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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 a writer and director of the show, Cao Kensoon.
Why did you do it? Can you tell me about your heart's journey?
The play "BoDY" was written a year ago. There was a habit of rubbing words on paper at any time and at any time, and then putting them on hold. This is how the opening words of the play "BoDY" are written, and it's been put on hold for some time, and it just happens to come out one day, and read it again, and it feels okay, and it just goes on, and it says, "It's long, it's finished." Since then, it has been set aside, believing that it would not be possible, and has since been transferred to Beijing, where it has been possible to perform, and then to create.
The team was formed in a difficult process, with several circles, two rounds of actors being replaced, during which there were accidents and anxious periods. The first version of the actor, who had been working in the Chamber of Secrets, had previously been involved in reading the first edition of the show " Animal Farm ", when the outbreak was widespread and the Chamber closed, so he was free of time, and then the outbreak slowed down and the Chamber resumed its operations, and he could not continue rehearsing. But the boss of the Boy, still kept him. The first edition of actresses, who were my college classmates, had read the script, loved it, wanted to perform, but I was not in Beijing, and "101" was in the preparatory stage, and each of them agreed that she would do it together in the future, and that she would go back to Guangdong when I came to Beijing. We agreed that she would start rehearsals when she came back. So the agreement was broken and another actress recruited.
The actress of the second edition, who knew Seo Jinjiang, had her own understanding of the script, was well in place. So we started rehearsing. A few days later, owing to the uncertainty of the actor ' s rehearsal time (the secret room was reopened, he worked in the afternoon and closed in the early hours of the morning, was available only in the morning, was available for rehearsals, and this was only the morning time, which was often shortened by accident). I was indecisive and could not resist changing him, causing displeasure among the actresses and decided to quit after four days of rehearsal. I'm trying to fix it, nothing. The day after the call, I told him the truth, he called the actress and asked her to stay. The first problem now is to replace the actor. I'm embarrassed to say. Finally. And that's when the Pofilia team replaced the actor. So I called him, and I asked him how he was feeling and if he could still act. The second is to ask him what time he has, whether he can rehearse properly - he also works during the day, but at night, he can. I hesitated. I'm afraid the actress will be upset again. It was also decided that male actors should be re-recruited. No, no, no, no, no, no.
Siri (Arnari) has a curriculum vitae. After reading her résumé and listening to her line, I knew that the so-called "interview" was an affair. Women are a good match. I'll call the actress and ask her if she wants to come and see the interview. She said that she was no longer in Beijing because of another job. When will you be back? I don't know, but it's her schedule. The meaning is clear. So I went to Wu Jun again and asked if he'd like to come. The same sex partners were restored to both sexes. This time, the show is finally officially set up and can start rehearsals.
Is the play in the same direction as you originally thought?
With regard to the text, there was almost no "initial" scenario. The script is nothing more than a pile of dialogue, one word at a time, and finally a script. This is how the BODY is written: it is the dialogue that produces the script, not the design of the plot and the characters, and then the dialogue, so the "initial" scenario is not at the top of the text. There are, however, "concepts" for rehearsals and they change as rehearsals change. Earlier, for example, I thought that the two figures could remain abstract, that the relationship between them need not be defined, and that, as rehearsals unfolded, the nature of the relationship became more specific, because if it were too abstract, the audience would not know what was going on, and the actors would be in the clouds, so that, at last, the balance between the two extremes - defining the relationship - was not the same. In this way, actors have a stake in what they can do, and relationships between people do not fall into a fait accompli. As for the results, we can only wait for feedback from the audience.
In addition, in space, there was an initial assumption that the audience seat would be round and around. This idea, one of the ancient people who wanted to learn the story of the fire in the ancient era, and the other one who heard that Peter Brooke used to travel to Africa with a troupe to perform in local villages, often with a blanket on the ground, and that the actors were on the stage, with this blanket and the actor's performance, "A invisible world becomes visible", he said. The "unseeable world" cloud sounds a little mysterious, not to mention it, but a blanket and an actor can always be replicated. As for the audience, it would be best to sit around, but because of the conditions in the theatre, the idea had to be dispelled. I'd like to see the audience sit around and the actors act in the middle.
Finally, many of the scenes were not entirely in line with my intentions, mostly during rehearsals, where actors were inspired and implemented on the spot, or where their original visions were found to be inappropriate and improvising. So what's going to happen eventually is still out of hand, because rehearsing is not over and changes are still going to happen. The day of the performance is certainly quite different from what was originally envisaged.
What is the relationship between theatre and contemporary art?
This is a real problem, and a book may not be enough. I don't get it either. Let's try to be ridiculous.
The theatre originated in rituals and was initially a medium of communication between people and God. The ancient Greek theatres are open, and the time for acting is mostly daytime, completely "anti-fantasia": actors are in the middle of the stage, in the background of blue sky clouds. The audience sits at the scene, the left eye looks at the actors, and the right eye sees the viewers across the street, and the heavens, the earth, man and God are present. The essence of the acting is not that the viewer travels through the other world to experience the life of the person, but that the order of the city community is maintained in the joint presence of actors and viewers. See, the ancient Greeks are a little drunk for not drinking.
The climax of the ancient Greek drama, of course, was the famous "Threes", but all they did was play, the theory of nothing, and when Aristotle came out and summed up and wrote his Poetry, Sanjie was already in the land, and then died, and was their living theatre. So what he was exposed to was a script that they had left behind, that is to say, that he had not very much seen their play, and that he had not experienced a living scene, but a fixed text, which largely shaped his perception of the theatre, his famous assertion: "Treasure is a mimic of a serious, complete and long-term operation. Its medium is language" - it is an experience of reading, not an immediate realization on the ground - a cognitive model that has dominated Western drama for more than 2,000 years and obscures the fundamental dimensions implicit in its source: the body.
The drama was slowly taken away from the body, and in the twentieth century it was dragged down from the stage, which led to many tricks. In the twentieth century, all types of art were self-defined and integrated. The body, or physical nature, as the main point of intersection between the various artistic media, naturally enters the realm of creativity and research by artists and scholars. Here the theatre is linked to contemporary art. As part of contemporary art, behavioural arts are similar to theatre performances, and artists ' bodies become tools and works of creation. The difference is that the body of the former exists only as its own, while the body of the latter is often symbolicized, although it is not surprising that many of theatrical practices seek to blur or eliminate the difference between the two, since it can be seen as the legacy of "anti-goss centralism", where the performanceer's space exists only as the place of origin and not as the starting point, as Robert Griyet explained in Marionbad last year: "It is as if the world did not exist before the beginning of the film."
Many of the dramatic practices of the twentieth century have repeatedly played with the theme "The relationship between drama and life" and this is precisely one of the paths of contemporary art: blurring or even removing the boundaries between life and art, or blurring or removing any boundaries. This can also be regarded as a union between theatre and contemporary art, and the presence of the body remains the potential of both. John Cage's "Four minutes, thirty-three seconds" is not a play, according to Peter Brooke's famous definition of "empty space". Jackson Pollock's operational drawings, by the same token, transformed drawing behaviour from an established result-oriented image-making process into process-led theatre sex, blurring the boundaries between images and bodies. Spectrums and occasional art, which are all written on "the boundaries of art and life", focus on physical, live participation and interaction, as well as between behaviour and theatre. Moreover, thanks to the diverse artistic ecology of the United States of America in the last century, all kinds of art have been intertwined and no longer isolated, such as some of the works of the Life Theatre, in which John Cage is often involved, such as their so-called "opportunity drama", it cannot be said that there is no Cage, because the latter is extremely fond of reading the Emancipation. At the same time, behavioural art has always been seen as the representative of "participatory art" and has been included in the so-called "relationship aesthetics". In this context, the work is not important; it is important in the situations it opens that people meet and that new relationships are created by encounters. Artists are not masters of works, they are only producers of situations and are also participants. There is no uniformity of prescriptions in the course of "meetings", but only differences and conflicts, which can be seen in the course of the campaign as long hidden inconsistencies. In the circumstances opened by the creator, the subject becomes self-inflicted through endless encounters with others. Behavioural art and theatre, with the presence of the body, are the best medium for this creative model and the suspicious and conclusive relationship between contemporary art and theatre.
Do you have any other creative media besides drama?
When I was a kid, I wanted to write novels because I always wanted to be alone, and novels could be one-on-one, and it was good, and I pretended to write something unwritten, and then I didn't go on. The university learned to perform, and daily rehearsals are discussed and quarrels are difficult and happy. It's good to be a person, but it's more involved, so it's a drama at last, but it's also an excuse, because novels are not easy to write. And I want to make a movie, but it's expensive, and it's harder to write than a play, and there's a lot of knowledge about the technical aspects of making and making, and there's a lot of drama.
What's bothering you most? Whether in play or outside?
I'm most troubled by this play, of course. To tell you the truth, I don't know how the show will end. The difficulties are, of course, there is. Rehearsals continue, slowly, I believe, Siri and Oh-hoon. There are a lot of extra-curricular problems, for example: economic resources. I don't know when I'm going to start the next play, but I've spent so much of my energy on rehearsals that I couldn't sleep at one time, when it was 11 or 12, and it's normal to sleep at four or five. Moreover, the question is, "What should we do?" Yet, "how" to "do" what, I don't know, it's the creation, writing, rehearsing that makes a little bit of a sense, and the rest of it doesn't.
Interviewee: CHO Kensoon, screenwriter, director of BODY
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