Chun-Hsiang Lai 賴峻祥

“Wall of Babel discussed the realities of communication in our linguistically diverse world. Three performers were directed by 2 narrators, translated by an overhead projector operator and serenaded by a live vocalist and bassist. The sinuosity Kentoni achieved through the interaction of these characters is therefore no small feat. The piece is densely layered, so much so that as I write, continue to find more tidbits and clever details buried within the performance. The childlike innocence and naivety of the personas onstage easily carried me through the emotional journey of this work.” says the feedback.

This is Shakespeare's classic tragedy, directed, interpreted, and performed by myself. This production is a showcase of the research outcomes from the performance studies project "Theatrical Language" conducted during my time in the graduate program. This multilingual theatre piece demonstrates the potential of theatrical language itself. In order to surpass spoken language, we combined Butoh and the method of Theodoros Terzopoulos, and we deconstruct, reconstruct, and explore the hidden spiritual aspects within theatrical texts, performers' bodies, and vocal projections. Emphasising the importance of language in paralleled with other theatrical elements allows performers to consistently embody the cultural and theatrical nuances within the language. I chose Shakespeare as the subject for this research due to the linguistic nature of his works. I requested actors to deliver their lines in their respective mother tongues, observing and analysing the musicality and cultural layers of each language. Ultimately, we integrated everyone's mother tongues into a "common language" for the entire production. This signifies that language is not merely spoken words but a performance that combines various theatrical elements. From the audience's perspective, while actors may appear to be using different languages, it seems like they are engaged in a "conversation." The aim of this research is to explore the potential of theatrical language as a creative force in theatre performance. 2023 Central Saint Martins, University of the Arts London Venue: Platform Theatre Director: Chun-Hsiang Lai Roles: Macbeth 莎士比亞的經典悲劇，由我執導、詮釋、出演。這部作品是研究所期間針對表演研究計畫「劇場語言」所進行的研究成果展示。這部多語言劇場作品展示了劇場語言本身的潛力，為了超越口語語言的目標，我們對劇場文本、表演者身體、聲音投射進行了解構、重構和探索其中隱藏的精神層面。結合了Butoh舞踏、the method of Theodoros Terzopoulos特爾佐佈勒斯方法，將語言拉至與其他劇場元素相等地位的重視，讓表演者穩定地體現語言內的文化與劇場性。我選了莎士比亞作為這個研究的素材，就是因為其語言性質，我要求演員使用各自的母語講述台詞，觀察及分析各個語言的音樂性和文化層次，最後將大家的母語整合成整齣作品的「共同語言」，意即語言非在只是口說文字，而是各個劇場性結合而成的表現，由觀眾的視角而言，演員聽似在使用不同的語言，但看起來卻是在「對話」，此研究目的是要探究劇場語言身為劇場表演創作的潛力。 2023 Central Saint Martins, University of the Arts London 演出地點：Platform Theatre 導演：賴峻祥 擔任職位：導演、演員 角色：馬克白

With the meaning “against violence,” this clip showcased a site-specific performance on a street in a small Italian village, Polverigi. An event happened to be here, people happened to be there watching, vehicles and pedestrians happened to be passing by. The assembly of the materials and the immaterial was an assemblage of intra-actions interweaved. What leads to the violence, is it an apparent presence or something invisible occurring in-between? 這是我研究所在義大利的小村莊Polverigi 的田野創作，以「反對暴力」為意涵，這段影片呈現了一場在義大利小村莊波爾韋里吉（Polverigi）街道上進行的特定場域表演。 事件恰巧在此發生，人們也恰巧在場觀看，車輛與行人恰巧經過。各種具體與無形的元素在此恰巧交織、互動。 究竟是什麼導向暴力？是那些顯而易見的存在，還是隱匿於其間、看不見的但正在發生的能量？

A project by Central Saint Martins performance students. Directed by the course leader, Pete Brook. Performed by Performance: Design and Practice students(BA&MA).

This is the trailer showing the project "Plague" at Central Saint Martins.

On the night of June 4th, the Andal Monastery hosts its annual grand Vespers Mass ceremony. All nuns and monks of the monastery are required to participate in this yearly event, and the bishop of the monastery also attends to conduct the Mass. As the Mass finally concludes near midnight, the bishop decides to spend the night in the monastery. Macbeth, a monk of the monastery, falls in love with a nun. Their clandestine affair sparks occasional whispers within the feudal and conservative confines of the Andal Monastery, with some of the sisters jokingly referring to the nun who has fallen for Macbeth as the "Lady Macbeth." It's widely known that romantic entanglements on the path of devotion are contrary to the will of God. Both the monastery and the Bible make it clear that "forbidden love is a blasphemy against God." They resent God and detest everything that binds them. The only thing that can liberate them is extreme individualism and liberalism: the worship of Satan. The story begins here: Lady Macbeth, a nun within the monastery, is a devotee of Satanism. After the conclusion of Vespers, she retreats early to her chambers, knowing that tonight presents the best opportunity. Alone in her room, she clandestinely studies the Satanic scriptures and rituals she has been researching for years. She arranges to meet Macbeth in her chambers at midnight, and as the night falls and the monastery's nocturnal bell tolls, they decide to assassinate the bishop. In this restless night, sinister thoughts ferment. However, what awaits Lady Macbeth is an endless sense of fear and guilt. She sees herself contorted and distorted, witnessing ghostly apparitions, observing as the things around her slowly consume her. 6⽉4⽇夜晚，安達爾修道院在舉⾏⼀年⼀度的⼤型望彌撒儀式，所有修道院的修女、道⼠都得參與這個年度盛事，修道院的主教也來到了修道院進⾏彌撒，在這個接近深夜的彌撒終於結束後，主教也決定在修道院度過這⼀宿。​ ​ ⾺克⽩，這個修道院的道⼠，愛上了⼀名修女，他們私下的戀情在這個封建保守的安達爾修道院裡引來少數的閒⾔閒語，⼀些修女姐妹們戲稱該名愛上⾺克⽩的修女為「⾺夫⼈」。​ ​ 任何人都知道修⾏之路上的戀情都是違背上帝意旨的。修道院和聖經清楚指⽰，「禁忌的愛情是褻瀆上帝」。他們憎恨上帝，憎恨束縛他們的⼀切。唯⼀能夠解放他們的，是極度的個⼈主義與⾃由主義：撒旦崇拜。​ 故事是從這裡開始的：⾺夫⼈，⾝為在修道院的修女，卻是撒旦主義崇拜者，在望彌撒結束後，提早回到她的寢室裡，她知道，今天晚上會是最好的機會，在寢室內秘密鑽研多年撒旦經⽂與撒旦儀式教條的⾺夫⼈，與⾺克⽩道士約在深夜在她的寢室⾒⾯，並在深夜降臨、修道院夜寢鐘聲響起之時，決定殺害主教。​在這不平靜的夜裡，邪念在醞釀著。 但是，等在馬夫人眼前的卻是無止盡的恐懼和罪惡感。她看到自己扭曲變形、看到鬼魅幻覺，看到她所身旁的事情慢慢吞噬著她。 ＿＿＿＿ 導演：賴峻祥​ 劇作家：威廉．莎⼠比亞​ 劇本改編：賴峻祥​ 主演：董雨涵​ 群演：江振德、彭詩涵、李嘉嘉​ 場景設計：陳暄雅​ 燈光設計：李瑞謙​ 服裝設計：柯采瑜​ ⾳樂設計：楊謹庭​ 視覺宣傳：劉若蕎​ 技術統籌：洪欣平​ 燈光助理：吳唯克​ 服裝助理：龔貞⼼、周悅新、盧幸玟 ＿＿＿＿＿ 在欣賞作品前，請讓我們給你們友善提醒： ◆總長15分鐘 ◆由於攝影設備有限，建議將畫面亮度調高 ◆這部作品是由莎士比亞《馬克白》片段改編而成，之前沒有看過這個作品的人建議可以先上網大致掌握故事脈絡和核心精神，再觀賞我們作品。或者，您想直接欣賞，也可以！ ◆這部作品含有謀殺、血、宗教儀式等元素，請斟酌後再行觀賞，若有12歲以下孩童，請由大人陪同觀賞。 若有問題，請直接私訊粉專（FB搜尋：馬克白夫人的寢室 Lady Macbeth's Chamber），我們會盡快回覆您！

This is a collaboration between the Linz Dance Company from Austria and Taiwanese actors, combining dance with traditional Taiwanese folk culture. The production is an adaptation that incorporates numerous elements of Taiwanese folk customs, blending them seamlessly with the art of dance. 此為奧地利林茲舞團來台與台灣演員合作的作品，以舞蹈的形式結合台灣民間傳統文化進行的改編，內含有大量台灣民間習俗的元素，與舞蹈的形式融合交會。 2019林茲國家劇院舞團 演出地點：衛武營國家藝術中心 導演：林美虹 擔任職位：演員 角色：亡者家屬

This is a graduation project for my BA. The script is a contemporary Polish play depicting the tumultuous class system and ethnic unrest in modern Eastern European society. Due to cultural differences, extensive character research and investigation are required, as well as the ability to accurately portray characters through the creation of multiple roles. 此為大學的畢業製作，劇本為波蘭的當代劇本，描繪近代東歐社會的階級制度和族群的躁動不安，因為文化差異，需大量做角色功課和研究調查，以及嘗試多個角色創造才能精準的描摩角色 2018台大戲劇系畢業製作 演出地點：木柵戲曲中心 導演：尹立言 擔任職位：演員 角色：小約瑟夫

This is a contemporary drama that challenges traditional audience-performer relationships by incorporating a improvisational format to engage the audience in our interactions. However, it still maintains the main structure of the script. During rehearsals, there is a significant emphasis on practicing to maintain the original storyline of the script while also having the flexibility to improvise and adapt as needed. 此為當代戲劇打破傳統觀演關係的一個挑戰，以半即興的模式讓觀眾參與我們的互動，但仍保留劇本主要架構，排練中要大量練習保持劇本原有的故事線且同時具有即興應變的彈性 2018台灣大學戲劇學系學期製作 演出地點：客家戲曲中心 導演：呂柏伸 擔任職位：演員 角色：父親