Q: Early on many people doubted your judgment, putting you under tremendous pressure. Now that the performance is about to be staged, do you feel the pressure has been lifted? Can you tell us how the process has affected you?

A: This is not something I can explain in a few words. At the beginning, all those participating in Snow in August were asked to forget everything they had ever learned. Forgetting was necessary to start anew, and starting anew was necessary in order to create. Frankly speaking, everyone was worried about the problem of starting anew once they had forgotten, and really didn't know what they were going to do creatively once they had started anew.

Fortunately, all the actors have a very deep sense of idealism about creating and high hopes for art. This reflects their faith in the work of Gao Xingjian: we knew he would definitely do something outstanding. Everything is difficult at the beginning, but this is especially so for a completely new theatrical form such as Snow in August. After three months of explanations, rehearsals, refinements, and putting everything together, as well as undaunted creativity and continual renovation on the part of the theater workers, everything has been worked out. In dress rehearsal I saw the totality of the actors, music, stage design, lighting, costumes, and choreography, and the whole thing deserves tremendously high marks.

Frankly speaking, I am very moved. I know no other word which can describe how I feel. I'm deeply confident that Snow in August will be a success. You ask me how I feel at this moment, and I can describe it with the expression "cherishing every moment." I'm so happy to have had this opportunity to participate in the process of producing this epoch-making new theatrical form, for Snow in August is a completely unique and irreproducible creation.

Q: Gao Xingjian suffered high blood pressure problems during rehearsals, and even had to be hospitalized. It seems the pressure has never been off. What makes this particular work so demanding?

A: Gao Xingjian has very high expectations for art. During the day he would rehearse for seven or eight hours, and then he would burn the midnight oil. Although this work is his own creation, the music is new, the performing style is new, the methods of reading dialog and singing are new. It is a work that has been created out of nothing at all. The director had always to think about the best way to express his message so that people's eyes would light up.

During a full-scale performance, there are 50 actors and 50 choir members on stage, and a hundred musicians off stage, more than 200 people altogether; it's of unprecedented scale. The director wanted the actors to be able to engage in "self-observation" while acting. Of course this means something different to every individual. There were so many details: How should the curtain be raised? How should the lighting be done? How should things be ordered? Each and every one was a demanding test for him. We can understand how much he must have fretted, so is it any surprise that his blood pressure went up?

Nonetheless, a genuine artist loves to take risks. Risks lead to breakthroughs, and only with breakthroughs can there be something new. At that moment, all the pain and pressure disappears, and all that is left is a heart filled with joy. A truly great work of art does not just pop out ready made. It requires tempering and more tempering in order to become great. It is precisely through tempering and more tempering that Snow in August has been brought to fruition.

Q: As a musician yourself, what do you think of the music composed by Hsu Shu-ya. Does it fit with the script written by Gao Xingjian? In the future will music from Snow in August be able to serve as a model?

A: It is impressive indeed how the music expresses so completely the inner world of Snow in August. As I understand things, before even setting pen to paper the composer engaged in long discussions with Gao Xingjian. Besides expressing Zen concepts, the music also expresses the vicissitudes of life. But it does not simply point out that this is whatever or that is whatever, but the path of the music is closely intertwined with that of the drama itself.

I studied music myself, and when I hummed through the sheet music, I immediately recognized that this was an unusual and excellent piece of work. Typically it is difficult for people to accept modern music right away. But the music that Hsu Shu-ya wrote for Snow in August is immediately accessible. Besides being accessible, it has a very important feature: It is completely compatible with the drama. When you are watching the performance, you will not be distracted by the music, and when the music captures your attention, there will be no distractions on the stage.

I want to emphasize that it is not only the music that can be a model, but everything about Snow in August can be a model for creating new works anywhere in the world in the 21st century. I make so bold as to say this because I've seen it several times. My participation in the entire process of Snow in August has made me think that the two most important things about Taiwan culture today are, one, that it has put down roots, and two, that it is connected to the rest of the world. From an artistic point of view, Snow in August will attract international attention not only because the process has been challenging and creative, but even more because it confirms that Taiwan has a culture with a great deal of freedom, and as a consequence Taiwan will become a central base for free creativity in Asia.

Q: All of the actors have backgrounds in Peking Opera, but they've been asked to abandon their Peking Opera singing voices and adopt ones more akin to Western opera. From your professional perspective, how have they done?

A: These performers all have a foundation in tradition, so it was a painful task for them to abandon everything. An actor must have extremely high expectations and a great desire to innovate, or else they will not be able to learn. Thanks to guidance from Gao Xingjian, after three months of tempering, the actors have gradually gotten on the right track. Although it has been an arduous process, the results are ideal.

Ordinarily when you see opera, the music is very rich, but the body language is very simple and direct. But Snow in August is different. On the one hand the performers have a firm, disciplined foundation in gestures and a rich but subtle body language. On the other hand they must completely release themselves in following the music and singing. These two aspects are very difficult to combine, but they have done it. I really admire their professional spirit of innovation and perfectionism. If I may be so bold as to say, no one in the world aside from this group of actors could successfully perform this work.

Q: Snow in August is already garnering worldwide attention. Besides the already planned performance next year in Marseilles, France during "Gao Xingjian Year," will there be shows in other countries? Also, is it possible to reserve tickets?

A: The performance of Snow in August is being closely watched from overseas. In November, reporters from a number of media outlets, including Time, Newsweek, and several Japanese media, came to Taiwan to interview Gao Xingjian, and to introduce Snow in August to their readers around the world.

In attendance at the premiere will be promoters from the US, France, Singapore, Hong Kong, and elsewhere. Goran Malmqvist, a judge for the Nobel Prize for literature from Sweden, will also come to lend his support to Gao Xingjian. We're currently engaged in discussions about performing in Holland and Britain, which would really be icing on the cake, and really an honor for Taiwan.

Advance ticket sales began in early November. Currently five shows have been sold out, and it is very difficult to get a ticket. Many citizens have told us that there are too few performances, and that we should add some. We have considered this problem. But because the performers all have scheduled commitments, and in addition we will go to France next year so there's much to be done, we cannot schedule any other performances in the near term. However, I guarantee that there will still be opportunities to see it. Such a fine work should be available for everyone to see, and we will definitely not let people down.

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Tchen Yu-chiou has been devoting a great deal of attention to Snow in August. She feels that it will give Taiwan increased status in the international theater community. (photo by Jimmy Lin)