2026臺北兒童藝術節：《怪奇怪奇布穀鐘》 2026 TCAF: THE WALTZ OF HOMMELETTES

2026臺北兒童藝術節：《怪奇怪奇布穀鐘》 — OPENTIX兩廳院文化生活

★ 2019 年登上倫敦巴比肯藝術中心演出

★ 暗黑又迷人的格林童話角色

當鐘聲敲錯了時間，

巨大布穀鐘的第十三下響起，

鞋匠、女僕、母鳥與兔子的童話，

精靈偷偷出沒改寫了劇情？

在黑森林的最深處，一座巨大的布穀鐘靜靜佇立著。「滴答、滴答。」就像所有童話故事中理所當然的節奏，時間本應如常、準確地向前運行——直到那一天，鐘聲敲出了不該存在的第十三下。就在多出來的這一刻，時間暫時脫離了節奏，隨著一群調皮又神祕的小精靈悄悄現身，世界的秩序竟也開始鬆動起來。

《怪奇怪奇布穀鐘》以格林兄弟童話〈精靈〉為靈感，以整座布穀鐘為舞臺，推開一個又一個風格迥異的場景之窗。在某一側，你會看到鞋匠的工作坊悄悄運轉，而原本節奏分明的工廠機械卻漸漸失控；另一頭，一名女僕日復一日地清掃屋子，從沒想過有一天自己竟然成為精靈的教母；而當目光轉向母鳥編織著巢穴的角落，一隻頭上長著角、行徑鬼祟的兔子正在暗處遊走，伺機想要獵捕布穀鳥。

大鐘裡展開的三個童話篇章，保留了格林兄弟筆下潛藏的暗黑、怪誕與荒謬質地，捨棄傳統線性的推進方式，透過生動的木偶與有趣的機關，交織出介於夢境與童話之間的奇幻世界。舞臺設計的巧思讓孩子徜徉在幻想的海洋中，也讓大人找回當年純真的想像力。而隨著劇中日常細節的逐步變調，也令人開始好奇：精靈們在多出來的時間裡做了什麼？女僕的轉變是偶然，還是早已被安排？還有那隻奇怪的兔子，到底藏了什麼陰謀？

由法國昂提拉偶劇團製作，長期以偶戲與機械裝置發展出獨有的視覺敘事風格，讓近乎無語言的演出形式，成為開啟觀看與想像的入口。今年夏天，一起走進《怪奇怪奇布穀鐘》，跟著第十三下鐘聲，踏入這場讓幻想變形、讓時間錯位、讓邏輯暫時失靈的童話旅程吧！

【演出團隊介紹】
昂提拉偶劇團

2010年成立，法國當代偶戲與物件劇場團隊。創作結合多種偶戲形式與機械裝置，並自行設計舞臺結構與面具。其作品以精密構造與視覺敘事見長，擅長交疊童話、夢境與現實，打造可被觀看、也可被感受的劇場世界。

創作團隊
導演、舞台設計、偶戲設計｜Patrick Sims
面具、服裝、偶戲設計｜Joséphine Biereye
舞台製作與機械設計｜Richard Penny、Nicolas Hubert
音樂｜Karine Dumont
燈光設計｜Sophie Barraud
舞台監督｜Florent Klein

演出人員
Joséphine Biereye
Patrick Sims
Richard Penny

巡演經理
Martina Deleau

共同主辦｜臺北市政府、臺北表演藝術中心

★ Performed at London Barbican Centre in 2019

★ Vanguard of puppetry technology and cross-media experiment

★ Dark and yet enchanting characters from Grimms’ Fairy Tales

In the heart of the Black Forest stands a giant cuckoo clock. “Tick-tock.” Like the natural rhythm in all fairy tales, time is supposed to go on precisely as usual until one day, the clock chimes the 13th time that should not exist. At that extra moment, time temporarily loses its rhythm and as a group of enigmatic naughty elves secretly appear, the world order begins to crumble.

Inspired by The Elves by the Brothers Grimm, Waltz of the Hommelettes has a cuckoo clock as its whole stage while windows of different scenery are opened one after another. On one side, you see a shoemaker’s workshop running quietly, but the machines that faultlessly operate gradually lose control; on the other side, a maid cleans the house day after day and never expects she would one day become the elves’ godmother; while we turn to the corner in which a mother bird is building a nest, a rabbit, who has  horns on its head, is lurking surreptitiously in the dark, trying to catch the cuckoo.

The three chapters unfolding in the giant cuckoo clock preserve the dark, eccentric, and preposterous texture hidden in Brothers Grimm’s writing. Discarding the traditional linear narrative and through vivid puppets and interesting devices, they are woven into a fantasy world between dream and fairy tales. The clever stage design allows children to float in the sea of imagination and adults to regain the pure imagination they had before. Nonetheless, while the daily routines gradually go out of order, it makes people begin to wonder what the elves are doing in that extra time? Is the maid’s transformation accidental or pre-arranged? And how about that strange rabbit? What on earth is it harboring?

Produced by Les Antliaclastes known for their unique visual narrative style developed with puppetry and mechanical devices, Waltz of the Hommelettes is performed with almost no dialogue, opening a door to viewing and imagination. In this summer, let’s enter the giant cuckoo clock in Waltz of the Hommelettes together and follow the 13th strike to embark on a fairy tale journey with distorted fantasy, misplaced time, and lost logic!

Les Antliaclastes

Founded in 2010, Les Antliaclastes is a contemporary French puppetry and object theatre company that combines various forms of puppetry with mechanical devices and designs the stage structure and masks of their own. Their productions are known for their precision structure and visual narrative. Specialized in overlapping fairy tales, dreams, and reality, the company creates a theatre that can be not only seen but felt.

Creative Team
Director, Scenography & Puppetry Design｜Patrick Sims
Masks, Costumes & Puppetry Design｜Joséphine Biereye
Set Construction & Mechanical Design｜Richard Penny, Nicolas Hubert
Music｜Karine Dumont
Lighting Design｜Sophie Barraud
Stage Manager｜Florent Klein

Performers
Joséphine Biereye
Patrick Sims
Richard Penny

Tour Manager
Martina Deleau

◎ Approx. 50 minutes, no intermission.

◎ Performed in Mandarin; no surtitles.

◎ Recommended for ages 6 and above.

◎ No late admission or re-entry. No refunds or exchanges.

◎ The presenter reserves the right to make changes and final interpretations.