2026臺北藝術節：瓦吉．穆阿瓦《孤身》

▌ 瓦吉．穆阿瓦（WAJDI MOUAWAD） > 了解更多瓦吉・穆阿瓦： > 法國國家柯林劇院-藝術總監 Théâtre national de la Colline  > 法蘭西公學院的八堂課《書寫的動詞》 瓦吉．穆阿瓦的劇場，是一場將個人痛楚與時代完美縫合的煉金術。──法國《世界報》（LE MONDE） 《孤身》由瓦吉．穆阿瓦自編、自導、自演。主角哈萬是一位住在蒙特婁的黎巴嫩裔博士生，正面臨學術生涯的巨大危機：他正為了一篇長達 1500 頁、題目晦澀冗長到令人髮指的論文——《舞台佈景作為身分認同空間：以羅伯．勒帕吉獨角戲為例》抓狂。更要命的是，他寫了一整年，連一個結論都生不出來。  眼看截稿大限在即，指導教授突然來電強迫口試時間大幅提前，剛分手的女友拒接電話，同住在一個城市的父親又在此時突發中風陷入昏迷。   為了在全面崩潰前搶救自己的學術生命，他得知唯一的救命稻草——劇場大師羅伯．勒帕吉正在俄羅斯排戲。於是他決定在大雪紛飛的混亂中，硬著頭皮火速申辦簽證、訂下機票，隻身飛往聖彼得堡，展開一場試圖挽救論文的跨國狂奔。 ▌ 讓法國人捧腹大笑的冷幽默 以幽默、輕快且富有詩意的方式，展現出焦躁、興奮與哲思。這段獨白充滿動感與現代感，精巧地避開了單調自言自語的陷阱。 ──法國劇場權威評論媒體 《特等席》 （Un Fauteuil Pour l'Orchestre） 融合了幽默、悲劇與抒情色彩，是一部結合詩意、視覺藝術與影像的自我探尋之作。 ──瑞士洛桑維蒂劇院（Théâtre Vidy-Lausanne） ▌ 詩意留白的想像空間  瓦吉巧妙地讓這齣獨角戲化為一場複音交響。舞台空間極其卓越，將聲音、影像、投影與色彩緊密交織，這些元素與主角口中吐出的文字同樣重要。──法國藝評媒體《敲三下》（Les Trois Coups）  憑藉極具突破性的舞台空間設計、創新的影像投影及極度克制的表演，瓦吉．穆阿瓦帶領我們走進了人類潛意識與存在的最深處。──法國文化評論《奧利維耶之眼》（L'Œil d'Olivier）  > 延伸閱讀： > 瓦吉．穆阿瓦《孤身》：流亡的本質，是時間  > 從過去迂迴曲折的迷宮回到現在——瓦吉・穆阿瓦創作中的光、見證與承諾  > 瓦吉．穆阿瓦：在烈火焚身後，於向陽處刻下我的名字 ▍演出製作團隊 導演／演員｜Wajdi Mouawad 舞台技術｜Eric Morel 影像技術｜Stephane Lavoix 燈光技術｜Gilles Thomain 音響技術｜Annabelle Maillard 字幕執行｜Ulrich Menke 製作經理｜ Solenn Reto  共同主辦｜臺北市政府、臺北表演藝術中心 特別感謝｜法國在台協會 Bureau Français de Taipei “I WISH I NO LONGER HAD TO SAY ‘I.’ I WISH I COULD CEASE TO CARE FOR ALL THINGS. I WISH SOMEONE ELSE COULD SAY ‘HE’ FOR ME.” At the age of eight, on the eve of his exodus from a civil war-torn Lebanon, Wajdi Mouawad sowed these words into the silence of his room. Thirty years later, they have sprouted into Seuls. Harwan, a Lebanese doctoral student in Montreal, finds himself stranded in the final stretches of his degree. His niche dissertation, Frames as Spaces of Identity in the Solo Performances of Robert Lepage, is a clinical mirror of his own fractured existence. Caught between conflicting cultures and torn by the very frameworks meant to define him, Harwan watches as his estrangement from his father deepens and his mother tongue, Arabic, dissolves word by word.  When language can no longer function, body and color seize the stage. A brush in hand and paint hemorrhaging the space, Harwan transfigures both himself and the theatre into a vast, visceral canvas, commencing a ritual of unlearning silence to rediscover the syntax of living. Seuls marks a definitive milestone: Mouawad’s first work as sole author, director, and performer, inaugurating his acclaimed Cycle Domestique. In French, the title Seuls is a pluralized solitude—an acknowledgment that the man alone on stage is never truly solitary. Through a polyphonic layering of text, video, recorded echoes, and live painting, the work shifts restlessly between forms of expression. Drawing inspiration from Rembrandt’s The Return of the Prodigal Son, Mouawad summons the child perpetually unable to find his way home. In an era where home and belonging have become fugitive concepts, and the sense of internal exile is a universal condition, Seuls offers no easy solace. The man standing naked amidst the paint is Harwan. He is Mouawad. He is the reflection of any one of us. WAJDI MOUAWAD Wajdi Mouawad is a playwright, director, actor, and the preeminent force in contemporary Francophone theatre. Born in Lebanon, 1968, his portfolio traces a trajectory of exile from Beirut to Paris and then Quebec. Having over forty publications translated into twenty languages, his voice has become a definitive bridge between Mediterranean history and Western avant-garde theatre. Mouawad’s reputation is anchored in his tetralogy, Le Sang des promesses, an epic exploration of ancestral trauma and identity scarred by war. While Littoral(Tideline) serves as the cycle's haunting genesis, its successor, Scorched (Incendies), reached global acclaim through Denis Villeneuve’s Oscar-nominated cinematic adaptation. Rooted in the triptych of ancestral memory, war, and identity, Mouawad’s writing transmutes private trauma into modern epics, often fusing the gravitas of Greek tragedy and French linguistic density with the cinematic momentum and magical realism of Québécois aesthetics. In 2009, Mouawad served as the Associate Artist of the Festival d’Avignon, premiering his monumental eleven-hour marathon, Le Sang des promesses. Since 2016, he has presided as the Artistic Director of France’s Théâtre National de la Colline. His career is marked by the highest honors, including the Grand Prix du Théâtre de l'Académie Française and the European Drama Award. In 2025, he was appointed to the Collège de France to deliver his landmark lecture series, "The Verb of Writing"—an ontological deconstruction of the creative act as a fundamental mode of existence, and a metaphysical trajectory through the verbs to be, to see, to tremble, and ultimately, to die. CREATIVE AND PRODUCTION TEAM Director/Actor: Wajdi Mouawad Stage Technician: Eric Morel Video Technician: Stephane Lavoix Light Technician: Gilles Thomain Sound Technician: Annabelle Maillard Production Manager: Solenn Reto Surtitles Operator: Ulirch Menke   Special Thanks: Bureau Français de Taipei