Peeper｜Player｜NPC｜Architecture
Part One: Dreams.
Architect
Seeds, sketches, construction, division
Part Two: Practice
NPC
Call, play, war, death.
Part III. Methodology
Player
See, evolve, film, point.
Part Four - Film
Peeping.
Me, you, me, me, me, me, you, me, me, me, me, me, me, me, me, me, me.
It's about the architects, the NPCs, the players and the peepers.
A quartet, a risk to the dead.
ps: article underlined and pictures can be clicked, jump to the new chain Answer.
About dreams.
01 Seeds
The birth of P4 Theater was a complete accident, and in the future I had never thought of any connection to theatre, and I kept wondering what had brought my fate here. Now, there are two possible reasons to remember that in 2013, just one year after I graduated undergraduate, when I started a business with my first girlfriend, she finally told me about the atrocities I had committed against her in three years of life, and that it was reasonable to put together the works and brands that I had created together. So the "drama" complex broke my head open, and I started watching movies, and I cried, and I automatically wrote poetry, and I sang on the roof, and I started understanding emotions, getting fragile, and learning to listen.
And then when I was hit, 60 pounds thinner, I ran into my senior high school classmates in the south corner. She was later informed that she had returned to the Central Theatre Institute for a year of advanced studies and had learned stage art, and was subsequently sent to study. Five years later, when I saw her again, I was surprised to see that she had the same black and bright braid she had. Then I fell in love with her, and she took me to Beijing for free to watch a lot of plays, and told me what she saw, and she was innocent and sometimes bitter. Then she went to the doctor, went to New York, and I split up with her in 18 years.
There's another reason, Zhang Shaohua, my four-year undergraduate student, who studied photography together, who was very emotional and sincere, and who spent most of his 15 years changing the sculpture stage to a theater. I worked with him on how photography captures the spirit, and what is a portrait, and how to embolden and condensate the true human quality in the plane. Finally, the conclusion is that the theatre must go through it.
The drama makes me feel alive, makes me feel like I'm dead. I was born in the oil field compound of Jiangsu countryside, living almost in isolation from the world to the fourth grade of primary school, and in a Utopia of about 1,000 people I did not know the meaning of red and green lights. I will always be lost in the valleys of the fields waiting for the dragonflies to take off or to hide in the high reeds to hear the sound of the screams. The drama makes me feel natural, and the mysterious, unknown, moving, strange, scary come to me, meet with it or leave you.
02 sketches
P4 Theater was the idea that me, Zhang Sauhua and Zhang Shuxuan came together to shake up the studio that was to be renovated into a theater to activate a new possibility. The theatre elements of stage, light, curtains, first create a special field, then use psychologically suggestive methods to relax the filmed person and then capture it with photography and seal it. Present (in the moment), photosynthesis (for photosynthesis), psychology (psychology), permanent (for eternity), is the method used in p4, which is also the origin of the name; and p and 4 in logo, which reflect two subjects of high-speed rotations and collisions, such as electric pyrotechnics. P4 Theater's mission is to study, observe, record and reconnect these subjects, and to present them more deeply through the drama, which is the mission of p4.
Today, nine years later, looking back at the beginning of the day and looking back at the guidance in the meditation, it is now a matter of human rights. Thoughts and ambitions were long gone, and all the blow-outs were made of butterflies in the dream. During the years of p4, I designed and participated in the design of about a dozen games, rules and models to organize and promote the production of theatres, including: Real Image, P4U, P4X Challenge, 3P Group, Operation Purple, North Wind Theatre, Love Theatre, Kingdom of Happiness, Personality, etc.
I'm always confused to explain to others what I've done. Art? Psychoanalytic? It's not exactly accurate, but I prefer to be a spiritual movement that is well connected to social life. Gathering the suffering, anxiety and confusion of people to make them feel for themselves again, to heal their grief and to regain their strength. This is what P4 Theater was meant to do, to allow theatre and art to enter their own lives, not into the golden hall or the modern museum of Modden.
Over the years, I have been using the term "underground" to begin to describe our activities, which makes me feel both funny and helpless. But underground is also an attitude that represents life and creates hope. In 2021, P4 Theater was forced to move out of the sculpture because of a variety of factors, including the epidemic, demolition, emotional strife, business ideas, and financial pressure. I moved in with P4 Theater's brand and two public signs into a small office on the lookout lane, which was later called 510.
03 Construction
510. The total area of 16 square metres, 4 metres long, 3 metres wide and 3 metres high, located in the centre of the five floor of the building, is a very standard rectangular body, and I bought a black curtain and a glucose around three quarters of it as a stage and the remaining space as a backstage storage device. A few hand-held electric lights were bought as stage lights, and a simple super mini-theater appeared again. This move has squeezed the creative space to an incredible extent, and the great Beijing city has let the drama escape the tension and excitement. Under special environmental pressures, everyone comes together, so that connections have to happen, and the accident gives p4 a long-standing vibrancy that allows trust, cowardice, narcissism, courage, bigotry, strife, hormones to be put in place, so that the lens can be closer and everything can be seen and felt.
On New Year's Day 22, the first play of 510, Ice Mountain, was officially performed, and 16 square metres crowded 15 viewers and 8 crew members, making it all possible. The fact that it was possible to perform in a living room size had inspired many people, especially during that period. 510 became the incubator, and more and more people came out, which is the happiest thing. The words "doing a play is not difficult", "everyone can do a play", "do a play anywhere", "do a play is no better than not doing a play", "do a play is as important as life", "don't work, just drama", are transmitted from 510, and the theatre's authority has been dissolved, more quickly than what Boyce calls "everyone is an artist".
From 510 the theatres were theatres, glass theatres, wormhole theatres, 101 theatres, non-theatre activities, kingdoms of happiness, moonbreakers, occasional episodes, four-eyes, troupes, northern wind theatres, oral theatres, Operation Purple, etc. Today, they are still constantly creating, making plays, making games, making workshops, making movies, and the unswerving spirit in them is equally inspiring to me and to stay true to the ideals. Theatrical activity is a form of spiritual resonance, full of dangers and challenges, and it is also a responsibility when the trumpets of the initiators are sounded, and we cannot go back to our journeys in honor.
P4 Over the years, a new concept has been tried, a natural, harmonious and sincere co-creational model that breaks the traditional director-centre model of theatre creation. Active participation on an equal footing is essential, and every member of the theatre can express his or her own views and opinions on creation rather than wait for instructions from the leader. When grievances and grievances are felt, they can be expressed directly, not accumulated, repressed, and frustrated. It is in such an atmosphere that creativity emerges, where open spaces can find their own place, where collective unconsciousness can lead you into the deep sea and capture the long-seated truth. The process of creation is recorded in detail, changes in the collective are easily visible, there are no so-called centres, and there is no need to raise anyone deliberately. And the results of the final production must be shared, the fruit of collective wisdom. Since the relationship between human beings in the process of creation is not a commercial employment relationship, it is all the more important to respect everyone and to avoid, to the extent possible, a strong dominant relationship, even though it may occur unexpectedly and irresistibly.
04 Division
In the movie The The Matrix, Neo finally met the architect of the matrix, the architect, who was harder to choose than the red pill and the blue pill to go to. Saving Trinity will lead to the collapse of the matrix; the opposite will be determined to be the "Savior" who will lead the new people to rebuild the future of humanity. Sacrifice and love are the eternal theme of the theatre, which hangs the appetite of the audience, displays it in cold, naked faces, forcing everyone to jump and choose.
Everyone yearns for the Savior, and everyone fantasizes of being a Savior, and none believes in him.
Everyone longs to get out of the cycle, to go to heaven with a natural sin, to jump out of the cycle with no desire, to repeat, to be free, to change. The alienation of modern industrial societies has reduced people to passive consumers and submissive workers, and precise control and oppression have deprived us of any creativity, even disguised as need and desire. Slaves trapped in their hands had to smile at the projection of the wall to put an end to this desperate situation.
P4 Puts the Yips on stage, climaxes, fantasies, criticisms, temptations, and re-opens new copies of the theater, and mules can be pulled up and out. Parallel universes, random doors, time travels, shifts in spirits can break our rigid senses, experience an unprecedented future, and make fantasy a reality. Fragmentation is a living force that allows us to reproduce nature, transform those rigid frameworks and allow freedom to come. Faced face to face this deepest fear in an infinite abyss, the sleeves began to move.
On practice
05 Call
I'm with the world, my world, my land of freedom. But the impulses are always suppressed, entangled in a trifling and endless rush, and action is the only way to keep that crap quiet. P4 Theater is a container, a radar, a probe and a trampoline, a collection of unreleased desires and sighs, a sense of the wounds and bubbles of the times, and a collage of extinguished artillery ash and residues, and it is real, an inexhaustible alien.
There are too many who have come by name and come here again with the seeds of fire, thirsty for hope of renewal. To nourish with the possibility, to irrigate with the drama, to grow the broken limbs, to reclaim and activate the infinite potential seeds. Support, care and encouragement for each other and the creation of new links, starting at heart.
P4 Serializes an individual, a story, into a necklace, and I wrote a recruitment book for Real Image, turning my secret into his history, putting everyone's story on stage, and recording the moment in his face. The p4U, on the other hand, is a rhetorical attempt to bring together a bunch of strangers in a month to make a big show for ourselves, to deplete the passion, to burst into flames like fireworks, without regret.
Over the years, tens of thousands of people have come to P4 Theater, and some have left quietly in curiosity, while others have written their tracks into stories to be remembered. There's a lot of hate on the stage, weave it in the play, weave it out. Life wears too many memories and grinds them with theatre lubricating oil, and rusty castles may move again and open new doors.
06 Game
Again, I always wanted to do it again because I didn't want to. The costs of miscalculation are constantly being increased and the countdown continues without end. Death, experience, death, death are the greatest inventions that proclaim the power of life.
P4 The play is a time bomb because it is performed only once and the show ends and says goodbye. Operation Purple is one of the many forms of invention, a celebration of the experience of death and a feast of collective sacrifice. In the design, it is always necessary for a group of people to be killed in order for the group to survive, and "I" would be sacrificed if it were not for the adjudicator. Whether I am the weak, the weak, or the poor, is complicated in all kinds of rules. Whether we live in a duel, or are we destroyed by abstaining, or whether we cry out our arms, or are we cut off from love. In the theatre, life's history will pass, anger and remorse will linger in seconds, and I will die and be killed by them.
Paradoxical games may be a more serious topic, with people projecting even more obscurantistic visions towards others. With a mask, the theatre would completely release the usual repressed intrusiveness, and in the rules it would wander at will. Life's absurdity is often confused with meaning, and people are eager to let themselves loose and to support themselves. Flipping, constantly flipping, makes reality as free as dreams.
The world, the fictional scenes, the cutting images, the theatre can enter for a second and reach another universe. Imagination allows me to perform without VRs or in-kind performances, extracting my role like calling all my parameters, and what's left. Controlling me as I am, what else is beyond control, I can't find it, or I can see it at a glance.
07 War
The war never stops and wins in 510. It was never a place. It was a prison cage, a cocoon room, mirror, a trial dressing room, a toilet, a pool, a five-finger mountain, a grave of the dead, Robinson Island, Medusa raft, a black telephone booth.
The confined space and the hallucinating build-up can project everything about the subject, with conquest and conquest of the object. There have always been two worlds, one about you, one about you, and everyone in between, either active or passive. People are always trying to change the world, but they are constantly being transformed by it, and they dreamt of fleeing into the land of beauty and into the arms of tenderness. Suddenly, the confrontations came about in an act of wantonness, in response to a reaction, pushing out their grievances and hovering in humility and pride. War is a struggle both internally and externally, and theatres are a place in which illusions are unleashed, where we see ourselves, and where we can reconcile with ourselves without a disguise.
The organization of each of the plays at p4 is inevitably contested because there are no top-down requirements here and all are not subject to director-centre management. Ideas must emerge from contradictions, and when someone feels good, someone must feel bad, but everyone is responsible for the final collective outcome. It is a struggle between aesthetics and values, and the utopia of self-organized utopia must suffer. When we entered the theatre, we suddenly shook and turned into the passengers of the Medusa raft, abandoned the ship and fled, or cried out for strength. This is the moment to test everyone and the moment of hope.
Love is equal to hate, it's a projection, it's for others. I often think about the days in the theater, too serious and too crafty. I can't tell whether I'm playing or being too real, or whether my unconscious reactions and answers are still exciting and new. It's a fragrance of some primitive beast that can tear my face apart and say strange words. It is a taste that has never passed on to me, an unbridled energy, the theatre, this container, that will give me life and strength. But it also scares me and makes me your enemy. I am afraid of hurting others, especially when I do not know, when the beast roars indiscriminately, and no one knows the power. We pray for the success of the performance, for which we will make sacrifices, and the cornerstone of trust will always be shattered by surprise. I didn't want you to hurt me, but I had to let my desires go. Love and hatred swing in fate, and ignorance and cruelty cannot be revealed.
08 Death
Bubbles break, and every drama, and every rehearsal, and every love, and every dream. The dead will come again to see if you have changed. The theatre carries memories and resonates, releases emotions and hovers over space.
Existence, one kind of existence, before life, after death, because of existence, is bound to happen, to experience in traces, to die after light. Me, fighting fate, racing time, fighting last breath, proving despair. Eventually, it's going to die. Yes, it is.
Mistakes can only be proved, failure can only be revealed after an attempt, and we constantly complain about the counterproductive, but how is there ever the right thing to do? Fortunately, we could at least take down the bottom failure, and in the experiment, the illusions could be played over and over and over again in rehearsals or...
Disappearing is a magic, and in doubt, in magic, we are often very curious about what disappears, because distance is impossible to control and to think about. So is death, when it comes forth suddenly, with its strongness and silentness, and when it blinks, it is extinguished, like a diluted spotlight, and everything disappears into darkness. The light that used to be is also a fragment of memory, drifting through the air and waiting to capture traces in the future.
On methodology
09, look.
P4 Theater's origin comes from the stubbornness of the eye, the curiosity of the unknown, the expectation of what has not happened. p4 All activities come from recruitment and send a message on the Internet, awaiting the arrival and response of a single subject. For me, it's always mysterious that we can feel the echo of life in both eyes, with anticipation, desire for resonance, encounter in sight, confirmation in sight.
Light is eventually captured through the retina through various refractions, reflections, and difts, which activate neurons in the brain into information. People are always trying to get out of shape and imagine filling the gap, which reassures us not to worry. But in reality there will always be horrors and surprises that scare us all, tempting and stimulating us to be refreshed in our perceived relationships.
The cruelty of power structures is also fully exposed by the illusions of ideology that dominate individual perceptions, and only a fresh look can take the first step towards liberation. In practice, p4 has never used any "professional" expression to imprison anyone, and we particularly welcome the participation of "suns" in theatre creation and their free release with their freshest feelings.
It is an extremely dynamic energy that can pierce, save, destroy, heal, depending on how it is used. In the dark theatres, there is a greater desire for this deep-seated understanding and bond of light, eye contact and soul resonance. Rather than looking at, evaluating, questioning, judging, it is the love that rises, with a recognition of the courage of existence. To gaze at the abyss of despair or to be burned by prejudice is a place where "seeing" is often lost, as King Oedipus ends up running blind in the wilderness, begging for forgiveness or avoiding reality, but only a "third eye" can see the truth inside.
10 Evolution
The essence of the theatre is to observe relationships, and the greatest difference to the arts, such as movies and paintings, is that it requires actors to participate in the same time and space as the audience to form a "present" tension. Such encounters mean that each theatre is unique and unreplicable, and this will be an absolute event.
The value of the performance lies in its sacrosanct nature, which brings together the inner unconscious and spiritual strength of the community, moving away from their everyday identities into a completely new space of time to wash their hearts. It drags people present into new narratives to create reality rather than to repeat it. It has to be complex, fluid and unpredictable, and it has to evolve, evolve, evolve, demonstrate, practice, speak... it has to represent change, as water flows, spreads, spreads, spreads, changes everything that exists.
It's a complex operation, like a tangle of quantum calculations. Every participant in the air during a virtual narrative is motivated by the drama by emotional evolution or self-reflection, which does not collapse into definitive results until the final moment. Multiple possibilities and non-replicability allow such entanglements to reveal their overall relevance to the world, and the boundaries of the main object are fundamentally blurred. This is the charm of acting, producing cognitive and emotional experiences that transcend individual limitations, and bringing the paradigms of uncertainty, diversity, interaction, processivity and integrity into our lives and demanding the meaning of life.
At the moment of entry into the P4 Theater field, the event happens naturally, and a free expression will interact with others wherever they are. There is no fixed script, there is no defined role, there is no "fourth wall", and everything is constantly being created and developed. Each participant is an actor, an audience and a creator who interprets and shapes the new world and himself in his own way. It should not be a skill, but an attitude to life, a way of existence, where participants explore themselves, understand others, rebuild the world, and write their own life scripts in constant change and improvisation.
11, shoot.
See, play, film, called P4 Theater's triad, and they are interwoven into the p4 method most important in practice. This is always the decisive smell of the act, the sound of which strengthens the memory. An abstract verb represents decision-making and rhythm, as well as tension and imprint, and, more importantly, courage and uncompromising confidence. One way of "shooting" feedback on perception to action is to see second-level feedback. It reacts in a simple, timely and prompt manner to the current situation, transmitting individual perceptions and judgements immediately to the scene.
This escapeary force, with all its gravity, lives again in a way that never happened. Shooting can be a record, a sort of sorting, a filing of memories, but it is more of an impulse to keep. It is derived from the beating of the fingertips, which quickly captures perceived information and translates it into evidence of history. It's like a mosquito just fell on your skin, and it's extremely important to shoot when it's scrambling and trying to insert its needle.
In the shoot, the subject can find a perspective that is neither observation nor evolution, as if it were above events and involved in a unique way. This perspective goes beyond mere bystanders and complete inputs to a delicate balance between the two. Filming is like a floating perspective, a vibrator's point of view that allows us to switch freely between participation and transcendence and to move dynamically between subjectivity and objectivity. By filming, we can find a foothold at the centre of events, a deep insight into reality or a bold imagination. It provides a unique means of intervention to proactively capture, choose and express, to create its own meaning in its own body, in its own language, in its own way, to influence the course of events and to shape the face of history.
In a deeper sense, it is precisely a unique subject matter. In the traditional dichotomy, the subject is either bystanders outside the supernatural or participants in the whole-hearted. And it offers a new possibility, one to move between the two main points. Such subjects are neither abstractors out of reality (pure theorists out of practice) nor self-inflicted completers (who are lost to their full-hearted input), but instead find self-prospecting practitioners in specific situations. They participate in a unique way and express themselves in a unique gesture. This establishment of ownership is an important pursuit of P4 Theater and is at the heart of this approach.
12 Self-fingering
I am fascinated by the myths, the confusion, the emergence, and the contemporaries that I have been studying since I went to college. Theatrical is the smallest unit that I use to practice, to spread my secrets with you, to reveal a complex world that is non-linear, dynamic, open, in the macro or micro, in the past or in the future, in virtual or in reality.
These concepts trigger my rethinking of the theatre practice, where minor disturbances can bring about dramatic changes, where seemingly disorderly behind them often hides a deep order, where local interactions can emerge as a whole, and where there are circular feedbacks and self-similarity between structures at different levels. These perspectives provide an entirely new path to understanding nature and society, and in P4 Theater, a "large laboratory", the original dimensions of individual and collective, local and integrated, order and disorder, circulation and feedback are integrated into the same mobile landscape, generating complex and dynamic networks of meaning. The introduction of the concept of complex science into theatre means breaking down traditional frameworks such as linear narratives, causal logic, hierarchy, and instead emphasizing new creative principles such as openness, interaction, emergingness and self-organization. This "complex drama" is no longer a simple re-emergence of reality, but a unique world that is paralleled, interwoven and mirrored by reality; no longer a one-way message; rather, an invitation to viewers to participate in the creation of meaning; and no longer a predetermined structure and direction, but an exploration of unknown possibilities in dynamic evolution.
It's like a mirror, and it's in our hearts, struggling to discover the meaning of life in our plight, and it's P4 Theater's soul. Mirroring self-image is both a self-deconstruction and a breakthrough, and a self-reform and upgrading. In the cross-section between character and self, between performance and life, and in the mirror experience of seemingly disorderly and fractured mirrors, you break out of the cage of self-image and recreate yourself with a whole new vision and attitude. It is a process that is destined to be accompanied by disarray of pain and absurd loss. But it's in this "positive vanity," in "creative destruction," that's all. New self emerges, and a transcendent sense of life emerges.
P4 Theater is understood as a complex "genetic space" in which self is both an end and a process; a subject and object; a creator and a creator. Here, the dichotomy between the individual and the collective, between the self and the others, between the inside and the outside, between the past and the future, has been dissolved, presenting the complex and processive nature of life. P4 Theater's self-inflicted pursuit is precisely what brings life back to its truest form - an open, non-linear, emerging process. And through the experience of the process, we may eventually understand that self is not an entity, but an occurrence; life is not a existence, but a generation. In the cycle of self-inflection, life transcends itself and reaches eternity.
Maybe we could do an interesting thought experiment: If self-inflicted P4 Theater is a mirror to life, can we also in real life find metaphors for mapping and pointing at P4 Theater? Life is a play, a play. When we look at the world from a meta perspective, is there a routine "p4" scene? Or silence, or noise, or joy, or misery, or absurdity, or sacrosanct... are millions of seemingly disorderly parts of life creating, by chance, some hidden pattern and rhythm that point to the ultimate meaning of life? Life is in theatre, and theatre is in life.
About the movie.
13 Me, you.
P4 After nine years of operation, it is a different memory that is felt most profoundly, regardless of status, wealth, appearance, race, sex and, in particular, power relations, which directly stripes society of its symbolism. There are old masters, doctors, CEOs, mixed, unemployed, high school students, but these are labels that are often easier when they're strangers. The theatre is where you meet again, escapes society, enters a new world, fantasies with you, romantic.
P4 There are two public figures, P4 Theater, P4 Theater and You, one to share information on recruitment and one to share the story of everyone. It is a wonderful coincidence that the cries and calls in this article are here to come together again to find the true state of life and to choose a new path in the face of the ultimate significance and ethical dilemma. How would a person who stripped all political and social attributes be made up, without identity, dignity and meaning, redefines the story of life in a grey thread?
But such naked encounters will always feel helpless, passive and even absurd again in the eyes of the "Big Other". Even when disguises are removed from the theatre, when we return to everyday life, we will not be able to escape completely the effects of social construction. The "Big Other" is everywhere, and it represents an unreachable, ultimate factor in determining the fate of the subject, meaning both the external law of fate, law, morality, etc., and the fundamental absence which the subject must bear.
Life is always full of confrontations, struggles and games, and the film Paprika is a good illustration of how to transform everyday life in fantasy spaces. The master Chiba Tung-ja used DC Mini to spy into other people's dreams and constantly divide images to deal with the control and pursuit of the big Other. Theatrical space is the same as a dream, projecting strange and eccentric images of each other, revealing the deep-seated desires, fears and secrets. The unconscious will be in every corner of the theatre, and everything solid will be relaxed into a new order, with a new strategy of dissolving symbols and dissipation. Controls and counter-controls go hand in hand, and subjects also carve their own miracles in such shocks, wandering and shaking.
14 places
Distance is a high-tech technique that is repeated in the theatre. Like high-strength spies, the freedom of response that enters the enemy without moving into the inside is more than the edge of tension and stimuli. It is an extremely complex, both positive and counterproductive process that captures information in a timely manner in an on-site environment and fights with sound and against the inside. In each second of P4 Theater, the distance from the HF is constantly changing in the same way as the displacement. There was never a proper performance and there should never be a fixed paradigm to guide it. The false imitation and manipulation of the audience as a fool is a delusion that the soul of a human being is "purified" with compassion and fear only a joke of his own. Theatricalism is a rocky bridge in which the audience, the actor, the character are constantly raging, no one is safe, the ropes are broken, anything you once thought to be solid will awaken you again, in a dialectic situation, on a dangerous stage.
The performances of the p4 productions were triggered by the real plight and anxiety of the initiators, who, in an attitude that they had to do, questioned the world and echoed in every line they wrote. When the members of the group are rehearsed, they revolve around the division and reconstruction of actors, players and directors, constantly questioning each other, trying and reflecting on each other, and finding resonance in the constant inter-subjectial collisions. The audience saw the last version of the show in The Last Rehearsal, without a fixed paradigm and standard of perfection, the process of thinking and experience for actors and viewers, which is the power of drama that p4 seeks.
In the creation of p4 there are no places to go. There will always be sudden interruptions or leaps between actors and actors, between roles and roles, between stage and reality, in order to suggest the ridiculousness of the illusion of continuity itself, to break each other ' s mindsets and to draw them out of their original narratives, generating new connections and insights. The effect of this "plugging" is that it's like a shuttle, and it cuts through each other's defense mechanisms and brings us together into the unconscious. In the process of constant transformation, extraction, re-engineering and drifting between the facts, a new triad of the stage, the audience, the reality is formed, the theatre is no longer a closed aesthetic but a dynamic process interacting with reality.
The term "disconnection" is not just aesthetic, but rather an ethical position and a form of social participation. Through constant alienation and intervention, viewers are invited to an open space for dialogue with characters, actors and even themselves. Theatricals are no longer fictional art, but rather change their own motors in the light of reality.
15 Cruel theatre
Cruelness occurs at a moment beyond experience, destroying ordinary knowledge in life and releasing the truth of years of imprisonment. Alto strips the theatre of its skin, leaving behind only ritual-like mysterious and superstitious powers, abandoning the plot or character and simply preserving its own poetic, abstract, multidimensional forms and language. It's the strength I've always been looking for, and it's the most ingrained drive I've ever had to do, to spread my instincts to the moment.
It is no longer an imitation of reality, but it is a poetic space alone. In this world, all the elements of language, body, space and light have been liberated, regrouped and created a whole new expression, and the theatre has been reborn with the power of freedom. "Crazy" here does not mean blood or violence, but rather an intransigent and extreme quest. It forces the drama to face the cruel nature of survival, reveal the dark and fragile orientation of human nature and touch the deep fears and desires of the soul. Cruelness is the life baptism that must be experienced and the mobilization of all the instinctive and physical movements in the theatre rituals, rather than the emotions created by psychological transfers.
P4 has been struggling to achieve this goal by pursuing an experience that goes beyond words and words. By creating a state of near death that forgets me to breathe, actors and viewers join in the flood of life. Between incompetence and resistance, using a total rejectional gesture to strike the thicker and thicker divide between people, searching for voices that are about to become invisible, a cry from deep inside, unleashing the unstoppable desires and impulses of rational dialogue. The theatre carries all the suffering and brings noble things to light and feels the truth about their fear and their lives. Collective rituals are linked to the lowest memory of every life and shelter our spiritual home. The ritual of collective participation is not the re-emergence of life, but the creation of life, which is not an external imitation, but an inherent awakening.
For p4, life is a drama. A good drama is bound to be a life of fierce rage and struggle, and a participant in an actor is bound to sacrifice his most precious instincts and the bitterness of his heart, and to shoot himself in every eye and burn himself in the fire. The edge shrinks to the point where the loony, stagnating structures are wiped out, tearing the audience apart with a spell of determination and daily vortex of wonder. This is another more substantial drama, without complex decorations and additions, all of which begins in the space covered by the performance, where the illusions are dissolved with force and placed in a stronger place. The crises of the times have always been hidden in the corners of neglect, where the humbleness of life and the dignity of dignity have fought each other in emergency situations.
16 Human Surrender
"Human Surrender" was a word that suddenly came out of my head in 23 years, and I was anxious to get a complete summary of the p4 creations, and I wanted to make a film to end the p4. That's when I created a new form, yes, I called it Human Surrender. It's an extremely difficult concept to interpret, and it's a mixture of media, training, methods, materials, events, but it's the last thing I've done for P4 Theater over the years, working with the many artists who came to p4 to study and collide with the results of countless days and nights.
Co-creation is the meaning that I have always sought, and the process of collective creation in itself has the meaning of "surrender" - to put down individual stereotypes and bigotry with an open and humble mind, to listen to others to accept the existence of differences and to achieve self-break and advancement in collisions and encounters. It's the most wonderful thing that self-shells break in a co-creation. P4 Theater is like a dream, a container, a place where everyone sees everyone, where I gather with you in photography, drama, psychology to observe, express and record. Here we record our own history with objective cameras, with concrete and intense drama, with equal and genuine projection, in exchange for each other's respect, so that we can write our own history and a new destiny.
Love ignites under each other's eyes, and works are always produced in genuine interaction, and tight lenses capture all the details of the face. I put the camera in the theater, and I put another "here" into the performance relationship to capture, observe, experience a subtle change between real and fake. The film Human Surrender brings together what I want to say, and it can be said that he is a dollar film, a film that has been produced over the years through me, through people who have passed, through events that we have interwoven, through our works, through collisions with this society.
Human Surrender has a three-tiered meaning, from individual, to group, to whole mapping to form a narrative structure. "Representation" is a decomposition of centralism. Of course, the fact that Human Surrender ultimately remains a failed self-conception and failed in the present dilemma does not prevent the revelation of this dream. In our dreams, we are locked to death by something, a despair attached to life and unable to move. In close relationships, the ground is larger and everyone is afraid of each other ' s contact, and harm becomes protection. I was fascinated by the subtle changes in substance, and I recruited the actors and then started this adventure. It's a fight for love, and I'm going to dream of blending with reality, using fiction to pry reality, and then pouring fiction into reality, so that strange fluctuations can wander through film time. The high frequency of participation in rehearsals and shootings, where actors are directors and photographers, and writers, where everyone is a cameraman, so that each other's perspectives can be integrated into a common sense, together with hope for the future.
The author of this paper, He Fa, graduated undergraduate from the Department of Photography at the Central Academy of Fine Arts in 1990 and then went to the University of the Arts in California, United States, where he received a Master of Arts degree in pure arts. Over the years, he has focused on artistic creation that combines photography, social practice and theatre. In the meantime, he put the camera in the theatre and allowed another "present" implantation relationship to capture, observe and experience a subtle change between real and fake. The triple integration of film, drama and records has allowed He Fa to explore a new way to bring about greater inter-subjectivity. It will be a lens that travels between us and you, meeting his eyes from time to time. That is a call of time, and a sense of the future. Film production is an event in itself, while accidents and uncontrollableness are the hope of life. The sacred experience and naked life will be called in the theatre and engraved in history.