ABSTRACT
Through the cadences of Hok-lo, a declining language, Tainaner Ensemble implements transformance through postmodern free play toward reconceptualized rhythmic bodies. From local realism to intercultural theatricality, the theater collective has evolved since its establishment from a vocal proponent of localization into a postmodern bricolager. With reference to the creative process of Lysistrata (利西翠妲, Lixicuida) in 2006, the chapter foregrounds the paradoxes between the (post)colonial and postmartial need for repair and the postmodern desire for free play. These are particularly manifestant in the treatments of the body and language. The chapter argues that transformance is tenable only when repair precedes or complements free play.
