音樂芭蕾劇場：遇見胡桃鉗的女孩 二部曲

成長就像周遊列國

經典童話回望成長的繽紛與挫折

你的聖誕儀式感是什麼呢？

誕生於1892年的《胡桃鉗》，是作曲家柴科夫斯基的經典芭蕾舞劇，在往後兩百年間流傳至歐洲大陸各個國家，被不同的劇院、舞團改編成「自己的」版本，由各地的芭蕾舞者演出。當故事裡的午夜鐘聲響起，彷彿召喚節慶的儀式，應景的冬季雪景與奇幻舞會帶來濃濃的耶誕感，成為歐陸歷久不衰的耶誕舞劇，更是許多家庭冬日團聚的溫馨傳統。2023年，衛武營找來編舞家葉名樺與周書毅，將《胡桃鉗》的傳統帶進南高雄，扛下改編與編舞重任的，正是出身自高雄的臺灣女性編舞者與舞者葉名樺。

葉名樺汲取《胡桃鉗》童話的精髓——夢想，勇氣，融入典型臺灣孩子的成長經歷。在2023年的首部曲中，女主角小女孩一如臺灣同齡女孩，在學校會遇到挫折、學習也會遭遇困難，但也有同儕與老師的陪伴，一幕幕與經典胡桃鉗故事交織，代入場內所有觀眾的童年回憶。她相信，「芭蕾舞劇就應該是一個從8歲到80歲都可以同感與享受的藝術。」

延續首部曲的學校成長歷程，二部曲以「成長就像周遊列國」為主題，小女孩要開始面臨學科大考驗，挫折與困難再提升，友情與夢想更繽紛。於是反派製造的磨難有了朋友現身陪伴，學習面對的挫折讓她生出克服的毅力，寫實的女孩成長經歷，化為從雪花王國出發的每一段異國旅程，繽紛熱情一如《胡桃鉗》初始舞作的設定，貼近大眾的各角色則輪番在女孩的人生中現身，陪伴她、引導她，也改變著她。儘管沒有台詞，但跟著女孩的舞步與遭遇，觀眾得以從一齣90分鐘的舞劇感受主角的生命與情緒，也能在關鍵時刻一起遁入充滿節慶感的夢幻場景中徜徉。

用一齣與自己成長有共鳴的臺灣版《胡桃鉗》，讓進劇院看芭蕾舞劇，成為全家大小一起相聚過節的美好理由；也讓身在亞熱帶的我們，得以遁入劇場的時空，感受臺灣沒有的冰雪王國與童話嘉年華。（文／蔡瑞伶）

The Nutcracker: Pains and Gains When Growing Up

What is your Christmas tradition?

The Nutcracker, composed by P. TCHAIKOVSKY in 1892, is a timeless ballet that has captivated Europe for over two centuries. This enchanting work inspired numerous theaters and dance companies to craft their own adaptations. In the story, when the midnight chimes ring, they invoke a ritual that brings the magic of the balls to life, with snowy landscapes and mesmerizing dances that deliver the essence of Christmas. This ballet has grown into a cherished tradition, warming hearts across Europe in every winter season. In 2023, Weiwuying brought choreographers YEH Ming-hwa and CHOU Shu-yi to southern Kaohsiung to continue this festive tradition.

YEH Ming-hwa, a talented choreographer and dancer from Kaohsiung, embraced the challenge of adapting and directing the ballet.

YEH draws deeply from the core themes of The Nutcracker—dreams and courage—integrating them with the unique growth experiences of Taiwanese children. In the 2023 production, the young protagonist, a little girl, confronts typical school challenges and learning barriers, yet strives to find solace and supports from her friends and teachers. These elements are brilliantly woven into the classic Nutcracker narrative, striking a chord with the audience's own childhood memories. YEH champions the idea that "ballet is an art form that should resonate with and delight audiences from ages 8 to 80."

The narrative continues with the theme "Growing through the Wonder Journey" in this second production. Here, the girl faces increasing academic pressures and setbacks but also discovers richer friendships and dreams. As she overcomes obstacles crafted by the antagonists, her friends rally around and foster her resilience.  These bittersweet experiences of growing up turn into the wonder journeys setting out from the Snowflake Kingdom with passion as the original aims of this production. Despite the absence of dialogue, the ballet powerfully conveys the protagonist’s emotions and life story through the dance, allowing the audience to engage fully in her transformation at those pivotal festive moments.

This Taiwanese adaptation of The Nutcracker offers a compelling reason for families to unite and celebrate during the holiday season. It invites audiences, even in Taiwan's subtropical climate, to dive into the icy realms and fairy-tale festivities that are usually beyond our reach. (written by Stella TSAI)

曲目Program

柴科夫斯基：芭蕾舞劇《胡桃鉗》，作品71（羅納德．柯恩費爾編曲）

P. TCHAIKOVSKY: The Nutcracker, Ballet in two acts, Op.71 (arr. Ronald Kornfeil)

Act I

序曲 Overture

第1景 - 聖誕樹  Scene 1 - The Christmas Tree

第2景 - 進行曲  Scene 2 - March

第4景 - 舞蹈以及卓塞邁爾到來Scene 4 - Dance Scene & Arrival Of Drosselmeyer

第5景 - 場景以及祖父之舞  Scene 5 - Scene & Grandfather's Dance

第6景 - 魔法咒語  Scene 6 - The Magic Spell Begins

第7景 - 胡桃鉗決戰鼠王  Scene 7 - The Battle Between The Nutcracker & The Mouse King

第8景 - 雪夜松林（穿越雪地的旅程）Scene 8 - Scene In The Pine Forest(Journey Through The Snow)

第9景 - 雪花圓舞曲  Scene 9 - Waltz of The Snowflakes

Act II

第10景 - 魔法城堡  Scene 10 - The Magic Castle

第11景 - 克拉拉與王子  Scene 11 - Clara & The Prince

第12景 - 間奏，巧克力 - 西班牙舞  Scene 12 - Divertissement, Chocolate - Spanish Dance

第12景 - 間奏，咖啡 - 阿拉伯舞  Scene 12 - Divertissement, Coffee - Arabian Dance

第12景 - 間奏，茶 - 中國舞  Scene 12 - Divertissement, Tea - Chinese Dance

第12景 - 間奏，特雷帕克舞  Scene 12 - Divertissement, Trepak

第14景 - 大雙人舞 - 王子與糖梅仙子之舞  Scene 14 - Pas de Deux - Dance of The Prince & the Sugar-Plum Fairy

第14景 - 變奏I - 塔蘭泰拉  Scene 14 - Variation I- Tarantella

第14景 - 變奏II - 糖梅仙子之舞  Scene 14 - Variation II - Dance Of The Sugar-Plum Fairy

第14景 - 尾聲  Scene 14 - Coda

第15景 - 最後的圓舞曲與獻神曲  Scene 15 - Final Waltz & Apotheosis

演出人員名單

製作顧問｜周書毅

編舞、編劇｜葉名樺

藝術顧問、服裝製作顧問｜林璟如

指揮｜張尹芳

舞台設計｜陳威光

燈光設計｜郭建豪

服裝設計與製作*｜國立臺北藝術大學劇場設計學系

芭蕾教師｜陳俐穎、鍾長宏

鋼琴排練｜曹銘倉

排練助理｜鍾長宏、鄭紫彤

舞者｜李庭瑜、沈沛茵、卓廷佳、林家均、唐婉瑜、徐雯暄、徐詩晴、許芷嫣、黃彥霖、黃渝棉、蔡宜岑、鄭紫彤、薛人愷

Production Consultant：CHOU Shu-yi／Choreographer & Playwright：YEH Ming-hwa／Artistic Consultant & Costume Consultant：LIN Ching-ju／Conductor：CHANG Yin-fang／Stage Designer：CHEN Wei-kuang／Lighting Designer：KUO Chien-hao／

Ballet Master：Liyin CHEN、CHUNG Chang-hung／Rehearsal Pianist：TSAUR Ming-tsang／Rehearsal Assistant：CHUNG Chang-hung、CHENG Tzu-tung

Dancer：LEE Ting-yu、SHEN Pei-yin、ZHOU Ting-jia、LIN Chia-chun、TANG Wan-yu、HSU Wen-hsuan、HSU Shih-ching、HSU Chih-yen、HUANG Yen-lin、HUANG Yu-mien、TSAI Yi-tsen、CHENG Tzu-tung、SHIUE Ren-kai

*服裝由衛武營國家藝術文化中心與國立臺北藝術大學劇場設計學系合作之「芭蕾舞衣設計與製作計畫」設計製作

*Costumes are co-produced through the Project of Ballet Costume Design and Produce, by the collaboration between National Kaohsiung Center for the Arts (Weiwuying) and Dept. of Theatrical Design & Technology, TNUA.

團隊介紹

製作顧問｜周書毅

從身體出發，用舞蹈作為與世界溝通的語言，關注人與社會環境之間的關係。在過往的創作及行動中，善用跨界力量的特性，強烈表現在藝術公共性上的著墨。編創聚焦叩問生命的價值，反映個人或群體在不同社會脈絡下的狀態，提出「屬於亞洲的身體語彙」，並以劇場、非傳統劇場、舞蹈錄像等形式呈現，持續以移地移居創作的方式遊走各地。自2020年起受邀擔任衛武營駐地藝術家，移居南方，並被聘為2022年暨2024年臺灣舞蹈平台策展人。

Production Consultant｜CHOU Shu-yi

From a corporeal perspective, CHOU Shu-yi uses dance as a language to communicate withthe world and attentively observes the relationship between people and social environments. In his past creations and actions, he maximized the uniqueness of interdisciplinary thinking, which was well reflected in his depictions of the publicness of the arts. His creation focuses on a strong inquiry into the value of life, expresses different statuses of an individual or a crowd within different social contexts, provides a "corporeal lexicon peculiar to Asia," and manifests itself in the forms of theater, non-conventional theater, and dance video art. He continues to travel around different places through artist residencies. Invited to be Weiwuying Artist-in-Residence since 2020, he has been appointed as the curator of Taiwan Dance Platform for 2022 and 2024.

編舞、編劇｜葉名樺

臺灣編舞家及舞者，1983年出生於高雄，畢業於臺北藝術大學舞蹈學院。創作以身體、感官詮釋來思考時間與空間，並以多媒材、跨領域的演出實踐回應敘事與事件。2019-2020年受邀衛武營國家藝術文化中心「四國駐地交流計畫」發表實驗型公共場域創作。2020年受臺北市立美術館委託製作《牆後的院宅》，並獲得第19屆台新藝術獎年度大獎肯定。2022年衛武營「臺灣舞蹈平台」創作開幕演出《跳芭蕾》。

Choreographer & Playwright｜YEH Ming-hwa

Born in Kaohsiung, Taiwan, Ming-hwa received her BFA in Dance from Taipei National University of Arts in 2006. Ming-hwa maps the dimensions of time and space through the body and senses. In 2019-2020 she was invited in Museum of Human Emotions Project, presented by Centro per la Scena Contemporanea, Bassano del Grappa (IT), La Briqueterie CDCN, Val-de Marne (FR), Saison Foundation (JP), and National Kaohsiung Center for the Arts (Weiwuying) (TW) performed in public space. The House Behind the Wall was commissioned by Taipei Fine Arts Museum, Taiwan at Wang Da Hong House Theatre in 2020 and won the Grand Prize of 19th Taishin Arts Award in 2021. Dancing Ballet, in collaboration with Kaohsiung City Ballet, commissioned the creation of Taiwan Dance Platform, National Kaohsiung Center for the Arts (Weiwuying) in 2022.

藝術顧問、服裝製作顧問｜林璟如

臺灣資深劇場服裝設計，三十多年來合作對象遍及國內外各知名團體，參與演出設計作品多達三百餘齣，橫跨現代戲劇、傳統戲曲、歌劇、舞蹈、偶劇、兒童劇、跨界展演等，展現高度創意，近年致力於技術劇場新生代人才培訓工作，並積極講學分享創作生命經驗。1992年獲傅爾伯萊特獎學金及文化藝術基金會補助，赴紐約遊學一年，參與紐約市立芭蕾舞團及紐約市立歌劇院五十週年演出之服裝工作。2006年獲頒第十屆國家文藝獎。

Artistic Consultant & Costume Consultant｜LIN Ching-ju

As a renowned senior costume designer in Taiwan, Ching-ju Lin has worked in theatre for more than forty years. The over three hundred productions she has participated in show a great diversity ranging from modern theatre, traditional theatre, opera, dance theatre, puppet theatre, children's theatre, and interdisciplinary collaboration, in which she amazes us with her impressive creativity. Her recent devotion includes training a younger generation of theatre technicians, while she also spends a great amount of time sharing her experiences of art and theatre. 

In 1992, Sponsored by Fulbright Scholarship and Cultural and Arts Foundation, Lin studied and traveled in New York that year, while during the trip she also worked in the costume department in productions of New York City Ballet as well as the 50th anniversary production of New York City Opera. She was the recipient of the 10th National Cultural and Arts Award in 2006. 

指揮｜張尹芳

以細膩、層次豐富的指揮風格受到國內外樂壇的喜愛。2006至2022年於NSO國家交響樂團先後擔任助理指揮及駐團指揮，期間曾與金曲流行樂團蘇打綠、與國際樂壇知名組合「音樂駭客Igudesman & Joo」多次合作，並分別與張艾嘉、王耀慶攜手製作演出《仲夏夜之夢》、《皮爾金》等。近年受臺中國家歌劇院之邀，指揮NSO歌劇音樂會《風流寡婦》、音樂劇場《複眼人》，以及改編暨指揮室內樂版歌劇《唐懷瑟》，均深獲各界好評。近年合作包括日本金澤管絃樂團、香港城市室樂團、臺北市立國樂團、國立臺灣交響樂團、高雄市立交響樂團，並受邀參與總統府音樂會、臺南國際藝術節及日本金澤音樂祭演出。

Conductor｜ CHANG Yin-fan

CHANG Yin-fang was assistant conductor and resident conductor of the Taiwan Philharmonic (NSO) from 2006 to 2022. She is good at various cross-industry collaborations, all of which are well received. In addition, CHANG is actively involved in the publication of contemporary Asian music works. In 2018, she was invited to conduct the opening concert of the Asia-Pacific Music Festival and premiered the works of several composers. Her recent appearances include conducting new productions, such as The Man with the Compound Eyes and Tannhäuser (chamber version). In recent years, CHANG has been invited to cooperate with Orchestra Ensemble Kanazawa, City Chamber Orchestra of Hong Kong , Taipei Chinese Orchestra, Taiwan Philharmonic (NSO), Tainan Symphony Orchestra and Kaohsiung Symphony Orchestra.

舞台設計｜陳威光

臺南人，畢業於臺大戲劇系，於臺北藝術大學劇場設計碩士班修得M.F.A.(藝術碩士)。專精領域為劇場舞台設計，畢業後為自由設計工作者多年，作品曾入圍台新藝術獎及獲頒韓國劇場設計競賽銅牌，2017年以《時空抽屜》之舞美設計，入圍世界劇場競賽W.S.D.(World Stage Design)。2018於衛武營國家藝術文化中心擔任舞台專員至今，並參與多起自製節目及戶外演出的幕後設計及技術規劃。

Stage Designer｜CHEN Wei-kuang

Born in Tainan. Graduated from NTU Drama Department and obtained M.F.A. in the Taipei University of the Arts. Nominee of the Taishin Arts Award and winner of a bronze award at a stage design competition in South Korea. In 2017, he was nominated for the W.S.D. (World Stage Design) of the World Theater Competition with the stage design of Persistence of Memory. CHEN has served as a stage specialist at National Kaohsiung Center for the Arts(Weiwuying) since 2018 and has participated in the design and technical planning of Weiwuying's productions and outdoor performances.

燈光設計｜郭建豪

現任衛武營國家藝術文化中心燈光技術組長，國立臺灣藝術大學戲劇學系研究所畢業。曾服務於國家兩廳院演出技術部，負責TIFA燈光技術指導與自製節目燈光設計，近期燈光設計作品有兩廳院 《夏日爵士音樂派對》、《歌劇工作坊─ 頑童與魔法、睡美人、糖果屋、灰姑娘變奏曲》; TEDxTaipei 《The Future is now》;高雄春天藝術節《茶花女》、《少年靈界偵察組》; 2017-2022 總統府音樂會《最南方‧ 思 想起》、《吾鄉風光》、《晨曦‧高雄》、《北回曙光》、《風湧新竹》;衛武營輕歌劇《憨第德》、《被遺忘的瑪麗亞》;國家交響樂團 《風流寡婦》、《蝴蝶夫人》、《音樂的魔法共遊》。高雄雄厲害系列《魂顛記-台灣在地魔幻事件》。歌劇作品《茶花女》及舞蹈作品《Identity》分別入選2017及2022世界劇場設計展(World Stage Design,WSD) 燈光設計專業組。

Lighting Designer｜ KUO Chien-hao

KUO Chien-hao discovered his first lighting design at the National Taiwan University of Arts where he graduated in drama, and later received his MFA degree. He holds over 20 years' experience as a professional lighting technician and designer. His lighting design works include Summer Jazz, Opera-Studio series for NTCH, TEDx Taipei, Kaohsiung Spring Arts Festival –Verdi’s La Traviata, The Hero Academy I & III, 2017-2021 Concert of the Presidential Office, Weiwuying opening season - Bernstein's Candide, and National Symphony Orchestra Opera Concert - Lehar's Die lustige Witwe, Puccini's Madama Butterfly. KUO's work "La traviata" and dance production "Identity" were selected for 2017 and 2022 World Stage Design, Professional designers-Lighting design category. He is now the head of the lighting team in National Kaohsiung Center for the Arts (Weiwuying).

演前導聆｜

12.21 (六) 19:00 音樂廳三樓大廳

12.22 (日) 14:00 音樂廳三樓大廳

到場注意事項｜

＊演出全長約95分鐘，含中場休息20分鐘。

＊12/21(六)19:30場次演出中同步錄影。

＊建議5歲以上觀眾觀賞。

＊遲到、中途離席觀眾請依循現場工作人員指示入場。

＊主辦單位保留所有活動異動權與解釋權。