"

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 the beauty of the show, the visual design of Takapori.

Can you tell me why you want to be part of this?

The main reason for participating in the show was the script, which I read to me at the Animal Farm rehearsal, when there was not much communication between actors in the whole team, which I couldn't understand, or a lot of communication felt wrapped around something that basically couldn't reach anyone. And that's when I finished reading the script, and I felt a lot of pictures inside my head, symbols, spaces, something, and I told CR that I could make space and vision. At the same time, I wanted to see what kind of state CR would be as a director. There's part of it. And part of the reason is that it's going to be a communication-related video creation with CR, which I might consider as part of a pre-production.

Is the stage vision designed and presented to meet your expectations? Any problems with the creative process?

For the time being, it can only be said that it is okay. Because of funding constraints, it was possible to do so in a few simple ways, but it was interesting to see some effects that had not been envisaged before. The biggest problem in this creative process is how to connect space to performances and narratives, hoping that there will be no space for any of this nonsense, and it will be difficult to keep myself out of it, where the nonsense I'm talking about is the language of mere speech, the language of speech, the body, the performance, the language of dialogue.

What do you think is the greatest difference between the design of stage art and mere device art?

However, if stage art were to emphasize the word "stage", it could be described in terms of spatial attributes, and the stage in the theatre is a black box space, except that there is a subsidiary space in front and back of the space that serves the black box. It's like a canvas, and the beauty of the dance on stage is paint and brushes, and the viewers can only watch but cannot enter. It's just a two-dimensional thing to do in a three-dimensional space. This is also the case in installations such as Capul and Eliasson. In this context, there is no difference between the device and the stage art, the difference being called different. Now, if, in another context, I want to explore a context in which to break the frame, open the black box space and tear it apart, go into every space, have a relationship between the device and the beauty of the dance and the nature of the space itself, have a relationship with every person who comes here, and have access to a three-dimensional field that can interact and communicate, then it is very weak to distinguish between devices and beauty. So the biggest difference is between a "device" and a device, between a "dance beauty" and a dance beauty.

What does creation mean to you?

To me, it means exploring a variety of possibilities, trying to make yourself mobile, but not knowing where to go, too many things I don't know, and creating can be a driving force for people to move. But there may still be a lot of creations at this stage that have something to do with space, whether it's images, dramas, devices or so on, or space.

Do you have plans for the future? What do you want most at this stage?

There were many plans at the beginning of the year, but now they are less important, or try different creations in different spaces to observe change. It is now felt that too much space is dead in the city, and then there are architects who are filling up more dead buildings in the city, such as the sohos. It was not clear whether creativity could be used to bridge those spaces and the more dynamic individuals in order to infiltrate the landscape of occupation. And it can also make all the "professionals" that are now divided, all the dramas, music, images, behaviors, architectures and stuff. It may be a fantasy, I don't know, but I'm still dying to try, to find some of my own life, or to die.

I'm trying to write something myself, trying to find some life.

Urban Man.

Interviewee: Ko Peng Fei, "Body" design

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