《 Oh! Baby2025 》
Baby 2025
Workshop: City | Sound, Body & Memory
Disappearance in the Polyphonic Crowd (Work in Progress)
Taste nearTaoyuan Arts Center
綻放中的城市 桃園鐵玫瑰藝術節簡介
A Blossoming City The Story of the Iron Rose Festival
桃園鐵玫瑰藝術節自 2012 年由桃園展演中心啟動，最初以「鐵玫瑰劇場」為名，從小型戲劇週逐步發 展為全市性藝術節品牌，經歷十餘年成長與轉型，已成為具在地性、專業性與國際視野的年度藝術盛 會。藝術節名稱源自展演中心的建築造型 一朵綻放的玫瑰，象徵在工業城市中注入文化生命力。初 期以駐館藝術團隊合作推動劇場製作，逐年嘗試售票機制、拓展觀眾群、培力小型劇團，逐步建立桃 園在地劇場生態。
2015 年起推出「鐵玫瑰小戲節」，鼓勵小型創作能量發展，並加入如讀劇、沉浸式體驗等創新形式， 讓觀眾不僅欣賞表演，更參與創作。 2017 年更製作首部品牌委製流行音樂劇，成功吸引超過 9500 人 參與，奠定藝術節品牌基礎。
2018 年起正式轉型為「桃園鐵玫瑰藝術節」，邀請專業策展人耿一偉先生導入主題策展概念，以桃園 城市特色為出發，展開「移動的鄉愁」、「生活在他方」、「全面啟動」、「我們來幹大事」、「最初的堅 強，最後的溫柔」等系列策展，邀集國內外團隊演出，涵蓋劇場、舞蹈、跨域、街頭及線上平台等多 元形式，擴大與市民的連結。
2023 年起由前國家兩廳院藝術總監李惠美接任策展人，延續鐵玫瑰精神， 加入更深層的社會對話與城市觀察。她以「回聲‧共振」、「移人如梭」、「半透明城市」等年度主題， 聚焦移動經驗、科技變遷、城市情感與藝術本質，並與協同策展人吳思鋒共同打造更具深度的策展架構。
藝術節內容橫跨劇場、裝置、展覽、 Podcast 、行動演出與線上互動，讓表演藝術走入街頭、市場、捷 運、圖書館等公共空間，拓展市民參與藝術的可能，也展現出桃園身為移民城市的多元文化風貌。鐵 玫瑰藝術節不僅是年度藝術展演，更是桃園這座城市持續成長、變動與文化自我書寫的重要見證。從 在地出發、與國際對話，鐵玫瑰正以獨有姿態，綻放屬於桃園的藝術風景。
Since its inception in 2012, the Iron Rose Festival has grown from a local theater initiative into a vibrant, citywide celebration of the arts. Launched by the Taoyuan Arts Center, the festival began as a modest drama week titled “Iron Rose Theater,” gradually evolving into a major annual event that blends local creativity, professional curation, and international dialogue.
The name “Iron Rose” comes from the aerial view of the Arts Center’s building , which resembles a blooming rose— symbolizing cultural vitality blossoming in an industrial city. In its early years, the festival focused on artist residencies, community engagement, and audience development. With efforts in ticketed performances, outreach, and nurturing emerging talent, it steadily built a sustainable ecosystem for local theater.
By 2015, the “Iron Rose Mini Theater Festival” was launched to spotlight small-scale productions and experimental works. Programs such as script readings and immersive workshops invited audiences to engage more deeply—not only watching performances but participating in the creative process. In 2017, the festival presented its first commissioned pop musical rooted in local culture, attracting over 9,500 attendees and marking a breakthrough.
In 2018, the festival formally rebranded as the Iron Rose Festival, welcoming professional curators to lead its development. Under curator Mr. Yi-Wei Geng, the festival
introduced thematic programming Mobile Homesickness, La vie est d’ailleurs, Starting Over, and Let’s Do Something Big to explore the emotional and cultural textures of Taoyuan, a city shaped by migration and transformation. Performances expanded beyond theaters into public transit and everyday spaces, with international teams from countries such as Korea, Germany, and Denmark joining the program.
From 2023, former National Theater & Concert Hall Artistic Director Li Hui-Mei took over curatorial leadership, injecting new perspectives with themes like Echoes & Resonance, Nomadic, and Seen & Unseen. These curatorial approaches connected performance with contemporary social issues, emotional landscapes, and the invisible boundaries between people and urban spaces.
Today, the Iron Rose Festival spans theater, dance, installation, podcasts, outdoor performances, and digital experiences. It brings art into public libraries, streets, parks, and train stations—transforming everyday places into spaces for reflection and connection. Audiences are invited not just to attend, but to imagine, participate, and see their city through new artistic lenses.
More than an annual event, the Iron Rose Festival is a living narrative of Taoyuan’s cultural evolution rooted in the local, connected to the global, and always in bloom.
局長的話
Director’s Preface
桃園為通往國際之門戶，由多元族群組成，近年人口快速成長，且移工及新住民人口也近 20 萬人，從 外來移工、閩南、客家、眷村等文化發展出特有人文風貌，鐵玫瑰藝術節即以此城市風格為背景，透 過音樂、舞蹈、戲劇及馬戲等多種展演型態演繹動人的故事，充分展現出一座城市豐沛的文化底蘊。
桃園展演中心是桃園市最具指標性的劇場，每年藝術節期間集聚國內外優秀演出團隊，提供團隊交流 及展演平台，也帶給民眾一系列精彩演出，本次 2025 桃園鐵玫瑰藝術節邀請前國家兩廳院藝術總監李 惠美女士擔任策展人、資深劇評人吳思鋒先生擔任協同策展人，接續前兩年探詢桃園民眾的回聲，聚 焦多元族群之空間及心靈層面的移動，持續挖掘桃園自身特色及豐富文化樣貌。
今年桃園鐵玫瑰藝術節以《半透明城市》 (Seen & Unseen) 為主題，著眼於當代城市邊界模糊，身處 城市有諸多看見與看不見界線，也借重藝術家觀察力與想像力，帶來從闔家觀賞到當代劇場，為桃園 市民注入滿滿的表演藝術能量。今年跨國亮點包含具有 390 年歷史的日本結城座《變身》、澳門足跡《影 的告別》及敦青舞蹈團與菲律賓馬尼拉芭蕾舞團合作《白雪公主》，另外也有深耕桃園在地團隊犀牛劇 團《 COMA 》及君舞蹈劇場《家鄉的歌》，以及適合親子觀賞的 FOCASA 馬戲團《解憂快餐車》及周 伶芝 & 黃大旺 & 囝仔人《月海書》，以及觀察桃園紀錄影像的《在眾聲喧嘩裡的消散》，其創作養分都 是源自臺灣這塊土地；另外也特別納入表演平權及移工議題，包含身體氣象館《Oh！Baby 2025》演出及藍 雨楨 & 吳庭寬《城市 聲音 / 身體 / 記憶》工作坊。
今年藝術節共同推出 9 齣演出節目、 1 場工作坊及周邊講座活動，共計 20 多場活動，於 10-11 月帶給 大家一系列精彩演出，邀請你一起看見城市角落的故事，讓你的參與開啟另一趟感動之旅！
Taoyuan is Taiwan’s gateway to the world, a dynamic and diverse city shaped by various ethnic communities. In recent years, its population has grown rapidly, with nearly 200,000 migrant workers and new immigrants now part of its cultural landscape. Influences from migrant workers, Minnan, Hakka, and military dependents’ villages have nurtured a unique urban identity. The Iron Rose Festival draws inspiration from this rich diversity, presenting compelling stories through music, dance, theater, and circus arts—highlighting the profound cultural depth of the city.
As Taoyuan’s most iconic performing arts venue, the Taoyuan Arts Center brings together outstanding artists from Taiwan and abroad every year during the festival. It serves as a vital platform for creative exchange and performance, offering audiences a wide range of remarkable productions.
For the 2025 Iron Rose Festival, we are honored to welcome Ms. Hui-Mei Li, former Artistic Director of the National Theater and Concert Hall, as the curator, and respected theater critic Mr. Si-Feng Wu as co-curator. Building on the dialogue with Taoyuan citizens over the past two years, this edition explores the movement—both physical and emotional—of diverse communities, continuing to uncover the city’s unique identity and cultural richness.
This year’s theme, “Seen & Unseen”, reflects the blurred boundaries of contemporary urban life. In a city, many things are visible—and many remain unseen.
With the insight and imagination of artists, the festival presents works that range from family-friendly productions to contemporary theater, infusing Taoyuan with vibrant artistic energy.
International highlights include the 390-year-old Japanese troupe Youkiza with Metamorphosis, Macau’s Step Out with The Shadow, and a cross-cultural collaboration on Snow White by Dunqing Dance and the Ballet Manila. Local gems include Rhino Play’s COMA, Chun Dance Songs from Home, and family-friendly shows like FOCASA Circus Our Perfect Youth and Floating Tale by Ling-Chih Chow, Dawang “Yingfan” Huang, and Yinalang Group. Disappearance in the Polyphonic Crowd offers a visual chronicle of Taoyuan, with all works deeply rooted in Taiwan’s creative soil.
This year’s program also focuses on performance accessibility and migrant issues, featuring Body Phase Studio’s Oh! Baby 2025 and a workshop titled City: Sound / Body / Memory by Lan Yu-Chen and Wu Ting-Kuan.
The 2025 Iron Rose Festival presents 9 featured performances, 1 workshop, and a series of talks and special events, totaling more than 20 engaging programs throughout October and November.
We invite you to explore the hidden stories of this city through the power of the performing arts. Let your presence open the door to a new journey of emotion and discovery.
Director, Department
of Cultural Affairs, Taoyuan City Government
策展人的話
Curators’ Preface
我們現下活在一個透明的科技社會，一言一行在社群媒體上被放大，網路漫遊的軌跡被當作數據演算， 連情緒也變成經濟產業，可是，一切的邊界就因此煙消雲散嗎？正好相反，透明社會是建立在各式邊 界增生、分化的基礎上；言論分包為一個一個同溫層，數據分眾為一個一個市場，弔詭的是，越是多 元越讓人與人無法彼此真正相遇，即使在生活中刻刻擦身而過。
讓我們回頭看，桃園展演中心及其所在的桃園藝文特區，是一項從南崁溪流域輻射的新市鎮計畫的產 物，從城市治理的角度來說，也是一段再邊界化的結果。引申之，「半透明城市」的策展標題即通過「邊 界」的視框，自鐵玫瑰藝術節的「現地」出發，回返城市與藝術節的根本關係，這是在策展上拋出的 想望，並以之回應透明社會帶來的疲憊。
或者，與其說是「城市」，「城市化」更能傳達其中的動態意涵，城市化的過程無可避免地朝向透明化， 要讓人感覺便利、效率、一切有社會規則可循；藝術卻往往在這樣的線性、明亮當中，覺察那些被擱置、 暫忘的物事和美，渠引出種種問題意識。兩造一向具有不均衡的相對關係，而策展一開始便在面對這 樣的不對稱。
本屆藝術節分為三組單元：邊界之越、亞際之窗、伏流之身。「共創」則為相互貫連的內在精神。一 來，劇場本來就有集體工作的特質，在這樣的過程裡，並非為了形塑同溫層，而是演練如何開啟異溫 層的對話空間與連結方法。再者，共創的意涵不止於不同人一起工作的集合型態，而是如何共同航向 當代的美，創作也就是在面對當代世界的問題意識中，創造一個個感覺、融會、認識、思索的感性 空間。另一方面，亦有意識地將策展與共創的地理軸線擴散至劇院週邊，以及南桃園，讓藝術節從「劇院 中心」轉而「面向城市」，把藝術的開始放回生活世界。
換句話說，我們視劇場為一處不斷探索人與社會之間、預演現實的空間。我們更在意如何透過各個創 作的邊界之眼，以及共享當下經驗的觀眾之心，晃動城市中可見與不可見的既定視域。
最後，在此預告，基於去年底開始的內部討論，明年鐵玫瑰藝術節將移至上半年， 4 月 11 日至 5 月 24 日進行。
We live in a transparent technological society—where every word and action is amplified on social media, online behavior turned into data, and even emotions transformed into economic value. But have boundaries vanished? Quite the opposite. Transparency has only deepened divisions: speech is siloed into echo chambers, data into market niches. Paradoxically, the more diverse our world becomes, the harder it is for people to truly connect—even as we cross paths daily.
Consider the Taoyuan Arts Center and the surrounding cultural district. Both are products of an urban development project radiating from the Nankan River, a reflection of re-bordering through city planning. The theme “Seen & Unseen” starts from this very site, using “boundaries” as a lens to reexamine the connection between the festival and the city. It is a curatorial response to the fatigue of our hyper-visible age.
Rather than just “the city,” we focus on urbanization a process that favors clarity, efficiency, and structure. Art, by contrast, notices what is overlooked, forgotten, or left in the shadows. From the beginning, this festival has engaged with the tension between urban order and artistic intuition.
This year’s festival features three program sections: Crossing Boundaries, Inter-Asia Windows, and Bodies in the Undercurrent, with co-creation as a shared core.
Theater is inherently collaborative not to reinforce sameness, but to explore dialogue across differences. Cocreation here is more than working together; it’s about navigating contemporary life through shared artistic expression, opening spaces for feeling, reflection, and understanding.
We also expand the festival’s reach beyond the theater into nearby neighborhoods and southern Taoyuan shifting from a theater-centered model to one that engages the city, bringing art back into everyday life.
Theater, to us, is a space for rehearsing reality and reimagining how people and society connect. Through the eyes of artists and the hearts of audiences, we hope to shake the fixed lines between what is seen and unseen in urban life.
Lastly, we’re pleased to announce that the Iron Rose Festival will move to the first half of the year in 2026, running from April 11 to May 24.
2025桃園鐵玫瑰藝術節 策展人
Curator, 2025 Taoyuan Iron Rose Festival
2025桃園鐵玫瑰藝術節 協同策展人
Co-Curator, 2025 Taoyuan Iron Rose Festival
節目總表
Programs
聚焦亞洲，開啟跨地域、跨語言的深度對話。
日本 | 結城座 《變身》
臺灣×菲律賓 | 敦青舞蹈團×中壢青少年芭蕾× Ballet Manila 《白雪公主 Snow White 》
Dunqing Dance & Zhongli Youth Ballet & Ballet Manila
Snow White (Taiwan & Philippines)
澳門 | 足跡 Step Out 《影的告別》
Step Out The Shadow (Macau)
A curatorial space for co-creation, exploring the edges hidden within thematic boundaries. Inter-Asia Window Crossing Borders
Focusing on Asia, this section opens cross-regional and cross-linguistic dialogues.
Japanese Marionette Theater, YOUKIZA The Metamorphosis (Japan) 10.25 Sat. 14:30 | 10.26 Sun. 14:30
強調 共創的策展性，及隱藏於策展主題的邊界眼光。
犀牛劇團×鄭智源 《 COMA 》
Rhino Play× Cheng Chih-Yuan COMA 10.31 Fri. 19:30 | 11.01 Sat. 14:30、19:30 | 11.02 Sun. 14:30
2025 桃園鐵玫瑰藝術節，從一座城市劇院的藝術節，蛻變 為一場從城市劇院向外輻射、面向城市的藝術節，以節目創 作方式劃分為三個單元：亞際之窗、邊界之越、伏流之身。 君舞蹈劇場×林文中
Chun Dance × LIN Wen-Chung Songs from Home 11.08 Sat. 13:00、16:30
2025 Taoyuan Iron Rose Festival
Once rooted in the city theater, the festival now expands outward and engages with the city through three curatorial threads: Inter-Asia Window, Crossing Borders, and Bodies in the Undercurrent.
FOCASA 馬戲團
《解憂快餐車》
FOCASA Circus Our Perfect Youth 11.15 Sat. 14:30
周伶芝×黃大旺×囝仔人
《月海書》
Ling-Chih Chow × Dawang “Yingfan” Huang × Yinalang Group Floating Tale 11.22
伏 之 流 身
未形成、尚在生成中的創作能量，也許是最誠實的聲音。
Highlighting raw, in-progress works—honest voices emerging in contemporary performance. Bodies in the Undercurrent
身體氣象館【生之重力】表演人權系列
Body Phase Studio, “Coring for Action” – Performing Human Rights Series
臺灣×韓國 | 演出
《 Oh! Baby2025 》
Body Phase Studio Oh! Baby 2025 (Taiwan & Korea)
生之重力工作坊
Coring for Action Workshop
藍雨楨 & 吳庭寬
《城市．聲音／身體／記憶》工作坊
Lan Yu-Chen & Wu Ting-Kuan Workshop: City | Sound, Body & Memory 11.02 Sun. 13:00 |
林育德×陳冠霖×知日影像工作室 《在眾聲喧嘩裡的消散》階段性呈現
Lin Yu-Te × Chen Guan-Lin × Undersday studio Disappearance in the Polyphonic Crowd (Work in Progress)
日本｜結城座
《變身》
Japanese Marionette Theater, YOUKIZA The Metamorphosis (Japan)
10.25 Sat. 14:30 10.26 Sun. 14:30
桃園展演中心展演廳 Taoyuan Arts Center
$ 1,000
◎演出全長 80 分鐘，無中場休息
◎日語發音，中文字幕
◎建議 12 歲以上觀眾觀賞
◎ Approx. 80 minutes without intermission
◎ Performed in Japanese with Chinese surtitles
◎ Suggested for ages 12 and above
演出人員 ：両川船遊、結城孫三郎、結城育子、湯本アキ、小貫泰明、 大浦恵実 、中村つぐみ／原作：法蘭茲．卡夫卡／ 劇本‧導演：シライケイタ／人偶美術：谷原菜摘子／舞台美術：松村あや／燈光設計：奧田賢太／燈光執行：南方悠里／ 音樂設計：佐久間修一／音樂執行：角張正雄／舞台監督：三津久／舞台監督助理： 大野英寿 ／導演助理：島田香澄／ 人偶‧服裝‧道具製作：結城座操偶師／人偶頭製作：籾倉梢恵／人偶服裝製作：田中友紀／製作人：前田玲衣 、結城育子
Cast: RYOKAWA Senyu, YOUKI Magosaburo, YOUKI Ikuko, YUMOTO Aki, ONUKI Yasuaki, OURA Emi, NAKAMURA Tsugumi / Original text: Franz KAFKA / Script & Director: SHIRAI Keita / Puppets design: TANIHARA Natsuko / Set design: MATSUMURA Aya / Lighting design: OKUDA Kenta / Lighting operator: MINAKATA Yuri / Sound design: SAKUMA Shuichi / Sound operator: KAKUBARI Masao / Stage Manager: MITSU Hisashi / Assistant stage Manager: ONO Hidetoshi / Assistant director: SHIMADA Kasumi / Making puppets&costume&props Puppeteers of YOUKIZA&Making puppet’s head: MOMIKURA Kozue / Making puppet’s costume: TANAKA Yuki / Production: MAEDA Rei, YOUKI Ikuko
結城座是日本傳統的懸絲傀儡劇團，以古典與新作雙軌 並行進行創作。本次邀請劇作家／導演 Keita Shirai ， 並由畫家谷原菜摘子擔任人形美術，共同改編卡夫卡的 名作《變形記》。這部舞台劇透過擁有 390 年歷史與傳 統的江戶懸絲傀儡技藝，以及操偶師的身體語言，呈現 卡夫卡筆下那份即使時光流逝依然尖銳的世界感知力。
本作品於 2022 年首演，劇中描繪了主角格里高爾變成 昆蟲後，面對的歧視目光與家庭關係的轉變，引起觀眾 共鳴，並獲得「相比原作更能感受到格里高爾的悲傷」 的評價。 2024 年適逢卡夫卡逝世百年，此次重演採用 更具普遍性的劇場形式
舞台設置於中央，觀眾席位 於兩側，以最簡約的舞台裝置構成全新演出。捨棄隔間、
門、舞台側幕，創造出一個人偶與操偶師始終在場的抽 象空間。在此空間中，不僅觀眾，連操偶師與人偶的目 光都不斷注視著身處孤獨與絕望中的格里高爾。
創立於江戶時代寬永 12 年（ 1635 年），至今已有 390 年歷史，是日本極具傳統與代表性的懸絲傀儡劇團。現 以古典與新作雙軌並行進行創作，也積極參與海外巡演 與國際合作。 2021 年 6 月，第十三代結城孫三郎由前 代長子繼承名號，邁向新時代的未來。
YOUKIZA is a Japanese marionette theater group known for using Edo-style string puppets. With a history of 390 years, the company creates both classic and modern works. In this performance, playwright and director Keita Shirai teams up with visual artist Natsuko Tanihara , who designed the puppets, to bring Kafka’s famous story The Metamorphosis to the stage. The story is told using beautiful Japanese puppetry and the expressive movements of the puppeteers. This special combination helps share the deep emotions and strange world of Kafka’s writing, which still feels powerful today.
The play was first performed in 2022. It shows the main character, Gregor, after he wakes up one morning and finds he has turned into an insect. As he faces fear and rejection from his family, the audience sees how his relationships slowly change. Many people said they felt even more of Gregor’s sadness than in the original book. In 2024, 100 years after Kafka’s death, the play returns with a new stage style. The stage is placed in the center, with the audience sitting on both sides. There are no walls, doors, or curtains—just a simple space where both puppets and puppeteers are always visible. In this space, everyone— audience, puppets, and puppeteers—watches Gregor, who is alone and full of sadness.
YOUKIZA is a traditional Japanese marionette theater company founded in 1635, during the Edo period (the 12th year of the Kan’ei era). With a history spanning 390 years, it is one of Japan’s most historic and culturally representative puppet theater groups. Today, YOUKIZA continues to create both classical and contemporary works, while actively engaging in international tours and collaborations.In June 2021, the company began a new chapter as Magosaburo Yuki XIII (13th-generation) inherited the name from his father, carrying forward the legacy and tradition into a new era.
