The Sixth Year: Days and Nights of Abstinence (1990) unraveled the lingering persistence and hope of thousands in a world of multifarious and pluralistic existence, how those staying in front were held accountable for those walking behind, and how everyone had the chance to play the roles of followers and leaders; The Seventh Year: Mirage (1992) explored the concept of “independence”. When you are independent, you feel that the soles of your feet are grounded with the land, and you begin to realize that will and action cooperate with each other. Every mirage ahead reminds us of “yearning”; The Eighth Year: Viva (1996), in an indistinct voice journey, the issues of slogans are explored: is slogan a blessing, something to be blindly followed, or boundless worship of those in power? The Ninth Year: 9 (2002) is an experiment on video, sound, lighting and stage, re-interpreting the motifs and vocabulary of “pointing”, “looking”, “direction” and “action” in a multimedia theatre journey; The Tenth Year: Cultural Revolution (2011), coinciding with the centenary of the 1911 Revolution in China, took culture and revolution as the creative starting point to reflect on the multilayered interactive relationship between individuals, masses, leaders, organisations, governments, countries, people, culture and revolutions from the perspective of large and small revolutions in history.
The One Hundred Years series, with its unique experimental and artistic vision, uncommon structure, expressive techniques and staging skills, has broken the expression conventions of traditional theatre practice, bringing unprecedented artistic space to Hong Kong theatre, and expanding theatrical art to the concern of society as a whole.
