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P4 Theater has gone through seven years since a random talk of ideas began in 15 years, and it continues to leap ahead in the midst of repeated failures and persistent realities, without any intention of slowing it down.
Reminiscent of the first play of the p4 series, the Shadow-to-Performance Act, was a lively attempt to create the most important core idea and starting point of p4 from the time it was played. The presentation of the Hamlet Mirror was also extremely difficult, followed by the gradual refinement and development of the rules of the P4U, then by the complex and difficult production of the Howlers on the ceiling, then by the 18-year graduation of the Master of Arts, and then by the 19-year re-creation of the Real Image project, and then by the resumption of the production of the Real Image project, followed by the resumption of the production of the Mirrors-style movie by Joaquins, at a time when yellow skies had joined the production, when the 3P team had been formed, and then the production of the dance theatre Cocoon Room, followed by the gradual refinement and development of the rules of the P4U, and then by the complex and difficult production of the Howlers on the ceiling, and then by the launch of the P4X workshop, which led me to the contradiction between the complained love intermediate guide and the emergence of the Black Houses, and by the Black Houses of Real, which was held. Then I started looking for new sites for P4 Theater and new modifications.
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P4 Theater development has not stopped, with Operation Purple hatched in the Veterinary Field of the p4X project, and the founders, Shen Boron, and I and Ovalan have set up a working group on the arts of Operation Purple to carry out a series of social practices, of which Final Solutions, Combat Clubs, 12 Frames are the larger and more specific events. The ninth play of the original p4U program, iceberg, could not be implemented as originally planned because of the Rose Incident, and the launching of the North Wind Theatre, with me, continued its more important drama-creative revolution, after a difficult post-natal period and finally successfully born in a painful ordeal on 1 January 2022, was documented on one side of the story. This was followed by the output of a series of works, such as the vortex, the deadly joke, the fall of Lake Alice, and the common holiday. In April of this year, at the invitation of an art gallery, several of our initiators went to Hangzhou for a month to carry out a residential programme, but the high level of intense daily creativity has brought about contradictions, with their ideas, world views and ways of thinking torn apart by high-speed collisions in situations where they had to face them. In an uncompromising compromise, one after the other, the "Community" has once again fallen, with the inevitable collapse as an established coincidence.
Unlike the plight of P4 in Hangzhou, during the same period Beijing was so popular that the dramas of Kang Hae-joon, Wang Til's Glass Theatre, Seo Jinjiang and Cao Kensong's Theatre 101 and so on, they all happened to have been involved in the creation of the North Wind Theatre, and this time they had to go down personally as directors, write propaganda, sell tickets, and this time they had to take charge of the fate of the play themselves, the fate of the human being and their fate. The Rotating Stairs, the Glass Zoo, the Animal Manor were born.
ps: Book-marked and red events are hyperlinked and can jump directly for more.
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As an artist, I often ask myself, what am I doing? Almost all these years have been in the theatre and the theatre, and in repeated failures I have even been directly assessed as a masochistic masochist. Am I going to continue to fail? Do we have to fight to keep ourselves alive in a emotional flow without recognition and never turn back?
Failure is increasingly having to happen in my life. After walking out of a large factory, eight metres high and 200 square meters tall, I was looking at Kyoto to rent a small office of only 10 square metres, and the old chairs and two desks became a new beginning of "one more time", re-emerging on a narrow and impervious "theater", a crowded place where meetings are held, a place that is almost non-existent and completely squeezed, and I want to seriously start all of this again. This place was later called "510". Disturbed, disordered and troubled, a broken building full of piss, squeezing through all the golden fluorescent illusions, recovering from the first roaring of the fluorescent fluorescent fluorescent lights and the mistwigling wires of the long-haired claws woven into a dying heartbeat.
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510 gave P4 Theater a future, and a year later I was more convinced that people-to-people bonding was the first step in the heat. The drama is about people, and emotions are about the middle ground for solving problems, not about ends. And what's the human problem? In countless failures, the answer I have found is to reconnect and reconnect to a place that we were so familiar with, but which is so strange that we always use every excuse to stop, persuade, deny, give up, retreat, hesitate, trick, push, delay, ignore, pretend, leave. It can't go on like this. It's only a sacrifice! To transform the thing that's been riding on your head to define and dominate and to fire at an absolute paradox!
P4 Theater is bringing more unknowns, 510 more unknowns, and the flow of information is coming together in new places, and energy is re-emerging, stimulating, creating, with love, quickly dislodging itself from the obscenity of history, experience, nonsense and ridiculous traumas, so that the new generation, once again, comes.
Quicker, faster, faster, more intense, all of which are beginning to go crazy faster, so that the wheel of time can crush all the ideals, so that the sand can extract the gold, and the cruel wheel can wrap up the brainless pleasures and squeeze out the indigent residues, and "it" is there.
This must be the best time!
Yes!
Best times!
510.
Find the Knight of Death.
Let's reconnect to it.