Hou Ying Dance Theater
(China)

About Hou Ying Dance Theater

Hou Ying Dance Theater was established in 2009. It’s predecessor Horizon Dance Theater was founded by Hou Ying in 2006 in New York City, New York. Hou Ying returned to China as Director of the 2008 Olympic Games opening eight minutes The Picture.Afterwards, Horizon Dance Theater’s creative focus moved to Beijing, where it was officially renamed Hou Ying Dance Theater.Artistic Director, Hou Ying, is the soul of Hou Ying Dance Theater. Hou Ying trained in a variety of eastern traditional limbs arts such as Chinese Classical Dance, Folk Dance,Traditional Chinese Opera, Martial Arts, and Ballet. In the United States, she studied techniques with dance masters such as Martha Graham, Jose Limon, Merce Cunningham, Trisha Brown and many more world renowned dance artist. For a long time, Hou Ying devoted her time to exploring the eastern rhyme and spirit, combined with the natural movement of the body from western dance techniques. As a result, she formed a unique and highly recognizable “Hou Ying dance limbs movement skills”—consciously driven movement that pushes the body.

Hou Ying Dance Theater gives unique art-styled works to audiences with uncompromising attitude. Works including: Night of the Spirit(1996)/ Kiss(1998)/ TuTu(2009)/ Interface(2011)/ Interface2(2012)/ Infinity(2013)/ The Moment(2015), and so on.
Hou Ying’s bio

As a pioneer of China’s first modern dance company, Hou Ying began to share her talent with the international dance scene with Spirit of Night and Kiss followed by multiple series of work. In 2001, Asian Cultural Fund support her to study in the U.S where she went ti join New York’s Shen Wei Dance Arts dance company (Shen Wei Dance Group) in 2002, becoming the soul character in the group. She was published in the”New York Times”on there different Occasions, one being voted as”The New York Times Year’s Most Outstanding Dancer “. In 2004,She remains as one of very few dancers in the world whom can hold this prestigious titles.

Hou Ying’s works have been performed in more than ten different countries worldwide, they are the media and the Arts community’s favorite, and are becoming a must see performance for dancers.Her work’s temperament has been evaluated by modern dance critics as absurd and lonely. The main theme is to explore the human’s inner soul and the spirit through body language. Thus, she is known as the “Kafka in the dance world”.
Tutu

Tutu choreographed as a purely physical dance work, developed from its unique dance language and principles of movement itself. It deconstructs the way the body moves, such as using release techniques and four-dimensional spacial recognition to continually explore and investigate how physical movement is influenced by time and space.

 

The Moment

The life seems to have no idea, there is no accident, no purpose, no expression, no results, but is full of struggle and come to nothing. The possibility of good luck goes with the variable of bad luck, which lead you breath freely sometimes but be given chance to breath other times. At the same time, you can feel the memories unable to capture and the time never change. By exploring into the accident of time, the artist try to record the human’s struggles and escape actives in the time.

 

Infinity

Ying breaks the consistence and the predictable moving order of traditional dance principles, attempting to use a stream-of-consciousness, vague and inconsequence expression to buils movements with their own independence. Therefore, the beginning of the movement is also the end of it. It is fleeting, like writing in water, like fragments flashing from memory, a replication of a dream.

侯莹舞蹈剧场

关于侯莹舞蹈剧场

侯莹舞蹈剧场于2009建立,前身为侯莹2006年在纽约创立的Horizon Dance Theater。在2008年回到中国担任2008年北京奥运会开幕式《画卷》的编导之后,侯莹把Horizon Dance Theater的工作重心移至北京,并将舞蹈团正式更名为侯莹舞蹈剧场。侯莹本人担任舞蹈团创意总监,也是整个舞蹈团的灵魂。早期侯莹接受过多种东方传统艺术学习,包括中国古典舞,民族舞,传统戏趣,武术和芭蕾。在美期间,她曾跟随多位著名舞蹈大师学习舞蹈技巧,像Martha Graham, Jose Limon, Merce Cunningham,Trisha Brown等。 很长一段时间,侯莹致力于探索东方元素与西方舞蹈中肢体律动的融合。最终她创立了为观众所熟知的、特有的“侯莹身体运动技巧”—意识带动思维,思维带动身体的舞蹈运动方法。

侯莹舞蹈团本着艺术不妥协的态度,力求奉献给观众的每个作品都有其独特风格。其代表作品包括:1996/《夜叉》、1998/《吻》、2009/《涂图》、2011/《介》、2012/《介2012》、2013/《冉》,2015/《意外》等。

作为中国最早一批学习现代舞人员之一,侯莹凭借其早期作品《夜叉》和《吻》及之后的作品开始在国际舞蹈界谈崭露头角。2001年侯莹获得亚洲文化基金赴美学习,并于一年后加入纽约沈伟舞蹈团并成为该团的灵魂人物。她曾三次登上《纽约时报》,并在2004年被票选为年度最卓越舞者大奖。

侯莹的作品曾受邀在全球十多个国家进行表演,并受到媒体和艺术圈的簇拥,其作品成为其他舞者必看之作。尽管侯莹的作品被舞蹈评论家评论为荒谬、孤独,但是通过这些作品,她想要表达的是通过肢体语言来探索人类内心深处的灵魂和精神,她也因此被称为“舞蹈界的卡夫卡”

《涂图》
作为一部纯粹肢体运动舞蹈作品,《涂图》是根据其特有的舞蹈语言和运动本质,解构肢体运动。如自然放松下身体的运动方式,四维空间内的身体运动方式,以此不断地挖掘和探索时间与空间是如何影响肢体运动的。

《意外》
人生看似无头绪,无意外,无目的,无表达,无结果,却又充满挣扎与虚无。塞翁失马,焉知福祸。回忆如流沙,时间似白驹过隙。艺术家通过作品探讨人进入时间的意外,以及人在时间中的种种挣扎与出离。

《冉》
侯莹打破了传统的舞蹈肢体运动的连贯性和有序性,尝试使用一种意识流,不定的和无结果的表达方式,使每个动作都有其独立性。因此,每个动作的开始的也是它的结束。如记忆中的一些片断,一次梦境的复制。