Everyone knows what it means to think (2019)

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有關閱讀表演的過程。

表演者用舞蹈/身體/動作去表達意圖；觀者於當下啟動「思考」去閱讀創作者的「思維」。整個過程中，閱讀是被動還是互動？舞蹈/身體/動作又能否傳達訊息？

透過剖析個人思考與作品的扣連，邀請大家一起探討共同創作的可能。

參考資料
Credo in Artem Imaginandi by Bojana Cvejic;
A Picture of Stone by Mette Edvardsen;
My Value Your Value Our Value, Artistic Statement by Pavle Heidler;
Choreographing Problems by Bojana Cvejic;
Moving Together by Rudi Laermans

Is dance/body/movement communicative?

In researching dance/body/ movement as a personal coded signifier, we unfold its literacy and readability by decomposing our thinking processes and deconstructing the acts.

Playing with the relations of our ways of thinking and opening up the authorship of interpretation leads to the discourse of acts and thinking.

May readers be(come) co-authors?

Readers’ Reference
Credo in Artem Imaginandi by Bojana Cvejic;
A Picture of Stone by Mette Edvardsen;
My Value Your Value Our Value, Artistic Statement by Pavle Heidler;
Choreographing Problems by Bojana Cvejic;
Moving Together by Rudi Laermans

Extended Reading

Everyone knows what it means to think

Concept / Choreography / Performance CHAN Wai Lok

INSPIRATIONS

In what ways should a performance to be read? It is undebtable that hundreds of viewers will have hundreds of perspectives of viewing the performance. So what make them different?

Personal archives, cultural backgrounds and the society that we are living have been implanting such differences into each individual’s thinking system, substantially.

When a performer commits an act or displays an object, audience may recognise it by making references to their recollection: “I have seen it somewhere before.” Or, the audience do usually imagine what it is. So, how does imagination come from? By making references? Or mere and pure imagination? Sometimes, they allow themselves to indulge in some feelings and senses. Sometimes, they do make some rational choices: they judge, they analyse what they are experiencing.

Imagine, recognise, refer, feel, sense, analyse, judge...

Based on the differences among all individuals, the piece aimed at exploring how the audience react with performative movements and in what ways the audience should and can be emancipated into reading the performance.

METHODS & MOVEMENTS

For the purpose of stimulating the initiatives of the audience, a series of action words are designed as instructions or filters for the audience: Imagine, recognise, refer, feel, sense, analyse, judge..., which are the acts I usually come across when I read a performance. By starting with these single words, the audience are warmed up to be open to view the performance from different perspectives.

After some warm ups, the audience are ready to be challenged by being asked two or three combinations of words spontaneously, like imagine or sense, the presumed choices will provoke them to choose among the words, and consequently redirect their established ways of thinking by challenging “why I have to just imagine or sense?”

In terms of movement, researhces on movements with variety have been conducted, including somatic, technic, repertoire, narrative, emotional, theoretical, abnormal, theatrical, etc..., With different movement texture and quality, no extra meaning was intentionally imposed on them so as to let the movement meaning remain alone and induce the audience interpret them in their own ways.

In accordance with the principle that different audience associated with their own cultural backgrounds, research on locally-specific movements is also being conducted to make the performance localised and down to earth. Local traditional dance, religious habit and ritual are the major genres that have strong symbolic localization, which will be at a more intimate and audience-friendly position to provoke their interpretation and open up their authorship.

SPACE & TIME

It is a fundamentally presented piece with a simple light showing the space itself. The happenings on the body are therefore important and draw the audience’s attention into the choreographer’s motive. Nevertheless, playing with the simple setting of space, i.e. front and back, inside and outside, left and right, is still crucial for the audience to reflect the meaning of “stage” and “space”.

Movements always go with timing. Time is the moment to sense; the space for reflection, a clause of statements to recall the present moment. This piece is to create time for thinking.

NECESSITY

The piece is to echo with the post-liberate society and to challenge the hierarchical power of the choreographers, who have been thought to have a overwhelming role and authorship in their works. The challenge is not to repel the role of choreographers, but to build up communication between choreographers and audience in an equal position.

By comparing personal coded signifiers and decomposing thinking processes, the piece unfolds the literacy and readability of a performance and creates an open space for stimulating every participant to reflect their roles as performance readers and to find their own ways to read a performance.

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編舞/演出 陳偉洛
燈光設計 黎子瑜

Choreographer/ performer CHAN Wai Lok
Lighting Designer Lai Tze-yu

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由香港城市當代舞蹈團舞蹈中心二延體 2019 制作

Producted by 2nd stage 2019, City Contemporary Dance Company Dance Centre

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Everyone knows what it means to think
日期 21.9.2019, 8pm, 22.9.2019, 3pm & 8pm
地點 CCDC舞蹈中心賽馬會舞蹈小劇場

Everyine knows what it means to think
Date 21.9.2019, 8pm, 22.9.2019, 3pm & 8pm
Venue CCDC Dance Centre Jockey Club Dance Theatre

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Press

[中] 用腦袋跳舞Dancing with Brains —《二延體》2019觀感
《舞蹈手札 dance journal/hk》, Human Wu 11.2019

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