distinct, remains connected and creates lush harmony and dynamic.
\n\nThe Wanted has become a benchmark for new generation acapella groups. They hope to take acapella to a bigger stage.
\n\n\n\n
Artists Introduction
\n\nThe Wanted
\n\nThe Wanted is the first Mandarin acapella group to release an album, the group won several international acapella competitions and the 32nd Golden Melody Awards for Best Group with its debut album Dear Adult.
\n\nThe group has a versatile repertoire, extensive performance experience, and a distinctive on-stage presence. Since all members can harmonize and lead, the band uses a multi-vocalist rotation where individual interpretation within a song, although distinct, remains connected and creates lush harmony and dynamic.The Wanted has become a benchmark for new generation acapella groups. They hope to take acapella to a bigger stage.
\n\n\n\n
\n',team:""},createdAt:1637316402,updatedAt:1652757187,updatedBy:"通泰系統管理員",host:!0},{_id:"619ef661bf4bbf000b4f8f4e",catalogs:["5fe2bffdde1961000737545c","5c1f073a5a5bea0006f3eb11"],dateTime:{first:1651905e3,discrete:[{time:1651905e3},{time:1651991400}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,600,900,1200,1600,2e3],link:"https://www.opentix.life/event/1469565763674034179"}},attachment:{key:"3d0dcc01d1ad78c8871ef85393735af8",name:"雲門舞集 鄭宗龍《霞》.pdf",ext:"pdf"},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:1638856260,end:4794566399},tabs:[],onShelf:!0,sliders:[{type:"image",key:"47970f989e92724029fae7646554ffb8",title:"雲門舞集 鄭宗龍《霞》 "}],related:[{from:"articles",key:"6267bf257406e30007ce0df2",title:"《隨您怎麼看,《霞》都挺好看——來衛武營進行一場小旅行吧!》"},{from:"programs",key:"6260bba87406e30007cb68bf",title:"衛武營黃昏市集—優雅漫旅"}],title:"雲門舞集 鄭宗龍《霞》 ",cover:"79b825b56cc45375335812808f14eb9e",site:{isOther:!1,site:"5aec4743b01ea6000520f65e",other:""},cautions:'
衛武營會員綁定OPENTIX
\n\n邀請您註冊「OPENTIX兩廳院文化生活」帳號並綁定衛武營會員卡,即可享有會員購票優惠。綁定教學
\n\n優惠方案
\n\n※300元(含)以下票級不提供折扣。
\n\n團票優惠
\n\n購票同場次:
\n\n※300元(含)以下票級不提供折扣。
\n\n※相關優惠請洽07-262-6666
\n',benefits:'割開黑暗的是,霞
\n\n形形色色,都是我
\n\n\n\n
朝日將起或夕日沉落前,在雲層之上所折射出的美麗色彩,那是《霞》。
\n\n是無邊的空間中,劃開黑暗的天光。
\n\n舞者如雲般,詮釋蘊含不同意念的內在狀態。我行我素的身態,伴隨著生命經驗的創造過程,折射出多變的每一個自我。
\n\n鄭宗龍攜手影像設計周東彥、動畫設計魏閤廷、燈光設計沈柏宏及服裝設計范懷之,以交錯的投影圖樣和線條,呼應舞者肢體呈現的喜怒悲欣。
\n\n音樂家清水靖晃改編的巴赫《無伴奏大提琴組曲》樂聲揚起,吹奏薩克斯風的呼吸輕、重、緩、急,迴盪出空靈音場,亦揚起內心幽微細瑣感知,投射出孤寂、疏離等自身感受;並邀請美國四座葛萊美獎得主,音場設計馬塞洛.阿內茲,打造悠遠的空間立體感,沉浸其中彷彿能直視內在脆弱,邂逅心澄則靈的魔幻時刻。
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演前導聆
\n\n2022/5/7(六)13:50-14:10 於歌劇院二樓大廳
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演後座談
\n\n2022/5/8(日) 演後5分鐘於歌劇院觀眾席
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周邊活動
\n\n衛武營X雲門舞集聯手送好禮!
\n\n【活動辦法】
\n5/7-5/8兩日於雲門演出前台,攜伴親朋好友一起和前台背板合照,並連同演出票根(至少2張)一起出示給前台服務人員,即可於前台兌換「限量口罩設計款(淺藍色)」一組(一組5入),限量50組/場,兌完為止!
【口罩介紹】
\n本次兌換之紀念口罩為淺藍色款,圖樣是取自舞作中的投影畫面,是舞者、影像設計和動畫設計多方合作的結晶,非常適合作紀念!
\n\n
演出暨製作團隊
\n\n編舞暨構思|鄭宗龍
\n\n音樂|清水靖晃、巴赫《無伴奏大提琴組曲》薩克斯風版 選粹
\n\n影像設計|周東彥
\n\n音場設計|馬塞洛.阿內茲(Marcelo Anez)
\n\n燈光設計|沈柏宏
\n\n服裝設計|范懷之
\n\n動畫設計|魏閤廷
\n\n舞蹈構作|陳品秀
\n\n助理影像設計|孫旻
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藝術家介紹
\n\n藝術總監/編舞暨構思|鄭宗龍
\n\n2020年出任雲門舞集藝術總監。出生於臺北艋舺,從擺攤叫賣的幼年汲取創作靈感,作品交織街頭張力與人生百態。曾獲德國No Ballet當代編舞比賽銅牌獎,西班牙MASDANZA 編舞大賽首獎。
\n\n2016年編作《十三聲》挖掘臺灣古老、俚俗的文化記憶,2020年巡演法國巴黎、里昂、英國倫敦及瑞典斯德哥爾摩,被法媒譽為是「吸引眼球的一場勝利」。
\n\n2019年《毛月亮》結合人文、科技、當代、未來,國際專業舞蹈評論網站Seeing Dance稱這個作品「兇猛而美麗」。2020年《定光》融合身體與自然,舞評譽為「雕琢精緻,值得一看再看」。
\n\n2020年鄭宗龍與阿喀朗.汗、威廉.佛賽等,同時獲選入羅德里奇出版社出版的「五十位當代編舞家」。
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雲門舞集
\n\n1973年,林懷民創辦雲門舞集。這是臺灣第一個職業舞團,也是所有華語社會的第一個當代舞團。2020年,由鄭宗龍接任藝術總監。
\n\n雲門長年海外巡演,以獨特的動作語言,傑出的舞作,精湛的舞技,被譽為「世界一流現代舞團」。2018年,雲門獲頒英國國家舞蹈獎的「傑出舞團獎」。
\n\n雲門除了定期發表新作品及搬演經典舞作外,舞團每年在臺灣不同城市舉辦大型戶外公演,更以親切、活潑的方式深入社區,讓舞蹈走進大眾的生活。
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共同製作
\n\n國家表演藝術中心
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巡演場次
\n\n2022/4/15-2022/4/17 臺北 國家兩廳院
\n2022/4/30-2022/5/1 臺中 國家歌劇院
►了解更多
\n\n\n\n
指定贊助雲門舞集
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照片版權由 雲門基金會提供,攝影|李佳曄
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藝玩伴計畫 ART-FUN-PLAY
\n\n爸媽看戲、孩子玩戲
\n\n發現很想看衛武營的節目,但沒有人幫您陪伴孩子嗎?
\n\n衛武營特別推出『藝玩伴計畫』,在您欣賞演出節目的同時,規劃各種活動,讓孩子們在等待父母看戲的同時,與您在平行時空同步接收演出節目的精彩內容...
\n\n\n\n\n\n
\n',team:""},english:{onShelfRange:{start:1638856260,end:4794566399},tabs:[],onShelf:!0,sliders:[{type:"image",key:"47970f989e92724029fae7646554ffb8",title:"雲門舞集 鄭宗龍《霞》 "}],related:[],title:"Cloud Gate Dance Theatre of Taiwan - Send In A Cloud",cover:"79b825b56cc45375335812808f14eb9e",site:{isOther:!1,site:"5aec4743b01ea6000520f65e",other:""},cautions:'
10% off for Friends of Cloud Gate
\n\t※Discounts are not applicable for tickets tier at NT$300 and lower.
\n\tEmerging like clouds, dancers reveal facets of self- loneliness, hesitation, fear... Their bodies – whether in movement or stillness – appear against shifting bursts of color, animating the creative processes of the human experience. This latest work by Artistic Director CHENG Tsung-lung is set to the Japanese composer Yasuaki Shimizu's rendition of Bach's Cello Suites, with sound design by Grammy-winning artist Marcelo Anez, projection design by cross-disciplinary film director CHOU Tung-yen, animation design by WEI Ho-ting, lighting design by SHEN Po-hung and costume design by FAN Huai-chi.
\n\n\n\n
Pre-talk
\n\n2022/5/7(Sat)13:50-14:10 Opera House 2nd Floor
\n\n\n\n
Post-talk
\n\n2022/5/8(Sun) After performance (5mins) at Opera House Auditorium
\n\n\n\n
Creative and Production Team
\n\nConcept/Choreography|CHENG Tsung-lung
\n\nMusic|Yasuaki Shimizu
\n Arrangement from the Six Solo Cello Suites by J. S. Bach
\n Selections from the album Yasuaki Shimizu & Saxophonettes
Sound Design|Marcelo Anez
\n\nProjection Design|CHOU Tung-yen
\n\nAnimation Design|WEI Ho-ting
\n\nLighting Design|SHEN Po-hung
\n\nCostume Design|FAN Huai-chih
\n\nDramaturgy|CHEN Pin-hsiu
\n\n\n\n
Co-production
\n\nNational Performing Arts Center
\n\n\n\n
Tour times
\n\n2022/4/15-2022/4/17 National Theater & Concert Hall
\n\n2022/4/30-2022/5/1 National Taichung Theater
\n\n\n\n
Sponsor of Cloud Gate
\n\n\n',team:""},createdAt:1637807713,updatedAt:1652764085,updatedBy:"通泰系統管理員",host:!0},{_id:"61a0a440d970790007fccff9",catalogs:["5aec45edb01ea6000520f655","5c1f073a5a5bea0006f3eb11"],dateTime:{first:1641380400,discrete:[{time:1641380400},{time:1644404400},{time:1646218800},{time:1649242800},{time:1651662e3},{time:1654081200}],type:"discrete"},activity:{type:"free",free:{description:"自由參與"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:1638856380,end:4794566399},tabs:[],onShelf:!0,sliders:[{type:"image",key:"a5a1c959315a7ee44c5e824ed467204e",title:"2022【武營來跳舞】"}],related:[],title:"2022【武營來跳舞】",cover:"482fb09c29914daa6d8742bcc9305420",site:{isOther:!1,site:"5be1594c77d0790006d80c56",other:""},cautions:"",benefits:"",description:" ",introduction:'\n\n
大眾參與,享受與眾不同的愉悅舞蹈
\n\n\n\n
《武營來跳舞》每個月第一個星期三的晚上,在衛武營榕樹廣場西側平台,與你相約一起認識一種舞蹈語言的探索過程,找尋你與他身體之間的共振!
\n\n跳舞是什麼?是你與你自己身體律動的一種感動,成為一種獨特的姿態。
\n\n2022年上半年將邀請舞者李尹櫻、田孝慈,為喜愛跳舞、動身體的民眾,找到自由舞動的美好力量。
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上半年活動場次表
\n\n時間 | \n\t\t\t誰來跳舞 | \n\t\t\t跳什麼舞 | \n\t\t\t報名網址 | \n\t\t
1/5(三) \n\t\t\t19:00-20:30 | \n\t\t\t \n\t\t\t授課: \n\t\t\t李尹櫻 \n\t\t\t | \n\t\t\t「我的第一堂舞蹈課」 | \n\t\t\t報名截止 | \n\t\t
2/9(三) \n\t\t\t19:00-20:30 | \n\t\t\t「跳出心底的悄悄話」 | \n\t\t||
3/2(三) \n\t\t\t19:00-20:30 | \n\t\t\t「寧靜時刻的眾人之舞」 | \n\t\t||
4/6(三) \n\t\t\t19:00-20:30 | \n\t\t\t授課: \n\t\t\t田孝慈 \n\t\t\t | \n\t\t\t「今天我們不說話」 | \n\t\t\t立即報名 | \n\t\t
5/4(三) \n\t\t\t19:00-20:30 | \n\t\t\t「之間」 | \n\t\t||
6/1(三) \n\t\t\t19:00-20:30 | \n\t\t\t「一個故事」 | \n\t\t
\n\n
藝術家:李尹櫻
\n\n攝影:王宇光
\n\n舞蹈表演者,現為微光製造核⼼成員。
\n\n2019年與王宇光成立微光製造,舞團核⼼發展為以當代實驗作品的舞蹈創作與製造微光⼯作坊的藝術推廣兩⼤⽅向。
\n\n以「散發微光,從⾝體開始」為初衷,除了持續發表舞蹈創作外,同時也持續發展素⼈、樂齡、青少年舞蹈計畫與⾝體知覺⼯作坊,不從舞蹈教起,但從認識⾃⼰呼吸開始,透過感知與想像的練習打開⾃⼰與⾝體對話的空間。
\n\n演出創團作品《馴順的我們》發表於 2019 松菸Lab新主藝。並參與素⼈計畫《製造微光⾝體⼯作坊》帶領⺠眾從感知⾝體開始,探索肢體與意識的銜接,創造⾝體使⽤的更多可能性。
\n\n\n\n
2021
\n\n寶藏巖光節 王宇光×微光製造《捺撇》解構式-寶藏巖
\n\n2020
\n\n雲⾨舞集歐洲巡演《⼗三聲》
\n\nNTT-TIFA 驫舞劇場《看⾒你的⾃由步》
\n\n第⼗⼆屆新⼈新視野 王宇光《捺撇》
\n\n⽂⼼藝所 TOMAS SARACENO-宇宙共振
\n\n2019
\n\n獲國家⽂化藝術基⾦會海外藝遊專案補助⾄⽇本東京學習舞踏
\n\n2009-2019
\n\n任雲⾨2專職舞者暨排練助理
\n\n\n\n
課程簡介
\n\n3堂主題式課程,帶領⺠眾於遊戲想像和肢體練習之中,來探索⾝體的多樣可能。從⽇常⽣活中常⾒的走跑跳結合肢體動態的⼩遊戲,來挖掘⾝體本位的思考⽅式,覺察呼吸,感受情緒,串連由內在發展出來的肢體符號,帶領⼤家從看⾒進⽽找到屬於⾃⼰的舞動⽅式。
\n\n\n\n
跑跳能不能成為一⾸舞?
\n\n⼤⼝的呼吸、⾃在的延展能不能串連起你我之間的對話?
\n\n讓我們牽起彼此的⼿,以遊戲的⽅式,玩出屬於⾃⼰的舞蹈⽅式。
\n\n\n\n
⾯對⽣活總是有許多的內⼼⼩劇場上演卻不知如何⾯對嗎?
\n\n讓我們從說、從跳、從想像、從書寫,將內在的情感化為外在肢體的具體展現,跳出一⾸無可取代的美麗獨舞。
\n\n\n\n
從觀察與碰觸,我們是否能感受到他⼈的呼吸呢?閉起眼睛,⼜是否能感覺到風的吹拂呢?這一次,讓我們沈澱下來,以⾝體的擺盪來回應世界呼喊的聲⾳。
\n\n\n\n
藝術家:田孝慈
\n\n攝影:王弼正
\n\n國立臺灣藝術大學舞蹈系研究所畢業。現為自由藝術工作者,近年專注於觀察時代、歷史文化與環境形塑出之建立於人之上的情感以及其透過身體表述之形式。2020年與王世偉、李慈湄、 Helmi Fita共創作品「群眾」獲第⼗八屆台新藝術獎表演藝術⼤獎。2016年獲⽂化部獎助赴巴黎駐村,並陸續獲得國家⽂化藝術基⾦會、雲⾨基⾦會與羅曼菲獎助⾦發展創作及參與各項國際交流。作品曾受邀至法國亞維儂國家編舞中心、釜山藝術市集、印度加爾各答 Dance Bridge Festival及深圳戲劇雙年展。2008年起於國內外諸多平台發表個人創作,如墨爾本Dance Massive、美國舞蹈節、臺北藝術節、兩廳院新人新視野、微舞作、下一個編舞計畫、嘉義新舞風及草草戲劇節等。
\n\n\n\n
課程簡介
\n\n《如果將身體視為一種溝通方式》
\n\n如果我們暫且將身體視為心靈、精神、意念的具體形象,我們究竟能夠怎麼樣透過身體來靠近或者傳遞腦中、心裡的所思所想呢?早已習慣藉由語言、文字來表達與溝通的我們,是否對於使用身體來對話依然有著強大的渴望?讓我們一起在三堂課程中,透過身體靠近自己、認識夥伴,嘗試藉由不同的方式聆聽自己與他者吧!
\n\n\n\n
我們利用90分鐘,靜下心來面對總是陪伴著我們的身體、自己的身體。日常生活中被用以完成生活需求的執行著任務,而如果Ta們僅僅只是Ta們自己,頭、手、脊椎、雙腿、各個關節可以怎麼自在的動呢?我們一起嘗試探索!接著我們把Ta們所發展出的動作串連起來,完成一個屬於自己身體、獨一無二的動作短句!
\n\n\n\n
公共的、社交的、個人的空間以距離來劃分,如何定義遠近?妳的距離與我的是否相似?或者相距甚遠?在「武營來跳舞」的這個群體中,一同運用身體之間的距離,重新建立與感受空間、找到動作,也透過「距離」與「空間」,來找到認識彼此的新方式。
\n\n\n\n
請帶著一個關於自己的小故事來,我們嘗試用身體分享一個關於自己的故事。
\n\n\n\n
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「表演藝術新人新視野創作專案」自2008年啟動至今累計扶植57名新銳創作者,共計73個作品,提供具潛力之創作者嶄露頭角的機會。
\n\n第14屆有三位優秀創作者作品:舞蹈作品《在山海來去》是林廷緒於蘭嶼進行田野走訪過程中,重新審視自我對生命歷程的來與去,以及尋覓由自然現象轉化為肢體發展的身體觀。《黑暗的光景》是洪儀庭以兒時經驗取材,將自己設定為遙遠的他者,面對自身感官經驗的故事。藉由穿插大人視角,召喚隨著成長而遁入黑暗的原初印象,混雜「當時」的感受,與「現在」對當時感受的詮釋。高偉恩作品《我是既快樂又悲傷》透過變裝皇后的角色扮演,將私密的內心置於妝容前,展露脆弱和不得示人的一面,讓觀者難以辨識眼前正在表演的主體是誰,最終發現原來是我的真實存在,終能擁有快樂與悲傷。
\n\n\n\n
演出作品
\n\n編舞:林廷緒《在山海來去》
\n\n導演:洪儀庭《黑暗的光景》
\n\n導演:高偉恩《我是既快樂又悲傷》
\n\n\n\n
\n\n
主辦單位:財團法人國家文化藝術基金會
\n\n行政製作:狂想創意
\n\nSince 2008, the Young Star New Visions in Performing Arts Project has supported 57 emerging artists with a total of 73 works, providing opportunities for promising creators to make their mark.
\n\nThe 14th edition features three outstanding works. LIN Ting-syu's Voyage through Mountains and Seas, was based on LIN's fieldwork on Orchid Island. In this dance piece, he reexamines his life's journey and transforms natural phenomena into physical movements. In Dark Sceneries, Alice HUNG drew inspiration from her childhood, setting herself up as a distant other and facing her own sensory experiences. The story evokes the first impressions of the darkness with maturation, mixing past and present consciousness by interweaving adult perspectives. KAO Wei-en's Help me, I'm living, a drag queen reveals the inner self and vulnerability underneath the makeup, mystifying the actual performing subject. Only when we learn about the true self can we finally possess happiness and sadness.
\n\n\n\n
Program
\n\nChoreographer: LIN Ting-syu Voyage through Mountains and Seas
\n\nDirector: Alice HUNG Scenes from the dark
\n\nDirector: KAO Wei-en Help me, I'm living
\n\n\n\n
\n\n
Presented: National Culture and Arts Foundation
\n\nAdministration Producer:「Fantasy TSENG」
\n\n\n\n
\n',team:""},createdAt:1638068161,updatedAt:1645430909,updatedBy:"林蔚行",host:!1},{_id:"61a86b26d970790007fee187",catalogs:["5e9d21f90bddaa00065d24dd"],dateTime:{first:1646632800,discrete:[{time:1646632800},{time:1646706600},{time:1646719200},{time:1647237600},{time:1647311400},{time:1647324e3},{time:16551e5},{time:1655173800},{time:1655186400}],type:"discrete"},activity:{type:"free",free:{description:"12/10(五)12:00 開放線上申請。"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"0c8ec051765e922772070c11b62fbfea",title:"2022 衛武營藝企學"}],related:[],title:"2022【衛武營藝企學】",cover:"65db828e4fc3778108a82863ca7cf0ad",site:{isOther:!0,site:"5b102875da0322000751e9a6",other:"音樂廳、戲劇院"},cautions:"",benefits:"",description:"衛武營國家藝術文化中心為南臺灣藝術發展重要基地,擁有全亞洲最大的管風琴及全臺唯一葡萄園式座席設計音樂廳。",introduction:'
►2022【衛武營藝企學】上半年媒合結果公告 | \n\t\t
衛武營國家藝術文化中心為南臺灣藝術發展重要基地,擁有全亞洲最大的管風琴及全臺唯一葡萄園式座席設計音樂廳。為能讓全國學生有機會進入如此具有特色的國際表演廳院,並透過藝文欣賞的體驗,讓美感教育潛移默化,本計畫邀請專業表演團隊精心設計演出腳本,將「劇場禮儀」、「國際廳院介紹」融入精采表演中,期望師生透過親身蒞臨國際級場館與藝文表演欣賞,達到培養學生對於表演藝術美學的感受力與接觸美感場域之目的。
\n\n\n\n
推廣對象
\n\n全國各縣市之國小五年級生至高中職生
\n\n\n\n
推廣場次
\n2022上半年共計9場,各學程場次如下表:
\n
\n國小場次
序 | \n\t\t\t日期 | \n\t\t\t演出時間 | \n\t\t
1 | \n\t\t\t\n\t\t\t 3/8(二) | \n\t\t\t10:30-11:30 | \n\t\t
2 | \n\t\t\t\n\t\t\t 3/8(二) | \n\t\t\t14:00-15:00 | \n\t\t
3 | \n\t\t\t\n\t\t\t 3/15(二) | \n\t\t\t10:30-11:30 | \n\t\t
4 | \n\t\t\t\n\t\t\t 3/15(二) | \n\t\t\t14:00-15:00 | \n\t\t
6 | \n\t\t\t\n\t\t\t 6/14(二) | \n\t\t\t10:30-11:30 | \n\t\t
7 | \n\t\t\t\n\t\t\t 6/14(二) | \n\t\t\t14:00-15:00 | \n\t\t
\n\n
國中場次
\n\n序 | \n\t\t\t日期 | \n\t\t\t演出時間 | \n\t\t
1 | \n\t\t\t\n\t\t\t 3/7(一) | \n\t\t\t14:00-15:00 | \n\t\t
2 | \n\t\t\t\n\t\t\t 3/8(二) | \n\t\t\t10:30-11:30 | \n\t\t
3 | \n\t\t\t\n\t\t\t 3/8(二) | \n\t\t\t14:00-15:00 | \n\t\t
4 | \n\t\t\t\n\t\t\t 3/14(一) | \n\t\t\t14:00-15:00 | \n\t\t
5 | \n\t\t\t\n\t\t\t 3/15(二) | \n\t\t\t10:30-11:30 | \n\t\t
6 | \n\t\t\t\n\t\t\t 3/15(二) | \n\t\t\t14:00-15:00 | \n\t\t
7 | \n\t\t\t\n\t\t\t 6/13(一) | \n\t\t\t14:00-15:00 | \n\t\t
8 | \n\t\t\t\n\t\t\t 6/14(二) | \n\t\t\t10:30-11:30 | \n\t\t
9 | \n\t\t\t\n\t\t\t 6/14(二) | \n\t\t\t14:00-15:00 | \n\t\t
\n\n
高中場次
\n\n序 | \n\t\t\t日期 | \n\t\t\t演出時間 | \n\t\t
1 | \n\t\t\t\n\t\t\t 3/7(一) | \n\t\t\t14:00-15:00 | \n\t\t
2 | \n\t\t\t\n\t\t\t 3/14(一) | \n\t\t\t14:00-15:00 | \n\t\t
3 | \n\t\t\t6/13(一) \n\t\t\t(國中+高中) | \n\t\t\t14:00-15:00 | \n\t\t
\n\n
體驗內容
\n\n\n\n
\n\n
國際廳院介紹:實際走進衛武營音樂廳,認識全亞洲最大管風琴以及葡萄園式座席,感受國際廳院的魅力。
\n\n劇場禮儀:實際體驗驗票進場流程、尋找票面上的座位入席,並在演出過程中學習遵守國際劇場禮儀。
\n\n精彩表演體驗:衛武營藝企學每年邀請音樂、舞蹈、馬戲、傳統戲曲四大類型的專業表演團隊,並精心設計適合該年齡層的演出腳本,並搭配精美學習單,培養學生對於表演藝術美學的感受力。
\n\n\n\n
\n\n
體驗時間
\n\n各場次約90分鐘
\n(演出時間1小時,需提前半小時集合入場)
\n\n
申請流程
\n\n本計畫提供全國各縣市學校進行申請(申請單位為「學校」)
\n\n※衛武營將提供欣賞演出之票券,其餘交通費、保險費、餐費需由學校經費支應。
\n\n\n\n
申請時程
\n\n\n\n
注意事項
\n\n\n\n
聯絡窗口
\n\n衛武營國家藝術文化中心 行銷部學習推廣組
\n\n李詠嫣 07-262-6932
\n\n王維勻 07-262-6943
\n\n\n\n
\n',team:""},createdAt:1638427430,updatedAt:1644992392,updatedBy:"林蔚行",host:!0},{_id:"61c43177bf4bbf000b5a8ea8",catalogs:["5aec418cb01ea6000520f635"],dateTime:{first:1651836600,discrete:[{time:1651836600},{time:1651905e3},{time:1651923e3},{time:1651991400}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,500,800,1e3,1200,1500,1800],link:"https://www.opentix.life/event/1465239569676304389"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"34aae9bc4672bdc7253dcac57cb893b6",title:"《畫虎藍》"}],related:[],title:"相聲瓦舍《畫虎藍》",cover:"20c00dc5c1f3dd7df4c9b8e0f26846f8",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:'
\n\t\t\t ※原定於2022年5月6日(五)至5月8日(日)於戲劇院演出之相聲瓦舍《畫虎藍》演出人員異動,原演出人員宋少卿先生將不會參與演出。 \n\n\t\t\t※因節目異動,已購票觀眾可持原票券入場,或辦理全額退票,最遲請於2022年1月7日(五)止完成辦理全額退票,退票方式請詳OPENTIX。 \n\t\t\t | \n\t\t
\n\n
虎年到!眾星雲集來唬唬 !
\n\n鋼鐵人化身捕蜂人,拯救魚池美少女
\n\n大道公、媽祖婆爭風吃醋大亂鬥,全台颳風又下雨
\n\n虎神、虎爺辦PARTY,眾神卡位齊相聚
\n\n2022年【相聲瓦舍】全新製作《畫虎藍》,馮翊綱虎視眈眈、宋少卿生龍活虎、黃士偉羊入虎口?!『虎年』隆重鉅獻,陪你歡樂一整年!
\n\n\n\n
演出暨製作團隊
\n\n演 出|馮翊綱、黃士偉、韋以丞、翁銓偉、御天十兵衛、巫明如
\n\n編 劇|馮翊綱、徐妙凡
\n\n舞台設計|謝均安
\n\n音樂設計|張靖英
\n\n服裝設計|謝贏瑩
\n\n燈光設計|李佩璇
\n\n舞台監督|陳欣岑
\n\n\n\n
\n\n
照片版權由 相聲瓦舍 提供
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"34aae9bc4672bdc7253dcac57cb893b6",title:"《畫虎藍》"}],related:[],title:"A Blue Tiger",cover:"20c00dc5c1f3dd7df4c9b8e0f26846f8",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:'
The year of the tiger is coming.
\n\nThe show has a star-studded cast
\n\nAn Iron man incarnates a bee catcher. Save a pretty young lady from Yuchih township.
\n\nAll gods fight against each other for jealousy. Crazy wind and rain are everywhere in Taiwan.
\n\nThe god of tiger and the lord of tiger hold a party and all the gods gather together.
\n\n\n\n
Comedian Workshop presents a brand new production, "A Blue Tiger", in 2022. Mr. Feng glares like a tiger. Mr. Song acts like a active tiger. And Mr. Haung will be bitten by these tigers.The grand of production in the year of the tiger. Let's get high all year.
\n\n\n\n
Creative and Production Team
\n\nPerformer|FENG Yi-gang、WENG Chuan-wei、HUANG Shih-wei、Ethan Wei 、WENG Chuan-wei、PAN Yu-tien、WU Ming-ju
\n\nPlaywright|Feng Yi-gang、Hsu Miao-Fan
\n\nStage Design|Xie Jun-an
\n\nMusic Design|Zhang Jing-ying
\n\nFashion Design|Xie Ying-ying
\n\nLighting Design|Li Pei-xuan
\n\nStage Supervisor|Chen Shen-tsin
\n\n\n\n
\n\n
Photo © Comedians Workshop
\n\n\n\n
\n',team:""},createdAt:1640247671,updatedAt:1647313078,updatedBy:"林蔚行",host:!1},{_id:"61cc404e5574a00007f5e758",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1653046200,discrete:[{time:1653046200}],type:"discrete"},activity:{type:"ticket",ticket:{price:[600,1200,2e3,3e3,3500],link:"https://www.opentix.life/event/1468511648713986052"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"58d345fbfe1e769503a65f1fa5efa45b",title:"《小野麗莎 Live in Taiwan》"}],related:[],title:"《小野麗莎 Live in Taiwan》",cover:"a91ee41da7f6ec9774bb2d18a5238218",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
日裔巴西Bossa Nova 女王-小野麗莎,以慵懶爵士風格的歌聲為名,輕柔的歌聲,配上閑適的旋律,使得每首歌曲都顯得動人療癒,因此在亞洲地區尤其是台灣享有廣大的知名度。
\n\n在 2022年,以愛與感恩為名,我們希望藉著知名歌手小野麗莎溫柔的嗓音,來撫平每個人心裡的不安,以及過去幾年因為疫情所造成無論是心靈或是生活的負能量。選在2022年,以及五月這個充滿愛的月份,邀請各位聽眾參與這場愛與感恩的巡迴演唱會,5/20衛武營國家音樂廳,5/22臺北國家音樂廳;期許世界上的每個人與我們一起在音樂會中找到平靜,在歌聲中得到療癒。
\n\n\n\n
演出曲目
\n\n月河
\n玫瑰人生
\n歡喜
\n鄉間小路帶我回家
\n什錦燴飯
\n旅行的好日子(いい日旅立ち)
\n世界之巔
\n夏日森巴
\n伊帕內瑪姑娘
\n搭A線列車
-中場休息-
\n\n聊勝於無
\n釋放我的心
\n是誰
\n順其自然
\n夜來香
\n藍雀
\n深深的吻
\n魔法
\n桂竹香的花苞
\n去年的聖誕節
\n當你對著星星許願
\n我願意
※以現場演奏曲目為準
\n\n\n\n
演出暨製作團隊
\n\n主唱|⼩野麗莎
\n\n鋼琴|二村希一
\n\n貝斯手|織原良次
\n\n鼓手|丹尼爾貝德
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"58d345fbfe1e769503a65f1fa5efa45b",title:"Lisa Ono Live in Taiwan "}],related:[],title:"Lisa Ono Live in Taiwan ",cover:"a91ee41da7f6ec9774bb2d18a5238218",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
The Japanese Brazilian singer, Lisa Ono, is going to have a concert tour in Taiwan in 2022!
\n\n\n\n
Lisa Ono started singing and playing the guitar when she was 15 years old, and her debut as a professional Bossa Nova singer was in 1989. Her natural voice, rhythmic guitar playing, and her charming smile led her to a huge success and helped Bossa Nova to be popular in Asia.
\n\n\n\n
One Night Only in Weiwuying National Kaohsiung Centre for Arts on May 20th 2022. Do not miss out!
\n\n\n\n
Program
\n\nMOON RIVER
\nLA VIE EN ROSE
\nHPPINESS
\nTAKE ME HOME COUNTRY ROAD
\nJAMBALAYA
\nいい日旅立ち
\nTOP OF THE WORLD
\nSAMBA DE VERAO
\nGAROTA DE IPANEMA
\nTAKE THE A TRAIN
-Intermission-
\n\nMAS QUE NADA
\nUNCHAIN MY HEART~HANKY PANKY
\nQUIEN SERA
\nQUE SERA SERA
\nYEAH LEI SHANG
\nBLUE CANARY
\nBESAME MUCHO
\nBILONGO
\nCAPLLITO DE ALLELI
\nLAST CHRISTMAS
\nWHEN YOU WISH UPON A STAR
\nSTILL HERE
※Subject to change
\n\n\n\n
Creative and Production Team
\n\nVocal|Lisa Ono
\n\nPiano|Kiichi Futamura
\n\nBass|Ryoji Orihara
\n\nDrum|Daniel Baeder
\n\n\n\n
\n',team:""},createdAt:1640775758,updatedAt:1648115999,updatedBy:"林蔚行",host:!1},{_id:"61cc49f75574a00007f5e8f3",catalogs:["5c1f073a5a5bea0006f3eb11"],dateTime:{first:1652268600,discrete:[{time:1652268600}],type:"discrete"},activity:{type:"ticket",ticket:{price:[350,450],link:"https://www.opentix.life/event/1478670487372103686?openExternalBrowser=1"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"acbf711963cf1296705a5d8005b52d07",title:"2022焦點舞團《故意狀態》"},{type:"image",key:"a9de4ac0efbea17a5288281c5c507c51",title:"2022焦點舞團《故意狀態》"},{type:"image",key:"f9f1673d8c387657c51763e0c567d92d",title:"2022焦點舞團《故意狀態》"}],related:[],title:"2022焦點舞團《故意狀態》",cover:"605f7dd1c1e50213a7c26498ec781392",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:'
經典再現國際編導桑吉加《火柴人》,特邀前荷蘭舞蹈劇場資深舞者婁夢涵新作《闇黑之夢》,以及7支新銳編舞家作品,帶來嶄新的自我詮釋且銳氣逼人的一組新作。
\n\n\n\n
「逆向時代,恣意隨行。」
\n\n在身不由己的時代,勇對未知;
\n\n面對不可抗力,恣意為之;
\n\n無視被現實獵逐,放飛夢想。
\n\n焦點舞團為國內屈指可數、具發展性的專業舞團,除演繹世界級舞碼,同時提供新一代創作者多元、專業、獨立的創作平台,不自我設限,勇於精進挑戰。
\n\n\n\n
2022焦點舞團【故意狀態】,將再現國際編導桑吉加2007年經典舞碼《火柴人》,並特邀荷蘭舞蹈劇場前資深舞者婁夢涵編創新作《闇黑之夢》,同場上演新銳編舞家嶄新的自我詮釋且銳氣逼人的七支作品。
\n\n\n\n
演出曲目
\n\n星辰
\n\n夢醒時分
\n\n火柴人
\n\n-中場休息-
\n\n很久以前那天
\n\n來到這裡嘗試
\n\n闇黑之夢
\n\n\n\n
演出暨製作團隊
\n\n主辦單位|焦點舞團
\n\n指導單位|臺北市文化局 國立臺北藝術大學 國立臺北藝術大學舞蹈學院
\n\n藝術總監|張曉雄
\n\n行政總監|蟻薇玲
\n\n技術總監|吳文安
\n\n執行藝術總監|王元俐
\n\n特邀編舞家|桑吉加 婁夢涵
\n\n製作|邱柏盛 鄭蓉璟 施孟含
\n\n文書|施馥瑄 楊楓笛
\n\n票務|詹佩瑄 劉彥佩
\n\n宣傳|梁保昇 蔡博鴻 郭育睿 何姿葳 嚴崇瑜 翟鈺珩
\n\n財務|李易晴 陳婷渝
\n\n舞台監督|曾百瑜
\n\n舞台技術設計|朱健鍺
\n\n燈光設計|吳文安 劉志晨
\n\n音樂設計|Thijs Scheele、 Leslie Stuck
\n\n服裝設計|武冰 楊愷霖
\n\n重建服裝設計|李冠瑩
\n\n平面設計|李治達 梁保昇
\n\n平面攝影|張家豪
\n\n舞台技術|葉家祐 余亞儒 陸柏源 謝㻿名 蔡孟廷 段予誠 吳孜芸 賴泓甫 羅廷瑋 翟鈺珩
\n\n演出人員|何姿葳 詹佩瑄 施孟含 施馥瑄 吳孜芸 李易晴 鄭蓉璟 楊楓笛 蔡博鴻 嚴崇瑜 郭育睿 余亞儒 蔡孟廷 邱柏盛 段予誠 陸柏源 葉家祐 羅廷瑋 賴泓甫 梁保昇 謝㻿名 陳婷渝 劉彥佩 翟鈺珩
\n\n\n\n
照片版權由 攝影:張家豪 提供
\n\n\n\n
贊助單位
\n\n\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"acbf711963cf1296705a5d8005b52d07",title:"2022焦點舞團《故意狀態》"},{type:"image",key:"a9de4ac0efbea17a5288281c5c507c51",title:"2022焦點舞團《故意狀態》"},{type:"image",key:"f9f1673d8c387657c51763e0c567d92d",title:"2022焦點舞團《故意狀態》"}],related:[],title:'2022Focus Dance Company "Intention"',cover:"605f7dd1c1e50213a7c26498ec781392",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:'
Focus Dance Company's 2022 season, Intention, will feature the internationally acclaimed choreographer Sang Jijia's brilliant dance piece Sticks, while Lou Menghan, the experienced dancer and former NDT dancer, has been invited to present his latest choreography Black Dreams. The season will also stage seven compelling pieces in a brand new interpretation by the new born choreographers.In an era when you cannot be in control, brace yourself for the unknown; when faced with the uncontrollables, be rampant and unrestrained; defy the crushing realities and let your dreams fly high.
\n\n\n\n
Program
\n\nSticks
\nBlack Dreams
\nConstellate
\nHomesick
\nTRY TO REACH
\nBlue hour
\nFrom reality
\nPendular Doppler
\nSomewhere over the rainbow
\n\n
Creative and Production Team
\n\nPresenter | Focus Dance Company
\n\nAdviser | Department of Cultural Affairs Taipei City Government, Taipei National University of the Arts
\n\nArtistic Director | Xiaoxiong Zhang
\n\nAdministration Director | Yi Wei-Ling
\n\nTechnical Director | Goh Boon Ann
\n\nAssociate Artistic Director | Wang Yuan-Li
\n\nChoreographer | Sang Jijia, Menghan Lou
\n\nProducer | Chiu Po-Sheng,Cheng Jung-Ching, Shih Meng-Han
\n\nSecretary | Shih Fu-Hsuan, Yang Feng-Ti
\n\nTicketing Clerk | Chan Pei-Hsuan, Liu Yen-Pei
\n\nPublic Relations | Leong Pou-Seng, Tsai Po-Hung, Guo Yu-Rui, Ho Tzu-Wei, Yen Chung-Yu, Chai Yu-Heng
\n\nFinancial Affairs | Lee Yi-Ching, Chen Ting-Yu
\n\nStage Manager | Tseng Pai-Yu
\n\nStage Technology Designer | Cho Jian-Ze
\n\nLighting Designer | Goh Boon Ann, Liu Chih-Chen
\n\nMusic Designer | Thijs Scheele, Leslie Stuck
\n\nCostume Designer | Wu Bing, Yang Kai-Lin
\n\nRe-costume Designer | Li Guan Ying
\n\nGraphic designer | Lee Zi-Da, Leong Pou-Seng
\n\nPhotographer | Chang Chia-Hao
\n\nStage Crew | Ye Jia-You, Yu Ya-Ju, Lu Bo-Yuan, Chia Shu Ming, Tsai Meng-Ting, Duan Yu-Cheng, Wu Tzu-Yun, Lai Hung-Fu, Luo Ting-Wei, Chai Yu-Heng
\n\nDancers | Ho Tzu-Wei, Chan Pei-Hsuan, Shih Meng-Han, Shih Fu-Hsuan, Wu Tzu-Yun, Lee Yi-Ching, Cheng Jung-Ching, Yang Feng-Ti, Tsai Po-Hung, Yen Chung-Yu, Guo Yu-Rui, Yu Ya-Ju, Tsai Meng-Ting, Chiu Po-Sheng, Duan Yu-Cheng, Lu Bo-Yuan, Ye Jia-You, Luo Ting-Wei, Lai Hung-Fu, Leong Pou-Seng, Chia Shu Ming, Chen Ting-Yu, Liu Yen-Pei, Chai Yu-Heng
\n\n\n\n
Photo ©張家豪
\n\n\n\n
Sponsor
\n\n\n',team:""},createdAt:1640778231,updatedAt:1650873474,updatedBy:"林蔚行",host:!1},{_id:"61cd89c314e94c00089b053c",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1652527800,discrete:[{time:1652527800}],type:"discrete"},activity:{type:"free",free:{description:"節目取消",englishDescription:"Program cancelled"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"95253b7f55d88a7089d2641569bb1d7f",title:"《聲聲不息 2.0-范德騰 vs 許哲誠 說唱・音樂會》"}],related:[],title:"「節目取消」《聲聲不息 2.0 樂團來 PK》",cover:"a3bf79a4de759bf0e9607d8dc574334c",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:'
\n\t\t\t ※原訂2022年5月14日(六)19:30於戲劇院演出之《聲聲不息 2.0 樂團來 PK》節目,因疫情升溫,故取消演出。造成不便,敬請見諒。 \n\n\t\t\t※已購票觀眾,最遲請於2022年6月30日(四)前完成辦理全額退票,退票方式請詳異動公告。 \n\t\t\t | \n\t\t
\n\n
旅臺多年的美籍鋼琴教授遇上天才視障鋼琴家
\n\n20年的師生情誼 淬煉成舞台上的尖峰對彈
\n\n2020年 全臺巡演超過15場 觀眾好評不斷
\n\n歷屆一年構思,「聲聲不息」推出第二部全新作品「聲聲不息2.0 樂團來PK」
\n\nTASO台灣藝術家交響樂團率團挑戰兩位鋼琴家的極限
\n\n相聲X雜耍X古典樂
\n\n精湛琴藝結合趣味元素,顛覆一般觀眾對古典樂的刻板印象
\n\n\n\n
演出曲目
\n\n【鋼琴協奏曲拼盤 Piano Concerto Sampler】
\n\n* 上半場曲目僅演出改編片段
\n\n約翰.史特勞斯:拉德斯基進行曲
\n\n巴哈:F小調協奏曲,作品1056,第一、二樂章
\n\n莫札特:D小調鋼琴協奏曲,作品466,第一樂章
\n\n蕭邦:第二號鋼琴協奏曲,第一樂章
\n\n葛利格:A小調鋼琴協奏曲,第一樂章
\n\n舒曼:A小調鋼琴協奏曲,第一樂章
\n\n布拉姆斯:第一號鋼琴協奏曲,第一樂章
\n\n巴爾托克:第一號鋼琴協奏曲,第一樂章
\n\n拉威爾:G大調鋼琴協奏曲,第一樂章
\n\n拉赫曼尼諾夫:第二號鋼琴協奏曲,第一樂章
\n\n拉赫曼尼諾夫:第二號鋼琴協奏曲,第三樂章
\n\n-中場休息-
\n\n* 下半場曲目僅部份搭配樂團演出
\n\n理查.羅德尼.班尼特:憂傷的森巴
\n\n韓德爾:〈哈雷路亞〉,出自《彌賽亞》*搭配樂團
\n\n李歐納.柯恩:哈雷路亞
\n\n雷.查爾斯:哈雷路亞我如此愛她
\n\n蕭邦:《雨滴》前奏曲,作品28-15 *搭配樂團
\n\n范德騰:《浴室好朋友》*搭配樂團范德騰:《加護病房之歌》*搭配樂團
\n\n貝多芬:《熱情》奏鳴曲,作品57,第一樂章
\n\n貝多芬:第九號交響曲《合唱》,第四樂章〈快樂頌〉
\n\n李正帆:《快樂頌》(原唱:庾澄慶)*搭配樂團
\n\n吳嘉祥:《歡喜就好》(原唱:陳雷)*搭配樂團
\n\n菲瑞.威廉斯:快樂 *搭配樂團
\n\n* 主辦單位保留演出異動之權利
\n\n\n\n
演出暨製作團隊
\n\n鋼琴家|范德騰、許哲誠
\n\n指揮|呂景民
\n\n樂團|台灣藝術家交響樂團
\n\n\n\n
\n\n
照片版權由 歐普思音樂藝術 提供
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"95253b7f55d88a7089d2641569bb1d7f",title:"《聲聲不息 2.0-范德騰 vs 許哲誠 說唱・音樂會》"}],related:[],title:"(Program cancelled) Do You See What I Hear? 2.0: Taking on the Orchestra",cover:"a3bf79a4de759bf0e9607d8dc574334c",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:'
※The program has been cancelled. For more information, please contact +886-2-7721-6958#2. | \n\t\t
\n\n
This show is about the very real connection made between two extremely different people. John Vaughan is an American piano professor who moved to Taiwan in 1993. In 1998 he began teaching Hsu Zhe-Cheng, an 11-year-old Taiwanese blind wunderkind. After 10 years, they begin performing together, taking their real-life persona on stage and amuse audiences of all ages with their "piano lessons." Having performed in concert halls and theaters throughout Asia for over a decade, John and Zhe-Cheng have become masters at weaving stories about themselves, composers, and musical works with the actual music itself. "Do You See What I Hear" is their latest show, a hilariously funny and highly moving piano lesson that explores the different ways of "looking" at music.In this new updated version, the professor and his blind student are joined by an orchestra for a lively discussion about the Concerto.
\n\n\n\n
Program
\n\n【Piano Concerto Sampler】
\n\nJ. Strauss I : Radetzky March
\n\nJ. S. Bach: Concerto in f minor, BWV 1056 1st and 2nd movements
\n\nW. A. Mozart: Piano Concerto in d minor, K. 466 1st movement
\n\nF. Chopin: Piano Concerto No. 2, in f minor 1st movement
\n\nE. Grieg: Piano Concerto in a minor 1st movement
\n\nR. Schumann: Piano Concerto in a minor, 1st movement
\n\nJ. Brahms: Piano Concerto No. 1 in d minor, 1st movement
\n\nB. Bartok: Piano Concerto No. 1, 1st movement
\n\nM. Ravel: Piano Concerto in G major, 1st movement
\n\nS. Rachmaninoff: Piano Concerto No. 2 in c minor 1st movement
\n\nS. Rachmaninoff: Piano Concerto No. 2 in c minor 3rd movement
\n\n-Intermission-
\n\nRichard Rodney Bennett: Samba Triste
\n\nGeorge Friderick Handel: Hallelujah Chorus from Messiah
\n\nLeonard Cohen: Hallelujah
\n\nRay Charles: Hallelujah I Love Her So
\n\nFrédéric Chopin: Prelude Op. 28, No. 15, Raindrop
\n\nLudwig van Beethoven: Movement I, from Piano Sonata No. 23 in F minor, Op. 57, Appassionata
\n\nLudwig van Beethoven: Movement IV, Ode to Joy, from Symphony No. 9 in D minor, Op. 125
\n\nPharrel Williams: Happy
\n\n\n\n
Creative and Production Team
\n\nPiano|John Vaughan、Che-Chen Hsu
\n\nConductor|Ching-Ming Lu
\n\nOrchestra|TASO
\n\n\n',team:""},createdAt:1640860099,updatedAt:1652179599,updatedBy:"林蔚行",host:!1},{_id:"61d7f37b644816000798c4c2",catalogs:["5aec418cb01ea6000520f635"],dateTime:{first:1653737400,discrete:[{time:1653737400},{time:1653805800}],type:"discrete"},activity:{type:"ticket",ticket:{price:[500,800,1200,1600,2e3,2500,3e3],link:"https://www.opentix.life/event/1474281751257104388?openExternalBrowser=1"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"3010ef10697d9f61c90a604923e4ebad",title:"《你好,我是接體員》"}],related:[],title:"《你好,我是接體員》",cover:"cbb6c99d63066ea24401a0dadedff777",site:{isOther:!1,site:"5aec4743b01ea6000520f65e",other:""},cautions:'
奇幻搖滾音樂劇《你好,我是接體員》2022全臺巡演
\n\n離別伴隨著遺憾、不捨,但有時卻夾雜了一些荒謬情節,從黑色喜劇角度出發,奇幻多變的音樂風格殯儀館的幽默日常即將展開!改編自PTT爆紅文章,大師兄同名小說改編2020首演全數完售,2021巡演好評迴響極大,2022再開 北、中、南 巡演,敬請把握!
\n\n由6段故事串聯,22首原創歌曲,邀請到文學作家張大春老師作詞,張瀚中老師作曲,歌手唱匠、實力派演員及舞台劇新秀等齊聚一堂。
\n\n\n\n
演出暨製作團隊
\n\n領銜主演|范逸臣、方宥心、林曉培、康茵茵、凱爾、張丹瑋、竺定誼、林玟圻Ctwo、林斌、呂紹齊、王靉天、胖球、劉樸、周家寗、莊寧、陳冠瑋、翁子淇、魏君佑、楊佩蓁
\n\n製作團隊
\n\n製 作 人|陳怡靜
\n\n編 導|謝念祖
\n\n歌詞創作|張大春
\n\n作曲統籌/音樂總監|張瀚中
\n\n原創小說|大師兄
\n\n編 劇|陳彥廷
\n\n歌唱詮釋指導|魏世芬
\n\n舞台設計|劉達倫
\n\n燈光設計|黃諾行
\n\n服裝設計|陳佳敏
\n\n舞蹈設計|郭靜婷
\n\n影像設計|羅士翔
\n\n舞臺監督|侯文碩
\n\n\n\n
\n\n
照片版權由 全民大劇團 提供
\n\n\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"3010ef10697d9f61c90a604923e4ebad",title:"《你好,我是接體員》"}],related:[],title:"Ballad from Six Feet Under",cover:"cbb6c99d63066ea24401a0dadedff777",site:{isOther:!1,site:"5aec4743b01ea6000520f65e",other:""},cautions:'
This musical is adapted from the best-selling book of the same name "Touching Stories About Life and Death in the Mortuary Parlor." This best-seller is originated from a series of articles titled “Assorted Stories about an Undertaker,” which went viral on the Internet. The original author "Big Brother Guo Shui Liu" works in a funeral parlor, where the dead people outnumber than living people. Full of horrifying impressions, a funeral parlor is also a place that people try their best to shun from. However, what an undertaker see there is more human nature than supernatural incidents. This musical with brand-new fantasies is a must-see at the end of this year. It is guaranteed that you’ll be amazed by the intriguing stories one after another in this musical and will be deeply trapped in it with joy and surprise.
\n\n\n\n
Creative and Production Team
\n\nPerformers: YU-CHEN FAN, Yu-Hsin FANG, Shino LIN, Yin-Yin KANG, Kyle LO, Dan-Wei CHANG, Ting-Yi CHU, Ctwo WEN-CHI LIN, Shao-Qi LU, Ai-Tien WANG, Ning-Le CHEN, Pu LIU, Chia-Ning CHOU, Kuan-Wei CHEN, Tzu-Chi WENG
\n\nScreenwriter-director: Nien-Tsu HSIEH
\n\nOriginal writer: Big brother
\n\nScreenwriter: Yen-Ting CHEN
\n\nProducer: Yi-Ching CHEN
\n\nLyricist: Ta-Chun CHANG
\n\nMusic director: Han-Chung CHANG
\n\nSinging instructor: Shih-Fen WEI
\n\nSet designer: Dar-Lurn LIU
\n\nLighting designer: Nuo-Hsing HUANG
\n\nCostume designer: Chia-Min CHEN
\n\nImage designer: Shih-Hsiang LO
\n\nChoreographer: Ching-Ting KUO
\n\nStage manager: Wen-Shuo HO
\n\n\n\n
\n\n
Photo © All U People Theatre
\n\n\n',team:""},createdAt:1641542523,updatedAt:1648115953,updatedBy:"林蔚行",host:!1},{_id:"61dd28db14e94c00089e465f",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1651836600,discrete:[{time:1651836600}],type:"discrete"},activity:{type:"ticket",ticket:{price:[400,600,800,1e3],link:"https://www.opentix.life/event/1473854113616613381?openExternalBrowser=1"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"de05ba021cbac545b62335318a3d7372",title:"KSAF《放電旅程》"}],related:[],title:"KSAF《放電旅程》",cover:"808aea272723d9ad642e7566adb637a1",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
高雄市國樂團首度大膽嘗試,力邀2屆Red Bull 3Style全球DJ大賽臺灣總冠軍DinPei,讓強勁的嘻哈節奏翻玩國樂曲調。「國樂小子」DinPei擅長運用傳統樂器與電子音樂的聲響,將不同曲風大膽結合,傳達創作技法的多元。 《放電旅程》在大量涉足流行音樂與劇場跨界經驗的江振豪指揮引領下,除了植入電音元素用混音刷出音韻神采,也將解放中阮及打擊樂的框架,在旋律及節奏中尋求新色彩,就讓音符的電流在旅程中跟著節奏漫遊。
\n\n\n\n
演出曲目
\n\n\n\n
演出暨製作團隊
\n\n指揮|江振豪
\n\nDJ|DinPei
\n\n中阮|于惠蘭
\n\n打擊|王盈智
\n\n高雄市國樂團
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"de05ba021cbac545b62335318a3d7372",title:"KSAF《放電旅程》"}],related:[],title:"When Chinese Orchestra Meets Electronic Music",cover:"808aea272723d9ad642e7566adb637a1",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
Kaohsiung Chinese Orchestra will be in collaboration with the winner of Red Bull 3Style DJ Championship in Taiwan, DinPei. The concert will bring electronic sounds and Hip-Hop vibes into traditional Chinese music. When Chinese Orchestra Meets Electronic Music also invites the conductor, CHIANG, Chen-hao, to play out a whole new listening sensation. In the concert, musicians with zhongruan and percussion will also explore a new flavor in melody and rhythm, taking the audience to flow in a space of electronic soundscape.
\n\n\n\n
Program
\n\nZEN, Chung: Smangus, the Night Sky and Giant Cypress Trees
\n\nCHEN, Ming-chi: Song of the Rainforest (Percussion and Zhongruan Double Concerto)
\n\nDinPei: Shuriken + Alterac Valley (World Premiere)
\n\nLIN, Hsin-pin: Jasminum, Where Are You
\n\nComposer-SU, Wen-cheng, Adaptation-DinPei: The Impression of Mountain and Sea
\n\nLIU, Wen-chin, ZHAO, Yong-shan: Ambushed from All Sides
\n\n\n\n
Creative and Production Team
\n\nConductor|CHIANG, Chen-Hao
\n\nDJ|DinPei
\n\nZhongruan|YU, Hui-Lan
\n\nPercussion|WANG, Yin-Chih
\n\nKaohsiung Chinese Orchestra
\n\n\n\n
\n',team:""},createdAt:1641883867,updatedAt:1646380228,updatedBy:"林蔚行",host:!1},{_id:"61f0f8567236db00087f3053",catalogs:["6010ca1afb81540009f438e6"],dateTime:{first:1645857e3,discrete:[{time:1645857e3},{time:1651905e3},{time:1654410600},{time:1655620200}],type:"discrete"},activity:{type:"free",free:{description:"報名參與"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:1643256e3,end:4798972799},tabs:[],onShelf:!0,sliders:[{type:"image",key:"1153ef71a589aa6baa1b987e71342c4c",title:"2022【衛武營場館友善計畫】演出欣賞"}],related:[],title:"2022【衛武營場館友善計畫】演出欣賞",cover:"369da87e643570db85e092b3f8fe9855",site:{isOther:!0,site:"",other:"衛武營"},cautions:'
衛武營自2018年開館以來,致力成為眾人的藝術中心,盼社會上眾多族群在衛武營找到自己安適的方式參與藝術活動。藉由各項無障礙軟硬體設施建置,讓視障和聽障朋友在友善的空間,與眾人一同感受衛武營的美好,在促進文化平權上往前邁向一大步。「演出欣賞」由場館主辦節目中挑選音樂、舞蹈、戲劇等演出,邀請大眼睛大耳朵朋友們走進劇場欣賞演出,共享表演藝術的美好與悸動。本活動包含特製節目單(視演出節目需求製作)、演前導聆與演出賞析,歡迎大眼睛大耳朵朋友們一同來參與!
\n\n\n\n
報名對象
\n\n身心障礙證明註記第二類者(視覺障礙、聽覺機能障礙),建議7歲以上觀眾觀賞。
\n\n\n\n
報名時程
\n\n2022/1/27(四)12:00起至各場次額滿為止。
\n\n若該場次未報名額滿,將於演出前一周關閉報名表單。
\n\n\n\n
報名費用
\n\n每人(組)每場次酌收300元保證金,並於演出當日退還。
\n\n\n\n
報名流程
\n\n1. 請確認參與場次後,填寫報名表單
\n\n2. 報名完成後,請將保證金匯款至衛武營帳戶
\n\n3. 主辦單位確認匯款後,將以信件通知報名成功,收到信件通知方算報名成功。
\n\n※報名順序將以保證金匯款順序為依據,非表單填寫順序。
\n\n\n\n\n\n
\n\n
參與人數
\n\n大眼睛節目每場至多10組(每組含1位視障朋友及1位陪同者)
\n\n大耳朵節目每場至多20人(含20位聽障朋友)
\n\n\n\n
溫馨提醒
\n\n\n\n
演出節目
\n\n【大眼睛節目】
\n\n表演類型 | \n\t\t\t演出日期 | \n\t\t\t可報名人數 | \n\t\t\t演出節目 | \n\t\t
戲劇 | \n\t\t\t\n\t\t\t 2022/2/26(六)14:30 \n\t\t\t | \n\t\t\t\n\t\t\t 10組 \n\n\t\t\t(視障者+陪同者) \n\t\t\t | \n\t\t\t\n\t\t\t \n\n\t\t\t 【2022衛武營新春燈會系列】黃翊工作室 +《小螞蟻與機器人:遊牧咖啡館》 \n\n\t\t\t\n\t\t\t | \n\t\t
歌劇 | \n\t\t\t2022/6/5(日)14:30 | \n\t\t\t\n\t\t\t 10組 \n\n\t\t\t(視障者+陪同者) \n\t\t\t | \n\t\t\t台北歌劇劇場《50年回顧展演》 | \n\t\t
\n\n
【大耳朵節目】
\n\n表演類型 | \n\t\t\t演出日期 | \n\t\t\t可報名人數 | \n\t\t\t演出節目 | \n\t\t
舞蹈 | \n\t\t\t\n\t\t\t 2022/5/7(六)14:30 \n\t\t\t | \n\t\t\t\n\t\t\t 20人 \n\n\t\t\t(聽障者) \n\t\t\t | \n\t\t\t\n\t\t\t\n\t\t\t | \n\t\t
舞蹈 | \n\t\t\t2022/6/19(日)14:30 | \n\t\t\t\n\t\t\t 10組 \n\n\t\t\t(聽障者+陪同者) \n\t\t\t | \n\t\t\t\n\t\t\t\n\t\t\t | \n\t\t
\n\n
贊助單位
\n
\n\n
\n\n
\n\n
\n',team:""},createdAt:1643182166,updatedAt:1650422190,updatedBy:"林蔚行",host:!1},{_id:"61f2401c98a2890007b7c2f9",catalogs:["5aec4184b01ea6000520f633","5f6f57d6e0fdee000b536ba9"],dateTime:{first:1652441400,discrete:[{time:1652441400}],type:"discrete"},activity:{type:"free",free:{description:"節目取消",englishDescription:"Program cancelled"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"a296acd71e0617cfd78752f9a4cc3d87",title:"狂美親子音樂劇場《動物派對》"}],related:[],title:"「節目取消」狂美親子音樂劇場《動物派對》",cover:"ef464871e63b0344ad127d7b38b4fb6f",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:'
\n\t\t\t ※原訂2022年5月13日(五)19:30於衛武營戲劇院演出之狂美親子音樂劇場《動物派對》,節目取消。 \n\n\t\t\t※已購票觀眾,最遲請於2022年5月31日(二)前完成辦理全額退票,退票方式請詳異動公告。 \n\t\t\t | \n\t\t
\n\n
★「狂美親子音樂劇場是我家寶貝認識表演藝術的敲門磚,音樂結合戲劇精彩又動人,又極富教育意涵。每場必看!極力推薦!」—— 觀眾申小姐(職業:金融業主管)
\n\n★「我進劇場的第一次體驗就給狂美了!在台下可以感受到每位音樂家對音樂的熱情,演出水準真高!原來聽音樂會也可以如此熱血沸騰,從此我就變成狂美粉了!之後劇場再相見!」—— 觀眾李先生(職業:國中老師)
\n\n★「狂美顛覆了我以往對聽音樂會的看法,透過你們接地氣的節目創作,原以為是艱澀的表演內容居然可以讓我意猶未盡的不想起身離開,以後我還會再來支持狂美的!期待之後的每部作品!」—— 觀眾邱小姐(職業:補教業老師)
\n\n\n\n
『傳說,在很久很久以前,世界上所有的動物都是人類的好朋友,彼此關係親密、無話不談;但不知道從那天開始,動物們卻再也不跟人們說話了!原來,動物王國頒布了一項神秘契約,且背後隱藏著一個驚天大秘密⋯⋯』
\n\n主人翁小格列佛在某天晚上聽媽媽說著「挪亞造方舟」的床邊故事後,意外地捲入神秘未知的動物世界。為了尋找回到現實世界的方法,他克服膽怯,勇闖動物王國,途中巧遇會說話的鸚鵡波莉、虛弱的獅子大王,還有好多好多跟他想像中不一樣的事情⋯⋯快點跟上狂美的腳步,到未知的動物世界一探究竟且揭開謎底!
\n\n\n\n
演出曲目
\n\n\n\n
演出暨製作團隊
\n\n樂團團長、製作人|謝韋民
\n\n樂團總監、監 製|劉可婕
\n\n樂團指揮|謝韋民
\n\n戲劇編導|王正豪
\n\n燈光設計|范植鈞
\n\n視覺設計|孛所特品牌行銷有限公司
\n\n演出|狂美交響管樂團、犀牛劇團
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"a296acd71e0617cfd78752f9a4cc3d87",title:"狂美親子音樂劇場《動物派對》"}],related:[],title:"(Program cancelled) Children's Musical \"Animal's Party\" by Con Bello Symphonic Band",cover:"ef464871e63b0344ad127d7b38b4fb6f",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:'
※The program has been cancelled. For more information, please contact +886-3-3251180. | \n\t\t
\n\n
"Long long time ago, all the animals were good friends of human beings. They had a close relationship with each other and talked about everything. But some day, the animals never talked to people again. It turns out that the animal kingdom have issued a mysterious contract, and there was a shocking secret behind it..."
\n\nThe main character, Gulliver Jr., was unexpectedly involved to the mysterious and unknown animal world after listening to his mother tell the bedside story "Noah's Ark" before sleeping. In order to find a way to return to the real world, he overcomes his timidity and bravely enters the animal kingdom. On his way, he encounters Polly the talking parrot, the weak Lion King, and many other things that are different from what he imagined. Follow in Con Bello Symphonic band's footsteps, going to the unknown animal world, find out and uncover the mystery!
\n\n\n\n
Program
\n\n\n\n
Creative and Production Team
\n\nBand Leader, Producer|HSIEH Wei-min
\n\nMusic Director, Executive Producer|LIU Ke-chieh
\n\nConductor|HSIEH Wei-min
\n\nDramatic Director|WANG Zheng-hao
\n\nLighting Design|FAN Zhi-jun
\n\nVisual Design|Basselt Brand Creative Marketing Co., Ltd.
\n\nPerformer|Con Bello Symphonic Band, RhinoPlay Troupe
\n\n\n\n
\n',team:""},createdAt:1643266076,updatedAt:1651126167,updatedBy:"林蔚行",host:!1},{_id:"61f24a327236db00087f5d03",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1653391800,discrete:[{time:1653391800}],type:"discrete"},activity:{type:"ticket",ticket:{price:[500,800,1e3],link:"https://ticket.com.tw/application/UTK02/UTK0201_00.aspx?PRODUCT_ID=N1AW0S8H"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"aa4fa954d1a64d143a2fc284d6ac96a9",title:"《2022傾韻絲竹弦箏樂團-林愛華弦箏心曲音樂會》"}],related:[],title:"《2022傾韻絲竹弦箏樂團-林愛華弦箏心曲音樂會》",cover:"28ccc12f8b8f1f9631a04ae9f7a3cb7f",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
林愛華40年音樂教學、不忘初心轉移跑道、致力全人音樂教育、引導樂齡創新Do Re Mi健康樂活圓夢、結合專業開啟業餘攜手精湛組合、雅俗共賞演出、歡迎供襄盛舉。
\n\n弦箏心曲音樂會將譜出悠揚典雅新風貌、交織傳統結合現代美聲舞蹈律動、多元永續衍生變化與眾不同節目演出、將是臺灣音樂邁向國際舞台新里程、全民情緒低迷、林愛華以多曲流傳百年不朽、經典精彩音樂優活大眾放鬆心情喜悅生活、將帶給喜愛音樂觀眾、一場聽視覺絕佳的心靈饗宴。
\n\n\n\n
演出曲目
\n\n長相思
\n\n蝴蝶夢
\n\n臨安遺恨
\n\n荷塘月色
\n\n茉莉芬芳
\n\n天女散花
\n\n秦桑曲
\n\n我的快樂就是想你
\n\n採蘑菇小姑娘
\n\n六月茉莉
\n\n雨蓮花開
\n\n\n\n
演出暨製作團隊
\n\n編舞編輯|林秋萍
\n\n音樂設計|林愛華
\n\n製作團隊|傾韻絲竹弦箏樂團
\n\n舞台監製|胡國偉
\n\n燈光設計|阮慶星、黃朝育
\n\n節目製作|賀偉民、謝世經
\n\n演出人員|絲國蘭、丁冬梅、朱昱彰、魏秀芳、李佳峻、洪光谷、李玉龍、謝馨儀、吳昶嬉
\n\n\n\n
贊助單位
\n\n右昌聯合醫院
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"aa4fa954d1a64d143a2fc284d6ac96a9",title:"《2022傾韻絲竹弦箏樂團-林愛華弦箏心曲音樂會》"}],related:[],title:"Lin Aihua Xianzheng Heart Music Concert",cover:"28ccc12f8b8f1f9631a04ae9f7a3cb7f",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
Lin AIHUA has 40 years of mouic teaching, does not forget his original intention to shift the track,is committed to holistic music education, guides seniors to innovate Do Re Mi healthy and lively dreams,combines professionalism to open amateurs and join hands wifh exquisite combinations,elegant and popular performances,welcome to contribute to the grand event.
\n\n\n\n
Program
\n\nSauvignon Blanc
\n\nButterfly dream
\n\nLin'an Regret
\n\nLotus pond moonlight
\n\nJasmine frarance
\n\nCelestial flower
\n\nQin Sangqu
\n\nMy happiness is to miss you
\n\nMushroom picking girl
\n\nJune Jasmine
\n\nRain lotus blooms
\n\n\n\n
Creative and Production Team
\n\nChoreography Editor|LIN Qiuping
\n\nMusic Design|LIN Aihua
\n\nProduction team|Qing Yun Si Zhu Xian Zheng Orchestra
\n\nStage Prouce|HU Kuowei
\n\nprogram Production|He weimin Xie shijing
\n\n\n\n
\n',team:""},createdAt:1643268658,updatedAt:1648116403,updatedBy:"林蔚行",host:!1},{_id:"61f39cb698a2890007b849cb",catalogs:["5fe2bffdde1961000737545c","5aec418cb01ea6000520f635"],dateTime:{first:1653719400,discrete:[{time:1653719400},{time:1653737400},{time:1653805800}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,600],link:"https://www.opentix.life/event/1493934571815366658?openExternalBrowser=1"}},attachment:{key:"f07af9bb8d878b8af25c82ec5c842ae7",name:"水鬼請戲 節目單.pdf",ext:"pdf"},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"bd0418d37a55ec515d814b2d6f36ba4d",title:"臺北木偶劇團《水鬼請戲》"}],related:[],title:"臺北木偶劇團《水鬼請戲》",cover:"579d199e3aa71a5fed69b26b0c7cfc9a",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:'
衛武營會員綁定OPENTIX
\n\n邀請您註冊「OPENTIX兩廳院文化生活」帳號並綁定衛武營會員卡,即可享有會員購票優惠。綁定教學
\n\n優惠方案
\n\n※300元(含)以下票級不提供折扣。
\n\n團票優惠
\n\n購票同場次:
\n\n※300元(含)以下票級不提供折扣。
\n\n※相關優惠請洽07-262-6666
\n',benefits:"",description:"傳藝金曲獎入圍最佳導演伍姍姍,最佳編劇周玉軒,攜手打造最新力作。",introduction:'泉仔不記得他為何死在了鹿堀溝,他記得製糖工場裡的甘蔗香氣與繁重工作,也記得料理店酌婦清子的溫柔笑容,還記得他和清子約好了要在戲臺旁見面,泉仔卻莫名其妙地成了水底亡魂,莫非是被抓了交替?水鬼連忙大呼冤枉,他們或眷戀人世,或因殉情不捨分離,或是在等待機緣升任城隍,水鬼不想去投胎,也就不曾去抓交替。為了證明自身清白,鹿堀溝水鬼決定合力查清楚泉仔的死因,一切源頭就在泉仔沒有看成的那一齣戲,他們想設方法在林投樹下搭起戲臺,請來布袋戲班演出《趙匡胤千里送京娘》。這一夜,鑼鼓響徹鹿堀溝,水鬼在戲裡看見了自己的故事,解答了那些執著與癡情,眼看著戲即將結束,泉仔仍舊等著,他想知道自己為何而死,更想知道清子到底會不會來,而天就快要亮了......
\n\n
\n《水鬼請戲》是臺北木偶劇團繼《白賊燈猴天借膽》後,又一聚焦臺灣在地傳說之創新作品,由傳藝金曲獎入圍最佳導演伍姍姍及最佳編劇周玉軒攜手打造,以傳統布袋戲如何搭配現代光影,優雅詮釋人鬼共感的執念與迷惘。
\n\n
演前導聆
\n\n2022/5/28(六)13:50-14:10 戲劇院2樓大廳
\n\n2022/5/28(六)18:50-19:10 戲劇院2樓大廳
\n\n2022/5/29(日)13:50-14:10 戲劇院2樓大廳
\n\n\n\n
演出暨製作團隊
\n\n製作人|林永志
\n\n導演|伍姍姍
\n\n編劇|周玉軒
\n\n漢文顧問|洪澤南
\n\n舞臺設計|林昭安
\n\n音樂設計|林永志
\n\n服裝設計|林俞伶
\n\n偶頭設計|吳聲杰
\n\n美術設計|林羅伯
\n\n燈光設計|陳為安
\n\n技術統籌|陳為設計
\n\n製作經理|楊舒涵
\n\n行政|鄭琬如
\n\n舞台監督|官家如
\n\n排練助理|劉士聞
\n\n布袋戲演師|吳聲杰、陳思廷、廖群瑋、林瑞騰、林凱翔
\n\n布袋戲助演|王祥亮、林凱翔
\n\n投影|林羅伯
\n\n樂師|林永志、林璟丞、謝琼崎、劉士聞、林宸弘 、張慈欣、林庭吟、謝文彬、周于甄、胡愛彤、鄭湘蓁、黃聖育、蔡宜珊
\n\n\n\n
藝術家介紹
\n\n臺北木偶劇團
\n臺北木偶劇團成立於2010年,演職員以中生代為主,平均習藝年齡達15年以上,以延續傳統布袋戲為職志,是臺灣具活力的新生代木偶劇團之一。
臺北木偶劇團以承襲傳統藝術、創造精緻藝術之精神,持續尋找傳統、發掘傳統,發揮過去習藝時所累積的豐富經驗,以認真、用心的製作方針,在不拘泥于傳統木偶劇之創作形式下,以多元及多變的木偶劇場藝術特色,創作出更細膩、精緻的表演方式,吸引更多觀眾走進劇場感受不同以往的布袋戲饗宴。
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布袋戲演師|吳聲杰
\n畢業於國立臺北藝術大學傳統音樂學系。師承大陸木偶戲代表性傳承人莊陳華老師、北管藝師邱火榮老師、臺語漢文廖昆章老師、李傳燦老師、鄭安成老師等。曾入圍第29、30屆傳藝金曲獎「最佳個人表演新秀獎」。
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布袋戲演師|陳思廷
\n自幼在北市平等國小學習傳統布袋戲,大學畢業後正式加入臺北木偶劇團擔任前場演師,並向廖昆章老師學習傳統戲套、洪澤南老師學習漢文,為目前指日可待的新一代年輕女演師。入圍第31屆傳藝金曲獎「最佳個人表演新秀獎」。
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布袋戲演師|廖群瑋
\n雲林縣崙背人,從小受家庭影響,耳濡目染,對布袋戲甚感興趣。於2014年開始正式接觸金光布袋戲並延續家業。2018年至臺北木偶劇團學習傳統布袋戲。2019年參與雲林國際偶戲節第一屆青年主演競賽獲最佳主演獎殊榮。
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Performed inTaiwanese with Mandarin surtitles.
\n\t※Discounts are not applicable for tickets tier at NT$300 and lower.
\n',benefits:"",description:'Is it possible to transcend this "life" and regain freedom after watching a show?',introduction:'Quan can't remember why he died in Lu Ku Gou. He remembers the aroma of sugarcane, the heavy work in the sugar factory, and the gentle smile of Qingzi, the escort lady in the restaurant. He also remembers that he and Qingzi had an appointment to meet by the stage. However, Quan is now inexplicably a water ghost. Was he captured by a water ghost to serve as their replacement? The water ghosts in Lu Ku Gou decide to work together to find out the cause of Quan's death. The reason turns out to be the show that Quan did not have the chance to see. They try everything to set up a stage under the tree in Lintou. A puppet troupe is invited to perform Escorting Lady Jing on A Thousand Mile Journey. Gongs and drums ring throughout Lu Ku Gou that night. The water ghosts see their own stories in the show and find answers to their obsessions and infatuations. However, the show is about to end and Quan is still waiting. He wants to know why he died, and whether Qingzi will come before the impending sunrise...
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\nTaipei Puppet Theater showcases the traditional puppet show skill "Flying up to the sky and swiftly hiding in the ground" in creative forms based on the popular Taiwanese "Water Ghosts' theatre", portraying the life experiences, memories, and hopes of each water ghost with lights and shadows, and creating a traditional puppet show of Taiwan!
\n\n
Pre-talk
\n\n2022/5/28(Sat)13:50-14:10 Playhouse 2nd Floor
\n\n2022/5/28(Sat)18:50-19:10 Playhouse 2nd Floor
\n\n2022/5/29(Sun)13:50-14:10 Playhouse 2nd Floor
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Creative and Production Team
\n\nProducer|LIN Yung-chi
\n\nDirector|WU Shan-shan
\n\nPlaywright|ZHOU Yu-xuan
\n\nTaiwanese Consultant|HUNG Tse-nan
\n\nStage Designer|LIN Zhao-an
\n\nMusic Designer|LIN Yung-chi
\n\nCostume Designer|LIN Yu-ling
\n\nPuppet Designer|WU Sheng-chieh
\n\nArt Designer|Robert LIN
\n\nLighting Designer|CHEN Way-an
\n\nTechnical Coordinator|To be Design Studio
\n\nProduction Manager|YANG Shu-han
\n\nAdministrative|ZHENG Wan-ru
\n\nStage Manager|KUAN Chia-ju
\n\nPuppet Actor|WU Sheng-chieh, CHEN Su-ting, LIAO Chuen-wei, LIN Rui-teng, LIN Kai-xiang
\n\nAssistant Puppet Actor|Wang Xiang liang, LIN Kai-xiang
\n\nProjection Technician| Robert LIN
\n\nMusician| LIN Yung-chi, LIN Jing-cheng, Wang Xiang-liang, HSIEH Chiung-chi, LIU Shih-wen, LIN Chen-hung, ZHANG Ci- xin, LIN Ting-yin, XIE Wen-bin, CHOU Yu-chen, HU Ai-tong, ZHENG Xiang-zhen, HUANG Sheng-yu, TSAI Yi-shan
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Artists Introduction
\n\nTaipei Puppet Theater
\n\nTaipei Puppet Theater was founded in 2010.The theater performers are mainly middle-aged and with average apprenticeship over 15years. They make their career purpose to continuate the life of traditional puppet shows, they are the vibrant new generation of puppet theater in Taiwan.
\n\nTaipei Puppet theater inherits the traditional art, innovates the delicate performance way with every efforts for the multiplicity in Taiwanese puppet show, which has successfully attracted more audience to come into the theater and enjoy the show.
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★「白建宇為名副其實且值得信賴的藝術大師、鋼琴怪傑、完美的音樂家」──費加洛報
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鋼琴巨擘白建宇攜手高市交獨奏家群帶來兩首經典室內樂作品:布拉姆斯《g小調第一號鋼琴四重奏》及舒曼《降E大調鋼琴五重奏》,展現兩位作曲家對於浪漫的不同情感與詮釋。在黑白琴鍵的徜徉間,白建宇將用他那充滿詩意的敘述方式,描繪出兩位浪漫樂派作曲家,對於內心世界的豐富情感刻劃。高市交獨奏家群將帶著樂迷沉浸在白建宇那充滿詩意的樂音中,透過這兩首經典樂曲,諦聽兩位浪漫樂派代表作曲家對於內心世界的豐富情感刻劃。
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演出曲目
\n\n布拉姆斯:G小調第一號鋼琴四重奏,作品25
\n\n舒曼:降E大調鋼琴五重奏,作品44
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演出暨製作團隊
\n\n鋼 琴|白建宇
\n\n小 提 琴|葉翹任、張恆碩、陳思圻
\n\n中 提 琴|蕭寶羚、王弈萱
\n\n大 提 琴|林采霈、劉彥廷
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"ee34f958a663f4bbcf6de401727fb7b3",title:"Kun-Woo Paik & KSO Chamber Concert"}],related:[],title:"Kun-Woo Paik & KSO Chamber Concert",cover:"78a9d88e7f3b226f9edc7e7791afd0a4",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
The concert night will start with Brahms's Piano Quartet No. 1 in G minor, op. 25, played by the virtuoso pianist Kun-Woo Paik, his superior technique, personal charm and exquisite interpretation will present a fine exhibition of challenge of skills, beautiful tunes and coherent piece of music. The second piece will be Schumann's Piano Quintet in E-flat Major, op. 44, was one of many significant Romantic piano quintets that show Schumann's influence and adopt his choice of instrumentation. The energy and precision of the piece demand virtuosic performances from the KSO musicians and pianist Kun-Woo Paik.
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Program
\n\nJ. Brahms: Piano Quartet No. 1 in G minor, Op. 25
\n\nR. Schumann: Piano Quintet in E-flat Major, Op. 44
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Creative and Production Team
\n\nPiano│Kun-Woo Paik
\n\nViolin│YEH Chiau-Ren、CHANG Hen-Shuo、CHEN Szu-Chi
\n\nViola │HSIAO Pao-Ling、WANG Yi-Hsuan
\n\nCello │LIN Tsae-Pey、LIU Yen-Ting
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\n',team:""},createdAt:1644226189,updatedAt:1650593284,updatedBy:"林蔚行",host:!1},{_id:"6201e36f06407a00079c2799",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1651491e3,discrete:[{time:1651491e3}],type:"discrete"},activity:{type:"ticket",ticket:{price:[100,300,500,800,1e3,1200],link:"https://www.opentix.life/event/1484374965836881923?openExternalBrowser=1"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"d2864a10c55714610c1e29139ef27d03",title:"心之樂動—孟德爾頌《詩篇42篇》& 佛雷斯特《歡呼頌》"},{type:"image",key:"07d4cb12c82044a94e5ee0bd49634adf",title:"心之樂動—孟德爾頌《詩篇42篇》& 佛雷斯特《歡呼頌》"},{type:"image",key:"ff76c4bc5b7f85e1eebac549a95341fe",title:"心之樂動—孟德爾頌《詩篇42篇》& 佛雷斯特《歡呼頌》"}],related:[],title:"心之樂動—孟德爾頌《詩篇42篇》& 佛雷斯特《歡呼頌》",cover:"723d5d4126c846af2e5500f04622b3ca",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
箴言詩篇聖樂團暨愛樂管絃樂團將帶來「心之樂動」2022年度音樂會,演出德國浪漫派作曲家孟德爾頌《詩篇42篇》與當代聖樂名家佛雷斯特《歡呼頌》。
\n\n從浪漫樂派到現代聖詩,從古典歐洲到躍動拉美、神秘東方、再到非洲大陸,藉著多元語言與文化交織之音聲韻律,要讓愛樂大眾在傾聽與咀嚼中,獲得嶄新的感動與體驗。此次音樂會由音樂總監曾怡蓉博士指揮,匯集新生代活躍於國內外樂壇、任教於各音樂系所、音樂班的演奏、演唱家,與箴言詩篇聖樂團、愛樂管絃樂團,以及國立屏東大學音樂學系合唱團一起演出,期盼能將音樂中蘊含的生命撫慰與振奮的力量,傳揚分享給更多的愛樂大眾。
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演出曲目
\n\n孟德爾頌:詩篇42篇
\n\n佛雷斯特:歡呼頌
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演出暨製作團隊
\n\n音樂總監暨指揮|曾怡蓉
\n\n合唱團|箴言詩篇聖樂團、國立屏東大學音樂學系合唱團
\n\n樂團|箴言詩篇愛樂管絃樂團
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\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"d2864a10c55714610c1e29139ef27d03",title:"心之樂動—孟德爾頌《詩篇42篇》& 佛雷斯特《歡呼頌》"},{type:"image",key:"07d4cb12c82044a94e5ee0bd49634adf",title:"心之樂動—孟德爾頌《詩篇42篇》& 佛雷斯特《歡呼頌》"},{type:"image",key:"ff76c4bc5b7f85e1eebac549a95341fe",title:"心之樂動—孟德爾頌《詩篇42篇》& 佛雷斯特《歡呼頌》"}],related:[],title:"Voices Abounding with Joy",cover:"723d5d4126c846af2e5500f04622b3ca",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
"As the dear pants for streams of water, so my soul longs after You, O God."
\nIn the summer season 2022, the Psalm and Wisdom Singers will present a vigorous and impressive musical feast "Voices Abounding with Joy": Mendelssohn Psalm42 and Dan Forrest Jubilate Deo, which will inspire the hearts of those thirsty and dried up during this period affected by the plague.
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Program
\n\nFelix Mendelssohn: Psalm 42
\n\nDan Forrest: Jubilate Deo
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Creative and Production Team
\n\nMusic Director and Conductor|TSENG Yi-Jung
\n\nChoir|Psalm & Wisdom Singers、National Pingtung University Music Department Choir
\n\nOrchestra|Psalm & Wisdom Philharmonic Orchestra
\n\n\n',team:""},createdAt:1644290927,updatedAt:1644470799,updatedBy:"林蔚行",host:!1},{_id:"6204bb0606407a00079d566d",catalogs:["5c1f073a5a5bea0006f3eb11","6007fc45ba34870007c22b8b"],dateTime:{first:1648864800,discrete:[{time:1648864800},{time:1648951200},{time:1656727200},{time:1656813600},{time:1662775200},{time:1662861600}],type:"discrete"},activity:{type:"free",free:{description:"線上報名參與",englishDescription:"Registration"}},attachment:{},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[{reference:[],type:"content",name:"課程介紹",content:'
單元一:劇場回溯與舞蹈跨域
\n\nTime | \n\t\t\tDAY 1 (4月2日) | \n\t\t\tDAY 2(4月3日) | \n\t\t
課程名稱 | \n\t\t\t課程名稱 | \n\t\t|
10:00-12:00 | \n\t\t\t形影相析:舞蹈與空間 I* \n\t\t\t姚立群 | \n\t\t\t形影相析:舞蹈與空間 II* \n\t\t\t姚立群 | \n\t\t
12:00-13:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
13:30-15:00 | \n\t\t\t舞蹈與身體史 I \n\t\t\t王柏偉 | \n\t\t\t舞蹈與身體史 II \n\t\t\t王柏偉 | \n\t\t
15:00-15:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
15:30-17:00 | \n\t\t\t身體裡的頻率振動 \n\t\t\t王榆鈞 | \n\t\t\t數位裡的我們 \n\t\t\t謝杰樺 | \n\t\t
17:00-17:30 | \n\t\t\t交流 | \n\t\t\t交流 | \n\t\t
註1:*為「專業書寫手」與「一起來寫舞」合班上課。
\n註2:「形影相析:舞蹈與空間」課程規劃有肢體暖身活動,請穿著方便活動之服裝。
\n註3:第一季課程介紹(舞蹈書寫手).pdf
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單元二:評論技巧與創作直擊
\n\nTime | \n\t\t\tDAY 1 (7月2日) | \n\t\t\tDAY 2(7月3日) | \n\t\t
課程名稱 | \n\t\t\t課程名稱 | \n\t\t|
10:00-12:00 | \n\t\t\t從感受到批評-認知學習之養成* \n\t\t\t紀慧玲 | \n\t\t\t自由步身體工作坊* \n\t\t\t蘇威嘉&方妤婷 | \n\t\t
12:00-13:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
13:30-15:00 | \n\t\t\t全鏡式批評視角的學習 \n\t\t\t紀慧玲 | \n\t\t\t搬演現場 - 尋找身體關鍵字* \n\t\t\t蘇威嘉&方妤婷 | \n\t\t
15:00-15:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
15:30-17:00 | \n\t\t\t線上舞蹈演出的100種看法* \n\t\t\t魏琬容 | \n\t\t\t舞蹈速寫* \n\t\t\t魏琬容 | \n\t\t
17:00-17:30 | \n\t\t\t交流 | \n\t\t\t交流 | \n\t\t
註1:*為「專業書寫手」與「一起來寫舞」合班上課。
\n註2:「自由步身體工作坊」請著可運動之衣褲,勿著牛仔褲、裙裝、配戴不適合運動之飾品。
\n註3:課程介紹敬請期待。
\n\n
單元三:媒體書寫與觀點建立
\n\nTime | \n\t\t\tDAY 1 (9月10日) | \n\t\t\tDAY 2(9月11日) | \n\t\t
課程名稱 | \n\t\t\t課程名稱 | \n\t\t|
10:00-12:00 | \n\t\t\t舞蹈書寫9式* \n\t\t\t陳品秀 | \n\t\t\t英文書寫的臺灣舞蹈* \n\t\t\t林亞婷 | \n\t\t
12:00-13:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
13:30-15:00 | \n\t\t\t聆聽:與藝術家的真情時刻 \n\t\t\t許雁婷 | \n\t\t\t不合時宜的備忘錄——關於書寫 \n\t\t\t周伶芝 | \n\t\t
15:00-15:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
15:30-17:00 | \n\t\t\t當我們在紙上跳舞-7項舞蹈書寫計畫 \n\t\t\t李欣恬 | \n\t\t\t前進『灰地帶』——舞蹈創作與策展意識* \n\t\t\t周伶芝 | \n\t\t
17:00-17:30 | \n\t\t\t交流 | \n\t\t\t交流 | \n\t\t
註1:*為「專業書寫手」與「一起來寫舞」合班上課。
\n註2:課程介紹敬請期待。
\n\n\n\n
\n'},{reference:[],type:"content",name:"講師介紹",content:'
講師介紹(按課程順序排列)
\n\n姚立群(牯嶺街小劇場館長)
\n\n©林育全
\n\n劇場製作人、導演,現任牯嶺街小劇場館長、身體氣象館負責人。長期以演出製作、國際藝術節與工作坊等推動臺灣與歐亞等地的表演藝術交流,亦曾舉辦多屆「第六種官能表演藝術祭」與「暗中有戲」工作坊,發展視障者等身心障礙者的表演藝術。同時為「亞洲相遇」匯演計畫成員、臺灣國際實驗媒體藝術展聯合發起人。
\n\n\n\n
王柏偉(數位藝術基金會藝術總監)
\n\n藝評人。主要研究領域為媒介理論、設計理論、當代藝術史、文化與藝術社會學、藝術/科學/科技(AST)。與人合譯有Niklas Luhmann所著《愛情作為激情:論親密性的符碼化》(臺北:五南)。現為數位藝術基金會藝術總監,曾任北美館助理研究員。
\n\n\n\n
王榆鈞(音樂藝術家)
\n\n1982 年生,高雄人,畢業於國立臺灣藝術大學戲劇系。現為音樂創作者、歌者,同時積極參與各類創作計畫。近年特別關注實驗聲響與身體的對話、影像共同創造出的內在聽覺空間,在詩句縫隙間的音樂風景。探究時間軸線裡往未來未知的聲音,同時也向著古老大地的呼喚。期待能繼續在世界不同角落創作,紀錄當下空氣裡的振動,以及生活的氣息;在詩與歌的脈絡裡找到一種文化對話的方式。並期許自身成為一位音樂創作者之前,更要成為一位傾聽他人、傾聽世界的人。
\n\n\n\n
謝杰樺(安娜琪舞蹈劇場藝術總監)
\n\n©Kris Kang
\n\n橫跨建築與舞蹈的雙重背景,為其作品注入獨特的創作思維;擅以空間概念結合科技元素,融入舞蹈與身體創作,為其跨界舞作帶來獨特的藝術性。知名作品包括科技舞作《第七感官》(2011) 、《Second Body》(2015)與《永恆的直線》(2019),頗受國際好評。曾受邀於奧地利林茲電子藝術節、荷蘭 TodaysArt 藝術節、馬來西亞喬治城藝術節等國際性指標藝術節演出。曾擔任2017臺北世界大學運動會開幕典禮文化演出導演之一。
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紀慧玲(表演藝術評論台台長)
\n\n評論人、自由撰稿人。國藝會「表演藝術評論台」召集人暨駐站評論人(2011~)。
\n曾任《民生報》藝文版記者近二十年,臺灣大學戲劇學系研究所畢,臺北藝術大學戲劇研究所博士班肄業。
\n著有《喧蟬鬧荷說九歌》(與林懷民、徐開塵合著)、《凍水牡丹─廖瓊枝》、《梆子姑娘─王海玲》。主編《bravo精采20─兩廳院二十週年舞台回顧》(國立中正文化中心,2008)、《藝起南方─衛武營藝術文化中心籌建實錄》(2009)。
\n\n
魏琬容(OISTAT國際劇場組織執行長、舞評人)
\n\nOISTAT自1968年創立以來最年輕的、也是唯一具有外交背景的執行長,少年時代學習街舞與現代舞,美國紐約大學Tisch藝術學院藝術政治碩士畢(MA in Arts Politics, New York University)。相信政治和表演藝術的共同點是「在日常生活中創造對話」。以工作結合表演藝術與外交,以舞評探問當代舞蹈和政治社會的關係,特別關注女性主義與性別議題。
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蘇威嘉(驫舞劇場團長)
\n\n©呂國瑋
\n\n高雄人,驫舞劇場創辦人之一,長期為舞團編創新作與演出,集體創作作品《速度》獲得第六屆台新藝術獎表演類大獎,與陳武康合作的《兩男關係》於德國獲科特尤斯編舞大賽金獎與觀眾票選獎,2009至2013年受芭蕾大師艾略特.費爾德邀請下,加入Ballet Tech舞團。以《自由步》為題的十年編舞計畫,被舞評形容為將美感耕耘至極致的演出。近年除了持續跳舞、創作,也開始關注作為舞蹈工作者的社會責任並四處分享跳舞的喜悅。
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方妤婷(表演者)
\n\n©呂國瑋
\n\n高雄人,當代舞蹈表演者。 紐約時報稱她「舞蹈精彩而生動,如同移動的雕塑品,最適合觀眾親自觀賞的三維立體研究」。現為蘇威嘉十年編舞計畫《自由步》系列之主要舞者與排練指導,2019年獨舞作品《自由步–一盞燈的景身》於兩廳院 TIFA 臺灣國際藝術節演出,入圍台新藝術獎年度十大表演藝術作品。她也多次與編舞家陳武康、周書毅等人合作,專業舞者生涯始於雲門舞集,曾演出林懷民經典作品《家族合唱》、《如果沒有你》、《九歌》。
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陳品秀(雲門基金會 舞團舞蹈構作暨文獻主任)
\n\n©劉振祥
\n\n曾任《Par表演藝術》雜誌資深舞蹈編輯,評論文章散見於表演藝術評論台及其他媒體。
\n舞蹈背景出身,在雲門20年,任職文獻室主任,負責雲門文獻數位典藏,及書籍、影像出版、展覽等。她也是雲門獎助計畫主任,協助年輕優秀藝術家發展潛力。2015年雲門劇場開幕,擔任劇場節目經理,2021年起轉任舞團舞蹈構作,協助藝術家創作。
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許雁婷(文字工作者、藝術家)
\n\n©臺灣當代文化實驗場
\n\n曾任舞蹈平台「下一個編舞計畫」之企劃、顧問及編舞者專訪撰稿人,連續三屆以參與編舞者的生命故事及編舞概念、創作內容為旨,撰寫專訪文稿。採訪撰文經驗近20年,文章散見於《大劇報》、《歌劇院時刻》、《Par表演藝術雜誌》、《本事》、《Art Plus》、《數位表演藝術節跨域控》、《新絲路》、《非常木蘭》等;書籍《打開雲門》、《空的記憶》、《新北市藝遊》、《運字的人》等。
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李欣恬(中國時報文化組撰述委員)
\n\n小時候學音樂,長大後當記者。畢業於北藝大音樂學研究所,現任職於媒體。曾任《MUZIK》古典樂刊編輯、《Art Plus》藝術地圖(臺港澳發行)執行編輯。畢業於北藝大音樂學研究所。曾於《Art Plus》開設樂評專欄,並於2018年入選臺南藝術節《望南藝評》成員。
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林亞婷(國立臺北藝術大學舞蹈學院副教授)
\n\n©張曉雄
\n\n舞蹈學者,加州大學河濱分校舞蹈史與理論博士。
\n\n出版英文專書《華身論:臺北,香港,與紐約的當代舞蹈》,中/英文章收錄於《身體政治:舞動東亞》,《台灣理論關鍵詞》,並主編與合著《碧娜鮑許:為世界起舞》。文章也譯成法文,韓文,與葡萄牙文。
\n\n前「台灣舞蹈研究學會」理事長,與(美國)「舞蹈史學者學會」理事,和第十屆「台新藝術獎」(2011)聯合主席。
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周伶芝(藝評人、策展人)
\n\n藝評、策展、劇場構作、文字工作者、創作美學相關課程講師等。以不同角色參與各藝術節、表演藝術創作、團隊和場館之研究計畫。
\n\n\n\n
\n'}],onShelf:!0,sliders:[{type:"image",key:"d532a4cb019e0ebb0bd40ce0f4368d02",title:"2022 舞蹈書寫工作坊—提筆上陣(專業書寫手)"}],related:[{from:"programs",key:"618cc8fdd4bd45000a17d10e",title:"2022舞蹈書寫工作坊—提筆上陣(一起來寫舞)"},{from:"programs",key:"618ce3354490a40007918ccb",title:"《波麗露在高雄》"},{from:"features",key:"61e930697236db00087e3972",title:"衛武營駐地藝術家-周書毅"}],title:"2022舞蹈書寫工作坊—提筆上陣(專業書寫手)",cover:"695499b72c6c57cdfd1fb6ae3ed583f0",site:{isOther:!0,site:"",other:"衛武營排練室"},cautions:'
「專業書寫手」需全程參與三個單元課程,並於指定日期繳交主辦單位指定舞蹈作品之評論文章。指定作品將另行通知提供入選者。
\n\t保證金將於主辦單位收受指定文章後,於下一個付款日退還保證金,未能全程參與及未按時繳交評論文章者恕不退費。
\n\t本工作坊將有專門活動攝錄影紀錄,入選學員需於「肖像授權書」同意肖像權露出相關事宜。本影像紀錄以藝文推廣或非營利性之目的為限。
\n\t主辦單位保留本活動變更權利。
\n\t相關問題請洽衛武營節目部羅先生(shihju.lo@npac-weiwuying.org)
\n\t退費機制
\n\n入選者需於2022年4月2日前10個工作天主動聯絡主辦單位申請退費(shihju.lo@npac-weiwuying.org);取消報名將酌收保證金10%的手續費,逾期恕不受理。
\n\t從劇場觀看到產出書寫文章
\n\n漸進式的課程導引,將帶領你看見不一樣的舞蹈書寫技能
\n\n2022臺灣舞蹈平台首次策劃漸進式舞蹈書寫養成計畫,力邀藝術家、策展人、專業藝評人及藝文媒體工作者等,一步步帶領學員從觀看舞蹈、想像舞蹈,進而書寫舞蹈,以筆尖與身體藝術共感。課程依據內容深淺,規劃「一起來寫舞」與「專業書寫手」同步進行,邀請有興趣的朋友們,一起提筆上陣寫舞去!
\n\n\n\n
活動時間與主題
\n\n2022年4月2日(六)-4月3日(日)10:00-17:30
\n\n單元一:劇場回溯與舞蹈跨域
\n\n劇場在時代流轉的演變下,舞蹈與身體的觀看有什麼不同?在科技進步的現代劇場,舞蹈跨域是什麼?是音樂是聲響?是科技還是數位?跨域創作的路徑從何開始?我們如何用筆,寫下舞蹈的過去、現在與未來。
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2022年7月2日(六)-7月3日(日)10:00-17:30
\n\n單元二:評論技巧與創作直擊
\n\n看完演出的你會看評論嗎?會抒發你的心得感想嗎?你想知道舞蹈創作的過程嗎?舞蹈要如何感受、如何比較?是舉腳的高度,還是舉腳的意義?想挑戰看看即時觀看、即時參與及即時寫作的特別經驗嗎?下筆之前,我們先來看看評論怎麼寫,舞怎麼跳。
\n\n準備好用文字跳舞了嗎?
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2022年9月10日(六)-9月11日(日)10:00-17:30
\n\n單元三:媒體書寫與觀點建立
\n\n你曾經因為一篇報導而去看一場演出嗎?一篇藝術家的專訪,是不是讓你更瞭解藝術家在想什麼?看完演出的你,是否曾經也有一股衝動想再挖掘更多作品的故事?
\n\n當書寫不再只是評論,看看拿筆的人們,是如何用不同的文化眼睛透過不同的媒介,激起讀者看舞的好奇心。
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報名資格與方式
\n\n報名資格:16歲以上,愛好觀賞肢體劇場演出,並於過去一年曾公開發表過表演藝術評論文章者。需全程參與三季課程。
\n\n報名期間:自2022年2月14日起至額滿為止。
\n\n報名人數:15人。
\n\n報名流程:填寫報名表 → 審核通過 → 繳交保證金費用 → 收到確認通知信 → 完成報名
\n\n報名費用:保證金新臺幣 3,000 元整。
\n\n\n\n
\n\n
\n\n
製作團隊
\n\n策劃|周書毅
\n\n共同策劃|吳佩芝
\n\n執行製作|羅仕儒、李奕萱
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資源下載
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[{reference:[],type:"content",name:"Course",content:'
Unit 1: Recollections of theatre and cross-disciplinary dance
\n\nTime | \n\t\t\tDAY 1 (April 2) | \n\t\t\tDAY 2 (April 3) | \n\t\t
Course Content | \n\t\t\tIntro | \n\t\t|
10:00-12:00 | \n\t\t\tRethinking the Performance in Theatre I* \n\t\t\tYAO Lee-chun | \n\t\t\tRethinking the Performance in Theatre II* \n\t\t\tYAO Lee-chun | \n\t\t
12:00-13:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
13:30-15:00 | \n\t\t\tDance and History of the Body I \n\t\t\tWANG Po-wei | \n\t\t\tDance and History of the Body II \n\t\t\tWANG Po-wei | \n\t\t
15:00-15:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
15:30-17:00 | \n\t\t\tThe Vibrations Inside the Body \n\t\t\tWANG Yujun | \n\t\t\tUs in the Digital World \n\t\t\tHSIEH Chieh-hua | \n\t\t
17:00-17:30 | \n\t\t\tDiscussion | \n\t\t\tDiscussion | \n\t\t
Note 1: * refers to the combined sessions of Primary and Advanced class.
\n\nNote 2: Rethinking the Performance in Theatre includes a physical warm-up session, so please wear clothes that are easy to move in.
\n\n\n\n\n\n
Unit 2: Critic skills and examining the process of creation in person
\n\nTime | \n\t\t\tDAY 1 (July 2) | \n\t\t\tDAY 2 (July 3) | \n\t\t
Course Content | \n\t\t\tIntro | \n\t\t|
10:00-12:00 | \n\t\t\tFrom Feeling to Criticizing – The Path of Cognitive Learning* \n\t\t\tCHI Hui-ling | \n\t\t\tFreeSteps Body Workshop* \n\t\t\tSU Wei-chia & FANG Yu-ting | \n\t\t
12:00-13:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
13:30-15:00 | \n\t\t\tLearning to Criticize from All Perspectives \n\t\t\tCHI Hui-ling | \n\t\t\tThe Dance Scene – Looking for Keywords of Body* \n\t\t\tSU Wei-chia & FANG Yu-ting | \n\t\t
15:00-15:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
15:30-17:00 | \n\t\t\t100 Perspectives on Online Dance Performances* \n\t\t\tWEI Wan-jung | \n\t\t\tDance Sketch* \n\t\t\tWEI Wan-jung | \n\t\t
17:00-17:30 | \n\t\t\tDiscussion | \n\t\t\tDiscussion | \n\t\t
Note 1: * refers to the combined sessions of Primary and Advanced class.
\n\nNote 2: For FreeSteps Body Workshop, please wear clothes that are easy to move in and refrain from wearing jeans or skirts/dresses and accessories that may hinder your movements.
\n\n\n\n
Unit 3: Media writing and forming perspectives
\n\nTime | \n\t\t\tDAY 1 (September 10) | \n\t\t\tDAY 2(September 11) | \n\t\t
Course Content | \n\t\t\tIntro | \n\t\t|
10:00-12:00 | \n\t\t\tThe Changing Face of Dance Writing* \n\t\t\tCHEN Pin-hsiu | \n\t\t\tObservations of Writings in English of the Taiwan Dance Scene* \n\t\t\tLIN Ya-ting | \n\t\t
12:00-13:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
13:30-15:00 | \n\t\t\tListen: A Moment with the Artist \n\t\t\tHSU Yen-ting | \n\t\t\tAn Untimely Memo – About Writing \n\t\t\tCHOW Ling-chih | \n\t\t
15:00-15:30 | \n\t\t\tBreak | \n\t\t\tBreak | \n\t\t
15:30-17:00 | \n\t\t\tDancing Words — 7 Writing Ideas about Dance \n\t\t\tLEE Hsin-tien | \n\t\t\tMarching to the "Grey Zone" – Dance Creation and Curation Awareness* \n\t\t\tCHOW Ling-chih | \n\t\t
17:00-17:30 | \n\t\t\tDiscussion | \n\t\t\tDiscussion | \n\t\t
Note 1: * refers to the combined sessions of Primary and Advanced class.
\n\n\n\n
\n'},{reference:[],type:"content",name:"Lecturer",content:'
YAO Lee-chun (Director of Guling Street Avant-Garde Theatre)
\n\n©林育全
\n\nYAO is a theatre director, producer, festival director as well as film researcher and curator. YAO has been the Director of Body Phase Studio and Guling Street Avant-Garde Theatre since 2007-2008. Over the past ten years, he has produced / curated several theatre events including Taiwan International Performance Art Festival (TIPAF) and Sixth Sense in Performance Arts Festival, the only international performing arts festival for/of the disabled in Taiwan. Besides, he is a member of Asia Meets Asia collaboration project and co-founder of the Experimental Media Art Festival in Taiwan.
\n\n\n\n
WANG Po-wei (Artistic Director of Digital Art Foundation, Taiwan)
\n\nWANG is the Artistic Director of Digital Art Foundation, Taiwan. His research interests include Media Theory, Design Theory, History of Contemporary Art, Sociology of Culture and Art, and Art/Science/Technology (AST). Translated Niklas Luhmann's Liebe als Passion: Zur Codierung von Intimität into Chinese together with CHANG Chin-hui.
\n\n\n\n
WANG Yujun (Musician)
\n\nBorn in 1982, Kaohsiung, Taiwan, Wang studied Applied Drama and Theater at the National Taiwan University of Arts. She currently works as an artist, singer-songwriter and composer, and is keen to explore a range of creative projects. Recently she is interested in experimenting with the dialogue between sound and the body: how the visual can actualize the inner spaces of the hearing, how the landscape of musical beauty is presented in and between the lines of the verse. Music to her is to explore what is yet to be known in linear time, and simultaneously, a call to the lineage of being. She looks forward to continuing her creative processes and artistic search in different corners of the world, to capture the everyday moments and being in life. Using poetry and sound as the carrier of intercultural dialogue, it is Wang's yearning that she first becomes a listener to the other and a listener to the world above all of her musical pursuits.
\n\n\n\n
HSIEH Chieh-hua (Artistic Director of Anarchy Dance Theatre)
\n\n©Kris Kang
\n\nHSIEH's works are composed of a special texture derived from his background in architecture, possessing strong structural characteristics—a creative perspective combining time, space and energy. Notable choreographic works include The Eternal Straight Line (2019), Second Body (2015) and Seventh Sense (2011), all of which feature a strong element of interactive dance performance. In addition to receiving great public acclaim, his works have also been featured at numerous prominent international festivals, including Ars Electronica, TodaysArt Festival, and George Town Festival. In addition to his choreographic work, HSIEH also served as the director for the opening ceremony of the 2017 Summer Universiade.
\n\n\n\n
CHI Hui-ling (Chief Director of the Performing Arts Review On-line)
\n\nCritic and freelance writer. Currently the convener and critic-in-residence of National Culture and Arts Foundation's Performing Arts Reviews (2011-). CHI previously worked as a journalist for the art section of Min Sheng Daily for close to 20 years, and acquired her master's degree from the graduate program of Department of Drama and Theater of National Taiwan University and partially completed the doctorate program of School of Theatre Arts of Taipei National University of the Arts.
\n\nHer works include Talking about Nine Songs against Buzzing Cicadas and Blossoming Lotus (co-authored with LIN Hwai-min and HSU Kai-chen), Peony in Frozen Water – Chiung-Chih Liao, and The Claves Girl – Hai-Ling Wang. CHI was the editor-in-chief for bravo 20 - the 20th Anniversary Review on the Stage of National Theater & Concert Hall (National Zhongzheng Cultural Center, 2008) and Re-Staging the South: A Documentation of Founding Wei Wu Ying Center for the Arts (2009).
\n\n\n\n
WEI Wan-jung (Executive Director of OISTAT、Dance Critic)
\n\nWan-jung is the youngest Executive Director of OISTAT since its inception, also the first with diplomatic training. She holds an MA degree in Arts Politics & Public Policy in New York University and joined OISTAT in 2011 to combine her passion for dance, theatre and international affairs, applying this blend of skills to her daily works. She continuously explores the relation between performing arts and politics with a focus on women's rights and gender equality.
\n\n\n\n
SU Wei-chia (Director of Horse)
\n\n©呂國瑋
\n\nBorn in Kaohsiung. Co-founder of HORSE, for whom SU is a long-time choreographer and performer. His group work Velocity won the Performing Arts Award of the 2007 Taishin Arts Award, and his work 2 Mencreated and performed with CHEN Wu-kang won both first prize and Audiences' Choice at the 2013 Kurt-Jooss-Preis in Germany. Upon the invitation of Eliot FELD, he joined and was a member of Ballet Tech in New York from 2009 to 2013. His ten-year choreography program FreeSteps is described by critics as a performance that cultivates beauty to the utmost extreme. In recent years, in addition to dancing and choreographing, he's also begun to explore the social responsibility of dance artists and share the joy of dancing with different regions.
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FANG Yu-ting (Performer)
\n\n©呂國瑋
\n\nBorn in Kaohsiung, a contemporary dance performer. FANG was praised by The New York Times as "a dancer whose brilliant and vivid movements resemble those of a moving sculpture, and that presents a 3D experience most suitable for audiences to watch in person". She's currently the main dancer and rehearsal coach for SU Wei-chia's ten-year choreography program FreeSteps, and her 2019 performance of solo dance "FreeSetps – Nini" at National Theater & Concert Hall's Taiwan International Festival of Arts was selected as one of the ten major performing artworks by the Taishin Arts Award. She frequently collaborates with choreographers CHEN Wu-kang and CHOU Shu-yi. Her career as a professional dancer started at Cloud Gate. She has performed in LIN Hwai-min's classic works, including Portrait of the Families, How Can I Live On Without You, and Nine Songs.
\n\n\n\n
CHEN Pin-hsiu (Dramaturg & Archivist Cloud Gate Culture and Arts Foundation)
\n\n©劉振祥
\n\nCurrent dramaturg at Cloud Gate, former senior dance editor of the PAR magazine, and a veteran dance critic in Taiwan, CEHN Pin-hsiu graduated from Dance Department of the Taipei National University of the Arts. She had curated programs and exhibitions as the Programming Manager of Cloud Gate Theater since its opening in 2015 to 2020. Joining Cloud Gate since 2002, she has committed to establishing the Archive Division for digitalizing, licensing, publishing, and exhibiting of the company's archives. She is also the head of the various projects organized by Cloud Gate Foundation to support young talents in arts and social fields.
\n\n\n\n
HSU Yen-ting (Writer, Artist)
\n\n©臺灣當代文化實驗場
\n\nHSU was the planner, consultant, and writer for Next Choreography Project, for whom she organized interviews on choreographers' life stories and creative visions into articles for three consecutive years. Having been an interview writer for close to 20 years, she has had her works published in NTT Post, What's On, PAR Magazine, BENSHI, Art Plus, Digital Performance Festival Cross-Disciplinary Freak, New Silkroad, and Very Mulan. She has also co-authored the books The Making of Cloud Gate, Emptied Memories, Arts and Museum Events in New Taipei City, and Art Creators.
\n\n\n\n
LEE Hsin-tien (China Times senior reporter)
\n\nI was a young musician and am a senior reporter.
\n\n\n\n
LIN Ya-ting (Associate Professor, School of Dance, Taipei National University of the Arts )
\n\n©張曉雄
\n\nDance scholar, Ph.D. in Dance History & Theory, University of California, Riverside.
\n\nAssociate Professor of Dance Studies, Taipei National University of the Arts.
\n\nShe published Sino-Corporealities: Contemporary Choreographies from Taipei, Hong Kong, and New York and contributed to Corporeal Politics: Dancing East Asia, the Routledge Dance Studies Reader, Keywords of Taiwan Theory, as well as edited and co-authored Pina Bausch. Her writings are available in French, Korean, and Portuguese.
\n\nFormer President of Taiwan Dance Research Society and past Director of the Society for Dance History Scholars, she co-chaired the 10th Taishin Arts Award (2011).
\n\n\n\n
CHOW Ling-chih (Art critic, Curator)
\n\nArt critic, curator, dramaturgist, writer, and lecturer of aesthetics-related topics. CHOW has played a variety of roles, including those in festivals, performing arts works, and the research programs of various groups and venues.
\n\n\n'}],onShelf:!0,sliders:[{type:"image",key:"d532a4cb019e0ebb0bd40ce0f4368d02",title:"2022 舞蹈書寫工作坊—提筆上陣(專業書寫手)"}],related:[],title:"2022 Writing About Dance Workshop (Advanced)",cover:"695499b72c6c57cdfd1fb6ae3ed583f0",site:{isOther:!0,site:"",other:"Weiwuying Rehearsal Studio"},cautions:"",benefits:"",description:"From sitting in the audience to dance writing",introduction:'
From sitting in the audience to dance writing
\n\nA course with step-by-step guidance that leads you to experience different kinds of dance writing
\n\nFor 2022 Taiwan Dance Platform's first progressive dance-writing program, we are inviting artists, curators, professional art critics, and art media professionals to join us in leading participants to watch, imagine, and eventually write about dance, creating a unique experience that combines body movements and writing. The courses are designed for participants of different levels, which are the Advanced and the Primary. We cordially invite those who are interested to join and write about dance!
\n\n\n\n
Time & Course Content
\n\n2022/04/02 - 2022/04/03 10:00-17:30
\n\nUnit 1: Recollections of theatre and cross-disciplinary dance
\n\n\n\n
2022/07/02 - 2022/07/03 10:00-17:30
\n\nUnit 2: Critic skills and examining the process of creation in person
\n\n\n\n
2022/09/10 - 2022/09/11 10:00-17:30
\n\nUnit 3: Media writing and forming perspectives
\n\n\n\n
\n',team:""},createdAt:1644477190,updatedAt:1648436077,updatedBy:"林蔚行",host:!0},{_id:"620b769f06407a0007a01382",catalogs:["5aec45edb01ea6000520f655"],dateTime:{first:164862e4,discrete:[{time:164862e4},{time:1649224800},{time:1649829600},{time:1650434400},{time:1651039200},{time:1651644e3}],type:"discrete"},activity:{type:"signup",signup:{limit:30,standby:0,updatable:!1,cancelable:!1,basicFields:[],fields:[{required:!0,key:"5db2988a1c2f2a0007bbbe30",text:"姓名 Name",english:"姓名 Name"},{required:!0,key:"605959bf17cddb00070a6fd8",text:"生日(西元年/月/日) Birthday (Year/Month/Day/)",english:"生日(西元年/月/日) Birthday (Year/Month/Day/)"},{required:!0,key:"5c516a3a62156f0006731aac",text:"聯絡手機號碼 Phone number",english:"聯絡手機號碼 Phone number"},{required:!0,key:"5c516a4762156f0006731aad",text:"電子郵件地址 E-mail Address",english:"電子郵件地址 E-mail Address"},{required:!0,key:"5e292b8b9083ca0006cf534a",text:"身分證字號或護照號碼(申請退費時使用) ID Number",english:"身分證字號或護照號碼(申請退費時使用) ID Number"},{required:!0,key:"5e292b9c2d46f400067fbef9",text:"郵寄地址(申請退費時使用)Mailing address",english:"郵寄地址(申請退費時使用)Mailing address"}],vip:{start:1644915600,end:1648569599},open:{start:1644915600,end:1648569599},description:'
尚和歌仔戲劇團連年持續舉辦歌仔戲課程,此次將由尚和歌仔戲劇團策劃、授課,在團長梁越玲的領導下,將有優秀的青年師資共同加入。課程以【夢蝶】精選片段《搧墳》、《試妻》、《劈棺》,透過讀劇、身段、唱腔…等多元豐富的戲劇課程,期盼透過一系列課程設計,一起輕鬆體驗歌仔戲傳統之美及唱念作打精隨。
\n\n\n\n
課程內容及時間
\n時間:14:00-16:00;每堂2小時
課程演讀主題【夢蝶】:劇本大綱
\n莊周因宋王威逼而出走故鄉,一日見一美婦搧墳急切,
一問方知逝者乃其夫,莊周突想起其妻曹娥,便加緊腳步
\n\n回鄉;是日,王孫帶來莊周死訊,曹娥傷心欲絕,王孫勸慰,更暗表情衷,娥應允相隨,王孫卻忽舊疾復發,需服逝者之腦漿為藥引,曹娥為愛決意劈棺,卻見莊周現身…
\n\n\n\n
課程時間 | \n\t\t\t課程內容 | \n\t\t
3/30 (三) 14:00-16:00 | \n\t\t\t【讀劇 】歡喜就來唸歌詩 | \n\t\t
4/06 (三) 14:00-16:00 | \n\t\t\t【唱腔】歌仔戲聲韻曲 | \n\t\t
4/13 (三) 14:00-16:00 | \n\t\t\t【身段】水袖雲衣舞 | \n\t\t
4/20 (三) 14:00-16:00 | \n\t\t\t【身段】生旦扇翩翩 | \n\t\t
4/27 (三) 14:00-16:00 | \n\t\t\t【戲劇排練】歌仔戲的唱唸作打 | \n\t\t
5/04 (三) 14:00-16:00 | \n\t\t\t【融合展現】夢蝶讀演呈現 | \n\t\t
\n 授課團隊
\n\n
尚和歌仔戲劇團創立於1995年,是一個兼具時尚與和善的劇團,其作品風格涵括傳統與創新,多次獲選為高雄市傑出團隊、文化部團隊分級獎助扶植、國藝會演藝團隊年度獎助專案,優質的成果倍受各界肯定。
\n\n此外,每年更定期創作劇本,製作新戲;每每激盪出傳統戲劇融合現代思維的無限創意火花。
\n\n除了藝術領域,尚和亦致力於教育傳承與推廣,2016年獲藝術教育貢獻獎殊榮,也持續在校園深耕的田地作耕耘,培養藝術種子的誕生與啟發,期許邁向一個質藝均重、涵養豐富的歌仔戲教育演出團隊。
\n\n\n\n
報名對象與方式
\n\n報名對象:40歲以上公民
\n\n報名費用:$3,000(共六堂課)
\n\n報名時程:2/28(一) 起至3/29(二)止
\n\n報名人數:30人,額滿為止
\n\n報名流程:官網報名 → 繳交費用 → 檢視官網報名狀況 → 完成報名
\n\n活動地點:衛武營國家藝術文化中心 排練室1186
\n\n\n\n
注意事項
\n\n\n\n
\n\n
朱宗慶打擊樂團專場演出。除了精選當代擊樂經典,更集合藝術家董陽孜✕作曲家賴德和✕多媒體藝術家周東彥三位名家,一同展現打擊樂與多媒體之間的即刻呼應。
\n\n\n\n
演出曲目
\n\n※主辦單位保留活動異動權
\n\n\n\n
演出暨製作團隊
\n\n藝術總監|朱宗慶
\n\n演出|朱宗慶打擊樂團
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"25e2cd8280d7383ea0ceeba9cad8179c",title:"2022「臺灣新聲力+」系列音樂會《擊刻風景》"},{type:"image",key:"252d1b988568f7ab99b0e201ee460151",title:"2022「臺灣新聲力+」系列音樂會《擊刻風景》"}],related:[],title:'2022 New Sounds of Taiwan+ "Beating the Instant"',cover:"dee78b63d2756822dce6c5ffaa9c8eab",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
Ju Percussion Group's special performance "Beating the Instant", will not only feature contemporary percussion classics, but also bring together the acclaimed artist Tong, Yang-Tze; composer Lai, Deh-Ho; and multimedia artist Chou, Tung-Yen; to demonstrate the immediate echo between percussion and multimedia.
\n\n\n\n
Program
\n\nNuwa
\nCercle Invisible
\nIbn Battuta
\nTrain Fragments
※The organizer reserves the right to make changes to the program.
\n\n\n\n
Creative and Production Team
\n\nArtist Director|Ju Tzong-Ching
\n\nPerformer|Ju Percussion Group
\n\n\n\n
\n',team:""},createdAt:1645099630,updatedAt:1645180194,updatedBy:"林蔚行",host:!1},{_id:"6215dc63dbebd900074a89bc",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1651836600,discrete:[{time:1651836600}],type:"discrete"},activity:{type:"ticket",ticket:{price:[400,700],link:"https://www.opentix.life/event/1490537923953377284?openExternalBrowser=1"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"efbf01c4410a0d2d8da35f9be4048a3d",title:"國際大師鋼琴大賽得主《馮乙宸鋼琴獨奏會》"}],related:[],title:"《第一屆國際大師鋼琴大賽首獎-馮乙宸鋼琴獨奏會》",cover:"ae536ea071d750f0f8bfecb6c5f8804c",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
國內外獲獎無數的旅美傑出青年鋼琴家馮乙宸,17歲前往美國深造,並以優異成績先後畢業於寇本音樂院先修班、琵琶地音樂院及耶魯大學音樂院碩士班,2021年於耶魯大學音樂院繼續攻讀藝術家文憑,師承俄國名師Boris Slutsky。本身即是高雄子弟的馮乙宸,將帶來多首李斯特改編舒伯特的藝術歌曲、猶如舒伯特一生漂泊寫照的《C大調流浪者幻想曲》、及李斯特以心靈洞察世界的的神作《B小調鋼琴奏鳴曲》,在展現精彩出色的琴技的同時,也聽見一個青年鋼琴家對音樂的自我修練與藝術初心。
\n\n\n\n
演出曲目
\n\n舒伯特/李斯特:
\n聖母頌,作品S.558/12
\n小夜曲,作品S.560/7
\n魔王,作品S.558/4
舒伯特:C大調流浪者幻想曲,作品D.760
\n\n李斯特:B小調鋼琴奏鳴曲,作品S.178
\n\n\n\n
演出暨製作團隊
\n\n鋼琴 │ 馮乙宸
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"efbf01c4410a0d2d8da35f9be4048a3d",title:"國際大師鋼琴大賽得主《馮乙宸鋼琴獨奏會》"}],related:[],title:"Yi-Chen FENG Piano Concert Tour 2022",cover:"ae536ea071d750f0f8bfecb6c5f8804c",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
Yi-Chen Feng has been awarded numerous prizes in competitions. Feng earned his Bachelor’s degree at the Peabody Conservatory, Master of Music degree at the Yale School of Music under the tutelage of Boris Slutsky. Feng continues his piano studies with Boris Slutsky at the Yale School of Music where he is pursuing his Artist Diploma. Feng has been featured in various venues as a soloist, including Brodbeck Music Hall of Hood College, Saint John’s Cathedral, National Recital Hall (Taiwan), Weiwuying National Kaohsiung Center for the Arts (Taiwan), and the Hangzhou Grand Theater(China). For his debut Taiwan tour, Feng will play the most famous of the fantasies, the “Wanderer Fantasy” composed by Schubert, Liszt’s piano sonata in B minor and Schubert songs arranged by Liszt.
\n\n\n\n
Program
\n\nSchubert/Liszt :
\nAve Maria, S.558/12
\nStändchen S.560/7
\nErlkönig, S.558/4
Schubert : Wanderer Fantasy in C Major, D. 760
\n\nLiszt:Piano Sonata in B minor, S.178
\n\n\n\n
Creative and Production Team
\n\nPiano|FENG Yi-Chen
\n\n\n\n
\n',team:""},createdAt:1645599843,updatedAt:1646123940,updatedBy:"林蔚行",host:!1},{_id:"6215e186c446a60007404cba",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1651991400,discrete:[{time:1651991400}],type:"discrete"},activity:{type:"ticket",ticket:{price:[400,600],link:"https://www.opentix.life/event/1493800166201253892?openExternalBrowser=1"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"4a9b8e832e1d6e35446138982e528bf7",title:"《2021陳昱翰大提琴獨奏會》"}],related:[],title:"《陳昱翰大提琴獨奏會》",cover:"eb2f649ee58879e61f466f424b83e145",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
\n\t\t\t ※原訂2022年5月8日(日)14:30於衛武營表演廳演出之 「陳昱翰大提琴獨奏會」 ,本節目演出曲目異動。 \n\n\t\t\t※因節目異動,已購票觀眾可持原票券入場,或辦理全額退票,最遲請於2022年3月14日(含)止完成辦理全額退票,退票方式請詳異動公告。 \n\t\t\t | \n\t\t
\n\n
此次音樂會的兩位專業演奏家——陳昱翰、盧易之皆擁有豐富的演奏經驗,能在舞台上碰撞出如何的火花更是令人期待,此外也特別邀請知名的小提琴家花苾茲博士為音樂會導聆,除了推廣不同風格除了推廣不同風格的古典音樂讓大眾認識,也希望讓觀眾能欣賞到兩種樂器間精彩的合作、進而愛上古典音樂!
\n\n\n\n
大提琴在十六世紀發明後,經過不斷改良、在十九至二十一世紀已成為重要的樂器之一。除了在樂團中扮演重要的角色,也有許多古典作曲家為大提琴譜寫曲目。本次音樂會再次與盧易之攜手為聽眾帶來不同於傳統、制式的古典音樂,而是有更多發展和變化、各具不同風格的作品。本次音樂會的樂曲除了考驗獨奏家的技巧,鋼琴也在樂曲中扮演著不可或缺的角色。在營造樂曲氛圍的同時,也有許多與大提琴對唱、互相呼應的部分,藏在每個樂曲的片段中,等著觀眾去發掘。
\n\n\n\n
演出曲目
\n\n舒伯特:a小調奏鳴曲《阿貝鳩奈琴》,作品 821
\n\n卡薩多:大提琴無伴奏組曲
\n\n-中場休息-
\n\n普朗克:大提琴奏鳴曲,作品143
\n\n\n\n
演出暨製作團隊
\n\n藝術總監|何欣蓮
\n\n行政副理|陳豪賢
\n\n大提琴 |陳昱翰
\n\n鋼 琴 |盧易之
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"4a9b8e832e1d6e35446138982e528bf7",title:"《2021陳昱翰大提琴獨奏會》"}],related:[],title:"Yu-Han Chen Cello Recital ",cover:"eb2f649ee58879e61f466f424b83e145",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
※The program has been changed. For more information, please contact +886-2-27491506. | \n\t\t
\n\n
Taiwanese Cellist Yu-Han Chen, whose numerous awards including the Golden Melody Awards for best performance, the Chimei Arts Award, CDA Symphony Young Artist Competition 1st Prize and OSAKA International Music Competition Espoir Prize. Yu-Han holds a Doctor of Musical Arts from National Taiwan Normal University and Master of Music from Mannes School of Music. With his outstanding performance, he has been invited to perform in several international music festivals and concerts, which includes Pacific Music Festival, Texas Music Festival, Schlern Music Festival, Foulger Music Festival, as well as numerous concerts in the U.S., Europe, Australia, and Asia. Yu-Han maintains an ongoing cellist, and has been actively giving recitals at the National Concert Hall in Taiwan.
\n\n\n\n
Program
\n\nSchubert: Sonata in a minor, D. 821 《Arpeggione》
\n\nCassadó: Suite for Violoncello
\n\n-Intermission-
\n\nPoulenc: Sonata for Cello and Piano, FP143
\n\n\n\n
Creative and Production Team
\n\nArtistic Director|Nicole Ho
\n\nAssistant Manager|Hoe-Yin Chan
\n\nCello|Yu-Han Chen
\n\nPiano|Yi-Chih Lu
\n\n\n\n
\n',team:""},createdAt:1645601158,updatedAt:1651739643,updatedBy:"林蔚行",host:!1},{_id:"6215f5a0dbebd900074a90ad",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1654083e3,discrete:[{time:1654083e3}],type:"discrete"},activity:{type:"free",free:{description:"節目取消",englishDescription:"Program cancelled"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"b349e20939b6d7a3289c45454c304d0f",title:"名加室內樂系列IV《俄羅斯大提琴奏鳴曲》"}],related:[],title:"「節目取消」名加室內樂系列IV《俄羅斯大提琴奏鳴曲》",cover:"5a511ddc1d42463b800add555e6d855d",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
\n\t\t\t ※原訂2022年6月1日(三)19:30於衛武營表演廳演出之名加室內樂系列Ⅳ《俄羅斯大提琴奏鳴曲》,節目取消。 \n\n\t\t\t※已購票觀眾,最遲請於2022年6月30日(四)前完成辦理全額退票,退票方式請詳異動公告。 \n\t\t\t | \n\t\t
\n\n
當歐洲繁華絢爛的浪漫主義在斯拉夫民族的冰封大地上發芽茁壯,俄羅斯音樂在古典與浪漫的碰撞中開出神秘壯麗的花朵。此場音樂會將演出拉赫瑪尼諾夫和蕭斯塔高維奇的大提琴奏鳴曲,這兩位作曲家在激盪革命的俄國政局中或浪漫的述說鄉愁、或忠實於社會寫實主義,在樂壇極具影響力。而大提琴家林敏媛及鋼琴家林雅叙再次攜手合作,在鋼琴與大提琴完美融合的絕佳默契中,述說十九世紀濃烈真摯的北國風情,引您進入北方世界最迷人的樂章。
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演出曲目
\n\n拉赫瑪尼諾夫:G小調大提琴奏鳴曲,作品十九
\n\n蕭斯塔高維奇:D小調大提琴奏鳴曲,作品四十
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演出暨製作團隊
\n\n大提琴|林敏媛
\n\n鋼 琴|林雅叙
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贊助單位
\n\n\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"b349e20939b6d7a3289c45454c304d0f",title:"名加室內樂系列IV《俄羅斯大提琴奏鳴曲》"}],related:[],title:"(Program cancelled) Hotshot Chamber Music Series Ⅳ《Russian Cello Sonatas》",cover:"5a511ddc1d42463b800add555e6d855d",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
※The program has been cancelled. For more information, please contact +886-4-2305-2456. | \n\t\t
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During the 19th-century, Russian works have started to develop. There are two different styles that the Russians incorporated: nationalism and romanticism. Cellist, Lin Min-Yuan and pianist, Lin Yea-Shiuh will perform works by Rachmaninoff and Shostakovich, bringing the audience on a journey from East to West and through the classical to the modern period.
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Program
\n\nRachmaninoff: Sonata in G minor for cello and piano, Op. 19
\n\nShostakovich: Sonata in D minor for cello and piano, Op. 40
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Creative and Production Team
\n\nCello|LIN Min-yuan
\n\nPiano|LIN Yea-shiuh
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\n\t\t\t ※原訂2022年5月25日(三)19:30於衛武營表演廳演出之《蛻變-臺南藝術大學音樂系師生協奏曲&弦樂團音樂會》,節目取消。 \n\n\t\t\t※已購票觀眾,最遲請於2022年5月26日(四)前完成辦理全額退票,退票方式請詳異動公告。 \n\t\t\t | \n\t\t
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《蛻變-國立臺南藝術大學音樂系師生協奏曲&弦樂團音樂會》由李季教授指導學生演奏弦樂團作品,並由洪千智老師與本系協奏曲比賽優勝者共同演出。曲目包括電影《教會》中義大利作曲家莫利康里所創作著名主題曲《加布里耶的雙簧管》、古典時期奧地利作曲家海頓創作的《C大調大提琴協奏曲》、二十世紀英國作曲家布列頓年輕時期寫作的《簡易交響曲》、義大利電影音樂作曲家羅塔的《弦樂團協奏曲》,為此音樂會帶來自古典至二十世紀、協奏至合奏、純音樂至電影配樂、學生至教師的精彩音樂饗宴。
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演出曲目
\n\n莫利康里:加布里耶的雙簧管
\n\n海頓:C大調第一號大提琴協奏曲
\n\n布列頓:簡易交響曲
\n\n羅塔:弦樂團協奏曲
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演出暨製作團隊
\n\n指 揮|李 季
\n\n雙簧管|洪千智
\n\n演 出|南藝大弦樂團
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