However, by the time he finished Lear Was Here in cooperation with Wu Hsing-kuo in 2000, Yip was bemoaning the poor quality of the "stage environment" in Taiwan: the market was too small, there weren't enough specialists being trained, and there weren't enough high-quality pieces to perform. "How can people be expected to produce dream theater with such a shortage of resources?
但在 2000 年與吳興國合作完《李爾在此》後，葉錦添也感嘆台灣的「舞台生態」太差：市場太小，養不起足夠的專業人才，也推不出足夠的精緻劇碼，「如何能在資源如此匱乏的情況，打造夢幻舞台呢？