Caught (a pair of fishing tales)
Once, when Chuang Tzu was fishing in the P'u River, the king of Ch'u sent two officials to go and announce to him: "I would like to trouble you with the administration of my realm."
Chuang Tzu held on to the fishing pole and, without turning his head, said, "I have heard that there is a sacred tortoise in Ch'u that has been dead for three thousand years. The king keeps it wrapped in cloth and boxed, and stores it in the ancestral temple. Now would this tortoise rather be dead and have its bones left behind and honored? Or would it rather be alive and dragging its tail in the mud?"
"It would rather be alive and dragging its tail in the mud," said the two officials.
Chuang Tzu said, "Go away! I'll drag my tail in the mud!"
~ * ~There was a fisherman in China who for forty years used a straight needle to fish with. When someone asked him, "Why don't you use a bent hook?" The fisherman replied, "You can catch ordinary fish with a bent hook, but I will catch a great fish with my straight needle."
Word of this came to the ear of the Emperor, so he went to see this fool of a fisherman for himself. The Emperor asked the fisherman, "What are you fishing for?"
The fisherman said, "I am fishing for you, Emperor!"
If you have no experience in fishing with the straight needle, you cannot understand this story. Simply, I am holding my arms on my breast. Like that fisherman with the straight needle, I fish for you good fishes. I do not circulate letters. I do not advertise. I do not ask you to come. I do not ask you to stay. I do not entertain you. You come, and I am living my own life.
-- Sokei-an
~ * ~In Caught - a dance piece choreographed by David Parsons - we are offered a meditation on the relationship between the seen and the unseen, and the processes of perception and creation. If you ever have the opportunity to see this performed live, in a theater, do it! It loses quite a lot in the translation to a video format.
The visual effect of the dancer "flying" is achieved via a strobe-light. The dancer times his leaps so that each time the strobe is on, he's in the air, in basically the same shape as the last time we saw him, but in a slightly different location. Of course we "know" intellectually that when the strobe is off, he's descending back to the stage and then gathering himself for another leap -- but since we don't actually see this part of the cycle, our mind jumps to the conclusion of continuous motion.


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