2025TIFA 河床劇團✕PHI工作室✕歐納西斯文化《之間》

Riverbed Theatre, PHI Studio & Onassis Culture: Blur

基本資料

TIFA，一場繁花盛開的藝術饗宴

每年TIFA，兩廳院會將我們認為必須一看的作品、值得關注的藝術家，端上 TIFA 這個「看世界也看臺灣」的平臺。

疫後的2025，國內外藝術家們無不在蹲低後高高躍起，放大膽量挑戰框架與限制，以手法觀點各異卻無比的堅定回應世界。我們邀請了來自 11 國、18 檔，共 118 場精彩演出輪番登場，展現這個平臺多元而包容的獨特風景，也邀請所有觀眾，一起經歷想像與視角出格的經典翻轉、穿梭時代風格的顛覆之作，不僅要挑戰極限演繹冒險精神，更要以沉浸科技探問人間生死;多位期待已久的樂壇大師亦將閃耀登臺，帶來不可錯過的樂章。

而演出之外，TIFA也有一系列周邊活動，提供節目之外多種接觸藝術的管道與方法。或許能這樣比喻，TIFA 像是一座繁花盛開的花園，歡迎所有人入園，用自己喜歡的態度與視角，找到屬於自己參與藝術的方法。

請與我們一同走入這場繁花盛開的饗宴！

作品簡介

1993年《侏羅紀公園》上映時，恐龍復活似乎只存在於好萊塢電影中。30年後的今天，富人能夠透過複製技術，讓寵物起死回生，科幻小說成為了現實，我們生活在一個死亡不再意味著終點的年代。

《之間》是一場混合實境的劇場體驗，融合了現場表演者與虛擬實境打造出的數位奇觀。它將帶領10位觀眾同時沉浸在超現實的世界當中，探索生命與死亡、真實與虛構的模糊地帶。在這段旅程中，觀眾將穿越層層展開的景觀，親身體驗科學發展所帶來魔術般的奇蹟，以及令人不安的成果。未來已成現實，勇敢走入未知。

創作者的話

「如果我們能戰勝死亡？」這個永恆的問題，自古以來引發了哲學跟宗教對於生命終結與人類本質的論辯。我們對死亡的恐懼，曾促使西班牙探險家龐塞．德．萊昂踏上尋找「青春之泉」的傳奇旅程，也讓華特．迪士尼選擇將自己的頭部冷凍保存，希望未來有天能重返人世。究竟我們為了不朽，願意付出何等代價？

如今，隨著科學的進步，「去滅絕（deextinction）」與「復活生物學（resurrection biology）」等概念已從幻想逐步邁向現實，然而，在試圖改寫自然法則的同時，也不禁感到令人不安的焦慮——我們是否正在動搖對人類本質最根本的理解？儘管內心充滿疑慮，研究仍持續進行，因為我們對死亡的恐懼始終存在。

在《之間》，我們運用獨特的尖端技術（包括VR、AR和AI）來探討這些科學的進展，似乎頗為合適，我們也同樣地正在踏入未知的領域……

自1998 年河床劇團成立以來，從小型黑盒子的超現實總體劇場（Total Theatre）作品、到為單一觀眾打造的表演，逐步發展到在1,500 人席的劇院製作大型演出。如今，隨著我們踏上創作首個XR 體驗的旅程，能與菲比及這支卓越的國際團隊攜手投入這場創意探索，持續突破可能性的邊界，實在令人振奮。未來已然來臨。

———《之間》編導｜郭文泰

文泰和我在義大利威尼斯影展沉浸式單元（Venice Immersive）相識，這是威尼斯影展專門聚焦於延展、混合實境（Extended Reality, XR）的單元。我們察覺到能夠在科技、敘事與倫理的交會處展開創新探索的契機。基因多樣性的流失，以及人類尊嚴、自由與平等的原則，成為這部作品背後的核心命題。

我們皆來自傳統劇場背景，並在各自的創作實踐中展現出相近的詩意風格，這成為我們討論的起點。我們希望透過真人演出、動作捕捉、虛擬實境（VR）與擴增實境（AR）等技術，探索更新穎的敘事形式，打造真正沉浸且發人深省的體驗。

現今，生物工程、複製技術及DNA採集背後的倫理問題正變得愈發切身且急迫。從猛獁象的「滅絕復興」到人類複製的概念，成為這個故事的背景，交織出關於失去與悲傷的敘事。科技與人類存在之間的複雜議題及其潛在影響，使我們將故事聚焦於一位失去兒子的母親。

我們的多維度敘事方式為熟悉虛擬媒材的當代觀眾提供豐富且沉浸式的故事體驗。我們從荒謬劇場（Theatre of the Absurd）汲取靈感，創造出融合羊身與AI的角色，挑戰人類存在的本質。

《之間》提供了一個契機，讓觀眾能夠無縫地穿梭於不同敘事形式之間，感受跨越傳統劇場邊界的沉浸式體驗。

———《之間》編導｜菲比．格林伯格

團隊與主創介紹

河床劇團

河床劇團於1998年成立，以意象為主的「總體劇場」跨越了視覺藝術與表演藝術之間的界線。評論家讚賞其有機、雕塑般的「潛意識」劇場作品，可與山繆．貝克特及大衛．林區最精湛的作品相提並論。已搬演超過50部原創作品，演出足跡遍及日、韓、新、法、德、美等國。2022年成立公司，致力於VR與XR作品。VR作品連續三年（2022-2024）入選威尼斯影展，並獲得盧森堡城市電影節最佳沉浸式體驗大獎、加拿大新影像影展最佳全景獎及高雄電影節最佳VR360獎。

PHI工作室

位於加拿大蒙特婁，專精於以使用者體驗為導向的沉浸式場域體驗。其創新的製作方式、技術專業及在新型敘事形式的成就，讓PHI工作室在加拿大及國際上皆享有盛譽。工作室與全球主要產業合作夥伴及各大影展合作，參與許多屢獲殊榮的計畫，致力於塑造沉浸式體驗的未來。PHI工作室被譽為人才孵化器，亦是推動多學科沉浸式專案概念與實現的催化劑。

歐納西斯文化

歐納西斯文化以具指標性的場館——歐納西斯文化中心為核心，是希臘當代文化具領導地位的單位，透過多元的計畫與作品，連結雅典及其他地區。以各類講座與活動，促進對民主、社會正義、性別平等及LGBTQIA+社群人權的討論。歐納西斯文化支持藝術發展、創作與實驗，製作表演、電影和跨領域作品，同時為新銳與資深藝術家提供獎助金及駐地計畫。它在數位平臺上不斷推出符合時代脈動的內容，將在地與全球緊密交織，成為生活不可或缺的一部分。

編導｜郭文泰

河床劇團藝術總監，已執導超過50部原創意象劇場作品，包括在國家戲劇院、臺中國家歌劇院、韓國亞洲文化殿堂、新加坡濱海劇院和法國穆浮塔劇院等地演出。他也是位雕塑家和裝置藝術家，曾在臺北、上海及威尼斯等地展出。他的虛擬實境作品連續三年入選威尼斯影展，榮獲盧森堡城市電影節最佳沉浸式體驗大獎、加拿大新影像影展最佳全景獎，及高雄電影節最佳VR360獎。曾獲選為美國傅爾布萊特計畫資深學者，現為美國格林奈爾學院劇場、舞蹈和表演研究系教授。

編導｜菲比．格林伯格

菲比．格林伯格畢業於法國賈克樂寇國際戲劇學校，對動作技巧與肢體劇場有著熱情探索。在1990年代回到蒙特婁之前，曾於歐洲各地巡演並製作劇場作品。格林伯格創立了位於蒙特婁的跳水馬創作體工作室，專注於身體表演與舞臺空間的探索。2007年，她創立DHC／ART基金會，於2012年成立加拿大數位藝術中心PHICenter，致力於推廣蒙特婁舊城區的藝術與文化。作為PHI的創辦人兼總監，格林伯格支持許多跨越藝術、電影、音樂、劇場及混合實境的項目。

演出製作群

沉浸式體驗

編導：郭文泰、菲比．格林伯格

PHI工作室製作人：科琳．德爾貝爾、茱莉．特倫布萊

河床劇團製作人：葉素伶

歐納西斯文化製作人：普羅德羅莫斯．齊亞沃斯

視覺體驗設計顧問：梅拉妮．庫爾蒂納

羊女之舞編舞：愛德華．洛克

2D溺水動畫：卡洛琳．羅伯特

音樂設計：王榆鈞

聲音設計整合：高勤倫

FMOD聲音整合：吳柏毅

服裝設計：湯森瑞、陳彥瑋、陳亞琦

妝髮：何柏蒼

演員

母親（現場演員）：張寗、游育歆

母親（VR360影片）：張寗

母親（預錄動態補捉）：瑪克辛．丹尼斯

兒子（VR360影片及動態補捉）：林夏至

複製兒子（VR360影片）：王昶皓、簡于宸

抱羊的女人（VR360影片）：沈秀玲

羊女（動態補捉）：蓋辛．莫格

大頭（英文版）：菲比．格林伯格

大頭（中文版）：陳歆淇

大頭（希臘文版）：艾琳妮．邦達莉

大頭（法文版）：菲比．格林伯格

科學家（VR360影片及容積擷取）：林向、李柏瑞、莊凱雯、李綾、鄭筑勻、相枚錞

羊：柔柔

前期開發演員：托馬斯．瓦列爾、黃致愷

創意與互動開發

PHI工作室

軟體技術總監：托馬斯．阿祖格

創意開發：愛德華．蘭克托—貝諾瓦

技術美術：維克多．格魯特

程式設計整合：奧雷爾．夏納爾

原型技術開發支援：喬納森．哈迪

技術指導：梅迪森．迪內爾 、馬克-安德烈．納多

技術支援：卡莉娜．馬奎斯．卡巴耶羅、多里安．維爾海根

專案經理：科琳．德爾貝爾、紀耶姆．洛茲

專案行政：凱文．拉希馬利

2D內容編輯師：凱文．德拉穆爾

沉浸式劇場設計

河床劇團

舞臺設計：郭文泰、卡爾．強森

舞臺美術：卡爾．強森、陳昶志、沈玲秀

舞臺製作：陳昶志、陳婷妤、郭芷綺、陳敏甄、陳怡瑄、黃淑蓮、游育歆、江冠億、梁詠晴、賴榆方、彭揚閔、鑫典藝術有限公司

舞臺技術顧問 ：林世信、許致甄

燈光設計：陳文澤、王天宏

燈光技術：陳繹閎、翁正、莊智淵、江冠陞、張以沁

燈光及觸感控制整合：鄧湘庭

3D物件、環境和視覺特效

行為互動工作室

製作人：莎希娜茲．哈謝姆

執行製作：艾蒂安．拉隆德．高德羅

專案經理：梅莉莎．卡爾

首席3D藝術家：奧黛麗．普林

3D藝術家：馬丁．博多安

角色設計：亞歷山大．拉蓬特

主要動畫師：呂克．桑法孔

技術經理：查爾斯．博許曼

首席開發工程師：大衛．甘涅

VR360拍攝製作

睿至股份有限公司

監製：鄭卜元

行政監製：李正上

專案管理：姚雯

攝影技術指導：周哲宇、全明遠

攝影助理：莊佳儒、呂品瑩

即時監看：莊佳儒

後期製片：姚雯

後期監製：葉銘揚

後期製作：葉銘揚、全明遠、黃泓憲、陳妍蓁

剪接：顏秉盈

動態捕捉

實驗室7

動捕顧問：文森．拉杜瑟

動捕助理：巴提斯．奧熱羅

技術協調：艾莉安．德西萊—杜貝

專案經理：伊莎貝爾．多門斯

動態捕捉數據處理

遊戲開始動畫工作室

製作人：尼克．施密特

首席技術動畫師：埃洛伊．佩雷斯、傑若米・梅尼耶

容積擷取

IP內容實驗室

技術總監：呂坤憲

專案經理：陳東輝、宋美盈

行政：宋文明

技術工程師：郭采靖、陳柏瑞、簡翊政

技術：4DViews容積捕捉系統

旋轉地球序列：影像素材研究

多倫多城市大學



馬赫莎．拉德

王皓民

塞繆爾．迪亞斯

原型開發支援

歐納西斯文化

數位與創新總監：普羅德羅莫斯．齊亞沃斯

製作總監：瓦西利斯．帕納約塔科普洛斯

數位與創新專案協調：赫拉克勒斯．帕帕塞奧多魯

專案協調：卡特琳娜．瓦爾達

技術經理：安東尼斯．科科里斯

副技術經理：揚尼斯．恩托瓦斯

現場製作：瑪莉亞諾塔．吉安納基、費伊．米諾佩特魯．卡西馬蒂

音效部門：揚尼斯．格里亞提斯、迪米特里斯．薩馬拉斯、喬治．察措利斯

影像部門：帕納約提斯．哈吉薩瓦斯、埃夫斯塔修斯．達爾扎諾斯、埃夫斯特拉提奧斯．托加尼迪斯、雅索納斯．皮埃拉科斯

舞台部門：雅科沃斯．達爾岑塔斯、斯泰里奧斯．布爾迪斯、萊昂納多．切拉、塔納西斯．達科、普拉托納斯．察馬多斯、喬治．庫利亞尼迪斯

燈光技師：佛提斯．安德里亞諾普洛斯、基里亞科斯．克桑索普洛斯、菲利波斯．科基納基斯

影像紀錄

創意總監：克里斯托斯．薩里斯

音像製作：斯瑪拉格達．多加妮

攝影師：拉莉亞．多加妮、安德烈亞斯．馬爾庫、揚尼斯．米洛納斯、迪米特里奧斯．齊沃普洛斯

音效：瓦西利斯．扎比科斯

設備：倫特影像錄影

行銷宣傳

行銷統籌：傑瑞米．李思

專案經理：瑪莉安．德瓦勒

視覺傳達指導：米歇爾．奧萊特

3D視覺設計師：薩維里奧．特拉帕索

新媒體暨公關總監：米莉亞姆．阿沙爾

公關、傳播經理與翻譯：皮埃爾—利奧維耶．瑪里尼耶．雷塞斯

傳播經紀：安德魯．格雷

錄影：羅慕昕、陳彥奇

剪接：西蒙．戈塞林

攝影：張震洲、羅慕昕、蘇聖揚、陳彥奇、陳又維

臺灣演出執行

舞臺監督：鄧湘庭、蔡傳仁

體驗管理：楊慶之、謝潔明

體驗服務：陳怡瑄、黃淑蓮、王育羚、相枚錞

舞臺技術指導 ：林世信、許致甄

燈光技術指導：王天宏

舞臺美術及道具執行：陳昶志、陳婷妤

舞監助理：羅婉瑜、萬書瑋

舞臺技術人員：鑫典藝術有限公司、羅云蓉、廖士賢、吳昱勳、林國翰、林維辰、高嘉綺、楊獻文、鄭栢玔

燈光技術人員：李品慢、鄭栢玔

音響技術人員：林維辰

執行製作：劉怡君

宣傳執行：張晏綸

平面設計：藍元宏

網路及影像設備：密特拉影像工作室

中文翻譯：陳歆淇、黃金琳

製作行政

PHI工作室

會計：桑德拉．魯阿諾

法律顧問：安妮．法朗科

保險：加拿大BFL保險公司

河床劇團有限公司

行政總監：葉素伶

專案協調：劉怡君

歐納西斯文化

數位與創新總監：普羅德羅莫斯．齊亞沃斯

製作總監：瓦西利斯．帕納約塔科普洛斯

數位與創新專案協調：赫拉克勒斯．帕帕塞奧多魯

專案協調：卡特琳娜．瓦爾達

技術合作

原型開發

Vive Art

演出製作

睿至股份有限公司

行為互動工作室

實驗室7

FMOD

IP內容實驗室

遊戲開始動畫工作室

Antilatency

必思工作室

賽特股份有限公司

支持單位

內容製作支持單位：加拿大媒體基金FMC/CMF（加拿大）、文化內容策進院（臺灣）、文化企業發展協會（加拿大）、歐納西斯文化（希臘）

本計畫內容製作獲文化內容策進院未來內容國際合資或合製支持

臺灣演出合製單位：臺灣當代文化實驗場

特別感謝

郭秭鈞、林亭均、王柏偉、陳雅雯、王嗣正、簡士棠、楊明達、陳珮文、在地實驗文化事業有限公司、黑眼睛跨劇團、所有參與技術測試的朋友們

國家兩廳院製作團隊

製作統籌：羅心彤

執行製作：蔡慕潔

行銷宣傳：曾翊瑄

舞臺監督：陳奕臻

持本場館當日節目票觀眾，請至廳內折抵機辦理停車優惠

填寫節目問卷

，成為兩廳院官方 LINE 帳號好友再送 LINE POINTS

友善環境｜國家兩廳院印刷品皆選擇使用大豆油墨物料。

演出中孩童陪伴服務｜國家兩廳院在演出期間提供4-8歲孩童陪伴服務，詳細資訊請見兩廳院官網。

TIFA, A Flourishing Arts Banquet!

For each TIFA, we look forward to presenting works we believe are must-sees and artists we think deserve more attention via this platform that reflects both the world and Taiwan.

After the pandemic, artists from Taiwan and around the world are in a crouched position, preparing to take a leap. With unwavering attitudes, they respond to the world by challenging boundaries and limitations via their artistic skills and perspective. A total of 118 outstanding performances by 18 performing artists and art groups from 11 countries demonstrate this platform's unique landscapes of diversity and inclusivity. Together, we will experience classic reversals of imagination, extraordinary perspective, and subversive works that cross eras and styles. We will journey through adventures that challenge limitations, explore life and death through immersive technology, and witness long-awaited performances by renowned maestros.

Last but not least, a series of peripheral events have been planned for TIFA, with the expectation of countless possibilities for the public to experience the arts. Perhaps, TIFA can be likened to a garden with flowers in bloom, into which you are welcome to enter and search for your own way to participate in the arts based on your preferred attitude and perspective.

Please join us for this flourishing arts banquet!

Synopsis

When

Jurassic Park

was released in 1993, resurrecting dinosaurs seemed like something only possible in Hollywood films. Now, three decades later, fiction has become reality, as the wealthy can clone their deceased pets and "bring them back to life." We are living in an age in which death no longer means the end.

Blur

is a mixed-reality theater experience that explores this liminal state between life and death, fact and fiction. The production immerses the ten audience members in a surreal world that integrates a live performer with the digital wonders of virtual reality. The audience journeys through an unfolding landscape, encountering firsthand the magical possibilities and terrifying consequences of these scientific advancements. The future is present. Step into the unknown.

Director's Concept

"What if we could defeat death?" This timeless question has incited philosophical and religious debates about mortality and human essence since the dawn of time. Our fear of death has prompted everything from Ponce de Leon's epic search for the "Fountain of Youth" to Walt Disney storing his head in a cryogenic chamber in hopes of one day being brought back to life. The lengths we would go to be immortal.

And now that scientific advancements have shifted terms like "de-extinction" and "resurrection biology" from the realm of fantasy to reality, it is difficult not to feel a disquieting unease, knowing that as we seek to unwrite the laws of nature we simultaneously threaten to undermine our fundamental understanding of humanity.

But despite our misgivings, the research continues, because our fear continues.

It seems fitting that, in

Blur

, we are using our own unique cocktail of advanced technologies (including VR, AR, and AI) to address these advancements in science, that we are also stepping into the unknown…

Since founding Riverbed in 1998, we have organically shifted from staging surreal, Total Theatre performances in small black box theatres and creating performances for an audience of one to mounting productions in 1500-seat theatres. And now as we venture into realizing our first XR experience, it has been remarkable to work with Phoebe and our amazing team of international collaborators who have joined us in our creative research as we continue to push the boundaries of what is possible. The future is present.

Blur

, Writing & Direction｜Craig Quintero

Craig and I met in Italy at Venice immersive, the Extended Reality section of the Venice international film Festival. We recognized an opportunity to begin an innovative exploration at the intersection of technology, storytelling and ethics. Loss of genetic diversity and principles of human dignity, freedom and equality underpin the questions that inform the narrative.

Our backgrounds in traditional theatre, and a similar poetic approach of our respective practices led the discussion. We hope to develop newer forms of storytelling, using live action, motion, capture virtual reality and augmented reality leading to a truly immersive and thought-provoking experience.

The idea of bio engineering, cloning, and the ethics of science in relationship to DNA harvesting seems timely and pertinent. The idea stemming from the de-extinction of the woolly mammoth to human cloning became the backdrop to a story of loss andtragedy. The complex issues and potentialimplications of technology and humanexistence led us to anchor the story of awoman who loses her son.

Our multidimensional approach offersa rich immersive storytelling experienceto a contemporary audience familiar withthese virtual formats. We sought inspirationfrom theatre of the absurd with charactersembodying a hybrid sheep body and an AIbeing questioning our very human existence.

Blur

is an opportunity to engageaudiences to interact with the storytellingseamlessly, moving from one formatto another encountering an immersiveexperience beyond the borders of traditionaltheatre.

Blur

, Writing & Direction ｜ Phoebe Greenberg

Production Team

Riverbed Theatre Ltd.

Riverbed Theatre was founded in 1998 in Taipei, Taiwan. The company's image-based, Total Theatre productions

blur

the boundaries between visual and performing arts. Critics have praised the organic, sculptural quality of Riverbed's "subconscious" theatre, comparing the performances to the best works of Samuel Beckett and David Lynch. Riverbed has staged over fifty original productions, including works at the Taiwan National Theatre, National Taichung Theater, Asia Culture Center (Korea), Esplanade Studio Theatre (Singapore), Theatre de la Condition de Soies (France), Imaginale Figurentheater Festival (Germany), Kobe Arts Village Center (Japan), and Robert Wilson's Watermill Center (USA). In 2022, the company established Riverbed Theatre Ltd. to focus on producing VR and XR productions. Riverbed's virtual reality films have been selected for the Venice Film Festival for three consecutive years (2022-2024) and have won the Best Immersive Experience Award at the Luxembourg City Film Festival, the Panorama Award at the Festival du Nouveau Cinema, and the Best VR360 Award at the Kaohsiung Film Festival.

PHI Studio

PHI Studio, from Montreal, specializes in immersive location-based experiences with a user experience-driven focus. Recognized locally and internationally for its innovative production approach, technical expertise, and achievements in new forms of storytelling, PHI Studio collaborates with major global industry players and festivals and has worked on many award-winning projects, shaping the future of the immersive experience. PHI Studio has developed a reputation as an incubator for talent, as a catalyst for the conception and implementation of immersive multidisciplinary projects.

Onassis Culture

Onassis Culture, centered around the iconic Onassis Stegi venue—the leading organization in contemporary culture in Greece—connects with Athens through a range of initiatives and works set across the city and beyond. It fosters dialogue on democracy, social justice, gender equality, and the human rights of the LGBTQIA+ community through a series of talks and events. Supporting artistic development, creation, and experimentation, Onassis Culture produces performances, films, and hybrid works while offering fellowships and residencies to both emerging and established artists. With a constant online presence, it creates content that speaks to the present moment. This is culture in sync with the here and now, embracing the local and the global as intertwined aspects of life.

Writing & Direction｜Craig Quintero

As the Artistic Director of the Taipei-based Riverbed Theatre Company, Craig has written and directed over fifty original image-based performances, including productions in Taiwan, Japan, Korea, Singapore, China, France, Germany, and the United States. He is also a sculptor and installation artist whose work has been shown at the Asian Biennial, Venice Biennale Collateral Events, Kobe Biennale, Taipei Biennale, Taipei Fine Arts Museum, Taipei MOCA, and the Shanghai Museum of Contemporary Art. His VR experience,

All That Remains

, premiered at the 79th Venice Film Festival (2022) and won the prize for Best Immersive Experience at the 2023 Luxembourg Film Festival and Best 360 VR Film at the Kaohsiung Film Festival. His second VR experience,

Over the Rainbow

, premiered at the 2023 Tribeca Film Festival and was selected for the "Best of" section for the 80th Venice Film Festival (2023). The project won the Panorama Prize at the Festival du Nouveau Cinéma. His most recent project,

A Simple Silence

, premiered at the Venice FIlm Festival. Craig was selected by Filmmaker Magazine as one of the "25 New Faces of Independent Film" in 2023. A former Fulbright Senior Scholar, Craig received his Ph.D. in Performance Studies from Northwestern University and is a Professor in the Department of Theatre, Dance, and Performance Studies at Grinnell College.

Writing & Direction｜Phoebe Greenberg

Phoebe Greenberg, a L'École Internationale de Théâtre Jacques Lecoq graduate, has passionately explored movement techniques and corporeal theater. Before returning to Montreal in the '90s, she would perform and produce theater productions throughout Europe. Greenberg founded Diving Horse Creations, a Montreal-based studio emphasizing physical performance and stage space exploration. In 2007, she established the DHC/ART Foundation and the PHI Centre in 2012, championing art and culture in Old Montreal. Notably, she conceived and produced the short film

Next Floor

(2007, directed by Denis Villeneuve) showcasing her artistic vision and active role in PHI Films. As PHI's founder and director, Greenberg has championed numerous projects at the crossroads of art, cinema, music, theater and extended reality.

Credits

IMMERSIVE EXPERIENCE

Writing & Direction: Craig Quintero, Phoebe Greenberg

PHI Studio Executive Producer: Coline Delbaere, Julie Tremblay

Riverbed Theatre Executive Producer: Yeh Su-ling

Onassis Culture Executive Producer: Afroditi Panagiotakou, Dimitris Theodoropoulos, Prodromos Tsiavos

Visual Experience Supervisor: Mlanie Courtinat

The Sheep Woman's Choreography: Edouard Lock

2D Animation of Drowning: Caroline Robert

Music: Wang Yu-jun

Sound Designer: Kao Chin-Lun

FMOD Intergration: Wu Bo-yi

Costum Design: Ra Thomson, Chen Yen-wei, Chen Ya-chi

Make Up Artist: Ho Po-tsang

CASTING

The mother (on site): Chang Ning, Yu Yu-hsin

The mother (VR 360 films): Chang Ning

The mother (pre-recorded motion capture): Maxine Denis

The son (VR 360 films and volumetric capture): Lin Sia-jhih

The cloned son (VR 360 films): Wang Chang-hao, Chien Yu-chen

Woman who embraced the sheep (VR 360 films): Sheng Shiou-ling

The Sheep Woman (motion capture): Gesine Moog

The Big Head (English version): Phoebe Greenberg

The Big Head (Mandarin version): Chen Xin-qi

The Big Head (Greek version): Eirini Mpountali

The Big Head (French version): Phoebe Greenberg

Scientists (VR360 films and volumetric capture): Lin Hsiang, Alfonso Lee, Chuang Kai-wen, Avery Lin, Vanessa Cheng, Hsiang Mei-chun

Sheep: Rou-Rou

Prototyping Actor: Thomas Vallires, Ollie Huang

CREATIVE & INTERACTIVE DEVELOPMENT

PHI Studio

Software Technical Director: Thomas Azoug

Creative Development: Édouard Lanctôt-Benoît

Technical Artist: Victor Groot

Programming & Integration: Aurele Chanal

Prototyping Technical Development Support: Jonathan Hardy

Technological Direction: Madison Dinelle, Marc-André Nadeau

Technological Assistance: Karina Marquez Caballero, Dorian Verhaegen

Production Manager: Coline Delbaere, Guillaume Lotz

Production Coordinator: Kevan Rahimaly

2D Content Editor: Kevin Delamourd

IMMERSIVE THEATER DESIGN

Riverbed Theatre

Set Design: Craig Quintero, Carl Johnson

Scenic Painting: Carl Johnson, Chen Chang-chih, Sheng Shiou-ling

Set Construction: Chen Chang-chih, Chen Ting-yu, Kuo Chih-chi, Chen Min-zhen, Chen Yi-hsuan, Wong Shu-lian, Yu Yu-hsin, Chiang Kuan-yi, Liang Yong-qing, Lai Yu-fang, Peng Yang-min, XD Art

Stage Technical Consultant: Sammy Lin, Hsu Chih-chen

Lighting Design: Chen Wen-tse, Wang Tien-hung

Lighting Crew: Chen Yi-hong, Weng Cheng, Zhuang Zhi-yuan, Jiang Guan-sheng, Chang Yi-chin

Haptic Effects Control Integration: Teng Hsiang-ting

3D ASSETS, ENVIRONMENTS and VFX

Behaviour Interactive

Executive Producer: Shahinaze Hachem

Producer: Etienne Lalonde Gaudreau

Project Manager: Melissa Carle

Lead 3D Artist: Audrey Poulin

3D Artist: Martin Beaudoin

Character Designer: Alexandre Lapointe

Key Animator: Luc Sanfacon

Technical Manager: Charles Beauchemin

Lead Developer: David Gagn

360° Films

Funique VR

Executive Producer: Cheng Pu-yuan

Administration Producer: Leo ChengShang Li

Project Manager: Liana Monique Yao

VR Cinematograhy: William Chou, Chuan Ming-yuan

Assistant Camera: Chuang Jia-ru, Lu Ping-ying

Live Monitoring System: Chuang Jia-ru

Producer of Post-Production: Liana Monique Yao

Script Supervisor: Yeh Ming-yang

Post-Prodution Crew: Yeh Ming-yang, Chuan Ming-yuan, Sven Huang, Chen Yen-chen

Editor: Yen Ping-ying

MOTION CAPTURE

LAB 7

Motion Capture Supervisor: Vincent Ladouceur

Motion Capture Assistant: Batiste Augereau

Technical Coordinator: Elianne Desilets-Dub

Project Manager: Isabelle Domens

MOTION CAPTURE DATA PROCESSING

Game On

Executive Producer: Nik Schmidt

Lead Technical Animator: Eloy Perez, Jrmy Meunier

VOLUMETRIC CAPTURE

IP Lab

Technical Director : Lu Kun-hsien

Project Manager: Danieo Chen, Sun Mei-ying

Administrator: Sung Wen-ming

Engineering Technician: Kuo Tsai-ching, Chen Bo-ruei, Chien I-cheng

Technology: HOLOSYS+ by 4DViews

EARTH SEQUENCE: VIDEO FOOTAGE RESEARCH

Toronto Metropolitan University

Mahsa Rad

Haomin Wang

Samuel Dias

PROTOTYPING SUPPORT

Onassis Culture

Head of Digital & Innovation: Prodromos Tsiavos

Head of Production: Vassilis Panagiotakopoulos

Digital & Innovation Coordinator: Heracles Papatheodorou

Project Coordinator: Katerina Varda

Technical Manager: Antonis Kokkoris

Deputy Technical Manager: Giannis Ntovas

Line Production: Marianota Giannaki, Fay Minopetrou Kasimati

Sound Department: Giannis Gliatis, Dimitris Samaras, Giorgos Tsatsoulis

Video Department: Panagiotis Hajisavvas, Efstathios Darzanos, Efstratios Toganidis, Iasonas Pierrakos

Stage Department: Iakovos Darzentas, Stelios Bourdis, Leonardo Cela, Thanasis Dako, Platonas Tsamados, Giorgos Koulianidis

Electricians: Fotis Andrianopoulos, Kyriakos Xanthopoulos,, Filippos Kokkinakis

Prototyping Video Documentation

Creative Head: Christos Sarris

Audiovisual Producer: Smaragda Dogani

Camera operator: Koralia Dogani, Andreas Markou, Ioannis Mylonas, Dimitrios Zivopoulos

Sound: Vasilis Zabikos

Equipment: Rent Photo Video

MARKETING & COMMUNICATIONS

Marketing Director: Jeremy Leith

Project Manager: Marion Dewaele

Artistic Director: Michel Ouellette

3D Artist: Saverio Trapasso

Chief, New Media Partnerships & PR: Myriam Achard

Communications, PR Manager & Translation: Pierre-Olivier Marinier Leseise

Communications Agent: Andrew Gray

Videographer: Lo Boo-him, Mo Chen

Video Editor: Simon Gosselin

Still Photographer: Chang Chen-chou, Lo Boo-him, Su Sheng-yang, Mo Chen, Chen You-wei

TAIWAN PERFORMANCE EXECUTION

Stage Manager: Teng Hsiang-ting, Tsai Chuan-ren

Tech Master: Yang Ching-chih, Jamie Hsieh

Docent: Chen Yi-hsuan, Wong Shu-lian, Wang Yu-ling, Hsiang Mei-chun

Stage Technical Director: Sammy Lin, Hsu Chih-chen

Master Electrician: Wang Tien-hung

Scenic & Props Execution: Chen Chang-chih, Chen Ting-yu

Stage Manager Assistant: Lo Wan-yu, Wan Shu-wei

Stage Technician: XD Art, Luo Yun-rong, Liao Shih-hsien, Wu Yu-hsun, Lin Guo-han, Lin Wei-chen, Kao Chia-chi, Yang Hsien-wen, Jheng Bo-chuan

Lighting Technician: Lee Pin-man, Jheng Bo-chuan

Sound Technician: Lin Wei-chen

Assitant Producer: Liu Yi-chun

Marketing Specialist: Chang Yen-lun

Graphic Designer: Dennis Lan

Network & Video Equipment: Mitras Studio

Translator: Chen Xin-qi, Huang Chin-lin

PRODUCTION ADMINISTRATION

PHI Studio

Production Accounting: Sandra Ruano

Legal Consultations: Annie Francoeur

Insurances: BFL Canada

Riverbed Theatre Ltd.

Chief Executive Officer: Yeh Su-ling

Project Coordinator: Liu Yi-chun

Onassis Culture

Head of Digital & Innovation: Prodromos Tsiavos

Head of Production: Vassilis Panagiotakopoulos

Digital and Innovation Coordinator: Heracles Papatheodorou

Project Coordinator: Katerina Varda

TECHNICAL COLLABORATION

Prototyping

Vive Art

Production

Funique VR

Behaviour Interactive

Lab 7

FMOD

IP Lab

Game On

Antilatency

Studio Bizz

Sette inc.

SUPPORT

Supported By FMC/CMF (Canada), TAICCA (Taiwan), SODEC (Canada), Onassis Culture (Greece)

This Project is supported by the TAICCA's Innovative Content Grant for International Co-Funding or Co-Productions

Co-producer of Performances in Taiwan: Taiwan Contemporary Cultural Lab(C-LAB)

Special Thanks

Ellen Kao, Lin Ting-chun, Wang Po-wei, Chen Ya-wen , Wang Shih-zheng, Chien Shih-tang, Yang Ming-da, Chen Pei-wen, ET@T, Dark Eyes Performance Lab, All participants of the tryout

NTCH Production Team

Project Manager: Lo Hsin-tung

Production Executive: Tsai Mu-chieh

Marketing Manager: Tseng Yi-Hsuan

Stage Manager: Yvonne Chen

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

Online Questionnaire

《之間》

"Blur"

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