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Artists over the years Emiko Agatsuma Presentations and workshops 2021 _cc781905-5cde-3194-cf5d8_bb3b-136 Virginia Torres 西班牙 Spain Marie Hahne 德國 Germany Matyas Toth 匈牙利 Hungary James Batchelor 澳洲 Australia Parini Secondo Sissj Bassani Martina Piazzi 義大利 Italy Anne-Mareike Hess 盧森堡 Luxembourg 2023 呂尚霖 臺灣 Taiwan Sofia Albanese 德國 Germany Sabine Zahn 德國 Germany 王怡湘 臺灣 Taiwan 吳建緯 臺灣 Taiwan 2020 _cc781905-5cde-3194-cf5d_bb3b-136 2021 Ian Gualdani 義大利 Italy 嚴婕瑄 臺灣 Taiwan 林憶圻 臺灣 Taiwan 黃子溢 臺灣 Taiwan 許程崴 臺灣 Taiwan 黃至嘉 臺灣 Taiwan 2020 我妻惠美子 日本 Japan Latest latest news Home 首頁 Artists About Us 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

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

計畫理念 本計畫以音樂與文學作品引領的表演藝術創作為主軸，探索街景與時間的對話。 曉劇場鄰近華江整宅，上乘艋舺，下接雙園，整個區域相較於台北市東側的發展顯得停滯，彷彿凍結了時光，而在這樣的街景之中，人物依舊是隨著時間在改變，交融之下呈現出難以言喻的獨特氛圍。 但「停留」是一個相對性的概念，沒有移動的事物無法顯示靜止，只會呈現一個存在。 音樂是在時間上進行的一種創作，即便樂音停留，時間依舊在前進，概念上與劇場鄰近之氛圍相當契合。 時間在前進，生物會衰老，建物會折舊，即便街景輪廓依舊，但實際上沒有事物有暫停。希望能夠透過實地走進社區，將街景的聲音採樣作為音源，製作延音較長的聲響素材為出發來進行創作，表現出停留與沒有停留的樣貌，並以此為基礎，找尋相關的文學作品以及適合的肢體演出形式。 Back Latest latest news Artists About Us 呂尚霖 1.學經歷 學術背景 國立師範大學 流行音樂產學應用碩士在職專班 碩士 2017年8月-2020年6月 Musicians Institute (U.S.）表演藝術（吉他）副學士 2012年9月一2014年3月 國立政治大學 哲學系學士2008年9月-2012年6月 音樂製作 2018 号薔《蝸牛》單曲 專案製作助理 2018 李千那《查某囡仔》專輯 專案製作助理 音樂教學 Julia Music 數位音樂、吉他、烏克麗麗教師 (2014至今) 華硋國際實驗教育機横鳥克麗麗、數位音樂教師 (2019至今） 台北市文山社區大學 烏克麗麗教師 (2021至今) 音樂活動策展團體 _2016 加蚋子Tone 主辦人 -2017 鄭州路xTone 主辦人 2.近期成果 2021 發行個人專輯《都會笑話輯》 與Transparent Cyber Astronomv於 國立台北藝術大學 妖言文學祭 演出 與Transparent Cyber Astronomy於 海或瘋市集 演出 與Transparent Cyber Astronomy於 公館河岸留言 演出 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

Home About Wan Program Visit Venue Our Team History International Development 《山鬼》 饕餮劇集 試演會：台北 2022.10.7 - 2022.10.09 The unnamable phantoms 最初最初， 是從那個我們都不想再聽見的名詞開始..... 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

Home About Wan Program Visit Venue Our Team History International Development Team Artist Director CHUNG, Po-Yuan Chung Po-Yuan graduated from the Department of Drama of National Taipei University of the Arts, majoring in directing. He established Shinehouse Theatre in 2006. His works focus on human nature and contemporary social issues, accumulating a repertoire of more than 30 productions to date and has published script collections of "Armageddon" and "Underground Women." He has been invited to Thailand Bangkok Theater Festival, Shanghai International Contemporary Theater Festival, Taipei Art Festival, Tokyo Art Festival. At the same time planning and producing the 10th anniversary of the 2020 New Choreographer project (Meimage Dance), and the principal of 2020 Taiwan Creative Dance Competition. He is currently the curator of Want to Dance Festival, and the director of WanTheater. Chief Operating Officer Zeke LEE Founding members of Shinehouse Theatre. With the passion in performing arts, Lee has devoted into theatre for over a decade, with experience in Performing Arts Alliance as Secretary General, NGO, Department of Cultural Affairs, The National Taichung Theater, Taiwan Film and Audiovisual Institute, event company, performing arts group and many others, accumulated rich experiences in administration and production. He has also recently devoted into theatre education, public relationship, promotion, fund raising and many other aspects in arts industry. Chief Executive Officer Nina YEH Member of Shinehouse Theatre. Bachelor of Journalism, National Chengchi University. Yeh has been the administration officer for Shinehouse Theatre since 2009, involving its recent productions as well as arts promotion in the community. Her recent participations include Shinehouse Theatre’s “Yugoku”” , “LA Marie Vision”, ”The Whisper of the Waves, Miyabe Miyuki’s “In Between” and the producer of Want to Dance Festival. Chief Performer TZENG Pei As a chief performer, current rehearsal instructor and education promotion lecturer, Tzeng has participated more than 30 productions with the Shinehouse Theatre. During 2015-16, she participated the Asian Performing Arts Forum, performed in "Purgatory", a Taiwan-Japan co-production project, as a representative of Taiwanese actors. Her recent performances with Shinehouse Theatre include "Armageddon Trilogy", "A Midsummer Night's Chat Series", "Fish" in the Taiwan Season of Edinburgh Fringe, and annual works "Yugoku”, "The Whisper of the Waves", "In Between" and others. Marketing Executive CHEN, Chia-Yi 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. International Affairs Specialist Ethan LI Member, international affairs contact person and actor of Shinehouse Theatre. His recent performances with Shinehouse Theatre includes annual work "Yugoku", ” La Marie Vision", "The Whisper of the Waves”, and “Fish" in the Taiwan Season of Edinburgh Fringe as the main performer. Since 2018, he joined the butoh training in Shinehouse Theatre and took part in the co-production from Shinehouse Theatre and Agaxart "A Perfect Day" which presented in 2022 Want to Dance Festival. CHENG, Yung-Yuan As a contracted playwright (Saxian co.), Cheng joined Shinehouse Theatre in 2006 and has maintained his career as a stage performer for about three years. In 2010, he began to devote his work in writing of film and television productions. In 2014, he worked as a screenwriter in KimKong Puppet Show. During that time, he also contributed in many popular puppet show lyrics. He has more than ten years of professional writing experience. In 2017, he returned to Shinehouse Theatre to re- hone his creative energy and successively participate in the annual productions of "Armageddon Trilogy 3: Adolf ”, “Yuguko”, “La Marie Vision”, and Edinburgh Festival Fringe’s Taiwan Season: “Fish” as sign language performer. More About Us Shinehouse Theatre Want To Dance Festival The Shinehouse Theatre Arts Village Wan Theatre

再高的山都無法遮蔽旭日的光芒。Shinehouse Theatre 曉劇場 努力對社會及劇場生態環境注入一股明亮力量，並為所有劇場觀眾帶來面對生命的熱忱與希望。 Latest Latest works Touring Plan Recent Works Drama｜Dance ｜ Shinehouse Theatre Latest Latest works Introducing the Creatives Team Recent Works Contact Contact information

Home Program Visit Venue Our Team About Wan History International Development Shinehouse Theatre Arts Village Shinehouse Theatre has stayed in Wanhua for more than ten years. We saturate the inner energy of the works through in-depth field research. Since the Want to Dance Festival was held in 2019, dozens of creators have been invited to present their unique dance works in various parts of the Wanhua area, bringing abundant artistic and cultural energy to the region. Through the Shinehouse Theatre Arts Village, we hope to provide a more open space for artists to engage in a more diverse dialogue with residents, creating endless possibilities. The Shinehouse Theatre Arts Village was officially established in 2020. Through the provision of accommodation and creative space, we attract artists from different fields and different country. During the residency period, we will arrange opportunities for artists to meet with local people, so that they can have access to more diverse perspectives and viewpoints. The Want to Dance Festival Want to Dance Festival The Want to Dance Festival is hosted by Shinehouse Theatre since 2018. It is a dance platform for spontaneous exchanges and interactions. Wan Theater artistic director, Po-Yuan Chung, and National Kaohsiung Center for the Arts (Weiwuying) drama consultant, Yi- Wei Keng as the curator, provide independent choreographers with a stage for creation and performance and cordially invite curators, as well as local venue art festival organizers to participate in this grand event. Several atypical theater spaces in Wanhua will be used as stages for the festival. The first area to be developed in Taipei City was Monga, where a dance marathon full of vigor and experimentation and adventure will be launched. More About Us Shinehouse Theatre Want To Dance Festival The Shinehouse Theatre Arts Village Wan Theatre

Home About Wan Program Visit Venue Our Team History International Development ❝ 百年古蹟 培育創作的基地 ❞ Wan Theater, located in Tangbu Cultural Park, is the first hundred-year-old building in Taiwan to be converted into a professional performing arts venue by the performing arts team, Shinehouse Theatre. Raising the money to repair the house through the restoration and reuse program of the Cultural Heritage Preservation Act. The stage will be equipped with basic lighting, sound systems to meet the needs of various performance events. Wan Theater is officially opened on May 26, 2022, creating a new model in Taiwan as a theater company running the theater house. 萬座曉劇場劇場 內部3D環景 2023全年檔期開放申請中 ➼【𝑫𝒊𝒗𝒆𝒓𝒔𝒊𝒕𝒚多元】計畫 演出日期為2024全年度演出之檔期申請，作品內容論及 #文化 、＃種族 、＃民族 、#宗教 、 #性別 、 #年齡 、#無障礙 ......多元差異支持探討 皆可投件！ 經評審通過場租8折優惠，達成票價700以上，演出4場以上，每場超過150張票券售出，場租再優惠至5折！ 本計畫開放徵件期間自2024年9月1日至2024年11月30日,先送先審。 ➼ 再一次萬座 計畫 曾申請通過並完成使用萬座曉劇場演出申請者！ 申請2025全年度之演出檔期通過，場租費用給予8折折扣。 Application method (1) Open Call : 2023.01.01 (Sunday) ~ 2023.12.31 (Sunday) (2) How to apply: 1. Download【Application materials for rental of Wan Theater】 2. Format instructions: Please organize all application documents into a single PDF file named "Applicant Unit/Individual_Program Name" 3. Delivery method: Send by email to. wantheater@gmail.com 4. If the submitted materials are incomplete, the applicant will be notified to make up the documents within five days, and will not be submitted for review until the materials are completed. How to rent application documents→ How to get to Wan Theatre Address: 108 No. 132-9, Dali Street, Wanhua District, Taipei City, Taiwan Transportation: MRT: Take Exit 1 of Longshan Temple MRT Station, turn left and walk along Xiyuan Road to Dali Street, then turn right and walk for about 5 minutes. Zuoxiao Theater. By car: There is a parking lot under the Tangshan Cultural Park, and the entrance is at No. 2, Lane 160, Dali Street 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

《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

Home About Wan Program Visit Venue Our Team History International Development Team Members 成員介紹 鍾伯淵 曉劇場 暨 萬座曉劇 場藝術總監 艋舺國際舞蹈節策展人 李孟融 萬座曉劇場營運總監 葉育伶 曉劇場行政總監 張欣怡 國際事務顧問 林佑靜 陳家誼 鄭詠元 吳亦展 陳筱婷 More About Us Shinehouse Theatre Want To Dance Festival The Shinehouse Theatre Arts Village Wan Theatre

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

曉劇場2006年成立於臺北，作品方向包括文學改編、社會議題的關懷與創作，以及城市系列，從劇場詮釋經典文學之美，從議題關懷我們共同生活的群體，從創作記錄城市的改變，希望透過每一個作品反映當代社會，更加瞭解生活的土地，也記錄我們存在的當下環境。 Shinehouse Theatre was founded in 2006, Taipei, whose creations range from literature adaptation to social awareness all the way to the city. Opening Venue Support Program 5/6-5/8 Quarantine Island Troupe "Half Life" 5/13-5/15 A troupe's original Akara musical "Moonie" 5/19-5/22 Even if we have no love, "They Said It's Love 2.5" Performance Project Opening performance series 5/27-5/29 "Electronic City" 6/10-6/12 "Between" Miyuki Miyabe's Strange Talk In 2022, the audience knocks bowls and praises the reenactment Wanzuoxiao Theater Opening Series Performances Choreographer Zhong Boyuan Japanese Literature Theater Series Classics Japanese writer Miyabe Miyuki The work is authorized to perform in Taiwan for the first time, Adapted two stories, "The Monk's Pot" and "The Weeping Boy".