The Finalist
Theater in Situ
01 New Works Focusing on Theatre in Situ
创作者罗伯·麦克尼尔从存在主义出发，以科克多《诗人之血》为灵感，在明华轮时光展厅和甲板上，用舞蹈、光影和互动装置，打造一个超现实的神话世界，也映照出诗人的内在挣扎。观众近距离游走其中，层层剥开自我投射，直面短暂而珍贵的真实。作品与本地艺术家共创，融合舞蹈剧场、设计与科技，抛出一个当代问题：古老神话，今天还与我们有关吗？诗人的困境，是否也在你我心中回响？
《欲望解剖》这部作品，融合肢体剧场、木偶戏、物件剧场，还有真实访谈声音。故事就发生在城中村广场上，三位外卖员正等着接单，突然间，时间静止。观众跟着他们，走进三段从真实经历长出来的超现实旅程：与时间赛跑、在系统里找路、在生活洪流中挺直腰杆往前走。木偶、日常物件与真实环境声交织一起，把城市里我们最熟悉的职业，变成一场关于生活、渴望和韧性的寓言，照见那股始终在流动、不息停歇的生命力。
发生在一家真实存在的台湾小吃店里。每天，有人下班来吃宵夜，有人约朋友叙旧，也有人在自己人生的某个重要时刻进来坐一坐。韩洁的离开，老张的辣味饯行，莫莫偶然闯入的镜头 —— 创作团队以一间小店为圆心，用空间游走的手持摄影，让观众成为共谋；用食物串起离散与重逢；用辣觉逼出每一段家庭关系里最真实的痛与暖。
“有没有一个地方，让你一直想回去？”《皮市巷》就从这个问题开始。创作者从小由爷爷奶奶带大，两位老人如今九十多岁，住在养老院，心里却始终念着老家 —— 那条叫 “皮市巷” 的巷子，也是创作者长大的地方。顺着这个念想，他重新靠近他们，重新认识自己，也开始学着怎么跟他们告别。作品用真实录音、口述故事、老物件和互动表演，在空间里搭出一条 “回不去” 的巷子，从一家人的记忆出发，在更多人的生命里找到回声 —— 关于代际，关于衰老，关于失去。
《声景·蛇口》是一场去视觉化的声音戏剧实验，以听觉为主轴，既是城市声景档案，也藏着完整的故事。演出沿着远古、拓荒、当下、未来四个段落铺开，人声对白细腻地还原蛇口普通家庭的一天 —— 通勤、上班、街头巷尾的烟火气，打工人的真实情绪都在里面。主创团队实地采集了山海潮汐、开山工业、街巷原生声响，搭建出立体的声音世界。在境山剧场的专业声学空间里，联动本地社群共创，真实声景和人间故事交织中，记录下蛇口跨越时代的集体听觉记忆。
深圳蛇口，中国最具现代感的地方之一。就在这里，创作者用当代的方式，解构 “石龙霸王鞭”—— 一项传承千年的非遗文化。以身体为线索，去摸索人类血脉里那些始终不变的、让人之所以为人的内核。在一个三层现代城市空间里，处处是隐喻。《石龙霸王鞭》让过去、现在、未来同时上演，也是基因、肉体、灵魂的循环交织。和观众一起，在这场生命轮回中，共同发现存在本身的意义。
《Membran》透过艺术家的肢体互动和现场的音响设备，观众通过听觉，去聆听这些无生命物体发出的声音，与它们建立起视觉之外的连结。
面向民众公开征集来的每一件物体都有两个故事：物件主视角的文字记述，与物件自身视角的独白。《Membran》致力通过表演探索物件的声音 —— 以换能器和麦克风的互动运作，捕捉物件的振动，让观众真正 “听见” 它们的故事。
《狐不说主题变奏》不是剧本搬演，而是以剧本词语为引子，以音乐、水墨、肢体、书写为媒介，于特定空间即兴共构的现场实验。项目拒绝排演成熟后 “呈现” 给观众，而是每次演出，让四者在现场彼此质问、背离、诱导与背叛。每一次演出都是一次不可复制的 “谶语应验现场”。音乐部分为持续发酵，现场录音将重混为唱片，唱片可能催生新叙事，重听者亦得新感受。
Theater in Situ
01 New Works Focusing on Theatre in Situ
菜市场里充满了人情味与烟火气，在我们的生活中是一个典型的“附近”空间。《秋日映》则是一次根植在南油菜市场这一“附近”空间的肢体实验，由5位不同身份背景的舞者从自身生活经验出发，聚焦于童年记忆、成长经历、家庭关系，作为创作灵感与线索的来源。在菜市场这一“人生百味，最是新鲜”的特定空间中，探讨“菜市场是家与成长的丈量尺”这一命题。
演出类型：肢体剧场
艺术顾问：邝为立
以但丁《神曲·地狱篇》为发想，《现世地狱》聚焦消费时代下的隐形困境与身体异化。并透过高跷马戏、戏剧、肢体、行为艺术与现场音乐等元素的重构，在空间中重新交错、拼贴、编织的地景式观演作品。《现世地狱》游走于梦与现实的缝隙，在存在、凝视与重建中集体低语。
演出类型：高跷跨域剧场
艺术顾问：冯果川、高圣芸Pipi
《没有岸的海》是一部融合肢体与木偶的作品，通过演员与木偶身体的连接，构建一个在记忆、幻觉与现实之间漂浮的存在。木偶不再被操控，而是与演员身体共生、共动，在彼此的拉扯中显露出“她”的踪迹。她或许是失落的影子、未说完的话、某段未完成的身份。舞台如同一片无岸之海，人物在其中飘荡，她不能生，也不能死。她没有名字，但她从海中来，也许，从你心里来。
演出类型：肢体木偶戏
艺术顾问：李建军、张显静
《这是我们降落的地方》是一部关于客家花朝戏艺人的命运、舞台与消失的纪录剧场作品。紫金客家花朝戏剧团最新一届00后学员的淘汰考试刚刚结束，三位未被选中的年轻人，重新走进排练厅——用身体讲述，也在舞台上找回自己的姓名。舞台是操场，是月台，是排练室，是家里决定命运的客厅。掌声是被安排的仪式，命运从不许诺公平。这不是一出虚构的戏剧，而是一道关于“如何在戏曲艺术、剧场召唤与生活洪流中挣扎站稳”的选择题。
演出类型：纪录剧场
艺术顾问：水晶、冯果川
*本作品由2025蛇口戏剧节与“海丝新空间”戏剧孵化计划联合孵化。
“海丝新空间”戏剧孵化计划联合策划及发起方：曾静萍戏剧工作室、爱丁堡前沿剧展 ；2024/2025年度联合发起方：恺英网络。
在生育率持续走低、社交媒体放大生育焦虑的当下，关于女性真实生育体验的讨论却始终缺席。本剧以翠喜的个人视角，记录从怀孕到生产的心路过程，用喜剧的方式呈现这一生命话题，让生育议题进入公共视野。《翠喜的审判》是独角戏，是音乐剧，是一场对剧场边界的挑战。她融合了脱口秀的锐利与互动、当代剧场的流动语汇、音乐剧的情绪表达，用一个女性身体、多重角色，构建出一段虚实交错的人生旅程。
演出类型：独角音乐剧
艺术顾问：水晶、高圣芸Pipi
《100小时》透过建立社区日常中的「非日常」来探索社区生活的深度与广度，促进居民之间的交流与互动。居民通过共织、共煮、共食、共编、共创、故事分享、音乐交流等活动，以不一样的角度看待时间。艺术家及表演者在过程中根据他们与民众的交流，即兴转化为舞蹈、诗歌等表演，让来参与的民众都成为作品共同的创作人。此项目旨在通过艺术，促进社区凝聚力，探索个体与集体之间的关系，并记录和分享多元的社区故事。
演出类型：艺术行为、公众参与及共创作品
艺术顾问：李建军、邝为立
他化身勇者留下传说；她嫁给刘德华享尽瞩目；他要做出世界第一的凤爪寿司；她要拿起电锯释放被压抑的自由……无数“牛马”的愿望被锁在小小的工位，但物理空间的枷锁无法完全束缚这份希冀，所以很多时候“牛马”那无法压抑的情绪会在上班摸鱼时以白日梦的形式出现。发呆的“牛马”们，织成一个又一个的白日梦。在白日梦里，他们是勇者、是变装皇后、是电锯狂人、是寿司之神，这一切的冒险，还得从这间“牛马白日梦公司”开始说起。
演出类型：特定场域剧场
艺术顾问：高圣芸Pipi
《你愿意分享牙膏沫吗》是一部交叉学科视角的体验式作品，通过一对一互动、声音、物件和图像等多元形式，在心理学与哲学的背景下，以「刷牙」这一日常私密行为作为媒介，将参与者生成的「牙膏沫」转化为与引导者共创的起点。观众可以自选「参与者」或「旁观者」两种不同的体验方式，在特定场域中共同探索“分享”与“理解”的边界。
演出类型：复合体验剧场
艺术顾问：邝为立、冯果川
*图片由周桐哲和AI共创
New Writing
I carry within me a sense of deprivation.
It is not tied to a single place,
Which is called home, I once left behind,
but to the absence of something believed to be universal:
The bond between parent and child.
They say home is innate,
The most primal anchor of human life.
Yet when I cut that anchor loose,
what remains is a void without substitute.
That is the thing which most people would be afraid of.
A mother dies of an overdose. Surveillance shows her daughter lingering outside the door for forty minutes. An insurance claim is triggered: as the sole heir, the daughter also becomes the sole suspect. Testimony collides with evidence; the tribunal dissects their bond like an autopsy. In the flash of a nightclub song, childhood shame is replayed, love and violence entangled. What unfolds is not just a legal inquest, but a belated reckoning—an inquiry into how freedom is bought, and what price must be paid for it.
The story opens with the performance of The Macau Merchant about to begin, only to be abruptly interrupted by a couple from the audience. Dissatisfied with the script, they insist that their employee, Lei Feihu, take the stage in the role of ‘The General of the Burning Pestle’. As a result, two narrative threads unfold simultaneously on stage: one centers on the themes of love and elopement within The Macau Merchant, while the other follows the absurd military exploits of Lei Feihu, now cast as ‘The General of the Burning Pestle’. The couple repeatedly intervenes, compelling Lei Feihu to perform various ‘general’s tasks’. These interwoven episodes give rise to a series of misunderstandings and comedic mishaps that escalate throughout the performance.
“…I saw it. Definitely. I knew it was digging somewhere as I walked by.
Preying, burrowing, resting. Listening to the breaths and footsteps of those who pass here.
Too close, and it would flee. Found, it would dig another.
We both know. Know of each other.
I’ll chase it down, catch it.
You’ll see it too. Yes. You will.”
Theater in Situ
01 New Works Focusing on Theatre in Situ
The last toe, located at the very edge of the human foot, symbolises the outermost part of the body. Its relationship with walking and shoes are often used to refer to the relationships between individuals and their family, workplace, and the world. When closely associated with the imagery of walking and exploration, the last toe aligns perfectly with the symbolic and narrative significance of Shekou! As one of the first special economic zones, Shekou plays a role in the country’s development much like the last toe in our bodies; its geographical shape even echoes this concept. The production team integrate these intriguing ideas with the local community and the Lawn Park to create a site-specific performance piece.
Type: Site-specific Body Performance
Executive Producer: KWONG Wai-lap
The bus, though seemingly in constant motion, is a vibrant microcosm uniting passengers, drivers, ticket sellers, city planners, station staff, and more. Within this small intersection, people converge, then each bound for their unique destinations.
Ticket, Please harnesses the power of documentary theatre to delve into the impact of urban development on every individual, using the bus as a captivating focal point. Audiences will gain a fresh perspective on the life, history, and diverse inhabitants of Shekou, and they are also invited to reexamine their own everyday routines.
Type: Site-specific Theatre / Documentary Theatre
Executive Producer: Crystal D.
Public spaces intersect and juxtapose, buildings rise and expand, leaving gaps filled with traversing streets. Pedestrian paths lead in all directions, uncertain if you’ll encounter a self-tuning traffic light or a handrail waiting to be touched. These objects, never silent, respond to everything passing by.
—Festival begins,
Once more construction, ‘clang,’ ‘bang,’ ‘clang-bang,’ sounds echoing as it climbs. People delight, imagining they hear the city’s own drumbeat. But this word is too human, city is merely shaping its structure in motion, leaving traces behind. As for how this will be interpreted, the city lets everything flow through itself.
‘Public Assembly’ will launch an unceasing light and sound interactive performance at the site of the former Glass Factory. Over five days, actors, pedestrians, spaces, and objects might all become performers. Together, we enter the flowing city, freely exploring or encountering performances as they unfold—city and us shaping each other.
Thus, in the upward stacking and the disordered crossings, people flow through the city.
Type:Interactive Theatre and Exhibition
Executive Producer: SZETO Roy, WANG Hao
The yearning for desire twists this mutated world, turning love and lust into excuses for seizing everything. When will we have the chance to redefine BEAUTY on our own terms? Lin Daiyu, birthed from Dream of the Red Chamber, and the Virgin Mary, brought to life through religious paintings, carry the weight of objectifying labels, aestheticising our rights of love and desire, which seem like natural urges. But what if I want to say NO to all of these?
Type: AI Action Theatre
Executive Producer: KU Ieng Un
My Dad Is Dead fuses the artistry of European mask theatre with a poignant Chinese family story. Set against the evocative backdrop of the Watch Tycoon Cafe in a repurposed factory, this production orchestrates a tender, thought-provoking but surreal Chinese funeral. As the layers of the ceremony peel back to reveal the truth behind a father’s suicide, the production delves into the nuances of emotional expression within Chinese families and shines a light on the fading sense of individuality in today’s world.
Type: Mime, Mask Theatre
Executive Producer: KWONG Wai-lap, SZETO Roy
During the annual self-service machine evaluation day, several machines unexpectedly malfunctioned before the mall could open. Factory workers, summoned at the last minute, are tasked with repairing the machines from the inside, with the threat of immediate dismissal if the evaluators find their work unsatisfactory. Audience members step into the role of evaluators, roaming the mall to experience and assess the various “self-service machines.” Knowing that their ratings will determine the outcome of the machines’ evaluations and the workers’ fates, how will they perform their jobs?
Type: Interactive Theatre
Executive Producer: KWONG Wai-lap
I Remember… is an interactive theatre. Audiences become ambassadors of the “Emotion Soup,” journeying through a marketplace where reality and imagination converge. Their mission is to restore two fragmented, suspended memories linked to a mysterious recipe. Each participant embarks on a unique, ever-evolving path of memories, with their choices and the whims of fate shaping distinct outcomes. Like a kaleidoscope’s shifting patterns, the narrative continually transforms with each turn.
Type: Participatory Theatre
Executive Producer: KU Ieng Un
In the shadowy, softly lit Grand Machine Hall of the old industrial site, I-Factory, Mei Zhuoyan and a cat tiptoe cautiously. This performance weaves together words, light, sound, and fluid body movements, crafting a narrative that explores the subtle resonance between the traits of stray cats, the fluidity of the definition of “home,” and Mei’s own life philosophy. Amidst the grandeur of the industrial relics, an emotional arena is created to foster shared experiences. Audiences join Mei in establishing trust with the cat, listening to its stories and Mei’s diary entries.
Type: Monologue
Executive Producer: Crystal D.
02 “Enhanced Versions” of Previous Incubated Works of Shekou Theatre Festival
As a sequel to Tail of the Snake, Tales of Consumed Dreams delves deeper into the social issues of the city, turning the urban environment itself into a dynamic stage that breathes with local authenticity. This enhanced production introduces event-driven storytelling, inviting participants to go through various narratives. Through an interactive, game-like journey of scene decryption, each participant will be swept along the unfolding plot, crafting a unique Shenzhen story along the way.
Type: Participatory Theatre, Urban Theatre, Real Life Adoption
Executive Producer: KWONG Wai-lap, SONG Ke
Everyone has a soft spot that makes them human. But what happens when someone carries too many vulnerabilities? Once these soft spots, once a sign of weakness, become commonplace, they are easily forgotten. Encased in a suit of armor called “Numbness,” a person appears invincible but loses their humanity in the process—this is what Dream Cycle about. The Dream Eater in the house lose the ability to dream and the very vulnerabilities that made them human. Alcohol becomes their weapon, aiding them in stealing the dreams of others. When the Dream Hotel turns into a prison, trapping these fragile yet vibrant dreams, it traps the Dream Eater too. Today, as an invited guest at the Dream Hotel, after witnessing the Dream Eater’s treasured dreams, will you trade your vulnerabilities and weaknesses? Will you stay at the Dream Hotel, accompany the Dream Eater, and become one yourself?
Type: Immersive Theatre
Executive Producer: KU Ieng Un
03 Developed Works Based on the Original Playscripts Incubated at Shekou Theatre Festival
Everywhere is a homage to the city and to youth, a dialogue that transcends time and space with poet Xu Lizhi. Emerging from the New Writing section of the 2023 Shekou Theatre Festival, this script takes shape in 2024 under the direction of Huang Suhuai. He joins forces with Chen Yanjun, Jin Mengjiao, Li Yuqian, and Zhu Yanmin—a creative team of cross-media artists—to stage a contemporary performance in the vast silo of the I-Factory, an industrial relic. Blending text, body, scent, sound, and visuals, they aim to craft an immersive experience that seamlessly intertwines theatre, exhibition, and expanded cinema.
Playwright: HUANG Suhuai
Type: Multi-media Contemporary Theatre
Executive Producer: SZETO Roy, WANG Hao
New Writing
01 Writing Related to Elements
Silence feels so safe, yet listening to sound, following it, exchanging it, and finally making it—this, too, is instinct.
You tune into his frequency and hear his fable unfold: As the most intelligent parrot, the Grey Parrot mastered all the sounds taught by its owner, harmonising and living a mundane life. But as the most intelligent parrot, it grew its own unique voice alongside the radio broadcasts—one not taught by the owner, but one that became an unsettling anomaly, fracturing its once tranquil existence. The owner tolerates, postpones, and ignores the Grey Parrot’s transformation, while the parrot conforms, pretends, and maintains its former self. Until the radio party becomes a turning point, and they finally confront the raw connection and conflict.
02 Narrative Style
I don’t think I’m capable of telling other people’s stories. I can only speak for my own
I’ve been contemplating—a form, a way to tell a story. A character, a voice, a passage, a fable. Light or heavy, fast or slow. I want to answer a question, but the question itself remains elusive. How do I distill countless questions into a clear direction?
It feels like solving a riddle.
I don’t think I’m capable of telling other people’s stories. I can only speak for my own.
So I write, rewrite, and rewrite again.
In every stroke of the pen, I discover who I truly am.
It’s like I made a phone call. Beep, beep, beep, beep.
In that half-awake, half-asleep state, the beeping sound feels like a line is about to drop.
A woman invites a young man to a hotel for a deep talk. Beneath their ambiguous power play, a looming crisis brews.
War on the bedsheet. Three falls, two people trapped, and one phone call.
Where did the spider silk that descended from above in the room come from?
03 Multilingual Writing
A girl who cannot see, a girl who cannot see the future, a crow that cannot fly, and a room full of eyes and mouths. The daytime is getting longer, the temperature is rising, and everything is calm……
“Thud!”
It sounded like something hit the window. Lan felt her way towards the sound—feathers, soft, warm.
It seemed to be a bird.
Theater in Situ
This is a story that only begins at night. Like whispers in the dark, it tells the most personal memories that would seldom be told during daytime.
Tales of Snake Tails is looking forward to creating a theater piece that’s like the city of Shenzhen, and want to connect everyone’s story through a game, tracing the footsteps of immigrants to Shenzhen. We will use the city streets as the performing venues to leverage the unique qualities of real spaces, demonstrating the story of the “arrival” and “departure” of people living here.
Type: Game drama
Do you love stocking up on different things? Is it a mental disorder? The two lead creators in the production team of Stock Up! carefully looked into their hobby of stocking up on items from the perspectives of psychology, economics and sociology, and finally realised that all these things are just the proof of their existence! So the two decided to mark their own territory at Shekou through multiple activities such as clown performances and second-hand item transformation workshop!
Type: Punch and Judy show
In Shekou, two strangers shared a magical encounter. Then they become couple separated by an ocean. Though cliché, they write a new chapter years later in the place they met each other. Their sighs and nostalgia felt natural, but what’s behind such narratives? Is it our overly “inevitable” era? Countless stories, countless males and females… Is it a man and a woman’s love, or a love beyond? Dear audience, you are the one who will decide these as you explore their Shekou streets, their emotions, their tales. Bring your phone and headphones. Let’s break reality’s norms and blend the virtual, exploring them and ourselves.
Type: Environmental theater
Global Music Voyage, Starting from Shekou, is an innovative multi-media project. It will be brought by local and overseas talents who will bring new elements as it will incorporate ancient Chinese poetry and rapping to bridge the past and the present, connecting China and the world. This dynamic performance will involve musical instruments from around the world, and musicians from China will play live music while sampled music clips from all over the world are being played on the screen!
Type: World music
This thrilling sci-fi journey connects the past, present, and future.Past: Within a vast 5,000-square-meter factory, stripped of its industrial history, lies a hidden dragon that once ignited the flames of reform.Present: A group of real residents living in the Shekou area eagerly awaiting your rescue on the space ark.Future: Can we still break free in a world where artificial intelligence and robots control every human?
Type: Participatory Environmental Theater
Typically, animals inhabit forests, grasslands, or zoos, but now, they’ve ventured into our modern cities! These luminescent creatures, lost within the Sea World Culture and Arts Center, are brimming with curiosity about humans. They approach us with innocence and enthusiasm, eager to imitate our interactions, behaviours, and emotions. Why are they here, and where will their journey lead?
Type：Shadow puppet theater performance
The coccyx, the most significant part differentiates humans from most animals.Symbols and images generated from it can form a “signifying chain”, and then develop into narratives, cyclically connecting the metalanguage of our bodies and their secondary disasters.The bodies of white-collar workers are alienated by their jobs and materials in the office…We are now living in an “Achievement Society” instead of Foucault’s “Disciplinary Society”, since we are exploiting ourselves with the help of our own freedom, instead of being exploited by others. However, this perpetual self-drive leaves us feeling empty after achieving success.
Type：Physical Theatre & AI Installation Performance
In the silence of the night, the heroine, Wuniang, yearns for her distant beloved Chen San. Memories of the moments they spent together emerge: admiring lanterns at the festival, casting lychees to him from her painted tower, how Chen San sold himself to pay for the mirror he deliberately broke, love confessions elicited by a dispute over an umbrella, and finally their vows. The play extends from the stage into real life, demonstrating the hard work of liyuanxi actors, whose performance echoes the beautiful love stories in ancient times.
Type: Liyuan Opera · Parallel Space Performance
But what’s the definition of beauty? Are pink bubbles, skirts, high-heels, lipsticks, black fishnet tights, and backless dresses stand for beauty?This time, Made by Beauty invites everyone to study the THEORY OF BEAUTY. You can be picky, you can be mean, you can be irrational…let’s say GOODBYE to the “decent” world, and vote for your definition of beauty today!
Type: Participatory theater
Do you know that the past, present and future will be the same and happen together if time doesn’t exist? A Space between the New and the Old @Shekou will gathers the people and their stories at Shekou, combining the past, present, future and imagination. The creators also integrate magic show and object theatre to evoke the hidden messages, as well as creating a surreality. Can we eventually reach the eternity after wandering the space between the new and the old?
Type: Object Theater
New Writing
We only need three steps to put an elephant in a fridge, and we also only need three procedures to produce a performance: 1. Identify what you desire. 2. Decide what you really want. 3. Find out how to achieve it. This is a simple but practical how-to guide for producing a performance in your daily life, with the principle of “do it in a fun way”. We also provide a story A 15min Break: How to DIY an Easy Performance, a story of how a jobless young man reshapes society, as an example.
“I don’t know why I have so many weird behaviours and thoughts. I envy those adults who seem so cool; they don’t cry, they own cats and dogs, and they don’t spend their days trying to figure out where their lovers in the past lives are using tarot cards. My question is: How can I be an adult?”
EVERYWHERE is a story of Shenzhen, a tale of youth, and also a dialogue between playwright Huang Suhuai and poet Xu Lizhi across time and space.
Young people from everywhere set foot in this bustling city with great vigor, never imagining that the dormitory would be miles away from the city center; the moon would never pass through the security window bars; and a dropped screw wouldn’t cause anyone’s attention.
The massive cargo ship have left the harbour, but life continues here. The seawater is approaching.
Will you still wake up from your dream tomorrow as usual?
Fifty years ago, a robot wants to become human, so he decides to be an actor to fight against the world for his dream.
Fifty years later, the world is dominated by robots. At this point, a human chooses to be an actor in order to show his compliance on his way of becoming a robot.
While humans and machines are increasingly similar to each other, we should never forget that the world is just like a huge machine, constantly humming and functioning.
To resist, or to comply, which is the better solution?
Or perhaps these are not the only options?
This is a small matter that happens among three individuals who aren’t particularly close, and what makes it complicated is that each of them had secrets – secrets about who they truly were. The concealment of one’s true self could be unintentional, a reluctance to admit, or a conscious choice.
Theater in Situ
Let’s have a stroll on an autumn’s day y is an inter-disciplinary environmental theatre comprising of literature, performing arts, installation, sound, technology and etc. The project motivates participants to unveil the distant yet conflicting relationships of the past and the present, the reality and the imaginary, and the city and its dwellers. The story is about an old man, who realized his memory was failing, and how to resistant forgetting.
Type: Cross-media environmental theater
We humans are social beings and there are often complicated social explanations behind all our behaviours, far beyond our perception. It all begins at a men’s barbershop at Nanhai E-COOL community.How would we get to know each other, respect each other and judge each other in such a space? And would we be capable of facing ourselves in the mirror and feel our unease when we get our haircut done? It is an audio-visual experiment involving all the participants on site, and also an environmental theatre which is deeply rooted in Shenzhen and intertwined with the community. In this project, you are not passively “told” or “led” but the “narrative”, you have to “listen” and “dig” actively from the context that the artists provided.
Type: Environmental theater
Aiming to pull the general public from the pool of falseness, Mr. Lao and Miss Bondy come up with a joint operation addressing social issues.By perceiving hardcore theories in a comprehensible way, restructuring every little piece of meaning of our daily lives, information is refreshed into a more understandable, truthful and reliable way. Mr. Lao and Miss Bondy are determined to diffuse the authenticity of knowledge and truthfulness of the information, purposefully educate each student from the academy to be more conscious of the meaning of knowledge so well as the connotation underneath knowledge. Exploring limitless possibilities in the ocean of knowledge without boundaries, the greatest seizure of humanity is from arrogance and overconfidence. When we consider we are literary enough to view the world with a well-educated lens, Lao Bon Academy, above all, is ready to bring students to a new level of seeing knowledge.
Type: Interactive drama
“We see a lot of emo, anxiety, stress, worry in busy work, social interactions and relationships of all kinds. Don’t we have a moment of joy in between? This joy doesn’t means necessarily to play around or be funny, but more to do with the humorous moments in serious work, social discussions and relationships. Actually, these shining moments are the strength to support usto live.
In Big Joy Party – Shekou, we hope to present a grand and happy parade performance, so as to deliver the local happy energy to more people. To highlights Lingnan style and profession features, we capture some life fragments and load them with songs, dances, dramas, Chinese operas, martial arts and other art elements.”
Type: Art tour
It is said that there is a mysterious Dream Eager. He has never been able to sleep at night and dreamed anything, so he is more eager to dream than anyone else. There are dreams in the Dream House that Dream Eager collects, and they are all related to a “Don Quixote” type of complex that Dream Eager yearns for. One day, you are invited by Dream Eager to Dream House to discover the secrets of him and Dream House. － Who is the Dream Eager? Who made a deal with Dream Eager? Why do they sell their dreams and confine them in the Dream House? You will make your own choice － How would you like to leave the Dream House? Or would you rather live here forever?
Type: immersive theater
The Qiankun Hoop, an ancient treasure of Nezha, is the externalization of his bad temper.Only when he learns to control his “temper” can the hoop be a lifesaver, rather than a murder weapon. For children, learning how to cope with bad emotions is also a vital lesson in their lives. From script-wright to characters’ concept. all came from the collective creation by the childrenin the workshops. After integrating, optimizing and polishing by the team, the children’s fantasies turned into this play. In addition, this puppet play is based on using and optimizing national intangible cultural heritage － rod puppet, and integration of modern wire teleportation, 3D modeling, 3D printing and other technologies to innovate the traditional art form. Hopefully all kids and parents would find their own unique way to control the “Qiankun Hoop” after watching it.
Type: Intangible Cultural Heritage Innovation
“The catfish effect” is a Chinese proverb that stemmed from the fishery practice in which people put a catfish in a sardine shipment to stir up the ecology and increase the survival rate of the sardines. The catfish effect is closely related to social issues such as ethnic divisions, competitive relationships, and identity belongings. Through the combination of dance theater and architectural space, the site-specific dance piece C Catfish Effect – Sea World uses the way of identity experiment and practice as research in virtue of a seaside scene with immersive performance to explore the diverse facets of the common rule in modern society.
Type: Environmental dance theater
“It all begins on one blanket. Hilariousness, ridiculousness, pretending, and the truth…these are all reflected in the intertwining relations between people and people, people and the groups, and people and the world.
The dancers tried to explore a state of daily life in this work, which has given birth to many interesting body languages and has led to the discovery of deeper meaning in dancers’ body movements, as well as stressing the spatial awareness constructed by their body expressions. You can easily feel the vitality and exploring mentality in Picnic.”
Type: Environmental dance theater
A mysterious woman is found washed up on the shores of Shekou. Who is she? Someone’s mother? A lost daughter? A migrant worker? A factory girl from the past? Or a robot from the future? She is all of them and more for she is Nvwa, Shekou’s patron goddess. What would happen if Nvwa visited our city of the 21st century? What if she walked among us? Inspired by the 1944 film At Land by avant garde film director Maya Deren and the role of women in Shekou’s past, present and future the Shenzhen Women’s Artist Collective invites you to pop-ups, screening, and an immersive performance installation entitled At Land At Sea.
Type: Environmental dance and installation
Sea the Realm of the Infinite integrates digital images and augmented reality technology into the unique atmosphere of the Shekou Value Factory, creating an immersive drama that combines the fantasy of the Aeneid and Oriental Zen. From the submerged city in a bottle, the cave banquet to the transcendent water palace, between the industrial field and surreal illusion, a page of meditation will be gradually unfolded: perhaps everyone has an endless ocean in their heart.
Type: VR/AR Immersive theater