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香港舞蹈聯盟理事委員會
Hong Kong Dance Alliance Executive Committee :
整版
白朗唐Tom Brown
主席 Chairman :
副主席 Vice Chairman: 曹誠淵Willy Tsao
秘書 Secretary :
吳杏冰Helen Ng
z財政 Treasurer:
孫名翠Karen Suen
委員 Members :
劉鎮強 Lau Chun Keung
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李念春 Charissa Lee
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故稿
y^^tLcCcs SubmLssLon
@請將稿件郵寄、電郵或傳真至本會，中英不限。
編輯 Editors : 白朗唐
Tom Brown,
施德安
Cecil Sze
來稿被刊登者可得稿費。Submission of unsolicited articles (Chinese or English) can be made
through mail, e-mail or fax to Hong Kong Dance 設計及排版Design & JL^
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Alliance. Authors of articles selected for
Cecil Sze
publication will be paid for their work.
Correspondence Address:
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本刊物所表達之意見或觀點及其所有內容，均未經香港舞蹈聯盟或香港藝術發展局
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The judgement and opinions expressed and the content included in this publication do not carry technical endorsement or authentication by, nor necessarily represent the views of, the Hong Kong Dance Alliance or the Hong Kong Arts Development Council. 場0
康樂及文化事務處 Leisure and Cultural Services Department
天虹印刷有限公司 Rainbow Printings Limited
No.1
Vol.5
Cover封面
Chiang Ching's "The Song of the Earth"
江青《大地之歌》 Photo: Hong Kong Dance Company
相片提供：香港舞蹈團
與馬勒神交之延續 一談香港舞蹈團《大地之歌》' 文 :Jonathan Ho
舞蹈快訊 NEWS
2
予人一份憩息感覺的《行草》 文：小拾
零二年舞圈的個人閲讀 文：劉建華
Dazzling riches from the Kirov 7
Ballet by Kevin Ng The Art of Dance in Education (I)
-Is ‘Dance’ an Art?
從美的角度看《寶石》
舞蹈藝術的敎育(I)
文
小拾
—舞蹈是否藝術？ — by: Anna C Y Chan
香港演藝學院《香港製造》
文：陳頒瑛
文 :方人
19
舞蹈節目表
Dance Events
20
Image: Hong Kong Academy for Performing Arts performs Mui Cheuk-yin's “Circle Songs'
圖：香港演藝學院演出梅卓燕作品《緣》
編 者 話
Kung Hei Fat Choi! Welcome to Volume 5 of the Dance Journal!HK. Thanks to the many letters sent to us and
to the Arts Development Council in support of the Journal, it has received Council funding to continue
publication.
Your support demonstrates that when
dancers speak, they are heard; when they speak in unison,
they are heeded.
m d i o r s
It is an important lesson, especially
valuable to the dance community as it develops strategies
to meet these challenging times. Like much else in Hong Kong, the Journal will operate on a reduced budget, but
a forum for discussion of issues pertinent to the interests
Note
be a primary resource for Hong Kong dance, an advocate,
we can make our voices heard and bring to the public’s
attention, the needs and interests of Hong Kong dance. 恭喜發財！停了數個月的《舞蹈手札》终於又能與大 家見面了。對於能夠復刊，我們除了多謝香港藝術 發展局的資助外，亦要感謝一些讀者來信或至函藝
術發展局所表達的關心和支持。這次經驗，讓我們
看到了團結的力量，也明白到表達意見的重要；我
行各業一樣面對著資源緊縮的問題，我們會力求改 善，精益求精，使其成為香港舞蹈的一項重要資
源、一個推動和討論香港舞蹈的場地、一個以舞蹈
of Hong Kong dance, and a means to support the
評論和學術來支持香港舞蹈發展的工具。要達到這
development of Hong Kong dance through dance
些目標，我們須要你們的支持一你們的文章、來
Please join us in this
函、討論、意見、消息和廣告全都可幫助我們集合
criticism and scholarship.
enterprise.
We welcome articles, letters, debates,
HK STUDENTS PERFORM IN EUROPE
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Hong Kong Dance community and our readers. Together
們應以此來面對未來的挑戰。雖然《舞蹈手札》與各
nevertheless, will strive to be a better publication with each succeeding issue. The Dance JournallHK aims to
comments, news items, and advertisements from the
力量，表達意見，為香港舞蹈的發展作出項獻。
香港學生歐洲演出
At the end of August, Hong Kong Academy for Performing
香港演藝學院學生於2002年8月尾參與了在德國Dusseldorf
Arts students together with students from the Taipei National
舉行的 Global Dance 2002 ° Global Dance 2002 是由世界
University of the Arts, the Western Australian Academy of
舞蹈聯盟主辦，與NRW Tanzhaus所辦的North Rhineland-
Performing Arts, and the Purchase Conservatory of the Arts,
Westphalia舞蹈節同步進行。在舞蹈節中，演藝學生與台灣
performed the first full-length reconstruction of Ray Cook’s
國立藝術大學、西澳洲演藝學院和紐約Purchase
釜
Labanotation score of Lin Hwai-min’s masterwork, Legacy
Conservatory of the Arts同台演出林懷民的名作《薪傳》。
in Dusseldorf during the World Dance Alliance Global Dance
這是首次根據澳洲記譜家Ray Cook所寫的拉賓舞譜來排演整
2002 Festival held in conjunction with the Tanzhaus North
齣《薪傳》。除了參加Global Dance 2002外，演藝學生於 這暑假亦於柏林、巴黎和維也納巡迴演出娜泰莉•維亞的
Rhineland-Westphalia Dance Fair.
The performance
capped a touring season by APA students during which they performed Natalie Weir’s Rite of Spring in Berlin, Paris,
《春之祭》。
HKAPA students perform Lin Hwai-min s Legac
/
演藝學生演出林懷民人作品《薪傳》
Brussels, and Vienna.
DANCE IN THE SECONDARY SCHOOLS The Hong Kong Dance Alliance has been commissioned by
4
the Hong Kong Arts Development Council to undertake a year-long project, entitled School Dance Education Research
and Development Project, to research dance education provisions and develop resources for teaching dance in Hong Kong secondary schools. The first part of the project, which includes surveying all Hong Kong secondary schools through
I
\
j
9
questionnaires, is complete. A second phase of in-depth
中學舞蹈敎育
interviews at the schools is currently underway.
香港舞蹈聯盟獲得香港藝術發展局資助，進行一項為期一年
Further
parts of the project include conducting dance workshops at
的計劃
「學校舞蹈敎育研究和發展計劃」，調查香港中
selected schools, developing teaching materials to assist
學舞蹈敎育情況，並提供舞蹈敎育資源。計劃第一部份的全
secondary school dance teachers, and a seminar for dance
港中學問卷調查已經完成，而第二部份的學校訪問亦快將完
teachers held at the Hong Kong Academy for Performing
結。接著下來的工作包括了到學校進行工作坊 、發展舞蹈敎
Arts, which is a partner of the Alliance for the project. The
學輔助資料和在其合作伙伴香港演藝學院中舉行的舞蹈敎師
project will focus on the ‘Three Central Learning Concepts’
研討會。整個計劃是以強調舞蹈表演、創作和欣賞並重的
of dance making, appreciation, and performance. Heading
「三元學習概念」為核心。除了負責人陳頌瑛女士外，這計劃
the project for the Alliance is its Researcher, Anna Chan,
亦邀得演藝學院的施素心敎授和白朗唐先生以及城市當代舞
with APA Professor Susan Street and Tom Brown, and CCDC
蹈團敎育及外展部敎育經理鄺韻儀女士作為顧問 。詳情可電
Outreach Programme Manager, Ronly Kong, serving in an
郵至香港舞蹈聯盟(hkdalli@netvigator.com)查詢。
advisory capacity.
For more information about the project
contact the Alliance at: hkdalli@netvigator.com
演藝學院新任講師
APPOINTMENTS AT APA
演藝學院於2002學年委任了兩個新講師。他們分別是來自華 盛頓大學的現代舞資深講師羅傑索和擔任芭蕾舞講師一職的
The APA announced two appointments in Academic Year
前香港芭蕾舞團首席舞蹈員劉燕玲。演藝學院亦於2003年1
Robert Kitsos, formerly of the University of
月中的冬季學期中邀請了來自香港、中國、法國、澳洲和美
Washington was appointed Senior Lecturer in Modern Dance,
國的客席藝術家到學院敎授不同的課堂|包括了芭蕾舞-中
2002-03.
and former Hong Kong Ballet Principal Dancer, Stella Lau
國民族舞、踢躂舞、現代舞和爵士舞。這些藝術家包括了丁
was appointed Lecturer in Ballet. In January, for the APA’s
偉' Gianin Loringett、黎海寧' Herve Robbe -娜泰莉-
Winter Term, guest artists from Hong Kong, China, France,
維亞、Stephen Laurent、刑亮、陳德昌、梁美雲' 黃梅和才 讓扎西。
Australia, and the United States taught a broad range of classes in ballet, Chinese folk, Chinese classical, tap,
modern, and jazz dance. Among the artists were Ding Wei,
Big Apple舞蹈交流計劃
Gianin Loringett, Helen Lai, Herve Robbe, Natalie Weir,
香港舞蹈聯盟聯同城市當代舞蹈團、動藝和香港演藝學院合
Stephen Laurent, Xing Liang, Ringo Chan, Liang Mei-yun,
辦了一項邀請美國現代舞藝術家於 2002年11月和2003年1
Tasha Wong, and Cai Rang Zai Xi.
月來港交流的計劃。Big Apple計劃是由香港舞者陳敏兒策
BfG APPLE DANCE EXCHANGE PROJECT
劃•顧笑惠和林偉源統籌，並由美國Arts International和亞 洲文化協會賛助。在這個計畫中•四個來自美國的藝術家一
The Hong Kong Dance Alliance with the City Contemporary
—前 Bill T. Jones/Arnie Zane 舞蹈團的 Alexandra Beller 和
Dance Company, DanceArt Hong Kong, and the Hong Kong
Colleen Thomas 以及 David Dorfman 和 Lisa Race------ 分
Academy for Performing Arts brought American modern
兩批來港兩週，分別在城市當代舞蹈團、動藝和香港演藝學
dance artists Alexandra Beller and Colleen Thomas, formerly
院授課•並於動《舉行社區工作坊。每組藝術家並於離港前
of the Bill T. Jones/Arnie Zane Dance Company and David
亦在演藝學院一號練舞室舉行示範演出 。
Dorfman and Lisa Race, to Hong Kong in November 2002 and January 2003. The project, with funding provided by
Arts International and the Asian Cultural Council, was initiated by Hong Kong dancer Abby Chan and coordinated by Juna
Koo and Allen Lam. The American artists spent two weeks each, teaching company classes at CCDC, DanceArt, and the Hong Kong Dance Compapny, classes for students at the APA, and community workshops at DanceArt.
Each
residency was concluded by a public showing in the APA’s
Dance Studio One. CCDC EUROPEAN TOUR
The Hong Kong flagship modern dance company, the City
CCDC performs Willy Tsao's China Wind/China Fire
Contemporary Dance Company, returned on 19 December 2002 from a 25 day European tour during which the company
城市當代舞蹈團演出曹誠淵作品《中國風'中國火》
performed in 14 cities in Switzerland, Austria, Luxembourg,
城當歐洲之旅
The tour programme included China Wind/
香港的「旗艦」現代舞團— —城市當代舞蹈團在去年12月19
China Fire by artistic director, Willy Tsao, Yuri Ng’s Boy’s Story and Mui Cheuk-yin’s Eulogy. Additionally, on the tour, an all female version of Boy's Story entitled Suit Yourselves,
日完成其25日歐洲巡迴演出，返回香港°這次歐洲之旅’ 「城當」共到了瑞士'奧地利'盧森堡和德國的十三個城市演
and Germany.
出了藝術總監曹誠淵所編的《中國風'中國火》'伍宇列的
Ladies, was also performed, as was an all male version of
《男生》和梅卓燕的《獨步》。在這次歐洲之旅，「城當」亦
the originally all female Eulogy.
The performances were
演出了名為《女大當家》的全女版的《男生》和全男版的《獨
enthusiastically received by press and audiences alike throughout the whirlwind tour. Upon their return to Hong
步》(原為女舞蹈員演出)，並獲得當地報界和觀眾的好評。
Kong, the company began rehearsals for its Kwai Tsing April
包括了彭錦就和澳洲編舞家Maggi Sietsma的作品。有關詳
season that will feature works by Sunny Pang, and Australian
情•可溜覽城當網頁http://www.ccdc.com.hk。
回港後•城當開始準備於葵青劇院演出的四月份舞季•當中
choreographer Maggi Sietsma. For more information visit
準體育敎師舞蹈訓練
the company’s website at http://www.ccdc.com.hk
為了對未來的體育敎師提供更多的舞蹈敎育資源，二十五個
DANCE TRAINING FOR FUTURE PE TEACHERS
就讀於香港敎育學院四年制體育敎育學士學位課程的三年級
Twenty-five third year students in the Hong Kong Institute of Education Bachelor of Education (BEd) degree programme
學生於2003年1月到香港演藝學院參與一個為期三個星期的
in Secondary School Physical Education spent three-weeks
試驗計劃。在這個密集的課程中，除了中國民族舞、Hip Hop 和爵士舞等舞蹈課外，學生亦會上講授當代舞蹈欣賞的課堂
in January at the Hong Kong Academy for Performing Arts.
和觀察芭蕾舞和現代舞的上課、以及演藝學生排練編排中作
In a pilot project to provide future Physical Education teachers
品的情況。這個由香港敎育學院資深講師Paulette Cote-
with greater resources for teaching dance, the HKIEd
Laurence博士和演藝學院舞蹈學院院長施素心敎授合作統籌
students took classes in Chinese Folk, Hip Hop, and Jazz
的計劃是香港首次推行的同類型計劃，亦將會是一個由
dance, and attended lectures on appreciation of
Paulette Cote-Laurence博士和施素心敎授一起進行的研究計
contemporary choreography.
Students also observed
劃的主題，測量以「三元舞蹈學習：創作、欣賞和演出」來
classes in Ballet, and Modern dance and rehearsals of works-
敎授舞蹈的成效。在此計劃之前•這批學生已在敎院中上了
in-progress being prepared by Academy students.
多個由張秀梅老師所敎授的動作創作和編舞的堂程；這次到
The
project, coordinated by Dr. Paulette Cote-Laurence, Senior
演藝上課，可說是總結了敎院學生的舞蹈學習。
Lecturer at the HKIEd and Professor Susan Street, Dean of Dance at the APA, the first of its kind in Hong Kong, is the
subject of a research project by Cote-Laurence and Street
that will measure the efficacy of using the ‘three concepts of dance learning’: dance making, appreciation, and performing in preparing future physical education teachers to teach
dance . Their work at the Academy is the culmination of the
HKIEd students’ learning in dance. Prior classes at the Institute included courses in movement invention and
choreography led by Vanessa Cheung. HONG KONG BALLET TO REVIVE COPPELIA
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The Hong Kong Ballet Company will revive the comedy ballet
classic, Coppelia in March and April at the Auditoria of Yuen Long Theatre and Sha Tin Town Hall.
The production, co
produced by Hong Kong Ballet and Ballet Jorgen Canada,
is choreograped by Bengt Jorgen with live music by the Hong Kong Philharmonic Orchestra conducted by Li Xin-cao.
In
Hong Kong Ballet’s Coppelia. Photo credit: Siu Wang-Ngai 香港芭蕾舞團《魔偶情緣》攝影:蕭宏毅
his review of the production, critic Robin Lynam wrote: "It
呈 7
was obvious from a glance at Glenn Davidson's set, which
香港芭蕾舞團重演《魔偶情緣》
choreographer Bengt Jorgen says was inspired by cubism
but actually looks more like something from a Dali surrealist
香港芭蕾舞團今年3、4月分別於元朗劇院及沙田大會堂演 藝廳重演與加拿大約根芭蕾舞團聯合製作、由畢•約根編舞
fantasy, that this was not to be a traditional Coppelia. Jorgen
的經典芭蕾舞喜劇《魔偶情緣》。這次演出，亦邀得由李心
has indeed drawn on the dreamlike and sometimes
草指揮的香港管弦樂團作現場伴奏。評家程素對香港芭蕾舞
nightmarish qualities of the original story to produce a more
團去年八月所製作的《魔偶情緣》有以下評述：「沒有富麗
provocative interpretation than this well loved ballet generally
堂皇的大型布景|也沒有華麗奪目的古典服裝•主要男女角
gets. The production played up the undercurrents of jealousy and sexual tension and at times the almost sinister side to
劇《魔偶情緣》一樣清新可人•予人眼前一亮的感覺。編舞
色甚至不由首席舞蹈員擔綱，然而，香港芭蕾舞團的最新舞
^^<3
the powerful yet vulnerable Dr. Coppelius. As an interpretation of a "comedy ballet” this was consequently short on laughs, although the description is misleading
畢•約根三年前為舞團編排的《羅密歐與茱麗葉》當曰曾叫
anyway and Crystal Costa made the most of Klara's essential petulance to lighten things up. It was however certainly one
(Lyon Opera Ballet)的版本前衛•相信他亦無意走那條路• 但對於追求唯美壯觀大堆頭的傳統芭蕾舞死硬派捧場客來
□
人驚喜•不落俗套的演繹與乾淨簡單的設計突破了所謂古典
或經典芭蕾舞劇的框框•當然他不如里昂歌劇院芭蕾舞團
of the most convincing performances the company has given
説’未嘗不是小小的震撼。畢.約根的好，在於他似乎沒有
recently. Liang Jing as Dr. Coppelius, Carlo Pacis as
什麼傳統包袱，如果經典劇目是名牌濃得嗆人的香水，那麼
Nathanael and Chung Yoo-jin as Coppelia were supple and
他肯定是清淡的夏日香氛，帶檸檬味，令人精神一振。本來
assured principals, and the company hardly seemed to put
a foot wrong throughout, having clearly been worked hard
木偶的動作亦可以是想當然耳的clich6，他一樣編排得乾淨 倒落’並且有新意，富小幽默，他最擅於突顯演員的優點，
by a demanding guest choreographer. Perhaps the greatest
當曰的《羅密歐與茱麗葉》，梁菲就一鳴驚人，今次擔綱
pleasure of the evening however was the seamless
的•不過是剛滿十九歲的新人高秀桃，以及初級獨舞員白家
interaction of the dance with the Delibes’ score, performed
樂，二人的表現可謂極富水準，非常精靈，倒是老手梁靖，
almost flawlessly by the Hong Kong Sinfonietta under the
似乎沒有很大的發揮機會。」有關演出詳情，請溜覽香港芭
baton of James Tuggle. The combination of a guest
蕾舞團網站www.hkballet.com，或至電2105 9724,或電郵
choreographer and a guest conductor seemed to raise the
至 marketing@hkballet.com °
bar for all concerned in the production, which apparently differs little from the Ballet Jorgen original. This will be
香港芭蕾舞學會第三屆《香港芭蕾舞超新星大賞》
remembered as one of the highlights of the Arts Carnival.”
香港芭蕾舞學會將於今年再次主辦《香港芭蕾舞超新星大
For more information visit the website at www.hkballet.com,
賞》。除了給予年青芭蕾舞者一次於舞臺土表演獨舞的機會
Tel: 2105 9724, or Email_marketing@hkballet.com.
外，這個比賽亦有發掘本地新秀、提高舞蹈水平、於過程中 提供一個愉快的學習經驗等目標。這次比賽會根據參賽者的
3rd YOUNG BALLET STARS AWARD
性別和年齡分成九個組別|公開予所有七歲或以上 、曾受舞
The Hong Kong Ballet Group will again host the “Hong Kong
蹈訓練的香港學生參加。比賽的評判團將由芭蕾舞導演、編
Young Ballet Stars AwarcT’competition enabling young ballet
舞和老師所組成；評分標準包括了藝術水平、音樂感及技術
dancers to perform solos on stage. The Award recognizes
能力。2001年的比賽共有350名參賽者|其中60人進入最
budding local talents, raises standards, and provides an
後的比賽。今年比賽的示範班將分別於4月18、19日和5月
enjoyable learning experience in the process.
The
3 - 4日舉行；準決賽和決賽則於2003年8月中舉行。歡迎
competition, divided according to gender and age into 9
有與趣的學生和老師參加於灣仔伊利莎伯體育館一號場中舉
groups, is open to all students from 7 years of age who have
行的示範班。參賽表格和載有比賽舞蹈段落的光碟將可於3
previous ballet training. Adjudicators include ballet directors,
月索取。有關示範班的時間表和註冊的詳情 ，可至電2541-
choreographers, and teachers. Judging is based on artistry,
5587向香港芭蕾舞學會查詢。
musicality and technical ability. Of over 350 contestants in
the 2001 competition 60 were selected for the finals.
中國舞蹈作品的拉賓舞譜
Demonstration classes are 18, 19 April and 3, 4 May, semi
finals and final competition are in August. Interested students
演藝學院學生何惠儀正在以拉賓舞譜記錄吳曉邦先生 1939年 的名作《游撃隊之歌》，將這深具歷史意義的中國舞蹈作品
and teachers may join demonstration classes at Gymnasium
保存下來•展現給世界各地的舞蹈工作者。吳被稱為「中國
I, Queen Elizabeth Stadium, Wan Chai. Application forms
現代舞之父」•也是北京舞蹈學院的首任校長。這次譜記|
and VCD copies of competition pieces are available in March.
是在吳之親傳學生朱絜老師指導下進行。其他已編寫拉賓舞
Contact the Hong Kong Ballet Group at 2541 -5587 for class
譜的中國舞蹈作品包括了澳洲記譜家Ray Cook所記錄的林懷
schedule and registration.
民名作《薪傳》、||ene Fox所記錄的《北京舞蹈學院中國古
典舞基礎課程》和朱孟青譜記的《八掛定式八掌》。
LABANOTATION OF CHINESE DANCE WORKS
Song of the Guerilla (1939) by 吳曉邦 as taught by Chu Kit.
「2003年社區文化大使」 康樂及文化事務處將會主辦和贊助亞洲青少年芭蕾舞團的外
The score will join a growing body of works in Labanotation
展計劃《塵世美一芭蕾拉丁二重跳》.。這個包括了芭蕾舞和
and serve as a treasury of Chinese dance accessible to
readers around the world. Other notable examples of scored
拉丁舞的舞蹈訓練計劃將會於2003年2-5月中進行，其中包 括了十節兩小時的課堂，每節分別敎授一小時的芭蕾舞和拉
works include Lin Hwai min’s Legacy by notator Ray Cook,
丁舞。這計劃將會於北角、跑馬地、尖沙咀'美孚'藍田'
the syllabus for the Beijing Dance Academy Fundamental
荃灣和大埔的場地中開辦小童（6-12歳）' 少年（13-18歲）和成
Chinese Classical Dance course by llene Fox, and Wendy Chu’s notation of Ba Gua Zhang martial arts sequences.
年（18歲以上）舞蹈課程。所有課程的收費均是二百元’全曰 制學生半價。學員無須舞蹈經驗。有關詳情，請聯絡亞洲青
“COMMUNITY CULTURAL AMBASSADOR 2003”
2234-6317/傳真:2234-6086 /電郵：tellabus@netvigator. com）或康文處（電話：2268-7321）。報名表格可於http:/
A PA student, Cara Ho is currently at work on her score of
少年芭蕾舞團（地址：香港北角清風街16號1樓/電話：
The Leisure and Cultural Services Department will present and sponsor an outreach programme of the Youth Ballet of
Asia (YBA) entitled Ballet Latino. The training course combines Ballet and Latin Dance and will be held from February to May 2003. It will include ten two-hour sessions, one hour in each session of ballet and Latin dance. The
/balletlatino.tripot.com 下載■= 拉賓動作記錄國際委員會北京會議 拉賓動作記錄國際委員會（ICKL）將於2003年7月25-31曰 假北京師範大學舉行第二十三屆雙年會議°這次會議將是
course will be held at various venues in North Point, Happy
ICKL第二次亞洲之行，上一次是在1997年假香港演藝學院
Valley, Tsim Sha Tsui, Mei Foo, Lam Tin, Tsuen Wan, and Tai Po with sessions for Children (6-12 years of age), Youth
舉行的第二十屆會議。是次大會亦表揚ICKL院士戴愛蓮女士 的長期貢獻，並且專注於亞洲舞蹈和舞蹈敎學資源。這次北
(13-18) and Adults (18 or above). No former dance training
京會議是由北京師範大學和中國拉賓動作記錄學會合辦 ，並
is required. The fee of HK$200 has a 50% discount available
由戴愛蓮女士和吳靜珠女士統籌。有興趣人士可以以下方式
for full-time students. For information contact YBA at: 1/F, 16 Tsing Fung Street, North Point, Hong Kong, Tel: 2234-
查詢有關詳情：ICKL （網頁：www.ickl.org），吳靜珠（電
郵：lollie_wu@sina.com）
’ ICKL 秘書 Kate Weglarz （電
6317, Fax: 2234-6086, Email: tellabus@netvigator.com or
郵：kateweglarz@earthlink.net），ICKL 助理秘書朱孟青
the LCSD at 2268-7321. Application forms are available at
（電郵：wendychu@hkapa.edu）或ICKL研究小組主席白朗
http://balletlatino.tripod.com .
唐（電郵：tombro@hkapa.edu）
ICKL IN BEIJING The International Council of Kinetography Laban (ICKL) has
台北國際舞蹈會議
舞蹈研究議會（CORD），聯同世界舞蹈聯盟亞太分會
announced that its 23rd Biennial Conference will be held at
（WDAAP）和拉賓動作記錄國際委員會（ICKL）將於2003
°
the Beijing Normal University from 25 to 31 July 2003. The
年8月1-4日假台北國立藝術大學舉行名為「舞蹈、身份及融
Beijing conference will mark the second visit of ICKL to Asia;
合」的國際會議。這次會議將專注於「舞蹈於保存傳統的角
it held its 20th Biennial at the APA in 1997. The conference
色」和「舞蹈作為文化、環境和政治變動的反映和催化劑」兩
honors the long-time work of ICKL Fellow Dai Ailian and will
點。有關舞蹈於劇變環境中所起的調理作用，以及跨越國
focus on Asian dance and dance teaching resources. The
際、人際、文化和時間界限的身份象徵的探討將是會議的主
ICKL Beijing Biennial is being organized in conjunction with
題。緊接著「舞蹈、身份及融合」會議，台北中國文化大學
the Normal University and the China Labanotation Society
with Madame Dai and Wu Jingshu serving as on-site
和紐約舞蹈記錄局將於2003年8月5-7日假中國文化大學舉 行一個名為「拉賓動作記錄、主題動作編寫和拉賓動作分析
coordinators. Information about the conference can be found
的應用：敎育、科技和文化研習」的會議，討論三者對加強
on the ICKL website at www.ickl.org or by contacting Wu
舞蹈體驗及作為溝通、思考、分析、觀看及專注舞蹈概念的
Jingshu at lollie_wu@sina.com or ICKL Secretary, Kate
工具。有關這兩個會議的資料，可以於下列途徑查詢：ICKL
，CORD （網址：www.cordance.
Weglarz at kateweglarz@earthlink.net Local contacts for the
（網頁：www.ickl.org）
Conference include ICKL Assistant Secretary, Wendy Chu
org），會議統籌王雲幼（電郵：ywang@ColoradoCollege.
at wendychu@hkapa.edu and ICKL Research Panel Chair,
edu 或 CORD 主席 Mary Edsall （電郵：medsall@temple.
Tom Brown at tombro@hkapa.edu
edu）。
CONFERENCES IN TAIPEI
The Congress on Research in Dance (CORD), the World Dance Alliance Asia Pacific (WDAAP) and ICKL will co-host
an International Conference entitled Dance, Identity, and
entitled Applications of Labanotation, Motif Writing and
Integration at the National Taipei University of the Arts in
Laban Movement Analysis: In Education, with
Taipei from 1 -4 August 2003.
Technology and as a Tool for Cultural Study.
The conference will focus on
The
both the role of dance in keeping traditions alive and on dance
Conference will address the many uses of Labanotation, Motif
as reflection and catalyst of cultural, environmental, and
Writing, and Laban Movement Analysis to enrich dance
political change. Investigations of dance as a healing agent
experience and provide tools for communication, thinking,
in a cataclysmic environment and explorations of
analyzing, seeing, and focusing ideas about dance.
representations of identity across international, individual,
Information about both conferences is available on the ICKL
cultural, and temporal borders will also form thematic material
website as well as the CORD website at www.cordance.org
for the conference. Following the Dance, Identity, and
or by contacting conference organizer, Yunyu Wang Chen
Integration conference, the Chinese Culture University and
at ywang@ColoradoCollege.edu or CORD president Mary
the Dance Notation Bureau will host a conference at the
Edsall at medsall@temple.edu.
Chinese Culture University in Taipei from 5-7 August 2003
s內頁所列的聯絡方式提供舞蹈資訊
）ntacts listed on the inside cover
6
舞壇手記
Dance Dairy
零二年舞圈的個人閱讀1 文：劉建華
術節的《哥仔戲》為例，通過對性别議題和身體舞蹈之 1作為閒來越界寫點舞評的人，得先感謝編者最後還是
繩纏，表演成功招徠了另一種類型的新觀幂入場。遺憾
採納現時這篇拉雜串寫而成的急就章。因為漏看上期
地，周凡夫在替藝術節作業績分析時指「情慾節目不
《舞蹈手札》的「編輯部」，故對舞札要停刊一事並不 知情（更別談留意到藝發局標誌不見了）；寫畢了英
國隨機舞團的舞評，我還繼續把它投了給舞札|這或 説明本人的粗心大意，把手札的出版過份視為理所當
然，但這卻也是我作為公開園地獨立投稿者對職責分
濟」，不公地遺報了《哥仔戲》的業績。事實上，《哥 仔戲》這個節目和其它靠「情慾、性感、棵露」宣傳包
裝的演出比較，是最如假包換的真情力作（反嫌藝術節
的介紹未及春江的聲色勢厲與坦蕩入肉），相較起沒有
工的一份希冀。結果舞札有幸復刊，編輯首次主動約
明確觀幂群的演出，其文化上的意義更尤值我們加以肯
稿，我反而一時變得無文可供。這一方面又是我的個
定。不過其在票房不成問題同時，我倒有興趣知楊春江
人問題，本地舞看得不密（不過錯過了十二月初的《香
是否還要堅持對純藝術形式的創作，還是他認為題材與
港製造》|除了動藝在元朗劇院開放日（和反廿三條
形式在其演出已是相輔相成。同樣有趣的是，繼林奕華
立法大遊行撞期）的《前進新領域》，整個十二月就幾
乎沒有現代舞演出）|卻亦説出目前資助撥款機制的 短視，以及行政安排導控了前線工作的現象（亦跟筆
者在視藝評論資助刊物出版方面遇上的經驗可謂不相
後，邁克也在去年年底《e+e》的舞蹈專題站出來「反 翩娜包殊」，香港人的眼界似乎確有放棄超歐趕美、
「別人有的我們也要有」的決心（這除魅的過程，不妨
參Lkw隨筆網站的「後-翩娜包殊」記）。
伯仲）。
但是，要摸探和建立起香港現代舞蹈觀幂認同的主體性 語言，卻是談何容易。一個有趣參照是去年雲門兩度來
才事後得知，去年十二月中國際演藝評論家
港，《水月》、《行草》的演出皆備受好評（為免自討
協會（香港分會）主辦了 -次座談，題為「香
沒趣，我本來也沒有打算重提舊文「從《焚松》看斷層
港現代舞的觀幂在哪裡？」對於其短介中提出究竟是現 代舞難明，或還是香港現代舞作品傳意力不足的問題， 我想前者（比較起各式帶敘事性的藝術類型）答案固然 熟是，但對於後者，我們恐怕還是缺少了大量（也非一
定能科學化）的研究來支撐或否證；而把兩個問題疊起
來•則亦似未足夠把問題核心意識（「香港現代舞欠缺 觀幂？」）合法化。記得取了獎學金到了英國拉賓中心
（Laban Centre）唸編舞的楊春江，當年就寫過一篇〈是 編舞的錯還是觀眾的錯?〉的文章（現重貼於artHK網
站），指摘香港編舞走二手格蘭姆（M. Graham）或包 殊（P. Bausch）的路，把西方名牌的動作生呑活剝；指
出我們看重舞作的內容和感情，而少有追求純藝術形式
（非故事）的創作。不過，除了在推動深化編舞的用心
外，這到底是否有吸引更多本地觀幂的出路 ，則難免同 使人生疑。這更像是編舞者針對舞圈而作的一套編舞哲 學呼籲或藝術宣言。
觀豕的統計數字，既不説謊，卻也不能盡表現況，皆因 觀眾本來就是要創造出來的。就以楊春江去年在香港藝
A
上的雲門J的觀點•反是台灣的王墨林網上來函欲索文
章.多少説明兩地對舞評文字觀點的不同重視程度）' 反觀城市當代舞蹈團，曹誠淵編的《365種係定唔係東
方主義》和黎海寧編的《九歌》（重演）’其實頗能説 明香港人對於東方傳統文化回歸/尋根或是世界性的東 方熱.與台灣現代舞界存在著不同的認知價值觀。「跳
現代舞的中國人」的文化身份問題不是不存在’卻斷不 是香港的強項意識，做來總怕吃力不討好，還會惹來國 際大都會身份的尴尬。配合演出的「尋舞」評論計劃的
文章.基本上向《365種係定唔係東方主義》而非《九
歌》著力，多少就可以後設地視為另一重的引證。
進入城當的第二舞季，和「立足本土、放眼國內」的定 位又有所不同。若説黎海寧編的《0先生家族死亡事
件》以古希臘悲劇加曰本偵探小説，到底仍有很重的文 本色彩，靠與何應豐舞臺碰撞而得的動作，似受夾於敘 事與佈景隙縫之間；《三式貓狂想舞曲》無疑更顯編舞
新生代的生活觸覺，創作較以本土文化認同和「為自己
而跳」的個體差異性為本位。梅卓燕利用了錄像和梳化
道具編成的《3x2體》完整而流麗.卻因而又嫌驚喜略 為欠奉，陳敏兒編的《光纖纖》和王榮祿編的《给我一
和零零年的年刊（Yearbook）幾篇文章，曾令筆者對
夜快活》相對就有較多實驗性的文化元素。《给我一夜
Techno的哲學有所啟悟與改觀（如接受隨Techno纯音
快活》的錄像不甚可觀，在塑造氣氛上卻收到效果：服
樂起舞，從某角度而言正是種身體的純舞蹈），並因而
裝音樂等元素有時明顯不協調，卻又似撞出了意外火
感覺動藝的《極樂迷場》在詮釋這種文化時，也多少陷
花。同樣地，《光纖纖》的原始面譜頗為突兀，然而聽
於傳媒對raver的定型。（故此誰説身體不會説複？）突
過演後藝人談則又會發覺它頗能激起的觀眾聯想；而用
破刊物《u+》於年底出的Dance from the beginning特料
上ICQ的短訊，幽默抵死同時，卻似乎道説出借助文字
（來期還有Dance Unlimited），作為《e+e》舞蹈專題的
溝通的優勢和不足。整晚演出大概説明•內容形式的平
年青人版（恰恰沒有強調文字閱讀，反有《e+e》舞蹈
衡不但不易，平衡與否在探索階段中也可能各有得失
專題最後從缺的舞蹈電影介紹），就正面地肯定了年青
（反是演出規糢和實驗性或完整性可能因應編舞動機而
人的街舞文化。這並不代表我認為高低檔的藝術必頊融
重點有異）。
流，只是覺得如「不停鼓舞倒數夜」這些年青人的跳舞 節目.其中所表現的文化活力和脈搏心跳，確值得提問
劉天明在《e+e》舞蹈專題的〈文舞相傳〉，劈頭就引
「香港現代舞的觀幂在哪裡？」的人們去深思。
用了曹誠淵的話：「我覺得要用舞蹈去説明一些意思，
很笨的」，而他在述説文字和舞蹈創作的種種關係時，
「香港現代舞的觀幂在哪裡？」這個本身頗有問題的問
似乎也對於舞蹈完結後的舞評文字最有保留。但是，對
題，其實不祗關乎編舞/舞者的水平、觀者的口味/品
於寫舞的文字人而言，對「動作」的描述能力、或是對
味，從文化藝術的敎育到社會經濟政治等都實際有所牽
「傳意會意」的洞察能力的不足，其實乃是正常不過的
連。每個地方的舞圈，在某一時候，難免總有一定的生
學習階段，反是發表文字的空間場所不足、舞評類型和
態負荷限度.真正的多元局面，大概只有慢慢拓展，無
風格多元性寬容性不足，問題可能更見嚴重。亦只有當
論是通過默默耕耘的獨立舞者、辛苦經營的舞團、提供
舞圈欠缺了延綿的討論風氣，文字的觀點才會可能沒有
演出平臺或配套服務機構的每一單位與崗位成員 •抑或
經過辯難錘鍊而變得過於「權咸」=第一身的身體記憶/
是任何一個購票入場的觀者個體户 。套用香港電台「香
體驗固然難以傳遞，但好作品往往總迫使評述去尋求語
港藝術家系列」中，黃曉紅在其〈一個舞者的自白〉中
言的突破，舞評於此就一如舞蹈作品，「精神」總要體
引述伍宇烈的話，若我們能學曉「培養並不是單向的給
現於恰配的「形相」才行。若説黃大徽給《e+e》策劃
和取的知識灌輸，更重要的是分享，跟一群志同道合的
的「舞蹈專題：郁及其他」像是對舞蹈和刊物出版以及
人一起，互相扶持」，並經常抱持這份心態，則香港現
跨媒體可塑性的一次檢閱，從專題芸芸訪問中唯一一個
代舞蹈其實一直都已回饋了給我們極大的喜悦：或就容
明言沒有閱讀習慣的跳街舞的歪仔身上，則我們或可以
我借花敬佛把這作為我给舞札復刊的互勉説話 。（最
瞥見專題欲以彌補文字和跳舞身位感覺之間的脱裂口 。
後，作為零二年舞圈的個人閱讀，我也要對遺憾自己沒
卞實上•正是黃大徽在《e+e》提及的《Ballettanz》九九
有捧場以及掛一漏萬的舞葵工作者致歉。＞
8
冤敦 +
學
Education
THE ART OF DANCE IN EDUCATION (I)舞蹈藝術的敎育(I)
-IS (DANCEf AN ART? 一舞蹈是否藝術？ by: Anna C Y Chan
文：陳頌瑛
Anna CY Chan commenced dance training in Hong Kong and received further training in Australia and
UK. Graduated from the Royal Ballet School and the University of Surrey with a Master Degree in Dance studies, Anna has worked in the field of education for 15 years. She is currently studying a Master Degree in Education and is working as a researcher on the Dance School research project for the Hong
Kong Dance Alliance. 陳頌瑛，於香港開始習舞，曾於澳洲和英國等地進修舞蹈，其後畢業於英國皇家芭蕾舞學校并取得碩士學
位。陳頌瑛小姐從事舞蹈敎育事業十五年，現正攻讀敎育碩士學位及從事舞蹈敎育研究工作 。
下
recent articles on Dance Education by Pun Siu-fai
,的舞蹈工作者潘少輝和雷佩瑜先後在《舞蹈
f WV and Florence Lui, published in Dance JournallHK
手札》的第三冊第二期和第四W第二期刊登
Vol. 3 No. 2 and Vol. 4 No. 2 respectively, raised issues of
過兩篇有關舞蹈敎育的文章，提出有關香港舞蹈敫育發
concern about the development and provided a brief
展的問題，並簡列出其脈絡架構。本文作為一系列舞蹈
contextual frame of Dance education in Hong Kong. This
藝術敎育文章的前言，將嘗試進一步探討「舞蹈」和「藝
series of articles attempts to further discuss critical issues
術敎育」兩者關係中的一些重要問題和其中的一些誤
and aims to reveal some misconceptions about the
解，希望可以從而對舞蹈、藝術、敎育作出全面且深刻
relationship of ‘Dance’ and 4 Art education’ in the hope that
的理解，進而探討舞蹈於學校課程中之角色和舞蹈作為
it will provide a broad and vital understanding of ‘Dance as
整個社會和跨越不同文化的藝術表達形式。因此，文中
education’ in our society. Furthermore, it discusses the roles
所提及的「舞蹈」是一種藝術，而並不是體育敎育的一
of Dance in the school curriculum and also Dance as an
小部份或只是軀體上或技巧上的動作模擬、興趣發展'
artistic expressive form that permeates the whole society
健康和娛樂，以及與這些意念相關的片面看法。
and crosses all cultures. Therefore, ‘Dance’ is referred to
here as an Art form. The notion of Dance as solely a minor
舞蹈於藝術敎育中的價值
part of Physical Education curricula, or merely physical or
香港敎育統籌委員會於二零零零年指出藝術敎育的重要
technical movement intuition, hobby development, health
性和價值，香港課程發展局也將藝術敎育納入為敎育改
fitness, or entertainment is sidelined, as are those aspects
革中八個主要學習範疇之一。隨後，文化委員會也強調
and points of view normally associated with this limited
香港應提供一多元化和發展藝術敎育以改善社會福祉’
vision of Dance.
使每個人都「能夠一生不斷自學、思考、探索、創新和
應變…」。
The Value of Dance in Arts Education
The importance and value of “Arts education” was put forward by the Hong Kong Education Commission in 2000 and has been acknowledged by the Hong Kong Curriculum
Development Council as one of the eight key learning areas
of education reform1. This view was subsequently echoed
「舞蹈作為藝術」— —或更準確地説「把舞蹈歸類為藝
術」---- 的相關問題，是多方面和持續的。為了方便討
論，有必要在此先引用一理論家之言來訂明「舞蹈是有 目的的…受文化影響的、於時空中進行的而有意識的非
語言身體動作」。在此前題下.舞蹈可以如何符合藝術
by the Culture and Heritage Commission which argued that
敎育的目的？舞蹈人類學家Judith Hanna在其對一次
Hong Kong should provide a diversified quality and
「舞蹈敎育」經歷的觀察中，對這問題提出一個看法：
development of Arts education to enhance better well-being
9
so that every person “is capable of life-long learning, critical
「工作坊的參與者具體地展現了舞蹈的元素。他
and exploratory thinking, innovating and adapting to change’’2.
們一個隨著一個以身體説日月了空間、時間、意
識、姿勢和動態；而別人則跟隨著。參與者接
The questions surrounding Dance as Art, or more precisely
著觀看錄影的舞蹈，並以舞蹈藝術原理的角度
what about Dance constitutes its categorization as Art, are
出發，進行分析。概括地説，這些元素是指某
multiform and ongoing. For the purposes of the discussion
一美學風格的技巧、創意、想像、和溝通。」
here, it is practical to stipulate that, to paraphrase one theorist, “Dance is purposeful•…culturally influenced, non-verbal
問題的關鍵，是在于舞蹈作為一種藝術，跟其他公認的
body movement in time, space and with effort.’’3
Within
藝術形式，例如音樂、視覺藝術、戲劇和詩歌等，是有
this context, how does Dance fulfil the purpose of Arts
著共同的特質：審美的培育。因此，舞蹈作品是作為審
education?
The dance anthropologist, Judith Hanna,
美欣賞和學習之用，故應與其他藝術平起平坐。
provides one insight into this question in her observations
of a ‘Dance education’ experience:
舞蹈敎育家Smith-Autard對藝術和舞蹈的敎育手法和內
容有一明確的説明。她觀察到：
“Workshop participants embodied the elements of One person after another physically
『很多哲學文章中都有論及藝術這一名詞。但這
illustrated a dimension of space, time, effort, gesture
裡所關注的並不是藝術的意義這一概念，而是藝
and locomotion that others followed. Participants
術和舞蹈兩詞一起使用時的意義。於敎育中，
then viewed a videotaped dance and analysed it in
「舞蹈的藝術」---- 或更普遍地，「舞蹈作為藝
terms of the elements of dance as arts, broadly
術」 — —是用作為標簽來將一些獨特的敎學法和
defined as learned skill, creative and imaginative,
內容，與早期的「現代敎育舞蹈」、「創意舞蹈」
and communicative within an aesthetic style.’’4
或「表達性舞蹈」等劃分開來。』
dance.
Crucially, Dance as ‘Art’ is concerned with ‘aesthetic
很多政策製訂者和老師常以舞蹈及藝術能改善學生在其
development’，just as those traditionally recognised arts
他學科的表現（例如：加強學生的學習動機，或擴展思
subjects such as Music, Visual Arts and Poetry are concerned
路以輔助語文和數學等主流科目的學習），來鼓吹舞蹈
with ‘aesthetic development’. This therefore places Dance
或藝術敎育。這些外在因素固然是重要，但我們也應同
alongside other Arts in that its production is for aesthetic
時強調藝術敎育的內在優點。藝術敎育的原理其實是可
appreciation.
以建立於一個跨越內、外在因素的基礎上。這也就是舞
蹈在敎育上的原理。我們需要清楚地説明和指出舞蹈的
Dance educationalist, Smith-Autard articulates the approach
特性，而這些特性必須在敎育上是有重要意義的 ；否
of Art and Dance within the educational context. She
則，它們不能介定出舞蹈於敎育上的不同角色。我們需
observes:
要的論據就正是這些舞蹈的敎育特性。
“The term art is much debated in philosophical
敎育家Best曾提出「自學敎育概念」，強調每一個受敎
treaties. Here the concern is not with the meaning
育者應培養出的求學精神，其中關注的是「培育好奇、
of art as a concept but with the meaning that the word
原創、自發、合作、毅力、接受新思想、自廣、負責、
has when it prefaces or follows the term dance. In
自信和獨立等個性」，並從而達到终生學習的敎育精
education the art of dance or, perhaps more
神。如果我們能夠辯證舞蹈是可以多方面地符合這「自
commonly, dance as art has been a label used to
學敎育概念」，那麼舞蹈敎育的內在價值就顯然而見。
distinguish content and teaching approaches which
至於舞蹈是否能跔提供一些固有的知識，甚至它在社交
are different from those associated with former terms
和體能健康上的得著等問題，便都變得無關痛癢了。
such as modem educational dance, creative dance or
expressive dance”.5
舞蹈亦是一種吸引著參與者和旁觀者的、有力的、非語 言的溝通方式。透過舞蹈.一個人可以與其他人作出文
4
Many policy makers and teachers sometimes advocate
字、語言以外，什至是視覺、聽覺以外的溝通。與説話
Dance or Arts education as a means of increasing student
和寫作所需要的相似，舞蹈也需要概念形成、創作和記
performance in other subjects, by encouraging motivation
憶等基本腦部官能。學習舞蹈需要大量的使用記憶、傳
to learn, or by developing other routes to learning the so-
譯、理解、應用、分析、綜合和評估等能力。所以，舞
called core subjects, such as languages and mathematics.
蹈不應是不經思考地執行，而是涉及探索、感受、集
10
These extrinsic arguments are not trivial or unimportant.
中、專注、投射和投入的。舞蹈創作是由個人將其所得
To argue for the intrinsic merits or Art education need not
透過組合過程、尋找新動作及/或以新形式組織動作而
mean the rejection of extrinsic factors. However, there is a
達成。作為一種非語言的溝通，舞蹈融合了思想和身
basis upon which a rationale for Art education can be
體，情绪和認知。可以説，認識和接收這種藝術形式是
established which transcends the extrinsic/intrinsic divide.
同時在意識和潛意識中進行。因此，舞蹈的創作、欣賞
The crucial point in this discussion is therefore the rationale
和表演完全符合了 Best的「自學敎育概念」。
provided for Dance in education. The articulation and
identification of the characteristic distinctiveness of Dance
此外•.舞蹈學習亦著重表達性探索的潛力，有幫助學習
must have educational significance, or otherwise it would not
者發展成熟的情緒，強化道德意識及精神價值；是一種
define the different educational roles of Dance. What is needed
可幫助學習者達至终生學習的認知工具。
is a defence of the educational distinctiveness of Dance.
錯娛的觀念 For an individual to be educated in Arts depends on the
把舞蹈放入敎育脈络中的一個難題是很多人視之為不正
realization of what educationist Best suggested as a “personal
經和不嚴肅。舞蹈敫育常被誤解為一門意義不大而且很
enquiry concept of education”6 that emphasizes a spirit of
難掌握的科目。這可以由下列三個現像中反映出來。第
enquiry which one hopes to nurture in all educated people.
一，説到舞蹈的目的時往往採用了大量的「指導性」詞
The concern is “to develop qualities such as curiosity,
彙；而它與消閒、社交和治療等的關係也往往混淆了舞
originality, initiative, cooperation, perseverance, open-
蹈的特質和內在價值。第二，舞蹈基本上被視作為體能
mindedness, self-criticism, responsibility, self-confidence
活動，因此受到不合適的、有時更是不準確的準則所判
and independence.’’7 The value of Dance would, by this
斷。第三，人們對所看到動作的描述和理解往往不夠精
concept, be its intrinsic value. If Dance is to be argued as a
確，因而導致在敎授舞蹈時也流於欠缺想像力和深度。
suitable medium for satisfying aspects of “personal enquiry
concept of education”，questions about the kinds of
最後，世界各地過去常將舞蹈放到體育課程中的做法亦
prepositional knowledge which Dance does or does not
是問題所在。體育著重運動技巧的訓練、團隊的建立、
impart, or even questions about its achievements as
透過競爭的學習方式，歪曲了人們對舞蹈作為一種藝術
socialization or in engendering physical fitness are simply
形式的看法。舞蹈因此被視為是一種裝飾、嗜好、韻律
beside the discussion.
性的運動技巧、消閒、競技、嫉樂、一種對學生、對家
長和大幂都不重要的學習類别；而不是一種可以引發深
Dance can also be a powerful form of non-verbal
思和對人類狀況作出有意義的宣示的重要藝術形式。
communication that engages both participants and
spectators. It allows individuals to communicate with others
在過去的二、三十年中，海外的敎育政策，尤其是中
in a way that is different from the written or spoken word or
國、臺灣、歐洲、美國和澳大利亞均提出了論點和論
even from other visual or auditory forms. The act of dancing,
■據，并已把舞蹈歸纳到藝術課程中；確立了其作為一門
therefore should not be mindless execution. It should involve
美學科.目而與其他藝術學科屬於同一範疇。舞蹈敎育因
exploration, sensing, concentration, focus, projection and
而趨獨立成熟。舞蹈敦育強調：敎育的目標不應只著重
commitment. There is also an active use of memory,
訓練學習者的身體來不經思考地 、機械地表演一些「花
translation, interpretation, application, analysis, synthesis,
招」、某些動作或舞蹈段落。相反，舞蹈敎育應較全面
and evaluation in the process. It is achieved through the
地協助個別學生的發展。學生從舞蹈敎育中應學得一些
forming process, finding new movement and/or organizing
相關的知識，進而發展合符社會和道德準則的行為'價
movement in new ways through use of individual resources.
值觀和態度。舞蹈敎育亦應包括一些學生可以理性地運
As non-verbal communication, Dance is not just movement
用的知識。
execution; it also integrates the same underlying faculty in the brain for conceptualization, creativity, and memory that
結語
other verbal communication requires. These explain that
作為二十一世紀香港的一種敎育形式 •舞蹈與其他藝術
knowing and perceiving this Art form occurs on both the
都應得到新的認同。這一系列文章的目的是要提出理據
conscious and subconscious levels. Therefore, the creation,
來支持將舞蹈視為一正規的藝術學科并編排入學校課
appreciation, and performance of dance satisfies Best’s
程，及指出舞蹈課程作為藝術的一環應走的方向°如果
“personal enquiry concept of education”.
我們對現在那落伍而陳舊的敎育模式和帶有社會偏見的
Furthermore, Dance holds within its learning the potential
舞蹈敎育不作檢討和改善，學生便不會有動機去理解和
for expressive exploration, it leads learners to emotional
參與可探討人類的境況的舞蹈和作為學習工具的舞蹈 •
maturity, it reaffirms moral meaning and spiritual values, and is a cognitive tool for learning throughout life.
或甚至將舞蹈考慮為另類的職業選擇。舞蹈必須被認可 為一獨立而具價值的藝術形式，與其他藝術課程一起敎
授。舞蹈敎育應專注於其美學的一面、確認它為藝術形
Misconceptions
式和認識它在敎育上的內在價值。在習舞蹈時，亦要明
One of the problems of Dance in an educational context is
白到其中過程的價值。忽視了敎育中那不能缺少的美學
that it is often viewed as frivolity; as a subject that is pointless
部份•及不認識到現今敎育中舞蹈的重要性 ，.是政策訂
and the mastery of which is impossible. The following points
立者的失敗。在這樣的情況下，舞蹈作為藝術形式將不
support this view. Firstly, the aims of Dance have been
會發揮到適當的敎育功能。
seen in largely instrumental terms; its specific nature and intrinsic values obscured by reference to recreation,
socialization, and therapy. Secondly, it is regarded primarily as a physical activity, and is therefore apt to be judged by
inadequate, and sometimes by inappropriate criteria.
Thirdly, the accounts that are often given of what we see when we look at movement have not been sufficiently
differentiated, which in turn has resulted in a less imaginative and a less in-depth teaching of Dance.
Conclusion Dance as a form of education in the 21st century in Hong
Kong, must be given recognition alongside other Arts. The aim of this series of articles is to provide a justification for
the inclusion of Dance within the school curriculum, and
also a direction for what the Dance curriculum should encompass: it is to be that kind of Dance that is Art. Dance
must be recognized in schools today as a valuable Art form
in its own right. It must be respected alongside other Arts
Finally, Dance in Physical Education curricula, to which by and large it has been associated globally, is one of the major problematic issues. The primacy of motor skill acquisition,
team building, and learning through competition, that is characteristic of Physical Education, is often cited as a
contributor to the distorted perceptions of Dance as an Art
form.
It is also argued that Dance within this context,
disseminates the view of Dance as a frill, a hobby, a leisure
time activity, as a rhythmic motor skill, a form of recreation or a means to compete, as entertainment, and as a non
significant category of learning to students, parents, and the
7 之
S. 3
general public rather than as a valuable Art form that can
curricula. Dance education should focus on the aesthetic
aspects of Dance, recognizing Dance as an Art form，and acknowledging its intrinsic value to education. If the teaching of Dance based on outdated historical modes in
combination with social prejudices in the present educational context remains unchallenged and unchanged, students will
not be motivated to undertake an understanding and engagement of Dance as an exploration of the human
predicament or as a learning tool, or even to consider it as a
diverse professional career opportunity. If this were the
case, there could never be a proper educational introduction to Dance as an Art form.
lead to important insights and make significant statements
about the human condition.
Whether in Physical Education or Arts curricula, Dance
should be undertaken with an understanding in the value of In the past two to three decades, most notably in China, Taiwan, Europe, the Americas, and Australia, Dance has
come into its own in education through the affirmation that
it is an aesthetic discipline belonging generically with the
other Arts disciplines. The aim of Dance in an educational
its processes. It would be a failure on the part of policy makers and educators to fully recognize the essential
presence of the aesthetic realm in education and, paradoxically, not to acknowledge the importance of Dance
in education today.
context should not just be concerned with training the participant’s body to be able to perform tricks, certain
movements, or routines in an unthinking, mechanical
manner. Rather, Dance in an educational context requires a holistic approach to the development of individual students. It should be accountable for certain kinds of subject-related cognitive understanding, and for the development of socially and morally acceptable behaviour, values and attitudes.
Dance education should involve transmitting practical knowledge to the participant, knowledge that he or she can rationally use.
12
1 Education Commission (2000) Reform Proposals for the
Education System in Hong Kong - Learning for Life, Learning through Life (Education Blueprint for the 21st
Century), Hong Kong Special Administrative Region of The
People’s Republic of China: Education Commission, p.19. 2 Culture & Heritage Commission Secretariat (2002) Culture & heritage Commission Consultation Paper, Hong Kong
Special Administrative Region of The People’s Republic
of China: Education Commission, p. 19.
3 Hanna, J. L. (2002) “Dance Education Workshop' from
Additional References:
Research in Dance Education. Vol. 3. No. 1, April 2002 Oxfordshire: Carfax Publishing, Taylor & Francis Ltd.,
p. 48.
For further discussions on ‘Dance as Art’ see:
Lui, F. (2001) “y4 General Discussion of Hong Kong Arts Education” from Dance Joumal/HK, Vol. 4, No. 2 Hong
Monroe C. Beardsley (1982) (iWhat is Going on in a
Kong Special Administrative Region of The People’s
Dance?” from Dance Research Journal, No. 15, New
Republic of China: Hong Kong Dance Alliance, pp. 8-9.
York: Congress on Research in Dance, pp. 31-37 and Noel Carroll and Sally Banes (1982)，“A Response to Monroe
McFee, G. (1994) The Concept of Dance Education,
Beardsley s 'What is Going On in a Dance?’” from Dance
London: Routledge.
Research Journal, No. 15, New York: Congress on Research in Dance, pp. 37-42, as well as an excellent
Pui, S. F. (2001) “New York Schools Dance Education
discussion on the topic provided by Graham McFee (1992)
Report" Dance Joumal/HK, Vol. 3, No. 2, Hong Kong
Understanding Dance, London: Routledge.
Special Administrative Region of The People’s Republic
of China: Hong Kong Dance Alliance, p.2 - 6.
4 Ibid.
5 Smith-Autard, J. M. (1994) The Art of Dance in Street, S. (2002) “Developments in Dance Education in
Education. London: A& C Black, p. 1. 6 Best, D. (1985) Feeling and Reason in the Arts, London:
Hong KongJ in Research in Dance Education, Vol. 3, No.
1 April 2002, Oxfordshire: Carfax Publishing, Taylor &
George Allen & Unwin, p. 81.
Francis Group.
7 Ibid.
□ 《舞蹈平台》是一個由香港藝術發展局贊
Dance Platform is a continuing dance
助的持續性舞蹈創作計劃。目的是為新
making project sponsored by the Hong
一代的編舞家提供一個經常而非正式的
Kong Arts Development Council. Its aim is
舞蹈發表空
to provide a regular and informal
間，鼓勵舞
“platform，’
第一階段Tier 1
蹈工作者間
new
choreographers to present their
的持續討
演藝學院一號竦舞室
works, to encourage
論、互動和
HKAPA Studio 1
discussion, interaction, and
交流1和強
日期 Date: 23/5, 20/6, 26/9, 31/10
exchange between dance workers,
調編舞過程
continuous
and to emphasize the
的重要。整
第二階段Tier 1
個計劃分為
牛池灣文换中心劇院
兩階段進
Ngau Chi Wan Civic Centre Theatre
into two tiers.
日期 Date: 19-20/12
Tier I is four
informal showings
第一階段為四次非正式演出，予編舞者
p
展示和討論其創作中的舞蹈。作品經過
Subsequent showing(s) of further developed
為兩次正式公演，演出獲選作品。
works are encouraged.
I I 2E 4^ I_|十苗
works-in-
ogress.
進一步發展後可以再次展示。第二階段
3b
process of
choreography. The project is divided
to show and discuss
編 Dm
for
藝穗會 Fringe Club &
行。
纖玀
Tier 2 is two
formal
performances
to
：l/3-l/4
申請日期
Application
載有申請詳情的宣傳單張 將於二月中擺放於各主要 演出場地。Leaflet with
detailed information will be
present selected final
available at major performance
works.
venues
in
February
舞評
Review 與馬勒神交之延續 談香港舞蹈團《大地之歌》 文：Jonathan Ho
國際演藝評論家協會專業會員 藝術學院兼任講師
香卷舞蹯圏
舞者與演員的影子，與告別懷人•寄望涅槃的主題相互
演其年度大型舞蹈創作《大地之歌》，把馬勒(Mahler)
章、時而又如銀色的月亮，與莊喆的現代國畫•配合得
的最後聯篇交響樂作品，以舞劇形式呈現。筆者是個馬
天衣無縫。至於「春醉」的「圓形」，既是日出還似曰
呼應。舞台上，若隱若現的銀線球，時而彷如國畫的圖
勒迷，早前單是看到舞團的劇季資料中有《大地之歌》
落，既如日蝕又似月蝕— —醉眼看星空，誰管它是何
這標題，便經已心動；後來知到舞團邀請了江青再執編
物！「採蓮曲」中配景的水車，原來與歌者手中、舞者
舞之職，加上莫華倫、盧燕及香港管弦樂團室樂小組的
手中的扇子一般，亦更見禪意。李翰宗的藝術與技法之
演出陣容，更叫人不能不看。再配合莊喆的畫作•鄭愁
精，在於他心中對藝術的全然理解及深遠的藝術修養。
予的詩詞新譯，此舞劇的吸引之處已不用多言。
舞蹈員方面，楊雲濤飾的「死亡訊息」，彷彿飄渺的舞
T«
I
説來有趣，馬勒當年創作《大地之歌》是因為讀了德文
姿，突顯其遺世獨立的特性•與他早前飾演宋江的凛然
唐詩譯本《中國之笛》，被李白、王維和孟浩然的詩作
正氣，剛成對比。楊雲濤的舞藝素來精湛，今夭於《大
所感而寫成；今天舞蹈圑以中國舞再度演繹馬勒從中國
地之歌》的表現，的確更上一層樓。蘇淑的演出，來得
人的詩情中激發的樂章，中國人與馬勒的神交，彷彿從
淡然而含畜，與《梁祝》的祝英台，判若兩人。蘇淑對
未間斷！畢竞都是凡夫世人，對人世間年青、忠愛、歡
不同舞劇之獨到理解及演繹，確然令人欣悦。盧燕的老
聚的人間美事，誰不希望可以永享？相反，對生離死
練、從容與莫華倫的豐富情感令亦此舞劇更添姿彩。
別，又有那個不感悲憂？然而，中國人對死別生離的看 法，始终較為豁達開揚；此點.只要我們細味李白、王
在欣賞及回憶舞蹈團《大地之歌》時，腦際間時常迴蕩
維的原詩，再與馬勒《大地之歌》的樂曲比較，便不難
著蘇東坡的《前赤璧赋》「客有吹洞簫者•倚歌而和
領會。
之，其聲嗚嗚然，如怨如慕，如泣如訴....舞幽壑之潜" 蛟，泣孤舟之婪婦.... 」。客之怨、悲之情，彷如馬勒
今次欣賞舞蹈團的演出，就如把馬勒的《大地之歌》動
原樂章之悲悽。猶幸有彷如蘇子般豁達的江青，為客釋
人樂章的情貌視像化起來，確是賞心悦目。江青的編舞
懷解憂，才令《大地之歌》舞劇，發放異彩。
及導演呈現更渗透著一股中國佛家的智慧和中國人的樂 天知命。在她的編導下，飾演「死亡訊息」的舞者，並
沒有骇人恐怖的形像，雖是無影無蹤，飄渺不定，但亦 只是偶意飄徐，轉眼而逝，並不刻意襲人，向人示威，
與馬勒所懼怕，而又常擾心間的死亡陰影大異其趣「告
別」一場•雖然在幕初各人手持枯枝，神情悽慘，但當
各人把枯枝放下，而銀船出現後，悲棲之情漸漸寬解，
於是寄望涅槃來臨•寄懷碧空永恆。與馬勒的悲偷擔
子，滿腹牢騷相比.江青的處理實在較為豁然而且堪見 禪趣。李翰宗的佈景設計更盡顯中國寫意的蕃術，尤
「告別」一場，浮於空中的大圓體，不斷反映著舞台上
14
舞評
Review
予人一份憩息感覺的《行草》 文：小拾
3»
的舞蹈作品暫時共有六十多齣，雖然筆者
氏只看過《焚松》、《水月》及剛在「新視 野藝術節」演畢■的《行草》，但己被他的作品所散發的無
形拉力牽引著，而那股説不出的魔力源於一份由沉思而得 來的憩靜。若説《水月》為一種靜止安寧的美，那麽這次 《行草》的美便是一種剛柔並濟而成的：舞者們若動若止，
透過中國書法的概念與舞蹈融合，使舞台呈現一幅又一幅以 身躯扭動書寫出來的墨寶，讓觀眾以一個新的角度去感受中
國的書畫美、舞動的肢體美。
整個演出共分十節，穿著黑色舞衣的舞蹈員以軀體舞動成點滴流
麗的「墨子」，在潔白如宣纸的舞台上飛騰，與此同時牆上投射出 一筆又一筆勾勒而成的一個又一個或是婉約、或是氣勢磅礴的中文字
來；此時此景，大家仿如置身於書畫家的書軒內，細察著他們揮灑書 寫的過程，而投射在地上會流動的燈光就形成一幅幅卷軸式的書畫 般，舞者於卷幅上時而做出柔弱如太極的動作、或耍出武術般猛烈
的功架，使我們看到一種柔媚與剛毅兼備的書寫形式 。
儘管有一陣鐵畫銀勾般的曜動，但舞台仍是一場空，皆知這些「墨子」是 不能留點滴於這雪白的「宣纸」上，他們舞動的痕跡若留若逝•那投射出來
的文字好像觀眾對舞者身體流動的回憶呈現，而那潔白耑廣闊的舞台，就如中 國書畫的留白，這一切盡赋予觀者無限的思索想像空間。
假如説黑色舞衣的舞者在雪白的舞台上躍動所呈現的為一個書寫的過程 ，這麼 那身穿白色舞衣的舞者們於黑底白字的投射中舞動的一節，就仿如一幕幕閱讀的
過程：那躍動的身軀於投射出來的字行間閃動飛舞，就好像我們的眼珠在速讀時的
流動，閃動的畫面像一個個跑進腦海裡的片段.這一切像要讓我們深深印進腦海裡• 牢牢的記著這美的一刻。
中國書畫美的至高境界在於適當的留白，在《行草》中儘管是呈現「書寫」或「閱讀」的一
刻，一切的舞動都為每一場景留下點點空白的抽象美：字體與身體組成结構的美，融在書法 中的舞蹈產生一種圖畫美，整個演出可謂美得如詩如畫，而再加上那快慢鬆緊交替或靜止的音樂
節奏，使我們不但能從影像中得取一份安寧 ，更可透過聽覺去感受一種由呼吸節奏所衍生的憩靜舒
泰。
舞評
Review
Dazzling riches from the Kirov Ballet by Kevin Ng
Kirov Ballet from St.
The Kirov’s glorious corps de ballet of 24 Wilis in Act 2,
Petersburg, arguably the
dancing so harmoniously and uniformly that it projects a
greatest classical ballet company in the world today, made a
vision of infinity, is still the finest in the world. They were
highly successful week-long return tour to Hong Kong at
imperiously led as their Queen by Elvira Tarasova, a strong
the end of November, giving five sold-out performances of
technician who danced with a classical grandeur. Other
the 19th century classic Giselle and Balanchine’s 1967
highlights included Vasily Scherbakov’s high soaring jumps
TA
masterpiece Jewels. All performances, with only standing
in the Act 1 peasant pas de deux, and the villagers’ ensemble
room available on the day to satisfy the public's demand for
dances which were exhilaratingly performed by the
tickets, were warmly received, especially the final day's two
company.
performances of Jewels, after each of which there were loud
ovations from a delighted audience who can seldom see
I also saw a different cast on the third night, in which the
Balanchine’s masterpieces here.
lead male role was danced by a new 20-year-old recruit to the Kirov named Leonid Sarafanov.
2
It was actually his
No other major ballet company in the world is currently as
debut in this role, and he danced very well indeed. I see lots
richly endowed with young talented dancers in their twenties
of star potential in this talented young dancer who was a
as the Kirov is. This Kirov tour gave local audiences a rare
prizewinner in the Moscow competition. He has a strong
opportunity to see some of the most famous young ballet
technique, especially in his high elevation, and also a
stars in the world today. On the opening night of Giselle the
charming personality. His tall and long limbs cut a nice line
leading roles were danced by a beautiful partnership of two
in his dancing. In Act 2 however he hasn’t yet probed all the
of the Kirov’s leading stars in their mid-twenties — Diana
depths of emotion in this role. His solo was nevertheless
Vishneva and Andrian Fadeyev. Vishneva, a foremost
brilliantly danced, his jumps were so high and effortless.
classical ballerina in the world, was a touching village girl
His Giselle was the fine-boned Maya Dumchenko who was
in Act 1, full of tenderness in her love scenes with her lover
moving in Act 2.
Albrecht. In Act 2 she was superlative, dancing with a moonlit lustre, an inner calm, and a spirituality that was
On the final day which was a Sunday, local audiences saw
transcendent. Her pas de deux in Act 2 was poetical.
two magnificent performances of Balanchine^ Jewels, which
brightly showcased the Kirov’s current strong roster of young
Vishneva was ideally matched with Fadeyev, a noble dancer
soloists in their twenties. And how the Kirov’s glorious
with a classical style as pure as water who also possesses an
dancing brilliantly illuminated Balanchine’s masterly
intense dramatic presence that makes for a real star. His
choreography.
grief and dejection in Act 2 were heart-breaking. His solo
France, the cradle of classical ballet, the second part Rubies
was impeccably danced, dazzling in virtuosity as well as
evoked Broadway showbiz in New York, the city where
emotional intensity.
The first part Emeralds was a tribute to
Balanchine established his reputation as the 20th century's
greatest choreographer, and the final part Diamonds was a homage to Balanchine’s homeland Russia.
16
In Emeralds，senior ballerina Zhanna Ayupova danced
In the following week, there were two more performances
stylishly with an inner calm and natural radiance, and young
of the Kirov Ballet in a different mixed programme at the
Sofia Gumerova was very expressive as the second ballerina,
Macau Cultural Centre. The first half of this interesting
especially in her solo when she walked on pointe as if she
programme consisted of Rubies, and the second half consisted
were drifting on clouds . Young Anton Korsakov brimmed
of seven divertissements. Most of the audience would
with joy in his jumps in the ‘pas de trois . In Rubies Andrian
recognise the Dying Swan solo associated with the ballet
was
legend
Anna
dazzling and had
Pavlova.
Macau
plenty of charisma
audiences saw the
in the male soloist
Soviet version of
role which had
this ballet danced
been created by the
by Sofia Gumerova
New York City
instead of Fokine’s
Ballet
dancer
original
Edward Villella
choreography. The
and later danced
romantic Romeo
with success by
and Juliet pas de
Mikhail
deux
Baryshnikov.
Lavrovsky’s
Fadeyev
(Leonid
version)
was
In Diamonds, the
exquisitely danced
whole company
by
was splendid from
Dumchenko, who
the two soloists
was also meltingly
down to the four
lyrical in the waltz
demi-soloists and
in Chopiniana.
Maya
the the ‘corps de terms
of
ballet’. In the pas
In
de deux, one of the
technical fireworks,
most exposed in
the
the classical ballet
enjoyed
repertory, Sofia
Balanchine’s
audience
Gumerova was
“Tchaikovsky pas
divine, dancing
de deux” which was
with a palpable joy,
brilliantly danced
a lyrical softness,
by Zhanna Ayupova
as well as a good
Kirov Ballet’s Giselle
musicality. There’s
and
Anton
Korsakov, who
nothing more uplifting than seeing a finale of a Tchaikovsky
incidentally was making his debut in this ballet. His ‘manege’
ballet choreographed by Balanchine, and Balanchine’s
of coupe jetes were effortless and breathtaking. Korsakov
joyous choreography in the final glorious Polonaise sent
clearly revelled in the difficult steps in Balanchine’s
everyone home happy.
choreography, as shown by his smiles on his face. Another
couple Elvira Tarasova and Andrei Batalov brought the house Sunday night’s performance triumphantly ended the Kirov’s
down with their spectacular performance of Le Corsaire pas
Hong Kong tour, which is undoubtedly the ballet event of
de deux. Both evenings in Macau were sheer joy.
the year 2002. All credit to the LCSD for hosting the great
Kirov Ballet in two such excellent programmes. Such lustrous ballet dancing from so many stars hasn’t been seen here for two years since the American Ballet Theatre’s tour
in 2000.
舞評
Review
從美的角度看《寶石》 文：小拾
jk
g.俄羅斯的基洛夫芭蕾舞團於文化中心劇院演
綠寶石的神秘與憂鬱掠過了、紅寶石的豪邁與激情亦溜
出兩鉤共五場的芭蕾舞— —《吉赛爾》及
走了，餘下的就是那永恆與典雅的鑽石來。〈缵石〉的
《寶石》；對筆者而言，《寶石》的演出較容易令人留
配樂選自柴可夫斯基的《D大調第三交響曲》，它是柴
下深刻的印象，因它是一狗無劇情的芭蕾舞，同時被公
可夫斯基寫作《天鵝湖》之前的作品•兩者同樣表達出
認為首齣以表達古典芭蕾舞的多面為題的演出 。除纯舞
那份典雅、柔美的情感，故當舞者們穿上配有鑽石的潔
蹈的表演外.它以寶石為主題的服裝與精心的佈景裝
白長紗裙舞動時，那種美來得更懾人心弦、難以言喻！
置，這一切精緻華美的設計配以不同風格的古典音樂作 伴，頓然使舞台呈現出一幅閃亮、優美、典雅的情景
整個演出的舞台設計是簡單而優美的，基本上三節不同
來。
寶石主題的演出都同用一個不變的場景設計，但在不同
《寶石》共有三個以不同寶石來分段的舞蹈表演，分別
化來。舞台上高高的懸掛著一顆顆大小不一的透明寶
為〈綠寶石〉、〈紅寶石〉及〈鑽石〉，舞蹈員因應不
石，它們仿如水面濺起的小水珠一樣，具生命的在台上
的燈光處理與變換後，整個舞台便從不變中譜出千萬變
同的寶石主題穿上相應的舞衣，從而帶出那章節的主
似是躍動著。如此富動感的舞台設計，在不同的燈光效
題。〈綠寶石〉---- 舞者的舞衣上镶上了神秘而憂鬱的
果配合後，便浮現出一幕幕晶瑩剔透、華美典雅的場景
綠寶石.在幽暗的淡綠燈光下，十二位舞者隨著樂曲舞
來，這再與舞者身上的寶石互相輝映後•整個舞台就成
出一段優雅而略帶點感傷的芭蕾舞來。
了一個以寶石製成的音樂盒般，舞者們像一個一個能轉
動出流麗萬變的舞姿的跳舞娃娃來：故此.《寶石》不
至於〈紅寶石〉卻與〈綠寶石〉所要表達的情感為相反，
以劇情為編舞主題的原因，也許就是要讓觀幂更專注地
它以史達拉汶斯的《鋼琴與樂團隨想曲》來配樂，舞者
去看那舞姿的美與那舞台的美吧！
穿著跳脱輕巧的舞衣，隨著舞曲一雙雙的在舞台上交織 著一個如他們身上晃動著'閃爍著的紅寶石般熱情與奔 放的故事來。
香港演螯摩虼
全身隱隱含勁的演繹，拼出一鉤與別不同的舞蹈。在編
舞者的小心掌握下，舞蹈中不斷出現的一些舞蹈員間密
香港新一代編舞者的檢閱。所謂「香港製造」，是指表
切地互動的動作，和一些以臀部帶動全身的扭動動作，
演的作品全是於本地創作；但如果再看深一層，在六個
都為這齣舞蹈增添了不少異樣的色彩。也許，整齣舞蹈
舞蹈作品中，有五個是由香港培育出的舞蹈工作者所創
的主旨，就在其中一段舞蹈員完全靜止而拼出的「9」
作的。究竟，這些「香港製造」的編舞蹈家成績如何呢?
符號中透露一二。
演出的首個節目是白家樂所編的Sommemachtstraum，是
《香港製造》的另一齣中國舞是賴文慧的《綑》。以紮
濃縮莎翁名著《仲夏夜之夢》而編成的芭蕾舞。這在取
腳為題，《綑》在取材上是頗見心思的。編舞以木凳作
材上難度很大，結果是舞蹈受原著的約束而要匆匆交代
為道具，除了捕捉到紮腳與木凳這兩個經常一起出現的
劇情，但卻欠缺了原著的精粹。然而，白家樂的編排以
形像外，也能利用木凳在空間上的約束性來表達出
「帕克」作為主角，成功地使整鉤舞蹈輕鬆明快起來。
「綑」這一主題；而在舞蹈的尾段把一張張木凳拼合成
而最令人留下深刻印像的，是兩對受魔法「錯佩」的戀
高台，也營造出高潮的戲劇效果。舞中的另一件道具一
人回復過來的一段。兩對情侶躺在台上，各舉起一隻手
腳布一在形像上和意義上也與結尾「懸樑」的白布互相
來隨著音樂輕柔地舞動。台下的觀幕只能看到舞動的手
呼應。在動作上•给人印像較深刻而又多次出現的是舞
臂，但分不清那一條手臂是屬於那一個舞者的 。最後，
蹈員一手吊高、身體無力垂下的動作，俏俏地預告了舞
四隻手分成兩對緊緊握著，而舞者也從熟睡中醒來，兩
蹈的結局。這齣舞蹈的结尾很悲觀、很沉重，傳統的悲
對「佩對」了的情侶也跟著手握手地站了起來。這簡單
劇味道很重，也给人一種與現代脱節的感覺。
的一段既能含畜地交代劇情，也成功地表達出那糾纏不
清的瓜葛，又能營造出撲索迷離的效果。這段舞配樂用
與《綑》的沉重完全相反，楊惠美的《心花•怒放》繼
上《巴格尼尼主題狂想曲》的「第十八變奏」，是作曲
承著「雙妹唪」的傳統，以時下年青人的遊戲、玩樂為
家將主題樂段「逆轉」（Inversion）後寫出，與舞蹈的內容
主題。收起兩旁的布幕，投上明亮的燈光，再把台後的
（回復）也有呼應。不知這是編舞者的深意，還是巧合?
布幕換上一堵金屬牆，舞台空間變得寬闊起來。全女班 的舞蹈員戴上不同色彩' 顏色鮮艷的假髮’在台上唱歌
余碧艷的《生於死以前》的主體其實是一鉤傳統但精彩
嬉戲、奔跑跳躍，「無厘頭」而「不成體統」之餘卻又
的扇舞。很久沒有看到這樣充滿動感、精神和風采的中
輕鬆有趣，青春逼人。在玩樂之中’編舞也不忘鞭韃社
國舞（這可能是由於筆者看得少）。舞蹈員舞得英挺瀟
會中男性對女性的看法。舞中多次出現女舞蹈員躺在台
灑，一切都是在舉手投足中自然流露，並不是強裝出
上，下身倒翻過頭頂成大「V」型，毫無保留’也不顧
來，「雄赳赳」地逼人接受。相較這樣強的主體，個人
美感、甚至是「非人化」地展露雙腿和色彩鮮艷的黑裙
認為舞蹈的前段是過於弱了。當然，編舞是有心以蒼白
內裡於觀眾•眼前。给觀幂飽覽一會後，舞蹈員便「粗
無根來與其後的主題來作出對比；但是，是否可以在表
暴」地把雙腿翻回原位，•■辟啪有聲地摔到台上'相似
達「蒼白」時也有藝術的提升？這是一個看似互相予
的效果也出現在革舞蹈員在台後排成一列把雙腿倚在金
盾，但卻是很有趣的難題。
屬牆上倒立的一段。
在這五個本地「製造」的編舞者中，梅卓燕可以説是資
鯨合來説，縱使觀艰們由於有不同的個人喜好而未必會
格最老，經驗最跔的一位了。她編的《緣》，可以説是
欣賞每一個作品，《香港製造》成功地展示出香港所訓
一齣很奇妙的舞蹈。柔軟而婉約為主的動作、不急不缓
練出來的編舞者多元化的一面。
而温和延綿的音樂和舞蹈節奏，配上全男班的舞蹈員那
19
Starwave Dance Gala 《舞匯星河 02-(B》
《黃河兒女情》
星榆舞蹈團 30/1/03 ? (Dance Qata 实珩舞焰曲主*
Love on the Yellow River
7:30pm
Hong Kong City Hall Theatre
Shanxi Song and Dance Troupe
山西省歌舞劇院
香港大會堂劇院 14/2/03
J格拓耆薅給钃5扣
鄭偉容
藝術總監
8:00pm
Auditorium, Tsuen Wan Town Hall
签灣大會堂演奏廳
钱捵蛇監：邯说矜 番攝鼷明:也慮和
行港人钎««K
科
15/2/03
K®纷：趙逛和W淑郊捋矜争又淋
8:00pm
Auditorium, Tuen Mun Town Hall
2OO.VIS0(m«n；
屯門大會堂演奏廳
16/2/03
8:00pm
Auditorium, Sha Tin Town Hall
The Show Must Go On
沙田大會堂演奏廳
《繼續舞蹈》 20-21/2/03
7:45pm
APA Drama Theatre 演藝學院戲劇院
Conception and Direction : HongKonq
.
構思及導演：
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謝洛母•貝爾
spanolisimo. Raw Passion. From Spain.
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佛繫明 舞沄躅
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1
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Torero 《鬥牛勇士》 The Ballet Flamenco of Antonio Canales 安東尼奧•卡納茱斯佛蘭明高舞蹈團 22-26/2/03
7:30pm
Cultural Centre Grand Theatre 文化中心大劇院
Akram Khan Company
艾甘漢舞蹈團
27-28/2, 1/3/03
8:15pm
APA Drama Theatre 演藝學院戲劇院 Artistic Director 藝術總監： Akram Khan艾甘漢
•戸
DANCE EVERTS
表
The Hamburg Ballet
漢堡芭蕾舞團 Saint Matthew Passion《馬太受難曲》 28/2, 1/3/03
7:00pm
Kwai Tsing Theatre Auditorium 葵青劇院演奏廳 The Lady of the Camellias《茶花女》
7:30pm
4-5/3/03
Cultural Centre Grand Theatre 文化中心大劇院 Nijinsky《尼金斯基》
8-9/3/03
7:30pm
9/3/03
2:30pm
Cultural Centre Grand Theatre 文化中心大劇院
Artistic Director/Choreographer : John Neumeier
藝術總監/編舞：
約翰•紐邁亞
Rite of Spring 《春之祭》 YURI and company danciNG 3-9/3/03
8:00pm
Hong Kong Cultural Centre Studio Theatre 香港文化中心劇場
Choreographer :
Yuri Ng
編舞：
伍宇烈
Coppelia 《魔偶情緣》 Hong Kong Ballet香港芭蕾舞團
-f—
I1
14-15/3/03
7:30pm
16/3/03
2:30pm
Auditorium, Yuen Long Town Hall
元朗大會堂演奏廳 lT-12/4/03
7:30pm
12-13/4/03
2:30pm
fURI and compony dantiNG
Auditorium, Sha Tin Town Hall
伍宇烈Yuri Ng 課敏兒Abby Chan
沙田大會堂演奏廳 HonqKong
ArtsFcsl i val 2 0 0 3 fr .6 f* 14.2-9.3
iJ
Choreographer :
Bengt Jorgen
姑鲁：
畢•約根
Membership Form
霤員申諸表 會藉
Membership
(
)Individual
個人會員$200
(
)
團體會員
(
)Associate*
(
)Student*
Organization
$600
普通會員* $100 學生會員* $50
Individual/Associate/Student Member1 s Information 個人 / 普通 / 學生會員資料 Name 姓名(English)______________________________________ (中文)_______________________________________
Position職位
__________________ Company公司名稱_________________________________________________
Affliated Cultural Organization Telephone 電話
________________________________________________________________
_________________________________ Fax 傳真 ______________________________________ __________________________________________________________________
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E-mail Address 電郵地址
Organization Member1 s
_______________________________________________________________________
Information 團體會員資料
Name of Organization_______________________________________________________________________________________
團體名稱_______________________________________________________________________________________ Person in Charge 負責人(English)____________________________________ (中文)_____________________________
Telephone 電話
_________________________________
Fax 傳真 ______________________________________
Correspondence Address 通訊地址 ___________ __ ____________________________________________________
E-mail Address 電郵地址 ________________________________________________________________________
Applicable Dance Category 所屬舞蹈類別
I
| Ballet 巴雪
|
| Contemporary 現代舞
|
| Chinese Dance 中國舞
I
I Asian Folk亞洲民族舞
|
| European Folk區欠洲民族舞
I
| Ballroom國際標準舞
|
| Technical Arts 舞台技術
O Education教育
匚Criticism寫作與評論
|
| Cultural & Arts Administration 文化及藝術行政
I
| Notation舞蹈記錄
1
1 Musical Theatre/Jazz/Tap Dance 音樂舞劇 / 爵士舞 / 踢躂舞
|
| World Dance世界舞蹈
I
I Others
Signature 簽署：___ ________________________________
Date 日期：__________________________________
Please endose 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
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