The body was not written in any language before it was spoken.

What exactly is a play? Do we need a formal "dance in chains"?

In the history of Western literature, theatre creation is often centred on playwrights and scripts, on the aesthetics of Aristotle, centred on the concepts of imitation and re-emergence, and on the fictional theatre, dominated by psychological depictions. In the twentieth century, with the advent of the language crisis and video technology, directors became a more prominent actor in theatre creation.

And now, the rise of immersion, interactive drama, new futureism, shows us more possibilities for drama creation and performance. Theatrical creation does not necessarily belong solely to the role of a playwright, and directors, actors themselves and even viewers can be a very important part of different forms of creation or performance.

Whatever your views and personal experience of different expressions and ways of creating, we welcome interested you to join our theatre creation lab this time, whether or not you have any previous experience in theatre and creation, because we believe that theatre experience can be created by any individual in many forms.

Walking on the Wall (1971), Trisha Brown

The event will focus on three themes: "Exploring body use and dramatic expression", "Breaking the boundaries of expression" and "Drama and creative writing".

In the course of theatre, creative writing brings you to different magical realisms, superrealism, Theater of the Absurd, Theater of Cruelty, etc.; in the exercise of free writing, improvisation, role-forming, we will go together to find the intersection of creative and dramatic performances, to question things and the environment that we are used to in our lives, and to create ideas in the form of dramatic performances.

We want to open up our imagination and physical language limits through physical activity and multiple external props, so that our performances are not limited to language and facial expressions, but extend to symbols, gestures and physical movements. French pioneer dramatist Antonin Artuad believes that actors should be "emotional athletes" who are as familiar with each muscle as boxers and who use different breathing methods in every emotional expression. We will use his theory to pull out of language functionality, explore the most material aspects of language, give it a stronger expression, focus on tone, shouting, singing, etc., and repower it to shake the body.

We will also use one day of activity to get out of the theatre/rehearsing room where we operate, to observe people and to observe things. We're going to imagine things and people we're seeing as prototypes

Why would TA do that?

What are the differences in the physical movements of TA? What can we think of through this?

How can we use that object as a source of inspiration for our writing or as a prop for our performance?

......

Neither theatre nor creation nor a combination of them can be separated from our observation and reflection in our normal lives. In our theatre creation laboratory, we will work together to develop our thinking and explore the possibilities of strange things and ideas. We will also be working with you through physical activities and creative writing, with physical activity writing language, with theatre expression through language and non-linguistic activities.

Through exercise, observation, and activities, we will go together to explore our creative and expressive abilities, to break the boundaries of expression that we hold under a traditional identity, and to explore the diversity and possibilities of body use and performance through teamwork and improvisation.

What will you get?

In the Nexus Theatre Production Laboratory, you will both resort to the theatre ' s creative language through high-level interaction and physical activity, as well as to knowledge and exploration of creative boundaries in a script-centred creation context. You're going to be an audience from zero to one for the creators, performers and others of the show, and you're going to explore, in interaction with each other, the feelings of different expressions.

You will relax yourself through different games and activities, free yourself from the constraints that you feel in your creation, and realize anything in your mind. In seven days, you have the opportunity to deepen your understanding with others and to create bonds of emotion and creativity.

We want you to be...

We want to create an inclusive and equitable creative space whose purpose is to provide a platform of creativity and diverse opportunities for every person who has an interest in theatre, writing, literature and art.

We want applicants to

Respect for the inclusion of others and the building of a safe space with freedom of expression

There is no limit on the age of applicants (the applicant ' s recommended age is 15-21 years, but we support applicants who are interested in the event beyond the recommended age)

We do not ask for your background and related experience.

Who are we?

The Realm Nexus Convergence Space is an artistic platform dedicated to developing individual creativity and ideas. We want to help each individual find his or her own unique voice and creative expression through theatre, writing, art and literature, and to practice the spirit of "care for people" and "care for personal development".

In March and April of this year, we held two theatre workshops online, in collaboration with Weibo@DramaBot, on the theme of "self-identity search and absurd theatre"; and in June this year, we will go below the line to conduct a longer and more interactive workshop at P4 Theater in Beijing.

P4 Theater is a multimedia laboratory for focused photography, drama and psychology, a black box theatre that explores the essence of the vision, "Preventing the dream into reality".

Introduction by creative lab mentors

Nexus was the lead actor on the front page of the play, the bald author of the article. They write poetry scripts and explore experimental dramatic creative techniques. The scripts and poems were awarded certain international awards, but they were not satisfied with each time they looked back at their work. It is believed that creative writing and drama can be both a means of connecting people to each other and a means of alienating individuals. I didn't like the word mentor, so I turned the title into a mentor, and I wanted to work with you to create a chill and support. Round

Activity registration information

Time: 28 June-4 July 2021 (7 days) - 3 p.m.

Address: Beijing P4 Theater

Number: 6-15

Registration time: 1 June-25 June

Cost: (includes space, materials, travel of mentors, etc.)

Early Bird Fee (registered by 15 June): $1,900/person

Regular costs (after 15 June, until full registration): $2,100/person

*The event will take the form of a rolling admission, and the number will be closed as soon as it is completed.

** We believe that the economic situation of each individual should not be a burden on them, so we offer scholarships to economically concerned participants. We will use the Net-Blind Mission Policy to ensure that applications for grants will not affect your opportunities to participate in this project. After each applicant has submitted the application information, the application request and application form will be made available to those who have expressed the need. Since the connecting space is a platform that is not for profit and the fees we charge will be used for our activities, our number of scholarships is limited; we also hope that all scholarship applicants will be able to fill in the applications in an honest manner so as to give more opportunities to others who really need help.

Scan 2D or click at the end of the text, "Read the original", and we will contact you further after you have submitted the form to answer any questions you may have about your activities.