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On the spot of the play, BoDY, 101 interviewed several creators who participated in the show, who were actors, directors and visual designers. The interviewer was an actor in the play.

Why did you want to play this? After all, it's a non-profit play, with little income.

It's just fate, at least I think. I hesitated to say that the hesitation at the time was more of a reluctance to vote on the curriculum vitae or more, and that it was a moment when I felt more special than ever. Considering that there have been so many curricula vitae, most of them undisturbed, this time there is no hope, after all, a few roles, and this time there is only one role for a woman... but since there is some special feeling, throw, "but for a while, throw tomorrow" (it is always easy to know what to hide, as if something had arrived, but at the same time fearing that it would not come at all... Or to think that if it had lasted a little longer, it might not have been too disappointing, because it would have been a mistake of time (well, it would be bad, it would have to be changed) so I would have chosen to wait until the next afternoon to send the resume.

That day, I had to go online at night and buy myself a bunch of soft flowers during the day, and I spent more than an hour with them, but I still didn't lighten my anxiety. But what I didn't think was that I would receive a reply and complete script more than an hour after my resume was sent, that I would skip my favorite Japanese lesson for the first time in three hours, that I would add the director's tweets and try to finalize the first meeting soon after I had written a script in earnest, and that I would have walked into a story that I was destined to meet and complete. They're already in my story, everyone.

What if there was a name? I'm talking about the day when we first added the contact's wisps, and the day that fate is officially connected to the BODY, it's certainly not the 7th. Anyway, it's a script that's in the sky. It needs actresses. I need an actress. We're running in two directions. What's the money at this time? Nothing.

So I'm coming, and I'm coming, either way, as long as they need me.

Have you changed your mind since joining the show? Tell me about your heart's journey.

The mentality... is probably a sense of uncertainty that is buried in the shadows, and is slowly turning into a process of peace. I think it could be divided into two parts, one being the mentality within the theatre and the other being the state of the character.

The first day of our meeting was so tense, why was it so hot, and then the makeup went to the place, and the hair went crazy. He took me to a dark, dark, empty living room on the first floor. Cracking and debugging did not stabilize, the atmosphere was in place, my mobile phone in my hand was afraid to sit down and pretended to sweep the doors of every room by accident, and it took about a few seconds from here to the door inside. C.C. made a nice cup of tea and made a few casual conversations, then stepped on a slipper and came out of the door, a little bit more alive, and it took a while for the actor Wu to show up, and we started having a nice conversation that would last for hours, and then I started looking at the three boys in front. Wu Zhu has been very open-minded and has kept telling us how he's been chasing the drama and all the good fortunes and embarrassments he's going through, and I think he's really into drama and optimism, and I admire him; he sits at the table opposite me with a little pressure, and sometimes smiles and laughs at me, and it's strange that, although he was black that day, somehow, he was dressed in a bright sun, and his eyes and sound were so clear; the initial impression of CC was that he was a very sensitive person, mysterious, with a clean white T, with a dark effect, and I didn't see it very well and through his glasses. It's funny that, in a social setting that I have to face, I'll force myself to open a switch on my speech, and that day, I tried to respond to everyone's words, and I tried to make myself look as talkable as possible, and then, after a while, CC suddenly looked at me and said, "I think you're an introvert," and at that moment, it seemed like he had a weight in his eyes, and it was clear to me that I was trying to hold on to a little bit of a smile, so I was afraid that a smile would turn into embarrassment, embarrassment or even sadness, so I pretended to say, "Oh, it's... it can be seen, ha haha," but the real idea in my heart was, "Burn up!

I am grateful to him and to them for seeing my crude "mass" before I come here, so that I can breathe freely in our common world and in my own world... That day I ended with Wu's first reading of the script as the end of our first meeting, which seems to me to be a successful encounter, and I am sure that I met the right fellow. Now, we have been together for more than half a month, and they have been unwittingly part of my life.

As for the script itself, the main contradiction that I need to resolve is how to feel the role. At the beginning of the rehearsal, it was always felt that the role was unstable, that it was changing, that it was not well controlled, that the emotions that came out were always above the surface of the script, but I needed to feel her deeper, that I needed to reach her indefinitely, that I needed to fall in love with her.

I've come here for more than half a month, and I've got a better bond with the character, and I feel like I'm getting to know her, and she's getting to know me. And, of course, it is important that there is a mutual understanding and a collision between the two actors in the play, the consecration of "the two", and I think there is a great deal of progress, and I hope that the people in the play, and those outside the play, will be able to move to a place where their hearts are at the same time relatively clear and independent, in which to look at each other, look at themselves in that way, feel better at each other's confidance, and, more importantly, the silence beyond white. I, Wu Zhu, the men and women in the play, the four of us are separated from each other and interdependent. Our souls converge at one point and live and die together. We become the whole drama itself, hopefully we can do it.

The director of CC, who helped us during the rehearsal, was uniquely innovative in the design of the play, and he was very thorough, and he inspired us by various ways, even by writing a script of another story at night, so that we could define the inner activities of the role, whose responsibility, execution and talent I admired. Other partners in the team, such as the one who's been working on content production, advocacy, creative ideas and ideas, the one peng teacher who's been following the recording rehearsals, communicating with us, and the very professional teacher who's spent so much time designing the stage, have made me feel better here, and I feel a little more dependent and happy every day than before.

What do you think of your role?

In the process of exploring the role, she was at the very beginning, in fact, crazy, and felt that she seemed to be divided, calmed and panicned and restless. And then I thought about it, and suddenly I realized that it was me in a way... no, it wasn't us, each of us.

She still has some warmth and simplicity that have not been extinguished in the cold inside, and her seemingly numbing senses of anxiety and fear; she needs fragile self-esteem and exaggerated arrogance, and she conceals fear and joy with noise, and she replaces her stronger love with silence. She used madness to cover her heart, and she struggled for love and she let go.

This is a person who seems absurd and unsatisfied, as if every single one of us in life who struggles against fate in the face of the chaos that lies hidden under order, and who usually blames some of the ruins of life for his fate, wants so much that he needs to continue to seek and create, and then falls into a cycle that creates more fragmentation and chaos. What is the end of an order without hope and a way out, just as people in a play, trapped in the time they built for themselves? Stop creating and hope to stop remembering, and without the past and without the future, the sight is eternal. The final breakout can also be the end of our choice. The spiritual return is too important. I think my role has finally found a way for her to survive. Death is never the end of life. It is the total breaking of the soul. So she finally got back on her feet, where there was deep love and hatred, where everything happened, and where nothing happened, hoping that she could feel the way down her feet, the peace of the soul, just as every person who knew it would wish for her.

What stage/state do you think you're in, in terms of your entire (possibly) life span? What's the most worrying thing about you? Would it help to solve this problem by participating in the creation of this play?

It is difficult to say what stage it is at, and it was a few years ago that it was often thought of, but when it became older, it became less concerned about the stage and anxiety. There was anxiety about what I wanted to do, about how I couldn't find a way to find the same person, about the results, and about the answers, but the more anxious I was, the less I was worthy of my expectations. The years of learning have begun to relax, and from the point of view of life as a whole, I do not just want to perform at a certain point in time - a thing that I love - and I find that it can slowly fill my whole life with, so as long as I have the ability to make accurate emotional and line outputs, everything can be done as usual, so that health is more important than ever. It's been a long time, me and I, and there's a lot to do.

So let yourself avoid anxiety as much as possible, and I'm afraid it'll prevent me from understanding the current information, and I mean anxiety at the stage, the state of life. Of course, the real problems involved in living and raising themselves are bound to be faced, and the material basis guarantees the strength to pursue dreams. So, for me, taking care of myself, like my role in the play, putting down the past and the future, putting down the excess emotions, and maintaining a peaceful state to see life itself, which is a very interesting and important part of my life.

It is a very valuable life experience for me, and it nourishes my life and soul, and every day in more than a month is full of expectations, be it in the clear or in the rain. Nor can it be said that it has helped me to resolve substantive issues, but its emergence and very existence mean a great deal to me. It's like a new beginning at some stage of life, but it's not exactly, it's like it's been waiting for me on the road for a long time, I've come a little slow, but it's patiently waiting for me, so we meet again, yes, we meet again. And then, even after the play, I think we'll walk forward with each other's breath, and it didn't wave a knife for me, but it gave me the courage to do it. I am grateful for it, and I will miss it in the future. Now, two weeks before the opening, I am already beginning to miss it.

What are you gonna do after this show?

It is likely that we will continue to move forward at this pace by continuing to look for opportunities to seriously act, learn, promote ourselves, feel well in life, study ways to combine life and dreams, and value every partner who can walk the way. And perhaps, while looking for other opportunities for acting, start trying to create. If I can, I hope I can help and change this society and the world a little bit through forces other than my own, and if I can do so... suddenly it sounds so broad, but that's what I really think, and I really think so, and I hope that less people will see me so.

There is a growing sense of the flow of time and why it is not so easy to feel at a young age, an issue that has not yet become clear. It's the end of the show, it's the end of the fall, it's filled with my whole summer and fall, and I bet it's the best summer and fall I've felt for years. Since then, as usual, it has been so good to feel the present, to be kind, to have fun partners, to do things they love, to live in peace, not to set a particular destination, to look at it, to look at it, to look forward to unknown.

Interviewee: Anguri, a BoDY actor

END

"Showing information."

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《BODY》

2022.09.09

Beijing Xian-101 mobile space

The three rings in Beijing, the details of which are to be communicated.

Written/director: Cao Kensong Zhui Mei/Sight: Gao Peng Fei Zheng Campaigning Votes: Seo Jin Jiang Zhen actor An Xhui, Wu Xuan

Scanning tickets.

Prior periods