舞台設計理念

表面上這個演出似乎基本都是在過去自己家族的故事，只是這個家族的時態是停留在過去，好像是在探討為什麼人們受傷，所以演出發生在一個廢棄的房間中展開。

從廢墟作為出發點，我們發現垂掛的、被破壞的布能迅速的表現出荒廢的感覺。而透過廢墟家景的圖片搜尋，我們發現像是蒙上一層灰的顏色，因此我們也讓畫面上的物件都是大地色或深色的，這樣的配色也讓畫面是沈下來的。

材質上我們找不同材質的布料，有棉麻的有萊卡的，一方面試著讓不同的質感來讓畫面更豐富，但同色系又是讓視覺感是舒服而有細節的。

而關於戲劇動作一開始所有東西都蓋著布，而透過探詢我們跟著演員一起看到故事後面的秘密。也設計了家景角度180度轉向，試著用換角度來談家族給予的禮物。一個是過度關愛，家族的期待，另一個是看似理所當然的信仰。

在舞台走位上我們先設定了大道具有哪些，並把這些大道具標記在不同位置，從那個位置去找到對應的位置，並告知表導演組可以怎麼使用主要焦點與次要焦點。

Scenic Design Concept

This performance seems to primarily explore stories of everyone's past family experiences, with the family's timeline frozen in the past, examining why people get hurt. Therefore, the performance unfolds in an abandoned room.

Starting from the idea of ruins, we realized that hanging, torn fabrics quickly convey a sense of desolation. By searching for images of abandoned homes, we found that a dusty, earthy color palette enhances this feeling. Thus, we chose to use earthy and dark tones for the stage objects, creating a somber visual atmosphere.

We selected different types of fabric, such as cotton, linen, and lycra, to add texture and richness to the visuals while maintaining a cohesive color scheme that is visually pleasing and detailed.

Regarding theatrical movements, initially, everything is covered with cloth, and as we explore, we uncover the secrets behind the stories with the actors. We also designed a 180-degree rotation of the family setting to symbolically shift perspectives, addressing the gifts from the family: excessive care and expectations, as well as the seemingly inherent faith.

In terms of stage blocking, we first determined the major props and marked their positions, finding corresponding spots, and informing the directors on how to use primary and secondary focal points effectively.