The Chinese mainland first embraced Taiwanese stage dramas 30 years ago when playwright Yao Yi-wei's Red Nose was adapted by the China National Youth Theater in 1982. Not only was it staged more than 60 times following its mainland premiere, it also triggered a lasting trend known in the theatrical scene as "Taiwan heat."
The success of a Chinese-language adaptation of Tuesdays with Morrie based on the namesake 1997 novel by American writer Mitch Albom and starring Jin Shi-Jye at the National Centre for the Performing Arts is only part of the picture of Taiwan's contribution to mainland theater. Stan Lai, regarded as a drama master, and the Comedians Workshop troupe founded in 1988 by Feng Yi-kang and Sung Shao-ching are also particularly revered.
But what is that makes Taiwanese dramas so popular on the Chinese mainland? Wang Xie, a 24-year-old college student and avid drama fan, lauded Taiwanese productions' "brave satire of current affairs."
"They have a strong sense of social responsibility," said Wang, who cites Comedians Workshop as his favorite Taiwanese drama troupe. "Through their cunning wordplays, they criticize politics and many sensitive issues without fear - something you can hardly find among Chinese mainland dramas."
One of the possible influences behind this political satire lies in the backgrounds of pioneering Taiwanese dramatists. Many were responsible for producing propaganda for the retreating Kuomintang (KMT) Party during the Chinese Civil War (1945-49). Politics became a fertile subject for Taiwanese dramas based on their experiences with the KMT and its resonance with audiences.
Even Chinese mainland actors expressed their admiration for Taiwanese dramas. "I envy my Taiwanese peers," said 24-year-old actor Wu Yuanqing. "They have explored many areas that we haven't touched."
But there's more to Taiwanese dramas than merely political parodies. They are also known for versatility in presenting different themes and experimental performances. Stan Lai's Secret Love in Peach Blossom Land is arguably the most famous Taiwanese drama for its combination of comedy and romance, creating a hilarious yet sorrowful atmosphere. Meanwhile, after watching Tuesdays with Morrie, many Chinese mainland audience members were surprised that a drama with a cast of only two could span longer than two hours, yet remain gripping throughout.
The Little Theater Movement in Taiwan in the 1960s cultivated the experimental spirit deeply in the local drama scene, delivering a boost to non-commercial theater productions and performances from schools. During this period, many little theaters received funding, which backed up their exploration in new art possibilities.
Although Taiwanese stage dramas are popular on the Chinese mainland, it's current situation is "beyond perfect," according to Liu Liang-yen, a 33-year-old Taiwanese playwright from the troupe Theater Company of Lee Qing Zhao the Private.
"The social responsibility of Taiwanese drama is draining. It's no longer focused on social issues compared to 10 years ago, and people are increasingly shifting their focus to money," Liu said, blaming the Taiwanese government for misdirecting dramatists.
"The little theaters are subsidized, yet they have to follow what they are told. Therefore, many are encouraged to produce commercial plays and subsequently neglect social issues and experimental theater. In stark contrast, bigger drama troupes founded decades ago like Comedians Workshop still stick to these traditions.
"It seems that Taiwanese stage dramas are going in the wrong direction. The big troupes should be the ones finding commercial modes for drama, while the little theaters should use the official funding for experimentation," said Liu.
Liu stressed drama was for people who "have an opinion to express, a passion to speak, and a responsibility to take," urging troupes from both sides of the Taiwan Straits to adhere by these values.
Editor: Shi Liwei
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