From modern Latin, from the Greek words sumbiōsis, ‘a living together,’ sumbioun, ‘live together,’ and sumbios, ‘companion’ comes the word symbiosis, an interaction between two different organisms living in close physical association, typically to the advantage of both. In the dictionary, the very definition of a symbiotic relationship, why, it almost sounds like a pas de deux. A ‘step of two’ performed by dancers working together, dependent upon each other, with each other, in synchronicity, aware, at all times, of the other.
In Stephanie Lake’s new work, Replica, Christina Chan and Aymeric Bichon embody this definition. From the outset, they are two different organisms mutually dependent upon the other, moving to the benefit of both, or so it seems. In the dark of the theatre in the Northcote Town Hall, as they stand before a strip of light on the floor, they are the bodily incarnation of mutualism. Bichon moves and Chan responds; Chan moves and Bichon responds. Two silhouettes in accord, making ‘a living together’ through togetherness. You scratch my back; I’ll scratch yours. You tap my left shoulder; I’ll tap yours. My arm draws a large circle in the air. My hand lands upon your head. With the tap, you begin to fall, but not before extending your arms forward and tapping at my abdomen. A push here, a poke there, no cause is without effect. We all fall down. Ring-a-ring o’ roses; a pocket full of posies; a-tishoo! A-tishoo! We all fall down; it’s human nature, after all.
Human nature, animal nature, it is one and the same, whether in the dictionary or the nursery rhyme; the slowest faces a penalty, the weakest in the herd is more at risk of falling prey to a predator. Best pair up with another; make a replica of their survival techniques through movement; and remember that if we all fall down, we can also all climb up. Take my hand; pull me up. In ecological rings, in biological terms, a symbiotic relationship between two or more species can be beneficial to all organisms involved (mutualism) or none (competition), and it can benefit one organism without affecting the others (commensalism) or help one while harming the others (parasitism). In Replica, Chan and Bichon, take turns trying on all four caps for size, from mutualism to parasitism, drawing for me the nature of things as the needle traces the groove and the lights shift from dark to light, warm to cool, red to blue. Lake’s choreography, Robin Fox’s sound composition, and Bosco Shaw’s lighting design all follow the same principle. Chan’s hand connects with a part of Bichon and the sound in symbiotic understanding changes. Bichon claps, the lighting alters in response. There is more than one relationship involved here.