伊娃．耶珀貝恩娜佛蘭明高舞蹈團
Eva Yerbabuena Ballet Flamenco 伊娃 Eva
封面照片及上圖
Cover image and photograph
above © Jose Luis Alvarez
創作及演出 Credits
節目 Programme
編舞的話 Choreographer’s Notes
特稿 Feature
她是萬人迷
She’ll Put a Spell on You
伊娃．耶珀貝恩娜 Eva Yerbabuena
2 - 4.3.2006
香港文化中心大劇院 Grand Theatre
Hong Kong Cultural Centre
演出長約1 小時20 分鐘， 不設中場休息
Running time: approximately 1 hour and 20 minutes with no interval
為了讓大家對這次演出留下美好印象，請切記在節目開始前關掉手錶、無㵟電話及傳呼 機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影，亦不可飲食和吸煙 ，多謝合作。
To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your alarm watches, MOBILE PHONES and PAGERS. Eating and drinking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your co-operation.
Ballet Flamenco
創作人員
Creative Team
編舞／導演 伊娃．耶珀貝恩娜
音樂 帕科．哈拉納
音樂編排 赫蘇斯．卡越拉 Eva Yerbabuena Choreography and Direction
Paco Jarana Music
Jesús Calluela Musical Arrangement
舞者
Dancers
伊娃．耶珀貝恩娜
梅塞德斯．德科爾多瓦
瑪麗亞．莫雷諾
路易斯．米格爾．岡薩雷斯
艾華度．格雷羅
胡安．曼努埃爾．蘇拉諾
索妮亞．波韋達
亞松森．佩雷斯
亞歷杭德羅．羅德里格斯
Eva Yerbabuena
Mercedes de Córdoba
María Moreno
Luis Miguel González
Eduardo Guerrero
Juan Manuel Zurano
Sonia Poveda
Asunción Pérez
Alejandro Rodríguez
樂師 Musicians
歌手 佩皮．德普拉
歌手 恩里克．索托
歌手 赫羅莫．塞古拉
結他 帕科．哈拉納
結他 曼紐爾．德拉盧斯
敲擊 曼紐爾．荷西．穆諾斯
長笛及薩克斯管 伊格納西奧．比達埃徹
製作人員 Production Team
舞台監督 丹尼爾．埃斯特拉達
燈光 勞爾．佩羅蒂
音響 曼努．梅納卡
服裝 希梅納．聖羅曼 艾絲特．巴克羅
監製 西斯托瓦爾．奧特加
伊娃個人助理 瑪爾塔．卡蘭薩
舞鞋 貝戈尼亞．塞韋拉
製作 伊娃．耶珀貝恩娜佛蘭明高舞蹈團
支持
Pepe de Pura Singer
Enrique Soto Singer
Jeromo Segura Singer
Paco Jarana Guitar
Manuel de la Luz Guitar
Manuel José Muñoz Percussion
Ignacio Vidaechea Flute and Saxophone
亞洲之旅由佛蘭明高舞蹈節公司製作
Daniel Estrada Stage Manager
Raúl Perotti Lighting
Manu Meñaca Sound Technician
Jimena San Román Costumes and Wardrobe
Esther Vaquero
Cristobal Ortega Producer
Marta Carranza Eva’s Personal Assistant
Begoña Cervera Shoes
Eva Yerbabuena S L Production
With the Support of
The Asian tour is produced by Flamenco Festival Inc
初會伊娃
東拿
拉拉帕他（諧謔調）
蠟燭之塔（格拉納達調）
洞穴（悽楚調）
橋（孤調）
等着瞧（敲擊樂）
奇林 - 馬拉卡廷（探戈）
重會伊娃
Intro 1˚Eva
Toná
Rarapata (Bulerías)
Torre de la Vela (Granaína)
De la Cava (Seguirilla)
Del Puente (Soleá)
Tiempo al Tiempo (Percusión)
Chirrín-Malacatín (Tangos)
Intro 2˚ Eva
© Knut
Strand / Bergen Tidende
我
獨自一個，默然不語。一座舊 式留聲機放出音樂，帶着吱吱 的雜音，告訴我佛蘭明高的歌 聲、聲音、樂器、舞蹈，長久以來都 是情感的至高表現，不依規則，也不 受限制。我在時間中漫遊，久存心中 的信念日益明朗，我終於清楚意識 到：佛蘭明高是無始無終的。
我感到佛蘭明高的歌曲在我內心回 蕩，形式各異，彷彿注滿了我的身 體，令我渾身上下，感到無比自由。
諧謔調之舞名為《拉拉帕他》，自我 出生起即在我體內的踢踏︙︙
格拉納達調之舞，名為《蠟燭之 塔》，自由而不按節奏。我那皺摺 的裙裾，拖曳着對故鄉格拉納達的 回憶：光線由天窗透進來，綠色植 物散發出香氣，灰泥牆摸上去是如 此神聖，還有輕柔的淙淙水聲，是 水在不停流淌，不斷滴落︙︙
悽楚調之舞，純之又純︙︙
孤調之舞，來自堤阿納，來自那况 的橋。
人聲減弱至消失，《等着瞧》開始： 沒有動詞的舞蹈，沉重的打擊︙︙
「奇林- 馬拉卡廷」是塞維爾流行語， 事情就要結束的意思。探戈將我最 內心的世界呈現出來。而我的內心 總在反抗陳規陋習，像火焰一樣， 令身軀舞動起來︙︙
燈光熄滅，聲音消失，所有形像隱 沒，我再次孤身一人，在朦朧的黑暗 中覺得天旋地轉，但卻獲得了另一番 見識，覺悟到佛蘭明高也存在於時間 當中︙︙只在於我們究竟有沒有勇 氣，打開心扉，迎接生命所給予的 一切。
Iam alone, in silence. Music plays on a crackling old gramophone. It tells me that flamenco — voices, sounds, instruments, movements have long been a supreme expression of feeling without rules or limits. Travelling in time, I move towards an awareness of something in which I had long believed: the timelessness of flamenco.
I feel flamenco’s different song-forms within me they fill my body, not only with their name and form, but also with freedom.
bulerías entitled Rarapata kicked and stamped, inside me when I was born ...
a granaína entitled Torre de la Vela, free and arrhythmic, in which the ruffled train of my dress carries memories of Granada: the light framed by its skylights; its green aromas; its plasterwork — sacred to the touch; the gentle tinkling of water, ceaselessly trickling and dripping....
a seguirilla: the essence of purity....
the soleá, from Triana, from its bridge ....
the voice drops away and Tiempo al Tiempo starts: verbless dance, hard blows....
Chirrín-malacatín , a popular Seville expression, tells us that something is drawing to a close and it comes through tangos that reveal my inner self, rebelling against convention, as a flame that sets my body in motion....
The light dies, the sound fades, the shapes disappear and I find myself alone, dizzy in shadowy darkness, with a new and different knowledge.... the realisation that flamenco also exists in time.... It is simply the courage to leave one’s heart open to what life brings.
文：米高·菲克斯
娃．耶珀貝恩娜是位不同凡響的 藝術家，技藝獨一無二。她非但
不會令你失望，甚至可能會不知 不覺間改變了你，就像偉大藝術家改變我 們對世界的看法。不用說，她已改變了我 的看法。
伊娃在我拍的紀錄片《佛蘭明高女郎》中擔 演主角。我把影片送去給美裔芭蕾編舞大 師威廉．科西看，他說影片令他和舞蹈團 對舞蹈另眼相看，啟發了他們多運用感 情，少訴諸理智。
佛蘭明高這題材很難寫。這種舞蹈的來源 有許多理論闡述過，有一次我想有系統地 研究一下，但發覺太複雜了。最重要的只 不過是去體會佛蘭明高。這一點毫不困 難，只要你去到跳佛蘭明高的地方，現場 感受便可以了。
我第一次體驗佛蘭明高是 1987 年在馬德 里。我到那兒為影片《暴風星期一》宣傳， 那位西班牙發行商應我要求，安排我參觀 一間佛蘭明高會所，觀眾清一色是觀光 客，以德國人和日本人為主。他們咀巴由 始至終沒停過，但演出卻令我興奮莫名。
整個晚上演下來，我看得如癡如醉，有好 幾次還忍不住感動得哭起來，其中一次是 看着一個瘦削少女背對觀眾，用響板弄出 神奇的聲音，彷如在小軍鼓上敲出一陣咚 咚鼓聲，再逐漸放慢速度，放輕聲音，直
至完全靜下來。這一刻靜得出奇，使人不 知所措。然後她猛地轉過身來，向觀眾最 後亮相，才步下小舞台，讓另一名表演者 上場。
我一生從未見過這樣的女人，她們彷彿為 自己的性別、性感魅力和女性感覺而自 豪，半點也沒有在男性觀眾面前畏縮妥 協。我這才曉得佛蘭明高就是關於女人。 當然男人也跳佛蘭明高，彈結他的也總是 男性，但女人似乎更加堅強，更有表現 力。那時我就下定決心，要拍一部關於佛 蘭明高女性的電影。花了十年，終於告 成了。
幾年後我在一個電影節碰到導演艾慕杜 華，我欣賞他的電影的其中一點，就是女 人的角色很重。他解釋說，西班牙文化是 一種女性文化，西班牙最好的演員都是 女人。
我首次看見伊娃是在一套質素很差的錄像 况，錄影帶是她現場演出的紀錄。那時我 在籌拍紀錄片，正物色兩個主要女舞蹈 員；我給錄影帶上依稀可見的演出深深打 動，便馬上邀請伊娃加入。
開始時，洽談進行得頗為棘手，因為佛蘭 明高這個圈子充滿競爭，大家爾虞我詐， 有名氣的舞蹈家總會給心術不正的經理人 剝削，所以開頭討價還價的階段要較小心 處理。幸而我找到一個好助手兼研究員維 姬．希活，她是英國人，住在西班牙，跟 許多佛蘭明高藝術家是朋友，並很擁戴他
們。我讀過她在一本婦女雜誌談論跳佛蘭 明高女性的文章，於是便聯絡她，由她代 我和那些藝術家商談。
伊娃答應演出，而且開戲第一天就來了。
我第一個印像是：她把我當作傻瓜，我說 什麼，她都幾乎沒有反應。面對着這個無 動於中又魅力迫人的女性，我發覺自己得 使勁去保持尊嚴。漸漸地，我們找到了溝 通之法：就是我閉上嘴，讓她起舞。
佛蘭明高有點像爵士樂，兩者都來自社會 上貧窮的弱勢社群。佛蘭明高原是西班牙 吉卜賽人的藝術，而爵士起初是美國南部 黑奴的音樂。
路易．岩士唐有句說爵士樂的名言：「你要 麼懂，要麼不懂」，這話對佛蘭明高一樣適 用。你要麼給佛蘭明高感動，要麼不。佛 蘭明高不容你冷眼旁觀，也不是樂評人用 純技巧的觀點分析得來的，因為一個又老 又胖、動作緩慢的女人，同樣可以把佛蘭 明高跳得絕頂出色。佛蘭明高是一種生活 方式，但它沒有排斥性，任何人都可以走 出來，成為佛蘭明高的一份子。
不過佛蘭明高和爵士樂有一個重大分別， 就是佛蘭明高一直沒有放棄自己的根源， 爵士樂則於 1960 年代不幸消亡。佛蘭明高 能保持如此純粹，主要原因之一是它還沒 有像爵士樂般真的被主流吸收。我聽今時 今日所謂的爵士樂電台，就搖頭歎息，那 些根本就是高級酒店的大堂音樂。爵士樂 應該仍然像佛蘭明高一樣，教人撕心裂肺 才是。
伊娃浸淫於佛蘭明高舞蹈的傳統，但對佛 蘭明高以外的世界一樣深感着迷。她可以 就着任何樂曲即興起舞，但你總認出她跳
的是佛蘭明高。拍戲時她幹了一件很奇特 的事。我們正在綵排，突然感到現場冒出 一種爭強好勝的氣氛。原來其中一個舞者 在炫耀技巧，她雙腳快速舞動，同時口中 叨着香煙。
我們都很佩服她，平心而論，這個舞者跳 得實在很棒。這時，伊娃靜靜站起來，雙 臂做了一些好像太極的動作，影片都拍了 下來，而我也看過多次。她為自己先劃出 一個小空間，準備表演。然後，她舞起來 了。真正偉大的藝術家總不會過火。伊娃 只跳了幾下，即令人驚歎不已，那幾下動 作看來是那麼簡單，但房間內所有人都看 得出，她的境界比其他人都高。
今年我邀請伊娃回到我的光影世界，我跟 大約四十名演員在威尼斯即興拍攝一部數 碼電影。我找伊娃來演，因為我知道她會 把佛蘭明高的感情帶入整個拍攝過程，我 也想和更多觀眾分享我對伊娃的傾慕。她 和丈夫，傑出的結他手柏高一起前來，終 於雙雙在鏡頭前演出。
畢．雷諾士也在片中客串，我讓他飾演一 個小型佛蘭明高巡迴舞蹈團的經理。拍攝 翌日我把毛片放給大夥演員看，簡直精采 絕倫，八分鐘魔術般的表演放映完畢，幾 乎所有在場的人都眼淚盈眶，熱烈鼓掌， 彷彿不再有明天。
連伊娃也在哭，不過我想這是因為我們全 都哭了。佛蘭明高就有這種力量，把你的 心都掏出來。如果你看一個優秀的佛蘭明 高歌手表演，他也會在歌曲情感澎湃之 際，緊握拳頭捶在心口上。
原刊於英國《衛報》，
©
Jose Luis Alvarez
She’ll Put a Spell on You
by Mike Figgis
Eva Yerbabuena is an extraordinary artist and she’s unique. She will not disappoint you. She might even change you in a small way, the way a great artist changes the way we look at the world. She certainly changed the way I look at it.
Eva starred in a documentary I made, Flamenco Women . I sent it to William Forsythe, the great American ballet choreographer, and he said that it changed the way he and his company looked at dance. It inspired them to use more heart and less intellect.
Flamenco is a difficult subject to write about. There are many theories about where it came from. I once tried to read up on the subject but found it too complex. The most important thing about flamenco is simply to experience it. And it’s very easy to do just that. You turn up at a venue and, well, experience it.
The first time I experienced flamenco was in Madrid in 1987. I was there promoting a film, Stormy Monday , and the Spanish distributor arranged, at my request, a visit to a flamenco club. The audience was 100% tourists, mainly German and Japanese, and they talked all the way through. But for me it was electric.
I watched enraptured as the evening played out. On several occasions I found myself weeping, once as a skinny teenage girl turned her back on the audience and did amazing things with castanets. After performing the equivalent of a roll on a snare drum, she took the tempo and the volume slowly down to zero.
For one moment there was a stunned silence, then she whipped around and faced the audience for her final punctuation before walking off the tiny stage to let the next performer on.
I’d never seen women like this in my life. They seemed to be so proud of their own gender and the sexuality and sensuality that is female without having to compromise it in any way for a male audience. It struck me that flamenco was about women. There were men dancing, and the guitarists are always men but the women seemed to be stronger and more expressive. I resolved there and then to make a film about female flamenco. It took me 10 years but I did finally get it together.
At a film festival a few years later, I met Pedro Almodovar. One of the many things I admire about his films are the strong roles that he gives to women. He explained that Spain is a female culture and that the best actors in Spain are women.
The first time I saw Eva was on a bad VHS copy of a recording of a show she was doing at the time. I was looking for two main female dancers for the documentary I was trying to make. I was very impressed by what I could make out and immediately invited her to participate in the film.
These initial negotiations were tricky because the world of flamenco is rife with suspicion and competition. The stars of flamenco are always being ripped off by bad management. So the early stages were a bit delicate. Luckily I found a valuable ally and researcher, Vicky Heywood, an Englishwoman living in Spain who had become a friend and supporter of many
flamenco artists. I’d read an article she'd written for a women’s magazine about women in flamenco and got in touch. She then negotiated with the artists on my behalf.
Eva agreed to be in the film and turned up on the first day of filming. My first impression was that she thought I was a fool. She showed little expression at anything I said. I found myself struggling for dignity in the face of this impassive, striking woman. Slowly we found a way of communicating. I stopped talking and she started dancing.
In some ways flamenco is like jazz. Both are art forms that have grown out of poor minority sections of the community. Flamenco is the art of the Gypsies in Spain and jazz started as the music of black slaves in the American south.
Louis Armstrong’s famous comment about jazz, “Either you dig it or you don’t”, is also true for flamenco. Either you are moved by it or you are not. Flamenco is not something you can be cool about, something a critic can analyse in terms of pure technique, because a very old woman who is overweight and slow can still be superbly flamenco. Being flamenco is a way of life but it’s not exclusive. Anyone can turn up and be a part of it for the moment.
But a big difference between flamenco and jazz is that flamenco has held on to its roots. Jazz unfortunately gave up the ghost back in the 1960s. One of the main reasons that flamenco has remained so pure is that it has never really been absorbed into the mainstream in the way that jazz has. It saddens me to hear so-called jazz radio these days; what you get is up-market hotel lobby muzak. Jazz should still be ripping your guts out the way flamenco does.
Eva is rooted in the tradition of flamenco dance but also fascinated by the world that is not flamenco. She can improvise to anything but you will always know that she is flamenco. When we were filming she did
a very strange thing. We were rehearsing and there was a competitive vibe in the air. One of the other dancers was showing off a bit, fast feet and smoking a cigarette at the same time.
We were all impressed by this and to be fair to this other dancer, she was pretty damn good. Eva quietly got up and did a kind of thing tai chi with her arms. It’s on film and I’ve studied the moment many times. She defines a small space in which she is about to perform. And then she performs. A truly great artist never overstates. Eva then did a couple of moves that were so stunning yet seemed so simple. But it was clear to everyone in the room that she was operating on a higher plain than everyone else.
I invited Eva back into my film world this year. I was making an improvised digital film in Venice with about 40 actors. I wanted to have Eva in the film because I knew she would give some flamenco heart to the proceedings. I also wanted to share my admiration for her with a wider audience. She and Paco, her brilliant guitarist husband, turned up and in due course performed on film.
Burt Reynolds was also doing a small cameo in the film, and I asked him to play the part of the manager of a small touring flamenco troupe. I showed the rushes the next day to the assembled cast and it is a stunning tour de force, eight minutes of magic. It finished and pretty much everyone was in tears and clapping as if there was no tomorrow.
Even Eva was crying but I think that was because we were all crying. Flamenco will do that for you. It will tear your heart out. If you watch a good flamenco singer, he will beat his heart with a clenched fist during an emotional passage of a song.
The Guardian, 16 July 2001
伊娃 ‧ 耶珀貝恩娜
Eva Yerbabuena
伊娃．耶珀貝恩娜是當今佛蘭明高赫赫有名的女舞蹈家和編舞家。 曾獲當代佛蘭明高大獎、最佳表演及最佳舞蹈員雙年獎等重要獎 項，2001 年更取得西班牙舞蹈界的最高榮譽：全國最佳舞蹈大獎。
伊
娃．耶珀貝恩娜 1970 年出生， 12
歲起在格拉納達學舞，師從恩里 克．艾卡納斯特羅、安古斯提拉 斯．拉蒙拿、馬里基拉和瑪里奧．瑪雅。
耶珀貝恩娜後來移居塞維爾，跟胡安．富 里斯特和赫蘇斯．杜明格斯學習戲劇藝 術，再去古巴夏灣拿跟約翰尼斯．加西亞 學編舞。她曾與多位著名佛蘭明高舞蹈家 合作，如拉菲爾．阿基拉、哈維爾．拉托 雷、馬諾萊特、梅切．艾斯梅拉達、哈維 爾．巴龍等，再於 1998 年創立自己的舞蹈 團。她曾在塞維爾兩年一度的佛蘭明高舞 蹈節，跟佛蘭明高歌手艾佩萊演出《來自記 憶》和《愛情魔術師》。
1997 年，耶珀貝恩娜主演米高．菲克斯的 紀錄片《佛蘭明高女郎》。她和艾．基托和 卡門．莉納雷斯一起巡迴歐洲和拉丁美洲 演出，又曾與巴里殊尼哥夫同台獻藝。
耶珀貝恩娜在塞維爾佛蘭明高節演出，以 及在西班牙國家芭蕾舞團當特邀舞蹈家， 俱表現出色，引起國際注目。她曾獲當代 佛蘭明高大獎、最佳表演及最佳舞蹈員雙
年獎等重要獎項， 2001 年更取得西班牙舞 蹈界的最高榮譽：全國最佳舞蹈大獎。
2002 年耶珀貝恩娜獲頒英國舞評家的最佳 演出特別獎，她在倫敦撒德勒威爾斯劇院 的演出，獲《偷閒》雜誌選為 2002 年度最佳 演出；同年十月，她在塞維爾第十二屆佛 蘭明高雙年舞蹈節中首演《靜默之聲》，被 推舉為雙年節最佳舞蹈家和表演者。
2003 年，「伊娃．耶珀貝恩娜佛蘭明高舞 蹈團」於歐洲最負盛名的劇院和舞蹈節演 出，如法國的巴黎劇院和國立莎優劇院、 英國的工作舞藝術節和瓦伊河畔羅斯國際 藝術節、挪威的卑爾根藝術節和意大利的 巴勒莫藝術節。此外，她也經常於拉丁美 洲各地表演。
耶珀貝恩娜計劃在西班牙巡迴演出，並參 加多個主要的國際夏季舞蹈節，包括塞維 爾佛蘭明高雙年節和德國翩娜．包殊的烏 珀塔爾藝術節，合演的還有安娜．拉古 納、蕭菲．紀蓮、瓦迪米．馬拉寇夫等 巨星。
Eva Yerbabuena is regarded as one of the most important female dancers and choreographers in flamenco today.
Born in 1970, she started dancing at the age of 12 with Enrique el Canastero, Angustillas la Mona, Mariquilla and Mario Maya in Granada. She moved to Seville to study dramatic art with Juan Furest and Jesús Domínguez, and later went to Havana, Cuba, to study choreography with Johanes García. Before founding her own company in 1998, she worked with such renowned flamenco dancers as Rafael Aguilar, Javier Latorre, Manolete, Merche Esmeralda and Javier Barón. She has performed at the Biennial Flamenco Festival of Seville with el Pele in the productions Desde la memoria and El amor brujo.
In 1997 she was featured in Flamenco Women , a documentary by Mike Figgis. She has toured Europe and Latin America, collaborated with el Güíto and Carmen Linares, and been billed alongside Mikhail Baryshnikov.
Yerbabuena has achieved international recognition for her appearances at the Seville Biennial and as a guest artist with the Spanish National Ballet. She has received the most important flamenco dance awards including the Premio Flamenco Hoy, the biennial awards for best performance and best dancer, and the 2001 Premio Nacional de Danza, Spain’s highest honour in dance.
In 2002, Yerbabuena was awarded the UK Dance Critics’ Special Award for Excellence and she performed at Sadler’s Wells, London, where she won the Time Out, 2002 Best Performance of the Year. In October 2002 she premiered her show La voz del silencio , at the 12th Biennial Flamenco Festival in Seville, and was proclaimed Best Dancer and Best Performer of the Biennial.
In 2003, Ballet Flamenco Eva Yerbabuena performed in the most prestigious theatres and festivals of Europe, such as the Théâtre de la Ville and the Théâtre Chaillot (France), the Woking Dance Festival and the Rosson-Wye International Festival (UK), the Bergen Festival (Norway) and the Palermo Festival (Italy). She has also performed extensively in Latin America.
Yerbabuena’s future plans include a tour throughout Spain and the participation in major international summer festivals including the Biennial Flamenco Festival of Seville and the Pina Bausch’s Wuppertal Festival with Ana Lagnuna, Sylvie Guillem and Vladimir Malakhov among others.
© Jose Luis Aluarez