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Dance Out of The Box China Contemporary Dance Biennale

Dance Out of The Box China Contemporary Dance Biennale is a regular showcase of contemporary dance works by domestic young choreographers. The event aims to provide a platform for domestic contemporary dance choreographers to display their works and promote the cutting-edge contemporary dance from China to the world. Following the tradition, the theater will officially present the 2023 Dance Out of The Box China Contemporary Dance Biennale from August 18th to 27th.

The event, initiated and hosted by Shanghai International Dance Center Theater, consists of three main sections: dance performances, workshops, and showcases, bringing together domestic young choreographers, inspiring their passion for creation, and exposing Chinese contemporary dance to the global stage. Starting from August 18th, four dance works will meet with the audience, including Shoulder Hug. Dance. Hug Shoulder, Flexitarian, Talking Body, and Silent Flight. Additionally, workshops and outdoor short performances will be open to the public for free.

 

Dance Out of The Box

Dance Out of The Box is an artistic brand specially created by Shanghai International Dance Center Theater, aiming to aspire the creativity of young artists and break conventional boundaries through dance. Under this brand, there are two major festival events: Dance Out of The Box Festival, which introduces cutting-edge international dance works, and Dance Out of The Box China Contemporary Dance Biennale, which focuses on works by domestic young choreographers.

The two events are held alternately every year, with one bringing in international masterpieces and the other showcasing domestic works. Through these events, Shanghai International Dance Center Theater continues to build an artistic platform that encourages innovation and crossover integration, explores diverse spaces for the expression of contemporary dance art and propels artists' creativity and achievements towards new horizons.

 

Shoulder Hug.Dance.Hug Shoulder

Ticketing Link: https://www.247tickets.com/t/shoulder-hug-dance-hug-shoulder

When disabled dancers meet classical ballet

Experience the origins of dance in diversity

 

With a tight, equal, and warm service attitude, five performers are collaborating to build an intimate theater together

Happiness, warmth, and integration enable people with different abilities to become friends

 

We invite you to experience sign language and audio description on stage

From life to dance, from the individual to the collective

Let's put our arms around each other’s shoulders

 

 

INTRODUCTION

This is a work based on each participant's observation of their own daily life and understanding of the relationship between the individual and the community.The performance uses representative miming gestures, space and places, and "oral images" in classical ballet performances as clues and methods,  to build a space with different dialogue forms.“daap bok tau”, or patting shoulders, shows a close relationship between friends, as a symbol of encouragement and support to each other. In the second position of ballet, the dancers open their arms to form a circle in front of the body, as if they are going to give each other a hug. These positions are just like our daily activities, when we help each other, support each other, both in life and in dance. 

 

HIGHLIGHTS

Experiencing the essence of performance in the differences through various performance styles

"Link" and "Hug" are the external forms of Shoulder Hug.Dance.Hug Shoulder. We all have original desires for physical expression, but our abilities and methods vary. In this work, five performers use their dances to illustrate how individuals can relate to themselves and their surrounding life through dance and show infinite possibilities through different performance styles.

Making friends, from creation to stage,from onstage to offstage

At the beginning of the creation process, choreographer ZHANG Dianling met with each dancer to foster mutual understanding and friendship by sharing their lifestyles and past experiences. The links of these memories serves as a valuable source for the creation of Shoulder Hug.Dance.Hug Shoulder.

During the performance, audiences will be invited to interact on the stage and walk into the community of inclusive people with different abilities. They will truly step into this peaceful and warm field, putting their arms around each other’s shoulders.

Audio Description × Sign Language, Removing Obstacles and Breaking Stereotypes

The stage accommodates various possibilities for both watching and performing. The creative team integrates vision and hearing, incorporates audio description and sign language expressions to provide audiences with diverse narrative methods. This helps to make up for the limitations of traditional dance theater in appreciating disabled friends and promotes the development of barrier-free art.

The choreography of the work allows dancers on stage to move their bodies freely in a self-understanding way, process their gestures, structure their own unique dance language, abandon the constraints imposed by conventional perspectives, and break the stereotype of how "dance" should be danced.

 

ABOUT THE CREATIVE TEAM

Dianling Zhang@EDPG

Dancer/choreographer/instructor, resident choreographer in Ergao Dance Production Group, artistic director of MiNi Ergaoer. 

Since 10 years old, she started rigorous classic ballet training from Shanghai Far East Ballet Academy, subsequently graduated from Chongqing University with a degree in modern dance. Afterwards, she studied abroad in  France for a year. In 2021 she completed Certificate Programme for Critical Practice in Contemporary Performance, [CP]3. Classical aesthetics and systematic order of ballet have deeply influenced  her understanding of human body and dance, especially the logic of human body in motion. In the meantime, through her creative practice with the application of body, she seeks to  reanimate a familial relationships, and members individual living experience in a microscopic view under the macro Chinese social context- with the goal of thereby evoking imagination and resonance towards our common daily life.

Dramaturgy&Producer：ER Gao

He was commissioned by Ibsen International (Norway), YAP Festival 2019, Grass field Youth Dancer Project, Fabbrica Europa(Italy), Stella & Artists Macau, Hong Kong Jumping Frames Dance Film Festiva, Hong Kong Arts Festival, Guangdong Modern Dance Festival, Guangdong Modern Dance Company, DPAC Dance Company (Malaysia) for theater, image and community art works. He was nominated as Pro Helvetia – Swiss Arts Council artist in 2019, and worked as Japan AIT, Guangdong Modern Museum and Bethel House resident artist 2020. Since 2020, ER Gao’s independent image performance “Today’s Special” and his interview show “Key word” were presented in different art festivals. Recently  ER Gao and his company’s product of “Participating Art” is displayed at Guangzhou Arts Colleges museum, in the exhibition of “The first Trans-Southeast Asia Triennial research exhibition series PROJECT ”.

He’s works include the series of "Kung Hei Fat Choy", Disco-Teca, This is A Chicken Coop, Super Tight, Everyday Dance Movement. 

 

CREATIVE TEAM

Choreographer:ZHANG Dianling@Ergao Dance Production Group

Dramaturgy:HE Qiwo@Ergao Dance Production Group

Dancers:SU Huiheng, ZHANG Rongmei, XUE Xiaohong, ZHAI Jin, LIU Shiwen, ZHANG Jianfen

Lighting Design:LIU Shihao

Post Design:ZHAI Jin FU Meilin

Documentary photographer:LI Yuqian

Producer:He Qiwo Pan Xiong@Ergao Dance Production Group

 

 

Talking Body

Ticketing link: https://www.247tickets.com/t/talking-body

A new work by WANG Jianhui, former dancer of Dutch Dance Theater, and dancer of Israeli Batsheva Dance Company

Male choreographer and female dancers collaborate together

Five female dancers declare their subjectivity with their bodies

 

SHU Yaohui, former dancer of Xiexin Dance Theatre

A modern dance version of “The Truman Show”

 

SYNOPSIS:

If one's body caught in the infinite unknown could be compared with a boat in the ocean—at the helm, where should we lead and direct our bodies?

The body is a vessel or vehicle that sustains the establishment and expression of our beliefs, connecting the energy of the inner self with that found in the external world, witnessing breakthroughs as we arrive at new shores beyond.

The hustle and bustle of the city increasingly compresses our personal spaces. But the body, as much as the soul, needs to be taken care of at all fronts. For the upcoming Talking Body performance, we have invited WANG Jianhui from Nederlands Dans Theater and independent performer SHU Yaohui to stage two distinct choreographed pieces, to follow the lead of the body, and to explore the multi-faceted self.

 

Truth by SHU Yaohui

How real or virtual is the world in which we reside? Do we create our own life, or is it readily predetermined by destiny?

In a life that is at once graduated yet fleeting, there are too many things that we treasure, and too many things we have to let go. Instead of insisting on the dichotomy between the real and the dreamlike, perhaps it is more meaningful to go beyond the question and to feel, to grasp each present moment.

Chasms by WANG Jianhui

Found beyond the precipice of the human mind are chasms. Fissures and cracks make the ascending journey hazardous, precipitating confusion, fear and falls. Where do they come from? Why do they exist? When humans are caught in danger, how do they find the courage to fight the abyss, and to secure soothing, illuminating lights? What is within the abyss? Trauma, pain, cure and power, perhaps. Falling from high above, helplessly hitting the ground—then get up and get yourself together before rushing towards the cliff again. Beyond the cliff is freedom, and the only way in which one may learn to fly is to go out. Fears, repressions, depravations, restrictions and desires—let it all out.

A story about chasms told by a male choreographer and female performers，Female dancers contribute their voices and bodies, and the choreographer's role is to offer catalysts. The distance between men and women, and that between eyes and bodies, produces novel, uncanny experiences.

He can see their reluctance. He is curious: what makes them hesitant? He feels that there is a remarkable energy within their bodies, but where does it come from? Why suppress, lurk, detour—why is there no means for it to explode and erupt? A man cannot be a woman; but a man opens his eyes and try to investigate. What is the past, the present and the future for dancing women? He enters their worlds, and through descriptions of gestures accounts for bodily histories, surges of emotions and the true self. In this choreographed piece, women make deep, solemn voices, pronouncing their subjectivity; in the nethermost region of human emotions, they—only as their true self—courageously confront existential crises, clinging tightly onto the sharp edges of the chasm, fighting for one's freedom to be a subject.

 

Choreographer：

WANG Jianhui

WANG Jianhui was born in Meizhou, China in 1990. He began his classic ballet training at Guangzhou Art School in Guangzhou from 2000 - 2006. After graduation, he started dancing at Guangzhou Modern Dance Company from 2006 - 2007. Between 2007 and 2009, he was a freelance dancer and participated in various projects in China. Between 2009 - 2010 He danced at Bern Ballet, Switzerland, 2010 - 2013 He danced at Netherlands Dance Theatre 2 and Joined Netherlands Dance Theatre 1 from 2013 - 2023. He joined Batsheva Dance Company from 2023 - present.

SHU Yaohui

In 2017, SHU participated in the opening ceremony of the National Student Sports Games with his work “The Dragon of the Bench" and won the first prize in dance at the National Vocational Skills Competition. In 2017, as a leading dancer, he participated in the group dance "Red Boat" and won the first prize at the Zhejiang Provincial Students Art Festival, as well as the Zhejiang Provincial Music and Dance Festival Golden Award and Top Ten Works of Jiangnan Dance Competition in Zhejiang Province (the highest award). In 2017, as a leading dancer, he participated in the group dance "Dinghai Blood Wall" and won the second prize at the Zhejiang Provincial Students Art Festival, Silver Award of Zhejiang Provincial Music and Dance Festival, and Top Ten Works of Jiangnan Dance Competition in Zhejiang Province (the highest award). In 2017, he represented China to attend the 25th anniversary ceremony of establishing diplomatic relations with Georgia. In 2017, he created a solo dance "for freedom" and won the first prize in the Xinmiao Cup competition of the school. In 2018, he participated in the dance drama "Dayu" which won the Lotus Award for Dance Drama. In January 2018, he performed the character of the judge in the large-scale dance drama "The Peony Pavilion". In March 2018, he joined Guangdong Modern Dance Company to participate in the work "Xumi Jiezi". In 2019, he participated in the dance dramas "Micro Space" and "Looking for Friends". From 2019 to 2021, he was a member of Xiexin Dance Theatre, participating in works such as "From In", "Reflection", "Unknown", "Harmonic Series", and "Entropy". In 2021, he participated in an immersive unconscious work "Yinshi Talk"; In December 2020, he participated in Xu Xiaowei's directorial work "Growth". The film is a short film invited by Chen Yujun's personal exhibition.

 

CREATIVE TEAM

Producer: DUAN Jingting

Presented by: D.LAB DANCE

Choreographer: WANG Jianhui,SHU Yaohui

Dramaturge: WU Zhiwei

Chasms Dancers: WEI Qin, TANG Tingting, FAN Xuan, LI Yu, XIN Dijia,

Truth dancer：SHU Yaohui, YE Qinzeng, XU Zhixiang

Stage Director: LU Zhiwei

Composer: WANG Changcun

Lighting Design: LIU Yilan

Costume Design: CHEN Danqi

 

A FLEXITARIAN

Ticketing Link: https://www.247tickets.com/t/a-flexitarian

A humorous semi-autobiographical account inspired by true stories:

Thirty years of life, years of matrimony, and a 30-day cooling-off period.

A wealth of encounters, a cascade of flashbacks, and a woman’s unfiltered admission.

Here is a room of her own, an ecological aquarium, and a moment of introspection.

Transitioning from wife to daughter to self, she unveils the intricate tapestry of a “middle-aged woman.”

From venting about the ex-husband to diving into Virginia Woolf, she embarks on a journey to discover the innate independence of the female psyche.

 

ABOUT A FLEXITARIAN

A FLEXITARIAN, a 2022 production by JIANG Fan and ZHUANG Jiayun (The Three Bowls Co-op), is a monologue theatre that blends the physical and the verbal, the performative and the documentary.

Centered around Hu Douzi, a lonely soul in her Shanghai home, the play explores her quest for fresh and diverse spiritual independence that she has never experienced, at a particular point in time when she is materially self-sufficient and emotionally blank as a result of her divorce. In the play, she assumes the roles of both protagonist and narrator, traversing different mediums and spatial-temporal dimensions.

Through the female multitudes evoked by Hu Douzi’s reflections and recollections, A FLEXITARIAN brings to life the intricate experiences of women. It delves into the transactional aspects women confront and internalize in various domains, the social prejudices and self-anxieties they must overcome as “middle-aged women,” and the delicate balance of freedom, responsibility, family, and friendship. Truth and humor resodund throughout A FLEXITARIAN, while its true vigor lies in the defiant voices of women rejecting mediocrity and triviality. It navigates their journey of maturation, aging, emotional aftermath of trauma, and the myriad of gendered challenges they encounter.

 

HIGHLIGHTS

"The 30-day cooling-off period is up and I can get a divorce now."

In this evocative theatre piece exploring the aftermath of divorce, Hu Douzi, a 30-something divorced woman without children, delves into the realms of material independence and emotional void that divorce brings while pursuing spiritual autonomy. Taking the stage to recount the gains and losses she experienced in her marriage, Hu Douzi humorously declares her ownership of “an apartment with 70 years of property rights in Changning District” as a tangible asset acquired through her marriage, while acknowledging her prolonged struggle to understand her own desires. Her narrative traverses from her ex-husband to Virginia Woolf, intertwining her personal divorce story with the realities of her friend’s marriage. As she contemplates the significance of marriage in her mother’s life, she also confronts the profound impact her mother had on her own journey of self-discovery.

A Semi-autobiographical, one-woman monologue

A FLEXITARIAN is a monologue theatre that combines the physical and the verbal, the performative and the documentary. The piece employs rich and expressive language, intricately woven with the power of physicality. The script abounds with well-turned and well-placed lines that resonate with the audience.

In contemplation, our protagonist reflects on the path that led them to their divorce, pondering, “I also didn't figure out at what point our relationship went sour.”

She finds admiration in the independent spirit of Virginia Woolf, quoting, “a lock on the door means the power to think for oneself.”

She also discusses the complex dynamics between she and her mother, revealing “Whenever my mom loves me, I want to love back.”

From a spoken theatre to a dance theatre, a new version of A FLEXITARIAN.

A FLEXITARIAN is a theatrical creation by JIANG Fan and Zhuang Jiayun of The Three Bowls Co-op), originating in 2022. The production was invited to participate in the GOAT (Greatest of All Time) Special Youth Theatre Festival in 2022 and premiered at the YOUNG Theatre.

The 2023 rendition of A FLEXITARIAN expands upon the development of the 2022 performance, incorporating an enhanced array of physical components. It is set to enthrall audiences at SIDC in August.  

Take a seat closer for an intimate conversation, as both on-stage and off-stage seating are available.

The performance offers two types of seats: on-stage and off-stage. In the performance, JIANG Fan portrays the character of Hu Douzi, engaging in a direct dialogue with the audience. Together, we delve into topics such as marriage, family, the complexities of mother-daughter relationships, feminism, and the transformative journey of self-discovery. Prepare for an intimate and immersive experience in the dialogue surrounding these deeply resonant themes.

 

ABOUT THE CREATIVE TEAM

The Three Bowls Co-op

Co-founded in 2017 by JIANG Fan and ZHUANG Jiayun, The Three Bowls Co-op is a performance group that embraces a flexible and open-minded creative approach. They experiment with interdisciplinary and non-hierarchical integration of theatre, dance, live music, interactive media, and various mediums and means of expression. Their works center around social issues, with a particular focus on topics related to women.

Director/Performer: JIANG Fan

JIANG Fan, an independent artist based in Shanghai and the founder of The Three Bowls Co-op, is a joint artist of SIDC (Shanghai International Dance Center). She obtained her degree in choreography from the Shanghai Theatre Academy. In 2014, she established Qiankongfan Theatre, where her debut production, Refracted Shadow, received the Best Drama of the Year award from One Drama Awards in 2015. In May 2017, JIANG Fan co-founded the Three Bowls Co-op alongside ZHUANG Jiayun. Their creative work, Web Traffic, marked the first commissioned piece choreographed by a youth artist for SIDC. JIANG has also collaborated with various theatre groups and performing institutes such as the Living Dance Studio, the Niao Collective, Shanghai Dramatic Arts Center, Archa Theatre, Zagreb Dance Center, and Eurokaz Zagreb, introducing a multitude of captivating theatre and dance pieces to the public. Her recent works include Along at War (2008, 2010), Rhapsody of Doomsday (2012), Refracted Shadow 1.0/2.0/3.0 (2014-2016) and Dining with Me (2016), and Now Loading… (2021).

Playwright: ZHUANG Jiayun

Jiayun is a theatremaker and theatre educator. She holds a playwriting degree from the Central Academy of Theatre and a Ph.D. in Theater and Performance Studies from UCLA, having been honored with an Andrew Mellon Fellowship. She has taught in the Department of Dramatic Art at the University of North Carolina at Chapel Hill, and the Beijing Dance Academy. As a theatremaker, Jiayun focuses on experimenting with storytelling paradigms and exploring technical possibilities within theatre and performance. Her recent ventures include the development of algorithm-driven, generative performances. She has contributed as a playwright and dramaturg at CAMLab, Harvard University, and as a dramaturg for the PlayMakers Repertory Company in Chapel Hill. In 2017, Jiayun, in collaboration with choreographer JIANG Fan, co-founded The Three Bowls Co-op, embarking on interdisciplinary theatre and performance experiments with a focus on women's themes. She has also collaborated extensively with various theatre groups as a playwright/writer, concept designer, and theatre/dance dramaturg.

 

CREATIVE TEAM

Created by The Three Bowls Co-op

Performed by JIANG Fan

Playwright: ZHUANG Jiayun

Music: LI Xin, FENG Yucheng

Light design: LIU Yilan

Stage Director: GUAN Honghui

Photography: YIN Xuefeng

Multimedia Design: Nick

Special Thanks to: HUANG Luling, BAO Han, Theatre YOUNG, WEI Man, GAO Sang, LIU Yiping, MEI Jing

 

Silent Flight

Ticketing link: https://www.247tickets.com/t/silent-flight

A performance, four movements, and four soundscapes Accelerating inquiries, watching the performance up close, and awareness recovering

The memory and geographical imagine of a nomadic lifestyle 
A multi-cultural individual constantly moving around the world

A female creator who obtains authentic energy from exploring the cultural origin, the way to learn the unknown world and daily life

The simple and exquisite body language, together with paintings and soundscapes, triggers homesickness
Clouds, birds, winds and feet become perspectives, antennas, bones and skins

Dance stands for a ritual

Theater represents a scenery

Facing the winds blowing from all sides of the prairie, breathing, sharing intimacies, and enjoying a rest

 

 

INTRODUCTION

"When everything calms down, the paintings emerge, and the pressure to act grows, then the choreography emerges. Paths and volumes, repetitions, reconstructions, variations, deformations, getting into the refined time deeply, until they create a memorable texture for instant memory, close to sculpture, which is also considered as a tribute.

As a choreographer and artist, NiNi Dongnier triggers her homesickness and thinks about nomadic life, integratingnatural phenomena, animals, human walking, intimate emotions and the universe, abstracted as kinesthetic and visual materials in space. The theater is re-set as a "performance scenery" in which the audiences are invited to slow down the perceptual movement, to meditate again on the dance scene - the ontology of collective ritual, or simply to or simply to rest in the scenery. The performers have various body background, such as postmodern body movements, ballet, Chinese folk dance, especially Mongolian dance.

The dance works such as "Cloud", "Silent Flight", "Micro Steps, Highland", and "Sun And Moon Have Rotated To This Infinite Extended Present Moment, The 99 Verbs And Wishes, For You, My Dear" converge into a nomadic space, focusing on the present and recalling the coordination of naturalism, the spirituality of ancient animism, and the future.

 

HIGHLIGHTS

"Performing Scenery"

Unlike watching the frame test stage performance, the audience is invited to enter the interior of the stage space and be in the "performance landscape" composed of dancers, sound fields and materials. If you are alone in the wilderness, you can sense the micro motion and tremor of everything.

Deep Integration of Soundscape and Choreography

Music and sound are carefully distributed in different spatial patterns, allowing for the perception of internal relationships such as human action pathways, connections between humans and different species, and internalization of each other.

Language Exploration

The dance language of "Silent Flight" is not separated from "tradition" and body memory - the actors' bodies have experienced their own "tradition" and naturally contain traditional dance, especially the language inspired by Mongols dance. However, the body is not trapped in symbols, but strives to make each dynamic faithful to specific moments in life and close to the individual.

 

Words From the Director

I understand the world and myself on the move, making new connections with different world materials. My body is my home, and when perception is clear, where I live is not the most important thing. A grassland can be an internal grassland. Love is Alchemy.   —NiNi Dongnier

 

Choreographer/Artist: NiNi Dongnier

NiNi Dongnier was born in Inner Mongolia and now lives in New York and Beijing. NiNi Dongnier’s dance work combines choreography, moving images, technology, and painting. She activates embodied perception and memory, tracing an intuitive path. She arranges the various materials to extend the body, exploring the metaphysical thinking, and concrete relationships to the temporal, ecological and technological fields where she is. The dance performance is abstracted out as tactile-kinesthetic or visual forms, generating "performative scenery". The themes such as existence, eros, landscape, migration, ritual, holiness, and ephemerality run through her dance works. Immersed in cross-border nomadic thinking, she adopts a different way of understanding the world and is good at finding connections and the similarities and differences between things.

NiNi Dongnier’s works have been invited for movement studies in Church of the Judson, New York,  Robert Wilson Watermill Center and its 30th anniversary celebration, La MaMa Experimental Theater Club | CultureHub, Jonah Bokaer Arts Foundation, New York Live Arts, Mana Contemporary Cultural Center, performance season of Experimental Theater season of China National Center for the Performing Arts (NCPA), "Lotus Award" for China National Folk Dance, etc. She is an artist in residence at Media Arts Xploration (MAX), La MaMa Experimental Theater | CultureHub etc. She co-founded an interdisciplinary art group NUUM Collective, whose projects are supported by the National Endowment for the Arts, Google and others.

NiNi Dongnier achieved her Bachelor's and Master's degree in Chinese Folk Dance and Ethnography at the Beijing Dance Academy, then studied contemporary dance at Purchase College, State University of New York, and achieved her Master of Arts degree in Choreography and Media Arts at Tisch School of the Arts, New York University. She has taught at the Beijing Dance Academy, Hunter College, City University of New York, and is currently an assistant professor in School of Contemporary Art at Simon Fraser University. She will serve as artist-in-residence and curator of the Movement Lab at Barnard College, Columbia University from 2024.

 

CREATIVE TEAM

Choreographer/Artist: NiNi Dongnier
Performer: Guo Ge, Wang Can, Li Yanqi, Argyle, NiNi Dongnier
Composer：Mauricio Pauli, Qinggeletu, Tong Yixin
Sound Design：Mauricio Pauli, Alex Abamed
Stage Design：NiNi Dongnier, Ni Ke
Lighting Design：Yuan Ye
Clothing Supervisor/Producer：Bing Xiangzhi
Stage Supervisor/Performance Coordinator: Fan Jinshu
Graphic photography：Lane Lang
Mongolian font design：Tigus
Graphic design：Tong Sixuan, Shi Si
Consultant：He Yanmin


Producer：NiNi Dongnier
Co Productions:：FIELF MOTION, Shanghai International Dance Center Theater
Commissioned by：Shanghai International Dance Center Theater
Special Support：Columbia University Barnard College Sports Laboratory, Simon Fraser University School of Contemporary Art, The Watermill Center;   
Venue Support：Beijing Chinese Ethnic and Folk Dancers Association, Beijing New Development Infinite Art Space 
Special Thanks：Youth Dance Troupe of Beijing Dance Academy, Inner Mongolia Ethnic Arts Theater、Feng Jingya, Xin Tana, Zheng

 

NOTICE

1. Tickets purchasing: Please collect your e-tickets and pick tickets at site.
2. Ticket claim: Please get your tickets before the performance date or 90 minutes before the performance and follow our staff’s guidance to keep social distance.
3. Entering time: The audience can start to enter the auditorium 60 minutes before the performance starts.
4. Validation: Temperature checks are required when entering , please keep your mask on during your time in the theater.
5. Please double check the time, prize, seat information on the tickets as there is no refund or change available after the tickets are sold.