GalleryPresence

A black remote-controlled robotic vehicle labeled 'Presence' rolls across a concrete rooftop. The custom-built apparatus features a high-tech camera mount and microphone setup, highlighting the innovative intersection of telepresence technology and contemporary Hong Kong theatre in the experimental performance piece, 'Presence'. 'Future of Performance: Presence'

Testing the custom-built robotic vehicle on the rooftop to explore the intersection of telepresence and theatre. Future of Performance: Presence.

Two small, robotic vehicles equipped with mobile phones and microphones stand side-by-side on a white stage, silhouetted against a breathtaking Hong Kong sunset over the harbor. This performance installation for the Rooftop Productions (天台製作) contemporary theatre piece 'Presence' (《遙距在場》) explores themes of distance and human connection in modern stage performance. The scene evokes a sense of stillness and longing, as if the machines are waiting for the audience. As the performance echoes, a voice speaks: 'Dynasties change, emperors alter, ministers shift. And the people are nowhere to be seen, no chance to reunion.'

Against the backdrop of a setting Hong Kong sun, two robotic proxies wait to connect, echoing: 'Dynasties change, emperors alter, ministers shift. And the people are nowhere to be seen.'

In a rehearsal for the contemporary Hong Kong theatre production 'Presence' (《遙距在場》), performer Yang Zhi-yan wears a straw hat and gardening gloves, kneeling on a wooden deck as they interact with a black, boxy, wheeled robot. The scene captures an intimate, curious exchange between human and machine amidst lush greenery, highlighting the experimental nature of Rooftop Productions' latest stage work. Yang Zhi-yan reflects on the seasonal work, noting: 'July is preparing for the spring sowing. Why don’t you catch up with this opportunity too?'

Performer Yang Zhi-yan explores the boundary between nature and technology in this rehearsal scene: 'July is preparing for the spring sowing. Why don’t you catch up with this opportunity too?'

Merging technology with the urban landscape, our robotic rover captures the essence of the city. City and Presence.

In a rehearsal for the contemporary Hong Kong theatre production 'Presence' (遙距在場), performer Alfie Leung (梁澤宇) sits under a white outdoor canopy on a rooftop. He is focused on a portable wooden easel, surrounded by robotic equipment featuring mounted smartphones. The scene captures the intersection of live performance and digital interaction, as Alfie reflects on his creative process: 'Alfie needs charcoal to draw; do you have any? Give it to Alfie!'

Alfie Leung explores the intersection of art and digital presence in rehearsal: 'Alfie needs charcoal to draw; do you have any? Give it to Alfie!'

A small, autonomous robotic camera rig sits on a deserted concrete rooftop overlooking the dense, hazy skyline of Hong Kong, set against the backdrop of a mountain range. This minimalist staging evokes the themes of distance and digital mediation found in Rooftop Productions' contemporary theatre piece, 'Presence'. A rooftop in West Kowloon.

A robotic camera rig overlooks the Hong Kong skyline, capturing the essence of digital mediation on a West Kowloon rooftop.

A robotic performer navigates the urban landscape of Hong Kong, questioning our spatial footprint. How much land do humans need?

A small, black robotic performance device with a mounted camera stands on a concrete lot against a panoramic view of the Hong Kong skyline, capturing a scene for the contemporary theatre production 'Presence' (遙距在場) by Rooftop Productions (天台製作). The stark, industrial landscape reflects the avant-garde aesthetic of this site-specific work. 'None, my lord, but that the world's grown honest.'

Amidst the concrete expanse, the Presence robot captures the skyline, echoing the sentiment: 'None, my lord, but that the world's grown honest.'

In a rehearsal for Rooftop Productions' contemporary theatre piece 'Presence' (《遙距在場》), performer Yang Zhi-yan crouches outdoors on a wooden deck, wearing a straw hat and an orange t-shirt. She smiles warmly while interacting with a mobile robotic device mounted with a smartphone, reflecting the show’s exploration of technology and human connection. 'Found July drying tea leaves; do you want some? Ask July!'

Performer Yang Zhi-yan interacts with the robotic device during a rehearsal for 'Presence'. Found July drying tea leaves; do you want some? Ask July!

A black remote-operated robotic rover labeled 'Presence' sits on a smooth, white surface beside a grassy patch, capturing footage with a mounted camera. In the background, a chain-link fence overlooks the industrial Hong Kong skyline, framing the scene for Rooftop Productions' contemporary theatre piece 'Presence'. Skyline Observation Deck.

The Presence rover captures the industrial skyline, bridging the distance for our theatre production at the Skyline Observation Deck.

The robotic envoy engages the audience with the classic greeting: "My excellent good friends! How dost thou? What news?"

A close-up view over the shoulder of an audience member watching the contemporary Hong Kong theatre production 'Presence' (遙距在場) by Rooftop Productions on a laptop screen. The performance features actor Sung Boon Ho standing on a sun-drenched beach, looking downward with a pensive expression, highlighting the company’s focus on environmental themes and digital stage performance. The performer speaks, 'Expected degradation time: Nylon 30-40 years; Plastic 500 years.'

Sung Boon Ho confronts the environmental legacy of human waste: 'Expected degradation time: Nylon 30-40 years; Plastic 500 years.'

A black, remote-controlled robot featuring a camera setup sits on an outdoor concrete rooftop in Hong Kong. In the background, actor Alfie Leung sits on a beanbag chair, focused on sketching at an easel, capturing a moment from Rooftop Productions' (天台製作) experimental performance 'Presence'. Discovered Alfie, drawing. Do you want a portrait? Ask Alfie!

Alfie Leung captures the essence of Presence through his sketches. Would you like a portrait? Just ask Alfie!

A black, rugged mobile robot equipped with a camera and a screen sits on a paved outdoor lot, with the striking, angular architecture of the Hong Kong Palace Museum in the background. This robotic device is a key element of the contemporary Hong Kong theatre production 'Presence' (《遙距在場》), used to facilitate remote performance and audience interaction. The scene captures the intersection of advanced technology and site-specific stage art. As the robot traverses the space, it seems to echo the line: "Prison, my lord?"

The Presence robot explores the Hong Kong Palace Museum, haunting the site with the whispered query: "Prison, my lord?"

A small, black robotic device labeled 'Presence' sits on a sandy beach, positioned near a small yellow flag planted in the sand. The perspective is framed through a semi-circular, reddish-brown tunnel structure in the foreground, creating a portal-like view. In the background, modern beachside villas rise behind a stone seawall, with a person sitting on stairs nearby. This image captures an outdoor rehearsal scene from the contemporary Hong Kong theatre production 'Presence' (遙距在場), blending experimental technology with site-specific performance. Life Vest, Materials: Nylon, Plastic.

Testing the 'Presence' robotic device during a site-specific rehearsal. Life Vest, Materials: Nylon, Plastic.

A close-up view of a person using a MacBook to engage with the immersive, interactive theatre experience 'Presence' by Hong Kong's Rooftop Productions. On the laptop screen, performer Abigail So is seen in a digital interior, sitting on a floor with a thoughtful and melancholic expression, representing the show's exploration of modern solitude. Abigail So delivers a poignant reflection: 'I never thought I’d think of death in my twenties.'

Abigail So explores the weight of early existential dread in this scene from Rooftop Productions' immersive experience, 'Presence': 'I never thought I’d think of death in my twenties.'

A close-up, low-angle shot of a custom-built, remote-operated robotic camera rover sitting on the sandy surface of Ping Chau Tung Wan Beach. The black, boxy vehicle is branded with the title of Rooftop Productions' contemporary theatre performance, 'Presence'. The rover features a mounted microphone and rugged red-rimmed wheels, set against a clear blue sky and the gentle shoreline, evoking the site-specific and immersive nature of Hong Kong experimental stage productions. Ping Chau Tung Wan Beach.

The Presence robotic rover on location at Ping Chau Tung Wan Beach, blending experimental theatre technology with Hong Kong's natural landscapes.

A black remote-operated robot, branded with the word 'Presence', sits on a tiled floor in front of a colonial-style architectural structure, representing a production element from Rooftop Productions' immersive theatre show 'Presence' (遙距在場). The robot features a mounted mobile device, highlighting the blend of technology and live performance typical of contemporary Hong Kong experimental theatre. 1986- The new wing was completed and the Nazareth community moved into its new home.

The Presence robot navigates the halls of the Nazareth community, bridging modern technology with its 1986 history. The new wing was completed and the Nazareth community moved into its new home.

A small, black, toy-like vehicle labelled 'Presence' sits on a polished, patterned tiled floor of a historic building in Hong Kong, positioned before three miniature 'no entry' road signs. The scene, evocative of Rooftop Productions' (天台製作) experimental theatre work, captures a moment from the production 'Presence' (《遙距在場》), where architectural history meets contemporary performance. 1954 - the University purchased the property from the French Mission at the price of 1.6 million Hong Kong Dollars.

Revisiting the 1954 acquisition of the property by the University through the lens of 'Presence'. Architectural history converges with performance in this site-specific installation.

A top-down view of a rehearsal set for the contemporary Hong Kong theatre production 'Presence' (遙距在場) by Rooftop Productions (天台製作). A small, black remote-controlled robotic vehicle equipped with a smartphone gimbal sits on a tiled floor, positioned near a stack of books and a traditional ceramic teapot placed on a charcoal stove, suggesting a scene centered on digital performance and traditional rituals. "Sam is preparing for Tasseography but he needs some tea leaves. Do you have any? Give him some!"

As Sam prepares for his Tasseography ritual, he finds himself in need of tea leaves. Do you have any to spare for him?

Two small, remote-controlled robotic vehicles, each mounted with a smartphone, navigate the tiled floor of a historic room during a rehearsal for Rooftop Productions' contemporary theatre performance, 'Presence'. The small stage setup, featuring glowing light strips and camera rigs, highlights the innovative use of telepresence technology in modern Hong Kong theatre to bridge physical distance. '1956 - The first group of students, 52 in number, settled down in the castle and University Hall was born.'

Rehearsing the birth of University Hall in 1956, where 52 students first settled into the castle, through the lens of modern telepresence technology. '1956 - The first group of students, 52 in number, settled down in the castle and University Hall was born.'

A small, black, four-wheeled remote-controlled robot sits on the intricate, patterned tile floor of the University Hall balcony. The scene, captured for Rooftop Productions' (天台製作) experimental performance 'Presence' (《遙距在場》), contrasts modern technology with the heritage architecture of the site. Sunlight casts deep shadows across the veranda, highlighting the historic stone columns. 1995 - University Hall was declared a historical building under the Antiquities and Monuments Ordinance.

Modern technology meets heritage as a remote-controlled robot explores University Hall, which was declared a historical building in 1995.

In a rehearsal scene for the contemporary Hong Kong theatre production 'Presence', actor Sung Boon Ho crouches on a sandy beach. Wearing a sun hat and casual clothing, he carefully interacts with a robotic, black box-like contraption equipped with cameras, reflecting the experimental nature of Rooftop Productions. As he adjusts the device, he observes, 'Found some sand castles Boon Ho has been building. They look like they could use some decoration.'

Sung Boon Ho interacts with the robotic device during a rehearsal for 'Presence', noting, 'Found some sand castles Boon Ho has been building. They look like they could use some decoration.'

A close-up view of a smartphone mounted on a robotic gimbal, capturing a scene for Rooftop Productions' contemporary Hong Kong theatre performance 'Presence'. The camera points toward a vintage black telephone sitting on the floor in the background next to a small, yellow marker flag, evoking the nostalgic atmosphere of the production. 'There was a period of time when Sam So was the receptionist in U hall and she was responsible for the only telephone there.'

Recreating the atmosphere of U Hall, where Sam So acted as the gateway for every student's private call. There was a period of time when she was responsible for the only telephone there.

A close-up shot of a small, custom-built robotic performance device used in the Rooftop Productions (天台製作) immersive theatre piece 'Presence' (《遙距在場》). The black robotic cart is equipped with a tablet displaying text and a smartphone mounted on top, suggesting a remote presence or telepresence performance. A small yellow flag is mounted on the side next to an antique black telephone receiver resting on a doily, evoking themes of memory and communication in contemporary Hong Kong theatre. “Sam So”, Yuen So Moy worked as a chef and dormitory worker at University Hall for more than 40 years.

This robotic device preserves the legacy of 'Sam So', Yuen So Moy, who served University Hall for over 40 years, through a unique telepresence performance. The installation bridges past memories and modern communication in 'Presence'.

Sung Boon Ho, an actor from the Hong Kong contemporary theatre production 'Presence' (遙距在場) by Rooftop Productions, kneels on a sandy beach under bright daylight. He is wearing a bucket hat and a blue AT&T t-shirt, carefully placing a small object into a black, toy-like vehicle frame labeled 'Presence'. The scene captures a moment of intimate performance art, blending site-specific theatre with audience interaction. Boon Ho says, "Boon Ho likes to collect beautiful stones from the beach. Would you like one as well? Ask Boon Ho for one!"

Sung Boon Ho invites the audience to connect through his beach-combing ritual. Would you like a stone? Ask Boon Ho for one!

Sung Boon Ho sits on a weathered, old wooden boat on a sandy beach during a rehearsal for the contemporary Hong Kong theatre production 'Presence'. He wears a hat and a blue t-shirt, looking toward a small black robotic device positioned on the sand in front of him. Next to him, a water bottle and a copy of 'The Collected Poems of Dylan Thomas' sit on the boat's edge, highlighting the experimental nature of this Rooftop Productions (天台製作) piece. As he ponders the future, he asks: 'What will it be like in 100 years?'

Sung Boon Ho interrogates the future alongside a robotic companion during rehearsals for Presence. 'What will it be like in 100 years?'

A small, black robotic vehicle stands on a tiled balcony in a historic Hong Kong building, set against a backdrop of colonial-style stone balusters and cityscape views, captured during the production of Rooftop Productions' contemporary theatre piece 'Presence'. The scene evokes themes of historical transition and technological intervention. 1842 - Following the defeat in the First Opium War the Qing Dynasty ceded Hong Kong Island to Britain. In the same year, Douglas Lapraik came to Hong Kong, and gradually established shops in D’Aguilar Street.

A robotic vehicle navigates the historic balcony, bridging Douglas Lapraik's 1842 arrival in Hong Kong with our contemporary exploration of colonial transition.

In a rehearsal scene for Rooftop Productions' contemporary theatre piece 'Presence' (遙距在場), actor Mak Ho-tin is captured in an intimate, low-angle shot as he crouches on a patterned-tile floor, curiously observing a small remote-controlled robotic vehicle equipped with a smartphone mount. The lighting is soft and natural, emphasizing the subtle, playful expression on Mak’s face as he interacts with the technological element of the performance. This interactive stage performance explores themes of distance and human connection. Mak Ho-tin says, "Sam is preparing for Tasseography but he needs some tea leaves. Do you have any? Give him some!"

Actor Mak Ho-tin rehearses a scene for Presence as his character, Sam, prepares for a unique tea-reading ritual. He asks: 'Sam is preparing for Tasseography but he needs some tea leaves. Do you have any? Give him some!'

In a rehearsal for the contemporary Hong Kong theatre production 'Presence' (遙距在場), actor Mak Ho-tin (麥晧鈿) squats on a patterned tile balcony, thoughtfully observing a small, black robotic vehicle labeled 'Presence' placed near a white lion sculpture. The scene, framed by historic balustrades and lush trees, evokes a sense of intimacy and technological inquiry. As Mak Ho-tin reflects on the nature of communal spaces, he speaks the line: "The origin of 'High Table' goes back to physical layout of the dining halls of English colleges at Oxford and Cambridge Universities."

Actor Mak Ho-tin reflects on the historical origins of High Table while engaging with the 'Presence' robot in rehearsal.

In a rehearsal photo for Rooftop Productions' contemporary theatre piece 'Presence' (遙距在場), actor Mak Ho-tin is captured in a candid, focused moment. He is crouched on a patterned tiled floor, leaning towards a small, customized remote-controlled robot equipped with a smartphone and a screen displaying text. The scene highlights the intersection of technology and human connection typical of the production. As the performer engages with the robot, he offers a line from the show: 'Found some spare charcoal, would you like a piece? Ask Sam for them!'

Actor Mak Ho-tin rehearsing a pivotal scene in 'Presence', offering a piece of charcoal to the remote robot Sam. 'Found some spare charcoal, would you like a piece? Ask Sam for them!'

Blending technology with site-specific performance, the Presence rover navigates the historic Douglas Castle, where the chapel's design is heavily influenced by English Tudor and gothic styles.

A promotional still for Rooftop Productions' (天台製作) contemporary Hong Kong theatre piece 'Presence' (遙距在場), featuring a solitary cassette player, a copy of 'The Collected Poems of Dylan Thomas', and a small yellow flag placed in the sand beside an abandoned, weathered wooden boat on a beach. This atmospheric image evokes the themes of distance and memory central to the performance. “Do not go gentle into that good night.”

Caught between waves and wreckage, we hold onto our ghosts. 'Do not go gentle into that good night.'

Performance artist Sung Boon Ho, wearing a bucket hat and an AT&T t-shirt, kneels on a sandy beach between two small, black remote-controlled robots branded 'Presence'. The outdoor, sunlit scene is part of the immersive experimental theatre piece 'Presence' (遙距在場) by Hong Kong’s Rooftop Productions, exploring human connection and digital distance. Sung Boon Ho smiles warmly at the camera as if interacting with the audience through the robotic proxies, saying, "Hello, I am Boon Ho."

Sung Boon Ho navigates human connection through digital proxies in 'Presence'. "Hello, I am Boon Ho."

A close-up shot of a small, robotic telepresence device navigating a tiled floor, utilized in Rooftop Productions' contemporary Hong Kong theatre performance 'Presence'. The robot features a screen displaying a chat interface with the text 'I'm jimbob' and 'Jimbob Jones', highlighting the experimental use of technology to explore physical and digital distance in stage performance. As the robot moves, it serves as a vessel for the performer's internal reflection: 'I actually really care about my appearance, and I used to like to look at myself in the mirror, but now I sometimes really don’t want to.'

As the telepresence robot navigates the stage, it voices a fragmented self-image: 'I actually really care about my appearance, and I used to like to look at myself in the mirror, but now I sometimes really don’t want to.'

A small, black robotic vehicle labeled 'Presence' sits on a patterned tile floor of a colonial-style veranda, featuring a mobile camera mount on top. This remote-controlled device serves as a central prop in Rooftop Productions' (天台製作) experimental show 'Presence' (《遙距在場》), which explores themes of connection and distance in contemporary Hong Kong theatre. The robot is positioned near a potted plant and a metal barrier with the hills of Hong Kong in the background. "Rituals emphasize efficacy: healing the sick, initiating neophytes, burying the dead, teaching the ignorant, forming and cementing social relations, maintaining (or overthrowing) the status quo, remembering the past, propitiating the gods, exorcising the demonic, maintaining cosmic order."

The robotic device acts as a witness to our rituals of connection, echoing the sentiment that 'rituals emphasize efficacy: healing the sick, initiating neophytes, and maintaining cosmic order.'

In a scene from Rooftop Productions' contemporary theatre piece 'Presence' (《遙距在場》), performer Abigail So sits on a balcony at home, operating a small, black robotic vehicle equipped with a camera, blending technology with intimate storytelling. The natural daylight highlights her focused expression as she delivers the line: 'On my 28th birthday, I went to the doctor’s because I had red spots all over my body.'

Abigail So explores vulnerability in Presence, recalling the moment her 28th birthday began with a mysterious medical discovery: 'On my 28th birthday, I went to the doctor’s because I had red spots all over my body.'

In a rehearsal for Rooftop Productions' contemporary theatre piece 'Presence', performer Abigail So sits cross-legged on a gym mat in a dimly lit, minimalist room. She is focused on folding laundry while interacting with a small, glowing robot positioned on the floor nearby. The scene captures an intimate and technologically reflective moment from the show, as she remarks: 'Still falling… So much hair… Only less than 10% is left.'

Abigail So rehearses an intimate scene from 'Presence', remarking: 'Still falling… So much hair… Only less than 10% is left.'

In a dimly lit rehearsal space for the Rooftop Productions (天台製作) contemporary theatre piece 'Presence' (《遙距在場》), actor Abigail So crouches low on the floor, intently examining a small, dark prop vehicle. The scene, captured with dramatic, low-key lighting, highlights the meticulous attention to detail and intimate staging characteristic of this Hong Kong experimental performance. Abigail So reflects on her character's health as she says, "The chiropractor says I have to eat more fish, because fish has a lot of omega 3."

In a moment of intimacy during 'Presence', Abigail So reflects on her character's health: 'The chiropractor says I have to eat more fish, because fish has a lot of omega 3.'

In a rehearsal for the contemporary Hong Kong theatre production 'Presence' (遙距在場), actor Abigail So smiles warmly while holding a small stone. She kneels behind a custom-built, black robotic vehicle equipped with a smartphone mount and glowing LED lights, suggesting a fusion of technology and performance. 'Abigail likes to collect stones. They make her feel closer to nature.'

During rehearsals for Presence, Abigail So finds a moment of organic connection amidst the mechanical, noting that collecting stones makes her feel closer to nature.