Public Toilet and Crematory met with fierce controversy. Many viewers complained about the filthy or grisly settings, and were offended by “disrespect” for the dead. But some critics noted the streak of European theatrics running through the works, with their predilection for the dark and poignant side of life. It is an effective tactic for highlighting social evils.

      Guo noticed that European playwrights, particularly the young, tend to pick themes from daily life instead of big events. They explore the complexity of human nature by examining the problems of ordinary people. Chinese writers, however, are prone to observe people and events from a broad perspective. In fact most social problems can be boiled down to personal problems. Guo believes plays can provide revelations in this regard.

      After these two plays Guo Shihang shifted to writing for film and television, but for him they have never been as gratifying as stage plays. “In China the production of stage plays, particularly realistic works, is not financially rewarding. TV scripts can bring me quick and easy money, but they are trash in my view,” says Guo ruefully.

      In a market economy stage plays tend towards light entertainment. Theatergoers, who are mostly young, generally look for fun performances to escape real life pressures. L’Aide-Memoire is far from light fare, and its box office prospects were initially deemed to be grim. “It has never concerned me whether young spectators like my work or not. I just produce what I want. Even if there are only five viewers in the auditorium, the play will go on as planned. It is your business if you accept it or not. And we are prepared to lose money,” the director says defiantly.

      However, Guo also believes that all good plays can be entertaining in some way. The majority of L’Aide-Memoire’s audience were in their 30s and 40s. Producer Wang Jingping plans to promote the play in universities and incubate a passion for serious dramas in the younger generation.