等它一下，他們正在遲到
the third person s
2025/09/05,06
Experimental Theatre |
Experimental Theatre |
Creators and performers |
張子恩 CHANG TZU-EN
林穎 LIN YING
林穎 LIN YING
Lighting Design |
李兆玄 LEE CHAO-HSUAN
Costume Design |
楊紹柏 YANG SHAO-BO
Stage Manager |
謝沂杰 HSIEH YI-CHIEH
Photography |
小7
邱宇堂
邱宇堂
Co-presented |
臺北藝穗節 Taipei Fringe Festival
臺北市政府 Taipei City Government
臺北表演藝術中心 Taipei Performing Arts Center (TPAC)
臺北市政府 Taipei City Government
臺北表演藝術中心 Taipei Performing Arts Center (TPAC)
Venue Partner |
台北偶戲館 Puppetry Art Center of Taipei (PACT)
穿衣、內務、洗漱、換衣、「長官好！」、洗碗、吃飯、消毒、吃飯、洗碗、吃飯、洗碗、吃飯、洗碗、洗澡、洗碗。
驗槍開始、驗槍蹲下。
抬腿、說話、陪笑、說話、再笑、更大聲說話、舉手、「老師好！」
：「媽媽，我剛看完一場演出，要回家了。」
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唯一的現場不停被暗示終於顯示又因不斷複製而消失。
紀律
一種有關細節的政治解剖學，
在身體裡東翻西找、拆卸它並重組它。
驗槍完成後，起立報：「好！」
：「阿……你怎麼還沒好？」
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《等它一下，他們正在遲到》是一場結合物件、行為與舞蹈的實驗劇場作品。我們從自身經歷出發，觀察身體如何在生活中被規訓：被生產、被教育、被訓練、被期待，甚至被誤解。
若這些看似理所當然的姿態，是我們生活在一起的預設語法——我們是否能輕輕鬆鬆、一本正經地錯用它？
演出在偏移與過度之間，以幽默為方法，讓身體從工具與任務中出軌；使技術不再只是服從的語法，而是成為轉化自身的手段。
這是一場關於技術的翻桌練習：在尊重與挑戰、節制與自由的臨界點上，與他人一起——彼此關照、互染，各自出走。
Wake up at dawn, sleep at dawn.
Get dressed, tidy up, wash up, change clothes, “Good morning, sir!”, do the dishes, eat, disinfect, eat, do the dishes, eat, do the dishes, eat, do the dishes, shower, do the dishes.
Begin weapon inspection, squat for weapon inspection.
Lift your legs, speak, smile along, speak, smile again, speak louder, raise your hand,
“Hello, teacher!”
“Mom, I just finished a show. I’m heading home.”
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The only live presence, constantly hinted at, finally revealed—only to vanish again through endless replication.
Discipline
A kind of political anatomy of detail: digging through the body, disassembling and reassembling it.
After the inspection is complete, stand and report: “Done!”
“Ah... why aren’t you ready yet?”
／
The Third Person (s) is an experimental performance that weaves together objects, actions, and dance.We begin from our own embodied experiences, observing how the body is disciplined in everyday life: produced, educated, trained, expected—and at times, misunderstood.
If these seemingly natural gestures are the default grammar of living together—can we, with both ease and dead seriousness, misuse them?
This performance operates between displacement and excess, using humor as a method. It lets the body derail from its tasks and functions, turning technique from a grammar of obedience into a tool for self-transformation.
It is a table-flipping practice of technique: at the threshold between respect and defiance, between restraint and freedom—we accompany one another, contaminate one another, and depart from our own limits.
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