【臺北戲劇獎】得獎人物講座｜我們需要共識嗎？——導演與設計的集體創作學
Do We Need Consensus? — The Collaborative Dynamics of Director and Designers in Theatre
購票資訊
節目介紹
劇場是一門極致分工、卻又高度集體的創作形式。當舞台、燈光、影像、服裝、聲音設計在各自的專業領域裡開展，導演該如何與之共同工作？而在這個既追求個人美學、又需共同成就一個世界的黑盒子裡，我們真的需要「共識」嗎？
本場講座將由入圍第一屆臺北戲劇獎六項大獎的《太陽》主創團隊，揭秘導演與各設計們的創作過程，展開一場關於「共識 vs. 衝突」的實踐思辨。劇場創作往往既集體又孤獨，團隊究竟是依循絕對的共識？還是從美學的碰撞與「不共識」中逼引出更多的火花？本場對談帶領觀眾一同拆解幕後「和而不同」的協作機制，一窺劇場作為「集體創作」最真實也最迷人的交流現場。
講者 許哲彬
四把椅子劇團藝術總監，英國皇家中央演講戲劇學院劇場創作碩士，國立臺北藝術大學戲劇學系專任講師。以「集體性」為創作宗旨，聚焦於文本為核心的「新寫實」美學；多部作品曾提名入圍台新藝術獎，並以《太陽》獲得第一屆臺北戲劇獎最佳導演獎，亦獲2025年臺北表演藝術中心點亮劇場發展獎助計畫支持。
講者 王正源
畢業於倫敦藝術大學溫布頓藝術學院（MA Visual Language of Performance），現為四把椅子劇團團員、國立臺灣大學戲劇學系講師。核心關懷聚焦於影像科技如何介入劇場現場，改變既有的觀看方式與創作結構。其實踐多發生在螢幕與劇場空間的交界，從中觀察人與技術、空間與身體之間的關係質變。
講者 廖音喬
紐約大學蒂許藝術學院劇場及電影設計碩士 (MFA NYU Tisch School of the Arts Design for Stage and Film )，國立台灣大學戲劇學系學士，主修劇場舞台以及電影美術設計。現居台灣，為自由接案的劇場舞台及電影廣告美術設計，近年跨足展場及各類跨界空間設計，2025成立山朋水貴（Bonquec Design)，致力於敘事與空間影像的對話。
講者 陳冠霖
在劇場中擅長燈光、舞台與整體空間設計，以燈光與空間作為媒材，參與於戲劇、舞蹈、音樂等領域，風格依作品調性而產生不同的樣貌與材質的選擇，試圖透過光、空間與材質的選擇來展現作品的可能性。近期合作：四把椅子劇團、微光製造、窮劇場、田孝慈、陳煜典等不同風格領域創作者，近期作品：四把椅子劇團 x 劇團Takumi《恍恍》、微光製造《人之島》、窮劇場《感謝公主》等作品。
講者 洪伊俊
波士頓大學劇場設計研究所藝術創作碩士MFA，主修聲音設計。創作領域包含劇場、舞蹈、電影與展演。曾任紐約Stella Adler Studio of Acting駐校聲音設計。合作團隊包含外百老匯The Public Theater, Atlantic Theatre Company, Westside Theatre等。近期作品：四把椅子劇團ｘ劇團Takumi《恍恍》、《太陽》、北藝大秋季公演《萬物生長》、黑眼睛跨劇團《末日前的冬之旅》等。作品《太陽》入圍第一屆臺北戲劇獎最佳劇場設計獎。現任台大與文大戲劇系兼任講師。
講者 范玉霖
服裝造型及彩妝設計的自由接案者，跨足劇場及影視。與四把椅子劇團合作作品如《春眠》、《呼吸》、《太陽》、《獨疝其身》、《叛徒馬密可能的回憶錄》2026年版、《恍恍》。2025年以《河鰻》入圍台北電影節最佳造型設計。最新長片作品為《死亡賭局》。
Theatre is an art form of extreme division of labor, yet it is highly collective. When stage, lighting, video, costume, and sound designers develop their respective aesthetic fields, how does a director work with them? In a black box where individual artistry meets the creation of a shared world, do we really need "consensus"?
Featuring the creative team behind "The Sun"—which was nominated for six major awards at the inaugural Taipei Theatre Awards—this lecture unpacks the collaborative process between the director and designers. It sparks a practical debate on "consensus vs. conflict." Theatre-making is often "both collective and solitary." Does a team rely on absolute consensus, or do they ignite sparks from aesthetic friction and "non-consensus"? This dialogue dissects the "harmonious yet different" mechanism behind the scenes, offering the audience a rare glimpse into the authentic and captivating space of collective creation.
Panelist｜Tora Hsu
Artistic Director of 4 CHAIRS THEATRE, Tora Hsu holds an MA in Advanced Theatre Practice from the Royal Central School of Speech and Drama, and is currently a full-time lecturer in the Department of Theatre Arts at Taipei National University of the Arts. His creative vision centers on collectivity, pursuing a text-based “new realism” aesthetic. Several of his productions have been nominated for the Taishin Arts Award. He received the Best Director Award at the inaugural Taipei Theatre Awards for The Sun, and his work is also supported by the 2025 Taipei Theater MVP Grant from Taipei Performing Arts Center.
Panelist｜Wang Cheng-Yuan
Graduated from Wimbledon College of Arts, University of the Arts London with an MA in Visual Language of Performance, he is currently a member of the 4 CHAIRS THEATRE and a lecturer in the Department of Drama and Theatre at National Taiwan University. His core research and artistic focus center on how image technology intervenes in live theatre, transforming established modes of viewing and creative structures. His practice primarily takes place at the intersection of the screen and theatrical space, observing the qualitative shifts in relationships between humans and technology, as well as space and the body.
Panelist｜Liao Yin-Chiao
Holding an MFA from the Department of Design for Stage and Film at NYU Tisch School of the Arts and a BA from the Department of Drama and Theatre at National Taiwan University, Liao specializes in theatre set design and film art direction. Currently based in Taiwan, she works as a freelance designer for theatre stages, films, and commercials. In recent years, she has expanded into exhibitions and various cross-disciplinary spatial designs. In 2025, she founded Bonquec Design, dedicating her work to the dialogue between narrative, space, and imagery.
Panelist｜Chen Guan-Lin
Specializing in lighting, stage, and spatial design, he works with light and space as creative mediums across theatre, dance, and music. Instead of sticking to a single aesthetic, his style and choice of materials shift fluidly to match the tone of each project, aiming to explore new theatrical possibilities. He has recently collaborated with creators of diverse backgrounds, including 4 CHAIRS THEATRE, Shimmering Production, approaching theatre, Tien Hsiao-tzu, and Chen Yu-dien. His recent works feature Uneasy (4 CHAIRS THEATRE x gekidan takumi), Islands (Shimmering Production), and Apostating Time (approaching theatre).
Panelist｜Iggy Hung
Holding an MFA in Theatre Design with a specialization in Sound Design from Boston University, Iggy Hung’s creative work spans theatre, dance, film, and exhibitions. He previously served as the resident sound designer at the Stella Adler Studio of Acting in New York, and has collaborated with Off-Broadway venues including The Public Theater, Atlantic Theater Company, and Westside Theatre. Recent credits include 4 CHAIRS THEATRE x Gekidan Takumi’s Uneasy, The Sun, TNUA’s autumn production Not a Breath of Life, and Dark Eyes Performance Lab’s Winter Journey Before the Doomsday. Hung’s sound design for The Sun was nominated for Best Sound Design at the inaugural Taipei Theatre Awards. Hung currently serves as an adjunct lecturer in the drama departments of National Taiwan University and Chinese Culture University.
Panelist｜Yulin Fann
As a freelance costume and makeup designer, she brings her creative vision to both stage and screen. She has frequently collaborated with 4 CHAIRS THEATRE on prominent productions, including Sleeep in Spring, Lungs, The Sun, Hernia Maniac, the 2026 restaging of The Possible Memoirs of a Traitor, and Uneasy. Her exceptional work on the film Eel earned her a nomination for Best Makeup and Costume Design at the 2025 Taipei Film Awards. Dead End marks her most recent achievement in feature-length cinema.
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