Body Diary Photos

  • |坏蛋|

    egg, be, hatch, mistake

    two, round, ripe, mistake

    egg, be, hatch, mistake

    ……

  • |Watermelon|

  • |Cathelia|

    Cathelia is walking on the long road. All is the desert around, she is bared feet, naked neck,  and wading across this land. Going ahead. Going back. Going to the Water of Life. 

    Cathelia, Catherlia, walking on the desert of land. She is having her period, blood dropped into the arid sand; all drunken. The toe cap worn, no longer incisive and bright, it loses the direction pointed her way of next.

    Is it the Water of Life? I cried. 

    “It is the Water of Life!”, Cathelia cried. 

  • |By two laps|

    Prom

  • |∞|

    Attention

    Dryness

    The Self-loop

    qrf

  • |Walk a snow|

    1

    Moonlight

    Meet her lover

    Midnight

    Snow white

    2

    Pierce

    Without blood

    Pure harmonious hilarity

    3

    “Cooled.”

    ” Have the tea, please.”

    The day, I was going to Blank Space to see the exhibition A Higher Calling.

    It was the first snow, those atoms of me in my body and air were calling for a walk in the snow, and so I walked, and missed the exhibition.

    They said, “the Black Space is not open today”.

    In the higher calling of a day-walk in the snow in a call.

  • |In|

    All feels like on the edge

    All with an urge

    In white, and her red.

    Leave This Place!

  • |Perfect|

    Kids’ Parking Plot

Hello self-critical essay

Learning from my previous experience, it was easy getting into the situation of losing your voice when you were writing. To keep the drive, I set my character down at the beginning; it was a half-man who had no place to go. This was a helpful strategy, I also felt freer to write when not regarding it as a story about me. In addition, just like what Neil Gaiman said, your characters are part of you and will gradually separate from you.

My character had gone through five stages. In the beginning, he was just so happy that he felt love and warmth suddenly and wanted to say that out. Gradually, he felt there was something not very fit. He began to think about why and felt disgusted, and he fell into sadness later. In the end, he calmed down and only wanted everybody could be fine in the coming Christmas. It seemed random, but what my character faced was just the gap between unideal reality and pure love and one’s native wishes.

 After finishing the draft, I started to think about how to perform it to my audience- I decided to use the robot’s voice. It used s digital voice to say those strongly emotional sentences, and the contrast between the robot’s emotionless voice and my content is what I want my audience to feel. It showed the mixture of detachment and zeal and created the view of an outsider; like the set of the empty stage, the robot was watching everything in distance.

Moreover, I created many pauses between sentences or words when the robot spoke to provide space for the audience to feel emotions. One of them asked me how I made this, but the emotions were not from the robot’s tone but from the audience themselves. This is also why I love performance; it is the result between the performer and audience, and it must be real.

 Overall, learning from this experience, I will also focus more on the organization of show and my computer skills next time. To become a better writer, I will keep practising my English, keep thinking and creating, and more importantly, keep living my life with a bare heart.

Dancing Memory

“Memories are sensual images captured by our body of any experience of living. They are inside us, deep and running in our inner energetic rivers. When memories get out from our body they do it in impulses of movement and sound. Emotions are a result; emotions are a movement—— a consequence of memories, impulses and movement. 

Our dance is the external movement of our inner movement. Our ideal dance is that happening inside and outside the body, linking both.”

From Gustavo Thomas, my teacher

Kazuo Ohno

This is our December workshop. It contains four sections. We work in a small group online. I would like to express my sincere thanks to my beloved teacher, Gustavo, and everyone who participated.

Section 1

今天特别艰难,记忆这个东西对我来说特别艰难。我记忆很差,且平常不怎么在具体的事上,一般来说的现实——时间地点人物景观事件——总是流过我。

今天收获是很大的,「我的记忆」从消失、漂浮变成了一个困难,它出现,我感受到些些片刻的冲动和痛。

婴儿的练习

变成一个婴儿,你还没有观察世界和与自己身体的经验。躺着,只看得见天花板,蹬腿,抬起手,抓一抓,眼睛看,去观察,去带领探索的好奇。持续的努力,转头了,眼睛看到了很远的地方,你想要伸手去抓,但是够不到,小小的身体离那里还那么远,也看不清楚。要去,努力,努力,换了好几个无法企及的不清楚的远方,努力,又一次,你的世界一翻,你翻身了,又有一次,你的身体从一个片变成了几个柱,你爬……直到很久很久以后,世界才变成了你忽视的存在,你熟悉在一种无法再超越的境地。

婴儿的练习以后,我感觉自己有了一种「历史」的感觉,一些变化发生了,感觉多了一种「感觉」到自己,感觉到了像故事和小路一样的时间,一些关于叠加、继承、和感动(关怀?)的感觉。

记忆——我好像对它有了一种通路的感觉。

记忆在行为中,经历在行为中,创造(情感、思绪、意义)在行为中

Body memory
Proust:
“I RAISED TO MY LIPS A SPOONFUL OF THE TEA IN WHICH I HAD SOAKED A MORSEL OF THE CAKE … SUDDENLY THE MEMORY RETURNS. THE TASTE WAS OF THE LITTLE CRUMB OF MADELEINE WHICH ON SUNDAY MORNINGS AT COMBRAY … MY AUNT LÉONIE USED TO GIVE ME, DIPPING IT FIRST IN HER OWN CUP OF REAL OR OF LIME-FLOWER TEA.”

这篇记录是这个月结束了以后写的,现在我明白了这一部分——行动,是关于记忆,关于舞踏的基本,就像泥娃娃是泥做的一样。身体,这个太词意味深长了,个人又集体,公共又隐私,当下又古老,显而易见又暗流涌动。直接观察,也是柔软又僵硬,温热又暗冷,线条又曲折。

剥洋葱

Peeling the Onion - Wikipedia

Peeling the Onion
Layer by layer, Günter Grass reveals memories.
Skins beneath the skin.

Grass: “So, in order to complete this patchwork of memory, I started to peel the onion. Rounding out layer by layer, the onion seemed suitable to me to expose what had been and had disguised itself in the course of time.”

之后,我们跳舞,我的身体变得像干纸皮一样,像画皮,它干了,薄的抖的,表面的变成了一层,很强烈,我第一次有了一个想法:这不是我的身体,我的身体不是我。

这不好解释。有点像鼓面,鼓面破了,原来鼓不是什么东西,就是两层薄薄的皮,一个架子,加上一些空间,皮破了,鼓不是什么东西,空间也不是空间。鼓破了一层皮一晃神又看到还没完,里面还有一层,但已经不能说是皮,用感念摸上去,里面还有,吗?如果都是皮,里面是什么?没什么可能。

犹太男孩的故事

Gustavo讲了一个故事,具体我忘了,大概是一个男孩他最后发现自己小时候是纳粹战场上的一个男孩。

I was moved that time listening to him.

记得他还说了一句: appeared the truth

今日记录

翻页至 section 2 ——>>

It

南皋村玫瑰

This is somebody’s plan of Rose Teaching

“Teach somebody something, they just need to grow.”

it story

something weird is always happening……

something you don’t know is always surrounded, just by your side in every second

红砖看展

前段时间和大家一起去红砖看了詹姆斯·李·拜尔斯,和克里斯多夫·勒·布伦的展。两个艺术家我都很喜欢。

詹姆斯一直寻找完美时刻,他的作品中也都是这样一种有些形而上,却是可触的,风趣的,感官的和谐和超越体验。我在展馆里最爱干的事情就是看他,在一个有他的记录片影像的地方看了很久,看他实在是有趣,他的时刻我更多从看他中感受到,非常顺眼好看。后来再去看其他作品的时候总是感觉他就在那些地方,特别是那个问题的哲学之椅和他的金色装束。

克里斯多夫是个画家,画了很多抽象画,我之前不怎么看画,刚好这段时间自己也画了很多用流动的颜料画的画,看他的画和之前看其他抽象画不同的觉得有意思了,这个转变,通过自己做又开了一扇窗子还挺神奇。映像很深的是几幅两个放在一起的画,忘记这个形式叫什么了,一个是叫老虎的作品,一个是和跑有关的作品。

《老虎,老虎》

在老虎这个作品里,两张画一起组成老虎,老虎的两个不一样的性质,一个火热,充满生命力和动感,一个深沉,静谧,危险,这样的老虎真的是一个特别立体,特别有魅力的东西,两个画像是两个扩张的空间,缠绕在一起共存,这里的不是虎皮或者虎的形态,而是可以跳进你的意识空间撕裂你,诱惑你的老虎。

《如何创造自己》—关于我要做什么的探寻

“这样毕竟是真实的,不仅仅

是艺术的一个规律:

改变你的形式,你就改变你的本性。”

《月光的合金》

这个项目里,我不想做表达。创造。

链接

https://www.douban.com/note/574847210/

关于文字性的剧场

“通过说话来表达的东西首先是概括的、简化的、低语境的,受制于特定的社会、特定的时代”,“其次是有限的——哲学和人文科学表达了更多的、更深的思想”

关于剧场创作

艺术从模仿到创造的演化” ,这样的愈多自由,我不知道是解放还是负担。对于剧场,表演艺术来说,从这一过程我们走向创造现场,如张献在访谈中说 “人在其语言之外还是人,但这个人不再是用语言来表达的人了,是更高语境的存在。我实际上是把人的存在的潜在可能性放在剧场里面来探究。”

我在这里谈论剧场是因为偶然在其中对于个人存在的潜力得到体会,在此间生长出来,延续到个人的整体生活中。而现在在脱离原创作环境的现实日常生活循环和事务又感受到巨大的不适,