WELCOME YOU TO THE TRUE DESERT
by WANG JIANWEI

text source: Wang Jianwei website www.wangjianwei.com

Jacques Lacan pointed that “Truth lies in mistakes”. People are trying to break away from the behavior of control whereas they turned into the efforts of ac- quiring the power of control, and people are trying to architect and design their own fortunes while ultimately they become the targets of such efforts.

King Oedipus eluded the truth of prophecy and ultimately he became the vic- tim of the prophecy (the true story of murdering his father Laius and marrying his mother).
Welcome you to the True Desert still followed the concept of “theatre”, i.e., to develop and build a possibility of a live scene out of the multitudinous relationships. Welcome you to the True Desert will all along keep the human body into a network of relationships, present a live scene with the display of multiple systems that demonstrate a conflicting theme along with process for the change of time.

The starting point of Welcome you to the True Desert is based on a true report: a 16 year-old teenager from the rural region of China went to the city with his parents, the city had been regarded as the symbol of his future and he was trying to identify the true position that could lead him to his future, however, only the fictitious world could give him a true position as well as internet games from where he could acquire his freedom. He tried his best he could to retreat from the realities, therefore, he had to rely on the fictitious world to determine his own destiny and he had to use illusions against fears, conse- quently, the reality and illusions were inosculated as a whole, and misconcep- tions, presumptions and misunderstandings were regarded as the behavioral foundations and in the end, his retreat from the realities incurred murder in the fictitious world to become a true incident.

The components for the 2nd part of Welcome you to the True Desert. The component of fittings and models: It lies between the dual concepts of the stage and the platform, as it can not only be regarded as a whole perfor- ming stage, but it can also gradually produce different forms of modalities along with the change of time, while some can even be used as props by the performers so that the relationship between the performers and the audience can be continuously changed. All the performers use various kinds of tools, models, costumes as well as the space, and they continually produce different “artificial conditions” which constitute a highly changeable and complicated landscape.