舞蹈手札 dance journal/hk 4-4

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1 2 SEP 2002

LIBRARY

Reviews

Cover Photo 圖片

■

Daniel Yeung’s “Play Boys” 楊春江《哥仔戲》

舞評 Play Boys by s10

Q

文：劉建華

B

by Kevin Ng

A

Photo: Hong Kong Arts Festival

相片提供：香港藝術節

多元文化肌理的法國舞藝

French May review

Editorial Board 編輯部

Finding landscape of dance in French May

再見

by s10

的

Farewell 浪漫詩情洋溢全場 探討香港舞蹈團《梁祝》成功之因

文:Jonathan Ho

Articles 專論

Events & News Criticising or Critiquing?

舞蹈節目及快訊胃

by Rashna Homji-Jefferies

舞蹈節目表

EB

Dance Events

Image: Hong Kong Dance Company’s “The Butterfly Lovers 圖：香港舞蹈團《梁祝》

編輯部

EDITORIAL BOARD

再見

讀省們

可能已覺察到，本期《舞蹈手

札》來得有點遲。細心一點的讀

者可能亦發現這一期的《舞蹈手札》的贊助名

Farewell

M

this issue, Dance Journal/HK will

discontinue publication indefinitely.

Closure is due mainly to the discontinuation of

單中也不再見香港藝術發展局的名字。在欠缺

funding from our major supporter, the Hong Kong

這個最主要的資助者的情況下，香港舞蹈聯盟

Arts Development Council. While this Volume

決定在這一期之後，暫停《舞蹈手札》的出

4, Number 4, is funded entirely by the Hong Kong

版。

Dance Alliance with assistance from the Hong

Kong Academy for Performing Arts, Rainbow

2

回顧《舞蹈手札》出版三年以來，雖然不敢説

Printing Limited, the Hong Kong Leisure and

有什麽成績，但總算是不斷改進，也為香港舞

Cultural Services Department, and individual

蹈界盡過一分力。編輯部在此感謝讀者們的支

donations, because of our extremely limited

持。我們也感謝贊助機構香港藝術發展局、香

resources we are unable to fund any additional

港演藝學院、天虹印刷有限公司和康樂及文化

volumes in the future without major assistance

事務處的支持和幫助。

from other sources.

當然，我們仍然相信一本定期的舞蹈刊物是對

Because we believe, as do our supporters, that the

香港舞蹈發展起著不可替代的作用。我們亦會

regular publication of a journal dedicated to dance

繼績嘗試找尋新的贊助，以期在未來有機會與

is vitally important to the development of dance

大家再次見面。

in Hong Kong, the Hong Kong Dance Alliance

will continue to endeavor to secure funding to enable continued publication at some time in the

future.

1 2

專稿

ARTICLE

CRITICISING OR CRITIQUING?

by Rashna Homji-Jefferies

Rashna trained at the Royal Ballet School in London and graduated into the

Royal Ballet Company at Covent Garden in 1969. She was promoted to Soloist dancer in 1973. In 1976, she joined the National Ballet of Canada as First Soloist.

She has worked with Fredrick Ashton, Kenneth MacMillan, Hans van Manen,

Rudi van Dantzig, Peter Wright and Ninette de Valois. In 1979 and 1981 she was Principal dancer with Royal Opera at Covent Garden in Alceste (Ronald

Hynd) and L'Africanne (Alfred Rodrigues), both roles were created for her.

Television roles created for her include jV Leda and the Swan and The Mexican

Rebels (Lynn Seymour), a ballet for Swiss television (Barry Moreland), where

she was partnered by Michele Denard of the Paris Opera Ballet and Theme Dreamer, dancing with Stephen Jefferies, choreographed by Norman Maen.

From 1982-1990 she was Director and Co-Founder of Dance Directory, a theatrical agency representing dancers and choreographers primarily for London's West End theatres and television shows. She has

taught ballet at the Royal Ballet Upper School and the Arts Educational Schools. In 1992, she was invited to join the senior management team as Ballet Administrator for both the Royal Ballet Schools. She came

to Hong Kong with her family in 1996. She was Artistic Director for Hong Kong Ballet Group in 1997 producing and directing Swan Lake Act II and divertissement. She was guest ballet mistress, repetituer and coach for the Hong Kong Ballet from 1996-2000. In 1998, she choreographed the Children's Dance

for the Nutcracker (Stephen Jefferies). During this period she was also guest teacher for National Ballet of China, Shanghai Ballet and Hong Kong Academy for Performing Arts. She joined the Academy as a full time staff member in September 2000. She teaches technique class, variations and pointe class. She is

also a rehearsal director for the Academy's dance productions. These include Tango Ballet Tango (Stephen

Jefferies), Jeux (Harold Collins) and Concerto pas de deux (Kenneth Mac Millan)..

"-see no reason why I have to withhold my candid

I remarks in a free society as we have in......... Are

of the evening’s entertainment? Is it to further educate the reader?

For whom is the review written? The general

This is the

public, the editor of the newspaper, informed members of

response I received from a dance critic with whom I had

the public, or simply to satisfy the critic’s own idiosyncratic

started a dialogue. This led me to question and research

view?

you advocating self-censorship?”

the role of the dance critic or reviewer.

If it is the latter, can it be regarded as objective?

What is their

function and how do they perceive their role? Is it to present

At this point it may be pertinent to explore the differences

a clear, unbiased record of an evening’s entertainment?

between the concept of objective and subjective viewpoints.

Should a review when read by a member of the public who

Without going into tremendous detail，in examining the

has not attended the performance, and has no specific

words subjective and objective, I refer to Graham McFee’s

knowledge of the subject, be able to evoke a clear picture

book Understanding Dance.

Firstly, McFee describes

subjective as: inner or private thoughts; idiosyncratic; biased

clearly define, for the purpose of this article, that I am

or prejudiced; or simply personal, based on feelings or

referring to the dance critics or reviewers who write for

personal involvement. He refers to objective as: indicative

newspapers or magazines relating to dance. I do not wish

of the right or uncontentious answer; distanced or detached;

to confuse readers with a Critique on Dance or Dance

and answerable to the claims of reasoning and rationality.

Critiques which may be found in books theorising Dance or

Dance Criticism. These are often more in depth studies McFee reaches a very interesting conclusion about the

embracing all aspects of dance and written by dance

compatibility of the subjective and objective viewpoints.

historians and educators.

He argues that the second and third definitions of ‘objective’ are perfectly compatible with the fourth definition of

My life has embraced dance and more particularly ballet

‘subjective'.

since the age of twelve when I was fortunate enough to be

He stresses that for the purpose of

My

understanding dance; this use of subjective should not be a

accepted into the Royal Ballet School in England.

hindrance. With regard to the other meanings of subjective

schooling in that establishment finished at age eighteen when

it seems reasonable to exclude their use in dance criticism.

I graduated and was accepted into the Royal Ballet Company. After seven years of dancing with that company,

While I appreciate that feelings have to be discussed and

I joined the National Ballet of Canada as a senior soloist. A

used when making aesthetic judgements, my personal

free-lance career as a dancer followed, on stage and

interpretation of an 'ideal dance critic’ would be one who

television. Later in my career, I became a theatrical agent

views with a passion for the art form while retaining the

for dancers and eventually, a teacher, lecturer, ballet mistress

ability to remain impartial. One who can be rational, observe

and repetiteur for ballet.

the performance and measure its merits or not as the case

may be, without drawing too heavily on preconceived

I have come across ‘critics and criticism’ throughout my

notions or judgements. One who understands and has an

career as a dancer, teacher, administrator, artistic director,

appropriate background in the subject, evokes a sense of

rehearsal director and even in a very small measure as a

the dance in his writing and approaches his work without

choreographer. I would like to elaborate on the relevance

pre-judging. Is this view too idealistic or it is possible to

of criticism to understanding, experience and appreciation,

review a performance in this manner?

by presenting and analysing two reviews that I received as

a dancer for the same ballet and for the same performance.

Since each analysis can lead to further questions perhaps it

The first one had me soaring with elation while the second

is easier to narrow the margins and concentrate on the actual

sank me to the depths of despair. Both reviews were written

definitions of the words found in the Concise and Little

by well-respected and very informed dance critics and dance

Oxford Dictionaries.

historians.

CRITIC: n. one who pronounces judgement; person

The first review written by Katherine Sorley-Walker,

who censures; person who reviews or judges merit

appeared in The Telegraph newspaper in England. The

of artistic etc. work; one skilled in textual criticism.

title was Dancers Gift for Drama.

CRITICISM: work of a critic; finding fault; censure;

“Rashna Homji is one of the most attractive and

critical article or remark etc.

potentially important talents in the Royal Ballet

touring group and at Sadlers Wells, in the role of the

CRITIQUE: n. Critical essay or analysis; art of

Girl in “The Invitation” she showed a considerable

criticism, v.t. Discuss critically.

gift for dramatic dancing. This study of a youthful hero-worship fiercely disillusioned by rape is by no

Finding fault and one who pronounces judgement seem to

means easy to make theatrically acceptable. Homji

be what some critics feel their role to be.

brought to its emotional complexities an entirely

Maybe this is

why I am sometimes surprised by their reviews.

Is the

convincing mixture of shyness and forwardness in

function of dance criticism to reveal the work or to reveal

manner and of grace and gaucherie in movement.

the critic? Do some critics confuse their role by criticising

The obsessive unrealistic devotion for the older man,

rather than critiquing?

so normal in adolescence, was sensitively expressed

Before venturing further into the subject, I would like to

and if her final scene seemed an anticlimax this was

in fact a weakness in the choreographic construction.

Lorrayne misses something of the physical drive of

She was memorably contrasted with Margaret

the Wife’s solo in the garden, and Margaret Barbieri

Barbieri as the Wife in a subtle portrayal of passionate

seems altogether too sweet a character: the woman

frustration overlaid by conventional behaviour.

In

is after all driven to seduce the Boy by anger at her

Alain

husband’s infidelities. The emotional force of the

Dubreuil established little character in the early

MacMillan style, in which passions impose an

scenes so that the effectiveness of the later ones was

inevitability in the shaping of movement, is still only

diminished; while Colin Dye’s rather negative and

hinted at in most of the performances: it will come

tentative approach gave an appearance of callousness

when experience refines the present outlines.’2

comparison the men achieved far less.

to his affair with the Wife...” 1

In contrast, I also received a personal letter from Cormac The second review written by Clement Crisp appeared in

Rigby, an Arts Reviewer for the BBC radio. The letter is as

The Financial Times. The title was The Invitation.

follows:

'On Tuesday, and again last night, The Invitation was

“You’ve just compelled me to change my mind about

the central work in The Royal Ballet Touring Group’s

Invitation.

programme. It is a ballet I admire, and one I hope to

strong that I thought reviving it was a mistake- until

go on seeing but not unless its performances and

tonight. I thought all four principals worked together

My memory of the originals was so

presentation are more subtle and better judged than

superbly but in the last analyses it all depends on the

the two under review.

It is a work having a very

girl and I thought you judged it absolutely beautifully

precise (albeit unstated) period and locale, and this

~ most especially that solo at the party which was so

initial dramatic premise is stated by lighting and a

guileless and effective.” 3

feeling for social manners manifest in the way the

cast should behave and wear their clothes. Nicholas

The first review (Katherine Sorley-Walker), does not even

Georgiadis’ magnificent designs need better hanging,

mention the choreographer, the designer or the composer,

more atmospheric lighting, and certain of the men’s

who incidentally was Matyas Seiber. Could this have been

costumes-notably the Husband’s suit- must look as

an editorial decision to save space? (I am told that some

if cut by a tailor; such small matters are significant,

editors ask for reviews to be written in 300-500 words), If

and there is no excuse for the Wife to make her first

so, who is the review written for? Do the editors believe

appearance carrying the wrong parasol.

that4informed, members of the public are the only people

This

inattention to detail is also to be seen in the blurred

who read the reviews?

outlines of some of gestures-the Girl’s downward

descriptive about the emotional complexities of the ballet

Ms. Sorley-Walker was very

beating fists in the opening scene look to me

and her use of words conjured up very convincing portrayals

mistimed-and in the over-emphatic playing of some

of the two women.

of the key dramatic incidents.

The second review by Clement Crisp, is in my opinion, the

With the performances I have seen this week the

more successful in forming a very descriptive picture for

dancers adopt too melodramatic a style.

his readers. He evoked perfect mental images of the work

The

Invitation is a work that achieves large effects by the

and gave all the necessary information regarding the ballet,

slightest glances — the Husband first sizing up the

except for the omission of the composer’s name. So from

Girl; the Wife watching the Boy — and the current

the perspective of the non-informed public, it evoked a better

cast’s need to tone down and refine their playing.

all round picture of the ballet.

There are things to admire in the readings of the principals: Marion Tate and Rashna Homji are

These three examples present differing viewpoints on the

appealing as the Girl, and Stephen Jefferies and

performances of the four principals. The BBC reviewer

especially the very youthful Colin Dye, are effective

commended all four principals. Ms. Sorley-Walker only

Desmond Kelly is an experienced

appreciated the two females and Mr. Crisp largely felt that

as the Boy.

Husband, Alain Dubreuil a promising newcomer, and

all four left a great deal to be desired. Three very different

they catch all the man’s compulsive sexuality.

opinions - Subjective or Objective?

In

the no less well-written role of the Wife Vyvyan

More recently, I came across two reviews for the ballet

5

Carmen which presented very differing views.

I was

notable about the ballet based on her is how much

intrigued to read them as I had not seen the ballet

she varies from one treatment to another.

performance in question and wanted to see how much

Guillem’s personality and involvement hold it

information I could glean from the reviews and what picture

together. Ek’s approach offers comedy as well as

the reviews illuminated for me.

I was not remotely

sex, a matter-of-fact acceptance of triumph and

connected to this production, and therefore had no emotional

misadventure, and a down-to-earth response to every

ties though I was a fan of the controversial choreographer-

man she encounters. This could be disconcerting if

Mats Ek. The performance was at The Royal Opera, Covent

you go to it expecting the Carmen of the opera, or a

Garden, danced by The Royal Ballet.

straightforward dance interpretation like those of Zizi

Still,

Jeanmaire, Plisetskaya or Marcia Haydee. But on

The first review entitled A Brazen New Carmen Steals the

its own, different terms, it works as well as any of

Show appeared in The Independent newspaper in London

those’.4

and was written by John Pervical.

The second review was written by Barbara Newman and ‘Sylvie Guillem has never made any secret of her

published in Country Life in the U.K. The title, Barbara

liking for Mats Ek’s choreography. In fact, she got

Newman finds Carmen a waste...

him to create two roles for her on television but has had to wait till now for The Royal Ballet to mount

‘When a dance company stages superficial

one of his works. The wait was worth it: Carmen is

choreography, it creates a dangerous situation in

one of Ek’s most startlingly original works, with a

which two groups suffer from a lack of artistic

meaty title role, and Guillem gives a great

sustenance; at the same time the dancers suffer from

performance in it.

expending their skill and energy on insubstantial material that exhausts their bodies without

Ostensibly, Ek makes Don Jose the central character,

replenishing their spirits.

the action being his unreliable memories, while

awaiting execution, of how he came to murder Carmen.

The latest addition to the Royal Ballet repertory, Mats

Inevitably, (thanks to familiar novella by Prosper

Ek’s Carmen damages the company and the audience

Merimee on which all the films, ballets and other

in precisely these ways though the dancers get off

treatments are based), though, he remains pretty much

relatively lightly because so few of them are

of a wimp, Massimo Murro plays the part ably, a man

involved. Reinterpreting Bizet and Merimee through

who tries to stand tall but repeatedly falls. There are

a deliberately macho heroine, a docile Don Jose, and

other characters who make a mark, too, notably “M”(

a stern, supervisory Micaela, Ek reduces the

Ek’s blending of Michaela and Mother), playing with

characters’ passions to grappling arms, flailing limbs

a mixture of staccato movement and sinuousness by

and shuffling feet.

Zenaida Yanowsky and Jonathan Cope as a splendidly

heightened naturalism, Ek’s fragmented

flashy Escamillo. But there is no disguising that it is

choreography requires the dancers to enact their

Carmen who counts, especially as the music Ek uses

emotions graphically rather than dancing them

is the 50-minute adaptation of Bizet, which composer

expressively. So full-body clinches replace more

Rodion Shchedrin wrote for his wife Maya Plisetskaya.

allusive pas de deux, and by blowing smoke in

And Guillem is not one to stint in performance. She

Escamillo’s face-cigars and lit matches reappear

throws herself into the wilderness of Ek’s

constantly — Carmen apparently expresses all we

choreography, complete with aggression, shouting and

need to know of her feelings for him.

In keeping with the trend for

a leitmotif of phallic cigars.

I got a good laugh from the women’s colour ― foil This is no obvious showpiece for a classical

dresses, by Marie-Louise Ekman, which resembled

ballerina. The movements are distorted, sometimes

flounced Quality Street wrappers, and I enjoyed

grotesque; the role is set out in fragments; and

hearing Rodion Shchedrin’s fascinating arrangement

because it shows Jose’s take on what happens, there

6?/Bizet’s music. But the choreographer wasted the

is not even consistency in the character.

public’s time and the dancer’s talents,

Carmen is a compelling figure on stage, but what is

reinforcing the all too common belief, still

6

widely held in this country, that ballet is a

an informed and unbiased viewpoint is rare but oh so

wholly trivial pursuit’.51 2 3 4

valuable. Negative feedback is not helpful and serves no

purpose, as its impact achieves nothing. I have personally Both reviews are certainly informative but what I find

known disillusioned but talented artistes who have left their

interesting is the totally opposite feelings and responses the

careers as a result of 4bad’ reviews. Though often advised

dancers and choreographer have awakened in the two

not to read reviews, the particularly ‘unflattering' ones

reviewers.

somehow manage to wing their way to their target with the

utmost of ease.

Curiosity, is the major contributing factor

Ms. Newman does not even mention that Sylvie Guillem

to finding out the views of so called 'informed’ critics. Some

danced the central role while Mr. Percival writes of little

critiques seem to be thinly disguised publications of personal

else. However, what was heartening was that both reviews

vendettas. The power of the pen is great and it is a real pity

were vivid in their description and as a member of the public,

when personal animus can colour the critic’s vision.

I would be eager to see the performance if only to clarify

My ode to critics is:

the controversy.

Write for the general public, be informative, keep within As an artist, former dancer, repetiteur and teacher what am

your boundaries, be impartial, evoke a sense of the dance,

I looking for in a review, beyond what the general reader

and try not to get too judgmental. Above all, love The Art

looks for or beyond the critique as part of historical

of Dance.

documentation of this transient form ― Dance?

Am I

looking for praise or an honest appraisal of myself, my students’ or colleagues’ performance? If I were to be totally

1 Katherine Sorley-Walker- The Telegraph- October 1974

honest I could say it would be ideal to have both. Adverse

2 Clement Crisp- The Financial Times- October 1974

criticism justified or not can be harmful though I would agree

3 Cormac Rigby- Arts Commentator - BBC radio

that if one puts oneself in the limelight, one should be

4 John Percival- The Independent newspaper- 25 April 2002

prepared to accept all views. Constructive criticism from

5 Barbara Newman- Country Life- 9 May 2002

I 舞評

DANCE REVIEW

Play Boys by slO

Photos provided by Hong Kong Arts Festival

Play Soys Naked truth, keeps out of sight.

Among men, search for kiss of life.

Clothes blur minds and eyesight.

Dim video vision is live.

Play Boys take off their covers,

A man can have a male lover.

The spotlight is without covert.

Pit-a-pat, ropes about father.

Wrestle for keeping male secret

If you want to say something deep, Even muscle, anus can weep.

Holding toy penises to dance;

Is a relief. Then a rope prance In naked truth.

In naked truth.

f/

October Red by CCDC represents the discourse of

naked truth of man. The muscle and the wrestle are just

â–

women, then this time it is the men’s turn. Play Boys

used to help man masquerade as a strong being. However,

by Daniel Yeung attempts to disclose the secret of men.

man is not willing to wear such a burden and he also has the right to show his true side. Therefore the choreographer tries

I try to capture the scene of Play Boys in the above poem. In

to breakthrough the taboo by using the naked body, it is the

most of the scenes, though, the choreographer still uses those

first time for us to see the sentimental part of man.

strong tricks to display masculine traits; we also see the

fragile side of men. A fireman, a sailor, a prisoner or a soldier dances dressed, once they take off their clothes, the code of

man exists no more. Without the shield of clothes, a naked man is just a human being who has the same blood, flesh,

tear and love as women.

The image projected on the screen brings us into the inner

parts of men. The vibrating muscles of men tell the story about themselves. Not only the

chest and the triceps talk about their host, but also the usually

bashful muscle of anus faces the camera and says

something.

Because of curiosity, penises are too strong temptations for men to resist. The reverie

about penises sets out the meaning-searching journey.

The toy penises and the ropes are used to dance. Playing with the toy penises and tugging the

ropes, the hosts of the penises seem to have some tales or

discoveries about their bodies.

2

The most impressive scene for me is Lips Slip, because it is

the climax and exposes the sensitive and weak side of

men. All the dancers try to have a perpetual kiss with their

partners. The kiss seems to be a way to sustain their lives.

Once they have lost such a

support, they slip on the floor.

It shows the fragile side of

man.

After getting into the private place of man, we find the

Play Boys

14-17/3/02 8:00pm Arts Centre Shouson Theatre

舞評 DANCE REVIEW

多元文化肌理的法國舞藝 文：劉建華 照片提供：「法國五月」

《領報》攝影：Gert Weigelt

「法觸五月

節今年除了本土的城市當

落。整齣舞作在配合音樂節奏的起伏和推演劇情上雖然

代舞蹈團「鬥秀場」系列*

做到了，恐卻遺憾地沒有叫人難以忘懷的精彩小節。

」

夕卜’還為香港帶來了柏歷加（Prejocaj）、白蘭加.李 （Blanca Li）及蒙塔沃及艾維爾（Montalvo-Hervieu）三支

整晚最出色的，依我看到底還是1997年獲得紐約Bessie

舞蹈團；其中除了白蘭加•李舞蹈困，其餘兩團都已曾

大獎的（1995年作品）《領報》（Annonciation）。《領

先後來港演出過，有著不同的本地捧場客。

報》被安排在一個細窄的長方框空間中，由兩個女舞者 演出聖靈現身人間，告知負女瑪利亞她將懷誕聖嬰，此

這次最先抵步演出的，是來頭最響的柏歷加舞蹈團。每

一神聖超驗闖入世俗歷史的重要一刻。但比較以往定格

晚連續上演三支舞作：《薔薇之魂》和《領報》是分屬

繪畫，舞作對於描繪出一個平凡孤獨的女子在公園忽然

六人和二人的小品，十二人的《春之祭》，明顯才是這

遇上此種極端的遭遇，在表現心情的起伏變化上，無疑

行的重頭戲：雖然史特拉汶斯基的音樂比兩小品長了也

更活靈活現，使觀策對此情景重燃起現代的觸動。傳統

不到十至二十分鐘，但大概由於《春之祭》在舞蹈史上

繪畫中的特殊手勢被編舞家融入舞作固然天衣無縫’然

堪稱經典戲碼（從芭蕾到現代舞的編舞家版本就包括尼

而配上由射發取代那從天而來的光束，卻產生了一種如

金斯基、魏格曼、泰勒、葛蘭姆、包殊、林懷民甚至黎

置身《周六狂熱》的士高中的詭異感覺。而那在對方面

海寧等等），大部份觀眾也對此而頗有期望。可惜今趟

前保持一線之隔的手部浮游，和磁性波場的配音更是合

《春之祭》的成績，似乎卻未能讓柏歷加一舉奠定其頂

襯。電子的噪音音效，不單為此古老宗敎的情景提供一

級編舞家的地位。舞蹈開首女舞者退脱內褲，（追隨

現代外衣，而且實還注進了新血：感覺就像電影《回到

《春之祭》音樂巴黎首演的）醜聞（scandal）衡擊效果

未來》中•演員霉斯（Michael I. Fox）以重金屬搖滾樂

是做到了，但實際舞步上卻似乎未有搶眼的推陳出新，

吵醒青年時代父親扮天外來客般。至於那以進場的舞步

如最後棵身舞者在臺上臺的焦點舞步，（或者到底因空

倒轉來跳.復退出舞臺，更是動作精確細緻而又意義妙

間有限而地面凹凸不平）就激情有餘卻並不特別清晰倒

絕，彷彿把一切超驗行跡也抹掉似，结果一切都難以向

他人複述，只留存心裡，突顯出精神信仰經驗沒有任何

少恰好展現了法國現代舞蹈藝術和體系（級數、層面）的

外在的憑藉可言。

多元寬幅度，也正因如是.舞種風格的糅合雖是當代法

白蘭加•李舞蹈團是三團中相對比較陌生的，其演出

雜文化中各自保持鮮明的個性。

國編舞者的共同議程，卻又各開出了不同的面貌，在混

《壓力-咪發癲》從現代人緊張兮兮的生活行為舉止中抽 取靈感，然而發揮主題得來略嫌僵硬造作，尤其道具的

（*作者無意忽略本地舞者，唯因時間原因，憾而未能覆

選取運用往往過分刻意，情節畫公仔畫出了腸，不過是

蓋「鬥秀場」系列的演出。）

將動作誇張化、借不著重覆營造節奏感。就如套了紙盒 的人滿臺奔跑，這種稚氣的趣味和輕鬆幽默，就比苦心

《春之祭》

經營的假足擺弄或床褥上的輾轉反側來得逗人歡喜。大 概以其喜劇歌劇院芭蕾舞團的編舞身份來説，壓力的題

13-14/5/02 8:00pm香港演藝學院歌劇院

材本身恐怕並不討好，在夾縫中苦中作樂很容易成了一

臺笑不起來的二流包殊舞蹈劇場。到底，作品由於沒有

一種統一的形式.編舞者的風格不顯，演出最後以一幕

《壓力》

18/5/02

瘋狂的混亂高潮結束，更或者説明了舞作並未有通過身

體提供一種對壓力的消弭妙方，只能説是被現實生活牽

8:00pm香港演藝學院歌劇院 《好玩花園S3轉》

31 /5/02 & 1/6/02

8:15pm香港文化中心大劇院

著走。

相反地，蒙塔沃及艾維爾舞蹈團則 完全以歡愉的心態來處理一種超現

實的豐富幻想力，半人半獸的奇

想，除了使兒童看得特別高興，在 沒有沉重嚴肅的壓力下*更每每穿 插給予觀幂各式舞蹈技巧上的驚 訝。即使其中一些人際的競爭關 係，也能化成了跨越語言障礙的輕

鬆風趣的肢體或聲音。古典加異域 色彩的舞步，高級/低檔的並置、結 合和错i虐（如漱口女高音！，盡情揮

霍的體力、熱情和技巧（如芭蕾、 體操加霹靂舞），力量的爆發和技 術的出神入化，呈現出一個多様文

化並存，廣納包容古典與街頭文化

的舞臺空間。而在滿足成未泯的童 心同時，這種演出也開啟孩童從小

接觸並欣賞不同文化之途，對於把 藝術深入民間的推廣十分重要。不

過在多姿多彩同時，如軟骨功的雜 技加插就欠缺了整體的互動.燈光 的轉接也有些硬來，反是加插的摘

抱錄像，在嬉戲鬧哄哄中喚起人文

愛心的關懷暖意•驅散燈泡聖誕樹 的一份意外凄涼。

縱觀今年「法國五月」的三鉤舞，柏 歷加小心經營與不同傳統藝術經典 的對話•白蘭加•李嘗試幽當代生

活的瘋狂苦悶一默，蒙塔沃及艾維 爾舞蹈團則以超現實豐富想像提供

一家大少輕鬆娛樂，三者並列，多

《好玩花園33轉》

舞評 DANCE REVIEW

French May review

by Kevin Ng Photos provided by “French May”

Preljocaj Dance Company’s Rite of Spring

Dance Company presented a diverse

a rose spirit. Preljocaj seemed to have developed an

triple-bill programme in May to open

innovative ‘theme and variations’ approach to the original

this year’s French May festival organised by the Consulate

story. At various points the bustling activity of the two

General of France. The last time I saw Angelin Preljocaj’s

couples contrasted with the stillness of the couple on the

work was in Paris in 1999 when I saw his famous ballet Le

right. Sometimes the dancing on the left side had a pleasing

Parc for the Paris Opera Ballet.

rhythmic vitality. Preljocaj added a modern soundtrack to

alternate with Weber’s classical music.

The programme at the APA Lyric Theatre opened with an

early work Le Spectre de la Rose, which was an interesting

The middle work Annonciation was a pas de deux for two

parody by Preljocaj of Fokine’s ballet. Preljocaj divided the

women. Preljocaj was inspired by the biblical event of the

stage into two halves. Instead of a single pas de deux，

Virgin Mary being informed by the arch-angel Gabriel of

Preljocaj has added two additonal couples on the left side,

her divine destiny. Mary was presumably represented by

to complement the couple on the right side of the stage

the tender white-clad dancer, while the more aggressive

representing the romantic story of a young girl in love with

woman in black represented the angel. This was the most

satisfying work of the whole

evening. Preljocaj’s expressive

choreography was allusive and rich in metaphors.

The two women danced together in parallel in the beginning of the

piece, their weighty movements achieved a sculptural grandeur.

The ending was quite moving; the

black ‘angel’ figure kissed the white ‘Mary’ figure goodbye and

left her alone to face her divine destiny.

The programme ended with

Preljocaj’s new piece Rite of

Spring created only last year. This Stravinsky

piece

was

choreographed for six tribal

couples dressed in a colourful assortment of contemporary clothing, and had already attracted a lot of attention in London two

Blanca Li Dance Company’s Stress

weeks earlier because of the nudity in parts of the piece.

The piece started with each of the female dancers each

The evening opened with four white-clad female dancers

removing their knickers one by one, an activity echoed half­

each prancing about on a bed. The next sketch was done

way through the piece by the men taking off their shirts.

with the curtain half lowered so that we only saw the legs and not the upper body of the dancers. The most entertaining

As expected, Preljocaj’s choreography had a lot of primal

episode had a secretary answering about five to six phones

energy to echo Stravinsky’s score, but the images didn’t

simultaneously, leading to her being completely entangled

really accumulate into any discernible shape. The only

by the phone wires and finally tripping over. However there was a

memorable image saw the dancers divided into two groups

rather vulgar sketch with a female dancer cleaning a toilet.

massing inside a forest represented by the set of many green

knolls. The second half had a solo for a nude girl representing

Other episodes included one in which the dancers’ legs,

the sacrificial victim in the original scenario of Stravinsky’s

hands and heads were covered by paper boxes, and another

score, but she didn’t die in this new version of the ballet.

one in which four girls were each dancing with an artificial leg tucked onto her body. The rousing finale for the entire

cast was totally chaotic, with some girls climbing onto the

Blanca Li Dance Company, another French visiting

chandeliers hanging over the stage.

company, also gave a performance in the same venue. Blanca Li, a Spanish choreographer who last winter choreographed

The absence of a French ballet company in this year’s festival

Scheherazade for the Paris Opera Ballet, is now the artistic

will be remedied next year when the Paris Opera Ballet is

director and choreographer of the Komische Opera Ballet

due to return to Hong Kong after a ten-year absence.

in Berlin. Her 60-minute piece entitled Stress consisted of

over ten comic sketches for a cast of seven female dancers and two male dancers. Some parts of the piece betrayed

The Rite of Spring 13-14/5/02 8:00pm Hong Kong Academy for Performing Arts, Lyric Theatre

Li’s influence by Pina Bausch. Overall it was an entertaining evening, if somewhat shallow in dance content.

2

Stress 18/5/02 8:00pm Hong Kong Academy for Performing Arts, Lyric Theatre

舞評 DANCE REVIEW

Finding landscape of dance in French May by slO

Photos provided by “French May”

decor like a living room. Suddenly two male

dancers leap out from the black masking, they

pair up with the ballerinas and dance together.

On the other side of the stage, another male

dancer enters the dim area. He hugs the woman,

lifts the woman and kisses her forcefully. Once we have heard the sound of broken glass, the silhouette of blinds disappears. Now our focus

is on the dim room again. The woman stretches

out her arms to form a plane-like shape and the man takes her away towards the back stage. It

seems that the woman yearns for freedom Preljocaj Dance Company’s Rite of Spring

eagerly.

Body-space and image-space dancing

yz

were three dance performances in the “French May” program, “The Rite of Spring”，“Stress”

From the very beginning, the two couples in the living room

and “Le Jardin Io Io Ito Ito”. These three evenings of dance

of the other group. Once the woman in the dim room leaves,

show how dance extends the ‘space’ -- temporal space and

the dance format of the couples mutates. There is no more

imaginary space. Though these three pieces may not be

copy and paste action, they dance differently from before.

embodied in the same image or category of images, the ideas

When the woman in the dim room re-enters with the man,

of the choreographers emerge very forcefully in the constant

her psychological situation changes completely. Her actions

relationship with ‘space’.

show great depression, she kneels down before the man and

f

dance in harmony and the action for one group is the mirror

he pulls her up and down and strikes her to the rhythm of Dim room dancing

the music. At the end, we see the silhouette of blinds reappear

In the programme of “The Rite of Spring” by Preljocaj Dance

on stage. Does it imply that it is just the woman’s dream for

Company, there were three pieces of dance performed. Le

freedom and these two performing zones represent reality,

Spectre de la Rose shows the co-existence of space. There

hallucination and the blend of both? In the house programme,

are two performing zones on the stage. On stage left, a

the choreographer writes that Le Spectre de la Rose is a

woman lies on the floor silently. The floor is projected with

type of gate, a door into another time period, a fourth

the silhouette of blinds. It seems that the woman is cooped

dimension enabling him to communicate with a highly

up in a dim room, and she stretches, dances and struggles.

important moment in the history of dance. In my opinion,

At the same time, two ballerinas dance on stage right with

this dance piece acts as a gate for the choreographer, as well

as a bridge for the audience to re-think reality and super­

own plate, six men sit aside and gaze at them. Later the men

reality.

join the women to dance. The women help the men to get rid of their leash by taking off the men’s shirts. Then the

A new point of view on Annonciation

men forcefully take off the blouses of the women. The six

Annonciation shows a modern version of the annunciation.

plates merge together again, one of the women is totally

A spotlight seems like the first light of dawn on a young

stripped of clothes by men. This naked woman sacrifices

girl, sitting on a L-shaped bench. The sound of a camera’s

for the rite of spring (merging of plates). At the beginning,

snap, the sound of children playing and the shadow of trees

the women seem to be the hosts of the rite. However, we

give us a sense of the outdoors. The bench seem like a buffer

realize that they are just the victims of a new era after the

to protect the girl, symbolizing her virginity. The sound of

rite of spring.

the camera’s snap gives us the impression that all the scenes are snapshots, the choreographer catching the dramatic shots

Craziness driven by stress

of the girl, Mary’s internal struggle (the co-existence of

These three dance pieces of ‘‘The Rite of Spring” bring out

acceptance and rebellion). Also, the use of post-modern

spiritual and religious allusions by using allegorical and

music highlights the stage of rebellion of Mary. This dance

historical modes. However, “The Stress” is another type of

truly gives a new vision of annunciation.

abstraction which reveals the craziness of modem world.

The sacrifice of the rite of spring

Starting from four beds and four sleepless dancers, who are

The Rite of Spring is the last part of the performance, which

rolling on and off the beds searching for their dreams. During

is also the most impressive and surprising dance. The female

the second scene, the stage curtain blocks half of the stage.

dancers slip their underpants off and dance with them

The audience can only see the thighs of the dancers. Different

playfully. After taking off this leash, they conquer a big set

kinds of shoes and different types of legs evoke different

piece representing a grassy field. Now they start a new page

stories. The legs criss-cross the stage landscape, creating an

and are like gods of the Earth. The big set piece is divided

effect like peeping through underground windows.

into six small plates. When each woman dances on their

Montalvo-Hervieu Dance Company's Le Jardin Io Io Ito Ito

The most interesting part of this piece is a dance with fake

contemporary, smurf, breakdance, Flamenco, classical and

legs. The dancers hold a fake leg and form different postures.

physical theatres; it is also a hybrid between real and unreal

The use of fake legs helps them to pose in difficult or

things. The choreographer, Jose Montalvo, writes that this

impossible actions, such as a Y-shaped pose of swirling legs

piece ‘give birth to a poetics of proximity and unfamiliarity,

and legs extended from ears and chests, or the use of legs as

rerouting learning in the direction of movement, desire,

an instrument for fencing or playing golf.

fantasy, dreaming and childhood.’ It is a good family show.

The use of shadow projections and images not only brings

Sliding boxes on stage evoke another crazy scene of carton

fantasia to the audience, but also offers a good stimulation

dancing. The dancers wear big boxes on their torsos.

to arouse the audience from the apathy of limited

Different shapes of boxes represent different identities. They

imagination.

rendezvous with each other on stage to show how crazy

they are. Holding sprays and cloth, maids madly do

Creativity is without boundary. Actually, the development

housework. At a restaurant, which is the climax of craziness,

of art can be extended perpetually. This time, the dance

the women dance with toy figures and sabotage the whole

pieces in “French May” show us how imagery stretches out

scene. The beginning scene of beds reappears. Is all just a

the space for dance. Next time, we may also see how it affects

dream that reoccurs again and again?

another field! Once we tune into the imaginative power, our ‘space’ will become bigger and bigger.

The hybrid of reality and unreality on retrospection and

foreshadowing

Dreaming is a state of mind in which things seem unreal.

However, illusion appears during waking states. There is a strong visual effect in Le Jardin Io Io Ito Ito, which creates

The Rite of Spring 13-14/5/02 8:00pm Hong Kong Academy for Performing Arts, Lyric Theatre Stress 18/5/02 8:00pm Hong Kong Academy for Performing Arts, Lyric Theatre

a hallucinary effect on the stage and makes for great fun.

This dance is a collage of different kinds of performance:

the circus, Caribbean, Cameroon, Ivory Coast, baroque,

Le Jardin Io Io Ito Ito 31 /5/02 & 1/6/02 8:15pm Hong Kong Cultural Centre, Grand Theatre

舞評 DANCE REVIEW

浪漫詩情洋溢全場 探討香港舞蹈團《梁祝》成功之因 文：Jonathan Ho 國際演藝評論家協會專業會員

藝術學院兼任講師 照片提供：香港舞蹈團

去年十一月《梁祝》於「中國傳奇」中首演到本年

從 四月應邀於上海大劇院演出，至五月載譽回港再

很多時候，我們欣賞「梁祝」這家傳户喻的愛情故事

時，都會習慣地祇用莎士比亞的「羅密歐與茱麗葉J相

演三場，《梁祝》可稱得上收獲豐盛。筆者錯過之前兩

比。可能兩劇都同樣的燴炎人口’不論是音樂'詩’詞

場演出，要到五月重演才有機會進場欣賞這套滿載成功

以至劇場、舞蹈創作，以兩劇為題的作品實在多得不計

的大型舞劇。觀後，筆者想到舞團舞蹈作品幕多，為何

其數。然而、兩劇的故事背景以至文化'國度都大相逕

一套題材較為陳舊甚至有點覺「老套」的《梁祝》舞劇，

庭，唯一可以相題並論的，就只有兩劚同樣是歌頌愛情

會獲得如此成功？細想下筆者嘗試從編舞的取材著眼，

的偉大吧！但若以偉大的愛情這一角度來比較「梁祝」

看看是否可以為以h的問題尋找一個較為合理的答案。

與「雖密歐與茱麗葉」，何不以中國的傳統愛情故事與

之相比？虚構的有「帝女花」的長平公主與周世顯、「紫

領會到中國人的浪漫詩情，而以中國人獨特的浪漫氣質

釵記」的霍小玉與李益：真實的有「叙頭鳳」的陸游與

來觀賞香港舞蹈團的《梁祝》，或許可以從中了解到此

唐琬、「浮生六記」的沉復與雲娘。此四者同樣是以中

舞劇的成功因素。

國人的文化背景訴説中國人的愛情故事，從中我們可以

編舞兼藝術總監蔣華軒以中國人的浪漫角度出發，把

「梁山伯與祝英台」呈現在觀眾眼前：如「序」中英台

的蝴蝶夢，就首先借用莊子的「夢蝶」帶領觀眾進入如 夢如幻，似真還假的夢幻世界中，接著「第一幕」的元

宵節一場亦把英台與山伯邂逅的原因，作了一個較為合 理的交待。當中利用燈光效果和五幅長布交待兩人舞文 并墨，互相比詩、作對的一場，更見詩意溢然。

「第二幕」書院內呢喃的讀書聲，呼應著晨操、劍舞的

呐喊；書院內井然有序的竹蓆和窗影與書院外隨著四季 變化的桃花樹•簡單利落地將中國讀書人求智慧、覓書 香的美德表達得如斯詩情畫意。「喜雨」一場把英台之 女兒身暴露、更是神來之筆：暴而不彰、露而猶斂，點

到即止！編舞之功可見一斑。

「第三幕」的「逼婚」先來一段惹笑輕鬆的引子：劉紹

銘飾演的祝父與周瑋婦飾演的媒婆一跳一叫 、一唱一

和、一奉承一得意。將如此有趣精彩的「雙人舞」作為 悲劇的前奏，落筆之精關獨到，少一點編舞功力都會弄

巧反拙。蔣華軒之功再一次令人°莫服。「第三幕」幕

终：山伯病故，長長的白布隨著山伯臨终之除作最後授 扎而下墜。彷如不停墜落的白布除了象徵山伯痛絕欲裂 之心及他把英台的情書撕破外，更將舞台粗暴地樹開兩

截，是編舞將觀眾帶回現實世界一「梁祝」悲劇的愛情 世界之動作：山伯、英台的心被撕裂，觀眾的心情亦被

16

撕破！若果全劇以此為终，則有失中國人浪漫的詩意情

李樹生的燈光設計及陳志權的舞台美術設計亦應記一

懷，更有違「梁祝」故事之精神：但若只是以「化蝶」

功。李陳皆為本地訓練之設計人材，兩人於「梁祝」中

來终结，又不免流於於因循，有欠創意！於是編舞蔣華

的設計，確令人喜出望外。

軒將「化蝶」一幕處理得更為立體化，一方面以其一貫

的立體編舞手法，將之營造得更具雕塑美；另一方面更

除了編舞造詣令人嘆服之外，蔣華軒在人事編制和遴選

讓觀幂進入空靈飄渺、湮波裊裊的幻境之中，與山伯、

方面亦有卓越的見地。此劇除了在上海上演時邀請了兩

英台一同化蝶—以蝴蝶之翩翩，同感化蝶之慰藉。此幕

位影視紅星米雪和張燊悦客串外，上海及香港的演出更

更與「序幕」相呼應，全劇終結於此•自然更為理所當

請來本地舞蹈前輩兼紅星劉紹銘飾演祝父一角。三位明

然、完美無瑕。

星於劇中只是客串形式參與，而且只是飾演配角，所以

舞蹈員方面，蘇淑飾演的祝英台，從起初的純真無染到

技巧的實力，更可以收得一定的宣傳效果，為演出錦上

結識到山伯後的芳心暗許；於同窗中，既想與一眾看

添花，一舉三得。

不會抹殺團中舞蹈員的表演機會，亦可顧及明星於舞蹈

齊，又怕女兒之身被揭；及至被祝父逼婚，最後甚至親 睹山伯之夭……每段情感，都演得細緻動人，一絲不

整體而言，《梁祝》在編舞、舞蹈員、舞台燈光設計，

苟。陳俊演的梁山伯既保存中國讀書人的保守拘禮，又

和演員遴選等各方面都有超水準的表現，難怪能三演三

不失作為年輕人的活潑瀟灑，由前段於元宵邂逅英台的

捷！舞團自蔣華軒「執棒」以來，不論在藝術創作之多

「朋友情」與「冏窗義」，到後來發現英台為女兒身的

元、編舞之造詣、用人之卓見各方面均表現卓著。國家

「初戀情」以至後來痛失良緣而病危之「悲痛之情」都

一級編舞確然實至名歸。舞團他日之發展亦未可量也。

演得神髓俱傳，絲絲入扣。柯志勇的扮獅人則技巧高

超，舞藝精湛，著實令人嘆為觀止！三位舞者年紀雖 輕，但舞藝出尿，明日之星未可量也！

《梁祝》

17-18/5/02 7:30pm, 19/5/02 3:00pm 香港文化中心大劇院

Jolly of Life 《歡欣滿載》 羅培丹芭蕾舞學校 22/8/02

7:30pm

Sheung Wan Civic Centre Theatre 上灣文娛中心劇院 何誤統.钱垣能？

血何恥抗逆能力？血麵台IQ囲印？ 血何提H孩孑學習囲趣7 血何栽培傑出孩？7 邯何《進親？脚係？

Coppelia 《魔偶情緣》 Hong Kong Ballet香港芭蕾舞團

B期：二八目二十二曰（瞿期四） 朗B:晚比時S十分 2SE：上璁又a中«劇蛇

23- 25/8/02

7:30pm

24- 25/8/02

3:00pm

Hong Kong Cultural Centre Grand Theatre 社主辮

香港文化中心大劇院 Choreographer :

Bengt Jorgen

編舞：

畢•約根

《探索與經驗》 Dance, then dance 23-24/8/02

8:00pm

Fringe Studio, Fringe Club

藝穗會

Cheers

《歌/舞/劇》 MT Pulse

iccr，：: Yuri Ngo

30/8/02

8:00pm

31/8/02

3:00pm, 8:00pm

Hong Kong Arts Centre Mcaulay Studio

香港藝術中心麥高利小劇場

La Sylphide 《仙凡之戀》 Hong Kong Ballet Group

香港芭蕾舞學會

19. ZWM.WUS⑶ XjOpm

TuenM^n Ti?*lkiUII Agdynxiiu :

31/8/02

7:30pm

1/9/02

2:30pm

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

Artistic Director/Choreographer :

藝術總監/編舞： Yuri Ng (after August Bournonville)

伍宇烈(根據布農維爾版本改編)

軟/身/劇

M4XS .体停.tl：任客 :a吧屮各ft 4吐糞幘：是a ii9R . K.ft .又嘁又笑.孓MJ 碭屹：.<4格街中心參

I］期：3（V8< 五 > 8pm 31/8（六）3pm.

，價：SI45 成人 S120董埤：920J-3M4鮝小姐 B製/谬演：Edith :Nikki. Henry. Penny,

ft 計：Jackie

Nemesis

《復仇/女神》 Random Dance Company (UK)

隨機舞蹈團(英國) 8:00pm

13-14/9/01

Auditorium, Kwai Tsing Theatre

葵青劇院演藝廳 Artistic Director/ Choreographer :

Wayne McGregor

Singin in the Rain 《雨中樂飛揚》 from 1/10/02

7:45pm/2:30pm

HKAPA, Lyric Theatre

香港演藝學院歌劇院 ffl澜曾演

Asia Pro；

《復仇/女鞞》

The World’s Most Loved Movie Musical of All Time

Choreographer :

David Atkins

編舞：

大術•艾金斯

Weinewi?!88*萇觀舞蹈團

二00二尊十月_日《番灌》■，供歡網蹼公演

Little Asia Dance Exchange Network 《小亞細亞舞蹈網络》 Solo Pieces獨舞作品

31/10/02 -2/11/02

7:45pm

Collaboration 交流演出 3/11/02

7:45pm

Hong Kong Arts Centre Mcaulay Studio

香港藝術中心麥高利小劇場 Choreographers :

Dick Wong黃大徽

編舞：

Kaiji Moriyama 森山開次 An-li Su蘇安莉

Trudy Radburn Kim Jung A

S-2 8 2 -

P fo 9 ra 3 3 o Scbcdulo •

Performances froml October 2002 Lyrk Theatre, The H009 Kong Academy for Performing Arts

tsndow Stance Company' ｛

• L 5 O A S

全球至愛經典電影音樂劇

Chinese Martial Arts Dance II 《武極系列之二》： Miranda Chin Dance Company

錢秀蓮舞蹈團 11-12/10/02

8:00pm

Ngau Chi Wan Civic Centre

牛池灣文嫉中心 Choreographer:

Miranda Chin

編舞：

錢秀蓮

Members of Hong Kong Dance Alliance HONORARY ADVISORS 戴愛蓮女士

香

白朗唐先生 陳錦明先生 張秀梅女士 宋孟青女士 高家霖先生 郭慧芸女士 洪麗虹女士 雪佩瑜女士 吳雪梅女士 曹誠淵先生 黃翠玲女士

會員

INDIVIDUAL MEMBERS

S I1 I1I Ssg

Mr Mr Ms Ms Mr Ms Ms Ms Ms Mr Ms

Tom Brown Clement Chan Cheung Sau Mui Wendy Chu Graeme Collins Vivian Kwok Hung Lai Hung Florence Lui Violet Ng Willy Tsao Scarlet Wong

敝敝 I

舞

人會員

宋絜女士

生生士士生士士士士生

港

n

Ms Ailian Dai

1!

Ms Chu Kit

Mr Mr Ms Ms Mr Ms Ms Ms Ms Mr

Csaba Buday Ringo Chan Miranda Chin Ulian Chun Mohamed Drissi Medina Lau Kim Law Rashna Homji Susan Street Aaron Wan

簡麗珊女士 周全輝先生 宋絜女士 鍾秉瑜女士 黃亞華先生 黎海寧女士 李念椿女士 施德安先生

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

JUL

1會

共享空間舞蹈劇場 基督徒舞坊 小燕子舞蹈團 舞踏菲場 蔥動派創作空間 香港演藝學院 香港演藝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 藝摯歐洲民族舞醐 R' Life音樂劇場

絲路舞蹈文化協會 躍舞翩

:員 4

三分顏色 原體系 歪:的ZE体 亞洲青少年芭蕾舞團

士士生 女女先 芬蘭誠 拾秀艷島 小張關松

名

普通會員

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 曾雪麗女士

Arts Plus Billy Chan Dance Centre BIZI SITE

馬金泉先生 曾澳英女士 鄺腕儀女士 宋倩儀女士 李以珊女士 施素心女士 王廷琳先生 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 蘇漢華/鍾詠賢

Dua Space Dance Theatre Evangelical Dancing Troop The Flying Swallow Dance Studio The Flying Works Greensco The Hong Kong Academy for Performing Arts HKAPA School of Dance Alumni Association Hong Kong Ballet Hong Kong Dance Company Hong Kong Ginger

Ms Paula Mok Mr Billy Chan Ms Congo Yu Mr Yuen Wai-tung Ms Diana Yau

The Boheme Dance Company Champion Ballroom Dancing Academy Christine Liao School of Ballet City Comtemporary Dance Company Contact Point DanceArt Hong Kong

Dance HK/NY Danse A LiLi Ballet Academie DMR School of Ballet

fTS Creative Jean M. Wong School of BcJet Knack Cordial Fok Group Ones To Watch Dance Company R5 Life Musical Theatre Silk Road Cultural Society Spring Poetry

Synchro Three Colours Uncarved Block y. d. thearter Youth Ballet of Asia

Mrs Christine Liao, JP Mr Willy Tsao Ms Mui Cheuk-yin Mr Andy Wong Mr Tom Borek Ms LiLi Tsang Mrs D. M. Wayburne Mr Anthony Meh Kim-chuen Ms Tsang O-ying Ms. Diana Elia Kwong Ms Phoebe Chu Ms Coral Lee Ms Susan Street Mr Andy Wong Ms Helen Ng Ms Chun Keung Lau Ms Cherry Lai Ms Karen Suen Ms Ama Chen Mr. Kemelh Tse Ms Angela Hang Mr Rex Chiu Ms Pasha Umer Mr Terry Tsui Ms Jamie Chung Mr Afa Chiang Ms Ling Lee Mr Daniel Yeung

ASSOCIATE MEMBERS

袁美華女士

slO Ms Ms Mr Ms Ms

學生會員

STUDENT MEMBERS

陳桂思女士 鍾晶女士 IS幸賢女士 王嘉敏女士

Margaret Carlson Chau Chuen Fai Chu Kit Stella Chung Huynh a-hoa Helen Lai Charissa Lee Kevin Ng Sze Tak On Peter Williams

ORGANIZATION MEMBERS

MA

I

Ms Mr Ms Ms Mr Ms Ms Mr Mr Mr

Cheung Sau-fan Kwan Yim-Ian Makoto Matsushima Daphne Wong Yuen May Hah

Ms Suki Chan Ms Chung Ching Ms Candy Lo Ms Carman Wong

陳金鳳女士 周詠詩女士 陸慶樂先生 莫裕康先生 黃洛淋女士

陳麗娜女士 祭雅慧女士

Ms Ms Mr Mr Ms

Chan Kam Fung Chow Wing Sze Luk Hing-sun Juergen Morhard Wong Lok Lam

Ms Lina Chen Ms Lai Nga Wai Ms Victoria Morris

鄭珮雲女士 宋文秀女士 陸惠研女士 尹子欣女士 李彩嫻女士

Ms Ms Ms Ms Ms

蔡嘉樂先生 割曉彤女士 黃天華女士

Mr Cody Choi Ms. Iris Lau Ms Audrey Wong

Cheng Pui Wan Chu Man-sau Luk Wai-yin Maria Assunta Wan Lee Choi-han

Membership Form

暑員由韻表 會藉

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 Member1 s Information

Name

個人 / 普通 / 學生會員資料

姓名(English)_______________________________________ (中文)___________________________________

Position B戢位

________________

Company公司名稱_____________________________________________

Affliated Cultural Organization 戶斤屬藝術機構 Telephone

電話

______________________________

Correspondence Address E-mail Address

____________________________________________________

通訊地址 ____________________________________________________________

電郵地址

Organization Member1 s

傳真 __________________________________

Fax

------------------------------------------------------------------

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

傳真__________________________________

Fax

通訊地址____________________________________________________________

電郵地址 --------------------------------------- --------------------------

Applicable Dance Category

所屬舞蹈類別

|

| Contemporary

|

芭蕾 | Asian Folk亞洲民族舞

|

| European Folk歐洲民族舞

I

| Education 教育

|

| Criticism

|

| Ballet

l

現代舞

|

寫作與評論

| Chinese Dance

中國舞

□ Ballroom國際標準舞

舞台技術

|

| Technical Arts

| Cultural & Arts Administration

|

| Notation舞蹈記錄

|

| Musical Theatre/Jazz/Tap

|

| World Dance世界舞蹈

|

| Others 其他

Signature

文化及塾術彳了政 Dance 音樂舞劇 / 爵士舞 / 踢S達舞

______________________________________

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。 Non voting沒有投票權利