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Contents 目錄 Vol.6

No.1

Cover封面 CCDC's Kwaidan/Emaki by Sunny Pang 城市當代舞蹈團演出彭錦耀《怪談/繪卷》舞蹈敎育專題講座系列

Photo: Ringo Chan 攝影：陳德昌

舞蹈快訊NEWS

香港演藝學院聯同香港舞蹈聯盟於2004年2至4月期間於演藝學院舉行一系列舞蹈敎育講座，希望精此提供機會予舞蹈

界及敎育界人士交流意見、經驗和敎學方式，並進而推廣舞

回收再用的文本舞碼

蹈藝術。四節講座將由三名著名的海外講者主持，適合敎育

Intertextuality in Dance and Recycling of Dance Texts

工作者，學校校長，敎師及藝術工作者出席。四節講座分別

文：劉建華

為：澳洲Otago大學體育學院舞蹈研習講師Ralph Buck博

士主講的「中小學的舞蹈敎育」（2月7日，上午10:00-11:

3CT）和「舞蹈於課程編排的定位」（2月11曰，下午4:30-

by Lau Kin Wah

6:00） '前澳洲芭蕾舞團首席舞蹈員，現American Ballet The

Panch Bhoota

atre II 藝術總監John Meehan所講授的「21世紀的芭蕾舞培訓（大師班示範）」（3月3日，上午11:30-下午1:00），以及美國俄亥俄州立大學Vera Blaine敎授所講的「俄亥俄州

Book Review: Mao's Last Dancer by Kevin Ng

公立學校舞蹈敎育的一些問題」（4月24日，上午：10:00-

11:30）。所有講座費用全免，以英語進行。另外，於3月3

羚羊與純鹿的選擇

日John Meehan的大師班後，更於下午1:00-2:30假香港演

文：Jonathan Ho

藝學院一樓大堂餐廳舉行「與大師午餐聚會」，費用為每位港幣100元（包括三道菜式之午餐及飲料）。詳情及查詢：

GYDP@hkapa.edu / 9229-1007（陳頌瑛小姐）/ 2584-8758

Taipei and Guangzhou Visitors by Kevin Ng

（吳妙君小姐）。

DISTINGUISHED LECTURES ON DANCE EDUCATION

崭新嘗試一廣州芭蕾舞團《梅蘭芳》

The Hong Kong Academy for Performing Arts and the Hong Kong Dance Alliance will co-present a series of lectures on

文：吳嘉詠

Dance Education between February and April 2004. The

lectures will provide opportunities for sharing ideas and

The Nutcracker by Clement Crisp

insights, experience and good practices between the dance and education sectors leading to the promotion of teaching

of dance as an art form. Three distinguished overseas

Ghost Stories

lecturers will conduct four lectures. All educators, school

by Tom Brown

principals, teachers, and artists are cordially invited to attend

the lectures. The lectures are: “Dance in the Primary and Secondary Schoor (7 February, 10:00-11:30 am) and “The Placement of Dance in the Curriculum”February,

4:30-

6:00 pm) by Dr. Ralph Buck, Lecturer in Dance studies， University of Otago, School of Physical Education (Australia); “Ballet Training in the 21st Century (Master Class Demonstration)" (3

March, 11:30 am- 1:00 pm) by John

Meehan, Former Principal dancer with Australian Ballet, Current Artistic Director, American Ballet Theatre II; and, “Selected Issues Surrounding Dance Education in Ohio's Public Schools"(24

April, 10:00 -11:30 am) by Professor Vera Blaine, Professor Emerita, The Ohio State University (USA). All lectures are conducted in English and admission is free. In addition, a

Image: Hong Kong Ballet’s The Netcracker. Photo: Cheung Chi Wai. 圖：香港芭蕾舞團《胡桃夾子》。攝影：張志偉。

調

《不死傳説》-世界首演

“Meet the Master - Lunch Gathering" will be held after John

為慶祝香港芭蕾舞團成立二十五週年•藝術總監謝傑斐為舞團度身訂造了一齣真情流露的感性作品—《木死傳説》°

the Atrium Lounge, 1st Floor, Hong Kong Academy for

Meehan’s Master Class on 3 March, at 13:00-14:30pm at

這齙大型原創舞劇是后羿射日故事的延續°舞劇以射曰的故

Performing Arts, with a fee of HK$100 per person (including

事為基礎，刻劃劇中四位主要角色后羿'嫦娥'逢蒙及侍女

beverage and 3-course lunch). Details and enquiries:

的性格，並以舞步演繹錯綜複雜的情感’揭示人性的嫉妒'

GYDP@hkapa.edu /9229-1007 Ms. Anna Chan/2584-8758

狡猾和仇恨。隨了舞蹈外•舞團亦邀請了著名作曲家關迺忠

Ms. Kennis Ng.

為舞劇作曲，還首度與香港中樂團合作•以中樂作現場伴奏。另外，劇中也注入了由香港演藝學院電影電視學院製作

LEGEND OF THE GREAT ARCHER- WORLD PREMIERE

的多媒體元素，令故事情節更加豐富"這餉原創舞劇於三月

To celebrate Hong Kong Ballet’s 25th anniversary, Hong

假沙田大會堂演奏廳作香港首演後’將於五月份到北美洲作

Kong Ballet Artistic Director Stephen Jefferies has created a

巡迴演出。節目查詢：2105 9724 / marketing@hkballet.

new ballet - Legend of the Great Archer - inspired by the classic Chinese folk tale. The story about Yi, the Archer

com ° 美國舞蹈藝術家訪港在得到香港藝術發展局的支持下，香港舞蹈聯盟伙同城市當代舞蹈團、動藝、香港演藝學院和香港舞蹈團邀請美國現代

舞藝術家於今年2月2至14日來港。這是香港舞蹈聯盟第二年邀請美國舞蹈藝術家到港作文化交流。上一年的計劃是由

God, sent to Earth to help the Emperor extinguish the many suns scorching his land, is a broad framework for the ballet’s

underlying tangle of emotions, with passion, jealousy, intrigue and murder. The production also features the Hong Kong

Chinese Orchestra’s performance of the original score by award-winning composer Kuan Nai Chung, and innovative

multimedia effects by The Hong Kong Academy for

亞和洲文化協會和Arts International Foundation所支持'今

Performing Arts, School of Film and Television that enhance

年訪港的藝術家共有三人，分別是Amii LeGendre, Michele

the dynamic staging. Following the Hong Kong world

Miller和KT Niehoff ° LeGendre是一個表演藝術家，善於探

premiere of Legend of the Great Archer aX Auditorium, Sha

索接觸、即興和回應合作者創作的動作詞彙。她的作品常常

Tin Town Hall in March, this neo-classical ballet will be

是偏離平衡，充滿智謀和個性，組織細密；動作著重與伙伴

featured on the Company’s major North American tour in

於情感上溝通的創作。Miller則強調倒置身體的創作，集中於

May this year. Enquiries: 2105 9724 / marketing@hkballet.com.

以從手至腳的輕易傳送。她的動作段落豐茂，重體力而富動感。Niehoff 是 Lingo dancetheater 的藝術總監。Lingo

USA DANCE ARTISTS VISITING HONG KONG

dancetheater是一個於1996年創立的誇媒介演藝團體，多

The Hong Kong Dance Alliance, supported by the Hong Kong

年來於世界各地的舞蹈劇場中演出富冒險性和運動性的作

Arts Development Council and in partnership with the City

品。到訪的藝術家除了於本地專業舞團和香港演藝學院敎課

Contemporary Dance Company, DanceArt Hong Kong, The

外，LeGendre和Miller更於動藝的舞蹈室中舉行四課名為「

Hong Kong Academy for Performing Arts, and the Hong Kong

Beyond Vertical」的公開舞蹈工作坊，時間為2月5、6、

Dance Company will initiate visits by American Modern

9及10日下午7:15至9:15。最後，三個藝術家於離港前

Dance artists to Hong Kong February 2 through 14, 2004.

更會於2月11日星期三下午6時30分假香港演藝學院一號

This will be the second year in which the Alliance has brought

舞蹈室舉行一次非正式的免費公開演出。公開舞蹈工作坊查

American dance artists to Hong Kong for cultural exchange.

詢及報名：2793 9957 °

Last year’s project was supported by the Asian Cultural

Council and the Arts International Foundation. This year,

「青年精英舞蹈課程」

three American artists will visit: Amii Legendre, Michele Miller,

香港演藝學院推出一個專為年滿14歲而富舞蹈才能的青少年

and KT Niehoff. LeGendre is a performance artist who explores contact, improvisation, and vocabularies reliant on

而設的全新課程— —「青年精英舞蹈課程」。這個課程的設

計參照了世界各地同類舞蹈課程的模式，可配合個別學員的私人舞蹈訓練。獲取錄的學員每星期會於香港演藝學院接受

舞蹈技巧和藝術上的訓練。「青年精英舞蹈課程」的宗旨，在於提升及擴闊學員對舞蹈藝術的認知，加深他們了解舞蹈

作為專業發展的可能性。課程的對象為有興趣於中學畢業後接受全日制專業舞蹈課程的青少年。除了芭蕾舞、現代舞、中國民間舞' HipHop/爵士舞' 毯子功、雙人舞及踢躂舞等

全面的舞蹈技巧培訓外，這個課程亦提供其它相關的舞蹈學習，包括舞蹈基礎、舞蹈與音樂、創作、舞蹈安全、即興、

舞蹈員前景等課程。「青年精英舞蹈課程」將於2004年9月

collaborators’ inventions resulting in work that is often offbalance and tricky, idiosyncratic and compositionally dense.

Her movement relies heavily on partnering inventions that communicate emotionally. Miller emphasizes upside down work that focuses on the ease in transition from hands back

up to feet. Her movement phrases are lush, physical and dynamic. Niehoff is the Artistic Director of Lingo dancetheater, an interdisciplinary performing ensemble founded in 1996 that performs adventurous and athletic works of dance theater around the world. Beside giving

開課，課程簡介將於2月中派發，查詢可致電2584 8758或

company classes for the professional dance companies and classes for APA students, on February 5,6, 9 and10, 7:15 -

電郵至 GYDP@hkapa.edu。

9:15pm, LeGendre and Miller will also teach four workshops

(continued on page 9)

舞壇手記

I香港演藝學院

Dance Diary

1 2 FEB 2BG4 回收再用的文本舞碼

圖書館 THE HONG KONG ACADEMY FOR PERFORMING ARTS I LIBRARY

Intertextuality in Dance and

Recycling of Dance Texts 文：劉建華

by Lau Kin Wah

香倦

是個充斥著多元化現成以及回收再用文本的

is a city jammed with all sorts of

都市。當代香港舞蹈，經常也以各式的文本

readymade and recycled texts.

作為發揮舞蹈的介面，在後設的閱讀和創新的诠釋之

Contemporary Hong Kong dance, often borrows these as

間，交織出豐富的質感層次。在（「年中無休」製作）台

interfaces to produce works that are multi-layered and rich

北越界舞團《尋找張愛玲》中的張愛玲小説、城市當代

in texture. Whether the borrowing remains truthful to the

舞團《怪談》中的小林正樹電影、《那時》中的貝克特

originals is an entirely different matter. In recent months,

（Samuel Beckett）同名劇本以外，（同為「年中無休」製

Open Daily’s production, In Search of Eileen Chang, by the

作）《無形體態》亦以跨地域、跨媒體的方式帶出又不

Taipei Crossover Dance Company, dealt with adaptations

一樣的表演形態。起用文本，不論是忠實演繹或借題發

of Eileen Chang’s novels. CCDC’s production of Sunny

揮，作為主題或增添聯想，自然提供了給評論人不少製

Pang’s Kwaidan/Emaki uses the film of the same name by

造議題的機會，但是否純屬天花亂墜，大概只有觀舞時

Masaki Kobayashi. While CCDC’s That Time, is loosely

才可揭盅。

based on a play of the same title by Samuel Beckett. Another

Open Daily production, Formless, is also a cross-cultural 張愛玲在華人文學的研究中，被重新一再高抬，在香港

collaboration interacting with different new media. Inter

近期舞台上亦然。讀張愛玲劈頭就是「中國是沒有跳舞

textuality, no doubt, provides writers with many possible

的國家」的〈談跳舞〉，其把現代舞呼之「自由式」、

entry-points for generating discussion, however, despite

重視「肢體的流動裡感到飛揚的喜悦」，與「離不開性

having seen the performances, one might come away with

的成份」的社交舞，未嘗都不是替《尋找張愛玲》兩支

the impression that many are somewhat over-interpretative

舞分别按加的好註腳。其中羅曼菲編的《沉香屑》，依

(text striving to become a text in its own right).

據張愛玲小説《第一爐香》，给「葛薇龍飛蛾撲火般地

擁抱浮華世界」到最後「沉論於無邊的荒涼與恐怖」的

In Chinese modem literature, the reputation of Eileen Chang

in literary studies has been constantly on the rise in our times.

She is also a recent hot figure in local stage productions. In one of her short essays, On Dance, Chang characterizes the

“free style” of modem dance as evoking the pleasure of body

movement for its own sake, while social dance in a complex society can never escape its sexual connotation. Such

notions seem to be well echoed in the different directions

of the two dances grouped together under the title, In Search of Eileen Chang.

台北越界舞團演出黎海寧作品《愛玲説》。攝影：李銘訓

In A Handful of Dust，choreographer Lo Man Fei explores

Taipei Crossover Dance Company performs Helen Lai’s Voices.

the story of ‘Ge Wei long embraces this vanity fair of a world

Photo: Lee Ming Hsun.

like a moth dashing into a flame,” which finally “sinks into

演繹，採的是角色與劇情的具體形象化，像四人圍坐搓

boundless desolation and horrors,” via a fairly theatrical

麻雀，又或男女情愛追逐的旗袍探戈’令使結尾的獨盞

approach. Scenes such as mahjong playing and ballroom

吊燈搖擺一幕反呈過於形式化°

courting are so life-like that they make the work’s final transition to a formalistic ending, which has a swinging lamp,

至於《愛玲説》.是黎海寧在2000年為台北越界舞團

a bit too dissimilar from each another.

所作.舞中大褸一節，似成了《其後》的實驗先聲。比較起《沉香屑》音樂、舞蹈的艷韻’《愛玲説》無疑確

Voices, choreographed by Helen Lai for Taipei Crossover

是「情狀與隱喻難以明白」’印象最深的•反是羅曼菲

Dance Company, first premiered in 2000. The use of a big

擔的女角，先愉悦地把報纸往身上貼’包裹著身軀’接

cloak in Voices seems to presage a similar use of a cloak in

著又驚恐的將之扯拋開來。這當然也可以是《第一爐

her recent There, after. Compared with the luscious music

香》中，葛薇龍擁抱世俗，身沾污髒的借喻’但在《愛

and dancing in A Handful of Dust, Voices is harder to

玲説》更是編舞為晚年張愛玲留的一記寫照°比較特別

decipher. The leading female role played by Lo Man Fei

的.是看越界舞團跳黎海寧的舞，舞蹈跳起來似比城市

first wraps herself with newspapers before suddenly deciding

當代舞團舞者帶多點的生活感，而非強烈的形體感。至

to hastily get rid of them. This could be a metaphor for an

於在燈臺以外，背著觀眾的電視螢幕•不論對舞者或觀

embrace of the secular and the staining of the not so innocent

豕視線的招引，彷彿則在述説著主人翁所以賴存活的文

Ge Weilong, but Voices is ambitious in that it strives to be,

字世界•因映像世界的到臨而難逃式微的感觸。

as well, a late portrait, an inner-monologue, and a meta

commentary of the novelist. The attention drawn by the television screen suggests perhaps that more is happening

in the outside world (conveyed via images) than in the fragile interior environment she indulges in (with words). But more

generally, the Taiwan dancers seem to give a more natural treatment to the choreographer’s movement than CCDC’s usual acute presentation of form.

A woman haunted by her own past memories, seems to be a central theme of the CCDC production That Time as well.

Australian choreographer Maggi Sietsma replaced Nobel Literature Prize laureate Samuel Beckett’s male protagonist with a woman. With what she calls “film noir” renditions, Sietsma lightened the tone of the dance. With “Please mind 城市當代舞蹈團演出茜思瑪作品《那時》。攝影：陳德昌 CCDC performs Maggi Sietsma's That Time. Photo: Ringo Chan

the gap” (in Cantonese) as the first of many lines spoken by the dancers, the dance was filled with the hustling of familiar

《明報》的報導指，在《愛玲説》種，羅曼菲像個曾經

everyday life rather than the alienating absurdity that

滄海，幽居自閉，勾起很多舊夢的女角，此一番描述，

Beckett’s treatment might lead one to expect.

其實或更使人聯想到《那時》。《那時》本是諾貝爾文

學獎特主貝克特的晚年劇作，但經澳洲編舞茜思瑪

More in tune with the original text was Sunny Pang’s CCDC

(Maggi Sietsma)的挪改，舞作把主角移易到女角身

production Kwaidan/Emaki. The piece premiered in 1986

上，不同成長階段過去式的回憶，亦也通過其稱作黑色

and contained three short ghost stories: Kurokami，Yuki-onna

電影的手法調度而調子變得輕鬆。由第一句廣東話的

(The Snow Maiden), and The Story ofHoichi. Ghost stories,

「請小心空隙」開始，全劇彌漫熟悉的生活感而非離間

which might at first, seem not that serious, however, are

的荒誕感。

revered in Japanese cultural studies. Masaki Kobayash, who won the Special Jury Prize in 1965 Cannes Film Festival,

更易於辨認出原來文本的，是同晚的演出《怪談/繪

represented this traditional genre in a state-of-the-art film.

卷》。這支彭綿耀所編、首演於一九八六年的《怪談/

Another more familiar example is Akira Kurosawa’s Dreams.

繪卷》，選了三節故事，包括〈黑髮〉、〈雪女〉和〈無

耳和尚〉。日本的怪談，既似是怪力亂神，卻又是研究

In the three stories, ghosts appear in Kurokami as a

曰本文化的大統.小林正樹1%5年奪康城國際電影節

punishment resulting from a betrayal between humans. In

評審團大獎的《怪談》更是代表了現代電影藝術和傳統

Yuki-onna, the bond between human and ghost also turns

東洋文化的一次结合.後來的例子有黑澤明的《夢》。

bad because of the human. In The Story of Hoichi. harm

看三鉤的故事，〈黑髮〉述的是人背叛人，鬼成了一種

comes to both the human and ghost. Punishment for the

懲報；〈雪女〉中，人也本為求生而與鬼並存，背叛此

betrayal of loyalty thus seem to be the moral running through

關係的，結果又是人而不是鬼；至於〈無耳和尚〉，倒

all of the stories.

是經典的「撞鬼」和「驅鬼」物語，得的徒是兩敗俱傷，怪談中的忠誠與背棄的道德敎化味道實際頗濃。

Yet in contrast to Japanese Butoh which was a reaction against the Americanization of Japanese culture, Sunny

但和日本舞踏欲以抗衡「美國化」相比，在拉扯的前後

Pang’s movement leads back to the American dance artist,

反覆，腳向前伸而身手倚後，拉張的旋身以及繃跳，彭

Merce Cunningham, especially the flip rotations with open

綿耀的編舞尤使不少人想起到簡寧漢(M e r c e

arms and back and forth stretching extensions. However,

Cunningham)的動作；但曲著雙腳的前躍，在直立的軀

using parallel bent knees in forward leaps, the use of a tilted

幹卻保持頭部的側傾，這些在似熟的流暢中的歧異，又

head while the torso is in an upright position, swift forward

或男舞者背著女舞者構成彆曲的平衡，後仰由別人手掌

movement while on the knees, these are just a few of the

來承著後腦，單腳膝跪的前移，動作形格既凌且厲，彈

unusual moments that provide a 'ghost-like’ difference

指的驚恐表情形式化，又相對的冷靜。從右到左(觀者

between Pang’s work and Cunningham’s. Women sitting

角度)的舞者流向，也不是沒有退後的舞步、斜線的走

on men’s backs rather than on their shoulders, for example,

動，卻仍有很強進念的感覺，臺上的冰，更就像是脱出

presented a crooked but counterbalanced equilibrium, while

於馬奎斯(Gabriel Garcia Marquez)《百年孤寂》的經典

leaning backwards and resting one’s head in the hands of

小説開場，反是原先安排年初演出的宣傳中，提到這是

others evoked a sense of insecurity and fear. Yet, too, as

韓偉康因雪女而構思出來，陰錯陽差卻成了評論套以指

they are sharp and forceful, scary expressions and formalistic

涉時間流逝的象徵。

finger gesturing movements are relatively calm (even “cool”)

in contrast. 舞臺並行的不同層次空間中，橋上發生的(從劇式到服飾)似是最忠於文本的版本，然而舞臺上發生的，又並

Incorporating the idea of Emaki (scroll), the dancers moved

非僅是二手的現代版，把舞臺上的舞蹈視為原裝正版，

continuously across the stage from the right to left (from

背後橋上的故事反成字幕，似乎更為貼切。而舞者從初

the audience’s view), thus yielding a very ‘Zuni-like’

段的西式服飾到中段人物同集臺中的全家幅，漸進的推

stylization to the work, even though, despite its use of reverse

演到第三段，全場的經文投影作為整個演出高潮，放棄

steps or diagonal paths, it was much less predictable. The

了全場的空間區隔，以此來看，更可以視為一種受驚的

use of a block of ice looked as if it came straight out of the

失語經驗。這種故事進佔了前臺的推演，和卡爾維諾

classical opening scene of Zuni’s work based on Gabriel

(Italo Calvino)的《隱形都市》角色間的溝通能力在全

Garcia Marquez’s One Hundred Years ofSolitude, especially

書的故事過程中發展起來頗似，反映出一種觀幂閱讀

if one missed the interview revealing that Zuni’s later work

「怪談」投入程度愈況增加的有趣編排。以橋下的閱讀

actually used Joshua Hon’s stage device from the earlier

完畢合上書本到在現實中再次碰上異怪事件，則又似卡

Yuki-onna. The testimonial nature of ice as an element of

爾維諾的《如果冬夜— —個旅人》的層層後設，讓現實

this stage design to the passing of time and the preservation

虚幻難分。

of matter are again demonstrations of the fictive

interpretations that grew

really by chance. Also, in Kwaidan/Emaki， the stage was divided into

three sections. On a raised platform, dancers in

Japanese traditional

clothing seemed to narrate the original story.

But

instead of seeing the stage

dancers, who wore westernized outfits as a 城市當代舞蹈團演出彭錦耀作品《怪談/繪卷》。攝影：陳德昌 CCDC performs Sunny Pang’s Kwaidan/Emaki. Photo: Ringo Chan

second-hand, modern

dance rendition of the

original drama, it might perhaps be more interesting to

reverse the interpretation and see the stage dance as the main text, while what is happening on the raised platform is a kind of subtitle. The procession of people from the past

who occupy the stage and the final abandoning of the stage division with a projection of Buddhist scriptures could then

be seen as an experience of reading ghost-tales in which the reader becomes more and more involved and in a final

climax loses sight of the words. Novelist Italo Calvino once explored this notion of the problem of developing imbedded

communications in his famous novel Invisible Cities. At 松本大樹於《無形體態》中演出其作品。

the end of another Calvino novel, If in a winter’s night …a

Yaiju Matsumoto performs his work in Formless.

traveler, there are also echoes of the intertwining of reality

and its representations in writing though the novel form, 《無形體態》簡單來看，不過是把兩位日本舞者松本大

with weird incidents occurring in a living room.

樹及新田真生的舞蹈置身於黃志輝及羅琛堡兩個媒體藝術作品的環境之中。但事實上。舞蹈和多媒體藝術之

The relationship between dance and media in Open Daily’s

間，不獨是文本間的關係，更而是舞蹈作為多媒體藝術

production Formless is not just simply between two kinds

一員的互動性文本。在黃志輝較小的空間環境中，松本

of text, but an interactive one. Of course, it begins by placing

大樹的豎立動作善用手勢眼神、足踝關節，而新田真生

dancers Yaiju Matsumoto and Mao Arata within the

的形體舞動則充滿折腰旋擺的地面動勢。在羅琛堡的

environment of an installation by Wong Chi-fai and Jamsen

「不隨意機」前，兩人動作的動幅也隨空間的擴大而多

Law.

了跑動，但靜止於椅子等段落，又使演出添點舞蹈以外

Matsumoto’s upright dance makes full use of eye contact

的表演藝術味道。

and hand gestures and movements of small joints such as

Inside Wong Chi-fai’s smaller space, Yaiju

the ankle. The other dancer, Mao Arata, in contrast, does 從演出到觀賞•黃志輝的互動裝置在敲鐘和投影泡沫的

more bending and swinging movements through the torso,

爆破之間較為直接，羅琛堡的《不隨意機》從文字説明

as well as turns that are performed close to the floor. Moving

到映像卻不易尋出有沒互動的竅門，兩舞者在分割的二

to Jamsen Law’s vast space in front of a projection,

拼-每邊中央一個方點的畫面前各佔一方，已是鮮有的

allows the two dancers more room for locomotion and

對應，卻依仍僅停留於傳統舞台和平面背幕的程式。演

bodily interactions.

出真正有趣之處，是不只是舞蹈員，而是觀豕也同樣置

；

身於媒體藝術作品環境之中，黃志輝的圓形布幕裝置，

Wong Chi-fai’s media installation is more directly related

其迷你的舞台既容不下所有觀眾，也使觀眾無法一覽展

to the visual and action elements. With every ringing of a

廳的全貌，因此在表演中產生了觀者的動因。觀眾不但

bell at the center of Wong’s cell-like structure, a bubble

要決定和舞者的距離，視線一旦受阻，還就被迫要去找

projection on the surrounding screens immediately bursts.

尋新的觀賞據點（甚至對舞作進一步發展的估量），這

Yet it is harder to notice if there is any direct correlation

回到習慣對舞作的結構、起承轉接知識的必然性的質

between Jamsen Law’s Involuntaty Machine installation and

疑。當然，如何將媒體作品更有機地結合而非單纯的並

real-time actions. A diptych-like splitting of the screen with

置，除了音樂調子•現在的過渡似乎過於簡單直接。

a rectangle on each side was the only time when the

projection on the otherwise familiar cyclorama backdrop 最後提的•是「舞蹈平臺」的「03终演」。比較我只看

seemed to correspond to the dancers. The dancers’ long

過的第一次公演，舞作改動了什麼，難免印象模糊，整

still posing on chairs also evoked a sense of performance

體感覺是全部水準也平均耐看了，然而上次較成熟處理

art beyond just a dance. It might be even better if the two

的，本或無變的必要，卻反而有感略為失色。至於要大

installations took greater consideration in generating a more

喊的，只見依樣大喊不悔，但「我是誰？」一旦用説話

organically whole environment.

講出來，本來就難避幼稚；忍，有時可也是一種更強的

表達方式；過於側重面向觀眾的溝通，可能反使舞作欠

The most interesting thing in Formless was, however, that

缺立體感。編舞上，似乎舞者人數愈少反更愈有發揮空

the audience was also placed within the environment of the

間•《踢躂領域》或是例外地格調統一、輕鬆卻也完整

installation. Wong Chi-fai’s little circular stage，for example,

的大組合。不少團隊的服裝、音響都找了專人負責，但

could not hold all of the audience, and it also blocked a full

特備盛裝同樣未必及便服自然，當然，最後各人服裝、

「舞蹈青年」平台舞蹈表演計劃、香港舞蹈總會有它的

造型、表情等，甚至對舞作的意會理解，實也應經過編

「社區文化大使」計劃，香港芭蕾舞團則亦有它的「全

舞的仔細融合調整，舞者各異的演繹，現時就頗為礙

港社區舞蹈節」，我們社會一時間好像不乏舞蹈的敖育

眼。燈光，亦是舞台演出和排舞室極大差異之一，用心

推廣活動。「舞蹈平臺」標榜持續性的舞蹈創作計劃，

的話可以減低不少音樂起與結的突兀。《Between》以

但若是在評論上招不起回應（社會媒體亦欠缺了這種需

燈的亮熄引導移位的效果，也令人就眼前一亮，雖然其

要耐性的空間），多次公演的意義似乎不大，那倒不如

情節更像《一個女人的故事》本事所説那種女人為男人

保持工作坊的性質，在排練時邀約嘉賓，作即場的互動

而活的意識，叫人看得渾身不適。

提點，個別舞作的逐一單獨討論，這樣的安排或者對參

與者更見效益。

總的來説，十二齣舞作的完成度，能跔給出這就是最後

版本的截然理由的，始終不多；不少舞者這次出入舞

附：筆者刊於上期《舞蹈手札》的文章中，關於《香港

臺，都一再碰到兩側翼幕，就更叫人難以置信。至於在

平靓正》中《face dance》標題與影像內容偏差的疑惑，

編舞動作以外，學習如何利用場刊的本事説明，其實也

經楊春江澄清後，知悉屬為筆者所觀場次，大會誤播了

是重要一環，以今次場刊為例，就見篇幅上的極端，如

楊春江另一題為《floor dance》的錄像所致。特此補充

何把一己意念在臺前幕後加以説明，其實同樣是該納入

説明。

培訓的一部份。就手頭集來的單張所見，CCDC有它的

view of the exhibition hall. So, not only was it necessary

movement via lighting in Between, for example, stood out

for the audience to constantly choose their relative distance

in this regard, despite the fact that the dance echoed a

from the dancers, but also whenever their viewing angle

synopsis of A Story of a Woman by suggesting a woman

was obstructed, they had to figure out what they should do,

who lives just for her man, making its self-consciousness

and this involved reflective judgment about the forthcoming

quite unbearable to watch.

development of the dance as well.

Linking back to the “inter-textual” trend mentioned at the As for the Dance Platform 03 Final Cut, it seemed a long

beginning of this article, how to make full use of the house

time since the first show, and to track down who changed

programme via textual hints should really be included as

what among the twelve pieces seemed almost impossible.

part of a choreographer’s modern training. The length of

My general impression was that all the works were more

text explication of the twelve Platform dances tended toward

watch-able, despite some being more outstanding in the first

two extremes. Together with leaflets from the Breaking

round, they seem to have undergone so much amendment

Through Finale Performance of the Hong Kong Dance

as to be beyond recognition, while those choreographers

Federation, the Hong Kong Community Dance Festival of

who used ‘yelling’ in their works, unfortunately kept on

the Hong Kong Ballet, Dancing Youth - Podium Dance

yelling. However, some questions, such as “Who am I?”

Performance of CCDC, it seems that all of a sudden there is

really need not be asked, at least verbally, to permit work to

no lack of platforms for young choreographers and dancers.

be elevated beyond the naive. Focusing too much on

Yet, if a program like Dance Platform could not generate

confronting the audience face-to-face, also sometimes

media response and criticism covering its various phases,

resulted in a rather flat and one-dimensional stage

the meaning of its multiple public showings is rather limiting.

experience. In terms of choreography, it seemed that the

Inviting guests and critics to watch separate rehearsals and

fewer dancers involved, the better was the attention paid to

to comment on individual dance pieces might be more

choreographic details, Tic Tark-A Place for Us was perhaps

meaningful and might generate more fruitful exchanges of

the only exception in this regard, in that this large group

ideas. Contemporary dance, I guess, is now entangled in

work achieved a coherent and entertaining expression. For

the complex web of texts, and the sensual experience of

many other works, costumes, hairstyles, accessories,

being on stage is just one small part of it all.

gestures, facial expressions, as well as the interpretive understanding of the dance seemed to need more fine-tuning

Author’s note: In my contribution to the last issue of Dance

to unify the choreographic ideas, while the bumping into

Journal!HK, due to a mistake in the video programme of

the side wings that occurred repeatedly throughout the two

Selling Hong Kong, my description of Daniel Yeung's face

nights was unforgivable. Lighting is another stage effect

dance (title according to the house program) was actually

that should be put to fuller use. The notion of implying

another of Yeung’s works entitled floor dance.

專稿

Article

Panch Bhoota —Dance of the Five Elements

崎

1 seven like-minded individuals have

Priyadarshini:

It is really a collaboration to bring

come together to co-create a

something new to Hong Kong’s cultural scene. When we

contemporary dance production called Panch-bhoota，

look around, it seems as if the only expression of Indian

Dance of the Five Elements that will bring together Yoga

culture is Bollywood. Not to take anything away from it,

and Indian Classical Dance to portray the theme of Human

but as trained classical dancers, we decided to get together

Transformation. The show will premiere at HK’s City Hall

and present something different and a bit more meaningful.

on Feb 27 & 28, 2004. The Yoga Society of Hong Kong is supporting this project and their journal Namaskar met the

Ranjini: Recognising the stroke of good fortune in bringing

group at a rehearsal for a first hand look into the the making

all of us, with our diverse skills and backgrounds, together

of Panchbhoota. The following interview comes from

in HK, we thought of exploring the universal, unifying theme

that meeting.

that links all our various Dance forms as well as Yoga.

Namaskar: Let’s start at the beginning ... what is

Neesha: ....how they all stem from the basic Eastern

Panchbhoota (pronounced as “Punch-bhooth”)and who are

philosophy of the interplay of the five (‘panch’)Cosmic

the people behind this?

elements (‘bhoota’).

Nilima Bhat: (Introducing Priyadarshini Shome, Ranjini

Namaskar: You mean like Earth, Water, Fire etc.

Menon, Neesha Shah, Raka Maitra). All of us are classical Indian dancers trained in different forms and have

Priyadarshini: Exactly. Our theme is that Creation is a

represented India at International Dance Festivals.

divine inter-play of the five elements of matter from which

Priyadarshini is a Mohini Attam dancer, Ranjini is an

it is made: Earth (Prithvi、，Water (Jala), Fire (Agni), Air

exponent of Bharatanatyam, Neesha has trained in Kathak

{Vayu) and Space (Akash). Each element has its unique

and Raka practices Odissi. I am now a yoga teacher, but

rhythm, sound, colour, emotion, quality and nature. And

have studied Indian classical and folk dance as well.

like Yoga, every Indian classical dance-form, expresses these through movement, in its own way.

Namaskar: And the two men?

Namaskar: So what exactly is the link between the Five

Nilima: Swami Vidyanand is a highly regarded Yoga Master,

elements, your dance-forms and Yoga?

who will provide the background chanting that underlies both the Dance forms and the Yoga. And R.P Jairam is a

Swami Vidyanand: Dance is also Yoga (Laya Yoga). Just as

gifted musician and composer, who is composing and

a yogi aims to achieve union with the Supreme Being through

producing an original music score for the performance. We

the mastery over body and mind and their ultimate dissolution

are thrilled to have them on our team.

into the spirit, the dancer achieves union with the Supreme

Namaskar: So what made you come together?

their ultimate surrender into the spirit. And for both the yogi

Being through the mastery over expression and emotion and

and the dancer, the same five elements are at play.

Priyadarshini: In any Indian Classical Dance, the dancer’s

Raka: “Experience” is the key word ... it must be an

training follows a conscious process that trains her for the

uplifting, high-energy, sensory feast.

ultimate mastery over her five elements. It is a quest for personal transformation through mastering the dance within...

Jairam: The audience must have at least as much fun

Each dancer’s training first begins with mastery over basic

watching as we’ve had creating it!

footwork and hand movements. She seeks to come into

harmony with her physical body, her Earth element.

Nilima: We believe the production will attract a discerning

Ranjini: Next she is trained in expressing the human

curious about diverse cultures. Whichever style of Yoga or

emotions in life’s drama - such as anger, greed, jealousy.

Dance you practice (or teach) we hope to provide a new and

By being able to summon different expressions at will, she

unifying insight, which hopefully expands and deepens your

gains control over her emotions, her Water element.

journey as well as ours.

audience of cosmopolitan, cultural experimenters, those

Neesha: When a dancer is trained to perform solo pieces, she comes into her own. She is exploring her individuality, her sense of self, her mind. She discovers and masters her

Fire element.

Panchbhoota: Dance Of The Five Elements

will be performed at the City Hall (Theatre), Hong Kong on Friday 27th and Saturday 28th February 2004 from 8.00 - 9.30 pm on both days.

Tickets are available through Urbtix.

Raka: Once she becomes comfortable with her outer reality,

For more information, contact JADE

she is now ready to discover her relationship with God, and

on tel: 96418214 or 60190621;

all of His creation. Through experiencing and expressing

email: info@jadegrouphk.com

deep unconditional love, devotion and faith she purifies Air,

or panchbhoota@yahoogroups.com

the cosmic element of Love.

It is this sense of separation from Him, the One Being, and a deep longing to merge back into that Unity, that is a main theme of Indian Dance. If ever you have watched any, you will notice that there is always a piece that describes Radha’s

love for her divine master, Krishna. She (the individual soul) is always pining to merge back into Him (the Supreme Spirit).

(“USA Dance Artists Visiting Hong Kong" continued from p. 2) that are open to the public (at DanceArt Studio). Finally, on

Wednesday, 11 February at 6:30pm in Dance Studio One at

the APA, the artists will present an informal showing of their work open to the public.

Nilima: And when she purifies and masters every element within, she becomes worthy of the descent of that Divine

GIFTED YOUNG DANCER PROGRAMME

consciousness. She experiences the infinite, eternity of

The Hong Kong Academy for Performing Arts announces it

Space, her fifth and most subtle element.

new Gifted Young Dancer Programme (GYPD) to begin

September 2004. GYPD is a unique training programme for Put another way, both the yogi and the dancer are alchemists.

talented young students aged 14 and above. Based on best

practice models from around the world, the GYPD is designed

By working with the Five Elements with which we are

to complement and supplement a student’s private dance

created, we transform our own consciousness. As Omraam

tuition. Successful entrants will receive weekly technical and

Mikhael Aivanhov says: “True Alchemy does not consist in

artistic training at the Hong Kong Academy for Performing

the spectacular transmutation of base metal into gold, but

Arts. This programme aims to develop knowledge about the

in the spiritual transmutation of man’s own matter.”

art form of dance and to raise levels of awareness of dance as a profession. It is for young people who are interested in

Namaskar: Sounds fascinating but isn’t it all too deep and philosophical for a lay audience in Hong Kong?

Ranjini: Not at all. In fact, we want to demystify Indian

full-time professional training after completing secondary

school. GYPD offers a broad range of curriculum in dance. Students will learn Ballet, Modern, Chinese Folk Dance, Hip hop/Jazz, Acrobatics, Partnering work and Tap. Contextual

fundamental truths through an experience both connoisseurs

studies include Dance Fundamentals, Dance and Music, Composition, Safe Dance Practice, Improvisation and Dancers’ Career Options. For information contact 2584-8758

as well as laymen will enjoy.

or email GYDP@hkapa.edu

Classical Dance and Yoga. And we want to express their

LEGEND OF THE GREAT ARCHER 全球首演及北美洲巡迴演出 World Premiere Prior to North American Tour

香港芭蕾舞團 HONG KONG BALLE i

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KONG

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總監 / 編舞 / Director / Choreographer：謝傑斐 Stephen Jefferies

作曲 / 指揮 Composer / Conductor：

關廼忠 KuanNai-chung 伴奏 Orchestra:

香港中樂團 Hong Kong Chinese Orchestra

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Article

Book Review: Mao’s Last Dancer, by Li Cunxin -Fusion Press (UK)，ISBN 1904132898 by Kevin Ng

下

370-page autobiography should appeal to both

to wash the plates”. And for his first meal in America, he

dance followers as well as the general public. Li

was taken by Stevenson to a Chinese restaurant where he

Cunxin, now aged 42, narrated candidly his colourful life

tasted for the first time Peking Duck and Tsingtao beer. He

so far, starting off humbly in a remote village near Qingdao,

noted ironically, “Here we were, having two Chinese icons

and ending up as the most famous international ballet star

right here in America.”

丨

produced by China by the time of his retirement in 1998. It is a most absorbing story.

It was such ironic descriptions of his innocent feelings like these sprinkled throughout the book that enlivened the

Li grew up during the Cultural Revolution which was

readers’ pleasure. I also like his witty comment on the lack

unleashed by the Chairman Mao in the 1960s，and witnessed

of grandeur of the White House which he visited years later

as a child an execution which must have been a daily

as a guest of Barbara Bush. “Compared to Chairman Mao’s

occurrence at the time, when the Red Guards shot the

monument in Tiananmen Square, the White House seemed

innocent “class enemies”. But it didn’t deter him from

very simple indeed.” On another note, there are however

becoming a dedicated communist. When he was nearly 11,

far too many Chinese parables quoted all through the book,

his teacher gave him the chance of a lifetime to audition for

which may seem rather abstruse for non-Chinese readers.

Madame Mao's Beijing Dance Academy; he pointed Li out

to the officials who were in his school to look for talent to

In America, Li experienced a rise in his stardom in Houston

“study ballet and serve in Chairman Mao’s revolution.”

where he was a celebrity. After he secretly married his first

wife Elizabeth Mackey, whom he later divorced, he decided Some of Li’s experiences in his first weeks in the Academy

to seek asylum in America the day before his visa was due

were touchingly described. He learnt to brush his teeth

to expire. The chapter narrating his ‘defection’ and his forced

which to him was “a completely new, strangely

detention in the Chinese Consulate was nearly as

uncomfortable experience”. He also took a shower for the

melodramatic as Rudolf Nureyev’s much more famous

first time which was “a thrilling experience”. Less thrilling

defection in Paris in 1961. A year later, Li was finally

for him no doubt was the experience of writing a self-

promoted to a principal at the Houston Ballet, where he had

criticism letter because he was caught in the classroom with

a rewarding career dancing many different leading roles.

some birds which he had snatched from a roof. Dance scholars would have welcomed more analysis and

His luck was with him again seven years later when he won

insights from Li on the various ballets which he had danced,

one of the two scholarships offered by Ben Stevenson, the

or even some comments on the finer points of ballet

then director of the Houston Ballet, to the Beijing students

technique. Why did he find it difficult for instance to dance

to study in his annual summer school at the Houston Ballet

the prince in “Swan Lake”，besides the obvious point that

Academy in America, a country which he had been

he was a former “Chinese peasant boy”？ It is a great pity

brainwashed to believe was “evil”. On his first ever plane

that he didn’t record some of the valuable lessons which he

journey, he and his fellow student felt that they “were treated

had learnt from the coaching of Stevenson, his mentor and

like royalty”. He felt so uneasy that he “offered the hostess

director at the Houston Ballet.

Mrs. Bush and her husband George were instrumental in

younger nowadays. He danced the 19th century classic ‘‘Don

persuading the Chinese government to let his parents visit

Quixote” in his last performance at the age of 38. He wrote

him in Houston. His reunion with his parents was one of

with a glow of maturity that he felt happiest in this demanding

the most moving parts of the book, and had all the improbable

role at 38, compared to his earlier performances at the ages

drama of a Hollywood movie in the way he described it.

of 18 and 28.

His parents went straight from the airport to the theatre to see him perform “Nutcracker”. “They had just had their

His career change from a ballet star to a totally different

first car ride, train ride, and airplane experience all in one

profession as astockbroker does stretch one’s credibility

day, and now here they were, suddenly faced with the

somewhat, though it marks his complete transformation from

blinding lights of a grand theatre and a sea of people

a communist to a capitalist and provides the book with a

applauding them.”

fitting happy ending.

Li soon married his second wife, the Australian dancer Mary

However there are some glaring omissions in this book.

McKendry who was one of his partners at the Houston Ballet,

While he commented on his disillusionment with the Cultural

and they were to have three children. His happy family life,

Revolution and the subsequent opening up of China’s

not typical of dancers in general, must have contributed

economy under Deng Xiaopeng, he made no mention

greatly to his career. And in 1988, he was finally granted

whatsoever of the Tiananmen Square massacre of the

permission to return to China to visit his parents with Mary.

students in 1989, which is still a black mark haunting the

This homecoming was no less dramatic as Nureyev’s return

ruling Chinese Communist Party. Was this to due to his

to Russia to visit his dying mother in the late 1980s.

fear that this book may be banned in China?

In 1995 he joined the Australian Ballet. Strangely there is

Nevertheless Li’s autobiography is one of the most heartfelt

no convincing reason given for his abrupt joining the

dance books ever written. His easy-going charm, and his great

Australian Ballet after spending 16 years in Houston Ballet.

tenacity in the face of hardship comes through often in the

Li retired several years later in 1998. Compared to artists in

book. I just wish that I had experienced his charming

other fields, a dancer’s career is cruelly short, especially as

personality and other star qualities as a dancer before he retired.

the major ballet companies’ stars are getting younger and

(“Taipei and Guangzhou Visitors" continued from p. 14)

Mei’s artistry until his temporary retreat from the stage when

The second act saw Mei who, having grown a moustache,

he refused to perform for the Japanese troops during the

giving up the stage after the Japanese invasion. There is an

war. Then Mei had his second phase of flourish until his

expressive dream scene displaying the women in the corps

death in 1961.

de ballet of the Guangzhou Ballet who are impressive in

their uniformity and good schooling. There is no better introduction to the Guangzhou Ballet than this

well-crafted Chinese-theme ballet, one of the most outstanding

The last act was another visual spectacle. The class for the

ballet programme seen here in Hong Kong since the Hamburg

students trained by Mei was an exciting virtuosic displaly,

Ballet’s Nijinsky in March 2003. The choreography, mostly by

followed by a Peking Opera number. And there was an

Fu Xingbang, is an excellent blend of classical ballet

evocative apotheosis symbolising the continuity of Mei’s

vocabulary, Peking Opera steps, and even martial arts.

artistry after his death. In this climactic scene there is a beautiful classical ‘flowers’ divertissement for the female ‘corps

The drama, neatly divided into three acts, starts with Mei

de ballet’ attired in red. Red is the colour of the plum blossoms

Lanfang reminiscing about his four greatest female roles in

(or Mei, the surname of Mei Lanfang.) The Guangzhou dancers

Peking Opera, danced by four different women. Mei was

were wholly ravishing in their classical purity.

superbly danced throughout the evening by Chao Lemeng,

an expressive lyrical dancer with a pleasing line and graceful

Praise is also due to the composer Liu Tingyu whose musical

hand movements. The second scene switched to a Western

score has a good mix of Chinese and western music which

setting with a spectacular ball in the US in honour of Mei

is conducive to the dancing. This splendid production is a

who was awarded an honorary doctorate. The ensemble

triumph for the Guangzhou Ballet.

scene was well danced by the company.

舞評

Review

羚羊與純鹿的選擇從城市當代舞蹈團《失驚無神夢驚魂》引發的思考文：Jonathan Ho

國際演藝評論家協會專業會員

藝術學院兼任講師

十一月於上環文娛中心劇院，欣賞了一

黃狄文的〈男人炒飯〉，相信是當晚得到最熱烈掌聲和

場由城市當代舞蹈團（以下簡稱「城當」）

觀幕反應的作品。三個原本剛陽味十足的男子漢，穿上

團員創作的作品集— —《失驚無神夢驚魂》。七位編舞

卡通般的服裝已極具喜劇效果，加上傻瓜兮兮的舞蹈動

創作了七段不同風格，不同旨趣的舞蹈作品，這些作品

作及似懂非懂的「台詞」，令人捧腹大笑自是不在話

不單反快出七位編舞的所思所感，更反缺出城當的一些

下。固然，這舞作可反映黃狄文頑皮跳脱的一面，然而

取向。

若我們從舞蹈作品可以反映編舞人生觀這一個角度來

看，這是當晚七齣作品中對人生體會最富幽默感的一當晚演出，在每段舞蹈作回開始之前，都先播放舞蹈錄

齣。誠然，生活種種甘苦，有人會以悲情、孤單面對，

像師吳文安對每位編舞的描畫（portray）-------- 有現身説

有人以打鬧作出抗議，而黃卻選擇以嬉笑來迎接，以幽

法，大談舞者身涯甘苦的、有坦然展示生活日程，行住

默作自我寬解。表面看來，〈男人炒飯〉只是一套搞笑

坐臥的、亦有戲中有舞，舞出內心世界的、更有出動閨

惡作劇，但細想一層，這作品確有著差利卓別靈般的靈

中寵物，掌上名「機」「示威」一番的！這些錄像製作

犀。黃的舞蹈造諧素來以剛柔並濟服人，加上如此「編

既是舞蹈演出前的熱身，更可説是觀幂的額外得益。

舞智商」，若多加努力，舞蹈前途定必更為燦然。

當晚的七個作品雖不是段段都精彩無瑕，但至少各具個

綜觀《失驚無神夢驚魂》，確是賞心之作，然而，如此

性，充滿誠意；其中陳宜今的〈長板凳〉、劉傑仁的

優秀的編舞作品為何只有偶爾一次的演出？城當擁有一

〈Solo〉、盧思邁的〈放馬過來〉及黃狄文的〈男人炒飯〉

眾各具編舞才華的舞者•只要多加培育•多予機會•城

令人印象難忘之餘更引人深思。陳宜今的〈長板凳〉考

當的作品源流又何懼「因歲月磨合，而不能再創風

妙地運用最為簡單普通的長板凳，道盡舞者的心路歷程

格」？既有海纳百川的襟懷，又為何不多予機會给池中

及舞團生活的種種，簡約而又率性。

幼鲤？世間上羚羊與純鹿皆善於跳躍，但純鹿比羚羊優勝之處是其頭上那極為珍貴的鹿茸。單從這次演出，已

劉仁傑的〈Solo〉中，一道紅色斜線從後台伸延出至台

可見城當舞蹈實中純鹿處處，卻為何大部份演出只見羚

前，舞者只穿著單薄的大衣，遁著這條紅線舞動，而舞

羊騰曜而少見純鹿頭角？

動的過程縱然有時悲憂失落，有時歡欣喜悦，甚至偶有銀星閃爍、火花乍現，但孤單的舞者卻好像著了魔咒一

般，無論如何努力都只能遁著那條紅線遊走徘徊，而不跳出紅線之外。是宿命的安排，還是無明的執著？全舞

滲透人生智慧•禪機處處。劃仁傑早以舞藝超凡見稱，

原來對人生觸覺敏銳，别具機智。

盧思邁的〈放馬過來〉利用了油桶、汗衣作主題，一派

剛陽味道已直逼觀幂席間，加上一幂滿身油污的舞者在台上躍動狂舞，時而擊打油桶，時而相纏，時而打鬧。

舞蹈很有硬漢子的剛烈，看得人熱血沸腾，不党隨著音樂搖擺。

舞評

Review

Taipei and Guangzhou Visitors by Kevin Ng

y •邊• Crossover Dance Company’s programme at the

five dancers, two duets for the main dancer and each of the

Cultural Centre in early December entitled In

two men, and then followed by a tense trio. The music

Search of Eileen Chang comprises two different works -

contained excerpts from tango and other Latin dances as

choregraphed by Lo Man Fei，a co-founder of this Taipei

well as Zhou Xuan’s famous song Shanghai Ni^ht. It was

company; and Helen Lai, the resident choreographer of Hong

excellently performed by the whole cast.

Kong’s City Contemporary Dance Company.

Lai’s work Voices which opened the evening is an abstract

For its first major tour to Hong Kong, the Guangzhou Ballet,

fantasy on the novels from the renowned author Eileen

founded only in 1994 and directed by Zhang Dandan，

Chang. The author was enacted by a hysterical female

presented at the Shatin Town Hall in late December a full-

dancer who frequently appeared seated on a sofa reading

length ballet Mei Lanfang based on the life of the legendary

and then crumpling pages from a newspaper, while readings

Peking Opera artist. The ballet narrates the blossoming of

from her novels were heard on tape. An elegant woman in

(continued on page 12)

a cheongsam and another woman with a fan symbolised

characters from some of Chan’s novels.

A man danced with both ladies as well as the author herself. The dances in the work were mostly tense and agitated, and the dancers’ movements were sometimes spasmodic.

Halfway through the piece, a series of explosions was heard depicting some catastrophe. The angst-ridden tone of the piece, rooted in the style of European dance theatre, was slightly too relentlessly bleak, and some lighter episodes as

a contrast would have been welcome.

The second piece A Handful of Dust, which was only premiered in Taiwan last month, was more upbeat. Lo’s

choreography had a clear sense of form and structure, and

satifyingly evoked a range of emotions. The work’s theme was the the elusiveness of love, and the constant blurring

between reality and fantasy. The main female dancer was torn in her affections between two men, and briefly

experienced the high life in a Shanghai nightclub. The drama was well developed by the choreography in a variety of dances - a mahjong scene for the whole cast of

Lo Man Fei's A Handful of Dust. Photo: Hsu Pei Hung

舞評

Review

薪新嘗試一

廣州芭蕾舞團《梅蘭芳》文：吳嘉詠

0為

一場「沙士」，

出或是他的舉動。只見朝

香港的芭蕾舞迷

樂蒙在台上一手一足都充

要等到聖誕前才能欣賞到

滿女性的嬌媚，像極梅蘭

廣州芭蕾舞團（簡稱：廣

芳在台上的京劇演出。尤

芭）的《梅蘭芳》。筆者看

其是在第二幕慶祝梅蘭芳

了舞團在十二月二十日假

獲頒榮譽學位的舞會上，

沙田大會堂的演出。當天

朝樂蒙展現出京劇花旦一

是星期六，但入座率卻只

些姿勢、形態，讓觀幂看

有七成。這該是宣傳不足

到如同梅蘭芳在京劇演出

還是跟觀眾■對京劇不熟悉

中展示的女性「媚」態。

有關呢？場境欠連貫性

從來就党得要做到中西文

論敢於創新，廣芭倒是有

化融匯不是一件易事。現

的：論技巧，還是有不足

在廣芭卻"结合了京劇和芭

之處。群舞中，男舞蹈員

蕾舞，可以説是一個很薪

明顯身體沒有足跔力量，

新的嘗試。以前在音樂方

尤其是做一些大跳時，看

面我們有《黃河》或《梁

到他們是不夠力度的。在

祝》，在舞蹈方面有《白

第二幕舞會也可以看到男

毛女》和《紅色娘子軍》；

舞蹈員抬舉女舞蹈員時是

它們都把中國原素與芭蕾

不多句力的。

舞结合，而廣芭就更在芭蕾舞劇中加入京劇的造型、音樂，部又做到融會貫通的

這次《梅蘭芳》主要是由三幕二場組成：梅韻'梅派’

境界，沒有不協調的感覺。

梅節、梅芳。由梅蘭芳在創作中的遐想開始，然後頒授

朝樂蒙演活梅蘭芳

逝去；本來這是一個很流蝎的安排，不過基於場境欠連

一開始，場境已經讓觀眾如同在戲棚看戲一樣。隨著叩

貫性•每一幕的音樂、舞蹈好像是獨立的，以致台下觀

響式的京劇音樂•觀眾首先看到的是每個梅蘭芳曾扮演

幂有點搞不清楚每一個場境在講什麼。這可以説是舞劇

過的古代女性英雄，在梅蘭芳的創作遐想中獨舞。同時

美中不足的地方。

榮譽學位，日軍侵華拒絕獻藝，到最後一代京劇大師的

梅蘭芳本人亦在她們當中穿插著，好像在顯示他們之間有著不可分割的關係。筆者認為這裡的編排很好，可以

把中西文化躲合在一套芭蕾舞中不是易事。現在廣芭卻

讓觀眾同時欣賞梅蘭芳「真身」和他曾扮演過，似假亂

把京劇搬上舞台，並糅合西方的古典芭蕾舞，可是一個

真的女英雄角色，亦避免了角色重疊的尴尬情況出現。

全新大膽的做法。希望廣芭可以繼續為觀眾帶來新的東

西，同時也要留意舞蹈技巧上的改進。飾演「梅蘭芳」的朝樂蒙是國家一級演員，畢業於北京舞蹈學校。不知道在演出前他有沒有觀摩過梅藺芳的演

舞評

Review

The Nutcracker Hong Kong Ballet / Grand Theatre / Hong Kong Cultural Centre by Clement Crisp

f H it’s Christmas, it must be

Principal and soloist roles

V The Nutcracker.

were done with unabashed

Around the world, given a

pleasure, and I much enjoyed

handful of dancers and a

Faye Leung and Nobuo

whiff of Tchaikovsky, this

Fujino as the Sugar Plum and

ancient ritual is re-enacted as

her Prince - the dance well

a tribute to some seasonal

shaped, bright in outline.

thing or other. (As a frightful

Jefferies’s treatment of the

statistic, I record that in

dread sweetmeats in act two

America no less than 200

is a triumph of ingenuity

productions - of varying

over the predictable - there

degrees of amateurishness -

is an Arabian dance with

emerge at this time of year.)

some saucy touches, and a

Few, in my own chequered

splendidly vivacious Spanish

experience, do any honour to

number which makes Don

The Nutcracker’s essentials

Quixote seem sober-sided.

of poetic charm. So let me

salute the happy version

Hong Kong Ballet’s production of the Nutcracker.

The second cast brought a

Photo: Cheung Chi Wai.

currently on view in Hong Kong.

further revelation: the

presence of Wang Qimin as a guest ballerina from the National Ballet of China. There are moments when the

The staging is by Stephen Jefferies, and is blissfully

critical eye is suddenly caught by something quite out of

traditional. Which mean that the tale is honestly told,

the ordinary. I have made no secret of my admiration for

decently choreographed (by Jefferies), and prettily set

Chinese ballet in the past, and in Wang Qimin I recognise a

by Peter Farmer in Edwardian times and that there are

talent of exceptional merit. A beautiful and delicate

no gimmicks or psychological baubles decorating the

physique, serene technique, are allied to that mysterious

narrative. And the score is honestly played by the Hong

assurance which has ever touched dancers of nascent

Kong Philharmonic.

greatness. Music guides her, not just in phrasing but in

emotion, too, and movement flows through her, is shown to Jefferies has been director of the company for eight years,

us, and delights us by its inevitability. She has a rare gift

and has built a well-mannered and enthusiastic ensemble -

and, please Heaven, the future is bright. That she was so

the dance is as vital and aspiring as its city and, just as one

well set off by the Hong Kong Ballet says much for the fine

finds traditional street markets cheek by jowl with the

qualities of the troupe.

dizzying vistas of skyscrapers, so this Nutcracker asserts the traditional delights of the old ballet.

23 December 2003, reprinted with permission

舞評

Review GHOST STORIES

Helen Lai’s Voices and Sunny Pang’s Kwaidan/Emaki by Tom Brow:

Taipei Crossover Dance Company performs Helen Lai’s Voices. Photo: Lee Ming Hsun,

presentation of Taipei Crossover

the dialectic between the artist’s compulsive dwelling within

Search of

interiority and her need to embrace external existence in order

Dance Company’s

Eileen Chang at the Hong Kong Cultural Centre Studio

to bring forth creations wrenched from that inner world.

Theatre on 5-7 December was a transcendent evening of

inspired choreography performed by a company of superb

The work begins as Chang reflexively crumples newspapers

artists. The first half of the evening, Helen Lai’s Voices,

then spreads a page out on her lap, tucking its ends under

opened with a tableau that recalls a photo Chang had taken

her thighs. She covers her legs, then her upper body, then

late in her life, in which she sits holding a newspaper, its

her arms to fashion a dress, and stands childlike, swaying,

date prominently displayed, so as to disprove rumors of her

waving her arms, as if to some far-off memory. Abruptly,

death. The scene is redolent of 50’s film noir. Eileen Chang

she flings herself back to the sofa, ripping the papers and

(Lo Man Fei), wearing a frowsy white dress, her face ashen,

grabbing at the wig, tearing it off. Like a diver surfacing to

her elegantly coifed wig slightly askew, slumps on a couch

gasp for breath only long enough to replenish her lungs

in dim light, surrounded by newspapers. A neutral-colored

before plunging back into the depths, she begins a struggle

carpet, like that used in Chinese opera, covers the stage in a

between succumbing to and recoiling from encroaching

vast room-like set. Sparse furnishings: the couch in front of

imaginings.

a beige flocked wallpapered backdrop, two art deco lamps,

conversations, she speaks aloud, rhythmically repeating

and a squat TV in the foreground, are scattered along its

phrases, reaching out into the space with trembling hands

As she stares at the blank television screen, a

in a crescendo of fhry and frustration. Again and again, she

disembodied voice, intermittently reading passages from

tears off the wig and shoves it back on, covering her own

Chang’s novels in Shanghai and Mandarin dialects, echoes

limp, faded hair.

through the space. Her body attitude and the forlomness of

web of reminiscence, she sensuously caresses the wig or

the scene, evoke a woman haunted, tormented by interior

grasps it to her cheek as if a cherished token, or with

dialogues and beset with the ghosts of her imagination.

cleansing gestures, rubs it over her body. At each attempt

edges.

she gazes at the TV, the dance unfolds with characters

At times, as if reiterating snippets of

Occasionally, again as if caught in the

to leave the sofa, she collapses, unable to break away.

entering and exiting the space. The choreographer’s conceit

of TV screen as projection of imagination and dance playing

Exhausted, she recites a series of addresses. A litany of

on opera stage as its artifice, is a masterful formulation of

one-night stands, cheap hotels, brief stops in the peripatetic

the creative process, the imitation of an imitation that

life of an artist; it is a catalogue of descent. During this

constitutes artists’ work. It also enables Lai to deftly examine

monologue, a second woman (Wu Su Chun) enters along

Despite the obvious toll, Chang

the diagonal. Wearing a Qipao and carrying a fan, her

days creates a frisson.

movements are alternately coy and seductive with the

visits and revisits her imagination, her source of meaning

exaggerated oppositional torso spiral of Chinese dance. In

for existence.

contrast to Chang, her movements are full of youth,

contrasts the drabness of her American exile, delivers the

expectation, and adventure. It’s as if, by bringing imagined

work and our view of Chang, precluding descent into bathos.

existence into corporeality, Chang’s life has been sucked

Rather than a woman pursued, escaping from the voices

from her. As a man enters (Francis Leung), the second

that haunt her, Chang’s interactions with characters she has

woman becomes restless then sits in front of the flickering

created, their fusion with memory and the present, her

TV screen that broadcasts news of aerial bombing raids.

pursuit of imagination and the emotional intensity it

On the sofa, bathed in cold light, combat erupts between

provides, render a life electrified. The work resonates with

Chang and the man. She grabs at him; he lurches at her.

rich emotionality creating a world where the journey of the

They pause, frozen in fight, then collapse. Repeating their

mind intersects past and present, where time folds in on

contorted brawl, elaborating it, using it to traverse the sofa,

itself, where death has no part.

That the vividness of the mind sharply

they continue until her movement is reduced to a paroxysm The cast inhabits Lai’s work with a commitment and

of stifled rage.

assurance that only a deeply felt certainty can summon.

After a blackout, another dancer (Chen Shu Gi) enters

Every gesture, each step is true. The delicacy and

replacing the second woman. She is wearing a chic

ingenuousness that Wu brings to her role, Chen’s power

Cheongsam and unlike Chang’s strained outbursts or the

and deliberateness coupled with her sensuous grace, and

ebullience of the second woman, this newcomer’s

the intensity and force of Leung’s control propel the work,

movements are assured, calculated. To the accompaniment

indelibly fixing it, etching it in our mind’s eye. At the center

of a northeastern Chinese folk tune, she weaves through the

of this vortex of stunning performances, clarifying them,

space, gesturing, her shadow projected on the backdrop.

providing the armature around which they are built, is Lo

Circumnavigating the stage, she stops for a momentary

Man Fei’s luminous accomplishment in the role of Chang.

exchange with the man, elegantly adjusting her costume,

In Voices, Lo distills her dancing to pure essence. Nothing

allowing him to help her into a fashionable robe-like coat.

is extraneous. No waste. No superfluity. Nothing remains

Further along the perimeter, while performing a brief Chinese

but that without which all would be diminished. Her first

dance, she recites a bit of Mandarin text, accenting it with

solo, her soliloquizing with the wig to metaphorize a torrent

Peking opera-like gestures. Like the second women, this one

of memories, is a tour de force. As she alternates between

is far more colorful, possesses far more vitality than Chang.

hurling herself back to the here and now and indulging in

Her sculptured movements seem to push the space around her

the multifarious emotional states that her memories evoke,

through the room, as if she were traveling in her own sphere,

modulating the performance so that the magnitude of the

unlike Chang whose gestures slash and pierce at the space as

scene sneaks up on us, draws us into its grip without our

if she were trying to diffuse demons that enthrall her.

knowing that we are being caught up by it, we are left breathless with the depth of her passion. As the dance

In a final crescendo of activity Chang, helped by the man,

progresses and the realization dawns that the opening solo

repeatedly dons and discards two coats, putting them on

merely presages the enormity of insight she reveals, it is

correctly, then backwards, then on her feet, then one on top

awe-inspiring. That she achieves this without bravura steps

of the other, then slung over her shoulders, then on her head,

but with the barest, most straightforward gesture, body focus,

placing them carefully or ripping them on and off.

She

and nuance, without hysterical dramatics or facial

explores every possible way of wearing the coats, assays

contortions but through movement, that her subject is the

them, experiments with them, uses every last bit of her

life of the mind; these make her performance unforgettable.

energy.

The probing draws her from the stupor of

indifference into the agitation of engagement. At the end of

On 26 and 27 December, the City Contemporary Dance

this scene, the man departs leaving her alone sitting nestled

Company revived Kwaidan/Emaki by Sunny Pang. The

amidst the crumpled newspapers and lit only by the

work is as sparklingly new as it was nearly 20 years ago at

flickering TV.

its premiere. Pang masterfully juxtaposes an abstract

modem dance in the foreground, in which dancers move

Lai’s deft weaving of scenes from Chang’s imagined life

from left to right across the stage, against an ongoing

through the bleak landscape of the writer’s solitary final

narrative of Japanese ghost tales that are principally played

181

out on a two-story platform at the rear of the stage, but also

high to the side. As the leg stretches the dancers tilt from

spill onto the main stage, in the wings, behind the semi

the vertical letting the tug of gravity pull them off-balance

opaque curtained backdrop, and have elements that are flown

and lead them into the next series of steps. Even with this

high up above the dancers heads. Pang’s choice of a

falling element, their movements are deliberate, considered,

rationalistic presentation of ideas through the clean, clearly

uninflected, the tempo unhurried. Couples shadow one an

articulated movement of the dancers to the discreet episodic

other or move sequentially one after the other. When pair

unfolding of ghost stories contrasts his subject material and

ings occur there is no heat in their touch, encounters pro

provides both the dislocation from reality that delving into

ceed almost disinterestedly.

the subconscious entails as well as a

Inset amidst this

wry commentary

methodical flow of

on the fascination

movement are brief

with the bizarre that

incidents that are

such explorations

almost like asides or

engender. Joshua

marginalia.

Hon’s set, in which

trembling hand

the foreground acts

gesture, a pattern

as a kind of tabula

made by a long

rasa on which the

series of steps that

dancers9

spirals inward like a

movements scroll

slowed-down

across the stage and

miniature tornado, a

the two

story

CCDC performs Sunny Pang’s Kwaidan/Emaki. Photo: Ringo Chan.

background, the

human-shaped

parcel

red

lower register fiimished with an easy chair and reading lamp

wrapping gliding overhead at the edge of the stage opening,

on one side and a refrigerator on the other and the loft-like

a woman entering sitting crouched on a man’s bowed back,

upper story, a narrow passageway backed by sheer drapes,

her legs clutching his shoulders, his bald head held tightly

emphasize the choreographer’s penchant for infusing the

between her knees as if she is hatching a giant egg.

mundane with the otherworldly. Likewise, Hon’s costumes,

Subliminal flashes, a momentary flicker of red light fills

traditional Japanese clothing for the ghost tale characters,

the stage, objects appear in the wings then are removed

and ordinary sportswear - tweed skirts, slacks, and plain

before their appearance can fully register. In the upper-

blouses for the women and casual pants and shirts for the

story, the vague outline of a woman can be half-seen peeking

men - enhance this concept. Similarly, Jo Phoa’s lighting

from behind the curtains.

casts the dance in a lucid glow that underlines the contrast

between the seeming transparency of this world and the

The presentation of these insets is given the same weight as

supposed opacity of the supernatural.

the more orderly movement of the dancers or the Spartan actions of the background characters. Not magic tricks or

The piece begins with a samurai, his hard-working former

flourishes, but elements that coexist with the others as if

wife, and wealthy current wife sequentially entering and

within a denser fabric than that which is normally apparent.

exiting the upper room. Pang selects the most salient fea

The choreographer’s blithe revelation of this parallel

tures of the tale, paring the story down to almost haiku-like

universe lends the work a kind of tongue-in-cheek wittiness

simplicity : the courtly behavior and elegant dress of the new

while at the same time generating tension. As the dance

wife as she traverses the space, the simplicity of the old, the

proceeds from first tale through last, there is an imperceptible

samurai’s strutting as he abandons the old wife for the new,

accretion of this latter quality so that its weight bears down

then his more circumspect reappearance as he reconsiders

on us, taking us further away from the reasonable into the

his choice. On the stage below, dancers cross the space in

grip of the irrational. It is a wonderful journey made more

ones and twos. Their movements consist of walks, runs,

so by the dancers’ sublime clarity. Their technical aplomb,

turns, and jumps alternating with motifs such as a simple

the fluidity of their movements, and the cohesiveness of

side step on bent leg with the gesturing leg held low near

their ensemble work allow the choreographer’s ideas to soar.

the ankle of the support ihen unfolding until it is extended Background image: CCDC performs Sunny Pang’s Kwaidan/Emaki. Photo: Ringo Chan.

Visible Melody《緣舞曲》 Zero Zero Ensemble ()0 合

Flight《夜奔》

7/2 8:00pm Theatre, Sheung Wan Civic Centre

12-14/2 7:45pm APA Drama Theatre

上環文i吳中心劇院

演藝學院戲劇院

Choreographers 編舞：

Concept & Direction 意念、創竹

Emma Redding 韋愛瑪

Mui Cheuk Yin 梅卓燕

Abby Chan陳敏兒

Lin Yuan Shang 林原上

Enquiries 查詢:2268 7323

Choreographer 編舞： Lin Yuan Shang 林原

《四川好人》（音樂劇）本地音樂劇瓊激盪人心之作首演連場爆滿为

編舞：余碧艷

f•:卜「d

查詢：9080 9389 / 2268 7323

樹寧現在式單位

8:00pm,

3:00pm

筌灣大會堂演奏廳

Shu Ning Presentation Unit 13-15/2

15/2

13-14/2 8:00pm,

The Good.TheBadand Scarlett O’Hara 《獨行俠與亂世佳人》

15/2

3:00pm

Kwai Tsing Theatre Auditorium

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Choreographers 編舞：

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Abby Chan陳敏兒 Andy Wong王廷琳

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Ernie Greco ! PC

Enquiries 查詢:28242430

（測好人＞ istival

Conjunction of Black 《黑色聯想》

荃S大禽堂柚番

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2CW 年2月 13及14 3 (Z»£az,： %±8S? 20M年2月15E!l r?3t* $150.120.90

17-18/2 8:00pm

Kwai Tsing Theatre Auditorium 葵青劇院演藝廳

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Choreographers 編舞： Emio Greco艾米奧•格雷科

Pieter C Scholten 彼德•徹爾敦

Under the Miao Mountains 《苗嶺風情》

,Department of the Arts College of Guizhou University

香港紫荊花舞蹈團與貴州大學藝術學院舞蹈系

8:00pm

Ko Shan Theatre

TTNDO 把去：把堪

Can wc craw nli:“ i、ini|iriiilc(l: undo n liat is d'lnc?

Enquiries 查詢:2824 2430

The Hong Kong Bauhinia Dance Association & The Dance

20-21/2

t«集十岡年演出

i3 •中-求馨奋演出 Manna Dance IO1* anniversan' pri rornuncc A ptoduvti4ii with urti^ IhHn Hong * V' \ ~ nuinbiid Cliiiu uitd (Ik USA \ * ；'

Undo《烙印》 Manna Dance玄牝舞集 20-21/2 8:00pm

Studio Theatre, Hong Kong Cultural Centre 香港文化中心劇場

高山劇場

Choreographer 總編導：

Pang Xueyan 彭雪鲍

Choreographers 編舞：

Aaron Wan温玉均， Rob Kitsos羅傑索

Siudio Thcauv. Iloni! Kung t' 2»»-2l.2.2(KMi'v«hU

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節目連接 8:00pm , Arts Centre Shouson Theatre 藝術中心壽臣劇院 Choreographer 編舞:

Dick Wong

2 1/2

8:00pm Auditorium, Yuen 1ρng Theatre

黃大微

元朗劇院演藝廳

22/2

8:00pm Auditorium, Sha Tm Town Hall 沙田大會堂演奏廳

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蘇黎世芭蕾舞團

27-28/2 8:00pm Theatre , Hong Kong City Hall

7:30pm

香港大會堂劇院

Cultural Centre Grand Theatre 丈化中心大劇院訂閱ic

Director /Choreographer

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HKAPA School of Dance 演藝學院舞蹈學院

門穿？:2月1曰於城巿電陆售票處發S Tickets available at all URBTIX outlets from 1st February onwards 羋價•高齡■殘疾人士及全曰制學生 50% off： Senior citizens, people with disabilities and full-time students

七折：嗶買21張或以上正價門栗 30% off : Each purchase of 21 tickets or above

時間Time

1.3.2004 （星期一Mon） 7:30 pm

地點Venue

葵青劇院

門票 Tickets

Kwai Tsing Theatre $100, $80

曰期Date

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