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目錄 Contents Vol.7
No.1
封面Cover
「不加鎖舞踊館」《10夜— —夜迷煉金術》。 舞者：森山開次。編舞：王榮祿。
香港芭蕾舞團《風雲群英會》
PERFORMING ARTS LIBRARY
Unlock Dancing Plaza's The Philosopher’s
公元前73年至71年，羅馬帝國統治下的奴隸首領斯巴達克
Stone. Dancer: Kaiji Moriyama.
斯領導了當時最大規模的一次奴隸起義，屢次戰勝所向披靡 的羅馬大軍，但最終被羅馬將軍克拉塞斯所殺。著名編舞家
Choreographer: Ong Yong Lock.
格力果洛維支以這故事創作的芭蕾舞劇《風雲群英會》於
1986年由「莫斯科大劇院芭蕾舞團」上演。80年代，「莫
舞蹈快訊NEWS
1
斯科大劇院芭蕾舞團」的主要舞蹈員艾域•米漢達夫以演繹
雄糾糾的斯巴達克斯而聞名。今天，「香港芭蕾舞團」邀請 了米漢達夫重新編舞，以格力果洛維支的創作為藍本，為觀
追上新年的想與望
眾帶來21世紀的版本，把斯巴達克斯的起義歷史事蹟 ，結合
Catch-up Promises as Another New Year Wish
活此舞劇需要高度的技巧和細膩的演繹：勇士比劍、兩陣對
了他與羅馬執政官之妻子亞萊莉亞的一段淒美愛情故事。演
文：劉建華 by Lau Kin Wah
疊、雙雄交鋒1倒落的飛躍動作、勁度十足的旋轉1是男舞 3
者體力與實力的考驗。哀怨纏綿的雙人舞|在生死混戰中| 滲出絲絲離情的哀愁。《風雲群英會》將於3月25-27日在 沙田大會堂演出。■
Hong Kong Dance Awards 2005
香港舞蹈年獎2005
HONG KONG BALLET’S SPARTACUS
by Tom Brown
9
Hong Kong Ballet will stage one of the most renown Soviet ballets, Spartacus , a new version choreographed by Irek
Mukhamedov, former star principal dancer with the Bolshoi
令人動情動心的《邊城》
and Royal Ballet and one of the greatest interpreters of the
文：琴鳴
15
Yuri Grigorovich version of Spartacus originally created for the Bolshoi Ballet in 1968. Set in ancient Rome, the ballet is
香港舞蹈節2006
about the Roman slave and head gladiator, Spartacus, who
Hong Kong Dance Festival 2006
16
leads a slave uprising against the Romans and is involved
in a love affair with the wife of the Roman Consul, Valeria. The ballet affords much opportunity for virtuoso male dancing, with heroic battle scenes, gruesome gladiator fights
Independence
and romantic pas de deux. Spartacus will be performed at by Tom Brown
18
Shatin Town Hall Auditorium, 25-27 March, 2005. Enquiries:
2105 9724/ marketing@hkballet.com. ■
舞蹈節目表 FvpntQ
DANCE PLATFORM 05 CALL FOR PROPOSALS 91
To encourage and support young choreographers to create new work, Hong Kong Dance Alliance presents Dance
Platform 05. As with the first Dance Platform in 2003, this project emphasizes the process of choreography and
discussion. Participating choreographers will show their works-in-progress at two informal private showings, and
discuss their works with invited guests and other participants. Final works will be presented in a formal performance in 圖：「香港舞蹈團」及「演戲家族」《邊城》°編舞：周佩 韻、楊雲濤。 Image: Hong Kong Dance Company and Actors' Family's The Border Town. Choreographers: Pewan Chow, Yang Yuntao.
「舞蹈平台05」招募編舞計劃書 為支持和鼓勵新一代的舞蹈工作者進行舞蹈創作’
November. Dance Platform 05 is now calling for proposals.
「香港舞
Please refer to page 19 for details.!
蹈聯盟」繼2003年後再次舉辦「舞蹈平台」。「舞蹈平台05 」保留了著重創作過程和討論的精神’在暫定於今年11月舉
HK DANCE COMPANY'S FAREWELL MY CONCUBINE
行的正式演出前，參與者須於兩次非正式和非公開的預演
From 1 to 3 April, 2005, Hong Kong Dance Company will
中，發表其創作中的作品’並舆出席的嘉賓和其他參與者討
present the first production of its new Artistic Director, Mr Hu
論各個作品。「舞蹈平台05」現正公開招募計劃書’詳情請
Jialu, FAFieWell my ConcuBINEat Hong Kong Cultural Centre
參看本刊19頁。■
Grand Theatre. This Chinese Dance Drama explores the
intersection of fiction and reality through a crisscross of 「香港舞蹈團」《霸王•別姬》
interwoven stories, a drama within a drama: in a mysterious
「香港舞蹈團」將於2005年4月1-3日假香港文化中心大劇
world where reality meets dream, the love between an actor
院上演藝術總監胡嘉祿上任後首個創作— —《霸王•別
and an actress coincides with that the roles they are playing.
姬》。這齣新編中國舞蹈劇是一個虛構的真實故事：在一個
The dancers step into the shoes of the ancient Conqueror
夢幻與現實交錯的世界中，因為演戲而牽出情緣的男女主角
and Concubine, re-enacting a tender Oriental tragedy ... The
與戲中人物一霸王和虞姬一的命運竟然變得一樣1重新
production will feature the live performance of famous Chinese
演化出一個淒美動人的東方悲劇。這個製作邀請了著名的中
artists of story-telling and ballad-singing, pipa and drum, to
國評彈、琵琶和司鼓等演奏藝術家作現場演奏1糅合了不同
create a mix of different musical elements, produce new
的音樂元素，力求在跨界的理念中展現出新的藝術魅力•並
artistic fusion from cross-boundary concepts, and form a new
籍著現場演奏與舞蹈演繹的互動|構成新的中國舞蹈劇的獨
and unique language of Chinese dance drama through the
特語言。節目查詢3103 1809。国
interaction of live music and dance. Enquiries: 3103 1809. ■ MCMUIMUI DANSEMBLE SINGAPORE TOUR
McMuimui Dansemble, with Abby Chan and Yeung Wai Mei,
has just returned from a tour to Singapore Esplanade Theater,
performing its recent production, Love In A Doggy Bag, on 1516 February, after a successful run of the production at the
Fringe Club in Hong Kong. The group was invited by the annual Huayi Chinese Art Festival and was one of the two dance
「雙妹卩麥舞蹈劇場」星加坡之旅
companies that performed in the festival. Other performance
由陳敏兒和楊惠美組成的「雙妹卩麥舞蹈劇場」•獲星加坡「華
groups included Shen Wei Dance Arts from New York, and
文藝術節」邀請|於2月15及16曰在濱海劇院演出，舞碼
Performace Workshop of Stan Lai from Taipei. The tour was
為她們剛在1月底於香港藝穗會首演而大獲好評的《尋找家
supported by Hong Kong Arts Development Council. ■
豬的故事》。其他演出團體包括紐約的「沈偉舞蹈藝術」及 台北的「表演工作坊」等。這次巡迴演出是由「香港藝術發
HELEN LAPS CO-OPERATION WITH YANK WONG
展局」資助。■
A new work by Helen Lai, presented by the City Contemporary
黎海寧+黃仁逵的「畫舞劇場」《逐色》
Services Department, will be performed at KwaiTsing Theatre,
Dance Company and sponsored by the Leisure and Cultural
大家熟悉的黎海寧素來以創作元素跨越不同文化及藝術領域
8 pm, 8-9 April, 2005. Helen Lai is known for her ability to
著稱1善以古今中外的文學、音樂、繪畫溶入舞蹈。今次，
cross different cultural and art disciplines, and integrate
這個被林懷民譽為「最厲害的華人編舞家」的編舞家，遇上
Chinese and Western literature, music and painting into
周身刀張張利的晝家黃仁逵。除了畫作早負盛名外|黃亦以
dance. This time, the choreographer cited by Lim hwai-min
散文集《放風》獲第五屆香港中文文學雙年獎，並先後以《癲
as the most “powerful Chinese choreographer” meets the
佬正傳》及《籠民》獲香港電影金像獎最佳美術指導及最佳
multi-talents painter Yank Wong. Beside his paintings which
編劇。「破白」、「慢風景」、「照例無題」，一幅幅畫作
were collected in the Hong Kong Arts Museum, Wong also
勾起編舞家的千思萬緒。鎘黃洋紅群青鈷藍鋅白，在畫家與
received the fifth Hong Kong Chinese Literature Bi-annual
編舞的手中化成眾生的貪嗔愛痴；以舞台作畫布，舞者作畫
Award, and two Hong Kong Film Awards - Best Art Direction
筆，潑墨點染素描留白，繪畫出人間色相。《逐色》由「城
and Best Screenplay. Inspired by Wong’s paintings, Lai uses
市當代舞蹈團」主辦，「康樂及文化事務署」贊助.將於4月
the stage as a canvas and the dancers as paint brushes, to
8-9日晚上8時假葵青劇院演藝廳演出。■
render human emotions and stories. ■
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
舞壇手記
Dance Diary
追上新年的想與望 CATCH-UP PROMISES AS ANOTHER NEW YEAR WISH 文：劉建華
by Lau Kin Wah
[1] 去年12月初的《1()夜— —夜迷煉金 術》，是「不加鎖舞踊館」繼《10夜
排演記事簿》和《夢的10日10夜》後
的新一篇•也是這沙士打亂部署而生 「1()夜」三部曲的尾篇，系列從同是
關乎人生體悟的夏目漱石《夢十夜》 走到科爾贺(Paulo Coelho)的《煉金
術士》(台譯《牧羊少年奇幻之旅》＞，
中間當然還夾著編舞王榮祿個人辭別 舞者生涯的插曲。
這次一進場便在場中的(葉榮煌飾)
流浪漢，由原初的友善啞巴，後來忽 變口齒伶俐，急口令般諸著這的左
邊、那的右邊、本在上邊、現在下 邊……的身體器官分佈，自我認識變
森山開次於「不加鎖舞踊館」《10夜— —夜迷煉金術》中演出。編舞：王榮祿'
Kaiji Moriyama performs in Unlock Dancing Plaza's The Philosopher's Stone. Choreographer: Ong Yong Lock.
成語言遊戲，是錯亂抑或解謎？更搶 眼的還有其跳縱入臺上盒子的剎那 ，
上兩回《1()夜》舞者朝著觀幕的奔
[1]
洞口即噴出的那柱火焰•在驟黑環境
跑，被因應對臺設計的横向流程取
Early last December, Unlock Dancing
中意象效果強烈；反是後來超人裝束
代，湊上近期文化中心劇場從《增
Plaza presented The Philosopher’s Stone,
出場，漸覺玩過了火位。
幅》到「歐丁劇場」類同的設計，卻
the third installment of its '10 Nights’
頓覺臺面的縮小侷促了動作的幅度•
series. The work owes its present form
「10夜」系列每次也混入些不同媒介
加上從天墮下的那些碎腳石，排舞時
to the SARS outbreak, as the
藝術家合作。演出中的戲劇元素，如
逆向的對稱走位變得沒法用上，人圈
choreographer, Ong Yong Lock,
陳曙暾帶引的面具練習都滲於舞者的
向中心點攀爬本可營造短暫的起伏焦
originally developed the idea during that
演繹揣摩。那些咀部含苞充氣釋放的
點，一反舞臺的低谷氣壓，結果也無
time. Its final episode rests on Paulo
説話•和莫蔓茹人聲與問話有所呼
派用場。
Coelho’s story El Alquimisla, and the
炎？)咳嗽、呕吐，在科爾贺小説文
身材魁梧而舞姿細膩、身披黃紗的曰
to fulfill his dream despite all obstacles.
本應是埋著货藏地方的破牆之下•則
本舞者森山開次，緩速的雲绮曲張舞
The injury that caused Ong to call an
把沙特存在主義、卡謬瘟疫的癥候轉
姿，張口的無聳柔情嘶叫，固是給演
early end to his career as a dancer in the
而帶出懷孕喜訊的生機。
出關出獨立刻度的焦點視線•與捧著
midst of the series might seem a dashing
應。至於由喉頭動作到加入(非典肺
persistent quest of the story's protagonist
水杯奏樂、飾演某種良心聳音的莫蔓
who was responsible for the dramatic
茹角色產生分散聚焦。周遭舞者手指
direction of the work. From exercises
向內向外象徵的指引和迷失'束身内
designed for the throat, came a fit of
困的傾倒、每每欲説卻封口無言的集
coughing and retching. Yet beyond a
體動作，更同是讓人感染主題心理的
possible allusion to Sartre’s La nausee
潮湧。
or Camus9 La peste, since the dancers' gagging occurs where a treasure is
這次《夜迷煉金術》演出雖並沒有如
buried as in El Alquimista, it suggested
上趟「1()夜」引觀眾上台或搶錢，又
the scene as a metaphor of pregnancy
或面向觀幕的司儀或互動主持，夢和
and giving birth to new life.
現實的穿拆穿插，在臨近結尾還是一
再出招，來一次叫喊中場休息。部份
Instead of a scene with dancers running
觀眾離座被止，才發現不過亦是演出
head on to the audience, as in the past
橋段。但愚弄的離間，或有惹起觀負
two parts of‘10 Nights’，because the
面反應的副作用，編舞的目的，卻是
stage was situated between and at the
單純的替演出劃個分段符；中間有沒
bottom of two ascending rows of
善題惑造？
audience seating that faced each other,
a sideward movement was used.
這安排的重要性，似乎除了好讓王榮
Compared to recent similar stage set-ups
祿帶同孩兒以平常人身份現身舞台 ，
for the Hong Kong Cultural Centre’s
也讓舞者以休息時段的輕鬆心情即興
動動身子，以自我適然的隨心釋放另
Studio Theatre, The Philosopher’s Stone 「不加鎖舞踊館」《10夜— —
was the most crowded (particularly
見步韻•與前段的密雜硬性編排恰成
夜迷煉金術》。編舞：王榮祿。
because of big tumbling blocks that fell
對比。喊觀眾■離位的流浪漢於此未脱
Unlock Dancing Plaza's The Philosopher’s Stone. Choreographer: Ong Yong Lock.
from the fly space). Ong’s pairing of
角色，反脱離現實而顯煞有介事。至
於對於像編舞這種真正的尋夢者而
opposing movements that was clearly
visible in rehearsals could not be
言•「1()夜」的终極篇，最後還是彷
of hope, but in this new work, he shows
executed to full effect on the cluttered
似《一千零一夜》，總留有另起新章
that he has accepted this fact of life and
stage. A center circle of the dancers and
的後著伏筆。
transcended it into a higher level of
a climbing, which could have countered
artistic reflection.
the depressing atmosphere that
accumulated in the valley-like space was
卜
12月中，「動藝」在屯門與沙田作了
Portraying a street bum, Guthrie Yip was
康文署2()04年社區文化大使計劃的
on stage before the audience entered, his
《潮流舞動》總结演出，除了由學員
unfortunately also abandoned.
slow-wittedness suddenly transformed
Draped in a yellow scarf, Kaiji
演繹導師們的多支編舞作品，還夾有
with a string of tongue-twisters as he
Moriyama’s strongly built body and his
王廷琳編、動藝舞者演出的《觸覺•
expounded on internal organs, their left
exceptionally delicate gestures and
下下天•逆流》，以及梁家權編、動
and right, above and below, in a different
tender movements provided an
藝舞者還有 rbcdcJ (Billy Chan Dance
take from that which we normally hold. A
outstanding focal point that relativized
Concepts)舞者的《霓裳舞影》。
sudden flame from an onstage box
everything around it.
His quiet
immediately after he jumped into it
screaming on the other hand expressed
屯門夜的節目以HIP HOP打頭陣，雖
provided a fitting magical image.
an agony of indescribable degree. In her
助建立氣氛，卻要和慢熱的投入情緒
However, his frolicsome reappearance in
blue dress and making music by rubbing
來次急昇温。至於從室外換入室內場
a Superman suit seemed a bit over the top.
her finger around the rim of a glass of
地，觀幕從環迴變成單邊，將街頭舞
water, Julia Mok represented a
蹈搬上舞台，流行文化和舞蹈的併發
For each episode of the 410 Nights’
somewhat more identifiably pure heart
火花本或無關乎於誰者的主流認同
series, Ong invited artists from other
and conscious. Easier to empathize with
誰，又或特色加特色是否更有特色的
fields to collaborate.
The
was the synchronic choreography with
問題•算作換換觀賞角度則總值支
Philosopher’s Stone, this included Julia
pointing finger gestures whose direction
持。然而HIP HOP持續使人不解的，
Mok who lent vocals and posed
seemed nevertheless lost and the
是其一面強調個性自我.卻總是模仿
questions in Japanese and Chan Chu Hei
dancers’ inner struggling that kept
In
著手勢動作。骆正道和梁家權的
dragging their bodies down, as well as
[2]
Crossing Over跳落舞臺，倒有以平起
an affectionate mouth sealing gesture
In mid December, DanceArt held two
平座的近距接觸一改演出常態的用
that the dancers used on each other.
'Finale Performances' of its LCSD
心
sponsored ‘2004 Community Cultural
Though there was no emcee or interactive
Ambassador Scheme’ in Tuen Mun and
王廷琳的《觸覺•下雨天.逆流》，
section as in the previous parts of the 410
Sha Tin Town Hall. Crossing Over: The
充分用上現代舞的地面動作，到底還
Nights’ series, in The Philosopher s Stone
Pops and the Arts were combinations of
是專業訓練舞者的優勢，另特别凸出
Ong again played with the notion of
short pieces choreographed by the
的還有鑲上了藍燈的道具布條°除了
mixing reality and performance. Towards
DanceArt tutors and performed by
西貢爵士舞學員有燭光的傳遞’其他
the end ofthe piece, Yip announced a short
Community Cultural Ambassador
學員都僅能在姿勢排位與服裝方面用
break in the performance. But the
Scheme course participants. Some were
心，卻皆受限於千篇一律的天幕公式
audience soon found out that they had
of Hip Hop; the majority were jazz and
變化。麥秀慧選的中式配樂頗有效
been fooled. It was only a structural
modern dance. DanceArt tutors also
果，然而襲志成的現場演奏自當最具
device to indicate that the first part of
performed Andy Wong’s Sense of
份量，又是古典前術的結合化身'
the formal performance had come to its
Touches，Rainy Days and Against the
end. Ong then stepped onstage with his
Current and Francis Leung’s Fash-
《霓裳舞影》相比一般時裝秀的輕
baby daughter, walking about and
Dancing with the BCDC (Billy Chan
快、目不暇給的變裝速度無疑感覺赘
playing casually for a short while.
Dance Concepts) dancers.
長，龔志成音樂反營造出舞會的悠
Drowsed by this bit of relaxation, the
揚。誇張的七彩衣飾，始终也不敵T
dancers then slowly picked up the
The show in Tuen Mun started off with
恤波褲的青春活力。從早前城當的
momentum and improvised, presenting
a Hip Hop performance, DanceArt
《舞出艷陽天》到東邊現代舞蹈團將
a thoroughly different picture filled with
hoping perhaps to stir some excitement
演的《激舞型場》，這種徵集年青人
their own restored personalities. At the
in the auditorium. Unfortunately the
的演出，慢慢已成舞圈生態一重要部
end of the trilogy, another chapter was
audience’s enthusiasm was slow in
份，結業演出的難忘經歷與體驗’更about to begin.
brewing and the momentum on stage
望能成學員自我持續發展的動力。
faded fast. Removing the dancing from the street and sidewalk and staging it in a theatre setting with the audience arrayed on one side flattened the dynamics it had in its original setting.
Perhaps street dance and stage dance are both mainstream, bringing one to the other is not necessarily a strategy to raise
either’s status, but an attempt to serve different tastes. The jumping off the stage in Raku Lok and Francis Leung’s
Crossing Over could be seen perhaps as
a restoring move more than a groundbreaking gesture. Hip Hop’s
constant stress on true personality is, however, problematic to some degree, as
authenticity is often difficult to discern in its vocabulary of universal gestures.
Andy Wong’s work stood out from the rest, primarily for the grounded
movement typical of modern dance training, as well as for his use oi props. 「動藝」《潮流舞動》°攝影：Jesse Clockwork ° DanceArt's Crossing Over: The Pops and the Arts. Photo: Jesse Clockwork.
A long cloth sewn with blue lights
seemed, however, more like a starry
programs are certainly exciting goals for the participants. Yet even more important, is how these meaningful experiences can help to drive the
participants’ interest beyond these one-
off events.
[3] In January, DanceArt presented another
concert at the Fringe Club 02 Theatre, with Love ... silence, awaiting, return choreographed by Andy Wong and Dangling Fruits of Joy by Alexandra
「動藝」《愛無言•愛等待•愛回家》。作品：《Dangling Fruits of Joy》。 編舞：Alexandra Beller。舞者：王廷琳、張秀梅。攝影：Jesse Clockwork。 DanceArt’s Love ... silence, awaiting, return. Dance: Dangling Fruits of Joy. Choreographer: Alexandra Beller. Dancers: Andy Wong, Vanessa Cheung. Photo: Jesse Clockwork.
Beller. In Dangling Fruits of Joy,
performed by Andy Wong and Vanessa Cheung, there was a vague storyline
centering on a loving couple. Structural elements, such as the device of dressing
[3]
night sky than raindrops from the sky,
and undressing with a flowery dress,
「動藝」另在一月份還於藝穗會02劇
and it was equaled only by the use of
could be easily identified.
院辦了《愛無言•愛等待•愛回
candlelight in Celebrate the Future.
certainly not highly innovative, but the
家》，有王廷琳的同名作與Alexandra
Other groups, ineptly, shared a dull
device worked well here just as similar
Beller編舞的《Dangling Fruits of Joy》。
color-rotating cyclorama, which should
devices helped focus other small
《Dangling Fruits of Joy》由王廷琳與張
have more attentive treatment (even
entertaining pieces, such as Y-Space’s
秀梅兩人演繹，到底有種故事色彩，
though none might be better). Mak Sau
Not a Double Room or Yap Poo Meng’s
舞作的推演更借衣衫的穿除連分起場
Wai’s choice of Chinese style music was
Just a Dream (in Male Wind Blowing).
次，層次比較清晰易握，關係的起伏
a comparatively fresh move, although it
Perhaps their success is because they
拉扯也未離肢體口角的情感遊戲趣
was no match for Kung Chi-Shing’s live
allude to bits of family drama that we
味。「多空間」的《不是雙人房》、
on stage music performance, a
keep encountering ourselves.
葉步鷗的《奇想》（《男風吹》）等都在
personalized synthesis of the classical
同樣基礎上發揮，或算是典型家庭生
(high art) and the avant-garde (state of
Love ... silence, awaiting, return was, in
活的情調小品。
the art).
comparison, more a mixture of different
《愛無言•愛等待•愛回家》，從起
Fash-Dance’s
was
love, its sections ranged from Indian
首印度色彩的音樂，到曰文歌曲，元
disappointingly rather rhythmically
music to Japanese songs. There were,
素相對紛雜，加上王廷無甚表情、
slow, missing the speed typical of a
however, not many clues from Andy
併止呼吸的演繹，「無言」、「等
fashion show and the fashion business.
Wong’s fixed expression and controlled
待」、「回家」像是散題的串聯。和
Kung Chi-Shing’s background music
breathing to reveal the secrets between
黃茹及黃梅的合作，則在以手接腳的
made it seem more like a ball-scene from
him and Yvette Huang or Tasha Wong.
扶持停頓或是以手肘按腰的串聯啟動
a classical ballet work. Casual wear is
Holding a foot in a position or starting a
間，也未見統一對家的重心感覺，比
strangely uncommon in productions by
movement sequence with a cue from an
較《一刻》的父子情感，或正是現代
Hong Kong dance companies. But the
elbow, evidently implied familial ties but
核心家庭的新寫照，在扶持的雙人舞
work’s feathered dresses turned out to
the attitude of the dancers remained
步外，各自各的連續翻身按牆反有走
be not much of a match for T-shirts and
rather ambivalent. Compared to the
頭無路的感覺.也像側身借力於牆壁
Jeans, particularly in portraying youth
expressive father-son relationship in
地貼地旋圈的打困籠。
culture. From CCDC’s earlier
Wong’s A
collaborations with schools, to the
expressiveness here was perhaps exactly
minds.
2
It was
ending
Held together by the theme of
Mo merit,
the
non
那些紅閃燈球與裝（箱）藍燈布條，
upcoming E-Side Modern Dance
what made the dance an honest portrait
雖比較《潮流舞動》中的布條應用因
Company residency programs, these
of the modern nuclear family or couple.
拉扯出劇場空間而產生比例上更強的
‘finale’ performances for different dance
Aside from the work's lifts and one
6
延伸感，球和《生命速記》則見相
dancer supporting the other that can be
反，拋弄時的操控難免有點緊張僵
seen in all duos, the swift standing turn,
硬，兩者的電子把戲卻和身體的熱血
arm outstretched and pushing against the
情感既總有著距離，電筒的人手照明
wall was reminiscent of a kind of dead
未見加強舞者的關連意義。真欲循環
end desperation, as was the flat futile
再用，反是借《生命速記》的巨型梳
circling on the floor propelled by the feet
化椅，心理的意象營造總比實質可删
paddling on the wall.
的白椅子在小劇場收效。
The same cloth stitched with blue lights
that
was
used
in
the
[4]
performances at Tuen Mun and Sha
十二月份，另還有在上環Para/Site藝術
Tin Town Hall seemed to have better
空間籌款夜的「陳敏兒+邱立信+梁小
effect at the Fringe Club’s smaller 02
衛+楊春江」小型演出。一黑一白服裝
Theatre, stretching all the way out the
的陳敏兒與楊春江，各人先來一段人
central exit. Rubber balls with red
群中獨舞，在有限空間，陳敏兒那常
flashing lights were, however, a bit
見視線帶動頭部側轉的轉身加手部上
troublesome for the dancers to handle
水平伸摺外，仰腰尖趾等的張力，和
as well as hazardous drifting around
梁小術碎瑣的嗓喉輕扯相互牽引，連
on stage. Also, their evocation of the
綿哼音則相對缓徐的搖晃，成了不俗
electronic media cast a cold feeling
的即興交流。楊春江的獨舞小節，由
over the dance that did not tally well
結他輕音樂的震弦帶動，從原位扭身
with the work’s otherwise strong
[4]
踏腳伸展到彈跳及有限空間的移滑。
physical presence and bodily
On the 10th December, Sheung Wan
exposure. The use of torchlight, too,
Para/Site Art Space held their annual
陳敏兒與楊春江於上環Para/Site藝術空 間籌款夜中演出。攝影：文晶瑩。 Abby Chan and Daniel Yeung in Sheung Wan Para/Site Art Space's annual Artmart Artists Party. Photo: Pheobe Man.
至於楊春江與陳敏兒合作的演出，兩
didn’t particularly bring more to our
Artmart Artists Party, with a
人則更縮在靠著牆角桌上的有限空
reading of their interrelatedness. If
“sound+voice+movement+cctv”
間，依靠肩托的倒身、相互的肢體頂
recycling stage props are a concern,
medley relay of Nelson Hiu + Priscilla
撐，把天花以下的幾立方尺空間充份
perhaps re-using the grand sofa from
Leung + Abby Chan + Daniel Yeung
利用。梁志和的即時攝錄投影，其中
Children’s Prayers would be a more
and guitarist Ken Rose. Abby Chan
一幕讓觀者看到楊春江與投影畫面中
imaginative addition to the bare stage
and Daniel Yeung, one in black and
在展場上層演出的陳敏兒的配合舉
than the use of the production’s
one in white, each first performed a
止，最後隨舞者奔出街道直至訊號中
otherwise non-symbolic white chair.
solo session in the limited floor space surrounded by the guests. As well as Chan’s familiar use of a sideward
glance to lead her into a new direction,
her sequential body arching, begun from the feet, were good matches for
Priscilla Leung’s freaky throat noises, as much as her slow swinging worked
well with Leung’s soft humming. As
for Daniel Yeung, his twisting and
bending that quickly expanded to leaping and back-and-forth gliding
were apt complements to the light acoustic vibrations of the guitar.
As for their duo piece, Chan and
Yeung surprisingly chose an even
smaller space in which to perform. On
Abby Chan and Daniel Yeung in Sheung Wan Para/Site Art Space’s annual Artmart Artists Party. Photo: Pheobe Man.
a table set in a corner, they fully
utilized the few cubic square meters
斷結束。演出的安排用意固佳’卻讓
of space by lending strong physical
(which had already shifted back to the
人疑想現時的視藝界是否愈來愈安於
support to one another in episodes of
Mainland), but because Y-Space’s
盛手觀賞的角色，加入好搞live art的丸
literally climbing, hanging, and head-
Victor Ma and Mandy Yim were
仔短暫的接觸即興，已是埋身演出的
feet inversion. A live-feed camera then
dispersing the preserved beans in
僅有互動。
followed Chan upstairs, while Yeung’s
curvy patterns all over the place as
dance reacted to her progress as it was
they improvised. The aromatic smell
[5]
projected on a screen. The show ended
greeted all newcomers, and helped to
其實在這雙月間，為了趕寫嚴重誤點
with the dancers running out onto the
build a rich atmosphere for this event
的關於多媒體舞蹈的文章，還錯過了
street until, finally, the video
with its distinctive flavor.
《十人十色》、《舞蹈4色》與《三個
transmission failed. The performance
突然》等演出，「多空間」於離島演
was certainly an initiative full of good
intentions, yet the visual arts scene
indoors and performed in the factory
場也撞了《鐵騎打醮隊》的市區完
seems to be more and more interested
space. Ice bricks with frozen bean
場，幸而編輯通融正常截稿期後，终
solely in watching rather than
products were hanging about the room,
能抽身前赴了上水古洞多大醬油廠參
participating in such improvisational
causing a symphony of dripping water.
與那裡發生的「多大事件」。
events. Live arts practitioner Yuen
Ma further contributed with weird
Kin
contact
eating/drinking-like sounds. In fact, on
Leung’s
short
2005年1月22日周末下午，幂多不同
improvisation with Yeung was the
a table was a range of bean products
媒體的藝術工作者齊集「多大醬油
only spontaneous event at an
for the audience to taste and write
廠」•進行户內户外的環境演出•明
otherwise meek party evening.
comments about as raw textual
言是場「沒有天幕的多元藝術大事
2
material for further improvisations.
件」。一進場地，豆豉的氣味撲鼻，
[5]
This site-specific piece ended with a
皆因「多空間」的馬才和正在空地上
My encounter with writer’s block while
thundering noise as Ma poured raw
把豉泥撒成彎彎曲曲的線條，嚴明然
writing an essay on similar interactive
beans into zinc containers while Yim
則赤足在其陣中翩然起舞，為整個場
collaborations in dance kept dragging on
waved a few times before disappearing
地營造出應合場景生活歷史的特色氛
for the past few months. Amidst the
into an original pottery vessel left in
暈。「多空間」的演出續而移入室內，
frustration, I regretfully missed Colours
the derelict soy sauce plant.
在已搬遷的村屋廠房中，空間懸吊了
on the Move (Capers), 4 Colours Dance
冷封了的豆芽、豆腐等，冰融的水滴
(Academy Dance Ensemble) as well as
As the sun started to set in the West, Y-
聲構成了一重自然伴樂，馬才和以口
The Three Suddenness. I was also unable
space performed another bit out at the
腔作的怪聲，則增添了動作的口感聯
to see Y-Space’s The Story ofIsland and
shed front of the old building. Li Tin
想。事實上在桌上，舞者另還放了豆
Boat - Hong Kong that unfortunately
Cheung installed a set with layers of
漿、豆瓣醬等，邀人品嘗留下按語以
clashed with another Community Cultural
transparent curtain sheets. Ma and Yim
加入創作的文本。除了肢體對空間的
Ambassador programme, the “Street Arts
first crawled to get away from a
利用，馬才和以傾倒黃豆作的敲擊巨
Carnival” which took place in the more
projection of a big hand, then started to
響，嚴明然以跳進醬罐的最後幾道手
accessible Kowloon Park. Luckily, I was
dance in the alleys, sometimes in a
勢•结束了午間的《與「苴」共舞》。
able to catch up with Y-Space at the Dowda
carefree manner, sometimes as if getting
Happenings in the New Territories.
lost, sometimes in harmony, sometimes
日落西垂•多空間重回廠前空地上演 了《多大的天幕？
1
From the open area, Y-space moved
出的《香港一船與島的故事》最後一
！》，顧名思義，
in opposing directions. At the finale, Ma
On the 22nd January, another usual
changed into a black suit and stood in
是場反諷政府槁西九龍文娛藝術區計
Saturday afternoon, a bunch of local
silence as a recorded speech by Donald
劃的演出。李天翔在原來棚下加上重
artists from different media came
Tsang of his grand vision of the West
重透明膠幕，舞者逃避有形之手投影
together for the Dowda Happening in
Kowloon Cultural District was
的追捕，在幕間穿梭覓路的舞動。舞
a Soy Sauce Factory in Sheung Shui.
broadcast. Finally, as the music of the
者最後以盛裝木立於幕後，重温曾司
It was determined to be, as billed, “an
West Kowloon Cultural District public
長聲耷以人為本、廣徵民意的言論•
evening with artists and events without
service TV spot played, the dancers
接著創地標、顯文化、添悠閒的廣告
the canopy.” When you reach the site
retreated leaving those in the front row
音樂響起•選擇堅持或是放棄天幕，
you can’t help but note the strong scent
of the audience to decide whether to hold
就交由Y給最前排提拿著膠幕的觀者
of soy sauce that fills the air. It was
up the plastic canopy any longer. The
決定。■
not because of the factory production
result was surely more than obvious. ■
1 February 2005 at the Kwai
rhythms that were as precisely played
2OO5年2月1日晚上，香港舞蹈聯盟
Tsing Theatre, the Hong Kong
as they were beautifully danced by the
於葵青劇院舉行了《舞蹈年獎2005》
Dance Alliance presented the Hong Kong
company. The program also included
匯演暨頒獎禮。這個由康樂及文化事
Dance Awards 2005. Sponsored by the
the Hong Kong Academy for
務署主辦的節目，除了向十位/個舞
LCSD, the event marked the seventh
Performing Arts performance of
蹈工作者和舞蹈單位頒發第七屆 「香
year of this annual ceremony and as in
excerpts of One Table N Chair, whose
港舞蹈年獎」，以表揚他們於2004年
previous years, it was greatly enhanced
choreographers, Willy Tsao, Li
對香港舞蹈的傑出貢獻外，香港舞蹈
by superlative dance performances as
Hanzhong, and Ma Bo received awards
界精英所表演的節目，以及陳德昌製
well as by Ringo Chan’s outstanding film
on the evening for their creation of the
作的向得獎者致敬的錄影片段，更令
The emcees for
work for the City Contemporary Dance
這個晚上生色不少。上屆舞蹈年獎得
the evening were previous Hong Kong
Company production. Two more of the
主陳敏兑和王廷琳於今屆轉換了角
Dance Award winners Abby Chan and
evening’s award recipients, Hong Kong
色，擔任了大會司儀，流暢地穿梭於
Andy Wong.
Chan and Wong guided
Dance Company’s Ke Zhiyong and
舞蹈演出、錄影片段和獎項頒發之
the program smoothly and expertly
Hong Kong Ballet’s Nobuo Fujino, also
間，輕鬆而優雅地帶領著整晚節目的
tributes to awardees.
through performances, film tributes, and
performed.
Ke reprised his dazzling
推進。這對上屈香港藝術節《獨行俠
award presentations with ease, grace and
performance in Teahouse Attendant and
與亂世佳人》的演出拍檔，正好推翻
elegant patter that belied the notion that
His Teapot, for which he was honored
了舞者「能動不能言」的説法。
dancers are better at moving than they
in this year’s awards and Fujino danced
are at talking.
in one of his award winning roles, the
頌獎禮由新組成的「非凡夢空間」的
powerful portrayal of Feng in an excerpt
鼓聲敲起了序曲。這齣由未淑雯 '陳
The program opened with a newcomer
from the Hong Kong Ballet’s production
靜嬈、陳豪婷、鄧煥詩、鄺彥婷自編
to the Hong Kong dance scene, Informal
of Stephen Jefferies’ Legend ofthe Great
自演的朝鮮《長鼓舞》，以帶著克制
Space, whose members Peggy Chu Suk
Archer. Liang Jing and Faye Leung
的歡欣調子開始，慢慢推展到高潮時
Man, Simona Chan Hing Yiu, Chan Ho
danced superbly in another excerpt from
奔騰而複雜的擊鼓節奏：鼓聲準確，
Ting, Tang Wun Sze, and Olivia Kwong
the work. Jefferies’ work also received
舞蹈漂亮。跟著的表演節目亦包括了
Yiu Ting performed in their own
an honor for its costume designer,
一些今屆的得獎作品和演出：「香港
choreography of a Korean Drum Dance.
Virginia Chu.
演藝學院」重演了「城市當代舞蹈困」
製作、以曹誠淵、馬波和李捍忠的編
The work, which began in a tone of
restrained celebration built to a rousing
Other program highlights included a
舞而獲獎的《一桌N椅》選段：「香
climax of unison drumming of complex
very fluent performance of Basilio’s
港舞蹈團」的柯志勇表演其令人目眩
Variation from Act III of Don Quixote
的得獎演出《茶倌》；「香港芭蕾舞
「CCDC舞蹈中心」以它對香港舞蹈
danced by the HKAPA’s Cao Chi Thanh
團」的藤野暢央，則聯同梁靖和梁
敎育、推廣和支持所作的傑出貢獻而
and Mosuo Women, impressively danced
菲，於謝傑斐編舞的《不死傳説》選
獲頒舞蹈年獎。平均每星期為一千五
by the Hong Kong Dance Company’s
段中，有力地演出其得獎角色之— —
百名學生提供的舞蹈課程、把舞蹈帶
women dancers led by the gifted Xie Yin,
一方蒙。這個作品，亦以朱瑞英的服
至社區中心、商場等公共空間和香港
as well as excerpts from Helen Lai’s
裝設計而獲獎。
敎育每一角落的外展計劃、為有志於 專業舞蹈敎育和事業的青少年提供訓
masterful, The Comedy of K performed
by CCDC’s exquisite dancers. The last
其他的精彩節目還有由「演藝學院」
練和演出機會的獎學金、以及為新進
award presentation of the evening was
學生Cao Chi Thanh演繹的芭蕾舞《唐
編舞家提供空間和技術與行政支援的
to the hugely popular Aaron Kwok
吉訶德》選段、由謝茵帶領香港舞蹈
創新伙伴計劃，種種工作，使CCDC
whose legions of fans joined the capacity
團女舞者所演出的《摩梭女人》，以
舞蹈中心的成立成為香港舞蹈界的一
audience of Hong Kong dance lovers in
及「城市當代舞蹈團」演出黎海寧的
次突破，為社區和香港舞蹈發展提供
cheering the star as he accepted his
《畸人説夢》選段。
award. All were moved by his eloquent
Mr. Kwok's
頑獎禮的高潮是頒發最後一個獎項予
appearance was followed by the
流行歌星郭富城。在場的觀眾，無論
evening’s final performance from sixty
是他的歌迷或是香港舞蹈的愛好者，
朱瑞英女士以她為香港芭蕾舞團製
dancers of the award winning Hong
都被郭富城誠懇的謝詞所打動，同為
作、謝傑斐先生編舞的《不死傳説》
Kong Ballet Group who presented the
這個明星的獲獎而熱烈鼓掌。接著，
之服裝設計而獲獎。朱瑞英女士的服
Teardrops scene from their production
今年獲獎的「香港芭蕾舞學會」六十
裝設計漂亮地糅合了中國的美學和不
of Swan Lake under the artistic direction
個學生便現身舞台，演出了伍宇烈導
同文化背景以及現代芭蕾舞的要求，
of Yuri Ng.
演及加插編舞的《天鵝湖》選段《哭
以簡約、新穎、優美和創意，展示了
泣湖水》。隨著一眾「小天鵝」步出
動態軀體所傳達的意念、線條和力
舞台，整個典禮也告完滿結朿。
量。除了設計師對剪裁舞蹈服裝的深
acceptance speech.
During the evening, ten awards were
確保香港舞蹈文化生命力的典範。
厚知識外，《不死傳説》中服裝設計
presented by guests of honor: Dr. Darwin
2
了必需而獨有的服務。CCDC舞蹈中
心是香港舞蹈的夢想成真，也是一個
Chen, SBS, Chairman of the Committee
當然，整個晚上最觸目的，是分別由
的力量，是在於華麗的選料，使她能
on the Performing Arts of the HAB; Mr.
五位主禮嘉賓---- 民政事務局表演藝
以布料的質感來營造出不同的層次，
Hu Jialu, Artistic Director of Hong Kong
術委員會主席陳達文博士SB S、香
從而在建立舞蹈性格的同時，也不會
Dance Company; Mr. Stephen Jefferies,
港舞蹈團藝術總監胡嘉祿先生、香港
掩蓋身體的動作。朱瑞英女士的設計
Artistic Director of Hong Kong Ballet;
芭蕾舞團藝術總監謝傑斐先生、香港
以現代的簡潔線條帶出豐富的傳統 ；
Prof. Kevin Thompson, Director of
演藝學院校長湯柏燊敎授和王仁曼芭
回應過去，反映現在。
Hong Kong Academy for Performing
蕾舞學校校長王仁曼女士---- 所頒發
Arts and Ms. Jean M. Wong, Principal
的十個獎項。「香港舞蹈年獎」2005
藤野暢央先生以他於香港芭蕾舞團
od Jean M. Wong School of Ballet. The
各得主及其得獎贺辭詳列於下：
2004年製作各個作品中的精彩演出
complete list of Hong Kong Dance
Awards 2005 recipients and the citations for their awards are as follows:
The CCDC Dance Centre, for its
outstanding contribution to Hong Kong
dance education, promotion, and support. Through dance courses that
serve an average of fifteen hundred
students weekly; outreach programs that bring dance to every segment of Hong Kong’s education sector as well as to community centers, shopping malls, and
other public spaces; scholarships that supply intense training and performance opportunities to youngsters who often go
謝傑斐先生頒獎予CCDC舞蹈中心代表馬惠華、鄺韻儀、杜麗莎及劉天明。 CCDC Dance Centre’s Cathy Ma, Ronly Kong, Lisa To and Lau Tin-ming receiving Hong Kong Dance Award from Mr. Stephen Jefferies.
her sumptuous selection of fabrics
而獲頌香港舞蹈年獎2()05。在2004
whose textures allow her to build the
年，藤野暢央先生演出了一系列角
multiple layers that establish the dance’s
色，展現了他那令人炫目的藝術造詣
characters while not concealing the
和多面性的技巧。他所演出的王子角
Her costumes
色，由《杜蘭朵》中剛愎的卡拉富、
movement of the body.
are steeped in rich tradition and yet with
《天鵝湖》中憂鬱的齊格菲、《仙履奇
the clean contemporary lines that allow
緣》中的魅力王子、到《胡桃夾子》中
them to both echo the past and reflect
英偉的王子，展示了他在掌握角色性
the here and now.
格精粹的能力，跨越了標準的演繹尊 貴角色的界限。藤野暢央先生的才能
Nobuo Fujino, for his outstanding
亦伸延到其他角色•由《未代皇帝》
performances with the Hong Kong
中的監獄長、《不死傳説》中的方
In 2004, Nobuo performed a
蒙、《胡桃夾子》中的西班牙及阿拉
panoply of roles that attest to his startling
伯舞者，到《温柔•孤寂•夢千回》
virtuosity and skillful versatility. In his
和《春之祭》中充滿情感的演繹，都
performance of Princes - from
展示了他那豐富的表達力。更加重要
Turandots willful Calif, Swan Lake’s
的，是他那簡潔的線條、精彩的技巧
melancholy Siegfried, Cinderella s
和優雅的雄姿。
Ballet.
Hong Kong Dance Awards 2005 Recipient Virginia Chu receiving Award from Ms. Jean M. Wong. 王仁曼女士頒獎予舞蹈年獎2005 得主朱瑞英。
Charming, to the sturdy Nutcracker,
Nobuo demonstrates his ability to locate the essence of a character and take his
on to pursue professional education and
interpretations beyond the standard
careers in dance; and, its innovative
danseur noble line.
Partnership Program that provides
over into his non-princely roles as well,
space and technical and administrative
from his Prison Governor in The Last
support to emerging choreographers, the
Emperor and Chief Bodyguard in
CCDC Dance Centre represents a
Legend ofthe Great Archer, Spanish and
groundbreaking venture for dance in
Arabian dancers in The Nutcracker to
Hong Kong and performs essential and
his emotion-charged portrayals in
unparalleled services to the community
Dreams of Tenderness and Solitude and
and to Hong Kong dance development.
The Rite Of Spring.，Nobuo reveals his
It is a dream come true for Hong Kong
immense expressive palette.
dance and a model for ensuring the
and above all is his purity of line, his
vitality of Hong Kong’s dance culture.
technical brilliance, and his poised,
This talent spills
Beyond
manly bearing. Virginia Chu, for her spectacular
costume designs for the Hong Kong
The Hong Kong Ballet Group, for its
Ballet production of Stephen Jefferies’
dynamic promotion of ballet and for its
Legend of the Great Archer. Chu’s
outstanding educational activities in
costumes beautifully fuse the aesthetics
ballet.
and diverse cultural background of
Group stands as Hong Kong’s first and
China with contemporary ballet’s
longest operating ballet organization.
demands to reveal the expression, line,
Throughout its history, it has provided
and energy of the body in motion. Chu
young ballet aspirants with opportunities
accomplishes this feat with simplicity,
to engage in ballet by dancing in full-
freshness, elegance, and innovation. The
length ballet productions, attending
power of Chu’s costumes for Legend of
educational seminars, and participating
the Great Archer lies not only in her
in competitions. In 2004, as part of its
thorough knowledge of cutting and
fortieth anniversary celebration, the
fitting costumes for dancers but also in
Hong Kong Ballet Group presented,
Founded in 1964, the Ballet
Hong Kong Dance Awards 2005 Recipient Nobuo Fujino. 舞蹈年獎2005得主藤野暢央°
with a cast of over one hundred students,
「香港芭蕾舞學會」以其
a superbly produced, perfectly
大力提倡芭蕾舞蹈和出
rehearsed, and innovatively staged
色的芭蕾舞敎育活動而
production of Swan Lake.
The
獲頌香港舞蹈年獎。成
production was with ingenious
立於1964年的「香港芭
choreography and under the skillful
蕾舞學會」是香港首
direction of Yuri Ng, who as a youngster
個、也是歷史最悠久的
benefited from the Ballet Group’s
芭蕾舞團體。由創辦至
activities, and like many of its past
今，它都一直為有志於
members, has gone on to become one of
芭蕾舞的青少年提供了
the movers and shakers in the Hong
演出、敎育講座和舞蹈
Kong ballet scene. The Ballet Group can
比赛等參與的機會 。
be justly proud and Hong Kong can bask
2004年，為慶祝四十週
in its good fortune because of the
年紀念，「香港芭蕾舞
Group’s exceptional work.
學會」製作了一齣製作 出色、排練完美而富有
Ke Zhi-yong, for his exhilarating and
新意的《天鵝湖》。這
bravura performance of the 4 Tea House
個有百多個學生演出的
Attendant and His Teapot’ in the Hong
製作，是由年青時代曾
Kong Dance Company production of
受益於「香港芭蕾舞學
Bashu Spice. Ke Zhi-yong ignites the
會」的著名編舞家伍宇
stage with his dancing. His sheer joy
烈先生所精心指導和加
and abandonment to movement is
插編舞。與很多會員一樣，伍宇烈先
領觀眾進入他那為舞蹈而狂喜的境
contagious, lifting the audience into the
生成為了香港芭蕾舞壇的楝樑。「香
界。於《茶倌》中，他有趣和靈敏地
stratosphere of his exultation of dance.
港芭蕾舞學會」應能以此為榮，而香
混合了胡鬧、優雅和技巧，演出了
港也應以其傑出的工作而慶幸。
令人眩目的身體雜技，以及一時技
In ‘Tea House Attendant and His
舞蹈年獎2005得主柯志勇。
巧高超、一時姿勢簡易的肢體動
Teapot’，he performs stunning fullbodied acrobatic and virtuoso feats or
柯志勇先生以他在香港舞蹈團製作
作。柯志勇先生舞蹈的奧妙，是在
simple gestures of the head, the feet, or
的《蜀風麻棘燙》中《茶倌》一舞的
於它是屬於觀眾的---- 他不是為了
hands with the same playful and nimble
演出而獲獎。柯志勇先生以他的舞
展示高超技巧，也沒有強加其意志
mix of mischievousness, grace, and skill.
蹈點亮了舞台。他那份純粹的歡悦
於舞蹈上，而是慷慨的向觀眾付
What is magic about Ke Zhi-yong’s
和對舞蹈的投入充滿了感染力，引
出。柯志勇先生的舞蹈，表揚了舞
動的身軀和其輝煌的可能性。
郭富城先生以他在《舒適堡郭富城舞 台寶典@舞林大匯演唱會2004》中的
舞蹈演出而獲頌香港舞蹈年獎 2005。在他的豐盛事業中，郭富城
先生在演出、娛樂和歌唱等各方面光
芒四射的表現常被同儕和觀眾讚譽；
但他在舞蹈上的藝術性、技巧、創
意、能量和投入’也同樣受到舞蹈專 業的敬重。在2004年的演唱會中， 郭富城先生以其高超而又振動人心的
舞蹈演出，推動舞蹈至潮流文化的前
線，也幫助觀幕認識到舞蹈其實是一 種豐富而深具意義的表達方式。充滿 陳達文博士頒香港舞蹈年獎予香港芭蕾舞學會代表陳雅文及伍宇烈。 Representatives of Hong Kong Ballet Group, Yama Chan and Yuri Ng, receiving Hong Kong Dance Award from Dr. Darwin Chen.
12
動力、流暢而技巧精湛，郭富城先生
的舞蹈補足和強化了這門藝術•也令 它更接近大取。
dancing is that it is all for us, his
seeming sleight of hand. If dance is
李樹生先生以他在香港舞蹈團《遷
It is not a display of his
fleeting and light is chimera; then, by
界》中耀目的燈光設計而獲頌香港舞
prowess, or the imposition of his will but
using imperceptible elements he invents
蹈年獎2()05。在《遷界》中.李樹生
rather it is offered to us with unbounded
a world, creates time, place, and mood.
先生的燈光不單照亮了編舞的意念.
generosity. Ke Zhi-yong’s dancing is a
And all the while, what we see is never
celebration of the moving body and all
light, but only the things that the light
中，燈光剪裁了空間，使觀幕從中看
shows. Lee is a magician of light whose
到每一段不同的舞蹈’並吸收其中複
audience.
its glorious possibilities.
而更説明了它，並賦予它形態。在舞
雜的意象。面對這項困難的
Aaron
Kwok,
for
his
工作，設計師有如施展幻術
’
般，以幻象般的燈光來捕捉
electrifying dance performance
in Physical Aaron Kwok Mega
飛逝的舞蹈。他不留痕蹟地
!
Hits Live in Concert 2004.
創造出一個世界•以及時
Throughout his prolific career,
間、地方和感覺；觀眾所看
Kwok has regularly garnered
到的不是燈光，而只是它所
supreme accolades as a
照亮的事物。李樹生先生是
consummate showman, a
一個燈光的魔術師，他的幻
scintillating entertainer, and a
術是為了啟示。他所顯露
matchless vocal artist from his
的，是舞蹈的複雜、美麗和
peers as well as from his vast
豐富。
audiences.
Among the
曹誠淵、馬波及李捍忠先生
enormous circle of those who
以他們在城市當代舞蹈團
esteem his work are dance professionals for whom Kwok
《一桌N椅》中卓越而創新的
serves as a model of dance
編舞而獲獎。在《一桌N椅》
artistry, technical brilliance,
中，編舞家從傳統中國戲曲
creativity, energy, and
的豐富寶藏中，取其精粹、
commitment.
去其情感、審其常規；把戲
In Physical
曲中不同主題所表達的核
Aaron Kwok Mega Hits Live in
心，建構成動作的穩喻，把
Concert 2004, Kwok soars. His
thrilling and masterful dance
performance propels dance to
Hong Kong Dance Awards 2005 Recipient Aaron Kwok, 舞蹈年獎2005得主郭富城。
the forefront of popular culture and
conjuring is bent to the service of
enables audiences to value dance as a
revelation.
meaningful and rich medium of human
complexity, the beauty, and the richness
expression.
The power, fluidity, and
What he reveals is the
of dance.
隨著舞蹈能量的展開而前
進。編舞家以來自傳統的動作元素作 為起點，使這齣全新而當代的作品，
亦帶有親切的力量和根基。三位編舞
家操控和發展動作，來淨化普世通用
的主題，創出了一項攝人的藝術成
virtuosity that characterize Kwok’s dancing reaffirm its status as art form and
Willy Tsao, Ma Bo, and Li Hanzhong,
make it accessible to all.
for their masterful and innovative choreography of One Table N Chairs. In
Kim Lee, for his incandescent lighting
One Table N Chairs, the choreographers
design for the Hong Kong Dance
mine the rich vein of traditional Chinese
Company production of Evacuation
opera, homing in on its salient features,
In Evacuation Order, Lee’s
stripping bare its sentiment, and
lights give shape to the choreographer’s
interrogating its conventions.
ideas, not simply illuminating them but
Expounding on the expressive kernel
elucidating them. They are the frames
contained within the opera themes, they
through which we are able to read each
build movement metaphors that draw us
nuanced phrase of the dance and to
into their ideas and carry us along with
absorb its complex imagery.
Lee
the dance’s dynamic unfolding. The
accomplishes this gargantuan task by
choreographers’ use of movement
Order.
觀眾引進他們的意念之中，
就。
楊春江先生以他在《形亡極樂》中充 滿靈感的編舞及無瑕的演出而獲獎。
《形亡極樂》是楊春江先生面對親人 離逝而作的一次探索，檢視愛的持續
和更新力量。然而，《形亡極樂》並 不是一支挽歌，而是一場慶典’讀揚
了人類軀體，以及它與自然世界的终 極連繫和它那深厚而微妙的表達能 力。在舞蹈中.鳊舞家繼績以動作’
燈光、雕塑形態、錄影和其他台上的 視党元素來琢磨他的創作能力和探讨
他的主題。楊春江先生的舞蹈動作自
elements from traditional sources as a
homogenous style of most performers
starting point for their invention in One
today, and although his work is absolute
Table N Chairs enables them to create
artifice, a carefully devised manipulation
something entirely new and absolutely
of theatrical ideas, flawlessly performed,
contemporary and yet something that has
his style gives the work great power and
the weight and rooted-ness of the
immediacy.
familiar. Their development and expert
manipulation of movement into
Yeung Wai-mei, for her ingenious
distillations of universal themes is a
choreography and beguiling performance
stunning artistic achievement.
of the Spiritual Girl. Spiritual Girl is a
truly audience-centered work in which
Daniel Yeung, for his inspired
Yeung puts us smack in the middle of the
choreography and impeccable
space and allows the dance to unfold in a
performance of Metalove. Metalove is
360 degree arc around us. She thus creates
Yeung’s lyrical exploration of living
a vantage point from which we can view
through and carrying on after great loss
the world through the choreographer’s
and about the sustaining and renewing
unique perspective. In Spiritual Girl we
Rather than elegy,
share Yeung’s bemused encounter with a
Metalove is a celebration of the human
modern world of erotic enhancement
body, its ultimate connectedness to the
gadgets, eco-mania, new age self-help
natural world, and its ability to express
gurus, goddesses from Martha Graham to
deeply and with fine gradation,
Madonna, and a multi-denominational
statements of profound insight.
In
telephone voice mailbox. The Spiritual
Metalove, Yeung continues to hone his
Girl stalks the blissfully clueless to the
mastery of composition and to explore
gaping maw of Mr. Bush’s dystopia with
his discourse with movement, light,
inexorability, wit, invention, and with the
然，並沒有像今日多數舞者般被劃一
sculptural form, film, and other visual
irrepressible charisma of Yeung’s
的風格所約束。他的風格，配合上作
elements that share his performance
performance. Yeung’s work explores a
品中深思設計的劇場意念和沒有瑕疵
Yeung’s movement has a
world of ideas; it’s smart, deft, relevant,
的演出，使他的作品帶著一份直接而
and totally original. ■
深厚的能量。
power of love.
space.
naturalness that is unfettered by the
湯柏燊敎授頒香港舞蹈年獎予楊惠美。 Yeung Wai-mei receiving Hong Kong Dance Award from Prof. Kevin Thompson.
楊惠美女士以她在《捕捉流水》中充
滿睿智的編舞及引人注目的演出而獲 頒舞蹈年獎。《捕捉流水》是一齣真 正以觀眾為中心的演出，編舞刻意把
2
觀眾安排在場地正中，而舞蹈演出則 以36◦度環迴展露於觀眾四週，從而
為觀眾做就了一個有利位置，來欣賞 編舞獨特的眼中世界。在舞蹈中，觀
眾分享了編舞與這個現代世界的一些
有趣接觸：性玩具、自大狂、新一代 的自助宗敎、由格蘭姆到麥當娜等一
系列的女神、以及多敎派的電話服務 留言。不留情面、富於機智和新意，
再加上楊惠美女士那不能壓抑的動人
演出，《捕捉流水》讓觀取從旁觀
看，由快樂而沒有機心的人與事•到 布殊總統的「反烏托邦」。聰敏、靈
胡嘉祿先生頒香港舞蹈年獎予楊春江 。 Daniel Yeung receiving Hong Kong Dance Award from Mr. Hu Jialu.
巧、切題而原創.楊惠美女士的作品 探索了一個意念的世界。■
舞評
Review
夢，但同時説不定，也許尚能给他們 一種勇氣同信心！」
感謝「演戲家族」和「香港舞蹈團」為 我們帶來這個演出，在這新一年的開
始，祝願他們為港再創新猶。■
令人動情動心的《邊城》 文：琴鳴
《小渡頭》
（改自滿有詩意的《邊城場刊》分 場和歌曲目錄）
「演戲家族」和
今次《邊城》以歌舞劇的形式演出.
「香港舞蹈團」
歌舞俱佳是這個作品最成功的地方，
合作演出的《邊城》，是香港劇壇極
劇中對白又沒多沒少，編劇和導演的
少有和難得的演出•觀眾首次欣賞到
用心是可見和可感覺到的。劇中一句
「香港舞蹈團」舞者的歌聲。舞蹈團
簡單的對白説：「所有村民都希望翠
成員舞技精湛是不用多説，眼看他們
翠好」，其實這句説話簡潔地指出
如詩如畫的舞蹈，耳聽他們委婉動人
了：翠翠就是一個希望，一個人性得
的歌聲，都不假幕後代唱，而且邊跳
以恢復，一個大家可以過好日子的希
邊唱，舞蹈部份又見難度，歌詞和曲
望。沈從文先生筆下的《邊城》並未
都動人心紜，演員演出投入又真摯-，
成為過去，所訴説的偏偶一角是世界
真令人有強烈的盡情盡性的感覺 ，使
的一個縮影，他對人生的關懷和希
觀眾的情绪都— —帶引出來，時而低
冀，人性中的平凡中見的不平凡，美
迴不矣，時而心感激動，情緒就隨著
麗和勇氣的故事•深深打動著我們。
演出起起伏伏，令人感到沈從文先生
觀幕落淚了，淚乾了，就會覺得世界
筆下充滿歌謠的湘西一偶就在眼前，
變得美麗一點。
船街碼頭臨江仙
小渡頭 吊腳樓
船街碼頭天邊外
未天光
翠翠家，夢彷彷
趕龍舟
龍舟趕 兩個兄弟一姑娘
黃花細雪見飄零 小山崗
月光光
魂兮歸來見茨灘
他關愛的中國「一小角隅的村與人」的
「愛憎與哀」都深深感動著觀幂，《邊
最後，沈從文先生在《邊城》的題記
城》真是一個令人動情動心的演出。
裡最後説到：「這作品或者只能给他
們一點懷古的幽情，或者只能給他們
演出的成功，除了舞蹈團的付出，演
江邊黃花細雪
一次苦笑，或者又將给他們一個噩
長河邊 忘不了
大雨如來翠翠家 大雨如來翠翠家
員、編曲和填詞、佈景、燈光等等 台前和幕後的工作人員的努力都令
人留下深刻的印象。其中陳曙曦飾演
阿希、林小寶飾演小翠、陵仁山和何 健分別飾演大佬和二佬，他們演技 出色，歌聲真摯，令觀眾十分投入和
信服。阿爺的角色演活了我們心中傳
統中國老百姓的形象，善良而又知足 •守貧而又勤奮，樂天而又好客，他 不但保護了孫女翠翠，更是值得炎黃
子孫保留和珍惜的保護神。記得八十 年代看沈從文先生寫於1934年的《邊
城》，看著翠翠父母因社會禮俗的不
容而喪命後剩下孤兒的坆事而落淚• 現在再看《邊城》，再看中國’經歷 文革的傷痛，曾經被人唾棄的傳統更
令人珍惜。
「演戲家族」和「香港舞蹈團」聯合製作《邊城》'
「香港舞蹈聯盟」剛獲香港藝術發展局委約壽
The Hong Kong Dance Alliance has been commissioned by
辦一個大型國際性舞蹈節。在合作伙伴香港
the Hong Kong Arts Development Council to present a large
演藝學院和協辦組織C C D C舞蹈中心的共同
scale international dance festival. The festival, planned as a
努力下，這個計劃於2 0 0 6年6月舉行、為期
ten-day event in June 2006, is titled Hong Kong Dance Festival
十天的「香港舞蹈節
2006」，將會是一個兼容 了本地和國際舞蹈的盛
事，表揚舞蹈的想像、達 意和視野。
以呈現香港作為亞太地區
舞蹈樞钮為目的，「香港 舞蹈節2006」將製作不同
的舞蹈活動，包括不同形 式的表演、錄像播放、會
議、舞蹈課和工作坊。這 些節目的初步大纲列於附
2006. In partnership with the Hong
H N O N K O DAN C F E S T V A
G G E L
2
6
0
0
香港舞
蹈節
Imagine • Capture • Project
想像•捕捉•投射
表。如欲索取「香港舞蹈
Kong Academy for Performing Arts
and in association with CCDC Dance Centre, the festival will be a
local and international event celebrating the imagination,
expression, and vision of dance.
With the aim to present Hong Kong as an dance hub of the Asia-Pacific region, the festival plans to produce a wide range ofdance events, including
various performances, film shows, conferences, classes and workshops.
節2 0 0 6」進一步的資料， 請電郵通訊地址至
A preliminary outline of the events is shown below. For further
hkdalli@netvigator.com ，或留意舞蹈手札
information, please e-mail address to hkdalli@netvigator.com, or
及舞蹈節的宣傳單張。
watch for details in the coming issues of Dance Joumal/HK and
promotional leaflet of Hong Kong Dance Festival 2006.
香港舞蹈節2006節目大綱 Hong Kong Dance Festival 2006 Events Outline
齊齊舞—■
時間 Time:下午 Afternoon
Everybody Dance
場地Venue:香港文化中心廣場HK Cultural Centre Piazza
ONE
Open call for proposals
群眾舞蹈大集會
Mass dance rally
公開徵求建議書
齊齊舞一二
Everybody Dance
時間Time:晚間Evening
TWO |FOpen call for Dposals
社區舞蹈匯演 Community dance performance
衣建議書
齊齊舞一三
時間 Time:早上 Mornings
Everybody Dance
場地Venue:香港演藝學院排練室HKAPA dance studios
THREE
舞蹈課，包括中國民間舞及古典舞、身韻、太極、中國戲曲動作、主流及前術芭蕾舞、現代舞、劇場舞 適合初學或喜愛舞蹈的成人至專業程度。 Classes in Chinese folk & classical, Shen Yun, Chinese Opera, Tai Chi, cutting edge & mainstream ballet,
Open call for proposals
______ :______________________________________________ ■riiiirwiiiii.r
舞蹈.精粹 Essential Dance
時間 Time:晚間 Evenings 場地 Venue:葵青劇院
香港專業舞蹈團演出 Productions of Hong Kong professional companies
16
Kwai Tsing Theatre
舞蹈•各自各 Independent Dance
時間 Time:晚間 Evenings
場地Venue:香港演藝學院戲劇院
HKAPA Drama Theatre
Open call for proposals
香港及亞洲獨立舞蹈藝術家演出
Productions of HK and Asian independent artists
舞蹈•學院 Academies Dance
公開徵求建議書
時間 Time:晚間 Evenings
場地Venue:香港演藝學院歌劇院HKAPA Lyric Theatre
國際舞蹈學院節演出
Productions of the International Festival of Dance Academies
舞蹈• Specific Specific Dance
時間 Time:晚間演出前 Before evening performances
場地Venue:晚間演出場地外Festival environs
Open call for proposals
環境及「場-鎖」舞蹈演出 Environmental and site specific dance performance
公開徵求建議書
舞蹈•錄像
時間 Time:下午 Mid to late afternoons
Film Dance
場地Venue:香港演藝學院播影室H KA PA Screening Room
Open call for proposals
香港及國際舞蹈錄像系列
Hong Kong and International Dance Films
公開徵求建議書
談談舞— —
時間 Time:早上至午後 Mornings to early afternoons
Talking Dance — ONE
場地Venue:香港演藝學院演奏廳HKAPA Recital Hall
世界舞蹈聯盟亞太區週年大會，議題包括創作及製作、敎育及訓練、管理及宣傳、研究及記錄、福祉及地位
World Dance Alliance Asia Pacific Annual General Assembly — meetings on Creation & Presentation, Education &
Training, Management & Promotion, Research & Documentation, Welfare & Status
談談舞一二
時間 Time:早上至午後 Mornings to early afternoons
Talking Dance — TWO
場地Venue:香港演藝學院演奏廳HKAPA Recital Hall
包括論文發表、工作坊、和專家小組討論的舞蹈會議，主題為21世紀的舞蹈敎育和舞蹈敎育的科技
Conference with paper presentations, workshops, panel discussions on dance education in the 21 st Century
Open call for： proposals!
&開徵求建議書
and technology in dance education f節目項目或內容或會更改 Programme events and contents subject to change.
CZJ LlJl i l N n 比
l-
Post 1 -
Full-time Assistant Co-ordinator
Post 2 -
Full-time Assistant Co-ordinator
Mid-March 2005 to Mid-July 2006
August 2005 to July 2006
(16 months)
(12 months)
Job Descriptions: Assisting the Festival Co-ordinator to organize the Festival, including responsibilities in Public Relations,
Fund-raising, Marketing & Administration.
oddo
Applicant should have:
-university degree -background in at least two of the following: dance, arts administration, marketing & public relations. Applicant please send resume, with expected salary, before 10 March, 2005 to: Hong Kong Dance
Alliance, c/o Office of the Associate Dean, School of Dance, HKAPA, 1 Gloucester Rd., Wan Chai, HK.
or
Enquiries: 2584 8757 Anna Chan.
舞評
Review
Independence By Tom Brown
了diversity
and quality not to
dancers donating their time because of
tiny Hong Kong Arts Centre McAuley
mention the quantity of dance
their belief in the choreographer and
Theatre entitled Dance In Possible!?. In
from independent choreographers who
much of the production costs provided
that work Ma and Yim performed a kind
work with one or two key personnel or
by income from teaching or other odd
a trio in which light was the third dancer.
with companies of‘pick-up’ or freelance
jobs, they manage to present modest
In December 2004 and January 2005
dancers sometimes act as a barometer
work on shoestring budgets, that
they took a team of dancers - both
of the health of dance. Since Henry
sometimes pack as much creativity and
freelancers and students, some from their
Mann and Tania Tang started Ballet for
innovation as those of their much heftier
own classes at their Kwai Chung factory
All in 1969, Hong Kong has had a
counterparts, the ‘established’ dance
home (where they teach courses such as
tradition of independent dancers and
organizations.
More than being
Butoh in the City and Environmental
companies blossoming for a few seasons
competitors, however, the independents
Dance as well as more traditional fare)
and then either disappearing from the
offer something even more essential to
and some from the APA - on the road
scene or morphing into something else,
the grander dance scene. They are both
with a production entitled The Story of
sometimes something more substantial,
the R & D arm of dance and its front
Island and Boat- Hong Kong. Spread
and sometimes something a bit more
line; often they accomplish both roles at
over about a month, Y-space performed
permanent. Often these companies are
the same time while contributing
this LCSD Community Cultural
where young choreographers and
outstanding dance works to Hong
Ambassador 2004 Scheme extravaganza
dancers cut their milk teeth before going
Kong’s robust dance scene.
at six locations on Hong Kong Island as
on to meatier work - some of Helen Lai’s
well as on Lamma, Cheung Chau, and
earliest dances, for example, date from
One of the more permanent and
Lantau islands.
her Ballet for All days. At their start,
substantial of the independents is Y-
consisted of a large stage performance,
independent dance companies require a
Space, headed by Victor Ma and Mandy
‘site-specific’ dance events (that differed
great deal of fortitude, hard work, and
Yim. Both started off as ballet dancers
with each location) and a parade.
chutzpah on the part of their principals
but they’ve traveled far and wide from
whose only assets are their great
that original classical and traditionalist
I caught up with them on the Cheung
expectations, the enthusiasm of a
stance. Among their past work, one in
Chau leg of their journey and, as I walked
handful of loyal supporters, and their
particular comes to mind, an
along the waterfront promenade from the
own talent and sweat equity.
extraordinarily moving production at the
ferry, one of the first bits I encountered
E
With
The production
featured Mandy Yim standing with her feet planted firmly and wide apart at the bow of a
fishing boat that was plowing along in the ■ bustling Cheung Chau harbor. Dressed in the billowing sleeves of a traditional robe, ■
waving her arms in wide arcs, Yim resembled
B
招¥舞計劃書4
a sort of Jungian archetype of Chinese |
heroine. For the few minutes that it took the
Call for Proposals
boat to traverse my field of vision, Yim’s iconic presence transformed the space,
condensed it, crystallized it into a
「舞蹈平台05」是一個著重編舞過程和討論的g舞計劃 o 參加者須在暫定於11月舉行的正式演出前，於*爾次非正
compendium of Chinese ‘herstory’ far more effectively than all the high wire
I_____ I U------- u
antics of Zhan Ziyi in Crouching Tiger,
式「閉門」預演中，發表其創作中的作品，並與出席的嘉賓, 和其他參加者討論各個作品。Dance Platform 05 is a cho-
Hidden Tiger could ever do. As a wandered around the narrow streets and
reographic project emphasizing the process and discussion
f
Vofhchoreography. I
alleys of the town, I came upon other
Participating choreographers will show their
works-in-progress in two informal private showings, and discuss
pieces of the site-specific part of the production. One scene had dancers rubbing
sheets of paper over themselves then piling the paper into little bonfires before they picked up stakes and moved on. The dancers were
their works with invited guests and other participants.
5
Final works will be presented in a formal rj performance in November.
discretely followed about by technicians who also served as ushers policing the performance space. During
the bonfire part, they gently dissuaded one little boy from '
請將編舞計劃書，連同個人履歷、一段十分
getting too close to the flames. He was as mesmerized as
鐘的以往作品錄影帶或其他有關資料•
the rest of us by the simple but magical scene.
k交到香港灣仔，吿士打道1號:，香港演：
k
The stage production served as a culmination of these
藝學院，舞蹈學院，:副院長辦公室，,
轉交香港舞蹈聯盟收。Please
\
1 send proposals with your CV,
多 perambulating site-specific events. The dancers, and audience
i " j ■ 10 minutes video of previous picked up along the way, were led, pied piper style, by percussionists,
AH
works & other materials to f to a stage constructed in the large playground that sits below Cheung « Hong Kong Dance Alliance,、 Chau’s beautiful little Pak Tai Temple. The audience assembled itself WBI
along the steps leading to the Temple.
1
The ensuing production was i
【
c/o Office of the Assoicate Dean, School of Dance, &
accompanied by the live performance of a traditional Chinese music =HKAPA, 1 Gloucester Road, ■ ensemble, percussionists, and also recorded music. An on-stage actor, whose sound bytes were seamlessly woven in with the action of the■夢 Wanchai, Hong Kong. dancers, helped coalesce these narrative elements that mixed historical
動
facts with statistical data and anecdotes about Hong Kong into a lively f j
picture that owed more to collage than realistic portraiture. The freelance dancers, especially Wong Tan Ki, Justyne Li, and Ceiling
屬
截止日期 Deadline: 31/3/05
Wong, one or the other of whom seem to be in different productions
every other week, danced with an ease, articulation, fluency, and ■ 將於4月通知各申請者will be
assurance in the Y-Space style that belied their status as hired just
B9 informed to all applicants in April
for that occasion. Of course they didn’t just wake-up that morning, ■
o
put on their dancing shoes and set off to Cheng Chau ready, after a briefing from Ma and Yim, to burst forth at the drop of a hat with ready hkdalli@netvigator.com / made dancing. They’d rehearsed for months, and did so while juggling^^ 2584 8753 rehearsal and teaching schedules for as many as a half dozen other gigs. But for that afternoon Cheung Chau was in the realm of their and Y-Space’s magic
They owned the place. Like some kind
freelancers they displayed a great
space. Here, in isolation, they work their
of fairy dust sprinkled here and there, their
ensemble feel as they performed this
way to the floor, squirming around like
site-specific happenings shed not so much
essentially modern dance work.
fish out of water, ineffectively paddling
around themselves in circles on the floor.
new light, but a light that let us view not just the here and now but into the soul of
Hide & Seek is a dance of seven sections.
That gets them bumping into each other
the island. The Story ofIsland and Boat
In it Leung most successfully explores
again and leads to one helping another
-Hong Kong created a spiritual current
group form as four of the seven sections
up until they’re all back in the center
that connected us with the island, its
are for five or more of the dancers.
clump. But not to the same way they
history, its reality, and its possibility. It
Leung draws her abstract material from
were before.
brought us together to value the beauty of
the dancers’ encounters with the space,
them edgier, more active. Soon they’ve
the place and each other.
things in the space, and each other. She
dispersed again, this time lined up
develops her material sometimes in a
against the windowed wall that forms the
cause and effect form as when one
Fringe Studio’s upstage perimeter. As
dancer bumps into another and is pushed
they push against the wall, their feet
away. At other times she follows a
again make little circular paths. They’re
looser associative form, one motif
off the floor, standing, but they’re still
suggesting how it will develop. In a
not getting anywhere.
The experience has left
quintet section entitled Darwin Says, for example, the dancers begin in a tight
It’s a neat little scene, very well done. It’s
knot in the center of the darkened stage
not got one dance ‘step’ in it, not one bit
passively milling around each other.
of traditional dance vocabulary, yet it’s
After a while, as they move in closer to
all derived from the opening movement
each other, they slow their walking and
idea and developed entirely from its
lean their heads on each other’s
movement implications, through
shoulders. This leads to one falling away
movement. The whole work is like that.
from the group, in a movement like a
It relies entirely on the invention and
sudden drop when nodding off to sleep.
exploration of movement.
From there, the falling motif changes
enough to say, it’s like a breath of fresh
into one of a dancer being pushed away
air in a dance scene that has recently been
from the group. This leads to a general
fixated on dances that are full of a lot of
Opps is a much more recent addition to
struggling as they shove each other and
other stuff- film, theatre, sculpture, light
the independent dance scene. Like Ma
ends in all falling away. Moving around
shows, smoke and mirrors - and
and Yim, its choreographer, Cindy
cagily, wary of each other, they stake
sometimes short on movement. ■
Leung, also comes from a ballet
their claim to their own little bit of the
Opps' Hide & Seek. Choreographer: Cindy Leung.
Weirdly
background. A recent graduate from the A PA and one of the choreographers from last year’s Dance Platform, in Hide &
Seek, the Opps production at the Fringe
Studio in December 2004, Leung also successfully ventures away from her classical background. Hide & Seek,
however, is a more conventional offering, nevertheless taking full advantage
of the
somewhat
unconventional space of the Fringe. The
dancers from the production, Alice Cheng, Wilson Choi, Cara Ho, Carmen
Law, Voice Yu and, once again, Wong
Tan Ki, come from different dance
disciplines but like the Y-Space
Opps’ Hide & Seek. Choreographer: Cindy Leung.
節目表 3》
Little Prince Hamlet
《小王子復仇記》 亞洲雜種舞力劇場
3-5/3
7:45pm
I
HK Cultural Centre Studio Theatre 香港g
香港文化中心劇場
Hong Arts I
Choreographers 編舞：
&
Daniel Yeung 楊春江，
Chang Jae Hyo 張在孝，
La Syncope du 7
Kosei Sakamotoi反本公成，
《彈跳飛人黨》
Takayuki Fujimoto 藤本隆行
CollectifAOC A0C合作社
Mugiyono Kasido，
3-6/3 8:00pm
Arifwaran Shaharuddin
12/6
2:30pm
Enquiries 查詢:28242430
Lyric Theatre, HKAPA 香港演藝學院歌劇院
Hamlet
Choreographer 編舞 Fatou Traore & Collectif AOC 三月 Mar 3-.4^ 5
B4 Studio Theatre, HK Cultural Centre
香港文化中心
Cinderella Magic《灰姑娘的變身》
叛魅攄的#/ . ’
Hong Kong Ballet Education & Outreach Department
香港芭蕾舞團敎育及外展部 5/3 3pm
Band Stand, Victoria Park 維多利亞公園音樂亭
6/3 3pm
Sam Tung Uk Museum 三楝屋博物館
12/3 3pm
LG2, Festival Walk
13/3 3pm
Golden Bauhinia Square 金紫荊廣場
14/3 lpm
The Beacon, CUHK 香港中文大學烽火台
19/3 3pm
Maritime Square Waterfront Promenade 青衣城海濱公園
25/3 3pm
Village Square, Stanley Plaza 赤柱廣場閑情坊
26/3 3pm
Wong Tai Sin Temple Court 黃大仙廟廣場
27/3 3pm
Palm Court, Gold Coast Shopping Mall 黃金海岸購物商場棕櫚休憩廣場
香港文化中心大劇院
3/4
The Peak Galleria
Choreographer 編舞：
Choreographers 編舞：
香港藝術節 ■ Hong Kong Arts Festiva
15'Kmliiy
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:2105 9743 / 2105 9744
Compagnia意大利艾德芭蕾鐮團
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2268 7321
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www.hkballM.com
(XS X) wwwJcsd.gov.hk/cp
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Aterballetto意大利艾德芭蕾舞團 11-12/3
7:30pm
12/3
2:30pm
HK Cultural Centre Grand Theatre
MauroBigonzetti莫羅•比戈哲堤
Enquiries 查詢：2824 2430
3pm
Florence Lui 雷佩瑜’ Ong Yong Lock 王榮祿 Enquiries 查询:2105 9743
又一城商場
山頂廣場
表 Nederlands Dans Theatre III
荷蘭舞蹈劇場III 19-20/3
8:00pm
Lyric Theatre, HKAPA 香港演藝學院歌劇院
香港芭筮舞圑
HONG
KONG
BA
Choreographer 編舞： 古羅馬英雄斯巴達克斯之愛恨情仇-世界首演 Love and death in ancient Rome - A World Premiere
Jiri Kylian
■ ■ OwiemniphwU'N Kyiinj
荷"蘭舞蹈昜
，香港藝 ^^Hong Kong Arts Festival 17.2-20.3 2005
Enquiries 查詢：2824 2430
五位世界獨當一面舞星•大鬥舞技! 5ee fhe NOT masters in IhfEe great- works.
Spartacus《風雲群英會》 Hong Kong Ballet香港芭蕾舞團 25- 26/3
8:00pm
26- 27/3
3:00pm
Auditorium, Sha Tin Town Hall 沙田大會堂演奏廳
Choreographer 編舞： Irek Mukhamedov
艾域•米漢達夫
番«廣*舉R歌劇R
助
三月Mar19⑽20B
Lyric The«lr«,HJJAeA
Hiwacu;
Enquiries 查詢：2105 9724
25-27.3 沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall
• FAReWell my ConcuBINE
;《霸王•別姬》 香港舞蹈團 n thai oj a man.
Hong Kong Dance Company
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1-2/4
7:30pm
3/4
3：00pm
HK Cultural Centre Grand Theatre 香港文化中心大劇院
及編舞■胡嘉祿 t htin-ogrti/tlicr Hu
Colour Fugue《逐色》 City Contemporary Dance Theatre 城市當代舞蹈團
8-9/4
8pm
Kwai Tsing Theatre 'Choreographer 編舞：
Hu Jialu胡嘉棟
Enquiries 查詢:2824 2430
葵青劇院
Choreographer 編舞： Helen Lai黎海寧