Method Orientation
My performance approach is built on emotional compression —
where emotion is not outwardly expressed, but internally sustained through stillness, breath, and micro-physical shifts.
My methodology integrates:
• physical and embodied performance
• bilingual cross-cultural articulation
• screen-based narrative structure
• research-informed creative development
In my author projects, each project functions as:
• a film work
• a performative inquiry
• an archival creative asset
我的表演方法建立于“情绪压缩”之上——情绪被身体内部持续承载，而非外部释放。这一方法融合：
• 具身表演
• 双语跨文化表达
• 电影叙事结构
• 研究导向创作
在我的作者型项目体系中，每个项目同时作为：
• 一部电影作品
• 一次表演研究
• 一个长期创作档案
This work is particularly suited to:
• auteur and director-led cinema
• cross-cultural narratives
• restrained, character-driven roles
The Practice
Actor&Author
I work across two parallel modes:
As an Actress
I work within director-led projects as a Chinese–Australian lead, focusing on cross-cultural, character-driven cinema.
In this context, performance is independent — serving the director’s vision and the film’s structure.
As an Author-Driven Creator
I develop and lead projects within an independent structure that integrates performance, authorship, and long-term creative control.
These works function not only as films, but as part of an ongoing artistic and cultural framework
我同时在两种平行结构中工作：
作为演员
我在导演主导项目中担任中澳跨文化女性角色，专注于作者电影与角色驱动叙事。
作为作者型创作者
我建立融合表演、作者意识、制作与长期创作连续性的项目结构。
这些项目不仅是电影，
也是持续发展的文化与艺术实践。
Behind the Frame: Building Cross-Cultural Screen Characters
Many independent films begin with a simple question: How do we bring authentic human experience onto the screen? As an actor and creator working between Chinese and Australian cultural contexts, my work often explores characters navigating identity, migration and emotional transformation. Rather than approaching performance purely from dialogue or psychological analysis, I often start from the body. Breath, physical rhythm and spatial awareness shape how a character exists on screen. This approach has gradually evolved into what I describe as Embodied Screen Acting — a performance method where emotional states are accessed through physical impulses rather than pre-planned expression. Independent cinema provides a rare space where such exploration is possible. Without the strict formulas of large-scale commercial production, filmmakers and actors can develop characters that are complex, contradictory and deeply human. As new projects continue to develop, I remain interested in collaborating with filmmakers who are exploring cross-cultural narratives and character-driven storytelling. Independent cinema remains one of the most exciting spaces where new voices — and new actors — can emerge. Independent cinema Screen acting Cross-cultural storytelling Chinese actor in Australia Embodied acting 镜头背后：跨文化角色的诞生 许多独立电影的创作，往往从一个简单的问题开始： 如何在镜头前呈现真实的人？ 作为一名在中国与澳大利亚之间进行创作与表演的演员，我的很多角色都与身份、迁移以及情感变化有关。 在表演方法上，我通常不会只从台词或心理分析出发，而是从身体开始。 呼吸、身体节奏以及空间关系，都会影响角色在镜头中的存在方式。 这种实践逐渐发展为我所使用的一种方法： 具身化镜头表演（Embodied Screen Acting） 即通过身体触发情绪，而不是预设情绪表达。 独立电影提供了一种非常珍贵的创作空间。 在没有工业公式限制的情况下，导演与演员可以共同探索更复杂、更矛盾、更真实的人物。 未来的创作中，我也希望继续与关注跨文化叙事、人物驱动型电影的创作者合作。 独立电影始终是新声音与新演员出现的重要土壤。 独立电影 电影表演 跨文化电影 中国演员海外发展
Actor’s Perspective: Embodied Screen Acting
For me, acting on screen begins with the body rather than the line. In recent years I have been exploring what I describe as Embodied Screen Acting — a body-led approach where emotion is generated through breath, sensory awareness, and physical presence instead of psychological imitation. When I step into a scene, I first listen to the environment. The wind moving through the trees, the temperature of the air, the subtle sound of leaves, or the quiet rhythm of my own breathing. These sensations remind me that I am alive inside the scene. From there, the performance begins. The body adjusts before the mind explains anything. Breath shifts, posture changes, and the eyes gradually find focus. Emotion appears not because I try to create it, but because the body has already entered the world of the character. Working across languages and cultures as a Chinese–Australian actor, I have found that the body often communicates more truthfully than dialogue. Silence, stillness, and gaze can sometimes carry the story more powerfully than words. This practice has gradually led me to articulate a developing framework called Embodied Migration Acting, where migration experience is understood not only as narrative but as something physically carried in the body. For me, acting is not about demonstrating emotion. It is about being present enough for emotion to appear. Embodied Screen Acting Embodied Migration Acting Chinese-Australian Actress Body-led Performance Cross-Cultural Cinema Physical Acting Screen Presence 演员视角：具身银幕表演（Embodied Screen Acting） 对我而言，银幕表演并非始于台词，而是始于身体。 这些年，我一直在探索一种我称之为具身银幕表演（Embodied Screen Acting）的实践方法——一种以身体为核心驱动的表演方式。在这种方法中，情绪并非通过预设的心理模仿产生，而是从呼吸、感知与身体存在中自然生成。 当我进入一个场景时，我首先会去聆听环境。 树叶被风吹动的声音、空气中的温度变化、脚下土地的触感，或是自己呼吸的细微节奏。这些感知提醒着我：我真实地存在于这个场景之中。 而表演，也从这里开始。 身体往往先于意识做出反应。呼吸发生变化，姿态随之调整，目光逐渐聚焦。情绪之所以出现，并不是因为我刻意去制造它，而是因为身体已经进入了角色所处的世界。 作为一名长期在不同语言与文化之间工作的华裔澳大利亚演员，我逐渐意识到，身体往往比语言更诚实。 沉默、静止、凝视，以及细微的身体变化，有时比任何对白都更能够承载人物与故事。 这样的实践进一步推动我发展出另一项持续研究中的概念——具身迁移表演（Embodied Migration Acting）。 在这一框架中，迁移经验不仅是一种叙事主题，更是一种被身体记忆、被身体承载的存在状态。文化转换、身份流动、归属感的变化，都会以呼吸、节奏、姿态和身体感知的方式留下痕迹。 对我而言，表演并不是展示情绪。 而是让自己足够真实地存在于当下， 从而让情绪有机会自然出现。 具身银幕表演 具身迁移表演 华裔澳大利亚演员 身体驱动表演 跨文化电影 身体表演 银幕存在感
New Structure
Traditional industry systems separate authorship from performance.
This framework preserves continuity, authorship clarity, and long-term sustainability.
传统行业体系往往将“作者性”与“表演”分离。
而这一结构强调创作连续性、作者清晰度与长期可持续性。
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