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目錄 Contents
NEWS
Vol.6
舞蹈快訊
NEWS
No.5
封面Cover
《三人讀白》 編舞：郭曉靈、許俊傑和黃靜婷
香港舞團於海外和內地演出
Choreographers: Elaine Kwok, Cyrus
本地三個「旗艦」舞團於剛過去的8、9月中分別到海外和
Hui & Chloe Wong
中國內地演出。首先出發的是8月城市當代舞蹈團的美國洛 杉磯五天之旅。這次演出及文化交流活動是由美國籌辦機構
攝影：張志偉 Photo: Cheung Chi Wai
Grand Performances邀請及香港民政事務局資助，把富有香 港及中國特色的現代藝術帶給美國的觀眾 。舞團搬演了藝術
總監曹誠淵先生、桑吉加和邢亮編排的《中國風•中國火》 及《365種係定唔係東方主義》選段，於8月19-21日上演。
舞蹈快訊NEWS
1
接著，香港芭蕾舞團於8月27-30日到上海參加由上海大劇 院和香港藝術發展局所舉辦的「香港文化週」，演出了《天 鵝湖》和《枉蘭朵》兩齣舞劇。《天鵝湖》除了是開幕演出 外，亦是上海大劇院的六週年慶祝表演。除了主禮嘉賓香港
平臺空間與發展台階
民政事務局長何志平醫生外，到場的還有香港藝術發展局主
Platform: space and steps of development
席陳達文先生、行政總裁林志釗先生和其他委員，以及香港 芭蕾舞團主席包培麗女士。這次演出，亦是香港芭蕾舞團首
文：劉建華 by Lau Kin Wah
4
HK DANCE COMPANIES VISITED CHINA & OVERSEAS This August and September, all three Hong Kong flagship dance companies were busy touring. First was CCDC’s 5-
day tour to Los Angeles for a series of performances and
Talking Dance (II)
cultural exchange activities in August 2004. Invited by Grand
~ Talking & No Talking 談談舞(II)--談與不談
Performances, a major presenter in the United States, CCDC performed excerpts of 365 Ways of Doing and Undoing
by Rob Kitsos 文：羅傑索
Orientalism and China Wind - China Fire, choreographed
10
by Willy Tsao, Sang Jijia and Xing Liang.
Three
performances, as a part of Grand Performances 2004 Summer Season, were staged at California Plaza, Los
觸動人心的舞蹈— —
Angeles from 19-21 August 2004. The Arts Development
《赤色吉賽爾》
Fund from Hong Kong Home Affairs Bureau supported the
文：吳嘉詠
15
visit. Between 27 and 30 of August, were Hong Kong Ballet’s performances during Shanghai's Hong Kong Culture Week, organized by Shanghai Grand Theatre and Hong Kong Arts
Move Like the Wind
Development Council, with two full-length ballets: Swan Lake
by Tom Brown
16
and Turandot. At the opening performance of Swan Lake,
which celebrates the 6th-Anniversary of Shanghai Grand Theatre, Hong Kong's Secretary for Home Affairs Dr. Patrick
城市當代舞蹈團25週年帶出來 的一點回憶 文：曹誠淵
Ho was Guest of Honor accompanied by Hong Kong Arts Development Council Chairman, Mr. Darwin Chen, Chief
18
Executive Mr. Albert Lam and other Council members, as well as Hong Kong Ballet’s Chairman Mrs. Cissy Pao Watari.
These performances, to audiences of over 4,000, are Hong
舞蹈節目表 Dance Events
Kong Ballet’s very first full-length ballets on the Shanghai
21
stage, demonstrating the strength of cultural development
in Hong Kong. Finally, between 7 and 20 September, Hong Kong Dance Company, together with Hong Kong Repertory
Theatre traveled to China with Sweet and Sour Hong Kong. Image: Hong Kong Ballet’s Swan Lake. Photo: Siu Wang-Ngai.
/ V
I/
圖：香港芭蕾舞團《天鵝湖》。 攝影：蕭弘毅。
次於上海演出足本舞劇’向超過4,000個觀眾展示了香港的
The two Companies first went to Hangzhou and performed
文化發展。最後，是9月7-20日•香港舞蹈團聯合香港話劇 團前往內地演出《酸酸甜甜香港地》’兩個團首先到達杭州
two performances at the 7th Chinese Culture Festival,
參加由浙江省文化廳所主辦的 「第七屆中國藝術節」’於9月
September. Then they traveled to Shanghai to perform for
11日假「蕭山劇院」演出兩場。隨後’兩團移師至上海’參
Shanghai Charity Foundation on 17 and 18 September. The
organized by Shandong Province Bureau of Culture, on 11
加由上海慈善基金會所主辦的演出’於9月V及18日假「逸
Hong Kong Home Affair Bureau and Mr. and Mrs. Yip
夫舞台」演出2場。這次分別於兩地舉行的演出’分別由香 港民政事務局和葉仲午葉溫金燕伉儷贊助°
sponsored the performances in the two cities, respectively.
藝摯歐洲民族舞匯演
The Knack Cordial Folk Group is organizing a European Folk
藝摯歐洲民族舞蹈組於今年10月2日晚上7:15-10時•假 牛池灣文娛中心劇院舉辦一場西方'歐洲民族舞蹈匯演。表
Dance Performance, which will take place on 2 October 2004,
KNACK CORDIAL EUROPEAN FOLK DANCE PERFORMANCE
7:15 pm to 10:00 pm, at Ngau Chi Wan Civic Centre Theatre.
演者除本團團員及學生學員外，從海外來港助慶的表演嘉賓
In addition to the Group’s ordinary members, student
包括 Doina Eastern European Dance Gro叩（英國杜拿東歐
associates the production includes guest dancers from
民族舞蹈團）；台灣波亞斯歐洲民俗舞團及台灣MFC匈牙利 舞蹈俱樂部。匯演中共有百多舞蹈員參演，表演超過二十首
the UK, Pojas European Folkdance Ensemble and Magyar
組曲舞蹈，其中包括了匈牙利'羅馬尼亞、捷克、斯洛伐
Folklore Club of Taiwan. With performing dancers in excess
克、保加利亞、烏克蘭及墨西哥等國家的舞蹈'網址：http:/
of a hundred and more than 20 dance suites, the show will
/members.fortunecity.com/kchk °
present dances from Hungary, Romania, Czech Republic,
overseas such as Doina Eastern European Dance Group of
Slovakia, Bulgaria, Ukraine and Mexico. Website: http://
2
黎海寧的魔幻溜冰舞蹈劇場《Plaza X與異變街道》 被林懷民稱為「編舞家心目中的編舞家」的黎海寧’將把她
members.fortunecity.com/kchk.
的經典作品《Plaza X與異變街道》再次搬上舞台，把溜冰的 速度、旋轉與流麗姿態，結合激情的探戈與現代舞’以作城
HELEN LAI’s ICE-SKATING DANCE THEATRE PLAZA X
市當代舞蹈團25周年銀禧慶典的閉幕節目。舞中展示兩個重 疊的世界，互相呼應。在著名舞台設計師何應豐的手上|葵
choreographer”，by renowned choreographer Lin Hwai-min,
will have her classic Plaza Xperformed in Hong Kong. The
青劇院的舞台將搭建出一座可以移動的機動溜冰場 。整個後
dance, which combines speed, turning, and effortlessly
舞台將化成一個冰封的世界|溜冰者以高難度動作劃破冷凝
elegant gestures of ice-skating with passionate Tango and
的空氣|以腳下鋒利的冰刀，狠狠地在冰面上刮出一道道不
Modern Dance, is the closing program of the City
能磨滅的刻痕：前方舞台則是一個火熱的廣場|充滿生命與
Contemporary Dance Company’s 25th anniversary
情慾，舞者的熾熱肢體在阿根廷探戈舞曲中糾纏不休。在冰
celebration. The dance explores two overlapping and co
與火、冷與熱的兩極中，編舞黎海寧駕御舞蹈、溜冰、劇
responding worlds.
場、音樂、視象與文學元素，以無窮盡的意象，穿梭冷酷異
designer Hoyingfung, a mobile ice-skating ground will be
境，與觀眾一起迷失於兩個空間的臨界線之上。《Plaza X與
built on the stage of Kwai Tsing Theatre. The back stage will
異變街道》曾於2000年香港藝術節上演•大獲好評。舞評指 「黎海寧在這作品中展示的才華，是她對舞蹈的思解已到了揮
be transformed into a glacial landscape, with the skater slicing the freezing air with difficult movements, and savagely
灑自如的境地」。而編舞黎海寧及舞者黃狄文更憑他們在此
carving deep lines on the icy ground with his skating blades;
作品中的創作及演出榮獲兩項香港舞蹈聯盟舞蹈年獎。今次
while the front stage will be a hot plaza, filled with life and
演出除了原本創作班底的3屆奧運溜冰選手，被譽為「冰上 的尼金斯基」的劉中達會再次來港擔任溜冰編舞及演出外，
with Argentine Tango music. Between the extremes of ice
Helen Lai, named “the choreographers’ favorite
In the hands of the famous stage
passion, with dancers’ boiling limbs and bodies intertwining
更力邀最傑出當代演奏家之一的章雨亭，現場演奏出巴赫的
and fire, cold and heat, the choreographer maneuvers
《無伴奏大提琴組曲》。這兩位藝術家均大有來頭：劉中達曾
dancing, ice-skating, theatre, music, visual images, and
臝得美國專業溜冰公開賽及第一屆亞洲溜冰協會國際邀請賽
literature to create haunting imagery, and travels between
銀牌，並曾為世界多個著名舞蹈團編舞；章雨亭則為獲得
extremes. Plaza X premiered at the 2000 Hong Kong Arts
「皮亞季戈爾斯基紀念大獎」最年輕的大提琴家及「Artists
Festival to critical acclaim. It was cited as a work that “exhibits
International Award」的最年輕得主，同時亦是「第九屆柴可 夫斯基國際大賽」銅獎得主。於10月22日及23日（星期5
dance”. The 2000 production was awarded two Hong Kong
Helen Lai’s talent and effortless ability to think and understand
及6）晚上8時在葵青劇院演藝廳上演的《Plaza X與異變街 道》，是由城市當代舞蹈團主辦，康樂及文化事務署贊助，
choreography and Dominic Wong’s performance. In this
並由柏桑溜冰場有限公司提供演出之溜冰場。節目查詢：
production, in addition to the three-time Olympic skater, “the
2329 7803。網頁：www.ccdc.com.hk。
Dance Alliance Hong Kong Dance Awards, for Helen Lai's
Nijinsky on ice” David Liu, who participated in the original production and who will choreograph and perform skating
《【武、極】系列四》
movements;巳ion Tsang, one of the world’s best cellists will
錢秀蓮舞蹈團將於本年11月5、6日晚上8時正，假香港大 會堂劇院演出一個集舞蹈'武術 、音樂及視覺藝術於一身，
artists are awards-winners - David Liu was awarded Silver
傳統演繹與現代創新並重的本地製作— —《【武、極】系列
Medals at the American Open Professional Championships
四》。為此製作，錢秀蓮女士遠赴北京體育大學，與各敎授 從心理、力學及人體科研之角度研究太極，並以武術太極動
and the First Asian Skating Union Trophy Int㊀「nationdl, and
2
perform Bach’s Suites for Unaccompanied Cello. Both guest
has choreographed for numerous dance companies; while
律演繹貝多芬的「第九交響曲」•以及作曲家的傳奇一生：
巳ion Tsang was the youngest cellist to receive a Gregor
以奮發上進的精神來面對逆境、對抗命運、超越個人苦難，
Piatigorsky Memorial Prize, the youngest recipient of an Artists
並放棄小我而成就大我。舞蹈以內家拳的延綿伸展I太極棍
International Award, and a Bronze Medalist at the IX
的輕快凌厲I陳式太極的纏繞彈抖勁，以意帶氣、以氣帶 力•與樂章擦出迴旋多采的火花。《【武、極】系列四》由錢
Saturday, 22 and 23 October, 8pm at Kwai Tsing Theatre,
International Tchaikovsky Competition. Performed Friday and
秀蓮策劃及編舞，本地著名作曲家陳明志任音樂總監，山東
Plaza X is presented by the City Contemporary Dance
省武術錦標賽太極金牌得主徐一杰作客席演出I並由康樂及 文化事務署主辦。為配合這次演出，錢秀蓮舞蹈團亦會舉行
Company and sponsored by the Leisure and Cultural
示範表演（10月21日下午4:30-5:30，香港文化中心大堂）
www.ccdc.com.hk.
Services Department. Enquiries: 2329 7803. Web site:
和免費講座（10月29日下午7:30 •香港文化中心行政大樓 4樓會議室）。查詢：2566 3365。
CHINESE MARTIAL ARTS DANCE SERIES: EPISODE IV On 5-6 November 2004 at 8 pm, Miranda Chin Dance Company will perform its production featuring dance, martial arts, music and visual arts at the Hong Kong City Hall. For this production, entitled Chinese Martial Arts Dance Series: Episode IV, Dr. Chin traveled to Beijing Sport University to
study the Psychology, Dynamics and Physiology of Tai Chi, and uses the martial arts movements of Tai Chi to interpret
Beethoven’s Symphony No. 9, and the composer's legendary life: his striving spirit that enabled him face difficulties, fight
against destiny and overcome suffering, and his sublimation of self for the greater achievement of humanity. Presented
by the Leisure and Cultural Services Department, Chinese Martial Arts Dance Series: Episode IV is conceived and
choreographed by Dr. Miranda Chin, with Dr. Chan Ming Chi as Music Director, and Shandong Province Martial Arts Competition Tai Chi Champion Xu Yi Jie as guest performer.
For this performance, Miranda Chin Dance Company will also organize a demonstration on 21 October, 4:30-5: 30pm, at Hong Kong Cultural Centre lobby and a free
lecture on 29 October, 7:30pm, at Conference Room, 4/ F., Hong Kong Cultural Centre Administrative Block.
Enquiries: 2566 3365.
HONG KONG BALLET’S SWAN LAKE
香港芭蕾舞團《天鵝湖》。攝影：張志偉。 Hong Kong Ballet’s Swan Lake. Photo: Cheung Chi-wai.
Swan Lake has been a favorite of audiences and dancers
alike since its triumphant premiere in 1895 at the Maryinsky Theater in St. Petersburg. Audiences love this romantic
香港芭蕾舞團《天鵝湖》
fantasy set to Tchaikovsky’s heart-breaking beautiful score,
一八九五年|佩蒂芭及艾化李夫為《天鵝湖》譜寫了歷史性
the lavish sets, and, of course, the bravura dancing. Dancers
的一頁。他們重新編排萊辛格之原作，使這舞劇成為經典中
love Swan Lake because it is so technically and emotionally
之極品。時至今日，仍為編舞家鍾愛的演繹題材、觀眾的至
challenging. In particular, the dual character Odette and Odile
愛。香港芭蕾舞團藝術總監謝傑斐的新編版本是根據佩蒂芭
is considered to be one of the most coveted and difficult roles
及艾化李夫的版本改編；劇中黑天鵝的三十二個鞭轉
for a ballerina in the entire classical ballet repertoire. With
（fouettes）的高難度絕技，向來令芭蕾舞女星又愛又恨；由一
Hong Kong Ballet’s fidelity to the traditional Petipa/lvanov
人分飾黑、白天鵝兩個角色，一個妖邪、Sfe麗而豪放；一個
choreography, Peter Farmer’s sets and costumes design; and
柔情似水、惹人憐愛，是芸芸古典芭蕾舞劇中I最具挑戰性 的。當然，柴可夫斯基的不朽交響樂曲亦居功至偉。是以，
the Hong Kong Philharmonic Orchestra’s live accompaniment
今次製作邀請了香港管弦樂團現場伴奏，以扣人心弦的樂
and enchantment, will surely cast its spell over audiences.
conducted by Francis Rainey, this production, filled with love
章，來配合細膩動人的舞蹈和哀怨纏綿的愛情。《天鵝湖》將
Swan Lake will be performed at Grand Theatre, Hong Kong
於10月14-17日於香港文化中心大劇院演出。詳情：WWW.
Cultural Centre from 14 to 17 October. Information: www.
hkballet.com，網上訂票：www.urbtix.hk，查詢:2105
hkballet.com. Internet booking: www.urbtix.hk. Enquiries:
9724 / marketing@hkballet.com。■
2105 9724/ marketing@hkballet.com. ■
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
i舞壇手記
岂
Dance Diary
平臺空間與發展台階
Platform: space and steps of development 文：劉建華
by Lau Kin Wah
(A) 在題為〈香港一哪裡來編舞家?〉的文章结尾中，劉天
“How could there be choreographers in Hong Kong? We
明寫道：「香港哪裡來編舞家？空等是沒有用，有潛質
may have plenty of talents, and plenty of resources, which
的大概有很多，資源大概都有很多，可是沒有分配到新
never go to the new generation of choreographers. The
一代編舞家身上，硬件劇場配套方面亦不見得照顧到欲
hardware doesn’t seem to take care of those who are
創作的舞者。在這個講求效率，只許成功，不許失敗的
interested to create. In Hong Kong, where progress is the
香港裡面，扼殺了創意的滋長，而要孕育新一代編舞
ultimate agenda; the general climate is calculative and not
家，似乎就很難。不過，難極也要爭取，自我增值也
constructive to the cultivation of creativity. To nurture a new
好，毛遂自薦也好，有志編舞的人，請站出來，秀一場
generation of choreographers seems like an ordeal. However,
好。有興趣欣賞舞蹈的人，也請站出來，给予支持。」
someone has to fight, those who are determined to be
這一段文字，其實很可以作為劉夭明聯同施寶穎和余仁
choreographers have to come out and those who enjoy dance
華負'責統籌、九月十一、十二曰在CCDC舞蹈中心舉行
also have to come out to give their support.”
的「i—舞蹈節」的宣傳文字和理念宣言。
-Lau Tin-ming, “How could there be choreographers in Hong Kong?”
一舞蹈節」的兩天活動，報讀工作坊的反應雖聞不太
ri
2
理想，但兩晚的演出使人感覺非常熱鬧，對於舞圈氣氛
The above paragraph by Lau Tin-ming seems like a good
的營造算是相當成功。在第一晚的《舞「間」蹈》中，
manifesto for the “i-Dance Festival” (of which he is also
平常安座席上的觀眾變得要在舞蹈中心的樓裡四處移動
one of the co-organizers) held consecutively on the 11th &
追看演出；不同表演的同時進行，雖最後在時間安排上
12th of September at CCDC Dance Centre. Hearsay reports
未必能讓人看到所有的作品，但在分散人流的考慮以
of the participation rate of the studio workshops were not
外，讓人感覺很多東西在進行，目不瑕给至要頻頻作出
very satisfactory, but the two evening performances I
選擇，這久違了看演出的感覺，能使觀者也沾了參與盛
attended, did stir up a good atmosphere for the dance circle.
事的投入緊張，也是很有意思的節目編排。（正如我當
On the first night, audiences were requested to walk around
晚看到Studio 7人山人海的狀況，就想起自己當年在同
the building to attend the different shows that were set up in
一地方觀看彼得小話和盒子的演出，這種見證性的參
different comers. The generally high standard of the fourteen
與，其實對於舞圈建立有凝聚力的歸屬身份認同相當重
pieces from eleven dance groups and individuals were of
要。）當然，芸芸十一組（共十四支舞作）的演出不乏使人
course primary in making the festival a memorable event.
振奮的作品，這點更是最為重要。
The nine-minute work by Elaine Kwok, Cyrus Hui, Chloe 張學良（五分鐘雙人短篇）的《雙層》用了入口上一樓的
Wong was the most sophisticated, well-structured and well-
樓梯，在流行曲《兩個人的幸運》襯托下，使人不難進
performed piece amongst the works that I could attend (as
入猶如Music Video那人與人在梯間偶遇或檫肩而過的
works sometimes happened simultaneously at different
緣份思連，而當中那一次靜默的嘶叫，更是全舞一個無
locations). Being site specific, it utilized utmost the staircase
聲而響亮的情感高潮。至於廖展邦（六分鐘小品式）的
to the attic as well as the balcony space on the first floor.
《芝麻開門》，選擇了一樓向街的滑門，把門當成了舞台的幕
簾，以少爺占廣播劇的趣怪音樂，配合人偶式的動作，使用重覆 性的結構推展情節，簡單易明的表現了舞者通過別人的鼓勵而從 自卑走向自信的故事。一個本來老土到不得了的訊息，因為輕鬆
的搞笑而避免了説敎，卻叫觀幂不忘以更多的掌聲激勵當晚的舞 者們。
郭曉靈、許俊傑、黃靜婷（九分鐘殊不簡單）的《三人讀白》更是 再上一層樓，選了二樓的平臺及通往三樓的樓梯，進行利用現場
環境的創作。「天下萬物皆有定時…」的讀白，和舞蹈的時間 「對倒」結構相互呼應，舞作完結時一切復歸原狀，只是「跳舞
有時」，在我們的腦海留下了「時有舞跳」的圓滿記憶。對於身
體與周遭環境的配合，如在斜欄杆之間提腳旋轉，跨級落腳，比 起在平地自有一種組織安排巧妙心思的感覺 ；至於在露臺以城市
的夜燈為背景，又似頓顯舞蹈/舞作/舞者和現實社會的疏離， 把舞作添染了一種感傷。
在過去寫關於00盒的演出時，我提到過利用排舞室作為脱出於 「即興接觸」作品的
演出場地是否可能
更自然的想法；在
Echoing perfectly the
這次「i —舞蹈節」
dancer’s statement, that
中，有 Kongtact
everything in the world
Square打頭陣的
happens according to its
《黐根鳥》，第二天
own tempo, the piece
晚上亦有「即興夜
ended with all the dancers
總匯」作結，但卻
returning to their original
positions. We are left with the memory of the piece,
witnessing how the sentence “dance has its
tempo” was once briefly inverted to “sometimes there is dancing”. Equally melancholic, was Cheung Hok-leung’s Double Deckers (two dancers, a short five-minute work), which utilized the staircase (from
the lower floor to the ground floor). Like a Music Video, the piece
owed much to the pop song used as a background, as it depicted how fate determines the relationship of two persons who pass each other but could have been close friends.
Besides kicking off the Festival with Kongtact Square’s trademark contact improvisation choreography, the i-Dance Festival also ended
with an improvisational jamming performance by different dancers. Both shows’ choice of bringing the audience into the works to form
门一舞蹈節」。由上至下：郭曉靈、許俊傑和黃靜 婷作品《三人讀白》；Kongtact Square即興接觸 《黐根鳥》；楊惠美舞蹈工作坊。攝影：張志偉。 “i-Dance Festival”，starting from top: Elaine Kwok,
climactic endings seemed to reveal, however, a too facile way of getting the audience to share the dances’ corporeal sensations. Mui Cheuk-yin
and Priscilla Leung’s Lot.us open studio and work-in-progress performance provided a different approach, which also fit the studio
Cyrus Hui & Chloe Wong’s site specific performance;
Kongtact Square’s contact improvisation; Yeung Wai-mei's dance workshop. Photo: Cheung Chi Wai.
environment, but permitted a much more relaxed viewing atmosphere
than a formal venue would.
始終也仍非我心目中的理想情境•兩者最後強拉觀幂共
Another great arrangement of the 卜 Dance Festival was that
同參與的打完場方式，或者有人喜歡有人抗拒•我個人
it was not just a combination of workshops and
卻總是覚得就把表演欣賞轉向舞友聯誼的性質過於牽
performances. Two forums, one on dance writing and one
強。反是梅卓燕和梁小術的公開綵排’排舞室和work-
on the local art scene in general were also held on two
in-progess之間的關係，使人更党自然舒適'
afternoons. It seems however that both writers and choreographers have to struggle to strike their own balance
「i_舞蹈節」作為一個「節」’除了工作坊和演出’值
between writing or choreographing for oneself and drawing
得讚賞的是兩日午間還設了兩場「舞蹈發聲時段」（講
the readers/audiences attention, despite the two things
座），首天的「舞蹈你點睇」主
needing not to oppose one
要針對舞蹈文字。在有關舞評
another (and maybe even
的問卷中’如流於感想’過於
achieving mutual support when
愛打分數、太單面化、沒有根
‘quality’ is achieved).
底、無法深化、過於描述性等
5.V
i
If there is a chance to hold the i-
還是---- 記在心裡。但其實香
Dance Festival again in the future,
港真正寫舞評的人本來就不
maybe widening the platform
多，逐個點評■比各自猜想如
even further by adding a dance
何對號入座，是否會來得有益
criticism workshop or a dance
有建設性？可惜這種討論風氣
photography competition could be
到底依仍未盛。次日的「舞蹈
good, as it would allow the festival
再造」論壇，討論主要關乎香
to extend its life-span and breadth,
港的舞圈環境；我作為也寫點
and let the energy generated by the
舞蹈的文字工作者，雒覺生存
Festival to expand to other media.
同也艱難，但聽了舞者、編舞
Bruce Liu’s short six-minute work
者的艱辛自白，還是再次加強
in the Festival, actually told of
了我感覺自己的行文方式在有
what a huge difference it would
限的文字平臺上實屬奢侈。我
make, if we would all seize the
們的舞蹈藝術工作者，實在值
opportunity to gave each other
得有更多更專業、有助於針對
《男風吹》：李健威演出黃狄文作品《亂絮》。
well-deserved encouragement, so
目前處境和舞圈生態而落力的
Male Wind Blowing.. Max Lee performs in
I guess it is my chance here to say,
Dominic Wong’s Scattered Mind.
文字思考。
“i-Dance Festival, well-done!”
若果編舞者要清晰決定自己究竟為何創作，承擔引伸到
(B)
自我和觀眾的關係，而不是單靠扯人一同舞動來突破自
Other than CCDC Dance Center, other dance companies
己「郁」時的「在體」感覺局限；舞蹈文字到現時為止，
have also striven to build platforms to serve the dance circle.
似乎同樣不知道讀者是誰（或在那裡？）。反過來讀者
Y-Space located in an industrial building in the Kwai Chung
的沉默（或是不存在？），又只會愈況使所有文字呈現
district is not just a studio for dancing classes. There are
得十分單聲道。固此將來「i一舞蹈節」若然再辦，我
occasionally talks, video screenings, and even small-scale
覺得未嘗不可把平臺進一步加寬，加入舞評班或舞蹈攝
performances. Other than the Hong Kong preview of Victor
影比赛等，誘使觀眾更主動、更多樣化地，將舞蹈節產
Ma and Mandy Yim’s Invisible Contact before they headed
生的能量於不同方面延續滾動下去。
off to Melbourne, the Le Groupe Dance dik gam deu (which
/
WA , ^ ^ 4
等回收的意見•雖然駁雜，我
also participated in the i-Dance Festival) also recently held a two-night Jazz Dance performance entitled Three’s 在「i 一舞蹈節」的「舞蹈再造」論壇上，舞圈的人都
Company there.
追問藝術中心的茹國烈，過去辦了幾屆的「各自各舞蹈
節」為何悄然消失得無影無蹤，認為有場地和發展作品
Another recent larger scale platform was the E-side Modern
的平臺.對於舞圈的生態發展相當重要。但當獨立的場
Dance Company’s Male Wind Blowing. E-side’s Artistic
地為糊口而難以支撐實驗性的創作.獨要CCDC舞蹈中
Director, Jacky Yu, invited eight male choreographers to
心來承擔這重任.也不是長遠之計，一些舞團和空間就
each contribute a piece, while he arranged the linking bits
索性不如自己來槁。位於葵涌區工業大廈內的「多空
that interacted with the audience. Besides local
6
間」，一直以來就在開班授舞外，不斷的辦講座和小型
choreographers, the others were from Japan, Korea,
演出，近期除了馬才和、嚴明然將到墨爾本演出的《無
Singapore, and Malaysia. As it was a HK Arts Development
形接觸》作一次香港預演外，以玩爵士舞為主、同也有
Council sponsored project, however, I am curious as to
在「i一舞蹈節」中演出的「的咁朵」也在那裡搞了個名
whether such application faced any obstacle, as the platform
為「三人行」的兩晚演出。
was open only to a single sex (and thus could have easily
stirred up a hot debate on sex discrimination and the rights 近月另一個較大規糢的舞蹈平臺，是由東邊現代舞蹈團
of free artistic expression).
辦的《男風吹》。東邊的余仁華，只負責把他邀來八個 男編舞的舞作串聯起來；這八個男編舞，除了來自香
Back to the performance itself, Male Wind Blowing no doubt
港，還有來自日本、韓國、新加坡和馬來西亞，以民間
brought about different views of masculinity and manhood,
申請藝發局資助的計劃來説，也算是個不小的跨國性交
but these views were extremely loose, either reflecting the
流；有趣的倒是這種全男班演出的申請，平臺只向單一
long passing of a male-supremacy ideology (which needs
性別開放，（我不是要求公事化的政治正確，但）不知
no further queries), or the choreographers were simply not
藝發局有沒有從性別平等的角度來思考審批？
interested in regenerating any other post-masculinity myths about the unique quality of the male body in their works.
説回演出，《男風吹》宣傳中的「男生壯志」用詞或「雄 屬身驅」的圖像都似有意帶出一種對於「男性」形象的
Scattered Mind was the only dance not performed by the
重新審思，這類議題最後
choreographer himself,
卻似在演出中沒有著落；
perhaps Dominic Wong felt
如身型較為粗豪的李健
the muscular Max Lee could
威，演繹黃狄文的細絮編
bring out some bodily
舞，又如楊春江回歸簡樸
tension to the work. As for
再簡樸，拾起風的詩意，
Daniel Yeung, he is trying
或者都正是對於「男性」大
again to return to a more
論述於「微觀」下的自然解
simplistic choreography,
構？來自新加坡的Daniel
this time with the poetics of
K.，舞作貌似很「激」很有
a gentle breeze. Each closer
攻擊性，但當觀者在演後
look at the different works
藝人談悉知那不過是把晚
seems to disintegrate the
間狂歡的活動以倒敘的流
grand narrative of ‘Man’-
程呈示，作品就忽然可以
kind back to individuals.
被理解成受了更大自我壓
Even Daniel K.’s piece,
抑的產物。雄斗斗的形
which
象，來到現今時代，大概
aggressive at first sight,
而再非新男性要硬充的目
turned out to be nothing but
標，松本大樹的舞作，彷
a wild night out told in
在流露其對擱淺鲸魚的愛
reverse order, suggesting
心關懷，被墮下大樹擊
maybe another even greater,
中，則更是給自己開的一
hidden
記幽默玩笑。
seemed
power
very
of
suppression. On the other
《男風吹》：松本大樹演出其作品《FALC》"
hand, Taiju Matsumoto’s
Male Wind Blowing: Taiju Matsumoto performs in his work FALC.
FALC showed his gentle
在「舞蹈家演藝團」《美麗
love and caring of nature,
荒唐夜》於文化中心劇場演出的當晚（九月十四日），
and touched the hearts of the audience. The scene with the
碰到一個因已往敎過的一名學生有份演出而捧場（並不
‘big tree’ falling onto him is a humorous joke he played on
知我定期寫關於香港舞蹈演出）的朋友，他問我為什麼
himself (and his name too).
會出現在那裡。的確，從宣傳單張有限的兩句文字「它 美麗動人/我胡鬧荒唐」，以及兩個編舞的名字外，我 根本不知道我將會看到一個怎麼樣的演出，但無奈還是
(C) At the HK Cultural Centre Studio Theatre on the 14th of
要買飛進場碰一碰運氣。
September, attending Dance Home’s Different Eyes, I ran
into a friend who came to support his former high-school
students. Since he did not know I wrote consistently for Dance Journal/HK, he was surprised that I was there. It was true, however, for I really could not make up my mind whether to buy a ticket to see the show or not. Besides the title of the show, a photo of two dancers and names of the
two choreographers and the company, there were no hints about what kind of performance it was going to be, or what
it might be like.
r
I*
I thus remembered that I ran into another friend sometime
ago at another performance at the Fringe Club. It was a dance-drama-poetry performance of the Asian Migrants’
Theatre Company production entitled Project Julie. My friend who worked on the production team was also surprised to find me there, and he guessed that I must be a HK Arts Development Council assessor (I never was) for the
performance. Despite that he knew I wrote about dances, 舞蹈家演藝團《美麗荒唐夜》。 編舞：曾子建、林小燕。攝影：謝健庭。 Dance Family’s Different Eyes. Choreographers: Dicky Tsang, Lam Siu-yin. Photo: Dicky Tse. 記得再早前一點，百忙中決心抽空到藝穗會買了不過是
he still couldn’t imagine that I might attend that show at my own initiatives. It seems really sad that even he lacked faith in the production.
Spending as little as HK$30 to see Project Julie, I certainly
三十元的票，看 Asian Migrants’Theatre Company 所謂
didn’t expect the highest level artistic production (I doubt
結合了舞蹈一劇場和詩歌的《譜出我天地》（Project
whether anyone mistook art as the only or biggest concern
Julie），進場後我又遇上一個負責節目的友人 ，友人立
at stake), however, I experienced a whole lot. Seeing the
即就問我怎麼是會是我而不是某某來當藝發局的節目評
non-professional dancers on stage having difficulties
審，彷彿除了當（我從來也未擔當過的）這些藝發局的
following the choreography inspired me to think deeply
節目評審，我好像沒有理由該出現在那裡般。雖然他知
about what all those movements were really about or what
道我是看舞寫舞的，但莫非就是連他自己也不相信這些
they meant to those dancers. One also does not need to have
節目值得大家（或因不一定是欣賞藝術的不同理由而）
attended the controversial Bill T. Jones’ Still/Here (which
去捧場？
one might never have the chance to encounter) to empathize
with the experience of tension for a dancer whose victim
2
事實上看這次演出，見著業餘的演出者辛苦地在遵循一
role and victim reality might or might not overlap. Beyond
些舞蹈動作的編排，就使我比平常更逼切地需要去思考
simply providing a supportive goodwill gesture to a social
這些動作究竟對於舞者們而言是什麽，在他們身上構成
minority, isn’t the creation of such shows already worthwhile
了什麼樣的意義。從演出中，我並也真正經驗到對於一
experiences for all arts practitioners?
個舞者的角色和一個舞者的個體在同情和審美距離之間 的張力。難道這些不是比閱讀關於Bill R. Jones爭議性
In the house program of Different Eyes, there are different
的“Still/Here”的討論更實在、更近在眼前，值得我們
quotations concerning dance categorized under heading of
藝術工作者去思索？難道這些演出真的因藝術水平上的
either beauty or ridiculous. Amongst these, I spotted one
不足，就不為我們的藝術平臺所容？
that I found disturbing - a statement from a secondary school student in which he said that in dancing he/she felt
〔美麗〕某作家説：「作為舞者，就要讓人知道，『我
worthwhile because he/she could dance as well as others -
要美麗，我要你感受到我有多美麗』……」
it was placed under the ridiculous heading! I understand
〔荒唐〕某中二學生説：「其實，我學跳舞是想證明給
why statements that assert one’s own beauty with self-
人看別人做到的我亦做到，做到等於叻！… …」
confidence are categorized under beauty, but shouldn’t that student’s statement be viewed in a more positive light? To
要向人們證明自己的自信，以及因為別人的認同而建立起
prove one’s self-confidence to others and to build self-
自信來，其實在現實樘並不易分，與其把這以〔美麗〕和
confidence by having others’ recognize it are mutually
〔荒唐〕來硬性加以區分，倒不如説這是一體的兩面。上
inclusive processes, and in most cases it is difficult to
文摘自《美麗荒唐夜》場刊的兩段説話，給我的就似是對
distinguish between the two. Different Eyes itself, however,
該演出本身的印象。它似乎嘗試在一個自限的熟悉藝術空
seemed to be trapped in its own narrow view from the very
間和語言中，針對社會對於美麗的荒唐見解。但結果這主
beginning, as it picked the stereotypical beauty of modem dance
旨若非大部分停留在論述（場刊文字或是演出中的語
and ballet movements to question the idea of beauty itself.
言），此主旨論述選擇使用已走向定型化的舞姿舞種，一 開始就已使演出本身陷於矛盾的基準。在此，美麗的身體
In the choreography of Dicky Tsang Tsz-kin, beauty
語言有可能被對荒唐的批判出賣，反之亦然。
outshines (positively) the ridiculous, with the slow paced modem dance and ballet movements not aimed at technical
由曾子建擔編舞的上半場，按耐得著速度的現代舞，沒
virtuosity. In the case of Lam Siu-yin’s choreography, it
有炫示技術的芭蕾，兩者混合的荒唐彷是被美麗所掩。
aimed to pose more questions, the use of language
徐徐的節奏雖漸漸加速，整體仍做到了從容不逼，其實
particularly stood out, the solo dance by Wong Sze-ling might
作品走向主旨的淡化，也該不太有損對舞蹈編排本身的
therefore provide a counterbalance of beauty from within
欣賞；演出的下半場由林小燕編舞，想述説更多非純舞
the piece. In this double perspective, one might therefore
蹈的元素，表現日常工作的語言尤其搶鏡 ，因此後段黃
like to see Tsang’s piece getting closer to the idea of beauty
詩羚的獨舞，作為個人對理想的默默追尋，相反更能接
(and forget about beauty’s ridiculousness), while Lam’s
受採取較定型化的美麗舞蹈，從而產生演出中的內在對
piece probably has no chance of getting away from the
照。簡而言之，美麗本身或不需要荒唐，但荒唐則需要
ridiculous (as it needs to use the idea of beauty to contrast
美麗來托顯；前半部的演出更接近於美麗，後半部則難
the ridiculous).
於擺脱荒唐。
The attractiveness of the concept of ‘platform’，I believe, is 「平臺」概念的吸引力，大概首先在於其概念中的平等
foremost its idea of an open and equal accessibility for all to
參與權利及其開放性。真正能跔做到這樣的平臺，相信
participate. Its idea as a steppingstone to move forward is
也就自然可以演化成再進一步的台階。■
only what hopefully naturally follows. ■
迴旋變 奏舞
貝多芩
jKtranba (Cljtnfflance Company
第九交響曲
一場集舞蹈、武術、音樂及視H藝術於一身的 傳統演繹與現代創新並重的本地製作。為此製 作錢秀蓮女士遠赴北京體育大學，與各教授從 心理、力學及人體科研之角度，以武術太極動 律演繹貝多芬傳奇一生的『第九交響曲』，其 奮發上進精神，面對逆境、對抗命運、超越個 人的苦難，放棄小我而成就大我。
武、極】系列四
全舞以內家拳的延綿伸展，太極棍的輕快凌厲 ，陳式太極的纏繞彈抖勁，以意帶氣、以氣帶 力，與樂章擦出迴旋多采的火花。 A production presents Beethoven's legendary Symphony No.9 with dance movements that bring out the spirit of struggle against destiny in the face of adversity, efforts to get over personnal distress and determination to sacrifice individual interest to accomplish the greater self.
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9th-10th OCTOBER Hong Kong Academy for Performing Arts - Lyric Theatre JUDITH JAMISON ARTISTIC DIRECTOR Masazumi Chaya
ASSOCIATE ARTISTIC DIRECTOR Time： 8:00pm Tickets： $680, $480, $240, $120 (Students)
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ALVIN AILEY AMERICAN DANCE THEATER
CITIGROUP ASIA TOUR 2004
Citigroup is proud to present the "Alvin Ailey American Dance Theater — Citigroup
Asian Tour 2004". With its unparalleled artistry and dazzling excitement, this spectacular Company leaves audiences breathless all over the world.
This fall, Citigroup will give audiences in Hong Kong the rare opportunity of witnessing the Company described by the New York Times as "breathtaking, electrifying and unforgettable" and by the New York Post as "absolutely astonishing".
Citigroup」
,
October 9, 2004 (Program A)
October 10, 2004 (Program B)
Night Creature
The Winter in Lisbon
Cry
Episodes
Following the Subtle Current Upstream
Revelations
Revelations
J
www.citibank.com.hk
專稿
Article
Talking Dance (II) 談談舞（II） Talking & No Talking 談與不談 text and photo provided by Rob Kitsos 文及相片提供：羅傑索
談論舞蹈
TALKING DANCE Contemporary dance needs dancers who can verbalize their
當代舞蹈要求舞者能以語言來説出他們的意念 ，我們現
ideas. The kind of dancer required today is different than
在所須要的舞者與以往不同。在五、六十年代，一些主
要的現代舞編舞家發展出其
the kind in demand years ago. In the 40’s and 50’s，there
One seemingly obvious way to combat dance’s
個人技巧。舞者須要學習其
were a few major modern
isolation as an art form, as well as encourage a
中一、兩套來發展其舞蹈事
dance choreographers who
deeper understanding and exploration is to talk
業。大體來説，舞蹈擁有很
developed their own
about it. I don’t know of any evidence that
高的表達性，並由一套協調
techniques. Dancers studied
suggests that thinking or interpreting make one
的美學特質所統一。現代舞
one or two of these techniques
less creative.
（及現代藝術）的一個中心
概念，是它被介定為一種成
if they wanted a career. For the most part, dances had a
要對付舞蹈這種藝術形式所面對的疏離 ，而又同
熟的藝術。很明顯，一些被
highly expressive quality that
時鼓勵深入的理解和探索，一個明顯的方法是談
認為是日常的人類動作、社
was unified by congruent
論它。筆者從未見過有任何證據證明思考和解讀
交舞或土風舞等，是稱不上
會令人的創意減少。
美術的。
aesthetic qualities.
One
central concept for modern dance (and modem art) was its distinction as a high art. What
新的意念帶來了新的技巧和編舞風格，並要求演出者須
was considered everyday human movement, social, or folk
要有更多元化的技術。今天，應用於當代舞蹈的技巧是
dance was clearly seen as inferior to the fine arts.
極多的。但是，比懂得更多風格和動作哲學更為重要的
With new ideas came new techniques and choreographic
吸引到編舞家注目的，並非踢腿的高度，而是表達上微
styles that called for performers with a wider range of skills.
妙的細小差異，或舞者如何去完成動作。要與人競爭，
Today, the number of techniques used in contemporary dance
便要於身體上和表達上都有信心。明白到你想説的是甚
is immense. But more than knowing more styles and
麽和如何將之融入你的舞動之中是其中關鍵。舞蹈從來
movement philosophies, choreographers often choose
並不只講求技巧，但是，今天的舞者比以往更須要智能
dancers for the vitality of their personalities. Subtle nuances
上的投入。
是個性。編舞家往往選用一些個性強的舞者。往往，能
in expression or how a dancer moves can often catch the
eye of a choreographer more than how high they kick their
要對付舞蹈這種藝術形式所面對的疏離，而又同時鼓勵
leg. In order to compete one needs to be confident physically
深入的理解和探索，一個明顯的方法是談論它。筆者從
and expressively. Understanding what you want to say and
未見過有任何證據證明思考和解讀會令人的創意減少=
how to incorporate that into your dancing is vital. Dancing
人的右腦活躍的話，左腦會否退化？我想，最终的問題
was never just about technique, but today more than ever
是在分析得多深入。我所指的談論並不是要代替舞蹈本
dancers need to be engaged intellectually.
身。Roger C叩land於《描述與解構之間》（/riSehveen Description and Deconstruction）
一文中，寫道：
One seemingly obvious way to combat dance’s isolation as
「偉大的文學評論家R.P. Blackmur曾説
an art form, as well as encourage a deeper understanding
過，有關藝術的最佳寫作是『業餘者的
11
and exploration is to talk about it. I don’t know of any
談論』。Blackmur所説的『業餘者』並不
evidence that suggests that thinking or interpreting make
是指『無知的人』。他指的是真正有鑑賞
one less creative. Does your left brain shrink when your
力的人。推動他們的，是對藝術的深愛
right brain is active? I guess the issue comes down to how
和向盡量廣闊的群幂傳達其熱誠的慾
far we go in our analysis. The talking I’m suggesting is not
望。這一動機是與性別一政治活躍分子
meant to replace dancing. In Between Description and
的目的，或為保敎席所帶來的寫作壓力
Deconstruction, Roger Copland writes:
是明顯不同的。」6
“The great literary critic R.P. Blackmur once
said that the best sort of writing about the Arts
舞者是否屬於Copland所指的「業餘者」？似乎，舞蹈
is ‘the discourse of an amateur’. And by
理論家很少是熱愛舞蹈的人。他們是觀點受到不相關的
‘amateur’ Blackmur did not mean
議題所影響的學者。例如，在學術界中，對一些意念酸
‘uninformed’. He meant the true connoisseur,
文假醋般的理論解構，往往把敎授們從意念的真正創造
someone motivated by a deep love of the art
者突顯出來。理論的意義是在幫助我們去明瞭和溝通 ，
and a desire to communicate his or her
並不是在製造距離。
enthusiasm to the widest possible public. This
motivation is rather different from the activist
於高等敎育中，人們對舞蹈的看法也使學生感到舞蹈並
goals of gender-politics or the tenure-driven
不是一門須要明瞭理論的學科。藝術往往被視作為沒有
pressures of publish-or-perish.’’6
理論基楚的主觀媒體。歸根究底，你只能夠是或不是一
個藝術家。於《理解舞蹈》(Understanding Dance) 一書
Are dancers Copland’s ‘amateurs’？ Sometimes it seems
中，Graham McFee分析了於敎育中主觀和客觀背後的
that dance theorists are rarely dance enthusiasts. They are
概念。McFee指出舞蹈知識是客觀的；否則，舞蹈敎育
academics whose perspective is colored by unrelated
和訓練便是毫無意義。
agendas. In academia for instance, the high brow theoretical
「… …在爭取課程時間時，敎育工作者不
deconstruction of ideas is often what distinguishes the
再須要單以作為『事情的另一方面』這一
professors from the people actually generating ideas. Theory
個論點，來與科學、數學等『客觀』的學
is meant to help us understand and come together, not to
科來作對比，並因而貶低其學科。因為，
create distance.
雖然他們所獻出的可能是有所不同，但並
The way dance is perceived in higher education can also
cause students to feel that dance is not a subject that requires theoretical understanding. Art is often perceived as a
subjective medium with no theoretical base. After all, you’re
either an artist or you’re not.
Graham Mcfee, in
Understanding Dance, breaks down the concepts behind
2
subjective and objective in terms of education. McFee supports his claim that knowledge of dance is objective by the mere fact that, otherwise, dance education and training
would be pointless.
‘‘ ...educators need no longer debase their subjects by arguingfor curriculum time for
them simply as a contrast to ‘objective’ studies such as science and mathematics,
as ‘on the other side of the coin \ For while they offer something different, it is not (as / am arguing) something less objective, of less worth, or less concerned with
knowledge and understanding.” 7
Lets borrow a basic concept from Plato and consider how a
dancer might enhance understanding through processing ideas.
The experience of performing can be very profound, and
not one that can be easily explained.
Some performers
describe it in visceral terms as an adrenalin charge through the entire body. Feelings seem to pour out, as if something greater than you is rushing through your body. Dancers
have often said that pains and injuries seem to disappear
when they are performing on stage, only to return when the performance is over. For most dancers, performing is the climax of all of the hours spent in the studio creating and
rehearsing. By itself, the feeling of being on stage keeps most dancers committed to the art.
One of the central concepts of Greek philosophy is divine inspiration. According to Plato, a true artist is merely a vessel of higher powers. In the Ion Socrates (in the words
of Plato) explains that an artist isn’t even intellectually aware when in the throws of inspiration. “The God takes their
intellect away from them when he uses them as servants... The God himself is the one who speaks, and he gives voice
through them to us.’’8
It may seem far-fetched to apply this idea to our experience as dancers on stage today. Yet it does inspire me to really
非客觀性較低、價值較低、或較少關注知
think about where I go in my mind when I perform, what
識和理解的。」7
keeps me so intensely engaged, and the spiritual power of dance. I don’t have to know Plato’s works to take his idea
在這禮，我借用一個柏拉圖的基礎概念，來看看一個舞
of divine inspiration and apply it to the experience of dance.
者如何可以從意念的處理中增強理解。
I also don’t see any reason to deconstruct every idea because
it happens to be philosophical. Philosophy and dance can
演出的經.驗可以是很強烈的，而且並不容易解釋。一些演
simply be about sharing ideas, reaching new levels of
出者以生理名詞將之描述為似是腎上腺素流過整個身體
understanding, and inspiring new ideas.
般。有人説感情似要傾瀉般，好像一些大於躯體的事物湧 過身軀。舞者亦常説演出時傷痛便好像消失了，但演出完
Assuming we agree that dance requires knowledge and
畢後卻又再出現。對多數舞者來説，演出是由練舞室中所
understanding, why is dance hard to talk about? One reason
有創作和排練的時間所總結出的一個高潮。多數舞者，就
is that contemporary dance is experienced only in the
只由於這種台上的感覺而投身於這門藝術中。
moment of performance. In a museum, you can gaze at the paintings as long as you want. You can also walk around
希臘哲學中的一個中心概念是「神的啟發」。根據柏拉
the room and analyze them from different angles, which
圖，一個真正的藝術家只不過是神的工具。於《Ion》
you can’t typically do in a theater. So to talk about a dance
中，蘇格拉底（根據柏拉圖的文字）解釋説，於被神啟
work, you have to go to your memory and re-create its
發之時，一個藝術家於理智上是並不知道的。「當使用
images. Videotape maybe one solution, but unless the dance
was created for video (which is becoming more popular)
他們作為僕人時，神取去他們的理智… …説話的是神， 是神透過他們來向我們傳音。」8
this experience of the dance is quite different. 應用這個看法於今天舞者的經驗上可能是有點牽強°但
Another reason dance is hard to talk about may be because we haven’t developed a universal language for dance
practices. There may be common vocabularies developing
among some dance theory writers, but not among the masses of dancers, dance students, and choreographers. Theoretical
dance writing didn’t even begin to take off until the mid
是，它卻誘發了我去認真思考一些問題：我演出時的思 想所在、令我那樣強烈地投入的因素' 以及舞蹈的靈性
能量。我並不須要認識柏拉圖的作品來應用其神召的想 法到舞蹈的經驗之中。我亦看不到由於是哲學而要解構 每一個意念的原因。哲學與舞蹈可以是簡單地有關意念 的分享、理解的提升和新意念的激發°
20"' century. We borrow words from other mediums like
假設我們同意了舞蹈須要知識和理解；那麼，為甚麼談
form, content, vocabulary, dynamics, phrasing, rhythm,
論舞蹈是這麼的困難？ 一個原因是當代舞蹈是要於演出
spatial relationship, etc. but in dance they may have different
時才能體驗。於博物館中，你可以用你喜歡的時間去凝
meanings. The work of the dance innovator Rudolf Laban
望一幅畫。你也可以行到不同的地點，以不同的角度來
has had a major influence on dance language. Although
分析它。但這通常都不能於劇場中做到 。所以，要談論
Laban's movement analysis and notation are taught in many
一齣舞蹈作品，你要以記憶去重組其影像。錄影可能是
countries, they still are not universally used.
一個答案，但除非該舞是為錄像而編（這是越來越受歡
迎），其體驗是有一定差異的。
Dancers struggle to verbalize abstract concepts that don’t have stories or symbols. We need to be aware of the elements
談論舞蹈困難的另一個原因，可能是由於我們沒有發
of composition and be able to identify the relationships of
展出一套舞蹈的統一語言。在一些舞蹈理論作家之 間，可能發展了一些通用詞彙，但舞者、舞蹈學生和
forms and qualities.
編舞家間卻沒有。舞蹈理論寫作是於二十世紀中期才
I recently gave a Lecture-Demonstration at the University of
開始的。我們借用了其他媒體的文字，例如形態、內
Georgia on composition and aesthetics. I was discussing the
容、詞彙、力度、分句、節奏、空間關係等等，但它
idea of an artist’s intelligence. The idea, inspired by John
們於舞蹈中的意義卻可能是不同的。舞蹈創新者
Dewey, was that artists are capable of thinking in terms of
Rudolf Laban對舞蹈語言起了重大的影響。雖然很多國
relationships of qualities, as opposed to linguistic symbols.
家都有Laban動作分析和舞譜編寫的敎授，但它們仍
After the lecture, an art teacher came up to me and said he
未能世界性地通用。
struggles to get students to look at an abstract painting and evaluate it on the basis of qualities as opposed to symbols.
舞者為了要説出一些沒有故事或符號的抽象概念而掙
This is a major issue. We can lie down on a field of grass -
紮。我們須要知道組織的元素，以及能鉤辨認出形態和
look up and see the formations of the clouds slowly moving
性質的關係。
against the sky and let images, memories, and metaphors flow
freely in our minds. But put us at a dance concert or in a
最近，我於University of Georgia作出一次以組織和美
museum and our brains manically search for a story or literal
學為題的示範演講，討論到藝術家的智能這一個概
meaning. We don’t see or feel enough or take stock of what
念。這個靈感來自John Dewey的概念，認為藝術家
we see and feel. Maybe the answer lies in how we look at nature?
能跔以性質的關係來思考，而非以語言符號。演講之
The relationship between the beauty we see in nature and the beauty
後，一個藝術敎師對我説，他在要求學生不以符號，
we see in art is a common discussion in aesthetics.
而以性質來分析抽象派油畫時遇到了困難。這是一個
重要的問題。我們可以躺在青
Probably the most obvious reason dance is hard to talk about is
because the people who know it
2
best spend more time moving than talking. Unless these dancers enroll in a bachelor of arts program,
One negative response to the idea of talking about art is that it detracts from
the spirit of art. There are those who feel that artistic creation and appreciation is a process that is
disrupted by intellectual discourse.
任由想象、記憶和隱喻自由地
於腦中奔放。但是，當我們在 欣賞一場舞蹈演出中，或是在
博物館時，我們的腦袋便會瘋 狂地找尋著故事和文字意義。
我們不會充份地去看或感受，
chances are they won’t be required
1
草地上，望著白雲慢慢飄過，
to talk very much about what they
談論藝術這個想法的一個負面反應是 ，
或以所見和所感來作評估。可
spend all day doing.
它會偏離了藝術的精神。有些人認為理
能，答案就在我們如何觀看大
性談論會打擾了藝術創作和欣賞的過
自然中找到。大自然中所見的
程……
美和藝術中所見的美，這兩者
NO TALKING
間的關係，是美學中常見的討
One negative response to the idea
of talking about art is that it detracts from the spirit of art.
論議題。
There are those who feel that artistic creation and
appreciation is a process that is disrupted by intellectual
或者，舞蹈之所以難以談論的最明顯原因，是在於最
discourse. As Doug Arrell puts it; “Many are suspicious
認識它的人只管跳而不談。除非這些舞者入學修讀藝
that too much analyzing of their art will harm their creativity;
術學士課程，他們很可能永遠都不會談論他們整天所
it will encourage them to develop their rational ego at the
做的事。
expense of their creative unconscious. Or they suspect that
aesthetic analysis will have no effect on them, that thinking
不談論
about art in this way is simply useless.’’9
對於談論藝術這個主意，一個負面反應是它會偏離了藝
術的精神。有些人認為理性談論會打擾了藝術創作和欣
There is, in any case, a danger in over analyzing artistic
賞的過程，正如Doug Arrell所説：「很多人懷疑，對藝
issues. Susan Sontag takes an aggressive attitude to the
術作品過多的分析會有損他們的創意；會助長了他們的
idea of interpretation. “In a culture whose already classical
理性自我，而損耗了他們富創意的無意識。或者，他們
dilemma is the hypertrophy of the intellect at the expense
懷疑美學分析對他們並不起任何作用，而這樣來思考舞
of energy and sensual capability, interpretation is the revenge
蹈根本是毫無用處。」9
of the intellect upon art. Even more, it is the revenge of the intellect upon the world.”10
在任何的情況下，把有關藝術的議題過度分析都是危險 的。Susan Sontag評擊「解讀」這個想法：「我們文化
In Against Interpretation, Sontag makes us long for the kind
的一個困境是過於強調智力，而乏略了能量和感性的能
of experience the core of art gives. You feel as though you
力，而解讀就是智力對藝術— —什至整個世界— —的一
wished you were bom at a time before Plato, so you could
種報復。」1G
really experience art’s visceral and innate nature. I have a fourteen-month old son. I watch him with envy every time
於《反對解讀》一文中，Sontag令我們期望藝術核心所
I see him discover something for the first time. My wife
提供的那種體驗，令人希望可以重生於拍拉圖之前的年
and I buy him all these state of the art toys and books yet all
代，以真正體驗藝術那內蘊和天生的本質。筆者有一個
he needs to keep himself engaged is a cardboard box or
十四個月大的兒子。每次看到他首次發現一些事物 ，我
spoon. Unfortunately, those experiences fade as new
心裡都滿懷羨慕。他有那麼多設計精巧的玩具、書本，
information infiltrates the brain and real perception is
但他往往會專注於一個紙盒或一隻羹匙上 。可惜的是，
replaced my mere recognition. 11
這些體驗都會隨著新資訊渗入腦袋而淡化 ，而真正的認
知，也就被辨識所取代。11
Sontag refers to the Greek philosophers who translated the
early experience of art into a theory of imitation, thus
Sontag指出希臘哲學家把早期的藝術體驗轉譯成一個糢
challenging its value.
仿的理論，從而挑戰了其價值。
“Plato, who proposed the theory, seems to have
『拍拉圖似是要判定藝術的價值可疑而提
done so in order to rule that the value ofart is
出這個理論。由於他認為一般的物質東
dubious. Since he considered ordinary material
西都其實是仿製品，那麼，模仿出眾的
things as themselves mimetic objects, imitations of
形態或構造，就算是把一張床繪成最好
transcendentforms or structures, even the best
的畫，也不過是「仿製品的模仿」。對拍
painting ofabed would be only an ‘imitation ofan
拉圖來説，藝術是沒有特別用途（一張
imitation. ’ For Plato, art is neither particularly
床的繪畫始終不能用來睡覺），嚴格來
useful (the painting ofa bed is no good to sleep
説也並不真實。』12
on), nor, in the strict sense, true. ”12 可能，拍拉圖真的對藝術作出了一個帶貶意的看法，也
Maybe Plato did set up a pejorative regard of art, and maybe it
可能，為藝術建立理論這一個意念從基礎上損壞了它的
was the idea of building a theory of art in the first place that
真正精神；但無論如何，筆者認為於談論和過度分析藝
undermined its true spirit. Nevertheless, I think there is a happy
術之間，是有一個令大家都舒適的緩衝區的。■ 翻譯：施德安
medium between talking about art and over-analyzing it. ■ Notes: 6
Roger Copland (1998)，“Between Description and
10 Susan Sontag (1998), “Between Description and Deconstruction”，The Routledge Dance Studies Reader,
Deconstruction”，The Routledge Dance Studies Reader,
London and New York: Routledge, pg 101.
London and New York: Routledge, pg. 98. 7
8
Graham McFee (1992)，Understanding Dance, London
John Dewey (1995), “Having An Experience", The
and New York: Rutledge, pg. 35.
Philosophy of Art: Readings Ancient and Modern, New
Plato (1995)，The Ion, The Philosophy of Art: Readings
York: McGraw-Hill, pg. 72.
Ancient and Modern, New York: McGraw-Hill, pg. 7. 9
11
Doug Arell, “Teaching Aesthetics to Artists”，The Journal
of Aesthetics and Art Criticism
12 Susan Sontag (1961), Against Interpretation: And Other
Essays, New York: Dell Publishing Co., pg. 13.
舞評
Review
觸動人心的舞蹈一《•赤色吉
芭蕾名伶奥爾嘉•史帕絲維薜娃(Olga Spessivtseva)— ~生為根據的舞劇《赤色吉赛爾》•向觀眾演繹了一
動作，配以激昂的音樂與刺眼的紅光，完全喚起了觀 眾的感官反應。
代舞伶的心路歷程。可能有一部分觀眾對史帕絲維薜娃感
之
到陌生，不過在波里斯•艾庫曼編排的舞蹈下，仍然可以
舞劇终結時的舞蹈編排亦見心思。只見女芭蕾舞星走進台
實在地感受到這位以演繹吉赛爾一角而成名的舞怜那滿懷
上其中一面鏡子，曇花一現後便消失。筆者覺得走入鏡子
憂傷、痛苦的人生。筆者認為，獲美國《紐約時報》譽為
像比喻女芭蕾舞星要離開人世一樣 。死亡就好像是她唯一
現今「俄羅斯最成功編舞家」的艾庫曼•他的舞蹈確能震
的出路，终於可以擺脱充滿痛苦的一生！觀豕看到這裡•
撼著每一個觀眾的心。
無不留下深刻的印象。那份震撼力實在難以用筆墨形容。
黑白服裝營造強烈對比效果
舞蹈員跳躍欠輕盈感
欣賞艾庫曼的舞蹈，不應只著重在舞蹈員的技巧上，還有
事實上，《赤色吉赛爾》並沒有局限在傳統古典芭蕾的框
他的編舞手法、選用的服裝背景和燈光效果。這樣才能親
架中，反而結合了二十年代的電影手法和大膽前衛的舞
身感受到舞蹈所帶來的震撼力。《赤色吉赛爾》中，筆者
蹈，創造出具立體戲劇效果的現代芭蕾。
最喜歡的是密探如鬼魅般的白色臉■孔與女芭蕾舞星 「共
2
舞」一幕。在那暗暗的舞台上，白得可怕的瞼孔不停出現
而現代芭蕾比古典芭蕾優勝之處 ，正正是沒有了動作的規
在女芭蕾舞星周圍，她愈是想離開便愈是擺脱不了密探的
範性。舞蹈員在台上的演繹，能跔更開放、更自由，情感
控制。艾庫曼在編排這一幕時•能跔透過嵬魅般白色的臉
也得以盡情舒發出來。當然，在演出古典芭蕾時，亦能有
孔，讓觀眾深深感受到女芭蕾舞星內心的恐懼與不安，令
情感的發揮。只是按其局限性，舞者演出時仍會受制於一
他們也代入角色當中。
些規範裡。《赤色吉赛爾》中，第一幕密探與女芭蕾舞星 的舞蹈，在筆者眼中仿佛是兩人在糾纏，而不是在跳舞。
台上鏡子意義深遠
他們倆演繹出許多高難度的抬舉或拉扯動作，完全配合兩
舞劇沒有華麗的佈景，但簡約的設計卻與音樂和舞蹈
人那種錯综複雜、愛恨交織的複雜關係。
員的動作融為一體。舞劇開始，觀眾看到的是一群身
穿純白色舞衣的芭蕾學生。她們排練著優雅、令觀取
舞劇唯一美中不足的地方是舞蹈員動作不整齊。尤其是在
看得舒服的古典芭蕾。在觀眾面前的仿佛是一幅構圖
群舞中，有幾個男舞蹈員跟不上快速的音樂拍子，明顯是
美觀的油畫。住後，革命的到來，劇院「淪陷」；身
慢了半拍。此外，男舞蹈員的跳躍動作亦不是那麽輕巧，
穿黑色戲服的密探們與眾芭蕾學生在台上 「共舞」•
讓人感覺到他們的身體好像很重似的 。
一黑一白的戲服，形成了強烈的對比，再加上紅紅的
燈光，充分讓觀衣感受到纯潔典雅的芭蕾舞•已不幸
總之•艾庫曼那敢於創新、不受羈勒的編舞風格，讓觀眾
:'命為革命紅軍的政治工具。舞蹈員在台上誇張的身體
看到與以往不同和全新的芭蕃葵術
。國
舞評
Review
Move Like the Wind by Tom Brown
her arms and legs (maybe her spasm of sexy dancing while
his back was turned made me think more of inflatable toy
rather than Coppelius’ doll). After getting her into position... Yap pulls on his own PJ’s, and they begin to dance. The
fluid duet that ensues is a straightforward discourse of two like souls exploring familiar territory of trust and sharing; she lifting him as effortlessly as he her. It’s a beautiful simple dance evoking their comfort, ease, and quiet joy in moving
together. Eventually, they end, she wonders off, and he lies
down to sleep.
广
/
It could be that his burgling of a closeted
Male Wind Blowing' Daniel Yeung performs in
caveman manque to fantasize harmony with his woman is a
his work Wind.
probing of post-feminist retro chic stereotypes or maybe
Modern Dance Company’s production of
they just need to talk.
C **^^^€* Male Wind Blowing, (the Chinese title plays on the homonymy of‘Male’ and ‘South’), was its latest in a
In Dominic Wong’s Scattered Mind, Max Lee journeys from
series of either all women or all men concerts. As with the
stage left to right moving through narrow bands of light
others, this was an excellent production, giving audiences a
that span back of stage to front. As he reaches the edge of
rare chance to see eight prominent new generation
one band, it dims and another is lit. Within these alleys’
choreographers from Korea, Malaysia, Hong Kong,
confines, Lee gestures as if besieged, pushing away
Singapore, and Japan in varied movement styles, subject
unwanted interference, negotiating unseen labyrinths,
matter, and approaches to explorations of ‘maleness’. The
striking out and slashing with arms, legs and torso in a
heat with which these dancers burned up the stage - and
tangled knot of movement. Mid-way through this traverse
also a few gusts of ‘hot air’ - echoed the Male/South play.
is a kind of ellipsis, as if, in an almost Dantean inversion, in
The gender/culture bending antics of Tung Wai Kau and
the middle of his struggle, he daydreams another mode of
Mok Kin Chung framed and linked the themes of post
being, glimpses, if not paradise, then at least, grace.
modem, post-colonial, global, and multicultural masculinity
Momentarily, subtlety, his gestures soften; rather than scatter
and cultural identity.
the space, he caresses it, draws it toward him; rather than
fight it, he shapes himself around it, arching back as if in Dressed in black, wearing a cap, wielding a torch, Yap Poo
the embrace of a lover. The wonderful thing about this
Meng sneaks into the dimly lit space like a robber, crouching
departure is, it is so neatly choreographed, occurring after
and lurking in Just A Dream. Hopping imaginary obstacles
the long spell of ferocity that seems to echo through it, and
(a conceit that lets him throw in acrobatics), looking about
to which it returns. The geometries of both are alike only
warily, he bumps into Cheng Chor Kuen’s outstretched
intent is altered, as if both coexist even as one replaces the
pajama clad arm in one of the stage’s wings. Lugging her
other. Lee is like a boxer, intersecting the space with
into the space like a mover hauling furniture he manipulates
precision and power, he moves as if his taut muscled body
is steel and the space is marble that he sculpts. His brief
(or visa versa) carried out with the aid of a number of
lapse, however, alters the texture of space, the quality of
inflatable Orca whale dolls and concluding with a tree bough
light, as if through a long sighing inhalation and exhalation,
falling on top of the dancer. Like Deep Well, Daewon Shin’s
hardness evaporates into vulnerability.
Edge is about control. Shin’s dance, however, is punctuated with entreating heavenward gazes, visionary stares into the
In Black & White, Goh Boon Ann dances in narrow bands of
far distance, hand against mouth, as if stifling a scream, and
light from left to right with a film projected on the cyclorama
other heroics that lend a curiously unmodem feel. Likewise
as well. As the bands recede, becoming more and more narrow,
in SOM, Daniel K alternates between melodramatic tantrums
Goh performs slow unfolding and reaching. Mikey Lee
throwing himself about on a mattress, flinging through the
performs his Deep Well also within a restricted space and with
space, sudden freezes, recitations of retro ‘beat’ harangues,
a tightly focused vocabulary of sweeping, pressing, probing,
episodes of rave/disco dancing, and racings around to a slow-
thrusting gestures. For him, however, the confined space is
pulsed strobe and wheezing gasps of stage ‘smoke’. While
statement of choice, expression of self-control, not exigency.
in Wind, Daniel Yeung continues his lyrical exploration of
Rather than reflecting a journey, Lee takes a stand, imposing
loss and love to Satie’s Gymnopedies. Yeung’s late entry
himself on the movement. Unlike the crisscrossing interior
into dance leaves his movement unfettered by the
landscape of Wong’s Scattered Mind, Lee stations Deep Well
homogenous style of most performers today. When he lifts
in the rear center, commanding the stage. Beginning slowly
his leg, for example, the hip is included not neatly
he accelerates his repetitive full-bodied phrases to a pace at
sublimated, the torso assists rather than remaining impassive.
which their blurred trajectory evokes more force of nature than
It gives his dancing spontaneity reminiscent of the early
movements of man. He pushes space away and pulls himself
modems like Doris Humphrey. Humphrey danced that way
through it, making it viscous. Lee is a virtuoso but instead of
not because she was incapable of doing otherwise but
bravura, he declares movement not exclaims it in this brief,
because that’s how she wanted to spell her movements.
direct dance of complexity delivered simply, honestly.
Yeung is the same.
While his work is absolute artifice,
carefully devised manipulation of theatrical ideas,
Taiju Matsumoto’s FALC is also laced with virtuosity,
impeccably performed, his dancing style gives his works
serving as a kind of pretext to an essay on the environment
great power and immediacy. ■
Male Wind Blowing: Daniel K performs in his work SOM.
專稿
Article 么-
城市當代舞蹈團25週年 帶出來的一點回憶 文：曹誠淵
求的全部。在那一刻，我的身心獲得圓滿俱足，其
城市當 代舞蹈團
後的二十五年裡，面對舞團的或起或跌，為舞團
創團演出之
的事情或憂傷或激憤，其實是大光普照下的瑣
宣傳單張。
碎影子而已。至於因為舞團的成績而獲取種種
榮譽— —紫荊星章、女皇獎章、傑出青年、榮譽院 士等
便是上天對我的一份額外獎勵。
城市當代舞蹈團自一
一九八二年四月份的一個周末下午 ，也就是英國首相柴
九七九年建團•到今天已經整整
契爾夫人(戴卓爾夫人)在北京跟鄧小平主席傾談九七
二十五年。作為舞團的創辦人，並伴隨著舞團經歷了
年後續租香港不攏，步出人民大會堂摔了一交後的一周
四分之一世紀的陰晴風雨，又見證著一代又一代的現代舞
左右，我在香港藝術中心的六樓飯館吃飯 ，準備晚上舞
者和編舞家茁長騰飛，期間的悲喜苦樂，實在不足為外人
團的演出。窗外陰霾密佈•黑黑的雲層壓得幾乎就在眼
道。不過每次接受媒介朋友的訪問，總有一條叫我魂牽夢
前，可就是不下雨。收音機裡傳來新聞報導，港幣從上
縈的題目：舞團的哪個事件、哪個時刻最令你難忘？
周的5 • 8元兑換1美元一直掉到今天的1()元兑換1美
元，昨天晚上十一時許，我在銀行界的朋友前來拍門， 如今，我坐在桌前，腦子裡前塵起伏，一方面理智地梳
催促我趕緊離開香港，連移民表格都已經給我填好，只
理著一段段似若發生在昨日的往事，另方面情緒卻如涓
要簽名使可以成為加拿大人。我邊吃飯邊想，香港的天
涓流水，清澈激蕩中竟然有點兒控制不了。回憶，往往
氣從來沒有這麼糟糕過，也就是從這時候起，「香港」
充滿遺憾，因為許多已經做過的事情本來可以做的更
這個題目竟然佔據了我大部分的思維和感情，可以説，
好；回憶，也帶來許多欣慰，因為就是過去成功的點點
在這之前，我從來沒有那麼自覺是個「香港人」，而舞
滴滴，凝聚成今日的面貌。二十五年的城市當代舞蹈團
團的藝術路線因此有了 一次靜默但深遠的改變。城市當
應該可以更好，但能跔堅持到今天，回憶起來，便只能
代舞蹈團在建團之初，曾自詡為代表「香港文化」、展
交織著遺憾和欣慰了。
現「香港特色」，而所謂的香港「文化」和「特色」，
無非是某種中國藝術套路，摻和點西方現代舞蹈手段， 關於舞團二十五年來使我最難忘的事有四 ，其實細想，除
美其名為「中、西文化结合」，究其實是沒有經過思
了第一件事外，其他三件事情都跟舞團沒有直接關係，但
考、融和、沉澱、累積，以致在美學上顯得駁雜不純，
影響舞團的運作和方向是顯而易見的，且容我細細道來：
不能予人以信服力。在還未自凳是個「香港人」之前’ 對什麽是「香港特色」，也只能人云亦云：驚醒之後’
一九七九年九月份的第一個星期一早上，我換上乾淨的練
突然明白「我就是香港、香港就是我」，更自然產生一
功服，躺在還留著新鮮木頭氣味的地板上熱身，陽光從窗
種創作上的衝動— —不再去逢迎別人眼中的香港，卻要
外灑進這所僭建於天臺上的排練室.在黃大仙的環境裡顯
努力地發出真正屬於自己的吼叫。自那天起，舞團花了
得出奇地安靜，從鏡子的倒影中我看見其他十一位舞者或
三年時間去默默探索，終於在一九八五年開始有了點自
坐或臥地伸延肢體，平和地等待著舞團的第一次正式上班
信，由黎海寧出任藝術總監，帶領著舞團風風火火地編
練功。有許多朋友問我建團以來最大的收獲是什麼，而我
創了一系列自由活潑，隨心而舞的作品’雖然沒有什麼
也許永遠無法解釋那天的感覺，正是我在舞蹈藝術路上追
香港歷史情節，卻把香港人的活力' 情緒' 神韻和變化
多端的姿態.從香港的劇院一直帶到亞洲'歐洲'美洲
不肖•而我的樂趣和感激，正是能跔在廣州擔任螌術總監
的這段日子裡，結識了不少藝術上的真正知己。曾經有香
的國際舞臺上。
港的團員向我發過牢騷，認為我把時間分散兩地，而且明
顯地把心力投放在廣東更多，使他感到有如「二奶仔」， 心裡不平衡。我歉然，卻不忘告訴他，城市當代舞蹈團已
經成長，而且它的藝術路線和得失經驗 ，正是中國內地有 志於現代舞的舞者和舞團的導向指標，我之所以能跔把現
代舞蹈帶進中國，並讓它開花结果，全是因為城市當代舞
蹈團的支援和典範作用。
曹誠淵八九年作品《地獄變》。
一九八九年六月的那一天，我和舞團的同事們圍坐電視機
前.關注著來自北京的消息。大家都很沉默，心裡卻像灌 滿了鉛。熒幕上播出天安門廣場上的年輕學生 ，我一個都 不認識，感覺卻和他們那麼親近。雖然城市當代舞蹈團在
八零，八三，八七，八八年四次巡迴演出於中國內地•我
也經常被邀請到北京、上海和廣州敎課，可直到那一天才
發現自己從來沒有真正直視過大陸的同胞，更不用説去瞭
黎海寧九七年作品《革命京劇一九七封印》。攝影：陳德昌。
解他們，而原來他們是那麼可尊敬的。我趕乘了第二天的
之
->
第一班渡輪回到廣東舞蹈學校，那裡在兩年前開設了現代
一九九七年七月前的一段日子裡 ，外國傳媒對香港和香港
舞大專班•有二十名年輕學員在渴望著老師。本來我可以
藝術家的關注如排山倒海。在數不清的訪問中，一個揮之
不回去的，因為在一夜之間.好像全世界都在制裁中國，
不去的問題是.有否憂慮九七後藝術上的表達自由。可能
船上寥寥幾個乘客•下榻的酒店冷冷清清，飯館裡更只有
是我的多疑，總覺得提問的人帶著一片悲憫心腸，從高高
我一個客人。到現在我還不理解，那次事件到底是暴亂、
的角度來俯視著可憐的、行將萬劫不復的被訪者。而我，
動亂，還只是一場充滿理想的學生運動，但就是這事，讓
這個被訪者，總是帶著我最燦爛的笑容，跟他們談論在廣
我真正感到屬於靈魂裡的震撼，一下子把我從一個無根、
州十年的:經驗。記得一位訪問者帶著一臉狐疑地詰問：看
自由的「香港人」，轉變成一個可能背負著過多歷史包被
不出你倒挺有機心，竟然在十年前就鋪好回歸的路。我當
的「中國人」。在空蕩蕩的酒店大堂裡，我靜靜地坐了很
時一征，仔細的思考後回答：我真的不知道自己有沒有機
長一段時間，思考著「香港人」和「中國人」之間的分别，
心，也不知道你相不相信藝術，但我在十年前便完成了回
並估量著作為一個「中國人」的意義和責任。之後，我沉
歸，大概便是藝術上的「氣機吸引」吧！也就是這個「氣
著氣，一頭栽進內地的現代舞敎學活動裡。一九九二年廣
機吸引」，我在兩年後（一九九九年）被邀請至北京擔任
東舞蹈學校現代舞班畢業•並由省政府成立了廣東實驗現
北京現代舞團的藝術總監，和首都的文化界產生直接碰
代舞團，邀請我做藝術總監。其時，城市當代舞蹈團的運
撞。北京果然不愧為中國的文化和政治中心，學問的沉
作已漸上軌道，和我合作經年的陳德昌答允出任舞團的副
澱、傳統的張揚、官僚的架勢、權力的講究，都使我對中
藝術總監，而黎海寧自八九年離團後，也终於從海外遊歷
國的文化有了更深一層認識。期間香港城市當代舞蹈團的
歸來擔當駐團編舞，既然香港沒有了後顧之憂，我也就欣
團員們全力配合，行政總監鄺為立、敎育及外展總監潘少
然接受了廣東的邀請。
輝、技術總監林禮長，甚至舞團的董事局主席呂禮恆，都
身兼城市當代舞蹈團及廣東實驗現代舞團的藝術總監•僕
於在北京的淒風冷雨中站穩了腳步 ，北京現代舞團獲取北
曾陪我奔波來回於北京途中。二零零四年六月，現代舞终 僕風塵於香港、廣州兩地，雖然忙碌•也给予我許多機會
京市文化局的獨立批文，從此不再依附在傳統歌舞團的架
去昧■解「中國」。我曾經對中國大地上所發生的一切事都
構中，更被邀請和國家領導人一同出訪外國■向外展示一
很不以為然，覺得落後、僵化、蒙昧、腐敗，但在真正和
個充滿現代意味，具有現代批判精神的中國文化面貌 。
內地的文化人、藝術家、行政官員等生活在一塊之後，才 感党到他們其實都是「人」•只不過在不同的政治和敎育
二零零四年•也是香港城市當代舞蹈團的二十五周年。舞
體制下•產生不同的價值觀而已，而我又有什麼資格以一
團的建團宗旨從一開始要「展示香港文化」蜕變為「立足
己的價值觀強加在他人頭上呢！無論那裡的人.都有賢與
香港'胸懷中國、放眼世界」•庶幾做到了。■
DANCE EVEHTS Era ‘時代
Alvin Ailey American Dance Theater
Hong Kong Ginger 本地薑
8-9/10
節目表
《阿爾文•艾利美國舞蹈劇疼｝
8:00pm
9-10/10
Theatre, Ngau Chi Wan Civic Centre
JUDITH JAMIsd ARTISTIC DIRECTOR 薯術練/
8:00pm
HKAPA Lyric Theatre
牛池灣文嫉中心劇院
香港演藝學院歌劇院
Choreographer 編舞： Artistic Director 藝術總監：
Cherry Lai賴文慧
ALVIN AILEY
Judith Jamison
AM E RICAN
Ticket 門票：31288 288
DANCE THEATFR
CITIGROUP ASIA TOUR 2004
Swan Lake《天鵝湖》 by Hon兹 Kun^ Gii
HON
苗■
K 0 N
BA
Hong Kong Ballet香港芭蕾舞團 14-16/10
7:30pm
16-17/10
2:30pm
Citigroup '
Grand Theatre, HK Cultural Centre 香港文化中心大劇院
*.a
PlazaX《Plaza與異變街道》 CCDC城市當代舞蹈團
Choreographers 編舞：
)Lake 天鵝湖
8:00pm
Marius Petipa & Lev Ivanov
22-23/10
佩蒂巴及艾化李夫
Kwai Tsing Theatre
Enquiries 查詢：2105 9724
葵青劇院
Choreographer 編舞： Helen Lai黎海寧
Chinese Martial Arts Dance Series: Episode IV 《【武、極】系列四》
14-17.10 否港文化中，心 Hon^ Kong Cultural Centre
Enquiries 查詢：23297803
Miranda Chin Dance Company 錢秀蓮舞蹈團
5-6/11
nrZ Factory
ot.us《流蓮歡》 Cultural Factory 文化工房 29-30/10
8:00pm
tc Theatre
« K
8:00pm
Hong Kong City Hall Theatre 香港大會堂劇院
by Mvi Chmk-yin A Priscilla brntnif o' d*n<c. wnind *nd aniuc.^
Artistic Director 藝術總監：
Studio Theatre, HK Cultural Centre
Miranda Chin 錢秀蓮
香港文化中心劇院
Enquiries 查詢：2566 3365
Choreographers 編舞：
港
g» 観 SHONG
Mui Cheuk-yin 梅卓燕
11-1241 (8:00p.m.) a龙大會廉
Spiritual Girl《捕捉流水》 8:00pm
7/11
3:00pm
Ngau Chi Wan Civic Centre ! Cultural Activities Hall |牛池灣文娛中心文娛廳
T .
* *1 國
Hong Kong Ballet香港芭蕾舞團
Cultural Factory 文化工房 5-6/11
E T
TnkgyTrilogy《芭蕾三部曲》 i
Priscilla Leung 梁小術
ONG BA
11-12/11 ♦韻■<■走
AI^M'MH*#****,
8:00pm
Concert Hall, Hong Kong City Hall 香港大會堂音樂廳
Choreographers 編舞： David Allen大術•艾倫，
Carlo Pacis 白家樂•
Choreographers 編舞：
Yeung Wai-mei 楊惠美
Natalie Weir娜泰莉•維亞
香港芭蕾舞團
HO
NG
KONG
BA
L
L
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芭蕾
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香港芭蕾舞團 HONG KONG BALLET
藝術總監:謝傑斐
部曲
Artistic Director Stephen Jefferies
11-12.11 (8:00p.m.) 香港大會堂音樂廳 Concert Hall, Hong Kong City Hall
$180, 140, 90 《溫柔•孤寂•夢千回》/曲舞：大衝.艾倫
Dreams of Tenderness and Solitude /choreography： David Allan 《弦樂披頭四》/辟：白家* Beatles on a String / Choreography: Carlo Pads 《春之祭:b 曲舞:薄泰莉•雄亞 The Rite of Spring / Choreography: Natalie Weir 電話訂票 Reservations: 2734 9009 信用咭訂票 Credit Card Booking: 2111 5999 節目查詢 Programme Enquiries: 2105 9724
門票由10月8日起於各城市電腦售票處發售 Tickets available at all
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