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..This type of doing-not-for-doing-itself philosophy is a key characteristic of communication in the Performance art. It is felt in the artist-audience contact during his stay in Sichuan Polytechnic College, which may not be seen as art work or part of it. Specifically, the contact occurred when the artist delivered lectures to the students, rehearsed the performance with them, and dined with them. However, it is this kind of contact, without any artistic intentions, that gives the students artistic enjoyment. This is the truth of art in terms of oriental aesthetics. I cannot find any evidence implying that this kind of communication was done artificially or done for making itself art, for it just flew naturally. As a participant and a spectator, I should not view such communication as not a part of the work. ..The Performance aims to let students experience something. So if there is anything (other than language) that could serve better to realize the aim, language will become redundant..
..When the movement of bodies gradually becomes tactic, the breath coherent, the voice harmonious and the time of silence deep and transparent; communication in the Performance then transcends language and enters a realm of spirit.
..From the students’ feedback on the performance, I find that their experience in nothingness is a process from nothing to something. This is similar to Daojia’s theory of origin of the universe: from non-being to being and then from being to all beings of the world. Moreover, during the time of experiencing nothingness, energy gradually emerging and pervading to the whole group of students and even further is like qi of Daojia philosophy. That is, such energy from nothingness is like qi from non-being. Both the two kinds of process focus on nothingness and experiences in it. Although they are not absolutely the same (e.g., the outcomes of the two kinds of nothingness are not identical), their ways of perceiving a world beyond the actual one is very close to each other. ..Via similar perspectives of seeing a new world, both Daojia and Reulecke’s performance find their own ways of communication, which aims to pursue something from a spiritual world, such as true state of life, freedom above the reality, endless possibilities, potential energy from one’s inner life and a group of people connecting with their special way of communication and so on. In this sense, the Performance is not only art but also a thing directly pointing to belief. However, I think it is the wish based on belief that actually makes the art form of the Performance unique..
(extract of an essay of one of the professors of Sichuan University, Zigong)
..This type of doing-not-for-doing-itself philosophy is a key characteristic of communication in the Performance art. It is felt in the artist-audience contact during his stay in Sichuan Polytechnic College, which may not be seen as art work or part of it. Specifically, the contact occurred when the artist delivered lectures to the students, rehearsed the performance with them, and dined with them. However, it is this kind of contact, without any artistic intentions, that gives the students artistic enjoyment. This is the truth of art in terms of oriental aesthetics. I cannot find any evidence implying that this kind of communication was done artificially or done for making itself art, for it just flew naturally. As a participant and a spectator, I should not view such communication as not a part of the work. ..The Performance aims to let students experience something. So if there is anything (other than language) that could serve better to realize the aim, language will become redundant..
..When the movement of bodies gradually becomes tactic, the breath coherent, the voice harmonious and the time of silence deep and transparent; communication in the Performance then transcends language and enters a realm of spirit.
..From the students’ feedback on the performance, I find that their experience in nothingness is a process from nothing to something. This is similar to Daojia’s theory of origin of the universe: from non-being to being and then from being to all beings of the world. Moreover, during the time of experiencing nothingness, energy gradually emerging and pervading to the whole group of students and even further is like qi of Daojia philosophy. That is, such energy from nothingness is like qi from non-being. Both the two kinds of process focus on nothingness and experiences in it. Although they are not absolutely the same (e.g., the outcomes of the two kinds of nothingness are not identical), their ways of perceiving a world beyond the actual one is very close to each other. ..Via similar perspectives of seeing a new world, both Daojia and Reulecke’s performance find their own ways of communication, which aims to pursue something from a spiritual world, such as true state of life, freedom above the reality, endless possibilities, potential energy from one’s inner life and a group of people connecting with their special way of communication and so on. In this sense, the Performance is not only art but also a thing directly pointing to belief. However, I think it is the wish based on belief that actually makes the art form of the Performance unique..
(extract of an essay of one of the professors of Sichuan University, Zigong)