DY80 Danny Yung Experimental Theatre

The Birth of Tragedy

DY80 Danny Yung Experimental Theatre

The Birth of Tragedy

The tragedy of birth, the birth of tragedy.


A theatrical work probing into Nietzsche and Wagner’s relationship, which was like a love affair between philosophy and art. Their relationship will be deconstructed by disengaging viewpoints from the subject, and immersing in actions evolving from a multitude of interchangeable, mutually understood concepts. What was born out of the death of faith?


DY80 Danny Yung Experimental Theatre – The Birth of Tragedy is Danny’s new work using the theme of Tragedy to relaunch theatre experimentation on relationship and art, following his 5-year explorative series of The Interrupted Dream. From the German philosopher who was profoundly influential to the development of 20th century philosophy, to the context of contemporary audiences; from the Wagner operas Nietzsche once so fondly embraced and later contemptuously reviled, to noise music that tries to reestablish the borders of music, Danny Yung continues with his ultra-minimalist theatre design of One Table Two Chairs, creating a platform for dialogues across consciousness, generations, cultures. The performance will premiere at the Grand Theatre, Hong Kong Cultural Centre in November 2023.

  • Creative Team


    • Artistic Director, Director & Designer

      Danny Yung

    • Assistant Art Director & Executive Director

      Cedric Chan

    • Assistant Director

      Liu Xiao-yi

    • Performers

      Martin ChoyChuk Yin ManEllen KongKang Bo-neng

    • Guest Actor

      Lyu Ting-an

    • Original Music

      Steve Hui

    • Video

      Benny Woo

  • Danny Yung's Creative Notes on The Birth of Tragedy


    “I step back a hundred steps, attempting to deconstruct Nietzsche and Wagner, that fusion of philosophy and art. He once adored him, then despised him, as if it were idle chatter before and after meals. He still strived to find his own voice amidst multiple noises, and only witnessed the decision and then dramatic fade-out, which seemed to declare the end of the public’s myth and the start of another personal mythology. The God above the North is dead. We walk hand in hand, reading the literature and music of the South, and also allow the United Front Department to interpret the discourse of creation, as if they were all things of the past. When reading becomes a posture, we fall into an abyss. In this abyss, there is no time or boundary, no language or space, no worship or loathing. There is also no future, and thus no past.


    The Birth of Tragedy is the college of reincarnation in the human world. I take another hundred steps back, and we all indulge in the fragments of our own creations. Is this a perfect fit or a hypocritical identity shift? This is a myth, a premeditated trap, where the stage becomes a conspiracy, and the experiment leads to a dead-end, where dialogues and monologues are also traps. There is no God, and games are not original sins. Pursuit is simply an alternative escape. This is the current birth of tragedy. I want to continue stepping back, only to realize that there is no more retreat.”

  • Trailers