The Complete Works of Kuo Pao Kun ⑥: Commentaries
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Drama doyen Kuo Pao Kun was not just a playwright.
During his lifetime, he had constructed his own views towards culture and humanity. Through his teaching and numerous arts and cultural activities, he had influenced many theatre practitioners and intellectuals in various cultural fields with his views. Such influence had even reached some of the ruling elites.
This volume is a collection of commentaries written by him on his own and others’ creative works. For any research on Kuo Pao Kun, as a cultural “engineer”, this collection will serve as an important and relevant reference.
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Lao Jiu (1990), The Eagle And The Cat (1990), 0Zero01 (1991), The Evening Climb (1992), We Played Xiang Sheng That Night (1994), Descendants of the Eunuch Admiral (1995), Calling The East Wind (1996), Grandpa’s Meat Bone Tea (1997), Spirits Play (1998)
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Missing Person
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Height: Average
Special traits: Quiet, elusive, temperamental, unpredictableYou and me and him are waiting looking searching urgently for Wu Jun Ru. Your childhood pal, or my soul mate, or his buddy. Don’t know how to find, who can help? Can find without photo? Date of missing can’t remember, can still find? If you have information, please contact you, me or him. Thank you everyone!
Long-forgotten memories resurface when a delivery man delivers a letter to an amnesiac living in an old folks home, signed by the mysterious Wu Jun Ru. Yet no one seems to know who he is or what his relationship is to them. Director Kuo Jian Hong leads three actors to create this devised text-based work. Featuring a dynamic conceptual set design by Kuo Jian Hong, this surreal production explores the fleeting, seemingly insignificant moments in our memory and what happens when they finally resurface.
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Cat Man (2006)
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Man To Man (2010)
Confucius advocates that every man has his place.
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About The Poor Theatre Series:
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Published as part of The Theatre Practice’s 50th Anniversary celebrations.
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The Complete Works of Kuo Pao Kun ⑦: Papers and Speeches
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Looking at Kuo Pao Kun’s theatre works, most people believe that his cultural and social philosophy changed dramatically after his detention under the Internal Security Act from 1976 to 1980. Yet the difference may not be as large as we think. While the tone and expression of his early articles are quite different from comments made in the 1980s, many of Kuo’s well-known views on theatre and culture are reflected in his pre-detention writings. At its most fundamental, his ideology has remained consistent throughout the years.
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