These twin concepts, borrowed from the Great Reform movement in 20th century theatre practice, helpfully embrace both the criteria by which the performance of taolu is usually judged and also the deficiencies in our contemporary understanding of reasons behind this palimpsestic training method. Rather than trying to find a universal reason for the practice of taolu, this paper proposes to look at the idea of prearranged movement patterns through the lens of credibility and decipherability. The practice of taolu (tao4lu4, tao lu, 套路 ), the prearranged movement patterns of the Chinese martial arts, has been explained in fantastically diverse ways spanning a range of interpretations from the essential and functional to the narrative, theatrical and religious.
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