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香港演藝學院 圖書館 THE HONG KONG ACADEMY FOR PERFORMING ARTS
LIBRARY
-2 JAN 2001
Articles 專論 新世紀的香港現代舞
DANCE HK/NY to Premiere New 作者：曹誠淵
Work by Rosalind Newman
田
Ciao Ciao Suzie Wong by Yuri Ng 伍列宇《操操蘇絲黃》 Author: Susan Street?
Events
基素
節目表 Decern 二月 / 一月
Reviews
Dec. & Jan.
[0 田
舞評 Dance AUisincG News
ABT in Hong Kong Author: Kevin Ng
舞盟快訊
Hong Kong Ramble (Extracted) Author: Maura Nguyen Donohue DV8《玩唔玩得起》
Alii ance
33
作者：方人
申請表
31
Image: Hong Kong Ballet's Nutcracker
鬱「專論
ARTICLE
新世紀的香港現代舞 文：曹誠淵
香
港的現代舞，萌生於
璧、別具一格，都只是遊
七十年代，成長於八
客們在旅遊中國途中•可
年代，盛放於九十年代，直至
供停歇的趣味性點綴而
踏入廿一世紀，將會有些什麽
已；自九七開始，國際間
轉變？其實，在二十世紀的最
漸漸感覺到，倘若要了解
後數年間，香港現代舞未來發
一個完整的中國，在飽覽
展的方向已漸見端倪---- 九七
完萬里長城、千年古蹟和
回歸祖國毫無疑問是香港現代
各類傳統藝術後，更必須
舞可更上層樓的重要契機，其
認識這個展示現代化中國
影響可以分三方面來看：
部分的香港和香港創作。
法國里昂藝術節在公元二
1 •在九七回歸中國的背景
千年以中國舞蹈為主題，
下，香港舞蹈（甚至整個
節目總監為了選取節目，
文化）的形象在國際間起
於一九九九年三月在全中
了微妙的變化。九七前
從北京來的刑亮與台灣的吳易珊於
國跑了一圈後，來到香
香港城巿當代舞蹈團中合作演出。
後，國際藝術節目組織及
港，離開時留下一句話：
傳媒突然爭相邀請香港現代舞者演出和訪問，
在這裡终於找到最能代表現代中國的舞蹈！同
目的是要查察一個在資本主義社會下發展出來
年十月，梅卓燕應邀演出於意大利威尼斯藝術
的藝術類型，如何過渡至共產主義社會中；他
雙年展•宣傳海報上列明她的代表國籍是中
們關注的，可能是香港舞蹈創作是否仍然自
國，梅卓燕跟大會負責人解釋她只是來自香
由？靈感有否窒息？作品要否受審查？他們或
港，但對方瞪大眼睛並理直氣壯的説：香港不
多或少地預期香港藝術家們會忐忑不安，甚至
就是屬於中國的嗎？
有激烈抗拒回歸的作品出現。可是在回歸兩年
多後，初期因為前途未卜的亢奮漸次平淡，而
2•香港的現代舞蹈家重新審視自己在中國文化大
大部份香港舞蹈家們確實認為創作環境真的沒
流內的身份定位，並開始思考香港藝術，尤其
什麽變動，似乎國際間對香港舞蹈創作的興趣
是現代舞蹈，對民族傳統文化所能引起的衝擊
要開始減退— —事實卻不然，愈來愈多的國際
和影響，因而主動和內地舞蹈團體合作，或懷
藝術活動向香港舞蹈家們發出邀請。以往仍然
著熱情北上敎學和演出。城市當代舞蹈團是這
是殖民地的香港和香港藝術•説什麼中西合
方面的先行者•除先後多次在全國各地演出
外，其藝術總監（本人）更早於一九八五年便
能性。香港演藝學院舞蹈學院的現代舞學系，
開始至北京、廣州、上海、武漢、福州、昆
提供機會和獎學金予中國內地舞者前往學習•
明、太原及大慶等地敎學，九二年六月出任中
其中北京舞蹈學院編導系現代舞班的主任老師
國第一個職業現代舞團（廣東實驗現代舞團）
張守和，便於此接受現代舞啟蒙：城市當代舞
的藝術指導，九九年三月更成為北京現代舞團
蹈團歷年都有從內地招聘演員，曾在舞團內邊
的藝術總監；舞團又於九七年九月開展北京現
學習、邊演出，然後回到內地工作的便有鄧
代舞蹈敎育計劃，為北京舞蹈學院及中央民族
宇、黃啟成、華超、王玲玲等著名舞蹈家：回
大學音樂舞蹈系提供不同風格的現代舞老師，
歸之後，內地舞者如邪亮和桑吉加不但被城市
曾參與此計劃的香港舞蹈家包括潘少輝、黎海
當代舞蹈團聘為演員，更被邀請為駐團編舞，
寧、彭錦耀、羅擎徽、陳德昌等。此外，錢秀
他們的作品如其他香港現代舞般被介紹到世界
蓮舞蹈團、方舟舞蹈劇場、多空間、動藝、梅
各地。從中可以看見：香港和中國現代舞的界
卓燕、王寥染等都於九七年前後北上演出，演
線，是愈來愈模糊了。
出規模雖然大小不一，都取得一定迴響。
廿一世紀的香港現代舞會有甚麼發展？ 一切尚在未知之
3 -香港的現代舞與整個中國舞蹈界正式接軌，兩
數，但一個明顯的事實是：有怎麼樣的人才，便有甚麽
地的資源和人才得以互相交流、融合而產生具
樣的創作。香港現代舞的歷史不長，舞蹈家們開始時努
有新氣象的香港現代舞，或更確切的説•新時
力建立富有香港特色、反映香港生活的現代舞，但隨著
代的中國現代舞。香港舞蹈家在生活中接收多
對藝術的自信、對文化的自覺，加上社會政治環境的轉
元化資訊，培養出獨立而敏銳的觀察力，創作
變，香港現代舞將會顯得更有包容性。
靈感層出不窮；而內地的年青舞者擁有扎實的 基本功•對新事妆的好奇和對藝術自由的響
立足香港、胸懷祖國、放眼世界，或許是新世紀香港舞
往，使舞蹈在他們的軀體上充分展現出各種可
蹈家的寫照。
北京現代舞團演出《塵》
胃^專論
ARTICLE
Ciao Ciao Suzie Wong by Yuri Ng伍列宇《操操蘇絲黃》 -An analysis by Professor SUSAN STREET
施素心敎授的分析
Professor Emerita Susan Street began her appointment as Dean of Dance at the
Hong Kong Academy for Performing Arts in 1999. Prior to that she was Head of Dance at the Academy of the Arts at the Queensland University of Technology. In 1999 she was awarded an Australian Dance Award for Services to Dance Education. Susan was Chair of the Dance Fund and a Council member for the Australia Council, the Australian Governments arts funding authority, from 1997
to 1999 and was the first Australian dance educator to be promoted to the title of
Professor. She was appointed as a Director for the Brisbane Arts and Environment Trust established by the Brisbane City Council and on the National Advisory Committee organizing the
National Symposium on Research in the Performing Arts. Susan has been an active teacher of ballet for the past 20 years teaching for many professional companies and schools around the world. From 1995 to 1998 she was a member of the Artistic Advisory Committee for the Choreographic Center based in Canberra. Susan is currently the Chairperson of the World Dance Alliance -Asia Pacific Dance Education
Association and on the governing board of the Hong Kong Ballet. Susan is a practicing artist having
created 15 new works over the past 10 years including works for the Queensland Theatre Company,
Lyric Opera Company of Queensland and more recently for the Odyssey Dance Theatre in Singapore.
ppearing as part of the Festival Now, Ciao Ciao Suzie
O
A
Wong by Yuri and company danciNG premiered at
Y
Festival Now的其中一個節目，在一九九九年十
the Shouson Theatre, Arts Center on the 22nd of October
月二十二日於藝術中心壽臣劇場首演。
1999.
This was one of the first new dance works I saw after taking
2
uri and company danciNY的《操操蘇絲黃》是
up the post of Dean of Dance at the Hong Kong Academy for Performing Arts. Although I knew the choreographer
這是在我來港接任演藝學院舞蹈學院院長一職後，最先
觀看到的舞蹈新作之一。雖然我對編舞者及其於藝術才
and his reputation as a bright artistic talent, I was struck by
華上的聲譽均早有認識，他那創作出發人深省之社會評
Yuri’s ability to create such an evocative social commentary.
論的能力仍是打動了我。在表演之後，舞蹈的影像一直
Images from the work stayed with me long after the viewing, which for me, is always one indicator of the power of the
指標。
work
3
縈繞不去。對我來説，這通常是一個反映了作品力量的
Ng was bom in Hong Kong in 1964. He received his ballet
training at the Jean M. Wong School of Ballet and furthered
伍烈宇於一九六四年在香港出生。他在黃仁曼芭蕾舞學
his training at the National Ballet School of Canada and
校開始其舞蹈訓練後，到加拿大國家芭蕾舞蹈學校繼續
later at the Royal Ballet School in London. In the same year
其訓練，跟著又到英國皇家芭蕾舞蹈學校深造。於他獲
that he won the prestigious Adeline Genee Gold medal, he
joined the National Ballet of Canada. He became a freelance
得顯赫的Adeline Genee金獎的同一年，他加入了加拿
dance artist in 1990 and has since choreographed for the
大國家芭蕾舞團。自一九九零年他成為自由舞者後，他
City Contemporary Dance Company, Singapore Dance
先後曾為香港城市當代舞蹈團、新加坡舞蹈劇場、香港
□
All the photos used in this article are scenes from Ciao Ciao Suzie Wong. 本文中所刊登的照片均取自《操操蘇絲黃》。
Theatre, The Hong Kong Academy for Performing Arts, the Hong Kong Ballet Company and the Japanese Performance
Group, ARCHI-TANZ.
演藝學院、香港芭蕾舞團及日本表演團體ARCHI-
TANZ 編舞。
Through subsequent viewing of Ciao Ciao Suzie Wong on
透過重看《操操蘇絲黃》的錄影帶和在香港生活了 一年
video and after a year of living in Hong Kong the work
後，這作品顯露出更多的層次。這舞蹈是以理察*梅遜
reveals many more layers. As a starting point, Yuri used Richard Mason’s book, The World of Suzie Wong, which
以五十年代香港為背境的小説《蘇絲黃的世界》為創作
was set in Hong Kong in the 50’s. He grouped together a
的起點。他組合了一個包括了十一位本港最佳自由身舞
cast of 11 of the best freelance dancers in Hong Kong and
者的陣容，並公開感謝這些舞者對該舞蹈創作的貢獻。
acknowledges the considerable contribution made by the
整個作品由十一段圍繞著這十一個舞者而創作、各自以
dancers in the creation of the work. Eleven sections were
created round the 11 cast members using a simple theme or
簡單主題或概念作為起點的舞蹈所組成。
idea as the starting point for each. 作品中最突出亦最有趣的部
The most obvious and interesting aspects to the work are the use of identifiable
份是一些可辨別的「中國」道 具的使用，例如筷子、帶有
'Chinese’ props, like chop
辮子的帽、扇子、轉動的手
sticks, pigtail hat, fans,
帕及水袖等。還有的是斟
handkerchiefs which are twirled,
茶、吃翅、一個由一年輕男
and water-sleeve shirts. Tea was
poured, noodles were eaten, and
舞者演出的酒店服務生的連
a linking motif was a hotel
貫性主題、以及被舞蹈員搬
Bellboy danced by a young
運和舞於其上的手提衣箱。
male. Suitcases were carried and
這些道具並不是被用作為可
danced on. These props were not held up as endearing cultural
喜的文化像徵，而是作為嘲
symbols but with a sense of
弄與取笑的對像，帶出一種
mocking scorn, a frustration that
因這些東西總是代表了香港
some how these objects are what Hong Kong is about. I put
forward this view to Yuri who
而弓1起的挫折感。我告訴了
伍烈宇這個看法，而他也認
acknowledged that it was his
同這是他使用這些形像的原
intention to speak with these
意0
images.
“I used these props as a device not because they are
「我並不是因為它們「中國化」而使用這些道具，
‘Chinese’ but because they are images we have
而是由於它們是一些由我們創造出來，並一直被
created and perpetually use to represent ourselves.
用來代表我們的形像。很多人現在都視這些東西
Many people now read these images as
quintessentially Chinese. We keep reinforcing the
為中國的精粹。而我們也一直以這些瑣物來強化
image of Hong Kong with these trinkets; we are more
香港的形像；其實我們並不只這些。我想探討一
than that. I want to explore the question of what more
下我們還可以是什麼。對於香港的生活情況'香
we are. What else is there to say about what it is to
港這個地方以及香港人是什麽等問題，我們還可
be in Hong Kong, what this place and its people are about. We don’t even hold these things dear to our
以説些什麼？我們甚至不是真的喜愛這些事物"
heart. The French love their Eiffel Tower, they are
法國人喜愛他們的艾菲爾鐵塔’以它為傲•但我
proud of it, what are we proud of? We have so much
們有什麼東西可以令我們驕傲？這城市還有這麼
variety in this city; there are many other images,
多不同的事物，我們還可以用很多不同的形像來
which reflect who we are. Adaptability that is what
反映出我們是什麼。適應力就是香港的一項專
Hong Kong is good at. How can I show that Hong
長。究竟如何表現出香港人的快速適應能力與及
Kong people adapt very fast, and the speed of this city, not just its physical speed - people running from
one platform to the next, how do I show our capacity
城市的速度？這並不單指物質上的速度一有如人 們由一個月台走到另一個。究竟如何去表達出人
to adapt to change? Can we find objects that are more
們對改變的適應能力？我們能找到比辮子帽更有
interesting than the pigtail hat? Let’s think of how
趣的事物嗎？讓我們想想還可以如何使用它，而
else we can use it; don’t just put it on your head! The
不只是把它放在頭上！我的舞蹈員也對這些概念
dancers I use
的發展作出貢
contribute to
獻。他們也居住
developing these
ideas, they live
在這裡，感受到
here, feel the
這裡的速度，生
speed, live in the
活於這城市的瘋
craziness of this
狂中。」
city.” The use of passages
舞中使用了一段前
from the speech by the
港督彭定康在一九
Governor, the Rt. Hon.
九七年六月三十
Christopher Patten in
his
日，於添馬艦前告
Farewell
别儀式中的演説，
Ceremony at Tamar on the 30th June 1997 tied the work inescapably to Hong Kong.
把這作品與香港緊緊地連繫在一起。這段説詞也不能避
This text also made the work inescapably social commentary.
免地使這作品成為一社會評論。伍否認了他在舞中對社
Yuri denies that he is making direct social or political
會或政治作出了直接的評論。
comment. “I am making dance, its read by an audience, I have
「我編寫舞蹈，而舞蹈則由觀幂來解讀。我有我
my opinions, and I feel certain ways about this place
的意見，我也對這地方有一番感受；但這並不是
but it is not my intention, it’s not my job. All
我編舞的原意，這也並不是我的工作。所有舞蹈
choreography tells you about the choreographer, in
都會告訴你一些有關編舞者的事。事實上，我也
fact it scares me how much my work tells me about my self, choreographing is a journey of self-
discovery. I can’t say that my work is about Hong
被我的作品反映自我的能力所嚇怕 。編舞原是一
次自我發現的歷程。我不能夠説我的作品是有關
Kong, China - the magic will break as soon as I say
中國香港一我一説了舞蹈的魔力便消失。香港是
that. Hong Kong is very sensitive, you use anything
一個非常敏感的地方，你使用了紅色的東西便被
red and that is immediately read as China. Perhaps
理解為中國。也許這種敏感的程度正在減退中 ；
this sensitivity is reducing; I felt it most intensely in the countdown to the handover, in 95-97.”
我感到它是在九五至九七年回歸倒數時最強 烈。」
I asked Yuri about the drag section, remembering a similar
dance from a work created on the students of the Academy
想起了一齣伍烈宇為香港演藝學院學生所創作的，叫作
for Performing Arts called Made in China. Was this a
《中国制造》的作品中一段相似的舞蹈，我問他有關男
statement about sexual repression, about being gay, exposing prejudice I asked?
扮女裝的一段。這是否一有關性抑壓，有關作為同性戀
者及揭露偏見的宣言？
“It was in Suzie Wong because I wanted to develop
that piece from Made in China with the dancer from that work - Harvey. At the last minute Harvey was
「這一段在《操操蘇絲黃》中出現，是由於我希
望可以與《中囯制造》的舞者一起將該作品進一
offered a full-time contract with one of the
步發展。但是在最後關頭，他獲得了一份本地某
professional companies in Hong Kong and could not
一專業舞團的全職合約，而不能參與蘇絲黃的演
do the Suzie Wong season. Anyway I knew that
anyone coming to see a work about Suzie Wong
出。另一方面，我也知到所有來看一個有關蘇絲
would expect to see a Cheung-
黃的作品的人一定會期望看到一個穿長衫的性感
sam being worn by a sexy
女性。我須要一個這様的形
woman. I needed to include
像，所以我繼續採用這一
that image so I went ahead with
段。在發展這段舞蹈時，性
the piece. Sexual repression
抑壓並不是我所考慮的問
was not an issue when this
題，我也不須要在我的作品
work was developed, I don’t
need to express gay issues in
中表達同性戀的問題：它是
my work, it is in my mind but I
在我的腦海中，但是我還未
don’t feel that I need to address
覺得有須要作出探討。」
it-YET!” 舞中多次使用的紅、白、藍尼
The red, white and blue nylon bags
which appeared, firstly in the form
龍袋一最先是以細小而類似名
of a small designer bag, then being
家設計的形式出現，跟著成了
dragged by the porter behind a
跟隨在酒店顧客身後的腳夫所
hotel patron, and finally as a
拉著的行李，最後變成了一襲
stunning gown, are immediately
攝人的長服_立時被觀眾認同
recognized by the audience as
powerful icons in Hong Kong.
為一強而有力地代表了香港的
These humorous images had the
事物。這都反映在這些幽默形
audience screaming with laughter,
像所引起的哄堂笑聲中。
tell us about this idea.
“When I see this fabric it is like a monogram, like the
「當我看到這物料時，它看似是由字母所組成的
interlocked LV letters which represent the Louis
圖案•有如品牌路易威登(Louis Vuition)中的交
Vuiton label. This fabric is Chinese, and look how
錯LV圖案。這物料其實是中國的，看我們如何
well we have used it. What a widely used product,
善用它們：用途廣泛，用完即棄，價廉物美。我
it’s disposable, cheap and highly functional. Shouldn’t we be proud of this product? One of the
dancers in the cast loves brand name garments so the use of this fabric as a designer brand was the
們是否應引以為傲呢？以這物料作為名牌來作為 這概念的起點，是源自其中一個舞蹈員對名牌衣
服的偏愛。」
starting point for that idea.” 因為伍烈宇常用中國的環境作為作品的靈感 ，我問他是
I asked Yuri if he felt Chinese since this environment seems
否感到自己是中國人。
to be a constant source of inspiration for his work.
“I feel like Yuri, more than I feel Chinese. Chinese
「我覺得我是伍烈宇多於我是中國人。中國這個
is too big an idea, the definition of ‘Chinese’ is very
概念太大，而中國的定義也很複雜。我在香港出
complex. I was born in Hong Kong, I speak the
生，我説我的母語一廣東話，我在加拿大和英國
mother language - Cantonese, I studied in Canada
and the UK, and I have a Canadian passport. I am
this mixture. I feel Hong Kong Chinese except that
學習，而我擁有加拿大的護照。我是一個這樣的
組合。除了我對金錢並不太熱中外，我感到自己
I am not as conscience of the $. I am a product of
是一個香港的中國人。在我的作品中，我並不直
Hong Kong in that in my work I never address an
接地提出任何問題，這也反映了我是一個香港的
issue directly, I think the magic is lost if you say
產品。我認為如果把事情説得太明白的話.作品
things directly. I will do things to please- make things
的魔力也就此消失。我會討好觀眾，把事情弄得
obvious to keep people watching. I try to think of
淺易一點來吸引人來觀看。我嘗試就不同觀眾的
the needs of my audience from the dance expert to
須要（由舞蹈家至甚少看舞的一般觀眾）來思
the general viewer who rarely sees dance. I pay
考。我特別留意要維持他們的興趣。我寧願觀眾
attention to maintaining their interest. I would rather
people walked out because they hated my work than
因討厭我的作品而離場，而不願見到觀眾因沉悶
talked on their mobile phone because they were
而用手提電話交談。」
bored.” 作為一個在香港的藝
Do you feel recognised 術家，你是否感到受
and successful as an
認同和成功？
artist living in Hong Kong?
「我感到自己是成
“I do feel successful.
功的；多年來我
I am employed; I 亦能透過舞蹈來
have been able to
express myself
表達我的看法。
through dance for a
我曾經與很多優
number of years. I
秀的藝術家合
have worked with a
作。我可以在我
lot of good artists. I 的作品中暢所欲
can say what I want to in my work, I don’t feel restricted in what I can
言，我並不感到我的言行受到壓制一差異令到
do or say - and the diversity makes it interesting.”
事情更加有趣。」
This work succeeded in its aim to hold a mirror to its audience, to tell us something about who we are and what it is to live in Hong Kong. Choreographically, the work
這個作品成功地起著反映的作用，告訴我們我們是誰和 香港的生活情況。在編舞方面，這作品也包含了一些精
produced some exquisite sections. The most memorable for
美的片段。其中令我留下最深刻印像的是梁嘉能的一段
me being the solo by David Leung in which he soulfully
獨舞。在舞中，身為侍者的他熱情地招待著一檯坐著的
serves seated women. His adoration is not reciprocated
女客人。他那不被回報的好意使這一段舞深刻感人。正
making it a poignant and moving episode. Like most new works, some editing would have helped the flow of the work, some refinement on the interconnectedness between
如大部份新作一樣，一些剪輯會使這作品更加流暢，各
段之間的銜接也有可以改善的地方。
sections. 《操操蘇絲黃》的續篇正在籌劃之中。它將會在明年三
The sequel to Ciao Ciao Suzie Wong is in the planning stages.
It will be presented in March next year as part of the Hong
Kong Arts Festival; the title of the new work is A Brave
月舉行的香港藝術節中演出，名叫《蘇絲黃的美麗新世
界》。 翻譯：施德安
New World of Suzie Wong.
____________________________________
參考：
Mason, Richard. The World of Suzie Wong. Hong Kong: Colorcraft Ltd, 1994.
1.
2.
Ng, Yuri. Personal interview, Hong Kong7th September, 2000.
2. 3.
3.
The World of Suzie Wong. Video California: Paramount Pictures Corporation, 1961.
1.
Mason, Richard. The World of Suzie Wong. Hong Kong: Colorcraft Ltd, 1994. 伍烈宇。專訪，香港二零零零年九月七曰。 The World of Suzie Wong. Video California: Paramount Pictures Corporation, 1961.
舞評
DANCE REVIEW
ABT in Hong Kong by KEVIN NG
s the climax of the two-months long “Dance
and horizontal, while the second was more aerial with some
Spectrum” presented by the Leisure and Cultural
upside down lifts. In the matinee, they were marvellously
A
danced by Yan Chen and Angel Corella. Services Department, the American Ballet Theatre (ABT)
toured Hong Kong for the first time ever in early October.
The five performances at the Hong Kong Cultural Centre -
However the choreography didn’t amount to much at all.
three of “Don Quixote ° followed by two of the mixed bill
The stage action was deliberatly blurred by a transparent
on a Saturday - provided the local ballet scene with a much
scrim in the front of the stage for atmospheric effects, and
needed touch of star-studded glamour. The final night was
the dark lighting did not help either.
greeted by thunderous applause from an excited audience.
Each performance included two classical pas de deux after
“Diversion ofAngels’’. On Saturday evening, the “Sleeping MIXED BILL
Beauty’’ pas de deux was stylishly danced by Irina
Dovorenko and Giuseppe Picone who showed off his The mixed bill opened with Martha Graham’s “Diversion
distinguished classical style. In his solo, he finished all of
ofAngels” (1948) which was a worthwhile addition to the
his double tour en I 'air in a perfect fifth position, and later
ABT’s repertory last year. This plotless modem dance work
executed impeccably the series of double tour en I ’air ending
features three bare-feet female soloists who, according to
in arabesque. In the afternoon, “Beauty” pas de deux
the programme notes, are meant to symbolise three aspects of love. The white girl represents mature love; the red, erotic
love; and the yellow, adolescent love. Graham’s earthy choreography, full of non-balletic steps, must have posed quite a challenge for the ABT dancers who rose to it
handsomely.
The matinee’s cast was slightly better than the evening’s. As the white girl, the extremely talented Gillian Murphy
danced with a fresh purity that was so ravishing. Sandra Brown’s red girl showed off her beautifully arched foot in
her long sustained extensions, and Erica Cornejo as the yellow girl danced an allegro solo with brio. The climax
was a diagonal ofjumps for the ensemble, and only the white
couple remained on stage at the end. Another work in the programme by a modern dance
choreographer was Lar Lubovitch’s “Meadow” which was
created for the company last year. It was choreographed for a mixed ensemble of dancers clad in ocean-blue coloured
outfits, and a lead couple who were given two pas de deux. The corps did endless wave-like formations which were not particularly interesting. The first duet was more earthbound
Marcelo Gomes and Stella Abrera in “Diversion of Angels'. Photo by Marty Sohl.
Susan Jaffe in “Don Quixote”. Photo by MIRA.
was replaced by Agrippina Vaganova^ “Diana andActeon”
balustrade backdrop and several chandeliers, which is
pas de deux from the Soviet era danced by Paloma Herrera
different from what I remember from the New York Met.
and Jose Manuel Carreno. Carreno’s nicely arched
O
backbends in the air were thrilling, as was his diagonal of
In the matinee, Julie Kent, strongly partnered by a technically
jumps landing on his knees.
tentative Marcelo Gomes, was sublime. Kent’s beautiful long legs had great power in adagio, and she danced with an
“Le Corsaire” pas de deux was danced in both
inner radiance. All her steps were perfectly phrased, and
CM
performances. Picone danced the matinee with Susan Jaffe,
each phrase blossomed like a flower. Memorable was how
2
while Angella Corella partnered a radiant Julie Kent in the
blissfully she did those entrechats when lifted in the air by
evening. The latter were a perfect pair, Kent’s calm dignity
her cavalier.
contrasting with Corella’s flamboyance. Kent’s pure classical
dancing had poise, elegance and control. But it was Corella
The corps de ballet was not the most uniform, but did justice
who brought the house down with his technical brilliance
to this Balanchine jewel. The evening’s ballerina was the
and his magnetic star quality.
young soloist Gillian Murphy, who danced expressively with sharp legwork. Maxim Belotserkovsky, her noble cavalier,
Being a natural turner, Corella’s whirlwind pirouettes, with
excelled in the difficult series of double tour en I’air.
his working leg progressing in three different levels, were
simply electrifying. Actually all his virtuosic steps were impeccably executed with an original flair. Even seeing him
DON QUIXOTE
land on his knees at the end in homage to his ballerina was
an excitement in itself.
Earlier that week, ABT’s season opened with Kevin
McKenzie’s 1995 production of “Don Quixote,f. A merit of The final piece in the mixed bill was Balanchine’s
McKenzie’s production is that the role of the Don is
decorated with a new
dramatically more substantial. It was superbly danced by
masterpiece “Theme and Variations
0
-World premiere of Mirrors, a new work by Rosalind Newman, with a fascinating mix of contemporary music and tangos -Also features two other critically acclaimed works by Newman, ■Dissolves, and Writing on Water
~~
-
-
團麵SIHiiili議
费' 霄贈綱蠲E嗉h阔懇，■齎.曬葡費禱物翻醐噸tete彪dteta耐:
1
醐&鵬緬
。馳雌馳啤娜輸麵I =WaSfe纖緬
票價 Tickets: $130,110,80 門票於12月19日起在各城市電腦售票處發售 Tickets available from December 19 onwards at URBTIX outlets
設有高龄、燃人士及全日獅生半鼯惠(學生廳票數量有限，先到先得) Half-price tickets available for senior citizens, people with disabilities and full time students (Student discount tickets are
available on a first-come-first-served basis)
折扣詳情請參閱節目單張 Please refer to programme leaflets for discount details
節目查詢 Programme Enquiries: 2734 2937
票務查詢及留座 Ticketing Enquiries & Reservation: 2734 9009
Victor Barbee who made the character more kindly and
bravura and his trademark fast-spinning pirouettes. He was
sympathetic than usual. Here the Don took an active part in
also a splendid partner, as seen in his two one-handed lifts
the tavern scene to force Lorenzo to agree to Kitri’s marriage
of Kitri in Act 1, when he seemed to suspend Herrera in the
to the ‘dying’ Basilio, thus adding more emotional impact
air for far longer than normal.
to Basilio’s faked death scene.
The Ukranian couple is preferable to me. Maxim However there is less prominence given to character dancing
Belotserkovsky was a dashing Basilio, full of charm.
than in the Russian productions. Mercedes (the same
Dvorovenko’s long line, fine-boned physique, and high
character as the Street Dancer in this production) does not
extensions are aesthetically pleasing. In her last act solo,
have a solo in Act 3 in character shoes, nor is there a big
her echappee were so alluring when coupled with her play
duet for the Gypsy couple in the Act 2 tavern scene. The
of the fan, and she also waved the fan overhead during some
toreadors’ dance in Act 1 is somehow less exciting than in
of her fouette turns in the coda. Other outstanding
the Kirov production. I saw two casts - Paloma Herrera and
performances came from Giuseppe Picone’s Espada,
Angel Corella on the opening night, and the young Ukranian
Carmen Corella as Mercedes, and the two flower girls who
husband-and-wife team of Irina Dvorovenko and Maxim
were superbly danced by Oksana Konobeyeva and Michele
Belotserkovksy two nights later.
Wiles whose airy jumps in her Act 3 solo had grandeur.
Herrera’s dance powers seemed on this occasion to be less
The Leisure and Cultural Services Department deserves
striking than my last viewing of her in New York several
praise for bringing this distinguished ballet company here,
years ago. Corella again dazzled with his easy technical
raising considerably Hong Kong’s international cultural profile.
o n Z 7 J
Paloma Herrera in “Don Quixote”. Photo by Nancy Ellison.
12
舞評
DANCE REVIEW
Hong Kong Ramble (Extracted) by Maura Nguyen Donohue
■Hl
remaining cubicles. The video flashes brief glimpses of Maura Nguyen Donohue is a New York based artist who
visited Hong Kong in summer 2000. This article is an excerpt from her writing about dances she saw on her
humanity against an eerie electronic soundscape, giving an
參
impression of the rush of daily life in a city like Hong Kong.
As the scrim rises, the dancers engage in shaking off
visit.
movement while the boxes are continuously rearranged in a constant shift of the performance space. This was an
excellent interaction between scenic elements and dance.
“Dumb Moves”
Which makes perfect sense, as choreographer Ong Yong Lock was also the set designer. The boxes are used in several
ng Yong Lock is one of those ‘young’ artists who has
different manners and are an integral part of the entire work.
received significant support from City Contemporary
Horizontally, they created multiple performance levels for
O
Dance Company. “Dumb Moveswas jointly presented the by dancers, who crawl, slither or are caught beneath them
his South ASLI Dance Workshop and City Contemporary
and sit, fall and dance on top of and around them. One
Dance Company at Hong Kong City Hall Theatre July 7-9.
effective duet has one dancer laying within the box shadowing another laying just on top of it. Just when the
The work opens with video on a white scrim behind which
shifting of the set pieces seems to be wearing thin, the
six horizontal white coffin-like cubicles are revealed. One
dancers go vertical with a go-go dance image revealing the
man rises from behind them and slowly makes his way
reflective inner surface of the boxes, which then become a
downstage, laying himself underneath one of the boxes as
peripheral city maze and later a projection surface.
other bodies are exposed within each of the light-rigged
恥:
The movement was often abrupt and jerky, leaving me
Site-specific staging with the black box theater was best
wanting to see more out of these obviously well trained and
realized during a sequence where the dancers run throughout
versatile dancers. Thanks to the Academy of Performing
the space and occasionally stop in the house to speak briefly
Arts, it’s hard to find a dancer who isn’t technically
with a narrator, Ulysses Chuang. The dancing is superb from
proficient. But, it does leave me yearning for performers
the entire ensemble, and though the movement style has a
who can embody themselves
very familiar downtown NY release-based
with more confidence. In this
vocabulary complete with fleeting one-
respect, Jay Jen Loo and Elsie
arm balances, it well suits the sense of
Chau stood out as particularly
tossed and tumbling balloons. I found
solid performers, comfortable
/
myself struggling to verbalize the
and conscious enough of their
seamless, unique quality of Wong’s
abilities to own the movement
dancing. It’s the kind of settling into one’s
and translate it into a personal
body that comes from more than just years
style that stands out from the
of movement but also from a profound
crowd.
understanding of one’s spirit. Towards the end of the show he tosses water from the
Aside from the outstanding
pool into the air, and transforms himself
scenic work, the other
into liquid form, easily becoming a single
production elements were
droplet falling through space. Both Wong
noticeably well done as well.
and Frances Leung are seasoned veterans
Malaysian lighting designer
of the Academy for Performing Arts and
Godzilla’s work was both
City Contemporary Dance Company
subtle and striking, depending
whose striking grace and articulation
on the moment. Wong Sun
present me with an antidote for the
Keung’s techno soundtrack,
overwhelming technicality of Hong Kong
though eventually wearing,
dance. Leung executes a solo that is a pure
sent me
into several
expression of repression. Taiju Matsumoto
involuntary synaptic jerks.
meets Wong with
Karin’s post-apocalyptic
costumes of silvery tops and
,a younger but '' . equally as skilled
slippery black pants evoked a strong sense of tomorrow.
refinement in
their
duets
together. The
remaining
“Paper Balloons’’
company
of
dancers, Where Lock’s “Dumb Moves M showed humans struggling
including Allen
amidst the hustle and bustle of life, Andy Wong brings us
Lam, Rachel Yip,
into the complex struggle within our own hearts in “Paper
Frankie Ho and
Balloons’’. Inspired by Ryu Murakami’s novel of a young
Lim Chee Keat,
girl’s self-discovery but modeled most often on
each shine at
autobiographical input from each of the performers, the work
various moments
examines human relationships, despair and hope. Interesting
while
and ironic that these two shows were running at the same
maintaining a
time, with “Paper Balloons” across the bay at Hong Kong
solid sense of the
Cultural Centre’s well-equipped Studio Theatre in Kowloon,
inherent ensemble. The sincerity of the work, the tight
July 7-9.
partnering and the complexity of the dancing makes obvious
still
the enormous amount of input and commitment each The design elements were again excellent, with a reflecting
pool installation and costumes designed by Ewing Chan.
performer offered to the creation of the dance.
舞評
DANCE REVIEW
DV8《玩唔玩得起》 文：方人
V8的《玩唔玩得
是老生常談，相信在座的
D
起》可以説是一個
大部份觀幂都早已明白到
以藝術及前術為包裝的综
這個道理。本地的笑匠許
合性節目。整個晚上的演
冠文亦早於二、三十年前
出，基本上是鬆散地把舞
便在電視上以「執藥」來
蹈、動作、戲劇、歌唱、
生動地嘲弄電影編劇。編
音樂、喜劇、棵露、不完
舞者也完全沒有嘗試進一
美的身輕、男扮女聲、同
步孕育意念、探討內容、
性戀等等種種元素熱熱鬧
或發展舞蹈動作。
鬧的加在一起。雖然場刊 上説是「衝破舞蹈、戲
於這段舞蹈結束前，男舞
劇、個人政治的各式界
蹈員脱光了所有衣服，一
限」，但事實上整晚表演
邊舞動著，一邊報出了一
各成段落。我不太清楚
個價格。在引起了一些觀
什麼是「個人政治
眾的「震驚」及尴尬的同
，但在
（personal politics）
時（對今日的香港來説，
舞蹈和戲劇的界限這一點
這也不算得是什麼值得大
上，並不看到有任何突破
驚小怪，也不能稱得上是
性或有創意的嘗試。説到
「前衛」的了），這還搏得
「衝破界限」這一點，免
一些笑聲。除了那被舞得
強説只有那些舞蹈中有説話或歌唱中有動作的段落（如
上下翻騰的下體外，我想不出麼可笑的地方。事實上除
下文將會提到的「舞蹈成本」與「呎吋和距離」兩段）。
了要營造出這個效果外，我也看不出有任何必要全棵地
而這些段落的形式説穿了只不過是成人版的唱遊。
正面面對觀革舞動。以此手法來換取「震驚」和笑聲， 並不比那些港產「追女仔」式電影高明（除了這是真人
「舞蹈的成本」
表演之外）。我覺得最可笑的是，《玩唔玩得起》整個
這種種都在《玩唔玩得起》的其中一幕有關舞蹈成本的
節目本身就正如「舞蹈的成本」一段中所嘲弄的舞蹈一
舞蹈中看到。這一段的內容是用嘲諷的形式 ，由一個男
般，把各種元素如「執藥」般放加在一起，摒湊成一個
舞者示範了各種舞蹈動作，並同時■--- '報出一個成本價
算是熱鬧的節目。這是自嘲.是雙重標準’是自相矛
格，藉以説出舞蹈或藝術的成本和價值並不能如此計
盾，還是五十步笑百步？
'一點荒謬感，但在內容方面•這可説
算。這不錯能帶出
「呎吋與距離」
點，而有數段是以在台上滾、滑、爬、蠕為主的演出。
如此欠缺深度'發展，而結果只求一笑的演出亦在一段
舞台的設計也似為了方便觀尿觀看這數段舞蹈而設計成
有關呎吋的「舞蹈」中出現。在這一段中，男舞者站在
一前低後高的斜台。然而，在舞蹈編排上，卻沒有利用
台中央，一邊用卷尺做出量度身體各部份及身體附近空
到這一特點.這較之演藝學院現代舞高級講師廖朗莎於
間距離的動作，一邊問著「這夠長嗎」、「這夠短嗎」、
數年前編寫的《麥斯威爾的惡魔》一舞中，巧妙地利用
「這夠近嗎」、「這夠遠嗎」等問題。最後，完全是意
斜台來推動舞者的加速及減速，並帶動整齣舞蹈發展，
料之中地，舞者做出一個量
高下立見。
度下體的動作。這在结構與 编排上與「舞蹈的成本」如出
整個晚上最有力和最有深度
一轍，而內容方面也同様是
的演出，是在完場前最後一
老調重彈，並沒有什麼可以
段。在茫茫的煙霧之中，暗
讓人深思的地方（可以説是
淡的燈光下1無腿的David
根本沒有）。其實這一段的
Toole沿著台則的柱子，由
動作是有發展的餘地的，可
高空爬下，坐到身體對褶
惜的是編者完全沒有從中發
著、手腳伸直並抵在台上爬
展與創作的嘗試。結果，除
行的女舞者的臀上。一時
了引人一笑外，也看不出這
間，兩人仿如合成一體，互
一段有何深意。
相補足。這種對愛情的看 法，淺白、深入而感人，勝過千言萬語。
「不完美」的舞蹈員 《玩唔玩得起》另一個特點是那些「不完美」的舞蹈員。
明白易懂VS.膚淺簡單
編舞者的原意相信是要反映出每一個人都有他們的價值
《玩唔玩得起》的場刊中特别提到DV8的藝術方針，其
及能力，從而批判社會上只重外在美或其他的歧視的心
中提到「明明白白、毫無矯飾地訴説意念和感受。前術
態。然而，這些舞蹈員中，除了「無腿舞者」David
而易懂是劇場的取向•...」、「提供機會孕育意念」、
Toole外，全都可以説是聊作點缀。除了展示了他們的
「提供空間討論更廣闊、更複雜的問題」等。其中「明
獨特的身形或年齡外，他們並沒有發揮的餘地。當然，
白易懂」一點是做到了，但是「孕育意念」和「討論空
期望他們可以一如其他舞者般翻腾跳躍是不切實際，但
間」卻是令人失望。除了一場露體舞蹈，一些極少舞蹈
是，為他們編寫有義意及創意的動作也並不是什麽天方
動作的舞蹈及一兩場由兩個男舞者所演出的「纏綿」舞
夜談。结果，他們給人的印像是真的沒有多大的價值。
蹈外，《玩唔玩得起》也説不上什麽前衛（事實上，這
事實上，由編舞者在整晚的唯一全裸演出中（上文提到
些題材早在六、七十年代美國舞蹈中已被廣為使用，根
的「舞蹈成本」一段），選用了可説是全團中身體最完
本上並不前術）。
美的舞者，便可看到編舞者也被世俗中「完美」的觀念 所規限。這潛在的信息比之整個晚上編舞者所嘗試帶出
其實，我一直欣賞明白淺易的作品。然而，淺易並不等
的種種都深入得多。
同於簡單。套用一句簡約主意的説法「少即是多」（less is more）要做到淺易而又充實，實在是須要花上更多的
話説回來，在整個晚上的節目中，還是以數段短篇舞蹈
心思和工夫。在欠缺了內容和深度的支持下，淺易便變
最為哭出。如上文所説.David Toole的演出是可觀而又
成膚淺，沒有思考和想像的餘地。
可敬的。在舞蹈編排上，也似是要配合他身體上的缺
IEWS舞蹈快訊NEWS舞蹈快訊NEWS舞蹈快訊NEWS舞蹈快訊NEW1 匯:：
To have your events included in the news session of the Dance Journal/HI
please send your pressrelease to us by mail, e-mail or fax listed on the first page of the Dance Journt The inclusion of news items in this section is subject to the availability of spac
DANCE HK/NY to Premiere 、、 、 「舞渡界」第二舞季 New Work by Rosalind Newman d 廖朗莎新作首演 in 2nd Hong Kong Season
DANCE HK/NY will have a world premiere of a new work,
「舞渡界」於香港的第二個舞季將會世界首演其藝
Mirrors, by artistic director Rosalind Newman to a
術總監廖朗莎的新作《鏡》，一齣巧妙地配合了作
fascinating concoction of music by Arvo Part mixed with tangos for the company’s second Hong Kong Season. The
performances of DANCE HK/NY will take place January
曲家Arvo Part的音樂與探戈舞曲的舞蹈作品。這次
「舞渡界」的演出是由康樂及文化事務處主辨，將會於
19-20, 2001，a feature presentation of the Leisure and
二零零一年一月十九及二十日，假產新落成的葵青劇院
Cultural Services Department, at the new and spectacular
舉行。是次演出的佈景及服裝設計是梁永森 ，燈光設計
Kwai Tsing Theatre, already known as a theatre especially
為姚巧玉。
suited for dance. Sets and costumes will be by Sam Leung, with lighting by Tiffany Yiu. DANCE HK/NY will also perform two other works
同場亦上演另外兩齣廖朗莎廣受觀豕歡迎的作品一
《觀散》及《水上書寫》。
choreographed by Rosalind Newman that have created a significant impact on audiences - Dissolves and Writing on
廖朗莎的作品以及幕舞者的演出將會把觀笨引入
Water.
一個個由時間、空間、動作、意念、力量、情
Rosalind Newman’s works and her dancers promise to pitch
感、及激情所組成的暗流，於我們的生活中快速
the audience into currents of time, space, movements, ideas,
地、缓慢地混和、流動、.渦徒、漂浮' 汜濫 '流
forces, emotions, and passions, that mix, flow, swirl, drift,
离…
flood, cascade, swiftly, slowly in our lives.
「舞渡界」的成立是得到亞洲文化協會' 鄧永鏗及 DANCE HK/NY was launched in March 1998 as a presentation by the Provisional Urban Council at the Hong
「上海灘」、李念椿和嘉道理先生' 夫人的贊助"
Kong Cultural Centre, and through the support of the Hong
首次演出是由區域市政局主辨，於一九九八年三
Kong Arts Development Council, for cultural exchange tours
月在香洪文化中心舉行。其後獲得香港藝術發展
to festivals in Taiwan and the United States, with support
局的資助，分别參與了由台灣及美國所舉行的藝
from the Asian Cultural Council, David Tang and Shanghai
Tang, Charissa Lee, and Mr. And Mrs. Michael Kadoorie.
術節作文化交流。
Date日期
Time時間
yZ“Move Over” 1-2/12
5-6/12
Group團體
Choreographer
Kwai Tsing Theatre
HKAPA Dance Ensemble
Stephen Jefferies 謝傑斐
Auditorium
香港演藝學院舞蹈團
Venue場地
編舞
《舞過界》_
8:00pm
8:00pm
. J Graeme Collins 高家霖
葵青劇院演藝廳
Casba Buday
Macau Cultural Centre
Willy Tsao曹誠淵
Grand Auditorium
Aaron Wan温玉均
澳門文化中心综合劇院
Tao Chun 陶春 Xun Ying 孫穎
/“Maiden’s Prayer” 8-9/12 • '-恐 ■
8:00pm *
《乙女祈》
Kwai Tsing Theatre
YURI and compnay danciNG
Yuri Ng 伍宇烈
Auditorium 葵青劇院演藝廳
/“42nd Street”~《第四十二街》 9,11-16/12
7:30pm
Drama Theatre
10/12
7:00pm
HKAPA
16/12
2:30pm
演藝學院戲康
Hong Kong Singers & HKAPA 港音樂劇團暨香港演藝學院
Mandy Petty 敏迪貝蒂
‘Whispering Colour”《花落知多少》’ 14-15/12
8:00
Kwai Tsing Theatre
Folkwang Tanzstudio (Germany)
Mui Cheuk-yin
Auditorium
福克旺舞蹈團(德國)
梅卓燕
葵青劇院演藝廳
“Journey to the Lion Rock: A Marco-Polo Adventure”
':4吹 12
7-10:00pm HK Heritage Museum, 香港文化博物館
“Nutcracker”《胡桃夾子》 16-17/12 23-24/12 15-17/12 19-24/12
2:30pm 2:30pm 7:30pm 7:30pm
Grand Theatre, HKCC 香港文化中心大劇院
CCDC 城市當代舞蹈團
《後獅子山下的遊園荊夢》 Pun Siu-fai 潘少輝 Willy Tsao曹誠淵 Helen Lai黎海寧
Date日期
Time時間
Venue場地
Group團體
Choreographer
Zero Zero Ensemble
Noel Pong龐智筠
0 0合
Dominic Wong 黃狄文
編舞
Beginning and End^《始時止刻》 23/12
8:00pm
Studio 1, HKAPA 香港演藝學院 一號舞蹈室
Force Fong方俊權
/Lezginka”《列兹金卡》 24/12
3:00pm
25/12
8:00pm
26/12
8:00pm
Sha Tin Town Hall Auditorium 沙田大會堂演奏廳 Tsuen Wan Town Hall Auditorium 签灣大會堂演奏廳 Yuen Long Theatre Auditorium 元朗劇院演藝廳
The State Dance Company of Daghestan： 俄羅斯韃捷斯坦國立舞蹈團
'l'
The Champion Eve”《精舞金輝展新姿》 31/12
6:00pm
Regent Hotel
Champion Ballroom Dancing Academy
九龍麗晶酒店
精舞門標準舞蹈學院
/ ^Mirrors, Dissolves and Writing on Water" 19-20/1
8:00pm
1)^4^
《鏡' 飄散及
Kwai Tsing Theatre
DANCE HK/N^
Auditorium
舞渡界
Rosalind Newman 廖朗莎
葵青劇院演藝廳
HK-/NV
舞粱界 醐莎-醐總監，編舞 Rosalind. Newman - Artistic Director/Choreogfaphei
“The White Snake” 26-27/1
28/1 2-3/2 4/2
7:30pm 7:30pm 2:30pm 7:30pm 2:30pm
白蛇》 Grand Theatre, HKCC 香港文化中心大劇院
Hong Kong Ballet 香港芭蕾舞團
Domy Reiter-Soffer
蘇東
Sha Tin Town Hall Auditorium 沙田大會堂演奏廳
/ “Ballet in Sneakers”~《新裝芭蕾一足尖變奏齊齊樂》
9/12
3:00pm 7:30pm 3:00pm
葵芳新都會廣場 樂富中心露天劇場 觀塘順利社區中心
10/12 7/1/2001
7:30pm 3:00pm 3:00pm
深水涉長沙灣社區中心 香港公園 觀塘樂華社區中心
14/1/2001 21/1/2001 27/1/2001
3:00pm 8:30pm 3:00pm 3:00pm 3:00pm
香港仔利東社區中心 香港仔鴨朋洲社區中心 大埔海濱公園露天劇場 油麻地梁顯利社區中心 銅鑼灣世贸中心
28/1/2001
3:00pm
香港國際機場
3/12
13/1/2001
Hong Kong Ballet 香港芭蕾舞團
Allen Lam 林偉源
' l'
Members of Hong Kong Dance Alliance
1，砌.■臓耐
港
Mr Jason Brockwell
簡麗珊女士 周全輝先生 宋絜女士 鍾秉瑜女士 何偉強先生 劉玉芬女士 羅詠芬女士 龍植池先生
施素心女士 黃國強先生
Ms Margaret Carlson
Mr Chau Chuen Fai Ms Chu Kit Ms Stella Chung
Mr Ho Wai-keung Ms Medina Lau Ms Kim Law
生生士生生士士士 先先女先先女女女 明華青霖華樺翠瑜 錦健孟家亞倩佩 陳鄭宋高黃黎李雷
香
Andrew Broomhead
Mr Clement Chan
Mr Billy Cheng Ms Wendy Chu
Mr Graeme Collins Mr Huynh a-hoa Ms Amy Lai Ms Doris Li
Mr Edwin Lun
Ms Florence Lui
Ms Priyadarshini Ghosh-shome
Daryl Ries
Ms Susan Street Mr K. K. Wong
曹誠淵先生 黃碧i令女士
Mr Willy Tsao Ms Scarlet Wong
白朗唐先生 陳德昌先生 錢秀蓮女士 秦懿欣女士 謝漢文先生 郭慧芸女士 黎海寧女士 陸國雄先生 伍宇烈先生
聯 盟
會 員 名
共享空間舞蹈劇場 東邊現代舞蹈團 基督徒舞坊 蜉蝣舞團 步韶舞蹈團 波希舞蹈團 香港演藝學院 香港芭蕾舞團 香港舞蹈團 本地薑 香港驗專業舞蹈體育總會 香鷓年藝術節協會有限公司
智才補習學校及創作天地 王仁曼芭蕾舞學校 雙妹曖 動作纖維
新約舞流 R’ Life音樂劇場 絲路舞蹈文化協會 躍舞翩 南群舞子
三分顏色 原體系 菲場 蒲窩青少年中心 X •劇場 歪:的本 多空間
員 鄭佩雲女士 關艷蘭女士 松島誠先生 尹子欣女士
平
Mr Ringo Chan Ms Miranda Chin
Ms Ulian Chun
Mr Mohamed Drissi Ms Vivian Kwok Ms Helen Lai
Mr Luk Kwok-hung
Mr Yuri Ng Ms Indira Sawlani
溫玉均先生 許淑女士
聯絡人 方舟舞蹈劇場 霹靂啪［勒身體劇場 陳紹傑舞蹈中心 精舞門標準舞蹈學院 城市當代舞蹈團 接觸點 動藝 舞渡界 舞城 戀舞狂
Mr Tom Brown
Mr Aaron Wan Ms Xu Shu-ying
Contact Person
鄭楚娟女士 黃狄文先生 陳紹傑先生 尤月興女士 曹誠淵先生 梅卓燕女士 王廷淋先生 湯布力先生 潘少輝先生 鍾碧霞女士 馬金泉先生 余仁華先生 曾澳英女士 黃恆輝先生 宋絜女士 袁惠東先生 施素心女士 吳杏冰女士 劉志青女士 賴文慧女士 陳偉先生 麥蓮茜女士 孫名翠壮 陳頌瑛过 楊惠美女士 邢亮先生 韓錦濤女士 周佩韻女士 趙浩然先生 帕夏吾賣爾女士 徐偉業先生 王榮祿先生 鍾瑋女士 鄭志銳先生 李笑玲女士 宋倩儀女士 伍梁敏玲女士 廖美燕女士 楊春江先生 嚴明然女士
Ark Dance Theatre
Ms Eve Cheng
Bilibala Physical Theater
Mr Dominic Wong
Billy Chan Dance Centre
Mr Billy Chan
Champion Ballroom Dancing Academy
Ms Diana Yau
City Comtemporary Dance Company
Mr Willy Tsao
Contact Point
Ms Mui Cheuk-yin
DanceArt Hong Kong
Mr Andy Wong
Dance HK / NY
Mr Tom Borek
Dancing City
Mr Pun Siu-fai
Danseomanie
Ms Jocelyn Chung
DMR School of Ballet
Mrs D. M. Wayburne
Dua Space Dance Theatre
Mr Anthony Meh Kim-chuen
E - Side Modern Dance Company
Mr Jacky Yu
Evangelical Dancing Troop
Ms Tsang O-ying
Fau Yau Dance Circle
Mr Wong Hang-fai
The Harmonious Dance Troupe
Ms Chu Kit
The Boheme Dance Company
Mr Yuen Wai-tung
The Hong Kong Academy for Performing Arts
Ms Susan Street
Hong Kong Ballet
Ms Helen Ng
Hong Kong Dance Company
Ms Ophelia Lau
Hong Kong Ginger
Ms Cherry Lai
Hong Kong Professional Dance Sports Council
Mr Chan Wai
Hong Kong Youth Arts Festivd Association Ltd
Ms Lindsey McAlister
ITS & TS Creative
Ms Karen Suen
Jecn M. Wong School of BcJet
Ms Ama Chen
McMuiMui Dansemble
Ms Yeung Wai-mei
Movement Fibre
Mr Xing Liang
Ones To Watch Dance Company
Ms Angela Hang
Passover
Ms Pewan Chow
R’
Life Musical Theatre
Mr Rex Chiu
Silk Road Cultural Society
Ms Pasha Umer
Spring Poetry
Mr Terry Tsui
South Asli Dance Workshop
Mr Ong Yong Lock
Synchro
Ms Jamie Chung
Three Colours
Mr Afa Chiang
Uncarved Block
Ms Ling Lee
The Flying Works
Ms Phoebe Chu
The Warehouse Teenage Club Ltd
Ms Miranda Ng
X-tanztheatr
Ms Elina Liu
y. d. thearter
Mr Daniel Yeung
Y - Space
Ms Mandy Yim
ASSOCIATE MEMBERS Ms Cheng Pui Wan
Ms Kwan Yim-Ian
Mr Makoto Matsushima
張秀芬女士 郭淑欣女士 莫裕康先生
Ms Maria Assunta Wan
Ms Cheung Sau-fan Ms Kwok Shuk-yan
方潔萍女士 黎少玲女士
Ms Fong Kit-ping
Ms Lai Siu-ling Ms Asha Sawlani
Mr Juergen Morhard Ms Daphne Wong
STUDENT MEMBERS
陳桂思女士 鍾晶女士 黃天華女士
Ms Suki Chan Ms Chung Ching
Ms Audrey Wong
陳雅芝女士 盧幸賢女士 王婷莉女士
Ms Susanna Chan Ms Candy Lo
Ms Wong Ting-li
蔡嘉樂先生 郭少芳女士
Mr Cody Choi Ms Kwok Siu-fong
Membership Form
璗員申囍表 會奉旨
Membership
（
）Individual
（
）
（
）Associate**
（
）Student*
個人會員$200 團體會員$600 普通會員* $100 學生會員* $50
Organization
Member’ s Information 會員資料 Name
姓名（English 英文）
Position
職111
（Chinese
________________________ Name of Company
Affliated Cultural Organization Telephone電言舌
戶斤屬塾抓j機構 ____________________________________________________
Organization Member' s
（English
團體會員資料
英文）________________________________________________________
中文）______________________________________________________
（Chinese
電話
Telephone
負責人（English 英文）________________________ （Chinese 中文）____________________ ______________________________
Correspondence Address
E-mail Address
__________________________________
________________________________________________________________
Information
團骨豊名稱
Person in Charge
Fax 1專真
通訊地址 _________________________________________________________ __
E-mail Address電垂时也址
Organization
公司名稱 _____________________________________
______________________________
Correspondence Address
中文）
Fax
傳真 __________________________________
通訊地址 ____________________________________________________________
電郵地址 ______________________________________________________________ ___
Applicable Dance Category
芭蕾
所屬舞蹈類別
現代舞 Folk區欠洲民族舞
中國舞
|
| Contemporary
:]Chinese Dance
| Asian Folk亞洲民族舞
|
| European
|
| Ballroom國際標準舞
教育
|
| Criticism
|
| Technical Arts
|
| Notation舞蹈記錄
|
| World Dance世界舞蹈
|
| Ballet
I I
| Education
|
| Cultural & Arts Administration
|
| Musical Theatre/Jazz/Tap Dance
|
| Others
Signature
寫作與評論
文化及藝術彳了政
昔樂舞劇 / 爵士舞 / 踢躇舞
舞台技術
其他 ______________________________________
簽署：_________________________________
Date
日期:_____________________ __________
Please enclose cheque payable to HONG KONG DANCE ALLIANCE with this application form to: c/o Office of the Associate Dean, School
of
Dance,
Hong
Kong
Academy
for
Performing
Arts,
1
Gloucester
Road,
Wanchai,
Hong
Kong.
請填妥表格連同劃線支票抬頭寫：「香港舞蹈聯盟」寄香港灣仔告士打道一號香港演藝學院舞蹈學院副院
長辦公室轉交香港舞蹈聯盟收。 * Non voting沒有投票權利
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港文化中心 Hong Kong 讓
声電腦售 ble for sale^
$90fIll0 |M4PT$16O 惠最高可達八折 匯萃：千禧頌」節目手冊)
can enjoy up to 20% discount. r to the
programme brochure of ling Arts : A Tribute to the New Millennium'
全日制學生，
，士及綜合社會保障援助受惠人士半價優惠
Half price ticket disabilities anJc
ror full-time students, senior citizens, people with prehensive social security assistance recipients .
「大會堂之友」及「香港文化中心之友」會員九折優惠 10% discount for members of "Friends of Town Hall" and "Friends of Hong Kong Cultural Centre'
#觀眾只可享用以上其中一種訂票優惠
林 Patrons can enjoy only one of the above discount schemes for purchase of each ticket.
節目查詢 12853 26431 Programi^ie Enquiry 訂票熱線9dd^l (10am-8pm) Booking Hotli 香港舞蹈團網址 | http:i7v\Avw.lcsckgov.hk/hkdc/ |Web site ，
港藝匯萃
網上購票 | hitpj/www.urbtix.com 丨 Internet booking Celebration of Hong Kong Performing Arts:
A Tribute to the New Millennium
康樂及文化事務署主辦 Presented by the Leisure and Cultural Services Department
http://www.lcsd.gov.hk/hkpa/
本節目內容並不反映康樂及文化事務署的意見 。
The contents of this performance do not represent the views of the Leisure and Cultural Services Departi