PUBLIC EVENT STUDIES · SOURCES & VERSIONS

Public plans, project roles and creative processes

Thirty public studies. Anonymous method analyses and credited documents state their evidence separately. Interpretation does not establish implementation; this is not the full research collection.

English names and titles are editorial working translations. Publication dates, planned dates and actual event dates remain distinct; a published recollection is not independent verification.

Read through the public timeline

2016-08-31

Pixel Echo XIII: an invitation to watch a recording event

The announcement of 31 August 2016 schedules the thirteenth Pixel Echo event at P4 for 2 September at 19:30. Its promotional PDF names Hong Qile, Mao Wengweng, Ren Yuan and Qian Honglin as artists and describes a performance-recording setting for Bwave’s internal works, asking spectators not to record. Attendance and permission to produce images are therefore distinct. The editorial question concerns how watching and recording coexist, beyond the programme itself. The notice does not explain every motive or establish a violation or dispute. Chinese spelling variants for Hong Qile and Qian Honglin remain documented; P4’s venue role does not make He Fa the author of the works or all recordings.

2020-11-20 / 2020-11-26

Paper Screening: versions of participation and circulation

The 20 November 2020 article describes participants choosing materials, making images and exchanging with others, crediting Lisa / Xue Lixia with developing and facilitating the format with P4. The 26 November version links making, exploration with a partner, sharing and documentation into a stated procedure. Recruitment conditions also differ: early-registration and group-member discounts in the earlier text become a sharing-related friendship price in the later one. The editorial interpretation is that participation and circulation are explicitly linked in that version. The texts do not establish the reason for the change, actual payments or therapeutic effects; photographs and repeated feedback cannot reconstruct a continuous event.

2020-12-10

Fire Screening: objects, writing and conversation as a procedure

The winter-special proposal published on 10 December 2020 organizes screening into six actions: bringing an object, telling its story, talking together, jointly working on the object, writing feelings and placing that paper in the stove, and continuing the conversation. Compared with the retained short draft, the publication explicitly adds writing as a step, alongside timing and food-sharing arrangements. The editorial interpretation is that the medium extends from the screen toward objects and visible actions, giving expression a procedure others can join. This does not establish complete compliance, therapeutic benefit or implementation of a particular session; belonging to the same screening archive does not prove that an earlier discussion caused the change.

2020-12-31 / 2021-05-24

3P: project-specific credits and participation

The Howlers article published on 31 December 2020 credits Zhang Shaohua, He Fa and Huang Lucang to 3P, with Qiu Yue and Guo Junda separately credited for photography. The Rose production article of 24 May 2021 lists Sun Xiaoxing, He Fa, Li Wenqi, Pian Ziwei and Zhang Haolin under 3P; Sun also receives a dramaturgy credit. It describes a temporary group following events through observation, participation, interviews and documentation. These are project-specific credits, not evidence of a permanent roster or reasons for changes. The overlap between participation and observation is an archival interpretation; authorship of individual records still requires separate evidence.

2020-12-31

Howlers: an edited chorus of production roles

The article published on 31 December 2020 places brief statements by writers, director, sound and stage designers, performers, 3P, photographers and publicity workers side by side, followed by an announcement for 2 January 2021 at 19:30. Rumeng is credited as initiator and writer, Jinzi as director, Dalin for sound design and He Fa as a 3P member. Stage designer Luo Chunping mentions stage limitations, but the text does not identify the constraint or its resolution. The edited statements document public perspectives across roles, not the sequence of a live conversation or evidence of interpersonal disagreement.

2021-03-28

Hamlet Mirror: translation and two temporal structures

The retained announcement describes repeatedly translating existing text by machine and credits He Fa and Yang Fan as editors. This does not establish the use of present-day generative models. A thirty-minute programme appears alongside a later retained script whose prologue, six acts and ending extend to thirty-five minutes. The difference belongs to the documentary versions: it does not prove a five-minute performance overrun, and script timings are not synchronized subtitles or viewing-edition chapters. The later manuscript separates venue collaboration from photography. An editorial reading is that repeated transformation makes words unstable and asks spectators to reconsider their relation to bodies and projections; it does not reconstruct the installation process or the makers’ motives.

2021-03-31

Spring: an invitation from Lechuang Xinyu Theatre Group

An invitation published on 31 March 2021 announced a performance by Lechuang Xinyu Theatre Group at P4 Theatre on the evening of 10 April. The archive distinguishes the performing group, the announced venue and the planned time. Hosting an event is not equivalent to personal authorship, and no causal link to a later workshop is assumed.

2021-03-31 / 2021-05-01

The Middle: coordinating lines, recruitment and a shared schedule

An incomplete retained planning note considers the volume of lines against a month of rehearsal, proposing two groups, a prompting device and backup performers while seeking a clear allocation of responsibility. Its late-April target becomes a 1 May announcement in the later recruitment and pre-performance publications; this documents a more specific plan, not the reason for the change. The May notice credits Chen Yu as director, Hu Junyuan as writer, Zhang Shaohua as producer and still photographer, and He Fa for event documentation and among the performers. The editorial interpretation is that a text entering a shared theatre must also become roles to recruit, a workable schedule and an allocation of responsibility. The sources do not establish adoption of prompting, alternate casts or replacements; photographs of paper-assisted rehearsal cannot settle those questions.

2021-04-13

Playback Theatre workshop: a training and role plan

The recruitment notice dated 13 April 2021 announced a workshop for 2–5 May, with 30 training periods (the duration of each period is not specified) and a two-hour presentation. It distinguished the conductor, actors and musicians and their proposed tasks. Xiaoran was credited as the workshop initiator. These are published plans and credits, not a verified attendance list or evidence of training outcomes.

2021-04-14 / 2021-05-30 / 2021-07-15

Colosseum and Final Solution: changing rules for silent voting

Three public rules do not show a simple tightening of participation: the 14 April 2021 Colosseum recruitment permits voting without deliberating in principle; the 30 May Final Solution test notice disallows it; and the 15 July introduction permits it in principle again. The May article explicitly describes an adaptation of Colosseum, establishing a textual connection. The editorial interpretation distinguishes speaking from voting as separately configurable forms of participation. The publications do not identify a meeting or person responsible for the changes. The July rule is not necessarily a wholly new right, and fictional execution rules are not reports of actual harm.

2021-04-27 / 2021-04-30

Forum theatre: making room for action on the second run

The 2021 Indigo announcements organize the activity into warm-up, a roughly fifteen-minute play and a second run in which spectators may stop the action and try a different response on stage. The 27 April notice credits Xiaohonglu as game facilitator and director of this event; the 30 April programme adds named plays and a facilitator credit. Their day-by-day schedules differ, and omission of a detailed 5 May programme is not proof of cancellation. As a method, the structure turns a spectator’s judgment into an action others must respond to. The notices establish an invitation and rules, not a verified instance of intervention, role substitution or resolution.

2022-01-12

After Iceberg: from offering a view to entering a role

The Beifeng forum recruitment published on 12 January 2022 specifies opportunities to play different roles, comment on situations and directing choices, and intervene while respecting a character’s values and attitudes. It announces an activity for 19 January at 19:00. The methodological question is how a view becomes a playable proposal that others can answer. This is a documented mechanism for moving from commentary toward role-based practice, not evidence that the activity answered one particular spectator, occurred as scheduled or resolved earlier production problems.

2022-03-31

The Killing Joke: an announcement for 1 April 2022

The notice published on 31 March 2022 announced a participatory event initiated by Beifeng Theatre Group for the evening of 1 April at Jingshan Park. Its opening cancellation claim is immediately reversed. The synopsis describes performers who have not reached mutual understanding; this fictional framing is not independent evidence of what happened in rehearsals.

2022-09-08

BODY: making shifting relationships playable

In interviews published on 8 September 2022, writer-director Cao Jiansong describes moving from abstract characters to a specific relationship within each scene, while allowing that relationship to change across the play. Actor An Xirui recalls an additional story written by the director to clarify the characters. Wu Hao attributes to Liang Yin a suggestion that helped him approach the role through accessible experience rather than a distant middle-aged image. These accounts describe different working methods; they do not establish a single verified sequence of exercises. Cao also attributes some blocking changes to actors during rehearsal. The research interpretation is that textual understanding had to become playable relationships and actions. A shared publication date is not a shared interview date, and the announced 9 September performance does not establish its final outcome.

2022-09-08

BODY: spatial proposals under production constraints

Cao Jiansong recalls abandoning a proposal to seat the audience around the acting area because of venue constraints. In the same interview series, stage and visual designer Gao Pengfei describes using simpler means within a limited budget, while seeking connections between space, speech, bodies, narrative and spectators. The two accounts identify constraints and responses but do not document a direct negotiation between the two makers. Gao’s broader interest in opening the black box and creating enterable spaces must not be treated as a list of features already realised in BODY. The final seating arrangement and performance version remain to be verified; a circular object would not by itself establish audience-in-the-round staging.

2022-09-08

BODY: playable relations without a fixed character model

The BODY rehearsal essay asks actors to generate characters through present action and interaction rather than impose one fixed psychological model on the play. Read alongside published accounts of scene-specific relations, an additional story and revised role assumptions, it suggests work at two scales: finding something playable within a scene while keeping relations across the play mobile. These approaches need not contradict each other, but the sources do not establish a complete sequence between writing and rehearsals or a story of a director being corrected by opposition. The essay also credits Xu Jinjiang with publicity and ticketing; this does not establish authorship of every poster or all promotional work.

2022-10-13

Meat Grinder: entry and reciprocal response

The recruitment text published on 13 October 2022 specifies entry for actors, spectators and observers: personal relationships or preferences should not exclude spectators; strangers may become actors; recruitment or replacement remains open; and observers are asked to respond meaningfully. The editorial interpretation is that openness concerns both access and expectations of reciprocal action. Intense bodily rhetoric in the announcement is not a report of injury or evidence about participants’ personalities. A replacement rule is not a record of an actual cast change; assessment, changes and production roles require further evidence.

2023-05-29

Killing Mother: a publicly announced theatre salon

The recruitment notice published on 29 May 2023 described Killing Mother as a theatre salon. Participants were asked to bring an original or existing text for a theatrical duel exercise, scheduled for the afternoon of 4 June. This record documents the announced format; it does not establish that every part of the plan took place.