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香港舞蹈聯盟理事委員會 Honq Konq Dance Alliance Executive Committee : 主席 Co-Chairman : 白朗唐 Tom Brown
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Contents 目錄 ___________________ Vol.6
No.2
Cover封面 Aaron Wan’s Imprint 溫玉均《烙印》 「法國五月」
由法國領事館主辦’法國文化協會協辦的「法國五月」，將
舞蹈快訊NEWS
1
會在今年4月28日至6月4日舉行。今年是這個一年一度文 化盛事的第12屆，在二十多個節目中，有兩個截然不同的舞
團演出°萊恩芭蕾舞團演出三齣當代舞蹈：揉合了 Techno 派對、時裝表演與古典芭蕾舞於一身的爆炸性舞蹈演出《狂
舞蹈■跨•語言
Adversely, Language 0 Language
熱》（嘉露•雅密堤編舞），以舞蹈表達編舞對量子物理看
文：劉建華
3
by Lau Kin Wah
法’舞者如太空中遊離的自由電子般遇上碰撞便再次結合的 《舒羅丁格的貓》（嘉露■雅密堤編舞），以及簡寧漢的《雙 人舞》。［5月31日（星期一）和6月1日（星期二）晚上
National Ballet praised by British critics
八時，文化中心大虜院J。另一個節目是由扇子舞團演出的
8
by Kevin Ng
巴洛克舞蹈：J-F Rebel的《原素》及C.W.GIuck的《唐瑾》， 兩齣分別標誌著舞蹈史兩個階段的舞蹈，其概念、內容、音 樂和編舞都在十八世紀巴洛克時代可謂石破天驚。［5月22
Hong Kong Dance Awards2004 香港舞蹈年獎2004 by Tom Brown
曰（星期六）晚上八時，香港大會堂音樂廳］。查詢：Martine
Hervet（3196 6213 或 scac2hk@consulfrance-hongkong.
9
org）。
15
The 12th Le French May, an annual cultural event organized
Mui Cheuk-yin’s Circle Songs by Justyne Li
LE FRENCH MAY
by the Consulate General of France with the collaboration
《緣舞曲》與《烙印》
of the Alliance Fran^aise, will be held from 28th April to 4th
文：方人
17
June 2004. Among the twenty-plus programmes are two different dance performances. Rave, performed by Le Ballet
四種對身體作為創作媒介
de Lorraine is a contemporary dance with an explosive mix
的宣言、質疑、抒懷與感慨
of techno party, fashion show, and classical ballet. The
文：周踏
19
twenty-four dancers parade in front of the public,
extravagantly dressed, bodies painted in flashy colours, displaying provocative poses to the rich rhythms of David
夢與現實的距離 文：小棕
21
Cultural Centre Grand Theatre]. The second
programme
presents baroque dances performed by La Compagnie
舞蹈節目表
Dance Events
Shea. [31 (Mon) May and 1 (Tue) June 8pm, at the HK
22
L’Eventail，which is one of the. major baroque dance companies in France. The two ballets performed, Les Elemens,
by J-F Rebel and Don Juan, by C.W Gluck,
represent two major stages in the History of Dance. Magnificently creative for the baroque period, they offer all
the mobility and liberty typical of the great productions that
mark the history of the art. [22 May (Sat) at 8pm, at the Hong Information: Martine Hervet at 3196 6213 or scac2hk@consulfrance-hongkong.org. Kong City Hall, Concert Hall].
HONG KONG DANCE ALLIANCE NEW WEB SITE The Hong Kong Dance Alliance announces the launch of its
web site. The new site includes information of the Alliance’s Image: Zero Zero Ensemble’s Visible Melody. 圖：00合《緣舞曲》。
香港舞蹈聯盟新網站
最廣泛使用的舞蹈記錄系統。回國後’戴女士於北京成立拉
香港舞蹈聯盟宣佈其網站已於今年初建立’網址為WWW.
賓動作記錄組織，把這套系統帶至亞洲。ICKL雙年會過往
hkdanceall.org。網站內容包括會員簡介' 香港舞蹈年獎'
一向於歐美各地舉行，首次亞洲會議是於1997年假香港演
《舞蹈手札》'本地舞蹈活動和香港舞蹈資料等°
藝學院舉行的20屆會議。會議內容除了由ICKL院士和成員 討論和改良拉賓系統的技術部份外’亦包括了舞蹈界一般
蔥動派創作間上演《G事點》
關注的論題簡佈，和最新的舞蹈記錄科技示範等°是次會
蒽動派創作間一年一度的舞蹈製作《G事點》•將於4月22
議將以亞洲舞蹈形式和舞蹈敎學資源為主題’由戴愛蓮女士
至24日晚上七時於藝穗會小劇場上演三場本地原創的現代
和吳靜珠女士統籌。詳情：ICKL網頁www.ickl.org ’吳靜珠
舞。由李以珊和歐嘉美編舞的《G事點》，以女性(G)為題。 新一代的女性獨立自主’有著獨特的思想'敏鋭的觸覺°但
(lolliewu@vip.sina.com) ’ ICKL秘書Kate Weglarz
另一方面，女人始終還是渴望尋找自己的快樂' 自己的幸
(wendychu@hkapa.edu)，或ICKL研究小組主席白朗唐
福，追隨屬於自己的焦點與國度。《G事點》用動作編織出 女性的嬌、傲、情、愁。思想與真實之間的糾纏交錯'情感
(tombro@hkapa.edu) o
與慾望之間的矛盾衝撃’逐一在密封的空間中隨光線透視出
亞洲青少年芭蕾舞團《范特西的地下夢路》
來。詳情：27516068 或 greenscohk@hotmail.com。
由屯門大會堂駐場藝術家亞洲青少年芭蕾舞團所製作的《范
(kateweglarz@earthlink.net)，ICKL助理秘書朱孟青
特西的未來舞戲》總結演出一《范特西的地下夢路》將於4
拉賓動作記錄國際委員會(ICKL)將於2004年7月23-29曰
月10日(星期六)下午3:30假屯門大會堂演奏廳舉行 。由 蘇漢華和林偉源編舞的《范特西的地下夢路》，以古希臘神
假北京師範大學舉行第23屆雙年會議。這屆會議選擇於北京 舉辦|是為了向一直長期支持拉賓動作記錄的中國中央芭蕾
話「奧菲斯與尤麗蒂絲」(Orpheus and Eurydice)為骨幹， 在一個現代的背景，舞出一段詩境般懾人心情的新演繹。查
舞團創辦人戴愛蓮女士致敬。戴女士於1939年在Jooss-
詢：2234 6317。国
拉賓動作記錄國際委員會北京會議
Leeder學院從Lisa Ullman學習拉賓動作記錄這一套全球
members, Hong Kong Dance Awards, Dance Journal/HK,
and the Americas, and, since 1997 when it was part of Hong
local dance events and Hong Kong dance information.
Kong’s Dance On '97, in Asia. Conference activities include
Address is www.hkdanceall.org.
technical sessions during which ICKL Fellows and members refine the Labanotation (America and Asia) and
GREENSCO PRESENTS G ON SPOT
Kinetography Laban (Europe) systems. Other conference
Greensco will present its annual production, G on Spot,
sessions are devoted to presentations of general interest to
at 7:30pm, 22 - 24 April at the Fringe Club Fringe Studio.
the dance community as well as to demonstrations of the
Choreographed by Coral Lee and May Au, G on Spot is a
latest in dance documentation technology. The 23rd
dance about girls (G). Girls in the new generation are
conference will focus on Chinese and other Asian dance
independent, sensitive and have their own way of thinking;
forms as well as dance teaching resources.
but at the same time, they are still longing for their own
Accommodations for the conference are at Beijing’s
happiness and well-being, looking for a focal point, a spot
Friendship Hotel or Jingmen Hotel with conference activities
that belongs to them. Using movements to render girls’
held at the Beijing Normal University.
sweetness, pride, feeling, and sadness, G on SpoZ illustrates
Jingshu are the on-site coordinators for the conference.
the intertwinings of thoughs and reality, and the conflicts
Information: ICKL website at www.ickl.org，Wu Jungshu at lolliewu@vip.sina.com，ICKL Secretary, Kate Weglarz at
between emotion and desire in an enclosed space. Enquiry:
27516068 or greenscohk@hotmail.com.
Mme Dai and Wu
kateweglarz@earthlink.net，ICKL Assistant Secretary,
Wendy Chu at wendychu@hkapa.edu，and ICKL Research 23rd BIENNIAL ICKL IN BEIJING
Panel Chair, Tom Brown at tombro@hkapa.edu.
The International Council of Kinetography Laban (ICKL)
YOUTH BALLET OF ASIA’S UNDERGROUND FANTASIA
announces its 23rd Biennial Conference to be held from 23 to 29 July 2004 at the Beijing Normal University, Beijing,
The Tuen Mun Town Hall Artist-in-residence, Youth Ballet of
China. The selection of Beijing as host for the 23rd ICKL
Asia, presents its Future vs. Fantasy: Dance vs. Drama
Biennial honors the founder of National Ballet of China,
Gala Performance - Underground Fantasia on
Mme. Dai Ai Lien, for her steadfast support of Labanotation.
3:30pm, at Auditorium, Tuen Mun Town Hall. With the poetic
10 April (Sat)
Mme. Dai studied Labanotation at the Jooss-Leeder School
and dramatic powers of Ballet, Underground Fantasia,
in 1939 with Lisa Ullman, who worked with Rudolf Laban to
choreographed by So Hon Wah and Allen Lam, brings the
develop this system of dance notation, the most widely used
Greek myth Orpheus and Eurydice to the present day with
dance notation system in the world. Upon her return to
the style and passion of the both down-to-earth and
China, Mme. Dai initiation the Labanotation group in Beijing, thus introducing Labanotation to Asia. The ICKL
allegorically gritty. Ticket enquiries: 2734 9009, programme enquiries: 2234 6317. ■
conference is held every two years in major centers in Europe
囑舞壇手記—
• 7 APR
Dance Diary
灘4
香港演藝學院 圖書館 THE HONG KONG ACADEMY FOR PERFORMING ARTS LIBRARY
舞蹈•跨•語言
Adversely, Language O Language 文：劉建華
by Lau Kin Wah
jgj
應允文康署寫篇千餘字的舞介，主要其實是
p
想借機會多看些舞蹈演出的背後作業。在平
'Zero Zero Ensemble, which was founded in 2000,
their third major production, VISIBLE MELODY,
常曰子見到有人在香港這大城市的某一個角落裡認真的
invited local choreographer Abby Chan and Emma Redding
在編在跳，感覺和看表演截然不同，有一種藝術成為生
from the Laban Center in London, to choreograph. Chan’s
活一部份的觸動。這次看了「00合」《緣舞曲》其中
Getting To Know You began with the interesting idea of the
的幾場排演，客席編舞陳敏兒的《從零開始》，選擇先
dancers exchanging mail. The choreography, which utilized
和舞者以文字通信，這種書寫的親密與距離，本就是個
contact improvisation, is one of Chan’s best efforts, attaining
有趣的意念，如何向觀眾展示其實更有發揮的空間。至
a nice balance with her theatrical sense of humor. It also
於舞作，由於脱自即興接觸，我大膽的覺得，從臨近結
has an aura of intimacy that, unfortunately largely evaporated
束放映排舞的錄像方向再推一步，試以排練室為演出場
performed, as it was, on a proscenium stage and thus viewed
地或開放排練作為演出，找一種更貼近原來即興性的方
from afar. Redding’s Falling Strangers dealt with bodies
法演出，直接展示舞作「活」的一面，相較排練多時而
that share a public space. Sometimes the dancers moved
可惜只演出一晚，小劇場的格局可能更有意思。比起演
together like parts of a machine, sometimes their hushing
出當晚略覺僵硬刻意的動作 ，「綵排」那種在試與練之
brought forth commotion. The selection of accompanying
間的可變性，無疑更為有趣。旁白所謂創作的磨檫在所
music further reinforced both distance and pathos as the
難免，既不及現場親眼目 睹親鼻嗅聞，友情的展示
在表演的環境中也易被蒸 發，起碼那種眉來眼去的
動作，遠距離的觀幂已無 法感受。
「0 0合」請來另一位客席
編舞韋愛瑪
''
(Emma
Redding)的《相交於何 時》，除了關注人與人肢體
■
空間的共存和軌跡的穿 撞，舞者們也偶爾合結成
大機器裡的小組件。舞作
的音樂，則似在動作之上 披上一層梵音，把街道上
活動的行人頓變成冷漠的
r
陌路人，受控於冥冥主
00合演出韋愛瑪作品《相交於何時》°
宰。不過個別鮮艷的服
Zero Zero Emsemble performs Emma Redding’s Falling Strangers.
裝，有點兒減弱了舞作壓抑形式的神緒和力量°《相交
performers, moving like pedestrians engaging in street
於何時》與《從零開始》之間•湊巧有幾個頗為相似的
activities, were fossilized into lifeless statues bound
片段•如横抹封咀禁諾的手勢•及至雙人面對面直立的
inevitably to crumble. A few movements in both works
橫臺扣旋（雖然韋愛瑪利用弧圓是用以和其他的方硬動
echoed one another in form, but interestingly, the restrictions
作加以區分.而在陳敏兒處，遊戲抑或角力本就同出一
in Redding’s work were often unconsciously self-imposed,
路）。更誘人思考，則還有平衡對角線的雙雙跪坐’在
while the plentiful manipulation of movement in Chan’s
韋愛瑪舞中是舞者自行入位，陳敏兒的版本卻是由人左
choreography was more of a playful nature.
右擺佈•角色的主動性和清醒度好像構成反比°
Sandwiching Chan and Redding’s works and linked by the 間插在頭、中、尾的三支「0
0合」舞者自編作品’以
music of J.S.Bach’s were three pieces choreographed by
龐智筠的《圓來圓去》起始。舞作伴以敘述童年無法習
each of the three Zero Zero Ensemble members. Noel Pong’s
舞的往事，讓（曉中文的）觀者都好像在見證灰姑娘達
Merry-go-round, the first work on the programme, was a
成心願的一個感人結局。（當中的層次和頓績，或顯
touching biographical account (unfortunately with only
《從零開始》在編作上好像過於兒戲•但獨立而言’陳
Cantonese text) of her childhood wish to learn dance, which
敏兒這次在拿捏劇場和舞蹈的平衡確實出色，兩者渾然
was, however, denied to her by her parents. Every audience
相融。若把沒有提供任何纾解張力出氣口的《相交於何
member present, however, was witness to her rightful
時》與抵死幽默、輕鬆自然的《從零開始》次序倒過
Cinderellaesque triumph. Dominic Wong’s Encounter had
來，觀賞整晚演出的流程可能還會更加理想）。黃狄文
the best set design of the evening, with its hanging curtain
的《遇》•配上垂下的膠條，有種冰冷的節日氣氛’是
of PVC strips, giving a sense of coldness despite a
整晚最佳的佈景，其他時候，尤其對於投影，佈景反是
celebratory setting. Otherwise, the set was more often a
本不必要的干擾。「00合」除了上述兩位同為城市當
nuisance, especially obstructing the video projections. Force
代舞蹈團的成員，還有也是「Kongtact Square」成員的
Fong, who is also a member of Kongtact Square,
方俊權，本以為其《完無曲》也會走此路數，但结果幂
choreographed Never-Ending Melody with graceful cross
多舞者在光影區的出入穿插，身體的接觸反而不多，至
weaving movement in which the stepping feet, rather than
於巴哈的音樂，無論配搭其舞作或是作為整晚的串聯安
bodily contact, are given primacy.
排，運用上也見心思。
In terms of overall arrangement, Falling Strangers，far more 韋愛瑪在編《相交於何時》，要求舞者沒有任何的面部
demanding of one’s concentration (without a very obvious
表情，不少人都以為，這實際上也是（甚至是最強）一
tension releasing point), could perhaps begin the programme,
種表情。這作為一種藝術的加工，表現了編舞者藝術上
exchanging places with Getting To Know You (a much more
的自覺抉擇。相反，觀看黃大徽編導的藝術節演出《B.
leisurely and entertaining piece). Falling Strangers ’ bright
O.B.》，舞者雖是各自做回自己，卻因站在臺上，其實
red dress also diminished the somber impact Redding’s
總仍是在演。一個劇目舞碼會否接受重覆不斷地演 ，有
dance could have attained. As a matter of fact, the dancers
時候我覺得1才是「LiveArt」和「Performance」最根
lacked facial expression in Redding’s work, which as many
本的簡單分野。以黃大徽在《藝訊》訪問中所説到歐洲
have argued, is still a kind of expression (if not the most
和美國在舞蹈對於技巧的態度分歧，舞蹈的起點一终
expressive one). Such a decision marks a clear artist/
點，其實也非身體起一身體止（的纯身體），單單由無
choreographer’s intention. Contrarily, the dancers in Dick
目的漫長等待、身體的適然狀態，及至直達成果（最高
Wong’s B.O.B. (Body 0 Body) production for the Arts
難度動作/誤讀比照/滿身肌肉）的展示所湊加起來。
Festival needed simply to be themselves (which they,
戴著聽筒聽音樂搖頭擺腦，不禁使我想起去年藝術節的
nevertheless, were required to project on stage). Focusing
貝爾（Jerome
Bel），疑惑一切是否又要從零度起，點再
出發。
on the relationship between body and language, the
production was a somewhat straightforward metacommentary. After watching the piece, the audience might
其實藝術節過去委約楊春江的《哥仔戲》，也是以不同
have the impression of understanding its different
進路述著（幹著）類似關於身體的題目，只是藝術處理
propositions，but feeling that ‘art’ had somehow gone
（編舞對什麼是一場「演出」的交待）有著不同的取態。
missing. The plot is as transparent as the structural diagram
可圈可點，是楊春江選了強迫所有舞者合以一支勁舞打
printed in the house programme. The group of dancers
頭陣，最後以自己的獨舞結束，而黃大徽則選以舞者逐
moving in unison, regardless of reason or meaning, was the
一自我發揮為開場.以編舞的身份一直保持距離。但舞
only, rare moment that conveyed some re-enchantment of
1•上是穿或是脱•重要的其實都是如何進一步引領觀者
art/dance.
□
的思考。（像「本地薑J把「中國服」一披上身，那種
Dick Wong used games that were originally designed to help
典型化的想像，其實現實地呈示了港人披什麼表面外
build mutual understanding, trust, and support, to turn his
衣，就搖身一變什麼身份的即食表現 。）楊春江的作品
work into a journey for the dancers to explore among
利用服飾、道具，玩文化身份的符號、象徵，硬碰定型
themselves. The audience seems to encounter nothing that
化，身體被借用成幂多其他身體和百變想像的一個投射
is really addressed to them in terms of intentional artistic
場域；而黃大徽就是借「大隻佬」在臺上展示肌肉，不
creation except a mirror to reflect upon its own gaze. The
過是將健身本來在自我享受和展示欲望兩者之間來個結
most intriguing point about B.O.B. was that, almost all of
合成全，讓一切儘量真實。
its plots could, after all, be described in words, making the movement merely illustrative (even those parts that played
《B.O.B.》集來的舞者無疑充滿個性，觀察舞者同一套
with the failure of verbal communication). At the precise
舞步的稍異舞姿也是豐富的娛樂，然而演出的發展最後
moment when it tries to direct our attention towards the body,
回到以社工引玩的那些拋身交心的集體遊戲 ，演出被框
discourse, it seems, steals the show. Kevin Kwong’s article,
為給舞者們自我認識和發現的過程，身體投入的愉悦，
“A Thinker’s Piece”, hinted at the paradoxical nature of the
人與人之間的認識，成了場上場下的终極隔膜。把演出
production, which was a cross between mental thought and
本身解構，合作密契的最终達成卻是為了服務什麼 ？後
physical action. B.O.B. actually reminded me of Daniel
設演出臨到了演出，又剩下了些什麼？叫觀眾上臺一起
Yeung’s Playboys, which also addressed the issue of the
拋身跳接，把演出變成舞蹈教育的工作坊敎材 ，是舞作
body in dance. What is different is that Yeung sees the body
自身似在呼喚的場景轉換。王榮祿和「不加鎖舞踊綰」
as a site for putting on costumes to engage different
的《10夜•夢的10曰10夜》，在最後演出之前就在文
imaginings, while Wong tries to stick as close to reality as
化中心提供了切合藝術敎育目的的推廣演出，同也是自
possible, by taking off costumes. Without getting oneself
我身份的尋找，雖然借助夢境為題，但仍是逃避不了言
physically involved, the choreographer’s detachment is,
語的無處不在。
however, also what the audience is likely to experience (or more precisely, think about, when watching the show).
身體舞動和語言文字的交鋒，這《B.O.B.》的另一大主 題，在黃大徽編的《E+E》「郁及其他」專輯已有跡可
Also in this year’s Arts Festival, Lin Yuan-shang from
尋。最微妙的弔詭，是《B.O.B.》每節的橋段，基本上
Taiwan who is now working in France, choreographed a
都可以用文字來説明，結果肢體的動作，反成了意念的
work entitled Flight. As its co-director and one of its dancers,
示範。觀者在「行雲流水」中的迷失比動作更深入腦
Mui Cheuk Yin explained, at the post-performance meet-
海、編舞對套弄專業詞彙的戲謔，及至自己在文字説話
the-artist session, that the show was a collaborative work in
溝通的失效區中找到了創作的具體內容，彷彿是在叫人
which the choreography, music, costume, and lighting design
們正視身體之際，卻不覺反被論述主導了演出。鄺俊達
had all very much equal standing. How all these elements
（Kevin Kwong）在場刊的文章「A thinker’s piece」（朗
can blend together to form an organic whole, has really
天譯作〈舞者何為〉），標題可謂隱隱點出編舞的沉思
became a great challenge which demands not only the opening up of the self on the part of the artists but fairly
heavily relies on initiative from an audience perspective as well. The overloading of knowledge from different traditions and genres, across various cultures is as inspirational as it is disconcerting. One can easily imagine bewilderment say,
when told of Chinese Opera color symbolism schema to
decode Flight’s costume design and yet encounter another theory on primary colors to appreciate its projection of Piet
Mondrian’s abstract painting and still another to understand the theosophical leaning of the lighting. Whether it was something that was really workable, again depended very
much on discursive explication. Another media crossover production was Shu Ning
Presentation Unit’s Arts Festival production, The Good, the 林原上《夜奔》。攝影：Priscilla Leung Lin 丫uan-shang’s Flight. Photo: Priscilla Leung
Bad and Scarlet O ’Hara with Andy Wong and (again) Abby Chan as its leading choreographers and performers. The
和舞作的動態兩者間的根本矛盾°解構舞蹈的後設主
stage’s huge rotating frame seemed to try to mimic the
題•有點兒過於明白、畫公仔畫出了腸’正如場刊裡井
seamless flow of the camera in classic film musicals’ famous
然的結構表.讓人一目了然而略感空疏°那節短暫不問
one-take shots of dance sequences. But the overwhelming
動作意義的肢體舞動'那不由究竟就集體跳起來的興
size of the frame on stage echoed the myth of the movies as
奮，一時間使我懷念起「藝術」仍未遭解魅前那種迷一
something ‘bigger than life’，that the younger generation
般的呼喚。
seems unable to consider otherwise. The work’s projection
of a continuous collage of quotations as one major method 藝術節的《夜奔》，出自《水滸傳》的「林沖夜奔」故
of artistic creation, suggests that we are truly living in a
事，在長居法國的編舞林原上的處理下，也成了一個現
postmodern world of texts. There simply is not any longer
代人在全球化時代思考身份的舞作。如梅卓燕在「演後
any single innocent statement such as “I love you” (as
藝人談」所指，該演出在編舞、燈光、服裝'音樂等各
Umberto Eco once suggested).
方面，是少有以同樣重要性來加以扭混的「聯合創 作」。但如開場投在地上的蒙德里安（Piet Mondrian）的
Aaron Wan and Rob Kitsos suggest two rather different
繪畫，和各人服裝加了不同色彩的布條，京劇的色彩象
approaches to how to disentangle oneself from the grasp of
徵可能比和神智學（theosophy）更多人認識，但種種傳
a deterministic fate, which, however, both evoke a return to
統的知識（以及對這些知識的匱乏）混在一起，有時確
the pre-post-modern. Imprint with Aaron Wan and Sheng
叫觀眾感到迷茫。這種對逃亡的抽象演繹、跨範疇的實
Peiqi, presents an awakening of the self, followed by a direct
驗精神，如何能不至成為作者把證釋權拋空给觀眾，成
confrontation with one’s own personified fate. In contrast,
為對自身創作整合的另一種逃亡。我不幸覺得林原上刊
Rob Kitsos and Bruce Liu play two prisoners in Kitsos’ Self
在《信報》的〈驀然回首〉，在文字的論述上，似乎比
Love, who indulge themselves in self-consoling positive
演出更有説服力。
thinking to counter their harsh reality, depicting a kind of escapism via inner imagination. Wan’s suggestion that
近期另外還看了丸仔參與（二犬十一咪導演）的
Kitsos’American and his Chinese cultural backgrounds were
《1+1=1》、松島誠偶爾穿插其中的（盒子）《風人秀》、
behind their different comprehensions of UNDO, was,
《當本地薑遇上了四擊頭》、陳敏兒和王廷琳擔當編舞
however, not a very convincing view in the present global
與演出的（樹寧•現在式單位）《獨行俠與亂世佳人》
era. Today, artistic inspiration can come from many odd or
等，都不約而同是些不同範疇藝術家走到一起聯合搞作
even irrelevant sources. Not only was Kitsos’ Maya actually
的演出。但「跨」會否只是一個吸引不同新觀幂的賣
based on Hindu philosophy, even the name of evening’s
點，或是再沒有東西要講而找來的形式外衣 ？我們真的
program, UNDO, was taken from the title of a Louise
進入了後現代，無「跨」不歡？和《海闊天空》的真人
Bourgeois’ work I Do, I Undo and I Redo that Wan came
故事相比，樹寧今次走上葵青劇場，似是個自戀的大孩
upon at London’s Tate Modern.
CM UNDO, being the fifth production of Manna Dance, was also its 10th anniversary performance. All along, Wan
has upheld his tenet of following the heart in
2
choreographing, and Imprint is undoubtedly another testimonial to this persistence. Guest choreographer
Kitsos’ Self Love, revealed a completely different
outlook, owing probably not only to his kinetic spring
and leap, energy, speed, posture, and mimetic gestures
full of self-confidence, but perhaps also to the work’s full expressive use of language (namely, the whimsical
text written by Scott Davis with Kitsos, as well as Liu’s Cantonese translation of his part). Just imagine the
dancers in Les Ballets C. de la B.’s performance Foi being deprived of language and voice! Perhaps it is
Wan’s muted piece after all, that deserves the approbation of “Body O Body”. ■
盛培琪和編舞溫玉均演出《烙印》。 Aaron Wan performs his work Imprint with Sheng Peiqi.
6
子，私人情感寄寓於模塑出香港文化身份的大幂集體成
自己心裡就起了 一種在學院「正途」以外出身卻執筆寫
長經驗的緬懷。或者我們一代中毒已深.以至再分辨不
舞的膽怯。在看温玉均的排演時，見到其閉起雙眼作的
清文本和現實，混淆了電影與人生，實行人生如戲，戲
連串掙扎和痛苦狀的翻滾•其實心裡閃過對於這份質樸
如人生。經典歌舞片那種流暢的鏡頭，在舞臺被以旋轉
會否純是某種學院温室中特產的疑惑念頭。至於動筆
的搭景嘗試補償，但偌大的框框，就似陳慧以電影為第
時，本也想描寫温玉均振臂背立緊接轉身垂頭按腹那兩
一身的文本，帶有一種我「比生命為大」的語氣口吻來
極的跌盪，但提到其微微中年發福的身段又是否一種越
懾壓觀幂個體。
界的人身攻擊？把這和多才多藝的羅傑索演出並排，我 卻發現羅傑索的表演讓人看得自然而舒服，除了多虧於
人如何能從既成的命運中掙脱出來，温玉均和羅倮索
其默劇動作、彈跳能量、速度姿態都充份流露的自信•
(RobKitsos)在《烙印》中的兩支舞，似乎分別提供了
《烙印》和《自愛》的最大分别，其實可能在於前者仍
兩種「前」於「後現代」的藝術創作觀。温玉均自編自
是借身體追求對無以言狀的情感表述，後者則借而發揮
跳的《烙印》邀來盛培琪，合演的是一場直接與命運拉
了活用文字語言入舞的最大優勢。■
杜的永恆抗爭。至於羅傑索在其《自愛》中，和廖展邦
合演監獄中的因犯，以自我的積極幻想來#脱現實的困
頓。兩種不同的鬆綁演繹，自不必一定要如温玉均所
言，指向編舞者文化背景的差異，這不祗是因為羅傑索 同晚的另一作品《Maya》採的就是一種從印度敎吸取
的哲學元素，就像《烙印》節目本身在編舞腦袒蘊釀反 芻多時的英文「undo」標題，其實意念也是脱出於温玉
均於英國泰德現代藝術館(Tate Modern)所展出女雕塑 家布爾喬亞(Louise Bourgeois)的「I Do, I Undo and I
Redo」之作。 登門造訪「玄牝舞集」藝術總監、於演藝學院任敎多年 的温玉均，看到幾乎所有舞者也尊敬的喊一聲：老師，
《自愛》中編舞羅傑索與廖展邦的演出。 Self Love, performed by choreographer Rob Kitsos and
Bruce Liu. ^“National Ballet praised by British critics" continued from p.8~
When the renowned Financial Times dance critic Clement
got to look at for instance Peking Opera and Chinese history.
Crisp was in Hong Kong several months ago, Hong Kong
They should make ballets related to the Chinese experience,
Ballet arranged an interview for me. One of the topics which
Chinese aesthetics, and Chinese literature. Madame Dai
we discussed was the state of ballet in China. Mr. Crisp
Ailian was always bringing in new, interesting and
wrote several years ago that the future of classical ballet
illuminating work for her dancers. So they did have a
may well lie in China. I wonder why. Here is his response.
wonderful understanding.”
“I do think that the Chinese have an absolutely natural
“And I think that the fact that they danced Boumonville so
affinity with ballet. The National Ballet of China danced
well is terribly encouraging, because it means that they can
La Sylphide on a visit to Copenhagen exactly the way it
move on from that experience to make something which
should be danced. The Chinese dancers’ physique is right,
will reflect the Chinese gift for classical dancing and Chinese
their temperament is right, and their aesthetic understanding
theatre. It helps young creators and young dancers to
is right. There are no problems at all. I’ve gone on record
understand in which way they can go forward. In Beijing
and wrote in the Financial Times that I do think that an
they must make increasing numbers of ballets on Chinese
important part of the future of ballet may well come out of
themes - it’s got to be Chinese classical ballet. We’ve
China has got to produce some excellent
accepted Russian ballet and Russian themes. We’ve made
choreographers, and that’s going to take a very long time,
them wonderfully so on British themes. They can do the
before they can produce authentically Chinese classical
same in China.”
China.
choreography, dealing with Chinese themes.”
The National Ballet’s forthcoming tour to Hong Kong next
Crisp added. “The ballet Raise the Red Lantern is anyway
corrupted, in the sense that it came out of a film. They’ve
winter will be eagerly awaited. ■
變專潇Article
National Ballet praised by British critics by Kevin Ng
I
National Ballet of China, which is due to tour Hong
broaden the repertory of our company.” The company
Kong at the end of this year, has been in the news
established a dance school in 1995 to ensure a reliable supply
lately. The Beijing-based company completed a highly
of talent every year.
successful tour to Europe last autumn. The company, which has over 70 dancers and is celebrating its 45th anniversary
Long gone were the days when the National Ballet only
this year, toured France and Britain with two programmes -
performed model revolutionary ballets like Red Detachment
Zhang Yimou’s Raise the Red Lantern which was shown in
of Women which were stipulated by Madame Mao.
the Hong Kong Arts Festival in 2002, as well as a mixed
Nowadays the company’s repertory is extremely diverse,
programme comprising excerpts from different ballets
and performs works by many well-known Western
including its signature piece The Red Detachment of Women.
choreographers such as Ben Stevenson. It dances all the
In London, they only performed Raise the Red Lantern at
19th century classics. On its earlier European tour in 2000,
the Sadler’s Wells Theatre which was unexpectedly sold out
it even had the courage to perform the Danish classic La
for the whole one-week season, and have received mostly
Sylphide in its home, the Danish capital Copenhagen, which
favourable reviews in the British press.
was well received by the Danish press.
I was in London to attend the first two nights with different
While the company was performing a uniquely Chinese ballet
casts, both of which received loud ovations from the excited
Red Lantern in London, it was also rehearsing in the day time
London public. Ismene Brown, the critic of the Daily
for a new programme which premiered in Beijing in January.
Telegraph enthused in her review, “Zhang Yimou and his
The programme was dedicated to George Balanchine, the most
collaborators have retold their tragic story in a combination
famous ballet choreographer of the 20th century. Zhao proudly
of Chinese opera and Western balletic traditions that hooks
told me that the company had already staged five of the
the ear and opens the eye’，.
master’s works in the past and has just added another Balanchine masterpiece The Four Temperaments. The
The Evening Standard critic Sarah Frater was also full of praise,
company also invited a number of well-known international
“Just as good were the dancers, precise and neat... In fact, you’d
stars to participate in this Balanchine programme - from the
be hard pressed to spot a wobble or a misplaced step the entire
Kirov Ballet, Paris Opera Ballet, and the Royal Ballet.
evening, not something you could say for our own national ballet.” Miss Frater meant the Royal Ballet in London.
The Natioanal Ballet deserves praise also for maintaining its Chinese identity. Zhao said, “I am developing young
I interviewed the artistic director Zhao Ruheng the day after
Chinese choreographers, such as Wang Yuanyuan (who
the London premiere. Miss Zhao, a former principal dancer
choreographed a part of Red Lantern), and also another
of the company who became the director in 1994, struck
talented choreographer Fei Bo who has worked in France.”
me as an intelligent woman with a clear long-term vision. I
Besides Red Lantern the company dances other Chinese
asked Zhao what she considered as her greatest achievements
works such as Yellow River and a Chinese version of
so far in her directorship. “I think, to give more opportunities
Nutcracker which Hong Kong audiences saw in 2000.
to our dancers, to improve our working conditions, and to
8
continued on p.7
ilk.
專稿
Article
OAA/I 香港舞蹈年獎
Hong Kong Dance Awards
by Tom Brown
yZ '
Hong Kong Dance Alliance Hong Kong Dance Awards Presentation and
Gala Performance to a capacity crowd at Kwai
Tsing Theatre 1 March 2004, was a spectacular celebration of Hong Kong dance excellence.
The event, with special Guest of Honor, wife
of the Chief Executive, Mrs. Betty Tung, was the 6th annual presentation of the prestigious
Awards given for outstanding achievement during the preceding year to dance workers and organizations covering a broad range of activities. The highlight of the evening was Mrs. Tung’s conferral of Distinguished
傑出成就獎得主包陪慶敎授和包陪麗女士與特首夫人董趙洪娉合照。 Wife of the Chief Executive, Mrs. Betty Tung and the Distinguished Achievement Recipients, Prof. Anna Pao Sohmen and Ms. Cissy Pao.
Achievement Awards to Professor Anna Pao Sohmen, and Ms Cissy Pao. Films featuring the Pao sisters
f g 晚上，香港舞蹈聯盟與葵青劇院 二凡內的幂多嘉賓和觀幂，於《香港
expertly dancing across the ballroom floor enchanted the
audience and attested to their involvement in dance beyond
舞蹈年獎匯演暨頒獎禮》中，以卓越的香港舞蹈向
Prof. Sohmen’s Chairmanship of the Council for the Hong
2004年香港舞蹈年獎的得主致敬。「香港舞蹈年獎」是
Kong Academy for Performing Arts and Ms Pao’s
一個表揚過去一年於不同範疇具特出成就的舞蹈工作者
Chairmanship of the Board of Governors of the Hong Kong
或團體的獎項。今年「年獎」的頌發|更邀請得香港特
Ballet.
别行政區首長夫人董趙洪娉作為主禮嘉賓•為這一年一 度的盛會增添姿彩。
After presenting Prof. Sohmen and Ms Pao with distinctive
crystal trophies, shaped like stylized dancer, Mrs. Tung
整個晚上的高潮，是由特首夫人向包陪慶敎授和包陪麗
surprised awardees by giving them her own gift, cloisonne
女士兩姊妹頒發「傑出成就獎」。頒獎禮中播放了包氏
pins with the SAR’s Bauhinia symbol.
Holding her hand
姊妹優美的社交舞蹈錄影片段，突顯了兩人除了分別擔
on her own pin, which she wore above her heart, Mrs. Tung
任香港演藝學院校董會主席和香港芭蕾舞團董事局主
urged the winners to wear it proudly, in Hong Kong and
席，推動香港舞蹈發展外，也身體力行，热衷於舞蹈活
abroad, and spread the word of the great accomplishments
動。在頒發過以舞者身形為設計意念的水晶獎座後 ，特
of Hong Kong people such as those being honored with the
首夫人更為兩位得獎者帶來意外的驚喜— —兩個以洋紫
Hong Kong Dance Awards. After the Pao sisters received
莉為圖案的景泰藍胸針。手按著別於胸前同一武樣的胸
their awards, emcees Willy Tsao and Linda Fung presented
針，特首夫人敦請兩位得獎者無論於本港或海外‘都常
Mrs. Tung with a bouquet of flowers. Coming down off the
把胸針配帶於身.引以為榮；並正如香港舞蹈年獎的宗
stage, Mrs. Tung gave the bouquet to the very first winner
旨一樣，宣揚香港人的傑出成就。離台後’特首夫人把
(2001) of the Distinguished Achievement Award, Ms. Jean
大會司儀曹誠淵先生和馮雲黛女士的獻花轉送予
M. Wong.
年首屆「傑出成就獎」的得主王仁曼女士'
Between award presentations were brilliant performances
在獎項頒發之間•大會安排了莩有國際聲譽的本港舞團
by Hong Kong’s internationally recognized dance
演出助慶，節目包括了城市當代舞蹈團演出的曹誠淵作
companies, the City Contemporary Dance Company
performing in Willy Tsao’s J Detachment of Women, and
品《娘子軍》和黃狄文作品《男人炒飯》、香港芭蕾舞
團演出的娜泰莉•維亞作品《杜蘭朵》（選段）、以及香
Dominic Wong’s Men’s Chop Suey, the Hong Kong Ballet
港舞蹈團演出由陳磊與謝茵合編的《秋月》和丁偉作品
performing excerpts from Natalie Weir’s Turandot, and the
《春的高原》。香港演藝學院舞蹈學院的年青舞者亦演
Hong Kong Dance Company performing Autumn Moon by
出了羅傑索作品《邱比特之箭》。
choreographers Chen Lei, Xie Yin and Plateau ofSpring by Ding Wei. Aspiring dancers from the School of Dance of
2004年「香港舞蹈年獎」各得獎者及其贺詞詳列如下：
the Hong Kong Academy for Performing Arts also performed in choreographer Robert Kitsos’ Cupid’s Tail.
包陪慶敎授及包陪麗女士長期對香港舞蹈界作出巨大貢
The full list of recipients and their citations are as follows:
獻，以其非凡的藝術視野及不懈的努力為香港的專業舞 蹈發展奠定基礎，香港舞蹈聯盟為此向兩人頒贈2004
PROFESSOR ANNA PAO SOHMEN and MS CISSY
年香港舞蹈年獎傑出成就獎。
PAO for long-term contributions and achievements in dance.
In presenting Distinguished Achievement Awards to
包陪慶敎授是香港演藝學院校董會主席，並一手創立香
Professor Sohmen and Ms Pao, the Hong Kong Dance
港演藝學院友誼社。在包敎授的領導下，今日的香港演
Alliance honors their untiring efforts on behalf of dance
藝學院已經發展成具有國際聲譽及獲取國際獎項的表演
and their vision in helping to establish professional dance
藝術敎育機構；通過友誼社，包陪慶敎授協助組織各項
as a cornerstone of Hong Kong culture.
獎學金，使不計其數的有志於舞蹈的學生有機會就讀於 香港演藝學院，為香港的舞蹈界培養了大量人才。包陪
Anna Pao Sohmen’s steadfast allegiance to the Hong Kong
麗女士全力專注於香港芭蕾舞團的發展。身為香港芭蕾
Academy for Performing Arts is manifest in her founding
舞團董事局主席，包女士領導舞團不斷邁向藝術高峰，
of the Society for the Academy for Performing Arts (SAPA)
並且每年為舞團組織籌款舞會，募集資金，使香港的專
and her Chairmanship of the Council for the Hong Kong
業芭蕾舞能在充裕的環境中成長，近年更增加國際性巡
Academy for Performing Arts.
迴演出，提昇香港舞蹈於國際間的地位及知名度 。
SAPA scholarships have
allowed countless Hong Kong and overseas students to study
dance at the Academy. As Council Chairman she has enabled
包陪慶敎授和包陪麗女士兩人也是傑出的職業女性，亦
the Academy to grow into an internationally recognized,
對文化藝術尤其是舞蹈的推廣充滿熱誠 。她們在積極推
prize-winning institution, with the School of Dance one of
廣舞蹈藝術之餘，亦喜愛跳舞。她們一生身體力行，為
its most accomplished components.
舞蹈作出貢獻，是香港舞蹈界的典範。
Cissy Pao’s
commitment to the Hong Kong Ballet is evident in her
2
—
continuous hard work on its behalf. In her role as Chairman
陳敏兒女士於伍宇烈先生創作的舞劇 《春之祭》中，以
of the Board of Governors of the Hong Kong Ballet, Cissy
其出色的演繹獲取2004年香港舞蹈年獎。陳敏兒對生
Pao has been an indispensable leader whose dedication has
活和舞蹈間的關係有特別敏銳的觸覺，在她的舞蹈創作
given shape to the artistic achievement of the company. As
中多次讓觀眾感受生活中的幽默和喜悦；而在她的舞蹈
the organizer of successive and highly successful Ballet
表演中，更充分體現自然樸素的特質，通過對身體的姿
Balls, she has helped provide the means for the company to
態、節奏及能量的控制，往往在最簡單的動作裡流露最
realize these achievements.
深刻的感情，從而在不知不覺間打動了觀眾。
Professor Sohmen and Ms Pao’s engagement in dance goes
陳頌瑛女士以編寫舞蹈敎育資料書籍【舞蹈敎育新里
beyond their leadership roles in two of Hong Kong’s great
程】而獲取2004年香港舞蹈年獎。詳盡的資料、深入的
cultural institutions. Both are accomplished businesswomen
分析，配合簡明優美的文字，陳頌瑛的工具書提供香港
and advocates of culture, particularly in the dance area. In
的舞蹈敎師們一種有效而具啟發性的舞蹈敎學方法，使
their dedication to dance, both love to dance. Anna Pao
學生們在舞蹈創作、舞蹈演出及舞蹈欣賞的三個層面都
Sohmen and Cissy Pao are exemplars for all Hong Kong
有所認識，並因此把舞蹈敎育提昇至包含生活及哲理的
dancers to emulate; they are worthy of our greatest esteem
香港文化組成部分。
and our sincerest gratitude. 香港芭蕾舞團以製作及演出澳洲編舞家娜泰莉.維亞編
ABBY CHAN for her performance of the Chosen One in
10
排的舞劇《杜蘭朵》而獲取2004年香港舞蹈年獎。舞劇
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Yuri Ng’s Rite of Spring. Chan’s exquisite control of her
《杜蘭朵》以當代舞蹈的
instrument, from the barely perceptibly tremble of an arm
美學創作手段突出戲劇
to full-out pratfalls, and the fluency with which she invests
中的感情表現，而近乎
each movement with emotional resonance, results in a
現代舞的動作設計對古
masterful interpretation of Ng’s work.
In her brilliant
典芭蕾舞演員來説，更
performance, Chan gambols through the role of the Chosen
是充滿挑戰性。香港芭
One with the long-legged naturalness of a colt frisking about
蕾舞團全體幕前幕後人
in a sunlit meadow. Her every gesture is true, simple and
員的優異製作和演出，
full of power, yet there is no showboating, no bombast; its
體現了香港舞蹈發展之
as if dancing for her were as instinctive as breathing, as
全面以及對藝術水平之
customary as brushing her hair, yet what she achieves is as
不斷追求。
DANCE WARDS 2 0 0>4
singular as taking to flight.
吳詩韻女士以積極參與
ANNA CHAN for her authorship of Intelligent Moves:
社區服務及為微風吹團
Dance Education. In this beautifully written and cogently
體編排實驗舞蹈作品《觸
presented guide for teachers, Chan presents logical examples
to help teachers embrace dance education within the broader framework of arts education. Using a three-pronged
approach to teaching dance in the schools: dance making,
performing, and appreciating, Intelligent Moves provides
teachers with the inspiration to develop their own significant contributions to the study of dance.
Chan’s work directs
teachers toward a philosophy of dance education that allows dance to fulfill its role as an important means for students to
achieve their full learning potential. It is a seminal work and a great leap forward in the affirmation of dance as an essential component of Hong Kong culture.
The HONG KONG BALLET for its production of Natalie
Weir’s Turandot. This spectacular production was an
•動》而獲取2004年香
inspiring and challenging project for all concerned.
港舞蹈年獎。由吳詩韻
CM
Choreographer Natalie Weir streamlined Puccini’s opera and
與視覺藝術家莊麗華合
I
focused on its emotional aspects enabling the Hong Kong
作組成的微風吹團體，
Ballet dancers to exhibit their dramatic and expressive
專注於幫助弱視及失明
dancing. The work demonstrated the ability of this company
人士與主流社會溝通。
of classically trained artists to assume roles that demanded
通過為期三個月的觸摸
them to approach work that is more usually staged for
藝術工作坊，《觸•動》
contemporary dancers. In doing so, the Hong Kong Ballet
成功地讓正常視力人士
dancers were able to adeptly show strengths and nuance far
與失明人士合作，共同
removed from the classical repertory and reveal the
享受舞蹈及裝置藝術的
contemporary face of this fine company.
欣喜，是一次觸動人心
J
I Ho N K O NG E DA N C S wA 4 2
的演出。
NG SZE-WAN for community work with and choreography
for the Breeze Across Us experimental dance production
伍宇烈先生以編排創作
Touch & Move. Breeze Across Us, the brainchild of visual
舞劇《春之祭》而獲取2004年香港舞蹈年獎。伍宇烈
artist, Iris Lihua Zhuang and choreographer/dancer, Ng Sze-
的舞蹈作品充滿睿智，在舞劇《春之祭》中.他引入果
wan, is a voluntary art group that promotes integration ol
多潮流文化及曰常生活中的事物及符號，一方面颠覆傳
visually impaired and sighted people.
Their joinl
統「春之祭」中的故事，另方面又以動作將音樂「春之
collaboration sought to develop an innovative performance
祭」演繹得一絲不苟，頑皮和精妙相结合•不但為經典
in a touchable installation. The result, Touch & Move enabled
舞蹈《春之祭》添上新意，也為香港的舞壇帶來驚喜。
the experience of the beauty of art in the absence of eyesight.
落合惠利子女士為香港芭蕾舞團成功演出眾 .多主要角
The performance together with a three-month touch-art,
色，獲取2004年香港舞蹈年獎。落合惠利子十五年來
dance and movement workshop was a model of
一直是香港芭蕾舞團的主要演員 ，以超卓的舞技、細膩
collaboration, and demonstrated the power that is unleashed
的音樂感及^^青妙的演繹帶動香港芭蕾舞的發展 。在過去
when diverse groups work together.
一年中，她先後主演了芭蕾舞劇《天鵝湖》、《睡美
人》、《杜蘭朵》、《美女與野獸》及《胡桃夾子》，
YURI NG for choreography of the Rite of Spring. In this
角色的造型風格各異，備受觀幂讚賞。
luminously subversive work, Ng adroitly deconstructs the pagan ritual of the original Le Sacre du Printempts and its
華文偉先生創立年终無休製作公司並製作多個具有深刻
theme of propitiation by developing motifs of conjuring and
文化交流意義的節目，獲取2004年香港舞蹈年獎。華
descent. Building his images in successions of free
文偉全力推動香港藝術家與外地藝術家們合作，在過去
associations, Ng’s ideas loop back on themselves; take
一年中，他製作了《戀物癖》（英國與香港舞蹈家合
detours, savor their development, or proceed simply and
作）、《尋找張愛玲》（台灣與香港舞蹈家合作）、《無
directly. Using ordinary objects and references to popular
形體態》（日本舞蹈家與香港舞藝術家合作），都別具
culture and film with great facility, Ng deftly lampoons the
創意，並提昇香港舞蹈的國際視野。
Philistine’s demand for tricks and the snob’s rant against populism while still addressing the score’s undercurrents of
蘇淑女士為香港舞蹈團成功演出眾多主要角色 ，獲取
What results is a
2（）（）4年香港舞蹈年獎。雖然是一位年青演員，蘇淑的
innocence lost and the common weal.
sublime undermining of the distinction between sacrificial
舞蹈不但技巧出色，而且充滿張力，在過去一年中，她
lamb and scapegoat and an interrogation of the inescapable
擔任香港舞蹈團首席演員之職，演出了《十里不同風•
inevitability of sacrifice.
ERIKO OCHIAI for her performances in leading roles with the Hong Kong Ballet. Ochiai’s brilliant technique, superb
acting ability, sensitivity, and musicality propelled her to the rank of Principal Dancer as the capstone of a splendid fifteen-year career with the Hong Kong Ballet. During 2003,
she danced leading roles as diverse as Odette and Odile in
f
hong KONG
dance
AW^Of/J
Swan Lake; Princess Aurora, Fairy of the Songbirds and Princess Florine (Bluebird pas de deux) in The Sleeping
Beauty', Liu in Turandot.，Belle in Beauty and the Beast, and
the Sugar Plum Fairy in The Nutcracker. Critics and audiences have been unequivocal in their ___________
praise of Ochiai, she is regularly voted
“Favorite Female Principal Dancer” and “Dancers’ Dancer of the Season” by her company, and her commitment to her art and
to the Hong Kong Ballet have made her an
exemplary role model for other dancers.
香港舞蹈年獎2004得主(左上方起，反時針方向)： 陳頌瑛、香港笆蕾舞團藝術總監謝傑斐、伍宇烈' 落合惠利子、蘇淑和華文偉。 Hong Kong Dance Awards 2004 recipients (counter clockwise from top left): Anna Chan, Hong Kong Ballet Artistic Director Stephen Jefferies, Yuri Ng, Eriko Ochiai, Su Shu and Taurus Wah.
3
su SHU for her performances in leading roles with
百里不同俗》中的《煙雨斷橋》及《踩鼓》、《木偶奇
Su is a virtuoso
遇記》及《四大美人》中的王昭君及楊貴妃等角色，深
the Hong Kong Dance Company.
performer, whose artistry, broad dramatic palette,
受觀眾喜愛，也為香港的中國民族舞蹈發展添上異彩。
technical prowess, and powerful command of the stage have made her a favorite of audiences and critics alike in the wide-ranging roles she has danced.
In
王廷琳先生於獨舞展《一刻》中，以其精彩的表演獲取 2004年香港舞蹈年獎。王廷琳多年來對舞蹈藝術的誠
2003, Su demonstrated her lyricism and dynamism
摯和執著，盡行呈現於這一台充滿個人魅力及舞者成熟
in the duet in Broken Bridge in Misty Rain and the
風韻的獨舞晚會。晚會由多段舞蹈組成，各有獨特的風
lead dancer in Cai Gu in the production, A Vast Land,
格，舞蹈家對身體和動作的專注，把每一段舞蹈都發揮
Diverse People. In Pinocchio, again the lead dancer
得淋漓盡致，並藉此引領觀眾分享編舞家的奇思妙想和
as well as Fairy, she infused her work with a deep
舞者的內心世界。
felt commitment and joy. In The Four Beauties Su’s flexibility and her ability to span varied roles was
邢亮先生於城市當代舞蹈團製作的舞劇《情男色女一達
superbly demonstrated by her dancing the roles of
利vs加拉》中，以其深刻的表演獲取2004年香港舞蹈
Wang Zhaojun and Yang Guifei.
年獎。舞劇由邢亮及梅卓燕女士共同構思 、編排和演
TAURUS WAH for Open Daily productions that brought
命中蠢蠢欲動的慾望和無奈的失落，充滿懾人意象。邢
Hong Kong and overseas artists together for innovative,
亮化身達利，把藝術家的純真與瘋狂、多情與迷茫，以
出，以超現實畫家達利的生活和幻想為藍本 ，描繪出生
inspiring, and exciting performances.
In the daring
完美的肢體共冶一爐，使觀眾歷久難忘。■
Fetish Stories, DV8 Robert Tannion’s choreographic
exploration of the ordinariness and seediness of obsession were beautifully interpreted by Hong Kong’s
finest freelance dancers.
In Search of Eileen Chang
saw the transcendent dancing of Taipei’s Crossover Dance Company artists perform in Hong Kong
choreographer, Helen Lai’s Voices and Taipei
choreographer, Lo Man Fei’s Handful of Dust.
In
Formless, local audiences were treated to a chance to create their own dance experience as they moved through
Hong Kong artists Jamsen Law and Wong Chi-fai’s environments viewing the dancing of Japanese artists
Yaiju Matsumoto and Mao Arata. In its productions, Open Daily has brought a new vista to Hong Kong
王廷琳領取香港舞蹈年獎。 Andy Wong receives his Hong Kong Dance Award.
dance and placed it squarely at the forefront of international attention.
ANDY WONG for his performance in the one-man show,
XING LIANG for his performance in the City
And Then... In his performance of the diverse dances from
Contemporary Dance Company production of The Enigma
this solo programme, Wong amply demonstrates his artistic
ofDesire: Dali vs Gala. In this highly evocative work, which
maturity and an approach echoed elsewhere in this amazing
he jointly choreographed and performed with Mui Cheuk-
artist’s work in dance. Wong has a deep respect for dance,
yin, Xing dominates the stage with his powerful and nuanced
sincerity in his presentation of dance, and an ability to
portrayal of the enigmatic surrealist painter Salvador Dali.
integrate his social concerns with his artistic vision that is
Xing oscillates between the swaggering arrogance of a dandy
singular. Wong’s discipline and physical control are
to the cringing of a madman cornered by his fears, between
tempered by a calm determination to allow each of the
the solicitude of a lover to the abuse of a thug. Xing reveals
dances to speak. Through his performance, we are invited
Dali, exhibits him; taking us on a journey through the
to share in the imagination of the choreographer.
labyrinth of Dali’s psyche, drawing us into the rapture of
Throughout his performance, Wong’s deep love of dance,
his poetic imagination and dragging us through the terror of
his joy in moving is palpable and infectious, enabling us to
his insecurities. ■
take part in his ecstasy.
Mui Cheuk-yin’s Circle Songs by Justyne Li
light of dark, earthy-yellow tint emerged from total darkness and silence. Vaguely, figures could be seen
of the audience, and in another way, as a tool for
revolving in a tight group, around the centre spot of the stage.
tableaux, while individual solos or duets were going on —
After a few seconds, when the stage had become brighter,
in fact, the whole of the last solo was danced inside the
4
y
movement exploration. The dancers used it to form different
so that one could just be able to see what was actually
ring, which was placed flat in centre stage. Sometimes the
happening, a dancer was lifted and spun slowly overhead,
dancers would walk, dance, or jump through the circle, or
while others jumped and moved around the spot. After a
they would rotate, throw, and catch it. At one point, the
while, the dancer in mid-air was lowered to the ground. He
seven dancers were lying on the floor in the formation of a
ran and stopped just by the edge of the stage. All of a sudden,
cross, with one end of the cross attached to the edge of the
the stage was totally bright, the music came on, and the
ring to create the sign of Venus, or female. What a moment
dance began.
that was!
Circle Songs, choreographed by Mui Cheuk-yin for the
In the Chinese language, the pronunciation of Circle also
School of Dance, Hong Kong Academy for Performing Arts
shares the meaning of ‘bond’，relationships between human
(HKAPA), premiered in December 2002, at the Lyric Theatre
beings, and this was something the choreographer also
of the HKAPA. It enjoyed a great success when performed
expressed through Circle Songs. For example, the three
in the Conservatoire National Superieur de Musique et de
duets represented three different kinds of relationships. The
Danse de Paris, when it was invited to be one of the works
first duet was about the sense of competition. Two dancers
in the Conservatoires’ Junior Ballet annual performance in
performed movements to indicate readiness to fight, gazing
December 2003. The twenty-minute dance piece was
at each other throughout the duet, moving through the centre
created on seven male dancers, with a bamboo ring of about
and towards opposite sides of the ring. The second duet
3.5 meters in diameter — the circle, which was the theme of
was about intimacy. The two men remained in contact, and
Circle Songs. For the Paris audience, the piece was like
expressed the feeling of calmness and peace. The last duet
a small exhibition of Asian Culture, with dance as the
was about rivalry — a real fight. The atmosphere was tense
tool of communication.
with the accompanying drum music speeding up, and with
faster contacting movements. Strength was the language As its title suggests, circle is the central idea of Circle Songs
the two dancers communicated.
—circle of friends, circle of communities, circular movements.... A big ring was used in creating the piece, in
Yellow was the colour of Circle Songs. Yellow tints of light,
one way to physically place the theme of the dance in front
dancers in earth-yellow costumes, reminding us of the soil
of the Earth, the rawness of nature. It also reminded us of
Slight differences in movement qualities among individuals
the rays of Sunlight, the warmth and energy it brings to all
were visible in ensemble sections. However, no harm was
life on Earth. Yellow, or earth-tone colours, are also the colours
done to the sense of oneness. A strong spirit of togetherness
of Asian skin, and of the seven male dancers in the cast.
could be felt, with the ring ― the circle — as the central theme
of all movements and patterns, naturally pulling the seven The music, most of which was Southeast Asian drum music,
dancers together to dance as one. Or it was simply the
associated the dance even more with the rawness of nature,
natural flow of passion and devotion, enhanced by the
as percussion is one of the most elemental instrumentations
rhythmical and lively music, which created an unstoppable
of music, and is always played by people living
impulse of rhythm for the impressive ensemble section at
outside ‘civilization’. When watching Circle Songs, one
the end of the piece.
has a feeling of being inside a forest somewhere in Southeast Asia, seeing the activities, or life, of those human
There was something very special about Circle Songs,
beings living in nature, unconnected with ‘civilization’.
with its whole cast of male dancers. They created a kind of very honest and direct flow of vitality, with nothing
The piece was nicely and compactly phrased with solos and
decorative, nothing excessive, which was a feeling that
duets and ended with a lively, energetic group dance.
one rarely gets from most dance pieces involving female
Individuality of movement qualities and personalities were
dancers. This has nothing to do with which is good and
shown in all six solo phrases, and different relationships were
which is bad. After all, we need different things in the
indicated in the three duets. However, circle remained the central idea for creating movements for all individual solo
world, and the same for the dance world, and the freshness and uniqueness that was expressed by Circle
and duet phrases. Curved lines were always seen. The dancers
Songs was certainly delightful to watch.■
drew circles with different body parts in different ways.
I「《緣舞曲》與《烙印》」上接第
18頁
人獨舞。有趣的是，雖然只得一人，水袖的糾纏卻仍然
的結構。
繼續。盛雙腳交叉踏在垂地的雙袖上，作繭自縛，把自 已的身體綑於雙袖之間，掙扎不開，動彈不能。一張白
縱觀兩場演出，儘管內容不同，都是甚為踏實可觀的精
面時於雙袖間探出張望，一面無奈。似乎這個女舞者不
品，是觀眾於大團與藝術節之外的另一些選擇。這些演
單困擾著別人，也困擾著自已；不單令人苦惱，自已內
出，其實亦是一個健康而平衡的舞蹈生態中的重要成
心也並不快樂。另一段舞中，舞者的雙眼似要逃避那捧
份。■
於手上面前的白袖，但白袖卻總是追逐著她的視線，硬
是要移到她的面前。她所要逃避的，是否就是自已？最
後，這段舞蹈也以女舞者於投映了自已本來面目的舞台 上獨舞來完結。最後，舞蹈還有一段短短而精彩的終
場。男舞者再回台上，而舞台後方的「天橋」上燈光淡 淡亮起，女舞者矇矇矓矓的現身於半透明的幕後。臉上
顏料已經抹去的她，雖然容貌衰老，頭髮蓬鬆，但身躯
端正筆直，高高的站立於台後半空，雙手捧著一個鋪上 了紅巾的大碗子於胸前。不動的身影似是俯視著台上的
舞者。忽然，她的右手伸進碗中，跟著手臂慢慢而優雅 地向傍伸展，手掌漫不經心似的輕輕一張，把手中握著 的一把石子灑落在地上，一陣空洞但清脆的撞擊聲便即
連績地迴響起來。台上的舞者也隨著抱頭掙扎。半空中
的女舞者身子凝立不動，半晌之後，才鬆容地收回手
臂，伸手入碗中、展臂、張手，撞擊聲又再迴響起來… 女舞者的動作不斷重複著，到後來似是不能自控地加
快，雜亂的石子彈地聲互相重疊，動作與撞擊聲都變得 狂亂起來.而台上的舞者也跟著陷於痛苦摔扎之中。這 一短短的段•動作和構思都簡單.但恰到好處，凝練有 力•戲劇效果很強，也呼應了舞蹈的起首，完整了舞蹈
16
盛培琪演出溫玉均作品《烙印》。
舞評
Review
藝術節以外----
《緣舞曲》與《烙印》 文：方人
个聲勢浩大的香港藝術節大軍壓境下，二月份香港 的舞蹈表演出現了一個奇怪的現像：大團纷紛避
戰，但一些平時較少機會看到的細團卻接連有演出機
會。當然，這並不是由於細團勇猛過人。他們往往是在 沒有選擇的情況下，硬著頭皮接過這些「燙手」的檔 期。這正反映了細小舞團這一「弱勢社許」於這個社會
中的掙扎。（當然，這些舞團其實都有一定的「資
歷」，並不是最弱勢的一群。）
打頭陣是00合的《緣舞曲》。可能是由於他們以同一 音樂來編舞，三個團員（龐智筠、黃狄文和方俊權）所 編的三齣舞蹈，在風格上較為接近。其中黃狄文的
00合於《緣舞曲》中的演出。
《遇》，無論在設計、結構和舞步上都較為複雜，但個 人認為反而不及另外兩齣來得簡單自然。龐智筠的《圓
元素— —談話。但是，於這齣舞蹈中，所説的並不是與
來圓去》輕鬆明快，舞蹈編排以跑動為主，上身的動作
觀眾的談話，而是以訪問形式進行的舞者間的對話。藉
不多。舞者延續不停地在舞台上跑/舞，徐疾有致，有
著這個編排，編舞把談話與舞蹈结合在一起。飾演訪問
時是一人接著一人，有時二、三個舞者互相呼應。跑動
者的舞蹈員手持著麥克風•與被訪問的舞者，一邊説
的路線以弧形為主，舞者的身軀在舞台空間中不停地劃
話、一邊配合互動地舞蹈。這段舞蹈今人想起了去年陳
上一道道的弧線，一道未停，另一道已起，暗合了舞團
為英國編舞部爾晏（Robert Tannion）演出的《戀物癖》中
名稱，也呼應了其含意中的源源不絕、無窮無盡之意。
的一幕— —陳與林偉源於辦公室中把玩著攝影手機，互
方俊權的《完無曲》也是同樣簡單，但動作卻以踏步為
相拍照的舞蹈（當然，也包括了其「雙生」變奏— —相
主，動作的速度和幅度也因而比前者低和小 。編舞者聰
似動作，但穿著性感皮內衣和把玩著陽具玩物的一
明地把七個舞者的踏/舞空間收窄到舞台中央，再以強
幕）。兩者都似是以互動接觸為源，但兩者的效果都是
烈燈光在漆黑的舞台上界定了這個長方形的空間。七個
有點生硬著意。看來，如何把接觸即興搬上舞台作正式
舞者在細小的空間中快慢有序，跟著節奏地踏著方步，
演出是一個大難題，舞者的默契、靈活性和「執生」能
向前、向後、向侧，動作簡單。舞者們上身的動作不
力都非常重要。而把「即興」經過排練後再作演出’本
多，但身軀位置互相配合起來，雖然（也幸好）沒有固
身就是一個矛盾的手法。另一齣「外援」作品是一齣截
意地組成什麽圖案或花樣，但舞者們開開合合，帶動了
然不同的舞蹈---- 由來自英國的韋愛瑪所編的《相交於
那被燈光照亮了的窄小空間，本身便有一定的化學作用
何時》。舞蹈強調人與人之間的冷漠’調子冰冷沉鬱得
和趣味；再加上舞者們的身軀進進出出於明亮燈光與漆
叫人透不過氣來。舞台設計方面，雖然與《完無曲》有
黑的舞台之間，以及一些間單的抬頭、俯首等動作，更
點相似，同以燈光照亮了舞台中央。對比強烈的白光不
為這簡單的舞蹈增添了變化。近年比較少見這些輕鬆簡
錯是營造了冰冷的效果，配合了舞蹈的氣氛’但燈光打
單而不矯飾的舞蹈創作，可能有人會認為這些作品的深
於舞者頭頂卻叫觀幂看不清舞者的面部表情’演出的效
度不跔，但個人卻認為是可觀的小品。
果也大大打了節扣。整晚的演出選擇了沒有休息 '間
斷，一舞連一舞的編排（似乎是為了配合上述的源源不 相對來説，兩個「外援」編舞的作品在風格上便有很大
斷的意念），把這一鉤嚴肅的作品混於其他較為輕快的
的分別。陳敏兒的零開始》，沿用了一個她常用的
作品之中，更加顯得格格不入。
7
鉛筆刨得尖，刨得完美。比得起勁時，兩個充滿「成功 感」的大男孩也跟著自吹自擂起來，開口吹囔自已的優 S和成就。兩個人輕飄飄的，一邊吹嘘，一邊翩翩起舞
起來，由台前舞到台後。但説著説著，兩人口中吐出的 優點，開些變得微不足道，而舞蹈動作也慢了、沉了。
當兩人連微不足道的優點也説盡之後，兩人便開始把自 已的缺點當作優點般來吹嘘，帶來了新的舞蹈動力，兩
人也似是樂在其中。最後，當缺點越説越大時，兩人頓 時感到其中的難堪，不約而同的停了舞步•默默的走回
台前，沒精打采，手執起鉛筆，繼續著那沉悶無聊的工 作---- 剖鉛筆。這鉤作品並不很「舞蹈」，反而戲劇性 較重，其中的獨白更是不可缺少，整體上似是較接近音
ArdeeM. Dionisio演出羅傑索作品《Maya》。
樂制的類型。在處理上，兩個舞者（羅■傑索和廖展邦）
另一場演出，是玄牝舞集的《烙印》。與《緣舞曲》相
那傻袒傻氣的做型和演出都討好，由（扮）專業嚴肅到
似，《烙印》也請來了來自美國的羅傑索這個外援來編
沒神沒氣•由自大到自悲都演得很有喜劇感。兩人一中
排及演出了兩納舞蹈。《Maya》一舞取材自印度数的哲
一英的獨白處理也很得宜 ：中、英文的內容不同但接
學，大意是世事均由三種基本「特質」所組成。舞蹈中
近，既避免了重複之弊，也令到只懂其中一語的觀眾也
最令人留下深印像的是幕後投影的設計。這裡所謂的
知個大概，開懷捧腹。
幕，其實是掛在文化中心劇場那開放式舞台左後方的一 道長窄畫幅。舞蹈開始時，畫後燈光亮起，把藏於畫後
這晚節目的下半場是温玉均的《烙印》，調子與上半場
一個舞動著的舞者身影投在布幕之上。慢慢的，從這個
的截然不同。開場時台上燈光暗淡，明亮的側光打在慢
由於投影角度而遠比真人高大的影子中 ，一個又一個較
步於台上的温玉均身上，做成強烈的對比。舞者於冷清
細小的身影分别浮現、脱離，點出舞蹈的主題。另一段
幽暗的台上尋尋覓覓，一面苦惱之色，似是失落了什
利用了投影的舞蹈是以第二種「特質」為題的一段。紅
麽。音樂聲中不時夾雜著一陣陣空洞但清脆的撞擊聲連
衣男舞者於畫前舞動著，一道影子投射於其斜後方的畫
續迴響，舞者的心情也似被這些雜音所牽動困擾而作出
上，一人一影舞了一段後，畫前舞者突然反身一跳，與
掙扎。儘管舞者的身體動作看似柔弱缓慢，但肢體卻是
影子對峙一會後，兩者相對著舞了起來。當然，由於之
蹦得緊緊的。接著，女舞者盛培琪如石像般凝著不動的
前已「示範」了幕後投影的效果，相信很多觀眾一早已
身榲於台前慢慢升上舞台。盛一身黑衣長裙，外披著中
猜想得到這一段舞蹈中的影子其實是畫後另一舞者的投
國舞的雪白水袖外衣，臉上塗上厚厚的白顏料，只露出
影，而非畫前紅衣舞者的身影，但由於兩個舞者的動作
深深的眼睛和嘴巴，形像有點嚇人。接下來的舞蹈中，
配合得宜，仍能做到敎人半信半疑的效果。這兩段利用
水袖運用捨棄了傳統中國舞大開大合的優美收放，而成
了投影的設計頗見心思，也有妙趣，但可惜的是由於文
為兩個舞者間拉扯糾纏角力的道具。盛的長袖時而輕覆
化中心劇場是開放式舞台，觀眾能見到舞者出入於台前
於温身上、肩上、臂上，時而卷纏著温的雙臂，似是要
和畫後，一定程度上影響了其效果。至於舞蹈動作方
操控著他。雖然温的動作受制於雙袖的糾纏，但卻最终
面，在處理三種基本「特質」上，頭兩種較為成功。白
能掙扎著拉脱開來。最後，温離開舞台，留下女舞者一
衣女舞者（何惠儀）的動作以輕柔為主，較為温純無
邪：紅衣男舞者（Ardee M. Dionisio）則動作幅度和力度
下接第16頁‘
都較大，著重對抗和能量。至於黑衣的黃志雄則似乎沒
有明顯的獨立篇幅，「特質」較為隱晦。（當然，個人 並不認識Maya哲學的內容，也不知道對這些「特質」的
理解是否正確。）《Maya》中另一叫人眼前一亮的是羅
傑索於舞蹈初段時的獨舞。扎著「馬步」的他以快速而 準確的動作，演繹都市人繁忙的生活。那其實是短短的 一幕•什至可以説是「過場」，但羅於動作中採用了大
量默劇手法和技巧，很有現代感，也富於戲劇感和幽默 感。個人認為•這些因素都使羅的作品富有一定的娛樂
性，也敎容易看得明白。這些特點，在當晚的第二個作 品《自愛》中便更加明顯。舞蹈開始時已定立了舞蹈的 戲劇感和幽默的調子：兩個男人於台前很專業地、用心
地刨著鉛筆，並煞有介事地作討論之狀.比畫|］著那個的
盛培琪與編舞溫玉均於《烙印》中的演出。
舞評
Review
四種對身體作為創作媒介
的宣言、質疑、抒懷與感慨 文：周踏
«B.O. B.» （身體呀身體）
望看怎樣的舞？舞者展示體能極限，
（黃大徽）引起線頭，聯起二月在 香港上演的四個舞蹈，《緣舞曲》
（00合），《黑色聯想》（Conj unto di
Nero）（艾米奥•格雷、彼德•徹 爾敦）和《烙印》（玄牝舞集），
即時赢得大多數觀眾的掌聲，也贏得 象徵舞壇權威頒發「等候證」，明明白 白的「一個願打一個願捱」的現實再現。
相對地舞者之間的trust game （衝鋒人肉
床），真情活力的感染，倒敎我抒了一口氣。
主題各異，放在一起評論似有 不公，其共通性之明顯— —舞
劇場是問問題的地方，還是變魔術的地方？
蹈同於二月上演---- 又似欠
劇場效果較強的一幕是「向左望，向右望」— —舞
看頭，不過説實在，只是出 於為舞蹈創作的本質找個討 論的起點。
黃大徽作品《B.O+ B.》 攝影：張志偉
台盡頭各一人，左邊是軟骨功、健美生、脱衣舞，
右邊是自我、自信、自傲的當代舞者漫舞•向左望
還是向右望？還是時而望左時而望右？一張平白的 《B.O. B.》以香港為經，資訊爆炸時代為緯，定位自
人肉問卷，身體劇場露骨的三個問題，觀眾以身體表
己作為舞者的時代意義。艾米奥•格雷與彼德•徹
態，成為演出的一部份。我視乎表演水準，選擇看一
爾敦對舞蹈創作的鑽研頗深刻，並雙頭馬車式地發
而不淫的脱衣舞，但這又不代表對當代舞（程式
掘舞蹈不辦自明的藝術性，同時以dance events
的不支持。
（劇場觀演事件）作為傳播訊息的渠道，更開設網站
（www.emiogrecoandpc.nl）誘發舞蹈論述。《烙印》（玄
笑談天下舞蹈事，演員討論各大現代舞派特色：Martha
牝舞集）、《緣舞曲》（00合）兩個演出的創作人背景
Graham 的 Contract & Release、Doris Humphrey 的 Fall &
皆來自演藝學院現代舞系，該系強項乃融合拉邦動作分
Recovery ' Pina Bausch 的 repetition、William Forsythe 的
析（LMA）與釋放技巧（releasing technique），有説演藝學
多媒體解構芭蕾、DV8弱勢社群原始慾望與暴力的體
院是香港舞者的温室，離開母體後舞情何種？
能發洩、Les C de la B社會性的控訴’Trisha Brown的 「行雲如流水」（此點不明所以，Brown以善用累積見
《B.O. B.》主題是：如果舞蹈是原始的溝通工具，在資
稱）等等。當我問：這有什麽好笑的時候，面對現代舞
訊高速膨漲的商業社會，舞蹈的價值何在。就香港而
蹈風格流派的表層客觀共識與插科打琿式演繹的主觀反
言，舞蹈創作/表演，除了學院的定期發表外，一切
應，我對他者（具扎實創作理論基礎的）的支持，是否
都跟商業有關，無論主辦機構或贊助人對藝術的承擔有
黃的反諷巳奏效？又或者這其實是對舞混的一記耳光？
幾多，一般都視售票率為評審基準。所以黃實際是在 問：舞者在求存中如何發揮舞蹈創作的社會意義。開場
00合合五段舞《圓來圓去》（龐智药）、《從零開始》（陳敏
第一幕，舞者在強勁節拍中逐一展示個性任舞縱横。
兒）、《遇》（黃狄文）、《相交於何時》（韋愛碼）和《完
「精彩絕倫」、「Two Thumbs Up」之類的宣傳語句隨
無曲》（方俊權）成《緣舞曲》。一伙演藝學院舞蹈系志同
即投放，蜂擁整個舞台。是諷刺看舞的一面倒追求觀能
道合，訴説愛舞之情，從舞至友的緣份’對今日以舞為
快感的單薄，還是挑戰空洞無味的宣傳法？ 一幅令人看
生的幸福與未來能否繼續舞緣的一份幽幽愍念》舞蹈彷
得唯唯諾諾的活動圖畫— —真的體能發洩.，假的舞動情
彿跟觀眾喁喁細語，真誠得有點近乎煽情，但攝人之處
感。先聲奪人開門見山叫人落入預設的思索— —觀者期
也在此，加上舞蹈編排與專業舞藝平衡到位•以接觸即
19
興(Contact Improvisation)夾雜輕吾劇形式的對話' 畫外音、獨白、生活實錄(排練片段錄像' 生活照片)
交織。電影感的處理，有陣戲/舞如人生的隱喻’也 發揮了運用劇場元素的思維。五段舞幾乎五為一體，
中間一段《相交於何時》冰冷黑暗---- 人際關係的隔 閡共存而又疏離，摩肩接踵卻彼此不留半個眼神’剛
好與其餘四段至情至誠的舞蹈成強烈對比’凸顯了舞 情交融的可貴，舞的人本意義在這裡放下了一個感性 的提示。 《烙印》(玄牝舞集)，靈感源自化解(Undo)這個既 電腦又佛學的用語，由温玉均、Rob Kitsos編的三支
舞組成。《Maya》(Kitsos)利用影像投影效果，形象
化一體生三我的意念，反照印度敎中宇宙幻象之意， 以三種現代舞動，展示性急、性隨、無我的都市人心
境。《自愛》(Kitsos)再來內心讀白分身術，用雙人舞 處理人生對話，由個人言説帶動手語化的舞蹈，笑語 中輕鬆演繹庸碌人生營營役役的積極與消極。《烙印》
(温)凝煉的心理舞蹈劇場，以拉邦分析作為動作理論
基礎，以釋放技巧诠釋內心的交纏，運用影像藝術，劇 場調度呈現面相心相•雌雄相輔相克，時空變幻，長
袖白面心魔彈指間幻化成老人，散落一地彈珠七上八
落擲地聲隆震攝整個劇院，著墨不多卻深刻有力，以 身體發掘心性，借劇場表現內在的千頭萬緒，體現古
希臘戴奥尼索斯(Dionysus)精神的舞蹈本質。
意大利編舞者艾米奥•格雷與其創作伙伴荷蘭的彼德•
徹爾敦，1996年發表七項宣言：90°, The world is titled,
CM«
Tabula rasa, Synchronicity, Written on the body, The
visionary body, Politics, Coming together quite naturally。 宣言隨每次演出刊載於場刊，在香港上演《黑色聯想》
時換上精簡版，大意是：「好奇、對話、選擇、矛盾、
2
挑戰、懷疑、意志」七項，主旨不變— —「強調舞蹈 不是藉身體為傳訊的工具，亦非裝飾劇場空間的語言， 而是自給自足並能創造時空」。《黑色聯想》明顯不是
關於再現象徵(symbolic representation)'而當被劇場音
效燈光時空佈局的精密攝住時，舞動正是眼前必需的物
理現象，這一點體現了非傳情非傳訊的自給自足。但 是音樂/音響與空間運用上，的確提供了一定的狀態導
引，如古典音樂混雜在Techno勁拍中，獨舞者悠悠舞 動，凸顯古典音樂的温柔：多次重複對角線出入場的動 力，都是很古典的做法。假如格雷與徹爾敦要以「融合
古典元素超越古典」，《黑色聯想》的確在傳統劇場的
規矩下營造了舞蹈作為自給自足的動態藝術 — —時空動 力與身體狀態相輔相成的结合。至於舞蹈是什麼，他們
沒有答案，只知再現陳述不是舞蹈的必然.本身應該就 盛培琪於溫玉均作品《烙印》中的獨舞。
是方法。画
卷舞評
Rev/ew
夢與現實的距離 文：小棕 照片：不加鎖舞踊館演出
《10夜.夢的10曰10夜》
攝影：張志偉
實的邊界模糊化，互動效果亦令觀眾更主動去調敎自己 與夢與現實與演出之間的距離。
演出後的討論環節，王榮棟宣佈他不會再在台上演出 （幸好他仍會繼績編舞），除了因為身體受傷的痛外，還
有心痛，因為在香港這個諸多限制的藝術環境下實在掙
扎得很辛苦。我作為藝術行政人員，是非常有感觸，我 很明白香港確實有很多封建或官僚的機制和架構 ，令藝 術家吃了不少苦頭，要完全地、不顧一切地去發展創作
並不是那麼容易。但這些建制是否牢不可破？是否沒有 商量的餘地？當場地、資源或行政等各方面都各有其立
場、各有其遊戲規則時，如何可以平衡各方面的要求，
「已馑
很久沒有一個演出可以讓觀眾帶走一點
達至雙赢的局面？
什麽，回家後仍回味細嚼並反思那一點
什麽了。」還記得很久以前跟馬松漢閒談時他的感慨。
我相信玩遊戲不一定要對方輸才可以令自己贏，如果其
也許是這樣，於《10夜•夢的10日10夜》，創作人王
他人要輸的話，我們便要再思考遊戲的目的— —搞藝術
榮祿、森山開次及馬松漢除了用舞蹈之外，還加上大量
的目的。
與觀眾直接溝通的説話，刻意叫觀眾在夢與現實的交替 中不斷反覆思考自身在生活中的問題、釐定自己在劇場
很想與王榮椽和在這個圈子工作的人分享 John Lennon
中的位置，提醒我們將思绪和在劇場中發現的那一點什
的一席話：
麼放進手上的紅色汽球內，形神俱備的带回家去。但萬
“A dream you dream alone may be a dream,
料不到，觀尿滿載而歸之餘，完場後的討論竟也令我由
but a dream two people dream'together is a reality.”
衷的留下眼淚和感觸。 共勉之。■ 事情是這樣的。開場前每位觀眾都會收到一個紅色汽
球，而裝扮成帶位員的馬松漢則引導觀眾積極的與自己 的思路、與手上的紅色汽球、與身邊的人、與劇場的環
境對話和發生關係。當觀幂進入狀態後，王榮裱與森山 開次的舞動又帶我們進入某種超現實和虚幻的夢境，尤 其森山開次連綿不的斷的動作質感，配合他哭笑難分的
戲劇演繹，表現了「擁有」及「失去」的自我追逐遊戲， 和那種「半滿」抑或「半空」的人生視點和態度。在這 些幽眇又帶點暗昧的呈現當中，馬松漢每每用荒誕及戲
謔的手法將觀眾•扯回現實去，例如用現鈔去引誘觀幂
「犯罪」，令她在台上坐牢：喋喋不休的分析一首歌的 结構，叫我們思考「重要」的定義。這種手法將夢與現
算蹈節目表 The Comedy ofK 《畸人説夢$〉
Merce Cunningham Dance Company (USA) 《簡寧漢舞蹈團（美國）》
CCDC城市當代舞蹈團
2-3/4 8pm Kwai Tsing Theatre Auditorium 葵青劇院演藝廳
7:30pm
23-24/4
Grand Theatre, Cultural Centre 文化中心大劇院
Choreographer 編舞：
Choreographer 編舞：
Helen Lai黎海寧
Merce Cunningham 梅西•簡寧漢
Enquiries 查詢:2329 7803
Enquiries 查詢:2268 7323 大吧护
原劏中國歌舞股會
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口otir of0c\
u[i 7s)oncferfan(f
Underground Fantasia 《范特西的地下夢路》
Tour of Occult Wonderland 《秘境之旅》
Youth Ballet of Asia 亞洲青少年芭蕾舞團
China National Song & Dance Enserr
10/4 3:30pm
中國歌舞團
Auditorium, Tuen Mun Town Hall
‘翊
盛
屯門大會堂演奏廳
29-30/4 7:45pm
Grand Theatre, Cultural Centre Choreographes 編舞： So Hon Wah蘇漢華 Enquiries 查詢：2234 6317
8pm,
17-18/4
ta
w:杏港义》;
文化中心大劇院 Enquiries 查詢:2880 9622
West Side Dance Story 《夢斷舞城西》
Lost & Found in Babel 《猜•程•尋》 16-17/4
中妒交化J 甘助胃iiKtti-
b
Academy Dance Ensemble 3pm
演藝舞蹈團
Cattle Depot Theatre
20-22/5
前進進牛棚劇場
Academy Lyric Theatre
8pm
演藝歌劇院
Choreographers 編舞：
Frankie Ho何靜茄 Taiju Matsumoto 松本大樹 脚HIVAA
Enquiries 查詢：9628 4114
Choreographes 編舞： Joe Konicki, Herve Robbe,
Natalie Weir, Mui Cheuk-yin 祖•康勒奇、贺菲.羅弼、 娜泰莉•維亞、梅卓燕
—-
WBW
imaareSain
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曹
K
讎
《唐境》
Don
La Compagnie L’Eventail
G on Spof《G事點》
茱恩芭蕾舞團
22/5
22-24/4
Concert Hall, HK City Hall
7:30pm
藝穗會小劇場
Coral Lee李以珊.May Au歐嘉美
务询：2751
香港大會堂音樂廳
31/5-1/6
8pm
Grand Theatre, Cultural Centre 文化中心大劇院
Choreographes 編舞：
Choreographers 編舞：
Enquiries
Le Ballet de Lorraine
8pm
Greensco蔥動派製作間
Fringe Studio Theatre
•
扇子舞團
Rave《狂熱》
6068
J-F Rebel, C.W.Gluck Enquiries 查詢：3196 6213
Choreographes 編舞：
KaroleArmitage嘉露•惟密迢
Merce Cunningham 梅西•簡寧 FnniiirifH；杏油• ] 1 Q6 6? 1 ]