Edinburgh Fringe 2026
Taiwan Season: Under Mask
Mailantia Dance Company
Genre: Contemporary, Dance, Dance and Movement Theatre, Experimental, Movement, Physical Theatre
Venue: Dance Base - Assembly
Festival: Edinburgh Fringe
Low Down
‘The Mask is not a disguise. It is a choice.’
Six months in the making – this piece is made with sheer passion and details that had the audience leaning in – we were completely invested in this dynamic ensemble. Simply a beautiful mark in the Edinburgh Festival for the Taiwan Season and the realms of physical theatre and dance that perpetuates a feeling of connection that goes beyond linguistic communication – the power of the body – the power of dance.
Forming part of the Taiwan Season at this year’s Edinburgh Fringe, are the talented Cast from Mailantia Dance Company.
Vigor – drive – authenticity – and a question, what does identity mean? – but no cliches here (which can sometimes be a trap with storytelling), just the beauty of pure organic dance that cannot be explained with words, it is deeply rooted in the soles of the feet and the rhythms and folklore of Chinese ancestry.
This work is memorable, with precise innovative motifs in abundance – choreographed by the talented visionary Yun-Chi Lai, performed by: Tsung-Hsien Chen, Tsung-Han Hu, Yi-Hao Zheng, Hsiao-Wen Huang on this viewing with Yun-Chi Lai performing on alternate nights.
Review
Four silhouettes appear in sheer darkness, entering the stage at the assembly you can just about see the edges of their bodies – bare – floating – still. They begin to move with subtle awareness, like disturbed caterpillars -shifting ever so slightly, as a red piercing light fills the gauze, the dancers are aware and stand with a profound emerging of a morning dawn – life, morning sunrise and the start to the awakening of their tribal dance – beauty in the stillness. Gentle strobe lighting captures the mild twitches of each dancer as they gravitate towards each other with effortless peripheral force – their bodies are bare, with power in their flesh mesh garments designed by Shu-Ling Yeh who creates an evolution of costume for each performer that conveys a woven tapestry of storytelling all on their own. Beautiful.
What soon evolves is the ‘placement’ of the mask and the clothing, what seems like an everyday exercise is a ritual of placement and honour as the mask represents a ‘diverse range of physical vocabularies’. The placement begins with the amalgamation between Taiwanese tales and contemporary practices, and the honour begins and never faulters with or without the mask, rather gives each dancer a connection to themselves and the world that cannot be explained or justified. And there is no need to – the mask doesn’t mean hiding or repressing heritage but rather an opportunity to celebrate. Each mask is created by Lai Yun-Chi in a tradition crafted from her family, known as ‘Laivantia’, with Steam Punk influences, a delightful fusion of materials that sculpted the dancers faces with resilience and presence that goes beyond the photo image of this show – ‘Our mask is way more complicated than people think – something you cannot explain’ explained Tsung-Hsien Chen.
The Masks definitely create a new feeling, a new voice, a new rhythm that suits each performer and the complexities of identity that comes from ritual and contemporary practices/behaviours/patterns. The ensemble performs and transforms the stage with moments of isolated movement that takes a centre focus on stage whilst the other performers observe, this idea of presenting and watching – society is always watching us. Yun-Chi Lai is a marvel of visionary conception as she creates moments on stage that transport moments of movement in time that dominate the space and the quality of the choreography here is outstanding to witness – the dominant power of the feather dance was incredible, originating from the Chinese Opera, floating and forming shapes across the dancers bodies for the high divine God that gives each limb of the performers strength and agility. A master piece in how to use props to a new level – with no beginning or end, shifting around limbs and through hair, woven in time and culture. A masterclass in how to use two simple feathers to create memorable theatre – Yun-Chi Lai should get a standing ovation for this scene alone and the dancers who made this happen with impeccable precision.
Masks and make-up are often seen as shields and covers to improve our confidence or personal view inflicted by what is expected from an unforgiving society – however here, the masks and make-up reverses this, they are the symbol of Taiwanese traditions that must continue to be shown both by the individual and society, as if not the beauty in temple rituals will get lost. This is a must book for the festival, with beautiful choreography with bells and feathers, which is supported by ritual sounds that travel through the dancers figures with chanting and tone. There is truly no section that fills time, just beautiful unity in a dance that transported the audience both in the individual quality of the four dancers and when woven as one moving motion of melting images. Prepare for an unmissable 45 minutes that will stay with me throughout the whole of the festival.
