《寄聲之廟》

Uni Percussion: Temple of Resonance

基本資料

用耳朵參拜，走進聲音的廟宇，感受信仰的共鳴

百年信仰文化 X 當代實驗擊樂 X 遊走式劇場

當雙手合十、閉上雙眼，耳朵接收的，不僅是聲音，而是信仰的世界。

由不二擊聲音製造所藝術總監薛詠之以當代擊樂為基礎，打造一場遊走式的聲音劇場，帶領觀眾從遶境入廟到擲筊許願，探索信仰的聲音力量。結合當代擊樂、北管、遶境聲響氛圍等元素，融入電子聲響與廟埕田野錄音，構築出一座「看不見的廟」。演出中觀眾可自由走動，如同進入真正的廟宇般，感受神聖與日常記憶的交會，邀請你用耳朵參拜，一起成為聲音的信徒。

臺灣的廟宇無處不在，是這片土地最獨特的文化印記。鑼鼓喧囂、戰鈸穿天，是廟會活動中熟悉的熱鬧景象，也是台灣人共同的回憶畫面。人們藉由遶境、陣頭和祈拜，向神明訴說心事、祈求平安與幸福。廟宇不僅是信仰的寄託，更是生活中的重要存在。然而，日常的熟悉使我們對宮廟文化的細節與深層意義少有深入的探討。

2024年5月，《寄聲之廟》於高雄春天藝術節首次登場，獲得熱烈迴響，更入圍第23屆台新藝術獎。這場演出靈感來自建築師賴伯威的著作《寄生之廟》，並以其諧音「寄聲」展現聲音與信仰的交會。台灣信仰文化的力量無處不在，即使不是信徒，人們依然能在日常生活中感受到廟宇文化的擴散與滲透。信徒將願望與期待寄託於眾神，那些無形的信仰匯聚成巨大的力量。而《寄聲之廟》則以聲音作為媒介，傳遞這些力量，探索實體廟宇與心靈殿堂的虛實交融，並將其寄生於劇場的黑盒子空間中。

Prologue

NTCH Ideas Lab serves as a platform for creators to ignite ideas and expand the boundaries of art. It has supported artists in the early stages of creation through open calls, creative mentorship, and work-in-progress presentations. Starting in 2025, NTCH Ideas Lab will emphasize exchange within the creative community and early-stage dialogues between artists and audiences. In addition to ticketed performances, there will be more post-show talks, as well as presentations of works-in-progress and cultural tours, deepening the connection between the work, its creators, and the audience.

This year, four featured productions each pose and respond to questions of our contemporary moment in their unique ways—Tjimur Dance Theatre: X aiwan Utopia weaves Chopin's music with traditional Paiwan circle dance to explore a new equilibrium and emerging order between the conventional and the contemporary. Yen-Ting TSENG: The Grand Elixir Factory brings together six artists working across diverse media to investigate Taiwan's petrochemical industry and its products' distinctive social and cultural context. Uni Percussion: Temple of Resonance creates a site-responsive sound theatre grounded in contemporary percussion, conjuring an "invisible temple" through sonic movement and spatial exploration. Nai-Hsuan Sunny YANG: Worn Yet Unfolding collaborates with five emerging dancers, using physical inquiry and embodied dialogue to reflect deeply on aging and the pursuit of self-realization.

NTCH Ideas Lab aims for every performance and each idea exchange to be a source of creative energy that continually raises questions about the world, provokes thought, and evokes emotional resonance.

Artist's Note

Hsueh Yung-chih

I'm deeply thankful to Wind and Ear Studio for inviting Uni Percussion to create Temple Fair with Myself at Shatao Temple in Tainan in 2019. That project marked the beginning of my journey into temple culture. Before that, I wasn't someone who often visited temples. But that experience opened a path that led me to pilgrimages, incenseoffering trips, and fieldwork grounded in ritual.

What moved me most were the people I met, the traditions I witnessed, and the atmosphere that surrounded it all.

Each year, during the months of Mazu Madness, I keep the Baishatun Mazu Pilgrimage livestream running on my phone. The sound of the gongs brings a deep sense of calm. Mazu's joy is almost palpable in the sway of the palanquin making its way through the streets.

There are moments when I find myself in tears, especially when I see the elderly or children in earnest anticipation for the palanquin to pass by.

Maybe that's what faith is. You can't see it or hold it, but it offers something solid to lean on and gives us strength. This performance has evolved from the sights and sounds of temple festivals to become a discussion of the emotions imparted by faith.

I asked myself a question: aside from faith, what else brings me peace and joy?My answer is sound. And the act of making music.

The Temple of Resonance does not include traditional temple music, nor does it recreate a physical temple. Instead, it presents a space built from sound. It is a temple imagined through rhythms, tones, and the feelings they awaken. It is shaped by memory, emotion, and the voice that speaks from within.

A temple made of sound.

Let us worship with our ears.

About the Performance

Hsu Jen-hao, Jury Member,

23rd Taishin Arts Award

Following a premiere in 2024 atthe Kaohsiung Experimental Theaterand subsequently touring Taichung andSingapore, the Temple of Resonance nowinvites audiences in northern Taiwan to visitand pay homage at this Temple of Resonancejourney shaped by sound.

Growing up in Taiwan, each of us haspersonal experiences with temple festivalsas well the cumulative experiences from theElectric-Techno Neon Gods (Third Prince) atthe Kaohsiung World Games to the growingMazu Madness in recent years. Artists acrossgenres have made efforts to transformTaiwan's unique temple festival culture intodiverse contemporary artistic forms. Inthe Temple of Resonance, a meticulouslycrafted soundscape enables audiences tore-experience the material and spiritualdimensions of Taiwan's temple culture byconnecting all five senses.

Spatially, a staggered arrangementof black gauze window frames of varioussizes forms two corridor-like entryways tothe altar. Instruments placed at specificlocations symbolize the shrines for differentdeities. Upon entering, the ambient soundsinstantly transport us to memories oftemple courtyards shaded by trees, withelders enjoying tea. When the performancebegins, a tapestry of musical narrativesconnected to celestial realms and divinelegends unfolds when one listens with eyesclosed. But opening one's eyes revealssurprising auditory effects generated byvarious physical phenomena. Between eyesopened and closed is a portal that connectscorporeal sensations with imaginativeworlds. Within this interplay of transcendentimagination and concrete observation,temple faith is simultaneously constructedinto a transcendent imaginative realmthrough the soundscape and showcased as ademonstration of artistic craftsmanship withinthe physical reality. Between observation andlistening, metaphysical and physical worldsswiftly alternate, merging into a sensoriumexperience connecting "art" to "dao" (theWay).

The Temple of Resonance does not intend to recreate the site of a temple festival, but constructs a form ofimmediacy that transforms the collectivecorporeal experiences of temple festivalsinto individualized sensations within acontemporary theater setting. In quietlistening, it opens a space for reconsideringthe essence of faith in temple practices.

About Uni Percussion

Founded by percussionist and soundartist Hsueh Yung-chih, Uni Percussion buildson a foundation of classical and contemporarymusic education. Drawing expertise fromthe disciplines of percussion, sound art,and theatre, the group actively engages ininterdisciplinary collaborations with artistsfrom Taiwan and abroad. Their aim is tocultivate a diverse creative environment anddevelop innovative platforms for audienceinteraction and participation.In recent years, Uni Percussion hascontinued to collaborate with artistsworking in installation, dance, puppetry, andother disciplines. Through performances,curatorial projects, site-specific creations, andcommunity workshops, the group investigatesthe interconnections between society andmultiple artistic genres.Notable works by Uni Percussion includeTemple of Resonance, Temple Fair withMyself, Between Two Breaths, Plato's Cave,and The Ear Monster's Sonic Hideout.

Music Director and Performer｜Hsueh Yung-chih

A percussionist and sound artist, Hsueh Yung-chih works at the intersection of percussion, sound, and interdisciplinary experimentation. His collaborative practice with artists from diverse disciplines has led to the discovery of a shared language through understanding and the mutual discovery of imaginations. His works span multiple formats, including sound installations such as The Ear Monster's Sonic Hideout (2021 Yuanlin; 2022 Taikang), Between Two Breaths (2019 C-Lab); site-specific creations including Temple Fair with Myself (2019 Tainan, OFF Festival), Temple Fair with Myself 2.0 (2022 Tainan Arts Festival), Poasoa Score (2023 Day Art Festival); and theatrical productions: Plato's Cave (2019 NTCH New Ideas LAB), Temple of Resonance (2024 Kaohsiung Spring Arts Festival, 2024 Artgogo - Four Corners of Art in Taichung; 2025 Huayi - Chinese Festival of Arts, Singapore; 2025 NTCH Ideas Lab).

Co-Creator and Co-Director｜Tso Han-chieh

Tso Han-chieh is Artistic Director of Double & Cross Theater Group. A lifelong dancer and devoted theatre-maker, she focuses in recent years on contemporary theatre for infants, young audiences, and youth-based art initiatives.She founded Double & Cross in 2014 and was awarded the Ministry of Culture's Young Artists Grant in 2016. Her Baby Theatre series began with Ci Vuole Un Fiore and has since expanded to include works such as H2O, World in a Word, and Kid's Notes - My body, My partner. She is the artist-in-residence with Uni Percussion for 2024-2025.

Sound Collaborator｜Chou Li-ting

Musician and composer Chou Li-Ting is a member of the indie band Undecimber Fin, where she serves as songwriter and keyboardist. She has released albums include One that reminds me of you and Sonmi. Her creative work spans theatre, dance, film, and animation. Her recent projects include: Temple of Resonance with Uni Percussion, Millennium with Genesis Ensemble, The 21st Century Pear with House Peace, and the animated film Another World with Point Five Creations.

Stage Designer｜Chen Ching-ting

Chen Ching-ting graduated from the Department of Theatrical Design at Taipei National University of the Arts, majoring in stage design. Based in Tainan, his practice spans stage, prop, and installation design.

In recent years, he has contributed stage and spatial design to a wide range of productions, including Temple of Resonancewith Uni Percussion; The Unfinished Adju, collaboration between Draggy Boo Boo and Double & Cross Theater Group; Lighting up the Island with Fevervine Dance Theatre and Tainan 400; Nannan and Hello Halo! with New Visions New Voices Theatre Company; Miss. Tsai Lives at No. 202 Bo'ai Road, HOTEL Hù-Kuì, Tàk-Kang, Hsianglan's Perms for Men with Slashie With You Theatre; Love & Samsara and Affection with the Zhen Yun Lin Ge Puppet Theater; and The Story of Zhu Yigui Told Through Hand Puppetry with the Chang Yi Ge Hand Puppet Theater; and The Names of Taiwan Courtesan with Our Theatre.

Lighting designer｜Chiu Pin-hsueh

Chiu Pin-hsueh works across both lighting design and playwriting. His lighting collaborations span award ceremonies, rock concerts, experimental percussion, traditional opera, contemporary dance and theatre. He is adept in creating a richly expressive lighting vocabulary that dances dynamically with sound.

His picture book project Lost Woods was selected for the Ministry of Culture's 2024 Picture Book and Illustrated Book New Talent Award Program. Chiu's scripts Lost Woods and The Residents of the Upper Plains won First and Second Prize, respectively, in the Taipei Performing Arts Center's Children's Theatre Script Awards in 2022 and 2023.

Credits

Production Team

Music Director and Performer: Hsueh Yung-chih

Co-creator and Director: Tso Han-chieh

Sound Collaborator: Chou Li-ting

Field Recordists: Liu Fang-yi, Cheng Wan-chie, Bion Lin

Stage Designer: Chen Ching-ting

Lighting Designer: Chiu Pin-hsueh

Costume Designer: Hu Wui-min

Paper Puppet Designer: Chen Chao-yeh

Sound Designer and Sound Technical Director: Chung Yang-che

Stage Manager: Huang Yung-chih

Stage Technical Director: Liu Kuan-yu

Lighting Technical Director: Liu Yen-ting

Sound Operator: Lin Jia-yu

Sound Technician: Chen Tien-chi

Lighting Technicians: Wang Cian-yu, Wang Yu-chi, Wang Kai-li, Yu Cheng-yan, Liu Tsung-po

Stage Technicians: Shih Wei-hsiang, Jiang Yun-yi, Lee Ming-yuan, Lin Ching-feng, Lin Chien-yu, Meng Chung-fei, Jheng Bo-chuan, Tsai Chuan-ren, Lai Chi-cheng, Hsieh Wei-chen, Dai Jun-yan

Sound Equipment Provider: Phenomenon Sound Co., LTD.

Lighting Equipment Provider: HISPOT WORKSHOP CO., LTD.

Producer: E.J.

Line Producer: Chuang Chin-lung

Production Execution Coordinator and Rehearsal Assistant: Zhang Yu-wei

Performance Videographer: Yeh Tzu-yu

Photographer: Terry Lin

This premiere is supported by the 2024 Kaohsiung Spring Arts Festival.

NTCH Production Team

Production Coordinator: Annie Wu

Marketing Project Manager: Chen Min-ling

Technical Coordinator: Liu Chao-ming

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《寄聲之廟》

"invisible temple"

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