Category: Theatre

The Howitzer Drill Demonstration in Kinmen 

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.

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Exploring the Undefined Creativity in Youth Theatre Education: An Interview with Wen-Qi Yu, Artistic Director of Flying Birds Theatre Group

Written by Yi-Cheng Sun; translated by Yi-Yu Lai. Before starting the interview, during lunch, Rei-Tzu, the production coordinator of Flying Birds Theatre Group, told us about the “earliest university.” In English, “University” is derived from the word “universe.” In Latin, “universus” is composed of “unus” (one) and “versus” (towards a particular direction), giving it the literal meaning of “towards a specific direction.” According to our limited knowledge of history, the University of Bologna, established by students in 1088 in Italy, is the first university in Europe, earning it the title “mother of universities.” The “earliest university” topic quickly sparked our discussion about knowledge and the essence of education, with art being the primary focus.

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Taiwanese Theatre’s Struggle: The 228 Incident and White Terror Era

Written by Yin-Chen Kang. This year marks the 76th anniversary of the February 28 Incident, also known as the 228 Incident. Occurring 76 years ago, this event was sparked at the end of February, leading to the KMT military’s brutal campaign in March against those they considered dissidents, resulting in the slaughter of numerous civilians. This marked the beginning of an extended period of White Terror. While the incident profoundly impacted Taiwanese society, many people may not be aware of the significant consequences of the 228 Incident and the ensuing White Terror on the development of modern Taiwanese theatre.

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Hybrid Taiwanese Opera: The Vitality of “Opeila”

Written by Jasmine Yu-Hsing Chen. In Taiwan, outdoor Taiwanese opera performances next to temples have been essential to Taiwanese religious traditions for decades. Most troupes adhere to the etiquette of performing “classical plays for matinees and opeilas for evening performances.” Unlike performances in the afternoon, which are mostly classical repertoires based on books and legends, evening performances are always energetic. With the accompaniment of an electronic piano and jazz drums, the actors on stage sing pop songs and dress in shining sequin robes, fancy suits, or colourful Japanese costumes. This hybrid performance style has been called “opeila” (oo-phiat-a), which is phonetically adapted from the Japanese pronunciation of “opera” (o-pe-ra オペラ) in Taiwanese. This unique subgenre of Taiwanese opera has livened memories in numerous Taiwanese people and is one of the most concrete testimonies of vital Taiwanese culture.

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Innovating Tradition: The Interdisciplinary Practice of “Bodehi” Glove Puppetry Theatre in Taiwan 

Written by Chih-Ching Chester Tsai. Bodehi, Budaixi, or literal translation cloth sack theatre​ (布袋戲), is a form of traditional puppetry theatre in Taiwan. It was brought to Taiwan by early immigrants from southeast provinces of China during the Qing Dynasty. It has since developed into a unique form of theatre infused with local style and would later grow into one of the unofficial symbols of Taiwanese culture.​ 

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