出現在媒體版面的孫瑩瑩總是光鮮亮麗，舉止優雅，但私底下的她卻比想像中更自由自在、豁然雍容，而且，更瞭解屬於自信的獨立女性，該創造出的「模樣」。這次，PRESTIGE以「女性的自我獨立」想像出發，進入屬於孫瑩瑩個人人生的獨特樣貌，展現主人翁在不同情境角色下悠游自得的優雅且個性的面貌。

關於工作、關於人生，我們都把人生想像的太難，
這個世界在王淨眼中，生存法則其實也沒那麼複雜，
當妳沒辦法控制外界對自己的評斷，那就盡可能誠實地做好自己。
人生完美的事太少，我們不能什麼都想要。

細細爬梳關於關穎的歷程，歌手、演員，演過的電視劇、電影與MV 幾乎橫跨一世代人的回憶。歷經疫情，又短暫的當了YouTuber，和家中三寶拍了不少熱門企劃。
現在的她，除了是個三寶媽、是公益慈善家、企業經理人也是個KOL，身份百變，多元的她，自在穿梭在不同的宇宙，持續擔任點亮人們的那顆星。

出道逾40 年，甄子丹是一代人的青春記憶，從香港影壇走向國際，被譽為當代影壇的「功夫巨星」、「最後的本格派」，當然這些稱謂也僅僅只是錦上添花，甄子丹的一生可謂傳奇，電影之於他是一輩子的志業，儘管奮鬥多年，依舊保有電影、表演創作的赤誠之心，始終惦記著身為演員的核心價值，並持續讓世界看見中國功夫的底蘊。
他是影壇永恆的葉問、宇宙最強—甄子丹

相隔兩年，蕭敬騰帶著全新專輯《野生》與歌迷朋友見面。將自己歸零，回歸到作為歌手最純粹全然的狀態，為了專輯錄製，更大膽挑戰前往挪威戶外錄製新專輯，蕭敬騰深信，不被理所當然的規範所限制，或許能看見全然不同的驚喜，讓一切順其自然，最終會長出最好的樣子，也希望這張作品能療癒聽者們。

對我們來說，故事是最有「人味」的語言，故事中總帶有某種指點功能的知識與智慧，訴說著人們如何過活；聽故事與說故事，正是一個世代相傳編織意義的活動，而電影工作者，就是「說故事人」的具體實踐。以「故事」作為一切對話的起點，進一步開展出不同的敘事技巧與表達形式，最終的目的，皆在促成人們與他者之間，彼此的相互理解以及情感交流，電影工作者透過影像，連結時代、不同年紀的人們，以動人的故事吸引眾人，這樣的樣態中，一個說故事的人同時也是身在故事中的人，而阮鳳儀，確實是生在故事中的翩然存在。

十年不見，歲月並沒有在曾愷玹身上留下太多的痕跡，儘管已經闊別螢光幕露面，但她依然保持苗條和優雅的氣質。唯一不同的是，她早已退去稚嫩，多了一絲面對時間從容自若的力量與淡定。


鄭元暢不只是《惡作劇之吻》偶像花美男一種風貌，他可以是張愛玲作品《半身緣》中的文學角色，他在《不良執念清除師》是失去摯愛兒子的父親。近期口碑與收視皆亮眼的《有生之年》，他在劇中飾演的角色徘徊於家庭關係與自我認同，而角色是名言情小說出版社編輯，鄭元暢為此甚至到出版社做田野調查，觀察編輯日常生活舉止好深度刻劃角色。這就是鄭元暢，熱切、深刻與真誠，永遠擁有多樣的戲劇風貌。

美好這一詞之於曾馨瑩而言，似乎正是最好的形容詞，面對不同角色、身份轉換，總是恰如其分地優雅，不斷地與我們分享美、分享愛，用愛分享一切事物，在每一刻都留下最美的時光。

永遠的女神徐若瑄跨足戲劇、音樂、詞曲創作以及大獲好評的《孤味》電影監製，展現藝能全方位的完美詮釋。在此同時，徐若瑄仍能充滿活力，扮演每一個角色，在封面拍攝現場直覺演繹全能卻又具感染力的專業形象，與她片刻相處的過程中，PRESTIGE捕捉的每一個鏡頭，都讓工作人員驚呼連連、難以取捨！到底，徐若瑄是如何在眾多不同角色中保有熱情與創作活力？接下來就跟著PRESTIGE來欣賞更多關於徐若瑄的故事。

男人都有探索的基因，不管是真實的出走或是心靈的壯遊，都是屬於男人的自我實現。Akira在台灣雖然人稱「國民姐夫」，溫暖陽光又時尚個性的形象深植人心， 但身為男人，自當有期待自我實現的探索基因，這一次PRESTIGE深入Akira的心靈，以「體現者」的觀點展現屬於男人的自我實現。

十年，確實是不短的時間，但其實也是剎那飛逝。宋芸樺的演員生涯邁入十年里程碑，我們看到她的演技從稚嫩到逐漸成熟，但不變的初心，仍是那個期待不斷地探索著屬於「表演」的萬分美好；確實，對她來說，演戲就像是體驗不一樣的人生，從不同的視角探索屬於自身的蛻變， 而不斷地跳出舒適圈追尋理想的期待與生活的精彩面貌， 對宋芸樺來說，這些滋養人生的境遇就像「光」，她就是那個追逐「光」的人，期待追尋屬於自我實現的自在靈魂。


劉冠廷，近幾年不論是在戲劇與電影演出的表現都相當亮眼，他可以是《花甲男孩轉大人》裡的癡情台客，可以是《火神的眼淚》中性格剛烈正直的消防員，更可以是《陽光普照》中緊迫盯人情勒家屬的流氓，以及警匪喜劇《詭扯》中喜感十足的脫序黑警。劉冠廷飾演的是你我身邊常見的典型人物，但在他的詮釋之下每個角色往往都顯得鮮活無比。劉冠廷告訴我們他是帶著「叛逆思維」在演戲，來聽聽劉冠廷與PRESTIGE聊他的「叛逆思維」和他的演員方法論。

蔡依珊，對我們來說可以是當代女性的代表，她聰明、優雅卻又率性、認真，有些不同流俗的個性，讓我們印象深刻。確實，消費文化與大眾媒體對女性自我觀感的影響—儘管她們聰明風趣、極具內涵，但依舊會試圖迎合大眾對「美」的想像，即便目前她們的社會地位與權力已遠遠超過50年前的女性，卻依舊拚命地想迎合外界的標準；但，蔡依珊似乎走出了屬於自己的觀點，從社會期待、家族傳承與獨立自我中找到平衡，PRESTIGE這一次與蔡依珊對話，在她的自我觀察與察覺中，找到屬於自身的美麗視角。

關穎的YouTube頻道的開場白是這樣的：頻道之所以取為「關穎72變」 是因為麻麻我本人的生日真的是7月2日，「不要說我沒有創意，但我很有誠意。」看著她在YouTube的分享，其實會發現，這樣的「變」中，其實存在了屬於關穎的「不變」。說一句實在話，每個年代，都有屬於這個時代的獨立女性，而他們在社會上也有自己的一片天，而關穎確實代表了這一年代的女性獨立而娉婷的面貌，她不同於流俗，有自己的視野，不但呈現精緻面貌、有時得具備生活感，風格多元，且專注完美，「變」得很有力量，也很有魅力。

李晶晶不只是名媛，她更是一位充滿正面能量的創業家。還記得喧騰一時、締造出熱門詞彙「晶晶體」的影片嗎？在「晶晶體」影片事件爆紅後，李晶晶以此為靈感創立了生活風格品牌Amazing by Jing Jing，專門推出有可愛動物圖案與激勵人心標語的創意布貼。她告訴我們，一個轉念就會有不同的結果，就可化逆境為積極正向力量。這邊就讓PRESTIGE繼續分享李晶晶的故事。

生命中的每一個時刻，我們都會問自己「Who Am I？」對我們的人生來說，這真的是一個大哉問，對Melody來說，也是如此。她的斜槓人生中，可以是「時尚媽咪」、作家、熱門Podcast節目主持人，但，這些身份似乎都不足以定義那個屬於「真實的她」的真實意義，而跳脫這些社會賦予的身份，Melody的真實面貌，又是如何？這次，我們希望脫去人們對Melody過去的既定印象，讓最「真實」的她詮釋自己，從而面對未知未來展現屬於自身獨立觀點，創造屬於自己的世代思維，也用自身的態度詮釋了她在不斷淬鍊中展現的力量，展現的美好風華。

郭雪芙與我們聊到跳脫偶像框架，身為演員挑戰演出極限的心路歷程。好比近期頗受好評的是在《華燈初上》中飾演在日式酒店上班的女大生愛子，以及你可能很難想像郭雪芙甚至會為戲剃短髮，只為演出戲中一名女扮男裝角色。她更坦白告訴我們，未來想多演出更具現實感、少點偶像夢幻甜美光環的角色。

曾之喬這幾年，似乎一直在創造屬於自身不一樣的想像，這種甘之如飴地面對挑戰的思維，似乎已成為其生命中不可或缺的元素；近年來一直都有不錯的表現的她，在各種不同的嘗試中，試著展現出最好、最全方位的自己，但跳脫螢光幕的她，卻返璞歸真地成為五光十色中的「留白」，也讓她得以展現屬於自身的的獨特個性。

「白色」代表著「無限可能」，就好像一張白紙，當你折出一道痕跡，紙張會有皺折，從不同角度檢視，會看見光影在紙上的變化，於是對我們來說，「留白」是曾之喬最迷人的姿態，也是她在自身多元演藝生涯中，勇於創造自己屬於個性的返璞歸真。

說起楊謹華，相信所有人的第一印象絕對是她是一位全方位的演員。從演出廣告、音樂錄影帶出道，到膾炙人口的《白色巨塔》、《敗犬女王》、《一把青》、《鏡子森林》再到目前收視、評論與口碑皆破紀錄的《華燈初上》。從演出記者、強勢女主管到飛官妻子再到酒店小姐，楊謹華飾演的角色可謂多元，並且各個飾演的角色深植人心，且多次入圍金鐘獎戲劇節目女主角獎受到肯定。今年又以《華燈初上》蘇慶儀一角再次入圍金鐘獎受到肯定，楊謹華與PRESTIGE聊到她的從影心路歷程，以及如何從中揣摩與學習扮演離自己生命經驗很遠的角色。

吳爾芙在《自己的房間》演講集中說：「我們要是面對事實，因為事實如此，沒有別人的臂膀可以讓我們依靠，我們必須孤身前行，我們的關係是在我們和現實世界的關係，而不僅是我們和男男女女的世界的關係。」西蒙波娃也在其女性主義經典作品《第二性》中陳述，女人和男人肯定存在天性的差別，但女性和男性則是社會文化建構出來的產物。對我們來說，女性有其「既定印象」，但這樣的印象卻不應該是理所當然，而我們看到的徐若瑄，也是如此。我們認識的徐若瑄，在媒體版面的總是光鮮亮麗、舉止優雅，但私底下卻是有屬於自身的堅毅個性，而且，更瞭解「自由」的獨立女性，該創造出的「模樣」。這次，PRESTIGE以「與自我對話」的想像出發，進入屬於徐若瑄「自己」人生的獨特樣貌，跳脫過去人們賦予人們對女性的「既定面貌」，創造屬於自身的強悍與溫柔。

影視巨星、潮流男神、加密貨幣藝術創業家，這些稱號可以但也都不足以形容余文樂。余文樂與PRESTIGE分享，有了家庭成為了父親後使得他的人生有重大轉折。現在的他開口閉口都是爸爸經，余文樂與我們暢談「父親」這個近期讓他心中最感驕傲的新身分之一。 

林心如主演並擔任總製作人的戲劇《華燈初上》獲得空前好成績。《華燈》開播前她曾與我們在訪談中聊到其中幾項創新與可能會創造口碑的元素─謀殺、懸疑與台灣日式酒店文化，這次林心如要獨家與PRESTIGE分享為何會選擇八〇年代台北條通日式酒店文化作為戲劇發展背景。

此外只要是有追劇的戲迷們，都一定有感受到《華燈》每每釋放某某演員即將參與演出的消息都必定造成極大社群回響。林心如也與我們解釋，為何參與演出《華燈》的演員都可以是一時之選。最後，林心如與我們分享她轉型成為製作人的心路歷程，以及她對成功的影視製作人的定義。

很難想像，楊祐寧出道已經二十年了，參演過這麼多影視作品，大家對楊祐寧可能有些固定的「既定印象」，而他可以亦莊亦諧的詮釋不同的角色，其實也讓每個人對楊祐寧的印象，也有些不同；但就是因為他收放自如的態度，不但創造了栩栩如生、稜角分明的角色詮釋，而楊祐寧也在透過這些角色說這些故事的過程中，創造出具有深度且具有哲學性的人生態度與價值觀。

「光」與「影」其實是有趣的對比，當意識的呈現加上潛意識的活動，融合與互補後所 確立的靈魂，這是一種「光芒」，而屬於「人」的完整與獨立才能清楚展現；而在戲劇中，能夠直接讓故事呈現出深度與其複雜性的，還是演員，尤其是資深演員，更是呈現故事中的靈魂，賈靜雯就是這樣的一個演員，不管是主角還是配角，她都展現出不一樣的光芒，不但讓故事產生光芒，更讓屬於戲劇的意識與潛意識更形確立，讓人們無法忽視屬於「人」的精神力量，在光影之間交錯融合。於是乎，說賈靜雯的光芒是凸顯屬於人的意識與潛意識，以自我體驗而非符合外界來肯定自我，而屬於賈靜雯的光與影，就在屬於都會知性風格的俐落中，清楚展現。

許久不見的侯佩岑依舊擁有甜美的笑容與知性的談吐，而經歷過主播、主持與戲劇演出工作的她告訴我們，主持會是她最熱愛的工作，因為在與來賓聊天的過程中能激盪思考讓自己也有所獲。說到有沒有為現階段的自己訂下目標，侯佩岑告訴我們以往擔任主播與主持人都是在瞭解他人與瞭解世界，現在對她來說最重要的是重新認識自己。

PRESTIGE與許久未在大銀幕上綻放星光的關穎進行了一場親密對話，生活重心擺在家庭與孩子的她與我們分享了自己的親子教養之道以及對於婚姻的想法。她告訴我們婚後生活最大的差異就是逐漸降低個人興趣，所有活動都以能家庭團體行動為優先考量，「疫情前帶孩子們去日本滑雪，光是幫三個小朋友穿完滑雪裝備，我就累到不想滑雪了。」可說是甜蜜的負荷。此外，關穎也跟我們分享了什麼時候是她最愛的與老公的獨處時光。

周興哲，除了周興哲這個身份，大眾給他冠上的稱號，從情歌王子、破億歌手、新生代音樂天王與作家等不一而足，而最近他又即將多出一個身份—「演員」（還是電影明星？！），對他來說，這可能是一個完全不一樣的挑戰，但說真的，擁有這樣多重稱號的周興哲，其實你很難想像他今年不過26歲而已。從19歲以〈以後別做朋友〉一曲成名至今，屬於周興哲的奇幻旅程仍在持續進行中，而在這樣的旅程裡所面對不斷的挑戰，不但帶給他與眾不同的意義，更在這些一連串的挑戰裡，創造出不斷進化的周興哲，這樣奇幻的人生體驗，也讓周興哲在人生旅程中，創造出屬於自己的意義。

我們常會以演什麼像什麼作為評判一名演員演技是否到位的標準，張震不只如此，張震更為深層，他說親身投入是他的演戲哲學。就好比眾人激賞他為飾演《緝魂》中癌末檢察官一角剃光頭與爆瘦12公斤，但對張震而言作為演員就該如此，唯有當你親身投入才代表你真正進入那個角色，如此在演出現場也會顯得自在。如此也說明了另一件關於張震的軼事，只要每拍完一部片，他都會學會一項新技能，《臥虎藏龍》中的騎馬與維吾爾族語，《吳清源》中的日語與圍棋，《一代宗師》中的八極拳甚至還拿了全中國一等獎。

接著我們與張震聊到了與楊德昌、李安、侯孝賢和王家衛的合作經驗，畢竟放諸華語乃至亞洲影壇也大概只有他這般的明星都能夠跟這些國際名導有合作機會。最後，我們再問他一個問題，會基於什麼原因接一部電影，他說劇本，電影的根本就是劇本，劇本好壞是騙不了人的，他說《緝魂》的劇本是第一個讓他看完一遍後立刻又看第二遍的劇本。

April  2024 - Issue 02

April 2024 - Issue 01

March 2024

February 2024

January 2024

December 2023

November 2023

October 2023

September 2023

August 2023

July 2023

June 2023

May 2023

April 2023

March 2023

February 2023

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Prestige Taiwan Magazine - December 2021

Prestige Taiwan Magazine - December 2021

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