Though titled The Revolutionary Opera (Hong Kong Yangban Xi), I never intended to shed light on Hong Kong, or a model Hong Kong as such, with this work. A piece of work becomes propaganda when it functions to educate, to promote, of which I do not believe in, nor am capable of. I can only record part of my feelings, my experience and my thinking of the stage.

With a work titled The Revolutionary Opera (Hong Kong Yangban Xi), slogans such as "stability and prosperity" come to mind -- a pretext signifying nothing. Pretext like this always reminds me of stuffed animals in museums, lives dead.

When I first worked with Qu Xiaosong on the music for this work, I told him what interested me most was the noise that's somewhere between music and non-music in which so many possibilities lie, waiting for you to explore. The same is with the district on stage between performing and non-performing. We have friends who were once audience participating in the work. In workshops, we talked about the identity of audience and performers, the question of identifying this identity, the definition of performing and non-performing, the limitation of stage. Replacing "stage" with "Hong Kong", where do we stand?