Rockbund Art Museum 上海外滩美术馆

The Paper Tiger @ the summery of the “Diary of a…… RAM表演:纸老虎@“狂人日记”

Event Information

Date: 21 October 2012 Invalid Date
Time: 08:00 Invalid Date
Venue: 1F, Associate Mission Building


日期: 2012年 10月 21日 Invalid Date
时间: 08:00 Invalid Date
场馆: 协进大楼1F

Beijing Paper Tiger Theater Studio


The Paper Tiger @ the summery of the “Diary of a Madman”

Duration: 70 minutes.

Admission Free. Reservation is required.

This is a performance work taken placed during the process of The Paper Tiger @. On the network, “@” is a character and an act of link, and then followed the arrival, paraphrase, deformation, and the uncertain result during the free diffusion of the information. @ “Diary of a Madman” is a theater act produced from a public text link or encounter. Here, the text itself and its symbolic significance have been postponed indefinitely, and then after the link occurred the dummy event or the real one which represent a scene in both failure of the text and the reality. The work premiered in June 2012, a Paper Tiger fool Performance festival.

Beijing Paper Tiger Theater Studio

Beijing Paper Tiger Theater Studio is an independent Theatre company. Director Tian Gebing works in collaboration with professional, non-professional comedians as well as some people from different various areas. Tiger Paper Theatre is committed to stress the independent performance in the Chinese temporary theater.

Tian Gebing draws his inspiration from the reality of daily life, using it as integration and structure of the theater. He also considers the theateras the base and a button of access to the real life, leaving more freedom and space to the theater performance.

Keeping the emphasis on training the actors during the performance, Tian endeavors to extend the limits of the definition of performance, roles, actors and characters, and to make a step further, aiming at liberating theatre practice.

With the history of over 15 years, the Paper Tiger has never conducted any commercial performance, never getting any financial assistance from government agencies or commercial entities. More than 90% of the funds rely on the income of the actors’ work in order to insist on independent performance and the profound creation.