The lighting expands with the dancers’ physical impacts, creating a spatial rhythm that feels almost like breathing.燈光隨舞者身體的衝擊明滅擴散，如漣漪般向外蔓延，形成近乎呼吸般的空間節奏。

...The creative and technical teams fully unearthed the spatial potential of the Globe Playhouse at the Taipei Performing Arts Center. Through rich audio-visual staging, they guided the audience to generate a strong sensory resonance within the spherical theater. Among these contributions, lighting designer Yung-Hung Sung meticulously sculpted the contrast between light and shadow, successfully framing a dark, shadowy atmosphere where penetration and concealment coexist. The choreography of the entire dance and the dancers' delicate performances closely aligned with this aesthetic of light and shadow, showcasing an exquisite and groundbreaking theatrical charm....創作與技術團隊充分發掘北藝中心球劇場的空間潛力，藉由豐富的視聽調度，引導觀眾在圓弧劇場中產生強烈的感知共鳴。其中，燈光設計宋永鴻精心雕琢光影的明暗對比，成功勾勒出穿透與遮蔽並存的幽暗氛圍。全舞的編排與舞者細膩的演繹，與這套光影美學緊密扣合，展現出精湛且具開創性的劇場魅力。

Lighting design by Yung-Hung Sung … blend seamlessly. Transitions are fluid, moving from flashes of light to sound cues to projections with impressive precision. Together, these elements give the production a cohesive, visually arresting quality.宋永鴻的燈光設計與整體製作無縫融合。轉場流暢，從閃光、聲音提示到投影的銜接都展現出令人印象深刻的精準度，使整體演出緊密而富有強烈的視覺吸引力。

Yung-Hung Sung’s lighting sculpts the space with evocative shadows.宋永鴻的燈光以富有感染力的陰影雕塑出空間。

Yung-Hung Sung’s lighting emphatically defines spaces and heightens dramatic moments.宋永鴻的燈光鮮明地界定空間，並強化戲劇性的時刻。

Yung-Hung Sung’s lighting creates useful looks by playing warm and cold white tones against each other.宋永鴻的燈光透過暖白與冷白色調的對照，創造出有效而清晰的視覺層次。

Lighting is atmospherically handled in what must be a difficult physical set-up. Shadows are evocative.在如此具有挑戰性的實體空間中，燈光成功營造出氛圍，陰影尤其富有感染力。

Yung-Hung Sung’s set and lighting design transform an ordinary office floor into a maze of hidden chambers, boudoirs, and archival corners.宋永鴻的舞台與燈光設計，將一層尋常的辦公空間轉化為由隱密房間、閨房與檔案角落交織而成的迷宮。

Yung-Hung Sung’s set design transforms the intimate space into multiple playing areas across which the layered, compelling, and ultimately liberating story unfolds.宋永鴻的舞台設計將這處親密的空間轉化為多個表演區域，讓這個層次豐富、引人入勝，並最終帶來解放的故事在其間展開。

Each area is thoughtfully curated, and will become an important part of the performance to follow. The design here is quite smart, converting an office into the playing space. Transforming a reception desk into the writers’ workspace, a closet into an exhibit, and another closet into the boudoir was absolutely genius. Whatever work took place in this space in its previous incarnation could be nowhere near as clever.每個區域都經過細緻安排，並在接下來的演出中扮演重要角色。這裡的設計相當巧妙，將辦公室轉化為表演空間：接待櫃檯成了作家的工作區，一個儲藏間變成展覽空間，另一個則化為閨房，這樣的轉換堪稱精彩。這個空間過去無論曾進行什麼工作，恐怕都不會比現在的設計更聰明。

Set designer Yung-Hung Sung makes clever use of the corners and closets of this small gallery.舞台設計宋永鴻巧妙運用了這座小型展演空間的角落與壁櫥。

Projections pop up in unexpected places on Yung-Hung Sung’s set later in the show.演出後段，投影出其不意地出現在宋永鴻所設計的舞台各處。

I thought the design was really beautiful, the use of lighting especially,” said audience member and student Elliot Lee DRA ’26. “It was very emotionally effective.” Lighting played a crucial role in the show, highlighting the extremity of the scenes. Stark-white lights filled up the Tinkers’s office, instilling a sense of unease, while moody purple and green lights set apart the Tinker and the sensual Woman he was infatuated with. Blinding, heavenly lights shone out toward the audience in the final scene as the only two surviving patients left the institution.觀眾暨戲劇學院學生 Elliot Lee（DRA ’26）表示：「我覺得整體設計非常美，尤其是燈光的運用，情感上的感染力很強。」 燈光在演出中扮演了關鍵角色，突顯每個場景的極端張力。刺眼的純白光充滿 Tinker 的辦公室，營造出令人不安的氣氛；幽暗的紫光與綠光，則將 Tinker 與令他著迷、充滿感官魅力的 Woman 區隔開來。到了最後一幕，當收容機構中僅存的兩名病患離開時，耀眼而宛如天光的燈光直射觀眾席。

It has been a long time since I saw visuals this clean and decisive. The lighting, projections, and the overall stage picture were precise, with nothing superfluous. Especially the lighting: for a dance work it was not additive, but multiplicative. None of the usual compromises or reluctant choices made merely to serve the needs onstage were visible. Every choice of color, angle, and movement demonstrated an understanding and interpretation of the dance—three-dimensional and lucid. The designer's stance was unmistakable: not simply to serve the primary creator, but to present their respective understandings of the work together before the audience. Behind every choice was the skill accumulated through deep thought and technical integration. Respect.很久沒有看到這麼俐落的視覺了，燈光影像整體畫面都是，精準沒有多餘。尤其是燈光，對舞作而言不是加法，而是乘法般的存在——看不到常見的將就、妥協與為了服務場上需求的那種不得已，每個顏色、角度與動態的選擇都展現了對舞作的理解與詮釋——立體而明確。做為一個設計的態度很明確地展現：不只是為了服務主創，而是將彼此對作品的理解一同呈現在觀眾面前。每個選擇的背後是許多思考與技術統合累積而來的功力，Respect。

Minimal geometry, raking light, and drifting haze create a cave-like stage, where shifting brightness lets truth and illusion move between the visible and unseen.極簡的幾何結構、斜照光源與流動煙霧共同構成洞穴般的舞台；反覆變化的明暗，讓真相與幻象在可見與不可見之間交錯。

One cannot help but admire the meticulous lighting design by Yung-Hung Sung and its execution. Once the lighting is pared back, the stage gives way to the true protagonist of dance: the body. In the transitions between scenes, the gradual shifts in light are almost perfectly synchronized with the dancers’ movement, breathing as one with them. - Chao Chi-Fang, observer for the Taishin Arts Award nomination這裡不得不佩服燈光設計（宋永鴻）和執行的細緻，一旦燈光的設計簡約之後，舞台得以讓位給舞蹈真正的主角，也就是身體。而在場景與場景的過渡之間，漸進式的燈光變換幾乎與舞者的位移完美同步、呼吸一致。／台新藝術獎提名觀察人－趙綺芳

Structure and artistic vision reinforce one another, making this one of 2014's most breathtaking dance works.結構與意境互相烘托，堪稱2014年最令人屏息的舞蹈作品之一。

The dance itself becomes a colossal shaman, bridging the audience’s sensory experience to the deeper, wider frontier of the spirit world. It is no longer limited to summoning the ancestral spirits of one particular tribe through drifting smoke, bundles of grass, and rice wine. The shaman’s distinctive gestures are entrusted to young dancers of flesh and blood, who deconstruct and interpret them as though tracing their origins. Again and again, the dancers thrust their outspread palms toward the sky, embodying both the longing and the possibility of communication between the living and the spirit world. In certain passages, the scenic design imprints these raised palms as projections of a tree of life. The violent bending of their bodies and the group’s urgent stamping become acts of offering and grounding, making the body itself a vessel for the spirit. — Lin Yu-Shih, Indigenous contemporary art curator and critic舞作本身成了一個巨型的祭師，將觀眾的感受經驗橋接到更深更廣的靈界邊境，不再只侷限於召喚那個在煙薰氤氳中，草捆米酒所能召喚的某個特定部落的祖先神靈。祭師特有的肢體，更交給血肉之驅的年輕舞者來做語源學式的拆解與詮釋。舞者們怒張的手掌，一再在舞作中奮力地張向天頂，是活人與靈界溝通的渴望與可能（舞台設計也在某些段落中將這些高張的手掌拓印為生命樹的投影。）腰肢劇烈的俯仰，群體急切的頓踏，都是將自身肉體作為靈的載體的獻祭與安頓。／原住民當代藝術策展人、藝術評論者－林育世