《The Good Person of Beijing》
Having traveled far and wide in search of good people who still live according to the principles they have handed down, three gods arrive in Beijing and, being tired, ask Wang, a laid-off vocational school lecturer, to find them shelter for the night. Wang takes them to Shen Teh, a young prostitute and the only exception in a world of greed, evil, dishonesty and selfishness, whose pure inherent charity cannot allow her to turn away anyone in need. The gods give her money and she buys a humble convenience store which they intend as both gift and test. Though at first Shen Teh seems to live up to the gods' expectations, her generosity quickly turns her small shop into a messy, overcrowded poorhouse. She is forced to introduce the invented cousin Shui Ta as overseer and protector of her interests. Shen Teh also meets a college student, Yu Biao, who is desperate for going to the U.S., and whom Shen Teh quickly falls in love with after preventing him from hanging himself. However, Yu Biao doesn't return Shen Teh's feelings but simply uses her for money and Shen Teh quickly falls pregnant with his child. Eventually Shen Teh’s true persona seems to be consumed by her cousin's severity. Being suspicious about Shen Teh’s disappearance, the townspeople take Shui Ta to the court of the gods, where Shui Ta asks the room to be cleared and reveals herself to the gods. What will be the gods’ judgment?
Other than the three predominant models for making art in China today, i.e. ancient Chinese, ancient Western, and new Western，based on three common ways of combining the ethnic polarities of Chinese and Western on the one hand and the temporal polarities of ancient and new on the other，we the Night Hawks as an independent experimental group feel that the prospects for art in China lie in trying and creating a new Chinese art.
Gao Yin：a graduate of the Central Academy of Drama, fellow at Beijing Academy of Social Sciences, Secretary of Chinese Section of IATC, Elected to “One Hundred Outstanding Persons in Beijing Art Circle”，she has completed a monograph A History of the New Era Drama in Beijing, and co-author such volumes as Discourse Reorientation and Value System Reconstruction, Contemporary Beijing Literature, Sixty Years of New China Literature and Art in Beijing
Ouyang Wen: a graduate of the Central Academy of Drama scenography program, she has designed CCTV gala performances and Sohu computer games, contributed as a member of the Photography Department of Beijing Olympic Games Organizing Committee to the its opening and closing ceremonies, masterminded visual presentations of soap operas (Maomao and Harry and Old Way’s X Scheme), plays (Avalokitesvara and Zhang Xie, Top Winner in the Imperial Examination), ballets (The Chinese Lover), and Musicals (The Wild Goose’s Return to the Nest).
Shen Lin: Professor, Director of the Research Institute, Executive Editor-in-Chief of The Drama Journal in The Central Academy of Drama PhD (The Shakespeare Institute, University of Birmingham), he has produced, created, and co-created such performances as Le Balcon, Jacobi and Leidental, Bootleg Faust, Che Guevara.
What we offer here is derived from Brecht’s Good Person. What we hope to achieve will be a variation on his theme rather than a refrain: in a world (thought in the past to have belonged to the past) where man exploits man, how a man may behave like a good man.
In terms of performance, we take recourse to traditional local music. The sanxian will be played in full view of audiences to energize action. Actors will switch between performing agents and dramatis personae. They will rise for action in the centre of the stage and take a seat to sing against the accompaniment of plucked strings. At once acting and singing, impersonating and commenting, they will each assume two parts. Figuratively speaking, they are expected to render sketches and cartoons instead of meticulously executed drawings. They should seem as if they were chatting with friends, gesticulating, even cutting capers and warbling when excited, although at no time will they forget they are merely players.
For the visual style, we turn to the quotidian and mundane for a beauty perhaps comparable to the “Morning Glory” blossoming on the roof of our Hutong grocery store. For sound effect, instead of the electronic, we make thunder and rain with plywood boards and lotus-leaf fans, and chirps and croaks with porcelain whistles and temple blocks.
Let’s wait for an extraordinary metamorphosis of the ordinary.
演员：杨可心 史航 李林 姜春琪 王澜 朱富润