圓山的記憶導覽 Yuanshan Memory Walk
關於作品
About this project
《夢的蟲洞》環境劇場 Site-Specific Theatre｜Dreamhole
本次 白晝之夜 × 圓山坑道 將由六位表演藝術家帶來五件作品，分別為：
劉俊德《被遺忘的盡頭》、陳薇伊《迴身》、徐翊傑《通道》、王志慎《圓山聲徑》、謝知穎 x 梁淨喻《歡迎來到…..》。
圓山坑道歷史悠久，最初可追溯至日治時期，戰後國民政府更將其擴建為戰備、軍事、防空與避難用途。今日，五組藝術家分別運用這片場域，回朔我們不曾親歷卻深刻影響集體記憶的故事。作品在創作中重塑坑道的歷史脈絡，並透過肢體、當代馬戲、戲劇架構等多重元素，與現場視覺裝置作品呼應，將塵封已久的靜態空間再度喚醒。
藝術家們以場域作為記憶的容器。劉俊德藉由表演者獨白與觀者互動，讓被忽略的空間重新浮現，提醒身體是歷史的載體。陳薇伊是為坑道之魂，在引路人的指示帶領下，視線遮擋被遮蔽的表演者靠著熟悉的氣味前進，以震盪的肢體語彙揭露情緒波動，和觀眾共享當下的即刻性。
徐翊傑跨越日常邊界，在移動間觸碰個人存在的價值。王志慎結合當代馬戲與身體，雜耍球轉化為訊號與聲波，引領觀眾穿梭展區，既是流亡中的失衡，也是未竟未來的徬徨，人們仍努力靠近自由。
謝知穎與梁淨喻則以「迎賓→穿越→送客」為時間軸，帶領觀眾在記憶、夢境與未來交錯的場域穿梭。隧道如同太空艙，投影營造錯視，觀眾於雙重感知間搖擺。最終以靜心送客收束，將短短二十分鐘的旅程化為內在餘韻。
For Nuit Blanche Taipei × Yuanshan Tunnel, six performing artists present five works:
Liu Chun-Te, “The Forgotten End”; Chen Wei-I, “Re-Turn”; Hsu Yi-Chieh, “Passage”; Wang Chih-Shen, “The Sound Path of Yuanshan”; and Hsieh Chih-Ying × Liang Ching-Yu, “Welcome to…..”
The Yuanshan Tunnel carries a long and layered history—originally built during the Japanese colonial period and later expanded by the postwar Nationalist government for military, defense, and air-raid purposes. Today, five artist groups reclaim this site, retracing untold yet deeply embedded memories that shape our collective consciousness. Through performance, contemporary circus, and theatrical structures, each work reimagines the tunnel’s historical context, resonating with on-site visual installations to awaken this long-dormant, static space.
The artists treat the site as a container of memory.
Liu Chun-Te brings forgotten spaces to the surface through performer monologues and direct audience interaction, reminding us that the body itself is a vessel of history.
Chen Wei-I, embodying the “soul of the tunnel,” invites audiences to follow a guide through darkness, as performers navigate by scent and vibration. Through trembling, visceral movements, she exposes emotional turbulence and the immediacy of shared presence.
Hsu Yi-Chieh crosses the boundaries of everyday life, using movement to explore the meaning of personal existence.
Wang Chih-Shen merges contemporary circus and physical performance—his juggling balls become signals and sound waves that lead audiences through the tunnel, embodying both the imbalance of exile and the uncertainty of unfinished futures, yet always moving toward freedom.
Finally, Hsieh Chih-Ying and Liang Ching-Yu structure their performance around a temporal arc of “welcoming → passage → farewell.” They guide audiences through a realm where memory, dreams, and the future overlap. The tunnel becomes a spacecraft; projections create optical illusions that blur perception. The journey concludes with a meditative farewell, turning a twenty-minute experience into a lingering inner resonance.
【坑道參觀免責聲明及報名須知】
1) 一組電話號碼限報名兩張，限12歲以上報名參加（重複報名系統會自動取消資格）。
2) 本場次演出進行中，音樂及音效會有較大的聲響，敬請斟酌自身狀況決定是否入內。
3)演出進行中，需配合表演者或工作人員指示移動，請勿於非演出場域逗留。
4) 高風險環境：本坑道為高風險區域，地形狹窄、崎嶇且可能因潮濕導致地面溼滑；光線不足，能見度不佳。入內請全程注意足下與頭頂障礙，緩步通行。參加者應自行確認身心狀況足以負荷，入內視為自願承擔所有風險；因個人不慎或體況因素致生之任何傷害、財物損失或其他不便，主辦單位概不負責。
5) 通訊與照明：坑道內無行動通訊訊號，緊急聯繫可能受阻。請自行攜帶手電筒或其他可持續使用之照明設備並確保電量充足。
6) 大型裝置安全：場內設有大型裝置藝術及固定結構，請保持安全距離；嚴禁觸碰、推拉、攀爬或倚靠，以免造成人身或財物危害。
7) 禁止攜帶物品：為維護通行與安全，寵物、大型行李及任何體積或重量足以影響動線之物品一律不得入內。
8) 物品保管責任：現場不設寄物服務；個人物品請自行妥善保管。對任何遺失、遭竊或損壞，主辦單位不負保管或賠償責任。
9) 通行限制：受限於坑道空間與安全動線，輪椅、娃娃車及其他大型行動輔具無法進入；對自身步態穩定性或視覺適應有疑慮者，請勿入內。
10) 同意條款：完成報名、購票或入場，即表示您已詳閱、理解並無條件同意本免責聲明全部內容，並承諾遵守現場一切安全指示。
11) 安全處置權：為避免危險，主辦單位與工作人員得視現場狀況調整動線、分流、限制或拒絕入場，並得即時終止參觀；參加者應無條件配合。
[Yuanshan Tunnel – Visitor Disclaimer and Registration Guidelines]
Registration limit: Each phone number may register for up to two tickets. Participants must be 12 years or older. Duplicate registrations will be automatically canceled by the system.
Sound levels: The performance includes loud music and sound effects. Please consider your personal condition before entering.
During the performance: Visitors must follow the instructions of performers or staff when moving through the space. Please do not linger in non-performance areas.
High-risk environment: The tunnel is a high-risk area—narrow, uneven, and potentially slippery due to humidity. Lighting is dim, and visibility is low. Please watch your step and head at all times and move slowly. Participants must ensure they are physically and mentally fit to enter. Entry implies voluntary assumption of all risks. The organizer is not liable for any injury, property loss, or inconvenience resulting from personal negligence or health conditions.
Communication and lighting: There is no mobile signal inside the tunnel, and emergency contact may be difficult. Please bring a flashlight or other reliable light source with sufficient battery.
Large installations: The venue contains large art installations and fixed structures. Maintain a safe distance—do not touch, push, pull, climb, or lean on them to avoid injury or damage.
Prohibited items: For safety and accessibility, pets, large luggage, or bulky items that may obstruct pathways are not allowed.
Personal belongings: There is no storage service on-site. Please keep your belongings secure. The organizer bears no responsibility for any loss, theft, or damage.
Accessibility limitations: Due to spatial and safety constraints, wheelchairs, strollers, and other large mobility aids cannot enter. Those with unstable gait or visual sensitivity are advised not to enter.
Agreement clause: By completing registration, ticket purchase, or entering the venue, you acknowledge that you have read, understood, and unconditionally agreed to all terms in this disclaimer, and you agree to follow all on-site safety instructions.
Safety authority: To prevent accidents, the organizer and staff reserve the right to adjust routes, control crowd flow, restrict or deny entry, or terminate visits based on on-site conditions. Participants must comply without objection.
▐ 活動資訊▐ 名額有限，需預約參加
2025.11.01 (六) 14:00 – 11.02 (日) 00:00
圓山坑道
點我報名！！
10月17日（五）中午12:00開放報名
(報名名額有限，記得隨時鎖定官方社群或白晝官網最新消息！)
Artist
鄭伊雯
臺灣 / Taiwan
人尹合作社藝術總監。獨立編舞、表演、排練指導、戲劇動作設計、接觸即興工作者。國立臺北藝術大學兼任講師、文化大學時尚品牌學程演藝事業、表演藝術管理學系兼任助理教授，中正高中、竹北高中舞蹈班兼任教師。曾於泰國東方大學 Burapha University 、日本Kobe college 擔任短期外籍駐校講師。法國巴黎西岵藝術中心駐村藝術家。
2002 年加入舞蹈空間舞團，足跡遍布臺灣與世界各地。獨舞作品曾在法國蒙佩里耶“Mouvements sur la ville舞蹈平台、西班牙Palama舞蹈節發表、法國 Creteil 國際編舞中心之邀，共同製作獨舞演出。作品跨及各領域，第七屆數位藝術表演獎首獎《火炬下的囚犯》編舞，連續兩年參與文化部表演藝術團隊創作科技跨界作品補助 ．創作「美麗新世界系列」《窗》、《世界末日這天•你會愛誰？》。與多位國外編舞家工作，也和台灣團隊有密切的合作。
2015年升格為母親以後，對人類行為開始有更強烈的興趣，近年創作《206LAB》、《遺屋》皆著力於尋找文字敘述與身體動作間的溝通方式。2018年開始也展開「寶寶劇場-馬麻系列」五部曲演出，是台灣少數針對學齡前幼兒觀看之創作。
Artistic Director of Renyin Cooperative.
An independent choreographer, performer, rehearsal director, movement designer for theatre, and contact improvisation practitioner.
She currently serves as an adjunct lecturer at the National Taipei University of the Arts (TNUA), and as an adjunct assistant professor at the Chinese Culture University (CCU) in the Fashion Branding Program and the Department of Performing Arts Management. She also teaches in the dance programs at Zhongzheng Senior High School and Zhubei Senior High School.
She has been invited as a short-term international resident lecturer at Burapha University in Thailand and Kobe College in Japan, and was an artist-in-residence at the Cité Internationale des Arts in France.
In 2002, she joined Dance Forum Taipei, touring extensively throughout Taiwan and across the world.
Her solo works have been presented at Mouvements sur la ville in Montpellier, France, at the Palma Dance Festival in Spain, and were co-produced by the Centre Chorégraphique National de Créteil in France.
Her creations span multiple disciplines. She received the First Prize at THE 7TH DIGITAL ART PERFORMANCE AWARDS for her choreography Prisoners the Torch.
For two consecutive years, she was selected under the Ministry of Culture’s Cross-disciplinary Performing Arts and Technology Creation Grant, developing A Better World – Window and Love till the End of the World.
She has collaborated with numerous international choreographers and maintains close creative partnerships with various Taiwanese performance groups.
Since becoming a mother in 2015, she has developed a stronger interest in human behavior.
Her recent works, 206LAB and The House, focus on exploring communication between textual narrative and physical movement.
In 2018, she began developing the Theatre for Young Audiences – Mama Series, a five-part performance project and one of the few works in Taiwan created specifically for preschool audiences.
