Lin Mei-hsiu weeps during rehearsals as classic stage play opens triumphantly

The Green Light Theater’s classic stage production, *Human Conditions III: A Man and a Woman Disguised as a Geisha for an Interview*, officially opened on the evening of the 9th at the National Theater in Taipei, marking the beginning of a new tour. Directed and written by Wu Nian-zhen, a master of contemporary Taiwanese theater, the work has long held a pivotal position in the local theater scene. It consistently triggers a frenzy of ticket sales upon announcement and remains deeply etched in the memories of countless audiences. Supported by a cast of accomplished actors, one of the most prominent focal points is Lin Mei-xiu, a national treasure of the stage, who returns to the stage to portray a key character in the play. More than a decade has passed since the last large-scale production of this work. In an interview, Lin candidly admitted that despite the passage of time and her enriched life experiences, as well as undergoing numerous rounds of script reading and rehearsal, she still finds herself unable to resist being deeply moved by the dialogue and emotions penned by Wu Nian-zhen every time she engages with the script. She even revealed that she shed tears on multiple occasions during rehearsals.

Lin Mei-xiu has a profound connection with the *Human Conditions* series; as one of the core actors of the Green Light Theater, she has participated in performances of nearly every work in the series. In *Human Conditions III*, the emotional depth of her character is exceptionally rich. The role not only embodies the resilience, helplessness, and tolerance of women in early Taiwanese society but also, through interactions with other characters, outlines the family structures and the tension in gender relations within Taiwanese society amid societal changes. For a professional actor with extensive experience in film, television, and theater, returning to a role played more than a decade ago should have been second nature. However, Lin stated that as she has aged and experienced more of life’s cycles of birth, aging, sickness, and death, as well as the comings and goings of emotional relationships, her perspective on the script has transformed into a profoundly different insight. Lines that she may have simply delivered according to the script in her youth have now transformed in her mind into the genuine weight of life, often requiring her to take time to compose herself during rehearsals.

The enduring appeal of *Human Conditions III: A Man and a Woman Disguised as a Geisha for an Interview* lies primarily in director and writer Wu Nian-zhen’s meticulous observation of Taiwanese commoner culture and his profound analysis of human nature. Wu excels at using grounded Hokkien dialogue and highly realistic settings to package philosophical and critical issues regarding human nature. In this work, the story utilizes a seemingly absurd setting of temporal intersection and soul swapping to facilitate dialogue and collision between modern intellectuals and geishas from a conservative era. The play not only explores the true faces of Taiwanese men under the pressures of family and society but also deeply reflects the collective portrait of Taiwanese women in a society woven with traditional and modern elements, showing how they silently endure everything while displaying astonishing vitality. This narrative technique, which avoids preaching yet strikes directly at the heart, is the greatest charm of Green Light Theater’s works, enabling them to transcend generations and move countless Taiwanese people.

For the packed house at the National Theater, seeing the original cast or golden lineup of *Human Conditions III* return to the stage is not only a cultural feast for the eyes and ears but also a collective awakening of era-specific memories. Although the performance art market in Taiwan has flourished in recent years, long-running plays like *Human Conditions* that successfully balance popular accessibility with artistic height and resonate across generations nationwide are rare. Over the years, the Green Light Theater has upheld its original intention of “making stage plays for the masses,” bringing the joys, sorrows, anger, and happiness of ordinary Taiwanese people to national-level performance venues, thereby breaking down the barriers between high art and commoner culture. The tears Lin Mei-xiu shed in the rehearsal hall symbolize not only her personal dedication and empathy for the role but also, to a certain extent, the sense of being understood, empathized with, and released that all Taiwanese people feel when facing this work.

Following the enthusiastic opening in Taipei, *Human Conditions III* will proceed with a tour across the country, bringing this warm and powerful theatrical energy to theater fans in central and southern Taiwan. In a rapidly changing contemporary society, people are daily surrounded by fast-paced information and high pressure. Wu Nian-zhen’s scripts serve as a safe harbor, reminding audiences to examine their emotional connections with their families, the land, and the past. With her exquisite and warm acting, Lin Mei-xiu has once again imbued the character with a vivid soul, proving to all audience members that a good script and good actors can withstand the test of time. This performance is not merely a revival of a play, but a gentle gaze at the shared emotional memory of the Taiwanese people. In the dimmed lights of the theater, the fusion of emotions between the stage and the audience has once again written a moving chapter in the history of contemporary Taiwanese theater.

(Source: Central News Agency)