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2 2 APR 2003
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Contents 目錄
NEWS Vol.5
舞蹈快訊
NEWS
No.2
Cover封面
YURI and company danciNG in "Rite of Spring” 伍宇烈舞蹈作品《春之祭》
Big Apple Dance Exchange Project
In January 2003, American modern dance artists, David
Photo: Cheung Chi Wai
Dorfman and Lisa Race, visited Hong Kong for the second
相片：張志偉
part of the Big Apple Project. David Dorfman, who has been
舞蹈快訊
honored with four fellowships from the National Endowment
2
NEWS
for the Arts, is the recipient of two New York Foundation for the Arts fellowships, an American Choreographer's Award, the first Paul Taylor Fellowship from the Yard, and a 1996
舞圈中與藝術節外
New York Dance and Performance Award (“Bessie”)for
The Local Scene & Hong Kong
David Dorfman Dance’s community-based project Familiar
Arts Festival
Movements (The Family Project). Lisa Race has toured
文：劉建華 by Lau Kin Wah
and taught internationally and throughout the U.S., and
5
performed with David Dorfman Dance from 1989-2000. In
1995, Race was honored with a “Bessie” for her dancing in the company. In the two week visit, Dorfman and Race
The Art of Dance in Education (II) Education for What? 舞蹈藝術的敎育⑻
taught company classes at CCDC, DanceArt, and the Hong
Kong Dance Company, classes for students at the APA, and community workshops at DanceArt.
為何敎育？
Their visit was
concluded by a public showing on 15 January in the APA’s by: Anna C Y Chan 文：陳頌瑛
Dance Studio One. Three works were performed in the
8
showing -- Three Wishes, Invenstoryand Bare Bones. The Big Apple Project was co-presented by the Hong Kong
舞蹈節目表
Dance Alliance, the City Contemporary Dance Company,
Dance Events
10
DanceArt Hong Kong, and the Hong Kong Academy for Performing Arts, and funded by Arts International and the
Asian Cultural Council.
踏入五月看法國舞 French Programmes in May
Big Apple舞蹈交流計劃
文：劉建華 by Lau Kin Wah
14
今年一月，美國的現代舞藝術家David Dorfman及Lisa Race到
港進行Big Apple計劃的第二部份。曾獲得四次美國國家藝術基
Yuri Ng’s
金獎榮譽的David Dorfman，先後曾得過兩次紐約藝術基金獎、
Rite of Spring by Tom Brown
一項美國編舞家獎、和首屆保羅泰勒Fellowship from the
16
Yard。他亦憑著其舞蹈團的社區為本計劃Fa/7?/7/ar/Wovemer?fe
(The Family Project)而獲得1 996年紐約舞蹈及演出獎 (“巳essie”)。Lisa Race曾於各國和於美國本土各地演出和講
Creative Dance Programmes
學，於1989-2000間參與David Dorfman舞蹈團的演出，並於
from Hong Kong Arts Festival by Kevin Ng
18
1995年憑著她於舞團中的演出而獲得“Bessie”獎。在到訪的 兩個星期中，兩人除了在城市當代舞蹈團、動藝和香港演藝學院 授課，以及於動藝舉行社區工作坊外，亦於一月十五日在演藝學 院一號練舞室舉行了一場示範演出，演出了三齙舞蹈：Three
Wishes, /wenstozy 和 Bare Bones。Big Apple 計劃是由香港 舞蹈聯盟、城市當代舞蹈團、動藝和香港演藝學院聯合主辦，並 由美國Arts International及亞洲文化協會贊助。
Image: Hong Kong Ballet in Natalie Weir’s Rite of Spring Photo: Siu Wang-ngai 圖：香港芭蕾團演出娜泰莉•維亞作品《春之祭》攝影：蕭宏毅
Dance Platform To provide a platform for regular and informal presentation
David Dorfman & Lisa Race
of new choreographic works and a forum for discussion, interaction and exchange among choreographers, Hong
Kong Dance Alliance is presenting Dance Platform, an on
going dance making project. Dance Platform is divided into two Tiers. TIER 1 is four informal Showings, taking place at
the Fringe Studio and The Hong Kong Academy for Performing Arts Dance Studio One. At each Showing, Choreographers present and discuss works-in-progress,
which may be shown again, after further development, in
subsequent Showings. These showings are open to the
public and provide audiences with an unusual opportunity to participate in and witness the choreographic process. In
TIER 2, an Advisory Committee will invite choreographers to present fully developed works at two formal performances. Dance Platform is supported by The Hong Kong Arts
Big Apple Project
Development Council, the Hong Kong Academy for
Performing Arts and the Fringe Club. The venue & ticketing services for Tier 2 Performances are sponsored by the
Leisure and Cultural Services Department. For details about the project schedule and ticketing, please refer to the advertisement on pagel5.
Enquiry: 2584 8753 /
hkdalli@netvigator.com. Hong Kong Dance Annual 2000-2001
Edited by the Hong Kong Dance Sector Joint Conference,
supported by the Hong Kong Arts Development Council, and published by the Cosmos Books Limited, Hong Kong Dance Annual2000-2001, an extended volume of the bilingual Hong Kong Dance H/'story (published in 2000), was published, and
is now avilable in major bookstores. The Annual, written in Chinese, is a comprehesive collection of primary-source
information of Hong Kong dance activities in 2000 and 2001,
《舞蹈平台》 為了為本地編舞家提供一個經常而非正式的舞蹈發表平台，
和一個討論、互動和交流的場地，香港舞蹈聯盟主辦一個名
為《舞蹈平台》的持續性舞蹈創作計劃。《舞蹈平台》共分 兩個階段進行。第一階段是四次公開但非常規的作品展示。
作品展示分別於藝穗會小劇場和香港演藝學院一號練舞室舉 行，由編舞家展示創作中的舞蹈作品I並進行交流討論。編
舞家可於作品進一步發展後 •再參加其後的作品展示。這些 展示均是公開進行•觀眾可得到一個參與和見證編舞過程的
難得機會。第一階段完成後•部份參與計劃的編舞家會獲邀
於第二階段的兩場正式表演中演出其完成的舞蹈作品。《舞 蹈平台》是由香港藝術發展局、香港演藝學院和藝穗會資 助I並由康樂及文化事務處贊助第二階段演出之場地及售票
服務。有關計劃時間表和門票等詳情•請參閲第15頁的宣傳
廣告。查詢:2584 8753 / hkdalli@netvigator.com。
with over 90 full-colour illustrations. Besides the local dance events in arts festivals, the presentations of Leisure and
Cultural Services Department, the projects supported by the
Hong Kong Arts Development Council, performances of Hong Kong professional dance companies, major dance organizations and amateur dance groups, this book also covers overseas touring of Hong Kong dance organizations,
local touring of overseas and mainland dance organizations,
dance competitions, dance education/ lectures, and demonstrations. Readers can now order Hong Kong Dance
Annual 2000-2001 and the Hong Kong Dance History at discount prices through Hong Kong Dance Alliance. Enquiry: 2584 8753 / hkdalli@netvigator.com.
Site Specific 2003 This April, the Hong Kong Academy for Performing Arts will be transformed into a multifarious world of dance. With lighting and music, and using various corners of the Academy as stages, a group of professionally trained dancers will present the works of young choreograpers from the Academy
《香漢港舞蹈年鑑2000-2001》 由香港舞蹈界聯席會議編輯、香港藝術發展局資助、天地圖 書有限公司出版的《香港舞蹈年鑑2000-2001》現已出版’ 並於各大書局發售。《香港舞蹈年鑑2000-2001》是二零零 零年出版、中英對照的《香港舞蹈歷史》的延續篇’全面地
收錄了香港於二零零零年和二零零一年舞蹈活動的第一手資
料，其中包括了超過九十幅彩色圖片。這部書以中文書寫’ 內容除了本地藝術節的舞蹈項目、康樂及文化事務處所主辦
的活動、香港藝術發展局的資助計劃以及香港專業舞團'大 型舞蹈組織和非職業舞團的演出外，亦覆蓋了內地及海外舞
團的訪港演出、香港舞團的外訪演出'各類比賽'舞蹈敎育/
講座和推廣活動。讀者現在可以經舞蹈聯盟以優惠價訂購 《香港舞蹈年鑑2000-2001》和《香港舞蹈歷史》兩書"查詢：
2584 8753 / hkdalli@netvigator.com。 《Site Specific 2003》 今年四月的晚上•香港演藝學院將會幻化成一個多面體的舞 蹈世界。在美妙的音樂和燈光之下，以學院的不同角落作為
舞台，一群具專業舞蹈訓練的舞者將會演繹演藝舞蹈 學院的 青年編舞的作品。編舞以這所富有藝術特色的建築物作為創
3
characteristics of this artisitc building, choreograpers will
作靈感•不但拉近了舞者與觀眾的距離i更讓觀眾在欣賞舞 蹈的同時，遊歷整所學院•給他們帶來一個目不暇給的晚
create dances that not only bring the audence and dancers close together, but also guide the audience through the
歡迎任何人仕免費觀賞。演出時間是4月3-4日和10-11日
Academy while viewing the performance, and provide them
(星期四及五)晚上八時正。節目查詢：舞人會Rebecca Wong
School of Dance. Getting their ideas of creation from the
Site Specific 2003 is presented by
a night of wonders.
HKAPA Dance Students Association.
上。《Site Specific 2003》是由香港演藝學院舞人會主辨，
(92161018)或 Trista Cheung(97538149)。
The performances
will start at 8:00pm on 10-11, and 24-25, April (Thu. and Fri.),
r磯饉舞蹈家系列」^〈為和平而舞》
with free admission.
「磯饉藝術家系列」是動藝一個新嘗試：由香港藝術中心贊助
Enquiry: Rebecca Wong (92161018)
or Trista Cheung(97538149).
演出場地及燈光技術支援，動藝資助行政及排練場地，參與
之藝術家全部義務參與，免費入場的觀眾以自由捐助的形式
“Starving Dancer Series” -- Dancing for Peace
支持製作，希望在缺乏創作資源的情況下打出一條生路。每
The “Starving Dancer Series” is a new initiative of DanceArt Hong Kong: with performance venue and lighting technical
需要、社會生態等主題為焦點，探討舞蹈創作與社會之緊密
support sponsored by Hong Kong Arts Centre, administration
聯繋，亦充分表達舞蹈工作者對社會大眾之關注。伊拉克的
and rehearsal venue sponsored by DanceArt Hong Kong,
戰火在今天終於燃點，鮮血與眼淚已經流下。面對戰爭，我
artists’ voluntary participation, and free admission. Each of
們還可以作甚麼？一班舞蹈家在《為和平而舞》中以和平為
the series will focus on a social topic, explore the close
題*表達他們對國際、人際以至個人內心之和平信念。只望
次將以一敏感之社會議題如戰爭、貧窮、平權、少數族群之
relationship between dance creation and the society and
和平的心願不再被踐踏。參與藝術家包括了王廷琳、楊惠
express the concern of dance workers to the community.
美、張秀梅、Robert Kitsos -黃茹、歐嘉美和徐茵祈。演出
What can we do about the war in Iraq ? With a theme of
時間和地點是2003年4月29及30日晚上8:15 •香港藝術
peace, a group of choreographers will express their belief in
中心麥哥利小割場。兩晚演出都是免費入場1歡迎觀眾以自
peace. The participating artists include Andy Wong, Yeung
由捐款形式來支持製作。由於座位有限|觀眾必須預留門票
Wai Mei, Vanessa Cheung, Robert Kitsos, Yvette Huang,
。查詢及留座電話:2793 9957 / danceart@hknet.com。
Au Ka Mei and Tsui Yan Ki. The performing time and venue are 29-30 April 2003, 8:15pm at Hong Kong Arts Centre
香港芭蕾舞團一與你縱情起舞！
McAulay Studio. The admission is free, but donation to
support the production on a voluntary base is welcome.
香港芭蕾舞團推出2003年夏季套票，節目包括熱力澎湃的 《芭蕾精品》、夢幻瑰麗的《睡美人》及傳奇故事《杜蘭朵》。
Because of the limited number of seats, seat reservation is
讓你以優惠的價錢，和舞團一起縱情起舞！在《芭蕾精品》
required. Enquiry and seat reservation: 2793 9957 /
中三位才華洋溢的編舞家不約而同為動人的旋律而感動 。舞
danceart@hknet.com.
者透過身體語言盡情演繹自我•在台上真情流露的一刻，更 勝千言萬語。從皮佐拉的探戈以至史特拉汶斯基的《春之
Hong Kong Ballet - Power of Passion!
«
2
祭》，讓你體驗激情澎漭的魅力。舞團藝術總監謝傑斐十八
Hong Kong Ballet 2003 Summer Subscription Series: Three
歲便擔綱《睡美人》中費洛蒙王子一角，被譽為演繹此角色
different programmes with Passion Guaranteed! A showcase
最年輕的舞蹈員；三十年後的今天由謝氏全新編舞的《睡美
of choreographic talent, the first programme, Ballet
人》•當然別具慧眼|他的版本去蕪存菁，優美動人。《杜
Extravaganza, features three neo-classical pieces from
蘭朵》的音樂選自普契尼的同名歌劇，由澳洲女編舞家娜泰
Tango by Piazzolla, Stravinsky’s controversial The Rite of
莉•維亞以她對那充滿愛恨情仇和戲劇性音樂的獨到觸角■
Spring to David Allan's imaginative Dreams of Tenderness
全新演繹這歌劇的傳奇故事。舞台佈置簡潔而極具感染力。
and Solitude. The three works demonstrate some of the
精彩節目•不容錯過！詳情請瀏覽www.hkballet.com。
many ways the human body is used as an instrument of
expression - in all its sensuality, raw power and eloquence. The youngest dancer to dance the role of Prince Florimund
in The Sleeping Beauty thirty years ago, Artistic Director Stephen Jefferies’ creation of The Sleeping Beauty for the
Hong Kong Ballet manages to have all the good bits plus a
bit more. This second programme in the series, reawakens from its slumber this magical and beautiful production. The
third programme, Turandot, uses selected parts of the music from the opera of the same name by Giacomo Puccini. The powerful emotion of this music provides the backdrop and drama for this new interpretation choreographed by Natalie Weir and designed by Bill Haycock. The modern and stylish
Hong Kong Ballet in The Sleeping Beauty
ballet of Turandot explores the power of love to fulfill, to destroy and to change us. Details at www.hkballet.com.
香港芭蕾舞團演出《睡美人》
Photo: Siu Wang-ngai 攝影：蕭宏毅
■KI
舞壇手記
Dance Diary
舞圈中與藝術節外
The Local Scene & Hong Kong Arts Festival 文：劉建華
by Lau Kin Wah
上期零二年舞壇流水帳報告，本文談的是今年截
reporting on what has happened in the local dance
至三月中為止的一些本地舞蹈演出。不過趁藝術
/ scene since the New Year, as well as relating its
節剛過不久，也就貪心嘗試通過舞種類型，跨涉外國團
different aspects to performances given by various foreign
體的本地演出，和本地演出來點(並非比較什麼高下
dance companies in this year’s Hong Kong Arts Festival,
的)思考上的相互激盪。
this diary hopes to weave a kind of meaningful dialogue
between the two. 數現當代舞，其實年初的演出較少，規模亦細，即使藝 術節本地現代舞的重頭戲，伍宇烈編的《春之祭》，也
To begin with, local modern and contemporary dance
是陳敏兒跳的獨舞。這委約新作的宣傳，隨編舞意念的
performances in the first few months of 2003 were fairly
發展而搖擺，最终定調於祭女作為主線，但觀看了最後
rare and relatively small in scale. YURI and company
一晚的演出，舞碼卻似頭重腳輕，沒有強烈「獨舞狂跳
danciNG’s Rite of Spring, the most spectacular local dance
至死不渝」的感覺。看著纏著繃帶的足踝，受傷始终是
production commissioned for this year’s Arts Festival, was
獨舞難擔的意外？有幸看到舊曆年三十晚的排演版本，
a solo piece featuring dancer Abby Chan. Watching the
拿之和演出比較，足版增添了不少因應場地舞臺的環
performance on its last day, the choreography seemed very
節，逃避、掙扎、拉扯、對抗雖然依舊呼之欲出，舞蹈
tensely packed in the first part, a bit contrary to the “dance
元素似卻被劇場元素稀釋。若然大家見到伍宇烈在編舞
to the last breath” we are told to expect. Yet, judging from
室望著鏡子側身在試兩隻手掌平伸的姿態，一定會和我
the bandage around Chan’s ankle, one must perhaps
一樣聯想到也是今屆藝術節漢堡芭蕾舞團其一劇目主角
sympathize with the dancer as she faced such heavy pressure
尼金斯基，那在其《牧神的午後》模仿希臘平面浮雕的
in this solo-piece so savage and so full of energetic violence.
經典姿勢。我在場刊裡試提芭蕾舞出身的伍宇烈編的現
Successfully convoyed were the sense of fear, the chosen
代舞，到底會否較多重視姿勢美感，想法就是從這形象
maiden’s inner struggle, as well as her rebellion and struggle
而來。
to escape from her fate, though as the dance proceeded, the drama turned into parody.
但把《春之祭》和藝術節中，也是用了相當多手板手腕
手臂繞旋的艾甘漢舞作《如果》相比，艾甘漢靠側光勾
From my observations during its rehearsal phase, Yuri Ng’s
劃出手臂線條和手指的小動作，和伍宇烈編舞經常性的
choreography puts heavy emphasis on pose and gesture, even
地板滾動卻迅即又分道揚镳。艾甘漢在中段將手勢作了
when the body is in full motion. An image of Ng trying out
口述的示範，比以往如費宥(Jo Fabian)的舞作《燈
movement in front of the mirror, directly recalled the famous
塔》，自然更有民族的韻味，可謂和藝術家卡普(Anish
pose of Vaslav Nijinsky in
Kapoor)的舞台背景達致宗敎精神上的相通。相反《春
(Nijinsky, the original choreographer of Rite of Spring,
之祭》裡玩滅火筒、風筒等加插道具的環節，若一時聯
happened to be the subject of one of the Hamburg Ballet’s
想不起風、火、土等元素，難免讓人感到過於隨意，纸
productions in this year’s Arts Festival.) Blade-like gestures
Apres-midi d' un fa line.
箱摺起時鼓起的陣風雖然如像神來之筆，無奈色料礙
of the hands also appeared frequently in Akram Khan's piece
眼，模仿帶位員、走進觀眾席，則也已屢見不鮮。最核
Kaash (also in this year’s Arts Festival). Considering that
心的，還是萬幂期待的樂曲被倒貼，叫人有點失望之
Kaash was performed in a proscenium theatre with the
餘，替以第二部甦醒作首，本來不俗，但以一首山口百
audience on one side, while the stage for Rite of Spring was
惠為全場作结？邁克於3月4日《信報》的〈春來發幾
a square center one with the audience on all four sides，it is
枝？〉把《春之祭》版本的話題幾乎數盡•
interesting to note that the hands in Akram Khan
卻就是沒談到主菜，莫非多拼西湊就是典型
work swirled around the body, while Yuri Ng
香港做菜的特色？
preferred choreographing them in a flat and tight manner.
從舞蹈走向劇場，據説謝洛姆.貝爾就曾在 同其姓名的作品中，以人聲吭出全首《春之
As for theatrical elements, different props such
祭》，不能不説是把表演回歸身體的高招C
as a fire extinguisher and hair dryer were used
這次藝術節其導演的作品《繼續跳舞》，播
in Ng’s Rite of Spring to represent different
放一首接一首的流行曲’通盤簡約的動作’
natural elements, however, the natural gush of
以至你必須要正視他的挑戰，卻又是出奇抵
air created from folding a cardboard box,
死地富幽默效果。一些歌曲或者喚起我們的
another prop used by Ng, showed how artificial
理想主義，另些卻被我們打成庸俗不堪。共
and alienating the insertion of those other props
通的是，流行曲如何潛據在我們的意識，塑
were. But that’s not all, Ng even added a real
造了人們的世界、世界的人們。弔詭的力量
egg and a spring chicken to his mixed green
還在於•貝爾並不諱言它們愈是笨愈是真，
salad.
表達了我們最心底的情感。場刊中所謂：
choreographer also decided not only to put the
「若果觀幂想看包殊舞蹈劇場的當代版本•
first and the second part of Igor Stranvinsky’s
貝爾便是你的選擇」，我懷疑實是比高了包
Rite of Spring in reverse order, he brought in
殊，比低了貝爾。包殊早已流入榻俗娛樂，
Firebird, a Firebird rehearsal, two old Mandarin
和經受虚無主義洗禮的貝爾，簡直是兩碼子
songs about Spring and finished the piece with
事•起碼我從未聽過其他「演後藝人談」竟
a Sayonara No Mukoo Gawa.
Upsetting all expectations, the
然講到劇場的本體論。（當然，把每首歌考
驗那不過幾分鐘的耐性，説成自己的底線，
But if you think that’s radical, wait till you hear
那又未免言重？）全場其中一個（反舞蹈）
about Jerome Bel. Bel, in contrast to Ng, who
的高潮位（零點），是一切漆黑一片播放約
tried to get the dance away from Stravinsky’s
翰連傻的金曲Imagine，預先就連唱碟機顯
shadow in his Rite of Spring, once performed a
示屏的些微光線也考慮到，準備好蓋掩的小
piece, in which the dancers memorized the
動作，沒有黑衣人，經典地示嚴著「把一切
whole of Stravinsky’s Le Sacre du Printemps
動作入舞」的精義。
and hummed it on stage. Bel’s The Show Must Go On, performed in the Arts Festival, in
2
1
也在貝爾的簡約和"low-fi"之上，我想扯到
contrast, played with pop music. One song after
其實也不算十分"high tech"的《舞筆》。剛
another was played, each with a minimal,
踏進新年•香港城市大學軀體畫筆研究組在
reductive presentation (like the act of covering
城大藝廊舉辦了次「探索舞蹈空間人類與電
up the CD player's little screen to make an all
腦的互動」的《舞筆》，由梅卓燕、楊春江
dark environment for John Lennon’s Imagine).
編與舞出六段與「軀體畫筆」裝置互動的舞
The performance was as demanding as it was
蹈，藝術家楊曦負責現場虚擬視像的編導。
entertaining, since (so obvious via the
然而所謂科技和藝術的介面融合，其實更多
performance) we are all victims of the pop music
恐怕是在話語論述中完成，與其説是次舞蹈
industry. Jerome Bel added a quotation from
表演，不如説更像次儀器示範。把舞蹈動作
Francois Truffaut to this paradoxical situation:
即時轉換成立體畫面，但舞臺和背景的直接
“the more stupid (the songs) are, the more they
對應關係，成為一個擺脱不了的前設。（偏
tell the truth.” Almost a love it or hate it situation
偏如楊春江靜止平躺地面而畫面繼續盤旋，
for the audience. Jerome Bel, on the other hand,
又是「誰」在「那刻」作的決定？）現時虚
personifies this ambivalence, for his (anti)dance
擬化的數據紀錄.有點像以往長曝光拍攝舞
was at once a cry of desperation, as well as his
蹈的實驗.只是模式立體化了。這卻叫我想
art of salvation.
插圖：楊惠美三月份於中文大學《李東強水 墨》開幕典禮的演出
Photos: A performance by Yeung Wai Mei at John Li’s Ink Painting exhibition opening at Chinese University Sir Run Run Shaw Hall March 2003.
起以往一名民族音樂學先驅曾發明一台能記錄最細微速
Impressed by what “low-fi” achieved via Jerome Bel, the
度、力度和音高變化的旋律儀，最後卻由於記錄的東西
not really that “high-tech” locally developed “Body-Brush”
大複雜，結果反因沒有人能領會其中的奧妙而被棄用的
system comes to mind. Just shortly after the New Year, Six
例子。
Dances Interacted with “Body-Brush”, choreographed and
performed by Mui Cheuk-Yin and Daniel Yeung was shown 從欣賞舞蹈的經驗出發，把焦點雙重化的感覺更傾干擾
at the City University of Hong Kong, with graphic rendering
性，倒是在形式的規限上，還可見編舞者就系統效果而
directed by artist Young Hay. Yet, despite having a synced
選擇波/棒等道具的心思，梅卓燕身體慢旋產生的玫瑰
3-D projection of the mapped dancer’s movement on the
花瓣的效果，算是最使人難忘（雖然同時手指的顫動可
screen, one could not easily find anything that could be
能難以被感應而對效果沒有決定性影響）。至於和畫面
counted as truly interactive. The direct-mechanical
真正互動的，一是楊春江順時鐘及逆時鐘跑和畫面的旋
representation on the screen formed a disturbing backdrop
轉成了追趕的競赛，二是電腦失靈之際，楊春江即興用
that the piece could in no way escape. Yet its spatial color
棒把視窗當成要勾劃的框框。故整體來説，軀體畫筆是
arrangement did not take the psychological effect of color
否比起錄像更有助紀錄分析，數據化的意義依仍未見。
into account, while the soft/hard edge effects were not
色彩的角落編配沒有情感意義相連，而亮度透度本身彼
determined by the physical movements themselves. The
此難分，若然硬邊和渗化效果是自然的物理性質反射而
apparatus was instead more like a recording device, but this
非人工選擇，可能也會更有意思。
recorded data was not even as readily readable as video. Its usage is still undeterminable.
從現當代舞科技尖端轉向另一極，同於一月份，香港芭
蕾舞團演出了《天鵝湖》，從葵青移師到屯門大會堂演
From the experimental state of dance back to classical Ballet
出，安排或有敎育推廣之意，但無論那裡的觀眾大概也
-Hong Kong Ballet performed Swan Lake, first in Kwai Tsing
不能小欺，演出場地不合格地板造成的聲浪，射燈強度
Theatre (with the Hong Kong Sinfonietta). A later move to
不足使黑衣衫的羅伯特在過暗舞臺舞姿失色 ，演後提問
Tuen Mun Town Hall, however, ran into some problems with
裡的觀感意見都提得直截了當。我個人老實説不懂看芭
the venue, as some members of the audience complained of
蕾，但看漢堡芭蕾舞團《茶花女》中的戲中戲，也覺得
noises from the stage floor, others of the insufficient lighting
有種現代感，當然心還是更繫於那種把芭蕾舞逼向現代
that muddied the darkly dressed Von Rothbart’s (William Lin)
舞推演的《馬太受難曲》。巴哈音樂配上一幕幕人性拌
performance. As for the Hamburg Ballet Arts Festival
扎細繳有序的演繹，撩人肺腑，悲天憫人，近四小時演
productions, the choreography of a ballet within a ballet,
出後的不絕掌聲，大概證明本地觀眾不一定只能接受輕
Marguerite’s mixed feeling towards Manon, sparkled a very
鬆華麗的芭蕾劇目。
modem stage experience in The Lady of the Camellias. Even
more attuned to modern dance was Saint Matthew Passion. 「到底有誰知道我們在尋找什麼」，貝爾的《繼續跳舞》
One felt as if the inner inadequacy of the expression of grief
結束於皇后樂隊的「表演仍須繼績」一曲，把一個貌似
pushed classical ballet to evolve. Even after so many centuries,
虚無、嬉皮笑臉的節目，帶回到一個舞者對劇場的疑惑
Johann Sebastian Bach’s music still deserves all the praise it
和斧底抽薪的再出發。艾甘漢未跔十歲就追隨古魯
is given. The production of Saint Matthew Passion, which is
（Guru）習印度古典舞；紐邁亞之不能不編《馬太受難
nearly four hours in duration, solemn yet soothing, human yet
曲》，是源於對巴哈音樂的感動和把舞蹈和信仰結合的
transcending the secular, suggests that our ballet audience is
意欲。他們各人舞蹈作品裡的真誠性，都使作品散發誘
mature and open-minded enough to appreciate more than light
人的魅力。看艾甘漢在一期HK MAGAZINE的訪問裡講
hearted repertory.
及王家術，故然是我們社會的光榮；而貝爾在另一期訪 問中，説要給布殊一杯醋，雖然是打趣的説話，反戰立
Ending his work with Queen’s The Show Must Go On，
場在其選曲中其實早已流露。至於二月初，「Y-space多
Jerome Bel posed the question: “Does anybody know what
空間」邀得楊美蓉就雲門舞集的「歷程」作講座，播《薪
we are looking for”; since he was eight years old, the English
傳》片段時講到當年首演之日，剛逢美國宣佈斷交，舞
Akram Khan followed a guru to study Indian classical dance;
者的心情和社會的氣氛如何融成一氣，也使我有所觸
while inspired by Bach, John Neumeier let religious and
動。香港的舞者和舞作，有時候會使我覺得（容許我
artistic needs dictate his choreography in St. Matthew
説，或怪我認識不多），就是欠了這些藝術和生命一體
Passion. Undeniably, these personal dedications made the
的東西。
works more impressive and persuasive. With the shadow ol
war looming, perhaps it is time for us to consider moving beyond postmodernists’ sheer mockery and textual collage.
I
敎七學
Education
THE ART OF DANCE IN EDUCATION 舞蹈藝術的敎育(II)
Education for what? —
The concept of Dance Education
舞蹈敎育的概念一為何敎育？， 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. Gradu ated 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. 陳頒瑛，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。陳頒瑛 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。
/J educational distinctiveness ofDance danceeducation and the 飞“ intrinsic values that characterize
Y，
#前文已詳細討論了一些舞蹈的敎育特點，和
上™令舞蹈超越社交、娛樂、健美的知識和技巧
beyond the acquisition of socialization, recreation and
學習或其「指導性」目的之內在價值；亦提到我們應把
physical fitness knowledge and skills or its instrumental
舞蹈視作為一種藝術形式，明白到舞蹈的學習過程在學
purposes have been discussed and articulated in part one of
校課程中的價值。這篇文章會再進一步探討在二十一世
this series. In addition, the identification of dance as an art
紀敎育中的舞蹈敎育概念。
form should be undertaken with an understanding of the value of its processes within the school curriculum. This
後現代的模式
article will further discuss the concepts of dance education
於二十世紀末出現的後現代模式，是植根自一個世界觀
in relation to education in the 21st century.
所演化出來的科學理論。這個世界觀認為二十一世紀的 世界是複雜而與整個宇宙緊密聯繫著的，而不是簡單和
POSTMODERN PARADIGM
2
獨立的=Sisson對後現代主意作了以下的描述：
The emergence of the post-modern paradigm at the end of
「……挑戰現代主義的普遍主義者和藝術家作為
20th century has its roots in scientific theories derived from
富想像力而又善變的創造者的價值。……作為一
a view of the universe that sees the 21st century world as
種思考形式，後現代主義講求擺脱一些有關社會
complex and cosmological rather than simple and separate.
本質的固有（和由文化灌輸的）信念… …後現代
Post-modernism as described by Sisson:
主義認為舊式的分析已不合時宜 ，我們須要創造
“...challenges the universalist values of modernism
新的手法和詞彙來理解這個不斷被建構、更新和
and of the artist as a quixotic and temperamental
現代化的現在。… …後現代主義的本質就是批
creator. ...Asa condition of thought postmodernism
判：無論那是建基於差異的批判，對原創之謎的
indicates a break or departure from strongly held
批判，或是對歷史述事觀點的批判。」
(and culturally instilled) beliefs about the nature of
society ... postmodernism suggests that old styles
諌程理論學者Doll亦指出：「我們對宇宙的看法正由單
of analysis are no longer useful, and that new
一、穩定而永恆的牛頓派現代主義轉變到一個複雜、混
approaches and new vocabularies need to be created
亂而有限的後現代主義。」
in order to understand a present which is continually being constructed, updated and modernised ... The
對未來的願景無可避免地令我們質疑 ：當生活的各方面
nature of postmodernism is critique: whether
都面對著經常、快速而又不可避免的改變時，如何可以
critiques of the grounds of difference, the critique
保存人性？假設敎育是我們的文化和社會中延績和變動
of the myth of originality, or the critique of historical
的首要元素和指引■它---- 尤其是藝•術/舞蹈敎育-----
narratives.” 1
如何可帶領我們走向未來？
Curriculum theorist Doll also points out, “We see our vision
為何敎育？
of the universe turning from the single, stable, eternal one
在後現代的看法中’世界是重複、短暫、複雜、相對和
of Newtonian modernism to the complex, chaotic, finite
互動的，我們要小心避免獨斷地排斥當代社會的任何一
one of post-modernism.” 2
方面。在敎育上，沒有人可以直接的指出未來的故育會
是如何，但我們可以憑著承擔和想像力，培育學生去面
Visions of the future inevitably call into question how our
對那不可避免的改變。在這個日益複雜的社會中，我們
humanness will be preserved in the face of constant, rapid,
和作為社會未來楝樑的學生要有想像思維和提出異見和
and inevitable change in all areas of our lives. Assuming that
假設的能力’以應付各種任務的要求。普遍地説，敎育
education is a primary element and conduit for both continuum
—尤其是舞蹈敎育— — —可以提升個人的各種能力來有
and change in our culture and society, how will education and
效地處理未知的事情。這些能力包括了行動與後果、手
particularly arts/dance education lead us into the future?
段和目的之間關係的理解、風險的認識和接受和對未知 的思想伸廷。
EDUCATION FOR WHAT?
In the post-modern notion of a world that is multiple, temporal,
在這個論點下，舞蹈除了是身體上的訓練外，亦是思考
complex, relativistic, and interactive, we must be wary of a
智能的培育。一個著重以批判的眼光和豐富的想像來看
single-minded rejection of any aspect of our contemporary
事物、拓展新思維空間的舞蹈敎育概念，可以给予學生
society. In education one cannot directly speak to educating
一個可行而恰當的方式來面對這個變幻的世界。
in the future, but one can, with commitment and imagination,
prepare students for inevitable change. The increasing
可是，一般敎授舞蹈的機構— —無論是學校、練舞室、
complexity of our society requires us, and the students who
體育館或社區中心— —都先設地從屬於一個陳舊敎育系
will shape the future, to function in tasks that demand
統，建基承'一■個接收知識和技巧的生產模式。這個模式
imaginative thinking and the ability to suggest alternatives
的舞蹈學習以標準化、專科化、劃一化、和順從化為
and formulate hypotheses. Education in general, and dance
本。典型地，舞蹈學生上課時排成多行，練習劃一而預
education in particular, enhance the development of one’s
設的舞步。他們被鼓勵專門地學習一種舞蹈形式，例如
ability to see the connection between actions and their
芭蕾舞、中國舞、現代舞或是西方舞等；被一些硬繃确
consequences and between means and ends, to take cognitive
的準則來評核：整齊性、時間性、準確度和柔軟度。這
risks, and to extend thinking beyond the known in order to
樣的舞蹈敎育只能傳授舞蹈知識的一個片面 ：直接模彷
deal effectively with what might be rather than with what is.
一種舞蹈形式的身體運動。
In this sense dance is as much an intellectual pursuit as it is
學校舞蹈敎育應被視作為全敎育的一門科目。敎育學者
a physical one. A dance education which concerns itself
William對科目作出以下的描述：
with critical and imaginative ways of seeing and opening
「一門敖育科目必要包含了值得追求而有别於其
up the space for new ideas will provide students with a viable
他類型的知識。這些具有成熟、抽象而複雜原理
and relevant means of reckoning with a changing world.
的知識是敎育的核以，像舞蹈等任何藝術 領域的敎育，必須$識和認識上有重要的功能
However, the institutions of learning dance in general,
才能得到發展和繁盛。」
whether they are schools, studios, gyms, or community
centers, are by default part of an archaic educational system
根據William的説法，學校舞蹈敎f應是提供所有學生
rooted in an industrial model of knowledge and skill
一個培育舞蹈藝術的理解和欣賞之機會，而不只是給予
acquisition. In this model, dance learning is based upon
有夭份、有志於舞蹈事業的一，■!、撮。作為一種藝術形式
principles of standardization, specialization, uniformity, and
和敎育科目，舞蹈應是在一開放系統中進行 ° Doll描述
conformity. Dance students typically learn placed in rows,
practice uniformly prescribed steps, and are encouraged to specialize in a single dance form -Ballet, Chinese dance,
modern dance, or Western folk dance for example. They are most often evaluated according to a rigid set of criteria
-alignment, timing, accuracy, and flexibility. Dance taught in this model only serves one facet of knowledge in dance; that is, direct imitation of a dance form as a physical activity.
這個系統為一個回應改變的生活系統。這一系統著重變
動，而目的也與手段融合。這是一個新的舞蹈敎育模 式，與視舞蹈為活動的主液模式什為不同。舞蹈敎育應 包含一些體驗，來培育一些技能來幫助學生作有義意的 舞蹈創作和從舞蹈作品中看到和獲取意義。然而’當舞
蹈只是敎授舞步的重複和只是一個结局已預設而成果被 緊緊控制著的密封系統時’我們便不能促進對整理我們 的體驗和理解我們生活的世界所需要的種種’包括了提 問、想像思維和探討。後現代主義的舞蹈敎育觀念提議
舞蹈節目表 那時 That 誦■竇 》»|辱|»钃《| Time IWUn ofa iW rteKJ hrIMMi» 麵 ■■■■*«扇B■霞 ■> .■■鳳孀•霸麵氏‘ ■雌•眉 <>• 舄■大囑 Km* m
Site Specific 2003
怪談/缩卷 Kmaidan / Emaki
HKAPA Dance Students Association
香港演藝學院舞人會 10-11,24-25/4/03 8:00pm
Hong Kong Academy for Performing Arts
香港演藝學院 * Free Admission
免費入場
That Time & Kwaidan / Emaki 《那時及怪談/繪卷》 City Contemporary Dance Company 城市當代舞蹈團 11-12/4/03
8:00pm 特別嗚謝：
cede 城 S代B E ■
》
Auditorium, Kwai Tsing Theatre
葵青劇院演藝廳
Choreographers 編舞： Maggi Sietsma瑪姬•茜思瑪 Sunny Pang彭錦耀
Coppelia 《魔偶情緣》 Hong Kong Ballet香港芭蕾舞團
Dance for Peace 《為和平而舞》
11- 12/4/03
7:30pm
12- 13/4/03
2:30pm
Auditorium, Sha Tin Town Hall
沙田大會堂演奏廳
DanceArt Hong Kong
動藝
29-30/4/03
8:15pm
Choreographer:
Bengt Jorgen
編舞：
畢•約根
Hong Kong Arts Centre McAulay Studio 藝術中心麥哥利小劇場 * Free Admission
免費入場
The Enigma of Desire - Dali vs Gala 《.情色男女一達利vs加拉》 City Contemporary Dance Company
城市當代舞蹈團
24- 26/4/03
7:30pm
25- 26/4/03
9:30pm
Fringe Studio 藝穗小劇場 Choreography / Performance : 編舞/演出：
Mui Cheuk-yin, Xing Liang
梅卓燕、，刑亮
舞人Dan， 脅 Asst
5 Red 《紅》 Academy Dance Ensemble 演藝舞蹈團 8:00pm
8-9/5/03
Academy Lyric Theatre 香港演藝學院歌劇院
Choreographers 編舞： Helen Lai黎海寧
Herve Robbe贺菲•羅弼 Natalie Weir娜泰莉•維亞
French May法國五月-Acflrtflmy Dance 6
Rave《狂熟》
imm>piW8
Lorraine Ballet 茱恩芭蕾舞團 16-17/5/03
8:00pm
Hong Kong Cultural Centre Grand Theatre 香港文化中心大劇院
Choreographers 編舞： Karole Armitage 雅密堤，
Merce Cunningham 簡寧漢
French May法國五月--
THE HOTTEST $HOW IN TOWN PIRECT FROM LONDON S WEST ENP
攻陷倫教城西最破格組合
The Masked Ballet《假面芭蕾》 The Company of the Fan 巴洛克羽扇舞團
24/5/03
8:00pm
Hong Kong City Hall, Concert Hall 香港大會堂音樂廳
Choreographer 編舞： Marie-Genevieve Masse 曼茜斯
UMOJA
醐a；
《奥舞族》 20-25/5/03
8:00pm :
24-25/5/03
2:30pm
HKAPA Lyric Theatre 香港演藝學院歌劇院
禱 假H'H oB n IVcnuc !AK I Hong Kong «llty Hall.oH|
by Fhe Company of the fan 3 '0pm B:00pm
2b TO 25 MAY 200J LYtllC THEATRE THE HONC KONC AtAPEMf fOR PERFORMING ARTS
二oo三年五月二十日至廿五日 番港演藝學院歌劇院公演
Dance in education is recognized as an educational •discipline' as described by educationist William:
以一個具體的課程來引導學生去尋求答案和質疑舞蹈作
為一藝術形式的本質；在培養歷史和文化觀點的同時，
••An educational discipline must contain knowledge
培育技能來作出洞察和批判性思考，以及來認知、探
worth acquiring, knowledge which cannot be equated
討、轉化和分辨舞蹈的藝術構思。
with any other form of knowledge, which contains
its own sophisticated, abstract and complex
所以，舞蹈課程的內容不應只著重其製成品，而應同時強
principles of knowledge is at the heart of education
調其中的藝術過程。舞蹈敎育應基於舞蹈作為藝術的本質
and therefore if any area of arts education such as
和藝術對社會的價值，來決定穀些什麼、怎樣敎和為何
dance is to develop and flourish it must have a vital
敎。課程要強調關係的察覺、連繫的建立和分析、評估和
function in terms of knowledge or knowing.’’3
综合能力的培育。這些都是在創作具統一而連貫美感的舞
蹈時，所要作出的決定的一部份。學習的核心是使學生能
Following William’s notion, then, the purpose of dance
欣賞到舞蹈作品是有意義的，而不只是含有一些特定的意
education at school should be to provide all persons, not
思。課程應集中於有見地而經深思的觀賞，那是作出合理
only the gifted and talented and those who are interested in
判斷和理解我們經驗的「相互主觀性」的基礎。
the dance professions, with an opportunity to develop an
understanding and appreciation of dance as an art form. To
結語
engage in dance as an expressive art form and an educational
總括來説，在後現代模式中，藝術敎育是追求全人培育
discipline is to engage in an open system, which Doll
的敎育系統中所必需的重要部份 。舞蹈敎育應被視作為
describes as a living system responsive to change; one in
這個藝術敎育網絡的一部份。正如敎育統籌委員會於
which flux is important and the ends become integrated with
2000年的報告中所説，未來的敎育應追求：
the means. This suggests a considerably different paradigm
「讓每個人在德、智、體、群、美各方面都有全
for dance education than that which has been characteristic
面而具個性的發展，能絢一生不斷自學、思考、
of the dominant view of dance as activity. Dance education
探索、創新和應變，有充份的自信和合群的精
should include experiences, which focus upon the
神，願意為社會的繁榮、進步、自由和民主不斷
development of the skills necessary to create meaningful
努力，為國家和世界的前途作出貢獻。」
dance forms as well as those necessary to perceive and derive meaning from dance works. However, when taught only as
藝術是在人類經驗中的質和美兩個領域之中進行 。在擴
the replication of steps, as a closed system in which the ends
展我們對這個世界的理解上，它扮演著一個重要而多重
are preset and the outcomes tightly controlled, we fail to
的角色。藝術的重要性，並不單只是在其所能反映出的
promote the kind of inquiry, imaginative thinking, and
文化成就，亦在於它為我們的生活所提供的人性化一
discovery necessary for ordering our experience and making
面。因此，作為一個表達性的藝術形式，舞蹈一定要被
sense out of our lived world. A post-modern view of dance
置於層面更寬闊的藝術/美學敎育中，來平衡我們的課
education suggests an explicit curriculum that guides our
程；而不應著重背誦式的學習和複製。以動作作為一個
students to seek answers and to question the nature of dance
表達性的符號系統，無論創作者或是觀賞者都可以投入
as an art form, to develop the skills needed for discernment
於意義製作的過程之中，為觀察和理解這個世界，打開
and critical thinking and to acquire the perception, exploration,
一個新的門户。
翻譯：施德安
transformation, and discrimination of artistic conceptions of dance while cultivating historical and cultural perspectives.
development of an appreciation of dance works as
The content choices for dance curricula should therefore be
meaningful rather than meaning something in particular.
guided by a desire to emphasize artistic processes rather
Focus is on informed and reflective viewing, the foundation
than by product-mindedness. Dance education should look
for making justified judgments and understanding the inter
to the nature of dance as art and the value of the arts to
subjectivity of our experiences.
society as the basis for decision-making with regard to the
what, the how, and the why questions of teaching. Emphasis
CONCLUSION
is placed upon seeing relationships, making connections,
In conclusion, dance education should be considered part
and developing the ability to analyse, evaluate, and
of the web of arts education, which is a significant and vital
synthesize as part of making relevant decisions regarding
part of the system of an education that seeks to develop the
the creation of dance forms possessing aesthetic coherence
whole person under a post-modern paradigm. Educating
and unity. Also at the centre of the sphere of learning is the
for the future，as proposed by the Hong Kong Education
2
Commission in 2000, should seek:
References:
“To enable every person to attain all-round development
1 Sisson, E. (1999) “Practising Theory? Visual Arts
in the domains of ethics, intellect, physique, social skills
Education and Postmodern Pedagogy” from CIRCA 89
and aesthetics according to his/her own attributes so
Art Education Supplement http://www.recirca.com/
that he/she is capable of life-long learning, critical and
backissues/c89/supp_sisson.shtml pp. 2-3. For further
discussion on ‘Post-modern paradigm’ see: Glen Ward
exploratory thinking, innovating and adapting to change;
(1998) Postmodernism^HoMer & Stoughton, Melody
filled with self-confidence and a team spirit; willing to
Milbrandt (1998) “Postmodernism in Art Education:
put forward continuing effort for the prosperity, progress,
Content for Life” in Studies in Art Education, Vol. 51, No.
freedom and democracy of their society, and contribute
6, November, pp.52 and P. Wood, F. Franscina, J. Harris,
to the future well-being of the nation and the world at
and C. Harrison (1993) Modernism in Dispute, New Haven and London: Yale University Press,
large.’’4
2 Doll, E. (1989) “Foundations for a Post-Modern Curriculum” The arts operate in the qualitative or aesthetic realm of
human experience. They play a critical role in enlarging
our understanding of the world in multifarious ways. The arts are significantly important not only because they are
in Journal of Curriculum Studies 21(3), pp.243
3 Williams, G. M. (1989) “Dance Education for Young Children. A Review of Principles and Practice” in Early Child Development and Care Vol. 47 pp.182
4 Culture and Heritage Commission Consultation Paper,
representations of our cultural achievements but also because
Hong Kong Special Administrative Region of The People’s
they provide a humanizing dimension in our lives. Therefore
Republic of China: Education Commission, pp.19
dance as an expressive arts form must be placed within the
wider context of arts/aesthetic education to ensure balance
Additional References:
in our curriculum; that is inquiry-oriented rather than focused
Brinson, P. (1991) Dance as Education. London: Falmer Press
on rote learning and replication. Using movement as an
McFee, G. (1994) The Concept of Dance Education.
expressive symbol system, whether as maker or perceiver
London: Rutledge.
engages in a process of meaning-making, which opens doors
Smith-Autard, J. M. (1994) The Art of Dance in Education.
London: A & C Black
to new ways of seeing and knowing the world.
舞美設計 set props Designer 黄海威 H u a n g Haiwei
Ren D o n g s h e n g
Lighting Designer
Qianlon Yang Yuntao
As E m p e r o r
楊雲濤
Concubine Xiangfei Su Shu, Yang Vizi
藓 淑 、楊 怡 孜
飾香妃
飾乾隆
任冬生
燈光設計
服 裝 設 計 nostume Designer 扇 王 璨 筠 W a n g Li Yin an
p?
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I Comprehcf^ve Set'
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Article
鬱五月看法胃 I
j
Freiwi programs in May 文：劉建華
hv I an Photo： Le Ballet de Lorraine in Rave
IL,
第十一年，「法國五月」早已融成香港文化
its eleventh year, FRENCH MAY has
藝料糾重要較H給我們打開
long been a vital part of Hong Kong’s
通往法國文化的一扇窗。當中節目除有音樂、劇場、視
year-round arts and cultural festival offerings. Through it,
藝展覽、電影、美食活動，少不了的自然是舞蹈項目，
audiences are exposed to the full spectrum of French culture,
搜羅了來法國不同城市大大小小的舞蹈團 、從舞壇大師
not only dance, but also music, theatre, visual arts, film,
到新貴、新派古典舞種各式其式。法國的舞蹈圈有豐富
gastronome, etc. The French dance scene has many layers
的層次，除了有深厚的傳統鼓勵舞蹈藝術的保存和演
and is not only rich in history but is also supportive of
進，正如幾年前里昂雙年舞蹈節的標題--
innovation. The different levels of institutional infrastructure
multiculturalism •法國社會種多元文化的並存融和，同
in Paris as well as at other regional centers, provide dancers
亦應記一功。
and choreographers with diverse aesthetic options as well as career opportunities. At the same time, audiences enjoy a
今屆來港的莱恩芭蕾舞團，「狂熱」的演出，包括了雅
broad range of artistic stimulation.
密堤編的兩支舞：《狂熱》和《舒羅汀格的猫》，以及
«
一支I%2年簡寧漢編舞作品《雙人舞》。《狂熱》本
Multiculturalism, the theme of the Lyon Biennale de la
身除了突出hip hop音樂，風格大概最恰幽默時尚一
Danse some years ago, is an important factor that also
族，作品戲嘲法國世界聞名的時裝天橋表演和時襞雜誌
enriches the flavour of this year’s FRENCH MAY which
模特兒硬照的搔首弄姿，像是多彩多姿版的「裝腔作
includes production by Le Ballet de Lorraine, the Company
勢」，也有去年「法國五月」蒙塔沃及艾維爾舞團的影
of the Fan and a French/Hong Kong collaboration.
子，只是多焦點並置的夾雜風格被串聯成了線性的舞步
2
4
流程。《舒羅汀格的貓》取了量子力學中的典題，黑衣
‘Le Ballet de Lorraine’ RAVE program includes two works,
紗舞者雖然穿得有點像電影《蝙蝠俠》中的貓女，但雙
Rave and Schrodinger’s Cat，choreographed by Karole
人舞更像是受了輻射而變奏的標準舞，人山人海時則似
Armitage，as well as Merce Cunningham’s Duets (1982).
叠影重重的黑白電視畫面，似乎在黑箱裡什麽也「測不
Rave plays with Hip-Hop music, Duets naturally uses a score
準」，斷碎槌擊金屬的音樂節拍幾乎貫穿全場 。「狂熱」
by long-time Cunningham collaborator, John Cage, while
另外還加插的.是簡寧漢起用葛拉斯音樂的《雙人
the continuous banging that accompanies Schrodinger’s Cat
舞》，屬其一貫纯抽象語言的冷靜演繹。對於簡寧漢迷
echoes the ”sound of the atom splitting"(to paraphrase the
來説，能跔透過表面簡單的雙人舞，來專心攻讀編舞家
Pet Shop Boys). Thematically, Rave satirizes 'Vogue’
那種扣接承轉、空間身體配搭的匠心功架，當然是最賞
posturing and the ‘look’ of the fashion industry, using
心不過的樂事。
weirdly coloured and decadently costumed dancers and mixing ballet and kungfu vocabulary into a continuous flow
至於成立於1 995、致力復興巴洛克舞蹈的羽扇舞蹈
of movement. Schrodingers Cat, its title taken from the
團■來港只演一場，透過駐團鳊舞曼茜斯的《假面芭
realm of quantum physics that uses the metaphor of an
蕾：，讓我們可一睹宮廷芭蕾這浪漫、古典芭蕾的前
irradiated cat, is a more ambiguous work with dancers
身。源起十五世紀末意大利的宮廷舞.由於傳到法國受
dressed in black performing movement full of uncertainty.
DAN c E □
到路易十四(1638-1715)的鍾愛，曾發展達了它的頂
峰。因熱衷演出而被冠以《夜之頌》中角色「太陽王」
TJL
之名的的路易十四，不但創立了皇家舞蹈學院，導生了
A T F O I 1 2
如置腳五位的正規古典芭蕾訓練，其所創立的皇家音樂 學院，則更是包容了舞蹈學院、至今仍有委約編舞駐場 的巴黎歌劇院前身。宮廷芭蕾舞者的徐徐舞姿，特色在
於那份從容優雅，配以巴洛克作曲家韋瓦第旋律化的悠
揚樂韻，則更吻合韋瓦第故鄉威尼斯面譜派對的聯想。
舞蹈
倒是除了典型華麗的服飾、男舞者穿著長靴等傳統，女 舞者已不再如以往把面容埋於面具背後。至於昔日宮庭
□
蹈史的良機，憶起一個如此愛好舞蹈的皇帝，在叫我們
台 平
貴族的消遣玩意或叫人難以投入 ，不過除了作為學習舞
羨慕之餘，想到一班討皇帝歡心爭相學舞的貴族，此時 此地的香港觀眾説不定或領會出幾分對現實的諷刺。
舞 編
最後一提，今屆「法國五月」雖然沒有了去年包羅本地
舞者的Body Talk系列，卻有法國巴黎國立音樂及舞蹈學 寧)，與香港演藝學院舞蹈學院合演《紅》，帶來另一
er
層面的文化接觸與藝術交流。有關「法國五月」各場舞 蹈演出的資料，請參閱本刊的「舞蹈節目表」。
■ a m s M
s
院和該國編舞羅弼(聯同澳洲的維亞和本地的黎海
7:30pm 藝穗小劇場 Fringe Studio
In contrast, Cunningham’s crystalline Duets provides, at
7:30pm 演藝學院一號練舞室
every turn and nuanced interaction, a demonstration of the harmony of this modem dance master’s choreography.
HKAPA Dance Studio One 7:30pm
‘Company of the Fan’ The Masked Ballet takes audiences
藝穗小劇場 Fringe Studio
back to the 17th century, the heyday of Baroque Dance and
31/10/2003
7:30pm 演藝學院一號練舞室
the reign of the Sun King, Louis XIV. Louis XIV’s love of dance not only made dance a popular part of court life, but
HKAPA Dance Studio One
門票 Tickets
also his founding of L’Academie Royale de Danse was
fundamental to the later formalization of classical ballet.
藝穗小劇場Fringe Studio (23/5 & 26/9):
Today, the ‘Company of the Fan’ and its choreographer
於演出前一月於快達票公開發售。
Marie-Genevieve Masse, are determined to bring about a
earlier 15th century Italian origins of baroque dance and
Available one month prior to Showing. $60 成人 Adult $ 50藝穗會和香港舞蹈聯盟會員Members of Fringe Club & Hong Kong Dance Alliance $30 學生和長者 Students & Senior Citizens
adds a sense of a Venetian glamour to the production.
演藝學院一號練舞室APA Dance Studio One
renaissance of baroque dance. Accompanying the elegant
steps and noble costumes, Vivaldi’s music recollects the even
(20/6 & 31/10): Although this year’s FRENCH MAY does not include a local dance program like last year’s Body Talk, dancers from the
不公開發售，觀眾憑藝穗小劇場之門票存根入場
Not for sale. Free admission for fringe Studio Showing ticket stub holders.
Paris Conservatorie Dance Company will join their peers
from The Hong Kong Academy for Performing Arts Dance Ensemble to perform the work of French choreographer Herve Robbe. Robbe’s work will be part of the Academy’s
RED production, which includes a new work by Nataile
Weir and Helen Lai’s Red.
Please refer to the “Dance
Events” of this Journal for the information of the FRENCH MAY dance programmes.
主辦 Presented by:
HONG KONG DANCE ALLIANCE
資助 Supported by: 香港藝術發展局 Hong Kong Arts Development Council
香港舞蹈聯盟 Member of Worid Dance Alliance
門票 Tickets: HK •TICKETING :怏建累
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:HONG WJNG ACADEMY ▲
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參fri唧 Club
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it first caused a riot in Paris at the Theatre des
Chosen One (Abby Chan), sitting in the auditorium, wearing
Champs-Elysees with Nijinsky’s choreography
slippers and dressing gown over short white tunic and tights.
for the Ballets Russes in 1913, Stravinsky’s score for Le
Her hair unkempt, she listens to a tape of the music as the
Sacre du Printempts has fascinated countless contemporary
audience files in. She gets up, removes her robe and shoes,
choreographers who have made their own dances to it. Only
goes over and sits down on the raised stage.
a very few have chosen to escape the inexorable pull of its
painted like a green field of grass, or rather the archetype of
programme, or opted to elude its atavistic ritual tone. Even
a field of grass; each blade the perfect, immaculate match
fewer successfully invert its darkness into light or go beyond
of each other one. The Chosen One lies back, sinking in
its prescription and make something that looks forward
slow motion.
4
The stage is
rather than over its shoulder. Many of the works Diaghilev
produced adhered to his aesthetic of subordinating the parts
The scene is like a romantic film shot of a beautiful virgin,
to the whole, but here, perhaps even more than elsewhere,
offering herself up.
music was the propulsive ingredient, and in most versions
swats at imaginary insects.
it has continued to lead choreographers rather than engage
her head on a folded cardboard box, and closes her eyes.
them, or us, in dialogue.
As she lies, her arms flung over her head, she rhythmically
It abruptly shifts.
She sits up and
She lies down again, resting
expands and collapses the box, creating a bellows-like Throughout his Rite of Spring, using Stravinsky’s as well as
movement that could be a metaphor for the even rhythm of
other music, Ng adroitly deconstructs the original.
deep sleep, or a dream image, or the pumping of an oxygen
He
examines Le Sacre du Printempts pagan ritual and its theme
machine keeping a comatose patient alive.
of propitiation by developing movement motifs of conjuring
the Chosen One gets up, upends the box, reaches down into
and descent, lampooning both the Philistine’s demand for
it and pulls out a red silk kerchief.
tricks, tricks, and more tricks and the snob’s rant against
box and rummages in it and comes out with a red hair-dryer.
populism while still addressing the score’s undercurrents of
Brandishing it, she takes aim at the audience, then at two
innocence lost and common weal. In the process he
black-clad performers hovering around the periphery. These
interrogates the inescapable inevitability of sacrifice and the
two, played by Miki Sato and Chiu Kin Tong, are like
facile ploy of substituting sacrificial Iamb for scapegoat.
contemporary Kurogo, classical Kabuki’s ‘unseen' stage
After a while,
She goes back to the
assistants. At the end of the scene, the assistants clean up, Some of Ng’s choreographic ideas loop back on themselves;
the Chosen One sits on the sidelines, brushing her hair,
take detours, savor their development while others proceed
adjusting her costume, getting ready.
simply and directly.
16
He begins Rite of Spring with the
Ng builds images like this in successions of free associations.
extinguisher and the folded blanket, holding one aloft and
Preparation becomes: rehearsal, audition; and, morphs into
clutching the other to her breast.
audit, test, a rite of passage. Ritual evokes magic, leading
costume, props, and pose, she presents a provisional Goddess
to conjuring, tricks, to being tricked. Ng suggests victim
of Democracy, beaming expectantly, beatifically, on the
With draped toga-like
by having the Chosen One trussed up with rope then having
sidelines, ready to take center stage as soon as the other two
the assistants unravel her, rolling her across the stage like a
finish their make-work/skiving-off business.
yo-yo ‘walking-the-dog’. The Chosen One skips with the
rope, plays string games with it. In the final string game,
What follows, deftly encapsulates Ng’s luminously
the assistants pull the rope out into a square shape that the
subversive work.
Chosen One steps through, as if stepping into a box.
subtle performance, the Chosen One’s fagade of hope and
Sustained by Abby Chan’s masterfully
equanimity dissolves in a shambles.
As the minutes tick
Ng uses ordinary objects and references popular culture and
by at a snail’s pace, and as the nearly somnambulant gofer
The gorgeous set by Ewing Chan,
meticulously tots up the audience while her sybaritic partner
echoes Ng’s fascinations. The stage is a box, with assorted
takes his endless lunch break, the consummation of the
hidden trap doors out of and into which the Chosen One
Maiden’s sacrifice unfolds. The first sign is her barely
removes and deposits props and ultimately into which she
perceptibly trembling arm holding up the beacon of freedom
makes her final descent. In addition to the painted stage,
(the extinguisher). She wavers so slightly that it is almost
the decor consists of a mural that wraps around the four
insubstantial, as if our eyes, from focusing too long and too
film with great facility.
walls above the audience seating area of the Studio Theatre,
hard, are playing tricks on us. Her demise at the hands of
creating the interior of another box. On the mural are row
the interminable stalling of the others is heralded by an
upon row of photos of a fashionably dressed and
insignificant dip of the torch, an inconsequential downward
appropriately attentive Abby Chan, seated, as if a member
tug at the comer of her smile. Like hairline cracks in snow
of the audience with her countless clones, swelling the
before an avalanche, these simple signs spell her end.
number of viewers. The effect is like a wacky parody of the computer-generated throngs in the film Gladiator’s
Abby Chan is wondrous in the role of the Chosen One. She
Coliseum shots. In the final scene, the Chosen One, dressed
combines a Mona Lisa smile with a mischievous Groucho
as Momoe Yamaguchi, lip-synchs the Japanese pop diva’s
Marx twinkle to her eyes. Her dancing has the long-legged
Swan Song, Sayonara No Mukoo Gawa and ends by
naturalness of a young Doris Humphrey.
crawling into the cardboard box and disappearing.
gesture is true, simple and full of power, yet there is no
Chan’s every
showboating, no bombast; its as if dancing for her were as
The penultimate scene has the two black clad performers,
instinctive as breathing, as customary as brushing her hair,
spieling time. One of these prowls around a comer of the
yet what she achieves is as singular as taking to flight.
blood red moat that separates the raised stage from the surrounding audience and, while looking up at the viewers,
At the end of the evening, after the cast has taken its bows,
she clicks away on a hand held calculator, at a glacial pace.
Ng comes out for a curtain call.
Meanwhile, her partner sits on the edge of the stage opposite
into which the Chosen One has disappeared and helps her
her, blithely eating a pan of chicken, sucking lustily on the
out to bow with him.
He opens the trap door
Taking their leave, he sweeps her off
His meal is the product of the Chosen One’s last
her feet and carriers her up the stairs of the auditorium.
stage trick. In it, she tosses an egg up in the air, back and
Halfway up, he trips and they both end up in a pile on the
forth to the two factotums, waves her hand over it, gazes at
floor.
it as if it was the most precious object, and feigns throwing
marvelously creative evening of dance.
bones.
it once or twice at the audience. She neatly breaks it into a pan, anoints it with the contents of a Maggi bottle, sets it
alight, covers it, and then, Voila! with a deft twist of the lid, uncovers a succulent dish of Roast Spring Chicken.
During her magic act, the two supernumeraries stand poised with fire extinguisher and blanket, extravagantly ready to
smother any errant or excessive flame.
At the trick’s
conclusion, the Chosen One exchanges her chicken for the
It’s a perfect ending to a highly enjoyable,
舞評
Review
Creative Dance Programmes from
HK Arts Festival by Kevin Ng
Photos: Holger Badekow
T厶 M
叫
of the choreography which became repetitive after a while; :X:
there was too much empty emoting at times and a lack of
Festival in early March with a four-hour long work St.
invention in the steps. And I sometimes got the impression
Matthew Passion, a 1981 ballet set to Bach’s monumental
that some of the steps were only inserted to fill the duration
work by their artistic director John Neumeier. Based on the
of the music. However there were flashes of brilliance from
apostle’s account of the death of Christ, Neumeier’s approach
some of the dancers. Ivan Urban dazzled in a solo showing
however is not a straightforward narration of the story, but
off the rich plasticity in his upper body, and his airy jumps.
more an abstract reproduction of the biblical events with all
Peter Dingle had a good theatrical presence, and Laura
their religious and human impacts. Christ is the only
Cazzaniga was an expressive dancer grieving in her solo.
permanetly defined character, admirably danced throughout the ballet by the principal dancer Lloyd Riggins.
John Neumeier 5s full-length ballet The Lady of the Camellias
(1978), which was the second offering of the Hamburg The ballet opened ambitiously with the cast of 41 white-
Ballet, is a spectacular production of ballet theatre. Unlike
clad dancers massing in four different groupings on the stage
Ashton who condensed the story into a one-act ballet for the
which had a raised platform on the back and a dais on the
Royal Ballet Marguerite and Armand (1963) with the title
right. The religious fervour was emphasised by a lot of high-
roles created on Fonteyn and Nureyev, Neumeier’s version
flung arm movements by the dancers who performed in solos,
has stretched the story of Alexandre Dumas fils’ novel into
duets, trios, and quartets in this first half. Earlier on there
three acts, enhanced by the lavish and glittering costumes
was an expressive trio for two men and a woman who formed
designed by Jurgen Rose, and some atmospheric lighting
a human bridge, as well as an exciting male trio for the two
effects. The music is a selection of piano music by Chopin.
principals Otto Bubenicek and Jiri Bubenicek and the young
talented soloist Peter Dingle. And there was a violent，
Neumeier’s Camellias commences with a prologue which
agitated solo performed by Carsten Jung. The choreography
takes place after Margueritee’s death when the contents of
was more inspired for the men in general than for the women,
her luxurious apartment are auctioned. The next three acts
though Silvia Azzoni impressed in a solo. The first half
are a flashback to the past as narrated by Armand. Act 1
ended in the depiction of the Last Supper and Judas’ betrayal
sees Armand being introduced to Marguerite for the first
of Christ. Ivan Urban was charismatic as the Judas figure.
time during a ballet performance of Manon in a Paris theatre.
This ‘ballet within a ballet，concept is a clever device used The dark angst-ridden tone continued relentlessly in the
by Neumeier, who has also conceived Manon Lescaut as a
longer second half which climaxed in images depicting the
mirror image of Marguerite, thereby adding a pyschological
Crucifixion and the descent from the cross. It would have
dimension into the ballet as well as another welcome pas de
been better if there had been more lighter episodes as a
deux for a second couple. I think of Balanchine's A
contrast in dynamic range. The momentum sagged slightly
Midsummer Night’s Dream, performed by the Pacific
halfway through, which wasn’t helped by the pompous style
Northwest Ballet in Hong Kong in 2000, in which there is
also another pas de deux in the second act for an unnamed couple symbolising ideal love, besides the pas de deux for
Titania and Oberon in the first act.
Each of the three acts has a central pas de deux for the two main characters bringing each act to a dramatic climax, and
Neumeier employs a lot of big soaring overhead lifts in his choreography for the pas de deux.
There are several
ballroom scenes in Camellias giving scope for some lively ensemble dances for the corps, as well as extra solos and
duets for soloists. The evocative pas de deux for Manon
Hamburg Ballet in St. Matthew Passion
and Des Grieux in the last act is one of the highlights of
Neumeier’s choreography in Camellias. It is conceived as a dream by Marguerite before she decides to leave Armand
for the second time. The second cast of Manon and Des Grieux was the more satisfying. Silvia Azzoni was meltingly
longueurs, deals with his schizophrenia and briefly alludes
to his ballet Le Sacre du Printemps (1913) which aptly presaged the First World War in the following year.
soft in her beautiful solo, perfectly complemented by the lyrical dancing of the talented Alexandre Riabko. Another
excellent dance is the poignant solo for Armand in Act 2
after he has read the letter of Marguerite who has left him.
The music selected by Neumeier, a foremost expert on Nijinsky, includes three movements from Rimsky-
Korsakov^ Scheherazade - the Golden Slave being one of Nijinsky’s most famous roles - and Shostakovich’s eleventh
Both casts of the leading roles were fine, illuminating
symphony which is used in the second half.
Neumeier’s three poetic pas de deux. The opening nigh’s Marguerite was Anna Polikarpova, a former Kirov Ballet
soloist, who has all the glamorous movie-star looks for the role. Memorable were her beautiful tresses of blond hair, unbound in the second act’s pas de deux. She soared high like a bird in the big lifts in the Act 2 pas de deux.
Polikarpova was sublime in adagio, her pointework was
strong. However she was slightly cold emotionally. Her
Armand, the superb Lloyd Riggins, also tended to emphasise the dancing more than the acting. Heather Jurgensen and Jiri Bubenicek in the second cast had more spontaneity in
their acting, and their characterizations were more nuanced.
Their dancing in the pas de deux had more abandon.
The ballet commences with a soiree in a hotel in St. Moritz,
Switzerland in 1919 in which Nijinsky danced in public for
the last time. Nijinsky dances first a violent convoluted solo,
and then a slightly more joyful solo. As in Neumeier’s Lady
of the Camellias this prologue is followed by a flashback to Nijinsky’s life in the past. Nijinsky thinks he sees Diaghilev clapping in the St. Moritz audience, and this triggers off his
memories of his own glorious roles in the past. We see quotations from Les Sylphides which he dances with Tamara
Karsavina. Then more and more of his other great roles appear, danced by other members of the Hamburg Ballet -
Le Spectre de la Rose, the Golden Slave, Harlequin in Carnaval.
The Hamburg Ballet has saved its best programme for the
Hong Kong Arts Festival till the last. Nijinsky, a two-act
ballet, created in 2000 by John Neumier for the 50th anniversary of Nijinsky’s death, was a rich and profoundly
moving theatrical experience. Like Neumeier’s earlier work St. Matthew Passion, it is not a straightforward narrative
ballet, but instead a series of abstract tableaux highlighting the important events in Nijinsky’s life. His complicated
relationships with his wife Romola, Diaghilev, as well as
with his sister Bronislava are very skilfully illustrated in Neumeier’s choreography. The various pas de deux are most expressive. The first half is a revisit to Nijinsky’s most famous roles culminating in his unexpected marriage
to Romola. The second half, which slightly suffers from
The next section is set to a Shostakovich sonata for viola and piano. Nijinsky dances a pure adagio solo, followed by an allusive pas de deux with Diaghilev. Neumeier's
choreography is full of entanglements and convoluted lifts, which aptly suggests the nature of their relationship. Nijinsky then dances with his sister Bronislava to whom he is very
close. Then the male tennis player in Jeux appears.
The
next scene set to Rimsky-Korsakov’s music for Scheherazade
takes place on a cruise where Nijinsky meets Romola for the first time. Then the Faun appears, and dances with Nijinsky
and Romola. This trio quotes from Jeux, and makes one wonder if Romola is really in love with Nijinsky the man or
Nijinsky the dancer.
The second half of the ballet, much more gloomy than the
himself, and framed by a simple striking set by Amsh Kapoor
first half and gradually mounting in desperation, is mainly
with a black square in the middle, this 55-minute work,
about Nijinsky's schizophrenia. There are anguished solos
accompanied by abrasive music by Nitin Sawhney and
for Nijinsky, Romola, and his brother Stanislav. Stanislav’s
occasional dialogue, is fascinating in the contrasts between
prominence in this second half makes one wonder if his
motion and stillness, order and chaos, as well as in the variety
mental illness could have been a cause of Nijinsky’s
of the scales of movements.
schizophrenia. And one comes to pity Romola, who surely didn’t expect to have to care for a mentally ill husband after
Khan has employed a narrow range of vocabulary with
their marriage. There is a moving scene in which a frail
particular emphasis on the upper body - rapid circling arm
Nijinsky is dragged on a sled through the wintry landscape
movements, and gestures. But the way in which Khan has
by a caring Romola. There is another episode depicting his
achieved a clarity of form in his choreography is impressive;
choreographing of Le Sacre du Printemps in which his
the phrases for his dancers flow so logically. In a slow
dancers have difficulty keeping with the difficult counts in
section after the beginning of the work, the dancers’ gestures
Nijinsky’s choreorgraphy.
gradually accumulated in force, weight and density. Their fluid arm movements could have an unexpected graceful
The theme of the past mingling with the present is a dominant
finish after a lot of agitated turns.
one. Neumeier aptly brings out the helpless image of Petrushka (another of Nijinsky’s great roles) banging
Khan certainly has an eye for rhythmic variety. The various
desperately against the wall. In another scene, the whole
groupings and permutations for the five dancers were mostly
company of male and female dancers quote from that
interesting. A recurring motif saw the dancers lined up in a
opening section of the Shades scene in La Bayadere in which
diagonal, with one or more of them gradually freezing in
the corps dance the endless series of arabesque allongee，
still motion. There was an exciting passage towards the
followed by the cambre position, moving down a ramp.
end of the work which seemed to evoke an apocalypse, with a lot of loud background noise emanating from an engine.
Halfway through there is a violent scene with an ensemble of
But as expected, the tension in this episode was resolved by
soldiers. The ending sees a return to the soiree in the St. Moritz
a calm and peaceful finale.
hotel when Nijinsky dances one last solo, draping himself in two long rolls of black and red cloth as the curtain falls.
It is not possible to list all the outstanding performances in three splendid performances of Nijinsky by the whole
Hamburg company honouring this great ballet by Neumeier. Jiri Bubenicek was absolutely breathtaking in the title role,
dancing powerfully and bringing out all the turmoil in
2
Nijinsky’s life. Alexandre Riabko in the second cast gave the role a more youthful and innocent emphasis. Ivan Urban
danced magnificently as Diaghilev. And as Romola, Anna
Polikarpova was most moving.
This ballet is very complex and demanding in terms of concentration, but the first night’s audience loved it and there
were over ten curtain calls, rare in Hong Kong, as well as
standing ovations.
In late February Hong Kong Arts Festival audiences also saw Kaash (a Hindu word for “if’)by the company of the
young talented London-based Bangladesh choreographer Akram Khan, whose works explore the relationship between
Western modern dance techniques and the Indian Kathak. Created for five dancers attired in black including Khan
Hamburg Ballet in Nijinsky
r
Red
Performed by Academy Dance Ensemble 演藝舞蹈團擔綱演出 Works by Helen Lai, Herve Robbe, Natalie Weir 編舞：黎海寧、賀菲•羅弼、娜泰莉+維亞 Cuest performance by Paris Conservatoire Dance Company fi黎發術學院舞蹈圑客串演出 Hcadcniv Lyric T h e a t r e 娇 港 演 藝 學 院 歌 劇 院
,8-9.5,2003 8:00pm
i Costume Designers ers Luo Jiangtao, Donate Moreno, Fn 你景及服f設計 丨計羅江濤、莫禮圖、洗嘉敏、趙家 Lighting Designers 3rs C h o w Cheuk-yin, John A Williarr 燈光設計 丨計周苟妍、尹立賢、王志勇 l e r Sand Leung Hoi-shan i計梁孰珊
5 Sin, Zhao Jiapei
$95, $65 :www.hklicketinq.c
e Fringe Club j g h ESDKiosks. •香港會議展覽牛
•慈德密及通利琴行之「快
THE HONG KONG ACADE\ 2 FOR ^ PERFORMING ARTS
杏沿演缝學院J www.hkapa.edu
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