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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

《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)

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

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

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

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. Back 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

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 Virginia Torres Virginia Torres是一位西班牙格拉納達的舞蹈表演者，擅長於肢體動作的探索與研究。20歲前主要學習佛朗明哥和西班牙舞蹈，近幾年，她大膽地跳入了即興舞蹈與日本舞踏的領域，將身體作為媒介，挖掘更多未被理解的動作與情感表達，解構自身的舞蹈肢體與經驗，不讓文化背景及傳統的肢體成為舞蹈的限制。 他認為自己是一個身心靈的研究者，受到靈感的驅使，曾遠赴印度追求東方傳統靈性與智慧。目前，她認為她的舞蹈和她對身體的理解更接近東方智慧，而非西方理性的思維模式。 作為一名舞踏舞者，她創作了不同的獨舞作品，並參與了集體項目，曾在各種不同的場所表演，從印度偏遠的小村莊到德國的大劇院都有她的身影。

Home About Wan Program Visit Venue Our Team History International Development 人尹青年創作計畫—《Dogs》狗狗劇場 人尹合作社除了寶寶劇場以外， 2022青年創作計畫再次啟動 — 狗狗劇場 ! 這些毛小孩的眼裡究竟是如何理解人類社會、跨越物種的情誼是如何被建立？狗狗無法被設定準確的舞碼動作，因此表演者必須時刻關注其狀態，在每次互動中探究雙方之間的可能性與平衡，而這也正如我們在自然生活中所做的。歡迎大家一同進入狗狗劇場，展開不同表演形式的冒險。 演出時間 07.01（五）19:30 07.02（六）14:30、19:30 07.03（日）14:30 策畫人 ∣ 鄭伊雯 創作者 ∣ 黃彥霖、王志慎 表演者∣ 黃彥霖 & Kody、王志慎 & Amigo 舞台監督 ∣ 林渝涵 燈光設計暨執行 ∣ 鄭悠 行政執行 ∣ 黃筠雅 平面設計暨攝錄影 ∣ 謝承翰 行銷協力 ∣ 黃子懿、路詠貽、俞繼淇 贊助單位｜財團法人國家文化藝術基金會 節目連結 More About Us Shinehouse Theatre Want To Dance Festival The Shinehouse Theatre Arts Village Wan Theatre

Shinehouse Theatre was founded in 2006, Taipei, whose creations range from literature adaptation to social awareness all the way to the city; from reinterpreting classic literature through theatre, to concern our community as a co-living group, to document the change of cities. Shinehouse Theatre was founded in 2006, Taipei, whose creations range from literature adaptation to social awareness all the way to the city; from reinterpreting classic literature through theatre, to concerning our community as a co-living group, to documenting the change of cities. Recently, they based themselves in Wanhua. They aim to reflect contemporary society through each of its productions, as well as documenting our present environment. Based in Wanhua for many years, Shinehouse Theatre focuses on social issues, using local ingredients as one of their main motivations for their creations. In their “Ferry Mengjia” series, they have street interview with local homeless and sex workers, documenting their life stories, seeking for the truth beyond standard stereotype impressions. In their Armageddon Trilogy, they discuss about the aggression of dominant cultures, civil rights, personal relationship with the society, and various aspects of humanity, which ends up in a series of published plays. In 2019, Shinehouse Theatre hosts the “Want-to-Dance” festival. Through unconventional theatre spaces in Wanhua, the three-day festival leads to an exchange in dance, with a total of 30 domestic and international groups contribute to more than 60 shows , simultaneously presented in 6 different locations. Shinehouse Theatre also seeks expanding abroad recently, including art festivals in Shanghai, Bangkok, Japan, and many other places. In 2019, they are attending the Edinburgh Festival Fringe. Shinehouse Theatre strikes for pieces that are cross-language and cross-cultural, bring audiences with different backgrounds toward the same movement as our common life trajectories under the power of theater. Chinese

《白。素。貞》從一個愛情故事中尋找東方與西方看待女性的異同之處，重新找到一個女性在婚姻、愛情及家庭中個人的價值；同時該作品較具機動性，可彈性的在不同空間行走，利用既有的展演空間，帶著觀眾邊走邊看戲，體驗不同的看戲經驗。 Miss White endures and waits. Not until four betrays when she finally realizes that she has lost herself in love. 2014｜The Courtyard Theatre Sympathetic plan -- white, plain, virgin Miss White In the traditional Chinese folk tale "The Legend of the White Snake", Bai Suzhen is a powerful snake demon, but she falls in love with the human man Xu Xuan. She transformed into a human figure and married Xu Xuan to manage the family business for him, and gave birth to a child for him. But when Xu Xuan found out the true identity of the snake demon, he betrayed his wife, scolded her loudly as a monster, and colluded with the mage to come to exorcise the white snake and suppress the white snake under the tower; Bai Suzhen silently endured and waited until she experienced After four betrayals, I realized that I had already lost myself in love. "White. white. Zhen" looks for the similarities and differences between Eastern and Western views on women from a love story, and rediscovers a woman's personal value in marriage, love and family. In the existing performance space, the audience can walk and watch the play and experience a different experience of watching the play. Chinese folk legend shares a similar idea of "Yokai" in Japanese legend, where these creatures are spirits transformed from animals or plants, usually primitive, ugly and weird. In one of the most known Chinese folk legend, "Legend of the White Snake" , Miss White is a Yokai transformed from a snake, but fall in love with a human Xu Xian. She turns into human form to marry him, and gives birth to his child. Xu Xian, however, after realizing her true identity, betrays her . In addition, he colludes a monk, who eventually sealed Miss White under a Pagoda. During the process, Miss White endures and waits. Not until four betrays when she finally realizes that she has lost herself in love. Li Chengye Commentator One after another, audience members wearing bras followed the actors to the performance space on the fourth floor. In a scene full of bras, Bai Suzhen was in pain all her life, and through the years and the red bits of sanitary napkins, she told the audience the helplessness and pain of the female part. Yang Meiying Commentator It is full of sensuality and desire (sexual desire/life desire), which are related and different. Formally, the space of the entire building is fully utilized, and the consciousness of lust and desire is flowed through different creative strategies.

Home About Wan Program Visit Venue Our Team History International Development TEAM MEMBERS 成員介紹 Back More About Us Shinehouse Theatre Want To Dance Festival The Shinehouse Theatre Arts Village Wan Theatre Artist Director 曉劇場暨萬座曉劇場藝術總監 艋舺國際舞蹈節策展人。 鍾伯淵 CHUNG, Po-Yuan 曉劇場暨萬座曉劇場藝術總監及艋舺國際舞蹈節策展人。 擅從劇場詮釋文學之美，亦紀錄城市改變發表系列作品，並出版《穢土天堂》、《地下女子》等劇本集。具備豐富編導演經驗，亦曾參與廣告、電視和電影的演出。曾受邀至泰國曼谷劇場藝術節、上海國際當代戲劇季、臺北藝術節、東京藝術節、台南藝術節、桃園鐵玫瑰藝術節等。《魚》、《潮來之音》分別獲選為2019年及2022年愛丁堡藝穗節台灣季演出作品。2020年執行策劃並擔任鈕扣計畫10週年製作人、舞躍大地舞蹈創作比賽計畫主持人。 Chung Po-Yuan graduate d 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 Wan Theater. Back

Home About Wan Program Visit Venue Our Team History International Development ❝ 劇場 即生活 生活在劇場 ❞ Led by Artistic Director Chung,Po-Yuan the Shinehouse Theatre at Wan Theater has adopted the three major directions of "innovation, integration (inclusive) and sustainability" to organize its own performances, professional curation, and open up the use of performing arts teams for rent, cultivate local audiences from Wanhua, and cooperate with schools and social organizations to promote performing arts. With the resources of Shinehouse Theatre Creation, theatre space, Want to Dance Festival, and Shinehouse Theatre Art-in-Residence Program, we are able to enrich the diversified performing arts ecology by connecting. More About Us Shinehouse Theatre Want To Dance Festival The Shinehouse Theatre Arts Village Wan Theatre