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Academic Journal: Journal of Theatrex Asia

Journal of Theatrex Volume 1 Issue 1.pdf

Academic Journal: MDIS Journal

1 September 2017

8.30pm

Theatre, Damansara Performing Arts Centre

Choreographer Yuri Ng did not clearly state why he decided to choreograph the dance piece after the performance. However, from the dance film shown before the actual performance, a possible clue was available. It was planned alongside another piece called the Facets of Femininity 《女相》. Yuri Ng created this companion piece Boys Story 《男生》that might just be a conversation with the other. In the late nineties, conversations between the male and female in dance pieces are common. Identity was discussed and interrogated. Especially during the time when Hong Kong was about to be returned to China, the fate of the Hong Kong people were uncertain, a struggle between democratic freedom and central bureaucratic control. Yuri Ng might not have intended this, but Boys Story was situated at an appropriate time in Hong Kong social history providing a critique to the political and power balance pending the handover through male bodies.

The Chinese bride in traditional wedding dress was a clear indication of such intention. It quickly dissipated into the narrative of how the male identity was constructed, before moving into the dynamics of male friendships (in today’s terms, Bromance). The Asian male body seemed to be Yuri’s obsession. Boys Story juxtaposes the different images of the Asian bodies inhabiting different cultural milleu, through the use of songs by Brothers Four to the testosterone-filled 《男儿当自强》of Wong Fei Hong movie fame. Taiwanese dancer Chou Shu-Yi did a strong rendition of male ballet dancer in motion to the strong and face-paced number presenting Yuri’s attempt at showing an Asian male dancer body expressing the virtuosity of a Chinese male stereotype through a ballet dancer at the barre. Chou Shu-Yi’s ballet training was on show. Perhaps, what’s important in that display of dance prowess is how trying Asian men have been to assume a Western perception of masculinity.

In the other parts of the choreography, dance Liu Jie Ren’s subtle and nuanced interpretation of the Asian male body could be read alongside the Goh Boon Ann’s interpretation of the youthful spirit of the Asian male. Both armed with the guitar at different points in the piece, both of them responded differently to the stage prop. Taking it as a object of solace to an expression of youthful western outpouring, the sight of the oppressiveness of the Chinese culture (when Goh met the Chinese bride) was a stark reminder that they are simply not western.

Lastly, the ensemble gave an elegant showcase of the how both east and west could come together in harmony. It might be a cliché in this day and time, but given the contentious relationship between China and the US at this moment in time, the piece added another layer of irony. It was even more so when a dancer attempted to be a voyeur to a self-indulgent enjoyment in Chinese culture portrayed by a dancer reveling in the traditional Chinese wedding costume.

p.s. This presentation was organized as a reunion performance showcase for the original cast of Boys Story. Taiwanese Chou Shu-Yi was a new addition to the group in 2014. The most remarkable part of the performance is the camaraderie the cast has exhibited over the last twenty over years of collaboration and friendship, with intermittent separation among them. Maurice Lai’s remarkable dance film documenting their work spells it all.