湖水藍
2019愛丁堡藝穗節 ─ 《無耳琴師》 Hoichi the Earless
Hoichi the Earless
9 Aug 2019 By
Damian Beeson Bullen
Script: ★★★★ Stagecraft: ★★★★
Performance: ★★★★ S.O.D: ★★★★★
The best theatre at the Fringe, the most diverse especially, comes from C venues. Hoichi the Earless stood out of the program at once, a Japanese folk-tale I’d come across with some wonder during my studies into oriental literature.
2019愛丁堡藝穗節 ─ 《無耳琴師》 Hoichi the Earless
HOICHI THE EARLESS, C VENUES, REVIEW
5 Aug 2019 By
Žad Novak
Set design is kept to a minimum, and almost everything relies on the skill of its actors and symbolism of chosen costumes and props. The style of acting exhibited here is different from our western understanding – much more subtle and primarily based around movement – which, in itself, adds a dose of fascination but also works well to compliment the story and music.
棒球上的亞熱帶少年｜形同存在的蒸氣火車
《大頭菜文藝月刊》
撰文: 鄭子聰
//正如青年周壽臣在美國完成最後一場棒球賽後即將返回故鄉，他仰天哀怨所說的一句憾辭：「 Goodbye Mrs. Philip, baseball, American and freedom. 」這句對白最為震撼，亦相信這甚能引發觀眾的聯想、感觸與共鳴，也是全劇的中心思想，Mrs. Philip 象徵人們對重要人物的思念、Baseball 象徵青春、American象徵身分認同，而Freedom 象徵自由，但願觀眾能將重要人物的思念、青春、身份認同與自由帶進蒸汽火車的車廂，誠實面對創傷痛苦的過去與現在，乘著列車前往無法估計預知的未來。//