碧娜鮑許之青春交際場

I can't stress again how much I like the product of theatre and dance. And no one can do it better than Pina. Not too much about the documentary needs to be said. It's fresh. It has depth. Pina's choreography involves me because it speaks about human nature and human interaction so blankly in its own abstract language.

Some of my favorite moments:

• The large number of dancers on stage doing seemingly meaningless gestures but is amplified by repetition and mass.
• The boy and his music stand and two sheets of loose paper flying every time he adjusts his place congruous to the unrequited love that exaggerates her attractiveness to the point of being extremely unattractive.
• Much of the dance is about courtship. How do we make ourselves attractive? How do we attract attention?
• The music.
• The group session confessing their experience with love (I want to start a session like that).
• The attachment that grows within the group and especially unmistakeable on the instructors. They fell in love, the way I fell in love with my Joy Theatre kids.
• They also reminded me of how kids will give up, say they can't do it, with frankness. They won't be shy about it. I still give up. I am just more embarrassed. Point is not to give up because there's so much more to persistence. That's what I told the kids. That's what I myself need.
• Moreover, kids in theatre, they can't grasp the meaning or expression from the get-go. But it's an amazing process to see them learning LINES then BLOCKING then BODY LANGUAGE then VOICING then EXPRESSION then MEANING (which probably also applies to me).

And I've been inspired to do theatre reading for my birthday, to dance without remembering my joints.

Ming Jen also reminded me that maybe work itself is rest. 工作就是休息。