In response to an earlier post in this series which referred to Bruce Lee’s ‘Lost Interview’, my friend, veteran Malaysian journalist and art writer Ooi Kok Chuen commented, “Bruce Lee is much misunderstood after all these years where he is seen as a supreme martial arts fighter. … his cult brand of Chinese martial art is more than stunning physical manoeuvres. It’s a philosophy, a discipline of the highest order, and on top of it all, a way of life.” Indeed, this philosophy/discipline was embodied in what I would call a post-traditional fighting system that Bruce called Jeet Kune Do. The Jeet Kune Do system seems to acknowledge the plurality of traditional forms while unifying then in a praxis.
In the interview Bruce Lee explains this praxis in terms of the relationships between martial arts, acting and life, “… all types of knowledge mean self-knowledge … [my students] want to learn to express themselves through some movement, be it anger, be it determination or whatsoever … to show … in combative form, the art of expressing the human body … it might sound too philosophical, but its unacting acting, or acting unacting. I mean, here is the natural instinct, and here is control. You are to combine the two in harmony … The ideal is unnatural naturalness or natural unnaturalness … ultimately, martial art means honestly expressing yourself … You have to keep your reflexes, so that when you want it, it’s there! When you want to move, you are moving. And when you move, you are determined to move …”
Another friend Hugo Moss, co-founder of Michael Chekhov Brasil responded to the same post by noting that Bruce lee’s praxis echoes that of Michael Chekhov (1891-1955), a Russian actor, director and teacher whose approach to actor training, rehearsal and performance continues to inspire artists around the world. Hugo notes that Chekhov posits the same “polarity of being in controlling and releasing yourself 100% free in the moment. It’s the creative process of meaningfully living ‘the tangible/material world’, ‘the cosmos/possible’ and ‘oneself’ in equal measure/harmony. … yes there’s a polarity … In the creative act there is part of it which is a “doing” in the traditional sense, but then there is a “getting out of the way” and allowing the creative moment to flow … [and] that flow [is] this threefold consciousness – ‘Material World’ + ‘Cosmos & Imagination & the possible’ + ‘Self’, [with] our gesture unifying the first two.”
In the light of the profundity of Bruce Lee’s contribution, Tarantino’s project seems frivolous at best and at worst, a folie.
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