Incubation Guide
Deadline 2026.05.09 22:00 (GMT + 8)
Shekou Theatre Festival · Theatre in Situ
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
“Theatre in Situ” refers to diverse scenarios beyond traditional theatres (proscenium arch stages), including but not limited to community spaces, public spaces, commercial spaces, and other non-traditional performance venues. It also refers to performance forms that leverage the unique characteristic of such spaces, breaking the traditional performer-audience relationship. It explores immersive, interactive and experiential performance formats, enabling the work to establish a deep connection with both the space and the audience.
We encourage creators to engage in diversified thinking and practice regarding Theatre in Situ, boldly innovating in performance forms and expressive cores. The space should become an integral part of the work itself, rather than merely a carrier for the performance.
2.“Enhanced Versions” of Previous Incubated Works of Shekou Theatre Festival
Previous Shekou Theatre Festival incubated works are welcome to submit upgraded proposals. After continuous refinement and development, we encourage these works to move toward broader stages. Upgraded works must build upon the original incubated version, and except in special circumstances, should be staged in the same venue as the original.
3.Developed Works Based on the Original Playscripts Incubated at Shekou Theatre Festival
Please select one of the following incubated New Writing Scripts:
- The Distanceby 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 Performanceby LIU Zhao
- Everywhereby HUANG Suhuai
- GoTogether by SUN Huixin
- Crowby YANG Xiyue
- The Threadby HAU Yik Lam
- The Third Eyesby YANG Sanphia
- About Their Love for Usby TAN Peiran
- Needed? Or Not. Success for Molesby Xinbei
- The General of the Burning Pestle by CHAO Keng Fong
*Note: Contact the playwright to obtain the full script. The complete script must be reviewed before submitting your proposal.
- The total number of audience members for public performances should be no fewer than 300. For example, if each show accommodates 100 audience members, at least 3 performances are required.
- The work should be staged for more than 3 public sessions.
This year we features a total of 44 venue partners, including newly added sites in the Prince Bay Area and the Shekou Old Streets Area. For detail information, please check this link.
1.A creative and innovative creator or creative team (all aged 18 and above) willing to try new things;
2.The applicant submitting the proposal must play a significant role in the proposed project;
3.Able to fully participate in the Incubation Camp and commit time, passion, and effort to complete the proposed work;
4.Each participating individual or team shall only submit no more than one proposal.
1.Upload the scanned copy of the business license (for team applicants)/ personal identification (for individual applicants);
2.Register / log in to the Shekou Theatre Festivalaccount, select “Theatre in Situ” in the Shekou Theatre Festival registration system and fill in the application form;
3.According to the selected category, answer the relevant questions and submit the creative plan;
4.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 attachmentsas individual files. Links to cloud storage will not be
Phase One
1.Scanned copy of the business license (for team applicants)/ personal identification (for individual applicants);
2.Fill in the work plan and relevant information according to the selected category;
3.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
1.Enhanced plan and site layout plan;
2.Budget sheet;
3.Work schedule.
April – May
First Round of Selection: (Application period: April 08, 2026, to May 09, 2026, 22:00 GMT+8)
Applicants should carefully read the criteria and prepare the required documents for the phase one;
Applicants should log in to the 2026 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, 2026, on the CMSKPAC WeChat official account and the Shekou Theatre Festival website;
The selected applicants in the first round of selection will be invited to attend the Theatre in Situ Incubation Camp.
2026 STF Theatre in Situ Incubation Camp Dates: May 27, 2026, to May 31, 2026.
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 01, 2026, to June 21, 2026, 10:00 PM, GMT+8) ;
Applicants should carefully read the criteria and prepare the required documents for the phase two;
Applicants are required to submit their final refined proposals and related materials online via the 2026 Shekou Theatre Festival website before the deadline.
July
The final list of selected applicants will be announced on July 10, 2026 (GMT+8), on the WeChat official account of CMSKPAC and the 2026 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；
A minimum of one on-site rehearsal must be completed at least 6 weeks prior to the performance.
The selected applicants on the final list shall undertake performance preparation, including rehearsals on-site and run-thorough;
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 2026 Shekou 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 required to submit financial statement for settlement review and project closure.
About the proposals
1.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 authoriz
2.It should be primarily focused on performing arts.Performances must be presented to a public audience.
3.The performance venues should be selected within the Shekou area. You may choose either a single venue or multiple connected venues.
4.STF encourage cross-disciplinary collaborations with emerging technologies.
5.Collaboration with local groups in Shenzhen is also highly encouraged.
6.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.
7.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.
8.Please note thatmaterials will not be returned after the evaluation process.
9.Except for activities related to this project, the organizerwill not disclose or utilize applicants’ proposals or other related materials.
About the financial support
1.Due to limited resources, this project provides funding in the form of differential subsidy. The organizerencourage 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.
2.This project provides production funding, publicity support, and venue support. The funding must be used entirely for the creation and production output of the project. The specific usage principles are as follows:
Supported: Service fees for external personnel temporarily hired as required by the project.
Not supported: Personal service fees or salaries for the core creative team members (the applicant team itself).
Prohibited: Any personnel expenses unrelated to the project’s creation or any non-business expenditures.
3.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 organizerwill not provide any additional funding for expenses such as travel, accommodation, or performance allowances incurred during the production.
4.The financial support for selected works will be disbursed in stages by the organizerupon the signing of a performance contract.
5.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 organizerbefore the performance. Unless previously communicated and agreed upon with the organizer before the performance, expenses not approved during the audit may be denied reimbursement.
6.Upon completion of the audit of expenditure details and receipts, the organizerwill release the final installment of the financial support.
7.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 organizer will cover lecturer fees, accommodation for applicants, and travel expenses as agreed upon for the incubation camp.
About the performances
1.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 open The aim is to foster a strong connection between the productions, the venues, and the audience.
2.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.
3.Performance date to be determined by the organizer.
4.Selected applicants and their creative teams are expected to follow the work schedule set in the phase two and attend regularprogress meetings. The jury will offer assistance and guidance based on the production’s progress. If, prior to the performance, the organizer, jury, and tech director collectively agree that the production quality is not up to standard, the organizer reserves the right to terminate the production.
5.Barring any unforeseen circumstances, the proposals of selected applicants must be presented during Shekou Theatre Festival 2026.
6.If any unforeseen circumstances arise that affect the performance schedule, the organizer will communicate with the selected teams to arrange alternative performance times.
About the publicity and promotion
1.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;
2.The organizerreserves the right to document the creative process and performances of selected productions through interviews, photography, videography, and other means;
3.The organizermay 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
1.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 organizerreserves the unilateral right to terminate this agreement. Furthermore, the organizer may seek compensation for any resulting damages from the selected applicant involved in the dispute.
2.Upon completion of the incubation, the copyright for the created work will be owned by the creators.
3.If the work is selected and completes its incubation presentation, the core creative team is deemed to have granted the organizer a two-year priority agency right. Selected works will be featured on the Shekou Theatre Festival official website. Within two years following the incubation completion, should any performance opportunities arise, both parties shall negotiate in good faith to actively facilitate them. The organizer reserves the right to charge an agency fee.
4.The organizershould 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 “2026 Shekou Theatre Festival Incubation Project.” Prior to production and printing, these materials must be submitted to the organizer 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 submitted works’potential for future development and budget feasibility.
1.Test Your Ideas. Step outside your creative comfort zone. Engage with real urban spaces. Meet new audiences. Take your refreshed thinking further.
2.Space for Experimentation: Our audiences and jurors embrace bold exploration. Focus on your artistic core without commercial pressure.
3.Meaningful Connections: Collaborate with architects, game designers, community workers. Cross-disciplinary encounters spark future possibilities.
Shekou Theatre Festival · New Writing
In previous editions of the Shekou Theatre Festival’s New Writing, we identified a key problem: when the goal of incubating a playwright is tied directly to producing a full-length performance, it encourages short-term thinking. This undermines the playwright’s ability to step back and, from a slow, quiet distance, ask meaningful questions about society and existence. The festival’s goal is to “incubate” — that is, to nurture a new kind of playwright. Asking them to deliver a fully staged production at this stage places too much pressure on them and ultimately does more harm than good.
Playwrights should not have to spend energy negotiating with a director’s interpretation, nor should their ability to ask questions and imagine freely be constrained by production concerns. During the incubation phase, the playwright must take responsibility, stay close to the text, and channel their thinking to the audience through actors.
Therefore, we have decided to remove the “director” — a role responsible for the production — from the equation. This allows the incubation to focus more closely on the text itself. The former “performance” model has been replaced with a combination of “script-in-hand presentation + public forum.” Our hope is that, with this approach, playwrights in the New Writing can focus entirely on raising serious questions about society and existence through the medium of theater.
1. Epic Narration
In a world flooded with information, our ability to tell stories is quietly eroding. Theatre, once a space for raw expression, now often feels locked behind walls of technical precision and refined aesthetics. Epic storytelling offers a way back—a simple tool to restore the primal act of speaking to be heard. It reminds us that stories were first told to people we knew: friends, neighbors, children. Listener and teller, bound by shared life and concern. That’s the kind of storyteller we’re looking for—someone rooted in a community, not just writing for themselves. For example: Homer, The Iliad & The Odyssey; Stefano Massini, The Lehman Trilogy; & Mark Ravenhill, pool (no water).
2.Alternative History Writing
In French, “panser” means to dress a wound, to tend, to heal. For Bernard Stiegler, to panser is to think with care—an ethical responsibility toward others, society, and the future. Documentary theatre is often called the “theatre of the real.” Yet what is “the real”? History is never singular; archives are never neutral, and dominant narratives are authored by the powerful. Documentary writing, understood through panser, becomes an act of care: attending to those without a voice, listening to the silenced and overlooked, questioning grand histories, and composing alternative ones.
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 Through theClassic
New writing can take the form of adaptation or reinvention—but it can also take the classic’s own form and theatrical language as its subject. Think of the integration of song, dance, and storytelling in traditional Chinese opera, or the single-performer narrative structure. We might ask: how did the classic once speak to its society, and how can it become a vehicle for truth-telling again? We can trace it back to its origins and pull its rawness into the present. Or we can dwell in the space between the “new” and the “already there”—and let dialogue emerge from that friction.
It’s worth noting: when a classic is placed in a new context, with new questions and new perspectives, it may be accused of irrelevance. It may even be laughed at. But to enter into that conflict is itself a form of rebirth.
Whether reinterpreting a classic from our own lived reality, rewriting it to speak to a changed world, or even mocking or dismantling it—what matters is this: the work must come from a place of authenticity. From a real engagement with the present.
5.Dramatic and AI TEXT Writing
Since ChatGPT 3.5, we’ve witnessed an exponential curve in AI development. By 2026, the dominant paradigm has shifted from conversation to agency. AI is no longer the clumsy chatbot it was just three years ago. Now that agents are capable of autonomous action, can we as writers use these tools to experiment with a different kind of “meta-writing”? Programmers already deploy 20 agents simultaneously on a single project. Could a playwright become a conductor of agents—writing not the text, but the rules that generate it? Orchestrating actions, not just words? What if agents become characters? Or co-writers? What if multi-agent systems enter the writing process itself? For the playwright—the writer—in 2026 and beyond: how do we lead a practice of text-making that is meaningful, valuable, and grounded in care?
An original playscript with a minimum runtime of 45 minutes for the performance.
Up to 10 original scripts will be incubated, with a maximum of 5 to be publicly presented at the Shekou Theatre Festival.
1.An innovative creator (aged 18 and above) willing to trying new things
2.Able to fully participate in the Incubation Camp and commit time, passion, and effort to complete the proposed playscript
3.Work directlywith performers during staged reading rehearsal.
4.Each participating individual shall only submit no more than 1 proposal
1.Log in to yourShekou Theatre Festival account and upload the scanned copy of your identification document.
2.Select [New Play Script] in the registration system and fill in the application form.
3.Choose the submission type.
4.Answer the relevant questions according to the selected submission type.
5.Provide no more than three previous playscripts or works.
1.Scanned copyof personal identification.
2.Previous scripts or works.
April – May
First Round of Selection: (Application period: April 08, 2026, to May 9, 2026, 22:00 GMT+8)
Applicants should carefully read the materials and prepare the required documents;
Applicants should log in to the 2026Shekou 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, 2026, 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;
2026STF New Writing Incubation Camp & Writing Workshop Dates: May 29, 2026, to June 02, 2026;
Mentors of the New Writing Incubation Project will be matched with the selected applicants in the first round and provide mentorship for script writing;
Participation in the July 23 progress meeting is mandatory. The mentor and organizers reserve the right to terminate the incubation for any participant who fails to meet the progress requirements.
Deadline of playscript submission: August 23, 2026, 22:00 (GMT+8);
September – October
Selected scripts will undergo a staged reading production and presentation.
The selected applicants shall sign relevant contracts with the organizer.
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 activities and extension events during Shekou Theatre Festival 2026.
December – January 2027
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:
1.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 authoriz
2.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.
3.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.
4.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.
5.Except for activities related to this project, the organizerwill not disclose or utilize 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 organizer, and its expenses will be covered by the organizer.
3.The organizer will cover travel expenses for creators to participate in the Incubation Camp, Writing Workshop, and staged reading presentation.However, no additional fees will be provided, including copyright fees for scripts presented at the 2026 Shekou Theatre Festival staged reading.
About the publicity and promotion:
1.In line with the overall promotion of the Shekou Theatre Festival, selected applicants are required to provide materials such as text, personal bios according to the designated timeline;
2.The organizer reserves the right to document the creative process and performances of selected works through interviews, photography, videography, and other means.
3.The organizer may utilize 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:
1.Upon completion of the incubation, the copyright for the created work will be owned by the creators.
2.The organizer 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 “2026Shekou Theatre Festival Incubation Project.” Prior to production and printing, these materials must be submitted to the organizer for endorsement.
3.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 organizermay seek compensation for any resulting damages from the selected applicant involved in the dispute.
4.If a work is selected and completed as a staged reading, the playwright automatically grants the organizer a two-year license for the right to restage the reading. Should other performance opportunities arise during this period, both parties shall negotiate in good faith to facilitate such opportunities, and the playwright shall not charge any additional licensing fees.
Phase 1 Evaluation: Assessment is based on applicants’responses, demonstrating their understanding and approach to the selected writing option.
Previousworks and relevant experience are also key considerations.
Phase 2 Evaluation:Comprehensive assessment of scripts based on innovation, artistic merit, and future development potential.
1.Pursue the subjects you truly want to explore. Bold experimentation is encouraged.
2.Complete your original script. Hear it spoken aloud. See it come to life. Receive immediate feedback from a live audience.
3.Connect with fellow theater enthusiasts, passionate mentors dedicated to nurturing artistry, savvy academics bridging theory and practice,critics and journalists hungry for compelling performances, and trend-setting curators scouting fresh talent and promising projects.