I grew up in Wuhan, and during the first months of 2020 I witnessed the lockdown from a deeply personal angle. While abroad later, I experienced the dissonance of reading about my hometown in international media, filtered through layers of translation, censorship, and distance. This play is my attempt to hold both perspectives, including the lived memory of Wuhan and the estranged gaze of the outside world.

Choosing theatre was deliberate: only the stage can embody silence, repetition, and disappearance in real time, with the audience physically present to witness. Theatre allows us to stage forgetting itself - the danger that memories slip away even as we sit together.

Human Acts continues a line of inquiry from my earlier play Space Unknown, which examined state-sanctioned euthanasia and identity erasure. Both works ask how systemic violence infiltrates the body and how individual memory resists collective silence.

我出生并成长于武汉，2020年初亲历了封城，也在此后身处海外，从遥远的距离中读到关于家乡的报道。这种经历始终带着双重性：既是切身的记忆，又是被翻译、被过滤、被审查的“他者视角”。《Human Acts》试图承载这种张力，既是见证，也是异乡凝视。

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我选择戏剧作为表达方式，因为唯有舞台能让沉默、重复、消失在当下发生，让观众成为共时的见证者。舞台能够直接呈现遗忘的过程，记忆在观众坐在场内的同时滑落。

这部剧延续了我在《Space Unknown》中提出的核心问题：体制如何渗入身体，如何通过“合法”与“程序化”的方式抹除个体存在。两部作品都在追问：在暴力与遗忘的夹缝中，记忆如何坚持。