「羅文瑾以深思熟慮、古怪奇特的舞作風格著稱，特別是以具挑戰性文學作品為創作靈感的風格令人值得為她投以關注。」——Taipei Times, Diane Baker

「羅文瑾獨特的創作風格、不追逐潮流的自信，使沉重的議題在其帶領的製作團隊設計下，常展露詭異不凡的色調，隱晦迷人、引人發想，特別是透過動作將人的身體變形成怪誕的生物，令人著迷。」——國藝會表演藝術評論台/特約評論人 徐瑋瑩

「羅文瑾嘗試在每部作品中以大膽的創意挑戰當代舞蹈動作的美學觀點，使得許多作品在藝術形式上有令人意想不到的驚喜與期待，與透過藝術形式開啟的深度哲思對話。」——國藝會表演藝術評論台/特約評論人 徐瑋瑩

稻草人現代舞蹈團藝術總監暨核心編舞、表演家。美國伊利諾大學舞蹈藝術碩士。一半漢人一半泰雅族，擅長從周遭環境吸納各種能量並轉換成獨樹一格的身體語彙與創作能量，進而發展出與各種環境共振共感、風格動人強烈的特定空間創作表演。不追逐潮流的創作信念，喜歡自文學及哲學汲取創作養分，用舞蹈作為觀察的鏡子揭示生活與人性的荒謬，陸續發表過曾獲文建會及法國巴黎台灣文化中心遴選參與【2011外亞維儂藝術節】演出，並獲法國《Reg'Arts 表演雜誌》譽為“令人驚嘆的創作”的《鑰匙 人‧The Keyman》、2017年獲香港舞蹈團之邀赴香港演出的《詭 跡Dripping》，以及挑戰經典文學、深思熟慮、古怪奇特的《虫The Bug》(2018)、《深淵Abyss》(2019)、《巢Hideout》(2021)、《七體Figure 7》(2022)、《有可能，但現在不行》(2024)等。

Wen-jinn Luo

Artistic Director, Choreographer and Performer of Scarecrow Contemporary Dance Company (SCDC). Master of Fine Arts in Dance, University of Illinois, USA. Inheritance of two bloodlines from Han and Atayal, Wen-jinn is good at absorbing various forces from the surrounding environment and transforming them into her unique body language and creative energy, and then develops them into a distinct, strong, and moving site-specific performance style. Creativity belief that does not follow the trend, Wen-jinn likes to draw choreographic nutrients from literature and philosophy and use dance as a mirror of observation to reveal the absurdity of life and human nature. She has choreographed numerous distinctive dance works for SCDC. The Keyman (2010) has been selected by the Ministry of Culture and the Taiwan Cultural Center in Paris, France to perform in 2011 Avignon Off Festival and was praised as an "amazing creation" by the French "Reg'Arts Performance Magazine. Dripping (2015) was invited by Hong Kong Dance Company to perform in Hong Kong in 2017.  Wen-jinn’s choreography is known for her thoughtful and eccentric style challenging from classic literature, such as The Bug (2018), Abyss (2019), Hideout (2021), Figure 7 (2022), It’s Possible, But Not Now (2024) and so on.