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In mid-December 2016, ET@T organized a series entitled Visual Zone and Time Difference: 90s Theatre Archive Screening. “Social forces broke through a number of limitations in the 1980s; and cultural forces erupted and thrived in the 1990s.” The “little theatre” social movement—represented by Circular Ruins (Hwan Xu), Zero Scene, Rive-Gauche, U Theatre, and Critical Point theatres—also entered into a period of experimenting with various forms of cultural vessels and venues in the 1990s. At the same time, little theatres also began negotiating with the government and entered a process of systemization. However, collective negotiations and unified game rules were lacking in the public sector which was ill prepared for these negotiations with varying formats which were fraught with conflict and pushback. Lin Chi-wei’s description of the noise band, Zero and Sound Liberation Organization (Z.S.L.O.), participating in the 1992 Young Stars College Music Competition at FuJen Catholic University gives an illustration of the overall cultural field at the time: “In reality, our songs could not be repeated. It felt like rock and roll but fundamentally, there were no rules to govern the excessive freedom. It lacked a constant tempo; the lead singer either forgot or refused to remember the melody, because he will not be repeating it.” Though this condition determined the post—(Wild Lily) Student Movement counter-culture tone in 1994 and 1995 for the Taipei Broken Life Festival series (formerly The Rivebank Calling), another aspect that must be considered is that the 2nd Taipei Broken Life Festival was already a product of a collaborative relationship with the Taipei County Government.
“Excerpted from the first paragraph of this article.”
This article is published in Broken Spectre catalog.
Read more:
1.捕捉文化史的鬼影：「破身影」展覽（2017/07/01-09/17）
2.〈[ET@T Forum] 重新破裂，或如何從漫長的九〇年代離開？〉，在地實驗影音檔案庫，2017/07/09
3.「過於喧囂的孤獨－－台灣九〇年代的文化轉型」，在地實驗影音檔案庫
4.〈[ET@T Forum] 專訪《台灣美學文件》李疾〉，在地實驗影音檔案庫，1998/09/18
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