When Wandering in the Garden, Waking from a Dream was staged Aug. 7 to 14 in Taipei's Sun Yat-sen Memorial Hall, it immediately became the leading topic in theatrical circles in the Republic of China. The most costly presentation staged in recent years, it featured top performers and was viewed by an audience of nearly 30,000 in the eight days it was shown.

The play based on Pai Hsien-yung's novel was first staged in August 1979 in Hong Kong, by a theatrical group organized by students and faculty of Hong Kong University. Because of the enthusiastic response it received, the novelist took his friends' advice to prepare it for presentation in Taipei.

After Pai Hsien-yung returned from Hong Kong to the United States, he settled down to rewrite the play with the help of theatrical and dance Professor Yang Shih-peng of the University of Colorado.

Because the play contained elements of Peking opera and kun chu, Pai and his friend had a difficult decision in selecting the protagonists, who had to be adept at the Chinese singing art as well as have commanding presence. Pai had two women in mind, Lisa Lu in the United States and Hu Chin in Taiwan, both of whom had long stage experience.

The China Times and the Taiwan Television Enterprise agreed to give Pai financial support, but just as all preparations were complete, Hu Chin became pregnant, and the plan had to be postponed.

After Hu gave birth, Pai left his teaching post at a U.S. university and released his house in California. He gathered the support of almost all the leading artists, including actors, photographers and prop designers in an attempt to set a precedent in Republic of China's theatrical history. He paid each of these artists only token remuneration of NT$1.

Recalling the big event, drama critic Prof. Yao Yi-wei wrote in a Taipei newspaper:

"Pai took great pains when he adapted the novel into a drama. He revised the manuscript several times, and each time I was given an opportunity to read the results. A novel may be written in one breath, but when it is turned into a drama, the writer must consider many problems, the stage problem in particular. In a drama, the writer cannot express his imagination as freely as in a novel. Even with his talent, Pai still had to undergo mental strains and exhaust his energy to turn the novel into a drama. We can understand that the composition of a play is not an easy task. It involves many restrictions in both writing and staging.

This challenge was so great that Pai had to rewrite his manuscripts several times. The performances were challenges to the actors and actresses, because they had to express on stage two worlds, years apart and in two or more interrupted situations. It was also a great challenge to the director and other stage workers, who had to find a way to differentiate, expose, and allow the audience to understand the two different worlds. But in truth, artists do not mind challenges, since they can fulfill their promise and show their ability only by overcoming them.

"Staging this play in the Republic of China represented a bold experiment. It also marked a great breakthrough. We have learned that a drama is not always of the familiar kind. We have also learned that every event in our lives can be turned into drama. The staging of this play has widened the vista of our audience and enabled us to reach the depth of a person's feelings. We have also learned a new method of theatrical expression. Thus, the staging of this play was a watershed event." The professor compared the play to a Broadway presentation in its scope and professionalism.

But not all comments were as favorable as those made by Professor Yao. One critic said the use of multimedia as an effect was not completely successful. Another complained that the dialogue was too repetitive. Despite these criticisms, Playwright Pai expressed at a discussion after the presentation.

"The staging of this play has proved that people in Taiwan are enthusiastic over stage performances, which augurs a bright future for the theater. The successful staging has also proved that where there is a will there is a way. There are large numbers of talented theatrical personnel in Taiwan. If they can pool their talents to achieve their ideals, they will succeed. No matter whether this staging was considered as a success or failure, it will have a far-reaching influence on the future. It also provided theatrical workers with an opportunity to participate and to learn. Veteran actresses and actors showed an exemplary sense of calling. Younger workers demonstrated their enthusiasm. Both were impressive."

True, we cannot expect every challenge to lead to a faultless and instant success. Every effort is like a seed sown in society, and it calls for the whole of society to water and fertilize it before it can grow vigorously. Participants in Wandering in the Garden, Waking from a Dream set aside their daily work and made their contribution without pay. This spirit alone has set a good example in the theatrical history of the Republic of China. The eight-day performances were much like the first thunder in a spring, marking the start of cultivation of the theatrical garden.

[Picture Caption]

1. Hu Chin impersonates Chiang Pi-yueh, nick-named Heavenly Red Pepper. She is bright and cute. 2. Lisa Lu plays the part of Madame Chien, a beautiful woman full of grief and grouse. 3. A view of the stage from an 18-foot-high steel truss.

1. When Madame Chien was young, she had an affair with Cheng Yen-ching, an aide-de-camp. 2. Personages in recollection appear on the stage. 3. Elegant and classic prop design coupled with multi-media projection and Tung Yang-tzu's calligraphy. 4. Kuei Ya-lei, a popular movie star, plays the role of Madame Tou. 5. Madame Tou and Aide-de-Camp Cheng are exchanging pleasantries with Ti Wu (impersonated by Wang Yu). 6. Hu Chin and Tsui Fu-sheng are chanting a verse from a Peking opera.

1. Playwright Pai Hsien-yung poses with six major actresses. 2. Because Hu Chin was pregnant, staging of the play was delayed for a year. 3. Chien Lu acting as Madame Lai successfully commands the mood of the audience. 4. Huang Yi-kung directs the actresses and actors at a rehearsal 5. Lisa Lu, protagonist in the drama.

Staff workers of the drama Wandering in the Garden, Waking from a Dream. 1. Hsu Po-chiu's music wins applause from the audience. 2. Sound techniques are handled by the Fu Mao company. 3. During the performance, a multimedia worker operates his machines atop an 18-foot-high steel truss. 4. Lin Ke-hua, stage supervisor. 5. Hsieh Chun-teh, the artist in charge of still pictures. 6. Nieh Kuang-yen is testing stage lights. 7. The work group "New Aspect," sponsor of the staging, is credited for much of the success. 8. Woman protagonist Lisa Lu, playwright Pai Hsien-yung, and director Huang Yi-kung.

Lisa Lu plays the part of Madame Chien, a beautiful woman full of grief and grouse.

A view of the stage from an 18-foot-high steel truss.

Personages in recollection appear on the stage.

When Madame Chien was young, she had an affair with Cheng Yen-ching, an aide-de-camp.

Personages in recollection appear on the stage.

Elegant and classic prop design coupled with multi-media projection and Tung Yang-tzu's calligraphy.

Kuei Ya-lei, a popular movie star, plays the role of Madame Tou.

Madame Tou and Aide-de-Camp Cheng are exchanging pleasantries with Ti Wu （impersonated by Wang Yu）.

Hu Chin and Tsui Fu-sheng are chanting a verse from a Peking opera.

Playwright Pai Hsien-yung poses with six major actresses.

Because Hu Chin was pregnant, staging of the play was delayed for a year.

Chien Lu acting as Madame Lai successfully commands the mood of the audience.

Huang Yi-kung directs the actresses and actors at a rehearsal.

Lisa Lu, protagonist in the drama.

Woman protagonist Lisa Lu, playwright Pai Hsien-yung, and director Huang Yi-kung.

Hsu Po-chiu's music wins applause from the audience.

Sound techniques are handled by the Fu Mao company.

During the performance, a multimedia worker operates his machines atop an 18-foot-high steel truss.

Lin Ke-hua, stage supervisor.

Hsieh Chun-teh, the artist in charge of still pictures.

Nieh Kuang-yen is testing stage lights.

The work group "New Aspect," sponsor of the staging, is credited for much of the success.