REVIEW: Taiwan Season: Proximities

Taiwan Season: Proximities is a production featured in the Taiwan Season at the 2026 Edinburgh Fringe Festival. Produced by LEI Dance Theatre, it is choreographed by the Laotian-French choreographer Olé Khamchanla. Performed by five young dancers from Taiwan, the work centres on key themes such as independence, imitation, boundaries and interdependence. Through the medium of physical performance, it explores intimate relationships between people, seeking to examine whether there are ways to seek intimacy even in moments of separation.

The stage design is extremely minimalist, with no sets or special lighting. This choice, however, lends the work a clarity of vision, allowing it to return to the essence of the dance itself. At the same time, the audience is able to immerse themselves fully in the rhythmic movements of the dancers' bodies. Formally, the piece blends traditional, contemporary and classical styles. Certain sections combine elements of Western classical ballet with those of traditional Asian dance.

The work is primarily divided into three sections. In the first section, three dancers take to the stage one after the other. They perform the same choreographed sequence, yet each follows a different rhythm. They repeat the movements ceaselessly, as if mimicking one another. At times restless, at times glancing sideways at their companions, they nevertheless maintain distinct boundaries, never achieving complete synchronisation. As the second section begins, two new dancers move in a circular pattern around the stage. They progress from initial struggles and tumbling to later, rhythmic walking. They constantly switch between different personalities or genders, eventually transforming into animal forms. The cycle repeats, at times moving in perfect synchrony, at others presenting completely opposing states. I interpret this section as representing the adjustments and conflicts inherent in interpersonal relationships. In the final section, all the dancers take the stage together; they huddle close to one another and dance in the same direction. They lift one another, embrace, and lock eyes. This section primarily showcases the connections and solidarity between people. However, I detected a different meaning in certain details. When they moved as a group, there was always one person who seemed somewhat out of step. At times, they were pushed to the outside by the group’s movements, and at other times, they lagged behind. And at the very end, when everyone was huddled together side by side, there was one person struggling to squeeze into the group from behind. Interestingly, the role of this misfit is not played by a single, fixed individual. In fact, the dancers take turns in this role, just as they imitated one another during the first segment. I interpret this as a compromise made in the process of integrating into the group. When a person goes to great lengths to learn how to get along with others and blend into the collective, do they risk losing their independence and freedom? This is a question worth pondering.

All in all, Taiwan Season: Proximities is a fine piece of work, both in terms of the choreography itself and the dancers’ technical prowess. Although the company has not been in existence for long and the dancers are all quite young, this production displays a relative maturity. The 2026 Fringe Theatre Awards list has already included Taiwan Season: Proximities among the Gold Award nominees.

★★★★

For more information, please visit: https://www.edfringe.com/tickets/whats-on/taiwan-season-proximities

©️Taiwan Season: Proximities

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