World premiere National Theatre, Lyttelton, 18 September 2008
巡演詳情 Tour details: www.akramkhancompany.net
感謝 With gratitude to:
Juliette Binoche and Akram Khan would like to thank acting coach Susan Batson:
“You embrace work like no one else, your vision is a commitment to the human beings you’re working with, but also to the art. You know how to transform us, you see beyond, ready to share your discoveries with your heartfelt sensibility. Thank you Susan, you are a true inspiration.”
Juliette Binoche would like to thank Hsu Su-Man:
“She made this adventure possible. Intuition takes you by surprise and I think that she knew how to create this encounter by just imagining before anyone. You make the joy of transformation come true. Your faith on this project is my path. Thank you for your love and commitment.”
特別鳴謝 Special thanks to:
Dr Bobola, Brigitte Parnet-Evans, Christopher Hornzee-Jones, Marguerite Kardos, Mr and Mrs Khan, Fanny Aubert Malaurie, Olivier Meyer, Louise Pascal, Jean-Louis Rodrigue, Marianne Rosenstiehl, Francois Samuelson, Marion Stalens, Nikoleta Rafaelisova and Shanell Winlock. PR and Sponsorship by Kallaway www.kallaway.co.uk Early research supported by Jerwood Studio at Sadler's Wells.
加料節目 FESTivAL PLuS
英國文化協會加料節目 合作伙伴：英國文化協會
5.3.2009 (四)
演後藝人談
歡迎觀眾演出後留步，與兩位表演者見面。
詳情請參閱藝術節加料節目指南，或瀏覽藝術節 網站：www.hk.artsfestival.org
British Council Plus Series
In partnership with the British Council 5.3.2009 (Thu)
Meet-the-Artist (Post-Performance)
If you would like to meet the performers, please remain in the auditorium after the performance.
For details please refer to the Festival Plus Booklet or go to the Festival website: www.hk.artsfestival.org
It is still early days in the creative process when I write these reflections and the result hoped for is still fragile, but already visible, both of them discovering new ways to express, to connect.
If successful, In-I will render this individual journey together both in its form showing how they both developed their craft by learning from the other and in the story it tells.
June 2008
形容不同形式的愛之希臘字詞
The Greek Words to Describe the Different Ways to Love
PORNEiA
POTHOS
MANiA
EROS
PHiLiA
孩子對母親的愛、被他人滋養的愛；生存所必需、消耗的愛；把他人變 成對象，填塞空虛的愛。
Love of a child for its mother, love that is nourished by the other. Vital need, consuming love. To make of the other an object. Love that fills a void.
以匱乏為方式的愛；被愛、被肯定的需要。
Love as lack, the need to be loved, recognised.
激情、依賴、嫉妒、佔有、獨有。攫取之愛（我希望你歸我所有）。
Passion, dependence, jealousy, possession, exclusivity. Captive love (I want you to myself).
The winged god (winged passion, phallus with wings). Desire for the beautiful, the good, dependence and consummation. It awakens aspiration towards beauty. To rediscover by experiencing the sacred.
朋友之愛；讓他人冒出來成為主體。有四個層次：
Love for friends, emergence of the other person as a subject. Philia has four layers:
Philia Physike
Philia Erotike
家庭（血緣）之愛；確認下一代為自身的延續。
Love for family (blood and flesh), recognising the child as an extension of oneself.
肉慾之吸引，卻沒有肉慾之行為；兩個靈魂相互吸 引；令我們甦醒，令我們成長。
Physical attraction, without the act itself. Two souls attracted to each other. Presence that awakens us, that makes us grow.
Philia Hetairike 友愛，聆聽別人，接納對方的差異、困難。交流 之愛。
Love for a friend, listening to the other, his difference, his problems. Love as exchange.
Philia Xenike 對陌生人的愛，好客之道、喜歡差異、變生多樣。
Love for the stranger, hospitality, loving difference, emergence of alterity.
STORGE 溫柔；在旁關懷的心；少計回報的付出。
Tenderness. The heart that is present, heart on the palm, it gives itself expecting less in return.
Love in silence, harmony in breaths, to be on the same wavelength, simple, a togetherness on a mystical level, not dependent (we meet as though we had only separated yesterday).
良好意願；不求回報的愛；奉獻、同情、沒有被渴求的慾望；精神層次 的愛。
Goodwill, love without expectation of return, devotion, compassion, without the desire to be desired. Spiritual level of love.
慶祝和讚頌之愛；自由付出的 、給予的愛；向神感恩之愛；無償；付出 自己的美。
Love celebrating, praise, joy given freely, offered. The thanks to the gods. Gratuitous, beauty that gives itself.
Absolute love, love of God, the source. Love that springs from the source, that gives itself. A birth of a love that is ready to renounce itself. Love that makes love grow in the other. The fullness of love, plenitude.
你不能透過你自己察覺我 如你走近我
那是因為我走近了你
我與你的距離比你跟自己更近 更近，比你自己的呼吸更近
If you perceive me, you perceive yourself
You cannot perceive me through yourself
If you get close to me, It's because I come close to you.
I am closer to you than you are to yourself
Than yourself, than your breath.
Ibn Arabi, extract from the final psalm of the Book of Theophanies 如果你察覺我，你就察覺了自己
you’re serving the work, our baby. Suddenly it’s not about you and I any more. We both become In-I.
J: What do you want people to take home with them?
A: I want them to be unable to describe in words what they felt or experienced.
J: If you had to choose one word to say what you want to give to the public, what would it be?
A: Hope. Without hope, we could just as well stop living. But there is something in us that says we can be better.
…
A: What is it that you want to say with this piece?
J: Go for your dream, invent yourself, nothing to lose, create, dare being!
A: Why do you need to explore love?
J: It feels to me that love is the only way to survive in this world and that love is what life is about. I think I’m more frightened to be loved than to love. It makes me more vulnerable somehow.
A: Can freedom and prison exist together in the context of love?
J: If they can co-exist, I’m not sure you can call it prison any more. If there is commitment and true love, I think that what you give to the other, you would give to yourself.
A: What about angels?
J: As a child I had a natural connection with the invisible. We tend to lose that contact. It seems to me that through the experience of loss, of separation, of not knowing, there is a possibility to rediscover that space again within us.
A: If one said to you that you are most comfortable in letting go and you are most afraid of holding on, what would you say to that?
J: I think my natural impulse is to hold on like anyone, because separation is not an easy situation to accept. To let go, you have to trust the unknown. But I've noticed that I'm not holding on to the past. I think because my passion to live the present is greater.
A: For you, what is the difference between performing in film and on stage?
J: I love sharing the present time with the audience in the theatre, I long for the ritual of going back to relive the trajectory of a play and of a character each night, with the audience and other actors. In films, every day is a re-adaptation of new scenes, places, atmosphere. You have to combine a world of technique with the camera and your inner vision of the film with the director. But acting is the same inward magnifier of human nature. The medium is not most important, the most important thing is your commitment.
A: How has the experience of dancing been for you?
J: I don’t have a trained body. I can’t hide behind my body, as you can’t hide behind emotions, you can only be in them. But I do feel an evolution, and you’re helping me with so much care and generosity. Day by day, I find more confidence and joy in moving. But there are also moments when I question how on earth will I be able to do it?
Akram Khan is one of the most acclaimed choreographers of his generation working in Britain today. Born in London in 1974, into a family of Bangladeshi origin, he began dancing at seven and studied with the great kathak dancer and teacher Sri Pratap Pawar.
After later studies in contemporary dance, he maintains his commitment to the classical kathak repertoire as well as to modern work. Among his best-known solo pieces are: Polaroid Feet (2001), Ronin (2003) and Third Catalogue (2005).
In August 2000, he launched his own company. Among his most notable company works are Kaash (2002), a collaboration with artist Anish Kapoor and composer Nitin Sawhney, which was featured in the 2003 Hong Kong Arts Festival; ma (2004), which won a South Bank Show Award (2005); and zero degrees (2005), a collaboration with dancer Sidi Larbi Cherkaoui, sculptor Antony Gormley and composer Nitin Sawhney, which was nominated for an Olivier Award in 2006.
zero degrees won Best Choreography in a Ballet or Dance Work and Akram Khan won the award for Best Male Dancer in the prestigious annual Helpmann Awards, Sydney, Australia, 2007. Sacred Monsters (2006) is a major work featuring ballerina Sylvie Guillem, with additional choreography by Taiwanese choreographer Lin Hwai Min. Another recent project is Variations (2006), a collaboration with London Sinfonietta to celebrate the 70th birthday of Steve Reich, which premiered in Cologne, and toured to Europe and the US. Khan was also invited by Kylie Minogue to choreograph a section of her Showgirl concert in November 2006.
A new work, bahok, a collaboration with the National Ballet of China, had its world premiere in Beijing in January 2008, and after performances in the UK, bahok is currently touring worldwide.
Khan is married and lives in London.
Angeles), Lia Haraki (Cyprus), Daniele Desnoyers (Montreal) and Sylvie Guillem (London) and to return to his passions of teaching, writing, leading workshops, lecturing and publishing in Belgium, Canada, the UK, Germany and Greece.
徐素滿 Hsu Su-Man
排練總監及舞蹈導師（茱麗葉．庇洛仙）
Rehearsal Director and Dance Coach (Juliette Binoche)
Born in Taiwan, Hsu Su-Man first studied dance at the National Institute of the Arts in Taipei, and then at the Folkwang Hochscule in Essen, Germany. She first joined the Ulmer Ballet and then joined Rosas. She stayed with the company for five years as a member and was the company rehearsal director for the last year.
On retiring from dancing she undertook extensive professional training as a shiatsu therapist. Hsu augmented her training with certificated studies in Pilates (mat work) and Japanese Facial massage. In 2005 she was listed in the London Evening Standard as one of the five top facialists in London. She started working with Juliette Binoche as her body therapist in 2006. In 2007 she became Juliette Binoche’s dance coach in preparation for In-I. She continues to work for this production as rehearsal director.
Farooq Chaudhry graduated from the London Contemporary Dance School in 1986. He worked in a variety of dance mediums in Europe, including as a company member of Rosas during the 1990s. In 1988 he received an Asian Achievement Award for his work as a dancer. He retired from dancing in 1999 and completed an MA in Arts Management from City University in London. In 2000 he and Akram Khan co-founded the Akram Khan Company.
Chaudhry has played a key role in forming innovative business models for Akram Khan’s artistic ambitions as well as offering creative support for his projects; he is currently the company producer. He is a “project champion” for Arts Council England’s Cultural Leadership programme and a member of Dance UK’s Board. He was recently acknowledged in a publication by the French Ministry of Foreign Affairs as one of the world’s top one hundred cultural actors and entrepreneurs.
Originally from Brazil, Bia Oliveira joined the Akram Khan Company in 2007 as associate producer through a Creative Leadership Award when she worked on bahok. She was previously at Londonbased Artsadmin, where she worked on arts projects for five years and has focused on producing, touring and management of arts projects, working across the spectrum of theatre, visual arts, dance, live art and performance. Oliveira has been involved with performance for over 20 years as a performer, producer and director.
The Hermès Foundation’s support for In-I reflects Hermès’s desire to pursue its existing collaboration with Akram Khan, one of Britain’s leading choreographers and dancers. Hermès first collaborated with Khan in 2006, on the Tokyo performance of his choreographic work Monstres sacrés (Sacred Monsters), produced by Hermès Japan and starring Sylvie Guillem. Now, the Hermès Foundation confirms its commitment to the work of Akram Khan with support for his new production, co-directed and performed with Juliette Binoche, and with a set designed by contemporary artist Anish Kapoor. Three powerful personalities come together to create a new work reflecting their distinctive sensibilities and imaginations. Each of them crosses boundaries to create a collective work mixing artistic fields.
Created in April 2008, the Hermès Foundation will steer Hermès’s existing patronage initiatives, and sharpen their strategic orientation. The Foundation focuses on four key areas in cultural and humanitarian fields: support for the contemporary arts, traditional craft skills, education and environmental research. The co-production of In-I is one of the Foundation's first projects as part of its programme of support for the contemporary arts.
