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★ Call for papers ★ Application Form "Alienation" " Alienation ", this issue extends the vocabulary of people's geographical, viral, cultural, and even psychological "distance" after the outbreak of the new coronavirus (COVID-19). This call for entrants will focus on the current issue of "Alienation" as the main creative axis, and the Tangshuxiao Theater Art Village will provide a professional space, allowing creators to practice the possibility of creative development and follow-up exchanges. The Tangxiaoxiao Theater Art Village has been promoting local arts and culture of Taipei Mengka for a long time, continuously developing local resources and space, and actively promoting international connections and local exchanges. In order to support the development of artists' resident creations, the "Tangxiaxiao Theater Art Residency Project" is planned this year, providing rehearsal space and accommodation space for resident artists at home and abroad as a creative base, and assisting artists to invest in local research, creation and cultural exchanges, and support The development of performing arts creation. ​ Eligibility ​Creators of performing arts at home and abroad over the age of 20. More than three years of related creative experience in art and literature. ​Settlement time 2021.07.01 (Thursday) - 2021.12.31 (Friday) Stationed for a minimum of 30 days and a maximum of 90 days ​provide equipment Free studio and residential living space. Art exchange space and opportunities. Accident insurance for entering. Subsidy for creative material costs during the period of residency in the village, up to NT$15,000 per month. Tangxiaxiao Theater Art Village will provide venue, publicity, technology and other related assistance according to the needs of the resident artists. ​Deadline 2021.04.22 (Thursday) - 2021.05.31 (Monday) ​Result announcement Mid 2021.06 The actual announcement is based on the contact time of the organizer ★ Application Guidelines ★ Application Form Alienation Alienation : since the outbreak of the coronavirus (COVID-19), our distance has been increased geographically, physically, culturally, and even psychologically. With the concept of "alienation" as the main core of creation, the Shinehouse Theatre Art Village wishes to provide a professional space, providing artists the opportunity to exchange ideas and cultivate creativity. ​ The Shinehouse Theatre Art Village has long promoted the local arts and culture in Monga, Taipei. We have continuously developed local resources and space as well as actively promoted international connections and local exchanges. This year, we have planned “Artist-In-Residence Program” ” to provide a professional and residential space for domestic and international artists. At the same time, the Shinehouse Theatre Art Village will help the artists focus on local research, creation, and cultural exchanges in order to foster the development of the performing arts. Eligibility for Application The applicants must be performing artists in Taiwan or abroad who are at least 20 years old. The applicants must have more than 3 years of artistic or related cultural experience. Residency Period The residency period begins from July 1 to December 31, 2021. The artist shall stay for at least 30 days and at most 90 days. Facilities Provided Studio and accommodation. Art exchange space and opportunities. Accident insurance during the residency period. Subsidy for Artwork materials during the residency period (up to NT$15,000 per month). The Organizer will provide venues, publicity, technical support and other related assistance according to the needs of the artist. Application Period From April 22, 2021, Taiwan time (GMT+8) until May 31, 2021, Taiwan time (GMT+8). Selection Result Middle of June, 2021 (to be decided by the Organizer)

​計畫內容 「《聲縮．身所》＿聲音與身體之創作研究計畫」，將創作者帶至現地「萬華」，思考以聲音如壓縮檔的形式儲存於身體之中的想像，連結我們對於環境聲音的流動與捕捉，回想成長脈絡之經歷，拼湊身體歷史的記憶片段。此創作執行計畫分為以下四個階段：・感/聲音採集：透過自身背景對自我與環境的敏銳度，重新剖析感官的刺激與閱讀。在資訊爆炸的世代，使得流動變得快速，地域物換心移，但總有一些氣息還停留在轉角處。我想透過我的行走，用身體去發現那些氣息，並且將之紀錄。透過區域環境的好奇，藉由採集來找尋那不平凡有如脈搏般的聲響。 ・思/身體壓縮檔：身體的脈搏如果不是在安靜的氛圍或觸摸是感受不到的，但卻是非常重要的存在。我發現環境中的聲響有如脈搏，他是在地性的脈搏，所以每個區域都有屬於自己脈動。我遇見台北萬華，像是看見家鄉＿高雄鹽埕，都是累積深厚文化底蘊的地帶。我本身喜歡遊晃巷弄中，雖然時間沖刷但也沈澱重量，人群與物件仍然安放，少了點繽紛奪目，但多了陰翳值得慢慢品味。於是透過身體力行，捕捉聲響成為鑰匙，開啟身體歷史的記憶抽屜。 ・建/語彙符碼：舞蹈在表演藝術中沒有文本，但卻可以從表演者的動作語彙中被閱讀。動作除了身體經驗所積累的反饋，也因思考而組織建構。於是，前面兩階段是成就新體驗與歷史經歷媒合，而經過多元面向的思考的切入，刺激對人事物的不同觀點。並且加入一位對表演有興趣的長者，透過彼此背景的了解以及對聲音記憶，這造就了對身體語彙的產出與表達，然而這是創作與表演路途上關鍵的轉化過程。 ・整/我知：從理念的產生到計畫採集，然後結構、創作至完整，是個作品的成長脈絡。從觀看與被觀看縮短彼此的距離，在作品提供的線索中，找到共鳴。雖然不變的是以舞蹈來呈現，但過程的路徑以不同的行時來行走，期待創作期間的發現與可能，從《我知道沒有什麼是我知道的》到《聲縮・身所》。 Back Latest latest news Artists About Us ​林憶圻 1990 年生，高雄人。 國立臺北藝術大學舞蹈研究所表演主修畢業。 目前為古名伸舞團即興表演者與舞蹈自由工作者，內容涵蓋創作、表演、教學與跨領域合作。曾與多位編舞家合作，並多次參與國內外藝術節演出。首次於 2018 年發表作品《等距》，並獲世安文教基金會＿世安美學獎。2019 年於艋舺舞蹈節發表獨舞作品《我知道沒有什麼是我知道的》，同年獲國家文化藝術基金會個人創作補助，於 2020 年創作作品《如果不能再見》。2021 年古舞團製作「三種追尋」發表作品《微亮》。 More About Us Shinehouse Theatre Want To Dance Festival ​The Shinehouse Theatre Arts Village Contact Us Address: No. 132-9, Dali Street, Wanhua District, Taipei City 10801 Tel: +886-2-2308-3398 E-mail: shinehousetheatre02@gmail.com

2019 Edinburgh Festival Fringe 2nd-25th August Summerhall Event's Page "Fish" is adapted from the short story "Fish" in Huang Chunming's novel "Sayo Nara, Goodbye", reflecting the courage of little people to face setbacks and difficulties in their lives. A squashed fish shows how Ah Cang from a poor family got and lost the fish, depicting the hardships and plainness of life in the countryside. From the performance in the literary theater, we can peek into the local stories belonging to Taiwan. Sign language meets puppetry in this engaging, BSL-signed production based on a novel by Taiwanese author Huang Chunming. The conflict between a grandfather and grandson unfolds in a touching, richly sensory experience aimed at, but not limited to, hearing-impaired audiences. " Even if I can't hear it, it still makes me immersed in the atmosphere of the story, and I can't get back to my senses for a long time. " －Hearing - impaired illustrator Xu Fangwei "Though I couldn't hear , I was still deeply embroiled in the atmosphere and couldn't return for a long time." - XU, Fang-wei (Hearing Impaired Illustrator)

ENG sunlight, no difference Xiao Theater was established in 2006, and now operates "Tangshu Xiao Theater" in Wanhua Tangshu Cultural Park. Creations include "Swallow", "She Got John's Kiss and Became Hu Lide's Woman - A Prostitute's Room", "The Dirty Earth Trilogy", "Scorched Earth" and other "social issues"-oriented works: adaptations of Zhang Manjuan, Huang Literary adaptation series by Chun Ming, Mishima Yukio, Miyabe Miyuki and other literary masters; and ghost story series of "Slightly Cool Night in Summer" At the same time, based on Wanhua's locality, a community drama class was set up and a series of works "Otter Project" were published, and a drama course for the physically and mentally handicapped was conducted with the Nanhai Development Center with the goal of inclusive theater. She has participated in the Shanghai International Contemporary Theatre Festival, the Bangkok International Theatre Arts Festival, the Tokyo Arts Festival in Japan, the Taipei Arts Festival, the Asian Performing Arts Festival, the Tokyo Arts Festival and the East Asian People's Theatre Arts Festival in South Korea.

Latest latest news Artists About Us Xu Chengwei The founder of "Xu Chengwei Production Dance Troupe", the body language of returning to the truth and being rude, and accommodating softness and rigidity is the essence of Xu Chengwei's production dance troupe. The members of the "Gu Ming Shen Dance Troupe" have taught improvisation and improvisation dance for many years, and even performed improvisation dance performances. Currently, he is also a lecturer at Huashan Academy of Peking Art University and a lecturer in modern dance at the Department of Dance at Taipei City University. Education In 2016, he graduated from the Institute of Dance, National Taipei University of the Arts. In 2011, he graduated from the National Taipei University of the Arts Department of Dance with a seven-year system. experience In 2021, he was selected to create the work "Dead Line" in [Kaohsiung Spring Art Festival Small Theater Series]. In 2021, the work "Kidult" will be premiered at the National Experimental Theater of the Two Halls. In 2018, "Ritual" was invited to perform selected pas de deux excerpts from Taipei [Encounter Dance Festival] and Macau [Contemporary Dance Exhibition and Exchange Platform]. In 2017, "Rite" was selected as the "HOTPOT East Asian Dance Platform" at the Hong Kong Urban Contemporary Dance Festival. In 2016, "Rituals" [Edinburgh Fringe Festival - Taiwan Season] and [NEUNOW Art Festival in the Netherlands]. In 2015, "Ritual" was selected as the "Thirty Salon Theater Station Project", and performed at the "Beijing Dance Fortnight" and the "Hawaii Dance Festival". 2015 "Rites" "Shi'an Cultural and Educational Foundation-Shi'an Aesthetics Award". Program content Choreographer Xu Chengwei has a strong interest in topics such as death and ritual because of his family's funeral background, and has inspiration and connections from ordinary people. There are various attitudes of existence, and I hope to share and communicate with the audience through creation. Faced with these issues, perhaps I don’t know how to face them or how to solve them. However, in Cheng Wei’s creative works, these kinds of issues are often used to arouse everyone’s awareness and attention through the stories of the works, and trigger the audience to change their minds. A lot of thinking and choices lead to resonance and fermentation on the topic. The work "Shangzao" Cheng Wei will connect the good and evil in human life with the ritual of sending off and inviting the gods. It is said that the December 24th of the lunar calendar is the annual sending-off day. People must follow the time and time of sending off the gods. The ceremony invites the Kitchen God back to the heaven, but it is necessary to prepare to send the gods seven treasures: gold, silver, copper, iron, tin, pearls, agate, to pray for peace and future in the coming year, and on the fourth day of the first lunar month, people must also follow Customs and rituals cautiously welcome the gods back, continue to monitor the world, and report good and evil. This time, Cheng Wei will start from the creative quality of Qibao as a dance, integrate various traditional sacrificial rituals into the choreography and movements, combine sacrificial rituals and people's beliefs, and discuss and think about everything in life with the people. Is it controlled by God? This time, Xiao Theater's village-based recruitment plan is based on alienation. After the severe outbreak of the epidemic, people were separated geographically, culturally and psychologically, and a sense of anxiety and panic appeared. Through the work "Shangzhuo", it proposes beliefs about people's hearts, hoping to stabilize the power in people's hearts, re-examine themselves and lead people to understand traditional ritual culture, triggering people's multiple thinking about life and culture. More About Us Shinehouse Theatre Want To Dance Festival ​The Shinehouse Theatre Arts Village Contact Us Address: No. 132-9, Dali Street, Wanhua District, Taipei City 10801 Tel: +886-2-2308-3398 E-mail: shinehousetheatre02@gmail.com

Dirty Paradise Armageddon 2011｜fruit wine warehouse in Huashan Cultural and Creative Park ☆Nominated for Taipei Digital Technology Art Award This trilogy is based on the idea of the German Hitler regime and Nazi concentration camps during the Second World War; the play describes the underground society that heard that the underground contains a lot of natural resources and began to develop the underground, and discovered the underground that had sneaked into the ground after being defeated a long time ago. The human race carried out massacres in order to successfully obtain underground resources; and through three demonstrations of using underground women to teach social etiquette, culture and language as propaganda, to eliminate and cover up the massacre of the underground society by the government and to create an illusion of harmony. The prototypes of the three underground women in "Paradise of Dirty Earth" come from the three sisters of Chekov, who are entangled with yearning and memories of their hometown. The whole play is centered on changes such as slow massacres. The underground women face the cultural edification and display of the above-ground society, which weakens the uniqueness of the underground women's original society and the public's attention, and eventually leads the society to lose interest and die. The three underground women were sent back underground again. As the last survivors of the underground society, facing the already dilapidated underground world, they could only hum a song and disappear into the ruins. The production series of "Armageddon" is the strong, representative work of Shinehouse Theatre director, Po-Yuan Chung, which depicts the cultural aggression against a disadvantaged underground world by a strongly ethnic aboveground world. Through a modern and progressive world aboveground, contrasting with a primitive and underdeveloped world underground, being forced from their homes, and the issue of cultural invasion, extending to the discussion of good and evil in war. “Armageddon”, the first piece of the trilogy, three bareheaded Underground Woman open the show. The piece describes how the normal people discovered the underground world; how they invaded, massacred, plundered the ground; and how they used these three women to erase opposing public opinion through media. There was, however, limited resource only in the underground, and the invasion was highly criticized by the society, which eventually made the three women be sent back to the already destroyed underground. Yu Shanlu drama critic Choreographer Zhong Boyuan de-time-spaces the entire story and characters, but he seems to be able to feel the shadows of the Nazis, massacres and concentration camps, and even the more general relationship between oppression and oppression, civilization and destruction. Or today, there is no shortage of examples. underground woman 曉劇場_穢土天堂三部曲《阿道夫》(3mins) Play Video All Videos

2019｜Taiwan Opera Center Small Performance Hall man in woman's fur Mary and intertwined time and space Falling like a rose Mary and his lovers marching on lies and facing truth "Fur Mary" (fur のマリー) was written by the Japanese playwright Shuji Terayama; the story begins with a gay male disguised as a woman, Mary, raising an unrelated son, as if the budding petals are roughly peeled off layer by layer. As the story progresses, how will mother and son face each other in the end? 2019 coincides with the 35th anniversary of Shuji Terayama's creation of "Fur Mary". At the beginning, Terayama asked the audience questions with sharp brushstrokes and distinctive characters. It was the first time that he translated and officially performed in Taiwan. Has the question been answered in the past 35 years? "Fur Mary" La Marie-vision Original: Terayama Shuji Chinese translation: Song Gallin, Xie Peirong Drama consultant: Fang Yu Director: Zhong Boyuan Producer: Ye Yuling Music Design: Chen Mingyi Lighting design: Guo Xinyi Costume Design: Yang Zixiang Graphic Design: Lynn Qi Promotional photography: Lin Zhengyi Performers: Zhong Boyuan, Zeng Pei, Liao Zhiqiang, Bao Yian, Zheng Yongyuan, Li Tingyi

Back Latest latest news Artists About Us ​嚴婕瑄 嘉義人，生於1994，自由藝術工作者，跳舞也編舞，嘗試讓表演產生對話，擴張肢體語言的力量，試圖量衡舞蹈與生活的關係，藉由創作的思辨理解生命的樣貌，研究範疇包涵台灣本土文化，性別議題，近年創作關注父權社會議題及女性自覺。 More About Us Shinehouse Theatre Want To Dance Festival ​The Shinehouse Theatre Arts Village Contact Us Address: No. 132-9, Dali Street, Wanhua District, Taipei City 10801 Tel: +886-2-2308-3398 E-mail: shinehousetheatre02@gmail.com

​計畫內容 「在妓女的引領下，整條街道的所有秘密都在你面前展現開來。」―《柏林記事》班雅明 城市是藝術與文學創作最喜歡描寫的對象之一，敘述城市中的各種生活百態，像是城市的貧富懸殊，日常生活大小事，都成了藝術家們描寫的對象。而在疫情之後，城市的公共空間更是引人關注的話題，就算在全球病毒肆虐的環境底下，我們還是離不開城市而生活，習慣了城市的空氣、城市的緊張，喜歡在城市內漫步，甚至所有的創作靈感也都源自於此。 因此促使了創作者想著手了解為何城市會是如此的迷人的動機，長久以來藝術家們與城市的關係是多麼密不可分，藝術家們離不開城市而生活，所有與創作有關的東西全部都聚集於此。 ​ 「街道是漫遊者的居所。他靠在房屋外的牆壁上，就像一般的市民在家中的四壁裡一樣安然自得。」―班雅 明 本次作品概念由都市底層的在地職業/角色的生活移動視角與環境空間結合、將地方居民故事再詮釋為出發點，以移動漫遊的形式思考，與空間工作、流動的過程當中，藉由身體及物件交織出地方的故事。試圖用創作反映都市裡時常被刻意遺忘的「日常」，進一步探索城市的過去與現在的環境轉變，將創作的作品能成為向未來提出的反思，希望在演出後能為參與者帶來不一樣的城市想像。 ​ 「一同漫遊在城市中」 閱讀一個都市，可以有很多不一樣的角度和體驗;這次的創作嘗試透過肢體、物件、舞者、導演的視野來呈現，參與者(觀者)可以從中再做多重解釋，觀賞作品同時，可以讓城市透過肢體劇場的方式而重生，參與者(觀者)也可以藉由想像獲得屬於自己詮釋的都市經驗，共同完成這個作品。 Back Latest latest news Artists About Us ​黃子溢 出生臺中，留著彰化血液，在地演出深耕九年的表演藝術工作者，擁有豐富在地創作的經驗，現致力於在現地六年編創計畫。時常結合當地特色與議題，利用現地創作、移動式劇場的形式，創作出公共空間的表演作品。2015年代表台灣前往慕尼黑、盧森堡與約翰尼斯堡大劇院演出。亦有個人作品國外藝術節演出的經驗,如:韓國首爾櫻花節、馬來西亞北海藝穗節、韓國仁川馬戲交流演出計畫...等，在2021年入選文化部扶植青年藝術發展計畫。創作載體為:新馬戲(雜耍、特技)、當代舞蹈、默劇。 More About Us Shinehouse Theatre Want To Dance Festival ​The Shinehouse Theatre Arts Village Contact Us Address: No. 132-9, Dali Street, Wanhua District, Taipei City 10801 Tel: +886-2-2308-3398 E-mail: shinehousetheatre02@gmail.com

Latest latest news Artists About Us Open Call officially started From now until 4/30 Hand Knife Registration ​ Please send to: shinehousetheatre02@gmail.com within the deadline 2022 Xiao Theater Art Village 2024 Shinehouse Artist-In-Residence Program More About Us Shinehouse Theatre Want To Dance Festival ​The Shinehouse Theatre Arts Village Contact Us Address: No. 132-9, Dali Street, Wanhua District, Taipei City 10801 Tel: +886-2-2308-3398 E-mail: shinehousetheatre02@gmail.com

Shinehouse Theatre ​萬座曉劇場 Shinehouse Theatre Wan Theater The Shinehouse Theatre Arts Village Shinehouse Artist-In-Residence Program Want To Dance Festival Want To Dance Festival