abstractSynopsis:
The Creative Society presented I Want You Before Sunrise in February, 2000. Director Catherine Chou, exploring topics of gender and sexuality, presented a provocative piece of gender politics instead of a romance. This time, with A Photo Album of Memory, what kind of piece will she present to meet the audience’s expectations? Chou talked about it straightforwardly, "This time I will talk about death, death of memory, image, and even death itself!" This piece is about a woman’s retrospect of her suffering from depression, about the process of how she chose to retreat from life. Director and playwright Chou chose to situate the memory of a woman inflicted by depression as the critical moment when personal memory broke away from family memory, the point of departure of personal rebellion against interrogation of the hegemony of collective memory manipulation. The play is made up of different versions of memories of all family members, presenting incongruent, sometimes violently conflicting views. Further, she tried to extend this conflicting from family memories to national histories. In other words, this conflicting is not only about one family but also about history of Taiwan. Chou, retracing a memory of sudden death, presented a feminist approach to this play. Through this play, she would like to recollect a memory that could never be clarified and bid farewell to a sudden death.This play is also dedicated to all audience who have traumatic experiences. Though the female role retreats from a memory and life filled with domination, Chou emphasized that retreat was not withdrawal but a tragic act enacted by the self. Hence, birth, a retreat from the mothers womb, is joyous as well as tragic, whereas Death, a retreat from life, is joyous and tragic as well. Retreat could be a kind of rebellion, the birth of an autonomous subject. Presented in an arena theatre, the play invited the audience to participate in all possible interpretations of memory re-discovery. With eight episodes, the play tried to represent family and national history in collage. The audience would find that their memories of the play would be in constant change just like the characters in the play always failed to recollect historical facts. The National Experimental Theatre with an arena stage was an ideal place for director Chou, who did not think this stage provided an "encompassing view" but, on the contrary, partial views that disable one to have the whole picture. Memories, like partial views, are intrinsically fragmentary, incomplete and even distorted, though we are always convinced to believe in what we see and remember. Hence, sitting in a theatre like this, the audience are allows to reconstruct unseen space and interpret unseen views.