The TAO Dance Theater (陶身體劇場) is only nine years old, but it quickly developed a major reputation in China and internationally for its groundbreaking avant-garde, minimalistic works.
Choreographer Tao Ye’s (陶冶) choreography strips dance of its individuality and fripperies, including titling his works simply by the numbers of dancers used, and emphasizes uniformity.
Yet there is a method in his madness — the patterns he weaves are beautiful and the dancers’ physicality and stamina are awe-inspiring.
Photo: Courtesy of TAO Dance Theater
The company made its Taipei debut in March 2014 at Novel Hall, performing 2, 4, 5 and 6, as part of the long-running Novel Hall Dance Series curated by Cloud Gate Dance Theatre (雲門舞集) artistic director Lin Hwai-min (林懷民). TAO has been invited back to perform at Lin’s own theater in New Taipei City’s Tamsui District (淡水) at the beginning of next month, and tickets have been going fast.
It will present a monochromatic double bill of 6 and 7: the former is very dark — in lighting, costume and mood, while the latter is glaringly white.
■ June 9 at 8pm, June 10 and June 11 at 3pm at the Cloud Gate Theater (淡水雲門劇場), 36, Ln 6, Zhongzheng Rd Sec 1, Tamsui District, New Taipei City (新北市淡水區中正路一段6巷36號)
■ There are less than 40 seats left for the June 9 show, at NT$1,400 and about 70 seats at the NT$1,600 price range left each of the other two shows; available online at www.artsticket.com.tw, at convenience store ticketing kiosks and at the door.
Scott Saulters wasn’t sure if his film had just taken one of the two top prizes at a recent film competition. Although Saulters has been in Taiwan for 15 years and is proficient in Mandarin, the award ceremony for the inaugural “Bi Tian Iann” (眯電影) short film contest was conducted entirely in Hoklo (also known as Taiwanese), a language he can’t speak. “I thought I heard it, but I didn’t want to look too excited,” he says. Despite his limited command of the tongue, Saulter’s entry, Wu Yu Tzu (烏魚子, mullet roe), took first place in the amateur category of the
Since its launch in 2014, the Taiwan Season has increasingly become a “must-see” at the Edinburgh Festival Fringe. So, when this year’s three-week Fringe became an early casualty of the COVID-19 coronavirus pandemic, Chen Pin-chuan (陳斌全) was determined that the Taiwan Season must continue in some form. Chen, director of the Cultural Division of the Taipei Representative Office in the UK, says that he and Taiwan Season curator and producer Yeh Jih-wen (葉紀紋) had been thinking of ways of growing and adding value to the season anyway. The crisis and the cancellation of the live performances brought those ideas forward as
In the regular drumbeat of arrests of alleged Chinese spies, one case last month stood out. It did not involve the US or another rival of China, but Russia, whose security services accused a prominent arctic scientist of selling classified data on technologies for detecting submarines. Meanwhile a court in Kazakhstan in October convicted the Central Asia nation’s preeminent China specialist of espionage, a move widely interpreted at the time as a warning against increased meddling by the superpower next door. Both men maintain their innocence and if China is spying on Russia, Moscow is surely doing the same. Even so, the fact
A walk down Orchard Road shows just how badly the coronavirus pandemic has hit Singapore’s famed shopping strip. Gone are popular restaurants like Modesto’s, which shut last month after 23 years. Also missing are the queues of Chinese tourists outside Chanel and Louis Vuitton. Malls along the 2.4km stretch, once one of Asia’s top shopping meccas, are dotted with empty stores. On a recent midweek afternoon, the number of shop staff idly dusting shelves or playing with their mobile phones rather than greeting customers is notable. “It’s the worst crisis for Singapore and Orchard Road,” said Kiran Assodani, who has run her