POSTS

Chaos as Choreography: Re:INCARNATION Recovering Precolonial African Rhythms — An Interview with Qudus Onikeku

Queer Tetralogy: Desire, Technology, and Rebellion: Inside the Visual World of Shu Lea Cheang｜Lecture Notes

Taipei Theatre Award Winners Lecture Series｜A-14-Year Dialogue: Companionship and Collaboration on Stage and in Life｜Lecture Notes

2026 THEATRE TECH EXPO Between Light and Shadow: A Dialogue Between Humans and Technology

Taipei Theatre Award Winners Lecture Series｜The Parallel Universe of Malaysian Chinese Theater｜Lecture Notes

Technology as the Embodiment of Gaya – Reflection on Futurism in HAGAY DREAMING

所有的故事都可以交換：我看《暗夜．腹語．鬼托邦》

2025 Autumn Dramaturgy and Theater Creation Courses: Moments Other than “When Angels Descend on the Stage”

《恍恍》導演加藤拓也：與「四把椅子」跨國共製，解開詛咒的根源

捻.念.銅門部落山野之旅・觀察側記｜《遊林驚夢：巧遇Hagay》

The Wanderer, the Scholar, and the Fool: An Analysis of Hedda Gabler and Her Three Men

Ghost Stories Are the Ultimate Manifestation of “Living:” Ghostopia