Appreciation of works along the border

I saw Wong Tze Wah's Dong Duxiao for the first time. Written by round up. Because I got the impression of changing my mouth in the joke for nearly two hours, this ending paragraph is actually integrated. This is not about the design of the time after the hilarious joke, but the spatial processing of the aftersound. The assembly method of the paragraph is a series of thinking processes, which revolve around the topics that everyone cares about, the anxiety related to the past and the instinctive desire of human nature. Sometimes it starts from a bystander, and sometimes it is an executor. Sometimes he would walk into the crowd and question the original bystanders and performers from the other side's standpoint. He is not a pure sarcastic gesture, nor is he a poor guy, nor is he just talking to himself endlessly. Role jumping means that the performance and the audience can maintain a certain degree of correlation. When he tells the audience's psychological feelings, and then looks at the process of the original work from another angle, the statements of "I am a dog" and "I am a good dog" are actually showing Wong Tze Wah's constant substitution to show the psychological level of different roles. If we still remember Xu Guanwen's soliloquy and those worn leather shoes, it's not surprising. Why did Wong Tze Wah approach the audience more openly than nobody, but why he was a little bitter. Because he doesn't pretend to be a nobody, the audience can't replace being a strong man and a bystander, but reluctantly let Wong Tze Wah stand between us, and we also reluctantly become performers-this is not a unit drama, and we can't even rise and fall in the dark, with ups and downs and joys and sorrows. The performance of laughter and the echo of reality make us always alert, and the lights that light up from time to time make people unable to hide. All kinds of temporary uneasiness and fleeting laughter can last, but the laughter of the donkey does not appear in a dense arrangement, and it will not get rid of the punchline. Wong Tze Wah often uses his body to change his voice to make the performance three-dimensional, so that the audience's thinking process can change information or get a temporary rest. I think the control of time rhythm and the processing of thinking space are the attractive reasons for donkey smile.

When Wong Tze Wah spent a lot of time telling jokes about the house where man and nature are integrated, he not only showed that the design of jokes really came from some profound thinking processes and was based on realistic plots, but also showed that these jokes became jokes because comedians came to see what was happening around him with other feelings. When I didn't know how to name these "other feelings" in the last five minutes, "rounding up" provided a clue that Wong Tze Wah was the woman. Warm heart advises everyone not to eat pig porridge for five years, and the theme of "accompany me" is also a portrayal of those who feel helpless, full of frustration, still have a place to go and barely hope. This is also our current situation. Besides watching Dong Duxiu's performance, talk about writing and writing-accompany me?

-Excerpted from "Wong Tze Wah's Advice", written by Chen Huiying, originally published in Sing Tao Daily Literature and Meteorology on February 25th, 1992.