Bruce Lee’s water philosophy re-examined by a young Chinese woman
“Be water, my friend” is a famous quote by Bruce Lee that celebrates adaptability, flexibility and the intrinsic strength of human beings. Written and performed by Chenxing Liu, this production of Be Water re-examines Lee’s philosophy almost half a century later from a different lens of gender, race and of course, the pandemic.
Be Water sketches the story of Wanke Huang, a Chinese acting student grappling with survival and striving to secure roles by reluctantly adopting a “Chinese accent.” Her journey is marred by racism exacerbated by the pandemic in the West, from over hearing a dialogue talking about Chinese people eating bats, to learning from the news a hate crime against East Asian faces in Selfridge, culminating in her tragic demise in a London Underground attack. The play carefully intertwines those struggles and issues with broader philosophical questions, prompting reflections on Bruce Lee’s notion of being like water: is it always right to be as yielding as water? Must women conform to be as soft and passive as water, silenced by men’s voices? Are adaptability and flexibility Asian’s sole strategy in navigating their lives in the West?
A standout feature of Be Water is its innovative way of blurring the fourth wall by transforming the auditorium into Wanke’s acting workshop/classes and involving audiences as her scene partners, providing a fresh and captive audience engagement. Another commendable aspect of Be Water is its clarity and focused neatness. In contrast to many solo performances that attempt to compress a multitude of ideas into a brief span, often resulting in a disjointed experience, Be Water skilfully navigates this pitfall. It maintains a sharp focus on Wanke’s story, poignantly addressing racism against East Asians, and amplifying the often-silenced voices of the East Asian community, questioning the indifference and ignorance of the people in the West.
However, the production occasionally veers into distraction when Wanke initiates academic-discussion-like conversations, detracting from its narrative heart. It feels a bit preachy. I am anticipating a deeper exploration of her family’s experience during the Wuhan lockdown. Such narratives would resonate not just with Chinese audiences but universally, offering profound insights into the shared human condition during times of crisis. Furthermore, the play’s treatment of feminism feels somewhat superficial. Embracing intersectionality, despite clichéd, would make perfect sense in a show about a Chinese young woman finding her post- pandemic life in the West.
Chenxing’s performance is surprisingly dynamic and powerful. She seems a bit shy at first and hesitant to connect with the audience. However, this changes as she begins to delve into her personal interpretation of the water philosophy. In the latter half of the play, as the tone shifts to darker and more sombre themes, her eyes brim with tears, yet she resolutely holds them back, adding layers of complexity and emotional depth to Wanke’s portrayal.
Little doubt as a project still in development, Be Water embodies immense potential. As Chenxing is crafting something with deep thematic exploration and innovative ways of storytelling, it leaves audience anticipating her future endeavours.