2024TIFA 一公聲藝術《共振計畫：拍頻》

One Litre Sound：Reverberation — Pulsating

基本資料

TIFA，劇場中的多重宇宙

劇場裡的時間不是線性的，過去、現在與未來，常常同時出現，相互糾纏。而藝術家們總是那麼敏捷的穿梭其間，時而從記憶中取材，時而站在未來回望。彷彿是旁觀者的我們，則常常要忍不住驚呼：「現在既是過去，同時也是未來！」

今年，我們想邀請大家，穿梭劇場裡關於時間的多重宇宙。除了重溫無數讓人流連忘返、心跳加速的時刻，藝術家亦不約而同在歷史傳統的豐富與輝煌中，以不同的形式，發出與未來共振的頻率，自經典找尋創新的能量，或以創作探討現代社群關係。甚至，跳上科技打造的時光機器，回到事件現場，藉由作品與我們對話。

所以走吧！現在讓我們跟著無極限的藝術家們，一起穿梭在劇場裡的多重宇宙。「過去可以重現，未來伸手可及」，這已不再是物理學家的功課，而是你我的當下！

主創者的話

賴奇霞、林煒傑

記得 2020 年第一次走進禾豐木魚工廠，映入眼簾是各種大大小小數不清的木魚，看見工藝師張師傅專注地來回「叩—叩—叩—」敲擊和切削木魚的缺口，他說他在「調音」木魚。以往我們對調音的認知是調整音高，但在和他對話後我們發現所謂的調音，不只是我們熟悉的音高變化，還有聲音的共鳴、明亮低沉、單一或擴散感等，更細微的音色調整。

隔年到了林午銅鑼工廠，製鑼師林師傅正在用自製的工具打鐵。工廠掛著兩面 28 台寸的鑼，我們敲向中心點鑼臍，一聲宏亮的鑼聲後，伴隨著悠遠的「嗡～嗡～嗡～」聲，我們向師傅詢問哪一顆鑼比較好聽，他形容尾音有一個比較快、另一個比較慢，他指的是敲擊之後聲音的延音和餘韻。

走訪這兩個工藝工廠，讓我們感受到滿滿的驚訝和感動，進而開始這項以臺灣工藝品樂器為主的創作計畫。這個系列作品包括2021 年《共振計畫：木魚》在苗栗通霄木魚工廠為 56 顆木魚、錄像、震動喇叭和五位樂手的展演作品；2022 年《共振計畫：木魚＋》在美術館以展覽方式展現木魚各種樣貌和呈現兩件以木魚為主的作品；2023 年於法國里昂 GRAME 國立音樂創作中心駐村創作運用木魚、小鑼和馬達作為自動裝置作品《.micro-ec(h)osystem》；2023 年於國家兩廳院 Taiwan Week 階段呈現的音樂作品《共振計畫：木魚、鑼、罄》，一路到今年 2024年的新作品《共振計畫：拍頻》為木魚與鑼、自動裝置、電聲、震動喇叭和六位樂手的演出作品。這個計畫核心在於挖掘在地工藝樂器的特色，集結出以聲音為主並聚焦不同切面的系列作品。

有機會能創作都是值得感激的事，這次一起創作經歷了很多高和低點、挑戰和感動的時刻。過程中宛如此作品主題「拍頻」，我們帶著相似又有所不同的看法，有時近有時遠，透過不斷地互相挑戰、互補技能和互相鼓勵，試圖「調頻」到一致的創作頻率。

特別感謝禾豐工藝木魚張華龍師傅的支持和友情，透過對話激盪讓我們能深度認識木魚，並為此帶入聲音實驗的可能；感謝林午銅鑼林烈旗和林浩賢師傅分享鑼細緻的聲音美學，並為此用心調音。

作品介紹

《共振計畫：拍頻》聚焦臺灣在地製造的工藝品樂器：木魚與鑼。此作品以當代音樂和聲音藝術思維出發，主創者多次走訪工廠並與工藝師傅對話交流，探索工藝品的再生性和聲響的豐富性。作品尋找空間與聲響的碰撞、身體與樂器的共鳴、呼吸和震動的感知，以及亂與序之間的來回，藉由木魚與鑼的聲音本質和調變的節拍律動中，不斷來回並重新對焦。

此作品僅使用這兩種樂器：木魚與鑼，搭配運用不同的裝置媒材、敲擊棒槌與演奏方式，和多種樂器尺寸：如 2 至 26 台寸的木魚，和 5 至 36 台寸的鑼，綜合超過 100 個樂器，以 6 位擊樂手、音響喇叭、震動喇叭，和自動聲音裝置，來挖掘這兩種樂器豐富的音色。演出空間把觀眾席放置中心而樂器和樂手環繞四周，看見 180 度和聽見 360 度，體驗聲音來自不同方位，讓觀眾置身於變化的韻律中，與空間一起共振。

這次的演出主題「拍頻」，靈感始於這兩個樂器在音色和應用上的本質。拍頻一詞意指聲學現象中兩個相近但不同的聲波頻率，互相干涉下產生的脈動節拍感。本質指的是鑼的聲音本身就自帶拍頻並包含豐富的泛音；而木魚除了用震動喇叭再造拍頻效果外，它本身帶有的聲音刻板印象——反覆且單一規律的節拍，透過速度快慢來表現相近又不同的拍頻。有時混亂有時秩序，在亂與序、錯位和同步之間來回擺盪。

此作品宛如一個無限迴圈，沒有開始也沒有終止，透過震動讓同一時空下的人與物環環相扣。震動從演奏者的手傳到樂器，從樂器傳到空間，再從空間傳到觀眾，讓一切當下都一起震動和一起共振，讓彼此在相同的時空韻律裡，找到相近的頻率。

主創者介紹

主創 / 聲音暨裝置設計：賴奇霞

聲音藝術創作者暨擊樂手，創作作品曾受邀於國家兩廳院、朱銘美術館、鳳甲美術館、陸府植深館、臺中市屯區藝文中心、比利時 CC De Factorij 文化中心等地展演。曾獲選至台北國際藝術村、比利時 Het Entrepot、及法國里昂 GRAME 國立音樂創作中心駐村藝術創作。近期作品關注在地文化、物件與聲音藝術的連結。現為一公聲藝術核心成員，致力於聲音藝術創作、音樂設計、演出製作、電子音樂演出，與電腦音樂教學。

http://linktr.ee/laichihsia

主創 / 作曲：林煒傑

出生於臺灣臺中市，作品曾受委託由國內外團體發表演出，如國立臺灣交響樂團、三個人、琵琶雅集、中央 C、巴黎當代樂團、法國廣播愛樂樂團、澳洲 ELISION、瑞典CuriousChamberPlayers、法國 Multilaterale、義 大 利 mdi、 美 國 Alarm Will Sound 等。

作品曾在許多音樂節發表，如法國 IRCAM ManiFeste、奧地利 Impuls、德國 ECLAT、法國國家廣播電臺 Création Mondiale 節目等。2022 年曾擔任國家兩廳院製作秋天藝術節《先行：無框的靈魂》構作。

https://linktr.ee/linweichieh

演出製作群

製作團隊：一公聲藝術

一公聲藝術致力於音樂與聲音藝術之創作、表演與設計，同時延伸出節目策畫、藝術策展與推廣、國際交流及演出製作等範疇，成立願景在於促進優質藝術發展並活絡文化環境。未來將持續以別具風格的藝術美學及跨領域合作繼續耕耘於藝術之路，持續關注藝術家、作品與觀眾群之間的三方連結，深化藝術文化於當代生活。近期以臺灣物件和在地文化元素作為創作核心，從不同角度取材來自臺灣生活和在地工藝的特色，並透過田調和實驗，來發展以聲音為主的表演藝術作品，重新感受文化迷人之處。

演出：洪于雯

臺灣擊樂演奏家，2012 年獲法國國立里昂高等音樂院擊樂演奏文憑，返臺後以打擊樂為根本，同時參與其他藝術領域表演及創作；近期作品關注自身文化及生活反思與現代音樂的融合連結，2022 年於國家兩廳院新點子實驗場發表個人作品《聲妖錄》；以演奏者、創作者、教育工作者等多重身分致力於表演藝術，現為一公聲藝術核心成員，同時任教於國立臺南大學音樂學系、國立東華大學音樂學系及國立臺南藝術大學音樂學系。

演出：余若玫

擊樂演奏者，擅長當代室內樂演奏並兼具教學與創作身分，勇於探索並持續致力於多元表演藝術領域。國立臺北教育大學畢業後，負笈法國布隆尼、瑞士日內瓦與德國法蘭克福高等音樂院，修習擊樂及當代室內樂演奏並獲最高演奏家文憑。曾為摩登樂集學苑（IEMA）成員，並與 Onyx 三重奏獲 2011年 BorisPergamenschikow 室內樂首獎。

演出：李美儀

旅荷臺灣擊樂演奏家，2005 年畢業於國立臺灣藝術大學音樂學系；2010 年取得荷蘭海牙皇家音樂院碩士文憑，2012 年獲荷蘭 NFPK 等獎學金，隔年取得德國斯圖加特音樂院打擊樂演奏家博士文憑。現為 The Paper Ensemble、Herz Ensemble 團員。演奏類型橫跨實驗、現代樂團與劇場，2017、2018 年擔任現代音樂劇團 Veenfabriek 客席團員。旅荷期間與現代音樂樂團 Slagwerk Den Haag (HIIIT)、Insomion Ensemble 及舞團 Guy en Roni 合作演出，曾與劇場導演 Paul Koek、FloorHouwinktenCate 等人協助劇場製作，並於歐洲等地音樂節與各地藝術家及作曲家共同創作演出，為活躍的演奏家與表演者。



演出：蔡方昀

擊樂演奏家，畢業於國立臺南藝術大學七年一貫制音樂學系，曾師事鄭雅心、蔡哲明、毛若瑾老師。橫跨舞蹈、戲劇、電子音樂、影像等各類型跨領域製作。參與 JPG 實驗室《每個動作都有一個聲音》演出、臺北 TIPC《擊樂 i 世代》音樂會、Nana Formosa 擊樂二重奏由環球唱片發行之《懷月之心》專輯錄音、臺灣作曲家林煒傑首演《共振計畫：木魚》。

演出：張瑜蓁

畢業於東海大學音樂學系碩士班。由蔡哲明老師啟蒙擊樂學習，曾師事陳哲輝老師、郭光遠老師、毛若瑾老師。現為國立臺灣交響樂團附設管樂團之成員，曾任國家交響樂團、國立臺灣交響樂團協演人員。2015 年獲盧森堡國際擊樂四重奏大賽第三名。積極參加現代作品演出，曾參與 2015 年亞洲作曲家聯盟音樂節、國家兩廳院新點子樂展、2016年臺北國際現代音樂節及 2022 年衛武營國際音樂節之演出。

演出：黃筱婷

畢業於國立臺灣師範大學音樂學系碩士班，主修擊樂。曾師事鄭雅心老師、李佩洵老師、陳姵吟老師、毛若瑾老師。2018 年組成演出團隊 ave. 160 並入選第三屆 JPG 擊樂實驗室計畫，2019 年舉辦擊樂與雜耍工作坊《PerCus》，2020 年創作演出第三屆 JPG實驗室《掉了馬戲團》，與雜耍進行跨域演出。2022 年受邀參與荷蘭 Tromp Percussion Sessions (TPS) 演出。2023 年榮獲全國學生音樂比賽木琴獨奏大專組特優第一名。

空間設計：郭家宏

2014 年畢業於國立交通大學應用藝術研究所，2012 年曾到芬蘭 Aalto University 家具設計研究所交換一年。曾獲 2018 年宜蘭椅金獎、2015 年臺灣文博會亞洲新銳設計師、2010 年德國 iF 概念設計獎。有工業與家具設計背景的他，擅長以實驗的精神探索材料的可能性，順應材料的特性發展成為設計作品。目前為木夫有限公司負責人。

燈光設計：曾睿琁

屏東人。著迷於光與時間、空間的關係；在燈光、空間作品中，著重在由概念性探討出發，將對光之觀察，與材質之關係，及與時間的相對性，拼貼與再現。

https://www.raytsenglighting.com/

顧問：許哲彬

四把椅子劇團藝術總監，英國皇家中央演講戲劇學院劇場創作碩士。現為國立臺北藝術大學戲劇學系專任講師、中國文化大學戲劇學系兼任講師，曾獲選為《PAR 表演藝術雜誌》2021 戲劇類年度人物、雲門創計畫獲獎助者，亦跨界參與藝術團體「發條鼻子」。

TIFA, Multiverses in Theater

The concept of time in theater is inherently non-linear. Artists deftly navigate between the simultaneously existing and entangled past, present, and future. Often, they extract materials from memories or look back at the present from the perspective of the future. As spectators, we marvel at the fluidity of time and exclaim: "The present is simultaneously the past and the future!"

For the 2024 TIFA, we invite audiences to traverse the temporal multiverses. We aim to revisit those unforgettable, exhilarating moments. Artists draw from their robust and radiant traditions to create works in a variety of formats that resonate with future. They rediscover innovative power within the classics or explore contemporary social interaction through creativity. We can even hop on a time machine created through technology to return to the site of an event, to engage in dialogue through the work.

Join us in this journey! Let's accompany the boundary-defying artists as we navigate between the multiverses in theater. "The past can be revisited, and the future is within reach." This journey transcends the realm of physics; it is our present moment.



Creator's Note

Written by Lai Chi-hsia & Lin Wei-chieh

We remember visiting the MuYu (temple block) factory in Miaoli for the first time in 2020, what immediately struck us was the various sizes of MuYu lying in the factory. As we watched craftsman Chang with intense concentration “ko-ko-ko” hitting the MuYu and carving the holes, he said he was “tuning” the MuYu. In the past we thought tuning is all about adjusting the pitch of the instrument, but after talking to him, “tuning” MuYu is much more than that, it also adjusts the resonances, bright or dark tones, focused or diffused spectrums and etc., a much more nuanced approach to adjusting the timbre of MuYu.

In the following year we visited Gong Studio in Yilan, craftsman Lin was hammering with his own tools. In the factory there were two 28-inch Luo (temple gong), as we hit the center of Luo, a sonorous pulsating “om-om-om” sound followed, we asked the craftsman which sound was better for the two 28-inch, he said one was pulsating faster than the other, and what he was referring to was the beating or pulsations within the resonance after the attack.

Visiting these two craft factories made us full of surprises and emotions, so we began a series of creative projects based on craft instruments: Reverberation:

MuYu

(2021), a work using 56 MuYu (temple blocks) for five percussionists, transducers, and video, performed in the MuYu factory in Miaoli; Reverberation:

MuYu+

(2022), which presented MuYu in various appearances in a museum exhibition setting as well as displaying two works based on MuYu;

.micro-ec(h)osystem

(2023), a sound installation developed during GRAME LIPS-LAB residency in Lyon, using MuYu and Luo as objects to create an automated sound ecosystem; and Reverberation:

MuYu, Luo, Ching

(2023), a work-in-progress musical performance showcased during NTCH Taiwan Week; and finally to

Reverberation: Pulsating

(2024), written for MuYu and Luo, performed by six percussionists, transducers, electronic, and installation. These projects continue to explore the characteristics of local crafts, culminating into a series of sound works that each has its own focus.

Having the opportunity to create music is something to be grateful for. During this co-creative process we experienced many highs and lows, challenges and precious moments. The journey is like the theme of this work, pulsating, where we have similar but different views, sometimes close and sometimes quite far away. By constantly challenging and complementing each other's skills, encouraging each other throughout, we try to be “in-tune” to the same creative frequency.

Special thanks must be given to craftsman Chang Hua-lung for his friendship and support, and through our many wonderful conversations allowed us to have a deeper understanding of MuYu, and open the possibility of sound experimentation. We would also like to thank craftsmen Lin Lie- chi and Lin Hao-hsien for sharing their Luo's intricate sonic philosophy and tuning Luos for our performances.



Synopsis

Reverberation: Pulsating

(2024) focuses on Taiwanese locally-made craft instruments: MuYu and Luo. Its starting point is based on the aesthetics of contemporary music and sound art. Both main creators visited the factories many times and had numerous conversations with the craftsmen, exploring the repurposing and sonic possibilities of these crafts. This work attempts to uncover the collision between space and sound, the resonance between the body and the instrument, the sensation of breathing and vibration, and the alternation between chaos and order, all of which constantly goes back and forth and refocuses between the sonic essence of MuYu and Luo and the modulated rhythmic pulsations.

This work only features these two instruments, MuYu and Luo, accompanied by various methods of installation, percussion mallets, and playing techniques, with instrumental sizes ranging from 2 to 26-inch for MuYu, and 5 to 36-inch for Luo, totaling over 100 instruments, and performed by six percussionists, along with speakers, transducers, and installation, the inner qualities and textures of these two instruments are explored and revealed. In the performance we place the audience in the middle, surrounded by all the performers and instruments, the audience is able to see 180 degrees in addition to experiencing 360 degrees of sound coming from all directions, allowing the audience to reverberate in the space with the ever-changing pulsations.

The theme of this work “pulsating” is inspired by the nature characteristics and the timbre of these two instruments. The term “pulsating”, or more specifically, “beating”, refers to an acoustic interference phenomena between two slightly different frequencies which produces periodic pulsations. In fact Luo itself actually produces pulsations within its rich harmonic spectrum, and it is the essence of Luo's sound. On the other hand, besides creating pulsations using transducers, the stereotypical MuYu characteristic is making metronome-like steady and repetitive pulses, and through the change of speed it is able to display similar but different rate of pulsations between MuYu. Sometimes chaotic, sometimes in order, oscillating constantly between chaos/order and out of sync/in sync.

This work is like an infinite loop, without beginning or ending. Through vibration, people and objects are intertwined in the same time and same space. The vibration transmits from the performers to the instruments, instruments to the space, and space back to the audience, allowing everything to vibrate together, to reverberate together, and for each other in the same space and time to find similar resonating frequencies.

Creators

Co-creation, Sound, Installation: Lai Chi-hsia

Taiwanese sound artist / percussionist, Chi-hsia Lai has a background in music and new media art. She has performed in Europe, Australia, Japan and Taiwan. Chi- hsia founded One Litre Sound in 2015, and is based in Taichung working as a sound creator, music designer, performer, concert producer and educator. Her works have been shown in many venues including NTCH, Juming Museum and Honggah Museum.

http://linktr.ee/laichihsia



Co-creation, Composer: Lin Wei-chieh

Lin Wei-chieh was born in Taichung, Taiwan, and his music has been performed by ensembles such as Ensemble Intercontemporain, Orchestre Philharmonique de Radio France, 3people, Pipa-ensemble, C-Camerata, National Taiwan Symphony Orchestra, Curious Chamber Players, ELISION, Multilaterale, Mdi, and Alarm Will Sound. His music has been featured in festivals including ManiFeste at IRCAM, Impuls, and Eclat. His music has been featured on the “Création Mondiale” program on Radio France. In 2022 he served as Dramaturgy for

Beyond: the Spirits of the Visionaries

for the NTCH Artquake In Autumn Festival.

https://linktr.ee/linweichieh.

Production Team

Production: One Litre Sound

One Litre Sound is dedicated to creation, performance, and sound design. Also, it extends the scope into program planning, art curation and promotion, international exchange, and performance production. The vision of its establishment is to promote the development of performance and sound art, for cultivating an environment of culture. In the future, it will continue to work in unique aesthetics and cross-field collaboration in its artistic journey to deepen art culture in contemporary life. One Litre Sound has been creating works that are based in Taiwanese culture, from various perspectives of utilizing Taiwanese daily life and local craftsmanship as inspiration, and through field research and experimentation to develop sound-based performance works that re-experience the beauty of culture.



Performer: Hung Yu-wen

Hung Yu-wen is a Taiwanese percussionist with a Master’s degree in Percussion Performance from the Conservatoire National Supérieur Musique et Danse de Lyon (2012) in France. Upon returning to Taiwan, she has established herself as a performer, creator, and educator in the field of percussion, and has been involved in performance and creative endeavors across artistic genres. Her recent work merges reflections on her own cultural background and life experiences with contemporary music, as exemplified by her solo work

Parallax Archeology

, presented at the NTCH Ideas Lab in 2022. She is a core member of One Litre Sound and currently teaches at the departments of Music at National Tainan University, Dong Hwa University, and Tainan National University of the Arts.

Performer: Yu Rho-mei

Percussionist, based in Taiwan. As a contemporary chamber music performer, educator, and creator, Rho-mei is dedicated to exploring diverse performances with an interdisciplinary nature.

After graduating from the National Taipei University of Education, she moved to Europe and pursued advanced studies of percussion performing arts in CCR de Boulogne- Billancourt in France and HEM de Genève in Switzerland, and completed her Konzertexamen Diploma in Frankfurt HfMDK in Germany.

She was a member of International Ensemble Modern Academy (Frankfurt). With Trio Onyx, she won the Boris Pergamenschikow Prize for contemporary chamber music (2011).



Performer: Lee Mei-yi

Percussionist and Performer based in the Netherlands. After achieving her bachelor degree at the National Taiwan University of Arts, she moved to The Netherlands to continue her postgraduate studies at the Royal Conservatory in The Hague. In 2013 she completed the “Konzertexamen” degree at the University of Music and Performing Arts in Stuttgart. with the support of Netherland Fonds Podiumkunsten.

She has collaborated with different fields of arts such as dance, theatre, visual, experimental music, interdisciplinary. In the 2017 / 2018 season she was invited to ‘Young Theater Maker’ program in the Veenfabriek music theater group. Currently she is a member of Paper Ensemble and Herz Ensemble.

Performer: Tsai Fang-yun

Tsai Fang-yun, a graduate of the seven-year integrated music program at Tainan National University of the Arts, is a percussionist who has studied under Cheng Ya-hsin, Tsai Che-ming, and Mao Jo-chin. Her artistic expression spans various disciplines, including dance, theater, electronic music, and video. Tsai has participated in performances such as

Every Movement Has a Sound

with the JPG Laboratory; the Taipei TIPC's New Sounds concert; the Nana Formosa Percussion Duo's

Moon Inside

album released under the Universal Records label; and the premiere performance of Lin Wei-Jie's

Reverberation: MuYu

.

Performer: Chang Yu-chen

Chang Yu-chen, a graduate of Tunghai University's Department of Music, is a percussionist who studied under Tsai Che- ming, Chen Che-hui, Kuo Kuang-yuan, and Mao Jo-chin. Currently a member of the National Taiwan Symphony Orchestra (NTSO) Wind Ensemble, she has also performed with the NTSO and the National Symphony Orchestra. Receiving third place honors at the 2015 Luxembourg International Percussion Quartet Competition, she has participated in various contemporary music festivals, including the Asian Composers League Music Festival, the NTCH Ideas Lab Music Innovation Series, the 2016 Taipei International New Music Festival, and the 2022 Weiwuying International Music Festival.

Performer: Huang Hsiao-ting

Huang Hsiao-ting holds a Master's degree in Music from National Taiwan Normal University, specializing in percussion. She has studied under Cheng Ya-hsin, Lee Pei-hsun, ChenPei-yin and Mao Jo-chin. In 2018, she formed the percussion group ave. 160, which was selected for the third JPG Percussion Laboratory Project. In 2020, Huang performed in the Third JPG Laboratory Oops Circus, an interdisciplinary performance combining percussion with juggling. She was invited to participate in the Tromp Percussion Sessions in the Netherlands in 2022, and received first prize honors in the xylophone solo category at the National Student Music Competition in 2023.

Stage Design: Kuo Chia-hung

Graduated from Institute of Applied Arts, NCTU in 2014. During 2012-2013 he studied in Aalto University as an exchange student. He focuses on wood material with an experimental design process and leverages the traits of the material to develop design work. He has received awards including Yilan Chair Design Competition - Seating Design, 1st Prize (2018), Creative Expo Taiwan - Young Talents Award (2015), and iF Concept Award, Top 100 (2010). In 2020, he founded Moofoo Company.

Lighting Design: Ray Tseng

Born in Pingtung, Taiwan. Being fascinated in the relation between light, space and time; Believing in that the observer is the creator, Ray focuses on processing theatre lighting design work with the concept of itself together, and then grafting / reproducing with the observation of light, the texture of material and relativity of time.

https://www.raytsenglighting.com/

Consultant: Tora Hsu

Tora Hsu, the artistic director of Four Chairs Theatre, holds a Master of Arts degree in Advanced Theatre Practice from the Royal Central School of Speech and Drama (UK). He is currently an associate professor at National Taipei University of the Arts' School of Theatre Arts, and an adjunct professor at the Chinese Culture University's Department of Theatre Arts. Hsu was named one of Performing Arts Redefined (PAR) magazine's 2021 Theater Person of the Year and is a recipient of the Cloud Gate Art Makers Project grant. He has also been involved in interdisciplinary projects with the art group “Clockwork Noses.”



Credits

Project Leader: Lai Chi-hsia

Co-creation、Composer: Lin Wei-chieh

Co-creation、Sound、Installation: Lai Chi-hsia

Performers: Hung Yu-wen, YuRho-mei, LeeMei-yi, Tsai Fang-yun, Chang Yu-chen, Huang Hsiao-ting

StageDesign: Kuo Chia-hung

Lighting Design: Ray Tseng

Consultant: Tora Hsu

StageManager: Huang Yung-chih

Audio Technical Advisor: Chen Yu-chien, Liu Shih-wei

Installation Technical Advisor: Guan Shian-yu

Technical Director: Yap Siew-yin

Master Electrician: Wang Yung

Sound Crew: Shao Ko-han, Chang Chih-hui, Chao Chih-yao

Stage Crew: Chou Kuan-chih, Lin Chen-xian, Lin Ming-te, ShenChen-you, Shen Chen-jhih, WuYu-ying, ChenXian-da, PanYu-ping, Hsieh Yun, Liu Kuan-yu, LaiChi-chung, ChangHang, Chang Yan-jhen

Lighting Crew: Hsu Chieh, Yang Chung-hsuan, Peng Hui-xuan, Liu Tsung-po, Kao Yi-shon, Liang Hung-yue, Tsao Hsin-tzu

Photography: LinYu-quan

VideoDocumentary: TheShipFilm

Moderator of Post-show Talk: Lin Chih-yang

Visual Design: Hsiao Yang-hsi

Production Coordinator: Spring Chen

Executive Production Coordinatio: Nian Hsin-yu

Production: OneLitreSound

Special Thanks:

Chang Hua-lung, He Feng Religion Craft Ltd

Lin Lie-chi & Lin Hao-hsien, Lin-Wu Gong Studio

Lin I-chin & Lin Chih-yang, Bare Feet Dance Theatre

NanaFormosa, Cadeson, Chen Pei-chun, Lee Wei-ching, Lin Ying-ju

Very appreciate for your feedback! This is an online questionnaire:

Online Questionnaire



《拍頻》

"Pulsating"

已複製引用網址！