《還沒》在講述一個漫長又曲折的回家路程,劇場舞台美術以手繪紙板構成童話寓言般的魔幻色彩。

劇中人塗白臉、著紅衣、手持白漆,在空無一物的地面上畫出一條「通往家」的道路,像是所有人一樣,想找到那樣的「歸屬」。他開始行走,卻馬上被一雙揮舞著指揮棒的手打亂重心,身體扭曲、步伐失控,像個傀儡滑稽地前進。

導演以簡單鮮明的故事,呈現出《還沒》那種尚未滿足、載浮載沉的生命階段。

Still Ahead tells the story of a long and winding journey home, with stage design crafted from hand-painted cardboard that evokes a fairytale-like, allegorical atmosphere.

On stage, the performer appears with a painted white face, dressed in red, holding a brush dipped in white paint. On an otherwise empty floor, he draws a road “leading home”—an echo of the universal human desire to seek a sense of belonging. He begins to walk, only to be immediately disrupted by a pair of hands waving a conductor’s baton. His balance falters; his body twists and his steps lose control, moving forward like a comical puppet.

With a simple yet striking narrative, the director captures the essence of Still Ahead: a life phase suspended between yearning and uncertainty, restless and unfulfilled.