preview/ 2010. 8.14 / 15:00-18:00
Opening Reception/ 2010. 8.20 / 15:00-19:00
With our lifestyle gradually turning into a stereotype, such expression behaviors in the video always bring us a fresh feeling when the vocabularies / movements that we use habitually are interposed with new glossary / gestures. The ardent dance performance reminds us of a satisfaction emotion when we were first being involved to the world in our childhood. Meanwhile, it also delivers a great sense of security caused by mutual understanding between self and others due to the shared common experience.
transforms the abstract adjective vocabularies into a series of physical codes / dance movements, which allows audiences to interpret and imitate on their own. Through the regular rhythm and the alternate subtitle explanation in the video, we came to find ourselves sharing with the performers a common emotion toward a certain abstract sentiment. That is the hidden reaction when we saw performers attach their personal experience into the dances.
Yu Cheng-Ta tries to interpret linguistic literary vocabularies through the format of visual movements, which forms a very quaint and foolish representation of such series of “adjective-adjectival movements.” While watching performers use different movements to interpret each adjective, are we, through the dance, really understand how language codes are used for description? Or the dance contrarily leads us to question and guess the metaphor that the dance delivers.
is presented in the format similar to the dance teaching video, which seemingly to be one of those mass consumption product or self-learning programs on TV channel. The content thus becomes a language supplementary education product as well as a medium for consumers to learn socialization. However, within the game rules set by Yu Cheng-Ta such as the 17 adjectives / 2-measure tempo / 1.5 square meter area, we can somehow temporarily get rid of the communication anxiety or stress from the inadequacy in languages under the high social competition. Rather, we, for the short moment, can still re-embrace the pleasure of interaction to feely express ourselves.
Yu Cheng-Ta tries to interpret linguistic literary vocabularies through the format of visual movements, which forms a very quaint and foolish representation of such series of “adjective-adjectival movements.” While watching performers use different movements to interpret each adjective, are we, through the dance, really understand how language codes are used for description? Or the dance contrarily leads us to question and guess the metaphor that the dance delivers.
