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THE HONG KONG ACADEMY FOR PERFORMING AETS
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-2 MAY 2001 Articles
Press Clippings 剪報服務 |
專論 Is There a Growing Audience for
Dance? ― A Personal Perspective
大公報
0
《白蛇》近似西方童話
Author: Rashna Homji Jefferies
作者：思念
[Q
大公報
A Comparative Study on the dance
色彩纷繁的雜色時代
education of New York
作者：林克歡
Author: Pun Siu Fai
表演藝術
落花的心道
對舞蹈評論的兩點意見
作者：小棕
—回應寫評的人黃琦瑜 — 作者：曹誠淵
CE
Events & News
舞蹈節目及快節
Reviews
舞評 舞蹈節目表
評城市當代舞蹈團的《给我一點顏色》 作者：黃琦瑜
EE]
Dance Events
除了搖滚，一無所有
E
香港舞蹈聯盟會員名單
Members of Hong Kong Dance
Alliance
Hong Kong Ballefs La Fille Mai Gardee Author: Kevin Ng
EE
Image: Hong Kong Ballet s White Snake 圖：香港舞蹈團《白蛇》
讚
j
論
ARTICLE
Is There a Growing Audience for Dance? —A Personal Perspective Author: Rashna Homji Jefferies
During the 1980s and early 1990s, I had the opportunity of
Rashna Homji-Jefferies was a guest ballet mistress with the Hong Kong Ballet Company in
1999. She is now a Lecturer (Ballet) at the Hong Kong Academy for Performing Arts.
seeing and once being part of performances given by the
Educational Units of the Royal Ballet Companies, The English National Ballet, and the London Contemporary
Dance Co. Each used dancers from within their company,
but the format was very different from that of the Balletfor
ny years as a dancer, with The Royal Ballet Companies in London and with the National Ballet of Canada and later on in my career in
All Company. They all used a workshop type approach. The
workshop type format “educated” the audience but did not
inspire them in the way the Ballet for All format did.
senior management as Ballet Administrator for the Royal Ballet Schools, this thought provoking question has often been debated. Although various ideas have been tried and
put to the test, nothing concrete has ever been accepted as
In January 1996,1 moved to Hong Kong and was the guest
ballet mistress for the Hong Kong Ballet Company until
August 2000. It was here through the Education Department of the Company that I finally began to appreciate the real
“the answer”.
need to educate and encourage a future audience for dance As a dancer, I was fortunate enough to be involved in the
in general.
Ballet for All Company that was founded in 1964 using
dancers from the Royal Ballet Companies. It had a two fold purpose. The first being to “try out” younger dancers
W\
in principal roles and the second to introduce ballet to a
wider audience base, this being seen as an educational experiment. There were six dancers, two actors and a ballet
master, who also substituted as a character dancer. A pianist, wardrobe mistress, and a team of three stage crew, one of
The question remains: do we try to build an audience by educating students and /or their parents through the various
workshops, classes and educational performances or do we
somehow try to entice them to see a live performance in its entirety, thus giving them a chance to feel and be inspired by its magic. The answer probably lies somewhere in between but how do we package and produce it?
whom had to double as the driver for our van, made up the rest of the team. The actors, were used “ in character” giving
simultaneous narration with the dance, making the story
The Education Department of the Hong Kong Ballet has
tried several formats. The one I was most familiar with as their guest ballet mistress was a program in which a narrator
line unfold instantly.
introduced the audience to the backstage facilities, showing
This was an exciting and ambitious project and did, indeed, capture a new audience. The
for All model worked
so well because it produced performance in context. The actors played characters within the ballet and their script
made the story unfold in a natural and seamless fashion with the dance. In the late 1970’s, possibly for financial
reasons, the Arts Council found the budget for The Royal
Ballet Companies too high to allow funding to continue for a third company.
them the bare stage, introducing them to the technical and wardrobe departments and the dancers doing their daily
technique class. She then introduced the story line and talked
about how the different components come together to make a performance. Part two of the program was the “performance” My observation, firstly as a participant, (the
teacher of the technique class) and secondly as a member of the audience on the days when I was not required to teach,
was that by presenting the dancers as ordinary people to
youngsters, and showing them too much of the backstage
2
workings before they see the real performance is
character one step further and sets his ballet in a mental
counterproductive. It somehow dispels the myth and magic
asylum. His choreography and musicality, combined with
of live theatre. Though it may encourage aspiring dancers,
the strength of his dancers, makes a powerful ballet,
designers, stage managers etc., it does not necessarily help
believable in current terms. More recently, Matthew Bourne
in building and enthusing an audience for Dance. The
has made his contribution with his company, Adventures in
thought persists: If the
Motion Pictures. His
formula were reversed
production of Swan
with the “performance”
Lake, with a slightly
first, would this somehow
perverse rendering of the
be more appealing to a new
original story line
audience?
coupled with using male swans, was so successful
When one views a
that it ran on Broadway
beautiful painting, does
in New York and won
one really want to know
several awards. His
about the blood, sweat and
Cinderella toured in
tears that went into its
major cities in the U.S.
creation? When one hears
an amazing aria, does one
Both productions were A technician of Hong Kong Ballet shows how the props
really want to know about
work in a backstage visit.
sold-out in London.
the hours of toil that went into producing such emotive
The success of these productions depended on the
sounds? By the same token the mystique behind dancers
combination of several components. Each of these ballets
and their endless quest for physical perfection should remain
boasted:
in the studio. What, after all, are classical dancers all about?
First rate productions
The finest definition I have come across is from Peter
Superb lighting
Brinson and Clement Crisp in their book Ballet for All (no
Inspiring music
connection with the Ballet for All Company). They state,
Excellent dancing
“...dancers are classical dancers in ballets which are
Exquisite sets and costumes
expressions of classical style-classical because the body is
Innovative choreography
held as a central upright while legs and arms move always in balance and harmony around it. In architecture, painting,
Choreography alone, though a major factor, could not have
music, every art in fact, classicism implies these same
carried the performances on to such success. (Some people
qualities of balance and harmony. So in ballet”.
would disagree with me on this but my conclusion is derived from a personal perspective.)
Is classical ballet a dying art form? Can we generate audience appeal for the under forty-age range? By preserving the
When we try to educate and inspire a younger audience,
classics are we losing our audience? Most dancers and dance
these are the factors on which we have to focus. Sadly,
educators agree that a sound classical technique is extremely
“educational performances” do not always succeed in
beneficial for all disciplines of dance. High standards can
combining these essential components. These performances
only be sustained if the dancers participate regularly in ballet
are given less credence than “paying” performances. When
technique classes. For classical ballet dancers, performing
we can change this mind-set we can begin to move forward
the classics is essential to maintaining a sound technique
and entice younger people into the theatre. Is it entertainment
and for developing the requisite stamina.
or quality or quality entertainment that we want?
Within the last ten years there has been resurgence of
In conclusion, I believe we have to firstly stimulate the
updating or modernising the classics. The most successful
audience’s imagination. Introducing them to a live
exponent of this trend has been Mats Ek. His production of
performance can do this. Thereafter, if this succeeds, the
Giselle was superb, even for die-hard classicists. He has
“educational” formula should be introduced, to further the
made enormous strides in introducing ballet to a new
new audience’s understanding and appreciation.
audience. He takes the “ deranged” element of Giselle’s
論
ARTICLE
A Comparative Study on the Dance Education of New York Author: Pun Siu Fai
This article is a research report on the dance education of New York. The study was conducted in autumn 1999, and
into two themes. The first one is that we should consider the inclusion of dance into the regular education curriculum
was made possible by the grants from the Hong Kong
as an index of the development of Hong Kong dance
Arts Development Council and the Asian Cultural Council.
education, with a goal of incorporating dance into the Hong
It is originally written in Chinese. The original Chinese
Kong Certificate of Education Examinations. The other idea
version was published in the last issue of the
is that we should lobby the Hong Kong Government, using
W (Vol.3 No.2).
the prosperous dance development in Europe and America
as examples, to establish a dance secondary school to train
INTRODUCTION
professional dancers. In a nutshell, the first aspect pinpoints
recent years, there have been a series of discussions
general dance education, while the second aims to raise the
about the importance of dance education on the
professional standard of dance.
development of Hong Kong dance; the following are some
representatives of these discussions:
The aim of the first idea is to strive for a restructuring of the
general education curriculum. This is based on the following -
WV
at the Hong Kong International Arts Education
assumption: the relatively slow development of dance in
Conference, Mr. Wong Chi Tak suggested that
Hong Kong is caused by the lack of dance training in the
instead of being a part of physical education, dance
regular education system. The existing dance education
should be an independent subject in secondary
within the general education system in Hong Kong is only
education. He also urged the Education Department
an elective part of the Physical Education curriculum and
and curriculum committee to accept dance as a
most schools do not select that curriculum. Because there is
subject in Hong Kong Certificate of Education
no chance for students to learn about dance, they do not
Examinations.⑴
understand dance, and therefore dance can not possibly
develop. The conclusion is that the incorporation of dance -
the development of a Dance Secondary School was
into the regular curriculum and the Hong Kong Certificate
the theme of discussion at both Forums held during
of Education Examinations would make schools, students,
the Hong Kong Dance Alliance’s All Independent
and parents pay more attention to the importance of dance,
Dance Series ‘ 98 and ’99. The models of
and then there would be a rapid development in dance.
specialized high schools such as Tso-Ying Senior High School in Taiwan and Guangdong Dance
The second idea can be elaborated as the following: dance
School in China were used as references.⑵
training should be started at a young age. Good foundations,
which can only be achieved by proper training during
-the Hong Kong Dance Sector Joint Conference
childhood when the child’s body is not yet completely
invited Mr. Ou Jian Ping to give a speech about
grown, are essential for professional dancers. Currently, the
dance education institutions in Europe and
students’ standard at the Hong Kong Academy for
America, for use as models for the development
Performing Arts is influenced by the limited supply and poor
of local dance education.(3)
foundation of local students. With poor foundation, professional training can not progress at a sufficient pace,
The main ideas of the above discussions can be grouped
□
ultimately influencing the students’ chances of becoming
successful dancers. Lacking mature and high-standard
City is operated by three types of institution. Traditionally,
dancers, how can we have successful dance works? Without
that organized by museums is the most complete and has
mature dance creations and performances, how can we talk
the longest history. For example, the Metropolitan Museum
about dance development? All these deductions are based
of Art has more than sixty experts and about 1,100 volunteers
on the assumption that well-trained dancers would promote
working in its education department. The Museum of
dance activities and create good dance works and
Modern Art, the Whitney Museum, and the Guggenheim
performances. The rationale for this assumption is that with
Museum also have education departments of various sizes.
more activities and performances, there would be more
However, these education departments mostly concentrate
audience and therefore a propitious chance for dance
on the introduction of their own collections.
development. This logic is similar to Say’s Law of
Economics - supply creates demand.⑷
The second type includes the educational activities organized by art companies and art centres. The nature of these
This article aims to discuss whether these two ideas are
activities naturally matches each company/centre’s own
logical and pragmatic, and whether their goals are clear and
preference, so that they can achieve their goals of expanding
feasible to achieve. It is clear that a study of the dance
audiences and increasing their influence on society. Joyce
education development in other countries will be helpful to
Theatre, The Kitchen, Dance Theatre Workshop, Harkness
this discussion. Among the relatively dance-advanced
Dance Centre, Alvin Ailey Dance Company, Ballet
regions, such as Europe, America, and Taiwan, New York
Hispanico, and Performance Space 122 all belong to this
in the USA was chosen. Its situation of dance education
category. This type of institution is the most numerous, and
was studied through collecting, comprehending, and
its services are the most various. There is a more detailed
analyzing information; and then used as a case study and
discussion below.
compared to the dance education in Hong Kong. The third type of art education institutions are the so-called
DANCE EDUCATION IN NEW YORK S PRIMARY
intermediaries, one of which is where Steven Tennen works,
AND SECONDARY SCHOOLS ⑼
and are referred to by him as “Dedicated Arts Education
After WWII, New York became the dance capital of the
Institutions”. The biggest in New York include Arts
world. In additional to its political-economic advantages,
Connection, Center for Arts Education, and Lincoln Center
its heritage in arts and generations of talents contributed to
Institute. These institutions design different curricula for
this development. As an art form, the forms and content of
different primary and secondary schools, and then invite
dance in New York have developed continuously. Its work
artists or art teachers to the schools. The lengths of the
in dance education is surely significant.
courses can vary. However, rather than extra-curriculum activities, they are all integral parts of the school’s regular
Besides regular dance courses in tertiary institutions New
curriculum. Because of the economic development, this type
York dance centres, dance companies, and dance theatres
of institution receives more sponsorship from various
also organize a great deal of dance activities including
governmental departments and private companies than ever
performances. Dance, as a form of leisure activity, or artistic
before. As a result, these institutions are expanding, and
expression, or even street performance, is organized by
related conferences and activities are also frequent.⑹
different non-governmental organizations. They do not only
provide opportunity and resources for artistic creations, but
If we disregard museums, because of their concentration on
more importantly, accumulate generation after generation
the visual arts which is not the target of this article, and add
of dance-appreciating audiences. Dance companies and
tertiary institutes, we can conclude that there are four main
artists are also frequently stationed in regular schools, so
groups of dance education institutions in New York:
that dance becomes an integral part of school life. Between
intermediaries, dance centres, dance companies, and
October and December of 1999,1 went to New York for a
universities. Their role in dance education in New York’s
field study with the aim of understanding its developmental
primary and secondary schools is discussed below.
pattern of dance education, educational concepts, and
operational models.
INTERMEDIARIES
The education system in New York allows schools to have According to the Administrative Director of Arts
more freedom to arrange their own curricula. Beside
Connection, Mr. Steven Tennen, art education in New York
intellectual education, schools are also more willing to accept
art education as a part of regular education. For example,
dance classes for four to five hundred students each week.
Arts Connection is now providing different art education
programmes for one hundred and fifteen primary and
The Kitchen, on the other hand, targets children and
secondary schools and 350,000 students. Its Administrative
organizes a project called “Kids in the Kitchen”，which
Director, Steven Tennon, emphasized that these programmes
includes outreach programmes and programmes in The
have to be part of the regular curriculum, because
Kitchen. The Kitchen also organizes many short-term
extracurricular activities are not essential, and schools do
workshops. One of the examples is the series of workshops
not pay much attention to them. Furthermore, arts education
designed by The Kitchen’s Education Director, Treva Offutt,
should also start in primary school, so that a habit of valuing
for the Bayview Correctional Facilities, which provides a
aesthetic experience and creation is established in the early
new element at correctional institutions.
stage of students’ development. In high school, students are in a different stage of development, and it takes more effort
Joyce Theatre has more complete outreach and station-in
and more resources to achieve the same goals, and yet, faces
dance programmes. Among these, “Joyce Theatre as
more complicated problems.
Classroom”，“Dance Residencies in Schools” and “Outreach” are programmes targeting students. In other
Lincoln Center Institute and the Center for Arts Education
words, it promotes dance through performances and
are both large organizations, and their ideas are similar to
workshops, both at the Joyce Theatre and at various schools.
Arts Connection. The former emphasizes refined arts, and
more frequently cooperates with tertiary institutions and
DANCE COMPANIES
large museums to organize outreach projects, while the latter
There are more than a hundred dance companies of various
is more oriented to the general public. However, the basic
sizes in New York City. However, there are not many
role of intermediaries, that are receiving resources from
companies that have their own schools that promote dance
public or private organizations and then inviting artists to
education. According to 1999 Dance Magazine, these include
schools for art education, is the same with all these
Martha Graham, Merce Cunningham, Jose Limon, Louis &
institutions. There is also a lot of effort devoted to avocation,
Nikolais, Alvin Ailey, Trisha Brown, and Ballet Hispanico.
planning, studies, and negotiations.
The reason for a dance company to have its own school is
to promote the company’s own dance movement and style.
DANCE CENTRES
Therefore, they are seldom stationed at regular schools, and
In this study, the following dance centres were visited: Joyce
seldom develop programmes targeting children’s
Theatre, Dance Theatre Workshop (DTW), The Kitchen,
development. After a preliminary study, only Alvin Ailey
and Harkness Dance Center at the 92nd Street YMYWHA.
has developed its own separate department for children’s
Each centre has its own preference of programmes. For
programmes. The project is called “Ailey Dance Kids”,
example, The Kitchen prefers post-modernist works, while
which includes eight weeks of Intensive Workshops,
Joyce Theatre tends to work with more mature and reputed
Technique Classes, Drum Technique Workshops, Senior-
companies. However, they are all active and aggressive in
High Master Classes, and Repertory Workshops. Naturally,
dance education.
the contents mainly concentrate on teaching Alvin Ailey’s
dance style. They now have one thousand students. DTW concentrates on community work, and has built up
an artist-network in New York. The use of “Public
UNIVERSITIES
Imaginations” in its name also reflects its orientation. Its
If we only consider dance teaching on campuses, dance
scale is not very large, and its influence is mainly limited to
departments in various colleges and universities may be the
its communities. Its contributions to primary and second
most frequent. However, with their concentration on
school dance education include its free Friday matinees,
professional training, and their intensive curricula, it is
and dance courses for children only.
impossible for them to pay much attention to outreaching
dance education to primary/secondary schools. The few
The Harness Dance Center at the 92nd Street Y, quite
exceptions are mainly because of their need to bolster
different from the directions of other dance centres,
enrollment, and to illustrate their programme’s achievements
organizes a Dance Education Laboratory for teacher training.
to senior secondary students. I have visited Juilliard School,
It has sixty students from fifteen different countries. At the
SUNY Purchase, University at Buffalo, SUNY and SUNY
same time, it also uses its facilities to organize after-school
Brockport. Rather than actively participating in dance
education, their partaking in primary and secondary school
parts - art classes and academic classes. In the beginning
education is only limited to the education theory in their
of their study in the school, students can study more than
programmes. On the other hand, there are also tertiary
one art subject; later concentrating on only one art subject.
institutions concentrating on teacher training, such as the
He also said that his students’ results in other subjects are
Teachers’ College at Columbia University and the School of
higher than the average in New York City. The school has
Nursing and Arts Professions at New York University.
four hundred students, and the art subjects include Drama,
However, they are relatively small and their influence limited.
Dance, Music (instrumental and vocal) and Visual Arts. According to Mr. Shankman, Talented Unlimited High
The ranking of the above four groups of institutions,
School is one of two well-developed secondary schools for
according to their importance on dance education in New
performing arts in New York City, the other one is the
York’s primary and secondary schools, is: intermediary,
Amsterdam Performing Arts High School. He explained that
dance centre, dance company, and university. Intermediaries
the idea of performing arts secondary school is providing
are purely art education organizations. Art education is a
more training in art. However, the development of students
business to them. They have no preferences of dance styles,
must be balanced, and therefore they also study other
and their ultimate goal is to balance children’s development.
subjects at the same time. Because of this, New York is not
In comparison, dance centres and dance companies are
a place to produce youth dance talents.
smaller and more flexible, but have their own preferences.
Universities, on the other hand, provide theoretical training.
COMPARISON TO THE DANCE EDUCATION IN
Although dance education in New York is not perfect, it is at
least provisioned by various interlocking organizations, all
PRIMARY AND SECONDARY SCHOOLS IN HONG KONG
with their own contributions. Except by providing support
In the regular education in Hong Kong, dance is a part of
in different ways, government does not directly influence
Physical Education, just like track and field or ball games.
dance education, while private and commercial sponsorship
This is because dancing involves movement of the body,
is a relatively important component of art education in New
and therefore it is not considered an art form but a sport.
York. For example, Lincoln Center Institute receives
Once, dance was also listed in the syllabus of Physical
sponsorships from thirty-five funds, including Coca Cola,
Education in the Hong Kong Certificate of Education
Exxon, Marks & Spencer; the education programme of Alvin
Examinations; however, because of the small number of
Ailey is mainly supported by Merrill Lynch. In a nutshell,
students taking the examination, it was terminated in 1996.
every component of dance education in New York is
As a result, rather than saying dance education does not
composed by the general public, the board of each
exist in Hong Kong, it might be more correct to say it does
organization appoints its own administrative personnel, and
not play an important role in regular education. The situation
each organization is mainly managed by professionals in the
is similar in drama, traditional theatre, film, video, and all
field.
other forms of art: there is even no systematic introduction,
it is meaningless to talk about a systematic and progressive The experience of New York also emphasizes including
study.
dance education in regular education, being a part of the
overall art education. Most schools make decisions,
How about the situation of music and fine arts education in
according to their own conditions, such as curricular needs
the existing curriculum? According to data from the Hong
and facilities, on which art subjects to include in their
Kong Examination Authority, in 1998, there were 231 and
curricula. To them, taking part in public examinations is not
8,425 students who applied for Music and Fine Arts
an important issue, rather, emphasis is placed on appreciation
respectively in the Hong Kong Certificate of Education
and participation. In general, dance education in New York
Examinations. In the same year, there were seven and eighty-
is a non-governmental business: although governmental and
seven students who applied for these two subjects
commercial organizations provide the resources, it is directed
respectively in the Hong Kong Advance Level
by various organizations in the general public.
Examinations. Compared to the number of student applying
for English (122,583), Chinese Language (99,717), and In addition to the above institutions, I also visited Talented
Mathematics (97,736) (7), we can conclude that Music and
Unlimited High School to study the situation of a dance
Fine Arts are not really playing an important role in the
secondary school in New York. According to its principal,
regular education system. After reading these data, we
Mr. Ira Shankman, its curriculum could be divided into two
should ask: is it really important for dance to be an
independent subject and a
and examinations stressing academic subjects
subject in Hong Kong
and neglecting technical subjects. As a result,
Certificate of Education
the space for the development of art education
Examinations?
is very limited. Even Ti-I College, with its emphasis on sports and arts, cannot avoid
The existing education
paying attention to
system in Hong Kong
examinations. With this
emphasizes academic
exam i nation-oriented
subjects (Languages, Mathematics, Sciences, History,
curriculum unchanged, it
Geography, Economics, and Business Studies); technical
is not possible to have a
subjects (Physical Education, Music, Fine Arts) are just
proper art education.
accompaniments. Furthermore, the examination-
Even if we could
oriented education system also influences
successfully persuade
school curriculum, and repulses technical
the Government, and establish a dance
subjects. If this situation remains
secondary school, the result might be
unchanged, it is not difficult to predict
close to that of the Ti-I College: how
that, even though part of the regular
could we possibly nurture good
curriculum, dance would only be another
dancers, while there is not enough time
of students attending the Hong Kong
■BiKmm
Certificate of Education Examinations.
education in Hong Kong: the Hong
have mature performances and works.
Moreover, there is no reason to include
Kong Academy for Performing Arts
With a limited supply, demand would
dance only in regular education, the
(top), the Education and Outreach
be small. However, supply and demand
accompaniment, with a limited number
argument could be made for other art
Major components of dance
Departments of City Contemporary
Dance Company (middle) and Hong
subjects to be included as well. For these
to teach academic subjects? If there are
no talented dancers, it is impossible to
should be two independent curves!
Kong Ballet (bottom).
reasons, we can see that the first idea
If we look at dance education from the
discussed in the introduction of this article: having dance
perspective of an extra-curriculum activity, its achievement
as an independent subject and making it part of the Hong
is quite remarkable in Hong Kong. Since the 90’s, District
Kong Certificate of Education Examinations would promote
Councils started to carry out a series of programmes to
dance education, is not correct pragmatically.
introduce dance to schools, including Making Dance (Hong
Kong Ballet), Modern Dance Workshop (City Contemporary In order to discuss the second idea — to establish a dance
Dance Company) and Cultural Ambassador. Dance
specialized secondary school, the experimental Jockey Club
companies also frequently perform in schools with different
Ti-I College, established in 1989, can be used as a case study.
contents and in various ways. On the other hand, the Hong
On the foundation of the regular curriculum of grammar
Kong Education Department’s Inter-School Dance Festival,
school, Ti-I College strengthened the training of physical
which has been held for thirty-six years, and has a
education or art subjects by increasing them from the regular
participation of five thousand students, is a celebrated annual
two lessons per week to eight in the Lower Forms (Form
event. However, rather than aiming for a balanced
One to Form Three). Starting from Form Four, like other
development of students, these events are mostly promotions
schools, its students are divided into Art, Science or
of particular categories of dance, and they do not really have
Commerce streams, with a concentrated training on a
a deep influence on Hong Kong dance development.
particular sport or art and design subject, to meet the
requirements of the Hong Kong Certificate of Education
In respect of overall system, the Hong Kong Government
Examinations. After ten years of establishment, what is the
basically provides all the resources. Because of the local
Ti-I College’s role on Hong Kong sport and visual arts
culture, the business sector rarely supports art education.
development? If we accept that Ti-I College is a parallel
Dance companies not only visit schools, they also take up
subject, shouldn’t the promoters of dance secondary school
the role of “intermediary”. The Hong Kong Academy for
use its achievement as an assessment? In Hong Kong, the
Performing Arts, on the other hand, does not seem to have
main problem of primary and secondary school education
an active role in the dance education of primary and
is the situation of education being directed by examination,
secondary schools.
CONCLUSION
find it impossible to and dare not challenge the authority of
It is clear that dance education in New York’s secondary
the Government. In contrast, because of the indirect
schools is much better and more mature than that in Hong
supporting role of the Government on Hong Kong dance
Kong. This reflects the differences in system and culture.
education, art companies can enjoy more freedom, and
Firstly, the differences in the examination systems, curricular
therefore the results are more significant.
arrangements, and the powers of schools determine the differences in the basic structure. Regular classes and extra
Although culture cannot be changed in a short period, the
curriculum activities are basically different. The different
change of systems may accelerate the modification of
orientations in education ~ examination-orientation in Hong
culture. However, if the system remains unchanged, there
Kong and student’s development-orientation in New York -
is no point to talk about dance education and dance
-leads to the completely different arrangements in
development, and they can only strive to survive in the
curriculum and the different emphasis on evaluation.
limited dimension outside the curriculum.
Secondly, arts in New York enjoys a much higher social Translated by Cecil Sze
status than in Hong Kong. In New York, parents and students are relatively willing to accept arts as part of schools’ core subjects. The status of artists in New York is also much
higher, different from Hong Kong, where artists and the
NOTES:
(1)
Facing the Future: The Arts and Education in Hong Kong Report on the Arts and Education in Hong
professional and business elite are situated on two opposing
Kong: An International Symposium March 1997 by
ends of the scale of status. It is not an exaggeration to say
Ken Robinson published by Hong Kong Arts
that most Hong Kong people seek to be rich, and that the
Development Council 1998 (P.39-P.42)
public recognize the rich as successful idols, while artists, culture-workers and even politicians are all minor characters.
(2)
Dance — Starting from the idea of Dance School ii
Both the hardware (system) and the software (culture) are
May 9, 1998 and Dance School in Hong Kong in
greatly different between New York and Hong Kong. On the other hand, the role of government on cultural affairs
May 29, 1999. (3)
Hong Kong Dance Sector Joint Conference, An
Introduction of the Dance Education in America and
is also different between New York and Hong Kong. In New
Europe , September 19, 1999.
York, most of the major culture or art institutions, except
the library, are privately-owned, such as Carnigie Hall,
Forums in All Independent Dance Series' Future of
(4)
The simplest assumption of Say s Law is that when there is supply, there is consumption. Therefore, there
Metropolitan Museum of Art, and the theatres on Broadway. They have their own niche in the society and their own
is no need to stimulate the desire for consumption.
networks. In a time of better economy and more resources,
To increase production is a good strategy to stimulate consumption and people would accept all the money
their development is faster; while they would go through a
issued. This assumption is wrong pragmatically.
process of selection in a poor economy. Rather than direct the operation of art and cultural affairs, various levels of
(5)
American school system is divided into thirteen
the government just provide resources and manage the
grades, from K to 12th grade, before tertiary
environment. In Hong Kong, the situation is completely
education. There are six- grades in High school, including Junior High and Senior High, which is the
different: the Government simply directs the whole cultural
equivalent of the Secondary School in Hong Kong.
affairs. From the constructions of theatres, libraries and
Elementary School starts from K to 6th grade, and is
museums to the operation of art companies, the Hong Kong
the equivalent of the Primary School in Hong Kong.
Government is involved in, and in some cases directly
Because this report was written for Hong Kong
controls, various aspects of cultural affairs. There are rarely
people, the terms for common Hong Kong school
any privately-owned organizations comparable to the
system are used.
Government. The advantage is with the resources of the Government, it is more possible to make long-term plans.
Such as the Face to Face — Learning fromTeach Other about Arts in Education held by The New York
However, it is not the most effective way to use the
City Arts in Education Roundtable. According to Ms.
resources. Bureaucracy, which always rigidifies
Joanne Hill, the Education Director of Joyce Theatre,
organizations, is not suitable for art and cultural companies,
there is a conference about every two years.
which need flexibility and creativity. Furthermore, the companies whose resources are provided by the Government
(6)
(7)
Report of the Hong Kong Examination Authority, 1998.
^TW
Iffl
ARTICLE
對舞蹈評論的兩點意見 ----- 回應寫評的人黃琦瑜 作者：曹誠淵
级冰了黃琦瑜女士一篇題為「除了搖滚，一無
那怕是只用一點點篇幅去探討的題目。可惜這些評論
所有」的隨感雜文（以下簡稱「除了」，全
中的應有內容，在這娌全讓位於悲風泣雨式的傷感文
文刊於本期《舞蹈手扎》第十二頁），文中對由城市當
字。舞蹈評論當然不必一定要硬碥碥的寫，可以詩
代舞蹈團製作的一鉤舞劇《给你一點顏色》多所抱怨，
意、可以佻巧、可以幽默，但既然是評論文章，便應
實在使身為該劇藝術總監的本人深感不安。
有評論的起碼內容。我不反對舞評作者在文章內展示
一下自己的文采、修養，甚至睥睨一切的態度，但文 本來任何藝術作品接受觀眾鑑賞，自然獲得觀眾的不同
章內容還必須是針對性的對觀賞主體評論的言之有
反應，有褒有貶是最自然不過，間或有文化人在文章或
物。今天香港的許多舞評文章中，我們讀到的多是文
其他傳播媒界中發表對作品的一己感受，使我們這些創
章作者的閃閃發光的個性風格，卻看不見對評論主體
作者們從中可以得到溝通、反思、長進的機會，更是求
—舞蹈的分析。
之不得的事。
“除了”一文是一篇優秀的隨感雜文，展示了作者排山 但我對「除了」一文深感不安，原因是文章的副標題是
倒海的感情、奇怪獨特的悟力和細膩的文字功夫，但
"評城市當代舞蹈團的《给你一點顏色》”，而文章作者
若作者和讀者誤會了這便是舞蹈評論，則只能再次証
也在文章中自居為「寫評的人」，則明顯地這是一篇屬
明了香港的舞蹈評論文化的浮淺和刻薄 。
於舞蹈評論範疇的文章。正是這篇舞評文章的水平，使
一
我對香港已然淺薄的舞蹈評論文化，有了更深的疑慮不
「除了」
安。
還能活多久？」這句問話雖然是由「評論」舞劇《給你
文以石破天驚式的一句問話結束：「現代舞
一點顏色》引起，語境卻横飛出世，忽然變成對整個
「除了」一文凸顯了香港一般舞蹈評論的兩大缺失，且
現代舞生存狀態的詰難。這便迫使身為城市當代舞蹈
分析如下：
團團長的本人需要作出認真反思— —現代舞這門藝術
是否在今日社會發展中真的日趨沒落？
•)
“除了”一文共八百多字，內容主要為闡述作者觀看完 舞劇《给你一點顏色》的感受，文字大部份屬於充滿感
幸而，以香港和中國大陸的現代舞發展為研究對象 ，
性的個人筆觸，如「天真的我們將會為那個情緒的小小
我們可具體地從觀幕數字、參加演出和學習人數、演
衝擊興奮地描述…」、「那心湖上細微漣漪的波
出節目的質和量來作個統計，便知曉現代舞是日趨淡
動…」、「螫服已久的觀幕嘩一聲完全甦醒…」等。作
落還是曰益蓬勃，在這裡我無意列舉大串數字，而真
者於字里行間充分展示其個人文采，但對於要評論的對
正嚴肅的舞評人自會找尋資料。不過，要指出兩點事
象---- 舞蹈本體，卻吝於落筆。
實：十年前的香港只有屈指可數的幾個現代舞團體 ， 但據今年年初出版的『香港舞蹈歷史』中載，現存香港
至於在那只佔全文不及一半的有關舞劇的文字中，則千
現代舞團體已達二十七個，每年提供不同風格的舞蹈
迴百轉詩意綿綿，譬如談及〈紅色〉一段舞蹈：「呈現
演出及敎育活動；中國大陸則在十年前沒有正規現代
出來的卻不是响喊的鮮紅，更像是染血布衣上乾了又
舞組織，今日卻分別在廣州、北京、上海、廈門成立
洗，洗了又乾的班駁陳跡，是某種漠然的血色，某種消
了國家認可的現代舞團。這些團體的發展未必儘皆如
逝回憶裡、事不關己的輕聲控訴。」這一大段文字無非
意，每場演出未必都廣受觀幂讚賞•但它們和其中舞
是説：舞蹈不夠力度。但為什麽舞蹈给作者的感覺不夠
蹈家的存在和堅持，都是這門藝術方興未艾的最佳証
力度，其中缺失什麼，多餘什麼，編排上那裡不盡如人
明。
意（雖然或許只是作者個人之意），都是值得重視，
■B
從客觀事實來看，現代舞似乎還要活下去，然而這是否
統作曲家及學院派音樂家的重視，在民間卻始终流傳不
証明「除了」一文作者只是因為一次不完美的主觀經驗
起來。
而發出一聲嚇人而實無意識的咆哮？因此本人也沒有 必要鄭重地作出回應和反思？但我寧願相信作者是站
現代舞卻是透過視覺與觀幕進行溝通的藝術 。動作影像
在更高層次上對一次欣賞經驗的總结，而質疑現代舞這
通過眼睛直接傳入大腦，經過儲存、分析、重組而獲得
門藝術的功效。由此，我們才可以轉入真正有趣的題
不同程度的理解，掌握訊息後才慢慢沉澱至心房。現代
目：現代舞的本質是什麽？欣賞現代舞跟欣賞其他藝
舞不像搖滚樂般直接震撼觀幂的心靈，卻在觀幕欣賞的
術（譬如搖滚樂）有何區別？而香港舞蹈評論文化之顯
過程中，通過理性的辨悟而達至滌淨心靈。因此，除了
得淺薄，正是因為作者們對現代舞的本質了解不深，他
極少數情形外，現代舞的觀幕不會邊看舞蹈邊流淚，而
（她）們有從音樂入手、有從戲劇入手、從文學入手、
那些可以使觀眾激動流淚的舞蹈，肯定伴奏的是充滿悲
從哲學、社會學、心理學甚至各式各樣的審美觀念入
情、慘情的音樂，所以與其説舞蹈使人哭，不如説是音
手，卻往往
樂使人哭。
昧於舞蹈中
過去舞蹈藝
動作構成的
術依附在音
張力狀態，
樂中，以致
無法獲取舞
有「音樂是
者和觀者間
舞蹈的靈
的肢體共振
魂」一説，
感悟，以致
而現代舞卻
面對一 些真
以視覺的思
正滌淨人心
維感悟為溝
的舞蹈時•
通表達渠
只能「一無所
道，在這
有」。
裡，音樂反 成了舞蹈的
剛開始接觸
陪襯品。因
現代舞的觀
此，有趣的
眾，往往第
《給你一點顏色》中的〈紅色〉
現象出現在
觀幕群中：
一'印象是「不 明白」，因此有為數不少的舞蹈工作坊導引年青人，告
搖滾樂的觀幕接受音響的直接震撼，起立、歡呼、拍
訢他們不要以看電視劇的方式來欣賞舞蹈。而值得欣慰
掌、尖叫、搖頭晃腦是最自然不過的事，而現代舞的觀
的是，愈來愈多香港的年青人開始懂得以抽象思維去觀
眾卻默默地坐直身子，瞪大眼睛，接收著舞台上舞者的
賞事物，而不是單純的只懂用感情去享受世界。可惜，
一舉一動，然後在腦海內自組著一幅幅屬於自己的有意
反而有部份香港評論人卻仍然只懂（或只能）用一種方
義的畫面。舞劇《給你一點顏色》給我最大的驚喜，便
式去觀察事物、用一套標準去評論藝術，也所以往往有
是香港觀！的投入，和面對不同藝術門類時的自然又成
評論人用自己熟悉的戲劇、音樂或文藝理論對著舞蹈指
熟的反應：在上半部現代舞時，能夠靜心而全神欣賞’
指點點，當然這些都可算是提供不同觀點以供舞蹈創作
近千人的觀幕席內鸠雀無聲，卞半部搖滚樂時，卻又能
者參考，但從真正的舞蹈評論來看，往往變得搔不著癢
全情投入，喧聲震天，而形成徹底解放的高熱效應°當
處。
然這也應當歸功於舞蹈團的舞者及崔健和他的樂隊在各
自領域中的精彩演出，才獲得觀幂如水乳交融般的反
現代舞和搖滚樂正是分別代表思維和感情的兩門表演藝
應。
術，也是代表了直接衡擊人類視覺和聽覺的兩門身體藝
術。有無數的研究資料告訴我們，音樂藝術具有高度的
讀著「除了搖滚，一無所有」這篇所謂舞評文章’我一
移情作用，任何時候、任何地點，當音樂響起，我們閉
方面感到作者以期待搖滚樂的心態欣賞現代舞’實在是
上眼晴，聲音透過耳膜，便可直貫心田，挑撥著我們的
摸不著欣賞的門路，另一方面更詫異於作者把觀幕對
情绪萬端。所以無論是古典樂、流行樂、民族樂，都是
搖滚樂及現代舞的自然而成熟的反應’簡單閱讀成「搖
直接的感情藝術。尤其是搖滚樂，以巨大的音放輸出震
滚萬歲」和「現代舞還能活多久」的奇怪結論’有時我
耳的音符，配合上赤稞棵毫不修飾的歌聲及歌詞 ，使我
想，當香港的現代舞和現代舞觀眾都已邁步向前的時
們可歌可哭，可以放浪形骸，直敎淑女變瘋狂。也所以
候•現代舞評論這一環是否顯得更加寂寞！
為什麼強調冷靜而抽象的無調性排列音樂 ，雖然備受正
舞評 DANCE REVIEW
除了搖滚，一無所有 評城市當代舞蹈團的《给我一點顏色》 作者：黃琦瑜 經驗豐富的觀眾都知道，對於演出的印象多
黎海寧的〈紅色〉舞在高牆之前，有繩索，有軍服，還
半架構在某些片斷上—這是記憶與我們玩
有種種様板動作的變形與剪影；呈現出來的卻不是呐
的小遊戲。整場表演中只要能有一個令人振奮 、眼睛一
喊的鮮紅，更像是染血布衣上乾了又洗，洗了又乾的
亮，或是怦然心動的時刻；散場後，天真的我們將會為
班駁陳跡，是某種漠然的血色，某種消逝回憶椬、事
那個情緒的小小衡擊要奮地描述、討論，而那心湖上細
不關己的輕聲控訴。
微漣漪的波動，似乎就可以傳開到更久更遠。 潘少輝的〈黃色〉企圖描續■一個纸醉金迷、物慾横液的
城市當代舞蹈團的新作《给我一點顏色》顯然深諳此
浮華世界：開頭的荷影蟬鳴，配上鄧麗君的「小城故
道：在所謂「紅、黃、藍」的三色舞蹈之後，台上的大
事」，似將反諷世俗的拜金與奢靡，但很快就被濫情
片灰牆轟然裂開倒下，崔健和他的樂隊在煙霧背光中隆
的巨浪淹沒，只剩那黃衣女子的嫵媚手勢 ，不算蒼
重登場，頗有石破天驚的意味；蟄伏已久的觀眾嘩一聲
涼，只是淺薄與無謂。接著忽然轉折到桑吉加的〈藍
完全甦醒，拍手、尖叫，大力唱和，渾然忘了之前個把
色〉，銀色太空裝扮加上modem聲，這就叫現代與科
鐘頭的侷促與不解，盡情地投入這激昂的一刻，這專屬
技？對一天起碼面對電腦超過十小時的多數人而言，
於拉闊、搖滾與崔健的光榮時刻……。
未免有點out吧？
觀豕可以忘記，寫評的人卻不能。
三段舞蹈雖可見在動作質地上各有變化，以配合色彩 定義，可惜僅流於表象，全然搔不到癢處，也未能超
打著「中國第一搖滚舞劇」的名號，《给我一點顏色》
越一般對「紅、黃、藍」的诠釋。最可惜是張元的影
排出的編導陣容強盛，囊括了北京戲劇（林克歡）、電影
像，打在舞台兩側凹凸的牆面，想看也看不清楚。
（張元），與音樂（崔健）的三巨頭，和香港的舞壇前鋒後
《给我一點顏色》的輝煌的印象全给了崔健，其他人只
浪— —曹誠淵、黎海寧、潘少輝，與來自青藏高原的桑
能微笑著搖搖三色小旗。搖滚萬歲！當然！可是現代
吉加，名單可謂一時之選，著實令人期待，卻不能保證
舞還能活多久？
什麽。
崔健於《給我一點顏色》中的演出
舞評 DANCE REVIEW
Hong Kong Ballefs La Fille Mai Gardee Author: Kevin Ng
handsome and has a winning
natural charm which makes him a convincing Colas.
He is
currently the company’s strongest male dancer, with a high elevation
in his jumps. He impressively
executed Colas’ multiple
pirouettes ‘sur place’ without budging from his spot. Fujino was also a strong partner, and was
rock solid in his one-handed lift
of Lise at the end of the harvest scene.
Fujioka’s angular profile makes her look more severe than ideal
his Royal Ballet background, Stephen
for the role of Lise. She has adequate footwork without
Jefferies has introduced surprisingly few
much brilliance, except for some quick flashes at the end.
ballets by Sir Frederick Ashton into the Hong Kong Ballet’s
Her mime scene in Act 2 day-dreaming about her married
repertory, since he became its artistic director in January
life was slightly forced. Still she let her genuine warm
1996. Jefferies showed an Ashton programme in May 1996
feelings speak through in Ashton’s masterly choreography
by reviving Ashton’s Les Patineurs (acquired by his
for the several pas de deux.
predecessor Bruce Steivel) and combining it with a notable
acquisition of The Two Pigeons. But there have been no
A mention must be made of the portrayal of Thomas by
more performances of Ashton’s ballets until last August
special guest Graeme Collins, the Head of Ballet at the
when the company premiered La Fille Mai Gardee staged
Hong Kong Academy for Performing Arts. And So Hon-
by Alexander Grant.
Wah was a vivacious Alain as well as Cockerel, Amuer Calderon a decent Widow Simone. The pony from the
“La Fille” received further performances in March. What a
Hong Kong Jockey Club’s riding school behaved
pleasure it was to see this most English of ballets with Osbert
impeccably.
Lancaster’s original sets and costumes faithfully reproduced. I am happy to report that the Hong Kong Ballet has now
become acclimatised to this sunny Ashton masterpiece, and
has acquired more depth and fluency since last summer. The ensemble dances of the harvesters and chickens were performed with spirit. No wonder that the large number of
children that night reacted so enthusiastically to the comic
moments. The performance that I saw was led by principal Ayako Fuji oka and Nobuo Fujino, a talented coryphee. Fujino is
剪報服務PRESS CUPPING
二零零零年二月二十七曰 大公報
話 童 方
西
似 近
它 虫
白
作者：思念 將我國傳統民間故事《白蛇
幾乎只有醫術，卻沒有什麽法力，在盜仙草、水漫金山這
傳》改編為搖滚芭蕾舞劇
《白蛇》，本來是表達對中國文化的一種尊歇 ，令人感到
些大場面，完全無能地等候「神力使者」與「皇母婚J；良」 的打救，只見她總是驚惶失措地到處亂竄，毫無白娘娘那
興奮。可是，身兼總監’編舞'舞台設計'旁白編寫的
為愛情而理直氣壯、無畏無懼的神采。《白蛇》過分強調
蘇東美，顯然對《白蛇傳》的故事內涵與主題欠缺了解’
神仙打救與施法，令有情人终成眷屬，像《仙履奇緣》或
將《白蛇傳》改編成與西方童話相類似的故事。
《睡美人》般簡單夭真，反而削弱了人定勝天（雖然白素
香游芑薔舞圖
貞是蛇的化身），平民與權貴抗爭時的衡突與現實意義。 白娘娘、小青、許仙搖身一變為現代搖滾芭蕾舞劇的人
物，牽動了入場的慜望，坐在觀眾席上遊目四顧，發覺
雖然是以西方形式來展現，《白蛇》畢竟是一個中國故
幾乎一半都是外國觀尿，看來他們好奇地希望揭開白蛇
事，若是編創人員對中國文化有透徹了解 ，演繹出來的舞
的神秘面紗。不過，外國觀幂可能無法從舞劇《白蛇》中
蹈作品，才能讓中國觀尿心感順暢，外國觀眾更明瞭中國
了解到《白蛇傳》的神髓。
文化。
《白蛇傳》這個神仙故事包含三個最重要的象徵與信念，
蘇東美的確嘗試以多種媒體來演繹《白蛇》，例如安排一
第一是女性追求愛情的主動精神，白娘•娘•與許仙幾乎是
位説書人（譚偉權飾）穿插故事中，隨時講解劇情。可
一拍即合，兩人在西湖小舟上相遇，白娘娘急不及待’
是，我很懷疑這個角色的作用，他以粵語唸白，現場又不
小青推波助澜，許仙亦不作推搪，可説是「閃電結婚」，
設英文字幕，那麼，幾乎一半的外國觀眾，怎能明白他説
完全省卻了父母之命、媒妁之言，實在是我國自由戀愛
些什麼，至於本港觀尿都對《白蛇傳》耳熟能詳，還需説
的先鋒。第二是白素貞與許仙之間愛情的堅負不移，無
書人作啥？更令人「難頂」的是，説書人往往在白素貞與
論法海如何凌搬、如何強迫、使盡法寶，亦無法將兩人
許仙浪漫纏綿得最濃最深時突然竄出來，在這雙情人中
拆散，白素貞行醫製藥，盜仙草，都是為許仙而付出。
間，恍如巨型「電燈膽」，更粗聲粗氯地大嚷：「白素
第三是對封建制度與權貴反抗到底的精神，白娘娘和小
貞！白素貞！善良?白素貞」。
青嚮往人類的真愛，對代表封建、權貴的法海頑強抵
抗，從而展開連場大鬥法，就算是水漫金山後被鎮壓雷
虞1J中的皇母娘娘與神力使者都作用不大’反而小青一點虐吏
鋒塔下，亦絕不低頭。
分都沒有，只能當一個照顧許仙的「妹仔」。"不過，由蘇 漢華、賴振榮與白家樂飾演的三名结他手，在劇情中穿來
然而，舞劇《白蛇》中的白素員與許仙相識後，雖也一見
插去，大跳搖滚舞，倒是很切合搖滾芭蕾的名義，而且他
鍾情，兩人卻顯得不知所措，迷迷茫茫，在説書人「神
們的打扮與舞姿都很有型夠「ROCK」，其實安排他們去
推鬼使」之下，才含含糊糊地相愛起來，沒有一顯白娘
介紹劇情，便不需太多「閑雜人等」了。
4良「女追男」的主動。最糟的是，在《白蛇》中，白素貞 除了三名結他手的搖滚舞姿之外，當晚的 舞蹈大致上以現代芭蕾為主•但動作設計 特色不足，例如白蛇與青蛇只在出場時扭
動身體交代她們是蛇，其餘的舞蹈都雙人 舞的托舉、轉圈等等，未能讓觀幕感覺到
這是一鉤屬於白蛇的搖滚芭蕾。 因為戲分集中在女主角梁菲身上，她的表
演便成為全劇中心，幸好她演繹得非常出
色，身型修長、舞姿柔軟，顯出了白蛇温 柔的一面，可惜劇情編排沒有讓她展現白
素貞的外柔內剛，相信有機會的話，她也
會拿捏得準。
@ 剪報服務
PRESS CLIPPING 二零零零年三月五曰
大公報
色彩纷繁的雜色時代 作者：林克歡
＜紿你一點顏色》中的〈藍色〉
L香港城市當代舞蹈團、北京現代舞團和崔健搖滚
的生活場景，生活形態的模擬：搔首弄姿的選美展示•
樂隊聯合演出的《給你一點顏色》，是一台在統
男人與女人之間含情脈脈的謬轎、愛戀、扶持、爭鬥、
一構思統領下，各種不同藝術門類、多種藝術媒介的综
暴力，只由簡潔的幾個身段、幾個動作點染成趣。鄧麗
合演出，是豕多在音樂、舞蹈、影視、戲劇領域裡卓有
君軟綿綿的抒情歌曲，酒吧裡思緒萬端的獨處……都帶
成就的藝術家攜手合作的成果。它以應接不暇的場景轉
著某種懷舊的情感，温馨、懷戀又難於抒解。但整個舞
換和強烈的視聽刺激，去震撼觀眾^的心靈，讓人們面對
段的編導技法主要部是戲擬（Parody），在對温馨、甜蜜
一個色彩纷繁、觀念歧異、價值多元的雜色時代，自己
的曰常生活表象的滑稽模仿中，人們隱約看到浮現在編
去判斷與選擇。由黎海寧、潘少輝、曹誠淵、桑吉加編
導者嘴角的微笑。作為一種有意混化的策略，它使舞蹈
舞的紅、黃、藍舞蹈單元，以差異極大的舞台技法和情
場面不再傳達單一的情感。這是編導者在世俗認同與現
感基調，呈現人們（包括編導、舞者和觀幂）對歷史、
實批判的微妙關係的縫隙中，尋覓的另一種表述空間。
當下、未來的不同感受與思索。
藍色舞段，精準、冷靜。舞蹈多採用幾何圖式的運動線
條，動作完全是一些屬於「純舞蹈」的簡潔俐落’組接 紅色舞段狂烈、峻急、蘊含豐富。二十多位舞者先後翻
細密的肢體語彙。這是一種非個性、去情感的呈現方
牆而過，用繩索爬下六米高的巨牆，呈現一種懸空、跨
式，藉著繃繩和機械力，舞蹈呈現出某種非常見的 '怪
越的動感與意象。紅色領隊動作急切、焦灼，突然而
異的場面。舞者被繃繩高高彈起、彷狒失去地心引力之
進，.然而止，遊移不定，p南p南自語，似喊非喊.力度
後的輕盈，人體被懸吊著、與台'面平行' 踩著面對觀幕
控制極細膩，為整個舞段定下基調。群舞者的摔倒、翻
的鐵牆、幾何圖式的上下’左右移位’這類近乎存在於
滚、跳曜，力度、幅度都較大，舞者往往是整個身體
電腦或遊戲機中的畫面，產生一種奇異的' 虚幻的感
撲倒或拋甩在台面上，在狂暴的身體動作中既充滿激情
受，在它所傳達的機械美的背後，也呈現某種整個世界
又顯得焦躁不安。滿台晃動的粗麻繩，大量突發動作，
都被程序編制、機構操控的冷漠。
粗礪的動作質感和立體化、多焦點的空間構成，呈現群
體的大生命秩序，較少個人抒發的餘地。從軍裝系列幻
全場演出的高潮出現在藍色舞段結束之後’在噪雜的搖
化出來的紅色服裝、幽暗的紅光、紅色花瓣•••••使紅色
滚樂聲中，巨大的磚牆不斷前移’倒塌’崔健和他的搖
不再是以往舞台上常見的鮮紅，潛含了更多意義或解釋
滾樂隊由移動平台從台後推到台前1頓時’樂聲震耳欲
的可能性。
聾，風煙滚滚，燈光搖曳，紙片亂飛。崔健除了為這 台演出專門創作了《農村包園城市》'《當我走的時候
黃色舞段動作柔和、流暢，女舞隊彎彎曲曲的迂坦運動
愛情算是什麼》、《迷失的季節》三首新歌外.還情感
與男舞隊密集、整一的直線移位，加上三對遊動的舞
飽滿地演唱了內地觀幂耳熟能詳的六’七首歌°
伴，交錯雜陳，意趣横生。整個舞段鋪陣了大量片段式
法國當代文化批評家賈克•阿達利(Jacques
Attali)認為•
聲音比影視更具滲透與爆破的力量，人們可以長時間閉
《給你一點顏色》的演出是一次十分可貴的藝術嘗試， 令人耳目一新。但三種顏色的舞蹈仍存在發展的多種可
上眼睛，卻無法長時
能性與自我完善的
間捂著耳朵。假若我
寬闊空間。張元的
們把音樂當作一種理
影像投映在觀眾席
解的工具，一■條體認
的牆壁上，模糊不
歷史、世界、生活的
清，幾乎沒有發揮
途徑•那麽•接近崔
作用，舞蹈的連續
健的搖滾樂，可能是
是由三種不同顏色
十分有意義的。八十
的舞蹈單元組接而
年代中期，一曲《一無
成，時間是段落性
所有》，宣洩了無數內
的；崔健的搖滚樂
地年輕人的憤怒，也
演唱，一首首歌曲
唱出了無數年輕人的
各自獨立成章，音
心聲。多年以來，崔
樂時間是破碎的；
健的搖滚音樂日漸豐
然而由於椿米老人
富並走向多元化，但
的存在，那深沉、
仍保持著原初的純真
平穩的椿米聲一再
與社會批判的激情，仍未被馴服，未被市場消費掉。但
重複，貫串首尾，你也可以説戲劇時間是周期性的，是
我不知道從古典、爵士、搖滚到後現代音樂、世界各地
不斷連續、永無终結的。在舞剩中，不同的時空结構傳
品種繁多的音樂製品被不斷複製、消費的香港社會，崔
遞的是不同的歷史感知與不同的生命感受。這些不同的
健作品中那特有的社會批判意義是否會被蒸發淨盡？
藝術元素如何整合，是今後復排時需要認真思考、處理
的課題。
% 剪報服務
PRESS CLIPPING 二零零零年三月
表演藝術第九十九期
落花的心 作者：小棕
2
的排練過程中，舞者充滿東方味道的構思(如花、雪)
落花如雪般飄下.萬千心事也彷彿缓缓放 隨著 低 ，沉澱淨盡，悟了一種心道。以四季為基
及動作(如圓的轉、滚)都與中國舞富詩意' 著重上半
調的《花落知多少》，是梅卓燕應碧娜•鲍許(Pina
身、手腕的姿態相合，故演出中大量弧形、循環不息及
Bausch)及德國福克旺舞蹈團(Folkwang Tanzstudio)的邀
轉動的空間概念與意象的編排，並不是硬生生地套在外
請，以其一九九五年創作的《獨步》為基礎並重新編排
國舞者身上，而是大家將經驗互通共融、匯集和處理的
的長篇舞蹈作品。想當年的《獨步》，梅卓燕在大術•
寶貴過程。
達伶(David
Darling)幽幽的大提琴音樂下，與風與傘跳
舞，傳來的心音至今仍猶在耳目；牝次放諸福克旺舞團
你/妳像隻蝴蝶飛在我身邊
的多位舞者身上，編舞者個人的心音則變成多元頻道的
《花落知多少》共分為十一個場景，雖然靜態的場面較
立體聲，其中呈現的情理與景象，有內化、婉約而飄逸
多，但意象與氣氛的營造卻凝練有力，有著豐富的層次
的聲音，也有活潑、強壯和豪情的一面：每個片段都體
感。開場的〈雨/蝴蝶〉先由五個女子乖巧地在一旁做
現了中國傳統風韻與德國著重力量質感的成功雜交。
著蝴蝶的剪纸手工，含蓄得煞人。隨後下的雨引得三位 姑娘在外打傘抒發情思，退去煩悶；之後五位男子共同
有此一脈相承之感，相信也是梅卓燕第一天走進福克旺
用口吹起一隻紅色的紙蝴蝶.風承蝶飛，你擁我逐，
舞團的排練室所得到的驚喜，她以自動書寫(automatic
「窈窕淑女，君子好逑」的情懷乍現。
writing)的方法叫舞者寫下對四季的感覺，結果在即興
16
男子群退去後，女舞者又再度上場，用自己剪裁的「心
紅、白、黑雙人舞俐落脫俗
中理想的」綠蝴蝶拋在自己身旁飛舞，男舞者更利用傘
〈白色雙人舞〉的一對男女用傘拉、扯、推、檔、承、
一開一合的風勢把紅色纸蝴蝶吹起，這種「求偶」景像
接、箍、靠，由最初寂靜的比劃到加上輕快音樂的嬉
非常有趣：女的以自己為中心，叫蝴蝶在身邊團團轉；
戲，都叫人賞心悦目。中段的群舞者拿著包著大量白色
男的則使勁地成就蝴蝶的高飛！男女雖然互不相碰，卻
碎紙的西洋傘，開、散、躺、走.乾淨倒落，像是為自
各自幻想於紅綠群蝶當中，春雨思情叫人心也漾漾然。
己祝福的一閃一閃亮光。接著的〈冰上〉，舞者像溜冰
似地相繼滑走於布面上•實驗著可以用什麼方式跟布
第二段的〈沙〉把觀幂帶至另一個截然不同的境地。在
面/冰溝通。接下來的〈紅色雙人舞〉及〈黑色雙人
風沙疾勁的黃土上，男子粗獷頑強的抵抗見於大量的地
舞〉，一則紅噹噹地，以不3的姿態史型去表現含蓄的
面動作及快速的腳部活動，滚、爬、伏、翻，不斷地重
情蘊及婚姻的保護功能。另一則黑沈沈的，由男子用黑
覆，是循環不息的抗爭。接著.四名女子狂野地搖曳著
色碎纸舖出迂迴的路徑讓女子走過，繼而毁滅了她的
長散髮，像活動的掃帚一樣左右擺動，揚起了地上的碎
路，卻沿途為她遮風檔雨，女子則冷漠相對。有趣的
纸。那種不顧一切的狂勁可能
是，紅與黑都不是我們所想像
是過了火，要由男性去控制場
的歡喜與悲哀•「紅」的熾熱濃
面：像清道夫一樣的男子，把
情其實可能隱含危機，「黑」的
張開的傘向前猛推，強烈的風
陰沈詭異卻有絲絲柔情。
勢一方面把地上碎纸清理至一
邊，另一方面也將女的擺平，
第九段的〈花〉是筆者最鍾愛的
女子似受到催眠似地緩缓躺
一段。碎紙如花散落，舞者相
下。
繼進出獨舞於落花當中像一點 又 一點的情緒放大了在台上舞
動一樣；不同路徑的花，落在
這種性别角色操控繼續上演：
男子拾起地上的碎紙灑在躺臥
不同的點，不同個體的生命，
著的女子身上，像受到祝福或
走著不同的路。在飄落的過
寬恕的女子遂隨著碎纸的降臨
程，萬種心事彷彿一下子被過
而甦醒，起而與男子共舞。如
濾淨了.縱有情绪、有激動、
果從探討性別角色的問題去解
有感慨的時刻，經過落花的洗
囊，這明顯暴露了中國傳統社
滌，都沉澱到最深處，頓覺釋
會中男性主導或男尊女卑的二
然0
元结構；但如果宏觀一點去 看，則碎紙由初段所代表的破
第十段的〈鳥〉模擬候鳥的軌跡
壞與纷亂，變成後來的建立與
歸集成群、團结游走。最後的
和諧，如此粗暴與温柔的對比
〈藍傘與黃纸〉將演出能量聲上
正好比照人生的矛盾和無奈。
最高點，表現大地的生機：男 舞者不斷轉動倒三角形的藍
傘，女舞者在地上翻滚，把地
第三段的〈■一把伞〉將重心放在
一個活潑又帶點俏皮的女孩身上。她在雨中把玩、實
上的黃碎紙放進隨著韻律搖曳的藍傘當中’處處花火’
驗、輕跳，孩子氣得很，與接下來的第四段〈風〉又造
整體看起來就像發電廠一様’男女分工清楚’節拍律動
成強烈的對比。台上翻起與舞台面積一様闊大的布幕 ，
一致，循環不息，完结時猛然一收，舞台突然全黑下
營造翻天巨浪的情景，製造奇異的起伏、不定的空間與
來，是提醒我們週而復始的自然定律终於可歇息下來°
景觀，人走在布上模擬航行、被淹蓋及顏簸的狀況’還 有點玩魔術的感覺，變數都是不可測的。目的相信是達
《花落知多少》雖然分了多個場景’但起承轉合'交錯
到了，但如此宏大的呈現方式的不妥之處，正是只有
變化不著痕跡：肢體動作簡單清晰'道具運用亦靈活多
「呈現」，只著重了如何變換更多的把戲，而忽略了發
變。體驗尤深的是透過富詩意的舞蹈片段’走進自己內
掘深一層的感受。
在的風景裡，領悟不同深度的心道'唯一美中不足之
處，是這班德國舞者仍未能完全掌握及散發這個作品獨 也許編舞者也意識到這個情形，梅卓燕往下接著編排了
特的神韻與質感。肢體所滲透的人情雖能做到簡單質
數段不俗的雙人舞小品。
樸，但卻未盡感人至深.也許是年紀尚輕’也許是欠點 東方韻味吧.這些表現都需要經過長時間的訓練與累
積，才能深刻表達。
“Ballet in Sneakers Finale Performance”《足尖
i奏齊齊樂總結演出》
Hong Kong Ballet香港芭蕾舞團 5/4
7:30pm
Tsuen Wan Town Hall Auditorium 筌灣大會堂演奏廳 CdtmaiAmbassador文化大&
15/4 7:30pm
Sheung Wan Civic Ctr. Theatre 上環文嫉中心劇院
Ballet in Sneaker. • A new ballet Famili^n" (
鮮
I FinalePertomance
05/v.wz sKfnu-r-XPi/
Choreographer:
編舞：
Allen Lam
TiliSBoeflWm&-r.Twn Hrf. Au^tc*t.n ； Shaj^WcWcCtBre.1h6»e
林偉源
ee Girl”《飛機仔與咖啡妹》 13-14/4
Rertnofhi：
8:00pm
Star Alliance Theatre, Fringe Club 藝穗會Star Alliance劇院
Choreographer:
編舞：
Frankie Ho, Taiju Matsumoto
何靜茄，松本大樹
“Dance around the World”《舞遍音樂天地》 Hong Kong Philharmonic Orchestra 香港管弦樂團 13/4 8:00pm
Tsuen Wan Town Hall, Auditorium 筌灣大會堂演奏廳
14/4 8:00pm
Shatin Town Hall Auditorium 番港管哆樂圖+三银舞蹈家
沙田大會堂演奏廳
W爛采舞曲世界 Klctyeu, w««M'»«. suin'®
齊
15/4 3:00pm
Hong Kong City Hall Concert Hall 香港大會堂音樂廳
Dancers:
itasito «a»(»«!>'
Anne Sun & Allen Wen (Waltz), Charles Teo (Tap Dance)
舞者：孫榮及温亮富(華爾兹)，張家銘(踢躂舞)
,3/4 IS Fri)
嬝
3pm :B
“R ’Broadway”《我們的百老匯》 R’Life Musical Theatre 20-21/4 Dance,
Music & Lov<!
8:00pm
Sheung Wan Civic Ctr. Theatre 上環文娛中心劇院
Choreographer:
Rex Chiu
Chineie Jbance^rl Ccinpanif 2)anc6^cadcmij
Performance of Beijing Dance Academy" 《北京舞蹈學院演出》 Chinese Dance Art Company of Beijing Dance Academy 北京舞蹈學院中國舞蹈藝術團 rlifemuaicalcheacre.homepi
21-22/4 7:30pm Tsuen Wan Town Hall Auditorium
!荦習大 舞
蹈 術
T«wn^an Town Hall Auditorium
21-22.4-w (»«A5Uv ■ UIT->
〈(幽夢影》
Fleeting Shadows”
Manna Dance 玄牝舞集
26-27/4
8:00pm
Hong Kong City Hall Theatre 香港大會堂劇院
槔
U 如H 责 4影
生命钓其定感， 奶如 辛急况上
Choreographer: 編舞：
Aaron Wan
温玉均
逝釣幻
⑥ i <
•
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■
溢玉均'Aaron Wan \ni'(k' DircciorZ
“Dunhuang my Dreamland'
大夢敦煌》
蘭州歌舞劇院 12-13/5
7:45pm
APA Lyric Theatre 香港演藝學院歌劇院
大 夢 敦 煌 ——
《驯悍記》 Stuttgart Ballet史圖加芭蕾舞團 18-20/5
7:30pm
20/5
2:30pm
美麗俯說
KThe Taming of the Shrew”
2001 年，迎:月
U L 日、u vy/ g
诗間：晚上7時45+分
'乂
報供：$150
$250
$350
僵惠＜»齡•鏐生、殘疾人士牟價.！只限$'150、 SZ50之费《 • »a布阪•先到兔编），： 曲酸瞄荣,10至K 九析; 醸購 Si16Att_fcA!ft-
象
5月13曰下午2時30分（特別場） S（R： $70-S120-S 160. 诨粟：3月Sod閣始. er曲：浼九
傳：屮 ViUthHiTO公＞0 t助：海峽扣股ifi港Mifli公"1 谢：I4WI曲《fi‘限公讨 址：www. kpuorld. com
Shatin Town Hall Auditorium
ttgart Ballet -#oteClw»#
• ?c«JA»6(n»
沙田大會堂演奏廳 Choreographer:
編舞：
John Cranko
約翰•格蘭高
“The Rite of Spring”
《春之祭》
Hong Kong Academy for Performing Arts
香港演藝學院 1-2/6
7:30pm
APA Lyric Theatre 香港演藝學院歌劇院
Choreographers:
Natalie Weir, Danny Tan, Harold Collins, Rosalind
編舞：
Newman, Herve Robbe 娜泰莉.維亞，陳明君，贺家霖
廖朗莎，贺菲•羅弼
由演藝舞蹈團擔網演出 Performed by the Academy Dance Ensemble 2000年布拉格舞蹈節｛最佳大费傳主
番港舞蹈联盟年獎2000得主 The Best School Porlicipont ol the Grand Prize Prague 2000 Winner of the Hong Kong Dance Alliance Aword 2000
Members of Hong Kong Dance
香 港
HONORARY ADVISORS
胡善佳先生
MR Carl Wolz
白朗唐先生 陳德昌先生 錢秀蓬女士 秦懿欣女士 謝漢文先生 劉玉芬女士 李念椿女士 吳雪梅女士 曹誠淵先生
Mr Tom Brown Mr Ringo Chan Ms Miranda Chin Ms Ulian Chun
Mr Mohamed Drissi Ms Medina Lau Ms Charissa Lee Ms Violet Ng
Mr Willy Tsao
蹈 聯
盟
會
Ms Ailian Dai
簡麗珊女士 周全輝先生 宋絜女士 鍾秉瑜女士 黃亞華先生 黎海寧女士 雷佩瑜女士 施素心女士 溫玉均先生
Ms Margaret Carlson
Mr Chau Chuen Fai Ms Chu Kit Ms Stella Chung
Mr Huynh a-hoa Ms Helen Lai
陳紹傑舞蹈中心 精舞門標準舞蹈學院 毛妹芭蕾舞學校 城巿當代舞蹈團 接觸點 動藝 舞渡界 共享空間舞蹈劇場 基督徒舞坊 舞蹈菲i湯 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 劊作天地 王L曼巴蕾舞學校
苜樂劇場 絲路舞蹈文化協會 躍舞翩
R'
Life
頁 鄭佩雲女士 論豐S蘭女士
Ms Susan Street
Mr Aaron Wan
Mr Clement Chan
Ms Cheung Sau Mui Ms Wendy Chu
Mr Graeme Collins Ms Vivian Kwok Ms Kim Law
Mr Kevin Ng
施德安先生 黃翠玲女士
Mr Sze Tak On Ms Scarlet Wong
Contact Person
陳紹傑先生 尤月興女士 毛妹太平紳士 曹誠淵先生 梅卓燕女士 王廷琳先生 湯布力先生
馬金泉先生 曾澳英女士 宋倩儀女士 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 孫名翠女士 陳頌瑛女士 韓錦濤女士 趙浩然先生 帕夏吾賣爾女士 徐偉業先生 鍾瑋女士 鄭志銳先生 李笑玲女士 楊春江先生 鮮漢華/鍾詠賢
Billy Chan Dance Centre
Mr Billy Chan
Champion Ballroom Dancing Academy
Ms Diana Yau
Christine Liao School of Ballet
Mrs Christine Liao, JP
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
DMR School of Ballet
Mrs D. M. Wayburne
Dua Space Dance Theatre
Mr Anthony Meh Kim-chuen
Evangelical Dancing Troop
Ms Tsang O-ying
The Flying Works
Ms Phoebe Chu
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
ITS Creative
Ms Karen Suen
Jean M. Wong School of Balet
Ms Anna Chan
Ones To Watch Dance Company
Ms Angela Hang
R5
Life Musical Theatre
Mr Rex Chiu
Silk Road Cultural Society
Ms Pasha Umer
Spring Poetry
Mr Terry Tsui
Synchro
Ms Jamie Chung
Three Colours
Mr Afa Chiang
Uncarved Block
Ms Ling Lee
y. d. thearter
Mr Daniel Yeung
Youth Ballet of Asia
ASSOCIATE MEMBERS Ms Cheng Pui Wan Ms Kwan Yim-Ian
Mr Juergen Morhard
李衫網女士
陳錦明先生 張秀梅女士 宋孟青女士 高家霖先生 郭慧芸女士 羅詠芬女士
Ms Florence Lui
聯絡人
三分顏色 原髓系 歪0的ZJX体 亞洲青少年芭蕾舞團
名
戴愛蓮女士
張秀芬女士 陸惠研女士 尹子欣女士
Ms Cheung Sau-fan Ms Luk Wai-yin
周詠詩女士 松島誠先生
Ms Chow Wing Sze
Mr Makoto Matsushima Ms Daphne Wong
Ms Maria Assunta Wan
Ms Lee Choi-han
STUDENT MEMBERS
陳桂思女士 盧幸賢女士
Ms Suki Chan Ms Candy Lo
嘉變先生 黃天華女士 J
Mr Cody Choi Ms Audrey Wong
鍾晶女士 王嘉敏女士
Ms Chung Ching
Ms Carman Wong
•刁 _
nv t
創辦人：約翰•格蘭高
藝術總監：雷德•安德遜 Founder:
Artistic Director:
John Cranko
Reid Anderson
Ballet
加芭？舞團
改編自莎士比亞劇作之二幕芭蕾舞劇
Ballet in two acts after Shakespeare
The
Taming of the 沙田大會堂演奏廳 a Tin Town Hall Auditorium
5*20.5.2001
7:30pm 票價 Tickets : $420, 340, 260,160
20.5.2001
2：30pm 票價 Tickets : $380, 300,220, 120
gg
Shrew
編舞：約翰•格蘭高
音樂：海因茨•斯托爾茲，改編自史卡拉第的作品
Choreography: John Cranko
Music: Kurt-Heinz Stolze after Scarlatti 現場伴奏：香港小交響樂團
Live accompaniment: Hong Kong Sinfonietta
「安德顧誠醐願關脯的-面……」 Giinter Verdin,《Tanz Affiche》（德國）
Reid Anderson presented his company in splendid shape..." Giinter Verdin, Tanz Affiche (Germany)
門票現於各城市電腦售票處發售 Tickets Now available at URBTIX outlets
設有多撕扣優惠•詳情可參閲節目單張 Check out programme leaflet for various discount schemes
網上訂票 Internet booking : www.lcsd.gov.hk/urbtix
節目查詢 Programme Enquiries: 2734 2937 票務查詢及留座 Ticketing Enquiries & Reservation: 2734 9009 康樂及文化事務署主辦 Presented by the Leisure and Cultural Services Department
«8
蔌》力文康展新姿 Quality Services for Quality Life
考⑥® Hong Kong Dance Company
藝術總監：蔣華軒 Artistic Director: JIANG Huaxuan
The Splendours of Chinese Ethnic Dance
香港大會堂劇院 Hong Kong City Hall Theatre 1- 2.6.2001 (星期五、六 Fri-Sat) 7:30p.m. 2- 3.6.2001 ｛星期六、日 Sat - Sun) 3:00p.m. 票價 Ticket Price: $80 $110 門票於五月一日起於城市電腦售票網發售 •高齡、殘疾人士或全日制學生半價優惠
•「香港文化中心之友」會員九折優惠 Tickets will be available for sale from 1.5.2001 onwards at all URBTIX outle
• Half-price tickets are available for senior citizens, people with disabilities
Director & Choreographer: MA Lin Assistant Choreographer: MA Kang
and full-time students. • 10% discount for members of "Friends of Hong Kong Cultural Centre".
Original Music: GUO Wanchun LIN Youping 香港舞垣醒由康樂及文化事務署資助 Hong Kong Dance Company is subvented by the Lesisure & Cultural Services Department
Set Design: GUO Gang
Costume Design: CUI Binghua Lighting Design: Kim LEE
節目查詢 Programme Enquiry: 28532642 訂累熱探 Booking Hotline: 27349009 (10am • 8pm) 港舞蹈團網址
ill
WWW
、