{"id":17631,"date":"2025-11-30T23:35:50","date_gmt":"2025-11-30T22:35:50","guid":{"rendered":"https:\/\/proyector.info\/work\/the-walker\/"},"modified":"2025-11-30T23:37:03","modified_gmt":"2025-11-30T22:37:03","slug":"the-walker","status":"publish","type":"movie","link":"https:\/\/proyector.info\/en\/work\/the-walker\/","title":{"rendered":"The Walker"},"content":{"rendered":"\n

In collaboration with the Ministry of Culture of Taiwan, Taipei Cultural and Economic Office and Double Square Gallery.<\/p>\n\n\n\n

As one of the most active \u201clittle theatre\u00bb(\u5c0f\u5287\u5834) groups during 1990s, Taiwan Walker had been engrossing for its vernacular spirit-based theatrical aesthetics since its founding in 1992, and it was 5 years after declaring of martial law. Su Hui-Yu had watched the theatre\u2019s performances on an irregular basis since his collage days. The theatre\u2019s DIY spirit beyond institutionalisation and commercialisation as well as its ability to interfere in the highbrow art with popular cultures have substantially influenced Su\u2019s artistic practices. In The Walker, Su ingeniously deconstructed three of the theatre\u2019s plays, namely Mary Scooter (1993), Asshole Man (1996), and Our Top Horny Novels (2000). He extracted the character designs from these plays, emulated the theatre\u2019s theatrical method, and asked amateur actors to improvise on site. Based on a multi-character narrative structure, this work reinterprets the velocity, prime-time, rebellion, physical pleasure and ethical minefield referred to in these three plays, recalling the artistic utopia ever pictured by the theatre; to wit, a polysemous, hybridised art world whose components range from the sublime to the ridiculous.<\/p>\n","protected":false},"excerpt":{"rendered":"

In collaboration with the Ministry of Culture of Taiwan, Taipei Cultural and Economic Office and Double Square Gallery. 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