ABSTRACT
Different from the reconceptualized bodies of the previous chapters, the bodies that the Shigang Mama Theater reconceptualizes are not preconceived ideal bodies. Rather, they are a hyper rendition of their bodies in real life. The transformance that these Hakka female pear growers experience is a rigorous, embodied self-examination that is highly reflexive and interrogative. With reference to the creative process of Pear Blossoms (梨花, Lifa), premiered in 2004 and performed throughout 2006 and 2007, the chapter investigates ways in which the Mamas probe into the psychophysical and sociocultural conditions of their bodies. Focusing on the role of the facilitator as a member of the educated elite engaging with the community through theater, the chapter suggests the need for transformance to take place in the linguistic medium of the community.
