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FAME 2014 Journal - Felix (Cloud Gate Dance Theatre, Taiwan)
Cloud Gate Dance Theatre, Taiwan
It is an amazing opportunity for me to join the internship at Cloud Gate Dance Theatre in Taiwan, one the greatest theatres in the world, from Oct to Dec 2014. It is not easy to assign job duties to an intern, but the manager is versatile enough to have prepared a full and excellent working schedule for me in my three months’ placement. I will join the marketing team and focus on media and online promotion from Oct to mid-Nov and later the performance team, and join the touring in Taiwan afterwards. That way I would have the opportunity to learn from two teams and to know more about Cloud Gate. 

Since October, I have been doing preparation work for media promotion and have started designing for the entire English version website and New Theatre website for Cloud Gate. Besides, I joined school tours of Cloud Gate 2 and watched how dancers attracted audiences to dance together in a university in Taipei and a secondary school in New Taipei City. Moreover, as Taiwanese theatre members are not so familiar with Macau and Zhuhai, I helped with a part of the connection and schedule planning for interviews with Cloud Gate’s tour in these two areas in October. Surely, I am the Cantonese telephone translator here too.
Although my placement with the performance team is not starting until mid-November, I also need to do the preparation work such as tour scheduling, education pack for student performances and meeting with volunteers. I have also visited the new building of Cloud Gate in Tamsui, which will be used as office, theatre, studio and public space. I will be doing preparation work for and will attend the opening ceremony when it opens.
On the other hand, as a critic in Hong Kong, I joined the Critic Talk in 18th Oct in Taipei which was held by a number of Taiwanese theatre critics.  We have discussed issues between performers and critics, and critics and media. Mr Mok Sio Chong, theatre director and critic in Macau, and I shared the critics situations in Macau and Hong Kong. The audiences are interested in issues concerning government’s intervention in theatre’s creative process and the social status of arts critics in these 2 special administrative regions of China. 
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