Before audiences entered the theatre, Four Eyes introduced its characters through several kinds of writing. An overview and ticket announcement appeared on 9 April 2023. Four character texts followed on 10–12 April, all linking to the same ticket page and advertising an experimental theatre exchange on 16 April at 19:30.[S1][S2][S3][S4][S5]
These publications offer a follow-up to an earlier publicity discussion. Retained rehearsal text notes labelled 2 April, not checked by listening, record a proposal to combine an overall introduction with individual pieces about rehearsals or characters. Length and form could vary; the writing could both invite readers and help them approach the work. Another passage concerns a poster and an initial delivery, asking for the story, characters and responsibilities to become more concrete. This account uses the existing research summary and assigns no anonymous remark to a named person.[S6]
The published pieces use noticeably different forms. The 10 April text associated in its title with actor Zichou is a monologue poem. The 11 April Cat text, associated with actor Li Yaxin, moves between first-, third- and second-person perspectives, exploring dependence, vigilance and distance. On 12 April, the piece associated with actor Zhuang Yuan presents Ermu through a pursuit of beauty and love, while the Yiyimu monologue describes a character pulled between emotion and reason. These are expressions about characters.[S2][S3][S4][S5]
All four return to the same destination. Their poster links have the same address, and their event names and advertised times agree. The pieces can be read separately while their page structure gathers them into one invitation.[S2][S3][S4][S5]
The later publications partially correspond to the earlier proposal for an overview alongside character writing. The available material does not reconstruct who accepted each assignment, how the drafts changed, or who compiled and published them. Three titles explicitly associate the texts with Zichou, Li Yaxin and Zhuang Yuan; those associations alone do not establish authorship of every passage. The searchable title and body of the fourth piece provide no equivalent actor name.[S6][S2][S3][S4][S5]
Character writing thus becomes a stage of the project worth reading in its own right: different characters acquired different textual entrances, and those entrances pointed to one advertised event. This establishes a limited connection between a publicity proposal and published pages.
Material scope
Publication dates follow archive metadata. The rehearsal material’s directory date has not been independently verified, and its text notes remain unchecked by listening. This review checked archived text, not image credits. Character expression is not an actor’s personal account. The publications cannot simply be identified as original rehearsal character biographies, nor are they known to have entered the final script. Clicks, ticket sales and effects on audience understanding remain unverified. Original material and transcripts are not published.