舞蹈手札 dance journal/hk 18-3 by Hong Kong Dance Alliance

18-3

JUN 2016 / JUL 2016

舞訊 News / 評論 Reviews / 專欄 Columns / 人物 People / 專題 Feature Articles / 節目 Events

人物 People

唐婭 Tang Ya 李涵 Li Han Vangelis Legakis

Tom Brown Reviews Little Pieces 黃國威專欄

《舞蹈觀影記》盧偉力評

《「舞」可能伍：一○一》

淡水河畔雲門劇場 Talking about Cloud Gate Dance Theatre

林懷民隨談漫記 with Lin

Hwai-min

出版人 Published by

目錄 CONTENTS

香港舞蹈聯盟理事委員會 Hong Kong Dance Alliance Executive Committee 主席 Chairperson 劉燕玲 Stella Lau 副主席 Vice Chairperson 黃建宏 Kevin Wong 秘書 Secretary 尹德勳 Jaime Redfern 委員 Members 白朗唐 Tom Brown 陳寶珠 Pearl Chan 唐雁妮 Anita Donaldson 古柏樂 Pablo Guzman 林偉源 Allen Lam 羅佳娜 Natasha Rogai 譚兆民 Paul Tam 崔德煒 David Tsui 黃國威 Raymond Wong 楊雲濤 Yuntao Yang 榮譽退休主席 Chairpersons Emeriti 白朗唐 Tom Brown 陳頌瑛 Anna Chan 吳杏冰 Helen Ng 曹誠淵 Willy Tsao

2-3

舞訊 News

召喚歷史的幽靈

5-6

Memory Piece

鄧蘭

8-9

放眼舞林 An Eye on Dance

Bliss-Scenes at a Nightclub in Hip-hop

梁雅媛 Kay Leung@ARTZONE

廣告及投稿 Advertisement and Article Submission 香港舞蹈聯盟歡迎各界於《舞蹈手扎》的印刷或網上版刊登廣告，本會會員及持續刊登者可獲折扣。投稿者請於單數月份的十五號前，將稿件郵寄或電郵至本會，中英不限。 dance journal/hk welcomes advertisement for both printed and online versions. Discounts are available for Alliance members and for ads in consecutive issues. Articles and reviews can be submitted in Chinese or English through our e-mail by the 15th of every odd-numbered month. 訂閱 Subscription 《舞蹈手札》是免費派發予香港舞蹈聯盟會員的刊物，非會員以個人名義可以港幣 150 元 ( 本港 )/200 元 ( 亞太區 )/300 元 ( 其他地區 ) 訂閱，以機構名義為港幣 300 元 ( 本港 )/400 元 ( 亞太區 )/600 元 ( 其他地區 )。請將支票連同姓名地址寄來本會。 dance journal/hk is distributed free of charge to members of the Hong Kong Dance Alliance. Yearly subscriptions are also available, non-member subscription prices for individual are $150 (HK)/ $200 (Asia Pacific)/ $300 (others); for institutions are $300 (HK)/ $400 (Asia Pacific)/ $600 (others). Please send cheque, name and address to the Alliance office.

陳頌瑛 Anna CY Chan

William Chan

《無用》—被城市淹沒的無力感肥力

12-15 舞蹈是人性的表達

—訪香港舞蹈年獎得主 Expressing Emotion through Dance-An Interview with the 18th Hong Kong Dance Awards Recipients 文 By: 朱永瀟 Zhu Yongxiao 翻譯 Translation: Scarlet Yu

錢韋君 Akama Chin 助理編輯 Assistant Editor

Tom Brown

6-7 《冰上皇族天鵝湖》緊湊熱鬧

《舞蹈手札》出版部 dance journal/hk Editorial Team 編輯 Editors 白朗唐 Tom Brown 劉秀群 Cathy Lau

排版 Design

小西

16-17 愛與緣的知命觀照—《「舞」可能伍：一○一》解讀盧偉力

18 19

La Partida / MAC Angela Lee

讓腦袋去旅行—來看一場環境舞蹈吧！程天朗

20-23 人間晚晴何處有懷民雲門此中尋－淡水河畔雲門劇場林懷民隨談漫記節錄 Excerpt of Talking about Cloud Gate Dance Theatre with Lin Hwai-min 文 By: 周凡夫 Chou Fan-fu 翻譯 Translation: Scarlet Yu

以身體銘印、以靈魂唱歌 —吳文翠《我歌我城》評論朱永瀟

《6》和《7》的純肢體魅力陳瑋鑫

聯絡我們 Contact Us

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26-28 Searching for New Dynamics in

Dance - Interview with Vangelis Legakis Akama Chin

略顯凌亂的《拼途》

舞蹈觀影記—《Cinedans》舞蹈影像節委約製作

李夢

黃國威

《召喚》—到底要召喚什麼？格子

香港舞蹈聯盟為藝發局資助團體

Hong Kong Dance Alliance is financially supported by the ADC

版權所有翻印必究 ALL RIGHTS RESERVED © 香港舞蹈聯盟及香港藝術發展局全力支持藝術表達自由，本計劃內容並不反映香港舞蹈聯盟或香港藝術發展局意見。 Hong Kong Dance Alliance and Hong Kong Arts Development Council fully support freedom of artistic expression. The views and opinions expressed in this publication do not represent the stand of the Alliance or Hong Kong Arts Development Council. 封面照片 Cover 攝影 Photo Credit: 劉振祥 Liu Chen-hsiang

32-33 舞蹈節目表 Dance Listings

2 Hong Kong Dance Alliance invited ADC dance representative Mui Cheuk Yin, together with representatives from 4 Degrees Dance Laboratory, La P En V, Passoverdance, R&T (Rhythym and Tempo), Unlock Dancing Plaza, and Y-Space, to discuss the development of local dance groups and independent artists, cultural policy, and overall planning, as well as to set up regular meetings to coordinate activities and strategies for advocating for a healthy environment for local dance.

香港舞蹈聯盟會員招募及資料更新 Hong Kong Dance Alliance Membership Drive 香港舞蹈聯盟現正招募新一年度（2016 年 7 月 1 日至 2017 年 6 月 3 0 日）會員及邀請舊會員續會。歡迎熱愛舞蹈的朋友加入，除可獲本會免費郵寄《舞蹈手札》到住址，亦可享受本地舞團之購票及課堂優惠。 Hong Kong Dance Alliance announces its annual membership drive for new members and renewals for existing members for the coming year (1 July 2016 – 30 June 2017). Members benefit from free bi-monthly dance journal/hk delivery to your home, discount ticket prices for productions by the Alliance and local dance companies and discounts for Alliance workshops and for class coupons with select organizations. Interested individuals and organizations are encouraged to apply.

2016 香港藝術發展局藝術範疇代表第二階段提名推選活動將於 8 月開始 2nd Stage of Registration to Vote for Arts Interests Representatives Begins in August 第一階段「藝術團體及個人藝術工作者登記」經已於 5 月 27 日截止，第二階段的藝術團體選民登記將於 8 月開始，詳情會於稍後在官方網站公布。 With the completion of Phase I of the nomination of representatives of arts interest groups, registration of arts organizations and individual arts workers on 27th May, Phase II, voter registration by arts organizations, will begin in August. Details will be announced soon on the official website. 詳情 Details: www.voteforhkadc2016.hk

會員優惠及表格下載 Details and membership form: http://www.hkdanceall.org/

2016 香港藝術發展局誠邀本地藝術 / 行政人員提交資助申請參加首爾表演藝術博覽會 Application Open for HKADC Subsidy to Arts Market in Seoul (PAMS) 2016

Dance Hub 組織業界聚會 Dance Hub Organizes Meeting of Dance Groups with ADC Representative 舞盟組織業界聚會，邀請香港藝術發展局舞蹈代表梅卓燕，與四度舞蹈劇場、優之舞、新約舞流、R&T、不加鎖舞踊館及多空間共同商討中小型藝團及獨立藝術家的生存與發展，討論文化政策及長遠發展，並設立定期聚會，團結及改善業界生態。

首爾表演藝術博覽會（PAMS）2016 將於今年 10 月 4 至 8 日舉行。香港藝術發展局（藝發局）為鼓勵本地藝團及藝術家積極參與海外的藝術博覽會，建立本地藝團及海外藝術機構的國際聯繫網絡，以及累積向外推銷的經驗，現公開邀請合資格的本地表演藝術的藝術 / 行政人員，就本資助提交申請。藝發局將提供津貼上限每人港幣一萬元，及 PAMS 2016 五日通行證；最多資助 30 人。有興趣申請者，可於辦公時間內到藝發局辦事處索取申請須知及表格。填妥表格必須於 2016 年 6 月 17 日（星期五）下午 6 時正前投進設於藝發局辦事處的申請收集箱內，

3 信封面註明「PAM S 2 0 1 6 參加津貼」。郵寄申請以郵戳為憑。逾時或以傳真、電郵方式遞交的申請書將不獲處理。 To assist in establishing international networks among local arts groups and arts organizations and help local performing arts practitioners and administrators gain experience in external promotion, the Hong Kong Arts Development Council (HKADC) has announced a subsidy scheme to encourage participation in the international arts expo Performing Arts Market in Seoul (PAMS) 2016 to be held from 4 to 8 October 2016. HKADC invites eligible individuals to apply for the subsidy that will provide a maximum of HK$10,000 to each participant and a PAMS 2016 5-day pass. The maximum number of subsidized participants is 30. Interested parties can obtain information on application and the application form from the HKADC Administration Office during office hours. Applications must be submitted and deposited in the collection box at the HKADC Administration Office before 6:00pm on 17 June (Friday). Applications submitted by post must be postmarked on or before the deadline. Late submission or submission by fax or email will not be processed. 下載申請表 Application form download: www.hkadc.org.hk 詳情 Details: 李小姐 Miss Lee - 2820 1062/ rachel_lee@hkadc. org.hk

本地舞蹈藝術家將於德國國際舞蹈博覽會 Tanzmesse 2016 表演個人作品 Local Dance Artists to Perform at Internationale Tanzmesse NRW 2016 國際舞蹈博覽會 Tanzmesse 2016 將於 2016 年 8 月 31 至 9 月 3 日在德國杜塞爾多夫舉行。五位本地舞蹈藝術家的作品獲挑選於舞蹈節目中演出，當中包括楊浩的《直言不諱》、陳凱的《線 II》及馮樂恒的《從頭開始》將參與舞台演出，而林俊浩的《ODDs》、黃靜婷的《人間 ‧ 獨 ‧ 白》及曹德寶的《土炮》將參與工作室示範展演。 Internationale Tanzmesse NRW 2016 (Tanzmesse) held from 31 August 2016 to 3 September 2016 in Düsseldorf, Germany will present five programs of Hong Kong dance artists. Works from local artists selected to be performed on various stages in Düsseldorf for Tanzmesse include Chen Kai's Line II, Victor Fung's From the Top, and Yang Hao's Outspoken. Additionally, Chloe Wong’s Heaven Behind the Door, Hugh Cho’s Made in Hong Kong, and Ivanhoe Lam’s ODDs will be performed in open studios during Tanzmesse. 詳情 Details: https://www.tanzmesse.com/en/

DanceBARN 舞蹈節公開招募舞蹈電影作品 Application Open for DanceBARN Festival Screendance Work 第二屆 DanceBARN 舞蹈節將於 2016 年 7 月 25 至 31 日在美國明尼蘇達戰役湖舉行，並於 7 月 30 日在戶外進行由著名電影攝影師 Robert Uehlin 主持的公開舞蹈電影播放活動。 DanceBARN 舞蹈節現正公開招募舞蹈電影作品，截止日期為 2016 年 6 月 25 日。 DanceBARN Collective will host the second DanceBARN Festival in Battle Lake, Minnesota, U.S.A. from 25 to 31 July 2016. On 30 July, there will be a screendance viewing presented outdoors during the Festival, open to the public, and curated by award-winning screendance cinematographer, Robert Uehlin. Application for DanceBARN Festival is now open and the deadline is 25 June 2016. 詳情 Details: http://www.dancebarncollective.org/

橫濱舞集編舞比賽 2017 作品招募 Yokohama Dance Collection 2017 Competition Open Call for Application 橫濱舞集編舞比賽 2017 現公開招募編舞作品。橫濱舞集舞蹈節為橫濱市藝術文化振興財團主辦，於 1996 年開始成立舞蹈節以發掘、展演及培育新晉年輕編舞家，並推廣現代舞。比賽重視編舞作品的個人風格、對身體的嘗試及創意的表達。作品招募於 2016 年 7 月 22 日截止報名。 Yokohama Dance Collection 2017 Competition announces an open call for choreography by young artists. Yokohama Dance Collection, presented by Yokohama Red Brick Warehouse No.1 (Yokohama Arts Foundation), was launched in 1996 with two goals: to discover, present, and nurture promising young choreographers and to popularize contemporary dance. The Competition, the dance festival’s key program, places great value on the individuality of choreography by artists who share their times and direct a fresh gaze on the body and on creative expression. Application for the competition is now open until 22 July 2016. 詳情 Details: http://www.yokohama-dance-collection-r.jp/en/index.html J U N / J U L 2 016

召喚歷史的幽靈評論場次：2016 年 4 月 23 日，下午 1 時地點：香港海防博物館

小西香港資深劇評人、國際演藝評論家協會（香港分會）董事、香港中文大學通識教育基礎課程講師、社群藝術團體「全人藝動」副主席及發起人、「四圍講古」成員及「正念文化」核心成員與發起人。

到香港海防博物館，觀看「動藝」的《對話空間系列》第二部曲《沒有殺過一個人》( 黃漢樑導演，藍嘉穎編舞 ) 時，我總是很庸俗的在思考「活化歷史古蹟」的問題與可能性。近年，在博物館演出環境舞蹈作品，的確是歐美視藝與舞蹈界的潮流，例如 2009 年德國當代舞團 Sasha Waltz & Guests 便在活化後重開的柏林新博物館（Neues Museum）上演環境舞蹈作品《對話 9》，讓古蹟動起來，召喚歷史的幽靈。透過演出讓博物館甚至歷史古蹟變得活潑，吸引人流，走進歷史與藝術的堂奧，自然是個值得思考的方向。但或許更值得思考的是，劇場創作者為什麼要介入博物館的空間，他們到底希望向歷史召喚些什麼 ? 透過劇場的鍊金術，又為觀眾帶來怎樣的經驗 ?

歷史的鬼魂在晃動

1 .演出企圖讓歷史廢墟還原。攝影： Jesse Clockwork

關於為什麼劇場要介入博物館的歷史空間，《沒有殺過一個人》的導演黃漢樑曾經在演後談中提過一個令人印象深刻的真實故事。黃漢樑說，籌備《沒有殺過一個人》期間，曾跟創作團隊到香港海防博物館對岸一帶的炮台遺址作實地考查。他們曾經到過一些沒有特別上鎖的歷史廢墟。跟像海防博物館那樣經過復修的歷史古蹟不同，眼前的這些原生歷史廢墟就這樣未經修飾的曝露在他們眼前，令他們登時呆了。他們呆了，並不是因為眼前的廢墟告訴了他們一個歷史故事，而是因為它不知怎的竟刺痛了他們。若果借用羅蘭．巴特（Roland Barthes）在《明室》一書中有關攝影的討論，我們可以說，眼前的廢墟

有某些「刺點」（Punctum）刺痛了創作者，它們成為了意義不明的疑問，召喚着創作者以演出回答這些來自無何有之鄉的呼喚。正如黃漢樑自己所言，對歷史的探索，始於人在歷史面前的迷失。有迷失，才會尋找出路。

釋放歷史的野靈與原生的歷史廢墟相對，博物館更像設置在歷史身上的拘束鎖 ( 就像《新世紀福音戰士》中 Eva 身上的那些拘束鎖 )。借用羅蘭．巴特在《明室》中提出的另一概念，博物館更像歷史的「知面」（Studium），它們會為歷史定格，透過大敘述為觀眾提供令他們「不再迷失」的準確知識。如此說來，《沒有殺過一個人》更像一場降靈大會，所謂「活化歷史古蹟」，也不再是讓歷史古蹟動起來，變得活潑可愛，而是呼喚深藏於歷史空間的無意識，釋放遊蕩於其間的孤魂野鬼。《沒有殺過一個人》透過舞蹈、戲劇、音樂、演出者與觀眾的即場交感，也就企圖將眼前的博物館還原為原生的歷史廢墟，讓觀眾同樣體驗到他們當初面對歷史廢墟時的震撼，還有就是那些伺機流竄出來的歷史小人物的小故事。觀看《沒有殺過一個人》當天，碰巧天文台宣佈雷暴警告，主辦單位被逼改變演出路線，原本很多戶外演出的部分，都改到室內完成。最後，演出改在山頂的展覽廳大堂落幕。有趣的是，當演出去到高潮，天突然下大雨了。當雨水猛力打在展覽廳頂的巨大布篷時，埋藏歷史空間深處的歷史幽靈終於全面釋放了，他們正盯着我們的眼，穿越黑暗的靈魂深處：「Revolt ！」或曰：「抗爭！」

Memory Piece Date: 15 April 2016

Time: 8pm

Venue: Studio Theatre, Hong Kong Cultural Centre

Dominic Wong’s new work, Little Pieces, is framed by death and its specter lingers throughout. But Wong uses it as a given, an inevitability, a contrast to the vibrant episodes of life remembered that are at the heart of the work. Death adds poignancy to these, to our memory of them, to their distortion and decay, and to their loss. In the house program, Wong calls the dance “a journey of self-discovery and it is through chance that this group of dancers come together to share their experiences with audiences”. The little pieces of the title are those remembered experiences faultlessly put together by the choreographer and vividly told by the dancers. The dance begins with the incomparable Qiao Yang alone on stage. To Michael Price’s gently melancholy The Uncertainty Principle for piano, cello, and soprano, overlaid with the recorded voice of Qiao telling the story of her departed sister, she begins simply, stepping into first position, feet together, then opening into second, then closing into fifth. She moves through each unhurriedly, pausing to give them full stress. Likewise, with steps from classical Chinese dance, again each are firmly stated before the next is performed. Then, interspersed with occasional silent pauses and practiced moves, with which she defines the space, embraces it, delicately dabs at it, pierces it, carves it, swirls through it, makes space palpable for us, are abrupt collapses to the floor, silent howling gestures of grief, dizzying whirlwinds of abandonment, thrashing, and flailing that speak of her loss, and of the expressiveness that dance gives her to articulate that loss. From this elegiac opening reflecting on an actual death, the next sections turn dark with the exposition of a metaphorical death; the mechanistic, aggressive “Dance” of uniformity in which memory is lost and numb repetition prevails. In the first, five women perform an almost robotic series of gestures in unison to the dark, densely forceful, driving rhythms of Prey by Beast. Occasionally one dancer goes on a violent riff and the others stop. When she rejoins them their choral movement becomes alternately more aggressive or questioning – more splayed out in the space, wilder, fragmented, more urgent before returning to their original form. Five men come on at the end with a recurring motif of rhythmic jogging, crisscrossing, circling, moving along ordered pathways. A solo by Kelvin Mak to Alessandro Cortini’s Stambecco ramps up the energy for a men’s septet that follows. Mak’s movement is precise, exact but performed with the wild forceful energy that characterizes his supercharged dancing, he has

a heftiness yet easily moves to the floor and back upright again. Like the women before them, the men move in unison. They are often close to the floor, dive onto it, roll around, working off the momentum from the rolling and the rebound of the fall to propel themselves. They slide and spin on their bottoms, tumble, and walk on all fours, doggy style. Once again the dance ends with the regimented stepping motif. As the men back into a corner the dark tone recedes. Set to Peter Broderick’s evocative and lyrical tape montage Patient Observation, for piano, violin, and viola, and beautifully danced by Bobo Lai, the next part, entitled “Wish” starts with Lai’s tentative entrance from downstage right, reaching out as if she’s testing the waters. She continues her journey along the diagonal toward the men alternating delicate gestures fluttering her hands around her face and broader movements as if she’s luxuriating in the space, indulging. The men huddled together in the corner gesticulate wildly warning her off and as she reaches them falling into their grasp, the women, who have entered at the opposite corner slowly echo the men’s gestures, and she is led off. Next, accompanied by birdsong in the opening of Nils Frahm and Anne Muller’s Let My Key Be C for strings, four men enter with their arms slung around each other’s shoulders for “Companionship”, a playfully intricate romp of chasing after each other

Tom Brown

is a former dancer and the retired Associate Dean of Dance, Head of Modern Dance, and Dean of Graduate Education at the Hong Kong Academy for Performing Arts. He is the editor of dance journal/hk

1 . Little Pieces, Choreographer: Dominic Wong, Dancers: Lee Ka-ki and Natalie Mak. Photo Credit: Cheung Chi-wai

J U N / J U L 2 016

6 and game-like exchanges of weight with the men taking turns being lifted and supporting each other, working together in harmony at times with all four supporting together. The quartet lightens the mood as a couple joins them in their play. As the four depart the couple chase each other around the stage. What follows is certainly the Arcadian heart of the dance. Set to Frahm’s spare and lyrical Merry for piano, the couple, Lee Ka-ki and Natalie Mak perform a simple, inventive yet uncontrived duet entitled “Caring” with the gentleness and attentiveness that has a purity rarely encountered in modern duets. The couple’s movement is quiet and intimate; Lee and Mak gently touching and supporting each other. They masterfully make the choreography their own achieving an authentic performance of innocence and enjoyment in each other that is ravishing. Yuen Hon-wai’s exquisite pavilion-like set around the entire stage enhances the sense of intimacy, its lightness and airiness like a welcoming embrace. The dancers’ ivory colored costumes and the excellent pellucid lighting by Lee Shee Hoe, work together to produce a feeling of naturalness. A tall tree trunk with a white birch-like bark is placed in a narrow passageway behind the set and visible through it. During the duet, Qiao returns along the passageway and kneeling beside the tree solemnly places stones at its base. Towards the end of the duet, one by one, the other women slowly enter downstage right. A dreamlike scene follows in which the quartet men repeatedly take turns giving comforting hugs, chaste kisses, and gentle pats to Mak. A fifth man piles stones around the tree and the women perform slow-motion echoes of Qaio’s gestures of grief.

After a variation on Lee and Mak’s duet with six couples, a seventh couple, Noel Pong and Bruce Wong, enters along the passageway. Accompanied by Frahm and Muller’s Reminds to Teeth for piano and cello, the duet brilliantly takes the youthful, innocent, gentle idea of the previous duet and turns its freshness into the habitual; the lightness weighed down by life. Pong and Wong’s performance is wondrous, they are like a couple together forever, who still need each other’s company, but without all the fuss and excitement of discovery please; a couple that also has a bit of a tiff now and again. The others, on the floor moving as if floating in a dream, gradually sit up and take notice and move toward them. The penultimate piece, entitled “Queer” to Song for cello by Wendy Stutter is for two men, powerfully danced by Ivan Chan and Lee Ka-ki. It is an inversion of Lee and Mak’s duet. The two are connected throughout and though one reaches out to the other, the gesture is most often violently rebuffed. They struggle and end apart. The last dance returns to the unison material, expanding it with random couplings, further, more violent and frantic breakouts, more complication in the regimentation of the stepping and jogging, greater complexity in the pathways. There are reprises of material from the earlier sections, performed as if the dancers were grasping at straws to recover memories that they have lost, at times the scene is one of chaos, becoming more ragged as it repeats, the dancers losing focus of everything but the task of endless jogging (the memory) set to the insistent complex rhythms of Sharp Incisors by Beast. When the music finally ends the dancers, as if driven by some invisible force, circle and crisscross the stage relentlessly.

《冰上皇族天鵝湖》緊湊熱鬧評論場次：2016 年 4 月 27 日，晚上 7 時 45 分地點：香港文化中心大劇院

鄧蘭

喜愛這個芭舞蕾碼舞定的不觀陌眾生對。於本《年天4 鵝月湖底，》

專業舞評人及專欄作者。

香港上演了一套《冰上皇族天鵝湖》。一樣是柴可夫斯基的音樂，一樣是原創舞劇的人物與故事，但這套《冰》別開生面之處是以花式溜冰作表演。加上情節略有不同，還有特技效果與馬戲，整個演出充滿動感和炫技，燦爛悅目。在多位技藝超群的表演者合力創造下，漂亮的花式溜冰動作一浪接一浪，令人目不暇給。演出者均來自國家溜冰錦標賽或國際賽事的得獎者，技藝非凡可以肯定，但要糅合芭蕾舞的動作卻不容易。在芭蕾舞中常見的空中轉身、大跨步、快速旋轉、托舉與拋接及人鏈動作等在

這作品中均有出現外，還有很多溜冰規定和自選動作。在這作品中近乎所有重要角色都會展現快速旋轉，然後一邊旋轉下降，再由低轉起身的高難度技巧。三位男主角，包括飾演王子的 Bogdan Berezenko、 Baron Von Rothbart（飾演惡魔）及 Alexandr Kazakov（飾演王子好友）都非常完美，而飾演黑天鵝的 Maria Mukhortova 的轉體快而勁，與王子或惡魔的空中托舉與拋接同樣凌厲驚人。幾位主角身手不凡，動作節奏強勁，展現花式溜冰與舞蹈結合而生的動感。可能看慣的是舞者，都比較纖廋，飾演白天鵝的 Olga Sharutenko 身材略為健碩，亦較少空中動作，炫技方面反而不算花巧。但〈天鵝湖〉一場其中一節特別換上芭蕾舞鞋所表演的「腳尖舞」殊不簡單。

整個表演除了主角的溜冰技藝出色吸引，最引人入勝之處還在於故事的編排與處理，讓人在傳統舊故事中領略到簇新的國度。這方面有三處值得留意：一是情節跟原劇不大相同；二是演出加入馬戲元素；三是特顯皇族氣派。

編排新穎突出性格劇中三位主角，王子與黑白天鵝都有別於傳統的角色，尤其一對女角。傳統的白天鵝奧德蒂 ( Odette) 善良纖弱、較被動，受制於惡魔掌中，最終王子殺死惡魔、釋放了她。新版本的奧德蒂則顯得主動，更大膽反抗惡魔。傳統版的第二幕是王子看到奧德蒂在遠處呼喚，才撇下互相親近中的黑天鵝奧狄莉 ( Odile) 去找她。這處導演安排奧德蒂現身舞會主動找王子，卻因敵不過惡魔的魔法而離開。接着奧德蒂的一段雙人舞，顯示被困時亦大膽地挑釁惡魔的勇敢，一進一退地反抗直至被惡魔控制，其堅強與主動不但賦予角色新鮮感，同時亦切合溜冰快速的動感和表演者的外形。

充滿動感和節拍除舞蹈、花式溜冰，部份演者亦做出夾雜馬戲的高難度動作，令作品更添熱鬧。如白天鵝奧德蒂扣上鋼索，飛上半空；舞會一幕一對男女亦表演軟帶雜技，在空中翻上翻落；還有群舞動作中，中間演員在快速溜冰，雙手抱着人滑行、或在半空人扣人。這些動作熱熾、緊湊，在原有的溜冰動作上呈現出更多元和精彩的動感。最後，作品在佈景服裝及角色設定上亦予人貴族的華麗氣派。佈景中的御園、皇宮、舞會以至樹林都見高貴典雅。除皇室角色，不少人物亦能帶動氣氛，如王子相親前便安排侍從女僕的群舞動作中，表現到皇宮內不同人物的身份，接着嘉賓到場，就在御園跳起華爾滋群舞，別開生面。綜觀《冰》充滿動感和節拍，動作凌厲有勁，情節亦有新穎編排（這方面很值得舞團探索）。

1. 飾演黑天鵝的 Maria Mukhortova 及王子的 Bogdan Berezenko。攝影：Lunchbox Theatrical Productions 2. 飾演白天鵝的 Olga Sharutenko。攝影：Lunchbox Theatrical Productions

傳統黑天鵝奧狄莉冒充奧德蒂奪其所愛，是劇中的奸角。本劇中，儘管惡魔指令要她奪得王子的愛，但她不全依賴冒充他人的旁門技倆，反而努力展示實力令王子另眼相看。在奧德蒂對抗惡魔後，王子趕到的一場三人舞中，奧狄莉不遵從惡魔命令，最終忍痛讓愛成全奧德蒂與王子。如此一來，這個角色有其新貌之餘，兩個女主角的改變令劇目更具張力及戲劇性。至於王子一角基本變動不大，但基於黑白天鵝都不同了，王子處於二人之間也變得更具層次。 J U N / J U L 2 016

放眼舞林

An Eye On Dance 文 By: 陳頌瑛 Anna CY Chan

翻譯 Translation: Scarlet Yu

澳洲表演藝術博覽會

Australian Performing Arts Market

歷

史悠久的澳洲表演藝術博覽會（ A u s t r a l i a n P e r fo r m i n g

Arts

M a r k e t）（下稱 A P A M）

由 2 月 2 2 日起一連五天在布里斯本舉辦第十二屆雙年展博覽會。 A P A M 是澳洲兩年一度的表演藝術博覽會，以往一直在阿德萊德藝術節期間舉行，直至上屆起移師布里斯本，以發電廠和其他場館為主要會議場地。此轉變據說能活化這個老牌博覽會，亦能帶動其他州分的文化表演發展。 A P A M 聚焦展現澳洲各類表演藝術、藝術家和作品，因此除展銷攤位和一些專題討論項目外，演出和製作方案推介全以澳洲和紐西蘭藝術家為主。在 A P A M 期間，布里斯班的業界亦藉此國際網絡同步舉辦其他藝術節和相關活動如世界戲劇節以製造更多交流展演機會，產生互動溝通。我除了被邀為 A P A M 其中一個「 Glo b al 於 A PA M

S n a p s h o t s」專題討論分享的講者外，開幕前一天亦參與由布里斯本市政府主辦

的「 B r i s A s i a

F e s t i v a l」中一個專為澳洲亞洲

或澳洲藝術家於亞洲工作的專業發展和網絡的「 Y u m

he five days of the 12th biennial exposition of the Australian Performing Arts Market (APAM). started on 22 February in Brisbane this year. APAM is a leading biennial for contemporary performing arts. In the past, it was presented in conjunction with the Adelaide Arts Festival in Adelaide. Since the last edition, it has moved to the contemporary multi-arts, dining, and conference venue Brisbane Powerhouse, as its main hosting venue as well as at other venues in Brisbane. There are claims that this move is an attempt to revive the venerable exposition and to further drive cultural development across Australia. APAM focuses on showcasing the diversity of Australian performing arts practice, artists, and performances. Therefore, beside exhibition booths and fora, the program of showcases and pitching sessions are mainly from Australian and New Zealand artists. During APAM, the Brisbane performing art industries seek to benefit from the international network the event provides and they organize other related events such as WTF (World Theatre Festival) to create more opportunities for exchange and to simulate an interactive communicative environment. I was invited as one of the speakers for Global Snapshots at APAM and a day before the opening, I participated in “Yum Chat”, organized by Brisbane City Council, as part of BrisAsia Festival. The event’s objective

C h a t」節目，和其他澳洲藝術家作近距離的分享。無論在 A PA M 會議前後或其間，一眾外地 ( 甚至本土）參與者亦可繼續前往澳洲和紐西蘭其他相關的藝術節或參考團等，可見澳洲和紐西蘭各州分和單位的合作性很高，以推動本土藝術為共同核心，是香港政府和業界可學習之處。參與博覽會、觀賞大量演出是指定工作之一，而今次最難忘和深刻的演出首選年青編舞 — L i e s e l Zi n k 。 Zi nk 的作品《 Sta n ce 》被 A P A M 挑選為 2 8 個澳洲和紐西蘭最具代表性當代節目的其中之一。原本是一個於喬治國王廣場內九小時連續演出的環境舞蹈，今次因在 A PA M 期間重演，被安排到昆士蘭表演藝術中心的前院空間演出 4. 5 小時版本。空間和時間的改變雖然削弱了作品最「真實」的呈現和最「直接」的互動，但編舞對公眾抗議、群眾運動和公共空間等權利的獨特探討和處理手法，仍是有趣的。觀眾可選擇以無線耳機接收聲效「主動」投入參與，亦可選擇從旁觀看。舞者游走於繁忙空間裡，身體在當下狀態和觀眾 / 路人時而擦身而過，時而對抗阻路，因而產生有趣的對話。舞者有意識地試圖進入觀眾 / 路人的個人空間裡，衝擊觀眾 / 路人的想法，挑戰他們、讓他們面對選擇，但卻能同時保留觀眾的思考空間和彼此的共融，從新審視在抗議運動中身體 / 空間、觀眾 / 路人和公共財產 / 擁有權等問題。觀後，我建議 Zi n k 可考慮來亞洲作研究和亞洲藝術家展開此題目的對話。

2 1&3. 《Stance》，編舞：Liesel Zink Stance, Choreographer: Liesel Zink. 攝影 Photo Credit: Fenlan Chuang 2.

位於布里斯本的發電廠是今次博覽會的主要表演場地 Brisbane Powerhouse, the major performance venue at APAM. 攝影 Photo Credit: Australian Performing Arts Market

is to be a professional development and networking platform for Australian artists who work in Asia and Australian-Asian artists to create close exchanges. Whether during or after meetings at APAM, international and local participants can choose to continue their visit to other related events or research groups in Australia or New Zealand, demonstrating the close collaboration between organizations from both countries. Such planning is derived from the common desire to promote local arts as a core value, perhaps this is something the Hong Kong Government and our performing arts industries can learn from. Watching plenty of performances is part of the schedule when attending the Biennial. The most memorable experience for me was Stance, a work by the young choreographer Liesel Zink, which was selected for the contemporary showcase together with twenty-eight other works from across Australia and New Zealand. Originally a nine-hour site-specific work presented in King George Square in Brisbane, for APAM it was abridged to four and a half hours and performed in a courtyard at the Queensland Performing Arts Centre. Indeed, the change of time and space elements in the dance diminishes its sense of ‘authenticity’ and most ‘direct’ interactions with the public. Nonetheless, the choreographic method and the unique way of investigating the right of public protest, collective activism, and public space are interesting. Audience members can choose to be ‘actively’ involved through wireless headphone and receive an original sound composition or they can choose simply to observe the event. Dancers moved within the busy urban space - sometimes they mixed with the audience and pedestrians, at other times they became a barrier by blocking the road; the work created an interesting dialogue. The dancers consciously intruded into the personal space of audience members and pedestrians to provoke them, to challenge, and to confront them with the need to make choices. At the same time, the choreography provided a time and a sense of inclusion for the audience that enabled them to reflect on people who protest, use public space, are members of an audience, or are pedestrians, and their rights on public property. After experiencing Zink’s performance, I suggested that she come to Asia and consider starting this dialogue and investigation with Asian artists.

J U N / J U L 2 016

Bliss - Scenes at a Nightclub in Hip-hop Date: 13 May 2016

Time: 8pm

Venue: Drama Theatre, Hong Kong Academy for Performing Arts

each of them sparkle on stage in turns, each coming and going like those brief encounters one has at a club.

William Chan

is a Hong Kong based performing arts critic, theatre director, and a media producer. He has recently completed a joint MA in International Performance Research at the University of Warwick (UK) and University of Arts in Belgrade (Serbia), and currently works as the Project Manager at the International Association of Theatre Critics (Hong Kong).

1 . Bliss, Choreographer: Anthony Egéa Photo Credit: Pierre Planchenault

n the past few years, the annual Le French May Arts Festival has featured Hip-hop. Last year, Compagnie Accrorap presented the extraordinary hip-hop ballet, The Root, a rare poetic piece with an all-male cast; while this year, Compagnie Rêvolution based in Bordeaux, brought Bliss, an electro hip-hop work, to the festival, showing how hip-hop can be combined with clubbing culture. Choreographed by Anthony Égéa, Bliss is a piece for ten male and female dancers. It opens with all of the dancers on a large platform set at center stage wearing headphones and donning black coats. The headphones are attached to cords that meet at a central point above the lowered lighting grid. The dancers’ unison stomping and moving give a powerful and intriguing opening for the show. Taking off their big dark coats, the dancers become individual visitors to a nightclub. The platform at the center becomes the main dance floor, while a closed transparent room at the back serves as the club’s special room and sofas and low tables at center stage left and down stage right together with a center stage right DJ booth, convey a typical nightclub setting. There is no clear plot or extended storyline in Bliss, instead, fragments of relationships and deep emotions are simply presented with movement and dance. All ten dancers have their own distinct characters, each portrays a different type of club goer including a cross-dresser, a show off, a party animal, a wonderful singer, and a quiet shy guy. Because Égéa doesn’t try to impose any through stories for the show’s characters, he is able to let

According to the house program, six of the ten dancers in Bliss, have benefited from the program Talents Adam i Danse. These six, under age 25 talented young artists were chosen by Égéa though audition organized by the Adami Artistic Association. With these young dancers, the whole performance is full of energy and I am really impressed by some of their amazing skills. Besides the experience of hearing the remarkable voice of Lydie Alberto, which provides another layer to the piece on top of the electronic music, the most striking performance is in the solo dance by one of the Talents Adami Danse, Romain Guillermic. He plays a quiet boy in the first half of the piece, leaning on a lone pole set on the platform. While other people dance, he just stands and looks around, until at one point, he takes his clothes off to perform a solo on a low red table set down stage. Guillermic has super flexible shoulder joints that allow him to bend and extend his arms to the opposite side, behind his back. With such an amazing ability, he is able to do some weird but impressive arm movements. Guillermic performs a contorted pose that is impossible for most of us, yet he accompanies it with smooth palm and finger gestures thoughout, giving it a strange yet powerful and poetic feeling! The music for Bliss is also remarkable. Musical director Yvan Talbot and composer Philippe Pham Van Tham have not only created intriguing music for the dance, but also do the live mix with computers as well as play the bass and electronic guitar on stage, joining the club scene as DJs and musicians with the dancers. During the finale, both musicians also take charge of the drum sets, leading the group to perform the powerful climax at the finale. Although Bliss might not be a revolutionary or innovative hip-hop piece, it is a good showcase for young dancing talents from France, and it also shows how hip-hop can blend with clubbing culture. It was a pleasure to witness the exploration by Anthony Égéa and his young dancers.

《無用》 —被城市淹沒的無力感評論場次：2016 年 5 月 8 日，下午 3 時地點：葵青劇院黑盒劇場

最

初的景象已有一種說不出的無力感：觀眾逐漸進場，在昏黃色的燈光下

慢慢佔據了圍在黑盒劇場外圍的，那些各式各樣被遺棄的椅子。觀眾遂包圍了中間的空舞台內僅餘的兩個人：那邊反卧着的周書毅，及這邊頹廢地伸直雙腿坐在地上的王榮祿。上面是一片掩蓋整個天空巨大的半透明白色塑膠袋，在連續不斷的鑽地或打樁聲下，飄出微弱的塑膠海浪。舞者未動或已呈現了一場置於工業及人工化的城市之內，人無所用而沒力氣去動的狀態。完成這個鬱悶的世界的，正是聚集而圍成圓圈的觀眾，我們封鎖了舞者的退路，當然舞者也沒有要走出去的意圖，因為一切早已經「無用」。王榮祿生活的香港。環境促成了不安，更多究竟什麼是「無用」或為什麼「無用」？

的是藝術之於社會的無功能化及被邊緣化，

舞者自己或跳舞的動力？還是存在本身？

這一切都呈現於二人抖動的身體及那些有點

然而概念上當我們要呈現「無」的時候，「去舞蹈」方式的單純跑動及跪下的形狀。它便被賦予有形，即是說舞者在跳出無用他倆通過身體的震動來展示身邊所在那個無之舞時，他們本身必然構成一場舞蹈。如

形、抽象的空間如何地壓迫自己 — 以為只

此舞者在沒有意義的抽象思緒之中，不斷

不過是他們在動，但當觀眾仔細一點去看，

創造有意義的畫面，所謂無用，最終只是

卻發現那個空的空間也似乎在稍稍震動起

自己不去選擇「排除」或「被城市排除」

來，隨塑膠波浪與風聲，令氣壓下降。當然，

之物。矛盾，一直充滿着整個空間，也在

這一切也只是來自於舞者的自行想像，因為

二人的心裡，以致最初二人雙手互相交纏，

真正「無用」，從來也是自己建立出來，自

像要掙脫對方卻因人體結構所限而無法過

我否定或否定世界的一種抗力。在抗拒城市

份扭動，反而越拉越緊，但即使分開了卻

之餘，其實那份抗拒或懷疑自身的力量，才

又會糾纏回來。就像迷失與失望，早就如

是最為強大。以致當舞台再次黑暗起來，二

同被塑膠袋壓低的天空一樣，存在於城市，

人在微弱得僅餘輪廓的地步想要散發的，以

但更多的是早就存在於渴望掙脫這個現狀

有用的身體去表達無用的情緒，才是演出的

的自我之內。如同祿仰頭站着急喘一樣的

焦點。

肥力藝評人，劇場人，插畫人。個人網站： www.felixism.com。

用力呼吸，毅則在場內不斷縱橫疾走，他不似要經過祿，但沒力氣的奔跑卻總是被

最終，天空上的大型塑膠袋降落，完全地蓋

祿不動又抽搐的身體牽引。二人這種既疏

過了中間整個地方，包括躺下來的周書毅。

遠，其中能量上又互為影響的關係，兩個

他呼吸，他被淹沒，他在以一種無所用的身

沒有出路的人利用自己的生命 — 依靠唯

體狀態，去迎接在象徵城市的無用物的塑

一的身體去抗衡整個被垃圾與噪音感染的

料。其實整個《無用》也沒有明確說明指向，

城市。

或者說當在舞者已為無用之題去作有用之舞時，我們還去附加太多意義也着實與創作本

但所說的向外部抗衡，其實一直以來也是「無用」，舞者伸手不及的塑膠天空，以及那些盤繞在耳際的帶點違和感的風聲，像要告訴在舞台上不斷游移的兩人：城市沒有改變，不論是周書毅處身的台灣，或是

身有所偏離。我們只需要感受那份用有形之身，去創作的「無力」之舞，就足夠。

1 .王榮祿和周書毅以有用之軀作「無用」之舞。攝影： Dominic Wong J U N / J U L 2 016

Expressing Emotion through Dance

An Interview with the 18th Hong Kong Dance Awards Recipients 文 By: 朱永瀟 Zhu Yongxiao 翻譯 Translation: Scarlet Yu

舞蹈是人性的表達

訪香港舞蹈年獎得主

唐婭及李涵 Tang Ya and Li Han

由香港舞蹈聯盟主辦及藝術總監 M a n dy Petty 傾力製作的「香港舞蹈年獎 2016」剛於四月底在葵青劇院圓滿結束， 14 個舞蹈團體以及舞蹈家於這場盛大的頒獎禮中獲得肯定。也許，在眾多獎項裡最令人感到尤其珍貴的便非傑出男、女獎項莫屬。今年，傑出男女舞蹈員由香港舞蹈團參演《倩女 ‧ 幽魂》的唐婭和李涵獲得（另一位獲得傑出男舞蹈演員的是參演《羅密歐與茱麗葉》的沈傑）。在一個晴朗的上午，我們專訪了兩位獲獎者，聊演出的心得、獲獎的感受以及對舞蹈的追尋。

把握角色就是把握靈魂唐婭和李涵都是中國舞的舞者，唐婭習古典舞，李涵習民間舞。去年，他們被選中參與舞劇《倩女 ‧ 幽魂》的演出。《倩女 ‧ 幽魂》的人物角色偏中國舞形象，屬柔美型。而聶小倩是有故事的人，性格鮮明、愛恨強烈，唐婭還記得電影版《倩女幽魂》裡，王祖賢飾演的聶小倩因為見到有人受難而流淚不忍，「我覺得她是善良的，是個有情意的鬼。」李涵則把電影看了無數遍，感受張國榮爐火純青的文義書生形象，一面問自己，怎樣同時做到借鑒和突破。在舞蹈的世界裡，如何表達角色？這是讓很多外行人比較困惑的問題。因為無法借助語言來傳遞人物所思所想，

1. 唐婭為了舞蹈願意忍受傷患的痛楚 Tang Ya in MSGM, Acne Studios, Venilla suite @ I.T 2. 李涵在訪問中訴說小時候刻苦的練舞經歷 Li Han in LEWIS LEATHER, 5cm @ I.T

相片由香港舞蹈團提供 Photos provided by Hong Kong Dance Company 創意總監 Creative Director: Yuman Ng@III-WORKSHOP 攝影 Photo Credit: Devil Woo@III-WORKSHOP 唐婭於《倩女 ‧ 幽魂》飾演聶小倩 L’Amour Immortel, Dancer: Tang Ya 攝影 Photo Credit: Henry Wong

The outstanding achievements of 14 remarkable dance artists and organizations were recognized at the Hong Kong Dance Alliance 18 th Hong Kong Dance Awards during a scintillating Gala Performance and Presentation Ceremony that was produced under the artistic direction of Mandy Petty to a sold-out house at Kwai Tsing Theatre in late April of this year. Among the many awards, perhaps those for outstanding performances by dancers are most cherished by the artists who are central to the art form. This year, the awards for Outstanding Performance by a Female Dancer and Outstanding Performance by a Male Dancer went to Tang Ya and Li Han, respectively for performances in the Hong Kong Dance Company production of L’Amour Immortel. In a rare occurrence, the polling for the Outstanding Performance by a Male Dancer resulted in a tie, and Shen Jie also received the award for his performance in the Hong Kong Ballet production of Romeo and Juliet. Zhu Yongxiao of dance journal/hk was able to sit down and talk with Tang and Li about receiving these prestigious awards.

The Soul of the Character Both Tang Ya and Li Han have a Chinese dance background; Tang studied classical Chinese dance and Lin studied Chinese folk dance. The characters they portray in L’Amour Immortel are based on classical Chinese literature; the contours of their movements are elegant and refined. Nie Xiaoqian, the main character is self-assured and both loves and hates passionately. Tang recalled the character was played in the movie version by Joey Wong who gave her a soft-hearted quality, “For me, she is such a kind and good-hearted ghost”, Tang said. Li, who dances the character of Ning Caichen, added that he had repeatedly viewed the movie and observed the way Leslie Cheung depicted his role of the frail scholar. While using his observations as a reference, at the same time, Li asked himself how he could achieve a breakthrough in this iconic role. How does a dancer create his or her characterization for a dance role? To many non-practitioners, it may seem quite difficult. Because thoughts are most often expressed and communicated through spoken language, without words, dancers must rely on the honesty of their bodies to serve as the vessels to convey their thoughts; while on stage, the naked soul is revealed under J U N / J U L 2 016

一切就只有誠實的身體，在燈光的照耀下裸露出內在的靈魂。唐婭說，這麼多年來，作為舞蹈演員已經習慣了不說話而在舞台上傳遞信息，而舞劇和舞蹈又確實是不一樣的，舞劇有「戲」的成分，因而對人物刻畫和塑造的要求更高。在排演《倩女 ‧ 幽魂》時，唐婭和李涵分屬 A B 組的聶小倩和寧采臣，各自在和搭檔合作的時候，想了很多動作來傳遞人物思想情感。「每一段都會想一個主題出來，這一段要表達什麼。就像有了骨頭一樣，然後就是填肉和血的過程，這個過程很艱難。」李涵說。他曾經和搭檔試著排演了幾段，導演看了以後說：「嗯，動作都對了，但感覺沒有。」「我們內行有個術語，叫『心裡沒有，身上白走』」唐婭說，「我必須理解那個角色，她才能在我身體裡面，我才能表達她。」唐婭最終用她擅長的刻畫性格的舞蹈表達，演活了這個具有人性的鬼魂形象，難怪香港舞蹈年獎評審給予唐婭的評語寫道：「唐婭在劇中向我們展示了出色的中國舞技藝，並以她自身的可塑性、對情感抒發的掌握和靈動性，突顯出這次作品的編舞，生動地演繹出聶小倩如何從一個冷漠無心並欲誘惑寧采臣的鬼魂，轉變成那個為了救他而甘於犧牲自己性命的大無畏情人。」而李涵亦在不斷地摸索思考中總結出：「劇是有跌宕起伏的，有那個度，要把握得恰到好處。」我們在香港舞蹈年獎評審對他的評價中也可見他的深度演繹：「李涵的動人演繹將寧采臣的戲劇化和憂愁感表現得淋漓盡致，完全表達出他的年少無知，他對聶小倩至死不渝的愛，以及當她消失時的那份傷痛。他的舞蹈充滿流動性和與生俱來的優雅氣質，展現出完美的精準、強度和控制。」

十年一覺舞蹈夢唐婭和李涵都是大陸出生長大，畢業於北京舞蹈學院，因為機緣巧合來到香港，從此開始在這個海港的築夢之旅。如今他們都已是香港永久居民，回顧過往來時路，仍是滿滿的辛酸記憶。在這次提名香港舞蹈年獎的傑出年度男演員時，李涵曾自嘲地跟朋友說：「我不會是里安

the theater lights. Tang explains that as a result of all the years she has been a dancer, she is used to communicating on stage without words. The difference between dance drama and dance is the dramatic element in the former, it requires extensive effort in sculpting the character. In rehearsals, Tang and Li were in different casts, with different partners with whom they created the nuanced movements and gestures expressive of the soul of their characters. Li said, “I would have a theme for each segment of the dance. The process [of creating my character] was similar to first forming the bone structure and gradually filling in the f lesh [of the character]. It’s a very difficult process.” On one occasion, he and his partner showed some material they had rehearsed to the director who commented “The movement is great, but it lacks soul.” Tang pointed out, “There is an expression we have: ‘without heart, it’s wasted.’” She continued, “I have to understand the character and let her grow inside my body then I can truly express her.” Tang specializes in depicting the soul of a character through dance, her outstanding performance gave life to this humane ghost. The citation for Tang’s award read, “Tang gave a superb display of Chinese Dance technique, illuminating the choreography with her plasticity, lyricism, and lightness. She vividly conveyed Nie Xiaoqian’s emotional journey as she evolved from the heartless ghost who sets out to seduce Ning Caichen to the fearless lover who sacrifices herself to save him.” Li concluded, “In this dance drama, there is a climactic moment that requires to be handled with great care.” The citation for his brilliant performance declared “Li’s heartfelt portrayal of Ning Caichen brings out both the comic and poignant aspects of the character, perfectly embodying his youth and innocence, his unfaltering love for Nie Xiaoqian, and his grief when she ends her existence. He dances throughout with glorious fluidity and innate elegance, combined with immaculate accuracy, strength, and control.”

A Ten Years of Dream and Dance Tang and Li both grew up on the Mainland. Both graduated from Beijing Dance Academy and both came to Hong Kong by chance. Since then, Hong Kong has become the place where they have built their dreams and they are both now Hong Kong permanent residents. Looking back on their journey they agree it has been filled with hardship. When the Hong Kong Dance Awards announced nominations early this year, Li joked with his friends, “I hope I will not be like Leonardo

破滅了。」

DiCaprio (the American film actor with several unsuccessful Oscar nominations for best actor). Since he had also had several unsuccessful nominations before and because there were very strong nominees in this category, he was prepared for another miss. He was surprised to hear his name called out on stage for the award. He was so overjoyed the whole night and proudly told his family all about it, but was back to work as usual the next day. “Why am I so calm?” he said, “All these years, I ask myself, ‘What is it that supports my dream to dance?’ and I realize it has to be something deeper that cannot be destroyed by a single award.”

那麼，更深的那個東西是什麼？

So, what is this deeper thing?

納度吧？」（美國電影演員，數度提名奧斯卡最佳男演員未果）。他之前也曾被提名過幾次都沒有拿獎，加上這次提名的人選都很強，他想自己應該又會失之交臂，因此當聽到自己的名字時，還是有些驚訝的。他說自己只高興了一個晚上，跟家人電話報了個喜，第二天就如常工作了。「為什麼這麼淡定？」年輕的李涵平靜地回答：「這麼多年，我想的問題只是到底是什麼在支撐我跳舞。如果不是更深的東西，那麼拿到獎項以後，有些東西就會

多年以前，因為嫌家中管教太嚴， 12 歲的李涵隻身出走學習舞蹈，只為擺脫家裡的負擔。初嘗自由的滋味他覺得興奮又激動，然而這種感受迅速被舞蹈訓練的艱苦和痛楚摔了個粉碎。「每天早上六點起床，綁著沙袋踢腿，每天不間斷。太辛苦了。」第一年舞蹈學校放假回家，李涵才獲得了短暫的休息。到假期最後一天，本應下午出發返回學校，當初主動逃離家庭的李涵竟然裹在家中的被窩裡到中午都不動彈。媽媽看到他的樣子，說了一句讓他終生牢記的話：「如果你這次決定回去，選了這條路，就要堅持走完。」他最終選擇回歸舞蹈，直到現在。回歸的起初兩年，他仍然充滿掙扎，糾結於自己的選擇是否正確、畢業以後會不會沒有工作等等。直到三年級時，可能是某一天或者甚至某一個瞬間，他突然覺得自己開始喜歡上舞蹈了，也許是因為最艱苦的訓練階段已經完成，又也許是他突然明白了舞蹈的意義。唐婭有著幾乎一致的經歷：「前兩年就像是挖地基一樣，打基礎的時候很辛苦，很痛，會偷懶。後來就慢慢喜歡上了。」李涵還記得有一年，改編自曹禺知名劇作的舞劇《雷和雨》在北京演出，當時還在上學的他坐在台下，驚訝於舞蹈竟然也能塑造角色和傳遞情感。「我才明白了舞蹈也可以是人性化的」，這是他至今眷戀舞蹈的原因。兩人從那個熱愛舞蹈的瞬間開始，一路堅持到現在，收穫北京、香港和海外的學習經歷，對舞蹈的熱愛在不斷加深。在香港舞蹈年獎 2016 宣佈最佳女舞蹈演員的那一刻，唐婭從後台慢慢走上去，接過獎盃，表達了一番感謝以後，哽咽地說：「我來到香港十一年，為了這個獎，我努力了十一年。」唐婭至今還有練功留下的胯傷和其他傷病，但她看得很開：「這個職業必須承受的吧！」唐婭和李涵都把自己的生命理解為「學會和傷痛共存的舞者」，在回答何時會停止這份工作這個問題的時候，兩人都說，舞蹈是值得堅持下去的事業，自己也不會給自己設限，即使有一天離開舞台，也會繼續從事和舞蹈相關的工作。至於何時才會停止跳舞？兩人的答案出奇得一致：會一直跳下去，跳到不能跳為止，跳到「傷患使得你不得不停下來為止。」

Years ago, the 12 year-old Lin felt emancipated from his highly disciplined family when he was allowed to study dance at boarding school. At first, he enjoyed the taste of freedom, but very soon, the difficulties he encountered and pains he suffered from the strenuous requirements of studying dance, shattered his illusions. “I woke up at 6am every morning, tied sandbags on my legs to do high kicks with no pause in between. It was really hard”, he said. He gained a short break at home during school holiday every year. On the last day of one holiday, he refused to go back to school, he wrapped himself in a blanket at home and did not move until noon. His mother spoke to him with words he has kept with him since that time, “If you have decided this path, persistence is the key for completion.” In the end, he chose to return and has stayed with dance to this day. Lin recalled the first two years in school, he was filled with struggles and entangled with thoughts of whether he had made the right choice and the anxieties of job opportunities after graduation and so on. Not until his third years in school did he realize he had fallen in love with dance. Perhaps the hardest training period was over or he suddenly found the meaning of dance. In sharing her similar experiences, Tang recalled, “The first two years were like digging the ground for the foundation, building a foundation is really hard and painful, sometimes, I became lazy. Eventually, I slowly fell in love with it.” Li remembered seeing a dance drama in Beijing based on Thunder and Rain, a well-known literary classic by Cao Yu. Even as a student he was amazed by the power of dance to communicate and express the emotions of the character being portrayed. “I finally understood that dance has soul.” This is the reason for his love of performance. That moment of falling passionately in love with dance has resonated to the present. It has matured through learning experiences in Beijing, Hong Kong, and overseas. In 2016, when the award for Outstanding Performance by a Female Dancer was announced, Tang Ya walked up to the stage, received the award, and began her speech of acknowledgement choking back tears, “I’ve been in Hong Kong for eleven years, and for this award, I devoted eleven years of hardship.” Tang has carried on even with hip and other injuries from dancing, she is optimistic about it saying, “It is part of this profession.” Both, Tang and Li are dancers who have learned to coexist with pain. When asked about whether they would consider retiring, both replied, they would continue, dancing is a worthy career, and they will not think of stopping. Even if one day they leave the stage they would continue to engage in dance related work. As to when this might happen, their answers were surprisingly consistent - they will continue dancing until their bodies are no longer able to and injuries require them to stop.

4. 李涵於《倩女 ‧ 幽魂》中飾演寧采臣。 L’Amour Immortel, Dancer: Li Han 攝影 Photo Credit: Henry Wong J U N / J U L 2 016

愛與緣的知命觀照 —《「舞」可能伍：一○一》解讀評論場次：2016 年 4 月 23 日，晚上 8 時地點：香港文化中心劇場

盧偉力紐約市立大學戲劇博士，香港浸會大學電影學院副教授，並擔任藝術發展局委員、民政局表演藝團顧問、康樂及文化事務署舞蹈及多媒體小組委員、香港電台《講東講西》、《演藝風流》節目主持。從事多元化文字工作，包括藝評、戲劇、小說、詩歌、隨筆等，由 1991 年開始至今，亦寫了不少舞評，有評論集《舞蹈文字》丶《尋找香港舞蹈》。

1999 年馬才和、嚴明然在香港首演自《從「舞」可能！？》，探討劇場與舞蹈的

公開儀式

關係，經 2000 年及 2009 年至今，這系列已做了好幾次，近日推出《「舞」可能伍：一 ○ 一》，是第五次。本文嘗試解讀他們這次探問。

演出採取簡單的方式，但帶有與觀眾共同直接面對他們所走過舞蹈道路的明確意識，是人生階段在劇場進行的公開儀式。由進入劇場開始，穿上肉色緊身衣的馬才和及嚴明然，已在門口的一方小平台上，任由觀眾以毛筆在他們身上寫上期待、祝福，或者塗鴉。他們開放自己的身體，邀請我們在上面書寫。紅塵身心混融，出自我們的心，傳之以筆墨，滲現在他們赤裸（符號化的）身體上；然後，在劇場中的笫一段舞，是在兩張覆蓋台中橫度三分一的長方白紙上滾動、蠕蠕觸碰，是莫明的一股力在誘惑著……於是，我們心中的，他們身上的，默默地印在白紙上。當他們一左一右步過兩邊的大木桶，洗淨身體，一方面是技術上的安排，但更是象喻：紅塵痕跡，自覺淨化。

劇場事件從舞蹈敘事來說，《「舞」可能伍：一 ○ 一》應當稱為「劇場事件」(Theatre Event)，而非演出。它把生命史的述說融入舞蹈，並非一個人，而是一對生命拍檔。他們在思考生命跟舞蹈的關係。

1 .《「舞」可能伍：一○ 一》是馬才和及嚴明然對舞蹈和生命的思考作品。攝影 : 張志偉

馬才和及嚴明然兩位香港舞者，三十多年同行、共舞，矢志不渝。今年，兩位都年過五十了，加起來是一百零一歲，長年跳舞，身體的傷患，是青春不再的殘酷提醒，更是曾經努力過的印記。所以，《「舞」可能伍：一 ○ 一》近取諸身，是紀念他們的舞蹈因（姻）緣。在創作構思過程，他們特意找來各方友好訪談，包括舞者、藝評人、合作者。每個訪談都非常仔細，與其說是資料搜集，毋寧說是認識自己、共同探討舞蹈可能性的「生命搞作」。

這象喻匠心獨運，頗有禪的意味。當那兩張長方大白紙緩緩升起，成為背景，上面分別印上不規則的墨跡時，我們看到馬才和及嚴明然一左一右更衣之外，更發現舞台中央有一個用大型毛筆劃寫的大大的、粗線條的圓環，彷彿宇宙運動開合間的旋轉，奔放擴張。

後現代主義美學

緣起於舞，成於愛

然後，自然地、不經意地，嚴明然說她想送在藝術構思上，馬才和及嚴明然展現的是後一段舞給馬才和。這送舞段落，是我們為何現代主義的美學。除了在劇場事件上安排韻律性的舞蹈之外，更有大量的非韻律性動作，跳舞的正解。因著愛，一位五十歲的女舞者起舞了，讓我們見證她少女的情懷如何在例如在地上打滾、圍圈向前走或向後走；甚三十年間融合著提醇了的人生歷練。這複調至有非動作的行為，例如答問、更衣、裝置的身心，是香港舞台上少見的境界。她用手舞台等等。聲音設計上，亦結合有超越意味風琴配樂，因為她年青時曾經學習過手風的祭儀聲效與日常生活的用具敲擊，我尤其琴。動作是不慌不忙的，發乎心，氣韻周欣賞現場音樂手梁卓堃以攪拌機發出的聲音。流，雙手延伸，呼吸與你同處的空間，這份兩位舞者坐在演區，他奉上即場製作的兩杯愉悅，觀者動容。這段舞體現愛、禮讚愛，蔬果汁。這生活的聲音，直指當下，兩位舞是我們為何要跳舞的原因。馬才和送給嚴明者在觀眾眼前飲蔬果汁，等待下一段活動，然的是他十多歲時學彈結他所唱的英文歌《T o d a y 》，他試過多次，總不入調，歌聲中亦直指當下。規中矩，但率真中有憨氣。他的歌聲，也體現了愛，憑著愛，他可以示人以拙。表面上這是一次紀念性質的劇場事件，每場演出，他們都會找來一位好友，問他們一系他們給對方，以青春的懷想，以一片真心。列問題：何時學舞？如何相識？舞蹈與自己緣是奇妙的，此生此世，二人相遇，關乎的關係？等等。細心看，段落的安排，是感時間，於是《「舞」可能伍：一 ○ 一》接著恩的倫理貫串。「給祖先及家人」、「給過去」、的韻動是基於時間的：「給這一刻」、「給「給劇場」、「給舞蹈及老師」、「給身體」、「給朋友及伙伴們」、「給追求夢想的」、「給未對方」……段落之間，自然過渡，沒有要環來」、「繼續旅程」、「下一個五十年」 … … 環緊扣，沒有要高低跌宕，只是淡淡然流露兩位香港舞者的生命觀與藝術觀。問的直接，辯證的時間答的坦誠。一來一往間，我們在那兩張掛起的印有墨痕的白紙幅上看到他們兩人不同朋友及伙伴是有時間性的，他們把不同的訪談階段的照片。成長於香港的中下家庭，兩個錄影，放在播放器上，一個一個拿出來，散年青人，遇上了舞蹈，成了出眾的拍檔。有置在台上。訪談聲此起彼伏，彷彿歡呼。他們二人有一段舞，在一張彈性的透明布料裡。一幀照片，年青的嚴明然橫身在年青的馬才初看像胚胎，再看是生命的相濡以沫。追求和左肩上，張開雙手，交叉雙腳，二人彷彿夢想，以生命的澄明，在澄明中的掙扎，在在飛行。是的，當時在他們眼前一望無際：掙扎中互相依偎；然後，破夢而出，回到藝八十年代香港現代藝術起步，世界很大。今術的原點，從而走向永恒。天我們重睹他們那時的風采，也就感悟到人生有所為是如何的美麗。在觀眾掌聲鼓勵下，《「舞」可能伍：一 ○ 一》是一次關於愛、關他們嘗試重現當年照片的風姿。未能成功，於緣、關於舞蹈與生命結合的劇場事件，最但有另一種美麗。微笑在時間中流淌，年華後他們二人向著迎頭而照的射燈步前，在身在默默起舞，沉澱的是自然、真誠，以及泰後兩張大白紙上的投影愈來愈大，於是那些然的自知。泛現在大白紙上的舊照片，最後被馬才和、嚴明然兩位舞者的身影遮蓋了。這是過去與未來的辯證，他們走向未來，為的是體會過去，生命通過時間延續，時間因著生命而有了意味。知命是觀照過程，亦是目的。

2 .二人在透明布料裡的律動呈現彼此在生命的交織。攝影 : 張志偉 3 .他們的演出像一次對生命的回顧。攝影 : 張志偉 J U N / J U L 2 016

La Partida / MAC Date: 14 May 2016

Time: 8pm

Venue: Y Theatre, Youth Square

dressed in grey and their movement and that of their big skirts casting large shadows on the cyclorama. Then comes “Caña”, a serious and demanding solo performed by Santana. In it, the dancer is dressed like a bullfighter with a black Spanish mantón, woven with long golden fringe, covering his left shoulder. Santana’s masculine dancing, especially waving the mantón while turning, heats up the atmosphere in the house. With dim yellow lighting coming from the behind, Santana is like a steed with flying wings on fire in the sunset.

Angela Lee

is currently studying for a Doctor of Applied Language Sciences degree at the Hong Kong Polytechnic University. She began learning flamenco in Hong Kong in 2009 and was also a participant of the Hong Kong Dance Alliance Dance Enhance: Dance Appreciation & Criticism Writing Project 2015.

1 . La Partida, Dancers: (Left to right) Mariko Drayton and Chloe Cheung Photo Credit: Ali Ghorbani

“O

le!” During the 90-minute show, this and many other terms of encouragement or jaleos were called out at the Hong Kong Youth Square Y Theatre on 14 May 2016. La Partida, directed and choreographed by Adrian Santana, is a new creation launched in both Japan and Hong Kong in May 2016. Santana, a Spanish flamenco dancer, formed a trio with Chloe Cheung and Mariko Drayton, two Asian flamenco dancers, who use the acronym MAC for their group using the first letter of each of their given names - Mariko, Adrian, and Chloe. Santana’s work is an expression of his personal life experiences through the language of flamenco, a language that expresses passion, joy, sensation, and sorrow. Other performers include the singers Eva ‘La Lebri’ and Trini De La Isla, guitarist Yeray Cortes, and the palmera (hand-clapper) Ana Romero. Santana first gained widespread recognition in Hong Kong’s Flamenco community when he performed Spanish dance in the City Chamber Orchestra of Hong Kong’s Flamenco Classico in February 2013. He played the role of Don José in Carmen Suite and his emotion-charged acting was well received by audiences. There are seven scenes with different varieties of Flamenco or palos in La Partida. The first and the last palos are the same: “Seguidilla” in which Santana dances solo with castanets surrounded by the guitarist, singers, and the palmera. The dance lasts about two minutes and serves as an introduction. After the lights fade to black, a woman’s voice announces in English: “Everything happens for a reason . . . Let the game begin!” It is an apt opening for the evening – which is not only a show, but a game that is intended for everyone to enjoy - performers and audience. The second palo is “Cana y Polo”, with the sequence re-arranged, with Cheung and Drayton dancing the Polo to recorded music and castanets. This is a contemporary piece, with the dancers

The third item is a duet, “Bambera”, performed by Cheung and Drayton. The dance is heavy and slow in the first half but the tone becomes delightful and fast in the second. Both dancers are dressed in black and have wrapped themselves in the same style of Spanish mantón that Santana used in the previous piece. They unfurl the heavy mantóns and use them while dancing in the second half, controlling them well at a good pace. However, the lighting for this whole piece is very dark. It diminishes the contrast shown in the movement and the emotional change: breaking from the darkness to the brightness. The fourth palo is “Alegrias”. Cheung and Drayton, dressed in red and white batas de cola (dresses with trains) and holding abanicos (hand fans) deliver the dance’s joyful feeling. Normally, “Alegrias” are highlighted with escobillas, opportunities for dancers to show off their variations and speed in doing footwork while dancing. Nevertheless, Santana combines falseta, which are solo passages on the guitar, and escobillas into one. Cheung and Drayton move slowly and do simple footwork only. It is a wise arrangement because in dancing escobillas there needs to be a high degree of concentration and rapport between dancers and guitarists. Santana successfully transformed the challenge into a dance of feminine beauty. The fifth and sixth scenes are “Malagueñas” and “Rondeña”. The former is all singing and the latter is a dance performed by all three dancers. During La Lebri’s performance of “Malagueñas”, the theatre amplifier emitted hissing noises whenever she raised her voice to forte. These technical flaws in the theatre’s sound equipment need to be investigated and corrected. The last dance is the “Seguidilla” with castanets again but in a complete version performed by Santana. It is a passionate palo characterized by long and complicated footwork to express sorrow and deep solitude. In this performance, one senses Santana’s conquest of the audience through his proficiency, accuracy, and confidence.

讓腦袋去旅行 —來看一場環境舞蹈吧！《紙誘藝術》

評論場次：2016 年 5 月 14 日，下午 3 時

《蒞緊，轉角就到》

評論場次：2016 年 2 月 28 日，下午 3 時半地點：坪輋村

《Voyage》

評論場次： 2016 年 4 月 17 日，下午 3 時

「東

地點：牛池灣文娛中心二樓大堂及三樓

地點：香港仔工廈

邊舞蹈團」主辦的《紙誘藝術》，

藍天大樹，令人想起同樣是音效主導舞蹈動

九個小品內容老少咸宜、淺白活

作的環境舞蹈作品，由徐奕婕跟施卓然於第

潑，看得人心花怒放。即使同是以「紙」

二屆空城藝術節「坪輋．村校．之外」合編

為題，編舞卻分別從紙的功能及質感兩方

的《蒞緊，轉角就到》。遠道而來的觀眾要

面去發揮。徐奕婕的獨舞〈夢遊〉及與陳

戴著大會提供的隨身聽，邊聽邊觀看兩位舞

穎業合編的〈追擊〉分別借書本和報紙的

者在單程路上的演出。一人一耳機解決了場

內容發揮，徐在台上再次化身兔子，感覺

地空曠引致擴音不良的問題，令觀眾更為專

似舊作《圈圈》，和環境互動也不太多；後

注，可惜也同樣地過濾了「風吹、鳥嗚」等

者以鐳射筆「追擊」翻舞的報紙，舞者手

大自然的聲音（儘管錄音仍有大量流水聲）。

持報紙唸新聞出場加上紅點亂舞的情景，

舞步簡單，舞者擠在小路上進進退退、欲去

倒有些「焦點追擊」的緊張氣氛。不同紙

還留；翻騰旋轉的動作，反映角色內心的掙

質會發出不同聲音，馬師雅跟柯志輝的〈傷

扎。這個演出最大的特色是舞步跟時間線同

紙座〉把韌度十足的彩色玻璃紙當繃帶，

步，觀眾看著他們由遠近再消失，舞者的旅

二人手足雙連，舞步就是不停的跌跌撞撞、

程結束，演出也便完結了。

程天朗跨界別寫作人，中學時代起於本地多份報章刊物發表小說、新詩、散文及藝評。現為自由身舞台工作者。

拉拉扯扯，卻又彼此扶持，就像情人之間的關係。玻璃紙特有的「索索」聲跟配樂

國際編舞節參與藝術家編作的環境作品

不謀而合，呈現出獨特音效。藍嘉穎的

《 V o y a g e 》，觀眾同樣要長途跋涉，走到遠

〈Ta ke Five〉同樣以紙發聲，硬身紙杯有

離都市心臟地帶的香港仔工廈欣賞。這次觀

節奏地跟詢問處櫃台碰撞發出「啪啪」聲，

眾不只跟著表演者走，還能參與其中。創作

像在跳踢踏舞。紙杯既是杯，套在耳上就

人善用工廈防火層空曠及傳聲的特性，樂師

變了聽筒。此作品是最能發揮環境特色的

既可躲起來演奏，舞者也可在牆後突然閃

一段，也帶點狂想味道。櫃台的設計跟酒

出，時而憑欄遠眺，時而追逐，引領觀眾前

吧的吧台雷同，於是紙杯一會兒是收集聲

行。在短短的時間內，觀眾會不斷發現新鮮

音的聽筒，一會兒變回酒杯款客。舞者在

的點子。尾段在地上停車埸跟羽毛跳舞的段

櫃台小小的範圍內翻天覆地，調酒師調酒

落本來跟環境無甚關係，但最後歌手在漁船

又何常不是炫技？兩者最終目的都是滿足

上高歌，眾人把羽毛交給歌手再揮手送別遠

客人的願望。舞者能量澎湃，除了在詢問

去的小船，就是一個完美的句點，也令此作

處及大堂之間穿梭，也跳上櫃台，把雙手

品完全反映在地的環境特色。

頂著假天花，把空間「玩」得很盡。去別的地方旅行，就是想看些不一樣的有趣整個演出雖說是不同獨立的短篇組成，但

東西，好的舞蹈作品能喚起你對世界的好

過場的群舞也很暢順，末段眾人齊齊注視

奇，就像讓腦袋去了一趟旅行。

牆上電視上播出藍天下大樹的影像，就有不忘本的意味。

1 .《蒞緊，轉角就到》，編舞：（左至右）徐奕婕，施卓然攝影：Ziv 2 . ＜傷紙座＞，編舞：（前）馬師雅，（後）柯志輝。攝影：Mark Lam 3 .《Voyage》，編舞：（左起）徐奕婕（香港），Marloes van Houten（香港 / 荷蘭），Ilse Evers （荷蘭），黃碧琪（香港）攝影：Anna Chan 及 David Luk

J U N / J U L 2 016

20 人間晚晴何處有懷民雲門此中尋－淡水河畔雲門劇場 Excerpt of Talking about Cloud Gate Dance Theatre

林懷民隨談漫記節錄 with Lin Hwai-min 文 By: 周凡夫 Chou Fan-fu 翻譯 Translation: Scarlet Yu

著淡水河畔步道邊走邊談，林懷民很明確地說出他現時的心境﹕ 沿「爭取盡快退休，應是我目前最大心願。今年已六十九歲，體能健康狀況，自己是知道的，應放手讓他們來做了。當然，我能早一點退，還可用顧問的身份發揮作用，越遲退能發揮的作用便越少了。」

林懷民攝於淡水雲門劇場日光平台上。 Lin Hwai-min at the Sunbeam Platform 攝影 Photo Credit: 劉振祥 Liu Chen-hsiang

alking along the Tamsui River in Tamsui district in New Taiwan City with Lin Hwai-min, the founder of Cloud Gate Dance Theatre of Taiwan, Lin comments “My wish is to retire now. I’m sixty-nine years old this year and I’m fully aware of my physical capacity. It is about time for me to let go and allow others to take over. Indeed, I wish this day would come sooner rather than later - even after I retire, I can continue to work as a consultant for the company - but the later I step down the less I can do.”

21 接通社會得道者多助林懷民望著淡水河對岸在黃昏後漸漸出現的點點暗淡燈光，那曾是雲門舞集所在的八里，語調平靜地說 ﹕「雲門劇場的落成，祇是來作為與社會溝通的橋樑，我祇是橋樑的一口螺絲釘。或許我去了歐洲在舞蹈的藝術上會很有成果，但離開了我生長的土壤，便完全達不到我的目的。」林懷民作為一個舞者所追求的，是較舞蹈藝術更廣、更闊的，是舞蹈在社會上所發揮的功能，亦正是雲門舞集不時會舉辦有數以萬計、甚至十萬計觀眾的戶外大型演出的其中一個原因。回憶起興建過程，林懷民心平氣和地憶述著說：「2008 年 2 月 11 日凌晨一時許的大火吞噬了雲門位於八里烏山頭的鐵皮屋排練場，到去年 4 月劇場正式運作，前後經過七年多，最初以為兩三年便可將劇場蓋好。其實那還虧雲門董事們的奔走，和找得設計師黃聲遠與田中央聯合建築師事務所的參與，才能較順利地完成。」時間以外，建費更為重要，林懷民對此看似全不緊張：「興建的費用全來自社會，從各方募捐而來的，共計有 6. 6 億台幣。」在雲門劇場「日光平台」入口通道旁，一幅十六公尺長，帶有香氣的老檜木壁板，很工整地將 4, 1 5 5 筆捐款的機構及個人姓名銘刻其上，變成長長一塊銘謝木壁，也就成為紀錄雲門得道者多助的印記！

新建劇場融合老房子雲門劇場現時所在的淡水地段（中正路一段六巷 36 號），沉澱著深厚的歷史：劇場的西南方，是 1 8 8 6 年劉銘傳興建的滬尾砲台，現仍存有四台大砲；劇場後面是已有九十七年歷史、於日治時期興建的台灣首個哥爾夫球場。至於劇場本體主要分為兩大部份，舊建築是建於 1960 年的中央廣播電台淡水分台的大樓。該棟房舍內部無柱阻隔，用作排舞正好。樓高六層的新劇場蓋在老房子後面，而老房子的兩層空間則改建成為兩個黑盒小劇場，供排練及小型演出用，亦有供展覽用的「藝廊」、大劇場、靜思佛堂等。老房子前邊變成一片傾斜有如浪湧的綠草坪，正門入口則變身為戶外環境劇場的舞台，綠草坪便成為可讓最多 1,500 名觀眾蓆地而坐的觀眾席。其核心大劇場雖然祇有 450 座位，但舞台區的面積卻是和台北中正紀念堂兩廳院的國家劇院同樣大小，而且擁有最新的劇場專業設備，也就方便了在此排練或演出的製作，得以「原裝」地很容易搬演到台北的旗艦劇場了。

Connecting Society Lin gazes across to the Bali district on the opposite bank of the Tamsui where the Company previously had its home at the dim lights beginning to appear at dusk. He calmly says, “The vision of Cloud Gate Theater is to serve as a bridge to connect art and society, and I think of myself as one of the bolts of this bridge. In the early days, I realized that perhaps I could achieve the greatest success in dance by going to Europe, but once I left the soil of my hometown, I won’t be able to achieve this goal.” In Lin’s view, besides aesthetic achievement, it is important for a dancer to have a wider perspective on dance, to additionally think about the function of dance in society. Consequently, Cloud Gate Dance Theatre frequently organizes huge outdoor performances to reach out to thousands and thousands of people. Lin recalled the background of the newly inaugurated Cloud Gate Theater Complex, “At 1am on 11 February 2008, a fire destroyed Cloud Gate Dance Theatre’s iron-roofed rehearsal studio located in the Bali district. At first, I thought it would only take three or four years to rebuild, but it turned out to be longer than I thought. It took a total of seven years for completion. Thankfully, the Cloud Gate Board of Directors appointed the architect Huang Sheng-Yuan of Fieldoffice Architects to design the complex.” Besides the pressure of time, in building such a theatre complex, financial considerations were often a major concern, but these didn’t seem to stress Lin, he gratefully commented, “The total cost of the building of NTD$660 million came from donations from various sectors of society in Taiwan and aboard.” At the entrance of the Theatre there is a sixteen-meter long old Taiwan Hinoki Cypress wooden plaque named the Sunbeam Platform that is engraved with the names of the 4,155 individual and corporate donors; the fragrant wood perfumes the surroundings, while the unique board acknowledges the contributions that made the theatre complex possible.

An Integrated Architecture: The New Theater Merges with the Old House Cloud Gate Theater is located in an historical site in Tamsui District, New Taipei City (No. 36, Ln. 6, Sec. 1, Zhongzheng Rd.). The southwest part of the theater complex, is Hobe Fort built by Liu Mingchuan in 1886, it has four remaining forts. Behind the theater is Taiwan’s first golf course built ninetyseven years ago during the Japanese colonial period. The main building is composed of two major parts - the rehearsal studio and the main theater. The rehearsal studio is converted from the former Radio Taiwan International (Tamsui quarters), the clean interior without any pillars, is a most suitable space for a rehearsal studio. Another two levels of this building have been converted into two black box theaters for small- to medium-sized performances, a long corridor for exhibitions, a main theater, and a meditation room. The six-story high theater is built behind this historical building. The huge lush green lawn in front of this historical building and next to the main entrance serves as a 1,500 person capacity outdoor theater. Surprisingly, the stage dimensions of the 450 seat main theater is a similar size to the Taipei National Theater, and is fully equipped with advance theater technology. This coherent approach aims to facilitate the production process from rehearsal to presentation. Eventually, a performance will enjoy a seamless transition to the flagship theater in Taipei without much alteration. 從花語荷花池的宏偉劇場外觀。 The magnificent theatre near the lotus pond 攝影 Photo Credit: 吳佳容 Wu Chia-jung J U N / J U L 2 016

舞者在排練場上專心致志。 The dancers in the main rehearsal studio 攝影 Photo Credit: 劉振祥 Liu Chen-hsiang

劇場園區可蹓蹥竟日林懷民將淡水的雲門劇場稱為「綠劇場」，不僅是指劇場周邊滿是高樹林蔭，建築融入大自然中，新劇場的流線型青銅屋頂，遠觀有如綠雲，青銅簷下墨綠色的鋼鐵 A 字型撐架，與淡綠玻璃帷幕相互映照，更是綠意盎然！林懷民在劇場周邊園區內特意打造了三個讓人可蹓蹥竟日的「景區」。首個「景區」是以林懷民舞作《花語》為名的玻璃小餐廳，主要以玻璃材質建構，用以採納天然光線。餐廳前一方荷花池，於花葉間拱托出一尊由作者林健成以青銅翻製的傑出舞者羅曼菲（1955-2006）的雕像，是羅曼菲生前在林懷民為她編作的《輓歌》中的裙裾迴旋造型。在荷花池相隔不遠的小路旁植則有 1980 年代林懷民母親林鄭翩翩女士親手所植的梅樹，1995 年移植到八里雲門的排練場，去年亦隨著雲門新劇場的落成移植到淡水來。第二個「景點」是位於百年茄苳老樹下的「大樹書房」，用作售賣特選書籍、明信片、文創品和雲門紀念品。沿書房後邊的戶外小樓梯可攀上書房屋頂上的陽台，可近望滬尾砲台和相鄰的忠烈寺。在百年茄苳樹繁茂枝葉下的屋頂陽台，設置有遮陽傘的休閒座椅，慢慢品茗香茶、咖啡，和雲門特別委托釀造的日光啤酒，透過綠葉西望，仍能隱若得見淡水河上的水影。

A Stroll Along the Garden Lin Hwai-min named Cloud Gate Theater in Tamsui Green Theater, not only referring to the abundant greenery surrounding it but also, the organic form of the theater’s bronze roof from afar resembles a green painted cloud and is supported by dark green steel A-frame with a pastel green glass curtain around it creating another poetic landscape. There is a café and a restaurant, and one of the attractions is Flower Whispers, a boutique restaurant, that uses natural lighting; the restaurant is constructed mainly of glass. In front of it is a lotus pond and standing in the middle of the pond is a bronze sculpture by Lin Chien-cheng, in memory of the remarkable performer Lo Man-fei (1955-2006); the sculpture captures her in a well-known turning moment from Lin Hwaimin’s Requiem. At the side of the pond there is a plum tree planted by Lin’s mother Mrs. Lin Zheng Pin-pin in 1980. In 1995, it was first transplanted to the pervious rehearsal studio of Cloud Gate Dance Theatre in Bali and was replanted in Tamsui for the opening of the new theater. Another attraction is Trees Bookshop located beneath a hundred-year old Jiadong tree, with a special selection of books, postcards, creative crafted objects, and Cloud Gate mementos. Visitors can take the staircase behind the bookshop up to the rooftop that has a view of Hobe Fort and the nearby National Revolutionary Martyrs’ Shrine. The rooftop is furnished with beach umbrellas and lounge chairs for guests to enjoy tea, coffee, or a specially brewed SunBeer commissioned by Cloud Gate, under the shade of the Jiadong tree.

林懷民作為一個舞者所追求的，是較舞蹈藝術更廣、更闊的，是舞蹈在社會上所發揮的功能。 In Lin’s view, besides aesthetic achievement, it is important for a dancer to have a wider perspective on dance, to additionally think about the function of dance in society.

23 裝置藝術《穿越》具深意在「大樹書房」與「花語」玻璃屋餐廳之間第三個較易被人忽視的「景點」便是 1 9 9 2 年黃永洪設計、在八里的臨時排練場於 2008 年火燒後倖存之物。貨櫃箱旁放置的多條已扭曲不成形的 H 型鋼條，原是排練場的鋼樑，同樣自八里搬來，這可是杜德裕和林懷民共同構思創作出來的裝置藝術《穿越》。走入殘毀的貨櫃箱中，穿越盡頭便是「斷涯」山坡，在此放眼長眺，越過淡水河那邊，便是守望著雲門走過十六年艱苦之路的觀音山，山下八里的排練場，正是雲門舞集走過的奮鬥歲月，今日雲門劇場的舊事印記。凡此種種，可以見出林懷民為雲門此一「新基地」花了大量心血 ﹕ 「我雖然是花了不少時間在雲門劇場，但不辛苦、不累，因為不做雲門劇場，我還是會做其他事情，不會停下來。雖然和政府交手過程難免拖拖拉拉，最終還是做成了；不過，那是雲門獲得很多人支持爭取得到的。很多事亦不是我們能夠控制的，那還得要看上天啊！」

千萬獎金成立「創計劃」這次到雲門劇場參觀，正是舞團新年假期後的第一個上班日，林懷民午後便開始與舞團進行《稻禾》的排練。後來在淡水河畔飯後漫步時談到排練的新一代舞者，林懷民這樣說﹕「新一代舞者的條件較我們那一代好多了，但我們仍得為他們提供多些機會，我最近獲頒一個獎（筆者按：「蔡萬才台灣貢獻獎」），獎金有一千萬元台幣，大約二百五十萬元港幣，我便要求將獎金作為一筆供年輕藝術家創作的委約金，好讓有才華的新一代能安心創作。」主辦單位尊重林老這份美意，雲門也就將獎金作為鼓勵在舞蹈與戲劇領域發展的年輕人創作的「創計劃」基金。林懷民這樣說：「錢不是很多，主要還是提供場地、技術支援，希望給大家時間，吸收創作經驗，有個創作狀態，所以也不急於看成果，可能要十年，甚至更久。」很明顯地，林懷民心中最想的仍是下一代的承傳，最關心的仍是新一代的舞者，那亦正是雲門劇場未來的希望。

台灣藝文之光的勝旗其實，與林老師走在台北街頭，總是引來不少途人目光，這次走在淡水鎮上，飯店的老闆娘自然熟悉他，不少人毋不投來注目禮；那雙在公車上和捷運上一再遇上的夫婦更喜孜孜地說，今日真是三生有幸，能一再遇上林老師！看來林懷民用舞蹈築成的橋樑，早已穿越了整個台灣社會，他又豈是橋樑中的一棵螺絲釘呢？他可是橋樑上遠遠便能見得到，象徵著台灣藝文之光的勝旗呢！

完整訪問內容可在《舞蹈手札》線上版閱讀

The full interview can be accessed on the web version of dance journal/hk

Passing Through, An Installation Reveals a Story

Between Trees Bookshop and Flower Whispers there is another attraction – the remains of the rehearsal studio in Bali designed in 1992 by Wong Wing-Hung that have been turned into an installation. Besides containers used in the building of the Bali studio, there are several distorted I-shaped steel bars that were the original beams of the old studio. The installation, titled Passing Through, is by Tu the-yu and was made in collaboration with Lin Hwai-min. Walking inside the destroyed container, passing through a rise that ends in a sudden drop, one can see rising on the other side of Tamsui river, Guanyinshan mountain, which guarded Cloud Gate during its previous 16 years of struggle. At the foot of the mountain is the site of the old Bali studio that witnessed the company’s growth, and that now serves the newly built theater as a remembrance of the past. All these details show Lin’s devotion to the new home of Cloud Gate Dance Theatre, Lin remarks, “Even though I have spent a lot of time in the development of this place, I’m not tired. If I wasn’t busy with this project, other matters would occupy me anyway. I just can’t stop working. Despite complications in dealing with the government over the construction, still it is complete. Ultimately, it has relied on the huge support of many people. There are many things beyond our control that depend on their own destiny.”

A Ten Million ‘Creation Fund’

My visit to Cloud Gate Theater occurred on the first working day after the Chinese Lunar New Year holiday. On that afternoon, Lin was already rehearing Rice with the company. After lunch, he and I strolled along Tamsui riverbank, we talked about the new generation of dancers. Lin said, “By comparison, new generation dancers have better conditions than we did, but we shall continue to provide opportunities for them. Recently, I received an award [Tsai Wan-tsai Taiwan Contribution Award] that came with ten million New Taiwan dollars, approximately 2.5 million Hong Kong dollars. Instead, I proposed to the organization to use this money to set up a creation fund for talented young artists, to provide them a secure environment to create.” The organization agreed to Lin’s suggestion. Therefore, Cloud Gate founded a Creation Fund Foundation to focus on encouraging and developing young creators in the areas of dance and theatre. Lin added “It is a humble amount of money [given to each artist], mainly we provide venue and technical support. We wish with such support that young artists can have time to learn from the process of creation, to develop a creative atmosphere, so they can be removed from a result-orientated mode of production. Maybe it will take ten years or more for that result.” Obviously, Lin wishes to give the best to the next generation precisely because this new group of dancers is the future of Cloud Gate Dance Theatre.

A Shinning Flag of Taiwan’s Culture

In fact, while walking with Lin on the streets of Taipei, passersby always notice him. This time, when I walked around Tamsui district with Lin, a restaurant owner recognized him and he simply attracts people on the street who pay their respects to him - for example, a joyful couple we met on the bus and metro, exclaimed “such an honor to meet Master Lin twice today!” It seems like Lin Hwai-min has successfully used dance to build a bridge to connect the whole Taiwan society. How could he be merely a bolt in the bridge as he describes? For me, Lin Hwaimin is the shinning flag that symbolize the success of Taiwan’s culture, standing strongly astride the bridge.

www.dancejournalhk.com J U N / J U L 2 016

以身體銘印、以靈魂唱歌 —吳文翠《我歌我城》評論評論場次：2016 年 4 月 29 日，晚上 8 時地點：土瓜灣牛棚藝術村 12 號

朱永瀟自由人，曾任《亞洲週刊》記者。文章見於台灣《表演藝術》雜誌、風傳媒、香港端傳媒等。生活在香港。

土瓜灣牛棚藝術村，地鐵尚未開通，香港淡雅清新的風氣仍在。哪怕只有一隅。這一隅在晚春 4 月迎來了一個關於太平洋隔岸那個海島的故事 — 台灣舞者吳文翠自創舞劇《我歌我城》的世界首演。如果對台灣上世紀後殖民時代的歷史稍作瞭解，就會明白那塊土地承載過多少血淚。這樣的沉重連史學家都望而卻步，而吳文翠選擇用自己的身體去演繹並慰藉那些創傷。白色恐怖、二二八、北上抗日，這些故事，可以在舞台上展現嗎？吳文翠選擇了獨特的「行動舞譜」方式，結合舞蹈、歌謠、植物和念白，唱出一曲盪氣迴腸的島嶼悲歌。集舞踏、波蘭形體劇場、太極導引於一身的台灣舞蹈家吳文翠早年任職優劇場，後來自組劇團，又轉型為「梵體劇場」，持續不斷地進行自己在表演藝術上的研究，以表演藝術作為生命的方向。她獨創了銘印的舞蹈方法：由氣功、土方巽舞踏譜、Grotows ki 神秘劇結合而來，從 2014 年《花非花》的演出開始，銘印台灣植物群像，以此創作身體的形與意。所謂銘印，可謂有些玄幻，無法用言語解釋，或許需要借助魯米（ Ru mi）的意念：「心無一物，汝將獲知 (B e e m pty, then yo u will k n ow)」。在植物面前，放空自己，謙卑而平靜，由自然去指引。

1 .吳文翠以舞蹈表達對故土的反思。攝影︰ YC Kwan

吳文翠自己用了十年去創作《我歌我城》。十年前，她出走歐洲，離開台灣卻反倒更加了解台灣，她突然明白了這個自己生活多年的島嶼某些獨特的東西，對於世界來說，它

似乎有特別的任務。當世界一直在變，變得越來越快速、便捷、稀薄、迷失，這顆太平洋上的珍珠，卻有著一種不變的力量。十年後，她用一個多小時的《我歌我城》呈現自己對故土的思考。七首台灣民謠以及三位白色恐怖受難者的遺書，分別是：陳容貌、盧鈵欽、鐘浩東，均於 1940—50 年代遇害。陳容貌生前留下遺書寫道：「非關榮利與貪名，大禍臨身惹恨生。四八年華從此斷，甘心為眾作犧牲。」當吳文翠一字一句用唱腔或念白發出這些文字的時候，火光在手裡燒著，信紙一點點萎縮成灰燼，歷史從灰燼中向觀眾走來，你沉重而平靜，憤怒但不扭曲。此時的吳文翠已經完成了舞台角色和自身的融合，她在以自己的身體演繹那個故事，用自己的心行過那段歷史。因此，你會很容易被她感動：她把自己完全打開，讓所有悲劇在身體裡刻下印記。她舞動著，無比真實。歷史已經過去，但它的價值在於被銘記。吳文翠以一個舞者的身份，用最坦誠的方法完成對故土悲劇的譴責和緬懷。在這種緬懷中，她呈現了對美麗島未來路向的思索與期待。像是一種緣分，演出的名字中含有「我城」二字。這個西西小說的名字常用來指代香港— 大家期望的香港。美麗島的悲歌唱完了，餘韻還在牛棚藝術村的上空迴盪。我城何時可以盼來這樣的舞者，用絕對的真實，袒露對土地的眷戀？謝謝吳文翠，留給香港這樣的生命故事。啟發我城，昂首前行。

《6》和《7》的純肢體魅力評論場次：2016 年 5 月 15 日，晚上 8 時地點：澳門文化中心綜合劇院

陳瑋鑫資深藝評人、媒體及劇場製作人，近年主要從事表演藝術研究，現職國際演藝評論家協會（香港分會）項目經理。

008 年成立的內地當代舞團陶身體劇場，在不足十年間已經蜚聲國際，巡迴演出遍及五大洲，各大藝術節邀約不斷。舞團曾於 2014 年來港參與「新視野藝術節」，演出數位系列的《4》及《5》，遺憾當年我剛好離港赴英，錯過了親身感受其作品的機會，只曾在英國倫敦沙德勒之井劇院聽過舞團之創始人兼藝術總監陶冶的創作分享。直至今年 5 月，陶身體劇場登陸澳門藝術節，我才得以現場觀賞到他的舞蹈創作。其別具一格的極簡形式，把純肢體律動的美發揮得淋漓盡致，的確十分迷人。

舞動上身。眾舞者動作一致，腰以下基本不動，但頭、肩與脊椎則連綿不斷作弧線擺動。差不多廿分鐘過後，眾舞者才轉過身來，以正面面向觀眾，繼續重複上半身的多角度迴轉動作，並隨燈光的亮度稍為加大，以及簡約配樂的節奏轉變，一整排舞者始以對角線方向前後移動，最後回到起始的地點，再隱沒回黑暗當中。

光亮純白的《7》中場休息過後上演的《7》，七位參演的舞者同樣並肩而站，以類似作品《6》的身體語彙去作上半身的迴旋律動，但身上就換上了全白的貼身裝束，舞台的地板也換上了全無掩飾的白茫茫；舞台鏡框亦再沒遮擋，舞台對上的高闊空間則垂下一支支收音咪。全亮的舞台一片明淨，穿上白衣的舞者在不變的黑色背景所對比襯托下，更見突出，觀感與前作完全不同。

於今年澳門藝術節只演一場的《6》與《7》，是繼《4》及《5》後，陶冶與他的舞者們所創作的數位系列之另一對代表作。這系列的各個作品皆先定下其獨有的動作規則，然後於創作階段時期，跟舞者慢慢尋找當中的重複與變化處理。《6》與《7》是陶的「直線三部曲」首兩個作品，兩支舞的動作語彙十分相近，但從整體的舞台視覺上來看，就剛好相對：一黑一白，《7》既刪去了耐人尋味的燈光變化，連配樂也一明一暗。從缺，改以舞者們自身的低吟作表演中的唯一聲效。七位舞者形象中性，不易區分男與女，但在過程中，除了有因身體律動而發出的一致暗黑朦朧的《6》綿長和調聲音，間中也有男女對唱的輪流發聲，首演於 2014 年的《6》，始於一片迷濛的混沌黑而經過了收音咪後的聲音，似近還遠，跟舞台暗。澳門文化中心綜合劇院的舞台空間雖然高上依舊一致的轉動身體放在一起，又產生了一而闊，但演出時卻以黑布遮掩了上半個舞台鏡種莫名的疏離感。框，將表演空間壓得低低，而且無論是舞台地板、背景，甚至是舞者的裝束，都一律以全黑總括而言，《6》及《7》皆全無任何角色敘事示人，再加上忽明忽暗的低亮度燈光，以及舞可言，它們純粹呈現出一致的上半身弧線舞台煙霧效果，呈現出甚為神秘的暗黑氣氛。動，透過眾舞者精確有力的表演，以近乎儀式性的不斷迴轉重複，引領觀眾進入一場場隨著舞台上的霧氣散去，燈光稍亮，觀眾才漸動不停的冥想當中，效果實在叫人驚嘆，也漸看清舞台上一字平排的六個朦朧身影。他們在在提醒了迷醉於五光十色媒體世界的當代雙腳平肩微蹲，好像坐穩馬步立定於地，背向觀眾，極致簡約的身體表演其實亦魅力非凡。觀眾，雙手垂下執著並拉高鬆闊的褲管，然後

1 .舞者在重複的動作尋找最純粹的舞蹈。攝影：Fan X i

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Searching for New Dynamics in Dance

Interview with Vangelis Legakis By Akama Chin

Vangelis Legakis teaching a workshop during the Residency. Photo Credit: Don Zhen

angelis Legakis, the producer and instructor of the Hong Kong International Collective Artist in Residency for Opportunities and Sustainability (Residency) and Hong Kong International Choreography Festival (Festival), is a passionate dancer focusing on various dance languages including Flying Low and Passing Through, Gaga, and Contact Improvisation and blending these with elements of Yoga, Chi Gong, and Martial Arts among others. The Hong Kong Dance Alliance is a promotion partner for the Residency and Festival. Akama Chin(AC) : Can you tell us about yourself? Vangelis Legakis (VL): I am originally from Greece. I started to dance late, at 22 years old, one year later, I was accepted to Trinity Laban in London UK from which I earned a BA in Dance Theatre (2006) and an MA in Choreography (2007). After a few years of research and development and exploring more Chi Gong, Yoga, and Vipassana, I pursued further studies at The University of Hong Kong in 2015 where I received a Master of Buddhist Studies. I have had four major inspirations in my life to develop my dance and choreography career, Gill Clarke, William Forsythe, Julyen Hamilton, and David Zambrano. In the early period of my education, I focused on somatics, experiential anatomy, Laban, and release technique and was very inspired by my great teacher, Gill Clarke. Thereafter, I pursued more choreographic and improvisation research when I encountered William Forsythe and Julyen Hamilton. Bill (Forsythe) taught me how to ‘read choreographies’, how to coordinate my body and mind whilst improvising, how to compose, and how to feel the environment I am in so as to take in information and express it in motion. On the other hand, Julyen Hamilton offered me a philosophy of life within dance. He is one of my greatest improvisation teachers and a performer to whom I owe, to a great extent, [the knowledge to have] the presence and readiness a dancer should have at any moment. Lastly, another great teacher and mentor, David Zambrano, offered me the speed, physicality, and technique, organicity of body and mind, and expansion of possibilities in

motion and flow in all possible directions. For the last seven years I have also integrated the philosophy of Chi Gong and Yoga so as to provide a holistic approach in dance pedagogy, choreography, and performance. These influences and inspirations have been a hallmark in my career [enabling me to] offer a holistic and integrated dance practice to the world. I have been teaching in Latin America, Europe, Asia, and Australia, and aim to spread interdisciplinary practices through dance since I feel that dance is my life; or even that dance is life. The festivals and projects I create focus beyond dance and choreography, they are workshops of human development by fusing dance, Chi Gong, Yoga, performance, and choreography. I have dedicated my career to offer my knowledge and experience to assist in the growth and education of young artists, the general public, as well as professionals in dance and the arts. AC: What motivated you to spend so much effort in organizing the Festival again this year? What difficulties did you encounter? VL: The main motivation is to offer more choreographic opportunities to local artists by having space and time to research and develop, as well as to interact and work with international visiting artists. Having worked in Hong Kong for a few years, teaching at HKAPA, CCDC, and at open workshops, I experienced a lack of international platforms with a collective spirit. What I mean by this is that artists involved in the Residency and Festival can be part of more than one piece, or create their own piece, and dance for others too. Moreover, I invited all artists to meet every Thursday night to share the process of their works and all artists would offer feedback to each other. These sessions where open to the general public as well to come, experience, and offer their point of view. Because I wish to bridge the gap between the student dependent-life and independent professional life for young artists to grow quickly and safely in their careers.

The main motivation is to offer more choreographic opportunities to local artists by having space and time to research and develop, as well as to interact and work with international visiting artists. I encountered a few difficulties. Firstly, I did not have any government funding or sponsorships to financially support the artists and the whole Festival. I had to reach into my own savings to be able to cover expenses of flights for the teachers I invited to teach master workshops, accommodation, theater hire, rehearsal studios, advertising, and much more. Another difficulty was to find early enough a local artist who would be willing to volunteer for the administrative and promotional work, as well as help with the translation of some promotional material. In the end, I was happy to collaborate with Idy Lam who assisted me greatly in this journey. I feel another difficulty was to put the word out there for the local community and artists to know more about what we do and offer. I am still new in Hong Kong, just teaching over four years, but I keep traveling so I am not continuously here throughout the whole year. We had master dance workshops every weekend, I invited dancers from the Forsythe Company and Akram Khan Dance Company. Unfortunately, I didn't see any of the local artists participating. We only had the resident artists and students from HKAPA. I have to say here, although there were difficulties, I had great support from CCDC who offered us studio and guest housing for the international resident artists, and HKAPA for offering their studios for the weekend workshops. Without this vital help, I wouldn't be able to produce such a demanding festival. AC: You taught the dance method Flying Low and Passing Through during the period, can you talk more about this? Why is it attractive to you? And do you think it is important for dancers? VL: Flying Low and Passing Through is a unique dance language that has sculpted the movement style of many companies and dancers for over 25 years. I feel there is a great organicity of expansion and contraction in this technique, especially in how to effortlessly go to the floor and out of the floor, on how to interconnect the whole environment (dance studio or site specific space), and how to find a group consciousness; whether it is

During the 5 Element workshop Photo Credit: Vangelis Legakis

improvisation or set dance sequence. It incorporates three basic principles: gathering, sending, and passing through that connotes the behavior of the body in relationship to the environment, inside and outside of the body. It can be used in set sequence but also in improvisation. It is a profound technique that opens up your senses and enhances perception and awareness of body, mind, space, and rhythm. When I teach, I also integrate somatics and experiential anatomy from my previous practice before I began to embody Flying Low and Passing Through, which makes the actual technique more accessible for students and beginners in dance. I like it so much because there is a certain freedom within the set dance sequence. The dancer can go ‘wild-withoutlosing-it’ within a structure that makes it easier for the dancer to let go and open up to new dynamics, body coordinations, and above all, expression. It is quite a unique practice that stretches the limits of a dancer. AC: For those eight international and Hong Kong artists you invited for the residency and performance, can you share more about your selection criteria and what is so special about them/their dance styles? VL: I have very basic criteria to choose the artists. First, is the innovative choreographic idea that is the starting point of their piece. Second, is whether they focus on theatrical aspects or on pure technical dance skills. It is not that I favor one over the other, it is just that I had to find the balance and harmony among all the artists. Some proposed pieces were more theatrical in nature, others were more technical in dance skills. My goal was to offer variability to the Hong Kong audience in terms of performances that I value the most. Equally my goal was also to support the local and international artists without being biased on the style, medium, or nature of movement an artist wished to focus on and use to express their ideas. For example, Rebecca Thomas (UK) interacted with the audience bringing them up on the stage so as to have a unique experience. Jukstapoz Dance Company were theatrical and physical in their J U N / J U L 2 016

28 Hong Kong dancers are great, very much focused on technique and expression, on virtuosity and artistry in dance. However, what is missing is the feeling from within and education on choreographic process.

Here We Are, Choreographer: Becca Thomas Photo Credit: Twinkle Ngan

dance vocabulary using text and movement in a way that guided the audience in a unique narrative vivid story. Babel Laboratory, a Hong Kong based theater collective, expressed their experience by visiting and interacting with local residents of Sham Shui Po. Sarah Xiao (CN) and Sascia Pellegrini (IT), both based in Hong Kong, blended technical movement and music that let audiences witness the artistsâ&#x20AC;&#x2122; unpredictable interactions. Another great choreographic work was by Marah Arcilla and Jethro Ponquito, both from the Philippines but based in Hong Kong, who greatly entertained the audience by offering four different moods whilst changing their outfits on stage. This clearly conveyed how we perceive movement and meaning differently by just changing an outfit, which was a very creative choreographic choice. Â AC: As you mentioned you will organize the Festival next year, what is your blueprint at this stage and what kind of new element will be included? VL: For next year I have already planned the Festival to be around early June and have the residency during May. I again plan to invite eight international artists and those who live and work in Hong Kong, and eight local artists. This creates a great dynamic within the group having very versatile cultural and artistic backgrounds. I will try my best to have better promotion so more local artists can benefit from the activities we offer. Also, something new I wish to include next year is an open application for a dance-film choreographic work that will be developed and presented in Hong Kong. I should also note that this year I invited one well-established dance company, likewise next year I will again invite a professional company to perform their creation in the Festival. This is not necessary to be part of the Festival. AC: As you have been to Hong Kong several times and have gotten to know quite a few Hong Kong dancers, how would

you describe them and also what are the differences about the Hong Kong dance culture compared with those in other countries? VL: Hong Kong dancers are great, very much focused on technique and expression, on virtuosity and artistry in dance. However, what is missing is the feeling from within and education on choreographic process.Â In other countries, dancers spend more time on somatosensory activities that enhance the inner sensation of the body, feelings, and interconnectedness of the musculoskeletal system. The dance education in Hong Kong is more of a speedy process in which the artists don't have enough time to integrate and process the information from their education. In Europe and Australia where I have been teaching, dancers have an immense exposure to dance workshops and all sorts of other somatic practices throughout the whole year, and that is during their education, their graduation, and as professional dancers. Their ongoing dance development does not stop. Whereas in Hong Kong, as soon as dancers graduate, if they don't find a dance contract/ work opportunity, which is very limited, they end up teaching in small dance studios or even working on commercial dance shows. These are their possibilities after only three or four years of dance education. This does not offer them any opportunities to integrate what they have learnt and keep developing in dance! This issue could also be changed if there were more work opportunities, however, there are not enough dance companies to hire dancers who have just graduated. Therefore, on choreographic process, I feel that there is a lot more to be taught for local artists to be able to think creatively, to find their own voice and tools to choreograph so as to create innovative choreographies, and eventually create new dance companies to offer more dance opportunities to local artists.

略顯凌亂的《拼途》評論場次：2016 年 4 月 15 日，晚上八時地點：香港文化中心劇場

李夢大眾傳播及藝術史雙碩士，不可救藥的古典音樂及美食愛好者。藝評文章散見於香港、北京和多倫多等地報刊及網站。

城市當代舞蹈團新舞季的開幕演出，是黃狄文與舞團一眾舞者合作的《拼途》。單聽名字，我們已能猜出這將是一齣注重拼貼手法（collage）的作品。拼貼式舞作，向來以「形散而神不散」為要旨，但筆者觀遍整個作品，發覺編舞對於「形」與「神」的關聯，並未拿捏得當。為和應作品名，整個舞作由九個小段落拼合而成。對於一齣長約七十分鐘的作品而言，分作九段的好處在於編排的靈活性更大、樣式更多元，予人視覺體驗上的豐富感，但危險之處在於，每個章節通常只有六、七分鐘左右，舞者的情緒與狀態通常來不及細心雕琢與鋪排，就被匆匆推入下一章節中，作品節奏難免顯得雜亂而有失順暢。開篇是舞者喬楊的一段獨白與獨舞。這一段落的妙處在於編舞糅合文本、舞蹈以及音樂等多種呈現樣式，且從舞者個體經歷這一細小卻貼心的切入點展開，縮窄了台上舞者與台下觀者的距離感。然而，在之後的章節中，喬楊的故事並未繼續展開，甚至結尾處也無交代，以至開篇這段獨舞，與作品中其它段落對照來看，多少有些牴牾與參差。而舞作行至後半段，舞台後側的一眾舞者相繼俯身堆放白石子的段落，亦顯得有些不明就裡。一個人的經歷也好，數個人的故事也好，編舞並沒有將它們講述成完整而圓潤的樣子，這實在教人遺憾。編舞將舞作拆分成眾多小段落的原因，似乎是

想為舞團裡每位舞者提供展示技巧之機會，但這種過分注重平衡與全面的做法固然可以避免顧此失彼，卻有些失了重心，進而影響到作品結構中的起承轉合。黃狄文過去幾年編創的作品，比如《思纏想後》等，雖說也是拼貼式架構，卻有紅繩等意象貫穿首尾；今次的《拼》中，各別獨舞及雙人舞段固然精彩，但湊在一起看，邏輯與架構並不清晰。似乎，編舞意圖講述的內容太多，卻囿於時間及空間的局限，難以全然舒暢地表達出來。儘管結構略顯混亂，舞作中仍不乏閃光之處，比如第八段〈同窗〉中陳俊瑋與李家祺的一段雙人舞。兩位男舞者的雙人舞組合本就新奇，再搭配女大提琴家 Wendy Sutter 的豐沛且富韌性的旋律為背景音樂，豐富了性別及身份的層次，頗為耐人尋味。兩位舞者肢體語言表達得體，彼此間的互動飽滿且極富衝撞力，不論力道控制與情緒表達都恰到好處。另外，本次演出的燈光及佈景設計亦恰到好處。香港文化中心劇場的舞台本就不大，且舞作中相當多的段落需要由全體十數位舞者合力完成，如果佈景及燈光設計不佳，乍看上去恐怕會顯得擁塞且缺乏層次感。幸好，佈景設計師阮漢威與燈光設計師劉詩豪都是與舞團合作多年的拍檔，對於舞團及舞者風格十分熟悉。兩人均採用極簡主義手法，以白色為主色調，卻以不同樣態、不同滋味的白色，將那一張舞台的層次與空間感，以十足巧妙的方法呈現出來。

1 .《拼途》，編舞：黃狄文。攝影：張志偉

J U N / J U L 2 016

30 文

黃國威

城市當代舞蹈團行政總監及《跳格國際舞蹈影像節》策劃人。

《跳

舞蹈觀影記

《Cinedans》舞蹈影像節委約製作

格國際舞蹈影像節》至今辦了十二個年頭，其間透過比賽、委

約製作及工作坊，發掘了不少有實力的舞蹈影像導演及編舞，而國際上與《跳格》同樣設委約製作的舞蹈節為數甚少，大概只有每年三月在荷蘭阿姆斯特丹舉行的《Cinedans》舞蹈影像節。筆者參與了近兩屆的《Cinedans》，欣賞多齣放映之餘亦與出席的導演及編舞交流，了解各地舞蹈影像的發展概況。這個影展之重要性，除了在參賽及放映的影片數目最具規模外，它還於 2010 年起與當地的「文化媒體基金」及電視頻度創立《Point Ta ken》單元，六年來委約共二十齣舞蹈影像製作，為舞蹈影像的美學探索發揮了主導作用。當中數個作品，包括〈鏡緣（Spiegelingen）〉及〈誰可相依（Off Ground）〉分別奪得 2012 及 2014 年的「跳格國際舞蹈影像大獎」。兩個作品在作品風格、舞蹈及電影語言的運用，可稱為十分完美的示範。〈鏡緣〉的情節相當簡單：一名男子想逃離滋擾而躲到丟空的樓房內，但他走得越深，那形同「貞子」的陰影越是纏繞着不放。那男人於是拚命與「她」糾纏，擺脫恐懼。影片富技術性且敏感的運鏡，與

內的近二十位策展人參與「舞蹈影像策展人網絡」會議，

精心的剪接建構了緊張刺激的奇幻故事，以動作片般的

為未來的共同合作開展新的可能性。同時《跳格》亦邀

編舞把觀眾帶入情節中。而〈誰可相依〉則圍繞著一對

請《Cinedans》總監 Ma r tine Dek ker 女士於今年 8 月

母子在密室內的捉謎藏遊戲，電影節奏從容不迫、快慢

來港介紹作品及與香港導演和觀眾交流。詳情請留意日

有序，編舞成功地塑造母子間時而親密，時而分歧的狀

後《跳格》網站的公佈。

態，兩人相連如扣，一切盡在不言中，令觀眾回味再三。如想飽覽《Cinedans》舞蹈影像節完整《Point Ta ken》

可是歐洲經濟危機的降臨，令政府大幅削減文化預算，故此《Point Ta ken》在今年以後亦無法延續下去。面對未來不明朗的因素，世界各地的舞蹈影像節策展人積極籌謀應對。在今年《Cinedans》進行期間，包括筆者在

1. ＜鏡緣（Spiegelingen）＞導演：Marinus Groothof ，編舞：Dunja Jocic 影片連結：https://vimeo.com/88573660 相片由城市當代舞蹈團提供 2. ＜誰可相依（Off Ground）＞導演：Boudewijn Koole ，編舞：Jakop Ahlbom 影片連結：https://vimeo.com/65759704 相片由城市當代舞蹈團提供

單元，請瀏覽 http://pointta ken.nl /en /

《召喚》 —到底要召喚什麼？評論場次︰ 2016 年 4 月 17 日，晚上 6 點半地點︰土瓜灣牛棚藝術村 12 號

X 新躍舞青第三次的《召喚》為新約舞流藝術教育演出，兩三年前有《長情 ‧ 長程》和《泡沫森林》。計劃透過不同背景和舞齡的編舞者與藝術總監合作，目的為年青舞者提供一個可以發揮創意，融合藝術和生命兩者的實戰平台，同時讓觀眾對生命有更多的交流和反思。於是，我帶著兩個疑問︰《召喚》到底是召喚舞者、觀眾還是什麼？舞團每次愛選富建築特色環境演出，如建築師工作室、時裝設計師工作室、教堂裡的餐廳、陶藝展覽室等等，而這次選址是牛棚藝術村 12 號。那麼這個環境與作品有什麼連繫？是次演出由二十位舞青和三位不同年齡的編舞家組合而成︰黃靜婷編舞的〈Piers in harbour〉、曾詠暉編舞〈默室〉及新約舞流藝術總監周佩韻編舞〈舊地重遊〉。三個作品中只有〈Piers in harbour〉是坐下來欣賞，而因為牛隻飲食槽和石柱的阻隔，開闢了一個稜角的單面表演區，而以其餘兩個作品觀眾都得跟隨舞青移動。甫開始，白衣黑褲的舞者在鬼魅的藍燈光下，捂著眼從倉庫中的缺口像蛇般斜線而竄出。後又分成兩人組，一個推拉著另一個，又一個接著一個快行慢退的步伐，交疊著頭互相依旁。一個背著一個原地轉圈，還有人在石柱上作狀寫字。約有十個舞者捂著耳，步入飲食槽轉身滾動，彎腰仰頭雙手向上祈求。之後舞者又攀扶著飲食槽低頭仰望，用右手在空氣中寫字，而最後只剩下一人深情地攬住石柱而結束。猜想，舞者是以身體表示哀悼被強行拆毀的天星和皇后碼頭嗎？至於〈默室〉，我倒覺得是一場密室遊戲。舞

者笑咪咪示意，一個依偎著一個，捂著耳像磁石連成一線靠緊像一頭蟻。這些小蟻四散後走向紅磚牆探索拍打，因無語所以只能靠聲音溝通來召喚同伴。一群人又坐到飲食槽上，捂著眼唸唸有詞狀。他們的手腳是觸鬚，一時又拍打、跺腳、舉手、搥打，在人堆身上亂竄亂跳撲，再慢慢走近觀眾完結。至於〈舊地重遊〉的觀眾也被飲食槽分隔成為兩批，要不斷轉換站立位置才可看到。舞者以飲食槽為界分了左右各四排，雙手在捧住呵護住一些東西，然後靜默的坐在槽裡。燈光一轉後的雙人舞，舞者攤開雙臂互相擁抱像見老朋友一樣，然後開始向四周漫步，慢慢的不斷從另一邊槽翻牆過來，這邊廂的舞者承接托著他們的身體。兩批被分隔的人最終緊貼在一起團圓，徐徐轉身一字排開並在《Remember Me My Dear》幽怨迴腸的歌聲襯托下，漸漸往後方出口處消失。非正式場地是限制，也是創意，演出範圍雖然有飲食槽和石柱阻擋，也見編舞花心思運用環境空間，加上音樂和燈光營造的氣氛也不俗。可惜筆者仍然覺得，作品本身與環境沒有太大的互動關聯，其實轉換其他地方演出也無不可。牛棚是具百多年的歷史建築物，由屠房變成藝術村是得來不易，而保育及活化也成了我們關心的城市議題。我以為作品是有關保育或歷史，這可能是我太一廂情願。三個作品獨立看也不錯，但一起卻似乎沒有共通性，觀眾跟我可有從作品中反思什麼？《召喚》雖然在主題、環境、編舞三個元素上有些落差，但還是感受到「新躍舞青」的青春氣息、努力與汗水的付出，也不失為年青舞者和新晉編舞們的新嘗試。

格子表面是藝術行政人員和自由撰稿者，實為偽文青與宅女共同體，經常游離在劇場與戲院暗黑之間造清醒夢。

1 .〈Piers in harbour〉，編舞：黃靜婷攝影：Bria n Hung 2 .〈默室〉，編舞：曾詠暉攝影：Bria n Hung

J U N / J U L 2 016

JUN

六月

《你開｜關了燈 ?》 On | Off? 城市當代舞蹈團舞蹈中心 CCDC Dance Centre 編舞 Choreographers: 呂沅蔚 Evains Lui, 程偉彬 Rex Cheng, 李朗軒 Li Long-hin

《非關舞蹈》 Danceless 不加鎖舞踊館 Unlock Dancing Plaza 編舞 Choreographers: 吳偉碩（梵谷）Andy Ng, 王榮祿 Ong Yong-lock 10-11/6 (7:45pm) 艺鵠（富德樓 14 樓） Art and Culture Outreach(14/F, Foo Tak Building)

《賞味期限》 Shelf Life

18-19/6 (8pm); 19/6 (3pm) CCDC 舞蹈中心賽馬會舞蹈小劇場 Jockey Club Dance Theatre, CCDC Dance Centre

編舞 Choreographers: 黃翠絲 Tracy Wong, 毛維 Mao Wei, 周文慶 Justin Chow 10-12/6 (8pm) 前進進牛棚劇場 Cattle Depot Theatre (On& On theatre workshop)

《風雲》 Storm Clouds 香港舞蹈團 Hong Kong Dance Company 編舞 Choreographer: 楊雲濤 Yang Yuntao 24-26/6, (7:45pm); 25-26/6, (3pm) 香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre

《芭蕾精品匯演》 Serenade and More 香港芭蕾舞團 Hong Kong Ballet 編舞 Choreographers: 巴蘭欽 George Balanchine © The George Balanchine Trust, 費波 Fei Bo, 梁殷實 Edwaard Liang 10-11/6 (7:30pm); 11-12/6 (2:30pm) 香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre

《起跳 2016》 Springboard Showcase 2016 香港舞蹈聯盟 Hong Kong Dance Alliance 編舞 Choreographers: 林波 Lam Po, 李思颺 Justyne Li, 阮日廣 Nguyen Ngoc Anh 17-18/6 (8pm); 19/6 (3pm) 葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre

《拍．我．踢躂》 Beat Me Tap R & T (Rhythm & Tempo) 24-25/6 (8pm); 26/6 (3pm) 沙田大會堂文娛廳 Cultural Activities Hall, Shatin Town Hall

JUL

七月

AUG

八月

《新作論壇：多媒體與舞蹈創作－梅田宏明》 New Works Forum: Multimedia and Dance Dialogue - Hiroaki Umeda 講者 Speaker: 梅田宏明（日本）Hiroaki Umeda (Japan) 25/6 (3pm) 香港城市大學創意媒體學院多媒體劇場 Multimedia Theatre, School of Creative Media, City University of Hong Kong

《舞吧！ ROBOT》 ROBOT 當代舞林 9：《逆蹈場》 Contemporary Dance Series 9: Outshine

布蘭卡．李舞蹈團（法國） Blanca Li Dance Company (France) 5-6/8 (7:30pm); 7/8 (3pm) 葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre

東邊舞蹈團 E-Side Dance Company 編舞 Choreographers: 羅凡 Luo Fan, 江上悠 Yuh Egami, 龐智筠 Noel Pong, 李咏靜 Li Yong-jing

《蛇，我寂寞》 Serpent, I Am Lonely

8-9/7 (8pm) 牛池灣文娛中心劇院 Theatre, Ngau Chi Wan Civic Centre

流白之間 Blank Space Studio 編舞 Choreographer: 吳文翠 Wu Wen-tsui

《紅樓 ‧ 夢三闋》 Reveries of the Red Chamber

26/6, 3/7 (8pm) 「流白之間」工作室 Blank Space Studio

《星期六的秘密》 Saturday Whispers 香港舞蹈團及香港兒童合唱團 Hong Kong Dance Company and The Hong Kong Children’s Choir

《卡洛斯．阿哥斯達告別古典芭蕾之旅》 Carlos Acosta - A Classical Farewell

29-30/7 (7:45pm); 30-31/7 (3pm) 香港文化中心音樂廳 Concert Hall, Hong Kong Cultural Centre

香港舞蹈團 Hong Kong Dance Company 編舞 Choreographers: 黎海寧 Helen Lai, 楊雲濤 Yang Yuntao 5-7/8 (7:45pm); 6-7/8 (3pm) 香港文化中心劇場 Studio Theatre, Hong Kong Cultural Centre

康樂及文化事務署 LCSD 30/6, 1-2/7 (7:45pm) 香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre J U N / J U L 2 016