STAGE
Shen Chao-Liang


Since the 1970s, Taiwan society has developed its own cabaret culture which is different from those of the Western countries.  In the early years, performers were invited to perform entertainment programs, often in the form of singing and dancing, in a variety of occasions, ranging from wedding banquets or funerals to religious ceremonies.  In order to move conveniently around the country, they chose to perform in a simple “theater” - usually in a camp or on a truck renovated specifically for the performance.  The form then became the origin of a unique Taiwanese cabaret culture.

As Taiwan gradually developed into a more industrial and modernized economy, the performances have evolved by introducing new technologies and equipments as well as applying more sophisticated skills to improve their entertainment effects.  Given all the changes, the traditional elements featuring Taiwanese cabaret can still be found today – joyful, spontaneous, innovative, highly interactive with the audience, they have attracted and entertained generations of Taiwanese people from all walks of life and in every corner of the island.

However, the forms and contents of the performances of Taiwanese cabaret have varied in the past three decades.  Due to rising popularity of television variety shows, cabaret artists have to keep upgrading their performing skills and diversifying the formats.  Not only singers and dancers are dressed up in formal luxurious costume, forms and programs are also enhanced and re-designed to include “newer” performances such as poll dance, drag shows, jugglers and comedy.  Sometimes the moving stage itself, usually a “truck theater” that may weigh up to 8 to 15 tons, is regarded as an integral part of the performance that can attract a considerable number of people.   When a show is deemed a success, the owner, or organizer, of the cabaret will receive invitations from around the country. 

Most performers of Taiwanese cabaret are young single women in their late 20s or early 30s.  In addition to those who work for their “family business”, a high percentage of performers are part-time performers with other occupations.   Usually after they spend a few years singing or dancing, or after they get married, they would shift to the positions of masters of ceremony (MC) or managers of the group.  Due to long working hours and high mobility of the profession, sometimes they have to choose to leave the business because of family reasons.

This photographic project started in early 2005 with an intention to record the important culture of Taiwan that has witnessed countless changes as Taiwan has gradually developed into a modern economy.  Among the various cabaret artists I recorded with my camera and had interviews with, most of them have other professions and different “social status” when off stage, such as school teachers, college students, or bank clerks.  Underneath their colorful make-up and sexy luxurious costumes, they are only simple normal people who have their dreams and hopes for a better life.  The findings present a gap from the general perception of cabaret artists in Taiwan.

At the exhibition, the presentation of the photos featuring various “truck theaters” in different cities is intended to be a “window” for the viewers, especially those who are not familiar with the performances, to glance and appreciate the unique part of Taiwanese culture.  The “truck theaters” presented in the works are either the most popular or unique ones used in cabaret performances today; some having been re-designed or renovated several times since early 1990s.   It is hoped that, through the “window” of these colorful “truck theaters”, the diverse and rich Taiwanese culture can be introduced to more people from around the world.

Back