We caught up with the brilliant and insightful Gefei Liu a few weeks ago and have shared our conversation below.
Hi Gefei, thanks for joining us today. Can you talk to us about a project that’s meant a lot to you?
Throughout my career as a theatre artist, each project I have undertaken has held profound meaning in its own right. However, there is one endeavor that remains especially close to my heart – “20200123 Live.” Project Description: Taking the form of “zoom theatre”, “20200123 Live” is an intimate portrayal based on the firsthand experiences of six individuals from Wuhan, who endured fear, discrimination, and isolation during the 76-day lockdown. The diverse cast, spanning different ages and backgrounds, courageously shares their stories of grief, tenacity, and hope. Through this poignant presentation, the daily lives of real Wuhan residents are brought to light, fostering understanding and healing within the community. Combining theatre and dance, this interdisciplinary exploration truthfully depicts an unprecedented collective trauma through the eyes, voices, and memories of those who lived it.
Though “20200123 Live” may be considered one of my smaller-scale projects, its significance is immeasurable. While the world came to know Wuhan as the city where COVID-19 first emerged, I was acutely aware that this narrative only scratched the surface of the city’s rich and harrowing history. In early 2020, Wuhan’s people faced unimaginable trauma, culminating in the official lockdown on January 23rd, confining them to isolation for three grueling months. Despite being physically distant, I vividly recall the nights spent scrolling through my phone, frantically reposting pleas for urgent help in Wuhan before they vanished from public view.
This project became my vessel for rebellion against the government’s controlled narrative. While the authorities attempted to portray Wuhan as a city of “heroes,” they overlooked the authentic experiences and emotions of its people. I wanted to remember events through my lens, free from manipulation, and provide a platform for these brave individuals to tell their unfiltered stories. Our team sought out six voluntary witnesses, who later became performers, attentively listening to their accounts and transforming them into a verbatim script.
As one of our cast members profoundly stated, “You should still express yourself despite all things. Don’t ever think you are not worthy of expressing yourself.” By creating “20200123 Live,” we resisted the imposition of a “correct” historical narrative and instead forged our own path, honoring the voices that deserved to be heard.
“20200123 Live” stands as a testament to the power of art in capturing the human experience, especially during the darkest of times. This project allowed us to remember Wuhan beyond the surface-level headlines, uncovering the true essence of its people and their unwavering spirit. As a theatre artist, I am proud to have been part of this transformative journey, and I believe that the strength of storytelling lies in our ability to create narratives that resist silence and embrace authenticity.
Gefei, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?
My name is Gefei Liu (刘格非）. I grew up in China, where I experienced the common exam-oriented education system for the first 18 years of my life. Becoming an artist was never an option for me – that’s a game for kids from rich families only. During my time at the university, I found myself spending most of my days outside the classroom, actively involved in the school’s musical club and theatre troupe. So in my junior year, fueled by my passion for theater, I gathered all my courage to share my true aspirations with my parents—I wanted to study theater management and producing in graduate school.
My plan to attend CalArts for the MFA program in Producing was postponed for a year due to COVID. And while I was using the time interning in a theater in Beijing, I met a bunch of like-minded people online, and established a virtually-based art collective, “How Bang! Club”. In the beginning, we only gathered together for a zoom experimental performance of “Every Brilliant Thing”. That was the first time I independently produced a work outside school setting, a true passion project. I didn’t really know much about producing at that time, and I basically just depended on Google, wikihow and my self-learning ability. Surprisingly, things went great. We had three zoom performances with an average audience of 100 people.
Our following two works are both original plays: “Rooftop Somnambulism”, a solo show premiered in June 2021 June in New York, and “20200123 Live”, a verbatim documentary piece performed in January 2022. As usual, I was the producer for both, but I was also trying out new roles in those productions: I wrote the theme song for “Rooftop Somnambulism” and came up with the conception of “20200123 Live”.
Yet, as I delved deeper into the world of theater, something extraordinary happened—I discovered an insatiable desire to create something original. I never believed that I have a gift for writing – Chinese was never my favorite subject back in high school. But with so many upsetting, infuriating things happening in the world everyday, I felt compelled to do something. “A novel may not be able to change the world, but it could at least reach some people somewhere, even just one.” It’s a quote from Modern Times by my favorite Japanese novel writer, Kōtarō Isaka. The power of storytelling transcends mere entertainment; it possesses the ability to provoke thought, evoke emotions, and effect positive change in the world. In my case, I chose storytelling through theater as my way to make that change.
So I started writing. My first short play, Two Goldfish (Who Become Heroes) was performed in Seattle in December 2022, produced by the local Chinese-English bi-lingual theatre company, Yun Theatre. It’s an animal allegory with the theme of rebellion against totalitarianism. My first full-length play, Birds and the Curiosity, premiered in Los Angeles this June. It’s a self-produced, family-friendly show that covers a wide range of topics such as anti-bullying, children’s rights to human dignity, etc. The play was part of the Hollywood Fringe Festival 2023, and believe it or not, I even received a prize from the festival’s “Loud Karma Emerging Women and Nonbinary Playwright’s Award”!
As a producer and writer, I think my biggest strength is the faith to believe in what I deemed as meaningful. After “Every Brilliant Thing” performance, one of my collaborators, who initiated the project, said that in the beginning she honestly wasn’t expecting that we could really make it happen, that I would really take her idea seriously and put so much work on it. But for me, it was a simple matter of recognizing the brilliance of the concept and doing everything within my power to make it a reality. I am confident enough to trust my artistic judgment and willing to fully commit to my faith. Similarly, as a writer, once I deem that something is worth writing about, I just put effort into it, and make it happen. I make bold, very risky decisions, anticipate the worst scenario, but always believe that things will eventually work out.
In your view, what can society to do to best support artists, creatives and a thriving creative ecosystem?
I strongly believe that young, unestablished artists deserve more respect and recognition for their creative endeavors. My experience working on “Bird and Curiosity” shed light on the challenges faced by lesser-known artists, particularly when it comes to selling tickets for their productions. It is disheartening to witness how society sometimes undervalues the efforts and contributions of young and unknown artists. When I was working on Birds and the Curiosity, I could sense that there is the misconception that family-friendly shows should be offered for free, which perpetuates the notion that creative work should always be a charitable endeavor. This perception not only undermines the hard work and dedication invested in producing a theater production but also disregards the unique stories and themes that artists aim to convey through their work.
The sentiment that theater, especially when created by lesser-known groups, is not worth paying to see is a disheartening reality. People may prioritize more well-known or mainstream productions, believing that they offer a safer and more entertaining experience. However, this overlooks the richness and diversity that emerging artists bring to the stage, often presenting fresh perspectives and innovative storytelling.
The truth is that creating theater, whether by new or established artists, involves substantial costs. Renting venues, hiring professionals for choreography, costumes, designs, and actors—all of these elements require financial investment. For emerging artists, these financial challenges can be even more significant, as they may lack the support and resources available to more established creators.
To foster a more supportive environment for young artists, it is essential for society to recognize the value of creativity and the dedication that goes into bringing artistic visions to life. Education and awareness about the intricacies of theater production can help dispel misconceptions and foster a deeper understanding of the importance of supporting emerging artists.
Cultivating a culture that values the contributions of all artists, regardless of their reputation, is vital for the growth and flourishing of the artistic community as a whole. By acknowledging the costs involved in creating theater and supporting young artists through attendance and advocacy, we can ensure that creativity continues to thrive and enrich our lives.
For you, what’s the most rewarding aspect of being a creative?
For me, the most fulfilling aspect of being involved in theater is the profound sense of belonging it brings. From the very beginning, this sense of camaraderie and connection is what drew me to the world of theater. While I may often prefer the comfort of staying home alone and watching TV, the experience of creating theater is unlike any other.
Working alongside friends and making new connections through collaborative endeavors is an incredible joy. When a theater team comes together, we share a common goal: to bring a show to life on stage. The passion for theater unites us, creating a unique bond that transcends mere acquaintanceship.
Some of my most significant friendships were forged during my high school days, as we collaborated on sketches. Similarly, I discovered more meaningful connections during my college years within the musical club. There is something magical about working with people who share the same passion and artistic vision.
The beauty of working with a trusted team lies in the unwavering support we offer one another. Theater, like life, has its challenges, but knowing that there are friends who have your back is an empowering feeling. We are in it together, ready to face any hurdles that come our way.
Contact Info:
- Website: gefeiliu.com
- Instagram: https://www.instagram.com/gefeiiiiiii/
- Linkedin: https://www.linkedin.com/in/gefei-liu-483813230/
- Instagram of my collective group: https://www.instagram.com/birdsandthecuriosity/
Image Credits
Zhongxu Chen, Zimo Zhao