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Articles
專論 大型舞蹈詩《媽祖》
An Overview of Performing Arts
Medicine (PAM) 漫談武極
Author: Filomar C. Tariao
---- 無極、太極創舞歷程
EB
銘識「伸展運動」
舞蹈節目表
作者：陳錦明
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EE
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動藝《二形喚影》
Image: Hong Kong Ballet's Mu Lan 圖：香港芭蕾舞團《木閜》
專論
ARTICLE
An Overview of Performing Arts Medicine (PAM) Its History, Advantages to the Artists and Applicability to Hong Kong Filomar C. Tariao
Fil is a Doctor of Medicine and a licensed physician from the Philippines. He decided to leave his practice
to finally pursue a greater passion-the performing arts. He has toured France, Belgium, Switzerland with the UP Filipiniana, doing solos and duets in both dancing and singing. As a previous scholar of the CCPBallet Philippines Dance School, he began his dance training at the age of 21. He began to dance
professionally three years ago, joining the Lines Jazz Company and Dansa. He graduated in 2001 as a full scholar of the Hong Kong Academy of Performing Arts, School of Dance, with a Professional Diploma in modern Dance. He will continue his dancing at the Gus Giordano Jazz Dance Chicago this fall.
INTRODUCTION
My
life of the performer? As a world class city, surprisingly, in med school once told us that
Hong Kong partakes little or none at all in studying and
medicine is a science that must also be
researching for the performing Artist.
an art in order for it to achieve precision. I say that art must
also be a science for it to reach perfection. We do this by
It is, therefore, the goal of this article to introduce Performing
studying art and its artists, by discarding harmful techniques
Arts Medicine (PAM) to Hong Kong. This article aims to
and replacing them with sound, anatomically correct ones.
give an historical background on PAM, highlighting its
Only then can an art form last—by continually being
importance to the artist and its advantage to growing global
scrutinized and studied.
Performing Arts environment such as Hong Kong.
We accomplish that by researching. In Europe and in the
A QUESTION OF NECESSITY
United States, Performing Arts Medicine (PAMA) has done
The performer is unique. He is a fine specimen of the
numerous research on injury prevention and treatment,
technical quest for perfection (or its abstraction), the result
helping schools restructure and refine their curricula. Major
of long, grueling hours of training. Fortunately, the audience
companies connected with academies have medical
sees only the product of his industry. What lies under the
practitioners affiliated with their institutions not just for
mask that he wears on stage is something unpalatable to the
treating performance-related injuries, but also for
spectator, who wishes only to be entertained or cerebrally
researching on how to prevent them. These companies look
stimulated. The artist’s limitations, frustrations and
after the welfare of the performers who will be the technique-
disabilities are all uninteresting to the viewer. That creature
teachers of the future. They ensure a lifeline of healthy
behind the fagade is the object of study of Performing Arts
artists.
Medicine. PAM aims to see the artist as a human being
susceptible to illnesses, injuries and problems both common Now, the big question is: Is there such a state of affairs in
and uncommon to the society.
Hong Kong? Is there an active group of medical practitioners
dedicated to the improvement of well-being and quality of
Although the public is generally aware and appreciative of
the art of dancing, it is not usually cognizant of the
occupational needs and cases of the Performer. After the
considerable physical intellectual, and emotional demands
interest comes the scientific inquiry, which aims to clarify
of being a dancer. This lack of awareness is due in part to
these special requirements and further focus in the
the private nature of learning, practicing and creating dance
improvement of the artist. Also, with formal research, the
movement—the turmoil of these endeavors is a deeply
treatment of injuries becomes more efficient. With such an
personal matter. In class and rehearsals dancers scrutinize
educated approach the technique of the performer is brought
other dancers with only slightly less venom than they do
into question, analyzed and broken into its components to
themselves. Technique and body clash and mesh in
see which must be scientifically right and which are wrong.
unpredictable, impossible, imperceptible, and incredible
What maybe aesthetically judicious might turn out to be
battles. No one in dance escapes this harsh reality. These
hazardous to the health of the artist. Thus the study of one’s
battles are not for the public to see.1
art becomes anatomically and aesthetically correct. In the
arts, there are superstitions also which need to be broken It is this understanding一that the performer has needs, both
for the longevity of the performer.
specific to his profession and those which he shares with the rest of humanity—which makes this field in medicine
“I have noted in previous editorials that, even
an interdisciplinary one. Orthopedics, Otorhinolaryngology,
in response to medical information, teachers
Psychiatry, Rehabilitation Medicine are just some of the
in conservatories and studios may be reluctant
specialties that conjoin to make the artists’ life better in the
to modify teaching styles and contenPfrom
PAM field. All it takes is a group of physicians with different
those with which they are familiar and
backgrounds or specialties who are interested enough in the
comfortable, i.e., those from which they
plight of the performer.2
themselves learned.’’5
HISTORY OF PAM
I cite a co-scholar’s consultation with me about the matter
Performing Arts Medicine (PAM) informally started with
of drinking water during class. This student asked the author
the publication of Diseases of Tradesmen by Bernardino
if it was hazardous to one’s health to drink water while taking
Ramzzini. This discourse was the first real chronicle of
classes (dance technique). He was very troubled as his
occupational diseases of performing artists. No other
teacher forbade him to drink water after a very tiring across
publication dealing with the illnesses of the performer until
the floor combination (according to the maestro, it was bad
in 1932, when Dr. Kurt Singer’s Diseases of the Music
for the heart to drink). I was appalled by this story and I
Profession appeared. Then, in the 1970’s, with an increasing
told him that, as a Doctor, I would never believe such an
interest in the scientific study and research on the special
absurd notion. Rehydration is necessary for anybody; more
needs of the artists (particularly the musician/singer) a
so for those with increased energy expenditure, i.e. a dancer.
symposium on the Care of the Professional Voice and the
Once thirst is felt, the body is already dehydrated. Drinking
Danube Symposium on Neurology were organized in
to alleviate thirst gives the dancer the much-needed water
Vienna, which focused on the Neurology of Music.3
to burn more calories efficiently, providing more energy
In it’s chronology, we can gleam that PAM started out of
for the dancer. (This is the same reason we see pugilists
concern for the welfare of the musician. This concern grew
drink after every round of boxing).
to encompass all the diverse fields of the Performing Arts, including Dance and Theater, particularly after the first
Water can be perilous to the heart only if it is taken in excess
annual conference of Medical Problems of Musicians was
and in a rapid rate. But this excess is equivalent to more
held in 1983 in Aspen Colorado, headed by Dr. Alice
than 4 liters in a 24-hour period (about 20 glasses),
Brandfronbrener. Thus, more research and scientific study
something that is rarely practiced by anybody. A sip of
were devoted into this area until it became formalized as a
about 200cc (roughly about a glass) is sufficient after an
subspecialty of Medicine, when in 1989 the Performing Arts
exhausting routine. A good measure of whether or not one
Medicine Association was founded.4
is dehydrated is by looking at the quantity and quality of his urine. The urine must remain colorless to amber in
AGAINST SUPERSTITIOUS METHODS &
appearance even after working out.
UNINFORMED ADVICE What can be summed from the aforementioned information
“The dancer is in the chronic state of
is the interest first of the medical practitioner in the special
dehydration much of the time, a condition that
Joseph Pilates, movement therapy pioneer, working with his client. Photo by C. Rapoport.
induces fatigue, poor performance and
precisely her work place, which may have started the
increased risk of injury.’’6
tinnitus. The College of Music does not have well-padded studios that decrease the noise levels in the area, such that
To illustrate another scenario: A Filipino pianist friend of
at certain times different instruments can be heard
this author arrived here in Hong Kong last January for the
simultaneously, altogether making, instead of a symphony,
recent Asian Youth Music Festival/Competition. She was
a cacophony. The doctor’s approach would then change as
fortunate to have landed in the semi-finals of the said event
a modification of lifestyle plus the standard drug-regimen.
in the piano category. She is a fine technician who graduated
This means measuring noise-levels in the work place, and
summa cum laude from the College of Music of the premiere
decreasing them—this is a more community-oriented
University in her country. While here in Hong Kong, she
approach to improve the patient’s condition. No simple
intimated to this writer a malady that afflicted her right ear.
prescription can solve this certain pianist’s problem. With a
She has been experiencing clinical tinnitus (ringing
resume as impressive as hers, no one would suspect that her
sensation in the ear) for the past couple of years and it has
art might soon suffer due to her faulty pure tone.
decreased her hearing acuity by a half tone. She has seen an otorhinolaryngologist (ENT) about it. The specialist said
In a recent dance concert held by the HKAPA Dance School,
that it was idiopathic (etiology of the tinnitus is unknown).
one female fainted after a run through of her dance. After
The physician prescribed her a serotonin blocker which
successfully providing her with first aid, the author inquired
improved her condition temporarily.
if she took a full meal before the concert. The dancer said yes, she ate a big lunch less than an hour before the run.
In a study on sound-level measurements in orchestra pit
Then I realized that she just suffered post-prandial
Broadway shows, Angela Babin, MS showed that 76%
hypoglycemia, a condition in which a person can faint and
percent of the studied performances exceeded the sound
even lose consciousness when undergoing an exhausting
levels recommended by the National Occupational Safety
routine right after a full meal.
and Health. Exposures above 85 decibels in an 8-hour, time
weighted average are considered dangerous to the auditory
After and during eating the body secretes hormones which
system. Babin further recommended that personal protective
allow the food digested to be stored in the liver for future
equipment (ear plugs and muffs) be used by these musicians
use. These hormones decrease the supply of nutrients needed
who are continuously under such conditions.7
by the muscles of the body to do strenuous physical activity—such as dancing. When a performer goes on stage
Had the specialist inquired more of her background (as a
right after eating to do a 15-minute routine, the body is thus
piano teacher in the College of Music) and her working
unable to provide enough glucose to the muscles for energy
environment he would have hypothesized first that it is
because it is in a store-mode. Hence, the fainting.
□
Perhaps this could have been prevented if a Nutrition class
improve his inadequacies. This way, the performer is made
was held during the first semester. It is to my knowledge
more aware of his body and is able to individualize his
that this subject is taken in the second term. Too late, I
approach to technique classes.9
presume since research has shown time and again that
majority if not all dancers are malnourished (proper
The HKAPA holds such a study conducted by its resident
definition is incorrectly nourished).
physiotherapist and assistant. However they are only two
serving the needs of more than 100 students. As such, But all these are anecdotes, case reports at best. I cite the
measurements and data take long to procure, what with
above simply because I have not encountered significant
scheduling problems. This results in a lot of students being
(scientifically and statistically treated) local papers in Hong
unable to undergo their check-up. Furthermore this lack of
Kong which have attempted to chronicle the performing
manpower increases the observer-subjectivity of the data.
artists’ concerns. One might fall into the trap of always
With a team of evaluators, more input can be generated and
following western research, thinking that the situations and
subjected to statistical and qualified interpretation.
results are the same. This is foolhardy, as any research must take into account the context in which inquiries are made.
FOR THE BETTERMENT OF THE PERFORMER
As science has proven that different racial groups and people
can generate varying results, so must dance research produce
“Multicultural, global, international一these
different outcomes from different peoples.8
buzz words for the 90’s were epitomized in the dance conference held July 15-28, 1990, at
Of utmost benefit would be local, statistical (randomized,
Hong Kong Academy of Performing Arts.’’10
controlled groups) research that can become the groundwork
of further studies and progressive development.
In this article by the Solomons, it was shown that Hong
Kong was beginning to be in the forefront of the dance scene, In Hong Kong, the Academy of Performing Arts is the only
at least in this part of Asia. With a stable economy, a growing
center of such kind in the region. It is the hub of scholars
GNP and paying audience to patronize the arts, Hong Kong
from around Asia. Proof is the academy’s yearly overseas-
can indeed support more research about its artists. Now,
auditions in search of promising performers. However, there
what better way to uphold the internationality of the
is no Performing Arts Medicine Association in Hong Kong.
Performing Arts here in Hong Kong than to promote a better,
This is unfortunate since a performer has very special needs,
scientific understanding of such—through an organization
which cannot be met by a regular Physician or Surgeon. In
devoted to its study: PAMA? Particularly now, when
Medicine，we speak foremost about empathy to the patient-
technology and science are at the frontiers of the advanced
-that the healing begins when the person has entered the
nations, it is just appropriate for the arts to be also avant-
door of the clinician. But will it proceed to the improvement
garde—in its truest sense—here in Hong Kong.
of his health and performance without someone of the
appropriate training to look after him? Besides which, the
“The evolution of new techniques and dance
artist must continuously be appraised, his technique always
philosophies throughout the modern era, are
examined so that injuries can be prevented or treated
as pertinent to ballet as they are to any dance
correctly. Then again, is there a group of medical
genre.” 11
practitioners here in Hong Kong interested enough to do
so?
With a PAMA in Hong Kong more research can be generated, the artists can be studied and they can study
Has there been an effort to look for such a group, to generate
themselves with these new publications. Hong Kong will
this interest?
then have knowledgeable and healthy performers. The
education of these artists will become a continuous process, In the Alvin Ailey School of Dance in New York, the students
evolving into an ideal setting.
undergo an annual full anatomical examination. An attending team of physiotherapists and volunteer therapy-
Now is the time for increased efforts to expand the
students take body measurements, note asymmetry in the
availability of specialized care, geographically and
dancer’s anatomy and give technical advise on how to
numerically as well as to increase the standards for such
correct or even modify his approach to a certain class to
services , by defining clinical criteria and through education
and research...
BIBLIOGRAPHY
Babin, Angela, (1999) MS, “Orchestra Pit Sound Level
“This may be the perfect opportunity to test the consortium of arts practitioners and
Measurements in Broadway Shows” in Medical Problems
of Performing Artists, 14, pp. 204-209
clinical centers to work together toward
Brandfonbrener, Alice, MD, (Jan 1 2001) Correspondence
obtaining such a commitment...
with the author, (agbmppa@northwestern.edu) Brandfonbrener, Alice, MD” (1999) “From the Editor: Y2K
Furthermore, as more students avail themselves of advice from performing arts
and PAMA” in Medical Problems of Performing Artists, 14,
p. 162
clinics, more conservatories and universities are recognizing their own obligation to make
information based on the understanding of
performing arts medicine available to their faculty and students.’’12
Overby, Lynette Young; Bond, Chrystelle Trump, (1991) “Hong Kong International Dance Conference: Focus on
Dance Research" in JOPERD Nov-Dec 1991, pp. 41-42 PAMA website www.artsmed.com, (Nov 16, 2000) Ryan, Allan, MD and Stephens, Robert, PhD, Ibid, p.82
CONCLUSION
PAMA is beneficial to the performer whatever his setting
Solomon, Ruth and John, (1991) “Dance in A Global
maybe. In an international, progressive city, such as Hong
Perspective” in JOPERD Nov-Dec 1991, pp.41-42
Kong, the presence of an medical and scientific organization
Street, Susan, (2000) “What is Classical About Classical
dedicated to the needs of the performer, not only can help
Ballet?” in Dance Journal/HK, Vol. 2; no. 8, p.10
the artists improve on themselves, but can further aid the
entire performing arts in its evolution and improvement.
Teusink, Laura (2001) “Anatomy in Action” in Dance Spirit,
Vol. 5; no. 1. Jan 2001, pp,116-117
As this study is highly theoretical and based on previous
literature the author suggests the following:
NOTES
1 .
-Promote more scientific inquiry on the local performer
Healthy Dancer: Dance Medicine for Dancers, (NJ: Princeton Book Company), p.3
by health professionals and the performers themselves.
a
This can be started in the academy.
2.
5 S N
the above performers can then be presented to these
trained people
3.
PAMA website www.artsmed.com, (Nov 16, 2000)
4.
PAMA website, Ibid
5.
Artists, 14, p.162 6.
scientific and dance journals, of studies relating to the
performer.
7.
Problems of Performing Artists, 14, pp.204-209 8.
Overby, Lynette Young; Bond, Chrystelle Trump, (1991) “Hong Kong International Dance Conference: Focus
performing arts, improve a better, educated
i
understanding of the artist.
Babin, Angela, MS” (1999) “Orchestra Pit Sound Level Measurements in Broadway Shows” in Medical
medical organization which will further the research on the artists, increase a scientific awareness in the
Ryan, Allan, MD and Stephens, Robert, PhD, Ibid,
p.82
-Encourage these same professionals to create a local
工
y
Brandfonbrener, Alice, MD., (1999) “From the Editor: Y2K and PAMA” in Medical Problems of Performing
-Generate interest in the local medical field on the
performer. This can be done with publications, in local
Brandfonbrener, Alice, MD., (Jan 1 2001) Correspondence
with the author, (agbmppa@northwestern.edu)
-Hold seminars with health professionals regarding the performing artist’s unique needs. The research done by
Ryan, Allan, MD and Stephens, Robert, PhD, The
on Dance R㊀search” in JOPERD Nov-Dec 1991. 9.
Teusink, Laura, (2001) “Anatomy in Action” in Dance
Spirit, Vol. 5; no. 1, Jan 2001, pp.116-117
As a global city, Hong Kong, can and must begin to
encourage studies on its performing artists, in order for it to
become globally competitive. This can be done by an
10. Solomon, Ruth and John, (1991) “Dance in A Global Perspective” in JOPERD Nov-Dec 1991, pp.41-42 11. Street, Susan. “What is Classical About Classical
organization commissioned to scientifically and medically
Ballet?” in Dance Journal/HK, Vol. 2; no. 8, p.10
research on the performers—Performing Arts Medicine
12. Brandfonbrener, Alice, MD., (1999) “From the Editor: Y2K and PAMA” in Medical Problems of Performing
Association.
Artists, 14, p.162
6
專論
ARTICLE
認識「伸展運動」 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
的嚴謹要求。正確進行伸展運動•不單有助提高舞蹈員
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
用；相反，施行伸展運動不得其法，容易造成傷害，正
位•九八年回港後續修畢浸會大學針灸專業進修文憑。
是「水能載舟，亦能覆舟」的道理。
身體的可塑性，加強舞蹈表達力，對預防受傷起積極作
陳氏對香港舞蹈發展甚為關注•對人體運動及動力學亦具濃厚興
趣'近年積極推廣舞蹈員之安全及健康意識'曾應邀擔任香港演 藝學院、動藝及東邊舞蹈團等客席講師'為舞蹈愛好者提供預防
受傷知識，對推動香港舞蹈發展，不遺餘力。
「 vA nti 《舞蹈手札》第三 簿私肌各法 」一文(刊於 冊__、二期)曾經介紹過肌肉
簡單來説，影響肢體伸展的因素，主要來自因外力而產 生的兩個身體反應：
(一)
惰性反應(Passive Response): 這反應是由肌肉、肌腱、肌膜、和韌帶等軟組
織，以及關節結構對運動帶來的限制。關節的结
在運動時的生理反應。無疑，肢體的運動是依靠肌肉收
構，因其形狀不同，兩個關節面相互的幾何關
縮作用來完成；然而，缺乏一個具功能的幅度，同樣難
係，基本上決定了某肢體活動的平面和幅度 ，不
以發揮應有水平。本文將重點介紹影響肢體活動幅度的
可能將其改變；而身體的軟組織卻具柔韌性
因素及進行伸展的方法，有助讀者瞭■解如何安全有效地
(Visco-elasticity) *在一定外力下，可改變長度。
提高舞者的柔初度。
兹將軟組織四個有關的特點介紹如下：
仲展運動(Stretching)俗稱「拉筋」，是廣為大家認識
1. Stress Relaxation —肌肉長時間被拉長並固定
的一項活動，亦是舞蹈訓練的重要一環。舞蹈員(特别
在某一長度上，其張力(彈性)將逐漸降低，
是古典中國舞及芭蕾舞)對幅度的要求頗高，「伸展」
即使外力解除，肌肉亦會比原來鬆弛；
2. Creep —持續加諸同等外力，肌肉的長度會隨
的目的不光是舒張肌肉，提高關節活動幅度(Range of
時間逐漸被拉長；
Motion)或柔軟度(Flexibility)，最重要是應付舞蹈藝術
3. Strain Rate Dependence -在同等的外力下' 肌肉長度的轉變取決於施行外力的速度。外
力的速度越高，肌肉越容易被拉長；
4. Hysteresis-外力越大，肌肉長度轉變越大° 總括而言，肌肉的長度取決於外力施行的時間'
強度、和幅度等因素。為方便解釋’以上均以肌 肉為例，而事實上，所有軟組織均具以上特性’
只是程度上的差異而已。
(二)
活性反應(Active Response): 活性反應主要是由神經系統所造成的生理反射
(Reflex)。對於肌肉來説’神經系統不僅控制肌 肉的收縮，它還活像一部調節肌肉長度的儀器’ 『「伸展」的目的不光是舒張肌肉|提高關節活動幅度或 柔軟度1最重要是應付舞蹈藝術的嚴謹要求。』
藉著反射作用來完成這項工作：
1. Myotatic Reflex 一肌肉被外力突然牽動’有
以協助放鬆肌肉。同樣以胭繩肌為例，舞蹈員把
關訊息會經反射弧(Reflex Arch)產生回饋作
腿伸直放於把杆上，然後上身前彎直至腩繩肌有
用，使肌肉收縮，膝部的踢腳反射是其中一
拉緊的感覺，維持姿勢不動十五至三十秒的時
個例子；
間，上身返回直立位置，讓胭繩肌放鬆。瑜伽正
2. Reciprocal Inhibition _ 當一側的肌肉收縮
是利用這項方式進行仲展運動的代表。由於在伸
時，對侧的肌肉會隨之放鬆，避免兩組肌肉
展過程中肌肉產生的阻力，都是與外力加諸的速
互相抗衡，以方便肢體順利活動；
度有關，這種方法的好處是利用肌肉的惰性反應
3. Autogenic Reflex —當肌跛的長度被過份拉
第一二項(Stress Relaxation 及 Creep)'循序漸進
長，並到達某一程度時，在肌腱的一個名為
地使肌肉拉長，避免刺激Myotatic Reflex反射活
腱梭(Golgi Tendon Organ)的組織便會自行調
動而使肌肉出現互相抗衡的現象，大大減低了過
整其肌肉的張力■使肌肉放鬆，以避免承受
程中受傷的機會。
過份拉力而受傷。 互動式(PNF Stretch): 在了解伸展過程中的惰性及活性反應後
這種方法是結合了肌肉的活性及惰性反應所進行
嘗試為讀者探討日常的伸展方法，與其J
的，一方面它利用了肌肉的柔韌性，另方面亦充
性的關係。
分利用了神經系統的反射作用，效果比前兩種
方法顯著。其好處是避免了彈動式造成的受 (一)
彈動式(Ballistic Stretch):
傷，而且在要求幅度的同時，亦關顧到肌肉 的力量，保證了關節的穩定性。施行的
簡單來説，這種伸展方法就是
特點是使一側及對側的肌肉依次強
利用反彈力來進行的一種方
式，使肌肉重覆而又快速
力收縮。再以腦繩肌為例，先把
地拉長及放鬆。例如在針
大腿伸直放於把杆上，上身前傾 至胭繩肌最大幅度，然後保持
對大腿胭繩肌
(Hamstrings)的伸展
姿態不變，收縮大腿四頭
時，舞蹈員把腿伸
肌，維持三十秒，這樣是
直的放在把杆上，
利用了 Reciprocal Inhibition
然後借助上身來回反
遂 « i
2
fc：
的作用，使胭繩肌放鬆；
彈的彎'伸動作，拉動
接著，上身保持不動，用力
胭繩肌。這種方法，好
收縮胭繩肌，即屈曲膝部
處是符合了運動訓練
(胭繩肌的作用)，與把捍
的特定性(見《舞蹈手
對抗，維持五秒，再將上身
札》第三冊四期『訓練
前傾至最大極限，重覆以上
原則』一文)，本質上
三個循環。拉長而同時收縮胭
恰似舞蹈踢腿動作中胭
繩肌的作用有二：一是肌肉兩
繩肌所受的牽動形式；
端固定，肌肉向心收縮的结果是
此外亦利用了惰性反應第三項(Strain Rate
增加肌腱的拉力，從而使肌腱拉長(Hysteresis);
Dependence)的特性，即伸展的效果取決於彈壓
二是在肌腱增加拉力同時，借助腱梭反射，使肌
的速度。那就是説，上身彎伸的動作越快，大腿
肉放鬆。
胭繩肌越得以伸展。這種方法雖然效果與靜態式
]
相若，現代運動醫學普遍認為這種伸展方式容易
以上簡單介紹了三個伸展方法，都以胭繩肌為例，是希
造成受傷，原因主要是肌肉在被外力突然拉動時
望讓讀者易於比較。事實上，三種方法都可被應用到其
所產生的反射性收縮(MyotaticReflex)，有可能
他部位，因篇幅所限，恕未能— —詳述。然而，讀者欲
在肌肉反射性收縮同時，與加諸之外力互相對
理解其進行的是何種仲展運動並不困難，祇需考慮在過
抗，容易造成肌肉撕裂的情況，所以彈動式伸展
程中，所仲展的肌肉，正承受的是何種的外力？是靜態
方法，在安全角度上並不值得鼓勵。
(靜態式)還是動態(彈動式)？又有否主動參與收縮(互 動式)？分析的目的是讓自己了解過程中所承擔的潛在
(二)
靜態式(Static Stretch):
風險，而作相對預防措施。
特色是用較緩慢的方法伸展肌肉，在不發生疼痛 的限度下，把肌肉逐漸拉至其最長位置。在進行
畢竟影響活動幅度的因素頗多，肌肉相對來説是可塑性
靜態式伸展時，有時亦會建議配合呼吸來進行，
較高的組織，較易伸張；然而，周邊的一切軟組織(包
n
括韌帶、肌腱、關節囊、皮膚、皮下脂肪、甚至神經
這項「工作」•目的是要提高關節的柔軟度
線)，因其既有的特性，不容易改變其長度；而關節的
(Flexibility)。所謂柔軟度，就是關節的可活動幅度，而
結構，為活動幅度所造成的先天限制，更是難以改變的
且必須將這得來的幅度發揮到舞蹈動作之中.這樣的柔
事實。必須一提的是：原則上我們只針對肌肉而非韌
軟度才有意義’我們稱之為功能性幅度(Functional
帶，來進行伸展運動：然而，由於舞蹈所要求的柔軟度
Flexibility)。即是説，儘管舞蹈員的腿可被搬得高高 的，但如在實際的提腿或踢腿等舞蹈動作上不能充分使
極高，而舞蹈員一般在伸展運動中亦比較進取 ，不免在 過程中，會同時殃及關節的其他軟結織，特別是韌帶及
用到，則如何艱苦的伸展也是徒然。所以在積極進行伸
關節囊，類似組織一旦被拉鬆，關節內原本在力學上穩
展運動的同時，其他方面的配合，特别是肌力及控制等
固性便會遭到破壞，這樣，兩個關節面的滑動情況將不
元素，也應得到同步提高，這樣方可保障本身的柔軟度
會正常，關節面因而容易磨損，造成提早退化現象。故
能充分發揮，簡單的解決方法，是遵猸訓練原則中的
此，在積極進行伸展運動同時，必須慎重考慮過份伸展
「特定性」。比方説，舞蹈員對踢腿的高度不滿意，則
的後果。
除了壓腿之外，亦應同時掌握踢腿的正確方法 ，積極進
行單項訓練。 伸展運動視乎進行的時間而起著不同的作用。一般在運
動前的伸展，主要是作為熱身運動的一環，為運動作適
伸展運動能否令舞蹈員如願以償，當然取決於執行方法
當準備，具體的功效是舒展筋骨，促進血液循環，以防
和個人的努力，但先天的條件亦不容忽視，畢竟每個人
運動受傷。而在運動後的伸展，作用乃是協助緊張的肌
的構造都會有些微差異，尤其是本地的舞蹈員，一般都
肉得以放鬆，使血液系統順暢■從而將運動過程積存的
是在發育幾近完成後才進行專業訓練，骨骼關節己幾乎
代謝物帶走，以減低劇烈運動後的副作用(如酸痛、疲
沒有改變的餘地，企圖在這個階段改變現狀，須加倍小
累、及緊張等現象)。
心。過份地超越自己的極限，只會對身體造成永久受
傷。承認個别的差異，認識自身的極限，尋求適切的專 對於舞蹈員來説，伸展不單是作為熱身環節，更大部份
業意見•才是最明智的態度。
是應付舞蹈動作所需，因而舞蹈員會花費頗長時間進行
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舞評 DANCE REVIEW
黎海寧的《1997/2001》。攝影：陳德昌。
「城命當代舞婚圏」 《備忘錄》為引子，簡潔地帶出餘下的五個舞段，包
括：《琵琶行•其二》、《1997/2001》、《沉沒的廟 寺》、《花葬》、《異域》。台上的spotlight與及群舞
的合拍性，正好寓意編舞者與舞者緊緊相接。 從彭錦耀所編的《琵琶行•其二》，看到的舞蹈，已不
再只是傳遞單一的情感。當中的戲擬：盡道古往今來， 男女間的情感糝轎。人們擺脱不掉的，始终是感情包
袱。在觀尿發出嗤嗤笑聲之餘，還會探究編舞者的企圖
嗎？刻意地強調下肢的擺動、曜跳，襯托著琵琶調子的 西方舞蹈技巧，觀豕需要把中西方的文化差異也混雜在
其中嗎？ 在劇院内，當觀眾■欣賞編舞者黎海寧的《1997/20()1》
時，他們的身份原來已隨著九七年消逝。有趣的是在四 年前，當港人確認了改變身份的同時，台上舞者的身 份，已默然出現了變遷。眾舞者所擺放的椅子•與及刻 意背向觀幂/群眾，這種肢體上轉移•其象徵意義正好
伍宇烈的《沉沒的廟寺》。攝影：陳德昌。
看著伍宇烈《沉沒的廟寺》，發現舞者滾動的身體，儼
然成了節節跳動的音樂。美妙絕倫。從這段看得見的音
樂中’細想到底是誰控制了誰？台上鋼琴的聲音操控著
舞者’還是台下的觀幂，已不自覺地成了編舞者的傀 偶？看甚麼、聽甚麽，不是早已被編舞者鎖定了嗎？
靈巧的碎步、迷人的身段與及一匹伸展得很遠很遠的粉 紅布匹，題為《花葬》。雖曰落花，但它的生命卻不經
意地，從舞者不停的轉動中，又再重生。梅卓燕的《花 葬》釋放了舞台上無邊的想像力。 節目的壓軸是曹誠淵的《異域》，一貫的風格、一貫的 顯出舞蹈，這種毋須言語的身體語言，恰當地反映了某
意象，短短的一段群舞，散發出舞蹈員無窮的動力，曹
種政治姿態。觀眾們焉能不為編舞者鼓掌嗎？
誠淵總會有他的感覺。
舞評 DANCE REVIEW
Summer Offerings from
Royal Winnipeg Ballet & HK Ballet by Kevin Ng II
y 1/
y was the final stop on the extensive two-
each other smoothly, and there are no longueurs which are
month Asian tour of the Royal Winnipeg
occasionally felt in the more famous Royal Ballet production
Ballet from Canada. In late July this 61-year-old company
of Romeo and Juliet by MacMillan. However, van Dantzig's
brought the 1967 production of Romeo and Juliet by the
choreography for the several pas de deux at the heart of the
well-known Dutch choreographer Rudi van Dantzig
ballet is less poetic than MacMillan’s. Van Dantzig's
originally created for the Dutch National Ballet. Framed by
innovations include a prologue, a large figure of death who
the sombre sets designed by Toer van Schayk, whose
appears in the market scene, as well as the ghostly apparitions
costumes are fortunately more colourful, this production
of the dead Tybalt and Mercutio, which tie in with the
makes a strong theatrical impact.
choreographer's fascination with the darker aspects of this Shakespeare tragedy.
This three-act ballet is dramatically cogent. Scenes succeed
Hong Kong Ballet started its 2001/ 2002 season in early August with a
new production created for this summer's International Arts Carnival, which last year presented the distinguished Pacific Northwest
Ballet from Seattle mentioned earlier. Similar to HK Ballet's past productions based on a Chinese themes, this new ballet was a
Western
choreographer's
interpretation of the Chinese legend Mu Lan - about a girl in disguise as
a man going to the battlefield. But the ambition was more laudable
The opening night’s audience was treated to a stellar cast.
than the final product which was disappointing.
Juliet was danced by Evelyn Hart, one of Canada’s most renowned ballerinas, now in her mid-forties. Though not in
Matthew Hart, a young British choreographer from London,
her strongest technical form nowadays with weak legwork,
tried to cram too much of the story into the three-act ballet,
Hart is a sophisticated dance actress.
which suffered from longueurs. Hart could have edited his material somewhat to make the ballet tighter dramatically.
Hart was strongly partnered by guest artist Olivier Wevers,
There are some good theatrical moments, for instance in
who is familiar to Hong Kong audiences after his appearance
the avalanche scene in Act 2, and in a dragon dance for the
last summer with the Pacific Northwest Ballet from Seattle,
ensemble in the beginning of Act 3. However the ending is
his home company, in Balanchine's A Midsummer Night’s
wishy-washy.
Dream. Wevers, tall and handsome, was a superb Romeo. He was in top form on this occasion; and his dancing was
Hart's craft as a choreographer seemed on this occasion to
bright, clean and crisp. I like his naturalistic acting, full of
be over-stretched by the demands of a three-act ballet. Most
charm and passion, which perfectly complements his fine
of the choreography is pedestrian, uninspired, and repetitive.
classical style.
The Royal Winnipeg company gave respectable supporting
performances. I was impressed by
Reyneris Reyes as Mercutio, and Paul de Strooper as Paris. The
sword-fight scenes were enjoyable. However it is
regrettable that the Leisure and Cultural Services Department did
not also present this visiting
company in a mixed bill programme which it did in
Shenzhen, in view of the fact that
our Hong Kong Ballet has not presented a mixed programme for
some years.
Hong Kong Ballets Mu Lan. Photo by Siu Wang Ngai
The battle scenes are feeble in comparison to the far more
exciting battle scenes in the Red Detachment of Women danced by the National Ballet of China here in the past. The best dance is a duet in Act 2 when Mu Lan dreams about
confessing her female identity to the soldier Liu with whom
she in love. The other duets are less memorable. Mu Lan was played by Terasa Webster, who danced decently but without much authority. Her acting was bland, and her characterisation lacked enough variety to sustain our interest in the long three-act ballet. She was also at times upstaged
by the three ancestoral spirits whose frequent presence was rather obtrusive. Liang Jing as the soldier Liu didn't make
much of an impact either. Better was Nobuo Fujino as the enemy commander Tuliz who danced with plenty of energy. Wang Jia-hong as Mu Lan's father gave the most convincing
performance.
The commissioned music by local composer Joshua Chan lacks rhythmic variety. Most of the score is not very danceable, and so does not provide much impetus to the dancing.
The designs are fortunately of more merit than the dancing.
Liu Yuan-sheng's sets are pleasing, and so are the colourful
costumes designed by Wang Lin-yu. Actually it is
Hong Kong Ballets Mu Lan. Photo by Siu Wang Ngai
incomprehensible why Hong Kong Ballet could not also have commissioned a Chinese choreographer to tackle this
terms of its financial resources, if the company instead starts
legend of Mu Lan.
to acquire some proven masterpieces (plotless as well as story ballets) in the Western ballet repertory. That will give
In view of HK Ballet's mixed record in the past in
some interesting variety to the dancers and audiences
commissioning new story ballets, it might be preferable in
alike.
Hong Kong Ballets Mu Lan. Photo by Siu Wang Ngai
舞評 DANCE REVIEW
動藝《二形喚影》
黎海寧《裝腔作勢》。
在八月十日於大會堂演出《二形喚影》。整個
舞者的活動空間。在這個空間的後方一列放著三張椅
節目包括了兩麟蹈新作，分別是黎海寧的
子，是三個舞者休息時退居的地方。台上的色彩也全過
《裝腔作勢》及林偉源的《醒夢偈》。
濾掉，佈景與服飾都全是黑、白、灰色。兩男一女的舞 者所穿的白色舞衣質料及式樣都是半中半西，切合主
2
黎海寧的《裝腔作勢》以中西歌劇為主題，在內容及形
現代舞創作的靈感。然而，要將這三種分別屬於不同文
開始時，舞蹈較為簡單直接地採用了戲曲及歌劇的動作
化背境、不同年代、和不同形式的藝術結合起來並不是
造型。在形式及結構上亦同樣是採用「拼貼」的方法，
一項簡單的工作。黎海寧聰明地避開了複雜的形式，而
在演唱家的歌聲下，把一個個動作的靜態「剪影」組合
採用了簡單直接的「拼貼」方法(collage)
而成。可以説是整個試驗的第一步，正好可以作為整鈞
1將西方歌
劇、中國崑曲與及現代舞蹈一併放於台上 ，再從它們的
*—
題。
式上均較為實驗性，嘗試從西方歌劇和中國崑曲中尋求
舞蹈的序，亦切合了《裝腔作勢》舞题。
接觸中發展成一齣舞蹈。黎海寧也避開了 一些形式上的
枝葉，例如舞蹈員和演唱者的出場和入場、佈景與及段
接下來，舞蹈再進一步，加入了戲曲與歌劇中常用而有
落間的交接轉換等，而將重心全放在主題上，有效地簡
代表性的「道具」：衣袖、面具和扇子。廣義來説，這
化和突出了主題；雖然可能會令人覺得不夠幼細，但勝
三樣「道具」分別代表服飾、表情和道具，在戲曲與歌
在單刀直入，簡單直接。
劇中均常被使用。三樣「道具」分別被三個舞者輪流以 不同方式把弄和使用，一時有中國戲曲的影子，一時又
台上的佈置也如一幅「拼貼」般簡單直接：沒有佈景；
帶著西方歌劇的味道。舞到最後，中國戲曲和西方歌劇
崑曲樂師與演唱家彭錦耀處於台右；鋼琴，演奏家和女
的影子慢慢淡化，而舞蹈本身的特性亦慢慢加強起來。
高音男歌唱家黃志強則佔台左後方；兩者之間則是三個
這兩部份舞蹈將歌劇和戲曲的動作和道具放在一起 ，相
的劇院中，手拿電筒的舞蹈員由台下開始，摸索到舞台
比之下，中國戲曲無疑在兩方面都較有獨特之處 ，其與
上，於黑暗中發現台後的屏風，並走入了屏風之後。屏
舞蹈動作的共通性也遠較西方歌劇為高 。這反映於舞蹈
風後的燈光隨著亮起，矇矓地顯露出屏風後的舞者，舞
上，结果西方歌劇的因素在舞蹈中顯得較為貧乏無味，
蹈亦跟著展開。這個開端神秘幽異，頗為引人入勝，也
看起來好像偏重了中國劇曲。
能營造出夢境似的效果。另一方面，於結尾時使用魔術
到最後，動作上已完全脱離了歌劇與戲曲，形式上不再
些特殊效果之外，在整齣舞蹈中還有很多其他形式的演
是簡單直接的「拼貼」，舞蹈提升為對歌劇和戲曲的內
出：木偶/皮影戲、戲劇和詩詞朗頌等。這當然可以説
容、形式及本質上的探討。在其中一段中，舞者如木偶
是繽纷熱鬧，但卻也看得人眼法瞭亂。事實上，這些
般被其他舞者操控著，身體手腳被扭曲擺放成不同的造
「特技」大多是於表演中的主體一舞蹈一之間出現，雖
型；而另一段的舞者則互相取代：當兩個舞者共舞至一
然在轉換之間算是流暢，但仍未能與舞蹈完全融匯配
個動作造型時，其中一個停了下來，如木偶般擺著一個
合。結果是觀笨的思緒被這些容易接收的枝葉所吸引了
來帶出夢醒如空'世情虚幻的效果，亦算恰當。除了這
固定的造型，直至到另一個舞者退了下來而其位置和動
去，而令舞蹈相對失色。其實，這些不同的「特技」是
作被第三個舞者所取代後，舞蹈才如沒有中斷般繼續。
否都是必要的呢？整體來説，《醒夢偈》偏重形式（例
個人認為這兩段是編舞者對一般歌劇戲曲的慨嘆：在缺
如各種「特技」和設計）而忽略了舞蹈的整體內容，结
乏近代新作的情況下，同一齣歌劇/戲曲，重復地在不
果是令人難以理解。其中最突出的例子是在舞中所採用
同的年代，被不同的演員，以相似的方式演繹：當中沒
的傳統日式設計（包括了化装、佈景和服裝），不但沒
有血肉，沒有創意，多是新瓶舊酒，老調重彈。
有想像的餘地，亦令人難以理解：究竟日本文化這個因 素在舞蹈中有何重要性？對於看過報道説這齣舞蹈的靈
在舞蹈完結前，歌唱家在歌聲中步出舞台。身為舞蹈家
感是來自中西兩部文學巨著（曹雪芹的「紅樓夢J和莎
的崑曲歌唱家彭錦耀也一顯身手，既唱且做。曲终人散
士比亞的「仲夏夜之夢」）的觀幂來説，這安排更是令
後，那從漸暗的台上幽幽傳來的婉轉歌聲 ，纖細精巧的
人費解。
造手和婀娜柔弱的身段，仍令人回味無窮。
觀乎「二形唉影」的兩鉤舞蹈，可以看到藝術創作中， 林偉源所編的《醒夢偈》則以夢為題。其中令人留下較
「精簡化」是一個很重要的過程，但卻往往容易被人忽
深印象的是舞蹈開始時的一段。在台上台下皆漆黑一片
略。其中的道理毫不簡單。
IEWS舞蹈快訊NEWS舞蹈快訊NEWS算蹈快訊NEWS舞蹈快訊NB
無邊無垠海天奏 萬里長空皓月透 搖影風泣波濤捲 箜篌笙歌蔚霞鏽 穹蒼芳菲狂舞祭 媽祖光芒普渡航
中域
人民解放軍南京軍區前線歌舞團將於香港上演
私奉獻的偉
得獎大型舞蹈詩《媽祖》。
大精神。整 個製作嚴謹
民間信仰中的傳奇人物姆祖原是一個漁家少女 ，《媽
浩大、氣派
祖》正是以她如何
不凡，更為
變成「海上保護神」
中國舞從主
的神話故事為創作
流舞劇形式
基礎。編導更特別
中創造出新
為作品跑到南中國
颖的舞蹈詩
沿海採風問俗，吸
風。此作品
取其豐厚感情和詩
曾奪得去年
意•將史實、傳説
中國舞蹈荷花獎金獎，是實至名歸。
融於藝術構思之
中。全篇藉七場結
《媽祖》將在十一月三日（星期六）晚上八時及十一月
合虚實的舞蹈，展
四曰（星期日）下午二時四十五分於香港文化中心大劇
示媽祖短暫的人生
院上演。演出全長約九十分鐘.不設中場休息。
歷程那份慈和英 勇、扶難濟困、無
WS舞蹈快訊NEWS舞蹈快訊NEWS舞蹈快訊NEWS舞蹈快訊NEWI To have your events included in the news session of the Dance Journal/HI please send your 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 spac
漫談武極— —無極、太極創舞歷程 參
& 了探索太極之道，「錢秀蓮舞蹈團」藝術總監錢
大流派的動律，如太極之「雙人推手」，以及流動
秀蓮女
圓型之八卦等，使
士，與北京舞蹈
畫面多元化。
學院武術舞蹈敎
授劉廣來於本年
二最後更以由陳
七月八日到中國
明志先生所創作的
採風。首先到武
『精氣神』作表演音
當，分别接觸
樂（此創作音樂曾
「紫霞宮」和「金
獲國際亞洲音樂節
殿」的道長及主
亞軍），舞者通過
持探索武當武術
武術的舞蹈，以
的流派，更到張
「氣」帶動所有動
三豐創作太極的
律，以「意」形成於
玉虚岩（當年張
形、以意、氣形成
三豐觀看蛇與鹰
動律，最後以不同
打鬥時，吸收其
的小縲旋、大縲
動作而創作太極
舞團總監錢秀蓮與劉廣來導師赴武當山探索太極之道
拳），並獲益良 多。除此之外，
亦訪問武當山武術學院及張三豐武術學校等
律
旋，再配以最後發 展成的抽絲、
「彈」、「抖」等動 舞者會用由「氣」形成的聲音配以精神的樂曲
及連綿不斷的動感，充分表達「太極」最高境界，
此行完畢後，隨即到少林寺，最後更探访太極發展地一
一切以自然為本。由於每段都是在給予舞者基本
陳家溝，由陳氏大極再發展到楊、拣、吳、武等太極各
動律及概念後，由舞者再行互動創作，故是一編
流派。而更欣賞到陳家溝的純樸、勤苦及對太極學習之
導及舞者合作的全新「無中生有」的作品，這正乎
態度，相對於香港業餘學習者有很大的不同：香港之學
合《易、系辭》所載：太極「剛柔相摩’八卦相
習者只能一星期學習一至二次；而他們是一天訓練六至
蕩」，一生二•二生三’三生萬物’完全表現是
八小時，學習者是三年至七年不等的專業精神。根據採
生生不息，而創作亦是元素變化•互動下生的法
風得來之資料，「無極、大極」之表演內容分別為：
則，而極舞亦是在這原理下創作。
一
把太極從混沌初開的宇宙作為序幕，把原始的道
總結這次創舞歷程，「錢秀蓮舞蹈團」將於十月及十一
家八段錦、五禽戲以及易筋經等之動律作引子 ，
月分别舉辦「太極舞蹈工作坊」'和《武'極》示範表
再以張三豐的大極以及太虚作為延續，並配合各
演和舞蹈演出（詳情請看第十八頁《舞蹈節目表》）
表
“Female Sex”《女性》 舞劇谷
6-8/9
7:30pm
8/9
2:30pm
藝穗會
Fringe Club
編舞：馮麗青，
王麗珠， 塚琦由香， 林倩瑤
“Ballet Demonstration Performance” 《免費芭蕾舞示範表演》 Hong Kong Ballet香港芭蕾舞團
8/9
3:00-4:00pm
Foyer, Tuen Mun Town Hall 屯門大會堂大堂
22/9 4:00-5:00pm
Foyer, Yuen Long Theatre
元朗劇院大堂 20/10 4:00-5:00pm
Foyer, Tsuen Wan Town Hall
签灣大會堂大堂
Foyer, Hong Kong Cultural Centre
25/10 3:00-4:00pm
香港文化中心大堂 4:00-5:00pm
3/11
r &港炫葙贺陴的《'A姐湖》，激愤壯郎、缃洪勑人，足杉饷LS堂人 .，之作"•* -叫”
«i*似：'WH? >*hCn.ij' Sliitn.etkrss
Foyer, Kwai Tsing Theatre
葵青劇院大堂
" Wi'ji ibis rapStuous wul exquisite Snun Lake, the Thing Ktsnj: Ballet has entewij,! viiiii'i of gland anisliv diineiiiioiss.'' — .>;■?.(,'•
-«-.?.n(；ai«cMr
Narrator:
Florence Lui
講者：
雷佩瑜
Somk
“Swan Lake”《天鵝湖》
5鵝湖
Hong Kong Ballet香港芭蕾舞團
13-15/9
7:30pm
15-16/9
2:30pm
咖
Sons 期'd Troupe 耿战/su弱
Hong Kong Cultural Centre, Grand Theatre
香港文化中心大劇院
3T3?5i»-e^sHans.'»^8^i： ArlwtK Diiectof/ Mam Catl: Huang Doudon ItoB-a ttonO'eFtr'ime' •lmmrf »noa，》“1 ■
3-15. 9. 2001 5-16.9.2001
7:30 pm 2:30 pm
Choreographer:
Marius Petipa & Lev Ivanov,
編舞：
佩蒂巴及艾化李夫，
S港文化中心大.制院
Stephen Jefferies
long Kong Cultural Centre. Grand Theatre
謝傑斐
沙田大會堂演奏廳
4碧二
Sha
Un Town Hall Aiiihtorhini
“Shanghai Song and Dance Troupe”"1 《上海歌舞團》 15-16/9
7:30pm
Sha Tin Town Hall Auditorium 沙田大會堂演奏廳
Artistic Director:
Huang Doudou
藝術總監：
黃豆豆
‘Girls Up”《全女打》
Hong Kong Dance Award 2001
E-Side Modern Dance東邊現代舞蹈團
8:00pm
21-22/9
Ngau Chi Wan Civic Centre Theatre 牛池灣文嫉中心劇院
盛發
Choreographers/Dancers 編舞 /舞者：
\成果
Eve Cheng鄭楚娟，Joyce Au歐美儀，
Iris Sun 孫鳳枝，Chow Wai 周慧，
Mon Ming甯明敏，Sze Ng吳詩韻，
Lin Chao Jung 林昭容,Noel Pong 龐智筠
“Hong Kong Dance Award 200J” 《香港舞蹈年獎2001》 0
O H
Dcte/3期：96.9200! (Wed 三〉 lkre/時問：
Venue/始點：沙田大合空演英庇 Tckets/芸: $100, S80. S60
Hong Kong Dance Alliance
香港舞蹈聯盟
8:00pm
26/9
Sha Tin Town Hall Auditorium沙田大會堂演奏廳
Performance 演出： Hong Kong Ballet香港芭蕾舞團， CCDC城市當代舞蹈團， Hong Kong Dance Company 香港舞蹈團，
Hong Kong Academy for Performance Arts 香港演藝學院
Jean M. Wong School of Ballet王仁曼芭蕾舞學校 Billy Chan Dance Centre陳紹傑舞蹈中心
“Emerging (Auftaucher) • Solo” 丨《浮現•獨舞》 Folkwang Tanzstudio (Germany)
“LADEN 2001”
德國福克旺舞蹈團
4-5/10
《小亞細亞舞蹈網络2001》
8:00pm
Shouson Theatre, Hong Kong Arts Centre
香港藝術中心壽臣劇院
11-13/10
7:45pm
13/10
2:45pm
McAulay Studio, Hong Kong Arts Centre
Choreographer:
Henrietta Hom
編舞：
韓衡沓
香港藝術中心麥高利小劇場 Choreographer 編舞： Tsuyoshi Ozawa (Tokyo)小澤剛(日本)
Wai-meiYueng(HongKong)楊惠美(.香港) Mei Li (Taipei)黎美光(台北)
Hyun-hea Bang (Seoul)方玄惠(漢城) Brett Dafty (Melbourne 墨爾本)
《武、極》
Miranda Chin Dance Company 錢秀蓮舞蹈團 「太極舞蹈工作坊」（免費入場、粤語主講）
26/10 7:45pm 香港文化中心行政大樓四樓會議室AC2
「《武、極》示範表演」 28/10
3:00pm香港文化中心大堂
「《武、極》演出」 9-10/11
8:00pm
編舞/主講：
香港大會堂劇院
錢秀蓮
“Mazu，Goddess of the Sea”《媽祖》 中國人民解放軍南京軍區前線歌舞團 3/11
8:00pm
4/11
2:45pm
Hong Kong Cultural Centre Grand Theatre
香港文化中心大劇院 總編導：王勇 編導：陳惠芬呂玲
Members of Hong Kong Dance Alliance
港
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 羅詠芬女士
盟
會
間鹿珊女丄
Ms Margaret Carlson
周全輝先生 宋絜女士 鍾秉瑜女士 黃亞華先生 黎海寧女士 李念椿女士 吳雪梅女士 曹誠淵先生
Mr Chau Chuen Fai
Ms Miranda Chin Ms Ulian Chun
Mr Mohamed Drissi Ms Medina Lau Ms Kim Law
Mr Sze Tak On
Ms Chu Kit Ms Stella Chung
Mr Huynh a-hoa Ms Helen Lai Ms Charissa Lee Ms Violet Ng
Mr Willy Tsao
聯絡人
陳紹傑舞蹈中心 異色工房 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 共享空間舞蹈劇場 基督徒舞坊 小燕子舞蹈團 舞娼菲i湯 香港演藝學院 香港芭蕾舞團 香港舞蹈團 本地薑 創作天地 王仁曼芭蕾舞學校 藝摯歐洲民族舞蹈組
音樂劇場 絲路舞蹈文化協會 躍舞翩
R’
Ms Chu Kit
Mr Clement Chan Ms Cheung Sau Mui Ms Wendy Chu
Mr Graeme Collins Ms Vivian Kwok Ms Hung Lai Hung Ms Florence Lui Ms Susan Street
Mr Aaron Wan
Ms Scarlet Wong
Life
三分顏色 原體系 歪Q的ZJX体 亞洲青少年芭蕾舞團
名
陳錦明先生 張秀梅女士 宋m冃女士 高家霖先生 郭慧芸女士 洪麗虹女士 雪佩瑜女士 施素心女士 溫玉均先生
Mr Tom Brown
蹈 聯
宋絜女士
Mr Ringo Chan
Mr Kevin Ng
施德安先生 黃翠玲女士
Ms Ailian Dai
Contact Person
莫佩雯女士 陳紹傑先生 余艷芬女士 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 劉鎮強女士 賴文慧女士 孫名翠女士 陳頌瑛牡 謝識先生 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 蘇漢華/鍾詠賢
陳金鳳女士 周詠詩女士 陸慶燊先生 莫裕康先生 李彩嫻女士
Ms Chan Kam Fung
陳桂思女士 黎雅慧女士 王嘉敏女士
Ms Suki Chan
Ms Chow Wing Sze
Mr Luk Hing-sun Mr Juergen Morhard Ms Lee Choi-han
單
Arts Plus
Ms Paula Mok
Billy Chan Dance Centre
Mr Billy Chan
BIZI SITE
Ms Congo Yu
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
The Hong Kong Academy for Performing Arts
Ms Susan Street
Hong Kong Ballet
Ms Helen Ng
Hong Kong Dance Company
Ms Chun Keung Lau
Hong Kong Ginger
Ms Cherry Lai
rrS Creative
Ms Karen Suen
Jean M. Wong School of Ballet
Ms Anna Chan
Knack Cordid FoB< Group
Mr. Kenneth Tse
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
鄭珮雲女士 宋文秀女士 陸惠研女士 尹子欣女士 袁美華女士
Ms Cheng Pui Wan
蔡嘉樂先生 盧幸賢女士
Mr Cody Choi
Ms Chu Man-sau Ms Luk Wai-yin
張秀芬女士 關艷蘭女士 松島誠先生
Ms Maria Assunta Wan
Ms Cheung Sau-fan Ms Kwan Yim-Ian
Mr Makoto Matsushima Ms Daphne Wong
Ms Yuen May Hah
J Ms. Lai Nga Wai Ms Carman Wong
Ms Candy Lo
鍾晶女士 黃天華女士
Ms Chung Ching Ms Audrey Wong
Membership Form
罾員由譴表 會舉昔
Membership
(
)Individual
(
)
(
)Associate*
(
)Student*
個人會員 團體會員 普通會員* 學生會員*
Organization
Individual/Associate/Student Member’ s Information Name
姓名
________________
Affliated Cultural Organization
Telephone
電話
E-mail Address
$50
(中文) _
戶斤屬塾贫5機構 ____________________________________________________ Fax
傳真 __________________________________
通訊地址 ____________________________________________________________
電郵地址
Organization Member* s
$100
Company公司名稱____________________________________________
______________________________
Correspondence Address
$600
個人 / 普通 / 學生會員資料
(English)_____________________________________________
Position職位
$200
-----------------------------------------------------------------
Information
團體會員資料
Name of Organization_________________________________________________________________________________________________________
團體名稱_______________________________________________________________________________ Person in Charge
Telephone
電B舌
負責人(English)____________________________________________ (中文)___________________________ ______________________________
Correspondence Address
E-mail Address
Fax
傳真 ______________________ _____________
通訊地址 ----------------------------- -------------------------------
電郵地址------------------------------- ----------------------------------
Applicable Dance Category
芭蕾
所屬舞蹈類別
現代舞
中國舞
|
| Chinese Dance
|
| Ballroom國際標準舞
|
| Technical Arts
| Cultural & Arts Administration
|
| Notation舞蹈記錄
|
| Musical Theatre/Jazz/Tap
|--- 1 World Danee
|
| Others
|
| Ballet
| |
| Education
|
|
| Contemporary
| Asian Folk亞洲民族舞
|
| European Folk歐洲民族舞
教育
|
| Criticism
Signature
寫作與評論
文化及藝術行政 Dance 昔樂舞劇 / 爵士舞 / 踢S達舞
舞台技術
世界舞蹈
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,
Wanchai,
Hong
Kong.
請填妥表格連同劃線支票抬頭寫：「香港舞蹈聯盟」寄香港灣仔告士打道一號香港演藝學院舞蹈學院副院 長辦公室轉交香港舞蹈聯盟收。 沒有投票權利
* Non voting