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Beauty Revisited:
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Beauty Revisited: A personal perspective on the ballet): Sleeping Beauty； by Graeme Collins
The Nymph Scene in Hong Kong Ballet’s Sleeping Beauty with Faye Leung and Nobuo Fuijino as Princess Aurora and Prince Florimund. Photo by Siu Wang-ngai.
Graeme Collins’ early ballet training was in Brisbane and at the National Theatre in Melbourne, Australia. In 1972 he joined the London Festival Ballet and performed throughout the world in many of the great classical ballets. In 1975 he joined the Royal Swedish Ballet and performed in works by John Cranko, Sir Frederick Ashton, Anthony Tudor, Glen Tetley and Jerome Robbins. The following year he joined the State Theatre Ballet (Pact) South Africa as a senior soloist and over the next nine years danced many roles in the company's vast repertoire. Collins returned to Australia in 1985 to dance with the Queensland Ballet before accepting a full-time teaching post at the Queensland University of Technology, Dance Department.
Since 1996, Graeme has been the Head of Ballet at the Hong Kong Academy for Performing Arts.
J . was with bemused interest and a slight foreboding that Hl entered Sha Tin Town Hall auditorium on Saturday
it out of the repertoire just before I joined. Sleeping Beauty
evening, 30 March, to watch Hong Kong Ballet’s Sleeping
abject fear, and utter boredom; sometimes, unmentionable
Beauty. If there was one ballet that engendered a range of
hours of it, and all can occur during the course of a single
mixed feelings about classical dance when I was a dancer,
show.
is a ballet that causes feelings of sheer excitement, anxiety,
it was this formidable masterpiece from Petipa’s repertoire. To many professional classical dancers, Sleeping Beauty For many years after I stopped dancing I could not even
epitomizes what is essentially classical about ballet. I
bring myself to listen to Tchaikovsky’s glorious symphonic
cannot remember the author, but an apt expression of what
melodies, let alone voluntarily walk into a theatre to see a
every aspiring ballet dancer should know is: “Of absolutely
performance of the ballet. I performed Sleeping Beauty
vital importance for classical dancers is to understand 5th
perhaps most throughout my seventeen-year professional
position, but even more important is for them to forget it”.
career, one that spanned major ballet companies on three
However, I believe the only ballet to which this does not
continents and four different productions - from London to
apply is Sleeping Beauty, where 5th position, and knowing
Sydney to Johannesburg. I escaped it in Stockholm with
how to use it, is your life buoy for a good performance.
the Royal Swedish Ballet, since the Swedish dancers voted
Without it - you sink like the Titanic and you know it!
While the story still has a preeminent place in the minds of
with our 5th positions and his tricky and quirky interpretation
many, thanks in part to Disney, it is unquestionably one
of Nicholas Sergeyev’s version of Petipa.
that could probably be told in about 20 minutes. In ballet,
however, it often stretches to over three hours. In Petipa’s
Sleeping Beauty takes on all comers - dancers, directors,
day it lasted around five. Well, in 1890 St. Petersburg,
designers, technicians, conductors and even orchestras.
they didn’t have Aly McBeal to go home to! Mercifully,
These latter sounding, at times, like Salvation Army bands.
this latest production by the Hong Kong Ballet is just over
I recall a number of performances with London Festival
two hours yet still manages to have all the good bits plus a
Ballet where we nearly broke our necks, or at least our
bit more. Petipa’s style was unashamedly to pad the action
ankles, careening around stage in high-heeled shoes in the
with workman-like choreography along with brilliant
third act courtier’s dance. The conductor, looking like
dancing that strictly adhered to the classical canon - a
Mozart on speed, took the tempos at a rate of knots,
formula for excellence in art - simple, harmonious, well
presumably on instructions from the company accountant,
proportioned and finished. Not an easy feat to master and
desperate to keep the production under three hours and thus
repeat at every performance!
avoid paying hefty overtime to musicians.
Sleeping Beauty has tested many a fine ballet company,
Nevertheless, my first impression toward the end of the
and Hong Kong Ballet was no exception. The production
prologue and into Act I of Hong Kong Ballet’s production
placed rigorous technical demands on dancers, artistic staff,
was that the company had taken the task head on, either a
and theatre technical personnel who had the job of pulling
brave or foolish move for a company of forty-one
the whole thing together. One local critic offered the
supplemented by eight students. As was not unexpected,
production a not totally unexpected and un-surprisingly
the majority of the audience was with it all the way,
mixed review.
especially young children sitting near me who managed,
like me, to remain awake for its entirety. It is a sign of
In 1921, Serge Diaghaliev staged Petipa’s Sleeping Beauty
artistic maturity for any young company, to knowingly and
for the first time in London with new designs by Leon Bakst.
willingly take on this daunting classic, and manage to do it
It was a production that also met with mixed reviews and
credit.
almost ruined Diaghaliev. But audiences loved it and
history now determines it a great artistic success.
Importantly, that season introduced London to the fulllength story ballet format. As a result, with encouragement from former Diaghaliev company artists, Ninette DeValois
and Marie Rambert, the ballet world was later rewarded with full-length narrative ballet masterworks by three of the 20th Century’s great choreographers, Frederick Ashton,
Kenneth MacMillan and John Cranko.
In the early 1990s the press panned Sir Anthony Dowell’s
extravagant Royal Ballet Sleeping Beauty production at Covent Garden. Rudolf Nureyev’s London Festival Ballet
Sleeping Beauty production in 1975 also met with mixed reviews, but it just about sold out every performance in
London and Paris, as well as at fourteen other centers in
the UK and a six-week, eight shows-a-week, tour of Australia. I will never forget our opening week at Perth’s
Entertainment Center, to a capacity house of 8,000. It was there where, many of my Festival Ballet colleagues and I,
learned hard lessons on how to cope with the unexpected on stage, especially Nureyev shouting instructions and other
unmentionables from the wings or elsewhere as we grappled
Faye Leung and David Izak in the famous Rose Adage in Hong Kong Ballet’s Sleeping Beauty. Photo by Siu Wang-ngai.
The production, with delightfully fresh designs by Peter
glittering black dress that would not be out of place at the
Cazalet, lighting by John Williams, additional choreography
annual Hong Kong Ballet Ball. She commanded the stage
by Artistic Director Stephen Jefferies, and accompanied by
and action with her sensational dancing, and the audience
the Hong Kong Philharmonic under the masterful baton of
reacted accordingly. Whoever left this fairy off the
Yip Wing-sie, eventually managed to sooth my initial
invitation list should be thrown to the crocs in the moat!
apprehensions. Over the past sixteen years, I have usually
avoided, wisely I would say, going to productions of
Act I opened with one of the best Garland dances I have
Sleeping Beauty, especially those dreadful shoe-string
seen in any production. This corps de ballet number was
budget Russian ones with horrendous production values,
skillfully crafted, lyrically phrased, beautifully danced and
choreography, and dancing often touted around Australia
very pleasing to look at. Cazalet’s designs and William’s
lighting in this Act offered a greater scale of sunny
and Asia.
composure. From this point on, I thought I could relax and The main function of Sleeping Beauty’s prologue is to show
enjoy.
off a bit of classical dancing in the shape of a number of ‘fairies variations’，and to set the mood for the main action
However, following this pleasant opening, my stomach
that follows. These variations are not of the outwardly
began to tighten at the introduction of the famous Rose
bravura type most associated with short classical dances,
Adage’s dulcet tones. This must be one of the most un
but nonetheless are technical vignettes that challenge the
forgiving opening entrances for any ballerina. Where else
dancer more than the audience’s ability to enjoy. Each fairy
does the leading dancer gracefully enter the stage, usually
embodies everything that is good, uncontaminated, and
down a long rickety staircase, and then spend most of the
conservative about classicism - chaste, simple and
number balancing, or being promenaded, on one leg
harmonious. The slightest slip, incorrect hop, or smallest
enpointe, while lifting her right arm up and down. What
stumble, would be noticed by even the youngest members
may look easy is deceptively difficult and down right scary,
of the audience. The beautiful fairy might come off not
not only for her, but also for at least the third and fourth
looking so beautiful after all. It was refreshing to see these
suitors in her pack of princes.
solos reworked by Jefferies from what is often mundanely
standard fare. Nonetheless, they retain a high level of
Memories, and those feelings, came flooding back! I started
technical competence and clarity of execution that is the
off as the third prince eventually graduating to the fourth
core of classical dancing.
and main one, and while we didn’t have to worry at all about our 5th positions in this dance, we certainly had to
The chief protagonist is the Lilac Fairy, whose dancing in
worry about hers. The responsibility placed on the four
the prologue is emboldened by a resonant Tchaikovsky
men to ensure the ballerina remained with her leg aloft in
symphonic tune and undoubtedly, I think, the prologue’s
attitude derriere was considered punishable by death if not
best piece of danceable music. Chantel Elizabeth Roulsten
met. I can recall a number of occasions, working with
in this role was truly graceful and technically assured
international guest artists, when we four suitors would be
throughout. The other fairies all danced with technical
called in on our day off to rehearse — and I’m not talking
surety. My favorite was the duet for the Fairies of the
about a young up-and-coming soloist doing it for the first
Woodland Glade. Irene Lo and Ivy Chung performed this
time, but international names of the day, like Natalie
variation with lucidity and an adroit awareness of each other
Marakova, Eva Evdokimova, Galina Panova and Dame
in a piece that was choreographically interesting. Mention
Merle Park. To fumble this dance could destroy even the
should also go to Eriko Ochaia who breezed brilliantly
hardiest ballerina’s resolve of a self-assured performance
through the Songbird solo and Crystal Costa who showed
for the remainder of the ballet. It was our steadfast duty to
fine classical line and precision in the difficult Fairy of the
keep her enpointe.
Golden Vine. However, the prologue really belonged to the dazzling Ayako Fuijioka as the wicked fairy, Carabosse.
In the Hong Kong Ballet production, Faye Leung, a lovely dancer with an exquisite classical line, reprised her Princess
This wronged fairy was not the usual over-made-up
Aurora role for the second or third time. In the Rose Adage,
‘dragster’ who would look more at home in Priscilla, Queen
she was careful and overtly concentrated at times, but that
of the Desert. Ms. Fuijioka was absolutely stunning in her
can be forgiven, as her approach was calculated and timely,
□
The author (centre) in the PACT Ballet (South Africa) Rose Adage.
and it was clear that her partners knew exactly what she
of gratuitous and vulgar tricks. The subject matter of
was doing. Hers is the best way I believe, until confidence
Sleeping Beauty, adapted from a story by the 17th Century
and experience develops to full maturity when risks can be
French poet philosopher Charles Perrault, and like all
premeditated. In all ballet troupes the responsibility for
fairytales, a product of romantic literary invention, is, as in
the four suitor princes is usually given to the most senior
many productions of Petipa’s ballets, usually of secondary
and experienced partners in the company. There was no
consideration.
exception in this production.
dancer display at least a very laudable veneer of romantic
But it was pleasing to see this talented
idealism in the classical style of his dancing in this act. As princess Aurora, Leung does not really look like a modest, cosseted sixteen year old who obeys every wish of
I really began to enjoy this production as yet another
her majestic, detached parents; her Aurora is already a
splendidly danced corps de ballet piece, acknowledged in
beautiful woman, and this allows her to shine splendidly in
most productions as the vision scene or simply, the nymphs,
the third act grand pas de deux. With the Act II introduction
unfolded. Stephen Jefferies’ choreography illustrated his
of her handsome Prince Charming, I was convinced that
own history and heritage and his knowledge and
Hong Kong Ballet had come of age as a company that could
understanding of the classical form and structure. This
withstand the rigors of the classic repertoire. Prince
marvelously designed dance section led by Fuijino, Leung,
Florimund, danced by the elegant Nobuo Fuijino, looked
and Lilac Fairy, Roulston, was one of the highlights of the
every inch a prince, and his dancing was every bit as
ballet for me. Looking around at times, it was easy to see
classical as it should be. He was technically secure, poised,
the pleasure that entertainment such as this classical form
manly and confident, a real pleasure to see.
brings, where elements of choreography, music, design, and
decor provide a cohesive totality.
Once the Act II hunting party finished their masochistic game of whipping each other and the poor blindfolded sod,
The ‘awakening’ scene in this production, where the
and quaffed the last of their Chateau box de plonk, they
previously pricked princess who has been in slumber for a
departed - for yet another costume change - leaving
hundred years, was spared Florimund’s often tedious
Florimund alone on stage. Fuijino gave full credence to
lengthy journey through an odd assortment of overgrown
the detached, brooding, pensive romantic aristocrat in a
jungle, mangroves and foggy pollution, to plant the famous
beautifully danced slow solo, which thankfully was devoid
pucker on his princess as she lies delicately poised on a
5
palatial plinth with both feet pointed. In Nureyev’s
in the form of the Blue Bird and Princess Florine, Puss ‘n
production, this scene did drag on, providing just enough
Boots and White Cat, and the dear little but unfortunate
time for a costume change for the corps de ballet girls, so
Red Riding Hood and an overgrown wolf. The Blue Birds
they could take their places on the ramparts again with us
are the ballet version of an Olympic 200 meter sprint and
boys, where we’d all fallen asleep a hundred years and forty
hurdle race, and justification for the male of the species to
However, we were often
quit smoking. By the time you get to the last entrechat six
entertained in this scene by the lush dialogue that ensued
you feel like your chest is about to burst. Anyway, the
between Rudi as the prince, the tough old Lilac Fairy, and
bouncing Kenji Hidaka did a good job and was well
the burley stage technician, who peddled furiously in the
supported by the technically exact Angel Wong as Princess
bowels of the princely boat, as it zigzagged endlessly across
Florine.
five minutes previously.
the stage to finally arrive at our feet.
For children, the two pussycats in their cute feline finery Fortunately, the action leading to one of best bits of the
are probably the most memorable divertissement. The scene
ballet in the Hong Kong production came quickly, and was
is short, full of characterization and choreographically
certainly anticipated by every little girl sitting around me.
consistent with the music. The last bit is for Red Riding
In a wonderfully gorgeous musical climax, the handsome
Hood and wolf, usually the weakest part of the third act,
prince kisses the most beautiful of all princesses. Even I
and always placed just before the grand pas de deux so as
felt the odd twinge of the spine at this romantically
to not up-stage the main event, I presume. However, I sort
enchanted fairytale moment.
of liked this often boring and trivial divertissement, as this Hong Kong wolf was a bit more lively and looked like he
From this point on the story is complete, and we all know
could really dance. Selina Chau, as little Red Riding Hood,
they will live happily ever after in heavenly bliss without
is always sunny and vivacious on stage and it is hard to
ever having to pay a gas bill. However, there is the small
think of anyone else who could do this silly role justice.
matter of a wedding that provides the reason for a third and
Why don’t the courtiers standing around warn her of her
final Act. No actual recognizable ceremony takes place
impending doom at the hands of that voracious carnivore,
but I presume the grand pas de deux is symbolic of their
maybe they’re asleep? Also, where is the hilarious drunken
nuptials. The Hong Kong Ballet Act III is fairly standard
grandfather with the big gun? Oh, sorry, wrong party!
fare in choreographic terms, and it got straight down to the business of providing blatant displays of dancing, also the
The climatic event of Sleeping Beauty is prince Florimund
intent in the original 1890 ballet.
and princess Aurora’s grand pas de deux. In this production
it was extremely well crafted from somewhat standard
Following a white wigged, high-heeled courtier’s dance,
material. The interpretation by the two principals had an
taken at a more reasonable tempo from what I recall, Prince
air of confidence, and with their excellent dancing it would
Florestan and his two sisters open the main proceedings -
not look out of place on any of the world’s great opera house
but who are these people? Known as the Florestan pas de
stages. Leung grew in self-assurance and skill throughout
trois, it is one of the most thankless but challenging pieces
the ballet from her initial entrance in Act I, and performed
in the ballet. If you loose your 5"' position, in other words
this final duet with radiance. Her solo and coda were
your technical veracity in this piece, it can look drab,
executed with technical precision and provided an
hackneyed and just plain dull, for it has nothing to offer
opportunity to display her striking classical line. Fuijino
apart from straight forward technical expertise. The three
was certainly a match for her as he maintained the same
dancers who performed the suite, Kyoko Tomimura, Irene
high standard of dancing and composure of his earlier
Lo, and Carlo Pacis were clearly up to the challenge and
entrance. His partnering was excellent. This was the best
cut through their work with flair and technical precision. I
dancing I think I‘d seen from either of these fine artists. To
liked the quicker speed of this divertissement, which further
achieve this in a major classic is no easy feat.
stretched the trio’s technical skills. They looked like they
were thoroughly enjoying themselves and brought the
Hong Kong Ballet’s Sleeping Beauty is a worthy addition
choreography to life.
to its repertoire and, after some minor fine-tuning, should
be seen on a regular basis. It is a crowd pleaser. A sensible Next follows a trilogy of short animal character pas de deux
(continued on page 7)
專稿
ARTICLE
《舞者專業地位》座談會後感 文：雷佩瑜
回看這十數年香港舞蹈工作者在舞蹈推擴和敎育上默默
出生於香港，雷佩瑜畢業於美國威斯康辛州州立大學■ 修讀藝術及舞蹈敎育。她在舞蹈界工作多年，經驗包括
編舞、演員、舞蹈老師、藝術行政，專欄作家和舞評 人。她的舞蹈作品曾在洛杉磯、西雅圖、溫哥華、多倫
耕耘，現在舞蹈活動比過去多，從舞台製作到舞蹈敖育 方等各面亦比過去的好。除了幾個大團外，也有好幾個 頗活曜和有份量的小團體和多個自由舞者正為香港舞壇
多、香港和廣州發表。
編寫著可喜的一頁。
雷佩瑜是城市當代舞蹈團的創辦團員之一|現職香港芭
舞蹈藝術一向以來都比不上其它的一些表演藝術媒體，
蕾舞團敎育及外展部主管。曾策劃多個敎育及外展節
如戲劇和音樂那樣，受一般人歡迎和欣賞。舞蹈有其局
目，包括「芭蕾育苗計劃」、「多媒體舞蹈敎育計劃」和
限性，和對觀者的要求。一般人停留在只「看」舞蹈，
「創舞者空間」等。
而忽略以開懷心情去欣賞，去直接「感受」舞蹈這個肢
體語言藝術給予感觀上的微妙感凳和衝擊 。一般觀眾還
秦每日新聞，似乎都免不了報説經濟困境，各
行各餅扎求存，市民有X開，不論福利如 何，薪金多少，已屬萬幸了。藝術工作者在經濟穩定的
是保守於過份分析、「解畫」的心態去看舞蹈。故此， 舞蹈藝術敎育除了讓觀幂認識舞蹈技巧，更重要是幫助
觀眾■訓練靈活敏銳的觀感能力和判斷的信心。
社會中尚要付出比其它行業還要多的努力 ，去爭取生活 安定，社會認同；現今世界不景氣，對藝術工作者的考
許多舞蹈工作者可能正煩惱於不能集中創作.而要兼上
.驗，更是百上加斤。
其它如舞蹈敎育、行政、幕後等工作來求生計安定。其 實這些工作也是推動舞蹈藝術的重要和極需要的工作。
前些時參與了香港演藝學院舞蹈學院校友會的座談會 ，
談到舞者的專業地位，也談到生活方面和尋求解決的辦
藝術的專業性，在我來説，是很難只集中在藝術創作
法等多個議題。在聆聽年青舞者對生活的困感和苦惱，
上；如果可以，那就太幸運了。但現實卻不然，只有絕
使我感受深切。
少數的藝術家可以如此，而他們的「幸運」也有他們的 本身條件和背後的因素。
香港的舞蹈藝術發展到今天，其實比過往好多了。過去 一般市民對舞蹈的認識極之單簿，隨著幾個專業舞團的
今天，各行各業都説「增值」，我們在困境中也好再回
成立，市民才慢慢改觀。文化藝術反缺社會的精神面
看自已的絛件、優點、能力和不足之處，如各行各業的
貌.而文化藝術之能夠篷勃，是很需要政府的協助的，
朋友一樣，不斷充實自已，「增值」信心和能力，以樂
包括了政治上和敎育上多方面的配合 。今天香港的舞蹈
觀的態度去創造和製作我們人生和舞台上的優秀作品。
藝術工作，雖是荊缽滿途，但還是樂觀的。
(“Beauty Revisited" continued from page 6)
It also showcases the many fine company dancers. Like the company's excellent Nutcracker and its praiseworthy Swan
and likeable production that doesn’t pretend to ape those
Lake, this Sleeping Beauty challenges the dancers’ classical
of the big ballet troupes having a hundred or so dancers
standard while at the same time, maintains its integrity in
and many more years of tradition. To compare this
the presentation of universally popular classic ballets to
production to those is nonsensical. This production had a
Hong Kong.
sparkle about it and above all, an honesty in its treatment.
舞評 DANCE REVIEW
戰亂震央的化毒劑 -以色列巴舒化舞蹈團的《十級地震》與《勒赫林病毒》 文：Lau Kin Wah
•^李立亨在
音節愈來愈飽和，積
他的《我
累的相應舞步亦愈來
的看舞隨身書》談論歐
愈長，其中轉身縱起
洲現代舞一章時，最
腳尖企上椅又轉而瀉
後也不忘提到雖然位
身坐下的動作更叫人
處中東、但在發揚欧
看得驚心動魄。不過
美現代舞上不容忽視
每次的流程到了最
的以色列一支。和香
终，卻總要同歸於揭
港人口相約的以色
開外套仰後忽然露出
列，據述就有六個專
刺眼的白视衫、搬出
業舞團，今屆香港藝
那彷如中槍的死亡姿
術節邀請來擔舞蹈方
勢作结。當最後一個
面重頭戲的1正是其
舞者前衝伏倒•接著
中由奧哈.勒赫林
一切又重來一轉。原
(Ohad Naharin)擔當總
先衣冠楚楚的舞者，
監的以色列巴舒化舞
逐次撕去一重衣物，
蹈團(Batsheva
堆在場中的衣衫、裤
Dance
和鞋•更難免使人聯
Company) °
想到集中營的畫面。
在香港先上演的戲
不過以色列和巴勒斯
碼，是集合了該團七
坦的衝突陰影固然迫
支過去作品片段的《十 級地震》
在眉睫，其立國前的 創作：奥哈特•
(D e c a
Ijy Ohad N'pharin
Dance)。當觀眾•開始 進場，一個舞者已站
在前臺邊緣跳著輕輕
猶太歷史亦同樣慘 痛，我們卻也不必處
處煞有介事地詮釋舞
作，拉丁和傳統音
nilllf'VHIKKt-
鬆鬆、興至所至的簡
樂•目的更多是形塑
單舞步，给觀者一種 揣摩學步的熱身機會(何以稱之為學步，自然當有下
一種地方色彩，加強 舞作的文化質感和活力。
文)。大堂燈光一直沒熄，群舞者陸續地加入，但這開 始不過原來只是幌子，幕迅即又落，當最後一個舞者激
一段比較原始造作的群舞，再加一段踩高蹺高的獨唱，
動地向觀眾喊呼著什麼時，忽然卻被其他人強拖回黑幕
演出前半部以幾支感傷的雙人舞最為精彩，其中如抓著
背後，所有燈此時才告熄滅。幕重開時.身穿黑衣的舞
對方的面把人從地上反覆地抽拉起來的動作 ，暴力得來
者已齊整弧圓排跨整個臺圍坐著，一把聲音提示了舞蹈
又似和死神的無情拉扯：當中全黑的間場燈光所培養的
作為美、作為瘋癲等等的一線之差，接著來的則是支伴
情绪效果更應記一功。不過最令全場人興奮的，莫如演
上強勁音樂的全體舞.形象和力度皆震撼人心。從左到
出中段十數名的舞者再次盛裝禮服步落舞臺邀選觀眾上
右浪潮般的推演動作，每次叫喊的內容愈來愈長，填塞
臺共舞。穿著便裝的、西裝的、晚装的觀幂•在重編得
澎湃激昂的
編的檔位；
《彩虹天》
至於企立盤
(Somewhere
扭擺身的小
over
the
幅度動作，
rainbow)的音
給人的感覺
樂下情緒被慢
則輕鬆自
慢推至高漲，
在，又未至
逐漸參與投入
淪成包殊
至忘我的熱情
(Pina Bausch)
共舞。不論觀
的媚態。同
眾_學步如何，
臺上多重組
其自我釋放本
合、視點、
身所散發的高
層次的散亂
昂自豪感，已
秩序，也沒
是最大的回
有幾何模式
報。舞團開放
的框框。這
舞臺和觀眾同
正如其利用
跳同演，信任
音樂方式，
《勒赫林病毒》
每個觀豕的表
也是富色彩
演潛力，安排背後的信念確實足叫所有現場觀者動容。
感情的，並非如科西般以理性拆解樂章的結構。因此，
此段熱鬧的高潮以舞者和觀幂雙雙倒地結束 ，舞作隨即
當其雙人舞一配上悠揚一點的音樂，就總是娓娓動人。
又再回歸深沈細膩。慢的弦樂加上輕快的管樂和嘈音 ，
如向前彎腰蹲行伸抱的動作，從背對背繞轉一圈重攬對
三種聲音相配不同的舞法交差出現，帚領觀者出入於現
方的腰，配以漢德克關於時間的論述尤其一絕。
代古典步伐的時空，轉接既似變幻莫測又卻來得有板有
眼。至於整晚演出以一個啦啦隊的雜技式組合配以一個
比較突兀的是編舞者加插了三段舞者的小故事作為「劇
獨舞者的分庭抗禮來結束，亦古怪得來新鮮。
中之劇」，使觀者想像離開了舞臺的真實時空，似有製 造假象之嫌。反是舞者一下子彈脱出漢德克要求演員穿
只演一場的第二齣舞作《勒赫林病毒》(Naharin’s
的禮服，作為説穿假象則是更有趣味的演繹。舞劇的末
Virus)'是奥大利作家漢德克(Peter Handke)劇本《冒
段，自然少不了最經典的連篇罵話，但伴隨的舞步，僅
犯觀眾》(Offending the Audience)的一次舞團版演釋。
是全體直立來回的張手缓轉，禮貌和藹的姿勢沒有半點
當觀尿進場，已升幕的臺上沒有舞者，卻有個十字架般
煽情。大概因奥哈能體味「劇」(play)和「舞」在臺上
的充氣膠袋在搖擺起舞，調皮而冷酷。漢德克的劇本，
的同根性，精神的彼此互通，劇場和舞蹈兩種傳統於此
本以後設的直述解構劇場和觀者的關係，這次併合舞蹈
關係不亢不卑。冒犯觀眾的火氣，於此被導化成了對藝
演出，借簡約化的舞臺，以形體就是形體為本，果然有
術的自我拷問。唯是，在掌聲如雷的謝幕過後，如漢德
出色的化學作用；這既是編舞者獨具慧眼，也是英雄識
克所言，觀豕又要離開了舞臺、步出了劇場，再次返回
英雄。尤其在這劇本空架中，動作的任意性如何成了指
到比受罵還要殘酷的現實；到底，活在今天的世界，以
定動作，而不悖離原劇的精神，奥哈的掌握似乎恰到好
巴這種使人婉惜的世代仇恨和塗灰生靈的戰火1誰也不
處，頗能捏準漢德克那種在繩規之內的颠覆，依賴和反
能視若無睹；幸而，經《勒赫林病毒》一役，只要觀者
叛的張力。正如舞者的緊衣裝束，連指頭的白色上身直
重拾看事物的新觸覺被喚醒，一切才還是漢德克把此劇
到臀部大腿之間，跟下截的黑色成了鮮明的對比，分割
本所稱之為的「序幕」(prologue)吧！只要藝術不是懸
稍稍偏離了慣常的比例而又未至於離經叛道，正是僅僅
空抽離而是緊貼生活，它就總是重新肯定人性的一股重
誘人對事物作重新觀察的示範作。
要力量。
和湊合舊作的《十級地震》明顯不同，這作品更能呈現 出統一的風格，而最堪比較的，可能該是科西(William
Forsythe)領導下的法蘭克福芭蕾舞團(Ballett
Frankfurt) °尤其此舞作中，同亦使出不少古典芭蕾舞的
《十級地震》
1-2/3/02 8:00pm, 3/3/02 2:00pm香港文化中心大劇院 《勒赫林病毒》
基本動作，但區隔的使用一般時候比較分明。間插在其
中的硬性肢節動作，被利用成了頰停變換節奏或組合重
4/43/02 8:00pm香港文化中心大劇院
舞評 DANCE REVIEW
一場遂戲一場舞 文：何堃嘉 照片提供：楊春江
# t k的《哥仔戲》，可以是嚴肅的論題，
成■亦可是一首浪漫的詩，舞中從
「男」
這條幼嫩的身驅，隨著兩旁各樣身份的成年男人。無奈
地步入現實生活中。
這個性别帶出本我的覺醒和疑慮。「到底是我們掛著 它（指陽具），還是它掛著我們」，引出是次舞蹈劇場
然後，一群光著身子的男孩在黑暗的與聚光燈開展追逐
的主題內容。先有身份，還是先有自我？這個因果疑題
的遊戲。他們用手掩著身體的性徵，減弱了男性的身
使男人對自我的主體性產生了懷疑 。兩腿之間的陽具似
份，帶著少年的天真，在輕快的樂曲中用笑聲迎接人生
乎充當了價值的根源。男人一面接收著中國傳統男權社
路的開端。
會遺留下來的價值觀：另一面卻對價值的根源產生懷
疑。跟自己的陽具計較誰來主宰，又會否是男人與生俱
日本來的高嶺格是一位叫人稱奇的舞者，他的「肌肉
來的矛盾心態？
舞」凝聚了整夜的首個高潮。他不但能驅使身體的每一
甫進場，劇場充滿著一呼一吸的沉重聲音，一起一落地
處」，一幕「屎眼春光」，被投放到大銀幕上，觀眾們
送進觀眾的心房內。台上蠕動著一條赤稞的男性驅體，
有浪笑的，有目瞪口呆的，也有女觀眾掩眼偷看的。高
孕育在透明的子宮內。時而驕柔地游動，像留戀著子宮
嶺格表演出男人的自信，亦由此開展整場舞蹈的另一主
內的温柔，時而歇力地掙扎，像恐懼人間世界的殘酷。
要原素一節拍。
吋血肉配合節拍跳動，所控制的範圍包括男人的「私
《哥仔戲》的編舞注重節拍•舞中不時重覆心跳拍動的
節奏，藉此與觀幂作心靈溝通.從舞台到整個劇場，他 們演繹的不止是個人的感受，而是以「男人」為社會符
號的共同故事。
楊春江以陽具為此舞的象徵重心，舞蹈的設計亦從 「他」的生理狀態衍生出來：放飛劍、射尿、懸吊、暴
虐、精子游動...... 串成熟悉的生命歷程。環繞著 「他」而產生的疑慮：權力、情慾、力量、衰弱、身份
和階級，亦無休止地發生。這舞蹈劇場中偏重直接地表 達陽具的象徵意義，卻未有發展其能從舞蹈中所產生的
美感，象徵有餘卻意象不足，稍稍削弱了舞蹈的藝術
感。
中段的「吊」和「咀咀」的舞蹈設計簡約有力，在有形 與無形間，邀請觀眾與劇場一起想像，陽具在交換情
緒，精子在互相挑逗，男人的強弱與剛柔再不重要，只 在乎製造舞台上的詩意。但「制服你」卻顯得比下去 了，舞中刻意反映制服背後的社會地位和階層、權力和
暴力，太直接的表達方式反而顯得悶納 ，留不住觀眾的
心神，觀眾們多半作了非正式的中場休息。
《哥仔戲》是一場很豐富的舞蹈，台上台下，舞者與觀
幂，混合著無數的價值與觀點。舞蹈劇場的结尾在力量 和汗水中歸於平淡，在泛光燈■的一收一放的象氛下，光 線把注意力從舞台轉到觀眾席，把未完成的結局交給了
觀眾*
《哥仔戲》
14-17/3/02 8:00pm藝術中心壽臣劇院
s
都濤蹈夂化4 !胃^舞及拉丁 THE
時間：2002年6月15日（六卜16日旧）晚7:30
g g ■k
香港伊利沙伯體育館
表演嘉寅： 世界職業標準舞冠軍
^Luca & Loraine Baricchi 世界職業棟準舞亞軍
T
Christopher Hawkins & Hazel Newberry 美|職業標準舞冠軍
Jonathan Wilkins & Katusha Demidova 世界破業新星棵準舞冠軍
J8K'' 關編Alessandro Firmo & Michelle Barry 世界破業拉丁舞冠軍
Bryan Watson & Carmen 世界破彙拉丁歸亞軍
Slavik Kryklyvyy & Karina Smirnoff 世界職業新里拉丁舞冠軍
Jason Roditis & Tonia Kosovich 及新加坡職業拉丁舞前六名 Kitian Bradbury & Alina Finkelshteyn
大型標準舞及拉丁舞講座" 時間：2002年6月16日（日）下午2:00-4:30
統蓴：采世革、Na
香港伊利沙伯體育館 主
世界職業標準舞冠軍 Luca & Loraine Baricchi
世界職業拉丁舞冠軍 Bryan Watson & Carmen
票價：HK $ 380
表演及講沌門票從5月14 H起在藝 及城市'心腦仍⑨網發 活：852-28360023 ‘ 俦戽：£ E-mail:DancecuIture_hk@yahoo.com.hk
'.E
鉍都舞蹈文化會地址：秀港»鑼灣謝尖道496饨利i從坳20«
舞評 DANCE REVIEW
香港演藝學院舞蹈學院校友會
《首演》 文：方人
4/
舞蹈學院校友會首
洛液勢聲院次嘗試主辦舞蹈演
感，使觀眾從固定的角度中看到編舞者刻意設計的構 圖。另一方面，在整狗舞蹈中編舞者都刻意安排了一些
出，於今年三月尾籌辨了兩場《首演》。據校友會主席
輕微的停頓。這一安排一方面成為了舞蹈韻律節拍的一
王廷琳説，主辦演出的意念其實是舞蹈學院的已故首任
部份，加強了舞蹈中那懶慵的氣氛，另一方面則強調了
院長胡善佳先生所提出的，想不到到演出時，老院長已
舞蹈中的構圖設計。舞中兩個舞者的動作很多時都很簡
離人世。校友會也將這次演出獻給這位剛過世的院長。
單，但兩個舞者時而互相呼應，時而互相對比，造成一 些有趣的靜態構圖：兩個舞者一'正一■反、一•站一坐、一■
當晚演出的第一齣舞蹈便是王廷琳為紀念老院長胡善佳
直一屈、一側一背、一曲一張、一動一靜、一起一落、
先生而編的《良師》，舞蹈員中包括了 一些被胡善佳先
一先一後、一既一立、一仰一伏、一光一暗....在漆黑
生所敎導過的演藝學院首數屆畢業生 。《良師》以「承
的舞台上組成了一連串簡約而帶著張力的構圖。我看的
敎」作為主題，舞者對良師亦步亦趨，充滿懷念依戀之
是下午二時的一場演出，《3時後的午後》演出時正是
意，感情真摯。舞蹈的尾聲播出了一些舞蹈學院學生上
下午三時前後，不知這是否是刻意的安排？
課和彩排時的錄影片段，想必是當年胡善佳先生的課 堂。在片段中，可以看到《良師》一舞中的一些舞蹈動
看王廷琳、黃恭和林恩浪所編的《留下》時•心中的感
作，就正是十多年前學生們從院長所學習到的舞步。想
受是很予盾的。舞蹈以傷健為主題，舞中的舞蹈員使用
到今天再次把這些動作搬上舞台時，當年的良師已不在
了枴杖和檢椅，傷健互相扶持，充滿鼓舞激扇之意。毫
人世，能不叫人感慨？
無疑問，編舞們的態度是善意的，用心也值得稱讚。然 而，在觀看這鉤舞蹈演出，看著舞中「傷」者那輕而易
張秀梅的《3時後的午後》有如舞中舞蹈員那一身黑舞
舉的流暢舞姿時，卻叫人不斷疑問舞蹈的編排有否踏過
衣中的紅袖般，在不經意中閃出點點艷光，叫觀眾眼前
了界線：善意的模仿會否给人誤會為嘲弄？會否令傷殘
一亮。整齣舞蹈大半的時間是在地上進行，舞蹈的編排
人仕看得滿不是味道？但這是否是自己太過敏感了？是
有條有理，流暢踏實。兩個舞蹈員的動作可説是慢條斯
否是自己看低了傷殘人士的能力？當然，最终的答案只
理，不急不缓，每個動作以及動作和動作間的連接都清
有當事者才能知曉，但編舞者不得不小心在意。我想’
楚交代，毫不合糊。其中一個多次變化出現的動作是：
最理想的做法是讓傷殘人仕參與演出。這樣一來，這齣
全身伏在地上的舞蹈員把一隻手從腿旁貼地伸出，手臂
舞蹈的意義也便更加完整了
伸直地在地上畫出一個半圓後在頭上方縮回 ，直至手掌
疾人士工作的經驗，想必曾考慮過當中的利弊、限制和
覆蓋在頭頂後，舞者的頭慢慢的抬起來，而原本蓋在頭
可行性。
一向都知到王廷琳有與殘
上的手掌也隨之下滑，沿著舞者的臉旁，落到下巴的位
置，把頭托了起來：跟著舞者的另一隻手亦以同様的方
综合整場《首演》的演出•舞蹈雖然是多元化’然而卻
式伸出，畫個半圓後收回，但收回時拉扯了托著頭的另
未能代表到演藝舞學院畢業生的全面 。很多在大型舞蹈
一隻手的臂彎，並把它拉倒，使得舞者那失去支撐後的
團中工作的畢業生都沒有參與這次演出，想是因為工作
頭顱也無力地跌回地上。這一組動作簡單中帶著點懶洋
繁忙的原固。然而，這卻無損這首次嘗試的意義。希望
洋的味道，有一份有少女的嬌慵感覺。而舞衣上的紅色
舞蹈學院校友會能夠繼續舉辦同類的演出，更積極的為
衣袖在黑暗的舞台上更突顯了雙手的舞蹈動作 ，亦顯出
香港的舞蹈發展作出貢獻。
了編舞者的設計心思。《3時後的午後》亦很著重舞蹈
的構圖設計。編舞者把整齣舞蹈都安排在舞台偏後的位
置中進行，與觀眾隔開了一段距離，加強了舞蹈的平面
《首演》
30/3/02 2:00pm, 8:00pm香港演藝學院一號舞蹈室
舞評 DANCE REVIEW
《365種係定唔係東方主義》 與
《 九歌 》 文：方人
從空中不斷瀉下，台前一角則舖了細沙，並在沙堆中燃 點了一盆火。台上三個男舞者，分別代表了地、水及
風。在火堆旁的「風」'（桑加吉）的帶領下，三個舞者 展開了一段緩慢而凝重的舞蹈。舞蹈以肢體動作為主.
簡樸的動作頗有「禪」的味道，各個舞者各自舞動著， 相互間甚少接觸和交流。在古拙遲缓的舞蹈中，時空仿
似都消失了，仿佛只餘下恆古以來就已存在的基本元
素。雖然這段舞蹈足以建立一種基調，但在內容和素材 上卻頗有不足之處。編舞者也似看到了問題，在舞蹈中
安排了一段較快活潑的群舞：上身穿著中式服裝、下身 穿著古典芭蕾舞裙的女舞蹈員以急速（比正常快）而整
齊的步伐跳著簡單而活潑的、類似芭蕾舞的舞步；與一 直在台上缓慢地舞動著肢體的三個舞著形成強烈的對
比。這一節舞蹈除了缓和對比了〈地、水、火、風〉一 段的遲緩凝重的氣氛外，亦預告了下一段舞蹈的調子。
《365》的第二段舞蹈是〈春、夏、秋、冬〉。這是三段 舞蹈中最長的一段，舞蹈分成四節，根據演出次序排列 是〈秋〉、〈春〉、〈夏〉和〈冬〉。場刊上説：「時 «
移世易，歷史變還是不變，生命是常與無常，孔子以之 作『春秋』」。這一段應是以時間的演變為題：四季循
C3-
環、歷史變幻、文化積聚、生生不息。〈春〉、〈秋〉 兩節雖然標題有異，場刊上亦介紹説它們分別以文化和
〈地、水、火、風〉。攝影：陳德昌。
慶典為主題，但其實兩著的內容近乎重疊：事實上，大 多數傳統文化活動都是慶典的一部分，不能分割。在舞
香港城市當代舞蹈團來説，今年的四月是
蹈上，這兩節與第一段的的「靜」和「缓」完全相反，
~~個繁忙的月份：在短短的十日中，上演
而可説是近乎瘋狂。舞蹈以鮮紅為主色.名正言順地打
了兩齣不同的作品，一共演出了六場。雖然其中一齣是
著「東方主義」的大旗，把所有可以想像到的中式舞蹈
重演的作品，但當中的忙亂，仍然是不可想像的。
（或非舞蹈）道具— —「擺上檯」：填、冠、刀、劍、
袖、槍、髮、笛、簫、笙、阮、胡、琵、琴、鼓、鐘、 先上演的是四月五日至七日演出的《3 6 5種係定唔係東
扇、傘、花、囡、獅、箱、龍、綢，可説是應有盡有•
方主義》（以下簡稱《365》）。長長的名字，隱隱預告
看得人眼花瞭亂。要用這二十四種道具編排出兩節總共
了舞蹈的嘲弄調子。然而，該晚節目的第一場〈地、
約三十分鐘的舞蹈.其中的狂礼和困難是不用多説的。
水、火、風〉卻是出奇的嚴肅凝重。根據場刊，「地、
然而編舞似無意以此編排出有「創意」的舞步，而只編
水、火、風」是泛指「生成宇宙的物質，佛敎名之為
排了舞蹈員如巡遊般— —把各項道具舞弄一遍。至於一
『四大』，道家稱之為『五行』」。舞台的設計配合了這
些較為傳統的中國舞蹈道具，例如劍、袖、扇、傘、绢
一場的主題：在開放式的舞台上，台後水幕有如瀑布般
等，在處理上也不用傳統的技巧，刻意做成似是而非的
14
往是'騙西方人的玩意，似是而非，對真的東方文化•並 沒有深入的理解。
综觀整晚的演出，《3f）5》的創作意念其實是集中在「劇
場」編排上的戲劇效果，而非在舞蹈動作上。以嘲弄為
主內容’給人一種不夠全面和不實在的感覺。到底.東
方主義「係定唔係」騙人的玩意呢？
一星期後，再到文化中心看黎海寧的《九歌》。《九歌》 原著是著名詩人屈原根據中國古代楚國的「巫歌」所編
寫的詩歌。「巫」是原始的信仰形式，當時中國還沒有 佛敎和道敎等有系統地發展的宗敎，人們罵信鬼神，祭 神時載歌載舞•而《九歌》就是古人「祭神」時所唱的 〈春、夏、秋、冬〉。攝影：陳德昌。
效果。編舞似欲以這一安排來嘲弄「東方主義」往往被
歌詞。這些歌詞因被屈原編成《九歌》而流傳了下來， 但當時的歌與舞卻早已被遺忘。
膚淺地利用作為「噱頭」。這兩段的舞蹈大多都只是匆
匆一舞，在動作和內容上也不見有較深入的意義。其中
《九歌》其實一共有十一章，分別是「東皇太一」、「雲
只有「龍」和「鐘」兩段著墨較多，其嘲弄的意味也較
中君」'
為深：於前者中舞動的龍被舞者們解體後用來抹地：而
命」、「東君」、「河伯」、「山鬼」、「國殤」和「禮
後者中的鐘和鐘架則有如杨 1鎖般困著舞者。然而，到底
魂」。雖然有些篇章仍有爭論（有學者認為「東皇太一」
這些文化的像徵是否有如舞中的不切實際和沉重？舞中
和「禮魂」分別是迎神和送神之曲），但大致上每一篇
便欠缺深入的探討。
是拜祭一位鬼神的「巫歌」。這些歌詞大多篇幅不長，
「湘君」、「湘夫人」、「大司命」、「少司
而內容則大多是描述諸神的服飾、舉止、神態、「排 〈夏〉的一節其實是一場「床上戲」，男女主角在紅色
場」和居所等等，甚少故事性的敘述，可以改編成舞蹈
大床上翻雲覆雨，群舞員則在四周舞動紅綢。場刊上
的題材其實並不多。如果將之和舞蹈《九歌》中的各段
説：「艷陽高照，革命激情澎湃」。用性來暗喻革命並
比較，不難見到編舞的靈感雖然是來自《九歌》，但編
沒有問題，但筆者只是不明白.為何床上的「性」全是
舞者並沒有受到文學原著的限制，其中適用的題材自然
「傳統」地以男性主導？這是否「東方主義」的一部份？
順手拈來，不適用的則捨而棄之，另外再加上了一些編
為何舞中的大男人把嬌小的女主角舞高弄低 ，似虐待多
舞者所選的題材，共編了九段舞蹈，以合《九歌》之
於造愛？
數。在舞蹈編排上，則以「巫」的特性作為基本調子一 原始、野蠻、非理性、狂熱而投入；以宗敎信仰作為中
跟著來的〈冬〉是之前三季的一個小總结，之前用過的 道具，又再— —搬上台上「供奉」。也把時間帶到了現 代中國。
當晚最後的演出是第三段〈無、人、天、空〉。在暗淡 的燈光下，舞蹈員—把漆成銀色的、長長的竹枝一行 行地插在台上。台後的白幕上投影了舞蹈員緩慢舞動的
片段。隨著放影機射出的燈光把部份的銀色竹枝映照得 閃閃發光，台上的舞蹈員也展開了缓慢的舞蹈動作。這
一段舞雖然把虚的和實的都帶到台上，但兩者的重叠和
交流不多，结果虚的還是虚，實的仍是實。無論是現實 的與放影中的舞蹈都是緩慢的舞步•再加上暗淡的後 光•结果是長竹枝上閃爍不定的銀光成為了台上最突出
的影像。到接近尾聲時，舞台上也投影了一些看似是中 文字的「圖案」。這回應了四季一段的似是而非的中國
舞1也許亦是整晚演出的總结：所謂「東方主義」，往
的一方，蹣跚地以腳尖沿著台上以沙「晝」成的「河流」 走到台上另一方的沙堆上.展開了一段有如被操控的提
線木偶般的舞蹈。在平和、緩慢的動作中，夾離著突然 而來的急速肢體扯動，撥起了寬身長裙，揚起了披頭散
髮，踢起了一抹細沙。舞蹈完结時，舞者上半身無力地 垂下，長髮掃地，雙手如被缚著吊起在空中。這個沒有
面目•處處被規限拉扯的角色•正好是對傳統女性角色 的寫照。
緊接著的〈水巫〉和〈少大司命〉兩段，舞蹈中的原始、 狂野、非理性等基調都減少了。〈水巫〉中的女舞蹈員 都頭披紅巾，其實是一場婚禮。音樂與群舞都明快活
潑.充滿歡愉喜樂之情。然而，承接了之前的「河」， 這一段中亦不時出現了女舞蹈員被男舞者所規限操控的 動作，而這在舞蹈的後段亦越加明顯。這一段舞蹈中最
突出的編排是舞蹈的前半段中女獨舞員頭披紅巾，動也
不動的穩穩站在身體曲成「W」形的男獨舞員身上，與 四週流動的群舞形成鮮明的對比 。這個形像，也令人想
起了屈原《九歌》中「河伯」一篇的：
「與女游兮九河，衡風起兮横波。
〈水巫〉。攝影：陳德昌。
乘水車兮荷蓋，駕兩龍兮.鰺璃。
心概念一苦難、折磨、壓抑、爭扎、命運、操控。舞蹈
乘白ft兮逐文魚，與女游兮河之清，
動作亦大多粗獷狂野，簡單直接，修飾不多但充滿了原
流澌纷兮將來下。
始的能量。
子交手兮東行’送美人兮南浦。 波滔滔兮來迎，魚郝部兮媵予。」
葉錦添的舞台設計也具備了相似的特質：寬闊的文化中 心大劇院舞台上空無一物，後台打開，放設了一個半
今有學者認為這是敘述「河伯娶婦」之事，亦即是古代
「鑊」形的地台。「鑊」形地台的底部與舞台連接•但
以少女於置於河上「浮宮」，沉入河中奉獻予河伯的祭
兩側和後部則升高了起來，使它從舞台繼裂了開來，成
祠儀式。
為一個遙遠而獨立的空間。地台上隱約地繪上了不規則 的圖案•再加上橙黃色的燈光，令人聯想到月亮：荒
〈少大司命〉一段中叫人印像較深的是黃狄文的獨舞。
涼、遙遠但又熟悉。
舞中的「司命」掌管世人命運，但卻動作和表情都帶孩 子氣，雖不時張口狂呼，但仍面帶笑意，似是笑弄人
整晚演出中最「粗獷狂野」的可説是開首兩齣舞蹈：
生，又似是悲喜難分。這是笑看生死的「大司命」還是
〈曰月兮〉和〈河〉。〈曰月兮〉中舞者都披著長長的
掌管愛情、保護幼婴的「少司命」？舞蹈發展到後來，
散髮•身穿黑色寬身衣裙。男獨舞員棵著上身，身及面
便變得越來越沉重，一些在之前舞蹈中多次出現的主
上更塗上藍色油彩，一如未開化的原始部族。音樂上亦
題，如痛苦、折磨、操控、壓抑、對抗、爭扎等等主
以不能辨明意義的呼叫嘶喊聲為主，中間夾雜著類似京
題•亦重複出現。
劇戲曲的音樂和歌唱。這段舞蹈由台後地台上開始，有 如是訴説著一個遠方古舊的故事，然後慢慢的舞至台
接著的兩段舞蹈〈遙兮〉和〈触〉的調子又一轉。從名
前。舞中舞動員的動作一時充滿壓抑、對抗、争扎和操
稱和內容上看，這兩段都不似與《九歌》原文有關連。
控，一時有如備受折磨般痛苦地扭曲著身躯和四肢，一
這兩段都是以群舞為主•而無論在舞蹈的編排、動作和
時如著魔般抖動身體，一時和不能自已地不斷揮舞著長
內容上都與其餘各段舞蹈都有一定的差異 。兩段舞蹈的
長的披頭散髮•一時又如耗盡精力般無力倒下。
編排皆以主題一〈遙兮〉中的轉動和〈蝕〉中的撥裙掩
面動作一及其變化為主。其中只有一段於台後地台中的 第二段舞〈河〉中的女獨舞員（吳易珊）則大部份時間
單人舞在內容上與之前的舞蹈連繫較大。在這段舞蹈
都低著頭，長長的頭髮披在面前，不見面目。她從台前
中，獨舞員身穿傳統泰式舞衣，動作中也充滿了泰國舞
蹈的味道。然而.舞蹈員的動作卻不時被打斷，而舞蹈
的戀人「靈脩」？
員也突然如斷線木偶般「軟」了下來。這段舞叫人不期 然聯想到月亮上孤單而不能自已，「碧海青天夜夜心」
整晚的最後兩段舞_〈死雄〉和〈禮〉一則是自成一個
的婦娥。
段落，連成一體：亦與楚辭《九歌》的最後兩篇一「國
墙」和「禮魂」一相對應。楚辭《九歌》中「國殤」是
我看，舞蹈《九歌》中最接近詩歌原文的要算是〈山鬼〉
悼念為國捐驅戰士之詞。〈鬼雄〉一舞開始時，群舞員
一舞。舞中女獨舞者衣穿白色纸衣，衣衫破碎，衣上紙
在催人的鼓聲下各自帶著一包泥土走到台上，打開包
碎辍揚，獨自一人徘徊於空曠無人的台上，時而神情激
裹，將包內泥土灑到台上。隨著仍穿著「山鬼」服飾的
動，扯破衣衫；時而頹然無力，身如空殻；時而步履遲
的女獨舞員走到台上，兩者便展開了一段充滿張力、互
緩，縹縹緲缈：時而心有所思，迷迷惘惘。她的衣飾神
相對抗的舞蹈。群舞員的動作充滿了勇武剛毅、前仆後
態，便與「山鬼」一辭中所描述的相似：
繼之意，但卻不時夾雜了匆忙後退的動作。到了最後群
舞員都一下子的被女獨舞員推倒了下來。舞蹈终結時， 「若有人兮山之阿，被薜荔兮帶女羅。
群舞員在哀傷悲痛之中— —無力地站起，有如空殻般各
既合悌兮又宜笑，子慕予兮善窃渡。
自緩慢地離開舞台，留下了男獨舞員在痛苦折磨中獨自
悲傷懊悔。 表獨立兮山之上，雲容容兮而在下。 杳冥冥兮羌畫晦，東風飄兮神靈雨。
留靈脩兮儋忘歸，歲既晏兮孰華予！ 黎海寧的《九歌》在內容和動作上其實都很「東方」，
怨公子兮悵忘歸，君思我兮不得閒？
很多舞蹈動作都是從中國傳統舞蹈和戲曲中抽取和變化
出來，再重新注入了震人心弦的能量。在很大程度上， 風風風兮木蕭蕭，思公子兮徒離憂。」
它正好是《365種係定啥係東方主義》一舞的相反一《九 歌》實而《365》虚，前者正而後者反。《365》一舞中
舞到最後，女舞者頹然停下，身軀如木偶般無力「掛」
所缺乏的都在《九歌》中找到。也許，這就是要將兩舞
在台上。這時，身塗藍色油彩、披頭散髮、似人似獸的
排在十天內上演的原因。
男舞者走進台上。他低俯著身子，一時手足並用、一時 而又立直身躯，圍繞著凝著不動的女舞者而舞。男舞者
初時看似只是好奇，但慢慢接近女舞者後便開始以不同
《365種係定唔係東方主義》
方式試著操控擺弄女舞者那無力的身體，到最後把她帶
5-6/4/02 8:00pm, 7/4/02 3:00pm 香港文化中心劇場
離舞台。這個男舞者是山魅野鬼，還是那並沒有在詩中
出現，但為「山鬼」所等候和想念，並被其操控著感情
《九歌》
12-13/4/02 8:15pm, 14/4/02 3:00pm 香港文化中心大劇院
〈蝕〉。攝影：陳德昌。
舞評 DANCE REVIEW
Site Specific by Tom Brown photo by Tsang Tsz-nga & Rose Chang
•也.f
work stirs up great enthusiasm
among contemporary dancers.
Maybe it is because of the active role performers and audience take in outcomes, its indeterminacy, or that it is somewhat beyond the increasingly rigid academic proscriptions and oneupmanship that characterize the
erstwhile revolutionary invention,
and content of Modem Dance. Or
perhaps it simply serves as a corrective for the regimentation and
hA
fragmentation
densely populated city.
of
contemporary life. If Susan
Extended Garden took place
Sontag is right, the first site that
on and around the Botanical
lent its form to dance was the
Gardens’ central
prehistoric campfire. Within the
Fountain. Anne Hung，
‘magic circle’ cast by its glow,
Paige Wong, Tiffany
dancers transcended their world,
Lo, and Tsang Tsz Nga,
while being instilled with the ability to perceive
created works with
and operate at a much deeper, more heightened
sufficient connections
state. Good dance still possesses and imbues
to meld all into a
magic. This is clearly the case with Hong Kong
unified whole. Hung’s
masters of the site specific genre such as Pun Sui-
The Beginning of Day
fai, whose creations invest audiences with new
Dream and Dream On
ways of seeing the ordinary spaces around them.
framed
the
Academy students recently explored the form in two
performance beginning and ending it at the Fountain Plaza
performances that demonstrated its timeless appeal.
entrance. Her work, like all the dances in Extended Garden,
was clean and simple. She used only two movement motifs.
Tsang Tsz-nga, a final year BFA(Hons) Degree modem dance
Six dancers began seated, on different benches and the
student organized Extended Garden at the Hong Kong
fountain’s base. From stillness, each gradually began to move;
Zoological and Botanical Gardens on 27 April, and Carven
standing, sitting, and crouching, punctuated by quirky gestures.
Koo, a final year degree student and Dela Cheng, a Professional
This accumulated, and became denser until all rose and
Diploma student, both in Chinese dance, joined Rose Chang,
congregated, forming a barrier across the path leading to the
a Professional Diploma student in modem dance to produce
fountain. Alternating between tight clusters and spacious lines
Site Specific 2002 at various spaces at the APA on 29 and 30
the dancers echoed the grand plaza entranceway using the
April. Both productions featured works of different student
barrier motif as a refrain in a game-like sequence. Three of
choreographers and contained moments of magic, balm against
them held hands barring the way to the others, who attempted
the accumulated disquiet engendered by the world’s most
to go over, under, or around, and pass into the plaza. Then
moments and times when each dancer moved differently combined with the dappled sunlight casting shadows that no gobo could achieve, to evoked
a bittersweet time full of hope, yet irretrievably lost. Site Specific 2002, was more 'produced5, with
lighting and props decorating the spaces used by the eight choreographers. The setting for Trista Cheung’s Sky, a quintet done on and
around the blue tubular grid superstructure at the APA’s 1st floor foyer provided her with an
expressionistic jungle gym on which the dancers seemed to emerge and recede, their movements
they reversed roles.
neatly echoing the diagonals of the window
Gradually, they returned to
struts. In his trio, Love Yourself, performed in
their isolated benches. It was
the outdoor
all straight-forward and
smoking area
effortless, lasting barely ten
doorways
minutes. But somehow, in
between the
that brief time, the dancers transformed and
Academy and
focused the enormous plaza space. During the
Theatre
dance, park visitors, perambulated through the
blocks, Steve
area, giggling children now and then mimicked
Goh also used
the dancers or dashed through their geometric
The
environment
audience moved,
to extend his
themselves to get
the dancers were separated by the doors,
better views,
framed by them, and by imaginary
commented to their
frames, boxes that restricted what they
neighbors. Above
could do, Goh explored his theme of
all, all were in on it;
how we encumber and alienate
the park, and
ourselves from each other.
everyone in it
Lam’s solo, Lost, for Rebecca Wong,
contributed to and
especially when viewed from deep
of a
inside the ground floor foyer through
formations.
work’s metaphors. In movements where
partook
magical few moments of respite.
Bonnie
glass doors leading to the first floor plaza where the dancer, remote and crouching, stretched on a white bench artfully
Tiffany Lo’s Wait until flowers die created similar dislocation.
picked out by Tong Ching Yan’s lights, created moments that
Flora and Jenny Hon, and Trista Cheung, dressed in
buoyed the audience allowing us to relish the new eyes given
Cheungsam reminiscent of Maggie Cheung’s outfits in In the
to us by these talented young choreographers.
Mood for Love sashayed and posed on three benches in a narrow pathway bordered by vine covered arbors. Here again
the dance was brief, the motifs simple, composed of lounging
and waiting postures, and short transitional phrases from one to the next. The internal rhythms of these transitions; hesitant,
expectant, drawn out, rushed, and the alternation of unison
Extended Garden
27/4/02 4:00pm, Botanical Gardens' Central Fountain Site Specific 2002 29-30/4/02 8:00pm HKAPA
節目表 《社區舞苑放異彩》總結演出 何浩川舞蹈團
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社區文化大使
3/5/
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西灣河文娛中心劇院
12/5/
3:00pm
大埔文媛中心演奏廳
表演嘉賓
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s演裏褒@括：
Academy Dance Ensemble 演藝舞■蹈團
•番淹演碑战 •工蹈k -小木Kfl蹈驛 •番解a好 -八式«K
9-10/5
8:00pm
Academy Lyric Theatre 演藝歌潮院 Choreographers 編舞：
康寮及文化事務署主煤
Csaba Buday 包卓柏，Rudi van Dantzig,
Chen Wei-ya 陳維亞，Yu Pik-yi 余碧艷，
Lin Hwai-min 林懷民
The Rite of Spring《春之祭》 Preljocaj Dance Company
柏歷加舞蹈團 13-14/5
8:00pm
Academy Lyric Theatre 演藝歌劇院 Choreographer 編舞：
Angelin Preljocaj安祖連•柏歷加
Body Talk II《鬥秀場埋身篇》 CCDC城市當代舞蹈團 8:00pm
15-18/5
Fringe Club Star Alliance™ Theatre 藝穗會 Star Alliance™ Theatre
Choreographers 編舞： Wilson Chik 戚惠致，Monica Hong 康文英，
David Leung 梁嘉能，Ong Yong Lock 王榮祿， Dick Wong 王大徽，Yeung Wai-mei 楊惠美
The Butterfly Lovers《梁祝》 Hong Kong Dance Company 香港舞蹈團 17-18/5 rs
'
H 2IHII ♦心＞.« 、IM, IM IM, M
,
7:30pm, 19/5
3:00pm
Hong Kong Cultural Centre Grand Theatre
香港文化中心大劇院
傳陳文煢
Choreographer :
Jiang Huaxuan
編舞：
蔣華軒
The Rite of Spri by the Preljocaj Dance Company
舞蹈節目表 Stress《壓力》 Blanca Li Dance Company 白蘭加•李舞蹈團
18/5
Stress
by the Blanca Li Dance Compar
8:00pm
Academy Lyric Theatre
演藝歌劇院
Choreographer 編舞：
《春滿峽江》
Blanca Li白蘭加•李
湖北省民族歌舞團 24/5
8:00pm屯門大會堂演奏廳
25/5
8:00pm筌灣大會堂演奏廳
Body Talk III《鬥秀場濕身篇》 CCDC城市當代舞蹈團 26/5
3:00pm
Dancing Fountain, The Peak Galleria 山頂廣場音樂噴泉
Choreographers 編舞：
Wilson Chik 戚惠致，Monica Hong 康文英， David Leung 梁嘉能，Ong Yong Lock 王榮祿，
Jardin Io Io Ito Ito
Dick Wong 王大徽，Yeung Wai-mei 楊惠美
the Montalvo-Hervieu Dance Company
Le Jardin Io Io Ito Ito 《好玩花園氹氹轉》 Montalvo-Hervieu Dance Company
蒙塔沃及艾維爾舞蹈團 8:15pm
31/5-1/6
Hong Kong Cultural Centre Grand Theatre
香港文化中心大劇院
Yuan Yuan Tan and Stars
Choreographer 編舞：
Jose Montalvo荷西•蒙塔沃
《譚元元與三藩市芭蕾明星》 Presented by China Venture Advisors Inc. China Venture Advisors Inc.主辦 11-12/6
7:30pm
Hong Kong Cultural Centre Grand Theatre
香港文化中心大劇院
The Galaxy of Stars《巨星舞影耀香江》 Presented by Dance Culture Association Ltd.
藝都舞蹈文化會所主辦 15-16/6
7:30pm
Hong Kong Cultural Centre Grand Theatre
伊利沙伯體育館 Coordinator 統籌： ,
Natalie Lee 張世華
Membership Form
S員申韻表 會孝昔
Membership
(
)Individual
(
)
(
)Associate*
(
)Student*
Organization
個人會員 團體會員 普通會員* 學生會員*
$200 $600
$100 $50
Individual/Associate/Student Member' s Information個人/普通/學生會員資料
Name
姓名
Position
___________________________________ (中文)____________________________________
(English)
職111
____________________ Company
公司名稱_____________________________________________
Affliated Cultural Organization P/fH ®W _________________________________________________________________
Telephone電言舌
_______________________________________
Correspondence Address
E-mail Address
通訊地址 ____________________________________________________________
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Organization Member1 s
Fax傳真__________________________________
-----------------------------------------------------------------
Information
團體會員資料
Name of Organization__________________________________________________________________________________________
團體名稱_______________________________________________________________________________ Person in Charge
負責人(English)_____________________________________ (中文｝___________________________
電話 ______________________________
Telephone
Correspondence Address
E-mail Address
Fax
傳真 ___________________________________
通訊地址 ____________________________________________________________
電郵地址 __________________________________________________________________
所屬舞蹈類別
Applicable Dance Category
巴蕾
|
| Ballet
I
I Asian Folk亞洲民族舞
I
I Education
|
| Cultural & Arts Administration
|
| Musical Theatre/Jazz/Tap Dance
|
|
教育
現代舞
|
| Contemporary
|
| European Folk區欠洲民族舞
QZ] Criticism
| Chinese Dance
寫作與評論
文化及藝術行政
音樂舞劇 / 爵士舞 / 踢躂舞 Others 其他______________________________________
Signature
簽署：_ ________________________________
Date
中國舞
I
| Ballroom國際標準舞
|
| Technical Arts
I
| Notation舞蹈記錄
|
| World Dance世界舞蹈
舞台技術
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。 * Non voting沒有投票權利