Shinehouse Theatre (2015 Outstanding Troupe)
Founded in: 2006
Type of performance: Theater
Contact person: Administrator Ye Yuling
Contact phone Number: (02)2308-3398
Email address: [email protected]
Address: (10856) 1F, No. 21, Alley 15, Lane 125, Section 2, Huanhe South Road, Wanhua District, Taipei City
Shinehouse Theatre was founded in 2006. The productions include adaptations from literary works, subjects related to social issues and series about cities to reflect contemporary social phenomena and record the appearance of living environments. It is hoped that each performance can help people understand better the land they live on and the power of theater can reach and touch more and more people. The ultimate goal is that theater can become part of life and the life stories of ethnic groups can be incorporated, so that audiences of different language and cultural backgrounds can resonate as a result of the same interpretation of life.
The group has been invited to perform and well received at international arts festivals in different countries, including the International Contemporary Theatre Festival in Shanghai, International Theatre Arts Festival in Bangkok, Thailand, Taipei Arts Festival, Asian Performing Arts Festival, Festival Tokyo and Tokyo Arts Festival, etc.
Group Leader Intro
Mr. Zhong received an MA in directing from the Department of Theatre, Taipei National University of the Arts. He has a lot of experience in screenwriting and directing and the topics of his creations are diverse and rich, including mythological stories and legends, local histories, social events and literary works. After founding Shinehouse Theatre, he has created over 30 original works and some of them have been published.
His production A Midsummer Night’s Chat created in 2011 was nominated for the Third Quarter Taishin Arts Awards. In the same year, he was given the National Youth Contribution Award by the National Youth Commission of the Executive Yuan for his active participation in public affairs and promotion of arts and cultural education in communities.
Mr. Zhong adopts social issues for topics and the contents are diverse and rich. His works express strong concerns about culture. In A Midsummer Night’s Chat, for example, ghosts are used as the simile for humans and the audience enjoys watching the show. After moving to Wanhua, he has been devoted to promotion of local culture and even interviewed homeless people and sex workers. He has also opened a community theater class.
Major Performances or Productions
“The Armageddon Trilogy”
Mr. Zhong created this series by using concentration camps in WWII as the background after returning from a trip to Berlin in 2011. From the first episode Armageddon in 2011, the second episode Underground Women in 2014 to the third episode Adolf, it took him seven years to complete the series, which is considered his most representative work in recent years. Cultural invasion is adopted as the main theme to describe the plight of the cultures of underprivileged groups gradually dying. It is what the director has observed in the contemporary Taiwanese society and what he feels about his own situation.
“Purgatory” – a Taiwan-Japan joint production in 2016
This is a joint production between Taiwan and Japan. The inspiration comes from the danger of flying bullets and shells in a battle and the atomic bomb explosions in Japan near the end of WWII were adopted as the background, which is why “purgatory” is used as the title. The group worked with Japanese performers during a 14-day intensive workshop to improvise and come up with the 15-minute work. The show doesn’t just take the audience back to 1945 when the atomic bombs were dropped; it also urges the generations growing up in peaceful eras to reexamine the condition they are in.
The series of “A Midsummer Night’s Chat”
From urban anecdotes to local legends, the series tells about unexecuted and obsessive ideas of people through ghost stories. In big cities, people are distant and indifferent and often unable to find the outlet to vent their frustrations. They have to find other ways to escape their sufferings and helplessness. As a result, they resort to spirits that cannot be seen but thus become the tangible images of their expectations and obsessions. Ghosts are presented in the show, but the real intention is to discuss how people should treat their lives. Every year, this series challenges a different form of performance and subject. The tickets to every performance are always sold out and the series also draws the most inquiries.
Recent Domestic and Overseas Performances
2017 The Armageddon Trilogy: Adolf, Experimental Theater, National Theater
2016 Purgatory, a Taiwan-Japan joint production, Wanhua Sugar Refinery Cultural Park, Taipei
2016 Fish-Cat, Taipei Zhongzheng Performance Hall; Baiguo Tree Red Brick House, Yilan; National Taichung Theater
2016 A Midsummer Night’s Chat IV, Tainan Arts Festival
2015 A Midsummer Night’s Chat III, Taipei Arts Festival
2014 The Armageddon Trilogy Episode 2: Underground Women, Wanhua Sugar Refinery Cultural Park, Taipei
2016 Purgatory, Asian Performing Arts Festival, Japan
2013 A Midsummer Night’s Chat, Hong Kong People’s Fringe Festival, Hong Kong; Festival Tokyo, Japan
2012 Swallow, Shanghai Autumn Harvest Festival; Hong Kong People’s Fringe Festival
2012 A Free Afternoon in the Microwave, Shanghai International Arts Festival
2011 Ten Years Old, Bangkok Theatre Arts Festival, Thailand
Major Events This Year
Time: 2019/11/29-2019/12/1Venue: Experimental Theatre, Taiwan Traditional Theatre Center
Shuji Terayama is regarded as the icon of avant-garde theatre in post-war Japan. His works often reflect social issues through webs of virtual and real fantasies and immoral settings, as well as conflicts among characters; especially, he demonstrates a bold and colorful style and raises sharp questions. His play, “La Marie-vison,” first premiered in 1967. It features powerful LGBT symbols and imageries such as feminization of men; Marie, a transvestite prostitute, raises a beautiful young boy due to personal reasons. Within the decadent imagery of aestheticism, cross-dressing Marie once and once again questions what exactly are the codes and standards of this world? Such powerful character remains hidden and in disguise under a certain mask.