Birds Are Real, Ambushed From Ten Directions is a dynamic twenty-minute performance that blends live percussion, piano, and shadow puppetry. Inspired by the satirical “Birds Aren’t Real” conspiracy theory and the traditional Chinese pipa piece Ambush From Ten Directions, it envisions an ambush—not by weapons, but by fake news bombarding us from all sides. Footage from the Tung Hua Shadow Puppet Theater, combined with AI-generated imagery, explores the blurred line between reality and fiction, highlighting the growing threat of misinformation.

As the audience enters, they are greeted by a symphony of nature—bird calls and the soft rustling of leaves beneath their feet. Two actors holding "Birds Aren't Real" signs blur the lines of everyday reality. Under the gentle beam of a flashlight, a puppet undergoes a stunning metamorphosis, transforming into a phantom bird. As the music unfolds, the performance evokes the harmonious coexistence of humans and birds, painting the sky with dreams woven from the fabric of fairy tales. Yet, as modernity encroaches, the pursuit of these ethereal creatures becomes increasingly elusive amid the chaos of urban sprawl. In the final act, guided by the magic of the puppet master's hands, the haunting melody of migrating birds whispers in the stillness of the night, recalling nature's enduring mysteries and reminding us of the very real existence of birds.

Special thanks to Cin-Ty Lee, bird specialist and Professor of Geology, Earth, Environmental, and Planetary Sciences at Rice University, for providing bird song recordings and his beautiful writing. 

Written in celebration of the 50th anniversary of the Shepherd School of Music, Birds Are Real, Ambushed From Ten Directions is partially funded by the Houston Arts Alliance and the Ministry of Culture (Taiwan) through the Taiwan Academy of the Taipei Economic and Cultural Office. 

〈鳥兒是真的；十面埋伏〉是一首融合打擊樂、鋼琴與皮影戲表演的二十分鐘音樂作品。 其中，「十面埋伏」的名稱雖取自歷史上描繪楚漢相爭的琵琶曲，但作品重點聚焦於當今數位時代的認知戰爭。結合東華皮影戲團影片與AI生成影像， 這個作品探討現實與虛構之間的模糊界限，突顯假資訊日益增長的威脅。

當觀眾進入音樂會場地時，他們腳踩踏樹葉而發出細碎的窸窣聲；周遭也迴盪著各種鳥兒的鳴唱。 此時，三位演員手持「鳥不是真的」的牌子，挑戰著我們的日常現實認知。 而在鋼琴家手電筒的光線下，一個皮偶奇妙的化成一隻幻影鳥，引領我們思考：感知和真相的本質。

伴隨著音樂描繪出如童話編織夢境般的故事，讓人憶起與鳥類和諧共處的情景。然而，隨著現代社會的快速演進、城市的混亂，想要尋得與這些空靈生物相處的機會，愈發艱難。最後，在夜晚的寧靜懷抱中, 皮偶大師的魔法下, 遷徙鳥兒在我們耳邊呢喃，輕聲提醒著我們思考：甚麼是讓自然持久，以及「鳥兒是真的」的 真諦。

這個作品透過光影傳達了皮影和現場音樂家的互動；舞台上呈現了多元的層次與交融，提升了作品的整體美感，豐富了觀眾在現實與虛構交織中的沉浸感。

〈鳥兒是真的〉是為慶祝 Shepherd School of Music 音樂學院 50週年而編寫的作品，部分資金由 Houston Arts Alliance、文化部駐休士頓辦事處台灣書院支持，鳥鳴音檔則是由萊斯大學地質學、地球、環境和行星科學教授，同時也是一位鳥類專家的李忻地先生提供。