A MAN WHO FLIES UP TO THE SKY
42 theatrical moments depict the everyday life of a whole genealogy of women and men. These are the moments when people handle their basic needs for clothing, food, sex, physical comfort, shelter, and the moments when they make peace with their living, aging, sickly, and dying. There are 8 masked performers who play over 30 characters. All stage actions, from the most common everyday routines, to the most surreal movements, are completed and compressed into a limited space — the room.
The room can be seen as a fixed frame, and any theatrical movement on stage becomes the main content of the image. Characters come to the room (home), mostly on their own, and occasionally form family related scenarios. The scene changes every few minutes. Each time it blacks out, there is a sense of exposure, just like the camera. These 42 continuous appearances are independent happenings made within the theatrical context and therefore does not form one single and coherent story. There is no explicit storytelling structure, nor does it have central characters. The narrative scenes of the work are characters’ daily life and their living conditions. By repeating and switching the scenes, audience are allowed to explore the untold relationship between characters. Gently, the continuous circulations of those narrative scenes mark the end of the performance.
All the stories and characters are from real life, and all the set and props are made from ordinary materials. The overall image presents a detached and distilled everyday life, which not only allows the audiences to put themselves into context, but also stimulates them to think. Loneliness, ecstasies, numbness, dreams, love, sorrow, arguments, anxieties…. Everything on the stage resembles the tracks of daily life cycling on day after day.
Sound plays an alternative narrative in the production. In every theatrical moment, the visual is separated from the auditory; hence the soundless visual spectacle is placed in sequence with the same moment with sound, but in darkness. As a result, characters are always in a state similar to those who are afflicted with “aphasia”.