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.2 OcC 2004 香港演藝學院 圖書館
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目錄 Contents
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Vol.6
No.6
地址Add:香港灣仔告士打道一號 香港演藝學院
封面Cover 《捕捉流水》Spiritual Girl
Hong Kong Dance Alliance c/o Office of Associate Dean
舞蹈學院副院長辦公室
School of Dance, HKAPA
轉交香港舞蹈聯盟收
1 Gloucester Rd, Wanchai, HK
編舞：楊惠美
《舞蹈手札》讀者問卷調查
Choreographer: Yeung Wai-mei
攝影：陳德昌 Photo: Ringo Chan
Dance Journal/HK Readers1 Questionnaire 請用一點時間完成及交回問卷。你的意見，會幫助到《舞蹈手札》 的未來發展。
舞蹈快訊NEWS
2
Please spend a minute to complete and return the questionnaire
below. Your opinions will be helpful for the future development of Dance Joumal/HK.
鐘擺發展
A Pendulum Development?
你閲讀了《舞蹈手札》多少年？
文：劉建華
3
by Lau Kin Wah
Talking Dance (III) - Final Points 談談舞GIG-完結篇
3
4
5
6
1
2
3
4
5
6
□□□□□□
How many issues did you read in year 2004?
文：羅傑索
2
How many years have you been reading the Journal? 你今年閲讀了多少期？
by Rob Kitsos
1
10 你對《舞蹈手札》下列各看的意見(1是好• 5是差)：
雲南省歌舞劇院之《紅土戀歌》 文：劉凱
16
丫our opinion of following aspects (1 is good, 5 is bad): 1 2 3
4
5
□ □ □ □ □
The Trocks玩轉傳統芭蕾？ 文：吳嘉詠
17
Local Companies Reviving Repertory Works by Kevin Ng
18
-整體內容 overall contents
□ □ □ □ □
-文章質素 quality of writings
□ □ □ □ □
-文章種類 variety of articles
□ □ □ □ □
-所覆蓋的舞蹈coverage of dance
□ □ □ □ □
-圖片數目 number of photos
□ □ □ □ □
-設計和編排 design and layout
□ □ □ □ □
-出版期數什equency of publication
「新視野」的《流蓮歡》及《捕捉流水》 文：Iris
19
沒有No
有Yes
《舞蹈手札》有存在價值嗎？
Should the Journal be continued?
HK Dance Awards 2005 Nomination 香港舞蹈年獎2005提名
20
其他意見
Other Opinions ______________
舞蹈節目表
Dance Events
22
請選出適用於你的項目：
Please select the items that apply to you:
□舞蹈工作者Dance worker
O舞蹈愛好者Dance-lover
LJ 舞蹈學生 Dance student
ZZ
□劇場工作者Theatre worker
□文化工作者Culture
□劇場觀眾 Theatre-goer
□—般讀者 General
舞蹈觀眾 Dance
Image: Mui Cheuk-yin & Priscilla Leung’s Lot.us. Photo: Ringo Chan.
圖：梅卓燕及梁小衛《流蓮歡》° 攝影：陳德昌。
audience
worker
reader
NEWS舞蹈快訊NEWS舞蹈快訊NEWS舞蹈快訊NEWS 香港舞蹈團新藝術總監到任
HK DANCE COMPANY'S NEW ARTISTIC DIRECTOR
香港舞蹈團的新任藝術總監胡嘉禄先生已於九月上任°胡氏
Hu Jia-lu took up the post of Artistic Director of the Hong Kong
是中國國家一級編導’曾任中國舞蹈家協會主席團委員 '中
Dance Company in September 2004. Hu is a National First Class
國第五屆文聯代表、上海舞蹈家協會常務理事’以及上海文
choreographer and director. He was Presidium member of the
學藝術聯合委員會委員°胡氏為上海舞蹈學校中國民族舞科
Chinese Dancers' Association, representative of the 5th China
首屆畢業生，80年代初開始自編 '自導 '自演’嘗試新的中 國舞蹈創作，被譽為「開拓者之_」•亦曾任上海歌劇舞劇
Federation of Literary and Art Circles, General Director of Shanghai
院主要演員兼編導及上海歌舞團主要演員兼編舞°胡氏於
Committee. Hu graduated from the Shanghai Dance Academy,
1989年赴美國紐約，求學於瑪莎.葛蘭姆現代舞蹈學校和阿
and was among the first cohort of the Chinese Folk Dance stream.
Dancers’Association and member of Shanghai Literary Arts Joint
爾文，尼古萊斯與邁瑞•羅易斯舞蹈學校’分別主修「舞蹈
In the 1980s，he began to choreograph, direct and perform new
技巧」、「即興舞」和「編舞」課程；並曾擔任紐約新苗文藝
Chinese dance works. After graduation, he joined the Shanghai
中心藝術總監兩年。留學美國期間曾發表的作品主要有：於
Opera and Dance Drama Theatre as performer, choreographer
紐約翠伯斯演藝中心上演的現代舞《琴簫劍韻》和《火之
and director, and the Shanghai Song and Dance Troupe as
韻》，舞劇《搖籃曲》，以及在美國玻璃城演出的現代中國
performer and choreographer. In 1989, Hu furthered his studies
舞《秋思》。胡氏曾兩次獲邀請來港為城市當代舞蹈團編排
at the Graham School of Dance and Nikolais-Louis Dance School
舞劇《獨白》與《小心輕放》。此後•創作重心移至國內’
in New York, attending courses on technique training, improvisation
除編導現代舞劇、交響音樂舞蹈劇和大型歌舞晚會之外’還
and choreography. During his US stay, he was Artistic Director of
導演戲曲、話劇和參予音樂劇創作及編舞°其部分作品更遠
the New York Chinese Cultural Center, and choreographed
赴海外演出’如寓言舞蹈劇《赤之祭奠》及交響音樂舞蹈劇
modern dance works The Harmony of Lute, Flute and Sword,
《巴赫B小調彌撒曲》曾分別在日本富士玫瑰劇院和德國柏林
The Rhyme of F厂e and dance drama The Cradle Song, performed
節日劇院世界首演，並在上海大劇院重演1後者亦曾參加
at the Triplex Performing Arts Center, and the Chinese dance
2001年度上海國際藝術節展演'。
piece Autumn Thoughts performed in Glass City. He was invited
to choreograph two dance dramas, Monologue and Fragile for
the CCDC. Hu has also directed Xiqu, drama productions and musicals. His works performed overseas, include The Celebration of the Red and Bach’s Mass in B Minor, which had their world
premiere at the Fuji City Rose Theatre and the Berlin Festival
Theatre respectively. Both works were also rerun at the Shanghai Grand Theatre. Bach’s Mass in B M/nor had also been shown at
the 2001 Shanghai International Arts Festival.
OPEN CLASSES BY OVERSEAS BALLET MASTERS Between 17 & 29 January, 2005, HKAPA School of Dance will invite three Ballet masters, Wayne Eagling, Javier Torres, and
Mary Heath, to visit and teach. Eagling, former principal dancer
香港舞蹈團藝術總監胡嘉禄。
of London’s Royal Ballet and former Artistic Director of the Dutch
Hong Kong Dance Company Artistic Director Hu Jia-lu.
National Ballet, was the choreographer of Hong Kong Ballet’s The Last Emperor, and will choreograph a ballet for students at
海外芭蕾舞大師公開課
the APA. Torres, currently a dancer and teacher with the Finnish
香港演藝學院舞蹈學院將於2005年1月17-29日邀請三位芭
National Ballet, graduated from from the National School of
蕾舞大師---- Wayne Eagling, Javier Torres 及 Mary Heath
Classical Ballet in Mexico where, in 1988, he was Professor of
一訪港敎學。Eagling是前倫敦皇家芭蕾舞團主要舞蹈員和 前荷蘭國家芭蕾舞團藝術總監 ，曾為香港芭蕾舞團創作《末
classical ballet teaching. Visited Hong Kong last April as guest
代皇帝》，並將為演藝學生編排一齣全新的芭蕾舞。畢業於
renowned teacher for Ballet and Modern dance companies, and
teacher for the Sweden’s Cullberg Ballet, Torres is an internationally
墨西哥國家古典芭蕾舞學校、並於1988年成為該校古典芭蕾
has been awarded scholarships by the Bournonville Summer
舞敎授的Torres是芬蘭國家芭蕾舞團的舞蹈員和導師。曾於
Academy in Copenhagen, David Howard School in NY, and two
今年4月以客席導師的身份隨瑞典Cullberg芭蕾舞團訪港的
grants by the Finnish Cultural Foundation to research effective
Torres，是國際知名的芭蕾舞和現代舞團導師，並曾獲哥本 咍根 Bournonville Summer Academy 及紐約 David Howard
classical ballet classes for professional dancers. Heath, a widely respected Australian teacher of pre-professional dance, a founding
School的獎學金*及以其研究有效的專業古典芭蕾舞蹈課獲 頒芬蘭文化基金獎金。Heath則是一位廣受專敬的澳洲「專 業前」舞蹈敎師，是昆士蘭芭蕾舞團的創團團員及昆士蘭芭
Queensland Ballet School, is renowned for her depth of experience
蕾舞蹈學校的前總監。她以其深厚的經驗和專門知識，以及
technique. She has conducted RAD seminars on teaching ballet
其詳盡的古典芭蕾舞技巧知識而聞名，並廣泛地於澳洲和紐
technique throughout Australia and NZ. During their stay, the
西蘭舉辦RAD講座，敎授芭蕾舞技巧。這三位訪問藝術家會 於其訪港期間，為芭蕾舞老師、中級程度學生和有興趣人仕
three guest artists will conduct free observation, teachers’，and
進行免費的觀察課、老師課、公開課和公開排練。詳情請留
students at intermediate level ability, and interested public. Further information will be announced by the APA.B
意演藝學院的通告。■
BF
.i
member of the Queensland Ballet, and former director of the
and expertise, and detailed knowledge of the classical ballet
open public classes and open rehearsals for ballet teachers,
請以本刊封面內頁所列的關絡方式提供舞蹈資訊
级舞壇手記—
Dance Diary
鐘擺發展
A Pendulum Development? 文：劉建華
by Lau Kin Wah
(A) 城市當代舞蹈團在70年代末由民間創立，實是本地現代
City Contemporary Dance Company, established at the end
舞發展的一個驕傲典範。來到25周年，城當推出了《銀
of the 1970s, is an exemplar for the development of local
雨》，集舞團過去的一些舞台經典的選段。城市當代舞蹈
modem dance. On the occasion of its 25th anniversary, the
團每個舞季也有的這種短篇串連，一貫本是供獨立編舞或
company produced Silver Rain, a collection of excerpts from
舞團舞者發表短篇，這次卻用於五位舞團重心編舞家的作
its classic works. In each season, the company has
品選段结集，以如此方式看他們的作品，不只可供未看過
traditionally produced a program of different short pieces
原作的觀取難得聞名不如見面、現場一睹舞作的機會，尤
by independent choreographers or dancers from the
如梅卓燕的獨舞作品改由龐智筠演出，就也讓重温者帶來
company. This time, it showed excerpts from the company’s
新鮮的感覺。
five principal choreographers. Seldom have their works been seen in such a presentational format. It was not only a rare
廿五年的光景，壓縮在一晚無疑時間太過短促，吹毛求疵
chance for new audiences to see these previous works, but
點，會覺得過場於是有時略嫌太緊湊硬接，對前後舞作也
it also provided a chance for those who had seen the works
互打節扣。至於中場加插的錄像分段，貪心點，則覺得如
in the past to view the work from a new perspective, as was
能加入舞作名稱和年份，又或連同整晚節目，以曹誠淵回
the case with the solo Eulogy which was performed for this
顧廿五年發展文章的分期來加以順序安排，便更能讓觀者
production by Noel Pong rather than as done originally by
見到更多「發展」，見證重温的，也不止於舞團而繫及香
the choreographer Mui Cheuk-yin.
港。《九龍城狂人某日記>>(1994)及《隱形城市》(1995)等， 和那時當刻社會氣氛的共同呼吸，其實本是令使舞作成為
Compressing twenty-five years of dance into one evening
經典之處。城市當代舞蹈團從來也是以「當代」自豪，這
length program without doubt required finesse. In many cases,
麼一來卻容易令現刻的「當代」特色反被弱化。
there wasn’t even a moment to pause between works; in order
to show everything the dances were tightly packed on the program. A video played during the intermissions could have 有幸看到的城市當代舞蹈團/編舞黎海寧另一經典的機
been much more informative by including the title and year of
會，是2000年香港藝術節委約的《Plaza X與異變街道》的
each piece. Perhaps the whole program could have been
重演。《Plaza X與異變街道》的舞台，就像是一個空空的
structured to mirror the phases cited by Willy Tsao in his article
室內廣場，與同是何應豐設計的《0先生家族死亡事件》
on CCDC’s development. This would have allowed the
(2002)的密擠裝置，兩者大異其趣。不過這次重演以懸空
audience to really see the development of the company, and
光管提示的透視感比原來的舊版本似是單薄了，雖然兩者
could also act as a testimony to what Hong Kong has gone
也或其實多餘(尤其千禧的焦點已過)，因為大提琴家章雨
through during the last decades. The timely reflection of the
亭每一組曲之間的稍稍移位或轉向(甚至幾近背臺)的現場
social atmosphere is what made many of the dances classics
演奏，已足跔讓空間灕漫一種巴哈音樂的空靈跌盪。
in the first place. Undoubtedly, CCDC should be proud to have been able to continue to be 4contemporary5 over time, but the
「在這個世界裡，時間不是連續的。…」起首一段關於時
notion of all-time-contemporary (instead of classics of all time)
間的劇場畫外音，更是彷彿把台上的時空與世隔絕。看回
blurs the special characteristic of the ‘contemporaiy’ nature of
場刊，才知道文本摘自標題有趣的《愛因斯坦的夢》。不
the here and now.
(B) For this dance season, audiences also had a chance to revisit (in full version) another of CCDC’s classics, Plaza Xby Helen Lai,
originally commissioned by the Hong Kong Arts Festival in 2000. The Plaza X stage was designed as an empty square, in direct
opposition to the densely crowded space of Lai’s The Tragedy of Mr. O (2002), which was also designed by Ho Ying-fung. The
hanging decor, suggesting a vanishing perspective, was replaced this time with hanging neon lights. But what really filled the space
were the sounds of Bion Tsang’s superb live performance of
香港城市當代舞蹈團演出黎海寧作品《Plaza與變異街道》' 攝影：陳德昌。 CCDC perform Helen Lai’s Plaza X. Photo: Ringo Chan.
selections from J.S. Bach’s Suitesfor Unaccompanied Cello.
Beginning with an off-stage voice narrating an excerpt from
Alan Lightman’s Einstein s Dream'. “In this world time is not 曉得村上春樹或其《世界末日與冷酷異境》’這時間的引
continuous..the stage suggests a world of its own. With these
子，同様能為演出定調。然後，前台與後台同也又是兩個
beautifully written texts, one can comprehend the piece without
世界。奧運溜冰選手剴中達在舞台後半冰上滑舞，臺前的
knowing the other literary reference, Japanese author Murakami
舞者則偶有相應的舉止動作，兩個世界間於是似起了微弱
Haruki’s Hard-Boiled Wonderland and the End of the World.
的共感互通。
Yet, the front stage and the ice-skating rink at the back are also
arranged as if two distinct worlds. Only occasionally, do we 湊巧知道黃狄文以此作首演得舞蹈年獎，對於發現其角色
feel vague corresponding similarities between the movement
重演多於舞，無疑有點意外。提著行李箱的造型，其實已
of ice dancer, David Liu, and the dancers in the front, as if by
屢屢見於舞台，帶出暖光和花束的中段熱情外，則還是男
some sort of telepathy.
舞者手攜女舞者踏著凌空的皮箱出臺，情景叫人更眼前一 亮。及至舞者們後段在前臺奔跑時.加入仿似冰上失足的
The fact that Dominic Wong won the Hong Kong Dance Award
肢體動作質感，讓人見到專屬是次演出而來的獨特試.驗準
for his performance in the original production ofPlaza X，was a bit
備功夫，那些模仿冰上的旋轉，也見舞者們的速度技巧充
ofa surprise, for he does more role-playing in the piece than dancing.
份發揮，看來叫人賞心悦目。
Besides, a man carrying a suitcase is nothing new as a stage image. The scene that truly made the appearance of the suitcases
2
沒有穿上溜冰鞋的舞者吳易珊，最先步上冰台，劉中達與
worthwhile, aside from the warm, bright light that seemed to
之的合舞，在無論力量或幅度上的配合，匠心拿捏也恰到
miraculously shine from inside them, or the roses they carried to
好處•任由女舞者伏坐冰的圍繞打轉或冰上拖行，畫面或
introduce the Tango inspired middle section, was the seemingly
令人於心不忍，卻反映一種男女關係的驟暖骤寒 。舞到最
unbelievable lightness of the women dancers standing on the
後•整個冰臺向前臺移來，簡單的編排，卻叫人相信每一
suitcases as the men carried them off stage. In the later part of the
次也會震懾力無比。而當眾舞者們踏上冰原，兩個世界的
dance, the dancers dashed across the stage, occasionally losing
相遇，其實似是為了舞者們冰僵的戲劇效果，卻或者反不
their footing as ifthey were really on a slippery frost covered ground.
及冥冥中無緣相遇更能喚起心裡的荒涼 ；當然現在的結
These steps allowed the audience to see this work’s unique
局，未嘗不可理解為人類時間的再次冰封，一切生命又重
movement experiments. The dancers, high-speed turning, imitating
鎖於箱之中，待候下一次的解封。
revolving on ice, also displayed the dancers’ virtuosity. Except for David Liu, all the dancers were without ice-skates. Wu
新視野藝術節中第一炮舞蹈節目，是成立了十年的曰本
Yisan was the first to step on to the ice-skating rink to dance a duet
Sal Vanilla的《增幅》。《增幅》的演出重點，無疑在於媒
with Liu. In the duet, Liu skillfully displayed his control through a
體的感官經驗，設在面對面觀幂中央的横臺•以半透投影
magnitude of movements in coordination with steps. Liu’s
幕劃出長方形的場區，左右的晝面投影和前後的單線光束
discarding ofWu, prone on the ice, or his towing her along splayed
横移或旋動，合成光、影和音的二維三維四維空間的结
out on the ice were such cold-hearted scenes that they sent shivers
構。置身其中的五位舞者.肢體動作確實沒有什麼驚人之
down my spine. As the dance finally moved to its end, the entire
舉，似是進念的行行企企、指指點點、廿豆盒子畫的跑跑
ice-skating rink slowly advanced to the front of the space, a very
踱踱，以重覆的幅度增加來構築動作的串聯■卻是使舞作
simple operation but a stunning coup de theatre. In comparison,
父得有機整合的重要藥引。
when the dancers all stepped onto the ice and moved as if freezing,
因為一篇梁寶山的網上意見，使我想到其早前寫過的英國
the scene seemed to be more theatricality oriented. The never
隨機舞團也出現過類似的演出評論兩極化，似乎我們社會
encountering of the two worlds might have been even more
（甚至藝術社群）對於標榜媒體科技的演出該可如何閱讀仍
powerful in depicting a sense of isolation. But since the dance
然未建起共識。IATC網站上，香港城市大學創意媒體學
was also about time, the ending hinted at the coming of another
院高級導師葉彩鳳的文章，無疑提供了一堆讓我們辨識媒
ice age, with our civilization becoming dormant, stored within the
體科技的名詞術語，但在webcam、.或視像電話如此普及
suitcase waiting to be rediscovered, just as if it were a seed waiting
的今天，拿個鏡頭進場作即時投影有什麼特別吸引？或
patiently to sprout.
者，在從掌握新語言而到新語言的發揮之前，我們不過仍 是在創作一種語言的實驗階段。
(C)
In this year’s New Vision Arts Festival, the first dance program 反過來，科電腦機械進入舞台，真的如梵谷：《「增幅」
was Sal Vanilla, a Japanese company performing Amplified. It
以後，人呢？》般所言，人的價值就要消退，兩者來得如
sought to provide the audience with new sensual experience by
此非此即彼？電腦投影畫面就是預設，但若然舞者們的配
bringing bodies together with media-technology, providing a
合執行已可達到有趣的效果，為什麼我們一定要即時互
synthesis of light, image, and sound that spread the performance
動？以舞蹈的舞者身體作為觀賞的重點，其實不過是一個
across the two, three, and four-dimensional realms. The stage is
十分選擇性的角度。如演出中個人覺得最有人與環境互動
rectangular, with viewers on both sides that are made from see-
感覺的一幕，是舞者的手臂旋擺和身邊那些光線束的拉扯
through projection screens. While the two projectors are located at
變形的視覺關係，無論這是否現場技術，視覺上的磁場或
both ends, light beam generators move horizontally across stage,
氣流效果就是經已達到。
or rotate 360 degrees. The five dancers did not perform any astonishing body movements but were really living catalysts to
《增幅》比較起英國隨機舞團，個人覺得
enable us to conceive an organic synthesis.
反而沒有借題的故弄玄虚，讓媒體作為
觀賞的經驗對象。在愈來愈多投影機已
Reading different online reviews, both that of
內置自動斜面調節的今天，一個以平行
Leung Po Shan (who also wrote on Random
線條構築的空間已不再難辦，但《增幅》
Dance emphasizing media art crossover) and
利用光線將帷幕的平面介面和舞者的身
IATC on-line instant reviews, opinions of the
體結成一體（同一畫面），當中帷幕上的光
performance were of rather two extremes. It
線和直接投到全身白衣的舞者上呈現回
appears that our society (even the art circle)
身體曲線的光線強弱，導演Gige Hizume
still has not agreed on a basic approach to
無疑處理得十分出色。相較之下，射燈
multi-media performance. Hong Kong City
比較投影在轉亮或暗的速度，反似不及
University Creative Media Instructor Koala
寫在物件表面的投影般容易隨時改寫，
Yip’s article aimed to provide us with a list of
不過這種射燈光束，卻又在演出中帶出
the new technologies. But to me, this approach
了光粒的另一種力量感。新東西的加
still doesn’t answer why, in a society where
入，往往就改變了對原來舊東西的觀
webcams and mobile phones capable of
感，而非純粹的「加」法，這又是一個
capturing moving images are so common,
例子説明。
bringing them into the theatre might make them more interesting to look at. Maybe
（四）
instead of grasping a new language and using
梵谷看《增幅》扯到「舞踏」（Butoh），
it expressively, the new language is still very
而為了同是新視野藝術節的楊惠美的
much in the making.
《捕捉流水》•則寫了 一篇《瑜伽行者的 獨舞》的文章。在演出一起首，楊惠美
In turn, is it really true that importing computer
在麥當娜的Marerfa/Qr/勁歌视托下擺起
technology onto stage endangers humanist
一系列瑜伽入舞的動作時，文章似乎十
values? Are they really antagonists to such a
分的中題，然而總觀整晚演出，劉天明
degree as the critic Vangogh contends in his
在過去给《藝評》所寫文章中，以唱遊/
article AfterAmplified, where is the person??
幽默為主線•瑜伽僅作為其中的副題和
介紹楊惠美，在比重序次上無疑反更恰 宜於為《捕捉流水》作導賞用。演出的
楊惠美作品《捕捉流水》。 攝影：陳德昌。 Yeung Wai-mei’s Spiritual Girl. Photo: Ringo Chan.
Even ifthe computer-projected picture is fixed in advance, and the dancers’ coordination achieves an interesting effect, why must we
宣傳標榜spiritual girl ’玩new age '玩多元文化’拼在一
value it higher if it is a truly interactive (automatic) result? The
起，就變成了玩滿天神佛，和當年露絲•聖•丹尼斯扮觀
authenticity of the movement to the body and to the person is just
音比較•最大的不同無疑已是今天梭現代的玩世態度上°
selective angles amongst different options. One memorable scene
「排毒美顏寶」、「道亦有話兒」'
in Amplified was when the dancers swung their arms at a quick
「雞定雞蛋先」等場
次，一聽就知作風仍是一貫的「瘋繼續吹」。
speed and the lines on the projection screen nearby became distorted; it seemed as ifa kind of magnetic field or air current was
其實瑜伽一旦入舞，那本就是一場演出，和修身的性質已
generated. To me, the effect was already achieved, regardless of
大相逕庭。楊惠美的《捕捉流水》精采之處•首要其實是
whether it was a genuinely interactive product or not.
在於編舞者懂得控制演出的起承節奏和豐富效果。起首一
幕關於舞蹈、流行文化、宗敎形象（芭蕾舞者、修女、觀
Hence in my opinion, Amplified is more successful than Random
音…）大兜，亂的錄像，就和未段楊惠美以一節混雜不同文
Dance’s Nemesis, not only because it didn’t shy away from
化、高低文化的手指造手，彼此相互呼應。至於那錄像投
admitting having no content, but because its projection of straight
影在強光下消失、要在身影投影中才再次呈現的視覺效
parallel lines was really integrated with the curved light contours
果，配合在影中找到另一個自己，形式和意涵都能跔起到
of the dancers since the brightness of the straight lines projected
相互突顯；至於身上撒上白粉讓動作有冒煙的效果，則又
onto the curtain surface and the lines that bounced off the white
是在「何處惹塵埃」標題上增加觀賞趣味的聰明小處理。
dressed dancing bodies were almost of identical intensity. I was even able to discern the difference in speed between the traditional
不過《捕捉流水》一時快活、一時失戀、一時夢幻、一時
bulb illumination (fading in and out) and light coming from the
戰爭，若説幾者喻意可以相通，則當中的情緒起伏、題旨
projectors, where changes can occur almost instantaneously. With
大小，還是各有彼此分離又甚完整的份量；幾者最後還能
the import of new technologies, I am beginning to appreciate the
夾回一起，場地採了圍繞中央坐地觀眾的迴轉走位的穿場
traditional way of lighting in a new way, as a form of almost
串，無疑是一大繁助。
concrete light particles.
由開初在瀑布下打坐的 悠然自得，演化到後來
(D)
那被水喉射打的受害一
Because of his expertise
幕，幾通私人電話的暗
and interest in the body,
場•就為整晚演出設定
Vangogh not only found
了調子。演出來到最
traces of Butoh in
後，用上同聲同氣的廣
Amplified, he even wrote
東話流行曲、縮在梯上
a leaflet for Yeung Wau-
抽煙，更似乎説明，當
mei’s solo in the New
情感失落和空虚侵襲
Vision Arts Festival about
時，身體的修行一套道
the practice ofYoga. The
理全已不知所蹤，這其 實頗具諷刺。
楊惠美作品《捕捉流水》。攝影：陳德昌。 Yeung Wai-mei’s Spiritual Girl. Photo: Ringo Chan.
text is justified by the
Spiritual Girl title of the
show and also the clearly 在演出的其中一幕，楊惠美讀著按步執行的清晰指令文
Yoga inspired movement accompanying Madonna’s song Mateiial
字，讀著讀著，指令卻忽然變成了詩文，那一個過渡位，
Girl at the beginning of the performance. But otherwise, the show
似乎就正如在述説修練瑜伽，身體可以依照指示逐個動作
is more content oriented than on training methodology. A show,
做•卻始终和身體的精神得出領悟是兩碼子事。詩意的世
after all, is first a show.
界這個門檻，對於標捞「理性」的現代人會有抗拒，對於
「新紀元」的人卻往往趨之若鶩。當然，詩意其實不一定
If using deities and goddesses as sources in modem dance already
就是説不理性，其自身也有文學上的邏輯，但理性之為理
started with Ruth St. Dennis, what is new in Yeung’s show is
性，是在於其在一般常理下，可以幫助彼此溝通的工具•
certainly the postmodern (new age, multiculturalistic...) playfi.il
而對於感性的詩意把握•卻往往接受更大的曖昧不清和因 人而異。
attitude of mind. Yeung Wai-mei’s exploration of different hand and finger gestures, borrowed from high and low cultures, for example, echoed well the work’s nicely produced very beginning
video collage of dance and other spiritual icons from pop culture. 楊惠美的《捕捉流水》.標題出自杜家祁同名的新詩，湊
巧「新視野藝術節」的另一舞蹈節目.梅卓燕與梁小術的
But what was actually the most brilliant thing about Yeung
《流蓮歡》，就也是以詩人也斯（梁秉均）幾首不同關於
Wai-mei’s solo was that she took great care to choreograph a
葉的詩作為起點。所不同的，是梅卓燕與梁小術對於也斯
dance rich with small effects that kept the attention of the
的詩作，取了一種自行解構再自行重組的方法來「演
audience heightened throughout the evening. The use of her
繹」。場刊中以四首也斯的詩作重組而成的新詩作，更是
own shadow to bring an over-lit video back into view, to find
説明演出對於原來文本這種再創造的性質取態。
another Yeung Wai-mei there, is a truly brilliant use of lighting
which added another meaningful dimension to the video. With 全個演出，先後利用了三種顏色的長長縐布，先是粉紅，
dust powder all over her body, generating smoke at every
繼而是黑，尾段是金，構成舞台上的一幅幅的意象圖畫。
bodily movement, Yeung added these clever little visual tricks
起初的粉紅，對應的當然是蓮花，第二個出現的黑色，代
that also made ample reference to the theme.
表的是浮葉下的水底世界。由黑到粉紅，作為平常出於污
泥而不染的演繹，其實本可以是保險的安排，雖然這也未
Frankly speaking, the mood ofSpiritual Girl was not very coherent,
必是詩人的意思，但現在舞作還加入了金，對應於蓮花的
being merry one second, lovelorn another, dreamlike here,
宗敎象徵色彩，則不但是原來詩作中所沒有，並且更是詩
addressing war there. If all these episodes are to be considered as
人故意不選的方向，所謂「演繹」似乎愈來愈變得可疑。
being inter-linked, then the mood fluctuation, the size ofthe various
themes, seemed a bit too big and complete within one another. 由於縐布的彈性，不但方便舞者們不斷的铺張和摺收，更
Luckily, these different threads were finally woven together,
使其能在伸縮、扭擰時保持了優美的曲線，捲裹身上可以
because of the use of a ring-form stage. As the audience remained
製造出葉和瓣的初生弧線形態。而在縐布上以碎步行走，
seated in the middle ofthe floor, the scenes were played out, rotating
腳部細瑣的推進節奏，也拖拉出粼粼浪波的效果。同樣營
and moving around the audience from one place to another.
造起伏變奏的，還有梁小術的現場人聲哼唱，以及（承上
次香港藝術節2004《夜奔》的合作、）負責音樂的法國
A video ofYeung meditating peacefully under a waterfall at the
人白蝴蝶（Frederic Blin）把梁小術的錄音再加以混錄的層層
beginning of the work, and a later video showing the dancer being
叠叠雙聲道。
victimized by being doused by a water hose, revealed the two-
整體而言，《流蓮歡》的感性是豐富而細膩的，但這些簡
the dance. Emotional trouble loomed large, as the audience
單的道具、浮游難捕的聲音、有限動作內蘊的身段，卻因
overhears personal telephone conversations, setting up a
此亟需觀者的專注；如舞者的面孔身體都塗黑，和暗色衣
melancholic tone. The performance arrives finally, with earthy
著同半隱於暗啞色彩的環境，如此大膽的視覺效果，其實
comforts from familiar Cantonese popular song and a cigarette, as
就還值推演到將舞台背後那頗不協調 （隱約還帶有蓮花圖
if suggesting that all the bodily and spiritual discipline and training
案）的浮雕，以及那裝於浮雕之下螢虹燈，來一次更徹底
evaporates, as one faces a true emotional crisis.
folded-ness of the nature of water referred to in the Chinese title of
的割愛。同樣地，無限中迴轉的「固體」意象無疑易懂， 但這樣就會把兩位舞者具體身影的二部並排等空間「變
In one scene, Yeung reads out a set of instructions as she follows it
換」變得難以呈現。愈簡單就愈豐富的道理，有時或真的
step by step, yet the instructions suddenly turn into prose, and that
像是條不歸路。
transition, resembles a leap ofspiritual enlightenment beyond mere following of steps or body practice. It is at this precise juncture
（六）
where rationality stops and poetry steps in. Certainly poetic
這兩個月間，另一個香港舞蹈的重要演出，是十月底藝術
sentiment has its logic too, but it allows (or even demands)
中心主辦的「小亞細亞網络」。這個自1999年起加入了
ambiguity, which might not speak to different people, it is no longer
舞蹈演出的交流網，每年也會挑選一位本地舞者參與，到
something as universal as that sought by the logic of rationality.
五、六個交流城市作巡迴演出。今年的楊春江和台北的詹 曜君，都同樣也是再次參加。楊春江的演出，是來自早前 「獨角秀」《形忘極樂》的選段，但因應場地和長度而作了
(E) Just as Yeung Wai-mei’s Spiritual Girl borrowed its Chinese title
修改，原來上身前曲的擺手前進，或使人聯想到版畫家
from the poet Tu Chia-chi, another dance program in the New
Escher的繞圈握手的人物造形，這次卻因只有直線行走，
Vision Arts Festival by Mui Cheuk-yin and Priscilla Leung, titled
於是和向後的直線彈跳，更容易被聯想成一前一後的動作
Lotus, was also inspired by a series of poems on different types of
組合。而在其以（過往已玩了不少把戲的）那扇入牆門作戲
leaves by the poet Leung Ping-kwan. But instead of simply re
劇性的結束前，場中幾格的燈光逐格熄去，最後輪到自
expressing the original intent of the poetry, the two performers
己，此一場口的加插，尤其加強摯愛逐一逝去引發的死亡
absorbed the poems in their own ways and then deconstructed
陰影，使舞作與以音樂《安魂曲》之題命名更為貼合。
them before reconstructing them into a new work. It is certainly much more than just a translation across media.
Lot.us was divided into three parts, as there were three differently colored fabrics used successively. The first was of flesh pink color,
then black, and ending with gold. The initial flesh color, certainly corresponds to the lotus flower, while the black represents the world underneath the surface of the water. Lotus, in Chinese, is often
praised for growing in a dirty environment but remaining pure. Such a black to pink sequence might be too commonplace a structure for the dance, but adding gold to correspond to the religious
meaning of the lotus flower, was a direction that the poet clearly avoided. Mui certainly ventured more and more into her own
ideas as the dance proceeded.
Because of the elasticity of the fabric, the performers could fold and unfold it with great ease. It also achieved a smooth exquisite
-
curvature even when twisted. Other than wrapping the fabric around the body to give it a special form, the cloths were most often dragged
by the performers as they skittered across the space sparking trivial rhythms and generating small waves. These were fiirther echoed
梅卓燕及梁小衛《流蓮歡》。攝影：陳德昌。 Mui Cheuk-yin & Priscilla Leung’s Lot.us. Photo: Ringo Chan.
by Leung’s vocal fluctuations and tonal variations. Having already
collaborated with Leung in the Hong Kong Arts Festival 2004 production Flight, the French musician Frederic Blin also recorded
some of her humming to be remixed with the live improvisation, 小亞細亞舞蹈網絡今年還有一特別之處，就是成功在台北
which produced even more sophisticated layers of sound.
的藝術村找到了空間，讓來自五地的舞者可以共同生活兩 個星期，共同合編一隻新舞作，放在演出的下半部。新作
Asa whole, Lot.us was rich and resonate with small details. But its
名叫《舞雙譜》，調子除較起各人的獨舞輕盈，因為既有
usage of simplistic stage props, floating notes, was difficult to pin-
合編部份，也有舞者各自負責的段落，形象更是百變得
down. Even more difficult to come to terms with was the limited
多。在人接人起身以手掃撫伏地人鐽從一頭走到另一端又
movement material. The spectacular device ofpainting the dancers,
再伏下的那種連綿不斷外，所有舞者都攀上丁永斗身上一
faces and bodies black and the dark color dresses in the dimly lit
刻，則像是舞作中的一個大頓點 。除楊春江走近前臺的射
environment made concentrated observation even more difficult.
燈玩影，指頭對指頭的定型公仔樣，都較其閉目演出的
But if Mess is more, is an avenue of no return, maybe the painterly
獨舞展露出舞者的神氣與挑皮，單看丁永斗在其沒有音
textured backdrop or the neon lights on its lower edge are worth
樂、沒有燈光效果下的冷峻獨舞的話，也恐怕未必能想像
deleting in order to gain greater coherence and purity. The ‘infinity’
到舞者於此群舞中流露的隨和性格一面。
symbol made by draping the fabric on the floor was so visible that it became ‘solidified’，a concrete sign that pares the doppelganger’s
（七）
今年「新視野藝術節」兩個委約的本土舞作，繼康文署早
(the 4us’ of Lot.us) ‘transformational’ movement which by itself was much more subtle in its presentation.
前「獨角秀」楊春江的《形忘極樂》後，似乎再一次展現 香港的獨立編舞者，在舞團我編你跳以外，以自身的身體 舞蹈來作直屬自我的藝術表現能力 。這種重視舞者身體和
個性的新方向，似乎也正逐步地成熟而被不同的主辦機構 加肯定。其中，楊春江及楊惠美都以豐富的多媒體肯定了
一種重視視覺效果的舞蹈方向：而至於舞蹈中的身體，我 反而覺得在梅卓燕（接觸即興加中國舞身段？）的舞姿中 成為了不甚顯眼的真正焦點。至於今年的小亞細亞舞蹈網 络，有趣的是其作為為本地獨立舞者提供了配合個體化舞
蹈趨向的外訪表演機會以外，又反過來，不只是一個獨舞 的發表平臺，而是讓舞者也有與其他各國舞者溝通交流、 共同創作的機會，在加深了彼此的認識交流之餘，也營造
未來再合作的可能。■
(F) Besides the above-mentioned productions, the Little Asia Dance Exchange Network (with the not so funny acronym of LADEN), organized by the Hong Kong Arts Centre, also took place at the
end ofOctober. This original theatre network has added solo dance
performance since 1999, and the selected participating
choreographers/dancers each year travel to five or six cities in Asia on an exchange tour. This year Daniel Yeung and Taipei’s Chan
Yu-chun both participated for the second time. Yeung’s work was
an excerpt from his earlier Metalove. Revisions were made to fit it into the small venue and set duration.
The dance’s forward bending marching action that, when I first
with a finger-pointing doll and contrasted his often-closed eyelids,
saw it in Metalove, inevitably led me to associate it with Escher’s
self-concentrated performance ofhis solo. Without seeing the gro叩
gestalt character who, coming face to face with a duplicate, seems
work, one could perhaps be left with many false one-dimensional
to walk out of the 2-dimensional space and shake hands with it,
impressions of the different performers.
was finally diminished, as it was performed on a straight path this
time. This format, however, seemed to form an interesting
(G)
associative pairing with the work’s straight backward bouncing
With the two local performances commissioned by the New Vision
movement. The final switching off of pools of light, one by one,
Arts Festival, and the earlier solo by Daniel Yeung produced by
ending with the one around the dancer, strengthened the piece’s
LCSD, it seems that the potential of independent choreographers
shadow ofdeath theme even more so then any scene in the original
in solo productions is being recognized and encouraged by hosting
dance. Requiem, the accompanying music’s title, was also the title
organizations. This represents a completely different development
for this dance excerpt.
from that of the respective specializations of choreographer and
dancers in a dance company. These dances represents the artist’s
One extraordinary thing about LADEN this year was that the
self in different aspects, training background, and individuality.
organizers were able to locate a space in a Taipei artists’ village.
Furthermore, Yeung Wai-Mei and Daniel Yeung demonstrated their
The dancers from five different places lived together there for two
capacities to choreograph works rich in multimedia and visual
weeks and day in and day out choreographed a new joint work for
effects. The focus on the body in these cases came not from Yeung
the tour. The new work is called Doubling and has much more
Wai-mei’s Yoga practice as Vangogh has tried to show, but maybe
light-hearted-ness than the various solos. The continuousness of
more obvious via the traces of Chinese dance background in Mui
one scene, a repetitive cycle of a dancer rising from one end of a
Cheuk-yin’s work.
chain formed by reclining dancers, moving down the chain from
one dancer to the next, caressing each before lying down at the
As for this year’s Little Asia Dance Exchange Network, it also
other end before the next one in line repeats the action, was
revealed another possible direction somewhat different from past
contrasted with a temporary split-second halt, as all the dancers
years. Originally intended to help individual choreographers gain
climbed and pressed themselves to the Korean JungYoung-doo.
opportunities to perform their solo work overseas, the platform has suddenly opened chances to really work with others, and make
With his solo piece constructed with no music, no special lighting,
choreography with dancers from various countries. This experience
from spare and essential actions, JungYoung-doo, first gave me
of creating a piece of work together with people from different
an impression of an apathetic person, which contrasted with his
cultural backgrounds is something rare, and the best method to
amiable persona in Doubling. Daniel Yeung’s usual playful tricks
really deepen understanding of one another. It might even help
were shown in his play with big and small shadow projections or
build the possibility of future cooperation. The program suddenly
revealed the true dynamic of networking and exchange.® 上承第19頁〈「新視野」的《流蓮歡》及《捕捉流水》〉
是就著事情發展所需而鋪排，這便已經值得讓觀眾去支持
她的勇氣及坦白。
在最後惠美站在梯上抽煙的那一個畫面，抽煙、抬頭、再 抽煙，幾個小小的身體語言，已經可以傳達出那既失落又 盼望的深沉。將一個嘗試去撫平失戀的女子，形象化的表 演出來。
「瑜伽修煉」是作品的賣點，但或許「人生之修煉」才是編 舞想要傳達给我們的訊息。因為，我們同樣地要面對不斷 的困難與挑戰，最後看看我們可以跨過幾多，完成任務。
從這兩個作品，我可以經歷舞者的不同經歷，與她們分享
她們人生的點滴，或許舞蹈藝術，從來便是一個又一個經
歷，它不單只需要創作與表演的人去付出 ，而且.它需要 一班同樣有誠意的:觀眾支持，舞蹈才可以不斷發展。国
楊惠美作品《捕捉流水》 Yeung Wai-mei’s Spiritual
攝影：陳德昌
胃摩潇
Article
Talking Dance (III) 談談舞（HI） Final Points
完結篇 by Rob Kitsos 文：羅傑索
DEFINING
介定
Those who are dancers know that it is very common to meet
舞者於演出後常被觀幂問同一問題：「什麽是現代舞？」
people after a performance who ask, “what is Modem Dance?”
我一直以為那是一個很笨的問題，直到我嘗試解答時•才
I used to think it was a stupid question until I tried answering
發覺它並非如是。以下是一些多年來我曾聽過的答案：
it. Here are a few answers I’ve heard over the years: -Modern Dance is like ballet but with different movement
-現代舞與芭蕾舞相似，但用上不同的動作和音樂
-現代舞約於百年前開始，是一門為了擺脱芭蕾舞的形 式而發展的藝術
and music.
-Modem Dance is a branch ofthe Fine Arts that began roughly
-現代舞是一門表演藝術，可以是純舞蹈，也可以是混 合了文字和音樂的舞蹈
100 years ago as a reaction against the institution of ballet. -Modem Dance is a performance art that can range from
-現代舞— —今天也稱為當代舞— —混合了不同的編舞 動作技巧，並於劇場中演出
only dance, to dance with text and music. -Modern Dance, now referred to as ‘Contemporary
-現代舞是一種有百年歷史的表演藝術，由沒有形式和
內容限制的動作所構成，並通常於劇場中演出
Dance’，is a mixture of different choreographed
movement techniques and performed in the theater. -Modern Dance is a century old form of performing art
於下定義時，現代舞、芭蕾舞、後現代和當代等名字可能
consisting of movement that has no limits to its form and
較為容易應付，反而，舞蹈和藝術卻難以準確地介定。這
content and is usually performed in the theater.
並不是由於我們不完全理解舞蹈是什麼，而是由於我們習 慣了的精簡定義並不適用於每一種
«
2
Modern, ballet, postmodern, and
If the understanding of dance is
情況。我們的心智根深蒂固地認為
contemporary may be easier to tackle
found in its explanation, ... then
定義一定要是精簡的，覺得不能用
in terms of defining, but if we attempt
dancers must be able to articulate
一個句子介定的概念難以接受。這
to define a concept like art or dance,
what they do.
也是為何觀幕會執迷於找出所觀賞
a concise definition. Not because we
如果對舞蹈的理解可以… …於其解
的原因。
don’t ultimately understand what
釋中得到，那舞者便要能跔清楚説
dance is, but because we are
出他們所做的是什麼。
節目的種類名稱而非單純地體驗它
we have a hard time coming up with
accustomed to concise and tidy
希臘哲學家蘇格拉底、柏拉圖和亞 里斯多德都專注於找出事物的精粹
definitions that simply don’t work in every case. The idea
性質。「精粹主義」的定義是於同一名稱下的所有事物互
of clear and simple definitions is ingrained in our psyche.
相共擁一些必要的東西。我們於理解一些概念時，就可能
We seem to have trouble with concepts we can’t define in a
被「精粹主義」者這種想法所深深的引導。一個對舞蹈學
sentence. This also relates to why an audience can become
生有益的練習，是先問學生一些其他事物.例如椅子的必
obsessed with trying to identify what to call the event, as
要性質，然後再把問題帶到舞蹈上。這樣，很快便會引導
opposed to just experiencing it.
到討論各人對其作品目的的感覺。
The Greek philosophers Socrates, Plato, and Aristotle were
「問題的根源，是在我們往往很頑固地假設了
preoccupied with identifying the essential nature of things.
「思想」、「情感」等字詞•或其同根源的字
Essentialism is defined as all things under one name that
詞，與「桌子」和「月亮」等字詞同樣地稱呼
share something essential to all other things under that name.
事物。但是，我們可以指著桌子和月亮，而不
The essentialists may have ingrained this tendency towards
可能指出思想和情感，所以我們往往認為思想
our understanding of concepts. It’s a good exercise for
和情感是一些穩蔽而神秘的東西。」13
students to simply ask what the essential nature of a chair is, or any other object, and then direct the question to dance.
於《動作表達和藝術------ 次哲學探究》一書中• David
This can quickly lead to a discussion of what each feels
Best探討了一個想法：從某概念的上文下理的運用和解釋
about the purpose of their work.
中理解該概念。Best強化了 Wittgenstein的公理「意義是由 其解釋所解讀出來」。我們要以一字的運用來決定其意
“The cause of the trouble lies in the tenacious
義，因為正確的運用清楚顯示出我們對其意義的理解。“
assumption that words like ‘mind’, ‘emotion, and their
cognates name things in the same way as words like
包括了 Wittgenstein在內的哲學家提出藝術和舞蹈是有其自
‘table’ and 4moon\ And since we cannot point to
己一套的理解架構，而並不是神秘而不可觸摸的。如果對
minds and emotions as we can point to a table and the
舞蹈的理解可以---- 有如Wittgenstein所認為的---- 於其解
moon, we tend to think that minds and emotions are
釋中得到，那舞者便要能鉤清楚説出他們所做的是什麼。
hidden mysterious entities.’’13
價值 In Expression in Movement & the Arts: A Philosophical Enquiry,
如果我們能狗接受舞蹈是須要理解和談論，跟著的問題是
David Best examines the idea of an understanding of a concept
為什麼？我們為什麼要跳舞？舞蹈為何重要？
being revealed in its contextual use and explanation. Best reinforces
Wittgenstein’s axiom that “Meaning is what explanation of
作為一個選擇了舞蹈作為職業的人，我最初並不在意別人
meaning explains”. We should take the use of a word as
如何看舞蹈。我只知到自己熱愛舞蹈，感到一些強勁的事
determining its meaning, since using it correctly manifests our
情發生在身上，像要演活了自己的想像— —那正是我童年
understanding of that meaning.14
生活的一個主要部份。在舞蹈中，一些不能言喻的感情會 洶湧而出。舞蹈時，我感到像是屬於一種看不到的生命力
Philosophers such as Wittgenstein suggest that art and dance have
量的一部份。對我來説，這力量比我所經歷的其他一切來
their own structure of understanding, one that we don’t have to
得更真實和自由。這價值雖■是個人的，但我心知有很多表
write off as mysteriously unattainable. If the understanding of
演者也同樣分享它。
dance is found in its explanation, as Wittgenstein suggests, then
dancers must be able to articulate what they do.
王爾德相信藝術的想像力使我們看到生活中的美麗 。沒有
藝術，這世界包括了大自然的一切，都會是平淡無趣。他
VALUE
甚至説藝術的美麗改變我們實質的躯體。「生命於藝術所
If we can accept that dance requires understanding and
得到的，並不單只是靈性、思想深度和感覺、心靈的困擾
discourse, we might then ask to what end. Why should we
或寧靜，她還能以藝術的線絛和色彩來塑造自己.再造古
bother with dance in the first place? Why is it important?
希臘雕刻家菲狄亞斯的專嚴和蒲拉克西蒂利的優雅。」15
As one who has chosen to dance for a living, how dance stood
王爾德的説法可能跨張了些（.雖然我知道舞蹈確實大大的
with other people didn’t really matter to me in the beginning. All
改變了我的身體），但Graham McFee於其著作《理解舞蹈》
I knew was I loved it. I knew that something powerful was
中，提出了兩個最初由DavidBest提出的可能的舞蹈價值。
happening to me. It was like playing out my imagination, which
其中之一是「情感」敎育，提供一個以新的角度來目睹感
was a big part of my childhood. When I dance, feelings rush out
情的機會，以深化或強化一些已知的概念"假設我從經驗
of me that I can’t always identify or express verbally. When I’m
中發展出對戰爭這一概念的一個看法。如果我再去看一鉤
dancing, it’s as if I am part of an invisible life force. For me, this
類似Kurt Jooss的Green Table般的舞蹈，McFee認為我可能
force is more real and free than anything else I engage with. This
從中學到一些可以加深那戰爭概念的細微差異。從另一角
value is personal, yeti know many performers share it.
度看到人體在空間中處理戰爭的議題 ，一些影像會儲存到 我的腦袋中，並豐富了我對這概念的理解。
Oscar Wilde believed that artistic imagination is what allows
us to see beauty in our lives. Without art, everything in the
「如要問藝術可以给我們什麼，（因David Best而
world including nature is bland and uninteresting. Wilde
著名的）答案是它提供了一種情感敎育"這是
even said that the beauty of art physically reforms our bodies.
由於當我們以一些概念或透過這些概念來體驗
“Life gains from art not merely spirituality, depth of thought
藝術作品時，藝術容許我們的概念轉變。更正
and feeling, soul-turmoil or soul peace, but that she can form
確地説，藝術的體驗容許我們更仔細地體驗感
herself on the very lines and colors of art, and can reproduce
覺的不同色調。在以一些概念來體驗這些感覺
the dignity of Phidias as well as the grace of Praxiteles.”15
和指出這些體驗的特點時，藝術容許這些概念 的改進。」16
Maybe Wilde goes a bit far, (although I know my body has changed
drastically as a result of dancing), but in Understanding Dance,
McFee進一步指出我們可以變得更開放地面對更多不同的
Graham McFee offers two possible values ofdance, first suggested
經驗，同時亦改進我們體驗微細性質的能力。
by David Best. One is “emotional education”, an opportunity to witness emotions in a new light to deepen or sharpen concepts
r改變個人可得的概念— —可能會改變他眼前
already known. For example, I might have an idea about the
的慾念範疇，因而改變了他眼前的經驗範
concept of war developed from experience. If I were to see a
疇……藝術的價值，是藉著個人辨別能力的提
dance such as Kurt Jooss’ The Green Table, McFee suggests that I
升和其體驗細微感覺的能力來闡明的……」17
may learn ‘nuance’ that will deepen my concept of war. In
witnessing human bodies in the space dealing with the issue of
想像、身體和創意都是一些令人望而生畏的念頭 。對一些
war from different perspectives I add images to my mental bank
人來説，這是由於以身體作為表達工具所引起的不安 。對
that enrich my understanding.
其他人來説，這是由於一份它們與現實不相關 ，或不設實
制的感覺。在工作間和生活中，創意其實是一項具市場價
“If we ask what the arts have to offer, the answer
值的技巧。新的決擇、新的解難方案和不同念頭的連繫，
(made famous by David Best) is that the arts provide
都是極之有價值的工具。在處理工作的方式上，閱讀lohn
us with a kind of emotional education. And they do
Dewey给我帶來信心。
so because they allow conceptual change in respect
to the concepts under which, or through which, the
「其實，由於文字容易機械式地操控，製作真
works of art are experienced. More exactly, that
正藝術作品所須的智力，可能會較很多自稱為
experience of the arts allows us to experience finer
「知識份子」的所謂思考還要高。」18
shades of feeling, and may do so because it may
allow the refining of those concepts under which
在基本物質的水平上，我們每日都表達自己的需要，想法
those feelings are experienced, and under which
和慾望。每一個人都明白於健身或按摩後的那一份滿足
those experiences are characterized.’’16
感。當我們關注自己的身體時，我們的心靈也受到影響。 緊張、抑鬱和不安可以改變你的身體，阻限其活動的自由
McFee further suggests that we can become more open to a
和生命力。很多時，我們視身體為心境的延續。發展與你
wider range of experiences as well as improve our ability to
身體的關係能大大的影響你的心態和表達能力 。每個人都
experience subtle qualities.
有其想像— —那是於腦海中的一些可以讓我們遊歷的地
方，有異於外間現實的內在現實。想像的具體表現很多時
“A change in the concepts available to a person-might
是舞蹈的基礎。
change the range of desires open to him, and hence
the range of experiences open to him... the value of
很多年青人都會於晚上（直到清晨）到不同的場所身跳
art is elucidated in terms of a refining of one’s
舞。其中的吸引之處，部份是由於那是單身人仕聚集的場
discrimination, and hence of one’s capacity to
合，部份可能是個别的藥物使用。但是，這份吸引力的核
experience finely discriminated feelings.. .”17
心，是那份在人群中配合韻律舞動身躯的體驗。在數十個 軀體之間，配合強勁的音樂節奏來舞動身體數小時，是一
Imagination, the body, and creativity are ideas that seem to
種很好的原始經驗■。世界各地的文化中祭祀舞蹈的傳統，
threaten many people. For some it is insecurity about the
正反映了律動的能量。
body as an expressive instrument. For others it is a feeling that these ideas don’t relate to the ‘real world’ or won’t help
傳意
them pay the bills. Creativity is a marketable skill in the
人際間的連繫是人人都須要的。我們須要歸屬。古希臘的
workplace and in life. Making new choices, new solutions
大思想家都相信，缺乏了與社區的聯繫，人的身心不會健
to problems, and creating a connection between ideas are
全。我們都面對著共同的「未知」，而舞蹈是一個途徑.
all extremely valuable tools. Reading John Dewey gave
可以讓我們看到人類如何生活於其中或體現這個現實 。我
me confidence in the way I processed my work.
們可以體驗到相互理解和歸屬感.以及想像的可能性。
“Indeed, since words are easily manipulated in
我們多數都同意藝術是一種傳意及表達的方式。我們不能
mechanical ways, the production of a work ofgenuine
都對油彩、石膏、隸土或大提琴有所認識，但我們全都有
art probably demands more intelligence than does most
一個身軀。每個人都會對其身體有些認識，每天都會活
of the so-called thinking that goes on among those
動。當我們於街上遇到一個迎面而來的陌生人時，我們會
who pride themselves on being ‘intellectuals'”18
巧妙地與對方以身體動作來「談判」，以達到各走一邊的
共識。相似地，舞者以其身體傳達大量的資訊— —不單只
On a basic physical level, we express our needs, thoughts, and
是向觀幕，而且還於舞者間排練和創作時。於排練室中觀
desires every day. Everyone understands the feeling of
看導演或編舞如何傳達微妙的選擇，是件很令人著迷的
satisfaction right after a workout or massage. When we give
事。很多時這些溝通並不以言語來傳達，但一症極獨特的
attention to our bodies, our minds are effected. Tension,
訊息卻可以輕易溝通。
depression, and insecurity can alter your body, restricting its freedom of movement and vitality. The body is often seen as
一般來説，我們以所見、所感及所聞等感覺來體驗藝術。
an extension of mental existence. Developing a relationship
正如Clive Bell所説，「....除了感覺外，我們並沒有其他
with your body can have a great effect on your state of mind
認識藝術作品的方法。」19Tolstoy則指出「正如人以語言
and how well you express yourself. Everyone has an
來傳達思想，他以藝術來傳達感覺。」20
imagination - places we go in our ‘heads’ that are part of an
inner reality distinct from external reality. Embodying
對於Tolstoy來説，如果一件藝術作品過於複雜或難以明
imagination is in many ways the basis of dance.
瞭，那便不是藝術。考慮到這是寫於1898年，當抽象和 現代藝術等概念剛浮現之時，它在今天仍算是一個好理
There are large groups of young people who spend their
論。是否每一鋼舞蹈都須要向每個人傳達同一訊息？
evenings (evenings till mornings) dancing in nightclubs. Part
of the attraction may be the singles scene; part of it may be the
「藝術是一種人類活動，是個人有意識地以某
occasional chemical enhancers. The core of the appeal,
些外在訊息向其他人傳達他所體會的感覺……
however, is the experience of moving the body rhythmically
而其他人會被那些感覺感染，並體驗它們……
in a crowd. Moving your body to the rhythm of pounding
有如説話，藝術是一種傳意的方式，所以它會
music among dozens of other bodies for hours is a great primal
演進，會隨著人類的進步而至完美。」21
experience. The traditions of ritual dances in cultures around the world are testament to the power of rhythmic movement.
美學體驗 我們可以用美學體驗來總結十八世紀以後的藝術。有些人
COMMUNICATION
認為它是美術的獨特之處，也有人説它亦可於日常事情中
People need human connection. We all need to belong. The great
出現。Selma Jeanne Cohen提出劇場舞蹈是唯'--- ■種專門設
thinkers of ancient Greece believed that man couldn’t be virtuous
計來提供觀者美學體驗的舞蹈。其他人認為是觀看舞蹈時
and thrive without a connection to his community. We all have the
的背景和脈絡造成美學體驗。當藝術家Marcel Duchamp放
same unknowns, and dance is one place where we can witness the
一標題為「噴泉」的尿廁於藝術館內時，他創造了 一個美
way our species inhabits or embodies this reality. We can experience
學脈络予每一曰常事物。
a mutual understanding and sense of belonging as well as possibilities within our imagination.
一些當代舞蹈可能會較政治化，或講求娛樂性，但大多數 舞蹈的創作是為了美學體驗。
Most of us can agree that art is a means of communication and
expression. We don’t all have an understanding of paint, plaster,
「所有美學系統的起點，都是個人對某特定情
clay, or cellos, but we all have a body. All human beings have
感的體驗。能引發這種情感的事物就是藝術作
some understanding of their bodies and move every day. Just
品。所有感性的人都會同意，藝術作品會引發
as you subtly negotiate which way you will pass a stranger
出某種特定的情感… …這種情感稱為美學情
approaching you on the street, dancers use their bodies to
感。」22
convey tons of information. Not just to the audience, but also
to each other in rehearsals and when creating dances. In the
根據Clive Bell的理論，美學體.驗（或他認為與其參照的美
studio, it is fascinating to watch how a director or choreographer
學情感）是由特殊的形態，包括了線' 形狀和色彩等•組
communicates these subtle choices. Often this communication
合而創造出的獨特體驗。對他來説，這種體驗是很珍貴
isn’t verbalized, but the transference of highly specific
的，「它是這麼珍貴，敎我在沉醉其中時’相信藝術原來
information is effortlessly performed.
是這世界的救贖。」23 Bell是Bloomsbury藝術家和作家組織
Our 'sense' orkfeeling，of what we see, feel, and hear is
的成員，公開支持藝術的價值和重要性。對他來説，專注
generally how we experience art. As Clive Bell said: “…we
於純形式的藝術所提供的美學體驗也較強 。對於形式主意
have no other way of recognizing a work of art than our feeling
者來説.內容會防礙這種體驗。
for it”.19 Tolstoy remarked, “whereas by words a man transmits his thoughts to another, by art he transmits his feelings.”20
於《人生中的藝術》一書中，Monroe Beardsley詳列了美學 事物可能帶來的好處。這包括了壓力和破壞衝動的舒緩，
For Tolstoy, if a work of art was too complex or difficult to
個人內在細微衝突的解決，在達成综合、和諧以及改良認
understand, it wasn’t art. Granted, he wrote in 1898, just as the
知和分辨能力上的幫助，想像力的發展•以至「精神健康
ideas of abstraction and modem art were beginning to emerge, yet
的協助」。對Beardsley來説•最重要的是藝術「提供人類
it may still be a good theory to consider. Should every dance
生命的一個理想……一件事情引至下一件，各有前因後
communicate the same thing to everyone?
果，終局的伏筆早埋在起點，起點也一直被帶至終局。這 種體驗容許最少的空虚、單調、挫敗、無成、絕望等種種
“Art is a human activity in which one man consciously
殘害很多生命的因素。」24
by means of certain external signs hands on to others
feelings he has lived through.... and others are infected
於舞蹈中，我們常用「形態」一詞來描述舞蹈編排中的這
by those feelings and also experience them to.. .Art
個效果，其中的结局貫注於整齣作品之內，所以於體驗的
like speech is a means ofcommunication and therefore
過程中，存在著一種有目的和完滿解決的感覺。這體驗為
of progress, that is, of the movement of humanity
我們的生活帶來最大滿足感。
forward towards perfection.’’21 「如果終局中的一些滿足感可以帶至手法之
AESTHETIC EXPERIENCE
中，而我們又感到各階段的手法隱含著终局，
Aesthetic experience can be used to sum up art since the 18th
我們於生命中便會有更多的美學體驗的質素。
century. Some say it is unique to the fine arts, others say it can
同時，這些體驗於我們眼前提示了生命於其最
happen in any everyday occurrence. Selma Jeanne Cohen suggests
豐富和愉快時的面貌。」25
that theater dancing is the only form ofdance specifically designed to provide the observer with an aesthetic experience. Others suggest
有些人可能認為任何事物，而非只是藝術，都可以以美學
that it is the context through which one observes a dance that
的角度來看待。根據包括了 Jerome Stolnitz在內的一些哲學
produces an aesthetic experience. When the artist Macel Duchamp
家，一個思考過程可以是一次美學體驗：「如果一個人暫
put a urinal titled “Fountain” in a museum, he created an aesthetic
時擺脱了解答疑難的目的，如果他停下來，放下個人喜
context for everyday objects.
好，沉思眼前的羅輯結構，他的體驗便是美學的。」26如 果我們能於我們的認知中除去任何動機，而只以一事物的
Some contemporary dance works may be more political, or
質素和形態來考量之，我們便進入了美學的境界。
entertaining, but most dances are made to produce an aesthetic experience.
為何這樣的體驗是好的？ 一個原因是美學體驗並不須要與 生命的其他部份有任何關連。它可以把你從習慣了的思想
“The starting point for all systems of aesthetics must
模式中脱離開來，開動你腦袋中的一個新的部份。
be the personal experience of a particular emotion. The objects that provoke this emotion we call works
當然，藝術亦可以與生命有極大的關連 。這或許就是敘事
ofart. All sensitive people agree that there is a particular
藝術與抽像藝術的差別。一齣敘事舞蹈如何會有價值？多
emotion provoked by works of art.. .This emotion is
數人都同意，可以跨越時間的經驗是有價值的。為何有些
called aesthetic emotion.”22
事物會長留心間？當我們受一體驗所感動，這些情绪、感
覺便會被置於一個新的背景脈絡中。換句話説，它可以改
Clive Bells theory is that aesthetic experience (or aesthetic emotion
變你。它可以引發你作為一個個體地學習和成長。
as he refers to it) is caused by significant form, i.e” the lines, shapes, and colors that are combined to create this unique experience. To
我們須要知到於何時付出那一種關注。要做到這點，我們
Bell this kind of experience is quite valuable; “So valuable indeed
很容易會墜入一個模式：以功能來看所有事物。其實•在
that in my giddier moments 1 have been tempted to believe that art
實際需要以外，生命也有價值。有些人認為•這當中就藏
might prove the world’s salvation.’’23 Bell was a member of the
著藝術的最重要價值---- 它並不為實際需要而服務。■
Bloomsbury group of artists and writers who professed the value and significance of art. For Bell, art that is focused on pure form
翻譯：施德安
provides a stronger aesthetic experience. For formalists, content
Why might an experience like this be good? One reason is
can obstruct this experience.
that an aesthetic experience doesn’t have to relate to anything else in life. It can remove you from habitual patterns of
In The Arts in the Life ofMan, Monroe Beardsley comprehensively
thought and activate a new part of your brain.
lists possible benefits achieved from aesthetic objects. These include the relief of tensions and destructive impulses, resolution of lesser
Of course art can also relate to your life in profound ways.
conflicts within the self, and help in creating integration, harmony,
Perhaps herein lies the difference in value between narrative
refinement of perception and discrimination, development of the
and abstract art. How would a narrative dance be valuable?
imagination and even “an aid to mental health”. Most significant
Most would agree that the kinds of experiences that stay over
to Beardsley is that art “offers an ideal for human life.. .one thing
time are valuable. Why would something stay with you? When
leads to the next and finds its place in it; the end is immanent in the
we are touched by experience, it places these emotions,
beginning, the beginning is carried up into the end. Such experience
feelings, in a new context. In other words, it can change you.
allows the least emptiness, monotony, frustration, lack offulfillment,
It can cause you to learn and grow as an individual.
and despair-the qualities that cripple much of human life.’’24 We need an awareness of what kind of attention we put out and
In dance we often use the term form to describe this effect
when. It’s easy to fall into a pattern of seeing everything in terms
within a composition. Where the end is infused into the
of what purpose it serves. There is value in life outside practical
whole work so that there is a sense of purpose and resolution
needs. Some would say that therein lays the most important value
over the course of the experience. These are the experiences
of art, the fact that it serves no practical need. ■
that bring the most satisfaction in our lives.
“If some of the satisfyingness of the end could be
brought into the means, and the means at every
stage felt as carrying the significance of the end,
we should have in life something more of the quality of aesthetic experience itself. Meanwhile, such experience holds before us a clue to what life can be like in its greatest richness and joy.’’25
Some would agree that anything, not just art, could be looked at aesthetically. A mental process itself can be an aesthetic experience
according to philosophers such as Jerome Stolnilz: “Ifones purpose is not, for the moment, problem solving, ifhe pauses to contemplate disinterestedly the logical structure before him, then his experience
is aesthetic.’’26 If we can keep a distance from any motives in our
perception, and relate to an object based on qualities and forms, we enter into aesthetic territory.
Notes: 13 David Best (1974), Expression in Movement & the Arts: A
Philosophical Enquiry, London: Lepus Books, pg. 21 14 cited in McFee * 15 Oscar Wilde (1994), “The Decay of Lying” in Complete Works of Oscar Wilde, Glasgow: HarperCollins, pg. 1083.
16 Graham McFee (1992), Understanding Dance, London and New York: Rutledge, pg. 168 17 ibid 18 John Dewey (1995), “Having An Experience” in The
Philosophy of Art: Readings Ancient and Modern, Edited by Alex Nell & Aaron Ridley, New York: McGraw-Hill, pg. 59 19 Clive Bell (1995), “The Aesthetic Hypothesis” in The Philosophy of Art: Readings Ancient and Modern, Edited by Alex Nell & Aaron Ridley, New York: McGraw-Hill, pg. 98
作者羅傑索之作品《Maya》。 Maya, choreographed by the author, Rob Kitsos.
20 Leo Tolstoy (1995), “What Is Art?” in The Philosophy of Art: Readings Ancient and Modern, Edited by Alex Nell & Aaron Ridley, New York: McGraw-Hill, pg.506
21 ibid 22 Clive Bell (1995), “The Aesthetic Hypothesis," in The Philosophy of Art: Readings Ancient and Modern, Edited by Alex Nell & Aaron Ridley, New York: McGraw-Hill, pg.100
23 ibid 24 Monroe Beardsley (1995), “The Arts in the Life of Man” in The Philosophy of Art: Readings Ancient and Modern, Edited by Alex Nell & Aaron Ridley, New York: McGraw-Hill, pg.538 25 ibid 26 Jerome Stolnitz (1989), “The Aesthetic Attitude: From Aesthetics and Philos叩hy of Art Criticism “ in Aesthetics: A Critical Anthology, New York: St. Martin’s Press, pg .334
舞評
Review
雲南省歌舞劇院之《紅土戀歌》 文：劉凱
壁的創意。當舞蹈員舞動
雲表省
時，服飾上的銀鈴和腳上的
數民族，差不多佔全中國少
木屐發出「叮呤0得3得」的聲
數民族數量的一半，所以，
音像打拍子般作為伴奏音
雲南省歌舞劇院當然有足夠
樂，使舞蹈充滿節奏感。舞
的説服力表現其獨特的少數
蹈員時以五個或七、八個從
民族舞蹈。雲南省歌舞劇院
一大横排「叮呤°得°得」地跳
之《紅土戀歌》以十一齣獨
出來，像木偶似的被男獨舞
立的舞蹈帶領觀眾走進中國
員所操控，只要他隨便做一
少數民族的生活，包括傣
個舞蹈動作，便好像發出指
族'低族、獨龍族、哈尼族、彝族、景頗族和瞪僳族，把
令，穿著迷你裙的一排排可愛少女便會 「叮呤。得。得」地踏
其獨特民族色彩的舞蹈文化程現於觀豕眼前。
到前面起舞一番後又再踏回一大横排，與男舞蹈員互相產 生化學作用。此舞蹈還有很多可繼續發展的空間，如果在
在眾舞蹈中■本人比較收賞佤族的《雲海阿佤情》，利用
圖形變化方面再花點心思，不只是一排排出出入入.會更
佤族甩頭髮的舞蹈特色配以牛角梳的意念 ，表達與情郎之
有趣。
間從「頭」開始的一段情，比一般只風狂甩頭髮的佤族舞 來個不錯的點缀。此外，其它部份舞蹈也不錯，但只是有
至於彝族的三人舞《小伙、四弦、馬櫻花》.雖然我已看
點美中不足。例如花腰榛族之獨舞《藍色夢幻》，本來•
過好幾次，但因為由不同舞蹈員所表演.即使是完全一樣
燈光一亮之下，看到如浮在倒影上的一朵夢幻中的鮮花，
的同一個節目，也有不同的感覺。雲南省歌舞劇院的男舞
舞者在那虚幻的花瓣中翩翩起舞 •原是多麼的美，但是那
蹈員郤不及由香港演藝學院中國舞系的那三位生動皂馬的
花朵上讓舞者起舞的平台可能太少，而且沒有特別優美的
男生發揮得那麼淋漓盡致，可能與他們的個性和年齡有
舞蹈動作，只是不時搁:腿或顯示軟度，與原意如孔雀沐浴
關，真是明符其實的三位活潑的「小伙子」。
和美人魚的優美動態相比甚遠，確有些大失所望和浪費了
整個意境的氣氛。
整場舞蹈表演尚算不錯，當然，比較於香港或海外的某些 大型舞蹈製作還需努力，但相比於國內部份曾到香港表演
同屬傣族的群舞《高原水韻》中的服裝非常漂亮，且能特
中國舞的舞團來説，在整體的節目製作中也比較新穎、龐
顯各舞蹈貝的修長身段’再加上極冨立體感的樹林佈景配
大、和認真，服锌非常漂亮，編舞意念具創意，佈景製作
合舞台燈光效果•仿似一道道曙光透過樹葉間的隙逢照射
出色，但在舞蹈編排和動作設計方面可再下點功夫，令舞
到婭娜多姿的少女身上，於晨曦初露的樹林中翩翩起舞，
蹈員有更多發揮，因為舞蹈員中似乎沒有那一位的表現是
從後台噴出的泡泡球，更成為了其中的活動佈景，凝造了
明顯突出，總是覺得他們對精神力量的表現不跔強烈，欠
仙境般的氣氛。舞蹈編排之圖形不錯，但從圖形變化的過
缺靈魂。雖然在部份節目的燈光處理有點不合视，像《木
程中欠缺仔細處理，舞蹈員在某個圖形上完成舞蹈動作
屐山鼓》在台後照向天幕的那排燈光.時紅時綠地閃過不
後，只是紛紛随便地跑到下個圖形再完成另一組舞蹈動
停，令我感到處身於「的士高」內，真有點奇怪外，大部
作，令整個舞蹈看似斷斷續績，不能一氣呵成。
份節目的燈光效果也不錯 。這次能看到中國民族舞仍能保
留著其少數民族的舞蹈特色中漸漸創新和進步，又不會刻
哈尼族的 < 木屐山鼓》很有創意。不知編舞者的靈感是否
意過於創新至不倫不類，這點是非常直得鼓勵的。随著時
來自於西方「蹲踏」舞River Dance的特色而引發他中西合
代改變，希望中國舞不只是停留於過時的舊杜會舞蹈。■
舞評
Review
玩轉傳統芭蕾？ 文：吳嘉詠
無疑問，來至紐約的 Les Ballets Trockadero de
只能以一條腿支撐整個身體的轉圈動作，身為男兒身
Monte Carlo (簡稱The Tracks)'未必是傳統芭蕾
的主角卻以穩中帶勁的做法把它做完，看得在場的觀
觀眾的一杯茶。不過•這些剛陽味甚重的「女舞蹈員」
眾目瞪口呆！
確實為香港觀眾帚來了大膽而幽默的舞蹈藝術 。 芭露華(Anna Pavlova)感人肺腑的舞蹈，讓世人認識
筆者看的雖然是星期六下午場，但卻是坐無虚席。有許
了《垂死的天鵝》。現在TheTrocks亦演出了他們編排
多觀幂更是一家大小到來欣賞。在他們當中，筆者留意
的版本。本來《垂死的天鵝》是充滿淒美的感覺，現在
到有些人是不曾看過傳統的芭蕾舞演出，想必是因為舞
取而代之的卻是「天鵝」掉羽毛，感覺很滑稽的一幕！
團全男女裝演出的獨特風格，吸引他們來欣賞吧！
雖然這樣的改編令高貴的「天鵝」不再以優美典雅的形
態慢慢進入死亡，但是這種手法卻令天鵝的死變得很
充滿惹笑效果的《天鵝湖》
談諧，不再有半點哀傷的味道。
始於一九七四的The Trocks以充滿戲劇性、幽默抵死的 另類方式，演繹講求規格、忠於傳統的古典芭蕾舞。高
男孩子穿足尖鞋，台上苦中作樂
頭大馬的男舞蹈員穿上華美的芭蕾舞捃(tutu) •腳踏足
TheTrocks今次來港演出，令本地舞迷大開眼界。雖然
尖鞋，為觀豕演繹淒美動人的《天鵝湖》！筆者覺得單
是男兒生，但是他們的演出卻保留了女性的媚態，動
單是他們一身的造形，相信在未演出前已經為觀幂帶來
作也十分靈活輕巧，遠望舞台還以為是女舞蹈員在演
最驚喜的視覺效果！
出呢！雖説他們演出的劇目都曾經改編過，但是背景
音樂和舞蹈情節仍然與女舞蹈員原本的演出差不多， 在眾多的演出選段裡，《天鵝湖》第二幕的演出最具趣
一些傳統上只有女舞蹈員才做的動作，他們亦做了。
味性的，《戰地佳人》(Paquita)則最能看出舞蹈員卓越 的舞蹈技巧，而《垂死的天鵝》則較為獨特。
老實説，身體較輕巧的女孩子穿上足尖鞋跳舞已經不 容易■更何況是身形魁梧的男兒身？筆者很佩服這一
《天鵝湖》的雙人舞，刻意起用一高一矮的舞蹈員•造
群曾接受傳統芭蕾訓練的「女舞蹈員」。他們全是自薦
成一個諧趣的畫面：身形瘦削的王子與形態高大的天鵝
進入舞團，甘願易服演出。在演出中，大家常會看到
公主浪漫地在湖邊共舞(這已經夠嚇人了吧！)。一向
一些惹笑、誇張的戲劇效果。但其實要刻意形造這樣
擁有英俊大方形象的王子，現在卻是頭披長長金頭髮，
的效果，並不是一件容易的事。例如舞蹈員在什麼時
假裝很瀟灑、英俊，但其實卻很醜。美麗動人的天鵝公
候假裝跌倒、什麼時候在雙人舞中假裝轉圈時站不穩
主，現在卻是會隨音樂節拍發狂打人且表現野蠻的女
等都需要紮實的舞蹈技巧與舞蹈員之間的默契 才可以
人。舞蹈員利用了舞蹈、誇張的化妝和幽默的演出，為
演繹得好。這一點，觀看觀眾熱烈的反應，我相信他
觀幂帶來富戲劇效果的《天鵝湖》。
們是做到了。
別具~格的《垂死的天鵝》
筆者突發其想，若果以演出《垂死的天鵝》而聞名於世
The Trocks雖然以惹笑幽默為賣點•但是他們的演出仍
的芭露華(Anna Pavlova) •看到身形魁梧’但舞姿又如
然保留了卓絕的舞功。在《戰地佳人》中•身形魁梧的
何婀娜多姿的「女舞蹈員」.在台上演繹她的首本名作
女主角，一 口氣做了多個划圈式弗韋泰(Fouett^ rond de
時，不知會有什麼反應？■
jam be en tournant):這個連女芭蕾舞員都視為高難度、
舞評
Review in the last duet with the skater David Liu on the ice rink. A gloomy
下 ofour leading dance companies were on view in October, » 从幻 both commendably reviving one of their more successful
coda with all the dancers assembled on the ice as if frozen ended
works created in the recent past. In late October the City
this absorbing and thought-provoking production by Helen Lai.
Contemporary Dance Company (CCDC) closed its special 25th anniversary season on a high note at the Kwai Tsing Theatre with
In the previous week the Hong Kong Ballet appeared at the Hong
the spectacular production Plaza X.
Kong Cultural Centre in Stephen Jefferies’ production of Swan Lake which was first
This two-act work,
which
sees
the
CCDCs P/azaX. Choreographer: Helen Lai, Photo: Ringo Chan.
company’s renowned
prolific
premiered in 1996, shortly
Local Companies
at her most inspired, also shows off the CCDC
dancers at their very best. Their lucid
and
technically strong
Reviving
Repertory
premiere in the 2000
costume designs were excellent; it is particularly apt that the sets in Acts 1 and 3 depict the Gothic period. This
is one of the better and more durable productions staged by Jefferies in the last eight years.
dancing lent this work
more intensity than in its
company’s artistic director. Peter Farmer’s set and
resident
choreographer Helen Lai
after Jefferies became the
Works
Jefferies has retained the
Hong Kong Arts
traditional Petipa/Ivanov
Festival. The splendid
choreography for the Act 1
playing of Bion Tsang,
by Kevin Ng
pas de trois. Act 2, and the
black swan pas de deux. As
the renowned AmericanChinese cellist, in the first act and at the end was another high
for the big character dances in Act 3, he has retained the Czardas
point of the evening. Much better of course to hear Bach’s cello
but not the Mazurka, which seems an arbitrary choice. His own
music played live instead of on tape like last time.
choreography for the Act 1 waltz and the peasants, polacca, as well as for the final act, is sound but hardly an improvement on the
Another star of this show was the Taiwanese-bom Olympic skater
traditional choreography which he knows well from the Royal
David Liu, who rejoined the company for these performances,
Ballet’s productions when he was a member of that company.
and whose several solo appearances on the ice rink at the back of the bare stage added an ethereal quality to Lai’s work.
The company’s opening night performance wasn’t very polished overall. The final tableau depicting the reunion of Odette and
The title Plaza X depicts a timeless dream zone where the past is
Siegfried after death was spoilt by poor lighting, which totally
mingled with the present. Liu’s graceful and effortless spins and
obscured the two leading dancers at the back of the stage. Faye
jumps on the ice rink were a constant delight, contrasting well
Leung’s dancing as Odette in Act 2 was very strained, but she was
with the clumsy movements of a male dancer who is forever
slightly more in her element as Odile. In the black swan pas de
carrying a suitcase. This sad clown-like figure, well danced by
deux, Leung had difficulty holding the long ‘equlibre’ (balance on
Dominic Wong, represents an outsider.
pointe), and her solo was unfortunately taken at a much slower
tempo than usual by the conductor. The first act set to Bach is the more focused of the two acts. The numbers - solos, duets, and ensemble dances - succeed each other
As Prince Siegfried, Nobuo Fujino gave the best performance of
smoothly conveying a bleak and depressing atmosphere. The two
the evening, though on this occasion he had some rough edges and
exciting male solos in particular were brilliantly danced, by Xing
wasn’t as technically precise as I remember fi.om some of his past
Liang and Luo Fan.
performances. (He couldn’t finish his double tours en I air cleanly in fifth position.) Among the dancers in the supporting roles, Crystal
After the cerebral first act. Act 2 with tango music has an earthier
Costa in particular was delightful in the Act 1 pas de trois. The
tone and is slightly more light-hearted. The lead female dancer
corps de ballet^swans has improved and was dancing with slightly
Wu Yisan danced radiantly all evening and was most expressive
more uniformity than before
梅卓燕及梁小衛《流蓮歡》 攝影.：陳德昌
舞評
Review
J
及《捕: 文：Iris
觀看今年的「新視野」藝術節，有一點
唯一美中不足之處，是作品之中的連接部份，例如中段之
科館的驚喜。就如本鱗蹈工作者
城市錄像•以及燈光設計上，削弱了作品之整體性•較難
梅卓燕及楊惠美的作品•我覺得好像與兩位舞者，共同經
令觀幂跟上表演者及表演者之步伐 •或許是因為這個原
歷了一部份的人生旅程。
因，令人難以即時產生共鳴。
先説梅卓燕的作品---- 《流蓮歡》。整個作品给了我一■種
而另一套由楊惠美自編自蹈的作品《捕捉流水》，也給了
「孤、高」的感覺•這並不是從舞名而來，而是從表演者身
筆者很大的驚喜。驚喜，由我們打開場刊那一刻開始。
體、聲音等而來。當然•
「蓮花」是舞者創作靈感之來
「對不起，這其實是一個關於失戀的故事」，這便是惠美作
源，所以舞者之舞蹈語言與蓮花之某種特質相似 •但如果
品的靈感來源，亦是她生活的一個寫照。一個充滿哲學味
説舞者本身便是一朵蓮花，那「出淤泥而不染」，便正正
道的節目名稱，與一個非常生活化的靈感來源，依著這一
是這個演出與蓮花的寫照。舞者運用很多簡單的動作，營
句告白，我嘗試去了解作品的每一個細節，投入舞者那一
造出她心目中蓮花的影像。印象中，作品並沒有很多花巧
時期的生活。而舞者主要靠撮放在劇場四周的裝置，輔以
不實的動作，這更能表達舞蹈的主旨。「一朵蓮花的世
混合了舞蹈語言及劇場技巧•從一個個看似不連接•又有
界•會怎樣看我們人?」
關係的片段，演繹了一件事.又或是一種心情。整個作品 就如編者自己在某一時期之生活重現。
梅卓燕之舞蹈動作中，大量運用了一些輕、細（緻p慢、碎
等中國古典舞之語言，把自我能量完全釋放及投射不多。
從未曾戀愛到失戀之後，在每一個裝置之前表達出種種心
因此，自然帶給觀眾內欽自己之感覺 ，形成一種自惭自憐
情，或許你會驚訝，關於戀愛的感覺也可以有那麼多。但
的氣氛。透過表演者之動作、布悚及各條游走於劇場的路
最令筆者驚喜的是，並不是場內五花百門的裝置•亦不是
線，舞者製造了一個個自我空間，再把自己藏在空間之
形形式式不同的服飾，（儘管那亦很是美麗）’而是編舞
內。而她在空間之內向外探索，動作也是小巧槿慎，令觀
及舞者（即惠美一人）那赤棵棵的表現與告白。失戀的題
xf再一次感受到她內心那股無助與迷失。就是因為這種迷
材並不新鮮，我們又可以怎樣做才可以算是精彩？在惠美的
失•令舞者更想突破而出，向眾人表達自己，顯示及分享
作品中，新鮮是由於她一個人可以與觀眾那麼坦誠的溝
給觀采知道，她心中那些歷練與爭扎。
通.去回憶自己的痛處•把心中的那份熱情及純真表現。
或許•「飲」更能形容舞者希望觀眾得到之訊息及感受。
就好像與塑膠吹氣公仔的一段•我不得不佩服舞者大擔構
思。在與觀眾■這麼近的距離下 ，惠美完全可以投入與一個 雖然，在一小時之表演之中.舞者很少把在場之氣氛推高.
假情人調情，從一個普通女性的角度，去看待對性的渴
但筆者所感受到的卻是另一種氣氛，是表演者完全能控制
求，以及懷念與戀人一起的時光。編舞沒有譁眾取寵•只
到在場的氣氛。這比起為了令觀幂驚喜而故意生硬地堆砌
刺激•更能令人感到經營藝術的誠意。
下接第9頁一，
\
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[^Visible Melody
--Shu Ning Presentation Unit1.
: 1 ft 式單位匚Jl/dc/o
洛印》--Manna
Yin, Lin Yuan Shang fH卓钟：原上匚|8.0.B. -- Dick Wong
口伽Comedy i：
Group
Dance
玄牝舞集匚Mui
Cheuk
黃大徽□/Daz?chb/700fa; Dance of the Five Elements^五元素
of K ;、畸人説夢)、CCDC城市當代舞蹈團匚]Svvan Lake :天鵝湖》--Hong Kong Ballet
[JG
5
獨行俠與亂世佳
Zero Zero Ensemble 00 e \_]The Good, The Bad and Scarlett O’Hara
1
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on Spot
\~~\West Side Dance Story
Hong Kong Dance Awards 2005
《'夢斷舞城西Academy
團□P/pp/Y?
香港舞蹈年獎2005
n正傳》--
Theatre Federation
香港音樂
Daniel
[3^etalove《形亡極樂》--
[Jc/ndere//a《仙履奇緣》-
香港芭蕾
^V\U]Another Moment
《再一刻》--DanceArt
與異變
-Plaza
Kong
Hong
Order《遷界》--Hong Kong
團「IPVaza X
劇協會□(沉默•暗啞》
楊春江
Yeung
-Hong Kong Ballet
Musical
Kong
Hong
Nomination 提名
黃碧雲讀書小劇場
Dance Ensemble 演藝舞蹈
蹈'團匚］厂
Established by the Hong Kong Dance Alliance in 1999, the
Hong Kong Dance Awards recognize outstanding and
動藝
Dance Company香港舞蹈
街道》--CCDC城市當代舞
significant contributions to dance for work accomplished during
Fantasia《范特西的地下夢
亞
the previous year. Rather than on a competitive basis, award
州青少年芭蕾舞團口/_0兑&
Found in Babel《猜•程■尋
selection is made through open nominations with final
》--Frankie
Matsumoto何靜茹、松本大
determination by a panel comprised of the Alliance Executive
樹□Sweef & Sour Hong
路》--Youth
Ballet of Asia
Kong工二:迓甜香港地》-
Committee.
Hong
Company香港舞蹈團厂
The 7th annual Hong Kong Dance Alliance Hong Kong Dance -Academy Dance Ensemble
蘭朵》--Hong
Awards will be presented on 1 February 2005 at the Kwai Tsing
Colours
Ho, Taiju
Kong
Dance
Dance《簿蹈4色》-
-舞蹈團□Tt/ranc/oK杜 港芭蕾舞團[]Era《時代》-
香
Theatre, and is now open for nomination. Limited amount of
本地薑
complimentary tickets for the Gala presentation are available
□Svva/7 Lake《天鵝湖》--
Hong Kong Ballet香港芭蕾舞
for individuals submitting nominations (two each). To
團门Silva
nominate, please complete and return the Nomination Form
\Z\Chinese Martial Arts
Kong Ballet
-Hong Kong Ginger
CCDC
城市當代舞'
Dance Series: Episode IV Miranda
Chin
on the next page.
《【武 '極】系列四》-Company錢秀蓮舞蹈團
Dance
[^Trilogy ''芑蕾三部曲》-■
舞團□SjD/zVfua/
G/77
Rain《銀甫》--
Hong Kong Ballet
香港芭蕾
楊惠
由香港舞蹈聯盟創立的「香港舞蹈年獎」，自1999年起
水》—Yeung
美O/oLt/s《流蓮歡Mui
便表揚每年對舞蹈有突出和重要貢獻的工作 。「舞蹈年
Cheuk-yin, Priscilla Leung
梅卓燕 K
獎」並不是競爭性的獎項，而是由香港舞蹈聯盟理事委
N Chairs《一桌N椅》--
員所組成的評審團從公開提名的名單中選出。
riLitt/e Men’s Blue《標
CCDC
r~lQr?e Table 城市當代舞蹈團
-Sie Chai
節》--Hong
四仔匚]/Kong
Association香港自主舞蹈協
《生命速記》--DanceArt ^Ambiguity《愛未》—Mui
梅卓燕、楊惠美厂iThe
口Ten
Dance Festival C i-舞蹈 第七屆「香港舞蹈年蹈年獎」將於2005年2月1日假葵
青劇院頒發，現已公開接受提名。提名者可免費獲贈
Independent
Dance
會IZiChifdren’s
Prayers
《香港舞蹈年獎2005》入場卷兩張，門卷有限，送完即 Hong
止。提名方法及表格刊於下頁。
Kong
動藝
Cheuk-yin, Yeung Wai-mei
Story
•沿與島的故十'
Kong
Wai-mei
of Island and Boat - Hong
Y-space多空間[]jump/ng Frames《跳格》--CCDC & Videotage城市當代舞蹈團、錄影
Wa门cterngs《夢的1 ◦日 10夜》—Unlock Dancing Plaza 不加鎖舞踊館r~Lege门c/ of The Great
--Hong Kong Ballet香港芭雷舞團匚]??^ Netcracker《胡桃夾子' [^Different Eyes
□
20
；^；
— Dance Home
Philosopher’s
舞蹈家口？??© Border To]/vn
Stone《夜迷煉金術》--Unlock
邊城？
Hong Kong Ballet香港芭蕾
-- Hong Kong Dance Company
Dancing Plaza 不加鎖舞踊館
Events listed are not complete, and are for reference only.
列出的舞蹈活動並非完整，只作參考之用。
回似拭
oluJnl
Fax:
2802 3856
傳真：2802 3856
Address:
c/o Hong Kong Dance Alliance
地址：香港灣仔告士打道一號
CD
J
•fc H① K I S K B I M CDl d
Office of Associate Dean of Dance
香港演藝學院
HKAPA, #1 Gloucester Road
舞蹈學院副院長辦公室
Wanchai, HK
轉交香港舞蹈聯盟收
Hong Kong Dance Awards2005 香港舞蹈年獎 2005
Nomination Form 提名表格 Nominee被提名人士 Name (English):___________________________________ 姓名(中文)：______________________________________ _
Reason 原因：____________________________________________________________________________________________ ________________
* Please use additional paper or photocopy this form if necessary.如有需要，請另加纸張或影印本表格。
To receive two complimentary tickets for Hong Kong Dance Awards 2005 on 1 February, 2005 Kwai Tsing Theatre, please fill in the following information. 如欲索取於2005年2月1日假葵青劇院舉行的《香港舞蹈年獎2005》免費門卷兩張，請填妥下列資料。
Nominated by
提名人姓名：_________________________________________
Telephone no.
電話號碼：_____________________________________
Address 地址：_______________________________________________________________________________________________________
NOMINATION DETAILS
提名詳情：
• Hong Kong individuals, organizations or events in any
•對香港舞蹈發展中任何範籌有所貢獻的個人、團體
dance related area (e.g., choreography, performance,
或事項•均有資格成為候選人。舞蹈範籌的例子包
scholarship, education, writing, administration, technical
括：編舞、表演、學術、敎育、寫作、行政、技術
support, notation, leadership, etc.) may be nominated.
支援、舞蹈記錄及領導。
• All events related to the nomination should be completed between 1 January 2004 and 31 December 2004. • Each nomination must include the name of the individual, organization, or event being nominated and a brief reason
•所有與提名有關的事項都須於2004年1月1日至 2004年12月31日間完成。
•每份提名都須列出被提名者（可以是個人' 團體或
事項）的名稱及提名原因。提名次數不限°
for the nomination. Any number of nominations may be
submitted. • Nominated individuals or organizations are not required to be members of the Hong Kong Dance Alliance.
• Nominations must be returned by 1 January 2005
•候撰人或團體不必為香港舞蹈聯盟會員° •候撰人提名於2005年1月1日截止°
舞蹈節目表 1 ne rniLusupner 5 ^iunc
4 Colours Dance 2-4/12
《夜迷煉金術》
8:0()pm
Unlock Dancing Plaza
HKAPA Drama Theatre
不加鎖舞踊館
香港演藝學院戲劇院
8:00pm
3-5/12
Studio Theatre, HK Cultural Centre
Choreographers 編舞：
香港文化中心劇場
Pasha Umcr帕夏吾賣爾 Icolours Dance
Wang Yuanyuan 王緩緩
Choreographer 編舞：
Paul Boyd保羅•布特
Ong Yong Lock 王榮祿
Willy Tsao, Li Hanzhong & Ma Bo
Enquiries 查詢：2268 7323
曹誠淵、李捍忠及馬波
Glamorous Dance 《繽纷彩舞》
Hide & Seek Opps 10-11/12
Hong Kong Dance Company
8:00pm
在中困的大地上 ，生活蕃五十 番港舞蹈醮将畲介紹及'
Fringe Studio, Fringe Club
n
s anil
如不 風格的 蹈， 中留舞蹈的興趣及访激
伦
藝穗會小劇場
11/12
4:30pm, 8:00pm
Theatre, Sheung Wan Civic Centre
Choreographer 編舞：
上環文娛中心劇場
11.12.2004 (KMA) 下午4X30分(寶湛ASMS典劇年制中HRCinn中 '小4 下午8埒(番S8BJB觀授典«B«S) 上|«文珙中心助場
Cindy Leung 梁绮雯 Enquiries 查詢:9077 5952
香港舞蹈團
凡偎先tl破<«»»«> n累以上•均可»« <«£)«»>門• »?««致罐31031的9番》。 準生*圃r«sej八折，另《«多项《»計曲•
Enquiries 查詢:3103 1809 ■
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17-18oecw 10-11.12. 2004 8:00pjn.
The Three Suddenness 《三個突然》 Spring Poetry 曜舞翩
17-18/12
8:00pm
18/12
3:00pm
The Nutcracker《胡桃夾子〉 Hong Kong Ballet香港芭蕾舞團 17- 18,21-25/12
7:30pm
18- 19,24-26/10
2:30pm
Grand Theatre, HK Cultural Centre 香港文化中心大劇院
Studio Theatre, HK Cultural Centre 香港文化中心劇場
Choreographers 編舞 徐偉業，余世好 Enquiries 查詢：2511 5551
The Amusing Journey to Cartoon World in Christmas《卡通奇幻迎聖誕》 Spring Poetry 曜舞翩 25-26/12
3:00pm, 8:00pm
Theatre, Hong Kong City Hall
Choreographer 編舞：
Stephen Jefferies 謝傑斐
■26/12 文化中心大院 i Theatre, Hong Kong Cultural Centre I Reservations:
Enquiries 查詢：2105 9724
葢J
1««上■簞入
in a Mcmuimui Dansembi 雙妹唪舞蹈劇場
27-29/1/05
8:00pi
02 Theatre, Fringe Club 藝穗會()2劇場
香港大會堂劇院
Choreographers 編舞： Choreographers 編舞 徐偉業•余世好 Enquiries
查詢：2511 5551
Abby Chan陳敏兒 Yeung Wai-mei 博惠 Enquiries
查詢：2726 9(X)2