Written by Hsi-Lun Tai
To understand the evolution of theatre design and technical theatre in Taiwan, Allen Nieh (Kwang-Yen Nieh) is an essential figure. Nieh has played a vital role in shaping Taiwan’s performing arts scene. His career parallels the development of Taiwanese theatre—from the post-war period to present day, and from hand-drawn sketches to the digital age. His legacy is presented in the exhibition “A Gaze into the Empty Space, Allen Nieh and Our Contemporaries” held from this April to May in Taiwan. Co-presented by OISTAT Taiwan Centre, Taiwan Association of Theatre Technology (TATT) and School of Theatre of Taipei National University of the Arts (TNUA), the exhibition celebrated Nieh’s contributions as a theatre designer and educator.
Photo credit: OISTAT HQ
Nieh is credited as the first to introduce concepts and systems of theatre design and technology from abroad to Taiwan, building a strong foundation for the development of modern Taiwanese theatre. In 1963, Nieh traveled to Hawaii through an exchange program to study theatre design and technology, becoming one of the few in Taiwan at the time with international training for theatre backstage. Since then, he has continuously absorbed and reflected on global trends in performance design through reading, note-taking, and critical observation. Long before Taiwan’s theatre community regularly communicated and interacted with the international theatre networks, Nieh had already joined The United States Institute for Theatre Technology (USITT)* in 1968 and the UK’s Association of British Theatre Technicians (ABTT)* in 1980.
*Both USITT and ABTT are currently members of OISTAT, a global network for theatre practitioners celebrating design, technology and architecture in live performances, whose headquarters is now located in Taipei, Taiwan.
His early involvement internationally helped connect Taiwanese theatre design and international practice, inspiring generations of artists with his insights and designs. His understanding of international theatre knowledge and trends not only is reflected in his own works, but also shaped generations through his teaching.
Photo credit: OISTAT HQ
In Nieh’s classroom, it was never just about knowledge or technical / design skills. It was about cultivating an attitude and perspective toward theatre design and backstage work. Although Nieh is a well-experienced designer, he still stays curious and open to new ideas. He always teaches and writes sincerely, practically, humbly, and shares the importance of resilience and reflection on oneself to his students.
In a letter to the first graduating class of TNUA in 1987, he mentioned the importance of persistence and learning even during hard times, which deeply influenced generations of theatre designers in Taiwan. Hwai-Min Lin, founder of Cloud Gate Dance Theatre, once praised him as “the father of contemporary theatre design in Taiwan.” Others have said, “Without Allen NIeh, Taiwan’s theatre development might have lagged behind by two or three decades.”
Photo credit: OISTAT HQ
To better understand the person who profoundly influenced Taiwanese theatre, the exhibition “A Gaze into the Empty Space, Allen Nieh and Our Contemporaries” offer a journey through time from 1950s to the 2000s, tracing the intertwined of Nieh’s career and Taiwan’s theatre development.
The exhibition began with Nieh’s handwritten notes on the entrance of the gallery walls, welcoming visitor into “Nieh’s intimate classroom sessions”. Then following a timeline that interweaves the development of Taiwanese performing arts with milestones in Nieh’s career. A recreated corner of Nieh’s design studio brings visitors even closer to his creating process, featuring design sketches, models, and materials that reveal his attention to detail and commitment to excellence.
Nieh never stops exploring the possibilities of thinking performance designs differently. The exhibition collects and displays Nieh’s handwritten reading notes, lecture scripts, and published articles on topics from interior design, theatre safety, Standard operation process (SOP) of backstage works, and thoughts on aesthetics in Taiwanese theatre performance, providing the exhibition visitor to delve into his mindset of passion and loving in theatre.
Photo credit: OISTAT HQ
Even if you have never met Nieh in person, you still feel the warmth and wisdom from a generous mentor, guiding you the directions through the path of theatre and performance design. Nieh’s vision will always remind Taiwanese theatre professionals that “theatre is not only a place to design and create, but a lifelong journey of learning, collaboration, and love.”
Hsi-Lun Tai / Project Coordinator of OISTAT
TAI holds a Master’s degree in Performing Arts Administration from New York University. She previously served as a Program Marketing Associate at the National Taichung Theater and has managed marketing campaigns for several major arts festivals in Taiwan, including the Taichung Jazz Festival and the Chiayi City International Band Festival. Driven by a deep passion for sharing the transformative power of theatre, TAI currently works as a Project Coordinator at the OISTAT Headquarters, where she is responsible for social media, website content, event marketing, and writing articles for the organization.
