Events Calendar

Hello Red Room Artists!

May: Visual Dialogues XVII Space – Misplaced IV

For those of you who missed this show by Yu Hong and Chieh Hong, check out this video interview of one of the artists here.

June: Visual Dialogues XVIII Status
7th June-30th June 2017
This new show by Amy, Eva Lo and Lizzy Chiu opens tomorrow so please come down and check it out! Details here.

18th June 3pm-6pm
Red Room presents the twelfth of our Sunday Afternoon Open Studio series!!

Welcome all:
Writers, poets, photographers, painters, sculptors, comedians, filmmakers, juggler, musicians, songwriters, dancers, designers. All artists and creatives welcome! Develop and play with ideas, utilize this opportunity for second opinions on your work in progress.

. . . . . . . . . . . . . . . . . .
:: SPECIAL POP=UP WORKSHOP BY Fondlesss 黯飾 :::

Join us for a day of block printing and fabric painting workshop, hosted by Grace Hsu from fondlesss. This workshop will take place on June 18th Sunday at Redroom. During this workshop, we will have blocks with patterns and canvas available for you to print on and markers and fabric paints to create beautiful patterns. You are also welcome to bring your own fabrics and tote bags. (Includes all materials NTD.600)

Limited spots available, please apply before June 16th.
Ages 18+ welcome.

Registration and prebooking required. Book at this link.

An open call to all artists

Red Room will be starting critique sessions again for the July Open Studios and we need you all to get involved! Bring your work and get the group feedback that you need, and also share your ideas with your peers.

The Open Studios are about artists coming together to share ideas and even share skills. So if you have a special skill you feel like sharing with everyone (eg printmaking, book binding, life drawing, knitting etc), please email us to let us know!

Monkeying Around at The Red Room, May 2017

The Story of the Monkey King

On May 20, at the Red Room, we had a performance. The name of the play was “The Monkey King.” I was one of the monkeys. My sister and many others were also there. The Monkey King was played by Max.
The story happens in ancient China, thousands and thousands of years ago. There was darkness and chaos. Then, the earth, the moon and the sky were created. On one of the mountains, there was a pregnant stone. One day, it split open and gave birth to a monkey. This monkey made friends with all the animals. Later, the other monkeys made him their king.
It was much fun!

By Petru Luca

Monkeying Around at The Red Room

On a Friday night, as my dad was checking his Facebook, he found some info about “The Monkey King,” a Red Room play for kids under nine. When he told Petru (my brother) about this, he was quite excited. I sighed quietly, because I love everything about drama and plays—but I am twelve, so I couldn’t be part of this show.

Two weeks later, things began for real. We went to the Red Room for Petru to practice. There we met Max, a smart kid, always in high spirits. There was also Victor, a shy boy, Adam, his father, Esther and Minka, Rachel, and also Cindy and Sharon. I thought that this whole play thing was pretty childish (that’s because I was really jealous, of course) … until Ruth, the author of the script and the director, asked me to join in. This made me feel fantastic! Then, during the next rehearsals, I was really into it. I shared some of my ideas with the class. I tried my best to memorize the lines. It was fun!

Finally, after much work, performance day came. I was nervous. Then, I thought that I shouldn’t be that stiff! After all, this was for fun and we wanted to make the kids coming to see us really enjoy themselves. And then the play started! Alas, it also ended much too quickly! We got much applause and people kept on saying: “I totally loved it!” At the very end, Ruth had a surprise for us—tiny little crowns! She put them on our heads and crowned us as princes and princesses!

This is, dear readers, my short account of those wonderful days. Now the curtain must fall, and so this is

of my text.

By Alexandra Luca

The Word from R4

The Monkey King at Stage Time and Juice XXIII (May 20, 2017)

Six kids, aged 6 – 12 plus two fathers plus two adults with performing experience joined forces to depict the opening scenes of the epic legend: The Journey to the West.
With words, our expressive bodies, music and a few found objects, we presented a rendition of the origin of The Monkey King from the ancient Chinese tale.

The children creatively used their bodies and voices in expressive interpretive dance to depict Chaos (before the Earth was formed), then the planets and, finally, the Immortal Stone from which the Stone Monkey was born. Then the players transformed into the animals who greeted the Stone Monkey and then again into the monkeys who eventually became the subjects of the Handsome Monkey King.

Full album can be viewed here:
Stage Time & Juice 23:Monkeys and Mischief

According to legend, as the monkeys played in a stream, they wondered where the water came from. They followed the stream to a waterfall. We used a length of pale blue fabric, leading it out across and around the playing area. The fathers held one end up high to create the image of a waterfall while the children ducked under: playing in the “water”.
Most of the spoken words came from our Narrators but the children had key lines that gave the performance life and moved the story along.

Our music sources were recordings of traditional Chinese bamboo flute and guzheng, contemporary Japanese sound-collage and the Big Band (1940’s American Swing) classic “Sing, Sing, Sing.”

The young lad who took the title role, wrote the following reflection on his experience:

It was mind boggling to mEEE just dancing around and actually be King and do this amazing stuff! My favorite parts are jumping in and out from the waterfall and when they say “Long live our great king!”. It was fun in many ways! The top three of my favorite things in this Monkey King production are: 1. Muffins, 2. Rehearsals, 3. Having fun doing everything. I like Ms. Ruth shows us how to do teamwork, we had a good team. I learned how to remember lines and do the theatrics. I also learned how to move around projecting my voice. I love to share my ideas with everybody, too. Of course, I love to do this again, because there were cupcakes and muffins, AND because I can participate in the performance. I like to perform, and I want to do another performance in the next one. ~ Max

Two additional performing Juicers wrote about their experiences. You can read them here…”

And, finally, a drawing by Juicer Charlotte Jade

And that’s the eNews for May 2017
from the Red Room, the culture of listening and sharing.

Hello from the sound crew of the Monkey King!

“My Tribe”

“My Tribe”

What can I say about you
that hasn’t been expressed
by other clear voices?
You were unexpected brilliance,
making my life a little richer.
You entered my life
like a welcome explosion
of words, art, senses, heart,
hands, abundance,
friendship and purpose.
Your hearts are big,
your words are true.
You found room for me
and let me in.
I entered a stranger,
but left a friend.
No, more than that.
You made me family.

I walked through a door
that was the warmest embrace.
You gave me a gift
where it was okay for me
to explore and be myself.
You’ve made me
a little richer,
a little kinder,
a little happier to be me.

I’m not always a loud voice
but you welcomed what I am.
You were there
as I battled pain and anxiety,
and you never turned me away.
Because of you,
my writing erupted
from my pen in inky loops of joy,
my voice soared beyond
performance, but to reach out
and make a difference.
We are family beyond blood,
connected by the colorful
painful mosaic of
human experience.
I will carry you in my heart
and share your gift with the world.

You are my tribe.

–by Whitney Zahar

Stage Time & Wine LXXXIX: May 2017

From Jimbo Clark, our MC for Stage Time & Wine LXXXIX

Number 89 went just fine.

From poems and tributes to Moms, to a little Shakespeare and an emotional monologue from “When a Man Loves a Woman,” the night was full of emotion, laughter and intimate sharing. On the musical side we had a first time Ukulele duo, and songs about Angels and “Whatever you want this song to be about,” and a moving sign language version of the song Flashlight. Magical moments moved the universe as we enjoyed giving and receiving the best of each other.

View the full album here:
Stage Time & Wine 89
“Hail Stage Time and Wine”





by 張悅安 YuehAn

Greetings and Salutations, May 2017

We have to say goodbye to one of the members of the core Red Room Team, as she and her family embark on another chapter in their life’s adventure story.
Whitney Zahar –

Came on the Red Room scene at the Fifth Anniversary celebration at Huashan Creative Park where she and her family enjoyed all there was to enjoy. “SWEET!” And since then, they just kept coming back for more. “COOLNESS!” Whitney has done so much more than simply attending Stage Time and Wine, Juice, ASIDE & R4. She’s been an active participant. Moreover, she has established a library in the Red Room space at TAF and she’s been the editor of this eNewsletter. “AWESOME!”

Caring, sharing and caring some more, Whitney Zahar, powered by positive thinking, seems willing to help wherever she can. That’s Whitney: awesome, sweet coolness. She will be missed by everyone on the Red Room team.

Thank you Whitney!

Greetings and Salutations, dear Readers,
Ruth Giordano, here, doing what I can to keep the monthly e-newsletter publishing.

As this is the first e-news I have edited in many years, I suppose it’s appropriate to introduce myself to those who do not know me. Briefly and as relates to Red Room:

I’m the Director of the Red Room Radio Redux, (R4) dedicated to bringing literature to life in the theatre of your imagination. Modelled after the radio drama of the ‘30s and ‘40s, performing artists collectively read aloud selections from great literature which have been adapted for radio drama: music and sound effects enhance the listeners’ experience. Over the past 5+ years, we have collected recordings as well as live show dates performing such classics as Macbeth, Treasure Island, Dracula, Dickens’ A Christmas Carol and more.

If you have not heard our work, go to

Poem written for Spectacular Atrophy, May 2017

Poem written for Spectacular Atrophy

The organizers and players involved gathered in a circle, as fireworks shot into the sky; an explosion of light, dazzled and amazed, showering the land with love and praise.

That spectacle is a part of this cycle.

It was said:

Abided , alleged , anticipated
We bargained, begged, blasted
They “cross-examined” , condemned
Denied , Droned
Exposed, equivocated, echoed
It was foretold
Granted Grinned
Implied, indicated, interrogated
Lied, listed
They narrated
They observed, observed, observed
Parroted, pledged, paraphrased
Requested, repeated, rephrased, repeated, rhapsodized, reviewed, repeated
Sanctioned, solicited
Taunted, thundered, trumpeted
We uttered
We voiced, vowed
They wished
They whispered
We’ve yielded

by Aspiring Azul

“Post-Spectacular Atrophy Notes” May 2017

“Post-Spectacular Atrophy Notes”

In the late 1980s, Guy Debord wrote a book to reflect and expand on the ideas that were put forward in his acclaimed publication of 1967. He describes how the spectacle of society has contributed to the manufacture of “a present which wants to forget the past and no longer seems to believe in a future”. And he comments on how the integrated spectacle “has integrated itself into reality to the same extent as it was describing it, and that it was reconstructing it as it was describing it”. He boldly suggests that “The highest ambition of the integrated spectacle is to turn secret agents into revolutionaries and revolutionaries into secret agents”.

This was part of the inspiration behind the name Spectacular Atrophy — this idea that people collectively construct uninhabitable worlds and produce seductive illusions and mirages behind which is nothing but a void space. A drum sounds loud because it is empty.

An eponymous publication was released on the day of the event. It catalogues the collaborators, performers, exhibitors, and other contributors, binding together texts and images that trace much of what converged across divergent lines of flight. It’s just a book printed in black ink on white paper. It’s an appendage to the event proper. It’s non-required reading.

It could be referenced in the future, as if it were an artefact or an archive of what occurred. After all who were involved have passed away, it could even be read as an obituary — a sort of record that could be referenced in the writing of a history. In such a sense, its function might not be so different from that of a photograph document which makes sense of a scene or scape. Both publication and photograph capture and expose to produce a representation on a flat plane. Through its reproduction, the publication could form or transform a public, and might even deform one.

The point is that it’s possible no one there at that time was totally sure what it was all about, and surely in the future such facts will only fog over further. It’s not all too different from any other event that happens all at once and then immediately ceases to happen. These things happen all the time.

From Pipi Freestone