Reviews

In the test of time, a question followed by a question mark would stand up longer than a statement ending with a full stop. After some years, all the actors have decided to uncover the scabs’ scars themselves, showing the courage to confront life for audiences regardless of the pain, for a cure—all of which has become the most appealing aspect of the 40th version of The Actor's Laboratory.

— Che Xiaoyu, “Welcome to My Life,” Performing Arts Review

Intercepting the real life cross-sections of different actors, and giving a nuanced view of these details in life. But only pursuing their depth, not their range. This leave the rest of the icebergs to the viewer to imagine. The viewer simply needs to capture the points of resonance in the story that is associated with his own emotional experience.

— He Xiaomeng, “Talking of Life Across Time and Space,” Performing Arts Review

The inappropriately slow tempo of the performance can be felt by the audience. Acting should be rich, organic and natural. Everyone can be an actor by simply presenting their own life on the stage. In that way, when they stand in front of thousands of audience members and the spotlight is turned just on them, they have already finished the whole show on their own stage.

— Huang Xinyi, “Back to the Origin,” Performing Arts Review

Every act of intimacy on the face of this work, which could only appear completely before 1983, is in fact full of danger; and every criticism that was too thin would also reflect the anxiety of progress caused by the confusion of self-knowledge and historical positioning.

— Zhang Dunzhi, “The Test Belongs to Young Critics,” Performing Arts Review

About Experimental Actors Studio

A remake of a classic of the Lan Ling Theatre Workshop – A story of how they came to be Lan Ling Celebrating the 40th anniversary of the Lan Ling Theatre Workshop, some of the most legendary actors are brought together again to collaborate on this production, tracing back to the stories of how they stepped into the theatre world and joined the family of the Lan Ling Theatre Workshop. In this soul-searching and truth-seeking journey, they are bound to touch the local audience by looking back in their theatre and performing careers in the context of the collective memories of the island.

About King Shih-Chieh

Born in Pingdong, Taiwan, King Shih-Chieh is an actor, playwright and director. As a founding member of Taiwan’s first experimental theatre group, Lang-Ling Theatre Workshop, his many works in the 1980s have had a profound influence on Taiwan’s contemporary theatre movement. He is truly an all-round artist and an iconic figure in Taiwan’s performing arts history.

Since 1990 when the Lang-Ling Theatre Workshop ended, Chin has continued to be active in movies, television, and theatre. The Peach Blossom Land is one of his famous acting toles. In 2012, he won the best actor at Magnolia Awards in Shanghai for his performance in Tuesdays with Morrie. In 2015, he was awarded best supporting actor at the Beijing International Film Festival for his work in The Master.

Credits  

Producer: Chen I-heng

Director/Actor/Script Coordinator: King Shih-Chieh

Assistant director/Actor: Ma Tin-Ni, Liu Ruo-Yu

Director assistant/Executive producer: Huang Chao-Chin

Cast: Wang Jen-Li, Yang Li-Yin, Dun An-Ning, Chao Tzu-Chiang, Yu An-Shun,

         Chen Gi-Gi, Ko Chin-Sin, Wang Ken-Yu, Ho Szu-Ying, Chiu Chun-Lung,

         Huang Hun-Chun, Dun Yu-Chen, Chen Tzu-Lun

Lighting and Stage designer: Lin Keh-Hua

Lighting-designing assistant: Yiin Ke-Ting

Music designer/Executant: Lee Chen-Chung

Music executant: Chang Ning-Uwn

Stage manager: Hsiao Wan-Yu

Lighting: Hsu Che-Sheng, Wang Yu-Hsiang, Ching Hsiao-Te

Sound: Wang Hsin-Hsu

Projection: Lee Jen

Costume: Wang Rui-Pu, Lin Guan-Ting

Dresser: Wang Hsiu-Lien, Chou Ting-Hua

About The Lan Ling Theatre Workshop

As the very first experimental theater troupe in Taiwan, the idea of founding Lan Ling Theatre Workshop started brewing in 1977. The group, officially founded later in 1980, lasted only ten years before it had to be disbanded in 1991. However, despite its short-lived existence, Lan Ling has had an indelible impact on Taiwan’s modern theatre, no less than that of Cloud Gate Dance Theatre of Taiwan on the island’s modern dance. Lan Ling not only directly or indirectly incubated many of the most noteworthy theatre groups in Taiwan, including the Ping Fong Acting Troupe, U-Theatre, the Performance Workshop, the Paper Windmill Theatre, and the IF Kids Theatre, but also brought together a band of performance-loving amateurs who later turned into revolutionary theatre pioneers and heavyweight actors such as King Shih-Chieh, Lee Kuo-shiu (Hugh Lee), Liu Ruo-yu, Ma Ti-ni, Yang Li-yin, Deng An-ning, Chao Tzu-chiang, and Lee Yung-feng, whose continuous efforts and contributions to the Taiwanese theatre have allowed it to flourish, leaving a far-reaching impact on the island’s performing arts.