# Shixiang Canonical: https://hefa.p4theater.cn/en/work/shixiang Shixiang, 2019–2020. Photography theatre. He Fa’s role: Collaboration with Zhang Shaohua; theory, structure, framework and interpretation. 2019–2020 / Photography theatre Photographing and viewing alternate. Participants encounter their own image and decide whether it becomes public. Stage documentation published in the introduction to Shixiang, P4 Theater, 2020. HE FA’S ROLE Collaboration with Zhang Shaohua; theory, structure, framework and interpretation ## Work record Shixiang, 2019–2020. Photography theatre. He Fa’s role: Collaboration with Zhang Shaohua; theory, structure, framework and interpretation. Work / series Shixiang Date 2019–2020 Medium Photography theatre He Fa’s role Collaboration with Zhang Shaohua; theory, structure, framework and interpretation Catalogue section Selected works Cite this record: Shixiang · 2019–2020 · Collaboration with Zhang Shaohua; theory, structure, framework and interpretation · [https://hefa.p4theater.cn/en/work/shixiang](https://hefa.p4theater.cn/en/work/shixiang) [Shixiang introduction · May 31, 2020 · Chinese](https://p4theater.cn/articles/2020/2020-05-31-再见自己-来-p4剧场开启一场摄影戏剧-实像-之旅-cf8ca4d8ec/) [What Is Shixiang? · June 21, 2020 · Chinese](https://p4theater.cn/articles/2020/2020-06-21-何为实像-bdbdd4669a/) WORK WORLD / OPEN FROM HERE After the portrait is made, what position remains for its subject? PHOTOGRAPHY THEATRE / BEIJING ## Make a portrait. Then face it together. Shixiang is a P4 Theater photography-theatre project concerned with one’s own image. Practice began in 2019; a public account of its format followed in 2020. Zhang Shaohua and He Fa developed it together. Zhang worked on recruitment and the practical encounters; He Fa’s 2020 account describes his contribution to theory, structure, framework and interpretation. The published introduction traces a movement from conversation in a white room to photography on a dark stage. A large-format camera and lighting become objects within that stage. Participants subsequently return to view and discuss the photographs. Read as a work today, the portrait extends across waiting, meeting again and speaking about an image. The relationship between photographer and subject continues beyond the shutter’s release. PHOTOGRAPH / VIEW / RETURN ## Eight and a half acts. ### Odd acts: photographing Acts one, three, five and seven centre on photography. ### Even acts: viewing and expression Acts two, four, six and eight return to the images through viewing and expression. The 2020 account connects this sequence with the seasons. The final half-act remains open in the public description. A room for conversation. The stage where photography takes place. ## Participants decide whether their photographs become public. This choice is part of the original project account. It allows participation without requiring a person’s image to circulate before strangers. This page uses venue and working photographs already published by P4. Set beside Shanshui, Shixiang shifts attention from the assembly within an image to encounters between people. Set beside Human Surrender, it offers a route into the relationships, waiting and expression that form during filming. [Shixiang introduction · May 31, 2020 · Chinese ↗](https://p4theater.cn/articles/2020/2020-05-31-再见自己-来-p4剧场开启一场摄影戏剧-实像-之旅-cf8ca4d8ec/) [What Is Shixiang? · June 21, 2020 · Chinese ↗](https://p4theater.cn/articles/2020/2020-06-21-何为实像-bdbdd4669a/) This page describes the 2019–2020 practice and historical format, rather than current booking availability. Connections to other works are a retrospective reading written in 2026. CLOSE READING / 2026 CURATORIAL INTERPRETATION ## Shixiang After the portrait is made, what position remains for its subject? ### Begin with what happens in the work Odd-numbered parts centred on photography, even-numbered parts on viewing and expression; this was the published structure. The 2020 project description gives participants a decision about publication. An ordinary portrait session often ends when the photograph is delivered. Shixiang instead makes the previous photograph the starting point for another meeting. A person faces a preserved self again, recognizing it or finding it strange. A fixed image and an ongoing life occupy the same structure. Meeting again neither updates the earlier photograph nor guarantees acceptance of its interpretation. Photography extends from taking an image into a relation that requires further response. A crucial formal decision is that participation need not cost the immediate public disclosure of a portrait. Decisions about whether and when to publish enter the project’s agreement, preserving the possibility of remaining unseen by present viewers. A work may therefore have happened without proving itself through an accessible face. That matters for this portfolio: richness is not the same as opening everything. Presenting structure, space and the terms of visibility can be more faithful than filling a page with private portraits. ### The limits of this reading Eight-and-a-half parts, one thousand participants and a long-term museum were announced plans, not completed totals. This is not a current open call. Based on the 2020 published texts What Is Shixiang?, Plant Your Seed at P4 Theater and the project introduction. [Work archive and source documents](#work-record) [2020 | What Is Shixiang? · Chinese source](https://p4theater.cn/articles/2020/2020-06-21-何为实像-bdbdd4669a/) [2020 | Plant Your Seed at P4 Theater · Chinese source](https://p4theater.cn/articles/2020/2020-07-18-来p4剧场种下你的种子-一个从Mystery到History的旅程-c22dd6b128/) TAKE A PATH ACROSS ## Other paths from this work. Distance and looking What follows a portrait [Shixiang](https://hefa.p4theater.cn/en/work/shixiang) ↔ [Large Portraits / Portraits](https://hefa.p4theater.cn/en/work/large-portraits) Large Portraits places detail pages after a complete portrait; Shixiang follows photography with viewing and expression. One changes the distance of reading an image, while the other places the return to a photograph within another meeting. 2019–2020 / Photography theatre 2010 / Photography, archival pigment prints Read the source materials Work image [Works & details ↗](https://hefa.p4theater.cn/en/work/large-portraits#chapter-3) The portfolio places the complete portrait in the He Fa group alongside three details: nose, forehead and hair, and eye. 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=large-portraits) Distance and looking ### What follows a portrait [Shixiang](https://hefa.p4theater.cn/en/work/shixiang) ↔ [Large Portraits / Portraits](https://hefa.p4theater.cn/en/work/large-portraits) Large Portraits places detail pages after a complete portrait; Shixiang follows photography with viewing and expression. One changes the distance of reading an image, while the other places the return to a photograph within another meeting. 2019–2020 / Photography theatre 2010 / Photography, archival pigment prints Work image [Works & details ↗](https://hefa.p4theater.cn/en/work/large-portraits#chapter-3) The portfolio places the complete portrait in the He Fa group alongside three details: nose, forehead and hair, and eye. The portfolio places the complete portrait in the He Fa group alongside three details: nose, forehead and hair, and eye. 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. Spaces transformed Who speaks beyond the darkness [Shixiang](https://hefa.p4theater.cn/en/work/shixiang) ↔ [Black Corridor of Spatiotemporal Echoes / Spatial Proposal](https://hefa.p4theater.cn/en/work/black-corridor-proposal) The Black Corridor proposal plans a required passage to engage the senses; Shixiang moves from conversation to a black stage. Darkness changes conditions in both, but a prescribed experience differs from a meeting where participants retain publication choices. 2019–2020 / Photography theatre 2016 (proposal document) / Proposal for spatial division and a multisensory passage · Proposals Read the source materials Period document [Spatiotemporal echoes ↗](https://hefa.p4theater.cn/en/work/black-corridor-proposal#chapter-2) The original proposal describes the corridor as a required passage and proposes multisensory temporal and spatial experience; it remains a proposal with implementation unverified. Period document [Make a portrait. Then face it together. ↗](https://hefa.p4theater.cn/en/work/shixiang#chapter-2) The 2020 project introduction records passage from a white room to a black stage and later meetings; publication choice is retained in the same project documentation. [Continue from this work ↗](https://hefa.p4theater.cn/en/crossings#work=black-corridor-proposal) Spaces transformed ### Who speaks beyond the darkness [Shixiang](https://hefa.p4theater.cn/en/work/shixiang) ↔ [Black Corridor of Spatiotemporal Echoes / Spatial Proposal](https://hefa.p4theater.cn/en/work/black-corridor-proposal) The Black Corridor proposal plans a required passage to engage the senses; Shixiang moves from conversation to a black stage. Darkness changes conditions in both, but a prescribed experience differs from a meeting where participants retain publication choices. 2019–2020 / Photography theatre 2016 (proposal document) / Proposal for spatial division and a multisensory passage · Proposals Period document [Spatiotemporal echoes ↗](https://hefa.p4theater.cn/en/work/black-corridor-proposal#chapter-2) The original proposal describes the corridor as a required passage and proposes multisensory temporal and spatial experience; it remains a proposal with implementation unverified. The original proposal describes the corridor as a required passage and proposes multisensory temporal and spatial experience; it remains a proposal with implementation unverified. Period document [Make a portrait. Then face it together. ↗](https://hefa.p4theater.cn/en/work/shixiang#chapter-2) The 2020 project introduction records passage from a white room to a black stage and later meetings; publication choice is retained in the same project documentation. The 2020 project introduction records passage from a white room to a black stage and later meetings; publication choice is retained in the same project documentation. Keeping and losing Facing something one has left [Shixiang](https://hefa.p4theater.cn/en/work/shixiang) ↔ [Paper Screening](https://hefa.p4theater.cn/en/work/paper-screening) 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. 2019–2020 / Photography theatre 2020 / Collective drawing, live narration and workshops 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=paper-screening) Keeping and losing ### Facing something one has left [Shixiang](https://hefa.p4theater.cn/en/work/shixiang) ↔ [Paper Screening](https://hefa.p4theater.cn/en/work/paper-screening) 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. 2019–2020 / Photography theatre 2020 / Collective drawing, live narration and workshops 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. Working together Who arrives beyond the pair [Shixiang](https://hefa.p4theater.cn/en/work/shixiang) ↔ [Hallucination](https://hefa.p4theater.cn/en/work/hallucination) He Fa’s public recollection links the move toward more participants after Shixiang to producing Hallucination. This is a documented project connection, but it does not mean an ensemble play resolved every question raised by the two-person portrait research. 2019–2020 / Photography theatre 2020 / Proscenium theatre and production practice Read the source materials Later account [From Shixiang research to an open call ↗](https://hefa.p4theater.cn/en/work/hallucination#chapter-3) The 27 April 2021 account A Seemingly Uncertain Future recalls recruitment, rehearsals and organizer intervention from Shixiang to Hallucination and explicitly records a performance. 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=hallucination) Working together ### Who arrives beyond the pair [Shixiang](https://hefa.p4theater.cn/en/work/shixiang) ↔ [Hallucination](https://hefa.p4theater.cn/en/work/hallucination) He Fa’s public recollection links the move toward more participants after Shixiang to producing Hallucination. This is a documented project connection, but it does not mean an ensemble play resolved every question raised by the two-person portrait research. 2019–2020 / Photography theatre 2020 / Proscenium theatre and production practice Later account [From Shixiang research to an open call ↗](https://hefa.p4theater.cn/en/work/hallucination#chapter-3) The 27 April 2021 account A Seemingly Uncertain Future recalls recruitment, rehearsals and organizer intervention from Shixiang to Hallucination and explicitly records a performance. The 27 April 2021 account A Seemingly Uncertain Future recalls recruitment, rehearsals and organizer intervention from Shixiang to Hallucination and explicitly records a performance. 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. 2026-10-04 / ARCHIVAL ADDITION ## Source materials, process and versions The final account begins with being seen; a draft outline names the photographer as a separator and the model as an intruder. Reading the two versions together shows how a relation of looking was written into an experience. [何为实像最终文案.docx ↗](https://b.p4theater.cn/sources/cv-shi-xiang-a14edcc3127b) [微信十月新篇-实像项目陈述.docx ↗](https://b.p4theater.cn/sources/cv-shi-xiang-bf88572f3581) [实像介绍文案-草稿1001.docx ↗](https://b.p4theater.cn/sources/cv-shi-xiang-917595e44bc0) [Follow the other material strands ↗](https://hefa.p4theater.cn/en/reading/materials-and-process#shi-xiang) FROM HERE, ELSEWHERE ## Passages between works [After moving closer](https://hefa.p4theater.cn/en/paths/distance) The portrait enters another meeting, where the person can face it again and decide whether it becomes public. The portrait enters another meeting, where the person can face it again and decide whether it becomes public. [When another person enters](https://hefa.p4theater.cn/en/paths/another-person) The sitter offers more than a face and retains a decision about publication. The sitter offers more than a face and retains a decision about publication. [Making and keeping](https://hefa.p4theater.cn/en/paths/making) Looking back in How a Hole Becomes a Theatre, He Fa describes film processing, scanning, and water marks and scratches left unretouched in Shixiang. The portrait retains traces of its making that can redirect attention from the sitter. Looking back in How a Hole Becomes a Theatre, He Fa describes film processing, scanning, and water marks and scratches left unretouched in Shixiang. The portrait retains traces of its making that can redirect attention from the sitter. ### Related records in the archive [Human Surrender / Shoot Self with You ↗](https://hefa.p4theater.cn/en/work/human-surrender) 2023–2024 [Shanshui ↗](https://hefa.p4theater.cn/en/work/shanshui) 2012