Her bleak and frighteningly honest for …

telegraph 用：Bleak and frighteningly honest 『使人惶恐地 陰寒的誠實』談她的舞作，的確，她的德式幽默和誠實，讓我們淚笑參雜看人生。
碧娜鮑許的誠實還有一點好處：她的舞者，每個都沒被芭蕾掐死，都像人。RIP.

Yvonne Rainer: The Mind is a Muscle

Yvonne Rainer: The Mind is a Muscle, Catherine Wood, October 2007

In 1968, toward the end of a decade that witnessed civil rights protests, the escalation of the war in Vietnam and an expanded notion of artistic practice, Yvonne Rainer presented her evening-length work, The Mind is a Muscle, a multipart performance for seven dancers interspersed with film and text. Catherine Wood examines the political and media context in which Rainer chose to use the dance-theatre situation and analyses her radical approach to image-making in live form. For Wood, The Mind is a Muscle proposed a new model of artwork that presents a dynamic tension between materiality and idea. It made manifest an agitated and contradictory relationship to the idea of ‘work’ in the context of affluent America, and stripped away the gestural conventions of dance or theatre narrative in an attempt to formulate new kinds of ‘social scripts’ while manipulating the seductiveness of the image, increasingly being harnessed by capitalism. 

《鳥之歌》：新的暈眩，新的精準

©CLOUD GATE DANCE THEATRE OF TAIWAN, 2008 spring gathering, Lin Hwai-min.

過去雲門舞集以東方劇場化效果的舞作稱著。

林懷民為雲門２所編作的《鳥之歌》，13分鐘的舞作只有一個動作：跳躍。極限化地呈現身體生物性內在空間的重力與輕盈，以鳥為喻，與時延交織，構成一種思考性的隱喻。我認為這是林懷民在雲門舞集的創作中，最舞蹈的舞蹈。一種新的暈眩，新的精準。

關於它非常lyrical的配樂，這裡涉及了一種在藝術之間的『貪汙』的現象。藝術形式之間的混合-舞蹈劇場化，是不是因此消減舞蹈本身觀念性的純度？

Meredith Monk : ELLIS ISLAND, 1981

Documentary about the composer Meredith Monk and her works/performances. Directed by Peter Greenaway, part of the “Four American Composers” series (1983)

up for Disability.

“Disability and Contemporary Performance: Bodies on Edge”

Samuel Beckett «Quad I + II», 1981.

Even it is just shown in a small television on the ground. This is one of the most beautiful pieces at « Culture hors-sol » in Geneva.

Samuel Beckett, «Quad I + II», 1981 ©

«Quad I + II»
‘Quad’, the first in a series of minimalist experimental television plays made by Beckett in the 1980s for the broadcaster Süddeutscher Rundfunk, operates with a serial game involving the motional pattern of four actors, but equally accommodating four soloists, six duos, and four trios. Four actors, whose coloured hoods make them identifiable yet anonymous, accomplish a relentless closed-circuit drama.