Chiang Tao’s《Moon Goddess and Horn Man》invokes feminine worship by incorporating Rock’n’Roll music in the play, transforming theatre into a live concert. In 《∞》, the actor-director Tsai Bao-chun uses the scientific concept of infinity to explore the past, the present, and the future. The mise-en-scene is precise with good theatrical rhythms, and the language is sharp and intriguing. Chen Ming-fon’s 《Crossover》tells the story of his personal background to project the anxiety of identification. The story unfolds like a prose in an easy pace. A graduate school student performs together with a junior high school girl. Hsu Shi-hsien’s《The Beauty over there》portrays life of the young Taiwanese generation born in 1980s. The principle character lives in the world of internet, jumps between virtual and real worlds, and repeats the game of love and death. The story creates a weird atmosphere.
Four different and distinct styles of theatre reflect the “Heteroglossia” of the society.