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FOCA福爾摩沙馬戲團 Formosa Circus Art

FOCA福爾摩沙馬戲團 Formosa Circus Art

There are many variations of passages of Lorem Ipsum available, but the majority have suffered alteration in some form, by injected humour, or randomised words which don't look even slightly believable

悟空 Wukong

09 八月, 2018

Video:Promo-1 Promo-2 Trailer Behind the Scene

悟空是猴子?是美猴王還是齊天大聖?是男還是女?是仙還是妖?悟空是誰?誰是悟空?

「那座山正當頂上,有一塊仙石……內育仙胞,一日迸裂,產一石卵,似圓毬樣大。因見風,化作一個石猴,五官俱備,四肢皆全……目運兩道金光,射沖斗府。」這是在吳承恩《西遊記》中,描述我們今天稱為「孫悟空」的一隻石猴的誕生過程。


石猴在花果山穿過了水簾瀑布,成為美猴王。拜師得法名孫悟空,習得觔斗雲與七十二變,從東海龍王手中獲得金箍棒,又改生死簿。神通廣大的孫悟空驚動天庭和四方神界,一路從弼馬溫當上齊天大聖,偷吃仙桃、仙丹又大鬧天宮,最後被如佛壓在五指山下。從石猴、美猴王到齊天大聖,孫悟空成王又稱聖,他想得到什麼?身懷絕技,下地府竄改生死簿又大鬧天庭,是甚麼驅使著孫悟空?如果孫悟空活在今日,他會怎麼行動?


繼2016年以安徒生童話故事的角色「夢神」改編的《奧列的奇幻旅程》,2018年FOCA福爾摩沙馬戲團的全新製作《悟空》,以吳承恩《西遊記》中第一回到第七回的故事情節為藍本,重新發掘孫悟空的冒險故事。全劇以馬戲表演項目如綢吊、大環、地圈,加上高難度的翻滾與特技,演繹孫悟空不斷挑戰自我與威權的故事。


舞台是他的花果山樂園,在其間奔跑、飛躍、登高、嬉戲。垂吊的綢緞是水簾瀑布,也是淌流自我慾望的溪水。滿場飛舞的雜耍道具,是百變換化的兵器,是障礙,也是挑戰。



Wukong is a monkey? The Monkey King or The Great Sage, Heaven's Equal? Male or Female? A Xian or a Yao? Who is Wukong exactly?


"On the top of the mountain, there is a magic stone with a magic core inside. One day it bursts open to produce a ball-sized stone egg. By the touch of the wind, it turns into a stone monkey. It has five features and all four limbs, with his eyes move, two beams of golden light shoot toward the Jade palace." This is the birth of a stone monkey that we call today "Sun wukong" in Wu Cheng-en's Journey to the West. The stone monkey passed through the Shuilian Waterfall in Mountain of Flowers and Fruit and became the Monkey King. After being given the name of Sun Wukong, he learned Cloud of Somersault and the Seventy-two Transformation. He obtained the golden-banded staff from the Dragon King of the East Sea, and wiped his name out of the Book of Life from the Hell. The supernatural power of Sun Wukong alerted the heavens and the four-dimensional world. All the way from Bimawen (horse keeper in Jade palace) to The Great Sage, Heaven's Equal, he stole the magical peach and magical elixir, wreaked havoc across the Jade palace. Finally, Buddha pressured him under the Wuzhi Mountain.

時間:10/14(六)19:30、10/15(日)13:30

地點:表演三十六房

新竹生活節

11 九月, 2017

時間:9/16(六)、9/17(日) 10:00-17:00

地點:新竹稅務局旁草地及護城河畔

時間:8/30(三) 18:30

地點:台北田徑場

明德國中「早安讀書會」

時間:10/24(二) 9:00-11:00

感謝光華雜誌106年10月號滿滿十頁的中英雙語報導!

馬戲體驗工作坊

23 九月, 2017

時間:9/23(六)10:00-12:00

地點:FOCA社子排練場

初衣十舞

26 十月, 2012

Video:Trailer Behind the Scene

在FOCA正式立案後,首次挑戰年度製作,企圖用肢體語彙及熱情,帶給大家勇氣與夢想!


《初衣十舞》結合傳統與創新、特技及舞蹈、街頭文化及劇場藝術作品帶到制式的表演場地,讓觀者觀賞的同時,也可以感到很有趣,對觀眾、對FOCA這樣的嘗試都是第一次,充滿驚喜及新鮮的第一次。 運用傳統雜耍特技,加入許多創意潮流元素-跑酷、街舞等,將表演劃分成十種不同的概念,運用「雜耍」、「特技」、「街舞」、「現代舞」、「跑酷」、「影像」、「音樂」、「燈光」、「服裝」、「互動」十種元素,創作出十種不同玩法,搭配高難度街舞特技,串連整個故事,告訴大家屬於這個世代青年面臨的困境以及如何去克服勇於追夢的過程。


<初> 代表我們第一次,有如白紙一般。
<衣>不同衣服、不同個性、不同職業。
<十>代表著十種概念、十種玩法、十種元素及十個空間。
<舞>舞出我們自己,這就是我們,屬於我們的風格。



The very first challenge of annual production of Formosa Circus Art! Bringing courage and dreams with physical language and passion.


Assimilating stunt performance, choreography, street culture and the theatre arts, Pursue Our Dreams adopts both innovative and conventional approaches to exhilarating effect. A completely new experiment on FOCA’s part—refreshing to the audience, to be sure—the audacious production incorporates at least ten wildly diverse elements into it: juggling, stunt, street dance, modern dance, Parkour, image, music, lighting, costume, and interaction. Ten distinct ways of expression are joined together to tell a single tale—that of the challenges faced by this era’s younger generation, and their courage to overcome them in order to pursue their dreams.

人我之間

10 十月, 2014

Video:Promo Trailer

如果只有一個人,能做甚麼?

FOCA福爾摩沙馬戲團成軍四年的第二檔年度製作,導演以自身經驗,與演員們琢磨、探討人與群體之間的關係。創作過程中最美也最有趣的就是其不可預測性,以及每位閱聽者各自產生的不同見解及想法,就如同「人我之間」一般,人跟人之間充滿矛盾及衝突,確也產生平衡。


導演邱群翔來自街舞領域,街舞是一種強烈表達個人態度及主張的表演類型,而在特技表演中,則常常需要與夥伴擁有足夠的默契及信任。兩種不同的表演形式看似迥異,卻又有許多共同之處,透過演員的肢體及特技中的危險美學,呼應「人必須是個體,更必須是群體」,體悟「人我之間」當中微妙的平衡。


人,為個體的誕生,但我們依舊擁有一條與母親之間的緊密連結,從最一開始,我們就不是一個人,看似為獨立的個體,卻與群體間有著密不可分的關係。 7位生長背景迥異的表演者懷抱著共同的理想,卻因現實的因素,各自於不同領域發展。出生在富足的年代,似乎面對最無助的未來,他們什麼都有,也什麼都沒有。一個人看似能完成許多事,但如果回歸為零,是否仍然需要依附於群體之中?


藉由演員的肢體與物件之間交砌、堆疊與融合,從零開始探索、跨界、極限、衝撞、崩解、再現。以迷人的現代馬戲展現人我之間的緊密與疏離。


我們被群體所定義,也同時改變群體的意義



What would you do, if you are alone?


Although each human being is different individual, we still have close and strong connection with our mothers. We are not alone right from the beginning. We seem to be different individuals, yet we have inseparable relationship between groups.


There are seven teenagers has few social experience, they came from different families but they have same dreams. However, they yielded their dreams due to the reality and went opposite direction in different field. They born in a rich generation but seems to face the most helpless future. The have everything, and have nothing.


A single person seems can complete lots of things. However, if everything reset to zero, do we still need to rely on others?


The actors overlap their bodies on the props, they merge in it and discover from the very beginning. It shows our close and alienated relationship with others present by charming contemporary circus.

潘朵拉的盒子

07 五月, 2015

Video:Trailer

從前,有個男孩叫奧列‧路卻埃,在丹麥文中,奧列是一個極為普通的名字,而路卻埃是「閉起眼睛」的意思,這個閉上眼睛的奧列,就是安徒生童話下的「夢神」,丹麥的小孩子沒有不認識他的,他也是世界上最會說故事的人。奧列喜歡穿著襪子行走,非常安靜,特別喜愛小孩子,穿著一身金光閃閃的服裝、戴著高帽子。


奧列有個神秘的行李箱叫做「潘朵拉的盒子」,當年宙斯將盒子交給潘朵拉時,交代她千萬不能將盒子打開,潘朵拉敵不過好奇心的誘惑,意外將各種天災人禍釋放出來,慌亂中她緊張地將盒子再度關上,盒內保留了最後一樣東西,就是「希望」。在FOCA的演出中,希望以不同的樣貌出現,有歡笑,也有驚喜,每一次開啟寶藏箱就會有奇妙的事情發生,開啟一段又一段奇幻的旅程,就讓我們跟著潘朵拉的盒子,一起進入這個神奇的世界冒險吧!


潘朵拉的盒子的誕生是為了帶給大眾歡笑,並使一般觀眾也能輕易了解馬戲的一個作品,在科技資訊氾濫的時代,表演藝術仍然不被科技所取代,相信只有人與人的接觸,才具有溫度,潘朵拉的盒子結合特技、雜耍、立方體、扯鈴、小丑等項目,以幽默詼諧的表演方式呈現,期待帶給觀眾耳目一新的全新感受。



Once upon a time, there’s a boy called “Ole Lukoie.” “Ole” is a really common name in Denmark while “Lukoie” means close your eyes. He is the “dream god” in Andersen's Fairy Tales. Every child in Denmark knows him and his is the best story teller in the world.


Ole loves to walk with his shoes. He is quiet and he loves children. He has a tall hat with golden outfit and his secret luggage. Once the luggage is open, the fantasy journey will go on. Let just join this magic adventure!


Pandora is born to bring joys to publics and let normal audiences understand circus easily. In this information exploded generation, Performance art stands still. The temperature and warm feeling only insist among people. “Pandora” combines acrobatic, juggling, juggling cube, diabolos and crown with humorous way of performance, hoping to bring whole new feeling for audiences.

亞洲之心

23 四月, 2016

Video:Trailer 1 Trailer 2 Trailer 3 Trailer 4 Trailer 5

在遙遠的東方有座島嶼,名叫福爾摩沙
它蘊含著山的聲音,海的歌聲,有說不盡的故事、道不完的美妙

《亞洲之心》以本土特技結合西方元素的創新形式,搭配閩南、客家、原住民之歌唱及舞蹈,呈現台灣族群融合、多元豐富的文化樣貌,融合東方與西方、傳統與創新。


【東方風情】
在東經120度至122度,北緯22度至25度上有個青翠的小島,名叫福爾摩沙,蘊含著山的聲音,海的歌聲,它有說不盡的故事、道不完的美妙,且畫作一篇島「語」詩意,傳唱千里。


【客家風情】
山歌是客家文化重要的傳承,包含日常生活許多充滿趣味的對話,以及工作時在山嶺間傳唱的旋律,此起彼落的對話譜成傳承客家文化的風情。


【原民物語】
以卑南族蹲跳舞步及扯鈴技巧,闡述都市原住民遠離家鄉後的心境。
都市成長的青年在象徵勇士的盾牌中,用扯鈴舞動內心的想法。遠離家鄉已久的他,想像能再次回家帶上媽媽製作的花環,與家人團聚,卻始終苦無機會實現,僅留下滿腹的思念,獨自帶上屬於他與「家」的連結。


【族群融合】
「懷」─懷念十幾二十年前,我們都還青春,大家在巷弄間嬉戲,無憂無慮的時光。
「絆」─當我們漸漸長大,體會到社會的現實、人生的無奈,有了越來越多的壓力。
「情」─成年後,我們開始學習面對自己的感情、找尋自己的伴侶,漸漸嘗到愛情的甜美。
「躍」─當我們邁入中年,視野漸漸遼闊,為自己的夢想努力、起飛。
「融」─隨著年歲增長,想法、思維都逐漸改變,開始回饋社會,與各種人群接觸、相處。



There lies an island in the far east called Formosa.
On it the sound of mountains and the singing voice of the ocean
tell a never-ending story of beauty and wonder.


The Heart of Asia is a fusion of Taiwanese acrobatics and creative performance with Western elements, together with Hakka and Taiwanese aboriginal music and dance, thus presenting a mixture of Taiwanese cultures. With the perfect combination of the East and the West, tradition and modernity, we are looking forward to sharing with our international audience the beauty of Taiwanese performance arts.


‘Island Voice’
At longitude 120-122∘ E and latitude 22-25∘ N lies a small jade island called Formosa-Taiwan. On it the sound of mountains and the singing voice of the ocean tell a never-ending story of beauty and wonder, which has been transformed into this poetic tale of island voices so it could be carried a thousand miles to you.


‘Mountain Melodies’
The mountain melody is an important tradition of the Hakka people, which contains numerous conversations from their daily life that are full of delight. It evolved from the many tunes they wove around the mountaintops while they worked. These magical moments of conversation through songs have become enduring cultural heritage.


‘Past and Present’
Through the squatting dance techniques of the Puyuma people as well as diabolo, this performance depicts the inner turmoil of an aborigine who left his hometown for the big city.
A Bright voice breaks through time and space and tells of the past drip by drip. The current of time flows on to the present day. A brave warrior’s shield symbolizes a young man who grew up in the city. He tells his inner thoughts through the movements of the diabolo. Although he left village behind long ago, he imagines what it might be like to return to his home, to once again wear the flower circlets his mother made for him, and to dance together with his family. But he never gets the chance, and all that is left behind is his regret and nostalgia. He can only wear the symbol of his connection to “home”.


‘Formosa Circus Art’
“Remembering”
 We miss ten to twenty years ago, when we were all still young and would play together in the alleyways without a care in the world.


“Falling Down”
 As we slowly grew older, we began to understand the true face of society and the frustration of daily life. We felt ever more invisible pressure building.


“Falling in Love”
 After growing up we began to experiment with our feelings, searching for our other halves, gradually tasting the sweetness of new love.


“Jumping Forward”
 Entering the middle age, our perspectives broadened step by step. We discovered that we could overcome any difficulties, work to achieve our dreams little by little, and begin to soar.


“Melting”
 As we got older, we encountered ever more varied experiences, thoughts and ideas, and our own perspectives began to change. We learned to give back to society and came to know people from all backgrounds.


Taiwan has always been a melting pot of different cultures and nationalities. People, thing, and ideas from all around the globe have formed its unique culture. But the aspect of our island we most hope to present to you is the caring and welcoming nature of the Taiwanese people.

Video:Promo Trailer Behind the Scene

你常做夢嗎?
如果在夢境中,你可以重新經歷某一段生命,你還做一樣的選擇嗎?

《奧列的奇幻旅程》改編自丹麥作家安徒生筆下的〈夢神〉,是一段關於夢神奧列和小男孩馬弟的故事。夢神奧列是一位能夠回溯時光的神奇老人,他藉由魔法來幫助主角馬弟回到過去,面對自己曾犯下的錯誤,並且克服自己的恐懼。整場演出中都沒有台詞和對話,演員藉由肢體以及馬戲元素,包含雜耍棒、大鐵環、雜耍帽、小丑及默劇…...等技巧來呈現劇情內容,帶給觀眾豐富的想像空間。


《奧列的奇幻旅程》從兒童的角度發想,透過馬戲與劇場表演,將生活教育融合在美感教育裡。同時,作品也試圖探討,無論對於大人還是小孩,每個人在成長過程中曾體會過的,對於期望於現實間的落差。很多時候我們所經歷的生活,和我們預期中會有所不同。幼時單純的夢想,在「轉大人」的過程中常受到層層考驗,如果還有一次可以選擇的機會,你有勇氣面對嗎?你又會怎麼選擇呢?



Do you dream a lot?
If in your dream, you could live a certain period of time in your life again, would you still make the same choice?


In daily life, people are asked to realize the reality and not to dream. However, according to a research from scientists and psychologists, people develop less than 25 % of their brain in normal while the other 75% does not been open up without consciousness. For instance, “dreaming” is a typical unconscious activity. People rearrange their knowledges and solve those difficult problems that they do not know how to fix it in daily life. For example, a well-known writer Voltaire often completes a construction of a poem in his dream. The ring structure of benzene molecule is found in the dream from Germany chemist Kekulé. In Hans Christian Andersen’s “Ole Lukoie”, the leading actor “Ole Lukoie” tells numerous stories, making children attracted to it and create possibilities for children to dream. Now, let us create our imagination during our dreams!


Olé is adapted from Danish dramatist, Hans Christian Andersen’s work “Ole Lukoie.” Ole is a magical old man can reverse time. It is a story that he uses the magic to help Marty to overcome his fear and face his past again. There are no lines in the performance. The actors use their body language and elements of circus like acrobatics, juggling and mime to perform the plot, hoping to bring more room of imagination for audiences.

Video:Promo Trailer

定格動畫的荒謬日常,百元商店的物件狂想

奧地利歐文‧沃姆(Erwin Wurm)的「一分鐘雕塑」(one minute sculpture)一反雕塑藝術力抗時間、追求永恆的傳統,從連續時間中切出一個動作,在短暫的瞬間綻放古怪的生命力,直接、快速、幽默,讓人重新思考何謂一瞬?何謂永恆?


沃姆的作品成為《一瞬之光:How Long Is Now?》的創作源頭,在舞台上,傳統的雜技道具被日常生活物件所取代,從百元商店找來的牙刷水桶澆花器鍋碗瓢盆等「道具」,成了舞台上除了表演者之外的另一個主角,於是馬戲表演這跟道具之間,產生了新的關係。


《一瞬之光:How Long Is Now?》將「物件劇場」的概念加入馬戲演出,賦予新的觀看和敘述方式。排練過程中,演員從零開始,將隨手可得的生活道具,玩出身體與物件組合的各種可能,像是從務的外觀、材料特質和功能符號去思考,或關注物的脈絡,或關注物的延伸想像,或改變物的定義,從而發現,人究竟是因為生活型態的需求發明了物件,還是物件改變了我們的生活樣貌?人藉由物件確認了情境與關係,還是物件定義了狀態和脈絡,甚至度量了人與人之間的距離?進而探問:甚麼是馬戲?馬戲的本質是甚麼?日常生活的馬戲場景又會是甚麼?



The Absurd Daily Stop Motion, The Rhapsody of 1$ Shop


Those readily available stuffs like hangers, buckets, mops, toilet plungers and cans replace the traditional juggling balls, clubs, staffs, hoops. We do not see those circus performance routine like passing, swinging, handstand and human pyramid. Instead, the performers use low limit yet ridiculous weird bodies combined with those readily available stuffs to become mobile sculptures. Under the crossover cooperation by director Baboo, Visual artist Chi-Tsung Wu, Choreographer Tsung-Husan Lee, costume designer Ping-Hao Lin, lighting designer Cheng-Wei Teng, The Light of Instant: How long is now? is seeking for more courageous, more free styles and languages to renovate the new vision of new circus.


Traditional sculptures pursue eternity and against time. But Austrian artists Erwin Wurm tried to overturn the definition of it. In his work “one minute sculpture,” it pulls out a frame of movement in the constantly elapse timeline; though it’s only a brief of moment, the vitality blooms at that moment is just like lighten up the audiences’ vision. Its directness, rapidity and humor make people rethink “what is sculpture?”,” What is a moment?” and“ What is eternity?”


Wurm’s concept inspired theater director Baboo deeply. Erwin Wurm ‘s “one minute sculpture” was a brief existence but with accident and opportunistic. His combination between daily necessities, bodies and space become the inspiration of The Light of Instant: How long is now? It tried to investigate what circus is, what the essence of circus is and what the scenes are in daily life.


In “One minute sculpture,” Wurm used daily necessities like vegetables, fruits, tables, chairs, shampoo through assembling people and people with stuff to create a kind of relationship like accident, a look of ridiculous and sophisticated. For instance, both head and foot are in the bucket, bodies sink in the chair, with a hanger in mouth, two bottle of washing powder on foot, stationery on face, high hill on forehead. On the stage, traditional juggling props are replaced by daily necessities, those “props” such as mops, plunger, detergents, cans and brushes, became the other leading role other than the performers on stage. Upon that, new relationship came out from circus performers and props.


The concept that adds the “object theater” into circus juggling in The Light of Instant: How long is now? endues a new way of vision and way of telling story. The juggling performers hide their real skills in the show. They start from nothing, developing the possibilities between bodies and objects through daily necessities. For example, they think from the appearance of the objects, materials and symbol of the function. Or they follow the veins of the objects, extend the imagination of the objects, and change the definition of the objects to find out if human beings invent those objects for living needs or the presence of those objects actually change the way we live instead? Human beings confirm the situation and relationship though objects or the objects define the condition and the veins or even measure the distance between people instead?

心中有魔鬼

29 四月, 2017

Video:Promo-1 Promo-2 Trailer Behind the Scene

名為恐懼的魔鬼,我不願意承認,所以我將他改名為勇敢!

由FOCA福爾摩沙馬戲團主演,英國馬戲導演提姆希・林科維奇執導,《心中有魔鬼/I Have My Demons Have Me》為臺灣當代馬戲團隊的首次跨國合作。


這是一齣關於馬戲演員如何克服恐懼的作品,藉由馬戲、戲劇與舞蹈訴說故事,串聯不同的表演技巧與劇場元素,探討每個人內心皆有,卻不常為外人訴說的陰暗面。


演出中,表演者除了展現各自擅長之馬戲技法,如扯鈴、帽子、大鐵環、立方體、椅子頂及雜耍棒以外,也挑戰高難度、高危險性的馬戲動作,例如疊羅漢、空翻及雙人頂,用以詮釋人們克服恐懼時不安的情緒。創作題材除了馬戲演員自身的恐懼,臺灣以及世界各地的傳統民間故事,也都融合其中,成為演出靈感的來源,如:臺灣的虎姑婆、阿美族人「阿里卡該」(Alikakay)食人的傳說,以及非洲故事「變小的怪獸」。不同傳說故事裡的角色將在舞臺上相遇,共同面對他們生命中的挑戰裡Miobi和叢林裡的兔子與怪獸。


這是一齣以恐懼為主題的當代馬戲作品,也是一場激勵人心、驚險刺激的演出。排練過程中,導演和演員不斷共同挖掘,演員內心所懼怕的人、事、物,以及它們對生活的影響。


隨著演出場景的轉換,《心中有魔鬼》將帶領我們窺視觀者自身的怯懦,顛覆人們對於恐懼的想像。



Denying the Demons named “Fear”, I recall it “Courage”!


I Have My Demons Have Me is a production by Formosa Circus Art (FOCA) under the direction of British circus performance director Timothy Lenkiewicz. It is an international collaborative project, the first of its kind initiated by a Taiwanese contemporary circus.


I Have My Demons Have Me grapples with the subject of how circus artists overcome their fear. The storytelling blends together circus art, drama and dance as well as various performance techniques and theatrical elements. It lays bare the dark side hidden within each and every one of us that rarely - if ever - comes to light.


FOCA use circus skills to interpret their real emotions when facing fear, testing their mettle and demonstrating their prowess with diabolos, hats, Cyr wheel, cube, Devil sticks and chair balancing as well as performing highly complex and dangerous skills such as human pyramid, somersault and hand to hand. In addition to working with their own fears, the performers draw inspiration from folk tales, such as the Taiwanese “Auntie Tigress”, the Amis tribe’s “Alikakay the Child Eater”, and “The Monster Who Grew Small” from Africa. Throughout the show characters from different stories come across each other learning to face life’s challenges together.


Whilst I Have My Demons Have Me takes fear as its central motif, it is at once an energetic, inspiring and thrilling performance. Throughout rehearsals, director and performers work closely together to unravel layer upon layer of fear present in their lives, to reveal exactly who and what they fear, and to find out the extent to which such fear can influence their everyday experience.


As the stage switches scene to scene, I Have My Demons Have Me subverts normal conception of fear, offering a glimpse into our own timidity.