Taiwan show troupe makes U-turn of sorts
Inspired by Chinese calligraphy, U-Theater performers traditionally wear simple dress set against plain backgrounds.
Taiwan’s U-Theater brought its latest work “The Colors” to Shanghai this week, amid reviews calling it the troupe’s most vibrant, modern production.
U-Theater’s unique performing style is no stranger to Shanghai’s theatergoers. The troupe combines drum beats, music, martial arts, sacred elements and traditional Chinese philosophy into its stage performances.
Inspired by Chinese calligraphy, U-Theater performers traditionally wear simple dress set against plain backgrounds. “The Colors,” however, breaks that austere mold in its use of colors, technology and audio-visual stage effects.
The six chapters of the performance aren’t woven together by storytelling or a coherent plot. They are defined by descriptions such as “great form has no shape,” “wings are all around the sky,” “a cook cuts up a bullock,” “beat the basin and sing,” “Chung Chou dreamed I was a butterfly” and “Tao is hidden and nameless.”
The chapters are said to showcase the philosophy of Chuang Tzu, the popularizer of Taoism.
“We are creating an artistic perspective while leaving imaginary space for audiences,” said Liu Ruo-yu, U-Theater’s founder and artistic director.
“It’s like in traditional Chinese painting, where artists leave some blank space on their works,” she said. “We portray aesthetics with audiences. Those who have their own understanding about the meaning of life will be able to echo that.”
According to Huang Chih-chun, music director of U-Theater, the inspiration for “The Colors” came from the calligraphy work “Lao Chuang” by Taiwan calligrapher Tong Yang-tze.
“I saw the work and felt the rhythm and tempo of calligraphy,” Huang said. “It reminded me of the philosophy of ink: ‘From ink, colors are equipped, and the colors will end in ink.’ In the performance, drums join with gongs, flutes and se (25-string plunked instrument), giving U-Theater’s music a new look.”
The troupe combines drum beats, music, martial arts, sacred elements and traditional Chinese philosophy into its stage performances.
The show’s stage design was done in collaboration with Taiwan painter Ling Ko, who is best known for her splash-ink and splash-painting style. Her work combines Eastern and Western elements, featuring the broadness and void of firmament and nature.
“As a result of the collaboration, the stage will be decorated with big pieces of color, breaking U-Theater’s tradition,” said Liu. “I was hesitant at first about the use of colors, fearing that they might overshadow the very essence about human beings in our work. But after seeing Ko’s work, I realized that the splash of ink is a way that Chinese artists express their understanding of life.”
She added: “We also used multimedia and projection technology — new devices in a new era. I was very relieved that after our premiere in Taiwan, audiences still understood that this work retains U-Theater’s signature.”
U-Theater performers regularly practice tai chi, she said. The movements of that art form are reflected in “The Colors” as it explores the freedom of the body in a style different from the troupe’s past works.
“The Colors” premiered at Taiwan’s Taichung Theater in 2017. Two performances at the SAIC Shanghai Culture Square yesterday and today are the first foray outside Taiwan.
“Musicals, operas — these are Western-originated stage arts,” said Liu. “U-Theater wants to create a ‘Chinese stage art.’ From the Eastern perspective, we are exploring the inner world of human beings.”
A wooden stage prop is used in the chapter of “a cook cuts up a bullock.”
“The Colors” is U-Theater’s fourth production performed in Shanghai, following “Sound of the Ocean,” “Beyond Time” and “Sword of Wisdom.”
“We are actually not a very prolific troupe,” said Huang. “We create only when we have new inspiration from life. The drum beats are grand and magnificent, but the audiences, if they really concentrate on the show, will actually feel peace of mind after watching the performance. Attaining the state of calmness in motion. That is my creative philosophy.”
The U-Theater’s rehearsal hall on Taiwan’s Laoquan Mountain caught fire in August, resulting in losses that included the 200 gongs used in “The Colors.” A wooden stage prop was also partially damaged.
“It was heartbreaking,” Liu said of the accidental fire. “We managed to borrow enough gongs for the performance in Shanghai, and we decided to bring the wooden prop here because we believe that everything happens for a reason.”
“For the wooden prop, which was already smoked into black, the fire was like a nirvana,” she added. “It seemed as if it experienced death and was reborn on stage. For artists and creators like us, all unexpected situations can create inspiration.”
Liu said the troupe has been discussing the idea of renovating the damaged rehearsal hall into a “dark theater,” which will be regularly open to the public and to young troupes for creating and rehearsing.
