Choreographed by Tao Dance Theater’s founder and choreographer in 2014, 6 and 7 form the first two parts of Tao Ye’s “Straight Line Trilogy”. These two performances further Tao’s project to “purify and distill” the human body and to search for “infinitude” – a creative path first set out in his previous set of works, the “Numerical Series”. 6 and 7 each consists of 6 and 7 dancers dressed in black and white respectively, performing on a straight line.
6 revolves around the spine to represent a return to the most primal active force “to move” as human beings. The manifold of space is slowly unwoven in the deliberate twisting and bending of the spine. A complete and holistic meaning is given to body movement as the dancers deliver each and every moving force from inside out – from the spine to the limbs and to the most minute muscles. In this process, ordinary movements of the body are condensed to the most essential motions. Designed by the famed Swedish visual artist Ellen Ruge, the streaming and interlacing lighting for 6 creates a fantastically dynamic play of light and shadow.
7features live vocals from the dancers, seeking to give voice to motion itself. The “shape of voice” that complements this performance represents inspiration and expiration, inside and outside, illusory and real. This bold removal of accompanying soundtrack from dance comes as the result of Tao Ye’s long and self-absorbed meditation on duality and on his “shape of voice” exercises.
《6》、《7》是极简主义的完美呈现。作品曾受邀演出于瑞典斯德歌尔摩Dansens Hus、台北“新舞风”艺术节、澳大利亚阿德莱德 OzAsia Festival、英国伦敦Sadler's Wells、巴黎时装周、荷兰阿姆斯特丹七月舞蹈节、芬兰赫尔辛基艺术节、德国柏林八月舞蹈节、斯洛伐克布拉迪斯拉发艺术节、中国国家大剧院国际舞蹈节、法国巴黎城市剧院、瑞士韦尔涅salle剧院等艺术节。
6 and 7 are perfect presentations of minimalism. They were previously invited to be performed at venues including Dansens Hus in Stockholm, Sweden,“Novel Dance” Series in Taipei, Taiwan, OzAsia Festival in Adelaide, Australia, Sadler’s Wells in London, UK, Paris Fashion Week, Julidans Festival in Amsterdam, Netherland, Helsinki Festival in Helsinki, Finland, Tanzim August in Berlin, Germany, Bratislava in Movement in Bratislava, Slovakia, NCPA Dance Festival in Bejing, China, Theatre de la Ville in Paris, France, and Salle des fêtes du Lignon in Vernier, Switzerland.
Tao Ye’s new piece 8 is the last one of his ‘Series of the Straight Line’. This piece accumulates the logic of movement and presents the repetition-ritual of nature sequence, creates possibilities for more rational understanding of bodies, and realises the full potential of what our bodies can do, albeit all kinds of limitation. The music of 8 is composed by Xiao He, a talented Chinese indie-folk- rock composer.
In 6 and 7, all the dancers standing in a straight line, keeping precisely the same distance between each other. In this process, extreme concentration and regular movements are demanding for TAO’s dancers through the repetition of the same rhythm. The repetition-ritual of natural sequence and endless vitality are conveyed in 8.
Adding one more dancer makes a huge difference to 8 from 6 and 7. In 8, the infinite possibilities of extending and changing line from the audience’s vision are created because of this dancer. In performance, the dancers lie instead of standing, thus their bodies are further restricted to the floor and movements are limited to the moving range of their spines. Dancers’ vision is also changed to a horizontal dimension other than a surrounding one. Under this limitation, the ability of dancers’ body can be further explored and freed. So from the audience frontal view, no heads, arms or legs are spotted except for the torso and the charm of lentitude are conveyed from the breakthrough of this spine restriction in 8.
Tao Ye believes that a single word or phrase can not interpret a dance piece to the audience. On the contrary, they might cause the restrictions and misunderstanding to the audience's perception before the pieces are officially released n in the theater. Signs like numbers signify the breakthrough of dualism which would provide an ultimate way for the audience to feel, experience and interpret TAO’s piece. And Tao believes his works can convey limitless consumption and imagination to each and one of the audience. And from there, his works can develop and continue with more vitality and variety.
THE NEW YORK TIMES ，USA
The two pieces on its program have theatrical force and authority...The athletic control is remarkable...powerful drive,the physicality and momentum...extraordinary and appealing.
Mr.Tao has an ability to draw you inside his austere,meditative world;if you go willingly ,you realize that the body is a scared place.