Whenever developing a theatrical work from a story or text, we can’t get rid of the thought whether it has reached the limit of representing the realty of narratives. Suppose in the performance the essence of emotions comes from the actor’s body and meanings of objects in the scenario from the narrative conditions per se, we then assume how actors will interact with designed speculative objects and how their relationships develop to form a new way of reading when narratives are born in the nature of both actors and properties.

Based on the winner of Taipei Literature Award’s grant, the novel Second Woman, the project explores how speculative objects influence actors’ onstage reality in the theatrical venues. The performer collaborates with the designer to examine the limit for the performer/author of the original novel of creating possibilities, along with “impossibilities/unusualness” as the core of design thinking. Focusing on the state of deuteragonist and objects functioning as properties, which is as ancillary as the deuteragonist in the whole play, they attempt to reconstruct a disparate condition for the protagonist under the spotlight through reinterpretation and stimulation.