舞蹈手札 dance journal/hk 7-2

¥

港舞蹈聯盟

HONG KONG DANCE ALLIANCE

A Oi +•炒' £'2001^

出版人

HONG

KONG

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| DANCE f ALLIANCE y香港酬聯盟

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Member of World

Dance Alliance

香港舞蹈聯盟理事委員會

Honq Konq Dance Alliance Executive Committee : 主席 Co-Chairman : 白朗唐 Tom Brown

孫名翠 Karen Suen 副主席 Vice Chairman: 曹誠淵 Willy Tsao 手必書 Secretary :

吳杏冰 Helen Ng

財政 Treasurer:

陳頌瑛 Anna Chan Chung Ying

委員 Members :

畢保羅 Paul Bishop

整版

*刊登廣吿兩期或以上可獲八折優惠

20% discount for ads in 2 or more consecutive issues

李念春 Charissa Lee

袁立勳 Yuen Lup Fun

故稿-/litLcCcs S““

編輯 Editors :

請將稿件郵寄、電郵或傳真至本會，中英不限。

白朗唐

Tom Brown

來稿被刊登者可得稿費。Submission of

施德安

Cecil Sze

unsolicited articles (Chinese or English) can be made through mail, e-mail or fax to Hong Kong Dance

專作家 Columnist:

劉建華

Alliance. Authors of articles selected for

Jaspar Lau Kin Wah

publication will be paid for their work.

設計及排版Design & Layout:

施德安

Cecil Sze

《豸鸱今札》是免費派發予香港舞蹈聯盟會員的 香港灣仔吿士打道一號香港演藝學院

刊物，非會員可以下列年費訂閲。請將支票連同

舞蹈學院副院長辦公室

姓名地址寄來本會。dance journal/ hk is distributed

c/o Office of the Associate Dean, School of Dance,

free of charge to members of the Hong Kong

Hong Kong Academy for Performing Arts,

Dance Alliance. Yearly subscriptions are also

1 Gloucester Road, Wanchai, Hong Kong

available at the following rates. Please send

cheque, name, and address to the Alliance office. 電話Tel:

2584 8753

傳真Fax:

2802 3856

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網址 Web Site:

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版權所有

•翻印必究

ALL RIGHTS RESERVED ©APRIL 2005

Supported by:

香港藝術發展局 Hong Kong Arts Development Council

Sponsored by: HUNG KONG ACADEMY FOR •EKFOKMINGARTS

汽氾演ft少K

個人 Individual

機構 Institutional

本港 Hong Kong

150

300

亞太區 Asia Pacific

200

400

其他 Others

300

600

香港舞蹈聯盟及香港藝術發展局全力支持藝術表達自由 ，本刊物所表達之意見或觀

點及其所有內容，只反映作者的個人意見，並不代表香港舞蹈聯盟或香港藝術發展 局立場。Hong Kong Dance Alliance and Hong Kong Arts Development Council fully support freedom of artistic expression. The views and opinions expressed in this publication, and the entire contents thereof, are those of the author and do not represent the stands of the Alliance or the Council.

康樂及文化事務署 Leisure and Cultural Services Department

天虹印刷有限公司 Rainbow Printings Limited

I 1 APR 2005

香港演藝學院

目錄 Contents

卿s纖钿 快訊NEWS

Vol.7

No.2

封面Cover

-涵

THE HONG KONG ACADEMY FOR PERFORMING ARTS I LIBRARY

《小王子復仇記》Little Prince Hamlet

編舞Choreographers:楊春江 Daniel Yeung,

「動藝」「後7.1藝術青年」創作及綵排工作坊

張在孝Chang Jae Hyo,汲本公成Kosei

2003年7月1日的大型遊行，宣示了人民的力量，同時亦喚

Sakamoto,藤本隆行 Takayuki Fujimoto,

醒了年青一代對政治、民生及社會的關注.打破了香港人一

貫的政治冷感作風。7.1過後，青少年對於身處的社會有甚

Mugiyono Kasido, Arifwaran Shaharuddin

麼訴求？他們如何表達自己的理念？藝術，會否是其中一個

表達他們所思所想的途徑？由「康樂及文化事務署」主辦、

「動藝」統籌及製作，「後7.1藝術青年」計劃以音樂、舞蹈

舞蹈快訊NEWS

1

及劇場元素等藝術形式為本1以青少年的角度出發，表達他

們對社會狀況及世界大事的所思所感。導師將以工作坊的形

香港舞蹈節2006

式與青少年一同發掘不同的資料元素，擬定一個社會性議

Hong Kong Dance Festival 2006

4

題’再加以整合，發展出一個主題由參與學員決定的完整藝 術作品。「後7.1藝術青年」將於4月10日下午4-9時假上

人際、時空的面向交織

環文娛中心舞蹈練習室公開遴選參與演出之人士。遴選內容

lnter(-cultural-)faces - Authenticity in and

以舞蹈、戲劇、創意為主，費用全免■參加者須於4月6日

Irony of Self and Mutual Understanding 文：劉建華

by Lau Kin Wah

7

DANCEART HONG KONG “POST 7.1 ARTS TEENS" The march on 1 July, 2003 demonstrated the power of people,

從《尋找家豬的故事》 找尋她們的故事

awakened the concern of youth to society, politics, and welfare, and defrosted the usual political frigidity of Hong Kong people.

文：Kiris

12

With this post 7.1 change in attitude among Hong Kong youth, DanceArt Hong Kong posed the questions, ‘*what do the youth

request from the society? How can they express their ideas?

Interview with Irek Mukhamedov in Hong Kong

by Kevin Ng

Are the arts an effective way for them to express their views?”

14

Presented by the Leisure and Cultural Services Department

and co-ordinated and produced by DanceArt Hong Kong, “Post

7.1 Arts Teens” uses the art forms of music, dance, and theatre

Hong Kong Rhapsody

by Malcolm Tay

16

to assist young people to express their thoughts, from their

own perspective, about the situation of society and events of the world. Through workshops, the instructors will explore

工作坊•新作

various materials and elements with students, to choose a

Workshopping New Works

social issue and develop it into an art work with a theme

文：方人

decided by the participants. An open audition for the project,

by Ian Fong

18

with dance, drama and creativity elements will be held 4-9pm

on 10 April at Sheung Wan Civil Centre Dance Studio . The

舞蹈節目表 Dance Events

audition is free but participants must register before 6 April.

21

Selected individuals can then apply for one of the four twice-

weekly training and rehearsal workshops held between April

and June. The workshops, divided into dance and theatre,

are suitable for 15-28 year olds. Besides basic technique and performance, four instructors will each lead a workshop using various activities, such as theatrical games and improvisation, 圖:「雙运唼舞蹈劇場丁《尋找家豬的故事》°

編舞：陳敏兒、楊惠美。攝影：黃狄文° Image: McMuiMui Dansemble’s Love in a Doggy Bag. Choreograpers: Abby Chan & Yeung Wai Mai. Photo: Dominic Wong.

舞蹈手札第7冊第2期

2

前報名。被取錄的學員即可報讀4月至6月間舉行的工作

to explore elements of creativity and allow students to participate

坊，進行每星期兩節的培訓及綵排。「創作工作坊及綵排」

in the creative process. Students with good attendance and

適合15至28歲的青少年，分為舞蹈及劇場兩種藝術形式’

performance will participate in the performance on 1 July at

除了提高基本技巧及表演能力外’四位導師將分別率領一班

Sheung Wan Civic Centre Theatre. Each of the four workshops,

參加者1以不同形式的劇場遊戲、舞蹈即興等實踐活動’發 掘創作元素，務求使參加者積極參與創作過程。導師亦會與

two in dance and two in theatre, has 20 sessions, for a total fee

各參加者分享以該類藝術形式探討社會問題的例子及經驗 °

(Modern Dance) and Francis Leung (Modern Jazz), both teach

of HK$400. The dance workshops are taught by Andy Wong

出席率及表現良好的學員可參與7月1日於上環文娛中心劇

basic modern dance technique and train students’ creativity

院舉行之綜合演出。於上環文娛中心進行的創作工作坊及綵

and rhythmicity, as well as body coordination, flexibility, and

排共分四班•其中兩班舞蹈|兩班戲劇' 每班全期20節，費

control. The workshops also include systematic rehearsals

用為港幣400元。兩班舞蹈分別為王廷琳敎授的現代舞和梁

enabling students to integrate their thoughts with dance

家權敎授的現代爵士舞|敎授現代舞的基本技巧及訓練學員

vocabulary. The two theatre workshops, taught by Tony Wong

的思維創作，讓其鍛鍊身體的協調性、動作伸展及控制能

and Joey Leung, emphasize different methods of theatrical

力，加強其節奏感：並進行有系統的綵排•將其所思所想融

interpretation enabling students to play roles of different

合於舞蹈詞匯中。兩班戲劇則由黃龍斌及梁祖堯主持•敎授

characters, to create characters, and to achieve finer

有關劇場上不同的演繹方法|讓學員掌握演繹不同性格的人

interpretations. The instructors will also explore related issues

物，從而學習人物創造1在表演時作更深邃細膩的詮釋；並

with students and develop performance elements. Another

與學員共同探索相關議題•發掘其中的表演元素。「後7.1藝

project event is a lecture, “Stage • Life”，by Andy Wong. In

術青年」計劃亦於4月22日晚上8時假上環文娛中心演講廳

seminar and experience sharing formats，the lecture illustrates

舉行由王廷琳主講的「舞台•人生」專題講座|以座談和分

DanceArt Hong Kong’s experience of integrating arts into

享形式展現動藝多年來以藝術融入社會、將舞蹈帶入不同社

society and bringing dance into various communities. Through

群之真實體驗，透過不同個體之經驗陳述|嘗試拉近藝術與

the presentation of the experiences of different individuals, the

生活之關係|幫助藝術工作者走下舞台並步入人生更寬廣豐

lecture attempts to reduce the distance between arts and life,

富之創作領域，探討如何令演出更真誠懇切'觸動人心。講

helps artists to step down from stages and walk into a wider

座入場券於3月22日起在上環文娛中心詢問處免費派發|先

and richer dimension of creativity - life, and explore how to

到先得|額滿即止。報名及節目查詢：2793 9957 （動藝）

make performance true and touching. Limited free tickets for

www.danceart.com.hk '—般查詢：2268 7321 （康文署）

the lecture are now available at the Information Desk of Sheung

www.lcsd.gov.hk/cp。■

Wan Civic Centre. Registration and enquiries: 2793 9957

(DanceArt Hong Kong)/ www.danceart.com.hk; general

「香港芭蕾舞團」《吉賽爾》

enquiries: 2268 7321 (LCSD) www.lcsd.gov.hk/cp.H

「香港芭蕾舞團」將於 4月22-24日假沙田大

HONG KONG BALLET’S GISELLE

會堂及4月29-30日假

Hong Kong Ballet will present Adolphe Adam’s Giselle, at Sha

荃灣大會堂演出被譽

Tin Town Hall, 22-24 April and Tsuen Wan Town Hall, 29-30,

為「浪漫芭蕾舞代表

April. This will be the first time in five years for this great

作」的《吉賽爾》。《吉

company ballet to return to Hong Kong Ballet’s repertoire.

賽爾》的原創版本由

Artistic Director Stephen Jefferies revives his version based

法國編舞家柯拉里及

on both the original (1841) Parisian choreography by Jean

柏羅編排，於1841年

Coralli and Jules Perrot as well as movement created by Marius

在巴黎作世界首演；

Petipa, who developed the Russian school of ballet. Giselle

後來，被俄羅斯芭蕾

traces the passions of its heroic title role, through her feelings

舞派系發展上舉足輕

of betrayal in finding out her former lover is not a peasant but a

重的法國編舞家佩蒂

nobleman, to her madness and death, and the resolution of

巴改編成為今天為人

her brave spectre to save her former lover from the ghosts she

熟悉的版本。1 997

has joined. There is also the rivalry for Giselle's love between

年*

Albrecht and Hilarion, and the corps de ballet, the fringhtening

r香港芭蕾舞團」

藝術總監謝傑斐把自已的感覺融入傳統版本中，把這個極具

Wilis - the ghosts of brides who die before their marriages.

感染力的故事所蘊合的愛與痛、背叛、悔疚和柔情，以簡潔

Enquiries: 2105 9724/ marketing@hkballet.com. ■

精煉的舞蹈表現出來。在這個悲劇芭蕾舞中•主人翁吉賽爾 因得知戀人亞爾巴特原來是一個玩世不恭的貴族而深受打

CCDC’s STRANGER THAN FICTION

撃•而至瘋狂輕生：但死後仍保護亞爾巴特免受一群於婚前

For CCDC’s latest work, Xing Liang, a pioneer of Chinese

去世的少女幽靈的糾纏。除了女主角的感人故事外，亞爾巴

modern dance and Philip Adams, a rebel of the Australia dance

特與情敵希拉倫之間的鬥爭•以及憂怨的幽靈群舞都加添了

scene, meet and enter a mysterious space of mirrors and

這芭蕾舞劇的浪漫神韻。查詢：2105

origami, wondering among overlaying positive and negative

marketing @ hkballet.com ° ■

9724/

refractions and reflections, conveying the instability, absurdity,

ance journal / hk vol.7 no.2

H

「城市當代舞蹈團」《鏡•花•圓》

mystrey and contradiction of life in an orderly chaos and illogical

一個是中國現代舞先鋒隊一邢亮；一個是澳洲舞壇的反動

structure. Xing Laing, a talented performer and choreographer

份子一菲利普•亞當斯。兩雄雙遇，雙雙步進一個由鏡子

from Beijing, is a leading figure of the new generation of creative

與曰本摺紙藝術交織而成的迷離空間，遊離於重疊正反的對

artists in Chinese modern dance. A former principle dancer of

折與倒影之中•在充滿秩序的混亂與毫無邏輯的架構中•隱

Beijing Dance Academy Dance Troupe and Guangdong Modern

隱透出人生的無常、荒誕、神秘與矛盾。來自北京的邢亮是

Dance Company, Xing is now the Resident Choreographer

中國新一代現代舞創作人中編跳俱佳的表表者|曾為「北京

and Dancer of CCDC. Philip Adams is the Artistic Director of

舞蹈學院舞團」及「廣東實驗現代舞團」主要演員，現為「城

the emerging Australian dance company BalletLab, with a

市當代舞蹈團」駐團藝術家及舞者。菲利普•亞當斯則為澳

reputation for daring creativity and wild imagination. His works

洲當頭冒起的舞團 BalletLab 之藝術總監•以大膽創意及 天馬行空的想像力見稱。他的作品充滿劇場性、異乎常理的

are threatrical and full of irrational movement patterns and

動作模式及獨立異行的美學概念。當中國現代舞好男人遇上

Chinese modern dance meets the enfant terrible of Australian

澳洲摩登芭蕾壞孩子•會擦出怎樣的火花？《鏡■花•圓》

contemporary ballet, what is the result? Presented by CCDC

是由「城市當代舞蹈團」主辦，「康樂及文化事務署」贊助，

and sponsored by the Leisure and Cultural Services

「

」

unconventional aesthetic concepts. When the good guy of

將於5月20至22日晚上8時假香港文化中心劇場演出。查

Department, Stranger Than Friction \n'\W be performed at Studio

詢：2329 7803 （城市當代舞蹈團）。

Theatre, Hong Kong Cultural Centre, 8 pm, on 20-22 May.

Enquiries: 2329 7803 (CCDC). ■

旧E BY SIDE

MUSIC AND DANCE S

Celebrating the arts of music and dance, Side by Side brings together the talents of students of the Hong Kong Academy for

Performing Arts Schools of Music and Dance. In a varied

program featuring ballet, modern, Chinese and musical theatre dance, each work will be accompanied by live music. The young conductor Francois-Xavier Roth, described by Sir John Eliot Gardiner as the leading light in a talented young generation

of French conductors, who has been invited to conduct for many of the world’s top orchestras including Orchestra National of Lyon and the Youth Orchestra of the Maryinsky Theatre, and a

visiting artist at the Hong Kong Academy for Performing Arts 「香港演藝學院」《舞樂匯》

on many occasions, will lead the Academy Symphony Orchestra

「香港演藝學院」舞蹈及音樂學院將雲集其優秀學生攜手演出

to perform in two world premieres choreographed by Wayne

名為《舞樂匯》之大型製作，展示四齣由七位本港及世界著

Eagling, Michele Miller and John Utans. Wayne Eagling, the

名編舞家創作的芭蕾舞、現代舞、中國舞及音樂劇舞作品•

former Artistic Director of Dutch National Ballet, has created a

並由音樂系學生作現場伴奏。來自法國的指揮家洛梵西將帶

new ballet entitled Troppo Allegro io music by Poulenc. Another

領「演藝交響樂團」為其中兩齣世界首演作品伴奏。兩齣作

new work, the new territories, has been created by Academy

品分別為前「荷蘭國立芭蕾舞團」藝術總監榮•伊格麟創作

Modern Dance Artist-in-Residence Michele Miller and Academy

的芭蕾舞《悠閒的快版》、以及由「演藝」高級講師余戴恩

Senior Lecturer in Modern Dance John Utans to Shaker Loops

與「演藝」駐院藝術家繆美雪合力創作的現代舞 《新領域》。

by John Adams. As well as the works being conducted by

洛梵西於「巴黎國家高級音樂學院」畢業，曾與世界各不同

Francois-Xavier Roth, Side by Side will include a new Chinese

管弦樂團合作1當中包括「里昂交響樂團」及「Maryinsky劇

dance work jointly choreographed by Sheng Pei-qi, Head of

院青年樂團」；亦曾多次來港出任「香港演藝學院」到訪藝

Chinese Dance and the renowned choreographer Mui Cheuk-

術家。另一餉世界首演作品，是由「演藝」中國舞系主任盛

yin to music composed by renowned local composer Kung Chi-

培琪及本港編舞家梅卓燕共同創作的《埋•伏》，並由「演

shing and performed by the Academy Chinese Orchestra.

藝中樂團」演出由本地音樂家龔志成創作的伴奏音樂。音樂

Students from Musical Theatre Dance will perform an excerpt

劇舞學生亦會演繹源自1982年同名電影的著名百老匯音樂劇

from the Broadway musical Victor Victoria, based on the 1982

《雌雄莫辨》選段。《舞樂匯》是「法國五月」節目之一 •定

movie of the same name. Side by Side is an event of Le French

於5月13-14日晚上8時於演藝歌劇院上演。■

May, and will be staged 13-14 May in the Academy Lyric Theatre at 8pm. ■

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

香港舞蹈節2006 HONG KONG DANCE FESTIVAL 2006 自1997年舉辦「舞匯九七」後，香港舞蹈聯盟於九年後再次舉辦大 型國際舞蹈節— —「香港舞蹈節2006」。這個由香港藝術發展局委

約、定於2006年6月10-18日舉行的舞蹈節，將會為本地的舞蹈工作 者和熱愛舞蹈的人仕帶來一個難得的機會1來發表作品、學習和討論舞

蹈，以及與海外的舞蹈工作者交流。舞蹈節現已開始接受本地和海外的舞蹈工作 者申請參與其中各個節目。獲選人士將獲定額的基本酬金，以作製作之用。各節目

的申請資料簡列於下頁。如欲索取詳細的申請資料，以及日後有關舞蹈節的其他資

料，請填妥及交回以下表格。

Nine years after Dance On 97, Hong Kong Dance Alliance will again

organize an international dance festival - Hong Kong Dance

HhO'P'

^restival 2006. The Festival, held between 8 and 18 June 2006, / is an international event commissioned by Hong Kong Arts

B

Development Council. A rare chance for local dance lovers and workers to show their works, to learn, to discuss and to exchange

with overseas artists, the Festival welcomes overseas and local dance

lovers and workers to participate. Selected participants will receive a

set minimal fee to cover production. Brief information for applicants is

listed on the following pages. For details and/or further information, please complete and return the request form below.

Hong Kong Dance Festival 2006

Information Request Form

:01 UJnoJ

香港舞蹈節2006資料索取表格

香港演藝學院舞蹈學院

副院長辦公室轉交香港舞蹈聯盟收

① s e c/o Office of the Associate Dean, CDl School of Dance, HKAPA, 1 d m Gloucester Rd., Wan Chai, HK. ^

ffi

□

香港灣仔吿士打道一號

傳真 Fax: 2802 3856

索取參與各項活動的詳細申請資料 Please send me detailed application information for participants

□

索取以後有關香港舞蹈節的資料

Please include me on the Hong Kong Dance Festival mailing list for all information of the festival 姓名Name:

地址 Address:

電話Tel:

傳真 Fax:__________________________ 電郵 e-mail:_________________________

ance journal / hk vol.7 no.2

香港舞蹈節2006串請資料 舞蹈•各自各 舞蹈• Specific 舞蹈•錄像

1. 履歷或簡介 2. 5-10分鐘過往作品的錄影帶/光碟和參與舞蹈 節的新作計劃書 或 參與舞蹈節的近作錄影帶/光碟

截止日期：30/6/2005 結果通知：30/9/2005前

談談舞一二（國際舞蹈會議） 主題：21世紀的舞蹈敎育和舞蹈敎 育的科技

論文： 1. 1-2賈的論文提要 2. 另付一頁作者資料，包括名字、職銜、地址、 電話和電郵地址 專家小組討論： 1. 1-2頁的小組討論內容 2. 所有小組成員的履歷

截止日期：30/9/2005 結果通知：30/11/2005前

齊齊舞--- - （户外群幂舞蹈集會） 齊齊舞一二 （社區舞蹈表演）

1. 履歷或簡介 2. 5-10分鐘過往作品的錄影帶/光碟和參與舞蹈 節的新作計劃書 或 參與舞蹈節的近作錄影帶/光碟 截止日期：30/9/2005* 結果通知：30/11/2005前*

齊齊舞一三（舞蹈課/工作坊）

* ** ***

1. 履歷或簡介 2. 5-10分鐘過往作品/舞蹈課/工作坊的錄影帶/ 光碟 3. 建議舞蹈課/工作坊的內容 截止曰期:31/1/2006* 結果通知：31/3/2006前*

申請者如欲盡早得知結果，請於建議書中清楚註明。 節目項目或內容或會更改 香港舞蹈節2006的節目大綱，請參考上一期《舞蹈手札》（第七刑■，第一期）'如欲 索取各項申請的詳細資料，或有關舞蹈節的其他資料，請填妥及交回刊於第4頁的表

格。

舞蹈手札第7冊第2期

6

Hong Kong Dance Festival 2006 Information for Participants

Independent Dance I Specific Dance K Film Dance

1. CV/ biography 2. 5-10 minute video/VCD of past works and a proposal of new work for the festival OR video/VCD of a recent work for the festival

Deadline: 30/6/2005 Announcement: before 30/9/2005

Talking Dance — TWO (International Dance Conference) Topic: Dance education for the 21 st Century and technology in dance education

Paper: 1. 1-2 page abstract of the paper 2. a cover page with name of author(s), title, address, telephone number and e-mail address Panel Discussion: 1. 1-2 page discription of the panel 2. C Vs of all panel members

-

Deadline: 30/9/2005 Announcement: before 30/11/2005

Everybody Dance — ONE (mass dance) Everybody Dance — TWO (Community dance)

1. CV/ biography 2. 5-10 minute video/VCD of past works and a proposal of new work for the festival OR video/VCD of a recent work for the festival

Deadline: 30/9/2005* Announcement: before 30/11/2005*

Everybody Dance 一 THREE (Dance Classes/Workshops)

1. CV/ biography 2. 5-10 minute video/VCD of past works/classes/workshop 3. proposed content of class(es) or workshop

Deadline: 31/1/2006* Announcement: before 31/3/2006*

participants who prefer early confirmation please indicate on the proposal Programme events and contents subject to change.

For outline of the events, please refer to the last issue of Dance JournallHK (Vol.7, No.1). For detailed information for applicants, or further information of the Festival, please complete and return the request form on page 4.

:ance journal/hk vol.7 no.2

舞壇手記

Dance Diary

人際、時空的面向交織

lnter(-cultural-)faces Authenticity in and Irony of Self and Mutual Understanding 文：劉建華

by Lau Kin Wah

這個所謂「亞洲國際都

曰會」，近陣子翻起了股 「忽然文化」的急風，事情當有好有

壞，總體卻多少是個畸怪現象。因為 九七，香港文化研究伺機和自我文化

認同的身份尋找相輔崛起；進入後九

七，香港要轉型的勢頭更是明顯而嚴

峻，本土性和國際性也雙邊受壓，受 到對地方主義部族心態和對跨境性全

球化的雙重批判。廣東話代表母語和

英語代表國際化使下一代的敎育成了 文化戰場。一月底「雙妹唪舞蹈劇

場」在藝穗會02劇場演出的《尋找家 豬的故事》和三月頭香港藝術節楊春

江聯同一眾亞洲藝術家協作的《小王

y ill

this so-called ‘Asian World City’,

major mother tongue and English as the

because of the West Kowloon

key to internationalization, stirred up

子復仇記》放在此社會文化背景脈络

Cultural District development proposal,

another round of fierce debate in the

上，尤見本地藝術工作者對於社會動

there is a sweeping ‘culture-all-of-a-

education sector. Within this context, the

態的敏銳觸覺。

sudden’ craze. Whether it brings more

end of January McMuiMui Dansemble

good or harm to the development of the

performance Love in a Doggy Bag at the

由陳敏兒及楊惠美一九九六年組成的

local arts ecology, in itself it’s a pretty

Fringe 02 Theater and the Hong Kong

「雙妹唪舞蹈劇場」，其「瘋繼續吹」

dubious (top-down) phenomenon.

Arts Festival Little Prince Hamlet with

的風格雖在文獻時有見聞，也間在兩

Previously, due to the transition of

Daniel Yeung and a bunch ofAsian artists

人的個別獨立演出中瞥見兩手，但看

sovereignty in 1997, the search for local

at the beginning of March, both reflected

她們的實際演出，這還是自己的第一

cultural identity went hand in hand with

the local artists’ sensitivity to keep in very

趟。《尋找家褚的故事》，除了標題

the rise of Hong Kong cultural studies. Yet

close touch with our society, particularly

叫我想起《麥兜故事》中小豬的成長

in the 'post 1997’ era, Hong Kong’s need

in its search for a new identity.

經歷，也多少同反映了《麥兜菠蘿油

to undergo structural reforms in its economy

王子》那尋找失落過去的情懷。客居

as well as politically, socially and culturally

McMuiMui Dansemble co-founded by

美國，不過是更念家的一個理由。

seemed more and more explicitly urgent.

Abby Chan and Yeung Wai-mei in 1996,

The city’s original characteristics of local

became renown for its full-blown zaniness,

陳敏兒及楊惠美同於九十年代初畢業

(-ity) and global(-ity) each, on their own

which was like a double amplification of

於演藝舞蹈學院，並共有在美國生活

fronts, faced critiques of provincialism and

what each did in their solo performances.

的一段經驗。《尋找家豬的故事》演

globalization. Cantonese dialect as the

Their piggy tale (lost in the English title)

舞蹈手札第7冊第2期

舞壇手記

8

Dance Diary

出雖有關於醜陋中國人的形象，但與

Love in a Doggy Bag, led me inevitably

Using a dance theatre format with a

其關乎國際外交或民族面子，訴説的

to link it with childhood stories retold in

fragmented structure allowed Love in a

都是日常生活中的性格行為，又從對

the local cartoon film My Life as McDull

Doggy Bag a maximum play of various

培育這些習慣的成長與薰陶環境的自

and its sequel, which went even further to

cultural elements, such as a typical public­

嘲中，其實更見一份對舊昔香港故事

recapture the good-old days, McDull,

housing apartment folding-gate or the

的統懷。

Prince de la Bun. Despite Chan and Yeung

Mandarin golden oldie, Rose, Rose, I

feeling that the USA is almost a second home,

Loves You. The bulk of the performance

《尋找家豬的故事》借片段式的舞蹈

their lives there seemed to have further

unfolded in a kind of domestic space. In a

劇場，混入了各方各路的元素，先是

reinforced their affinity to Hong Kong.

round of reorganizing of furniture, a dining

穿過典型公屋的摺閘，繼以配上國語

table was set right in front of a television.

老歌《玫瑰、玫瑰、我愛你》的雙人

The multi-purpose table might have been

舞打頭陣。舞劇的主幹，則包括了一

designed with its portability in mind,

輪家居生活瑣事，在屋種的搬搬抬

facilitating touring the work to Singapore,

抬，圍著四方檯襯上音樂節拍的動

but it also reflected the space-saving

作。由桌變梳化，道具的複雜一物多

criteria so essential to much Hong Kong

用，大概是為海外演出便利，然而纸

household furniture. A bit such as rotating

箱充當雪櫃，還有以換面代表轉台的

a box a quarter of a turn to represent

紙盒電視，則跟惠美扮作案頭那隻不

changing a TV channel was as funny as

斷搖手的招財貓同樣過瘾。

Yeung’s mocking posture echoing the waving

hand of a fortune cat doll on top of the TV. 電視劇餸飯，自然是香港人的家常便

飯，由《家變》到《狂潮》，直踩《歡

Television is certainly important in Hong

樂今宵》，還找現場觀幂玩笑一番。

Kong households, and watching television

吳君如那「用筷子不用叉」版本的《今

over dinner is often the family’s major

天不回家》更是配合主題的有趣發

現。而在「勁舞dancing queen」的熱 熱鬧鬧外，瘋狂的環節還有戲謔周星

陳敏兒和楊惠美演出《尋找家豬的 故事》。攝影：黃狄文。 Abby Chan and Yeung Wai-mei in Love in a Doggy Bag. Photo: Dominic Wong.

驰新片《功夫》的音樂錄像與現場比

means of sharing entertainment. The

songs of the popular soap operas thus further constitute the collective memory of many Hongkongers. Mimicking the

武，惹人捧腹的廁所泵的發功。至於

Chan and Yeung both graduated from the

Enjoy Yourself Tonight program, the

终歸夜鬧人靜的沉寂時刻，燭光是停

Hong Kong Academy for Performing Arts

choreographers also made jokes of

電⑺是中秋⑺還是隱隱已成了港人悼

at the beginning of the 90s，and both have

audience invited to come onto the stage.

念六四的意象；而暖水袋一幕則更是

spent time living in the States. The most

A video clip of the actress Sandra Ng’s

暖暖的姊妹情深，當然還記得加送廁

unsettling part of Love in a Doggy Bag

hilarious transformation of another

紙一卷。

was perhaps how it addressed various

Mandarin song Not Coming Home Tonight

negative views or presented awkward

into a Use The Chopsticks And No More

另而如紅膠袋袋頭碎塊在風扇下散

images of Chinese cultural idiosyncrasies,

With Forks edition surely was an

落•固是梅卓燕「花葬」的現代物質

despite these being unrelated to serious

interesting inclusion, very much in sync

通俗版•跟以麻布袋充豆袋椅（彷似

highbrow international foreign or ethnic

with the theme of finding a Hong Kong

G.O.D.出品）一樣充滿了時麾懷舊的港

issues, but being more observations of

identity somewhere between the East and

式風味。至於如唱國歌般按著心口感

everyday life (sometimes inevitably with

the West. Besides a wingding-dancing

動的，卻竟是支《玫瑰、玫瑰、我愛

a bit of bias). Yet in looking back at the

queen, even crazier was a scene mocking

你》，香港藝術工作者，向來精於拉

environment that fostered their acculturation,

Stephen Chow’s film Kungfu Hustle and

扯高（精緻）一低（通俗）題材，好

the choreographers’ self-ridiculing was

music videos, which included not only a

攪小颠覆，此舞劇可謂又一經典示

often accompanied with a nostalgia for

childish fight with toilet plungers，but also

範。掛衫拆.線•扯到奧德塞

those memories of growing up, for that

an aftermath of remov ing the plungers via

（Odyssey）妻子相涅羅相（Penelope）的

culture that made them who they are.

self-healing postures. When the still of the

3nc㊀ journal/hk vol.7 no.2

勾I舞壇手記

Dance Diary

女性處境若嫌太學究，更應景的當是

night finally arrives, the candlelight scene

seemed too pedantic, the use of a Twins

另一雙妹唪的《風箏與風》流行曲，

evoked maybe a power failure blackout, mid-

hit as background music was another

而配以成長生活照片的《今天應該很

Autumn festival celebration, or, even closer

perfect match. Tat Ming Pair’s % Are

高興》，則更是當年移民潮下的本地

to the heart of many Hongkongers, the

Supposed To Be Very Happy Today,

飲歌。

mourning for the deaths that occurred

accompanying a slideshow of photos of

during the 1989 June Fourth Massacre in

the two choreographers over the years, was

比較起那肚兜的美國旗，舞劇關於文

Tiananmen. A scene with a hot water

another sentimental reminder of the period

化身份最強烈的環節，還是Yan

comforter conveyed even more warm sisterly

when Hongkongers were all desperately

Can’t Cook的ICQ環節中，談到的對

touches, yet not without a deliberate

seeking to flee overseas.

於辨識中國人的各式典型化形像。

diddlysquat emphasis of a toilet paper roll.

ICQ此一橋段，陳敏兒的《光纖纖》

The Stars and Stripes is not much

已嘗用過，把一種文字的舞台呈示，

expounded, acting more as an alienating

透過一種媒體的框框，成了一種人際

home away from home that provides a

交流的有傾有講，今一趟則借而帶出

distant look at one’s own Chinese-ness.

文字間思想上的陳套想法，當中百卦

ICQ was already used once in Abby

式的自然幽默，對於中國人觀眾也更

Chan’s Pipe Dream, but instead of

易把其受落成一種自嘲。湊巧地，

stressing the modern communication

《小王子復仇記》也有不短的一段文

medium, this time it was used to bring in

字投影，不加任何評論的將對於不同

a more heavy text lending a lighter (less

亞洲民族人種的定型印象逐一羅列，

serious) format. In an ICQ section, a

觀眾都唯有以會心微笑來替自己的政

certain Yan Can’t Cook listed various

治正確表態，這種舖陳和批判反擊歧

cliche ways to stereotype Chinese. Such

視的方法，既是從選擇性的呈示上自

idle gossipy setting seemed perhaps much

明，卻是更好對觀者的直覺心底試

less offensive，thus allowing many of the

探。當然，一樣更不爭的事實，是兩

Chinese in the audience to laugh at

個演出臨此皆也唯有選用上英語作為

themselves in a more comfortable way.

語文媒介。

《小王子復仇記》Little Prince Hamlet Coincidentally, Little Prince Hamlet also

《小王子復仇記》，作為楊春江為「香

A beautiful scattering of the red plastic bag

included a short projected section of

港藝術節」炮製的第二個節目（若連

fragments with the help of an electric fan,

similar slightly discriminative impressions

《五種靜默之五面埋伏》則已是第三

was perhaps a kitschy mockery of Mui

about Asians of different races and colors.

次），似乎有了上次《哥仔戲》多方

Chuk-yin’s poetic Eulogy that originally

Without added commentary, the quotations

協作和近期「小亞細亞」交流篇的經

evoked the falling of petals. The use of a

trigger in the audience an instinctive response.

驗，展現了一個更平等交流與互動發

rough rice sack as a cushion cover or a

Though we might find some totally ridiculous

展而成的可觀演出。《小王子復仇

beanbag also spoofed trendy Hong Kong-

to uphold, others might be so common, that

記》沒有《菠蘿油王子》的本土文化

style design such as found in popular G.

we might easily discover that we are among

橋段，挪用和結合《小王子》和《哈

O.D. products. The stand-at-attention

the insensitive masses. Soft laughter

姆雷特（王子復仇記＞》兩個西方的經

posture usually reserved for the National

slowly turned into a self-defensive

典文本，卻有趣似見「功夫」文化在

Anthem, was used instead for Rose, Rose,

gesture that declared our political

亞洲的普及散播。

I Love You. This mixing of the high with

correctness. Another question that Asian

the low, the sacred with the profane is

exchange continuously has to face was

《小王子復仇記》作為所謂「新亞洲综

another minor subversive gesture

obvious here as well - the use of English

合劇場」，在舞蹈和跨文化合作交流

frequently found in the works of Hong

to communicate as a final resort.

的題旨上，都比《尋找家豬的故事》

Kong artists. Thus, if the scene of the

更為開放自義和向前瞻觀。在哈日後

unraveling of a knitted jumper, alluding

In Little Prince Hamlet, his second major

somehow to the Odyssey s Penelope,

production commissioned by the Hong

吹起韓風，對南亞（除卻新加坡的劇

舞蹈手札第7冊第2期IE

沟I舞壇手記

Dance Diary

場訓練）仍屬算陌生的香港，節目集

our Korean and Japanese neighbors, artists

結了日本i反本公成、韓國張在孝、馬

from South Asia remain relatively out of

來西亞的 Arifwaran Shaharuddin、印

our sight. In Little Prince Hamlet, input

尼的Mugiyono Kasido和本地的楊春

from Japanese Kosei Sakamoto and

江各路人馬，替亞洲新的文化藝術美

Korean Chang Jae Hyo is well balanced

學作次综合性的開創，投向未知數的

with that from Malaysian Arifwaran

實驗，出來的結果给人的感覺相當耳

Shaharuddin and Indonesian Mugiyono

目一新，似乎又發掘了另一充滿了可

Kasido.

塑性的空間方向。

combination reflecting an openness to the

The team seemed a good

common quest of fostering experiment.

把宮廷的權力勾心鬥角和《小王子》

The result disclosed the vast potential of

的童心文本並置，演出不強調莎士比

such a new Asian artistic direction.

亞經典《哈姆雷特》的主角，反是偶

有從不同的其他角色出發揣摩，打破

The chemistry of setting a beloved tale of

敘事中心，成功的把每個舞者（角

an innocent child in the complex power

色）也變得同樣的可愛。Mugiyono

《小王子復仇記》Little Prince Hamlet

Kasido的爪哇舞特色最顯眼，饭本公

struggle of the Danish Royal Court might not create as direct a link between the little

成則帶一點冷峻的沉頓外表。出奇的

Kong Arts Festival (third, if counting

prince and Hamlet as first expected.

是前者在日本（DumbType燈光設計

Alonefor a Second), Daniel Yeung seems

Instead, with a child-like eye to see things

師）藤本隆行的超時空式的環境下未

to have gained precious experience from

differently from adults, the show untangles

呈格格不入，而後者在模仿宮庭小丑

Play Boys, as well as from his recent Little

the traditional plot and makes each dancer

擺嬉笑姿勢的部份也一樣投入（更覺

Asia Dance Exchange Network Doubling

an individual character worthy ofexploration.

惹笑）。

production. The production seemed to be a

Mugiyono Kasido’s Javanese dance

much more thoroughly equal collaborative

background is quite distinguished, while

比較♦上綠面譜演Last Glass of Wine

work of the choreographers/performers.

Kosei Sakamoto is more cool. Therefore

時用的光管桌子，內側裝了變色閃燈

Each one in the team has outstanding

it was quite a surprise to find Mugiyono

的弧圓佈景，無疑更能發揮與舞劇更

charisma and yet all seem to share

Kasido in prefect harmony with the

融為一體的裝置作用，既可是一個帶

enthusiasm for a journey ofjoint exploration

futuristic environment and atmosphere

火山口（缺口）的小星球，也可是一

and mutual exchange. With the combination

designed by Takayuki Fujimoto (of Dumb

時空隧道；以一人之力的推移，更是

of text from Little Prince and Hamlet, it

type), while Kosei Sakamoto dutifully

有憑空把基點相對化的妙筆。至於舞

was anticipated to have a less direct link

played the role ofjester (making it even

台整體的光白亮麗，在傳統底子上加

to Hong Kong than the particular kind of

more comical).

入了膳型和科技，自信而流暢的編

insider’s view of Love in a Doggy Bag,

排，本身就是一種對於亞洲新美學的

yet the movements hinted at the

Compared with a fluorescent light covered

鮮明活力形象，和大紅大綠的異國風

widespread influence of Chinese Kung-

table on which a green masked Mugiyono

情劃清界線。就是於小舞台中央一段

fu within the region.

Kasido danced the Last Glass of Wine, a

段間隔著全黑舞蹈一幕幕似是最帶暴

circular installation with inside lightning

力的畫面，也（配合吵音響效）被框

The house program touted Little Prince

forming a stage within the stage contributed

限於一剪接性段速式的機械呈現手

Hamlet as a “new, comprehensive Asian

much more to the performance. Sometimes

法，舞者摸黑入位的要求想也難度甚

theatre” rather than simply a dance

it functioned as a high tech time-tunnel;

高。

performance of artists from various

sometimes it suggested a small B-612

countries. In producing this program, Arts

planet with volcanic crater. Yet，the ability

楊春江個人作為本地賓主，沒有刻意

Festival as well as Daniel Yeung seem to

of a single dancer to smoothly slide it

第一個踏臺或擔起完場，但其每趟表

be a bit more forward-looking than Love

seemed a beautiful transposition of the

演被評論説為渾身解數後，下次又總

in a Doggy Bag in searching for a new

Archimedean point of a floating universe.

是仍有新招。坐在牆沿上口風琴的演

self(-identity). While we often look up to

The whole simplistic white stage was like

3nce journal/hk vol.7 no.2

舞壇手記

Dance Diary

奏外，其開腔又唱又跳的京劇類元

a high tech laboratory quite different from

素，算是有力把中國傳統文化混入舞

the usual exotic colorful image of Asia.

human rights, and freedom in Asian

劇的亞洲新生代美學大家庭。至於其

The smooth calculated flow ofchoreography

countries were only lightly touched.

《Rose，Fox and Little Prince》中簡單

revealed a confidence in experimental

However, that a multi-cultural free-speech

配合字句的離合擁抱，簡晰（得足讓

language. Even the most violent scenes were

environment could help bring forth this

小朋友觀幂也愉快欣賞）的演繹了小

framed by precise short periods of total

artistically creative production has already

王子和狐狸玩遊戲的深情寓意；當然

blackness and sounds of radio interference.

spoken more persuasively through the

把人與動物的驯化關係，放在人與人

The difficulty ofperforming quick sequences

wonderful show the artists put together,

之間上演，也帶一種呼來喚去的權力

in total darkness is easily imaginable.

making more words superficial.

while the common fight for democracy,

陰影。 As the local host to the visiting artists,

Recently in the Absolutely Independent

Arifwaran Shaharuddin 的錄像，固

Yeung did not reserve the beginning or

rerun of a Yau Ching’s documentary

執的追問被訪者改英文名的理由，從

finale for himself, and further surprised

interviewing various local arts and cultural

那種最日常而不顯的語言殖民上入手

audiences with a demonstration of an ever-

practitioners in relation to 1997, one

反思，以一連接上社會真實的記錄起

expanding repertory of tricks and talents.

interview was with choreographer Sunny

首，安排本身就為演出打下了一個具

Besides a melodica performance, his singing

Pang.

思考性的現實基調，比較起眾多其他

in Peking Opera style gave traditional

decision to leave this homeland, which

舶來的藝術節舞蹈節目（尤其「洛桑

Chinese art a forceful presence in this

summed up the impossibility of achieving

貝撒芭蕾舞團」那加插香港舞者陪襯

jamming ofnew Asian aesthetics. In his Rose,

'independence’. Yet the three home­

以壯大聲勢，實際階級分明、慾望投

Fox and Little Prince section, the simple act

grown choreographers highlighted in this

射明刀明槍，使人看得極不舒適的

of begging a hug alternating with an order to

diary, give us a seemingly more positive

《波雷羅舞曲》），在題旨上已更有貼

back off, physically reinterpreted the deep

and encouraging picture, as they feel not

身的時代性意義。雖然Arifwaran

taming metaphor between the little prince and

only a deep tie with the city in which their

Shaharuddin 中段的《I Love Hong

the fox that eventually shed light on

past is embedded, but also a desire to forge

Kong》，除了一再圍繞香港和

understanding his love with his rose. Turning

its new identity with experiences gained

Shopping的等同形象，在民主自由人

it into a man-to-man relationship could of

overseas and understanding through

權等都可惜著墨未深，但就是舞者同

course generate more implications on the

mutual cultural exchange, expanding the

臺演出的合作交融，演出本身所表達

relationship of power.

local horizon and vision to tackle

以

的訊息，實已勝過千言萬語。

Pang spoke about his painful

challenges ahead.H Starting with the video of Arifwaran

最近在「肯定獨立」錄像節目中，看

Shaharuddin^ tenacious questioning of

了游靜的《另起爐灶之耳仔痛》，記

Asians adopting English names, the show

錄了九七前那段日子香港一些文化人

revealed an earnest determination to reflect

的心境，其中有一段是訪問編舞彭錦

on social reality right from the start. (In

耀，談到其對香港如何不捨卻還是覺

comparison, the Arts Festival Bejart Ballet

得未能以香港為家，剛以碰觸到「獨

Lausanne’s Bolero that used some Hong

立」即止。今期手記，點述了三位年

Kong dancers on stage but in a clearly

輕一代、土生土長的香港編舞人，看

divided hierarchy, not to mention the

到他們如何心繫香港、飲香港水、流

work’s overwhelming gaze upon the

香港血同時，懂得瞻前顧後、借異地

desired object at the centre, was a really

體驗和多向交流重新檢視本地生活經

uneasy experience.)

驗、放眼世界，想通過他們的文化藝

Arifwaran Shaharuddin had another

Yet, although

術所打造香港後九七的新身份認同，

section, that of I Love Hong Kong in the

比種種從上而下的「忽然文化」，無

early middle of the show, his text there

疑更是值得我們引頸以待。■

revolved around equating Hong Kong with

shopping (compulsively) a bit too much,

《小王子復仇記》Little Prince Hamlet

舞哩_ 第7冊第2期 舞評

Review

除此之外，「雙妹。麥」運用不同時期的

歌曲，去代表不同時期的思想，這不 僅是表演了她們自己的成長過程，也 配合作品去表達家（香港）的發展。

在觀看《尋》時•觀眾除可享受二人對 於家的感情之外，亦看到她們對於空

間的熟悉。「雙妹。麥」的作品，能把視

覺享受推高，她們不單只擁有作為舞 者的舞蹈技巧：作為編舞，她們亦運 用了不同色彩的服飾及道具，去修飾

舞每一個場景。她們運用了藝穗會劇

場的特點，透過佈置在場內四周的裝

置，營造出一個又一個具渲染力的環

境，感染在場的每一位觀幂。例如五 '對於一個人來説，是一

所用的刷和泵，任何家中可以見到、

彩繽纷的閃燈，及同樣閃爍的「傘」，

個努力過後，讓人得安慰

發現到的，皆成為二人「決鬥」時的武

滿天龍舞的紅色纸辞’亦有吊起了的

的地方，特別是中國女性，「家」對於

器，極盡風趣抵死。及至二人「決鬥」

白色毛衣。以上種種，除了以客觀的

視党效果去表達舞者內心的開心、寂

她們來説是生活的一切。在「雙妹哆■」

後期打坐療傷• Abby倒數與惠美同時

的《尋找家豬的故事》之中.我們可以

走出七步後倒下，相信沒有多少編舞

寞及迷失等情绪外，亦增加了舞台的

看到在兩位女性舞者的眼中，「家」會

能夠有膽量，編出那麽老套，惹笑但

空間感，把舞台從高度及闊度的限制

是什麼。但是，與其説《尋找家豬的

令人印象深刻的場面。

中擴展。

故事》是「雙妹。麥」眼中的家庭，筆者

整個節目，也好像是香港成長的時間

當然，如果沒有好的表演，最好的編

長，來表達對香港這個「家」的感情

線，從六、七十年代的「玫瑰玫瑰我

排都是其次。很遺憾筆者錯過了上一

（或許這是從二人的「香港紐約」背景

愛你」等開始，到八十年代剷集的主

次「雙妹唪」的表演，但在今次《尋》

中看到）。

題曲，到近年來的流行曲，讓觀眾感

之中，筆者透過「雙妹°麥」表達技巧，

受得到與香港成長的那份親切，亦可

見識得到什麼是一個專業舞蹈員所最

筆者喜歡「雙妹唪」對於身邊事物的觀

見「雙妹唪」對於控制作品節奏及發展

須要的---- 不僅是優良的舞蹈技巧*

察與細心。這可以從二人使用小道具

的功力：透過使用不同年代的歌曲來

中看到。在以前的香港■很多人也是

推展作品=特别是在「開飯」一幕，運

者難忘的，是Abby與膠袋共舞及惠美

居住在公共屋村的，某程度上，公屋

用了不同的電視劇主題曲選段，表達

與「伞」的兩段獨舞。Abby運用膠袋，

可以代表某一時期的香港。筆者不知

出電視劇陪伴著大家一起的集體記

道二人有沒有居住過公屋，但在《尋》

憶，而當中，肯定有一些歌曲曾經感

中•「雙妹唪」把屬於公屋的鐵閘搬上

染過觀眾＞。

更覺得舞者是想透過展現香港的成

而且還要一顆忠於表演的心。最令筆

時而握著它輊輕舞動，時而把它扣在

腳上沈甸甸地行走，把作為一個女性

的憂鬱、迷失及困窘，在獨舞之中傳

遞出來。舞蹈作為表演藝術•舞者最

舞台，令觀幂（特别是筆者）得到共

鳴。二人用不同手法把鐵閘重新表達

以流行曲伴舞，對於編舞者會有一定

出來，幽默的如魔術表演之舞台.深

難度，因為流行曲有自己的歌詞•有

思的如一個囚禁自己籠牢。同一道

自己的意思，舞蹈動作要與它配合得

具，在不同的情況有不同的象徵，可

到，比歌曲表達得更多，亦不想给歌

見編舞在使用道具上所花的心思，準

曲搶去觀眾■的注意力，是須要小心處

確掌握道具在作品中的象徵意義。

理的。但「雙妹唪」以流行曲替作品做 了 一個聰明的編排。流行曲最能S：句感

須要的不是驚人的技巧，而是要揣摩 作品背後想表達的意思，再用自己的

身體表達出來，感染觀眾。

《尋找家豬的故事》可算是近年來難得

看到，感凳地道香港的舞姑作品。無 論是在表達或編排上•「雙妹嗲」找的

在表達時，「雙妹。麥」很多時候會使用

染別人•「雙妹-麥」多在述説一些比較

雖只是一個家，而稅幂看到的卻是不

幽默的手法。就好像在「決鬥」一段之

感性的、內心的片段時使用•因此流

少熟悉的香港事物。最能均感動别人

時，一些「家具」.以至到一些清潔廁

行曲填補了舞蹈所缺乏的敘述性。

的•應該是創作人所最熟悉的

昏港芭蕾舞團

HONG

KONG

BALLET

浪漫悲情芭蕾舞經典 Ballet to die for!

香港芭蕾舞團 HONG KONG BALLET

藝術總監:謝傑斐 Artistic Director. Stephen Jefferies

23-24.4.2005 (3pm) 沙田大會堂演奏廳

$230, 180, 130, 80

Auditorium, Sha Tin Town Hall

29-30.4.2005 (8pm) 茎灣大會堂演奏廳

Auditorium, Tsuen Wan Town Hall

$150,110,90,70

編舞：柯拉里/栢番/佩蒂巴附加編舞及監製：謝傑斐音樂：亞杜夫•亞當佈景設計：彼得•科曼服裝設計：甘•碧嘉燈光設計：王志強 Choreography: Coralli / Perrot / Petipa

Additional Choreography and Producer: Stephen Jefferies

Costume Design: Kim Baker

電話訂票

Reservations: 2734 9009

網上訂票

門粟由2月4日起於各城市電腦售票處發售Tickets

囂

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ft K « M

质

Hon Kon( Art* Development Council

1 * SpoiiMired by I he Ixisure and Culiurdl Service* Dcpunmcni

-BHfl-f

Music: Adolphe Adam

Set Design: Peter Farmer

Lighting Design: Tommy Wong

Internet Booking: www.urbtix.hk

available at all URBTIX outlets from 4 February

www.hkballet.com •

At* Fo» «ge

舞第7冊第2期

胃專藏

14

Article

Interview with Irek Mukhamedov

in Hong Kong

by Kevin Ng

met Irek Mukhamedov one afternoon

find freedom - Valeria in her heart, and

Actually this production of Spartacus

in the beginning of March during his

Spartacus in his soul. And actually in real

wasn’t originally intended for the Hong

lunch break, when he was spending his

life they have only met once, because a

Kong Ballet. “Three years ago, Matz

third week in Hong Kong to create his own

lot of it is in the imagination.”

Skoog, the director of the English National

I

Ballet (ENB), was interested to stage

production of Spartacus for the Hong

Kong Ballet. The 45-year-old former

Mukhamedov continued, “Of course there

Spartacus for his company, and I prepared

Bolshoi and Royal Ballet star joined me

is the evil figure, Crassus, and a prostitute,

a libretto for him. About a year and a half

straight after his rehearsal of one of the

Evtibida (instead ofAegina in the Bolshoi

ago, I met the Hong Kong Ballet director

duets at the Queen Elizabeth Stadium.

version). In addition I am bringing into

Stephen Jefferies when he was on a trip to

The leading role in the premiere on 25

the ballet a new figure, Kricks, who is

London. My wife Masha told him about

March is danced by the principal dancer

Spartacus’ best friend, and who later

this Spartacus project of mine, and

betrays him. I am putting more emphasis

Nobuo Fujino.

on these human relationships, and am So is this Hong Kong Spartacus going to

trying to convey these themes in the story

be re-set in China, since Mukhamedov

-love, betrayal, and heroism.”

apparently has a new libretto for this tale originally set in ancient Rome?

The music used by Mukhamedov is still

Mukhamedov explained, “No, it is still set

the 1954 score by Aram Khachaturian,

in ancient Rome before Christ. I have a

though Mukhamedov has rearranged the

new scenario for this ballet, which, unlike

order slightly to fit his libretto. The

the Bolshoi version, is based on the 19th

progress so far has been encouraging.

century novel by Giovagnoli.

My

“The company is doing very well, and the

approach is to present the ballet more as a

dancers are very committed and have

love story for Spartacus and Valeria

understood my intentions very well. In

(instead of Phrygia as in the Bolshoi

addition to the company, I’ll use ten

version.) Valeria is a prominent society

students from the Hong Kong Acadmey

lady whose husband is a councilor of

for Performing Arts as well as four

Rome, while Spartacus is only a gladiator

children.”

and nobody important. But both of them

'ournal/hk vol.7 no.2

S

專稿

阪

Article

Stephen said he was interested. As ENB

Mukhamedov stressed that “The Bolshoi

Drosselmeyer with the English National

couldn’t afford it in the end, I passed my

School is still in great form. Maybe it is

Ballet because I’ve never danced the

libretto to Stephen who accepted it after

now more difficult to find good dancers

Nutcracker Prince with them. And it was

three months.”

in Russia, because there is less state

refreshing for me to perform in something

subsidy after glasnost and perestroika.”

new, like in the musicals On Your Toes

So what does he now think of the

and The King and I.

Bolshoi’s Yuri Grigorovich production of

Was his performance with the Royal

Spartacus，which gave him one of his

Ballet (which he joined in 1990) in

What other choreographers does he

most famous roles? I myself can still

Kenneth MacMillan's Mayerling in

admire then besides MacMillan and

remember Mukhamedov’s electrifying

London last autumn his farewell

Grigorovich? “I wish I had danced more

performance in the role with the Bolshoi

performance? “I miss the stage. I’ll still

ballets by other choreographers. They

Ballet on its landmark tour to Covent

dance if I’ve the opportunity. Of course

rarely danced Cranko, Neumeier, and

Garden in London in 1986.“I still admire

PH still dance if a choreographer wants to

Bejart at the Royal Ballet. And I’ve not

Grigorovich’s choreography - Ivan The

create a new work on me. But in addition

really danced that many pure dance

Terrible, The Golden Age besides

I want to teach as a coach. I am currently

ballets.”

Spartacus. It was really incredible for all

teaching at Scottish Ballet and Ballet de

of us when he was in power in the Bolshoi.

Bordeaux, and I am a principal guest

I wonder if Mukhamedov has any

He was trying to cut down the mime in

teacher at the English National Ballet

ambitions to become an artistic director.

his ballets, though I have to say that his

School.”

“Well, I have tried several times but

without success. But after I started as a

pure dance approach may not always Still it is better than some

Does he not want to dance some character

choreographer, I realize that I don’t really

choreographers nowadays trying to shock

roles at Covent Garden, since he was such

want to spend time in the office as an

the audience, because eventually the

a great dance-actor? “At Covent Garden

artistic director. So right now it’s not my

shocking moments will be forgotten. As

I don’t really want to dance Monsieur G.

burning ambition. Maybe in five years’

for myself as a choreographer, I am trying

M. in Kenneth MacMillan’s Manon when

time when I am fifty, I may change my

to bring more people to appreciate ballet

people can still remember me as Des

mind. Right now I am more interested to

by trying to tell the story better.”

Grieux and Lescaut. It’s different dancing

pass my knowledge to young dancers.’

work.

邏

Hong Kong Ballet Spartacus rehearsals, from left to right: Senior Soloist Jin Yao (right) and Principle Dancer

Liang Jing (left); Choreographer Irek Mukhamedov; Principle Dancer Nobuo Fujino. Photos: Conrad Dy-Liacco.

舞蹈手札第7冊第2期

舞評

H

Review

the city’s public flats during the 1980s,

which all have this sort of folding gate.

Both performers are graduates of The

Hong Kong Rhapsody

Hong Kong Academy for Performing Arts and their performance styles

by Malcolm Tay

complemented each other: Chan was a

original published by

The Flying Inkpot Theatre Reviews

(http://www.inkpot.com/theatre) .

,

.,

stable, nurturing foil for Yeung’s

impetuous passions. They had a kind of chemistry that perhaps only exists

..

reprinted with permission

,

,, r,

between old friends. You could see it

when they danced together, deadpanned

in perfect timing, or gaggled in a stew of English, Mandarin, and Cantonese.

Kong after leaving for the United States

After all, Love was inspired by their own

In the last issue (Vol.7 No.1),

in the 1990s.) The material may sound

lives, so that personal connection between

Dance Journal/HK reported the

familiar, but how it was depicted and

them, conveyed through the dance, was

spoofed never felt mundane.

palpable throughout the evening.

Chinese Art Festival. This is a

Love unfolds over 18 episodes - each

The rough-cut choreography was more

review of their performance of

episode plays on “jia”, the Chinese word

concerned with characterisation and

Love in a Doggy Bay at the

for “family” - though keeping track of

mood than with academic precision,

Esplanade Theatre Studio on 16

the line-up of episodes didn’t matter after

which agreed with Love’s rojak nature.

February, 2005.

a while. The setting for the duo’s display

Towards the end, a roving duet between

of quiet domesticity and comic horseplay

the two girls-an ever-changing dialogue

watching Love in a

is a lived-in abode with multipurpose

of wills and household objects, smacking

Doggy Bag, I was

furniture and a metal front gate near the

of contact improvisation - aptly

mentally kicking myself, again and

theatre’s entrance, through which an usher

visualised their volatile relationship. At

again, for not having a better grasp of

made me pass before I took my seat. As it

other times, they hustled and adjusted

Cantonese. I should have paid attention

happens, Chan and Yeung were raised in

themselves to the music.

performance of McMuiMui

Dansemble in Singapore Huayi

While

to those old television serials that my

mother used to rent. Had I been more observant at the time, I would have been better equipped to enjoy this 90-minute offering by Hong Kong’s McMuiMui

Dansemble. As it is, the show was still a hoot.

Much of its appeal, I think, stems from

its deeply nostalgic story about two girls growing up in Hong Kong (the girls are

played by McMuiMui founders Abby

Chan and Yeung Wai-mei, who also choreographed the piece) and their

shifting notions of home and identity.

(This was Chan and Yeung’s way of understanding their yearning for Hong

Abby Chan and Yeung Wai-mei in Love in a Goggy Bag. Photo: Dominc Wong.

inc㊀ journal/hk vol.7 no.2

El 舞評

Review some items just failed to register in my

important to the dancers and were just

mind. Take the stuffed pigs, for instance.

beyond our grasp.

They were damn cute but I wondered if they had any link with Love’s Chinese

Still, I can’t wait for the McMuiMui

title, which literally means “The Story

girls to return to Singapore. Their

of Finding the Family Pig”. Or perhaps

work remains refreshingly honest and

“pig” was someone’s childhood

heartfelt, even when it gets unwieldy

nickname. Maybe I missed a clue that

at times. If I ever watch them again,

was uttered in Cantonese, but it seemed

I’ll make sure my Cantonese is up to

as though some things were privately

scratch.!

台 以

舞

作

作畫 布，

舞

者

染 畫 筆，

#墨點

素描白， 留 繪畫&人間色相

出

cede 城市當代舞蹈屬

Artistic Director: Willy Tsac

越術

《監：曹誠j

Yeung Wai Mei in Love in a Doggy Bag. And what fitting music they chose. With

Lau Tin-ming’s help, Chan and Yeung hit

all the right spots with a winning soundtrack of classic tunes. The great songstress Yao Li’s 1940s Mandarin pop

hit, Rose, Rose, I Love You, shared airtime

with Frankie Laine’s lame English cover from the 1950s, along with Cantopop

songs by Roman Tam and Nancy Sit.

O

R

U

u

When TV soap opera theme songs

accompanied a dinnertime send-up, we

roared in recognition - it was that funny.

Lee Chi-wai’s set and props also did a

fabulous job of evoking scenes from the

characters9 memories. When stacked in columns, storage boxes turned into

力作

香港首席現

shelves, a stereo and a TV set. In near

darkness, an upturned table lined with small candles became an open window

from which to look out during a blackout -a respite from the humid chaos. 黎海寧一個编舞家心自中的编舞家

Apparently, blackouts were common in

黃仁逵一個寫文章玩音樂搞電影的畫家

Hong Kong’s public housing - and we haven’t forgotten last year’s island-wide incident either.

Indeed, Love used many props quirkily

and effectively, but the significance of

8-9.4.2005驅至六8卩1

股特別僵惠請灞贾：

門累現於城市電腦售累處有售

葵育劇院演藝廳 $500 (VIP), $220, $160, $120

累務査W及留座2734 9009

演後番人談9.4.2005(星期六)

7

www.ccdc.com.hk

節目査询2329 7803

網上訂累：www.urbtix.gov.hk 全日制學生、六十歲或以上裹齡人士.殘疾人士及

信用卡電括盯累2111 5999

|踪合社♦保

》援助受惠人可穫五折僭*

事K翟

1 oisuie .ini) Cullu'.il Services Department

etnc •

t-» adc

•

m

第7冊第2期

磬舞評 H

Review

•香港演藝學院舞蹈學院

year, the Hong Kong

的學生都會在「編舞工作

Each Academy for Performing

坊」的演出中表演學生新作。今年的

Arts School of Dance present its students’

演出共有三十四個年青編舞於兩個不

new works in its Choreographic

同的節目中演出其作品，探索了豐富

Workshop season. This year, works of

的意念題材。這些編舞，大部份是初

thirty-four young choreographers were

試啼聲，但卻有一定的成績：大部份

shown in two different programs that

作品都能展示統一而完整的構思，部

explored a wealth of ideas. For most of

份更頗為出色奪目。

these dance-makers, this was the first time

工作坊•新作 林真娜在所編的《殘憶》中，巧妙地運 用了中國舞的水袖，來探索追悔所帶

Most managed to present well thought

Workshopping

來的纏繞和折磨。開始時，雙袖有如

「約束衣」般缚著的男舞者梁興源，掙

they put work out for public scrutiny.

out ideas coherently put together, and a few created compellingly beautiful works.

New Works

扎著要把兩臂靜脱出來。雖然他能間

In OfHeaven And Earth Anna Lin Chun-

中鬆開束缚，但雙袖總是科纏不休。

na ingeniously uses the traditional Chinese

有如達加畫中軟軟無力的時鐘，或莎

文：方人

water sleeves to explore the debilitating

劇人物馬克白斯夫人那染血的雙手，

by Ian Fong

hold that memories of past mistakes have

這雙袖道出了記憶的執著和對現實的

over a man. As the dance opens, Leong

蚪纏不放。編舞再以四個穿著水袖的

Heng-un struggles to free his arms, which

女舞者來進一步發展這個主題。她們

are wrapped, straightjacket style, in the

回應了男舞者的動作，也對比他於困

sleeves. And, although he is briefly able

境中的無助。編舞發掘不同的動作，

to untangle them, like Dali’s limp hanging

使雙袖的舞弄各有獨特意義，並從中

clocks or Lady Macbeth’s bloody hands,

發展，巧妙地帶出另一層次，更深入

the sleeves continue to signify memory’s

地道出回憶的折磨。其中一節，女舞

persistence and its strangle hold on reality.

者接連側身倒滑於台上，衣袖翻出拍

In explicating her theme, Lin uses four

向台上的男舞者•有如波浪般推動著

women, also clad in water sleeves, as a

他向前滚動。到了舞台邊沿，男舞者

巾，揚頭把翻起的紅巾覆蓋頭臉之

前無退路，便被她們的衣袖所淹沒。

上，就有如新娘頭上的喜帕般。然而

him of the futility of his predicament.

雖然他能再次站立，但她們也隨著起

跟著的舞蹈調子，卻慢慢變得越來越

Throughout the dance, Lin invents

來，以高舉的雙袖圍著他，淹著他。

不祥。到最後，其中一個舞者頭上的

movements that invest the sleeves with a

最後，女舞者脱下衣袖而去，但他卻

紅巾似變得越加沉重，壓■得她頹然跌

high degree of specificity and in the next

痛苦地自缚於雙袖之間，不能解脱。

chorus to both echo the man and caution

下。甘绮琚的《越夜》則擺脱了傳統舞

moment, expanding on that meaning, she

蹈中的性別定型，並以纸扇來顯示角

skillfully reveals yet another facet, a

相似地.甘綺捃和陳丹也運用想像力

色的決心和力量，創作出一連串緊湊

deeper layer of the man’s torment. In one

來以傳統元素探索她們的意念。陳丹

流暢的動作。三女二男的舞者以不同

scene the women, in a series of falling and

的《喜帕》•以新娘的紅頭巾作婚禮的

組合進出舞台，時而成一整體，時而

sliding on their sides across the floor,

象徵。這代表了慾望和服從之物•所

為個別獨特而各自精彩的個體，於台

unfurl and lash their sleeves at the man

標記的不是生命中一個段落的终结 •

上稍一現身後，又再投入黑夜之中。

who rolls in front of them as if he is being

而是生命的結束。開場時，五個女舞

兩齣作品色調一紅一黑，在視覺效果

pushed by waves. When they reach the

者跪於地上•做著一個以雙唇輕印於

上頗為突出，在結構和調子上則帶著

edge of the stage and he has no more room

布上的動作.並輕輕的從布的一邊移

賴文慧和余碧艷的新派中國舞影子。

to flee，their sleeves inundate him. As he

到另一邊，似是傳統的塗口紅方式•

stands they rise holding their sleeves

也像是做針紙時以雙唇沾濕毛線的動

在Michael

作。她們垂下頭以嘴巴含著地上的紅

Love

Nyman

略為甜賦的 The Scent ol'

歌聲中，黃靜婷的《彼岸•此岸》

aloft enveloping him, drowning him. At

the end the women shrug oIT their

_

ince journal/hk vol.7 no.2

ML 舞評

Review

則以舞者梁芷茵的雙腿揭開序幕。她

sleeves, but he is left writhing, tying

black. Their structures and tones are

的雙腿從舞台前端的側幕旁伸出，屈

himself up again.

reminiscent of the new Chinese dance of

曲，拉直，就像睡醒後的伸展，並互

Cherry Lai and Yu Pik-yim.

相輕柔地廊•摩著。當這雙腿收回後，

Both Kam Yee-kwan and Chan Tan also

男舞者黃志雄的上半身即從另一邊的

use traditional elements imaginatively to

Chloe Wong Ching-tin’s Here • There, to

地面上從旁滑出、伸展，有如嗅著空

explore their ideas. In Chan’s The Brides

the only mildly cloying Michael Nyman

氣中的氣息。就這樣，兩個舞者就在

Veil a red cloth serves as wedding symbol,

The Scent ofLove, with Cherry Leung Tsz-

舞台的邊沿捉迷藏，一個緊接另一個

object of both desire and submission, and

yan and Wong Jhy-shyong, began as

地分別展露手、腿、身艇’做出一^些

a sign of not just the end of one phase of a

Leung poked her legs out from behind the

有趣的小動作，又或突然進入台後又

life, but the end of life. At the opening of

black drape at the front of the stage,

隨即離開。當兩人同時現身舞台時，

the dance, five women kneel and mime

flexing and pointing her feet, as if

他們也不能分享台上廣闊的空間。他

running their mouths along the edge of a

stretching after waking, then tentatively

們一前*一後的各走各路，有如處於不

cloth, evoking both the traditional Chinese

and delicately caressing one foot with the

同的國度，行走於不相交的窄行。终

woman’s practice of blotting red paper to

other. As she draws her legs back behind

於，兩人互相經過，但稍一停頓後便

rouge their lips and moisturing thread.

the curtain, Wong slides halfway out from

又各自上路。再見對方時，女舞者才

Bowing down, the women grasp red cloths

the other side of the stage, stretching his

手置身後，停於幕旁，造就了一次久

with their mouths and drape them over

torso, as if sniffing the air. This cat and

違的相遇。兩人的身軀於手指相觸時

their heads like bridal veils. The dance

mouse, at the edge of the stage’s frame,

凝著不動。這美好的一刻，是之前舖

unfolds in a series of scenes of escalating

continues as one, then the other, performs

排追逐的預期結果，但它的驀然而

portentousness. At the end, one woman’s

small gestures revealing legs, torso, or

來、簡單、直接和低調，卻仍叫人驚

veil seems to weigh her down, and she falls

hands, or makes brief sorties onto the stage

喜。在接著的雙人舞中，兩人環繞著

to the floor. In Over Night, Kam discards

before running off again. When both enter

對方身軀輾轉翻滚，互相支持和分擔

traditional gender stereotypical movement

together, he behind going one direction,

著對方身體的重量。他們輕柔地擁

predilections for her cast of three women

she in front going the other, rather than

抱，就算是倒掛於對方的肩上，也看

and two men. Using the fan to signal her

sharing the large rectangular space, they

似是靜臥著，不可思議地飄浮在對方

characters’ determination and strength, she

seem to be in separate territories, each in

直立的身躯之上。這再加上有如

masterfully creates a seamless flow of

their own narrow alley closed off from the

Chagall壁畫中那奇異而純真的人物姿

movement in which the dancers weave in

other. When they pass, they pause briefly

態，都令舞蹈滲出了一種有異於古典

and out of different groupings. At times

before running off. Re-crossing, she stops

雙人舞那醉人停頓中所見的優雅美

they act as one and at others emerge as

with her arm stretched behind at the

態，也賦予舞蹈無盡的可能性。

distinctly different and equal voices that

curtain’s edge as he runs in again. Both

come into focus briefly and melt again into

freeze as their fingertips touch. It’s a

與《彼岸•此岸》相反，許俊傑的《留

the night. These two dances are visually

beautiful moment, an inevitable outcome

•走.之間》以林道俊和周麗萍兩個

quite distinctive, one is red and the other

of the pursuit that went on before, but one

舞者分站於台後方開始。在Schnittke第 一號大提琴協奏曲下，男女舞者慢慢

提起他們的雙臂*似是在壓力下極用

力地推出動作。另一個舞者劉峻肇於 這時進入了這充滿壓逼的動力中。他

看著兩人，從台的一邊跑到另一邊。 再進台時，他鑽進兩人間的空間中，

與兩人一起舞著抽象動作•就像大家 都默然接受這「三人世界」。然而，第

三者的加入始終擾亂了原來的平衡 ， 打破了兩人時所保持的靜態。他們走

進台中的空間•三人的身體互相平

普

g傳作品《油隹•此岸》’舞者：梁g茵

舞蹈手札第7冊第2期

舞評

20

Review

衡，互為懸臂，以不可能的角度來的

whose suddenness, simplicity, and under­

figure out what went wrong. Hui breathes

斜傾身體。他們更冒險地讓身軀跌

statement still takes us by surprise. A

new life into a pretty standard idea, not

地，再利用下墮的力量來反彈，重組

partnering episode ensures, in which they

by dealing with it dramatically with

成新的結構隊型，有三人一起的，也

tumble over and around each other,

emotionally charged gestures, but by

有各種兩人的組合。劉的加入，在原

sharing and taking turns bearing each

exploring the ‘triangle’ as a physical balance of dynamics.

來的平衡中加入了體能和肌肉力量等

other’s weight.

新因素。他讓身軀從直接的粗野碰撞

embraces - even when one is inverted,

中體驗和啟發，對比了他加入前的靜

‘lying’ as if impossibly floating across

At its core, Bruce Liu Chin-pong’s group

態而差不多定型的姿勢。結果，兩個

the other’s upright body - and their

work 9pm- 5am also explores a woman’s

男舞者一同離開，留下了女舞者一人

postures with the awkward naivete of

break with her partner. With lighting

於台上，不知所以。編舞捨棄了充滿

figures in a Chagall mural, evoke a

deftly designed by Elroy Lo Shui-lun, the

情感的動作和戲劇性手法，成功地把

different kind of grace than seen in the

dance opens on the pounding beat and

一場看似的「三角關係」，變成一次力

extended ecstatic poses of classical pas

pulsing lights of a rave. Partygoers dance

學平衡，為一個平凡題材帶來新意。

de deux and imbue the dance with a sense

with eyes half-closed moving their bodies

of infinite possibility.

as if shifting, reacting to unseen hands. As

是探討一對伴侶分離的題材。在羅瑞

Cyrus Hui Chun-kit’s trio, In The Moment

only occasionally come close to one

麟的巧妙燈光之下，舞蹈在狂野派對

of Stay or Leave to Alfred Schnittke’s

another in brief arbitrary exchanges or

Their comfortable

廖展邦作品《9pm- 5am》的重心，也

if lost, each in their own experience, they

中強勁的音樂節奏和閃躍的燈光下展

Cello Sonata No. 7, is a kind of flip side

break out into more energetic flashes of

開。派對中舞者們半閉雙目，扭體搖

of Wong’s work that begins with a man

dancing that cause the energy to ricochet

頭，似是回應著一隻隻無形之手而移

and a woman, Momo Chow Lai-ping and

around the stage like synapses firing. In

動著身軀。他們有如各自迷失於自己

Lim Thou-chun, standing apart upstage,

the midst of this scene a couple at the edge

的體驗中，只間中作出轉變：或移近

slowly raising their arms as if the action is

of the stage slowly back away from one

他人，作出短暫而隨機的交流接觸；

wrought from immense deliberation under

another. The coexistence of the sharply

或骤然爆發出片段能量更強的狂舞，

great pressure. Into this strained dynamic,

focused world of the couple where time

有如神經訊息般由一人傳至另一人。

Joshua Lau Tsun-sui enters running across

is almost suspended, slowed down to a

在狂亂中，舞台邊沿之處一對男女慢

the stage, watching the couple.

glacial pace, and the frenetic blur of the

慢的背向分開。兩人之間，時間接近

Reentering, he inserts himself in the space

others lends the scene a filmic quality that

停頓，如冰川般緩慢的流逝。他們的

between the two, joining the abstract

Liu explores throughout the work. As if a

世界也如冰川般清晰，與四週的瘋狂

movement, as if the menage a trios is fait

sharp cut, the scene abruptly shifts, the

和模棚形式強烈的對比，做成一種電

accompli.

But the man’s intrusion

woman exits and the man joins the others

影般的效果。這電影感貫穿整鉤作

unsettles the couple’s equilibrium, shaking

in a flashback of intense fragmentary

品。有如電影剪接般，舞蹈驟轉至倒

them out of their stasis. The three move

interactions and vague encounters. In

敘男主角一人與其他舞者強烈但零碎

into the space performing counterbalances

another shift the man and the woman

的互動和模糊的接觸。再一剪接，男

that allow them to cantilever, suspended

become two still points that frame the

女兩人靜立於台的兩側，中間隔著一

off the vertical at impossible angles. They

others as if the earlier relationship is shown

群狂舞著的舞者•有如是以另'一^固鏡

risk letting go, falling and using the force

from a different angle. Later the point of

頭角度來看兩人的關係。又一剪接

to rebound into new configurations,

view jumps again, this time only the couple

後.只餘男女兩人，女的從舞台一方

sometimes the three together, sometimes

are on stage, he off center, she at the other

走向身處另一方的男舞者---- 這次不

just two. Lau introduces a new physicality

side approaching him, so that not only the

單镜頭角度改變，時空也轉換了。編

and muscularity to the equation. His rough

angle has changed but also the time frame.

舞所選取的形式，聰明地回應了開場

and tumble heuristic approach to

Liu’s choice of form nimbly echoes the

時的隨機與連繫的並置，賦予舞蹈一

experience, rather than the static almost

juxtaposition ofrandomness and connectivity

秘原始的能量•巧妙地避過了直接的

hieratic posturing of the couple in the

of the opening scene giving the dance a

感性福别，但仍成功顯露出當中的核

beginning, seduces the man who goes off

raw energy that exposes its emotional core

心情感，可説是別出心栽。■

with him and leaves the woman trying to

without heavy-handed sentiment.H

節目表 番港芭醣

Giselle《吉赛爾》

HONG

KONG

BA

浪沒悲惜笆茁舞經典

S«g«i

Ballet to die for!

Hong Kong Ballet香港芭蕾舞團 8:00pm

23- 24/4

3:00pm

Auditorium, Sha Tin Town Hall

Colour Fugue《逐色》

沙田大會堂演奏廳

CCDC城市當代舞蹈團

8-9/4

22- 23/4

8:00pm

29-30/4

8pm

Auditorium, Tsuen Wan Town Hall

Kwai Tsing Theatre

荃灣大會堂演奏廳

葵青劇院

Choreographers 編舞：

Choreographer 編舞：

柯拉里/柏羅/佩蒂巴

Enquiries 查詢：2329 7803

22-24.4.2005 沙田大會童Sha Tin Town Hall

會重

29-30.4.2005

謝傑斐

Stephen Jefferies

w

荃灣大

Tsuen Wan Town Hall

Enquiries 查詢：2105 9724

Bamboo Dream《竹夢》 Cloud Gate Dance Theatre of Taiwan 雲門舞集

A Chorus Line (Musical) 8pm

6-14/5

6-8/5

吉賽爾

Coralli / Perrot / Petipa

Helen Lai黎海寧

Cathay Pacific

8:15pm

Shouson Theatre,

Grand Theatre, HK Cultural Centre HK Arts Centre

香港文化中心大劇院

香港藝術中心壽臣劇院

Choreographer 編舞： Choreographer 編舞：

Lin Hwai-min 林懷民

Jun Mabaquiao

Side by Side《舞樂匯》 HK Academy for Performing Arts

香港演藝學院 13-14/5

8:00pm

Academy Lyric Theatre

演藝歌劇院

Choreographers 編舞：

Mohamed Drissi, Wayne Eagling, Michele Miller, Mui Cheuk-yin,

Mandy Petty, Sheng Pei-qi, John Utans

謝漢文、榮•伊格麟、繆美雪、 梅卓燕、敏迪貝蒂、盛培琪、余載恩

Stranger Than Fiction

《鏡•花•圓》 CCDC城市當代舞蹈團

20-21/5

8pm, 22/5

3pm

HK Cultural Centre Studio Theatre

香港文化中心劇場

Choreographers 編舞： Philip Adams菲利普•亞當斯 Xing Liang 邢亮

A CHORUS LINE

CHOREOGRAPHERS

Mohamed Drissi

謝漢文

Michele Miller

榮•伊格験

Mui Cheuk-yin

Mandy Petty

演藝舞蹈及音樂學院聯合演出

Sheng Pei-qi John Utans

SET

&

编舞

Wayne Eagling

缪美雪 梅卓燕

敏廸貝蒂

CONDUCTOR

盛培琪

Frangois-Xavier Roth

余載恩

COSTUME

DESIGNERS

Gillian Choa Chris Ng

Ng Yan-wing

Alice Tung Tze-yung

指揮

洛梵西 佈景及服裝富

蔡敏志

DESIGNERS

吳麗兒

Twinsen Ho

吳欣穎

Ng Choi-long

董子蓉

LIGHTING

SOUND

DESIGNER

Kay Loh

燈光設計

何兆宏 伍在朗 音響設計

陸悦宜

13-14.5.2005 晚上8:00pm

演藝歌劇院 Academy Lyric Theatre

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$50-110

主辦

An event of

门发現於快累ft累網：香港演蛀學院、香港會議展覽中心、蛀穗會售票處及全線通利琴行公開發售 。 Tickets ore now available in the Hong Kong Ticketing box offices at the Hong Kong Academy for Performing Arts, the Hong Kong Convention and Exhibition Centre, the Fringe Club os well as Tom Lee Music Shops.

除門票外1 快遠票將收取顧客服務費。Hong

Kong Ticketina will charae customer service fee payable upon purchase of litkels. This (uslomer service fee is additional to lace value of the ticket.

Online Booking 網上訂票 www.hkticketing.com Ticket Purchase Hotline 電話訂票31 288 288

Presented by

THE IRVMi WXM； VAI*\MV

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H>K I*! KIOKMIM； KKIS

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