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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

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. Program Preview 三島由紀夫《憂國》 一場極致唯美 、直面靈魂的劇場體驗 感受三島由紀夫筆下最炙烈的愛與忠誠 𝟮𝟬𝟮𝟲.𝟬𝟭.𝟮𝟯 ㊄ 𝟭𝟵：𝟯𝟬 𝟮𝟬𝟮𝟲.𝟬𝟭.𝟮𝟰 ㊅ 𝟭𝟰：𝟯𝟬｜𝟭𝟵：𝟯𝟬 𝟮𝟬𝟮𝟲.𝟬𝟭.𝟮𝟱 ㊐ 𝟭𝟰：𝟯𝟬 萬座曉劇場 購票去 更多節目 《家庭場景》 曉劇場團員獨角戲聯演 以「家的空間」為題，融合三個經典文本：鄭詠元《玄關的芭芭拉少校》自我理想與現實處境的價值衝突、陳家誼《樓梯間的米蒂亞》獨特？迎合？一窺米蒂亞如何邁向成名終至死亡、陳威辰《客廳裡的伊底帕斯》展現被神諭束縛永遠無法逃脫的命運。 查看更多 《魚・貓》 《魚．貓》改編自作家黃春明短篇故事〈魚〉及〈溺死一隻老貓〉，由鍾伯淵編導，邀請聾人及劇場演員共同演出 出身貧窮家庭的祖孫，為了一條壓扁的魚，引發衝突，魚象徵自尊、希望、更牽引親情；另一方面老人家為保住家鄉水源，竟不惜犧牲搏鬥。黃春明筆下的小人物，儘管面對命運百般無奈，但永遠表現純樸韌性，再艱苦的人對生活也有美好渴望。衝突中有愛、淚中有笑，即使掙扎也要懷抱盼望。 查看更多 巡迴演出 從災難的預言 窺視人性的「愛、孤獨與存在」 一位只與盆栽作伴的男人、想要孩子的女同性戀伴侶，與愛貓陪伴十多年的女子....... 巨浪來襲前 ，相愛的人的叨叨絮語.... 5/29-6/1 捷克布拉格 6/6 波蘭 8/9-11日本東京本多劇院 9/14 土耳其 11/29-12/1 萬座曉劇場 查看更多

計畫理念 The Lost Civilization is the revelation of a civilization that dwells in the ocean depths of the world of Clorofilla. With the same interactive approach of Clorofilla, this project aim to explore new linguistic possibilities and to portray the multidimensional nature by which human beings perceive and experience the environment. The Lost Civilization aims to address the unsolved social conflicts of our age providing narrative and mystical visual solutions to them. The studio would be used all the 10 days each month to produce the music of the performance and record the tracks. After one week from the start of residency would be provided the plan (discussed together) of the work and goals to achieve, together with the plan of the workshops. Workshop proposal: Audiovisual tool for interactive performance (overview of different software for audiovisual performance and live demonstration). Body Mapping and Optical tracking modules: playing sounds and interact with the virtual world through leap motion Exploration of the virtual world of Clorofilla: how to build a metaverse through real time graphic engine and audiovisual interaction 5) In the ShineHouse Residence I expect to focus on the new project and get in touch with the local artistic scene, in order to merge the new experiences into the project of Niagara. I expect to release the new journey of Clorofilla in a final performance to show to the audience at the end of the residency. The Camp week workshop would allow collaboration with other artists that is one of my main points of interest in the residency' program. Back Latest latest news Artists About Us Sofia Albanese 是一位居住在柏林的作曲家和製作人。她在古典和爵士音樂方面的豐富經驗與她在音樂學院的學習相結合，融入了不同的電子項目以及電影和紀錄片的音樂。在過去的幾年裡，她專注於多媒體創作數位工具深化軟體，如 Ableton、Max MSP 和 Unreal Engine。如今，她的藝術研究主要集中在視聽藝術世界，以揭示跨媒體藝術的令人印象深刻的力量。 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 計畫內容 "Parini Secondo 的新作品Do around the world以跳繩作為動作表演和節拍。與鍛鍊儀式結合，鍛鍊行為本身開始昇華，重複動作開始演化，鍛鍊與表演之間的界線逐漸模糊，模糊了最初連接它們的關係。這個創作靈感來自法國版的跳房子——l'escargot。 聖潔之物有被聽見的本性，但它是否希望以隱晦的方式被看到，或者根本不想被看到。（施耐德，2005年）""" 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 Parini Secondo Parini Secondo成立於2017年，由Sissj Bassani（1997年出生於切塞納）和Martina Piazzi（1997年出生於波隆那）所構想，成員包含舞者Camilla Neri和Francesca Pizzagalli。Parini Secondo的藝術家們致力於以多變的方式來探討動作，持續質疑作者身份和潮流主義的界限。該團體在社會生態和現成行為中，透過教學影片或網路上其他內容來吸收學習，並使用和混合其他人在線已存在的想法和編舞。Parini 充分的利用以及支持開源和 DIY [自己動手] 的所含有的道德以及背後的美學潛力。 自2019年以來，此團體與音樂家、製作人也是老師的Alberto Ricca/Bienoise（1985年出生於韋爾巴尼亞）合作，Alberto參與了i（2019年）、ROCCO（2019年）、SPEEED（2020年）被選為2022年La Vetrina della giovane danza d'autore 的項目、be me（2021年）獲得了ecce 歐洲創意經濟中心（德國埃森）的KreativCampus.Rhur駐村計劃。 Parini最新研究計畫「do-around-the-world/HIT」著重於跳繩和童年有趣的節拍，用以窺看女性自身成長過程中的文化和音樂元素。該計畫得到Anticorpi XL network的支持ER獎助金和ResiDance駐村課程，以及ERASMUS+計劃的支持。

以日本原爆發生後為背景，描述一個不知名的村莊，四處滿是焦土，乾渴的村民們不斷向天祈雨，期待著雨會落下。在漫長等待降雨的過程中，藉由角色間關係的拉扯與壓制，緩緩揭開潛藏深處的人性黑暗面。《焦土》不只是以71年前的廣島長崎原爆作為背景，更是從身在臺灣生長於和平世代下，對於自身處境的反思。 "Purgator" is based on the atomic bombing of World War II in Japan, extending to the contemporary international community's unease about terrorism and war. "Scorched Earth" 2016｜Tokyo Art Theater, B Warehouse of Taipei Tangshu Cultural Park Purgatory "Scorched Earth" is a Taiwan-Japan transnational creative project. In 2015, Xiao Theater was invited to participate in the Asian Performing Arts Festival. Director Zhong Boyuan came up with the idea of "a hail of bullets", with the atomic bombing in Japan during World War II as the background, with "scorched earth" as the theme, and the In 2016, he was invited by the Asian Performing Arts Festival again to develop last year's concept creation into a complete work. Set in the background after the atomic bombing in Japan, it describes an unknown village full of scorched earth, and the thirsty villagers keep praying to the sky for rain, expecting the rain to fall. In the process of waiting for the rain for a long time, through the pulling and suppression of the relationship between the characters, the dark side of human nature that is hidden in the depths is slowly revealed. "Scorched Earth" is not only based on the atomic bombing of Hiroshima and Nagasaki 71 years ago, but also a reflection on one's own situation from growing up in Taiwan in a peaceful era. 「Purgatory」is the transnational creative project between Taiwan and Japan, supported by the Tokyo Metropolitan Government and the Taipei City Cultural Affairs Bureau, and premiered in 2016 at the Tokyo Metropolitan Festival 2016. The story is based on the atomic bombing of World War II in Japan, extending to the international contemporary community's unease about terrorism and war. Director Po Yuan Chung , adapts the concept of karma from Buddhist Zen, and combines it with the Japanese folk story "Monkey Crab Combat" to discuss the relationship between perpetrator and victim .Looking at the relationship of contemporary international political and social issues via the history of war. Yu Shanlu drama critic If there are other troupes dealing with such a theme, it is usually the translation or adaptation of foreign scripts. Xiao Theater is led by Zhong Boyuan, the core director of the troupe, who insists on caring all the way... Created with the theme of "scorched earth", thinking from it The far-reaching impact of war on people, from the damage, deformation and alienation of the outer body to the inner heart, brings a little extravagant desire for peace. Under its artistic transformation approach, it usually attaches an allegorical narrative to make the content more universal; it also includes reflections on contemporary social issues in Taiwan, and proposes an interpretation and interpretation of local reading. Rumination.

Back Latest latest news Artists About Us Ian Gualdani 1996年生，來自義大利。自2013年起開始學習戲劇，曾在米蘭接受過兩年的賈克·樂克訓練，並持續參與各式大師工作坊學習不同體系的身體訓練系統。 自2018年開始與Theatro del Carretto合作主演多部作品，包括：2018年的”Ultimo Chisciotte”（最後的唐吉柯德）、 “Snow White”（白雪公主）2020年的 “Caligola Underdog/Upset”（卡里古拉）。 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 "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。"

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

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

《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

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計畫理念 在當代舞蹈排演的世界裡，到底什麼樣子？透過定時開放預約參觀駐地排演的模式，讓大眾有機會，走進舞蹈創作、表演專業的日常工作行程向藝術家提問，而或在特定的工作坊體驗活動，隨藝術家進入充滿 想像力的肢體開發的世界。 Back Latest latest news Artists About Us 吳建緯 畢業於國立臺北藝術大學舞蹈研究所，師承舞蹈家羅曼菲教授、張曉雄教授以及吳素君教授。曾任法國卡菲舞團專職舞者與台北越界舞團專職舞者。2013年創建野草舞蹈聚落並擔任藝術總監，專注表演與創作、劇場以及攝影，創團首作《兩個身體》以及第二部全新創作《我們選擇的告別》皆獲得台新藝術獎提名。2008年《極光》榮獲澳大利亞編舞大賽評審團榮譽獎。2014年《發展與重組》榮獲舞躍大地舞蹈創作比賽年度大獎。2015年擔任張作驥金馬獎獲獎作品《醉‧生夢死》動作指導。2017 年榮獲勞力士基金會師從大師計畫(Rolex Mentir and Protege) 提名，進入全球準決選前五名。2019 年榮獲ACC亞洲文化協會紐約獎助計畫，以及羅曼菲舞蹈獎助金。 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