# Paper Screening Canonical: https://hefa.p4theater.cn/en/work/paper-screening Paper Screening, 2020. Collective drawing, live narration and workshops. He Fa’s role: P4 Screenings framework and organisation; P4’s collaborative programme with Lisa. 2020 / Collective drawing, live narration and workshops Drawings are held up on stage as materials, bodies and conversation enter the act of looking. Collective drawing in Paper Screening, from the public 2020 record. 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 ## 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](https://hefa.p4theater.cn/en/work/paper-screening) [2020-11-19 · Source article (Chinese)](https://p4theater.cn/articles/2020/2020-11-19-新-p4放映-心与心的交映-cb5e2ddf3b/) [2020-11-20 · Source article (Chinese)](https://p4theater.cn/articles/2020/2020-11-20-p4放映周日绘画疗愈-纸上放映-de89490241/) [2020-11-26 · Source article (Chinese)](https://p4theater.cn/articles/2020/2020-11-26-p4艺术治疗-落笔即是艺术疗愈的开始-答案在不经意间被纸上放映-3ccf116d4e/) [2020-12-04 · Source article (Chinese)](https://p4theater.cn/articles/2020/2020-12-04-让我们用艺术来解生活的毒-p4放映之纸上放映-艺术治疗-01f8bafb39/) ## 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 A participant presents a drawing on stage; the image is not separately attributed as a portrait work. Original Paper Screening workshop poster, 2020. ## Moving image & related documents [2020-11-19 · Source article (Chinese) ↗](https://p4theater.cn/articles/2020/2020-11-19-新-p4放映-心与心的交映-cb5e2ddf3b/) [2020-11-20 · Source article (Chinese) ↗](https://p4theater.cn/articles/2020/2020-11-20-p4放映周日绘画疗愈-纸上放映-de89490241/) [2020-11-26 · Source article (Chinese) ↗](https://p4theater.cn/articles/2020/2020-11-26-p4艺术治疗-落笔即是艺术疗愈的开始-答案在不经意间被纸上放映-3ccf116d4e/) [2020-12-04 · Source article (Chinese) ↗](https://p4theater.cn/articles/2020/2020-12-04-让我们用艺术来解生活的毒-p4放映之纸上放映-艺术治疗-01f8bafb39/) ## 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. ## Continue exploring ### P4 Screenings: Reflections Between Us Moving from watching films to sharing personal accounts, the project calls its discussions “self-screening.” ### Shixiang Photographing and viewing alternate. Participants encounter their own image and decide whether it becomes public. ### P4 Theater Spaces, participants, events and documentation change one another through sustained work. TAKE A PATH ACROSS ## Other paths from this work. Language in transit Paper and light do different work [Paper Screening](https://hefa.p4theater.cn/en/work/paper-screening) ↔ [Touch touching](https://hefa.p4theater.cn/en/work/touch-touching) 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. 2020 / Collective drawing, live narration and workshops 2014 / Any surface suitable for projection Read the source materials Period document [From photographs to a projectable image ↗](https://hefa.p4theater.cn/en/work/touch-touching#chapter-1) The portfolio records any projectable material and venue-dependent dimensions; the title alone does not establish touch interaction. Period document [Bringing paper onto the stage ↗](https://hefa.p4theater.cn/en/work/paper-screening#chapter-1) The November 2020 project text and 26 November report record Lisa-led drawing, presenting drawings and participants’ responses, with individual authorship retained. [Continue from this work ↗](https://hefa.p4theater.cn/en/crossings#work=touch-touching) Language in transit ### Paper and light do different work [Paper Screening](https://hefa.p4theater.cn/en/work/paper-screening) ↔ [Touch touching](https://hefa.p4theater.cn/en/work/touch-touching) 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. 2020 / Collective drawing, live narration and workshops 2014 / Any surface suitable for projection Period document [From photographs to a projectable image ↗](https://hefa.p4theater.cn/en/work/touch-touching#chapter-1) The portfolio records any projectable material and venue-dependent dimensions; the title alone does not establish touch interaction. The portfolio records any projectable material and venue-dependent dimensions; the title alone does not establish touch interaction. Period document [Bringing paper onto the stage ↗](https://hefa.p4theater.cn/en/work/paper-screening#chapter-1) The November 2020 project text and 26 November report record Lisa-led drawing, presenting drawings and participants’ responses, with individual authorship retained. The November 2020 project text and 26 November report record Lisa-led drawing, presenting drawings and participants’ responses, with individual authorship retained. Language in transit Images continue into life [Paper Screening](https://hefa.p4theater.cn/en/work/paper-screening) ↔ [Gewu Studio / Twelve Water Lamps](https://hefa.p4theater.cn/en/work/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. 2020 / Collective drawing, live narration and workshops 2012–2013 / Co-creation, 3D printing and product design Read the source materials Period document [Bringing paper onto the stage ↗](https://hefa.p4theater.cn/en/work/paper-screening#chapter-1) The November 2020 project text and 26 November report record Lisa-led drawing, presenting drawings and participants’ responses, with individual authorship retained. Period document [Work and collaboration ↗](https://hefa.p4theater.cn/en/work/twelve-water-lamps#credits) 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. [Continue from this work ↗](https://hefa.p4theater.cn/en/crossings#work=twelve-water-lamps) Language in transit ### Images continue into life [Paper Screening](https://hefa.p4theater.cn/en/work/paper-screening) ↔ [Gewu Studio / Twelve Water Lamps](https://hefa.p4theater.cn/en/work/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. 2020 / Collective drawing, live narration and workshops 2012–2013 / Co-creation, 3D printing and product design Period document [Bringing paper onto the stage ↗](https://hefa.p4theater.cn/en/work/paper-screening#chapter-1) The November 2020 project text and 26 November report record Lisa-led drawing, presenting drawings and participants’ responses, with individual authorship retained. The November 2020 project text and 26 November report record Lisa-led drawing, presenting drawings and participants’ responses, with individual authorship retained. Period document [Work and collaboration ↗](https://hefa.p4theater.cn/en/work/twelve-water-lamps#credits) 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. 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. Keeping and losing Facing something one has left [Paper Screening](https://hefa.p4theater.cn/en/work/paper-screening) ↔ [Shixiang](https://hefa.p4theater.cn/en/work/shixiang) 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. 2020 / Collective drawing, live narration and workshops 2019–2020 / Photography theatre Read the source materials Period document [Bringing paper onto the stage ↗](https://hefa.p4theater.cn/en/work/paper-screening#chapter-1) The November 2020 project text and 26 November report record Lisa-led drawing, presenting drawings and participants’ responses, with individual authorship retained. Period document [Eight and a half acts. ↗](https://hefa.p4theater.cn/en/work/shixiang#chapter-3) 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. [Continue from this work ↗](https://hefa.p4theater.cn/en/crossings#work=shixiang) Keeping and losing ### Facing something one has left [Paper Screening](https://hefa.p4theater.cn/en/work/paper-screening) ↔ [Shixiang](https://hefa.p4theater.cn/en/work/shixiang) 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. 2020 / Collective drawing, live narration and workshops 2019–2020 / Photography theatre Period document [Bringing paper onto the stage ↗](https://hefa.p4theater.cn/en/work/paper-screening#chapter-1) The November 2020 project text and 26 November report record Lisa-led drawing, presenting drawings and participants’ responses, with individual authorship retained. The November 2020 project text and 26 November report record Lisa-led drawing, presenting drawings and participants’ responses, with individual authorship retained. Period document [Eight and a half acts. ↗](https://hefa.p4theater.cn/en/work/shixiang#chapter-3) 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. 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. FROM HERE, ELSEWHERE ## Passages between works ### Related records in the archive [P4 Screenings: Reflections Between Us ↗](https://hefa.p4theater.cn/en/work/p4-screenings) 2020 [Shixiang ↗](https://hefa.p4theater.cn/en/work/shixiang) 2019–2020 [P4 Theater ↗](https://hefa.p4theater.cn/en/work/p4-theatre) 2015–present