The association viewed traditional xiqu performances and folk rituals, including religious ceremonies, as tools used by the Japanese government to control and oppress the Taiwanese people.
[7] This perspective sparked the New Drama movement, as the association joined forces with young individuals who shared the same ideals, hoping to use theatrical performances to transform the societal culture and mindset of the era and elevate the cultural standards of the general population.
[9] Subsequently, Chang once again went to Japan to study actor training systems and the latest stage art techniques at the Tsukiji Little Theater.
[11] During this time, in addition to teaching in the club, Chang also collaborated with intellectuals, such as Yang San-Lang, Lien Ya-Tang, Huang Tien-Hai, and Yoshimune Katsuma, to offer a series of professional courses in stage arts, modern theatre, music, dance, and fine arts to the public.
"[9] Promoters of the New Drama movement aimed at replacing old style traditional xiqu with new formats of theater.
The New Drama movement can be classified into two major categories: "pursuing artistic development" and "spreading propaganda for social reform.
The second category, "spreading propaganda for social reform," was led by Taiwan Cultural Association and other similar political-oriented troupes.
Lin also studied abroad in Japan, during which he actively participated in local theater troupes and worked in Toho Cinemas.
After returning to Taiwan, Lin Tuan-Chiu was invited to direct the film version of Ali Mountain, a play written by Jian Guoxian.
The association was in charge of the censorship of the plays and had the right to add changes and put limitations on the format of performances.
Lin Tuan-Chiu soon left the association and joined the New Drama movement that was closely monitored by the government.
[18] The Kosei Theatre Society was the last important New Drama troupe during the Japanese ruling period.
Plays like Castrated Chicken reflected that even under the high pressure of colonial control, Taiwanese people were still longing for freedom.
In the end, most of the youths and intellectuals in the Kosei Theatre Society were oppressed under the high pressure ruling by the government.
From the defeat of the Japan Empire to the total retreat of ROC government to Taiwan, there was a brief transitional period.
The Nationalist officials in charge of Taiwan at that time adopted a tolerance policy towards these performances and provided a brief friendly environment for New Drama to develop.
Many intellectuals were killed or arrested during massive suppression, including several major Taiwanese theater artists.
[23] Theater activities during the martial law period became tools of political propaganda for the government to reinforce its political power, to strengthen its social control, to fight against the invasion of Chinese Communists and all the oppositional forces, and to control people's thoughts.
Together with the existing theater troupes in the troops, schools, and government units, these organizations helped raise the anti-Communist drama and literature to the highest position.
In addition, high entertainment tax imposed on ticket sales and rental fees of the playhouses also became a heavy financial burden for theater troupes.
Without audience support and steady income, most New Drama troupes with their repetitive plays fell into a gradual decline and disbanded.
[25] In 1960, Li Man-Kuei founded the Trinity Drama Club after the model of the Little Theater Movements in foreign countries.
Works of many important European and American playwrights were translated and introduced to Taiwan readers through this magazine.
[27] Important playwrights in this period included Yao Yi-Wei, Chang Show-Foong, and Huang Mei-shu.
Chang Show-Foong wrote plays in the epic theatre style and collaborated with the Christian Art Fellowship to present her works.
Through these playwrights, it is possible to get a glimpse of theater in Taiwan at the beginning of culture exchange with western arts and literature.
Five works were presented that year: Bao Fu (Burden/Baggage) by Lanlin Theatre Troupe, Hezhu’s New Match by Chin Shih-Chieh, Let’s Try Walking Together by Yao Yi-Wei, Ordinary People by Huang Chien-Yeh, and The Dumb Son-in-law by Huang Mei-shu.
Representative troupes and artists of this time include Lanlin Theatre Troupe, Chin Shih-Chieh, Wu Jing-Ji, Hugh K.S Lee (Kuo-Shiu), Cho Ming, Liu Ching-Min (Liu Ruo-yu), and Ma Ting-Ni.
Representative troupes of this time were U-Theatre, Critical Point Theater Phenomenon, and Rive-Gauche Theatre Group.
Theater troupes turned their focus on the exploration of artistic forms and attempted to develop their own distinctive styles and characteristics.