By Chi Hui-Ling, a theatre critic, Director and resident critic of Performing Arts Review, and a doctoral student of theatre arts at the Taipei University of the Arts.
It’s not completely accurate to equate the “image” of Cheng Tsung-lung with Cloud Gate, despite the fact that he serves as Artistic Director of the group, and the similar body quality of dancers of Cloud Gate 2 after receiving a same set of systematic training, the choreographic works of Cheng stands in a stark contrast to Cloud Gate. Given the preference of Cheng in fast-paced movements, his dancers are often seen sweating with a swift conversion of core power concealed in the moving body, underscoring a diaphanous, trancelike, hazy tone of the performance.
Focusing on the grassroots, 13 Tongues depicts the hunchback, despicable, mentally disabled and physically deformed in Din Tao (a Taiwanese commonplace folk street parade for religious celebration) with a combination of folk songs, repentance singing and chants with electronic psychedelic music. Colourful is the first impression audiences get from the show; from music and costumes to images and lighting, all display a diversified range alike the disorderly, chaotic street scenes at Lungshan Temple of Manka, Taipei. Perverse is the second impression, as eccentric movements, puppets and bodies, thusness, and stories of departure and reunion unfold on the stage and delude clarity, declaring what has happened is legend; yet underneath the chaos reveals the disorder and mundane world. 13 Tongues on surface illustrates the wildness of the grassroots and vitality of local Taiwanese; but with the irreversible reality and modern nostalgia, it in fact talks about the rootless dreamland. While young dancers might not have a clear grasp of the wildness of the previous century and the middle-aged choreographer might not be able to find a solution for the struggles between traditional and contemporary choreography, 13 Tongues is a tribute to rural Taiwan and recreates the splendid but temporal moment through howls.
Mainstream while caring for the minorities, body-centric while indulging in the stream of consciousness, it is, without a doubt, Cheng Tsung-lung will become more high-profile, not only due to his position at Cloud Gate 2 but also his more conspicuous style under the label of Cloud Gate. Among all upcoming Taiwanese choreographers, Cheng is definitely worthy of your attention.
Notes
- This article was completed at the end of October, 2017. Cloud Gate announced in a press release dated 22 November 2017 that Lin Hwai-min would retire in 2019, replaced by Cheng Tsung-lung as the new Artistic Director of Cloud Gate.
- More information in regards to the topic can be referred to “Transcript of Talk: Nostalgic Body and Writing in Memory of Taiwan – From 13 Tongues” at Performing Arts Review (http://pareviews.ncafroc.org.tw/?p=23361).
This article is excerpted and translated from Chinese