Chen Sheng-Fu thinks that Taiwanese Opera cannot be neatly classified into either traditional or innovative categories. Every generation has its own definition of art and performing style. For the Ming Hwa Yuan, when they perform in a theater house, their major concern is how to fully utilize modern technology. If the performance is on open-air stage, in order to create stunning effects, stage design matters most to the Ming Hwa Yuan. Software elements include the plot, performing skills, and accompaniment; and hardware elements include stage height, background size, and subtitles. The Ming Hwa Yuan has been trying to manage both software and hardware elements perfectly.
In the past, hard-cloth background sets were so heavy that it requires two to three staffs to move each of them. When there was not enough manpower, even the actors had to help out. This is especially energy-consuming for leading actors. So, the Ming Hwa Yuan now strictly controls the weight and texture of stage props and stage sets.
While performing on outdoor-stage, Chen Sheng-fu will see if audience can see the play clearly, and make sure that the stereo can reach the same standard as the theater house.

The art of stage design is an important element in modern Taiwanese Opera. The escalating and spinning stages, the 3D background within reality and visionary, splendid light effects, the imposture of smoke and dry ice to build up a different time and space on stage, together establish the connection between the plot and spirit of an opera.
Being an expert of stage effects, the Ming Hwa Yuan is trying out various ways of special effects on stage. In Lord Ji, the Living Buddha, the visualized temple is close to reality. The imposture of dry ice and the wire sling techniques are a plus to the magical special effects. The Tale of the White Serpent emphasizes the interaction with audiences. This is the first try for the male lead Ms. Suen Tsuei-feng to play the female lead in the large drama of the Ming Hwa Yuan. She blended the traditional Sz-Chuang Opera’s “face-changing” skills into her performance on stage. The Ming Hwa Yuan used a crane and fire engines since they used real fire. In the climax of the scene, the Flood Raids Jin-Shan Temple, water spouts from the stage rushed toward the audiences who already put on raincoats. Suen enacted the white serpent character, and Jeng Ya-sheng played the green snake character; in the climax scene, they soared through the sky, floated above the water and all the audiences. These special stage effects have enriched Taiwanese Opera with a variety of elements.