Dec 28 (2017)-Jan 1             Chengdu, Module 5 – rehearse King Lear

Jan 4-14                                  Beijing, Module 6 – rehearse and perform Macbeth

Jan 17-23                               Guangzhou, Module 5 – rehearse The Tempest

Jan 25-31                               Hong Kong, Module 3

Feb 1-4                                   YR – Eurythmy workshop, DA – Tokyo training

Feb 6-11                                 Taipei, Module 5 – Hamlet

Feb 20-March 3                     Cixin Players rehearse and perform King Lear                                                                               Class 12 – rehearse Les Miserables

March 5-24                            Hawthorne Valley Class 10 rehearse and perform

March 28-April 3                   Xian, Module 4

April 5-14                               Shanghai, Module 6, rehearse and perform                                                                                     The Merchant of Venice

April 16-May 6                      Hudson, Immersion with The Michael Chekhov School

May 7-June 2                         Hawthorne Valley Class 12 rehearse and perform

May 20                                   Hillsdale, YR and DA wedding

June 18-July 29                     WTD’s 21st Anniversary celebration – rehearsal and                                                                     production of Richard II, directed by Melania Levitsky                                                                 Performing July 19-22 and 25-29

August 3                                 Taichung, Talk on Drama and Inner Development

Aug 4-8                                   Taichung, Module 1

Aug 9                                      Taichung Advanced Workshop with The Cicada Ensemble

Aug 11-15                              Taipei, Module 6 – rehearse Hamlet

Aug 18-23                              Tianjin, Module 3

Aug 25-26                              Tianjin, weekend workshop

Aug 29-Sept 3                         Chengdu, Module 6 – rehearse King Lear

Sept 6-16                                Guangzhou, Module 6 – rehearse and perform                                                                              The Tempest

Sept 18-22                             Guangzhou, Hairong School, team building

Sept 24-28                             Hong Kong, Module 4

Sept 30-Oct 6                         Fuzhou, Module 3

Oct 8-13                                  Tokyo, Fujino School

Oct 15-20                               Kyoto, Kyotanabe School

Oct 22-28                               Yokohama, Island Culture Project

Oct 31-Nov 6                          Xian, Module 5

Nov 9-14                                Dali, Module 1

Nov-Dec 2                              Cixin Waldorf School, class 11 production

Dec 4-20                                 US Tour A Christmas Carol

Dec 21-24                              Hudson, 13th Anniversary production of A Christmas Carol



12月28日-1月1日  成都 戏剧与内在成长-第五期《李爾王》排演

1月4日-14日    北京  戏剧与内在成长-第六期-畢業公演莎士比亚《麥克白》

1月17日-23日    广州  戏剧与内在成长B班-第五期+莎士比亚《暴風雨》排演

1月25日-1月31日      香港  戏剧与内在成长-第三期

2月1日-2月4日 東京劇場研習

2月6日-11日  台北  戲劇與内在發展-第五期+莎士比亚《哈姆雷特》排演

2月20日-3月3日 宜兰  慈心华德福学校十二年级公演音樂劇                                        教师戲劇公演 – 莎士比亚《李尔王》

3月4日-24日 美国  Hawthornevally华德福学校十年级学生戲劇製作

3月28日-4月3日    西安  戏剧与内在成长第四期

4月5日-14日 上海 戏剧与内在成长第六期-畢業公演莎士比亚《威尼斯商人》

4月16日-5月6日  美国 麥柯契科夫學校  專業劇場集訓

5月7日-6月3日  美国  Hawthorne Valley 华德福学校  和12年级学生工作

5月20日 美國 婚禮

6月18日-7月29日  美国  遛狗剧场暑期大戲-莎士比亚《理查二世》排練公演

* 8月3日晚上 台中善美真華德福小學-戲劇与内在發展講座座談會 (歡迎前來)* 8月4日-8日  台中  戲劇与内在發展-第一期  (新開班,歡迎認真走三年者前來)

8月9日 台中  畢業班CICADA 進階探索日

8月11日-15日  台北  戲劇与内在發展-第六期+莎士比亞《哈姆雷特》排演

8月18日-23日  天津  十二感官和幼儿教师内在成长 三年第三期

8月25日-26日天津 週未社群工作坊 (或與奧茲學院戲劇社團深化排演)

8月29日- 9月3日  成都戏剧与内在成长第六期+莎士比亚 《李爾王》排演

9月6日-16日  广州 戏剧与内在成长B第六期+畢業公演莎士比亞《暴風雨》

9月18日-22日  广州 海容华德福学校  戏剧与内在成长 教师团队建设

9月24日-28日 香港 戏剧与内在成长第四期

10月1日-10月6日  福州  十二感官和幼儿教师内在成长三年第三期

10月7日-14日  日本 藤野史坦納學校 教師與社群團建工作+高中英文戲劇

10月15日21日-日本 京都 史坦教師與社群團建工作+高中英文戲劇

10月22-28 日本 亞洲島嶼文化交流

10月28日 日本 東京實驗劇場演出 (廖圓融 x TAMA 劇團)

10月31日-11月6日  西安  戏剧与内在成长 第五期

*11月9日-14日 大理 戲劇与内在發展-第一期 (新開班,歡迎認真走三年者前來)

11月18日-12月2日 宜兰慈心华德福学校十二年级学生+教师團隊戲劇

12月4日-12月24日 美国纽约  圣诞颂歌排練+巡迴演出

July 15-17, Drama and Inner Development introductory workshop, Beijing, China
July 20-24, Module 2 (twelve senses course), Tianjin, China
July 26-Aug 1, Module 5, Beijing, China
Aug 3-14, Module 7 – Performances of Much Ado About Nothing, Taichung, Taiwan
Aug 16-20, Module 4, Taipei, Taiwan
Aug 22-28, Module 4, Chengdu, China
Aug 30-Sep 5, Module 5, Guangzhou, China
Sep 8-17, Module 6 – performances of The Taming of the Shrew, Guangzhou, China
Sep 19-23, Sessions with teachers, Hairong Waldorf School, Guangzhou, China
Sep 25-29, Module 2, Hong Kong, China
Oct 1-7, Module 2 (twelve senses course), Fuzhou, China
Oct 9-14, Work with students and teachers, Fujino Steiner School, Fujino, Japan
Oct 16-21, Work with students and teachers, Kyotanabe Steiner School, Kyotanabe, Japan
Oct 23-28, Work with students, teachers, and a public workshop, Hokkaido Steiner School, Japan
Oct 29-Nov 4, Module 5, Shanghai, China
Nov 6-7, Team-building with executives, Shanghai, China
Nov 9-15, Module 3, Xian, China
Nov 19-Dec 3, Work with students, teachers, and rehearsing King Lear, Cixin Waldorf School, Taiwan

Cixin Waldorf School’s Class 11, directed by WTD’s David Anderson, opens Romeo and Juliet this week in Taiwan.

Click here for the video trailer!



11/24 15:30-17:00(B卡司)
11/25 09:00-10:30(A卡司)
11/25 19:00-21:00(B卡司)
11/26 19:00-21:00(A卡司)


by Yimei Chen

pairs work

What is acting?  What is an actor?  To use one analogy, in trying to capture the effect on the audience, it is like the moment when the flower blossoms.  The flower opens and the audience experiences it.  They feed its blossoming with their attention.  How does an actor prepare him/herself to reveal this organic unfolding of life, so that when the audience experiences it, they feel its beauty?

As an actor, it is important to be able to receive; that is, to receive oneself, receive partners on the stage, the audience, and the field of their work.  It is like you cast a net of awareness to cover all of this.  Inside this net, all happenings unfold, everything is possible, including surprises and serendipity.  The beauty that reveals itself is not just within the context that the actor created, but also something more than this.  It happens in the same way that surprises meet us in daily life–surprises which usually bring us joy.


It is a conscious exercise.  A capacity for active imagination.  Something the body can touch and sense, not an idea.  We need to taste the sensation from the body.  For example, when we are in love, there is a simile that says, “like deer rushing into the heart.”  What does that mean?  Perhaps, some sweat on the palm, faster heart speed, faster breathing, unstable mind because there is another person in the heart.  It can be expressed from the body level, instead of an idea.  Then, how about feeling proud?  How about feeling shameless?  As an actor, we are able to express and convey this to the audience through our imagination.

The work as an actor is to capture the essence of those words, the reality at the body and soul level, and, when it is possible, the audience can feel it.

“Acting” is a misleading word with the connotation of becoming another.  However, the ideal work of the actor is probably more about presencing–being available in our humanness to receive another possibility of the human experience by awakening a sensation and imagination of it.  We don’t become another; we reveal, through our creative freedom, another possibility of being human.


In order to do that, it takes lots of inner work from the actor’s side.  The sense of shape, the form, the body, the voice, has to be penetrated, to be felt, enlivened.  The active imagination includes inner presences or aspects, such as earth, water, air, and fire; qualities of movement such as molding, floating, flying, and radiating; living gestures like to push or to pull, falling and rising qualities of experience, different colors – all via the body, the facial expression, and the voice, which all shape and reveal the character on the stage.

Each character is not fixed.  To my surprise, it is not about my original assumptions about imagination of certain emotions, instead, it is a state of flow.  In a big context, any change of one inner element or aspect affects or changes others, creating a constant state of metamorphosis and surprise.

It takes a lot of trust in order to be that flexible.  Trusting oneself, trusting others, and a willingness to adjust and be open.

by  Min-hsuan Chen,  6-9th Grade Class Teacher at Cixin Waldorf School in Taiwan


Going through the baptism of a Shakespeare play – Twelfth Night two years ago, the impact of participating in this play led me to look forward to performing with my colleagues again. In our next play, The Tempest, unlike my role of the CLOWN in Twelfth Night, I tried a very different role – the PRINCE.

Bringing with me both familiar and strange feelings, I started a new journey into this play. After the play ended, a lot of perceptions emerged from my heart and started to affect my soul.


Not long after the play ended, it was my turn to be the tea master in a Tea Zen class which I was participating in. Before other classmates came in, I got myself ready with a sense of ease by practicing a warm up which David taught the drama group before our performance. I looked at the tea set and decoration, which were like the props on a stage in a play. I closed my eyes and tried to connect with them while waiting for Master Wei Rong and other classmates to enter the room.

When my guests were ready, we all practiced pranayama and meditation for a while. I imagined them around me as the audience. I started to connect with them and the space. Suddenly, a picture previously described by David arose from my mind – a star was behind me infinitely far away. It sent light to me! I was surrounded by this light as I started my Tea Zen journey.

I was relaxed but I kept awareness. Although I still forgot some of the elaborate procedures, I was not disturbed by that. Just like David had often reminded us, through attending to the action and movement in a scene, the lines will come out automatically. There were several times that I forgot the next step, but what was so amazing was that, as I finished one process, the next process was awakened automatically. I did not need to memorize them forcefully. The more I relaxed, the more the process was fluid.

Although there were some mistakes in the procedure, I totally accepted my situation at that moment. I smiled and had no judgment or criticism, only change and adjustment. I sensed myself being comfortable and harmonized. Even the tea tasted particularly good and sweet!  

In the feedback section of the Tea Zen experience, one of my classmates mentioned that she could feel I was pleased during the process. It seemed I had indulged in my own sense of a flowing, brisk process, and was not sensitive to other people’s needs – for instance, they might have liked to have a slower experience, in order to taste every moment. This comment reminded me strongly of similar experiences in drama and became an echo of my inner thoughts.

Looking back at play rehearsals, before I could memorize the lines or capture the archetypes of my roles, I had a hard time receiving responses from other actors. Fortunately, because I played the same role in both casts, I had more opportunities than other actors to practice the lines and movement. When I was skilled at the lines and could capture more about the characters I played, I could more easily ”receive” and “give”, and spontaneously respond in kind with other actors. This is like Tea Zen. If the basic training was not practiced enough, the tea master had difficulty sensing and responding to the guests’ needs and changes in the surroundings. Therefore, the basic practice is the foundation of everything.   

My experiences in both Tea Zen and Drama have caused me to reflect on my life. Moreover, when I look back on The Tempest, these lines from Prospero are so impressively imprinted on my mind……

“Our revels now are ended.

These our actors,

As I foretold you, were all spirits and

Are melted into air, into thin air:

And, like the baseless fabric of this vision,

The cloud-capp’d towers, the gorgeous palaces,

The solemn temples, the great globe itself,

Ye all which it inherit, shall dissolve.

And, like this insubstantial pageant faded,

Leave not a rack behind.

We are such stuff

As dreams are made on, and our little life

Is rounded with a sleep.”

Each time I hear these lines, a four-line stanza from the Diamond Sutra always comes to mind:

“All phenomena are

Like a dream, an illusion, a bubble and a shadow,

Like dew and lightning.

Thus should you meditate upon them.”

How coincidental! The Tempest, Shakespeare’s last work, through the words of Prospero reflected his philosophy of life which resounded with the Buddha’s own words. It’s an interesting journey when Drama meets Tea Zen.