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1987年林秀偉編作一支整場的雙人舞，這場與吳興國合舞的《世紀末神話》是她開啟個人舞蹈風格的最初探索。1987年成立「太古踏舞團」。『太』意味無限寬廣的內在及外在宇宙，『古』傳遞時間的奔流，『踏』拆開來看，『足』來自地底的力量，『水』呈子宮狀態，象徵純淨及微量混沌，『日』為吸收太陽熱源。
冥想結合身體動力是「太古踏舞團」一貫的作品風格，林秀偉堅持透過肢體探索生命，以獨特的東方哲思和新世紀精神融入自然原始的生命，觸及心靈與內在的感官悸動。六位女舞者、六位男舞者接受過長期現代舞及京劇身段功夫的嚴格訓練。舞者接受太古踏技巧訓練，以靜坐、冥想，整合身體能量，達到如胎體之純淨柔軟，如獸體之強健賁張，及丹田合一之人我凝斂。
德國國際舞蹈雜誌撰稿的巴黎舞評家約翰馬克亞道夫說：「和日本舞踏十分不同，在這支舞的圖像中，我感受到無以言喻的精神力量。」
近年 太古踏舞團除推展國內外公演外，也積極與企業合作，已活潑多采的面貌，親近大眾, 融入現代人的心靈生活。
費加洛日報評為：「是在碧娜．鮑許，羅伯．威爾森之外，看到一些很有魅力的新東西。」
歐洲日報：「舞者的力量，深入觀賞者的五臟六腑。是由內而外的一個圓滿運作的結果」
德國國際舞蹈雜誌撰稿的巴黎舞評家約翰馬克亞道夫說：「和日本舞踏十分不同，在這支舞的圖像中，我感受到無以言喻的精神力量。」
法國馬賽報評：「啊！生命呵，如此的心靈之美！觀眾們深深的被感動，掌聲無法停止！」
德國馬丁報評：「尋找生命精隨，超越了所有痛苦，融合東方與西方，一種獨特的冥想。在演出結尾時，觀眾皆起立喝采！」
加拿大全球郵報：「靈魂悸動和令人難忘是對<生之曼陀羅>觀後最適切的描述。來自台灣的太古踏舞團，作品生之曼陀羅是如此神秘而又錯綜複雜劇感官情緒卻又極理性思考，實在難以用語言來形容。」
蒙特婁新聞報：「由京劇出身的男舞者及接受現代與古典舞訓練的女舞者所呈現出的舞作，是如此具有那般不可思議的能量及力度！」
太 古 踏 舞 團 心 路 歷 程
節目（舞碼）名稱 時間 演出地點
世紀末神話 1987 新象國際藝術節
生之曼陀羅 1988 文建會文藝季
道 1990 新加坡維多利雅劇院
五色羅盤 1990 國家劇院實驗劇場
無盡胎藏 1991 國家劇院實驗劇場
大神祭 1991 文建會文藝季
無盡胎藏 1992 法國波蒂耶國家劇院Dance Week
詩與花的獨言 1993 國家劇院實驗劇場
無盡胎藏 1993 法國巴士底劇場
生之曼陀羅 1994 法國土倫T.N.D.I.劇場夏特瓦隆藝術節
無盡胎藏 1994 德國漢堡夏日藝術節Sommer Theatre
生之曼陀羅 1995 國家劇院
踐花月之約 1995 屏東縣立文化中心
踐花月之約 1995 國立台灣藝術教育館
踐花月之約 1995 法國勒維伊藝術節
生之曼陀羅 1996 德國阿亨市陸維德美術館「當代台灣藝術節」
生之曼陀羅 1996 荷蘭荷林文藝季
生之曼陀羅 1996 德國杜塞道夫威斯達劇院
晝夜 1996-97 誠品敦南前廣場及全省巡迴演出
無盡胎藏 1997 國立台灣藝術教育館及全省巡迴演出
無盡胎藏 1997 美國紐文中心
生之曼陀羅 1997 美國斯帕雷托藝術節
無盡胎藏 1997 香港藝術中心「舞匯九七」
無盡胎藏 1997 德國漢諾威國際藝術節
無盡胎藏 1998 德國柏林世界文化中心
感官之舞 1998 台北社教館、嘉義縣立文化中心
蛹舞 1999 台北新舞臺「台北國際藝術節」
生之曼陀羅 1999 香港大會堂
太陽之舞 2000 華山藝文特區烏梅酒場
太陽之舞 2001 全省巡迴演出
飛天 2002 全省巡迴演出
生之曼陀羅 2003 美國紐約The Joyce Theater演出
太陽之舞 2003 十三行博物館「太陽祭」活動演出
巫的世界 2003 城市舞台
生之曼陀羅 2004 加拿大十場巡迴演出
夢想國度 2004 台北首演及全省巡迴
奧義書 2005 台北藝術節開幕首演及全省巡迴
五色羅盤II末世密碼 2006 國家戲劇院實驗劇場
秘碼-魔幻之境 2013 全省巡迴演出
秘碼-魔幻之境 2013 愛丁堡藝穗節
PRESS KITS FROM TAI-GU TALES DANCE THEATRE
Brief Company History
The Tai Gu Tales Dance Theatre
The Tai Gu Tales Dance Theatre was found and established in Taipei, Taiwan in 1988 by Hsiu-wei Lin, the choreographer, dancer, producer and artistic director. The character “ Tai ‘’ defines the chaotic beginning of the world without boundaries. The character “ Gu ” defines history, the eternity of time transmitted from generation to generation. The character “ Ta ” defines action or the rhythm of a dynamic ceremonial dance. The Company has twelve dances. All the female dancers have received modern dance training, while the male dancers were Chinese opera actors. All the dancers have received three stages of special training from Hsiu-wei Lin.
The first stage, the “ babies of the universe ” referred by Ms. Lin, uses soft, organic and meditative movements. The second stages tries to capture and imitate animal movements with expansion and explosion. The third stage aims to search the being with techniques of concentration and relaxation. In searching and exploring a pure and original dance style, Lin tried to achieve a unity of from her inner spirit.
2. Recent Reviews in English
Recent reviews:
Le Figaro: “ Besides Pina Bausch and Robert Wilson, we got to see some new and charming things with Tai Gu. ”
The Europe Journal: “ The sheer force of the dancing was such that the audience could feel it in their gut. A solid performance that came from the heart. ”
Le Figaro: “ The dancers were unbelievably lithe and resilient! Dancer Lin Hsiu-wei had a charm all her own. ”
La Marseillaise: “ The quest of man for himself, a foretaste of happiness, the choreography holds on to these deep internal feelings through high tension and fluidity. ”
La Marseillse: “ Ah! Life! What spiritual beauty! The audience was deeply toughed. The applause just wouldn't stop! ”
Var Matin; “ A superb closing of the festival, highly applauded…the images are of great beauty…a feeling of accomplished tranquility…of great serenity…”
Var Martin: “ A search for the essence of life, a transcendence of suffering, a blending of East and West; and individualized meditation. At the end of the performance the audience was on its feet cheering! ”
John Mare Aldoph, Paris Dance reviewer for the German publication Ballet International: “ Completely different form what is happening in Japanese dancing. I felt an inexpressible spiritual force emanating from this dance. ”
Hamburger Abendlatt: “ This dance holds very impressive body pictures and an indecisive body language. With its precise and artistic style, this performance is one of the most impressive of the festival.”
3.Short Profile of the Artistic Director
Hsiu- wei Lin (choreographer, producer and artistic director) graduated from the Chinese Cultural College in Taipei, Taiwan, with a degree in Dance performance. She was a principal dancer in the Cloud Gate Dance Company from 1975 to 1985, where she received ballet training, Martha Graham and Limon’s dance style, as well as Chinese opera movements and gestures. Ms. Lin was also one of the choreographers who accompanied the troupe for their tour performances to Europe and the United States. In 1986, Ms. Lin received a Fulbright Scholarship and studied in New York for half a year, and she was invited to participate and also performed the solo dance Nu-Ua in the American Dance Festival.
After Ms Lin returned to Taiwan in 1987, she then created a dance duet, the Myth of the Last Century, and danced with her husband Hsing-Kuo Wu. This production inspired her to explore and create for her own dance style. With the unceasing zest and obsession of dancing, Ms Lin is constantly trying to explore the originality through the body gestures. Though received different professional dance trainings, Ms. Lin tries to be free from all the traditional and ballet trainings, as well as techniques of modern dance. She aims to go deep inside her own body and to find her own world of dancing. The Chinese Yin-Yang philosophy, the balance between yin-yang, and the silence and movement inspired her profoundly. She transforms body images into the symbols of life, and the spirit of The Tai Gu Tales Dance Theatre was evolved and confirmed from this concept.
Ms Lin established the Tai Gu Tales Dance Theatre with a group of young dancers in 1988. The first production The Life of Mandala was given in December 1988. In this production, Lin focuses on the life rhythm that comes naturally from inner of the human body, and she constantly tries to express such natural and universal feeling through expansion of this rhythm. After a series of performances, The Tai Go Tales Dance Theatre has impressed the audience with its unique style of performance. From 1992 to 2004, The Tai Gu Tales Dance Theatre becomes internationally recognized and also invites many performing invitations world widely.
Ø The Tai Gu Tales Dance Theatre has 11 productions, the representative works includes:
The Life of Mandela
Compass
The Ritual of Deities
The Back of Beyond
Moon Shadow Terrace
Obsession of the Stone
Silk Road
The dream
Upanishads
Tai-Gu Tales Dance Theatre Tour History
Ø The Life of Mandala
1988 Premiere Taipei
1994 Festival of Chateauvallon, France
1996 Ludwig Forum, Aachen, Germany
Cultural Nova, Heerlen, Holland
Die Werkstatt, Dusseldorf, Germany
1997 Spoleto Festival U.S.A., South Carolina, U.S.A.
2003 The Joyce Theater ,USA
Ø The Back of Beyond
1991 Premiere Taipei
1992 Poitiers Festival, France
1993 Theatre de la Bastille, Paris
1994 Internationales Sommer Theater Festival, Hamburg
1995 Taipei Theater, New York
1997 Hong Kong Arts Center
Tanz Theater International, Hannover
1998 Haus der Kulturen der Welt, Berlin
Ø Obsession of the Stone
1994 Premiere Taipei
1995 Festival de Saint-Florent-Le Vieil, France
舞評剪報紀錄
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