With the aim to cultivate emerging artists, the NTT Emerging Artists Project identifies unique and creative artists/teams in central Taiwan through open call and builds an experimental ground for creative works.
The 2022 Emerging Artists Project took a new approach different from the past by substantially introduc ing new categories. Works of the three categories-"Video and Theater," "Family Dance Theater" and "New Interpretation of the classic"-will be presented in the NTT Signature Series, securing more steady creative resource and exposure opportunities for artists. After several rounds of selection, the final winners are: See by Pure White Dance Lab for Video and Theater, Bedtime Story by Antinomy Company for Family Dance Theater, Love and Samsara by Zhen Yun Lin Ge Puppet Theater for New Interpretation of the classic. In See , video artist CHEN Wei-sheng and choreographer CHANG Chien-hao deconstruct and reconstruct audience's perspectives with live projection and the unique space of Tutu Gallery. In a workshop format, Bedtime Story invites parent-child pairs of different age groups to participate in co-creation and performance, exploring wonderful and genuine moments of life together. As for the New Interpretation of the classic category, Zhen Yun Lin Ge Puppet Theater works with Theatre Ronin from Hong Kong to adapt “Nie Xiaoqian” from the Strange Tales from a Chinese Studio and presents a love story of reincarnation through a combination of traditional Taiwanese glove puppetry theater and contemporary theater of Hong Kong.
Supported by NTT, Emerging Artists Project offers knowledge and experience sharing as well as active critical thinking and discussion so that young artists can put their imagination to practice and polish their works. NTT looks forward to bringing in more emerging artists in the future to make more moving and impressive marks with their arts.
關於《千年幻戀》
「千年」是關於時間，到底一千年有多久呢？若從西方看，由耶穌出生到現在，歷史大概重覆 了兩轉；而在東方，卻稱為虛數，指的是時間的曖昧性。長如永恆短如剎那，這是一個關於東 方時間觀裡的愛情故事。
東方的愛情故事，從來也不是激烈動盪，反而是如水般無疾而終，所謂苦戀是東方的「招牌 菜」。《聊齋誌異》中的〈聶小倩〉是苦戀的經典名篇，是男與女、人與鬼、道士（神）與妖 （魔）的不斷交纏。我們選中的是當中的「愛」，可以是情慾間的愛、人神間的愛、正邪間的 愛，說到底就是執念。
A millennium is a measure of time. But how long is a thousand years? From the western perspective, two millennia have passed since the birth of Jesus. From the eastern perspective, this is an imaginary number that refers to the ambiguity of time. It is as long as eternity or as short as an instant. This is a love story based on the eastern concept of time.
Love stories from the east tend to be neither vicious nor turbulent. Rather, they are like water, coming to their natural end. “Bitter love” is the signature of such stories. That of “Nie Xiaoqian” in Strange Tales from a Chinese Studio is a classic. It involves the entanglements of men and women, humans and ghosts, and Taoist masters (gods) and demons. We choose the “love” that is among them. This can be lust or the love between humans and gods or good and evil. In the end, love is obsession.
Another type of obsession is the love between puppeteer and puppet. Love and Samsara is a puppet theater production and, as such, requires a puppeteer. There is also an attempt to establish another timeline, as Scarlet, a girl with red hair, sets out on a journey to find her father. If you watch until the end, you will discover that everything on stage is an illusion. But, if you are willing to believe, everything is real. We believe. How about you?
Zhen Yun Lin Ge Puppet Theater
The Zhen Yun Lin Ge Puppet Theater was founded in 1975 by LI Yung-bau, who received his puppetry training from his brother LI Jin-shu. The troupe is currently operated by the second generation, with the head LI Jing-ye in charge of performance management and narration. LI Jing-ye used to work as a puppeteer for Shen Ming-zheng’s radio Broadcast Troupe and was granted with the “Best Emerging Performer Award” at the 27th The Golden Melody Awards for Traditional Arts and Music. The troupe has competed in several Golden Palm Awards with remarkable results, and has been one of the troupes supported by National Culture and Arts Foundation’s “Performing Arts Funding Project.”
Theatre Ronin
Theatre Ronin is founded by its Artistic Director Alex TAM in 2006 and is currently a recipient of Hong Kong Arts Development Council’s three-year grant.
Theatre Ronin forges its token by bestowing the vastitude of fine sceneries in the human realm; through the use of highly romantic imageries on stage, it endeavors to preserve the world’s reminiscent beauty before its aura vanish in the new media age. Dedicated to exploring contemporary theatrical language and the aesthetics of ‘Theatre of Imagery’ and creating a distinctively imaginative performing style, Theatre Ronin’s theatrical works stemmed from varied source materials, as well as the culture and literature of Hong Kong. Many of its works are invited to various theater festivals in U.K, France, Argentina, Taiwan and China.
曄 真雲林閣掌中劇團團長暨主演
生於布袋戲世家，自幼跟隨父親南征北討，見識無數拚台的大型匯演場 面，從中細心觀察各家門派演出技巧，加以融會貫通，提昇自我演出內 涵，奠定紮實的戲劇基礎。現承接父親創立的真雲林閣掌中劇團，成為 獨當一面的主演。創作題材常取自各種生活細節，從「生命意義」、 「關懷社會」至「環境保育」等議題，均可成為創作發想來源，並融合 傳統與現代，使劇情隱隱透露著人生百態，其作品具有濃厚的人情味為 最大特色。
團長的話
剛開始與浪人劇場（香港）的譚孔文導演合作時，因為語言的隔閡，讓 我感到困難重重，也很難揣摩導演想要傳達的到底是什麼。經過一段時 間磨合後，我發現在表演藝術裡，許多概念、意念是相通的，它可以超 越語言的限制，達到心靈上的交流。只要導演一個眼神，或是當劇情走 到某個地方時，我就能感受到導演希望傳達的意念，當然這講起來很虛 幻，可是在排演的當下，我是能真切感受到這種心靈上的溝通。可見藝 術的語言、藝術的形式，甚至藝術表達的情感，其實都是相通而契合 的。
而我們也常認為「偶是虛的，人是實的」，偶是更有想像的物件，而人 是實實在在、有血有肉的存在，所以當人、偶在舞台上相遇時，就是一 個虛實交錯的表現。但是，這次譚孔文導演的手法剛好相反，他將 「偶」運用在清楚、實在的戲劇線上，而「人」卻是在虛幻、飄渺的形 式上來演繹這段故事。導演將整個戲劇的形式翻轉，他對舞台、音樂、 戲偶、演員的了解與調度，都令人耳目一新，也令我大開眼界，這真的 是一次非常特別的合作經驗。
香港演藝學院及香港教育大學客席講師。資深劇場導演、舞台及服裝設 計師、編劇、策劃及創意教育導師。畢業於香港演藝學院戲劇學院及科 藝學院，獲藝術學士（榮譽）學位（主修導演）及一級藝術學士（榮
自己一直有個想法，就是沿著徐克導演的電影思路，尋找中國古典文學 在當代劇場如何再發展，因為他有一種本領：就算多奇幻，觀眾也不會 質疑他創作的「真實」。於是我在 2020 年創作《一劍蜀山》劇場電影回 應《蜀山》，今年以《倩女幽魂》為基礎，創作《千年幻戀》。 最初對布袋戲印象來自中學時看鄭問《大霹靂》漫畫，後來從侯孝賢導 演的電影認識李天祿大師的布袋戲，印象中布袋戲大多是武打戲，很少 有愛情的情節，所以這次將主線放在燕赤霞的感情，想像他也愛上甯采 臣，故事會如何發展，於是我們就在這個基礎上發展文本。
今年七月，我到臺灣嘉義和雲林與李京 曄 師傅排練半個月，確切感受布 袋戲對臺灣人不只是一種玩意、技藝，其實是一種信仰，每當李師傅舞 動戲偶，就感覺有股「靈氣」：偶和人是在「對話」，這種「真實」， 就是我想見到的。
李師傅曾說過：「臺灣布袋戲的傳統就是創新。」而自己從事香港文學 劇場創作多年，一直都秉承尋找創新的可能，原來我們「初心」的想法 是一致的！因此，即使疫情令排練充滿變數，也都一一克服。最後感謝 香港和臺灣的團隊共同努力，成就今天大家看到的演出。
何應權 編劇
劇場／影視編導。現為盜火劇團藝術總監及駐團編導，編導作品曾入選 世界劇場設計展 WSD 、臺灣國際藝術節及臺北文學獎等。近年活躍於 港、臺兩地，編劇作品 ：《君羊》 (2021) 、《人間蒸發》 (2021) ；導演作 《寶貝，射我吧！》(2022)、《幽靈晚餐》(2020)。 07
編劇的話
原著《聊齋誌異》是中國 17 世紀的文學作品，是由中國清代志怪小說作 家蒲松齡在路邊設茶攤時，搜集路人的經歷撰寫而成，是一部描寫人與 鬼魅、妖怪、動物共生的故事。而金光布袋戲又是從 50 年代早期發展到 現在，當中操偶師與偶在舞台上共生，不分彼此。兩種如此有歷史感的 改編素材，我卻想到一個關於「未來」的時空。 聊齋，主題總是圍繞著「差異」，當中人與鬼，動物與妖精，男與女的 種種差異。而愛、善良、憤怒、妒忌等等人性難題，就是產生於人與人 之間的差異，個體與個體之間有一條不可踰越的界線，「非我族者，其 心必異」，真的是這樣嗎？藝術中不同的媒介也有差異：現代劇場與布 袋戲、人與偶、古代與科幻，如何運用「差異」，將會是這次書寫的核 心。
