Greek director Theodoros Terzopoulos has proven popular with Taiwanese audiences and National Theater programmers since his first visit five years ago with his Attis Theater Group to perform Prometheus Bound as part of the Taiwan International Festival of Arts.
He was invited back to direct The Bacchae for the 2016 International Theater Festival, for which he trained a group of Taiwanese actors in his unique physical and vocal training method.
That show was so well received that the National Theater immediately asked him back for this year’s theater festival.
Yerma, which opens at the National Theater tonight, is Terzopoulos’ retelling of Spanish author and playwright Federico Garcia Lorca’s 1934 play about motherhood and the social oppression of women.
The play tells the story of a young married woman in a Spanish village who cannot conceive, making her the object of village gossip and coldness from her husband, and how her barrenness comes to define her life and the choices she makes.
Driven to despair and desperate to change her fate, she ends up murdering her husband.
Terzopoulos said he first directed a production of Yerma in 1981, with 60 actors, and he found it was very similar to the Greek tragedies, a theatrical form that he built his career on.
Coming back to it after 37 years, he wanted to make the story bigger than just a tale about a couple and a village, to make it more universal, he said.
Once again, he selected a cast of Taiwanese actors —23 this time, but also recruited flamenco dancer Lin Keng (林耕), the Ten Drum Art Percussion Group (十鼓擊樂團) and flamenco musician Sergio Munoz.
The two leads, Tsai Yi-ling (蔡佾玲) and Lin Tzu-heng (林子恆) traveled to Greece in June to train with Attis, and then helped teach the rest of the cast Terzopoulos’s techniques. Assistant director Savvas Stroumpos arrived in Taipei in August to help lead the rehearsals.
■ Tonight and tomorrow at 7:30pm, Sunday at 2:30pm at the National Theater (國家戲劇院), 21-1 Zhongshan S Rd, Taipei City (台北市中山南路21-1號)
■ Tickets are NT$800; available at NTCH box offices, Eslite ticket desks, online at www.artsticket.com.tw and at convenience store ticketing kiosks. The show runs about 105 minutes without intermission
Taiwan has next to no political engagement in Myanmar, either with the ruling military junta nor the dozens of armed groups who’ve in the last five years taken over around two-thirds of the nation’s territory in a sprawling, patchwork civil war. But early last month, the leader of one relatively minor Burmese revolutionary faction, General Nerdah Bomya, who is also an alleged war criminal, made a low key visit to Taipei, where he met with a member of President William Lai’s (賴清德) staff, a retired Taiwanese military official and several academics. “I feel like Taiwan is a good example of
March 2 to March 8 Gunfire rang out along the shore of the frontline island of Lieyu (烈嶼) on a foggy afternoon on March 7, 1987. By the time it was over, about 20 unarmed Vietnamese refugees — men, women, elderly and children — were dead. They were hastily buried, followed by decades of silence. Months later, opposition politicians and journalists tried to uncover what had happened, but conflicting accounts only deepened the confusion. One version suggested that government troops had mistakenly killed their own operatives attempting to return home from Vietnam. The military maintained that the
Taipei Mayor Chiang Wan-an (蔣萬安) announced last week a city policy to get businesses to reduce working hours to seven hours per day for employees with children 12 and under at home. The city promised to subsidize 80 percent of the employees’ wage loss. Taipei can do this, since the Celestial Dragon Kingdom (天龍國), as it is sardonically known to the denizens of Taiwan’s less fortunate regions, has an outsize grip on the government budget. Like most subsidies, this will likely have little effect on Taiwan’s catastrophic birth rates, though it may be a relief to the shrinking number of
Since its formation almost 15 years ago, Kaohsiung rock band Elephant Gym (大象體操) has shattered every assumption about contemporary popular music, and their story is now on screen in a documentary titled More Real Than Dreams. It’s an unlikely success story that says a lot about young people in Taiwan — and beyond. For a start, their sound is analog. In the film, guitarist Tell Chang (張凱翔) proudly says: “There is no AI in our sound.” His sister, bass player KT Chang (張凱婷) is the true frontwoman — less for her singing abilities than for her thunderous sound on the instrument. Fast like