浮島｜Maataw - The Floating Island
浮島｜Maataw - The Floating Island
浮島｜Maataw - The Floating Island
主辦單位：財團法人原舞者文化藝術基金會
演出日期：2016.05.10 - 05.11
演出地點：國家兩廳院 國家戲劇院
藝術總監：懷劭‧法努司
製作人：趙綺芳
導演 : 陳彥斌
燈光設計 : 莊知恆
舞台設計 蔡茵涵
服裝設計 林秉豪
影像設計 : 徐逸君
音樂總監：林維亞
作曲編曲：吳睿然
電腦作曲：Johannes Kretz
主辦單位：財團法人原舞者文化藝術基金會
演出日期：2016.05.10 - 05.11
演出地點：國家兩廳院 國家戲劇院
藝術總監：懷劭‧法努司
製作人：趙綺芳
導演 : 陳彥斌
燈光設計 : 莊知恆
舞台設計 蔡茵涵
服裝設計 林秉豪
影像設計 : 徐逸君
音樂總監：林維亞
作曲編曲：吳睿然
電腦作曲：Johannes Kretz
關於《Maataw》
《Maataw：浮島》是原住民族委員會委託製作的劇場作品。其名稱源自雅美（達悟）族語，由意指「海洋」的字根「ataw」，結合字首「ma-」組合而成。雅美（達悟）族人長年居住於台灣東南外海的偏遠島嶼——紅頭嶼（即蘭嶼），在他們的文化中，「Maataw」意味著從大海上所望見的任何一座島嶼。然而，這部由「原舞者」（Formosan Aboriginal Song and Dance Troupe）於2016年推出的劇場作品，呈現了台灣與蘭嶼兩島之間的當代對話，並透過在地人與外來者、傳統與現代、部落與國家之間的相遇與交鋒，深刻地反映出其中的意涵。
參與這個製作所需要克服的，不是時間、人力、預算，或是空間上的限制，而是屬於台灣原住民固有的禁忌，劇場演出是文明社會的產物，要將部落傳統文化搬上舞台，有著許多不可違背的條件，過去原住民的祭典、舞蹈、吟唱．．．等都有嚴格規定的時辰，並且對象是神靈，並不是台下的觀眾。也因此在演出過程中，我必須竭盡所能地追求『樸實與自然』，卻還得同時兼顧表演藝術作品的美學，實為一大考驗；在上半場的演出中，我以大自然的光源作為設計的主軸，大量蒐集了日出、夕陽、月光、水紋．．．等資料，來作為光源與顏色主要的思考素材，企圖掌握住屬於自然界的一絲絲光影線條。
節目行至下半場，在所謂的『外來文化』開始侵入原住民部落的同時，我也開始逐漸地將光線的角度轉變成為對比較為強烈的斜角或是背光，藉以製造出明顯的反差畫面，顏色的選擇也開始由暖色或是湛藍，逐漸形成冷冽、中性的高色溫，目的是為了象徵著我們這些外來者的冰冷殘酷與伴隨而來的破壞，也更能反襯蘭嶼原住民們反抗的高昂意志。
關於《Maataw》
《Maataw：浮島》是原住民族委員會委託製作的劇場作品。其名稱源自雅美（達悟）族語，由意指「海洋」的字根「ataw」，結合字首「ma-」組合而成。雅美（達悟）族人長年居住於台灣東南外海的偏遠島嶼——紅頭嶼（即蘭嶼），在他們的文化中，「Maataw」意味著從大海上所望見的任何一座島嶼。然而，這部由「原舞者」（Formosan Aboriginal Song and Dance Troupe）於2016年推出的劇場作品，呈現了台灣與蘭嶼兩島之間的當代對話，並透過在地人與外來者、傳統與現代、部落與國家之間的相遇與交鋒，深刻地反映出其中的意涵。
參與這個製作所需要克服的，不是時間、人力、預算，或是空間上的限制，而是屬於台灣原住民固有的禁忌，劇場演出是文明社會的產物，要將部落傳統文化搬上舞台，有著許多不可違背的條件，過去原住民的祭典、舞蹈、吟唱．．．等都有嚴格規定的時辰，並且對象是神靈，並不是台下的觀眾。也因此在演出過程中，我必須竭盡所能地追求『樸實與自然』，卻還得同時兼顧表演藝術作品的美學，實為一大考驗；在上半場的演出中，我以大自然的光源作為設計的主軸，大量蒐集了日出、夕陽、月光、水紋．．．等資料，來作為光源與顏色主要的思考素材，企圖掌握住屬於自然界的一絲絲光影線條。
節目行至下半場，在所謂的『外來文化』開始侵入原住民部落的同時，我也開始逐漸地將光線的角度轉變成為對比較為強烈的斜角或是背光，藉以製造出明顯的反差畫面，顏色的選擇也開始由暖色或是湛藍，逐漸形成冷冽、中性的高色溫，目的是為了象徵著我們這些外來者的冰冷殘酷與伴隨而來的破壞，也更能反襯蘭嶼原住民們反抗的高昂意志。
關於《Maataw》
《Maataw：浮島》是原住民族委員會委託製作的劇場作品。其名稱源自雅美（達悟）族語，由意指「海洋」的字根「ataw」，結合字首「ma-」組合而成。雅美（達悟）族人長年居住於台灣東南外海的偏遠島嶼——紅頭嶼（即蘭嶼），在他們的文化中，「Maataw」意味著從大海上所望見的任何一座島嶼。然而，這部由「原舞者」（Formosan Aboriginal Song and Dance Troupe）於2016年推出的劇場作品，呈現了台灣與蘭嶼兩島之間的當代對話，並透過在地人與外來者、傳統與現代、部落與國家之間的相遇與交鋒，深刻地反映出其中的意涵。
參與這個製作所需要克服的，不是時間、人力、預算，或是空間上的限制，而是屬於台灣原住民固有的禁忌，劇場演出是文明社會的產物，要將部落傳統文化搬上舞台，有著許多不可違背的條件，過去原住民的祭典、舞蹈、吟唱．．．等都有嚴格規定的時辰，並且對象是神靈，並不是台下的觀眾。也因此在演出過程中，我必須竭盡所能地追求『樸實與自然』，卻還得同時兼顧表演藝術作品的美學，實為一大考驗；在上半場的演出中，我以大自然的光源作為設計的主軸，大量蒐集了日出、夕陽、月光、水紋．．．等資料，來作為光源與顏色主要的思考素材，企圖掌握住屬於自然界的一絲絲光影線條。
節目行至下半場，在所謂的『外來文化』開始侵入原住民部落的同時，我也開始逐漸地將光線的角度轉變成為對比較為強烈的斜角或是背光，藉以製造出明顯的反差畫面，顏色的選擇也開始由暖色或是湛藍，逐漸形成冷冽、中性的高色溫，目的是為了象徵著我們這些外來者的冰冷殘酷與伴隨而來的破壞，也更能反襯蘭嶼原住民們反抗的高昂意志。
關於《Maataw》
《Maataw：浮島》是原住民族委員會委託製作的劇場作品。其名稱源自雅美（達悟）族語，由意指「海洋」的字根「ataw」，結合字首「ma-」組合而成。雅美（達悟）族人長年居住於台灣東南外海的偏遠島嶼——紅頭嶼（即蘭嶼），在他們的文化中，「Maataw」意味著從大海上所望見的任何一座島嶼。然而，這部由「原舞者」（Formosan Aboriginal Song and Dance Troupe）於2016年推出的劇場作品，呈現了台灣與蘭嶼兩島之間的當代對話，並透過在地人與外來者、傳統與現代、部落與國家之間的相遇與交鋒，深刻地反映出其中的意涵。
參與這個製作所需要克服的，不是時間、人力、預算，或是空間上的限制，而是屬於台灣原住民固有的禁忌，劇場演出是文明社會的產物，要將部落傳統文化搬上舞台，有著許多不可違背的條件，過去原住民的祭典、舞蹈、吟唱．．．等都有嚴格規定的時辰，並且對象是神靈，並不是台下的觀眾。也因此在演出過程中，我必須竭盡所能地追求『樸實與自然』，卻還得同時兼顧表演藝術作品的美學，實為一大考驗；在上半場的演出中，我以大自然的光源作為設計的主軸，大量蒐集了日出、夕陽、月光、水紋．．．等資料，來作為光源與顏色主要的思考素材，企圖掌握住屬於自然界的一絲絲光影線條。
節目行至下半場，在所謂的『外來文化』開始侵入原住民部落的同時，我也開始逐漸地將光線的角度轉變成為對比較為強烈的斜角或是背光，藉以製造出明顯的反差畫面，顏色的選擇也開始由暖色或是湛藍，逐漸形成冷冽、中性的高色溫，目的是為了象徵著我們這些外來者的冰冷殘酷與伴隨而來的破壞，也更能反襯蘭嶼原住民們反抗的高昂意志。
Company: The Formosa Indigenous Dance Foundation Of Culture And Arts
Time: 2016.05.10 - 05.11
Venue: National Theater
Artistic Director: Faidaw‧Fagod
Producer: CHAO Chi-Fang
Director: Fangas Nayaw
Lighting Design: CHUANG Chih-Heng
Set Design: TSAI Yin-Han
Costume Design: LIN Bing-Hao
Visual Designer: HSU Yi-Chun
Chief Musical Supervisor:LIN Wei-Ya
Composer & Conductor / WU Ruei-Ran
Composer / Johannes Kretz
Company: The Formosa Indigenous Dance Foundation Of Culture And Arts
Time: 2016.05.10 - 05.11
Venue: National Theater
Artistic Director: Faidaw‧Fagod
Producer: CHAO Chi-Fang
Director: Fangas Nayaw
Lighting Design: CHUANG Chih-Heng
Set Design: TSAI Yin-Han
Costume Design: LIN Bing-Hao
Visual Designer: HSU Yi-Chun
Chief Musical Supervisor:LIN Wei-Ya
Composer & Conductor / WU Ruei-Ran
Composer / Johannes Kretz
Maataw: the Floating Island is the theatrical production commissioned by the Council of Indigenous Peoples. It is based on the Yami/ Tao vocabulary, which combines the root of ataw, ‘the ocean’ with the prefix of ma-. Maataw could imply any island seen from the ocean in the Yami/Tao people’s culture, who have been living on a remote island, Botel Tobago or Lanyu, off the south-eastern coast of Taiwan. The theatrical work produced by the Formosan Aboriginal Song and Dance Troupe in 2016, however, presents the contemporary dialogue between Islands of Taiwan and Lanyu, as reflected through encounters between insiders and outsiders, tradition and the modern, tribe and nation, etc.
The primary challenge to overcome in the production was not limitations of time, manpower, budget, or space, but rather the inherent taboos of Taiwan's Indigenous peoples. Theatrical performance is a product of modern civilization; thus, bringing traditional tribal culture onto the stage comes with numerous inviolable conditions. In the past, Indigenous rituals, dances, and chants were governed by strictly regulated timings, and they were directed at deities and spirits, not an audience sitting offstage. Therefore, throughout the performance, I had to do my utmost to pursue "simplicity and naturalness" while simultaneously balancing the aesthetics of a performing arts piece—which proved to be a truly significant test. In the first half of the show, I anchored my design around natural light sources. I gathered extensive reference materials on sunrises, sunsets, moonlight, and water ripples to serve as the core inspiration for light sources and color palettes, attempting to capture the subtle lines of light and shadow that inherently belong to the natural world.
As the program progressed into the second half, parallel to the invasion of so-called "foreign cultures" into the Indigenous tribes, I gradually shifted the lighting angles to more intensely contrasting diagonals or backlighting to create stark visual dichotomies. The color selection also transitioned from warm tones and deep azure to cold, neutral, high-color-temperature hues. The intention was to symbolize the cold-blooded cruelty of us outsiders and the accompanying destruction, which in turn served to powerfully highlight the high-spirited will of resistance of the Indigenous people of Lanyu.
Maataw: the Floating Island is the theatrical production commissioned by the Council of Indigenous Peoples. It is based on the Yami/ Tao vocabulary, which combines the root of ataw, ‘the ocean’ with the prefix of ma-. Maataw could imply any island seen from the ocean in the Yami/Tao people’s culture, who have been living on a remote island, Botel Tobago or Lanyu, off the south-eastern coast of Taiwan. The theatrical work produced by the Formosan Aboriginal Song and Dance Troupe in 2016, however, presents the contemporary dialogue between Islands of Taiwan and Lanyu, as reflected through encounters between insiders and outsiders, tradition and the modern, tribe and nation, etc.
The primary challenge to overcome in the production was not limitations of time, manpower, budget, or space, but rather the inherent taboos of Taiwan's Indigenous peoples. Theatrical performance is a product of modern civilization; thus, bringing traditional tribal culture onto the stage comes with numerous inviolable conditions. In the past, Indigenous rituals, dances, and chants were governed by strictly regulated timings, and they were directed at deities and spirits, not an audience sitting offstage. Therefore, throughout the performance, I had to do my utmost to pursue "simplicity and naturalness" while simultaneously balancing the aesthetics of a performing arts piece—which proved to be a truly significant test. In the first half of the show, I anchored my design around natural light sources. I gathered extensive reference materials on sunrises, sunsets, moonlight, and water ripples to serve as the core inspiration for light sources and color palettes, attempting to capture the subtle lines of light and shadow that inherently belong to the natural world.
As the program progressed into the second half, parallel to the invasion of so-called "foreign cultures" into the Indigenous tribes, I gradually shifted the lighting angles to more intensely contrasting diagonals or backlighting to create stark visual dichotomies. The color selection also transitioned from warm tones and deep azure to cold, neutral, high-color-temperature hues. The intention was to symbolize the cold-blooded cruelty of us outsiders and the accompanying destruction, which in turn served to powerfully highlight the high-spirited will of resistance of the Indigenous people of Lanyu.
Maataw: the Floating Island is the theatrical production commissioned by the Council of Indigenous Peoples. It is based on the Yami/ Tao vocabulary, which combines the root of ataw, ‘the ocean’ with the prefix of ma-. Maataw could imply any island seen from the ocean in the Yami/Tao people’s culture, who have been living on a remote island, Botel Tobago or Lanyu, off the south-eastern coast of Taiwan. The theatrical work produced by the Formosan Aboriginal Song and Dance Troupe in 2016, however, presents the contemporary dialogue between Islands of Taiwan and Lanyu, as reflected through encounters between insiders and outsiders, tradition and the modern, tribe and nation, etc.
The primary challenge to overcome in the production was not limitations of time, manpower, budget, or space, but rather the inherent taboos of Taiwan's Indigenous peoples. Theatrical performance is a product of modern civilization; thus, bringing traditional tribal culture onto the stage comes with numerous inviolable conditions. In the past, Indigenous rituals, dances, and chants were governed by strictly regulated timings, and they were directed at deities and spirits, not an audience sitting offstage. Therefore, throughout the performance, I had to do my utmost to pursue "simplicity and naturalness" while simultaneously balancing the aesthetics of a performing arts piece—which proved to be a truly significant test. In the first half of the show, I anchored my design around natural light sources. I gathered extensive reference materials on sunrises, sunsets, moonlight, and water ripples to serve as the core inspiration for light sources and color palettes, attempting to capture the subtle lines of light and shadow that inherently belong to the natural world.
As the program progressed into the second half, parallel to the invasion of so-called "foreign cultures" into the Indigenous tribes, I gradually shifted the lighting angles to more intensely contrasting diagonals or backlighting to create stark visual dichotomies. The color selection also transitioned from warm tones and deep azure to cold, neutral, high-color-temperature hues. The intention was to symbolize the cold-blooded cruelty of us outsiders and the accompanying destruction, which in turn served to powerfully highlight the high-spirited will of resistance of the Indigenous people of Lanyu.
© 2014-2026 CHUANG Chih-Heng All rights reserved.
© 2014-2026 CHUANG Chih-Heng All rights reserved.
© 2014-2026 CHUANG Chih-Heng All rights reserved.