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劉建華
Jaspar Lau Kin Wah
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Anna Chan Chung Ying
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1
Contents 目錄 Vol.5
香継麟院 顚書館
No.5
Cover封面 Hong Kong Ballet's Turandot 香港芭蕾舞團推出全新套票優惠
香港芭蕾舞團《杜蘭朵》
6 OCT 2003
fcffi HONG KONG ACADEMY FOR PERFORMING ARTS LIBRARY
香港芭蕾舞團推出最新套票計劃，觀眾可獲享低至七五折的
Photo: Wayne Hu 攝影：胡興正
優惠。計劃包括了三齣老幼咸宜，但風格完全不同的舞劇： 由《睡美人》作者查爾•佩羅創作故事、蘇東美編舞、林敏 而作曲之經典童話故事《美女與野獸》；歡度聖誕佳節所不
舞蹈快訊NEWS
1
可缺少、適合一家大小的《胡桃夾子》；和由藝術總監謝傑 斐以舞蹈從新演繹后羿故事、關迺忠作曲、香港中樂團現場
主、客體間的交叉感染
演奏'慶祝香港芭蕾舞團成立二十五週年的中國經典神話
“How is more important than what" and vice versa?
《不死傳説》。詳情請參閲放於康文署各表演場地之單張或瀏
覽港芭網頁：www.hkballet.com •或致電2105 9724查詢。
文：劉建華 by Lau Kin Wah
4
《香港芭蕾舞超新星大賞》2003
香港芭蕾舞學會舉辦的第三屆《香港芭蕾舞超新星大賞》剛
於今年八月完滿結束。今年的賽事十分成功，準決賽和決賽
Intelligent Moves: Dance Education Symposium 舞蹈敎育新里程研討會
分別於8月5-8日假牛池灣文娛中心劇院和8月29日假高山
劇院舉行。今年的《超新星大賞》共有670人報名，比上一
by: Anna C Y Chan 文：陳頌瑛
屆2001年的賽事多出48%，而準決賽更破記錄地進行了四
8
天。今屆比賽各個組別的主要得獎者為：女子1組（金獎）：
Yik Lam Lam ;女子 2 組（金獎）：Fung Tiffany
情尋「愛」的舞蹈空間
Constance :女子3組（金獎）：Lai Pui Ki ;女子4組（銀 文：小拾
11
Turandot by the Hong Kong Ballet
獎）：Yan Chiu Yu ;女子5組（銀獎）：Kwong Wing Yin :
女子6組（金獎）：Chan Wun Sze ;男子1組（金獎）•
Hong Kong Ballet New Subscription Series
by Constance Rhodes
12
Hong Kong Ballet initates a new Subscription Series, by which audience may save up to 25% on tickets. The Series
includes three ballets for the entire family: Beauty and the
談香港舞蹈團《乾隆與香妃》 文：Jonathon Ho
13
The Sleeping Beauty, choreographed by Domy Reiter-Soffer with Hong Kong composer Lam May-yee’s hauntingly lyrical composition for chamber orchestra and electronic tape; The
Interview with Professor Susan Street by Kevin Ng
Beast, a fairy tale written by Charles Perrault, the author of
Nutcracker, a Christmas-season event that is as traditional
as the exchanging of gifts; and the world premiere of the
14
Legend of the Great Archer, Artistic Director Stephen
Jefferies’ powerful ballet reinterpretation of the classic Chinese
舞蹈節目表
mid-autumn tale that celebrates Hong Kong Ballet’s 25th
Dance Events
20
••埔:.......说，:-’¥ —
anniversary, with Kuan Nai-chung’s original score and music performed by the Hong Kong Chinese Orchestra. Look for details in leaflets available at LCSD performing venues or visit www.hkballet.com. For enquiries, call 2105-9724. Hong Kong Young Ballet Stars Award 2003 This year Hong Kong Ballet Group's 3rd Hong Kong Young Ballet Stars Award competition was a great success, with semi-finals and final competition held respectively on 5-8
•
Image: Hong Kong Dance Company^ Emperor Qianlong
& Concubine Xiangfei. 圖：香港舞蹈團《乾隆與香妃》。
Poon Chun Sing, Jerry :男子 2 組（金獎）：Chan Lai Kiu, Edgar :男子 3 組（金獎）：Chan Lai Kiu, Edgar :初級雙
August at Ngau Chi Wan Civic Centre Theatre and 29 August 2003 at Ko Shan Theatre. This year, Stars Award had 670
人舞（金獎）：Wu Wing Ho, Ully 及 Leung Chun Long ;
entrants, a 48% increase from the last competition in 2001
高級雙人舞（金獎）：Chan Lai Kiu, Edgar 及 Chan Wun
and the semi-finals ran for a new record of four days. The
Sze :初級四人舞（金獎）：Lo Hei Long, Rachel; Shek Wai Kwok, Jocelyn; Yu Man Ling 及 Li Ka Ying :局級四人舞（優
Yik Lam Lam; Girls 2 (Gold): Fung, Tiffany Constance; Girls
異獎）：Leung Yin Kei, May; Chan Ka Yan; Chan Yee Ting
3 (Gold): Lai Pui Ki; Girls 4 (Silver): Yan Chiu Yu; Girls 5
及Fukumuro Erika。第三屆《香港芭蕾舞超新星大賞》是由 康樂及文化事務處、渣打銀行及香港芭蕾舞團贊助°
(Silver): Kwong Wing Yin; Girls 6 (Gold): Chan Wun Sze;
香港笆蕾舞學會獎學金及40週年紀念 為培育本地的年青舞者’香港芭蕾舞學會經常性地頒發獎學金
Junior (Gold): Wu Wing Ho, Lilly & Leung Chun Long; Duet
予有天份的年青學生到海外參加夏季課程。今年的獎學金得主
Quartet Junior (Gold): Lo Hei Long, Rachel; Shek Wai Kwok,
為Chan Lai Kiu, Edgar 及 Yan Chiu Yu。兩人將於2004 年六月 到紐西蘭舞蹈學校修讀夏季課程。另外’為慶祝學會成立四十
Jocelyn; Yu Man Ling & Li Ka Ying; Quartet Senior
週年，香港芭蕾舞學會除了將於2004年8月製作一齣足本全長 的芭蕾舞演出外，亦正在籌備一連串慶祝活動 ’如有查詢’請
Chan Yee Ting & Fukumuro Erika. The 3rd Hong Kong Young
至電香港芭蕾舞學會：2541-5587，或傳真至2815-6780。
Cultural Services Department, the Standard Chartered Bank
major winners of the ballet competition were: Girls 1 (Gold):
Boys 1 (Gold): Poon Chun Sing, Jerry; Boys 2 (Gold): Chan Lai Kiu, Edgar; Boys 3 (Gold): Chan Lai Kiu, Edgar; Duet Senior (Gold): Chan Lai Kiu, Edgar & Chan Wun Sze;
(Encouragement Award): Leung Yin Kei, May; Chan Ka Yan; Ballet Stars Award was
sponsored by the Leisure and
and the Hong Kong Ballet. 演藝學院中國舞學生暑期之旅
剛退休的香港演藝學院中國舞系主任劉友蘭敎授•於今年7
HK Ballet Group’s Scholarship & 40th Anniversary
月8-17日帶領學生到夏威夷進行舞蹈交流 ，並與當地的鳳凰
The Hong Kong Ballet Group announced the winners of its
宮舞蹈團同台演出了多齙民族舞和中國舞1包括了〈苗鼓 舞〉、〈獵趔鬣〉'〈遊龜兹〉、〈秦王點兵〉等。是次演
scholarship for talented young students to attend summer courses overseas. This year’s winners are Chan Lai Kiu,
出之旅，是獲美中人民友好協會和夏威夷中國文化及藝術基
Edgar and Yan Chiu Yu, who will attend the summer course
金協會邀請之下成行|參與的學生共有三男六女。夏威夷之
at the New Zealand School of Dance in June 2004. Also, to
旅後，演藝中國舞學生又於8月24日至9月2日到中國四川 學習民間舞|並觀看和參加了第七屆「桃李杯」舞蹈比賽，
will produce a full length ballet performance in August 2004
並憑著中國舞講師余碧艷所編的〈生於死以前〉獲得「群舞
and a series of celebration events are underway. For more
劇目創作二等獎」和「群舞表演二等獎」。8月30曰「四川 農村日報」報道了演藝學生的演出：「……〈生於死以前〉以
or fax at 2815-6780.
清新的現代舞風格令人眼前一亮1現場掌聲陣陣。該舞蹈編 排新穎•動靜結合巧妙|演員紮實的基本功和技巧在節目中
Summer Tours of HKAPA’s Chinese Dance Students
得到了充份表現。」（張楊：〈「桃李杯」舞蹈大賽如火如荼〉）
The newly retired Head of Hong Kong Academy for
celebrate its 40th Anniversary, the Hong Kong Ballet Group
information, please contact the Ballet Group at 2541-5587
Performing Arts Chinese Dance Department, Professor Liu 「走進中國民間舞蹈」講座和工作坊
You-lan took her students for a dance exchange tour to
「走進中國民間舞蹈」是由康樂及文化事務處所主辦的 「中
Hawaii this past summer; The tour, from 8 to 17 July, was
國舞蹈文化系列」的第二部份•繼「樂舞中華」的初步介紹
through the invitation of US-GHINA Peoples Friendship
後，再進一步從文化的角度探索中國舞蹈 。於9月5日至明
Association Honolulu Chapter and Hawaii Foundation for
年1月9日舉行的「走進中國民間舞蹈」，內容包括了「南 方少數民族舞蹈」、「漢族民間舞蹈」和「北方少數民族舞
Chinese Culture & Arts. During the tour, 3 men and 6 women
students rehearsed and performed various Chinese folk
蹈」三個講座|「三道彎」、「花燈與狭歌」和「一順邊」
dances and Chinese dances with the Hawaiian dance
三個工作坊■以及《扎花女》和《我們新疆好地方》兩個演
company, Phoenix Dance Chamber. After the Hawaii tour,
後藝談，均由鍾晶女士主持。所有講座和工作坊全是入門課
the HKAPA Chinese Dance students left Hong Kong again
程1適合略有舞蹈基礎人士參加。查詢：2268 7323/www.
for Sichuan, China to study folk dances and participate in
Icsd.gov.hk/cp °
the Tao Li Bei Dance Competition between 24 August to 2 「武.極系列」三
September, where they received the Second Prize for Group Dance Choreography and the Second Prize for Group Dance
錢秀蓮舞蹈團的「武•極系列」一向以探討武術和舞蹈的關
Performance for their performance of Life, choreographed
《太極隨想曲》
系出發，並以之作為編舞的靈感。在這個系到的第三部份.
by Chinese Dance Lecturer Yu Pik-yim. A review in the
將於11月7日晚上演出的《太極隨想曲》中，編舞家錢秀 蓮揉合現代的編舞技巧及傳統中國太極的意象動態，將太極
Sichuan Country Daily reported: “with its fresh modern style, the dance captured the audience’s attention, and won waves
的混沌意境在指掌間流動，以求在舞蹈中表達太極的剛柔合
of applause. The arrangement of the dance is innovative, with subtle integration of dynamics and stillness. The sound foundations and techniques of the dancers were thoroughly presented in the piece.”
一的感覺，達到太極行功歌訣中「靜如山岳、動若江河，似
雲舒卷'如鷹翔空，行雲流水'迴風舞雪，階及神明、靈慧
貫通」的境界。查詢及訂票：2566-3365。
著名舞評家Clement
「塵世美•芭蕾拉丁二重跳」
Crisp訪港
著名舞評家Clement Crisp將於12月應香港芭蕾舞團邀請首
經過六個月的社區巡迴演出後，「塵世美.芭蕾拉丁二重跳」
度訪港。由英國遠道而來的Crisp擁有逾三十年的舞評經驗，
並有多本關於芭蕾舞的著作，現為Financial T/mes撰寫舞
將於10月12日（星期日）帶來大型匯演嘉年華，特別請來全 城的舞蹈精英演出最新製作。除了把輕快活潑的戶外表演延
評。Crisp的舞評甚具權威，他對芭蕾舞的獨特見解、大膽的
伸至戶內匯演’獻上美麗雅緻的作品外，這次匯演更讓觀眾
寫作風格和對芭蕾舞的深入認識令他備受業界認同。Crisp入
自己演繹，於設計成小型舞會的場地上參與及欣賞芭蕾和拉
行的經過亦非常傳奇。Crisp並無接受正統的芭蕾舞訓練，他
丁’與舞蹈員及朋友們在舞池上來一段芭蕾拉丁大匯舞，開
對芭蕾舞的認識全憑他對芭蕾舞的喜愛和熱誠。由十歲開始
創舞蹈欣賞的新體驗。戶外嘉年華（5pm）於葵青劇院廣場
Crisp已是芭蕾舞演出的常客，因而有機會接觸到Margot
舉行’毋須入場券：嘉年華層演（5:45pm）於葵青劇院展覽
Fonteyn、Alicia Markova、Robert Helpmann等舞蹈大師，
廳舉行’免費入場券由9月12日起於葵青劇院詢問處派發，
對他的事業影響深遠。Crisp在港期間將參與一連串活動，包 括講座、座談會和工作坊，適合學生、舞蹈界及評論界人士
另有少量門券於演出前派發。「麈世美•芭蕾拉丁二重跳」
參加。Crisp亦會於澳門文化中心講課，淺談欣賞芭蕾舞的要
是「2003年社區文化大使」的一個部份，由亞洲青少年芭蕾 舞團製作，蘇漢華和林偉源編舞，並聯同陳頌瑛、黃梅、黎
點。Crisp更會蒞臨欣賞港芭於12月公演的《胡桃夾子》，
一几、龍婉儀、黃翠玲、王泳等演出。查詢：2234 6317 /
並撰寫舞評。有關Crisp訪港的最新動向將於11月份公佈。
http:balletlatino.tripod.com （亞洲青少年芭蕾舞團），2268
查詢：Ms Paula Siu 2105 9719/ paula_siu@hkballet.com °
7321 / www.lcsd.gov.hk/cp （康樂及文化事務署）。
A Kaleidoscope of Chinese Folk Dance
of ten. He has encountered famous ballet dancers such as
After the introductory Dancing into the Chinese Tradition, A
Margot Fonteyn, Alicia Markova, and Robert Helpmann.
Kaleidoscope of Chinese Folk Dance is the second part of the
During his stay in Hong Kong, Crisp will deliver a series of
“Chinese Dance Culture Series” presented by the Leisure and
lectures, seminars, and workshops to dance students, dance
Cultural Services Department, which studies Chinese Dance
professionals, and peers in Hong Kong. He will also spend
from a cultural perspective. Held between 5 September 2003
a day in Macau giving a pubic lecture on the appreciation of
and 9 January 2004, A Kaleidoscope of Chinese Folk Dance
ballet. The famous critic will also take the opportunity to
includes three lectures about Southern Minority Folk Dance,
write a review of the Company's production of The
Han Folk Dance, and Northern Minority Folk Dance; three
Nutcracker. Details of Crisp’s activities in Hong Kong will be
workshops about the aesthetics, typical types, and culture of
announced in November. Enquiries: Ms Paula Siu 2105 9719/ paula_siu@hkballet.com.
Chinese Folk Dance; and two post-performance discussions.
All are conducted by Maggie Chung in Cantonese, and are suitable for those with a basic knowledge of dance. Enquiries:
2268 7323 / www.lcsd.gov.hk/cp.
Ballet Latino Carnival Spectaculars Halfway between art and entertainment, an event that embraces outdoor carnival and indoor professional dance
Tai Chi Fantasy " Chinese Martial Arts Dance Series: Episode III
showcase, Ballet Latino Carnival Spectaculars is an
Miranda Chin Dance Company's Chinese Martial Arts Dance
encounter full of exhilaration and buoyant exploration, with
Series is a dance series that explores the relationship between
the colorful features of carnival (dance, music, stilts, and
martial arts and dance. In the third part of the series, Tai Chi
more) meeting indoors ballet and Latin dance performance.
Fantasy, which will be performed on 7 November, 2003, choreographer Miranda Chin combines the movement,
There is also a Bal pops session where choreographers teach their signature dance works to a large audience of dance
imageries and philosophy of Tai Chi, a form of Chinese
amateurs. Performances are on Sunday, 12 October at Kwai
traditional martial arts, and modern choreography to express
Tsing Theatre, with the Outdoor-Carnival at 5 - 5:45 PM, in
the integration of yin and yang, which is the essence of Tai
the Piazza, and, in the Exhibition Gallery, the Bal pops
Chi. Enquiries: 2566-3365.
session at 5:45 - 6:15pm and the Grand Presentation at 6:
Visit by world-renowned dance critic, Clement Crisp
Community Cultural Ambassador Scheme 2003, produced
The Hong Kong Ballet will bring the world-renowned dance
by the Youth Ballet of Asia, choreographed and performed by So Hon Wah and Allen Lam, with additional performers
15pm. Ballet Latino Carnival Spectaculars is a part of the
critic, Clement Crisp from the UK this coming December. As the Dance Critic of the Financial Times for over thirty years and writer of many ballet books, Crisp is famous for his critical ability, stylish writing, and broad knowledge of ballet. His reviews carry great weight and are internationally regarded as authoritative. The legendary ballet critic received no formal training on the subject, but was ‘educated’ by being a frequent theatre-goer of ballet performances from the age
Anna Chan, Tasha Wong, Eric Lai, Shirley Loong, Scarlet Wong, and Michael Wong. Free tickets are available at Kwai Tsing Theatre from September 12 onwards with limited tickets available at the door. Enquiries : 2234-6317 / http:balletlatino. tripod.com (Youth Ballet of Asia), 2268-7321 / www.lcsd.gov.
hk/cp (Leisure and Cultural Services Dept.).
請以本刊封面內頁所列的關絡方式提供舞蹈資訊
itomc tr> the
沿舞壇手記
Dance Diary
主、客體間的交叉感染
“How is more important than what”
and vice versa ? 文：劉建華
by Lau Kin Wah
^2*
5 . 3 5 . 2
看畢的兩狗舞蹈表演，分別誘使我以兩種
低^不同的文類來處理，《戀物癖》觸發思考
叩的
I
two dance performances that are the subjects of this
month’s review tempted me to treat them in opposite
的，是人性複雜的精神分析和「病態」心理的自我檢
ways. Fetish: Stories triggered a psychoanalytical approach
視，而《一^1］》觸發的’則是一種相反的方向’傾向於
to the complex human psyche in order to probe the darker
情感的投擲，趨於簡泊單純的回歸。一種是理論性的’
side of humanity that it presented, while And then."?，with
一種是情感性的。出現於報章上的〈生活戀物百科〉和
its warm-hearted devotion to life, its back-to-basics attitude
〈三十七歲的王廷琳：不負此生〉的兩個標題，似乎正
for living, pointed me in another direction. My treatment
是對相應的現成範例。當然，這未免也是一種錯配，因
for the former work is thus primarily theoretical, while that
為《戀物癖》針對的，本是個人貼身的感官癖好，和理
for latter is full of sentiment. But things are, of course, not
論講求的審視距離不可同日而語；而至於《一刻》，情
as simple as they appear on the surface, since fetish is closely
感的流露和抒發無疑吃重，但太著重於從演出者、演出
related to a person’s sensations, which may be the antithesis
的幕後情景，則有可能錯過了從形式方向作評論，尤其
of theoretical distance, while And then...? was a series of
是不同編舞家舞碼的各自風格。如何平衡並穿梭於幾者
solo-dances composed by different choreographers, each
之間，其實也是承襲舞蹈動作的一事兩面問題，即舞蹈
actually deserving separate formal analysis. Such splits of
的動作本身和動作的意義，因此而涉及編舞者對於形式
perception, perhaps characterize the wide potential range
至
I
從自*然主義到文化符像的創造，以及觀者後設的再解
for perceiving dance, from form to meaning, allowing
讀。而本文來到最後落筆，基本上還是一貫老樣，這大
choreographers, dancers, and audiences great freedom in
抵也説明個人的習性(自然也是侷限)的根深難剔。
picking their own ways of interpretation.
由「年中無休」製作、來自前英國前衛舞蹈劇團DV8班
Produced by Open Daily and directed by former DV8
底的鄧爾晏(Robert Tannion)作導演的 Fetish: Stories，
choreographer Robert Tannion, Fetish: Stories is ambitious in
舞作的中文標題「戀物癖」，似乎超出了戀物(fetish)的
that it directs people to reexamine the issue of fetish, and seven
對象物慈而傾向普遍化為戀物一行為/主義(fetish-ism) °
local dancers bravely accepted the challenge. Yet, fetish is a
然而此一普遍化，多少削弱了演出核心的戀物感覺的個
theme not tackled lightly, for any generalization of fetish to
別性。導演提出的問題，其實包含了物件對象的選擇和
fetishism counters the particularities of the Fetish: Stories.
沉溺的程度的兩個不同向量，但在稍有普遍性的定形化
Since fetishists seek to be different，using stereotypical fetishes,
對象上，其差異性容易恰被打消•而在個别化的戀物例
ones that people are familiar with, can easily cancel out the
子上，則往往過於私人.未必能產生共鳴；戀物從身體
difference that they seek. On the other hand, since the nature
的直接感觀到腦部的符號運作，亦有不同的文化層次，
of fetishes is so particular, one person’s fetish might be
在演出中卯似混為一談，於是「戀物癖」也就難免被呈
something of indifference to another, thus the show inevitably
現得平面化。然而當把《戀物癖》視為介面，向觀者提
could not strike everyone’s fetish nerve. By only asking us to
問「什麼是你的戀物對象？」的問題.可能才是重心。
think over the general question of “what is your fetish?” the
至於閒一浩在一報章的評論中指戀物世界讓人感覺 「如
director seemed to have stymied his own challenge.
As a matter of fact, fetish in modern society has evolved far beyond direct sensation and simulation to more cerebral and
collective manipulations via symbolic codes.
However,
the performance did not differentiate these very different modes and levels of fetish, resulting in a rather flat
presentation.
Even if we admit to ourselves that we are
victims, without investigating the mechanism behind our
victimization, we are simply left with the empty fact and
nothing more.
In this respect, rather than an attempt to
crack the mechanism, Fetish: Stories was more like an
occasion for self-celebration, with fetish being used as a means of self-inquiry.
As when he replaced the normal view of an MTR carriage
by visualizing it in an unusual overhead vista, Tannion 《戀物癖》Fetish: Stories
portrayed fetish as a harmless change of perspective, an
alteration in the daily routine. Rather than really shocking 此遙遠」，若真如此，一來或是我們碰不上我們的戀物
the audience, by simply turning the performance into a
對象，沒有挑動到感官神經，但更深一層，則恐怕是由
nightclub show, he probably only reinforced its expectations.
於演出沒有提供戀物癖感官情感的心理結構邏輯 ，僅是
Using a video recording for what was perhaps the work’s
從個別的對象來泛觀現象，因此縱然我們都承認了我們
most perverse scene, pissing on the face, showed how
有自己的戀物癖，不禁仍要追問，知道了又如何？
cautious the director was in avoiding pissing people off, by aestheticizing the act and distancing it via b/w
這個包括了七位本地舞者參與創作的演出，於此實際就
cinematography. The tearing off of masks at the end also
更像是把一般人視為「反常」（perverse）的戀物癖作平
seemed to further extend the myth that this action can reveal
反，視為自我認識的一個途徑，甚至一場「自慶」（self
the naked true self, rather than critically hinting that it is
celebration）
，如舞作中車麻的平視俯視的轉換般，可
just the beginning of an ‘acting out，of normalcy.
能不過是為提供另一種別於平常的新鮮視點。夜總會式 的歌舞表演一幕，或把大會堂和那種娱樂場所的表演空
More fun was the scene providing two versions of the same
間瞬間換轉，在事先張揚的宣傳和心理預期中，卻難免
daily office routine, in which the dancer suddenly encounters
覆被中和；就是以（尿）水澆面的特寫錄像，也正因其
a bizarre fantasy when opening an office file cabinet in a
電影感而產生了美學化的距離。而較兩個版本的辦公室
place where the most rational normally pervades.
故事變化有趣的，是夾在曰常生活中裂隙間、藏在櫃
addition to this Freudian slip, the lapse of reasoning that
内、不由自主出現的幻象。但戀物癖作為一種調劑，甚
occurred in the shadowy MTR carriages, further pinpointed
至對權力的颠覆，基本上也是在個人/私人的空間和想
the different codes of behavior between the private realm
像中發生，產生出在公共空間和私人場所扮演、從日間
and the public space. But the main problem in dealing with
到夜間所想望、和戴上與除下面罩時的真身更替。香港
fetish is that, instead of being something underground and
地鐵的光亮車廂，於是在臺上變得似是魅影重重，理性
concealed, it is really conquering the city, occurring
昏昏欲睡，但我們社會的戀物狂熱，事實上正在大搖大
everywhere around and among us.
擺的在城中招搖過市，正如纖體瘦身廣告的無孔不入，
figures of the dancers, echoing all the cosmetic and body
舞者的身段展示於此似乎比舞蹈的動作更見説服力 。
trimming advertisements, spoke far more convincingly about
In
In actuality, the slim
fetish than the choreography did. 若果依從fetish在字源學上所指向的「人工化」，否認戀 物與現代人的密切距離，可能不是無睹它的普遍存在，
Etymologically, “fetish” is related to artificiality. However,
而是對此已見怪不怪。演出真要有挑戰性，反可能在於
in the present culture, which is so full of artificial things
如何替「病人」作一種「順勢治療」，從而適度抵制這
(reflecting the dichotomy between culture and nature), the
種人工的彆扭，又或者，更進一步的追問究竟有沒有真
real challenge is not how to force people to admit their
我？何為更忠於自我？主體性會否不過是個現代神話，
fetishes, but what to do about such a common phenomenon.
僅求身體的良好感覺？正是現代人複雜的人性面貌，使
In this sense, turning the performance into a homeopathic
一種東方古老宗敎的精神探索、意義的追尋在現代社會
treatment may be the ultimate challenge. No wonder there
屮重燃，有它的獨特吸引力'王廷琳的《一刻》或未全
is all this rekindled new-age interest in ancient eastern
然是以此為旨.但佛學的形而上元素•就一攀而成了英
teachings and wisdom. This may not be what Andy Wong
文報章選取的報導標題。由動藝製作的《一刻----- 王廷
wanted to emphasize in his solo dance concert And then...?,
琳獨舞展••，除了首尾兩支舞作為王廷琳自己編排外•
but the Buddhist metaphysical elements within it certainly
中間四支的舞作，皆出自不同的編舞家手筆•不過王廷
caught the eye of one local English newspaper columnist.
琳身體散發的一股男性温情•對舞蹈生命的投入摯誠•
始终貫穿其中。而那種手部反覆上下動作所表現的上下
Among the six dances in the show, Wong only
求索•倦、無奈、失落與強忍’不屈'堅持合構成的張
choreographed the first and the last.
力•在〈Invenstory〉中，配合零碎的琴晋’更哭出的表
persuasive cohesiveness to the various works, as each was
現了舞者對於跳舞生涯繼與斷之間的感性掙扎'
tailor-made/chosen for him by other choreographers for this special occasion.
But Wong brought a
As a dancer, Wong radiates a kind of
除此•王廷琳的舞蹈身體.還表現出演繹敘事的抽象説
tenderness that is at variance with his masculine figure. The
話能力，〈三個願望〉的許願動作’在舞與劇之間•流
repeated upward and downward thrust of his hand alone
暢而俱形格。而和撥泳等的自然柔緩動作相比•早段的
forcefully conveyed the tension between giving up hope and
倒立和翻身都似過於刻意，要及至跳至〈三個願望〉•
the determination to carry on.
舞蹈配合擴大的了擺幅和起立旋轉，隨步與步之間的伸
piano notes in David Dorfman’s Invenstory, it is as if we
Combined with the scattered
張而爽朗起來，縱身落掌拍火的姿勢，每次也叫人眼前
are witnessing a compassionate testimonial of a dancer
一亮。〈…聯繫…〉以電話手機戲謔對科技的膜拜•到
upholding his love for dance, his commitment to life, despite
〈The Power of Now〉在打坐的錄像前跳出無形手錶的
all the difficult circumstances and hardships.
時間框框，相映成趣之餘，先進的物質科技在演出中， 反似有點礙相。臨到〈Invenstory〉，在動作之間的頓
In Prologue and Om, slow motion set up a leisurely tempo
息•轉身前後的交接位，就流露肢體的舞蹈本能反射，
and pace for the whole show.
收放的從容反而惹人留神。作為個以有限資源籌辦的演
however, might have been a bit too premeditated, as were
出，觀者們自多不會過於斤斤計較道具、燈光、服裝等
the often out of context and too frequent upside down
Occasional back flips,
postures, that recalled similar moments in pieces done before at the McAulay Studio. Yet, the fully stretched open steps
in Lisa Race’s Three Wishes, as well as the rotations and turns that immediately gained forceful momentum, truly enabled Wong to command the space.
Wong, throwing
himself forward to single-handedly put out a candle on the
floor, performed one of the most memorable sequences of actions in the whole performance, although memorable
moments were infrequent.
As for the props and costumes, I guess nobody really
bothers to criticize these comparatively minor issues, especially considering the tight budget for shows like this (most production fees really came from voluntary collective salary cuts by the staff of DanceArt, the show’s
organizer).
But being minimal in production in a small
theater is not necessarily a poor aesthetic choice. ...In Zoi/c/?... choreographed by Vanessa Cheung, satirizes
those who are hooked on mobile phones, while Rob Kitsos’ The Power of Now used a video to present Wong as if split, for a moment, out of time, out of body.
These
props, however, were occasionally unnecessary distractions, diverting our fully deserved attention from
the strength of the 37-year-old dancer’s performance. 王廷琳演出《一刻》。
Andy Wong in And then...?
Perhaps because of his career background, it is worth
mentioning that Wong’s performance is always full of
narrative power.
The making of the Three Wishes, for
example, uses the beauty of mime without separating
this sequence from the fluidity of the piece as a whole.
Watching the dance video Roseland by Wim Vandekeybus recently, I had a strong sense of the
importance for a choreographer to have a dance
philosophy, which can then act as a source of direction
for further development and as the foundation for the
maturation of a unique style.
I then recalled that
Tannion, in his post-performance talk, said that he brought no steps with him to create Fetish: Stories. Such a project-based way of choreography certainly has its
merits, but nonetheless it still relies very much on the depth of research done beforehand.
As articulated in
Eckhart Rolle’s text for The Power of Now, “how is more
important than what.” Without insights, venturing into
an unfamiliar subject can result in a piece easily staying on the surface of things, reiterating stereotypes, as it is
difficult for the body to conceal the fact that little is actually known about a subject.
Inspiration can certainly come from different sources,
different places, just as a dance form can be the 王廷琳演出《一刻》。
Andy Wong in And then... ?
choreographer’s object or subject. Founded by Andy Wong
in 1993, DanceArt has a long remarkable record in providing
等小瑕疵，不過在小劇場的近距離環境下 ，由誰人負責
dance programs that deal with concerns about our society
搬抬、誰負責點燈，不是人手的分配，而是其中帶出來
and minority groups within it.
But instead of seeing this
的意義或效果，反值得留意。同樣地，麥哥利小劇場作
solo dance program as a manifestation of this particular
為獨舞的演出平臺，其空間過去演出的熟悉歷史，對觀
artistic concern, what was truly wonderful about these
者的印象也有一定的影響，甚至產生(無)意識的比
dances, was that two directions were always intertwined.
較，這既是個編舞要正視的問題，卻自然也是個挑戰。
It is not a question of one aspect being sacrificed for the other, but that one simply does not exist without the other.
記得月初時到了葵青一趟，在温.范德基伯斯(Wim
They act as mutual reinforcement, bound together in a truly
Vandekeybus)的舞蹈錄像放映會中看了其《玫瑰園地》
heartfelt give-and-take relationship.
(Roseland/1990)，看後總覺得一個編舞要有一種自己的 舞蹈哲學，加以一個班子的長期實驗，才可以發展出一
Today, amidst the anomie of modern society, individuals
種獨特的編舞風格，以及步向成熟的深化基礎。然而這
are perhaps compelled to become prey to fetishes in their
卻不期然使我想到鄧爾晏在《戀物癖》的演後藝人談中
search for some substitute or other. I vividly remember the
所説：「沒有帶任何的舞步來」的一句話。這似乎凸出
forming of another fetish. In Andy Wong’s last piece titled
的説明，其從主題入手的糢式，又是另一種截然不同的
Angel, dedicated to his father, he hugs a wooden puppet
舞蹈創作觀。像《戀物癖》一舞，如何避免對主題蜻蜓
tightly in his arms.
點水式的涉獵，在搜集資料的過程中，避免受社會的定
dance to remember.
So what is the fetish? How about a
型化形象所先入為主的影響，都是要克服的其中一些障
礙，否則身體可以輕易的出賣話語的論述。人生經驗的
的基礎總是要相信的，這或者正是《戀物癖》中•現代
擴展和舞蹈的推衍，大概在很多時候都是主客難分。正
浮游的個體心理上追逐以求補償的原初失落"至於王廷
如「動藝」，一向給人在以舞蹈藝術關注和聯繫社會不
琳用以記念父親的最後一支舞作〈天使〉中’那木偶從
同社群的方向著力的印象，這次路徑稍有不同的獨舞
影子最後變回真實，在可把握性的擁抱以外’莫非又是
展，其實在平衡推動當代舞蹈之外，也是對「動藝」雙
戀物在人性親情中的再一次作祟？
重方向一次相互的開展和回饋。要建立人際關係，真誠
裂:教 + 學
Education
THE ART OF DANCE IN EDUCATION 舞蹈藝術的敎育(V)
Intelligent Moves: Dance Education Symposium 舞蹈敎育新里程研討會 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及英國蘇里大學 ，并取得
舞蹈碩士學位。陳頌瑛從事舞蹈敎育工作十五年，現正攻讀敎育碩士學位及從事舞蹈敎育研究工作。
f
last issue, I briefly reported on the School
y
的文章簡介了 「學校舞蹈敖育研究及發
Dance Education Research Development
展計劃」這個由香港藝術發展局於2()02
Project commissioned by the Hong Kong Arts Development
年9月委約予香港舞蹈聯盟，伙同香港演藝學院進行的
Council and understaken by the Hong Kong Dance Alliance
計劃。2003年7月5曰，一個名為《舞蹈敎育新里程》
in September 2002 in partnership with The Hong Kong
的研討會假香港演藝學院演奏廳舉行，總結了整個計
Academy for Performing Arts. A symposium organized on
劃。這個百多人參與的研討會邀請了潘少輝先生 、施素
5th July 2003 at The Hong Kong Academy for Performing
心敎授和高樂麗博士三位舞蹈敎育工作者作為客席講
Arts’ Recital Hall, attended by over 100 participants concluded
者，分享了他們於香港推行舞蹈敎育上的經驗和看法。
the research project. Mr. Pun Siu Fa, Professor Susan Street,
作為這個舞蹈敎育系列的第五部份 ，這篇文章與讀者分
and Dr. Paulette Cote-Laurence were invited as guest speakers
享潘少輝先生於研討會中的講稿；另外兩位講者的講稿
to share their experiences and visions of Hong Kong Dance
則會在下一期的第六部份刊出。
Education. Part V of this series of articles on dance education
presents Mr. Pun Siu Fa’s speech at the symposium, while Part
〈香港舞蹈敎育的現況〉
VI will present those of Professor Susan Street and Dr. Paulette
講者：潘少輝先生，城市當代舞蹈團敎育及外展總監
Cote-Laurence. 今天我希望與大家分享一個自己經常思考的問題：藝術
Issues of Hong Kong Dance Education
敎育為什麼這樣重要？
by Mr. Pun Siu Fai, Education and Outreach Director of the
City Contemporary Dance Company
在開始討論這個問題前，我首先要指出兩點。一是我認
為舞蹈敎育屬於藝術敎育的一環：二是舞蹈敎育並不是
Today, I would like to share with you a question that I often
訓練舞蹈員。舞蹈員訓練可以專業地由香港演藝學院進
contemplate: What makes Arts education so important?
行，而不是在中、小學中。
Before I start to discuss this question, I would like to point
數年前有一則令我留下深刻印像的新聞：一個四十多
out that I believe Dance education must be a part of Arts
歲' 於屯門執業的醫生，由於丈夫離異而自殺•並於自
education, and that the aim of Dance education is not training
殺前先為十歲的兒子注射毒針。這段新聞令我党得很震
Dancer training should be done professionally by
撼。第一是為什麼一個母親會這樣輕易地取去親兒的性
dancers.
the Hong Kong Academy for Performing Arts, not in primary
命？第二’醫生一向是香港的精英，是學業成績最好的
and secondary schools.
一群，為何她不會想到兒子生命的重要？她有否想到要
尊重別人的生命？在她的成長和敎育中•她除學懂語
Several years ago, there was a news report that imprinted
文、科學、解剖等等外，有沒有想到人是有生命的 ，而
deeply on my mind: a doctor in her forties, who was practising
這些生命具有重要價值？我們從事敖育的.有沒有敎學
in Tuen Mun, gave her ten-year old son a poisonous injection
生尊重其他的生命，或尊重其他人的看法和價值觀？這
before committing suicide because of her divorce. This story
正是我們的藝術敎育所要面對的問題。在我們的成長經
really shocked me. Firstly, why would a mother take away
驗中.除了要應付考試，得到好的成績，或學習一些學
her son’s life so lightly? Secondly, why would she, as a doctor,
科知識外，有沒有想到這方面的東西？這是我們的藝術
a member of the cream of Hong Kong society with the best
敎育失敗之處。
academic achievement, not recognize the value of her son’s life? Did she ever think of the importance of respecting other
另一個故事，是一部約十年前，名叫《魯冰花》的電
people’s lives? While growing up and in her education, besides
影。那是一部頻煽情的電影，但提出了一個很重要的問
learning Languages, Sciences, or even Anatomy, had she ever
題。電影是有關台灣山區中一個小孩的故事。他很喜歡
considered a person’s life, and the value of that life? Do we,
繪畫，但他總是把人的面孔繪成黑色、綠色，他所畫的
who chose education as our career, teach students to respect
天空也不是藍色的。老師總是認為這樣並不對，認為這
the lives of other people, or to respect other views and values?
些作品並不真實，所以不能算是真正的畫，也不能參加
These are the questions that Arts education has to address. In
比赛。相信在座各位很多都明白到兒童繪畫最重要的是
our experience of growing up, beside preparing for
要表達自已，在自已的世界中用自已的色彩來表達自
examinations, achieving good results, or gaining knowledge
已。為什麼一定要「似」？敖兒童繪畫，「敎」是什麼
of some subjects, did we ever think of these issues? This is
意思？為什麼一個小孩有天份以自已的辦法來創造自已
the failure of our so-called Arts education.
的世界，用他的色彩和線條來表達情绪、表達對別人的 感覺時，老師會説這不是畫？我在念小學時也有相似的
Another story that I would like to share with you is from a
經驗。
movie made about ten-years ago, which raised an important The movie is the story of a child living in rural
我在這裡與大家分享的第三個故事是我在北京敖現代舞
Taiwan. The boy likes drawing, but he always uses black
的經.驗。那裡■有一個很有經驗的老師，也是一徊很好的
and green to paint people’s faces, and the sky in his painting
編舞家；但很可惜，他有如「娥眉派」的「滅絕師太」般，
is never blue. His teacher considers this incorrect, and he
不容許學生接觸其他的「門派」。他的確敖出一些很好
question.
considers that the boy’s works are not really painting because
的學生•但是這是否我們的目的？如果現代舞，或現代
they are not realistic, and he does not allow the boy to
藝術中只有一個「門派」：那麼，它的生命在那裡？
participate in competition. I believe many of you understand
that the most important aspect of children’s paintings is their
其實，我覺得藝術敎育是一項文化工程。它並不是敖學
own expression, expressing themselves in their own world
生如何去學識一些技能、一些手法、或是一些方法，來
Why do they have to be realistic?
取得名譽。就如現在有很多人追捧李雲迪先生 ，但他們
When we are talking about teaching children to draw, what
是否明白到琴音經過雙手所表達出來的是什麽？藝術成
is the meaning of ‘teaching’ ？ When a child, with his own
為「附庸風雅」、「趨炎附勢•」的手段。也有人是抱著
talent, uses his own way to create his own world, and his
追捧偶像的心態，而並不是真正欣賞藝術的本質。這是
own colours and lines to express his emotions and feelings
很可惜的。想深一層，大家有否思考過他如何彈簫邦，
to others, why must his teacher say his works are not
如何奏巴哈？這並不是大家所關注的題目。所以，我認
I had similar experiences when I was studying
為藝術敎育是一項文化工程，要考慮到藝術敎育如何改
with their own colours.
paintings?
in primary school.
變人— —尤其是他們對於社會某些事物的價值觀念和這
些價值觀念背後引致的行為。為什麼藝術敎育或舞蹈敎
My third example is of one of my experiences while I was
育在學校内這麼難植根？我們很多時説校長不批準'校
teaching Modem Dance in Beijing. There was an experienced
長保守。有沒有想過家長很多時也不想學生跳舞？學生
teacher, who was also a very good choreographer. However,
— —尤其是男生，很多時也不想。有沒有想過為什麼？
he did not allow his students to learn from other ‘schools’.
在這樣的文化氛圍中•其實最大的問題是學生。為什麼
Under his teaching, he produced some very good students,
學生不喜歡舞蹈、繪畫，不喜歡藝術創作？問題反映了
but is this our goal? If Modem Dance, or Modem Arts, have
整個社會的文化取向。為什麼Twins這樣受歡迎？為什
only one ‘school’, then where is the ‘life’ in it?
麼她們會成為了一個社會現象？
I believe Arts education is a culture building project. It is not
teaching students to master some skills, approaches, or methods
這個文化工程中的舞蹈敎育，其實也有很多問題是我們 要思考的。
to acquire fame. Look at the recent trendy phenomenon of a Do people really
首先，很多很多舞蹈敎育工作者都以考試作為一個重要
understand the piano music expressed by his hands? To some
的工具。我覺得作為一種活動，考試可以作為一個衡量
people. Arts is a way to socialize and artists are idolized by others.
自已的工具：但如果作為藝術敎育的一環，考試和比赛
This is not the real nature ofArts. Togo further, do people really
只有輔助性的意義，而不是終極目標。所以，我覺得舞
think about how this pianist plays Chopin, or how he interprets
蹈敎育應遠離考試和比赛。
young Chinese award-winning pianist.
Bach? These are not their concern. This is the reason I consider Arts education as a culture building project. We need to think
另一個我們關注的問題是要敎什麼種類的舞蹈？中國
how Arts education changes people - especially their values and
舞、現代舞或是芭蕾舞？其實，在舞蹈敎育中，我們最
the behaviour behind these values.
Why is Arts education or
終是希望學生能通過這種藝術手段，來以身體，一舉
Dance education so difficult to establish in schools? We always
手、一投足來表達自已的情感和思考。所以，我們要考
claim it is because school Principals are too conservative to give
慮的，是舞蹈種類是否能絢表達自已。如果我們認為只
their approval. However, do we ever think of the fact that parents
有某一種的舞蹈才能表達某些東西，這是偏頗的看法。
do not want their children to dance?
每一種手段，如果它能幫助學生去表達自已，都要放入
Students themselves,
especially boys, may not want to dance either. Do we ever consider
why?
課程之中。
In this cultural environment, students are the biggest
problem.
Why do students not want to dance, paint or create
香港舞蹈敎育的另一個謎思是，如果能鉤把舞蹈放入考
This reflects the cultural prejudices of the whole
試課程中，它便會成功。在九九年的一篇文章中，我曾
artistically ?
society. Why are the Twins so popular? Why have they become
經指出這個看法是錯誤的。看看現在的美術和音樂科，
a social phenomenon?
有多少人報考會考？我認為放入考試後，舞蹈反而會遠 離了藝術敎育的核心。敎署現時把舞蹈放入體育課程中
There are many questions we have to contemplate for Dance
也是錯的，課程發展處應真正地確立藝術敎育作為一個
education within the context of cultural building.
重要的核心。現在，很多朋友都在社區中推行學校為
本、社區為本的舞蹈活動。在敎署未能把舞蹈放入藝術
Firstly, many dance education workers consider
課程前，這就是我們所能做到的。專業舞蹈工作者在這
examinations as important tools.
方面能给予很多幫助。
I believe that as a type of
activity, examinations are tools to measure one’s
However, if we consider them as a part of
最後，我希望提出一點作為總結：舞蹈敎育中最重要的
Arts education, the role of examinations and competition
是學生。他們如何通過舞蹈來學習和成長，這是衡量我
are only of assisting, rather than as the ultimate goal. As a
們工作的指標。幫助作他們以舞蹈來學習和成長也是我
result, I think Dance education should keep away from
們最應該做的事情，而不是著重考試和成績。
achievement.
examinations and competitions.
depart from the core of Arts education. It is also a mistake Chinese
for the Education and Manpower Bureau to include Dance
Dance, Modern Dance, or Ballet? In Dance education, we
in PE curriculum. The Curriculum Development Council
hope students, at the end, through this artistic media, can use
should really establish Arts education as a major core subject.
their bodies and movement to express their feelings and
Now, many colleagues are working in the community of
What we have to consider is whether the dance
school-based or community-based dance activities. Until
type can be used to express these things. It is biased to think
the Education and Manpower Bureau can integrate Dance
that only one particular type of dance can express certain
into Arts curriculum, this is what we can do. Professional
content. Therefore, every approach, if it can help students to
Dance workers can provide their help in this aspect.
Another issue is teaching which type of dance?
thoughts.
express themselves, should be included in the curriculum. At the end, there is one thing I would like to point out:
Another idea is that Dance education would be successful
students are the most important element in Dance education.
if it could be included in public examinations. In an article
How they learn and develop through Dance is the index to
1 wrote in 1999, I pointed out that this is wrong.
How
measure our work. Attending to their learning and
many people take the HKCEE for Fine Arts and Music? I
development therefore is what we should do, rather than
believe, by putting Dance into the examinations, it will
rely on examinations and scores.
磬舞評
Review
情尋「愛」的舞蹈空間 文：小拾
I # &説「如果音樂是愛的食糧，就請奏
沙丈阳策樂永T 休止，讓我能活在這愛的過 、
舞蹈是愛之源，它可把歌劇的愛更具體地浮現。香港芭
蕾舞團的《杜蘭朵》就要讓這愛的謎語解開。《杜蘭朵》
剩裡」。(“If music be the food of love, play on, give me
這故事是講述一徊王子如何以愛感動冷賭無情的公主 ，
excess of it, that, surfeiting...’’)假如音樂真的是愛的食
雖然故事结構較俗套，但當中的歌曲卻極為人心動，而
糧，那麼筆者認為舞蹈便是愛的水份，在愉悦的生活裡
其中一曲Nessun Dorma更撼動萬千樂迷！如此一鉤醉
兩者都不能欠缺。人的身體充滿著水的成份，而地球更
人心弦的歌劇以舞蹈來演繹，可説是一梱破格的嘗試.
是給海洋擁抱著，故此身體的舞動把軀體内的點滴流水
而以芭蕾舞的身體舞動把情感表達出來，這内鈦舞動情
溢出，讓點點的愛更具體地流露出來，讓「飽足」的生
感令樂曲來得更扣人心弦。
活更富滋潤。 香港芭蕾舞團這次製作最叫人著迷的地方是舞台的佈 一份情感的牽引，就在這三個不同時空發生的舞蹈故事
置、服裝的設計與舞蹈、故事的配合。比爾•海克(Bill
裡。是虚幻的愛情故事、是動容的真人感受或是一種愛的
Haycock)的佈景及服裝的設計與娜泰莉•維亞(Natalie
害羞表露，統統盡在《杜蘭朵》、《一刻》與《绯紅》中。
Weir)的獨特舞蹈編排讓觀荩完完全全墮進《杜蘭朵》的 世界裡，可是美中不足的地方是在王子解開三個謎語的
温•范德基伯斯(Wim Vandekeybus)在其舞蹈作品《绯
處理上---- 吊下來的謎底维然能表達舞蹈無法演繹的準
紅》裡就圍繞著愛的主題，把各式各樣的愛：「愛的
確文字，但卻完全破壞了那份場景與舞蹈所形造出來的
美、愛的温柔、愛的強暴、野蠻、殘忍」— —大膽地以
優美感，故此令本來動人的愛情故事變得有點諧趣，真
舞動表達出來。開場的時候，我們看到空曠而幽暗的舞
有點可惜！
台上躺著一個安靜的男子，而女的卻主動地蹲在男的身 體上造愛，這愛的表達以最原始的方式開宗明義演繹出
無論怎樣，真情、真摯的愛一定來得更叫人感動，筆者
來。一群躍動的身軀和台上大型的影象投射便帶出另一
所説的是關於王廷琳的獨舞展《一刻》。當中六段的故
段愛的故事來，台上的影象是現場舞動的延伸，影象裡
事各具特色、各讓人有不同的深情感思。第一節的《大
的舞者是舞於水底，台上的舞者久不久便跳進如百葉簾
悲》舞者舞出許多極耗體力的動作，而與音樂之間的配
的螢幕種，而「投奔怒海」的舞者一躍進螢幕裡，我們
合讓人頓感一種對宗敎的情感表達；第二節〈…聯
便可看到影象的超準確配合，舞者真的像跳入大海般，
繫…〉舞者在桌子上下的舞動與説話，為的是表達生活
影象延續海底的舞蹈世界，而於螢幕出出入入的舞者就
中不同的感受與感情— —是平靜、是猶豫、是荒、是
像活在愛海種，水底暢泳猶如暗喻如魚得水的愛情生
瘋狂…；第三節《三個希望》以燭光代表一份希冀，舞
活，因此舞者們都不得不「投懷送抱」於此愛海中。
蹈像把希望---- 實現出來；而其餘的部份《The Power
of Now》、《Invenstory》及《天使》就把時間’幻想 愛的建構與愛的破壞，就在一塊一塊如磚頭、如大石的
及編舞者對父親的愛以錄像的擴張空間 、音樂的奇異境
道具，把代表愛海的螢幕遮蔽開始。愛的建構可以是一
界、身軀的無限可能盡情地表現出來。
段關係，同時也可是一堵圍牆，被堆填了的愛海使場景 變得暗淡，愛的關係同時也變得暴虐起來。
愛的世界是找不到盡頭的，説出來的愛有時不及舞出來
的愛動人.因為愛是一種渴求與行動 ，語言與文字又怎 生死愛恨盡在一刻裡統統给揭露出來，這樣毫無防備的 情感乍現，使不受掠的兩頰通紅驟現。最後，舞者們紅
紅的舞衣，就如是绯紅的強化演繹吧！
能徹底道出那份真摯！
舞評
Review
Turandot by the Hong Kong Ballet by Constance Rhodes
f. takes a brave Artistic Director to commission a new version of Turandot using the most dramatic selections
The design by Bill Haycock, a long time collaborative partner for Weir, was unashamedly retro-glitter.
From
of Puccini’s famous score and the powerful voice of Jose
raining sparkle to perspex lettering, shimmering backcloth
Carreras. Stephen Jefferies of the Hong Kong Ballet took
and chic costumes, it never confused the action but aided
Jefferies
the visual spectacle and passion of the production. Simple
decision to commission Natalie Weir as the choreographer
messages of love and hope resonated throughout the work
was an inspired choice. Weir was introduced to Hong Kong
such that the audience need not know the narrative of the
audiences through her version of The Rite of Spring, first
opera to follow the action.
the bold decision and he has been rewarded.
commissioned by the Dance School of The Academy for Performing Arts.
The Hong Kong Ballet took it into its
own rep the year after its premier in 2001.
Crystal Costa was captivating as the character Liu.
Her
unconditional love for Calaf was earnestly expressed. This
role was the perfect vehicle for this talented artist.
Fuzuki
The premiere of the ballet Turandot was a spectacular
Nakajima, was well cast as the Prince, and Harvy Santos’s
triumph with the audience giving a full-spirited and animated
acting skills made him the obvious choice for the role ofTimur.
ovation to the deserving cast and creative team. From the
LA 2
opening moment of the ballet to the close of the curtain the
Bravo Hong Kong Ballet, this work can stand proud on any
company dancers were committed to the work. To my eyes
world stage.
this was the most passionate and convincing display by the
company is taking the bold step of commissioning new and
company’s two top principal dancers Faye Leung and Nobuo
exciting work which not only serves to lift the spirit of Hong
Fujino.
Kong audiences but it challenges the company dancers in
Known for its Classic productions this
ways that extend their artistry. This must-see production In this abridged version of the opera, Weir has tried to
deserves a repeat season, it’s ambitious and represents the
“streamline many aspects of the opera, to clarify the story
best of what Hong Kong’s own Ballet Company can produce.
and focus on what can be said best through dance and this is
usually the more emotional aspects of the work”. Early on in the viewing I was wondering if the dance was going to match the powerful score. By the start of the Second Act, I was left in no doubt that it could.
The movement vocabulary is typically Weir, more grounded than ballet enthusiasts are used to but demanding on even the most assured technicians; the torso is fully engaged and
rarely are the arms seen in textbook positions. Sinuous and
expressive, it’s movement that dancers love to do which makes it so powerful to view. Hong Kong Ballet's Turandot. Photo: Wayne Hu.
@舞評
Review
如幻如夢象氛迷澴
談香港舞蹈團
夢境式處理確見心思 《乾隆與香妃》 文：Jonathon Ho 國際演藝評論家協會專業會員
藝術學院兼任講師
/〈木偶奇遇記》後不久，香港舞蹈團推出故事、風
舞團於今次舞劇更安排兩大「小生」同台演出，以胡軍
格、氣氛截然不同的《乾隆與香妃》，前者熱鬧歡
之「剛」，配合楊雲濤的「柔」，可説是舞團一個新嘗
騰、色彩斑爛、正面開揚；後者則沉鬱凝重、色調深
試。然而可能是「一山不能藏二虎」之故，兩大「小生」
沉、婉轉悽美。一明一暗，對比鮮明。令人想起貝多芬
同台，在理論上可行，但實際上卻難免顧此失彼。楊在
處理同時期交響樂作品(Twin Symphony)的技法，舞團
此劇可能是受角色(乾隆)或服裝所限，很多原為他自
的創作藝術視野可見一斑。
身精彩柔韌的舞姿，都不能盡然發揮，頗覺可惜！楊怡
孜「初試啼聲」擔任主角，表現不俗，尤其她對表情、 《乾隆與香妃》的故事，取材自乾隆皇帝與香香公主的
目光的操控及情绪轉變的處理，都有出色的演繹。在眼
一段野史，以清宮作背景。演繹此類宮帷故事，其實是
神目光的運用上，她彷彿可以用眼神來説話般，這對演
一個很大的考驗，除了服裝、布景、燈光、道具、陳
繹舞劇來説是極為重要的技巧。相信隨著經驗的累積，
設、禮儀等的考究是一大難題之外，故事呈現處理得若
楊怡孜的舞蹈前程必定更上一層樓。另外，王林的演技
稍有不足不當，則會流於庸俗老土。然而編舞楊梅卻利
亦往往给人不少驚喜。不論是《木偶奇遇記》中的「蟋
用一個較為高明的手法— —從夢境著手，以氣氛的營造
蟀」及此劇演的「老太監」，與他一貫「魯智深」般的
去演繹此劇，如此，除了可以避過前述的考驗外，亦可
硬漢子形象各異其趣。
以「催眠」觀幕以夢幻般的情緒去觀賞此舞劇。論氣氛
營造，舞台美術並燈光設計的配合應記一功 。庭院深
《乾》彷如舞團前作《十里不同風，百里不间俗》的故
深、枯燥桎梏的清宮，彷彿令人透不過氣來，難怪人人
事版，將中國舞蹈的呈現戲劇化，較只欣賞民族舞本身
在宮中都要彎腰曲背、步履沉重，與維吾爾族的圓拱迦
更添層次：其中戈壁中紅袍仕女的神秘重重'高原上白
廊相比，天堂與地獄立判。或許這是乾隆愛香妃之因。
衣女神的神聖和波斯女郎的風韻，各具姿彩。
相信香妃之「香」亦是來自這一份纯真無染的天然。而
且這種「香」除了香妃之外，其他維吾爾族的少女、少
音樂方面，舞團請來作曲家賈國平領導中國國家交響樂
男亦應同様具備，只是久於桎梏的乾隆察覺不到吧！所
團聯同小提琴家劉雲志演出. '可説是一個驚喜。誠然，
以，夢中的他雖然置身於銀白飄渺的浮世之外，卻只剩
近年中國交響樂作品的成就漸漸被國際樂評肯定，是次
他孤身一人，永遠地捕捉一位不能捉住的少女！
舞圑能邀請此國家級樂團合作，可説是舞團被國内演藝
界認同的一個里程。 這固然是乾隆的悲劇•但更悲哀的是他選擇以權力和暴力
去奪取香妃。於是，一道象微皇權的黃色絹布，截破了阿
令人感到遺憾的是，《乾》首演日期正值「非典型肺炎」
地里與香妃的愛情。從此，香妃的「香」亦杳於深宮•阿
餘波之際，令中國著名燈光毅計師任冬生不能來港 。幸
地里亦因要潛入深宮營救戀人而刺盲雙目。最後，阿地里
有馮國基接替，亦有不俗的表現。雖然受到「非典」的
被殺、香妃自盡、乾隆則繼續他如死般的孤寂，三敗俱
影響，但在一片瘟疫蔓延之際，可以欣賞此劇的演出，
傷，見者皆悲。然而，任何感人的戲劇情節都必須靠演員
可説是低潮時的一種慰籍，炎炎世態下的一服清涼劑。
發自内心的演繹，才能令觀眾動容。胡軍在演繹阿地里因
雙目失明而只能靠聲音來與戀人相認一幕 ，演得真切感 人。胡軍自演葵學院畢業作「虔誠」以來，不論是身段、
舞姿•都確是演繹中國舞蹈藝術的一名健將。
<
Article
Interview with Professor Susan Street by Kevin Ng
Kevin Ng (KN): Professor Susan Street (SS), what do you
and feedback were a great reward for Natalie. We did
see as your major achievements since you became the
take it there and made it a joint school performance.
Dean of Dance at the Hong Kong Academy for
Our students performed with their students. It was a
Performing Arts (APA) in 1999?
sold-out season and highly successful. We then took the students on, at the invitation of the Hong Kong
SS: When I first arrived, the School of Dance was described
Government, to perform in Vienna and Brussels.
as the weak link at the Academy. It was only one person’s perception but came from a fairly significant
In Brussels we were in the thousand-seat venue Palais
player. I thought it was an unfair assessment at the
des Beaux-Arts. The show was sold out. Probably
time, and I was determined that we would go from being
there was some interest in seeing a dance version of
considered the weak link to the jewel in the crown of
the well-known, and often-danced music, emanating
the Academy. Mainly what the School needed to do
from China.
was to have more confidence in itself. The staff needed
to have confidence in their achievements and the students needed to have confidence about where they
KN: Was there any coverage at that time in the local newspapers? I don’t recall reading about it.
stood as dancers, from an international perspective. In
my first year here we went on a tour to the Prague Dance
SS: No. There was actually a documentary made about
Festival, an international dance competition. The first
Hong Kong Financial Secretary (then) Donald Tsang’s
step in gaining confidence was when the School won
tour to Europe at that time, and there was a lot of footage
the grand prize for the best school participant at that
taken of our tour to Brussels. But I have never seen
event. I don’t actually believe in dance competitions,
the documentary aired. Unfortunately here in Hong
but it is very much a part of this culture, so for the
Kong there isn’t a lot of arts coverage. I think the fact
students and for the media here it was very significant
that we are a tertiary institution and not one of the
to be able to say that we won.
professional companies also limits our coverage.
KN: Very good publicity, and you got international recognition.
It is a shame because it was a significant invitation for us, and I think Donald Tsang was pleasantly surprised
by the incredible reception given by the audience. We
SS: Very good publicity, yes. That was an important first
also received very good feedback from the Hong Kong
step and actually we have used that prize in our
Economic and Trade Development Office who
That was only the first step.
financially supported the tour. The post performance
Subsequently we have undertaken some very
response from the audience was very positive. So that
prestigious and important tours, taking Natalie Weir’s
also contributed to confidence building for the students
publicity ever since.
work The Rite ofSpring to the Paris Conservatoire - at
and the staff. Generally, what I want to achieve is that
their invitation. Quentin Rouillier, the director of the
the school becomes more ambitious, and you can only
Dance School at the Paris Conservatoire, came to Hong
be more ambitious when you are confident. In a
Kong, saw the work, and thought it was a powerful
relatively short period of time the School is building
version. He invited us to bring it to Paris. The invitation
positively in many ways.
KN: Have you encountered any particular problems? I mean
you may have some objectives in mind but there were
KN: What plans have you got in mind for your second fouryear term?
some funding difficulties or some significant problems that hindered the building of confidence or the policies
you wanted to carry out? Like SARS, for instance.
SS: We have some major curriculum review issues that the
School is looking at. What is very unique about this School is that we have a ballet stream, a modem dance
SS: Actually we are very fortunate that dance is part of
stream, a musical theatre dance stream, and a Chinese
this Academy, a specialist stand-alone performing arts
dance stream. One of the things we have been
institution that has a very clear mission and a director
exploring is a common curriculum prior to
who keeps focused on exactly that mission. We are
specialization. Students would therefore not specialize
not part of the bigger university sector with a more
immediately. In the year 2005, we will have another
broad-based set of objectives. We have one objective
re-accreditation process for the entire dance school.
which is to train artists for the region and
All the changes that we have put into effect in the last
internationally. We are supported to do that, and it is a
four years, including what I think would be some major
fantastic environment to achieve what we want to
changes in the coming year, have to go through that
achieve. We are also lucky to be in this environment,
re-accreditation process. I am very keen to introduce
in this building, where we can collaborate so easily
a postgraduate course in dance. The government is
with the Music School, Drama School, Cantonese
also talking about four-year degrees, so students will
Opera, Technical Arts School, and the Film and
enter tertiary studies one year earlier. We’ll have to
Television School. Synergies happen because of the
deal with that. Of course it is a very good change
way this whole building has been designed. The
because we would like to have students here a year
resources and facilities are very good.
earlier.
KN: Brisbane was your last place before you came here.
KN: For dancers, their bodies are more flexible the younger
they are. SS: Yes, I was the Head of Dance of the Queensland
University of Technology (QUT) for ten years before I
SS: Yes, that is one aspect. Another exciting development
came here, but I was in the institution for 19 years in
is that when I came here in 1999, the government
total. I enjoyed that job and the QUT environment
released an Education Reform document. Subsequent
very much but it was time for a new challenge.
to that we had the Cultural Heritage Commission’s report. Both promoted increased arts education in
KN: It didn’t take you long to settle down, to acclimatize?
schools. I think the Academy has a role to play in
developing dance in schools. It would be a progressive SS: It seems to have taken me quite a long time, longer than
step to see the arts grouped together as a specific
I had anticipated. I have traveled and lived in Amsterdam,
curriculum area in school. At the moment, dance is
I have lived in London, and it didn’t take me long to
part of physical education; drama is part of speech and
acclimatize. It has taken me longer here, maybe because
drama. We know that model existed in the past in other
I am older, and it takes longer to adjust to major cultural
parts of the world, e.g. in the UK, Australia and Canada,
change as you get older. There was the language issue,
but you find most places now have the arts grouped
but mostly I found that because my work occupied so
together in the curriculum, because of their aesthetic
much of my time, it was the life issues, which were more
nature. The Academy and other institutions need to
difficult. There was a new phone number, fax number,
push for improved arts provision in primary and
e-mail address, mobile phone number, PIN, bank account
secondary schools.
number etc., and I couldn’t remember any of them for at least twelve months! My time was totally absorbed in
getting used to my new job, there was a lot to learn, a lot
KN: At the moment, do you have any interactions with other
private schools in Hong Kong?
to listen to, and a lot to take in and absorb. I spent the
first year trying to do that, trying to watch, listen, learn
SS: All the staff have been working to improve the
and understand the environment better before I started to
relationships we have with private dance institutes
plan the future.
because, after all, they are responsible for training
young dancers before sending students to us. They need
We are going to search them out, do auditions in
to have faith and confidence in the quality of training
regional centers, not just in the Academy’s building.
I would like to think that our
We are going to write to high school teachers,
relationship has improved and that it is something we
principals, and to people who adjudicate in school
are continuing to work on.
dance festivals to seek their help in identifying talent.
at the Academy.
I appreciate that some of the students will not be able
KN: How would you compare the standard of your students
to afford the fees to come to the Academy, but I am
in Hong Kong with your students elsewhere, like the
confident that we can find scholarships to bring them
Queensland University of Technology?
here. We need to find talent, nurture it, and feed good students into our tertiary programme. The better the
SS: The entry standard is higher in Australia. In Hong Kong
quality of the junior programme, the better the quality
there is great importance placed on the final years of high
we can feed in to our full time courses, and the better
school. In Australia, students can take dance in their final
the graduates we can produce.
years of their high school and dance is a recognized subject that can be counted towards a student’s exit qualification. What happens in Hong Kong is that young women,
KB: Quite a lot of the dancers of the Hong Kong Ballet are graduates of the APA.
predominately, study dance, but when they get to the final
years of high school, they stop altogether. Often parents
Currently 40 % of the Hong Kong Ballet dancers are
insist that they stop all extra-curricular activities so that
graduates of APA. When dancers aren’t up to their
they can concentrate on the exams. So the technical
quality, they won’t accept them and understandably
standard of students who enter here is lower. That is
they will look elsewhere. But I think 40% of the
balanced, in a way, by the fact that students study at the
company is a very good statistic.
APA longer and work in very small classes, thus receiving
individual attention. In Australia, the students stay two
KN: Have you thought about making the APA the school of
or three years maximum, in tertiary training. In Hong
the Hong Kong Ballet, like the Royal Ballet School in
Kong, typically they stay for five years at the Academy
London and the Australian Ballet School?
to train before entering the profession. So I think the biggest difference is the technical level at which they enter.
SS: This issue has been raised. Unlike most of the schools
The exit standard is actually very similar, but we need
which only have ties with a single dance company, we
five years to get there.
have four dance specialisms, and so we have ties with all three dance companies in Hong Kong - the Hong
5.$ 5 . 2
One of the ways I hope to improve this in the coming
Kong Ballet, the City Contemporary Dance Company,
academic year is a totally new junior programme. We
where over 85% of the dancers are our graduates and
are not focusing on young children because I think the
the Hong Kong Dance Company, where over 50% are
private schools in Hong Kong are doing an excellent
APA graduates. We have supplied 40 % of the Hong
job training young children. There are some very good
Kong Ballet, we almost are the school of the Hong
teachers in Hong Kong in the private sector. We will
Kong Ballet. We have a very close relationship, which
focus on the upper age, the 14 to 16 group. The numbers
is mutually beneficial. Our students watch
drop off in private schools at around this age, so I think
performances of the company, we exchange teachers,
the Academy can pick up those talented students, and
and many students are extras for the company seasons.
work with them to prepare them for tertiary training in
The relationship is very good between the company
dance. They would still stay with their private teacher,
and our school, and so it doesn’t really serve our
but they would come here on Saturday afternoons to
students any better to have an exclusive arrangement
receive some extra training. It is preparation for coming
with any one company. No company with ties to a
to the Academy. There are those students who are
school will accept all of the graduates, because in some
obviously receiving training in private schools, but there
years the students are strong, and in other years they
are also talents who are undiscovered - students who
are less so. Some students actually aspire to join other
perform dance in school festivals, in youth groups, or
overseas companies. But at the moment I think it is a
do Chinese dance as an extra-curricular activity after
very good working relationship.
school. They are also the ones we want to find.
KN: You just mentioned Paris. How do the facilities in the
to pay for these three companies. So there is very little
Paris Conservatoire building compare with your
money left for independent artists and special projects.
building in Hong Kong? KN: Are you on the funding bodies in Hong Kong? SS: The Conservatoire houses a very big Music School and
the Dance School. So it has only two of the performing
SS: I am an advisor for the Arts Development Council as
arts. It is a very beautiful contemporary building. It
well as the Leisure and Cultural Services Department
has beautiful studios and performance spaces.
of the Government. To create a healthy eco system for dance, you need several layers of support, one feeding
KN: The Paris exchange is ongoing?
the next. Independent artists doing small projects can hopefully be picked up and developed by one of the
SS: Yes. In December we go back to premiere Partition in
three larger companies. We need a research and
Black and Partition in Blue by French choreographer
development engine and that is likely to happen in the
Herve Robbe. The joint work involves 8 APA students.
independent sector. This sector helps to feed the
We are looking for an additional work to take to Paris,
professional companies. If you have smaller project
one created by a local choreographer. We will perform
groups, choreographers can get experience, build a
as part of the Conservatoire’s December season.
body of work to the level where it can be picked up by
the professional companies.
KN: Are there any exchanges with other European or American academies?
I also think that our Academy has a research and
development role for the professional companies, and SS: There was a major project in 2002 involving the APA,
a good example of that was Natalie Weir’s The Rite of
the Western Australian Academy for Performing Arts,
Spring. We commissioned the work, and Stephen
the National Institute of Arts in Taiwan, New York’s
Jefferies, the artistic director of Hong Kong Ballet, saw
Purchase College. The four institutions worked together
it and later acquired the work for the company. That
to perform Lin Hwai Min’s work Legacy as the closing
sort of activity can help. I think another strength in
main house event of the Global Dance Festival held at
Hong Kong is that we are a very small community,
the Schaussepeilhaus Theatre in Dusseldorf, Germany.
and from my experience here it is quite a supportive
So we have had collaborations with others schools. We
environment. Resources are often shared between
have focused very strongly on the Paris Conservatoire
dance organizations. We have to do that to enable
in the last three years. I think this sort of ongoing
projects to work, we need to share our resources. It
exchange - one that has a strong commitment from both
sides makes it meaningful. Allowing students to work together will achieve probably the most significant benefits. When the students are in the studios together,
when they perform together, understand the work
together, and communicate together, then you see how much they can learn from the exchange. KN: Switching back to the Hong Kong dance scene, what
do you think are the major strengths or weaknesses here? SS: Having three professional companies is obviously a strength. With a population of seven million people in
Hong Kong, having three large companies provides employment for many dancers. One of the difficulties,
which is not particular to Hong Kong as I have also
seen this when I was on the Australia Council in Australia, is that the vast majority of the funding is used
HKAPA students performing French choreographer Herve Robbe’s Partition in Black.
can be difficult when you have a fractured artistic
I have been surprised, over the past four years, about
community. But I feel here the dance community is
how many companies have come here. I mean, you sit
very united, and working together.
back and wait, and every top company in the world
comes here eventually. The Arts Festival is fantastic, and they always have a strong dance programme.
KN: Any weaknesses?
SS: The level of arts coverage is atrocious. When the Dance Journal/HK lost funding, I wrote an impassioned letter
KN: So your opinion is that there is no lack of dance activities?
saying that they must not let this happen, otherwise there will be no record of what happens in dance in
SS: No, we have considerable activities for a city of seven
Hong Kong. The chances are that the videos will all
million people. And the number of people who actually
fade, and if there is nothing left in the print media, we
go to arts events - maybe two hundred to four hundred
will totally lose our dance history. Performances
thousand? It is a minority. I think we are very, very
evaporate, and many are badly recorded or not recorded
well served by the caliber of the companies that come
at all. So what we rely on are the writers. How can I
here.
possibly convince someone to take up a career in
Companies on their way to Australia will often stop
writing about dance? They would ask who would
over in Hong Kong. Now there is a new fantastic venue
employ them? The answer is no one will employ them.
in Singapore — the Esplanade. So companies can tour
You will not survive in Hong Kong as a dance writer,
the region - Singapore, Hong Kong, China (Shanghai,
We are in a very good geographical position.
It is hard to get a job as a dance
Beijing) and Australia. The circuit is looking better in
artist; it is even harder to get a job as a dance writer in
this part of the world. We probably will have even
this region.
more good companies visiting.
or an arts writer.
KN: And there is no coverage on TV
KN: You have a great theater in the Academy. Is it because the rent is very high? It is not booked often, except by
SS: So of course the people don’t value the arts here. The
the big shows like Singing in the Rain?
papers don’t give it coverage. It has a poor profile in
5 4 5 . 2
the schools. Why would parents value the arts? Now
SS: The expense is comparable to other similar twelve
the government is saying: we value the arts. But we
hundred seat venues. Just to keep the air-conditioning
still need to see more evidence of that.
running is expensive. The revenue from the Academy’s
rental of venues actually helps subsidize the school.
KN: The Hong Kong government published a Consultation Paper last year on letting the private sector participate
KN: How did the SARS outbreak affect the Academy?
more in the arts, and reducing the role of the government. SS: The school was closed for three weeks in April. There
至
SS: We shouldn’t spend too much on arts administration,
were no students allowed into the building. It was
but must make sure that there is as much money as
probably the most stressful time for the senior staff of
possible to go to the artists to produce their work. It’s
the institution. Primary and secondary schools were
premature to hand over responsibility to the private
under instruction from the government; the universities
sector for the arts. The government must first
decided what to do en masse. The Academy had to
demonstrate its commitment to the arts and arts
decide what it would do as a stand-alone institution.
/
education. If the public support the need for the arts,
So we had to sit in a room with the information we had
then private sector support is more likely.
available about SARS. And not having a scientific
background or crystal ball, we had to decide how long In Hong Kong, there are several visiting dance
we should stay closed, when to re-open, what
companies for festivals like the Hong Kong Arts
procedures to put in place, and how to safeguard the
Festival and the French May. Ideally these visiting
health of our students. How do we carry out our duty
companies should be slotted throughout the year instead
of care if a student comes back and infects other
of being congested in one or two months.
students? It wasn’t actually the legal issue; it was
worrying about bringing back a group of students and
maybe by doing that, infecting a whole lot of other
and flying sweat, etc. At one stage there was the
young people. It was a very stressful time, maybe the
prospect of the Academy reopening for all students
most stressful in the past four years.
except the Dance School, thankfully we came back
earlier rather than later and there were no problems.
KN: When did you actually re-open? KN: Do you foresee more cooperation between the APA and
SS: After Easter. The reason we did that was that the
academies in China?
dancers had had a three-week break. Physically it was not good for them to have no training prior to building
SS: We are seeing a greater number of applications from
up for a performance and exams. The students were
Mainland China as people in the mainland learn more
ringing, wanting to come back. They were climbing
about the Academy. In June 2003, we invited the
the walls with nothing to do. Some resorted to running
Chinese dance students of the Guangdong Dance
up the stairwells of their apartment buildings to keep
School to perform in our studio theatre. I expect these
fit. We decided the Academy building had been made
exchanges to grow in the coming years.
as safe as possible and that it was no more dangerous to be here than at home.
KN: I didn’t realize that the students weren’t allowed in the building at all during the closure period.
KN: Any exchanges with Shanghai and Beijing?
SS: Our students performed at the Tao Li Bei Dance
Competition in August. It is a big competition held every three years in a different part of Mainland China.
SS: No, that’s why they were ringing, so keen to come back
It is one of the big dance festivals.
and start classes again. Students here have a very strong work ethic
We have exchanged visits with both the Beijing and
Shanghai dance academies. In July we were going to KN: Did you put back the summer holiday because you lost
three weeks?
perform at the invitation of the organizers of the Beijing
Modern Dance Festival, but it was unfortunately cancelled because of SARS.
SS: No, we didn’t. We re-arranged the curriculum and clawed back holiday and study leave. We made up the
KN: Anything else you like to put on record?
time; we delayed our performance season by a week.
The students were so enthusiastic and hardworking after
SS: It is pointless trying to compare my experience in
they got back, the performance would have been ready
Australia with my recent years in Hong Kong. I have
even if we had not delayed it by a week. It was so
been fortunate in both locations to work with really
fantastic. They were so excited to be back.
committed and talented people, staff and students alike.
There was never a day at QUT when I didn’t want to KN: Have you taken any preventive measures in case SARS comes back in the winter months?
go to work. The Hong Kong dance community has been welcoming and supportive and I have enjoyed
the learning curve ride of the last four years. Seventy SS: In the building, you can see disinfectant gel for the
percent of running a dance school is the same wherever
hands. I ask the students to be mindful of their personal
the location of the school, it is the other 30% that takes
hygiene, and to wear long-sleeve clothing. The thing
time. I miss my family in Australia but have managed
we constantly emphasize is that if they feel ill at all,
to see them and clear my head in Byron Bay once a
not to come back to school. Here if the students feel
year for the past four.
ill, they still come because they want to watch the class,
not to miss anything. We have to really say to them:
please don’t come if you are not feeling one hundred
“Dance is a lifelong journey
percent well. Thankfully there has not been a single
conferring grace of knowledge for those
case of infection of any staff or student in the Academy.
who embark on its voyage”
We were worried because people kept saying that dancers were especially at risk-close physical contract
-Tom Brown
舞蹈節目表 LIVE
The Four Beauties《四大 J
Joaquin Cortes
Hong Kong Dance Company
4/10 7:30pm Hong Kong Convention and
香港舞蹈團
大
Exhibition Centre Enquiries: 2850 5825
10-11/10
7:30pm
12/10 3:00pm Kwai Tsing Theatre Auditorium 葵青劇院演藝廳
Choreographer 編舞：
Fang Yuan 方元
How. Kong Ct
全辦本奇困:
Enquiries 查詢：31031810
ng and O.»w Cmcniblc
UCHTTOC . 31 288 288 EKQiintif-s. 2850 5825
Wonderful World of Tie-dye Girls 《扎花女》
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Xiangxi Tuijia Miao Autonomous Prefecture Song and Dance Ensemble 湘西土家族苗族自治州歌舞團 全囲
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Auditorium, Sha Tin Town Hall 沙田大會堂演奏廳
Choreographer 總編導：
Hu Mingzhu胡明珠
Ballet Latino Carnival Spectaculars 《塵世美•芭蕾拉丁二重跳》 Youth Ballet of Asia
Enquiries 查詢：2268 7323
Ancient Dance and Music ofDunhuang 《敦煌舞樂》 Gansu Dunhuang Art Ensemble
亞洲青少年芭蕾舞團
12/10 5:00pm Piazza & Exhibition Gallery, Kwai Tsing Theatre 葵青劇院廣場及展覽廳
甘肅敦煌藝術劇院
Choreographers 編舞：
24-25/10 8:00pm
So Hon Wah, Allen Lam蘇漢華、林偉源
Auditorium, Sha Tin Town Hall
Free Tickets available 免費門票派發
沙田大會堂演奏廳
Enquiries 查詢：2234-6317 / 2268 7321
Choreographers 編舞：
Xu Qi, Zhang Jufang 許琪、張聚芳
Dance Platform Showing IV 《舞蹈平台展演IV》 Hong Kong Dance Alliance 香港舞蹈聯盟
31/10
7:30pm
Dance Studio One, HKAPA 演藝學院一號練舞室
Choreographers 編舞：
Anthony Suen, Jo Leung, Rick Cheung,
Paige Wong, Sharon Cheng, Kelvin Lam 孫銘傑、梁秀妍、張學良、 王麗虹、鄭敏芝、林建洪 Enquiries 查詢：2584 8753
繼舞怍品 Choreography展演系列 Showing Series
目表 Autumn Sonata《秋曰奏嗚》 City Contemporary Dance Company 城市當代舞蹈團
31/10, 1/11
8:00pm
Concert Hall, Hong Kong City Hall
t
香港大會堂音樂廳
Choreographers 編舞： Pun Siu-fai, Helen Lai 潘沙輝、黎海寧 Enquiries 查詢：2326 8597
The Enigma of Desire -- Dali vs 《情色男女一達利vs加拉 City Contemporary Dance Company 城市當代舞蹈團
9:30pm,
6-8/11
Beauty and the Beast 《美女與野獸》
Fringe Studio
藝穗小劇場
Choreographers
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Mui Cheuk-yin, Xing Liang 梅卓燕、邢亮
15-16/11
2:30pm
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Enquiries 查詢：2326 8597
Grand Theatre, Hong Kong Cultural Centre
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7:00pm
8/11
香港芭蕾舞團
7:30pm,
怙男，色女 ，色女，，建利 連 vs加t 怙男
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Hong Kong Ballet
13-15/11
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a of Desire DaliivsiGala MWBHA 入RS霣主MMUttS. :® ■8城8利的#中0«2# •不MKABSSBI•篇
Tai Chi Fantasy 《太極隨想曲》
香港文化中心大劇院
Miranda Chin Dance Company 錢秀蓮舞蹈團
Choreographer 編舞：
7/11
Domy Reiter-Soffer 蘇東美
7:30pm
Grand Theatre, Hong Kong Cultural Centre
Enquiries 查詢：2105 9724
香港文化中心大劇院
Choreographer 編舞： Miranda Chin
All of a Sudden 《失驚無神夢驚魂》
Enqu™s^ 2566^
City Contemporary Dance Company 城市當代舞蹈團
21-22/11
8:00pm
Theatre, Sheung Wan Civic Centre 上環文娛中心劇院
Choreographers 編舞： Chan Yi Jing, Janet Chang, Lam Po, Jay Jen Loo, Michael Lopez, Noel Pong,
Bruce Wong, Dominic Wong 陳宜今、張慈好、林波、劉傑仁、 盧思邁、龐智筠、黃振邦、黃狄文 Enquiries 查詢：2326 8597
錢秀蓬
首演五場，全部爆 載譽重演，萬勿錯 All performances sold out in Ap re-run on deman
Dali vs Gala 編舞 / 演出 Choreography / Performance : 梅卓燕 Mui Cheuk-yin、邢亮 Xing Liang 現場音樂 Live Music :龔志成 Kung Chi-shing 邢亮、梅卓燕與龔志成活現畫家達利與妻子的超現實情色世界
Inspired by Salvador Dali's life and work, The Enigma Desire - Dali'vs Gala lures you into the labyrinth of LOV SEX and DESIRE.
6-7.11.2003 9:30pm 8.11.2003 7pm & 9:30pm
备^fringe 融 小劇場Studio $150
（不設劃位
Free Seating）
門票現於快達票有售
Tickets available now at all HKTicketing outlets 購票熱線 Ticket Purchase Hotline : 31 288 288
節目查詢 Programme Enquiries : 2326 8597
www.ccdc.com.hk
SEAS