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Home About Wan Program Visit Venue Our Team History International Development Members 成員介紹 陳家誼 Member, marketing executive and actress of Shinehouse Theatre. She graduated from National Taiwan University of Arts, majored in drama, and devoted into theatre performance afterward. Her past performances include: “The Woman and The Butcher” (M.O.I Production), San-Chin development project for actors (Yang’s Ensemble), “The 366th Night” (Biu Theatre), and “Yerma” (TIFA, Theodoros Terzopoulos). She joined Shinehouse Theatre in 2017, and performed in “Adolf”, “Madame de Sade”,” The Whisper of the Waves”, Miyabe Miyuki’s “In Between”, and many others. Back More About Us Shinehouse Theatre Want To Dance Festival The Shinehouse Theatre Arts Village Wan Theatre

2018年伯淵導演藉國藝會「海外藝遊計畫」前往日本三大靈場之一的恐山，那裡仿若北投地熱谷的火山地形、堆疊一座座石頭塔祭弔亡魂，不停轉動的風車隨風旋去念想；日本八戶市當地的潮來巫女（Itako），必由眼盲的女子擔任，她以口傳遞著生死兩界的訊息，與台灣的觀落陰相似，令猝不及防地生命消逝時，生者得以傳遞思念。《潮來之音》是海潮陣陣逼近的聲響，是徘徊在生死間的低聲喃喃，也是滌淨的潮垢離。 "The Sound of the Tide" The Whisper of the Wave 2020｜Humei Theater, Huashan Huashan 1914 Cultural and Creative Industry Park The sorceress of the tide summons the dead, Through her mouth to murmur the voice of the dead, Cursing each other 's prematurely dead partners, cat lover, A man who is friends with potted plants... the tide comes and goes, Floating they try to anchor their lives, Wandering between bliss and hell In 2018, Director Bo Yuan borrowed the National Art Association's "Overseas Art Tour Program" to go to Mount Osore, one of the three major spiritual sites in Japan, where it resembles the volcanic terrain of Beitou's geothermal valley, where stone towers are stacked to hang the dead, and the spinning keeps turning. The windmill swirls with the wind to think; the local Itako in Hachinohe City, Japan, must be a blind woman. She conveys the message of life and death through her mouth. When life dies, the living can pass on their thoughts. The sound of the coming tide is the sound of the approaching tides, It is a whispered whisper wandering between life and death, and it is also a cleansing tide. Script writing/director︱ Zhong Boyuan's script translation︱ Body Design/Performance by Aoi Tsumura︱ my wife Emiko (Emiko Agatsuma) Performances︱Zeng Pei, Liao Zhiqiang, Zheng Yongyuan Li Tingyi, Chen Jiayi, Tu Jiayuan Producer︱Yeling Ye Stage Supervisor︱Chen Qiling Music Design︱Chen Mingyi Lighting Design︱Dai Cairu Costume Design︱Li Yichen Audio Technology︱Wu Anglin Graphic Design︱Liu Yulu Graphic Photography

《毛皮瑪麗》（毛皮のマリー）為日本劇作家寺山修司所創作劇本； 故事從一位男扮女裝的男同志瑪麗，養育沒有血緣關係的兒子開始，如同將含苞花瓣粗暴層層剝開的故事推進，最終母子如何面對彼此？ 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

Team Members 成員介紹 CHANG, Wan-Ting As a member of Shinehouse Theatre in 2022, Chang is currently an undergraduate student in Tamkang University, majoring in Spanish. She has performed in the opening performance of Wan Theatre, as well as the workshop performance in Emiko Agatsuma’s “Tsukumo-Gami”. She was also the sound execution for “Electronic City”and“In Between.”and perform in Edinburgh Festival Fringe’s Taiwan Season: “The Whisper of the Waves”(2022) . She is actively engaging movies, televisions and theatres, constructing the flow of life through ordinary steps. Back List Title 1 / Item Title Describe the item and include any relevant details. Click to edit the text. 2 / Item Title Describe the item and include any relevant details. Click to edit the text. 3 / Item Title Describe the item and include any relevant details. Click to edit the text.

2023 3/17-19 《微波爐裡的無事下午》 A Free Afternoon In The Microwave 臺灣，臺北 Taiwan，Taipei 萬座曉劇場 Wan Theatre 5/19-21 《潮來之音》歐洲巡迴版 The Whisper of the Waves 臺灣，臺北 Taiwan，Taipei 萬座曉劇場 Wan Theatre 6/3-6/4 《5月35日》 臺灣，臺北 Taiwan，Taipei 萬座曉劇場 Wan Theatre 6/21 《潮來之音》歐洲巡迴版 The Whisper of the Waves 立陶宛，克萊佩達 Lithuania，Klaipeda 立陶宛國家戲劇院 TheATRIUM KLAIPĖDA DRAMA THEATER 6/28.29 《潮來之音》歐洲巡迴版 The Whisper of the Waves 德國，柏林 Germany，Berlin 柏林文化中心 Internationales Kulturcentrum ufaFabrik e.V 11/3-5 臺南演出計畫 臺灣，台南 Taiwan，Tainan

Home About Wan Program Visit Venue Our Team History International Development 《習慣樂戒所》 國立臺灣師範大學 表演藝術112級 X 表演藝術研究所 史宥玲聯合畢業製作 2022.12.02 - 2022.12.04 這是一間能幫助人們戒掉習慣的勒戒所， 不論是好的壞的各種習慣， 都能在這裡輕鬆、快樂、無負擔的被改變。 2020年受邀韓國東亞劇場藝術節 2021年受邀首爾國際環境藝術節 舞踏我劇場/AGAXART 我妻惠美子 參演 潮來巫女召喚亡者，藉她之口囁嚅亡者之音， 相互詛咒彼此早死的伴侶、和盆栽為友的男人...。 潮湧來去，漂浮的他們極力為自己生命定錨，在極樂和地獄間徘徊 2018年伯淵導演藉國藝會「海外藝遊計畫」前往日本三大靈場之一的恐山，那裡仿若北投地熱谷的火山地形、堆疊一座座石頭塔祭弔亡魂，不停轉動的風車隨風旋去念想；日本八戶市當地的潮來巫女（Itako），必由眼盲的女子擔任，她以口傳遞著生死兩界的訊息，與台灣的觀落陰相似，令猝不及防地生命消逝時，生者得以傳遞思念。 潮來之音是海潮陣陣逼近的聲響，是徘徊在生死間的低聲喃喃，也是滌淨的潮垢離。 演出時間 07.15（五）19:30 07.16（六）14:30、19:30 07.17（日）14:30 導演/劇本創作：鍾伯淵 肢體設計暨演出者：我妻惠美子（Emiko Agatsuma） 演出者：曾珮、廖治強、鄭詠元、陳家誼、李廷羿、謝承瑜 製作人：葉育伶︱技術總監/舞台設計暨執行：李孟融︱音樂設計：陳明儀︱服裝設計：李逸塵︱燈光設計暨執行：柯雅云︱音樂音效執行：張婉庭︱執行製作/字幕執行：李雅涵 更多資訊→ More About Us Shinehouse Theatre Want To Dance Festival The Shinehouse Theatre Arts Village Wan Theatre

《夏日微涼夜話》呈現人際關係疏離冷漠的都會生活中，人們遭遇挫敗後往往找不到出口抒發，必須尋找其他方式逃避令人痛苦、無助的現實。劇中討論的雖然是鬼，但關懷的還是在世的人如何對待自己的生命。 A Midsummer Night’s Chat is composed of many ghost stories, alongside the multilayered perspectives of technological images, ushering the audience into the most terrible tableaus of supernatural encounters. EP1 EP3 EP4 EP5 EP6 summer cool night A Midsummer Night's Chat 2011｜Xiao Theater Art Space 2013｜Tokyo International Theater Festival, Japan 2013｜Hong Kong Fringe Folk Culture Festival Lanterns flickered, and a white veiled room took center stage. Storytellers paced back and forth among the audience, recalling the experience of seeing ghosts. A single woman who witnessed repeated jumps from a former tenant, an elementary school student who talked to her underworld grandmother every day, a mother who found her daughter with unknown bruises every day… Why do ghosts exist? Why do ghost stories always evoke strong emotions in listeners—whether it be curiosity, fear, guilt, or resistance? "Summer Cool Night Talk" is presented in the urban life where interpersonal relationships are alienated and indifferent. After encountering setbacks, people often cannot find an outlet to express themselves, and must find other ways to escape the painful and helpless reality. They pin their hopes on invisible ghosts, and ghosts also become concrete images of people's desires and obsessions. Although ghosts are discussed in the play, the concern is how living people treat their own lives. The sound of steps at midnight hallway, a lady's obsessive love for past lover, a spirit trapped in the suicidal scene repeating the act, a mother guilty for her abortion, is she revenged by the infant ghost, or is she not relieved of her buried guilt? The midnight greeting of a deceased family, a window left open every morning, who is hiding behind? A Midsummer Night's Chat is composed of many ghost stories, alongside the multilayered perspectives of technological images, ushering the audience into the most terrible tableaus of supernatural encounters. EP1 summer cool night A Midsummer Night's Chat 3: STOP! Bus : 3 STOP! Bus 2015｜ Xinbeitou MRT Station → Beitou → Beitou MRT Station In 2015, the Taipei Arts Festival commissioned the production of "Summer Cool Night 3: STOP! Bus", adding elements of escape room, imprisoning the audience in the car for an unknown journey. The audience must participate in the process of story development. Through the interactive process of finding clues and solving puzzles, the truth behind the story can be revealed, and the entire journey can be completed. The play uses the bus as the vehicle, and the audience will follow the characters to start a journey of memory. Every place where they get off the bus has a deep connection with them, so that the monuments are no longer just traces of the years and ancient legends, but a leap in The living flesh and blood on the paper; and it is matched with the secret room to solve the puzzle, allowing the audience to gradually unravel the story of the character through interaction. As the audience decrypts, the plot becomes more and more clear, and the three seemingly unrelated people slowly weave the story. the whole picture. Help! Trapped in a nightmarish city, how can one escape the galloping bus? A bus disappeared during its last city tour around Taipei; three strangers lead it to the underworld. Escaping clues are provided, but if they remain unsolved during the next hour, all passengers would be led into the darkness, and become yet another urban legend. "Stop! Bus", the 3rd episode of "A Midsummer Night's Chat", combines the current fashion of immersive theatre, and the hit escaping game in Taiwan, provides a unique experience with escaping game and ghost stories. EP3 summer cool night A Midsummer Night's Chat 4: Road at Night 4: dark road 2016｜ Wuyuan Cultural Center, Fengshen Temple Ding Zhong's official residence, Temple of Five Concubines Based on the stories of the victims of the February 28 Incident, the play collects literary creations and poems from the February 28 and later White Terrorist periods, as well as the life history of the victims, as well as the strange stories of historical sites in Tainan, which are combined into this performance. text. And through the concept of immersive theater combined with the escape room game, the audience can be more active and grasp the direction and context of the development of the story. The bus is used as the vehicle, and the audience will follow the characters to start a journey of memory. Every place they get off the bus has a deep connection with them, so that the monuments are no longer just traces of the years and ancient legends, but leaps on paper. Living flesh and blood; and with the secret room puzzle solving, allowing the audience to gradually unravel the story of the characters through interaction. As the audience deciphers, the plot becomes more and more clear, and seemingly unrelated ghosts slowly weave the whole picture of the story. . 2016 Tainan Arts Festival "A Midsummer Night's Chat4: Road at Night", in addition to Tainan local legends, part of the story is based on events from 228, and experience forming the script, presented as ghost stories, from the ghosts of the dead to the symbols of authority, ghosts that break into doors late at night to take away loved ones, so that those who cannot face and talk about bodies and shapes, turn into a kind of devil, shuttling back into different stories and spaces. The performance contains a total of two routes, a total of six stories, in Wu Garden, Ding Zhong Official Residence, Fengshen Temple, Temple of the Five Concubines 4 historical attractions. Basing “integrity” as the concept throughout the play, talking about the five princesses who stubbornly persisted in loyalty, about Mother of Lightning illuminating the Earth to distinguish right and wrong, and then to the innocent victims of the 228 events who stood up for justice, in order to each pursue justice by sacrificing their lives and their undying courage. EP4 summer cool night A Midsummer Night's Chat 5: The Gap 5: Gap 2017｜ Tangji Cultural Park B warehouse, Xiao Theater Art Space, Huajiang House The content of the story of this play is based on urban anecdotes, referring to the urban anecdotes and character history of Wanhua Huajiang's entire residence, based on ghost stories, re-telling the story belonging to the whole residence of Huajiang, and connecting it with the circular flyover in the whole residence of Huajiang. In the devious building space, we move through the sky bridge, the passage of stairs up and down and seven different spaces, passing stories one after another hidden in the building, so that everyone can re-understand this forgotten space. During the performance, the audience is divided into three groups. Only the audience map and clues are provided. The audience will go to the designated location and visit three different routes. Through watching the play, solving puzzles, and visiting the space, the audience can enjoy different sensory enjoyment. EP5 summer cool night A Midsummer Night's Chat 6: The Gap II 6: gap two 2018｜ Xiao Theater Arts and Culture Space Continuing last year's production of "Summer Cool Night Talk 5: Gap", the creation is based on the whole house of Huajiang, combined with ghost stories and secret rooms to solve puzzles, and has close contact and interaction with the audience. The story is chosen to be performed in a room in the whole house. It uses the interlacing of time and space to narrate the stories of the residents in the same room at different times, and uses "faith" as the running point, starting from the "Xia Tian Palace" in the story, because Out of control beliefs lead to the succession of different time and space, the people living here gradually fall into madness in their own suppressed obsessions, and eventually become manipulated ghosts and ghosts, acting as a feline for them, transforming into an inescapable invisible spirit, only Faith can escape. EP6 曉劇場《夏日微涼夜話3－STOP巴士》 Play Video All Videos

計畫內容 "此獨舞研究著從人體到宇宙測量未知事物的指標。 它提出了對透過宇宙學感知人體的細微研究，從人體內部和周圍的繪製宇宙。 在Hyperspace中，肉身彎曲、伸展和重新配置，同時顯得巨大且微觀。 詹姆斯·巴徹勒（重新）描繪了身體的內部和外部觀，透過好奇的自我發現過程，邀請人們對男性氣質和脆弱性進行批判性審視。 Hyperspace是繼Deepspace（2016 年）和Redshift（2017 年）系列作品中的第三部，該系列源於詹姆斯在2016年參與由Institute for Marine and Antarctic Studies領導的亞南極赫德島和麥克唐納群島科學考察隊計畫。此作品獲選為2019年Aerowaves歐洲舞蹈平台的作品。 Back 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 Hess James Batchelor and Collaborators "James Batchelor是一位來自恩古納瓦爾 (Ngunnawal) 地區（坎培拉）的編舞家，在歐洲和澳洲之間工作。 在James的作品中，循環的重複、崩塌和延展，以及微妙的節奏操縱，給人一種時間以不同速度移動的印象。觀眾被邀請一起放慢腳步，進入使用敏感的感官來探索的狀態。 整體演出體驗像是集體冥想，在一個無形的架構被揭示出來後，為觀眾提供了一個建立新聯繫、放入自己觀點的框架。他的作品包括Deepspace、Hyperspace和Shortcuts to Familiar Places，曾在Tanz im August（柏林）、Impulstanz（維也納）和Center Pompidou（巴黎）等地巡迴演出。他也致力於與各個年齡層和能力的人進行專門的教學實踐。"

Home About Wan Program Visit Venue Our Team History International Development 2025/1/18-19 2025/3/21-30 森林樂聾人舞蹈團 《手舞觸動2- You Will Never Dance Alone》 JAN 18-19 曉劇場 《毛皮瑪利》 MAR 21-23 28-30 推薦節目 2025 森林樂聾人舞蹈團 《手舞觸動2- You Will Never Dance Alone》 1/18-19 曉劇場 《毛皮瑪利》 3/21-23 3/28-30 2024 梵體劇場 《行還行-路在我心中蔓延 》 12/27-29 SHOW GEKI 《男八：廿周年紀念 公演》 11/15-17 大可創藝 《聚．众》 9/7-8 《絕不付帳》 5/31-6/2 艸雨田舞蹈劇場 《 遺屋》 12/21-22 第四人稱表演域 《暗島àm-tó 》 11/1-3 嚴婕瑄 《萬華女流》 9/1-6 曉劇場 《家庭場景》 3/22-24 曉劇場《潮來之音》 11/29-30 12/1 索拉舞蹈空間2024 跨域創作 《Pure Meat》 10/19-20 灰非白銀髮劇團 《灰非白》 8/30-31 曉劇場 《第一夜》 3/8-10 3/15-17 AGAXART 《北齋漫畫舞踏： So Zo Ro》 11/22-24 新生一號劇團 《不可能在一個晚上演 完莎士比亞全集吧？》 10/11-13 晚熟 《無關的人》 6/20-22 2023 林韋明｜無重空中藝術《SECOND SKIN》 9/1-2 葉喚軍個人製作 《MANIAC》 8/27-29 《ECHO location》 8/25-26 《陳家聲十年紀念講唱會》 8/24 《萬物長生》 11/3-4 《心垣》 10/20-21 《下一場黎明》 10/5-8 《夢靜止了。》 9/2-3 2022 國立臺灣師範大學表演藝術 112級 X 表演藝術研究所 史宥玲聯合畢業製作 12/02-04 果陀劇場 活化歷史生命劇場作品 11/19-20 曉劇場2022年度製作 10/21-23 饕餮劇集 10/07-09 創造焦點 2022女子馬戲平台 09/17-18 雅緻藝術舞蹈團 09/01、09/03 擊盒工作室 08/28 黃騰生 10/07-09 曉劇場 愛丁堡限定版 07/15-17 人尹合作社 青年創作計畫 07/01-03 －萬座曉劇場開幕系列－ 曉劇場 宮部美幸三島屋奇異百物語語系列 06/10-12 －萬座曉劇場開幕系列－ 曉劇場 05/27-29 －萬座曉劇場場地支持計畫－ A劇團 05/13-15 －萬座曉劇場場地支持計畫－ 隔離島劇團 05/06-08 More About Us 曉劇場 Shinehouse Theatre 萬座曉劇場 Wan The atre 曉劇場藝術進駐計劃 Shinehouse Artist-In-Residence Program 艋舺國際舞蹈節 Want To Dance Festival

Back 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 Marie Hahne Marie Hahne 1993年生於德國柏林，在柏林白湖藝術大學主修服裝和舞台設計，並在日本廣島市立大學主修當代藝術。自2018年以來，她一直在神奈川和柏林之間往返生活與創作。作為一名劇場藝術家與表演者，她常利用故事敘述、動作、聲音和視覺元素進行混合創作，而她所創造出的互動式劇場，邀請觀者一同探討現代人與人之間、與事、與物之間親密的，或是若即若離的關係，並在其間找到平衡。

計畫理念 doing/city choreographic fieldings The aim is to develop and test new beginnings of an urban choroegraphic spacemaking practice called fielding and hereby investigate into Taipehs urban landscape. Secondly to work on descriptive methods of translating sensoric experiences into a language and creating records of what has been found. Back Latest latest news Artists About Us Sabine Zahn 來自柏林，是一位藝術家、研究者和教育家。她著重的領域橫跨編舞、都市實踐、美學，以及城市生活和這些領域之間的相輔相成。「doing / city」就是透過放開的肢體來創造空間 / 生活的美學。莎賓∙薩恩與各方藝術家和城市規劃師密切合作，重新校準藝術與其他社會領域之間的關係。其中一個知名案例就是與建築師團隊raumlaborberlin的合作。她在萊比錫研究戲劇學和新聞學、於瑞士提契諾的迪米特里戲劇學校取得學位、曾在HZT柏林進修，現在則是阿姆斯特丹大學THIRD的研究生。瓚恩的研究獲得各種獎學金和補助，目前柏林的Tanzpraxis提供的2022/2023研究金讓她得以在各種不同樣貌的城市進行多方研究，像是哥倫比亞的麥德林、俄國的加里寧格勒、喬治亞的第比利斯等城市。她的演出計畫《欺騙FREMDGEHEN》、《出走STADTERWEITERN》、《蒞臨INTO DWELLING》探索在不同樣貌的城市裡，會綻放怎樣的編舞策略、激起城市生活裡何種火花。身為漂浮柏林大學的一員，薩恩致力發展城市實踐場域，並聚集多樣的推廣能量，像是《空間實踐空間》的計畫。她同時也是柏林藝術研究室AREAL的一員，致力於推廣並打造跨領域的人際網路。薩恩於海牙皇家藝術學院、維藤/海德克大學、HZT柏林、柏林自由大學、柏林藝術大學等數間大學，教授都市化、文化研究、舞蹈和表演等領域。 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

《魚》改編自黃春明小說《莎喲娜拉，再見》的短篇故事〈魚〉，反映小人物的生活面對挫折與困境的勇氣。一條被壓扁的魚，看出身貧窮家庭的阿蒼得魚、失魚的經過，描繪出鄉下生活的困苦與平實。從文學劇場演出，窺探屬於台灣的鄉土故事。 The conflict between a grandfather and grandson unfolds in a touching, richly sensory experience aimed at, but not limited to, hearing-impaired audiences.  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)