Taipei Capital Ballet is growing in prestige as an internationally renowned troupe dedicated to producing original works far from the mainstream in Taiwan.
Established in 1990, TCB provides valuable opportunities for those striving to master the classical style. The troupe is also remarkable as it has put on nearly 1,000 performances of some 80 original pieces.
Co-founded by husband-and-wife duo Hsu Chin-fong and Lee Shu-hui, TCB’s director and artistic director, respectively, the troupe is the oldest of its kind operating in Taiwan. Last year, TCB won a Taipei Cultural Award, which is granted by the local government to individuals and groups standing out in the metropolis’ cultural scene.
“The Postman,” debuting in 2005, aims to inspire audiences with its anti-war message.
Chao Yu-ling, a professor at National Taiwan University of Arts, said the troupe’s ambition to incorporate Taiwan’s indigenous cultures into works choreographed by Lee, a member of the Amis tribe, is especially impressive.
One such melding of Western and local cultures is “Amis Images,” which features the costumes, music and rituals of the Amis. TCB’s performance of the piece in New York City 22 years ago captured the attention of senior dance critic Anna Kisselgoff, who penned a review for The New York Times introducing the Taiwan group.
Hsu’s works induce the audience to reflect on current events and social issues. “The Postman,” for example, portrays a young couple separated by war and remaining in touch through a cynical mail carrier. TCB is staging a remake of the 2005 work conveying a peace-loving message running until year-end.
“Variations on a Rococo Theme” is one of TCB’s standout original productions over the past decade.
The troupe is also performing works by external choreographers in an attempt to encourage homegrown talents to remain active while diversifying its portfolio. One highlight is Lai Tsui-shuang’s “Surround,” a blend of ballet and modern dance comparing life to a labyrinth that won a Taishin award in the performing arts category.
In addition, TCB produces a four-part experimental Ballet Pageant performance every several years, with sections created mainly by guest choreographers integrating ballet with folk, jazz, pop and modern dance. A total of five pageants have been staged to critical acclaim since debuting in 2002.
Chao compares TCB to a gardener sowing the seeds of the next generation of accomplished dancers and choreographers. The troupe’s devotion to raising the profile of ballet in Taiwan over the past three decades is truly extraordinary, she said. (E) (By Oscar Chung)
Ballet Pageant adopts exploratory approaches integrating various dance styles.
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(This article is adapted from “Grace in Motion” in the September / October issue of Taiwan Review. The Taiwan Review archives dating to 1951 are available online.)