2026北藝嚴選：同黨劇團《白色說書人》

北藝中心場館全新功能！不知如何選位嗎？請來點它：劇院視線模擬

在父親頭七之日，王文彬（莫子儀飾）試圖招喚父親的靈魂歸來，一場虛實錯雜的戲夢人生就此展開。午寐時刻，文彬最記得亂臭蓋的父親帶他上天入地編故事，領著千面英雄廖添丁，遁入孫悟空、濟公、武松、潘金蓮曲折身世。當一封隔了三十幾年才寄達的訣別遺書劃開身世之謎——文彬這才發現，有一雙更大且不可見的手，惘惘然，讓失智老父如戲偶般，迷途在失落年代。這回，說書人要緩緩道來自己的故事。

《白色說書人》以戒嚴時期的歷史傷痕為背景，描繪曾受白色恐怖糾纏的父子，將自身生命經歷寄託投射於俠義角色廖添丁身上，細膩刻畫時代洪流下小人物的自私、愛恨與無可奈何。自2017年首演至2024年巡演版本，團長邱安忱皆擔綱主演，2026年版特別邀請全新卡司莫子儀擔任主演，延續金獎團隊導演戴君芳、編劇詹傑以及團長邱安忱來擔任執行導演，攜手布袋戲操偶師黃僑偉、黃武山共同呈現，結合獨角戲、布袋戲、紙紮藝術等多重元素，運用日常生活物件作為布袋戲戲臺。

演員莫子儀一人分飾七角，以國台語雙聲帶貫穿全戲，與戲偶同臺穿梭記憶與現實，彼此牽引，訴說故人往事。操偶師嫻熟的操偶與即興展演技巧，不但與說書人產生有機互動，亦讓說書人與偶在虛實交錯之間，映射出另一層大時代裡遭命運操控的人生際遇。

* 獲2025年臺北表演藝術中心點亮劇場發展獎助計畫支持

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【團隊介紹】

同黨劇團

於2001年所創立。「同黨」二字可以是具共同興趣的藝術者所組成的團體，亦可擴充為將不同藝術媒介熔為一爐，所創造出更風格、更意象的藝術形式主體。

同黨劇團近年作品以融合真人、戲偶、面具、多媒體素材為核心，關懷弱勢、探討個人身分、性別與國家民族認同，更積極邀請國內外藝術工作者合作，進行國際交流計劃，拓展藝術領域。2013年起獲選文化部「演藝團隊分級獎助計畫」優良團隊至今。作品《飛天行動》曾獲得第七屆台新藝術獎年度十大作品，《奠酒人》、《阿卡曼儂》、《我的妻子就是我》、《白色說書人》等亦獲得台新藝術獎當季提名，《白色說書人》入圍第16屆台新藝術獎年度表演藝術獎。《父親母親》獲得第一屆臺北戲劇獎之「最佳戲劇獎」。

演員｜莫子儀

1996年開始參與劇場與影像演出至今，作品橫跨影視劇場等不同領域；曾多次入圍金鐘獎男主角及男配角獎。2017年出版文字創作集《失眠的人》，2018年以劇集《台北歌手》與樓一安導演共獲金鐘獎戲劇節目編劇獎。2020年以電影《親愛的房客》獲得金馬獎、台北電影獎最佳男主角獎，以及臺灣影評人協會最佳男演員、青年電影手冊年度男演員，2022年以電影《該死的阿修羅》入圍台北電影獎最佳男配角獎，2024年以電影《餘燼》入圍金馬獎最佳男配角獎。

近年劇場演出包括《嫌疑犯X的獻身》，表演工作坊《如夢之夢》，衛武營貝多芬歌劇《費黛里歐》，音樂劇場《夢遊的人》、《失眠的人》，莎士比亞的妹妹們《Titus》、《混音理查三世》、《物種大樂團》、《SMAPxSMAP》、《百年孤寂》，兩廳院年度製作《神農氏》、《紅樓夢》、《孽子》，創作社《西夏旅館》、《檔案 K》，楊景翔演劇團《明年，或者明天見》，非常林奕華《水滸傳》、《西遊記》等。

導演｜戴君芳

二分之一Q劇場創團編導及國光劇團導演。自2004年臺灣首部小劇場崑曲《柳‧夢‧梅》發表以來，二分之一Q劇場便以崑曲經典文本為藍圖，結合裝置、視覺、舞蹈等各種媒材的跨界演出，探索戲曲劇場的新視界，多次獲台新藝術獎及傳藝金曲獎的肯定，並於2021年、2025年獲傳藝金曲獎最佳導演獎。

團長暨執行導演｜邱安忱

同黨劇團團長。紐約Actors Studio Drama School表演創作藝術碩士班畢業，表演作品散見電視電影及各劇團。編劇作品包含《父親母親》、《灰男孩》、《燃燒的蝴蝶》、《國語課》等。

編劇｜詹傑

影視暨舞台劇編劇，曾任國家兩廳院駐館藝術家，作品有音樂劇《勸世三姊妹》、劇集《花甲男孩轉大人》、《死了一個娛樂女記者之後》等，曾獲第四十九屆金鐘獎最佳編劇，並以編劇動畫短片《螳螂》入圍威尼斯影展地平線單元、多倫多國際影展。

操偶師｜黃僑偉

集藝戲坊團長。拜師國寶級布袋戲大師李天祿，師事陳錫煌，李傳燦老師，隨亦宛然掌中劇團先後赴美比英日等國家巡迴演出，開啟了職業的傳統演師生涯。現除演出外，積極投入教學工作以推廣布袋戲。

操偶師｜黃武山

國立臺北藝術大學劇場藝術研究所畢業。師承陳錫煌與李傳燦師父，自組「山宛然客家布袋戲團」。常參與國際偶戲節與校園巡迴演出、偶戲工作坊課程。

【演出暨製作人員名單】

導演｜戴君芳

執行導演｜邱安忱

編劇｜詹傑

演員｜莫子儀

操偶師｜黃僑偉、黃武山

舞台設計｜林仕倫

音樂設計｜蔣韜

燈光設計｜藍靖婷

戲偶設計製作｜賴泳廷

演員服裝設計｜林君孟

戲偶服裝設計｜林淑鈴

文宣設計｜王韶薇

平面攝影｜唐健哲

藝術行政｜蔡慕潔、王宇

【About the Performance】

"A clever reposition of the history and memories of White Terror into the oral practice and physical narrative of traditional glove puppetry." — Lin Yu-Pin, Nominator for the Taishin Arts Award

"It is truly a magical-realist play, deeply rooted in local culture.  As it weaves between reality and illusion, the sunken begins to dance and the silenced rises to clamor."

—   Ku Yu-Ling, Social Activist and Adjunct Lecturer at both National Tsing Hua University and Taipei National University of the Arts

"Break free from the vortex of the White Terror to truly engage with it."

— Wu Yue-Lin, Theatre Critic

A farewell thirty years delayed, a hidden nightmare haunting a loving family, a rebellious Robin Hood-like hero casting hope upon a politically suppressed people, a silenced history, and a storyteller in an age of terror.

In Taiwanese tradition, people believe that a spirit returns on the seventh night after death to bid a final farewell to their loved ones.  Wang waits and waits, but what comes back to him is not his late father, suffering from dementia in life—it is the childhood memories brought to life through glove puppets and their roles of legendary heroes in wild fantasies.     

Before The Party Theater Group won Best Play at the inaugural Taipei Theatre Awards with Father Mother, their journey into Taiwan’s long-silenced past through traditional glove puppetry “pòo-tē-hì” had already begun with the highly-acclaimed White Storyteller.  From the Japanese Occupation to the Martial-Law era, glove puppetry spoke the language of the suppressed, as people projected their hope on the rebellious, justice-defending, Robin Hood-like figures in legend and folklore.    

In a time of political turbulence, the puppeteer became the puppet, manipulated by invisible hands and speaking in a foreign tongue.  Yet, the repertoire of the Monkey King, Mad Monk, Tiger Hunter, and Amorous Woman carefully guarded the family secrets, unfulfilled political dreams, love and fraternity—sometimes reluctantly mingled with selfishness and helplessness.  If puppets have their own memories and come to life in real life, what stories will they tell?        

Directed by Tai Chun-Fang and written by Chan Chieh, two award-winning theatre artists renowned for their talent and experience in blending diverse art forms to create a unique yet universal theatrical language, White Storyteller premiered at National Theater and Concert Hall Experimental Theater in 2017.  It achieved both box-office and critical success, followed by domestic tours and international performances at the SPIELART Festival Munich.  The production was also shortlisted for the 2018 Taishin Arts Award.   

The actor, playing seven roles, shares the stage with the puppets and their magic-evoking puppeteers, traveling between fiction and reality, past memories and the present, as the worlds in different scales and stories in different dimensions are juxtaposed for the truth to emerge.  In White Storyteller, the physical space expands, allowing the two distinct artforms to merge as if they are made for each other to tell a story of division and sacrifice.  One is not only captivated by the vivid craft of traditional glove puppetry, but also struck by how its art and history embody the wounds from the past, and the new artistic possibilities revealed onstage may hint at a different future.    

The brand-new 2026 production of White Storyteller stars Mo Tzu-Yi, Golden Horse Best Actor, alongside puppeteer masters Huang Chiao-Wei and Huang Wu-Shan, esteemed disciples of national treasures puppeteers Li Tien-Lu (1910-1998) and Chen Hsi-Huang (1931- ).  It is a fantasy of pòo-tē-hì relocated among ordinary objects in a rich theatrical fusion of solo performance, puppetry, traditional paper funeral offerings, and the interplay between light and shadow.    

* Supported by the 2025 Taipei Theater MVP Grant from Taipei Performing Arts Center.

【Artist Profile】

The Party Theater Group

Founded in 2001, The Party Theater Group, as its name suggests, is a collective of artists who share common interests.  It also seeks to fuse diverse art forms to create a distinctive, richly stylized, and evocative artistic language. 

Its recent works bring live performers, puppets, masks and multimedia materials onto the same stage, addressing issues concerning the marginalized, forgotten, and silenced people, as they explore identity awareness from personal, gender, ethnic, or national levels. The company has also welcomed artists from different backgrounds, at home and abroad, for a wide range of collaborative projects, including international art and cultural exchanges, to broaden its artistic horizons.

As one of the “Taiwan Top” performing arts groups selected and supported by Taiwan’s National Culture and Arts Foundation, The Party Theater Group has gained renown for adaptations of Western classics that incorporate the techniques of mask and physical training from traditional Asian theatre.  These works include in I Am My Own Wife (2011), The Libation Bearers (2012), Agamemnon (2014), all nominated for the Taishin Arts Award in various seasons. 

White Storyteller, shortlisted for The 16th Taishin Arts Award, marked a shift in The Party Theater Group’s artistic exploration, as it expanded its interest in puppetry to traditional glove puppetry, or “pòo-tē-hì,” as a means of embodying the silenced history of Taiwan.  The quest has continued with Grandma’s Amulet and Father Mother, with the latter winning Best Play at the inaugural Taipei Theater Awards.

Actor: Mo Tzu-Yi

Debuting as a theatre actor in 1996, Mo Tzu-Yi has been active on both stage and screen, earning multiple nominations and awards at Golden Bell Awards, Golden Horse Awards, and Taipei Film Awards.  His outstanding in the Taiwanese film Dear Tenant (2020) won him Best Leading Actor at the 2020 Golden Horse Awards, Taipei Film Awards, among many others, followed by Goddamned Asura (2022) and The Embers (2024), for which he received nominations for Best Supporting Actor at Taipei Film Awards and Golden Horse Awards respectively.  

In the past decade, Mo expanded his career to screenwriting, winning Best Screenplay at the 2018 Golden Bell Awards for Taipei Singer, an autobiographical TV series about the life of the rebellious left-wing artist and intellectual Lu He-ruo during the Japanese Occupation and post-war Taiwan.          

His recent theatre performances in theatre include Performance Workshop’s A Dream Like a Dream, Shakespeare's Wild Sisters Group’s Big Band Species and Richard III: the Remix, the NTCH production God Knows, and the music-theatre works The Sleepwalker and The Insomniac, both inspired by his writings. 

Director: Tai Chun-Fang

Tai Chun-Fang is the founding playwright and director of 1/2 Q Theatre, known for their experimental practices that merge Kunqu with installation, visual arts, and dance.  She is currently a resident director at GuoGuang Opera Company.  Her bold adventure in creating a new language for traditional theatre has won her multiple recognitions from the Taishin Arts Awards and the Golden Melody Awards for Traditional Arts and Music.

Founder and Executive Director: Chiu An-Chen

Chiu An-Chen, with a Master of Fine Arts in Acting from the Actors Studio Drama School in New York, founded The Party Theater Group in 2001. His theatre work explores struggles surrounding gender identity, traumatic history, and suppressed memories, challenging the boundaries of existing art forms to expand the possibilities of storytelling.

Playwright: Chan Chieh

Winner of the Best Screenplay at the 2014 Golden Bell Awards, Chan Chieh is a playwright and screenwriter whose works span traditional and modern theatre.  His versatility is reflected in a wide range of art forms, including traditional glove puppetry (known as “pòo-tē-hì”), contemporary puppetry, musical theatre, object theatre, and digital media, all conveying a deep engagement with historical and social issues.

Puppeteer: Huang Chiao-Wei

Founder and artistic director of Ji-Yi Puppet Group, Huang Chiao-Wei was a disciple of the late national treasure puppeteer Li Tien-Lu and toured extensively with Li’s world-renowned I Wan Jan Puppet Company across Japan, the USA, the UK, Belgium, and beyond.  His exquisite puppetry techniques and the bridged aesthetics between traditional and modern stage won him the 2025 Golden Melody Award for Traditional Arts and Music.  He is also an active educator dedicated to preserving and promoting traditional puppetry.

Puppeteer: Huang Wu-Shan

Since childhood, Huang Wu-Shan became one of the first disciples of traditional puppetry masters Chen Hsi-Huang and Li Chuan-Tsan, the sons of Li Tien-Lu.  He later received a master’s degree in Acting from the Taipei National University of the Arts and has extensive experience in merging traditional glove puppetry (known as“pòo-tē-hì”) into contemporary theatre.  In 2002, he founded Shan Wan Jan, a glove puppet troupe dedicated to performance in the Hakka language.  

【Creative and Production Team】

Director: Chun-Fang Tai

Executive Director: An-Chen Chiu

Playwright: Chieh Chan

Performer: Tzu-Yi Mo

Puppeteers: Chiao-Wei Huang, Wu-Shan Huang

Stage Design: Shih-Lun Lin

Music Design: Tao Chiang

Lighting Design: Ching-Ting Lan

Puppet Design & Production: Yung-Ting Lai

Costume Design (Actors): Chun-Meng Lin (Winnie Lin)

Costume Design (Puppets): Shu-Ling Lin

Graphic Design: Shao-Wei Wang

Photography: Chien-Che Tang

Arts Administration: Mu-Chieh Tsai, Yu Wang