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!”