The half-man, half-horse Hayavadana wishes to be a “completed” being. Pacida, the leader of the theatrical troupe (who also assumes the role as the narrator), informs Hayavadana that he might be able to have his wish come true, if he find goddess, Maliya who might perform miracle on him. After he left, the narrator start to tell a story about a love triangle, in the form of “mise en abyme” (a story within a story), in which one beautiful woman (Sikabari) was wooed by two men, and the choice she has to confront therefore. The half-man, half-horse Hayavadana in the first layer of the story has a horse head on his human body, whereas in the mise en abyme, the two men switch heads with one another, making Sikabari confused in identifying which one of the two is her real husband? Is it the head or the body that really matters to a man? The triangular love complex is unraveled via different layers of stories. Would Hayavadana find his completed self? Would everyone in the play be able to find a happy ending? The multi-dimensional plot would not only provoke attention of audience, but inspire their mind to ponder afterward.
联合创办人为毕业于新加坡「跨文化剧场学院」(Intercultural Theatre Institute)的剧场资深演员林浿安，以及毕业于印度新德里国立戏剧学院(National School of Drama, New Delhi) 编导演皆备的印度籍艺术家Chongtham Jayanta Meetei（江谭佳彦）于台湾跨国共同成立。
Enhance connection between locality and culture, elaborate multiple theatrical languages, and transform physicality into aesthetic performance
EX-Theatre Asia was co-established in Taiwan by a veteran on stage, Lin Pei- Ann who graduated from Intercultural Theatre Institute, Singapore, and Indian playwright, director and actor, Chongtham Jayanta Meetei, who graduated from National School of Drama, New Delhi.
“EX” is a common prefix applied in many English words, e.g., experiment, exchange, explore, while Asia is a geographical source of rich physical language and contextual metaphor. One would be able to extrapolate that this theatrical troupe is good at combining both, borrowing traditional elements and catalyze transformation thereof. From the culture of homeland, EX-Theatre Asia endeavors to create novel physical symbols and impressionistic performance for modern theatre.
Theatre is a space that tells stories and encourages philosophical speculation. Combined with artistic elements such as music, dance, and lyrics, theatre regard performers and texts as the primary media of communication and interpretation. The texts are the vehicles that communicate dialectical poetry, whereas performers the carriers of ideological transformation. Thus issues such as how to continue the philosophical speculation in theatre, and how to transform and interpret physical norms of traditional performance, become the experimental theme of EX-Theatre Asia.
With their stylized physical performance, and imagery visual presentation, EX-Theatre Asia has established inter-temporal dialogue between modernity and tradition, referring to core elements such as ecumenical values within our very own humanity, proposing novel interpretations from theatrical perspective, and brining stylish aesthetics that could be found no-where else to Taiwanese theatre. With their artistic works on stage, EX-Theatre Asia continues its creative works motivated by its concentrated attention to social or cultural issues, as well as its creative style that tells the story with performers’ bodies.
EX-Theatre Asia has devoted years in working on trans-cultural theatre and exploration on modern theatrical aesthetics, searching for more diversified theatrical vocabulary and creating new aesthetical approach of classical performance. In recent years, many of its productions received nominations of important awards, were invited for oversea performance by international art festivals. It is one of the few renowned Taiwanese theatre troupes that develops its stylish textual interpretation in multiple languages, brings novel pan-Asian elements into Taiwanese theatre, and establishing a transcultural platform of communication.