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2 8 JAN 2002 Reviews
Articles
舞評
專論 Tango Argentino
October Red
~ From Buenos Aires To Hong Kong
Author: s 10
阿根廷探戈
El
Miranda Chin Dance Company’s
-由布宜諾斯艾利斯到香港
Chinese Martial Arts Dance
Author 作者：
Author: Tom Brown
ETi]
Katrin Fiedler & 施慕兒、施雅慧
B
Shanghai Ballet and Tibetan dance Author: Kevin Ng
認識疼痛 作者：陳錦明
Editorial Board
B
香港舞蹈團《梁祝》 作者：方人
Events & News
編輯部 偉和楊雲濤
EE EE!
1
舞蹈節目及快訊
訪丁
Hong Kong Ballet North American Tour
-《媽勒訪天邊》的編舞和主跳
香港巷蕾舞團北美之旅
EE
舞蹈節目表
EE
Dance Events 香港舞蹈聯盟會員名單
Members of Hong Kong Dance Alliance
Image: CCDC’s “October Red” 圖：城巿當代舞蹈團《十月紅》
專稿
ARTICLE
Tango Argentino --阿根廷探戈 From Buenos Aires To Hong Kong -由布宜諾斯艾利斯到香港 Author
作者：
Katrin Fiedler &
施慕兒、施雅慧
Katrin Fiedler, born 27.3.1970 in Cologne (Germany), grew up in Santa Cruz de Tenerife (Spain) and Cologne (Germany).
She graduated from Trier University (Germany) in 1999 with a PhD in Chinese Studies and has been working for the Amity Foundation in HK since September 1999. She started dancing tango in May of 2000 in HK. 施慕兒醉心音樂，她認為不同形式的藝術都能表現真善美。她全心投入音樂工作，現為專業音樂敎師及香港敎育學院校友
管弦樂團主席。施雅慧熱愛舞蹈，自幼學習各種不同的舞蹈，三年前與其姊施慕兒加入「探戈堂」學習阿根廷探戈。施氏 姐妹更與志同道合之朋友於本年一月成立「嬝娜翩」音樂舞蹈創作室，繼續推動文化與藝術。
drawing a picture -
O
0
r
the man draws the outline,
的裙擺，冶飽的眉梢，扣人心弦的音樂」 — —留住了途人閒逛的腳步，叫住了觀眾
and the woman fills this outline with colours.” This is how
的目光；他們屏息了呼吸，然後發出一連串的歡呼、
Lucia Salas, professional teacher and dancer of Tango
狂喜、讚嘆。相信這是每一位欣賞過阿根廷探戈的觀
Argentino, described this dance to her students on one of
眾的感受。早於一九九四年專業舞者Gladys Fernandez
her recent visits to Hong Kong. Lucia and her partner Alvaro
首次以熱情的探戈震撼香港人的心。
were not the only tango dancers to mesmerize the Hong Kong public in 2001. One of the greatest tango highlights
許多習阿根廷探戈的舞者都是因為看了《女人香》、
of the year was the Taikoo Shing Festival in January 2001，
《探戈狂戀》等電影而鍾情於這種舞蹈。電影文化同時
which featured a whole group of tango dancers and
亦將這種舞蹈帶到世界不同的國度 ，足跡遍佈中國、台
musicians from Argentina.
灣、日本、韓國、新加坡、印尼、印度、澳洲、美國、 歐洲...
Interest in tango is not only growing in Hong Kong. Sparked by tango shows and movies like “Sur” and “Tango Lesson，’， tango is going through a worldwide renaissance, and
tangoholics can get their fix in Singapore, Berlin, New York and, of course, Buenos Aires.
這種源自阿根廷酒吧和妓院的舞蹈 ，於一八八零年始在
布宜諾斯艾利斯迅速發展。它糅合了歐洲移民及阿根廷
音樂的文化一浪漫狂野，高貴優雅。探戈於一九一三 年更廣被歐洲上流社會接受。
「誘惑的腳影，性感的舞姿」往往是一般人對探戈的印
The dance known today as the tango was born in the
象，然而這只是探戈的側影。
Argentinian capital around 1880. At that time, Buenos Aires
was flooded with immigrants from all over Europe. With
探戈似是一篇無言的情話。「男方引領，女士追隨」是
them, they brought their musical traditions (like the polka)
探戈所指定的角色。即興的探戈，沒有特定的舞程。
and instruments, most notably the accordion-like bandoneon.
男士以直、横、旋轉三個基本的舞步將整支探戈併合而
Blending these with indigenous musical forms such as the
成；女士耐心地回應著男士身體上的暗示，配合著自己
milonga and the habanera, a new musical form developed -
當時的情感為舞蹈添上色彩。
the tango. Today, tango usually refers to three kinds of music:
the cheerful milonga, which still carries the strongest traces
of the tango’s origins, the soulful tango, and the lilting vals.
探戈的音樂瀰漫著一抹「憂郁」的情感。歌詞大致描述
愛情、生活經歷等。不同的探戈節奏形成三種不同韻味 的舞蹈形式：傳統的探戈“Tango”以4/4拍子為主，
2/4拍子為“Milonga”，3/4拍子為“Vais”。以傳統阿
Born in the suburban slums of Buenos Aires, tango was
根廷手風琴.配合鋼琴、小提琴、低音大提琴彈奏，時
played and danced in a rough world of immigrants struggling
而淒美感性：時而輕鬆討喜；時而高貴優雅：不同的性
for survival. Men far outnumbered women in the Argentinian
格，不同的魅力。現代探戈舞者為發揮探戈即興的精
capital of those days. Soon, tango became associated with
神，除在舞步上敢於創新外，更嘗試以其他能配合探戈
the world of petty crime, alcohol, brothels and cheap bars.
的音樂自由舞動，跳出另一種神韻。
These were the places where men could meet women and
enjoy some twosomeness, albeit fleetingly.
探戈動人之處來自舞者於當時對音樂領會，感之而發，
徐徐舞動。這種舞蹈形式不受拘束，盡顯自我個性。即 使相同的音樂在不同時刻；不同的心情；不同的舞伴帶
It was this link with the demi-monde which caused the
Argentinian bourgeoisie to watch in dismay as a first tango
領下，舞出不同的故事。
wave swept Europe in 1913. Years later, the upper classes
在電影《Tango Lesson》中.導演 Sally Potter 以 Tango
were finally ready to accept that more-than-proletarian
為主題電影，探討男女在生活上所扮演的角色。其實在
prodigy into their own world: The golden age of tango
探戈世界，雖説男方引領，女士追隨，也包括男士對女
dawned and lasted throughout the 1930s and 40s.
士尊重、愛護之情；女方亦可在回應的同時，配合音樂 表現其獨特的個性為舞蹈添上生趣，尤如男女在他們的
Ever since its declassement by the Argentinian elite as a
“sleazy” dance, tango has been unable to free itself from its image of provocative sexuality. ‘‘Tango is the vertical
expression of a horizontal desire,” one saying goes. With its close embrace, its walking movements carried by a
戀情生活中盡力表達自己，互相溝通，努力創造未來。
「探戈不單是一種舞蹈，而是一種生活理念；它不只活 在舞台上，而在你我心中。」只要你踏出一步，也可以
進入迷人的探戈世界裡。
subdued tension, and its intricate footwork ranging from caresses to angry kicks, tango certainly has an erotic quality.
However, tango aficionados are eager to point out that the real sensuality of this dance runs deeper and lies in its
qualities invisible to the outside observer. Most notably, it
is the intense and intimate communication going on between the leader and the follower which makes this dance so
attractive to tango enthusiasts. It is a feature strongly linked to the dance’s free choreographic nature.
In its traditional and purest form, tango is an improvised dance. While performers of show tango rely on
choreographed sequences like professionals of other dances, social tango never follows set figures. Instead, dancers of
Argentine tango have to master a number of basic moves which can then be combined and recombined in endless ways. “It is like a language where you acquire the grammar
and vocabulary and then are free to form whatever sentences you like,” says Billy Chow, a member of TangoTang, the
Hong Kong Tango Club.
Because of the improvised nature of tango, alertness and communication within the couple are central ingredients of
this dance. This works out because the roles are clearly defined: The man leads, the woman follows. The leader’s
propositions for moves can be taken up by the follower in many different ways; a questioning pause from the man may
trigger a deft boleo [a swirling movement of the foot] or a
teasing tapping of the foot from the woman’s side. Thus,
she can set the mood for the ensuing response by the man.
Professional Tango dancers & teachers, Gladys Fernandez and Alejandro Angelica, in performance. Photo by Candy Sze.
I
for the milonga and a 3/4 rhythm for the vals. However,
In this way, even people who do not share a common verbal
modern tango is gradually losing its definable musical
language can communicate and establish a relationship
qualities, and tango enthusiasts feel free to dance to every
through the dance. This feature may also have contributed
piece of music carrying the right mood.
to the tango’s attractiveness in its early days. For the voiceless, inarticulate immigrants of different cultural
“Because of its openness to interpretation, we can put our
backgrounds, tango was the one language they shared.
feelings into the dance,” says Anita Sze, another Hong Kong
Through it, they expressed their feelings of loneliness, the
dancer. Depending on the partner, the mood, and the images
hunger for love and the longing for the world they had left
a certain piece of music evokes, tango dancers will dance to
behind, tinting tango with its trademark nostalgia.
the same piece of music in many different ways, painting a
new picture every time they dance. Until today, the experiences described in tango lytrics
transcend cultural boundaries. A lost love, nostalgia for the
The strictly defined roles of the male leader and the female
barrio [neighbourhood] of the past, a life gone by, these are
follower are not only a result of practical considerations.
central topics of the Tango Argentino.
They are also deeply rooted in the culture where tango
evolved. In an environment where women were a scarce It is the mood which creates the tanguidad, the essence of
and precious commodity, men quickly learned not only to
tango, rather than certain musical qualities. Traditional tango
fight for their attention, but also to treat them respectfully
music is set to a 4/4 rhythm for the tango proper, a 2/4 rhythm
and protect them from other men. Until today, the main role of the man is to protect the woman from bumps on the
crowded dance floor. And, exceeding the merely physical level, the whole experience of dancing tango is still
embedded into rituals between men and women who turn into gallant gentlemen and fragile ladies for the night. To outside observers, the following role of the woman often seems less creative and attractive than the man’s part in the
dance. However, both sides contribute fifty percent of the
dance. They are two partners working together, creating something new and unique to them, just like a couple in
real life. For real tango aficionados, tango is more than a dance, “it is
a philosophy of life,” explains TangoTang member Donald Hsu. It is an obsession, a part of their lives like eating and drinking. This is also the case for a growing number of
people in Hong Kong. You only need to do one step forward to make tango a part of your life, too!
For more information, contact: TangoTang, The Hong Kong Tango Club
www. tangotang. com Phone: 9096 1088 Professional Tango dancers & teachers, Lusia and Alvaro Salas. Photo by Anita Sze.
Visit: Every Thursday from 8pm to midnight
Helena May’s Dance Studio, 35 Garden Rd, Central, Hong Kong
專稿
ARTICLE
認識疼痛 作者：陳錦明
因此，屈肌反射是保護性的反射，在此反射中造成肢體
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
的移動以避開疼痛。
良好成績完成課程|九四年前赴美國，於紐約大學獲取物理
此外，痛覺可分為兩類：「體痛」及「內臟痛」。「體
治療碩士學位，九八年回港後續修畢浸會大學針灸專業進修
痛」與「內臟痛」除了因感受器的存在位置不同外，大
文憑。 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
腦皮質對於這兩種痛的起源之定位能力亦有差別。「體
厚興趣，近年積極推廣舞蹈員之安全及健康意識•曾應邀擔
痛」的發生處容易定位，患處及痛點往往較為一致，所
任香港演藝學院、動藝及東邊舞蹈團等客席講師•為舞蹈愛
以一般人可以很快地把患處指出 ；而「內臟痛」則往往
好者提供預防受傷知識，對推動香港舞蹈發展，不遺餘力。
不投射回原刺激點，而反映在遠離刺激點的區域。例
如：頸痛可投射到手部，腰痛可投射到腿部，心臟的痛 可投射到扇部等，所以必須由專業人員診斷後施以治 V
:一個令很多人聽了不寒而慄的名詞，每
片爛」個人4生中都會有過不只-次的經歷。
療。 疼痛的概念
「疼痛」是我們遠古祖先给我們傳授下來的一件寶貴看
一
疼痛是症狀：它是反映身體問題的一個警告訊
家本領，試想想：我們人體構造之複雜，不可能每天去
號，純粹是一個表徵，而非問題本質，這個概念
逐一檢查有問題的地方，而「疼痛」正好起著提示身體
對於舞蹈員或運動員尤其重要。例如關節扭傷所
受到傷害的作用，甚至準確地提示我們問題的所在位
產生的疼痛，原因可能是足踝附近的肌肉力量不
置，使身體遠離危害，並潛意識地迫使患處得到適當休
足，不能有效地保護踝關節，腳掌的錯位，使身
息，好讓修補過程順利進行。以舞蹈員一貫拚搏精神，
體的重量一下子集中在韌帶上，造成韌帶超苛而
對自己的嚴苛要求，疼痛不失為一個叮囑他們休息的警
撕裂。如此，韌帶的創傷是結果，附帶的疼痛只
告。
是一個警告現象，著使傷者休息；倘若在處理上 只利用藥物抑制疼痛，錯以為這樣已解決問題，
「疼痛」為舞蹈員或運動員華來的困擾不容低估，儘管
缺乏休息，這樣將大大拖延了康復進度；又或者
是細少的患處，已足以影響舞蹈員的表現。正確認識及
因避免疼痛而過份休息，忽略了受傷軟組織的護 理和肌力的訓練，則可盛會因為後期軟組織的黏
處理疼痛，是非常重要的。
連而持續產生痛楚，或因肌力不足而重蹈覆轍。 疼痛的機理
身體每一組織內(包括皮膚、肌肉、或內臟等)，都普
二痛與刺激共存：痛覺感受器對所有刺激皆很敏
遍地存在著痛覺感受器(Pain Receptor)。當某一感受器
感，而且它們對刺激沒有適應性。即是説，倘若
受到一定程■度的刺激時，便會產生疼痛的感覺衝動
刺激一直存在，痛覺衝動是不會消失或減弱的•
(Pain Stimulus)。如肌肉長期收縮、肌肉痤孿、軟組織
所以它可執行保護性的功能。痛覺衝動不斷傳到
黏連、組織受破壞、或某些化學物質的存在，皆會刺激
大腦，由大腦皮層指揮身體採取一切保護措施’
痛覺感受器。假如你踩到一根釘子，由於痛的刺激，你
免再受傷害。這些措施包括收縮周圍肌肉群•結
會立刻將腳收回。在這其間發生的反應是：疼痛的感覺
成堅固「圍牆」，保護患處，因此不難發覺在痛位
衡動起自接受器，沿著感覺神經元將衝動傳至脊髓，接
附近的肌肉常有緊張現象！
著在聯络神經元產生第二個衡動，並由聯络神經元在運
動神經元產生第三個衝動.此運動神經元刺激你卿部的 肌肉而將腳縮回。這稱為縮回反射(WithdrawaReflex)
°
三疼痛消耗體力：痛覺衝動的傳遞’以及受損部位
附近肌肉反射性的收縮，大量消耗身継能量•因
此苦受疼痛煎熬的人，往往是較易疲勞’需要較
多休息來恢復狀態。從這角度看來’與「No
Pain
No Gain」的概念有背道而驰！
二
了解痛源：正視了身體發出的疼痛訊息，下一步 是要了解引致疼痛的部位及表現。對於一般「體
痛」，定位並不是一件難事■身體在發出訊號的
同時，已提供了有關的指示，而「內臟痛」的表 四程度因人因位而異：疼痛是主觀感受’因各人背
現，變數較多，必先尋求專業意見而加以處理。
景及經歷而各有差異，同様的刺激，作用於不同
根據體痛的定位，繼而分析痛位層次（是皮肉之
人身上，都有不同程度的反應，有人若無其事’
痛還是骨骼關節之痛？），以及痛的表現（疼痛程
有人郤耽食不安；而且不同部位對痛的反應亦不
度與活動的關係，任何加潮及舒緩痛楚的動作
盡相同，相信讀者也聽過「十指痛歸心」及「牙痛
等）。這些資料，提示了舞蹈員一些處理方法，
慘過大病」的説法。此外，疼痛的感覺與心理的
不單可避免問題繼續惡化，在治療上，亦為醫生
不安有著密切的關係、，這是不容置疑的事實’個
及物理治療師提供了診治方向，加速療效。
人心理因素也能影響疼痛程度，一般而言，心情
緊張可加劇疼痛感受。事實上，另類醫學中也有
利用心理因素（如冥想）•去治療疼痛的。
三病向淺中醫：一般運動受傷初期，問題並不會很
嚴重，且易於處理，但倘若沒有把握適當時機， 無視了疼痛的訊息，問題將越來越變得嚴重和複
雜，到時候要處理也更困難，這樣大大耽誤了復 疼痛可以利用藥物、手術或物理治療等方法來加以抑
康進程。一般劇烈的體力活動以後，由於肌肉的
制。由於每人疼痛的原因都有不同*應如何處理疼痛亦
不適應，會有酸痛的現象，這是十分普遍的情
有所分别，該儘促向醫生或物理治療師等尋求專業意
況，稍作休息及進行伸展運動，問題很快便得以
見。有人靠朋友間以訛傳訛，或貪圖方便，胡亂使用膏
解決。倘若缺乏適當的調理，則容易引致如腱梢
藥或跌打酒，不但對問題沒有幫助，更可能造成不可修
發炎等併發症，或因疲勞過度而造成的扭傷，後
復的後果。筆者嘗試在此作出以下建議：
果堪虞。所以恰切及時的處理是非常重要的。
一
聆聽身體：舞蹈員是運用身體的專家，對身體應
四治病求本：中醫有云：「急則治其標，緩則治其
瞭如指掌，而對這「工具」更應小心保養。如本文
本」。套用在疼痛的治療上説，疼痛厲害的時
一開始所述，身體構造何其複雜，疼痛正好為我
候•則需先行抑制痛楚1然後針對根源施治，這
們點出問題所在：問題是：身體已儘其本份，向
原則大概在中西醫學上都套用到。一個負責任的
我們發出了報告或警告，我們該如何跟進？須知
醫生，在處理病人疼痛申訴的時候，應釺對致痛
道，身體每天要處理的「事情」多得數不勝數，絕
因由，對症下藥或轉介病人往其他的專業跟進，
不會「無事呻吟」，重視身體為我們發出的每一個
而非單為病人處方止痛藥及令其休息。事實上，
訊號，尤其是一些持續性的訊號，更不容忽視，
在筋肉受傷的後期，由於軟組織的黏連，很多時
這可能代表了您身體正不斷承受著某種傷害，若
所需要的並不再是休息，而是循序漸進的活動，
不認真處理，终有一天會令您的身體「崩潰」。
才能長遠地消除受傷後的痛楚，這點可供讀者參
考。
（上接第七頁「訪問丁偉和楊雲濤」）
答：我其實一直都有編舞，以現代舞為主，但沒有刻意 採用那種舞蹈形式。舞蹈本身是很自我的。
問：跳現代舞後，你在表達動作上和在動作的概念上
問：你這種對舞蹈的看法，在國內是否普遍？
有否改變？
答：有相同看法的人並不太多，但數目卻是漸漸的增 答：當然是不同了。接觸現代舞後，我多了從思想上
加。大部份內地的舞蹈員並沒有想過為何要跳舞，
出發；開始不再與人比較，而更了解自己為何要
而只跟隨著編舞的意願，對舞蹈的內容和原因沒有
跳舞，自己跳舞的原因。我党得自己要先享受跳
深入力理解：再加上一齣舞蹈可能要跳上幾年，所
舞，然後才看觀幂是否接受和理解舞中所要表達
以很容易變得麻木。
的東西。 究竟這次丁偉、楊雲濤這兩個國內的編舞家和舞蹈員與
問：你將來會否編舞？
香港舞蹈團的合作會擦出什麽様的火花呢？大家便要留 意將於一月中上演的《媽勒訪天邊》了。
編輯部
EDITORIAL BOARD
訪丁偉和楊雲濤 -《媽勒訪天邊》的編舞和主跳
邀請了中國著名編舞家丁偉來
香港舞蹈圏 港為其編導大型舞劇《媽勒訪
問：你對香港舞蹈團的看法又如何？
天邊》。藉著這個機會，《舞蹈手札》編輯部與丁偉做
答：很好。演員們都很認真努力，這是國內少有的。
了一次簡短的訪問。
舞蹈團也致力於創作，一年中上演很多不同的節
目，這也是內地少見的。 問：《媽勒訪天邊》是一個怎麼様的舞劇？ 這次與丁偉同來香港的，還有舞蹈家楊雲濤。楊早年於
答：《媽》劇是根據藏族的民間傳説，結合了現代化的
中央民族大學習舞，曾任廣東實驗現代舞團和北京現代
思維方式後變化改編而成的舞劇。選擇這個故事
舞團的獨舞演員。這次來港，將會擔任《媽》劇的男主
是由於它有一個很好的寓意：就算是一個很普通
角「勒」。《舞蹈手札》編輯部也向他問了些問題。
的人，只要努力及堅持地追求夢想.夢想是最终
會達到的。
問：這是否第一次探訪香港？覺得香港舞蹈團如何？ 與舞蹈團團員合作有何感受？
問：一般的中國舞通常是敘述故事，很少有寓意的； 似乎《媽》劇是加了很多現代化的概念。這是否受 了現代舞的影響？
答：這並不是我的首次來港，但與香港的舞蹈員同台 演出卻是第一次。雉然如此，這次與舞蹈團團員 合作得很好，很習慣；基本上覺得沒有多大分
答：現今內地的舞蹈受現代舞的影響很大，我亦並不 排斥現代舞。我認為所有有用的東西都應該吸
別。香港舞蹈團的要求比較高，在練功、排練和 演出上都比較制度化。
收，「為我所用」。現代舞中有很多新的概念，在 舞蹈動作方面亦都很流暢。這些都是很值得學習
的地方。 問：民族舞的風格很重要。如果現代化的話，會否影 響它的民族特點？
問：訓練與工作上的不同習慣，對你參與今次的演出 有什麼影響？
答：在舞蹈學院時，我是學習民族民間舞的；但到工 作時，我卻跳現代舞。我並沒有規限了自己是屬
於那一類的舞蹈員。丁偉老師請我做主跳，其中
答：民族舞和古典舞的根本民族性是不能拿掉的。改
一個原因便是我有民族民間舞的背景 ，同時也受
變的只是在思維方式和表達方法等方面。要注意
到現代舞思想上的影響。這比較適合丁老師的慨
的是不應只是為了迎合湖流而盲目跟風。例如在
念。
音樂方面，主要都是看編導以及編舞的內容而
定，並非一定要現代化。 問：你對香港的舞蹈有什麼看法？
問：你在今次的演出中如何表達舞中人的感情？
答：今次演出有很大租度的自由發揮機會 ，而在獨舞 部份我也需要參與編舞的工作。我很能體會到主
答：香港是一個很有活力的城市，與西方的接觸比較 多•所以內地舞者很留意本港舞蹈的動向。香港
角的經歷，所以丁老師希望我能跔自己發揮對角 色的感受’並不是要我做另一個人。
藝術創作的氣氛十分濃厚，與國內一齣舞蹈可以
上演數年的情況很不一樣。香港的舞蹈不太受商
業的影響，路向也比較清淅明確。
（下轉第六頁）
‘Red’
choreographed by Mui Cheukt yin, for the City Contemporary Dance Company is divided into two parts, ‘White’ and ‘Red’.
The first part, ‘White’ resembles a series of stories more
T/ v 1 . 2
than it does a dance. Perhaps Mui’s use of discourse pushes her work, mutating it into a new form. It echoes Calvino’s
musings in Six Memos for the Next Millennium: “Or else, if too many obstacles bar my way, to calculate the series of
rectilinear segments that will lead me out of the labyrinth as
quickly as possible.”
釜
‘White’ is a piece of blank paper: the purity of white symbolizing the naivety of love and sex.
Some of the stories:
/
Seven men and seven women dance with a big white sheet
in ‘Bedding Down I & II’. At the beginning, they queue in
two lines; the men on one side the women on the other.
4
Then, they join together and happily play with the sheet. At first, the scene evokes a bed with its occupants sleeping,
then, with the waving of the sheet, it is transformed into ‘A Story about Pain’
images that recall the ebb and flow of the tide with the
dancers appearing as fish swimming and splashing in the water.
□
‘My Little Secret’ explores love’s trials. In this section the
dancer uses a T-shaped prop. Its appendages are retractable so that sometimes he folds one side of the horizontal top of
Red lipsticks go round, round the bodies From the chests to the back till the penises
the T to form an inverted L. Sometimes he retracts both
sides and is left with a stick that he whirls in the air. His
experimentation with the stick has about it the quality of a
‘Mapping
The red mapping makes men moody
the Body’
Women live in masculine world
series of tests, like the trials experienced by new lovers: a Men try to master everything and worm
first touch of the hands, the first kiss and so on.
Their way into women’s affections
Some of the words that Mui explores involve taboo subjects. Common things, facts of life whose, existence is rarely
mentioned. Constipation, orgasm, illness, death.
Red acts as violence, new generation
In
exploring these subjects, the dancers use the sheet to express
‘Duet with
Bridge alike scenes, form labia
Spy Cam’
their emotions and in revealing them, imbue purity to them.
In one scene, a dancer’s use of an animal’s liver as a prop
recalls the trauma of surgery.
Men come from women’s vicious Pain. Pain is love called by women and men
巳ody
I
In The Empty Space, Peter Brook declares: “The theatre of the Invisible-Made-Visible: the notion that the stage is a
Once he and she cross
place where the invisible can appear has a deep hold on our
thoughts”.
Mui’s work brings this notion to climatic
They start to love and make their passions mad
realization.
Blood sheets on top with dripping red down
To express my feelings about the ‘Red’ part of October Red,
Residue o firecracker. Menses
Body 11*
I offer this sonnet -
‘A Flash of Life'
舞評 DANCE REVIEW
Miranda Chin Dance Company’s
Chinese Martial Arts Dance Author:. Tom Brown
I
Chinese Martial Arts Dance, performed by the
these myriad forms as starting points.
She manages to
I 外 Miranda Chin Dance Company at the City Hall
accomplish this seemingly impossible juxtaposition of styles
Theatre on 9 and 10 November, Miranda Chin continued to
that range the historical, classical, folk, and contemporary
explore her fascination with the dance possibilities explicit
by focusing our attention on the thread that unifies this
in traditional forms such as Wuji, Tai Chi, and Jing Qi Shen,
diverse assortment of material: the Martial Arts. For the
as well as with those implied in other facets of Chinese
most part, she does this without comment, allowing the
culture such as in the strokes made by the calligrapher’s
audience to discover the connections themselves.
brush, the Buddhist mudras, and the dynamic tension of Yin
presentation is direct and unadorned, allowing us to
and Yang.
In many ways, this production served as an
Her
appreciate the purity and continuity of her subject.
anthology of her ruminations about these concerns and with
it she demonstrated the fruitfulness of her musings.
Of particular beauty was the performance of a recent Taoli Bei award-winning Sword dance exquisitely performed by
2
The concert opens with the dancers scattered throughout
Iris Sun Fung-chi. The evening also included a special guest
the hall, seated amongst the audience. As the lights dim,
performance in which the champion, Li Fai, demonstrated
each dancer is spotlighted, and each performs a series of
her remarkable prowess in Tai Chi Chuan.
hand gestures, and other poses which contain, among other
astoundingly deep crouching positions in two-legged stances
references, echoes of meditative postures of the Buddha and
as well as when supporting on one foot, Ms. Li was as solid
bodhisattvas. As the dancers move from the audience onto
as an ancient tree whose deep roots immutably bind it to the
the stage they repeat and magnify these gestures through
earth. When springing from these postures, she possessed
subtle movements of the whole body and in various
the lightning quick snap and shattering force of a whip. Ms.
arrangements and groupings. It is a prayerful beginning
Li provided a dazzling insight into the raw material from
that sets the mood for our contemplation of the collection
which the Martial Arts dance forms that made up the balance
of dances that ensues. These subsequent offerings explore
of the production were drawn.
In her
the harmony of the moving body through varied combative
and defensive expressions performed with dynamic nuance
Throughout, the dancers demonstrated their assurance with
that transforms the space into subtle gradations of viscosity.
the broad range of works presented. The danced excerpt
Each movement collides with space in a way similar to the
from The Red Detachment of Women, presented as a solo,
impact on water of a tossed stone, creating ripples,
however, did not possess the same force as the film clip
reverberations, resonance.
shown as a background to it. The programme notes provided
a great deal of information that was helpful on a general Chin excerpts movement interludes from Peking opera, court
level, but which could have been more detailed on specifics.
dances from the Tang dynasty, and dances that emphasize
Although some works are derived from traditional sources,
the use of open hand, palm, fist, sword, long tasseled sword,
a listing of the dances in the order presented, together with
Throughout the production, she effortlessly
the names of their choreographers (or arranger,
intersperses traditional theatrical and folk dance episodes
reconstructor, director, or other source) and the music
that manifest martial arts antecedents with scenes that draw
accompanying each dance (and the names of composers,
on these and other traditional sources. She interweaves these
etc.) is often as useful to the audience as are the director’s
with her own contemporary creations employing motifs from
general thoughts on the programme.
and fan.
10
大型壯族
.藝術總監蔣華軒 Artistic Director Jiang Huaxuan
【優 秀 劇 目 獎
Sky
Menlwg Ra Byai Mbwn
J outstanding
The 2000 Top Five Projects Awards
and Le Visiting the
Ma
編導及編舞
Director & Choreographer 丁偉
*
Ding Wei
—腿I族男T與生茚中不可分剖的
Ml
诏捡女子垣尋太闞的閱荀’做學
gArfs Festival
---- 中圏詔一部此肢舞劇 ；\ yuun^ miHJ -ind iy/u
tu Lb h^dri izsr/hiJ in
y:攀
sujj
—• si diw^ dz-nnii uf
{
Zjjdsijjg phiupJzi,
彐■，:
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也廷是\〈姆勒訪天坦\〉取浔
:/
5.
五。 個
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,7hitiniha
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主要演員Main Cast
楊雲溽飾「勒」 Yang Yuntao as
翻I
飾
「媽」及「藤妹」⑽1)
「藤妹」⑻川 Su Shu as
mg"刪 "Teng"(2Q，'、 曾可為飾 「媽」及「蓐妹」(19川
「媽」(20/1) Tsang Ho Wai, Phoebea as
HTeng"(m) M Ma" (20/1)
與藝術豕會面Meet-the-Artist 19/1/2002 （星期六）晚上演出後於香港文化中心大劇院堂座舉行。
鳴謝 Acknowledgement:
Following the performance on 19/1/2002 （Saturday） in the Stall of
香港舞蹈團由康樂及文化事務署資助^
Hong Kong Cultural Centre Grand Theatre.
廣西南寧市藝術劇院
Hong Kong Dance Company is subvenledby
免費入場
Guangxi Nanning City Arts Theatre
the Leisure and Cultural Services Deparfmi
Free Admission （粵語/普通話主講 In Cantonese/Putonghua）
舞評 DANCE REVIEW
Shanghai Ballet and Tibetan dance Author: Kevin Ng
part of its national tour, the Shanghai Ballet gave two
Neapolitan dance in Act 3 in which the two soloists dance
performances in early December at the Hong Kong
with tambourines; and also his Act 3 pas de quatre which
Cultural Centre of a new production of "Swan Lake" by
has replaced the traditional Act 1 pas de trois in many
Derek Deane, the former artistic director of the English
productions. Ashton was inspired by ballroom dancing when
a
he choreographed the pas de
National Ballet.
quatre in the 1960s, and one
Local audiences may
of the two female solos
remember Deane's arena
recalls the foxtrot.
version of this 19th century
Additionally, parts of
classic which the English
Deane's choreography for
company performed at the
Prince Siegfried's solo at the
Hong Kong Convention
end of Act 1 recall Rudolf
Centre in 1999. In 2000,
Nureyev's choreography of
Deane did another version for
the same solo for the Paris
conventional proscenium-
Opera Ballet, especially the
arch theatres, which was well
inclusion of the series of
received by the British critics.
double assemblees en
It is this more recent
tournant.
production that the Shanghai
For his production Deane
Ballet acquired.
has introduced a prologue
For its production, the
showing
Shanghai Ballet reproduced
transformation into a swan
British designer Peter
and has entirely provided the
Farmer's beautiful sets and
choreography for Act IV.
costumes. The green 'leafy'
The choreographer's
sets in Act 1 representing a
decision to depart from
courtyard in the palace are
Scene from “Qomolangma”. Photo by 孫振華' 高峰.
Odette's
historical accuracy in the
especially pleasing, and the
final act, produces a less
period costumes are quite
moving tragic climax than in
handsome.
Ivanov's original choreography where the Valse Bluette for the corps especially possesses an elegiac grandeur.
Dean's choreography mainly follows the previous production of Britain's Royal Ballet (seen in Hong Kong in
Generally, however, the Shanghai production has a dramatic
the 1980s) based on the notation brought to the West from
coherence and its use of historic choreographic text culled
the Soviet Union in the 1930s by Nicholas Sergeyev.
from Sergeyev and Ashton is laudable. The Shanghai company's classical dancing reveals its excellent schooling
However, Deane has also used two gems by choreographer
and its corps de ballet performs with a stylistic uniformity
Sir Frederick Ashton as sources, namely his virtuosic
that is more typical of Russian ballet companies nowadays
12
than Western companies.
trimmed costumes. There was a female soloist with a long veil presumably representing the fairy Qomolangma who
Fan Xiao-feng, a tall dancer with a long line, danced the
re-appeared in later sections.
Swan Queen on the night I saw the company. Fan’s lyricism
is temperamentally more suited to the role of Odette than to
Then more musicians, including two conch players, holding
that of Odile. She has a quite dazzling technique too;
triumphant banners entered the right side of the auditorium
performing double fouettes in the coda of the Black Swan
and marched along the gangway up to the stage. Incence
pas de deux with aplomb. Her Prince was Sun Shenyi, who
containers were carried by some members of the procession,
partnered her strongly. In his solo in Act 3, Sun finished all
imbuing a religious aura to the proceedings.
his three double tours en Vair in a a solid fifth position, which was impressive. The Shanghai Symphony Orchestra
The various group dances were entertaining. An ensemble
provided good accompaniment.
dance saw the male dancers doing multiple pirouettes, while
another had the men moving with swirling cloaks. The women wore long attractive blue veils in another dance. Towards the end there was a thrilling drum dance for the Several nights later, Hong Kong Cultural Centre hosted
men, who hit the drums at the back of their bodies; contrasted
’'Qomolangma'’，a song and dance troupe from Tibet. The
later by a less violent dance for the women each having a
spectacle was divided into five parts, and the dancing
smaller percussion instrument.
components were far more substantial in content than the
music. The highlights of this show were the elaborate
All the drums and veils were removed by the dancers before
costumes, and the exciting ensemble dances.
the final curtain, and piled high up on the ground.
Unexpectedly during the curtain calls, some of the veils were Against a backdrop of snow-capped mountains, and a
hurled by the dancers at an excited audience.
platform where a group of courtly musicians were seated
(amplified taped music was also used), the spectacle
Thus ended a memorable week in which local audiences
commenced with a male ensemble dance, followed by an
saw two excellent visiting dance companies from the
ensemble dance for the women clad in beautiful white fur-
mainland.
舞評 DANCE REVIEW
香港舞蹈團《梁祝》 作者：方人
《辱祝》
合，頗能營造一個繽纷熱閙的
.一個家傳尸曉
i;
佳節氣氛。這一幕的高潮應在
I故事•過去也
有很多以其為題材的舞蹈創作。
梁祝街上相遇，以文相交。然
香港舞蹈團亦選擇了這個故事來
而，傳統的中國書生含束被
創作了一鉤兩小時長的舞劇，以
動，而吟詩作對也往往是較為
慶祝其創團二十週年。作為舞蹈
靜態的活動；要以舞蹈動作來
團「公司化」後的首齣創作，觀者
描述這個靜態而以語言文字為
或可從中略見舞蹈團「公司化」後
主的文學世界，實不是易事。
的路向。
編舞蔣華軒以書寫的動作來演 變出來的動作似未夠深刻，缺
《梁祝》全劇主要分成三幕，另外
乏了文學世界中（尤其是儒家思
再加上較為短的《序》和《尾聲》，
想）的一份含束。然而，舞劇中
共有五段。《序》中的祝英台雙腿
所描述的的梁、祝二人均是活
被缚，困在幽暗的大宅之內。一
潑好動的年青人，一些幅度較
道道沈重的飛簷如傳統禮敎般壓
大的舞蹈動作也儘可以視作為
得人透不過氣來。並排的群舞
反映了二人心中的喜悦。
員，踏著輕盈的細步，背著觀 幂，從台側進入台上。飄浮不定 的舞蹈員雙手梅花間竹地波浪似
柯志勇飾演的「扮獅人」
的上下擺動著。當一個舞蹈員的
« 3
《第二幕》描述梁、祝二人同窗 共學的生活。編舞從生活細節
入手，由早上練武，同學間的
手升到最高時，與之相鄰的舞蹈員雙手便降至最低 。這
嬉戲，至上課讀書，晚間温習，都— —道來。在舞蹈編
時舞蹈員的雙手稍稍停頓，並握著隔一個舞蹈員的手，
排上也盡量做到活潑有趣。其中讀書的一幕，舞蹈員半
整排的舞蹈員也如鎖鏈般緊扣在一起。隨著舞蹈員雙手
坐半臥於台上，對著代表了書本的紙扇念書。慢慢地，
的重復擺動，她們也不斷的緊扣，解扣，緊扣…這是一
台後一個又個的舞蹈員昏昏睡去，把手中的纸扇掉到舞
個簡單而優美的動作，既可直接看作為蝴蝶的飛舞形
台上。燈光也缓缓地昏暗起來。到最後，只餘下台前相
態，也暗喻了整個舞劇的主題一束缚與自由。詳舞員雙
對而坐的梁祝二人，仍然執「書」在手，在淡淡而昏黃
手的一鬆一扣，也反映了女主角內心的一起一伏：要繼
的燈光中看書。短短的一段，但是卻含束、温馨而有餘
續被約束著，還是要追求自由？
韻。這一段也與之後一段舞中的「跌扇」動作遙相呼 應。另外，祝英台為免於雨中露出女兒身，而四處躲避
接著的《第一幕》是元宵佳節的情景：年青男女在張燈
梁山伯的一段也十分有趣：面孔被傘子所遮蔽的女群舞
結彩的街上遊玩，一派歡樂熱鬧的氣氛。這一幕中較為
蹈員穿著相似的衣裙、撐著款色相似的傘子、踏著相同
特別的是男女圍觀街上藝人（場刊上説是「扮獅人」）的
舞步，個個都看似一模一樣。梁山伯要在幂多的舞蹈員
一段。舞中的「扮獅人」大顯身手，做出一些高難度的
中找到祝英台卻也不是易事。女舞者的婀娜多姿、温柔
跳躍動作。類似的動作在中國舞中也時有見到，但往往
淡定，也與祝英台的匆忙躲避，和梁山伯的魯莽唐突相
只是純粹顯露技巧，難以與舞蹈配合。然而「扮獅人」
映成趣。隨著舞台上男女主角的一躲一尋，觀眾的心情
這一段卻明言是街頭雜耍，那既是傳統節日中必有（亦
也被牽引著到達了這一幕的高潮：梁山伯最後仍是找到
是重要的）的節目：而賣藝人在「表演」之中也夾雜著
了祝英台，並發現了她的秘密。
與圍觀的男女互相戲弄的編排，結果與舞蹈整體能跔配
《第三幕》中的劇情急轉直下：祝英台被召回家，梁山
蹈類型：彩燈’劍舞、扇舞、水袖、羽扇、傘子等等，
伯求婚被拒，跟著的梁、祝先後死去。山伯臨终的一幕
另外又有多種地方民族舞蹈’如雲南、西藏等的元素。
可説是全劇的高潮所在。舞台到處掛著白布，預赧著悲
作為一個中國舞蹈團，香港舞蹈團演出這些舞蹈看似並
慮1J的發生；群舞員白色水袖急速的飛舞，反映著梁山伯
沒有什麽特別之處；然而，難得的是編舞成功地將這些
悲憤紊亂的心情。最後男主角蹣跚地走到台前侧，拉著
元素融入舞劇中，創作出一齣統一而完整的作品。
白布條倒下。雪白的布條如
飛瀑般急瀉而下，一層又一
一向都覺得中國舞蹈自有
屬的堆在梁山伯的身上，也
其深厚的文化歷史和獨特
重重的壓在觀豕的心上。在
的美學觀點，要免強以西
那看似永恆的飛隆中，白布
方舞蹈的觀點來欣賞和評
仿似無窮無盡，源源不絕，
價是並不公平的；但另一•
有如愛情般一發不可收拾，
方面，中國舞也確實有需
又如男主角的生命般急速流
要「現代化」以配合現代社
逝。良久之後，白布條的尾
會對藝術創作的要求。其
埔终於墜下，一座新墳，也
中的困難就在於如何在傳
在觀尿眼前堆在梁山伯的身
統和現代化中找到了平衡
躯之上。群舞員跟著進場抬
點。很多中國和本地的創
走梁山伯的身體，悲傷地伏
作嘗試中，往往不是失去
在墳上的祝英台雖欲挽留，
了傳統的特色和味道，就
但最後也只能扯著白布條，
是完全被傳統的純技巧和
看著梁山伯的身軀被帶走。 白布條的一端隨著梁山伯的
梁、祝同窗夜讀一幕
身體而被帶至台後的另一
硬形式所掩蓋。反觀在 《梁祝》中，這些傳統中國 舞蹈類型都能順應著舞蹈
側，在舞台上拉起了一條對角斜線。當傷痛中的祝英台
的脈络，支持著舞劇發展的需要，沒有刻意的賣香。結
把台前的一另幅白布條扯下時，台上四週掛著的白布同
果是出奇的「順眼」，在保留了傳統舞蹈的特色的同
時跌下，露出空空洞洞，漆漆黑黑的後台，其中只有一
時，也不覺「老土」。
盞暗淡的綠燈，向台前照著。最後，祝英台也把自己的 身艇投向這幽暗的國度。
型式上雖然是採用了大量的中 式傳統；但在概念上，《梁祝》
最後的《尾聲》，則是化蝶一
其實亦採用了西方現代舞蹈的
幕。一身素衣的梁、祝二人，
創作手法。一些相關的主題意
在身穿彩衣、手持羽扇的舞蹈
念，例如緊扣與解扣、缚束與
員簇擁之下，翩翩起舞…
自由、躲藏與顯露、穩定與跌
除了上述的主要五段外，在《第
現，抽像地表達了這個傳統故
二幕》和《第三幕》中還加插了
事的主題。《梁祝》便是採用了
數節短短的演出，其中兩幕媒
這個簡單但卻甚為少見的摸
人與祝父（劉兆銘飾演）的「説
式，成功地將中國傳統華到現
親」，以接近默潮的形式演出，
代的舞台上。（很多較為成功
人物形像生動突出，表情跨張
的例子都是帶有中國色彩的現
有趣，簡潔地交代了劇情的發
代舞，但《梁祝》可以説是現代
展。另一節中，梁、祝二人的
化的中國舞。）《梁祝》的整體
「愍梁」夜讀，引用漢時孫敬的
編排其實是踏實簡苹的，雖然
典故.既有趣，又表達了二人
沒有很多「破格」的創意’但蔣
學習的刻苦，同室夜讀的温
華軒的編舞卻是成熟流暢，在
馨。這些小節成功地令到整鉤
細節上亦下了很多功夫。些
舞劇的節奏輕快起來。
外，他也很能善用舞台元素和
墮等，一再於整齣舞劇中重
分別飾演梁、祝二人的陳俊和江麗明於
《梁祝》全剩的一個最大的特色 是採用了很多種傳統的中國舞
第三幕中的演出。
視覺設計來有效地營造戲劇效
果。毫無疑問，《梁祝》是淺白 有趣，不落俗套的。
JEWS舞蹈快訊NEWS舞蹈快訊NEWS舞蹈快訊NEWS
Hong Kong Ballet North American Tour 香港巷蕾舞團北美之旅 Author: Tom Brown
翻譯：施德安
I
late November, the Hong Kong Ballet returned from
■
an extensive seven week tour of North America during
香處乾務舞圏
已於十一月尾結束其北美 巡迴演出返港。在這次長
which the company gave 26 performances in 24 cities spread
達七星期的旅程中，香港芭蕾舞團共於美國十一個州，
over 11 states to a total audience estimated at over 30,000.
二十四個城市進行了二十六場演出；估計觀幂總數超過
Altogether, 57 members accompanied the company on the
三萬人。美國演出後，香港芭蕾舞團最後到達加拿大多
tour of the United States and Canada, culminating in a special
倫多Living Arts Centre作一場由香港經濟贸易辦事處
Gala performance at Toronto’s Living Arts Centre sponsored
贊助、大多倫多中華文化中心主辦的壓軸演出。在這次
by the Hong Kong Economic and Trade Office and the
巡迴演出中，香港芭蕾舞團演出了舞劇《末代皇帝》，
Chinese Cultural Centre of Greater Toronto. Throughout
羸取了各界好評。
the tour, the company gave performances of The Last
Emperor; its presentation garnered critical acclaim from
十月十九曰，Albuquerque Journal 刊出 Jennifer Noyer
many comers. Below is a sampling of what the critics had
的文章 “Hong Kong Ballet Offers Artistic Dancing”。她
to say:
於文中指出：「除豐富的故事性外，這齣芭蕾舞劇在舞
蹈設計及編排方面’亦具超卓的藝術水平。雖然，第^一
In the 19th October, Albuquerque Journal, Jennifer Noyer,
T/v
3 J
幕有欠緊緻，但在戲劇編排方面，卻利用了無數短幕營
headlined her review
造出具戲劇效果的舞
“Hong Kong Ballet Offers
蹈。接受過嚴格訓練的
Artistic Dancing” In her
漂亮群舞員，將東方人
article, Noyes went on to
的表情及姿態以清晰絕
“Above all the
妙的古典芭蕾舞技巧表
agendas arose the high
達出來。顏以寧在長春
artistic quality of dancing
滿洲宴會的一幕中，巧
and choreography in this
妙地以表情及姿勢顯露
ballet. Despite the
叛國及背叛的不祥預
write:
disruption of flow in Act
兆。此外，亦充份利用
1，as pantomime tried to
藝術來表達內心情感以
initiate the dramatic action
及州縣慶典的隆重氣
through innumerable short scenes, the beautifully
氛。」1 Eunuch & Palace Girls 太監與宮女
trained corps executed a
「王泳的演出將英雄故
marvelous fusion of Eastern gesture and body attitude with
事中，被捕者的敏感細膩以及戲劇元素，充份的發揮出
the clearest classical ballet technique. Eagling designed the
來。王泳跟飾演其妻妾的落合惠利子和梁菲，於新婚晚
party scenes in Changchun, Manchuria, with subtle subtext
上起舞，王氏將她們抱起轉動，猶如舞弄著兩個玩具娃
of gesture to reveal an ominous undertow of treason and
娃。他將兩人以背對背形式背著，把雙腳離地的她們沿
VS舞蹈快訊 NEWS舞蹈快訊NEWS舞蹈快訊NEWS舞蹈快訊NEWS To have your events included in the news session of the Dance Journal/HF please send your pressrelease to us by mail, e-mail or fax listed on the first page of the Dance Journa
The inclusion of news items in this section is subject to the availability of spac(
betrayal. This was a psychological tale as well as a vigorous
一大圓轉動著。」1
celebration of the state through art. 一隊手持毛主席語錄及圍著紅頸巾以示效忠毛主席的
“(Mike) Wang’s performance throughout combined the su
男、女紅術兵，為改革勝利、進入新中國而歡欣起舞。
perb elements of derring-do often seen in the technique of a
他們整齊的蕩手、握拳、以足尖操行、隨著管弦音樂，
Baryshnikov with a sensitive and dramatic characterization
排成車輪及對角線圖案……」1
of a hunted man. In his partnering with the two wives, danced by Ericho Ochiai and Fei Leung on their wedding night,
於十一月十一日 Eastern Connecticut’s News Source 上
Wang lifts and twirls them about his body like two dolls. At
刊登的一篇題為“Hong
one point, he carries both
Kong Ballet Production
of them back to back, turn
as much Theater as
ing them in a broad circle
Dance”的文章中’作
as their feet leave the floor.
者 Sharma L. Howard 寫
道：「該作品成功將舞
“A joyous troupe of Red
團不同層次的長處融
Guard girls and boys
合，其戲潮元素較一般
danced a marvelous trium
以舞蹈為主的古典芭蕾
phal celebration of their
舞劇濃厚，舞台上佈滿
new world at the end of
瑰麗悦目的绯紅、金、
Act 2 carrying little red
大紅的服装。」2
books and scarves to show
their loyalty to Chairman
Scene of the Red Guard 紅衛兵一幕
Mao. Strong swinging
arms, a clenched-fist march on toe, fast developing group
patterns in wheels and diagonals were cleanly performed to fully orchestrated music that had overtones of Wagner’s
Valkeries, Zeigfeld meets the Rockettes meets New York City Ballet in Stars and Stripes.”'
In the 11 November review for Eastern Connecticut’s News Source, Shanna L. Howard, led off with the headline: “Hong
Kong Ballet Production as much Theater as Dance”. Howard wrote that: “The strength of the production comes from the
successful blending of varying levels of ability within the company, a dramatic thrust akin more to theater than the densely choreographed frames of a classical story ballet, and the visual beauty of crimson, gold, red and fuchsia costumes
fluttering on stage.
「然而，這並不是説星 期日晚的演出未能盡顯那些訓練有素的舞者的才華。飾 演溥儀的賴振榮身穿黃袍，下令捉拿偷竊的太監的一
刻，雖然短暫，但亦光芒四射。賴氏在獨舞中表現出年 輕人的熱情澎湃，但在傷感的時刻又柔若柳穗。」2 「舞團的群舞氣勢逼人，令觀幂屏息，而魅力四射的舞
者更令這舞劇錦上添花。」2 •
Binghamtom Press & Sun 於十一月十五日刊登了 Sarah
D’Esti Miller 的文章 “Emperor Ballet is a Feast for the Eyes”，文中提到：「综合古典芭蕾舞與現代元素的舞 蹈出色而詩意盍然.令編舞在該劇中國末代皇帝溥儀
（由身手不凡的梁靖飾演）時得以大展拳腳°編舞顏以
寧與候雅斯以人體動作演繹該故事的喜與悲、暴力與慜
望。群舞的準確性極高，有如萬花筒中對稱的圖案°梁
靖、勞曉昕及鍾詠賢的三人舞令人目眩神迷°」3
“Not to say that Sunday night’s production didn t showcase the talents of beautifully trained dancers. Frankie-m Lai,
who danced Pu Yi, lit up the stage as he flickered in yellow
silk in an ephemeral burst of power, his only one, which
Paula Citron在其刊於Globe and Mail的舞評中則指出： 「在藝術總監、前英國皇家芭蕾舞團首席舞蹈員謝傑斐 的帶領下所製作的一連串長篇芭蕾舞劇’令香港芭蕾舞
IEWS舞蹈快訊NEWS舞蹈快訊NEWS舞蹈快訊 NEWS 舞蹈快訊
ordered the arrest of a horde of thieving palace eunuchs. At
patriotic opera.
She concludes that: ‘‘What elevates the
times Lai rushed with a youthful eagerness in his solos, but
work beyond its unadventurous nature is the company itself.
bent with willowy ease in more sorrowful moments.
The dancers, representing twelve countries, are a mostly Asian polyglot, the majority from Hong Kong, Japan, Korea
“While the company held the audience with some
and the Philippines with a smattering of Caucasians. They
compelling ensembles, the ballet was strengthened with the
are well-schooled, and have a real sense of character.
appearance of charismatic dancers.’’1 2 “The stately Wang’s portraylal of Pu Yi’s descent from
greatness is wonderful,
15 November review of
the petite, lyrical Ochiai’s
502
Sarah D’Esti Miller, in her the production for the
lle 6uo>i
af
Binghamtom Press & Sun
CQ
acclaimed: “Emperor
6 C O H ◎
Ballet is a Feast for the
Eyes.”
In
heart
breaking, while the
beautiful lines of
concubine Leung are
observations Miller went
personality.
on to say: ‘The dancing
quicksilver Chung is all
was a brilliant, lyric
fleet of foot, while
combination of classical
(Amuer) Calderon,
ballet and modern
(Liang) Jing, and (Carlo) Palace Girls
宮女
The
Pacis have enormous
stage presence, and
the choreographers’
^ . 2
is
enhanced by a sparkling
her
elements, which expanded
J
empress
palette for painting the life of China’s last emperor, Pu Yi,
Jefferies still has charisma to bum. ”4
danced by the athletic Liang Jing. Choreographers Wayne
Eagling and Jeffery Graham Hughes painted pictures with
The successful tour served to showcase the artistic
moving bodies, using motion to play out the story’s violence,
achievements of the Hong Kong Ballet and further enhance
longing, sadness and joy. The ensemble numbers were so
its well-deserved reputation for professionalism and artistic
precise that watching the corps was sort of like watching
endeavor as well as spread the word of Hong Kong dance
the symmetrical formations of a kaleidoscope. Liang was
excellence to the world.
joined by dancers Irene Lo and Ivy Chung for a pas de trois
釜
that was mesmerizing’’.3 4
1 Noyes, Jennifer, “Hong Kong Ballet Offers Artistic
Dancing”，published in the Albuquerque Journal,
/
Paula Citron’s 24 November review for the Globe and Mail
Albuquerque: Albuquerque Journal, 19 October 2001.
noted that “Under artistic director Stephen Jefferies, a former
2 Howard, Sharma L., “Hong Kong Ballet Production as
principal dance with Britain’s Royal Ballet, the company’s
Much Theater as Dance”，published in News Source,
reputation has been enhanced by generating a plethora of
New London: News Source, 12 November 2001.
full-length story ballets.”
Citron continues to say “...the
3 D’Esti Miller, Sarah, “Emperor Ballet is a Feast for the
scene of decadence and boredom with Pu Yi and his wives
Eyes”，published in the Binghamton Press & Sun,
(Eriko Ochiai and Fei Leung) after the emperor’s abdication,
Binghamton: Binghamton Press & Sun, 15 November
is masterfully done, as is Empress Wan Jung’s opium-
2001.
induced nightmare. Engling’s spirited ensemble for a Red
4 Citron, Paula, “Audience with the Emperor” published
Army Detachment of Women carrying Mao’s Red Book has
in the Globe and Mail, Toronto: Globe and Mail, 24
the genuine look of a propaganda dance from a Chinese
November 2001.
Vogue 《雲想衣裳》 CCDC城市當代舞蹈團
31/12/01
2:30-3:20pm
何文田廣場
1/1/02
2:30-3:20pm
將軍澳尚德商場
5/1/02
2:30-3:20pm
青衣長發商場
6/1/02
2:30-3:20pm
藍田啟田商場
12/1/02
2:30-3:20pm
黃大仙龍翔中心
13/1/02
2:30-3:20pm
慈雲山中心
Director/Choreographer :
Pun Siu Fai
導演/編舞：
潘少輝
®文困铒文田廣場
31.12.200,(-)
豁霣番 德商場
01.01.2002(二) 尚 05.01.2002 ｛六y甭衣a發商場
06.01.2002 ( 8)藍S啓田商場 黄大钮«翔中心
12.01.2002(六＞
13.01.2002(5)慈S山慈霣山中心 2:30pm - 3:20pm
瀑
Ma and Le Visiting the Sky 《馬勒訪天邊》 Hong Kong Dance Company 香港舞蹈團
18-19/1/02
7:30pm
20/1/02
3:00pm
辟演/溢S:潘少輝
服裝及《S設計：朱ia窃 演出：城币a代觀蹈®n«賢串生 節目査旃：2328 9205
杏港房s娄缀畲
T|fl Hong Kong Houjing Ai
cede
《與林共舞》
Hong Kong Cultural Centre Grand Theatre 香港文化中心大劇院
Choreographer :
Ding Wei
編舞：
丁偉
%乙城節」
19-20/1/02 8:00pm 上環文媛中成劇院 演出：
城市當代舞蹈團 動藝及多空間
《現代舞輪椅舞演出》 動藝
20/1/02
2-3pm
樂富中心
<omeo & Juliet :羅密歐與茱麗葉》 Hong Kong Ballet香港芭蕾舞團
25-26/1/02
7:30pm
Tsuen Wan Town Hall, Auditorium
筌灣大會堂演奏廳
Borneo ⑽c/
1-2/2/02
7:30pm
3/2/02
3:30pm
Ko Shan Theatre Choreographer :
高山劇場
Bengt Jorgen
Xgc
III
節目表
Deca Dance《十級地震》 Batsheva Dance Company, Israel 以色列巴舒化舞蹈團
1-2/3/01
8:00pm
3/3/01
2:00pm
Hong Kong Cultural Centre Grand Theatre
香港文化中心大劇院 Choreographer :
Ohad Naharin
編舞：
奥哈特•勒赫林
Naharin’s Virus《勒赫林病毒》 Batsheva Dance Company, Israel 以色列巴舒化舞蹈團
8:00pm
4/3/01
Hong Kong Cultural Centre Grand Theatre
香港文化中心大劇院 Choreographer :
Ohad Naharin
編舞：
奥哈特•勒赫林
A Night of Tango《一夜探戈》 '
7-10/3/02
7:30pm
9/3/02
2:30pm
Hong Kong Cultural Centre Grand Theatre S香港文化中心大劇院
Director:
Miguel Angel Zotto & Milena Plebs
導演：
米高•安考•佐圃及米倫拿•普爾斯
Play Boys《哥仔戲》 14-17/3/02 8:00pm
八繡
Arts Centre Shouson Theatre
ai.a-i7.3
藝術中心壽臣劇院 t
“
Choreographer :
(編舞:
喇法n融*辏蕩舞鼻gL
Daniel Yeung
楊春江 .
,
n JT
' ™ Raise the Red Lantern 《大紅燈籠高高掛》 @ ⑱二
National Nallet of China
［爆籠畐i
中國國家芭蕾舞團 13-17/3/02 7:30pm 16/3/02
Raise the Red Lantern
2:30m
Hong Kong Cultural Centre Grand Theatre
香港文化中心大劇院
奏明
張轚謀
Choreographer 編舞：WanXinpeng王新鹏 Director 導演：
the Ballet a Adopted (ton lk« no*»l font the M loottin by Sv Tong
Zhang Yimou 張藝謀
jb'rlul
A » il< ft
Zhang Yimou
mbers of Hong Kong Dance Alliance HONORARY ADVISORS
胡善佳先生
MR Carl Wolz
個爨鶴
INDIVIDUAL MEMBERS
戴愛蓮女士
Ms Ailian Dai
宋絜女士
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Csaba Buday
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9驅會勇
ORGAMZATiCN MEMBERS
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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 曾雪麗芭蕾舞學院 共享空間舞蹈劇場 基督徒舞坊 小燕子舞蹈團 舞蹈菲場 蔥動派創作空間 香港演藝學院 香港演勢學院舞蹈學院校友會 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 藝摯歐洲民臟醐 Life音樂劇場 絲路舞蹈文化協會 躍舞翩
R'
三分顏色 原體系 歪0的示体 亞洲青少年芭蕾舞團
織雪臻
1
小拾 張秀芬女士 關艷蘭女士 松島誠先生
Ms Margaret Carlson
Mr Chau Chuen Fai Ms Chu Kit Ms Stella Chung
Mr Huynh a-hoa Ms Helen Lai Ms Charissa Lee Ms Violet Ng
Mr Willy Tsao Ms Scarlet Wong
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 王廷淋先生 湯布力先生 曾雪麗女士 馬金泉先生 曾澳英女士 鄺婉儀女士 宋倩儀女士 李以珊女士 施素心女士 王廷淋先生 吳杏冰女士 劉鎭強女士 賴文慧女士 孫名翠女士 陳頌瑛女士 謝宏璣先生 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 魚禾漢军/鍾詠賢
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
Danse A LiLi Ballet Academie
Ms LiLi Tsang
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
Greensco
Ms Coral Lee
The Hong Kong Academy for Performing Arts
Ms Susan Street
HKAPA School of Dance Alumni Association
Mr Andy Wong
Hong Kong Ballet
Ms Helen Ng
Hong Kong Dance Company
Ms Chun Keung Lau
Hong Kong Ginger
Ms Cherry Lai
(IS Creative
Ms Karen Suen
Jean M. Wong School of Bdlet
Ms Ama Chan
Knack Cordial Fok Group
Mr. Kenneth Tse
Ones To Watch Dance Company
Ms Angela Hang
RJ
Life Musical Theatre
Mr Rex Chiu
Silk Road Cultural Society
Ms Pasha Umer
Spring Poetry
Mr Terry Tsui
Synchro
Ms Jamie Chung
Three Colours
Mr Afa Chiang
Uncarved Block
Ms Ling Lee
y. d. thearter
Mr Daniel Yeung
Youth Ballet of Asia
ASSOCIATE MEMBERS slO Ms Cheung Sau-fan Ms Kwan Yim-Ian
Mr Makoto Matsushima Ms Daphne Wong
1
Ms Chu Kit
學生會員
STUDENT MEMBERS
陳桂思女士 鍾晶女士
Ms Suki Chan Ms Chung Ching Ms Victoria Morris
陳金鳳女士 周詠詩女士 陸慶樂先生 莫裕康先生 李彩嫻女士
Ms Chan Kam Fung
陳麗娜女士 黎雅慧女士 舆天華女士
Ms Lina Chen
Ms Chow Wing Sze
Mr Luk Hing-sun Mr Juergen Morhard Ms Lee Choi-han
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 Ms Chu Man-sau Ms Luk Wai-yin Ms Maria Assunta Wan
Ms Yuen May Hah
1 Ms. Lai Nga Wai Ms Audrey Wong
蔡嘉樂先生 盧幸賢女士 王嘉敏女士
Mr Cody Choi Ms Candy Lo Ms Carman Wong
Membership Form s員由韻表 會耒茜
Membership
(
)
Individual
(
)
Organization
(
)
Associate*
(
)Student*
個人會員$200 團體會員 $600 普通會員* $100 學生會員* $50
Individual/Associate/Student Member’ s Information
Name
個人 / 普通 / 學生會員資料
姓名(English)_____________________________________________ 沖文)____________
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哉位 ________________
Company公司名稱_____________________
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傳真 ___________
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Fax
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團體會員資料
Name of Organization
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電話
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Fax
通訊地址 _________________________________
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Applicable Dance Category
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傳真 _______
巴蕾
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| Contemporary
所屬舞蹈類別
現代舞
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| European Folk獻洲民fi笑舞
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I
I Education
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Signature
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教育
[Z] Criticism
寫作與評論
文化及藝術行政
音樂舞劇 / 爵士舞 / 踢S達舞
簽署：___ _____________________________
Date
] Chinese Dance
中國舞
|
| Ballroom國際標準舞
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| Technical Arts
I
| Notation舞蹈記錄
|
| World Dance世界舞蹈
舞台技術
臼期：____________________________
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