購票資訊
節目介紹
北藝中心場館全新功能！不知如何選位嗎？請來點它：劇院視線模擬
【藝術家介紹】
創作社劇團
1997年成立於臺北，強調劇場原創精神，探索新的劇場美學風格，嘗試不同創作組合。迄今製作34齣作品，豐沛題材內容及形式，精彩體現臺灣現代劇場的多元美學創意，多年來屢獲各界高度肯定，曾四度入圍臺灣唯一表演藝術獎項台新藝術獎，榮獲第三屆首獎；三度入選國藝會「表演藝術 追求卓越」專案、「精華再現」專案；獲文化部「科技與表演藝術結合旗艦計畫」及「 跨域合創計畫」補助專案。作品分別應邀於臺灣國際藝術節 (TIFA)、臺北藝術節 (TAF)、新加坡國際藝術節 (SIFA)、高雄春天藝術節 (KSAF)、上海亞洲當代戲劇季 (ACTF)、臺北-北京兩岸城市藝術節、北京兩岸小劇場藝術節、上海國際五城市民戲劇展演等地演出。
編導｜周慧玲
國立中央大學英文系特聘教授
1997年取得美國紐約大學表演研究所博士返臺，聯手創建臺北創作社劇團至今近三十年。2003年建置並經營臺灣現代戲劇暨表演影音資料庫十七年。2014年發起並主持全球泛華青年劇本創作競賽，迄今舉辦八屆競賽。
她左手創作，右手論述，是少數兼具劇場編導和學術研究的知識性劇場藝術創作者。她的學術研究範疇廣泛而前沿，從性別表演到文化政策研究乃至於數位藝術；她的戲劇創作以深邃的歷史風貌以及多樣的形式見長，她的導演手法尤其細膩而能優游與先鋒和通俗之間。其原創戲劇作品獲德、英、中文學術論文專文討論，收入各地學術專書與期刊中。
編劇導演代表作如《少年金釵男孟母》獲選臺灣《聯合報》觀眾票選「十大錯過可惜」優秀戲劇演出；《記憶相簿》與《不三不四到臺灣》以小劇場形式暢銷，多次巡迴臺灣多個城市乃至北京上海；受邀擔任《蔣公的面子3.0》版導演迄今巡迴演出逾兩百場。其他編導作品如《天亮以前我要你》、《Click，寶貝兒》、《百衲食譜》（創作社劇團，2000-2018）；編劇《玉茗堂私夢》（拾念劇集，2009）、《百年戲樓》（國光劇團，聯合編劇，2010）、《簡吉奏鳴曲—零落成泥香如故》（高雄文化局 ∕ 衛武營開幕藝術節，2018）、《魂顛記》（衛武營主辦，2020-2022；劇場及電影版）、以及導演作品《驚異派對》、《影癡謀殺》（創作社劇團，2003，2005），其中《蔣公的面子3.0》（南京）巡演至今逾600場。
【演職人員名單】
製作暨演出團隊｜創作社劇團
製作人｜R.H. Studio
執行製作人｜嚴安琪
編 導｜周慧玲
演員｜徐堰鈴、黃宇琳 *、呂曼茵、吳維緯、大甜、林子恆
燈光設計｜黃諾行
服裝造型設計｜謝介人
音樂設計｜陳建騏
舞台設計｜陳慧
戲劇構作｜郭踐紅
顧問｜王安祈、洪芳怡、曹路生
攝影｜陳又維
主視覺設計｜童維崇
* (現為國光劇團團員)
由臺北表演藝術中心與新加坡濱海藝術中心共同製作
共製單位：臺北表演藝術中心、新加坡濱海藝術中心
共同主辦：臺北市政府、臺北表演藝術中心
【About the Performance】
"To me, fair friend, you never can be old,
For as you were when first your eye I ey'd,
Such seems your beauty still."
-- William Shakespeare
The 1940s marked an era of separation from loved ones and homelands. The end of WWII did not bring the expected peace; instead, it was followed by fierce civil wars and political turbulence all over the world. Kimberly Hsu and Evelyn Huang, two young women in their prime, fled the intoxicated jazz scene in Shanghai to join the diaspora in Taiwan – though for very different reasons. Rather than running away from the flames of war, it was “marriage,” the destined cage imposed on women for centuries, that urged them to go…and stay.
More than half a century later, a forgotten suitcase that contained well-kept vinyl records and a family chronology revealed the two women’s mysterious past to their descendants: the adopted niece, the nephew’s wife, and the grandniece. Between the five women across three generations, memory takes the form of delusional murmurs from Kimberly (or perhaps it is the other way around), who now lingers at the threshold of death. Trapped by dementia, she speaks to the ghost of Evelyn and to her own past, revisiting the intimate sisterhood she shared with her classmate Evelyn and the charming jazz singer Mei-Lan. Together, they concocted a plan for Evelyn to escape her arranged marriage and boarded a ship toward a new life with the two young children Mei-Lan eventually left behind.
Katherine Hui-ling Chou, playwright and director of She Says, She Says, is renowned for her delicate approach to female experiences beyond grand nationalist narratives, while she often plays with gender ambiguity and challenges conventional definitions of “family.” Her most prestigious work He is my Wife, He is my Mother (2009), based on a 350-year-old short story, is a gender-subversive fantasy that delves into lesbian undertones and male homosexuality, transcending bloodlines to redefine kinship.
Her other iconic works include Have Wok, Will Travel, which uses a metaphorical recipe journal to narrate the memory of a group of Taiwanese female soldiers in the late 1950s who chose military over traditional family roles; the biological Jian Ji – A Just Life that tells the story of a little-known labor activist and anti-colonialist during the Japanese Occupation; and the novel adaptation The Apocalypse of Fudingjin – The Secrets Stolen by Five Ghost Children, which weaves magic realism into the history of a deserted public cemetery. Chou’s collaboration with the Singapore-based Siong Leng Musical Association and Esplanade, The Heart of Jun: Memoirs of Zhaojun, that tells the voyage of three women leaving China for Southeast Asia via a fusion of contemporary theatre and traditional Nanguan music, also earned critical acclaim at its Singapore premiere.
Following Katherine Chou’s continuous exploration of gender, female bonding, non-blood family, diaspora, and the complexities of histories, She Says, She Says employs old Shanghai jazz tune On Separate Roads to juxtapose memory with present reality. Its non-linear storyline and mixture of languages expand into a dreamlike presence that transcends national or geographical boundaries.
The production features Taiwan's most celebrated stage talents: the acclaimed Taiwanese actress Hsu Yen-Ling and Peking Opera star Huang Yu-Lin take the roles of Kimberly and Evelyn, who share a life and family from Shanghai to Taiwan beyond what a heterosexual marriage can offer; their undefined yet authentic relationship shed light on the younger generations, played by Wu Wei-Wei, Datian, Lin Zi-Heng, and Lu Man-Yin.
“This road is too bleak, and that road is too tense, but I find no better place, and I am on the road every day”—the Shanghai jazz tune lingers, as the diasporic souls finally find a home.
【Artist Profile】
Creative Society Theatre Group
Founded in 1997, Creative Society Theatre Group brings together leading talents in theatre and media to create original theatre productions that explore new aesthetic possibilities while addressing contemporary social issues. The diverse backgrounds of its founders – among whom are pioneering Japanese theatre artists including Chi Wei-Jan, Katherine Hui-Ling Chou, Wei Ying-Chuan, Li Huan-Hsiung – enrich an artistic vocabulary that spans from the clever play of everyday language in its debut production Mahjong Game (1997), to the exquisite fusion of traditional and modern theatre in He Is My Wife, He Is My Mother (2009).
Over its nearly thirty-year journey, by expanding its artist collaborators, Creative Society Theatre Group has continued to pursue different artistic styles that embody a multicultural Taiwan while transcending existing boundaries. Many of its productions have earned critical and commercial acclaim, including the 2005 Taishin Arts Award in Performing Arts for Who-ga-sha-ga, and have been widely supported multiple times by the Ministry of Culture’s flagship and interdisciplinary co-creation projects. Beyond domestic festivals, the group has toured extensively across the Sinophone world, with invitations to the Singapore International Festival of Arts (SIFA), ACT Shanghai Contemporary Theatre Festival, Taipei-Beijing Cross-Strait Arts Festival, among others.
Katherine Hui-ling Chou
Katherine Hui-ling Chou bridges the academic and creative worlds through her multifaceted work as a director, playwright, scholar, and professor. In 1997, Chou co-founded Creative Society Theatre Group, through which she presented I Love You, I Love You Not (2000)—a production integrating performance theory and gender performativity to explore love, pleasure, and gender crossing.
Since then, the interplay between gendered experiences, social realities, and historical narratives has always been her focus, as reflected in her later works, including to be AND not to be: a dark fantasy about formosa, part two (2005), He is my Wife, He is my Mother (2006), Have Wok, Will Travel (2011), Jian Ji: A Just Life (2018), The Apocalypse of Fudingjin (2020), among others. As a director, she has also collaborated with Taiwan’s prestigious GuoGuang Opera Company, bringing a contemporary perspective to the traditional art form.
In 2014, Katherine Hui-ling Chou initiated the World Sinophone Drama Competition for Young Playwrights to facilitate artistic exchange across the Sinophone world, reaching as far as the diaspora in Canada, the USA, and the UK. She is currently Professor in the Department of English at National Central University, specializing in cultural policies, gender performance, and digital archiving for performing arts, where she also founded and directs Electronic Theatre Intermix in Taiwan, a digital archive of the contemporary theatre in Taiwan since 1980s.
【Creative and Production Team】
Production and Performance Team | Creative Society Theatre Group
Production | R.H. Studio
Executive Producer | Yan An-Qi
Playwright & Director｜ Katherine Hui-ling Chou
Cast | Hsu, Yen-Ling, HUANG Yu-lin *, Man-Yin LU, WU,WEI-WEI, Datian, Lin Zi-Heng
Lighting Designer | HUANG No-hsing
Costume Designer | HSIEH Chieh-jen
Music Designer | CHEN Chien-chi
Stage Designer | CHEN Hui
Dramaturgy | Kuo Jian Hong
Consultants｜Wang An-chi, Hung Fang Yi, Cao Lu Sheng
Photography｜Chen,You-Wei
Key Visual Design｜Weichungtung
* Currently a member of the Guoguang Opera Company of the National Center for Traditional Arts.
She Says, She Says is co-commissioned by Taipei Performing Arts Center and Esplanade-Theatres on the Bay, Singapore.
Organizer: Taipei City Government and Taipei Performing Arts Center
折扣方案
了解更多北藝會員:https://tpacplayer.org/q3t4z
2026.6.15（一）中午 12:00 ── 6.22（一）11:59 付費會員預購
付費會員優惠：
●北藝中心會員──成癮玩家75折，滿3場送1張5折券
●北藝中心會員──團隊玩家4張以下85折、單場單筆訂單4張（含）以上8折、10張（含）以上75折
2026.6.22（一） 中午 12:00 正式啟售
會員優惠：
●北藝中心會員──成癮玩家85折，滿3場送1張5折券
●北藝中心會員──團隊玩家4張以下85折、單場單筆訂單4張（含）以上75折、10張（含）以上7折
●北藝中心會員──新手玩家9折，北藝官網免費註冊享購票優惠
熟客優惠：
2026.6.22（一）中午 12:00 ── 7.26（日）23:59
曾購買2025年臺北藝術節主辦節目，且2026.6.15(一)中午12:00前為新手玩家身份者，將於2026.6.15（一）獲得專屬 85 折券2張（使用期限至2026.7.26（日））
新手玩家套票優惠：（請由上方套票分類內連結購買）
2026.6.22（一）中午 12:00 ── 7.26（日）23:59
購買1000元（含）以上票券 ── 2張享88折，3張（含）以上享85折
TPAC會員限定套票：（請由上方套票分類內連結購買）
凡完成 OPENTIX 綁定之北藝會員，可享會員限定活動套票1+1優惠。
2026.6.15（一）中午 12:00 起
成癮玩家/團隊玩家購買臺北藝術節主辦節目 75 折 +TPAC 會員限定：《身體的隱形連線》表演體驗課優惠價 199 元。
2026.6.22（一）中午 12:00 起
新手玩家購買臺北藝術節主辦節目 9 折 +TPAC 會員限定：《身體的隱形連線》表演體驗課優惠價 299 元。
異業優惠：
2026.6.22（一） 中午 12:00 起
誠品會員、玉山銀行、台北富邦銀行、台新銀行卡友購票享優惠92折
團票優惠：
●單場單筆訂單 20 張（含）以上 8 折
●單場單筆訂單 50 張（含）以上 75 折
●單場單筆訂單 100 張（含）以上 7 折
其他優惠：
●身心障礙人士及陪同者（限1人）購票享5折優惠，入場時應出示身心障礙證明，陪同者與身障者需同時入場。
●年滿65歲以上長者購票享5折優惠，入場時請出示有效證件。
※ 主辦單位保留節目異動權及折扣解釋權
展演須知
◎ 節目全長約110分鐘，無中場休息。
◎ 中文發音，部分上海話演出有字幕。
◎ 建議12歲以上觀眾欣賞。
◎ 遲到及中途離席的觀眾，須依工作人員引導等候入場。本場演出最後遲進點後即無再入場機會，無法因此退換票，請您特別留意。
◎ 演前導聆：每場演出前40分鐘於太陽廳東南角。
◎ 演後座談：9/4 (FRI.) 演後於 球劇場 觀眾席舉行。
購票方式
- 網路購買 （信用卡、Apple Pay、Google Pay、ATM轉帳），請先加入會員
※如本節目所提供之折扣方案設有「需使用文化幣折抵」限制，該折扣僅限網路購買。 - 分銷點購買（現金、信用卡）
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※特別提醒，如本節目有以下方案，無法於超商購買：
- 輪椅席及輪椅陪同席。
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取票方式
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- 國內郵寄（另收50元郵資）
- 部分場館與主辦單位提供電子票（提供電子票單位列表）
退票期限：
最遲須在演出日1日前（不含演出日）辦理，逾期無法受理。
例：演出日為6/29，最後退票期限為6/28。
退票手續費：
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申請方式：
【選擇電子票或尚未取紙本票】
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※以ATM轉帳或現金付款之票券，將在收到郵寄退票申請後，最遲10個工作日內轉帳至所提供之存摺帳戶；以刷卡付款之票券，退票款項將退還至原刷信用卡。
注意事項：
如購票時使用文化幣或點數折抵，退票時，系統將退還折抵之全額文化幣，並於扣除退票手續費後，優先退還點數，再將剩餘款項退回。特別提醒，如退票時（含換、補票及因節目異動之退票），抵用之優惠券、文化幣、點數已逾使用效期，OPENTIX將無法以任何形式進行返還、展延。
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【套票退票】套票退票需整套辦理，無法以單張票券申請退票，亦不接受換票。如購買不同場次票券，最遲需於所購買的首場演出日1日前（不含演出日）辦理，如套票另有規定者，請依套票頁面之注意事項為主。
※ 依據文化部「藝文表演票券定型化契約應記載及不得記載事項」第3點規定，若本節目因故取消、延期舉行之主要表演人員或主要節目內容，於預定表演前發生變動時，相關退票機制、受理方式、退款途徑等資訊，將另行公告於本節目頁面；若遇上述異動情境，主辦單位未提供退款機制時，以信用卡購票之持卡人，可向原信用卡發卡行申請信用卡爭議款退款。
共同主辦｜臺北市政府