Directed by Zhao Liang
Lighting Designer Chen Jian Ming
Stage Designer Wu Di
Make-up & Image Designer Wang Jia
Poster Designer Anna
Choreographer Zhao Liang
Photographer Gu Yi / Fan Wei / San Li / Cai Qing /
Broadsword Play: Li Nan
Cudgel Play: Li Yu
Tai Chi: Cao Pei Zhong
Fencing: Gong Xingxing
Broadsword Play: Zhang Kun
Spear Play: Zhang Zhenguo、
Fencing: Liao Yuan Wu
Live Pipa Playing & DJ: thruoutin
Live Cello Playing: Song Zhao
ntoxication, Exaltation and Simplification
Those who can stop the war and fight are genuine martial artists/Fighters; when such martial art was performed to the rhythm of music, the art of dance came into being.
Every martial artist knows when to attack and when to defend, highly emphasizing the connection between the ego and external world;
Every dancer knows the dynamic motion and static status, placing themselves in between the human confusions and inquiries to the universe over the questions of spirituality.
Martial Artists and Dancers in Chinese are phonetically analogous, with distinct presentations but the same root. They both follow the law of universe, also are in connection with human body and with spirituality.
The Name of “Martial Art of Dance” originated from “Dance” and “Martial Art”, i.e. to present a boundary-crossing theater work that holistically demonstrates to all audience our Chinese Martial Art by way of pioneering modern dance, for the purpose of inheriting, developing, innovating and popularizing the unique culture essence of the Orient.
In the presentations, Martial Art and Dance are red-and-blue divergent, but highly converged at the level of the spirit, as the two are guided by individual philosophy and experience – to play the fight through dance and to figure dance through fight, thus eradicating the physical forms and boundaries of the two to obtain real meaning. By so doing, we hope to uphold a sense of architecture to human body by way of modern dance, to inquire the great mind of Zen, to take martial art away from the competitive sports, and to take shape in spirit, energy and vitality in order to channel the essence from both of the two.
The boundary between martial art and dance was already not a clear line. In the Movies of “Crouching Tiger, Hidden Dragon” and “Night Banquet”, the martial fighting between man and woman was as elegant as a duet. Martial arts often bring inspirations to dances, even become an indispensable part in daily practice of dancers, for the purpose of shaping the limbs, body and ways of expression.
------ By “Jiefang Daily”
ZhaoliangArts Studio especially invited Mr. Wu Bin, the vice president of Chinese Wushu Association (China’s Martial Arts/Kongfu Association) and the Master Shifu of Kongfu stars Jet Lee and Jason Wu, to be consultant of Martial Arts. By introducing Wushu experts and dancing experts into the same team was the “Martial Art of Dance/ Wu SHU” crew successfully born.
------- By “Eastday.com”
Through the conflicting fusion of Chuachuan Boxing, Taichichuan Boxing, Art of Fencing, Sabre Play, cudgels, spears and modern dance, as well as ad-libbing and body interactions, “Martial Art of Dance/ Wu SHU” found out perfectly balanced tacit understandings and perceptivity between dances and martial arts from the hard and the soft, Negativity and Positivity, Parting and Merging, and between Start and End.
-------- By “ThePaper.cn”
Duration: 70 Minutes, Without intermission
Tickets: 60, 40 30, 15 GEL
Zhao Liang is highly open to new inspirations and ideas and then weave them into his well-designed storyline.Besides, he has attracted a team of outstanding artists.Through literary allusions, seamless emotional connection and flowing performances, he blends fragments of classical stories into a multi-sensory cultural innovation.Surreal as they are, the dance shows contain layers of meanings and use metaphors to present universal truths.As a result, they resonate with the essence of our being, leading to spiritual insights beyond perception.In comparison to the traditional way of dance presentations, “neo scene setting” in Zhao Liang’s art works reflects his creative insights into the interaction between dance performances and their surrounding environment.By expanding the dance scene, he demonstrates an interdisciplinary application of modern arts.The shows use eastern aesthetics as a vehicle to catalyze the renaissance of traditional Chinese culture in the modern context.
Composed of three chapters, the Soul & Desire Trilogy illustrates Zhao Liang’s return to the traditional Chinese culture and his fluency in eastern dance vocabulary after he spent time overseas.The three chapters are independent yet interrelated. Together they form an experiment in terms of theme, structure, dance components and visual effects, which demands extraordinary artistic talent and courage.All these may as well make Zhao Liang an avant-garde in the modern dance history of China.In fact, these art works have also won round applauses overseas.They transcend the boundary between modern and classic, connect the East with the West and shine forth with something universal -- the human nature.
The Trilogy focuses on and cares for all sentient beings -- ultimately men and women in the mundane world are bound by three things: greed, ignorance and aggression.While desires and thoughts come and go, the soul struggles in between them.Sometimes it is clear, while others dull. People are torn between the polarities: form vs.emptiness,soul vs. desire, life vs. death, disillusionment vs. nirvana...creative insights into the interaction between dance.