吃晚饭

到该吃饭的时候是丧家犬
搜索,决定,消耗意志力,没有结果
闭眼进 Whole Foods,假装有很多选择
此地盒子太大
0.84 磅食物,扔进纸盒那一刻已经冷了

打开盒子像打开世界地图
西非,东欧,安第斯,意大利,布鲁塞尔
黑色塑料叉格格不入
胃格格不入

和斜对面的女人互相微笑
客气地坐了一小时四十分钟
各自看手机
我对着八年前的往事悲伤了一会儿
她戴耳机笑出声有点抱歉

一个年老的女人在我们之间坐下吃了饭又走了
表情肃穆
像是从容地巡视人间
我开始思念今晚的一瓶啤酒

吃晚饭

周末看的三个戏

还是Under the Radar的戏。

The Unknown Dancer in the Neighborhood。日本年轻剧作家导演的独角戏。看形式也能体会到日本当代戏剧的缺钱,和之前在京都看到的情况类似。主题和内容有点老套,讲原子化社会人和人之间的关系,里面用的梗也都很熟悉,仅次于日本沉没的地铁伤亡事故,以未生为题抒情,母子/女关系……movement也比较老套。有趣的是形式。一个演员在十个左右的角色中切换,用movement区分过渡。用大屏幕网络对话形式的字幕表现对话和潜台词。文学手段以戏剧形式体现,描摹对社会近未来的奇异又残酷的幻想。整体气氛非常有当代感,对外界淡漠,自顾自伤感。导演喜欢Jazz,看上去是浸泡在流行文化中长大的,此时正在纽约的residency中,剧中音乐是怀旧的美国Jazz,和文本的关系相当有趣,有对比,有烘托,有对话。

Susan。演出全程都很吸引人,开始看得有点不屑,到最后的时候掉了好多眼泪。形式上是自传性故事和音乐的相互穿插。一整个乐队,两位歌手,歌词和故事有关,不推动情节。故事结构是很多小事连缀在一起,也有几条线索,包括和父亲的关系,和母亲的关系,母亲的命运,对社会和自我的观察,有些线索分成几段,制造悬念。音乐非常精彩。写得非常高超,幽默而俭省。故事的讲述自然克制,台风不凡。让我落泪的是结尾的安排,是对母亲命运的反思和对母亲歌声的庆祝,更重要的是邀请母亲表演的这个行动,这个行动改变了现实。

The Truth Has Changed。垃圾作品。内容陈旧,缺乏证据和逻辑。形式上是propaganda,和被作品批评的右派政客没有区别。戏剧语言混乱,角色和作者讲述之间无法区分。投影、舞台站位,台上的乐器,都没有起到任何真正作用。语言也难以忍受,大量没有意义的景物描摹和情绪虚假的嘶吼,居高临下并不幽默的笑话,以及没有根据地把无关事实联系起来。演员也是吃相难看,朝观众头上扔纸屑,像问幼儿园学生一样问观众问题,结束后不让大家离开强行接入演后谈……这样的戏去红色泡泡地区演也许是有意义的,也许直接就被扔鸡蛋,但那也有意义。在NYC演,除了自慰,也就没什么别的作用了,典型的优越左派拥抱资本积攒社会资本的嘴脸。

周末看的三个戏

Three Performances at The Public Today

Laurie Anderson’s To The Moon. It is a 15-minute VR experience of traveling to the moon and on the moon. The VR component felt smooth. Although it was easy to recognize some political themes such as moon landing and environment, those themes are decorative weak connections that put the piece in conversation with reality. The essence of piece to me is being launched into aesthetic fantasies: installation made of mountains from a traditional Chinese painting, rain of meteors that turn into black diamonds when hitting the ground, riding a donkey, giant flower surrounded by planets, earth rising in front of my eyes…

The Shadow Whose Prey the Hunter Becomes. I was excited to sit in a theatre and see Back to Back Theatre’s work for the first time. It is smart, intellectual, ironic, and civil, a piece I dream the culminating performance of my current project could be similar to. The language, structure, actions, and acting are near perfect. At the same time, I also feel that the form and way of approaching the topics are familiar. There are commonalities between this piece and many other works I saw in European theatre. There is almost no surprise in terms of how the performance entails forms and meanings. It is a part of a large family of certain aesthetics that has been fascinating to me. The voice behind the piece sounds so similar to many other intellectual and political voices in performance making that the level of engagement of the ensemble members became a question to me. Are they developing their thoughts and ideas? Or are they executing performances that are about them? It is probably something in between. Is it possible to find a performance voice unique to them that goes beyond acting? I’m asking too much.

Salt was a poorly made piece. I see ignorance, self-importance, self-indulgence, sentimentalism, excessive objects, excessive projections, excessive emotions, and excessive actions. I support productions of lower quality that are resulted from the lack of resources. But this is not the case for Salt. The piece is ingratiating itself to privileged white audience. It also looks like a product from the institutional assembly line in the art world. Ironically, the only direct imaginary fight back was toward a group of low-education-level lower-class Philippine crew members who followed the Italian officers to use the word nigger with probably little understanding of its context due to the lack of exposure to Black people in their growing environment. It is pitiful.

I feel good about being able to be really angry at poorly made theatre pieces. It means I still care.

Three Performances at The Public Today