Why Taiwan News ?
INTRODUCTION
Made in Taiwan…
…. about theatre !
Some parts of this website will be consecrated to Taiwanese theatrical art. Why Taiwan? Because of the Chinese origin of Formosa Island. Taiwan, and especially its capital Taipei, represents nowadays a beautiful example of open-mindedness and freedom since the end of martial law, twenty two years ago. And this opening to universality is more present in the Taiwanese theatre, as I discovered in 2006 with the show of a young Taiwanese clown, Ma Chao Chi.
We are far away from some of European foolish things nearly rude, and from the obscurity present in the onanistic contemporary theatre, which is unfortunately the French theatre… In Taiwan, humour, self-derision, lightness, drama, legends and everyday tragedies, are intermingled, and answer each other, sharing the same space and the same times. It is sublimed by the graceful Asian gesture and an aesthetic symbolism, far away from the vain and outrageous aestheticism, even in their most contemporary creations.
Furthermore, dances and songs are always presents in Taiwanese art – all self-respecting artists have to master those arts – they punctuate subtly the dramatic plot of theatrical storytelling which can be in its classical or linear form, but also very modern, even broken like actual European movies or theatrical pieces.
Often adapted from ancient tales or legends showing how China used to be open, before the Chinese communist party emerged, their work allows us to perceive Taiwan’s history, and even that of mankind with an astonishing acuity and a disturbing pertinence. (For example, He is my wife, He is my mother by Katherine H. Chou)
Their creations are about specific stories of their own country, but which may be extended to the whole world. Some scenes may be taken place in any European country because it’s all about the universal question of oneself and other connections, of human relationships, beyond borders… These questions are common to all peoples… but only when they overcome the question of possession.
For example, “Sisters Trio”, directed by Hsu Yen Ling, is adapted from an ancient Chinese legend and has been re-contextualized to a period where lesbians were repressed. This black and white creation, with a suggestive art directing, is composed by numerous white cushions which are forming alternatively a cave entrance, a bed, some chairs. The actresses are wearing black man’s suits and white blouses: it reminds the French homosexual bars in the twenties where tomboys were secretly meeting and we forget it is a Taiwanese creation.
Furthermore, for our satisfaction, Taiwanese artists are audacious in their creations. In her three creations, Hsu Yen Ling deals with lesbian relationships on three different levels and times, with three distinct aesthetics (colourful, black and white, pastel). The first, “Skin Touching”, is a romantic comedy similar to a musical fable. The second, “Sisters Trio”, is a historical drama about the oppression of man and the third, “A Date”, is a cinematographic story of everyday lesbian life in the world. It is very impressive how these creations avoid the “politically correct” on stage. With sensuality and without voyeurism, these intimate moments, are rarely seen in theatre, even in France, especially the relationship between two women which still be a very taboo subject in French theatre.
These creations are spreading a feeling of freedom. A freedom won by the weapon of intelligence, a bit mocking but never provocative, which is unfortunately often gratuitous. Skilfully directed without pretence, but claiming the right to tell what is real and what exists, it asks us about open-mindedness, tolerance, freedom and our lifestyle choice…
To conclude, I would like to underline the fact that, contrary to ours, Taiwanese creations don’t reduce the number of characters to one or two, but often counted 8 or even 17 characters, as in Hsu Yen ling’s creations, nevertheless artists there have not as much subventions as we have. Thus: I will ask you, why is there in France all this over-cautiousness, dear friends?
Diane Vandermolina
Translation by Audrey Husson
