I had the pleasure of being part of an enjoyable and fulfilling production. The protagonist of the story is lonely and suffering, yearning for understanding from others, yet deeply aware that the barriers of the human heart can never truly disappear.

They oscillate between primal instincts and societal norms, struggling within the structure of id, ego, and superego, while facing the allure and pursuit of collectivism. I attempted to construct some abstract and obscure hues through human and beast-like voices, and folk percussion.

Ultimately, grappling with different selves to the point of explosion is something I excel at as well. Why do we live? Among the various selves split by emotional drives, which one is the true self? If we don't maintain our distinctiveness, then what is the meaning of individual existence?

I envision those suppressed, desperate, indescribable sorrows and madness.

 
(English translate, by ChatGPT.)

This was a production where I had complete creative freedom. At the time, I was thinking about a piece of fish in my home refrigerator that I had not yet cooked. I imagined the journey of the fish from the fridge, through thawing, to being reheated, creating a mini-trilogy.

"What if fish still had perception after death?" I wondered.

I contemplated the psychological changes as the fish slowly loses its coldness in the fridge, the hopes and disappointments of thawing as it believes it is being freed, and the pseudo-resurrection during reheating as it warms up again until boiling. The fish’s life is over, and what remains is a long, drawn-out existence.

(English translate by ChatGPT.)

My first time writing for a small Western music ensemble. The special exhibition features a playful and colorful visual style, with many round, strange creatures bouncing around the screen. I started imagining from the sound, choosing a 'round' sound as the opening theme. I tried to give each instrument a moment to speak, imagining them as a group joyfully chatting, taking turns to say their piece.

(English translate by ChatGPT.)

I recently restructured a  traditional orchestra ver.  originally adapted from one of my favorite songs, "Watergate no.13 (十三號水門)*1" by Yawen Tsao (曹雅雯). This song always reminds me of Sayuri Ishikawa(石川さゆり)'s "Crossing Amagi (天城越え)", so when arranging it, I whimsically hid some fragments of it in the prelude. In each section, I imagined Tsao singing with her perfect tone. The tears in the cold night are like rain, the red dress, rising up, and every step towards the bridge feels like the Iron Wheel Woman heading to Kifune Shrine, embracing the final madness. The lyrics evolve layer by layer, from accusations to the ultimate self-sacrificial curse. When rearranging, I deliberately made the weight of the music's ending spiral downwards; I envisioned it as the gradual sinking after jumping into the Tamsui River: each moment of sinking deeper into the river represents a deeper hatred.

"誰かに盗られるくらいなら あなたを殺していいですか？" ("If someone is going to steal you away from me, is it okay if I kill you?"  lyrics from Crossing Amagi)

"淡水河無崁蓋 欲死由在人 等一切結束 你就毋通怪我" (The Tamsui River has no bridge, death is within reach. When everything ends, you can't blame me."  lyrics from Watergate no.13.)

There is a kind of love in this world that exhausts all strength and becomes hatred, a lingering hatred that persists until death.

*1 For real events, refer to Wikipedia: 十三號水門命案（Case of the Number 13 Watergate）

(English translate  by ChatGPT.)