by Lisa Huang
Are you a playgoer? If the answer is yes, then you probably have watched “The Angel Never Sleeps,” which was voted the most popular play last year. This play was produced by the Godot Theater Company, a local troupe in Taiwan. In Sanskrit, the word “godot” has the meaning of “hope.” And, indeed, over the last decade, the Godot Theater Company has acted an important role in the performance of drama in Taiwan. As the founders of the group put it, “Godot is more than simply a group of Taiwanese performers. We hope to introduce the people of Taiwan to the best drama from around the world, and at the same time, we want the rest of the world to become acquainted with the cultural traditions of and the creativity that has been achieved in Taiwanese drama.” Godot was founded in 1988, and its purpose is simply to share the charm and passion of the theater with the general public. During the past ten years, it has opened up a window on a new world of drama for Taiwan audiences, and many hit plays have been presented. Some of the successful presentations are adapted from Western favorites, including “Little Town of Tamshui” (1989), adapted from Thornton Wilder’s “Our Town”; “New Taming of the Shrew” (1994), based on William Shakespeare’s “The Taming of the Shrew”; a Chinese musical, “Cyrano de Bergerac” (1995), adapted from Edmond Rostand’s “Cyrano de Bergerac,” and “The Complete Handbook of Reaching Happiness” (1995), inspired by Thornton Wilder’s “Match Maker.” “Kiss Me Nana,” Godot’s live-band rock musical from 1997 will be presented again from May 14 to May 23 in the Dr. Sun Yat-sen Memorial Hall. If you are interested, you can use the Era ticketing system to buy tickets. If you want more information about Godot, just go to Godot’s web site: http://www.godot.org.tw
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by Carol Hsu
“I like being a mess. It’s who I am,” asserts Ally McBeal, a young female professional in her mini-skirt and high heels, the title character in Fox’s TV hit, Ally McBeal. Amazingly, the fragile and sensitive lawyer, who seems unable to handle her life on the small screen, has made Calista Flockhart win many awards. You might wonder what kind of power she has to win so much applause? Well, it’s a long story. Ally McBeal, an ambitious graduate from Harvard Law school, enters a prestigious law firm in Boston. However, fate puts her in the cruelest circumstances imaginable–working with her childhood chum and ex-boyfriend, Billy, whom she always claims to have already gotten over, and with Billy’s engaging and intelligent wife, Georgia. Not only does Ally have to deal with these relationships very carefully, but she also has to cope with other unusual colleagues: Richard Fish, a senior partner of the firm, who has unbearably extreme attitudes toward women and money, which the cast call “Fishism,” and a weird fetish to tickle women’s necks; John Cage, also nicknamed Biscuit, a brilliant lawyer who likes to play confusing tricks, such as whistling through his nose and speaking in jargon; and Elaine, a gossip-starved flirtatious secretary who often comes up with weird inventions like the face-bra (a device worn to prevent wrinkles). Fortunately, Ally also has a clever D.A. roommate, Renee, who knows Ally better than Ally herself, to share with her the bitterness and sweetness of life. Interestingly, while characters with strange personalities provide the basic comedy of the show, Ally herself adds more spice through her powerful fantasies. Thanks to advanced computer technology, viewers can peer into Ally’s mind and listen to her inner voice through fantasy sequences, an ingenious gimmick created by the show’s scriptwriter, David E. Kelly. Special effects such as seeing herself flung from a dump truck, becoming smaller and smaller in an oversized chair, and putting her foot in her mouth visualize Ally’s mental reaction to certain embarrassing situations. In addition, a dancing baby, Cha-Cha, moves from fantasy to real life whenever Ally senses certain feelings for the object of her desire. In fact, fantasy sequences are everywhere in Ally’s life as a counterpart to her real life. Apart from the peculiar visual effects, audio effects also play an essential role in making this show extraordinary. Unlike the music in other TV series, mostly used for filling blank spaces between scenes and dialogue, background sounds and music in Ally McBeal often reflect the emotional state of the characters. For instance, when Ally walks alone on the street feeling forsaken by the whole world, we hear “I’ve been searching my soul tonight. I know there is so much more to life. Now I know I can shine a light,” sung by Vonda Shepard, who is also a singer in the show. Other sound effects like bells ringing and scratching also signify sudden changes in a person’s mood. However, the eccentric quality of this show doesn’t make it surreal. In fact, the unrealistic plotlines, blended with controversial subjects like the unfairness and loneliness of human relationships or the meaning of life, force viewers to think about the meaning of the funny scenes more seriously. Ally herself, who makes efforts to make her suppressed voice heard, becomes the new-age spokesperson for modern women. As a determined and obstinate, tactful and considerate, sensitive and vulnerable woman, Ally McBeal is anything but frail in a male-dominated world. While millions of female viewers identify themselves with Ally, some feminists regard this character as nothing but another stereotype, simply wrapped in a new package. To them, the erratic and neurotic character portrays not female independence in a man’s world, but the incapacity to live without man. They even conclude that Ally is merely a puppet of scriptwriter Kelly to convey his own perception of modern human life. However extreme these opinions are, it is undeniable that viewers around the world enjoy being involved in Ally’s fantasy world, and hearing their unspeakable feelings spoken out loud through such a distinctive character. She lets us see part of ourselves in her and tells us not to be afraid to show our true colors. It is who we are! by Anne Sheu
Forty years ago, in 1958, the birth of NASA (National Aeronautics and Space Administration) set us on the boldest of missions–to pioneer the future. A mere forty years ago, global communications referred to a telephone line laid across the bottom of the ocean, personal computers were unheard of, and sending humans to the moon was pure science fiction. Our whole universe seemed like an unsolvable mystery. But we dared to dream the impossible. So, armed with new technological advances and unquenchable enthusiasm, we went to work. The result is that a year from now, as we celebrate the millennium, people looking into the night sky will be able to see a bright new star. That star will be the International Space Station (ISS)–a marvelous creation orbiting the Earth where people can live and work inside for the benefit of all humanity. The ISS project is so complex that no one nation would try to tackle it alone. Therefore, sixteen nations are cooperating in one of the largest non-military efforts in the course of history. It is the largest, most complex international cooperative science and engineering program ever attempted and will bring together scientists, engineers, and researchers from around the globe. Raising your eyebrows at the astronomical US$60 billion spent on the ISS, you flatly state that the finished product had better be worth it. But you needn’t worry. Beginning in November 1998 and concluding in 2004, there will be 45 missions to assemble more than 100 components that will comprise the station, which will have a mass of about 500 tons and support up to seven people. The station will have a Habitation Module for the crew as well as six scientific laboratories for research–a U.S. laboratory, the European Space Agency’s Columbus Orbital Facility, a Japanese experiment module and three Russian research modules. Two of the modules–Zarya in November and Unity in December 1998–have already been launched. This year, the Service Module will be launched, providing the initial living quarters and life support systems. The U.S. laboratory module, christened Destiny, is the centerpiece of the International Space Station and will be launched in October 1999. This and other laboratories aboard are the only places where unprecedented science experiments can be performed in zero gravity, controlled for extended periods. This control of gravity opens up an unimaginable world where almost everything is different than on Earth. Medical, climatic, industrial, and technological research, etc. conducted aboard the ISS will result in immediate, practical applications on Earth, affecting the quality of life for all humans and our future generations. In addition, there are educational aspects of the ISS. Students of the future can conduct experiments on the Space Station from their classrooms on the ground. Students will transmit and receive data, learn to operate equipment by remote, and evaluate the experiments through data interpretation. Teachers and schools across the United States are already putting these novel Space Station concepts to use in the classroom. These new methods of education will teach and motivate our next generation to achieve even greater heights of glory. The first crewmembers—two Russians and one American to live aboard the International Space Station are already in training. In January 2000, this crew of three will begin living aboard the ISS for a duration of five months, starting a permanent human presence aboard the station. Their training is rigorous, for spacebound crews not only need to know how to handle normal operations; they must also learn how to deal with emergency plans in case something goes wrong. The Soyuz spacecraft the first crew arrives in will remain docked with the station, providing an emergency return to Earth for crew members if needed. Astronauts will be kept busy, but just in case a homesickness attack comes on, there is no need to fear–the ISS will have four windows angled for a clear view of Earth. The ISS is much more than just a laboratory inn a new environment; it is aninternational human experiment, a place where we will learn how to live and work productively alongside one another. It also serves as a symbol of the power of nations working together on peaceful initiatives and builds mutual trust through shared goals. Peaceful relations and new partnerships will be fostered among the participating countries through the ISS for the benefit of all mankind. This cooperation will be essential for future human space travel away from Earth. It is a test bed for sending men and women to Mars and beyond. The ISS is the gateway to new frontiers in human space exploration. It meets the need of mankind to explore the unknown, to expand their horizons, to understand the universe, and to apply the discoveries and experiences for the benefit of all. The Space Station will inspire new generations to explore and achieve, and symbolizes hope for all mankind. The new manmade star is growing brighter as the deadline for completion in 2004 grows nearer. So the next time you look up at the night sky and “wish upon a star,” let that star be the ISS–truly our key to the future. by Cindi Chen
Imagine sipping a mug of latte and reading L'Etranger while listening to E.P.’s soothing music. Sounds very romantic, doesn’t it? The good news is you don’t have to go to France for that experience. Right here in National Taiwan University there is a club studying French culture! The French Culture Club was established in 1996 by a group of students who had a passion for French culture. Why French? When being asked this question, the founder of the club answered, “As a European leader for hundreds of years, France has outstanding achievements in many fields, such as literature, philosophy, and art. In Taiwan, however, people know nothing about French culture except Chanel, which really is a great pity.” This was the reason he wanted to establish a club that focuses on French culture. In the beginning, there were not very many members in the club since it was not very well known. Later on, after many successful activities, more and more students joined. Now, there are more than twenty members in the club and they form five groups, art, literature, fashion, travel, and food. Group leaders take turns giving presentations during club meetings. Members discuss the group leaders’ talks and share their own understanding of France and its culture. The club also holds evening study groups where members can discuss literary and philosophical books written by French authors. This semester the club will host a “French Week” during May. There will be a series of lectures and performances. Are you interested in this elegant club? Find out more on the BBS at 140.112.28.191 or 140.112.250.10 to check the schedule on the club board. Or join their activities at noon on Mondays and Thursdays in room 403 of the Kung Tung (共同)Building. by Karen Tung
My Fair Lady, when you’re listening to The Sound of Music on Titanic, I definitely know you’re not dreaming about movies but about musicals. Therefore it won’t surprise you when you see The Phantom of the Opera walking his Cats on Sunset Boulevard. Have you ever heard of these musicals? I think most people have because the musical is such an inviting form in the performing arts. Its variety and flexibility satisfy people of different tastes. What makes musicals so unique though? After my brief introduction to the history of the musical, I hope you can find your own answer. Musicals can be traced back to seventeenth-century England. However, the decisive forerunners were vaudeville, the minstrel show, revue and operetta. What set the musical to develop along new lines was actually an accident. In 1866 the popular French Ballet came to New York but was unable to perform because their theater had burned down. Thus, other theater managers hired the dancers as a chorus and had them sing and dance through a play called “The Black Crook,” even though there was no connection between the play and the dancers. Surprisingly the production was a hit because of the beautiful, sexy dancers. From then on dances, songs and plays were mixed together and became known as musicals. Elaborate costumes and extraordinary stage designs attracted even more attention. But the Depression and WWII were the real formative periods of the musical. People suffered from economic shortages and political pressures during wartime. This sense of insecurity and instability greatly influenced the life of the performing arts. More and more theaters were closed; in order to survive, theater managers tried new innovations. Since financial support was extremely limited, extravagant productions of revues and operettas almost came to an end. Producers focused instead on the content of the musical: the plot, the lyrics and the dialogue. Composers and librettists started to care about social issues such as racial discrimination and the rise of feminism. Producers were inspired from great literary works as well. Show Boat was the greatest milestone at this stage of the musical. It was adapted from an Edna Ferber novel which dealt with the delicate relations between men and women, unfair racial discrimination toward black people, and the struggle of a mulatto woman. The music strengthened and emphasized the dramatic plot elements. After 1943, people wanted to keep far away from the terrible memories of war and they looked toward a brand-new future full of hope. This is the golden age of the musical, beginning with the innovative Oklahoma, created by the famous team of Richard Rodgers and Oscar Hammerstein II. Oklahoma illustrates the hope for peace and breaks the rules of past musicals. The story is about a compromise between farmers and cowmen in the American west. In the past, the opening of a musical required big production numbers, handsome boys and girls, energetic dancing and a chorus. Instead, Oklahoma began with a single old woman churning butter on a spacious stage. Dancers were shown in groups but the focus was on individuals. Dancing and characters were connected to each other. And many forms of dance were used, including modern dance, traditional folk dancing, ballroom dance, and jazz. In fact, the musicals of the golden age had a definite shade of optimism, the spirit of America. Rodgers and Hammerstein set a perfect model for musicals up to the 1970s. The lyrics, the score, the stage design, and the dancing should all work together to tell a story. All the elements are balanced and unified. And one remarkable feature of this era is always a happy ending. Times change, and the musical changes. In the 1960s, America was involved in the Vietnam War. The civil rights movement was becoming more and more serious. The assassinations of President John Kennedy, Robert Kennedy, and Martin Luther King inspired riots and revolts. At the same time, America was undergoing a huge sexual revolution. As a result, rock-‘n-roll came into fashion to express strong emotions and relieve depression. Young adults began to question authority and to rebel against the privileged. Hence rock musicals came to the stage. The representative example is Hair by Tom O'Horgan. It’s a story about a group of young people who are against the war and the restrictions of law. They’re hippies; they seek free love, they take drugs, they drink. In Hair, the stage design was bare, the score was loud and wild, the cast of twenty-five actors performed with simple body language. The most sensational scene of all was the one with all the actors nude on stage. All at once all the rules had been overthrown and the experimental theater began. However, in the 1970s there was a great change in American musicals. Over the last thirty years musicals became less important in popular arts. The invasion of TV, films, and pop music on the radio has taken the place of the musical. In America musical productions were decreasing and theaters closed down. Amazingly, however, in Britain Andrew Lloyd Weber has staked out a whole new world for the musical. He has provided audiences with what they want : dynamic rock scores and incredible visual effects. Besides, his music is available on CD and on video, making it very accessible and the songs can be appreciated outside of the context of the musicals themselves. His most famous works include Joseph and the Amazing Thehnicolor Dreamcoat, Jesus Christ Superstar, Evita, Cats, Starlight Express, The Phantom of the Opera, and Sunset Boulevard. In the 1990s, the use of computerized special effects and laser lights has enhanced the richness of the musical. Moreover, the Disney Company provides new hope by creating new markets and stimulating musical audiences to return to Broadway. This began with the animated film, Beauty and the Beast, and in 1997 Julie Taymore, the director of The Lion King, succeeded in using ingenious staging techniques and experimental methods such as puppetry and masks to present vivid images of the animals. The musical is the perfect combination of fine art and pop art and appeals to all kinds of people, reflecting contemporary culture and society. But I’m sorry to tell you that in Taiwan musicals are only available on CD, video, and websites. Through them I am able to satisfy my fascination for their enchanting scores. “Softly, deftly, music shall caress you…Feel it, hear it, secretly possess you…” (from The Phantom of the Opera). by Amy Wang
Although Master Shakespeare has the title role in this film, those who see it may not regard The Bard any differently from the dashing heroes of other romance films. It is the important female characters. namely Viola de Lesseps and Queen Elizabeth, who really shine. They are quite the modern heroines. Viola, the daughter of a wealthy but untitled family, dons male dress to fulfill her stage dream. At a time when the theater was a man’s world, when upper-class ladies stayed in their refined, pretty and petty circles, her courage and will power are admirable. She has much talent, being able to act well enough to deceive her fellow-performers, her parents, and her fiance. Sold to Lord Wessex by her parents in exchange for a title, Viola dares to find her own lover. She defies Wessex, regardless of traditional ideas of female obedience. It can be argued that Viola does obey when forced into marriage; she does not run off to marry her lover as Juliet does in the play. The fact that Viola does not rebel against her bargained marriage does not render her a feeble-minded woman. She is fully aware that in her position it is impossible for her to marry a relatively poor playwright like Shakespeare. She sees the picture clearly: if she turns her back on social conventions, she is likely to end up in sickness, ignominy, and poverty, not to mention that her marriage to Lord Wessex is granted by the Queen. Failure to carry out the royal command equals treason and death. Instead of ruining all, she makes the best of her troubles. And she gets all the prizes: a titled husband, a talented lover, and immortality in great plays to boot. At the end of the film, the audience see two scenes overlapped: Shakespeare writing the beginning of Twelfth Night while a shipwreck is shown at the same time. This can easily be understood as the play taking shape in Shakespeare’s mind. However, in the play Viola is not the lone survivor. The captain of the ship and some sailors are also alive. If the director wishes the audience to see the film interpreted in this way, he could have shown the other survivors. Instead, the camera focuses on people struggling in the sea. The face of the lone survivor is never seen, but we see her long, golden hair the same color as Viola de Lesseps’. The resemblance is too obvious to be ignored. Clearly, the audience is encouraged to think of her as the unknown survivor. The film ends with her walking all alone on the sand under the sun, heading toward a lush, green forest. She is erect and her steps are unwavering. It does not matter if this ending is meant to be Shakespeare’s fancy or the director’s indication to the audience that it really happened. What is important is that Viola is shown as a confident, independent woman ready to face the unknown. Although Viola is the leading female character in the film, Queen Elizabeth I is no less impressive. Her appearance in the film may evoke gasps or snickers from a modern audience. Students of English literature should find the costume familiar, since the Queen’s portrait appears on the cover of a volume of the Norton Anthology of English Literature . But with a face powdered ghastly white, a jewelled red wig that shows a quarter of a bald head, complete with wrinkles and sagging cheeks, Her Majesty from close up looks like a monster from a horror film. However, the audience soon forgets the Queen’s strange appearance but remembers her ironic, authoritative, but penetrating remarks. Throughout the film she is the one with the clearest insight. She calls Wessex a fool and knows that Viola already has a lover simply from their short audience at Greenwich. With her position as queen she naturally has more power, but she also deals with the situations wisely, which is something not every monarch can do. She is sympathetic in remarking, “I know how it is for a woman to be in a man’s position.” Also a good critic of drama, Elizabeth is sharp enough to see the talent in Shakespeare. Her exit line, “Too late, too late” (with a shake of her head) totally scorns her male courtiers’ incompetence in performing their manly duties by refusing their chivalric service. Although there are many historical allusions in Shakespeare in Love, the whole film is a fictitious construction of Marc Norman and Tom Stoppard. Written from a twentieth-century point of view, it is quite possible that the two male writers flavored the screenplay with images of strong women to suit modern audiences’ taste. by Laura Jane Wey
Be it out of love for gardens or fascination for Vita Sackville-West, the woman out of whom Virginia Woolf molded her Orlando, Sissinghurst Castle Garden, Kent, is a place you wouldn’t want to miss if you’re ever in England. Located amidst the rolling woodland and fields of the Kentish countryside (the nearest village some two miles away), the walled garden was resurrected from the ruins of an Elizabethan mansion by Vita Sackville-West and her husband Harold Nicolson in 1930. Here on a warm summer afternoon red bricks, flowering shrubbery and a blue sky combine to create an atmosphere of gracious old-world charm: roses climb up brick walls dating from the 1490s to peep in diamond-paned windows; fat, velvety gold-and-black bumblebees reel drunkenly among the sweet sun-warmed English lavender. Wandering among the lush, beautiful flowerbeds time seems to have lost its meaning; eternity is a splash of vivid colours blooming in green fields in the middle of nowhere with the coming and going of the seasons. Vita Sackville-West, beautiful, aristocratic, notorious yet fascinating writer and award-winning poetess of her own age, was an avid gardener. The plans her diplomat husband Harold Nicolson laid out for the garden she fashioned into reality with her own hands, throwing all her passionate love for nature into the task. The outcome was a pool of loveliness with snug little nooks tucked here and there, and hanging in the air, an aura of comfortable intimacy - for indeed how could a garden tended to with love help but be different from those created to attract tourists? In the centre of this Eden stands Vita’s tower, from the top of which the gardens - including a rose garden, an herb garden, a cottage garden, and a ‘white garden’ bordered with trim hedges and green lawn - and the surrounding countryside could be seen for miles round. In the tower is Vita’s study, the sanctuary from which her books, and of course her letters to Virginia Woolf, issued forth; also on display is Virginia’s housewarming present to Vita: the first Hogarth printing press, which published many of Woolf’s and Sackville-West’s books. Outside the moat-enclosed garden two walkways meander off into the countryside, leading to twin lakes behind Sissinghurs Castle and through Wealden forest, providing a leafy sanctuary for those looking for a leisurely stroll. If you prefer wild woodland flowers to cultivated garden varieties there’s a profusion of them flourishing in the forest. And at the end of the afternoon, sun-soaked and a little tired, don’t forget to stop by the farm shop to pick up a basket of juicy golden peaches or rosy apples fresh from the orchard to take away! GETTING THERE - The closest railway station, Staplehurst (on the line between Tonbridge and Ashford), is under an hour away from London. The Maidstone & District’s Maidstone to Hastings bus service No. 4/5 runs from the station to Sissinghurst village. OPENING HOURS - Mar 28-Oct 15 Tue-Fri 1:00-6:30pm, Sat, Sun & Good Fri 10:00am-5:30pm. Last admission 30min before close. Timed entry system in operation to prevent overcrowding. ADMISSION - Adults 6.00, Children 3.00. by Jasmine Chou
Four hundred years ago, William Shakespeare, a man not knowing much about the opposite sex, wrote play after play about men, women, and their relationships. Woman is equal to frailty in Hamlet. He is regarded as a genius in many respects, albeit apparently not having enough understanding of what women really are and what they can do. At the time, he couldn’t imagine that three hundred years later a female author named Virginia Woolf would write an essay titled “Shakespeare’s Sister” to respond to the unfairness of male-dominant societies. He surely wouldn’t believe that another hundred years later, those once regarded as frail would make serious progress for their social status and equal rights. However, perhaps Shakespeare was not ignorant and biased about women–maybe he was just not born in the right era to have the chance to learn. Luckily, you won’t have to worry about this if you are a student at NTU. There are classes waiting for you! The Women’s Research Program (WRP) is an institution affiliated with the Population Studies Center at National Taiwan University. They founded the “Women and Gender Education Curriculum” in the fall semester of 1997 and was designed to give students a full understanding of women and gender issues that are aroused through activists who make a claim for women’s equal rights. If you are interested in these studies, you simply have to go to the WRP and fill out a form to apply. Teachers and administrators there can always be consulted about any information related to these issues. To complete the curriculum you have to take at least 20 credits, including required and elective courses. After finishing all the courses required, you will receive a certificate. The courses are from many different departments and are related to all sorts of gender topics. There have been over fifty different courses since the program was founded, and the number is always increasing. Every semester, the WRP will choose about twenty courses for students to apply to. This semester, for example, there are fifteen courses open to applicants. Since you cannot possibly take all of the courses in a single semester, you might have to wait for some time to take the courses that interest you the most. Like other special programs the credits one takes for the Women and Gender Education Curriculum cannot be used as elective credits in most departments, which means you will probably have to delay your graduation in order to fulfill the curriculum. This may be a problem for some students who want to graduate on time. Nevertheless, spending one more year to fulfill this curriculum is almost like getting another degree in another useful field of study. Taking the courses will not only give you many new ideas in dealing with women and gender issues but also make you a pioneer of spreading those ideas to women of the new age. The certificate for completion of the curriculum will also be of great help if you want to continue further studies in this field in graduate school or if you want to apply for gender-related jobs. Women are something more than just frail. If you are already a firm believer in that, taking these courses and expanding your knowledge may even reinforce your belief. If you are not a believer, you are still welcome to take the courses, broaden your scope of life, and learn the truth about the “frail kind.” Even Shakespeare would change his mind! The WRP office is on the 4th floor of the old Research Library. You can reach them at 2363-0197; fax 2363-9565. You are also welcome to visit their website at http://www-ms. cc.ntu. edu.tw/ ~psc/c-index by Katherine Lee
Nowadays, the BBS functions not only as an information-provider, but also a place for brainstorming and creation. As we all know, the BBS is crowded with various discussion boards categorized according to different topics-one of which is “story-making.” Last year, the novel First Intimate Contact (第一次親密接觸), which originated from a storyboard on the BBS, hit bookstores in Taiwan and was a roaring success. In the beginning, the “novel” was only a short story submitted to a storyboard, but eventually the author was encouraged by BBS frequenters to continue writing sequels of it. During the period of story making, there were discussions about the development of the plot every day on the board. Therefore, it is safe to say that all of the users who contributed to the discussion deserve the credit of turning a “virtual author” into a real-life one. It is said that on the Internet no one knows who you really are. In the real world, a hopeful author has to deal with the pressure of being crowded out by other authors. On the BBS, though, due to the anonymity, an “author” gets less hurt if criticized; otherwise, simply drop the ID, register a new one, and restart a new life on the net. However, if one receives compliments on his/her story, he/she is encouraged to go on creating other works. As Sweehan, a BBS author, says, “My first love story, ’ Thirteen,’ received a lot of feedback, which motivated me to continue posting stories on this board.” By being cross-posted on other websites, stories that arouse great interest can be read by more people and become a common topic of discussion. Net authors could quite possibly find themselves famous overnight! The fascination of these storyboards lies in the fact that they provide a place to fulfill dreams, to meet friends with common interests, and most of all, to exchange ideas through interaction. You can weave your own stories and receive immediate feedback. .Once the beginning part of an author’s story is submitted, reviews of it by others may become one of the main factors in deciding how the story develops and ends. Under the influence of these reviews, the first development of the story can be led in an entirely different direction from the one which the author originally intended. However, according to my observation, many stories on storyboards are merely about one’s feelings or trivial subjects, which seldom receive any feedback. In fact, it is so difficult to draw the line between stories and personal feelings that many storyboards look like a feeling board (心情版) or diary board (日記版)! In order to maintain the quality of these storyboards, many story-writing contests-such as a story-relay-are hosted and judged by refereees. Such contests not only motivate but also encourage users to post better works. Open to different voices, these storyboards offer us a totally new reading and writing experience. They stimulate authors to think from diverse viewpoints and provide readers with a direct, immediate way to communicate with the author. Since the BBS is so popular with students in Taiwan, storyboards can easily be found through a search engine. Most of the BBS stations include storyboards, which you can stumble upon frequently. Through your fingers you can turn your dreams of being an author in another level of reality. So if you are interested in writing a story and looking for inspiration, don’t hesitate to make good use of these fascinating boards! For example, visit the following websites:140.116.82.7 or 140.112.1.6 |
Authors
The Taida Student Journal has been active since 1995 with an ever-changing roster of student journalists at NTU. Click the above link to read about the authors Archives
May 2024
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