Based in Taiwan, Les Petites Choses Production is a 17-member performing arts collective known for its participatory, site-specific work. Their latest work, MORE MORE Paradise, choreographed by Lin Su-Lien, draws inspiration from Bosch’s The Garden of Earthly Delights and expands on a 2023 commission by visual artist Chuang Che-Wei.
The piece features performers Yang Nai-Hsuan, Shen Le, Chang Chien-Hao, Chen Yi-En, Chen Yi-Ju, Hsiao Yu-Chang (YaoBai), and Chang Yu-Chia (Diao), with Chen Hsin-Ning overseeing company management and music execution. As the company prepares for its first-ever Mumbai performance this Friday, Lin Su-Lien speaks to Indulge Express.
He discusses shaping the Bosch-inspired idea into a personal, wordless dance work influenced by injury and lived experience, reimagining paradise beyond perfection, performing in unconventional spaces, his first visit to India, and his appreciation for Indian cinema, including Maanaadu and Payal Kapadia’s All We Imagine As Light.
Your work MORE MORE Paradise evolves from your earlier project Paradise. What inspired you to expand this idea, and how is the Mumbai show different?
Lin Su-Lien: MORE MORE Paradise originated from Paradise, a work created by visual artist Chuang Che-Wei in 2023, inspired by Bosch’s The Garden of Earthly Delights. His original piece used AI-generated imagery and live musicians to depict layered visions of heaven, hell, and the human world.
After collaborating with him, I began to ask myself: if I were to reinterpret the idea of “paradise,” what form would it take? That question eventually led me to create a completely new theatrical dance work.
Mark Twain once said, “Comedy is tragedy plus time.” During the creation period, I injured both my knees and suddenly couldn’t dance or work. Those days were painful and frustrating, but I was deeply moved by the care and support of people around me. Heaven and hell coexisted in my life at that time, and that emotional complexity became the true starting point of MORE MORE Paradise.
The original piece runs for one hour. For India, we are presenting a condensed 30-minute version. While the full work includes extensive text and spoken word, for this tour I removed all language so that the dancers’ bodies could become the most direct and pure storytellers. To me, paradise is not perfection—it is the fullness of life itself, where joy and sorrow, light and darkness, all coexist.
Bosch’s The Garden of Earthly Delights is filled with striking imagery. How did you translate those visuals into movement and performance?
Lin Su-Lien: Rather than directly recreating the images, I focused on the emotions and contradictions they evoke—desire, fear, pleasure, chaos, and tenderness. These emotional layers became the foundation of the movement language. The body allowed me to explore the tension between beauty and discomfort, order and disorder, which reflects how I personally relate to the idea of paradise.
Your company often performs in unconventional spaces and engages with public participation. How does this influence your choreography?
Lin Su-Lien: Before we become creators or performers, we are first and foremost human beings. Regardless of our bodies, backgrounds, or identities, we all experience emotional shifts and life’s uncertainties. That is why the core of my work always begins with an authentic human state. Because of this foundation, my pieces can naturally adapt to unusual spaces or interactive public settings without losing their essence.
Is this your first visit to India or Mumbai? How are you feeling about it?
Lin Su-Lien: This is my first time in India, and also the first time I am presenting my own work internationally. I feel excited, full of anticipation, and just a little nervous. I am very curious to see how Indian audiences will experience this piece. At the same time, I have complete confidence in the seven performers—they are remarkable dancers whom I selected very carefully
Do you have any favourite Indian films, food, dancers, or musicians?
Chen Hsin-Ning, company manager: I have discovered several Indian films through film festivals in Taiwan. One that left a strong impression on me was Maanaadu—it was my first experience of Kollywood cinema beyond mainstream Bollywood. More recently, I have been deeply impressed by filmmaker Payal Kapadia. Her film All We Imagine As Light, which won awards at the Cannes Film Festival, was also released in Taiwan.