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HONG KONG DANCE ALLIANCE 香 港 舞 聯 盟
VOL. 2 NO.6
o 診 馇 瓛
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LIBRARY 1 f OCT 2000 Articles
South China Post
Review -
專論
La Fille Mai'
田
What is Classical about Classical Ballet?
Events Author: Susan Street
節目表
Notes on Working with Children 九月份September
for Hong Kong Ballet’s
Nutcracker Production 1999/2000 十月份October
Author: Rashna Homji-Jeffries
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看香港「各自各千禧舞蹈 會員申請表
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客途秋恨列車忘情 「城當」在火車站舊址重温
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ARTICLES
What is Classical about Classical Ballet? by SUSAN STREET
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.
through purposefully selected and controlled
Introduction
rhythmic movements; the resulting
n modern Western society the term classical ballet
phenomenon is recognized as dance both by
conjures up specific stereotypical images. The pictorial
the performer and the observing members of
image of the fine-framed ballerina standing vertically on
a given group.”(l)
I
her toes and dressed in white tutu is perhaps the strongest
image which unites our understanding of this term. This
This definition is clinical, and does not recognize either the
paper explores classical ballet to discover the origins of this
relationship between dance and music, or mention the
image and dance-style, the identifying features, with their
“expressive” potentialities of dance; but, the two aspects
explicit and implicit meanings, and finally what makes this
which most appeal to me are that dance is human activity,
style “classical”.
and that performer and observer recognize the activity as dance.
The very first task to confront when discussing any form of dance, is the attempt to provide valid definitions for key
Classical ballet is a product of the Western world since it
words. The most fundamental of these should be the word
can be clearly shown that its characteristics, and the enduring
“dance”，for which many definitions have been written. A
significance of these, are an affirmation of Western social
particularly useful one of these is by the anthropologist Joann
traditions, beliefs and aesthetic values. Like all dance,
Kealiinohomoku:
classical ballet is a form of ethnic dance, however, it is
“Dance is a transient mode of expression,
performed in a given form and style by the
human body moving in space. Dance occurs
2
(1)
Copeland, Roger, and Marshel Cohen, eds.
What is Dance?: Readings in Theory and Criticism.
New York: Oxford University Press, 1983. p.541.
commonly described as either theatre or artistic dance. From
The word Classical derives from our knowledge of Class 1
the birth of the genre “ballet” in the courts of Europe, and
citizens in Rome (2nd to the 4th centuries AD), who paid taxes
throughout the development of the style “classical ballet”
and could vote. Thus, in alignment with Class 1 citizens,
to the present day, its prime function has been a theatrical
the term was applied to literature and other arts, denoting
presentation to an audience. The authority of classical
their value as the best or excellent or outstandingly
antiquity has strongly influenced the development of dance,
important. These citizens had long and famous family
albeit in different contexts and with altered meaning. The
lineages, which confirms the notion of classical art’s being
dance genre of ballet has had very few articulate cognoscenti
capable of long-lasting effect and value. The common
to guide its development. The few formulas and original
understanding of the term “classical”，as it relates to the
theories that do exist could all be said to accept the views
arts, is the restrained style of Greek classical antiquity - a
handed down from classical antiquity. Other art-forms
long established style, serious and conventional. This style
developed from this lineage have the benefit of physical
was supported by rules prescribed as a formula for the
objects that have survived such as poems, original written
production of excellent art. These rules dictated that art be
texts, sculptures and so on, which can be used to examine
simple, harmonious, well-proportioned, and finished.
the effect of theory on practice. Dance suffers from its lack
of historical recordings; this explains why its academic
The concept of classicism arose through historical processes,
pursuit and documentation is comparatively small against
and an exact definition must be replaced by description.
other art-forms. Because of this, I can only speculate about
Names ascribed to cultural habits or movements attempt to
the actual performed dance, drawing inferences from
synthesise the spirit of what has already been done, thus
existing material about its nature, its kinds, its effects, its
allowing distinction between specific movements, between
devices and techniques.
the classical movement and the Romantic, for example. The dance theorist John Martin finds no less than six meanings
Classical theory stems from the ancient Greeks and requires
for the term classical when applied to art:
brief definition as a reference point for explanations put
forward later in this paper. The concept of classicism as an
“."it may have to do with ancient Greece or
artistic movement is a major and complex subject and my
Rome, it may be a work from another period
attempt to crystallize the essential theories, key aspects of
that has managed to survive, usually in the
which I have isolated, will inevitably over-simplify the
schoolroom; it may be composed according
movement as a whole.
to specific and stereotyped rules of form; it
may employ a standard, codified vocabulary; it may be couched in a style that is cool,
unemotional and neatly balanced in design; or it may be simply something outside the range of what is immediately and cheaply
popular.”(2) To assist readers of this study, a brief insight into the cultural
ethos of the ancient Greeks will serve to expose the thinking of the peoples whose actions and philosophies inspired the
word classical. It would seem appropriate to use dance as my immediate consideration, not only because it is central to this study, but because ancient Greek thinking in relation to dance mirrored the rules and methods they advocated for
life in general. The 20,h-century Greek dance historian Ruby Ginner, in Gateway to the Dance, writes that the Greeks A vase painted in Athens in about 480 B.C. showing
six chorus members costumed as young soldiers. They are clearly singing and dancing in unison. The figure on the left may be a ghost which the chorus is summoning from the underworld.
cultivated dance to an “…extraordinary degree and in it
found the full perfection of rhythm.”⑶ Dance to the ancient
(2)
Martin, John. The Dance in Theory. New York: Dance Horizons, 1989. p.81.
Greeks expressed the rhythm of their lives. They strove for perfection of rhythm in their work and in all that they made. Their study for an understanding of rhythmic law searched
for answers to the mysteries of life and death. Nature became their guide; they were keen observers of it, and abided by
its laws. Plato (331-404 BC) writes in the Symposium that the lover of beauty uses “…the beauties of the earth as
steps along which he mounts upwards”(4). The notion that
rhythm was central to life afforded dance great importance. The study of movement and music formed the basis of
education for the Greek children of Hellas (the Hellenic Age 500-400 BC). Movement trained the child to govern the
body, and music to develop the aesthetic sense. These skills were advanced by dancing and singing to cultivate natural
rhythm in each child as a foundation for life. Plato wrote on the necessity of knowledge about rhythm:
“Beauty of style and harmony and grace and
Dancers arranged in Grecian robes and posed by
good rhythm depend upon simplicity, I mean
Isadora Duncan.
the true simplicity of a rightly and nobly ordered mind and character. If our youth are
foundation for the development of ballet. But his theories
to do their work in life, must they not make
could only be realized after his death in the secure
these graces and harmonies their perpetual
environment of an organization willing to experiment, such
aim? Let our artists be those who are gifted
as that created by Diaghilev’s Ballets Russes. More
to discern the true nature of the beautiful and
importantly, his theories could only foreshadow a sound
graceful, then will our youth dwell in a land
basis for the education of dancers that would develop them
of health amid fair sights and sounds, and
into resourceful tools for the choreographer.
receive the good in everything.”(5) What is significant about these findings is that they dispel Ginner states: “In its highest forms, dancing is an effort to
the historical view that the great full-length ballets of Ballets
make visible through movement the things of the spirit that
Russes were a St Petersburg-inspired creation lead by
lay beyond the material world.” Therefore dancing for the
Michael Fokine. The great ballet revival which occurred at
Greeks could be an activity of a worship, a
language of
the beginning of this century and provided us with many
prayer, praise and dedication, a means of attaining union
works which continue to make up the classical ballet
with the divinities who themselves danced their celestial
repertoire, was the result of an environment, far from France,
dancers in the halls of Olympus.”(6) Dance therefore has
where the French theories of Noverre could be fully realized.
undoubtedly developed as a classical expression of the
Michael Fokine (1880-1942) used Noverre’s theories
rhythm that governed the lives of the ancient Greeks.
directly, but afforded them little credit, and few have since
questioned the origins of the canons employed by Fokine. Classical Ballet as a Period
Classical ballet had two separate periods of development.
My early research was to re-look at the history of ballet. I
wanted to discover exactly when the ballets that we know
(3)
Ginner, Ruby.
Gateway to the Dance.
London: Newman Neame Limited, 1960.
as classical were produced and by whom. (4)
Lee, D. trans. Plato. The Republic. London: Penguin Books, 1987.
What I discovered is that like the art-form of music, dance
(5)
Ibid.
too had a classical period prior to the Romantic period. It
(6)
Ginner, Ruby.
was Jean Georges Noverre (1727-1810) who laid the
Gateway to the Dance.
London: Newman Neame Limited, 1960.
Noverre created the first classical ballet; therefore, the
from the 1890’s up until the 1920’s in Russia (and in the
classical style dates back to the second half of the 18th century
in Germany and later in France. The style was again revived
West), and continues throughout the world to the present day.
in the post-Romantic period, with its height of popularity
(part 1 of a 3-part article, part 2 & 3 will appear in
upcoming issues)
Dance Forum舞蹈論壇Dance Forum舞蹈論壇Dance Forum舞蹈論壇 To serve as an active VOICe in dance
development in HK, Dance Journal/HK will
start a new feature called “Dance Forum” to provide a site for discussion
作為香港舞蹈發展的一股力量，
舞蹈手扎正計劃開闢一個新環節
一《舞蹈論壇》， 以提供作為討論香港舞蹈的園地。
about dance in HK.
The format of the “Dance Forum” is
《舞蹈論壇》將會採取
flexible and informal. You do not need
自由而非正規的形式。
to wait for a great idea, or worry about the
你不需憂慮見解是否獨到，
composition and the length of your writing.
又或者文章的結構及篇幅；
We just want to know your opinions about
只要暢所欲言地寫下你對於
any issues of HK dance. The following are just some examples:
-Dance education in HK -Value of dance in HK -Characteristics of HK dance
-Problems in HK dance development
We need your participation to make this section successful.
Please send us your opinions by fax, mail, or e-mail
(all listed on the first page of the Journal).
任何有關香港舞蹈的意見。 以下是一些討論內容的參考例子：
一香港的舞蹈敎育 一舞蹈在香港的價值
一香港舞蹈的特點
一香港舞蹈發展所面對的困難 你的參與決定了《舞蹈論壇》的成敗。 請將你的意見以 電傳，郵寄或電郵的方式送來
（有關資料刊登在各期《舞蹈手扎》的首頁）° 如來稿獲刊登，作者可得稿費。
Those selected will be paid for their work.
Let's build a better future for Hong Kong dance!
請與我們一起為香港舞蹈建立 一個更好的未來！
Dance Forvm舞蹈論壇Dance Forum舞蹈論壇Dance Forum舞蹈唾獲
專論
ARTICLES
Notes on Working with Children for Hong Kong
Ballet’s Nutcracker Production 1999/2000 by RASHNA HOMJI-JEFFRIES
*AII the photos used in this article were taken from the Stephen Jefferies’ production of “Nutcracker” for Hong Kong Ballet
Rashna Homji-Jefferies was a guest ballet mistress with the Hong Kong Ballet Company in
1999. She is now a Lecturer (Ballet) at the Hong Kong Academy for Performing Arts.
the audition and were duly selected. The remaining seven
boys were also accepted.
I needed a cast of 12 “party girls” for each performance and I now had one boy for each pair of girls plus one understudy.
Three complete casts of girls were chosen totaling 36. The
s guest ballet mistress with the Hong Kong Ballet
boys would be required at every performance. I also needed
Company in 1999, I was asked to re-choreograph
to select three “young Claras” and in order for them to
A
integrate with the group, I also required them to perform as “The children’s dance’ in Act 1 of Stephen Jefferies ’
production of The Nutcracker. I was slightly nervous about
“party girls”. “Mice” were also needed for the “battle scene”
this proposition, as my previous involvement had focused
and a further 20 taller girls were chosen.
on children in the 12+/- age range.
I had been advised to select more children than I would
However, I accepted the challenge and set about the task
need, as the numbers tended to dwindle as the rehearsal
with gusto. Not knowing how many children would turn up
period progressed. At the audition, all the children were
at the audition nor how many boys would appear, I had two
given a “Letter of Intent” which their parents had to approve
possible formats worked out.
and sign, declaring their availability for all the Sunday
morning rehearsals, stage rehearsals and performances.
Approximately 120 children turned up but only 9 of them
There was a clause stating that if any child missed more
were boys. The ballet also required a “young Clara” and her
than two rehearsals they could no longer be guaranteed a
brother “Fritz”. I added another character known as “Fritz’s
place in the production.
friend”. These two boys would be able to exchange roles in
alternate performances. Luckily, two boys who had
No sooner had we started our rehearsals in Hong Kong when
performed the role of “Fritz” the previous year turned up at
I was informed that Nutcracker would also be performed at
the Cultural Centre in Macau in January 2000 and we were
time for my two-hour rehearsal, which started at 3pm. It
asked to use children from Macau. I had serious worries at
was an enjoyable experience if a little exhausting.
this stage about coping, as my October schedule was already very hectic. As ballet mistress of the Hong Kong Ballet
The opening night at The Cultural Centre in Hong Kong
Company, I needed to teach morning technique class to the
proved to be rather eventful. Some of the boys in the
dancers and then rehearse them for our upcoming
production also participated in the “battle scene”. When the
performance at Ngau Chi Wan at the beginning of November
stage crew pushed on the toy soldiers on top of the Fort, one
followed by rehearsals for the Nutcracker season
boy was not holding on and
in December. This
toppled over. Not knowing the
rehearsal routine was
extent of his injury, he was rushed
from 10am to 6pm
to the Queen Elizabeth Hospital
Monday to Friday and
for observation. Luckily, all was
until 1:30pm on Saturday.
well and he recovered after
The children were being
taking it easy for a few days.
rehearsed from 10am to
His role as Fritz’s friend was
lpm on Sundays and this
crucial to the party scene and
left very little time. The new
I could not do without him.
ballet master Jai-hong Wang
One of the principal men in
was not due to arrive until the
the company, So Hon
third week in November.
Wah, who was
Fortunately for me, a former dancer
not involved in
from the Company, an APA BFA (Hons.)
Act 1, offered to
graduate, Mei Tsang, who had recently
step in. He was
joined the Education Unit for the
marvelous and
company, was assigned as my assistant.
seemed to enjoy
The audition in Macau produced only
was very grateful
girls. I was now in a dilemma. Though
to him and I
I was allowed to use the “Fritz” and
admired
“Fritz’s friend” from the
professional way
Hong Kong production,
he handled himself in, what was
the company could not
for him, a very minor role.
his new role. I
the
afford to ferry over the
other 6/7 boys and their
Despite the heavy schedule, I
parents to Macau, house
enjoyed working with the
them at a hotel and pay
children and I believe it was a
their meal allowances. I
wonderful opportunity for them
decided to incorporate
too. To watch them growing in
the men from the
confidence and to witness the
company who were
obvious pleasure they felt in
portraying the “fathers” and “the grandfather”. They were
being part of a professional production was heartening. My
great and this thankfully proved an interesting option, which
congratulations and thanks to all their parents, 90% of whom
helped create a wonderful family atmosphere as the “party
were very diligent and made sure their children were
scene” demanded.
punctual and were where they were supposed to be. It must
have been difficult to juggle their family schedules but was Each Sunday provided it’s own peculiarities and rhythm and
so appreciated.
no two were alike. My rehearsal schedule started at 10am, backstage at the Grand Theatre inTsim ShaTsui and finished
This year the production of this “Nutcracker” will take place
at lpm. Stephen Jefferies would then start rehearsing the
once more in December and I hope that just as many children
“mice” and I would catch a 1:30 ferry to Macau to arrive in
will participate, and enjoy performing in this festive ballet.
% 剪報服務 PRESSCUPPING
二0 0 0年八月 表演藝術第九十二期
回想與回響--「各自各」的沉思空間 看香港「各自各千禧舞蹈系列」的「麥高利系列」 文：小棕
鄭煥美（小棕）畢業於香港大學比較文學系I現從 事藝術行政•並參與舞蹈及戲劇之演出及創作。小
棕現為國際演藝評論家協會（香港分會）專業會員。
説是「新浪潮舞蹈節」精神的延續，提供香港創作互相 碰撞、對話及成長的空間。隨著合辦單位逐漸增多，規
模、形式也推之更廣：除了以現代舞為焦點節目外，去 年更加入Hip Hop、莎莎舞、印度舞、西班牙舞、社交 舞等，於藝穗會中演出。
月的香港，陰晴不定。陰鬱的夭氣放諸小劇場中
時至今年，參與演出的團體/編舞者也由原來著重香港
的舞蹈，叫人領略得心眼也迷濛了
新生力量走向國際交流的層面，例如有來自日本的松島
説的是今年由香港舞蹈聯盟主辦的「各自各千禧舞蹈系
誠及美國的韋施迅。今年的三個演出各擁有各自的題
列」當中的「麥高利系列」，演出包括松島誠的《鳥■
材、各自的風格、各自的個性，但它們都有一個共通
鳥s》、南群舞子的《無論如何》及動藝的「男人獨白」
點：沉鬱、深憂，叫人迷溺於淡然幽邃的況味之中。
等。配合整個舞蹈系列尚有「藝穗會系列」（包括「舞
蹈炸珍寶」及「藝穗四舞雌」）、由城市當代舞蹈團製 作的「脱衣秀」作塵•軸演出，其他更有一連串週邊活
松島誠《鳥•鳥S》 以拼貼呈現碎片式的生活經驗
動，如座談會、工作坊、錄像放映等。整個系列的活動
設計較一九九七年首屆舉辦時更為全面及豐富，香港舞
蹈界也一下子熱鬧起來。
呈現現代城市生活的無味與傷感、人際M係的疏離和冷
這個舞蹈節的源起，可追溯至一九九五年香港藝術中心 舉辦的「新浪潮舞蹈節」。當時香港小型舞團相繼組
成，數目之多前所未有，這批年輕編舞家各自擁有獨特 的氣質和力量，為香港舞壇注入極為刺激的新態勢、新
方向。正當觀眾仍沉醉於歐洲或美國的舞蹈
的碎片式生活經驗，能產生互相呼應的效果，對編舞來 説，也是一個較容易處理眾多零碎實驗片段的方法 。然
次所做的各項實驗來看，倒是做得相當不
批觸角敏銳的新生代。九七年
俗。
首辦的「各自各舞蹈系列」可
五湖四海•
（collage）對作品本身所要呈現的一截截、破裂、不完整
鬆散及欠缺焦點的感覺。但如獨立抽取松島誠此
時，焦點實在應該轉移至香港這
]
漠。《烏•鳥s》由多個具象及抽象的片段組合而成，
粗略區分至少也有十多個獨立的場景，這種拼貼
這樣一來，作品的銜接性及節奏則被破壞了，給人
「強人」（如Pina Bausch, Mark Morris等）
otta
來自東京的松島誠，以三隻生活在都市的小鳥為假借，
擊
胃
II
^m.W'Inde^n^ntO
蠢欲動。鼓聲反覆低避，帶領觀眾■去冥想，走到一個遥
遠、混濁的時空、創造的源頭。 編舞王榮祿及其妻周金毅忽地打破這種沉鬱，在熾熱火 紅的一角，在垂吊的長形銅片背後，將身體各部分逐件
展現：手、肘、腳、頭不停地互相試探、重組、分開、 繼而合為一體。他/她們刻意連接著對方的身體，將身
體的重量交給對方互相倚靠著，在對方的身體空間進進 甫一開場，三點光源在黑暗中浮游，當舞者發覺對方的
出出，併合行動的方向，不爭執，只尋求共識：這種互
存在時，步伐開始加快，繼而互相追逐、聚集、纏繞、
相支持的契合，達到融和、內心澄明的境地。
逃避、消失，人際關係的進程就是如此平白簡單地表現
出來，饒是有趣。接著的錄像、音樂和松島誠的唱詠皆
但如此景象不久便被銅片的介入而扭曲，他/她們利用
表現出虚空、淒戚的感覺，像是平常生活中無意無為發
銅片的順滑質感，用身體向這新生之地問好，進行祭
出的一聲嘆息，不激動，卻由衷。而松島誠的獨舞多以
儀。銅片本身發出的隆隆作響聲，預設了埋伏的危機。
身體的突然變奏而逐節向地面沉下去，能量是抽緊的，
因此，當音樂逐漸加快，兩人連接著的肢體反而成為限
向下的，即使作勢欲飛，卻始终飛不起，就如其後出場
制他們行動的框框，此時在對方身體有限空問穿插的動
的金魚一樣，躍不出水面，復唯有在固有的框框下繼續
作則變得充滿敵意，當初的融合已不復見。兩性之間的
漫無目的地存在。
角力，终歸累得一團糟：如果説他倆是另一個版本的亞
當和夏娃，受罰的顯然是女性了。 松島誠亦愛製造矛盾和荒謬感。其中一位舞者馬千山大
塊頭的身型，卻與歌曲《我是一隻小小鳥》並置，又為
隨後在周金毅的獨舞裡，其女性身體儼然如大地之母。
場中的機動裝置加上人為因素，用其一隻手指在水中撥
而面對從天而降一排又一排帚有女性特有生理現象指涉
動那隻小小金魚，但這種「照顧」卻足以擾亂甚至威脅
的紅線（如月經、生產、墮胎等）。她嘗試去征服它、
金魚的生命：當松島誠倒在地上，其他人卻視若無睹，
祈求它，卻始终擺脱不了糾纏，所承受的痛苦全然是女
反而將他手中的書奪去、踏著滑板車的人更自顧自地繞
性內®的身體經驗，不由自主，她索性將它結紮在一
著他兜圈子：另一位舞者何靜茄穿上現代城市的辦公室
起，更將自己的外衣脱下，問吊於大紅结之中。這種做
服飾，在節拍強烈的派對音樂下緩緩地動著，明顯地.
法無疑是有點自欺欺人，因為女性的自主權並不會因為
身體機能未能配合這急促的都市生活，而這部分更刻意
痛楚的结束而建立，相反的，勇於面對及承擔才是上
拖長，雖然看得觀眾都膩了，但當中的矛盾和對立卻由
策。
於時間的廷長而突顯出來。而松島誠穿插在其中，用手
去迎揺從舞台右方横射向左的一線強烈紅光 ，應付這外
「脱了皮」的女人再次與也是「脱了皮」的男人進行溝
來的壓力，他竟肆意地把光源玩弄於手掌之間，令它逐
通與對話，原始的軀殻再一次成為戰場，最後兩敗俱
漸消失。以這充滿玩味的態度去迎檔高壓，確為一絕。
傷，浴血於大海之中。像神話般的故事説完了，可能像
最震撼的部分，要數松島誠運用燈泡在對方的身旁勾劃
相卻飄流於海面，逐代相傳。
那沉重的大紅结一樣，沉到海底深處，但人類永恆的共 出他/她們理想中的姿勢，投射及放大於牆壁上，帶出
一個疑問：人的行為、意圖究竟由誰來支配？作品末段
《無論如何》是一個風格特出、完整的作品’編舞營造
錄像中的人跳起了、越過了、消失了，而劇場中的馬千
了某種怪異詭譎的氣氛。眼部誇張的化妝將人異化’傳
山和何靜茹也相繼離去，剩下松島誠一人茫然而動，在
奇化：服裝造型以非常簡單的布絮及絲襪去勾劃身體的
黃與綠的燈光下，一個人化為三隻鳥的身影，再次作勢
線條，原始妹十足；倒落的節奏轉換與準確的肢體設計
欲飛，然而舉步為艱，難以展翅.靜靜地走向出口的一
叫人屏息注目，加上與李耀誠的音樂所產生的化學作
扇門，燈隨人滅，淡淡的哀愁由是湧起。但這絕對不是
用，這個作品實在叫人欣喜。
完结，而是嚮往另一個美好國度的開端。
南群舞子《無論如何》 充滿祭儀色彩，風格特出而完整
在南群舞子的國度種，《無論如何》是一個充滿祭儀色 彩的原始空間。開首和結尾都以李耀誠的手鼓製造一種
不斷沉溺的氛圍，如錄像中的大海一樣，深不見底卻蠢
動藝〈〈事發》。編舞：林偉源•攝影：黃狄文 動蕃的「男人獨白」：
接著是林偉源的《事發》，穿起醫生袍的他，手部動作
著重心靈的悸動，風格偏向保守
及面部表情非常地多，喋喋不休地在發問、指揮、解説
和辯論，但雙腳卻是緊緊地釘在地上，似乎在「死守」 動藝的「男人獨白」由四個苹元組成，圍繞著男性心中
立場！其後神父和軍人也加入對話，然而講求科學的醫
各自的疑問，從而探索未來生活的路向。但在種種抉擇
生、靈性的神父及紀律的軍人走在一起，只有「各説各
之前，他們先將人生經驗再次咀嚼■、細嗜當中的滋味，
話」的结果。這個作品的敗筆也在於「説」得太多、太
把心底話展現給觀眾■看的同時，其實他們自己也經歷了
白'背景音樂不時重覆“World law”、“Is it necessary”
一次生命思考的旅程。
等字眼，而林偉源近乎默劇的身體語言亦欠缺變化，可 能是受到雙腳不能做太多活動的限制，加上背後的幻燈
每次看王廷琳跳舞，總會被他那份由心出發的感性所觸
片也未能配合得宜，整個作品就變得平面、冗赘，少了
動，《隧道•光》也不例外。在懸於高空中鏡子缓缓游
點心靈上的震盪。
移反照光影之間，他滿載心事舞動。因此，動作的質感 都往下沉去，即使於激動的時刻情绪都很內斂，似乎在
最後一段獨白是由來自紐約的章施迅所編排的四人舞
心鏡的光照下•躲在隧道中的心結仍未能打開，但時間
"Moving through the Thin Air of Nothingness"
卻無情地溜走了。
性的托舉、推拉、扶持之中，我們看到了生命與生命之
第二個單元是梁家權的《出出入入》，承接他一貫幽
捉或放開身邊的人和物。乾淨的舞台，雖空無一物，卻
默、頑皮的創作趣味，《出》是在眾多深沉作品中最光
充滿令人感觸的缒绻心懷，隨著结構嚴密、流暢而交錯
亮、趣味盎然的舞作。穿上了「心形美國國旗」的緊身
的動作規律，那流瀉的感情亦有機地佈滿劇場的每個角
上衣及美式軍裝褲的他，隨著輕鬆的美武歌曲搔首弄
落，反映了不同的、卻互補的生命面貌。
’ 在組合
間的交流，每個人都遵循著個人意志或生命定律，去緊
姿，仿如舞男般誘惑著，但卻多次被中國傳統戲曲打破 這份美式強人的快感，情緒變得不安、悲傷，甚至對性
總的來説，三個不同團體的演出都確立了各自的風格，
取向產生疑惑。
當然亦有各自的改進空間，松島誠的作品實驗性較強，
但仍需要更多時間去剪裁；南群舞子的作品是一個很圓 這是相當有趣的並置：如此一個自信壯男.進出'於中國
滿的祭儀，音樂性很強；但可否再進行顧覆，於生命跡
傳統思想與西方開放文明之間，竟被折磨得死去活來。
象的母題下開發其他面貌？動藝由於有四位不同的編舞
這種狂想式的尋覓自我，最後並沒有提供有形的滿足，
者，難以一語概之，但整體感党上仍較為著重心靈的悴
反而充斥著無形的孤單，但編舞卻不以此為愁，更把
動•然編舞風格上卻相對地保守和安全。
「孤單」二字化為自己輕鬆的調子•幽它一默，非常樂
迷濛的心眼被這意象豐富的作品冲刷著. 又陷入深深的
觀！
沉思當中........... ..
10
剪報服務 PRESSCUPPING
二0 0 0年二月八日 大公報
客途秋恨列車忘情
「城當」在火車站舊址臺温悲歡離合
本本文中刊登的所有照片均取自由城市當代舞蹈團演出，潘少輝編舞之《忘情列車》
《客途秋恨》的歌聲繚繞，時光彷彿倒流，令那些曾在
象正在眼前重演，當音樂變換，人群又圍著廣場看相聚
舊火車站嘗過悲歡離合的過客，勾起回憶與情愫。
的戀人舞動，一對對情侣在記憶中的火車軌旁邊起舞， 然後是一群頭縛紅巾的熱血青年的群舞，掀起那個火紅
在尖沙咀鐘樓及文化中心廣場一帶，是從前的九龍火車
年代的激烈情懷。
站舊址，這裎曾是香港連接祖國的一個框紐 ，在這個真 實的舞台上，曾經有無止境的等待，有思念故鄉的愁
探戈舞曲與四個版本的《客途秋恨》交織，恍似一個個
懷，有遠尋理想的熱血。離愁別绪，久别重逢，曾幾何
年代的流逝，很多情懷依舊，很多情懷卻隨風而散。演
時，都在這兒發生。
出至第三幕，大家走到「月台」上，又傳來悲涼的南
音，依依不捨的「乘客」難掩離別的神傷，腳步蹣跚地 上周六的黃昏時分•南音《客途秋恨》的歌聲缭繞著文
登上「列車」，音韻突然停頓，霎時變成阿根廷探戈舞
化中心，滄海桑田的感覺湧上心頭，時光彷彿倒流，令
曲，舞者的舞步迅即轉為輕快，象徵著時代步伐的探戈
那些曾在舊火車站嘗過悲歡離合的旅人、遊子，重新勾
與四個不同版本的《客途秋恨》互相交織，恍似一個
起回憶與情愫。
文化中心的大門便是昔日火車站的門口，在城市當代舞 蹈團舞者的蹁蹁倩影之中，「火車」徐徐到站，步出車 站的「乘客」，四散於廣場的周圍，有人到處尋找親
人，有人為相聚而擁抱，有人為處身於陌生環境而四處
張望，一片惘然，漫無目的..…。
圍觀的人群愈來愈多，初時對眼前景象或有茫然之感， 但漸漸地，他們都明白到數十年前舊火車站的一幕幕景
一個年代同樣地流逝，經過時間的洗禮，有很多情懷依 舊.有很多情懷卻隨風而散。
城市當代舞蹈團在文化中心露天廣場演出了《忘情列 車》，為潘少輝「環境舞蹈系列」之三。「城當」曾於
大埔火車站舊址上演《忘情列車八十年》，這次的演出 跟上一次大致相若，但也有因應環境的轉變而作出改
動。潘少輝對這次演出似乎未及上一次滿意，畢竟現在 的文化中心跟九廣鐵路九龍總站舊址 （一九一零年至一 九七五年）相比，已經面目全非，即使一九一五年加建
的鐘樓保留了下來，若想在此追憶當年的感覺，距離實
在太遙遠，不及大埔舊火車站，舞者就在舊車廂內、在 尚有火車經過的路軌旁演出，更易於讓觀眾翻起繾綣情 懷。
不過，在文化中心演出當天，偶然見到一隻麻鹰在天空
盤旋，與默然的鐘樓相對，就像是時間的見證者，還有 現場觀眾的反應，彷彿都正為這齣「環境舞蹈」烘托出
氣氛。
Hong Kong Dance Alliance
港
香
蹈
舞
聯
盟
Membership Drive & Renewal會員招務及重新登記
primary voice for Hong Kong dan^
Official Hong Kong Organization of the World CSI 2
支持本綠憾画
wart
la
舞賑演翻優夢°】炉 梅慮養絵备蹈年獎及晚會 評
2
氣04>
dance promotion
”醐|醑画壓 界舞蹈聯盟香港
support group for dance in Hong Kong
舞蹈界表達意見
■HD
剪報服務 PRESSCUPPINE August 5, 2000 South China Morning Post
REVIEW
La Fille Mai Gardee
S
ir Frederick Ashton is said to have choreographed La
mother, the widow Simone, is determined to marry her off
Fille Mai Gardee (The Badly-guarded Daughter) in a
to Alain. Throw in lots of sowing and reaping (ooh, the
of
metaphors!), strutting
inspiration. Perhaps that is
chickens, a maypole, a
why it retains today all the
storm …and you can probably
rustic, mown-hay freshness it
guess the rest.
three-week
burst
was hailed for at its premiere more than 40 years ago.
Eriko Ochiai seems to have
Despite its setting in rural
tapped into a rich new vein of
France, it has come to embody
humour as Lise. She displays
the crispness and humour of
a subtle comic touch, blending
the so-called “English style”
a pinch of coyness here, knit-
which, by and large, was
browed consternation there.
Ashton’s style.
The laughs come thick and fast as she tries to outwit her
Now, the Hong Kong Ballet
harridan of a mother, ably
offers its take on the classic,
danced by the cross-dressing
bringing us an exuberant and
Conrad Dy-Liacco.
colourful production, chock-
full of charm and belly laughs.
So Hon-wah comes close to stealing the show as Alain,
It is staged under the
drawing, no doubt, on Grant’s
impeccable direction of
experience. His wistful, well-
Alexander Grant, the New
meaning bungling
Zealand-born character dancer
endearing. Michael Wang, as
is
who for years with The Royal Ballet made the role of Alain,
Colas, showed a new-found technical assurance, turning in
the rich land-owner’s dimwitted son, his own. Under his
solos full of whipping turns, twisting leaps and deft beats.
tutelage, the company has slipped seamlessly into the lightness of touch this piece requires. The plot is of the standard, star-crossed-lovers-overcoming-
adversity variety. Lise is in love with Colas, but her busybody
SEPT，S EVENTS 九月份節目 Date日期
Time時間
Venue場地
Group團體
Choreographer
South “ASLI” Dance
Wu Yi-san, Jay Jen Loo
編舞
/^"Tangentzer 0”《臨界圖》 [1-3/9
8:00pm
Studio Theatre,
Workshop
:
HKCC
南群舞子
吳易料，劉傑仁
文化中心劇A
/藝術家駐場計劃2 0 0 0 2/9
3:00pm
《舞合3。3。3陣式》
Exhibition Hall,
DanceArt
Shatin City Hall
動藝
沙田大會堂展覽廳
Z“La Sylphide & The Yellow River” 2-3/9
7:45pm
《仙女》、《黃河》
Grand Theatre,
National Ballet of China :
HKCC
中國國家芭蕾舞團
文化中心大劇院
《兩種假設》
■/"“Fantasy or Reality’ 8-9/9
8:00pm
Theatre,
Spring Poetry
Terry Tsui, LonceYu
Sai Wan Ho Civic Centre
躍舞翩
徐偉業，余世好
西灣河文娛中心劇院
f “t3te-&-t8te tanz’; 9/9 iO/9
《舞力對話》
8:00pm 3:00^m
Theatre, Ngau Chi Wan Civic Centre 牛池灣文娛中心劇院
jsiak
E-side MDC東邊現代舞蹈團
TaiJu Matsumoto 松本大樹 Danseomanie 戀舞狂 Jocelyn Chung 鍾碧霞 MonNing甯明敏 Free Group自由組合 Jill Jill Dance Theatre 蕉蕉舞蹈劇場 Maria Chan陳靈玉 Joys Stage Works 喜樂製作 Joyce Au歐美儀 Ark Dance Theatre方舟舞蹈劇場 Eve Cheng鄭楚娟 Iris Suen Dance Group 形。凍 Iris Sun孫鳳枝 Mollusc動意空間 Sally Chow 周紅
/ <<#^#<» 16- 9/9
8:00pm
Theatre,
Beijing Dance Academy
Jin Miaomiao
17- 9/9
3:00pm
Sheung Wan Civic Centre
and Hong Kong Bauhinia
靳苗苗
上灣文娛中心劇院
Dance Association
“Music and Dance Gala”《樂舞顯精英》 13/9
7:30pm
Auditorium, Shatin Town Hall 沙田大會堂演奏廳
22/9
8:00pm
Hong Kong Jockey Club Music and Dance Fund & the Home Affairs Bureau^ 香港赛馬會音樂及舞蹈信託基金及民政事務處
Lyric Theatre, HKAPA 香港演藝學院歌劇院
‘La Bay a d^re”《舞姬》 16/9 7:30pm Auditorium, Kwai Tsing Theatre Hong Kong Ballet 葵青劇院演藝廳 17/9 香港芭蕾舞團 2:30pm 22-23/9 7:30pm Auditorium, Sha Tin Town Hall 24/9 沙田大會堂演奏廳 2:30pm 30/9 7:30pm Auditorium, Tuen Mun Town Hall 1/1() 屯門大會堂演奏廳 2:30pm
Marius Petipa 佩華巴
n Weller當韋娜
Date日期
Time時間
Venue場地
Group團骨豊
Choreographer
編舞
“Don Quixote”《唐吉詞■德》 4-6/10
7:30pm
Grand Theatre,
American Ballet Theatre 美國芭蕾舞劇院
HKCC 文化中心大劇院
Artistic Director: Kevin McKenzie 藝術總監： 基雲•麥健時
‘Mixed Bill”《舞劇精粹》 7/10
2:30pm
7:30pm
Grand Theatre,
American Ballet Theatre
HKCC
美國芭蕾舞劇院
文化中心大劇院
v Artistic Director:
Kevin Mckenzie 藝術總監：
基雲•麥健時
《小亞細亞舞蹈網絡 2000》
“Little Asia Dance Network 2000” 7:45pm
McCulay Studio,
Kate Denborough
2:45pm
Art Centre
Aki Nagatani永谷亞紀
藝術中心麥哥利劇場
ling Yang楊銘隆
Daniel Yeung 楊春江
‘Can We Afford This”《玩唔玩得起》 ^2-14/10
8:00pm
DV8 Physical Theatre (UK)
Auditorium
Kwai Tsing Theatre
DV8 形体劇場(英國)
Director: Lloyd Newson
藝術總監:莱德•紐信
葵青劇院演藝廳
r“Riverdance”~~《舞起狂瀾》 13-15/10
8:00pm
International Management Group (Overseas) Inc. 國際管理集團
HK Coliseum 香港体育館
World Ballroom & Latin American Dance”《世界標準舞及扛丁舞表演》 21-2
.7:30pm
Queen Elizabeth Stadium Arena_ _ _ _ _ _ _ _ _ _ _
~J
伊利沙伯体育館肩k演 場
MicheleBonsignori/MonicaBaldasseroni米沙.波恩西諾利/莫尼卡.波德沙朗尼 Andrej Skufcal/KatarinaVenturini安德里.史克夫卡/卡德蓮娜.凡吐里尼 Johnny & Jennifer Shin 史達宗/ 謝娟娟 MichaelTorresETorres/SabineKramski 米高.托爾斯/ 沙賓娜•克林斯基 Lawrence Chan/Gertrude Ko 陳航行/ 焉玉文 John Abrams/Adriana Chessa約翰•阿伯扛姆斯/
德蓮娜•芥4
Members of Hong Kong Dance Alliance 1個人會員
香 港
Ms Margaret Carlson
Mr Billy Cheng Ms Wendy Chu
Mr Graeme Collins Ms Huynh a-hoa Ms Amy Lai Ms Doris Li Ms Florence Lui
盟
會
1團體會員
單
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$英女士
Mr Willy Tsao Ms Scarlet Wong
ORGANIZATION MEMBERS
白朗唐先生 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
Mr Aaron Wan
共享空間舞蹈劇場 東邊現代舞蹈團 基督徒舞坊 蜉®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 香港國際專業舞蹈體育總會 香賴年醐節協會有限公司 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 絲路舞蹈文化協會 躍舞翩 南群舞子 三分顏色 原體系 堯js菲場 浦窩青少年中心 X 一劇場 歪G的体 多空間
張秀芬女士 郭喫欣女士 吴裕康先生
Mr Tom Brown Mr Chau Chuen Fai Ms Chu Kit
Ms Stella Chung
Mr Ho Wai-keung Ms Medina Lau Ms Kim Law
Mr Edwin Lun Ms Priyadarshini Ghosh-shome
施素心女士 黃國強先生
Ms Susan Street
Mr K. K. Wong
Ms Xu Shu-ying
S
聯絡人
普通會員
名
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
Daryl Ries
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
聯
Andrew Broomhead
Mr Jason Brockwell
簡麗珊女士 鄭健華先生 宋盖青女士 高家霖先生 黃亞華女士 黎倩樺女士 李翠女士 雷佩瑜女士 曹誠淵先生 黃翠玲女士
舞
INDIVIDUAL MEMBERS
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 王廷琳先生 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 陳偉先生 麥蓮茜女士 孫名翠女士 醐瑛女士 楊惠美女士 邢亮先生 韓錦濤女士 周佩韻女士 帕夏吾賣爾女士 徐偉業先生 王榮祿先生 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 揚春江先生 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 Professiond Dcnce Sports Counc3
Mr Chan Wai
Hong Kong Youth Arts Festival Association Ltd
Ms Lindsey McAlister
(TS & TS Creative
Ms Karen Suen
Jecn AA. Wong School of Bcdet
Ms Arma Chan
McMuiMui Dansemble
Ms Yeung Wai-mei
Movement Fibre
Mr Xing Liang
Ones To Watch Dance Company
Ms Angela Hang
Passover
Ms Pewan Chow
Silk Road Cultural Society
Ms Pasha Umer
Spring Poetry
Mr Terry Tsui
South Asli Dance Workshop
Mr Ong Yong Lock
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 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
關豐6蘭女士 松島論先生
Ms Daphne Wong
Ms Asha Sawlani
Mr Juergen Morhard
Ms Kwan Yim-Ian Mr Makoto Matsushima
STUDENT MEMBERS
陳雅芝女士 盧琴賢女士 王婷利女士
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
鍾晶女士 黃天華女士
Ms Chung Ching Ms Audrey Wong
Membership Form
罾員申韻表
會藉
Membership
（
）Individual
（
）
（
）Associate*
（
）Student*
Organization
個人會員 團體會員 普通會員 學生會員
$200 $600
$100 $50
Member' s Information 會員資料
Name $生名（English Telephone
________________________ （Chinese 中文）
英文）
電話（Office 公司）_______________________
職位
______________________________________________
Name of Company
公司名稱
Affliated Cultural Organization
Address
_________________________________
所屬鈕術機構 ______________________
地址 ______________________________________________
Organization Member*1 s
Information
Name of the Organization
Telephone
團體會員資料
團體名稱
Person in Charge負責人姓名
__________________________
________________________________
電B舌_________________________________ Fax 傳真---------
Correspondence Address
通訊地址
__________________________
Applicable Dance Category
| |
|
I
所屬舞蹈類別
現代舞 | Eastern Folk東方民族舞| | Western Folk西方民族舞 | Education教育界 | | Criticism寫|乍與評論 | Cultural and Arts Administration 文化及藝術彳了政 I Notation舞蹈記錄 I I Others其他 | Ballet
|
住宅）
（Home住宅）
Fax傳真（Office公司）___________________________
Position
（Home
Signature
芭蕾
|
| Contemporary
簽署
Date
|
| World Dance民族民間舞
|
| Ballroom國際標準舞
LJ Technical Arts
|
舞台技術
| Musical Theatre / Jazz / T叩 Dance
音樂舞劇/爵士舞/踢躂舞
日期：
Please enclose cheque payable to THE 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
編舞：香港舞蹈團團員
Choreography by dancers of the Company 音樂統籌：神環
Music Co-ordination: Nancy LAM 佈景/道具及服裝設計：梁轟
Set & Props/Costume Design: Sa. 燈光設計：
陳踔華
Lighting Design: Billy CHAN «
■
燈光執行：盧月芳
隸
Re-lit: Fanny LO
6ivi?Cent^T-heatre
編醐M辦啤槪义纖馳咖
趣 票價 Ticket Price: $60
門 0.10.2000
onwards atajLURBIIX outlets.
購張或以上，可獲八折優惠 20% discount for each purchase of 8 or more tickets. 6P 目查詢 Programme Enquiry: 28532642 訂票熱線 Booking Hotline: 2/349009 （10am-8pm） 網上郵購網址 Internet Booking: http://www.urbtix.coim 势及文化事務署主辦 rented by the Leisure and Itural Services Department
牛地灣文娛中A劇院 Ngau Chi Wan Civic Centre Theatre 18.11.2000 （星期六Sat.） 7:30pm 19.11.2000 （星期日 Sun.） 3:00pm
香港舞蹈團網址Web site: http://www.lcsd.gov.hk/hkdc/ 本節目內容並不反映康樂及文化箏務署的意薦* The contents of this performance do not represent the view$ of the Leisure ond Cuhurol Services Deparlnwi.