Talking about the "Philosophy Department Dance" event in "Theatre 𠝹 Stool Area"

One stone stirred up a thousand waves, and as soon as the article came out, it received a lot of responses, which also made me, who was not very interested in performing "Philosophy Department Dance", to be curious and want to see it. In fact, I have always been grateful that this place has a "theater 𠝹 stool area", of course, it also comes with a little sadness. The reason is that this kind of anonymous expression is of course a product of the times, and it is the daily life of modern people (you see some Lian Deng or other Discord discussions are more dehumanized), but at the same time it reflects that the circle is too small, there are too many relationships, and many insiders still have it. A kind of mentality that is afraid of offending people and affecting relationships and careers, which is true. Even though this culture of art relying on relationships is not unique to Hong Kong, the fact is that the Chinese society is more serious. I don’t want to affect my life and I don’t want to vomit. In addition, many people don’t want to reveal their identities but want to express their opinions. The anonymous community is definitely a good place, and the seemingly peaceful art circle can still shine a few flames. Let’s talk about the conclusion first. Whether the content is abuse, mutual attacks, opening names, anonymity, or rational discussions, in this high-pressure period, I still think that it is better to have arguments than no one. At least we will find that the world is not just a voice, at least we There is still anger to hate each other, to blame each other, and still not need to compromise on a single, boring conclusion.

Although there are many high-quality texts in the "𠝹bench area", anonymous discussions will inevitably have some side effects, because you are not responsible for the text, and sometimes there is a tendency to compare (just compare) to express your opinions bluntly, and because many online discussions are It was short-lived, and some of them wrote their feelings quickly in order to catch up with the discussion speed, including emotional venting. This case reflects exactly that. The article is mixed with a lot of emotions and anger, self-inflated, and lacks some philosophical and rational foundations, as well as the elaboration of thinking (the object of criticism is philosophy as the theme), but it also discusses conceptual issues, so that several The ideas that can be discussed one by one are hyped up, but in the end, because of the lack of rationale, it is only an emotional vent, which cannot be convincing with reason, and even more hatred due to emotional venting.

As mentioned above, "𠝹bench area" is a very recommended platform. It is very suitable for commenting on performances, expressing opinions, criticizing each other, etc. It is very happy to write and read. It's just that when we want to discuss concepts such as dance, dance composition, and professionalism this time, it's not one side of the Grapes of Wrath, one side is single, and the other side is more guessing or pinpointing who the author is to create hatred and peanuts, it's fine. We were all overwhelmed by emotions for several parts of the main discussion. Returning to the article, if you disregard your emotions and read it calmly, you will find that the chaotic text actually involves several topics that can be discussed, including: the professional definition of performance, the nature of dance, the power structure of the industry, fame and audience reaction, the significance of philosophy to society, etc. So far, what has been discussed most is the relationship between the dance profession and the essence of dance. Can amateurs dance? Dance only depends on technique? The answer, of course, is clear. Twenty-first century dance is no longer a formulaic stereotype. There have been numerous experiments and works over the decades, proving the various possibilities of different representations of bodies and even identities. "Everything that rises must dance" created by Sasha Milavic Davies, which was also performed in Tai Kwun a few years ago, invited hundreds of women of different identities and ages to dance, which was really touching. What is moved is not necessarily the performance or rhythm of the body, but also the relationship between identity and collective ritual. As the choreographer mentioned in the interview, this performance is political. Women are stared at, assembled, delighted, and shared. It is a social issue. It has different interpretations and impacts on different cities. These impacts, of course, , is also part of the dance.

So, are these amateur dancers professional (there are also several professional dancers)? Before asking this question, I would instead ask, who and how judges what a profession is? Do I have to go through academy training or be in a dance company? So are hip-hop dancers who are mostly self-taught, or who participate in small group dance classes very unprofessional? Is full time an indicator? If you are a doctor, teacher, waiter, or security guard in the morning, can you not perform at night? Or do you need your body to perform a specific action? If there is space and time to discuss it, we will understand that this is all about multiple issues of power and voice. Interestingly, if we look at dance history, modern dance and contemporary dance, which are often mentioned in discussions, were synonymous with unprofessionalism in the era when ballet was the main dance type. Today, when the world no longer emphasizes contemporary dance, and except for certain occasions, all dance types are only called dance, and contemporary dance has turned into the shackles of a new dance form, more or less in the When excluding other emerging types of dance, Hong Kong continues to label contemporary dance without interruption, and it is even more so to discuss the use of contemporary dance, which originally pointed to anti-form and anti-establishment, to become the subject of power, and to start a discussion on what is professional, how much is it? Kind of weird. But I think it's worth continuing to think about it, what is dance? Why call it contemporary dance? We must always advertise the contemporary. Does it prove that we are not used to the infinite possibilities of dance, and we need to use the contemporary to explain that its concept is very new and avant-garde? However, does this kind of label turn out to shut out the general audience and set up the impression of high art?

As for the power structure of the industry, small circles, etc., I still want to find out whether it needs to be aimed at the Hong Kong funding structure or a funded dance company? In the case of the former, the first discussion should be what the meaning of culture and art is to the current government and the city, and then the overall allocation of resources and the positioning of funding in society, how to determine the structure and direction of funding, and whether there is a fair enough platform for Criticized? Such issues would be discussed by a large number of scholars and commentators in Taiwan. Back in Hong Kong, under the perfect system, how can we conduct discussions? This is already a problem. If it is the latter, then we need to think about what kind of artistic tasks a dance company needs to complete in order to be worthy of funding? To whom should it be responsible? What is the position of power? Is it possible to improve this structure? In response to the question in this article, does the dance company necessarily have the responsibility of cultivating dance talents? Why should one group be responsible? Even if other people don't have the resources to develop, how could the dance company be wrong? Isn't it enough for the dance troupe to do their own work? How did it suddenly become the core of the evil forces? And it is undeniable that CCDC has been doing the work of cultivating dancers for a long time, including the new series. The former dance center has provided space for rehearsal of performances of various sizes for 20 or 30 years almost free of charge. Now, for dancers with some qualifications, who dares to say that they will not Benefited? What is this merit not cultivation? On the other hand, as a group named as contemporary dance, which originally symbolizes rebellion, it is more reasonable to create some works that go beyond the normality of dance and add different elements. If you really want to ask, it should be, why is there now?

Regarding fame and the audience's reaction, there is nothing to discuss, because the performance has not yet been staged, and I have absolutely no way to discuss whether the few people in the poison room know how to dance. It's not a question of professionalism or not, but logically, we can't assume that a person will not do anything before he does nothing. If one speculates on their motives and abilities just because they are famous, and assuming they are just grandstanding, the situation is the same as when a large number of people were accused of bad motives because of certain lifestyles during the Cultural Revolution, when some people had ballet shoes or European scripts in their possession. He was accused of worshipping foreign countries and betraying the country, and was severely criticized. Similarly, assuming that the article was posted anonymously by a certain art group based on personal guesses is equally unreasonable criticism, and only for one's own interests or pleasure, and hurting people in different areas.

As a producer, I think Hong Kong performance audiences have their own preferences, and they are kind, smart, and more careful than European ones, and even frankly, cruel. The audience will not pay attention to your dance background and origin, whether you are injured or sweat a lot during practice. Most of the Hong Kong audience only pays attention to the results, and it is up to their own eyes to see how they perform on stage. The production unit has also made plans for a long time, and there is no need to fight who has worked hard and who is wronged to win sympathy. As for how to watch a performance, whether it is the topic first or the appreciation technique, this is the relationship that the creative unit needs to build before the audience enters the venue.

To tell the truth, if in Hong Kong, it turns out that philosophical, scholarly, and scholarly people have reached the point where they can become famous, and they are fortunate enough to be grandstanding, we should be too happy! On the other hand, because Hong Kong has experienced so much in the past few years, more people have begun to care about society, pay attention to community culture, discuss politics, read history, literature, and international relations. The audience of the performance is the same. They face all kinds of absurdities in society every day. They also hope to find issues that can refer to society in the theater and in art, and reflect together in a dark room, yearning for progress. sorrow. Ten years ago, when it was time to do some shows that the theater cared about the society, no art group dared to use the word philosophy to make a fuss. Today, if philosophy can become a "robber", it is worth celebrating. The good news is that it is not a box office hit, creating a topic, fame, or food, but it should be moved by the many viewers in Hong Kong who are eager to think.

It just happened that "Try it for real" came out with a thank-you clip, and the mantra after drinking and studying in the study tour was just used to respond to this incident. In response to some people who attacked him online, he said: "Even if you can't be a kind person, at least don't make yourself a person who will harm other people without reason."

Again, I really like "𠝹bench area", at least I enjoyed watching it. However, if you want to discuss, please think first, then write. At least be worthy of your own words and convince people with reason. It would be better if we could discuss some issues and avoid personal and personal attacks. Looking forward to more discussions.

"Theatre 𠝹 Stool Area" article:

https://www.facebook.com/107597514424969/posts/pfbid0fhuERSassgZ6EC2teopmNkNxQbydH19YqN85p36zzVdLuCBhfjJ64pBYNUDG1Ucyl/?d=n

"The Department of Philosophy Jumps":

https://www.facebook.com/187405585041198/posts/1457162901398787/?d=n