Documentary photography faces the constant challenge of avoiding cliches and remaining rooted in reality. It is particularly the case when photographers only put their focus on the complicated contemporary political and social issues, where their critical stand through the visual expression based on specific perspective and motivation can no longer satisfy the diverse viewers in terms of the multi-faceted artistic visions and contemporary aesthetics.
But should we assume that the pure documentary images of the President always have to be political? In an era overloaded with mass-produced images, the image’s power to reveal is thus weakened. On the other hand, the form borrowed from documentary theatre, especially how it composes and refers to the materials from reality, leads us to a detachable subject, while the real nature of selection and composition will allow the images to be spontaneously social and political. Here, rather than demanding for reality, humans are searching in the darkness for the truth hidden beneath the images.
Should we agree that the changes brought by the “title” and “role,” specific to that person, are to acquire the adequate ability to satisfy what the title demands? Or should the person make one’s best effort to play the role as it is and to make sure it will not be a disappointment? The answer is unknown to us, for that we can only play between the fiction and reality to explore the infinite possibility, with which the viewers may decide the ultimate identity of the script. Like watching a play, what happens before our eyes is to accentuate our self-reflection by asking ourselves a question: are we playing the roles of ourselves, or are we trying our best to live the life as how our life should be?
當紀實影像被觀眾對於現實的渴求慾望綑綁，便容易陷入迂腐而失去了現實的語境，尤其當攝影者只著眼於複雜的當代社會與政治問題時，僅透過特定角度與動機所採取的批評形式，已經難以滿足不同層次的觀眾對於藝術的多元想像與當代的審美反應。
而單純的紀錄總統的影像作品便帶有政治性嗎？在影像大量多產的年代，削弱了影像的揭露性，紀錄劇場的形式在真實內容的編排與寓意指向一個可拆解的主題，在挑選與編排的本質下，其本身的社會性與政治性便自然的生產，人們不再需要真實，而是在黑暗中探索隱藏於影像表面下的真理。
頭銜與角色對於自身所帶來的轉變，是讓自己擁有足夠的能力去滿足成為這頭銜的條件嗎？還是用盡各種努力扮演這個角色而不讓人失望呢？我們無從得知，只能透過虛實交錯去探索無盡的可能性，讓觀者自己決定這齣劇本最後的身份。而如同觀賞戲劇的同時，也是在透過事件去凸顯我們自身的寫照，在這同時也是對於自己的自省，我們是在扮演身為自身的角色嗎？還是我們努力地活出自己的模樣？
在後結構主義與數位擬像的快速發展之下，不斷的衝擊我們對於再現的可能性，維基百科定義了總統、媒體各自闡述總統、社會階層解讀總統，在這個後真相政治(post-truth politics)的時代裡，人們自身形成的感覺，已經屬於一種別於真相的現實。
切入現實的路徑，不僅以再現的方式可以進入，在紀錄劇場的舞台中，如同一場逐漸嶄露的巡演，不預設立場或意義，透過參與的過程，讓觀者在真實與虛構兩端鏡像擺盪的拉力，成為召喚參與者自身的的記憶與想像的動力，轉化為一段自我詮釋的經驗。
總統與人民不是位於兩個端點，探究總統所代表的意涵之時，其實也在叩問人民自身與其社會體制，牽動彼此的軌道直至平衡。
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