2020↗
P4 Screenings: Reflections Between Us
Moving from watching films to sharing personal accounts, the project calls its discussions “self-screening.”
Collaborative practice2020 / Collective drawing, live narration and workshops
Paper Screening
Drawings are held up on stage as materials, bodies and conversation enter the act of looking.
- He Fa’s role
- P4 Screenings framework and organisation; P4’s collaborative programme with Lisa
- Initiation and facilitation
- Lisa (Xue Lixia); the format was developed with P4
- Public documentation
- 20 and 26 November; 4 December 2020
- Workshop structure
- Material selection, drawing, looking and sharing accounts
Complete chapter contents
Bringing paper onto the stage
Paper Screening grew out of the P4 Screenings programme. The November 2020 description credits the format to collaboration between Lisa (Xue Lixia) and P4, with Lisa initiating and facilitating the sessions. Participants selected brushes, paint and paper, drew under the stage lights, then spoke with others while facing their images. He Fa’s role lies in the broader programme’s organisation and framework; facilitation and the authorship of participants’ drawings retain their separate credits.
The drawing was not the session’s only outcome. Holding an image up for others, describing its associations and listening to responses also formed part of the event. Public photographs document material selection, drawing together and speaking while holding completed work; the report of 26 November also preserves participant reflections. These records establish an enacted collective practice beyond the initial call.
Source terminology and the archive’s approach
The original articles introduced the programme through the terms “art therapy” and “healing through drawing.” This page retains that historical context while describing its materials, space, facilitator and conversational structure, without deriving medical outcomes from testimonials. A December presentation placed images beside poetic responses, continuing the movement between paper, bodies and language.
Works & details
Moving image & related documents
Archive note
Compiled from contemporary public calls, project descriptions and later records. Retrospective accounts and announcements retain their distinct dates; English translations were prepared for this archive.
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Work record
Paper Screening, 2020. Collective drawing, live narration and workshops. He Fa’s role: P4 Screenings framework and organisation; P4’s collaborative programme with Lisa.
- Work / series
- Paper Screening
- Date
- 2020
- Medium
- Collective drawing, live narration and workshops
- He Fa’s role
- P4 Screenings framework and organisation; P4’s collaborative programme with Lisa
- Catalogue section
- Collaborative practice
Cite this record: Paper Screening · 2020 · P4 Screenings framework and organisation; P4’s collaborative programme with Lisa · https://hefa.p4theater.cn/en/work/paper-screening
TAKE A PATH ACROSS
Other paths from this work.
Language in transit
Paper and light do different work
Touch touching assigns images to projection-suitable materials; Lisa’s Paper Screening brings drawings into spoken accounts. Both use supporting surfaces, but projection and participants’ own making are not interchangeable.
Continue from this work ↗Read the source materials
- Period documentFrom photographs to a projectable image ↗
The portfolio records any projectable material and venue-dependent dimensions; the title alone does not establish touch interaction.
- Period documentBringing paper onto the stage ↗
The November 2020 project text and 26 November report record Lisa-led drawing, presenting drawings and participants’ responses, with individual authorship retained.
- Period documentFrom photographs to a projectable image ↗
Language in transit
Images continue into life
Paper ScreeningGewu Studio / Twelve Water Lamps
Lisa’s Paper Screening brings drawing into reciprocal accounts; Gewu’s lamps turn research on water paintings toward luminous objects. Images acquire new uses in both, while participant making and studio production retain their different authors.
Continue from this work ↗Read the source materials
- Period documentBringing paper onto the stage ↗
The November 2020 project text and 26 November report record Lisa-led drawing, presenting drawings and participants’ responses, with individual authorship retained.
- Period documentWork and collaboration ↗
The work and collaboration record documents Twelve Water Lamps as a collaborative studio practice, identifies Ma Yuan’s water paintings as a reference, and records He Fa’s photography, conceptual development and artistic direction.
- Period documentBringing paper onto the stage ↗
Keeping and losing
Facing something one has left
Paper Screening asks participants to hold up and speak about their drawings; Shixiang returns people to their portraits. A retained image prompts further expression in both, while making a drawing oneself differs from being photographed.
Continue from this work ↗Read the source materials
- Period documentBringing paper onto the stage ↗
The November 2020 project text and 26 November report record Lisa-led drawing, presenting drawings and participants’ responses, with individual authorship retained.
- Period documentEight and a half acts. ↗
The 2020 project text sets out photography in odd acts and viewing and expression in even acts within an eight-and-a-half-act structure; this is the method announced at the time.
- Period documentBringing paper onto the stage ↗
FROM HERE, ELSEWHERE
Passages between works
Related records in the archive
- P4 Screenings: Reflections Between Us ↗2020
- Shixiang ↗2019–2020
- P4 Theater ↗2015–present