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Magical Realism and Theatre of the Oppressed in Taiwan: Rectifying Unbalanced Realities with Chung Chiao's Assignment Theatre

Ron Smith
Asian Theatre Journal
Vol. 22, No. 1 (Spring, 2005), pp. 107-121
Stable URL: http://www.jstor.org/stable/4137078
Page Count: 15
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Magical Realism and Theatre of the Oppressed in Taiwan: Rectifying Unbalanced Realities with Chung Chiao's Assignment Theatre
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Abstract

Chung Chiao's Assignment Theatre uses ideas culled from Magical Realism and Boal's Theatre of the Oppressed to create work that redresses inequalities of class, gender, ethnicity, and other features in contemporary Taiwan. River in the Heart, a production that grew out of a workshop launched in response to a 1999 earthquake, is an example of his work. The performance empowered a group of Hakka women, called the Shigang Mamas, to represent their perspectives in a public forum, prompting discussion of gender inequality in contemporary Taiwan. For the Shigang Mamas the practice of theatre became a dress-rehearsal for real life, and theatre a rehearsal for revolution.

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