舞蹈手札 dance journal/hk 2-8

3

HONG KONG DANCE ALLIANCE 香 港 舞 蹈 聯 盟

o i >

出版人：

香港舞蹈聯盟

編輯部：

白朗唐

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朱絜 曹誠淵

舞蹈手扎盟友：

湯布力

白朗唐

鄭煥美

鄭志鋭

潘少輝

劉自荃

龍植池

馬才和

吳偉碩

曹誠淵

王廷琳

吳易珊

楊春江

余仁華

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Willy Tsao

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Articles

News

專論

舞蹈快訊 Journey to the Lion Rock: A

Things Said In Jest... (Part I)

Marco-Polo Adventure

Author: Tom Brown

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《後獅子山下的遊園荊夢》

笑中之言 作者：白朗唐

Move Over

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《舞過界》

What is Classical about Classical Ballet? (Part III) Author: Susan Street

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員曹馳

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作者：劉玉華 大公報

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Members of Hong Kong Dance 昔曰上海舞校優秀學生

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美國芭蕾舞劇院將訪港獻藝 作者：劉玉華 文匯報

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ARnCLES

專論

Things Said In Jest...

笑中之言…

by TOM BROWN

文：白朗唐

Tom Brown is the Associate Dean of Dance and Head of Modern Dance at the Hong

Kong Academy for Performing Arts where he has taught since 1985. Before coming to

Hong Kong, Mr. Brown danced professionally in New York and Philadelphia in modern dance companies including those directed by Jose Limon, Anna Sokolow, Rudy Perez,

and Daniel Lewis. In New York, he also directed and choreographed for his own company

'Dance Junction3. Brown holds an M.F.A. in dance from Sarah Lawrence College. He has directed over 100 dance productions from Laban score for dance companies, conservatories, and universities internationally as well as choreographed for the concert

stage, opera, drama, musical theatre, and has also directed opera productions. He has notated the work of Humphrey, Takei, and Nijinska and his work has been published in scholarly journals, anthologies of dance

writings, and conference proceedings. He is currently the Chairman of the Hong Kong Dance Alliance and

the Chair of the World Dance Alliance Asia Pacific Status and Welfare Network.

TT ong Kong has a unique culture that is adroitly captured -L -Lby its contemporary choreographers. They face a

香港的特有文化之中，有一項是最為當代本

"

地編舞者所巧妙掌握的。然而在另一方面，他

dilemma, however, in dealing with issues of cultural identity. 們在處理其文化身份的問題上，卻遇到進退兩難的問

Their counterparts elsewhere in China often present a more

题。

tightly focused view and use the weight of conservatism

and the exaltation of classical or traditional achievement as

stand-ins for cultural identity. Hong Kong artists consider

Oo

在中國國內的編舞者，往往能集中注意力，以保守主意

many perspectives when composing work reflective of their

的沉重力量，及以歌頌古典或傳統的成就作為其文化身

identity but, are as likely as not, to view the repetition of the

份的替身。然而本港的藝術家在編寫反映其身份的作品

classical or traditional as cliched. Given the myriad inputs,

it is not surprising to encounter critical views of Hong Kong

時，卻會考慮到各種不同的觀點，反而經常會視些古典

artists that fail to discern the astute explication of their milieu

及傳統的重彈為濫調。由於要考慮到種種不同的因素，

that they present. Yet, they manage to put together an

難怪香港的編舞家往往被批評為對其社會環境缺乏清晰

accomplished reading of the rich and diverse currents that define their culture and often manage to do so using means

other than weightiness.

明確的解説。其實，他們卻能將界定其文化的種種豐富 而又各異的暗流，統合而成一較全面的看法；而且往往

能夠避免用沉重的形式來達此目的。

In What Are the Characteristics ofHong Kong Dance, Willy

Tsao describes four qualities common to the work of Hong Kong choreographers. ‘Lightness’ is one of these. Tsao

在《香港舞蹈有何特色》一文中，曹誠淵指出四種香港

distinguishes lightness from emptiness or superficiality,

舞蹈編舞家作品中常見的特點，「輕」是其中之一。曹

instead describing it as the ability to fashion dance statements

4

“to appear effortless when dealing with weighty issues under

把此「輕」與虚無、浮誇劃分，而形容之為能使舞蹈

tremendous pressure’’(l). I have also observed one facet of

「如一葉輕舟，飄過激流」(1)的能力。我亦觀察到香港編

lightness in the work of Hong Kong choreographers. For

舞者的作品中「輕」的一面。更為貼切地，我稱之為

want of a better term, I will call it ‘light-heartedness’. I

believe one way Hong Kong choreographers accomplish

2

「輕鬆」。我相信本地編舞家透過此輕鬆的手法成功地

Mui Cheuk-yin’s Between Bow and String. Photo by Ringo Chan.

making astute reflections of their unique identity is through

明確反映其獨特的身份。

1

light-heartedness.

If one subscribes to the notion that form is content, then

Hong Kong artists value lightness and a light-hearted touch as part of their cultural identity. Their reflection of this in

如果你認同「形式即是內容」的説法，那麼香港的藝術 家正是以此「輕」及「輕鬆」的筆觸作為其文化身份的

一部份。這些特點在他們的作品中是經過細心編排的 ，

their work is “thoughtful” and not the comedy that one sees

on popular television. The thought provoking insights found in the work of these choreographers make EYT’s “frivolity

seem dull and heavy’，(2).

並不像電視中常見的通俗趣劇。這些編舞家作品中所展

現的令人深省的洞察力■使「歡樂今宵」等趣劇中的 「輕浮變得沉悶而枯燥」(2)。

Hong Kong choreographers use light-heartedness in a variety of ways. They poke fun at weighty pronouncements, satirize,

香港的編舞家在使用「輕鬆」的手法上也有不同的方

joke, indulge in slap-stick, even engage in ridicule; but, these

式。他們有的在沉重的聲言中尋求樂趣、有的諷刺、有

are by no means their only or main uses of the device. Rather, they weave rich danced reflections of the complex

的開玩笑、有的沉迷笑鬧、有的甚致投入於嘲弄中；但

contemporary world relying on light-heartedness to act as

這些並不是他們使用「輕鬆」■的唯一或主要途徑。相

antidote for the weight of their statements, to serve as

反，他們在編寫其反映當代複雜世界之豐富多姿的舞蹈

contrast, to highlight their views, and to help them avoid

over-indulgence in the emotions of highly charged issues.

時，以「輕鬆」來調劑沉重的內容，來作為對比，來強

Light-heartedness enables them to subtly approach subjects,

調他們的觀點，以及來避免過於沉醉於其高昂的情緒

through indirection and disengagement, while at the same

中。「輕鬆」使他們能透過間接及抽離的手段，隱晦地

time allowing them to maintain a humanist stance. It

mitigates the sting that might otherwise arise from their

處理舞蹈的內容，但同時亦容許他們維持其人性的態

commentary. In misreading this light-heartedness as

度。它亦減輕了由舞蹈中批判性的內容而引起的 「殺傷

glibness, critics miss the strength and depth of observations

力」。舞評家很多時誤解此「輕鬆」為輕浮，因而錯失

that these artists make about their world. Yet, it is this

approach that enables them to deal as successfully as they

了這些藝術家對世界的強而有深度的觀察。其實，正是

do with weighty issues without losing objectivity and critical

此一處理手法.使他們可以成功地在處理沉重間題的同

awareness.

時，不失卻其客觀性及批判力。

I

In order to illustrate this thesis, I will examine three notable examples, among many, of the application of light­

以下，我會在眾多的本地作品中，選取三個出色的例子

來分析本港的舞蹈家如何使用 「輕鬆」來在觀眾前揭示

heartedness Hong Kong choreographers have used in revealing facets of their culture to audiences. By looking at

其文化的各種剖面。由梅卓燕的《弓弦之間》、黎海寧

Mui Cheuk-yin’s Between Bow and String, and sections of

的《隱形城市》選段及曹誠淵的《三千寵愛》等作品中，

Helen Lai’s Invisible Cities and Willy Tsao’s Sexing Three

我希望可以顯示他們如何使用「輕鬆」來豐富地、深入

Millennia, I hope to show how they use light-heartedness to address serious issues with richness, depth, and strength.

Of the three works examined, humor is most extensively and directly used by Mui Cheuk-yin in her work, Between

地、有力地處理嚴肅的問題。

在三個作品之中，梅卓燕最廣泛及直接地使用幽默於其

Bow and String. Mui, who has been a resident choreographer

作品《弓弦之間》。梅是城市當代舞蹈團的駐團編舞

of the City Contemporary Dance Company, is currently in

家，現在正在Wupperthal重演編娜包殊的作品Ze Sacre

Wupperthal dancing in the revival of Pina Bausch5s Le Sacre du Printemps. She came to modem dance from a Chinese

du Printemps。她由中國舞轉向現代舞發展之前，曾在

dance tradition having spent several years as a principal with

香港舞蹈團中擔任多年首席舞蹈員。《弓弦之間》正是

the Hong Kong Dance Company. Between Bow and String,

她對古典及傳統文化中被緊緊界定的角色的一次超度，

is her exorcism of the tightly defined roles that are found in much of classical and traditional culture, an indictment of

對性別定型的一個控訴，及對人類行為的一場敎訓。

gender stereotyping, and a lesson on how not to behave. 在《弓弦之間》，梅「丑化」那些以别人的性別來取決

In Between Bow and String, the choreographer makes clowns of those who base their behavior towards others on gender.

She could simply condemn the practice. Instead, through

過「輕鬆」的手法，令她的敎訓不單只可以為人接受，

light-heartedness, she makes her lesson not only palatable

而且更可以令人享受。她將這信息化成一次角色倒轉的

but also downright enjoyable. She poses her message as a

jaunt, a foray into reversing roles. Through this reversal,

歷程。透過這形式，梅造成一種抽離的效果，使她可以

she is able to effect a dislocation that allows her to carry

將性別定型的行為引伸出一個荒謬的結論。在風趣的背

gender stereotyping to its most outrageous conclusions.

後，這作品帶有一個意味深長的信息：一個要求我們摒

Behind the fun lies a profound message - a humanist outlook

Oo

其行為的人。她並不簡單地直接指謫這種行為，但卻透

demands that we act humanly toward each other without

棄性別偏見，人性地與人相處的人道主意看法 。

regard to gender. 於舞蹈開始時，五個女舞者同坐在椅子上。她們穿著及

The work begins with five women seated on chairs. They are dressed in floor-length evening gowns with fitted,

地長裙晚裝、鑲珠片的貼身上衣及層層叠疊的鬆身紗 ，

sequined, halter bodices and flared, multi-layered, chiffon

裙。她們的頭髮梳理整齊，配上水晶髮飾及珠光寶氣的

skirts. Their hair is done up with rhinestone tiaras and they

天鵝绒衣領。她們代表著漂亮而高貴的女性。她們那經

wear jeweled, velvet chokers. They represent the beautiful women, the exalted ones, the models who, through their

常在社交版上出現的形像，令我們認為她們是所有女性

regular appearance in the society pages, we are led to believe,

渴望成為的典範。可是，梅對她們的看法卻是扭曲的。

all women aspire to become. Mui’s picture is askew,

這些糢範女性張開她們雙腿，每一個都用左手抱著一個

however. Her paradigms have their legs spread and each

clutches a life-sized, male, doll-like dummy to her breast

真人大小的男性布玩偶於胸前。她們的右手都握著一只

with her left hand. Their right hands hold cello bows with

大提琴的弓，糢仿著奏樂的動作於玩偶上彈弄著。這些

which they imitate the playing action against the dummy.

玩偶都是穿著禮服、白領帶、背心及黑褲。伴奏著的是

The dolls are formally dressed in white tie and vest with black pants. A recording of Nessum Dorma! from Turandot

歌劇《杜蘭朵》的Nessum Dorma!。在熟悉的人物及扭

accompanies the scene. The humor arises from the

曲的事物並置之下，舞蹈中的幽默悠然而生。那些女士

juxtaposition of the familiar with the thing out of kilter. The

們的打扮得宜，姿態正確，拉弓完美，音樂美妙：可

women are right; their posture is correct; the bowing perfect;

□

是，她們卻遺下了她們的大提琴，取而代之卻是這些玩

the music beautiful; but, somehow they’ve mislaid their

偶。

cellos and instead picked up these dummies.

At the beginning, the women maintain their decorous touch.

開始時，這些女士都能維持其修飾儀態。但隨著舞蹈的

But, as the work proceeds, they begin to beat the dummies

推進，她們開始用弓拍打她們的玩偶，撫弄著它們，用

with their bows, caress and fondle them, wrap their legs

around them, invert them so that the dolls’ legs drape around

她們的雙腿纏繞著它們，把玩偶的腿掛在她們的頸上、

the women’s necks, the heads dangle between the women’s

頭吊在她們雙腿之間地倒置著它們。隨著那些熟悉的因

legs. The humor escalates, as the familiar elements become

素逐漸減少，舞蹈中的幽默感跟著提升。她們不再是社

less and less so. Rather than society matrons, politely demonstrating their very competent and delicately executed

skills at the cello, they become more and more peculiar,

交名流，有禮地展示其演奏才能與巧妙技術，而卻變得 越來越怪異，她們的行為也越來越可笑。

their behavior more and more outrageously laughable.

Soon mayhem ensues. Nothing is as it should be, but has

不久，舞蹈變得瘋狂。所有事物都不再正常，退而變得

deteriorated to the ridiculous. To the accompaniment of the

荒謬。隨著伴奏的音樂轉為比才誘人的《卡門》，女士

seduction music from Bizet’s Carmen, the women toss the

們也將她們的玩偶摔過她們的頭頂，把她們的椅子翻倒

dummies over their heads, tip their chairs back onto them,

於其上，把它們摔開，堆起它們，跳上它們，在它們之

throw them around, pile them up, jump and cartwheel on

them, and finally grab them and dance a tango. At the end

上翻觔斗，最後更拖著它們跳了一段探戈舞。在這幕完

of this scene, swings are flown-in on which the women,

結時，女士們把玩偶放坐在吊下來的揪褪上 ，一邊盪著

screaming and squealing with delight, seat and swing the

它們，一邊快樂地叫喊著、尖叫著。最後，只有一個舞

dummies. As the scene shifts, one dancer and the swinging

dummies are left on stage. She mounts one of the swings,

者及所有坐在鞦韆上的玩偶留在台上。那舞者爬上其中

sitting in a dummy’s lap and together all are flown halfway

一個鞦韆，坐在玩偶的腿上，一起升上空中，恰當地回

into the flies, neatly echoing the link between privation and the desire for levitation(3).

,

應了喪失自由與渴望提升之間的連繫 (3)。

In the next scene the other women return, one by one, dressed in an assortment of costumes. One wears a flamenco dancer’s

跟著的一幕，其他的女士穿

dress, another a bustier and fishnet hose, the third sequined

toreador pants and a tail coat, and the fourth wears a costume that features a short, half tutu sprouting from

her buttocks.

All wear their hair down. They

上了不同的舞衣，一個一

個的回到台上。其中一 個穿著「費明高」式舞

move through the space with slower, tenser actions, tugging at their hair and costumes.

裙，另外一個穿上腰封

As the dummies and the fifth dancer hang

及魚網絲辍。跟著一個

over them, the scene ends with the

則穿上鑲珠片的鬥牛勇

dancers on the floor asking the suspended one: “How is it up there”，she responds: “Don’t

ask”.

士褲及燕尾服。最後一

個穿著一絛只有後半邊 的短芭蕾舞裙。所有舞者 都披下了頭髮。她們以缓

慢而拉緊的動作，一邊拉扯

著她們的頭髮及衣服•一邊 穿過台上的空間。最後，台上 的舞者問仍坐在鞦鍵上的一^人 ：

「上邊如何？」，而她的回應是：「不要問我」°

The interlude provides a lull in the clowning of the previous

and presages the darker shenanigans of the next scenes. It

這間場起著緩和前一幕的滑稽及準備下一場更加深沉的

鬧劇的作用。這間場起著一個關鍵的作用，連接著之前

serves as a keystone, bridging the beginning’s humorous 幽默的角色倒轉與之後的女性作為

role reversal with the more hackneyed images of woman as

一

引誘者，性感尤物，河東獅及肉體

seducer, sex kitten, emasculator,

展露者等陳腐的形像。她們扭動

and genitalia displayed With the

dummies hanging over them, the

著，折騰著，拉扯著她們的衣服及

women squirm, writhe, pull at their

身體，好像要脱開她們的皮膚--要

clothing and at themselves, as if

擺脱這些角色的規限。

trying to get out of their skins —

out of these rigid roles. 燈光熄滅後，場境又變。女士們再

After a black-out, the scene is

次坐在她們的椅子上，雙腿環繞著

restored, the women are again 玩偶，手執琴弓，擺著準備彈奏的

sitting in their chairs, straddling '

their dummies, bows poised ready

to resume playing. Each is

動作。燈光一道道的亮起，照亮著

每一個舞者。她們每人都有其一段短短的獨舞。她們拳

sequentially highlighted in a pool of light. Each has a brief solo. They punch, pluck, beat, whip, caress, strangle, kiss,

打、拉扯、拍擊、鞭打、撫摸、扼勒、親吻、輕咬、戮

bite, poke, stab, smother, upend, shake, stomp, toss, and

刺、窒悶、倒轉、搖動、踩踏、摔開..…總之是虐待她

generally abuse the dolls. After another black-out, the work

ends as the women, again to operatic accompaniment, line

們的玩偶。燈光再次熄滅後，女士們走在台前的低台

their chairs up on a low downstage platform. Potted palms

上，排成一行，再次坐在她們的椅子上。歌劇《杜蘭

rise from the orchestra pit and on the final, maudlin note of

朵》的曲調再次嚮起。數盆棕櫚樹在樂隊席中升起。在

the aria, streams of water pour from the flies, drenching the

詠嘆調那最後的、令人傷感的音符中，一道道的水流從

women. 空中灑下，淋濕了台上的女士們。

Mui portrays the women as the manipulators and the men as dolls to be toyed with, abused, and enjoyed. The women’s behavior is ridiculous. By turning our expectations upside

梅卓燕在舞中將女性描繪成操控者，把男性比作被玩

down, Mui takes the indirect route in criticizing male

弄、被虐待及被享受的玩偶。舞中女性的行為是荒謬

dominated society’s oppression. She places the onus of

的。藉著把我們的期望倒轉，梅使用間接的方式來批評

misdeed on the women’s shoulders. By enabling us to laugh at the whole thing, she also wittily avoids cliches that

以男性為主導的社會對女性的壓制。在舞蹈中，她將此

frequently accompany feminist rhetoric. Finally, rather than

惡行的責任放在女性的肩上。在使我們嘲笑此等行為的

making women victims and men ogres, she subtly removes

同時，她亦巧妙地避免了女權主義者常用的、華而不實

gender from the equation and focuses on the action of one

的濫調。最後，她並沒有把女性與男性分別定為被害者

person toward the other. 與惡魔，而巧妙地將性別排除於問題以外，只集中於批 (part one of a two-part article)

判人與人間相處的行為上。(上)

翻譯：施德安

Gj________________________________

NOTES (1)

Willy Tsao, (2000) “What are the Characteristics of Hong

gP曹誠淵(二零零零)•「香港舞蹈有何特色」,《舞蹈手扎. 第二冊第四期》(香港：香港舞蹈聯盟)•第三頁

Kong Dance" in Dance Journal/HK, Vol. 2 No. 4 (Hong Kong: Hong Kong Dance Alliance), p.3

(2)

Ibid., p. 27

6

Italo Calvino, (1996) "Lightness" in Six Memos for the Next

Millennium, (London: Vintage 一 Random House),第十頁

Italo Calvino, (1996) "Lightness" in Six Memos for the Next

Millennium, (London: Vintage — Random House), p. 10 (3)

(2) (3)

同上，第二十七頁

專論

ARTICLES

What is Classical about Classical Ballet?

-Part III

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.

DESIGN/DECOR

As dance technique progressed throughout the 20th century, the story-line continued to lose its significance until it is

The function of scenic design for classical ballet attempts

now merely a vehicle for the formulaic display of dance-

to be far more intrinsic to the needs of the ballet than merely

technique. Since the traditional ballet stories are now well

a decorative stage adornment. Just as costume and music

known to regular patrons and detailed information appears

are indispensable elements in identifying classical ballet,

in printed programmes, the overall design serves more often

so too is stage design. Its functions are to form the

to fill the stage with visual spectacle than to assist the

background that will help to show the line and subtleties of

choreography.

the choreography, heighten the theatrical effect, and

importantly, set the ballet in a time, place and mood.

STORYLINE

Diaghilev mounted his ballets on the same principle,

Rather than describing and comparing the story-lines of the

carefully combining all of the elements so that the ballet

classical ballets, I will identify some recurring elements in

had a coherent line of communication from the performance

them which link the themes of this genre. Traces of

to the audience. Undoubtedly the combined effect produced

romanticism and its other-worldly features can be found in

such a spectacular visual and aural experience for the

classical ballets. This is hardly surprising since the ballets

audience, that one can hardly evaluate the great creations of

of the Romantic Period were produced in the intervening

the genre, such as The Sleeping Beauty，without giving due

years between Nover re and Fokine. The formula for the

weight to their musical and scenic properties.

classical ballets follows a fairly regular path. The opening

of the ballet introduces the characters and the plot, the middle

develops the story-line, and the last act, or the end of the

image of grace.”(l)

second, presents the crisis. Traditionally the third act

celebrates the happy ending, in which good prevails over

CONCLUSIONS

evil - as good an excuse as any for lots of virtuoso dancing.

After such a description and discussion of the many Love, strictly hetero-sexual love, is a recurring central

component aspects of classical ballet, it is clear that no single

feature of many of the classical ballets. Infidelity was harshly

element is exclusive. By combining all the important

dealt with, for example, in Swan Lake, where unfaithful men

elements, however, we can identify the consistent stylistic

were made to dance to death by wronged women. The class

traits which conform to the established rules of the style.

system was upheld by love between princes and princesses

An understanding of the historical development of these

and reinforced by the ‘special’ out-of-class marriages such

traits, along with the evolving aesthetic attitudes and values,

as that in Cinderella.、

allows greater understanding and appreciation of the artform in general and the classical style in particular.

With the notable exception of Nijinsky’s Afternoon of a Faun, perhaps the most extraordinary aspect of the genre is

When ballet succeeded in providing a representational

the strict avoidance of overt references to the body’s sexual

expression of the changing values and aspirations of society,

function. The solos of the protagonists, performed as part

popularity for the genre ensued. When its creators lost

of a couple’s courtship, are suggestive, and whilst the pas

contact with contemporary values, using outdated themes

de deux, a close physical involvement of two dancers, aludes

or forms, then its relevance and usefulness to society waned

to what may eventuate, it avoids any realistic suggestion of

and its popularity, therefore, declined.

the sexual act.

The distinctive 'look’ of the style and the constant revival Considering the holding positions needed to execute some

of the standard lifts in classical ballet, it is quite a feat to have rendered them devoid

of any explicit sexual meaning. A good example is the sitting-lift, where the female sits on top of the male’s hand whilst his

arm is fully extended above his head. The female balances on the male palm, the heel

Oo

of his hand on her pelvis. The mechanics

of the lift are often obscured from public view by the costume; however, the

CM

2

positioning of the hand must be obvious

to the audienceand yet it all remains an

innocent act.

Classical ballet reinforces strict Christian values of morality in an ordered society and the spectacular presentation of

extraordinary yet beautiful movement is the central purpose of the genre. The harmonious blend of story, music and

stage-design further intensifies the audience’s experience and presents the full spectacle of what we now recognise as

classical ballet. Selma Jeanne Cohen, in tackling the definition of classical ballet, concluded: “The classical style may be

the highest manifestation we know of the

of a very small number of works created in the boom period

in Russia, have given the style an elitist, static, museum-

between the elements sustaining their works, and returned

art-form image. A modern audience could be forgiven for

(so successfully in the case of Fokine) to the maxims of

thinking that they are seeing faithful reproductions;

classicism.

however, these revivals, bear only a faint resemblance to

the originals. Unfortunately this misconception only helps

True to one of the main pillars of classicism, classical ballet

perpetuate the myth that classical ballet is a museum art-

remains elitist, but not elitist in its pejorative sense. Although

form. This is clearly not the case, as advances in technique,

its creation and participation are no longer based on

production methods and personal interpretation give each

definitions related to class, the ballet’s physical and

revival a different, if not entirely new, perspective.

disciplinary demands preclude all but the most highly-trained

Many present-day reproductions fail, not because the themes

productions of classical ballet and ballet’s image as a high

are merely old, but for the simple reason that they ignore

art-form, have attracted not only those patrons with the

the fundamental rules and principles laid down for the

considerable sums of money required to pay for tickets, but

relevant balletic style. As so-called classical ballet companies

also those for whom attendance at the ballet is a symbol of

continue to mangle the old works, in a desperate attempt to

their refined taste and upper-class status.

specialists. In addition the lure of elaborate, costly

maintain their audiences with more contemporary interpretations, very few new ballets in the classical style

The reward for those who participate in ballet only as

are being attempted. The original works and their intentions

students is an important factor in the appeal of classical

are not well served by producers who reduce the ballet to a

ballet-training: it provides an education for life. Although

series of all-dancing spectaculars or take excerpts out of

the rules and training methods employed may seem harsh,

context for presentation in divertisement programmes. These

they offer benefits for the discipline of body and mind which

are the very developments against which Noverre and Fokine

are useful to life outside the classroom. Additionally the

rebelled when they called for a unity of purpose and balance

attainment of physical skills, coordination and the experience of movement itself provide a unique,

personal delight and a great sense of achievement. The 20th-century dancer and

choreographer Ted Shawn (1891-1972), when discussing what constitutes a work of art, states: “…the greatest constant of

all is that here in the dance we experience

a rhythmic beauty. . .’’(2)

The outstanding motive revealed by students aspiring to perform in classical

ballet companies, is the desire to ‘escape’.

Since classical-ballet stories neither challenge nor distort the notion of an

ordered Christian society, they are considered a safe haven for the mind. This

may well explain why for centuries

parents have educated their children, especially girls, in the art of ballet.

In the purely academic sense, there seems no doubt that classical ballet does indeed conform closely to the ideals of classicism

espoused by the ancients. However, today the term ‘classical ballet’ is used

somewhat more loosely and the word Original production of Nijinsky’s Afternoon of a Faun. Photo by Baron Adolf de Meyer in 1912.

‘classical’ has now become a genei ic term

Dancers of the Royal Ballet in Les Sylphides

Oo

for all ballet.

the performer.

That audiences continue to patronise performances of the

Classical ballet, contrary to popular belief, is not a museum

ballet repertoire (classical and Romantic) must have a lot to

art-form but has continued to evolve over hundreds of years.

do with the fact that this form of entertainment is considered

The reason for the diminished power of the style in our time

by most to be 'morally safe’ for the younger and the older

is due to the outdated Western cultural values which it

generations of our society. The failure to attract audiences

projects and which have little or no relevance today.

in the middle age-groups will surely become an increasing

problem for the survival of the art form.

2

Perhaps ballet is placed where it was at the time before its

revival by both Noverre and Fokine. It feels as though it is If ballet is not acknowledged as an evolving art-form, then

at a low ebb in history. It needs to become more relevant to

its survival is surely in danger. The evolution of new

life in the 2000.

techniques and dance philosophies throughout the modern (This the the final part of a 3-part article)

era, are as pertinent to ballet as they are to any other dance genre.

The ideals of classicism, as put forward by the ancients and

I

as manifest in classical ballet, provide a broad platform from which to launch dance into the 21 st century. There is nothing in the theories of either Noverre or Fokine which preclude

NOTES

their adoption as a basis for producing new classical ballet

works. The canons for the style laid down by these great

(1)

Reflections on Dance and Dancers (Middletown, Conneticut:

artists have proved successful, and if they are applied to

contemporary themes, music and values, classical-style

ballet can once again delight the audience and challenge

10

Selma Jeanne Cohen, (1986) Next Week, Swan Lake: Wesleyan University Press), p.124

(2)

Jean Morrison Brown, ed., (1980) The Vision of Modern

Dance (London: Dance Books), p.101

%剪報服務

ro£55CtfPraVG

二零零零年零九月十八日

大公報

演繹多種角色提升藝術修養 --訪伯明翰皇家芭蕾舞團獨舞員曹驰 文：劉玉華

年三月份曹驰隨舞團抵港時本來要擔演舞劇《愛

排。」

德華二世》中重要角色之一加弗斯頓(Gaveston) (愛德華的同性戀愛人)，可惜他因受傷關係，被迫臨

初期難擺脱古典動律

時易角，只能扮演朝臣蘭開斯特(Lancaster)，使一心前 來觀看這位年輕中國男舞者表演的觀幂慨歎無緣全面地

欣賞其演技與舞藝。

未離開北京前，曹驰在學校裡跳的盡是些長篇古典芭蕾

經典劇目，從沒有演過當代中國或外國編導的創作，大 術•賓利是與他合作的首位當代編舞家 ，也是相處至今

而倫敦的觀尿五月底六月初既有緣看到曹驰跟佐久間奈

日子最長的一位。

绪演出的《吉赛爾》「豐收雙人舞」，又可觀賞他擔演 大衛•賓利(David Bintley)新近編排的大型舞劇《亞瑟

曹驰申述體會道：「我喜歡跟大術一起合作。以前我十

王上集》(Arthur part I)中蘭斯洛特(Lancelot)(亞瑟王的

分孩子氣，審美觀也比較膚淺。記得頭一次大術讓我排

好朋友及夥伴)、同一舞劇內他又扮演象徵撒瑟遜族人

演他創作的爵士版本《布朗寺院之歌》(Carmina

(The Saxons)的白龍(White Dragon):在《莎士比亞組曲》

Burana)-我的身體根本不懂按他的要求移動，覺得那

中他演出哈姆雷特(Hamlet) •在巴蘭欽的作品《第十街

種動律非常彆扭；自己跳的應是古典芭蕾的動律，心極

屠殺事件》(Slaughter On Tenth Avenue)種則擔任酒保的

很不願意。後來，我和大術的溝通多了，體會到他編排

角色。

的舞蹈非常多樣化，他直接影響了我對舞蹈藝術的看

法。 由此看來，伯明翰皇家芭蕾舞團的藝術總益大術•賓利 相當看重曹驰的潛質，方讓他擔纲不同類型和風格的角

「演他的作品對我影響很深。他的某些創作我現在演起

色•藉以磨練及提升他的能力。

來已感到很順暢，但他的另外一部分劇目我跳的時候仍 倍覺不自然。

獲藝術總監賓利重用

「舉例説，以爵士樂曲作配樂編排的《莎士比亞組 曹驰亦深有同感地表示：「今個舞季是我第六年跟舞團

曲》，我極之喜愛那音樂，『哈姆雷特』開場時一段集

簽約，大術讓我擔演了他編排的許多角色，他肯定是喜

體組舞實在絕妙，我真正地享受演這場舞。然而，接著

歡我的表現。我想，自己應是大術偏愛起用的舞者之

表演獨舞時，心裡則不停提醒自己不能跌倒’ 一定要完

一。縱使我自知並不像羅伯特•帕克(Robert

成演出任務。

Parker)、沃爾夫岡•斯托爾維策(Wolfgang Stollwitzer) 等首席演員般秉賦了自然的活動能力(natural

「原因在於我是個『左撇子』，往左面轉或做左面的動

movement) •大術仍經常分派重要的角色給我’因我能

作我很會順溜，但其他大多數人卻是做右面的動作較順

洞悉他心目中的要求。

溜。排練的時候，這最使我感到頭痛，也是我要面對的

「十一月的匯演節目晚會•我和佐久間奈緒將首演大術

作呀！況且，大術是創作者，跳他編的舞蹈•我一定要

特別替我倆編排的古典芭蕾雙人舞《威爾第的春天》。

依他的要求行事：除非我真有別的想法’方會跟他商

這真有點敎我受寵若驚。要知道，大術很少專門替個别

量，提出修改的做法。上述這種困擾我的情況如今已改

舞者排演這類作品。可惜，這個星期因傷痛我暫時不能

善了一點。」

最大考驗。我不能因此而與別不同地獨個兒往左面做動

出席綵排。刻下，他會先與日籍女舞蹈員綵

「大術是位非常有主見的編導。」曹驰繼續描述他對大

「不過，我個人認為自己更擅長演出古典芭蕾的劇目 ，

術.賓利的看法：「他每次進排練室都是準備充足的 •

我的身體條件也更適合演繹古典作品。假如可以選擇的

他清楚確切地知道其作品究竟要達致怎樣的一種狀況 。

話，我寧願演出更多傳統大型長篇劇目。至今我只演出

這幾年來，就只有一次見到他罕有地在排練的中途完

了《胡桃夾子》和《歌碧麗婭》兩齣舞劇•其他的經典

全停頓下來，其構想的意念像被什麼東西堵塞著似的。

古典制目都未有機會參演。

他很少會讓舞者任意即興創作動律。他的工作方式優點

在於不會浪費舞者的時間，但有時候即使舞者覺得他設

「我還年輕，完全能勝任擔演範圍更廣的古典劇目。待

計的動律不太順暢’仍得按照其指示排練。」

我年紀大了再轉到現代劇目方面去發展也不會有問題。

我很希望能在舞台上展示一己修練的古典芭蕾舞藝身 身為獨舞演員，曹驰是否覺得伯明翰皇家芭蕾舞團的保

手。」

留劇目•能提供足跔的機會•讓舞者盡展所長？

每年舞季结束，曹驰都趁著五個星期的休假返國探親，

他答道：「我應當稱得上是大銜的愛將之一。演繹大術

並抽空到舞院附屬中學敎課。談到中國芭蕾舞演員的優

的作品對我的藝術修養很有幫助。可能大術創作時只集

點，他表示：「中國芭蕾舞演員具備很強的技巧修練，

中球磨他的構思，選角時順理成章地較傾向挑選那些慣

技術很高超，但表演的造詣則嫌不足，欠缺演出多樣化

常與他合作的演員，難免會忽略了某些舞者。我們團的

舞蹈風格的能力。這可能跟我們的文化和社會背景有

女演員在大衛的一些作品中，很多根本派不上用場，這

關。我以前也不習慣在師長們面前毫無保留地炫耀一己

情況跟他的創作風格有一定關係 。

的特長，在台上表演並未能完全開放袒露自己，現在的 學生接觸面要是比較廣的話，往後改善表演能力的趨勢

冀多演傳統長篇劇目

應該會越來越好。」（下）

Hong Kong Dance Alliance

香

港

舞

蹈

聯

盟

Membership Drive & Renewal會員招務及重新登記

Official Hong Kong Organization of the Worl

lliance

支持本港舞蹈活動 Hong Kong Mnmtual

舞蹈表演節扣優寒#

B

蹈年獎及晚會

dance promotion 推廣諱 _’ 萍 Ik。 -气、 i Discoums on Dflnct moDucins 界舞蹈聯盟香港區代表

primary voice and support group for dance in Hong Kong

|舞蹈界表達意見

J

2

剪報服務PRESS CUPPING

二零零零年零九月二十八曰 大公報

演繹多種劇目

全面展示實力

美國芭蕾舞劇 院將訪港獻藝 文：劉玉華

■個國際級芭蕾舞團的實際 要 真正領略 演出水平，最起碼是親身收賞舞團公

院首演。香港觀眾將會看到該團

組台柱明

星輪流每晚擔演主要角色。

演一鉤大型長篇劇目及一台精選節目匯演。

瑪莎 長篇劇 目最能讓觀眾全面檢閱幂多舞

葛蘭姆《天使的消遣》首演至今已五

十二年。大半個世紀的歲月並沒有磨

滅現代舞先驅者昔日歌頌愛情的詩

蹈員的 實力，也容易敎人體會前後

情畫意。這個抒情的舞蹈極感性

台各個 部門工作人員的協調能力

地描繪了愛戀時情人骤悲、驟

、技術 涵養，評估整體的製作水

喜、欣慰、佻皮等種種年輕的

平。

情懷。三對舞者分別代表了戀

精選的 中篇、短篇作品及經典

愛的三個屬面。全舞長約十七

劇目的 折子舞，除了能使各身

分鐘。是次演出由前瑪莎•葛

懷絕技 、魅力四射的台柱明星

蘭姆的資深女舞蹈員淺川高子

有盡展 所長的機會外，更可呈

負責排演。

現舞團 保留劇目多樣化的類别

•觀眾 可從中較廣泛地賞析舞

選用柴可夫斯基同名樂曲作配

蹈員的 表現能力與適應不同風

樂的《主題與變奏》乃一齣無

格舞作 時的應變能力。

情節性的舞蹈，四七年於紐約 市中心劇院首次公演，它讓人 再一次深深地感受到十九世紀

今回美 國芭蕾舞劇院訪港公演

的兩套 劇目，可謂恰如其分地 配搭出 上佳的組合。十月四至

Marcelo Gomes & Stella Abrera In Division of Angles《天使的消

遣》.Photo by Marty Sohl.

六曰先 演三幕大型古典舞劇《 唐•吉 訶德》，十月七日繼而推出包括美國

末二十世紀初聖彼得堡馬速斯 基劇院內皇家芭蕾舞團星光熠 熠、瑰麗輝煌的場面。全舞長

約二H----- 分鐘。

當代現 代舞編導瑪莎•葛蘭姆和拉•魯波維 奇、十 九世紀古典芭蕾舞編導佩蒂巴 、二十

《草原》乃一個為十四位舞者及一組群舞舞

世紀新 古典主義芭蕾大師佐治•巴蘭欽及前 蘇聯時 代偉大的芭蕾敎育家兼編導華格洛娃

隊編排的無故事性作品’長約二十分鐘°拉

創作的 多齣不同時代中、短篇劇目和選段折

新創作。《草原》首演於九九年十月•是魯

子舞'

實叫人倍感雀曜。

•魯波維奇經常應邀替美國芭蕾舞劇院排演 波維奇第四鉤專門為該團編排的舞蹈°

全劇約長一個半小時的《唐•吉何德》留傳

《戴安娜與額泰安 》雙人舞’呈現了俄羅斯

的版本很多。這次舞團搬演的乃該團藝術總

一代芭蕾舞敎育家兼編舞家出類拔萃的数學

監基雲•麥健時與蘇姗•鍾斯按佩蒂巴與哥

法如何造就卓越舞蹈員的成果。全舞體現J

爾斯基原有的編排，再重新排演的版本。這

俄羅斯芭蕾學派的獨特風範°

個版本於一九九五年六月於紐約大都會歌劇

《海盜》（又譯作《海俠》）雙人舞與《睡美

睡美人》婚禮雙人舞版本，實由已故的著名

人》第三幕婚禮雙人舞雖同屬佩蒂巴經典長

英國編舞家肯尼夫.麥美倫排演，他並在原

篇舞劇的折子舞場面•但舞團今趟公演的《

有的基礎上添加了一部分自己的舞段。

Theme and Variations《主題與變奏》.Photo by Martha Swope.

剪報服務PRESS CUPPING

二零零零年零九月二十八曰

大公報

昔曰上海舞校優秀學生 陳雁任美國芭蕾劇院獨舞員 文：友海 許大家對一九八八年七月十九日晚上海

蕾舞劇院，如今已擢升為該團的獨舞演員。

市舞蹈學校學生們來港參加國際舞蹈學 院舞蹈節，於演藝學院表演的情況，早已沒

十二年前上海舞校學生訪港演出翌日，我去

有印象。然而，當晚演出《雷雨》和《唐•

探望該校校長凌桂明，見到了陳雁。清純嬌

吉訶德》兩段雙人舞的湖南姑娘陳雁的表現

柔的她仍脱不了學生本色，因校長在場，説

•不負幂望，至今仍敎人惦記。

起話來很恭敬，又带點靦腆；很多時候邊説

還邊看看坐在身旁的凌校長。自此一別，再 那年，陳雁剛滿十九歲。她八七年參加瑞士

沒有她的消息。

洛桑國際芭蕾舞比赛，因表演《歌碧麗亞》 第一幕中的女子變奏獲頒巴黎舞蹈基金獎。

十月初，舉世知名的美國芭蕾舞劇院訪港演

之前，她先後在第一及第二屆全國芭蕾舞比

出，一看演員名單，驚覺陳雁亦將隨團抵港

赛中赢得女子少年組和成年組第三名的榮譽

。據悉，她將擔演《草原》及《夭使的消遣

•可説是位蘇露頭角的優秀舞者。

》兩個風格迥異劇目中的領舞。

生於上海的她，自小喜愛舞蹈，未被選拔到

記得凌桂明校長對中國芭蕾演員外流的問題

舞校之前•已是當地少年小夥伴舞蹈團的成

，有不同角度的看法：「從好的方面講，我

員。八一至八八年在上海舞蹈學校接受專業

們培養的學生到外面去，可算是擴大了學校

訓練。其間，曾於八五年以交換生身份到三

的影響力；從不利的方面講’就是很多我們

藩市芭蕾舞學校學習。畢業後•她加盟華盛

辛苦培養的人才都給外國團體吸收了。」成

頓芭蕾舞團達五年之久，並認識了當時任副

長後的陳雁在舞台上究竟凝聚了怎樣一派的

藝術總監的基雲•麥健時（即現任美國芭蕾

丰姿，大家且拭目以待！

舞劇院藝術總監）。九三年陳雁轉投美國芭

mu

報服務

PRESS CUPPING

二零零零年十月十三日 文匯報

舞劇《唐•吉訶德》 文：吳康民

美國芭蕾舞劇院的水準極高，他們自稱是全球公認的頂 級舞蹈團體。從舞蹈來看，無論是獨舞、雙人舞、群

舞.都極精彩，似乎無懈可擊。但以編劇來説，卻有可

議之處。 舞劇以《唐•吉訶德》為名，似乎要借助這部世界名著 的名聲。但芭蕾舞劇表達戲劇衝突有一定極限，它只限

於表演忠奸分明的神話故事，或者歡樂、豐收、婚禮之

類的場面。現在取自《唐•吉訂德》小説開頭一小段， 加插唐•吉訐德大戰風車的一景，內容可説牽強。 Maxim Belotserkovsky in Don Quixote《唐.吉訶德》•

Photo by MIRA.

唐•吉訂德和他的傻僕桑丘.在劇中只是可有可無的配 角，既無舞可跳，又佔戲不多，真正是打琿插科之輩。

這樣，舞劇便很難表達《唐•吉何德》一書的真髓。

-吉何德是西班牙的阿Q，但更正確地説，應該

是阿Q是中國的唐•吉訶德。

不過，人們要看的是舞，而不是劇，因此劇情牽強，也

無話可説。

西班牙作家塞萬提斯的名作《唐.吉訶德》，描寫了一 個窮鄉紳讀當時的騎士傳奇小説入了迷，於是改名唐• 吉詞■德，以俠士的姿態雲遊四方，擬以打抱不平去建立

豐功偉業。故事中以大戰風車一幕最為膾炎人口，成為

諷刺人們不自量力、神經兮兮的典型事例。 美國芭蕾舞劇院來港演出的三幕舞劇《唐•吉詞■德》’ 便是以這個小説的一小段故事為經緯，帶出連場的舞蹈

來。 《唐•吉訶德》的芭蕾舞劇•原是前蘇聯芭蕾舞團的創

作，三十年前■已經在莫斯科上演。蘇聯的芭蕾舞世界聞 名，舞蹈員造詣極高。不久前去世的舞后鳥蘭諾娃更是

蜚聲國際多年的響噹噹的人物。之後蘇聯解體’許多著 名舞蹈員都到西方找尋出路。美國芭蕾舞潮院中，也有

一些是來自原蘇聯的演員。來港演出的男首席舞蹈員來 自古巴，女首席來自烏克蘭。

Carlos Molina, Ethan Brown and Susan Jaffe in Don Quixote

《唐.吉言可德》.Photo by Mark J. Mancinelli.

舞蹈快訊

4EWS舞蹈快訊NEWS舞蹈快訊NEWS舞蹈快訊

To have events incfuded in the news session of the Dance 1 j* Joumal/HK,please send your press release to us by ma^Tr

m

1

I

e-mail or fax listed on the first page of the Dance Journal.

The Opening Performances of Hong Kong Heritage Museum

Journey to the Lion Rock: A Marco-Polo Adventure Environment Dance Series by Pun Siu-fai

香港文化博物館開幕演出 潘少輝環境舞蹈系列

《後獅子山下的遊園荊夢》 Journey to the Lion Rock: A Marco-Polo Adventure, a

《後獅子山下的遊園荊夢》是一個集舞蹈、戲劇、傳統

cross-media site-specific performance specially conceived

戲曲、雜技、意大利民歌與現代音樂於一堂的大型環境

and developed in the context of Hong Kong at the turn of

the century will be presented as part of the opening

藝術演出，將突破劇場傳統規限，

of Hong Kong Heritage Museum. The show is

利用博物館內外不同的建築環境作

inspired by Italo Calvino's famous novel “Invisible

演出。本節目為康樂及文化事務署

Cities”，where the traveler Marco Polo tells the

主辦之「千禧頌」藝術節的重點節

tales of the cities he has seen to the Tartar emperor

Kublai Khan. Set in the unique environment of

目，並為慶祝香港文化博物館開幕

the Heritage Museum, in Pun’s version, Marco

之跨媒體文化盛事。馬可孛羅一角

Polo continues his imaginary journey through the

作為此節目之靈魂人物，將會串連

history of Hong Kong.

The performance will be the latest work

各演出項目，引領觀眾穿梭於香江

百載的時空迷陣。

of Pun Siu-fai’s Environmental Dance Series. Developed at historical sites in

Oo

Hong Kong, it has successfully recreated

是次演出亦是潘兆輝的環境舞蹈系列的最 新作品。透過於不同的、富有歷史義意的

vivid experiences of the past for a wide

spectrum of audiences. It has also

2

場地表演，此系列成功地將過往的經驗重

expanded the concept of theatre space so

現於觀眾眼前。它亦擴展了劇場的空間概

that the architecture and the history of the

念，將場地的建築及歷史都包括為表演的

site become part of the performance.

一部份。

The artistic director ofJourney to the Lion

Rock: A Marco-Polo Adventure is Willy

Tsao, and the conceiver is Pun Siu-fai. The performance includes dances, choreographed by Pun Siu-fai, Willy Tsao, and Helen Lai and performed by City Contemporary Dance

Company, and set design by Ho Yin-fung.

The performance will take place in the new Hong Kong

這次演出的藝術總監是曹誠淵，而概念、 藝術統籌是潘少輝。舞蹈由潘少輝、曹誠淵及黎海寧編

舞，城市當代舞蹈團演出；粤劇由李龍及王超群演出； 音樂由劉以達演出。舞台設計是何應豐。

《後獅子山下的遊園荊夢》將於二零零零年十二月十四

Heritage Museum, 1 Man Lam Road, Sha Tin, Hong Kong, on

December 14-17 (Thu-Sun), 2000, and lasts from 7:00pm -

日至十七日（星期四至星期日）在香港沙田文林路一號

10:00pm. Audience members may attend at any time during

香港文化博物館演出。演出時間為晚上七時至十時。觀

that period.

眾可於表演間隨時進場。

16

布拉格載譽歸來

Presents

藝舞蹈學院《舞過界》

QMove Over’

往葵青、澳門演出 The Academy Dance Ensemble culminates a triumphantly successful 2000 season with its new production, 'Move

香港演藝學院舞蹈學院在二零零零年收獲甚豐，繼本年 四月於布拉格勇奪舞蹈節最佳演出團體大獎之榮譽後 ，

Over/in Hong Kong and Macau. Praised for “impressive

再憑《鳥之歌》赢取香港舞蹈聯盟二千年年獎。本年

technique, slick numbers, quick changes and cool

底，舞蹈學院將作千禧年壓軸演出，四場名為《舞過

choreography” the Academy Dance Ensemble received the

界》的演出分別於十二月一至五日於香港葵青劇院及澳

Grand Prix Prahaa for best school participant at the

們文化中心上演。學院亦會於澳門藝術學院舉行工作

prestigious Prague Dance Festival 2000 and Hong Kong

坊，藉此機會與澳門舞蹈學生交流。

Dance Award 2000 for its production of Birdsong. ‘Move Over' will be performed at the Kwai Tsing Theatre

Auditorium, 1 and 2 December supported through the Leisure and Cultural Services Department’s Reduction of

Hire Charges Scheme and at the Macau Cultural Centre

《舞過界》的演出內容豐富，繼有芭蕾舞、現代舞及中

國舞等不同舞目。芭蕾舞方面包括香港芭蕾舞團藝術總 監謝傑斐之作品《芭蕾探戈》及芭蕾舞系主任高家霖的

Grand Auditorium, 5 and 6 December 2000. Transportation

全新作品《Flame》。而現代舞系學生將會挑戰難度，

for the company on TurboJET is sponsored by Dr. Stanley

演譯三位出色編舞家的作品：澳洲的客席編舞Csaba

Ho and their hotel accommodation is subsidized by Hotel

Buday之作品《Interior》；香港城市當代舞蹈團藝術總

Ritz Macau. Workshops will also be conducted at the

監暨創立人曹誠淵的《逍遙遊》及本院高級講師温玉均

Conservatorio de Macau to introduce the Academy’s work.

的新作《謊言都市》。喜愛中國舞的觀幂將欣賞到全男

班演出之雲南彝族舞蹈《小伙•四弦•馬櫻花》及中國

‘Move Over \ features an impressive array of local and

古代舞蹈《踏歌》。

internationally renowned choreographers’ works. Academy dancers will perform Hong Kong Ballet Artistic Director,

除豐富的內容之外，《舞過界》亦有強大的演出陣容-

Stephen Jeffries’ Tango Ballet Tango; City Contemporary

-超過八十位學生將會參與台上的演出。至於幕後方

Dance Company Artistic Director and Founder, Willy Tsao’s

Wanderings in the Cosmos; and, internationally acclaimed

Australian choreographer Csaba Buday’s Interior. Works

by Academy staff include Head of Ballet, Graeme Collins’

Flame and Senior Lecturer, Aaron Wan’s Urban Myth. Two

面，亦會由演藝學院科藝學院及導師負責。設計人員分

別為蔡敏志、朱瑞英、尹泳湘及Csaba Buday （佈景及 服裝設計）、鄺雅麗（燈光設計）及袁卓華（音響設

計）。

Chinese folk dances: The Stamping Song; and, Boys from Yunnan complete the programme.

《舞過界》定於二零零零年十二月一及二日晚上八時正 於葵青劇院演奏廳上演，五十至一百一十元之門票現於

The Academy Dance Ensemble boasts over 80 dancers, all

香港演藝學院、香港藝術中心、香港會議展覽中心、藝

Academy students. Its creative team includes set and

穗會及通利琴行之快達票售票處發售 。電話訂票請電31

costume designers Gillian Choa, Virginia Chu, and Kassie Wan; lighting designer Alice Kwong; sound designer Yuen

288 288 ;網上訂票’請測覽網址www.ticketek.com.hk。

Cheuk-wa; and, backstage personnel from the Academy’s School of Technical Arts.

本節目獲得康樂及文化事署減收場租計劃資助'

澳門演出將於二零零零年十二月五及六日晚上八時正於 澳們文化中心综合劇院舉行’四十至八十五之門票現於

1 and 2 December, 8:00pm Kwai Tsing Theatre Auditorium

performance tickets from $50-$ 110 are available at TICKETEK outlets, telephone bookings: 31 288 288 or on line at www.ticketek.com.hk. 5 and 6 December, 8:00pm Macau Cultural Centre Grand Auditorium performance tickets from $40-$85 are available at Kong Seng Ticket Selling Network, telephone bookings: (852)7171-7171 or (853)555-555 or on line at www.macauticket.net. All tickets are available now.

廣星城市售票網發售。電話訂票請電（852） 7171 7171或

（853）555 555。網上訂 票，請瀏覽網址 www.macauticket.net ° 噴射飛航之船票由何鴻

燊博士贊助•酒店住宿 費用由壕璟酒店資助。

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8:00pm

5:30pm

1-5:00pm

5-10:00pm

4:30pm

8:00pm

16/11

4:30pm

8:00pm

18-19/11

20-21/11

22-23/11

29-30/11

8:00pm

8:00pm

8:00pm

8:00pm

《時•空•媒•體--柏林舞展》

Theatre, City Hall

Jo Fabian’s “LightHouse”

香港大會堂劇院

Jo Fabian之《燈塔》

Theatre, City Hall

Talk — Jo Fabian’s “New Technology in Dance”

香港大會堂劇院

講座--Jo Fabian之《新媒體舞蹈》

Tamar Festival Centre

Workshop - T. Rubato, A. Huber, L. Y. Shang, T. Lehmen & others

添馬艦文化中心

工作坊--T. Rubato, A. Huber, L. Y. Shang, T. Lehmen & others

Exhibition Hall, Sheung Wan Civic Ctr.

Extensions — Xavier Le Roy & Stefan Pente

上環文嫉中心展覽廳

擴展—Xavier Le Roy & Stefan Pente

Theatre, Sheung Wan Civic Ctr.

Anna Huber’s “Brief Letter” & Urs Dietrich’s “An der Grenze des Tages”

上環文嫉中心劇院

Anna Huber之《書簡》及Urs Dietrich之《邊沿曰誌》

Studio Theatre, HKCC

Tanzecompagnie Rubato’s “This is not a Lovesong”

香港文化中心劇場

Tanzecompagnie Rubato之《這不是一首情歌》

Studio Theatre, HKCC

Tanzecompagnie Rubato’s “This is not a Lovesong”

香港文化中心劇場

Tanzecompagnie Rubato之《這不是一首情歌》

Theatre, Sheung Wan Civic Ctr.

Anna Huber’s “Brief Letter” & Urs Dietrich’s “An der Grenze des Tages”

上環文娛中心劇院

Anna Huber之《書簡》及Urs Dietrich之《邊沿曰誌》

Studio Theatre, HKCC

Anna Huber & Lin Yuan Shang’s “L’Autre et Moi”

香港文化中心劇場

Anna Huber及林源上之《別的我》

McAuley Theatre, HKAC

Thomas Lehmen’s “Distanzlos”

香港藝術中心麥高利小劇場

Thomas Lehmen之《舞距離》

Low Block Exhibition Hall, City Hall

Hebbel Theater’s “SOS”

香港大會堂低座展覽廳

Hebbel Theater 之《SOS》

Low Block Exhibition Hall, City Hall Laurie Young’s “Brand New Bag” 香港大會堂低座展覽廳

Laurie Young之《名貴新袋》

Date日期

Time時間

Venue場地

Group團體

Choreographer

Hong Kong Dance Company

Dancers of the Company

香港舞蹈團

香港舞声團.團員

編舞

Motions & Emotions”《舞影流韵》 11/11

|pm

Sai Wan Ho Civic

12/11

3:0i |pm

Centre Theatre,

西灣河文娛中心劇院 Ngau Chi Wan Civic

18/11 19/11

3:00 pm

Centre Theatre 牛池灣文嫉中心劇院

Time Out! Love Runaway”《戀愛中逃站》 11/11

8:00pm

Shatin Town Hall, Auditorium

E-side Modern Dance Company

東邊現代舞蹈團

Jacky Yu 余仁華J

沙田大會堂演奏廳

18/11

8:00pm

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

hn in Dancing” -- HKCC Education Series 2000 18/11

4:45-

Foyer Stage, HKCC

DanceArt HK & HK Cultural Ctr. ~ Audience Bdg. Session

5:45pm

香港文化中心大堂

動藝及香港文化中心觀眾拓展部

inal Showcase of “Sat-dan-Day” Dialogue 25/11

「樂在舞翩翩」之新秀創藝嘉年華

5-7pm

「帶亞諾星期六」我有Say作品演出

DanceArt Studio

DanceArt Hong Kong

動藝排練室

動藝

‘Balletin Sneakers”《新裝芭蕾--足尖變奏齊齊樂 4/11

3:00pm

Shatin Sha Kok Est. Shopping Ctr. 沙田沙角屯p商場

7:30pm

Tuen Mun Leung King Community Ctr.

3:00pm

Yuen Long Tin Yiu Est. Shopping Mall

屯門良景社區中心

18/11

元朗天耀屯卩商場

7:30pm

Tai Po Community Ctr.

3:00pm

Tseung Kwan 0 Tsui Lam Est. Community Ctr.

大埔社區中心

19/11

將軍澳翠林社區中心

26/11

3:00pm

Tsuen Wan Discovery Park Shopping Ctr.

7:30pm

Wong Tai Sin Fung Tak Community Ctr.

筌灣愉景新城商場

黃大仙鳳德社區中心

Hong Kong Ballet 香港芭蕾舞團

Allen lam 林偉源

,

Members of Hong Kong Dance Alliance 個人會員

香

INDIVIDUAL MEMBERS Andrew Broomhead

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

港

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 宋孟青女士 局家霖先生 黃亞華先生 黎倩樺女士 李翠女士 雷佩瑜女士

［團體會員

曹誠淵先生 黃翠玲女士

Ms Susan Street

Mr K. K. Wong

Mr Billy Cheng Ms Wendy Chu

Mr Graeme Collins Mr Huynh a-hoa

Ms Amy Lai Ms Doris Li Ms Florence Lui

白朗唐先生 陳德昌先生 錢秀連女士 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

ORGANIZATION MEMBERS

Mr Willy Tsao Ms Scarlet Wong

溫玉均先生 許淑嫉女士

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 孫名翠壮 陳頌敝士 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 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

會

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 舞蹈菲場 蒲窩青少年中心 X 一劇場 歪的ZJX体 多空間 1

名

普通會員 張秀芬女士 郭淑欣女士 莫裕康先生

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

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 蜉贿舞團 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 香港國際專業舞顯育總會 香港青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 雙妹噯 動作纖維

Mr Ringo Chan

国

聯絡人 方舟舞蹈劇場 霹靂啪:勒身體劇場 陳紹傑舞蹈中心 精舞門標華舞蹈學院 城巿當代舞蹈團 接觸點 動藝 舞渡界 舞城 戀舞狂

Mr Tom Brown

Ms Indira Sawlani

Daryl Ries

Ms Priyadarshini Ghosh-shome

施素心女士 黃國強先主

Mr Clement Chan

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 Counc3

Mr Chan Wai

Hong Kong Youth Arts Festival Association Ltd

Ms Lindsey McAlister

ITS & TS Creative

Ms Karen Suen

Jean AA. Wong School of Ballet

Ms Arma Chen

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

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 Cheung

Sau-fan

Ms Kwok Shuk-yan

Mr Juergen

方潔萍女士 黎少玲女士

Ms Fong Kit-ping Ms Lai Siu-ling Ms Asha Sawlani

Morhard

關豐8蘭女士 松島誠先生 尹子欣女士

Ms Kwan Yim-Ian

蔡嘉樂先生 郭少芳女士

Mr Cody Choi

Mr Makoto Matsushima Ms Maria Assunta Wan

Ms Daphne Wong

，單

|學生會員STUDENT 陳桂思女士 BS晶女士 黃天華女士

MEMBERS ■

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

Ms Kwok Siu-fong

Membership Form

暑員申韻表

Membership

會错

(

)Individual

(

)

(

)Associate*

(

)Student*

Organization

個人會員 團體會員 普通會員 學生會員

$200 $600

$100

$50

Member1 s Information 會員資料

Name

姓名

Telephone

(English

英文)________________________ (Chinese 中文)____________________________

電話（Office 公司）______________________

Fax］專真（0幵ice公司）___________________________ Position

職位

公司名稱

Information

Name of the Organization

____________________________________________________

Telephone

電話

團體會員資料

團體名稱

Person in Charge負責人姓名

________________________________________________________

______________________________________________________________

___________________________

Correspondence Address

通訊地址

Fax

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 QZ Critidsm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 | Ballet

|

芭蕾

傳真------------------------------------

________________________________________________________

Applicable Dance Category

|

____________________________

地址 ____________________________________________________________________________

Organization Member' s

|

（Home住宅）

_______________________________________________________________

Affliated Cultural Organization 戶斤屬藝如15機構

1

住宅）___________________________

____________________________________________________________________________

Name of Company

Address

（Home

Signature

簽署

QZ] Contemporary

Date

|

| World Dance民族民間舞

O Ballroom國際標準舞

|

Technical Arts

舞台技術

|__ J 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 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

演藝舞蹈學院足跡遍世界各地I屢獲好評 本年更赢取布拉格舞蹈節

最佳演出團體大獎。 切勿錯過演藝舞蹈學院▲ 首度跨區

「過界」

演出。

The Academy Dance Ensemble participates in high-profile international artistic events with outstanding results. Recently, it won the Grand Prize

for the best school participant at the Prague 2000

Macau Cultural Centre Grand Auditorium 5 & 6 Dec 2000 8:00pm Ticket Prices: $40 - $85 Tickets are available at Kong Seng Ticket Selling Network Ticketing Enquiries: Macau (853) 555 555 Hong Kong (852) 7171 7171 Internet Booking: www.macauticket.net

澳門文化中心綜合劇院 Presented by

ZX

HONG KONG ACADEMY ▲ FOR PERFORMING ARTS

吁沿浈钱少烷 主辦

www.hkapa.edu

十二月五及六日晚上八時正 票價：$40 - $85 門票於澳門廣星城市售票網發售 票務查詢：澳門(853) 555 555 香港(852) 7171 7171 網上訂票：www.macauticket.net Acknowledgement 嗚謝： Dr. Stanley Ho 何鸿燊博士

Hotel Ritz Macau 深環酒店