延伸閱讀▸ 當舞台上只剩下「玩樂」：專訪馬戲藝術家葉時廷 ▸ https://tpac.org.taipei/posts/562 演出暨製作人員名單 作品原創｜丹尼·法傑同 (Denis Fargeton) 台灣版導演｜方意如 演出｜巫欣璇 (擊樂)、葉時廷 (馬戲) 燈光設計｜高至謙 舞監｜藍靖婷 音響技術｜小野社長 妝髮設計｜周乃湞 Kelly Chou 演出攝影紀錄｜邱蔚中 執行製作｜邱敬淳 演出錄影紀錄｜日商專業映像股份有限公司台灣分公司 總策畫｜朱宗慶 製作單位｜財團法人擊樂文教基金會 特別感謝｜小野社長、日商專業映像股份有限公司台灣分公司、台南人劇團、印花樂邱董事長瓊玉、印花樂蔡董事長玟卉、周乃湞 Kelly Chou、高至謙、歌神吳國工作室（依筆畫順序排列） From a minimal premise, waves of surprise build into a shared pulse. Between mallet and object, rhythm recalibrates the senses. Spanning France and Taiwan, percussion and circus, Jeu Blanc operates as a sensory study of minimalism and purity. Within a rigorously pared-down structure, the show generates a rich visual field where rhythm and sound become visual, suggesting an alternative trajectory for contemporary performance, one that gradually shifts into a distinct mode of perception. Are you ready? With the next strike of the mallet, the world in front of you will never be the same. Why you shouldn’t miss Jeu Blanc A cross-disciplinary sensory encounter Percussion, circus, and theatrical language intersect, dissolving artistic boundaries and reshaping performance experience. An enlightenment for all generations Structured in concise, playful sequences, the work balances humor and precision, offering immediacy for younger audiences and a lingering resonance for adults. French Avant-Garde in Rich Taiwanese Soil Founded in 1962, Les Percussions de Strasbourg is widely recognized as the world’s first professional percussion ensemble, known for redefining repertoire, performance formats, and cross-cultural collaboration. As a key force within French musical culture, the ensemble has appeared at major international festivals and has shaped the work of generations of composers and artists. Jeu Blanc extends this legacy of experimentation where music threads into wonders. Human body, object, sound, and form are brought into an epic dialogue. The Taiwan edition, commissioned by Taipei Performing Arts Center, is adapted from the original production by Les Percussions de Strasbourg. Created by percussionist Hsin-Hsuan Wu and circus artist Shih-Ting Yeh, they introduce a grounded, local sensibility into a work rooted in the European avant-garde, assembling a more immediate, tactile experience. Virtuosity and enchantment: the artists at work Wu Hsin-Hsuan, the percussionist beyond borders Active between Europe and Taiwan, Wu brings a precise yet elastic musical language coupled with a strong stage presence. Early in her career in France, she joined Les Percussions de Strasbourg as its first Taiwanese member. Since then, she has maintained a dual role as performer and educator across the French & German percussion scene, while continuing to expand the expressive scope of contemporary percussion. Her practice positions her as a conduit between Asian and European developments in the field. Yeh Shih-Ting, the circus poet With a background in traditional folk performance, Yeh has developed a contemporary practice across circus and theatre. After training in France and collaborating internationally, he integrates circus arts, juggling, clowning, and physical theatre into a cohesive performance language. His work goes beyond the technicality, centering on the relationship between sound, body, and object, and often drawing from everyday experience to create a performance that is both accessible and conceptually grounded. A dreamlike presence: a mechanical doll as the third performer A mechanically operated figure interacts with the performers in precise coordination, introducing a subtle layer of dissonance. Its presence destabilizes distinctions between animate and inanimate, control and submission, extending the work’s perceptual ambiguity. Fang Yi-Ju, the flagbearer of creativity A multidisciplinary artist working across borders, theatres, and visual media, Fang Yi-Ju brings a strong contemporary perspective to the work as Jeu Blanc’s assistant director. Founding CIrcus P.S. in 2015, she has been instrumental in recontextualizing traditional circus within contemporary performance, exploring its intersections with text, sound, object, and installation, pushing Taiwanese contemporary circus onto the international stage. Before entering… Watch White spheres are suspended, redirected, and caught mid-air. Mallets cut through space, merging with physical gesture. Gradually, rhythm takes on a visible form. Listen Sound moves between instrument and object, or emerges from near-silence—its structure revealing itself over time. Respond Repetition accumulates. Like a tide, it presses against perception. You may find your body reacting before you register why. What unfolds is not a fixed narrative but a shifting simulation between sound and image, action and perception. Simulation here is not imitation, but a continuous negotiation between body, rhythm, and attention. As you enter, the work begins to reorganize itself around you.