My first conversation with Wen-Ho took place on the high iron that I went back to my home country, and that was what he wrote about when he sent his friend's application. Hi, I'm the writer of the opera and the writer, from the theatre desert. Then I took that as his note, and every time I talked, I had a sense of ignorance.
After I spoke with Wen Hao several times, he really came from Shandong to Beijing, where the theater was planning the eighth incubation of the p4U, "Kill the roses," and he talked to me a lot about his story in six of his scripts, about the formation of theatre societies in universities, and about the writing of plays and rehearsals. Upon graduation, he moved to theatre institutions and various organizational units in some places, with a particularly strong tone of anger and bitterness when it comes to his salary being withheld from some black-hearted enterprises. It was not until then that I understood how his desert had been formed. He was disobedient, and he insisted that an oasis would appear.
When he went down the stairs and handed me back a book, I watched the green-haired and white-faced joker take a picture of me, and I realized in my meditation that the turning door of fate and drama had turned at that moment.
I don't like theatre, maybe it's poor, I haven't seen much of it, I don't want to spend money on it, and I can't afford to pay for it until now. On the one hand, they feel "too elegant" and, on the other hand, they feel that most of them are too crude and abusive and simply waste time and money. After that experience, it has nothing to do with my life, it doesn't change my perception and understanding of things, not even talking. These poor, old stereotypes were slowly broken until I began to practice myself in the theatre.
P4 Theater incubated a total of eight and a half plays, namely Shadow-to-Wood, Pixel Echo, Hamlet's Mirror, Fantasia, Coco House, Howlers on the ceiling, Guides for the Rescue of the Centrist after the alleged failure of love, Killing the roses, the story of which I would write slowly if I had the time to write later, including, of course, the last half.
What is most touching to me in the production of these plays is the intertwining of life and play, all of which were created from the p4s, organized by the spontaneous recruitment of the living, and practiced in the field created by the p4s. The play comes from life and goes back to life, so it grows. Rather than using an established set of criteria to evaluate so-called good and bad, it was important to ask itself whether it was true to face up to all the challenges. First, you have to be brave enough to tell yourself in practice, then you have to look at yourself seriously.
In June of this year, the theatre's site at the sculptor stage was also closed for many complex reasons and could no longer be open to use, turning back to the former photo studio, which was supposed to be the ninth drama of Wen-Ho's sponsorship. Later, I rented a small office in Kyoto to continue new projects and social practice. And with regard to the North Wind, the process began slowly, and Wen and I began to recruit new friends in the office to plan for the film "The Ice Mountains." The recruitment process was extremely surprising, and the harmony of the same spirit was felt, and the team was quickly in shape, but at the same time I was busy with a few things, and most of the organizational tasks were given to Wen-Hou, and then I faded out. In mid-September, I suddenly received a telephone call from Wen-Ho, saying that the preparation of the show was again difficult, that the scene was yellow again, and that I could feel the impudence and frustration of seeing each other on the phone again.
When I saw him again, I was at the duel club of Operation Purple, and I talked to him at a breakfast shop in Kyoto late at night after the show. He was still so determined to do it, believing that the drama would feed himself, that his play would be appreciated by many, that one day the stories of the poor would be told again on the stage, that something more different would happen. At 3 a.m., the teacher who prepared the breakfast cut it again over and over and over again, and I was completely distracted from his conversation and watched the face of the face.
A month later, Man-ho asked me to do the show together. I said yes, but we need to talk before we do it. What kind of drama are you gonna do? For half a day, he said that I was going to play the poor, show it to the poor, show it to the rich, show it to the middle class, but it was the poor. I said, "Let's write the manifesto together, let's start with a theatre, this time, not a amateur, but an amateur, and all those who agree with the values of the theatre are welcome, and we do things in consensus."
Here's a statement written by Wen-Ho for the theatre.
We need people like this
Don't raise yourself up with drama.
Good and willing to criticize, and self-critical.
Have an independent aesthetic.
Respecting the drama inspires human impulses, desires, infection and transmission.
The role players are used to express their demands and bring their thoughts into the performance and creation.
Don't leave the crowd.
Love drama in a freer and more unfettered way: escape from established rules.
Impact theatre can also be influenced by drama.
Never conceal their views and intentions, never avoid contradictions.
As I look at it, and think about it, there is nothing to change, so today Wen and I are inviting you to join us on these nine basic principles, and if these words touch you in particular, the North Wind Theatre will be demanding that you grow up, rehearse and do more with each other.
In the future, the North Wind Theatre will express itself in a more flexible and mobile way, using a more diverse medium to expand the theatre boundaries, and try to communicate the most popular messages with everyone in the most popular and straightforward ways.
Let's be an audience, an actor.
Or, more frankly, the actor.
Let's get started.
Get into the drama, get into life
Bring play into life, bring life into theatre
To create a future together.
Don't let the revolving door of fate and drama get stuck in a stereotyped image.
It's not like we're going to die.
Let's move, let's move!
The Garbein Theatre
The captain's code.
Now that the theatre has started planning new works and is about to be staged in the near future, there is an urgent need for actors, and here I stress that both professional and prodigal are living life experiences. We do not expect to play a role that is completely detached from what we have actually experienced, but simply ask for a real return to ourselves, as the Declaration says, which is simple and natural.
Rivinhower, North Wind, writes about the roles that are needed now, or sweeps the two-dimensional code below.
I can't wait to act.
Water for the desert.