The first question to be answered is: what is this play about? The answer is: Nothing. This is a play about "No Say." Moreover, there is no "centre thought" or "theme", which, to say the least, is the absurdity and futility of "saying". The thrust is to deny "said" to self-reproduction and self-incorporation. However, this is not the only "theme" and the script is not intended to be central, so it would be absurd and futile to assume that there is a "centre" and to force all the contents of the script to be attached to it. First of all, this layer should avoid the futility and absurdity of many rehearsals.

Another floor, about the character. The two figures, who are neither specific nor fleshy living human beings, nor the abstract and universal symbols of the concept, are obvious, while the latter, because the suspicious appearance of the play is so reminiscent of symbolism, require a few more words. The abstraction of the idea, which is absolutely static, has a single and fixed meaning, while the characters in the play are often contradictory, tending to be in a state of movement, changing as the story unfolds, at which point the flow becomes different, difficult to determine, avoiding the static of ideas and symbols.

If you have to say what these two characters are, you have to call them two forces: The male character is a pioneering and productive force, and the female character is an inclusive and useless force. And it's just that there's no choice, because the two also interact. So, how do actors handle these two characters? The suggestion is not to "take hold".

In rehearsing the conversation, actors should focus not on the consistent psychological clues of the person, but on the motivation, purpose, subtext, etc.

Accept cracks and find consistency in them.

The emphasis should not be too much on external effects (drama, scenery), but rather on internal effects (energy transfer between actors).

Actors do not have to set a "person model" in which they adjust their performances, but rather create people by their own current behaviour. An actor is not a pre-existing structure that is visible, but rather a dynamic structure of mobility that pervades itself and becomes visible (but not formed) in the instant and non-dialogue dialogue (and non-conversation) and communication between the actor and his opponent: The person is created in the present, or the person is in the present - this is the present - both as "the present" of rehearsals and as "the present" of performances, which are completely different from what rehearsals reveal.

The character does not yet exist, and it appears only through the actor's performance.

"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