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管風琴家|劉信宏
\n\n美國華盛頓大學音樂博士。現為台南神學院專任教授,兼任教於國立臺北藝術大學、臺南應用科技大學。2015-2016年間獲邀至加拿大英屬哥倫比亞大學、溫哥華神學院擔任訪問學者,現為美國管風琴家協會會員與臺灣管風琴家協會理事長。
\n\n曾擔任行政院公共建設審查委員會委員、臺北國家音樂廳管風琴親子音樂會顧問與高雄衛武營國家藝術文化中心籌備處管風琴委員會召集人。協助修建臺南奇美博物館的管風琴、2015年國家音樂廳管風琴,並建構臺灣最大的大稻埕教會管風琴、屏東演藝廳管風琴,與目前亞洲最大、全世界最先進的「衛武營國家藝術文化中心 - 音樂廳管風琴」。
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管風琴家|Sean Jackson (9、12月場客席管風琴家)
\n\n國際上出色的獨奏家和伴奏家,演出遍及英國、愛爾蘭、德國、臺灣、中國大陸、加拿大、美國及加勒比海。於倫敦皇家音樂學院學習取得學士學位後,進入茱莉亞音樂學院完成了碩士和博士學位。在學期間獲獎無數,包括倫敦皇家音樂學院 Parratt、Walford Davies 和 Geoffrey Tankard 管風琴獎、Douglas Whittaker Chamber Music 獎;以及茱莉亞音樂學院 A.H. Kuhn 紀念獎學金、1999 年 William Schumann 獎和 C.V. Starr 茱莉亞音樂學院博士獎學金。自2004 年以來,在美國東北部的一些教堂擔任管風琴師及音樂總監,其中包括斯坦威奇公理會教堂。目前已錄製多張獨奏及合作專輯。
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管風琴家|陳相瑜(12月場客席管風琴家)
\n\n管風琴家、鋼琴家兼大鍵琴演奏家,國家表演藝術中心「樂壇新秀」及「中興文藝獎」音樂類得主。
\n\n國立臺北藝術大學畢業,主修鋼琴,副修大鍵琴;美國西北大學管風琴演奏暨鋼琴演奏碩士。
\n\n曾與國家交響樂團、長榮交響樂團、台北愛樂管弦樂團、中國貴陽交響樂團、台北市民交響樂團等合作,擔任管風琴獨奏,也曾參與總統府音樂會、臺北藝術大學音樂廳及屏東演藝廳開幕系列音樂會、鼓浪嶼音樂節閉幕音樂會演出。除了獨奏、室內樂外,也經常受邀參與各大樂團、合唱團演出。
\n\n現任教於東吳大學音樂系,演出教學之餘,常受邀撰寫音樂相關文章,文字作品發表於部落格《陳相瑜的音樂世界》。
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主持人|朱郁柔 Abby CHU
\n\nOrgelkids Taiwan 音樂總監;曾經擔任多場屏東演藝廳管風琴推廣音樂會主持人、屏東演藝廳管風琴工作坊講師、屏東藝遊影音「9分鐘認識音樂界的重量級樂器-管風琴」主講人、屏東演藝廳兒童管風琴夏令營音樂總監、衛武營「玩樂管風琴」管風琴工作坊講師、衛武營管風琴校園推廣計畫講師、國藝會「音樂飄鄉」組裝Orgelkids 小管風琴工作坊講師。
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\n'},{reference:[],type:"content",name:"管風琴介紹",content:'
管風琴是世界上最古老的樂器之一,歷史可以追溯至西元前三世紀的古希臘。由於演奏效果莊嚴宏偉,與教堂迴聲搭配更顯氣勢,加上有多變的音色選擇,從中世紀開始,管風琴成為宗教音樂中相當重要的存在,也讓後世作曲家為管風琴創作大量作品。
\n\n隨著傳教士的腳步,管風琴走出歐洲,在全球的教堂內出現,像是在臺灣就有三十幾台位於教會內的管風琴。而在西方古典音樂成為主流演出的當代,建造音樂廳等表演場館時,管風琴亦成為標準配備,讓更多觀眾能夠有機會聽到此項雄偉樂器的壯觀聲響。
\n\n因此,衛武營在規劃時,就決定要在音樂廳內建置管風琴,委託德國波昂百年管風琴製造商克萊斯(Johannes Klais Orgelbau)量身打造,歷經三年多時間完成,共有9085支音管與127支音栓,為目前亞洲最大的音樂廳演奏用管風琴,也是目前全世界音樂廳內唯一可以同時邀請3位管風琴家登台演奏的音樂廳。與葡萄園式觀眾席融為一體的外觀設計,更是讓來訪的世界級管風琴家們驚艷不已!
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\n\t\t\t 7/13(四)14:30-15:30 | \n\t\t|
\n\t\t\t 「把拔馬麻,最上面的那個又大又亮、還有好多根柱子是什麼啊?」「喔,那個叫做管風琴啊~」「那~管風琴又是什麼東西呢?」「這個……」不知道該如何和孩子解釋管風琴嗎?交給最受小朋友喜歡的花露露來幫忙吧! ►節目詳情 \n\t\t\t | \n\t\t|
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\n\t\t\t 8/2(三)14:30-15:30 \n\n\t\t\t【永恆的愛-巴洛克協奏曲】 \n\n\t\t\t※舞台零距離體驗場 \n\n\t\t\t\n\t\t\t | \n\t\t|
\n\t\t\t 在七夕情人節的浪漫氣氛中,管風琴家劉信宏規劃演出兩首音樂史上最著名的《婚禮進行曲》──華格納與孟德爾頌筆下的動聽旋律,將以管風琴獨奏呈現,讓人彷彿置身教堂、為新人線上祝福!透過兩首名曲,觀眾同時可以感受比起管弦樂團版本,管風琴演奏絲毫不遜色。為了更加印證此點,劉信宏將進一步演出兩首改編自韋瓦第樂團協奏曲的作品:巴赫《D小調協奏曲》及約翰.華爾特《B小調協奏曲》,充分展現管風琴的音色多變性。同時佐以巴赫《耶稣,世人仰望的喜悦》與米特爾《F大調幻想曲》兩首動聽小品,展開溫馨幸福的序幕! \n\n\t\t\t\n\n\t\t\t 華格納:結婚進行曲 ,選自《羅恩格林》 \n\n\t\t\t巴赫:《耶穌,世人仰望的喜悅》,作品147 \n\n\t\t\t孟德爾頌:結婚進行曲,選自《仲夏夜之夢》,作品61 \n\n\t\t\t約翰・華爾特:b小調協奏曲,作品133(改編自韋瓦第e小調協奏曲,RV275) \n\n\t\t\t米特爾:給管風琴的F大調幻想曲 \n\n\t\t\t巴赫:d小調協奏曲,作品596 (改編自韋瓦第d小調協奏曲,作品3,第11號,RV565) \n\t\t\t | \n\t\t|
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\n\t\t\t 9/27(三)14:30-15:30 \n\n\t\t\t【管風琴唱世界民謠】 ※客席演奏家:Sean JACKSON \n\n\t\t\t\n\t\t\t | \n\t\t|
\n\t\t\t 大家已經相當熟悉聽到管風琴演出聖歌或詩篇,如果管風琴彈出的是眾人耳熟能詳、傳頌不已的民謠,又會是怎樣的風味呢?本場次劉信宏將以陳泗治的《台灣素描》彈出管風琴音中的寶島風景,並且邀請出生於加勒比海的尚傑生,改編他心中的經典臺灣旋律;另外,劉信宏更融合臺語歌謠《孤戀花》與世界名曲《小白花》,展現音樂超越國籍的無遠弗屆;尚傑生則會帶來充滿熱帶風情的故鄉旋律,搭配上本次的「自由移動場」設計,觀眾不妨在音樂廳的不同角落,感受來自世界的風,在音樂廳內的不停流轉! \n\n\t\t\t\n\n\t\t\t 尚傑生改編:巴多斯民謠交響曲 陳泗治:《台灣素描》選取,劉信宏改編給管風琴 尚傑生改編:三首臺灣名謠 劉信宏改編:真善美小白花、臺灣孤戀花 \n\n\t\t\t帕爾迪尼:《奇異恩典觸技曲》 \n\t\t\t | \n\t\t|
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\n\t\t\t 10/18(三)14:30-15:30 \n\n\t\t\t【Knock!Knock!不給音樂就搗蛋】 \n\n\t\t\t※舞台零距離體驗場 \n\n\t\t\t\n\n\t\t\t\n\t\t\t | \n\t\t|
\n\t\t\t 管風琴的多變性究竟多高呢?在傳統的宗教意象之外,管風琴於當代影視作品的形象,似乎更常帶來「群魔亂舞」的驚悚效果:畢竟以一人之力就能展現出碩大的壓制音響,不是神力便是怪力!本場次結合萬聖節,精選神祕詭譎效果的管風琴曲目:已然成為「吸血鬼」的代名詞的巴赫d 小調觸技曲與賦格,以及展現獨特音色與旋律的當代爵士散拍作品,加上德布西《月光》的夜色沉思後,又以蘇莎《永恆的星條旗》展開盛大遊行!觀眾也可以在「舞台零距離體驗場」的設計中,到琴座正下方感受強烈震撼力。 \n\n\t\t\t\n\n\t\t\t 玻耶爾曼:《哥德組曲》 巴赫:d 小調觸技曲與賦格,BWV 565 玻爾康:〈快來傳道,穩當根基自由幻想曲〉選自《散拍,福音音樂前奏曲》 \n\n\t\t\t德布西:〈月光〉,選自《貝加馬斯克組曲》作品 L75 – 第三首 \n\n\t\t\t蘇沙:《永恆的星條旗》 \n\t\t\t | \n\t\t|
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\n\t\t\t 11/22(三)14:30-15:30 \n\n\t\t\t【管風琴大戰交響樂】 \n\n\t\t\t※自由移動體驗場 \n\n\t\t\t\n\n\t\t\t\n\t\t\t | \n\t\t|
\n\t\t\t 雙手雙腳加上數百根音管,管風琴能展現的音色與音量變化,足以媲美百人交響樂團!本場次管風琴家劉信宏將化身一人指揮兼樂手,展現管風琴以一擋百的壯闊氣勢!法國作曲家邦內給音樂會的變奏曲,以及同樣來自法國的維多所寫的「交響曲」,其實都是單純為管風琴獨奏寫的曲目,光從曲名就能感受到作曲家認為「管風琴=樂團」的基本定調;而大眾熟悉的影視作品:約翰.威廉斯《星際大戰》〈帝國進行曲〉,以及漢斯.季默為《星際效應》創作的配樂,則是展現出管風琴足以與無邊宇宙的對應功力,在本場次的「自由移動場」設計下,觀眾可以用不同角度聆賞管風琴的壯闊浩瀚。 \n\n\t\t\t\n\n\t\t\t 邦內:給音樂會的變奏曲,作品一 \n\n\t\t\t漢斯‧季默:電影《星際效應》配樂組曲 \n\n\t\t\t約翰‧威廉斯:〈帝國進行曲〉電影《星際大戰》主題曲 \n\n\t\t\t莫利克奈:《新天堂樂園》 電影主題曲 \n\n\t\t\t馬斯卡尼:歌劇《鄉村騎士》間奏曲 \n\n\t\t\t維多:第三樂章〈如歌的行板〉,選自第四號管風琴交響曲 \n\n\t\t\t維多:〈終曲〉,選自第六號管風琴交響曲 \n\t\t\t | \n\t\t|
主辦單位保留本活動變更權利。
\n\t本活動之費用將列入衛武營會員卡消費點數累積。
\n\t舞台零距離體驗場:開放舞台區、合唱席F1-F7排自由入座。
\n\t自由移動體驗場:開放1F 1-12排、A1-A6排、2F B1-B8排 一般席自由入座。
\n\t衛武營會員綁定OPENTIX
\n\n邀請您註冊「OPENTIX兩廳院文化生活」帳號並綁定衛武營會員卡,即可享有會員購票優惠。綁定教學
\n\n優惠方案
\n\n參與2023年定時導覽「廳院導覽」、主題導覽「廳院自由探索」至三樓服務中心臨櫃購買2023【探索管風琴音樂】演出,即享購票8折優惠(各項優惠折扣方案僅能擇一使用),不限購買張數。
\n\t衛武營卡友:9折
\n\t團票:8折(30人以上)
\n\t敬老票、身障及陪同:5折
\n\t更多優惠方案詳見售票頁面。
\n\t走進衛武營音樂廳,除了驚嘆葡萄園式觀眾席與極佳音響效果外,位於最頂層的管風琴,也是眾人矚目的焦點。若是您曾經好奇,這台亞洲最大的音樂廳管風琴,究竟能展現什麼樣的百變樣貌,「探索管風琴音樂」系列活動,將是得到解答的大好機會!
\n活動透過搭配其他樂器以及加入燈光效果等特殊聆賞規劃,加上平易近人的專業解說,展現管風琴的萬千變換與可親可愛。
\n活動特別安排「舞台零距離體驗場」將舞台區轉變為觀眾席區,讓您近距離一睹管風琴風采;「自由移動體驗場」在曲目間安排換位橋段,透過體驗不同的欣賞演出視角,做為您日後蒞臨音樂廳欣賞演出的座位參考。
\n每月一小時,相約「探索管風琴音樂」,揭開管風琴的神祕面紗,拉近管風琴與我們的距離!
\n 2023下半年活動場次表
\n\t\t\t 12/13(三)14:30-15:30 \n\n\t\t\t【管風琴聖誕饗宴】 \n\n\t\t\t※客席演奏家:Sean JACKSON、陳相瑜 \n\n\t\t\t\n\n\t\t\t\n\n\t\t\t\n\t\t\t | \n\t\t|
\n\t\t\t 歲末將至,本場次將由三位管風琴家:劉信宏、尚傑生與陳相瑜一同登台,聯手帶來最應景佳節氣息的「管風琴聖誕饗宴」!除了精選從孟德爾頌、柴科夫斯基到美國黑人靈歌等歷史上極具聖誕氣息的曲目外,本場最特別的,是三位音樂家將使出渾身解數,不但要打開音樂廳3樓兩側的所有管風琴,同時連線一樓與三樓的琴座演奏外,更會在不同曲目中加入鋼琴與移動式管風琴,展現出不同鍵盤樂器交融的特殊效果,把衛武營管風琴的效能發揮到淋漓盡致,並為今年畫下精采熱鬧的休止符! \n\n\t\t\t\n\n\t\t\t 維耶爾恩:《西敏寺的鐘聲》,作品54 第六號 \n\n\t\t\t《法國聖誕鐘聲變奏曲》傑瑞. 威斯頓庫勒改編 \n\n\t\t\t孟德爾頌‧巴妥爾迪:《聖誕歌謠-齊來敬拜》,珍妮.戴梅西 改編 \n\n\t\t\t美國黑人靈歌《去山頂傳揚》,艾略特. 理查德改編 \n\n\t\t\t柴科夫斯基:〈糖梅仙子之舞〉選自《胡桃鉗組曲》 \n\n\t\t\t美國黑人靈歌《祂雙手掌握全世界》,喬爾.雷尼改編 \n\n\t\t\t杜普雷:《齊來敬拜》變奏曲 \n\n\t\t\t阿道夫.亞當:《聖善夜》 \n\n\t\t\t魏多:觸技曲,f小調第五號管風琴交響曲,作品42/1 \n\t\t\t | \n\t\t|
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好書推薦
\n\n《打開管風琴的祕密》
\n\n由來自德國的繪本作者西妮雅.博尼希編寫繪製,衛武營取得授權後和時報出版合作在臺發行繁體中文版。以淺顯易懂的文字和充滿童趣插圖,講解樂器之王管風琴的組成構造、發聲原理,以及衛武營音樂廳中全亞洲最大管風琴,如何由德國波昂的百年管風琴製造廠Johannes Klais Orgelbau, 歷經三年多時間設計製造,並橫跨9,500多公里搬運來到高雄衛武營組裝完工的巨大挑戰 。
\n►購買連結
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藝文支持
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文化部校外文化體驗
\n\n本活動與文化部、各地方的藝文場館及周邊場域串聯,提供文化體驗內容,共同合作推動學校帶領學生走出校園,走進戲劇院、音樂廳、演藝廳、美術館、博物館、歷史現場及績優社區營造點等文化場域,培養高中職、國中小之學子對文化藝術的興趣和感知,培育藝文欣賞人口,建立文化自信。
\n\n歡迎各縣市高中職、國中小詢問所屬縣市或有意前往縣市的文化局(處)諮詢窗口,報名參與。
\n\n►活動詳情
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\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[{reference:[],type:"content",name:"Artists Introduction",content:'
Pipe Organist|LIU Hsin-hung
\n\nDr. LIU holds a Doctor of Musical Arts degree from the University of Washington and is currently a professor at Tainan Theological College and Seminary and an adjunct professor at Taipei National University of the Arts and Tainan University of Technology. LIU is a member of the American Guild of Organists (AGO) and serves as the chair of the AGO's Taiwan Chapter.
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Guest Organist|Sean JACKSON (Sep, Dec)
\n\nAn outstanding soloist and accompanist on the international stage, JACKSON has performed in the many countries worldwide. Since 2004, he has served as the organist and music director of music at churchs in Northeastern USA. To date, he has recorded numerous solo and collaborative albums.
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Guest Organist|CHEN Hsiang-yu (Dec)
\n\nOrganist, pianist, and harpsichordist; recipient of the NTCH Prominent Young Musician and Chunghsing Arts Award for music. Currently teaching at Soochow University Department of Music, CHEN is often invited to write music-related articles, and her written works are published on her blog Chen Hsiang-yu's Music World.
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Host|Abby CHU
\n\nAbby CHU is Orgelkids Taiwan music director. She has served as a host of Educational Lecture Recitals for Organ, lecturer of the Organ Workshop in Pingtung Performing Arts Center and Weiwuying, speaker of Pingtung Performing Arts' Film A 9 minutes introduction to the King of Musical Instruments- Organ, the music director of Orgelkids Taiwan Summer Music Camp, and the lecturer of Developing STEM Approaches for Understanding Organ Project in Schools.
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\n'},{reference:[],type:"content",name:"The pipe organ",content:"
The pipe organ is one of the world's oldest instruments, dating back to as early as the 3 rd century BC in Greece. Since it has a majestic, dignified sound, which is even more pronounced by the echo in large churches, along with its variance in timbre, it became an important presence in Christianity beginning in the Middle Ages, in turn prompting the composition of a great number of pieces over time.
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As missionaries brought their faith out of Europe, the organ followed to churches all over the world—over 30 can be found in Taiwanese churches. Now that Western classical music is a popular genre, almost all concert halls are built with an organ, allowing people all over to hear the grandeur of this fascinating instrument.
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Similarly, an organ was also put into the plans for Weiwuying.Century-old German organ manufacturer Johannes Klais Orgelbau built the instrument, which has 9,085 pipes and 127 stops, over a period of a bit more than three years. It is both the largest organ in Asia and the only concert hall organ in the world with the capacity to be played by three organists at the same time.Being perfectly blended into the vineyard seating as the cherry on top, it never fails to stun world-class organists from around the globe!
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\n"},{reference:[],type:"content",name:"Past sessions",content:'
Discount
\n\nBesides the breathtaking vineyard-style seating and outstanding acoustics at the Weiwuying Concert Hall, the pipe organ, located on the top floor, is another major highlight. If you're wondering what this largest organ in Asia can do, our Explore the Pipe Organ series of events is just what you're looking for!
\n\nPerformances will be enhanced with other instruments, special lighting effects, and informative explanations, which will make the organ's diversity and charm more accessible and understandable to the audience.
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In addition, the programs boast two unique features: The first is that they will be Close-up Shows—the stage will be transformed into a seating area to give the audience an even closer experience with the organ. The second is the Musical Chairs aspect: members of the audience will be permitted to get up and move to other seats between pieces of music to try out different perspectives and get an idea of which seats they would like to reserve for future performances.
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So for an hour each month, come to our Explore the Pipe Organ events to see all the secrets behind this fascinating instrument!
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\n Programs
\n\t\t\t 8/2(Wed)14:30-15:30 \n\n\t\t\tEternal Love - Baroque Concertos (Close-up Show) \n\n\t\t\t\n\t\t\t | \n\t\t|
\n\t\t\t For the romantic atmosphere of Chinese Valentine's Day, August's event will showcase solo organ performances of two of history's most well-known songs, WAGNER's "Bridal Chorus" from Lohengrin and MENDELSSOHN's "Wedding Procession" from A Midsummer Night's Dream—you might just think you should be throwing rice and crying! The show will produce a different, but by no means inferior, feel compared with the commonly heard orchestra versions. \n\n\t\t\tTo emphasize this distinction, BACH's Concerto in d minor and WALTHER's Concerto in b minor (adaptations of concertos by VIVALDI) will fully express the diversity of the organ's timbre. In addition, BACH's "Jesu, Joy of Man's Desiring" and MÜTHEL's Fantasie in F Major for Organ will add to the warmth and joy of the program. \n\t\t\t | \n\t\t|
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\n\t\t\t 9/27(Wed)14:30-15:30 \n\n\t\t\tEchoing Folk Songs from Around the World (Musical Chairs) \n\n\t\t\tOrganist|Sean JACKSON \n\n\t\t\t\n\t\t\t | \n\t\t|
\n\t\t\t Most people are accustomed to pipe organs performing hymns or psalms. But what would it be like if the pipe organ played well-known and enduring folk songs? In this performance, LIU Hsin-hung will play Taiwan Sketches by CHEN Si-chih on the pipe organ, presenting the island's landscapes. LIU also invites Caribbean organist and pianist, Sean JACKSON, to adapt classic Taiwanese melodies dear to him. Furthermore, LIU blends the Taiwanese ballad "Lonely Flower" with the world-famous "Edelweiss" demonstrating how music transcends boundaries. JACKSON will also bring melodies filled with tropical charm. Combined with the ’musical chair’ series where audience are invited to choose or change seats, they can experience music from across the globe all within the concert hall! \n\t\t\t | \n\t\t|
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\n\t\t\t 10/18(Wed)14:30-15:30 \n\n\t\t\tKnock! Knock! Music or Trick! (Close-up Show) \n\n\t\t\t\n\n\t\t\t\n\t\t\t | \n\t\t|
\n\t\t\t How versatile is a pipe organ? Beyond religious imagery, the pipe organ in contemporary film and television tends to bring about a thrilling and devious effect. After all, a person with the ability to produce a massive and overpowering sound, is either an act of divinity or monstrosity. This Halloween-themed performance selects organ pieces with mysterious and eerie qualities: BACH's Toccata and Fugue in d minor, already synonymous with "vampires," unique contemporary jazz syncopated pieces, and the pensive Clair de Lune by DEBUSSY, SOUSA's grand The Stars and Stripes Forever. Audience can also feel the intense impact of the instrument whilst seating directly under the organ in this "close-up show" concert. \n\t\t\t | \n\t\t|
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\n\t\t\t 11/22(Wed)14:30-15:30 \n\n\t\t\tThe Pipe Organ Battles the Symphony (Musical Chairs) \n\n\t\t\t\n\n\t\t\t\n\t\t\t | \n\t\t|
\n\t\t\t With the use of both hands and feet of the musican, together with hundreds of pipes, the pipe organ can be an equal match to a modern full-size symphony orchestra! In this performance, pipe organist LIU Hsin-hung will act as a conductor and an orchestra all by himself to demostrate the granduer of this instrument!! Variations de Concert by French composer Joseph BONNET and the symphonies of French composer Charles-Marie WIDOR are written solely for solo organ. From the title alone, you can detect how the composers equate the pipe organ with the orchestra. The popular film scores such as John WILLIAMS' "Imperial March" from Star Wars and Hans ZIMMER's score for Interstellar, demonstrate the organ's ability to correspond to the boundless universe. In this 'musical chair' series, audience are invited to change or choose seats, giving them an opportunity to appreciate to appreciate the grandeur of the pipe organ from various angles. \n\t\t\t | \n\t\t|
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\n\t\t\t 12/13(Wed)14:30-15:30 \n\n\t\t\tChristmas Feast of Joy \n\n\t\t\tOrganist|Sean JACKSON, CHEN Hsiang-yu \n\n\t\t\t\n\n\t\t\t\n\t\t\t | \n\t\t|
\n\t\t\t At the end of 2023, three organists: LIU Hsin-hung, Sean JACKSON, and CHEN Hsiang-yu, will jointly present “Resounding Joy: The Pipe Organ Christmas Extravaganza,” which includes a selection of Christmas-themed pieces across history, including works from HANDEL, TCHAIKOVSKY, and American Negro Spirituals. They will pull out all their stops and fully utilizing all the organs, including one on stage, two on the third floor, a concert piano and a positive organ. This program will showcase the special blend of different keyboard instruments and demonstrate the full potential of Weiwuying's pipe organ, drawing a lively and exciting conclusion for the year! \n\t\t\t | \n\t\t|
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\n',team:""},createdAt:1679043720,updatedAt:1701848980,updatedBy:"林蔚行",host:!1},{_id:"641c1c96653c730007b385c0",catalogs:["6010ca1afb81540009f438e6","6007fc45ba34870007c22b8b"],dateTime:{first:1685080800,discrete:[{time:1685080800},{time:1685151e3},{time:1685169e3},{time:1686708e3},{time:1686724200},{time:1686965400},{time:1686983400},{time:1694239200},{time:1694259e3},{time:1696572e3},{time:1696740300},{time:1703311200},{time:1703329200}],type:"discrete"},activity:{type:"free",free:{description:"報名參與"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[{reference:[],type:"content",name:"授課團隊",content:'
授課團隊
\n\n【音樂芭蕾劇場《遇見胡桃鉗的女孩》大耳朵芭蕾工作坊】
\n\n講師-周書毅
\n\n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。
\n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。
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\n'},{reference:[],type:"content",name:"活動回顧",content:'
報名時程
\n\n上半年度(1-6月)
\n\n2023/3/29(三)12:00起至各場次額滿為止。
\n\n若該場次未報名額滿,將於演出前一週關閉報名表單。
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友善學習工作坊
\n\n【尤法.皮克《巴赫d小調》大手大腳肢體工作坊】
\n\n\n\t\t\t 日期&時間 \n\t\t\t | \n\t\t\t \n\t\t\t 課程內容 \n\t\t\t | \n\t\t\t地點 | \n\t\t
\n\t\t\t 5/26(五)14:00-17:00 \n\t\t\t | \n\t\t\t\n\t\t\t 肢體課程1 \n\t\t\t | \n\t\t\t1182排練室 | \n\t\t
\n\t\t\t 5/27(六)09:30-12:30 \n\t\t\t | \n\t\t\t\n\t\t\t 肢體課程2 \n\t\t\t | \n\t\t|
\n\t\t\t 5/27(六)14:30-15:30 \n\t\t\t | \n\t\t\t\n\t\t\t 尤法.皮克《巴赫d小調》 \n\n\t\t\t演出欣賞 \n\t\t\t | \n\t\t
\n\n
授課團隊
\n\n滯留島舞蹈劇場
\n\n由視障編舞家張忠安於2010年創立,為國藝會年度獎助演藝團隊,作品屢獲國際邀演。期許能將南部人才「滯留」於在地發揮長處,停靠在「島」所提供的空間與機會,著力向下扎根、扶植在地人才,以實驗精神探索創新,關懷社會人文及時事為舞作議題,為弱勢團體發聲。
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來自屏東的視障編舞張忠安在十七歲那年因右眼失明,放棄北藝大舞蹈系回到南部家鄉,然而編舞及身體語彙是他表達思想、與世界溝通鏈結的重要存在,持續不間斷地為自己和他人進行訓練、教學和編舞。在沒有學術資源與經歷下,以對舞蹈的熱忱及追尋夢想的勇氣在2010年創立了滯留島舞蹈劇場,期望將人才滯留南方。舞團近年更致力於透過公共性的參與、藝術創作及節慶式的共融活動來提升大眾關注文化平權。
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【探索管風琴音樂《毛小孩的狂歡》大眼睛管風琴工作坊】
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\n\t\t\t 日期&時間 \n\t\t\t | \n\t\t\t \n\t\t\t 課程內容 \n\t\t\t | \n\t\t\t地點 | \n\t\t
\n\t\t\t 6/14(三)10:00-12:00 \n\t\t\t | \n\t\t\t\n\t\t\t 管風琴課程 \n\t\t\t | \n\t\t\t1186排練室 | \n\t\t
\n\t\t\t 6/14(三)14:30-15:30 \n\t\t\t | \n\t\t\t\n\t\t\t 探索管風琴音樂《毛小孩的狂歡》 \n\n\t\t\t演出欣賞 \n\t\t\t | \n\t\t
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授課團隊
\n\n社團法人台灣兒童管風琴教育推廣協會
\n\n講師-朱郁柔
\n\t高雄師範大學表演藝術所,現任社團法人台灣兒童管風琴教育推廣協會音樂總監。有二十年國小藝術與人文科老師樂隊團隊指導老師經驗、十年台北麗庭莊園婚禮電子管風琴琴師。曾經擔任多場屏東演藝廳管風琴推廣音樂會主持人、屏東演藝廳管風琴工作坊講師、屏東藝遊影音『9分鐘認識音樂界的重量級樂器-管風琴』主講人、屏東演藝廳兒童管風琴夏令營音樂總監、衛武營管風琴校園推廣計畫講師、衛武營『藝企學』管風琴音樂會主持人、衛武營『劇場藝術體驗教育計畫』業師、衛武營『玩樂管風琴工作坊』講師、國藝會『音樂飄鄉』組裝Orgelkids 小管風琴工作坊講師。
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【拾念劇集×無獨有偶×施如芳《鯨之嶋》大耳朵偶戲工作坊】
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\n\t\t\t 日期&時間 \n\t\t\t | \n\t\t\t \n\t\t\t 課程內容 \n\t\t\t | \n\t\t\t地點 | \n\t\t
\n\t\t\t 6/17(六)14:00-17:00 \n\t\t\t | \n\t\t\t\n\t\t\t 偶戲課程 \n\t\t\t | \n\t\t\t1192排練室 | \n\t\t
\n\t\t\t 6/17(六)19:30 \n\t\t\t | \n\t\t\t\n\t\t\t 拾念劇集×無獨有偶×施如芳《鯨之嶋》 \n\n\t\t\t演出欣賞 \n\t\t\t | \n\t\t
\n\n
授課團隊
\n\n無獨有偶工作室劇團
\n\n創立於1999年,秉持「無物不成偶」的創作觀點,打造臺灣當代偶戲劇場的新風貌,以魔幻哲思的變身美學開創獨特的劇場敘事。作品風格充滿創意的造型以及詩意的演繹能力,並以各種跨領域合作,開發『人』所不能為的自由想像空間。作品多次提名及入圍「台新藝術獎」,並經常於臺北藝術節、兩廳院國際劇場藝術節、法國外亞維儂藝術節、美國綠山藝術節等國內外重要藝術節演出,足跡遍佈15個國家。2013年於宜蘭縣五結鄉創立「利澤國際偶戲藝術村」,為亞洲最具規模的偶戲創發平台。
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【喬伊.亞歷山大三重奏《天才琴手》友善學習工作坊】
\n\n\n\t\t\t 日期&時間 \n\t\t\t | \n\t\t\t \n\t\t\t 課程內容 \n\t\t\t | \n\t\t\t地點 | \n\t\t
\n\t\t\t 9/9(六)14:00-17:00 \n\t\t\t | \n\t\t\t\n\t\t\t 爵士課程 \n\t\t\t | \n\t\t\t1182排練室 | \n\t\t
\n\t\t\t 9/9(六)19:30-21:30 \n\t\t\t | \n\t\t\t\n\t\t\t 【衛武營爵士週】喬伊.亞歷山大三重奏 \n\n\t\t\t《天才琴手》演出欣賞 \n\t\t\t | \n\t\t\t音樂廳 | \n\t\t
授課團隊
\n\n【喬伊.亞歷山大三重奏《天才琴手》大手大腳肢體工作坊】
\n\n講師-王夏儷
\n\n國立臺灣師範大學流行音樂產業研究所畢業
\n\n高雄市港都音樂表演藝術發展協會理事長
\n\n中國國營企業珠江鋼琴藝術中心專家講師
\n\n台灣奧福Orff音樂教育協會擔任常務理事、監事、會訊總編輯
\n\n日本Yamaha擔任音樂講師、級數檢定監考官、全台演奏者指導老師
\n\n台南應用科技大學音樂系擔任專業技術講師20年
\n\n高雄中央公園城市光廊EZ Life簡單.生活露天音樂吧
\n\nEZPlayer 易利玩仔數位股份有限公司執行長、音樂總監
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助教-朱慧詠
\n\n畢業於國立台北藝術大學音樂系,主修單簧管。現為南台灣交響樂團駐團編曲家/豎笛首席,擅長合成樂器,長期受邀於海內外演出及參與編曲製作及與樂團作連結演出。
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【唐美雲歌仔戲團《臥龍:永遠的彼日》大眼睛歌仔戲工作坊】
\n\n\n\t\t\t 日期&時間 \n\t\t\t | \n\t\t\t \n\t\t\t 課程內容 \n\t\t\t | \n\t\t\t地點 | \n\t\t
\n\t\t\t 10/6(五)14:00-17:00 \n\t\t\t | \n\t\t\t\n\t\t\t 歌仔戲課程 \n\t\t\t | \n\t\t\t1182排練室 | \n\t\t
10/8(日)12:45-13:35 | \n\t\t\t\n\t\t\t 【衛武營五週年慶】唐美雲歌仔戲團《臥龍:永遠的彼日》 \n\n\t\t\t觸覺導聆 \n\t\t\t | \n\t\t\t歌劇院 | \n\t\t
10/8(日)14:05-14:25 | \n\t\t\t\n\t\t\t 【衛武營五週年慶】唐美雲歌仔戲團《臥龍:永遠的彼日》 \n\n\t\t\t口述導聆 \n\t\t\t | \n\t\t|
\n\t\t\t 10/8(日)14:30 \n\t\t\t | \n\t\t\t\n\t\t\t 【衛武營五週年慶】唐美雲歌仔戲團《臥龍:永遠的彼日》 \n\n\t\t\t演出欣賞(搭配口述影像) \n\t\t\t | \n\t\t
授課團隊
\n\n【唐美雲歌仔戲團《臥龍:永遠的彼日》大眼睛歌仔戲工作坊】
\n\n講師-陳健星
\n\n戲曲編劇,中央大學中文系兼任講師。2011開啟與「唐美雲歌仔戲團」合作的因緣,投入電視、舞台歌仔戲劇本創作逾十一年。代表作品《春櫻小姑─回憶的迷宮》《冥河幻想曲》《風從何處來》《螢姬物語》《夜未央》《光華之君》《冥遊記─帝王之宴》《臥龍:永遠的彼日》。2018與王安祈教授共同編寫京崑文學劇《天上人間李
\n後主》。2019擔任電視劇《孟婆客棧》總編劇。2021以《光華之君》獲傳藝金曲獎「最佳編劇」。
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講師-陳歆翰
\n\n當代劇場歌仔戲編腔作曲、音樂設計。2023以「歌仔戲腔調設計研究」取得國立臺灣藝術大學表演藝術博士學位。曾獲第32屆傳藝金曲獎最佳音樂設計獎,並入圍廣播金鐘獎主持人獎項。曾參與唐美雲歌仔戲團、春美歌劇團、尚和歌仔戲劇團、《見城》、《船愛》等大型製作。現為國立臺灣戲曲學院兼任講師、中央廣播電台《臺灣文武爿》節目主持人。
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\n'}],onShelf:!0,sliders:[{type:"image",key:"99a04ba6f1b8291b275a0f6e88b13cda",title:"2023【衛武營場館友善計畫】友善學習工作坊"}],related:[],title:"2023【衛武營場館友善計畫】友善學習工作坊",cover:"a54dc95428dd33318c18053cf40e9480",site:{isOther:!0,site:"",other:"衛武營"},cautions:"",benefits:"",description:"衛武營自2018年開館以來,致力成為眾人的藝術中心,盼社會上眾多族群在衛武營找到自己安適的方式參與藝術活動。",introduction:'
衛武營自2018年開館以來,致力成為眾人的藝術中心,盼社會上眾多族群在衛武營找到自己安適的方式參與藝術活動。藉由各項無障礙軟硬體設施建置,讓視障和聽障朋友在友善的空間,與眾人一同感受衛武營的美好,在促進文化平權上往前邁向一大步。
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活動內容
\n\n「友善學習工作坊」由衛武營主辦節目中挑選音樂、舞蹈、戲劇等演出,邀請各障別朋友們走進劇場欣賞演出,並於演出前邀請專業師資,帶領障別朋友體驗演前工作坊,深入瞭解節目內涵與多元藝術,共享表演藝術的美好與悸動。
\n\n本活動包含前導工作坊1-2堂課程,每堂課約2-3小時,依不同課程調整,並提供演出票券每人一張(含陪同者),及跨時段餐食一份(含陪同者)。
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報名對象
\n\n身心障礙證明註記第二類者(視覺障礙、聽覺機能障礙)與第七類者(肢體障礙者),建議7歲以上。
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報名時程
\n\n下半年度(7-12月)
\n\n即日起至各場次額滿為止。
\n\n若該場次未報名額滿,將於演出前一周關閉報名表單。
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報名費用
\n\n每人(組)每場次酌收300元保證金,並於演出當日退還。
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報名流程
\n\n※報名順序將以保證金匯款順序為依據,非表單填寫順序。
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友善學習工作坊
\n\n【音樂芭蕾劇場《遇見胡桃鉗的女孩》大耳朵芭蕾工作坊】
\n\n工作坊時間:
\n\t\n\t\t\t 日期&時間 \n\t\t\t | \n\t\t\t \n\t\t\t 課程內容 \n\t\t\t | \n\t\t\t地點 | \n\t\t
\n\t\t\t 12/23(六)14:00-17:00 \n\t\t\t | \n\t\t\t\n\t\t\t 肢體課程 \n\t\t\t | \n\t\t\t1192排練室 | \n\t\t
\n\t\t\t 12/23(六)19:00 \n\t\t\t | \n\t\t\t\n\t\t\t 《遇見胡桃鉗的女孩》演出欣賞 \n\t\t\t | \n\t\t\t音樂廳 | \n\t\t
\n',team:""},createdAt:1679563926,updatedAt:1701238489,updatedBy:"林蔚行",host:!0},{_id:"6436213c03e56c00081bbe85",catalogs:["5fe2bffdde1961000737545c","63631a36cf05170008b40bba","5aec418cb01ea6000520f635","64812f1feb9a240007c8c8c7"],dateTime:{first:1695816e3,discrete:[{time:1695816e3}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,500,800],link:"https://www.opentix.life/event/1648577042783952896"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"43b9a655695a334548562507e0654ff2",title:"【衛武營小時光】唱歌集《愛(AI)妻》Cabaret"}],related:[],title:"【衛武營小時光】唱歌集《愛(AI)妻》Cabaret",cover:"b0cddd5a82014449a25f862c0032dbbb",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
「每一對夫妻都應該來看這齣音樂劇,我從未認真想過有朝一日我的先生會離開我身邊,這齣戲讓我意識到每日庸碌、花這麼多時間在不重要的事情上到底為什麼?更決定要珍惜身邊相愛的人。」——韓國原劇觀眾回饋
\n\n「作曲絲絲入扣,超級好聽!」——高雄首演觀眾回饋
\n\n「只有兩位演員卻完全沒有冷場!」——高雄首演觀眾回饋
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改編韓國獲獎音樂劇《愛(AI)妻》
\n\n重製特調為小時光專屬Cabaret,再現經典片段
\n\n唱、談、演角色心境與自身感情觀
\n\n一窺周定緯、詹喆君的內心世界
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唱歌集2022年改編韓國2019大邱國際音樂劇節「最佳原創音樂劇」《愛(AI)妻》,原劇訴說一段來自2037年的愛情故事:鐵工師傅阿鎬,始終走不出意外失去愛妻Mina的痛,偶然得以AI人工智慧科技「重建」Mina的存在;然而,阿鎬重新愛上Mina的同時,卻得面對AI愛妻不時休眠充電、異常優秀的智能與體力、而且反常地積極想要整修兩人共住的老屋等。嚮往停留在過去的阿鎬,能留住來自未來的Mina嗎?
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這次唱歌集為衛武營小時光重製特調《愛(AI)妻》Caberet,由音樂劇王子周定緯、唱歌集美聲擔當詹喆君以音樂、戲劇、舞蹈、互動talking,重現《愛(AI)妻》經典片段,一起重溫音樂劇歌舞間的衝突與幸福瞬間,兩位演員更將跳脫角色,直面故事中的揪心難題與角色間的化學效應,暢聊自身感情觀,分享心中珍藏的有關愛與離別、科技與人性衝突、關係中的難忘時刻。
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演後見面會
\n\n2023/9/27(三)21:15 表演廳大廳
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周邊活動
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演出暨製作團隊
\n\n製作人|詹喆雅
\n\n執行製作|周子群
\n\n原作編劇、導演|吳抒垠
\n\n原作作曲、導演|李應奎
\n\n劇本編修|林孟寰、符沁瑜(宅故事創作)
\n\n中文歌詞|張清彥
\n\n導演|林羣翊
\n\n戲劇顧問|杜思慧
\n\n編舞|黃筱哲
\n\n舞台設計|林仕倫
\n\n燈光設計|邱郁雯
\n\n聲音設計|李志倫
\n\n服裝設計|黃稚揚
\n\n髮妝設計|陳俐廷
\n\n舞台監督暨舞台技術指導|王文明
\n\n導演助理、音效執行|石懷源
\n\n演員|詹喆君、周定緯
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Available starting 5/22(Mon)12:00 !
\n\tPerformed in Mandarin with Mandarin surtitles.
\n\tTotal Musical Theatre adapted the award-winning South Korean musical My Endearing Wife to tell a love story set in 2037. Blacksmith A-hao, who could never quite get over the pain of losing his beloved wife Mina in an accident, happens to rebuild her existence with AI technology. Having fallen in love with Mina again, A-hao finds himself facing a unique set of challenges in their relationship: her constant need to reset and recharge, her extraordinary intellect and stamina, and her unusual fervor to renovate their old house. Will A-hao, who longs for the past, be able to convince Mina from the future to remain by his side?
\n\nTotal Musical Theatre, in collaboration with Weiwuying Showtime, has reimagined My Endearing Wife into a unique fusion of cabaret featuring music, drama, dance, and interactions between the Prince of Musicals, CHOU Ting-wei(Judy), and the bel canto singer, CHAN Jejiun. While the audience relives classic scenes of both conflict and joy, the two lead performers will break character to confront heart-wrenching dilemmas and explore their on-stage chemistry. They will openly discuss their perspectives on love, share cherished moments of union and separation, and delve into themes such as man vs. technology and relationships at large.
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Creative and Production Team
\n\nProducer|Julia CHAN
\n\nProgramme Coordinator|Chin CHOU
\n\nPlaywright & Director of Original Play|Seoeun OH
\n\nComposer & Director of Original Play|Eunggyu LEE
\n\nPlay Adapter|LIN Meng-huan (Dazi), FU Chin-yu (Story Nerd Works)
\n\nChinese Lyricist|Oscar CHANG
\n\nDirector|LIN Chiun-yi
\n\nDramaturg|DU Shih-hue
\n\nChoreographer|HUANG Hsiao-Che
\n\nSet Designer|LIN Shih-lun
\n\nLighting Designer|CIOU Yu-wen
\n\nSound Designer|Sam LEE
\n\nCostume Designer|HUANG Chih-yang
\n\nHair & Makeup Designer|Corinna CHEN
\n\nStage Manager & Technical Director|WANG Wen-ming
\n\nAssistant to Director, Sound Effects Operator|Amei SHI
\n\nPerformers|CHAN Jejiun、CHOU Ting-wei(Judy)
\n\n\n',team:""},createdAt:1681269052,updatedAt:1694509276,updatedBy:"林蔚行",host:!0},{_id:"644b2c8803e56c000823c6c7",catalogs:["5fe2bffdde1961000737545c","5aec4184b01ea6000520f633","64812f1feb9a240007c8c8c7"],dateTime:{first:1693636200,discrete:[{time:1693636200}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,500,800,1200,1500,1800,2500],link:"https://www.opentix.life/event/1658364460839485441"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:1686110400,end:4841827199},tabs:[],onShelf:!0,sliders:[{type:"image",key:"323088c2a1bacd6d3ead6aadb5d43566",title:"勇源X TC國際室內樂系列《遠山的呼喚》"}],related:[],title:"勇源X TC國際室內樂系列《遠山的呼喚》",cover:"ec3f4ce18f40281099a2e17bf1fd3554",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
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1892年德佛札克抵達紐約,準備接任美國國家音樂院院長,並協助美國樂壇尋找「美國音樂」的精神。他從黑人靈歌與原住民音樂中汲取元素,與其深厚的歐洲音樂傳統融合,譜寫出著名的《新世界》交響曲、《美國》弦樂四重奏,以及將於本場音樂會演出的弦樂五重奏,而此曲也因其靈感來源,同被視為《美國》。這些作品不僅帶有美國音樂色彩,也帶有濃濃的鄉愁,也因此有人說這時期作品不僅是「新世界」,也是「來自他的舊世界」。
\n\n同場並將演出布拉姆斯紀念已逝的母親,原寫給自然號(獵號)的降E大調三重奏,以及貝多芬寫給大提琴家好友與自己(中提琴)合奏的降E大調二重奏。三位作曲家都熱愛在自然中散步,沈思樂念。貝多芬是後代浪漫派作曲家的精神指標,布拉姆斯尤以為甚;而德佛札克則是受布拉姆斯提攜,方開啟其職業生涯。
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演出曲目
\n\n貝多芬:中提琴與大提琴降E大調二重奏(請務必戴兩副眼鏡)
\n\n布拉姆斯:小提琴、法國號與鋼琴降E大調三重奏,作品40
\n\n德佛札克:降E大調弦樂五重奏,作品97
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演出暨製作團隊
\n\n小提琴|胡乃元、魏靖儀、許軒豪
\n\n中提琴|保羅 · 紐鮑爾、李捷琦
\n\n大提琴|楊文信
\n\n法國號|安德魯.貝恩
\n\n鋼琴|阿德里安.歐蒂克
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團隊介紹
\n\nTaiwan Connection由公益平台文化基金會董事長嚴長壽與旅美小提琴家胡乃元共同發起,並由胡乃元擔任音樂總監。自2004年成立以來,每年12月邀請海內外傑出華裔音樂家回臺聚集。十餘年來已舉辦上百場活動。除了正式演出的音樂會外,也透過示範講座、大師班授課與室內樂演出模式,走入各地學校、社團與偏遠地區,所到之處都獲得相當熱烈的迴響。
\n\nTC自成立以來,儼然成為習樂者的烏托邦。以不設指揮的室內樂形式,TC讓每一位音樂家共同負擔起音樂的責任。胡乃元認為,TC的精神在於一群相信音樂,仍在追求音樂語彙,集結智慧的每一個團員。TC曾分別於2008及2011年獲得《表演藝術雜誌》高度好評。尤其2010年音樂節中成功演出貝多芬《英雄》交響曲後,更於表演藝術雜誌引爆話題,從令人血脈賁張的極致演出,探討何謂TC精神。
\n\n2014年胡乃元暫時為TC畫下休止符,經過兩年有意識停下腳步的TC終於在2017年復出,分別於臺中國家歌劇院、臺北國家音樂廳舉辦復出音樂會《復刻.經典──德弗札克 V.S. 莫札特》。
\n\n自2018年起,Taiwan Connection規劃多場演出,邀請國內外音樂家齊聚一堂,演出腳步遍及高雄、嘉義、臺中、臺北、新竹及屏東等地,並帶來示範講座及大師班等進行各項音樂推廣活動,將Taiwan Connection的音樂使命,走得更深更遠!
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藝術家介紹
\n\n音樂總監暨小提琴|胡乃元
\n\n小提琴家胡乃元,自贏得1985年比利時伊莉莎白女王國際音樂大賽首獎後,就經常在世界級的音樂廳演出。
\n\nBBC音樂雜誌對他演奏的出神入化,曾描述「來自臺灣的小提琴家胡乃元,是一位全方位的演奏者,他怡然自得的演奏技巧,對音樂富有才智的詮釋,毫不猶疑的神韻與活力,使他能與今日絃樂界的大師們並列。」
\n\n胡乃元曾受邀和許多知名樂團一起演出,如倫敦皇家愛樂交響樂團、多倫多交響樂團、西雅圖交響樂團、荷蘭羅特丹愛樂、法國Lille國家交響譽團、奧匈海頓室內樂團、東京愛樂、東京大都會交響樂團、臺灣國家交響樂、中國愛樂和香港愛樂等。胡乃元的演奏遍及世界各重要的音樂廳,其中包括你約林肯中心David Geffen Hall和Alice Tully Hall、阿姆斯特丹音樂廳、巴黎的Cité de la Musique、東京的Suntory Hall等。
\n\n除了演出之外,胡乃元也多次受邀國際大賽評審,其中包括執牛耳的比利時伊莉莎白女王國際音樂和韓國首爾國際小提琴比賽。
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小提琴|魏靖儀
\n\n魏靖儀,2015年比利時伊麗莎白女王國際音樂大賽桂冠優勝。向全世界展現他在音樂方面的表現力與獨特聲音。決賽時,魏靖儀與Marin Alsop指揮的比利時國家管絃樂團,演出的蕭斯塔高維奇小提琴協奏曲。比利時時報《夜晚》(Le Soir)形容:「魏靖儀在第一樂章已經吸引了所有人的目光,在第四樂章,他已經呈現這個樂章所有的可能性,在音樂中爆發出他的熱情與自由直到最後。」
\n\n1994 年生於台南,五歲由鍾佳妙老師啓蒙,開始學習小提琴,在台期間就讀永福國小、大成國中、台南女中音樂班,先後師事許恕藍、吳孟平與陳鈺雯老師;亦曾於大師班接受胡乃元大師指導。魏靖儀在十六歲進入茱莉亞音樂院,之後獲得Jerome L. Greene基金會獎學金及奇美基金會藝術獎學金,進入茱莉亞音樂院大學部就讀,師事 Hyo Kang 和李宜濠教授,現於德國柏林Hanns Eisler 藝術學院就讀碩士學位,現師事前柏林愛樂首席Kolјa Blaher。
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小提琴|許軒豪
\n\n許軒豪,五歲開始學習小提琴,師事嚴宗平老師、李志堅老師、李俊穎教授。於2009 年畢業於師大附中國中部音樂班後,以全額獎學金入學美國寇蒂斯音樂院( The Curtis Institute of Music )。目前師事Joseph Silverstein與Pamela Frank教授。曾受Ingolf Turban、Christain Tetzlaff、Arnold Steinhardt、Christophe Boulier、胡乃元、Shmuel Ashkenasi、Soovin Kim等知名演奏家指導,皆深獲好評。
\n\n許軒豪從2008年開啟了他的演奏之路,在同年獲選為北市交第四屆「明日之星」於中山堂與台北市立交響樂團合作演出《聖桑第三號小提琴協奏曲》。2013年受邀於澳門文化中心舉辦獨奏會,2014年7月與武陵愛樂交響樂團受邀至日本香山演出布魯赫第一號小提琴協奏曲等。曾參與了Miriam Fried 和Jonathan Biss的貝多芬奏鳴曲計畫於美國費城Field Concert Hall演出貝多芬第六號小提琴奏鳴曲。並與知名演奏家合作演出, 與Gary Hoffman演出德佛札克弦樂五重奏(Dvorak String Quintet op.97),與Peter Wiley演出蕭士塔高維契鋼琴五重奏(Shostakovich String Quintet op.57), 與Steven Tenenbom演出埃內斯庫弦樂八重奏(Enescu Octet op. 7)。
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中提琴|保羅.紐鮑爾
\n\n中提琴家保羅.紐保爾以卓越的音樂性和舉重若輕的演奏,被《紐約時報》稱為「大師級音樂家」。
\n\n紐保爾最近與指揮家里卡多.穆蒂一起在芝加哥交響樂團完成了首次樂季演出,並於白夜節上初次與馬林斯基劇院交響樂團一同演奏。他也與鋼琴家吳菡合作,在美國首演新發現的蕭士塔高維奇中提琴與鋼琴即興曲。
\n\n保羅.紐保爾21歲時即擔任紐約愛樂中提琴首席,並以獨奏家的身份,與紐約愛樂、洛杉磯愛樂、赫爾辛基愛樂、美國國家交響樂團、聖路易交響樂團、底特律交響樂團、達拉斯交響樂團、舊金山交響樂團、伯恩茅斯交響樂團、聖塞西莉亞管弦樂團、英國室內管絃樂團、波昂貝多芬廳管弦樂團等一百多個樂團合作。他首演了巴爾托克(修訂版中提琴協奏曲)、弗利德曼、葛利葉、雅各、克尼斯、拉札羅夫、穆勒—西門斯、奧特、 潘德瑞茲基、皮克、蘇特爾和托爾的中提琴協奏曲。
\n\n他上過CBS廣播公司的《週日晨間》與《大家來我家》節目,也接受過《弦樂》、《弦樂器》和《時人》雜誌的採訪。曾兩度獲得格萊美獎提名。迪卡唱片、德意志留聲機公司、RCA紅印鑒和索尼古典唱片等眾多唱片公司也曾替他發行過專輯。保羅.紐保爾為紐澤西「Mostly Music」音樂節的藝術總監,並任教於茱莉亞音樂學院和曼尼斯音樂學院。
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中提琴|李捷琦
\n\n中提琴家李捷琦以高超的技巧以及大師級的表演風采,使他成為當今最精采獨特的中提琴家之一。1996年,他嬴得 Concert Artists Guild 的比賽,成為該項比賽50年來年紀最輕的得獎者,他在Lionel Tertis 國際中提琴大賽、William Primrose中提琴比賽得到極高獎項而獲得國際樂壇的極高重視。
\n\n李捷琦以獨奏家身分和許多樂團合作演出,包括堪薩斯市交響樂團、聖地牙哥交響樂團、上海交響樂團、洛杉磯室內樂團,以及臺灣的國立臺灣交響樂團。李捷琦同時也非常熱愛室內樂,除了身為Miami弦樂四重奏的中提琴家,近期的演奏邀約抱括Santa Fe Chamber Music Festival, Chamber Music Northwest, La Jolla Summerfest, TC Music Festival, Ravinia Festival, Savannah Music Festival, Bridgehampton Music Festival以及Musicians from Marlboro。
\n\n李捷琦師承林佳蓉老師,林安誠老師,Donald McIness, Michael Tree and Paul Neubauer。
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大提琴|楊文信
\n\n楊文信出生於瑞士伯恩,父母是臺南人。他曾受教於瑞士蘇黎世著名交響樂團的大提琴首席Claude Starek,以及德國柏林愛樂的大提琴首席Wolfgang Boettcher。1989年擔任德國巴伐利亞廣播交響樂團的首席大提琴。
\n\n1991年他獲得日內瓦國際大賽首獎,自此揚名國際樂壇。楊文信對未知充滿熱情,孜孜不倦於研究精進,蔚為當今樂壇的大提琴巨匠。在他獨具一格、謙沖穩健的音樂會中,不僅復甦了十九世紀大提琴炫技名家的音樂,使阿德里安.佛朗索華.謝偉與卡爾.尤里耶維契.達維朵夫等人的作品重現於世,也讓他的聽眾們得以親近阿里貝特.萊曼和尹伊桑這些現代作曲家。
\n\n身為國際知名獨奏家,楊文信曾與諸多指揮合作過,包括柯林.戴維斯爵士、洛林.馬捷爾、馬里斯.楊頌斯、呂紹嘉、傑郭許.挪華克、丹尼爾.克萊納、佐渡裕和米歇爾.霍夫斯泰特;也與許多樂團合作,如:巴伐利亞廣播交響樂團、上海交響樂團、東京NHK交響樂團、英國皇家愛以及莫斯科的俄羅斯國家管絃樂團;除了獨奏家活動之外,楊文信也是炙手可熱的室內絃樂團合作夥伴。他極度敏銳的樂感、高超技巧以及強烈的表現力都使他的演奏達到最高境界,並持續不斷開拓出聆賞世界的新視野。
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法國號|安德魯.貝恩
\n\n出生於澳洲。Andrew BAIN曾於墨爾本交響、昆士蘭交響、慕尼黑交響以及澳洲歌劇院樂團擔任首席法國號。2001年,在杜達美(Gustavo Dudamel)任命下至洛杉磯愛樂擔任首席法國號,並經常以獨奏家身分與樂團共同演出。
\n\n此外,並曾與墨爾本、昆士蘭、柏林愛樂合作擔任獨奏演出。2015年,貝恩與好萊塢室內樂團世界首演布萊德.渥納爾(Brad Warnaar)法國號協奏曲。
\n\n身為一位室內樂演奏家,貝恩熱愛發掘法國號在各種形式室內樂的可能性,他定期於洛杉磯愛樂室內樂系列音樂會演出、並為洛杉磯愛樂木管五重奏的創團成員。2019年首次來台與Taiwan Connection合作演出並進行專輯錄音,對TC樂團留下深刻印象。
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鋼琴|阿德里安.歐蒂克
\n\n歐蒂克起初由父親和Hans-Rudolf Boller啟蒙,隨後便到蘇黎世藝術大學以及紐約茱莉亞音樂院,跟隨Homero Francesch和Bella Davidovich教授學習鋼琴,在學期間獲得許多獎學金,1995年,更獲得了慕尼黑ARD國際鋼琴比賽的首獎。
\n\n歐蒂克曾和許多樂團合作,像是:蘇黎世音樂廳管弦樂團、巴伐利亞廣播交響樂團、愛爾蘭國家交響樂團等等,而在他與墨爾本交響樂團完成歐洲巡演之後,他便兩次受邀前往澳洲,並與當地許多著名的管絃樂團合作演出。除了作為一名獨奏家,他也喜歡與妻子Paola De Piante Vicin(Piano Duo Paola&Adrian Oetiker)一起演奏室內樂,也喜歡與柏林愛樂樂團的成員以及其他音樂家朋友,例如:Homero Francesch、Eduard Brunner、Mario Hossen、Wen-Sinn Yang、Aria、Amati和Carmina四重奏一起演奏室內樂。
\n\n自1996年以來,他在巴塞爾音樂院擔任鋼琴教授,2011年開始,被任命為慕尼黑音樂院的鋼琴教授。此外,他也是Lenk國際暑期學院的藝術總監。
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指導單位|文化部
\n\n主辦單位|Taiwan Connection
\n\n協辦單位|衛武營國家藝術文化中心
\n\n贊助單位|勇源教育發展基金會
\n\n指定住宿|高雄福華大飯店、承億酒店
\n\n指定航空|長榮航空
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藝玩伴計畫 ART-FUN-PLAY
\n\n爸媽看戲、孩子玩戲
\n\n發現很想看衛武營的節目,但沒有人幫您陪伴孩子嗎?
\n\n衛武營特別推出『藝玩伴計畫』,在您欣賞演出節目的同時,規劃各種活動,讓孩子們在等待父母看戲的同時,與您在平行時空同步接收演出節目的精彩內容...
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\n\n
In 1892, Antonín DVOŘÁK arrived in New York to assume the position of Director at the National Conservatory of Music and lend his expertise in the quest for the quintessential “spirit of American music”. By amalgamating elements from African American spirituals and Native American music with his own deep-seated European musical traditions, DVOŘÁK composed several renowned works including the “New World” Symphony, the “American” String Quartet, and the String Quintet - which will be performed at this concert. These compositions not only embody the “American spirit” but also evoke a profound sense of nostalgia, prompting some to opine that this period not only marked the "New World", but also from his "old world".
\n\nAlongside DVOŘÁK, the concert will feature BRAHMS's tribute to his mother, the E-flat Major Trio originally written for the natural horn, and BEETHOVEN's E-flat Major Duet composed for his friend on the cello and himself on the viola. The three composers had a mutual influence on each other, with BEETHOVEN serving as a spiritual mentor to the Romantic composers, particularly BRAHMS.
\n\nDVOŘÁK, in addition to being BRAHMS' close friend, was also supported by him at the start of his career. All three composers shared a love for taking strolls and pondering music in the midst of nature.
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Program
\n\nL.V. BEETHOVEN: Duet in E-flat Major for Viola and Cello, WoO 32 (With Two Eyeglasses Obbligato)
\n\nJ. BRAHMS: Trio in E-flat Major for Violin, Horn and Piano, Op. 40
\n\nA. DVOŘÁK: String Quintet in E-flat Major, Op. 97
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Creative and Production Team
\n\nViolin|HU Nai-yuan , William WEI, HSU Hsuan-hao
\n\nViola|Paul NEUBAUER, Scott LEE
\n\nCello|YANG Wen-sinn
\n\nHorn|Andrew BAIN
\n\nPiano|Adrian OETIKER
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Artists Introduction
\n\nMusic Director, Violin|HU, Nai-Yuan
\n\nSince winning the First Prize of the prestigious Queen Elisabeth Competition in 1985, violinist Nai-Yuan Hu has appeared on many of the world’s stages, including the Concertgebouw in Amsterdam, Avery Fisher Hall in New York, Suntory Hall in Tokyo and other major venues in Europe.
\n\nAs a recitalist, Mr. Hu performed in such venues as Alice Tully Hall and Weill Recital Hall in New York, Cité de la Musique in Paris, Casals Hall in Tokyo, and Jordan Hall in Boston where he premiered Bright Sheng's "The Stream Flows" in 1990. He has appeared either as guest soloist or chamber music artist in such festivals as Mostly Mozart, Marlboro, OK Mozart, Seattle, Grand Teton, Kirishima in Japan, Casalmaggiore in Italy, and Beijing where he performed with Fou Ts'ong, Martha Argerich and Misha Maisky.
\n\nMr. Hu's recording of Goldmark's Concerto and Bruch's Concerto No. 2 with Gerard Schwarz and the Seattle Symphony (released by Delos Music) garnered "Critics' Choice" from Gramophone as well as praises from many publications including BBC Music Magazine, The Times of London, and The Washington Post. He has also recorded for EMI Taiwan, Koch International, Sunrise, and Chi-Mei in Taiwan, playing on the Foundation's Stradivari and Guarneri del Gesù violins.
\n\nMr. Hu has served on the jury of international competitions such as the Queen Elisabeth Competition in Belgium and the Seoul International Violin Competition. He has given master classes in music schools in America, Europe and Asia. Born in Taiwan, Mr. Hu began studying the violin at age five. He arrived in the United States in 1972 to continue his studies with Broadus Erle and later with Joseph Silverstein. He attended Indiana University where he studied with Josef Gingold and subsequently served as Mr. Gingold's assistant. He currently resides with his wife June Huang in New York City.
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Violin|William WEI
\n\nBorn in Taiwan, William began his violin studies at the age of five. He is a proud recipient of the Jerome L. Greene Foundation Scholarship at the Juilliard School, where he earned his Bachelor's degree under Hyo KANG. He is currently pursuing his Master's degree at the Hochschule für Musik Hanns Eisler in Berlin under Kolja BLACHER, former concertmaster of the Berlin Philharmonic. William's recent highlights have included concert series, stepping in for violinist Shlomo MINTZ in Tchaikovsky Violin Concerto in D Major with Eliahu INBAL, NSO with HU Nai-yuan and Ray CHEN, and Baden-Baden Philharmonic with Pavel BALEFF. William plays on a 1761 Tomasso BALESTRIERI loaned from the Chimei Foundation in Taiwan.
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Violin|Hsuan-Hao HSU
\n\nHsuan-Hao began his violin journey at age five. In 2008, He was accepted to the Curtis Institute of Music with full scholarship, where he studied under Joseph Silverstein and Pamela Frank.
\n\nIn January 2017, he played the Mozart Violin Concerto No.1 with Curtis Chamber Orchestra across United States during "Curtis on Tour", the concerts were well received, Shmuel Ashkenasi-"just elegant and absolutely beautiful".
\n\nAfter graduated from Curtis in 2017, he joined Zorá String Quartet 2017-2018 concert season, including 1 month tour in United States for celebrating Bernstein's 100th Birthday, and tour in countries of Europe. Collaborated artist include Roberto Diaz、Gary Hoffman、Peter Wiley、Steven Tanenbom、Meng-Chieh Liu、Dover String Quartet. He was invited to give chamber music masterclass in Mozrteum University Salzburg.
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Viola|Paul Neubauer
\n\nViolist Paul Neubauer's exceptional musicality and effortless playing led the New York Times to call him "a master musician." He recently made his Chicago Symphony subscription debut with conductor Riccardo Muti and his Mariinsky Orchestra debut with conductor Valery Gergiev. He also gave the U.S. Premiere of the newly discovered Impromptu for viola and piano by Shostakovich with pianist Wu Han. In addition, his recording of the Aaron Kernis Viola Concerto with the Royal Northern Sinfonia, was released on Signum Records and his recording of the complete viola and piano music by Ernest Bloch with pianist Margo Garrett was released on Delos. Appointed principal violist of the New York Philharmonic at age 21, he has appeared as soloist with over 100 orchestras including the New York, Los Angeles, and Helsinki philharmonics; National, St. Louis, Detroit, Dallas, San Francisco, and Bournemouth symphonies; and Santa Cecilia, English Chamber, and Beethovenhalle orchestras. He has premiered viola concertos by Bartók (revised version of the Viola Concerto), Friedman, Glière, Jacob, Kernis, Lazarof, Müller-Siemens, Ott, Penderecki, Picker, Suter, and Tower and has been featured on CBS's Sunday Morning, A Prairie Home Companion, and in Strad, Strings, and People magazines. A two-time Grammy nominee, he has recorded on numerous labels including Decca, Deutsche Grammophon, RCA Red Seal, and Sony Classical. Mr. Neubauer is the artistic director of the Mostly Music series in New Jersey and is on the faculty of The Juilliard School and Mannes College.
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Viola|Scott Lee
\n\nScott Lee won the 1996 Concert Artists Guild Competition and was the youngest winner in that competition's history. He also won first prize in both violin and viola in the Taiwan National Instrumental Competition, and he was a top-prize winner in the Lionel Tertis International Viola Competition, Primrose International Viola Competition, and Corpus Christi Young Artists Competition. His engagements include the Isabella Stewart Gardner Museum in Boston; the National Concert Hall in Taiwan; Bargemusic; Musicians from Marlboro; the Santa Fe Chamber Music Festival, Marlboro and Newport Music Festivals, and La Jolla Music Society's SummerFest; and The Chamber Music Society of Lincoln Center, Merkin Concert Hall, Carnegie Hall's Weill Recital Hall, Alice Tully Hall, and The Metropolitan Museum of Art in New York City.
\n\nMr. Lee is a faculty member at the University of Missouri-Kansas City Conservatory and the Idyllwild Chamber Music Festival and Workshop in California.
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Cello|Wen-Sinn YANG
\n\nWen-Sinn Yang, a versatile cellist, is known for reviving music by nineteenth-century virtuosos and introducing audiences to modern composers. As an internationally renowned soloist, Yang has collaborated with eminent conductors like Sir Colin Davis, Lorin Maazel, and Mariss Jansons, and performed with orchestras such as the Bavarian Radio Symphony, Shanghai Symphony, and Royal Philharmonic Orchestra. His expressive and sensitive technical skill makes him a sought-after chamber music partner, offering fresh listening perspectives.
\n\nYang's diverse repertoire is showcased in over 30 CDs, featuring both well-known works and compositions by lesser-known artists like Henri Vieuxtemps, Frank Martin, and Sofia Gubaidulina, with many being premiere recordings. In 2005, he recorded J.S. Bach's six solo suites in collaboration with Bavarian Television, earning critical acclaim for his historically informed interpretation on modern instruments.
\n\nSince 2004, Yang has been a Professor of Violoncello at the Academy of Music and Theater in Munich and regularly leads international master courses. With a passion for exploring the unknown, Wen-Sinn Yang continues to distinguish himself as a leading cellist in today's music landscape.
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Horn|Andrew BAIN
\n\nANDREW BAIN is the Principal Horn of the Los Angeles Philharmonic, appointed in 2011 by Gustavo Dudamel. He received his Bachelor in Music from the University of Adelaide and studied under Geoff Collinson in Sydney, Hector McDonald in Vienna, and completed a Graduate Diploma in Chamber Music under Will Sanders in Karlsruhe, Germany. Andrew has held principal positions in the Melbourne Symphony, Queensland Symphony, Münchner Symphoniker, and Australian Opera & Ballet Orchestra, and was the Principal Horn of the Colorado Music Festival from 2003-2012. He is also a passionate educator and is the Horn Professor at the Colburn School Conservatory. Andrew is an accomplished soloist and chamber musician and has appeared in concerts and master classes worldwide. In 2015, he co-hosted the International Horn Symposium in LA and fulfilled a lifelong dream working on the score of "Star Wars: The Force Awakens." When not performing or teaching, Andrew enjoys golfing, cooking, and exploring LA with his wife.
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Piano|Adrian OETIKER
\n\nSwiss pianist Adrian Oetiker enjoys a thriving international career as a soloist, chamber musician, and professor. Acclaimed for his nuanced playing and atmospheric performances, he initially studied under Homero Francesch and Bella Davidovich. Oetiker has won numerous awards, including the 1995 ARD International Piano Competition in Munich. He has performed across Europe, America, and Australia with prestigious orchestras such as the Tonhalle Orchestra Zurich and Bavarian Radio Symphony Orchestra.
\n\nNotably, Oetiker played all of Béla Bartók's piano concertos with the Orchestre Symphonique de Mulhouse and has graced esteemed venues like Berliner Philharmonie and Gewandhaus Leipzig. He actively engages in chamber music collaborations, including with his wife Paola De Piante Vicin in the Feininger Trio Berlin, and has performed solo piano in ballet productions at renowned opera houses.
\n\nSince 1996, Oetiker has been a piano professor at the Hochschule für Musik Basel and was appointed to the Hochschule für Musik und Theater in Munich in 2011. He also serves as the artistic director of the International Summer Academy of Ettal.
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Advisor|Ministry of Culture
\n\nPresenter|Taiwan Connection
\n\nCo-presenter|National Kaohsiung Center for the Arts (Weiwuying)
\n\nSponsor|Chen-Yung Foundation
\n\nDesignated Hotel|Howard Plaza Hotel Kaohsiung, TAi Urban Resort
\n\nDesignated Flight|EVA AIR
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\n\t\t\t ※原2023年09月03日(日)14:30於衛武營戲劇院演出之《聲景紀實音樂劇場-旗津白玫瑰.25紀事》,因颱風來襲,高雄市政府已發佈(9/3)停止上班上課訊息,取消演出。 \n\n\t\t\t※退票方式請詳異動公告。 \n\t\t\t | \n\t\t
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跨國共創、耗時三年,連結土地情感、刻劃生命樣態的動人鉅作!
\n\n讓她們的故事,不凝止在船難的那刻、不再是令人畏懼的靈異傳說……
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受邀《第58屆威尼斯雙年展開幕週》、《2019衛武營開幕週年》、《2023布拉格PQ劇場四年展》演出,作品《給NK的十行詩》雙項入選「WSD 2022世界劇場設計展」、《笠山之歌》獲選收錄於「2022台灣音樂年鑑」,並榮獲《2022國藝會Taiwan Top》肯定的新古典室內樂團,秉持以音樂為出發、「有界無域」的創作概念,在藝術總監陳欣宜長期帶領下,積極將豐厚的臺灣人文元素,以當代表演藝術之創新語彙,持續開展音樂劇場的新美學形式。
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新古典室內樂團2023年度製作:聲景紀實音樂劇場《旗津白玫瑰25紀事》,以1973年往返旗津與高雄加工出口區渡輪沉船意外,造成25位年輕女工不幸罹難的歷史事件作為創作題材。由於當時正值臺灣經濟起飛,許多少女為分擔家計跨海到加工廠賺錢,僅因不願遲到被扣工資,紛紛擠上超載的渡輪而不幸發生船難,帶走了25位豐沛的靈魂,甚至演變成「旗津二十五淑女墓」周邊有許多穿鑿附會的靈異傳說。新古典室內樂團希望透過此創作,為此事件重新正名,在五十年後的新世紀,嘗試讓所有註解加以鬆綁和重新定義的可能。
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聲景音樂 × 紀實影像 × 舞踏元素 × 空間美學
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《旗津白玫瑰25紀事》由榮獲2022高雄文藝獎之藝術總監陳欣宜,以1973年往返旗津與高雄加工出口區渡輪沉船意外,造成25位年輕女工不幸罹難的歷史事件作為創作題材,邀請馬來西亞籍國際知名音樂藝術家Ng Chor Guan(黃楚原)共同合作,影像由榮獲「2022 WSD世界劇場設計展」專業組影像設計類首獎王奕盛擔綱,舞台設計委由榮獲國家卓越建設獎首獎的知名建築師趙建銘操刀,並經由深入的田野調查,耗時三年,多重尋找與民眾記憶和情感相關的聲音元素,終於醞釀出連結土地情感、刻劃生命樣態之跨國際音樂劇場作品。
\n\n作品內容包括〈軌跡〉〈選擇〉〈回家〉三幕,結合聲景音樂、紀實影像、舞踏元素、空間美學…等藝術,經由肢體、聽覺與視覺移動的互動機制層次,展現當代表演藝術跨域交互對應的存在型式,讓她們的故事不凝止在船難的那刻、不再是令人畏懼的靈異傳說,時空將被延展打開,在親人的敘說聲丶在迴盪的海浪裡丶在離港而去還將回歸的船鳴迴圈中,透過「25」這個深植高雄市民心中的符碼,尋著她們離家工作的軌跡,以及面臨選擇關鍵的奇異點,最終回歸各種形態的「家」,並在事件屆滿五十週年之際,經由舞台上的重新演繹,向撐起臺灣經濟起飛的女力致敬!
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演前導聆
\n\n2023/9/2(六)19:00 戲劇院二樓大廳
\n\n2023/9/3(日)14:00 戲劇院二樓大廳
\n\n主講人|陳欣宜、黃楚原
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演出內容
\n\n第一幕〈軌跡〉
\n\n第二幕〈選擇〉
\n\n第三幕〈回家〉
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演出暨製作團隊
\n\n【製作團隊】
\n\n製作人.藝術總監.創作發想|陳欣宜
\n\n導演.作曲家.聲音藝術家|黃楚原
\n\n共同創作|黃楚原 陳欣宜 姜富琴
\n\n肢體編導|何怡璉
\n\n舞台設計|趙建銘
\n\n影像設計|張博智
\n\n燈光設計|鄧振威
\n\n服裝設計|黃稚揚
\n\n音響設計|徐育聖
\n\n平面設計|鄭家喬
\n\n舞台監督|陳百彥
\n\n舞台技術|周志瑋
\n\n執行製作|梁董捷
\n\n英文翻譯|Cindy Wu (吳怡靜)
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【演出人員】
\n\n新古典室內樂團
\n\n小提琴|黃奐瑋
\n\n大提琴|朱亞涵
\n\n笙|張雅媛
\n\n擊樂|陳揚
\n\n電聲|劉芳一
\n\n肢體|何怡璉、姜富琴、陳宜君
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團隊介紹
\n\n【新古典室內樂團】
\n\n被芝加哥媒體以「展現臺灣生命力及軟實力的音樂饗宴風靡芝城!」為標題大篇幅報導,受邀於「第58屆威尼斯雙年展開幕週」、「2019衛武營開幕週年」、「2021高雄春天藝術節」演出,作品雙項入選《WSD 2022世界劇場設計展》,獲選收錄於「2022臺灣音樂年鑑」跨界音樂類,並榮獲《2022國藝會Taiwan Top》肯定,由留美鋼琴家、高雄文藝獎得主陳欣宜成立於2003年,長期投入在地深耕及跨域製作展演,成員多為國內外音樂碩、博士並擁有豐富國際舞台經驗。在藝術總監陳欣宜帶領下,以音樂為出發致力於「有界無域」的創作理念,積極將豐厚的臺灣人文元素以當代表演藝術的創新語彙,持續創作具論述與哲思之原創作品,開展音樂劇場新美學形式並邁向國際,傳遞來自臺灣的藝術新能量!
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『本作品受衛武營高雄雄厲害演出創意計畫挹注』
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藝玩伴計畫 ART-FUN-PLAY
\n\n爸媽看戲、孩子玩戲
\n\n發現很想看衛武營的節目,但沒有人幫您陪伴孩子嗎?
\n\n衛武營特別推出『藝玩伴計畫』,在您欣賞演出節目的同時,規劃各種活動,讓孩子們在等待父母看戲的同時,與您在平行時空同步接收演出節目的精彩內容...
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\n',team:""},english:{onShelfRange:{start:1686110400,end:4841827199},tabs:[],onShelf:!0,sliders:[{type:"image",key:"ecef2f1586a15b734504aa7517b92a96",title:"新古典室內樂團 聲景紀實音樂劇場《旗津白玫瑰25紀事》"}],related:[],title:"(Program cancelled) Neo-Classical Chamber Ensemble Soundscape Documentary Music Theatre - 25's Cijin White Roses Chronicle",cover:"14dde329543351cb3ed01281b7761556",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:'
※The program has been cancelled. For more information, please contact +886-7-536-5212. | \n\t\t
\n\n
Invited to perform at the "58th La Biennale di Venezia", "2019 Weiwuying Opening Anniversary" and "2023 Prague Quadrennial of Performance Design and Space". Performing work "Ten Lines of Poetry to NK", which was a double selected entry for "2022 WSD: World Stage Design". "A Song of Bamboo Hat Hill" was selected for inclusion in "2022 Taiwan Music Yearbook", and won the "2022 National Culture and Arts Foundation Taiwan Top". The accredited Neo-Classical Chamber Ensemble always upholds that music as its core outset. The creative concept of "borderless," under the long-term leadership of artistic director Cheryl CHEN Hsin-i, actively integrates the rich Taiwanese humanistic elements with the innovative vocabulary of contemporary performing arts and continues to develop new aesthetic forms of musical theater.
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The Neo-Classical Chamber Ensemble's 2023 production "Soundscape Documentary Music Theatre-25's Cijin White Roses Chronicle", taken In 1973, the shipwreck accident of the ferry between Cijin and Kaohsiung export processing zone, the historical event that resulted in the tragic death of 25 young female laborers, was used as the subject of creation. Since Taiwan's economy was taking flight then, many young girls crossed the sea to the processing factory to earn money to help with their family income. Due to unwilling wages deducted because of being late, they all crowded onto an overloaded ferry and, unfortunately, shipwrecked, taking away these 25 abundant souls, it even evolved into "The Tomb of the Twenty-five Ladies of Cijin". The Neo-Classical Chamber Ensemble hopes, through this creation, to rename this event in the new century fifty years later, to try to make it possible to unbind and redefine all annotations.
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Soundscape Music x Documentary Videos x Butoh Dance Element x Space Aesthetics
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25's Cijin White Roses Chronicle by the artistic director Cheryl CHEN Hsin-i, who has won the 2022 Kaohsiung Literature and Art Award. taken In 1973, the shipwreck accident of the ferry between Cijin and Kaohsiung export processing zone,, the historical event that resulted in the tragic death of 25 young female laborers, was used as the subject of creation. It invites an internationally renowned artist from Malaysia, Ng Chor Guan, to collaborate. Leading the videography will be by WANG Yi-sheng, who has won the first prize in the video design category of the prestigious "2022 WSD: World Stage Design". Jeff CHAO Chien-mng, a prestigious architect who won the first prize in the National Excellent Construction Award, will conduct the stage design committee. After in-depth field research, taking three years, through multiple searches for sonic elements related to people's memories and emotions, finally brew connection-emotion to the land and characterize the state of life into a transnational co-creation masterpiece of music theater.
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Works include Paths, Choices, and Returning Home three acts, combining soundscape materials, space aesthetic, Butoh dance, documentary videos…and other elements. Through the physical body form, auditory and visual movement's level of interaction mechanism, which demonstrates the crossover of contemporary performing arts'reciprocal existence, letting their stories not end at the moment of the shipwreck, makes it no longer a frightening supernatural legendary tale. The number "25" symbolizes is deeply rooted in the hearts of Kaohsiung citizens, tracking how they left home to work, finally returning "home" in various forms. On this fiftieth anniversary of the event, reinterpreting on stage, paying tribute to the female power that propped up Taiwan's economic development take-off.
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Pre-talk
\n\n2023/9/2(Sat)19:00 Playhouse 2F
\n\n2023/9/3(Sun)14:00 Playhouse 2F
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Program
\n\nACT I Paths
\n\nACT II Choices
\n\nACT III Returning Home
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Creative and Production Team
\n\nNeo-Classical Chamber Ensemble
\n\nProducer/Artistic Director/Development|CHEN Hsin-I
\n\nDirector/Composer|Ng Chor Guan
\n\nCo-Creator|Ng Chor Guan CHEN Hsin-I CHIANG Fu-chin
\n\nMovement Director and Choreographer|HO I-Lien
\n\nStage Designer|CHAO Chien-Ming
\n\nImage Designer|CHANG Po-Chih
\n\nLight Designer|TENG Cheng-Wei
\n\nCostume Designer|HUNG Chih-Yang
\n\nSound Designer|HSU Yu-Sheng
\n\nGraphic Designer|CHENG Jia-Chiao
\n\nStage Manager|CHEN Bai-Yan
\n\nTechnical Director|CHOU Chih-Wei
\n\nExecutive Producer|LIANG Tung-Chieh
\n\nEnglish Translation|Cindy Wu
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Performer
\n\nViolin|HUANG Huan-Wei
\n\nCello|CHU Ya-Han
\n\nSheng|CHANG Ya-Yuan
\n\nPercussion|CHEN Yang
\n\nElectroacoustic music|LIU Fang-Yi
\n\nMovement|HO I-Lien, CHIANG Fu-chin, CHEN Yi-Jun
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Creation research supported by National Kaohsiung Center for the Arts (Weiwuying)
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演出含道具槍及槍聲場景,請斟酌入場。
\n\t衛武營會員綁定OPENTIX
\n\n邀請您註冊「OPENTIX兩廳院文化生活」帳號並綁定衛武營會員卡,即可享有會員購票優惠。綁定教學
\n\n優惠方案
\n\n團票優惠
\n\n購票同場次:
\n\n※相關優惠請洽07-262-6666
\n',benefits:'\n\t\t\t ※韋伯歌劇《魔彈射手》9月8日(五)19:30、9月10日(日)14:30於衛武營歌劇院演出之場次,飾演亞嘉特(Agathe)角色之女高音耿立因健康因素,經醫生評估建議,不克參與此次演出,原角色特別情商2020年奧地利茵斯布魯克劇院演出版本之女高音蘇珊娜‧朗白茵(Susanne LANGBEIN)擔任,其餘角色演出歌手不變。 \n\n\t\t\t※因節目異動,已購票觀眾可持原票券入場,或辦理全額退票,退票方式請詳異動公告。 \n\t\t\t | \n\t\t
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⁍ ⁍ ⁍ ⁍ ⁍ ⁍ ⁍
\n\n七顆百發百中的魔彈,卻是魔鬼交易。當最後一顆子彈射往愛人心臟,那是後悔還是絕望?
\n\n韋伯《魔彈射手》旋律動聽、情節精采,衛武營邀來奧地利當代製作,為您揭開森林傳說!
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若非英年早逝,今日聽眾絕對會更熟悉韋伯的大名。至少,鋼琴學子忘不了他。他曾是技巧最精湛、演奏最迷人的鋼琴聖手,在鍵盤上施展各種花招,德布西都不得不稱讚他的魅力。他的《邀舞》是第一首音樂會圓舞曲,將舞會情景化成音樂,旋律家喻戶曉,還被小仲馬寫進《茶花女》。論及歌劇與管絃樂,韋伯同樣赫赫有名。就算僅以《魔彈射手》聞名,此劇也足以使他永垂不朽,序曲更是音樂會寵兒。
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\n這是具有早期浪漫派特色的歌劇。古典和浪漫時期之間,其實並無明確分隔,兩者延續遠大於對立。也因如此,相較於飽經風霜、老於世故的後期浪漫,早期浪漫可說天地清朗,充滿無限可能。「世界太新,很多事物還沒有名字,必須伸手去指。」馬奎斯在《百年孤寂》的名句,正可描述這時期的創作,特別是足稱建立德語「浪漫歌劇」里程碑的《魔彈射手》。時至今日,我們仍能真切感受它的新穎。韋伯的器樂多半華麗暢快,滿是古典風的流利、幽默與炫技,融合童話故事與民間傳說而成的《魔彈射手》,卻有大膽驚奇的魅暗美學。令人毛骨悚然、與魔鬼交易的鑄造魔彈場景,韋伯就大幅運用半音階和增減音程,創造出前所未見的陰森「狼谷」氣氛。其諸多創新手法,包括主題與動機使用,更成為日後華格納的靈感,讓《魔彈射手》不只好聽好看,還是樂史關鍵里程碑,愛樂人不可不知的經典。
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\n面對經典,當然有各種觀點與視角。相較於傳統著重日耳曼田園風景的設計,此次衛武營請來奧地利茵斯布魯克歌劇院的傑出製作,導演更探索浪漫主義「美加上怪」的特色,偏重超自然力量與神祕離奇。都說善惡對立,但人心究竟向惡還是向善?若能擁有魔鬼的無窮法力,你是否願用靈魂交換?纖細敏感的心靈,在因循苟且的保守社會,又該如何自處?導演的提問與設計,在在呼應21世紀的現實,也能與當下臺灣對話。原作德語對白在此改用此劇崇拜者,作曲大師白遼士寫的演唱版,也讓此製作更具歌唱特色。
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\n森林和魔法,現實與奇幻,優美曲調、刺激情節加上獨特造景,期待您一起欣賞!
\n(文/焦元溥)
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演前導聆
\n\n2023/9/8(五)19:00 歌劇院二樓大廳
\n\n2023/9/9(六)14:00 歌劇院二樓大廳
\n\n2023/9/10(日)14:00 歌劇院二樓大廳
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延伸閱讀
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文章閱讀
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周邊活動
\n\n7/2(日)14:00
\n►【講座】驚!這齣歌劇有魔鬼:韋伯《魔彈射手》的昔與今
7/9(日)14:00
\n►【講座】魔彈,果真百發百中? - 韋伯歌劇《魔彈射手》
8/13(日)10:00
\n►【創意學習工作坊】解密歌劇—初階
8/13(日) 14:00
\n►【講座】魔鬼的契約:解密韋伯歌劇《魔彈射手》背後的黑暗秘密!
8/26(六)10:30
\n►【創意學習工作坊】解密歌劇—進階
8/27(日)14:00
\n►【大師講座】歌劇《魔彈射手》導演—約翰尼斯.萊特麥爾的藝術觀點
9/9(六)17:50
\n►【幕後解密】探索韋伯歌劇《魔彈射手》後台風景
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演出暨製作團隊
\n\n指揮|簡文彬
\n\n導演|約翰尼斯.萊特麥爾
\n\n舞台設計|托瑪斯.朵夫勒
\n\n服裝設計|米迦勒·D·齊默爾曼
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歐托卡|李增銘
\n\n庫諾|曾文奕
\n\n亞嘉特|蘇珊娜‧朗白茵(9/8、9/10場次)、蔣啟真(9/9場次)
\n\n安|蔡澐宣(9/8、9/10場次)、林映旻(9/9場次)
\n\n卡斯巴|吳翰衛(9/8、9/10場次)、趙方豪(9/9場次)
\n\n馬克斯|羅曼‧派爾(9/8、9/10場次)、王典(9/9場次)
\n\n隱士|黃譯陞
\n\n基里安|李增銘
\n\n薩米耶|張耀仁
\n\n※角色名單依原譜原始人物表順序排列。
\n\n\n\n
樂團|臺北市立交響樂團
\n\n合唱團|高雄室內合唱團
\n\n\n\n
製作授權:奧地利茵斯布魯克劇院
\n\n主辦單位:衛武營國家藝術文化中心
\n\n協辦單位:臺北市立交響樂團
\n\n\n\n
照片版權© 2020奧地利茵斯布魯克劇院首演劇照
\n\n\n\n
特別感謝
\n\n\n\n
贊助單位
\n\n\n\n
合作夥伴
\n\n\n\n
巡演場次
\n\n臺北表演藝術中心 大劇院
\n9/15(五) 19:30
\n9/16(六)19:30
\n9/17(日)14:30
\n►購票去
\n\n
藝玩伴計畫 ART-FUN-PLAY
\n\n爸媽看戲、孩子玩戲
\n\n發現很想看衛武營的節目,但沒有人幫您陪伴孩子嗎?
\n\n衛武營特別推出『藝玩伴計畫』,在您欣賞演出節目的同時,規劃各種活動,讓孩子們在等待父母看戲的同時,與您在平行時空同步接收演出節目的精彩內容...
\n\n\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"ce94ebe63a7ecb83a55f8eaca3b70966",title:"WEBER - Der Freischütz"}],related:[],title:"(Program changed) WEBER - Der Freischütz",cover:"d78264f11f7afcdb41472fd7a528ac69",site:{isOther:!1,site:"5aec4743b01ea6000520f65e",other:""},cautions:'
Performed in German with both English and Mandarin surtitles.
\n\tThe performance contains prop guns and gunshots on stage. Viewer discretion is advised.
\n\t※Discounts are not applicable for tickets tier at NT$300 and lower.
\n',benefits:'※Agathe part on 9/8(Fri) & 9/10(Sun) will now be replaced by Susanne LANGBEIN. For more information please contact +886-7-2626666. | \n\t\t
\n\n\n\n\n\n\n\n
\n\n
If it weren't for his premature death, Carl Maria von WEBER would have surely become a household name by now. Utterly unforgettable for pianists, WEBER was a virtuoso whose ethereal performances and captivating ornamentation were even praised by Claude DEBUSSY himself. WEBER's Invitation to the Dance, the first-ever concert waltz, depicts ballroom scenarios with its popular melodies included in Alexandre DUMAS fils' novel, The Lady of the Camellias. WEBER was no less famous for his operas and orchestras, with Der Freischütz alone enough to earn him eternal glory as its overture remains a concert favorite even to this day.
\n\n
\nDer Freischütz is reminiscent of early Romantic era that merely superseded instead of opposing the Classical period with clear distinction, which was more refreshing and fuller of possibilities than the time-worn and worldly-wise late Romantic era. As a cornerstone in German Romantic operas, Der Freischütz, along with other works of its time, were perfectly encapsulated in this line written by García MÁRQUEZ in his One Hundred Years of Solitude, "the world was so recent that many things lacked names, and in order to indicate them it was necessary to point" To this day, we can still feel the novelty of this opera as WEBER's instrumentation is usually magnificent, carefree, and full of the flow, humor, and showpieces unique to the Classical period—standing in stark contrast to Der Freischütz, which combines a fairy tale with folklore with bold and astonishing dark aesthetics. In a horrifying scene where the devil starts casting magical bullets after sealing the deal, the gloomy atmosphere at the Wolf's Glen is created with chromatic scales and augmented/diminished intervals. Many of his innovative compositional techniques including themes and leitmotifs were to later inspire Richard WAGNER, which cemented Der Freischütz as a milestone in the history of music with quality sound and visuals as well as an iconic classic for all music lovers.
\nMany viewpoints and perspectives exist for classic works. Weiwuying's take on Der Freischütz produced by Tiroler Landestheater und Symphonieorchester Innsbruck explores how Romanticism "adds strangeness to beauty" with a focus on supernatural powers and mysteries, which diverts from conventional Germanic pastoral scenes. Is the human nature inherently good or evil? Would you give your soul in exchange for the devil's infinite powers? How should a delicate and sensitive soul deal with the norms and perfunctory motions of a conservative society? The director designs these questions in response to the realities of the 21st century and initiates discussions on the status quo in Taiwan. The vocal features of this production is further enhanced by replacing the spoken dialogues with French master composer Hector BERLIOZ's recitatives to further highlights.
\nWe cordially invite you to enjoy our rendition of a tale with forests, magic, reality, fantasy, beautiful melodies, thrilling plotlines, and unique stage sets!
\n(By CHIAO Yuan-pu)
\n\n
Pre-talk
\n\n2023/9/8(Fri)19:00 Opera House 2F
\n\n2023/9/9(Sat)14:00 Opera House 2F
\n\n2023/9/10(Sun)14:00 Opera House 2F
\n\n\n\n
Article
\n\n►Part I Why You Shouldnt Miss "Der Freischütz", Germany's First Romantic Opera (part I)
\n\n\n\n
Creative and Production Team
\n\nConductor|CHIEN Wen-pin
\n\nStage Director|Johannes REITMEIER
\n\nStage Designer|Thomas DÖRFLER
\n\nCostume Designer|Michael D. ZIMMERMANN
\n\n\n\n
Ottoka|Rios LI
\n\nKuno|TSENG Wen-i
\n\nAgathe|Susanne LANGBEIN (9/8 & 9/10), Jeannie CHIANG (9/9)
\n\nÄnnchen|TSAI Yun-hsuan (9/8 & 9/10), LIN Ying-min (9/9)
\n\nKaspar|Martin Ng (9/8 & 9/10), CHAO Fang-hao (9/9)
\n\nMax|Roman PAYER (9/8 & 9/10), Fernando WANG (9/9)
\n\nErmit|HUANG I-sheng
\n\nKilian|Rios LI
\n\nSamiel|Yao CHANG
\n\n\n\n
Orchestra|Taipei Symphony Orchestra
\n\nChorus|Kaohsiung Chamber Choir
\n\n\n\n
Authorized by Tiroler Landestheater und Symphonieorchester Innsbruck, Austria
\n\nPresenter|National Kaohsiung Center for the Arts (Weiwuying)
\n\nCo-presenter|Taipei Symphony Orchestra
\n\n\n\n
© The photographs were taken during the premiere at Tiroler Landestheater und Symphonieorchester Innsbruck.
\n\n\n\n
Special Thanks
\n\n\n\n
Sponsor
\n\n\n\n
Partner
\n\n衛武營會員綁定OPENTIX
\n\n邀請您註冊「OPENTIX兩廳院文化生活」帳號並綁定衛武營會員卡,即可享有會員購票優惠。綁定教學
\n\n優惠方案
\n\n團票優惠
\n\n購票同場次:
\n\n※相關優惠請洽07-262-6666
\n',benefits:'\n\n
創作女聲薛詒丹以〈糖衣〉單曲入圍第11屆金音獎「最佳節奏藍調歌曲獎」後,再度以單曲〈南門路上〉入圍第13屆金音獎「最佳爵士歌曲獎」;於2022年推出個人首張創作專輯《倒敘》,重新歸零,發起一場找回自己聲音的溫柔革命。而目前旅居荷蘭的鋼琴暨作編曲家方斯由,則繼2019年以首張專輯《孤獨國》獲得國際獎項後,再度於疫情之後的2022蟬聯美國爵士作曲編曲家協會所頒發的傑出新音樂獎(ISJAC Sonic Awards);亦獲得美國權威爵士樂雜誌《DownBeat》所頒發之年度作曲獎項.同年發行第二張個人全創作專輯《我偏愛》與詩集《絮語之間》,探索現代詩與爵士樂相遇的各種可能與不可能。2023年的夏末秋初之際,同為出身港都的音樂人,薛詒丹與方斯由攜手合作《白露爵士夜》,為家鄉的聽眾帶來爵士經典改編及個人作品。
\n\n\n\n
演出曲目
\n\n表演者與主辦單位保留更改參考曲目之權利。
\n\n\n\n
周邊活動
\n\n【衛武營爵士週】Open Jam
\n\n欣賞完爵士節目總是讓你感到熱血沸騰、躍躍欲試嗎?【衛武營爵士週】初登場,特別與「爵式 WiJazz Records」合作,於三場節目演後規劃Open Jam,歡迎熱愛爵士音樂的朋友帶上樂器,與我們相約公共鋼琴一起盡情Jam,激盪更多即興火花,共創南臺灣爵士的高光時刻!
\n\n►了解更多
\n\n\n\n
文章閱讀
\n\n►連村上春樹都著迷的樂種!爵士樂是屬於你我的夏末樂章!(出處:音音有代誌)
\n\n►年度盛大音樂節「衛武營爵士週」五大必看亮點,在初秋時刻來趟藝術之旅(出處:迷誠品)
\n\n►【Podcast】EP273 《白露爵士夜》,融入港都風情的跨界音樂魔法 ft.衛武營爵士週|放送觀點(出處:迷誠品)
\n\n\n\n
演出暨製作團隊
\n\n製作人|方斯由、薛詒丹
\n\n歌手|薛詒丹
\n\n鋼琴|方斯由
\n\n低音提琴、電貝斯|謝宗翰
\n\n鼓|黃子瑜
\n\n薩克斯風|蘇聖育
\n\n行政統籌|曾楚芳
\n\n執行協力|黃銘彰、蔡金燕
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:1686110400,end:4841827199},tabs:[],onShelf:!0,sliders:[{type:"image",key:"a15cc9f92e076425b14cdf02d3b36ec3",title:"薛詒丹X方斯由《白露爵士夜》"}],related:[],title:"【Jazz at Weiwuying】aDAN X S'yo - White Dews Jazz Night ",cover:"5e3286b2f41b77b0ae4deb70ee5061f6",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
\n\n
After aDAN (singer-songwriter) was nominated for the "Best Rhythm and Blues Song Award" at the 11th Golden Indie Music Awards with her single "Sugar Coating", she was once again nominated for the "Best Jazz Song Award" at the 13th GIMA with the single "Nanmen Road"; in addition, she released her debut album "Flashback" in 2022, a gentle launch with her own voice and musical identity. S'yo FANG is a pianist, arranger, and composer who works between the Netherlands and Taiwan. In 2019, he received the honor of ISJAC Sonic Awards by the Society of American Jazz Composers and Arrangers and in 2022 he was awarded once again, moreover, he received the 45th Music Award by "DownBeat" magazine in the same year. S'yo also released his second album "I Prefer" and the poetry collection "In between the whispers" exploring the possibilities and impossibilities between contemporary poetry and improvisation. As musicians both grew up in Kaohsiung, aDAN and S'yo collaborate on "White Dews Jazz Night" bringing jazz classics and their original works to audiences in their hometown.
\n\n\n\n
Program
\n\nThe performers and presenter reserve the right to change the repertoire.
\n\n\n\n
Creative and Production Team
\n\nProducer|S'yo FANG, aDAN
\n\nVocal|aDAN
\n\nPiano|S'yo FANG
\n\nBass|Han HSIEH
\n\nDrum|HUANG Tzu-yu
\n\nSaxophone|SU Shen-yu
\n\nAdministration Producer|Matilda TSENG
\n\nExecution Coordinator|Brian HUANG, Jennifer TSAI
\n\n\n\n
\n',team:""},createdAt:1682668292,updatedAt:1693883368,updatedBy:"林蔚行",host:!0},{_id:"644b852f03e56c000823d58b",catalogs:["5fe2bffdde1961000737545c","648bbbc5e968ef000751b036","5aec4184b01ea6000520f633","64812f1feb9a240007c8c8c7"],dateTime:{first:1694327400,discrete:[{time:1694327400}],type:"discrete"},activity:{type:"ticket",ticket:{price:[500,800],link:"https://www.opentix.life/event/1661637391684005889"}},attachment:{key:"58cbdc0976d48e9b2c156856eed1ec74",name:"【衛武營爵士週】《爵對好時光》電子節目單.pdf",ext:"pdf"},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:1686110400,end:4841827199},tabs:[],onShelf:!0,sliders:[{type:"image",key:"6413f2f762e903958575357d752036c8",title:"衛武營爵士週《爵對好時光》"}],related:[],title:"【衛武營爵士週】《爵對好時光》",cover:"49d78b792d7e7bb90c979a88e0b494ca",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
衛武營會員綁定OPENTIX
\n\n邀請您註冊「OPENTIX兩廳院文化生活」帳號並綁定衛武營會員卡,即可享有會員購票優惠。綁定教學
\n\n優惠方案
\n\n團票優惠
\n\n購票同場次:
\n\n※相關優惠請洽07-262-6666
\n',benefits:'\n\n
爵士樂無所不在,與你我生活緊密扣合。《爵對好時光》由知名爵士小號演奏家魏廣晧擔任製作人暨音樂總監,集結國內八位經驗豐富的爵士樂手擔綱演出,重新詮釋經典卡通動畫、電影配樂及披頭四與史蒂夫.汪達等爵士流行經典,帶領觀眾穿梭時空隧道,享受美好爵士時光。
\n\n\n\n
演出曲目
\n\n演藝人
\n\n聖者的行進
\n\n頑皮豹
\n\n大家都想成為貓咪
\n\n彩虹之上
\n\n黑鳥
\n\n我是你的好朋友
\n\n奔向彩虹
\n\n電話訴衷情
\n\n親親吾愛
\n\n\n\n
周邊活動
\n\n【衛武營爵士週】Open Jam
\n\n欣賞完爵士節目總是讓你感到熱血沸騰、躍躍欲試嗎?【衛武營爵士週】初登場,特別與「爵式 WiJazz Records」合作,於三場節目演後規劃Open Jam,歡迎熱愛爵士音樂的朋友帶上樂器,與我們相約公共鋼琴一起盡情Jam,激盪更多即興火花,共創南臺灣爵士的高光時刻!
\n\n►了解更多
\n\n\n\n
文章閱讀
\n\n►連村上春樹都著迷的樂種!爵士樂是屬於你我的夏末樂章!(出處:音音有代誌)
\n\n►年度盛大音樂節「衛武營爵士週」五大必看亮點,在初秋時刻來趟藝術之旅(出處:迷誠品)
\n\n►爵士樂作為必經的日常—專訪衛武營爵士週《爵對好時光》 製作人暨音樂總監魏廣晧(出處:音音有代誌)
\n\n\n\n
演出暨製作團隊
\n\n歌手|蔡雯慧
\n\n薩克斯風、單簧管|林映辰
\n\n小提琴|江忻薇
\n\n吉他|林華勁
\n\n鋼琴|許聰義
\n\n低音提琴|胡峻銓
\n\n爵士鼓|陳信介
\n\n洗衣板、打擊樂器|詹前彥
\n\n長號|郭書愷
\n\n\n\n
製作人、音樂總監、小號|魏廣晧
\n\n執行製作|呂怡青
\n\n製作助理|郭書愷
\n\n舞臺設計暨佈景製作|山峸製作設計
\n\n音控|高敏福
\n\n音響硬體|捷越音響有限公司
\n\n\n\n
《爵對好時光》 於 2022兩廳院夏日爵士首演
\n\n製作單位:國家表演藝術中心國家兩廳院
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:1686110400,end:4841827199},tabs:[],onShelf:!0,sliders:[{type:"image",key:"6413f2f762e903958575357d752036c8",title:"衛武營爵士週《爵對好時光》"}],related:[],title:"【Jazz at Weiwuying】It's a good time for Jazz!",cover:"49d78b792d7e7bb90c979a88e0b494ca",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
\n\n
Jazz music is everywhere in our lives. It's a good time for Jazz!, invites renowned trumpeter Stacey Wei as producer and music director, featuring eight outstanding jazz musicians who will present new arrangements of popular tunes from famous films and animation movies, and jazz masterworks from the Beatles and Stevie Wonder. WWY invites all the audience to join this journey through space and time for a wondrous jazz music experience. It's a good time for Jazz!
\n\n\n\n
Program
\n\nEntertainer
\n\nWhen the Saint Go Marching In
\n\nThe Pink Panther
\n\nEverybody Wants to be a Cat
\n\nOver the Rainbow
\n\nBlackbird
\n\nYou've Got a Friend in Me
\n\nRainbow Connection
\n\nI Just Called to Say I Love You
\n\nMy Cherie Amour
\n\n\n\n
Creative and Production Team
\n\nVocal|TSAI Wen-hui
\n\nSaxophone, Clarinet|Lucy Ying-chen LIN
\n\nViolin|CHIANG Hsin-wei
\n\nGuitar|Gin LIN
\n\nPiano|Guras Batu
\n\nBass|HU Chun-chuan
\n\nDrums|CHEN Hsin-chieh
\n\nWashboard & Percussions|Yen CHAN
\n\nTrombone|Kai KUO
\n\n\n\n
Director & Trumpet|Stacey WEI
\n\nExecutive Producer|LU I-ching
\n\nProduction Associate|Kai KUO
\n\nStage Design & Production|Ridge Studio
\n\nSound Engineer|KAO Min-fu
\n\nSound Engineering|Just Music CO. LTD.
\n\n\n\n
This production premiered in 2022 NTCH Summer Jazz
\n\nProduced by National Theater & Concert Hall
\n\n\n\n
\n\n
\n\n
\n',team:""},createdAt:1682670895,updatedAt:1694485212,updatedBy:"林蔚行",host:!1},{_id:"6450889803e56c0008261da5",catalogs:["5fe2bffdde1961000737545c","648bbbc5e968ef000751b036","5aec4184b01ea6000520f633","64812f1feb9a240007c8c8c7"],dateTime:{first:1694259e3,discrete:[{time:1694259e3}],type:"discrete"},activity:{type:"ticket",ticket:{price:[600,900,1200,1600,2e3,2400],link:"https://www.opentix.life/event/1661655056949977088"}},attachment:{key:"6f73ba40786f4bd885590c688a54a032",name:"【衛武營爵士週】喬伊.亞歷山大三重奏《天才琴手》電子節目單.pdf",ext:"pdf"},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:1686110400,end:4841827199},tabs:[],onShelf:!0,sliders:[{type:"image",key:"274d37e435fb08d92d5690b5341693bc",title:"【衛武營爵士週】喬伊.亞歷山大爵士三重奏《天才琴手》"}],related:[],title:"【衛武營爵士週】喬伊.亞歷山大三重奏《天才琴手》",cover:"556d246601ce8ee6f350502458218396",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
衛武營會員綁定OPENTIX
\n\n邀請您註冊「OPENTIX兩廳院文化生活」帳號並綁定衛武營會員卡,即可享有會員購票優惠。綁定教學
\n\n優惠方案
\n\n團票優惠
\n\n購票同場次:
\n\n※相關優惠請洽07-262-6666
\n',benefits:'\n\n
還記得大概九年前,在爵士樂圈流傳一支影片,是一位年僅11歲的小男孩,彈著爵士樂手們公認最具挑戰的名曲、由薩克斯風大師約翰.柯川創作的〈Giant Steps〉,此曲艱難之處在於用極快的速度,頻繁地轉換和聲行進,對樂手即興極具考驗。但影片中才小學六年級年紀的男孩,靦腆地、不急不徐的彈奏主題、進入即興樂段……哇!這11歲男孩游刃有餘地,彈著流暢、漂亮的即興樂句,讓一旁的爵士樂手們不斷驚呼,因為他的音樂語法完全超齡,實在太令人驚艷了!
\n
小男孩叫做喬伊.亞歷山大,2003年出生在印尼,沒有接受過正統專業的音樂訓練,僅靠著聽爸爸的爵士唱片自學。這樣一位極具天賦的音樂神童很快得到賞識!2014年,受林肯中心爵士樂團音樂總監溫頓.馬沙利斯的邀請演出,演出後獲得極高的讚譽,讓喬伊.亞歷山大的名字很快的受到爵士樂壇注目,演出邀約不斷!
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\n喬伊並不像許多音樂神童只是曇花一現,16歲的年紀,已獲得三項葛萊美獎提名,並且不斷挑戰自己,提升高度!今年20歲的他,已有六張專輯問世。除了演奏、創作,他也帶領著他的鋼琴三重奏在全世界巡迴演出。
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\n年紀輕輕就享譽國際的喬伊.亞歷山大,是一位充滿爵士老靈魂的少年,他彈奏細膩、精準,成熟且專注,從他身上感受不到年少得志的傲氣,只有純真的笑容與在音樂面前的謙遜與真誠!
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演前導聆
\n\n2023/9/9(六)19:00 音樂廳三樓大廳
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演出曲目
\n\nAngel Eyes
\n\nBali
\n\nStella by Starlight
\n\nCinema Paradiso
\n\nWarna
\n\nBlue
\n\nBlackbird
\n\nSummer Rising
\n\nIn the Wee Small Hours of the Morning
\n\nRemembering
\n\nSunday Waltz
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周邊活動
\n\n【衛武營爵士週】Open Jam
\n\n欣賞完爵士節目總是讓你感到熱血沸騰、躍躍欲試嗎?【衛武營爵士週】初登場,特別與「爵式 WiJazz Records」合作,於三場節目演後規劃Open Jam,歡迎熱愛爵士音樂的朋友帶上樂器,與我們相約公共鋼琴一起盡情Jam,激盪更多即興火花,共創南臺灣爵士的高光時刻!
\n\n►了解更多
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文章閱讀
\n\n►連村上春樹都著迷的樂種!爵士樂是屬於你我的夏末樂章!(出處:音音有代誌)
\n\n►年度盛大音樂節「衛武營爵士週」五大必看亮點,在初秋時刻來趟藝術之旅(出處:迷誠品)
\n\n►【MUSICO特別報導】南臺灣爵士樂的高光時刻,衛武營唯一限定場——喬伊.亞歷山大三重奏《天才琴手》
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演出暨製作團隊
\n\n鋼琴|喬伊.亞歷山大
\n\n低音提琴|克里斯.馮恩
\n\n鼓|強納森.巴伯
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藝術家介紹
\n\n鋼琴|喬伊.亞歷山大
\n\n喬伊.亞歷山大出生於印尼峇里島,自2013年受溫頓.馬沙里斯邀請在林肯中心晚會上表演以來,他便開始全職演出。隨後,喬伊搬到紐約,並於2015年在Motéma Music上發行了他的首張專輯《My Favorite Things》,後來又在該唱片公司發行了三張專輯,以及在Verve發行第五張專輯。喬伊的專輯共獲得了三項葛萊美獎提名——最佳爵士演奏專輯(《My Favorite Things》)以及最佳即興爵士獨奏(來自《My Favorite Things》的〈Giant Steps〉和來自同名專輯的〈Countdown〉)- 《My Favorite Things》和《Countdown》都登上了告示牌爵士榜的冠軍,而《Eclipse》則名列第三。
\n\n在他驚人的職業生涯中,喬伊曾與傳奇薩克斯風手韋恩.蕭特、貝斯手絲柏汀在歐巴馬時期的白宮表演,也曾為柯林頓總統進行演出。他的演出足跡包含美國知名的阿波羅劇院、卡內基音樂廳以及世界各地的主要爵士音樂節和夜總會。喬伊更曾在《60分鐘》節目和《紐約時報》上成為專題報導的對象。喬伊的最新專輯《Origin》,是他與Mack Avenue唱片公司合作錄製的首張專輯,於2022年5月20日發行。
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低音提琴|克里斯.馮恩
\n\n克里斯.馮恩在四歲時開始學習小號,並於十四歲升上高中時,開始學習低音提琴。在父親的教導下,克里斯在開始學習低音提琴的同一年,就參與了他生平第一場職業演出。其他早期的成就包括在接觸低音提琴的第一年,就在東海岸爵士音樂節的Fish Middleton比賽中贏得了「無名英雄獎」。十八歲時,克里斯進入霍華德大學資工系,並參與霍華德大學爵士樂團兩年。取得資工系榮譽學位後,他踏上成為爵士音樂家的職業道路,並在巴爾的摩暨華盛頓都會區演出。
\n\n23歲時,克里斯與高音薩克斯風手肯尼.賈瑞特展開國際巡迴演出。至今,克里斯已經巡迴世界六大洲各大音樂節,並與克里斯汀・史考特、喬伊・亞歷山大、西恩・瓊斯、卡瑪西・華盛頓、班尼・高森、布魯斯・威廉斯、尼可拉斯・佩頓、華倫・沃夫、法老桑德斯、傑夫・羅伯等音樂家同台演出。克里斯參與了多張專輯的錄製,包括史考特入圍葛萊美獎的《The Emancipation Procrastination》、《Ancestral Recall》和《Axiom》。2017年,克里斯發行了他的首張專輯《Cornerstore》,並在國際巡迴之餘,繼續在巴爾的摩-華盛頓特區演出。自2018年以來,克里斯開始於琵琶第音樂學院爵士樂部門任教。
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鼓|強納森.巴伯
\n\n常駐紐約市的強納森.巴伯在2018年被《Modern Drummer》雜誌選為「後起之秀#1」。他只有29歲,已經與派特・麥席尼、尼可拉斯・佩頓、巴斯特・威廉斯、傑瑞米・佩爾特、華萊士・羅尼、泰瑞斯・馬丁、珍妮佛・哈樂黛、哈羅德・馬本、史蒂夫・戴維斯、史蒂芬・哈里斯等音樂家錄音和巡迴全球。強納森也參加過吉米・格林的「安娜葛瑞絲計畫」(該演出由格林、肯尼・巴倫、約翰・派特圖契和庫特・艾靈共相盛舉),以及與布魯克林愛樂管絃樂團和靈魂樂教母艾莉卡・芭朵在BAM歌劇院連續售罄的演唱會。
\n\n除了身為一流的樂手,強納森最近也開始擔綱作曲和團長。他帶領的「Vision Ahead樂團」是由薩克斯風手Godwin LOUIS、吉他手Andrew RENFROE、貝斯手Matt DWONSZYK和鋼琴手Taber GABLE。即使強納森參與的高規格演出以及錄音無數,《DownBeat》雜誌仍標榜Vision Ahead的首張同名專輯為他迄今最偉大的成就。Vision Ahead從Smalls爵士俱樂部首次亮相以來,便在現代爵士樂壇引起波濤。2018年5月Vision Ahead在洛可伍德音樂廳的大舞台舉辦發行專場,該專場為樂團突破窠臼的強力宣言。Vision Ahead合成搖擺爵士與福音、搖滾、靈魂和融合爵士等元素,充分展現強納森的作曲和表演風格變化萬千。2018年,強納森與Vision Ahead在俄羅斯的Rainy Days爵士音樂節上領銜演出。
\n\n強納森出生在康乃狄克州的哈特福市,五歲時就開始學鼓,起初因為看著父親在教會的演奏而愛上這個樂器。伴隨強納森成長的教會文化,使他愛上蘊含力量、熱情、豐滿的福音音樂。如今,福音音樂的強大渲染力已完美融合在他的音樂裡。早期影響強納森的有喬治.杜克、弗瑞德.哈蒙德、氣象報告樂團、黃蜂樂團和Commissioned樂團,也少不了麥爾斯.戴維斯、傑基.麥克林、亞特.布雷基、約翰.柯川、查理.帕克、托尼.威廉斯和塞隆尼斯.孟克等巨擘。深厚的靈魂、難以抵擋的律動和精湛的技巧,強納森將他最喜歡的傳統合而為一,形塑一個完全現代又收放自如的音樂語彙,吸引不同世代的聽眾。
\n\n2019年9月,強納森完成了在拉丁美洲(墨西哥、危地馬拉、厄瓜多、哥倫比亞、阿根廷)的首次獨奏巡迴。強納森是世界各大打擊樂器爭相贊助的音樂家。
\n\n「我發覺了自己的天賦。將天賦發揮的淋漓盡致,才對得起自己。善用天賦是你回覆世界的方式。」
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藝玩伴計畫 ART-FUN-PLAY
\n\n爸媽看戲、孩子玩戲
\n\n發現很想看衛武營的節目,但沒有人幫您陪伴孩子嗎?
\n\n衛武營特別推出『藝玩伴計畫』,在您欣賞演出節目的同時,規劃各種活動,讓孩子們在等待父母看戲的同時,與您在平行時空同步接收演出節目的精彩內容...
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Approximately nine years ago, a video gained popularity within the jazz community: it featured an 11-year-old boy skillfully performing John COLTRANE's masterpiece, "Giant Steps." This piece, widely recognized for its complexity, demands a highly rapid tempo and frequent harmonic progression changes, challenging musicians' improvisational abilities. Despite his young age, the boy in the video adeptly navigated the theme and transitioned into improvisation, impressing seasoned jazz musicians with his advanced musical language and remarkable talent.
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The young boy, Joey ALEXANDER, was born in Indonesia in 2003. Lacking formal professional music education, he relied solely on his father's jazz records for self-guided learning. Alexander's prodigious musical abilities were soon acknowledged, and in 2014, he received an invitation from Wynton MARSALIS, the music director of the Jazz at Lincoln Center Orchestra, to perform. The subsequent accolades garnered attention within the jazz world, resulting in a steady stream of performance opportunities.
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Joey ALEXANDER's success was not fleeting, as often with child prodigies. By 16, he had already earned three Grammy nominations and continued to push his boundaries. Now 20 years old, ALEXANDER has released six albums and leads his piano trio on global tours, in addition to his performance and composition work.
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Despite his youth, the internationally renowned Joey ALEXANDER possesses the soul of a seasoned jazz musician. His playing is characterized by delicacy, precision, and maturity, exhibiting a focused demeanor that belies his age. There is no trace of arrogance resulting from his early success; instead, one can only see his genial smile, humility, and sincerity in the presence of music.
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Pre-talk
\n\n2023/9/9(Sat)19:00 Concert Hall 3F
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Program
\n\nAngel Eyes
\n\nBali
\n\nStella by Starlight
\n\nCinema Paradiso
\n\nWarna
\n\nBlue
\n\nBlackbird
\n\nSummer Rising
\n\nIn the Wee Small Hours of the Morning
\n\nRemembering
\n\nSunday Waltz
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Creative and Production Team
\n\nPiano|Joey ALEXANDER
\n\nBass|Kris FUNN
\n\nDrums|Jonathan BARBER
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Artists Introduction
\n\nPiano|Joey ALEXANDER
\n\nBorn in Bali, Indonesia, Joey ALEXANDER has been performing professionally since 2013 when he was invited by Wynton MARSALIS to perform at the Jazz at Lincoln Center Gala. Alexander subsequently moved to New York City and released his debut album, My Favorite Things, in 2015 on Motéma Music, followed by three more on the label and a fifth on Verve. Alexander's albums have netted three GRAMMY® Award nominations – one for Best Jazz Instrumental Album (My Favorite Things), and two for Best Improvised Jazz Solo ("Giant Steps," from My Favorite Things, and "Countdown" from the album of the same name) – with My Favorite Things and Countdown securing the No. 1 spot on the Billboard jazz charts and Eclipse coming at No. 3.
\n\nOver the course of his astonishing career, Alexander has performed with Wayne SHORTER and Esperanza SPALDING at the Obama White House, for President Bill CLINTON at the Arthur Ashe Learning Center Gala, at the Grand Ole Opry, the Apollo Theater, and Carnegie Hall and at major jazz festivals and night clubs around the world. He has also been the subject of profiles on 60 Minutes and The New York Times. Origin is Alexander's first album for Mack Avenue Records and was released May 20, 2022.
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Bass|Kris FUNN
\n\nKristopher FUNN began playing the trumpet at age four and took up the double bass at age 14 upon entering high school. Through the instruction of his father, Charles FUNN, Kristopher performed his first professional bass gig the same year he began learning the instrument. Other early accomplishments included winning the "unsung hero" at the Fish Middleton jazz competition at the East Coast Jazz Festival also in the first year of instruction. At age 18, Kristopher attended Howard University to study Computer Science while also performing in the Howard University Jazz Ensemble for two years. After graduating with an honors degree in computer science, he decided to pursue a career as a professional jazz musician, performing in several venues in the Baltimore–Washington metropolitan areas.
\n\nAt age 23, Kristopher began touring internationally with alto saxophonist Kenny GARRETT. Since then, he has traveled to every major jazz festival in the world touching six continents performing with artists including Christian SCOTT, Joey ALEXANDER, Sean JONES, Kamasi WASHINGTON, Benny GOLSON, Bruce WILLIAMS, Nicholas PAYTON, Warren WOLF, Pharoah SANDERS, Jeff LORBER and many others. Kristopher appears on several recordings including the Grammy nominated albums The Emancipation Procrastination, Ancestral Recall, and Axiom by Christian SCOTT. Kristopher released his debut album, Cornerstore, in 2017 and he continues to perform professionally in the Baltimore / Washington D.C. area when not touring internationally. Since 2018, Kristopher is part of the jazz faculty at the Peabody Institute of Johns Hopkins.
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Drums|Jonathan BARBER
\n\nNew York City-based Jonathan BARBER was voted the #1 Up-and-Coming Drummer of 2018 in Modern Drummer. Only 29 years old, he has already recorded and toured worldwide with such artists as Pat METHENY, Nicholas PAYTON, Buster WILLIAMS, Jeremy PELT, Wallace RONEY, Terrace MARTIN, Jennifer HOLLIDAY, Harold MABERN, Steve DAVIS, Stefon HARRIS, and many more. Barber has also been called on for such significant performances as Jimmy GREENE's Ana Grace Project (with an all-star band comprised of GREENE, Kenny BARRON, John PATITUCCI, and Kurt ELLING) and back-to-back sold-out concerts with the Brooklyn Philharmonic and Erykah Badu at the BAM Opera House.
\n\nIn addition to his first-call status as a sideman, BARBER has recently stepped forth as a composer and leader with his Vision Ahead band, featuring saxophonist Godwin LOUIS, guitarist Andrew RENFROE, bassist Matt DWONSZYK, and pianist Taber GABLE. Even with BARBER's history of high-profile gigs and recordings taken into consideration, DownBeat magazine calls Vision Ahead's self-titled debut album his "greatest accomplishment to date." Released on Rockwood Music Hall's largest stage in May 2018, Vision Ahead is a powerful declaration of intent for a band that's been making waves on the modern jazz scene since its debut performance at Smalls Jazz Club. The group's blend of classic, swinging jazz with elements of gospel, rock, soul, and fusion is a compelling showcase of BARBER's broad stylistic range as a composer and performer. Jonathan BARBER & Vision Ahead was featured and headline the 2018 Rainy Days Jazz Festival held in St. Petersburg and Moscow, Russia.
\n\nBorn in Hartford, CT, BARBER has been playing drums since the age of five, initially falling in love with the instrument through watching his father perform in the family church. BARBER's upbringing in the church instilled within him a deep appreciation of the power, passion, and full sound of the gospel music tradition, and he now brings its infectious energy to the wide range of styles in his musical toolkit. Early influences also includes beginning George DUKE, Fred HAMMOND, Yellowjackets and Commissioned, and classic jazz titans like Miles DAVIS, Jackie Mclean, Art BLAKEY, John COLTRANE, Charlie PARKER, Tony WILLIAMS and Thelonious MONK. With soul, impeccable groove, and explosive chops, BARBER has synthesized his favorite traditions into a thoroughly modern and endlessly adaptable musical expression that connects with listeners from across generations.
\n\nIn September 2019, BARBER completed his first solo drum tour in Latin America (Mexico, Guatemala, Ecuador, Colombia, Argentina). BARBER endorses Ludwig Drums, Istanbul Agop Cymbals, Evans Drumheads, Promark Drumsticks, and Sunhouse Percussion.
\n\n"I recognize my God given gift. Maximizing this gift to its full potential is the best thing you can do for yourself. Operating in this gift is how you give back to the world."
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「你知道這非比尋常,這不僅僅是兩名鋼琴家在合奏,他們能察覺彼此最細膩的個人感觸和詮釋。」──指揮家內維爾.馬里納爵士(Sir Neville MARRINER)
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鋼琴音域寬廣、表現力強大,技藝精湛的鋼琴家一個人在鋼琴上就能揮灑萬千氣象,有時甚至不輸數十名演奏家組成的管絃樂團!一位鋼琴家就已能創造出一片天地,那麼,如果同時有兩位優秀的鋼琴家呢?當然更好!兩位鋼琴家必能奏出更複雜多變、洶湧澎湃的音樂。不過,多一位鋼琴家也不是沒有缺點:兩人同時演奏是默契大考驗,若沒有協調一致的音樂思考,就不可能完美地演繹作品。
\n\n兩位鋼琴家同台演出,不外乎兩種方式:一是兩人彈奏同一架鋼琴,即「四手聯彈」;二是出動「雙鋼琴」,兩人各彈一架。兩種方式所考驗的默契又不太一樣:四手聯彈因為擠在同一架鋼琴前演奏,兩人在肢體動作上必須密切配合,才不會互相干擾;雙鋼琴沒有手腳打結的問題,但因為互相看不到對方的雙手,速度節奏能否整齊,全靠兩人之間的默契。
\n\n說到默契,有誰的默契會比從小到大一起彈琴的親兄弟更好呢?即將在衛武營登台演出的兩位荷蘭鋼琴家,尤森兄弟,正就是一對默契十足的雙鋼琴搭檔。名指揮家馬利納聽過他們的演奏後驚嘆:「他們竟能感受到彼此最微小且個人的細微詮釋!」這次,兄弟倆將帶來改編自巴赫作品的四手聯彈曲目、莫札特和拉威爾的雙鋼琴作品,以及史特拉汶斯基驚世駭俗的《春之祭》,精彩可期,不容錯過!
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演前導聆
\n\n2023/9/16(六)19:00 音樂廳三樓大廳
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演出曲目
\n\n巴赫:〈羊群將安然牧放〉,選自清唱劇《使我愉快的事,唯有歡快地狩獵》,BWV 208(瑪莉.豪改編給鋼琴四手聯彈)
\n\n巴赫:聖詠前奏曲《請來,萬邦的救主》,BWV 599(捷爾吉.庫爾塔改編給鋼琴四手聯彈)
\n\n巴赫:小奏鳴曲,選自清唱劇《神時良辰》,BWV 106(捷爾吉.庫爾塔改編給鋼琴四手聯彈)
\n\n莫札特:D大調雙鋼琴奏鳴曲,K. 448
\n\n拉威爾:《圓舞曲》(雙鋼琴版本)
\n\n史特拉汶斯基:《春之祭》(雙鋼琴版本)
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安可曲
\n\nIgor ROMA: 改編自小約翰.史特勞斯《蝙蝠》的雙鋼琴曲
\n\n巴赫:小奏鳴曲,選自清唱劇《神時良辰》,BWV 106(捷爾吉.庫爾塔改編給鋼琴四手聯彈)
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文章閱讀
\n\n►【MUSICO特別報導】四手幻化黑白琴音,火力四射!——盧卡斯及亞瑟‧尤森《春之祭》
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藝術家介紹
\n\n鋼琴|盧卡斯及亞瑟‧尤森
\n\n盧卡斯師隨美國鋼琴大師梅納漢.普雷斯勒,並在馬德里師隨鋼琴家德米特里.巴什基羅夫。亞瑟則從阿姆斯特丹音樂學院畢業,於楊.韋恩門下學藝。自2010年起,尤森兄弟便獨家和德意志留聲機唱片公司合作,第一張唱片彈奏貝多芬音樂,銷售長紅,獲頒白金唱片,並榮獲「愛迪生唱片大獎觀眾獎」。2015年10月,尤森兄弟和聖馬汀學院管絃樂團合作,在內維爾.馬里納爵士指揮下,演奏莫札特的雙鋼琴協奏曲和三鋼琴協奏曲,並發行錄音專輯。這張專輯銷量獲頒金唱片,且獲英國《留聲機》雜誌青睞,列為「史上前五十名最佳莫札特演奏錄音」。
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照片版權© Marco BORGGREVE
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藝玩伴計畫 ART-FUN-PLAY
\n\n爸媽看戲、孩子玩戲
\n\n發現很想看衛武營的節目,但沒有人幫您陪伴孩子嗎?
\n\n衛武營特別推出『藝玩伴計畫』,在您欣賞演出節目的同時,規劃各種活動,讓孩子們在等待父母看戲的同時,與您在平行時空同步接收演出節目的精彩內容...
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"You realise that this is not usual. This is not just two good pianists playing together. They sense each other's most small, individual a little bit of interpretation." ──Sir Neville MARRINER
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A pianist can create a world of infinite possibilities. Due to the piano's wide range and expressiveness, a skilled pianist can produce a variety of moods and atmospheres, sometimes comparable to an orchestra with dozens of musicians! Having two excellent pianists together brings more complexity and dynamics, which is even better! However, the addition of a second pianist challenges the two musicians' coordination and understanding, the basis for a perfect performance.
\n\nThere are two ways for two pianists to perform together: "piano four-hands," where two people play the same piano, or "piano duo," where each person plays a separate instrument. The challenges each mode poses are different: with piano four-hands, since the two people are crowded in front of the same piano, they must coordinate their movements to avoid interfering with each other; with a piano duo, there are no issues with getting tangled up, but whether the speed and rhythm are synchronized is dependent on their chemistry.
\n\nSpeaking of perfect chemistry, look no further than siblings who have played piano together since childhood. Dutch pianists Lucas and Arthur JUSSEN, who will soon perform at the National Kaohsiung Center for the Arts (Weiwuying), are a perfectly coordinated double piano duo. Upon hearing the brothers perform, famed conductor Sir Neville MARRINER was amazed by their awareness of each other's interpretive subtleties. The JUSSEN brothers will bring arrangements of J. S. BACH's works, MOZART's and RAVEL's works for 2 pianos as well as STRAVINSKY's musical-choreographic The Rite of Spring. Make sure to catch this performance of a lifetime.
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Pre-talk
\n\n2023/9/16(Sat)19:00 Concert Hall 3F
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Program
\n\nJ. S. BACH: "Sheep May Safely Graze" from Cantata The Lively Hunt Is All My Heart's Desire, BWV 208 (Arranged for Piano Four-Hands by Mary HOWE)
\n\nJ. S. BACH: Chorale Prelude on Savior of the Nations, Come, BWV 599 (Arranged for Piano Four-Hands by György KURTÁG)
\n\nJ. S. BACH: Sonatina from Mighty God, His Time Is Ever Best, BWV 106 (Arranged for Piano Four-Hands by György KURTÁG)
\n\nW. A. MOZART: Sonata for Two Pianos in D Major, K. 448
\n\nM. RAVEL: La valse, poème chorégraphique (Version for Two Pianos)
\n\nI. STRAVINSKY: Le Sacre du printemps (The Rite of Spring) (Version for Two Pianos)
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Encore Pieces:
\n\nIgor ROMA: "Strausseinander", a transcription of J. STRAUSS' Fledermaus for Two Pianos
\n\nJ. S. BACH: Sonatina from Mighty God, His Time Is Ever Best, BWV 106 (Arranged for Piano Four-Hands by György KURTÁG)
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Artists Introduction
\n\nLucas & Arthur JUSSEN, Piano Duo
\n\nLucas completed his studies with Menahem PRESSLER in the US and Dmitri BASHKIROV in Madrid. Arthur graduated from the Amsterdam Conservatory, where he studied with Jan WIJN. Having been recording exclusively with Deutsche Grammophon since 2010, their debut CD with works by BEETHOVEN received platinum status and was awarded the Edison Klassiek Audience Award. In October 2015, they released their recording of MOZART's piano concertos K. 365 and K. 242 together with the Academy of St. Martin in the Fields under the baton of Sir Neville MARRINER. The album reached gold status and was listed by Gramophone (UK) amongst "The 50 Greatest MOZART Recordings".
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PHOTO© Marco BORGGREVE
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德語演出,中英字幕。
\n\t演出含裸露、性愛、性暴力、道具槍、抽菸場景,請斟酌入場。
\n\t衛武營會員綁定OPENTIX
\n\n邀請您註冊「OPENTIX兩廳院文化生活」帳號並綁定衛武營會員卡,即可享有會員購票優惠。綁定教學
\n\n優惠方案
\n\n團票優惠
\n\n購票同場次:
\n\n※相關優惠請洽07-262-6666
\n',benefits:'\n\n
|各界好評如潮,2023必看推薦|
\n\n「歐斯特麥耶透過《暴力的歷史》證明,他在透過劇場進行社會學分析的同時,還能向觀眾展現一個充滿躁動、刺激與娛樂性的舞台。」——耿一偉
\n\n「歐斯特麥耶和演員念茲在茲的,並不是如何顛覆劇本,而是如何能更真實、更合理地,表現人物的內在狀態,而他的手法,沒有極限」——鴻鴻
\n\n「那些資深戲迷不陌生的『歐斯特麥耶元素』:即時投影、麥克風;強而有力的視覺與聲音;無視第四面牆、爆破能量的表演風格;極簡的審美、俐落明快的節奏被擺在《暴力的歷史》裡,比以往我所看過的任何一個作品都還要有說服力。」——葉珊 (摘自《Shopping Design》雜誌)
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#成見 #種族歧視 #恐同 #階級差距
\n\n2018年柏林雷寧廣場劇院首演的《暴力的歷史》,由歐斯特麥耶 (Thomas OSTERMEIER) 導演,改編自法國當紅作家艾杜瓦.路易 (Édouard LOUIS) 的自傳小說。
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經由導演的安排,《暴力的歷史》以簡潔有力的審美出發。透過舞台正後方的巨型投影,四位主要演員簡潔俐落的表演,以及左下舞台唯一一名樂手在現場處理聲音,以打擊樂器製造出好似心跳或呼吸的節奏。那些資深戲迷不陌生的「歐斯特麥耶元素」:即時投影、麥克風;強而有力的視覺與聲音,不僅是將原作議題如實搬上舞台,更是打破劇場的第四道牆,鏗鏘有力的將原著議題響亮地拋向觀眾。
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原著《暴力的歷史》回憶書寫作者自身多年前在巴黎約會被強暴的事件:
\n\n艾杜瓦(Édouard)在派對結束後、聖誕夜凌晨四點,走在巴黎街上時遇見了阿爾及利亞移民雷德(Reda)。艾杜瓦將他帶回單身公寓,兩人徹夜長聊與性愛,一切美好。
\n\n然而在艾杜瓦洗完澡、從浴室走出來後,他發現自己手機不見了,此時偷走手機的雷德惱羞成怒,掏出手槍威脅恐嚇,並試圖用圍巾勒死艾杜瓦,最後強暴他、離去。
\n\n事件過後的艾杜瓦到妹妹家,聽妹妹轉述給妹夫聽的版本,妹妹的成見使他想起原生家庭的種種;去醫院驗傷,感受到醫護人員對同性戀者與性病的成見;讀警察做的筆錄,在恐同與種族歧視的言語中,他感到事件彷彿成了另一則故事 ——
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原著作者艾杜瓦.路易曾說:「我要成為一個書寫暴力的作家。你越去深入談論暴力,你越有可能去消除(undo)暴力。」暴力的歷史在這裡早已不是「被強暴的歷史」,而是所有敘述與再敘述層層疊疊。每一層敘述,都極有可能是一個二度加害的利器:問向讀者/觀眾:敘述一則被害者的故事本身,是否無可避免地,會讓敘述者成為一個加害者?
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而導演歐斯特麥耶選擇以此議題創作,更是具體的呈現「藝術要參與社會、改變社會」之說。暴力的歷史——是否有人群的地方,這歷史就會無盡地書寫下去?將此議題拋出,期盼在紛擾的當今,我們能一同走進劇場找到答案。
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演前導聆
\n\n2023/9/16(六)14:00 戲劇院二樓大廳
\n\n2023/9/17(日)14:00 戲劇院二樓大廳
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演後座談
\n\n2023/9/16(六)演出結束後於 戲劇院舞台
\n\n2023/9/17(日)演出結束後於 戲劇院舞台
\n\n與談人|助理導演阿瑪莉亞.史達利柯夫及演員
\n\n主持人|衛武營戲劇顧問耿一偉
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周邊活動
\n\n9/16(六)10:30
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延伸閱讀
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文章閱讀
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演出暨製作團隊
\n\n原著小說|艾杜瓦.路易
\n\n導演|托瑪斯.歐斯特麥耶
\n\n劇場版改編|托瑪斯.歐斯特麥耶、弗洛里安.波希邁爾、艾杜瓦.路易
\n\n文本德文翻譯|辛里希.施密特-漢克
\n\n副導演|大衛.斯托爾
\n\n舞台及服裝設計|妮娜.維策
\n\n作曲|尼爾斯.歐斯登朵夫
\n\n影像設計|塞巴斯蒂安.杜普伊
\n\n戲劇構作|弗洛里安.波希邁爾
\n\n燈光設計|米凱爾.維策
\n\n編舞協作|約翰娜.蓮克
\n\n演員|克里斯多夫.葛溫達、勞倫斯.勞芬貝克、雷納托.舒赫、阿莉娜.斯提格勒
\n\n樂手|托瑪斯.維特
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共製單位:巴黎市立劇院、比利時法語文化區國家劇院、布魯克林聖安倉庫
\n\n創作支持:LOTTO-Stiftung Berlin
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團隊介紹
\n\n導演|托瑪斯.歐斯特麥耶
\n\n當代最知名的歐洲劇場導演,經常受邀全球各大藝術節,如紐約下一波藝術節、亞維儂藝術節、香港藝術節、愛丁堡藝術節等,其執導的《玩偶之家—娜拉》與《哈姆雷特》分別於2006年與2010年在臺北國家戲劇院演出。歐斯特麥耶生於1968年,畢業於柏林恩斯特戲劇學院,1996年他接掌了柏林德意志劇院旁的小劇場「棚屋劇場」(Baracke),從而一舉成名。1999年起,他擔任柏林雷寧廣場劇院藝術總監至今,並於2000年創辦國際新劇藝術節(Festival International New Drama;簡稱:FIND)。近年重要的執導作品包括易卜生《人民公敵》(2012)、莎劇《理查三世》(2015)、改編艾杜瓦.路易的自傳小說《暴力的歷史》(2018)、維吉妮.德龐特《Vernon Subutex》第一部(2021)、契訶夫《海鷗》(2023)。歐斯特麥耶獲獎無數,作品入選柏林戲劇節(Theatertreffen)高達六次,並獲威尼斯雙年展終身成就金獅獎(2011)、英國肯特大學(2016)及瑞典哥德堡大學(2019)榮譽博士、德意志聯邦共和國功績勳章(2018)等。2009年,歐斯特麥耶獲法國文化部頒予藝術與文學軍官勳章,於2015年晉升為最高等「司令勳位」。
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原著小說作者|艾杜瓦.路易
\n\n本名艾迪.貝爾格勒(Eddy BELLEGUEULE),1992年生於法國北部的工人家庭,自小因自身不同的性別氣質而長期遭受暴力凌虐。2011年艾迪考上法國最高學府巴黎高等師範學院,成為家族中第一位考上大學的人。2013年他改名為艾杜瓦.路易,2014年的自傳小說《與艾迪了結》是當年暢銷書,全球含臺灣有二十多國譯本。《暴力的歷史》剖析自身被強暴並差點被謀殺的一夜情經驗,2015年出版後再度成為話題。他的創作深受社會學家布迪厄影響,至今出版五本小說,內容圍繞在原生家庭、同性戀、階級與社會暴力等議題。
\n\n2022年阿姆斯特市立劇院的Brandhaarden藝術節,以艾杜瓦.路易為藝術節主題,呈現了來自德國的托馬斯.歐斯特麥耶、荷蘭的伊沃.凡.霍夫(Ivo van HOVE)、比利時的米洛.勞(Milo RAU)與挪威的凱爾斯蒂.霍恩(Kjersti HORN)等知名導演改編其小說的劇場演出,確認艾杜瓦.路易已是當代歐洲的文化現象。
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柏林雷寧廣場劇院
\n\n柏林雷寧廣場劇院於1962年創立,自1999年起由藝術總監托瑪斯・歐斯特麥耶執掌。他就任後,創設以駐館演員組成的劇團,成員基本上自創立起便一同合作至今,持續延聘,鞏固了他上任的基礎。柏林雷寧廣場劇院每季最少首演10場表演,現存劇目超過30個製作。
\n\n柏林雷寧廣場劇院以「集體創作劇場」的概念出發,以演員、戲劇的角色與情境為注目焦點。其中一項顯著特色是導演手法的多樣風格。統合多樣風格的一個元素,乃是對一種當代、富實驗性的劇場語言的追尋,講究述說故事,以及對古典與現代文本的精確掌握。柏林雷寧廣場劇院的劇目涵括世界文學裡的偉大劇作,以及國際知名作家的當代戲劇。
\n\n自2000年起的每個春季,劇院的國際新劇藝術節(FIND)為國際知名的劇場人提供將作品於柏林雷寧廣場劇院上演的機會。
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特別感謝
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照片版權© Arno Declair
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藝玩伴計畫 ART-FUN-PLAY
\n\n爸媽看戲、孩子玩戲
\n\n發現很想看衛武營的節目,但沒有人幫您陪伴孩子嗎?
\n\n衛武營特別推出『藝玩伴計畫』,在您欣賞演出節目的同時,規劃各種活動,讓孩子們在等待父母看戲的同時,與您在平行時空同步接收演出節目的精彩內容...
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\n',team:""},english:{onShelfRange:{start:1686110400,end:4841827199},tabs:[],onShelf:!0,sliders:[{type:"image",key:"7bf9f210f06d33508efbd87e46f769c3",title:"柏林雷寧廣場劇院《暴力的歷史》"}],related:[],title:"Schaubühne Berlin - History of Violence",cover:"b02da5dd5b49725e10e41c32bcb7f7a3",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:'
Performed in German with both English and Mandarin surtitles.
\n\tThe performance contains nudity, sexual content, explicit portrayal of sexual violence, prop guns, and smoking on stage. Viewer discretion is advised.
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#Stereotype #RacialDiscrimination #Homophobia #ClassGap
\n\nHistory of Violence premiered in 2018 at Schaubühne Berlin, directed by Thomas OSTERMEIER and based on the autobiographical novel by young French writer Édouard LOUIS.
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The stage adaptation of History of Violence possesses minimalist aesthetics. Sharing the stage with the actors is a percussive musician whose performance operates like a heartbeat or breath. The "OSTERMEIER elements" which are familiar to seasoned theater fans, include the projection, the sound design, and the actors' precise (fourth-wall-breaking) performance vividly bring the source material to life in a theater space.
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History of Violence, the novel, recalls the author's date rape in Paris: Édouard met Reda, an Algerian immigrant, while walking through the Parisian streets on Christmas Eve after a party. Édouard took him back to his apartment, and the two enjoyed a pleasant night of long talks and sex. However, when Édouard came out of the shower, he noticed that Reda had stolen from him. Reda flew into a rage, threatened Édouard at gunpoint, and tried to strangle him with a scarf. In the end, Reda raped him and left.
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After the incident, Édouard took refuge at his sister's and overheard her recounting the incident to her husband. The prejudice embedded in her version reminded him of his unpleasant family. When he went to the hospital for an examination, he sensed the bias of the medical staff toward homosexuals and STDs. When he read the police report riddled with homophobic and racist remarks, he felt as if the incident had morphed into another story.
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Édouard LOUIS noted: "I want to be a writer of violence. I think the more you talk about violence, the more you can undo [it]." The history of violence is no longer the simple chronology of events pertaining to the rape but the multiple layers of discourse that in and of themselves are probable acts of violence. The novel and adaptation pose a question: does recounting the victim's story, inevitably, make a perpetrator?
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OSTERMEIER's decision to create on such a topic concretely underlines that "art should participate in society and change society." Will the history of violence continue endlessly as long as people gather? By bringing up this issue, hopefully in the current times of chaos, we can walk into the theater to find an answer.
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Pre-talk
\n\n2023/9/16(Sat)14:00 Playhouse 2F Lobby
\n\n2023/9/17(Sun)14:00 Playhouse 2F Lobby
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Post-talk
\n\n2023/9/16(Sat)After performance at Playhouse Stage
\n\n2023/9/17(Sun)After performance at Playhouse Stage
\n\nGuest|Assistant Director Amalia STARIKOW and the cast.
\n\nHost|KENG Yi-wei, Dramaturg of Weiwuying
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Creative and Production Team
\n\nOriginal Novel by Édouard LOUIS
\n\nDirector|Thomas OSTERMEIER
\n\nAdapted for the Stage by Thomas OSTERMEIER, Florian BORCHMEYER, Édouard LOUIS
\n\nGerman Translation|Hinrich SCHMIDT-HENKEL
\n\nCollaboration Director|David STÖHR
\n\nSet, Costume Designer|Nina WETZEL
\n\nMusic|Nils OSTENDORF
\n\nVideo|Sébastien DUPOUEY
\n\nDramaturgy|Florian BORCHMEYER
\n\nLighting Designer|Michael WETZEL
\n\nCollaboration Choreography|Johanna LEMKE
\n\nActors|Christoph GAWENDA, Laurenz LAUFENBERG, Renato SCHUCH, Alina STIEGLER
\n\nMusician|Thomas WITTE
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Coproduction with Théâtre de la Ville Paris, Théâtre National Wallonie-Bruxelles and St. Ann's Warehouse Brooklyn.
\n\nSupported by LOTTO-Stiftung Berlin.
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Team Introduction
\n\nDirector|Thomas OSTERMEIER
\n\nOne of the most well-known European theater directors of our time. A regular invitee of renowned festivals worldwide, such as Next Wave Festival in New York, Festival d'Avignon, Hong Kong Arts Festival, and Edinburgh Art Festival. His productions of Nora and Hamlet were presented at the National Theater in Taipei in 2006 and 2010, respectively. Born in 1968, OSTERMEIER graduated from the Ernst Busch Academy of Dramatic Arts, Berlin. In 1996, he took over the Baracke at the Deutsches Theater Berlin, as Artistic Director, which propelled him to fame. Since 1999 he has been Artistic Director at Schaubühne and founded the Festival International New Drama (FIND) in 2000. His recent acclaimed works include IBSEN's An Enemy of the People (2012), SHAKESPEARE's Richard III (2015), History of Violence (2018, adapted from Édouard LOUIS' autobiographical novel), Vernon Subutex 1 by Virginie DESPENTES (2021), and The Seagull by Anton CHEKHOV (2023). Six of his works have been invited to the Theatertreffen Berlin. He has received numerous awards, including the Venice Biennale Golden Lion for Lifetime Achievement (2011), an honorary doctorate from the University of Kent (2016) and Gothenburg (2019), and the Order of Merit of the Federal Republic of Germany (2018). In 2009 Thomas OSTERMEIER was appointed "Officier des Arts et des Lettres" by the Ministry of Culture of France, and promoted to the degree of "Commandeur" in 2015.
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Original Novel|Édouard LOUIS
\n\nÉdouard LOUIS (born Eddy BELLEGUEULE) was born in 1992 into a working-class family in northern France. His childhood was fraught with bullying and abuse due to his sexual orientation. In 2011, he was admitted to L'École normale supérieure in Paris, the most prestigious university in France, becoming the first ever in his family to attend a university. By 2013, he had changed his name to Édouard LOUIS. His autobiographical novel The End of Eddy, published in 2014, was one of the best-selling books of the year translated into over 20 languages. His History of Violence, which analyzes his experience of being raped and almost murdered during a one-night stand, also became a hit after its 2015 publication. His works are deeply influenced by French sociologist Pierre BOURDIEU with 5 novels focused on issues concerning family of origin, homosexuality, social class, and societal violence.
\n\nThe 2022 Brandhaarden Festival at International Theater Amsterdam showcased theater productions based on LOUIS' novels helmed by renowned directors Thomas OSTERMEIER from Germany, Ivo van HOVE from the Netherlands, Milo RAU from Belgium, and Kjersti HORN from Norway. The event ensured LOUIS' status as a cultural phenomenon in Europe.
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Schaubühne Berlin (Schaubühne am Lehniner Platz)
\n\nThe Schaubühne was founded in 1962. Since 1999 it has been led by artistic director Thomas OSTERMEIER. The foundation of his tenure was laid in the formation of a new ensemble of permanently employed actors, who essentially have been working together ever since, regularly extended by new appointments. The Schaubühne premieres a minimum of ten shows per season alongside a repertoire of over 30 existing productions.
\n\nStarting from the concept of an ensemble theater, the actors, dramatic characters and situations of a play take center stage at the Schaubühne. One of the theater's distinctive features is a stylistic variety in approaches to directing. The search for a contemporary and experimental theater language which focuses upon storytelling and a precise understanding of texts - both classical and contemporary - is a unifying element. The repertoire encompasses the great dramatic works of world literature alongside contemporary plays from internationally renowned writers.
\n\nEvery spring since 2000 the Festival of International New Drama (FIND) has given internationally renowned theater makers the opportunity to show their work at the Schaubühne.
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Special Thanks
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PHOTO© Arno Declair
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\n',team:""},createdAt:1683011971,updatedAt:1694587206,updatedBy:"林蔚行",host:!0},{_id:"6452156a3fb0e90007c9363b",catalogs:["5aec4184b01ea6000520f633","64812f1feb9a240007c8c8c7"],dateTime:{first:1693222200,discrete:[{time:1693222200}],type:"discrete"},activity:{type:"ticket",ticket:{price:[400,600,800,1e3,1200,1500,2e3],link:"https://www.opentix.life/event/1650388791558701058"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"490dd2a855ea104dcda1aaa6470931c2",title:"《2023台北青管國際交流系列~Johan de Meij》"}],related:[],title:"《2023台北青管國際交流系列~Johan de Meij》",cover:"8c08cef959ec06342fa3facac3bad0cf",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
台北青管國際交流音樂會,邀請荷蘭知名指揮家與作曲家Johan de Meij訪台,進行包含作曲研習營、指揮和委託創作等活動。演出部分,由Johan de Meij與台北青管藝術總監侯宇彪擔任指揮,樂團為台北青年管樂團,並邀請南科音樂營教師管樂團加入。曲目將以Johan de Meij經典曲目為主,包含Magic Garden、Extreme Make-Over、並邀請臺灣藝術大學音樂系兼任薩克斯風助理教授吳志桓臺灣首演為上低音薩克斯風的協奏曲《蒙德里安》等,精彩可期。
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演出曲目
\n\n約翰‧德‧梅傑委託創作(世界首演)
\n\n約翰‧德‧梅傑 / 《蒙德里安》為上低音薩克斯風與管樂團協奏曲
\n\n約翰‧德‧梅傑 / 魔法花園
\n\n約翰‧德‧梅傑 / 極致變奏
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演出暨製作團隊
\n\n演出團體|台北青年管樂團、南科音樂營教師管樂團
\n\n指揮|侯宇彪、Johan de Meij
\n\n上低音薩克斯風獨奏|吳志桓
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\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"490dd2a855ea104dcda1aaa6470931c2",title:"《2023台北青管國際交流系列~Johan de Meij》"}],related:[],title:'2023 TSB Concert "Meet the Composer" Series~Johan de Meij',cover:"8c08cef959ec06342fa3facac3bad0cf",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
The new TSB concert series "Meet the Composer" invite Johan de Meij to Taiwan for Workshop, Concert, and work commission. The Conductors of the concert are Johan de Meij and Leonard Yui-Biau Hou and the band are Taipei Symphonic Band feat Nanke Summer Camp Faculty Wind Ensemble. The repertoire include standard music by Johan de meij like Magic Garden, Extreme Make-Over and the concerto for baritone saxophone and wind ensemble "Mondrian", the solist is the Chih-Huan Wu.
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Program
\n\nJohan de Meij / "Mondriaan" for Baritone Saxophone and Wind Orchestra
\n\nJohan de Meij / Magic Garden
\n\nJohan de Meij / Extreme Makeover
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Creative and Production Team
\n\nBand|Taipei Symphonic Band、Nanke Wind Ensemble
\nConductor|Yui-Biau Hou、Johan de Meij
\nBaritone Saxophone Solo|Chih-Huan Wu
\n\n
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\n\t\t\t ※原訂2023年9月5日(二)19:30於衛武營表演廳演出之《夢想綺航音樂會-陳劭綺鋼琴獨奏會》,節目取消。 \n\n\t\t\t※退票方式請詳異動公告。 \n\t\t\t | \n\t\t
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陳劭綺,現就讀高雄中學音樂班二年級
\n\n《夢想綺航》是17歲的陳劭綺第二場鋼琴獨奏會,她將演奏的,是一套廣跨巴洛克、古典、浪漫…等各樂派的雄偉曲目。極具挑戰性、份量深刻繁複。您將訝異如此豐富的琴音從她嬌小的身量彈出。
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演出曲目
\n\n巴哈:前奏與賦格 第2首 作品847
\n\n貝多芬:鋼琴奏鳴曲 作品57第23首
\n\n蕭邦:鋼琴練習曲 作品25 第八首
\n\n蕭邦:平靜的行板和華麗的大波蘭舞曲 作品22
\n\n普羅高菲夫:鋼琴奏鳴曲 作品82 第六首
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演出暨製作團隊
\n\n鋼琴獨奏|陳劭綺
\n\n指導教授|吳美靜
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※The program has been cancelled. For more information, please contact +886-921289878. | \n\t\t
\n\n
Chen Shao-Chi is currently studying at second grade in Kaohsiung Municipal Kaohsiung Senior High School.
\n\nThis is seventeen-years-old Chen Shao-Chi's second Piano Recital, she will play the extremely challenging and deeply complicated music that span over Baroque、Classical、Romantic and Modern periods. It's unbelievable that the generous music is played by her petite body.
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Program
\n\nBach: Prelude & Fugue No. 2 in c minor BWV 847
\n\nBeethoven: Piano Sonata No. 23 in F minor, Op. 57
\n\nChopin: Etude in D flat major, Op. 25 No. 8
\n\nChopin: Andante Spianato and Grande Polonaise Brillante in E flat major Op. 22
\n\nProkofiev: Piano Sonata No. 6 in A major, Op. 82
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Creative and Production Team
\n\nSoloist|CHEN Shao-Chi
\n\nProfessor|WU Mei-Ching
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音樂史上有不少樂曲,在首演之初不被看好,但是經過歲月淬鍊,卻成為經典之作,二十世紀奧地利作曲家康果爾德的小提琴協奏曲,就是典型的例子。柔情似水的旋律、觸動人心的情感,展現了這位好萊塢電影配樂大師引人入勝的魅力。
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巴爾托克的音樂,在現代風格的外衣之下,包裹著躍動的民族情感。1943年發表的管絃樂協奏曲,色彩華麗、趣味盎然,管絃樂聲部的緊密互動,激盪出澎湃的音響效果,不只讓您感動,更令人深刻悸動。
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國家交響樂團2023/2024全新樂季,音樂總監準.馬寇爾,攜手國際樂壇知名小提琴家艾倫.普利欽,黃金組合,為樂迷呈現璀璨東歐音樂響宴!
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演前導聆
\n\n2023/9/23(六)19:00 音樂廳三樓大廳
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演出曲目
\n\n康果爾德︰D大調小提琴協奏曲,作品35
\n\n巴爾托克:管絃樂協奏曲,Sz. 116
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安可曲
\n\nBach Largo from Sonata n.3 for violin solo BWV1005
\n\nYsaye Sonata n.2 for violin solo, op.27, 1st mvt
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演出暨製作團隊
\n\n指揮|準.馬寇爾
\n\n小提琴|艾倫.普利欽
\n\n國家交響樂團
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藝術家介紹
\n\n音樂總監|準.馬寇爾
\n\n準.馬寇爾出生於德國慕尼黑,他在1986年於德國音樂協會所舉辦的指揮大賽中獲勝,於美國檀格塢與指揮名家伯恩斯坦、小澤征爾學習,隨後於德國薩蘭邦國家歌劇院與曼海姆國家劇院展開首任的音樂總監生涯,繼而活躍於歐洲、日本、美國各大歌劇院。
\n\n長久以來,馬寇爾被讚譽為德奧樂派作品的權威,近年來他在法國印象派樂曲的獨到而精緻的詮釋,亦獲得熱烈的迴響。在2012年間,法國文化部特地頒授馬寇爾法蘭西藝術與文學騎士勳章,以表彰他對法國樂壇的貢獻。
\n\n馬寇爾目前擔任國家交響樂團音樂總監,以及荷蘭海牙愛樂管絃樂團首席客席指揮;近期還受邀擔任美國印第安納波利斯交響樂團的藝術顧問,以及美國奧勒岡交響樂團首席客座指揮。
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小提琴|艾倫.普利欽
\n\n「聆聽後我們必須承認,艾倫.普利欽是小提琴界的未來。他將以他的技藝驚豔世界。」——ClassiqueHD
\n\n「普利欽明顯天賦異稟,對樂曲有著獨到的詮釋,並擁有出眾的音樂素養。」——布魯諾.蒙
\n\n桑容
\n\n「普利欽展現出燦爛的音色和王者般的右臂,可預見他的前途璀璨。」——《音叉雜誌》
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聖彼得堡出生的艾倫.普利欽在家鄉拜師艾琳娜.札依彩娃,後來就讀享譽盛名的莫斯科柴可夫斯基音樂學院,師承愛德華.格拉奇。2014年榮獲隆.提博小提琴大賽首獎,也曾在維尼奧夫斯基、柴可夫斯基、瓦萊汐昂、克萊斯勒、歐伊斯特拉赫等國際小提琴大賽拿下重要獎項。
\n\n普利欽的演出經驗豐富,足跡遍及俄羅斯國內外各大知名場館,諸如維也納音樂廳、阿姆斯特丹音樂廳、斯德哥爾摩音樂廳、薩爾茨堡莫札特基金會、柴可夫斯基音樂學院演奏廳,以及巴黎香榭麗舍劇院等等。
\n\n普利欽目前在比利時安特衛普皇家音樂學院以及杜塞道夫舒曼音樂學院擔任教職。
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國家交響樂團
\n\n國家交響樂團 (NSO) 的前身「聯合實驗管絃樂團」成立於1986年,以打造頂尖交響樂團為目標;2014年4月改隸國家表演藝術中心,以「臺灣愛樂」立足國際。經過三十多年耕耘,NSO 參與交響樂、室內樂、歌劇、舞蹈、跨界製作。樂團在歷任音樂總監張大勝、林望傑、簡文彬、呂紹嘉共同悉心呵護下成長,以專業、開放、勇於創新的職業樂團為發展核心,現已成為亞洲地區最具指標性的樂團。2021年8月,德國指揮家準・馬寇爾 (Jun MÄRKL) 接任NSO藝術顧問,2022年1月起擔任音樂總監,期望以樂團獨特的聲音擔任臺灣的文化大使,向全世界表達特有的身分和情感。
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合辦單位:國家交響樂團、衛武營國家藝術文化中心
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藝玩伴計畫 ART-FUN-PLAY
\n\n爸媽看戲、孩子玩戲
\n\n發現很想看衛武營的節目,但沒有人幫您陪伴孩子嗎?
\n\n衛武營特別推出『藝玩伴計畫』,在您欣賞演出節目的同時,規劃各種活動,讓孩子們在等待父母看戲的同時,與您在平行時空同步接收演出節目的精彩內容...
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The history of music has produced numerous pieces that were not well-received upon their premieres but later, tempered by time, became classics. 20th-century Austrian composer KORNGOLD's Violin Concerto in D Major, Op. 35, is one such example. The melody, smooth as silk, and heart-touching sentiment manifest the magnetic charm of its composer, one of Hollywood's greatest incidental music writers.
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BARTÓK's music has a modern exterior but pulses with folk style. His resplendent Concerto for Orchestra, Sz. 116, which debuted in 1943, brims with fun. The tightly knit interaction among the different orchestral parts creates a surging effect that is both touching and deeply exciting.
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Jun MÄRKL, Music Director of the National Symphony Orchestra, is teaming up with globally acclaimed violinist Aylen PRITCHIN, bringing a brilliant Eastern European music feast!
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Pre-talk
\n\n2023/9/23(Sat)19:00 Concert Hall 3F Lobby
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Program
\n\nE. W. KORNGOLD: Violin Concerto in D Major, Op. 35
\n\nB. BARTÓK: Concerto for Orchestra, Sz. 116
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Encore Pieces
\n\nBach Largo from Sonata n.3 for violin solo BWV1005
\n\nYsaye Sonata n.2 for violin solo, op.27, 1st mvt
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Creative and Production Team
\n\nConductor|Jun MÄRKL
\n\nViolin|Aylen PRITCHIN
\n\nNational Symphony Orchestra
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Artists Introduction
\n\nMusic Director|Jun MÄRKL
\n\nJun MÄRKL is a highly respected interpreter of the core German repertory, and has become known for his refined and idiomatic explorations of the French Impressionists. He currently serves as Music Director of the Taiwan Philharmonic (the National Symphony Orchestra), and Principal Guest Conductor of the Residentie Orkest of The Hague. He has also recently been appointed Artistic Advisor of the Indianapolis Symphony Orchestra and Principal Guest Conductor of the Oregon Symphony in the United States. His long-standing relationships with the state operas of Vienna, Berlin, Munich, Semperoper Dresden and the Metropolitan Opera New York have been complemented by his music directorships of the Orchestre National de Lyon, the MDR Leipzig Radio Symphony Orchestra and the Basque National Orchestra. In recognition of his achievements in France, he was honored in 2012 with the Chevalier de l'Ordre des Arts et des Lettres.
\n\nBorn in Munich, MÄRKL won the conducting competition of the Deutscher Musikrat in 1986 and studied at Tanglewood with Leonard BERNSTEIN and Seiji OZAWA. Soon afterwards, he appeared in opera houses throughout Europe, Japan and USA followed by his first music directorships at the Staatstheater Saarbrücken and the Nationaltheater Mannheim.
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Violin|Aylen PRITCHIN
\n\n"We have to admit, after listening, that Aylen PRITCHIN is the future of the violin and that he will amaze us with all his art." ——ClassiqueHD
\n\n"Aylen PRITCHIN is obviously gifted with something special to say and with an outstanding musical culture." ——Bruno MONSAINGEON
\n\n"Aylen shows a luminous sound and an imperial right arm, auguring a brilliant career." ——Diapason Magazine
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Born in Saint Petersburg, Aylen PRITCHIN studied with Prof. Elena ZAITSEVA in his hometown and with Prof. Eduard GRACH at the prestigious Tchaikovsky Conservatory in Moscow. In 2014, he was awarded at the Long-Thibaud International Competition First Prize and he is a former major prize winner at the Wieniawski, Tchaikovsky, Sion-Valais, Kreisler and Oistrakh International Violin Competitions.
\n\nHis career has led him to perform in Russia and abroad, in such prestigious venues as the Vienna Konzerthaus, Amsterdam Concertgebouw, Stockholm Musikaliska, Salzburg Mozarteum, Tchaikovsky Conservatory Hall in Moscow and the Champs-Elysées Theatre in Paris.
\n\nAs a soloist, his recent invitations include Orchestre National du Capitole de Toulouse, Orquesta Filarmonica de Gran Canaria, Royal Liverpool Philharmonic, Mariinsky Theatre Orchestra, MusicAeterna Orchestra, Orchestre National des Pays de la Loire among others.
\n\nAylen equally enjoys playing chamber music with artists such as Maxim EMELYANYCHEV, Lukas GENIUSAS, Yury FAVORIN, Alexander MELNIKOV and David GERINGAS.
\n\nHighlights of the 2022/23 season include Aylen’s debuts with the Scottish Chamber Orchestra and Maxim EMELYANYCHEV, Hiroshima Symphony Orchestra and Christian Arming and Hong Kong Sinfonietta and YIP Wing-sie. Recitals include a performance at the Hong Kong Concert Hall in a Beethoven-Richard Strauss program with pianist Rémi GENIET, as well as at the Tokyo’s Toppan Hall in a MEDTNER, JANÁČEK, RAVEL, ENESCU program with pianist Tomoki KITAMURA.
\n\nHis latest CD with Lukas GENIUSAS released in 2022 on Mirare Productions features works by DEBUSSY, HAHN and STRAVINSKY.
\n\nAylen is currently teaching at the Royal Conservatoire Antwerp and at the Robert Schumann Hochschule in Düsseldorf.
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National Symphony Orchestra
\n\nFounded in 1986, the Taiwan Philharmonic, also known as the National Symphony Orchestra (NSO) at home, has been hailed as one of the best orchestras in Asia. With some of the finest musical talent from at home and abroad, trained at top schools and international orchestras, the NSO enjoys a unique voice rich in diversity and tradition. Under the leadership of music director Jun MÄRKL since January 2022, the NSO aspires to resonate throughout the world as the cultural ambassador of Taiwan. Music by Taiwanese composers is extensively commissioned, performed, and recorded by the NSO.
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Co-presenter: National Symphony Orchestra, National Kaohsiung Center for the Arts (Weiwuying)
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榮獲法國傑出新人獎。
\n\n法國金叉獎得主。
\n\n法國歌劇雜誌:「獨一無二的傑出歌手,我們還找得出什麼詞語來形容馬克摹雍。」
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十六世紀末、十七世紀初,是音樂史上「文藝復興時期」與「巴洛克時期」的過渡階段。受到文藝復興時期崇尚古希臘、古羅馬藝術與思想的時代精神影響,翡冷翠的一群人文主義者們以復興古希臘悲劇為己任,時常在巴爾迪伯爵(Giovanni BARDI)家中聚會,討論關於音樂與戲劇的種種問題,這個日後被稱為翡冷翠同好會(Camerata)的社團,將發現他們自身所處的時代音樂有其不足之處,無法表現他們想像中的古希臘悲劇應有的獨特效果。這時期的兩位重要作曲家--卡契尼(Giulio CACCINI, 1511-1618)與雅各布·佩里(Jacopo PERI, 1561-1633)將留下許多「單聲歌曲」(monodie),這種以獨唱配以撥弦樂器伴奏的世俗歌樂,特別講究、凸顯歌詞的重要性,讓音樂能模仿說話的音調與情緒,充分渲染出文本的意境。這類音樂便擺脫了文藝復興時期的複音織體,而以其革命性的精神深深影響了不久後歌劇的誕生。
\n\n這場音樂會將為臺灣觀眾帶來獨特僅有的巴洛克早期歌樂,這些珠玉般的小品或許鮮為人知,卻在音樂史上具有十分重要的地位。這種以獨唱配以撥弦樂器伴奏的世俗歌樂,特別講究歌詞的重要性,讓音樂能模仿說話的音調與情緒,充分渲染出文本的意境,更深深影響了不久後歌劇的誕生。音樂會將聚焦卡契尼與佩里兩位作曲家的歌樂創作,除此之外還特別精選了幾首法國宮廷歌曲(Air de cour),展現跨地域的藝術風情。這些歌曲旋律簡單、 抒情,配合著歌詞做出如說話般抑揚頓挫的幽微起伏,具有高度的文學性與可聽性。這些精彩的巴洛克早期歌樂,將由摩雍兄妹共同演繹,法國知名古樂男中音馬克摹雍以其獨特的嗓音,搭配姊姊安潔莉以古豎琴輕盈柔和的音色伴奏,勢必讓人越聽越沉醉,在音樂所引起的微醺 中激起我們的思古之情,仿佛聽見繆思女神們唱著情歌,遠方朦朧的身影,是奧菲歐拿著七絃琴所吟唱出的陣陣悲嘆......。
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演前導聆
\n\n2023/9/24(日)14:00 表演廳
\n\n與談人|王寶祥
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演出曲目
\n\n朱利歐.卡契尼(1551–1618):《甜蜜的嘆息》
\n\n雅各布.佩里(1561–1633):《熟睡中的你》
\n\n塔奎尼歐·梅魯拉 (1595–1665):《瘋狂的好》
\n\n朱利歐.卡契尼:《致那些燃燒般的嘆息》
\n\n朱利歐.卡契尼:《我會看到我的太陽》
\n\n克勞迪歐.蒙特威爾第(1567-1643):《為什麼你恨我》
\n\n盧扎斯科.盧扎斯基(1545-1607):觸技曲
\n\n朱利歐.卡契尼:《仁慈地行動》
\n\n朱利歐.卡契尼:《回來,回來》
\n\n雅各布.佩里:《我哭了一整天》
\n\n亞歷山德羅.皮奇尼尼(1566-1638):《薩拉邦舞曲式的歌曲》
\n\n朱利歐.卡契尼《充滿愛意》
\n\n塞巴斯蒂安.勒.加繆(1610-1677):《我臣服於你》
\n\n無名氏:《沒有愛也沒有溫柔》
\n\n貝爾涅.德.巴西里(1621-1690):《我試圖遵循另一條法則》
\n\n塞巴斯蒂安.勒.加繆:《一位比白日更美麗的牧羊人》
\n\n豎琴組曲獨奏
\n\n弗雷德里克.杜夫(1604-1670):D小調組曲
\n\n米歇爾.隆伯爾(1610-1696):《我發誓了一千次》
\n\n塞巴斯蒂安.勒.加繆:《一無所有的人生》
\n\n米歇爾.隆伯:《讓我嘆息吧》
\n\n歐諾雷.東布呂(1660-1702):《我們樹林中甜蜜的寂靜》
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演出暨製作團隊
\n\n男中音|馬克・摹雍
\n\n巴洛克豎琴|安潔莉・摹雍
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藝術家介紹
\n\n男中音|馬克・摹雍
\n\n雖然大家都聽過男中音,很少人有機會聆賞屬於巴洛克時代的男歌手唱腔。那是個不特別區分高中低音歌手的時代,而著重在歌手本身音色與音域。孰悉早期音樂的摹雍,音域可高至男高音,聲線多變與迷人。喜劇與悲劇角色都能充分表達戲劇性,根據不同音樂和角色來調整音質,這點讓摹雍獨樹一格。
\n\n摹雍擅長曲目廣泛,從中古到巴洛克歌劇或宮廷歌曲、義大利牧歌、至古典時期如莫札特《女人皆如此》主角、浪漫時期、佛瑞歌曲、演出錄製輕歌劇奧芬巴赫、德布西的歌劇《佩里亞斯與梅莉桑德》主角、以至於普朗克歌曲等。他與指揮大師克里斯第 (William CHRISTIE ) 、繁盛古樂團合作法國1753歌劇 Titon et l'Aurore ;與指揮大師薩瓦爾 (Jordi SAVALL) 合作演出1607蒙台威爾第《奧菲歐》主角, 乃至與法國前衛作曲家杜撒潘,都密切合作。
\n\n僅義法英之巴洛克歌劇錄音,已有20張左右。對於巴洛克時期歌唱可說情有獨鍾、爐火純青。2018起於著名的索邦大學教授碩士中世紀音樂詮釋。並於法國與國外開設大師班。
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巴洛克豎琴:安潔莉・摹雍
\n\n在跟隨 Josette RIVES 和 Christophe TRUANT 學習古典豎琴後,安潔莉選擇專攻早期音樂的詮釋。她跟隨里昂高等音樂學院 (CNSMD) 的 Eugène FERRÉ 和米蘭 Scuole Civiche 音樂院 Mara GALASSI ,安潔莉著重於演奏歐洲十三至十八世紀時期的音樂。她與許多歐洲重要的合奏團合奏,如:Alla Francesca 和 Tasto Solo 合奏演奏中世紀豎琴,並與 Doulce Mémoire 和 Les Jardins de Courtoisie 合奏演奏文藝復興時期的豎琴。她也在 Elyma、La Fenice、Le Concert d'Astrée、Le Poème Harmonique、Il Seminario musice、Artaserse 等樂團中參與了許多巴洛克音時期音樂的演奏。
\n\n她經常與弟弟男中音馬克一起舉行室內音樂會,她還與 P. HAMON 和 V. BIFFI 一起探索14和15世紀的曲目。
\n\n她與 Alpha、ZIG-Zag、Eloquentia、Ricercar 等唱片公司合作錄製了 20 多張唱片。
\n\n目前安潔莉在圖爾市音樂院 CRR 和里昂高等音樂院 (CNSMD) 教授古豎琴 。
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主辦單位:福爾摩沙巴洛克古樂團
\n\n協辦單位:衛武營國家藝術文化中心
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FLORENCE 1600 - Giulio CACCINI, Jacopo PERI: two virtuoso singers, two composers about to revolutionize the art of singing.
\n\nAt the very end of the sixteenth century, the city of Florence organized magnificent celebrations for the wedding of Ferdinand de' Medici and Christine de Lorraine. The best singers and instrumentalists were brought together for an occasion that would give birth to a completely new work, both from a theatrical and musical point of view La Pellegrina. Emilio de' Cavalieri and his assistants Jacopo PERI and Giulio CACCINI strongly believed in a new musical style that would do away with polyphony in favor of monody so as to give precedence to text and expressivity.
\n\nThe music of Giulio CACCINI and his Nuove Musiche and PERI's songs are well known, but it is interesting to set in parallel the genius of these two great musicians and to explore two worlds in which, however similar their language and compositional principles, their means of expressing sensitivity and emotions differ enormously.
\n\nIn reaction to Renaissance polyphony, their music was written to be sung to the accompaniment of a single plucked instrument. Singers would often accompany themselves, but would also perform among and accompanied by family members.
\n\nThus the familial duo of Marc and Angelique resonates very naturally with the heritage of those great musicians.
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Pre-talk
\n\n2023/9/24(Sun)14:00 Recital Hall
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Program
\n\nG. CACCINI(1551–1618): Dolcissimo Sospiro
\n\nJ. PERI(1561–1633): Tu Dormi
\n\nT. MERULA(1595–1665): Follè Ben
\n\nG. CACCINI: A Quei Sospir Ardenti
\n\nG. CACCINI: Vedrò Il Mio Sol
\n\nC. MONTEVERDI(1567-1643): Perche Se M’Odiavi
\n\nL. LUZZASCHI(1545-1607): Toccata
\n\nG. CACCINI: Movetevi A Pieta
\n\nG. CACCINI: Torna, Deh Torna
\n\nJ. PERI: Tutto Il Dì Piango
\n\nA. PICCININI(1566-1638) Aria Di Sarabanda
\n\nGiulio CACCINI: Pien D'Amoroso Affetto
\n\nS. L. CAMUS(1610-1677) : Je M'Abandonne A Vous
\n\nAnonyme: Sans Amour Et Sans Tendresse
\n\nB. d. BACILLY(1621-1690): J'Ai Voulu Suivre Une Autre Loy
\n\nS. L. CAMUS(1610-1677): Un Berger Plus Beau Que Le Jour
\n\nF. DUFAUT(1604-1670): Suite En Ré Mineur(Suite Harpe)
\n\nM. LAMBERT(1610-1696): J'Ai Juré Mille Fois
\n\nS. Le CAMUS: Il N'Est Rien Dans La Vie
\n\nM. LAMBERT: Laisse-Moy Soupirer
\n\nH. D’AMBRUIS(1660-1702): Le Doux Silence De Nos Bois
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Creative and Production Team
\n\nBariton|Marc MAUILLON
\n\nBaroque Harp|Angélique MAUILLON
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Artists Introduction
\n\nBariton|Marc MAUILLON
\n\nThe exploration of the relationship between words and music is at the heart of Marc MAUILLON's artistic approach. Exceptional vocal means have given him the possibility of taking on both baritone and tenor repertories, an immediately recognisable timbre, he puts his sense of colour and of diction at the service of his insatiable curiosity.
\n\nFrom Guillaume de Machaut to contemporary repertoire, from opera to recital, his career history is a reflection of an out of the ordinary eclecticism. His encounter with William CHRISTIE as part of the Jardin des Voix (2002), then with Jordi Savall, at first opened up for him a magnificent field of exploration of early music, which he later expanded.
\n\nRegularly invited to give Master-classes, internships or training in France and abroad, Marc Mauillon has been teaching since 2018 the interpretation of medieval secular music at the Sorbonne (Master of Interpretation of Ancient Music).
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Baroque Harp|Angélique MAUILLON
\n\nAfter studying the harp with Josette Rives and Christophe Truant, Angélique Mauillon decides to specialize in the interpretation of early music, under the supervision of Eugène Ferré at the CNSMD in Lyon and Mara Galassi at the Scuole Civiche in Milano.
\n\nShe has also obtained a degree in Musicology of the Lyon II University. Angélique Mauillon interprets a vast repertoire ranging from the 13th to the 18th century: she plays medieval harp with ensembles Alla Francesca and Tasto Solo, and renaissance harp with ensembles Doulce Mémoire and Les Jardins de Couroisie.
\n\nOn the triple harp, she collaborates with ensembles such as Le Concert d'Astrée, Le Poeme Harmonique, Pygmalion, Artaserse, Correspondances.
\n\nShe performs regularly in recital alongside her brother, the baritone Marc Mauillon, with whom she also explores the repertoire of the fourteenth and fifteenth centuries, along with P. Hamon and V. Biffi.
\n\nShe has participated, as soloist and continuo player in more than thirty recordings for the labels Alpha, ZIG-Zag territories, Eloquentia, Ricercar, etc ...
\n\nHolder of the Certificate of Aptitude, Angélique Mauillon teaches the early harps at CRR Tours and CNSMD Lyon.
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Presenter: Formosa Baroque
\n\nCo-organiser: National Kaohsiung Center for the Arts (Weiwuying)
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透過文學與劇場專業教師的指引,本屆工作坊學員們將臺灣文學作品改編為青少年舞台劇本,完成了22篇,每篇長度6分鐘的舞台劇劇本。此次讀劇演出邀請高雄在地劇團「響座劇場」擔綱製作及演出團隊,期待激發出更多精彩火花。演出在11月25日隆重發表,歡迎對文學改編跟讀劇演出有興趣的觀眾們,千萬別錯過!
\n\n誠摯地邀請您前來欣賞,一起給這群未來新秀指點與建議,一同見證學員們幾個月以來辛勤耕耘的成果!
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演出時間與地點
\n\n時間:112年11月25日
\n\n14:30-17:30 讀劇呈現(14:00開放入場)
\n\n18:00-19:30 演後交流會
\n\n演出地點:衛武營B313樂團排練室
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入場方式
\n\n請進行索票登記
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電子節目冊
\n\n►點我下載
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演員徵選
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►劇作學員 錄取名單公告 | \n\t\t
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心動的瞬間,苦痛的磨練,世俗的挑戰,那些以愛為名的靈魂故事,由你來書寫!
\n\n衛武營國家藝術文化中心 與 國立臺灣文學館 攜手主辦「文學劇本改編工作坊」第三屆正式啟航!邀請八位戲劇和文學專業講師設計七堂課程,連續兩個周末,從臺南到高雄,帶領學員改編以愛為主題的臺灣文學成為舞臺劇本,並在最後挑戰讀劇呈現,聆聽自己的文字,品味創作的聲音。
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申請對象
\n\n※第一、二屆已參與學員原則上不重複錄取。
\n\n※本工作坊核給公(教)人員研習時數30小時,並統一登錄於相關研習時數平臺。
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申請日期及名額
\n\n即日起至 6/30日中午12:00止;逾時不受理。
\n\n預計於7月7日前公布錄取名單,正取20名與青春觀察員2名,另備取2名。
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申請簡章
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申請流程
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報名費用
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注意事項
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主辦單位
\n\n衛武營國家藝術文化中心
\n\n國立臺灣文學館
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聯絡窗口
\n\n衛武營國家藝術文化中心 朱先生 07-262-6422
\n\n國立臺灣文學館 展示組 陳先生 06-2217201#2302
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資源下載
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精彩回顧
\n\n文學劇本改編工作坊劇本集 :
\n\n►別緻時代
\n\n\n\n►動物時代
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楊雅鈞
\n\n臺南安平人,自由藝術工作者。
\n\n2022波麗露在高雄 排練指導。
\n\n近年以身體表演創作的合作 –
\n\n廣藝劇場NO.6《與清醒夢》跨界劇場、顧鈞豪策劃《福爾摩沙的呢喃2.0 Formosa Whispering 2.0》音樂影像製作、羽日映像X無年無限共製 短片作品 《TUNNEL》、《因為相愛所以無限JUBY CHIU 2021 S/S 跨界時裝展演》、純屬虛構製作社《再製寫身》計劃。
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陳品霓
\n\n陳品霓出生於1998年來自嘉義,畢業於樹德科技大學流行設計系,2014年接觸了嘻哈文化街舞灌溉了身體的基礎,2022 衛武營國家藝術文化中心《波麗露在高雄》獨立舞者,開啟身體看見不同舞蹈的可能性,也擔任台北時裝周 Let go : FW22 projectbyh 舞者。內惟藝術中心邀約演出 《行走之間》擔任編舞者,高雄流行音樂中心影像港榮獲評審團大獎、人氣獎。
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林蔓葶
\n\n來自高雄,現為自由舞者。曾參與2022波麗路在高雄,2022 台北時裝周<Let go> 舞者。在當代舞中,持續找尋身體的更多發展,並同時在流行舞蹈中進修。主要風格為Jazz funk及高跟鞋。
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葉名樺
\n\n畢業於國立臺北藝術大學舞蹈學院,為臺灣知名舞蹈家。作品包含《一個的人美術館—寂靜敲門》、《編舞家葉名樺以—真實人體回應山姆‧詹克斯》、王大閎建築劇場X葉名樺《牆後的院宅》、《SHE》系列、《波光閃閃的房間》、《跳芭蕾》、《進入誰天堂》等。曾以《牆後的院宅》獲第19屆台新藝術獎「年度大獎」。
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大眾參與,與眾不同的舞蹈初體驗
\n\n跳舞是什麼?
\n\n《武營來跳舞》能滿足您對舞蹈的好奇,一起探索跳舞的樂趣!
\n\n為使愛跳舞、想嘗試跳舞的您有更多機會親近舞蹈,《武營來跳舞》在每個月的第一個星期三的晚上,與您相約在衛武營榕樹廣場西側平台。
\n\n透過不同舞團與藝術家帶領,認識舞蹈的基礎語言,探索舞動的美好,找尋你與他身體之間的共振。
\n\n邀請您報名參與,盡情享受舞蹈及活動空間,感受舞動的自由吧!
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下半年活動場次表
\n\n時間 | \n\t\t\t誰來跳舞 | \n\t\t\t跳什麼舞 | \n\t\t\t報名網址 | \n\t\t
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7/5(三) \n\t\t\t19:00-20:30 | \n\t\t\t授課:楊雅鈞 \n\t\t\t助教:楊以灣、吳兆容 | \n\t\t\t《擁抱身體,沈浸在美好的時光裡》 | \n\t\t\t立即報名 | \n\t\t
8/2(三) \n\t\t\t19:00-20:30 | \n\t\t\t授課:陳品霓 \n\t\t\t助教:李鈺婕、吳凱文 | \n\t\t\t《嘻哈星期三Having fun!》 | \n\t\t|
9/6(三) \n\t\t\t19:00-20:30 | \n\t\t\t授課:林蔓葶 \n\t\t\t助教:王雨婕 、朱浩沂 | \n\t\t\t《穿上你的高跟鞋》 | \n\t\t|
10/4(三) \n\t\t\t19:00-20:30 | \n\t\t\t授課:葉名樺 | \n\t\t\t由你跳浪漫芭蕾《仙女》 | \n\t\t\t立即報名 | \n\t\t
11/1(三) \n\t\t\t19:00-20:30 | \n\t\t\t由你跳古典芭蕾《胡桃鉗》 | \n\t\t||
12/6(三) \n\t\t\t19:00-20:30 | \n\t\t\t由你跳新古典芭蕾美學《小夜曲》 | \n\t\t
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課程簡介
\n\n7-9月「打開舞蹈的想像」
\n\n由衛武營駐地藝術家周書毅所發起的舞蹈演出計畫「波麗露在高雄」去年在高雄各地區起舞28場,今年我們繼續將沿山起舞。出發前,衛武營將邀請《1875拉威爾與波麗露》的排練指導楊雅鈞以及兩位舞者陳品霓、林蔓葶,來與我們分享他們的舞蹈訓練,從現代舞到街舞的練習,最後將請你一起在波麗露的樂曲中起舞。
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7/5(三) 《擁抱身體,沈浸在美好的時光裡》
\n\n與自己最親密的時刻,是當你可以觸碰到自己的身體,感受與呼吸並行 ,依著自己的步調,將身體逐漸地開展,與外面的世界產生聯繫, 身體,是生命旅程中的一條連通道,La Vie en rose~
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8/2(三) 《嘻哈星期三Having fun!》
\n\n街舞不再受限於年紀,喚醒身體聽見音樂而律動的本能,由嘻哈音樂帶動身體拆解進入最純粹最直接的身體感受,開啟一人在家享受音樂而舞蹈,一群人在相同節奏找到相同語言而同樂!
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9/6(三) 《穿上你的高跟鞋》
\n\n踩上高跟鞋,感受不一樣的姿態,找到屬於自己的舞動。課程中會帶領大家找到高跟鞋的重心,感受腳掌的力量,踩出新的舞步。高跟鞋不是模特兒的專屬,每一個人都可以從高跟鞋中找到自己那自信的步伐。
\n\n(備註:自備跟鞋,課程前面暖身可穿著舒適的布鞋。任何有跟的鞋子都適合,盡量是包鞋,涼鞋厚底鞋不適合。)
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10-12月
\n\n我們很常聽到「古典芭蕾」這一詞,有時又聽說「浪漫芭蕾」,或是「現代芭蕾」?到底區別為何?芭蕾舞的流派和風格變化隨著時間和地理而發展。芭蕾誕生於「義大利」,興盛於「法國」,而將芭蕾藝術推向鼎盛繁榮時刻的是「俄羅斯」。我將用三個不同時期的芭蕾舞劇中小品帶大家體驗芭蕾的經典與流變。
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10/4(三) 由你跳浪漫芭蕾《仙女》
\n\n浪漫芭蕾題材大多圍繞在「人與超自然事物」,例如精靈、幽靈、仙女等。並且通常具有更柔和的美感。舞劇都以帶有神秘力量的女角色為主線,奴役了凡人的心靈和感官。《仙女》La Sylphide首演於1832年,是芭蕾歷史最重要的芭蕾舞劇之一。
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11/1(三) 由你跳古典芭蕾《胡桃鉗》
\n\n三大古典芭蕾舞劇中的《胡桃鉗》是柴可夫斯基和馬蒂斯佩蒂帕的經典之一。聖誕季節最經典的芭蕾舞劇《胡桃鉗》人人喜愛的胡桃鉗組曲中,長笛吹出的飛舞般尖銳的旋律中國舞曲《茶之舞》,給人印象極為深刻。
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12/6(三) 由你跳新古典芭蕾美學《小夜曲》
\n\n喬治·巴蘭欽是新古典芭蕾美學的芭蕾代表。 沒有華麗的服裝和道具,注意力轉移到在舞者身上。 穿著簡單的緊身衣來突出動作。 他不相信音樂應該對應浪漫的故事,但動作必須與音樂直接相關。著名的《小夜曲》是舞蹈史上的一個里程碑。
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YANG Ya-chun
\n\nYANG Ya-chun is a freelance artist hailing from Anping, Tainan who was the rehearsal director for the 2022 Bolero in Kaohsiung. In recent years, she has collaborated on various body performance projects. These include Quanta Theater NO.6 crossover with A Lucid Dream Performance, the music video production of Formosa Whispering 2.0 curated by GU Jun-hao, the short film TUNNEL by SSUNRISEstudio and oneyearnoyear, the JUBY CHIU 2021 S/S INFINITE crossover fashion show, and the Reenactment in the found footage project by Almost fiction production.
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CHEN Pin-ni
\n\nCHEN Pin-ni, a '98er from Chiayi, graduated from the Department of Fashion Design at Shu-Te University. First exposed to hip-hop culture in 2014, she immersed herself in street dances, which later became the cornerstone of her performances. As a solo dancer, she explored her body’s capabilities for other dance types in the 2022 Bolero in Kaohsiung at the National Kaohsiung Center for the Arts (Weiwuying). She was invited to perform at the Let go: FW22 projectbyh during Taipei Fashion Week and choreographed At Walk for Neiwei Arts Center. She then won the Grand Jury Prize and Popularity Award for the Image Harbor contest hosted by Kaohsiung Music Center.
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LIN Man-ting
\n\nAs a freelance dancer from Kaohsiung, LIN Man-ting participated in Bolero in Kaohsiung for Weiwuying and Let go for Taipei Fashion Week in 2022. She continues to refine her contemporary dance performances while learning more popular dances, focusing mainly on jazz funk, and stiletto.
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YEH Ming-hwa
\n\nGraduated from School of Dance of Taipei National University of Arts, YEH is a renowned Taiwanese dancer. Her works include The Serene Gallery Performance X Exhibition, Choreographer Ming-Hwa Yeh Responds to Sam Jinks with Her Body, Wang Da Hong House Theatre X Ming-Hwa Yeh The House Behind the Wall, the SHE series, A Room by the Sea, and Paradise, Who?. She was awarded the Grand Prize at the 19th Taishin Arts Award for The House Behind the Wall.
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Sessions
\n\nDate | \n\t\t\tCourse | \n\t\t\tRegistration Link | \n\t\t
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7/5(Wed) \n\t\t\t19:00-20:30 | \n\t\t\t\n\t\t\t Embrace Your Body and Soak in the Good Times \n\t\t\t | \n\t\t\tRegistration | \n\t\t
8/2(Wed) \n\t\t\t19:00-20:30 | \n\t\t\tHip-Hop Wednesday , Having fun! | \n\t\t|
9/6(Wed) \n\t\t\t19:00-20:30 | \n\t\t\tKick Up Your Heels | \n\t\t|
10/4(Wed) \n\t\t\t19:00-20:30 | \n\t\t\tYour Turn to Dance the Romantic Ballet La Sylphide | \n\t\t\tRegistration | \n\t\t
11/1(Wed) \n\t\t\t19:00-20:30 | \n\t\t\tYour Turn to Dance the Classical Ballet The Nutcracker | \n\t\t|
12/6(Wed) \n\t\t\t19:00-20:30 | \n\t\t\t\n\t\t\t Your Turn to Dance the Neo-Classical Ballet Serenade \n\t\t\t | \n\t\t
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Introduction
\n\nJuly to September
\n\nBolero in Kaohsiung project in 2022, initiated by Weiwuying Artist-In-Residence-CHOU Shu-yi, featured 28 dance performances in various local areas. This year, we are scaling new mountain heights with YANG Ya-chun, who served as the rehearsal assistant for the 1875 Ravel and Bolero, as well as dancers CHEN Pin-ni and LIN Man-ting, who will be sharing their expertise in modern and hip-hop dances. We invite you to dance along with us to Bolero music.
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7/5(Wed) Embrace Your Body and Soak in the Good Times
\n\nThe most intimate moment with yourself is when you can touch your own body, feel and breathe side by side, and gradually develop your body at your own pace to connect with the outside world.
\n\nLa Vie en rose~
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8/2(Wed) Hip-Hop Wednesday , Having fun!
\n\nStreet dance is no longer limited by age, awakening the body's instinct to hear the music and rhythm, driven by hip-hop music to dismantle the body into the purest and most direct physical sensations, inspired for one person to enjoy music and dance at home, and a group of people to find the same language in the same rhythm and have fun together!
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9/6(Wed) Kick Up Your Heels
\n\nStep on the heels, feel the different posture, and find your own dance. The course will lead you to find the center of gravity of high heels, feel the power of your feet, and step on new dance steps. High heels are not exclusive to models, everyone can find their own confident steps from high heels.
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October to December
\n\nWe often hear of ballet as "classical", "romantic", or even "contemporary", but how do they differ? The truth is various schools and styles of ballet developed over time and in diverse geographical locations. Originating in Italy, ballet gained popularity in France and flourished in Russia. Below are ballet shorts from 3 distinctive periods to introduce classic works and changes in the history of ballet.
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10/4(Wed) Your Turn to Dance the Romantic Ballet La Sylphide
\n\nBallet themes generally encompass humans and the supernatural with gentle aesthetics including elves, spirits, and fairies. The protagonists are usually women with mysterious power who enslave the souls and senses of common people. Premiering in 1832, La Sylphide marks one of the major cornerstones of ballet history.
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11/1(Wed) Your Turn to Dance the Classical Ballet The Nutcracker
\n\nThe Nutcracker, one of 3 classical ballets, was a masterpiece by TCHAIKOVSKY and Marius PETIPA. In this iconic Christmas suite, high-pitched swirling flute from the Chinese Tea Dance leave a strong impression on listeners.
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12/6(Wed) Your Turn to Dance the Neo-Classical Ballet Serenade
\n\nGeorge BALANCHINE is a symbol of neo-classical ballet aesthetics. Without fancy costumes and props, the audience's focus is solely on the dancer. Sporting a simple bodysuit, he draws attention to his movements, which he believes have to directly connect to the music instead of the romantic atmosphere of the story. His famous Serenade is a milestone in the history of dance.
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在地獨立舞者們(依姓氏筆畫順序):
\n\n王雨婕/舞者
\n\n『人與人之間的關係和獨特性,每個人都是一個個體,再怎麼不同,都還是需要彼此包容諒解。』
\n\n來自高雄,從小學習舞蹈一直到左中舞蹈班畢業後,至澳洲讀大學時轉系讀設計,期間仍於MAD Dance House參與舞蹈課程,接觸了街舞、爵士等不同舞風,也一同參與各式演出及比賽。出社會進入航空公司工作,閒暇之餘仍持續參與舞蹈工作坊及課程,同時也因工作福利得以定期出國接觸不同舞蹈課程及比賽。 參與「波麗露在高雄」計畫後,再次回歸舞者這個身份,近期參與活動有2022年台北時裝週 Project by H.《Let go》、衛武營藝企學管風琴導覽音樂會《遺忘·終曲》,以及大東藝術圖書館演出《身體之書》。 「波麗露在高雄」作品想傳達的似乎也呼應這次舞者們相遇的情景,非常珍惜所有來自不同地方、年齡、背景的舞者們因這次的徵選成團,排練過程一起感受波麗露前進的力量,詮釋作品的同時,全團的情感也支持著作品的情感表達。在參與了波麗露演出之後,更確定了這種與觀眾近距離接觸的戶外環境演出是自己喜愛的形式。期待透過這次巡演能夠拜訪尚未去過的地方,成為更認識高雄的高雄人。
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李宛蓁/舞者
\n\n『舞動到懷疑人生,卻在過程中逐漸找到自我的旅程。』
\n\n來自臺南,目前主要從事街舞相關的演出與教學活動,擔任過流行商業演出、與藝人合作、演唱會舞者等。學舞過程印象最深的是高三那年為了學跳舞,一直臺南高雄兩地跑,當時街舞教室就在高雄新崛江一帶。去年毅然決然報名「波麗露在高雄」徵選計畫,入選後再次展開往返兩地的旅行。 訓練過程中印象最深刻的是之前跳過波麗露的前輩們來觀看和指導,腦子一直接收到過去演出過的相關訊息,有一種時空交錯跟傳承的感動,覺得是很特別的經。這也是她第一次要挑戰在場上跳這麼久的舞作,體力上是考驗;再者,所有的動作質地與自己以往的習慣都不同,有種被重新建構的身體感受。期待藉由巡演的淬煉,可以讓大家看到她的蛻變。
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吳兆容/舞者
\n\n『每一次與場域與夥伴的連結,都在不停刺激著我的意識。』
\n\n來自宜蘭,畢業於臺灣體育運動大學舞蹈系,現為自由表演藝術工作者,近期參與2023宜蘭舞蹈扎根工作坊教師,2022台東藝穗節《虎刺梅X鹿野神社》、22AW台北時裝周PROJECTbyH《Let Go》展演,2021許程崴製作舞團既曉劇場駐地創作《上造》、宜蘭龜之劇場《風景中的變奏》、2020陳逸恩⟪身體發酵⟫用生活一起創作計畫《三相身軀》、臺北藝穗節作品《虎刺梅》,2019宜蘭戲曲節《西北雨傳說》、臺中國家歌劇院開場計畫-許庭瑋《一半 一半》等演出,在合作過程中試圖挖掘更多的自己,以及與他人激發新的事物。 高雄對兆容而言是個很陌生的城市,起初為了參加排練,一個人週四晚上總是旅行到高雄,前往同一間輕旅下榻,排練之餘到附近隨意走走看看,開始慢慢認識這座城市。和一群完全陌生且不同領域的舞者們工作,也是人生第一次,15位來自不同地方、不同背景、不同年齡層的舞者,因為作品而相遇,是很在一起的狀態。 她喜歡在排練過後有新的感受或疑問時,會用文字紀錄的方式寫下,也會在生活中更多觀察周遭人事物,找到與波麗露之間的連結,甚或不相似的地方也能有所反思,這是一段很長的內心對話,層層疊疊。第二年的波麗露,兆容期待自己能夠更看見自己,最近給了自己取了「環島舞者」的名字,希望能跳遍臺灣各地,在每個地方留下屬於自己的身體的記憶。
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吳凱文/舞者
\n\n『波麗露是無可救藥的浪漫。』
\n\n來自桃園,現為自由表演藝術工作者,是Breaking街舞舞者、當代舞蹈舞者與創作者,並以藝術管理與舞蹈教學為輔。學生時期為橄欖球選手,後來接觸街舞、當代舞,以舞蹈肢體語彙為根基,跨域參與不同形式的藝術作品,近年參與歌劇、舞蹈劇場、環境劇場、沉浸式劇場、參與式劇場、錄像藝術、行為藝術、實驗藝術、臨場藝術等。 因為作品波麗露再次與高雄連結,這個凱文表演藝術生涯的起始點。凱文所感受的波麗露,是無可救藥的浪漫、紀錄人與人觸動心的時刻、述說自由。參與在團隊中,他期望找到不一樣的身體與舞蹈更深的連結,同時希望透過在高雄38個行政區巡迴演出,讓高雄有更多的舞蹈能量。 第二年巡演,不曉得自己又變化了什麼,大家變化了什麼,非常期待今年的巡演,在高雄隨著波麗露的舞曲,與其他14位舞者們舞動,牽著彼此,一同在裡面「搖晃」著,這樣的群體,在每一次的搖晃中逐漸成形,可以褪去皮囊,打起赤腳,與狂風奔跑著,讓汗狠狠滴落,使自己甦醒,是一種感動美好的時刻。
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林蔓葶/舞者
\n\n『謝謝波麗露帶我回家』
\n『經歷了2022的波麗露,我搬回高雄了!』
來自高雄鳳山,大學在臺北念書。國中和國小都是舞蹈班,高中就讀在衛武營旁的鳳新高中。跟衛武營的緣分,來自於鳳山人看著衛武營建造完成,同時衛武營也像看著自己長大一般,去年又透過衛武營「波麗露在高雄」計畫開始在高雄以自由舞者的身份舞動著,真正開始回鄉跳舞遇見自己,今年也持續留在高雄,繼續跳舞著! 波麗露對蔓葶而言就是『當下、生命、找尋』,這是她第一次參與時程這麼長的製作,也頭一次回家鄉跳舞,所謂找尋,除了舞作中的訊息之外,也包括了過去與未來的自己。去年她最期待演出彌陀場,彌陀是蔓葶爸爸的老家,彌壽宮是每年過年會與家人們去的景點。今年期待走進山裡的波麗露,與夥伴們跳著步伐,手牽著手,隨著音樂中的節拍重複著舞步,像是生命緊扣著時間,一同經歷著生命憂愁與美好。
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柯凱峰/舞者
\n\n『波麗露像是場簡短版人生寫照,也是我人生中不可或缺的養分』
\n\n來自高雄,畢業於臺北市立大學舞蹈系,2022-2023年於稻草人現代舞團擔任舞者,現為自由表演藝術工作者。舞蹈深入在凱峰身體任何一個角落,要說與舞蹈的連結,他會毫不猶豫的回答如同日常生活般如影隨形的陪伴在身邊。 當自己參與波麗露後,感受到作品中述說的是「維繫人與人之間的關聯性」,很享受這種在跳舞的自由度中,不必受限於制式化的動作。能夠在家鄉高雄演出特別有感,面對有別於過往經驗的戶外演出,跟著團隊持續準備中,期待著在接下來第二年的巡演中,每一場詮釋好這個作品的情境,期待到每一個場地創造出不同的風景,以及遇見在各地喜愛並且支持藝術的夥伴們。
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柯貴婷/舞者
\n\n『我感受到的波麗露是大起大落變化無常的。不同的人生階段,看到的、跳出的波麗露將全然不同。』
\n\n來自臺南,目前主要在南部教課、跳舞。2022年參與臺北時裝週 Project by H.《Let go》擔任跨域合作舞者;2022年參與《用盡全力胃抽筋》演出計畫擔任舞者;2022年台灣設計展宣傳片既《無線電波派對》擔任服裝走秀舞者。 遇見波麗露之後,貴婷發現每次跳都有不同的感受,也因為每次狀態的不同而感受到不同的訊息。和同伴之間的傳遞與連結也是在每次的嘗試當中有不同的收穫,在舞動的同時用肢體和感受去接收與傳遞訊息,這是在這些過程中莫大的收穫之一。 經過一年的離開與內化,再次準備回到作品當中時,似乎更能深刻體悟當時為什麼有觀眾反饋:「看完的當下,眼淚是一併流下的。」 《波麗露在高雄》,這首作品好比洋蔥般有著一層層的內外層次。表層是一首歡快的樂曲;再向內撥開第二層是舞者亮麗的服裝色彩;第三層也許是一開始舞者臉上掛著的「淡然」或「微笑」,但用心感受完整首舞作,它涵蓋了許多生活中所有大量的情緒與瘋狂的經歷,更納入了些許荒謬的時刻。第二年巡演期待與更多觀眾相遇,一起分享從波麗露感受到的荒誕又色彩斑斕時刻。
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陳品霓/舞者
\n\n『好好照護每個當下,在所處的地方與你身旁的人,用你現有的力量。』
\n\n『期待更多街舞舞者來觀看。』
\n\n來自嘉義,目前在高雄KoosparkDanceStudio擔任街舞老師,近期參與衛武營駐地舞者計畫演出《身體之書》,2022參與台北時裝周 《Let go》、衛武營藝企學管風琴導覽音樂會《遺忘·終曲》。2022《波麗露在高雄》結束後也開始了創作經驗,以編舞身分與內惟藝術中心合作開幕演出《行走之間》,作品影像獲高雄流行音樂中心影像港評審團大獎。 大學讀流行設計系,舞蹈專項是街舞,畢業後作品累積及參與製作大多與現代舞沒有直接的關聯,鼓起勇氣投件「波麗露在高雄」徵選計畫,開始了自己的波麗露旅程。 翻看過往舞蹈旅行影片,驚訝於臺南神農街場次的樣貌,「狹小的巷弄中跳出了屬於波麗露的路徑,與當地的景色作為連結。影片開頭出現了廟會活動的片段,正如我生長的環境。」。品霓在意識上被波麗露吸引了,喜歡波麗露的正向精神,作品的傳遞讓品霓想到自己很愛的靈魂沙發歌曲《I wonder 》在心靈上找到與作品的契合,再緊接著在肢體上進入作品。
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郭彥緯/舞者
\n\n『這一段旅程的每一刻都充滿驚奇。』
\n\n來自高雄,現為自由表演藝術工作者,近期參與過衛武營歌劇《茶花女》、《杜蘭朵》等作品,除了是一名舞者之外,也擔任舞台監督、前台服務工作,期待能透過波麗露以嶄新的樣貌與大家相見。 在波麗露作品中有冀望、跌跌撞撞、再前行,這是彥緯內心的感動。在高雄生活已久,演出倒數,想到即將面臨熱辣辣的高雄太陽,覺得是最大難題。談起這次和觀眾零距離的相遇,他想到自己與舞作的距離,包含物理跟心理上的,希望能在這兩個層面,把舞作想表達的透過自己的表演狀態,傳遞出去!
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黃程尉/舞者
\n\n『戶外每一場都是挑戰,也都是享受。』
\n\n來自高雄,從小學到研究所一直都是舞蹈班,因著高雄不會輸臺北的心,回到家鄉高雄並成立了自己的舞團–「嵬舞劇場舞蹈團」,致力於讓更多人理解舞蹈,並勵志打破舞蹈就是看不懂的刻板印象! 程尉感受的舞作有強烈的信息:關於生命、生活、生存,作品中的情緒以及身體的有機性是在其他舞作中不曾感受到的。因此他會經常回想生命經驗,並把情緒放大溶入要練習的片段中。 談起家鄉高雄市,程尉最喜歡去高雄的各個咖啡廳以及酒吧,相信能量來自關係與交流,希望透過生活能將表演的能量帶給觀眾。而近期突破自我懷疑再度回到舞者身份,盡情享受所感受到的,並期待將所感受到的能量作為創作動力再次回饋到自己的作品中。深感戶外演出最需要隨機應變,期待在各場觀察觀眾的反應,期待每一場的享受。
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葉佩玲/舞者
\n\n『只要步伐沒有踩好,就會跟伙伴差很遠,所以要很清醒。』
\n\n自香港元朗,十一年前來臺留學,2014年開始活躍於中南部劇場。現就讀高師大跨藝所。近年與南風劇團、愛慕劇團、空表演實驗場和影響新劇團合作,以演員、教學、導演、助理或行政身份參與社區、銀髮族、身心障礙者之劇場製作。近期參與演出有2022 Dot Go 劇團《星幻銀河列車》、2023影響新劇團《女子戲》。 談到波麗露,佩玲其實內心有個小宇宙爆發開來「如何在停不下來的身體、情感和音樂中保持呼吸和笑容。從演出開始,腳步不曾停下來,也不能停下來。」。聊起過往曾經在成功大學的聽到書毅的分享,知道舞蹈旅行去了臺灣很多地方。想起那場分享,佩玲腦中出現一把風扇向著一群舞者狂吹,舞者身上都是花花的衣服,已經忘了是哪一站的演出,而今,自己是舞者之一。 參加排練,佩玲說:「當身體極度疲乏時不能只靠個人意志力,這樣的「撐」會很幸苦。找到身邊的伙伴,相互一個笑容、一人眼神,一個共同的呼吸聲,讓大家的能量幫自己。這個我還在學習,如何把自己「安放」在一個群體裡,接收彼此的能量。」 在經歷波麗露演出後,這半年中去了無獨有偶職人偶戲學校學習。更確信表演中每一個細微的呼吸思考都是跟伙伴和觀眾連結的路徑。
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楊以灣/舞者
\n\n『我會觀看世界正發生的事情,再默默想像波麗露的樂聲響起。』
\n\n來自苗栗泰安鄉泰雅族人,畢業於臺北藝術大學舞蹈系,現為自由表演藝術工作者。近年參與2022~2023年《寂寞博物館音樂劇》擔任演員、舞蹈創作及演出、22AW台北時裝周PROJECTbyH《Let Go》展演。相信藝術無界,在表演的路途中,持續尋找生命、生活與藝術的相連。 在媽媽的鼓勵下,以灣報名了徵選,是她畢業後的第一個演出機會,所以沒有太多猶豫。遇上波麗露,感受到作品中的隱喻:人生總是充滿許多荒謬、荒唐到無法用言語形容的際遇,但是在經歷每一次的跌落、重新站立之後,還是持續著我們的腳步,面對變動與未知的一切,找到流動與自由。 小時候住在南投,當在 YouTube上看見家鄉曾經也有過波麗露的影子,看見大榕樹下滿滿的觀眾,就特別感動。於是就算這次排練的路途遙遠,以灣還是來了!談起最挑戰之處,應該是這支舞作帶有些戲劇成份,情緒該如何拿捏?而舞作即興的部分,有些時候會遲疑,於是在排練中做了很多不同於過去的練習,有種打開新世界的感覺。 「戶外演出,我覺得相較於劇場,與觀眾、場域之間的關係更加密切,也存在更多可能,也許會有近距離的對視,也許就讓它自然的發生。」 去年波麗露的旅程中,在城市裡找到了敞開的心,穿梭在人群中的勇氣,還有跟河流一樣看不見終點的能量;今年很期待去到那座山,或許離開城市,會找到另一部分的自己。
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葛郁芳/舞者
\n\n『很喜歡裡面一鼓作氣或是一直keep going的身體感,也喜歡空白的時刻偶爾發呆、再次振作。』
\n\n來自臺南,畢業於國立臺灣藝術大學舞蹈系,畢業後到今年初都待在臺北走表演藝術這條道路。歷年創作與表演經歷橫跨劇場、戶外展演、展覽、平面攝影與錄像影視,近年也常參與國內外藝文場館與平台活動, 如漂鳥舞蹈平台編創個人劇場獨舞、衛武營國家藝術文化中心馬戲平台、Clab 臺灣當代文化實驗場玩聚場藝術節、高雄駁二藝術家進駐計畫以 及新加坡 RAW Moves RawGround 影像創作平台等。今年初移居到高雄,為了一種海闊且穩定的生活能量,支撐自己繼續走表演藝術這條道路。 因為移居到另一座城市,但也需要讓自己的身體保持在moving的狀態,所以主動加入了波麗露的早晨課程,也意外地被邀請至波麗露這首作品,成為了今年唯一一位的新舞者成員。看了去年的波麗露,排了今年的波麗露,能跟認識或是不認識的舞者一起巡演是目前最期待的事之一。
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廖玟淯/舞者
\n\n『大部分的時候我都很快樂,而快樂背後也都藏著許多的故事和悲傷。』
\n\n來自雲林西螺,16歲就到臺中學習舞蹈,高中畢業後也在臺中生活,大學期間接觸不同編舞家的作品,參與了2021年嘉義新舞風,2020-2021年彰化圓舞集的作品,2022年與波麗露相遇很榮幸與書毅一起工作,再一次享受舞蹈帶來的幸福。 國小時期曾在虎尾布袋戲紀念館看到波麗露戶外演出,玟淯說小時候完全不懂藝術、不懂舞者為什麼要尖叫、藍色電風扇代表什麼意義?但記得這支舞的編舞家,大家喊他『周先生』無誤。多年過後成為舞者之一,隨著周先生的引導真正進入作品的內涵探索,很享受來自各地的舞者成為一個大家庭的美好,舞蹈的學習之外,也很多生活觀點的碰撞。 每次練習思考著人類的情緒:為什麼悲傷?為什麼傷心?而自己面對著作品極具張力的情緒表達,也試著找方法進入。這段日子騎車也波麗露、洗澡也聽波麗露,期待著第二年在高雄的巡演,精彩的每一場戶外演出。
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蔡宛育/舞者
\n\n『人,始於個人、活於群體、終於個體。』
\n\n來自臺南,從就學就開始跨領域人生,分別主修應用外語、國際企業及應用戲劇,同時並行不間斷在舞蹈路上,目前攻讀臺灣藝術大學跨域表演藝術研究所。從不限制自己只能跳舞,除了舞蹈演出也多方嘗試不同藝術形式。近年參與雲門劇場樂舞跨域工作坊,共同編創演出《五字箴言》以及《事變》、臺北藝穗節《我感受到你的崩潰,不緊張!》舞蹈設計、PROJECTbyH臺北時裝週AW22《Let Go》,並曾參加大唐民族舞團《如夢乍回》《夜光蟲傳奇》《情穿水雲間》《雨夜花綻放》、釜山藝術節、、尚和歌仔戲劇團《敬瑭圍城》《將軍的押不蘆花》《半人》、擔任橄欖葉劇團《漢武帝與李夫人》演員、愚者表演工作室《愛情生活》演員、美好的事劇團《憶像實驗室:離開時請關門》動作設計、電影《愛的麵包魂》舞者。 常常只是純粹聽著音樂,有時什麼都不想,有時隨著音樂產生出自己的即興;隨時觀察身處的環境以及身邊的人,觀察植物、建築在空間的關係,觀察人們的動作,有時會發現非刻意的和諧。 波麗露即將在高雄各個地區舞動,宛育說:「光是想到每場不同的溫度、空氣、觀眾,而產生不同的火花就十分興奮。」,經過去年巡演的洗禮,在每一個地區遇到來自不同地方的觀眾,更令人期待今年,從各地而來的舞者們,將波麗露帶到更遠的地方讓更多人看到。
\n\n\n\n
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舞作介紹|《1875 拉威爾與波麗露》
\n\n重複的樂章,仿如生命的同時流逝和累積,在得失與悲喜之間體悟生命的意義,受二十世紀初作曲家拉威爾作品《波麗露》的啟發,周書毅與舞者們集結生命經驗,對城市生活的細膩觀察與自省而精練創作。從拉威爾出生的1875,連結到他人生的最後一首曲子,這些數字就像生命神秘的密碼,包涵著創作的誕生與再生。翻出媽媽阿姨們衣櫃中的花洋裝,以日常動作和抽象的肢體語彙,表達得失與悲喜,以坐雲霄飛車大叫之姿,呈現情緒的矛盾並存,表達強大的生命能量,復古樣式與青春肢體,激盪出美好年代的舊時記憶,亦刺激觀眾對「當下」的思考,在忙碌且擁擠的工作攻防戰中,拉扯出屬於自己內心的熱情與感動,樂觀面對前進的風景更迭。
\n\n\n'}],onShelf:!0,sliders:[{type:"image",key:"9ee3f0c8886029df410b13311c821be3",title:"2023 波麗露在高雄 那座山《1875拉威爾與波麗露》"}],related:[],title:"2023 波麗露在高雄-那座山",cover:"be5b246ce22b074e2cdfef37e0e71165",site:{isOther:!0,site:"",other:"高雄區域公共空間"},cautions:'
演出地點:鳳山區、鳥松區、大社區、內門區、仁武區、那瑪夏區、甲仙區、茂林區、燕巢區、田寮區、桃源區、杉林區
\n\t演出全長約30分鐘,無中場休息
\n\t因氣候及其他不可抗力因素,本次演出將有權取消或延期,敬請見諒。
\n\t無限制年齡觀賞
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《1875拉威爾與波麗露》
\n\n「波麗露在高雄」今年秋天邀您一起沿山起舞!
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「只要還有人沒有看過,它就仍有繼續跳下去的價值。我們得繼續尋找推廣的動力,讓藝術的力量分享出去,創造被遇見的機會,一個開始。」——編舞家 周書毅
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從「如何跳舞給更多人看」的想法開始,衛武營國家表演藝術中心首位駐地藝術家周書毅,2011 年起將表演延伸至戶外,帶著在英國獲獎的作品《1875 拉威爾與波麗露》,以不搭台、不架燈因地制宜的方式,免費在各城市的公共空間演出,開啟對於日常場域運用的重新想像,讓藝術深入生活。
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2022 年衛武營重啟「波麗露在高雄」舞蹈巡迴演出計畫,從 4 月到 6 月帶著一群在高雄跳舞的獨立舞者們,與左營高中舞蹈班,跳出衛武營 ; 隨著波麗露的樂曲,在都會區、新興文化場域、歷史人文地景,用舞蹈拜訪高雄 14 區、演出 28 場及推廣工作坊 11 場,累積 15,000 觀演人次。表演與觀眾之間相互靠近,是知悉而來或偶然巧遇都好,因為觀看而擁有新的意義,引領進到作品裡的想像,在高雄體驗舞蹈旅行的美好愉悅。延續這股將舞作帶至民眾生活場域的力量,「波麗露在高雄」計畫將於 2024 年達成走完高雄38個行政區的宏願。
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2023年我們帶著《1875 拉威爾與波麗露》向山行,以舞為引,帶大家一起去探索高雄更高的聚落,接受山的款待。以大地為舞台,在那些看見山的地方跳舞給你看,讓更遠的人都能感受舞蹈帶來的力量!
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活動場次表
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編舞|周書毅
\n\n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。2020-2024年受邀擔任衛武營首位駐地藝術家,移居南方。
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演出者
\n\n王雨婕、李宛蓁、吳兆容、吳凱文、林蔓葶、柯凱峰、柯貴婷、陳品霓、郭彥緯、黃程尉、葉佩玲、楊以灣、廖玟淯、蔡宛育、 葛郁芳
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製作團隊
\n\n編舞家暨計畫發起人|周書毅
\n\n藝術顧問|林璟如
\n\n排練指導|林祐如、楊雅鈞、潘柏伶
\n\n製作協力|Project Zero
\n\n執行製作|林孝鍇、羅仕儒
\n\n行銷協力|鳳東文創
\n\n行銷推廣|張翠芸、薛梅珠、葉奕萱、張開祖
\n\n宣傳文案|曹沛雯
\n\n影像紀錄|黎宇文
\n\n視覺攝影|陳長志
\n\n平面設計|陳文德
\n\n主辦單位|國家表演藝術中心衛武營國家藝術文化中心
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協力單位|
\n\n鳥松區公所、大社區公所、內門區公所、仁武區公所、那瑪夏區公所、甲仙區公所、茂林區公所、田寮區公所、燕巢區公所、桃源區公所、杉林區公所、大華國小、鳥松區大華里、那瑪夏國中、茂林國中、田寮區農會、桃源國中、旗美社區大學、高雄市北高雄社區大學
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Duration is 30 minutes without intermission.
\n\tNo age limitation, free admission.
\n\t\n\n
1875 Ravel and Bolero
\n\n"As long as there are people who haven't seen it, it retains its value in continuing. We must persist in seeking the motivation to promote and share the power of art, creating opportunities for discovery, as a starting point." – CHOU Shu-yi, choreographer
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Initiated by the idea of "performing dance for more people," CHOU Shu-yi, the first resident artist of the National Kaohsiung Center for the Arts, took performances outdoors in 2011. Showcasing the award-winning piece 1875 Ravel and Bolero, CHOU adapted to various locations without sets or lighting equipment, performing for free in public spaces across different cities. To date, the piece has been performed in 14 cities with 60 shows.
\n\nIn 2022, Weiwuying revived the "Bolero in Kaohsiung" dance tour project. From April to June, a group of independent dancers in Kaohsiung, along with the Zuoying High School Dance Class, ventured beyond Weiwuying. Following the music of Bolero, they danced in urban areas, emerging cultural venues, and historic sites. They held 28 performances and 11 workshops across 14 districts in Kaohsiung, attracting a total of 15,000 spectators. Whether planned or by chance encounter, the distance between performance and spectators have been shortened, reimagining and redefining everyday spaces through spectatorship, allowing them to experience the beauty and pleasure of dance in Kaohsiung.
\n\nDuring the 2022 tour, we felt the power of bringing dance into people's everyday lives and set a goal to complete performances in all 38 administrative districts of Kaohsiung by 2024. In 2023, we will bring 1875 Ravel and Bolero to dance along the mountains, performing for you in places where the mountains can be seen, allowing even those far away to feel the power of dance!
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Choreographer | CHOU Shu-yi
\n\nStarting with the body, CHOU uses dance as a language to communicate with the world, focusing on the relationship between people and their social environment. In past creations and projects, he has skillfully employed interdisciplinary collaboration to emphasize the public engagement of art. His choreography explores the value of life, reflecting the individual or collective states in different social contexts, proposing an "Asian physical vocabulary." CHOU's work is presented in various forms, such as theater, non-traditional theater, and dance films. He continuously travels and creates site-specific art. From 2020 to 2024, he relocated to southern Taiwan to serve as the first artist-in-residence at Weiwuying.
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Performers
\n\nWANG Yu-jie, LI Wan-jhen, WU Chao-jung, WU Kai-wen, LINMan-ting, KO Kai-feng, KE Gui-ting, CHEN Pin-ni, KUO Yen-wei, HUANG Cheng-wei, IP Pui-ling, YANG I-wan, Liao Wen-yu, TSAI Wan-yu , KE Yu-fang
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Production Team
\n\nRehearsal Instruction|LIN Yu-ru, Yang Ya-jun, PAN Bo-ling
\n\nExecutive Producer|LIN Hsiau-kai, LO Shih-ju
\n\nMarketing and Promotion|CHANG Tsui-yun, HSUEH Mei-chu, YEH Yi-hsuan, CHANG Kai-tsu
\n\nProduction Collaboration|Project Zero
\n\nMarketing Collaboration|Oriental Phoenix Cultural Creativity CO.Ltd
\n\nPromotional Copywriting|TSAO Pei-wen
\n\nVideo Documentation|Maurice LAI
\n\nPhotography|CHEN Chang-chih
\n\nGraphic Design|CHEN Wen-te
\n\nOrganizer|National Kaohsiung Center for the Arts, Weiwuying
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Partners|
\n\nNiaosong District Office, Dashe District Office, Neimen District Office, Renwu District Office, Namasia District Office, Jiasian District Office, Maolin District Office, Tianliao District Office, Yanchao District Office, Taoyuan District Office, Shanlin District Office, Da-hua Elementary School, Da-hua Village (Niaosong Dist.), Namasia Junior High School, Maolin Junior High School, Tianliao District Farmers' Association, Taoyuan Junior High School, Chi-Mei Community University, North Kaohsiung Community University
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\n\t\t\t\n\t\t\t | \n\t\t
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\n\n
衛武營國家藝術文化中心為南臺灣藝術發展重要基地,擁有全亞洲最大的管風琴、全臺唯一葡萄園式座席設計音樂廳與全臺唯一凸出式可升降延伸舞台的戲劇院。為能讓全國學生有機會進入如此具有特色的國際表演廳院,並透過藝文欣賞的體驗,讓美感教育潛移默化,本計畫邀請專業表演團隊精心設計演出腳本,將劇場禮儀、國際廳院介紹融入精采表演中,期望師生透過親身蒞臨衛武營與表演欣賞,達到培養學生對於表演藝術美學的感受力與接觸美感場域之目的。
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演出場次
\n\n2023下半年共計9場,各場次日期時間如下表:
\n\n日期 | \n\t\t\t節目種類 | \n\t\t
9/18(一)~9/19 (二) | \n\t\t\t音樂類 | \n\t\t
9/25(一)~9/26(二) | \n\t\t\t音樂類 | \n\t\t
10/23(一)~10/24(二) | \n\t\t\t舞蹈類 | \n\t\t
\n\n
國小高年級場次
\n\n序 | \n\t\t\t日期 | \n\t\t\t演出時間 | \n\t\t
1 | \n\t\t\t\n\t\t\t 9/19 (二) | \n\t\t\t10:30-11:30 | \n\t\t
2 | \n\t\t\t9/19 (二) \n\t\t\t(國小+國中) | \n\t\t\t14:00-15:00 | \n\t\t
3 | \n\t\t\t9/26(二) \n\t\t\t(國小+國中) | \n\t\t\t10:30-11:30 | \n\t\t
4 | \n\t\t\t9/26(二) \n\t\t\t(國小+國中) | \n\t\t\t14:00-15:00 | \n\t\t
5 | \n\t\t\t10/24(二) \n\t\t\t(國小+國中) | \n\t\t\t10:30-11:30 | \n\t\t
6 | \n\t\t\t10/24(二) \n\t\t\t(國小+國中) | \n\t\t\t14:00-15:00 | \n\t\t
\n\n
國中場次
\n\n序 | \n\t\t\t日期 | \n\t\t\t演出時間 | \n\t\t
1 | \n\t\t\t9/18(一) \n\t\t\t(國中+高中) | \n\t\t\t14:00-15:00 | \n\t\t
2 | \n\t\t\t9/19(二) \n\t\t\t(國小+國中) | \n\t\t\t10:30-11:30 | \n\t\t
3 | \n\t\t\t9/19(二) \n\t\t\t(國小+國中) | \n\t\t\t14:00-15:00 | \n\t\t
4 | \n\t\t\t9/25(一) \n\t\t\t(國中+高中) | \n\t\t\t14:00-15:00 | \n\t\t
5 | \n\t\t\t9/26(二) \n\t\t\t(國小+國中) | \n\t\t\t10:30-11:30 | \n\t\t
6 | \n\t\t\t9/26(二) \n\t\t\t(國小+國中) | \n\t\t\t14:00-15:00 | \n\t\t
7 | \n\t\t\t10/23(一) \n\t\t\t(國中+高中) | \n\t\t\t14:00-15:00 | \n\t\t
8 | \n\t\t\t10/24(二) \n\t\t\t(國小+國中) | \n\t\t\t10:30-11:30 | \n\t\t
9 | \n\t\t\t10/24(二) \n\t\t\t(國小+國中) | \n\t\t\t14:00-15:00 | \n\t\t
\n\n
高中場次
\n\n序 | \n\t\t\t日期 | \n\t\t\t演出時間 | \n\t\t
1 | \n\t\t\t\n\t\t\t 9/18(一) | \n\t\t\t14:00-15:00 | \n\t\t
2 | \n\t\t\t\n\t\t\t 9/25(一) | \n\t\t\t14:00-15:00 | \n\t\t
3 | \n\t\t\t10/23(一) \n\t\t\t(國中+高中) | \n\t\t\t14:00-15:00 | \n\t\t
\n\n
體驗內容
\n\n\n\n
\n\n
國際廳院介紹:實際走進衛武營音樂廳,認識全亞洲最大管風琴以及葡萄園式座席,感受國際廳院的魅力。或是認識全臺唯一凸出式可升降延伸舞台的衛武營戲劇院(可變換作為觀眾席、樂池、供不同類型演出使用)。
\n\n劇場禮儀:實際體驗驗票進場流程、尋找票面上的座位入席,並在演出過程中學習遵守國際劇場禮儀。
\n\n精彩表演體驗:衛武營藝企學每年邀請音樂、舞蹈、馬戲、傳統戲曲四大類型的專業表演團隊,並精心設計演出腳本,搭配精美學習單,培養學生對於表演藝術美學的感受力。
\n\n\n\n
體驗時間
\n\n各場次約60分鐘
\n\n上午場 | \n\t\t\t下午場 | \n\t\t\t流程 | \n\t\t
09:30~10:00 | \n\t\t\t13:00~13:30 | \n\t\t\t集合整隊、發放票券及學習單 | \n\t\t
10:00~10:30 | \n\t\t\t13:30~14:00 | \n\t\t\t驗票入場、活動介紹、使用洗手間 | \n\t\t
10:30~11:30 | \n\t\t\t14:00~15:00 | \n\t\t\t正式演出 | \n\t\t
*因各場次人流眾多,等待時間可能較長,造成不便敬請見諒
\n\n\n\n
申請流程
\n\n本計畫提供全國各縣市學校進行申請(申請單位為「學校」)
\n\n●至多可填寫3場次,依所填寫之志願序進行媒合,每校最終僅媒合一場。
\n\n\t●每校「老師+學生」總人數最多400位。
\n\n\t●參與學生與帶隊師長比例應以30:2為原則進行申請,若有特教或偏鄉則請帶隊老師參酌調整師生比。
\n\n\t●請務必確認各項資訊為正確資料。若因資料填寫錯誤,導致場次媒合失敗,恕不另外通知。
\n\t\n\n
申請對象
\n\n全國各縣市之國小五年級生至高中職生
\n\n\n\n
\n\n
媒合與公告時程
\n\n8/14(一)12:00 公佈媒合成功名單
\n\t各場次演出前兩週發送詳細行前通知與演出內容簡介
\n\t\n\n
聯絡窗口
\n\n衛武營國家藝術文化中心 學推部
\n\n蔡沛嘉 07-262-6415
\n李詠嫣 07-262-6413
\n\n\n\n
\n\n
文化部校外文化體驗
\n\n本活動與文化部、各地方的藝文場館及周邊場域串聯,提供文化體驗內容,共同合作推動學校帶領學生走出校園,走進戲劇院、音樂廳、演藝廳、美術館、博物館、歷史現場及績優社區營造點等文化場域,培養高中職、國中小之學子對文化藝術的興趣和感知,培育藝文欣賞人口,建立文化自信。
\n\n歡迎各縣市高中職、國中小詢問所屬縣市或有意前往縣市的文化局(處)諮詢窗口,報名參與。
\n\n►活動詳情
\n\n\n\n
\n',team:""},createdAt:1685003904,updatedAt:1700211222,updatedBy:"黃薏靜",host:!0},{_id:"646f302858ebc50009921df2",catalogs:["5aec4184b01ea6000520f633","64812f1feb9a240007c8c8c7"],dateTime:{first:1694329200,discrete:[{time:1694329200}],type:"discrete"},activity:{type:"ticket",ticket:{price:[600,800,1e3,1200,2e3],link:"https://www.opentix.life/event/1659091063977615361"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"241010c698d020c78c8c03e8646f4313",title:"《經典鉅獻─Jan Van der Roost 與高雄市管樂團》"}],related:[],title:"《經典鉅獻─Jan Van der Roost 與高雄市管樂團》",cover:"caffde772eb1d6729f58696c9566ebb4",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
客席指揮X原創首演X國際邀演
\n\n2023年,高雄市管樂團再次攜手來自比利時的國際管樂大師楊.范德魯斯特,引領樂迷探索管樂的音樂世界!楊.范德魯斯特是一位享譽全球的指揮家和作曲家,曾造訪五十多個國家進行演出和錄音。在2019年他曾來臺合作演出,引起了巨大的迴響。本次音樂會中,楊.范德魯斯特不僅擔任客席指揮,更將為高雄市管樂團打造一首原創樂曲,並親自指揮樂團進行世界首演,當天還會演繹自己其他首作品,帶領觀眾享受前所未有的音樂盛宴!
\n\n\n\n
觀眾好評
\n\nJan Van der Roost真的是管樂界的大師,看他指揮真是享受。超精彩的一場演出,整場充滿張力。
\n又是一次精彩的演出,高市管每次都沒讓觀眾失望。從會前導聆到會後簽名,真是充滿收穫的一天。
\n從學生練團時期就聽過無數次Jan的作品,今天能在衛武營現場聆聽到他與高市管的演出真的超感動!每一首都是經典,而且還有國內首演曲目!希望未來大師還有機會再來臺灣演出。
\n\n
演出曲目
\n\n楊.范德魯斯特:
\n\n高山印象
\n\n坎特布里聖詠
\n\n自遠古時代
\n\n家
\n\n格林童話森林—《從前...》組曲
\n\n高雄市管樂團委託創作
\n\n\n\n
演出暨製作團隊
\n\n指揮|楊.范德魯斯特
\n\n樂團|高雄市管樂團
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"241010c698d020c78c8c03e8646f4313",title:"《經典鉅獻─Jan Van der Roost 與高雄市管樂團》"}],related:[],title:"Jan Van der Roost & Kaohsiung City Wind Orchestra",cover:"caffde772eb1d6729f58696c9566ebb4",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
In 2023, the Kaohsiung City Wind Orchestra will once again collaborate with Jan Van der Roost from Belgium. Jan Van der Roost is a globally renowned conductor and composer who has performed and recorded in over 50 countries. In 2019, he has visited Taiwan and performed with the KCWO, and received a tremendous response.This time, Jan Van der Roost will not only serve as a guest conductor but also compose an original piece for the KCWO and personally conduct the world premiere. He will also perform some of his other works, leading the audience to enjoy an unprecedented music feast!
\n\n\n\n
Program
\n\nJan Van der Roost:
\n\nTakayama Impressions
\n\nCanterbury Chorale
\n\nFrom Ancient Times
\n\nDomus
\n\nGrimm's Fairytale Forest -Suite from "Once Upon a Time..."
\n\nNew commisioned piece
\n\n\n\n
Creative and Production Team
\n\nConductor|Jan Van der Roost
\n\nPerformance|Kaohsiung City Wind Orchestra
\n\n\n\n
\n\n
\n',team:""},createdAt:1685008424,updatedAt:1686302768,updatedBy:"林蔚行",host:!1},{_id:"647876825c352d000776b3fc",catalogs:["6007fc45ba34870007c22b8b"],dateTime:{first:1694831400,discrete:[{time:1694831400}],type:"discrete"},activity:{type:"signup",signup:{limit:108,standby:0,updatable:!1,cancelable:!1,basicFields:[],fields:[{required:!0,key:"5db2988a1c2f2a0007bbbe30",text:"姓名 Name",english:"姓名 Name"},{required:!0,key:"5c516a3a62156f0006731aac",text:"聯絡手機號碼 Phone Number",english:"聯絡手機號碼 Phone Number"},{required:!0,key:"5c516a4762156f0006731aad",text:"電子郵件地址 E-mail Address",english:"電子郵件地址 E-mail Address"},{required:!0,key:"649250a51898c500073d26bb",text:"我了解並同意活動當天攜帶購票證明,由現場服務人員協助驗票進場。",english:"我了解並同意活動當天攜帶購票證明,由現場服務人員協助驗票進場。"}],vip:{start:1688443200,end:1693843199},open:{start:1688443200,end:1693843199},description:'
講座全程以英文、中文進行,無字幕,現場備有中文口譯
\n\t建議7歲以上民眾參與。
\n\t講座全程以英文、中文進行,無字幕,現場備有中文口譯
\n\t建議7歲以上民眾參與。
\n\t\n\t\t\t ※本場講座原訂由雷寧廣場劇院行政總監托比亞斯.法伊特(Tobias VEIT)主講,原講者托比亞斯.法伊特因故不克參加,故講座將異動為柏林雷寧廣場劇院首席戲劇顧問瑪雅・薩德(Maja ZADE)主講。因應講者更換,講座內容調整為「柏林雷寧廣場劇院—劇院管理與節目策畫」,造成不便敬請見諒。 \n\t\t\t | \n\t\t
\n\n
德國重量級劇院首度造訪衛武營
\n\n「雖然歷史不及其他劇院悠久,但成立半世紀的雷寧廣場劇院卻以多部精采製作,在德語劇壇享有重要地位。現任藝術總監歐斯特麥耶(Thomas OSTERMEIER)以獨特的新寫實手法搬演經典與當代劇作,屢屢讓劇評人與觀眾大呼過癮!」—《PAR表演藝術雜誌》(2013)
\n\n世界知名的柏林雷寧廣場劇院於1962年創立,自1999年起由藝術總監托瑪斯・歐斯特麥耶執掌。自2000年起的每個春季,劇院的國際新劇藝術節(FIND)為國際知名的劇場人提供將作品於雷寧廣場劇院上演的機會。雷寧廣場劇院同時也是歐洲劇場網絡組織PROSPERO創始成員之一,與歐洲各國劇院頻繁合作。
\n今年,雷寧廣場劇院首度攜作品《暴力的歷史》造訪高雄,衛武營特地邀請到雷寧廣場劇院首席戲劇顧問瑪雅・薩德(Maja ZADE),和觀眾聊聊德國劇場體系,以及雷寧廣場劇院的運作模式及節目策畫,也期待聽到戲劇顧問分享在劇場界工作的心路歷程。
\n\n
報名方式
\n\n參加對象:歡迎喜愛藝文活動的觀眾、劇場藝術工作者一同參與
\n\n報名資格:凡購買柏林雷寧廣場劇院《暴力的歷史》演出票券,皆可持購票證明參加,1張票券僅供1人報名講座
\n\n報名人數:限量100名,額滿為止。
\n\n報名時間:7/4(二)12:00起至9/15(五)23:59止
\n\n報名流程:官網報名 → 檢視官網報名狀況 → 完成報名。
\n\n備註:活動當天將由現場工作人員協助驗票進場,若無法提供購票證明將酌收報名費NT$300/人
\n\n\n\n
講者介紹
\n\n柏林雷寧廣場劇院首席戲劇顧問瑪雅・薩德(Maja ZADE)
\n\n©Arno_Declair
\n\n瑪雅・薩德成長於德國及瑞典,於倫敦大學及加拿大皇后大學修習英國文學,並於倫敦皇家戲劇藝術學院修習劇場製作。自1999年起,薩德即於柏林雷寧廣場劇院擔任戲劇顧問。自1997年至1999年,薩德於倫敦皇家宮廷劇院擔任資深講師,並自2012年起於瑞典馬爾默戲劇學院及愛丁堡大學任教,同時也是詹姆士・泰特・布萊克紀念獎(James Tait Black Prize)戲劇獎項委員會成員之一。
\n\n在任職於柏林雷寧廣場劇院之餘,薩德也同時為米歇爾・塔爾海默(Michael THALHEIMER)在瑞典皇家劇院的戲劇作品擔任戲劇構作。其德文翻譯作品如拉斯・馮・提爾及卡瑞・邱琪兒(Caryl CHURCHILL)等人的劇作;英文翻譯作品則包含馬琉斯・馮・梅焰堡(Marius von MAYENBURG)、拉斯・努列(Lars NOREN)及法爾克・李希特(Falk RICHTER)等,分別翻譯自德文或瑞典文。2019年,薩德開始創作劇本如《現狀》(status quo)、《深淵》(abgrund)、《伊底帕斯》(ödipus)、《談性》(reden über sex)等作品,於柏林雷寧廣場劇院首演,並被翻譯為挪威文、瑞典文、拉脫維亞文、波蘭文、法文及英文。薩德以戲劇構作身份與托瑪斯.歐斯特麥耶合作之作品包含《玩偶之家—娜拉》、契訶夫《海鷗》等。自2022/23年季度起,薩德擔任柏林雷寧廣場劇院首席戲劇顧問。
\n\n\n\n
協辦單位
\n\n\n\n
Schaubühne (©Gianmarco Bresadola)
\n\n\n\n
節目資訊
\n\n09/16 (六) 14:30、09/17 (日) 14:30
\n\n\n\n\n\n
\n',team:""},createdAt:1685616258,updatedAt:1694510773,updatedBy:"林蔚行",host:!0,hasSignup:!0},{_id:"647d419b58ebc5000997fffe",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1693308600,discrete:[{time:1693308600}],type:"discrete"},activity:{type:"ticket",ticket:{price:[400,600,800,1200],link:"https://www.opentix.life/event/1655416389567651841"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"2ab8a60d176abe0a9925dfc8a9a9438e",title:"《成響—樂巡之程》—成大管弦2023巡迴音樂會"}],related:[],title:"《成響—樂巡之程》—成大管弦2023巡迴音樂會",cover:"54e41e4cc63a0079b3938fe7b73f2a78",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
國立成功大學管弦樂社成立逾28年,是台灣南部首屈一指的音樂性社團。每年暑假期間進行巡迴演出的傳統也行之有年,這次比較特別的是在衛武營的演出將和高市交(高雄市交響樂團)助理首席張恆碩合作,帶來帕格尼尼的第二號小提琴協奏曲第三樂章《La Campanella》。並且除了已經合作多年的管樂指揮符秦僥之外,是第一次由現任國家交響樂團指揮助理葉政德擔任本次巡迴演出的管弦樂團指揮。今夏,邀請大家一同加入本次的樂巡之程,聆聽成大管弦帶來的音樂饗宴。
\n\n\n\n
演出曲目
\n\n耶格:《陸戰隊精神》
\n\n史密斯:《節慶變奏曲》
\n\n高梅茲:《達文西的夢想》
\n\n羅西尼:《威廉泰爾序曲》
\n\n帕格尼尼:《第2號小提琴協奏曲》,作品編號7,第3樂章
\n\n巴伯:《弦樂慢板》
\n\n柴可夫斯基:《斯拉夫進行曲》,作品編號31
\n\n\n\n
演出暨製作團隊
\n\n客席指揮|符秦僥、葉政德
\n\n小提琴獨奏|張恆碩
\n\n客席首席|張恆碩
\n\n演出樂團|成功大學管弦樂團
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"2ab8a60d176abe0a9925dfc8a9a9438e",title:"《成響—樂巡之程》—成大管弦2023巡迴音樂會"}],related:[],title:"Tour of Music - 2023 NCKU Orchestra Tour",cover:"54e41e4cc63a0079b3938fe7b73f2a78",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
Founded in the 1980's, NCKU Orchestra is one of the most renowned youth orchestras in southern Taiwan. For more than a decade, the orchestra has gone on tour every summer as its annual routine. This year, the orchestra takes the stage of Weiwuying Concert Hall for the first time with Hen-Shuo CHANG, the assistant principal violinist of KSO, to perform the third movement of Violin Concerto No. 2 "La Campanella" by Paganini. Along with Chwan-Yaw FOO, the conductor of the concert band, Cheng-Te YEH, the conductor assistant of NSO, is invited to lead the orchestra this summer. Please join us and enjoy a wonderful musical feast!
\n\n\n\n
Program
\n\nR. Jager: Esprit de Corps
\n\nC. Smith:Festival Variations
\n\nS. Gómez:Leonardo Dreams
\n\nG. Rossini:William Tell Overture
\n\nN. Paganini:Violin Concerto No.2, Op.7, Mov.3
\n\nS. Barber:Adagio for Strings
\n\nP. Tchaikovsky:Marche Slave, Op.31
\n\n\n\n
Creative and Production Team
\n\nGuest Conductor|Chwan-Yaw FOO、Tony Cheng-Te YEH
\n\nViolin Solo|Steven Hen-Shuo CHANG
\n\nGuest Concertmaster|Steven Hen-Shuo CHANG
\n\nOrchestra|NCKU Orchestra
\n\n\n\n
\n',team:""},createdAt:1685930395,updatedAt:1687762492,updatedBy:"林蔚行",host:!1},{_id:"647d754fdc2d6700072fa19a",catalogs:["5aec4184b01ea6000520f633","64812f1feb9a240007c8c8c7"],dateTime:{first:1694518200,discrete:[{time:1694518200}],type:"discrete"},activity:{type:"ticket",ticket:{price:[1800,2400,2800,3800,4200,4800,5200,5800],link:"https://kham.com.tw/application/UTK02/UTK0201_.aspx?PRODUCT_ID=P05VMICD"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"4d4fd1626ce4859e69f8a0d9c913c5b8",title:"《烏克蘭國家交響樂團》"}],related:[],title:"《烏克蘭國家交響樂團》",cover:"072ba3163a814f76217683d9a0fc3bd9",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
戰火交織的永恆之音,傳遞烏克蘭的堅定與勇氣!烏克蘭國家交響樂團將於今年九月首次來臺巡演,具有百年歷史的重要文化,成就歷史遺產價值的使命。超越戰火的衝突,透過指尖上的樂音,宛如用生命奏出每個音符的悠揚及跳躍,陪伴每位聆聽的心靈旅者。
\n\n\n\n
演出曲目
\n\n蕭邦:第一號鋼琴協奏曲
\n\n里亞托申斯基:交響敘事曲《格拉奇娜》
\n\n李斯特:馬澤帕交響詩
\n\n\n\n
演出暨製作團隊
\n\n指揮|佛洛迪米爾.希連科
\n\n鋼琴|安東尼.貝里舍夫斯基
\n\n樂團|烏克蘭國家交響樂團
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"4d4fd1626ce4859e69f8a0d9c913c5b8",title:"《烏克蘭國家交響樂團》"}],related:[],title:"National Symphony Orchestra of Ukraine",cover:"072ba3163a814f76217683d9a0fc3bd9",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
Listen to Eternity!The Ukrainian National Symphony Orchestra will embark on its first tour in Taiwan this September, showcasing an important cultural heritage with a century-long history and a mission to create historical legacy value. Beyond the conflict of the war, through the fingertips' music, every note is played as if with life, giving every listener's a spiritual journey with its melodious.
\n\n\n\n
Program
\n\nF.Chopin, Piano Concerto No.1
\n\nB. Lyatoshynsky, "Grazhyna" Symphonic Ballade
\n\nF.Liszt, "Mazeppa" Symphonic Poem
\n\n\n\n
Creative and Production Team
\n\nConductor|Volodymyr Sirenko
\n\nPiano|Antonii Baryshevskyi
\n\nOrchestra|National Symphony Orchestra of Ukraine
\n\n\n\n
\n\n
\n',team:""},createdAt:1685943631,updatedAt:1686800008,updatedBy:"林蔚行",host:!1},{_id:"6482d57feb9a240007c9dd9b",catalogs:["6007fc45ba34870007c22b8b","5aec45edb01ea6000520f655"],dateTime:{first:1694259e3,discrete:[{time:1694259e3},{time:1694345400}],type:"discrete"},activity:{type:"free",free:{description:"線上報名"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:1689732e3,end:4845283199},tabs:[],onShelf:!0,sliders:[{type:"image",key:"86959dcde2500e9f355e8af2ac672d58",title:"【樹洞耳機電影院】靈魂急轉彎"}],related:[],title:"【樹洞耳機電影院】靈魂急轉彎",cover:"a7e4c75f27177028f9f6faf9f72adf97",site:{isOther:!1,site:"5be1594c77d0790006d80c56",other:""},cautions:'
戴上專屬無線耳機、窩進舒適躺椅,曲面牆的400吋投影,耳內流竄的飽滿聲音,樹洞耳機電影院歡樂呈現!
\n
活動日期與地點
\n\n活動日期:2023/9/9(六)、2023/9/10(日)19:30開始播映
\n\n活動地點:榕樹廣場
\n\n\n\n
報名對象與方式
\n\n參與對象:歡迎各年齡層共同參與
\n\n報名時程:即日起至2023/09/06(三)23:59止
\n\n報名費用:免費
\n\n報名網址: 報名請點我
\n\n參與方式:本活動採線上報名,限量100名,額滿為止;現場報到後於19:00開放自由入座。
\n\n19:00-19:15 開放「已報名」者報到並領取耳機兌換憑證,若時間內無完成報到,將釋出該名額
\n\n19:15 開放「現場報名」者領取耳機兌換憑證
\n\n※耳機兌換憑證為入場資格非入座順序
\n\n19:30 開始放映
\n\n\n\n
\n\n
播映節目
\n\n\n\n
靈魂急轉彎
\n\n英語|2020|普遍級|100 min
\n\n導演|彼特達克特 Pete Docter、肯普包沃斯 Kemp Powers
\n\n\n\n
演員|(配音)傑米福克斯 Jamie Foxx、蒂娜費 Tina Fey
\n\n究竟什麼塑造了真正的你?
\n\n故事主角喬賈德納(一位在學校演奏對彈鋼琴的中學老師)終於實現畢生夢想,在鎮上最好的爵士俱樂部登台表演。但一個小失誤把喬從紐約街道帶到了「生之來處」-一個奇妙的靈魂培訓中心,靈魂去往地球之前要先在這接受培訓,培養自己的個性、怪癖和興趣。
\n\n該片由全球知名音樂人喬恩巴蒂斯特貢獻原創爵士樂原聲,奧斯卡獲獎者特倫特雷澤諾和來自九寸釘的阿提克斯羅斯創作原創配樂,用音樂構建現實和靈魂世界交織的夢想。
\n\n\n\n\n\n
▲官方預告影片
\n\n\n\n
▲活動現場示意
\n\n\n\n\n',team:""},createdAt:1686295935,updatedAt:1700212394,updatedBy:"黃薏靜",host:!1},{_id:"6486ce42e968ef00074f5785",catalogs:["5aec4184b01ea6000520f633","64812f1feb9a240007c8c8c7"],dateTime:{first:1695900600,discrete:[{time:1695900600},{time:1695970800}],type:"discrete"},activity:{type:"ticket",ticket:{price:[500,800,1e3,1200,1500],link:"https://www.opentix.life/event/1659118361591169025"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"ec24116a73548799d8f55f8900fad5cf",title:"高雄市管樂團《日本動漫交響音樂會》"}],related:[],title:"高雄市管樂團《日本動漫交響音樂會》",cover:"acbfde1f60e1c00a82777a00bd9233ef",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
千禧年前,藤子·F·不二雄執筆刻畫出大雄與多啦A夢的堅貞友誼;湘北五人組的熱血青春故事開始連載;魯夫與他的夥伴們開啟了偉大航道的旅程;多年後,那句「真相只有一個」背後所響起的BGM,轉瞬間仍讓我們再度掉入那些故事情節的回憶裡面。
\n\n\n\n
這次演出將跨世紀帶來70年代經典哆啦A夢、90熱血動漫—灌籃高手、名偵探柯南、航海王,到近期新作—鬼滅之刃、咒術廻戰、間諜家家酒,新海誠三部曲—你的名字、天氣之子、鈴芽之旅。高雄市管樂團將重新演繹多部動漫經典配樂,帶領聽眾一同重返最初的感動回憶。
\n\n\n\n
重溫日本動漫經典回憶殺,過往觀眾好評數度熱淚盈眶!
\n\n/真的真的非常喜歡,眼淚都跟著音樂流下來,謝謝讓我回憶起童年…好美好 好懷念
\n\n/閉上眼睛聆聽的話,動畫片段在腦中浮現!
\n\n/很感動,感動到起雞皮疙瘩又泛淚的程度。
\n\n/謝謝你們,讓我重溫童年
\n\n\n\n
演出曲目
\n\n鬼滅之刃-無限列車編
\n\n你的名字
\n\n天氣之子
\n\n鈴芽之旅
\n\n航海王
\n\n哆啦A夢
\n\n灌籃高手
\n\n咒術迴戰
\n\n名偵探柯南
\n\n間諜家家酒
\n\n\n\n
演出暨製作團隊
\n\n指揮|王戰
\n\n樂團|高雄市管樂團
\n\n主持人|孫沁岳
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"ec24116a73548799d8f55f8900fad5cf",title:"高雄市管樂團《日本動漫交響音樂會》"}],related:[],title:"Japanese Anime Symphonic Concert",cover:"acbfde1f60e1c00a82777a00bd9233ef",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
In the pre-millennial era, Fujiko F. Fujio portrayed the friendship between Doraemon and Nobita; the story of the passionate youths from Shohoku High began; Luffy and his crew embarked on their great journey. Years later, the BGM behind the phrase "There's only one truth" still plunges us into those storylines.This concert will put together classic anime of different generations, from Doraemon and Slam Dunk to Demon Slayer and Spy x Family. The KCWO will perform the iconic music from classic anime, bringing you back to those wonderful memories.
\n\n\n\n
Program
\n\nDemon Slayer
\n\nYour Name
\n\nWeathering With You
\n\nSuzume
\n\nOne Piece
\n\nDoraemon
\n\nSlam Dunk
\n\nJujutsu Kaisen
\n\nDetective Conan
\n\nSPY×FAMILY
\n\n\n\n
\n\n
Creative and Production Team
\n\nConductor|WANG Chan
\n\nPerformance|Kaohsiung City Wind Orchestra
\n\nHost|Yorke SUN
\n\n\n\n
\n',team:""},createdAt:1686556226,updatedAt:1697182669,updatedBy:"林蔚行",host:!1},{_id:"6486d738e968ef00074f594b",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1693567800,discrete:[{time:1693567800}],type:"discrete"},activity:{type:"ticket",ticket:{price:[600,800,1e3,1200,1600,2e3],link:"https://www.opentix.life/event/1664450006638534657"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"23e2e5a9db2b6481c5e2ca3a780e38c0",title:"《希望之光》讚頌音樂會"}],related:[],title:"《希望之光》讚頌音樂會",cover:"bd1d9caeabf434219d84a1430d28a35d",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
慈悲愛語,療癒了憂傷心房
\n智慧法音,逬發出希望之光
曼妙樂音,輕聲彈奏著慈悲愛語;讚頌音聲,深刻傳遞出智慧力量。2023年讚頌音樂會以「希望之光」為題,由合唱指揮古育仲老師帶領的夢蓮花讚頌合唱團、交響指揮王子承老師帶領的夢蓮花交響樂團,以豐富的音樂呈現,引領我們在讚頌的旋律中走入希望之光,心房內的憂傷因而獲得療癒,生命裡的曙光也隨之絢麗綻放。
\n\n\n\n
演出曲目
\n\n\n\n
演出暨製作團隊
\n\n指揮|古育仲・夢蓮花讚頌合唱團
\n\n指揮|王子承・夢蓮花交響樂團
\n\n二胡|陳家崑
\n\n獨唱|傅孟倩・鄧吉龍・張振文
\n\n鋼琴|洪瑩庭
\n\n\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"23e2e5a9db2b6481c5e2ca3a780e38c0",title:"《希望之光》讚頌音樂會"}],related:[],title:"The Halo of Hope",cover:"bd1d9caeabf434219d84a1430d28a35d",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
2023 Songs of Praises Concert
\n\nWords of compassion heals the wounded hearts
\nSounds of the dharma wisdom are shining in the light of hope
The wonderful melody softly plays the words of compassion and love; the songs of praises profoundly convey the power of wisdom.
\n"Halo of Hope" is the theme of our 2023 concert of songs of praise.
\nThe Dream Lotus Insightful Praises Choir led by conductor Mr. Johnny Ku and The Dream Lotus Symphony Orchestra led by Mr. Wang Tzu-Cheng will present the richness of music and lead the audience into the halo of hope through the melodies of songs of praises.
\nThe wounds in heart will be healed; the dawn of life will bloom brilliantly.
\n\n
Program
\n\n\n\n
Creative and Production Team
\n\nConductor|Johnny KU・Dream Lotus Insightful Praises Choir
\n\nConductor|WANG Tze-Cheng・Dream Lotus Symphony Orchestra
\n\nErhu|Chen Jia-Kuen
\n\nSolo|FU Meng-Chien, TENG Chi-Long, Jonathan CHANG
\n\nPiano|Hong Ying-Ting
\n\n\n\n
\n',team:""},createdAt:1686558520,updatedAt:1686650022,updatedBy:"林蔚行",host:!1},{_id:"6486e3e5eb9a240007cb50bd",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1694950200,discrete:[{time:1694950200}],type:"discrete"},activity:{type:"ticket",ticket:{price:[500,800,1600,2400,3600],link:"https://www.opentix.life/event/1660902054353969153"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"62e987f79f5d15e19d31f123616790b5",title:"《台灣獨奏家交響樂團-2023秋季音樂會 時光的巨流:流行與電影金曲再繹》"}],related:[],title:"《台灣獨奏家交響樂團-2023秋季音樂會 時光的巨流:流行與電影金曲再繹》",cover:"2f6bf9f02a3345fdab9c8b5e64fce355",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
台灣獨奏家交響樂團《2023秋季音樂會》,指揮蕭邦享將帶領樂團與琵琶趙怡然、二胡陳思潓、笛子李育慈、小提琴陳依萱和大提琴黃品潔等頂尖獨奏家合作,演出作曲家陳泰吉的管弦樂創作交響詩《山與雲之歌》,《非常女》、《追追追》、《蘭陵王入陣曲》等當代通俗流行歌謠,以及《教父》、《狂沙十萬里》、《黃昏三鏢客》、《辛德勒的名單》等經典電影配樂。展現多元音樂風采,帶給觀眾一場兼具豪情與深情的音樂饗宴。
\n\n\n\n
演出曲目
\n\n陳泰吉:交響詩《山與雲之歌》
\n\n張國榮:《海海人生》
\n\n胡偉立:《來生緣》
\n\n鄭華娟:《返來阮身邊》
\n\n柳青瑤:《蘭陵王入陣曲》
\n\n陳泰吉編曲:《非常女》、《追追追》
\n\n陳耀川:《女人花》
\n\n尼諾·羅塔:《教父》交響組曲
\n\n莫里科內:《狂沙十萬里》
\n\n莫里科內:《黃昏三鏢客》
\n\n約翰·威廉斯:《辛德勒的名單》
\n\n皮亞佐拉:《遺忘的沈醉》
\n\n約翰·威廉斯編曲:《屋頂上的提琴手》
\n\n約翰·威廉斯:《星際大戰-帝國進行曲》
\n\n\n\n
演出暨製作團隊
\n\n演出|台灣獨奏家交響樂團
\n\n指揮|蕭邦享
\n\n琵琶|趙怡然
\n\n二胡|陳思潓
\n\n笛子|李育慈
\n\n小提琴|陳依萱
\n\n大提琴|黃品潔
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"62e987f79f5d15e19d31f123616790b5",title:"《台灣獨奏家交響樂團-2023秋季音樂會 時光的巨流:流行與電影金曲再繹》"}],related:[],title:"Autumn Concert 2023",cover:"2f6bf9f02a3345fdab9c8b5e64fce355",site:{isOther:!1,site:"5aec47d3b01ea6000520f663",other:""},cautions:'
Join us for an extraordinary musical experience as Taiwan Soloist Symphony Orchestra, under the baton of conductor HSIAO Pang-hsing, presents a mesmerizing concert that combines the beauty of Chinese traditional instruments with the grandeur of Western classical music.
\n\nFeaturing renowned soloists including CHAO I-jan on pipa, CHEN Szu-hui on erhu, LEE Yu-tze on bamboo flute, CHEN I-hsuan on violin, and HUANG Ping-chieh on cello, this concert promises to be a captivating showcase of their exceptional musicianship and artistic expression.
\n\nWith a diverse repertoire that encompasses CHEN Taichi’s "Song of Mountain and Cloud," pop music like "Return to My Side," "Lan Ling Wang March," as well as iconic film soundtracks like "Godfather," "Once upon a time in the West, " "Schindler's List," "Fiddler on the Roof," and "Star Wars," seamlessly blending the rich musical traditions of East and West.
\n\nThis musical extravaganza is a not-to-be-missed event that promises to captivate your senses and take you on a melodic journey through the fusion of different cultures and genres. Join us for a night of enchanting melodies, powerful emotions, and virtuosic performances. Don't miss this unique symphonic experience!
\n\n\n\n
Program
\n\nTai-Chi Chen: Symphonic Poem "Songs of Mountain and Cloud"
\n\nLeslie Cheung:People Life, Ocean Wild
\n\nWilliam Hu:Afterlife Love
\n\nHua-Juan Cheng:Come Back to Me
\n\nQing-Yao Liu:Prince Lanling Into the Battle
\n\narr. Tai-Chi Chen:Extraordinary Woman-Chase! Chase! Chase!
\n\nYao-Chuan Chen: Flower Woman
\n\nNino Rota:Orchestral Suite for THE GODFATHER
\n\nEnnio Morricone:Theme from Once Upon a Time in the West
\n\nEnnio Morricone:Theme from THE GOOD, THE BAD AND THE UGLY
\n\nJohn Williams:Theme from SCHINDLER’S LIST
\n\nAstor Piazzolla:“Oblivion”
\n\nJerry Bock:Excerpts from FIDDLER ON THE ROOF, arr. John Williams
\n\nJohn Williams:“The Imperial March” from STAR WARS
\n\n\n\n
Creative and Production Team
\n\nPerformer|Taiwan Soloists Symphony Orchestra
\n\nConductor|HSIAO Pang-hsing
\n\nPipa|CHAO I-jan
\n\nErhu|CHEN Szu-hui
\n\nDizi|LEE Yu-tze
\n\nViolin|CHEN I-hsuan
\n\nCello|HUANG Ping-chieh
\n\n\n\n
\n\n
\n',team:""},createdAt:1686561765,updatedAt:1686650281,updatedBy:"林蔚行",host:!1},{_id:"6487d019eb9a240007cb72e1",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1693222200,discrete:[{time:1693222200}],type:"discrete"},activity:{type:"ticket",ticket:{price:[400,600,900],link:"https://www.opentix.life/event/1661283422183366657"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"e91e2250a118d8d02787d3e228b33457",title:"《拉縴人歌手-魅力男聲11-日不落的榮光》"}],related:[],title:"《拉縴人歌手-魅力男聲11-日不落的榮光》",cover:"7877a408f17a3b913fbc88a115eff043",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
2023年,拉縴人歌手邀請畢業自英國皇家音樂院的獨唱家林慈音老師擔任藝術指導,以「日不落帝國」英國為主題,選粹各時期重要音樂家之作品,如:佛漢.威廉斯、愛德華.艾爾加、班傑明.布瑞頓、約翰.魯特等人的經典男聲合唱作品。此外,也邀請駐團作曲家吳孟翰改編了巴洛克時期亨利.普賽爾的作品,再加上耳熟能詳的英國民謠,期盼帶給觀眾一場十足的英倫風情饗宴。
\n\n\n\n
演出曲目
\n\n英國民謠選粹
\n\nVaughan Williams:〈Bushes and Briars〉
\n\nEdward Elgar:《Five unaccompanied part-songs from the Greek Anthology》
\n\nBenjamin Britten:〈The Ballad of Little Musgrave and Lady Barnard〉
\n\nJohn Rutter:〈For the beauty of the Earth〉
\n\n\n\n
演出暨製作團隊
\n\n第一男高音|卓冠甫 賴世壕 莊智文
\n\n第二男高音|陳駿騏 游博能 葛飛
\n\n男中音|簡正育 周玉庭 黃世雄
\n\n男低音|許啟群 陳志交 顏子鈞
\n\n鋼琴|王思涵
\n\n大提琴|韋智盈
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"e91e2250a118d8d02787d3e228b33457",title:"《拉縴人歌手-魅力男聲11-日不落的榮光》"}],related:[],title:"Where SUN never sets",cover:"7877a408f17a3b913fbc88a115eff043",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
TMS invited Grace Lin, a soloist graduated from the R.A.M. in the UK, to serve as the artistic director. The theme of this program is the "British Empire on which the sun never sets". A selection of works by important musicians of various periods will be presented, such as Ralph Vaughan Williams, Edward Elgar, Benjamin Britten, John Rutter. Besides, composer Wu Meng-han has been invited to arrange works by Henry Purcell from the Baroque period, along with well-known British folk songs, hoping to bring you a fully immersive British-style feast.
\n\n\n\n
Program
\n\nVaughan Williams:〈Bushes and Briars〉
\n\nEdward Elgar:《Five unaccompanied part-songs from the Greek Anthology》
\n\nBenjamin Britten:〈The Ballad of Little Musgrave and Lady Barnard〉
\n\nJohn Rutter:〈For the beauty of the Earth〉
\n\n\n\n
Creative and Production Team
\n\nTaipei Male Singers
\n\nPiano|WANG Szu-Han
\n\nCello|WEI Zhi-Ying
\n\n\n\n
\n',team:""},createdAt:1686622233,updatedAt:1686735801,updatedBy:"林蔚行",host:!1},{_id:"648833f2eb9a240007cb8666",catalogs:["5aec4184b01ea6000520f633","64812f1feb9a240007c8c8c7"],dateTime:{first:1694604600,discrete:[{time:1694604600}],type:"discrete"},activity:{type:"ticket",ticket:{price:[400,700,1e3,1200],link:"https://www.opentix.life/event/1661538859522256897"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"7f07cd9c5c7b86286df9ac62ed7ce4d0",title:"《跳躍吧!古典樂的多重宇宙!」-探戈+華語&西洋金曲》"}],related:[],title:"《「跳躍吧!古典樂的多重宇宙!」-探戈+華語&西洋金曲》 ",cover:"0146d15ccdde50ed856201a28cc25055",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
當觀眾發出對皮耶佐拉將探戈融入古典樂的驚嘆,我們也渴望用古典演奏家的技藝,讓觀眾聽見中西流行樂的多重古典風貌。音樂會總監蘇柏維在古典樂編排中嘗試不同的演奏方法及多變的音樂選曲,將帶領觀眾進入多元、 新穎的古典音樂多重宇宙。
\n\n\n\n
演出曲目
\n\n\n\n
演出暨製作團隊
\n\n小提琴|蘇柏維
\n\n長笛|江品誼
\n\n鋼琴|呂奕昕
\n\n低音大提琴|陳穎緹
\n\n吉他|孫家偉
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"7f07cd9c5c7b86286df9ac62ed7ce4d0",title:"《跳躍吧!古典樂的多重宇宙!」-探戈+華語&西洋金曲》"}],related:[],title:'"Leap! The Multiverse of Classical Music!" ',cover:"0146d15ccdde50ed856201a28cc25055",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
When the audience expressed their amazement at Piazzolla's incorporation of tango into classical music, we also aspired to showcase the multiple classical styles of Chinese and Western pop music using the skills of classical performers. Su Bowei, the music director of the concert, attempts different performance techniques and diverse musical selections in classical music arrangement, leading the audience into a diverse and innovative universe of classical music.
\n\n\n\n
Program
\n\n\n\n
Creative and Production Team
\n\nViolin|SU Po-wei
\n\nFlute|CHIANG Pin-yi
\n\nPiano|LU Yi-hsin
\n\nDouble-Bass|CHEN Ying-ti
\n\nGuitar|SUN Chia-wei
\n\n\n\n
\n',team:""},createdAt:1686647794,updatedAt:1692261437,updatedBy:"林蔚行",host:!1},{_id:"64897519e968ef00075153b1",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1694431800,discrete:[{time:1694431800}],type:"discrete"},activity:{type:"ticket",ticket:{price:[500,800,1e3],link:"https://www.opentix.life/event/1666641570183204865"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"62b51624ba8db85802bec02a68bf8f62",title:"《沂風20》沂起唱歌的理由"}],related:[],title:"《沂風20》沂起唱歌的理由",cover:"df5dbcbf9639568dfd280ac1d7f89719",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
今年是沂風室內合唱團創團20周年,我們以「響家」為主軸,重啟家鄉前輩的聲響。沂風室內此次製作,延續2020年跨領域的「《沂風十七・人聲銘心》回『藝』-合唱Podcast」音樂會,及2021、2022年巡迴新竹、新北、臺中的「《沂風十八・沂起森巴》-家.年華 Carnival」音樂會,2023年將續航到臺北、高雄兩地,與各地知音一同分享近年委託國內外作曲家新創的歌曲,也和大家分享我們「沂起唱歌的理由」。
\n\n\n\n
演出曲目
\n\n阮有一個夢
\n\n老屋
\n\n戇囡仔
\n\nCina 媽媽的眼睛
\n\n一轉眼
\n\n微光之中
\n\nTshotsholoza
\n\n行旅
\n\n想像此刻我已抵達你的夢
\n\n迎風的塹影
\n\n我歌唱的理由有很多
\n\n讓我們一起瘋
\n\n\n\n
演出暨製作團隊
\n\n主辦|沂風室內合唱團
\n\n藝術總監|李寶鈺
\n\n音樂總監|郭心怡
\n\n\n\n
演出者
\n\n指揮|郭心怡
\n\n鋼琴|林修圓
\n\n沂風室內合唱團
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"62b51624ba8db85802bec02a68bf8f62",title:"《沂風20》沂起唱歌的理由"}],related:[],title:"Yi-Phone 20 Reasons to Sing",cover:"df5dbcbf9639568dfd280ac1d7f89719",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
2023 marks the 20th anniversary of the founding of Yi-Phone Chamber Chorus, we will keep up the momentum gained from the interdisciplinary concert "Recalling the arts-Choral Podcast" in 2020, as well as the touring in 2021 and 2022 in Hsinchu, New Taipei, and Taichung "Samba Together- Yi-Phone Carnival" concerts. The tour will reach Taipei and Kaohsiung in 2023, and share the new songs commissioned by foreign and domestic composers in recent years with friends from all over the world, as well as share our "Reasons to Sing" with friends from all over the world, and ask bosom friends to join us in singing.
\n\n\n\n
Program
\n\nI Have a Dream
\n\nOld House
\n\nA Silly Kid
\n\nMother's Eyes
\n\nTurn Around
\n\nA Patch of Light
\n\nTshotsholoza
\n\nJourney
\n\nImagining Arriving in Your Dream
\n\nCity in the Wind, Lady in My Wink
\n\nFor Many a Reason I Sing
\n\nLet's go fervent
\n\n\n\n
Creative and Production Team
\n\nPresenter|Yi-Phone Chamber Chorus
\n\nArtistic Director|LEE Pao-yu
\n\nMusic Director|KUO Hsin-yi
\n\n\n\n
Performer(s)
\n\nConductor|KUO Hsin-yi
\n\nPiano|LIN Hsiu-yuan
\n\nYi-Phone Chamber Chorus
\n\n\n\n
\n',team:""},createdAt:1686730009,updatedAt:1687761099,updatedBy:"林蔚行",host:!1},{_id:"648978c2eb9a240007cbb940",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1694844e3,discrete:[{time:1694844e3}],type:"discrete"},activity:{type:"ticket",ticket:{price:[400,800,900,1e3,1400,1800],link:"https://www.opentix.life/event/1664538885264986113"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"d14a539734dbb66756963aef8d41979a",title:"《2023李孟坡大提琴獨奏會---盛夏夜騎晚風》"}],related:[],title:"《2023李孟坡大提琴獨奏會---盛夏夜騎晚風》",cover:"7e8306bb19b93e713903dbfd0262cf34",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
李孟坡是現今相當活躍的台裔西班牙大提琴家,此次音樂會以拉赫曼尼諾夫的大提琴奏鳴曲為主軸思考延伸,再選擇同為俄羅斯的作曲家—史特拉汶斯基、施尼特克之作,以期讓觀眾能聽到更豐富多元的俄羅斯音樂風貌。此外,多才多藝的孟坡將世界首演其自創曲「盛夏夜騎晚風」。這些曲目跨越當代與傳統思考、兼具亞洲與俄羅斯文化,期待由這位年輕的西班牙大提琴家,以熱情感性與華麗技巧之姿奏出新世代音樂的聲音。
\n\n\n\n
演出曲目
\n\n欽察澤: 給大提琴與鋼琴的五首小品
\n\n德門加: 《EFEU》
\n\n李孟坡:盛夏夜騎晚風
\n\n許尼特克:第一號大提琴奏鳴曲
\n\n拉赫曼尼諾夫: 大提琴奏鳴曲,作品19
\n\n西爾維斯特洛夫: 第三號尾曲
\n\n\n\n
演出暨製作團隊
\n\n大提琴家|李孟坡
\n\n鋼琴家|韓安娜
\n\n導聆|余濟倫
\n\n節目統籌|李祐臣
\n\n製作人|李宜嬪
\n\n行政|孫慎穗
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"d14a539734dbb66756963aef8d41979a",title:"《2023李孟坡大提琴獨奏會---盛夏夜騎晚風》"}],related:[],title:"2023 Mon-Puo Lee Cello Recital in Taiwan",cover:"7e8306bb19b93e713903dbfd0262cf34",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
Mon-Puo Lee, an active Taiwanese-Spanish cellist, is known for his vibrant performances. In this upcoming concert, he will explore the works of Russian composers, with a focus on Rachmaninoff's Cello Sonata. The program also includes pieces by Stravinsky and Schnittke, showcasing the diverse musical landscape. Additionally, Mon-Puo will present the world premiere of his original composition, "Summer Night Breeze." These selections traverse contemporary styles, captivating the audience with his passionate and expressive playing. Mon Puo represents the voice of a new generation of music.
\n\n\n\n
Program
\n\nSulkhan Tsintsadze: 5 Pieces for Cello and Piano
\n\nThomas Demenga: "EFEU" for cello solo
\n\nMon-Puo Lee: Sommer nachts wind capriccio
\n\nAlfred Schnittke: Cello Sonata No.1
\n\nSergei Rachmaninoff: Cello Sonata, op.19
\n\nValentin Silvestrov: Postlude, no.3
\n\n\n\n
Creative and Production Team
\n\nCello|Mon-Puo LEE
\n\nPiano|Anna HAN
\n\n\n\n
\n',team:""},createdAt:1686730946,updatedAt:1690361182,updatedBy:"林蔚行",host:!1},{_id:"648ac487eb9a240007ccb417",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1696073400,discrete:[{time:1696073400}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,500],link:"https://www.opentix.life/event/1666358286319902720"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"b3db5c9584c005f48db8ade0b4c85147",title:"2023 曾加宜大提琴獨奏會 《璀璨俄羅斯》"}],related:[],title:"2023 曾加宜大提琴獨奏會 《璀璨俄羅斯》",cover:"fb61478947b4e6afee97e69740f76d3d",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
旅美、法大提家演奏家曾加宜博士,同時擁有法國巴黎師範音樂院最高演奏家文憑,美國耶魯大學音樂系大提琴演奏碩士、美國馬里蘭大學大提琴演奏博士文憑,是國內少有如此完整資歷的大提家演奏家。 2023年的這場獨奏會將力邀知名鋼琴家陳芝羽博士演出極具代表性之俄國音樂家的作品,來呈現專屬於俄羅斯的音樂藝術之美。希望藉由這些重量級的俄國音樂家的大提琴作品的演出,將十九及二十世紀的俄國情懷音樂情感與內涵與聽眾們一起分享,爲大家帶來一場精湛的音樂饗宴。
\n\n\n\n
演出曲目
\n\n葛拉祖諾夫: 吟遊詩人之歌,作品71
\n\n蕭斯塔高維奇: D大調大提琴奏鳴曲,作品40
\n\n拉赫曼尼諾夫: 聲樂練習曲(無言歌),作品34第14首
\n\n拉赫曼尼諾夫:g小調大提琴奏鳴曲,作品19
\n\n\n\n
演出暨製作團隊
\n\n大提琴|曾加宜
\n\n鋼琴|陳芝羽
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"b3db5c9584c005f48db8ade0b4c85147",title:"2023 曾加宜大提琴獨奏會 《璀璨俄羅斯》"}],related:[],title:"2023 Chia-Yi TSENG Cello Recital",cover:"fb61478947b4e6afee97e69740f76d3d",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
With her distinct experiences from Paris and America,cellist Chia Yi Tseng and pianist Chih-Yu Chen invite you to enjoy a wonderful night of Russian famous works.
\n\n\n\n
Program
\n\nA. Glazunov : Chant du Menestrel
\n\nD. Shostakovich : Sonata for Cello and Piano in D minor, Op. 40
\n\nS. Rachmaninoff : Vocalise Op.34 no.14
\n\nS. Rachmaninoff : Sonata for Cello and Piano in G Minor, Op. 19
\n\n\n\n
Creative and Production Team
\n\nCello|Chia-Yi TSENG
\n\nPiano|Chih-Yu CHEN
\n\n\n\n
\n',team:""},createdAt:1686815879,updatedAt:1687227782,updatedBy:"林蔚行",host:!1},{_id:"648bfd05e968ef000751bdd2",catalogs:["5c1f073a5a5bea0006f3eb11","64812f1feb9a240007c8c8c7"],dateTime:{first:1694241e3,discrete:[{time:1694241e3},{time:1694255400},{time:1694327400}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,650,1150,1300,1800,2300,2800,3300,3800],link:"https://tickets.udnfunlife.com/application/UTK02/UTK0201_.aspx?PRODUCT_ID=P069VB50&kdid=search"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"99f56dbb06f559673efc4072d85beb14",title:"西班牙國家舞團《卡門》"}],related:[],title:"西班牙國家舞團《卡門》",cover:"3d4c392626438feb238693cfed12e572",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:'
《卡門》為西班牙國家舞團35週年誌慶之作,邀請光芒四射的瑞典編舞大師約翰.英格(Johan Inger),將這齣歌劇打造成一個令人血脈噴張的全新舞作,充滿戲劇性的舞蹈搭配風格強烈的舞台與服裝設計,賦予這個故事的顛覆性詮釋,立刻成為舞團的代表之作,所到之處皆獲得滿堂彩,約翰.英格更以此作贏得舞蹈界奧斯卡獎之稱的伯努瓦舞蹈獎。
\n\n約翰.英格打破傳統,通過一位年輕旁觀者的角度展開敘事:「這個角色裡一種神秘感,可能是任何孩子,可能是小時候的唐璜,也可能是年輕的米凱拉或卡門與荷西所生、卻尚未出生的孩子,甚至也有可能是我們自己!」
\n\n\n\n
演出暨製作團隊
\n\n編舞|約翰.英格
\n\n藝術總監|瓦昆・德魯茲
\n\n音樂|比才、謝德林
\n\n新增原創音樂|馬克.阿瓦雷茲
\n\n戲劇構作|阿庫納-波爾
\n\n服裝設計|大衛.德爾芬
\n\n舞台設計|寇特.艾倫.威瑪(西班牙表演與視聽藝術家協會)
\n\n燈光設計|湯姆.維瑟
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"99f56dbb06f559673efc4072d85beb14",title:"西班牙國家舞團《卡門》"}],related:[],title:"Compañía Nacional de Danza",cover:"3d4c392626438feb238693cfed12e572",site:{isOther:!1,site:"5aec47eeb01ea6000520f665",other:""},cautions:'
When Johan Inger was asked to create a new version of Carmen, being himself Swedish and Carmen a piece with a strong Spanish nature, he faced an enormous challenge. But it was also a great opportunity. The story witnessed through the eyes of a young watcher reveals the tale stripped to its mythic and universal elements of passion and violence.
\n\n"There is a certain mystery within this character, it could be any kid, it could be Don José when he was a boy, it could be a young Michaela or Carmen and José's unborn child. It could even be ourselves, with our very first goodness wounded due to a violent experience that, though brief, has had a negative impact in our lives and our ability to interact with others forever." - Johan Inger
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Creative and Production Team
\n\nChoreography|Johan Inger
\n\nArtistic Director|Joaquín De Luz
\n\nMusic|Georges Bizet and Rodion Shchedrin
\n\nAdditional Original Music|Marc Álvarez
\n\nDramaturgy|Gregor Acuña-Pohl
\n\nCostume Design:David Delfín
\n\nSet Design|Curt Allen Wilmer (AAPEE)
\n\nLighting Design|Tom Visser
\n\n\n\n
\n',team:""},createdAt:1686895877,updatedAt:1689739138,updatedBy:"林蔚行",host:!1},{_id:"64916f1f0f7e5b0009581992",catalogs:["5aec418cb01ea6000520f635"],dateTime:{first:1694863800,discrete:[{time:1694863800},{time:1694932200}],type:"discrete"},activity:{type:"ticket",ticket:{price:[500,800,1e3,1200,1500,1800,2200,2500,3e3],link:"https://www.opentix.life/event/1666717619265900545"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"bd1d4fd5679b635d20c3bd7b34fb6d92",title:"2023前衛歌仔音樂劇《棲地木蓮•劫獄》"}],related:[],title:"2023前衛歌仔音樂劇《棲地木蓮•劫獄》",cover:"7b1035dc74073100b92f56c40d8cc004",site:{isOther:!1,site:"5aec4743b01ea6000520f65e",other:""},cautions:'
在人間與地獄的交界,酆都女帝與地藏王正下著棋,並也密謀著一筆交易… 人間,棲地晚報是這個城市最大的報社,報社的成員除了木蓮以外,大部份為來自地獄的使者;而棲地咖啡的老闆娘劉青提是木蓮與水蓮這對兄妹愛碎碎唸的媽媽;一日,劉青提車禍過世,傷心的木蓮為了見母親最後一面而找了報社顧問金色法師,幫助他踏上地獄之路… 在地獄裡…每個人都有著神秘的使命,白天在棲地晚報上班,夜晚在地獄十八殿執勤;隻身一人來到地獄的木蓮面對一連串的考驗能否順利的破地獄救母親?
\n\n\n\n
演出暨製作團隊
\n\n導演|陳御弼
\n\n編劇|梁越玲
\n\n音樂設計|梁啟慧
\n\n戲曲編腔|周煌翔
\n\n燈光設計|車克謙
\n\n影像設計|王奕盛
\n\n舞台設計|張哲龍
\n\n武術設計|劉冠良
\n\n舞蹈設計|張雅婷
\n\n服裝設計|張渝婕
\n\n歌唱指導|謝淳雅
\n\n音響執行設計|捷韻實業有限公司
\n\n題字|黃崇鏗
\n\n劇照拍攝|林皇耀
\n\n平面設計|張治倫工作室 林姿婷
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"bd1d4fd5679b635d20c3bd7b34fb6d92",title:"2023前衛歌仔音樂劇《棲地木蓮•劫獄》"}],related:[],title:"WAIT!MULIAN!",cover:"7b1035dc74073100b92f56c40d8cc004",site:{isOther:!1,site:"5aec4743b01ea6000520f65e",other:""},cautions:'
At the border between the world and hell, the Empress of Fengdu and the King of Ksitigarbha are playing chess, and they are also plotting a deal...
\n\nIn the world, the Qidi Evening News is the largest newspaper in the city. Except for Mulian, most of the members of the newspaper are emissaries from hell; Liu Qingti, the proprietress of Qidi Coffee, is the love of Mulian and Shuilian. Mom; one day, Liu Qingti passed away in a car accident. In order to see her mother for the last time, the sad Mulian asked the newspaper consultant Golden Master to help him embark on the road to hell...
\n\nIn hell...everyone has a mysterious mission. They work at the Qidi Evening News during the day and at the Eighteenth Hall of Hell at night; Mulian, who came to hell alone, faces a series of tests. Can she successfully break through hell and save her mother?
\n\n\n\n
Creative and Production Team
\n\nDirector|Chen Yubi
\n\nScreenwriter|Liang Yueling
\n\nMusic Design|Liang Qihui
\n\nOpera Choreography|Zhou Huangxiang
\n\nLighting Design|Che Keqian
\n\nVideo Design|Wang Yisheng
\n\nStage Design|Zhang Zhelong
\n\nMartial arts instructor|Guanliang Liu
\n\nChoreographer|Yating Zhang
\n\nCostume Design|Zhang Yujie
\n\nSinging Director|Chunya Xie
\n\nSound executive design|Jieyun Industrial Co., Ltd.
\n\nInscription|Huang Chongkeng
\n\nStills shooting|Lin Huangyao
\n\nGraphic Design|Zhang Zhilun Studio Lin Ziting
\n\n\n\n
\n',team:""},createdAt:1687252767,updatedAt:1689148180,updatedBy:"林蔚行",host:!1},{_id:"649172d40f7e5b0009581a8c",catalogs:["5aec4184b01ea6000520f633"],dateTime:{first:1693395e3,discrete:[{time:1693395e3}],type:"discrete"},activity:{type:"ticket",ticket:{price:[300,500],link:"https://ticket.com.tw/application/UTK02/UTK0201_.aspx?PRODUCT_ID=P062FZUK"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"fecb8a31ae1d42d1fbc498948cd370a9",title:"《2023黃品潔大提琴獨奏會》"}],related:[],title:"《2023黃品潔大提琴獨奏會》",cover:"03cd9d3fef928068123137193fe35482",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
巴黎街頭,歲月推疊起藝術內涵的深度,顛坡的道路似乎故意使人放慢了時間、留住了感動。香濃的卡布奇諾伴著愉悅的氣息,遠處教堂鐘聲與一整片橘紅色的屋頂,佛羅倫斯的早晨永遠充滿著生命的活力以及對藝術的渴望。2023黃品潔大提琴獨奏會將以義大利傳奇小提琴家帕格尼尼的24號隨想曲開始,至法國音樂家德布西與普朗克活潑精緻的大提琴奏鳴曲,體驗義大利人豪邁猖狂與法國浪漫優雅卻又不失活潑逗趣的生活點滴。
\n\n\n\n
演出曲目
\n\n帕格尼尼:第24號隨想曲
\n\n帕格尼尼:羅西尼主題變奏曲
\n\n德布西:D小調大提琴奏鳴曲
\n\n普朗克:大提琴奏鳴曲
\n\n卡斯特努弗-泰德斯可:大提琴奏鳴曲,作品50
\n\n\n\n
演出暨製作團隊
\n\n大提琴|黃品潔
\n\n鋼琴|陳育志
\n\n\n\n
\n',team:""},english:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"fecb8a31ae1d42d1fbc498948cd370a9",title:"《2023黃品潔大提琴獨奏會》"}],related:[],title:"2023 PingChieh Huang - Cello Recital ",cover:"03cd9d3fef928068123137193fe35482",site:{isOther:!1,site:"5aec4800b01ea6000520f668",other:""},cautions:'
Ping-Chieh's Concert Series 'World Tour' has been constantly utilizing the power of music and language to express art content, aiming to convey values behind those beautiful stories in rich history by combining storytelling and performance. Since 2014, she has broken her globetrotting music journey in Russia, Germany, and the United States. This year, she will travel to Italy and France, where the imperial power created an immortal culture in a golden age of art; whereas the revolutions infused the air of freedom and passion. In the post-pandemic era, Ping-Chieh invites the audience to embark on a unique journey to the countries full of enthusiasm and elegance, healing the mind through the cello's comforting sound.
\n\n\n\n
Program
\n\nN. Paganini : 24 Caprices, No.24
\n\nN. Paganini : Variations on a Theme of Rossini
\n\nC Debussy : Cello Sonata in D minor
\n\nF. Poulenc : Cello Sonata, FP.143
\n\nM. Castelnuovo-Tedesco : Cello Sonata, Op.50
\n\n\n\n
Creative and Production Team
\n\nCello|Snoopy HUANG
\n\nPiano|Üji Chen
\n\n\n\n
\n',team:""},createdAt:1687253716,updatedAt:1688460101,updatedBy:"林蔚行",host:!1},{_id:"649a9193e2e7f800072e60b0",catalogs:["6007fc45ba34870007c22b8b","5aec45edb01ea6000520f655"],dateTime:{first:1693720800,discrete:[{time:1693720800}],type:"discrete"},activity:{type:"free",free:{description:"自由參與"}},sliders:[],showInProgramList:!0,chinese:{onShelfRange:{start:null,end:null},tabs:[],onShelf:!0,sliders:[{type:"image",key:"36b520046b4538ba6b595f237ef488f1",title:"【武營來開槓】歌劇異國風,真有味!"}],related:[],title:"【武營來開槓】歌劇異國風,真有味!",cover:"936d38c7f574c3741087043e88161b2b",site:{isOther:!1,site:"5b1029cdda0322000751e9ad",other:""},cautions:'
講座時間約90分鐘。
\n\t報名流程:填寫線上報名表→ 於活動前三天,統一寄送活動通知信件 → 完成報名。
\n\t為維護講師著作權與活動品質,講座進行中請勿攝錄影。
\n\t報名時請確實填寫報名資訊,以利報到進場。
\n\t現代人流行異國風,吃的、穿的、用的、住的,有了異國風,五感大不同。回到三百年前的歌劇舞台上,異國風又創造了什麼樣的時尚感?在交通不發達的年代裡,異國風又如何取得?有沒有異國風,影響到底有多大?
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本場講座,精選歌劇史上代表作,帶您神遊異國風!
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★ 誰來開槓:
\n\n資深古典音樂媒體人|邢子青
\n\n活動時間:2023/09/03(日)14:00
\n\n參加對象:歡迎喜愛藝術活動的朋友,一起來開槓!
\n\n報名方式:報名參加,免費入場(限量120名,額滿為止)。
\n\n