Taishin Bank Foundation for Arts and Culture

Comments on the Finalist

Among all the finalists, this work undoubtedly has the least budget and is the smallest production. In a space that can barely be called a theatre, three characters with some common, everyday objects have surprisingly produced a captivating play. It is a psychological drama that is realistic and absurd at the same time. Moreover, it provides two different endings. How can the creative idea of a playwright be executed? This has always been an issue in the production of "pure" drama in Taiwanese theatre. The director's style might overshadow the script, or the actors' level might be insufficient to bring out the depth of the script. However, this exquisite small production has demonstrated the perfect collaboration between the playwright and the director. As the lines are being delivered with precision, the director remains tremendously careful in controlling the rhythm and progress of the performance. In the triangle relationship portrayed in the story, the actors are able to shine in different moments. It is rare and precious that they are so dedicated to perfecting the play when the space only has about twenty seats. Whereas the production is small, the performance is simply great and exemplary.  (Commentator: KUO Chiang-Sheng)

Artwork Introduction

The play’s script is the foundation of theatre art. Only original scripts can relate and respond to our own land, emotion, and perspective. Storm off the Forecast was one of the 2016 Sinophone Original Play Biennial performances hosted by Voleur du Feu Theatre. This art festival focuses on the playwrights through highlighting the value of original scripts, and looks for more potential creators of Sinophone drama. Storm off the Forecast was performed in a non-traditional theatre space. The script consisted of the language of daily life, which helped create a strong dramatic tension and wrestling emotions. The external environment of the impending typhoon echoed the painful and depressive indoor atmosphere of the breaking-up couple. The actors' control and outburst of emotions were mastered with precision, and the director ingeniously adopted an open end. Furthermore, the linear time and space of the realistic story-telling was shattered, which gave rise to a magical atmosphere that enshrouded the entire play.

About the Artist

Voleur du Feu Theatre

Voleur du Feu Theatre was founded by its Artistic Director HSIEH Tung-Ning in 2013. The name of the company is inspired by the Greek myth of Prometheus, who stole fire from Zeus to benefit human beings. The goal of Voleur du Feu Theatre is to enter the public and influence the society with the warmth and power of theatre.

Voleur du Feu Theatre predominantly focuses on producing new creations with ethnic Chinese perspectives. Meanwhile, the theatre company also adapts contemporary new scripts and classical scripts through the theoretical concept of total theatre, hoping to respond to social reality and local sentiments while perceiving the Sinophone theatre through a global perspective.

Voleur du Feu Theatre also engages in works about "Art Education and Promotion in Community," "International Exchange," and "Cultural Policy Research." The theatre company has been an incubation grant recipient of the Performance Troup Grant Project initiated by the Ministry of Culture in 2016 and 2017.

WU Ching-Yan, Playwright

WU Ching-Yan graduated from the Graduate Institute of Playwriting, Taipei National University of the Arts. His works include The Seventh Day Is a Tiring Day, Storm off the Forecast (finalist of the 15th Taishin Arts Award), Nothing for Now (Distinguished Honor Prize, The MOE Literature and Arts Creation Awards), The Second Floor (nominated for the 13th Taishin Arts Award), and Burning Incense.

LIN Wen-Yin, Director

Born in Taipei in 1975, LIN Wen-Yin graduated from the Department of Theatre, National Taiwan University of Arts, and has attended the Graduate Institute of Creative Writing and English Literature, National Dong Hwa University. LIN first stepped into Taiwanese avant-garde theatre in 1992, and has worked as administrator, playwright, director, actor, training instructor at Critical Point Theatre Phenomenon. Afterwards, he also engaged in various works, such as playwriting, directing, performing, design, theatre assistant work, etc. In 2007, he won the Best Actor for his performance in the short film, 53 Flower House, at the 29th Golden Harvest Awards for Outstanding Short Films. He has directed many works, including The Last Night of Hamlet (produced and premiered by Critical Point Theatre Phenomenon in 1999, and was selected into the Avant-garde Theatre Biennial), White Water 2003 (produced by Critical Point Theatre Phenomenon and premiered at Huashan 1914 Creative Park in 2003), The Filth (produced by Flourish Theatre Company and premiered at Representation Theatre in 2010), and Quasimodo (produced by The Little Theatre School and premiered at Guling Street Avant-garde Theatre in 2013).