Thanks to Hu Jie Ming's "Social installation" artwork, we independent theatre workers and creative performers could put the special artwork plans of the "container theatre" into practice. I've just sent the performance schedules to the performers, who still have a little time (15 hours to more than 100 hours) to consider how to preform. It is more important to think than rehearse in "Live art", which people don't need to rehearse and could act freely. I hope that the performers could spend some time to consider the features of their artworks and how to express it in ways that no one have done before. As a result, I would like to simply describe some features of the artworks for your reference.
Che Che's work "Have you seen it? " is a biography, a diary. Che Che, who left home, drop out from school, got pregnant and being a vegetarian, is a typical character in our "Plants vs Zomebies" series. As a result, she just has to move her life into the darkness without doing anything in the 50 minutes.
Just like Che Che, Liu Miao's live belongs to himself. There is no way to force a "plant" like him back to be a zombie. How is he going to perform since he is going to work tomorrow? It's a "out of the venue" performance that he will call the staffs in the theatre container tomorrow, perform and interact with the audiences to highlight his "performance" without being in the venue.
In "the blind man touching an elephant", the performers will touch everything in the black box and scream out what they have touched. Seems like the black box is not dark enough for them that they plan to close their eyes and touch things during the whole process. In the opposite, the audience can also touch them.
Both of Xu Hai Bei's work "Deaf" and "Tinnitus" are belong to conceptual music theatre, the sounds is prior to the forms and the movements.
In "Notes on the red light", Yi Yun will play various of radio shows, which are sometimes too quiet to listen to, and sometimes deafening like a torture. She will highly hold and shake a red light to welcome the entering audiences to make them see nothing. This is basically a show that cannot be watched.
Seems like A Fan and Wang Ru Hui want to perform a work loaded with daily conversations, the theatre without lighting is unmoral, there are more eccentric factors to make the theatre more chaotic. This is actually a great idea. The performers, who might be affected by my talks on post drama, avoided using languages in the performance. I actually hope that there will be dramas playing in this venue, which will absolutely be interesting. The reason not to promote drama playing is just because that I consider the limited rehearsing time for the performers.
In "the stories of the office", the second work of Intellectual Acrobatics, there will be desks and chairs. They plan to work here, keep making phone calls and arranging various works seriously. Don't think that you are too busy to perform; you can come here just doing your private or business things as performing.
"A Very Long Journey" by Danny and Zhang Xian is a '"whispering theatre", in which they don't care if the audience can listen to them, but just whisper to the other. The audience can only guess their conversations from several of loudly words from time to time. The performers will dance revolutionary with their bold and generous steps, and explore and move on with changeful speed.
There are more performers in "Moving Improvisational Studio", they will use flashlight to exposure consistently and will make a strong visual contrast. The pupils will be smaller after the flash, and people will see fewer movements of the dancers. After the performance, the sensitive carpet will be rise up and the audiences can paint some developing solution on the carpet. As for "Flavors", the audiences can take a "smelling adventure" in this "smelling theatre".