Quiet Decline of Lanling Theatre Workshop: A Postmodern Shift from Huaju to Grotowski-Inspired Physical Theatre in Taiwan

Abstract: When discussing the Lanling Theatre Workshop, critics often cite the success of Hezhu's New Match in 1980 as a milestone in Taiwan's modern theatre. However, in hindsight, its success was more symbolic than artistic, signifying a break from Nationalist propaganda drama. The lack of discussion on its decline also obscures the theatre's trail and hinders researchers from achieving a comprehensive understanding. Furthermore, given Lanling's adoption of Western theatre techniques, it is essential to contextualize it within Taiwan's theatre scene as well as the broader cultural struggle involving Taiwan, China, and the United States during the Cold War. Hence, this article aims to reexamine Lanling's history, focusing on Hezhu's New Match and Nine Songs (1985) as pivotal points in its rise and fall. By placing Lanling within a broader spectrum of Asian and world theatre, this study also seeks to document the dissemination and reception of Western theatre knowledge in Taiwan, particularly Grotowski's influences, and to explore how it shaped Taiwan's theatrical landscape, guiding its transition from spoken drama toward a postmodern and physical trajectory.