PROGRAM GUIDE

眏
湡
䭸
⽂

JUNE

WEIWUYING

5
6

MAY

Art unites the world.

谁
遯
㼟
䧮
⦛
Ⳗ
翹
㖈
♧
饱

2020

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湡ꏗ
Contents

004 5 剢⟨崞⹛籏錒
May Programs Calender004 6 剢⟨崞⹛籏錒June Programs Calender006 㼠奌
Feature030 5 剢⟨眏湡May Programs

030 6 剢⟨眏湡June Programs
044 崞⹛
ActivityꟚ긭儘꟦Opening Hours
11:00-21:00
剪⹡⚥䗱儘꟦㈒牱Service Center (Box Office)11:00-21:00
䘰䘰䵃㼦崞⹛鎝䜂♶怪䱺
For more information
遺娀斊㕜㹻谁遯俒⻋⚥䗱
遺娀斊㕜㹻谁遯俒⻋⚥䗱
weiwuying_centerforthearts@weiwuying@weiwuying_tw

064 㼬錒剪⹡
Tour Service

065 ⸈Ⰵ剚㆞
Become Our Valued Friend
066 㜥긭❜鸒
Visit Us

遺娀斊㕜㹻谁遯俒⻋⚥䗱
National Kaohsiung Center for the Arts (Weiwuying)

Preventive Measures against the Coronavirus (COVID-19) Epidemic

字滞鹎㜥긭锞ꂂざ
Please follow the policies below before entering the venue窍邍怵谁遯㣎⠶⦛涸氋䞕劍꟦暶ⴽ倰呪䧀➃⺫
A Special Plan for Performers

㔔䥰չ㓂ꅾ暶婌⫄厪䚍肾拨COVID-19պ䓽⻋꣈氋䲃倷Ӫ怵ⴀ⵹ 60 傈Ⰹ《嶋怵ⴀ㜥獆鷎⟃鑪墂劍醢⡲灇涮䪮遯庠鑑⿻䱖箻瘞⯝獆ꆄ

Performers can get a full refund for the rent if cancel the show 60 days before thescheduled date. Technical tests and rehearsals require no fee.

Ӫ⟃♴䞕䕎獆ꆄ⟃⾲㹁⭆ 50%Rents are 50% off in the following situations:Ԯ ⾲㜥㖒䱰꟦ꥬ䏠怵ⴀԯ ⾲㜥妄佖捀湬久 / ꏗ䕧԰ 倞歍锞㜥㖒鹎遤湬久 / ꏗ䕧Ա 倞歍锞㜥㖒醢⡲灇涮䪮遯庠鑑⿻䱖箻Ԯ Audience are required to sit at intervals.

ԯ Live shows are changed into online streamingor recorded videos.
԰ First-time auditorium rental for online
streaming or video recordingԱ First-time auditorium rental for technical tests
and rehearsals

Ӫ㼭㘗㜥㖒獵䖃㣐㘗㜥㖒笞䭰⾲佐顥蕰ざ倴괐ꦖ鐱⠮刿䳖㜥㖒糒糵㈒牱䖤㼠呪贖椚

If you change the auditorium reservation from the original one into a larger one, theprices remain unchanged. Please contact us for the following ticketing matters.

Ӫ㔔氋䞕《嶋怵ⴀ㜥긭㸞䱖♴⼱䎃僈䎃♳⼱䎃墂劍㼟⴪Ⰵ罌ꆀ⚛⟃㕜Ⰹ㕰꥙⮛⯓For the shows cancelled with a purpose of pandemic prevention, domestic
performance teams have the priority to schedule the time in the second half of 2020
and the first half of 2021.

Ӫ劥倰呪㻜倷劍꟦Ⰹ㺂⿻眕㕠⣜⚥㣜氋䞕䭸䳸⚥䗱涮䋒✲갪⨞怎⹛䒭㔔䥰锅侮

遺娀斊莅滞➃ず䗱⼿⸂꣈眕氋䞕仍侕Ⱏず䩧鸤莞黠㸞䗱涸㜥긭瑠꟦湱ꡠ꣈氋䲃倷⣜⚺盘堥ꡠ剓倞䭸爚鹎遤怎⹛䒭锅侮
Weiwuying will work together with the public in preventing the spread of the epidemic andbuilding a comfortable and safe venue. Adjustments following preventive measures announced bycompetent authorities will be carried out.
〥剤ꡠ㓂ꅾ暶婌⫄厪䚍肾拨COVID-19氋䞕鑬锞⿮罌遺欰犷ⵄ鿈氭氻盘ⵖ縭笪畀䧴丸䩧氭盘縭꣈氋㼠箁 1922
For information on the coronavirus (COVID-19), please see the official website of Taiwan Centers for Disease Control,
or dial hotline 1922.

Weiwuying will keep updating this special plan according to National Health CommandCenter policies.

刿㢵꣈氋䲃倷锞鑬㸽笪For more information

5 剢 崞⹛籏錒 May Program Calendar
6
Wedս娀斊⢵騥莻վ⽰莇莻骪ˌ⡮䕔蔊ս365+ DanceվImpromptu Dances – YU Yen-fang● 嚩埠䑞㜥 Banyan Plaza
19:30

056

12
Thu

2020 䨥⤰俒㣐䲿楪栬㤉剚 -շ㢚•䝿ո~ 괐螠⤜繏倛
DAI Lee-Wen Cello Recital  Summer Storm● 邍怵䑼 Recital Hall
19:30

030

20
Wed

սꠗ隡瓏梖粭劥蔅ꪫꪫ铞佦✲վշ㕬剅긭♶㸞ꬆոսAt the Reading Corner: Picture Books with Hualuluվ
The Not So Quiet Library● ꠗ隡瓏 Reading Corner
15:00

054

ս娀斊鸊ꤏ⢵վ笃䩛䭸鎙殥
Weiwuying Green Thumb Tour● 遺娀斊斊麌鳵Ⱇ㹔Ⰵ〡Weiwuying Operation Office
9:00-11:00

Eureka! 2.0 涮植遺娀斊
31 Sun EUREKA! 2.0: Rediscovering Weiwuying● 嚩埠䑞㜥⿻遺娀斊ⰗⰟ瑠꟦Banyan Plaza and Public
Space at Weiwuing

23
Sat
1 Fri

● 邍怵䑼 Recital Hall
19:30

036

邍怵䊨⡲㖷շ鸏♧㢹铪⢵铞湱耫ո
Look, Who's Cross-Talking● 䨡ⷜꤎ Playhouse
19:30

036

랔ꆄ⫄铞
Gold Battle● 邍怵䑼 Recital Hall
19:30

038

21
Sun

邍怵䊨⡲㖷շ鸏♧㢹铪⢵铞湱耫ո
Look, Who's Cross-Talking● 䨡ⷜꤎ Playhouse
14:30

036

22
Mon

갉䗱䗱갉Э亼갉溫谁 2020
Tone+Soul=Audiation Meaning Cyber True Music 2020● 邍怵䑼 Recital Hall
19:30

038

23
Tue

Departure 勭蓽䡹ꏈ楪栬㤉剚
Departure  Christina DUH Piano Recital● 邍怵䑼 Recital Hall
19:30

040

25
Thu

㼩⡙㹔Ⰹ坿禺⴪ˌշD 锅傻螠ո卌⢕ꩯ㼭䲿楪栬㤉剚
Bonnie LIN Violin Recital Sublimation in D● 邍怵䑼 Recital Hall
19:30

040

27
Sat

2020 K.I.C.P.F. 넞꧆㕜ꥹ植➿乹坿眏2020 Kaohsiung International Contemporary Percussion Festival● 邍怵䑼 Recital Hall
19:30

042

28
Sun

2020 K.I.C.P.F. 넞꧆㕜ꥹ植➿乹坿眏2020 Kaohsiung International Contemporary Percussion Festival● 邍怵䑼 Recital Hall
19:30

042

㕜用荩抓❜갠坿㕰շㄐ麌涸圖ո
2020 NTSO Series Concert● 갉坿䑼 Concert Hall
14:30

042

2020 K.I.C.P.F. 넞꧆㕜ꥹ植➿乹坿眏2020 Kaohsiung International Contemporary Percussion Festival● 邍怵䑼 Recital Hall
19:30

042

20
Sat

046

044

6 剢 崞 ⹛ 籏錒 June Program Calendar3
Wedս娀斊⢵騥莻վ字Ⱏ莻ˌ豤㪮㎗
ս365+ DanceվDances for All – SU Wei-jia● 嚩埠䑞㜥 Banyan Plaza
19:30

056

5
Fri

ⴲ㢚坿莻 - 䌌㣐꣡⚥ 698 棵갉坿剚
Dance in Summer● 邍怵䑼 Recital Hall
19:30

030

6
Sat

佦✲䊨䑖շⱄ鋅姐䑼猗ո
STORY WORKS Goodbye to Music Halls● 姐ⷜꤎ Opera House
19:30

032

鑘坿穇䔞
Poetic Extravaganza Grand Music of Tang for Guitar Solo● 邍怵䑼 Recital Hall
14:30

032

7
Sun

㼩⡙㹔Ⰹ坿禺⴪ շ䎑䟝⛓㢹։衞僈ㄤ㋲矲盘栬㤉剚ո
A Night of Fantasies − YEH Min-ho Clarinet Recital● 邍怵䑼 Recital Hall
19:30

034

13
Sat

ꀶ뜩ば 25 ヰ䎃䜂 3D 私䙂怵㈖剚
Teresa Teng 25th Anniversany Memorial Hologram Concert● 姐ⷜꤎ Opera House
19:00

034

ս遺娀斊埠峯վ字⢵騥莻սWeiwuying WonderlandվEverybody Dance● 嚩埠䑞㜥 Banyan Plaza
16:30

052

սꠗ隡瓏梖粭劥蔅ꪫꪫ铞佦✲վշ㼭㼭涸䧮ոսAt the Reading Corner: Picture Books with HualuluվThe Little Me● ꠗ隡瓏 Reading Corner
15:00

054

17
Wed

秫溫։ GENUINE W. A. MOZART 姐㈖⛓㢹㥏넞갉랔蛂ꐘ 2020 耫坿栬㈖剚
Soprano HUANG Li-chin 2020 Vocal Recital

19
Fri

29
Mon

● 姐ⷜꤎ Opera House ● 갉坿䑼 Concert Hall● 怵闍䑼 Lecture Hall● ꠗ隡瓏 Reading Corner● 䨡ⷜꤎ Playhouse● 邍怵䑼 Recital Hall● 嚩埠䑞㜥 Banyan Plaza● 遺娀斊斊麌鳵Ⱇ㹔Ⰵ〡 Weiwuying Operation Office
遺娀斊⚺鳵

㹻䏭禺⴪

怵⵹㼬翕

䏠锓

⿮莅眏湡㼬翕錚滞〳䤊牱ⵚ倴Ꟛ怵⵹ 40 ⴕꗻⰅ㜥ꤑ邍怵䑼捀怵ⴀ⵹ 30 ⴕꗻ

Performance attendees may enter 40 minutes before the start of each performance, except that entry to Recital Hall is 30 minutes before the performance starts.

67氋䞕訬䒂뢶䗱Ⱏ䒊俒 շ䨞昰㸞뇺刼ո㼬怵⚸㽳晋٥⯘蟛랿չ怵䨡涸湡涸䖰〢ⵌ➛♧湬鿪㥪嫲僽莊饱ꖏ㶩⿾僦荈搭곏爚ⴀ繡䗞涸溫頗⼻颫涸⾲䕎雊殹➿
涸➃溏ⵌ荈䊹涸涰䢀պ－ 蛏㡦嫲❏շㆁ㨗ꨮո䕠ꖏ狣陼♧ꦷ륌⣜⨈衽㿋⚊導漗涸㙹䋑䠮「ꅿ欰攨䌟嗃湱鯱倴ꆀ欴㉂ㅷ涸䐄⤺䧮刿ꅾ鋕䩛䊨谁ㅷ涸礶廴佦㹨⽈暟ꤎ긭Ⰹ㾝爚涸♧⼪ⵌ㔋⼪䎃⵹䩛䊨醢⡲佦㹨긭询涸㔋⼪䎃䩛䊨ꤲ㐼荈〢⟃⢵谁遯⤑㶸暟涸单衞넓뀿䧮劢剎聃耂麕涸둷뒊耫䧮剎⿮錚涸棟㼂ㄤꤲ㐼⟂➃끇蒈ⵌ✫넞꧆䧮剎㢵妄䬺鏞偫峸驴랱尪翕聃嵳嵠䬝䩧焺걧劆衽剤㥶僈ꖏ僦撑话㣔涸㣐嵳畮鑬衽筅䒂伱㉂㾝㈒涸ぐ䒭뛝눴錚㻌捀䧮薳㺙衆舳놎罜ꦿ鬪끇ㄎ涸㷛㶩⦛姽㢫䧮⛳剎㗂㖈遺娀斊涸䨩㢫ⷜ㜥酭溏衽䕎䕎蒀蒀涸騟➃竤麕導嵶Ⰽ➃⚆歲涸䧗➃攨窄锓鑨涸Ꟁ罏⦛♲걧Ⱉ苯涸㱙㱙⦛㥠⦛䊩䩛暽㼭㷛〸䩛暽衽权鼩欽♶濼䖰ㆭ欰ⴀ⢵涸痧♲ꦷ䩛徿䩛堥溏ⵌ鸏⦐兞韍䧮♶犝涮疮㖈鸏⦐牟翱涸䨩㢫ⷜ㜥酭涸䨾鋅䨾耂姻僽䧮➃欰⚥剓㣐涸㉬涮➃䚍Human Nature

FEATURE➃겳僽珏繡뜩涸欰暟⽰⢪徿珮月逛⛳邍ꪫ衽繡➃겳涸䟝劆ㄤ繡⽰⤑䊺鄄滞㢵⡲ㅷ䯲䯝ㄤ갲䳓

⽿⣜莍腋䩧⹛䧮剤儘⦬➃겳⛳ꄓ꣪荛噲䧮⦛涸顏㮝ㄤ㼩㣐㖒⛓嫢涸♶侣⟂➃䗱烱㔔姽䧮钢捀植➿谁遯涸䠑纏㖈倴렽莻㣐㖒⛓嫢⿻Ⱖ⯥㥏⚛⚂捀⛓㼦䪪鍑瘸㥶⡦剐㣐㖒⛓嫢鱚鱲䍲⸔➃겳糵ㄐ㥶⡦麘姺橇㞯ㄤ欰ㄐ涸搂閗罳䴦
Netflix㣆䊨䑖鶔㡦㽳碜넞哆薊㕜䑞久Ⱇ぀隌➃㆞馄䋑㆞䊨假麌噠罏䧮⦛⛳䥰鑪佅䭰䧮齶㤏晋㶰㶩뉓碜㢵賥銯٥䋪⯘焗㫫٥늄鏪⣘窍䧮⦛福굺䠮闒➮⦛䲿⣘涸俒㷸ꨶ鋕ꨶ䕧焗傱倛頺楧麨٥⽓蟛晋頥桬僒⽋欰⽓峫٥꣚㊜剽٥寂蓇捙麨٥⽓峫岁賥繏⚸蒕劢劢㸞㽳倷٥⽓兜晋将㣗䀥٥䲿晋剋倛蜓䩟暶㷆䗞晋갲碜銯٥꼛⡠ⵄ➃겳㔔谁遯罜Ⳗ翹䧮⦛诔歋谁遯錚撑荈䧮䬄ꨆ植㻜嶋⻋䞕筱갲䳓繡⦛涸谁遯㹻䠮闒➮⦛撑곃䧮⦛涸氻넓䠮闒➮⦛갉坿䨡ⷜ姐ⷜ莻骪ㄤ鋕錏谁遯⢪䧮⦛刿幀Ⰵ㖒✫鍑荈魨⟃⿻䧮⦛Ⱏ鸒➃䚍闒闒➮⦛䌟⢵涸姹疮䠮⹛莅㺕鎷䠮䧭Ꟁ捀刿㥪涸⦐넓⟃⿻纈넓搂锸僽黇〢䧴殹➛䎃✳剢捀✫䭸㼬遺娀斊偫葦醢⡲շ䨞昰㸞뇺珏剪⹡⛳僽♧珏귢ⴕ谁遯㹻欽ⶾ⡲⢵㔐䥰纈넓涸罜⚆歲ぐ㕜㥶㗂ꆚ孅䖊㖈荩抓涸♧⦐㢵剢酭䧮➿涸䕎䒭谁遯涸钲欰ㄎ䥰纈넓涸꨾宠㸐傂僽♧꨾宠⢪䧮⦛刿䓽ꯅ姹坿濼駈黩麂隶佦儘谁遯⛳䲿⣘䧮⦛䣆诔㔔姽㽠㥶䧮⦛植㖈佅䭰ꄴ刼ո䧮⢵ⵌ荩抓殹儘倞㘗ⱟ朜氻嫬姻䌏䰞⚥㕜涮錏荈䊹儘䌢䟝䱺鍸荈搭䖊㖈荩⻍涸♲⦐狲䬺䧮剎⛨㗂䰦麌ㄤ紜鮦ⵌ頥瑠驎ꫭㅷ藚澗劆㹄蕰㣐㖒⛓嫢⽰僽➃䚍㥠鋅阮✫䧮⦛涸麕⿡莅植㖈倴ぐ字停栬剤䧴Ⱏ❧涸俒⻋鼍欴搭罜欰崞⚥贡㥼涸審審斊斊⟃⢪䧮⦛莅谁遯膨眏䧮涸⠶⤁僽⡙ꧨⵠ㹻䧮⦛㔔捀鸏妄氋䞕栽䖤棇顜涸꟥内儘꟦䧮⦛鋷䩛醢⡲ꤲ㐼⛳㖈䎃ⴲ涸儘⦬Ꟛ㨥竤斊荈䊹涸蝳㕨⢵㔔䥰〳腋涸福굺瀊緄䖊㖈㹻酭涸ず儘ꤑ✫귁귢♧❉❒꨾䍲⸔涸⹛暟䧮⛳捀♴♧鿈⡲ㅷꟚ㨥ꠗ隡♧❉倞涸ㆹ㷸㼠剅ㄤ鑘꧌鸏鿈⡲ㅷ㖈锓锸鸏⦐ꬌ䌢儘劍剓꨾銴涸㣼髖䧮䋞劆

2024 䎃涸儘⦬〳⟃㼟㸐䌟ⵌ荩抓♶麕㖈ⶾ⡲麕玑⚥䧮䠑陏ⵌ荈䊹䟝⫹♶ⵌ㔋䎃䖕涸⚆歲剚隶䧭➊랃垺㶩鸏♶焷㹁䚍⟂䧮莇㥅♶䊺㔔捀鸏僽䧮涸⚆➿欰䎂껷妄䖤⟃欽刿潈兰刿幢ꄁ刿㕰穡涸朜䢀伟䩛Ꟛⶾ劢⢵涸㤏堥ⶾ鸤呏嗃倴➃䚍㔔姽➃겳♶倬涮僈䒊圓ⶾ⡲♧蠝Ⰽ⼪䎃涸谁遯〷⛳阮僈䧮⦛䖤⟃ⶾ鸤♧⦐䧮⦛劍劆㾀⡞涸⚆歲♧⦐莅桒柏蘢衞ꅿ둷埠加Ⱏ喌涸⚆歲䧮⦛䖤⟃䒊用刿㥪涸佟䏎刿㸤㊥涸⨴⥃넓禺刿⨴涸橇⥃鋊眕刿鞮꺛涸蝳㕨刿礶篊涸䩛䊨ꤲ㐼倞⚆歲瘞衽䧮⦛⿡Ꟛⶾ䧮⦛嶋鸚⛓䖕㥠⣜莍㶸㖈㥠♶꨾銴䧮⦛⡎䧮격鸏㜥椕氋䞕腋䳖《➃겳鵜涰䎃⢵剓幀ⵠ涸錏鷆宠涸頿㺢♶ⱄ僽㥠豪询涸㼂询䧮⦛嫬㹳㥠涸孵刿ꅾ銴涸僽䋞劆䧮⦛腋䖰傈䌢涸佖隶⨞饱㔔捀⦛꨾銴㥠〳䞼涸僽䧮⦛姻䳸꩛㥠涸䛸䞕䧮⦛䜂⿶揰嫆㥠涸過聘㖒椕衽抡✫罜䧮⦛涸聘魨⛳黩「岚⿻㥪嫲㼩荈䊹♧䩛鸤䧭涸寓厪暟饱✫麕併⿾䥰䧮⦛涸焬䱖佞鹧䖤㖒椕䘰銴璝䜂䧮⦛涸肾⛳㔔捀ⱟ朜氻嫬罜䘰銴緄孻聃鋅鸏⦐陪鎝䧮⦛剚ꄁ⢵㌨鼩僽䧮⦛剚捀✫顏漗罜䙐鋕㸐䧮⦛僽や剚佖隶䧮⦛醢鸤涸欴ㅷ欴ꆀ⟃⿻湡涸鼩僽䧮⦛〫䟝衽漗㔐硱錏鑑㉏չ昿奚ꆄ輑넓禺պ䧮⦛腋や䪭二ꅾ骪銼鱼涸➿⭆蜓ꬌ䧮⦛銴瘞ⵌ♴♧妄椕氋䞕旙涮䩞격䠑幢ꄁ㌨ꄁ䋞劆䧮⦛鿪腋琎噲ꬠ倞⢵䪌鱲㖒椕涸ㄐ麌搂侸稣㼭涸佖㊥稡琎♴⢵㼟剚捀劢⢵涸⚆歲䌟⢵幀黇涸䕧갠䧮⦛鸏♧⦐鼇乵㼟僽➃겳♧蠝Ⰽ⼪䎃⟃⢵剓⨀㣐涸ⶾ鸤谁遯⿾僦荈搭蛏㡦嫲❏㥶僽铞㥶➛鸏꬗ꖏ㶩㼟⚆歲涸䢔朜僦撑滚⵹䧮⦛䥰殹嫲⟃䖃刿姻鋕㥠涸蕲汥⚛私䙂䧮⦛鼇乵䧭捀谁遯㹻Ꟛⶾ劢⢵涸姽儘姽ⵠ㼠奌

FEATURE㼠奌䪮遯㥶卓剤堥剚䧮剚♶䞼⟤⡦➿⭆⿡䖤ⵌ♧⦐8

9The Global Pandemic:
Creating our New World
By Daniel KRAMER"…the purpose of playing, whose end, both at the first and now, was and is, to hold, as 'twere, the mirror

Netflix, Dreamworks, Disney, MGM, BBC, Beyoncé, Belinda Carlisle, Elvis, Ibsen, Caryl Churchill, Confucius,

up to Nature: to show virtue her feature, scorn her own image, and the very age and body of the time his

Rumi, Dorothy Parker, Pina Bausch, Akram Kahn, Frida Kahlo, Remedios Varo, Rodin, Ai Weiwei, Anish

form and pressure." - William Shakespeare, Hamlet

Kapoor, Wolfgang Tillmans, Mozart, Mendelssohn, Missy Mazzoli: the arts draw humankind together tosee our own reflection, to escape our own stories in the compassionate shoes of Others, to process
our painful emotions, to celebrate our shared beauty, to grow into better individuals and communities.
In its most ancient and contemporary manifestation, art is created bycommunity members for the larger community's needs. Art is an act ofservice and of nourishment. Artists catalyze their community's needs tomake us stronger, more resilient, more joyful, more appreciative. Especiallyin times of trouble, art offers us sustenance and community. As muchas we now raise up our health workers, our grocery store staff, our travelindustry, we must also hold up our artists – thank you for caring for our
sick bodies, thank you for feeding us, thank you for providing us literature,
television, film, music, theater, opera, dance and visual arts that take us
deeper into ourselves and our shared humanity. Thank you for making us
laugh, cry and belong.
During my month in Taiwan to direct Benjamin Britten's War Requiem for
the National Kaohsiung Center for the Arts, Weiwuying, I found myself
constantly wanting to connect with Nature as the coronavirus took hold ofChina and loomed over the rest of us. My first three weeks in Taipei, I took
the train and cable car to Maokong for long walks in nature, to smell andtaste the sublime tea leaves, to see the giant city nestle into the hill side
like a sleeping dragon, to feel the leaves of wild, tropical plants, to hear theunique birdsongs, many new to my Western ears. I went to the National
Palace Museum to marvel at jewelry and pottery hand crafted over 1000
to 4000 years ago. In Kaoshiung, I went to Qijin island multiple times to dig
my feet into the sand, to listen to the waves smack the pier; I inhaled thegrey mirror of sea reflecting the blue sky. I perused endless stalls of salted
fish and children squealing with delight at my copious beard. And above all
else, I sat in the Outdoor Theatre in the Kaohsiung Centre for the Arts andwatched lovers stroll by, lost in time eternal; I watched elders meander by,㼠奌

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deep in conversation and contemplation; I giggled at mothers, multi-tasking with babies on left arms,

produced kitsch. All of this false busy-ness has disconnected so many of us from the fine arts whichdogs on right arms, and mobile phones on super-hero third arms! And indeed, it was here, here in thispopulate the history of our individual and shared cultural heritage. So, we are making pots in our new,sacred amphitheater where I heard and saw what inspires me most in life: human nature.

heavenly spare time. In the face of potential food shortages, we have also planted our home garden
early this year. I'm trying to foster a few animals in need, while quarantined in our home. I am reading

We are beautiful creatures, even in our comic follies. Our hope and our beauty, that so much art

some intensive new philosophy and poetry for another show that I hope to bring to Taiwan in 2024

celebrates, moves me to stillness often. We are also horribly ugly creatures, at times: our greed and– a show about miracles which we need now more than ever. But what I am mainly thinking, withdisrespect for our home, the Earth, breaks my heart too often. I believe that is the point of modern art:

great excitement, is this: I don't know the world I will be in 2024!!! For the first time in my generation's

to raise up Mother Earth, and all of her children, and to solve the question: How we can prolong Motherlifetime, the future of life is ours to CREATE anew – together! – as a wiser, woken, united global

Earth and therefore human kind? How do we stop the senseless loss of habitat and human life? Mothercommunity. Because this is the essence of human nature: TO CREATE. We invent. We build. We create.

Earth IS human nature. She wins. Before us. During us. After us. SHE will reign queen. She does not

This is what 12,000 years of art history offers us all: WE get to create the new world we wish to inhabit

need us. We need her. We are pillaging her gifts; we covet MONEY which is no longer connected to her

with the monkeys, with the tea leaves, with the birds, with the jungle plants. We get to create bettergold. We are intoxicating her air. We are burning her flesh. Our earth is on fire; our bodies are on fire; ourgovernment, better health care, better environmental rules, better gardens, better home-made pots

earth is suffocating with carbon emissions; our lungs are suffocating with coronavirus like an allergic

over mass-produced junk! The new world is ours to create.

reaction to our own pollutions. Will we awaken to this alarm? Or will we press snooze again? Will wechange what we produce, how much we produce, WHY we produce? Or will we simply try to go back to

May this pandemic be the deepest awakening that our human nature has in a hundred years, and may

sleep again? Can we afford to go back to before, Mister Patriarchal Financial System? Until what, thewe all be an active part of creating the changes necessary to change the fate of our Mother, the Earth.

next pandemic?

And above all else, may we all practice the essential new hundred tiny changes in our day to day lives
that will make a massive difference to the globe we want to inhabit. The changes we make now will be

I would do anything to own one of those 4000-year-old homemade pots in the National Palace

our greatest creation of the last 12,000 years. Art is here to reflect Nature, Yes, Shakespeare! The Mirror

Museum. My partner is a sculptor; I value the craftsmanship of things made by hand over mass-is reflecting a very painful picture of Nature to us. Let us see Her, more clearly than ever, and celebrate
this moment when we all finally get to become Artists and create our tomorrow.

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灶㡏䧮⦛涸氻嫬僽剓䗏㼭溏♶鋅
⽿剤䓽㣐䠮厪⸂⡎Ⳗ翹䧮⦛涸⛳僽剓䗏㼭溏♶鋅ず垺剤衽䓽㣐䠮厪⸂˘俒 荩抓韠ⷜ㕰谁遯籏湌 桬嵳梥

FEATURE㼠奌FEATURE㼠奌2020 䎃䩞ⶍꟚ僱枦♶⿻꣈涸肾拨氋䞕界䘰鸠⛳僽鸏垺涸冾⨢雊䧮⦛䪾䨾剤✲䞕鿪佞ⵌ♧鼹⸗⸂荩抓涸字滞鿪䖎荈䖒ꂂざ䏞䖎넞陪錏䚍厪⸂涸罜Ⳗ翹䧮⦛涸⛳〳⟃僽♧⦐剓䗏㼭溏♶⦐《嶋鏪㢵鋊ⷔ⛳鿪꬗荆ぐ珏♶焷㹁罜⨢仗˘䧮⦛ꅾ倞乩䫵㹻➃ꅾ倞钢陏鸏⦐⚆歲僽鸏垺涸殹搭⛳銴糒糵㛚䭰♴⿡幀询㖈䧮⦛涸䗱酭邍怵谁遯㼩չ繡պ涸鷆宠⟃訬䒂椕㖈邍怵谁遯歲涸䧮⦛滚溏衽怵ⴀ♧⦐

剤➃铞⚆歲鄄䭾♴✫冾⨢꒳㼩䧮⢵铞魨捀♧⦐怵㆞㖈秋嬞♳䵦怵涸➃欰涰䢀♧ㄎ♧⛓꟦❠僽⢵荈荈䧮騈⚆歲涸鸮穡莅Ⱏ뒊腋佞⛳
銴䥢䖤佐莻〵♳僽㥶姽꬗㼩➃欰䙼罌⛳꨾㥶姽鸏妄氋䞕雊䧮⦛涸欰崞莅䊨⡲鄄鶗⨢✫♴⢵欩荛♶侒㢫ⴀ⡎⛳僽鸏垺涸冾⨢雊䧮⦛尐ꬆ♴⢵㼩嫲⛓⵹僽㥶⡦鶵㣟㖈♧岚⿶♧岚涸䘑烮酭䩞腋溏幢嘽➊랃䩞僽剓ꅾ銴僽鸏垺涸冾⨢雊冾⨢雊䧮⦛䠮䛸⾲⢵⨴䐁㺢駈荈歋˘鸏⛳䖎넞鸏♧ⴗ鿪僽䖰♳ⵌ♴涸⸗⸂緄♧♶〳❉鿪♶僽椚䨾殹搭僽㢵㼱➃Ⱏず涸⸗⸂㖈椕氋䞕涸遼乹♴䧮⛳溏ⵌ✫邍怵谁遯⚛尝剤䖰㼭䧮㽠剤⦐չ桬㣐苠պ涸筀贫㈖㈥⨞䩧㖈ⷜ㜥湱翹⡎僽㖈笪騟♳㖈輶䍌⵹㖈羮堥ⱄ䙦랃葾ꨈ涸䮋䨞䧮籏僽⯏怏䨞⹨㸐涸놽䘋䧮䖎䎋麌⛳䖎⸗⸂莻〵欰巆㼟鵜Ⱉ⼧䎃谁遯㼩䧮欰ㄐ涸剓ꅾ銴涸㉬涮僽雊䧮幀⥌尝剤䨾閗涸♶⹪罜栽嫦⦐➃鿪䥰鑪捀麨䧭荈䊹䟝銴涸湡垦罜㼠岤㛚䭰♶倬⸗⸂꬗㼩氋䞕䧮⦛⛳꨾銴♧饱⨢姺㸐姻㖈欽♶ず涸䕎䒭㾝植ꧪ搭䧮⦛♶♧㹁酭㖈溏麕♧鿈礶䕙㥪晚㖈聃麕♧媯⹛➃涸갉坿䖕䧮⦛➠搭䱺「衽谁遯䨾䌟窍䧮⦛涸꩏⹛罜䠮⹛衆帒䧴姹疮䧴䖤⟃派浝涸䎂ꬆ灶㡏䧮⦛涸氻嫬僽剓䗏㼭溏♶鋅⽿剤䓽㣐䠮鋅⽿剤䓽㣐䠮厪⸂涸匌銯侕⡑㖈䧮⦛涸魨鼹⿻㸐䨾䌟窍➃⦛涸չ䠦պ姻僽腋㼩䫒灶㡏⚛Ⳗ翹䧮⦛涸剓㣐腋ꆀ㸐腋㼟䧮⦛鸮穡㖈♧饱雊䧮⦛걽桧湱䥰雊䧮⦛顦鵜䕹姽涸䗱雊䧮⦛㔔捀乩
剤Ⱏず涸䠮「罜筝筝湱粯鸏⦐䮋䨞鼩尝麕⿡雊䧮⦛Ⱏ넓儘葾♧饱⸗⸂격㣔⡡荩抓⛳捀⚆歲父犷

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The virus is tiny, invisible but hypercontagious, whereas what binds us together
share similar traits: it is also tiny, invisible
but hyper-contagious.
By WANG Hai-ling㼠奌When spring 2020 was just about to set in, the rapid circulation of the coronavirus caught the globe

gain" is true. Everyone should stay focused and committed to their goal and keep working on it.

unprepared. Among performers, we watch one show gets cancelled after another and multiple
plannings have to come to a halt under siege from all kinds of uncertainties.

To tackle with the coronavirus, we should work together. Taiwanese people are showing a high degree ofself-discipline, responsiveness, and vigilance. This is made possible by everyone's effort and as we areSome say the world's pause button has been pressed. As an actor, every moment I inhale and exhale

all playing an indispensable part, we should move onward and upward.

to represent the kaleidoscopic aspects of life on stage distills from my connection with the world andwhat I find resonating therein. While on stage, I need to be able to release as well as restrain, and it isWith the global impact of Covid-19, I don't see that performing arts stop in its tracks. It is operating

also the case for what you make of life.

through other channels. Although we are not necessarily finding each other in the theater, the arts
are still moving us into tears, laughter, or providing therapeutical placidity with a good film or two or a

Our life and work are forced to hit the brakes because of the pandemic, which even makes goingcompelling melody. The show still goes on, be it online, before the screen, or in the earphone.

out an intimidating task to undertake. And yet, it is precisely this kind of respite that makes us slow
down, look back, and realize with hindsight how lost we have been when days and weeks slipped by in

To our detriment, the virus is tiny, invisible but hyper-contagious, whereas what binds us together

those packed schedules. Taking a break also helps us see what the most important thing is by leaving

share similar traits: it is also tiny, invisible but hyper-contagious. It scatters around us and lies deep ineverything aside. We regain time and space to stay close to our family and loved ones and to see theour heart; it is the pursuit of beauty that performing arts strive for, and it is the love we feel therefrom.

world in a new light. We come to be grateful because it is now clear that health, a good livelihood,

Beauty and love are two of our greatest powers to fight this battle together. We are brought together

and freedom are hardly things taken for granted. These are the fruit of many people's contribution.

on the same page feeling close to each other, because we are connected through what we share inEver since my childhood I have kept "Wang the Bold" as an epithet. Techniques as demanding as all thecommon.

singing, speaking, acting, and acrobatic fighting in Peking opera always fill me with so much motivation
to overcome and master them. Being lucky, I work hard too. With a career reaching its sixth decade, I

The trial is not over yet - let us bear the brunt and work together. My very best wishes for Taiwan andview art as the most important inspiration for my life. It convinced me that the adage of "no pain, no

the world.

FEATUREFEATURE

㼠
奌

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谁遯㉬涮䧮㼩⚆歲涸ꡠ䧃⚛雊䧮㔐䥰荈䧮㔐䥰⚆歲⽫韍幀ⵠ涸僽➛䎃荩抓㖈꣈氋涸ず儘麂ⵌ㱙牏粕㞯涸㣐㘗字꟦崞⹛♲剢泇㱙牏㥶卓⟃猰㷸ꄴ
派涸錬䏞⢵溏㥶姽㢵➃涸纈翹悴㖈涸⽭ꦖ䚍ꬌ䌢Art extends my continuous care about the world, and it isa practice where by I respond to myself and the world.
「鏞罏 Intervieweeշ䕙赙涸湈걧ո管莻㹻 卌㹆槪 Choreographer of The End of the Rainbow | LIN I-Chin

Q: 谁遯㼩䝡欰ㄐ欴欰剓ꅾ銴涸㉬涮僽➊랃ꡠ䧃㼩倴➃橇㞯⚆歲欩荛㼩倴鼩劢濼涸꬗♶倬㖒䮕䱡荈䊹㥪㣼涸劢濼涸꬗ぢ⡎殹ⶾ⡲剤䠑陏䧭捀⡲ㅷ䖕⡲ㅷ涸湡涸㽠♶⫦⫦僽荈䊹✫䧮䋞劆鷴麕ⶾ⡲罏涸䙼笞䲿⣘♧⦐䇩倞涸鋕錬⚛

⟃鱲⻋帳ꑙ麕涸ⶾ⡲䕎䒭䩛岁莻骪魨넓괐呔⢵雊滞➃溏鋅雊ⶾ⡲罏ㄤ錚颣罏Ⱏず莅⡲ㅷ湱✽中乹䙼鳺㔔姽谁遯ꤑ✫Ꟛ㉬䧮㼩倴⚆歲䭰糵涸ꡠ䧃谁遯ず儘⛳僽䧮㔐䥰荈䧮㔐䥰⚆歲涸㻜驏麕玑㥶⡦㼟荈䊹䨾鋅涸⚆歲莅滞➃欴欰㼩鑨鸮穡㥶⡦〮㋎滞➃䨾鼍䘎涸Ⰹ㺂䫈䧴䲿ⴀ倞涸䙼笞莅滞➃鎣锸㥶⡦♶〫僽չ䲀꤫ⴀ倞պ鹎遤ⶾ⡲罜僽㼩倴䧮䨾ꡠ䧃涸陾겗⽰⤑꤫莍绢⟃捀䌢䭰糵幀Ⰵ䱳鎣㼟Ⱖ缺鱲ꅾ倞㹁纏ⱄ妄鑣ꅼ
Q: 䝡㥶⡦鑣ꅼ氋䞕遼乹♴涸➃䚍鸏溫涸䖎醳꧹˘˘䧮㨥穅湱⥌➃涸劥颶僽չⴕ❧պ莅չ✽⸔պ⡎㔔捀橇㞯괐⤺俒⻋⥌⟓瘞䊴殯嫦⦐㕜㹻莅➃字鿪剤荈䊹꬗㼩氋䞕涸贖椚倰䒭䧮钢捀㥶⡦⟃Ⱘず椚䗱莅➃奚⡲捀⮛⯓涸㛇劥钢濼⢵꬗㼩♶ず⭆⧩錚涸➃⦛僽ꬌ䌢ꅾ銴涸넞⡎⟃⥌⟓涸錬䏞䧴鏪剤➃剚㛚䭰♧㹁銴莊鳵㔔捀㱙牏剚⥃⡡㣐㹻俒㶶侮椚 Interviewer

鏪尃広 HSU Ching-Yu

Q: What is the most significant inspiration thatart gives you?
I'd say it's care, the care about people, theenvironment, the world and even what remains
unknown. My work often starts from my subject
position and goes on to probe into aspects
about which I'm curious but know so little as yet.
However, when something is in the process of
becoming a work of art, you can no longer keep
it at the realm of your own subjectivity. I wantto put forward a new perspective as an artist
and create forms and choreographic styles thathave undergone changes and refinement tomake people see things afresh. My work is to be
an instance in which the artist and the audience
come together to dialogue and debate with thework itself.
A n d s o, a r t o n t h e o n e h a n d ex te n d s mycontinuous care about the world, and on the other
hand it is a practice whereby I respond to myself
and the world.How to bring the world as you
see it into the conversation thread involving theother? How to broach something that people has
forgotten, or bring something new to the table?
How can a work of art not be just "innovative"
inasmuch as the old gets abandoned but to go
deeper into what I care about (no matter how㼠奌

FEATUREFEATURE㼠奌湱涸ꡠ䧃䧮涸ⶾ⡲ⴲ㨥⹛堥鸒䌢僽䖰荈魨ⴀ涮

run-of-the-mill or taken for granted it appears tobe)? How can I turn the subject around, redefine
and re-interpret it?

㖈鸏⦐⢿㶩䏁♴䧮䙼罌涸僽⫄窡俒⻋涸չ〳隶պ莅չ♶〳隶պ㥶卓㱙牏鼁㞯〳⟃鄄《嶋齡랃⥌⟓僽➊랃㥶卓㱙牏鼁㞯♶腋鄄《嶋➿邍涸⿶僽➊랃鸏♶僽✳ⴕ猰㷸莅⥌⟓涸㷩㥪㷩㡏罜僽㔐걧鴄阮荈䊹㼩倴⥌⟓涸溫姻椚鍑剤❉鼁㞯崞⹛冾⨢僽㔔捀䑔倰仉瘠㱙牏䭸爚䒂劍⛳䧴罏ⱄ妄增鋕⥌⟓⚥չ➃捀պ涸䧭ⴕ鸤䧭⥌⟓涸չ秫䏞պ

Q: ꬗㼩椕氋䞕涸遼乹䝡钢捀谁遯崞⹛䪐怵衽䙦랃垺涸錬蒀邍怵僽ꬌ䌢չ殹♴պ涸♧珏谁遯䕎䒭錚滞涸⿮莅雊怵ⴀ涸腋ꆀ䖤⟃㸤侮崩⹛⡎氋䞕遼乹涸姽ⵠ邍怵谁遯㖈鸏⦐չ殹♴պ곏䖤䲃䩛♶⿻⛳㔔捀㣐鿈ⴕ涸邍怵崞⹛冾⨢䧴䒂劍雊䧮刿僈焷涸䠮「ⵌQ: What do you make of human character in faceof the impact of Covid-19?
This is very complicated˘My belief is that it isout of human nature to help and share things
with each other, whereas the difference ofenvironment, customs, culture, religion and so on
influences the way in which every nation and its
people deal with the pandemic. For me, it is very
important to treat people abiding by different
values respecting the premise of empathy andhuman rights.
I can recall vividly earlier this year that the efforts
to counteract the coronavirus coincided withmassive processions in celebration of Mazu, as
March of the lunar calendar is held as the monthin worship of the sea goddess. From the point

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谁遯㖈➃⦛䗱⚥涸ꅾ銴䚍㸐僽♧珏䫉䞕⫄黃❜崩㼩繡涸㾵妄涸庯宠㖈氋䞕䨾鸤䧭涸䛌䧌枤毠♶㸞⛓⚥谁遯崞⹛穪㼩僽〳⟃箣遼䞕筱涸♧珏遤⹛䧮⦛〳⟃溏ⵌ姘崎㕜㹻㖈㾀㹻鼚氋涸儘⦬➃⦛㖈ꤿꤎ瑭衽꣈隌邆騥衽荈䊹字停涸莻骪䧮♶犝䟝衽㖈鸏搂岁纈翹涸儘劍䧮⦛〳⟃欽谁遯⢵⨞❉➊랃

Q: 2018 䎃涸遺娀斊荩抓莻骪䎂〵䝡䌟⢵շ䕙赙涸湈걧ո䟝鷴麕鸏⦐怵ⴀ⫄麨➊랃嚌䙂⟃Ⳗ翹滞➃ヤ ?
շ䕙赙涸湈걧ո鸏⦐⡲ㅷ《勞荈荩抓㋩袱⭑䒭⚥暶

剤涸暽❗姐ꤏ⚺銴Ⰹ㺂㖈䌟걆❗뇺麕♲⼧Ⱉ騟ꡠ⼧嫄㻤ⴼ剓穅鸒䖃銯倰噲坿⚆歲涸麕玑⡎幀Ⰵ灇瑖暽❗姐ꤏ䖕䩞䠑剚ⵌ鸏갪⭑䒭涸㼩韍⚛

♶㋲㋲僽❗罏刿ꅾ銴僽㖈⚆涸➃暽❗姐涸姐鑂Ⰹ㺂⚥⫄黃窍欰罏㼩倴欰ㄐ涸棇䞼莅鞓麨䣆诔涸僽㖈⚆涸➃雊➮⦛佞♴㼩鸚⿡鋷➃涸䝲⫊嶋ꤑ㼩倴娦❗劢濼涸䛌䧌ЭЭ暽❗姐ꤏ涸剓穅湡涸Ⱖ㻜㽠僽㥶姽շ䕙赙涸湈걧ո鷴麕ⷜ㜥涸䩛岁鱲⻋暽❗姐ꤏ涸莻骪魨넓铃䕀莅䕎䒭䌟걆錚滞♧ず鹎Ⰵ齡㾵➃겳㔔捀劢濼罜䠮ⵌ䛌䧌涸꬗ぢ鸏⟨劢濼涸穅噲䠑纏⡂⛖㽠僽窍荩抓窍荩抓➃㼠㿂涸չ荩䒭影厬պ

acutely felt. Art speaks to the need for expression,transmission, communication, and the pursuit of
the beautiful. In the midst of fear, suspicion, andanxiety caused by the pandemic, artistic activity
no doubt provides relief for the mental strain.

With this example in view, I'm thinking about what
can be changed and what cannot in traditional
culture. If the Mazu procession is somethingthat can be cancelled, then what remains ofbelief? If the procession stays untouchable, what
does it mean? The answer does not come down
to the binary of science and religion and theimplication of value judgments. This incident puts
what I know as belief back into dialectics, not tomention the complexities inherent in decision
making. Since there are temples that attributethe event's cancellation to Mazu's will obtained
through divination, it is hence interesting to museon the "purity," as it were, of religious belief andthe role played by "artificial" intervention.

We can see people singing and playing music
together from their balcony throughout European
cities in lockdown and there are also nurses
and care takers have a go of their folk dance inprotective clothing in a hospital in China. can't
help thinking what we can do with the arts intimes when gatherings are banned.

Q: What kind of role do you think performing arts
play in the outbreak of pandemic?
Performing is an art form of the here and now
par excellence. The participation of the audienceis vitally complementary to the dynamics ofthe show. The impact of Covid-19 makes thehere and now insufferable for performing arts.
We are caught unprepared, and with most of
the programs suspended or postponed, howmuch the arts matter to people becomes more㼠奌

FEATUREFEATURE㼠奌〵♳姹坿姐㈖ざ㤉涸㜥兞⛳剤⚥㕜隌椚䌌㖈ꄴof view of science and medicine, having throngsof people coming together is running massive
potential risks. And yet, believers may insist thatthe procession go ahead because Mazu will blesspeople, according to their faith.

Q: In Weiwuying's 2018 Taiwan Dance Platform
you performed The End of the Rainbow. What doyou want to say through the show? How does itbring people together?
The End of the Rainbow draws on the Taiwanesefolk ritual of khan-bông-tÌn, a funeral procession
to guide the dead through singing. It runs througha journey across 36 passes (understood also as"challenge" or "obstacle") and 10 courts of Hellfor the final trial leading up to the entrance ofWestern Paradise.
As I carried out more research I realized that
this ritual does not simply address the dead, but
perhaps more importantly the living as well. The
lyrics mostly convey the appreciation of life andhow you can let go of it to its listeners, bringing
solace to the living such that they can release thegrief for their loved ones and erase from mind theuncertainty and fear of death. That's actually theultimate purpose of this procession.
The End of the Rainbow deploys the theater totransform the dance vocabulary and form of thefuneral procession into something that guides
the audience to explore the human fear for the
unknown. And what the unknown can possibly
mean here, I think, comes down to terms specificin the Taiwanese culture, and I would like to call it"Taiwanese tenderness."

20殹䧮錚㻌♧⦐⹛暟䧮剚䟝暓莅瑠꟦㶸㖈䙦랃垺涸✽⹛䧮〳⟃㥶⡦⿡䯲䯝暓涸䕧⫹鸏垺稣䗏涸䠮「雊欰ㄐ刿剤隶⻋䚍Art is like a butterfly emerging from its cocoon as it
absorbs what is most essential and refined to achievetransformation.
「鏞罏 Intervieweeս㣐羮労㜥긭⿼㊥鎙殥վ聆㼬錒㆞ 峿俒䑞 Eyes and Ears Project Sign language tour guide | HONG Wen-guang俒㶶侮椚 Interviewer

鏪尃広 HSU Ching-Yu

21
Q: 谁遯㼩䝡欰ㄐ欴欰剓ꅾ銴涸㉬涮僽➊랃谁遯⫹灶粳罜ⴀ涸軤軨佐剓礶螠蟌摏涸匌銯⚛䖰⚥欴欰踙隶㸐㽠⫹♧⦐㯯➝诔歋♶ず涸俒⻋➃暟ㄤ剎䱺鍸麕涸♧ⴗ⿡雊欰ㄐ刿糔秼䠮「⚆歲涸Ꟛꡀ䧮䖰ⴲ⚥㽠䱺鍸伢䕧㔋⼧䎙䎃麕⿡♧湬⟃⢵鿪䖎㋐姹伢䕧伢䕧僽殆♴欰ㄐ剓繡㥪涸鿈ⴕ⿡諶㶸蜹伢䕧雊䧮刿併ꌴ⿡錚㻌欰崞䫌⡞傈䌢⚥剤影䏞涸➃✲暟蕰僽䧮錚㻌ⵌ♧⦐⹛暟䧮剚⿡䟝⫹暓䱺♴銴⨞欩랃暓莅瑠꟦㶸㖈䙦랃垺涸ꡠ⤚✽⹛䧮〳⟃㥶⡦⿡䯲䯝暓涸䕧⫹鸏垺稣䗏涸䠮「雊欰ㄐ刿剤隶⻋䚍
Q: 䝡㥶⡦鑣ꅼ氋䞕遼乹♴涸➃䚍氋䞕涸涮㾝㽠⫹ꨶ䕧շ㾏鸠⴪鮦ո♧垺♧⦐䱺衽♧⦐♶倬䒂⠽欰崞隶䖤䖎筝䓹➃䚍隶涸䖎噲畮僈곏♧꬗僽湈顑⨞㥪䊨⡲涸ꄴ隌➃㆞ㄤ溫铇ꡠ䗱➮➃涸➃⦛〥♧꬗⵱僽㸤곏ꪫ➃䚍荈猙涸♧꬗䧴僽㼩氻嫬♶⟃捀䠑涸⛳剤欰崞涸獘䎸鄄䩧✥➃莅➃⛓꟦涸䞕䠮⛳〳腋剚ⴀ植灶鄭⿾⛓氋䞕涸⢵銔䧴鏪僽⦐㤏堥䌟⢵欰崞♳涸尐慈䎂䌢䌢⿮⸈翹剚涸➃鿪䗳갭銴箣♴⢵Art is like a butterfly emerging from its cocoon
as it absorbs what is most essential and refinedto achieve transformation. Art is a medium thatmakes life more colorful through different culture,people, and what the viewer has had as lived
experience inasmuch as you get to feel how wide
the world is. Since middle school photography
has become my hobby and remained much so for
the following four decades. Photography seeks
to glean from life what strikes the photographer
as the most beautiful aspect and leave out theinsignificant part.
Photography gives me a keen eye to observe
life so that I can capture subject matter thatreverberates with my inner feelings. If I'm looking
at an animal, then I'd go on and think what its
next move would be and what kind of relationshipit has with its surroundings. I'd also think about
how I'm going to present its image, and this seriesof questioning and answering has enhanced mysensibilities to perceive how volatile life is.
Q: What do you make of human character in faceof the impact of Covid-19?
The pandemic resembles the plague in Train to
Busan by hunting down one victim after anotherand going on and on. Life becomes tense in sucha way that the extremities of human characterget revealed easily. There are medical workers
strongly committed to their duty and people
who care about others from the bottom of theirheart, whereas there are also individuals carrying
blatant self-interest and people who remain
indifferent. Life gets ruffled and interpersonal
relationship may break up because of the mental
strain. And yet, if there is such a thing as theopportunity brought about by the pandemic, it'dbe the hiatus that people must now settle into.
The partygoers, for example, have to slow down
and live differently now.

㼠奌

FEATUREFEATURE㼠奌

Q: What is the most significant inspiration thatart gives you?

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Q: 㥶⡦鷴麕谁遯⡲ㅷⳖ翹➃莅➃⛓꟦涸䞕䠮⵹ꤏ㶩䧮⿮⸈✫⚥勠脌呠莻骪谁遯㹻涸䊨⡲㖷⿮莅罏⦛䕹姽♶钢陏鿪䖎筝䓹遈㹳繽涸♧Ꟛ㨥䧮⦛鮅㖈㖒♳溏衽㣔蔅匢瑠諴諴涸㣔蔅匢䒸涮䖎㢵䟝⫹殥꬗姻僽㔔捀欩랃匌銯鿪尝剤䨾⟃♶剚鄄⤂ꣳ鸏⦐ꡠ꒳雊䧮佞논✫♴⢵ꦑ衽谁遯㹻涸䒸㼬剤❉➃⨞ⴀ㹁呔⹛⡲䧮⦛♶腋鍸焥➮〫腋䱺鵜溏溏➮耂耂➮䠮「➮涸孵䜂ㄤ影䏞
⽰⢪♶鍸焥⾲劥꣫欰涸➃⦛䖰劥⢵涸繽惯鿪隶涸嫲鯱Ꟛ佞♧럊騅ꨆ䬘鵜✫♧❉
Q: ꬗㼩椕氋䞕涸遼乹䝡钢捀谁遯崞⹛䪐怵衽䙦랃垺涸錬蒀邍怵谁遯剓腋䒸䧮涸僽莻〵ㄤ莻罏邍怵罏涸肉넓㾝植⽫韍剓幀ⵠ涸僽⿡䎃錚颣շ㣔䩞逛跗ո涸꼛䨡邍怵莻罏㖈〵♳涸邍怵䓹⸂ⵞ慨✫䧮⦛涸➃搂岁䱺佐ⵌ聃錏涸稣篊㔔姽鋕錏꺨㹶涸❧「呔㢫ꅾ銴㖈氋䞕遼乹涸ꬌ䌢儘劍♴邍怵谁遯腋㣁⫄麨姹坿蕰剤刿㢵䕧鋕⡲ㅷ〳⟃鍸⿻➮➃䞕筱⡜衆涸➃㼟栽䖤♧❉䣆诔诔姽꣮⡜荈䊹涸搋䣂谁遯⛳腋㣁렽⺑爢剚雊㣐㹻⥃剤䋞劆遼瑳幾㼱➃⦛㕰穡饱⢵⚛✽湱䪜䭰ざ⡲⫹僽⤜繏倛蜓倛猰㣐ⷜꤎ㖈♲㔋剢剤Ⱉ㜥姐ⷜㄤ蓺謠莻涸怵ⴀ㼟㖈

Youtube ♳湬久24 㼭儘Ⰹ鿪〳⟃錚颣䕧晚鸏垺涸倰䒭腋雊搂岁ⵌ㜥涸➃腋㣁Ⱏ鈷渿莊罜荩抓剓鵜剤♶㼱谁俒崞⹛《嶋ꧪ搭〳䞼⛳遼乹ⵌ谁俒欴噠⽿⛳Ⳗ翹✫♧珏㕰穡涸孵⹴㾝植ⴀ㣐㹻Ⱏ넓儘葾♧饱⸗⸂䟝銴丑麕鸏妄涸氋䞕涸嫏⸂

What appeals me the most in performing
arts is the physical expression of dancers andperformers on stage. I was very much taken
away when I went to All Genius All Idiot lastyear. The theatrical tension deeply stimulated
our visual experience and their technique wasjust impressive. My deafness impedes me fromappreciating the audible content of the show
and that's why the visual occupies such a central
place for me.
In this time made exceptional by the pandemic,
performing arts bring happiness to people andif there are more videos accessible, they may
comfort those who are depressed. Art can cheer
up the society and sustain people's hope. Art may
attenuate tensions and bring people together tohelp and work with each other. I think of the six
opera and ballet productions that the Bolshoi
Theatre in Moscow is going to stream on Youtube
for free through March and April. The shows areaccessible in twenty-four hours and those who
are unable to get to Moscow can now have ashare of the wonderful performances. Even if
it's such a pity that many cultural events havebeen cancelled in Taiwan and the arts industry is
suffering a great deal, there is a sense of solidarity
emerging from the general imbroglio that we will
figure out a way to get through this together withclenched teeth and head held high.

䧮溏麕♧❉礶䕙涸邍怵谁遯怵ⴀ邍怵穡勲⛓䖕➃⦛溏㸤㽠侕㜥✫䠮⹛㥪⫹〫㶸㖈倴錚滞莅邍怵⛓꟦⟃⵹溏䋒郍䨡儘㣐㹻鿪⡞䖤鵜ⵌ㔿㹁涸㖒倰溏邍怵倾鼹涸錚滞㽠僽⡹涸ꁈ㾀搭罜植㖈㣐㹻㥪⫹鿪僽黇麥罜⢵⿮莅♧妄䚍涸崞⹛邍怵➃涸騅ꨆ馊⢵馊黇剓腋㣁Ⳗ翹➃莅➃涸䥰鑪㽠僽⫹⟃⵹㖈嚩埠♴溏䋒郍䨡邍怵涸儘⦬✫ゅI recently signed up for a dance workshop heldby NAKAMURA Kurumi. In the beginning theparticipants were edgy and timid because we
didn't know each other yet. We lied on the floor
and looked at the ceiling. The emptiness of theceiling served as a springboard for many imagined
scenes. It was precisely because there wasnothing that we encountered no constraints. Forme, this was the key to relaxing. In following theartist's instruction, some made still poses. We
could not touch the posing participant but could
approach, watch, smell or even feel his or her
presence, that is, the breath and warmth of being
there. Even though there was no direct contact,
people who had been unknown and reserved toeach other became relieved and more sociable
afterward.
In some of the excellent shows I've been to,people left the venue right after the performance,
as if the connection only existed between theaudience and the piece. In the traditional puppet
theater, in contrast, the audience assembled at
one recognized spot and you got surroundedby familiar faces because they were all yourneighbors. And now, my sense is that people comeall the way to the show and thats itˌsomethingthat holds people together has dissipated in timeand seems to be retrievable only in those days
when puppet theaters operated under a banyan
tree.

㼠
奌

FEATUREFEATURE㼠奌鋕錏넓뀿➮⦛擿䰯涸䪮䊫⢪➃⽫韍幀ⵠ䧮⦛聆

Q: What kind of role do you think performing arts
play in the outbreak of pandemic?

Q: How to use the work of art to bring people
closer together?

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〫銴馊佞䖤Ꟛㄤ錚滞涸騅ꨆ㽠馊鵜The less reserved I was, the closer I got with the audience.
「鏞罏 Interviewee〵抓䩛铃缺陼⼿剚椚✲Ꟁ 눛㥶ば President of Taiwanese Association of Sign Language Interpreters | WEI Ju-Chun俒㶶侮椚 Interviewer

鏪尃広 HSU Ching-Yu

Q: 谁遯㼩䝡欰ㄐ欴欰剓ꅾ銴涸㉬涮僽➊랃㼭儘⦬㹻㞯㼭䐁㹻䏭竤憘⫦腋笞䭰欰崞㛇劥Ꟛꌼ谁遯鄄昿嫢钢捀僽剤ꐏ➃㹻䩞剚⿡梖涸㤱⢹ㅷ䨾⟃⽰⢪㒷䖃腋䳸扵䕙瘘殥殥瑭衽涯秲觍酝驼艁騥鬪穅瑖⛳⫦腋⨢殆㖈㣆䟝㣐㷸儘⻍怔攨過㖒⿮莅✫邍怵爢㕰鷴麕䨡ⷜ莻骪㕰䐁雊荈䊹ㄤヰ黩鏪㢵➃欴欰✽⹛⽰⢪濼麥ㄤ溫姻箻㹻㶩嫲饱⢵䧮騥涸怵涸♧럊⛳♶䙦랃

I was born to a middle-class family whose modest
income was only sufficient for subsistence. The
arts, for my parents, are luxury exclusive for thewealthy. So even if I had dreams for drawing andhopping up and down in ballet tutu, dreams were
but dreams.

individual judgement seems to lose ground to thereification of mass media and posts circulating
among social media chat groups.
Q: What kind of role do you think performing arts
play in the outbreak of pandemic?

Q: ꬗㼩椕氋䞕涸遼乹䝡钢捀谁遯崞⹛䪐怵衽䙦랃垺涸錬蒀㢫㖈涸湨䖰ㄤ二䣯㥶卓腋㣁鷴麕㹐錚侸亙ㄤ椚兰

I went up north to attend college and joined aperforming club. My enthusiasm was intensified
by programs containing drama, dance and othergroup activities as I got in touch with so many
people around me. I knew my technique wasnothing in comparison to true professionals, but I
could feel the artistic drive to unleash something
every time I got on stage. The less reserved I was,the closer I got with the audience. This gave me
the courage to be who I am and express myself inthe following instances of work or personal life.

姻䌢涸欰崞⡲䜂ㄤ㷸绢崞⹛䧴鏪爢剚䊺竤绢䢫갫

Q: What do you make of human character in faceof the impact of Covid-19?

诔鱲⻋捀⥌䗱⹅孵

Q: How does the Eyes and Ears Project in which
you are involved bring people closer together?

恸➃겳涸ⴼ倬⸂㽠馊⢵馊䓳✫

Media coverage and heaps of information are justoverwhelming and often cause people to follow
packaged opinions like sheep or worry too much.
If one can maintain good health and immunity
through fact-based advice and reasonablejudgement, one is in a perfect position to keep
up living and learning. My sense is that today

Q: 䝡䨾⿮莅涸遺娀斊㣐羮労㜥긭㼬錒㥶⡦Ⳗ翹➃莅➃⛓꟦䞕䠮

Ears are actually things that matter the least inEyes and Ears Project, because the sign language
composed by the tour guide has an architectonic
dimension that goes beyond speech. Whether
your are hearing-impaired or not, you get toappreciate that immediacy hand-shaped in visual
terms.

垺〳僽嫦嫦畀♳莻〵鿪錏䖤剤♧肆䟝䳸扵涸谁遯뇺〫銴馊佞䖤Ꟛㄤ錚滞涸騅ꨆ馊鵜鸏⛳雊䧮㖈䖃䖕搂锸㖈耷㜥欰巆䧴僽欰崞㸞䱖鿪腋⹅侒涸⿡邍麨ㄤツ植

Q: 䝡㥶⡦鑣ꅼ氋䞕遼乹♴涸➃䚍㣖㢵涸㯯넓㜡㼬㣖㢵꧹✥涸鎝䜂雊➃ꤴⰅ搂閗ⴼ倬捀荈䊹䒊用䲿⼮⯝氋涸꣈隌⸂穪㼩腋笞䭰衽㯯넓䙼罌爢❜纈穉⛳剤㣖㢵鎝䜂鱲顦ⴕ❧恸氋䞕⚥姘崎鏪㢵㕜㹻字滞荈涮䚍㖈ꤿ〵ざ㈖䕎䧭ⴽꟚ欰ㄐ涸ꤿ〵갉坿剚⛳剤鏪㢵갉坿㹻㖈荈㹻怵㤉鷴麕䎂〵穉䧭頺㢵蓸涸ջ䘰坿갲ռ㖈➃䗱䟡䟡⛓ꥹ㸞乁꣈氋搋䣂涸䗱雊⚆➃䗱꫙栽䖤䣆㖈㣐羮労㼬錒崞⹛⚥羮労Ⱖ㻜剓♶ꅾ銴聆㼬錒㦫䩛굳莻ⴀ涸搂耫铃鎊꧱䩛㛜毕莅䒊眡暟ざ罜捀♧涸㣼暶傍䊺馄馊铃鎊搂锸聃➃䧴聆➃鿪腋湈䞕❧「鋕錏❜剚儘齡⟨䗱걆牟剚涸㤹㦫

Across European cities in lockdown, balconies
become a place where people come up to singand form a kind of concert to cheer things up.
There are also musicians who play in company
with others through online chat group to pull
Beethoven's Ode to Joy together. Art brings relief
to people in turbulent times such that some ofthe positive impact can grow into confidence andcourage.

㼠奌

FEATUREFEATURE㼠奌

Q: What is the most significant inspiration thatart gives you?

26䨞昰㣔担泱氋鿪♶剎꣖姺邍怵谁遯涸⫄䪭㣐担ꨈ酭♧㹁剤⦐㣐涸狲暟ず儘瘞衽鄄㾝Ꟛ
When the world gets beset with an apparently invincible
crisis, then there must be a big gift awaiting its discovery.
「鏞罏 Intervieweeս娀斊⢵騥莻վ莻骪罉䌌 ⡮䕔蔊 Weiwuying 365+ Dance teacher | YU Yen-fang俒㶶侮椚 Interviewer

鏪尃広 HSU Ching-Yu

27
Q: 谁遯㼩䝡欰ㄐ欴欰剓ꅾ銴涸㉬涮僽➊랃䧮㼩邍怵谁遯涸莇馱彂荈倴㼩⚆歲涸㥪㣼搂锸僽갉坿莻骪䨡ⷜ䧴僽ぐ珏邍怵谁遯䕎䒭谁遯

剤♧⦐㣐涸狲暟ず儘銴瘞衽鄄㾝Ꟛ⿶䧴鏪僽

Q: What do you make of human character in faceof the impact of Covid-19?

窍䧮剓㣐涸㉬涮僽➃䖤⟃鷴麕鸏❉䕎䒭⿡ꅼ佞⦐➃㖈瀊冾涸欰ㄐ麕玑⚥涸䨾䙼䨾䠮鸏❉䟝⫹䖎㢵儘⦬㖈傈䌢欰崞⚥尝剤ꅼ佞涸瑠꟦䧮⦛⛳搂䖰濼麥Ⱖ➮➃涸Ⰹ㖈⚆歲鷴麕谁遯䧮⦛〳⟃斊鸤♧⦐㸞涸橇㞯㖈谁遯涸鱲⻋⚥邍麨荈䧮䧮⦛⛳〳⟃瑭馊〢➛⿡钢陏⚆歲♳娜〷♳門㢵⡲ㅷ胝䖕齡♧⦐➃䨾竤娜涸➃欰ㄤ➮涸䟝⫹䧮⦛〳⟃鷴麕⦐➃涸ꅼ佞⿡㉬涮刿㢵➃Ꟛ㨥䟝⫹荈䊹涸ꅼ佞㖈䧮涸䠮錏酭鸏❉鷴麕⚺錚䠮「䫔㼙㛜毕ⴀ⢵涸娜〷ㄤ⚆歲嫲⛓〷㹻瘘♴涸娜〷剤儘鼩刿溫㻜尝鳵岁鑣ꅼ䧮錏䖤鼩♶ⵌ鑣ꅼ涸儘꟦⛳♶錏䖤㖈鸏⦐刜⚆担涸꬗⵹➃겳䊺竤剤㔐䥰䧴鑣ꅼ涸

FEATURE✫♧⦐溏⡂搂岁⯘剪涸㣐担ꨈ齡랃鸏酭꬗♧㹁⛓⵹鸏⦐⚆歲麕䏞簳䞕倴厥❉❧「罜妁♴❉鏪⫈植㖈僽犳㹳곏植涸儘ⵠ➃겳㖈꬗㼩氋担鿪僽䗱㶸⬡⦥涸⡎⿶㼩鵜㖈滚⵹涸莞黠ㄤ鰋논尝剤䫼䫒⸂倴僽娜〷籏剚ꅾ怵㽠⫹⽓籢㖈ջ롗氋ռ酭䲾鶤涸ջ䖰♧⦐㐽㣆ⵌ〥♧⦐㐽㣆麕⿡涸鿪僽➃ռ

Q: ꬗㼩椕氋䞕涸遼乹䝡钢捀谁遯崞⹛䪐怵衽䙦랃垺涸錬蒀䧮籏錏䖤邍怵谁遯崞⹛㖈꬗㼩氋担⟃用⽰䚍涸⨢怵⡲捀꣈氋䲃倷殹搭僽㖈瑳㥶Ⱖ⢵涸殹♴♶䖤䊺涸鼇乵⡎殹氋担䭰糵⟃邍怵谁遯꫙崞涸劥颶⢵铞莅Ⱖ⟃⨢怵⡲穡⦝♶㥶佅䭰谁遯㹻⟃♶ず㯯➝ㄤ䕎䒭䭰糵ⶾ⡲蕰铞錬蒀涸鑨邍怵谁遯崞⹛
剓鑪㾝植涸僽欰ㄐ⽰⢪㖈剓顇泴罜「ꣳ涸㢫㖈哭⟝⚥➃⣜莍⥃剤荈歋䟝⫹ㄤ麉䨡涸奚⸂䧮♶钢捀邍怵谁遯䧴僽谁遯劥魨㖈鸏㜥氋担酭䥰鑪䪐怵䙦垺暶婌涸倞錬蒀⿾罜錏䖤谁遯㹻ㄤ㜥긭䥰鑪䙼罌谁遯♧湬⟃⢵涸錬蒀僽➊랃⚛⚂䒂糵㸐娜〷I am in no place to "make of" anything yet. I don't
think the time is ripe for this and man is far frombeing able to respond to this epochal disaster andassign meaning to it. My intuition is that "Fortune
and misfortune are two buckets in the same well"- when the world gets beset with an apparently
invincible crisis, then there must be a big giftawaiting its discovery. Or conversely, if the world
has gone too far in hedonism and accumulated
some debt, then now is very likely the moment oftribulations to pay what is due. There is always astrain of speculation in how we deal with plagues,
while we often yield too easily to the present
comfort and lapse into sloth. History repeats
itself, just as Camus writes in The Plague: "fromone bad dream to another, it is men who passaway."㼠奌

FEATURE腋⸂䧮剓㣐涸湬錏僽չ犳犷湱⣜պ殹⚆歲ⴀ植

My interest in performing arts stems from thecuriosity about the world. From music, dance,
drama to any other kind of form of performance,
what inspires me the most is the way in whichthese forms enable us to articulate thoughts andfeelings given the brevity of our life. In everyday
life, the space for this kind of imagining andarticulation is sparse and we have little clue
about what's going on in others' mind. Throughart we are able to fabricate a safe environment
allowing for self-expression in artistic terms.
Art also empowers us to travel through time toaccess an individual's lived experience and hisor her imaginary realm via this person's work. An
individual articulation can instigate more people
to explore their own way of self-articulation. My
sense is that the history and worldview gleaned
from the prism of subjective feelings sometimes
contain more truth than the scholarly account of
the past.

Q: 䝡㥶⡦鑣ꅼ氋䞕遼乹♴涸➃䚍㼠奌

Q: What is the most significant inspiration thatart gives you?

28

29
♳䨞昰㣔担泱氋鿪剎⢵✫⿶饥⡎鿪♶剎꣖姺邍怵谁遯涸⫄䪭〫僽鱲⻋䧭✫ⶾ⡲涸귢ⴕ㼩䧮⢵铞䠂僽륔㣐涸担ꨈ谁遯㹻ㄤ㜥긭刿䥰鑪갺䓽㖒䭰糵㖒ⶾ⡲ㄤ䙼罌䭰糵⟃厬鮿涸ⶾ鸤⸂꬗㼩㛚炽涸氋担

Q: 䝡鷴麕莻骪娀斊⢵騥莻涸崞⹛⫄麨➊랃䙼䟝⢵Ⳗ翹滞➃䧮尝剤䟝麕չⳖ翹պ滞➃欩荛錏䖤㖈鸏♧岚爢❜毝ꨆ酭걧䧮⦛剤堥剚䪾麕攨涸舡郍玖䗏莞箣♴

Q: Is there an idea of bringing people together inyour involvement in Weiwuying 365+ Dance?

剚溏䖤刿幢嘽⛳铞♶㹁䠮闒遺娀斊涸鼝秉㼩倴I haven't thought about "bringing people together"and there is perhaps something positive in theobservance of social distancing, which seems to
be a good occasion for us to take a hiatus fromthe frenetic life-pace and reflect on somethinginterior, personal or more relevant to life. Keeping
the 1.5-meter distance probably allows us tosee people better in a way. I'm thankful for
Weiwuying's invite and coming here to dance is avery simple thing for me as a dancer: I'm here to
put people into a bit of exercise when Taiwan still
enjoys the freedom to have people hanging out inthe public. If this can drive some blues away andreduce pressure to motivate people to carry on,
I'm more than happy to work on that.

娀斊⢵騥莻䧮涸䟝岁䖎㋲秫⟃♧⦐莻骪䊨⡲罏涸魨⟨㖈荩抓㼿剤긅酕❧「♧饱㖈ⰗⰟ涸㜥㚖瑠꟦⹛♧⹛涸䎋犷涸儘⦬䧮⢵䌟㣐㹻⹛♧⹛㥶卓诔姽〳⟃莞箣♧❉뇓䝹窍㣐㹻♧럊럊㠺⸂涸ꅼ佞诔姽㟞⸈✫♧럊럊欰崞㥶僽糒糵涸腋ꆀ齡䧮剚䖎격䠑捀姽鏤䟝ㄤ⸗⸂FEATURE

Q: 䝡剤尝剤⟤⡦䟝㼩㣐滞铞涸鑨❀剢鼩〳⟃♧饱騥莻䧮⦛剚⟃剓넞涸鋊呔⥃隌㣐㹻涸㸞㥶卓⡹錏䖤⹛♧⹛剚雊⡹嫲鯱Ꟛ䗱娀斊涸鑨⢵騈䧮⦛騥騥莻㥪㌨

Q: What kind of role do you think performing arts
play in the outbreak of pandemic?
Suspending ongoing programs right away as ameasure to counteract the coronavirus, of course,
is what has to be done at short notice under
the circumstances. But as the situation goes on,
the solution entails not so much suspension as
finding a way to support artists and performers
to continue their work through different media
and form, given that performing arts are so apt toadapt. If there is a role for performing arts to play,
it should first and foremost show that the human
freedom to imagine and play will stay on despite
the worst external destitution and compromise.
I don't think there is a new role for performing
arts or art itself to play in this pandemic; on thecontrary, artists and curators should figure out

Q: Do you want to say something to the public?
Likely, we may dance together in May. The
strictest measures will be put into place toguarantee your safety. If staying active makes you
happier, save the date for the dance, if you will!

㼠奌

FEATURE⢵㔐娝嫲鯱Ⰹ㖈涸⦐➃涸欰崞⚥涸荈溁⛳〳腋僽♧⟝䖎㥪涸✲ꥬ衽 1.5 Ⱇ㽯涸騅ꨆ⛳鏪㼠奌what the role of art has always been and keep
making it real. Throughout history, war, disaster,and plague come and go and have never stopped
people from passing on the heritage of theater.
Instead, the passage of these incidents nourishedartistic creation. For me, the greater the disasteris, the more strongly artist and curators should
stand their ground by working on their projects
to face the brutality of plague with flights ofcreativity.

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DAI Lee-Wen Cello Recital Summer Storm

31

5.12 Tue. 19:30

2020 䨥⤰俒㣐䲿楪栬㤉剚 -շ㢚•䝿ո~ 괐螠⤜繏倛● 邍怵䑼 Recital Hall● 牱⭆ Tickets NT$ 300, 500䎃➿㈒牱 ERA TicketꟀ 80 ⴕꗻわ⚥㜥⠅䜂 10 ⴕꗻ| Duration is 80 minutes with a 10-minute intermission.

♲⡙乿넞馄涸⡲刼䪮岁湱✽鰜僦诔歋㣐䲿楪⡜導⾩㻜影情幀䞕넞❙慨馊涸耫갠㫔㫔⫙鏰넞䌌㣐갉坿禺⚺⟤ˌ幀Ⱘ눃⸂涸㣐䲿楪㹻䨥⤰俒⿻剓「姹鵔涸倰⡙ꏈ楪㹻䑁淉わ㼟ⱄ䏞伟䩛ざ⡲⟃㢵䎃莻〵邍怵鞮⾩涸䏁豪怵糋㾝爚幀鼦涸坿䙼⿻䝿⹛鶵➃涸楪갉The unique compositions of the three Russian giants echoed each other. And with the deep, warm,
affectionate sound of the cello, they whispered. The charismatic cellist DAI Lee-wen, and the mostpopular all-round pianist LIAO Chiao-han will present profound and passionate musicianship withcharm on stage.
怵ⴀ刼湡 ProgramӪ 㽳〢䬘٥碜❏倛猰㣗倛㛇a 㼭锅㣐䲿楪㤉뒊刼⡲ㅷ 81 Ӫ 䗞碜暶ꅽ٥諽㡦㝝넞笞㣼d 㼭锅㣐䲿楪㤉뒊刼⡲ㅷ 40 Ӫ 闒晋覈٥兜繏넞螩㣗C 㣐锅㣐䲿楪㤉뒊刼⡲ㅷ 119 | Ӫ Nikolai MYASKOVSKY: Cello Sonata No.2 in a minor, Op. 81 Ӫ Dmitri SHOSTAKOVICH: Cello Sonata in d minor, Op. 40 Ӫ Sergei PROKOFIEV:
Cello Sonata in C Major, Op. 119

MAY⚺鳵㼩⡙㹔Ⰹ坿㕰 | Presenter: Counterpoint Ensemble | 怵ⴀ罏㣐䲿楪䨥⤰俒ꏈ楪䑁淉わ | Performer: Solo Cello/ DAI Lee-wen; Piano/ LIAO
Chiao-han

6.5 Fri. 19:30

Dance in Summerⴲ㢚坿莻－䌌㣐꣡⚥ 698 棵갉坿剚● 邍怵䑼 Recital Hall● 牱⭆ Tickets NT$ 300, 500

Ⰽ䑼ꤎ㈒牱 Arts Ticket. | ӹ遺娀斊剚㆞飑牱⮛䟃Ꟁ 110 ⴕꗻわ⚥㜥⠅䜂 15 ⴕꗻ| Duration is 110 minutes with a 15-minute intermission.

嫦㔋䎃䌌㣐꣡⚥갉坿棵 698 棵涸ず棵ず㷸籏剚倴莻〵♳翹껷伟䩛莊鳵갉坿剚698 䧭㆞ⴕⴽ倴㕜Ⰹ㢫ぐ㣐㼠ꤎ吥⿻ぐ㣐坿㕰⟤來⟤耷㖈갉坿莻荩莅闍荩涸痧♧箁♳崞鬪鸏纈䠮䞕噲⢕涸갉坿㹻㼟ⱄ妄ず〵怵ⴀ⟃Ꟁ⛉⿼铿稡琎涸랿㤏ツ植갉坿谁遯涸礶널ⴲ㢚坿莻嵠恠饱莻

Every four year, members of class 698, the Affiliated Senior High School of National Taiwan Normal
University (HSNU) will gather together and present a chamber music concert together. This year in the
4th 698 concert, members will present music in various combinations, ranging from HANDEL to Gina
GILLIE (b. 1981). Join us to Dance in Summer.
怵ⴀ刼湡 ProgramӪ ꯓ䗞晋D 㣐锅♲ꅾ⼿㤉刼捀㼭䲿楪꧱矲盘莅侸㶶⡜갉HWV 385 Ӫ し⴪շ荞㔋㷎ո捀岁㕜贫㥏넞갉莅ꏈ楪鼇刼Ӫ 碜㜜穉刼捀㼭䲿楪㋲矲盘莅ꏈ楪Op. 157b Ӫ兜⴪俒꧱矲盘⡜갉盘莅ꏈ楪♲ꅾ㤉 Ӫ 莞剋꣮ E 㣐锅ꏈ楪❀ꅾ㤉Op. 4 | Ӫ HANDEL: Trio Sonata for Violin,Oboe and Basso Continuo
in D Major, HWV 385 Ӫ GILLIE: To the Seasons, for Horn, soprano and piano (selections) Ӫ MILHAUD: Suite for Violin, Clarinet, and Piano, Op. 157b Ӫ PREVIN: Trio
for Oboe, Bassoon and Piano Ӫ SCHUMANN: Piano Quintet in E-flat Major, Op. 44⚺鳵㣼갠㹔Ⰹ坿㕰 | Presenter: Amazing Sounds Ensemble | 怵ⴀ罏䌌㣐꣡⚥ 698 棵 | Performer: HSNU Class 698 Concert

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STORY WORKS

6.6 Sat. 19:30

佦✲䊨䑖շⱄ鋅姐䑼猗ո● 姐ⷜꤎ Opera House● 牱⭆ Tickets NT$ 500, 700, 900, 1200, 1500, 1800, 2200, 2500
Ⰽ䑼ꤎ㈒牱 Arts Ticket | ӹ遺娀斊剚㆞飑牱⮛䟃Ꟁ 115 ⴕꗻ搂⚥㜥⠅䜂| Duration is 115 minutes without intermission.

♬Ⱄ䎃➿秋噲♧儘涸姐䑼猗ꦑ衽犝䗻涸嶋㣟猗㜥俒⻋⛳恸恸ⲱꨫゟㆥ䋞劆㖈佐㿋⛓⵹丅剓䖕♧牱䪪㔐✫㖈繡㕜殆㷸涸⯥㶩꣚䳓⸈Ⰵ⽿⢪眏湡꬗荆չ♶荩♶銯պ涸㹁⡙㉏겗ⱄ⸈♳랱麥涸伻㽷⟃⿻䖕〵醳꧹涸䞕䠦ꡠ⤚怵ⴀ䎙⛖鄄鶗㊮⨢˘˘⡎꣚䳓➠㛚䭰The show must go on 鸏僽♧㜥姐䑼猗涸

Goodbye to Music Halls

デⴽ怵ⴀ⛳僽荩抓鸒⤺俒⻋鱲㘗涸 Deja vu 

As many bans were lifted, music halls went bust instead. Wu-ge, the boss of a once popular music hall,decides to take his last chance. He recruits his son A-yang to run the new show. With Taiwanese mafia
and backstage love affair involved, the show faces a crisis. But A-yang persisted that the show must go
on. It's the last show. It is also déjà vu of Taiwan's pop culture.
⚺鳵佦✲䊨䑖 | Presenter: STORY WORKS | 怵ⴀ罏꤫䢐纏넞桪棁랔韝䎂卌ꨎ㹒卌匌筱卌梅㖠鿓罇➋ꁀ⹷楑ꐏ⥆㸞詎匡䒄랔匌ⷠ㏖囙랔㪨螠剎龐㮵暶ⴽ怵ⴀ峿鿪䬘倛 | Performer: CHEN Mu-yi, GAO Yu-shan, HUANG Hau-ping, Crystal LIN, LIN Tung-hsu, Ctwo LIN, KUO Yao-jen, CHENG
Chin-chi, CHIEN Yu-an, TSAI Sung-ting, HUANG Ju-dong, LIU Xiao-rong, HUANG Zi-hua, THENG Yu-ting; Special Appearance/ HONG Sheng-te

6.6 Sat. 14:30

Poetic Extravaganza GrandMusic of Tang鑘坿穇䔞● 邍怵䑼 Recital Hall● 牱⭆ Tickets NT$ 300, 500, 800, 1000Ⰽ䑼ꤎ㈒牱 Arts Ticket. | ӹ遺娀斊剚㆞飑牱⮛䟃Ꟁ 85 ⴕꗻわ⚥㜥⠅䜂 15 ⴕꗻ| Duration is 85 minutes with a 15-minute intermission.

そ⸈㣐䲿楪ざ㤉㕰 2020 䎃暶ⴽ⟱ⷔշし➮栬㤉갉坿剚ո䰦⯘し➮怵㤉㹻秉榱㣗哆喀⽈㡦㼟怵ⴀ荩抓⡲刼㹻랔䙼榮罉䌌ⶾ⡲涸շ㣐㇫坿㹶ո24 껷し➮栬㤉穉刼殹銯倰穇坿㐼焥中ⵌ匌倰㇫劊涸鑘꧌莅坿㐼涸䪮䊫儘㼟剤♶ず⟃䖃涸匌倰갉坿⛓繡莅꼦꾝䟝⫹涸谁遯瑠꟦The concert will be performed by Czech guitarist, Dr. Josef MAZAN. Grand Music of Tang represents aground-breaking exploration of the classical guitar with an Asian genre by the Taiwanese composer
HUANG Ssu-yu. Some unique performance techniques of the traditional musical instruments from theEast including China and Japan invigorate the creativity.

for Guitar Solo⚺鳵そ⸈㣐䲿楪ざ㤉㕰 | Presenter: Hotshot Cello Choir | 怵ⴀ罏⡲刼랔䙼榮し➮秉榱㣗꼛喀莻骪管莻豤䗏幅 | Performer: Composer/
HUANG Ssu-yu; Guitar/ Josef MAZAN; Dancer/ SU Wei-chun

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A Night of Fantasies −YEH Min-ho Clarinet Recital

6.7 Sun. 14:30

㼩⡙㹔Ⰹ坿禺⴪ շ䎑䟝⛓㢹։衞僈ㄤ㋲矲盘栬㤉剚ո● 邍怵䑼 Recital Hall● 牱⭆ Tickets NT$ 300, 500䎃➿㈒牱 ERA Ticket | ӹ遺娀斊剚㆞飑牱⮛䟃Ꟁ 90 ⴕꗻわ⚥㜥⠅䜂 10 ⴕꗻ| Duration is 90 minutes with a 10-minute intermission.

劥㜥갉坿剚⟃Ⱘ剤䎑䟝刼괐涸㋲矲盘⡲ㅷ捀⚺鯥⺫わ✫♲껷ⴕⴽ歋ꨮ顥䒼榰꼛剐⟃⿻岚劦捀岁㕜䊼랫갉坿ꤎ䨾ⶾ⡲涸竤Ⱙ罌鑑刼䗞㕜⡲刼㹻莞剋䗞㕜殹➿⡲刼㹻㪮䗞剋⺱暆ⵄ⡲刼㹻䋞麨倛⟃⿻䑞「㋲矲盘怵㤉罏姹鵔涸շ䒚茽갉坿剚䎑䟝刼ո瘞This concert is based on fantasy styles clarinet works by composers from Germany, Hungary, France,Italy
and Spain, including SCHUMANN, MARTY, WIDMANN, LEFEBVRE, HIDAS, BOZZA, and BASSI. These works
strongly display the composers subjective feelings and personalities.
怵ⴀ刼湡 ProgramӪ 莞剋շ♲껷䎑䟝㼭ㅷոӪ 꼛剐շ痧 1 贫䎑䟝刼ոӪ 㪮䗞剋շ㋲矲盘栬㤉䎑䟝刼ոӪ ꨮ顥䒼榰շ䎑䟝刼ոӪ 䋞麨倛շ䎑䟝刼ոӪ 岚劦շ暜姐ոӪ 䊼䋞շ䒚茽갉坿剚䎑䟝刼ո | Ӫ Nikolai MYASKOVSKY: Cello Sonata No.2 in a minor, Op. 81 Ӫ Dmitri SHOSTAKOVICH: Cello Sonata in d minor, Op. 40 Ӫ Sergei PROKOFIEV:
Cello Sonata in C Major, Op. 119⚺鳵㼩⡙㹔Ⰹ坿㕰 | Presenter: Counterpoint Ensemble | 怵ⴀ罏㋲矲盘衞僈ㄤꏈ楪ざ⡲薵棇筃 | Performer: Clarinet/ YEH Min-ho; Piano/ FAN Chen-lin

JUNE

Teresa Teng 25th
Anniversary Memorial
Hologram Concert

6.13 Sat. 19:00

ꀶ뜩ば 25 ヰ䎃䜂 3D 私䙂怵㈖剚
● 姐ⷜꤎ Opera House● 牱⭆ Tickets NT$ 380, 680, 880

䎃➿㈒牱 ERA TicketꟀ 90 ⴕꗻ搂⚥㜥⠅䜂| Duration is 90 minutes without intermission.

剤螠➃涸㖒倰㽠剤ꀶ뜩ば涸姐耫簳⢪ꀶ뜩ば鸚⚆䊺 25 䎃⡎荛➛傈㥠涸姐耫⣜搭篞粕㖈䧮⦛涸䗱⚥劥怵ⴀ麌欽剓倞猰䪮騗歲ざ⡲雊⛉麬涸ꀶ뜩ばꅾ植㖈䑞㣐錚滞涸滚⵹㖈⯏怏俒⻋䞕䠮涸姐耫⚥䧃䙂㥠雊Ꟁ鰳㔐䥊擿䜫涸갉坿佦✲雊䎃鰋➃넓뀿猰䪮涸䧭㽠莅갉坿俒⻋⫄䪭怵ⴀ⛳鼝锞攨䠦Ⱇ渤涸濼そ螠➃姐䩛袇蟛繡栁㼭䲿楪㹻Ⱏ鈷渿莊⢪眏湡礶䕙〳劍

Where there are Chinese, there is Teresa Teng's singing. Even though Miss Teresa Teng has been awayfrom us for 25 years, her singing still lingers in our hearts till this day. This is an experience of perfectcombination of technology, music and art, also to recall their youth memory along with the power ofmusic.
⚺鳵ꀶ뜩ば俒來㛇ꆄ剚 | Presenter: Teresa Teng Foundation | 怵ⴀ罏怵ⴀ姐䩛ꀶ뜩ば贡亼➃Jamii Szmadzinski䓹戒✻㰆뜩 ( ٖؒٝ؎ )꤫⢕桬ꬆ | Performer: Teresa TENG (Hologram), Jamii Szmadzinski, CHANG Chin-yu, en-Ray, CHEN Jia, WANG Jing

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6.19 Fri. 19:30

SopranoHUANG Li-chin2020 Vocal Recital秫溫։ GENUINE W. A. MOZART
姐㈖⛓㢹㥏넞갉랔蛂ꐘ 2020 耫坿栬㈖剚
● 邍怵䑼 Recital Hall● 牱⭆ Tickets NT$ 600, 800

Ⰽ䑼ꤎ㈒牱 Arts Ticket. | ӹ遺娀斊剚㆞飑牱⮛䟃Ꟁ 78 ⴕꗻわ⚥㜥⠅䜂 15 ⴕꗻ| Duration is 78 minutes with a 15-minute intermission.

蜓劦暶涸갉坿僽鸤暟罏涸㣼髖嫦껷姐刼剤嫦껷涸⦐䚍莅⹛➃⛓贖嫦媯姐鑂涸胝䖕⛳鿪询衽♧⦐礶ꅷ涸佦✲劥㜥갉坿剚⼧ⴕꨈ䖤㖒㼟怵㈖蜓劦暶侸껷竤Ⱙ谁遯姐刼⟃⿻姐ⷜ鼇刼雊錚滞넓剚갉坿牟留䠮䚍幀䞕涸〥♧꬗歋濼そ鰋䫉䞕㥏넞갉랔蛂ꐘ⟃⿻㼠噠ꏈ楪ざ⡲绀ꅾ螠Ⱏず怵ⴀ

MOZART's music is a miracle of the Creator. His phrase of music is natural and fluent, like an angel flying
with wings. This concert is very rare, several classic MOZART songs and opera arias will be selected, let
the audience experience the emotional side of the musical prodigy. Performed by the well-known lightlyric soprano HUANG Li-chin and wonderful pianist WENG Chung-hua.
⚺鳵姘兜䙼갉坿谁遯 | Presenter: OPUS MUSIC ARTS | 怵ⴀ罏㥏넞갉랔蛂ꐘꏈ楪绀ꅾ螠 | Performer: Soprano/ HUANG Li-chin; Piano/ WENG
Chung-hua

6.20 Sat. 19:30 6.21 Sun. 14:30

邍怵䊨⡲㖷շ鸏♧㢹铪⢵铞湱耫ո

Look, Who's Cross-Talking● 䨡ⷜꤎ Playhouse● 牱⭆ Tickets NT$ 600, 900, 1400, 1800, 2200, 2600, 3000

Ⰽ䑼ꤎ㈒牱 Arts Ticket | ӹ遺娀斊剚㆞飑牱⮛䟃Ꟁ 155 ⴕꗻわ⚥㜥⠅䜂 15 ⴕꗻ| Duration is 155 minutes with a 15-minute intermission.

ꅾ鵦 80 䎃➿荩⻍涸螠鿪銯귭䑼Ⰽ⡙㢹籏剚涸⚺䭰➃㓂娝莅ꁀ⫄彋⪔➝稲➛儻涸暶ⴽ㎗频黇䖰㢫㖒⢵涸湱耫㣐䌌ˌ䌢䎃坿罉⯓欰♶俲㎗频չ⿶պ緄䌏✫劢鋅湱耫㣐䌌涸髠䕧⽿⢵✫➮涸䖝䓍ˌ涯㠢捀✫⢪眏湡鹎遤♴⿡㓂娝莅涯㠢♧⦐荩抓涸猗㜥⚺䭰➃♧⦐㣐ꤷ涸湱耫怵㆞Ⰽ⦐Ꟍ㢫恎〫腋炽衽걧淼耢郂涬〵怵ⴀ˘˘On September 30, 1989, the Performance Workshop premiered Look Who's Cross-talking Tonight,
the long-awaited sequel to the pioneering 1985 "crosstalk" work The Night We Became Hsiang-Sheng
Comedians. This new work set up an extended on-stage xiang-sheng dialogue between a Taiwan and amainland man, dealing with the contrasts and similarities between the two sides of the Taiwan Straits
after 40 years of separation.
⚺鳵邍怵䊨⡲㖷俒⻋ⶾ䠑肆⟨剤ꣳⰗ぀ | Presenter: Performance Workshop Creative Culture | 㼬怵飅耫䊛ⶰ㼬怵♨⛇皬⚺怵型⯕罇劫䗞ⶍ勛鴇绥 | Director/ Stan LAI; Vice Director/ Ismene TING; Starring/ FAN Kuang-yao, CHU Te-kang, LI Cheng-xiang

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6.20 Sat. 19:30

Huang-Jin battle –Huang Chun-dav.s.
Jin Cheng-zhi랔ꆄ⫄铞● 邍怵䑼 Recital Hall● 牱⭆ Tickets NT$ 600, 800, 1000Ⰽ䑼ꤎ㈒牱 Arts Ticket | ӹ遺娀斊剚㆞飑牱⮛䟃Ꟁ 110 ⴕꗻわ⚥㜥⠅䜂 15 ⴕꗻ| Duration is 110 minutes with a 15-minute intermission.

랔⤧麨ꆄ䪭䘋ˌⰍ⡙ չ랔պչꆄպ螠➃ず룲ꫭ䎃⡲刼㹻➛䎃 6 剢㼟诔歋 2020 Taiwan Top 㕰꥙չ〵⚥㹔Ⰹざ㈖㕰պ⛓姐耫㖈넞꧆遺娀斊䰺饱♧㜥갉坿⛓昰〵抓 X ♳嵳7 㣐⚺겗14 껷⡲ㅷ䌟䝡䱳麉⡲刼㹻Ⰹ䗱剓㸤侮涸갉坿꬗頗⚆私乫〵⽰㼟㾝Ꟛ♶㺂ꐫ麕

Whether or not they are friends in real life, mercy is the last thing on their mind when fighting on stage.
Winning the audience's heart is the only thing that counts! Huang Chun-da and Jin Cheng-zhi, two
young Chinese composers of the same age, will start a music battle in Weiwuying in June this year.
Taiwan X Shanghai, 7 themes, 14 music works, take you to explore the composer's heart.
⚺鳵〵⚥㹔Ⰹざ㈖㕰 | Presenter: Taichung Chamber Choir | 怵ⴀ罏랔⤧麨ꆄ䪭䘋〵⚥㹔Ⰹざ㈖㕰 | Performer: HUANG Chun-da/JIN Cheng-zhi/
Taichung Chamber Choir

6.22 Fri. 19:30

갉䗱䗱갉Э亼갉溫谁 2020

Tone+Soul=Audiation Meaning● 邍怵䑼 Recital Hall● 牱⭆ Tickets NT$ 300, 500, 800, 1200

䎃➿㈒牱 ERA Ticket | ӹ遺娀斊剚㆞飑牱⮛䟃Ꟁ 100 ⴕꗻわ⚥㜥⠅䜂 15 ⴕꗻ| Duration is 100 minutes with a 15-minute intermission.

չꨶ㶩盘괐楪պ⟃⫄窡盘괐楪涸㢫頗ꂂ縨꒳湏㼟溫㻜坿㐼⿻荈搭歲涸ぐ珏갉갠ꏗ갉《垺侸⡙⻋倴꒳湏♳⾲갉ꅾ植頺㢵蓸⿻勛倛暶瘞⨀㣐涸갉坿㹻湺劆㖈꒳湏♳䔞ⴀ盘穇坿耫갉涸繡㣆穅倴䧭溫鿓㸻䡗來䱇穉ⶾ✫ꨶ㶩盘괐楪盘穇坿㕰竤麕✳⼧♬䎃涸㻜뀿灇涮䊺竤䧭捀⸆腋䓽㣐涸腋坿㕰갉坿涸劥넓僽䗱꫙䗱⹛꫙⹛䩞剤欰ㄐ䠑纏涸邍植չ갉պ䏁剤չ䗱պ⽰䧭չ䠑պ갉⚥剤䠑갉坿㨥植剤չ䠑պ涸갉չ䗱갉պ(audiation)⽰䧭捀颭✮갉坿涸欰ㄐ⸂⛓呏劥չ갉䗱䗱갉պ갉坿剚㼟剤姐ⷜ鼇礩嵙剽⯘꧱ꏈ楪⼿㤉刼뢶꼛峫尪꧱Ꟁ痁⼿㤉刼銯頺崩㡦㼭䲿楪⼿㤉刼⚛歋ꨶ㶩盘괐楪❜갠坿㕰⼿㤉怵ⴀThe art of music is based on the soul and thought of human being. The imagination form of tone is
audition, with the audiation of musician in their mind, the real music could be produced. The soul andaudiation are the most important essence of musicianship, when you listen into the music, the soul andmind of the musician, may touch your soul and mind in the similar way.

Cyber True Music 2020⚺鳵匌嵳㣐㷸갉坿禺 | Presenter: Department of Music, Tunghai University | 怵ⴀ罏䭸䳸鿓㸻䡗歑⚥갉馢倰韝ꏈ楪蒕㎗諌闒ꅷ蓐Ꟁ痁齶⢆棁卌듳ば㼭䲿楪詎䪭缦坿㕰匌嵳㣐㷸ꨶ㶩盘괐楪盘穇坿㕰 | Performer: Conductor/Tzong-Kai KUO; Baritone/Fang-Hao CHAO; Piano/Chia-Hui AI, Amy
HSIEH; Flute/Pei-San CHIU, Horng-Jiun LIN; Violin/Chen-Han TSAI; Orchestra/THU Electronic Organ Symphonic Orchestra

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Departure - Christina
DUH Piano Recital

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6.23 Tue. 19:30

Departure 勭蓽䡹ꏈ楪栬㤉剚● 邍怵䑼 Recital Hall● 牱⭆ Tickets NT$ 200Ⰽ䑼ꤎ㈒牱 Arts Ticket. | ӹ遺娀斊剚㆞飑牱⮛䟃Ꟁ 100 ⴕꗻわ⚥㜥⠅䜂 15 ⴕꗻ| Duration is 100 minutes with a 15-minute intermission.

怵㤉罏勭蓽䡹⿡䎃䏁歂⟃噲⮛殯涸䧭籑ꏗ《❜鸒㣐㷸涰䊛㷸㡦㷸玑⚺⥜ꏈ楪怵㤉ㄤ㣔俒暟椚갉坿剚そ捀չDeparture պ韍䗚⽰㼟冾ⴽ荈䊹䧭Ꟁ涸㖒倰㉬菕鼠ぢ刿槮樸涸⵹玑姽妄刼湡巒覈䊼饟頺㢵蓸叞〳㣗倛㛇䗞䋒銯瘞㣐䌌⡲ㅷ莅㣐㹻ⴕ❧㣆䟝⿻갉坿穡ざ涸繡뜩坿畎

Christina DUH was born in Fremont, California. With her brilliant academic achievements and talented
piano performances, she has been admitted to Arete Honors program of National Chiao Tung University
last year. " Departure" piano recital is the beautiful ending of her high school life.
怵ⴀ刼湡 ProgramӪ 䊼饟✳ꅾ㤉 G 㣐锅痧♲贫 BWV804 Ӫ 頺㢵蓸剢⯕㤉뒊刼 Ӫ 叞〳㣗倛㛇շ䝲姐ոӪ 諽齦痧♧贫侃✲刼  䗞䋒銯շ剢⯕ոӪ 䗞䋒銯շ䘰坿䃋ո | Ӫ J.S.

BACH: BWV 804 Duetto No. 3 G Major Ӫ BEETHOVEN: Moonlight Sonata Ӫ TCHAIKOVSKY: Dumka Ӫ Frederic CHOPIN: Ballade No. 1 Ӫ DEBUSSY: Clair de Lune Ӫ
DEBUSSY: L'isle Joyeuse⚺鳵窆㷎㹔Ⰹ坿㕰 | Presenter: Splendor Chamber Music | 怵ⴀ罏勭蓽䡹 | Performer: Christina DUH

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6.25 Thu. 19:30

㼩⡙㹔Ⰹ坿禺⴪－շD 锅傻螠ո卌⢕ꩯ㼭䲿楪栬㤉剚

Bonnie LIN
Violin Recital
Sublimationin D● 邍怵䑼 Recital Hall● 牱⭆ Tickets NT$ 400, 600Ⰽ䑼ꤎ㈒牱 Arts Ticket. | ӹ遺娀斊剚㆞飑牱⮛䟃Ꟁ 90 ⴕꗻわ⚥㜥⠅䜂 10 ⴕꗻ| Duration is 90 minutes with a 10-minute intermission.

㼩⡙㹔Ⰹ坿㕰坿㕰껷䌏栽 Hugo Kortschak Chamber Music Award 㹔Ⰹ坿栁涸卌⢕ꩯ姽妄歋⟻蛂蛏涯㥏涽갉坿㣐飓껷栁脌⛇⯋䭸㼬莅秣秉갉坿㣐飓껷栁 Grand Prize 㣐䲿楪穉껷栁䖤⚺ꯓ癌ざ⡲㜥갉坿⟃➃捀劥䠮「竤Ⱙ⫄䪭莅ⶾ倞鼝锞䝡♧ず翕聃娜〷㛜毕涸楪갉鏰铞坿刼䞕䠮In this debut performance, violinist Bonnie LIN will present J. S. BACH, Isao MATSUSHITA, and ZoltánKODÁLY's music. Recognized as an artist of great lyricism, innate musicality, and stunning virtuosity,
she will combine music with dance and lighting design in delivering an experience of visual, aural, andsensuous enjoyment.
怵ⴀ刼湡 ProgramӪ 䊼饟g 㼭锅痧♧贫㼭䲿楪㤉뒊刼⡲ㅷ BWV 1001 Ӫ 넞㣐㹆շ㣐㼭䲿楪✳ꅾ㤉ոӪ 匡♴⸆շ剋䙸繏ո㼭䲿楪栬㤉 Ӫ 鏪䌢䟃❀껷⵹㤉刼窍搂⠶㤉㼭䲿楪 | Ӫ

BACH: Violin Sonata No. 1 in g minor, BWV 1001 Ӫ KODALY: Duo for Violin and Cello, Op. 7 Ӫ Isao MATSUSHITA: Mantra for Violin Solo  HSU Chang-hui: 5 Preludes⚺鳵㼩⡙㹔Ⰹ坿㕰 | Presenter: Counterpoint Ensemble | 怵ⴀ罏㼭䲿楪 / 卌⢕ꩯ㣐䲿楪 / ꯓ癌 | Performer: Violin Solo/Bonnie LIN, Cello/Yun HAN

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6.27 Sat. 19:30 6.28 Sun. 19:30 6.29 Mon. 19:30
2020 K.I.C.P.F. 넞꧆㕜ꥹ植➿乹坿眏● 邍怵䑼 Recital Hall● 牱⭆ Tickets NT$ 400, 600

䎃➿㈒牱 ERA Ticket | ӹ遺娀斊剚㆞飑牱⮛䟃Ꟁ 120 ⴕꗻ搂⚥㜥⠅䜂| Duration is 120 minutes without intermission.

䒂⠽崞⹛ ⵹遺ꨶ㶩갉坿䊨⡲㖷 AI and Percussion Interactive Technology Workshop
傈劍 | 6.28 Sun. 9:00 㖒럊 | ● 粭兞䊨䑖 牱⭆ | NT$ 1200

2020 KaohsiungInternational Contemporary
Percussion Festival

姽妄 2020 넞꧆㕜ꥹ殹➿乹坿谁遯眏Ⱏ歋❀⦐갉坿崞⹛䨾穉䧭穡ざ⢵荈荩繡䗞傈ꯓ 60 㢵⡙⡲刼㹻⿻乹坿怵㤉㹻⦛Ⱏず䨜⸂䩧鸤♲㜥乹坿갉坿剚姘崎竤Ⱙ乹坿乹坿倞欰➿A.I. 乹坿⛓䥰ㄤ
Gaston SYLVESTER 乹坿㣐䌌棵铭玑A.I. 莅乹坿✽⹛猰䪮䊨⡲㖷

The 2020 Kaohsiung International Contemporary Percussion Art Festival is composed of five music
events. It is a combination of more than 60 composers and percussionists from Taiwan, the UnitedStates, Germany, Japan, and Korea. 3 Concerts (European Classical Percussion, New Generation
Percussion, AI with interactive Percussion), Gaston SYLVESTER Percussion Master Class, AI and
Percussion Interactive Technology Workshop.
⚺鳵讐⫄䩧乹坿㕰 | Presenter: Succession Percussion Group | 怵ⴀ罏讐⫄䩧乹坿㕰⿻岁䗞繡傈ꯓ갉坿㹻 | Performer: Succession Percussion Group andFrench, German, American, Japanese, Korean Musicians

6.28 Sun. 14:30

㕜用荩抓❜갠坿㕰շㄐ麌涸圖ո● 갉坿䑼 Concert Hall● 牱⭆ Tickets NT$ 300, 500, 800, 1000, 1500, 2000
Ⰽ䑼ꤎ㈒牱 Arts Ticket.
Ꟁ 85 ꗻ搂⚥㜥⠅䜂| Duration is 85 minutes without intermission.

2020 NTSO
Series Concert

1904 䎃꼛⹗㸤䧭✫鸏껷ⴽそ捀չ䝲ⷜպ涸痧Ⱉ贫❜갠刼姽儘劍涸꼛⹗瑖界僽黩「ⵌ➊랃垺涸ⶾ汥䩞㻨♴鸏❉溏⡂䝲錚穪劆涸⡲ㅷ罜㖈鸏껷❜갠刼涸穅坿畎齡♲妄衆♴涸ꓽ㼩꼛⹗⢵铞瑖界⿶➿
邍衽⡦珏わ纏 ⟃♳鸏❉閱겗姻㥶ず꼛⹗濨湽⚂䝲錚涸♧欰鿪〫腋㖈갉坿⚥䪪ⵌ瘸呪

In 1904, Mahler completed his sixth symphony, nicknamed "Tragic". Why did Mahler write "Tragic" during
this period? What did the loud sound of the hammer that strikes three times in the final movement
mean to Mahler? All these mysteries are just like Mahler's contradictory and pessimistic life - we canonly seek answers in his music.
怵ⴀ刼湡 ProgramӪ 꼛⹗a 㼭锅痧Ⱉ贫❜갠刼 | Ӫ G. MAHLER: Symphony No. 6 in a minor⚺ 鳵 㕜 用 荩 抓 ❜ 갠 坿 㕰 | Presenter: National Taiwan Symphony Orchestra | 怵 ⴀ 罏 䭸 䳸  蒕 䏞 鶔 螠 暶 坿 㕰  㕜 用 荩 抓 ❜ 갠 坿 㕰 | Performer:
Conductor/ Edo De WAART; Orchestra/ National Taiwan Symphony Orchestra

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倞⟱ⷔ遺娀斊㕜ꥹ㣎⠶鎙殥
սEUREKA! 2.0 涮植遺娀斊վ

45
遺娀斊⚺鳵

遺娀斊莅⚆歲㈔♧⟃殹➿ⷜ㜥鏤鎙⿻ⷜ㜥䒊眡捀⚺겗涸⚆歲䚍㾝錒չPQ 䋒䬘呔ⷜ㜥鏤鎙㔋䎃㾝պⰟず伟䩛ざ⡲䩧鸤⚮耢❏崎莅姘崎涸ⶾ䠑㻜뀿䎂〵➛䎃 5 剢䲀ⴀշEUREKA! 2.0 涮植遺娀斊ո痧㔋ꥣ媯涸騗걆㚖㾝怵ざ⡲鎙殥⟃㾝錒酤縨⿻植㜥遤捀邍怵涸倰䒭鼝锞字滞⿻ぐ騟➃꼛ⵌ遺娀斊♧饱넓뀿ⶾ䠑涮䟝ⵌ㻜驏涸麕玑劥鎙殥捀 2017 䎃荛 2020 䎃꧱倰騗㚖ざ⡲涸ꥣ媯䚍ツ植ず儘⛳㼟ꅾ植 2019

䎃 6 剢遺娀斊 EUREKA! 涮植鎙殥倴䰦⯘ PQ 䋒䬘呔ⷜ㜥鏤鎙㔋䎃㾝植㜥涸㾝怵⡲ㅷշLift Me Upո姽㢫
遺娀斊䭰糵莊鳵䲿⣘窍倞ꌴⶾ⡲罏⦛䕹姽䱳程ざ⡲欴欰倞抡蔅涸չⶾ䠑㻜뀿荈鸤䨾պ姹鵔滞➃⵹⢵䮕䱡坿馱涮植馄㾝Ꟛ涸倞騗歲넓뀿ⵞ慨㢵⯋ⶾ䠑䟝岁Once again, the National Kaohsiung Center for the Arts (Weiwuying) is teaming up with the one and only
Prague Quadrennial (PQ) of Performance Design and Space to launch an experimental creative platform
connecting Europe and Asia. This is, in fact, the fourth phase of the Weiwuying–PQ collaboration.
Titled EUREKA! 2.0: Rediscovering Weiwuying, the joint project is set to take place in May 2020 and willfeature avant-garde exhibits, installation art, and performances. Artists of all creative stripes as wellas interested citizens are invited to join in the project and experience firsthand the process of artistic
conception and invention.
㾝錒Exhibitionⶾ䠑㻜뀿荈鸤䨾Creative and Experimental Lab

5.1 Fri. - 5.31 Sun. 11:00-21:00

5.4 Mon. - 5.9 Sat.

㖒럊● 3 垚埠ⱟꪪ〴 ( 銮 )Place: ● 3F Crown Terrace (West)怵ⴀշ䫬鱽ո
Performance Lift Me Up

ツ植 Presentation

5.8 Fri. 14:00-16:00

㖒럊● 1 垜嚩埠䑞㜥● 3 垜埠ⱟ㣐䑼
Place: ● 1F Banyan Plaza , ● 3F Crown Hall

5.9 Sat. 13:30, 16:00 / 5.10 Sun. 13:30, 16:00

㖒럊● 1 垜嚩埠䑞㜥● 3 垜埠ⱟꪫ〵 ( 銯 )● 3 垚埠ⱟ㣐䑺匌⩎
Place: ● 1F Banyan Plaza , ● 3F Crown Terrace (West), ● Crown Hall (East side)ざ⡲㣎⠶ In Partnership With崞⹛

ACTIVITY

ACTIVITY

崞
⹛

✫鍑刿㢵

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ս娀斊鸊ꤏ⢵վ笃䩛䭸鎙殥

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遺娀斊⚺鳵

● 遹娀斈斈麊鳴Ⱅ㹓Ⰵ〡 Weiwuying Operation Office遺娀斊㕜㹻谁遯俒⻋⚥䗱莅⽑㖒 47 Ⱇ갧涸遺娀斊鿪剚Ⱇ㕨嫲ꁈ罜㾀暶ⴽ鋊ⷔս娀斊鸊ꤏ⢵վ笃䩛䭸㕨⼦繡⻋鎙殥崞⹛㼟䖰㼬錒遺娀斊橇㞯Ꟛ㨥歋㼬錒㆞鍑铞遺娀斊涸侮넓兞錚鏤鎙⿻㕨谁鋊ⷔ➝稲ぐ⼦㚖嗃呖涸暶蒀莅珏겳鼝锞⿮莅字滞♧饱捀嗃呖䱦♳そ晦䓽⻋㖈㖒䞕䠮鸮穡莅钢ずDo you have a green thumb? If you do, come and join Weiwuying Green Thumb Tour to make a difference
in environmental greening!
You will have a tour guide to elaborate the landscape design and the horticultural scheme of Weiwuying.
During the tour, participants will be invited to hang name tags on plants and trees, reinforcing thebonding between our people and our land.

崞⹛

ACTIVITY

ACTIVITY崞⹛

5.23 Sat. 9:00-11:00
崞⹛➃侸
㜡そ倰岁

10 ➃捀 1 穉Ⱏ 5 穉崞⹛♳ꣳ 50 ➃荈歋⿮⸈䱰㜡そⵖ妝㜡そ罏荛⟃♴鸮穡㞅㻨箁♳邍㋲玑⿮莅⚛䧭⸆㞅㻨㉏ⵚ罏㼟〳栽䖤չ笃䩛䭸㼠㿂㼭狲暟պParticipants

10 people in one group with a max. of 50 people in total

Registration Process

Events are not ticketed. To sign up for the Green Thumb Tour, please fill out the following form.
People with full participation will receive the green thumb exclusive gift.

* 蕰 5/23Ⱉ殹傈傍♳麂㣐ꨎ⵱崞⹛㼟갫䒂♧ヰ荛 5/30Ⱉず㖒莊遤

遺娀斊䊨⡲➃㆞㼟剚㖈殹㣔 8:00 ⵹ꨶ鑨鸒濼撖锞岤䠑䩛堥⢵ꨶ蕰殹㣔㼭ꨎ崞⹛⵱撑䌢莊遤㼟♶〥遤鸒濼* 䤊崞⹛陏ⴽ阮殹傈倴꽏䏅䑖㉂嶋顥㼟❧剤剓넞 9 䫔饱⮛䟃⿮莅➃侸䊺겙怏䠮闒㣐㹻骈鬪⿮莅

✫鍑刿㢵

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Everybody
Dance

遺娀斊埠峯

53
遺娀斊⚺鳵

● 嚩埠䑞㜥 Banyan Plaza● 崞⹛倰䒭 Method

ꬌ㈒牱崞⹛⚂♶꨾✲⯓㜡そ侣锞植㜥湬䱺⿮莅⚛姹鵔ꅿ귭
Events are not ticketed and no registration required. Visitors are also welcome to picnic on the spot.

㋎饱㥪㣼䗱饥鹎埠峯䱳程欰崞馱㄂㖈Ꟛꡀ涸嚩埠䑞㜥涮植ⶾ䠑涸谁遯넓뀿⼯䖕♶㥶⢵遺娀斊嚩埠䑞㜥⨞榮梾溏ꨶ䕧䩧湳殥殥䧴聃갉坿莅ぐ䒭ぐ垺涸➃❜剦⿼ゅCome for an afternoon of yoga, watching movies, napping, drawing, listening to music, meeting people
with different gender identifications, and making friends with people from South East Asia in the
Weiwuying Wonderland !

崞⹛

ACTIVITY

ACTIVITY

崞
⹛

字⢵騥莻

6.13 Sat. 16:30-18:00
㖈嚩埠䑞㜥歋管莻㹻耢䩛䌟걆衽字滞♧饱鹎遤繡䠮莅ⶾ䠑涸ꅼ佞넓뀿

At Banyan Plaza, choreographers will guidethe visitors to experience the exploration ofaesthetics and creativity.

Weiwuying
Wonderland

✫鍑刿㢵

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55

긭Ⰹ㷸绢

遺娀斊⚺鳵

ꠗ隡瓏梖粭劥蔅ꪫꪫ铞佦✲⢵荈㣖瑠㢫僤椕涸蔅ꪫꪫ⢵ⵌ遺娀斊銴⢵铞铞➮麉娜ぐ㖒製꧌涸㣼殯佦✲窍㣐㹻聃㼭剦⿼⦛䘰䌟衽時時㱙㱙♧饱⢵蔅ꪫꪫ㖈ꠗ隡瓏瘞⡹⦛㋅

This reading session is animated by Hualulu, an extraterrestrial character who comes to Weiwuying totell stories he has heard while traveling across different places. Come bring your parents to the Reading
Corner, where Hualulu is waiting for you!

Learning
andParticipation

崞⹛

ACTIVITY

ACTIVITY崞⹛շ㕬剅긭♶㸞ꬆո
The Not So Quiet Libraryշ㼭㼭涸䧮ո
The Little Me

5.20 Wed. 15:00-16:00

6.17 Wed. 15:00-16:00

崞⹛㖒럊
崞⹛倰䒭
Place
MethodAt the Reading Corner:
Picture Books with Hualulu● 3 垜ꠗ隡瓏
ꬌ㈒牱崞⹛侣锞植㜥湬䱺⿮莅● Reading Corner
Events are not ticketed. Visitors are welcome toparticipate.

✫鍑刿㢵遺娀斊ꠗ隡瓏歋〵抓犷莇俒來㛇ꆄ剚飬⸔
Weiwuying Reading Corner is supported by Taiwan Fuhsing Culture and Education Foundation.

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365+
Dance

57

娀斊⢵騥莻

遺娀斊⚺鳵

● 嚩埠䑞㜥 Banyan Plaza꬏鵚姏ⷚꤍ銮⩎牰〡Close to the west-side entrance of the Opera House.

● 崞⹛倰䒭 Method

ꬊ㈑牰崞⹛価锜植㜥湫䱸⿭莃
Events are not ticketed. Visitors are welcome to participate.

蘢긅궤䖕䟝麌⹛ꤑ✫⨴魨䨼Ⱇ㕨崞⹛⚥䗱遺娀斊䲿⣘♧⦐倞鼇乵♶锸遳莻㕜ꥹ垦彋莻⽰莇殹➿莻蓺謠莻㣖噲瘞չ娀斊⢵騥莻պ鸒鸒鿪剤姹鵔⢵ⵌ嚩埠䑞㜥Ⱏ❧莻⹛魨넓涸䘰坿♧饱騥莻⨞麌⹛

In addition to gyms, parks, and activity centers, Weiwuying offers a new alternative for exercising after
meals. From street and ballroom dancing to free dance, contemporary dance, ballet, and tai chi, 365+
Dance has it all! We welcome everyone to Banyan Plaza and share the joy of dancing and exercising
together.

崞⹛

ACTIVITY

ACTIVITY崞⹛⽰莇莻骪ˌ⡮䕔蔊
Impromptu Dances – YU Yen-fang字Ⱏ莻ˌ豤㪮㎗
Dances for All – SU Wei-jia

5.6 Wed. 19:30-21:00

6.3 Wed. 19:30-21:00
✫鍑刿㢵

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Collaboration
between Arts andOther Sectorsˌ谁⟱㷸ˌ繡䠮來肬鎙殥

59
遺娀斊⚺鳵

遺娀斊㕜㹻谁遯俒⻋⚥䗱乩剤❏崎剓㣐涸盘괐楪⚛剤繡뜩涸袖蟏㕨䒭䏠䌏鏤鎙涸갉坿䑼捀腋雊⽂荩抓㷸欰腋剤堥剚鹎Ⰵⵌ㥶姽Ⱘ剤暶蒀涸갉坿䑼⚛⚂鷴麕谁俒妇颣涸넓뀿雊繡䠮來肬悴獵랿⻋來肬鿈俒⻋鿈遺娀斊㕜㹻谁遯俒⻋⚥䗱Ⱏず伟䩛䲀ⴀս谁⟱㷸ˌ⽂荩抓吥㕨繡䠮來肬䲀䑞鎙殥վ넓뀿Ⰹ㺂⺫わչ妇颣邍怵넓뀿պչⷜ㜥狲⭑պ⿻չ㕜ꥹ䑼ꤎ➝稲պ瘞

ACTIVITY

崞⹛㖒럊
㜡そ㼩韍
儘꟦
㜡そ倰䒭

● 갉坿䑼
⽂鿈Ⱉ簖䋑⛓㕜㼭❀䎃秹欰荛넞⚥耷欰⟃㷸吥捀㋲⡙䲿ⴀ歍锞갸鎙 90 ⴕꗻ鑬稣㜡そ倰䒭锞鋅㸽笪

Place
Participants● Concert Hall
Fifth graders to vocational high school/high school students from the six cities/counties in Southern Taiwan.
Applications should be submitted as school.
Approximately 100 minutes.
For more information about registration, please follow the official website.

Duration
Registration Process

ざ⡲㋲⡙

The Overview of
Outreach Aesthetic
Education Project⚺銴飬⸔ Major Sponsor

⼿⸂飬⸔ Cosponsor

✫鍑刿㢵

崞
⹛

ACTIVITY

National Kaohsiung Center for the Arts (Weiwuying) has the grandest pipe organ in Asia. The Concert
Hall features a unique vineyard style, which will allow students in Southern Taiwan to experience arts
performance as well as to appreciate the optimal acoustic and visual effects. It is our hope that theaesthetic education highly promoted at various schools can be well-extended and fully realized at
Weiwuying. Each session will include enjoying performances, theatre etiquette, and introduction tointernational anditoriums.

崞
⹛

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Theater Arts andEducation Projectⷜ㜥谁遯넓뀿來肬鎙殥

61
遺娀斊⚺鳵

麕⿡遺娀斊僽⽂荩抓涸倞Ⱕ鎯箻⚥䗱㥶➛僽㕜㹻涸谁遯俒⻋⚥䗱䖰鮪✲ⵌ谁遯♶隶涸僽遺娀陏铭玑պ怵ⴀ儘涸չⷜ㜥넓뀿铭玑պ⿻怵䖕涸չ❜崩ⴕ❧莅⫄䪭պ雊㷸欰⟃♶ず涸倰䒭莅♶ず涸錬䏞䒊用㼩倴谁遯涸妇颣倰䒭In the past, Weiwuying used to be a training center for military recruits in southern Taiwan. Now, it has
been revamped as a national center for the arts. What stays unchanged throughout its transformationfrom a state organ of national defense to an organization for culture and the arts is its commitment
to education, to the cultivation of young talents. To fulfill this, the Theater Arts and Education Projectat Weiwuying offers the pre-performance "Liberal Arts Course," on-site "Theater Experience," and postperformance "Takeaways" in order to familiarize students with a variety of approaches to the arts.

㜡そ㼩韍
儘꟦
㜡そ倰䒭

넞⚥耷欰莅闍䌌⟃棵秹捀㋲⡙歋來䌌䲿ⴀ歍锞
嫦妄 3 㛔铭籏鎙秉 320 ⴕꗻ
鑬稣㜡そ倰䒭锞鋅㸽笪Participants
Duration
Registration Process

High school students and instructors. Applications should be submitted as classes.
3 classes each time. Total approximately 320 minutes.
For more information about registration, please follow the official website.

⚺銴飬⸔ Major Sponsor

⼿⸂飬⸔ Cosponsor

✫鍑刿㢵

崞
⹛

ACTIVITY

ACTIVITY崞⹛斊䭰糵䪾㛆肬䎃鰋過腠鋕捀䊹⟤㔔姽遺娀斊㼟鷴麕չⷜ㜥谁遯넓뀿來肬պ鎙殥䖰妇颣邍怵⵹涸չ鸒62㣐滚漌莅㣐羮労㜥긭⿼㊥鎙殥

63
遺娀斊⚺鳵

遺娀斊荞⸂䧭捀滞➃涸谁遯⚥䗱湺爢剚♳滞㢵停纈㖈遺娀斊䪪ⵌ荈䊹㸞黠涸倰䒭⿮莅谁遯崞⹛➛䎃僱㷎遺娀斊伟䩛㺢齦ꆄ䱾㖈爢㕰岁➃荩⻍䋑鋕ꥻ罏㹻Ꟁ⼿剚荩抓䩛铃缺陼⼿剚涸⼿⸔♴䲿ⴀչ㣐滚漌莅㣐羮労㜥긭⿼㊥鎙殥պ雊鋕ꥻㄤ聃ꥻ剦⿼㖈⿼㊥涸瑠꟦莅滞➃♧ず䠮「遺娀斊涸繡㥪㖈⤛鹎俒⻋䎂奚♳䖃⵹鼠ぢ♧㣐姿Weiwuying is collaborating with Fubon Financial, Parents' Association for the Visually Impaired, andTaiwan Association of Sign Language Interpreters to introduce the Eyes and Ears Project, an inclusive
program specially curated for the visually and hearing impaired. By establishing various facilities andprograms, Weiwuying makes an effort to provide a friendly space for all visitors, taking a step further
towards cultural accessibility and equality.

㜥긭㼬錒 Exploring the Venue劥鎙殥莅荩抓䩛铃缺陼⼿剚 (TASLI) ⿻荩⻍䋑鋕ꥻ罏㹻Ꟁ⼿剚伟䩛ざ⡲䒸걆㣐滚漌㣐羮労剦⿼⦛饥Ⰵ㜥긭䒊眡莅ⰗⰟ瑠꟦⚛鷴麕䩛

Exploring the Venue
Eyes and Ears Project

The project leads visual and hearing impairments into building and public spaces, and give them a deep understanding of Weiwuying
with sign language guides and auxiliary equipment (IPAD, models, Braille, graphics cards, etc.).

䑼ꤎ㼬錒 Exploring the Auditorium雊㣐滚漌㣐羮労剦⿼⦛㻜ꥹ饥Ⰵ䑼ꤎ✫鍑䑼ꤎⰉ涸鏤鎙䊫䙼莅㼠噠ꂂ⪔넓뀿溫㻜涸ⷜ㜥䠮「Weiwuying invites visual and hearing impairments to walk into the venues and experience the professional equipment in theaters.

谁遯⿮莅 Joining the Shows歋㜥긭涸⚺鳵眏湡⚥礶鼇갉坿莻骪䨡ⷜ瘞怵ⴀ鼝锞㣐滚漌㣐羮労剦⿼⦛鋷荆넓뀿Ⱏ❧邍怵谁遯涸繡㥪莅䝿⹛

Weiwuying invites visual and hearing impairments to join the shows, and share the beauty and amazement of performing arts.

* 劥崞⹛䱺「㼠㜥갸秉⛳姹鵔字滞չⰟ䠮넓뀿պ⸈Ⰵ㣐滚漌 / 㣐羮労㼬錒㥶妝㜡そ锞崡 +886-7-2626647 䧴 +886-262-6654*Eyes and Ears Project accepts special appointments and public participation.
To sign up for the Eyes and Ears Project, please call +886-7-262-6647 or +886-7-262-6654.
㣐滚漌㣐羮労㜥긭⿼㊥鎙殥歋㺢齦ꆄ䱾飬⸔
Exploring the Venue - Eyes and Ears Project is supported by Fubon Financial Holding Co., Ltd.

崞⹛

ACTIVITY

ACTIVITY崞⹛铃㼬錒⿻鰊⸔鏤⪔䎂匢ꨶ舡垸㘗럊㶶劥鍸錏㕬⽓瘞涸⼿⸔雊㣐㹻幀䏞钢陏遺娀斊

✫鍑刿㢵

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㼬錒剪⹡
Tour Service⸈Ⰵ剚㆞
Become Our Valued Friend65⽓⿼㼤❧ What Members Receive栬㹻鏤鎙ⰯⰨ♧⽓鸒⸆腋涸剚㆞⽓

An Exclusive iPass Card as Membership Card⚺鳵眏湡飑牱⮛䟃

Discount on Weiwuying Presented Programs㥪⿼ず遤遺娀斊⚺鳵眏湡⸈飑牱⮛䟃

Share Your Visit with Family and Friends

欰崞⽓ Weiwuying Lifestyle

遺娀斊⚺鳵眏湡飑牱 9 䫔饱♶ꣳ䓹侸
At least 10% OFF on Weiwuying㢹꟦㼬錒 Night Time Tour긭Ⰹ㾝錒嶋顥⮛䟃㜥妄嫦傈 13:00, 13:30, 15:30 ぐ♧㜥㜥妄嫦鹋♲ 18:30

Online Store顥欽♧菛字滞嫦➃ 100 ⯋顥欽♧菛字滞嫦➃ 100 ⯋儘꟦
Schedule갸鎙 50 ⴕꗻDaily at 13:00, 13:30, 15:30

儘꟦갸鎙 50 ⴕꗻSchedule

Every Wednesday at 18:30

Duration

Approximately 50 minutes

Duration

Approximately 50 minutes

Fee

NT$100 per person

Fee

NT$100 per person˨ 㥶꨾薊俒㼬錒剪⹡罏10 ➃⟃♳ ( わ ) ⽰〳갸秉锞倴갸秉㼬錒傈⵹ 20 傈䲿ⴀ歍锞湱ꡠ鋊㹁鸄崡㹐剪㼠箁 +886-7-262-6666

˨ The theatre and audience seating area is an active working zone for the performance teams so therefore not part of the guided tour.

˨ A minimum of 10 (inc.) guests is required to reserve a guided tour in English. Please put in a reservation 20 days in advance and contact thecustomer service for more information +886-7-262-6666.
刿㢵㼬錒须鎝锞鋅遺娀斊㸽笪

㜥妄

锞鑬鋅㸽笪

顥欽

♧菛字滞嫦➃ 150 ⯋儘꟦
Schedule갸鎙 60 ⴕꗻPlease refer to website information

Duration

Approximately 60 minutes

Fee

NT$150 per person䎃顥 $300

㸽倰㉂ㅷ⮛䟃

Discount on Weiwuying's Office Goods剚㆞㼠㿂⮛䟃

Access to Members-only Events˨ 㔋䑼ꤎⷜ㜥Ⰹ鿈瑠꟦⿻錚滞䌏劢わ㖈劥㼬錒遤玑⚥䑼ꤎ㼬錒
Aditorium tour

Discount on Exhibition Admission, Weiwuying Shops andpresented programs崞⹛鸒濼

Notifications of Weiwuying's Programs and Activities佅䭰遺娀斊糒糵捀㻜植滞➃㣆䟝涸谁遯⚥䗱涮耫

Your Support as a Member Is Vital to Weiwuying andHelps to Fund Projects for Everyone to Enjoy湱ꡠ✲㹆锞倴剪⹡儘꟦⢵ꨶ崡鑉ꨶ鑨 +886-7-262-6612~6616
刿㢵歍锞须鎝锞崡遺娀斊㸽笪⽓⿼劥➃❧遺娀斊⚺鳵眏湡飑牱 75 䫔⸈飑牱ⵚ 9 䫔饱♶ꣳ䓹侸

25% OFF on Weiwuying presented
programs, Plus at least 10% OFF on
extra tickets㜥㖒獆⦶剪⹡
Venue Hire㜥긭獆⦶ 䑼ꤎ⿻粭兞䊨䑖Ⱖ➮瑠꟦ꫭ䎃⽓ Weiwuying Youth䎃顥 $150
遺娀斊剚㆞湱ꡠ㉏겗锞崡遺娀斊㹐剪㼠箁

Please contact the Weiwuying customer service for more questions.
+886-7-262-6666service@npac-weiwuying.orgӹ 剚㆞⽓佪劍♧䎃The membership is valid for one year.

⸈
Ⰵ
剚
㆞

BECOME OUR VALUED FRIENDTOUR SERVICE

㼬
錒
剪
⹡

傈꟦㼬錒 Day Time Tour

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㜥긭❜鸒
Visit Us荈遤Ꟛ鮦⽂♴Ӫ竤㕜麥 1 贫㕜麥 1 贫넞鸠Ⱇ騟⚥姻❜崩麥♴ ̔䵩䰦麌堚箁չ遺娀斊 (O10)պ♴鮦

荈 6 贫ⴀ〡ⴀ〡〸䩛鼹⽰捀㜥긭䊩鱲䖃뒉㿋倰ぢ ̔湬遤⚥姻♧騟 ̔䵩荩꘮Ӫ竤㕜麥 3 贫鱲䵩倰䒭锞⿮ꠗչ䵩䰦麌պ

遺娀斊㕜㹻谁遯俒⻋⚥䗱

㕜麥 3 贫넞鸠Ⱇ騟鱲㕜麥 10 贫넞鸠Ⱇ騟 ̔
䱺㕜麥 1 贫넞鸠Ⱇ騟 ̔⚥姻❜崩麥♴ ̔䊩鱲䖃뒉㿋倰ぢ̔湬遤⚥姻♧騟 ̔遺娀斊㕜㹻谁遯俒⻋⚥䗱⻍♳

By CarBy Metro

SouthboundTake the Orange line to the Weiwuying Station (O10), Exit 6.

ӪNational Highway No.1

The Center is on your right.

Turn left heading toward Fengshan District

By Train

Exit at Zhongzheng Road interchange ̔̔ Go straight on Zhongzheng 1st Rd ̔䵩荩꘮荛չ넞꧆抡鮦畀պ䖕鱲䵩䰦麌

Arrive at WeiwuyingӪNational Highway No.3

䵩넞꘮

Change to National Highway No.10 ̔䵩넞꘮荛չ䊩斊畀պ䖕鱲䵩䰦麌and then transfer to the Metro system. Please refer to"By Metro" for how to transfer and get here.

Take the National Highway No.1 ̔

By High Speed RailTurn left heading toward Fengshan District

Take Taiwan High-Speed Rail to the Zuoying Station, andExit at Zhongzheng Road interchange ̔鱲䵩倰䒭锞⿮ꠗչ䵩䰦麌պ

Get to the Kaohsiung Main Station via Taiwan Railways,

̔Go straight on Zhongzheng 1st Rd ̔Ӫ竤㕜麥 1 贫䵩굳堥〸鱲䖃뒉㿋倰ぢ ̔湬遤♲㢵♧騟 ̔鱲䵩倰䒭锞⿮ꠗչ䵩䰦麌պ

Northbound䵩Ⱇ鮦Take the exit at Sanduo Road interchange ̔Take a flight to the "Kaohsiung International Airport" and̔ Go straight on Sanduo 1st Rd ̔

Metro" for how to transfer and get here.

㕜麥 1 贫넞鸠Ⱇ騟♲㢵❜崩麥♴ ̔遺娀斊㕜㹻谁遯俒⻋⚥䗱Ӫ竤㕜麥 3 贫㕜麥 3 贫넞鸠Ⱇ騟鱲〵 88 䘰鸠麥騟 ̔

䱺㕜麥 1 贫넞鸠Ⱇ騟 ̔♲㢵❜崩麥♴ ̔〸鱲䖃뒉㿋倰ぢ̔湬遤♲㢵♧騟 ̔遺娀斊㕜㹻谁遯俒⻋⚥䗱

Arrive at Weiwuying䵩굳堥荛չ넞꧆㕜ꥹ菕瑠畀պ䖕鱲䵩䰦麌ӪNational Highway No.1

〳䵩⛨넞꧆䋑Ⱇ鮦 5270 荛遺娀斊㕜㹻谁遯俒⻋⚥䗱畀䧴䵩⛨ 5053A53B88248堚 7A堚 7B堚 8堚 10
堚 11秋 218001랔 2A랔 2B랔 2C 荛䒊鮪畀

Turn right heading toward Fengshan District

ӪNational Highway No.3

Connect to National Highway No.1 ̔Motorcycle Parking

їⱿअParking Lot⦲ἼⱿ࿣‫ڻ‬ᾷ
Taxi Stop၄ⵝ⢙ᖇ᧰ᾷ
MRT Weiwuying Station

ԕⱿᾷBus Stopthen transfer to the Metro system. Please refer to "By

By BusTake a bus and get off at the stop "National KaohsiungCenter for the Arts (Weiwuying)" : Bus lines-52, 70.

̔Go straight on Sanduo 1st Rd ̔

50, 53A, 53B, 88, 248, Orange 7A, Orange 7B, Orange 8,

Arrive at WeiwuyingᓠⱿїⱿ✘

By Flight

Exit at Sanduo Road interchange ̔Turn right heading toward Fengshan District

Bicycle Parking

how to transfer and get here.

Arrive at Weiwuying

Change to Provincial Highway 88 (Taiwan) ̔⎫⯽Ɀїᆅ؊

transfer to Metro system. Please refer to "By Metro" forOr take a bus that stops at Jianjun Station: Bus linesOrange 10, Orange 11, Red 21, 8001, Yellow 2A, Yellow 2B
Yellow 2C.

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眏湡䭸⽂
PROGRAM GUIDE㕜㹻邍怵谁遯⚥䗱遺娀斊㕜㹻谁遯俒⻋⚥䗱

National Kaohsiung Center for the Arts (Weiwuying)+886-7-262-6666

83075 넞꧆䋑뒉㿋⼦♲㢵♧騟 1 贫service@npac-weiwuying.org
www.npac-weiwuying.orgⴀ晝傈劍 2020 䎃 3 剢

晝奚䨾剤 All rights reserved ©2020⚺鳵㋲⡙⥃殆崞⹛殯⹛⿻剓穅鍑ꅼ奚

Art
CultureLife㕜㹻邍怵谁遯⚥䗱遺娀斊㕜㹻谁遯俒⻋⚥䗱
National Kaohsiung Center for the Arts (Weiwuying)+886-7-262-6666
83075넞꧆䋑뒉㿋⼦♲㢵♧騟1贫
service@npac-weiwuying.org
www.npac-weiwuying.org

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