JUNG CHUNG.
Master ' s degree in science and technology history. Amateur plays some musicals, Sandheimist, B. While there is a tendency to choose between the myths of theatre and the myths of life, there is also a tendency to try to return to the latter from the point of view of historians.
Interview Draft
Fa He interview.
Interview: April 18, 2023, 15:37-17:17
Location of interview: Seeking, P4 Theater
Interviews: face-to-face interviews
Interviewee: Zheng China
Interviewee and profile: Fa He, male, around 30 years old, independent theatre creator, actor, P4 Theater director, settled in Beijing.
Other persons present: Liang Myungjin (Friend of Drama)
The subject of this interview: The new epidemic I've experienced Over Peak
Q: First of all, we used last November to January of this year as the peak of a new epidemic, which we had three years ago. Can you give a few examples of your/your friend/theater actor's influence on working life?
A: In the last few years, the epidemic began with all major performances, as well as theatre-like activities, all of which were actually cut off, including all kinds of business performances. So the biggest question is: What about practitioners? They want to eat. On my side, in a sense, I can't say amateurs, just a more experimental place. So many of the actors who lost their jobs as a result of the epidemic are here. During the time of the outbreak, many of the actors who actually had a good job and had good performances were found on the market, they were idle, they did nothing, they found P4 Theater had some recruitments, and some of them would try. Of course, it is of particular importance that we are not here in an employment relationship, but rather in a creative direction, and more in a business thinking that is activated in this way. So, we're not exactly the same as the business dramas on the market. As far as I can tell, there is no soil or space for theatre in the whole environment. A large number of theatre practitioners actually don't earn money, and they're anxious, but they also want to do rehearsals, even if they make another sound, and then they come to me.
Q: Are they still here?
A: When the epidemic recovered, some people returned to business performances because they had to earn money, and that's what they were capable of, after all, having a basic wage. Most people return to this state. A small fraction of them, perhaps different in a creation like this, chose to start doing more of their own, in a sense, as an incubator. Many young people with ambitions or impulses, who want to play, try to come here and find out that they can do it, and then they do it on their own. We have a lot of these actors on our side.
Q: In fact, during the three years of the epidemic, your work was actually on P4 Theater?
A: First I went home in 2019, and the first job I found when I came home was a collection teacher, working at the Galaxy SOHO, and it took about six months to stabilize it. It was all on Sundays and nights at the theater, and when it became more and more stable, it happened that I had to go back to P4 Theater. Then I changed my job from full-time to part-time, but my main source of income was the collection of study studies. I put most of my money in the theater, which means I threw all my money into it.
Q: Do you have any close family and friends who have been significantly affected during the three years of the epidemic?
A: As far as health is concerned, I think everyone's doing well, including my parents, relatives and friends around me. I had a grandfather in his 90s and got a new crown, but it's fine.
Q: During the peak?
A: Yeah, nothing happened during the peak. The other older persons, who had actually died before the outbreak, were not significantly affected. I didn't have it myself anyway, but I heard too much. Too many friends, especially friends' grandparents, grandmothers, grandfathers and grandmothers, have died. That's what I heard. There was a lot of funerals.
Q: In the three years of the epidemic, I also had an interest in killing the roses that you mentioned earlier. After that, it's like you left the original theater. I'm asking, is it more about the epidemic or more about the musical?
A: Well, when we were making "Kill the Rose," it was June, 21 years ago, when the hot New Life of Drama was aired, so you were really interested in drama. At that time, Liu Zilow, the initiator, was also a very passionate girl, attracted to our recruitment. And our recruiting party, P4U, said: "A crowd of people, one month, to produce a play." Of course, the P4U program, when it was published on our public domain, had detailed rules, for example, that it had to be strangers, that it had to be recorded, that it had to be filmed (the whole process of generation) and that it was very detailed anyway.
We'll free up that great theater at the time, and from May to June, we'll make it for "Kill the Rose." Many people were recruited at the time and hundreds of CVs were received alone. In the course of the continuous screening process, or in the course of the screening, there was a slight discrepancy between my views and those of the sponsor, because I felt that, in a sense, the sponsor, when she launched the musical project, was slowly beginning to show some problems. I'll be the theatre player, and I'll interfere with it, either deliberately or by accident. I emphasize more - for example, the importance of the human being. In the P4 Theater space, we particularly encourage unprofessionals to come here and try to express themselves.
Q: So these things didn't change much in November, even after policy came down?
A: It's really tight. I remember there were several two-dimensional yards downstairs to clean up, one day, two days, three days (note: days without a nucleic acid test), and Beijing's health treasure was getting more and more up-to-date, so it was tight. I would also like to look at the specific record, which is followed by a lot of people being sealed, a block of land being sealed, and no one being able to come, let alone the party itself (whether or not it will be reported). On November 11th, you saw someone say, "Who's coming today?" "I can't come, I can't come, I can't go to school." Later, more and more of the people involved in the "Drama in Love" project were unable to come. The recruitment process began in early November with a high number of people and was smooth, with fewer people in the middle and later stages.
Q: How many people and how many people should this be?
A: Because we organize a dramatic event like this, in fact, the numbers are irregular, and we're not tied up, and we don't say, "You have to come," "You can't come," so there are people because of the epidemic. We don't know if it's an excuse or if it's true - people say they can't, they can't. It is true that after November, many times again, a lot of people stopped coming, about 20 not coming. But the last one was a continuous one, about two or three times a week. There's gonna be people coming over and over and over and over and over and over and over and over and over and over and over and over again. There's another interesting thing. There's a lot of people in Yan. We have some friends who live on the side of Yan who are totally unable to come to Beijing and who are in pain. When we looked at the map, we opened it up with all the blast spots, reds, one by one, one by one, and we were accused of being very tight. Even if we're here, it's strange that the security guards have been here all the time saying that you can't have more than a few people here. But it seems they're dying because of policy. And there are others who report specifically - and this is even more interesting, and I can't think of anyone who would report exclusively - but there are many.
Q: Would you believe that the turn of the policy was coming? Or do you think you can't predict?
A: Actually, at that time, my mind had been depressed, and last year, including myself, had been sealed, for the first two weeks and 14 days in the neighborhood. I went to Hangzhou, where I had projects in the galleries of Hangzhou, and I said I could go, I said I wouldn't go, I came back from Hangzhou, I said I couldn't go back, I could go back, and I could go back, and I was very worried, and it was painful to do things every day.
Q: In other words, I didn't think of a day when I would really let go of that.
A: Right. At that time, it was so depressing to see that many of the shops in the building were all closed down. At that time, on the other hand, it was felt that the economy was actually getting weaker and that consumption, including our money, was getting harder and harder.
Q: There is another detail: Beijing actually saw a number of mass events in late November calling for the release of the controls. If you've been through this, can we talk?
A: Because I was still doing the "Drama in Love" project, for me personally, I think it's enough to do it. They can't get out is their choice and their decision, and for me I don't care about those things. What I care about is that I do what I do now; what I care about is that everyone comes here and whether they can find what they want, and I am responsible for their rights. That's what I'm gonna do. I remember having a friend at the "Drama of Love" scene and saying, "What are you doing here? You have to do it!" I said, we are doing it now. You want to do it yourself. We support your encouragement, but you can't do it.
Q: Now that we may have to talk about the beginning of December, I went to look into some of the information on the two public slogans P4 Theater and P4 Theater and You, and I'm concerned that from December to January, it seems like you've been two months without anything.
A: Nothing, because it's all over. (Note: "Yen" is the oral expression of "new crown test positive".
Q: You're practically all out? Aren't there any activities that still linger?
A: That's real. It's all-yang. I don't know if that's true at your school, but for us, we're going to have to be here very fast. One of us gets it first. It's all contagious, one by one. Then I'll tell you about my own personal experience. I was in pain after the sun had ended, and the new coronary fever went on for a few days, and suddenly it went dark. I think it's a lot worse than the usual cold fever. For me, a lot of that emotional or emotional stuff came out at the time of my fever, so it was a rather long process for me personally. So from that point on, my whole mood was very down, very down. And then I can feel that many of my friends came to a period of emotional and physical discomfort when they were sick but not open. I lived at the palace, and I remember, sometimes walking and riding, and I could feel no one around, and the whole street was empty. There was yellow sand, leaves falling or something. I feel that some people are afraid of the sun, such as older people who are afraid of the sun and lock themselves up; others leave after it has passed. Very bad. Of course, it's not like this. It was a very lively state, when everyone was panicking, and people who had no access to it were panicking that he might be infected; most of them were suffering.
Q: Can we talk about the consequences of your new crown, including those around you?
A: It's nothing to be honest with. In that time, I felt like my body was getting bad, and I felt like I was breathing or something and I personally thought that there would be something, but I thought it was time to get back to it. Of course, what else? I don't have to go down the drain anyway.
Q: It's also because many people around me have new crowns, and they're not feeling well for a month.
A: I was in a bad state, I didn't know it was called a new crown.
Q: Do you have any feelings about the epidemic? Or is it just that it might have something to do with what happened to it?
A: Well, of course it's about its own situation. I wasn't comfortable at the time, and you just said that the public sign didn't send anything.
Q: Because the public sign is mainly you're operating.
A: Yes, I'm responsible. I was lying down like a dead machine, suffering every day, and it was really painful and uncomfortable. I'm like, "This is how the epidemic ends, this is how it ends." Why didn't you get it sooner? Why so late? And then all the friends around got it. I think it's gonna blow up in a little while, and I think it's going to last from December until the New Year, and it's going to be in the middle of a shock. Of course, I gave myself a comfort, and I said, "Alas, don't do anything while you have a cold fever. Take a break.
Q: So you did nothing, or did you do something?
A: It's true. It's impossible. That's when you said you'd call everyone a rehearsal. No, we're all in that state, we're all down, we're all in a tight state, we don't know what we're doing. And at that time I felt that the mood was very mixed, the whole of people, the whole of society. I feel like we're slowly looking forward to the future, but it was my own state that didn't think about anything.
Q: Were you talking about the new crown especially when you met your friends?
A: Talk. Talk. First of all, ask if it's possible. There was also talk about drugs, some of them more serious, and the distribution of drugs.
Q: What do you normally talk about? Would it be possible to communicate with whom the disease is heavier and lighter, and for what reason, etc.?
A: Surely there will be, and at that time: "Are you sick? Do you want medicine?" We'll talk then. I called my mother when I first found out. My hometown is in Jiangsu. I told my mom to go buy some antics, white and black.
Q: Did you buy it?
A: Got it. I got the news early. I'm going to buy the medicine. It was at least two or three weeks late before it started spreading to Jiangsu, Beijing was the fastest, and Beijing was heavy, and it was already light. Anyway, my parents said we'd have a fever for two days. A bunch of them were robbed, and they gave them to friends and neighbors.
Q: Were there any such things that led to the death of an old man because of your illness?
A: I've heard a few things about my friend's relatives who died or something. There are others, such as friends whose parents are older and who are seriously ill, especially when it comes to stealing the new crown medicine. The new crown medicine is expensive, over 2,000 yuan. What do we do? That was a terrible experience. We'll talk about it. Some people are worried. There's old people in the house. Do you want this? But, like me, my grandfather's over 90, he'll be fine. At least from my side, I didn't think about it. I didn't think I'd buy a new coronary. But when I heard it was someone, he said he was going to buy some of this new coronary, in case the old man couldn't resist it. Well, there's someone who's gonna do that, but I'm not.
Q: What was your state at the time when a lot of people were going to paint news or information about the new crown with a psychosis that was almost coercive? Do you have a lot of attention to this information?
A: Not at all. I think it's over. But there's one thing that's funny, it's just to let go, and some people make me wear masks. For example, I'm going to a supermarket, and the waiter says, "Hey, put your mask on. I feel bad.
Q: How would they react if you told them I had?
A: Yeah, I said, "I've got it, I've got it." I'm finished. What more do you want me to wear? I don't know if that's what you're talking about, but I'm in pain when that thing keeps coming back. It's hard to see how many people still wear masks, including now that we're on the street.
Q: Don't you like masks?
A: Sometimes I feel uncomfortable, especially when I look at the kids. Why? Because the mask itself contains a lot of tiny fibers that are sucked into the lungs, and it can't get out in the first place. That's worse than PM2.5. The other thing is you're wearing a mask, and your oxygen ratio must have dropped. You don't have to wear masks in this situation. We're all immune. Why do you insist on wearing masks?
Q: And now many places still have to wear masks.
A: Yeah, I'm in pain. I don't think grown-ups do. You're targeting kids, and it's kind of coercive. The child does not understand that it is the parents who let him wear it, and it is the fear that shifts his (parent) to control over the child. This one's particularly bad and particularly unscientific. We said, "Let's put it on in the fog." What are you doing with a mask? I don't understand. And the virus is gone.
Q: Actually, we talked about the peaks. When did the theater recover after the peak? In other words, when did everyone come back for a fresh start?
A: That's after the year, and it's coming back. We'll start the "Wind Out" project in February. Of course it's kind of funny: we sail again in February. In a sense, we responded to the depression of the entire population at that time, which means that the past is behind us, that let us face the future again, let us face hope again, and then do it (new drama project). Just after the end of the year, you are in a state of predation, re-emerging. So we start in February, and we're gonna do this, and it's gonna be good.
Q: How many have returned?
A: Hey, yeah. It feels like everybody's excited about this. For example, back in school, they say, "I'm going in," "I'm going in," and it's all very exciting. In February, we felt like we were getting rid of the state of the epidemic and trying to catch something new. But in fact, it's April, for example, and it's all free, and there's a lot of activity. It's not that easy when there's a lot of activity. At that point in February, however, there was not much activity, but it has already given rise to such impulses and dynamism.
Q: Understood. In about February, when everything started to go right, the excitement that everybody felt came out.
A: Yes, and especially for university students. Because it was all Internet classes before, they would have kept university students in one school, and they wouldn't have left, or they would have been all Internet classes. The reopening of school doors and the re-emergence of this relationship with society and people is a release process for them.
Q: Isn't that a relief for your own mind? Was it completely released at the time, or was it still in the state of immersion?
A: Yes, and with the recovery of the body in February, there has been a fresh start to build up energy slowly to meet the new opportunities of 2023 below.
Q: So you have the feeling that after the end of February, you and your project, the audience, are a relatively new node, and everybody's back. The next question that I would like to ask is: during the peak period, you said you were in a state of complete stagnation, and did this silence during this period inspire you?
A: First of all, you see, most of the time during the epidemic, people are locked up, right? For example, if you're a couple, then you might be able to talk a lot about relationships. It's not like the usual way to work and come back at night. A lot of things can be released. But when you're locked together, a lot of things are exposed. So to be honest, there are times when I can actually feel that your work is going inside. Especially in the years of the epidemic, people can't find a way out, they can't have relationships with others, they can have relationships with themselves. Even the scene of Kang Hae-joon, when he was asking for it, as was the Pofilia, either alone or in two struggles, more.
Q: Is that what you are? For example, you're in the same cell with your girlfriend, so that's the first example you think about, is that it?
A: Right.
And then we actually did an interesting art project, 21 years ago, on January 2, a play called "The Howler on the Top." We don't know, it's kind of a prophecy, we know that Shanghai Wuhan started then Oh Wuhan was the first. It's interesting, too, and it's really painful after what happened in Shanghai. There were many of those that we could see because we had many friends in Shanghai, and that fear and anxiety was very, very great, not the fear of the virus, but the fear of people. I can't eat! Some are really eating food. We were actually in heaven, and there was a show in Waterglass Square. A lot of friends were recruited in Hangzhou, for example, one time tomorrow, and when we rehearsed at about 10 o'clock in the evening, we had a lot of fun echoing, and we were in that little square, yelling at each other and doing a sound in a way. But because of that scream, the last show was canceled, and this is amazing. I thought of something, and people were scared, or some people were scared to hear it, and when he heard it, he felt, "Hey, you can't make it. That is the truth. There have been many such cases.
Q: About March this year, you started the "personal identity" project. In fact, I'm curious, is this project something you decided to do when you were in the house looking for it, or was it long overdue?
A: Oh, actually, it's kind of like making this thing first, and then doing it, like, "Oh, yeah." It is all the same that goes back to describing this matter more clearly and then recruiting. That's what we started doing together in the first 15 or 16 years, when we did, for example, recruit four or five people in a short period of time, within a month, and we did it out, music, synthesis, lights, then lines, dances and all that. People don't actually have that clear responsibility, saying that you're a dancer, and you can only dance; I'm a lighter, and I'm not like that, just like some professional theatres, with a clear division of duties. It's not that. It is a loose, free state of mutual creation and initiation that began after 19 years, such as the Real Image project, the P4U project behind it, which was created once. Hey, this is fun. But, for example, we met - for example, in 19 when we first started to do a play called Fantasia - and then we found some problems, and that was the nepotism. That is why we have amended it several times later, and we have avoided this. So it's like doing it first, and then doing it when we find out the problem, and when we publish this real recruitment or some plan, we put these rules in more detail. So "personal" we look like it's a... There are, of course, a number of rules and rules in it, mainly because of the many and many accidents that took place at the time, many of which I cannot control. And that's the one thing that's really troublesome about acting, is the blurry between his reality and fiction, or, we say, the relationship between creation and life... well, it's beginning to laugh again, it's beginning to understand each other! After all, I'm the director of the theatre, and I have to coordinate it constantly, continuously and continuously. And on me, this symbol or this image can be projected too much, and you can throw it at me if you don't move. On the one hand, I have to bear the burden, and on the other hand, I have to think that this cannot continue to be the case. Otherwise, many of the things that would have been good would have been the end of the world, and I feel sorry for that.
Q: In fact, "personality" is quite relevant to some of your experiences. I remember you said that you wanted to give everyone who was in charge of a theatre or a project a "personal mind" in the future.
A: There's an entrance like this, and we'll start with a description of someone, so you know, oh, this guy. Then we'll start again. I think it's important: what kind of person are you? You are prepared to start the project later. And that would give one another a confirmation and a guarantee, or, in many cases, an imagination: I look at your words alone, I'm just an imagination, and I don't know you that well. And when something happens to you, I don't think I agree with you, or I think you're wrong. I didn't think it was good at that time, so we started with the connection. So I found out about this recruitment, for example, that at the beginning we were doing a lot of recruiting, and we could get hundreds of copies of that résumé, but it was an illusion, because a lot of people... they were interviewing for jobs. In fact, you should not have taken away these people, because once you can't provide money or you can't pay for it, what the two men might want is a director-centre play, and they don't want to create it, but they do increase the cost of communication. So later on, our creation, or our recruitment, will be more written... A lot of people say, "Hey, you guys, you don't understand."
Q: What's the point of looking for the stratosphere?
A: Right, right, right. It's just getting more focused, and it's getting better connected. So, then, we actually found out that sometimes it is not necessary to write a thing too broadly, but to put out the most real thing for everyone, and you can attract the most fragrance, which is too important. This smell is the feeling the bee meets the flowers. So when we get to the back, it's possible that we can recruit two or three people, but that's enough, not so many. It's possible your writing is flying.
Q: There is also a question that may be more open, that is, from sealing to letting go, a lot of people would say, "We are back to normal." Want to know what you think about this? Because what P4 Theater has observed before is that it's not a normal thing, even an abnormal thing. Do you think there's a return to a so-called normal after the outbreak? Or do you think something has changed irreversibly? Not necessarily the theater, but your own personal experience.
A: Oh, yeah. The idea of normality will not come back to the past, and this is for sure. First of all, this experience is indelible, and these three years have been an indelible memory for everyone and, to be honest, the entire international situation has changed dramatically, a human movement at the macro level. Indeed, the epidemic has left us many treasures, so let's think about why those things are, and how should we face a disaster that is similar or greater than that? And that's what I feel I have to reflect on, and here's a point about the relationship between people. I remember from the earliest days I could feel many faults in human relations, such as mutual mistrust, conflicts and contradictions. It's not like the epidemic is over, it's gone. And what's inspired is that we need to find it with a more careful, more sophisticated look, and think about how to fix it.
Including something that actually involves a lot of micropower, a power relationship between people. Simple, we say the fire in Xinjiang, who can lock a door to a man's house? How can you do that? What does it mean? What are we going to do about it? It's not that we'll think about it when it comes. Rather, we have to rethink ourselves now: what do we do when we face new disasters, either immediately or in the future? I don't think disaster will be less.
Q: It means that you think that this normality may never have existed, and that there have always been some dangers, including in human life, that have been highlighted in this disaster, but that is something that we have been thinking about.
A: Because I'm after 90 and you're after 00? Look, we're 10 years old. My 33 years of experience have been exaggerated. If you think about it, reform and opening up, the history of China, I'm walking this way on the line - until the epidemic. To tell you the truth, I can't feel it until the epidemic changes. Before the outbreak, I was very confident, and I always thought, wow, what a wonderful future. But it's the same epidemic that's been banging and banging... and I don't know if you've felt like you've been through all those disasters, what floods, earthquakes, everything. Even with the financial crisis, we can resolve it with our great leadership. Look at this economy, huh, Internet economy, wow. How powerful we are, Wigand for a cell phone or something. It's like a sudden outbreak and a series of... - I think it's some systemic stuff, like, the simplest thing about young people looking for work. And everyone has to take a test. This is sick. There is no chance.
Q: Does this have anything to do with the epidemic?
A: I think it's a trigger, but it's the trigger, and it's actually a lot of things we have to think about. Well, we say it's a disaster, and it's a disaster. And what will be the day when evil and man-made evil will be seen? I would say that this part of history that we have shared is a treasure that can be constantly re-remembered and re-examined, bringing up some of the things that are in it and getting us ready to build something - something that we have been missing for so long.
Well, for example, in the case of drama, it's always been missing, that is, how can we negotiate together, just like I said, "Kill the roses"? In our little ecology - we're a team, we're a bunch of people - how can we build a relationship of trust, not a kind of confrontation, not a tearing face? And it's not even saying, "Hey, we can't solve this. I'll call a third party to solve this." It shouldn't be like that. It's like a little boy fighting. "I'll tell the teacher!" and "Let's see how this piece works, how this piece works." Is there any other way than to sue the teacher? So, again, after the outbreak, what we're feeling is the constant "I'm going to sue the teacher" stuff, which is being reinforced. It is also particularly clear that in the past few years, for example, complaints have been filed against the case, and that the case has reached everyone. Holy shit, that's what makes me think, "Why complain if you don't move?" Of course it has to do with the treasure hunt and the amount of effort, because it's true that you're being cheated. So where's the other communication? How can we build a trust relationship? I think that when we get back to normal, we have to do this.
Including a little bit of detail, just yesterday I picked up a phone call, a friend of mine and a girl who played in our group. One time she met a pedestrian on the road, she said that the pedestrian felt so hungry that she was concerned about him, what happened to you? He says I can't eat. I don't have any money. Can I borrow some money? My friend was very good, and she not only bought him food, drinks and water, but also paid him to go back to his home. And what happened to that man? I called him yesterday and talked about it. It was because he had a good conversation with a girl on some dating web site, and then the girl said that you came to a place in Yan's suburbs, that he had been defrauded, that he had been taken to a marketing group for over a year, that he had been in there, that he had taken away all the money from his surroundings and his friends and relatives, and that the group had finally been taken, in a sense, and he was left on the street. Then he had no one to (depend), and he went to the shelter, which he had to stay for only a week, and he was thrown out after a week, and after that he did not have any money to do anything, and he could not borrow a penny of his trust, and he was hungry. It's just one person. I thought it was interesting.
He's in debt now. Yesterday I contacted this man because I read an article on the public domain, and one of them said that I was fucking cheated, and one of them said that I had no money to go home to eat, and I lent him the money, and he hacked me. I said, hey, it's like what happened to my friend. So, did that guy pay you back? Then the friend contacted the man again. But he's supposed to be real, but he didn't pay. And I called this guy yesterday, and he said he had his own experience: He used to be in love and married, and was tricked into a marketing gang, borrowing hundreds of thousands of dollars from relatives and friends around him. Now a man who works in Guangzhou and does not earn much money every day, and then there's a lot of credit card overdrafts, and every day there's so many banks to pay him back. This is a living man. What is his life to do? I think it's only 30 years, from 40 years of a planned economy to now of a market economy, where many people make money, and many people become people like this, or even what we call "the three gods". And he said, "Oh, my God, I have a friend who sells 280,000 kidneys, and I want to. They're living like this. I'll take the $280,000 and I'll probably pay it all back. I can't find a way to live. He's locked in this floor. It's locked.
Q: The epidemic has exacerbated this situation.
A: It's getting worse. And then he really said that he was asking a lot of people to borrow money. He wants to go home. He can even make excuses. It's not for dinner, it's for help. Nobody cares about him, nobody. Everyone's attitude to him is, "Oh, my God, I've seen you a lot. Get the fuck out of here. Including some cops or something. He asked if you could. He said, "I'll lend you." I have to meet hundreds of people like you every day. So my friend did give him hundreds of dollars. He said it felt like he'd remember it all his life. It was warm. Then he despaired because he had deceived all his relatives and his friends, and no one believed in him. All of them took him away as soon as they spoke to him, or said: "Repay the money, or I will kill you." His parents certainly don't care, because he's been lying too much before, because of marketing. What about that moment? I think it's interesting to think of these things, but they're related.
Q: I just got some new ideas from something you said, and I want to ask one more question. You just talked about a growing number of collisions between people, but I'm curious: Although there may not be much contact with epidemiological personnel after liberalization, it may be that in November everyone will experience contact with epidemiological personnel, with people who were hiding under protective clothing when we called it "Big White". What was your experience with them?
A: We had friends here when it was "Big White" because there was work like this, there was no other job. Actually, there were some things that I thought were funny, not about Big White, about the so-called Big Data. For example, I was monitored by that electronic fence last April, saying it was sealed, you can't go out, whatever. But I was already in Hangzhou at the time, and I didn't care about the phone. And when I returned from Hangzhou, I called, and said, "If you are to be isolated, I will now put a seal on you." I said it was a month ago. He asked me whether I had been there, and said to him, "I went there a month ago." He said, "No matter what, now you will be sealed." I said, "No, you tell me exactly what the big figures are. He said, "Whatever, the great figures say so." Then a guy from Haidian called me like a residential council and said, "If you don't cooperate, I'll call the police." I said, "Cooperate, cooperate, cooperate." You see, I've been out there for a long time, and there's definitely no risk. Two days later, he said, "Are you doing this or not? We said, 'I will not live in the sea, I will live in the sun.' He said, "Well, I will turn your phone towards the sun." I haven't been contacted in Zhongyang. I think it's funny that I'm going to deal with a lot of these ridiculous things and just throw the word "big data." What, what, what, what? Can you tell me? So he sealed me up, and I met him several times: "Did you go somewhere?" The problem is that we haven't been there, even a few times. It wasn't me. It was my girlfriend. She's never been to that place, and suddenly she doesn't get a call saying you're sealed, and we're going to put a monitor on you or something. I think it's strange that you can tell me anything you want. I've come across a lot of such absurdities during this epidemic, not just one (incident), like window four, and then window three, and then a few windows, and somehow it's gone. The funny thing is that we have friends looking for a job, and he says I'm specializing in a window. There are plenty of man-made spaces and lots of mistakes. The mistake might be: "I didn't see this" or "I was wrong", but no one admits it, no one is willing to take responsibility for it, and where does it go? Throw it on big data.
Q: You don't think big data is capable of taking the wrongs.
A: Yeah, so some people were locked up alive for months and pulled out alive for long periods of time.
Q: I'd like to mention "Big White" just now, because there are a lot of people hiding under "Big White" clothes who, like you said earlier, do not have the capacity to bear the wrong amount of data, and who, in fact, somehow avoid the need to take the wrong part, thus exceeding their own responsibility.
A: Yeah, just like the last time I answered the phone, I had a recording, and if you want to hear it, I can play it for you. "You're not cooperating? I'm calling the police." He doesn't even talk to you. And I said: OK, tell me where I am and what the contents of my record are, and whether I am isolated or not. He won't say. He says it's big data, or I'll call the police. I feel that that kind of kick-off really destroys a lot of the credibility that was built up, which is important as an integral part of a national machinery to preserve that trust relationship. But many people have easily destroyed this relationship. Is that a pressure on him? Or was he the first time in this relationship under pressure and forced to use means? That's what I was thinking. I also understand in particular the man behind what you just said about "Big White" because my friend, he's a tough guy, but according to his own description, he feels a certain power at once when he wears that dress.
Q: Did you experience material problems in November, when the seals were severe?
A: No, I haven't. Never.
Q: Never met in Beijing?
A: Right. I never met him in Hangzhou last April.
Q: Are there any cases of discrimination after the sun? At that time I heard that some of the workers and service workers at the grass-roots level had been prevented from going to work after they had passed out.
A: No, no, this never happened.
Q: That's all we'd like to know, if you want to add something.
A: I'd like to add that P4 Theater ran from that big space to this little room, and it was definitely an excuse for a new coronary outbreak, or some sort of push that would have been created by preventing a gathering. Such a movement (means outbreak control) shrinks from a very large space that can accommodate hundreds of people to a space that can accommodate only dozens of people, or even a dozen people, but such a small space carries all the discussions that have taken place since 21 years (the year of the P4 Theater ' s relocation), and a few shows have taken place here. For example, we're here on January 1st, 22, 22, with 15 viewers and 8 crew members, 23 of them, and we're doing a lot of shows here. I think it's interesting to see the connection between this contraction and the epidemic.
Now, of course, we let it go again, and we can go to all sorts of big, interesting places, and then we can do hundreds of people. I think that such a process of contraction, at least we haven't given up on continuing to express, and we haven't given up because the environment does not allow any sound. We can still do this, and I think it's very valuable. Who knows when it's open? But even if we don't, we're still moving.
Q: And do you have any plans to go back to the big nest like the one you used to do at the sculpture table?
A: Ah, of course. There's actually a lot of room for that, and then we'll work together. We were at that boxing table. There were 140 people. We can have sex with them in all kinds of spaces. And of course, we've also done a play in the Landscape Park. It's a pure outdoor scene. It's a lot of fun.
Q: Do you think it's more interesting to perform in different scenes, in different spaces, or just in that fixed space?
A: I think it's getting more open.
Q: Maybe you'll end up in that big, fixed space and then you'll find different places to try?
A: Yes, it has to go out. It's not something that happens in a fixed place.
Q: All right, then we can draw a stop here, thank you.
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