柳廣成作品 Lau Kwong Shing’s work
Unlike conventional dance comics, Shing Shing choreographic comics have no frames or a predetermined order in which to read them.
從柳廣成的角度 From the angle of Lau Kwong Shing ->> https://goo.gl/Ps9FSE
Choreographic Comics – A New Way to Appreciate Dance
Choreographic comics transform living dance pieces into two-dimensional graphic works. Lau Kwong Shing has made the expression of dance’s performing texture in comic strips a recurring experimental subject of his art. As a comic strip artist himself, dance is a frequent theme that his works often visit. He is also a street dancer and professional docent for Oi! (Oil Street Art Space). On the day of our interview, he brought his comics with him to talk about them. As I listened, I found that his art is also a kind of visual guided tour of dance.
柳廣成 Lau Kwong Shing; 攝 Photo: 錢一葉
把舞蹈從時間抽離 Distancing Dance from Time
Time is a recurring research topic in Shing Shing’s works. Comics are composed of still images. There is a limited amount of visual information that Shing Shing’s choreographic comics can carry, and strictly speaking, it is not as rich as dance performances. But this very weakness is also its strength, liberating the imagination of its viewers. Time, like an invisible thread, strings together every dance movement. No matter how unprecedented and rule-breaking a live performance is, it still cannot be separated from the element of time. Shing Shing thinks that the subject-object relationship that time establishes between the viewers and dancers in performances or dance videos, though giving audiences ways of reading performance, leaves little room to re-imagine the content of movements. On the other hand, dance motions rendered static on paper remain details untold, allowing the viewer's mind to wander through the realm of imagination.
In a comic strip, each frame is of more or less the same size, but there must be one or two frames that will capture your attention. The sequence of looking at these comic frames determines how readers imagine the dancer moves from frame to frame. Choreographic comics need to distance the time element from a dance piece, as if handing over control of time in the piece to the viewers, and distilling the body in motion, in order to open up fresh perspectives of appreciation to its audience.
Last year, Shing Shing participated in the 44th Angoulême International Comics Festival. On that occasion, he put his dance comics into a live performance, and improvised a comics-drawing performance set to a piece of music with a strong beat. He said he managed to make the audience follow the movements that he drew, while trying to imagine how the comic character moves and fill in the gaps between the gestures drawn. Transforming a two-dimensional work into a live event filled his experiment with playful contemplation.
感受舞者的能量 To Experience the Energy of Dancers
柳廣成作品 Lau Kwong Shing’s work
Influenced by Chinese calligraphy, Lau Kwong Shing is interested in applying the dynamics between solid and void, density and sparseness of calligraphic strokes to express the rhythms of dance and the transformation of the dancer’s energy. At the same time, he narrates the movements from the perspective of viewers in speech balloons like those used in conventional comic books, turns the comic into a real piece of visual guided tour.
很多舞蹈漫畫都止於靜止畫面的美，而非描述一連串的動作 。同時作為一位街舞舞者的他享受跳舞時的當下節奏感，希望以舞蹈漫畫可以讓不熟悉舞蹈的人用眼睛看也能感受舞蹈的節奏感 。
Passionate about making comics and street dance, Shing Shing came across Chinese calligraphy while studying at university. Choreographic comics is an art form that allows him to merge all three art forms. He often compares Chinese calligraphy to dance. He said, “If we put aside the content of Wang Xizhi’s LanTing Xu, it is not hard for us to purely appreciate the lines of his calligraphy and the emotions that were expressed through all these strokes. Lines also possess energy. They can be strong and powerful, fluid, zigzag, supple yet profound.”
A lot of dance comics are happy to just present beautiful still pictures and rarely venture into the narration of movements. As a street dancer, Shing Shing draws immense pleasure from the present moment in dance, and hopes that through his choreographic comics, dance can be visually experienced by those who are not yet acquainted with it.
As a docent, he has allowed one art form to serve another, by proposing new angles of appreciation and opening up infinite possibilities of reading and understanding for viewers.