Dreamwoven Stages: Rejuvenating Traditional Theatre and Pushing Boundaries
As a cornerstone of the Taiwan Traditional Theatre Centre, the “2023 Keep On Dreaming” program stands as a beacon for opera performers in Taiwan and beyond.
Visual for the “2023 Keep On Dreaming” program hosted by the Taiwan Traditional Theatre Centre.
TAIPEI, Taiwan — The evolution of traditional theatre in Taiwan spans various historical narratives and regions, embracing a wide array of vocal styles and musical elements, and uniting performers from diverse backgrounds. Similar to other forms of theatrical expression, traditional opera constantly adapts and refines its aesthetics in response to the rapidly changing environments, whether they be theatrical, societal, or even political. In essence, the spirit of experimentation has always been a prevailing force.
In Europe, the introduction of “experimentation” to modernise traditional theatre finds its roots in the development of modern European drama during the 19th century. In Taiwan, this fusion of “theatre” and “experimentation” began to take shape in parallel to the resurgence of performing arts from the 1980s onwards. Experimentation in this context “became a means to break down the barriers between traditional and modern theatre, responding to the demand for modernisation within the theatrical realm,” wrote Wang Jun-Yan, the curator of this year’s “Keep On Dreaming” program.
As a cornerstone of the Taiwan Traditional Theatre Centre (TTTC), “Keep On Dreaming” extends an open invitation to opera troupes, encouraging them to embark on audacious experiments and push the boundaries of operatic traditions to their fullest potential. Coming to the program's 6th edition, curator Wang Jun-Yan unveils a compelling theme: Avant-Garde in Action: Questioning History through Theatre.
Delving into history urges participating troupes to revisit often-overlooked or forgotten narratives. This exploration also sparked critical questions: What sets traditional theatre apart from modern stages? How can such exploration unveil neglected histories and navigate uncharted dimensions within modern theatre?
Amidst the captivating array of performances presented by six troupes, I’ve had the privilege to experience three. Join me as we dive into history through theatre!
“Cross-Talk, Move On!”
Troupe: Taipei Quyi Tuan
Performance Date: August 26 & 27
Sense of Wander: ★★★☆☆
Stage set for Taipei Quyi Tuan’s “Cross-Talk, Move On!” at the Taiwan Traditional Theatre Centre.
Crosstalk, known as “xiangsheng” in Chinese, is a beloved traditional performing art in Chinese comedy, featuring lively dialogues between performers or quick-witted solo banter delivered in a lively and engaging manner.
In Taiwan's dynamic performing arts landscape, crosstalk remains a minority, and the quest for how this art, like others of its kind, can evolve in our fast-changing society is an ongoing exploration.
Taipei Quyi Tuan's latest creation, “Crosstalk — Move On!” (相聲，Move on！), brings this art to the next level by infusing it with theatre. Traditionally, crosstalk artists stood stationary on stage, captivating audiences with their spirited exchanges., filed with lightning-fast repartee. But in this fresh approach, they're challenged to look within, to connect with their emotions before they respond.
The storyline revolves around three young individuals embarking on a one-day immersion in the world of crosstalk, uncovering its rich traditions and the foundational skills required to master this craft. The play also explores thought-provoking questions: “If crosstalk is the art of language, what becomes of the body of a crosstalk artist?” “If crosstalk doesn't always make us laugh, why continue to speak it?”
A captivating blend of crosstalk and drama, 'Crosstalk — Move On!' weaves in Saint Exupéry's timeless quote, “What is essential is invisible to the eye”, as a recurring motif throughout the play. In Taiwan, crosstalk is akin to the Little Prince navigating in the desert land. But what remains invisible? Is it a metaphor for the solitude experienced by minority crosstalk artists, or a rhetorical element that enriches the emotional depth of crosstalk performances?
Traditional crosstalk performances usually involve a dynamic exchange of banter between two performers. In this scene, a crosstalk artist (on the left) engages in banter with a performer (on the right), who is believed to be an AI chatbot mimicking the role of a crosstalk artist within the play. Image courtesy of Taipei Quyi Tuan.
Three youngsters exploring the art of crosstalk through their emotions and bodies — aspects often absent in traditional crosstalk performances. Image courtesy of Taipei Quyi Tuan.
“Crosstalk — Move On!”, like the Little Prince, ventures into uncharted territory, pushing the boundaries of crosstalk. It not only redefines its expression but explores its greatest potential. Intriguingly, the script also delves into topics like AI chatbots, sparking concerns about the potential replacement of crosstalk artists by data-driven machines.
As Taipei Quyi Tuan embarks on this experimental journey and continues to “move on” — and perhaps evolve — with crosstalk, our role as the audience is to be present and supportive, ensuring this cherished tradition endures, bringing laughter and joy to generations yet to come.
“Streaming”
Troupe: National Taiwan College of Performing Arts
Performance Date: September 2 & 3
Sense of Wander: ★★★☆☆
Stage set for National Taiwan College of Performing Arts’s “Streaming” at the Taiwan Traditional Theatre Centre.
Many might assume that established performing arts troupes in Taiwan, such as Gezi opera, Peking opera, and other local operatic traditions, are on the brink of fading in the face of modern theatre — but this isn't just a current concern.
In fact, over half a century ago, troupes across the nation were disbanding due to political restrictions and societal trends of that era. This chapter in the development of Taiwan's opera troupes, set in the mid-20th century, serves as the inspiration for “Streaming”, a production by the National Taiwan College of Performing Arts, recently staged at the Taiwan Traditional Theatre Centre.
“Streaming” (串南？串北？有戲！) centres around a Peking opera troupe wrestling with the evolving landscape of Taiwan's performing arts scene, a time when the practice “Liang Xia Guo”, or “two in a pot” was on the rise. This practice involves more than one genre of operatic tradition sharing the same stage, a phenomenon that is rarely seen today. In the play, we catch a glimpse of a Peking opera troupe's struggle to learn Gezi opera; the former employs Mandarin, while the latter embraces the Taiwanese dialect. We also bear witness to the staging of Peking and Gezi opera performances seamlessly sharing the same stage.
I was particularly impressed by the stage design. Through the ingenious use of a sliding curtain, the stage effortlessly shifts between the front stage and backstage within seconds, offering the audience a tantalising peek into the performers’ backstage life as depicted within the play, both before and after the performance.
By blending Gezi opera, Peking opera, and drama, “Streaming” illuminates a chapter of Taiwan's opera development — a part of history that constitutes the collective memories of the older generation of opera performers, especially shared by the play's director, playwright, and opera director. It’s the mirror of a bygone era.
The performing troupe, the National Taiwan College of Performing Arts, adds even more significance to this play. They represent the vanguards of the next generation of opera performers, the custodians entrusted with preserving these time-honoured traditions for generations to come.
Two Peking opera performers are seen meticulously applying their facial makeup in preparation for their Gezi opera performance. The backdrop, adorned with the characteristic red, blue, and white stripes, infuses a strong sense of local culture into the play. Image courtesy of National Taiwan College of Performing Arts.
“Mnemosyne”
Troupe: Po You Set
Performance Date: September 9 & 10
Sense of Wander: ★★★★★
The unique seating arrangement in Po You Set's “Mnemosyne” sets the stage for what’s to come.
Upon entering the theatre, the audience is invited to take their seats on the floor, creating a unique framing for Po You Set's latest production, “Mnemosyne”. One end of the stage features the customary “One Table, Two Chairs” arrangement commonly found on opera stages, set against a backdrop of a projection screen. Meanwhile, at the opposite end, an arrangement of percussion instruments stands ready to accompany the traditional opera performance.
“Mnemosyne”, more aptly titled “The Disappeared Sixth Class” (消失的六期生) in Mandarin, is a play that unearths a forgotten chapter in history, one that the contemporary era has largely overlooked — not because we don't care, but because we simply didn't know it was there.
The narrative centres on the sixth class of GuoGuang College of Performing Arts, which served as the precursor to the National Taiwan College of Performing Arts. Here, a hierarchical system among students gave rise to group bullying, capturing public attention in 1996. In the aftermath of the incident, numerous students from the sixth class withdrew, reducing the once 40-member class to just seven graduates.
While some may see this play as a semi-autobiographical work by Hsu Bo-Ang, founder of Po You Set, who also serves as the play’s director and playwright, it transcends personal narratives. As Hsu elucidated during a post-performance discussion, the production delves beyond the anecdotes of his fellow classmates. It plunges into the broader context of that era, a time when the definition of “National Opera” was under challenge.
During Hsu's studies, the term “Guoju” (National Opera) was changed into “Jingju” (Peking Opera), a transformation that profoundly impacted students who had devoted eight years to honing their craft. His school also merged with another, giving birth to what is now recognised as the National Taiwan College of Performing Arts. These shifts raised profound questions of cultural identity and confidence: “If our National Opera is Peking Opera, then whose National Opera is Peking Opera?”
When I tried looking up on the internet, I discovered no trace of the historical events that Hsu vividly portrayed on stage. In an era where the majority relies on the internet, what truths can we hold onto? When a civilisation's history and memory are defined by easily manipulated online archives, how can we preserve those memories from fading away?
I once heard someone say that one way to determine if a performance is good is to observe if the audience leaves in silence, meaning that something in the play has provoked contemplation or reflection. I believe this very play is the one that left most audience deep in thought. At least, I left the theatre with numerous thoughts on my mind.
In "Mnemosyne", Hsu is seen in handcuffs — a poignant symbol of the responsibility he bears in empowering the nation through traditional theatre, all while grappling with the complexities of his mission and the harsh realities he faces. Image courtesy of Po You Set.
All the performers in “Mnemosyne” are attired in the student uniform of GuoGuang College of Performing Arts. Image courtesy of Po You Set.
Reference:
Program notes for “2023 Keep On Dreaming”. August 12-September 17, 2023, Taiwan Traditional Theatre Centre, Taipei.
“2023 Keep On Dreaming” ran from August 12 to September 17, 2023 at the Taiwan Traditional Theatre Centre in Taipei city.
*Special thanks to Taipei Quyi Tuan for inviting me to see “Cross-Talk, Move on!”