Images Courtesy of Break Dance Theater.
There may be some ancient legend, everything begins with interactive temptations without dialogue, and today we call such experiments improvisation.
Impromptu as a producer's production method, a free dialogue can be created and a text with no scope can be created. In the fall of 2016,Break dance theaterThe series of performances "Chaotic Body" was jointly planned by Chen Wukang, artistic director of the dance theater, and Li Shiyang, a musician. The creators were invited to create performances in the rehearsal field with body and sound. Without rehearsal and rehearsal, the performers attempted to create a creative field with a blurred purpose and unknown direction in the performance, which made the performers inspire each other, and only depended on it. Perhaps we can say that this series of performance experiments is a kind of friendship, the marriage notice of Taiwanese dance performances in the early 21st century.
[Chaotic body sound] The first season of the first season, Chen Wukang XPorta Chiusa.
How should the audience expect an impromptu performance? How to get a spark from the planner's matching relationship? For the performers, how can they develop a considerable dialogue content and method from an initial respectful friendship?
Improvisation becomes a performance, and there must be defects in the overall structure. However, the freedom to be cared for and the unknown to be expected are expected in the performance experiment. The dancers and the performers talk to each other in different languages, and we don't need to expect the dancer to make a sound in any way or the player's identity translocation. Rather, in the impromptu performance, the performers have drawn up the range of media they can use, understand the possibilities and mechanisms of exchange, and continue to be the production that will come in the future.
In the series of "Chaotic Body", which was jointly planned by dancer Chen Wukang and pianist Li Shiyang, the performer was enlarged to the audience in an impromptu performance form, and the initial performance was seen. The performance is such a general beginning, the exhibition is on the stage, and the performers become their own. But I don't always have only the self. There are many deep memories and casual conversations and exchanges. It is like a daily routine. This time Chen Wukang talked with us about improvisation and the process of chaos in improvisation.
[Chaotic body sound] The fifth quarter of the second season, Ye Wangzhou X non-confidential space (Xie Mingzhen + Zheng Gejun).
. What kind of opportunity is for you and musician Li Shiyang to start planning this series of performances together?
I first went to New York in 2014. During the period, I saw many impromptu performances. There are various forms, most of which are music. About 10-15 minutes before the performance, the audience can enter. The performers have big names and new ones. Impromptu performance. The performers do not rehearse before the performance, but not because they are irresponsible, but they also admire them to start performing without preparation.
The first game I watched was the performance of Philip Glass and a poet. One person read poetry and one played the piano. After the bombing, he got up and walked outside, walked through the crowd and walked out the door. We thought that someone outside would follow the next performance, but he took his things to take the subway. In fact, such a legendary composer is so everyday.
Later, before leaving New York, I was invited by a friend and played with them there. This kind of collision or contact through improvisation is very common in this city, it is happening everywhere, it is very chaotic - just like a word, "multidisciplinary". As a dancer, I hope to be able to make an acceleration, let everyone collide a little more, don't think too much. So after I came back, I discussed with Li Shiyang, starting from the fall of 2016, the first season of "Chaotic Body".
[Chaotic body sound] The third quarter of the first season, Zhou Shuyi X Wang Yu.
. How did the series of activities in "Chaotic Body Sound" happen in the Break Dance Theater?
Some evening dance groups did not rehearse, we met in the office. We looked at the rehearsal field of the empty mine. Some people said, "No one is dancing. No one is dancing? How can no one dance or do?" So I decided to start here. Later, a part of this space was also part of Chaos Body, including the space for our temperature and the sound of the street.
. What is “improvisation” for performers?
Improvisation is a big challenge for dancers, who have to stay on the stage for an hour. Of course, there is no need for them. They can cut the time or make arrangements themselves, and they are still in the scope of improvisation. This time will be a challenge for everyone, including performers and audiences. The performer will want to watch the clock in 20 minutes. There is a sense of time, most of which is "How to spend twenty minutes", and began to make up his mind not to watch the clock. The next time you look at it, it will be the time to end. However, performers often talk and explore during the performance, so the audience is also struggling.
Such a pairing improvisation is to put the performer into a conversational context. This is a series of decisions. A decision affects the next decision - even if it is suspended, it is a decision. All the way to go down, chaotic chaos to go down. Some of the performers know exactly what they are doing and are playing very clearly. Some will have chaotic conditions, the performers don't know what they are doing, and we can see that they don't know where to go. They can find it slowly and then go to a place together. Then, hey, they are lost again.
I think it's interesting to see how they are exploring. And the end of each time is always the best, they will pay attention to the time during the performance, and start looking for the ending at a certain stage. Looking for the end of the process, the consensus will be very clear, with common and obvious intentions.
. Standing in the role of the planner, what do you expect from Chaotic Body to produce? For example, the dancers have different body sensations, different ways of creating sounds, or let the performer's production relationship appear directly in front of the audience?
Some things can be expected but there is no way to force them. For me, it will be the subject of "believing" and "trusting" - believing in yourself and trusting opponents. When you stand on the stage, you can't really believe it. It will be that person who talks with you and spends some time together on the stage.
In this series of performances, some of the performers’ experiences of dancing again were also given, such as Lin Wenzhong and Gu Mingshen. After they have their own dance troupe, they need to take care of everyone and it is difficult to have their own performances. On such an experimental platform, everyone can see their dance again.
[Chaotic body sound] The fifth season of the first season, the ancient name extension X12 dog cycle.
. What kind of challenges and imaginations does the "Chaotic Body" bring to the performers?
For my part, it is breakthrough, learning and absorption. In this time, the performer will have time when he will run out of tricks. In such a situation, they are trying to figure out things and develop unexpected things. The current impressions of the performers will be very deep, about their own impressions. But this thing will not be seen, it will disappear with a flash. After the performance, each returned to their own position, choreographed, danced others, and danced in different scenes.
. What effect does "Chaotic Body Sound" have on you?
It’s an old-fashioned saying, but it’s like this. In the face of the public platform, we also contact the audience in the process. In addition to large-scale performances, the dance group can be an open, educational space, not just a work place. Chaos works usually do not have too complicated structure and text behind, so it is relatively easy for the audience to understand and understand; this is the activity we want to play with everyone outside of the development of our own works. There is no limit to this "everyone". It has nothing to do with the taste of style. Everyone can enjoy the same way, like the workshop of Klein's workshop and body sound.
. Finally, where do you think "Chaotic Body" can go?
I finally hope to make Taiwan a dancing island, a place that has been dancing. There are so many dance groups in Taiwan's population that they can dance on the island in their own way. I sincerely hope that the counties, cities and places have different forms to contact the dance, and go out of the traditional framework. Although improvisation is a framework of activities compared to the West, it is less likely to have Western-style symbols in it, but instead can contain different elements. And on this journey of improvisation, we can have more confidence and embrace for our body, which also includes our history and stories.
Break Dance Theater 2018 "Chaotic Body Sound" Season 2 Fifth to Eight
Break Dance Theater Rehearsal / No. 24, Lane 28, Section 1, Daguan Road, Banqiao District, New Taipei City
Fifth Fan 2018/1/3 (3), 08:00 pm, Ye Wangzhou X Non/Confined Space (Xie Mingzhen + Zheng Youjun)
Sixth 2018/2/7 (three), 08:00 pm, Huang Huaide X Huang Dawang
Seventh 2018/3/7 (three), 08:00 pm, Qiu Yiwen X Lai Qixia
Eighth 2018/4/11 (three), 08:00 pm, [mystery guest] X Lin Huijun X Qianye Xiuyi
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