「有（界」無）之由虛見有／由實見無 「有（界」無）承續了2023年臺灣戲曲藝術節「英雄．超時空」強調的「戲曲敘事」主軸、2024年「非．常．愛」凸顯的「戲曲抒情」主軸，在2025年特別以「戲曲虛實論」具現戲曲美學核心，並可連結當代文化與科技，開展「戲曲 vs. 虛實」新旅程！ 自古至今的戲曲發展，「虛實論」關乎戲曲文本、表演核心美學特質至鉅。從戲曲故事情節的入夢、入幻，到強調「夢中之情，何必非真」，甚至到了臺灣當代戲曲創作觀，創演者對於「夢境」都持續有著不同且精彩的運用，甚至突破。至於「出之貴實，用之貴虛」的戲曲無上心法，則可在劇中發展出相對於「真實（史實、文獻）」而言的「虛假／虛幻」情節與人物，甚至人生！而表演的「虛擬性」，更是戲曲表演的基本特質與美學，至今亦然，由此更可與「乾旦」、「坤生」為代表的「類性別扮演」（演員生理性別與腳色性別相異）相鏈結，君不見漫天花雨，繽紛奪目！隨著科技發展，AI成為全球熱潮，VR、AR更是方興未艾，不僅在科技廣為運用，在藝術創作方面則備受矚目。而人工智慧的展現，不論「賽博格（改造人、半機器人，cyborg）」、「機器人（robot）」，不但發展日新月異，科技、技術的提高，更引發人類深度反思。 如果以「虛實」作為美學創作核心，則夢境、幻境、時空穿越以及戲曲文本的「虛實之用」，皆可延續到今日而另有新發；植基於科技所展現的諸多「虛擬」，莫不藉「虛實對照／辯證」深探人性。緣此，既可藉敘事而引人入勝，更可藉由情節探究人性，呈現抒情特質——此一以「虛實」作為「敘事」+「抒情」展現平臺的設定，實乃籠括戲曲重要核心美學。 大表演廳旗艦製作：明華園戲劇總團《轉生到異世界成為嘉慶君——發現我的祖先是詐騙集團！？》由一張實際存在嘉慶皇帝宮內的戲單，所引發的真實之宜蘭土地開發詐騙案，穿越古今界限、人性界域，映現當代！小表演廳旗艦製作：臺北木偶劇團《赤子》以才子音樂家呂赫若和日本悲劇英雄源義經，作為劇場虛實之兩端，而無可所見的音聲／聲響則成為扣連樞紐，三者各見虛實，凸顯人心！ 古今之識、虛實之用，在在皆以大跨度的時空旅程，展現虛實面向——榮興客家採茶劇團《新新》藉龍瑛宗小說開啟路線，以唐代杜甫為時空旅人，映照古今；真雲林閣掌中劇團《一個皇帝在南洋》，演述明代建文帝出逃南洋，也逃出中國，逸離界域之後主客易位，以彼視此，九五至尊不也是新住民？TTTF與TIFA共製、魏海敏X王嘉明《女王的名字》以女王之名模糊虛／實界線，遁逸在現實與夢境、國政與家常之間，挑動對「慈禧」的多重想像，觀看與批判的場域亦由此迤邐而出……。 還有還有，神明的願望就由尚和歌仔戲劇團《參拾號夢—戲神養成記》以uber dream在夢境下單，專人使命必達。薪傳X李季紋X正在動映《幽戀牡丹》展現文本的超時空旅行，在虛實籠套下，層層剝出／除人性。歌仔戲作活戲，則由秀琴歌劇團《內臺演活戲》讓觀眾親身見證「口說為憑、無中生有」的活戲誕生與演出。當然，絕不缺席的國光劇團與翃舞製作《精衛》、臺灣豫劇團《錦衣》、臺灣國樂團《A.I.小迷的實習筆記》，更呈現「有（界」無）及於科技的多元視角與泯界創發，令人期待！ 上述故事不論是在廣袤時空界域穿梭映照，取得更多元的虛實通行證；或是以夢境之無界為動機、人心之難測為軸點，在在讓創作者取得更大的發言權！而觀眾呢？——心識則明……眼見為憑？ 歡迎大家進入劇場，一同穿越界限，洞察虛實，翻轉有無！ 策展人
「有（界」無）之由虛見有／由實見無
「有（界」無）承續了2023年臺灣戲曲藝術節「英雄．超時空」強調的「戲曲敘事」主軸、2024年「非．常．愛」凸顯的「戲曲抒情」主軸，在2025年特別以「戲曲虛實論」具現戲曲美學核心，並可連結當代文化與科技，開展「戲曲 vs. 虛實」新旅程！
自古至今的戲曲發展，「虛實論」關乎戲曲文本、表演核心美學特質至鉅。從戲曲故事情節的入夢、入幻，到強調「夢中之情，何必非真」，甚至到了臺灣當代戲曲創作觀，創演者對於「夢境」都持續有著不同且精彩的運用，甚至突破。至於「出之貴實，用之貴虛」的戲曲無上心法，則可在劇中發展出相對於「真實（史實、文獻）」而言的「虛假／虛幻」情節與人物，甚至人生！而表演的「虛擬性」，更是戲曲表演的基本特質與美學，至今亦然，由此更可與「乾旦」、「坤生」為代表的「類性別扮演」（演員生理性別與腳色性別相異）相鏈結，君不見漫天花雨，繽紛奪目！隨著科技發展，AI成為全球熱潮，VR、AR更是方興未艾，不僅在科技廣為運用，在藝術創作方面則備受矚目。而人工智慧的展現，不論「賽博格（改造人、半機器人，cyborg）」、「機器人（robot）」，不但發展日新月異，科技、技術的提高，更引發人類深度反思。
如果以「虛實」作為美學創作核心，則夢境、幻境、時空穿越以及戲曲文本的「虛實之用」，皆可延續到今日而另有新發；植基於科技所展現的諸多「虛擬」，莫不藉「虛實對照／辯證」深探人性。緣此，既可藉敘事而引人入勝，更可藉由情節探究人性，呈現抒情特質——此一以「虛實」作為「敘事」+「抒情」展現平臺的設定，實乃籠括戲曲重要核心美學。
大表演廳旗艦製作：明華園戲劇總團《轉生到異世界成為嘉慶君——發現我的祖先是詐騙集團！？》由一張實際存在嘉慶皇帝宮內的戲單，所引發的真實之宜蘭土地開發詐騙案，穿越古今界限、人性界域，映現當代！小表演廳旗艦製作：臺北木偶劇團《赤子》由才子音樂家呂赫若之生命及其作品進行發想，形構劇場虛實之兩端，而無可所見的音聲／聲響則成為扣連樞紐，三者各見虛實，凸顯人心！
古今之識、虛實之用，在在皆以大跨度的時空旅程，展現虛實面向——榮興客家採茶劇團《新新》藉龍瑛宗小說開啟路線，以唐代杜甫為時空旅人，映照古今；真雲林閣掌中劇團《一個皇帝在南洋》，演述明代建文帝出逃南洋，也逃出中國，逸離界域之後主客易位，以彼視此，九五至尊不也是新住民？TTTF與TIFA共製「魏海敏X王嘉明《女王的名字》」以女王之名模糊虛／實界線，遁逸在現實與夢境、國政與家常之間，挑動對「慈禧」的多重想像，觀看與批判的場域亦由此迤邐而出……。
還有還有，神明的願望就由尚和歌仔戲劇團《叁拾號夢•戲神養成記》以uber dream在夢境下單，專人使命必達。薪傳X李季紋X正在動映《幽戀牡丹》展現文本的超時空旅行，在虛實籠套下，層層剝出／除人性。歌仔戲作活戲，則由秀琴歌劇團《內臺演活戲》讓觀眾親身見證「口說為憑、無中生有」的活戲誕生與演出。當然，絕不缺席的國光劇團與翃舞製作《精衛》、臺灣豫劇團《錦衣》、臺灣國樂團《芯之旋律──A.I.小迷的實習筆記》，更呈現「有（界」無）及於科技的多元視角與泯界創發，令人期待！
上述故事不論是在廣袤時空界域穿梭映照，取得更多元的虛實通行證；或是以夢境之無界為動機、人心之難測為軸點，在在讓創作者取得更大的發言權！而觀眾呢？——心識則明……眼見為憑？
歡迎大家進入劇場，一同穿越界限，洞察虛實，翻轉有無！
within/out Boundaries
The 2025 Taiwan Traditional Theatre Festival (TTTF) with in/out Boundaries inherited the thematic focus from 2023 TTTF, Heroes: Beyond Time and Space, which highlighted narrative in traditional theatre, and continues to build on the 2024 theme of Extra. Ordinary. Love, which emphasized the lyrical elements of traditional theatre. In 2025, with in/out Boundaries explores the core aesthetic of traditional theatre through the concept of “reality and illusion” linking together contemporary culture and technology to embark on a new journey of traditional theatre vs. reality and illusion.
The concept of "reality and illusion" has been integral to traditional theatre from ancient times to the present, shaping both the text and the core aesthetics of performance. From dreams and illusions in theatrical narratives to the idea that “emotions in dreams do not have to be false,” this concept continues to be deeply embedded in contemporary traditional opera in Taiwan. Creators are constantly exploring and expanding on the idea of dreams, sometimes even breaking through conventional boundaries. The highest principle of traditional theatre, “derived from what is real; demonstrated through illusion,” manifests through narratives and characters that challenge historical facts and realities with relatively fictional and illusion-filled plots and characters—even extending to life itself. The inherent “virtuality” of performance is a fundamental feature of traditional theatre’s aesthetics and continues to be relevant today. This aligns with “gender-bending” performances, such as male actors portraying female roles and vice versa, showcasing the art’s captivating charm. As technology advances, artificial intelligence (AI) has become a global phenomenon, with VR and AR gaining widespread attention in not only technological applications but also artistic creation. The rise of AI, separate from that of cyborgs or robots, and with rapid technological advancements fueling these explorations, prompts new reflections on human nature.
If we consider “reality and illusion” as the core of aesthetic creation, themes such as dreams, illusions, time travel, and the interplay between reality and illusion in traditional theatre texts can all find fresh interpretations in the modern world. Technological “virtuality” can deepen our exploration of human nature through the juxtaposition of reality and illusion. By engaging the audience through storytelling, such creations can probe human nature through their lyrical elements. This platform for both “narrative” and “lyricism” captures the core aesthetics of traditional theatre.
Main Theatre’s flagship production, Ming Hwa Yuan Arts & Cultural Group's Clan Of Crooks!? Reincarnation Into Another World is inspired by a historical playbill from the Jiaqing Emperor’s court, unraveling a land development scam in Yilan. It transcends time and space, reflecting on human nature in both the past and the present. In the Experimental Theatre, The Innocents by Taipei Puppet Theater inspired by the life and works of the talented musician Lu Ho-jo, with sound and music(Beiguan) acting as the bridge between reality and illusion, emphasizing the depths of the human heart.
These productions explore the concepts of time and space, both ancient and modern, using the theme of reality and illusion. Rom Shing Hakka Opera Troupe’s Image adapts a novel by Lung Ying-tsung, featuring Tang Dynasty poet Du Fu as a time traveler, reflecting on the past and present. ZhenYunLinGe Puppet Theatre’s The Missing Emperor tells the story of the Jianwen Emperor of the Ming Dynasty fleeing to Southeast Asia, where he became a “new immigrant” after leaving behind his imperial status. Co-produced by the Taiwan International Festival of Arts and the TTTF, WEI Hai-Min & WANG Chia-Ming: The Queen with No Name blurs the boundaries between reality and illusion, shifting between dreams, politics, and domestic life, prompting multiple interpretations of Empress Dowager Cixi and creating a space for observation and critical thinking.
SunHope Taiwanese Opera Troupe’s The Dream No. 30 envisions deities’ wishes being fulfilled through a delivery service—Uber Dream; Shintrun Taiwanese Opera Troupe’s The Peony Lotus Lantern embarks on a time-traveling journey where layers of illusion unravel human nature; Shiu-Kim Taiwanese Opera Troupe’s Impromptu Opera in the Theater Hall Series allows the audience to witness firsthand the birth of a performance, where something is created out of nothing but the spoken word. And, of course, the contributions of the unmissable GuoGuang Opera Company and Hung Dance’s Jing Wei: Feathers against The Tides, Taiwan Bangzi Opera Company’s Revenger, and National Chinese Orchestra Taiwan’s The Sound of Feeling—A.I. Me-me’s Musical Internship offer diverse perspectives on the integration of technology, pushing the boundaries of theatrical creation and sparking great anticipation.
Whether the stories above travel through vast expanses of time and space to pass through “reality and illusion” or use dreams as a boundless metaphor and the complexity of the human heart as a central theme, creators are given a broader platform for expression. And as for the audience? They are left to decide—can they truly believe their eyes?
Join us at the TTTF, where we journey across boundaries to perceive illusion and reality. Together, let’s transcend both existence and nonexistence.
策展人
