Written by Kefei Cao. The author traces her personal and historical journey across the Taiwan Strait, moving from lived encounters to reflections on war, memory, and coexistence. Drawing on Lung Ying-tai and Gilles Deleuze and Félix Guattari, she proposes theatre as a space for reimagining peace beyond binary divisions, where vulnerability, dialogue, and shared humanity become the grounds for fragile yet enduring connection.
Written by Yi-Ping Wu. This article recounts Taiwan’s 2025 cultural budget cuts amid political turmoil yet highlights the resilience of Taiwan’s theatrical landscape through the Taipei Theatre Awards, the Off-Broadway debut of Don’t Cry, Dancing Girls, the 2025 Expo Osaka initiatives, and the Les Misérables tour in Taipei and Kaohsiung, revealing international ambition despite systemic discrimination against the arts.
Written by Maisnam Arnapal. This article explores EX-Theatre Asia’s rise as a hub of intercultural performance since its founding in 2006. Blending diverse Asian traditions through its “Theatre of Essence,” the company redefines Asian identity and globalisation. It highlights Taiwan’s growing cultural influence and EX-Theatre’s role in shaping global conversations on performance.
Written by Yi-Ping Wu. The 2024 Taiwan Theatre Report analyses the trends in Taiwan’s theatre scene, highlighting the rising popularity of musicals and comedy while addressing the impact of the #MeToo movement. Finally, the government’s launch of the Taipei Theatre Awards signals institutional support, even as the industry faces challenges balancing commercial success with artistic and social responsibility.
Written by Charles Lee. This article raises fundamental questions about theatre sustainability. It focuses on theatre venues and infrastructure in Taiwan by critically examining productions that attempt to respond to the concerns through distinct approaches. The author also investigates the unique dynamics Taiwanese The author also explores the unique dynamics that Taiwanese audiences have with the “aesthetics of Anthropocene theatre”.
Written by An-Ru Chu. This article explores the performative nature of the cannon drill demonstration at the Shishan (Mt. Lion) Howitzer Front, a popular tourist attraction in Kinmen, in conversation with Island in Between. Unlike the drill or military-related actions performed at other sites, the cannon drill at Kinmen is unique in that it is not performed by soldiers, but exclusively by performers. In addition, the multilayered identities of the performers further complicate people’s engagement with a contested land like Kinmen. The author traces the history of such a performance and argues its linearity in conversation with Kinmen’s Cold War memories.
