Actors

Chou, Yu-ting stated that she began engaging in theater during junior high school and has now accumulated more than ten years of stage experience. She recalled that when she first joined the troupe, she was afraid of standing on stage; her voice trembled, and she did not know where to direct her gaze, causing great psychological pressure. Through years of rehearsals and performances, she gradually became familiar with how the theater operates and is now able to present characters in a more natural and diverse manner. She believes that actors must learn how to enter a role and also learn how to detach from emotions after a performance, which is an important growth process.

Shih, Fang-yi shared that she originally worked in a music-related field and later encountered theater by chance and joined the troupe. She believes that the greatest difficulty in acting lies in emotional investment and role transitions, especially when playing multiple roles in one production, which requires rapid shifts in state. Through continuous practice and imitation of characters, she gradually overcame these challenges and experienced how the backstage environment for actors resembles a "battlefield" in its busyness and focus.

Chuang, Yung-ching recalled that she first encountered theater in the fifth grade of elementary school and discovered during her first rehearsal that acting was far more difficult than she had imagined. During rehearsals, she had to repeatedly practice stage blocking and refine the character's expressions and vocal tone, often rehearsing for an entire day. Although physically exhausted, she believes that acting has enabled her to better understand others' emotions and has helped her grow from someone who disliked going on stage into an actor who can confidently face the audience.

Chuang, Yung-hsiang stated that he began engaging in theater during elementary school by chance and realized that acting is not merely reciting lines and performing movements, but requires genuine emotions and complete immersion into the role. He believes that on a stage under public attention, overcoming fear is one of the most important challenges for an actor, and he deeply understands the meaning of "one minute on stage requires ten years of effort off stage."

Huang, Ya-yu shared an experience of returning to her junior high alma mater to perform, where the campus environment evoked many memories and she received affirmation from her teachers, which deeply moved her. She also mentioned that during a performance of New Gulliver's Travels, a prop was accidentally lost, but thanks to the actors' mutual assistance and improvisation, the performance was completed successfully. She believes that theater is an important way to convey education and ideas.

Huang, Yi-zhe stated that he began acting in the third grade of elementary school. In the early stages, the greatest difficulties were memorizing lines and expressing emotions openly. Because of his introverted personality, he did not dare to perform in an exaggerated manner at first, but under the director's guidance and through self-training, he gradually overcame psychological pressure and improved his acting skills through continuous performances.

Chan, Chia-yu shared that she entered the troupe through participating in storytelling training and gradually accumulated stage experience. She particularly emphasized the importance of vocal expression, progressing from having a sharp and unstable voice to learning how to project from the diaphragm and control volume. Her most unforgettable performance was portraying the role of a migrant worker's mother. Seeing audience members in tears after the performance allowed her to deeply feel the comforting power of theater.

Lin, Wei-hung stated that he has an outgoing personality and enjoys performing on stage. After joining the troupe by chance, he fell deeply in love with the stage after his first performance. He admitted that he was initially afraid of memorizing lines, but under the director's guidance, he learned to treat lines as everyday speech and express the character naturally. After many years of acting, he encountered performance bottlenecks, but through continuous attempts and reflection, he gradually broke through his limitations and hopes to move more audiences through his performances in the future.

Through this interview, what we saw was not only an actor introducing a script, but also a performer's confession to "the art of theater." Mr. Ma, Jui-hung demonstrated the most authentic side of a theater worker: refining details in tedious rehearsals and seeking value amid physical exhaustion. His interpretation of the role of the "Fisherman" mirrors his attitude toward acting—seemingly ordinary, even somewhat "stubborn" in persistence, yet radiating the purest light on stage.

Tsai, Pin-ju joined the troupe in the second year of junior high school and has now entered her sixth year. Long-term stage training enabled her to gradually grow from being inexperienced to becoming more mature. In The Wizard of Oz, she received her first opportunity to play the leading role (Dorothy), which became a novel and deeply memorable milestone in her acting career.

Participating in One Thousand and Two Nights was the happiest experience for me so far. The greatest joy was partnering with a boy of similar age, and we became very good friends in real life. Although the performance process was full of fun, it also brought many challenges. For example, the final fairy dance was long and had complicated steps, so during rehearsals I had to closely watch my partner's movements, fearing that unpolished steps might turn into awkward "little surprises" on stage. In addition, this was my first time wearing a wig to play a blond boy. Although the hairstyle was jokingly compared to "Sun Wukong" and felt uncomfortable to wear, I learned to overcome physical discomfort and complete the performance. This experience not only strengthened my perseverance but also allowed me to gain precious friendship.