驫舞劇場自2004年成立以來,以男子集體創作的舞蹈劇場風格為特色。2008年《速度》曾獲得紐約時報「迷人、充滿想像力,來自台灣的全男子舞團」的讚許,並得到第六屆台新藝術獎表演類桂冠的肯定。
Founded in December 2004, Horse Dance Theatre has established a distinctive profile through evocative physical movements and exhibiting a distinctive performance style in a series of works that display unfettered and unbounded creativity. The New York Times has called them “a charming and imaginative young all-male dance troupe from Taiwan.” They were nominated for the 6th Annual Taishin Arts Awards and honored with the Performing Arts Award.
國家交響樂團(National Symphony Orchestra, 簡稱NSO) 在現任音樂總監呂紹嘉擘劃下,2012年秉著「珍惜傳統、持續創新」的精神,期望透過NSO的演奏,為臺灣作曲家提供發聲舞台,並為臺灣樂壇累積共同的藝術文化資產。
Since 2012, the National Symphony Orchestra (NSO) has started to explore the concepts of cherishing the tradition and the continuous pursuit of innovation. Under its current music director Shao-Chia Lu, NSO is committed to evangelize the works of Taiwanese composers and accumulate the shared cultural assets for the music industry in Taiwan.
黃翊年輕極富潛力的編舞家,除現代舞蹈的編舞外,也致力於錄像、攝影、裝置等跨界創作。他擅長結合層次豐富的影像與細膩的肢體動作,在影像和舞蹈的穿梭中展示出深不可測的底蘊和舞蹈潛力,因而被林懷民暱稱為「可怕的孩子」,也是近年來舞壇崛起的新秀與雲門二團的駐團編舞家。
Huang Yi is a young choreographer with incredible potential. Aside from choreography, he is also involved in video recording, photography and installation. He excels at incorporating multi-layered images and delicate body movement, and revealing his unlimited potential in the interweaving of image and dance. Lin Hwai-min, founder of the Cloud Gate Dance Theatre, called him “a child of awe” for his unlimited potential. Huang is also the resident choreographer for Cloud Gate 2 now.
二分之一Q劇場自2004年首部作品《柳‧夢‧梅》發表以來,便以崑曲結合裝置藝術的創新手法,多次入圍台新藝術獎與各大獎項。二分之一Q劇場的「實驗崑劇」,向以崑曲經典文本為藍圖,以崑曲表演為主核,結合劇場、視覺、舞蹈等各種媒材的「跨界」組合,凸顯崑劇藝術之美。二分之一Q劇場逐漸開啟戲曲界「男戲」視野之同時,也為缺乏職業崑劇團的台灣,迂迴地打開一條以創意為主的「新崑劇」路線。
Since its first Kun opera production, Willow Dreams of Plum, in 2004, 1/2 Q Theatre has been nominated by Taishin Arts Award and other arts awards with its experimental approach by rediscovering Kun opera with methods from installation arts. 1/2 Q Theatre reads classical Kun opera texts and crosses over with experimental approaches from theatre, visual art, dance to glorify the beauty of Kun opera. As Kun opera has never been of people’s attention in Taiwan theatre scene, 1/2 Q Theatre gradually opens the audience’s eyes to “all male drama,” and tries to turn a new leaf of the “reinvented Kun opera” with creative and lively attributes.
國立中正文化中心(亦稱國家兩廳院),持續引進當代優質國際表演藝術節目,致力國際文化交流之時,也特別關注華人藝術作品的國際曝光度,對內,兩廳院被公認是凝聚各方創作力量的最佳平台,對外,它也躍然成為台灣表演藝術的最大櫥窗和代表品牌。
National Theater Concert Hall (NTCH) has been established as an international cultural exchange platform, and cultivates expertise in arts programming. NTCH invites prominent groups and artists all over the world and promotes Chinese artists to international phases. In Taiwan, it is deemed as the best platform that attracts creative power from different fields. Around the globe, it has become the representative of Taiwanese performing arts.
臺北市立國樂團(Taipei Chinese Orchestra, 簡稱TCO),成立於1979 年是台灣第一個專業國樂團,北市國一向以多元化的演奏技巧與藝術成就而享盛名,自2007 年由名作曲家鍾耀光接任團長以來,北市國邁入新的紀元,一方面致力以開創性的跨界節目來拓展「國樂」的定義,樹立樂團獨特的風格與藝術走向,另一方面也秉持著文化匯流的態度,致力推動歐洲、亞洲與北美洲地區青年作曲家與國樂團的觀摩交流,並提供台灣當代國樂創作的發表舞臺
Taipei Chinese Orchestra (TCO), founded in 1979, is the first professional Chinese orchestra in Taiwan and has a reputation for its versatility and artistic excellence. TCO has entered a new era since renowned composer Yiu-Kwong Chung was appointed as general director in 2007. TCO tries to redefine the traditional idea of Chinese music with innovative and adventurous programming, which helps expand TCO's repertoire and establish its uniqueness. In addition, TCO is also committed to fostering young musicians from Europe, Asia and North America to work with TCO and offering a platform for developing high quality contemporary Chinese music.
創作社劇團成立於1997年,為一群台灣資深劇場編導、戲劇學者、藝術行政與媒體工作者所組成。創作社基於現代劇場應與社會文化脈動有所呼應的大前提下,致力開發原創劇本、強調劇場原創精神,發展新的劇場美學風格。
Creative Society was founded in 1997 by a group of experienced directors, playwrights, scholars, theater administration professionals as well as press specialists in Taiwan. it promotes and cultivates the originality of scripts and the theater culture, and develops new drama aesthetics based on the reflection of social context.
「UTUX」源自泰雅族的靈魂觀,泛指宇宙一切的靈。「UTUX泛靈樂舞劇會所」創辦於2011年,劇場工作者暨編導碧斯蔚‧梓佑(Pisui CIYO),邀集了一群對原住民傳統舞樂文化,以及當代藝術表演有相同熱誠的專業成員,針對「藝術創作」、「文化傳承」兩個面向的轉換與創新,將「UTUX」打造成一個藝文導向的聚會所。
UTUX means spirit in the universe in Atayal culture. UTUX, Pan-Spirit’s Men for Music and Dance was founded in 2011 by theatre director and playwright Pisui CIYO with a group of members, who are passionate about culture of Taiwanese aborigines and performing arts. UTUX focuses on the aspects of “artistic creation” and “cultural succession,” and strives for transformation and innovation by turning UTUX into a cultural site.
財團法人建國工程文化藝術基金會旨在結合人文美學和生活藝術,現階段著重在推廣傳統戲曲表演、水墨藝術創作與台灣茶文化等相關領域的傳承、應用與創新。本屆入圍的傳奇崑曲《南柯夢》,是建國工程文化藝術基金會、劇場編導王嘉明與江蘇省崑劇院演員共同合作的跨界作品。傳奇的是,崑曲《南柯夢》原劇本44折唱詞與曲牌雖被完整保留下來,但百年來卻從未在舞台上被連本搬演過,這次的製作演出,編導王嘉明在不動任何台詞與結構下,利用色彩與速度的節奏安排,將原劇四十四折濃縮成十五折本,使《南柯夢》首次完整呈現於台灣觀眾眼前,並彌補了整個崑劇史的一個重大缺憾!
Chien Kuo Group Foundation for Arts and Culture is founded to promote humanity aesthetics and living arts. At the moment, it focuses on promoting traditional opera performance, Chinese ink painting and Taiwanese tea culture. A Dream Under the Southern Bough is a collaboration of Chien Kuo Group Foundation for Arts and Culture, theatre director and playwright Wang, Chia-Ming, and Suzhou Kunqu Opera Theater. It is surprising that the whole 44 highlights of the original A Dream Under the Southern Bough have been restored completely, it has never been performed on stage over hundreds of years. In this production, Chia-Ming Wang does not make any change on the original dialogues or structure, but condenses 44 highlights into 15 ones through the usage of colors and pacing. This will be the ever first production of A Dream Under the Southern Bough, and it finally completes the entire Kun opera.
唐美雲歌仔戲團本著「承傳統、創新局」的宗旨,在劇本、編腔、服飾、道具、及布景的運用上,都強調以人性和史實為主軸。近年公演的作品,進一步嘗試以管弦樂和國樂的搭配應用,結合傳統戲曲的編曲、唱腔,將歌仔調之美融入現代舞台技術,凸顯歌仔戲「以人為主體」的美學傳統。
The goal of Tang Mei Yun Taiwanese Opera Company is to “present the traditional art with innovation.” The scripts, tunes, costumes, art design and settings are set in accord with humanity as well as historical authenticity. In recent years, by mixing orchestra, traditional Chinese music instruments, the arrangement and vocal music of Chinese opera, and the stage technology of the modern theater, the traditional aesthetics of Taiwanese opera, which has the performers as the dramatic subject is well highlightes.
紫藤文化協會期望透過對歷史文化資產的研究、教學與出版,推動文化資產公共政策,培育相關人才;賦予文化資產新生命、新價值,開拓社會文化內涵的深度與厚度。2003年起接受台北市政府文化局委託,與周渝先生共同經營古蹟紫藤廬,數年來以多元的藝文沙龍、文化論壇以及茶文化推廣等工作,積極延續並闡揚紫藤廬的文化意涵及公共性價值。交通大學亞太/文化研究室的自我定位,是在知識生產的層次上促進亞洲的統合。研究室將推動兩岸、華文世界、亞洲內部以及全球性更為大規模的互動。
Wistaria Cultural Association aspires to advocate public policy on cultural assets and to nurture related professionals by promoting research, teaching and publication in relation to historical and cultural assets. The association aims to imbue cultural assets with new life and value and to deepen the cultural content of our society. Since 2003, Wistaria Cultural Association has been commissioned by Taipei’s Department of Cultural Affairs to run the cultural heritage, Wistaria Tea House, in alliance with Mr. Yu Chou. Over the years, the association has been actively perpetuating Wistaria Tea House’s cultural significance and public value through organizing art salons, cultural forums and tea ceremonies. On the other hand, Center for Asia Pacific/Cultural Studies at National Chiao Tung University aims to promote the integration of Asia at the level of knowledge production. It will foster exchanges and interactions across the straits, in the Chinese-speaking world, within Asia and around the globe on a larger scale.
《樹梅坑溪環境藝術行動》是藝術家吳瑪悧策劃,與竹圍創藝國際(竹圍工作室)共同合作的社會藝術計畫。在執行本計畫之前,吳瑪悧曾策劃過《人在江湖-淡水河溯河行動》(2006),《北回歸線環境藝術行動》(2006-2007)及《台北明天還是一個湖》(2008)等環境藝術行動。而2005年轉型的竹圍創藝國際(原1993年成立的竹圍工作室),除了致力於國際和在地智慧的結合,也希望透過藝術行動突破現實尋求改變,成為環境永續發展的對話、實驗和行動平台。
Art as Environment—A Cultural Action at the Plum Tree Creek is an artistic and social project that is organized by the artist, Mali Wu, in collaboration with the Bamboo Curtain Studio. Prior to this project, Mali Wu curated The Floating World: Tracing the Tamsui River (2006), An Environmental Art Action along the Tropic of Cancer (2006 to 2007), Taipei will still be a Lake Tomorrow (2008), and other environmental art actions. In addition to its efforts in integrating global and local wisdom, the Bamboo Curtain Studio, founded in 1993 and re-organized in 2005, aims to break through the status quo and make a difference by virtue of artistic actions. It hopes to become a platform for environmental sustainability on which dialogues, experiments and actions can take place.
陳敬寶是專攻攝影的藝術工作者,畢業於美國紐約視覺藝術學院(School of Visual Arts)攝影系,現為淡水鄧公國小專任教師,並就讀國立臺北藝術大學美術創作研究所。1999年起多次在國內外舉行個展和參加聯展,他的作品從客觀的記錄攝影經過新紀實的人物肖像,一路轉型發展至目前強調以攝影為媒介與當代藝術對話的攝影計畫系列。陳敬寶歷年作品曾先後得到紐約視覺藝術學院、台北攝影節、台北美術獎、日本東川賞、亞洲文化協會等機構榮譽獎項。
Chin-Pao Chen is an artist who specializes in photography. He graduated from the Department of Photography at the School of Visual Arts in New York, and is now a teacher at Teng-Kung Elementary School in Tamsui while attending the MFA graduate program at Taipei National University of the Arts. Since 1999, Chen has participated in several solo and group exhibitions domestically and overseas. His works have evolved from objective documentary photography, to Neo-Realist portraiture, to the present series of photographic projects that emphasize photography as a medium and dialogue with contemporary art. Over the years, he has received honors and awards from the School of Visual Arts in New York, Taipei Photo Festival, Taipei Arts Award, Higashikawa Prize in Japan, and Asian Cultural Council.
蔡明君是台灣新生代獨立策展人,先後畢業於新竹教育大學藝術與設計系、東海大學美術研究所及英國倫敦大學金匠學院策展學研究所,自2006年開始投入策展工作,近年在國內外擔綱策畫執行的展覽包括:《因地置疑—從作者到場域,置入空間的七種關係》(2006)、《童心未明》(2007)、《Beyond The Map》(2009)、《Mirror, mirror on the wall》(2010)、《翻轉吧!倉庫 In/side/out》(2011)、《群聚A Gathering》(2012)…等。
Ming-Jiun Tsai is a Taiwanese independent curator of the new generation. She graduated from the Department of Arts and Design of National Hsinchu University of Education, received her two master degrees from the graduate school of the Department of Fine Arts, Tunghai University, and in curating, Goldsmith, London University. Since 2006, she has been the curator of many exhibitions in Taiwan and abroad, including Question in Site (2006), Ambiguous Childishness (2007), Beyond the Map (2009), Mirror, mirror on the wall, TAMTAM8 (2010), In/side/out (2011), and A Gathering (2012).
鄭慧華,目前工作和生活於台北,1995年開始撰寫藝評及相關文章,2003年起開始策展,曾先後策畫《看不見的城市》(2003)、《穿越─廢墟與文明》(2004)、《台北雙年展:在乎現實嗎?》(2004)、《疆界》(2006)、威尼斯雙年展台灣館《聽見,以及那些未被聽見的-台灣社會聲音圖景》(2011)…等展覽;2010年她與樂評人羅悅全於台北共同創立「立方計劃空間」(The Cube Project Space),一面深耕在地文化、建立與藝術創作者的長期合作關係,另一面推動台灣當代藝術與國際之對話和連結。
Amy Cheng lives and works in Taipei. In 1995, she started writing art criticism and related articles. She began curating exhibitions in 2003 and has curated, in chronological order, Invisible City in 2003, Traversing—Ruins and Civilizations in 2004, Taipei Biennial: Do You Believe in Reality? In 2004, Borders in 2006, The Heard and the Unheard—Soundscape Taiwan at the Taiwan Pavilion of the Venice Biennale in 2011, etc. In 2010, Amy Cheng and Yueh Lo, a music critic, co-founded The Cube Project Space in Taipei. On the one hand, they seek to establish long-term partnerships with artists and cultivate local culture. On the other hand, they aim to promote dialogues and exchanges between Taiwanese contemporary art and the international art scene.