Originally conceived and premiered as a dance theatre performance in 2021,“WE ARE”was adapted into a dance film begin from 2023, as the director Gehao Zhang sought to preserve and document the work amid restrictions on live performances. This transformation offered a fresh lens through which to explore the themes of identity, isolation, and human connection.
Zhang’s choreography in “WE ARE” is noted for its innovative approach to movement and expression. The work is characterized by fluid yet disjointed movements that reflect the internal struggles individuals face as they navigate societal roles. The dancer’s duet, set against an abstract and detached backdrop, contrasts personal introspection with an indifferent world. The black-and-white imagery serves to intensify this contrast, symbolizing the divide between self and society, as well as the tensions between isolation and connection.
In dance theatre, “WE ARE” was a visually striking and emotionally charged performance. Zhang’s use of stark black-and-white design focused the audience’s attention on the dancer’s physicality, abstracting the background to highlight the nuances of their movements. The male dancer’s duet, characterized by fluid yet fragmented gestures, effectively conveyed the complexities of personal identity and the quest for connection. The minimalist stage design, though simple, was emotionally intense, with the dancers moving with grace and urgency, underscoring Zhang’s commitment to visual expression in dance.
The adaptation into a dance film provided a more nuanced and introspective examination of the choreography. The film format allowed for a detailed exploration of the dancers’ expressions and movements through close-ups and meticulous camera work, capturing subtleties that live performance could not. The cinematic adaptation deepens the thematic exploration of “WE ARE” in several ways. While the black-and-white aesthetic on stage highlighted the dancer’s movements and emotional states, in the film, this visual choice gains additional layers of significance. The dance film’s manipulation of light and shadow, combined with precise framing and editing, enhances the portrayal of the dichotomy between individuality and collective existence. The stark contrasts in the imagery become a metaphor for the internal and external conflicts faced by the dancers, enriching the film’s existential themes.
The film format enables a more abstract and symbolic depiction of the dancer’s internal struggles. Shifting camera angles and close-ups create a fragmented narrative that mirrors the themes of identity and alienation. The interplay between wide shots and extreme close-ups offers a multifaceted view of the dancer’s emotional landscape, illustrating the complexity of navigating personal identity within societal constraints.
One profound insight from “WE ARE” is its exploration of identity as both a personal and collective construct. Zhang’s work suggests that while the search for self is an inherently solitary journey, it is also intricately linked to one’s social context. The dance film’s cinematic approach allows for a deeper investigation of this duality, with close-ups and dynamic camera angles revealing the nuances of the dancer’s emotional experience. This intimate portrayal highlights the continuous shaping and reshaping of personal identity through external interactions.
Gehao Zhang, a pioneering choreographer and director, renowned for his integration of dance with advanced media technologies. His expertise spans traditional and contemporary dance, as well as new media techniques, including interactive projections and digital manipulation. This dual proficiency enables Zhang to blend choreographic innovation with cinematic design seamlessly. His adaptation of “WE ARE” from stage to film exemplifies his ability to leverage both mediums to enrich the narrative and aesthetic complexity of his work.
“WE ARE“also engages with the concept of human connection through a nuanced exploration of vulnerability. The film’s visual and thematic elements convey that genuine connection involves not only finding harmony with others but also confronting and embracing one’s own internal conflicts. The dancer’s performance, framed within the minimalist and abstract context of the film, symbolizes the struggle to forge meaningful connections amidst existential uncertainty.
The international reception of “WE ARE“underscores its ability to resonate across diverse cultural contexts while showcasing its innovative approach. In China, this piece was acclaimed for its introspective and minimalist aesthetic, reflecting the audience’s appreciation for subtle and contemplative artistry. “WE ARE” was showcased at various dance festivals and art events, its impact and resonance within the Chinese dance community. In UK, the film’s integration of Chinese movement vocabularies and aesthetics with contemporary dance was particularly notable. The London audience admired how Zhang seamlessly incorporated traditional Chinese elements into the film, enriching the work’s global perspective while preserving its cultural essence.
Overall, “WE ARE“exemplifies the power of dance to address complex themes through innovative formats. Its transition from dance theatre to dance film not only deepens the thematic exploration but also provides a more intimate portrayal of the dancer’s journey. “WE ARE” stands as a testament to the evolving possibilities of contemporary dance performance, engaging with profound existential questions in both theatrical and cinematic forms.
