吳思鋒WU Sih-Fong
Theater critic; Associate Editor of Performing Arts Forum (Macao)
台北人，現居花蓮。主以書寫與編輯工作參與劇場，兼及策劃、製作。關注小劇場的實踐及其譜系的重新閱讀、非都會區劇場的創作與運作、劇場生態與機構化、評論與媒介等面向。
近年的策畫工作包括：「要說的都在這裡——馬華文學劇場」（2015）、「臨界點劇象錄及其經歷的時代——共學講堂03 」（2017）、「共同」的作法——劇場與社會討論會（2017）等。製作工作包括：「第二屆水田部落行為藝術節」（2018）、黑名單工作室「《哈姆雷特機器詮釋學》觀念劇場－影像計畫（第一階段）」、「第二屆返身南島——亞洲行為藝術節」（2017）、「望南藝評」（2019）等。主編（與鄭尹真）《親密：高俊耀劇作選》（2019）、《起落疊•字Khí-lo̍h-thia̍p．Jī：藝陣與當代劇場專刊》（2022），並與多個劇團合作，編輯場刊。
WU Sih-Fong grew up in Taipei, and now lives in Hualien. His practice mainly focuses on participating in the theatre world through writing and editorial work, alongside planning and production projects. His interest lies in the practice of theater and re-reading its genealogy, the creation and operation of theater outside urban areas, theater ecology and its institutionalization, as well as theater review and media.
His recent works of planning include “All There is to Say is Here—Theater of Malaysia Chinese Literature” (2015), “Co-learning Lecture 03: Critical Point Theater Phenomenon and Its Time” (2017), and “The Method of the ‘Collective’—Theater and Society Forum” (2017). His production projects in recent years include the 2nd Waterfield Studio Performance Art Festival (2018), Blacklist Studio’s “Hermeneutics of Hamlet Machine Conceptual Theater—Image Project (Phase 1), the 2nd Returning to the Island of South: Performance Art Festival (2017), and “Southview—Performing Arts Review Project” (2019). He is the editor of Outsider: Selected Plays of KOH Choon Eiow (co-edited with CHENG Yi-Chen; 2019) and Khí-lo̍h-thia̍p．Jī: Folk Parade and Contemporary Theater (2022). He also collaborates with multiple theater companies as an editor of their programmes.
