A day later, Wang Anqi spoke again, emphasizing that her phased tasks have been completed, and her original intentions remain unchanged. In the future, she will be a volunteer of opera and an eternal fan. However, the various overtones in the text are even more incredible: Guoguang wants to "transform", how will it be transformed? Does it mean the same thing as the "transition" of transitional justice urged by the current Green Camp government? What does "less performances, technology transfer" mean?
Why should an active and well-known popular database public theatre troupe reduce performances every time it puts out a show? What kind of technology is being transferred by "technology transfer"? Is it performance kung fu, troupe management, program marketing, or production experience? Who are these technologies to be transferred to? Who needs these technologies? Is it a folk troupe, an art school, or another new public theater company whose face and name are still unknown?How important is Wang Anqi to the development of contemporary Peking Opera in Taiwan? This question may take two books to explain. Of course, Guoguang Opera
Troupe's achievements today are by no means hers alone. However, under the leadership of Wang Anqi, Guoguang Opera Troupe has undoubtedly practiced its aesthetic spirit of "modernization" and "literariness" in Peking Opera. Interpretation, classic inheritance, and cross-border production, all of which have left excellent works and performance results of both high quality and performance, and framed the unique and moving appearance of "Taiwan's Peking Opera".