On the roof of a city.
Suddenly there was a howler.
He yells at the sky every day.
It's never stopped.
Even if they beat him up.
Even pointed a gun to his head.
He won't stop screaming.
Everyone in this city.
Discussion took place
What is he screaming about?
The role of the Qing Yi drama: the police
"Traditions and Pioneers."
Q, what do you think of The Howling On the Top?
A My own training, including the following, is in the direction of traditional dramas, stage moves, performances by actors, field movements, everything is accurate. So I'm really not comfortable with this kind of immersion, but it's kind of a pioneering drama, and I feel like I'm getting into a role and I don't know what to do.
There are many elements in the script that I agree with, and in the creative atmosphere of P4 Theater, which is particularly free and equal, I can incorporate many new ideas and forms and apply them to the direction I want to follow. But having participated in this play, which in a sense has strengthened me, will continue to follow the traditional play path.
Q, can I understand that the traditional play is an attempt to arrive precisely and to focus more on the integrity of the performance process; and our play is more focused on the expression of expediency, with the result that it is neither controlled nor valued.
A, to put it this way, tradition is more of an order, and all appearances will have the ultimate effect of becoming one, and the vanguard will enter a state of chaos.
Our play, which can be described as facing reality or even going beyond realism, is at a controversial stage. What we call traditionalism or classicalism has been grinding for a long time, and now the vanguard will become a later tradition, so its development must go through constant exchanges, collisions and shocks.
Q, do you feel like you're doing your job instead of creating, because you don't like the form of this play?
A would feel that way. Because I have a feeling of unfamiliarity and a instinctive rejection of this form of play, I have more to do than create in the performance.
"We can speak in a gentle and warm manner, and we can remember in good faith with a pioneering gesture. In the face of some vague situations, it is always appropriate to allow expression in a more alienated manner, allowing people to express their feelings and expectations in extremely spiritual terms".
The role of Renatet: The painter
"Creation and control."
Q, what do you think of The Howling On the Top?
I don't like the whole script. I think it's about being biased and biased and being contentless, and the content of the script and the lines are not nutritional. For example, what's the fuck!
Q, why did you choose to do it after reading the script?
A, because I really need an opportunity. I'm here, I'm chosen, this place is good, so go ahead and try to make it better, but it doesn't seem to work.
Q, why is your attempt not working? Is it the director and the writer who dominates everything, which leads to a lack of space for actors to create freely?
A is the writer himself, he's tough, he doesn't want to listen to us and the director to make any changes to the script, and he's always the boss of the process.
Q, would it be a painful thing for you to be so devoted to putting on a play that you hate so much and finally show it?
A will. So I'll always try to add my own words to the play, or something that I agree with, and try to change the script as much as I can, so that what finally comes out doesn't make me feel sick or waste time.
"A normal human relationship, people live together within a framework of rules. The connections between human beings, even in their diversity, reach a limited tentacle of length from defined holes. Breaking through the language and saying that there's a very low sense of the rule will make it possible to explore, through expression and practice, the "boundary" of personal interaction that belongs exclusively to oneself.
The role of Xu Jiu-soo: the owner of the newspaper
"Stand and Change."
Q, what do you think of The Howling On the Top?
A, I don't think it's the same movie I wrote earlier, it doesn't have a clear logic, so it's driven by the mood of the actor. The play is an immediate expression that must bring the audience into the situation through the strong force of the actor.
Q, do you like this play, or do you think you're willing to do it here because you love it or because you love it?
A, I don't know much about the play. I haven't seen it all yet. I think it's more fun to be with you than to love the show itself.
Q, why did you come to the theater when you said you were in IT?
A One is because of its greater interest in this area and its subsequent interest in video-related industries. The second is that at this age, you have to make a change. I was a man who liked to run away and always gave myself a lot of excuses in the face of problems. When I come to P4 Theater and participate in the rehearsal of the play, there are moments that I would have to face before I chose to escape.
Q, you've got a lot on your mind about the script, and you're here to change, so why don't you try to communicate your ideas with the director? What are you doing with your character?
A, I don't really know much about the script, I don't think much, maybe because I'm lazy. I feel like I'm the one who's going to finish the play, not the creator. The end result is good or bad for everyone, so all I can do is do my best to get the process right.
"The initiative we seek must not be a passive one, but a little by ourselves. Like those who look forward to a long voyage, they should not jump into the ocean and be willing to be the wind-drift, but rather run a little bit forward with cold wind and rain.
It is ultimately a lie to talk about change and breakthrough if it depends on trends in purpose or on external force, rather than on an instinctive impulse from within."
"It is not necessary to repeat a certain value that has become a certainty.
We should try to decipher a contentious state of chaos and confusion.
It's possible to create unreal things into art.
It's magnified, played, noticed
It's a public awareness.
And it inspires freer and richer self-expression.
The Howlerer on the ceiling.
"Showing information."
On Saturday, January 2, 2021.
P4 Theater
Please contact me for tickets.
Micro-signalling p4theater03
Sina Weibo P4 Theater
The Howler's first rehearsal.
Let yourself return to itself -- feel the nerve that connects you and me.
More about the p4U plan.
p4U recruitment scheme