Lai Shengchuan, a leading Asian theater director? The charm of the moment in the theater is condensed into eternity with words.

Since the performance workshop was established in 198s, Lai Shengchuan and his Lai's plays have not only achieved a "golden age" of drama, but also made "going to the theater to see the play" a lifestyle choice for young artists.

Compared with the academic school of humanistic arts and the avant-garde school of Meng Jinghui's drama, Lai Shengchuan is more inclined to tell a good story. His fascination with stage space, his thinking about the cycle of life and death, and his concern for practical issues are reflected in every script he creates.

This may be closely related to Lai Shengchuan's religious belief and personal growth experience.

Lai Shengchuan was born in the United States, and came to his native Taiwan Province with his father when he was a child. He thought he could return to the United States in two years, but his father's death forced him to stay until he went to study in the United States in his youth. This growing experience made him feel alienated from both the United States and Taiwan Province, and this fate was also reflected in the characters in his story.

Lai Shengchuan is a devout Buddhist believer. He believes in cause and effect and shows great speculative interest in the proposition of reincarnation of life and death, which is most obvious in A Dream Like a Dream. A few characters, past lives to each other, a little fetter, a miss, and an entanglement in previous lives have attracted repeated pursuits in this life, which has to be said to be a guide of fate.

In Lai's plays, the traditional "karma view" in China people's minds is always deeply embodied, believing that "there is a cause before, and there is a result after", that "good is rewarded with good, and evil with evil", that "predecessors planted trees for future generations to enjoy the cool", and that "a hundred years' training will help us cross the boat, and a thousand years' training will help us sleep".

The Collection of Lai Shengchuan's Plays is the first collection and publication of Lai Shengchuan's plays in China, including nine classic plays. These stories are absurd, funny, spicy, satirical, warm, enthusiastic, and full of twists and turns. The images of "dream" and "cause and effect" run through them, just like a big dream and nine lives.

crush on Peach Blossom Garden: Young lovers meet again after 45 years, and the fisherman comes home to find that his wife has another family, which is about the pursuit, loss, passing love and ironic fate.

Baodao Village: A story happened in Taiwan Province's family village, about the ups and downs of individual life in the great era. From "I want to go back" to "I can't go back", the whole life is just a story.

A dream like a dream: a story that spans time and space, connects past lives, and is an epic about fate. "The mystery in your life must be solved by other mysteries, just like some dreams, you must go through other dreams to wake up."

book in the water: distressed young people accidentally meet their childhood mothers through time and space, and understand that instant happy memories can also be eternal. "Rain falls on the window, just like water is writing", life is inevitably regrettable, so enjoy the joy of the moment.

Story of the Ring: Seven young people in the city, she loves him, and he loves her, and finally they form a closed loop of love. "love. How ridiculous. Never leave. How stupid, how crazy. But only this power can keep me going in the ruins of ashes, hoping that everything will come back to life at the end. "

Follow the Shadow: A murder case involves two families. About suspicion, jealousy, concealment, whitewashing, shake off the subtle part of human nature.

the 13-triangle relationship: the husband cheated, but the wife actually asked the mistress for advice on how to hold a man's heart. About the embarrassment and decency of middle-aged people, love and family, betrayal and loyalty that no one has ever mentioned.

Red Sky: A story that happened in a nursing home, and the story of a group of elderly people who are coming to the end of their lives. How to face the inevitable end of life is something that each of us should learn when we are alive.

On that distant planet, a grain of sand: She never forgets her husband who has been missing for 2 years, preferring to believe that he has gone to another planet. About emotional obsession, those hands that refuse to let go.

The designer has put a lot of effort into the binding of Lai Shengchuan Plays, from the font of the title to the style of the cover.

Every drama in Lai Shengchuan has a long-standing visual symbol system. In order to show the uniqueness of each drama in this classic drama collection from the title, the publisher found teachers Jiang Hua and Yan Yongliang of the Central Academy of Fine Arts and invited all the students in the course of "The Way of Chinese Characters" led by them to participate in the font design of the title of "Lai Shengchuan Plays Collection" and selected 9 fonts from hundreds.

These students are all born after , younger than most scripts. They design fonts for these scripts, which also reflects the dialogue between two generations.

Each book adopts the design of the old-fashioned drama program in the 192s and 193s, with bold colors and retro layout. When we take out a book from the letter case, these programs are like the invitation of the author, and when we open the book, it indicates the official opening of the scene.

When we open the program list, the most wonderful paragraphs of the book are printed on the concave shell, suggesting that we are about to enter an extremely wonderful and rich drama plot.

The words "one person, one vote, admission by ticket" are also printed on each program, which breaks the boundary between the script and the theater and gives us a sense of ritual of entering the drama world with tickets.

"Let young people hold it in their hands and rehearse." This is what Lai Shengchuan himself has been asking for this set of books. In the final book form, all books can not only be laid flat, but also be folded 36 degrees, completely realizing one-handed holding. Even if you carry a script for rehearsal, you can do actions with a book in one hand, which is light and practical.

It is worth mentioning that before each script, it depends on the director's warm-hearted tips: in Lai Shengchuan's self-directed version, how long is the play, and after which intermission should be set. It sets a "benchmark" for readers who have rehearsal needs.

After each script, the performance information of various versions of the play in the world is included, including the time, place, actors and behind-the-scenes workers. This is the first time that the performance workshop has made public the performance materials, which is of great collection value, and it is also a tribute to all the staff who have created excellent drama works in the past.