Notes from Workshop of Shatin Thunder
 

When Cae Yu wrote the play Thunder in 1933 in Beijing, he was twenty-three, l am twenty-four. I am fully aware that he belongs to another generation and another city. I don't put myself against him. Hong Kong is not Beijing; 1933 is very different from 1994. I don't feel inferior or superior towards Cao Yu. Yes, I would like to learn more about his generation, his time and his city.
 

In the workshop on set, we learn every detail of how the set affects the movement, positioning, orientation, pose and behavior. The set, same as the theatre environment, has a clear parameter governing all the activities evolving around it. The question is whether we should resist these parameters or should we conform? But first of all, we must study these parameters. Since we have chosen the set of Leadership Chamber (for our performance), we study very carefully how and why the chamber is structured as it is. After learning every detail of the chamber setting, we then deal with the option of resisting or conforming. We also have the option of commenting and reforming.