台灣戲曲名家朱安麗、李靜芳、陳禹安破天荒跨界合作，是首齣向明代湘蘭館館主馬湘蘭（1548-1604）致敬的戲曲作品。邀請諸眾循字辨音，細細品想陌生過往，那遊船畫舫的人生、夢境、理想與愛戀。
馬湘蘭本名馬守真，是十六世紀聲名遠播的女性藝術家，南京秦淮河畔幽蘭館的主人，集名妓、畫家、舞者、詩人、曲家與劇作者於一身。她拾筆落下的幽蘭雅竹，皆在紙上翩然傳香，其中以蘭最為傳神，因此名號「湘蘭」。劉亮延二○二二年製作的《湘蘭圖》，以現藏於荷蘭國家博物館（Rijksmuseum）的一幅「蘭竹石圖」為起點，全劇故事根據這位女性藝術家的生平、畫作題箋與相關品藻文獻而發展，試圖重建一幅遺失經年的「湘蘭圖」的歷史軌跡。
本劇編導劉亮延以此開展跨域的想像，偕音樂人柯智豪之力，拼貼、仿作、鑲嵌了數段散佚失傳的雜劇曲文，以歌仔戲為底，爵士樂配器伴奏，成為二人融合戲曲與爵士的里程碑。此作接續二○一二年台滬合製《白蘭芝》、二○一六《燕青》與《馬伯司氏》、二○二○《妙玉》、二○二二《寶玉》，是兩人在戲曲與爵士音樂創作脈絡上的新階段。
二○二六年九月，《湘蘭圖》以「2026 年傳藝金曲劇展・績優作品再製」重返台泥大樓士敏廳。
Physical Sentimental Theatre Company of LeeQingZhao the Private (Taiwan) presents a groundbreaking collaboration between three widely acclaimed Taiwanese performers of traditional opera — An-Li ZHU, Jing-Fang LI and Yu-An CHEN. Written and directed by Liang-Yen LIU, Lady Orchid is the first theatrical homage to Lady Orchid (1548–1604), the legendary courtesan, artist, dancer, poet, composer and playwright who presided over her salon, the Orchid Pavilion, in Nanjing.
“Xiang-Lan,” originally indicating flowers with light fragrance that grow along the Yuan and Xiang Rivers, was commonly used in premodern Sinophone culture to refer to the elegance, grace and chastity observed by women. It was also adopted as a courtesy name by Ma Shouzhen, a courtesan and artist active in the second half of the 16th century in Nanjing. Ma Shouzhen is known for her graceful illustration of orchids, bamboo and rocks. One of her works, Hanging Scroll with Bamboo and Orchids on a Rock, is now housed in the Rijksmuseum in Amsterdam. This painting provoked Liu’s curiosity and motivated him to examine her dual life as both a courtesan and a female patron of the arts. Derived from her art, poetry and the associated body of research, Liu seeks to reconstruct the emotional and historical landscape of a long-lost painting, The Orchids.
Through Lady Orchid, Liu expands his interdisciplinary and experimental approach of combining contemporary jazz with traditional opera, working with the award-winning composer KO Blaire. Together they sample, collage and reimagine fragments of lost zaju repertoire, embedding them within the framework of Taiwanese opera and creating a distinctive musical style through live jazz improvisation and instrumentation. Following Blanche (2012), Ina Tshing (2016), Lady Macbeth (2016), Adamantina (2020) and The Green Boy (2022), Lady Orchid remains a significant artistic milestone for both Liu and Ko.
In September 2026, Lady Orchid returns to the Cement Hall in Taipei, restaged for the Golden Melody Awards for Traditional Arts Theatre Showcase.
《湘蘭圖》的故事以十七世紀中國秦淮河畔的湘蘭館之主事者馬湘蘭為核心人物，劇情以湘蘭館內《白蛇傳》*的排演為開端，展開藝術主體對於身體、品格和作品之間的思考。
故事始於某公子是湘蘭館的戲迷，長途跋涉來到湘蘭館，巧遇馬湘蘭排戲，她正為今夜的閉門宴會排練《白蛇傳》。戲迷觀察到排練看起來不順利，他就親身參與演出，開始比畫揣摩，試圖理解白素貞與許仙之間的情感糾葛。一人身兼二角，他選了一段「勸酒」，開口就唱。許仙邊勸邊試，為了驗證白素貞是人是妖。推託之間戲迷斷定許仙必心生悔意，靈機一閃，決定以兩粒解酒丸，一人服下一粒，此事便了。當他一睜眼，看到馬湘蘭風采照人翩翩襲來，他好像明白了，原來愛情的生發不必仰賴律法的賞罰，禮教無法抑制真情實感的溪流，以此重新詮釋了白蛇故事中忠孝節義與妖異之愛的張力。
另日，馬湘蘭收到數張畫像作為贈禮，原來是某位張先生與文友聚會時，大家想像湘蘭美人的文人遊戲。湘蘭館內的嬤嬤暗中盤算，一旦小姐慕名者眾，發財致富的時機就要來到。馬湘蘭見畫欣喜一一比對，但對鏡思忖，搖頭感嘆，天下有何人能知曉，她只不過投身入戲，她不求良辰美景，也不求幸福愛情，戲裡戲外，她只求人格與藝術的合一。
恍惚中有人召喚，一位公子來到。公子姓王，大名稚登。王公子亦慕名而來，前夜得聞文人雅集仕女圖如雲，想一探究竟。沒想到馬湘蘭欣賞王公子，反要王公子親手二筆。王公子信手捻來，不畫美人卻留下一幅「蘭竹石圖」，象徵真愛與精神契合，二人成為一輩子的莫逆。王稚登七十壽辰時，馬湘蘭包船祝壽，在船上連演七日七夜的戲，返家後病逝。這段真摯情感在劇中轉化為藝術的象徵，成為馬湘蘭終身守候的原因。最後荷蘭國家博物館的「蘭竹石圖」在台上落下，作為一段歷史佳話的演義。
Set in the early 17th century, Lady Orchid tells the story of the legendary courtesan who presided over the Orchid Pavilion on the Qinhuai River in Nanjing. The performance opens with a rehearsal of The Legend of the White Snake* inside the Orchid Pavilion, a metaphorical enactment of an artist’s reflective contemplations of the juxtaposition between the body, the character and the artistic creations.
The Opera Fan, a devoted admirer of Lady Orchid, journeyed far and wide to the Orchid Pavilion and stumbled upon Lady Orchid rehearsing The Legend of the White Snake for a private banquet that evening. Quickly sensing the rehearsal is going somewhat inadequately, the Opera Fan decides to personally step into the roles of both Lady White Snake and Scholar Hsu, endeavouring to decipher the emotional entanglements between the lovers by singing the “toasting” scene. Scholar Hsu is plying Lady White Snake with drinks as he attempts to verify that his beloved is in fact human, not a snake spirit. Amidst the back and forth, as the tension rises, the guilt creeps in. With a stroke of genius, Scholar Hsu whips out two sobering pills, and they each take one, resolving a lovers’ quarrel. End scene. As the radiant Lady Orchid gracefully glides towards the Opera Fan, he seemingly realises that true love transcends moral judgment and societal constraints, presenting a novel reimagination of The Legend of the White Snake.
Sometime later, Lady Orchid receives portraits of her as gifts from a group of literati. Apparently, they were playing a salon game of imagining and drawing the portrait of the beautiful Lady Orchid. Witnessing this, the Orchid Pavilion House Madam secretly schemes to profit from Lady Orchid’s growing celebrity. Lady Orchid admires each portrait, but sighs pensively as she gazes into the mirror. No one but her truly grasps her complete and utter devotion to the arts.
As if in a dream, a nobleman by the name of Master Wang arrives at the Orchid Pavilion. Master Wang learned about the game of portraits and wished to see the works in person. Unexpectedly, Lady Orchid is rather taken with Master Wang and invites him to paint with her. Surprisingly, Master Wang does not paint her portrait; instead, he paints Bamboo and Orchids on a Rock — symbols of true love and spiritual harmony. Henceforth, Lady Orchid and Master Wang formed a lifelong companionship. In celebration of Master Wang’s 70th birthday, Lady Orchid chartered a boat and performed for seven days and seven nights, succumbing to illness shortly after returning home. In the grand finale, the hanging scroll from the Rijksmuseum is unveiled on stage.
*The Legend of the White Snake is one of Peking opera’s most famous romantic folktales. It explores themes of human–spirit relationship, moral conflict, and the trials and tribulations of love. Lady White Snake is a snake spirit who transforms into a woman and marries Scholar Hsu after falling in love with him at first sight. Their blissfully serene life is shattered when the monk Fahai instigates discord between the wedded pair, manipulating Scholar Hsu into plying Lady White Snake with drink, revealing her true form. Ultimately, Lady White Snake is imprisoned beneath Leifeng Pagoda, leaving behind a tragic yet enduring love story.
演出前的準備，也可以用聽的。《湘蘭圖 導聆與讀劇》共七集，逐段讀劇本、談音樂，由劇場演員高銘謙獻聲，柯智豪音樂工作室製作發布。全長約一小時四十五分，可以分次聽完。
專文一
作者｜王靜靈 編輯｜鄭文琦
舊院人稱曲中，前門對武定橋，後門在鈔庫街。妓家鱗次，比屋而居，屋宇精潔，花木蕭疏，迥非塵境。到門則銅環半啟，珠箔低垂；升階則猧兒吠客，鸚哥喚茶；登堂則假母肅迎，分賓抗禮；進軒則丫鬟畢妝，捧艷而出；坐久則水陸備至，絲肉競陳；定情則目眺心挑，綢繆宛轉，紈褲少年，繡腸才子，無不魂迷色陣，氣盡雌風矣。
這是明亡後余懷（1616～1695）在其《板橋雜記》中懷想秦淮河畔的風花雪月的記述。明代中晚期位於金陵城中秦淮河南岸的舊院，是名妓的雲集之地。且在舊院的對岸即是貢院——科舉的秋試之所在——兩者之間僅隔一橋相對，在環境上為赴考的士子提供了尋花問柳與交往名妓的方便。這些風月場所成為男女兩性及各類社會人士之間進行接觸而流動不息的空間。
秦淮河畔溫柔鄉的歌舞昇平，與明代文人名士狎妓之風的盛行及狎客們的對名妓的品評有關。文人狎妓者的品評勢必影響青樓諸妓對於自身資質，特別是詩文、書畫及演藝等才能的培養與關注，藉此得到文人名士的傾慕與推崇，而文人名士更將以能與才華洋溢的名妓交往唱和，甚或得到其詩、書、畫等作品視為風雅。從題材來看，名妓畫家多以蘭、竹為其擅長。蘭、竹屬於被歷代士人所讚揚稱頌的「四君子」，蘭的清幽、竹的虛靜，除了用來比擬文人名士的君子之風外，其不畏環境之艱辛所展現的生命力，更被用來標舉名妓自身的高潔，成為名妓自我形象的轉喻。更重要的是蘭、竹的造型簡單，往往幾筆而就，特別適合在雅集的場合做為餘興表演；而落於紙上隨風飄逸的蘭、竹線條，更賦予文士對名妓婀娜身姿的無限想像。
雖與小草伍，幽芬出谷中。
素心托君子，春可拂清風。
在此繪畫是她用以言志抒懷的手段，而「蘭」正是她內心情感的象徵，甚而成為是其「自我形象」（self-image）。竹石，這個文人畫中再平常不過的母題，則象徵著翩翩君子，是幽蘭（馬守真）寄託真心的對象。馬守真是有意識地將「湘蘭」這個名字，轉化為以筆墨所描繪的視覺圖像，藉此畫出其理想的自我。她選取蘭竹作為其繪畫創作的主題一方面是其主觀的內在抒發與自我表達；另一方面也容易博得文人雅士的欣賞與共鳴。當他們在欣賞她所繪的蘭花時，也透過這個形象在其腦海中建構想像馬守真的容貌。荷蘭國家博物館藏《蘭竹石圖》立軸周圍的題識，就是十九世紀的收藏家及其友人們在欣賞這幅畫作之後，所留下的對馬守真形象的想像。
馬守真想託付真心的君子，正是當時著名的詩人和書法家王穉登（1535～1616）。馬守真與王穉登的交往大約在她三十歲之時，他們長達數十年的纏綿關係成為廣為人知的事蹟。他為她創作了諸多詩文、歌詞。在馬守真去世後王穉登為她立〈馬姬傳〉並追憶兩人之間的交往：
先是姬與余有吳門烟月之期，凡三十載，未償。去歲甲辰（1604）秋日，值余七十初度，姬買樓船，載嬋娟十十五五，客余飛絮園，置酒為壽⋯⋯吳兒嘖嘖誇美盛事，傾動一時。
1604 年王穉登七十大壽之時，馬守真不顧年邁，親自率能歌善舞的名妓十多人，乘著樓船畫舫千里迢迢從南京趕到王穉登在蘇州的寓所飛絮園祝壽，歌舞盛況空前。因連日辛苦勞累，回南京後，馬守真一病不起。在她生命消逝之前的最後一刻，沐浴更衣，燃燈禮佛，端坐而逝。王穉登聞訊，傷心不已，為她提筆立傳，並賦輓詩。王、馬兩人各自作為其階層的代表，演繹了當時名士與名妓間交往與情感動人的一幕。
李清照私人劇團感傷動作派 2022 年的新戲《湘蘭圖》是與荷蘭國家博物館的合作。2017 年，李清照私人劇團感傷動作派於雲門劇場演出《馬伯司氏》，並將西皮二黃換成爵士樂，重新詮釋了莎士比亞筆下的馬克白夫人。2019 年，筆者向導演及編劇劉亮延提出邀約，以荷蘭國家博物館藏的《蘭竹石圖》為靈感起點，並以爵士樂配歌仔戲，重新詮釋馬守真與王穉登這對才子佳人的愛情故事。
《湘蘭圖》劇作共分三場，由三位生、旦、丑角各自分飾多角，編劇在每場皆各自安排了一齣「劇中劇」。
幽蘭館閉門排戲，卻如何也排不出來，旦角馬守真正在發愁，考慮親自下場。這下可樂壞了花錢包場的捧角家（生），根據王穉登的記述，馬守真可是「歌舞當年第一流，姓名贏得滿青樓」的絕代歌姬。
士子張幼于誤入幽蘭館，享受了馬守真和老嬤嬤的熱情招待，在一陣按摩舒壓中睡去。睡裡他夢見自己成了《西廂記》裡的主角張君瑞（張生），朦朧裡在夢中和崔鶯鶯（旦）演了一折〈草橋送別〉。這段夢裡的「劇中劇」原是改編自《西廂記》第四本〈草橋店夢鶯鶯〉裡張生赴京趕考，鶯鶯長亭送別依依不捨的纏綿。士子張幼于在幽蘭館裡享受的服務讓他像談了一場《西廂記》中張生與崔鶯鶯般才子佳人的完美愛情。在此馬守真的形象跟崔鶯鶯的形象重疊。回去後張幼于向友人們吹噓炫耀，聽的每人如癡如醉，各自想像這位崔鶯鶯般的完美情人究竟長什麼模樣；各自描繪其模樣，也湊了個賭局，一起讓人帶回幽蘭館讓馬守真猜一猜，究竟哪一幅《鶯鶯像》才是出自張生的手筆。
馬守真看著這些全是畫著自己的肖像，對鏡尋思，想著想著昏睡了過去，夢見自己是《牡丹亭》裡的杜麗娘，想著要為自己留下〈寫真〉，卻不料逕自畫起了妝容為自己「寫容」。究竟她寫的「容」，肖像上的「真」，還是映在鏡中的「像」哪個才是真正的「自己」？恍惚之中馬守真被喚醒，遇上了前來公證賭局的王穉登，將他認作了柳夢梅。馬守真把王公子當成柳公子，向王穉登提出了邀請，也要他留下墨筆，這段初相遇卻成就了《牡丹亭》的愛情，馬守真在此展現了杜麗娘般主動追求愛情的自主精神。王穉登那日的幾撇，成為她一生守候的蘭竹之戀。
《湘蘭圖》劇作是對馬守真《蘭竹石圖》的戲劇詮釋，將馬守真與王穉登的愛情故事與古典才子佳人故事《西廂記》和《牡丹亭》重疊，演繹了在歌舞歡場中，如夢似幻虛虛實實的情愛辯證，在這繁華的風月之中，卻也有不負君子的一片素心。而在虛實難辯的層疊框架裡，觀眾又是否能聽見不負戲曲的一本初心？
專文二
OPENTIX 兩廳院文化生活・《PAR 表演藝術》｜2026 年 8 月
記錄整理｜吳岳霖 攝影｜劉璧慈
從二○一二年《白蘭芝》到《馬伯司氏》、《湘蘭圖》與《寶玉》，編導劉亮延與作曲柯智豪談十餘年來把爵士樂放進戲曲的工作方法：跨界真正的變數不在樂種，而在人——演員的性格、對樂器的接受度、與伴奏之間的信任關係。
2006 年成立，臺灣當代戲曲獨角戲第一品牌「李清照私人劇團感傷動作派」，純美、感傷、死去活來。
團名援詞家李清照，期許藉其文學音律之好，開展支解雅俗再劃傳統的內部革命。仗其感傷之道，重探東亞現代性中當代傳統諸禁忌。
「李」團至今推出超過 25 個原創劇目，轉移在京劇、客家戲、歌仔戲、歌舞伎等東亞傳統戲曲劇種之間，長年深耕「當代傳統」的國際合作網絡。李團作品風格鮮明、語彙獨特，尤其有為數較多的獨角戲作品，從文本到表演，以演員為中心的創作路線在台灣當代劇場界已具指標性。
「李」團作品曾多次入圍台新藝術獎、傳藝金曲獎、電視金鐘獎。發行的戲曲爵士專輯中，《馬伯司氏》（第 29 屆）、《湘蘭圖》（第 36 屆）與《歌仔曹七巧》（第 37 屆）三張入圍傳藝金曲獎。
Founded in Taipei in 2006 and named after the Song-dynasty poetess Li Qingzhao, the LQZ Theatre Company is Taiwan’s foremost maker of contemporary traditional-opera monodrama: pure beauty, sentiment, and dying and coming back to life.
Borrowing the poetess’s command of literary music, the company set out on an internal revolution that dismantles the barrier between elegance and vulgarity and redraws tradition from within. In its persistent pursuit of sentimentality, it keeps returning to what remains taboo in the contemporary traditions of East Asian modernity.
The LQZ has produced more than 25 original works across Peking opera, Hakka opera, Taiwanese opera and kabuki, and has built a long-standing international network around “contemporary tradition.” Its distinctive style rests on an unusually large body of monodrama and on a creative method centred on the performer — for the founding director, actors’ character traits and stage appearances remain a significant source of his literary inspiration.
The company has been nominated for the Taishin Arts Award, the Golden Bell Awards and the Golden Melody Awards for Traditional Arts, the last for three of its jazz-opera albums: Lady Macbeth (29th), The Orchids (36th) and Cao Ci Ciao (37th).
台灣詩人、劇場編導。國立交通大學社會與文化研究所文學博士（2015），李清照私人劇團感傷動作派藝術總監，現為國立臺東大學兒童文學研究所助理教授。在戲劇研究上，劉的研究領域圍繞於二戰後中國、日本、臺灣劇場與社會文化，尤其聚焦藝人研究，近年又著重在藝人身份與價值系統的問題上。在戲劇創作上，近二十年來，劉亮延是活躍在臺灣戲曲跨界創作上的編劇、導演。已發表的劇場作品包括《湘蘭圖》《寶玉》《妙玉》《曹七巧》《白蘭芝》《馬伯司氏》《初飛花瑪莉訓子》《川端康成三部作：少年》等超過 20 齣劇目，執行策劃之演出逾 400 場次。著有劇作集《婦女生活十一種》（入圍 2021 臺灣文學金典獎）、詩集《牡丹刑》《有鬼》等。劉亮延是美國亞洲文化協會（ACC）2011 年度受獎人，並曾獲英國文化協會（2008-2009）、日本 Saison Foundation（2012-2014）、臺灣雲門文化藝術基金會（2005, 2018-2019）等機構的藝術家獎助。
台灣音樂家、科技藝術家。曾獲台灣流行金曲獎、傳藝金曲獎、金鐘獎、金音獎、法國金音叉獎、誠品選樂、TAIPEI TIMES 年度最佳專輯。音樂作品涵蓋古今東西古典、演唱會、電視、電影、舞台劇，以及京崑、歌仔、布袋戲等戲曲，創作上達到驚人的質量與跨度兼備。柯智豪持續在音樂創作與嘗試上不斷往前推進，近年來致力於台灣傳統音樂、台灣多項語文、東方儀式與戲曲的採集與重製。
生於南投，藝名朱勝麗，京劇名伶。10 歲離開泰雅族部落，進入陸光劇校始學京劇，畢業後進入國光劇團，為京劇在台灣發展與傳承的中堅分子。工花旦、刀馬旦。陸光劇校第 3 期「勝」字輩，國立臺灣藝術學院（今臺藝大）戲劇科國劇組，佛光大學藝術學研究所畢業。師承秦慧芬、劉鳴寶、陸景春、馬術賢、白玉薇、周雪雯等名師。又近年師承筱派名家陳永玲先生，鑽研筱派藝術，學了相當多傳統劇目，包括筱派的《貴妃醉酒》、《翠屏山》、《大劈棺》等。1995 年國光成團即入團。曾獲中國文藝獎章及文復會最佳旦角獎、第 22 屆台北文化獎、第 31 屆傳藝金曲獎「最佳演員獎」。
生於南投草屯，台灣歌仔戲旦行演員。出身戲曲世家，師承郭保全、李惠珍、王太郎、陳文山、洪明雪、洪明秀、楊蓮英。文武戲身段武功紮實，唱腔嗓音寬厚。演而優則編，已有多部編劇作品。2014 年創立李靜芳歌仔戲團，推出創團大戲《鴛鴦情》，同年獲選為南投縣傑出演藝團隊，劇團陸續推出《柳如是傳奇》等著重旦角表演的大戲作品，並持續培育歌仔戲演員的薪傳工作。2008 年推出首張歌仔戲曲調專輯《歡喜咱來學阿旦・珠圓玉潤阿旦歌》，2012 年推出《李靜芳戲新曲唸舊調》，2020 年推出《傳老歌仔韻、承本土的根》等多張專輯，多次入圍傳藝金曲獎，並以《歌仔曹七巧》獲第 37 屆傳藝金曲獎「最佳演唱人獎」。曾獲十大傑出青年、中國文藝獎章等。近年致力於歌仔戲教育推廣，任教於國立臺北藝術大學傳統音樂學系，並擔任台北市藝文推廣處等多處歌仔戲傳習教師。
生於台灣台中，台灣歌仔戲生行演員。國立台灣戲曲學院歌仔戲學系首屆畢業生，美國亞洲文化協會（ACC）2017 年度受獎人，2019 年至紐約見習半年，接受爵士樂演唱訓練，並赴紐奧良參加爵士與傳承音樂節（Jazz and Heritage Festival）。曾以歌仔戲《梅玉配》獲第 26 屆傳藝金曲獎「最佳個人表演新秀獎」。畢業後曾任教於國立台灣戲曲學院，爾後投身演出實踐，至今曾在河洛歌子戲團、唐美雲歌仔戲團、春美歌劇團、許亞芬歌子戲劇坊、廖瓊枝歌仔戲中擔任要角，目前為李清照私人劇團感傷動作派當家小生。2015 年起演出多部李團作品，展開跨界音樂的創作領域。
「讀萬卷書不如行萬里路。臺灣歌仔戲也該讓世界看見。」
Liu Liang-Yen is a Taiwanese poet, playwright, theatre director and curator. After receiving his PhD in Social Research and Cultural Studies (2015), he now teaches at the Graduate Institute of Children’s Literature, National Taitung University. His research focuses on the post-war theatre of China, Japan and Taiwan, with a recent extension to include theatre performers’ career identity and their associated value systems. Liu has directed and written more than 20 plays over 20 years. In addition to his book of plays, Lifestyles of Eleven Women (2021), he is the author of three poetry publications. His work has been recognised by the Asian Cultural Council (2011), the British Council, the Saison Foundation and the Cloud Gate Culture and Arts Foundation.
Ko Blaire is a Taiwanese composer and new media artist. His music productions have received recognition from the Golden Melody Awards, the Golden Melody Awards for Traditional Arts, the Golden Bell Awards, the Golden Indie Music Awards, the French Diapason Award, the Eslite Music Collections and Taipei Times Collections. His creativity is both modern and traditional, spanning live concerts, television, cinema, stage performances, puppet theatre and traditional opera, with an emphasis on religious and folk music.
An-Li Zhu is a renowned Peking opera actor. She began her Peking opera education at the age of 10 and joined the Guoguang Opera Company upon graduation, becoming a key figure in the development, preservation and promotion of Peking opera in Taiwan. She specialises in Hua Dan (young female) and Daoma Dan (female warrior) roles, and in recent years has focused on the Xiao School. Her honours include Best Performer at the 31st Golden Melody Awards for Traditional Arts and the 22nd Taipei Cultural Award.
Jing-Fang Li is a prominent Taiwanese opera Dan (female role) actor. Coming from a theatrical family, she received rigorous training and began performing at a young age. Known for her richly resonating vocal timbre and her versatility, she switches seamlessly between literary (wen) and military (wu) roles. She founded her own company in 2014, has released several albums of Taiwanese opera and folk song, and won Best Vocalist at the 37th Golden Melody Awards for Traditional Arts for Cao Ci Ciao in Taiwanese Opera. She teaches at the Department of Traditional Music, Taipei National University of the Arts.
Chen was one of the first students to receive training in Taiwanese opera at the National Taiwan College of Performing Arts, and specialises in the male role (sheng). She is the winner of Best Young Performer at the 26th Golden Melody Awards for Traditional Arts, and an ACC fellow (2017) who spent six months in New York studying jazz vocal technique and attending the New Orleans Jazz and Heritage Festival. She currently serves as the lead performer of the LQZ Theatre Company.
“Reading ten thousand scrolls is no match for journeying ten thousand miles. Taiwanese opera deserves to be seen by the world.”
演出
樂手
創作與設計
文宣與行政
主辦與協力
亞洲文化協會台灣分會
Asian Cultural Council Taiwan
本劇編導劉亮延為 ACC 2011 年度受獎人，主演陳禹安為 2017 年度受獎人。劉亮延受獎期間赴日本進行寺山修司的劇場研究，陳禹安則赴紐約接受爵士樂演唱訓練並參加紐奧良爵士與傳承音樂節，兩段經歷都直接進入了《湘蘭圖》戲曲與爵士的工作方法。
2025 年 11 月 4 日，《湘蘭圖》受邀於 ACC 台灣三十週年「璞玉煉金的故事」演出，地點為臺北表演藝術中心球劇場。本次再製沿用該場的樂手編制。謹此致謝。
Asian Cultural Council Taiwan
Director and playwright Liang-Yen LIU is an ACC fellow (2011) and lead performer Yu-An CHEN an ACC fellow (2017). Liu’s fellowship took him to Japan to research the theatre of Terayama Shūji; Chen’s took her to New York for jazz vocal training and to the New Orleans Jazz and Heritage Festival. Both experiences fed directly into the working method behind Lady Orchid.
On 4 November 2025, Lady Orchid was presented at Alchemy of Brilliancy: 30 Years of ACC Taiwan, at the Taipei Performing Arts Center Globe Playhouse. The present restaging keeps that production’s instrumental line-up. Our thanks to the Council.
