Jerzy Grotowski a chiński teatr poszukujący i tajwański teatr tańca

This paper is devoted to the reception of Jerzy Grotowski’s ideas of theatre and actors’ training system in China and Taiwan at the end of the twentieth century. The author analyses the scope of Grotowski’s influence on Chinese and Taiwanese theatre reformers, stage directors and actors/dancers at a specific moment of deep social, cultural and political transformations in Asia. She also tries to determine the main reasons for Grotowski’s popularity in mainland China and Taiwan in the 80s and 90s.

Performing Comic Failure inWaiting for GodotwithJingjuActors

Since the 1980s the Taiwanese theatre troupe Contemporary Legend Theatre (CLT) has been devoted to transformingjingjuby way of adapting world classics. Through an analysis of its adaptation of Samuel Beckett'sWaiting for Godot(2005), this article considers how CLT pushes the boundaries ofjingjuacting, which is made up of singing, speaking, dance-acting and combat. To meet Beckett's challenge of performing comic failure, CLT integratesjingjurestraint and Western slapstick. In so doing, CLT liberates the actors’ bodies fromjingjuconventions to produce a new aesthetic, which also gives the original play a new metaphysical interpretation.

Pilgrimage As a Pedagogical Practice in Contemporary Taiwanese Theatre: U Theatre and the Baishatun Ma-tsu Pilgrimage

An experimental theatre on a religious pilgrimage? It sounds like a contradiction. But in Taiwan an increasing number of experimental theatre companies have incorporated traditional ritual practice into their performer training.