Incubation Guide
Shekou Theatre Festival · 新空间演艺
What is “Theatre in Situ”? The Shekou Theatre Festival defines it as performance content tailored to non-traditional theatrical spaces.
When performances extend beyond the confines of the stage and audiences are no longer confined to designated seating areas, the dynamics of spectatorship change, and public engagement evolves. “Theatre in Situ” is far more than merely relocating traditional stage productions to non-theatrical spaces. Instead, creators must contemplate the spirit of these new venues, explore novel spectator-performer relationships and modes of performance, and reinvigorate the public’s involvement in the arts. This presents a challenge to creators to harness the energy of audience participation.
1.New Works Themed on the Theatre in Situ
What does “Theatre in Situ” mean to you? How do you interpret it? At the Shekou Theatre Festival, we encourage creators to explore diverse perspectives and practices in Theatre in Situ, aiming to reflect on audience engagement and ignite innovation in performance forms.
2.“Enhanced Versions” of Previous Incubated Works of Shekou Theatre Festival
We welcome the upgraded return of the 30 Theatre in Situ works previously incubated during the three editions of the Shekou Theatre Festival. These projects are returning home with plans for enhancement. We’ll be accompanying young creators and their works on a journey of continuous growth. Through the Shekou Theatre Festival platform, we aim for these incubated works to progress even further after continuous refinement and development. It should be noticed that, the upgraded works must be refined and improved based on the originally incubated works. Unless under special circumstances, enhanced versions of Theatre in Situ works must be performed at the same venue as the original version.
3.Developed Works Based on the Original Playscripts Incubated at Shekou Theatre Festival
After two years of incubation in the Incubation Camp and New Writing Workshops, nine playwrights and their works were chosen for presentation in a staged reading section by the Hong Kong Academy for Performing Arts. This year, we are opening up these works for further development by creators, aiming to present these works to the audience in a more complete form.
For this category, please select one of the following playscripts
- The Distance by SUN Huixin
- Mechanical Eyes and Artificial Heart by WU Pengfei
- Young People’s Social Death Archive by LU Siming
- A 15min Break: How to DIY an Easy Performance by LIU Zhao
- Everywhere by HUANG Suhuai
- Go Together by SUN Huixin
- Crow by YANG Xiyue
- The Thread by Hau Yik Lam
*Note: Please contact the playwrights first. After studying the full text of the script, submit the plan; the playwrights must participate in the production throughout the whole process.
- The total number of audience members for public performances should be no fewer than 300. For example, if the performance is limited to 100 audience members per show, there should be at least 3 shows to meet the minimum requirement for total audience numbers.
- The work should be staged for more than 3 public sessions.
- A creative and innovative creator or creative team (all aged 18 and above) willing to trying new things;
- The applicant submitting the proposal must play a significant role in the proposed project;
- Able to fully participate in the Incubation Camp and commit time, passion, and effort to complete the proposed work;
- Each participating individual or team shall only submit no more than one proposal.
This year we features a total of 43 venue partners, including newly added sites in the Qianhai Ma’wan area and the Shekou Old Streets. For detail information, please check this link.
- Register / log in to the Shekou Drama Festival account, select “Theatre in Situ” in the Shekou Drama Festival registration system and fill in the application form;
- For new register, upload the scanned of the business license (for team applicants)/ personal identification (for individual applicants);
- According to the selected category, answer the relevant questions and submit the creative plan;
- Provide additional attachments to help the jury better understand you, such as relevant professional training and work experience, performance audio-visual materials, past reviews and promotional materials, etc. Please upload the attachment materials one by one in the form of files. The form of network disk links is not accepted.
Phase One
- Scanned copy of the business license (for team applicants)/ personal identification (for individual applicants);
- Fill in the work plan and relevant information according to the selected category;
- Additional attachments to help the jury better understand you, such as relevant professional training and work experience, performance audio-visual materials, past reviews and promotional materials, etc.
Phase Two
- Enhanced plan and site layout plan;
- Budget sheet;
- Work schedule.
April – May
First Round of Selection，Application period: April 11, 2025, to May 9, 2025, 22:00 GMT+8
Applicants should carefully read the criterias and prepare the required documents for the phase one;
Applicants should log in to the 2025 Shekou Theatre Festival website to fill out and submit the materials before the deadline;
According to the jury, some applicants will have online interviews;
The list of selected applicants will be announced on May 22, 2025, on the CMSKPAC WeChat official account and the Shekou Theatre Festival website;
The selected applicants in the first round will be invited to attend the Theatre in Situ Incubation Camp.
2025 STF Theatre in Situ Incubation Camp Dates: May 29, 2025, to June 02, 2025.
June
Applicants should submit refined proposals after conducting on-site exploration during the Theatre in Situ Incubation Camp and participate in the second round of selection: (Application period: June 03, 2025, to June 16, 2025, 10:00 PM, GMT+8) ;
Applicants should carefully read the criterias and prepare the required documents for the phase two;
Applicants are required to submit their final refined proposals and related materials online via the 2025 Shekou Theatre Festival website before the deadline.
July
The final list of selected applicants will be announced on July 18, 2025 (GMT+8), on the WeChat official account of CMSKPAC and the 2025 Shekou Theatre Festival website;
Selected proposals will enter the production process.
August – October
The selected applicants on the final list shall sign a contract with the organizer;
The selected applicants on the final list shall discuss with the jury and technical director to finalise production details;
The selected applicants on the final list are expected to participate in monthly regular production progress meetings；
The selected applicants on the final list shall engage in performance production, live rehearsals and public rehearsals;
The selected applicants on the final list shall engage in promotional activities for the Shekou Theatre Festival, such as media interviews, etc., as required.
November
The proposed works shall be performed during the 2025Shekou Theatre Festival according to the performance schedule.
The selected applicants on the final list shall participate in post-performance discussions, extension events, workshops, etc., during the Shekou Theatre Festival.
The selected applicants on the final list are also required to submit financial settlement forms for accounting purpose.
About the proposals
- The submitted proposal must be entirely original, establishing a meaningful connection with Theatre in Situ. The content and materials should be free from plagiarism and possess undisputed copyrights and adjacent rights, or have obtained legal authorization.
- It should be primarily focused on performing arts, proposals are open to various themes, durations, and interdisciplinary fields. The proposed work should be designed as public performances.
- The performance venues should be selected within the Shekou area. STF offers options for single or multiple site connections.
- STF encourage cross-disciplinary collaborations with emerging technologies, emphasis on the features of the performing venues, and engagement in interactive communication with the target audience.
- Collaboration with local groups in Shenzhen is also highly encouraged. Tap into the youthful energy of the city’s artistic community and explore exciting partnerships.
- Applicants must submit complete application forms, ensuring accuracy and legality. Any inaccuracies or omissions could impact the evaluation process. Please note that no additional materials or changes to submitted applications will be accepted after the deadline.
- All submitted proposals will undergo a thorough review by the STF Theatre in Situ Jury. By submitting your application, applicants agree to abide by the jury’s final decision, regardless of the outcome.
- As materials will not be returned after the evaluation process, please do not submit the original or singular copies of your work.
- Except for activities related to this project, the organizer will not disclose or utilize applicants’ proposals or other related materials.
About the financial support
- Due to limited resources, this project provides funding in the form of differential subsidy. The organizer encourage and support selected applicants in actively seeking additional resources for their projects while ensuring proper acknowledgment of the Shekou Theatre Festival and the organizer, as well as the smooth execution of the project.
- The proposed budgets should align with the practical requirements of the project. Apart from the amount of the financial support agreed upon by both parties, the organizer will not provide any additional funding for expenses such as travel, accommodation, or performance allowances incurred during the production.
- The financial support for selected works will be disbursed in stages by the organizer upon the signing of a performance contract.
- After completing the performance, selected applicants must submit a detailed breakdown of actual expenses and receipts within 10 working days for auditing by the organizer. Any discrepancies exceeding 10% between the budget and actual expenditure must be reported to and approved by the organizing entity before the performance. Unless previously communicated and agreed upon with the organizing entity before the performance, expenses not approved during the audit may be denied reimbursement.
- Upon completion of the audit of expenditure details and receipts, the organizer will release the final installment of the financial support.
- The Shekou Theatre Festival Incubation Camp includes three sections: (a) venue exploration (b) professional courses; (c) discussions. Participation is limited to one core member from each proposed work. The organizing entity will cover lecturer fees, accommodation for applicants, and travel expenses as agreed upon for the incubation camp.
About the performances
- Selected applicants and their creative teams must spend a minimum of one week at the performance venues for on-site technical rehearsals, including at least three public rehearsals. The aim is to foster a strong connection between the productions, the venues, and the audience.
- On the premise of ensuring the quality of the performance, each project should accommodate the largest possible number of audiences or increase the number of performance sessions.
- Performance dates will be determined through mutual agreement between the selected applicants, their teams and the STF organizer.
- Selected applicants and their creative teams are expected to follow the work schedule set in the phase two and attend regualr progress meetings. The jery will offer assistance and guidance based on the production’s progress. If, prior to the performance, the organiser, jury, and mentors collectively agree that the production quality is not up to standard, the organiser reserve the right to terminate the production.
- Barring any unforeseen circumstances, the proposals of selected applicants must be presented during Shekou Theatre Festival 2025.
- If any unforeseen circumstances arise that affect the performance schedule, the organser will communicate with the selected teams to arrange alternative performance times.
About the publicity and promotion
- In line with the overall promotion of the Shekou Theatre Festival, selected applicants are required to provide materials such as texts, stage photos, and team bios according to the designated timeline. Additionally, videos, photos, and reflective journals collected during rehearsal periods should also be submitted;
- The organizer reserves the right to document the creative process and performances of selected productions through interviews, photography, videography, and other means;
- The organizer may utilise materials related to the proposed works of selected applicants collected during the Shekou Theatre Festival for promotional activities linked to the event. These materials, including text, images, and videos, may be shared on various social media platforms like WeChat, Xiaohongshu (RED), mini-programs, and the official website. They may also feature in reports by invited media outlets and partner brands, both online and offline.
About the credits and copy rights
- Applicants are required to ensure that all individuals associated with the copyrighted material are fully informed and consent to their involvement in this incubation program. Should any copyright disputes arise during the incubation phase after any round of selection, such as infringement lawsuits or requests from copyright holders to withdraw, the organizer reserves the unilateral right to terminate this agreement. Furthermore, the organiser may seek compensation for any resulting damages from the selected applicant involved in the dispute.
- Upon completion of the incubation, the copyright for the created work will be owned by the creators.
- The organiser should be listed as the contributor of all the incubated works in this project. All future promotional materials related to the project must include the phrase “2025 Shekou Theatre Festival Incubation Project.” Prior to production and printing, these materials must be submitted to the organiser for endorsement.
In the first round of selection, we focus on the fresh approach proposed by applicants and its adaptability to the performance space. We also take into account their past creative endeavors and relevant experiences.
In the second round of selection, we consider the artistic flair, practicality, the potential for future growth and budget considerations of the submitted works.
* Arrange according to the initials of surnames.
Technical Director: Benjamin Benny Mok
Acting Coach: Ku leng Un
Observers: YUAN Hong, SONG Ke, WANG Hao, CHEN Shuang
- Connect with fellow theater enthusiasts, passionate mentors dedicated to nurturing artistry, savvy academics bridging theory and practice, media mavens hungry for compelling performances, and trend-setting curators scouting fresh talent and promising projects;
- Receive guidance, support, and clarity from seasoned industry experts;
- Be invited to the STF Theatre in Situ Incubation Camp hosted by the organiser, where young talents thrive;
- Access production grants generously provided by the Shekou Theatre Festival to fuel your creative journey and earn a spot on the festival stage;
- There is an opportunity to sign a contract with the organizer, receive continuous packaging and promotion for the work, obtain more performance and publicity opportunities, and even secure exclusive talent agency services;
- Gain exposure as your selected works and contact details feature prominently on the Shekou Theatre Festival’s official website, attracting attention from other festival curators on the lookout for emerging voices.
Shekou Theatre Festival · 新写作剧本
As the New Writing Program of the Shekou Theater Festival enters its third year, we’ve identified a critical issue—When the goal of nurturing playwrights becomes tied to staging a full production, it often leads to rushed, results-driven compromises. This drowns out the deeper questions about society and existence that a playwright might explore through slow, quiet reflection. The Shekou Theater Festival’s mission is “incubation”—cultivating a new generation of playwrights and their writing.
Requiring them to deliver a “complete performance” at this stage places an undue burden on them, effectively “pulling up seedlings to help them grow” (forcing premature outcomes). Playwrights shouldn’t expend energy negotiating a director’s interpretation, nor should their capacity for inquiry and imagination be constrained by production logistics. During incubation, a playwright’s responsibility is to stand firmly with their text, channeling their ideas through actors to the audience.
Thus, in this third year, we’ve decided to remove the “director”—a variable that traditionally demands performance accountability—to refocus incubation on the text itself. We’re transforming past “staged reading” into script readings + public forums. By simplifying the framework, we hope to empower emerging writers to engage.
1. Epic Narration
Take the narrative mode of Homer’s epics as a sample. In it, a storyteller plays all the roles and freely inserts dialogues while narrating events. He treats the listeners as if they were his own relatives or friends. The language used can be either in prose or possess a poetic quality. Referenced models include: The Iliad, The Odyssey, written by Homer; The Lehman Trilogy, written by Stefano Massini and translated by Zhu Anru (One Person Publishing House, Taipei, 2023).
2. Multilingual dramatic Writing
Multilingual dramatic Writing is not merely a script that contains languages and characters from different countries and cultures in the general sense. It can also be extended to a broader concept, that is, the author regards own perception of life and existence as a journey with shifting boundaries or a wandering experience. Therefore, the multilingual dramatic writing encourages the applicants to activate all possbile languages from their oral, literal and other linguistic realities in their new writing practices. Mother languages, foreign languages, spoken words, dialects, ancient and programming languages, as well as visionary languages shall be processed and interpreted as the subject of study, the inspirational input and the elements constantly under experimentation. It’s important to note that the final work needs to contain multiple languages defined by the applicants.
3.Writing Related to Images
Observing the evolution of art history in both the East and the West, we can find that revolutions often stem from conceptual breakthroughs or technological innovations. For example, the perspective method during the Renaissance reconstructed the standards of realism, and Surrealism subverted the visual logic of realism with the subconscious. From traditional easel painting to the 3D dimension expansion of digital media. As a playwright, in the face of this era intertwined with reality and illusion, how do you reconstruct the narrative logic and expressive dimensions? If we consider perspective, the subconscious, or multi-dimensional virtual reality as different logical tools for constructing images, then such logic can seemingly also be used to construct a play script. Please choose a classic masterpiece in the history of world art, like a work by Salvador Dalí, Pablo Picasso, Katsushika Hokusai, Frida Kahlo, or even Bada Shanren. Propose a visual logic that you reconstruct, and try to use this logic to construct a play script, or at least provide an explanation to clarify why this logic is possible. Deconstruct the painting from a critical perspective and carry out cross-dimensional playwriting. The form can be pure text or a combination of text and images. It is required to start from the image and ultimately return to the image, and you are encouraged to break through the accustomed cognitive and aesthetic stereotypes.
4. Writing of Classic Reconstruction
The contemporary German theatre troupe She She Pop reinterpreted King Lear in this way: An old king was making arrangements for his retirement plan. Using this as a framework, they created the documentary dramatic work The Will. Elderly fathers stepped onto the stage and had an intergenerational dialogue with their daughters. This work is like a seed that has sprouted a new thinking mode for dramatic adaptation: regarding a classic work as a framework waiting to be broken, which is about understanding the classic, stepping out of the classic, dismantling and reorganizing its framework, and filling it with content relevant to the present moment. I hope to explore together with applicants, treating classic works as a form that can be developed, so as to tell what is currently occurring.
5. Dramatic and Interactive Text Writing
When games become a medium for writing, they have given rise to many new writing styles, such as those that employ hypertext, networked narrative, and tabletop games as means. The applicants are encouraged to transform texts into links and images in cyberspace, or into interactive modules such as physical cards, building blocks, and chips, enabling readers and players to form the meaning space of the text through interaction. In new writing practices,applicants can use tools like Twine, Inky, or Yarn Spinner to write a hypertext play script. Applicants can also rewrite classic tabletop games like Monopoly, or try to create story games like Mille Bornes. By taking advantage of the interactive features, Applicants can organize the content, respond to themes, and express ideas, among other things.
An original playscript with a minimum runtime of 45 minutes for the performance.
Up to five original playscripts will be incubated.
An innovative creator (aged 18 and above) willing to trying new things;
Able to fully participate in the Incubation Camp and commit time, passion, and effort to complete the proposed playscript;
Need to have the mentality of being responsible for the completion of one’s own play script and directly work with the actors during the process;
Each participating individual shall only submit no more than 1 proposal.
- Register/log in to the Shekou Theatre Festival contestant account and upload the scanned copy of the personal applicant’s identification document.
- Select [New Play Script] in the registration system and fill in the application form.
- Choose the submission type.
- Answer the relevant questions according to the selected submission type.
- Provide no more than three previous playscripts or works.
- Scanned copy of personal identification;
- Previous scripts or works.
April – May
First Round of Selection: (Application period: April 11, 2025, to May 9, 2025, 22:00 GMT+8)
Applicants should carefully read the materials and prepare the required documents;
Applicants should log in to the 2025 Shekou Theatre Festival website to fill out and submit the materials before the deadline;
According to the demands of mentors, some applicants will have an online interview;
The list of selected applicants will be announced on May 22, 2025, on the CMSKPAC WeChat official account and the Shekou Theatre Festival website.
June – August
The selected applicants in the first round will be invited to attend the Incubation Camp and the New Writing Workshop;
2025 STF New Writing Incubation Camp & Writing Workshop Dates: May 31, 2025, to June 04, 2025;
Mentors of the New Writing Incubation Project will be matched with the selected applicants in the first round and provide mentorship for playscript writing;
Deadline of initial playscript submission: August 30, 2025, 22:00 (GMT+8);
September – October
The screenwriter communicates with the performers and the director to present the text through script reading;
The selected applicants shall sign relevant contracts with the organiser;
The selected applicants shall engage in promotional activities for the Shekou Theatre Festival, such as media interviews, etc., as required.
November
The selected shall participate in staged reading actitives and their extension events during Shekou Theatre Festival 2025.
December – January 2026
Complete the final playscript;
Present the excerpted passages on the website of the Shekou Theatre Festival and make them open for creators to choose for future production and presentation.
About the proposals:
- The submitted proposal must be entirely original, or is adapted from the stories. The content and materials should be free from plagiarism and possess undisputed copyrights and adjacent rights, or have obtained legal authorisation.
- Applicants must submit complete application forms, ensuring accuracy and legality. Any inaccuracies or omissions could impact the evaluation process. Please note that no additional materials or changes to submitted applications will be accepted after the deadline.
- All submitted proposals will undergo a thorough review by the STF New Writing Mentors. By submitting your application, applicants agree to abide by the jury’s final decision, regardless of the outcome.
- Applicants whose proposals are selected for this incubation project cannot reapply for support for other similar projects. Failure to comply will be considered a breach of the rules by the selected applicant.
- Except for activities related to this project, the organiser will not disclose or utilise applicants’ proposals or other related materials.
About the financial support:
- 1. The Shekou Theatre Festival Incubation Camp includes three sections: (a) venue exploration (b) professional courses; (c) discussions. Participation is limited to one core member from each proposed work. The organizing entity will cover lecturer fees, accommodation for applicants, and travel expenses as agreed upon for the incubation camp.
- 2. The production team for staged reading will be designated by the organiser, and its expenses will be covered by the organiser.
- 3. Apart from covering the travel expenses for creators to participate in the STF New Writing Incubation Camp and the STF New Writing Workshop, as well as the staged reading presentation during the Shekou Theatre Festival, the organiser will not provide any additional fees, including copyright fees for scripts presented at the 2025 Shekou Theatre Festival staged reading.
About the publicity and promotion:
- In line with the overall promotion of the Shekou Theatre Festival, selected applicants are required to provide materials such as texts, personal bios according to the designated timeline;
- The organiser reserves the right to document the creative process and performances of selected works through interviews, photography, videography, and other means.
- The organiser may utilise materials related to the proposed works of selected applicants collected during the Shekou Theatre Festival for promotional activities linked to the event. These materials, including text, images, and videos, may be shared on various social media platforms like WeChat, Xiaohongshu (RED), mini-programs, and the official website. They may also feature in reports by invited media outlets and partner brands, both online and offline.
About the credits and copy rights:
- Upon completion of the incubation, the copyright for the created work will be owned by the creators.
- The organiser should be listed as the contributor of all the incubated works in this project. All future promotional materials related to the project must include the phrase “2025 Shekou Theatre Festival Incubation Project.” Prior to production and printing, these materials must be submitted to the organiser for endorsement.
- Applicants are required to ensure that all individuals associated with the copyrighted material are fully informed and consent to their involvement in this incubation program. Should any copyright disputes arise during the incubation phase after any round of selection, such as infringement lawsuits or requests from copyright holders to withdraw, the organizer reserves the unilateral right to terminate this agreement. Furthermore, the organiser may seek compensation for any resulting damages from the selected applicant involved in the dispute.
- In the first round of selection, we focus on the concepts and the fresh approach of applicants’ proposals. We also take into account their past creative endeavors and relevant experiences.
- In the second round of selection, we consider the innovation, artistic flair, and the potential for future growth of the submitted playscripts.
* Arrange according to the initials of surnames.
- Connect with fellow theater enthusiasts, passionate mentors dedicated to nurturing artistry, savvy academics bridging theory and practice, media mavens hungry for compelling performances, and trend-setting curators scouting fresh talent and promising projects.
- Receive guidance, support, and clarity from seasoned industry experts.
- An opportunity to finish your own playscript;
- Be invited to the STF New Writing Incubation Camp and the STF New Writing Workshop, hosted by the organiser, where young talents thrive.
- After the last round of selection, the selected playscipts will be delivered to professional production team for staged reading presentation.
- Gain exposure as your selected works prominently on the Shekou Theatre Festival’s official website, attracting attention from who are interested in you and your words.