Digital Archive of Electronic Modern Theater Intermix in Taiwan, 1986-2009, I-II.
About the project
The contents of the website are the consolidation of the two phases (a total of four years) of the National Science Council's Taiwan e-Learning and Digital Archives Program, previously known as National Digital Archives Program. The contents, based on the data from Taiwan Modern Drama and Performing Audio-Visual Library established in 2003 at the National Central University, are selected amongst the most important and representative pieces of audiovisual information and are digitally archived.

The collection program includes non-profit audiovisual records of public performances of Taiwanese theater arts, from 1986 to 2009. In addition, the project investigates, collects, organizes, and implements relevant audiovisual records of the metadata through oral and literature search.

A Boring Life A Bed for Four Happiness嚗
The features of the collection program are as follows:

Phase I (implementation period from 2005 to 2007, with the collection of works from 1986 to 2005.)

Starting from 1986, Taiwan modern theater addressed issues such as public debates around political criticism in the late 80s and social cares, and more importantly, since the 90s issues of self-reflection. Based on the current possessions of the digital archives, the collection during this period in Phase I demonstrates a strong, modern character on issues like cultural identity and politics.

The collection in this period includes 80 works, about 5590 minutes of data, from 16 artists: Tian Chi-yuan, Li Huan-hsiun, Wei Ying-chuan, Liu Shou-yao, Yen Hung-ya, Peng Ya-ling, Wang Rong-yu, Fu Yu-hway, Wang Chia-ming, Fu Hong-zheng, Wang Shau-di, Li Shao-ping, Zhuo Ming, Hsu Rey-fang, Chen Tsu-yang, Lu Bo-shen.

Phase II (implementation period from 2010 to 2012, with the collection of works from 1995 to 2009.)

During the fourteen years from 1995 to 2009, Taiwan's modern theater organizations became increasingly popular and well-established, while conversely, they deepened the relevant training methods and styles in a wide range of aesthetic effects. The collection of works in this period reveals the rugged development in the past 15 years and provides abundant footprints in Taiwans modern theater art.

Another feature of this collection in Phase II is that among the twelve artists, half of them are women. These female artists' creative perspective differs from the one used by their male counterpart. From traditional puppetry, cross-border experimental drama, settings, video and modern dance re-match, to issues such as gender, family relationships, ethnicity and nationality, they have demonstrated a wealth of possibilities. The great variety of their works shows the diverse concerns and accomplishments of modern theater in Taiwan.

The collection in this period includes 80 works from 13 artists: Peng Ya-ling, Hsu Yen-ling, Shih Pei-yu, Chen Chia-yin, Tai Chun-fang, Chou Hui-ling, Wang Chia-ming, Fu Hong-zheng, Lu Bo-shen, Li Huan-hsiun, Yen Hung-ya, Baboo Liao, Lee Yi-hsiu. (By July 2011, the total of forty works have been completed, about 4126 minutes of data.)


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