In 2017, when Associate Professor Daniel Ostling first set foot on Taiwanese soil, he never imagined he would fall in love with Taiwan and truly put down roots. Two years later, in 2019, he returned—this time invited by NTU's Department of Drama and Theatre to lead a short-term workshop on lighting and set design. He expected that, once the workshop concluded, he would simply return home to the United States and count Taiwan as just one more overseas work experience. Yet, those few days on campus became a turning point in his life. Reflecting on his initial arrival, he recalls: “I had no thought of living in Taiwan long-term, nor any particular expectations or preconceptions. I simply planned to finish teaching and then go home.” But as he gradually immersed himself in Taiwanese daily life, he found himself irresistibly drawn to this foreign land.
The key figure who forged the bond between Professor Ostling and NTU's Department of Drama and Theatre was then-Associate Professor Hsieh Hsiao-mei, Chair of the department. Hsieh had studied under the renowned director Mary Zimmerman at Northwestern University , where Zimmerman became famous in American theatre for developing scripts in tandem with rehearsals. In 2018, Hsieh invited Zimmerman to Taiwan for a lecture. After the talk, in a chance conversation about the department's desire to host a practical theatre workshop, Zimmerman recommended her trusted collaborator—stage designer Daniel Ostling. Thus began his relationship with the Taiwanese theatre community.
The 2019 workshop was met with an enthusiastic response, and Professor Ostling soon began receiving invitations to design for local productions and explore further teaching and exchange opportunities. By 2020, he had formally joined NTU as a visiting scholar. In this capacity, he worked closely with Taiwan's theatre practitioners and discovered a rhythm and work-style completely distinct from those he had encountered in the U.S. and Japan. He notes significant differences in production models: American theatre typically affords lengthy technical rehearsal and preview periods, giving designers ample time to refine their ideas. In contrast, Japanese and Taiwanese productions often face tighter schedules due to venue constraints and budgetary considerations. Yet, he was pleasantly surprised to find that, despite these limitations, production teams in Japan and Taiwan operate with remarkable professionalism, delivering work of extraordinary refinement and artistic depth—a testament to the unique execution speed and stamina of Asian theatre makers.
“Although the pace differs,” he smiles, “the essence of theatre artists is fundamentally the same everywhere. That sense of familiarity is what makes me feel at home, no matter the country.”
As a seasoned set designer, Professor Ostling especially relishes collaborations with directors who develop work improvisationally—creating scripts alongside rehearsals, sometimes without a full text in hand at the outset. Reflecting on his experience with Mary Zimmerman, he explains: “Zimmerman often draws from novels or myths as source material, but enters the rehearsal space without a completed script. Each evening, she returns to her desk and writes new pages. As a designer, I must craft an open-ended stage—like a blank canvas offering multiple possibilities, not merely serving a fixed narrative.”
In his teaching at NTU, Professor Ostling has observed clear contrasts between American and Taiwanese undergraduates. He points out that U.S. students often exhibit strong individualism, readily voicing personal ideas. While this can spur creativity, it sometimes impedes teamwork. Taiwanese students, by contrast, tend to be more deferential and highly respectful of their professors. This congenial atmosphere makes it easier for him to impart technical expertise, though he notes that it can also inhibit students from expressing their own viewpoints in an artistic context. “My greatest teaching challenge right now,” he says, “is encouraging Taiwanese students to speak up boldly.” In his current course, “Visualizing a Text in Space,” he urges students to delve deeply into scripts and bring their personal experiences and insights into their designs—transforming them from mere technicians into thoughtful artists with distinctive creative perspectives.
Beyond his professional pursuits, Professor Ostling has embraced life in Taiwan with deep passion. He finds serenity and inspiration in the quiet beauty of the NTU campus—particularly the botanical garden near the theatre building. He frequents local bookstores and cinemas, and spends weekends visiting art exhibitions and performance venues around Taipei. When it comes to Taiwanese cuisine, he smiles: “I absolutely love zongzi, stinky tofu, and gua bao—these have been my favorite culinary discoveries here!” He believes that food is an integral part of culture, and through Taiwan's unique gastronomic landscape, he has forged an even deeper connection and sense of belonging.
Looking back on his time in Taiwan, Professor Ostling expresses profound admiration for the island's diversity and openness. Whether on NTU's campus, in the streets of Taipei, or behind the scenes at a theatre, he has encountered nothing but warmth and enthusiasm. Taiwanese people's receptive spirit has not only eased his integration into local society but also prompted him to reflect on his own American cultural identity. Looking ahead, he says, “It would be my great fortune to continue working here—collaborating with Taiwanese students and artists. I hope to keep sharing my experience and teaching, inspiring my students, and collectively creating more extraordinary theatre work in Taiwan!”
除了專業領域之外，歐子凌副教授在臺灣的生活也相當豐富。他特別享受臺大校園的寧靜、恬適，尤其是戲劇系館附近的植物園，這不僅讓他感到一種自在與放鬆，同時也作為他的靈感來源。此外，他經常造訪學校周圍的書店、電影院等等，並且在假日參觀各種藝術展覽、場館。提到台灣的美食，歐子凌副教授立刻興奮地分享他的最愛：「我特別喜歡粽子，還有臭豆腐與刈包，這些都是我在台灣最享受的美食體驗！」他認為食物也是文化的重要一環，也因為臺灣獨特的飲食文化，他對這片土地有了更深的連結與認同。
總結自己在臺灣的這段時光，歐子凌副教授對於臺灣社會的多元與包容深感欣賞。無論是在臺大校園、台北街頭或者劇場裡，他經常遇到友善與熱情的臺灣人，臺灣人這種開放的心態，不僅讓他能順利融入臺灣社會，也讓他重新思考自己作為美國人的文化特質。展望未來，歐子凌副教授說到，自己十分願意繼續留在台灣發展：「能持續與台灣學生及藝術家合作，對我來說是一種無比的幸運。我期盼自己的經驗與教學，能夠持續啟發學生們，並在臺灣共同創造出更多精彩的劇場作品！」