舞蹈手札 dance journal/hk 3-4

VOL. 3 NO. 4

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Rainbow

BiJ有限公司 Printings Limited

V<4.3

No,4

Fleeting Shadows Choreography by Aaron Wan,

City Hall Theatre，April 26 & 27

專論

Author: Tom Borek

“The New Experience Author: Susan Street

2

Events & News 一份消極的考察報告

舞蹈節目及快訊

對「紐約學校舞蹈教育的考察」的一 些回應

作者：方人

5

局的舞蹈小組委員會

16

舞蹈訓練的原則 作者：陳錦明

Dance

舞評

20

Alliance

會員申請表 Lyons Opera Ballet and

Membership Form

Stuttgart Ballet Author:Kevin Ng

Hong Kong Academy for Performing Arts performs

Rosalind Newman’s 4Mirrors5 來港演藝學院演出

廖朗莎作品〈鏡〉 Author: Tucker

Image: Aaron Wan’s Fleeting Shadows 圖：溫玉均《幽夢影》 © David Wong, 2001

論

ARTICLE

“The New Experience” Author: Susan Street

Professor Emerita Susan Street began her appointment as Dean of Dance at the Hong Kong Academy for Performing Arts in 1999. Prior to that she was Head of

Dance at the Academy of the Arts at the Queensland University of Technology. In 1999 she was awarded an Australian Dance Award for Services to Dance

Education. Susan was Chair of the Dance Fund and a Council member for the

Australia Council, the Australian Governments arts funding authority, from 1997 to 1999 and was the first Australian dance educator to be promoted to the title of

Professor. She was appointed as a Director for the Brisbane Arts and Environment Trust established by the Brisbane City Council and on the National Advisory Committee organizing the

National Symposium on Research in the Performing Arts. Susan has been an active teacher of ballet for the past 20 years teaching for many professional companies and schools around the world. From 1995

to 1998 she was a member of the Artistic Advisory Committee for the Choreographic Center based in Canberra. Susan is currently the Chairperson of the World Dance Alliance-Asia Pacific Dance Education Association and on the governing board of the Hong Kong Ballet. Susan is a practicing artist having created 15 new works over the past 10 years including works for the Queensland Theatre Company,

Lyric Opera Company of Queensland and more recently for the Odyssey Dance Theatre in Singapore.

. nave, tor years, P⑽“屮，talked about the

strengthened by the fact that most dance company directors

difficult transition from student dancer to company member.

audition process. This enables not only the stylistic

Discourse between artistic directors and tertiary leaders has

sensitivity of the dancer to be demonstrated and their ability

ensued in an effort to understand and bridge this gap. The

to pick up material quickly, but also gives clues to the

fundamental shortfall in the training of student dancers may

intellectual pathways and the learning strategies the dancer

relate to their lack of understanding about the creative

engages in when faced with new material.

tv

now include the learning of company repertoire in the

process, conditions which affect this process, and strategies

dancers need for learning and coping in the rehearsal

Prior to entry into a company, most dancers spend two or

environment. Few young dancers have considered, or

three years in full-time tertiary-level dance courses. Amongst

understand, how to operate in a range of rehearsal contexts

other areas of study, these programmes usually centre around

in their role as “interpreter for the choreographer”. Few have

daily training classes in both ballet and modem dance. Most

ever considered the “choreographer” and what might be

tertiary institutions try to prepare students who wish to

common characteristics amongst this group of individuals.

perform in the professional environment by having times during the year when they are involved in intensive rehearsal

This article attempts to unravel some of these issues and

periods, often working with outside choreographers. Other

will hopefully assist the student dancer in his/her transition

strategies include secondments, traineeships, or as in some

to professional life. I have a strong belief that a dancer’s

cases, final year students form a dancer’s company to

success, or how directors perceive their value in artistic

perform and tour. These experiences assist the student to a

terms, is tied to their understanding and approach to learning

certain extent in understanding the working environment

and rehearsing new or pre-existing repertoire. This belief is

they may expect to encounter if they enter the profession as

2

.

666 vdvMH©

. . k yv / -

Students of the Academy for Performance Arts performs repertoire of

local choreographer: WHIy Tsao’s “Birdsong”. Photo: David Wong

dancers. But do educators emphasize the changes in learning

choreographers.

patterns that occur in the professional rehearsal situation,

and do choreographers who work in tertiary institutions

In the professional environment, kinesthetic understanding

understand the important role they play in helping students

and technical skills are the assumed and fundamental base

learn about the choreographic and rehearsal process?

with which the choreographer and dancer begin to create

meaning. The process used to create new, or re-create It is worth reminding ourselves of the past experience that

existing repertoire, is crucial in the professional

the majority of students entering tertiary dance courses bring

environment. So too is the requirement that the dancer works

with them. These experiences are often bom in the tradition

for long periods of time with intense focus and concentration.

of the <eisteddford, mentality where 4how you look’ can be

Learning strategies used by the student dancer have to adjust

thought to be more important than what you do. It is no

to the professional environment and sometimes still further

wonder that some students of dance have a narrow view of

depending on the choreographic process employed.

what the choreographic process can be. This is further

exacerbated by a lack of interest in going to see dance other

Interestingly, but not surprisingly, the results of surveys

than presentations of the major companies, usually from

conducted into characteristics which artistic directors

abroad. For most, rehearsals are times when steps are

appreciate most in their dancers reveals that attitudinal

combined with music and then rote-learnt in preparation

characteristics are valued very highly. A 1990 survey

for a public performance. This is the learning strategy most

distributed to 12 Australian dance companies and to which

have employed during their years of dance training prior to

11 replied, asked artistic directors to rank thirty-three

entry at the tertiary level.

attributes that might be expected of a dancer joining a

For purely practical reasons including demands on student’s

to attitudinal characteristics including a positive attitude,

time, financial constraints and the generally conservative

professional work habits (i.e. dependability, ability to accept

tendencies of tertiary training institutions, most

responsibility, timeliness to rehearsal), and a commitment

choreographers chosen to work in tertiary dance programmes

to the Company and its work. The fourth of these, not related

use fairly standard choreographic processes. Generally,

to attitude, was the ability to communicate a choreographer’s

company.1 Three of the four highest rated attributes related

choreographers come to rehearsals with movement material

intent (i.e. clear transmission via motion of idea, emotional

prepared and teach this to the students. Rarely are group

ambience, ability to convey quality, conviction, role or

works devised, or is material workshopped over a period of

character).

time using improvisational devices. These kinds of processes can take longer and require intensive rehearsal times. They

How can dancers be a resourceful tool for the choreographer?

also call for the dancers to engage in the subject or intent of

How can they operate to assist the process? Before we

the work, a situation most have not experienced. Generally,

answer these questions and in order to understand these

most dancers starting their career have been made aware of

aspects fully, it is useful to look at choreographers, the

a greater range of choreographic processes, but may not have

conditions that surround their work and them as people. I

engaged in the wide variety of theatrical styles, devices, and

must indulge here in generalizations which I hope will not

philosophical biases that can be employed by

offend.

We can be fairly safe in believing that choreographers are

assist learning in the rehearsal setting? As discussed above,

great observers. They alert their senses to nature, to the

it is important that dancers are aware of their body language.

conditions of life, and to human behavioural patterns. Like

Given that a positive attitude is an important attribute, then

dance teachers, they read the dancer’s body language.

body language or behaviour that indicates boredom, anger,

Dancers are expressive physically and the choreographer is

skepticism or generates any negative feedback, would not

quick to decode this language. This is fundamentally

be helpful to the rehearsal process, or, in selection procedures

important for the dancer to understand. Often dancers are

such as auditions. These attitudes maybe interpreted through

not aware of the silent language they transmit via their body

actions such as being slow to respond to directions or not

language. I remember introducing the theme I wanted to

engaging fully in the process, especially when working in a

use fora work I was creating. My ideas all centred around

group devised or improvisational setting. This is not to say

orchestral conductors, their movement mannerisms, gestures

that dancers who are feeling uncomfortable or fearful about

etc. I could immediately see those dancers in front of me

what they are being asked to do, should not express this.

who were not interested or dubious about my choice, or insecure about their own ability and how they might be

Importantly dancers must be receptive and adapt to the

involved. The arms crossed in front of the body and the

differing processes that choreographers may use. This may

dancers leaned away as if withdrawing their commitment

include discussing individual experiences which

to the work before I had choreographed a single phrase.

subsequently may be used as the basis for developing

They did not need to say anything, their body language said

movement. Movement or text may come from directed

it all.

improvisation, or ideas maybe workshopped and discussed before being set. Whatever the process the dancer must go

Choreographers, and especially those who freelance, must

with the ideas and participate positively in the chosen

search for the identity of the dancers. Among assessment of

process.

a dancer’s emotional range for example could lead to wasted

hours in rehearsals and perhaps even affect the success of

Dancers must accept that choreographers may need to change

the work. This is why body language is so important. It is,

or delete material which in their opinion does not work, even

at times, the only clue the guest choreographer has to the

if a great deal of time and effort has been expended. At times

identity and attitude of the dancer.

choreographers hit a stumbling-block, and dancers need to

appreciate this as a normal part of the process and not

1 ^ ! £ .

2

If I might generalize about choreographers as people, then

necessarily a shortcoming on the part of either the

most are extremely sensitive, often lacking confidence about

choreographer or the dancer. Dancers need to engage in some

their own talent. Perhaps the act of creating puts them in a

research for themselves, perhaps into the subject of the work

vulnerable position because they are not sure what will result

and how it may have been represented by other art forms

from their efforts. Those who freelance, have the added

for example. Obtaining a copy of the music may be useful

burden of financial insecurity. Choreographers must work

to study the structure of the music.

within a limited time frame. Performance and touring schedules cannot allow for any blockage in the creative flow.

These are the actions and attitudes which will help young

If the work is not a ‘success’，which these days seems to

dancers in the rehearsal environment and assist them to

^7

mean 'has wide public appeal’，then the chances are that the

realize their potential as interpreters of meaning. The road

choreographer will not be asked back. In the company

to development as a dancer is a long one, and the end of

situation, failure to consistently produce successful works

tertiary study marks only the beginning of this life long

places strain on the choreographer and eventually on the

process of learning.

financial base of the company. These pressures may be

manifested in the behaviour of the choreographer in the rehearsal room. Professional dancers tell great stories (funny

and serious) about the metamorphosis that occurs in some choreographers/directors when they start to create. One only

needs to consider their plight to understand the phenomena.

Note:___________________________________________ 1. The dance company survey was based on a similar

survey conducted in the USA by Deborah A BibleFederbush in 1983. Details and an analysis of the

Australia survey were distributed by the AADE National Office to all participants and tertiary training institutions.

Given this brief and general information about

choreographers, how can we use this to devise strategies to

□

Background image: Students of the Academy for Performance Arts performs guest choreographer Natalie Weir’s “Rite of Spring". Photo: David Wong

專論

ARTICLE

一份消極的考察報吿 —對「紐約學校舞蹈敎育的考察」的一些回應 — 作者：方人

就缺經過多年的談論，以及有心人士的鼓吹，香

令人失望的是，作者完全沒有提及舞蹈敎育對學生發展

舞蹈手扎第三冊第二期中閱到潘少輝的「紐約學校舞蹈

蹈敎育人士，往往強調這一點），而只著重「成果」，

敎育的考察」（以下簡稱「紐約」）一文時，本人深感香

而他以用作「成果」的指標，是一堆充其量只可反映數

港舞蹈界正須要這類考察，並希望該文能指出一個方向

量的「死」數字，完全反映不到學生在德、智，體、

來打破這個悶局。然而，在讀完整篇文章後，雖然一方

群、美等各方面的得益。這就正如將看舞蹈表演的人數

面覺得該文資料詳細而充實，令人看後對紐約的舞蹈敎

與電視觀眾■的人數來比較，並得出完全不須要舞蹈演出

育有較全面的認識；但另一方面，卻認為該文的分析與

的结論般荒謬。當然，在一個商業社會裡，做事難免要

結論仍有不足之處。

講求「成果」、「數字」：但是，在説到敎育與藝術的

首先，在「紐約」一文中提及藉著提高舞者水平來帑動

誠，那是完全失去了意義，亦是一個可悲的現象。

释風港的中學舞蹈敎育仍是進展緩慢。是以，於

的重要性（在「紐約」一文中，潘少輝所訪問的紐約舞

問題上，仍是只執著於數字上的成果，而沒有理想與熱

香港舞蹈活動，是不切實際的： 其實，在現在的階段中，我們所面對的問題只有一個，

「…活動多了，演出多了，觀幕便多，這就有蓬

那就是香港有沒有中學舞蹈敎育的需要。若果答案是

勃發展的機會。這邏輯有如經濟學中的Say’

「有」的話，我們便要爭取。其他的問題，例如是否成

s

Law，供應創造需求。」1

為會考科目、將會有多少人報讀或報考、對舞蹈發展的

效用等，都是次要。相信沒有人會期待舞蹈成為中學敎 「實証中這假設自然不對。」2

育的主流學科，而舞蹈在香港中學敎育的發展亦一定會

面對著重重障礙。我們不應奢望可以「一步登天」，而 個人認為這推論之所以不合理，是由於其中缺乏了重要

應猸序漸進，踏出第一步後，站穩陣腳，再向前邁進。

的一環：那就是演出多了，舞者或舞蹈團體間的接觸、

相信關心香港舞蹈敎育的人仕也不願因為其他的藝術科

交流和競爭都會增加，造成百家爭嗚、百花齊放的局

目— —音樂和美術— —「不備受重視」5 （個人認為它們

面。這再加上舞者水平的提弄，舞蹈演出的水平亦得以

的成績已是不俗的了）而完全放棄了發展舞蹈敎育的機

改善。質量提高了，選擇亦多了，自然會吸引到更多觀

會。

尿，並帶動舞蹈活動。這様的策略完全符合自由市場原 理---- 以質量和多元選擇來拓展市場，吸引觀眾---- 而

至於潘於「紐約」一文中所提到的考試主導的香港敎育

不是如潘少輝所認為的「供應創造需求」。

跟著，在討論香港的舞蹈敖育時，潘少輝提問： 「究竟，列為獨立課程及成為會考科目，對其發 展有何效用？」3 並以中學會考音樂及美術兩科的報考人數低的情況來作

J'

X,, 飞

參考，得出以下的結論：

7

% '

「舞蹈成為獨立科目，及列為會考課程之一.可促 進舞蹈敎育的論述，在實証上是行不通的。」4 《九九舞出艷陽天》— —城市當代舞蹈團敎育組的一次總結演出° 攝影：張志偉

5

對術科所帶來的困難6 ’個人是十分讚同的。但是如果

其實，紐約考察中令人印像最深刻的是它那形形式式、

因而放棄了舞蹈敎育，那便正是因噎廢食’只是逃避了

大大小小的舞蹈敎育組織和機構：懷著不同目標，不同

問題，而不是面對和解決問題。事實上，近年香港敎育

理念的中介機構、舞蹈中心、舞蹈團體、舞蹈中學和舞

改革進行得如火如茶’取消升中的學能評核试正是戒低

蹈大學在同一個環境中互相競爭，互相補足。正如潘少

輝所言：

考試主導的第一 步，而另一方

「紐約地區的舞蹈

面，政府亦讓學

校擁有更多編訂

敎育雖不能説辦

課程的自主權。

得十分成功，至

我們應該乘此機

少一•環扣一環，

會，採取更積拯

板板有眼。」8

的態度來反映意

見，創造一個更

擴闊一點來看，整個

有利舞蹈敎育的

紐約的舞蹈事業亦正

客觀環境。同

是這様一個多元化、

時，個人亦不認

有機的組合，令紐約

同潘少輝所持的

成為一個世界性的舞

考試與藝術敎育

蹈中心。這個環境其 實並不是一朝一夕間

不能並存的見

解：

香港演藝學院舞蹈學院亦有舉辦初級課程

形成的，而是經過上

百年的經驗累積，演 「就算標榜體育及藝術的體藝中學，也得關顧會

化而來。在這過程中當然有很多不成功的例子，但是其

考的需要。這考試導向的課程不解開，藝術敎育

他組織卻可以從中吸取敎訓，利用它們倒下後遺留下來

便無從談起！就算成功的遊説了政府，建立了一

的空間與資源來發展、進化。這情況就如生態進化一

所舞蹈中學，那和現在的體藝中學，本質上並無

般：越是多元化的系統，越是健康穩定，充滿生機。潘

二致，學術上的訓練還未鉤，如何培養優秀的舞

在「紐約」一文中也描述到這個情況：

蹈員？」7

「經濟旺盛時，資源充沛，發展的步伐快一點； 經濟困難時，便又來一番汰弱留強。」9

個人認為現在的香港沒有條件，也沒有需要去開辦一所 沒有其他學科、純舞蹈的專科中學。就算是在紐約，也

2

沒有這類中學的存在，學生也要顧及其他學科及考試的

毫無疑問，香港在文化環境、外在環境和制度上都與紐

需要。現代社會的成功舞蹈家講求獨立思考，須要有敏

約相距甚遠，我們不可能一成不變地使用紐約的一套；

鋭的觀察力、理解力、分析力和批判力，所以就算是舞

但是，我們不應因此而消極地完全否定向紐約學習的可

蹈專科中學，也須要在其他學科上有基本的知識，講求

能性。我們最基本上應致力創造一個多元化而健康的舞

均衡發展，這才能夠培育出適合現代社會的成功舞蹈

蹈敎育環境，而不應因困難和障礙，滿足於現時香港以

家。

課餘活動為主的舞蹈敎育。

其實，所謂「考試導向」，可以説是存在於老師、家長 和學生心中的心魔；所以，問題是如何能提供一個開明

註譯:

靈活的學校環境、如何在考試與舞蹈間取得平衡、如何 刊於《舞蹈手扎》第三冊第二期，（香港：香港舞蹈

輔助學生管理時間、如何令家長們明白與接受。雖然是

聯盟），第二頁。

困難重重，但是落在一群有心的敎育工作者手中，卻絕

對是可以辦到的事，而不是如潘所説的「考試導向的課 程不解開.藝術敎育便無從談起」。就正如潘於「紐 約」一文中所提到的 14

Talented Unlimited High School

.也

2

同上，第六頁。

3 4

同上，第五頁。 同上，第五頁。

5

同上，第五頁。

都注重文化課，而學生成績也比市內學生的平均為高

6

同上，第五頁。

（事實上美國大多數的術藝專科中學成績都較平均為

高），可見考試與藝術敎育不單是可以並存，甚至是可

7 8

同上，第五頁。 同上，第四頁。

以互助互利。

9

同上，第六頁。

專論

ARTICLE

舞蹈訓練的原則 作者：陳錦明

陳錦明先生(Clement)—九八八年畢業於香港演藝學院中國舞 系，於九零年考入香港理工大學修讀物理治療專業，並以良好成

曜起後一剎那空中的造型，落地時的控制均不容

忽視。其二是對所有動作都必須一視同仁，訓練

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

的目的是克服不熟練或未如理想的動作，故此不

位•九八年回港後續修畢浸會大學針灸專業進修艾憑。

可只練習喜愛的動作，對不同風格的舞步，甚至

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

「討厭」的動作，也應採取積極訓練態度。

趣，近年積極推廣舞蹈員之安全及健康意識 ，曾應邀擔任香港演 藝學院、動藝及東邊舞蹈團等客席講師，為舞蹈愛好者提供預防

受傷知識•對推動香港舞蹈發展'不遺餘力。

二持續性(Continuity):訓練必須持之以恆方有進

步。原因之一是「學習」很大部份是倚靠「記憶」 去執行，倘若只是斷續偶爾的練習，神經系統的

一舍

成功的演出1一齣精彩的舞蹈|一陣陣熱烈的

記憶容易消失，根本不能達到「日積月累」的效

掌聲，背後所隱藏著是舞蹈員的才華和毅力。

果，技巧很難得以提高。其二，身體各系統(如

然而，付出的時間和汗水，是否用得其所呢？是否訓練 的時間越長，技巧越精湛呢？

肌肉、心臟和呼吸系統等)之功能，是需要持績

的訓練，才能適應劇烈的舞蹈運動所需。值得安 慰的是，以大部份舞蹈員的性格，這項原則通常

對於業餘舞者，答案可能是肯定的，因為她們投入訓練

都會被遵守。

的機會本來就是不足。但是，對於從事專業舞蹈訓練的

人來説，這並非必然的定律。經驗告訴我們，只管曰以 繼夜瞎練的舞者，往往並非最標青出眾，反而是最易受 傷的一群。故此，做一個「聰明」的舞者比做一個「拚

搏」的舞者來得重要。所謂「聰明」，並非鼓勵躲懶， 而是提倡訓練要練得其法，練得其所。舞蹈跟其他運動

一樣，都有一定的訓練法則，忽視了訓練原則，可能會 徒勞無功，且容易對身體造成傷害。以下為讀者介紹一 些運動訓練的原則，均對舞蹈訓練同樣適用： 一全面性(Holism):這包括身體的全面性及動作的

全面性兩方面。進行訓練的目的，是要讓全身平 衡發展，儘管不同風格的舞蹈對身體各部位的活

動幅度及要求都有所不同，全身的配合是不可或

缺的，身體是一個連結的整體，相互間如沒有協

調，不但使動作顯得生硬，更大大降低表現水 平。以立轉(piourette)為例，不是光練習立腳尖

的能力，也不是光靠手的帶動，而是在立腳尖、 開胯、掄臂、甩頭及立腰等各方面，身體於時間

及力量上配合得當，才能順利完成，這是身體各

部位的全面性。至於動作的全面性分為兩方面， 其一是要注意技巧的起始、中段及完结，以大跳

(grand jet6)為例，不但要練習腾空離地的力量， 優美而高難度的動作，是正確舞蹈訓練的成果' 圖為城市當代舞蹈團演出之《九歌》'

三意識性(Awareness):舞蹈技巧需要肌肉在H寺間上

的優良配合。動作進行時，有關的肌肉’必須在

五漸進性(Progressiveness):制練的方法是慢慢的加

重負擔，或在技巧上不斷提高要求，才有進步，

適當時間收縮與放鬆，否則整個動作受到阻礙或

這點在預防受傷也很重要。在課堂安排而言•先

完全失敗。初學者學習身體活動時最常見的錯

讓舞蹈員有充足的熱身，動作組合由緩至急，由

誤，是想以力量來代替技巧。這樣做法，反而使

輕至重；在技巧而言，由簡至繁，逐步要求細節

動作過份受本身肌肉的牽制’令動作顯得生硬緊

等。不自然而又過於複雜的技巧，若能將各種動

張。不過，對很多人來説，這是一個學習過程，

作要素分開，逐項單獨學習時，自然容易掌握得

過程中不斷掌握技巧，協調各組肌肉在適當的時

多。首先學習最簡單的技巧要素，並逐漸增加新

機作適當的收縮或放鬆，這種技巧隨著訓練而有

的內容，以待全部動作學成為止。例如中國舞的

所提高，直至舞蹈員體會到用較少肌群反能產生

「飛腿」動作，是一個剎那的技巧，由起始至完

較佳技巧時，才算入門。各項運動優勝者的一種

成用不上一、兩秒鐘，郤必須建基在多項元素

共同特質是動作的優美，它給予觀眾一種勝任愉

上，包括：旁腿、十字腿、片腿、蓋腿、轉身蹬

快的感覺！

「意識」這個概念，對於舞蹈員並不

地、及腾空立腰等，方能順利完成。當然，簡單

會陌生，因為在舞蹈訓練同時，導師往往會提醒

的動作可將全部元素同時學習，不過要隨時注意

學員放鬆不必要的緊張部位。學院常聽到的

蝌正姿勢偏誤。

Body-Mind Integration，就是要學員意識到動作 的啟動(initiation)焦點、如何正確使用肌肉’及

六超負猗(Overload):訓練時，採用對本身來説過

為不正常的關節活動解鎖(unlock)。Barteiniff '

於輕鬆的訓練，是不容易達到目的的。這關係到

Skinner ’ Feldenkrais * Alexander 甚至 Pilates 等

「超回復」的概念，即將舞蹈員的訓練進行到極

技巧，就是把動作融合在意識上的訓練。此外，

限，然後再给予充分的休息，舞蹈員的體力就會

充分瞭解為什麼要進行該項訓練、訓練的方法及

比訓練前大大的提高。原因是訓練達到了肌肉內

顏期效果，都會有所幫助。這，點在上一節有關肌

的醣原質(glycogen)完全消耗盡的程度時，經過

肉的討論中曾作闡述。簡苹來説，肢體的活動是

一段時間休息後，醣原質的貯存量會比訓練前增

依靠:肌肉的牽動，而肌肉的活動是由神經系統所

加。而醣原質分解成葡萄糖，便是肌肉活動的能

支配，訓練肢體活動的同時令思想上得到充份準

源，所以，舞者能因而提昇體力。但是，假如做

備，是非常重要的。

的是輕鬆的訓練，即使休息之後，也不會獲得 「超回復」的效果，而只會徒增疲勞而已。換句

四特定性(Specificity):所謂特定性，是指訓練必須

話説，要提高體力的訓練，不能做得太馬虎，一

是針對技巧而練，亦即是説，所練的項目，必須

定要到精疲力盡的程度，然後再做充分的飲食補

應用到實際的動作上，才能產生效果。再以大跳

充和休息。在上一節關於肌肉的討論中，曾指出

(grand jete)為例，單練習原地起跳(saute)'雖然

肌肉到了「疲乏」的地步，收縮強度會逐漸變

可訓練彈跳能力，郤不能保證在進行大跳時的表

弱，最後甚至沒有反應，容易造成受傷。那麽怎

現，因為神經系統處理兩者的程式是完全不同

樣在「超負荷」與「疲乏」兩者之間取得平衡？

的。所以在進行單項練習之餘，必須考慮到整體

簡單來説，每次訓練稍稍維持在「疲乏」的情況

的功能訓練(ftmctional training) ’即是要練習該動

下一段短時間(約五至十分鐘)，已足以達到「超

作本身。又例如踢腿(grand battement)除了訓練

負荷」的效果。

髖關節的幅度及力量外，更重要的是練習踢腿本 身才有意義。此外，偟管兩種活動所包含的動作

一般而言，接受訓練的初期，舞蹈員的肌肉、關節及心

可能很相似，但因風格及要求不同，甲項所學得

肺功能各方面仍未得到充份鍛練 ，可塑性較高，所以在

到的技巧，並不能直接遷移至乙項，儘管前者有

得到放發後，進步速度會較快。訓練的後期，由於各方

助後者的學習！在舞蹈上練到的旋轉技巧，不一

面在現有環境下都接近了極限，所以進步速度便會減

定能運用到花式溜冰上，反之亦然。因此，練習

慢，甚至只能保持狀態，僅在表達技巧上提高；偶爾缺

時必須儘量選擇那些實地使用的器材與技巧為練

乏練習，技術水平亦會有倒退的可能。這點在訓練過程

習的對象•才可產生最佳的效果。

中是不容忽視的。

讀者對以上內容如有任何疑問或意見，歡迎直接電郵予筆者： ckmcpt@yahoo.com

舞評 DANCE REVIEW

Lyons Opera Ballet & Stuttgart Ballet Author: Kevin Ng

was an unusually busy time for

The same weekend also saw a welcome return by the

local ballet-goers. I first caught the

Stuttgart Ballet after its last tour in 1996. This time they

Lyons Opera Ballet making its second appearance in the

brought "The Taming of the Shrew", a key work by its

annual French May Festival organised by the Consulate

founder choreographer John Cranko which has delighted

General of France and the Alliance Francaise. The

audiences worldwide since its premiere in 1969.

programme opened with Pascal Touzeau's ''Final Lecture"，

an exciting ensemble ballet with the dancers clad in red

Cranko’s spectacular two-act version of this Shakespeare

costumes against a white backdrop enhanced by very striking

comedy, set to a bubbling and vivacious score by Stolze, is

lighting.

a cracker. The choreography is full of good fun and humour,

as well as many heart-stirring moments in the pas de deux

Dancers form a variety of interesting configurations and

at the heart of this ballet. The first night audience loved

groupings in their rapid razor-sharp movements. The

every minute of it, and it's a long time since I had heard so

action is often dispersed, and not always in the centre of the

much laughter from a local ballet audience. The loud V

,、食

stage, e.g. two dances take place

ovations at the end recall the ecstatic reception for the

simultaneously on each side of the

•

stage. Towards the end there is an

American Ballet Theatre touring here last autumn.

angst-ridden pas de deux.

However the choreography for the ensemble

Less satisfying is the middle work "Black

dances in the masked ball and wedding scenes

Milk", by Israeli choreographer Ohad Nharin,

is rather simplistic and too linear, lacking a

which is a short macho dance for five of the

crucial third dimension to captivate the eye. And

company's male dancers. It is incomprehensible

the minor roles of Gremio and Hortensio, though

why each dancer takes turn to smear mud on the

well danced by Thomas Lempertz and Douglas

Lee, are nothing more than caricatures, since

face in one episode.

their characterisations are only cardboard-thin.

The final work "Bolero”，choreographed by Australian choreographer Meryl Tankard, is

Fortunately Cranko scored in his

more a special-effects work than pure dance.

choreography for the main roles - the two

Dancers perform behind a white backdrop

pairs of lovers. Stuttgart Ballet, now under the directorship of former dancer

upon which their magnified images are

projected. There are some fascinating

Reid Anderson, continues to be a

overlappings of images, evoking a

superb ensemble of dance actors who

dreamland of apparitions. This work

can illuminate this dance drama. As

was a spectacular finale to the evening

Katherine, Yseult Lendvai was a

boisterous girl in the early rowdy

though somewhat thin in dance content.

Stuttgart Ballet’s "The

Taming of the Shrew". © Stuttgart Ballet

scenes before being transfixed

by Petruchio's love. In the pas

de deux in Act 2, she was

transcendent and surrendered totally to her Petruchio in the

dancer has beautiful footwork and was totally ravishing in

swirls and tides of Cranko's choreography full of lifts.

the duets.

Lendvai extracted every emotional nuance from the soaring choreography.

In the second cast led by Sue Jin Kang and Robert Conn, particularly noteworthy was the tall and handsome demi-

Petruchio was danced by Maximiliano Guerra who showed

soloist Ivan Gil Ortega as Bianca’s lover Lucentio. Ortega

off his dazzling virtuosity with flair and panache. He was a

has a long and beautiful line and all the makings of a danseur

splendid partner as well. I was also impressed by the radiant

noble.

Elena Tentschikowa who danced Bianca. This Kirov-trained

舞評 DANCE REVIEW

Hong Kong Academy for Performing Arts performed

Rosalind Newman’s jMirrorsJ Auther: Tucker

f

front of mirrors ...Behind mirrors ... A simple concept, a childhood fantasy, developed into an amazing dance.

2

缆相

••鏡後…。一個簡單的概念，一個重年的幻

心、 ，發展出一鉤精彩的舞蹈。

Most people in the modem world accept the ‘truth’ that

今天的人大多接受了鏡子反映現實的「事實」：鏡前是

mirrors reflect reality: in front of the mirror is the three

有血有肉的現實世界，而鏡子只是一個正確無誤地反映

dimensional world, life with its stories, there is nothing

真實世界的平面。然而，相信很多人在孩童時都曾質

behind the mirror. However, many children have asked the

疑：究竟鏡後是否另有世界？我們會否只是鏡後世界的

same question: is there another world behind the mirror? Is

反映？只是，經過知識及成長的洗禮後，我們都接受了

our world actually a reflection of the mirror world? After

鏡子反映現實的科學事實，而我們的疑問、想像、幻

the baptism of knowledge, when we ‘grow-up’，we accept

想，都被科學知識和現實生活所取代，慢慢的只殘存在

the scientific truth that mirrors reflect reality. Questioning,

遙遠的記憶之中。

imagination, and fantasy are all replaced by our knowledge and a reality that is governed by it. Only fragments of our

在今年六月初香港演藝學院舞蹈學院的演出中，現代舞

childhood imagination and fantasy remain in remote

學生演出該系高級講師廖朗莎的作品〈鏡〉的選段。

memories .

〈鏡〉一舞於今年初廖氏的舞蹈團《舞渡界》中首演， 今次重演，雖説只是選段，但另外亦有不少改動，令它

On the Hong Kong Academy for Performing Arts School of

成為一齣獨立而完整的舞蹈。

Dance June programme, modem dance students performed

3

excerpts from Mirrors, a dance choreographed by Senior

舞蹈開始時，舞台燈光集中於台前右角的「雪地」上玩

Modern Dance Lecturer, Rosalind Newman. Newman

耍的一個天真小女孩。從黑暗的台中走出一個女舞者，

premiered Mirrors this January for her own company, Dance

到雪地上與小女孩一起舞弄了一會兒後 ，便引她離開舞

HK/NY. Although the full work was only excerpted for

台。女舞者回到台中時，台上燈光漸漸亮起，顯露出台

the APA performance, the choreographer amended it

上的一排面向觀幂的鏡子。女舞者展開一段於鏡前的獨

extensively into a independent dance that stood on its own.

舞。這段雖然是獨舞，但由於鏡子排列的角度，當舞者 舞到不同位置時，鏡子中舞者的反映時而單獨出現，時

The dance begins with a child frolicking in a pile of snow at

而在鏡子的相互反映下重覆出現，造成雙人舞、三人

the most downstage right comer. This small space is brightly

舞、甚至群舞的幻像。跳著跳著，鏡子中的影像竟慢慢

10

lit, while the rest of the stage is in blackness. As the child

的配合不上女舞者的步伐，而鏡中的影像也在目蒙目龍之中

plays, a woman emerges from the darkness and joins her.

越來越多。這些■影像不再只是女舞者動作的反映，而開

After awhile, the dancer leads the child offstage and returns

始回應著她的舞步。被鏡中影像所迷惑的女舞者努力地

alone as lights slowly fade-up to reveal a series of mirrors

追趕’希望可以配合上鏡中影像。最後，鏡子打開，一

facing the audience. As she moves from mirror to mirror,

個男舞者從鏡後走出來，模彷著女舞者的動作起舞。然

they reflect her image. Because each of the mirrors is at a

而，當女舞者嘗試擁抱著他時，他卻溜開了，返回鏡子

slightly different angle, sometimes there is only one reflected

背後。

image, while at other times there are multiple reflections.

Although there is only one dancer on the stage, the mirror

這是一段奇妙而神秘的舞蹈：藉著巧妙的燈光轉變，鏡

images create the illusion of two, three or even more. After

前'鏡中和鏡後的舞者共舞，真實、反映與虚幻的影像

awhile, these seem to lag behind the dancer’s actions. Then,

並存。在小小的舞台空間上，三重空間世界互相重疊、

slowly and dreamily, more and more images appear. Rather

接觸，挑戰了觀眾對「現實」的看法。這是一段令人著

迷的舞蹈，只是短了一

than reflect the dancer 0 0 3

these move independently,

the dancer speeds up,

H

◎

中間也受到很多技術因

. .-

素的限制：要造成鏡子 半透明，而又保持其多

■ ■ ■ 1

重反映的效果，燈光投

trying to catch her

射角度和光暗的控制與

reflections. Eventually the

mirrors part, a man quickly

發展的餘地。當然，這

—

With growing confusion,

n b m f

—

than merely echoing her.

vd5H

responding to her rather

點，應還有很多變化、

B i

及觀眾的視線等都要小

emerges from their midst

心配合，而燈光從鏡後

and mimics the woman’s

直接投射向觀眾又會影

movements. She attempts

響到觀眾的視覺……種

to hold on to him only to have him slip away and

Rosalind Newman’s Mirrors. Photo by David Wong. 廖朗莎《鏡子》。攝影：王盛信。

種因素，都局限了鏡子 使用的變化。在年初

《舞渡界》的首演版本

disappear again behind the

mirrors.

中，這一段舞蹈的變化是多了，但效果反而沒有這一次

This is a magical and mysterious scene. With subtle changes

果而删除了其中的變化。

的突出，相信編舞者是從中吸取了敎訓，為了控制好效

of lights, dancers appear in front of, on the surface of, and

behind the mirrors; creating an effect of reality, reflection,

其實，説到舞蹈的變化創作，廖氏可説是個中能手，這

and illusion that coexist in the same time and space. These

可從其前作，一九九九年的〈火車〉中看到一二。在該

contact and overlap, confounding the audience’s idea of

舞中，廖氏靈活多變地運用白木板，融合於舞蹈之中，

‘reality’. It is an enthralling dreamscape that one regrets

再加上年份數字與地方名字的幻燈投影，組合成一片靈

abandoning. I was left wanting more, the glimpse provided

動而流麗的影像。〈鏡〉中的鏡子，其實是〈火車〉中

by the choreographer seemed too short, there seemed to be

木板的延續。在舞台上的視覺k果上，鏡子性質多變：

endless potential for variations and developments. However,

可以透明，不透明，半透明，也可以反射，實在是比木

technical factors must have been partially responsible for

板優勝；然而，在與舞蹈的配合上，鏡子笨重而易碎’

setting boundaries for the dance: to create the semi­

卻是遠不及木板靈活。所以，〈鏡〉中編舞者對鏡子的

transparent and the multi-reflective effects at the same time

使用是掌握到道具的特性而捨短取長°

required careful control of light projection angles, illumination, and the audience sight lines; too much direct

隨著舞蹈的發展，編舞家在跟著的段落中探索鏡後的世

light from the back of the mirrors would create glare and

界。女舞者消失於鏡後之後，一個又一個的舞者從鏡後

blind the audience..... all these factors dictated the uses of

出來，跳出了數段以鏡子的特性為主題的舞蹈"其中一

the mirrors. In the premiere performance in January, there

段群舞以「對稱」為主題，台左及台右兩邊的舞者似鏡

were more variations in this part of the dance but the results

子般互相反映，跳著左右相反的舞步"當兩個舞者接觸

were not as remarkable. The choreographer seemed to learn

時，就有如當人觸摸鏡子時與影像接觸一般；只是’舞

from her initial experience, and reduced the variations for

蹈員所觸摸的並不是平面上的影像，而是兩個對等空間

the APA version to achieve better control of visual effects.

的接觸。

In Newman’s 1999 version of an earlier work, Different

更特別的，是一段以「前後、左右反轉」為主題的單人

Trains, the choreographer demonstrates her mastery of

舞。鏡子轉向台後，露出了有如敎堂彩色玻璃窗般的背

developing variations in her dances. In that work, she

面。一個男舞者面向著它們，跳出一段由一組向後扭曲

integrates the manipulation of white panels and the dancers’

倒下的主題動作所發展而成的舞蹈。這動作似是來自藉

movement with seemingly endless and effortless variation.

鏡中影像來操控動作時所引至的混淆經驗：當鏡中顯示

Projections of dates and place names on the panels and

向前移時，在真實中卻是移向後；鏡中影像的左方其實

dancers's bodies, in this earlier work, composed a flowing

是現實的右方。在舞中，舞者越是努力的嘗試，那扭曲

series of briskly dynamic images. The mirrors in her new

動作也越急速劇烈，而他的體軀也越是失控地倒下。

work echo the use of the white panels in Different Trains

and carry the metaphor she created there a step further. With

跟著的一段調子又轉。台上的鏡子轉回正面，女舞者從

their various natures: transparent, translucent, opaque, and

鏡後走出，自得其樂地踏著輕快活潑的舞步，與仍留在

reflective, the visual effects of mirrors are much richer than

台上的男舞者那緩慢，重復而規律的踏步形成強烈的對

weight and fragility, the

6 6 6 P A N /X H

mirrors pose greater

sued

the panels in the earlier work;

however, because of their

◎

比。其間，當女舞者移近 男舞者時，後者雖然略被 影響而步伐變得較為輕

快，但卻很快便又回復原

demands, predicating the

先的動作。跟著，女舞者

extent of their integration

輕快地躍起，卻似在空中

with the dance movement.

遇到了一堵無形的牆，頹

The uses of the mirrors aptly

然落下。漸漸地，女舞者

reflect the choreographer’s

的舞步開始缓慢下來，跟

explication of their nature.

隨著男舞者那缓慢的，機

She employs them to their

械人似的動作，在原地踏" 步。之後，在鏡子於不知

advantages and avoids their Rosalind Newman s 1999 version of Different Trams.

shortcomings.

廖朗莎1999年版本的《火車》。

不覺中後退的同時，一個

接著一個的舞者以充滿生

In the next section, the choreographer exploits the world

氣的，自由自主而獨立的舞步進入了舞台，但最後都像

behind mirrors. As the first dancer disappears into this world,

遇到了無形而不能衝破的障礙似的 ，慢慢被原先的舞者

she is replaced by a series of dancers emerging from it who,

所同化，最後都以缓慢、沉重、呆板而重複的步伐在台

one by one, perform dances that reflect mirrors9

上移動。可怕的是，這個過程是如此的沒聲沒息，其間

characteristics. One dance explores the notion of symmetry.

沒有爭扎，沒有呐喊，只從舞者沉默的接受中散出淡淡

Dancers on stage right and stage left mirror each other by

的無奈。這是適應環境，還是生存、成長的代價？

inverting their movements. At one point, two dancers meet.

2

Rather than the flat image normally seen when one touches

在舞蹈快終結時，在台上規律而呆板地舞動著的舞者突

a mirror, when these dancers touch, it is an encounter of two

然加快腳步，以不同的方式連結起來，開始了一段以轉

equal dimensions.

動和旋轉為主題的舞蹈，像要以轉動的力量來擺脱環境 的束縛。同時，台上也下起雪來，而且越來越濃，越來

More remarkable is a solo that follows with the theme of

越密。當舞者一個接一個地停下來後，驀然回首，透過

forward-backward / rightside-leftside reversal. As the mirrors

重重飄雪，看見在台後燈光燦爛之處，小女孩正在鏡前

pivot, revealing their stained-glass-like rear surfaces, a man

天真愉快地弄雪。可是，一切都已是那麼的遙遠。

facing them begins a dance that is developed from a

backward falling twisted motif. His movement seems derived

縱觀整齣〈鏡〉，沒有不必要的修飾，沒有「漂亮」的

from the type of dislocation that sometimes occurs as one

設計造型，沒有浮跨的感情；有的只是一個簡單的、從

attempts to guide one’s movements by relying on the image

生活出發的概念，從概念發展及提升出來的動作 、簡潔

reported in a mirror. Instead of the intended forward

而流暢的編舞和踏實的情感。要造到整齣舞蹈如此的鬆

movement that the mirror seems to call for, a backward

容、流暢而充實，其間所花的心思卻毫不簡單。在這個

movement is required; rather than moving left, right is

「語不驚人死不休」的年代，所謂「創意」只等同於與

needed. In the solo, the more the man tries to right himself,

眾不同、無中生有，廖朗莎的作品中所堅持的種種，很

to coordinate his movements, the more violent and severe

容易被人視作「傳統」。但是，在充斥著「國王的新衣」

his twisting becomes, and the greater and more out-of-control

的當代藝術中，她這些堅持，正是其出眾之處。

2

his falling is.

As the end of the dance approaches, the dancers suddenly

quicken their pace, link hands and circle, turn, and seem to The tone changes again in the following scene. The mirrors

use the force of the turning to break through their restrictive

are re-turned to face front as a woman steps from behind

boundaries. Snow starts to fall, becoming thicker and

them. She dances a light, fleeting solo that is contrasted by

denser, the dancers spin with arms outstretched. One by

the slow repetitive treadmill-like steps of the man, who

one, the dancers stop. As the final one becomes still, all

remains on stage. During one sequence, when the woman

look back. In the distance, though the dense falling snow,

approaches the man, his movement quality momentarily

within the cool glow of an overhead spotlight, the child

changes, taking on her swiftness and levity. Her influence

has reappeared. Full of innocence and joy, she plays with

is short-lived, however, and as he returns to his pacing, her

the snow. All is remote.

movement abruptly changes in mid-jump, as if she has hit an invisible wall. After this, she slows and gradually joins

Throughout the dance, Newman avoids unnecessary

in with the man, caught in slow robotic steps in place. While

decorative movements, pretty designs and formations,

the mirrors slowly retreat upstage, one by one, more dancers

superficial emotions; there is only a simple concept that

enter and echo the woman’s solo. They start out free, full of

stems from life, movements developed and abstracted from

life, individual, independent, and end-up being assimilated

the concept, simple, smooth choreography, down-to-earth

and falling in with the couple going nowhere; restricted

emotion. To achieve such effortlessness and fluidity requires

within the same invisible boundaries, moving heavily, dully

great effort. In an era preoccupied with the “shock of the

and repetitively. The dancers’ smooth conversion is

new’’，of pushing boundaries for no reason, of creativity as

unsettling. There is no struggling, no screaming, only the

concoction, Newman’s integrity could be facilely labelled,

hint of sadness in their quiet acquiescence. Is the dancers’

traditional. However, in a contemporary arts scene filled

change a metaphor for adapting to the environment, the price

with “Emperor’s New Clothes”，this integrity makes her

of growing-up, or simply being alive?

works outstanding.

Rosalind Newman s Mirrors, rnoio uy udviu wuny.

廖朗莎《鏡子》。攝影：王盛信°

舞評 DANCE REVIEW

Fleeting ShAbows Choreography by Aaron Wan,

City Hall Theatre, April 26 & 27 Author: Tom Borek

is a poet of dance. As in poetry, his

light in its variances, allowing for the shadowy mood of

voice, that is, the voice of his

each scene.

choreography springs forth speaking, singing in tones,

exfoliating feelings. You are not besieged with the high

And so it is not for nothing that this program was titled

techno-trappings of split legs, high kicks, whirling turns

Fleeting Shadows, presented April 26 and 27 at City Hall

passing as choreography. Nor the worrisome trend of

Theatre. There were six scenes ― Solos, duets, a quartet ―

rampant sensationalism advocated by some producers and

that were episodes of life with its scratches and dents,

presenters that is void of authentic choreography and is a

ecstacies, rejections, and hopes. The music was a necessary

marketing disease, dumb-downing the audience.

and synergetic counterpart to the choreography. Music by Arvo Part, Steve Reich, Madredeus, Blindman Quartet, and

Wan locates a seething turmoil, affection, disaffection,

Ushio Torikai prompted the choreography. At times, even

engages in a search, the hunt for a place in the existence of

during stretches of silence, the choreography generated a

this world that we yearn and strive for, whether knowingly

music of its own, a music existing within one’s mind.

or not. Who are we, why are we, where are we? In this, he is

2

also a poet-philosopher, and he poses questions that

The rattling “ting, ting, ting” of music by Arvo Part created

encompass our universe, our place in it. He calls upon the

a constellation of anguish for Yap Poo-meng, bare-chested,

body’s pulses and configurations to issue, deliver, and

bare-headed and hairless, wearing a willowy long skirt. His

communicate states of being. Each dancer, each scene

arms and torso were tensile, slowly intertwining as though

becomes a living portrait. Life casts its gloom and joys,

grappling with the soul in his body. His frantic ways of

fleeting as they

looking and

are.

running mellowed into a

There were no

calmness as he

grand, divert­

left amidst a

ing sets that

cacophony of

could be pro-

rippling,

stitutional in

rushing water.

seducing an

Lam Yan-tin

audience’s eye

]

1

and not arous­

and Lena Lin

ing its deeper

appeared on

sense. The set

opposite sides

was simple yet

of the stage, this

engaging,

messaged out

of

the essential

erratic slats

ingredient of

panels

picking up

Arron Wan’s Fleeting Shadows. Photo by David Wong.

their duet, not

Lena Lin appeared, she came across Fung, prone, face down.

Revived, he dance with her in a duet of yes and no, hesitant toward each other, to the rhythmic urging of waltz music by

Madredeus. But there was no resolve, they stalked one another, unsure, and scurried back and forth, attracted yet repelled.

In the final scene, all four dancers were in the eddies and

tides of Steve Reich’s score, music that has its thrust of compositional waves looming into a far horizon. Initially

there was a unity in their sweeping lines and arcs, then it dissolved into threatening conflicts and confrontations,

finally the music receded into silence and the three converged

onto a lonely dancer, stared at her, alone, lying on the floor.

She got up and tentatively walked away, the lights dimmed out, and so it seemed did darkness engulf and suspend them,

if only temporarily.

Looming on a screen we saw their faces lumped together,

their images devolved into a past when they were innocent 5 0

children, and

faded away into a

°l 6 u

o.'M p ! > a ◎

further Arron Wan’s Fleeting Shadows. Photo by David Wong.

phantasmagoria

of Hong Kong

touching one another, even when parallel side by side, they

bristling waters,

were only mirrors, near but separate. The drumming of

traffic, buildings,

Blindman Quartet punctuated this dichotomy. The lighting

trees, and the sun,

on the panels was scattered, a mark of their distance from

its ray magnify­

each other. They were antagonistic, shoulders up and stiff,

ing the sky. An

held back. Here Wan captured essential icons of body

exquisite and

language found in malls, streets, and hallways, physical

sublime choreo­

displays stronger than words. Finally they grabbed each

graphy of photos

other, tugged, yanked their arms, only to walk away, separate

and video art by

as they were in the beginning.

David Wong.

Lam Yan-tin remained and appeared saddened. There was

Fleeting Shadows

the frenetic sound of cars and sirens echoing her solitude.

was a remarkable

The lights peaked up and the lilting waltzy music of

inscape

Madredeus urged her into a lyric dance interspersed with

essential,

pauses and silences. Towards the end she turned slowly, the

distinctive, and

sound of cars and traffic returned, she walked off to her

revelatory — of

singular, isolated world.

choreography

that scrapped

In an unsettling solo of slumps, falls, and spastic staggers,

away the surfaces

Force Fung exuded an aura of hellish loss. Bare-chested,

and exposed

wearing a long, light skirt, he catapulted his emotions as

human emotions

though they were bouncing off the platform of the

at their source.

monosyllabic music of Ushio Torikai, embroiling him in this torturous solo.

Arron Wan’s Fleeting Shadows.

Photo by David Wong.

IEWS舞蹈快訊NEWS 舞蹈快訊NEWS舞蹈快訊

藝術發展局的舞蹈小組委員會

《三年計劃》 4 t- J&. A

S的舞蹈小紐:委員會於六月十八日舉行了一次諮詢會’介紹了將要推出的《三年計 了以往「分餅仔」的角色，

带必贊斯J级來匆船的詳情。在這次《三年計劃》中，藝術發展局減輕

而將重點放在拓展資源（包括了「舞蹈調查研究及推廣計劃」’爭取設立舞蹈中心和’游説傳媒支持和考慮設立

舞蹈基金等）與及推廣舞蹈（如「全港社區舞蹈節」主導性計劃'「舞蹈年獎及保存」主導性計劃'「學校舞蹈 敎育研究發展計劃」及「國際舞蹈大使海外文化交流」主導性計劃等＞

°

會後，舞蹈小組將當日會中派發的《三年計劃》資料略加修訂。現將修訂後的《三年計劃》刊登於下文°讀者如

對這次《三年計劃》有任何意見，可直接傳真至28240585香港藝術發展局舞蹈小組收’或投稿至《舞蹈手札》刊 出。

一.舞蹈藝術界別的發展及業界需求評估總結 舞蹈小組委員會評估意見及發展策略建議：

現況評估及發展策略

項目 普及

1.

著重發展舞蹈敎育，藉著學習舞蹈提高學生的思維創意，和提昇身體能力’並產生薫陶作用'

2.

本土舞蹈工作者已盡力進行推廣活動，令香港社區舞蹈藝術發展加添色彩，建議繼續作出支持°

B.卓越

3.本地舞蹈家水平及表現已獲取國際認同，建議對舞蹈界具有卓越成就的人士作出表揚，讓舞蹈在公眾市民心中’產生

C.資源

4.

舞蹈界缺乏有系統的支援服務及場地提供，建議主動委約研究計劃，從而搜集相關的資料，發展舞蹈中心'

5.

加強搜集足夠的市場推廣數據，讓傳媒認識舞蹈藝術的活動情況，從而吸引傳媒積極報導舞蹈資訊，介紹及評論舞蹈

更大的認受性及認知，提升舞蹈工作者的社會地位。

節目。 D.推廣倡議

2

6.向香港駐外地的政府辦事處，提供香港舞蹈家及舞蹈團體資料，協助有關人員更有效地對外推動香港舞蹈藝術'

二.舞蹈藝術界別的整體發展目標 跳出香港

舞進千禧 確立香港舞蹈地位，扶助本地舞蹈家「跳出」香港，放眼世界；以有系統的資料、紀錄和有效敎學方法，培育觀 眾及培養舞蹈新生代，在千禧新紀元全面散發舞蹈火花。

三.舞蹈藝術界別工作計劃建議及進度

發展策略

工作綱領

目標

建議

行動計劃建議

進行方法建議

01/02年度工作進度

1.發揚藝 a.本地精英續 a.透過「三年資助」及「一年資助」，繼續支持在本地擔任 舞蹈小組委約進 -「動藝」獲01/02 —年資助

術的社 會功能

發展

不同領導角色的專業舞蹈演出團體的發展。

行。

-「城市當代舞蹈團」及「香港

芭蕾舞團」獲99/02三年資助 b.加強職能性 b.清楚界定舞蹈發展的需要定位，提供「職能資助」，透 舞蹈小組爭取資 將透過申請「藝術及體育發展 過委約執行者，擔任策劃及統籌的角色，爭取資源推動 源，以主導性計劃 基金」資助1,043,000元進行° 資助

舞蹈的全方位及多元發展，支持其他舞蹈組織及藝術家 委約進行。 進行敎育/社群活動，以及實驗創作演出。

NEWS舞蹈快訊NEWS舞蹈快訊NEWS舞蹈快訊NEW To have your events included in the news session of the Dance Journal/H jr pressrelease to us by mail, e-mail or fax listed on the first page of the Dance Journ：

The inclusion of news items in this section is subject to the availability of spa(

工作綱領

行動計劃建議 進行方法建議 01/02年度工作進度 建議 2.擴大巾 a.拓展觀眾新巾 a.成立小組跟進市場掩廣及進行市場研究計劃，捜集資料 舞蹈小組爭取資 正透過申請「藝術及體育發展基 場、游說傳媒齊 以助游說傳媒提供有關舞蹈節目介紹、報導及篇幅|加 源，以主導性計劃 金」資助650,000元進行「舞蹈 場和社 支持 會參與 強市民對舞蹈的認識及開拓觀眾 。 尋求服務提供者進 調查研究及推廣計劃J 發展策略

目標

行。 b.提供高質素節目 b.就文康署節目安排提供意見，包括訪港藝術家的安排，

以求全面爭取市民的參與。 C.設舞蹈支援中心

舞蹈小組與文康署 已於5月17日與康文署初步聯 進行協商。

C.尋求場地設立舞蹈中心，作出更有效的行政與技術支

舞蹈小組爭取資 已於5月17日與康文署初步聯 援，以及市場推廣工作及提供實習場地，協助或支緩界 源，以主導性計劃 繫•並將於6月18日及19日分 內個別藝術家或小型業餘團體的發展。 委約進行。 別與城市重建局及規劃地政局 初步聯繫。

d.普羅市民舞不停 d.資助可供普羅市民參與的全港性大型普及化舞蹈節或 舞蹈小組爭取資

已於5月17日與康文署初步聯 週，內容包括全港舞蹈曰、社區舞蹈大匯演、全港舞蹈 源，以主導性計劃 繫。另將稍後透過申請「藝術及 比賽等•提倡參與舞蹈藝術的風氣，展示本地舞蹈成 委約進行。 體育發展基金」.500,000元資助 績0 進行「全港社區舞蹈節」主導性

計劃。 e.增進舞界聯繫

e.每半年舉行一次發佈會或論壇，增加小組委員會與各界 舞蹈小組自行舉 首次會議於2001年6月13曰舉行，

人士的交流機會。

辦。

下次會議於2001年12月舉行。

3.推動全 a.舞蹈藝術正規化 a.與敎育署課程發展處討論將舞蹈或藝術發展為正規課程 舞蹈小組與敎育署 將透過申請「藝術及體育發展基

民及終

的一部份的可能性，將舞蹈藝術與學童生活結合，自幼 協商。

身的藝

撒播舞蹈的種籽。

術敎育

b.老師舞者共研討 b.與敎育署體育部聯合召集體育敎師及舞蹈家聯席會議，

金」400,000元進行「學校舞蹈 敎育研究發展計劃」。

舞蹈小組與敎育署 己於5月12日假演藝學院舉行 舞蹈敎育研討會，出席人數達

或協辦舞蹈敎育研討會，討論如何在體育課堂之中，更 協作進行。 有效地推動舞蹈敎育。

180人，討論題目包括學校舞 蹈敎育、讓意念舞起來、學校

綜合舞蹈課程簡介，稍後將撰 寫報告及以出版形式公佈。 C.學習欣賞更有趣

C.鼓勵個別團體積極進行舞蹈導賞活動，令觀眾更懂得欣

賞舞蹈，增加認識並領略當中的樂趣。

舞蹈小組以「職能 如前述。

資助」委約進行。

4.提升藝 a.表揚卓越舞蹈家 a.推行舞蹈獎助計劃，委約獨立機構製作頒獎典禮，並交由 大會整體協作，舞 稍後將申請800,000元「藝術及 蹈小組爭取資源以 體育發展基金」資助進行「舞蹈 傳媒播放，吸引廣泛市民的關注 術家的 水平和 b.保存舞蹈家資料 b.編輯舞蹈家名冊，並以電子媒體（包括互聯網頁或視像 主導性計劃進行。 年獎及保存」主導性計劃。

藝術家

光碟）保存具卓越成就的舞蹈經典作品。此外，配合獎

的社會

助計劃，為獲獎者製作名家紀錄。

地位

C.爭取海外的認同

C.設立資料網，透過政府駐海外辦事處作出推介。

d.增進國際性視 d.提供創作及實踐機會，繼續支持文化交流計劃、其他計 舞蹈小組通過計劃 -正透過申請「藝術及體育發展 基金」資助500,000元作為資 資助及主導性計劃 野、提升創作的 劃資助。

資助進行。

水平

源進行「國際舞蹈大使海外 文化交流」主導性計劃。 -保留一年度二期計劃資助，

整年度資源共605,000元• 並彈性接受文化交流申請。 e.本地藝術專題節 e.吸引本地資金或爭取本地商界投資，支持一些以本地舞蹈 大會整體游説，舞 03/0 4年度跟進

創作或其他藝術為主的專題節，藉此吸引更多本地觀眾。

蹈小組協助提倡。

5.推廣倡 a.完善法例助發展 a.草擬有利藝術發展的法例及藝術政策，如文化藝術土地 大會整體進行，舞 03/0 4年度跟進：有關增加藝

運用比例，商界支持藝術活動免税優惠。 議及尋 求資源 b.資源分配待檢討 b.促請有關當局重新檢討文化藝術資源分配 。 C.吸引商界共籌劃 C.游説私人機構及商界投入資源資助藝術。 d.增加藝術的資源 d.游説設立西九龍藝術資訊中心，增加藝術資源。

蹈小組協助提倡。

術的資源•舞蹈小組委員會考 慮設立舞蹈基金與業界人士共

同構思籌措資源的可行策略°

“The Party ofZhao Fei-Yan and Bob Fosse” 本地薑

Hong Kong Ginger 8:00pm

6-7/7

Dance Studio 1, HKAPA 演藝學院一號舞蹈排練室

co a Music^ Theatre Dance

Choreographer : Cherry Lai

z <

編舞：賴文慧

A»t«tanl Choreog

: .n*aw

UJ

Music Director : Khaw Fook^BK'

Llghling Oesignor: Roy Leung :

<

S«t& Costume Osslgner: Karin CMu

其龙•莊：

S3：i8 Gueit-composcr: CharU* Teo

《舞韻南北》

‘Dance in the North & South”

Yuen Hai Artiste Troupe 雲海藝術團 工

4:00pm

8/7

Ko Shan Theatre

高山劇場

“Tango凡wiwz”《探戈激情》 13/7

8:00pm

Auditorium, Tsuen Wan Town Hall

签灣大會堂演奏廳 14/7

8:00pm

Auditorium, Yuen Long Theatre

元朗劇院演藝廳 15-16/7 8:00pm

Concert Hall, Hong Kong City Hall

香港大會堂音樂廳 Choreographer : Hector Zaraspe

編舞：赫特•薩拉斯比

“Dancing in the Sun 2001”

《舞出艷陽天2001》 Presented by CCDC 20/7

城市當代舞蹈團主辦

7:30pm

Auditorium, Sha Tin Town Hall

Choreographer :

沙田大會堂演奏廳

Joyce Au, Eve Cheng, Phoebe Chu, Ronly Kong, Alice Lam, Eve Leung, Mon Ning,

Pandora Sin, Iris Sun, Yap Poo Meng 編舞:歐美儀，鄭楚娟，朱倩儀，鄺韻儀， 林小燕、梁美嘉，甯明敏，冼穎欣， 孫鳳枝，葉步鸱

“Affinity to Dance ’’

《緣之舞》

Glamorous Dancing Association

娉婷舞軒

20-21/7

8:00pm

Sai Wan Ho Civic Centre 西灣河文嫉中心劇院

Dancing into the Millennium 2000/01 Finale Performance”《舞進千禧 2000/01 結業演出》 Presented by Hong Kong Ballet

香港芭蕾舞團主辦 22/7

3:00pm

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

《蹈演 001》

“Toes-inOOl”

Dance Home舞蹈家演藝團 26/7

7:30pm

Auditorium, Tsuen Wan Town Hall 筌灣大會堂演奏廳

Choreographer : Lee Yee-shan, Ho Chui-leung, Lam Siu-yin, Wong Chi-wing, Kwan Wai-yee 編舞：李以珊，何翠亮，林小燕， 黃志榮，關慧儀

.Mu Lan”《木蘭》 Hong Kong Ballet香港芭蕾舞團 10-11/8

7:30pm

Kwai Tsing Theatre

12/8

3:00pm

葵青劇院

17- 18/8

7:30pm

Sha Tin Town Hall Auditorium

18- 19/8

3:00pm

沙田大會堂演奏廳

Choreographer : Matthew Hart 編舞：馬修•哈特

“Romeo & Juliet”《羅密歐與茱麗葉》

RoyalWinnipegBallet

Royal Winnipeg Ballet

加拿大温尼们皇家芭帟舞團

加拿大温尼伯皇家芭蕾舞團 26-28/7

7:30pm

Cultural Centre Grand Theatre

文化中心大劇院

Choreographer : Andre Lewis

編舞：安德烈•勞易斯

a“

Thrice Beats the Bony Chost (re-run)’’《孫悟空三打白骨精(重演)》 Hong Kong Dance Company 香港舞蹈團

3-4/8

7:30pm

5/8

3:00 pm

Cultural Centre Grand Theatre

Choreographer : Jiang Huaxuan

編舞：蔣華軒

文化中心大劇院

Members of Hong Kong Dance Alliance 名黌顧問 胡善佳先生

HONORARY ADVISORS MR Carl Wolz

戴愛蓮女士

Ms Ailian Dai

宋絜女士

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

陳錦明先生 張秀梅女士 朱盍同女士 局家霖先生 郭慧芸女士 羅詠芬女士

Ms Chu Kit

INDIVIDUAL MEMBERS

港

舞

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 劉玉芬女士 李念椿女士 吳雪梅女士 曹誠淵先生

團體會員

Mr Tom Brown Mr Ringo Chan Ms Miranda Chin Ms Lilian Chun

Mr Mohamed Drissi Ms Medina Lau Ms Charissa Lee Ms Violet Ng

Mr Willy Tsao

Mr Chau Chuen Fai Ms Chu Kit Ms Stella Chung

Mr Huynh a-hoa Ms Helen Lai

Ms Florence Lui Ms Susan Street

Mr Aaron Wan

盟

會

共享空間舞蹈劇場 基督徒舞坊 小燕子舞蹈團 舞蹈菲場 香港演藝學院 香港芭蕾舞團 香港舞蹈團 本地薑 創作天地 王仁曼SB舞學校 音樂劇場 絲路舞蹈文化協會 躍舞翩 Life

三分顏色 原贈系 歪G的ZJX体 亞洲青少年芭蕾舞團

普通會員

名

單

鄭珮雲女士 宋文秀女士 陸惠研女士 尹子欣女士

員 陳桂思女士 盧幸賢女士

Ms Wendy Chu

Mr Graeme Collins Ms Vivian Kwok Ms Kim Law

Mr Sze Tak

On

Ms Scarlet Wong

ORGANIZATION MEMBERS

陳紹傑舞蹈中心 波希舞蹈團 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

R'

Ms Cheung Sau Mui

Mr Kevin Ng

施德安先生 黃翠玲女士

MA

聯

Mr Clement Chan

Contact Person

莫佩雯女士 陳紹傑先生 袁惠東先生 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 鄺婉儀女士 宋倩儀女士 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 揚春江先生 蘇漢華/鍾詠賢

Arts Plus

Ms Paula Mok

Billy Chan Dance Centre

Mr Billy Chan

The Boheme Dance Company

Mr Yuen Wai-tung

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 Swallow Dance Studio

Ms. Diana Elia Kwong

The Flying Works

Ms Phoebe Chu

Ibe 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 AA. Wong School of Balet

Ms Arma Chan

Ones To Watch Dance Company

RJ

Life Musical Theatre

Ms Angela Hang

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 Chu Man-sau

Ms Luk Wai-yin

張秀芬女士 關艷蘭女士 松島誠先生

Ms Cheung Sau-fan Ms Kwan Yim-Ian

Mr Makoto Matsushima Ms Daphne Wong

Ms Maria Assunta Wan

周詠詩女士 陸慶棄先生 莫裕歳先生 李終爛女士

Ms Chow Wing Sze

Mr Luk Hing-sun Mr Juergen Morhard Ms Lee Choi-han

STUDENT MEMBERS Ms Suki Chan Ms Candy Lo

嘉樂先生 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

Membership Form

罾員串囍表 會藉

Membership

(

)Individual

(

)

(

)Associate*

(

)Student*

個人會員$200 團體會員$600 普通會員* $100 學生會員* $50

Organization

Individual/Associate/Student Member' s Information Name $生名(English)

Position職位

______________________________________________ (中文)

________________

Affliated Cultural Organization

Telephone

電話

Company公司名稱

I

所屬藝術機構 _________________________ __________________________

______________________________

Correspondence Address

E-mail Address

個人 / 普通 / 學生會員資料

Fax

傳真__________________________________

通訊地址 _________________________________

電郵地址_________________________________________________________________

Organization Member' s

Information

團體會員資料

Name of Organization_________________________________________________________________________________________________________

團體名稱_ ______________________________________________________________________________ Person in Charge

負責人(English)____________________________________________ (中文)___________________________

Telephone電言舌

______________________________

Correspondence Address

E-mail Address

Fax ］專真__________________________________

通訊地址 ____________________________________________________________

電郵地址_________________________________________________________________

Applicable Dance Category

所屬舞蹈類別

|

」Ballet 芭雷

|

I

I Asian Folk亞洲民族舞

|^ZI European Folk歐洲民族舞

I

I Education

|

| Cultural & Arts Administration

|

| Musical Theatre/Jazz/Tap Dance

|

| Others

Signature

教育

| Contemporary

QZI Criticism

現代舞

|

寫作與評論

文化及塾術彳了政 昔樂舞劇 / 爵士舞 / 踢S達舞

Chinese Dance

中國舞

|

1 Ballroom國際標準舞

|

| Technical Arts

|

| Notation舞蹈記錄

|

| World Dance世界舞蹈

舞台技術

其他 ______________________________________

簽署：_________________________________

Date

日期:____________________________ ___

Please enclose cheque payable to HONG KONG DANCE ALLIANCE with this application form to: c/o Office of the Associate Dean,

School

of

Dance,

Hong

Kong

Academy

for

Performing

Arts,

1

Gloucester

Road,

Hong

Wanchai,

Kong.

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