舞蹈手札 dance journal/hk 2-9

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Published by :

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Editorial Board :

Tom Brown

Chu Kit Willy Tsao

Sbscription Dance Journal / HK is distributed free of charge to members of the HK Dance Alliance. Yearly

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香港演藝學院 圖書館 THE HONG KONG ACADEMY FOR PERFORMING ARTS

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1 2 DEC

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Articles 專論

Things Said In Jest...

(Part II)

42nd Street Comes to Hong Kong

笑中之言…(下)

百老匯名劇《第42街》

田

十上月份December

^0

Author: Tom Brown

作者：白朗唐

B

Reflective Conversation in the Choreographic Process Author: Vanessa Cheum

舞蹈與職安健

作考：陳錦

瓤 Review

舞評

Dance Alliance News

舞盟快訊 National Ballet of China Author: Kevin Ng

QQ

香港舞.蹈聯盟會員名單

Members of Hong Kong Dance

Press Clippings 剪報服務 大公報

《玩唔玩得起》 反歧視的娛樂劇場 作者：何俊輝

Alliance

31

專論

ARTICLES Things Said In Jest...

(Part II)

笑中之言…(下)

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 Junction'. 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.

U

nlike Mui Cheuk-yin, Helen Lai uses humor sparingly and as a balance for the fragmentation and sense of

與

梅卓燕不同，黎海寧在她的《隱形城市》中並 不多用幽默，只用它來平衡舞蹈中的破碎及抽

dislocation in her Invisible Cities. Lai, who has been 離感。被傳媒稱為「香港現代舞女王」的黎海寧以古典 described by the press as the ‘queen of Hong Kong modem

dance’ began her training in classical ballet. After studying

芭蕾舞開始其舞蹈訓練。在英國當代舞蹈學校畢業後，

modem dance at the London Contemporary Dance School

返港編排商業電視節目、流行音樂和巡迴時裝展的伴

she returned to Hong Kong to produce back-up choreography

for commercial television, pop music, and trunk shows. A

舞。她是香港城市當代舞蹈團的創團成員，亦曾是該團

founding member of the City Contemporary Dance

的藝術總監和駐團編舞家，曾為本港和外國舞蹈團編寫

Company she has served as its artistic director and resident

了數十鉤現代舞蹈。

choreographer and has choreographed dozens of modern dance works for Hong Kong and international companies.

04

《隱形城市》是黎海寧大約地根據卡爾維諾（Calvino）的

Invisible Cities is loosely based on Calvino’s work of the

同名小説而編寫成的作品，是一齣多層面，多元化的舞

same title. Lai’s is a multi-layered, many-sectioned work

蹈。整個作品由一些不繼重現的元素所貫穿連接一包

connected by recurring appearances of an on-stage narrator

括了一個在台上頌讀卡爾維諾原文的旁述者、一個吉他

reading from Cal vino’s text, a guitar player, and props such

as suitcases, umbrellas, cloths, ropes, confetti, garment

演奏者、以及手提衣箱、雨傘、衣服、繩索、五彩碎

draped clotheslines, and television monitors. The action of

纸、掛上了衣物的曬衣繩及電視螢光幕等道具 。舞蹈本

the dance is played out on a multi-leveled stage with

身則是在一個多層的舞台上進行。舞蹈員可以由台側'

entrances and exits from the side and back stage as well as

台後、舞台地板上的活門或藉著穿越部份佈景等方式進

into traps in the stage floor and over and from parts of the

set. The musical setting employs a sectional form as well,

出舞台。音樂方面亦採用片段的形式，包括了由歐亞作

with selections ranging from art music, contemporary, and

曲家根據中西樂傳統所編寫的藝術音樂、當代及古典作

historic work from Asian and western composers and

品。舞者的衣服各異，但都是簡單而又色淡，大部份輕

traditions. The dancers are dressed in a variety of simple,

light colored costumes, many have a draped and flowing quality while others are brief and neutral, evoking a sense

of clothing without covering.

鬆飄逸，但亦有些是短而沒有確定性質，散發著一種毫

無掩飾的味道。

The work has about it a floating quality, in part because, throughout the dance, different sections of the stage are

《隱形城市》帶有一股漂浮的性質。這部份是由於在整 齣舞蹈中，舞台均被一道道的燈光分割而成孤立的體

isolated in pools of light, but also due to the set, the props,

the choreographic structure, and a movement invention that

系；但亦由於佈景、道具、編舞結構及那源於姿勢而非

eschews steps for gestures. These at times take on a

舞步的動作創作。雖然它們並非接近默劇的形式，而時

programmatic feeling even though they never approach

常保持了一種不確定的感覺，這些因素卻慢慢累積成一

mime and always maintain a sense of indetermination. This

種程式感。這不確定並非模糊不清，而是黎海寧藉以營

indetermination is not Lai’s recourse to vagueness, but rather

another means by which she invests the dance with a sense

造出那無根感覺的另一手段。

of being adrift. 卡爾維諾的原著與馬可勃羅東遊相關。在黎的舞蹈中，

Calvino’s work relates to Marco Polo’s journeys in the East.

In her work, Lai develops this theme ofjourneying through

她透過一連串的漫遊、移置、離行及孤立來發展出此旅

episodes of wandering, displacement, departure, and

遊的主題。由於此舞編於一九九七年，很難叫人不將之

isolation. Choreographed in 1997, it is difficult to avoid

視作為（最低限度間接地）隱喻了香港回歸所引起的纷

connecting the work, at least indirectly, through its

爭及移民潮。整個作品渗出一種分割與未知的感覺。鄉

metaphors, with the conflicting issues of the Hong Kong

Diaspora and reunification. Throughout, there is a sense of

愁瀰漫。舞蹈大都是在白色的燈光或陰影下進行 ，再加

disconnection and uncertainty. Nostalgia pervades. Most of

上白色的舞衣，營造出一種舞者與台上空間均被洗淨、

the dance is cast in white light or shadow. Together with the

腿色的感覺。

white costumes the lighting creates a feeling of the dancers and space being leached, deserted of color.

一幕中，舞台地板上的活門打開成一個

然而，在舞蹈的

In one scene, however, a trap door opens and a group is

充滿紅光的洞穴，呑噬了一群舞者。其後，這群舞者再

swallowed-up into a gaping red-lit hole. Later the dancers

次出現在台上，排成一行.一個一個地步向及跳入了這

re-emerge, line up and proceed to jump, one by one, into

個不祥的血紅光洞中。

this ominous red well of light.

Invisible Cities. Photo by Ringo Chan. 《隱形都巿》1攝影：陳德昌

Overall, the work’s tone is one of lightness, one that

總括來説，《隱形城市》的調子是「輕」的，一種可以

accumulates and might easily become unbearable, but

累積而容易變得不可承受的輕。但是，它並沒有變得如

doesn’t, because Lai approaches her subject with wit and a wry sense of amusement.

此。這是由於黎以她的智慧與一種扭曲了的輕怒感來處 理她的題材。

A passage that particularly buoys the work occurs midway through the dance. Six dancers scuttle onto the top of the upstage wall and sit side by side in close formation. Thus

positioned, they proceed to execute a series of movements

在舞蹈的中途有一段特別能減輕整個作品的舞蹈。六個 舞者急急的殷上台後的牆上，緊緊地坐成一排。跟著，

in the extremely confined space with split-second precision

他們在這極之狭窄的空間中，利用有創意的姿勢及道具

using inventive gestures and prop manipulation. The scene

運用，進行了一連串快速而準確的動作。這是一場盡情

is an abandonment to play, joy, and humor and acts as a

遊玩、享樂及幽默的舞蹈，成功地起著支點的作用，平

fulcrum, balancing the two halves of the work aloft. It is

after this wall-sitting sequence begins that the descents into

衡並支持起作品的前後兩半。上文提到的舞者被地洞所

the pit occur. Lai uses this humorous little interval to enable

呑噬的一段舞蹈，正是發生在此之後。黎利用這一小段

her to take greater risks, to uncover the deeper emotions

幽默的間場來使她可以冒險地揭示出跟著的「呑噬」所

that the decent elicits.

引起的深沉情緒。

Willy Tsao uses humor in his work Sexing Three Millennia

as a contrasting device and to enable the audience to

曹誠淵在其《三千寵愛》中用幽默來起一對比的作用，

empathize with an unsympathetic character. Tsao, the

使觀眾可以同情一個不值得同情的人。曹是香港城市當

founder and artistic director of the City Contemporary Dance

Company, has also directed modern dance companies in

代舞蹈團的創辨人及藝術總監，亦曾於加拿大和廣州的

Canada and Guangzhou and is currently also the artistic

現代舞團導演舞蹈。他現在亦是北京現代舞蹈團的藝術

director of the Beijing Modern Dance Company. He has

總監。曹曾經編排過題材廣泛的現代舞作品，同時亦是

choreographed an extensive range of modem dance works

此範籌中的一個傑出的老師及理論家。

and is a leading teacher and theoretician of the genre.

In Sexing Three Millennia, Tsao looks at 3,000 years of

在《三千寵愛》中，曹以真實及傳説中女性的故事來看

Chinese history through the stories of real and mythical

三千年的中國歷史。曹在這傑作的優美终篇中，重温了

women. Tsao’s revisiting of the Cultural Revolution and one

文化大革命及其中的一個主導者：江青。舞蹈由一段將

of its architects, Jiang Qing, in the exquisite finale of his

masterful work, opens with a film montage of scenes from

04

現代北京景像和毛澤東及其他領導人對著群眾演説的歷

contemporary Beijing inter-cut with historical footage of

史片段混合剪辑而成的影片開始。開始時影片投射在台

Mao and other leaders exhorting the masses. The film is

前布幕上，當半透明的前幕升起後，影像繼續投射在台

projected onto the

後的白幕上，而舞

proscenium and as the scrim lifts,

蹈則在其前展開。

continues on the

好一個開場！男女

cyclorama, as the

舞蹈員皆穿上了同

dance unfolds before it.

樣的黃褐色的、飾

And how the

dance unfolds! Men

以锻布的古典芭蕾

and women dressed

舞裙，緊身軍装和

identically in khaki

colored,

鑲紅星和珠片的帽

satin

子，以穿著黑色軟

trimmed classical

膠底鞋的雙腳跳著

tutus, military tunics, caps with red stars and sequins,and

□

Sexing Three Millennia. Photo by Ringo Chan. 《三干寵愛》。攝影：陳德昌。

芭蕾「腳尖舞步」(en

pointe)。舞蹈員在

shod in black trainers on which they rise en pointe. The

dancers frame, intersect, assemble, and reassemble in the space. They move in tight canon, in unified formations with military precision, in brief racing solos, duets, trios, quartets,

台上的空間中「框架」(frame)、相交、聚合及再聚合。

一時是如

他們的舞步一時是緊接的「串聯」(canon)，

軍隊般準確整齊的動作，一時卻是短而急速的獨舞、雙

and groups in which each member is a soloist performing

人舞、三人舞、四人舞及每個舞者都如獨舞員般地表演

individual, complex phrases.

個别而複雜舞步的群舞。

The movement vocabulary is full of flinging, scattering, and

kicking furious leg gestures contrasted with gathering,

舞蹈動作的語彙充滿了摔掷、散揚、和憤怒地踢腿的姿

carving movements of the torso and arms. Everything is

態，與舞蹈員的身軀及雙臂的收聚和削切的動作形成對

done on the run and punctuated with explosive air work and

比。所有動作均是急速地進行，間以爆炸性的、以手和

spins that are propelled by the centrifugal force of the arms

and legs. These take turn, or are juxtaposed against, a double

腿的離心力所推動的跳曜及旋轉動作。這些動作，與一

time, knees held high, marching motif and split-legged grand

快速的、腿抬得高高的步操主題動作和分腿「凌空越」

jete. Partnering episodes move between promenades, and

{grandjete)互相交替和重疊。雙人舞的片段則時而是雙

aided pirouettes done at two or three times the normal speed

參

倍或三倍速度的「慢步轉圈」(promenades)和輔助下進

and scenes were dancers are upended or maneuvered like sacks of potatoes, baggage being hauled around, carted off

行的「單足腳尖旋轉」(pirouettes)，時而是舞者被倒

to make way for something new. The dance, which begins

轉、被操控，像是一袋袋米般被拖行、被運走，以騰出

at an allegro pace, soon steps up to presto, and finally

空間予新的事物。舞蹈由「快板」(aUegro)開始，不久

progresses to a frenetic explosion of movement. The film

便變成了「急板」，最後更演變成狂亂的動作爆

echoes this urgency, with images accelerating and changing

within split seconds: Mao giving way to McDonald’s;

發。影片於此時亦回應了這逼切感，加速中的影像極快

bicycle clogged streets to freeways; courtyard houses to

地轉換著：毛澤東被麥當奴所取代；充塞著自行車的街

high-rises. In the film, modem buildings clone themselves,

道變成了公路；四合院換作了高樓。影片中，現代建築

like DNA strands replicating; while on the stage, dancers

有如遺傳基因鏈般自行複製；舞台上，舞蹈員一個接著

sprint into the space, one after the other along the diagonal, performing a tight canon of delirious movement.

一個的沿著對角斜線衡了出來，表演出一緊密串聯的瘋 狂動作。

From the moment the dance begins, the obvious references to the Cultural Revolution are called to mind. On first glance

這段舞蹈與文化大革命的連繫，自舞蹈開始時便很明顯

it could seem to be all spoof. The long diagonal lines of dancers performing the chasing leaps, echoing and poking

地注入觀尿的腦中。骤眼看，這只不過是一場滑稽的糢

fun at the gun toting ballerinas from The Red Detachment

仿。那些沿著對角斜線表演著追逐跳躍動作的舞蹈員 ，

of Women. But Tsao takes it further, setting these images on

正是對《紅色娘子軍》一舞中的攜鎗芭蕾舞者的回應及

their heads, deconstructing them- the jete changing to pas de chat, or jumps with legs that get tangled in themselves.

嘲弄。但曹更進一步，將這些形像「玩轉」、解構：

The arm gestures metamorphosing from being militarily

「越步」(7＞以)轉成眾腿糾纏不清的「貓跳步」⑺似

precise to frantic semaphores. In its speed, the dance is

c/k/Z)。手臂的姿勢也由軍隊般的準繩轉變成瘋狂的旗

singularly Hong Kong. Tsao processes ideas and images at a pace that can be found in no other choreography. Yet, he

reaches deeply into these images and examines them from

。在這樣的速度下，這舞蹈也變成本地的獨特創作。 曹將意念與影像以一個不會在其他舞蹈中找到的步伐下

a minute perspective. He pays homage to both Chinese and

進行。同時，他亦深入這些影像，仔細地檢驗它們。他

Western antecedents then re-invents, formulating a new

向中國及西方的先例致敬，然後再從中創造，形成一新

perspective on the issues he tackles. While doing so, he is

的角度去探討他的題材。在這過程中•他並沒用迂腐的

never pedantic, he never plods, but whips along with a smile

and a nod resembling, through his choreography, a

訓示，也避免了無力的悶語；而是含著笑'點著頭地鞭

benevolent sage who keeps urging us to be aware; but also,

策著我們。透過編舞，他就如一個友善的智者般•在督

to move on. In his choreography, Tsao makes:

促著我們要小心在意的同時，也要繼續前進。在他的編 舞中，曹做到了：

加

“the sudden agile leap of the poet-philosopher who raises himself above the weight of the

「那些脱離了俗世壓力的詩人一哲學家的

靈敏急曜，表現出他在具有深度與力量的

world, showing that with all his gravity he has the secret of lightness, and that what many

同時，亦擁有「輕」之秘密，而那些被很

consider to be the vitality of the times - noisy,

多人視為當代的活力一噴吵、侵略性、引

aggressive, revving and roaring - belongs to

擎加速聲、c包哮一都屬於死亡的國度。」

the realm of death... ”(l)

(1)

Towards the end of this orgiastic scene, the film images speed to a single blurred frame and one of the dancers slowly pulls

在這狂亂的一幕接近尾聲時，放映中的影像也加速到只

a stylized cage, holding the character Jiang Qing, from

餘下一模糊的定格，而一個舞者亦於此時慢慢地從白幕

behind the rising cyclorama. This striking invention imprints

itself on our imagination, positing Jiang allegorically with

後拉出一個風格化的、困著江青這一角色的籠子來。這

the man in his glass booth, Marat in his bathtub, or Richeleau

一震撼人心的影像，深深的在我們的腦海中，隱隱將江

on his hand trolley. Jiang is portrayed by China’s premiere

青比喻作玻璃被告欄內的人、浴槽中的馬拉(Marat)和

male modern dancer, Xing Liang. Like the other dancers he

is dressed in khaki colored costume. His is a satin, bouffant­ shaped skirt tucked up high around the front and draped to mid-calf behind, worn overtop a leotard. He is bare-footed.

手推車上的黎塞留(Richeleau)等西方歷史傳奇人物。江 青這角色是由中國的首席男舞蹈員刑亮所演繹 。一如其

他的舞者，赤著腳的刑亮亦穿上黃褐色衣服：前方高高 褶起而後擺垂至小腿中的泡狀紗裙和貼身舞衣 。

Xing is a big, muscular dancer who generally commands

the stage with grand virtuosi movement. In the scene as conceived by Tsao, Xing becomes almost weightless. The

刑亮是一個高大健碩的舞者。他經常以高雅的名家動作

corps disperse, leaving him and the cage from which he has

驰譽舞台。在曹誠淵的構思中，刑顯得接近沒有重量。

emerged in center stage. The music changes from the driving

台上舞蹈員四散，留下籠子及將於籠中出現的刑於台中

pulse of the preceding scene to a leaner, more legato tune.

心。音樂亦於這時由前一幕那富動感的拍子轉為較平淡

The contrast between this scene and the one that came before

CXJ

Xing Liang in the role of Jiang Qing in Sexing Three Millennia. Photo by Ringo Chan. 《三干寵愛》中刑亮演繹的江青。攝影：陳德昌

could not be greater. In this change, Tsao’s vision and unique perception is fully revealed. Rather than present Jiang Qing

而流暢的調子。這一幕與前一^幕的對比是無與倫比的。 曹的視野和觀點完全在這變化中顯露出來。曹並沒有將

as a controlling monster, Tsao chooses to imbue the scene

with his humanist point of view. After discarding the gown,

江青描述成一隻操控成狂的怪物，而以他的人道觀點來

Xing dances Jiang, with plaintive, stretching and reaching

作為舞蹈的靈感。脱下裙子後，刑亮以悲哀、伸展和尋

gestures, at times softly lounging upon the horizontal bars

求的姿態演繹江青：一時輕倚籠子的横杆，一時試著脱

of her cage, making tentative forays away from it and finally

retreating back into it. His characterization of Jiang Qing is

出籠牢，但最後仍是退回牢中。他對江青的演繹細緻，

as delicate as Perseus’ disposal of Medusa’s head interpreted

有如卡爾維諾描述希臘神話中波秀士(Perseus)處理曼

by Calvino as a “refreshing courtesy toward a being so

杜接(Medusa)的頭顱為「對一個如此怪物般可怕，但

monstrous and terrifying yet at the same time somehow

同時又有點碎弱的人的一點怡神心意 」＜2)。

fragile and perishable.”(2) In each of these three works humor plays an important role.

在這三個作品中，幽默都起著重要的作用。每一個編舞

Each choreographer employs light-heartedness differently.

家都有其不同的手法來運用「輕鬆」。在《弓弦之間》，

Mui chooses to reverse roles in Between Bow and String,

men become the dolls, women play with them. In the end, however, she concludes that the whole idea of manipulation

梅卓燕選用角色倒轉的形式，以男性為玩偶，女性玩弄

它們為題材，得出玩弄別人是一糟透玩意的结論。在

is all wet. Lai presents a world of uncertainty and

《隱形城市》中，黎海寧展現出一個不肯定及破裂的世

fragmentation in her Invisible Cities and uses humor to reveal

界，並用幽默來揭露及批評她對一個不明朗的歷史性時

and critique her interpretation of a particularly opaque

刻的看法。在《三千寵愛》中，曹誠濶取樂於和嘲弄以

historical moment. In Sexing Three Millennia, Tsao relishes

and ridicules the excesses used in the name of progress. He

uses humor as a contrast, revealing the humanity behind the

進步為名的過份行為。他用幽默作為對比，揭露出一個 因嚐試改變而招致破壞的角色背後人性的一面。

agent whose attempts at change wreak havoc. 雖然「輕鬆」有不同的用法，但在三齣舞蹈中，都同時

Although light-heartedness is used differently in each, in all three works, images of levitation, floating, and

採用了提升、飄浮及無重的影像來支援舞中的幽默。在

weightlessness are employed to support the humor. The

處理沉重的內容時，三個編舞家都以「輕鬆」的觀點來

choreographers all rely on a light-hearted point of view when

説明：

addressing weighty issues and through this device illustrate the observation that: 「正如憂鬱是輕袒的哀愁，幽默是沒有重

“As melancholy is sadness that has taken on

量的喜劇…它質疑自我、世界和整個利害

lightness, so humor is comedy that has lost

關係的網络。」(3)

its bodily weight... It casts doubt on the self,

on the world, and on the whole network of relationships that are at stake.”(3)

作為他們的文化身份的一部份，「輕鬆」被香港的編舞

家用來解決其兩難困局，並在他們的作品中顯露出一獨

In resolving their dilemma by presenting, as a facet of their

步於同儕的批判能力。

cultural identity, light-heartedness, Hong Kong choreographers reveal a critical awareness through their 翻譯：施德安

work that is unique among their peers.

EJ__________________________________________

NOTES (1)

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

(1)

Millennium, (London: Vintage — Random House), p.12 (2)

Ibid., p. 6

(3)

Ibid., p. 19

italo Calvino, (1996) “Lightness” in S/x Memos for the Next

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

頁 (2)

(3)

同上，第六頁 同上，第十九頁

j

論

讀

ARTICLES

Reflective Conversation in the Choreographic Process

by VANESSA CHEUNG

Vanessa Sau Mui Cheung received her dance training in Hong Kong and at the United States.

She is currently a freelancer.

becomes a new reality to the artist and others. The nature of the creative process is chaotic because it oscillates between

the void and the tangible substance of the raw material

employed by the artist. It is a spontaneous process which is filled with numerous possibilities as well as ambiguities.

Introduction

Because of the chaotic and idiosyncratic nature of the

Creativity is associated with a variety of meanings such as

creative process, it is difficult to define art making by using

imagination, fantasy, originality, divergent thinking,

a set of tangible equations. It is possible, however, to gain

inventiveness, intuition, curiosity, intelligence and

insight into this phenomena by examining how one engages

personality. Even considering the breadth of its

in the art making experience.

characteristics, there is little consensus in its definitions.

Although there is a great deal of research centered on

This essay will focus on the process of dance-making

creativity, the process of creativity is still shrouded in

through the exploration of the reflective conversation which

mystery. To formulate an equation which defines such

occurs between the choreographer and the emerging dance

behavior is rather complex, if not impossible. This does not

work. Such a reflective conversation might be exemplified

mean, however, that there is not a way to understand creative

by the ongoing communication between the choreographer

activities.

and the materials as the meaning in a dance takes shape.

The nature of the reflective conversation and its role in the

In cosmology, chaos characterized emptiness of the universe.

evolution of the meaning-making process in choreography

Old Testament theology describes, “the Earth was without

will be explored through the reflective model suggested by

form, and void, and darkness was upon the face of the deep.”

Donald Schdn’s (1983) theory of reflective practice. This

Yet, “light was created to separate the light from the darkness

investigation will provide a glimpse into the understanding

…the creation of heavens and the earth were completed in

of how an idea takes shape as the choreographic process

CXI

all their vast array.” This conflict between harmony and chaos

proceeds.

2

has motivated scientists to search for order in the randomness

of the world, and to develop laws and equations to understand

What is reflection-in-action?

and measure the irregularities and unpredictability of nature.

According to Schon, individuals at work practice reflective

Chaos seems to be what exists before order, and it can also

thinking in solving everyday problems. Sometimes a person

be the light which reveals the darkness. We may not discern

may depend on tacit knowledge, the inherited knowledge

the logic behind chaos, but comprehending it may move the

that is beyond verbal expression which one executes through

world forward to a new level(l).

judgment, decision, or action. This knowledge accumulates

from past experiences and is practiced through choice­ The creative process is very similar to the idea of the

making while working on a task. The individual may not be

formation of the world. For example, artists engaged in

able to explain the motivation behind a particular choice,

making art works assemble worlds from mystery,

but skills derived from previous experiences are

randomness, and unpredictability. From a point of creative

demonstrated as new decisions are made according to

departure, an artist dives into the chaos of the unknown and

context and situation. It is an “appreciation system” that

constantly searches for a logic to help shape the form and

guides a practitioner to carry out actions spontaneously along

content of the work. Order and harmony emerge over time

the way. This appreciation system builds upon the knowledge

through the evolution of the work process. The outcome

and

experiences

of

the

individual

The background image on this page shows part of the “scales combined from primary-directions in four diagonals over all 24 directions” [Transverse 24-rings] (Laban, R. 1926. Choreographie, p.52).

and influences how that individual will frame the situation

be done next,

and develop further action when solving problems. “It is through such tacit norms that all of us make the judgments, the qualitative appreciation of

A choreographer may shift from ‘how’ to build a structurally challenging work to "why’ to

situations, on which our

create such a work. Spatial

practical competence depends”

design is still an important

(2). This “know-how” has no

element, but having the

rules in the formal sense of the

substance to support the form

term. It is experienced and

and structure of a dance

understood when one faces

becomes the primary focus.

uncertainties, and it is often

Thus, choreographers may

beyond verbal explanation. It

change interests to seek the

brings the practitioner into

meaning movements have for

active awareness which allows

them, as well as the meaning

one to make sense of a new

they might hold for others.

situation. Reflective thinking

Therefore, the motivation and

leads the individual through the

intention of the work become

ambiguity of the initial chaos.

essential to the

working

process. Such changes allow a

In the course of shaping

choreographer to explore ideas

meaning and coherence in dance, the choreographer must

constantly judge, evaluate, and

make decisions according to

and open his or her mind to Mui Cheuk-yin in her Once Upon a Time... in her

“Diary Series”，Mui uses dance to capture “feelings relating to people and issues in her life”.

other realms of possibility; and

personal voice and movement vocabulary begin to emerge and

personal perspective and the emerging form. The qualitative

take shape. A choreographer is not just a person who puts

engagement in the conversational process guides the

movements together to create a charming work. The aesthetic

choreographer to create meaning out of the raw materials

experience of producing the work has become part of the

of motion. As the choreographer works through the

reason for doing choreography. Choreography becomes a

choreographic process, he or she depends on the knowledge

way of expressing oneself, and the work is a channel of

accumulated from past experiences, and acts on the material

communication to the outside world. The job of

according to the situation as it unfolds. This is the phenomena

choreographers is to direct their thoughts into movement,

of reflective conversation phenomena spoken of by Schon.

and to let messages come back through movement. The

Hanstein (1987) refers to it as a “heuristic process in which

choreographic process, becomes a passage from chaos to

the choreographer learns about the work he or she is doing

organization as choreographers strive to shape thoughts into

through experimentation, investigation, and discovery”(3).

united wholes.

The role of a choreographer

How does the choreographer start?

In most of the cases, choreographers learn the structural

Schon states that every task starts with a problematic

theories of choreography and learn to play with the elements

situation, yet creative problems do not always present

of dance; the use of theme and variation, discovering

themselves in a clearly formed way. Particularly, in the

different ways of embellishing movement through the

choreographic process, a choreographer is not always

manipulation of dynamics, rhythm and space. Some

presented with a problem but must discover it along the way.

choreographers create works into a harmonious picture,

According to Getzels (1964), discovered problems are those

display an appealing picture with a balance of line, form,

in which “the problem itself exists but remains to be

and proportion. Spatial harmony becomes a primary focus.

identified or discovered, and no standard method for solving

Some choreographers may have preferences for asymmetry,

it is known to the problem-solver or to others’’(4). It is

simplicity, and different forms of energy become important

therefore up to the practitioner to make sense of the situation,

influences. When a choreographer feels any uncertainties,

framing and re-framing the problem throughout the process.

these preferences become new points of departure and a

In the choreographic process, the choreographer frequently

reference point for reflecting on what is done and what might

must define the creative problem. Reflection-in-action

All the background images on pp.9-14 are sketches by the author for her choreography of Falling Angels (1996).

1

and the dance-making process are built upon the structure

choreographer is a knowledge of, or at least a

of questioning and answering, therefore, it is essential for

great curiosity about, the body — not just his

problems to take form before any action can take place.

own, but the heterogeneous mixture of bodies which people his environment.(7)

There are a great variety of approaches to defining a

Artists and choreographers

problem,

each

develop different ways of

choreographer uses a

seeing. “The artist must

particular method according

move more slowly:...

to personal

interest,

perceiving constantly,

experience, or even sudden

absorbing by touch and

and

insight might suggest an

sight what many people

approach. Choreographers

only glance at”(8). The

may begin with an idea that

choreographer sees and

comes from a variety of

finds potential in themes

sources, such as music,

often holding little interest

painting, poems, or events which

occur

in

the

choreographer’s life.

for others. How the Doris Humprey’s Shakers was based on the choreographer's studies of the religion .

choreographer determines the kind of problems worth

Anything that touches the choreographer’s senses is a

solving depends on personal values, surroundings,

choreographic possibility. A potential idea initiates the

experiences, and states of being.

process of problem-solving and allows the choreographer

to roll over, around, up and down in order to impose a new

What constitutes the choreographic problem?

set of rules on the world. These inspirations may not be

As the problem is discovered and given form through a

crystal clear at the beginning, but they provide the

problem-finding stage at the beginning of the choreographic

choreographer with enough interest to pursue the idea.

process, a choreographer has already gone through a rigorous

Sometimes the idea may be ambiguous at the beginning,

selection. Getzels & Csikszentmihalyi (1976) suggest that

such as the mental imagery that is embedded in one’s mind.

there are at least two ways of discovering a problem: 1) the

These images are activated through different sense

problem is clarified through improvisational play and

perceptions; sight, sound, touch, taste, or smell. They are

experimentation, or 2) the problem is a result of gathering

records of past experiences(5). Without conscious intention,

information and deciding upon a specific idea.

one keeps stories and events in mind. When the time comes,

the choreographer recalls the inspiration and decides to play

An example of the first method of problem discovery is

with it. At this early stage of the creative process, the events

drawn from choreographer Mel Wong. He begins his process

seem to emerge from randomness, but even this problem­

of problem-finding without any prior intention. He describes

finding process demonstrates the choreographer’s choice­

how he begins:

making efforts. Intuitively, a choreographer knows what

....I don’t necessarily set up a problem and

direction the choreography is heading and this sets the

try to resolve, but I focus on an idea which is

process in motion.

a mystery to me and start from there. I try to

put myself in a mood or mind frame and act According to May (1975), idea finding is a dynamic battle

upon that mood. I try to put myself in a state

between conscious thinking on the one hand, and the

of awareness on a subconscious level, where

potential insight of a new reality to be born on the other(6).

the subconscious level becomes conscious

An artist or choreographer has to develop the ability to see

through my movement. I love to daydream,

what might be in order to absorb what is. As Humphrey

and when I do, I’m really working — I’m

(1959) said:

letting the process begin to happen.(9)

... the potential choreographer should be predominantly extroverted and a keen

As Wong plays with the material, he reflects on his actions

observer of physical and emotional behavior

which leads him to other actions. It is through the

.... The first mark of the potential

10

engagement and playful experimentation that new ideas

choreographic process proceeds. How the artist constructs

unfold and lead to new activity. Ideas become clear over a

meaning out of movement depends on how that artist

period of time as the choreographer keeps reflecting and

understands, responds and makes sense of the randomness.

questioning possible outcomes.

This is the gradual evolution of making a dance through

reflective conversation. To examine this phenomenon, the By contrast, some choreographers may record the interesting

reflective model suggested by Smyth (1989) will provide

ideas that come to mind and draw from them when needed.

an informative framework. This model consists of four stages

Alternatively, some choreographers plan and research a

defined by a series of questions. 1) “Describing: What do I

subject before setting the problem. I know a choreographer

do?” 2) “Informing: What does this mean?” 3) “Confronting:

who choreographed a work about a wedding. He did not

How did I come to be like this? and 4) Reconstructing: How

know where the subject was going to take him when he

might I do things differently?’’。l). It is in reconstructing /

started therefore; he researched wedding customs and

rendering that the artist embellishes perception and

ceremonies from various cultures. As the research

reconstructs it with skill and experience. This will provide

progressed, the knowledge and information he acquired led

a picture of how a choreographer builds up the appreciation

him to a more specific direction for the work.

system in the choreographic process.

Ideas are all around us. A choreographer has to see, listen,

The model will give a microscopic view of the choreographic

and choose carefully from what interests him or her most.

process, looking at what the choreographer does from the

These observations become the choreographic ideas, and

forming of an idea through the working process to the final

they shape the choreographic problem and guide the process

product. Also, how the choreographer takes the suggestion

of dance-making. Yet throughout the choreographic process

of the idea and furthers it with knowledge and skill to make

things are constantly changing around the foundation of the

the dance come into existence, and to the understanding of

idea. The process of solution-finding is as full of possibilities

a choreographer-at-work. The “interactive relationship、12)

as problem-finding, and change is ongoing. Once the idea

between the choreographer and the material has a nature of

is discovered and takes form, the choreographer is able to

“circularity or reciprocity9^3). The choreographer acts upon

open a new realm of possibilities as the work is conceived.

an idea, while at the same time those actions contribute

One is willing to experience uncertainty and confusion

directly to the further development of the work. Such a

within the problematic situation. The choreographer tries to

cyclical process grows and revolves around continuous

make sense of the situation through experimentation and

refinement of the idea.

begins to reflect on the suggestions which emerge from action. This experimental process enables the choreographer

Describing

to generate new understandings which may redirect or

— A General Picture of the Choreographic Process

advance action. Through the cycle of thinking and

Beginning a new work usually has a sense of vagueness

rethinking, one limits the possibilities and resolves the

because a choreographer is making something out of nothing

uncertainties to discover a new meaning from the emerging

and trying to discover a new reality. Since movement is the

work.

primary material for dance making, the studio is the birth place of a dance. It is the choreographer’s playground, and

In the choreographic process, a choreographer must

the place of experimentation and discovery of a specific

constantly listen to the work and respond qualitatively to

avenue for expression. Being led by the ideas、the

the action on the material. As the material takes shape and

choreographer engages in movement invention through

form, it talks back to the choreographer and re-shapes the

various methods of experimentation originating from the

choreographer’s knowledge. Hanstein refers to this

fundamental question, “What if?” Schon called this an

as a “transformative process in which artist and conception

“exploratory experiment.” He explains, “This is what an

act upon the medium and are, in turn, acted upon by the

artist does when he juxtaposes colors to see what effect they

changing and present qualities of the medium”(io).

make . ... It succeeds when it leads to the discovery of

something’’(14). The choreographer works in much the same

This action of the choreographer may be spontaneous, but

manner, spending time in the studio experimenting to find

the choreographer’s response is a result of the recognition

the right movement.

and judgment of the situation. Every dance is unique to a

choreographer,

he or she learns to adjust as the

When a choreographer starts a new work, the process usually

begins with a preliminary idea. This may include looking

only when a choreographer listens to what the material

for paintings, doing sketches, and selecting imagery, etc.

suggests and utilizes it as a guiding idea that the intention

This investigation during the early stage suggests a direction

and the quality will evolve through time. Eventually, the

to follow with the movement. Sometimes it is the mood of a

work becomes clear.

painting that inspires a choreographer. Other times, it is the interesting juxtaposition of objects, the emotional response

There are many different ways fora choreographer to clarify

to color, or the quality evoked from a work that draws

choreographic intent. Some choreographer may use visual

attention. These elements inform a choreographer and help

images such as sketches, which is one of my perferred

to generate the “what if ’ questions, which in turn inspire

methods as well. Drawing allows me to create a virtual world

ideas for improvisation or movement invention. Without

on paper and gives me unlimited freedom to create whatever

knowing exactly how they emerge, one may end up with a

shapes, forms, and patterns my imagination conceives. I

handful of movement ideas. The next steps of putting

come up with drawings without conscious intention, but the

movement together and teaching it to the dancers become

act of letting my mind and hand go free allows unexpected

another challenge in the choreographic process. The

things to happen. As I move from one page to the next, the

choreographer is faced with the issue of how to make the

traces on the paper become a revelation of the qualities I am

dancers understand the idea and the movement qualitatively,

seeking. My drawings initiate movement ideas, and the

and how to make sure the dancers are interpreting the

relationship between the visual art form and the dance

received information accurately. How can one communicate

generates further ideas and changes, which advances the

ideas clearly so as to allow the audience to react to the

creative process. Visual images can assist a choreographer

movement? A list of “what if” things to try in rehearsals

in questioning a choreographic idea. They also motivate

may come up. Schon refers to this as “‘move-testing

questions about the specific qualities which the idea requires.

experiments,’ in which a deliberate action is undertaken with

Looking at paintings for reference may enhance one’s

an end in mind .…The move is affirmed when it produces

conceptualization process and helps to verify the quality

what is intended for it and is negated when it does not’’(i5).

one wants to capture. How to make use of certain qualities

Sometimes the affirmative result is quite surprising and

and accomplish that choreographically? Similarities may be

desirable. Yet, there are also times that a choreographer does

found between the painting’s qualities and those qualities

not get much out of a rehearsal.

desired in a dance. These observations become a point of

entry for the development of new ideas and movement This situation is “transactional’’(l6). A choreographer shapes

discovery. Making connections between idea and the

the situation, but in conversation with the material, choices

painting assists a choreographer in refining the idea and

are also shaped by the situation. Therefore, a choreographer

focusing on the qualitative development of movement

seeks to understand the dance-making process, while at the

material, from which form and content start to take shape.

same time in the situation to be understood. Visual artist

The clarity of the movement quality is a reflection of the

Elizabeth Murray once said: “…the reality of the process

clarity of intention. As Hanstein wrote:

is something you just have to work with as you’re doing it.

.... As artists, our concern is with the qualitative

Things are always happening where it feels so completely

character of the idea and not particularly with the

out of control — or it’s in your control but it’s also got a

object conditions of the ideas. The insight and

mind of it’s own .... I like getting into this chaos ...the

intuition that guide the creating of artistic forms

painting is as miserable as I am’’(l7).

are derived from attending to the diverse qualities

suggested by the idea. The artist perceives the idea Informing and Confronting

from the perspective of its qualitative character

--Means of Verifying the Choreographic Intent

and seeks to identify relationship, component

At times, the art-making process or the choreographic

parts and ranges of qualities to be transformed

process may seem to be miserable. However, the medium

into the medium.(18)

that the artist is working in is also the doorway which opens

the artist to a greater understanding. The medium the

By researching and questioning, a choreographer utilizes a

choreographer works with will guide the artist through the

qualitative approach to choreography. This qualitative

misery. A choreographer may not know how or where the

negotiation between the choreographer and the medium

work will end up. The process is a prolonged journey leading

becomes the fundamental component in the course of

the choreographer to discover his or her own voice. It is

shaping meaning and coherence of the choreographic process.

12

Rendering: Means of Evaluating and Re-shaping the

rhythm and balance. These environments provide experience

Emerging Work

in conceiving choreographic structure, defining aesthetic

Values: Ways of Seeing

standards, and polishing skills of transforming ordinary

The qualitative negotiation between a choreographer and

things into an artistic expression. Roukes (1982) describes

the material does not happen instantly. Although “know­

this as the analogy skill which is categorized into four basic

how” does not necessarily follow rules and is rather

classes: “1) logical, 2) affective, 3) synaesthetic and 4)

impossible to explain when executed, this tacit knowledge

paradoxical^ 1).

is accumulated from experience. As in a “transaction process” spoken of by Schon, or what Hanstein refers to as

The basic form of the analogy skill is the logical analogy

“qualitative contemplation,” a work depends on a

which is the ability to transfer one subject to another by

choreographer’s shaping and how he or she chooses to be

finding similarities of design or structure. An example will

part of it. A choreographer is an observer, a facilitator, and

be a transformation of certain forms or shapes from painting

functions as an agent in the dance-making process. The

into a dance body. Or, synaesthetic analogy skill in which

choreographer’s contribution and attitude toward the

one uses “sensory comparisons of an interdisciplinary nature:

medium depends on knowledge, skill, and value.

perceptions of touch, sound, vision, taste or smell”(22) and transfers them from one sensory mode to another such as

When a choreographer makes a choice or judgment, the

movement in the choreographic process. Other than using

decision is conditioned by specific ways of seeing which

the analogy skill, metaphorical thinking also serves to guide

are defined by the value system of a person. The process of

one’s ideas in the process of meaning configuration.

choice-making is a reflection of one’s seeing and valuing. A choreographic idea does not come from nowhere; it is greatly

The constructed whole is formed through experiment, trial

influenced by the choreographer’s values. According to

and error, gathering, interpreting, and assimilating

Lewis (1990),

relationships from scattered images. A choreographer’s

... the term values should be synonymous with

questions are answered along the way as a reflection of value

personal beliefs, especially personal beliefs about

systems and an understanding of the art’s form, or knowledge

the “good,” and “just,” and the “beautiful,”

of other media. This knowledge enables greater perception

personal beliefs that propel us to action, to a

and makes adjustments to find a satisfactory solution to the

particular kind of behavior . . .(19)

choreographic problem. It is a system of selection that reflects on the evaluation of which choices are satisfying

Lewis explains, there are six ways we choose our values.

and which are undesirable. In this way one is capable of

Value systems are based on “authority, deductive logic, sense

judging and appreciating the situation, and furthering

experience, emotion, intuition, and science’’(20). Therefore,

progress toward a constructed whole.

a choreographer’s sense experience, emotion, and belief will

all contribute to the choreographic decisions. One’s values

A choreographer is constantly looking for images, searching

influence perception, therefore, one’s work reflects ways of

for the suitable energy and quality of movement, and

seeing which are a result

verifying

of who one is as a person,

choreographic intention

a

dancer,

and

through the emergence

a

of conscious thinking.

choreographer.

The practice of these

Knowledge and Skill:

skills establishes a

Ways of Doing

choreographer’s ways

Training in choreography

of seeing and also

or other artistic mediums

informs responses to

broadens ways of seeing,

the feedback from the

which builds up the

emerging work. By

movement vocabulary

looking at what is in

and sensitivity to

hand, one can advance

elements such as space,

line, shape, direction,

the inquiry and further Helen Lai's Summer Solstice. In her choreography, Lai often uses mythological sources as a starting point.

the action.

參

Conclusion

“Reflective” has at least two intentions here,

A choreographic problem is an open-ended question that

and often they are so intertwined as to be

does not have a right or wrong answer.Only the

indistinguishable: the makers’ spontaneous

choreographer will know what he or she wants from the

(and active) reflective response to their

work. In this negotiation process, a choreographer has to be

actions on the materials, and the “reflection”

open to the openness of experience, in order to be sensitive

of materials (as they take various shapes and

to the quality of the materials and be available to make

forms) back to the makers. The two kinds

adjustments. A choreographer has to understand his or her

of reflection can be thought of as two kinds

role within the creative process and the relationship to the

of “talking back.” In the first, the makers

work because reflective conversation can proceed only when

talk back to the materials (re-shaping them);

one is available to “hear” it. Therefore, a choreographer has

in the second, the materials talk back to the

to develop the skill to evaluate the situation, make

makers, re-shaping what the makers know

adjustments accordingly, and re-evaluate the situation. The

about them.(23)

choreographer has to allow room for exploration because the experience opens channels to see things happen in ways

Visual artist Elizabeth Murray said, “There is a moment

that could not otherwise be imagined, providing new ideas

where the conversation stops. The painting stops talking to

and movement to the work. Through this two-fold process,

you. It comes to rest’’(24). The conversation between the

a new form evolves as the choreographer interacts with the

choreographer and the emerging work is an intimate dialogue

medium. Bamberger and Schon (1983) describe it as a

between them. In the pursuit of this endeavor, one has to

reciprocal process:

have an open mind and be patient with the process in order

to find the essence of the dance as well as to enhance the

growth of personal artistry.

NOTES (1)

(2)

I. Stewart, (1989) Does God Play Dice: The Mathematics

(12)

Action: Reflection and Revision Through Practical

D.A. Schon, (1983) The Reflective Practitioner— How

Experience” in The Journal of Environmental Education,

29,1, p.34-44

Professionals Think in Action, (New York: Basic Book), p.53

(3)

P. Hanstein, (1987) “The Choreographer-at-Work:

(13)

Illuminating a Heuristic Process" in Proceedings of the

(14)

(5)

P.1

(15)

ibid., p.146

ibid., p.2

(16)

ibid., p.150

N. Roukes, (1982) Art Synectics, (Massachusetts: Davis

(17)

D. Frankel, (1998) "Ifs, Ands, and Buts" in Artforum, March,

Publications Inc.)

(6)

D.A. Schon, (1983) The Reflective Practitioner— How p.145

Conference, (New York: Congress of Research in Dance),

⑷

ibid., p.34-44.

Professionals Think in Action, (New York: Basic Book),

Congress on Research in Dance 20th Anniversary

CM

K.M. Emmons, (1997) “Perspectives on Environmental

of Chaos, (Massachusetts: Blackwell Publisher), p.5

R. May, (1975) The Courage to Create, (New York: W.W.

P- 72

(18)

P. Hanstein, (1987) “The Choreographer-at-Work:

Norton & Company), p.59

Illuminating a Heuristic Process” in Proceedings of the

D. Humphrey, (1959) The Art of Making Dances, (New

Congress on Research in Dance 20th Anniversary

York: Grove Press), p.20

Conference, (New York: Congress of Research in Dance),

O. K. Chatt, (1972) Design Is Where You Find /t (Iowa:

p.5

The Iowa State University Press), p.5

(19)

H. Lewis, (1990) A Question of Values: Six Ways We Make

the Personal Choices that Shape Our Lives, (San Francisco,

C. Kreemer, (1987) Further Steps, (New York: Harper &

CA: Harper Press), p. 7

Row), p.75 P. Hanstein, (1987) “The Choreographer-at-Work:

(20)

ibid., p.10-11

Illuminating a Heuristic Process” in Proceedings of the

(21)

N. Roukes, (1982) Art Synectics, (Massachusetts: Davis

Conference, (New York: Congress of Research in Dance),

(22)

ibid., p.7

p.6

(23)

J. Bamberger & D.A Schon, (1983) "Learning as Reflective

Publications Inc), p.3

Congress on Research in Dance 20th Anniversary

Conversation With Materials: Notes from Work in Progress"

S. Stickel & K. Trimmer, (1994) "Knowing in Action: A First-

in Art Education Journal, March, p.69 -70

Year Counselor’s Process of Reflection" in Elementary School Guidance & Counseling, 29, 2, p.104

(24)

D. Frankel, (1998) “Ifs, Ands, and buts” in Artforum, March,

p.75

14

專謫

ARTICLES

舞蹈與職安健 文：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

3.改善適用於工作地點使用或存放的若干危險工作、

作業裝置及物質的安全及健康標準：對僱員的工作

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

環境的安全和健康方面作出改善。條例亦訂明對僱

位•九八年回港後續修畢浸會大學針灸專業進修文憑。

主、處所佔用人、及僱員的法律責任：

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

僱主須： 1.

提供及維持不會危害安全或健康的作業裝置及工作

系統；

受傷知識•對推動香港舞蹈發展•不遺餘力。 2.

作出有關的安排，以確保在使用、處理、貯存或運 載作業裝置或物質方面是安全和不會危害健康的：

上一期的專論，討論過預防受傷的重要性•其首要條件

3.

是僻除危害。不過，究竟應該由離來承擔這個責任呢？

對一位每日面對受傷危害的舞蹈員來説，尤其是職業舞

者，瞭解其職業安全健康責任和保障，是十分重要的。

提供所有所需的資料、指導、訓練及監督，以確保

僱員的安全及健康； 4.

提供及維持安全進出工作地點的途徑；

5.

提供及維持安全及健康的工作環境。

舞蹈員一般都會認為預防受傷是本身的責任，往往受傷

處所佔用人：

了便歸咎於自己粗心大意，熱身不足，甚至以為受傷是

有責任確保該處所、進出該處所的途徑、存放於該處所

必然的。事實上這個想法並非完全正確一舞者事前充足

的任何作業裝置或物質，是安全和不會危害在該等處所

的準備及過程的謹慎固之重要，但試想想：如果導師未

工作的人的健康。

能因應舞蹈員的能力而安排動作，如果訓練過於嚴苛■

僱員的責任：

如果沒有一個合理的作息制度.如何精煉的舞蹈員都未

1.

照顧自己及在工作地點中其它人的安全及健康：

必能應付！又試問如果排練室危機四伏，地板過滑，扶

2.

使用由僱主提供的任何設備，或遵照僱主訂定的制

把鬆脱，四周佈滿雜物，舞蹈員又怎能有一個安全環境 安心排練呢？由此可見，舞蹈員的安全及健康應該由製 造危害及接觸危害的雙方負責.換句話説，由管理階層

以至舞蹈員，不論上下都有一定的責任，保障工作過程

中的安全。

在法律上，職業屬於受傷高危的舞蹈員，他們的安全並

度或工作方式工作。

違反上述條例其中一條，均有可能遭勞工處檢控。要留

意的是，這項條例主要保障了任何有根據僱傭合約或學

徒合約工作的僱員，但不&括自催人士。換句話説，法 例並不保障以自僱形式參與工作之演員 ，即是Freelance

Dancer在這條件下不受保護。

非完全沒有得到保障。一項名為《職業安全及健康條

具體來説，全職舞蹈員受到此法例的保障，他們在排練

例》已早;'一•九九七年五月廿三日正式生效，法例保障

及表演場地的安全，均得以保護，以往香港舞蹈團為市

了全港三百萬的僱員。新法例的精神在於確保所有受僱

政局屬下機構，政府機構在該例下雖具約束力，但不會

人士的職業安全及健康，和改善工作環境，它涵蓋的範

被控犯違反本條例的任何罪行 *1隨著藝團的轉營及私有

圍包括辦公室、學校、醫院等工作場所，專業舞團在這

化，今後全港所有藝團都受到該條例的監管。藝團負責

法例下當然也不例外。不過法例推行至今，很多藝團及

人有責任在合理的切實可行範圍內•採取有效措施•保

舞蹈員都似乎不察覺到它的存在，更不認識到法例對其

障其屬下舞蹈員的安全及健康，確保道具、佈景、排練

影響，這無疑是錯失了一個保障自己的機會。筆者於在

場地及其通道之安全（包括走火通道之安全）•而舞蹈

職機構負責推行職業安全健康事務 ，並且稍曾接受有關

職安健培訓課程，故敢以有限的知識，為讀者在以下簡

員亦有責任儘量遵守管理階層訂下之有關指引和守則’ 照顧自己及其他同事的安全及健康。

單介紹： 以排練室的地板為例，它是舞蹈員的工作裝置•舞團負

《職業安全及健康條例》

責人有責任確保地板的安全使用，預防一切可預見的意

規管事項目的包括：

外.如絆倒或滑倒的發生。負責人可實行某些措施•如

1.

確保在工作中的僱員的安全與健康 ：

張貼警告字眼以勸籲使用者小心'定期檢查地板及添加

2.

訂明有助於工作地點變得對僱員更加安全和健康的

松香粉等機制，甚至作出行政指引•限制破壞地板的行

措施：

為.以及制定在突發情況下的應急措施，並讓所有舞蹈

《職業安全及健康條例》於一九九七年推行至今，已有

員得悉。倘若負責人沒有履行其應有責任•某天排練室

不少公營機構響應，包括制定安全約章及成立職安健小

內因缺乏松香粉，又未有及時提供代用品供舞蹈員使

組；中小型機構，因礙於各項資源，很多都未有採取適

用•有舞蹈員因此在排練中滑倒地上受傷，除非該舞蹈

當措施。事實上•推行職業安全健康政策，固然需要一

團所有成員均為自僱人仕(Freelance) ’否則舞蹈團已觸

定的行政成本，但長遠而言，總比在僱員受傷後所帶來

犯職安條例，有可能要面對勞工處刑事檢控。

的社會成本、機構的經濟效益及聲譽影響等來得便宜，

故此是值得鼓勵的。 在這裡要為讀者清晰兩點：其一是職安條例並非祇在有

僱員受傷時才生效，勞工處在接獲投訴或在例行抽查

現時香港執行《職業安全及健康條例》的部門是勞工

時，倘苦發覜僱主並未根據該條例履行其責任，即使沒

處，而有關之培訓及推廣活動，則由職業安全健康局提

有僱員受傷事故，亦屬違法，勞工處長可酌情對該機構

供(該局暫時並無提供有關表演藝術的課程)。條例內

作出警告或檢控。其二是僱主為僱員購買醫療保險，並

容甚為廣泛，鑑於篇幅所限，不能— —盡錄。讀者如欲

不豁免或代替其保障僱員安全的責任，醫療保險只能應

查詢有關資料.可直接聯络以上部鬥，亦歡迎電郵筆者

付僱員一但受傷後的醫療赔償，而觸犯職安條例乃是由

(E-mail:ckmcpt@yahoo.com)。

政府提出捨控的一項刑事責任。

舞評 MN[EREVIEW

National Ballet of China

CM

2

A

fter an overseas tour to Turkey, Denmark, and Israel

Christmas party of the Stahlbaum family in the 19th century

in July, the National Ballet of China returned to Hong

to an antique collector’s mansion in Beijing in the early 20th

Kong in September with two new programmes as part century of where a banquet is held to celebrate Lunar New

‘‘Dance Spectrum”. The opening night programme was a

Year.

new production of “The Nutcracker” premiered in Shanghai in March.

The main thrust of Hoffmann’s libretto has remained intact.

However the rats and the snowflakes in most other A team of four people were credited with the choreography,

productions have become bats and cranes respectively, and

including the artistic director Zhao Ruheng. Very few traces

Drosselmeyer has been replaced by a foreign visitor who

of the original choreography by Petipa/Ivanov are

arrives at the party in a rickshaw and gives a nutcracker to

recognizable. The fairy tale has been transposed from the

Yuanyuan (Clara in other productions). Not surprisingly, the

EQ

divertissements in Act 2 have taken on a Chinese folkloric

The finale saw a group of women doing at one point 'grands

flavour which is quite interesting. I liked the silk ribbon

jetes’ like Kitri in “Don Quixote” with their hands touching

dance which has replaced the Arabian dance, the kite duet

their rear leg, followed by the corps of male dancers

which has replaced the dance of the reed pipes, and the gold

executing endless split jumps with their hands touching their

ingot dance which has cleverly adapted the Mother Ginger

legs. These blatantly virtuosic steps would have better

number.

befitted an acrobatic show.

This version is sound, and has fortunately avoided the trap

The company’s most outstanding dancing was in the

of probing too deeply into the Freudian subtexts as in

remainder of their second programme - “La Sylphide”，a

Nureyev’s version for instance. The main merits are the

19th century Romantic masterpiece, which is the company’s

bright and colourful sets and period costumes designed by

first experience ofAugust Bournonville’s choreography. This

Zeng Li. The first scene in Act 1, which has a street fair at

accurate production with splendid sets and costumes

one point reminiscent of Fokine’s “Petrushka”，takes place

designed by Mikael Melbye was meticulously staged last

in a snow-covered courtyard with a Chinese pavilion in the

year in Beijing by Frank Andersen, a former artistic director

middle; while the sets for Act 2 resemble the interior of an

of the Royal Danish Ballet, and his wife Eva Kloborg.

oriental art gallery with porcelain vases and two gigantic cloisonne clocks on display.

I marvelled at how well the whole company has absorbed the intricacies of the Bournonville style. The Scottish Dance

However, I didn’t find any of the new choreography an

in Act 1 was danced with vitality, and the corps de ballet of

improvement on the original, as most of it is pedestrian

sylphs in Act 2 showed a fine schooling as well as an affinity

without much flair. The battle scene in Act 1 against a blue

for the Romantic style.

billowing backdrop looks far too simplistic. However the ‘pas de deux’ for Yuanyuan and the Nutcracker prince after

The leading roles in the first cast were very well danced.

the battle scene has some swooning lifts which are rather,

Zhu Yan has an ethereal figure and a nice long line, and her

ecstatic. But the snow waltz for the cranes contains far too

dancing was full of grace and exquisiteness. She captured

many wooden and stale decorative arm movements. In the

the Sylphide’s elusiveness. As the doomed hero James, the

great ‘pas de deux’ in Act 2, Tchaikovsky’s glorious music

tall and dark young dancer Ta Mila had a romantic ardour

is not matched by the banal choreography which leaves a

and conveyed an apt feverish intensity. His 'batterie’ were

void in the viewer’s imagination.

impressive. James’ fiancee Effie was movingly danced by Li Chunhong who had a quiet dignity, while Sun Jie brought

Nevertheless the dancers possess a clean classical style. The

out the dark and sympathetic sides of Gum, James’ love

main roles ofYuanyuan and the Nutcracker were respectably

rival.

danced by Zhu Yan and Sun Jie, and the Chinese divertissements were vigorously danced.

Most notable of all was Wang Quanxing’s commanding

portrayal of the sorceress Madge. Wang’s interpretation was Forming part of the second programme was another new

not one-dimensionally evil, his mime had weight and many

Chinese ballet which was premiered last year - “The Yellow

rich nuances worthy of the great Bournonville tradition. In

River” choreographed by Chen Zemei, with music based

the second cast Han Po, who had crisp legwork, made a

on the eponymous piano concerto. Set in the Second World

rather convincing debut as James. Zhang Jian was a rounder

War, this ensemble ballet with dancers all clad in orange

and more buxom Sylphide.

outfits is meant to symbolise our Chinese nation’s heroism.

On this Hong Kong tour, the National Ballet of China has

I didn’t find the group formations that inventive, as the

displayed the strength of its young talented principal dancers

choreographic device was no more than multiplication by

who are all in their twenties, and the company is especially

mass and numbers. Chen’s bombastic and unexpectedly

praiseworthy in honouring a Danish masterpiece with a fine

dated choreography tends to follow the music too literally.

staging as well as fine dancing. It will have an exciting future

Even the 4pas de deux’ provides no lyrical repose from the

ahead if more recognized masterpieces are acquired and

monotonously hard-edged and belligerent tone of most of

staged as meticulously, to complement new creations by

the rather repetitive choreography. There are too many big

Chinese choreographers. I look forward to its next tour to

overhead lifts in the Bolshoi manner which look cliched.

Hong Kong.

% 剪報服務 PRESS CUPPING

大公報 十一月十六曰

《玩p吾玩得起》反歧視的嫉樂劇場 何俊輝

-4r»英國形體劇場DV8演出的《玩唔玩得起》（Can we

佬、傷殘人士、同性戀者與（相對的）正常人站在選美

afford this）劇名所指其實是劇中的弱勢者（例如

舞台上同一條陣線，前三種人因為做不到大會指定動作

劇中一位失去雙腳的傷殘人士 、一位超級大肥佬、一位

而退到舞台上的「邊緣位置」（或稱作「落選」），他們

七十多歲的女子、以及一群同性戀者）。能否承受劇中

縱使想透過選美去證明自己的能力（筆者實要幾這幾

的普通人（或相對來説的強勢者）玩（弄）得起？

位「與別不同」的演員鼓掌，因為他們必須有勇氣承受 面對觀幂的壓力），可是選美大會及台下（某些）觀

《玩》劇使我不禁聯想起占基利電影《愛情黐筋Show》，

豕，卻只會看到他們表面上的體力不逮（事實上，

兩者同様運用喜劇、鬧劇元素，令觀幂邊看邊笑邊反省

《玩》劇中那個失去雙腳的男人，他所花的體力可能比

「歧視」課題：可是我覺得《玩》劇與《愛》片给我兩

其他人更多），而不會看到他們的內在美。這使觀眾感

種截然不同的感受，後者令筆者笑得十分盡情，好像是

受到弱者之所以受淘汰，其實未必在於其弱點，而是他

因為《愛》片的弱勢者得以平反（令強勢者刮目相看）

們的能力根本沒有受到有權力者所接納，若台下觀幂等

而舒一口氣，至於前者則使筆者笑得十分尴尬，因為

同一個社會，導演就是要社會上的人邊看劇邊思考。

《玩》劇有許多十分過癮、甚具爆笑效果的笑料，奈何 這些笑料皆來自弱勢者站在強勢者之中，如何受到強勢

導演要觀眾重新反思

者的歧視。

值得一提的，是導演善用一個鏡框式的舞台構圖，把角

CSI 2

有一幕是幕多拿著氣球的年輕俊男美女跳舞跳得很開

色/演員的「焦點」和「邊緣位置」擺放得相當好— —

心，但當一個失去雙腳的傷殘人士進入演區，他手中的

個跛子和一個肥传■處身在一堆俊男美女中，或一個萬人

氣球竞被年輕力壯的男女搶掉，觀眾的心情由喜悦變為

迷歌星處身舞台前方，而一些弱勢者則位於舞台後方，

替他難過，不過，觀幕其實處於既難過卻又禁不住

觀尿究竟會把視線放在哪植？導演似乎是要活用「場面

「笑」的尴尬狀態，皆因不論歧視者或被歧視者，雙方

調度」的可能性，來測試每位觀眾的「歧視程度」！

的台詞和身體語言都演繹得相當滑稽，這種「尴尬」的

編排能跔直接挑起觀眾對「歧視」的反省意識或罪咎感 （若平日有歧視心態的人，便心感罪咎）。

當我看到一些弱勢演員/角色躲藏在舞台後方一個大洞

穴（象徵不可以無拘無束地面對社會/群■眾J，以及他 們被強勢者當作狗般看待，更有人承受不了壓力而開搶

令人想笑又感尷尬

「自殺」時，不禁使人想起《玩唔玩得起》裡一個「跛 子幻變成拖狗高人」的劇場畫面，弱勢者潛意識裡實在

「跳到一個有難度的舞蹈動作，會否值回一些票價？」

充滿不安及悲涼感：為什麼人與人之間可以為了 「權

「多脱一件衫，會否值回更多票價？」《玩唔玩得起》的

力」、「順眼順心」而變得那麼不尊重、不友善？

演員透過連串搞笑台詞，從不3角度去假設或戲謔觀眾 觀劇心態.令大家反思娛樂、藝術與貪婪、偷窥眼光的

既前衛又有娛樂性

可怖關係。 《玩唔玩得起》沒有故事線卻易明易懂，演員行為前術 所謂「眼光」乃泛指一些人對另一些人物，抱著一套涉

及辦事能力、個人私心、個人價值觀的看法。

又不失通俗媛樂性.可謂是一齣雅俗共賞的劇場作品•

難怪筆者觀劇當晚，看到不少來自影視界、舞蹈界、音

樂界、傳統及實驗劇場界的人.不分「界線」齊來捧 另一場選美戲更充分凸顯弱肉強食的殘酷 ：老人、肥

場。

舞蹈快訊NEWS舞蹈快訊NEWS舞蹈快訊NEWS舞蹈快訊NEWS To have your events included in the news session of the Dance Journal/HK

please send your pressrelease to us by mail, e-mail or fax listed on the first page of the Dance Journal

The inclusion of news items in this section is subject to the availability of space.

香港音樂劇團暨

42nd Street Comes to

Hong Kong The smash-hit Broadway musical 42nd Street comes to the

香港演藝學院隆重獻上

百老匯名劇〈〈第42街》

Founded in 1931, the Hong Kong Singers is Hong Kong’s

HKAPA Drama Theatre from 9 December for a limited season.

leading musical production group. The Singers have staged

Featuring famous tunes and stunning tap numbers, it showcases

more than 100 shows, including Anything Goes, Guys and

Hong Kong’s finest musical theatre talent directed by John

Dolls, Annie, Pyjama Game and The King and I.

Tustin. 萬眾瞩目的著名百老音

樂劇《第42街》(42nd

The plot is every muscial

5/ree/J將於十二月九至

theater performer’s dream -

being discovered on Broadway,

十六日假香港演藝學院

New York. It tells the story of

戲劇院演出。《第42 街》是百老最受歡迎的

dance hopeful Peggy Sawyer,

音樂劇之一，曾於一九

played by Sandra Leung, who

八一年東尼獎頒獎禮

auditions for the tap chorus in

上，榮獲「最佳音樂

her first Broadway show and

劇」獎。其經典音樂

ends up promoted to leading

「百老匯催眠曲(Lullaby

lady thirty-six hours before

of Broadway)」和「第 42

opening night.

街(42nd Street)」等，及 精彩絕倫的踢躂舞表

Presented by the Hong Kong

演，令《第42街》過往

Singers in association with The

在紐約百老和倫敦的逾

Hong Kong Academy for

千次演出皆空前成功。

Performing Arts, 42nd Street features a cast of fifty-four local and international singers and

dancers, hundreds of sparkling costumes and a lavish Broadway theatre set. Musical Director is RTHK radio presenter, Phil Whelan and the tap chorus choreographed by Mandy Petty promises to dazzle dance fans.

＜第42钧故事講述製作一齣歌舞劇的過程 ，當中悲喜 交集。初出茅廬的碧姬桑亞，在偶然的機會下•取代資 深演員女主角的位置’ 一夜成名’成為璀璨耀目的百老

匯巨星。是次《第42街》演出的龐大演員陣容包括本地

及國際歌手、舞蹈員共五十四人•配以美輪美奐的場景

The Broadway production won a Tony award for best musical in 1981 and ran on Broadway and in London for thousands of

performances. It is studded with well-known songs, such as We re in the Money and Lullaby of Broadway. The show runs

from 9-16 December and tickets are $ 190-5250 at Ticketek (31-

288-288).

佈置和充滿迷人魅力的表演服飾，將帶给觀眾一個極盡

視聽之嫉的晚上。

I ■】： CEMB Date日期

Time時間

Group團體

Choreographer

Kwai Tsing Theatre

HKAPA Dance Ensemble

Stephen Jefferies 謝僳斐

Auditorium

香港演藝學院舞蹈團

Graeme Collins 高家霖

Venue場地

編舞

/“^ove Over”《舞過界》 1-2/12

8:00pm

葵青劇院演藝廳 5-6/12

8:00pm

、项

Macau Cultural Centre

Grand Auditorium

澳門文化中心综合劇院

* Casba Buday Willy Tsao曹誠淵

Aaron Wan温玉均

Tao Chun 陶春 XunYing 孫穎

/^Maiden^ Prayer” 8:00pm

《乙女祈》 Kwai Tsing Theatre

YURI and company danciNG

Yuri Ng 伍宇烈

Auditorium 葵青劇院演藝廳

“Ballet in Sneakers” 3/12

3:00pm 7:30pm

9/12

3:00pm

《新裝芭蕾一足尖變奏齊齊樂》 Hong Kong Ballet 香港芭蕾舞團

Kwai Fong Metroplaza 葵芳新都會廣場 Lok Fu Centre 樂富中心露夭劇場

Allen Lam 林偉源

Kwun Tong Shun Lee Community Ctr. 觀塘順利社區中心

7:30pm

Sham Shui Po Cheung Sha Wan Community 深水涉長沙灣社區中心

10/12

3:00pm

/“42nd Street”

/

Hong Kong Park 香港公園

《第四十二街》

9,11-16/12

7:30pm

Drama Theatre,

Hong Kong Singers & HKAPA

Mandy Pi

10/12

7:00pm

HKAPA

香港音樂劇團暨香港演藝學院

敏迪貝

16/12

2:30pm

演藝學院戲劇院

Kwai Tsing Theatre

Folkwang Tanzstudio (Germany)

MuiC

Auditorium

福克旺舞蹈團(德國)

梅卓燕

Whispering Colour”《花落知多少》 14-15/12

8:00pm

葵青劇院演藝廳

，“Journey to the Lion Rock: A Marco-Polo Adventure’’ 1(17/12

7-10:00pm HK Heritage Museum, 香港文化博物館

《後冬師子山下的遊園兩'参》

CCDC

Pun Siu-fai 潘少輝

城市當代舞蹈團

Willy Tsao曹誠淵 Helen Lai黎海寧

Members of Hong Kong Dance Alliance 個人會員

INDIVIDUAL MEMBERS 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 劉玉分女士 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

Andrew Broomhead

陳錦明先生 鄭健華先生 宋孟青女士 高家霖先生 黃亞華先生 黎倩樺女士 李翠女士 雷佩瑜女士

Mr Clement Chan Mr Billy Cheng Ms Wendy Chu

Mr Graeme Collins Mr Huynh a-hoa Ms Amy Lai

Ms Doris Li Ms Florence Lui

Daryl Ries

Ms Priyadarshini Ghosh-shome

施素心女士 黃國強先生

曹誠淵先生 黃翠玲女士

Ms Susan Street

Mr K. K. Wong

白朗唐先生 陳德昌先生 錢秀蓮女士 秦懿欣女士 謝漢文先生 郭慧芸女士 黎海寧女士 陸國雄先生 伍宇烈先生

Mr Willy Tsao Ms Scarlet Wong

Mr Tom Brown Mr Ringo Chan Ms Miranda Chin

Ms Ulian Chun

Mr Mohamed Drissi Ms Vivian Kwok Ms Helen Lai

Mr Luk Kwok-hung

Mr Yuri Ng Ms Indira Sawlani

溫玉均先生 許淑5英女士

Mr Aaron Wan Ms Xu Shu-ying

OMGAMZATiON 暖曝難、

聯絡人

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

聯 盟

會

共享空間舞蹈劇場 東邊現代舞蹈團 基督徒舞坊 蜉蝣舞團 步韶舞蹈團 波希舞蹈團 香港演藝學院 香港芭蕾舞團 香港舞蹈團 本地薑 香港國際專業舞蹈體育總會 香;'精年藝鵬協會有限公司 智才補習學校及創作天地 王仁曼芭蕾舞學校 雙妹曖 動作纖維 新約舞流 R' Life音樂劇場 絲路舞蹈文化協會 躍舞翩 南群舞子 =分顏色 原體系 舞蹈菲場 薄葛青少年中心 X —劇場 歪s的示体 多空間

普通會員 鄭珮雲女士 關艷蘭女士 松島誠先生 尹子欣女士

單

學生會員 陳桂思女士 晶女士 黃天華女士

鄭楚娟女士 黃狄文先生 陳紹傑先生 尤月興女士 曹誠淵先生 梅卓燕女士 王廷琳先生 湯布力先生 潘少輝先生 鍾碧霞女士 馬金泉先生 余仁華先生 曾澳英女士 黃恆輝先生 宋絜女士 袁惠東先生 施素心女士 吳杏冰女士 劉志青女士 賴文慧女士 陳偉先生 麥蓮茜女士 孫名翠女士 陳頌瑛女士 楊惠美女士 邢亮先生 韓錦濤女士 周佩韻女士 趙浩然先生 帕夏吾賣爾女士 徐偉業先生 王榮祿先生 鍾瑋女士 鄭志銳先生 李笑玲女士 宋倩儀女士 伍梁敏玲女士 廖美燕女士 楊春江先生 嚴明然女士

Ms Eve Cheng

Bilibala Physical Theater

Mr Dominic Wong

Billy Chan Dance Centre

Mr Billy Chan

Champion Ballroom Dancing Academy

Ms Diana Yau

City Comtemporary Dance Company

Mr Willy Tsao

Contact Point

Ms Mui Cheuk-yin

DanceArt Hong Kong

Mr Andy Wong

Dance HK / NY

Mr Tom Borek

Dancing City

Mr Pun Siu-fai

Danseomanie

Ms Jocelyn Chung

DMR School of Ballet

Mrs D. M. Wayburne

Dua Space Dance Theatre

Mr Anthony Meh Kim-chuen

E - Side Modern Dance Company

Mr Jacky Yu

Evangelical Dancing Troop

Ms Tsang O-ying

Fau Yau Dance Circle

Mr Wong Hang-fai

The Harmonious Dance Troupe

Ms Chu Kit

The Boheme Dance Company

Mr Yuen Wai-tung

The Hong Kong Academy for Performing Arts

Ms Susan Street

Hong Kong Ballet

Ms Helen Ng

Hong Kong Dance Company

Ms Ophelia Lau

Hong Kong Ginger

Ms Cherry Lai

Hong Kong Professional Dance Sports Council

Mr Chan Wai

Hong Kong Youth Arts Festival Association Ltd

Ms Lindsey McAlister

US & TS Creative

Ms Karen Suen

Jean M. Wong School of Baflet

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

R5

Mr Rex Chiu

Life Musical Theatre

Silk Road Cultural Society

Ms Pasha Umer

Spring Poetry

Mr Terry Tsui

South Asli Dance Workshop

Mr Ong Yong Lock

Synchro

Ms Jamie Chung

Three Colours

Mr Afa Chiang

Uncarved Block

Ms Ling Lee

The Flying Works

Ms Phoebe Chu

The Warehouse Teenage Club Ltd

Ms Miranda Ng

X-tanztheatr

Ms Elina Liu

y. d. thearter

Mr Daniel Yeung

Y - Space

Ms Mandy Yim

ASSOCIATE MEMBERS Ms Cheng Pui Wan

士士生 女女先 芬欣康 秀淑裕 張郭莫

名

Contact Person Ark Dance Theatre

Ms Cheung Sau-fan

黯

gg

Ms Fong Kit-ping

Ms Kwok Shuk-yan

Ms Lai Siu-ling

Mr Makoto Matsushima

Mr Juergen Morhard

Ms Asha Sawlani

Ms Maria Assunta Wan

Ms Daphne Wong

Ms Kwan Yim-Ian

STUDENT MEMBERS ms Suki Chan

Ms Chung Ching

Ms Audrey Wong

陳雅芝女士 盧奉賢女士 王婷利女士

Ms Susanna Chan Ms Candy Lo Ms Wong Ting-li

蔡嘉樂先生 郭少芳女士

Mr Cody Choi Ms Kwok Siu-fong

。翩雌版g&g激idM

00⑻鶴 義

r to programme leaflets for discount d

i： 2734 2937 liries & Reservation: 2734 9009

圜鎖麵

屬

《賺