Theatre Design & Technology - Winter 2009 - 57

photo by nancy simon

12

of Tainaner Ensemble's mission. Many of their plays concern
recent history or issues pertinent to the daily life of their audience. They work to discover and train local artists, and they
often perform in Taiwanese rather than Mandarin "so that the
local audiences can easily identify themselves with the characters and feel less intimidated by the language barrier." Their
goal is to become completely professional and to share their
work with a wider audience.
Interested in developing quality theatre in Tainan, the
company has organized numerous festivals and workshops and
often brought in outside artists, among them Lu Po-Shen. Invited to direct Antigone for the company in 2001, he has been
its Artistic Director since 2003. Trained in Glasgow and London, he was the founding member of the theatre department
at Zhong Shan University in nearby Kaoshiung, and in 2009, he
will join the faculty at National Taiwan University.
The company employs two administrative staff and a stage
manager and has one subsidized actor-in-residence. National
subsidy and commissions and a token amount from the Tainan
city government provide about a third of their support. For the
rest they depend upon box office receipts and education programs, some in schools, others at the theatre. Their audience
is largely young. Their facility, housed in a converted dormitory
building, includes a jam-packed office, a small rehearsal room,
a scene shop, and a black box theatre seating up to 120 in variable configuration. "The ceiling is too low," says Lu, thinking
not only of less than ideal lighting angles but also of the problems of placing actors at anything but deck level. The scene
shop occupies the entire top floor of the four-story building and
has good natural light but no elevator.
New productions rehearse from two to six months for

three or four days a week. Longer rehearsal periods may be
necessitated by the need to learn special skills (stilt-walking for
Macbeth) or the length and complexity of a piece (K24-Chaos,
inspired by the popular TV series Alias, lasts for six hours.)
Each production plays five-eight performances in Tainan, five
in Taipei, occasionally two-three in Kaoshiung. In Taipei, they
perform in the 180 seat Experimental Theatre of the National
Chiang Kai-Shek Cultural Center rather than the much larger
venues used by Contemporary Legend and Godot.
The company now has some forty productions to its credit. Among their projects is the translation of Western classics
into Taiwanese (most available translations are in Mandarin.)
Recent works from this project include Sophocles' Antigone,
Beckett's Endgame, and Sonata of the Witches: The Macbeth
Verses in which five actors played thirteen scenes from the Scottish play directly translated into Taiwanese. Lu directed and Lee
designed the set for the 2003 production, commissioned by the
National Theatre as part of a Shakespeare Festival. Opening at
the Experimental Theatre in Taipei, it later played in Tainan and
in a much-revised version at the 2007 Avignon Festival. Their
original intent was to have a talented actress in the company
play both Macbeth and his Lady, but she left before rehearsals
began. Lu then selected a skilled dancer, originally considered
for one of the witches, to play the Thane, and this influenced
production choices. He placed greater focus on the witches because these three actors had more experience with dialogue.
"We wanted a space," Lu says, "that was more dance-like,
less verbal...more neutral, an empty space in Peter Brook's
sense...a space that could be filled with violence and murder."
Lee covered the floor with eddies of red rice husks. A pianist
dimly glimpsed at a black grand piano provided sonorous ac-

W I N T E R

2009

theatre

design

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Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2009

Contents
Theatre Design & Technology - Winter 2009 - 1
Theatre Design & Technology - Winter 2009 - 2
Theatre Design & Technology - Winter 2009 - 3
Theatre Design & Technology - Winter 2009 - Contents
Theatre Design & Technology - Winter 2009 - 5
Theatre Design & Technology - Winter 2009 - 6
Theatre Design & Technology - Winter 2009 - 7
Theatre Design & Technology - Winter 2009 - 8
Theatre Design & Technology - Winter 2009 - 9
Theatre Design & Technology - Winter 2009 - 10
Theatre Design & Technology - Winter 2009 - 11
Theatre Design & Technology - Winter 2009 - 12
Theatre Design & Technology - Winter 2009 - 13
Theatre Design & Technology - Winter 2009 - 14
Theatre Design & Technology - Winter 2009 - 15
Theatre Design & Technology - Winter 2009 - 16
Theatre Design & Technology - Winter 2009 - 17
Theatre Design & Technology - Winter 2009 - 18
Theatre Design & Technology - Winter 2009 - 19
Theatre Design & Technology - Winter 2009 - 20
Theatre Design & Technology - Winter 2009 - 21
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