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本刊物所表達之意見或觀點及其所有內容，均未經香港舞蹈聯盟或香港藝術發展局 作技術性認可或證明確實無誤，亦並不代表香港舞蹈聯盟或香港藝術發展局之立 場0
Supported by:
The judgement and opinions expressed and the content included in this
publication do not carry technical endorsement or authentication by, nor necessarily
香港藝術發展局 Hong Kong Arts Development Council
represent the views of, the Hong Kong Dance Alliance or the Hong Kong Arts Development Council.
Sponsored by: THE H(rMG
ACADEMYy^
PERFORMING AKTS
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康樂及文化事務署 Leisure and Cultural Services Department
天虹印刷有限公司 Rainbow Printings Limited
目錄 Contents __________________ Vol.6
No.4
封面Cover 楊春江作品《形亡極樂》
Daniel Yeung’s Metalove
i-舞蹈節2004
攝影 Photo: Jessie Clockwork
香港自主舞蹈協會（HKIDA）與CCDC舞蹈中心將於今
年8月和9月假CCDC舞蹈中心（九龍黃大仙沙田坳道 110號地下）舉行i-舞蹈節（iDF）。打頭陣的是於8月
中舉行的舞蹈展覽。這個在CCDC舞蹈中心地下大堂 舉行的展覽會以文字、圖片和錄像放映等形式來介紹現
舞蹈快訊NEWS
1
代舞的起源和發展、香港舞蹈藝術的多元拓展、現代舞
在香港的成就及貢獻和本地的舞蹈家及團體。跟著，於 9月11-12日會有多個小型舞團、自由舞者的表演及即
生命的熱力表演的儀式
興創作，以及各種不同類型的舞蹈工作坊和研討會。查
Dance of Life, Heat of Rite
詢及聯絡：李以珊8101 0877 （自主舞蹈協會）、甯明 敏9047 9881 （自主舞蹈協會）、劉天明2726 9023
文：劉建華 by Lau Kin Wah
（CCDC舞蹈中心）。
4 ROGER COPELAND敎授舞蹈演講
香港藝術發展局邀請了著名的舞蹈評論家Roger
Talking Dance 談談舞
Copeland敎授到港，以其最新著作「簡寧漢與現代舞
的現代化」為題舉行一場演講。Copeland敎授曾任敎 by Rob Kitsos
文：羅傑索
10
l-DANCE FESTIVAL Hong Kong Independent Dance Association and CCDC Dance Centre will organize an i-Dance Festival
對逝者的懷念— —
(iDF) in August and September, 2004. The first event
《形亡極樂》和《標童》
is a Dance Exhibition in mid August, taking place at
文：方人
17
the ground floor lobby of the CCDC Dance Centre (110 Shatin Pass Road, Wong Tai Sin, Kowloon).
Through text, photographs and videos, the exhibition
will introduce the origin and development of Modern
舞蹈節目表 Dance Events
20
Dance, the various developments of Hong Kong
dance, the achievements and contributions of Modern Dance in Hong Kong, and local dance artists and
organizations. Then, in 11-12 September, there will be performances and improvisations by some small
dance companies and free-lance dancers, as well as dance workshops and seminors of various topics.
Enquiries: 8101 0877, 9047 9881 (Independent Dance Association), 2726 9023 (CCDC Dance Centre).
DANCE TALK BY PROF. ROGER COPELAND Image: Bruce Wong’s〈〈一個人》‘ \r\ Little Man's Blue. Photo: J. J. Loo.
圖：《標童》中黃振邦作品《一個人》。 攝影：劉傑仁。
於耶魯大學、Carleton ' Wesleyan ' Colorado
The Hong Kong Arts Development Council has invited
College 和英國的 University of Bristol ’ 現任敎於
renowned dance critic, Prof. Roger Copeland, to give
Oberlin College劇場及舞蹈系。他於多份雜誌’包括
a talk on his latest book, Merce Cunningham and the
《紐約時報》、《美國劇場》等’先後發表了超過150
Modernizing of Modern Dance.
篇有關舞蹈、劇場和電影的文章；並參與多本書藉和文
currently teaches Theatre and Dance at Oberlin
集的部份寫作，包括了舞蹈著作中一本最常用的《甚麼
College, and has taught at Yale, Carleton, Wesleyan,
是舞蹈？》。這個以英語主講的免費講座’將於2004
Colorado College, and the University of Bristol in the
Prof. Copeland
年8月5日（星期四）下午6時至7時30分’假香港
UK. He has published well over 150 articles on dance,
藝術發展局（香港皇后大道中181號22樓）一號會議
theatre, and film in many magazines, including the New
室舉行。查詢：Susanna Lui 2820 1059。
York Times and American Theatre, and has contributed chapters to many books and anthologies, including one
假曰芭蕾舞課程
of the most often used books on dance What Is
由香港芭蕾舞團與香港演藝學院合辦的「假日芭蕾舞課
Dance?. The Talk, which is free of charge and given
程」將於今年的8月11日至13日假香港演藝學院舉行。
in English, will be held on Conference Room 1, Hong
課程的活動適合男女學生參加|參加者無須具備舞蹈經
Kong Arts Development Council (22/F.，181 Queen’s
驗，但必須對舞蹈有濃厚興趣。課程內容包括了芭蕾舞
Road Central, Hong Kong), at 6:00-7:30pm, 5 August
技巧課、《仙履奇緣》劇目選段、中國舞及爵士舞工作
2004 (Thursday). Enquiries: Susanna Lui 2820 1059.
坊和實驗表演（只為A班學生安排）。課程適合8-12
歲（A班）或13歲及以上（B班）的兒童。查詢：2105
HOLIDAY BALLET COURSE
9744 <=
Jointly presented by the Hong Kong Ballet and the
假日芭芸 舞課
11-13/8/2004 Jointly presented by The Hong Kong Boliel ond The Hong Kong Academy for Performing Arts
由杏港芭帝舞阑及
S进演g屮IKG功！
®
零$
1
Hong Kong Academy for Performance Arts, HOLIDAY
BALLET COURSE will be held between 11 and 13 August 2004 in the Hong Kong Academy for Performing
Arts. The course acticities, which is designed for boys
and girls with no previous dance experience who are
enthusiastic for dance, include Ballet Technique Class, Repertoire Class of Cinderella, Chinese Dance, Jazz
Dance workshop and informal showing (for Class A students only). The course is suitable for children aged 8-12 (Class A) or 13 and above (Class B). Enquiries:
2105 9744.
MONTHLY CONTACT JAM *
2
A
Starting from the coming August, Kongtact Square, a
s ©
local contact dance group, will hold a monthly contact
jam at CCDC Dance Centre. The first meeting will be
m
4
書
at 5:30-7pm, Saturday 7 August, 2004. A fee of HK$20 is charged for each entry, while HK$100 one-year pass
and HK$50 half-year pass are also availible.
H
TllElUNiKirw;.Villlf.UV A in
___________
Participants must have basic experience and 攀
knowledge of contact improvisation, and should wear loose and comfortable clothes that facilitate movement,
preferably of non-slippery material like cotton, with no earrings, bracelets, pendants, eyeglasses or sharp 每月接觸即興斟
4
今年8月開始，一個本地的接觸即興舞蹈團體 Kongtact Square會於CCDC舞蹈中心舉行每月一次的
4^
objects, and avoid clothing with zippers or buckles.
Participants should also take care of the safety of oneself as well as others, be considerate and keep
接觸即興斟活動。第一次聚會是8月7日星期六下午£
body clean, and warm up properly beforehand.
時30分至7時。每次費用為港幣20元，另可選擇支付
Enquiries: contactjamhk@yahoo.com.hk.
，巷幣100元的一年或港幣50元的半年費用。參與者須
要對接觸即興有基本的經驗和認識；應穿能活動自如的
鬆身舒適服飾，例如棉質衣物；不應配帶任何飾物、眼
2004 SUMMER INTENSIVE DANCE WORKSHOPS FOR STUDENTS
鏡或其他尖鋭物品，亦應避免穿帶扣子或拉鍊的衣物。
City Contemporary Dance Company will organize two
參加者必須注意自身及他人的安全 ，必須為他人著想，
two-week-long SUMMER INTENSIVE DANCE
保持身體清潔衛生，並於開始前自行熱身。查詢：
WORKSHOPS FOR STUDENTS in this August. The
contactjamhk@yahoo.com.hk °
two workshops will be held 2-12 August and 16-26
August respectively, with 8 days and a total of 24 hour
2004「學生暑期密集舞蹈工作坊」
class in each workshop. Organized consecutively for
城市當代舞蹈團將於今年八月間，舉行兩個分別為期兩
four years, these intensive workshops are specially
星期的「學生暑期密集舞蹈工作坊」，時間分別為8月
tailored for students who have never experienced
2-12日及8月16-26 0 •每個工作坊上課8日共24小
dancing. Workshop content includes Modern Dance,
時。這個舉行至第四年的工作坊|是特別為從來沒有接
Street Jazz, Hip Hop, Tap Dance, Musical Theatre and
觸舞蹈經驗的學生而設計。內容包括了現代舞、街頭爵
Kung-fu Dance. Instructors include Rex Chiu (Musical
士舞、Hip Hop、踢躂舞、音樂劇和功夫舞。導師包括
Theatre), Jocelyn Chung (Modern, Street Jazz),
趙浩然（音樂劇）、鍾碧霞（現代舞、街頭爵士舞）、
Kevin Lam (Hip Hop), Lai Tak Wai (Kung-fu Dance),
林建洪（Hip Hop）、黎德威（功夫舞）' 盧慧怡（功
Tiffany Lo (Kung-fu Dance), and Anthony Suen (Tap
夫舞）和孫銘傑（踢躂舞）。出席率平均達80%或以
Dance). Students whose attendance rate is 80% or
上的學生*可免費申請出席証明書。查詢：2328 9205
more can apply for an Attendance Certificate for free.
/ 2194 7057 / dc-cou「se@ccdc.com.hk。■
Enquiry: 2328 9205 / 2194 7057 / dc-course@ccdc. com.hk. ■
請以本刊封面內頁所列的關絡方式提供舞蹈資訊
Send news items to the Joutrnal at the contacts listed on the inside cover
3撇 Tun*
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Membership
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n普通會員*
Individual $200
'――'Associate* $100
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dliCX
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工 Members Information 會員資料 ⑺肌 山 團體名稱(團體會員填寫) CD Name of Organization (Organization Member only)________________
姓名 LU痛E Name (中文)_______________________ (English) ◦
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職位 公司名稱 !翻 Position_________________________________ Company ____________
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電話
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Telephone________________________ Fax__________________________ E-mail Address
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通訊地址 Correspondence Address
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Please enclose cheque payable to HONG KONG DANCE ALLIANCE with this application
Signature_________________________
form to: c/o Office of the Associate Dean, School of Dance, Hong Kong Academy for
曰期
Performing Arts, 1 Gloucester Road, Wanchai, Hong Kong.
請填妥表格連同劃線支票(抬頭寫：「香港舞蹈聯盟」)寄香港灣仔告士打道 Date_____________________________ 一號香港演藝學院舞蹈學院副院長辦公室轉交香港舞蹈聯盟收
舞壇手記
Dance Diary
生命的熱力
表演的儀式
Dance of Rite
Heat of Life 文：劉建華
by Lau Kin Wah
态求說化於〈嫩⑽城〉〉H不'力 泥*贊W郎是利用物質科技堆疊-種叫
turned out to be the last in a series of dances that used big
人稱為詩意的莫名氛圍，拆去裝置的假象，要展示的東
cloaks and bowler hats (from That Time... to The Comedy of
西其實相當的平面化。在內裡其中一間小室，投影著一
K). Despite the fact that winter (and the need for coats and
個酷真舞者在同様無身份、無個性的冰冷城市街中，因
hats) was long gone, the Cullberg’s performances seemed
為數據的輸入而孤伶的不斷舞動，鏡頭角度則圍繞旋個
the best among the series. Whether due to Hong Kong’s
不停。虚擬舞者動作通過刻意分配不平均的數據搜集器
high temperatures (both the weather and the socio/political
得來，但這種任意扭曲自然動作的「礙相」，實際沒有
climate) or the clash of the performance dates with the
呈現出任何偏離真實數據的創意，效果反像未見調準的
commemoration of June 4th, ticket sales were poor. The
仿真性。那裡不過是個有冷氣的沙漠，叫人難以逗留。
disappointing reception of such a wonderful event calls into
In early June, Sweden’s Cullberg Ballet presented what
加爾堡芭蕾舞團演出艾克作品《有點兒》。Cullberg
Ballet performs Mats Ek's A Sort Of.
攝影
photo: Lesley Leslie-Spinks.
相反或者是北歐處於寒帶，藝術創作盛多點暖意無人會
介意，瑞典加爾堡芭蕃舞困(Cullberg Ballet)在六月初 的演出•可算是把(從《那時》到《畸人説夢》)多個利 用大褸、绒帽服装形象營塑冬日感覺的的現代舞演出推
上壓軸的高潮，帶來頂級的欣賞指數。可惜演出碰上横 跨六四的檔期，入座率偏低，浪費了頂大好的帽子。不
知是否因城市的温度太熱而絨帽令使人覺得難耐，還是 仍要不斷增建的場地硬件實在充大了頭？(若果聞一浩認 同「有幾大個頭戴幾大的帽」，或者也會認同我給其帽
子和頭譬喻作的竄改?)
英格爾(John Inger)編的《家家過曰子》、《上氣.不接 下氣》，相比較重舞蹈，就是《家家過日子》中後跳踏 入圍版砌成的小白室一步•就見編舞對空間過渡的細節 用心；艾克(Mats
Ek)編的《有點兒》則多點劇場作
風，不忘加插幽默的小檔位。整晚除卻簡單又物盡其用 的舞台、燈光投影，在編舞上，那些舞者宏健肢架伸展
定頓所釋發出的勁量，都被編舞收得恰到乾淨貼服，如
《家家過曰子》中女舞者旋身後從男舞者身側滑 下而不
失流暢，動作讓人驚訝。
不過正如楊信(Mikael Jonsson)總監所言，加爾堡芭蕾
舞團的特色，在於其舞蹈作品其實往往也有東西要説 ， 不過礙於脈络，我們未必易察，如《家家過日子》和當
地發生的家庭慘案聞有相關，而《有點兒》雖説是以睡
加爾堡芭蕾舞團演出英格爾作品 《家家過日子》。 Cullberg Ballet performs John Inger's Home and Home. 舞者 Dancers: Charlotte Broom, Mats Jansson; 攝影 photo: Lesley Leslie-Spinks.
夢一場作為首尾呼應的結構，但當中一些環節隱隱指向 那時波斯尼亞戰爭中的種族仇殺，如刺破肚裡氣球一刻
question the need for Hong Kong to build even more
的暴力震撼，就彷似要喚起生活於安定富裕社會觀眾的
theatrical venues: Hong Kong is in danger of becoming an
醒覺。
object of derision, like an baby wearing an oversized hat.
進入六月中，黃碧雲的讀書小劇場《沉默•暗啞》開始
Both Home and Home (2002) and Out of Breath (2002),
了不同舞者「獨角秀」的系列演出。身為慣於書寫的作
choreographed by John Inger, emphasize steps: the backward
家，今番第二次落場演出，黃碧雲除了誦讀其以第一身
leaps into a white cubic room in Home and Home reflected
稱的社工自白文本，還間中插入了其近年所學的費林明
the attention to stylization invested in the simple act of border
高舞蹈，也有一段子的崑曲清唱。那陣陣跺腳的費林明
crossing. A Sort(2,(1997), by choreographer Mats Ek, paid
高舞步，在演出中似成了面對社會種種不公義 、又無法
more attention to theatrical elements and was also more
援手時，一份無語無奈不快的肢體宣洩。
humorous. In addition to its brilliant use and manipulation of simple props, the performances demonstrated the
強調情感的強度而非單純講究舞姿，這或是把費林明高
Company’s superb use of lighting, especially evident in the
視為吉卜赛等弱勢社群對於滄桑命運作情感表白的一種
projection of shadows. The strongly built dancers displayed
恰當溯源理解，但是和尼采讚揚《卡門》的原始生命力
force and energy in clean and well-controlled movement.
相反，舞者近乎無表情的面孔，卻似在壓抑身體舞動時
The flow of action was characterized by a smoothness
那份根本的歡悦。故此黃碧雲雖説演出中選擇回歸「脆
throughout and was amazing in the women dancers’ turning
弱之身」，力求克服自身對身體和聲音的羞澀，演出的
and their sliding off the sides of the men.
主體终歸仍是作者執著的自我，而非身體自身。
Beyond the exquisite dancing, as Cullberg managing director, 「獨角秀」系列的第二炮，是楊春江的《形亡極樂》。
Mikael Jonsson says Cullberg Ballet also has a message to
過去「歪啲」咚頭的楊春江，傾心專注身體的議題，本
convey. While Home and Home may have some relation to
已是條獨特路線的開闋，然而我個人總是暗怕從這種
certain everyday tragic incidents that resonate in many
「純身體」觀中讀出人義論的虚無，殊知舞者這次透過
contexts, A Sort Of, with its dream-like adventure structuring.
5
also addresses the violence that occurred in Bosnia, with a
few of its violent scenes seemingly determined to shake people out of the sweet slumber of their comfortable lives.
In mid-June, as the first of the LCSD Solo Soul series,
prominent local writer, Wong Bik-wan, held her second theatre show, The Silent and the Obscure. Besides reading a monologue of a social worker excerpted from her new novel, she occasionally broke up the narrative with a
flamenco dance, as if words alone were inadequate to express her grief and anger. Even though providing society’s powerless minority an emotional outlet to face social
injustice might be an authentic interpretation of flamenco, compared to Nietzsche’s praise of the intensity of life expressed in Carmen, Wong’s emotionless facial expression
seemed to be a denial or suppression of the joy of the dancing body. Therefore, despite her claim to return to the fragile body and to overcome her shyness by using her body and voice, she was still very much the subject in control, and
did not give the body a chance to dance for its own sake.
The second of the Solo Soul series was Daniel Yeung’s Metalove. Yeung has long been a proponent of pure body
dance, and hence of creating a style of his own. I am still
黃碧雲作品《沉默•暗啞》。 Wong Bik-wan's The Silent and the Obscure.
skeptical, however, of whether his stance of pure body will lead to a kind of nihilism. In Metalove，however, Yeung seems
to have cast my concerns aside by answering with a big yes to 全面肯定和擁抱情和愛，和身體旨赶接通之餘，還大膽
love. Charging into the metaphysical realm, asking big
的拋出種種「形而上」的生死問題，又在務實港人的文
questions of love and death, Yeung bravely opens discussion
化藝術環境中創了一個小小的神話。
on an often neglected level of this topic. From its reception, it seems really no less a little miracle, as in the past, our city is
這次觀笨一進場，見到面部被膜罩的楊春江靜立著，這
infamous for seeing everything in pragmatic terms.
和上次《哥仔戲》的胎盤球似相呼應，一開始先來對於
生的受施來個感謝。整個節目以（甚至不是生離的）死
On entering the studio theatre, we see Yeung standing, partly
別來作主題，最後的血淚、昇登極樂，理性而言無疑似
covered by some membrane-like gel tissue. This echoes
是推得太盡，一如錄像走到墳場好像太白了點，但大概
the embryonic sphere from the opening of his last Arts Fest
場刊给已故親人愛人的獻詞，又讓無人能單以藝術的眼
work, Play Boys, celebrating first of all, the fact of being
光來看待這場故意徹底以「meta」和「hyper」語法構成
given birth into the world. Tackling the themes of birth/
的一場「秀」。
自編自跳的楊春江，找來不同媒體（人）合構成一場「超 視象一舞蹈一身體一劇場」，用以支撐全個文化中心慮|] 場的空間，是個聰明且成功的決定•充分發揮其對動
作、音樂、節奏、視覺效果等多方面的天份與背景訓
練。錄像方面，部份已於城市當代舞蹈團及錄影太奇合 策的《跳格》中播放過，縷縷輕絲的水墨效果，頗能襯 托一種貌似回歸東方情調的色彩（不過有點兒陳腐的 「地/水/風/火」分場名目，就不見和「生老病死」充
分對應）。其他的「超視覺」效果.當然不能遺留舞者
從後全高處「騎牆」而下，壓湧產生一股強風，將觀幂
楊春江作品《形亡極樂》。Daniel Yeung’s Meta love. 攝影 Photo: Jessie Clockwork.
楊春江作品《形亡極樂》。Daniel Yeung’s Metalove.攝影 Photo: Jessie Clockwork. 從原來暗黑的佈景一舉吹送到一片純白光明世界的一
aging/sickness/death, the work pushes itself to many almost
幕；此舞台機關設計的場景轉換，大概立刻已斷入本地
kitschy extremes, such as tears of blood, and a finale of
舞台的經典佳話。
reaching to heaven. No one, however, seems to have the right to rationalize such criticism on his deliberate ‘meta’
在新作裡，楊春江的舞步少了過往的彆扭和神經質，整
and ‘hyper’ tendencies, particularly in light of Yeung ?s own
體帶一種適暢性，地面上的全身搖擺、雙手的車輪急
list of deceased loved ones.
轉，又或長長的立身横旋，較意象化的有前俯垂手的前
行、向後彈跳卻向前索抱等的動作。至於連串滚翻後，
As a choreographer with different talents ranging from visual
刻意再延加的承接支撐移位動作，和一些指頭的彈動，
art to music training, Yeung also seeks help from different
同樣地屬於用心推展的小節。
media (professionals) to construct what he calls a 'HyperVisual Body-Art Dance’ work (the Chinese version includes
局部的肢體元件，似乎仍是楊春江的招牌。原先附在透
theatre as well). It is a wise way to command the whole
明椅椅背的「扶手」，後來移握到舞者的手臂上，當舞
space of the Studio Theatre at the Hong Kong Cultural
者再舞動起來，使人聯想到人際關係中的纏繫拉扯 。而
Centre. The video of ink slowly fusing with water evokes a
讓舞者穿過其中的鏡子匣，也收身體切割變形之效。至
kind of Eastern aesthetic that resonates with the earth/water/
於開場那段和錄像一致的手指舞，到最後在「木匠樂
wind/fire section headings. The most impressive and
隊」的媚美音樂烘托下重播，配襯上真人一跪一塌的現
memorable amongst these was definitely the sweeping wind
場演繹。透過豎起的層次格式，舞作讓人感受到從小我
squeezed towards the audience, as Yeung rode on a falling
到大我、人類成長和重覆生死循環之愛感觸動。
wall that changed the whole scene from a dark tone to a
pure white stage in one action. This scene, no doubt will be 在最後一個「獨角秀」前，本地還有「四仔」的土炮作
a classic in the local history of stage design.
品《標童》。從宣傳到場刊都像擺明車馬，要大玩孩童
時期蒙面超人的集體回憶，一副年少輕狂、但求過癮的
In this new work, Yeung performs less fanatic steps and
姿態，原來想會像一齣玩轉曰本漫畫動畫的「cult
opts for more smoothly flowing movement such as whole
show」，然而看過演出，發覺和預期反有距離，通俗的
body wriggling on the floor, swinging of the arms in mid
娛樂性只是宣傳包裝技倆，僅對李健偉戴起超人面具代
air, and long upright circular rotations. More image-oriented,
入幻想世界的表現傾向比較適用，更多所見，反是年青
he has already used the fore-bending arms swaying
movement or the backward leap with forward hugging in the Jumping Frame dance video. Yeung also extended his
usual turning and halting with extra shifting movements
using gravity and supplied more minor details such as
finger movements while stretching. Again, Yeung includes props of body parts in this work. A
disembodied arm first resting on the back of a transparent chair later clutched Yeung’s own arm, seeming like a helping
hand or a haunting ghost who will not let go. Yeung’s climbing through a mirror tunnel, also resulted in similar
kaleidoscopically weird images of disjointed body parts. One last memorable sequence came almost towards the end. The projection of fingers dancing resembling a human figure was reprised from the beginning, but this time with Yeung
dancing in front of it with his whole body, mimicking the same movements such as kneeling or collapsing. The parallel format provided us a distance to see the cyclic nature
of life and death without being too indulgent, despite the accompaniment of a love song by the Carpenters.
Before the last of the Solo Soul series, local dance group
Sie Chai also presented their Little Men s Blue Gong Chaan 楊春江作品《形亡極樂》。Daniel Yeung’s Metalove. 攝影 Photo: Jessie Clockwork.
(Made in Hong Kong) production at the Fringe Club Studio.
From the promotional leaflet to the house program, it looked
編舞們對於「我們是這樣長大的」感懷和追憶不捨。
陳文進作品《玩具車》中的主角對玩具車入迷，最終演
變成了受别人擺佈控制的追逐；黎德威雖取打遊戲機的
忘形姿勢，遊戲本身是什麼反不相干，男孩女孩成長心 理差異似乎更值描寫。如黃振邦的作品，《屋村攻防
戰》固然在玩兩邦對壘的舞劇類型 ，《兩小無猜》口耳
相接的細語互訴，卻是十足的深情環節。於是觀眾夾在 辨認與重温玩彈叉等直接的玩樂快感和抽象情感的舞步
演繹之間，起飛腳換來的更大掌聲笑聲，似乎説明卡通 動畫劇集的暴力肢體語言，還是壓倒性的已深深烙入年
青一代的腦袋。 在四個「獨角秀」最後的一個，是南非出生的雲遜•文
素(Vincent Mantsoe)。據聞其不少的家庭成員都是當地 的巫師•因此曉識與神靈溝通儀式的舞蹈，並把這些元
素放了在《您好》和《遙遠異鄉人》等多齣作品。我全 不否認從他的舞中感受到的非洲原始的澎鮮力量，但若
果這並非簡單的因為服裝或佈景使然，究竟在這些接受 了現代獨舞演出場景的舞作中，是什麼給予我們這種
「原始性」的想像？它自然大異於加爾堡芭蕾舞團的芭
密傳統底子•但相對於自芭蕾解放出來的現代舞或後現 代舞•我們看到的，究竞是一種什麼樣的「原始」感，
是他那特殊出神狀態的眼神運用•間插興奮的自然跳
《標童》。上：黃振邦編舞的《屋村攻防戰》，攝影：劉傑仁。 下：黎德威編舞的《Game of Game》，攝影：黃狄文。 Little Men’s Blue. Top: Bruce Wong’s《屋村攻防戰》:photo: J. J. Loo.
Bottom: Lai Tai Wai’s Game of Game, photo: Dominic Wong
to be through and through hilarious, something resembling
a Manga (Japanese comic) cult show. The expectations of
the audience, made up of our violence-fed generation, seemed to be well satisfied, for they gave the loudest
applause when the dancers performed a kick boxing
sequence of the type seen in comics and games. However, although Lai Tak Wai plays with the notion of kids getting
hooked on electronic games in his work, only in Max Lee’s
pieces, do dancers put on their characters’ masks and leave reality behind. Bruce Wong also presented a piece that is a
parody of the gangster genre, but a duet he choreographed is, in contrast, pretty sentimental. So is the sad ending given
to the boy obsessed with little toy cars in the only piece choreographed by Chris Chan. The English title of the evening, Little Men’s Blue, is thus a good generalization after all, for summarizing a group of ‘kidults’ wishing to recall
those carefree childhood days.
The fourth program of the Solo Soul series is a combination
of five different repertories performed for three nights in a row by the South African born Vincent Mantsoe. His socalled ‘Afro-Fusion’ was much inspired by traditional 雲遜•文素 Vincent Mantsoe
African dance and remained very close to spiritual rituals.
One could thus easily feel the primitiveness in his work. 曜，對汗水、尤其飛沬的無忌「揮霍」，或還那不過是
Yet in reflection, the reasons for this sensation are quite hard
讓觀者陌生的肢體章法，一如我們對他們日常語言不同
to pin-down, for it comes certainly not from the discotheque
語音運用的陌生？（因此大家原來一樣的現代?）
like costume in NDAA. Maybe his facial expression, childish jumps with great excitement, and animal postures
巫，對於現代人，跨出於理性劃分的不同生活專業領
all contribute a little. But could our sense of primitiveness
域，因此而故神秘，脱出了本來的脈絡，和把挪用生活
in his work also be just our imagination compensating for
不同範疇動作重新混入創作的現代舞蹈 ，其實差異表現
our lack of understanding of his different artistic traditions,
在那裡？正是文素的創作路線和「儀式」一詞，使我決
and could his work be seen as contemporary in that tradition
心把黃碧雲的演出也包納在今期的討論範圍。如在〈與
as Cullberg Ballet’s work is in the classical ballet tradition?
D先生跳舞〉一文中，黃碧雲就寫道她認識鬥牛被稱做 「死亡之舞」而對舞蹈加深的認識：「我是先知道舞，
With different choreographers using dance as a means to
才知道節日。到知道節日的時候，我才知道，其實我不
know the self, some seem to find the important tie between
知道舞。……祭是一場慶典。我明白了舞原來是一場慶
identity and ritual (as a rite of passage). It seems that identity
典，舞就變得極為莊嚴肅穆。」而其對於「儀式從來沒
is not something solely within the self and connects with
有新奇事物....儀式重複，因此我們總可以有所期待。
many other things and people. Interesting, however, is that
儀式永不會過去，只有我們成為過去」，則又和楊春江
this understanding of life, also comes up in a series of solo
於報章的訪問中談到「葬禮是一些儀式，一種「表演」，
dancing. Perhaps after the SARS incident last year and a
讓參加的人在當時當刻去認同及見證個人的感情，面對
second year of 1st of July marching, we know we never
痛苦往昔的勇氣」有一脈相承的關聯。
walk alone in life.H
記得看畢「四仔」自謂「純屬小品」的《標童》走上夜
女性內衣廣告的「舞步」，戲名為「動感之都」’沒錯
街，我想起的是《男歌女唱》中黃子華飾的阿King唱著
搶盡了兩個口口聲聲説想跳舞、但卻抱怨周遭太黑的主
超人主題曲時的一副誇張臺風。恰恰「Kidults」旋風，
角孖生兒，但大家最後不似都在原地踏步？於是近曰在
最近似有被捧為文化工業的救命符，然而其中的「必殺」
一篇舞介的文章中所讀到，「香港似乎已進入了一個用
技倆經常仍離不開挪移翻抄童年記憶。在劇場《七個好
腳探索自身和社會的年代」’這或是談不上出路•卻起
年》中，一個男演員在「救港凌空一字馬」環節，模仿
碼是表達不妥協於環境下，一種有意義的選擇°■
專稿
Article
Talking Dance (I)談談舞(I) Aesthetics & Philosophy
美學與哲學 by Rob Kitsos 文：羅傑索
_
INTRODUCTION
刖5
It is important to talk about dance. Not for the purpose of
談論舞蹈是重要的。這並不是為了要以文字取代舞蹈
replacing dance with words (impossible to do), but to share
（實際上也並不可行），而是為了要分享舞蹈的意念。
ideas
about
Discussion can help us
understand, appreciate and celebrate the power and
importance of dance. Looking
at
討論能幫助我們認識、欣
dance.
dance
philosophically has always
賞及表揚舞蹈的力量和重
There are many artists who simply feel that art needs neither discussion nor explanation. ... However, by
excluding people who have the potential to appreciate
dance, we loose opportunity for more support and understanding from a culture that barely recognizes it’s existence.
要性。以哲學的角度來看 舞蹈，常常能幫助我認識 到舞蹈與其餘世界的關 係。舞蹈是世界性的，而
且與人類的歷史同樣久 遠；但是，通常只有哲學
helped me understand how it
relates to the rest of the world.
有很多藝術家簡單地認為藝術並不須要討論或解
Dance is universal and as old
釋。… …但是，在這個差不多並不知到舞蹈的存
as the history of man, but it is
在的文化中，把一些具欣賞舞蹈潛質的人拒之門
usually philosophers and
外，我們便失去了得到更多支持和理解的機會。
家及評論家會寫有關舞蹈 性質的文章。這出現了
「接觸情度」的問題。這並 不是説須要身為舞者才能
critics and not dancers who
明瞭和討論舞蹈，但跳舞
write about the nature of
活動本身卻實能提供一些
dance. This poses problems of accessibility. Although it’s
重要而深入的理解。隨著更多的舞蹈課程加入了舞蹈美
not necessary to be a dancer in order to understand or discuss
學，更多的舞者會投入於舞蹈談論之中。
it, the act of dancing offers important insight.
As more
dance programs begin to include the study of dance
這系列的文章旨在作為舞蹈敎師和學生 ，以及一般讀者
aesthetics, more dancers will engage in discourse about it.
的一個工具。雖然文章牽涉及多種類型的舞蹈，但其焦
點主要是在當代舞蹈上•即是所有現今創作和演出的劇
This article is meant as a tool for teachers and students of
場一舞蹈，包括了芭蕾舞、現代舞和後現代舞。今天，
dance as well as for the general reader. Although it
藝術的意念是跨越不同範疇和文化的。這是一個令人興
references many kinds of dance, it focuses primarily on
奮的年代，但它並不容易被理解。隨著全球化經濟、互
Contemporary Dance, i.e., all theater-dance created and
聯網和所謂的「於任何地方接觸所有事物的生活態
performed today including ballet, modem, and post-modern
度」，現在差不多任何東西都可以被搬上舞台。去年，
dance. Today, ideas in art cross disciplines and cultures.
我就看過一場由一位波斯六弦琴手、一個尖叫的婦人、
This is an exciting time, but not always easily understood.
一個同時播放著一齣數碼電影的雜耍综藝劇場、以及以
With the global economy, the Internet, and an ‘access
一個電鑽破開碳塊同台演出的 「現代舞」演出。這是否
everything anywhere lifestyle’, just about anything is likely
舞蹈？這是一個恆久的問題。以哲學來看舞蹈能幫助找
to be shown on stage these days. Just last year I saw a
到其中的答案。
‘Modem Dance’ concert that included a Persian guitarist, a screaming woman, a vaudeville theater set with a digital
理解個人所選擇職業的性質可以是很有價值的。一個合
film, and a power drill breaking up a cinderblock all in the
理的方法是從個人的工作抽離出來，去嘗試理解它與
same evening. Was it dance? This is a perennial question.
你、與其他人和世界的關係。作為一4固舞者，以哲學來
Looking at dance philosophically can help answer it.
思考舞蹈有兩個好處。一是可以加深個人與工作間的關 係---- 對舞蹈意念的「加工」幫助我在處理舞蹈和一般
Understanding the nature of one’s chosen profession can be
而言的藝術上更有信心。二是可以幫助其他人明白你的
very valuable. It seems logical to step outside of your work to
作品。對舞蹈能提出好問題的人似乎遠多於能解答這些
try and understand how it relates to you, other people, and the
問題的舞者。擁有能説出你對所知的想法的能力是重要
world. Asa dancer, there are two advantages in thinking about
的，就算它只能用作打開話題。以哲學來看舞蹈也能幫
dance philosophically. One is deepening your relationship
助明白其中目的和價值。
with your work. Processing ideas in dance has helped me
become more confident in my approach to dance and art in
作為一個藝術工作者可以是很沒有保障的。這不單只是
general. Another advantage is being able to help others
在財政上，而且也是在情緒上。舞蹈往往不被視為一項
understand what you do. There seems to be many more people
「上進」的或可敬的專業。作為舞者後，我用了十年的
who have good questions about dance than dancers who can
時間才能毫不介懷地對人提及這個身份 。我感到由於自
begin to answer them. Being able to speak your mind about
己不是從事商業、電腦、法律或醫學等行業，其他人會
what you know is important, even if it is just to get the
認為我在浪費時間於不重要的工作上，或逃避一個有責
conversation started. Looking at dance philosophically can
任心的人所應做的事。很多舞者也感到同樣的壓力，而
also help in understanding its purpose or value.
拒絕談及他們的經驗和意見。無論舞者本身知道與否，
他們其實有很多東西可説。當你十年來天天的跳舞，你
Being an artist can be very insecure. Not just financially,
一定會對創作的選擇、人類的表達、藝術和傳意等有很
but emotionally as well. It is often not considered an
多瞭■解。舞者用上大量的時間於檢視如何以身體和組織
ambitious or respectable profession. It took me ten years of
來傳達意念。其實，如何成功地把一個意念組織起來是
being a dancer to feel comfortable even admitting it. I felt
所有媒體— —商業、政治和親子— —所追求的。如果深
as if people assumed that because I wasn’t in business,
入些來看，舞蹈其實明顯地是一種很重要的藝術形式 ，
computers, law, or medicine, I was wasting my time with
能揭露我們的文化和人性的根源，而舞者也是其中一些
unimportant activity, or avoiding what responsible people
最有智能和表達力的人。
should be doing. Many dancers find themselves feeling this
pressure and resist talking about their experiences and
當我開始作為專業舞者時，我很想知到為何舞蹈（以及
opinions. Whether or not dancers realize it, they have lots
一般來説的藝術）能這樣深深的吸引著我。我也發現自
to talk about. When you have danced every day for ten years,
己總是喜愛與其他藝術工作者和朋友於不同的程度上談
you are going to have plenty of insight on creative choices,
論這個題目，一些問題也常常浮現出來。為甚麼我會被
human expression, art, and communication. Dancers spend
演出所吸引？於跳舞時，我的身體上發生了甚麼？為何
hours examining how ideas can be communicated in the body
舞蹈對觀眾有如此的震撼力？為何一些舞蹈可以感動
and compositionally. How a single idea can be composed
我，但其他的不能？這些問題的答案其實並不太重要，
successfully is what every medium - business, politics, and
但談論的過程卻能給我的舞蹈工作帶來更多的意義。其
parenting - strives to master. If one looks a bit deeper, it
中的挑戰是如何去表達自己的意念。
becomes clear that dance holds great significance as an art form that is capable of revealing the roots of our culture and
當進入研究院學習時，我把焦點放在以哲學來理解舞蹈
humanity, and dancers happen to be some of the most
這個過程。而第一次對美學感到興奮，是當一個藝術哲
intelligent expressive people there are.
學老師滔滔地解釋藝術為何重要的幂多原因。他好像能 把我於跳舞時身體所深深領悟的種種以語言表達出來 。
When I started dancing professionally, I became very curious
這開了我的竅，希望可以明瞭舞蹈這一種在個人天性連
about what it was about dance (and the arts in general) that
繫以外仍具價值的藝術形式。最重要的是，我想學習多
kept me deeply engaged. I realized that I loved talking about
點有關舞蹈的知識。
this very issue on many levels with other artists and friends.
Mostly questions would come up. Why am I drawn to
有很多藝術家簡單地認為藝術並不須要討論或解釋 。在
perform? What happens to me while I’m dancing? What is
一個大家共同地明瞭藝術重要性的文化中，這説法可能
it about dance that is powerful to watch? Why do some
成立。西方社會似乎與當代藝術保持了距離，而當代藝
dances move me, and others don’t? It wasn’t so much that
術家也常常與社會保持距離。這距離形成了混淆和隔
these questions had answers, but the process of talking about
膜。很多舞者常作小圈子的演出，以同行的舞者和編舞
them gave more meaning to my work in dance. The
家為目標觀幂。舞蹈演出可能本就如是。但是，在這個
challenge was how to articulate my ideas.
差不多並不知到舞蹈的存在的文化中，把一些具欣賞舞
蹈潛質的人拒之門外，我們便失去了得到更多支持和理
When I got to graduate school, the process of understanding
解的機會。
dance philosophically became my focus. The first time I got
2
excited about aesthetics was hearing a Philosophy ofArt teacher
有關舞蹈理論的書藉和文獻雖然越來越多，但仍遠少於
eloquently explain numerous reasons why art was important.
其他藝術。一個入門的舞蹈理論討論切入點是透過哲
It was as if he was able to verbalize everything I knew deep in
學。基本上，藉著觀察思想家和作家如何看待藝術的本
my body when I was dancing. I was inspired. I wanted to be
質，我們可以於舞蹈中應用相似的概念 。雖然每種藝術
able to understand dance as an art form that held value outside
媒體都是獨特的，但其靈感、創作和效果卻有緊密的關
of my own instinctual connection to it. Most of all, I wanted
係。在藝術歷史中，很多不同的運動和突破都是跨越不
to learn more about dance.
同範疇，平衡進行的。
There are many artists who simply feel that art needs neither
理解哲學的首要概念中，其中一項是理論的運用。理論
discussion nor explanation. This might be true if you live in a
是應用於一特定學科中的規律、意念、原理和技巧體
culture that collectively understands the significance of art.
系，尤其是當其與實際執行有著明顯差異時。
Western society seems to distance itself from contemporary
art, and contemporary artists often distance themselves from
舞蹈理論並不是舞蹈訓練的固有部份。它常是一個「後
society. This distance creates confusion and isolation. Many
勤」的問題。舞蹈對體力的要求往往不容許反省的時
dancers often perform for a small circle of fellow dancers and
間。多數舞蹈學生只能以練舞室中的事情來思考舞蹈一
choreographers. Maybe that’s the way it is meant to be.
一談論舞蹈如何能幫助單腿平衡？「在專注於艱巨的體
However, by excluding people who have the potential to
能訓練下，很多人都拒絕於言語上談論這藝術形式，相
信那只不過是動作本身那第一
appreciate dance, we loose
opportunity for more support and
understanding from a culture that barely recognizes it’s existence.
The first thing to consider about Aesthetics
is that there are no answers, just lots of
interesting questions. ...By focusing on
process, one can begin to understand the Books and treatises on dance theory are becoming more abundant but
relationship between ideas and issues that go into making creative choices.
beginning theoretical discourse
理論上的討論要求我們離開練
舞室，反思我們所做的事情。 以哲學來討論舞蹈是指把一些
問題理論化，包括如何認知舞
蹈、甚麼是舞蹈的本質、它的
they still seriously lag behind those on the other arts. One inroad to
手經驗的差勁替身。」1
有關美學的第一個要點是它沒有答案， 只有很多有趣的問題。… …著重過程，
about dance is through philosophy.
我們便可以開始明白到於創作性的選擇
Basically, by looking at the way
中，意念與問題間的關係。
意義和功能是什麼、如何創
作、如何把好的舞蹈從平庸和 差勁的分辨開來等。
great thinkers and writers
使用理論的最重要之處，是以
approached the nature of art, we can
其啟發新的意念，而並不在記
apply similar concepts to dance. Although each artistic medium
誦哲學家的意念。應該要鼓勤舞者發展自己的觀點來看
is unique, inspiration, creation, and effects are closely related.
待自己的技藝。「我不想以我的寫作來免除其他人思考
We can even parallel the history of different movements and
的煩腦；而是，可能的話，刺激他們自己的思考。」2
breakthroughs across many art disciplines. 美學
One of the first concepts to understand about philosophy is
相對於藝術的一些哲學問題，例如我們喜歡看些甚麼、
the use of theory. Theory is the body of rules, ideas,
事物如何影響我們、如何判斷自己的經驗、甚麼東西令
principles, and techniques that apply to a particular subject,
人覺得美麗等，都屬於美學這哲學中的一門。Random
especially when seen as distinct from actual practice.
House字典予美學一詞清楚的介定：
Dance theory isn’t an intrinsic part of dance training. It’s often
美學：1.哲學的一門，針對美、醜、壯
a logistical problem. The physical demands of dance don’t
麗、滑稽等一些應用於美術的觀念，目標
always leave time for reflection. Most dance students only
在為藝術作品的批判建立意義和效力，以
think about dance in terms of what happens in the studio. How
及提供使這判斷合理的或建基的原理。3
is talking about it going to help balance on one leg?
“Preoccupied with arduous physical training, many are resistant
簡單來説，我們如何體驗藝術，如何判斷藝術，以及基
to verbal discourse about the art form, believing it to be a poor
於甚麼來作出判斷，就是美學的活動。要明瞭任何東西
substitute for the first-hand experience of movement itself.”1
的情性質就要問哲學性的問題。這些問題並不容易解
Theoretical discourse requires us to step outside the studio
答，而不同答案的數目會令人感到驚訝。甚麼是藝術？
and reflect on what it is we are doing. Discussing dance
甚麼是舞蹈？如何去看舞蹈？為何一些舞蹈會令我感
philosophically means that we theorize about how to
動，但其他的不能？舞蹈是否須要合乎道德？舞蹈是否
recognize dance, what the nature of dance is, what it means,
須要發出一個人人都明白的特別訊息 ？舞蹈是否須要是
what it serves, how to create it, and how to distinguish the
美麗的？
good dance from the mediocre and bad. 有關美學的第一個要點是它沒有答案，有的只是很多有
The most important idea about using theory is to allow it to
趣的問題。這對很多人來説是個很難接受的概念（尤其
inspire new ideas, not to recite the ideas of philosophers
是對要求「正確」答案以應付考試的大學生來説）。於
like important dates in history.
理解和創作藝術時，我們須要以過程作為重要的工具。
Dancers should be
encouraged to develop their own perspective toward their
由於美學是以過程為導向的，它可幫助學生集中焦點於
craft. “I should not like my writing to spare other people
如何去找答案，而非答案是甚麽。著重過程，我們便可
the trouble of thinking. But if possible, to stimulate someone
以開始明白到於創作的選擇中，意念與問題間的關係。
to thought of his own.’’2 對藝術的體驗和判斷這個過程，是從柏拉圖時代已開始
AESTHETICS
進行。但是在德國哲學家Alexander Baumgarten於1750
Philosophical questions about art relating to what we like
年發表的論文《Aesthetica》後，它便成為一獨立的探討
to see, how things affect us, how we judge what we
範疇。在他與其他十八世中期的哲學家之前•有關藝術
experience, what strikes us as beautiful, etc., fall under the
的問題都被希臘古典哲學家所提出的美麗概念所簡化。
branch of philosophy called Aesthetics. Random House
一項事物是「藝術」的話，便要內含有天界般的道德理
dictionary gives a clear definition of aesthetics —
想之美。
Aesthetics - 1. The branch of philosophy
Baumgarten描述藝術中美的體驗是一種官感經驗，是建
dealing with such notions as the beautiful, the
基於不含知識邏輯的感覺上。於歷史上，藝術和藝術家
ugly, the sublime, the comic, etc., as
被認為是與邏輯觀念互相抵觸的 。藝術家一般被認為是
applicable to the fine arts, with a view to
存在於一個幻想和抽象的世界之內。這個標簽，做成了
establishing the meaning and validity of
不願把藝術視作為一門知識體系的一般看法 。
critical judgments concerning works of art,
and the principals underlying or justifying
導致美學這學科於十八世紀中開始受到注目的原因有兩
such judgments?
個。英國經驗主意者的帶動下，人們不再只集中於事物 本身，而開始考慮到我們如何「看」事物。我們開始檢
In simple terms, how we experience art, how we judge art
討被我們加於事物上的意念，以及它如何影響我們的認
and what we base our judgments on, is the activity of
知。另外，我們所看的並不只限於「美麗」的事物。一
aesthetics. Understanding the nature of anything means
時間，我們可以以「美學」的角度來看任何和所有的事
asking philosophical questions. These questions are not easy
物。這是一個重要的觀點轉移，幫助我們理解今天的藝
to answer and you would be surprised to find how many
術創作。所有及任何東西都可以作為藝術的原科 。
different answers you get. What is art? What is dance? How should I watch dance? Why do some dances move me
哲學的閲讀
while others don’t? Do dances need to be moral? Should
閱讀哲學可以是很具挑戰性的。那些酸文假醋的學術性
dance send out a specific message that is understood by
語言令很多舞蹈學生望而卻步。不幸地，很多哲學家都
everyone? Does dance need to be beautiful?
不會以容易明白的文字來書寫。以三兩句子寫出的概
念，可能須要數頁的註解和長時間的解讀，能不叫人感
The first thing to consider about Aesthetics is that there are no
到神奇？很多時，這些令人迷惑的地方似是固意設下
answers, just lots of interesting questions. This is a hard
的，或許是為了添上一點「智慧」的光彩吧！當然•有
concept for many people, (especially college students who
不少偉大的作家會清晰地道出其要點，但大多數有關藝
want to know what the right answer is in case its on the exam).
術的哲學著作的作者都好像抱著要讀者付出代價的態
Process needs to be supported as an important tool in
度。只怕沒有一個哲學博士學位也難以明白其著作。他
understanding and creating art. As aesthetics is process-
們雖然看似輕易地高談舞蹈，但我常懷疑他們是否具有
oriented, it can help students focus on how they get to an answer
舞蹈的經驗。當我們讀到一些由沒有專業舞蹈經驗的人
as opposed to what the answer is. By focusing on process,
所寫的舞蹈理論時，很容易會感到「舞者」這一份工作
one can begin to understand the relationship between ideas
的領域被入侵了。當然，我並不是提議只有舞蹈工作者
and issues that go into making creative choices.
才可以深入地暢談舞蹈，但舞者必須加入其中。
The process of experiencing and judging art has been
Jonathan Franzen在《紐約人》雜誌的一篇有關小説的文
practiced since the time of Plato. However, with the
章中，描述了兩種寫作風格，在小説寫作以外也可以應
publication of German philosopher Alexander Baumgarten’s
用。「身份」模式「似是一個傲慢而內行的精英……難
明指示卓越：示意作者的著作
treatise Aesthetica in 1750, it
藐視低俗的妥協，對其藝術願
became an independent field of
inquiry. Before Baumgarten and the philosophers of the mid 18th
century, questions about art were simplified by the ideas of beauty
espoused by the classical Greek
philosophers. A thing was ‘art’ if it embodied the moral idealistic
It’s easy to feel territorial about our work as
dancers when we read theories about dance by someone who has never danced professionally.
景持著一種「真」的態度。」另 一個是「合約」模式---- 「難明
是麻煩的暗號… …閱讀和寫作 小説的最深層目的是在維持一
連繫的感覺，來對抗存在的孤 當我們讀到一些由沒有專業舞蹈經驗的
人所寫的舞蹈理論時，很容易會感到
「舞者」這一份工作的領域被入侵了。
寂；作者要得到讀者的信任， 一本小説才值得讀者注目。」4
beauty of the celestial forms. 意念交流的容易程度是藝術的
Baumgarten describes the experience of beauty in art as a
一個有趣問題。有些意念在設計上是容易吸收的.但另
sense experience, based on feelings distinct from intellectual
一些意念可能須要花多些努力來理解，這情況是可以接
logic. Art and artists are historically perceived to be in
受的。但當一些意念在沒有原因之下設計得難以理解
conflict with the notion of logic. Artists are commonly
時，那便有問題了。「很肯定地，你會看到文學上的艱
thought to exist in a world of imagination and abstraction.
深難明可以是為了掩飾內容的乏味 、愚昧或沉悶。」5
This label accounts for the general reluctance to think about
換一句話來説，當看到美學文章中一些似乎只有少數人
art as a body of actual knowledge.
能理解的文字時，不要氣餒，這些意念其實並非不可觸 摸的。它們多數是我們在日常生活中處理過，但沒有時
In the mid 18th century, the subject of aesthetics became
間去進一步探討的意念。
interesting for two reasons. With the help of the British
Empiricists, we stopped focusing on the object and began
閱讀這些偉大思想家的意見，.最大的得著是他們能説得
considering how we ‘looked’ at objects. We started to
具説服力（不論你同意他們所説與否）。是甚麽令到一
examine the ideas that we placed on objects and how these
件物品成為藝術或好的藝術？要直接到肉地説出你對這
effected our perception. Additionally, what we looked at
個問題的意見，並不是一件容易的事。指出一個意念為
was not limited to just the 'beautiful’. Suddenly, it was
何不能成立，較提出成立的意念容易。這些哲學家給予
possible to look at anything and everything ‘aesthetically’.
我們的，是一個討論的起跳點------ 個機會去培育和實
This is an important shift in perspective that can help us
現我們自己的意念。有如前文所説，這些有關藝術的哲
understand the kind of art being created today. Everything
學問題並沒有答案，只有不同的意見。哲學家和評論家
and anything can be material for art.
給予我們的是一個起點。■ 翻譯：施德安
READING PHILOSOPHY Reading philosophy can be challenging. Its highbrow
The accessibility of ideas is a juicy question in the arts. It
academic language intimidates many dance students.
should be acceptable that some ideas take more energy to
Unfortunately, many philosophers do not write in an easily
understand than ones that are built for easy absorption. The
understandable language. It is amazing how a point that could
problem is when ideas are designed to be difficult for no
be stated in three sentences requires four pages of explanation
good reason. “You’ll see that, sure enough, literary difficulty
and an hour of deciphering. Often this obfuscation seems
can operate as a smoke screen for an author who has nothing
deliberate, perhaps to give it the gloss of ‘wisdom’. While
interesting, wise, or entertaining to say.’’5 In other words,
there are many great writers who make their points clearly, a
don’t be put off by the seemingly private language of writing
majority of philosophical writing about art is by philosophers
on aesthetics; the ideas don’t need to feel unattainable. Most
who seem to take the attitude 4 if you’re going to play hard ball
of them are ideas we all process in our lives, but never take
you better be prepared or don’t play? Without a PhD in
time to investigate further.
philosophy, it can be a challenge to understand their work. Nevertheless, they seem at ease talking in depth about dance
What’s great about reading the opinions of these great
when I doubt they’ve ever had to wear a dance belt! It’s easy
thinkers is that they say them with conviction (whether or
to feel territorial about our work as dancers when we read
not you agree with them). It’s not easy to boldly state your
theories about dance by someone who has never danced
own opinion on what makes something art or good art. It’s
professionally. Again, I’m not suggesting you have to have a
easier to talk about why an opinion doesn’t work than to
career in dance in order to talk about it in depth, but dancers
give one that does. These philosophers give us a springboard
need to be included in the discussion.
for discussion - an opportunity to cultivate and realize our
own ideas. As said earlier, there are no answers to these Jonathan Franzen, referring to fiction in an article in the New
philosophical questions about art, only points of view.
Yorker describes two styles of writing that have many parallels
Philosophers and critics give us a place to start.H
beyond just fiction writing. The 'Status Model’ “looks like an
arrogant connoisseuriel elite...difficulty signals excellence; it
Note附註：
suggests that the author’s novel has disdained cheap
1
Julie Van Camp (2000)，Professor of philosophy, University of California at Long Beach (July 24, 2000) http://www.csulb.
compromise and stayed true to an artistic vision.” And then
edu/~jvancamp/multi/
there is the ‘Contract Model’ - “difficulty is a sign of
2
2
trouble.. .the deepest purpose of reading and writing fiction is
the Arts: A Philosophical Enquiry, London: Lepus Books,
1974), pp.21
to sustain a sense of connectedness, to resist existential loneliness; and so a novel deserves a readers attention only as long as the author sustains the readers trust.”4
Wittgenstein (1953) in David Best, Expression in Movement &
3
Random House Dictionary by Random House
4
Jonathan Franzen (2002) “Mr. Difficult” from The New Yorker,
5
ibid
September 30th 2002, pp.100
sc
舞評
Review
對逝者的懷念---《形亡極樂》和《標童》 文：方人
xa
自編自演的最新作品《形亡極樂》，明
槪；i/X言以生、死和愛為主題。賴楊-向
者是「生」；空凳是「死」；握著空凳的手掌則是生者 對死者那剪不斷的情感瓜葛、死者對生者的操控。
给人的印象都是開朗「鬼馬」，但以個人的體験來演繹 這些沉重的題材，往往會容易沉溺當中，令人有點擔心
在這幾個元素中，手掌的使用和編排可算是比較突出的
演出會過度感性。然而•看過演出後，才發覺楊春江由
一個。相信很多觀眾■都會記得編舞楊春江的舊作《靈靈
始至终都清楚知道要做的是什麽，在各方面的掌握都有
性性之夭體樂園》中的手掌。但在這次演出中，除了上
分寸。
述的道具手掌外，還有舞者的「真人」手掌演出。演出
開始後，舞者拉脱了緊包著頭頸的黏膜，便以他的一隻 觀眾入場時，文化中心劇場內開放式的舞台上早已裝置
手掌於桌上跳了一段「手指舞」，並即時放大放映於台
妥當：幽暗的台上只有一桌一椅，桌上動也不動地站著
後上方的幕上。當然，手指舞動的動作始终有限。舞到
身體只被一層半透明薄膜所緊緊包裹著的楊春江，椅子
後來舞著的手掌/手指離地（桌子）升起離去。到演出
的坐位上則空無一物.但椅背卻被一隻沒有身躯手臂的
進入尾聲時，這段錄影片段再度投影於台後，但今次随
手掌所握著，靜靜的台上動著的只有是投影在台後上方
著以相同/相似動作同步起舞的是舞者的整個身軀 。這
的錄像— —黑墨於水中淡化稀釋、變幻無常的影像。這
一個模仿再模仿（手指一錄影一身軀）的安排很是有
組裝置點出了整個演出的主要元素 ：看似於胚胎中的舞
趣，也預告了演出的结局— —舞者被手掌所操控，不能
17 楊春江《形亡極樂》’攝影：黄狄又
個人認為《形亡極樂》是一個本地少有的真正「跨媒體
演出」。整個演出並不是由一兩個媒體所 「霸佔」，而 是多個媒體都同樣重要。錄像和舞蹈兩者差不多對等而 不時呼應互動，裝置和舞台設計也起著關鍵的作用。很
多時這些不同媒體是糅合在一起的，是在編排上所須要
的.而且有其獨特意義和效果的（一個例子是於舞蹈末 段中，燃點著的蠟燭錄像和現實的舞者身體重疊而做成
燃點生命的效果）。
楊春江可説是香港最懂得玩「把戲」（Tricks）的編舞家，
難得的是他能夠玩得有趣，玩得「盡」，玩得出效果，
也玩得「有道理」；不會只為玩而玩。
楊春江《形亡極樂》’攝影：Jessie
Clockwork。
近期的另一個演出— —「四仔」製作的《標童》，在很
多方面上與《形亡極樂》是兩個極端。前者從編舞個人 忘懷去世之人。最後，道具手掌從台上吊下，握著舞者
體驗出發，後則以對童年的集體記憶為依歸；前者探討
的手，把他拉上空中，離開舞台，完全地完成了「手指
生、死和愛等嚴肅題目，而後者則「擺明車馬」以通俗
舞」的舞步。
除了手掌和椅子外，演出中還有一個大大的鏡櫃。這個
鏡櫃中開了一個洞，舞者的身軀便穿插出入於這個洞之
中，大演「鏡子魔術」，做出由一個世界/空間穿越到 另一個世界/空間的幻覺。個人其實並不喜歡這一段，
覺得平凡而花巧，但編舞跟著的處理卻把這一段合理化 了。舞者的身體靈巧地於那緊可容他垂直穿過的鏡洞穿
插了一會後，最後完全消失於鏡後。當觀眾以為告一段
落時，舞者已從鏡櫃之後爬上了櫃頂，再輕易地攀上舞 台後上方的「天橋」上。提昇後的舞者解脱去了還緊黏 於身軀肢體上的薄膜，棵著上身，穿上了薄紗似的鬆身
裸子後，站回在「天橋」的邊沿之上。突然，一聲大
響•一陣狂風，在觀眾席上的一些場刊飛散未落之時， 原本幽暗的舞台已變得整個純白一片，而舞者也已回到 這個純白清明的世界中。原來，在「天橋」上的楊春江 把原本豎於舞台後方的黑色「佈景板」踏翻，並隨其翻
落於台上，露出了掛於板後的白布，而跌下的「布景 板」翻轉後便成為了這個新舞台的白色台面。這個舞台
「特技」可説是精心設計，計算準確而效果出眾，難得 的是過程乾脆利落，完全成功地做到了剎那間轉變時空 的效果。 其實，《形亡極樂》的「舞蹈」成份不是很多（相對於 一般的純舞蹈演出來説），而其中的動作編排也往往並 不複雜，直接而沒有修飾。多段動作的編排都以身體轉
動為主題，尤其是演出尾段中雙手握著椅子的原地不停
急轉'帶有簡約（Minimalism）的風格，以舞者的身體體 驗為手段和目的•實實在在的（套用宣傳語句）「舞至
亡形」。從動作的力學來看，這一段急速轉動是由那雙 暗喻了去世者的椅子所推動.舞者其實是身不由己。
楊春江《形亡極樂》•攝影：黃狄文。
突然而來。它的「前傳」其實是整個晚上的第一齣舞蹈
的童年玩意為中心。 《標童》的取材是通俗有趣的，尤其是對於二、三十歲
的這一代人來説。電子遊戲機、蒙面超人、玩具車、李
小能、屋村大戰、兩小無猜的「咬耳仔」.... 種種大家 熟悉的童年玩意、偶像和經歷，都成了《標童》演出的
內容。其中李健偉以蒙面超人為題的《Wake Up!!》和黃
振邦的《屋村攻防戰》中蒙面超人大戰李小龍的場面， 兩者都大玩人物模仿，打鬥連場，跨張熱鬧，觀眾也看
《標童》中的一段：在張艾嘉輕快的《童年》歌聲中，
數個扮演著無憂幼童的舞者本在開心玩樂，但他們一個 又一個地被其他東西吸引而離群而去：異性、宗敎、學
業.... 。隨著成長，兒時的好友們各自有其生活•慢慢 的便只剩下一個人，無聊地看著電視。這也許是很多兒 童成長中的一個必然部份。這一段的題材與《玩具車》
中成長後的父子隔膜互相呼應，兩者都提升了整個演 出，也有進一步發揮的可能。畢竟，只有在成人世界中
得最開心投入。
這份隔膜的對比之下，童年才會顯得更加令人懷念。
然而，在跨張熱鬧之餘，這晚的演出中也有較為感性的
段落。黎德威的《Game》和《Game of Game》和陳文進 的《玩具車》都是以遊戲出發，發展至人與人間的關係 感情，把遊戲延展成為生活和成長經驗中不可分割的一
《形亡極樂》與《標童》是兩個截然不同的節目，但所 説的其實都是編舞對逝者的懷念和回憶。前者是對去世
的親人，後者是對逝去的童年。
部份。《Game》和《Game of Game》以電子遊戲機為題，
舞者由玩機開始，到沉迷其中而反被遊戲機所控制，身 不由己地反被手中遊戲機所牽引，再發展到《Game
of
Game》中與友人共享合作打機，雖然是多重推展，但
題材和動作材料都較為狹窄，難以發揮。《玩具車》則 以玩具車帶出父子之情隨著成長而轉淡，在題材上較為
豐富感人。在動作素材上，《玩具車》也很有特色，一 些孩童玩玩具車的動作都入了舞：舞者手上虚拿著玩具
車，垂手於大腿上上下擦動，替車子「上鍊」發動的動 作；處拿著的車子於身體上沿著手臂、肩膊等行走的動
上期於《香港芭蕾舞團〈不死傳説〉》一文而中，提到
那后羿變成暴君而致纟常娥偷藥的情節，是源自兒時所聽 故事。寫完該文後，查看有關中國傳説的書藉，才發覺
原來嫦娥是為了重返天界而存心偷藥（她與后羿同被天 帝派來，也同被貶為凡人）。然而，古藉中亦確有暴君
后羿的記載。一説那是另有其人，另一説他是被婦娥偷 藥後才變成暴君。■
作；虚拿著車子於耳邊聽著車軸轉動的動作等都是有趣 的素材。然而，編舞未能進一步發展和變化這些動作素
材，在動作編排上未能再進一步，有點單調重複。
在整晚的演出中，個人印像最深的，是既沒有玩具，也 最簡單而不熱鬧的《一個人》。那是下半場的第一齣演 出。中場休息時.藝穗會小剩場舞台背後的牆上不斷地
投放了短短的不同卡通片段。下半場開始時，舞者一人 慢慢走到牆前依牆坐下，一臉無聊，表情空洞，變成一 片「雪花」的影像投在牆上，也投在舞者的臉上、身
上。《一個人》其實動作很少，但個人認為編舞黃振邦 在捕捉題材上應記一功。這一段其實也不是沒頭沒腦的
四仔製作《標童》。上：陳文進編舞的《玩具車》，攝影：黃狄文；右下：黃振邦編舞的《一個人》•攝影：劉傑仁； 左下：李健偉編舞的《Wake Up!!》，攝影：黃狄文'
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