Bodily vessel

2025
Site-responsive theater of installation & game

This is a practical experiment in a writing-theater project.
See more: 2abbithole

Inside her body are stored memories, foreign objects, and noise.
This is a game where language is forbidden—communication can only happen through traces of the body.
When everyone surrenders language to them, the answer will be revealed...

For the participant：

This activity is an experimental game-theater experience involving darkness and silence. Within this space, all items may be treated freely.
Please wear comfortable clothing suitable for movement and avoid bringing excessive personal belongings.
Are you ready to become a part of her body?
Enter this theater woven from secrets, lies, and memories—
Amid repetition and disarray, find your own answer.
After eating a small cake at the entrance, you will enter the body of a dead girl, becoming a foreign object inside her. With a certain love or malice, explore her—or your own—memories and emotions.

You are the last piece of cake she ate before she died. She choked on you. Her body is already cold, while you remain in her throat, still cloyingly sweet and beautifully preserved.
You don’t know if you are a clump of pollen or a tiny insect within that pollen. Both you and the pollen-allergic girl feel dizzy, dissipating inside her body.
You are a shard of glass that accidentally lodged into her wound long ago. The wound healed long ago, and you were never discovered—only occasionally causing her a dull ache. You don’t want this, but you are embedded in her body and cannot move. You are too sharp.
You are a neural nodule in her eye. Perhaps you have existed since she was an embryo. Her body grew and changed, but you never did—not growing, not moving. You honestly feel what she feels and respond with pain.
You are a kidney stone inside her, growing larger with every wave of alcohol, like a monument.
I am her false tooth. I claim to be a tooth. I will keep lying. Won’t I?

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For the audience：

You are a pair of powerless eyes. You will not enter the space. You can only watch, record, imagine, dissect, or observe.
You move freely outside the window, peering into the inner space, using a flashlight to observe and illuminate.
Behind the glass, people wander—they have lost language and cannot communicate.
You are the viewer. Your watching will affect them. What you see are only fragments, incomplete.
You are an external witness. Your gaze is itself a form of participation.
When the lights come on, you will meet their eyes for the first time in truth…

Audiences remain outside the window throughout and cannot enter the space.
Each audience member will receive a flashlight.
Audiences must not intervene—they may only “interrupt” or “disturb” through light and shadow. The audience’s gaze will become the “external pressure.”

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That day, like a sleepwalker, I entered the space with other participant. Everything was diffuse—reality and script. I forgot my identity as a director, forgot about controlling the entire “work.” We tried to decipher, only to find there was no so-called puzzle. Carrying our own emotions, love, or malice, language lost meaning, and communication failed to reach emotion. Through the text, through the body of this dead doll, or through the boundaries of ourselves as individuals......we fell into a labyrinth of language, a vortex of emotion. Everything spread, fiction spilling into reality, reality spilling into fiction. This is a story without an end.