舞蹈手札 dance journal/hk 2-7

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HONG KONG DANCE ALLIANCE 香 港 舞 蹈 聯 盟

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y\o . 7

VOL. 2 NO. 7

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-6 NOV

2000

Articles 專論 What is Classical about Classical

Hong Kong Ballet’s European

Ballet? (Part II)

Tour 2000 Author: Susan Street

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AtmCLE

What is Classical about Classical Ballet? (partn)

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.

AS A STYLE

That ballet has survived and is valued in today’s society is

extraordinary, given the differences between the society from

CM

2

T

he modem art of classical ballet has its roots in the

which the genre grew and the society which sees a use for it

court dance of Western Europe. Its history can be

today.

traced through a line of dancers, ballet-masters and

choreographers since the establishment of the LAcademie

1 would assert that classical ballet’s aim has always been

Nationale de la Danse, founded in 1661 by Louis XIV This

fairly simplistic and clear, that is, to entertain and please its

court dance adapted steps from the folk-dances of the

audience. Its themes, messages, costumes and movements

peasants, which were adjusted to conform to the dress,

may have at first shocked its audience; however, its creators

manners and social values of the upper classes. Dance-styles

have never aimed at being subversive. The gradual evolution

reflect the society which creates them and this is well

of costumes, the process of wearing less and revealing more,

exemplified in the style of court ballet.

has caused great alarm and considerable derision; but this was done to demonstrate better the advances in technique

The technical advances in human movement made since

rather than to reinforce or change society’s image of the

the day of the court dance have rendered such movement a

human body.

specialist field of endeavour, and demand that today’s student

undergo years of arduous and disciplined training to acquire

THE LOOK

the essential specialist skills. The practice of ballet is no

longer the social event. The social event today has become

The female classical ballet-dancer is associated strongly with

the passive activity of viewing performances of ballet­

the tutu, and the male with light-coloured tights and fitted

dancing specialists.

jacket. Perhaps the strongest manifestation of the style of

this genre are the verticality of the dancer, the open expansive

TECHNIQUE

stance, and the lean, muscular look of the dancer’s body.

It is impossible to separate historical influences from the

The verticality, or length of spine, is clearly derived from

aesthetic aims of training in the classical ballet technique.

the court dance which attempted to portray a regal

The five positions of the feet, the fundamental basis of ballet

demeanour. As technique developed to serve the style, this

technique, were set down as rules of dancing at the beginning

concept of spinal length was also applied to the use of the

of the 17th century. Throughout the ensuing years of

limbs, so that all movement attempted to extend, to use as

development the French school retained the graceful,

much space around the body as possible. This expansive,

flowing, restrained inspiration of the minuet, whilst the

stretched, outwardness of the upper body acts in harmony

Italians and Danes developed the more athletic aspects of

with the turned-out legs. The entire body is therefore open

technique. These and other influences from developments

to the audience and to the other dancers. The chin is raised

around the world have created a melting-pot of ideals and

so that the eye line is slightly higher than the vertical line

aesthetic tendencies in the teaching of classical ballet

extending from eye-level, and the rib-cage is controlled and

technique. In fact it is common to have Russian teachers at

held vertical in line with the spine. The effect is of a strong

the Paris Opera Ballet School and Danish-trained teachers

but reserved confidence.

engaged by the Royal Ballet School in London. Although specific national styles are recognisable to the trained eye,

Each movement, whether of the foundation positions such

methods of training are generally consistent world-wide.

as the arabesque and the pirouette or the linking moves from

one to the other, must be coherent, deliberate and precise.

The history of dance technique is closely bound up with the

Mannerisms and any other superfluous movement will

history of costume. Before the length of the female costume

detract from the viewer’s perception of the dancer’s shapes,

was raised above the ankle, there was no chance or necessity

the lines in space, and the flow of the body in its progression

to display virtuosity, and dancers were admired for their

from one shape to the next.

execution of complicated geometric floor-patterns. When the ballerina Marie Camargo shortened her skirt midway

The execution of these shapes is achieved in harmony with,

through the 18th century to reveal her ankles and feet, new

and in precise and predetermined time to, the music. The

steps were developed to display what could be done with

dancer will know that the arabesque must be reached on a

this part of the body.

certain beat of the bar, that three turns have to be completed within a set musical phrase. Little but the conductor’s tempo alters this plan and when the clarity of the dancer’s steps is

achieved in a logical harmony with the music, then this precision provides coherence.

The female dancer of the classical ballet style has the air of being unattainable. Her movements are, unlike the functional movements of everyday life, delicate and fragile, yet, incongruously, never seeming to make her appear

vulnerable. The combined effect of this demeanour and the

clarity of purpose in her movement is what we might call

grace.

The male classical dancer is more earthbound than the female, vertical yet without her lightness. His posture, as with the female’s, is proud and open. He stresses vigour with firmness of stance. The contemporary revivals of

classical ballets stress the seemingly effortless elevation which displays the male dancer’s balletic character. His

attack is strong but not heavy.

Natalia Makarova and Mikhail Baryshnikov in The Sleeping Beauty. American Ballet Theatre.

As the costume developed to reveal the legs, and the removal

discipline accepted by today’s ballet-dancers. This method

of sleeves allowed the free flow of the arms, so the technique

of training has been employed for several centuries and

strove to incorporate all of the body’s capacities for

continues to the present day, despite our more liberal concept

expression.

of the individual. The established rationale for the classical

dancer’s education is best summed up by Levinson: “To The major development which saw the female dancer rise

discipline the body to this ideal function, to make a dancer

sur les pointes, or onto her toes, was the natural progression

of a graceful child, it is necessary to begin by dehumanising

from the achievements of vertical line to an attempt to appear

him, or rather by overcoming the habits of ordinary life....

uplifted and weightless. This discovery was of enormous

The accomplished dancer is an artificial being, an instrument

benefit to the Romantic ballets with their unearthly creatures.

of precision.”2

The dancer raised on the tips of her toes was in the natural

taking-off position for flight to another world. This skill of

Today’s ballet-training draws upon the personality and life

pointe work and other developments such as the pirouette

experience of the dancer to assist them with interpretive

were first refined, then made more complicated, and have

roles. This can enable greater sincerity and depth of

now become the established, recognisable technical symbols

interpretation where human emotions are portrayed on the

of the genre.

stage. It is also necessary for today’s ballet students and, indeed, for ballet audiences to equate the relevance of the

Ballet training is strict; teaching methods change very slowly

ballet-style with modem life.

and each generation retains much of its predecessors’

methodology. The ballet studio is like a place of worship.

MUSIC

For the student it is a non-verbal shrine where their craft of bodily co-ordination and communication is learned. This

A significant feature of the classical ballet is its intimate

disciplined training, akin to the Draconian regimen of the

alliance with music. Jean Georges Noverre and Michel

Spartan warrior, attempts to develop skills of technique and

Fokine clearly defined this relationship and function. Music

interpretation and build character in the dancer. Dance critic

and dance were to be equal partners, the choreographer and

Andre Levinson describes the dancer as “a machine for

composer jointly dealing with the problem of interpreting

manufacturing beauty” 1. This denial of individuality and

the ballet’s theme. Interestingly, neither of these

personality, the forgoing of a natural method of functioning,

choreographers initially worked in this way. Both began by

is implicit in the technical training and in the rigorous artistic

using music which had already been written.

3

Diaghilev’s ideal was to restore the equal partnership of

music and choreography, and this Fokine did in The Fire Bird, with music by Igor Stravinski, and in Petrouchka,

Z. 2

composed jointly by Igor Stravinski and Alexandre Benois.

Perhaps the best two examples of surviving classical ballets which owe their longevity as much to the music as to the ballets themselves are Swan Lake and The Nutcracker., the

釜

music for both was composed by Peter Tchaikovsky.

Many details of the original Bolshoi production of Swan

Lake, which premiered in 1877, have been lost. What is

/

known is that Tchaikovsky’s music was initially derided by

both performers and critics for being too symphonic and undanceable (“A typical ballet score of the time consisted

4

of oom-pah-pah tunes with a clean rhythmic beat.”3) The

version we know was a joint choreographic effort of Marius Petipa and Lev Ivanov. This third attempt by the Bolshoi to make a success of the ballet premiered in 1894 as part of a

St Petersburg memorial programme commemorating the Michael Denard as the Firebird in Maurice Bejart's production for

Ballet du XXe Siecle

composer’s death the year before.

One could argue that the supremely melodic score that

from others.

Tchaikovsky created for the flimsy (but complicated) story

(part 2 of a 3-part article, part 3 will appear in upcoming issue)

of The Nutcracker is central to its survival as an annual

holiday-treat ballet. Lev Ivanov choreographed the first

NOTES_______________________________________________

version which premiered in St Petersburg in 1892.

(1)

Selma Jeanne Cohen, (1982) Next Week, Swan Lake, Reflections on Dance and Dances (Middletown,

Connecticut: Wesleyan University Press), p.123

It is the striving to achieve harmony between all its elements,

(2)

ibid., p.123.

an ideal not always achieved, which distinguishes this genre

(3)

A and Donald Hutera Robertson, (1988) The Dance Handbook (Essex, England: Longman Group UK Ltd.), p.30

nance forem舞蹈論壇Dance ftyrum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

about dance in HK.

The format of the “Dance Forum” is

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

—《舞蹈論壇》，

以提供作為討論香港舞蹈的園地

《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 works.

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！

專論

ARTICLE

工欲善其事，必先利其器 作者：陳錦明

陳錦明先生（Clement）—九八八年畢業於香港演藝

學院中國舞系，於九零年考入香港理工大學修讀物 理治療專業，並以良好成績完成課程 ，九四年前赴

美國，於紐約大學獲取物理治療碩士學位，九八年 回港後續修畢浸會大學針灸專業進修文憑。

陳氏對香港舞蹈發展甚為關注，對人體運動及動力 學亦具濃厚興趣，近年積極推廣舞蹈員之安全及健

康意識，曾應邀擔任香港演藝學院、動藝及東邊舞

蹈團等客席講師，為舞蹈愛好者提供預防受傷知

識，對推動香港舞蹈發展，不遺餘力。

傷、碰瘀等。創傷性的受傷，往往是一剎那的對 抗性動作所產生的，身體因不敵外力而蒙受傷

害，過程較為明顯，傷者一般都能憶述事發經 過。受傷部位於廿四小時內出現紅、熱、腫、痛 等痰狀，嚴重的會有關節或骨骼異位及內出血現

象，應儘速尋求專業醫療協助。 （二）勞損性（Overuse）:如肌腱炎、滑囊炎、筋膜炎

等。是項傷害，往往是「積勞成疾」所致的炎 症，長時間的嚴格訓練，缺乏適量休息或創傷性 受傷後未有適當護理|都是慢性炎症的成因。舞 者在不知不覺中，使身體的軟組織（肌肉、肌

/ 類雖稱得上為「萬物之靈」，畢竟並非無敵，但 \"卻會為各自理想去排除萬難 ，擺脱先天的限制； 舞蹈這門藝術正好體現這一點 精神：舞蹈員利用身體表達方

式，在有限的空間，塑造了或 動或靜，變化無限的美感，儘

管是一剎那造型，都叫人回味

無窮；雖然它沒有其他運動般 具競技性，然而戰勝自我，戰 勝環境的心態，足以令舞者汗

流浹背，費寢忘餐。自芭蕾舞 CM

藝術的開始，舞蹈員就千方百 計的想征服大自然地心引力，

在舞台上成為身飄如燕的動

物，跳得高高遠遠的，之後陸 續的看到用幾根腳趾頭承托全身重量而站立，腿又抬得 高高的，幅度幾乎與雙手無異：繼而，又看到中國舞一 些骇人技巧，翻來飛去，叫人屏息定氣......... 無疑

這一切對抗大自然規律的「絕技」，给舞蹈提高了其可 觀性和專業水平，另一方面又帶來一些危機：舞蹈受

傷，隨著其專業化和變化多端的技巧，也顯得越來越多 模多樣•且無曰無之，影響的不單是芭蕾舞及中國舞蹈

演員，其他舞蹈類別I都因各自的風格和特性，潛在著 不同程度的受傷風險。從性質上區分，舞蹈受傷大致可

歸納為以下三大類：

（一）創傷性（Traumatic）:如骨折、扭傷、撕裂、擦

6

腱、滑囊、相帶等）損耗，卻未及時修復，偶而 在進行某一個動作時觸動損耗點，因痛楚始發現

問題存在；勞損受傷，一般腫痛程度不及創傷性 的嚴重，稍加休息及適當護理便可復原。

（三）系統性（Systemic）:如中暑、貧血、血糖過低

等。這項傷害，特徵是心血系統不足、缺氧、缺

糖等，表徵有心悸、面色蒼白、口乾、晕炫、甚 至昏倒。舞蹈員長期的劇烈運動及情緒緊張，消 耗大量體力，如加上節食或偏食，容易造成營養

不良.身體虚弱。故此必須經常注意飲食健康，

食物責乎質而不在於量！ 舞蹈是一項要求極高的運動，幾可斷言：沒有一位舞蹈

員不曾為舞蹈造成的身體傷害而曾經受到不同程度的困

擾，甚至有舞者更「久病成醫」。在這裡筆者無意從醫 學角度去研究每項舞蹈受傷的治

療，畢竟受傷的變數頗多，因時因

人因地而異，尋找專業意見才是 正確態度。瞭解受傷的性質，有

助增加預防機會。奇怪的是， 筆者在香港舞蹈界十多年

來，絕少有舞蹈老師為學生灌輸預防受傷

平安無事。懂得意外的預防，至少提供多一個保護自己

的智識，難道是筆者與良師無緣？抑或是

的選擇，將受傷機會減至最低，使我們熱愛的舞蹈藝術

舞蹈界都把「受傷」當為必然，當成了生

發揮得更完美。再提一個頗為殘酷的事實：跟其他藝術

略有不同，舞蹈藉身體為主要表達工具，舞蹈員藝術造

活的一部粉？

詣隨著時間而提高，與此同時，體力上卻大打折扣。 這裡我要強調的是，舞蹈或任何

「No Pain No Gain」早已是不合時宜的座右銘，懂得製

運動的本身，僅僅是為了豐富我

造最少痛苦而創造最大收獲，始是最明智的態度，不切

們的生活，而不是去自我催殘，

實認真地預防不必要的傷害，舞蹈壽命將大大縮短。

在依靠身體表達藝術的同時，何

「工欲善其事，必先利其器」。要繼續將舞蹈成為樂

不尊重我們的身體，給他合理的

趣，而非痛苦的經歷，受傷的預防是不容忽視的。要子員

「待遇」？遺憾的是，當今仍偶爾

防舞蹈受傷，並不花上什麽時間，亦不要求專門技能，

見到一些血氣方剛的舞蹈員，或

需要的是一般常識和意識，去辨認舞蹈過程中的潛在危

一些無知的編舞，他們的演繹幾

害，避免意外有機可乘：對身體的準備，對環境的觀

乎是「不摘手段」，為的是搏取觀

察，對習舞的態度，都是重要的因素。筆者才疏學淺，

眾的一剎那的掌聲：這様，大大

然而希望憑著對舞蹈及物理治療兩個專業的膚淺認識 ，

增加了受傷的機會。雖然大部份

藉著香港舞蹈聯盟這份手扎，逐步提供一些預防舞蹈受

舞蹈受傷都不很嚴重，但卻大大

傷的原則，讓讀者參考。在以後的章節中，會從運動醫

地影響表現，想從中恢復都要花費

學角度，探討舞者經常遇到的問題或疑惑，以期提高舞

些時間，更耽誤了舞蹈進度。

蹈愛好者的安全及健康意識。讀者如對內容有任何意見 或疑問，亦歡迎電郵筆者：

儘管如何技巧純熟的舞蹈員，準備

功夫多麽冗善，都不能保i正每次都

long Kong Dance Alliance

ckmcpt@yahoo.com

香

港

舞

蹈

聯

盟

Membership Drive & Renewal會員招務及重新登記

癖嫁今加

e Alliance

Official Hong Kong Organization of the Wor 支持本港舞蹈活動 H©cig

Kong

An'rfya

舞蹈表演蹦響賢、 推廣舞硪 e

ward & Gala 蹈年獎及晚會

义、mMDOflrapftODucwns

>%界舞蹈聯盟香港區代表 primary voice and support group for dance in Hong Kong

香$舞蹈界表遠意見

DANCE REVIEW

舞評

Synchro’s Tap Tour

by TUCKER

S

ynchro’s Tap Tour was entertaining. The evening had

the tapping of the feet, and ignored the dancer’s upper body.

a bit of everything - it had energizing dances, heart­

Tap dance is, no doubt, a dance form that emphasizes the

lightening acting, evocative singing, and also relaxing and dancer’s feet, but by adding different upper body

quiet moments. It was fun and the audience enjoyed it.

movements, it can be enriched without much more effort. It

is also always great fun to see how dancers can tap in

Founded by four Musical Theatre Dance graduates from the

different situations. In fact, the illusion of “the feet dancing

School of Dance of the Hong Kong Academy for Performing

by themselves” in a lot of tap dances was created by the

Arts, Synchro is the first Musical Theatre dance company

contrast between the upper and lower parts of the dancers’

in Hong Kong. Because of this background, the evening’s

bodies. In Tap Tour, this effect was best achieved in one

production was close to a Musical Theatre one, with the

scene, in which two dancers were tapping while “asleep”.

emphasis on dancing. The program was loosely, but quite

With their pillows, eye-masks and headphones, their upper

successfully, bound together by the experiences of a tour -

bodies were still, but their feet tapped in dim, torch-lights

there was not really a storyline, that may need much more

that resembled the lighting and solitary atmosphere on a

work to develop, but more a collage, that was casually and

plane. More development and variation would have been

freely put together. Although it was simple, the arrangement

nice - what would happen if they slid towards each other or

was still carried out with thought - the beginning elicited

slumped down in the chairs?

the excitement that one would anticipate before a tour, and

then the fun and relaxation of a tour, ending with the tired

The highlight of the evening was in the middle of the

and quiet return trip.

programme, when the boys (Rex Chiu, Ken Kwok and Charles Teo) met the girls (Jamie Chung, Eve Leung and

The set of the Tap Tour was simple and efficient. The only

Karren Chan), and used tap dance to impress and tease each

props used were chairs that resembled those in waiting

other. It was interesting because it employed tap dances to

lounges of airports, or the aisles of seats on planes. They

tell the story, a fundamental nature of tap dance in musical

were also used as elevated stages to dance on.

theatre. At the end of the sequence, when the three boys

were dancing engagingly, they were interrupted by three The beginning of the programme was a series of high energy

lovely little boys, Andrew Lin, Michael Lin and George Liu,

group dances, in which dancers tapped hard on the floor

who tapped with more dignified expressions on their faces.

and later on the chairs. Clearly influenced by some other

The audience erupted with joy at the charm of these very

“grand” tap productions, such as “Tap Dogs”, Synchro tried

talented young tappers.

to impress the audience with a “powerful” ensemble

performance. However, the tapping lacked the ease,

After this sequence, the programme ended with a series of

sharpness and clarity that a good tap dance should have,

songs, including English, Cantonese and Mandarin tunes,

and that makes tap dance so amazing. Dancers tried very

all soft and slow, to lend a feeling of a returning home from

hard to tap loudly, to follow the rhythm, and to tap uniformly,

a tour.

but the result was noisy and muddy. The tapping steps were

also repetitive and non-distinguishable; they lacked the

From the programme of Tap Tour, it was difficult to see the

variations of tones and movements that enrich tap dance.

direction of the newly-founded company. The arrangement

and format were close to cabaret. This actually quite fit where However, the following solo dances were more successful.

it was performed — the Fringe Theatre, which is located

Set to much softer music and choreographed specifically

behind a restaurant, and is small and intimate. However, if

for each individual performer, the dancers tapped more easily

Synchro intends performances in more traditional concert

and joyfully. There were also more variations on the steps.

venues, they will need to explore greater depth and breadth

The choreography, nevertheless, seemed to concentrate on

in their choreography.

8

剪報服務PRESS CUPPING 大公報 九月十五日

投身英國舞團傾力發揮水準 訪伯明翰皇家芭蕾舞團獨舞員曹驰 作者：劉玉華 國推行改革開放政策以來，中國芭蕾舞演員相繼

「英國皇家芭蕾舞學校一年半的學習生活，因相聚在同

'到海外發展的，為數著實不少，其中更不乏出類

一幢建築物內，我有機會看到皇家芭蕾舞團的許多台柱

拔萃者。

明星排練。我們班上的學生水平非常好，使我獲益良

多。 今屆香港藝術節舉行期間應邀隨團訪港演出的伯明翰皇

家芭蕾舞團獨舞演員曹驰，除了於一九九八年赢得保加

「畢業的日子來臨，很多英國和其他國家舞蹈團的團長

利亞瓦爾納國際芭蕾比赛的金獎外 ，今年五月底隨團亮

纷纷前來舞校選拔人才。我聽説伯明翰皇家芭蕾舞團剛

相倫敦高文花園皇家歌劇院演出《吉赛爾》第一幕的

換了新的團長（藝術總監），再者，自己到英國來已有

「豐收雙人舞」時，因為與舞伴佐久間奈緒表現出幂，

一段時間.學習的又是英國芭蕾舞學派；雖然荷蘭阿姆

得到《泰晤士報》評論員Debra Craine點名褒揚，讚賞

斯特丹的舞團與伯明翰皇家芭蕾舞團同時給予我聘用合

兩人的表演魅力四射1技藝非凡，使整台晚會生色不

約，我最终還是選擇留在英國發展。」

少。 十七歲加盟英國現存兩個皇家芭蕾舞團之一的伯明翰芭 九八年參赛獲頒金獎

蕾舞團（前身為莎拉惠斯皇家芭蕾舞團），曹驰雖擁有

趁假期旅英之便•特前赴伯明翰探望這位二十二歲的年

上佳的天賦身體條件，練就渾身紮實的基本功，但要克

輕中國舞者，聽他傾吐投身國外國家級舞蹈團的經歷和

服的困難也不少。語言是頭一度難關。

感受。倒霉的是，曹驰在我們見面的前幾天弄傷了腰 背，痛得他速課也上不了，更遑論參加排練。經團裡的

他坦言：「最初我不會説英語，這些年來接觸多了總

物理治療師連續兩天给他調理後，他總算能坐下來跟我

算學會聽和講，可是閱讀和書寫都不成。我原先連

對談。

Hello都不會寫，現在才認真地學習怎樣寫信，如今勉

強能寫一封普通的書信。我想自己還得努力學習英

「我是九四年二月份抵達倫敦的，記得當時到處張掛著

語。」

慶祝情人節的標語。當時我代表北京舞蹈學校附屬中學 參加學生交換計劃，到英國皇家芭蕾學校進修。算起

因膚色、外貌的關係，致使曹馳未能獲委派某些他能勝

來，我應該屬於『第三波』的交換學生罷！那時候我才

任的角色的情況，間中亦會發生。

十五歲。」曹驰簡要地交代他到英國的因由。 理性分析形象問題 九四年初赴英國深造

「形象的差異確實有時候令我有被歧視的感覺 ’我並不

事實上，曹驰出生於藝術世家。他的父親曹錦榮現為北

長有滿頭金髮、碧藍眼睛’白晳的皮膚’外型有時候未

京舞蹈學院附屬中學的校長，他的母親亦是在校敎師。

能迎合西方人心目中的角色人選’為此而失去演出的機

曹驰從小就跟學院眾多老師和高材生甚為捻熟。未到英

會，是可以理解的。猶如一個學京劇的西方人’他的技

國之前，曹驰在北京舞蹈學院附中接受了五年半嚴格的

藝也許很到家，但洋人的京劇造型當然不及中國人順

訓練。

眼。我們也會先挑中國演員，對嗎？」曹驰很理性地分

析。 他回憶道：「我九歲時嚷著要學芭蕾。本來，小時候檢 查身體，醫生説我的心律跳動有間歇性不平均的毛病 ，

「我不喜歡抱怨。事實上’投身伯明翰皇家芭蕾舞團五

説我不能跳舞。往後，我照樣習舞並不覺得有什麽不舒

年來，藝術總監大術•賓利一直给予我很多演出機會°

服，一直到現在也沒事兒；那可能因為我當年年紀小，

每一回演出，我都要求自己做到問心無愧•要對得起觀

身體發育還不完全才有這種情況。

眾。我只盼望人家説曹驰是個優秀的舞者 •便於願足 矣。」（上）

% 剪報服務

PRESS CUPPING

Hong Kong iMail September 19, 2000

Devote Disciple of the Dance She is a high priestess of ballet, but Dawn Weller has such reverence

for the performance art that, as she tells SHERMAN CHAU, she believes she is nothing more than

its humble servant. awn Weller’s passion for ballet is infectious - so

D

individual acts of the work have been previously performed

infectious that it only takes her a matter of moments

by the Hong Kong Ballet, it will be the first time the grand

to pass it on.

production will be staged in its entirety here.

The South African choreographer and former ballerina coos

“Like fashion, ballet goes through trends, and in recent years

over her beloved discipline and warms it with words such

it has moved away from large, narrative works,” says Weller.

as “treasure” and “precious”，while “There have been a lot of one-act

dancers are described as

ballets, ones that focus on

“caretakers”. Beneath her

caring, maternal tone,

lb

there is the fervour

bk..

of a revival

'應

preacher and the urgency

of

a dancer’s athleticism,

an

but these miss out on the passion of narrative I

dance.

believe the

endangered

public

species

wants a

advocate.

lavish

story and that they

“I have a

CM

tremendous

2

respect for

want

to

escape and to be entertained.”

ballet because

we never master it. I believe we serve

this art form. We’re

Dawn Weller’s Z_a Bayadere

always the student until we retire. There have been so many great people who have done it and have contributed to it that I feel very humbled,” she says.

On that note, the choice to adapt La Bayadere was

an obvious one. Originally choreographed by the great Marius Petipa

in 1877, it is a Romantic masterpiece of eternal love and

divine vengeance. The tragedy of two star-crossed lovers, Nikiya, a temple dancer, and Solor, a warrior of renown, is

After an international career that helped put South African

set against a background of resplendent costumes and

ballet on the map, Weller became the artistic director of the

opulent sets and features a cast of more than 70 performers.

State Theatre Ballet in 1983 (then known as the Pact Ballet).

Since the mid-1940s La Bayadere has been performed In 1996, Weller made a critically acclaimed adaptation of

without the final act after the props, sets and choreographic

La Bayadere, which she now brings to Hong Kong. Although

notes for the Russian production were destroyed in a fire.

In 1980, Nathalia Makarova restaged the

rely on a car that might blow up or

production for the American Ballet Theatre,

something,” she remembers.

reconstructing the ballet’s last act in the

spirit of Petipa and restoring the complete

All her professional life, she has held

work to its former glory.

to the words of her teacher and

maintained her focus, practicing Full of intensity, beauty and drama, La

while her friends in the coastal town

Bayadere is a production that embodies

of Durban were surfing, going to the

everything that Weller believes ballet

beach and partying. She was

should be.

distracted only momentarily, when an ice rink was built in Durban. She

Passion, the theme that is both

took an initial interest in figure

background and forefront to all that

skating, until her teacher found out

Weller is and does, was in instilled in her

and told her to make a choice.

when she was two-and-a-half years old,

Weller kept her eyes focused on

the age at which her mother first signed

ballet.

her up for ballet lessons.

“Ice skating was a temptation, yes，’’ “I couldn’t do much at that age, I guess, just

she admits with a fleeting smile, but little other sign of regret.

sort of skip around. They didn’t want to accept me because they thought I would cry and want

Many girls dream of becoming a ballerina,

to be with my mom, but I didn’t. Never.

but few realize the sacrifices that are “I was fortunate that the lady who taught

necessary. Few are willing to undergo the

me not only trained my body but my mind

hours of punishing practice, and Weller has

as well. She told me ‘You must dance

no illusions about the cost.

100 per cent. There must not be anything

“This is a rigorous profession,” she says.

else in life to take away from your

“You have to be focused, you have to be

focus’.’’

prepared to give up much of your young That credo was also impressed upon

life. As a teen, your peers are all going

her in the unlikely place of the Formula

out, so you have to make choices from a young age. You can’t do this half­

One pit stop.

heartedly if you’re going to be

Her father, Jack Weller, was a Formula

successful, so that’s why I believe

One racing driver, and as a young girl,

in the importance of discipline

in the art form.

the ballerina who would one day grace the international stage was

getting greasy, working the stopwatch

“We have to be very careful

and timing the laps of sleek race cars.

in the society we live in

She would watch as her father and his

today, because there are

easier ways to earn a living. I

team would work for weeks on the

hope the discipline never leaves this

engines and then test drive the cars.

(She could fix her own engine now if

artform, because once a dancer loses her respect for their

it were not for the fact that cars these

foundations and their discipline, the art is lost.”

days are so computerized.)

Weller is not one to dash the dreams of aspiring dancers.

“He said I was fortunate to be in a

She balances her sobering words with an

profession that relied on my body as

awareness of a ballerina’s hold over people’s

my instrument, unlike him who had to

Dawn Weller's La Bayadere

imagination. It was a lesson she learned when

she once shared a dressing room with prima ballerina Dame

motive was to eradicate “euro-centric” performance art in

Margot Fontaine. “After a performance she would always

support of traditional African forms of culture. Supporters

get dressed in a smart Chanel suit and I asked her 4Dame

of the State Theatre Ballet point to the 65 per cent black

Margot, do you go out to dinner every evening?’ She said,

enrolment in the company’s ballet school as a sign of racial

4No, but when I leave the theatre there are lots of people

integration.

who want my autograph, especially children, and I must

look as they imagine a ballerina should look’.

“It is cultural genocide!” she insists. “Ballet is not euro­ centric, it’s global! Countries all over the world have this

“She was a woman I respected tremendously because in

art form. African dance is not an art form, it’s folk dance. It

every way she was an ambassador for the art form. In her

has a special meaning to the people who do it, but it’s not a

position as a great ballerina she always behaved in a certain

theatrical art form. There’s a place for it, and they should

CM

way. I don’t know about her private world, but whenever I

take care of it, but don’t destroy other things.

2

saw her, she left a big impression on me.”

“I hope that this never happens in another country.”

Weller believes that all of this- the passion, the discipline, the imagination - is vital to the survival of ballet. When she

Fortunately, Weller says that after working with the Hong

uses such terms, she is not waxing lyrical. When she talks

Kong Ballet, she sees no threat to its health or existence.

about ballet as if the treat of extinction is only moments

away, she is not hypothesizing.

“At lease, not from your dancers,” she adds quickly, praising

the local corps as being “very focused and proud to be On June 23 of this year, South Africa’s Minister of Arts,

dancers”.

Culture, Science and Technology dismantled the State

Theatre Ballet of South Africa, ending a 37-year-old

It is the end of long day of practice for Weller and the Hong

tradition. The reasons cited were that expenditure continued

Kong Ballet. After an interview and photo shoot, she’s still

to exceed income - and the existence of a “secret fund”

full of energy. She calls out: “Going shopping now!” and

within the company finances.

with a broad smile, hits the streets and shops of Hong Kong, one presumes, with typical passion.

Critics of the decision, however, say that the underlying

12

剪報服務PRESS CUPPING

二oo◦年九月二十七曰 大公報

《舞姬》氣勢不凡 作者：志文

兩年很少觀看香港芭蕾舞團的演出•日前慕佩蒂 J巴之名，去沙田觀看了該團全新製作的《舞姬》（

西方芭蕾融印度風情

La Bayadere} '驚嘆.「港芭」進步'很大，個人技巧、弹

彼得•卡索列設計的布景及服裝敎人眼前一亮，宏偉的

舞的整齊度都有可喜的成績，最重要是整個團隊的精神

宮殿、神廟，橙色與金色相襯，印度風味濃郁。劇中舞

面貌提升了，傾力演繹佩蒂巴這齣氣魄恢宏的名作，令

者的姿式融入了印度舞特點，臂膀彎曲，手掌向上•東

「港芭」顯出了大團的氣勢。

西舞蹈交融成悦目的組合，而且「港芭」舞者以亞洲人 為主，演繹這個以印度為背景的作品，説服力較強。

被譽為「古典芭蕾之父」的佩蒂巴（Marius Petipa ' —

八一八至一九一零）是法國人，部在俄國舞壇大放光

「亡魂帝國」群舞出色

芒，他長年為聖彼得堡瑪林斯基帝國劇院工作，編創大 量芭蕾作品，包括百年來歷演不衰的《唐•吉訶德》、

第三幕第二場的「亡魂命國」氣派尤其宏大，褪去了燦

《舞姬》、《天鵝湖》（與其學生依凡诺夫合作）、《睡

爛輝煌的布景，但見幽幽月光下，十八位女舞者一身素

美人》等等。其中《舞姬》首演於一八七七年，以西方

白，從斜台上緩緩而下，恍若少女亡靈從天而降，飄飄

古典芭蕾融入印度情調，別具特色。

起舞，「港芭」女舞者在這場表現特別出色，精神集

中，足尖控制得宜，整齊度很高，全體舞者融為一體， 今次「港芭」演繹的《舞姬》，是南非著名舞蹈家當•

令人讚嘆。其間穿插的男女主角雙人舞，三位女舞者的

韋娜改編的版本，於一九九六年首演，整體而言，是一

個成功的版本。

香港舞蹈團製作《舞姬》。攝影：Siu Wang-nga

共舞、獨舞，均有水準。這場「亡魂帝國」可説充分展

卡德龍有霸氣，表情及身體語言都出色。

現佩蒂巴編排古典舞劇中女子群舞的精華，把那份典雅

淒美發揮得淋漓盡致•後來他編《天鵝湖》的天鵝群

台前幕後傾全力製作

舞，相信亦是按著這個基礎進一步發展。 此外，「港芭」在演出場刊內，對《舞姬》的介紹似乎

當晚一眾主角亦有好表現.飾演舞姬的梁菲優雅從容，

不足，例如佩蒂巴初編這齣舞劇時的特點，當.韋娜改

眼見愛人與公主訂婚的獨舞淒婉動人 ；演公主的藤岡綾

編時的重點方向、取捨增删，都可作較詳細的介紹，讓

子氣質高貴，盛氣凌人；兩人在舞功及演技上都發揮得

本港觀眾進一步認識這鉤首次在港公演足本的經典之

很好。第三幕第四場的銅像獨舞「搶盡鏡頭」，這段舞

作。

要求舞者彈跳力強勁，手腳快速相碰，最後飛曜上四位 男舞者托著的大圓盤，穩穩坐下，白家樂的演出令人喝

總括而言，《舞姬》是「港芭」的大製作，可見台前幕

采。而飾演男主角蘇拉的何大為外型具説服力，幾段舞

後都傾盡全力，整體表現超水準，可惜因宣傳不足，票

蹈的表現都不錯，但角色的編排限制了他的發揮。如果

房未如理想。希望「港芭」將來有機會重演該劇，安排

在第二幕中，安排蘇拉對舞姬的種種遭遇作出即時而細

在文化中心大劇院公演，做好宣傳工作，一番工夫才不

緻的反應•會令戲劇性更濃郁。而飾演大祭司的艾莫•

會白費，觀幂亦不會走寶。

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1 香港舞蹈團《舞姬》。攝影：Siu Wang-nga

港芭蕾舞團最近上演的大型古典作品《舞姬》告

曰訴人們：港芭以古典芭蕾藝術為基礎，结合本身

的特點，創造出屬於自己的風格，以高質素的水平屹立

於亞洲之舞壇，並走向成熟的階段。

女性主導別具意義

咬後，中毒挣扎時的痛苦與不求治療的

個強•情绪上如斯的三度轉折，落合惠

觀賞港芭的《舞姬》從題材與表演而

利子都有鮮明的表達，舞步跳來流

言，均可説是一個驚喜。芭蕾是源

暢、完美、儘管芭蕾本來就講程式

自西方的藝術，惟題材卻選自

美，但由於她投入的表演，情節

南亞的大國印度，由東方舞團

的峰迺路轉，加上音樂與燈光的

演繹東方的題材，總會佔點

效果、看得座上客也動了容，對

便宜1總比較全西方的題材

小舞姬加了許多同情的分數，這

容易理解與投入得多。再

是其他古典芭蕾經典作品難有的

者，它是一鉤以女性為主導

收效。

的舞劇，縷述女性對戀愛的大

膽追求，即使是面對死亡也不放

舞團整體水平高

棄；即使與權貴競逐愛人也不退

縮；即使死了也以意志戰勝權

至於蘇拉的王泳、密友何大

貴、戰勝神明，驅除一切障

為、托砵僧主管蘇漢華、公主

阻，與所愛者永恆在一起。這

西爾維斯，跳來也很有個性，

種東方女性的堅貞、剛烈、百

舞步流暢、風格突出，特別是

折不回，以意志戰勝一切的個

蘇拉的英雄本色（第一幕），從

性，可謂驚天地泣鬼神，在《舞

外形到舞藝上都很稱職。對全劇

姬》中有生動、深層次與淋漓的

演出起著重要作用的幾組舞群，

表達。在故事內容上，似比説才

舞員演來與主角的表演起著互相

子佳人與公主王子晉了 一個台

輝映的作用：僧侶舞、舞姬舞、

階，具震撼力與悲壯色彩。而港

彩帶舞、持扇宮女舞、壹舞、影

芭選此劇演出，能不令人驚喜！

子舞、钥像舞........... 無論 是男性群舞的剛陽與女性群舞的 柔麗，都有明顯的表現。舞員的

舞姬個性生動演繹

齊一性肯定是認真練習的結果， 誠然，再精彩再適合的劇本，

至於舞來的濃烈南亞印度民族風

也要倚仗高水平高質素的演繹， 這趟港芭倒沒令人失望。先要讚

格是十分濃重的，其手舞的三節 瑚

美、足舞的兩節美、顯露了佛敎文 化國家民族舞的主要元素（影子舞除

的當然是生長於東方的演員落合惠 利子演繹的舞姬妮姬亞，她的外形小

巧標致，當投入在戰士蘇拉的懷裹時， 驚聞愛侶要另配他人時，前者她充分散

發出清麗、純潔與可愛的氣質；後者她

夕卜）

，看之有耳目一新、內涵豐富之

感，演來一，點也不沉悶，是編舞上的一 大成功離處；亦是該團整體達到高水平的

佐證。

孤弱、悲憤與慘切的境況，在舞蹈語彙

中有豐富與形象的流露。而落合惠利

神廟坍塌效果奇佳

子素以難度高的躍'踢、轉等基本功

見稱，幾段感情大起大落的表達中，

無法不讚的是本劇可謂花盡心思又財力不菲’

舞藝有了充分的發揮。段尤其是幾段

其服裝、衣飾道具、舞台設計均達美輪美奐的

與蘇拉的雙人舞中•那種淒美的感

程度。尤其是天神怒火降臨’神廟坍塌的一刹

覺，完美圖形與線條的高技巧表

那，既驚天動地，又乾淨利落，這類極佳的舞

述，既交代了情節，並表達了質

台布置效果，真是非專業設計所難奏效，效果

素。

之完美敎人吃驚。此幕的煙霧迷漫•更倍添

本劇男女主角永恆結合的浪漫色彩。 最精彩的當然是妮姬亞被逼為公主 金薩蒂大婚而獻舞的場面，她在

是故，如此落重本錢的上佳大製作，

很不情願的情況下，翩翩起舞；

應多演幾場（往後）’否則會造成巨

當接到聞說是心上人蘇拉送上的花

大浪費。

籃時的天真、靈巧與喜悦：當被蛇

Hong Kong Ballet’s European Tour 2000

Presents “The Emperor and the Nightingale"

At the invitation of Music Promotion of Switzerland, Hong Kong Ballet embarked on its first ever European tour for six weeks starting 21 October, 2000. With a team of 70 artists and staff, Hong Kong Ballet tours Germany,

Austria and Switzerland.

Bringing its original production of the Emperor and the Nightingale, the Company opened at the Forum am Schlosspark in Ludwigsburg on 24 October, and subsequently tours to Salzburg, Lugwigshafen, Winterthur,

Furth, Ludwigsburg again, Schweinfurt, Leverkusen, Wolfsburg before

returning to Hong Kong on 2 December. There will be total of 29 performances.

The Emperor and the Nightingale was commissioned by the former Provisional Regional Council and the world premiere in 1997 was well received by Hong Kong audiences.

With much recognition, the Company was then invited to tour North America with this production in the

"Hong Kong - USA '98〃 led by the Chief Secretary for Administration, Mrs. Anson Chan. The tour once again received remarkably favourable reviews.

Choreographed by Domy Reiter-Soffer, the ballet is based on the Hans Christian Andersen fairy-tale about the

Emperor and a nightingale. This ballet manifests the Company's mission of promoting the finest art forms of

East and West. Mr. Reiter-Soffer has worked closely with the Hong Kong Ballet for which he also produced Lady of the Camellias and Beauty and the Beast. Mr. Reiter-Soffer is also the choreographer for the Company’s new

rock ballet The White Snake which will be staged during the festival "A Tribute to the New Millennium".

The music of the Emperor and the Nightingale was composed by Richard Tsang, a leading figure in the contemporary music scene in Hong Kong. His music not only portrays the power of the romance but,

more importantly, with the aid of the set and costume designer, Simon

Wong, reflects the Asian elements and atmosphere of the production.

16

Hong Kong Dance Alliance

Membership Drive

香港舞蹈聯盟會員招務

The Hong Kong Dance Alliance announces it latest membership drive. The Alliance is a member driven

organization, a group of dance organizations, dance

香港舞蹈聯盟現正進行會員招務。舞盟是一個非

牟利的團體，其運作經費及所舉辦活動全靠會員

professionals, and dance lovers from diverse dance

的支持。舞盟的成員是來自一群不同背景、不同

backgrounds and with varied dance styles whose goals

舞蹈類別的團體、舞蹈家及喜愛舞蹈之人仕，旨

are to act as advocates for dance in Hong Kong and to

promote Hong Kong dance to the world. The Alliance

在提倡舞蹈發展及將本港舞蹈界推廣至世界各

wants as many people as possible to know about Hong

地。我們希望有更多人仕能對香港舞蹈歷史有更

Kong's rich dance heritage - its traditional and classical

佳的認識，與及本港舞蹈的創意和成就得以受到

roots, its enthusiastic student community, its growing interest in social and non-traditional forms as well as

獨

全世界的注意。

its startling innovations and successes that have caught

the attention of the international dance community.

The Hong Kong Dance Alliance is the official Hong

香港舞蹈聯盟是世界舞蹈聯盟及世界舞蹈聯盟亞

太區的會員’亦是香港舞蹈聯席會議的成員 。舞

Kong member of the World Dance Alliance Asia Pacific

盟的會員一向致力於推動及建立一個更強大的舞

and the World Dance Alliance, and one of the

蹈界，令公眾人仕對本港舞蹈活動的態度和政府

：1

對舞蹈藝術的政策有所改觀。您的加入，亦可幫

加|

organizations of the Hong Kong Dance Sector Joint Conference. Membership in the Hong Kong Dance

Alliance helps it to gather the momentum needed to

助舞盟繼續推行其舉辦的活動 ，紅括《舞蹈手扎》

build a stronger Hong Kong dance community, one

及香港舞蹈年獎等。

a

that can create greater change in public attitudes and

governmental policies toward dance in Hong Kong. It

also helps the Alliance to continue project such as

香港舞蹈聯盟的會藉是由每一年的四月一日至下

Dance Journal/HK and the Hong Kong Dance Awards,

一年的三月三H—日。在此會員招務期間（由即

among others.

曰起至本年十二月三十一日）入會的新會員及續

The Hong Kong Dance Alliance Membership year is

會的舊會員，即可享受其會員權益至二零零二年

from 1 April to the following 31 March. During this

三月三十一日。申請者請填妥附於各《舞蹈手扎》

membership drive, new members and existing

內之申請表格，連同支票寄至：

members who renew their membership may enjoy the benefits of continued membership through 31 March

2002 by paying now for only a one-year membership

fee. The drive closes on 31 December 2000. The

香港灣仔告士打道一號

extended membership offer is available until then by

sending the membership form (or copy) from the back

of this Journal together with a check to:

香港演藝學院舞蹈學院 副院長辦公室

香港舞蹈聯盟收 Hong Kong Dance Alliance c/o Office of the Associate Dean

School of Dance,

Hong Kong Academy for Performing Arts, 1 Gloucester Road, Wanchai, Hong Kong

.1 >•

Date日期

Time時間

Group團體

Choreographer

Hong Kong Balle 香港芭蕾舞團

Marius Petipa 佩蒂巴

Grand Theatre,

American Ballet Theatre

Artistic Director:

HKCC

美國芭蕾舞劇院

Venue場地

編舞

Z :La Bayadere”《舞姬》 1/10

/“D on

2:30pm

Tuen Mun Town Hall Auditorium, 屯門大會堂演奏廳

Dawn Weller 當韋娜

Quixote”《唐吉訶德》

4-6/10

7:30pm

文化中心大劇院

Kevin McKenzie

藝術總監：

基雲•麥健時

/“Mixed Bill” 7/10

《舞劇精粹》

2:30pm

Grand Theatre,

American Ballet Theatre

Artistic Director:

7:30pm

HKCC

美國芭蕾舞劇院

Kevin Mckenzie 藝術總監：

文化'大劇院

基雲.麥健時

“Little Asia Dance Network 200095

《小亞細亞舞蹈網絡 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

Ming-ling Yang 楊銘隆

Daniel Yeung 楊春江

/“Can We Afford This”《玩唔玩得起》 Auditorium

DV8 Physical Theatre (UK)

Director: Lloyd Newson

Kwai Tsing Theatre

DV8形体劇場(英國)

藝術總監:萊德•紐信，

葵青劇院演藝廳

OCT，S Date日期

Time時間

Venue場地

Group團體

Choreographer

編舞

World Ballroom & Latin American Dance”《世界標準舞及拉丁舞表演》 21-22/10

7:30pm

Queen Elizabeth Stadium

Michele Bonsignori/Monica Baldasseroni 米沙•波恩西諾利 / 莫尼卡•波德沙朗尼

Arena

Andrej Skufcal/Katarina Venturini安德里•史克夫卡/卡德蓮娜•凡吐里尼 Johnny & Jennifer Shin 史達宗/ 謝娟娟 Michael Torres ETorres/Sabine Kramski 米高•托爾斯/ 沙賓娜•克林斯基 Lawrence Chan/Gertrude Ko 陳航行/ 高玉文 John Abrams/Adriana Chessa約翰•阿伯拉姆斯/愛德蓮娜•卓沙

(The Emperor and the Nightingale”

《國皇與夜鶯》 Hong Kong Ballet 香港芭蕾舞團

21/10-2/12

(details on page 16 —

Hong Kong Ballet’s European Tour 2000)

'Motions & Emotions”《舞影流韵》 Sai Wan Ho Civic

Centre Theatre,

西灣河文娛中心劇院 Ngau Chi Wan Civic Centre Theatre

牛池灣文娛中心劇院

Hong Kong Dance Co 香港舞蹈團

Domy Reiter-Soffer

Members of Hong Kong Dance 1個人會員

INDIVIDUAL MEMBERS Andrew Broomhead

Mr Jason Brockwell

港

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

Ms Margaret Carlson

Mr Chau Chuen Fai Ms Chu Kit Ms Stella Chung

Mr Ho Wai-keung Ms Medina Lau Ms Kim Law

Mr Edwin Lun

陳錦明先生 鄭健華先生 宋盒青女士 层1家霖先生 黃亞華女士 黎倩樺女士 李翠女士 雷佩瑜女士

1闔體會員

Ms Susan Street

Mr K. K. Wong

Mr Billy Cheng

Ms Wendy Chu Mr Graeme Collins Ms Huynh a-hoa Ms Amy Lai Ms Doris Li Ms Florence Lui

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

Daryl Ries

Ms Priyadarshini Ghosh-shome

施素心女士 黃國強先生

Mr Clement Chan

曹誠淵先生 黃翠玲女士

ORGANIZATION MEMBERS

Mr Willy Tsao Ms Scarlet Wong

蹈

聯

盟

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 陳頌瑛女士 揚惠美女士 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 楊春江先生 嚴明然女士

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 sjs菲場 蒲窩青少年中心 X —翻場 歪Q的TJX体 多空間

| 普通會員

名 羊

張秀芬女士 郭淑欣女士 臭裕康先生

Ms Miranda Chin

Ms Ulian Chun

Mr Mohamed Drissi Ms Vivian Kwok Ms Helen Lai Mr Luk Kwok-hung

Mr Yuri Ng

Mr Aaron Wan Ms Xu Shu-ying

S 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

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 香港國際專業舞蹈體育總會 香賴年麵節協會有限公司 智才補習學校及ffl作天地 王仁曼芭蕾舞學校 雙妹瞹 動作纖維

Mr Ringo Chan

Ms Indira Sawlani

溫玉均先生 許淑5英女士

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

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 Dance Sports Council

Mr Chan Wai

Hong Kong Youth Arts Festival Association Ltd

Ms Lindsey McAlister

ITS & TS Creative

Ms Karen Suen

Jean M. Wong School of Balet

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

Mr Juergen

方潔萍女士 黎少玲女士

Morhard

Ms Fong Kit-ping

Ms Lai Siu-ling

關豐S蘭女士 松島誠先生

Ms Kwan Yim-Ian

Mr Makoto Matsushima Ms Daphne Wong

Ms Asha Sawlani

STUDENT MEMBERS

陳雅芝女士 盧幸賢女士 王婷利女士

Ms Susanna Chan Ms Candy Lo Ms Wong Ting-li

隱鑑

Mr Cody Choi Ms Kwok Siu-fong

鍾晶女士 黃天華女士

Ms Chung Ching Ms Audrey Wong

Membership Form S員申韻表

Membership

會牵旨

(

)Individual

(

)

(

)Associate*

(

)Student*

Organization

個人會員$200 團體會員$600 普通會員 $100 學生會員 $50

Member1 s Information 會貢資料

Name

姓名

英文)________________________ (Chinese 中文)____________________________

電話（Office 公司）_______________________

Telephone

Fax

(English

傳真（Office 公司）___________________________

Position

職位

公司名稱

____________________________________________________

地址 ______________________ _ ____________________________________________________

Organization Member1 s

Information

Name of the Organization

Person in Charge

團體會員資料

團體名稱

________________________ _______________________________

負責人姓名_______________________________________ _ _____________________

電§舌___________________________ Fax 傳真---------------------------------------

Telephone

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 Q3] Western Folk西方民族舞 | Education教育界 Q31 Criticism寫作與評論 | Cultural and Arts Administration 文化及藝術彳了政 I Notation舞蹈記錄 I I Others其他 1 Ballet

|

Signature

芭蕾

簽署

Q3I Contemporary

Date

|

| World Dance民族民間舞

□ Ballroom國際標準舞 | Technical Arts

|

舞台技術

] Musical Theatre / Jazz / Tap 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

Dean,

住宅）___________________________

_______________________________________________________________

Affliated Cultural Organization 戶/f®■如15■布胃

|

（Home

___________________________

____________________________________________________________________________

Name of Company

Address

（Home f主宅）

School of Dance, Hong Kong Academy for Performing

Arts,

叩plication

form to c/o Office of the Associate

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

Hong Kong Dance Alliance

Hong Kong Arts Development Council

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