abstractSynopsis:
Through the eyes of the dead spirits of Wen-fang (a media worker) and her best friend, Sandy, the play concerns itself at the Buddhist concept of in-betweeness: a situation in which one's existence is "neither-this-nor-that." Wen-fang and Sandy center their discussion on marriage, work, life and death. Collectively or individually, these topics reflect the nondescript social/cultural state of Taiwan. The playwright's witty use of props (bed, A-ladder, extension ladder, clock projection (on the floor), small piano and male mannequins, etc.) further creates a multi-layered scenerio of symbolic acts in this "dark fantasy.