Baboo LIAO - Directors

Intro

Since his theatre directing debut in 1997, Baboo has directed some thirty productions, two of which have earned him the awards for Taishin Arts Awards for Annual Top 10 Performing Arts. Three of his plays were invited to premiere in Festival Off d’Avignon and have toured several major cities in France since then.

Baboo has been frequently invited to international exchange programs and performances, and as a prolific young director, he continues to maintain high visibility, receiving much attention from various fields. His work has been invited to perform in New York, Berlin, Paris, Copenhagen, Avignon and Seoul.

His VR work Chroma: A Derek Jarman Project was shortlisted for Taiwan’s Taishin Arts Award earlier this year. The nominating committee speaks of it as “a pioneering work of sound technology, which reconstructs the sexual identity of Jarman, and of his obsession with the color blue; it also provides the post-human with a possible solution to the predicament in the face of the pandemic.”

Recent works include: Am Königsweg, Chroma: A Derek Jarman Project, Corona Villa(2020) , Mythology Upon the Table(2019), God Knows(2018), Caged Time, Common Tragedies(2017), How Long is Now?, Serenade, One Hundred Years of Solitude (2016)

Awards

Works

  

Your paradise is the hell of others.
Guided by Dante's Divine Comedy,
a modern mythology of Asian migrant workers.

This is an imagining of and a proposal for a future isolation facility. When epidemics become the norm, the country’s borders are strictly controlled, and staying in hotels to prevent epidemics becomes a means of self-isolation and protection, as well as a means of temporary relief and escape from the daily grind.

Husets Teater presents the Danish premiere of the Nobel Prize winner Elfriede Jelinek's text ‘Am Königsweg ’, in Danish‘ Folkekongen ’, which in 2018 was named the piece of the year in Germany by the acclaimed magazine Theater Today. Folkekongen is staged by an international director duo consisting of Danish Liv Helm and Taiwanese Baboo Liao.

A dinner banquet presented by Lévi-Strauss and Shakespeare’s Wild Sisters Group
“Can you pass the salt…oh, no…the mythology to me, please?”

Baboo LIAO
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Visual artist CHOU Yu-cheng
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Conceptual artist On Kawara

Disasters have spread through information, and the moment has created deep memories. After time has passed, what is the last thing that remains in the mind?

Memories, reality and fantasy,
Like a child's graffiti, full of imagination
Parting, passing away and dying,
Like a deep sleep of spirit, will eventually wake up

"One Hundred Years of Solitude" premiered at Forest Theater at TNUA in 2006. It was reproduced at Tainan Cigu Salt Mountain ten years later. Because of the difference in stage and the performers, it became a brand new version. Taking the salt mountain as the landscape stage, the scene scheduling like camare movement gives the audience time to contemplate and gaze.

Every Objector system ought to have a user guide that comes with it—without exception. Listed in it are the instructions and guides on how to use the functions associated. Though there`s no user guide whatsoever for a user guide. So it is conveniently concluded that: User guides are closest to the essence of all things in the world.

All that's been there, all that's been written
And all that's to follow, we know by heart
On we keep previewing, rehearsing, and, maneuvering
So aptly and clumsily too. So indifferently
With a contemptuously malicious smirk even
As if in an obituary that forebodes a Love

Failed efforts, laughable loves
I am just too devastated by you, and by us
All's a polyphonic song sung for the the bygones, for the absentees

  

A scrap heap yet to be had
Show On turns the world upside down

To reject pain is to avoid love.
We are accomplices and opponents,
we once desired each other.

Dying
Is an art, like everything else.
I do it exceptionally well.
--Sylvia Plath,〈Lady Lazarus〉

A dream where one cannot awake from… We always imagine, after we untangle ambiguity, there will be “shining-bright embarrassment and absurdity;” but the flashbacks, inserts and direct descriptions, will eventually turn stupefied by a never-ending closure.

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