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Home About Wan Program Visit Venue Our Team History International Development 近期活動 11.15 | 12.01 𝟮𝟬𝟮𝟰萬座焦點 Japan Fouce 聚焦日本 ➤活動日期：2024年11月15日～12月1日 ➤演出節目：《男八：廿周年紀念公演》、《北齋漫畫舞踏：So Zo Ro》、《潮來之音》。 更多資訊 購票請走 近期節目 【潮來之音】 曉劇場 演出構想源自鍾伯淵導演2018年國藝會「海外藝遊計畫」前往日本三大靈場之一的恐山，仿若北投地熱谷的火山地形，一座座石頭塔祭弔亡魂，不停轉動的風車隨風旋去念想；日本八戶市當地的潮來巫女（Itako），必定由眼盲的女子擔任以口傳遞著生死兩界的訊息，與台灣的觀落陰相似，令猝不及防地生命消逝時，生者得以傳遞思念。潮來之音是海潮陣陣逼近的聲響，是徘徊在生死間的低聲喃喃，也是滌淨的潮垢離。 查看更多 【 北齋漫畫舞踏： So Zo Ro】 AGAXART 日本舞踏編舞家我妻惠美子，從北齋描繪的江戶時代日常生活場景中汲取靈感，將這些場景轉化為舞踏編舞，捕捉北齋藝術的精髓，並將普通的瞬間變為深刻的藝術表達。「北齋漫畫舞踏 ‘So Zo Ro’」不僅僅是一場舞蹈表演，更是一場跨越過去與現在的文化慶典，通過舞踏的轉化視角，發現日常瞬間中隱藏的美。。 查看更多 【男八： 廿周年紀念公演】 SHOW GEKI 男八是由芭蕾舞者、動作演員等各種類型的舞臺演員一同創作的喜劇表演，並由編劇和導演的羽廣克成，和八位年齡二十至五十多歲的男性演員共同發展創作，節奏緊湊的超短篇結構，誇張的表情與肢體表演帶給觀眾熱血又愉快的體驗。 查看更多 More Program More About Us Shinehouse Theatre Want To Dance Festival The Shinehouse Theatre Arts Village Wan Theatre

Latest latest news Artists About Us Xiao Theater Art Village 藝術進駐計劃 曉劇場藝術進駐計劃於 2020 年正式啟動，透過提供 住 宿以及創作空間吸引國內外不同領域的藝術工作者 進駐。 並在進駐期間安排藝術家與在地居民及其他藝文工作者 接 觸的機會，透過交流機會讓藝術家有機會接觸更多元 的觀 點 及 視角。 關於曉劇場藝術進駐計劃 曉劇場藝術進駐計劃是臺灣少數以表演藝術團體為經營核心的藝術進駐，團隊邀請國內外不同領域的藝術家進駐市定古蹟萬座曉劇場（前身為台糖倉庫）。 在富有歷史記憶的建築之中，創造出讓藝術家、環境以及民眾可以對話以及互動的場域。 曉劇場藝術進駐計劃介紹 曉劇場長期蹲點萬華進行創作，透過深度的田野調查飽滿作品的內在能量。自 2019 年舉辦艋舺國際舞蹈節，吸引數十位創作者將各自獨特的舞蹈作品在萬華地區各地展演，為在地帶來豐沛的藝文量能。 團隊希冀透過成立藝術村提供更開放及自由的空間，讓藝術家能與居民進行更多元的對話，創造出無限可能。 More About Us Shinehouse Theatre Want To Dance Festival The Shinehouse Theatre Arts Village Contact Us Address: No. 132-9, Dali Street, Wanhua District, Taipei City 10801 Tel: +886-2-2308-3398 E-mail: shinehousetheatre02@gmail.com

Shinehouse Theatre 萬座曉劇場 Shinehouse Theatre Wan Theater The Shinehouse Theatre Arts Village Shinehouse Artist-In-Residence Program Want To Dance Festival Want To Dance Festival

Home About Wan Program Visit Venue Our Team History International Development 2024/10/11-13 2024/10/19-20 2024/11/15-17 2024/11/22-24 2024/11/29-30 12/1 SHOW GEKI 《男八廿週年紀念公演》 NOV 15-17 曉劇場 《潮來之音》 NOV 29-30 DEC 1 AGAXART 《北齋漫畫舞蹈：So Zo Ro 》 NOV 22-24 索拉舞蹈空間2024跨域創作 《Pure Meat》 OCT 19-20 新生一號劇團 《不可能在一個晚上演完 沙士比亞全集吧？》 OCT 11-13 推薦節目 2024 艸雨田 《舞蹈劇場2024年度 製作 遺屋》 12/21-22 第四人稱表演域 《暗島àm-tó 》 11/1-3 嚴婕瑄 《萬華女流》 9/1-6 曉劇場 《家庭場景》 3/22-24 曉劇場《潮來之音》 11/29-30 12/1 索拉舞蹈空間2024 跨域創作 《Pure Meat》 10/19-20 灰非白銀髮劇團 《灰非白》 8/30-31 曉劇場 《第一夜》 3/8-10 3/15-17 AGAXART 《北齋漫畫舞踏： So Zo Ro》 11/22-24 新生一號劇團 《不可能在一個晚上演 完莎士比亞全集吧？》 10/11-13 晚熟 《無關的人》 6/20-22 SHOW GEKI 《男八：廿周年紀念 公演》 11/15-17 大可創藝 《聚．众》 9/7-8 《絕不付帳》 5/31-6/2 2023 林韋明｜無重空中藝術《SECOND SKIN》 9/1-2 葉喚軍個人製作 《MANIAC》 8/27-29 《ECHO location》 8/25-26 《陳家聲十年紀念講唱會》 8/24 《萬物長生》 11/3-4 《心垣》 10/20-21 《下一場黎明》 10/5-8 《夢靜止了。》 9/2-3 2022 國立臺灣師範大學表演藝術 112級 X 表演藝術研究所 史宥玲聯合畢業製作 12/02-04 果陀劇場 活化歷史生命劇場作品 11/19-20 曉劇場2022年度製作 10/21-23 饕餮劇集 10/07-09 創造焦點 2022女子馬戲平台 09/17-18 雅緻藝術舞蹈團 09/01、09/03 擊盒工作室 08/28 黃騰生 10/07-09 曉劇場 愛丁堡限定版 07/15-17 人尹合作社 青年創作計畫 07/01-03 －萬座曉劇場開幕系列－ 曉劇場 宮部美幸三島屋奇異百物語語系列 06/10-12 －萬座曉劇場開幕系列－ 曉劇場 05/27-29 －萬座曉劇場場地支持計畫－ A劇團 05/13-15 －萬座曉劇場場地支持計畫－ 隔離島劇團 05/06-08 More About Us 曉劇場 Shinehouse Theatre 萬座曉劇場 Wan The atre 曉劇場藝術進駐計劃 Shinehouse Artist-In-Residence Program 艋舺國際舞蹈節 Want To Dance Festival

2019 Edinburgh Festival Fringe 2nd-25th August Summerhall Event's Page "Fish" is adapted from the short story "Fish" in Huang Chunming's novel "Sayo Nara, Goodbye", reflecting the courage of little people to face setbacks and difficulties in their lives. A squashed fish shows how Ah Cang from a poor family got and lost the fish, depicting the hardships and plainness of life in the countryside. From the performance in the literary theater, we can peek into the local stories belonging to Taiwan. Sign language meets puppetry in this engaging, BSL-signed production based on a novel by Taiwanese author Huang Chunming. The conflict between a grandfather and grandson unfolds in a touching, richly sensory experience aimed at, but not limited to, hearing-impaired audiences. " Even if I can't hear it, it still makes me immersed in the atmosphere of the story, and I can't get back to my senses for a long time. " －Hearing - impaired illustrator Xu Fangwei "Though I couldn't hear , I was still deeply embroiled in the atmosphere and couldn't return for a long time." - XU, Fang-wei (Hearing Impaired Illustrator)

2024 3/8-17 《第一夜》 The First Night 臺灣，臺北 Taiwan，Taipei 萬座曉劇場 Wan Theatre 3/22-24 《家庭場景》A Piece of Home 臺灣，臺北 Taiwan，Taipei 萬座曉劇場 Wan Theatre 5/29-6/1 《潮來之音》The Whisper of the Waves 捷克，布拉格 Czech Republic, Praha 6/6 《潮來之音》 The Whisper of the Waves 波蘭 Poland 7/3-21 羅丹計畫——馬克白夫人 The Rodin Project — Lady Macbeth 法國，台灣外亞維儂藝術節 France，Festival Off Avignon 8/9-21 《潮來之音》 The Whisper of the Waves 日本，東京 Japan，Tokyo 9/15 《潮來之音》 The Whisper of the Waves 土耳其，伊斯坦堡 Türkiye，Istanbul 10/13-15 黃春明文學作品改編之共融劇場系列《魚・貓》 Fish・ Cat 台灣，高雄 Taiwan，Kaohsiung 11/22-24 宮部美幸怪談系列《附身》Possessed 臺灣，臺北 Taiwan，Taipei 萬座曉劇場 Wan Theatre 11/29-30 12/1 《潮來之音》 The Whisper of the Waves 臺灣，臺北 Taiwan，Taipei 萬座曉劇場 Wan Theatre

計畫內容 「《聲縮．身所》＿聲音與身體之創作研究計畫」，將創作者帶至現地「萬華」，思考以聲音如壓縮檔的形式儲存於身體之中的想像，連結我們對於環境聲音的流動與捕捉，回想成長脈絡之經歷，拼湊身體歷史的記憶片段。此創作執行計畫分為以下四個階段：・感/聲音採集：透過自身背景對自我與環境的敏銳度，重新剖析感官的刺激與閱讀。在資訊爆炸的世代，使得流動變得快速，地域物換心移，但總有一些氣息還停留在轉角處。我想透過我的行走，用身體去發現那些氣息，並且將之紀錄。透過區域環境的好奇，藉由採集來找尋那不平凡有如脈搏般的聲響。 ・思/身體壓縮檔：身體的脈搏如果不是在安靜的氛圍或觸摸是感受不到的，但卻是非常重要的存在。我發現環境中的聲響有如脈搏，他是在地性的脈搏，所以每個區域都有屬於自己脈動。我遇見台北萬華，像是看見家鄉＿高雄鹽埕，都是累積深厚文化底蘊的地帶。我本身喜歡遊晃巷弄中，雖然時間沖刷但也沈澱重量，人群與物件仍然安放，少了點繽紛奪目，但多了陰翳值得慢慢品味。於是透過身體力行，捕捉聲響成為鑰匙，開啟身體歷史的記憶抽屜。 ・建/語彙符碼：舞蹈在表演藝術中沒有文本，但卻可以從表演者的動作語彙中被閱讀。動作除了身體經驗所積累的反饋，也因思考而組織建構。於是，前面兩階段是成就新體驗與歷史經歷媒合，而經過多元面向的思考的切入，刺激對人事物的不同觀點。並且加入一位對表演有興趣的長者，透過彼此背景的了解以及對聲音記憶，這造就了對身體語彙的產出與表達，然而這是創作與表演路途上關鍵的轉化過程。 ・整/我知：從理念的產生到計畫採集，然後結構、創作至完整，是個作品的成長脈絡。從觀看與被觀看縮短彼此的距離，在作品提供的線索中，找到共鳴。雖然不變的是以舞蹈來呈現，但過程的路徑以不同的行時來行走，期待創作期間的發現與可能，從《我知道沒有什麼是我知道的》到《聲縮・身所》。 Back Latest latest news Artists About Us 林憶圻 1990 年生，高雄人。 國立臺北藝術大學舞蹈研究所表演主修畢業。 目前為古名伸舞團即興表演者與舞蹈自由工作者，內容涵蓋創作、表演、教學與跨領域合作。曾與多位編舞家合作，並多次參與國內外藝術節演出。首次於 2018 年發表作品《等距》，並獲世安文教基金會＿世安美學獎。2019 年於艋舺舞蹈節發表獨舞作品《我知道沒有什麼是我知道的》，同年獲國家文化藝術基金會個人創作補助，於 2020 年創作作品《如果不能再見》。2021 年古舞團製作「三種追尋」發表作品《微亮》。 More About Us Shinehouse Theatre Want To Dance Festival The Shinehouse Theatre Arts Village Contact Us Address: No. 132-9, Dali Street, Wanhua District, Taipei City 10801 Tel: +886-2-2308-3398 E-mail: shinehousetheatre02@gmail.com

EP1 EP3 EP4 EP5 EP6 summer cool night A Midsummer Night's Chat 2011｜Xiao Theater Art Space 2013｜Tokyo International Theater Festival, Japan 2013｜Hong Kong Fringe Folk Culture Festival Lanterns flickered, and a white veiled room took center stage. Storytellers paced back and forth among the audience, recalling the experience of seeing ghosts. A single woman who witnessed repeated jumps from a former tenant, an elementary school student who talked to her underworld grandmother every day, a mother who found her daughter with unknown bruises every day… Why do ghosts exist? Why do ghost stories always evoke strong emotions in listeners—whether it be curiosity, fear, guilt, or resistance? "Summer Cool Night Talk" is presented in the urban life where interpersonal relationships are alienated and indifferent. After encountering setbacks, people often cannot find an outlet to express themselves, and must find other ways to escape the painful and helpless reality. They pin their hopes on invisible ghosts, and ghosts also become concrete images of people's desires and obsessions. Although ghosts are discussed in the play, the concern is how living people treat their own lives. The sound of steps at midnight hallway, a lady's obsessive love for past lover, a spirit trapped in the suicidal scene repeating the act, a mother guilty for her abortion, is she revenged by the infant ghost, or is she not relieved of her buried guilt? The midnight greeting of a deceased family, a window left open every morning, who is hiding behind? A Midsummer Night's Chat is composed of many ghost stories, alongside the multilayered perspectives of technological images, ushering the audience into the most terrible tableaus of supernatural encounters. EP1 summer cool night A Midsummer Night's Chat 3: STOP! Bus : 3 STOP! Bus 2015｜ Xinbeitou MRT Station → Beitou → Beitou MRT Station In 2015, the Taipei Arts Festival commissioned the production of "Summer Cool Night 3: STOP! Bus", adding elements of escape room, imprisoning the audience in the car for an unknown journey. The audience must participate in the process of story development. Through the interactive process of finding clues and solving puzzles, the truth behind the story can be revealed, and the entire journey can be completed. The play uses the bus as the vehicle, and the audience will follow the characters to start a journey of memory. Every place where they get off the bus has a deep connection with them, so that the monuments are no longer just traces of the years and ancient legends, but a leap in The living flesh and blood on the paper; and it is matched with the secret room to solve the puzzle, allowing the audience to gradually unravel the story of the character through interaction. As the audience decrypts, the plot becomes more and more clear, and the three seemingly unrelated people slowly weave the story. the whole picture. Help! Trapped in a nightmarish city, how can one escape the galloping bus? A bus disappeared during its last city tour around Taipei; three strangers lead it to the underworld. Escaping clues are provided, but if they remain unsolved during the next hour, all passengers would be led into the darkness, and become yet another urban legend. "Stop! Bus", the 3rd episode of "A Midsummer Night's Chat", combines the current fashion of immersive theatre, and the hit escaping game in Taiwan, provides a unique experience with escaping game and ghost stories. EP3 summer cool night A Midsummer Night's Chat 4: Road at Night 4: dark road 2016｜ Wuyuan Cultural Center, Fengshen Temple Ding Zhong's official residence, Temple of Five Concubines Based on the stories of the victims of the February 28 Incident, the play collects literary creations and poems from the February 28 and later White Terrorist periods, as well as the life history of the victims, as well as the strange stories of historical sites in Tainan, which are combined into this performance. text. And through the concept of immersive theater combined with the escape room game, the audience can be more active and grasp the direction and context of the development of the story. The bus is used as the vehicle, and the audience will follow the characters to start a journey of memory. Every place they get off the bus has a deep connection with them, so that the monuments are no longer just traces of the years and ancient legends, but leaps on paper. Living flesh and blood; and with the secret room puzzle solving, allowing the audience to gradually unravel the story of the characters through interaction. As the audience deciphers, the plot becomes more and more clear, and seemingly unrelated ghosts slowly weave the whole picture of the story. . 2016 Tainan Arts Festival "A Midsummer Night's Chat4: Road at Night", in addition to Tainan local legends, part of the story is based on events from 228, and experience forming the script, presented as ghost stories, from the ghosts of the dead to the symbols of authority, ghosts that break into doors late at night to take away loved ones, so that those who cannot face and talk about bodies and shapes, turn into a kind of devil, shuttling back into different stories and spaces. The performance contains a total of two routes, a total of six stories, in Wu Garden, Ding Zhong Official Residence, Fengshen Temple, Temple of the Five Concubines 4 historical attractions. Basing “integrity” as the concept throughout the play, talking about the five princesses who stubbornly persisted in loyalty, about Mother of Lightning illuminating the Earth to distinguish right and wrong, and then to the innocent victims of the 228 events who stood up for justice, in order to each pursue justice by sacrificing their lives and their undying courage. EP4 summer cool night A Midsummer Night's Chat 5: The Gap 5: Gap 2017｜ Tangji Cultural Park B warehouse, Xiao Theater Art Space, Huajiang House The content of the story of this play is based on urban anecdotes, referring to the urban anecdotes and character history of Wanhua Huajiang's entire residence, based on ghost stories, re-telling the story belonging to the whole residence of Huajiang, and connecting it with the circular flyover in the whole residence of Huajiang. In the devious building space, we move through the sky bridge, the passage of stairs up and down and seven different spaces, passing stories one after another hidden in the building, so that everyone can re-understand this forgotten space. During the performance, the audience is divided into three groups. Only the audience map and clues are provided. The audience will go to the designated location and visit three different routes. Through watching the play, solving puzzles, and visiting the space, the audience can enjoy different sensory enjoyment. EP5 summer cool night A Midsummer Night's Chat 6: The Gap II 6: gap two 2018｜ Xiao Theater Arts and Culture Space Continuing last year's production of "Summer Cool Night Talk 5: Gap", the creation is based on the whole house of Huajiang, combined with ghost stories and secret rooms to solve puzzles, and has close contact and interaction with the audience. The story is chosen to be performed in a room in the whole house. It uses the interlacing of time and space to narrate the stories of the residents in the same room at different times, and uses "faith" as the running point, starting from the "Xia Tian Palace" in the story, because Out of control beliefs lead to the succession of different time and space, the people living here gradually fall into madness in their own suppressed obsessions, and eventually become manipulated ghosts and ghosts, acting as a feline for them, transforming into an inescapable invisible spirit, only Faith can escape. EP6 曉劇場《夏日微涼夜話3－STOP巴士》 Play Video All Videos

Home About Wan Program Visit Venue Our Team History International Development 《之間》 萬座曉劇場開幕演出 宮部美幸三島屋奇異百物語系列 In Between 2022.06.10 - 2022.06 .12 2022年觀眾敲碗 好評重演 編導鍾伯淵日本文學劇場系列經典 2020年受邀韓國東亞劇場藝術節 2021年受邀首爾國際環境藝術節 舞踏我劇場/AGAXART 我妻惠美子 參演 潮來巫女召喚亡者，藉她之口囁嚅亡者之音， 相互詛咒彼此早死的伴侶、和盆栽為友的男人...。 潮湧來去，漂浮的他們極力為自己生命定錨，在極樂和地獄間徘徊 2018年伯淵導演藉國藝會「海外藝遊計畫」前往日本三大靈場之一的恐山，那裡仿若北投地熱谷的火山地形、堆疊一座座石頭塔祭弔亡魂，不停轉動的風車隨風旋去念想；日本八戶市當地的潮來巫女（Itako），必由眼盲的女子擔任，她以口傳遞著生死兩界的訊息，與台灣的觀落陰相似，令猝不及防地生命消逝時，生者得以傳遞思念。 潮來之音是海潮陣陣逼近的聲響，是徘徊在生死間的低聲喃喃，也是滌淨的潮垢離。 演出時間 07.15（五）19:30 07.16（六）14:30、19:30 07.17（日）14:30 導演/劇本創作：鍾伯淵 肢體設計暨演出者：我妻惠美子（Emiko Agatsuma） 演出者：曾珮、廖治強、鄭詠元、陳家誼、李廷羿、謝承瑜 製作人：葉育伶︱技術總監/舞台設計暨執行：李孟融︱音樂設計：陳明儀︱服裝設計：李逸塵︱燈光設計暨執行：柯雅云︱音樂音效執行：張婉庭︱執行製作/字幕執行：李雅涵 更多資訊→ More About Us Shinehouse Theatre Want To Dance Festival The Shinehouse Theatre Arts Village Wan Theatre

Home About Wan Program Visit Venue Our Team History International Development 《潮來之音》 愛丁堡演出限定版 2022.07.15 - 2022. 07.17 The whisper of the Waves 2020年受邀韓國東亞劇場藝術節 2021年受邀首爾國際環境藝術節 舞踏我劇場/AGAXART 我妻惠美子 參演 2020年受邀韓國東亞劇場藝術節 2021年受邀首爾國際環境藝術節 舞踏我劇場/AGAXART 我妻惠美子 參演 潮來巫女召喚亡者，藉她之口囁嚅亡者之音， 相互詛咒彼此早死的伴侶、和盆栽為友的男人...。 潮湧來去，漂浮的他們極力為自己生命定錨，在極樂和地獄間徘徊 2018年伯淵導演藉國藝會「海外藝遊計畫」前往日本三大靈場之一的恐山，那裡仿若北投地熱谷的火山地形、堆疊一座座石頭塔祭弔亡魂，不停轉動的風車隨風旋去念想；日本八戶市當地的潮來巫女（Itako），必由眼盲的女子擔任，她以口傳遞著生死兩界的訊息，與台灣的觀落陰相似，令猝不及防地生命消逝時，生者得以傳遞思念。 潮來之音是海潮陣陣逼近的聲響，是徘徊在生死間的低聲喃喃，也是滌淨的潮垢離。 演出時間 07.15（五）19:30 07.16（六）14:30、19:30 07.17（日）14:30 導演/劇本創作：鍾伯淵 肢體設計暨演出者：我妻惠美子（Emiko Agatsuma） 演出者：曾珮、廖治強、鄭詠元、陳家誼、李廷羿、謝承瑜 製作人：葉育伶︱技術總監/舞台設計暨執行：李孟融︱音樂設計：陳明儀︱服裝設計：李逸塵︱燈光設計暨執行：柯雅云︱音樂音效執行：張婉庭︱執行製作/字幕執行：李雅涵 更多資訊→ More About Us Shinehouse Theatre Want To Dance Festival The Shinehouse Theatre Arts Village Wan Theatre

Latest latest news Artists About Us experience She attends Waseda University. After graduating from university in 1999, she joined Japan's largest dance group: Big Camel Ship. She participated in all the productions of the Intermediate Dance Company from 1999 to 2019, all directed by the team's artistic director, Mo Chier. She released her work "Niku-no-uta" in 2014 and was invited to perform in Paris, France the following year. In addition, she was awarded the Best Young Artist of the Japan Dance Critics Association. She has held workshops at Waseda University, Taipei University of the Arts, Tainan University of the Arts and other schools, and has also provided professional courses for performers in Taiwan and Japan. In 2020, he was selected as the artist-in-residence of the Taipei International Art Village. The work "Temple of the Future" created during the period was invited to participate in the production of the American Art Festival: Battery Dance Festival in the same year. At the same time, she is also the choreographer and performer of Xiao Theater's annual production: "The Voice of the Tide". Back my wife Emiko My wife Emiko is a dance dancer, choreographer and artistic director. She is also the Artistic Director of Agaxart, performing dancers and artists in Japan. Based on her personal buta aesthetics, she began to produce original buta works. She has international recognition. More About Us Shinehouse Theatre Want To Dance Festival The Shinehouse Theatre Arts Village Contact Us Address: No. 132-9, Dali Street, Wanhua District, Taipei City 10801 Tel: +886-2-2308-3398 E-mail: shinehousetheatre02@gmail.com

ENG sunlight, no difference Xiao Theater was established in 2006, and now operates "Tangshu Xiao Theater" in Wanhua Tangshu Cultural Park. Creations include "Swallow", "She Got John's Kiss and Became Hu Lide's Woman - A Prostitute's Room", "The Dirty Earth Trilogy", "Scorched Earth" and other "social issues"-oriented works: adaptations of Zhang Manjuan, Huang Literary adaptation series by Chun Ming, Mishima Yukio, Miyabe Miyuki and other literary masters; and ghost story series of "Slightly Cool Night in Summer" At the same time, based on Wanhua's locality, a community drama class was set up and a series of works "Otter Project" were published, and a drama course for the physically and mentally handicapped was conducted with the Nanhai Development Center with the goal of inclusive theater. She has participated in the Shanghai International Contemporary Theatre Festival, the Bangkok International Theatre Arts Festival, the Tokyo Arts Festival in Japan, the Taipei Arts Festival, the Asian Performing Arts Festival, the Tokyo Arts Festival and the East Asian People's Theatre Arts Festival in South Korea.