Taipei Dawancha: Keeping Tradition Alive, Laugh After Laugh
Taipei Quyi Tuan’s annual blockbuster, Taipei Dawancha, is a gem of theatrical tradition that offers more than just a rich cultural experience; it promises three hours of laughter and joy, bridging the past and present with humour and heritage.
Sense of Wander: ★★★★☆
Promotional poster for Taipei Dawancha 2024.
TAIPEI, Taiwan — Last summer, I attended my first teahouse gathering hosted by Taipei Quyi Tuan (台北曲藝團), where I had a taste of the storytelling tradition of chaguan pingshu (茶館評書), a centuries-old art performed in teahouse. The narrator’s ability to captivate the audience with vivid storytelling and expressive gestures is unmatched, setting it apart from other performing arts.
Over nearly two decades, Taipei Quyi Tuan has cultivated a loyal following who eagerly awaits its annual blockbuster, Taipei Dawancha (literally “Taipei’s Big Tea Bowl”) — a rare event that brings together traditional quyi, including a variety of narrative and vocal performance styles such as storytelling, crosstalk (xiangsheng), and ballad singing.
Launched in 2005, Taipei Dawancha was held every spring at the Red House in Ximending. Its charm lays in the authentic teahouse atmosphere — with wooden chairs and tables creating a nostalgic vibe — and the rare treat of enjoying tea and snacks during the performance, an experience rarely allowed in theatres.
As is often the way of the world, good things don’t last forever. In 2016, the Red House underwent renovations, bringing Taipei Dawancha to a halt. When the theatre reopened, it had been transformed into a modern venue, with its vintage wooden furniture and hot water dispensers for tea refills nowhere to be seen.
To keep Taiwan’s last remaining teahouse performance tradition alive, Taipei Dawancha returned this fall at Taipei Zhongshan Hall, bringing this rare cultural gathering to the heart of the city. While the venue has changed, the experience was every bit as captivating as I imagined it would be.
The original setup for Taipei Quyi Tuan’s annual performance, Taipei Dawancha, brings back the ambiance of traditional teahouse storytelling. Image courtesy of Taipei Quyi Tuan.
Back in the old days when Taipei Dawancha was staged at the Red House Theatre, audiences would gather around tables, sipping tea and enjoying snacks as they watched the show. Image courtesy of Taipei Quyi Tuan.
This year, Taipei Dawancha opens with a lively group crosstalk, a traditional comedic art where multiple performers engage in quick-witted banter and exchanges. The youngest generation of crosstalk practitioners — trained by the troupe takes the stage — deliver rapid-fire wordplay and interactions that set a spirited tone for the show. Though it’s clear that most of their lines are delivered from memory with little improvisation, the performances remains enjoyable to watch.
The laughter continues with a duo performance by Liu Shiming (劉士民) and Wei Jhu-Yao (魏竹嶢), who elevate traditional crosstalk by transforming into two spies — James Pon (James the Fat) and James Tu (James the Bald). Their animated acting brings the characters to life as they outwit the “big boss,” blending humour with drama to deliver a thoroughly entertaining act.
A shift in mood follows as two musicians take the stage, performing four Taiwanese folk songs. The soothing melodies offer a gentle interlude, so relaxing that I almost drift off in my chair, enveloped in tranquility.
Liu Shiming (right) and Fan Guangyao (left) presents a crosstalk piece inspired by the dynamic between the joker and the straight man.
Liu Shi-Ming returns to the stage, this time joined by Fan Guang-Yao (樊光耀) for another crosstalk performance. What sets this one apart is its focus on the two traditional roles in crosstalk: the “joker” (dou gen), and the “straight man,” (peng gen), the more restrained character who reacts seriously or confusedly to the joker’s antics.
With Fan taking on the role of the joker and Liu the straight man, the two engage in a debate over the importance of each role. Fan claims that his role is key, delivering punchlines and witty remarks that drive the comedic narrative. Liu, on the other hand, argues that his role is even more crucial — without a capable straight man, the joker’s humour can’t shine. It’s a pleasure to watch these two seasoned actors spar with clever wit, addressing a question many in the audience, including myself, have likely wondered at least once.
Staying true to tradition, Taipei Quyi Tuan served each audience traditional sweets, including candied fruit slices and mung bean cake, to enjoy alongside their tea.
When I return to my table after the intermission, I’m surprised to find that each guest, who previously had only a pot of tea to share, is now served a selection of traditional snacks. This refreshing treat provides just the right touch of sweetness, keeping the afternoon drowsiness at bay and helping me to stay alert — avoiding the temptation of an afternoon nap.
Next onstage is a short play about a man trapped inside a lion’s cage at the zoo. Rather than rescuing him, the zoo director sees the incident as an opportunity to boost their social media presence. The play offers a sharp commentary on this controversial obsession with online fame, prompting the audience to reflect on the “norm” of today. Despite its contemporary theme, the performance retains elements of crosstalk, as all five actors onstage have backgrounds in traditional performing arts, including crosstalk.
Then comes the much-anticipated pingshu performance, presented by Yeh Yi-Chun, the founder and leader of Taipei Quyi Tuan. With her signature flair, she narrates the story “Discard the Robe and Shave the Beard,” an excerpt from Tales of the Three Kingdoms. Through her expressive storytelling and animated gestures, Yeh brings the infamous Cao Cao (circa 155-220) to life as he desperately flees from Ma Chao’s capture. Each time, I’m amazed by her mastery of spoken word, bringing history to life as if I were witnessing the dramatic events unfold right before my eyes.
Traditionally, when a storyteller reaches the climax of an excerpt, they leave the audience hanging with a phrase like “If you want to find out what happens next, stay tuned for the next session.” But instead of following this familiar closing, Yeh playfully urges us to go home and read Tales of Three Kingdoms ourselves — ending with a cheerful exclamation mark!
Curtain call for Taipei Dawancha 2024
Taipei Dawancha culminates with its final performance, a crosstalk routine brought to us by Chu Te-Kang (朱德剛), a key figure of Taiwan’s crosstalk scene. Accompanying him is the young crosstalk performer Wu Si-Wei (吳思偉), who takes the role of straight man.
The piece, “Huang He Lou” (meaning “Yellow Crane Tower”), is based on a classic crosstalk script of the same title. Set during the Three Kingdoms period (220–280), the story follows Zhuge Liang’s order to send Liu Bei across the river to Eastern Wu to form an alliance with Sun Quan. In a fit of anger, Zhang Fei confronts him. What starts as a serious scene is transformed into a hilarious farce, thanks to Chu’s portrayal of an expert in Peking opera — who knows absolutely nothing about it. The comedic interaction between the two performers have the audience in stitches.
As Taipei Dawancha wraps up this year, it’s heartening to see such a rare gem continue to shine amidst the rapid growth of modern entertainment and theatre.
It’s fascinating to witness firsthand how the troupe blends elements of drama and modern theatre with tradition, infusing these time-honored arts with new vitality and making them more relevant to today’s audiences. I can also feel the spirit of these traditions, particularly their tenacity to stay alive, while also sensing the room they leave for innovation.
Offering more than just a cultural experience, Taipei Dawancha delivers three hours of laughter, bridging the past and present with humour and heritage. I hope that one day, these invaluable artistic traditions will transcend language barriers and reach a global audience.
You may also be interested in reading:
Taipei Dawancha was held at Taipei Zhongshan Hall on November 2-3, 2024.