臺灣表演藝術櫥窗：《斷橋》與《得時の夢》選粹

「臺灣表演藝術櫥窗計畫」（Showcase）首登場，23組精選節目一次看 

🎭 Showcase是什麼？ 🎭 

可以是： 

1️⃣ 在商店或博物館裡，用來展示商品或展品的玻璃櫃。 

2️⃣ 用來展示某種技能、產品或作品的活動，例如音樂會、展覽、技術展示會等。 

3️⃣ 通常在K-pop產業中指的是新專輯或新歌發布前向媒體和粉絲現場展示新歌和新舞蹈的特別表演活動。

🎭 表演藝術的showcase則是：

 讓藝術家和表演團隊展示作品給專業策展人，促進表演作品的銷售和巡演機會。

📌 Showcase的特色：

🌟精華片段展示：參加的團隊會準備他們節目的20-30分鐘精華片段，以展示節目的亮點和獨特之處。

🌟專業觀眾：主要觀眾是策展人、製作人、經紀人等專業人士，他們來此尋找適合的表演項目進行購買、推廣或合作。

🌟交流平臺：這些活動也提供了一個平臺，讓表演者和策展人之間能夠互相交流，建立聯繫，探討合作的可能性。

🌟市場推廣：通過這種集中展示，表演團隊可以提升他們在行業內的曝光率，並增加被邀請參加各大藝術節和巡演的機會。

🎨 成為策展人的第一步，挑好你要買的節目！ 🎨 

《斷橋》

《斷橋》由清朝方成培編撰之《雷峰塔》作為靈感參考，從白娘子在水鬥之後，負傷於西湖斷橋感嘆的情境出發，將人妖之間的爭鬥，延伸至當代青年生活中所歷經的各種反抗及掙扎。

在抗爭之後，生命的傷口，在多重戲中戲交織之下成像。《斷橋》嘗試透過不同劇種，刻畫劇中角色回憶。那些日復一日習以為常的日子，在某些時刻回想起來，都是充滿魔幻與奇想的記憶。

《得時の夢》

生存於民間的布袋戲總是站在時代大眾娛樂的現場，不但要面對不同時代人民對於藝術審美的轉變，也要在政權轉變下堅韌地存活下來。在日治末期，面對當時日本文樂、現代偶劇的環伺，黃得時始終堅定相信本土布袋戲藝術的獨特性與價值。臺北木偶劇團為臺灣具代表性的傳統偶戲團隊，跳脫以往傳統家族戲班的組成與包袱，以保存臺灣傳統藝術為主軸，並藉由實際的考察、田調與老藝師們共同建構出不同時期的作品。在世替交換的洪流下開始與現代導演及不同領域的藝術家共同合作，將傳統布袋戲重新柔和呈現出屬於這時代的新布袋戲作品。《得時の夢》不僅是黃得時先生對於傳統布袋戲的想像，更是現代職業劇團藉此思考如何「順應天時」的藝術之夢！

團隊介紹

僻室House Peace

創立於2018年，由一群擁有劇場各領域專業的成員組成，範疇包含導演、表演、舞台、燈光、服裝等劇場展演及各類視覺設計。僻室以多元創意為主導，從劇場出發，嘗試與各式創作媒材結合，目標成為共融劇場表演、空間景觀及原創文本的計畫實驗室。

臺北木偶劇團

2010年，因有感於傳統藝術急劇凋零，傳承不易，一群習藝超過15載，平均年齡三十許的青年偶、樂師創立了臺北木偶劇團，以首都為名，將深耕、延續古老且精美的布袋戲文化為職志，希望世界看見臺灣，就看見偶戲。

劇團視使命為舟，視團員為臂，13年來，始終以前、後場完整演出規模來聘任全職藝師，以紮實的基本功與經年累月的團練、進修、演出、製作，聚沙成塔，凝聚了豐富而飽滿的演出與向心力。

我們相信，傳統本身太美，需要的只是好好訴說，讓更多人從門外窺見，進而細細品味。連續11年，臺北木偶劇團獲得Taiwan Top國家演藝團隊的肯定，但更重要的，是我們這一份如擔沙填海的努力，能在翻湧的時代浪潮下，穩住傳統布袋戲這一葉輕舟，停泊進每一個世代的記憶裡，永不失去。

演出暨製作人員名單

僻室House Peace《斷橋》

編導｜吳子敬

共同編劇｜陳弘洋

主演暨台語文本翻譯｜吳奕萱、吳靜依

樂師｜羅常秦(胡琴)、王伊平(司鼓)

戲劇顧問｜汪俊彥

創作陪伴｜吳紫莖

舞台監督｜羅令珆

舞台設計｜陳亮儒

燈光設計｜吳峽寧

服裝設計｜陳則妤

編腔設計｜吳祐弦

音樂設計｜楊世暄

音樂協力｜郭珍妤

影像協力｜葉澈

舞台技術｜劉冠佑

燈光技術｜羅宥倫

服裝管理｜吳昕柔

劇團經理｜蔡傳仁

製作人｜魏聆琄

執行製作｜張盈盈

英文字幕翻譯｜張皓雲

臺北木偶劇團《得時の夢》

編劇｜林乃文

導演｜伍姍姍

戲劇顧問｜徐亞湘

漢文顧問｜洪澤南

製作人｜林永志

行政經理｜謝琼崎

製作經理｜黃馨玉

舞台監督｜官家如

音樂設計｜許家銘

燈光設計｜陳為安

舞臺設計｜林昭安

服裝設計｜林玉媛

美術設計｜林羅伯

偶頭設計｜吳聲杰

布袋戲演師｜吳聲杰、陳思廷、廖群瑋、林瑞騰樂師｜林永志、謝琼崎、林璟丞、劉士聞、林宸弘、王祥亮、周于甄

House Peace Eschar

 “Eschar”takes inspiration from the play " Leifeng Pagoda" written by Fang Chengpei in Qing dynasty. It starts with the scenario of Bai Niangzi's lamentation on the broken bridge of West Lake after her battle in the water. The story extends the struggles and conflicts between humans and supernatural beings to the various resistances and struggles experienced by young people in their lives nowadays. After the conflicts, the wounds of life take shape amidst the interweaving of layers of stories within the work. "Eschar" tries to present the memories of the characters through different theatrical genres. The seemingly ordinary and routine days, when recalled at certain moments, become memories filled with magic and imagination.

Taipei Puppet Theater Dream of Becoming

Living within the folk community, Taiwanese puppetry has always occupied a place in the arena of popular entertainment, having to not only face the changing aesthetic tastes of people in different eras but also to resiliently survive under changes in political regimes. In the final years of Japanese colonial rule, amidst the influence of Japanese traditional puppet theatre, Bunraku (文樂), and modern puppetry, Huang Deshi remained steadfast in his belief in the uniqueness and value of indigenous puppetry art. The Taipei Puppet Theater is a representative traditional puppetry troupe in Taiwan. Breaking away from the traditional family-based puppetry troupes and their constraints, it focuses on preserving Taiwanese traditional arts. Through practical research, fieldwork, and collaboration with master puppeteers, the theatre constructs works representing different periods. Amidst the tide of generational exchange, the theatre began collaborating with modern directors and artists from various fields, reinterpreting traditional Taiwanese puppetry to create new puppetry works that resonate with the contemporary era. "Dream of Becoming (得時の夢)" not only represents Mr Huang Deshi's imagination of traditional puppetry but also embodies the modern professional theatre troupe's contemplation on how to adapt to the times—a dream of art conforming to the zeitgeist!

House Peace
Established in 2018, House Peace was founded by a group of professional theatre workers with their specialties including directing, acting, set design, lighting design, costume design, and different kinds of visual arts.
We are an art laboratory combining theatre and various elements for exhibitions and productions.
Focusing on the possibilities between theatre and space, we believe that our creative ideas will lead to multiple productions.


Taipei Puppet Theater

In 2010, motivated by the rapidly waning interest in traditional arts and the difficulty of passing it down to future generations, a group of young puppeteers and musicians, with an average age of aroundthirty and over fifteen years of experience, founded the Taipei Puppet Theater.

With the theatre named after the capital city, they aimed to
cultivate and continue the ancient and exquisite culture of glove puppetry, so that when the world sees Taiwan, it sees puppetry.

The theatre company sees its mission as a vessel and its members as the crew. For thirteen years, the Taipei Puppet Theater has consistently hired full-time artists to perform complete shows, both front and back of house. With solid foundational skills, years of team training, continuous improvement, performances and productions, they have accumulated a wealth of experience. All of these coalesced into rich and fulfilling shows with strong cohesion. The Taipei Puppet Theater has staged over 600 performances in various venues, from primary schools to temples, charity houses, TV stations, national theatres, and even the stages of world-class venues.
Their steadfast commitment has finally brought the delicate beauty of traditional puppetry to audiences through an innovative perspective.

The members of the Taipei Puppet Theater believe that tradition itself is inherently beautiful; what it needs is simply to be told well so that more people can catch a glimpse and savour it deeply. For 11 years straight, the Taipei Puppet Theater has been honoured as the "Taiwan Top" Performing Arts Group. Yet the true measure of the company's success is not in this recognition but in its tireless efforts, like piling up
single grains of sand to build a wall, to weather the turbulent tides of our era and anchor the traditional art of glove puppetry firmly in the memories of every generation, never to be lost.

Eschar House Peace

Actor: Jing Wu,

Actor: Wu Yi-Hsuan

Dream of Becoming Taipei Puppet Theater

Playwright｜Lin Nai-Wun（林乃文）

Director｜Wu Shan-Shan（伍姍姍）

Drama Consultant｜Syu Ya-Siang（徐亞湘）

Classical Han Language Consultant｜Hong Ze-Nan（洪澤南）

Producer｜Lin Yung-Chih（林永志）

Administration Manager｜Hsieh Chiung-Chi（謝琼崎）

Production Manager｜Huang Sin-Yu（黃馨玉）

Stage Supervisor｜Guan Jia-Ru（官家如）

Music Designer｜Syu Jia-Ming（許家銘）

Lighting Designer｜Chen Wei-An（陳為安）

Stage Designer｜Lin Jhao-An（林昭安）

Costume Designer｜Lin Yu-Yuan（林玉媛）

Art Director｜Lin Yan-Jhih（林羅伯）

Puppet Head Designer｜Wu Sheng-Chieh（吳聲杰）

Puppeteer（布袋戲演師）｜Wu Sheng-Chieh（吳聲杰）、Chen Ssu-Ting（陳思廷）、Liao Chun-Wei（廖群瑋）、Lin Jui-Teng（林瑞騰）

Musician（樂師）｜ Lin Yung-Chih（林永志）、Hsieh Chiung-Chi（謝琼崎）、Lin Ching-Cheng （林璟丞）、Liu Shih-Wen（劉士聞）、Lin Chen-Hung（林宸弘）、Wang Hsiang-Liang（王祥亮）、Chou Yu-Jen（周于甄）

演出全長：演出全長約90分鐘，含中場休息20分鐘

《斷橋》

◎演出全長約30分鐘，無中場休息。

◎建議12歲以上觀眾欣賞。

◎華語、台灣台語，中英字幕。

◎遲到觀眾無法入場，亦無法退換票。

《得時の夢》

◎演出全長約25分鐘，無中場休息。

◎台語、日文發音，中英字幕。

◎建議12歲以上觀眾欣賞。

◎遲到觀眾無法入場，亦無法退換票。◎演出部分含成人議題、不雅用語、抽菸、暴力，請留意並斟酌入場。

到場注意事項：

◎遲到及中途離席的觀眾，須依工作人員引導等候入場。本場演出最後遲進點後即無再入場機會，無法因此退換票，請您特別留意。