"Body theater" is a series of photography works derived from Lin Ran's research on new media drama therapy "immersive drama". Lin ran believes that the body, as the most instinctive and real perception carrier of human beings, connects with the world through five senses of body movements (vision, hearing, smell, taste and touch). The cognition of the world is constructed by the body actions of self and others. This series of photography works takes the body as the medium to change the theater from a space environment to any place, and the body itself is a theater, and every action has a plot. There is a dramatic conflict between the performer's body and body. And the plot clue is not from the story of the photographer, nor the story of the performer, but every audience reading the picture. The plots strung up in the mind of the viewer, and everything related to the viewer's knowledge, experience and emotion, become the picture for the viewer to interpret and create his own story. It explores an open and boundless plot.

   Under the guidance of photographer Lin ran, it presents a natural group performance. The props held by actors are also the most common cheap masks in daily life, such as balloons, umbrellas, raincoats, pajamas, etc. The performer shows the character as strange and turns the daily life into abnormal, while the audience views the performer and the final photography with a distance (alienation) and surprise (strangeness) attitude. These performances come from Lin RA's research on Brecht's "alienation" and "Defamiliarization". Defamiliarize an event or a character, strip away the self-evident, well-known and obvious things of the event or character, which makes people surprised and curious. "Defamiliarization" is also a kind of understanding (Understanding - not understanding - understanding), negation of negation.

   Hegel pointed out in phenomenology of spirit that "generally speaking, what we know well is not what we really know because it is well known. One of the most common self deceptive things is to assume that something is familiar when we know it, so we don't care about it. " In Brecht's view, the process of separation is the process of man-made estrangement from familiar things. In this way, on the surface, these people or things suddenly become unusual, surprising and puzzling, which naturally leads to people's deep thinking and eventually new understanding. The reflection of "Defamiliarization" is such a reflection - it can make people know the object, but at the same time make it feel strange.

   In general, aesthetic experience itself is aroused to make a utopian suspension. In modernism, aesthetic value is often regarded as a call for fundamental innovation, whether as a call for modernization or innovation, whether as a substitute for modernization or revolution, or on the contrary, as a reinforcement of one or both, which has never been very clear, sometimes as a remedy for them. So what we study in these works is a kind of Brecht's theatrical aesthetic photography.

《像婴儿一样嚎啕大哭》--- 这只硅胶乳房是取自林苒的装置作品

《像妈妈那样舞动自己》

《为了我所拥有的》

《如果可以安枕》

《看不见的伤痕》

《听不见的呐喊》

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