Nobody's Return森林记错了一个人

Sizeng, Zengcheng and Yucen enter the same forest. Doors, paper, glass and water retain their passages without assembling them into one shared memory. After someone leaves, the space continues; a body in another image may still be waiting.

The work assigns no fixed past, present or future to its three figures, and day and night do not divide reality from dreaming. Long takes retain the duration of staying and leaving. Layers cross cuts: the next passage has begun before the previous one has left.

Here, the Odyssey first means recognition after return, rather than a retold adventure. Does arrival let someone recognize home? If the place remains, does it recognize the returning person? The title keeps this unverifiable experience open, without making one ending answer for every body.

“One person’s leaving was recorded on another person’s waist. You only see it when they bend.”Performance text, section 07

The thirteen-part monologue begins with coming back, yet cannot settle who has returned. Money, interest, calculation, consent, screens and bodies mingle; a pronoun changes position before its sentence ends. Chinese homophones and the changing meanings of 还 turn language itself into a site of recognition.

He Fa appears through a prerecorded voice, with He Yu as the independent performer in the proposed live realization. The recording is not a sequence of movement commands, and the body is not there to explain the images. What is published here is the final text; a finished recording and documentation of the live work have not yet been supplied.

The Chinese preserves the original wording, line breaks and spacing. The English is an editorial translation for this edition; reading both keeps visible the sound relations that cannot fully translate.