香港藝術節匯聚全城文化精髓， 是享譽亞洲的文化盛事。藝術節 絢麗多姿的節目，每年吸引無數 海內外藝術愛好者熱烈捧場。觀
眾無論以香港為家，還是慕名而 來，都不難感受箇中都會魅力。
香港藝術節雲集本地以至全球名 家傾力演出，盡展藝術才華。精 選節目包羅萬象，古今俱備，觀 眾既可欣賞當代新銳創作，更可 回味大師經典作品。
欣逢香港藝術節四十周年，可喜 可賀。謹祝各位有一個愉快難忘 的晚上。
獻辭 message
The Hong Kong Arts Festival is a highlight of our city’s cultural calendar and a widely celebrated arts event in Asia. Each year it presents a feast of exciting programmes that draw arts lovers from near and far, adding to Hong Kong’s attractiveness both as a home and a tourist destination.
The Festival is an important platform for showcasing local talent alongside the best artists from around the world. With a judicious mix of programmes, it champions new and contemporary works while celebrating great masterpieces, giving audiences much to savour.
I congratulate the Hong Kong Arts Festival on its 40th Anniversary and wish you all a truly memorable evening.
香港特別行政區行政長官
Chief Executive Hong Kong Special Administrative Region
歡迎蒞臨第40 屆香港藝術節。
作為重要的國際
文化盛會，香港
藝術節每年呈獻 世界頂尖及多元 化的表演節目。
今年榮幸再邀請
到世界各地及本
港藝術精英，帶
來舞蹈、音樂、
歌劇及戲劇等精采表演，讓觀眾可欣 賞振奮心靈的繽紛藝饌。
我藉此感謝香港特區政府、香港賽馬
會、各贊助企業及個人的慷慨資助。
踏入第40周年，香港藝術節除了雲
集世界各地的藝術界翹楚，帶來精采
演出，亦透過學生票贊助計劃及「青
少年之友」計劃，培養年青人的藝術
體驗；此舉有賴一群熱愛藝術的有心 人慷慨資助，鼓勵年青人參與藝術節
的精采演出，提升日後觀賞藝術的興 趣。
各位觀眾的支持和參與，乃驅動藝術
節向前邁進的力量。感謝您前來欣賞 本節目，希望本屆藝術節為您帶來美 好的觀賞時光。
I warmly welcome you to the 40th Hong Kong Arts Festival.
Recognised for the quality and variety of its programming, the annual Hong Kong Arts Festival is keenly anticipated as the premier event in Hong Kong’s cultural calendar. This year we again welcome top international and local talent in dance, music, opera and theatre, whose artistry will delight and inspire us.
I wish to acknowledge strong support of the Government of Hong Kong SAR, the Hong Kong Jockey Club, and sponsors and donors who make this Festival possible. At this 40 year mark, I am particularly delighted that in addition to presenting wonderful artists to a discerning public, we can also nurture young audiences through our Student Ticket Scheme and Young Friends Scheme, thanks to the contributions of donors and supporters who generously share their own love for the arts with audiences of the future.
Thank you very much for coming to this performance. Your presence is paramount to the success of the Festival, and I wish you a very enjoyable experience.
歡迎閣下蒞臨第 40屆香港藝術 節。
今年香港藝術節 呈獻的藝術名家 及精采節目，就 如香港大都會一 樣多元化又璀璨 奪目。延續四十 年的優良傳統， 我們繼續邀請
本地及國際知名的星級藝術家點亮香 港大小舞台，呈現世界豐碩的文化傳 統，豐富未來的文化面貌。
衷心感謝多年來熱心支持香港藝術節 的各界人士及團體。我們過去的成 功源自他們對藝術的熱忱，他們亦深 信豐盛多元的文化藝術生活，是香港 作為名副其實的國際大都會之重要支 柱。
感謝您與我們一起慶祝香港藝術節的 四十年。藝術節團隊向每一位支持香 港藝術節的觀眾衷心致謝，期望您盡 享連串多姿多采的節目。
It is a pleasure and privilege to welcome you to the 40th Hong Kong Arts Festival.
The array of artistic talent and programmatic content presented at this year’s Festival is as diverse and multi-faceted as the city which has hosted this annual event in the course of four decades. As we add to the roll call of local and international luminaries who grace our stages, we continue to draw upon the impressive traditions available to us, and work to augment a heritage for the future.
I am deeply grateful to many individuals and institutions for their contributions to the Festival’s success over the years, informed by a love for the arts and an appreciation of how important it is for a major city worthy of that description to have a rich cultural life.
Thank you for being here to celebrate forty years of the Hong Kong Arts Festival. The Festival would not happen without its audience. The entire Festival team appreciates your contribution to the 40th Hong Kong Arts Festival and hopes that you enjoy many wonderful performances.
Charles Lee, Chairman
Tisa Ho, Executive Director
香港藝術節資助來自： The Hong Kong Arts Festival is made possible with the funding support of:
《巴洛克協奏曲》Concerto Barocco
編舞 Choreography
喬治．巴蘭欽 George Balanchine
©喬治•巴蘭欽基金會 © The George Balanchine Trust
音樂 Music
巴赫 Johann Sebastian Bach
D小調雙小提琴協奏曲 Concerto in D minor for Two Violins BWV 1043 BWV 1043
排練 Rehearsals
蘭納•格斯克 Nanette Glushak
《薩拉班德舞曲》Sarabande
編舞 Choreography
班傑明．米爾派德 Benjamin Millepied
音樂 Music
巴赫 Johann Sebastian Bach
無伴奏長笛組曲及 Excerpts from the Partita for Solo Flute and 無伴奏小提琴奏鳴曲與組曲選段 the Sonatas and Partita for Solo Violin
服裝 Costumes
保羅．考克斯 Paul Cox
燈光 Lighting
羅德里克．莫雷 Roderick Murray
排練 Rehearsals
查理．賀吉斯 Charlie Hodges
音樂演奏 Musicians
埃里克．克蘭姆斯（小提琴） Eric Crambes (Violin)
吳懷世（長笛） Wai-sai Ng Wilson (Flute)
中場休息 interval
《大賦格》Grosse Fugue
編舞 Choreography
瑪姬．馬蘭 Maguy Marin
音樂 Music
貝多芬 Ludwig Van Beethoven
《大賦格》，作品133 Grosse Fugue, Op 133
服裝 Costumes
珊圖．克勞柏 Chantal Cloupet
燈光 Lighting
法蘭索瓦．雷納 François Renard
《漆黑中的一隅》This Part in Darkness
編舞 Choreography
班傑明．米爾派德 Benjamin Millepied
音樂 Music
麥士．李希特 Max Richter
〈旅程5〉、〈Infra 6〉、〈Infra 7〉、〈Infra 5〉 Journey 5, Infra 6, Infra 7, Infra 5
大衛．朗 David Lang
《刺穿》 Pierced
服裝 Costumes
保羅．考克斯 Paul Cox
燈光 Lighting
羅德里克．莫雷 Roderick Murray
排練 Rehearsals
查理．賀吉斯 Charlie Hodges
藝術節加料節目 Festival PLUS 里昂歌劇院芭蕾舞團的精髓 (演後藝人談) The Essence of Lyon Opera Ballet (Meet-the-Artist) 9 2 2012 (四) 晚上 9:40-10:10 9 2 2012 (Thur) 9:40-10:10pm
歡迎觀眾演出後留步， 與舞團藝術總監約高斯•羅可斯會面。
更多加料節目信息請參閱藝術節加料節目指 南或瀏覽網站︰www hk artsfestivalplus org
If you would like to meet Yorgos Loukos, the Artistic Director of the company, please remain in the auditorium after the performance
Find out more about Festival PLUS in the Festival PLUS Booklet or at www hk artsfestivalplus org
9-10.2.2012
瑪麗安•喬利
茱莉亞•卡尼薩
卡洛斯•拉尼斯•胡安
瑪麗拉提莎•迪德利克斯 歐希莉•蓋拉德
凱琳•奈特
李倫京
科拉莉•萊維約
魯思•米羅•薩爾瓦多
埃爾莎•蒙吉洛•德米爾曼 阿加莉•范達姆
Mariane Joly
Julia Carnicer
Carlos Láinez Juan
Marie-Laetitia Diederichs
Aurélie Gaillard
Caelyn Knight
Sora Lee
Coralie Levieux
Ruth Miro Salvador
Elsa Montguillot de Mirman
Agalie Vandamme
11.2.2012
卡蓮•馬里恩 茱莉亞•卡尼薩 西門•費爾特茲
瑪麗拉提莎•迪德利克斯
歐希莉•蓋拉德
凱琳•奈特
李倫京
科拉莉•萊維約
魯思•米羅•薩爾瓦多
埃爾莎•蒙吉洛•德米爾曼 阿加莉•范達姆
Karline Marion
Julia Carnicer
Simon Feltz
Marie-Laetitia Diederichs
Aurélie Gaillard
Caelyn Knight
Sora Lee
Coralie Levieux
Ruth Miro Salvador
Elsa Montguillot de Mirman
Agalie Vandamme
1941年6月在紐約為美國卡洛凡芭蕾舞團而作，於1948年為紐約市芭蕾舞團重排。
Created in June 1941 by American Ballet Caravan in New York / revised in 1948 for the New York City Ballet
2011年12月15 日成為里昂歌劇院芭蕾舞團舞目
Entered the repertory of the Lyon Opera Ballet on 15 December 2011
《巴洛克協奏曲》由喬治•巴蘭欽基金會授權演出， 並以該基金會所確立及提供之巴蘭欽風格®及巴蘭欽技巧®為演出標準。
The performances of Concerto Barocco (a Balanchine Ballet®), are given with the authorisation of the George Balanchine Trust and in accordance with the criteria of the Balanchine Style® and the Balanchine Technique®, established and provided by the Trust.
Concerto Barocco
關於作品
「《巴洛克協奏曲》沒有『題材』，有的 只是用以編排舞蹈的音樂和負責演繹的 舞者。這齣芭蕾舞用了巴赫的D小調雙小 提琴協奏曲，旨在以舞蹈及其對音樂的
處理來吸引觀眾，就像巴洛克藝術及建 築令人感興趣的，不是題材，而是對這 些題材加以美化的裝飾處理。」
——巴蘭欽，《我的芭蕾舞故事》，1954
The ballet
“Concerto Barocco has no ‘subject matter’ beyond the score to which it is danced and the particular dancers who execute it. Set to the Concerto in D minor for Two Violins, the ballet tries to interest the audience only by its dancing, its treatment of the music, just as Baroque art and architecture interested people, not because of their subjects, but because of the decorative treatment that embellished those subjects.”
George Balanchine, Stories of My Ballets, 1954
巴蘭欽對俄派古典芭蕾舞教父馬里斯 • 佩蒂巴的大型創作一向甚為欣賞，認為 作品極有技巧地展現出群舞的幾何形 態，形態合而後分，錯綜複雜；還有女 舞者排成一列列，對稱完美，令人想起 古典紀念碑上的藝術雕塑。
「看見音樂，聽見舞蹈」
巴蘭欽這個準則可適用於《巴洛克協奏 曲》。這齣芭蕾舞配以巴赫的音樂，令 大家仿如目見兩支小提琴在交談，樂曲 化身為兩個相互呼應的女芭蕾舞員，另 外八名跳群舞的女舞者則代表了整隊樂 團。
音樂
巴赫的 D 小調雙小提琴協奏曲（ BWV 1043）寫於1718至1723年間，那時他 在柯登擔任宮廷樂團指揮，此曲與布蘭 登堡協奏曲寫於同一時期，屬於「雙協 奏曲」類型，構思上完全是意大利風 格，在形式和精神上都聲言以韋華第為 法。「在節奏高昂的第一樂章和第三樂 章中間，夾着一段非常抒情的廣板， 如同一首優美悠揚的短歌，伴隨着那富 有西西里風格的樂章。」（艾伯特 • 巴 索，《巴赫》，1979）
In the works of Marius Petipa, Balanchine had always admired the huge compositions skillfully displaying the corps de ballet in geometric figures that form, break up and become entangled, as well as the alignments of the ballerinas in columns, whose perfect symmetry is reminiscent of the façade of a classical monument.
“See the music, listen to the dance”
This precept of George Balanchine is appropriately applied to Concerto Barocco. Set to the Concerto for Two Violins in D minor by Johann Sebastian Bach, this ballet makes it possible to see (and better listen to?) the score, in which two violins converse, “incarnated” as it were by two ballerinas who answer each other, accompanied by a small corps de ballet of eight women, who personify the orchestral ensemble.
The music
The Concerto in D minor for Two Violins (BWV 1043) – composed at the court of Köthen between 1718 and 1723, in the same period as the Brandenburg concerti – belongs to the genre of the ‘double concerto’, completely Italian in conception, openly referring to Vivaldi in both form and spirit. “Coiled between the rhythmic elation of the first and third movement is the largo, superbly lyrical, singing like a cantilena, on a Sicilian movement.” (Alberto Basso, Johann Sebastian Bach, 1979).
編舞
「台上有八名女子，或全體合跳，或分
為兩組，有時變成四雙。他們不是音樂 的倒映，而是用舞蹈替音樂繪出一幅圖
畫。正如肖像畫跟新聞照片不同，這幅 舞蹈化的圖畫要表達的東西，是獨立於 音樂之外，而不是一五一十，將樂譜每
一小節及樂曲每一節奏，依樣葫蘆地跳 出來……
兩支小提琴的樂聲響起時，兩位獨舞員 出場，她倆或獨自跳，或雙人合跳，或
跟群舞一起跳，作出各種可能的組合：
從小組至大組，互相模仿，如鏡子倒
映，動作間的停頓依照寫作的經典風格
來處理。當第二支小提琴的樂聲纏繞着
第一支小提琴時，舞者的動作也彼此呼
應……」（巴蘭欽）
接着第一樂章（活潑快板）之後，第二
樂章（慢板或從容的廣板）引入二人對
舞：男舞者（台上唯一男子）柔和而緩
慢的把拍檔的女舞者舉起，令她彷彿接
觸不到地面。
「這就像男舞者把她從眾人中抽離出來，
輕柔地把她從群舞所形成的迷陣中進進
出出。」（巴蘭欽）
The choreography
“There are eight women on stage. They dance variously as one group, as two groups and sometimes in duets. They do not mirror the music, they draw a danced picture of the music. Just as the portrait is different from the news photograph, this danced picture tries to tell something independent from an exact, barby-bar, rhythm-by-rhythm, mirror image of the music… As the two violins are heard, the two soloists enter. Singly, together and with the corps de ballet, they move in various possible combinations: from a small group to a larger one, as reversed mirror-images, the interval between movements following the canon style of the writing. They support each other as the music of the second violin entwines the first…”
(George Balanchine)
Following this first movement (Vivace), the second (Adagio/Largo ma non tanto) leads to the pas de deux: a male dancer enters (the only man among the women) softly and slowly lifting his partner, who no longer appears to touch the ground.
“It is as if she was taken out of the group by the male dancer, who lifts her in a slow, gentle movement, leading her in and out of the maze formed by the corps de ballet.” (George Balanchine)
優雅的一刻，如在夢中「凝住」……然 後男舞者消失，第二位獨舞員返回她的 原位，面對着第一位獨舞員，完全像在 第一樂章結束時那個樣子，把剛才的一 切都放進了括號之內，像什麼事都沒發 生過。
第三樂章（快板）以十分快速及歡愉的 節奏，結束這齣芭蕾舞。
《巴洛克協奏曲》（1941年創作， 1948 年修改定型）是巴蘭欽其中一齣「黑 白」芭蕾舞，他想「簡簡單單，不事雕 飾」。舞者只穿練習用的舞衣，台上空 無一物，背景佈幕只打上燈光，使舞者 更形突出。
「舞蹈，只有舞蹈！」
文︰祖瑟林 尼布赫斯
A moment of grace, ‘suspended’ as if in a dream… Then the male dancer disappears and the second soloist returns to her position opposite the first, exactly as at the end of the first movement. A kind of parenthesis. As though nothing had happened.
The third movement (Allegro) ends the ballet with very fast, joyful rhythms.
Concerto Barocco (created in 1941, it found its final form in 1948) is one of the “black and white” ballets that Balanchine wanted to be “simple and stripped down”, presenting the dancers in rehearsal clothes, on a bare stage, standing out against a light backdrop. “Dance, only dance!”
Text: © Josseline Le Bourhis
《大賦格》Grosse Fugue
9-11.2.2012
歐希莉•蓋拉德
李倫京
科拉莉•萊維約
阿加莉•范達姆
Aurélie Gaillard
Sora Lee
Coralie Levieux
Agalie Vandamme
2001年由瑪姬．馬蘭舞團創作 Created in 2001 by the Maguy Marin Company
2006年2月12日成為里昂歌劇院芭蕾舞團舞目
Entered the repertory of the Lyon Opera Ballet on 12 February 2006
《大賦格》
Grosse Fugue
練習-1
這個練習可解讀為一個研習，一個為 你、為我，同時關於我們的研習。
前提-1
首先，這個研習是以貝多芬的《大賦 格》為音樂編成舞蹈。
然後便是對音樂的理解和領悟：這工作 得小心翼翼進行，卻十分引人入勝。
Exercise -1
This piece can be interpreted as a study, since it is a study for you, for me, about us.
Premise -1
© Michel Cavalca
先決條件：專心集中、努力創作出與音 樂巧妙結合的芭蕾舞蹈。
觀察-1
不同情況的有趣結合，四位女舞蹈員加 上音樂，產生很多荒誕的事情。
我們看到女性澎湃不絕的生命力量，和 那充滿熱情和失落的音樂之間，存在着 千絲萬縷的關連。
在這一片熱情和活力之中，我們快速前 進。
假切-1
在那耀眼眩目、使人振奮的生命急流 中，一浪接一浪的高潮，帶來興奮狂 熱，教我們相信一定要「拼了命的活下 去」。
結論-1
我們現在就像在不斷向前跑，直到喘不 過氣來，一直活在當下，想像這就是人 生的最後一刻。
練習-2 現在，由你來決定了。
文︰瑪姬．馬蘭 中譯︰麥梓陽
Initially, the study focused on a desire to try writing a piece based on and danced to Ludwig Van Beethoven’s Grosse Fugue There follows a work of comprehension and musical interpretation: meticulous and absorbing work.
Our prerequisite: to concentrate all our efforts on creating ballet profoundly linked to this music.
Observation -1
A happy conjunction of circumstances, four women and music which gives birth to a state of irrationality.
We watch on as a tangled web forms between the gushing life force of the female being and the state of enthusiasm and desperation of this music.
Caught up in this effervescence, we advance at a furious pace.
Hypothesis -1
The dazzlingly exhilarating torrent of life, punctuated by the giddy fever of its climax, leads us to believe that we must “live as long as we live”.
Corollary -1
We now feel like running madly until out of breath, living each instant as if it were our last.
Exercise -2
It’s up to you now.
Text: Maguy Marin
《漆黑中的一隅》This Part in Darkness
9-10.2.2012
勞爾•塞拉諾•努涅斯 / 卡蓮•馬里恩 西門•費爾特茲 / 科拉莉•萊維約
祖利安•尼歌西亞 / 阿加莉•范達姆 湯馬斯•加洛斯
卡洛斯•拉尼斯•胡安
帕維爾•特魯斯 丹尼斯•特勒斯
米沙•科澤域斯基 蘭迪•卡斯蒂略
埃爾莎•蒙吉洛•德米爾曼
魯思•米羅•薩爾瓦多
李倫京
凱琳•奈特
瑪麗安•喬利
Raúl Serrano Núñez / Karline Marion
Simon Feltz / Coralie Levieux
Julian Nicosia / Agalie Vandamme
Thomas Gallus
Carlos Láinez Juan
Pavel Trush
Denis Terrasse
Misha Kostrzewski
Randy Castillo
Elsa Montguillot de Mirman
Ruth Miro Salvador
Sora Lee
Caelyn Knight
Mariane Joly
11.2.2012
馬蒂厄•魯維埃 / 茱莉亞•卡尼薩
哈里斯•蓋卡斯 / 歐希莉•蓋拉德
阿歷西斯•布爾博 / 瑪麗拉提莎•迪德利克斯
蘭迪•卡斯蒂略
弗洛里安•達內爾
帕維爾•特魯斯
姜洋
苔口忠良
西門•費爾特茲
埃爾莎•蒙吉洛•德米爾曼
魯思•米羅•薩爾瓦多
瑪麗拉提莎•迪德利克斯
凱琳•奈特
瑪麗安•喬利
Mathieu Rouvière / Julia Carnicer
Harris Gkekas / Aurélie Gaillard
Alexis Bourbeau / Marie Laetitia Diederichs
Randy Castillo
Florian Danel
Pavel Trush
Yang Jiang
Tadayoshi Kokeguchi
Simon Feltz
Elsa Montguillot de Mirman
Ruth Miro Salvador
Marie-Laetitia Diederichs
Caelyn Knight
Mariane Joly
2011年4月為美國費城賓夕法尼亞芭蕾舞團創作
Created in April 2011 by the Pennsylvania Ballet in Philadelphia the US
2011年12月15日為里昂歌劇院芭蕾舞團創作新版本
New version for the Lyon Opera Ballet created on 15 December 2011
《漆黑中的一隅》
This Part in Darkness
《漆黑中的一隅》看上去不像《薩拉班德 舞曲》那樣明亮寧靜，反而瀰漫着灰暗緊 張的氣氛。舞蹈配以大衛．朗扣人心弦、 充滿敲擊節奏的音樂，一個個舞者聚攏， 形成一對對，在現代城市的緊張生活中， 給急速步伐和強勁能量席捲而去。
In contrast to the luminous and serene look of Sarabande, This Part in Darkness is developed in a dark, tense atmosphere. Set to the hammering rhythms of the haunting music of David Lang, individuals come together, then couples form, swept up by the speed and energy of modern-day stressful city life.
關於作曲家
前四首音樂取材自德國作曲家麥士．李希特，他 出生於1966 年，修業於愛丁堡大學和倫敦皇家音 樂學院。他曾跟意大利作曲家盧西亞諾．貝里奧合 作，並為鋼琴馬戲樂團的合創者之一，又替電影電 視配樂，同時與不同樂隊合作，包括倫敦未來之 聲、英國女歌手凱莉．阿里和音樂人朗尼．賽斯。
作曲家大衛．朗1957 年生於洛杉磯，創作領域橫 跨爵士樂、搖滾樂和當代音樂，被視為「極簡主 義」的擁護者。他於 1992 年創作的《你有經驗 嗎？》靈感來自占美．韓德斯的電結他音樂。舞蹈 方面，他與加拿大編舞家愛德華．洛克合作過，作 品包括《阿瑪利亞》（啦啦啦人類舞步團）及《安 德烈．奧利亞》（巴黎歌劇院， 2002 ）； 2009 年，他跟米爾派德為美國芭蕾舞劇院創作《一切並 非同時發生》。2008 年，他憑《賣火柴小女孩之 苦難》的音樂獲普立茲獎。
The Composers
The first four musical pieces are borrowed from Max Richter. A German composer born in 1966, he studied at the University of Edinburgh and the London Royal Academy of Music. He has also worked with Luciano Berio. He is the cofounder of the Piano Circus ensemble, writes music for film and television, and collaborates with various groups such as Future Sound of London, Kelli Ali and Roni Size.
Composer David Lang (born in Los Angeles in 1957) straddles the dividing line between jazz, rock and contemporary music. He is identified with minimalism. Are You Experienced? (1992) was inspired by Jimi Hendrix. In dance, he has worked with choreographer Edouard Lock: Amalia (La La La Human Steps company), Andrea Auria (Paris Opera - 2002, and previously with Benjamin Millepied for Everything Doesn’t Happen at Once for ABT – 2009). In 2008, he received the Pulitzer Prize for Music for The Little Match Girl Passion
文︰祖瑟林•尼布赫斯 中譯︰昌明
Text: © Josseline Le Bourhis
Translated by Ellen Sowchek
約高斯．羅可斯
Yorgos Loukos
藝術總監
Artistic Director
約高斯．羅可斯出生於雅典，留學巴黎 時曾跟伊戈爾．科士加、博里斯．尼雅 瑟夫和偉文．法蘭凱蒂學習，後來在法 國普羅旺斯艾克斯的大學修讀哲學。
1972 年至1980 年間，他先後效力於靜 默劇院、蘇黎世歌劇院和馬賽爾國家芭 蕾舞團。1980年，他在馬賽爾國家芭蕾
舞團擔任羅蘭．佩蒂的助理(在美國芭蕾 舞劇院重排《卡門》，以及與倫敦節日 芭蕾舞蹈團演出《阿萊城姑娘》)。他
曾在紐約大都會歌劇院待過一段時間，
後來受法朗索瓦．阿德雷特邀請，轉投 里昂歌劇院芭蕾舞團，起初擔任芭蕾舞 指導(1985 )，後來成為舞團的聯合總監
(1988)。直至1991年12月，法朗索瓦． 阿德雷特離開舞團，羅可斯正式升任為 舞團的藝術總監。
在1992 至2011 年間，羅可斯為康城舞 蹈節出任總監一職。全靠他的努力，不 少編舞為里昂歌劇院芭蕾舞團創作新篇 或帶來名作，令舞團的規模日見強大， 當中包括：瑪姬．馬蘭、納曹．杜亞 陶、安傑林．普雷祖卡、露辛達．卻爾 茲、比爾．瓊斯、史蒂芬．佩卓尼奧、 伊利．基利安、威廉．佛塞、尚克勞 得．卡洛塔、弗瑞德立克．費拉蒙、赫 弗．羅比、梅麗爾．唐卡德、麥斯．艾 克、賴恩內爾．霍赫、泰羅．沙連寧、 特麗莎．布朗、奧哈特．勒赫林、多明 尼克．鮑文、瑪蒂爾德．莫尼埃、羅素 爾．馬里芬特、菲利普．德庫弗、基 里斯瓊．赫佐、安德麗莎．迪姬爾斯美 嘉、莎莎．華爾斯、歐迪兒．杜波克、
Born in Athens, he studied in Paris with Igor Foska, Boris Kniaseff and Raymond Franchetti. He also studied philosophy at the university in Aix-en-Provence. Between 1972 and 1980 he danced successively at the Theatre du Silence, the Zurich Opera and the Ballet National de Marseille where he became, in 1980, Assistant to Roland Petit (reviving Carmen for the American Ballet Theatre and L’Arlesienne for the London Festival Ballet). After a period at the Metropolitan Opera of New York, he joined the Lyon Opera Ballet at the invitation of Francoise Adret, first as Ballet Master (1985) before becoming Co-Director (1988) and finally Artistic Director when Francoise Adret left in December 1991.
He has also been (1992-2011) Director of the Festival de Danse de Cannes. Thanks to him, the Lyon Opera Ballet has received numerous choreographers both directing established works and adding new pieces to the company’s repertoire. In particular: Maguy Marin, Nacho Duato, Angelin Preljocaj, Lucinda Childs, Bill T Jones, Stephen Petronio, Jii Kylián, William Forsythe, Jean-Claude Gallotta, Frédéric Flamand, Herve Robbe, Meryl Tankard, Mats Ek, Lionel Hoche, Tero Saarinen, Trisha Brown, Ohad Naharin, Dominique Boivin, Mathilde Monnier, Russell Maliphant, Philippe Decouflé, Christian Rizzo, Anne Teresa De Keersmaeker, Sasha Waltz, Odile Duboc, Merce Cunningham, Jérôme Bel, Rachid Ouramdane and Catherine Diverrès.
梅爾塞．坎寧安、謝洛姆．貝爾、拉奇 德．歐霖丹、嘉芙蓮．迪維里斯等。
舞團曾在法國以至海外作多場巡迴演 出，現已成為里昂市的國際大使。2001
年5月，羅可斯聯同紐約市多家劇院，在 紐約籌辦法國舞蹈節，名為「法國動起 來」。2005年秋季，他亦在倫敦舉辦類 似活動。
自2006年夏季起，羅可斯擔任雅典藝術 節的總監。
中譯︰麥梓陽
With numerous tours both in France and abroad, the company has become the city of Lyon’s worldwide ambassador. Loukos was the organiser of France Moves, the French dance festival in New York, held in May 2001 in collaboration with many of New York City’s theatres, and then he led a similar event in London in Autumn 2005.
Since Summer 2006 he is also director of the Athens Festival.
Trained at the Imperial Ballet School in as Fokine , Pavlova and Nijinsky were before him – George 1983 ) was to become the major figure in the renewal of classical dance in the 20th century , skillfully modernizing the legacy of Marius Petipa and Russian tradition, while adapting to the pulsating rhythms of American life Georgi Balanchivadzé ( his father , a was Georgian) began his studies starting with the piano, and then took classes at the Conservatory to learn composition and harmony while a student at the School of Dance Invited to join the corps de ballet of the Maryinsky he was then 17 years the young Balanchine was already choreographing for his friends , and had formed a small company Having become a for a Bolshevik Revolution which was seeking to “ standardise ” he took advantage of the 1924 organise a tour in Western Europe with his group : the young dancer with three of his friends ( Tamara Alexandra Danilova and Nicolas auditioned for the Ballets Russes, the famous company which , since 1909 , received programmes Its director, Serge immediately invited them to join
班傑明．米爾派德
Benjamin Millepied
編舞
Choreographer
米爾派德1977年生於法國波爾多，童年 部份時間在塞內加爾度過。他的母親是 現代舞導師，少時跟母親習舞，13 歲進 入里昂高等音樂暨舞蹈學院受訓。1992 年夏天，他遠赴紐約，在美國芭蕾舞學 校修讀夏季課程，這所學校是紐約市芭 蕾舞團的正規訓練學校。1993年秋季， 他獲得由法國外交部頒發的獎學金，正 式入讀該校。
1994 年，米爾派德贏得瑞士洛桑國際 芭蕾舞大獎。同年，謝洛姆．羅賓斯在 美國芭蕾舞學校為該校學生編演巴赫的 二部及三部創意曲》，並揀選了他為 主角。他榮獲該校梅薇安獎之前途無量
獎，其後於1995年獲邀加入紐約市芭蕾 舞團，1998年升為獨舞員，2002年升任 首席舞蹈員。
經他精彩演繹的舞碼包括︰巴蘭欽的 競技》、《葛蓓莉婭》、《胡桃夾 子》、《紅寶石》、《仲夏夜之夢》、
星條旗進行曲》、《C 大調交響曲》、 柴可夫斯基雙人舞》；羅賓斯的《聚 會之舞》、《自由幻想》、《舞蹈組 曲》、《夜間》、《四季》、《相互作 用》、《陰魂附體》、《戈登堡變奏 曲》、《夢斷城西組曲》、《布蘭登 堡》及《婚禮》；彼得．馬丁斯的《哈 利路亞路口》、《天鵝湖》等。此外， 他還參與多個新作，特別是特邀編舞的 作品，如安傑林．普雷祖卡的《超乎尋 常》及馬羅．比貢澤蒂的《黃昏》、 風中》。
Millepied was born in Bordeaux in 1977 and spent part of his childhood in Senegal Introduced to dance by his mother, a modern dance teacher, he entered the Lyon Higher Conservatory of Music and Dance/CNSMD at age 13 In 1992, he participated in a summer study programme at the School of American Ballet – the school of the New York City Ballet – before being admitted there with a scholarship from the French Ministry of Foreign Affairs in Fall 1993
Winner of the Prix de Lausanne in 1994 , that same year Jerome Robbins chose him to dance the principal role in 2 & 3 Part Inventions , created for the students of the School. Recipient of the Mae L. Wien Award for Outstanding Promise, he was invited to join the New York City Ballet in 1995 He was promoted to soloist in 1998 and was named a Principal Dancer in 2002
A brilliant interpreter of the ballets of George Balanchine ( including Agon , Coppelia , Nutcracker , Rubies , A Midsummer Night ' s Dream , Stars and Stripes , Symphony in C , Tchaikovsky Pas de Deux), of Jerome Robbins (Dances at a Gathering, Fancy Free, A Suite of Dances , In the Night , The Four Seasons , Interplay, Dybbuk, The Goldberg Variations, West Side Story Suite , Brandenburg and Les Noces) and of Peter Martins (Hallelujah Junction, Swan Lake), he also participated in a number of newly created works, specifically
在紐約的法國人：舞者兼編舞家
米爾派德第一部編舞作品是 2001 年為 里昂高等音樂暨舞蹈學院學生而作的 《過渡》及翌年所編的《拍擊音樂》。
2002 年，他獲選參加由紐約編舞學院 （該學院由愛蓮．戴雅蒙及彼得．馬丁 斯創立）贊助編舞家編排新作的計劃。
米爾派德聚合了數位前紐約市芭蕾舞團
的成員，組成「協奏舞曲」舞蹈組合， 在倫敦、斯德哥爾摩和里昂演出，他也
跟美國芭蕾舞劇院合作演出巴蘭欽、羅
賓斯、克里斯多福．惠爾敦及他自己編 排的芭蕾舞，當中包括《三重雙人舞》
（2003 ）、《雙詠歎調》（2003 ）及 《繞圈動作》（2005），後兩者用的都 是丹尼爾．奧特的原創音樂。
2004至2005年，他在紐約的莫理斯中心 舞蹈工作坊擔任編舞指導，並替中心創 作了《另一邊》，配以菲利普．格拉斯 的音樂。2006至2007年間，他在紐約當 上巴里殊尼哥夫藝術中心的常駐編舞。
他曾替多個舞團編舞，包括美國芭蕾舞 學校（《28 首帕格尼尼主題變奏曲》， 2005 年）、日內瓦大劇院芭蕾舞團 （2005 年重排《胡桃夾子》，2007 年 上演《彼得羅希卡》、 2011 年重新演 繹《玫瑰幽魂》及《眾仙女》）、巴黎 歌劇院芭蕾舞團（《阿慕維斯》，2006
年；《三段式》，2008年）、美國芭蕾 舞劇院（《從現在起》，2007年；《一 切並非同時發生》， 2009 年；《三巨 頭》， 2011 年)、太平洋西北芭蕾舞團 (《三樂章》，2008 年)、紐約市芭蕾舞 團（《幻想曲式的奏鳴曲》，2009年； 《為何我不在你所在之處》，2010年)、
荷蘭的國家芭蕾舞團（《一事連帶另一
事》，2010年)。
2009年，他為芭蕾舞星巴里殊尼哥夫創
作《多年之後》 ，台上一邊是巴里殊尼
those by invited choreographers such as Agelin Preljocaj (La Stravaganza) and Mauro Bigonzetti (Vespro, In Vento).
A Frenchman in New York: Dancer and Choreographer
Millepied made his choreographic debut in Lyon with the creation of Passages for the students of the CNSMD in 2001, and Clapping Music the following year In 2002 , he was chosen to participate in a programme assisting choreographers in the creation of new works sponsored by the New York Choreographic Institute, founded by Irene Diamond and Peter Martins He brought together a number of fellow NYCB artists to form a group, Danses Concertantes, performing with them in London, Stockholm and Lyon, and with American Ballet Theatre in ballets by Balanchine , Robbins , Christopher Wheeldon and his own creations: Triple Duet in 2003, Circular Motion and Double Aria, set to an original score by Daniel Ott
From 2004 to 2005 , he directed the Morris Center Workshop in Bridgehampton, New York, for which he created On the Other Side set to music by Philip Glass From 2006 to 2007, he was choreographer- in - residence at the Baryshnikov Arts Center in New York.
He has choreographed works for the School of American Ballet (28 Variations On A Theme By Paganini - 2005), the Ballet du Grand Théâtre de Genève (a rereading of Nutcracker - 2005, then of Petrushka - 2007, and recently, in 2011, his reinterpretations of Le Spectre de la Rose and Les Sylphides), the Paris Opera Ballet (Amoves - 2006, and Triade - 2008), American Ballet Theatre ( From Here On Out - 2007 , Everything Doesn’t Happen at Once - 2009, Troïka - 2011), the Pacific Northwest Ballet (3 Movements - 2008), the New York City Ballet
哥夫在跳舞，另一邊則放映他年輕時在 聖彼得堡舞蹈室排練的紀錄影片，讓今 天的舞者跟過去的自己來個幽默對話。
2010年，米爾派德為達倫．阿倫諾夫斯 基的電影《黑天鵝》編舞，並客串其中 一角。他在 2011 年為史密塔納的歌劇 《交易新娘》編舞，歌劇在紐約大都會 歌劇院公演；同時為音樂喜劇《摸到小 貨車》編舞。
法國舞蹈評論家菲利普．諾依特寫道： 「米爾派德是繼承了巴蘭欽和羅賓斯衣 缽真傳的編舞家，他的創作融匯了古 典舞蹈的精湛技巧和當代作品的逼切 感。」
文︰祖瑟林 尼布赫斯 中譯︰昌明
( Quasi una fantasia - 2009 , Why Am I Not Where You Are - 2010) and the Dutch National Ballet in Amsterdam ( One Thing Leads For Another - 2010).
In 2009 , he created Years Later for Mikhail Baryshnikov, in which the latter dances with his projected image (an archival film showing the young Mikhail Baryshnikov rehearsing in a studio in Saint Petersburg ): today ' s artist in a humorous dialogue with his double from yesterday
In 2010, Millepied choreographed and acted in Darren Aronofsky's film Black Swan In 2011 he created the choreography for Smetana's opera The Bartered Bride at the Metropolitan Opera in New York, and for the musical comedy Hands on Hardbody.
Millepied is “one of the worthy heirs of Robbins and Balanchine,” writes Philippe Noisette, “the dance he creates combines the virtuosity of the classical past with the urgency of current creation.”
Text: © Josseline Le Bourhis Translated by Ellen Sowchek
