2024馬戲節：《身為問題兒童的我，從一出生就成為這個美好世界的慢性病》

★在標準與自由之間，他們用身體寫著完美卻不完美的故事！
★不一樣又怎樣，讓每個瞬間都成為自我發現的契機！

從對於『馬戲』為何、何為『馬戲精神』，作為提問的出發，同時透過馬戲去理解一群人如何成為群體，群體的規則如何運作與束縛，又在群體之中如何思考個體的相同與相異。

由於馬戲具有「冒險」、「危險」、「另類」、「非一般」等特質，且每位馬戲表演者皆需要經過長時間的練功，才能展現新想法與新創作；在一連串的高度體能自我追求中，時時面對不同的價值觀和世俗標準，

以來回檢視、尋找與辯證。在當代的創作開發中，馬戲創作者意欲跳出常規，脫離類型表現的限制，進行心靈處境的省思。本劇的新創，團隊開啟了許多關於健康與病態、檢查與挑釁、界限與挑戰、正常與非常的等探索。

從上述思考開始，對應五位表演者各自的個性和表演特色，本劇交織出唯有他們五人一起時所共同刺激出的提問和秘密。其中有他們各自的堅持和脆弱、傷痕與執著、赤裸和逃避、單純和想像。在一輪又一輪的競技裡，不只是精湛或超凡的追求，更多的是屬於「問題兒童」對於世界的賣力回應，在不像馬戲雜耍的表演裡自問失敗的定義。

這是一齣關於表演者面對標準、規則、框架時，在順服與抵抗之間，和觀眾分享他們的不完美，也在馬戲的編排與遊戲中，以身體的毅力和技藝來表達，自我和世界的關係、挑戰的突破、赤裸的披露、存在的思考。或許，身為「問題兒童」，也是一種另類的探索，去認識和想像這個世界與生命的荒謬。

概念｜陳武康

出生臺灣，2001年與紐約編舞家 Eliot Feld 展開12年長期合作，擔任舞者，受其影響極深。2004年與友共創驫舞劇場，擔任藝術總監一職至今。2007年《速度》獲台新藝術獎表演藝術大獎。2012年《兩男》獲德國科特尤斯編舞大賽首獎。2020年臺北藝術節與傑宏・貝爾共同編創及演出《攏是為著・陳武康》並獲第19屆台新表演藝術獎。
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近期創作有《非常感謝您的參與》、《感謝您在家》、《14》、《兩男常罩》、《野台羅摩》、《明日公休》、《無奈中消失也是積極中的幸福》等。
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概念｜周伶芝 
獨立策展人、藝術評論、劇場構作、文字工作者、創作美學相關課程講師等。書籍與雜誌之專題企劃，講座與工作坊規劃。以不同角色參與各藝術節、表演藝術創作、展覽、團隊和場館之策展與研究計畫。
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共同創作及演員｜王健銘
南投埔里人
國立臺北藝術大學——劇場藝術創作研究所 表演組畢業，演員，紅鼻子醫生。
喜歡人，所以喜歡表演。
喜歡馬戲世界裡對於多元的包容性與各種持續探索的可能性。
是一位馬戲熱愛者。
Monday Juggling Meeting 的一員。
喜歡以失敗作為創作脈絡，尋找那些被大家忽視或遺忘的邊邊角角。
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近期創作：
2024 單人表演 臺北兒童藝術節-藝術樂園《魯蛇帝王》
2023 單人表演 臺北藝穗節《我的TONE 2.0》 （臺北藝穗節精選獎）
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共同創作及演員｜朱宸祐 
丑戲、雜耍圈、編創
臺北人，早年任職於烹飪界，是一名廚師，綽號也叫廚師。
2015年就讀國立臺灣戲曲學院民俗技藝學系，開始學習與接觸馬戲生態。
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創作核心與中心思想為「黑色幽默、荒謬突兀、反常行為、諷刺嘲諷、日常生活」，喜用馬戲的方式訴說社會時事以及自身經歷及生活趣事，並以反諷和黑色幽默的手法編排及創作。 ​
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共同創作及演員｜吳政穎
來自高雄，畢業於國立台灣戲曲學院，目前在馬戲之門從事馬戲創作和劇場表演。早期以火舞、街頭表演起步，隨後轉向喜劇馬戲作品，並逐步發展以生活題材為核心的馬戲演出形式。 2018年，於街頭作品實驗室發表《巴哈嘎？不可不可！》，該作品隨後受邀參加臺北兒童藝術節、桃園地景藝術節、衛武營馬戲平台等。2022年，啟動《巴哈嘎》巡演計畫，於全台四個藝文場館進行售票演出。 2022至2023年間，參與臺北表演藝術中心『馬戲棚計畫』，在此累積了豐富的創作經驗，並專注於以棍子為主要創作媒材的實驗性馬戲演出。 ​
2018年，我在街頭作品實驗室發表了《巴哈嘎？不可不可！》，該作品隨後受邀參加臺北兒童藝術節、桃園地景藝術節、衛武營馬戲平台等演出場域。2022年，我啟動了《巴哈嘎》巡演計畫，於全台四個藝文場館進行售票演出。
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在2022至2023年間，我參與了臺北表演藝術中心籌辦的『馬戲棚計畫』，在此累積了豐富的創作經驗，並專注於棍子為主要創作素材的實驗性馬戲演出。
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共同創作及演員｜陳宥任 

高雄出生，臺南長大，現居臺北。 國立臺灣戲曲學院民俗技藝學系畢業，國立臺北藝術大學舞蹈系碩士班舞蹈創作組，休學中。 表演涉足行為、戲劇、舞蹈、馬戲，擅長默劇與小丑，致力於通俗詼諧又不失細膩的創作，企圖以幽默的糖衣包裹些許道理，用橫隔膜的顫動鬆動觀者的心防，使他們在笑聲中堅強。 ​
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共同創作及演員｜黃翊 

馬戲表演者/自由藝術家
近期不斷探索，從⼩到⼤練習扯鈴長時間⾝處「⾃省時刻」裡頭的寶藏。並嘗試以馬戲物件轉化自黃翊的⽣命誕⽣後，⾃我與⾃我不斷問答而建構出的個人片段世界觀，想要與演化出⾃我的世界產⽣對話。
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近期腳印有
2024年日本DANCE×Scrum!!! Festival《一顆房間裡的隕石》 ，2023年雲門劇場《馬戲少年1+1》-〈有名字的扯鈴〉，以色列Israeli Juggling convention客席藝術家，TED×NDHU「Amor fati」擔任講者/表演者。

排練指導｜吳和儒
出生於臺灣，美國紐約大學舞蹈系碩士畢業。於2014年加入Indah Walsh Dance Company，2019年加入驫舞劇場擔任排練助理。近年參與作品：驫舞劇場《無奈中消失也是積極中的幸福》、《明日公休》、《野台羅摩》、《兩男常罩》、《問美・雲知道》、《蔴荖也有一首舞》、《Center Center》、《14》、《One Danced》、《Thank You So Much For Your Time》；Jérôme Bel 《攏是為著陳武康》、《The Show Must Go on》；葉名樺《跳芭蕾》、《牆後的院宅》、《十七年蟬》；Igal Perry 《Between Shadow and Light》，Google Experiments in Storytelling《Face Us》；《Cube life》等。
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執行製作｜鄭伊婷 
現為自由工作者，
多年國際與國內節目承辦經歷，主擅長劇場製作、跨領域執行策劃跨界製作，並與舞蹈、戲劇、視覺裝置及跨界實驗等相關創作者及團隊合作。曾任職於國家兩廳院節目企劃部，多與不同機構單位進行國際節目及專案活動規劃執行。近年曾參與製作與國際連結計畫包括：2019瀨戶內海國際藝術節與臺灣阿卡貝拉藝術節合作、2019桃園地景藝術節 藝術品製作統籌、2022、2024杜塞道夫國際舞蹈博覽會 專案經理、2023臺灣文化創意博覽會 空總展區專案經理、2023白晝之夜表演藝術行政統籌、 2024臺灣文化創意博覽會文化策展 執行統籌等。
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音樂設計｜賴奇霞
賴奇霞，聲音藝術創作者和擊樂手。曾獲選至法國里昂 GRAME 音樂創作中心、比利時 Het Entrepot 藝術實驗室、台北國際藝術村進行藝術駐村創作。近年參與聲音設計之表演藝術作品包含：一公聲藝術《共振計畫：木魚》、驫舞劇場《看見你的自由步》、新點子實驗場《聲妖錄》、壞鞋子舞蹈劇場《嶼空對練》、超親密小戲節《回望.trace》、TIFA《共振計畫：拍頻》、和給瑞典當代樂團 Curious Chamber Players 的四重奏作品《造...》等。現為一公聲藝術核心成員，以聲音藝術創作者、音樂設計者、教育工作者、演奏者和製作人等多重身分致力於藝術。http://linktr.ee/laichihsia        
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空間設計｜余瑞培
自由工作者，畢業於台灣大學戲劇學系、倫敦藝術大學中央聖馬丁學院表演藝術設計與實踐研究所。從事戲劇、舞蹈、電影、電視、展場活動、音樂節演唱會等各類藝文項目之場景空間設計、技術規劃、佈景繪製。
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燈光設計｜王宥珺   
1994年出生於臺灣，2017年畢業於國立臺灣藝術大學，主修戲劇學系。
​作品風格擅長運用光影線條建立空間感，透過獨特的用色強調當下的氛圍和情緒以突顯在畫面上的張力。在她的作品裡可以看見在與藝術家密切創作下以不同觀點切入，創造出別於他人的光影語彙。
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參與作品涵蓋戲劇、舞蹈、音樂劇、樂團演出及展覽，曾赴加拿大、美國、 法國等海外戲劇節演出，入圍2022國際劇場設計大展（WSD）燈光設計新銳組。
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服裝設計｜鄧宇芳
長期擔任電影、電視、影展、商業廣告和大型活動的服裝指導與造型設計，合作對象包括張震、舒淇、楊采妮、柯震東等知名藝人。她參與的電影作品有《逆光飛翔》、《大三元》、《三生—尺蠖》等。2018年，她加入驫舞劇場擔任營運顧問及服裝設計，參與作品包括驫舞劇場的《兩男關係》、2023年秋天藝術節陳武康與皮歇·克朗淳合作的《野台羅摩》，以及2024 NTT Arts NOVA、2023-2024國家歌劇院駐館藝術家陳武康的《無奈中消失也是積極中的幸福》。此外，她於2023年加入日本古典舞踊—宴盛流，並持續推動舞蹈藝術的發展與推廣。
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舞臺監督｜林省吾
畢業於國立臺灣戲曲學院•劇場藝術學系
2021年起於【隨機觸發 RANDOM TRIGGER】擔任技術統籌。
2023年起於【黑米創意工作室】擔任專案經理。
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2018-2023/05 於【國家表演藝術中心國家兩廳院】擔任統籌舞臺監督，負責多項演出及活動的技術統籌與舞臺監督，曾參與 2019 舞蹈秋天《微舞作》、2020 夏日爵士派對系列、2021 TIFA《千年舞臺，我卻沒怎麼活過》等節目。

2015-2017 年於【上海張軍崑曲藝術中心】及【崑山當代崑劇院】擔任演出製作及技術統籌，參與新編崑曲《春江花月夜》中國巡演、《我,哈姆雷特》世界巡演、《牡丹亭》定目劇等演出。。

【演出暨製作人員名單】

概念｜陳武康、周伶芝

共同創作｜王健銘、朱宸祐、吳政穎、陳宥任、黃翊 (依姓氏筆畫順序)

排練指導｜吳和儒

製作執行｜鄭伊婷

音樂設計｜賴奇霞

空間設計｜余瑞培

燈光設計｜王宥珺

服裝設計｜鄧宇芳

舞台監督｜林省吾

舞台技術指導｜余瑞培

舞台技術人員｜陳賢達、林瑞恩
燈光技術指導｜蔡政霖
燈光技術人員｜吳岳翰、王彩霏、劉宗博  

製作｜臺北表演藝術中心

演出執行單位｜驫舞劇場

★ Between norms and freedom, they use their bodies to write perfect stories of imperfection!

★ What does it matter if you are different? Let every moment become an opportunity for self-discovery!

From the moment I arrived.

Starting with the asking of questions about what ”the circus” and ”the spirt of the circus” are, we use the circus to understand how a group of people becomes a group, how the rules of a group operate and bind, and how to think about the differences and similarities among individuals in a group.

As the nature of the circus is ”adventurous,””dangerous,””alternative,” and “unusual,” circus performers need to practice for a long time to be able to present their ideas about and creativity in the circus arts. In this highly physical process of self-pursuit, they face different values and societal norms, going back and forth to examine, search, and dialogue. The circus has a fixed image. However, in terms of contemporary creative development, it has not been typecast. Circus creators desire to break free from conventional intentions, but end up touching upon physical and spiritual aspects. In this work, a group of creators has initiated an exploration of multiple themes: health and pathology, examination and provocation, boundaries and challenges, and normality and abnormality.

Starting with the above-mentioned thought process, five performers developed creations corresponding to their respective personalities and areas of expertise. They interacted with one another, with questions and secrets that could only have emerged from their time together. They have their respective determinations and fragilities, scars and persistence, nakedness and methods of escape, innocence and imagination. In round after round of battle performances, there may not be anything superb or extraordinary, but rather a diligent response of a ”problem child” to the world, while asking the definition of failure in a performance that is not like a circus act.

This is a production about standards, rules, and frameworks that performers face. Between obedience and resistance, they share their imperfections with the audience. Their physical determination and skill are expressed through circus choreography and games, in addition to their relationship with the world, challenging breakthroughs, feelings of being exposed, and existential thinking. Perhaps, being a ”problem child” is also an alternative exploration of understanding and imagination of the absurdity of this world and life.

Concept : Chen Wu-Kang

Wu-Kangwas born in Taiwan. He started his 12-year collaboration with New York based choreographer Eliot Feld in 2001, whose practice influenced him greatly. In 2004, he co-founded HORSE as artistic director, significant works of the company include Velocity (2007, Taishin Art Award), 2 Men (2012, Kurt Jooss Preis). He co-created and performed Dances for Wu-Kang Chen, Taipei Art Festival in 2020 (2021 Taishin Performing Arts Award). Recent works: Thank You So Much for Your Time, Thank You For Staying Home, 14 online streaming, Two Men, Ten Years Later, Choreographing Story, Closed Tomorrow, Dance a Dance to Remember.

Concept : Chow Ling-Chih

Independent curator, art critic, dramaturg, writer, and creative aesthetics instructor.

In addition to special topic planning for books, magazines, lectures, and workshops, she participates in the curation, research, and planning of arts festivals, performing arts creations, exhibitions, groups, and venues.

Co-creation and Performance: Wang Chien-Ming

From Puli Town in Nantou County.

Earned an MFA in Acting from the Graduate Institute of Theatre Performance and Playwriting at Taipei National University of the Arts; actor, Dr. Rednose Association.

As a people person, he loves to perform.

It is the diversity and inclusiveness of the circus world that he loves, as well as its possibilities for constant exploration.

He is a circus enthusiast and a member of Taipei Juggling Club’s Monday Juggling Meeting.

To him, failure is a creative context and he likes to search for those corners that have been neglected or forgotten.

Recent works:

2024 Solo performance: Loser Emperor - Art Wonderland, Taipei Children’s Arts Festival

2023 Solo performance: My TONE 2.0 - Taipei Fringe Festival (Taipei Fringe Choice Award)

Co-creation and Performance: Zhu hen-You

Zhu Chenyou / ugly show, vaudeville circle, choreography

A native of Taipei, he worked in cooking in his early years. He is a chef and is also nicknamed Chef.

In 2015, he studied at the National Taiwan Theater Academy, Department of Folklore Arts, and began to learn and get in touch with the circus ecology.

The core and central idea of ​​the creation is "black humor, absurdity and abruptness, abnormal behavior, irony and ridicule, and daily life." He uses circus to tell the current social events he has observed before, as well as his own personal life experiences and interesting things in life. Arrange and create using irony and black humor.

Co-creation and Performance: Wu Zheng-ying

Originally from Kaohsiung, he graduated from the National Taiwan College of Performing Arts. He is currently engaged in circus performance creation and theater performance at Circus Gate. In the early days of his career, he was involved in fire dancing and street performing. Then, he turned to comedic circus works, gradually developing circus performances based on real life themes.

In 2018, he presented Ba Ha Ga! at Street Act Lab. This work was later performed at the Taipei Children’s Arts Festival and Taoyuan Land Art Festival, as well as for the Weiwuying Circus Platform. In 2022, Ba Ha Ga! began touring, with performances at four major art and cultural venues in Taiwan.

From 2022-2023, he participated in the Taipei Performing Arts Center-organized Open Studio circus program. There, he accumulated rich creative experience and developed experimental circus performances using juggling sticks.

Co-creation and Performance: Chen Yu Jen

Born in Kaohsiung, he grew up in Tainan, and currently resides in Taipei. After graduating from the Department of Acrobatics at the National Taiwan College of Performing Arts, he was admitted to the Master’s degree program in Dance Creation in the School of Dance of Taipei National University of the Arts, but is currently on planned leave.

His experience covers the fields of performance art, theater, dance, and circus arts. He is a talented mime and clown and is committed to creating performances.

Co-creation and Performance: Huang Yi

Circus performer/freelance artist

Recently, he has explored the treasures found in “moments of introspection” while practicing diablo tricks from childhood to adulthood. He attempts to use circus objects to transform his fragmented worldview, constructed from the constant asking and answering of questions between himself and himself, since the start of his life as Huang Yi, and to produce a dialogue with the world in which he has evolved.

Recent works and appearances:

2024 One Meteorite in a Room - DANCE×Scrum!!! Festival, Japan;

2023 Circus Youths 1 + 1-The Diablo Has a Name - Cloud Gate Theater;

guest artist, Israeli Juggling Convention; speaker/performer, TEDx NDHU “Amor fati”

Rehearsal Master: Wu Ho-Ju 

Ho-Ju is originally from Taipei, Taiwan. She received an M.F.A. in dance from New York University’s Tisch School of the Arts. Ho-Ju joined Indah Walsh Dance Company in 2014, then slowly shifted her career path as a rehearsal assistant and joined HORSE as company rehearsal assistant in 2019.Recent works she has participated in include: HORSEDance a Dance to Remember, Closed Tomorrow, Choreographing Story, Two Men, Ten Years Later, unCloud-Meiyun X Wukang, Your dance your way, Center Center, 14, One Danced, Thank you so much for your time; Jérôme BelDances for Wu-Kang Chen, The show must go on; Ming-Hwa YehDancing Ballet, The house behind the wall, 17 Years Cicada; Igal PerryBetween Shadow and Light; Google Experiments in Storytelling Face Us; Cube Life.

Executive Production: Ella Jheng

Ella JHENG is currently a freelancer with years of experience organizing international and domestic programs. She is skilled in theater production, cross-disciplinary production, and collaborations with creators and groups in the fields of dance, theater, visual arts installations, and cross-disciplinary experimental works. She previously worked in the Programming and Planning Department of the National Theater & Concert Hall and has implemented international programs, projects, and activities with various organizations and agencies.

In recent years, she has been involved in the 2019 Setouchi Triennale and Taiwan International Contemporary A Cappella Festival collaboration; 2019 Taoyuan Land Art Festival (artwork production coordinator); 2022, 2024 Dusseldorf Internationale Tanzmesse NRW (project manager); 2023 Creative Expo Taipei (C-LAB exhibition area project manager); 2023 Nuit Blanche (performing arts coordinator); and 2024 Creative Expo Taipei (cultural curator and coordinator). 

Sound & Music Designer: Lai Chi-hsia

Lai Chi-hsia is a Taiwanese sound artist / percussionist. She has been artist in residence at GRAME (Lyon), Het Entrepot (Bruges), and Taipei Artist Village, developing sound installations, music and new media performance works. Her recent music and sound design works include Reverberation: Muyu, FreeSteps AR Yours, Parallax archeology, .trace, Reverberation: Pulsating, remake: reflecting in three ways, and etc.

In 2015 Chi-hsia founded One Litre Sound, and currently she works as a sound creator, music designer, performer, concert producer and educator.

Space  Design:Yu Ray-Pei 

Pei was born in Taiwan, majored in Drama and Theatre with specialisation in Stage Design at National Taiwan University, and received his MA in Performance Design and Practice at Central Saint Martins, University of the Arts London. He works as a scenographer/technical director/artist and has done various projects in different countries. As an active set designer and art practitioner, Pei designs sets for many different genres, including drama, modern dance, film, exhibition, TV shows, concerts and events. Also, he works as a scenic artist, a photographer and a program manager. He constantly pushes the boundaries and never stops challenging himself. 

Lighting Design:Wang You-Jyun

Born in Taiwan in 1994, WANG You-Jyun graduated from the National Taiwan University of Arts with a degree in Drama.

WANG is adept at the use of light and shadow to create a sense of space. Integrating unique colors, she emphasizes atmosphere and emotions to highlight the tension of a scene.  In her works can be seen different perspectives based on close collaborations with artists, as she creates a distinctive vocabulary of light and shadow.

She has designed lighting for theater and dance productions, musicals, band performances, and exhibitions, including for overseas festival performances in Canada, the US, and France. She was nominated for a 2022 World Stage Design Award in the up-and-coming lighting designer category. 

Costume Design: Teng Yu-Fang

TENG Yu-Fang is a veteran costume director and stylist for films, TV shows, film festivals, commercials, and large-scale events. She has worked with big names, such as CHANG Chen, SHU Qi, Charlie YEUNG, and Kai KO, and on important films, such as Touch of the Light, Big Three Dragons, and Three Charmed Lives: Inchworm. In 2018, she joined Horse Dance Theater as an operations consultant and costume designer and was involved in its production of 2 Men. In 2023, she was invited to participate in Chen Wu-kang & Pichet Klunchun’s collaborative work Choreographing Story for Artquake in Autumn, as well as 2024 National Taichung Theater (NTT) Arts NOVA, and 2023-2024 NTT Artists-in-Residence CHEN Wu-Kang’s Dance a Dance to Remember. Her other interests include costume design for Nihon-buyō and development and promotion of the dance arts.

Stage Manager: Barrett Lin

LIN Hsing-Wu graduated from the National Taiwan College of Performing Arts with a degree in Theater Arts.

Since 2021 he has served as technical coordinator for Random Trigger and since 2023 as project manager for BlackRice Studio.

From 2018 to May 2023, LIN worked at the National Performing Arts Center’s National Theater & Concert Hall, where he was responsible for technical coordination and stage management for a 2019 Dancing in Autumn micro work, 2020 Life Is Jazz, Play It Now performance series, and a 2021 TIFA production A Thousand Stages, Yet I Have Never Quite Lived.

From 2015 to 2017, he was a producer and technical coordinator at Shanghai Zhang Jun Kunqu Art Center and Kunshan Contemporary Kunqu Theater, participating in the China tour of a new adaptation of the Kunqu opera Spring Blossoms on the Moonlit River, world tour of I, Hamlet, and repertory theater performances of The Peony Pavilion. 

Creative and Production Team

Concept : Chen Wu-Kang

Concept : Chow Ling-Chih

Co-creation and Performance: Wang Chien-Ming, Zhu hen-You,

Wu Zheng-Ying, Chen Yu Jen, Huang Yi

Rehearsal director: Wu Ho-Ju

Executive Production: Ella Jheng

Sound & Music Designer: Lai Chi-hsia

Space Design: Yu Ray-Pei Lighting

Design: Wang You-Jyun

Costume Design: Teng Yu-Fang

Stage Manager: Barrett Lin