The Stage As a Drawing Board

Critical Acts 137 - videos, videos, E+E. hybridism, Architecture is... is... Architecture

1 Acts through media, forms, concepts, and concepts, forms, through media, Domus China as he introduced one of the — Interactivity, intertextuality, intertextuality, Interactivity, 2 Since its establishment in 1982 Zuni Multimedia Theatre Education Scheme (since 2000), installations, and other artworks. They have and other installations, artworks. also engaged extensively in arts criticism, and cultural education, policymak- publishing, ing. Icosahedron has been at the forefront of Hong Kong’s alternative culture and has grown over the years into a leading Asian force avant- in Born garde as theatre. a dance and perfor Artistic director Danny aesthetic domains. and his associates have created more Yung than a hundred performances as well as mance group, Zuni mance has group, consistently strived to defy theoretical pigeonholing and strict dis- ciplinary classifications and has configured a company of trav- itself as a nomadic entity, elers ciplinary exploration of the triangular relations as phrased by Qin among the Or, three media. Lei of programs of the concert series AIAF is the an Discourse with opportunity Music, “listen and to observe to architecture, music” (Qin 2009). each Looking — conceived — Pop Goes Experimental the Theater Avantgarde: in Contemporary and an interdis- — the first of its kind in Black Box Exercise (since 1995), the — musical theatre, theatre music, clas- theatre musical music, theatre, is not simply a festival of art and —

— (since 2003). Since 2001 they have Zuni been Youth publishing the self-funded cultural magazine

and The author would like to acknowledge the support of Zuni Icosahedron and of the Journalism and Media Studies Centre of the University of Hong Kong. Besides publishing catalogues, annual reports, essay collections, and monographs (mostly by and Woo Yung) documenting their own creative endeavors, in the early 1990s Zuni established a Cultural Policy Study Group through which they issued a number of reports evaluating the work of the local arts councils and other institutions. They have been active in public consultation and cultural advocacy ever since. They have masterminded several educational programs to promote creative work (performance, video-making, visual arts) among the local youth and the wider community such as the 1. 2. China is forthcoming from Seagull Books (Enactments Series). Rossella Ferrari is a Lecturer in Modern Chinese Culture and Language at the School of Oriental and African Studies (SOAS), University of London. Her research and publications focus on Chinese- language theatre and film, intercultural approaches to performance, and the theory and praxis of the avantgarde. Her monograph

, one for of Mies, the core productions of the Art Architecture Festival they Is (AIAF) 2009, are each supplied with a 1-100 scale drawing of the side elevation and in stage lieu plan, of the Following conventional a playbill. brief pream- also printed on ble the delivered by an actor, drawings along with the production credits and other information about a the performance, chronometer and begins for ticking, 10 minutes the spectators are left alone to wonder with a text to read and a plan in hand to try to make sense of the show that is about to com- AIAF Despite the its mence. name, of Zuni Icosa and directed Woo by Mathias hedron a festival of architecture and but largely, also, It is theatre. a celebration of architecture and of architecture in theatre and rather, theatre or, architecture as theatre As audiences enter Theatre the of Grand the Hong Kong Cultural Centre to attend Zuni Icosahedron’s Architecture Is Art Festival Rossella Ferrari Asia and It possibly is worldwide. also a festival of music electronic sical noise opera, The Stage as a Drawing Board Critical Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00053 by guest on 02 October 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00053 by guest on 02October 2021 138 Critical Acts by Mathias by Woo devised were that interrogatives grounding the with synonymous become have that aptitude satility,cross-disciplinarity, investigative and ver Zuni,the the of matches and world AIAF the accessing for keywords all are searching transmediality,journeying, mapping, and District). Cultural Kowloon controversial the Westof construction and planning the over debate public (the demands soundscapes),sociopolitical and and spaces tan ing,metropoli - watching,experiencing and odysseying,”flânerie, walk- 21st-century of of of practice “city (the musings philosophical and Woo2009:13).into inquiry an launch They ours”intrinsically (Yangis that path a “develop to designs),ways and and theories modernist architecture,theatre,and (traditional aesthetics relations),concerns mutual cultural their and (architecture,matters art,artistic score theatre, WestKowloon? Woo’sunder interrogatives Odyssey? is City architecture? What is What Chinese architecture? tival: is is What What director ist,commentator,cultural executive Zuni and essay- prominent a also is who theatremaker ences after each performance.each after ences interac - These audi- to distributed were forms feedback and questionnaires follow-up and booklet tional the promo- in AIAF printed were responses ideas.their Some contribute and intervene actively could public the that so venues major city’s the through spread were space) blank a phrase the “Architectureing is”by (followed display- postcards of opening,series the a questions.their voice to media Weeksbefore critics arts ers,photographers, composers, cartoonists, and architects,designers,artists, video perform- (see time,2001). technique Au and space,of stasis, motion, materiality, mechanics, factors to respect with architecture and theatre relations,affinities, shared and “constraints” of conceptual the excursions,to stage pertains of most interrogative,Woo’sinforms which 3. This inquisitive bent is reflected by the four the by reflected is bent inquisitive This website www.rthk.org.hk/elearning/architecturetour/westkowloon.htm.website TelevisionRTHK(Radio the on WestKowloon of Kong) tour Hong virtual and project e-learning AIAF the also See The creative team creative The group. — — to provide a structure for the fes- the for structure a provide to engaged a variety of forums and forums of variety a engaged — a trained architect turned architect trained a — a mixed crowd of crowd mixed a 3 The fifth implied fifth The - - on the legacies of Le Corbusier (1887–1965),Corbusier Le of legacies the on focused and architecture?) is (What one part bition, 2009.October and exhi- September first The in weeks seven of course the over performances stage events,conferences,five music and two eclectic questions,highly the was of one to responding of Zuni Icosahedron) Zuni of (Courtesy 2009. October September–18 1 Centre, Cultural Kong Hong Icosahedron, Zuni by produced Woo,Mathias by directed 2009, Festival Art Is Architecture the for postcard Promotional 1. Figure eignty transfer.eignty sover the to run-up the in colony British mer for the in censorship artistic of matters about awareness raise to 1994 in distributed was Patten,Chris Governor Kong Hong former to 1997).Finlay postcard, such addressed Another (see 1997 July 1 on China of Republic People’s the to handover Kong’s Hong of question the over governments British and Chinese the of thereof) lack (or responsibilities the probe to in 1997 issued August set a is example One activism.civil and interrogation public of cles vehi- as postcards employed previously Zuni 2003), (Chung and artworks fide bona as cussed sphere public the in issues broader to extending then but productions Yung right.by designed questionnaires pictorial The own their in fact,practices in performative are,and tradition artistic-activist Zuni’s of element defining a constitute strategies tive The four-partAIAF cor program,part each — My Modern Modern My Architectsto ,connected was — often originating from specific stage specific from originating often comprising three exhibitions,three two comprising — have been dis- been have - - - Critical Acts 139

6 as The - East 5 — The Corbu Looking (A Tale Tale (A as repre- multimedia 2001: A Hong Da Zijincheng — though their Hong Kong Odyssey — Tale of the Forbidden Tale — Mathias Woo Mathias Hong Woo operas), (kun operas), A East Wing Wing West East Wing West West Wing East Looking For , Mies Looking For Zijincheng youji Zijincheng kunqu A Tale of the Forbidden City; of the Forbidden Tale A

often mixed 7 were all directed by Woo and were all Woo directed by A Tale of the Forbidden City, and A Tale — Donggong Donggong xigong ba zhi Xijiulong — Corbu and Kahn; intracultural, (East Wing West Wing 8: West Kowloon West 8: Wing West Wing (East All were new creations “modern except the The five stage productions Looking for Mies were in English and the opening Forbidden City and Forbidden , and and Kahn, zhu Dragon Balls) altogether highlighted three essential strands of Zuni transme- aesthetics: technological, almost futuristic modernist, dial, sented by the multimedia performances for Mies and illustrated by the two “archaeological,” focusing on the retrieval and “archaeological,” updating of native performance traditions of the Forbidden City), architects series,” which reprised and updated architects series,” previous “ experiments with Woo’s (The Forbidden City), (The Forbidden City), Cheuk) of PMPS (People Mountain People a prominent Sea), record label and independent production company based in Hong Kong. mances employed English, Mandarin Chinese, mances Mandarin employed Chinese, English, and Cantonese and a third, and exemplifieda by third, the eighth Balls, Kowloon Dragon West 8: Wing installment of an ongoing series of satires on which testifies Hong Kong politics and society, to the company’s sustained engagement with The current perfor affairs and civic matters. strong multimediality and non-dramatic nature did not make linguistic familiarity so relevant in most instances. The Forbidden City, all - - — City Hong Kong Style (2006), the mixed-media installation East Wing Wing West 8. Among the 4 Architecture is... is... Architecture and João Vasco Paiva of Vasco and João A Tale of the Forbidden City were A in Tale Mandarin Chinese. The dialogues of — Corbu and Kahn was in Cantonese, whereas the second part, starring Kam Kwok Leung as Louis The Forbidden City was linked The Forbidden

to part Waterfront Rethinking the Cultural 8: West 8: Kowloon West Dragon Balls were in Cantonese, and the songs in Cantonese and English. All performances carried English and Chinese surtitles except for City is a kun opera starring Shi Xiaomei and Li Hongliang with live musical accompaniment by Dai Peide (percussion) and Xu Jianmin (small gong). Kunqu originated in Southern China in the 16th century. The original titles of the AIAF productions were in English. Wing Wing West 8: Kowloon West Dragon Balls were advertised with bilingual English-Chinese titles. The textual projections and recorded speeches by Mies van der Rohe in preamble was delivered by actor Dick in Wong both Cantonese and English. The text delivered by Cedric Chan in the first part of Kahn, was in English, and so were the recorded speeches by the real-life Kahn. The spoken and singing parts of Forbidden City and Kong Odyssey (2000), the animated video (11th International Biennale, Architecture 2008), Exhibition, and Venice the photographic book Kong Odyssey (2009). Recordings of GayBird’s multimedia composition for monome and 3D fabric, “The are Grid available of on Elasticity,” and www.youtube.com/watch?v=1KfSgUoS4pI. at www.youtube.com/watch?v=f_CZpsKsxVs YouTube The Forbidden City is a cross between a classic kun opera and a contemporary music concert. It features a kunqu performer (Shi Xiaomei) and a pop Yiu, singer Ming) (Antony in Yiu Wong the leading roles, original Yat music by Yu and lyrics by Nanjing-based librettist Zhang Hong and Zuni members Pia Ho and Cedric Chan. Woo previously Woo explored the concept of “city odyssey” (chengshi manyou) in the multimedia show 7. 5. 6. 4. composer-performers were the composer-performers Chinese Xu Cheng from Shanghai and Zen Lu (Lu Zheng) sound artist and Taiwanese the from Shenzhen, and GayBird Dajun, (Leung Kei Yao producer

from Hong Kong Each evening Portugal. the performances were followed by lectures by well-known Chinese Shu, Wang architects Zhu (Liu Xiaodi, Jiakun, The electronic concert and Zhang Lei). Odyssey was also a combination of music per formances and conversations between composers and critics from Shanghai, Hong Kong, and Shenzhen on issues of architecture, Taipei, and the connec- living (in) urbanism, the city, tions between metro- musical composition, and politan urban space, sound. Discourse Discourse with Music, a series of electronic music performances by local and foreign compos- KWC, Alok, Aenon Loo, ers such as Sin:Ned, Shu and Zuni founding Tak member Pun active display Public semi- Kowloon?). four West (What is nars and lectures on Chinese architecture were held through the festival along with the City- to-City Cultural Exchange Conference on cultural space and which cultural development, Zuni has organized for several years with part- The and Shenzhen. Shanghai, Taipei, ners from music program opened with Ludwig Mies van der and Rohe (1886–1969), The large inter Kahn Louis (1901–1974). I. to part two (What is Chinese architecture?), and Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00053 by guest on 02 October 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00053 by guest on 02October 2021 140 Icosahedron) Zuni of Yvonnecourtesy Chan; by (Photo 2009. October September–2 30 Theatre, Grand Centre Cultural Kong Hong Icosahedron. Zuni by Woo,produced Mathias by directed in Rohe der van Mies Ludwig by Chicago in Apartments Drive Shore Lake 860–880 the of reconstruction Stage 2. Figure Critical Acts that many of contemporary society’s conflicts society’s contemporary of many that believes rationales.also economic He by driven often too also is theatre,today of which said endeavor.cultural-artistic be may same The a primarily as architecture “pure”of concept a to reverted be should attention public ality,investment,speculation, and whereas function- of matter a to reduced increasingly and market the by distorted been has ture Wooarchitec- of essence the that contends program: Kahn and Corbu DIY,”“Q&A the in printed self-interview a 2002).in (Zuni elaborates tion further he As video,sound,technology, digital installa- and music,integrating by architecture of notions different investigate to stage/space theatre the using of way a as concept this described 2002 in Woopremiered Mies for Looking theatre”music (MAMT).architectural When performance.2009d) (AIAF every of space the in limitation and tory his- of sense a always is Zuni,there and of performances the all in role important very a played sound.has and Space space, by light,defined and of composed is architecture,itself like theatre just because,architecture explore and discuss to medium appropriate very a is Theatre Looking for Mies, for Looking China and Hong Kong Hong and China mainland both of spaces aesthetic and social the in out played constantly is flict, that one con- of layer additional turn,an underscored which,expressions in modern(ist) and tions tradi- cultural local between tension of field a exposed program Second,performance the instruction.for and pleasure for theatre a of proposition Brechtian classic the of praisal reap- of sort intention,a educational in distinct a be to seemed there entertainment ular pop- and exploration aesthetic of element an another.one with tion to First,addition in conversa- in polarities dialectical and omies dichot- of set a on rest to said be the can AIAF timing,rhythm,balance. and nization,composition, measurement, variation, architecture disciplines three all architecture”fluid (2009b).is Music Moreover, Goethe: quoting “Architecturemusic.frozen is development”positional (2009b). again,And com- music,requiring in both movements the to compared be can architecture in Partitions architecture.in pillars and crossbeams the echo music of chords vertical and lines izontal Edgard ing Varèse2009b).(AIAF hor “[The] for Conceptually,of content and purpose the Architectureis...Music, with Discoursecit- Hui states in his program note program his in states Hui space,”arranged is Architecture curator.sound.organized is “Music Nerve),(aka the Hui music AIAF Steve by highlighted were lences equiva- stage.conceptual Further theatre This,the to too,apply may men”2009c).among (AIAF tion identifica- of sense a generating machine time a man; in feelings inner new projecting art spatial “a as architecture describes Xiaodi Zhu music.architect Beijing-based theatre,between architecture, and analogies draw to opportunity Woo (Yangbehaviors and structures and social mance, affects significantly perfor social for stage and space a spaces,architecture,tural since as architec- in originate anxieties and — Other contributors took the took contributors Other share a concern for spatial orga- spatial for concern a share 2009:13). — theatre, music, and — namely,dialec- a - - Critical Acts 141 fanfare A Tale of the A Tale both archi- — is transmitted and possibly made — The native artistic legacy more appealing to contemporary audiences by sophisticated multimedia that enthrall the trusted, and those trusted, he trusted yet who betrayed Their journey of mem- him in his last hour. ory and discovery functions as both a reminder of the significance of cultural inheritance and a Perhaps meditation on historical responsibility. in those days of early October when the 60th anniversary of the People’s Republic of China was just being celebrated with great right opposite Square, the Tiananmen on this homage to China’s past Forbidden City, grandeur may well have served for some as an unwitting reminder of the persistent power of Beijing’s present rule over the Chinese nation, and of course Hong Kong. tectural (the imperial palaces) and performative (the acting and singing conventions of kunqu) Forbidden City, directed by Mathias libretto Woo, by Zhang Hong, produced by Zuni Icosahedron. Hong Kong Cultural Centre Studio Theatre, 8–11 October 2009. (Photo by Keith Sin; courtesy of Zuni Icosahedron) Figure 3. Shi Xiaomei as Emperor Chongzhen and Li Hongliang as Kuai Xiang in - - - - - A Tale of the Tale A as the last emperor — of all those that he wronged, its aesthetics, forms, rituals, and rituals, forms, its aesthetics, — — A Tale of the Forbidden City in - partic of the Forbidden Tale A

Zhang Hong, author Zhang of Hong, and wrongly punished, and of wrongly those punished, he killed and those those he he persecuted, exiled, mis- ing that was involved in the realization of this grand design of the Ming dynasty (1368–1644) Chongzhen takes a walk through the halls of the Forbidden City before committing suicide on the final day of while his the rule, capital is seized by rebel Chongzhen (played troops. by Shi Xiaomei) is accompanied on his last journey by the spirit of Kuai Xiang (played by the Li leg- Hongliang), endary architect from Suzhou who designed Three Great the Palaces of the Forbidden City. Plans and designs of various structures and buildings are morphed and projected onto a screen at the back of the stage to illustrate the architect’s description as the two explore the different sections of the imperial residence. Kuai’s words stand as a tribute and testa- ment to the glories of China’s ancient civiliza- but also tion, as a reminder of the transience and fickleness of man vis-à-vis the timeless- As ness the and dif- solidity of architecture. ferent sections of the palace the are projected, through song reminds architect, and speech, the forgetful emperor of the human suffer geomantic symbolism mance and ritual, theatre and techné. The talks mance theatre and and ritual, techné. and exhibitions were and explicitly educational, the performances also displayed fairly appar AIAF did The not ent pedagogical overtones. only intend to experiment or entertain but also to engage viewers in a joint intellectual exer and expose cise, the local public to new layers and aesthetic critical of approaches, knowledge, discourses. to ular a the and, lesser MAMT extent, series did come across as staged lectures on architec- The lecture format was turned ture. into a per formative tool. defines hisCity, play “theoreti- as a Forbidden cal exposition on through architectural culture” the classic form of kunqu (AIAF 2009fThe ). opera surveys the basic concepts of Chinese architecture tics of conservation - remem and demolition, brance cultural and introspection removal, and Further futuristic connec- innovation. tions were established between the spiritual and man perfor the and material(istic), machine, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00053 by guest on 02 October 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00053 by guest on 02October 2021 142 Critical Acts expanding and contracting and expanding spiraling,twisting, disintegrating, multiplying, screens movable onto rolling characters graphs,Chinese tal and maps,moving digi- of projections elaborate voices,human computer-generatedand effects) percussion,(live sounds and lights Interweaving past.China’s of discovery and knowledge they,as viewers of journey a too,on embark electronic sound- electronic percussions,winds,strings) and of accompaniment kunqu traditional the and music the Shi.by tion singing,declamation,The the and by sung Wongand recita - accompanying with by composed Wongsongs rary and Yu Yat Yu contempo- Xiaomei,with Shi alternate by sung melodies,finale. kunqu a Classic and overture (Sky,musical Circle,a plus Earth,Square) and devices.scenes cal four comprises piece The theatri- modern through ics,ceremonials and philosophy,traditional illustrates it aesthet- as endeavor human and power of vanity the City,memory,too,of speaks time,cyclical and (Wootrees in of instead 2009). roofs on nest typically tecture,they since archi- of emblems also are but fortune good and peace for stand swallows culture ditional tra- meaning.Chinese of In catalyst and for narrator a and character a both as play the in functions Swallow feathers,the and shiny black its with literal quite is costume age.modern the to past Wong’sthe from ing journey- train a of whistle the by signified latter Beijing present to era dynastic the from space,and time through voyage a on quarters imperial the over flies that Swallow a of role singer-songwriterular Anthony Wongthe in pop- and Emperor the of role the in Xiaomei ForbiddenShi actor kunqu City,starring again informs also remains architectural voice. and movement actor’s the through only audience décor,the for life to brought are traditionally and setting performance,the the including of components the all kunqu,which of in stage bare characteristically the on construct mental a erecting by live the complements and grates design.architectural of inte- ities virtual The possibil- performative the and performers the of plasticity physical and vocal the enhance to The trope of traveling through China’s through traveling of trope The — both prerecorded and live (a piano (a live and prerecorded both — sampling and a kaleidoscope a and sampling exploding and imploding,and exploding — fill the bare stage bare the fill The ForbiddenThe — — merge with merge The a medium a — the aesthetic appreciation among the general pub - general the among appreciation aesthetic fostering and knowledge imparting of modes new seeking at attempt such one as understood (2009).dissemination and be The may AIAF development concept” artistic new for a find to need we [so] being human of form new a have political.and Yet,as Woocontends, now “we criticism of culture dynamic a and scene theatre vibrant a exhibits Kong reception.in Hong gaps void, with cultural but alleged the or production artistic of scarcity the with not generations.is problem real the Thus younger the among pronounced more even is entertainment facile for penchant Kong.a Such “complex,” “difficult,” and “obscure” Hong in for synonym a become “Zuni”somehow has sophisticated intellectually and educated acquaintances and critics with conversations through occasions of number a on noticed Zuni’s.have as I such courses dis- intellectual local over entertainment of forms oriented globally and commercial ilege priv- to citizens among propensity discernible a indeed myth,is inaccurate there yet and seated a deep- desert”as a “cultural Kong is Hong of and Woo2009:13). perception the Although culture”for (Yangphobia of lot a have people Kong,homogenization: Hong cultural “In and depth,anti-intellectualism,of increasing lack Kong’s Hong for concern his underscores tion in discourse Woo’sinstructional of produc- case,this architecture.in as persistence The history,point,as such or,politics,religion and stand- intellectual and theatrical a from plines disci- specific explore to platform a as stage essays staged as across come pieces theatremaking.his and Often ing instance, the auditorium is enveloped by smoke.by enveloped instance,is auditorium the incense,”of of speaks “clouds Emperor for parts.spoken and sung the the When force rein- to produced are effects stage of number orchestration,a and and lyrics the by conveyed range emotional varying the reflect visuals in geomancy.and numerology traditional Changes sky, red a across flying evoking digits of and gates,various halls,courtyards, swallows and of the of blueprints and measurements of tions yang), (i.e., and fireworks projec- yin and snow palaces,of imperial effects the of views eye City,Forbidden the of plans 3D phing bird’s- mor technologies: visual and effects digital of Woolectur between difference little sees — works that take the take that works — — cultural,social, even the most the even — how - - Critical Acts 143 a not-so- — Matinee performances for secondary production did not prevent Zuni from - remind ing their audiences of some defining moments Man,” A video “Tank of the in recent history. the anonymous individual who stood before the PLA Army) (People’s tanks Liberation on Square in Tiananmen spring 1989, Beijing’s was shown before the start of the performance as the spectators took their seats subtle hint of the group’s critical stance toward the central government and Hong Kong’s pro- actor the Dick end, Towards China leadership. read “Letter followed an to open China” Wong by an old Cantonese song evoking memo- ries in of a the last decades of the 20th century, rather solemn closing that once again reminded those in attendance of historic occurrences (the the 1989 1997 demonstrations, handover) that should not be forgotten. discounted and student edu- schools, packages, cational talks and exhibition tours were also The arranged to attract younger audiences. AIAF was widely advertised with banners along the main streets and posters at subway stations and stylish design stores such as the popular - the —

The Forbidden City, directed by Mathias produced Woo, by Zuni West Kowloon West East Wing West Wing Wing West Wing East

With this Saturday With Night Live–style com- lic. Certainly, entertainment is also a factor and Certainly, lic. AIAF program the delivers it through stunning and captivating state-of-the-art sounds, visuals, catchy karaoke- The witty banter, multimedia. and style biting tunes, satire of local politics and social mores in Figure 4. Shi Xiaomei as the Emperor in proved hilarious even to non- moreover, 8, Cantonese speakers and treated audiences with a fair serving of intelligent entertainment. edy series Zuni has strived to develop a forum for civic education and public discussion of cur Icosahedron. Hong Kong Cultural Centre Grand Theatre, 25–27 September 2009. (Photo by Keith Sin; courtesy of Zuni Icosahedron) The latest installment, rent affairs. “unlocking aims the at mystery Balls, of Dragon the total failure of land use planning in Hong “hid- and and “sameness” exposing Kong” the of the eousness” city’s architectural designs the (AIAF lack 2009a:43), of green spaces, the local government’s misuse of resources and subservience the to absence Beijing, of a truly the democratic popular structure, obses- sion with luxury brands and and real estate, the changing lifestyles (as well as growing eco- “mainland cousins” nomic power) of their the burlesque Still, style PRC of Chinese. the Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00053 by guest on 02 October 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00053 by guest on 02October 2021 144 Critical Acts of technology,of machine.the of aloofness the bodies,impersonality of crete,the absence the con- and steel of gray the of coldness the fronts con- actor the of body costumes,the and of palaces imperial wood,the of gold,red and rationalism.and the idealism of warmth The beauty,opulence,and and functionality ism concrete,futurism,and and minimal- abstract xenophilia,and primitivism nationalism tural cul- between contrasts performances,as such the of organization conceptual and semantics the both to inherent are that dyads further ate sites.gener themselves impulses twin These oppo- of sets overused these than subtler far is nity,or “East”and “West” as a tension between tradition and moder and tradition between tension a as described simply be may this level basic most dichotomy.key another identify can we the At program the of part operatic the with sects inter it which in ways the examine and series community.expatriate large Kong’s Hong to out reach to attempt an indicate surtitles English-language of availability the and keting G.O.D.Desire).of mar (Goods of type This 2009. (Photo by Yvonne Chan; courtesy of Zuni Icosahedron) Zuni of Yvonnecourtesy by Chan; (Photo 2009. October 16–18 Theatre, Studio Centre Cultural Kong Hong Icosahedron. Zuni by Woo,produced Mathias of part first the Corbusier-stylein Le spectacles sports Chan Cedric 5. Figure If we now turn to the modern architects modern the to turn now we If

— and yet one that one yet and - - - - the sense of sense the counters that presence of statement a ulate preservation.and protection for artic- They call and mnemonics in exercise an prompt mer protagonists.as stage center for machines The place and completely almost presence human with away do that spectacles technological hand,hyper-other and,of the civilization on Chinese of heritage (kunqu) intangible and (architecture) concrete the extol that mances hand,perfor one association,of the the on by unearthed are modern and traditional of lectics technologization. pragmatism,with overconsumption,hyper- and gion,superstition folklore,old-fashioned and antiquity,married comfortably has that lis reli- or,postcolonial possibly, metropo- neocolonial of “Hongkongness,”a of episteme the namely practice whole the of core the at rest to said be may identifications Overall,dialectical such feel.lyrical and metaphysical a on takes vering maneu- technical skillful the themselves,that so upon turned often and nuanced are sitions oppo- these of poles negative the again yet And More complex meanings than a simple dia- simple a than meanings complex More disparu déjà , directed by directed Kahn , and Corbu — of constantly being constantly of - - Critical Acts 145 - Once 9 Looking for Mies ), the location pm), (the Grand but rather in recreating their thought, 8 Ludwig Mies van and der Louis Rohe, Kahn. He is not interested in stories nor and in plots, detailing the minutiae of these men’s personal no matter lives, how espe- sensational (Kahn’s, cially), Wong exits the the stage stage, itself becomes Wong their “aura,” and their work on the stage. Van and Van their work on the stage. “aura,” their der Rohe’s “less neatly classic is motto more” applies to which these are productions, indeed complex but never overloaded. the space a Theatre), (1,734 prosce- seats, nium of the 8x15x32 technical meters), appara- tus (Macbook a a Pro slide notebooks, machine, a a Steinway revolving piano, digital projector, 68 160 and hanging fishingstage, bars, lines), to explain the workings of the spectacle that The full is text about of to this unfold. spoken Ladies “Good and Evening, titled preamble, is printed and Woo, authored Gentlemen” by on the plans that serve as the program. has no actors except for a sort of presenter who comes onstage before the start of the perfor mance to introduce himself (his Zuni real self, the time (30 September Wong), actor Dick 8:20 2009, - September–2 October 2009. (Photo Chan; by Yvonne Looking for , Mies directed by Mathias produced Woo, by A Tale Tale A Figure 6. Dick introduces Wong the multimedia performance of Zuni Icosahedron. Hong Kong Cultural Centre Grand Theatre, 30 courtesy of Zuni Icosahedron) as well as - — My Architect: A Son’s Journey (2003) by Kahn’s son Nathaniel, which provides a detailed Le Corbusier of cultural preser — Corbu and Kahn —

which Ackbar Abbas (1997) Ackbar has - identi which —

Looking for Mies pay homage See the documentary picture of the architect’s private life, his families with three different women, and his sudden death in a public toilet City. at Pennsylvania Station in New York The program consists of an A1-sized sheet (84x59cm) with a 1-100 scale drawing of the stage plan on one side and of the The side preamble, elevation the on production the credits, other. a biography of van der Rohe, and other related information are printed in English and Chinese next to the drawings on both sides. Each spectator was supplied with a copy at the entrance of the auditorium. In contrast, In contrast, 8. 9.

fied as theontological marker ofHong Kong one but may of also, further the suggest, whole Chinese (trans)nation in times of - disaggrega and dramatic displacement, - transforma tion, The fact that the two tion. operas both deal with the largest extant wooden palatial structure in one the that world, has endured cen- turies of warfare denotes and an turmoil, obvious impulse at archaeological - conserva The same applies to the tion. choice of one of China’s most ancient and sophisticated theat- which almost kunqu, vanished rical dur forms, ing the Cultural Revolution and is now listed by UNESCO as one of the Masterpieces of the Oral and Intangible Heritage of Humanity. the fact that Kuai Xiang is a Moreover, ghostly apparition and that the emperor is described who “a can shadow” hear as the voices of dead ancestors calling from the past also foregrounds an ontology of spectrality and disappearance. defines This may be a Woo reason why City “kunqu as with a a of sense the Forbidden namely with the task of mission,” responsibility on the verge if of not disappearance, already gone vation (AIAF 2009f ). modernist aesthetics, Western to and architectural the minimalism, futuristic visions of the historical avantgarde by sound turning light, (music and spoken/recorded voice), and the architecture of the theatre itself (the backstage mechan- sticks, boards, ics poles, of bars, screens) into the main actors and again priv- Woo agents of emotion. ileges an instructive and yet - idio syncratic approach to explore the legacy of three giants of - modern ist architecture “Corbu”), more affectionately, (or, and Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00053 by guest on 02 October 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00053 by guest on 02October 2021 146 Critical Acts are revealed as if to imply that theatre is nei - is theatre that imply to if as revealed are stage.the light,of of space too,sources ing The draw- three-dimensional the in lines trace rods cables,its bars,and performer and the becomes stagecraft the which in matter and music of lights,dance and a smoke of symphony sensory a performance.is own It its by enacted process and project piece,the the of of outcome and origin the once ture.at is machinery stage The architec- architect,his the but not is character leading the that transparent it makes struction con- iconic Mies’s of grid structural the of tion stage.the of elements materializa- various The the of interaction the by created thus is mance ings and speeches and ings writ- his from quotations screen,with along a on appear silhouette full Rohe’s der van of and,eye next,blinking ink-sketch large an A called Universe.”etude “Little Bartók Béla a of Nerve by performance piano live the with sect inter emotion”) the is / form function The the content the is / structure message The the is medium action.of propellers Textual(“The projections and sources key the become media generated) actor.the Machinery, matter, (machine- and 11. 10. Drive Apartments in Chicago. Drive in Apartments architecture skeleton the recreate to sounds and lights synchronized with speeds different at down and up going dimensions various of boards,sticks and of the stage the of elements mechanical the and disk rotating a on set are frames steel two when accomplished environment,fully design is 3D board, a ing or draw- a as 2009e).stage the of equation The stories”lights,different of (AIAF and nations sets,combi- of different combinations ferent space,dif- universal containing a itself is stage the theatre: space”of the “universal ory “the to light. Woothe- architectural Mies’s transfers of made rulers with hands invisible by stage the on drawn be to seem that shapes and graphics relayed,also among are voice architect’s the of original.”be to than good recordings Original be to better good”; is be “It to esting,want I 1k4&feature=related (Kahn ). 1k4&feature=related www.youtube.com/watch?v=eA3hu8Ty7V8&feature=related,www.youtube.com/watch?v=SHB0SSj-and YouTubeon available are Videotrailers www.youtube.com/watch?v=lPnEFaZqtw0&feature=relatedat (Corbu), YouTubeon available is excerpt video A www.youtube.com/watch?v=uzT0kvRyYK0.at / The image is the light / The sound is / sound light The the is / image The — Mies talked of “skin and bones”of and talked “skin Mies — — the hanging bars, lines,hanging fishing the of the 860–880 Lake Shore Lake 860–880 the of — “I don’t want to be inter be to want don’t “I 10 perfor The — start - - - in great detail by Chan’s instructional mono- instructional Chan’s by detail great in illustrated 1923),Switzerland,is in which built Corseaux,(Villain Maison Lac Petite Le ist minimal- the projects,as architectural such his embodied,only graphs,virtually,is Corbu by photo- and portraits of projections few a for incarnation.actual Except his than work tect’s or,turer archi- Swiss the of again,presenter a narrator,a of act,more fact.not is in He lec- a ones.inanimate and does inorganic actor The the with interact to performance the of nents compo- many the of element organic one sents Corbu,in/as however,Chan repre - chiefly part.each actors,Cedric for two one tures role is still tangential. still is role actor,the alongside but of place human the in not stage.are ter they time this Though three- and buildings.tables their Drawing but raphies biog- men’s the not is focus the and minimum in effects.concert),these,lighting piano In and as age,photography, live and (electronic music monologue,recording,ken foot- vocal video 2007) and Life and I.The (2001 Louis TimesKahn of pieces stand-alone lier of performance the during actor an by told are beings,we living as were they and if as “rheumatisms”buildings of the of “inflammations”talked 2005).also He light”the (Zuni in assembled game forms a “of living”for as and machine architecture “a ized machinery”conceptual- of and beauty “the Corbusier,Le by fascinated equally was who series,ond MAMT the “absent” of protagonist sec- the of theories the recalls admired.also It aesthetics,Mies Soviet which 20th-century early of performance) (in biomechanics and architecture) (in constructivism of approaches a functional machine”as the “living atre echoes performance.the- in the alive of concept The come to made are elements whose organism integrated an is house theatre machine,the and and mechanics but mysticism nor magic ther , human presence is reduced to a bare a to reduced is Mies,presence human , a merger of two ear two of Kahn,merger and a Corbu — is also a multimedia montage of spo- of montage multimedia a also is dimensional scale models take cen- take models scale dimensional Corbu and Kahn. and Corbu 11 —

fea- Kahn and Corbu (2005) and (2005) Corbu - Critical Acts 147 still - — achieved — Corbu and alongside lighting, video, and video, alongside lighting, — contrasts with the abstract mini- his “playing” and “acting” Kahn “acting” and “playing” his that piece together an impression — — — requires quotation marks because in spite of his uncanny perfect physical resemblance, accent (the tone and inflection of his English are the same and he as star is Kahn’s), status, still not the real focus of He the is piece. more and one of the vari- an observer, of a listener, ous elements tion of characters). tion Kam of wears characters). a dark formal suit complete with pocket handkerchief and bow tie in the style of those that Khan used to wear (as evidenced by portraits shown during a a the grayish-white pros- performance), wig, and thetic a nose, pair black-rimmed of thick, glasses that assist in reviving a mirror image of the Nonetheless man Kam’s himself. perfor sound of the visionary Estonian-born architect and of 2001, and of unlike 2001, Mies Kahn and is Corbu, not physically absent nor is he only narrated, but is given a concrete embodiment onstage. Renowned screenwriter and media personality Kam Kwok Leung portrays Kahn with extreme The verisimilitude and attention to detail. hyperrealism of his impersonation mance through costume, makeup, and vocal makeup, manip- through costume, ulation malism of the set and the overall concept of the performance as in well more as, general with the terms, standard praxis who of Zuni, realistic - personifica (i.e., “against acting” are - and — the Figure 7. Kam Kwok Leung, on the raised stage balcony, impersonates Louis I. Kahn in the second part of Kahn, directed by Mathias produced Woo, by Zuni Icosahedron. Hong Kong Cultural Centre Studio Theatre, 16–18 October 2009. (Photo Chan; by courtesy Yvonne of Zuni Icosahedron) — Hua-Yen Su\ (Hua-Yen into a single hypo- — and the two , 2007) and , Su\tra (Hua-Yen a total body on an empty —

— as in the multimedia produc- — the actor. Kunqu and all traditional the actor.

Huayanjing Huayanjing — the extremes do eventually

— Khan, too, is brought too, to life Khan, in the sec- Huayanjing zhi Huayanjing xin ru gong huashi both 2008), , 2.0: Mind as a tra Skillful Painter featuring Buddhist monks as performers technological theatre with a soul. ond part of the performance predominantly by audiovisual means and - includ stage props, ing a complex construction model that com- bines his most representative designs Salk the Institute Indian in California, La Jolla, Institute of Ahmedabad, Management in the National India, Capital of Bangladesh in among others Dhaka, Unlike thetical in structure. the first version ends of the scale here are the purely mechanical and the purely physical In both converge. cases one is faced with an extremely precise articula- or mode tion, of expression; hence “because you only have this one element you have to be very focused. [...] I think that because there is no the human machine, being does become the machine in traditional Woo to his belief, True 2009). (Woo theatre” has created both religious theatre with hyper- technology tions of stage. In contrast, the In techno-futuristic contrast, pro- stage. despite architectural trilogy, Woo’s ductions of revolving around the celebration and conser vation of the memory of great human beings, tend instead to eradicate the human presence almost completely and replace the body with phys- the machine, presence iology with technology, with absence and disappearance, or appearance under a different, sees no Woo Still, inanimate form. contradiction in this interplay of technology so and to primitivism, because when speak, one operates “at the extremes” logue as and well as photos, through drawings, Here onefilms. can witness once more a tension between conservation in and eradication, this case of one of the essential elements of the theatre forms of Chinese theatre take the actor as the fulcrum of the performance; the actor is in fact the performance Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00053 by guest on 02 October 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00053 by guest on 02October 2021 148 Critical Acts designs of both of designs set the qualities.in tic element iconic key A idealis- somewhat and evocative strongly display all series,they MAMT for the of ments install- other touch.the to applies same The human(istic) and personal very a with it endows production,also the and to side shamanic a speeches,out and brings theories own Kahn’s of many of tenor mystical the in grounded Kahn.of spirit were, the of and medium “recipient,”a than more little it as stage.is the Kam on philosophy his re-create AIAF.2009a. Abbas, Ackbar.1997. References performances, the spirit of architecture lives on. lives architecture of performances,spirit the performance.the during these through And architecture,”of spirit the to ing us tells Kahn offer an as it does architecture of work a does architecture.of work who the man is A sented architecture.of spirit pre- the is is What There architecture.as being.thing such no is “There all of source light”the of and as marvel “the wonder”of of sense speaks “the voice bodied disem- séance,Kahn’s staged while a in entity imperceptible an of materialization the signal and on,”light “switched of beams with to if as flooded are table back the on flowers white miracle”a (Kahn).of short ing noth- is room details”a of (Mies); making “The tions beats,visual,electronic projec- and through synchronized and speeches recorded recurring repetition ceremonial almost an by well as summoned are masters past these of its spirits.their of catalysts spir symbolic The and dead the to remembrance,offerings and as ence rever of signs as stand both,flowers In the for back the at table drawing a on ing for stage the of front vase a in flowers of Mies,bouquet instance,for a for is This spiritual element, which is very much very element,is spiritual which This .pdf (1 February 2010). February (1 .pdf booklet.www.aiaf.hk/media/AIAF_booklet_rev Press. Minnesota of PoliticsDisappearanceof .University Minneapolis: As — comes to an end,an the to comes Kahn and Corbu of their famous mottos: “God is in the in mottos: is famous “God their of — red roses placed on the floor at the at floor the on placed roses red ArchitectureIs FestivalArt 2009. Festival and Kahn and Corbu Hong Kong: Culture and the and Culture Kong: Hong and white ones rest- ones white and Mies — Looking aural,by Kahn. - - - of Technology Institute NewMassachusetts the ©2011 York and University 2011. Drama (T209) Spring The 55:1 TDR: Review Icosahedron.Zuni 2005. Icosahedron.Zuni 2002. YangFan,Mathias and Woo. 2009. “Mathias Woo:Is Woo,Mathias. author.2009.with Interview Hong Lei.Qin to 2009.remarks Introductory Finlay, Victoria.1997. Reaction.” a “Provoking King.Su 2003.Chung Danny “Questioning Yung’s Au,Desiree. 2001. Forces “Creative AIAF.2009f. AIAF.2009e. AIAF.2009d. AIAF.2009c. AIAF.2009b. Theatre. Sheung program.Kong: WanHong Centre Civic Theatre Auditorium. Kwai program.Kong: Performance TsingHong AIAF_booklet_rev.pdf2010). February (1 9–13.booklet.Festival www.aiaf.hk/media/ perspectives?”In different from architecture at look to possible it Kong,November.4 Studio Centre Theatre. Cultural Kong Paiva,Sin:Ned, Pun TakShu).October, 2 Hong João Vasco is...( Music,B with DiscourseProgram Post Morning China ,8 August:6. 1a Yung,ed.Fung, May 83–87. Kong: Hong FromClose, From Afar: An Dannyon Anthology Questionnaires.”In Post Morning China South ,July:6. 13 Studio Centre Theatre. Cultural Kong Hong program.Kong: Hong Theatre. Grand Centre Cultural Kong Hong Kong: Hong Theatre. Studio Centre Cultural Kong Hong Kong: Hong leaflet. Promotional Studio Centre Theatre.Cultural Kong Hong program.Kong: Performance Hong Space. A TaleForbiddenthe of City . Performance Architectureis...Music. with Discourse Looking for Mies.program.for Performance Looking Corbu and Kahn.program.and Performance Corbu Architectureis...Music. with Discourse ArchitectureIs FestivalArt 2009, Juli: Shihua Rong Nianzeng/ Rong Juli:Shihua Corbu.Performance Mies. for Looking — Mathias Woo.” Architecture South Critical Acts 149 - - REPLICA REPLICA attempt instead — dimensionality, and Arsham Arsham walks and back- dimensionality, Projectors occupying each of the down- top 25 dancers to watch (Macel 2010); Daniel the creator Arsham, of the cube; and Jonah founding director of Chez Bushwick Bokaer, and cofounder of the Center NY, in Brooklyn, for Performance Research to replicate the capacities of the human brain, highlighting the intertwined layers of per ception and memory with which we inter Their pret exploration and store sensory input. movement “memory pattern loss, recog- of and perceptual nition, faculties in relation to shows mechanical that replication space” cool, is impossible with respect to and the we brain, are faced with another gray zone (Arsham et al. Like the 2009). black and mem- white boxes, ory and perception constantly influence each other both in the events we perceive and the become a too, mat- They, events we remember. ter of gray. stage corners turn the cube into a multi- each as sided side screen, displaying, the same begins, video of a white wall with a hole aligned with Legs the appear blemishes. in after who, then then the a Bokaer, hole, torso, worming his turns way to out, assist Sánchez as she They too comes through the hole. enact a flat dance against not the seem- wall, ing to be able to pull themselves away from its two- ward into the picture holding He an pulls ax. his arms back and swings A the ax at the wall. section of the hole He fills does in. it again. Another section magically fills It itself is in. only at this point that I realize I have been Arsham chopswatching the the film backwards. walks out of and the frame, wall back together, the Even projection within stops. the - mechani cal precision of the its playback documentation, of the event runs at odds with the actual events, - has REPLICA Judith — ’s 2010 Dance Magazine

giving it an air of expectancy as its sides the first thing the viewer confronts in — —

These questions hover around the Given its title, Given one its would title, expect Betsy England received her University MA in in the Performance spring Studies from New York of 2010 and also holds a BA from the University of Chicago in English Language and Literature. Currently she works at Design Brooklyn, a web design and technology firm specializing in the performing arts. cube running 10–11 , and 17–18 December REPLICA 2009 withhold the secrets of the imminent perfor The New Museum’s theatre has the usual art and blonde-wood gallery–white floors, walls, (less chairs usual) set butter-yellow on risers before Centered the at stage. the back of the stage within this black is box–cum–“white box” another box: a about large six cube, feet high, with one corner fixed at On center each stage. of the two sides facing the audience there is a reminiscent large of that blemish, spilt milk, As mars I the settle luminous white surface. into a chair under bright I gallery won- lights, der what role the cube will play in the follow- what ing those and performance, blemishes are, whether or not it is really a cube or just two walls positioned at their 90 juncture degrees, creating the illusion of volume. Daniel Arsham, Jonah Bokaer, and Judith Daniel Sánchez Arsham, Ruíz’s Jonah Bokaer, Betsy England As Michael Fried writes of mance. a different, cube in his (in)famous essay though similar, “depends this on cube and Objecthood,” “Art is incomplete it without him, the beholder, This cube been waiting (1998:163). for him” performs my anticipation only if I am present; performance signifies the black box of the the- and yet atre, it is the white cube that performs. Inside the white box of the contemporary we findmuseum, the black box of the theatre, and inside the we black find box, a white box, As the relationship between these performing. boxes the is juxtaposed “nesting” blurred, space becomes conceptually gray. Gray Matter to focus mechanical on replication cool, in which each iteration is an exact copy of pre- The collaborators vious versions. one Sánchez of Ruíz, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00053 by guest on 02 October 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00053 by guest on 02October 2021 150 Critical Acts on his on slightly so ever sways behind,he from and ders shoul- Bokaer’s point,touches one Sánchez at inorganic: nor cold neither is movement their matter-of-facttheir duet,continue yet they and feet, movement. their of to flow come they As the stop regularly and fashion mechanical a in limbs straight other’s each manipulate they as dance.to wooden begin is movement Their film, and completion, and, rise its slowly upon opening the of duration the for position this body.her of contours the to and in stay They to yielding inevitable its in form the exactly.pose her ror loses Instead,body his mir to attempts and side right his on her atop arm.lies right Bokaer outstretched her on ing rest- side,head bent,right her legs her with on lies and stage the onto out comes Sánchez begins, film plays. the film Before the while replication of difficulties the to witness silent own. its on different thing event,an some- of memory becoming,the like Campbell) Lee Anna by Bokaer,Jonah (Photo Ruíz, Arsham. Sánchez Daniel Judith and by collaboration in created Bokaer; Jonah York;and New (pictured) Museum, Ruíz New Sánchez 2009, Judith December by 18 performed REPLICA, her.behind cube the on projected are videos while solo a performs Ruíz Sánchez Judith 1. Figure In present time, Bokaer and Sánchez bear Sánchez time,and present Bokaer In feet. gravity - depend on each other.each on depend theirs,dancers for the audience; its on depends other.the for ent performance,cube its the For pres- be must movement,each desired and the achieve to body other’s the on depends dancer organic.profoundly mechanical,Each yet and regular,are Georgopoulos),dancers Alexis the for cifically spe- (commissioned music accompanying the of heartbeat even his.the of Like top on rests lightly lunge,forward.body the lunges her In he until back Bokaer’s on leans gently Sánchez second,dreaming.the if In as ders, closed eyes shoul- other’s each on resting tenderly heads other,each toward space their with ending through float Sánchez movement,and Bokaer violent and frightening a been have could what floor.the with triangle isosceles an forming In touch,shoulders their until forwards fall gently another.one straight,bodies they their Holding apart, feet facing two about stand first, two the performance.the the In throughout repeated They introduce two movement motifs movement two introduce They REPLICAhypnagogic ,the ARP/ by Critical Acts 151 but in the mid- REPLICA, 18 December 2009, — , my memory , REPLICA Looking back on stage and stands slightly stage left of center. stage and stands slightly stage left of center. Her left leg floats up to a and sideextension, her shoulders are slightly hunched as her arms reach for her the solar ceiling, plexus soft and She caving gazes in. straight at the audience a soft halo with a look of mature vulnerability, of hair escaping from Her her gaze bun. pierces the and or fourth one remem- wall, realizes, that she bers, is seeing the audience seeing her. shadows takes precedence over the other upon the white documented side of Past, the cube. and and present projected, become merged, and each is altered by the other. of it is as complicated as the scenes projected onto the sides of Even the in cube. the course of it the was performance, difficult to remember the sequence of events as the artists moved through an increasingly complex web of lay- of boxes ers, inside boxes of inside boxes boxes, blending into other boxes Two dle of it all there dancing. were bodies, Halfway moments stand out in striking clarity. Bokaer through performance, the hour-long is lying on and the Sánchez ground, dances a They have abandoned solo the without him. and stop-and-go she style, dances fluidly to low, sus- repetitive 16th notes overlaid with higher, Sánchez tained comes tones. to the front of the Figure 2. Judith Sánchez Ruíz and Jonah Bokaer dance at the apex of the cube after the first hole has been created. performed by Judith Sánchez New Ruíz Museum, and New Jonah York; Bokaer; created in collaboration by Judith Sánchez Ruíz, Jonah Bokaer, and Daniel Arsham. (Photo by Anna Lee Campbell) -

an “additional black box,” according to “additional black an box,” — Maizels:

This smallest inso- black box, far as it is enclosed by the walls can of sensation and memory, even itself be read as a metaphor for the private interiority of the which famed mind, psycholo- Skinner characterized gist B.F. as an impenetrable black box. The hidden interior of the white cube doubles the private interiority of (2009) our minds. Like the gray matter of the per As they dance, As the they large dance, blemish on the Mike stage right wall of the cube is pushed out from Fragments the of inside. the wall fall to the Through the thefloor hole, as if shattered. audience Arsham can dressed see in all black, and he repeats the process with the wall on creating stage a left, hole in each side of the Fried writes cube. that the emphasis on shape in minimalist pieces by artists such as Donald Judd and Robert Morris suggests that they “hollow”; by are punching out the sides of Arsham reveals to the the audience cube, that is in too, fact It this hollow cube, (1998:151). is an though; imperfect its hollowness, reve- lation to the audience means a destruction of the shape that makes the sculpture In a cube. it reveals the person however, its destruction, inside formance space, though, the rela- though, formance space, tionship between the two boxes is not necessarily one containing the If the smallest black box is other. the that human box mind, will not stay in its place but will move freely through the walls of the other just as boxes, Sánchez and Bokaer constantly shuttle in and out of the cube through the holes as they Through the projections and dance. the the juxtaposed lighting, layers in the piece of Sánchez and Videos Bokaer become fused. dancing in another gallery space are projected upon the sides of the cube while the shadows of Sánchez and Bokaer’s present dancing bodies are cast upon Sánchez the and projections. Bokaer of the video dance with Sánchez and Bokaer of the New and Museum performance, neither the video document nor the present Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00053 by guest on 02 October 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00053 by guest on 02October 2021 152 Critical Acts they elude permanent representation. permanent elude they as even happen,lucid they are that second split record,the to in attempt they encounters the messy,moments,always subsequent are of but lenses the through documents,viewed forever past.and the Memory of independent time own its demands perception,present and the ory mem- between shuttling mental constant our clarity.of out us shocks that encounter an In of moments sparkling as layers the through cut immediacy. and materiality its at awe in palm own my into them.look at I wonder serene in gazes she and work,this of subject the is that system vous twitch slightly,twitch ner the by caused undoubtedly degrees.fingers 90 Her at bent and side her to close crinkled,elbow and her relaxed hand her,of front in palm her into her down looks few A These two instances of bodily recognition bodily of instances two These minutes later,minutes and left stage stands she - of Technology Institute NewMassachusetts the ©2011 York and University 2011. Drama (T209) Spring The 55:1 TDR: Review Maizels,Mike. 2009. “REPLICA& The Tangled Macel,Emily. 2010. to “25 Watch.” Fried,Michael. 1998. “ArtObjecthood.”and In Arsham,Daniel,Bokaer, Jonah Sánchez Judith and References REPLICA.New York:Museum.New Doubling.”of Hierarchy for notes Program January.5 Press. Chicago of University Chicago: Reviews,and Essays158–72. Objecthood: and Art York:Museum. New Ruíz.for 2009.notes Program REPLICA.New Dance MagazineDance ,