Zhao Liang is highly open tonew inspirations and ideas and then weave them into his well-designedstoryline.Besides, he has attracted a team of outstanding artists.Throughliterary allusions, seamless emotional connection and flowing performances, heblends fragments of classical stories into a multi-sensory culturalinnovation.Surreal as they are, the dance shows contain layers of meanings anduse metaphors to present universal truths.As a result, they resonate with theessence of our being, leading to spiritual insights beyond perception.Incomparison to the traditional way of dance presentations, “neo scene setting”in Zhao Liang’s art works reflects his creative insights into the interactionbetween dance performances and their surrounding environment.By expanding thedance scene, he demonstrates an interdisciplinary application of modernarts.The shows use eastern aesthetics as a vehicle to catalyze the renaissanceof traditional Chinese culture in the modern context.
Composedof three chapters, the Soul & Desire Trilogy illustrates Zhao Liang’sreturn to the traditional Chinese culture and his fluency in eastern dancevocabulary after he spent time overseas.The three chapters are independent yetinterrelated. Together they form anexperiment in terms of theme, structure, dance components and visual effects,which demands extraordinary artistic talent and courage.All these may as wellmake Zhao Liang an avant-garde in the modern dance history of China.In fact,these art works have also won round applauses overseas.They transcend theboundary between modern and classic, connect the East with the West and shineforth with something universal -- the human nature.
TheTrilogy focuses on and cares for all sentient beings -- ultimately men andwomen in the mundane world are bound by three things: greed, ignorance andaggression.While desires and thoughts come and go, the soul struggles in betweenthem.Sometimes it is clear, while others dull. People are torn between thepolarities: form vs.emptiness,soul vs. desire, life vs. death, disillusionmentvs. nirvana...creative insights into the interaction between dance.
忘形、得意，归真。Intoxication, Exaltation and Simplification
——《舞术》“MartialArt in Dance”
Those who can stop the war and fight aregenuine martial artists/Fighters; when such martial art was performed to therhythm of music, the art of dance came into being.
Every martial artist knows when to attackand when to defend, highly emphasizing the connection between the ego andexternal world;
Every dancer knows the dynamic motion andstatic status, placing themselves in between the human confusions and inquiriesto the universe over the questions of spirituality.
Martial Artists and Dancers in Chinese are phoneticallyanalogous, with distinct presentations but the same root. They both follow thelaw of universe, also are in connection with human body and with spirituality.
The Name of “Martial Art of Dance” originatedfrom “Dance” and “Martial Art”, i.e. to present a boundary-crossing theaterwork that holistically demonstrates to all audience our Chinese Martial Art byway of pioneering modern dance, for the purpose of inheriting, developing,innovating and popularizing the unique culture essence of the Orient.
In the presentations, Martial Art and Danceare red-and-blue divergent, but highly converged at the level of the spirit, asthe two are guided by individual philosophy and experience – to play the fightthrough dance and to figure dance through fight, thus eradicating the physicalforms and boundaries of the two to obtain real meaning. By so doing, we hope touphold a sense of architecture to human body by way of modern dance, to inquirethe great mind of Zen, to take martial art away from the competitive sports,and to take shape in spirit, energy and vitality in order to channel the essencefrom both of the two.