The contents of the website are the consolidated results of the two phases (a total of four years) of the National Science Council's “Taiwan e-Learning and Digital Archives Program,” previously known as the “National Digital Archives Program.” The most important and representative pieces of audiovisual information in the “Taiwan Modern Drama and Performing Audio-Visual Library,” established in 2003 at the National Central University, were selected to be digitally archived.
The collection includes non-profit audiovisual records of public performances of Taiwanese theater arts, from 1986 to 2009. In addition, the project investigates, collects, organizes, and implements relevant audiovisual records of the metadata through oral and literature search.
Nine Rituals (九歌)
Playwright: Zhuo Ming
(卓明, a.k.a. Lin Qi-xing), 1985
Starting from 1986, the Taiwanese modern theaters addressed issues such as public debates about political criticism and social concerns in the late 1980s; and more importantly, issues of self-reflection in the 90s. The Phase I digital archive collection shows that the works of modern theaters in this period demonstrate a strong, avant-garde view of cultural identity and gender politics.
The collection in this period includes 80 works, totaling about 5,590 minutes of data, from 16 artists: Tian Chi-yuan (田啟元), Li Huan-hsiun (黎煥雄), Yen Hung-ya (閻鴻亞, a.k.a. Hung Hung), Liu Shou-yao (劉守曜), Wei Ying-chuan (魏瑛娟), Li Shao-ping (李小平), Wang Shau-di (王小棣), Fu Hong-zheng (符宏征), Wang Rong-yu (王榮裕), Peng Ya-ling (彭雅玲), Wang Chia-ming (王嘉明), Zhuo Ming (卓明, a.k.a. Lin Qi-xing), Lu Bo-shen (呂柏伸), Chen Tsu-yang (陳姿仰), Hsu Rey-fang (許瑞芳), and Fu Yu-hway (傅裕惠).
During the fourteen years from 1995 to 2009, Taiwan's modern theater organizations became increasingly popular and well-established; they also broadened the influence of relevant training methods and aesthetic styles. The collection of works in this period reveals the rugged path and many footprints in Taiwan’s modern theater art for the past 15 years.
Another characteristic of this collection in Phase II is that among the thirteen artists, six of them are women. These female artists' creative perspective differs from their male counterpart. From the trans-boundary experiment between puppetry and traditional theater art, to the mix-and-match of settings, images and modern dance, and even to the issues such as gender, family relationships, ethnicity and nationality, the female artists demonstrate a wealth of possibilities. The great variety of styles and themes in their works shows the diverse concerns and accomplishments of women creators of modern theater art in Taiwan.
The collection in this period includes 80 works from 13 artists: Li Huan-hsiun (黎煥雄), Chou Katherine Hui-ling (周慧玲), Lu Bo-shen (呂柏伸), Wang Chia-ming (王嘉明), Yen Hung-ya (閻鴻亞, a.k.a. Hung Hung), Cheng Chia-yin (鄭嘉音), Liao Jiun-cheng (廖俊逞, a.k.a. Baboo), Shih Pei-yu (石佩玉), Lee Yi-hsiu (李易修), Hsu Yen-ling (徐堰鈴), Tai Chun-fang (戴君芳), Fu Hong-zheng (符宏怔), and Peng Ya-ling (彭雅玲). (By July 2011, forty works have been completed, totaling about 4,126 minutes of data.)