傳說中，琥珀是太陽與海洋的結晶，本不相容的水與火共存其中，我們將其視為凝結的時光。在音樂劇場作品《琥珀海》中，詩意文字將與音樂共同敘事，鋪述一段關於追尋的旅程。


主人公做了一個夢，夢裡她仿若置身水中，一切感受與經驗都顯得更為「真實」。夢醒後她嘗試重返那樣的境地，幾經故事的阻撓，最終她尋得了「出口」，也就在她自身之中。旅程的終端揭曉，她與她所追尋的本屬同一的意識之海，她就是她，並無分別。

除了主要敘事者「畫家」及其所追尋的「繆思」外，《琥珀海》中還有另外三個故事，分別包含了三組雙人關係，相仿又相異於主要敘事者們，卻也成為了某種演示，證得追尋者與被追尋者本為一，不假外求的同時也無法完全擁有彼此。由Dreamtime所開展而來的三個故事中包含了虛構的創世神話、能劇《班女》以及另一組畫家與繆思之事，一切彷彿都漂浮在凝結的琥珀中，沒有時空之分，一切同時存有。

Legend has it that amber is the crystallization of the sun and the sea, where the seemingly incompatible elements of water and fire coexist, and we regard it as time made solid. In the music-theatre piece La Mer D’ambre, poetic text and music share the role of storyteller, unfolding a journey of seeking. 

The protagonist has a dream in which she seems to be in water, and every sensation and experience feels even more “real.” After waking, she tries to return to that state; despite being baffled by one story after another, she finally finds an “exit,” which turns out to be within herself. By the end of the journey, it is revealed that she and what she has been seeking belong to the same ocean of consciousness: she is what she’s been seeking, and there is no difference.

Alongside the protagonist “the Painter” and the “Muse” she pursues, La Mer D’ambre weaves in three additional stories, each presenting a pair of characters. These three pairs both mirror and diverge from the main duo, becoming a kind of demonstration: the seeker and the sought are originally one, and while there is no need to search outside oneself, it is also impossible to fully possess one another. Branching out from Dreamtime, these three stories include an imagined genesis, the Noh play Hanjo, and another tale of a painter and her muse. Everything seems to float, suspended in amber, beyond time and space, all existing at once.

_{國藝會戲劇/曲類常態補助        
Theatre Grants, National Culture and Arts Foundation}