I-Lien Ho




Department of Theatre Arts, National Sun Yat-sen University, Kaohsiung, Taiwan






Ph.D. Performance Practice, Department of Drama, University of Exeter, UK, 2009-2014

M.Phil. Chinese Studies, Lucy Cavendish College, University of Cambridge, UK, 2008-2009

M.A. Performance Studies, Tisch School of the Arts, New York University, USA, 2006-2007

B.A. Multi-Media Production, Department of Advertising, College of Communications, National Chengchi University, Taiwan, 2001-2006



Assistant Professor, Department of Theatre Arts, at National Sun Yat-sen University, 2017-now

Associated Assistant Professor, Graduate Program of Performing Arts, College of Arts, at National Kaohsiung Normal University, 2020- now.

Associate Assistant Professor, the Department of Performance Arts and Degree Program of Arts Management and Agent at Shu-Te University, August 2016-2017. 

Associate Lecturer, Drama Department at the University of Exeter, Sep. 2014- May 2015

Leading the workshop as the invited guest lecturer/artist “Being, Becoming, and Transformation/gression” in the course “Crossing Genres in Performance: Becoming Solo and Solo Becoming(s),” at the Department of Drama at New York University, 2008


Marketing Executive in Sino Network Television, New York, USA, 2008

Principal actor for A Timeless Kaiden in New York Butoh Festival, New York, USA, 2007

Marketing Assistant, New York Butoh Festival, Cave Organization, New York, USA, 2007


Co-leading Chen, Wei-Cheng summer workshop “Mask and Emotion”; researched acting methods, use of masks and movement to express emotion in theater, Grotowski method, Chinese Opera, and Tai Chi movements in Taipei, 2005


Photographer, Taiwan International Performance Art Festival, Kaohsiung, Taiwan, 2005

Journalist, Performing Arts Review, Taipei, Taiwan, 2004

Crew, The Third Annual Taipei Women’s Theatre Festival, Taipei, 2004




MOC, Ministry of Culture, Cultural Inclusive Grant, 文化部文化平權補助案, 奇花藝草:南部身障者如何參與藝文活動,2020.

MOC, Ministry of Culture, Performing Arts Grant, 文化部109表演藝術類補助《我是一個正常人》二部曲:〈我們一起撿到槍〉創作與記錄計畫2020.2-6.

Research Centre Grant, National Sun Yat-sen University.

Centre of Socially Practice, National Sun Yat-sen University 2019, 2020.

Visiting Researcher in the Reserch Centre of Electronic Communication at Tohoku University, Japan, 日本東北大學電氣通訊研究中心短期訪問研究員, 2020.

Japan-Taiwan Exchange Associate Research Awards (Arts and Humanities) ,日本台灣交流協會,訪日研究計畫, 2019.7-2020.3.

MOST, Ministry of Science and Technology Research Grant, Taiwan, 科技部專題計畫,劇場的行為展演化與社會實踐:我是一個正常人為實作研究, 2019-2020.


MOE, Ministry of Education, Teaching Practice Research Program Grant, 教育部USR學實踐計畫,劇場的社會實踐:真實劇場的另一種可能, 2019-2020.


University Doctoral Scholarship of University of Exeter, 2009-2012 .


Glynne Wickham Scholarship Award for the conference bursary, 2010


Graduate Student Fellowship for the ATHE Conference, 2010


Two Conference Travel grants from College of Humanities at University of Exeter 2009, 2010


Research and conference grant of Lucy Cavendish College, University of Cambridge, 2009

Received third prize in Chinese calligraphy in National Chengchi University Art exhibition competition in Taipei, Taiwan, 2005


Elected to membership in Young Artists’ Association, which was selected by Lin Hwai-Min and sponsored by the National Culture and Arts Foundation to perform Ciao Ci-Chao (adapted from Record of a Golden Lock, by Eileen Chang) in Taiwan, 2004


Played roles of Monkey King and Monkey A-Shan in Monkey A-Shan, which was selected and sponsored by the Council for Cultural Affairs and Department of Cultural Affairs in Taipei, Taiwan, 2002       




The poetics and politics of intercultural performances, intermedia practices, Butoh, and performance as research

Doctoral Thesis Title: Performing Kongwu’s (空無, Emptiness, Nothingness) Attitude Towards Language, Time and Self: Responding to Nam June Paik, John Cage and Marina Abramović, funded by the University Doctoral Scholarship, supervised by Professor Nick Kaye

Project 1.  Poem Without Language: Responding to Nam June Paik

Project 2. One Street, Three Persons, Three Descriptions, and Three Memories: Responding to John Cage

Project 3.  … is Present: Responding to Marina Abramovic’s The Artist is Present

M.Phil Dissertation Title: Choreographing Cultural Identities: On the Case Study of Cloud Gate Dance Theatre of Taiwan’s “Cursive I” and “Cursive II”, supervised by Dr. Pei-Yin Lin





 Presented the paper “The Challenges of Developing Disability Performance in North and South of Taiwan”, How Disability Performance Travels. IFTR Disability and Performance Working Group Gathering in Galway 2020.


Presented the paper “Discover New Affordances of Disability, Embodiment and Theatre-making through the Socially-engaged Performance Theatre I am a Normal Person”, Techniques and Culture working group, Marseilli France, Apr. 2020

Presented the paper “The social and performative turn of theatre: the case study of I am a Normal Person” in the international conference Performance as Method from Global Perspective: Historical Memory, Technologies of the Self and Cultural Production, NSYSU, Taiwan, Dec.2019 

Presenting the paper “Developing the post-human performance theory through the concept of Kongwu” in the international conference, Taiwan Humanities Society Annual meeting, National Chung Hsing University, Taiwan, Nov. 2019.

 “Kongwu(空無,emptiness, nothingness) into Performance” Invited to give the paper to scientists in the conference and workshop On What is between: An Interdisciplinary Dialogue around MA (), organised by RIEC Nation-wide Cooperative Research Projects “Interpersonal Communication” and “Search Science”, and French National Centre for Scientific Research (CNRS), in the Research Institute of Electronical Communication at Tohoku University, Japan ,2018 Feb 8-12

Presented the paper “When the ‘Meditative Mind’ Migrated into Performance: Comparing Marina Abramovic’s The Artist is Present and Kongwu (, emptiness, nothingness)’s Logic” in Performance Studies International (PSi), Shanghai, China, 2014

Presented the paper “Contextualizing Performance as Research through Kongwu (, emptiness, nothingness) in the Intercultural Performing Strategies of the 1960s European-American Avant-Garde”, and led the workshop in Performance as Research Working Group in The International Federation of Theatre Research (IFTR), Osaka, Japan, 2011

Participated in the symposium ARTAUD FORUM I: The World from within and without (in memoriam Kazuo Ohno) at Antonin Artaud Performance Centre, the Centre for Contemporary and Digital Performance, Brunel University, London, 2011


Presented the paper “Innovating Intercultural and Intermedia Performing Techniques in a Case Study of the Cloud Gate Dance Theatre’s Cursive Series” at Association for Theatre in Higher Education (ATHE)’s 24th Annual Conference and the Association for Asian Performance’s 16th Annual Conference, USA, 2010


Presented the paper “Innovating Intercultural Performing Techniques in Cursive Trilogy of the Cloud Gate Dance Theatre of Taiwan” at the China Postgraduate Network Annual Conference, University of Oxford, UK, 2010


Presented the project on the intercultural and intermedia kinesthetic of the writing and dancing body, and attended the workshop on Performance as Research at the Department of Dance, Film & Theatre, University of Surrey, UK, 2010


Participated in the panel with Caroline Mawdsley, Andrew Mitchelson and Performance Market Artists, introduced by Helen Pritchard, at the Symposium Session: Curation and Generation(s), held at the Globe Theatre, Stonehouse Royal Marines Barracks, Plymouth, UK, 2010


Presented paper “Choreographing Cultural Identities: A Case Study of Cursive Trilogy of the Cloud Gate Dance Theater of Taiwan” for a panel on post-colonial aesthetics called “Fractured Narratives: Pinter, Postmodernism and the Postcolonial World” at Goldsmiths, University of London, UK, 2009




Co-authored with Dr. Chia-Huei Tseng. “Time never arrives: Narrative from MA and Kongwu in Performance art “, Japanese Psychological Journal, special issue “Narrative Based Research and Practice in Psychology” SSCI (under review).

劇場的展演化與社會實踐: 以《我是ㄧ個正常人》為實作研究, 戲劇研究 (審查中)

“Discover New Affordances of Disability, Embodiment and Theatre-making through the Socially-engaged Performance Theatre I am a Normal Person” Techniques and Culture Journal, special issue Waza. peer-reviewed (proposal accepted, working-in-progress).   

Book Chapter “The Challenges of Developing Disability Performance in North and South of Taiwan”, How Disability Performance Travels. (proposal accepted, working-in-progress).

“Poem without Language: When a Writing Becomes Traceless”, Leonardo, Journal of Arts, Science and Technology (February 2018) https://doi.org/10.1162/LEON_a_01551. (AHCI)


Co-director, “Crossing the Magic Hour of Old Zuoying” site-specific walking performance, funded by Ministry of Science and Education, June 2019


Director, “I am a Normal Person” theatre performance (funded by the Ministry of Culture, Ministry of Education USR) at Tainan Art and Life Museum and Kaohsiung Main Library Theatre,2018


‘Intercultural Performance in Taiwan: Discussing Psychophysical Acting Training Workshop’ International Association of Theatre Critics (Hong Kong), ARTiSM, Sept.2016


Performance Market Video Documentation, Marina Abramović’s Institute for the Preservation of Performance Art at MOMA, New York, USA, 2010

Performance Market Video Documentation, at Plymouth Arts Centre, UK, 2010

Excuse Me, Can I imitate and follow you? The one-to-one, site specific performance in Plymouth market for Performance Market, two day Live Performance as part of Marina Abramović’s Institute for the Preservation of Performance Art in collaboration with Plymouth Arts Centre—“The Pigs of Today are the Hams of Tomorrow,” Plymouth City Market, Plymouth, UK, 2010.

Performing The Holiness Master Shit in Asian Heritage Festival (“Who is Asian American?”), Asian American Wang Centre at Stony Brook University, New York, 2008



Chinese translation of Mark van Doorn, Evert van Loenen, and Arjen de Vries’ “Performing in Ambient Narratives: Supporting Everyday Life Performance with Technology” in The Drama Review/TDR China, Issue 2, August 2008.



城市遊戲打造漫遊劇場 表演藝術走入城市生活 2019.

文化平權讓「礙」不再 藝術工作者聚焦身障議題2019.

臺英交流Eye-opening 劇藝聯手換屋計畫探索新興藝術形式2019.


大學生演出「烏金戀歌」 烏魚洄游為聯想描述兩性熱戀 2019.


另類導覽戲城市 移動式劇場漫遊舊左營 2018.