段路， 好好的走一 ， 包 包 上 背 度！ 待臺中的角 重新找到看
展覽
2020
Exhibition
7.11 - 7.26
臺中國家歌劇院 凸凸廳 Sat.
●
週二至週日11:30-21:00
Sun.
免費參觀
©僻室 House Peace
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關於「新藝計畫」 臺中國家歌劇院為鼓勵中部地區新銳藝術工作者多元的創作，透過「新藝計畫」挖掘具獨特創意 的藝術家／團隊，期待在作品發展的過程中，能因歌劇院的陪伴、支持得以放手實驗發想、實踐 創作、淬鍊作品。今年「新藝計畫」以「偶戲、物件劇場」為主題進行甄選，經過兩階段甄選， 《包在我身上》與《親愛的戴斯》2件新作品脫穎而出。 在凸凸廳首發登場的《包在我身上》，吳峽寧與創作團隊僻室回望臺中，將生活周圍平凡無奇的 地景建物，轉化成展場中的故事脈絡，以模型化為一座座地方記憶，勾勒長久被忽視的生活輪 廓。 小劇場演出的《親愛的戴斯》，由跨足劇場的音樂人羅翡翠，與劇場創作者黃凱臨、擊樂表演者 余若玫共同創作，融合聲響、音樂、偶戲、面具、物件劇場等多種形式，以不同角度切入生命主 題，帶領大小朋友從聲音、視覺重新感受生命儀式，溫柔譜出生命之歌。 新藝計畫每年都有新的「命題式挑戰」，期待更多中部地區新銳藝術創作者加入！
About the Emerging Artists Project In an effort to support emerging artists in central Taiwan, the National Taichung Theater has started the Emerging Artist Project with the goal of identifying unique and creative artists and teams. We hope that, in the process of the creations, the supports and resources from the National Taichung Theater will allow artists to freely experiment with ideas, execute their visions, and refine their works. This year, the theme is “Puppets and Objects Theater.” After two stages of selection, two new creations, Packing BAGS and One Day with Death, stand out. In Packing BAGS, which will be presented in the Tutu Gallery, WU Hsia-Ning and his creative team House Peace cast their gaze on Taichung and transformed ordinary everyday items and landscapes into narrative backdrops in the exhibition. Familiar sights have been made into miniature models that evoke memories, to outline the silhouette of moments in life that are increasingly being overlooked. One Day with Death, which will be performed in the Black Box, is co-created by LOU Fei-tsuei, a musician venturing into the world of theater, together with actress HUANG Kai-lin and percussionist YU Rho-mei. It combines various forms such as sound, music, puppetry, masks, and object theater. As they delve into discussions on the motif of life through various perspectives, the artists lead both adults and children on a ritual to experience life through a symphony of sounds and sights, gently bringing these different threads together in a song of life. The Emerging Artists Project sets different thematic challenge for young artists every year. We look forward to meeting more young talents and their surprising ideas.
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關於《包在我身上》 背上包包，好好的走一段路，重新找到看待臺中的角度
你是離開家鄉工作的北漂南流嗎？還是到處流浪的自由工作者？亦或隨著志願卡來臺中的學生？ 不論我們離家有多遠，不變的是我們總有一個陪伴在旁的背包，它像是一本日記本，記錄著我們 的生活，裝載著我們的需求與渴望。背包裡收納的當日必需品，所呈現的宛若是背包主人的微型 世界，為生命留下軌跡、積累厚度。 創作團隊僻室走訪臺中各具特色的地點，把各處多樣的生活樣貌，化為一座座故事場景，每個場 景以一組內含模型的半開包包展現，搭配田野調查所採集的文字、聲音及攝錄像紀錄，讓觀者能 自在地探訪創作團隊所建立的臺中記憶；當凸凸廳化身為一座佈滿回憶的大腦時，不同場景的縮 小模型世界也正翻轉著我們對臺中的樣版印象。
WU Hsia-ning X House Peace Packing BAGS Pack on your bag, take a good walk,and find a new perspective on Taichung.
Have you left your hometown for work ? Are you a freelancer ? Or did you come to Taichung for school ? No matter how far we travel, we always have our trusty backpack that records our routines and carries our dreams. For this exhibition, WU Hsia-ning XHouse Peace have turned distinct places across Taichung into a story, each depicted as a half-open backpack with text, sound and imagery collected on-site. As the gallery transforms into a mind full of recollection of Taichung, scaled models transfigure our impressions of the city. This exhibition on “homecoming” further takes us through a reflection on life: do we continue our journey, or do we return home ?
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《包在我身上》加料演出
父母太嚴、小孩太皮、情人太煩、鄰居太吵、老闆太兇， 生活太忙、想得太多、時間太少、工作太長、人生太短。 豪華臺中精華再現！ 舊愛還是最美、不新鮮老闆陪你睡 卡拉OK到底有沒有小姐？ 先放下生活疲憊，來歌劇院放聲高歌，下班後等你來聚！ 誠∼心∼放∼送∼ 團隊以田調過程中反覆遇見的「卡拉ＯＫ」為主題，一間隱身在 大城市中的小吃部，熱情的老闆娘放聲高唱，串聯著展場中的大 臺中小角落，娓娓訴說著她的人生絮語。
The team visited a myriad of unique locations in Taichung and transformed the varied facets of life they have observed into various story settings. This performance, which is born out of the interaction between these settings and the exploration of the exhibition space, revolves around the motif of "Karaoke," an element that the team encountered repeatedly in the process of their field research. The story takes place at night in a small eatery hidden in a big city. The spirited lady boss pours her heart into her songs, her voice acting as the link between many nooks and crannies of Taichung, as manifested in the exhibition space. Her crooning voice also carries tales and stories of her life.
演出
2020
7.24 7.25 7.26
Fri. 19:00 Sat. 14:00 / 16:00 / 19:00 Sun. 14:00 / 16:00
歌劇院5F 凸凸廳 票價 100 ●
立即購票 Ａccupass活動通
演出時間全長30分鐘，無中場休息
藝術家導覽
2020
7.11 7.12
Sat. 14:30-15:30 Sun. 14:30-15:30
7.18 7.19
Sat. 14:30-15:30 Sun. 14:30-15:30
臺中國家歌劇院 凸凸廳 ● ●
講者：吳峽寧、鄭烜勛、張語歡、吳子敬 免費報名參加，額滿為止
立即報名 Ａccupass活動通
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《包在我身上》田調筆記 文
黃姵瑜
創作團隊在計畫期間在臺中進行田野調查，進入在地進行踏查與訪談，除了展覽呈現外，也在此 把田調筆記分享給觀展後的觀眾，希望可以透過展覽看見臺中不同地方的樣貌，也進一步有現實 連結在地。
Packing BAGS field research notes By HUANG Pei-yu The creative team carried out field research in Taichung during the preparation period by immersing itself in local life to conduct investigations and interviews. In addition to the artifacts on display, the team would also like to take this opportunity to share their field research notes with visitors after the exhibition. Through this exhibition, the team hopes to share different facets of Taichung with the visitors, as well as to establish deeper and real connections with the people and locales of Taichung.
龍井–中港地磅行 龍井區臨港路上的中港地磅行，座落於火力發電廠、臺中港碼頭對面，緊鄰瀰漫灰色煙霧的高污染區。 中港地磅行佔地約750坪，提供運至工程建地的材料過磅，例如：鋼筋、石頭等。工作地點在搭著鐵皮 的貨櫃屋，屋內天花板因長年積水已有水漬，且明顯的往下陷。廁所的燈昏暗，沒有沖水系統，待在這 個地方工作的，是從臺中市區前往海線尋找機會的黃大哥。 負責人黃大哥，三十出頭時，來到龍井區，一個陌生之地且毫無背景地在異地打滾。在地磅行每天的工 作，除了替大卡車、小貨車過磅，還需要與建設公司、與附近警察打好關係，使工作順利，客戶源源不 絕，才能使他們一家溫飽。
Longjing District- Zhonggang Truck Scale Company The Zhonggang Truck Scale Company, located on Lingang Road in the Longjing District, sits opposite a thermal power station and the wharf at the Port of Taichung, placing it in close proximity to a smog-filled and highly polluted area. The Zhonggang Truck Scale Company occupies an area of approximately 750 pings (close to 2,500 meters squared). Its job is to weigh materials such as reinforcing steel and rocks that are to be used in construction projects. The work takes place in a container covered in galvanized iron sheets. Within the container, there are water stains on the ceiling, a result of years of ponding. Furthermore, the ceiling is noticeably caving inwards. The lights in the toilet are dim, and there is no flush installed. The man working in this place is Huang, who had come to Taichung's coastal area from the city center in search of opportunities.
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Mr Huang came to the Longjing District in his early thirties. He knew little of this area, and he had no support system; he just arrived in a foreign place to make a living by himself, for himself. Besides weighing trucks and vans, the day-to-day work of the truck scale company includes building positive relationships with construction companies as well as policemen in the area, so that the company could operate smoothly and continue to attract more and more customers. Only this way can the families of the workers be fed.
梧棲– 海口腔協會 梧棲小鎮，早期的居民多以漁業為主，後來因臺中港的興建，沿海地帶幾乎都興建成港口，導致以漁業 維生的居民被迫離開討海生活，回到街上生活。臺中港對居民而言幾乎是個神秘地帶，並沒有給當地帶 來工作機會，反而造成原有產業的消失以及人口外流、青年流失，使得梧棲這個小鎮，除了臺中港之 外，幾乎沒有發展。 2019年，行政院訂定為「創生元年」，以「均衡台灣」為由，提倡地方創生。但早在十年前，梧棲小鎮 上已有社區發展工作室，將發展的視線拉回到居民身上，從事當地社區的文化踏查、青年培力、木工、 老屋保存等工作，目前除了「海口腔」刊物的發行，也有樂齡學堂、老大人學堂等適合社區長輩的手工 課程、律動課程。
Wuqi District -Hi-Culture Association Most early residents of the small town of Wuqi made a living out of fishing. Later on, the construction of the Port of Taichung meant that most of Taichung's coastlines were turned into ports. Consequently, the fishermen were forced to abandon fishing as a source of income and return to the towns to seek work. The existence of the Port of Taichung is something that mystifies. Not only did the port not create jobs for the locals, but it also caused the decline of the industries that were originally in this area, as well as a brain drain and the movement of the younger generation out of this town. Other than being home to the Port of Taichung, the small town of Wuqi has barely undergone any other development. In 2019, the Executive Yuan declared that it was the first year of "Taiwan’s Regional Revitalization". Under this initiative, the government hopes to revive local industries with the goal of achieving a "Taiwan Equilibrium." However, there have been small organizations running community development projects set up in Wuqi as early as ten years ago. These companies engage in community projects such as cultural tours, youth training, carpentry, and the preservation of old houses in order to refocus the locus of development back to the residents. Currently, in addition to the distribution of the Hi Culture publication, there are also schools and classes designed for the elderly members of the community, where they could participate in handicraft and dance classes.
海口腔 Hi Culture
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中區–寫作中區負責人 臺中中區靠近臺中火車站，自然形成人口聚集的地方，早期甚至有居民直接居住於綠川上。中區電子 街更是引來臺中各地的人潮，不少戲院、百貨公司在此開張。車站旁的建國市場更是當時全臺中人都 會去批貨、購買蔬果青菜的地方。1980年代之後，高速公路興起，交通重心往西移，接著政府規劃市 政重劃區，使得北屯區、西屯區漸漸成為工商業區重鎮。中區更因「衛爾康大火事件」後，人口漸漸 往西移動，加上早期中區的交通規劃，多以機車為發想，道路狹窄，房子多以騎樓為主，汽車停車格 少，使得後來購車人數越來越多的臺中人，因交通不便而前往中區意願減少。 寫作中區粉絲專頁負責人，他紀錄臺中中區的發展，觀察建築物的興衰以及帶有監督意味的文字，實 實在在地將中區過往呈現出來，讀者會發現不是想不想做地方創生，而是必須做這一件事情。
Central District – Taichung Writer, Writing Taichung The Central District in Taichung is close to the Taichung Railway Station, and its location makes it a natural choice for people to gather. Back in the day, there were even people who took up residence in the Lyu-Chuan Canal area. The Taichung Electronics Street also attracted customers from all over Taichung. As such, many theaters and department stores have set up shop along this street. The Taichung Jianguo Market next to the station was a place where people from all over Taichung would go to place bulk orders and buy fruits and vegetables. After the 1980s, the construction of highways shifted the heart of Taichung's traffic network westward. The subsequent urban restructuring initiated by the government gradually turned the Beitun District and Xitun District into key industrial and commercial districts. After the devastating fire at the Welcome Restaurant, more and more people who used to live in Taichung's Central District started to move to the west. On top of that, traffic planning in the Central District in the early days was based on the use of locomotives, so the roads here were narrow, houses were mostly built in arcade-style, and there were very few parking spaces for cars. As more and more Taichung residents began to become car owners, they became less willing to visit the Central District due to inconveniences caused by these traffic issues. The mind behind Writing Taichung documents the development of Taichung's Central District and observes the rise and fall of architecture and words that hint at state supervision. The writer presents the history of Taichung's Central District authentically so that readers will see that Regional Revitalization is not a matter of choice, but an imperative.
中區寫作 Writing Taichung
大甲 – 在地攤販 蔣公路是大甲最熱鬧的一條街，街上有小型夜市以及大甲有名的鎮瀾宮。據當地人說，早期蔣公路上 滿是人群，連機車都無法通過。國道興建、后里交流道的開通後，大甲人出城變方便，不管是飲食還 是娛樂都有更多選擇，不僅限於在蔣公路上。另外，因縣市合併之後，大甲時代戲院不符合臺中市的 消防法規，因此遷移到清水營業。電影院的關閉，在地的年輕人唯一的娛樂不見，只好一直往外跑。
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販賣手工蛋捲的老闆娘，二十年前曾到大甲街上擺攤，見證了大甲鎮二十年來，街上以及鎮瀾宮的興 衰，她感嘆大甲其實沒有改變，主要的工作性質也在時間的前進之下維持不變，在地傳統產業被家族 壟斷，出外的年輕人回來的不多，一部分也因為青年返鄉的工作機會難尋。與二十年前相比，大甲小 鎮幾乎是一樣的。
Dajia – Local Vendors Jianggong Road is the busiest street in Dajia. Here, one can find small-scale night markets and the famous Dajia Jenn Lann Temple. According to locals, in the early days, Jianggong Road would be so crowded that not even locomotives could pass through. After the construction of the national highway and the opening of the Houli Interchange, it became more convenient for the people of Dajia to travel out of the city. Be it choices for food or entertainment, they now had more options beyond those along Jianggong Road. In addition, after the merger of Taichung City and Taichung County, the fire safety measures of the Dajia Times Theater were found to be inadequate for the fire safety regulations of Taichung City. In order to remain in operation, the cinema moved to Qingshui. The closure of the cinema meant that the only source of entertainment for the young locals was gone, which pushed them to venture out of Dajia. The lady selling handmade egg rolls was a street vendor in Dajia 20 years ago. She witnessed the rise and fall of the streets as well as the Dajia Jenn Lann Temple over the past two decades in this town. She lamented that Dajia has not undergone real changes and that the nature of major jobs in Dajia has remained consistent despite the passing of years. Traditional local industries are monopolized by family businesses, and many young people who have left the town do not return, partly because job opportunities for the returning youth are far and few in between. Compared with the Dajia of 20 years ago, the town has remained virtually unchanged.
梧棲漁港 臺中市清水區觀光漁港，原是當地的小型漁村，因臺中港的興建，此地區被徵收。為兼具漁業與觀光發 展，而規劃的梧棲觀光漁港，裡頭販售海鮮、熟食以及海鮮餐廳，還可以趁太陽西下前搭乘觀光漁船觀 賞中華白海豚。在地店家說，很多臺中人都會趁假日來到梧棲漁港購買生鮮，順便吃海產，是臺中人假 日的好去處。 早期的銷售模式只有出海捕魚、擺攤、等待客人上門，現在梧棲漁港裡頭自有協會，負責攤商事務。清 水海線出生，在漁會裡頭服務的鄭先生，就是負責打理及協調攤商位置，若有租金逾期及消費糾紛都由 他出面處理。
Wuqi Fishing Port The Wuqi Fishing Port, now a tourist fish market, started out as a small fishing village in the Qingshui District of Taichung City that was expropriated due to the construction of the Port of Taichung. The area was transformed into the Wuqi Fishing Port to serve both the fishing and tourist industries. The port sells both seafood and cooked food
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and is also home to seafood restaurants. Visitors can also sign up for a sightseeing boat ride to watch Indo-Pacific humpback dolphins frolic in the sea at dusk. According to local vendors, many people from Taichung would visit the Wuqi Fishing Port on the weekends to buy fresh ingredients and enjoy seafood. The port has become a destination of choice for Taichung residents to visit when they have time off from work. In the early days, the business model at the port was just for vendors to go fishing, display their catch, and wait for customers to come to them. Today, the Wuqi Fishing Port has set up its own fisherman's association. Mr Zheng, who was born on the coastline of Qingshui, works in the Taichung Fisherman's association. port. His job is to oversee all matters pertaining to vendors working at the port, and also to take care of and coordinate the respective stall positions. If there are any issues with overdue rent and customer disputes, Mr Zheng will also be the one to resolve them.
西屯區– 歌劇院 豪宅林立的西屯區，是臺中最蛋黃的行政區，不論生活機能、交通、房價都是全臺中之首。早期西屯區一帶 的規劃，原是期望緩和舊市區（中區）的人口，後來臺中的發展方向逐漸西移，才將市政中心放在西屯區。 臺中國家歌劇院就是位於西屯區，而歌劇院的興建也是期望增添臺中的藝文氣氛，打造商業與文化兼具的都 市。 家鄉在臺北的吳小姐，在臺中從事藝文相關行業，曾於臺北工作，後負笈紐約進修，目前已經在臺中工作3年。 身處在臺中市最繁華的地區，卻感知臺中市區相對於其他藝文風氣興盛的城市來得寧靜，縱使身處在歌劇院 周圍，藝文活動性質卻相對於貧乏，鮮少有像是live house或小劇場演出等其他更多元的藝文活動。
Xitun District -- National Taichung Theater The Xitun District, with its many luxurious houses, sits at the heart of Taichung's prime estate. Whether we are talking about day-to-day convenience, the transport system, or housing prices, no other place in Taichung can compare to the Xitun District. In the beginning, Xitun District was developed to ease the congestion of the old city center (Central District). Over time, the nucleus of Taichung moved westward, so Xitun became the new focus of development and municipal administration. The National Taichung Theater sits in Xitun and its goal of constructing the theater is to infuse elements of art into Taichung so that the city can become one that thrives in both business and culture. Ms Wu, who was born in Taipei, works in the arts and culture industry in Taichung. She used to work in Taipei before pursuing further studies in New York, and has been working in Taichung for three years now. Staying in the most prosperous area in Taichung gives Ms Wu the vantage point that allows her to see that Taichung's city area is relatively quiet, compared to cities with a more flourishing arts and culture scene. Even when she is physically close to the theater, she feels that arts and culture programs are rather scarce, as there are activities are few and offer little diversity. For instance, one would be hard-pressed to come across live houses or small theater performances in this area.
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吳峽寧
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主創群介紹 製作
Production
僻室 House Peace 僻，取「闢」的諧音，同時有獨特之意。僻室意為開創一個獨特空 間，一個新的可能性。大事、小事，生活中任何狗屁倒灶的事都是 我們關心的事。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。透過劇場概念，與各式創作媒材結合，產出各種空間與 展演的計畫實驗室。僻室以創意為主導，作品多元，關注劇場與空 間跨域結合的可能性。 The mission of House Peace is encapsulated in its very name, based on a pair of Chinese homonyms that can mean either “distinctive” or “pioneering.” Seeking novel opportunities from even the most mundane details of daily life, House Peace was founded in 2018 by a team of theater professionals with expertise in directing, performance, and stage, lighting and costume design, and has aimed to create new possibilities in interdisciplinary collaboration through creative use of concepts and creative media.
計畫主持人、共同創作暨影像設計 Project Director, Concept &Visual Design
吳峽寧 WU Hsia-ning 畢業於國立臺北藝術大學劇場設計學系主修燈光設計，僻室團員， 作品範疇包含劇場燈光設計與攝影創作。2017年曾獲得世界劇場設 計展競賽，燈光設計新銳組銅獎，近期燈光設計作品包含2019僻室 《火星》、2019人力飛行劇團《M，1987》、2018臺北藝術節《但是 又何Night》、2018本事劇團《碰老戲—四郎》。攝影作品曾參與溼 地2019《與生俱來的場域》聯展、2019僻室《熒惑蟲計畫第一部— 漫遊者》在當代文化實驗場「城市震盪」的展出。 WU graduated from the Department of Theatrical Design and Technology at Taipei National University of the Arts, with a major in lighting design. He specializes in lighting design and creative photography as a member of House Peace. He received a bronze medal as emerging lighting designer at the 2017 World Stage Design.
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共同創作暨模型設計
Concept & Model Design
鄭烜勛 CHENG Hsuan-hsun 國立臺北藝術大學劇場設計系畢業，主修舞台設計。劇場舞台設計 師，跨足戲劇、舞蹈、當代馬戲、影視、空間藝術等。近年舞台設 計作品包括明日和合製作所《坐坐茶室》、《曾經未曾》；福爾摩 沙馬戲團《心中有魔鬼》、《奧列的奇幻旅程》；楊景翔演劇團 《阿飛細亞》、《前進吧方舟》、《地球自衛隊》；董陽孜書法藝 術跨界劇場《騷2016》；小事製作《五虎將》、《Hide and Seek—你 看看我》、《生活是甜蜜》；狠劇場《我和我的午茶時光》；娩娩 劇團《死死免了米》；人力飛行劇團《阿飛正轉》等90餘齣。
CHENG graduated from the Department of Theatrical Design and Technology at Taipei National University of the Arts, with a major in stage design. His work has included designs for theater, dance, circus art, television, and spatial art.
共同創作暨文本發展
Concept & Text
張語歡 CHANG Yu-huan 國立臺北藝術大學戲劇學系畢業，主修表演。現為僻室團員，為自由 文字工作者，並多次參與劇場及影像演出。曾與當代美術館合作《街 大歡囍—水星逆行》，2019年獲文化部青年藝術扶植發表劇本《夢遊 人類圖鑑》。劇場表演與導演作品包括《四碌葛之女生宿舍1990》、 《凶宅 3 之終菊之戰》、《火星》、《我好揪節》、《台北詩歌節— 巫婆的下水湯》、《此時此地》等。
CHANG graduated from the Department of Theatre Arts at Taipei National University of the Arts, with a major in theatrical performance. In addition to being a member of House Peace, she is a freelance writer, and has been active in both acting and directing.
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空間設計
Spatial Design
吳映竺 WU Ying-chu 1993年生，淡水人，國立臺北藝術大學劇場設計學系畢業，主修舞台設 計。喜好嘗試各種空間與行為表演的創作，近期舞台設計作品包含盜火 劇團《文學1+1》、臨界點30《狂睡500年》、衛武營小時光《妖怪台灣 蛇郎君》，也曾以表演作品《娘娘下凡》參與白晝之夜。
WU Ying-chu was born in Tamsui in 1993, and graduated from the Department of Theatrical Design and Technology at Taipei National University of the Arts, with a major in stage design. WU's enjoys experimenting with various creative works spanning spatial projects and physical performances. Some of WU's more recent stage design works include Literature 1+1 by Voleur du Feu Theatre, 500 Years of Sleep by Critical Point Theatre Phenomenon, Legends in Taiwan The Snake Man at the National Kaohsiung Center for the Arts (Weiwuying). WU's also participated in the Nuit Blanche arts festival with the performative work Our Goddess Descend to The Earth.
音樂設計
Sound Design
劉文奇 LIU Wen-chi 1993年出生於臺灣花蓮市，國立臺北藝術大學劇場設計系畢業，主要從 事音樂音效設計、配樂與編曲，現居臺北。曾參與多齣戲劇音樂創作， 如2019年Mars BUG熒惑蟲計畫第三部《火星》、布拉格四年展36Q° Sound Kitchen、驚喜製造《無光晚餐第二季》、邱比《至繁》專輯編曲、 第十五屆公視學生劇展《樂園》《九孬》 配樂。
LIU was born in Hualien City, Taiwan, in 1993, and graduated from the Department of Theatrical Design and Technology at Taipei National University of the Arts. LIU, who currently resides in Taipei, specializes in music and sound design, as well as musical accompaniment and music arrangement. LIU has created musical scores for multiple theatrical plays, including Mars BUG's third play titled Mars created in 2019, 36Q ° Sound Kitchen at the International Exhibition of Scenography and Theatre Architecture Prague Quadrennial, Surprise Lab's Dining In The Dark Season 2, music arrangement for Chiu Pi's album Le Monde, and the musical accompaniment for Paradise and Nine Flaws in the 15th PTS Innovative Story event.
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製作與技術統籌
Production and Technical Coordination
蔡傳仁 Tsai Chuan-jen 國立臺北藝術大學劇場設計學系畢業，主修舞台技術設計。現為僻室團 員，主要工作範籌包含舞台監督、舞台技術設計與舞台設計。近期參與 製作包含僻室《四碌葛之女生宿舍1990》、赭月製作《忘川》、人力飛 行劇團《M，1987》舞台監督，兩廳院舞蹈秋天閉幕派對《眾神之 所》、僻室《瑩惑蟲計畫》空間暨舞台技術設計。 TSAI graduated from the Department of Theatrical Design and Technology at Taipei National University of the Arts, with a major in Stage Technical Design. He is currently a member of House Peace, where his primary duties include stage management, stage technical design, and stage design. Some of his recent projects include Girls Dormitory, 1990 by House Peace, Still Waters by Crimson Moon Production, M, 1987 by Mr. Wing Theatre Company in which TSAI was the stage manager, the House of Gods performance at the closing party of the Dancing In Autumn event organized by the National Theater and Concert Hall, and space and stage technical design of Mars Bug by House Peace.
表演者
Performer
楊宇政 Gabriel YANG 畢業於臺北藝術大學戲劇學系表演組。現職劇場表演者及影像表演，曾 擔任臺北藝術大學師培中心戲劇助教、演洋娛業表演培訓營指導老師。 合作單位包括大象體操樂團、藝術家余政達北美館展覽、編舞家陳彥 斌、日本福岡藝術駐村《千禧虫》、進港浪製作（《熱炒99》、《大亨 小賺》、《人類派對》）、明日和合製作所、僻室（《火星》、《夢遊 人類圖鑑》）、神精藝術節、阮劇團《馬克白》赴羅馬尼亞錫比烏國際 藝術節、國藝會新人新視野 — 張可揚《從前從前，那裡有座國立編譯 館》、高雄愛樂文化《簡吉奏鳴曲》，驚喜製造與進港浪製作共製《微 醺大飯店》、尼可樂製作《心酸土地公》等。 YANG graduated from the Department of Theatre Arts at Taipei National University of the Arts, with a major in theatrical performance. He is active as a performer in both the theater and visual arts and has served as a teaching assistant at the Taipei National University of the Arts and instructor at the professional actors’ training studio Actorship.
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創作及製作團隊 計畫主持人、共同創作暨影像設計｜吳峽寧 共同創作暨模型設計｜鄭烜勛 共同創作暨文本發展｜張語歡 空間設計｜吳映竺 音樂設計｜劉文奇 平面設計｜潘又瑞 田調顧問｜黃姵瑜 表演者｜楊宇政 技術統籌｜蔡傳仁 製作｜僻室 特別感謝｜NTT藝友會
Creative and Production Team Project Director, Concept & Visual Design｜WU Hsia-ning Concept & Model Design｜CHENG Hsuan-hsun Concept & Text｜CHANG Yu-huan Spatial Design｜WU Ying-chu Sound Design｜LIU Wen-chi Graphic Design｜PAN Yu-jui Field Research Consultant｜HUANG Pei-yu Performer｜Gabriel YANG Technical Director｜TSAI Chuan-ren Production｜House Peace Special thanks to NTT-CLUB
吳峽寧
請勿觸摸
請勿奔跑
Please do not touch.
Watch your steps and no running.
請勿飲食
請勿使用閃光燈
No food nor drink.
No flash.
•展廳人數上限25人，請依工作人員安排進出場。 •主辦單位保留活動異動權利。 •Maximum of 25 people of each time. •The program is subject to change.
吳峽寧