左駕還是右駕？他在舞台上開著車，從亞洲拉斯維加斯開到了萬華區的廣州街，從家族的逃亡史到自己移民台灣，一步一步移動到這座鳥嶼。是不是只要把這台車一直開下去，就可以找到自己是誰呢？ 「定居在異鄉的人們，在尋找自我認同的同時，如何帶著過去的身分面向未來」
「定居在異鄉的人們，在尋找自我認同的同時，如何帶著過去的身分面向未來」
移動與留下不可能單一發生，我們始終會在這兩者之間飄泊，期待能夠透過這個作品來和大家分享與討論；也期願我們都能在這兩個面向中，找到屬於自己的平衡點。
主創者吳璟賢出生自澳門，大學時期後便定居在台北，這次以演講式劇場(lecture performance)的方式，打開了個人移動、家族的移動、食物文化的移動、政權的移動等不同面向。以開車的身體記憶與歷史中家族的逃難史互相呼應，歷史總是極為相似。
演出團隊｜吳璟賢
生長於澳門，現居台北。活躍於澳門及台灣劇場。畢業於國立臺北藝術大學劇場藝術創作研究所（主修導演），以及國立臺北藝術大學戲劇學系（主修表演）。現為僻室 House Peace 團員。
曾執導劇作《四碌葛之男生宿舍》，獲臺北藝穗節「戲劇中的戲劇」獎；擔任聯合導演之《我好揪節》，榮獲臺北藝穗節「永真藝穗獎」首獎。2022年，導演作品《天王降臨多久川》入圍第二十一屆台新藝術獎第三季提名；2025年執導音樂劇《我的初戀是頭鹿》，入選首屆臺北戲劇獎最佳音樂劇獎。
近期導演作品：《文雄與秀英》、臺南藝術節《殉道者》、音樂劇《我的初戀 是頭鹿》、《天王降臨多久川》（獲第二十一屆台新藝術獎第三季提名）、 《宿舍房號：8305》、澳門文化中心《在咖啡冷掉之前》、澳門小城實驗劇團 《國民家庭》、2020 關渡藝術節《有關當局》、《四碌葛之女生宿舍 1990》
演職人員名單｜
創作暨演出｜吳璟賢
助理導演｜陳冠齊
影像設計｜吳峽寧
音樂協力｜劉曜瑄
行政協力｜蔡傳仁
特別嗚謝｜僻室House Peace、果陀劇場
本演出為《六分甜,一人一點,不保證對齊》系列作品
《六分甜,一人一點,不保證對齊》是一場由六位表演者構成的SOLO演出計畫，三位男性與三位女性各自展開獨立創作，演出穿梭於兩層樓的通信分隊空間中。
觀眾不一定會被安排座位，表演也不限定舞台區域，演出打破傳統觀演結構，邀請觀眾以遊戲與探索的心態參與現場，尋找屬於自己的觀演節奏與感知軌跡，並期待在演出過程中，觸動彼此的甜蜜時刻。
這場演出不僅是一場表演,更是一場對「觀看」、「存在」與「身體臨界點」的集體試探，也扣合玩聚場藝術節的「玩」、「聚」、「場」三個軸線，觀看不再是被動的凝視，而是一次次進入規則、破壞規則的遊戲，觀眾的觀看本身變成了一種可以玩的行為，而聚，是我們彼此為存在作證的方式，場，不只是空間，而是身體與邊界的遊樂場。
每個SOLO是一次關於臨界、平衡與自我節奏的實驗與試，而觀眾在自由流動中所經歷的路徑，則構成整場演出的另一層結構。這些相遇與錯身、凝視與走失的瞬間，將構成每個人獨一無二的「甜蜜點」。
｜系列演出其他介紹請點以下連結｜
- 樂福福利社｜演出團隊：官建蓁
- 秘密集會：愛的繼承者｜演出團隊：蕭東意
- 自檢測我3-6分鐘：Time Lapse｜演出團隊：王珩
- 心律不整｜演出團隊：許照慈(+友情超人們)
- 我夢了一個我｜演出團隊：玲瓏全勤身創作社 x 林方方
Moving Island
Does he drive on the left or right? He drove onto the stage from the Asian Las Vegas to Guangzhou Street in Taipei’s Wanhua District, moving step by step toward this island, tracing his family’s escape and his own move to Taiwan. Is it possible to find out who you are as long as you keep driving?
Creator Harry NG was born in Macau and settled in Taipei after finishing college. Using lecture performance methods, he addresses different aspects, such as individual migration, family migration, food culture migration, and political power migration. The physical memory of driving echoes his family’s history of escape. History always seems to repeat itself.
Performer: Harry Ng
Active in the theatre scenes of Macau and Taiwan, Harry holds an MFA in Theatre Arts (Directing) and a BA in Drama (Acting) from the Taipei National University of the Arts and currently a member of House Peace.
Harry directing work Home To You was nominated in the third quarter of the 21st Taishin Arts Award. In 2025, directed the musical My Deer First Love, which was selected for the inaugural Taipei Theatre Awards as Best Musical.
Creation & Performance｜Harry Ng
Assistant Director｜Kuan Chi Chen
Video Design｜Nick Wu
Music Collaboration｜Andy Liu
Administrative Support｜Frederick Tsai
Special Thanks｜House Peace, Godot Theatre Company.
Six Points of Sweetness, A Little Bit of Each, No Guarantee of Alignment
<Six Points of Sweetness, A Little Bit of Each, No Guarantee of Alignment> is a SOLO performance project consisting of six performers, three men and three women, each creating their own independent work, in the Art Space III. The audience is not necessarily seated, nor is the performance limited to a specific stage area. The performance breaks with the traditional structure of a performance, inviting the audience to participate in the scene with a playful and exploratory mindset, searching for their own rhythms and perceptual trajectories, and looking forward to touching each other's sweet moments during the performance. This show is not only a performance, but also a collective exploration of “watching”, “existence” and “body threshold”, which also coincides with the three axes of “play”, ‘gathering’ and “field” in the Play Arts Festival. Watching is no longer passive staring, but a game of entering and breaking rules repeatedly, and the audience's watching itself becomes a kind of playful behavior, and the gathering is a way for us to testify for each other's existence! Gathering is a way for us to witness each other's existence. It is not just a space, but a playground for the body and its boundaries. Each solo is an experiment and trial of liminality, balance and self-rhythm, while the paths that the audience experiences in their free flow constitute another layer of the whole performance. These moments of encounter and dislocation, of gazing and wandering, will constitute a unique “sweet spot” for everyone.
｜MORE｜
