Prince Hamlet is a solo interpretation of Hamlet by actor and playwright YANG Qi-Yin by bringing in the 318 Occupation Movement in Taiwan; it reflects on the beliefs and disillusion of the rebels' various struggles and the deployment of power. When language shifts from dreamy mumbling and indecision to desperate despair with this ineffective communication medium, the body is the only remnant of the spiritual state witnessing the exhaustion of the theater and politics. On the one hand, director WANG Mo-Lin fathoms deep into the black hole of classics and political history, and on the other hand, he takes on the loss of gravity of existence without evasion, critically exposing the politics of the body with the exploding momentum of anarchists across generations.

Through the agency of Prince Hamlet’s spirit, the sinking body in a threshold of anger and suffocation, with restrained movements and accusations, casts a shadow over and wreaks a vengeance on the free world that merely talks a big game about virtue and morality. With YANG Qi-Yin’s script and solo performance, as well as WANG Mo-Lin’s directing and use of the mise-en-scène, the work brings together an urban young man resurrected through a spirit, and a performance of breaking through the shell to reflexively uncover the agency of biopolitics, transforming a live monodrama into a site before the outbreak of social movements. Another layer of the work, on the other hand, unfolds a dialogue of resistance between an old anarchist and a contemporary youth , who co-construct a temporary site of an ideological community despite their vast differences—“to be or not to be, it is a matter of choice.”(Commentator/WU Sih-Fong)

Prince Hamlet, with the current Taiwan society as its backdrop, is a collaboration with actor-playwright YANG Qi-Yin and director WANG Mo-Lin. The production emphasizes on the various aspects revealed by the dialogue between the Shakespearean character, Hamlet, and a  contradictory or revolutionary “youth from the black island,” who lives in the contemporary era that makes “anarchism” impossible. In their creation, they also deal with differences in knowledge and experiences between generations, as well as those in acting methods, and further allow for the possibility of turning the actor’s body into the coordinate that marks its time.

The Body Phase Studio is a revolutionary non-profit Taiwanese arts group dedicated to intercultural exchange. It was founded by WANG Mo-Lin, a pioneer of independent theatre in Taiwan. Since its establishment in 1991 until today, by hosting various international arts festivals and theatrical productions, it has enabled Taiwanese artists to exchange aesthetic ideas and perspectives with their international counterparts. It can be said that the studio has opened a window to the world for local theatre professionals following Taiwan’s Independent Theatre Movement.

Mr. Wing Theatre Company was founded in 2006, by LI Huan-Hsiung, once a vital member of the Rive-Gauche Theatre Group and Creative Society. With new members and a new name, the theatre company inherits the Rive-Gauche Theatre Group’s poetic “theatre of imagery” and avant-garde aesthetics. These are combined with the medium-sized theatre developed by Creative Society, along with its emphasis on the practical and spiritual purposes of scripts and experiences in developing works of musical, opera, and cross-genre multimedia production, to craft a fresh platform that hast no limit in terms of scale and values both performance caliber and a strong style.