Li-E Chen, 27 March 2014

25 - 27 January 2014

Devoted and Disgruntled 9

York Hall, London

Beside storytelling, designs, production, choreography, etc,

What is your “thinking posture”?

How do you translate it into your works?

How do you go about research your own “thinking posture”?

These were the questions I asked myself and other artists/companies recently while I

was working on a “one year durational laboratory on ‘nothing’”. I realised every pieces

of works in theatre, dance, live art, visual art or film, etc., many works were lack of

‘thinking posture’; whereas the works have ‘thinking posture’, they are the master

pieces. I am interested in how we can develop our works to become master pieces.

This is really hard for me to put words together, to describe my own thinking posture: it

is in the condition of preparation, performing the change without goal, without thinking.

I asked, “What is your ‘thinking posture’?

I asked, ”How do you research your own ‘posture’ of works?

Is this a style, a form or an artistic vision you are interested in?

I said, “No, this is a physical and has to be ‘physical’ in order to be recognized from

the invisible, therefore I call it ‘thinking posture’.”

someone asked, “Are we making (theatre) a show or exploring the process of

making?”

someone said, “Before making the ‘pose’, the first step is being confident in your ability

to do something, when you have this confidence, you decide on the ‘pose’.”

someone said, “you need to listen with the eyes and listen with your ears, listen

carefully, (listen to your body speak), then you start to translate this ‘pose’.”

What exactly is this ‘pose’?

“An active line on a walk, moving freely, without goal. A walk for a walk's sake. The

mobility agent is a point, shifting its position forward.” Paul Klee

Images:

Tags:

Research, theatre, posture, conceptual, Artists, research, performance, DandD9,

THEATRE, without thinking, Arts, goal, arts, without goal, artists, thinking, Theatre,

Performance