2026北藝嚴選：窮劇場《暗夜．腹語．鬼托邦》

窮劇場

「以窮為本，究本源之心」，強調從根本出發的文化探索與身體經驗。英文名 "Approaching Theatre" 則意指「持續在追尋探究之中」。他們強調資源雖然有限，但藉由「窮」反而激發創意，專注表達出身體的細膩、文本的深度和語言的多樣，也試圖用劇場去探索人生、社會與身份。創團以來，作品涵蓋從《七種靜默》系列到馬華文學改編，國際合作，跨領域合作…..等。他們以身體為基礎，文本故事為工具，歷史為背景，並以語言展現各類角色，融合成屬於當代亞洲的劇場視野。

高俊耀｜臺北戲劇獎第一屆最佳編劇獎得主

窮劇場藝術總監。馬來西亞華裔。當代劇場導演、編劇、演員。ACC 亞洲文化協會受獎人。馬來西亞藝術學院戲劇系，中國文化大學藝術研究所畢業。作品風格是敘事凌厲且節奏精確，擅長以複聲語境流動敘事，探問資本社會的主體建構及歷經殖民歷史的華人離散及身分認同。作品及獲獎經歷包括：第 22 屆台新藝術獎年度大獎、第 35 屆傳藝金曲評審團獎《感謝公主》、牯嶺街小劇場年度節目《死亡紀事》及《大世界娛樂場II》、首屆臺北藝穗節明日之星大獎《忿怒》等，以《暗夜．腹語．鬼托邦》榮獲臺北戲劇獎最佳編劇獎。

獲2025年臺北表演藝術中心點亮劇場發展獎助計畫支持。

鄭尹真｜臺北戲劇獎第一屆最佳女演員獎得主

窮劇場藝術總監，台灣高雄鳳山人。集表演、創作及教學於一身。2007年，入江之翠劇場攻唱曲、二弦、鑼仔拍等，並隨劇團赴國際巡演。2014年，與高俊耀創立窮劇場，創作與講學並進。鄭尹真重視傳統與當代劇場的結合，推動多元的表演者訓練課程並創辦「自由的表演者」窮私塾，致力於台灣劇場的文化承續與創新發展。2016年，獲ACC獎助，赴印尼中爪哇、韓國首爾習傳統樂舞。

近期演出《母親．李爾王》入選台新藝術獎決選、《感謝公主》榮獲台新藝術獎「年度大獎」與傳藝金曲獎「評審團獎」、《暗夜．腹語．鬼托邦》入選台新藝術獎決選及榮獲臺北戲劇獎最佳戲劇類女演員獎。

獲2025年臺北表演藝術中心點亮劇場發展獎助計畫支持。

演出暨製作團隊

編    導｜高俊耀

演    員｜鄭尹真、高俊耀

舞台設計｜羅婉瑜

燈光設計｜吳峽寧

音樂設計｜林育德

服化設計｜林俞伶

動作指導｜田孝慈

粵劇指導｜袁學慧

導演助理｜梁家恩、杜盈羲

舞台監督｜張以沁

音場設計｜鍾仰哲 

主視覺設計｜蕭羊希

製  作  人｜張麗珍

行銷票務｜吳婉鈴

執行製作｜景婉綺

Without an accident, there is no story. Without sentiment, there is no sadness.

Let's start with an exorcism. An exorcist arrives at an old building and comes across ghost spying on a woman's body, taking turns speaking through her and summoning memories. In the bright sunlight are ghostly shadows. They make wishes and express themselves inside a borrowed shell of flesh. Ghosts have no taboos, so they speak of things painful and happy, and that which is the true side of lie, the false side of truth. A contemporary legend tells of a grand event attended by humans and ghosts, random nonsense from the past, and fragmented anecdotes.

approaching theatre

Co-founded in 2014 by CHENG Yin-Chen and KOH Choon-Eiow, approaching theatre is a cross-cultural theater duo from Taiwan and Malaysia, respectively. Through the interplay of physicality and script, they explore Asia’s colonial histories, immigrant experiences, and contemporary social issues. Their works are characterized by profound physical vocabulary and poetic theatrical aesthetics, as well as the incorporation of social critique and cultural reflection, making them unique in Taiwan’s theater scene.

Its name, approaching theatre, refers to “approachability as its foundation and inquiry into the essence of things at its heart.” It emphasizes cultural exploration and physical experiences that begin with the fundamentals, as well as signifies continuous discovery. This duo emphasizes that their resources are limited. However, it is this “lack” that inspires creativity, as they focus on expressing the subtleties of the physical form, the depth of the script, and the diversity of language. They also attempt to use theater to explore life, society, and identity. Since its founding, approaching theatre’s works have ranged from The Seven Silences series to adaptations of Malaysian Chinese literature, as well as international and interdisciplinary collaborations. For this creative duo, the body is the foundation, stories are the tools, and history is the backdrop, with language used to portray different characters. These are merged to produce contemporary Asian theatrical visions.

KOH Choon-Eiow

KOH Choon-Eiow is Malaysian Chinese and a co-artistic director of approaching theatre. He is also a contemporary theater director, playwright, and actor, as well as an Asian Cultural Council award recipient. A graduate of the Drama Department of the Malaysian Institute of Art and the College of Arts of Chinese Culture University, his works are characterized by powerful narratives and precise timing. KOH is adept at using polyphonic contexts and flowing narratives to explore the subjective construction of capitalist societies and the scattering and identity of ethnic Chinese people throughout colonial history. His works and awards include: Apostating Time, recipient of the 22 nd Taishin Annual Grand Prize and the Jury Award at the 35th Golden Melody Awards for Traditional Arts and Music; Chronology on Death and A Gambling World II, performed during the Annual Program of Guling Street Avant- garde Theatre; Anger, recognized with the first Taipei Fringe Festival “star of tomorrow” award; and Ghostopia for which he received the Taipei Theatre Award for Best Play Writing.

CHENG Yin-Chen

CHENG Yin Chen is from Kaohsiung’s Fengshan District in Taiwan and a co-artistic director of approaching theatre. She is multi-talented, adept at performing, creating, and teaching. In 2007, she joined Gang-a Tsui Theater, learning vocals and traditional Chinese string and percussion instruments, as well as touring internationally with this company. In 2014, she co-founded approaching theatre with KOH Choon-Eiow, which combines creative pursuits with education. CHENG values the integration of traditional and contemporary theater, developing diverse training courses for performers, including “freestyle performers,” and dedicating herself to the cultural heritage and innovative development of Taiwanese theater. In 2016, she received a grant from the Asian Cultural Council to study traditional dance in Central Java, Indonesia and Seoul, South Korea.

Her recent performances include in A Mother, King Lear, shortlisted for the Taishin Arts Award; Apostating Time, recognized with the Taishin Annual Grand Prize and the Jury Award at the Golden Melody Awards for Traditional Arts and Music; and Ghostopia, shortlisted for the Taishin Arts Award and for which she received the Taipei Theatre Award for Best Actress in a Play.

Director / Playwright ｜ KOH Choon Eiow
Performers ｜ CHENG Yin-chen, KOH Choon Eiow
Scenic Design ｜ LO Wan-yu
Lighting Design ｜ WU Hsia-ning
Music Design ｜ LIN Yu-de
Costume & Makeup Design ｜ LIN Yu-ling
Movement Coach ｜ TIEN Hsiao-tzu
Cantonese Opera Coach ｜ YUEN Hok-wai
Assistant Director ｜ LEUNG Ka-yan, TO Ying-hei
Stage Manager ｜ CHANG Yi-chin
Sound Field Design ｜ CHUNG Yang-che
Key Visual Design ｜HSIAO Yang-hsi
Producer ｜CHANG Li-chen
Marketing & Ticketing ｜ WU Wan-ling
Executive Producer ｜ CHING Wan-chi