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Leisure and Cultural Services Department
天虹印刷有限公司 Rainbow Printings Limited
-3 AU6 2005
目錄 Contents
NEWS
Vol.7
舞蹈快訊
No.4
封面Cover
麵置
r香港舞蹈團」《民間傳奇》 編舞：伍宇烈。演出：米濤
THE HONG KONG ACADEMY FOR PERFORMING ARTS
OBRARY
《Dancewide HKNY»雙邊交流劃
由「香港舞蹈聯盟」主辦的《Dancewide HKNY»是一個目的在
Hong Kong Dance Company’s
支持香港與美國舞蹈交流及發展的深化計劃。於本年8月至12
Min Jian Chuan Qi Choreographers: Yuri Ng. Dancer: Mi Tao.
月間，8位分別來自香港及紐約的青年舞蹈藝術家將於兩地架
起藝術及文化的溝通橋樑，透過於工作坊'講座和排練中的合
作和交流，探索舞蹈的內在本質與外在元素，並從中創作舞蹈 於兩地演出。計劃的第一部份將在紐約進行。4個香港舞蹈工
舞蹈快訊NEWS
1
作者— —陳敏兒、林偉源、王廷琳和楊惠美一會在8月到紐 約與4個當地鐘$傢--- Julian Barnett, Maura Nguyen Donohue, Becky
切入演出
Jung及Christopher K. Morgan---- 進行合作和交流，並於9月1日
Shifting Horizons of the Real/Self
假Dance Theatre Workshop舉行工作坊、展覽' 講座和演出一同 創作的作品。第一部份完成後，4位香港舞蹈工作者將會返
文：劉建華 by Lau Kin Wah
港，與紐約的藝術家各自於兩地繼續創作 ，直至計劃的第二部
3
份，4位紐約藝術家到港與本地的參與者再度合作交流，並於 12月9-10日假香港文化中心劇場演出最後完成的作品。
《Dancewide HKNY》獲「康樂及文化事務署」和「香港藝術發展
「亞洲青年舞蹈網絡」
DANCEWIDE HKNY BILATERAL EXCHANGE PROJECT
從哪裡來i到哪裡去？
Presented by the HK Dance Alliance, Dancewide HKNY is a
文：劉天明
11
bilateral project to foster further development and collaboration
between young HK and American choreographers. From Aug to Dec 2005,8 dance artists channel their energies and creative forces through collaborat-ion and exchange in a series of
A One Weekend Asian Invasion of NYC by Maura Nguyen Donohue
workshops, forums, rehearsals that culminate in performances
in HK and New York. The first part of the project will be in New
12
York, in which HK artists Ab by Chan, Allen Lam, Andy Wong & Yeung Wai-mei will travel to the ‘Big Apple’ in Aug to
collaborate with New York artists Julian Barnett, Maura
舞蹈與新媒體
Donohue, Becky Jung & Christopher Morgan. Workshops,
文：Kiris
17
exhibition, forum and a showing of their works in progress will take place at the Dance Theatre Workshop, 1 Sep 05. After
the HK artists leave New York, the artists in two cities will then
舞蹈節目表 Dance Events
develop their works and ideas separately until the second part
22
of the project, in which the New York artists will come to HK, finalize their works with local artists, and perform at HK Cultural Centre Studio Theatre, 9-10 Dec 05. Da nee wide HKNY is
funded by the “Bilateral Cultural Exchange Projecf co
presented by the Leisure and Cultural Services Department and the Hong Kong Arts Development Council. Enquiries:
2854 8753 / hkdalli@netvigator.com. ■ DANCE ECHO PROJECT RJ DIARY To continue the youth dance company project of CCDC Dance
Centre (formerly the CCDC Education and Outreach 圖：Hi當代舞蹈團」演出《鏡花圓》。 編舞：亞當斯、刑亮。攝影：陳德昌°
Image: CCDC’s Stranger Than Fiction. Choreography: Philip Adams & Xing Liang. Photo: Ringo Chan.
舞蹈手札第7冊第4期
0
局」合辦之「雙邊文化交流計劃」資助°查詢：2854 8753 /
Department), local dance artist Ong Yong Lock devised the
hkdalli@netvigato「.com o ■
Dance Echo Project, which invited youth dance companies from HK, Malaysia, and Taiwan to discuss choreography and dance
「舞蹈迴音工程」《RJ日記》
education, hoping to develop a youth dance network that
為延續「CCDC舞蹈中心」（前身為「城市當代舞蹈團敎育及外
belongs to Asia. In 2004, the project organized dance exchange
展部」）的青年舞團計劃，本地資深舞蹈工作者王榮祿先生想出
through internet conferencing, an Symposium On the Asian
了「舞蹈迴音工程」計劃|邀請了馬來西亞、台灣及香港的藝
Youth Dance Network and Development, and youth dance
術家，一齊致力發展香港、馬來西亞、台灣等地的青年舞團，
performances in Malaysia. The Project will continue into this
討論舞蹈創作及舞蹈敎學，期望建立屬於亞洲的青年舞蹈網
summer with artists from Taiwan (Tan Hui Chen), Malaysia
絡。從2004年開始，「舞蹈迴音工程」先後舉辦了視頻網絡舞
(Amy Len Siew Mee) and HK (Yeung Wai Mei) invited to work
蹈交流觀摩、「亞洲青年舞蹈網絡發展會議 2004」和馬來西亞
together to create performances based on Shakespeare’s
舞蹈青年工作坊公演。計劃推行至今夏天，也就是是次「舞蹈
Romeo and Juliet. Two youth dance programmes will be
迴音工程」的重點節目，邀請了藝術家譚惠貞（台灣）、凌秀
performed: RJ Diary in HK, and Decode 2470 Wt/in Malaysia.
眉（馬來西亞）及楊惠美（香港）共同籌劃以莎士比亞名著《羅
Workshops & seminars will also be held to discuss the direction
密歐與茱麗葉》作故事藍本的大型演出，於香港上演舞碼《RJ
of arts development. The Dance Echo Project RJ Diary is
曰記》及馬來西亞上演《解碼2470“舞”》的兩場青年舞蹈節目。
produced by Unlock Dancing Plaza and co-presented by CCDC
此外，是次交流活動並包括舞蹈工作坊及研討會，以「青年」、
Dance Centre, and will be performed at Ngau Chi Wan Civic
「舞蹈」、「亞洲」及「網絡」為題，與藝術家、青年人探討藝
Centre, 8:00pm, 12 Aug 05. Enquiries: Ms. Anne Hung 9309
術發展的方向。除了挑戰兩地青年舞者的能力外，此計劃也同
8191/annehwm@yahoo.com.hk.H
時挑戰了來自三個地區藝術家的創意 。「舞蹈迴音工程」的香
港表演節目《RJ日記》，由「不加鎖舞踊館」製作及「CCDC舞
HONG KONG DANCE FESTIVAL 2006 - UPDATE
蹈中心」合辦，8月12日晚上8時在牛池灣文娛中心劇院上演。
After receiving requests from various artists, the Steering Committee
查詢：^*SW^93098191/annehwm@yahoo.com.hko^
of HK Dance Festival 2006 announced several developments to the Festival. First of all, Independent Dance, which was
「香港舞蹈節2006」最新資料
planned to show works of HK and Asian independent dance
經過考慮不同意見和修改工作時間表後，「香港舞蹈節2006」籌
artists, is now extended and will accept works from any country.
委會宣佈幾點修改。首先，原計劃只演出香港和亞洲獨立舞者
Secondly, the event originally entitled “Film Dance” is now re-titled
作品的「舞蹈•各自各」，現改為接受來自世各地的作品。其
as Jumping Frames @ HKDF2006, and will be a co-presentation
次，原本名為「舞蹈•錄像」的節目，現改名為「跳格
of the HK Dance Alliance with CCDC and Emergency Lab.
@HKDF2006」，並由「香港舞蹈聯盟」聯同「城市當代舞蹈團」
The most important change possibly is the postponement of
和「緊急實驗室」合辦。而各項修改中，最種要的一項是延長
application deadlines so that interested artists have more time
申請曰期，以提供更充份時間予有興趣的申請者準備計劃書。
to prepare their proposals. The latest deadlines are: Independent
最新的截止日期分別為：「舞蹈•各自各」和「舞蹈•場-鎖」
Dance and Specific Dance, 31 Aug 05; Talking Dance - Two,
—2005年8月31日；「談談舞一二」— —2005年10月15日；
15 Oct 05; Jumping Frames @HKDF2006 and Everybody
「跳格@HKDF2006」和「齊齊舞一一、二、三」— —2006年1月
Dance - One, Two& Three, 31 Jan 06. Also, Everybody Dance
31曰。此外，「齊齊舞一一及二」將由「香港舞蹈聯盟」分別
-One and Two will be a co-presention of the Alliance with the
聯同「香港舞蹈團體聯會」及「香港舞蹈總會」製作。這些修
Association of HK Dance Organizations and the HK Dance
改已刊於「公開招募建議書」一文件中，並於六七月間寄出，
Federation, respectively. All these changes were reflected in the
亦可於「香港舞蹈聯盟I網頁下載（www.hkdanceall.or~g）。查詢：
General Call for Proposals document (published in June & July),
28548753/hkdalli@netvigato「.com。■
which can be downloaded from the Alliance website www. hkdanceall.org. Enquiries: 2854 8753/hkdalli@netvigator.com.^
「多空間」《冇關係》
「多空間」於1995年3月成立，當年的第一個製作《冇關係》，
Y SPACE NONE OF YOUR BUSINESS
曾一度成為當年最叫好的創作之一，著名編舞家黎海寧曾説：
丫-Space will re-stage None of Your Business, the first production
「這是我今年看過最好的作品门。今次「多空間」將這製作再
of the company after its establishment in March 1995, which
次搬上舞台，把當年《冇關係》嘗試探索的都市問題再度呈現。
was described by Helen Lai as the best she saw in that year.
十年前「他們扮作融洽，但不溫暖，明明逃避又強作堅持，歡
Once again, the urban problems explored in the work will be
笑過後又回復傷悲孤獨。」十年後的今天我們仍然生活在惶恐
discussed. Now, ten year after, we are still living in worries
與不安中，這些慌亂' 隔膜、矛盾、貪戀、金錢、享樂.....一切
and unsettlement. Panic, isolation, conflicts, greed, money,
「None of your
enjoyment... all still surrounding us. None of Your Business
business」是否與你無關，還是其實與我們息息相關？《冇關係》
will be performed at Fringe Studio, Fringe Club, 5-8 Oct 05.
將於2005年10月5-8日藝穗會小劇場演出，欲知更詳盡資料，
For further information, please pay attention to later promotion
請留意「多空間」日後之宣傳或劉覽其網頁www.y-space.org。■
of 丫-Space, or visit website www.y-spac6.o「g.^
一切仍然纏繞著我們，最後還是不可收拾！
請以本刊封面內頁所列的關絡方式提供舞蹈資訊 Send news_items_lo the .loiitrnAl at thg conhiftfs lisfgri on thA
cover
dance journal/hk vol.7 no.4
沿舞壇手記
B Dance Diary
切入演出 Shifting Horizons of the Real/Self 文：劉建華 by Lau Kin Wah
0
0
also needed a continuous tuning in the
從五月中起，看過的本地演出先有
Starting from mid May, we had She’s the
horizon of expectation by the audiences.
「動藝」的《眾裡尋她》、另而是「城
One, Yvette Huang’s Solo dance
市當代舞蹈團」的演出《鏡花圓》，
showcase from DanceArt，then CCDC’s
The three shows by DanceArt, for
還有是「舞映館」於CCDC舞蹈中心
Stranger Than Fiction, followed by a
example, corresponded well to three
的現場演出。步入七月，則看了「動
live performance during the Dance Video
major characteristic aspects of the
藝」上環駐場計劃的《一觸即發》「後
Hub founding ceremony at CCDC Dance
company. She’s the One shows the
7.1藝術青年」結業演出，和「香港舞
Cafe. Stepping into July, there was first
strong companionship amongst the
蹈團」「八樓平台」《民間傳奇》（之不
Post 7.1 Arts Teen from DanceArt’s
company members, Post 7.1 Arts Teen,
吃不吃還須吃），再近則是「動藝」
Sheung Wan Civic Centre artist-in
their commitment to youth dance
《同床異夢》和「多空間」主辦的《游
residence project, immediately followed
educational programs, and Individual
戲》。最後，則是幾幀今屆威尼斯雙
by the Hong Kong Dance Company 8/F
Dreams ... Shared Bed, a platform for
年展香港館揭幕時，龔志成和梅卓燕
Platform Min Jian Chuan Qi _ On Diet
artists to collaborate. When a friend first
作的演出的照片紀錄。事實上，在如
On Diet One Must Still Eat (author’s
introduced DanceArt to me, he described
此不同大小和性質的演出之間，創作
translation). Then there was another
them as the hardworking ant troops of
人各有要考量的不同用心和條件，觀
DanceArt production, Individual
our dance circle, and their current 10th
者的期待視野和欣賞角度也各有不
Dreams ... Shared Bed. Aside from a
anniversary year surely deserves our
同。「動藝」的三個演出•充分展現
few photos
warmest congratulations.
documenting the
了舞團方向的幾個特點，《眾裡尋
performance by Mui Cheuk Yin at the
她》中的小型舞團的人情味、《後7.
opening ceremony of the Hong Kong
Besides the core members of DanceArt,
1藝術青年》對於青年人外展敎育的
artists’ exhibition at the Venice Biennale
Individual Dreams ... Shared Bed
重視，以及《同床異夢》提供藝術家
on the Grand Canal, the last performance
invited the participation of Ku Ming-
間合作的機會。友人在當初以舞圈勤
I saw was Play held at Y-Space. Such a
shen, Yang Mei-rong and Chen Qiu-yin
奮的「工兵」形容他們無疑貼切，十
sampling of performances, ranging across
from Taiwan, making it as heavy weight
年間一直付出的心血實在可敬。
a whole different spectrum of Hong Kong
as the Stranger Than Fiction pairing up
dance in terms of scale and nature, not only
of Xing Liang with Australian
《同床異夢》邀得古名伸、楊美蓉和
suggested very different minds of
choreographer Philip Adams of Ballet
陳秋吟等幾名編舞者從台灣過來客
consideration behind the creations, but
Lab.
The different roles amongst
舞蹈手札第7冊第4期
B
其i舞壇手記
Dance Diary
串，陣容絕不比「城當」的《鏡花圓》
company dancers and choreographers
remained off camera, while reality in art
的邢亮加亞當斯編舞組合弱，後者卻
stand out between the two performances
remained only a prop.
無疑更見舞團的分工規模。「香港舞
however in stark contrast. Hong Kong
蹈團」的《民間傳奇》（之不吃不吃還
Dance Company’s Min Jicin Chuan Qi
須吃）亦有伍宇烈編導’並得黃大徵
—On Diet On Diet One Must Still Eat
In order to understand She’s the One, it
聯策及演出，卻屬於其舞團「八樓平
recruited Yuri Ng to direct the internal
certainly makes more sense if one knows
臺」供舞者自由參加的十天工作坊小
voluntary workshop for company
at least a bit about Yvette Huang.
型壓軸演出，因此性質獨特。「多空
dancers and to choreograph the final
Kicking off the first ever solo
1
間」主辦的舞蹈實驗劇場《游戲》，
performance. Ng brought in Dick Wong
performance of the principal female
相比見的反不是實驗性，而是浮沉舞
to help design the project as well as be a
dancer of DanceArt, Flashback was
蹈藝術專業邊緣不同自我定位編舞者
guest performer. Far different from the
based on Allen Lam’s impression of the
的隻身堅持和小眾自嫉。「舞映館」
company’s usual productions, it was a
Huang he has known through the years,
的演出，則有著借用媒體的先設框
unique experimental piece, which made
plus some new discoveries made through
架，直播的鏡頭走到户外，片段的有
Play seem somewhat amateurish, despite
the working process — for example, her
趣位還在藝術忽然走入生活場景和現
Y-Space’s open proclamation of it being
different little personal favorites in dance
實的他者（的士司機）相遇時的未知
so.
Maybe mini theatre and
and film. All these elements were then
數；預錄和直播間的媒體猜疑於此，
experimental theatre are often implicitly
finally blended into an exquisite cocktail
無疑更多是對藝術迎向現實界限的落
mixed in our(/my) expectations.
for the dancer. Indulgence by Francis
實挑戰。
Leung, chose to portray Huang’s soul
The performance of Dance Video Hub,
searching journey to finally overcome
as expected, played with the media. But
loss and frustrations. But even though
要切入《眾種尋她〜黃茹獨舞展》，
the original function of a live-feed
these dances were tailor-made for the
對舞者黃茹個人背景有所認識無疑會
camera used to capture the art of
dancer, carrying traces of reality, these
有助益。林偉源所述一直以來的相互
everyday life, returned to a re-
representations from the hands of three
合作的觀感，加上這次重新的認識與
questioning of its own representation.
male choreographers were highly stylized.
再發現，使其編的首支《抓不著的痕
The live projection actually came to a
Andy Wong’s choreography In Search of
跡》就有感「反映她的部份故事」。
halt as one of the dancers boarded a taxi
Me，based on some past works she has
梁家權編的《嵌》，舞作表現的迷失
and disappeared into the real world. The
performed, on the other hand, contained
或不住找尋，也同可視為舞者過去人
most interesting encounter therefore
some movement sequences that definitely
evoked the body-memory stored within the dancer. This somatic sense of finding back the past suddenly seemed perhaps to
be even more authentically real.
The two unique vocal music pieces from
the Icelandic singer Bjork on the program enhanced the persuasiveness of the dancer’s determination to follow her
heart and yearn for individuality. Bjork's
performance on camera for her music video of Big Time Sensuality, in my opinion, could be one of the best
examples that show how confidence is
the most important thing for one to dance 「動藝」《眾裡尋她〜黃茹獨舞展》。DanceArt's She's the One.
攝影 Photo: Jesse Clockwork.
beautifully, regardless of one’s body shape. As Andy Wong puts it, everyone
dance journal/hk vol.7 no.4 网
舞壇手記
Dance Diary
生經歷的某種寫照。但度身訂造的自
portrait of those that have come through.
傳式舞作•舞者是演員，演員正是舞
Even though the show is more
者，觀賞者看到一個人在説一個故
sophisticated in choreography and
事，一個既屬自己的故事，卻又是一
completed with other complimentary
種經（一眾男性）編舞者詮釋的她者
elements such as Kung Chi Sing’s
故事，既帶點真實.又是一經藝術形
original music, the friendship and trust
式修飾的創作成品•真假的性質難
among the performers is still subtlety
分。王廷琳所編的《尋我》，選了一
revealed. As for Francis Leung’s Startled
些過去演出的分段重組重編•則提供
in a Dream using music of Arvo Part or
另一種真實（演出）歷史的重新演
Frightful Dream which he co
出，身體記憶的若然復返，感覺或更
choreographed with Ku Ming-shen using
「真實」？
the light jazz from the film Million Dollar Hotel, compared to the Bjork
借音樂來作比方，《抓不著的痕跡》
accompanied solos, the music also
及《嵌》都各選了 Bjork的音樂，而
pointed toward a more collaborative
這獨特女歌手其自然抑揚頓挫的個人
spirit, preventing the show from
化心聲演繹，就和其於《Big Time
descending into a solitary dream.
Sensuality》的音樂錄像中以稍胖身躯
對著鏡頭起舞的強烈自信一脈相承，
On the other hand, the overwhelming
或正是體現王廷琳所説的：「每個人
affection that is so abundant in every one
都有一個屬於自己的舞台」。承著四
of the DanceArt productions seemed
月儉講座的「舞台人生」主題.投身
「動藝」《後7.1藝術青年》。
舞蹈的夢想•可説亦貫穿「動藝」近
DanceArt’s Post 7.1 Arts Teen. 攝影 Photo: Jesse Clockwork.
三個的演出。從學員們的留言，《後
7.1藝術青年》工作坊似確激發了不少
sometimes thoroughly incredible,
making me fear that they rely perhaps a
bit too much on the good-natured response of their audiences. The social
的年青朋友的生命熱情，把舞蹈作為
can have a stage of his/her own. The
function of their art certainly provides
一種認識自己、自我表現的渠道外，
dream of fusing dance and life, seemed
people with genuine friendship and
肯定人生和藝術融合的意義。老實
to be a theme running through the three
mutual support. But it also worries me
説，這些熱情的想法有時會把我嚇
recent DanceArt productions. Picking
sometimes that this small world full of
壞，然而讓年輕人全力完成一件自己
up the dynamic of life, many of the
love, might displace the need for the
用心的事情，無疑確是重要一步，演
youngsters, after attending Post 7.1 Arts
urgent critique of the existing one. Of
出機會的興奮激動，讓人有續幹下去
Teen dance workshops, even started
course, respecting each person as a
的意欲，才會使這純稚得以進一步磨
making such kind of dreams, to fuse art
unique individual is already one
鍊而得更大的提昇。
with their lives. Perhaps this fearless
important principle leading us towards a
seed of fire in the soul is a necessary
more equal and harmonized society.
2
condition to follow one’s dream in our
如若《後7.1藝術青年》是青年人初嘗
harsh sordid society. Yet even just for a
In modern art as in modern culture, the
接觸舞蹈、充滿熱情起步的寫照，
start, dance is undoubtedly a good way
self is a big issue.
《同床異夢》則可説是過來人尋夢過
for people to begin getting to know and
interestingly suggested that kkmy free soul
程的群體印記。從自我轉向一種群體
to express themselves, before moving on
inside is bound by constraints. Only
的相互扶持•《同床異夢》雖説在演
to a higher horizon.
when I’m on stage can I be in touch with
出的種種舞蹈和輔助設計上提供更多
Yvette Huang
my true self and capable of expressing
藝•術上的成熟修飾•然而舞者間的情
2
emotions of all kinds as I wish.
誼•彼此肯定的情感還是充分在舞作
As Post 7.1 Arts Teen is a platform for
Strangely though, she also says she could
中流露。至於其中梁家權的〈驚
newcomers, Individual Dreams ...
try her best to fit in the life under all kinds
夢〉，再選Arvo Part的音樂，而與古
Shared Bed could be seen as a collective
of standards, for she realizes at the same
舞蹈手札第7冊第4期
%舞壇手記
Dance Diary
名伸合編的〈悸夢〉則選電影Million Dollar Hotel中那種輕悠爵士配樂，相
較《眾裡尋她》的Bjork，就更反映 另一種追求相互動的音樂精神，把夢
帶出純粹個人世界。有時候，我的確
會懷疑「動藝」演出情感的泛溢，會 否留滯在舞者及朋友間一種私下情感 的層次，使「動藝」所強調的社會
性，偏重人際温情牌，雖有藝術社會 功能，卻未能針對社會的其他面相。
當然，把每人重視為個體，本是更基
礎的一種民主原則和個體尊重，或正 是藝術對「後七一」民主自由深化的 另一路貢獻。
「動藝」《同床異夢》。DanceArt's Individual Dreams... Shared Bed.
其實藝術中個體自我的問題，當是現
攝影 Photo: Jesse Clockwork.
代藝術中的一大課題。如黃茹既覺只 有站在舞台上拋開曰常的規範和自我
time that “ordinary is beauty”！ If these
Liang and Philip Adams each on one
控制，「才覺得真真正正屬於自
two thoughts are not conflictive, the
side.
Despite it being a single
己」：然而其亦相信平凡是美、努力
secret probably lies in the capacity of art
performance, the two parts were
融入大眾，希望當個普通人。這兩種
to help people come to an understanding
nevertheless drafted apart and
的想法若非衝突，那大概在於藝術提
of the self in a state of freedom, which
recombined for the performance. Xing
供了人們理解自我身份的那獨特而非
value is reflexive and not absolute.
Liang suggested the main theme of the
絕對的空間和品質。自我（真我）與
show as the transience and flux of life.
演出正是有寬闊的可能模式。如邢亮
While for Xing Liang, in his radio
However, this grand humanistic, or even
在電台的訪問中，就談到一個好演員
interview before Stranger Than Fiction,
existential topic, at first sight, does not
其實並不在乎於看身體的條件有多
the dancer/choreographer gave his own
seem to fit the formalistic play of Philip
好，因為好演員更該有像水一般的狀
metaphor in describing the quality of a
Adams’ choreography. But one quality
態，放在什麼樣的容器就是什麽樣，
good performer. For him, the body form
of mirror-reflection other than alikeness
就又是對於舞者自我的另一個想像版
and fitness is not a prime prerequisite,
that is constantly being ignored and
本。當然換個角度，舞者們這種對於
instead he has the idea that a good dancer
might be relevant here is that, the subject
不同角色的開放、嘗試和吸收，也算
should be as fluid as water, and be able to
and its reflection are in countering
是一種積極自我發掘和認知的過程。
transform into whatever shape the
directions. Adams’ appropriation of
container is. This again, reflects an image
Origami (paper-folding) is not only for
3
more in tune with a dancer’s relationship
its form and mathematical beauty.
《鏡花圓》作為邢亮和亞當斯間的一
to the choreographer — —as container
Japanese Origami, as a highly cultured
面鏡子，演出雖為合作，但大體仍是
provider. Surely, in a paradoxical way,
art, has at the same time a symbolic
在溝通過主題後分開兩地編排，最後
this kind of openness of the self for
meaning invested through its practicing
才重合成一臺舞。邢亮把主題説是生
different molds, encounters with other
ritual, representing a calm, self-
命的無常，然而這人文藝術的大題
ness, is also considered an active attitude
restrained civilized approach in the face
目•驟眼看和亞當斯的形式化風格不
of mind in getting to know one’s self (via,
of the uncertainty in life. Xing Liang’s
似大相關，不過鏡之涵義或不是在兩
for example, knowing one’s limitation).
approach to the theme is comparably
者的相近，而或更像是對同一主題的
much more straightforward, and
不同方向演繹。亞當斯的舞寄寓於精
3
繳的文化形式，以井然條理的摺纸工
Stranger than Fiction also plays with the
feelings. One of the most representative
idea of mirroring of the self, with Xing
scenes was therefore when a dancer
达承我祈福的象徵，通過克己的形式
primordially expressive of
inner
dance journal/hk vol.7 no.4
R
%舞壇手記
Dance Diary
（儀式）化而撫伏面對人生無常的心
physically struggled, close to a state of
Other than the gradual recognition by
绪，這和邢亮選採一種情感的直率回
exhaustion and hysteria, underneath a
way of the difference in the sentiment of
應，就恰呈兩種不同的性情取態，彈
stretchable costume.
the body movement, the most obvious
性的衣衫內的本能掙扎，尤呈示個體 經歷糾纏的不規失措。
signification came rather from the As an overview, for the first half
shifting of the stage focus from the left
choreographed by Philip Adams, the
to the right. Echoing the lowering of a
就亞當斯的前半段演出•摺紙、地墊
folding of paper to a mattress matrix is a
chandelier (so often a symbol for the
陣，當中慎密的機械化動作編排，無
combination
of clear-headed
grandiose of civilization) in the left stage
疑是確立其段落風格的重心，然而較
choreography and precise execution.
in the middle of the rundown, stones
少見到「城當」一眾舞者們連串立體
The small group-full-contact sequences
were poured down from the flies and
的接觸組合，其實同有新鮮感。在透
at the forefront were also noteworthy,
came to an end in a back room opened
明營幕裡的一段，雖更見在有限空間
especially with such an intensive
on stage left. This theatrical 'trick’，
下的舞者們陣式變化的趣味，和梅卓
application of technique that has not been
however, seemed to last too long in a too
燕編的《十月紅》的被單一節就有所
much seen in recent CCDC productions.
limited space, weakening its possible
類同，舞者偶爾竄出帳篷，未必為偷
As for the section inside a transparent
impact that, for example, a similar ‘trick’
借空間，卻似破壞了摺纸那種空間物
tent, the full utilization of the cramped
had in DV8’s dance video strange fish.
質的恆守。至於邢亮的下半段演出，
space for group movement variations
The spilling over of the stones in the end
把鏡面的交接面融化過渡，除了舞蹈
was an extension of the folding
that obstructed the proper closing of the
動作上的意態分野，結構性的對倒主
choreography that went on before. Its
vertical door should, however, have been
要見於左右場區應用空間的位移。中
mechanical routine-ness, however, was
forseen and avoided.
段吊燈的文化光環在右方徐降，便和
pretty similar to Mui Cheuk Yin’s
結尾部份石頭在左方狂瀉相互鏡照 。
October Red sequences, also for CCDC,
4
比較可惜，是石頭在室中瀉至升降門
in which the dancers played with a huge
A celebration of friendship, a search for
無法關上似有點可以避免；至於英國
blanket. The slipping out of the tent
self-identity, chasing after a dream,
舞團dv8舞蹈錄像《strange fish》中的
mirrored at both ends, despite perhaps a
musing over the transience of life, all
天降石頭雖更震撼，現場效果如何實
deliberate move and break to redraw the
these themes unavoidably seem a bit
或同差一截。
focus, seemed, however, a violation to
cliche, but whenever they happen to a
the rule of the spatial game.
person, they are still bound to be
The
4
transition to the following section
touching.
舞者間的情誼、尋找自我的迷失、人
choreographed by Xing Liang was not
performances is that empathy might not
生如夢、世事無常，有時總覺有點太
presented with a clear-cut demarcation.
be evoked in those who are personally
The problem of such
unfamiliar with the artists. Contrarily,
it might help if the artists gained an aesthetic distance, and spared the
audience from the embarrassment of seeing the enactment of something that
originally occurred in real life. In the
mini-scale dance-theatre pieces, it is particular easy and seems natural enough for the audience to assume that the
dancer is also the choreographer. But this proved to be a quite misleading
assumption in the case of Play performed at Y-Space. Furthermore, improvised 「城市當代舞蹈團」《鏡花圓》。編舞：亞當斯、刑亮"攝影：陳德昌°
sections and choreographed sections
CCDC's Stranger Than Fiction. Choreography: Philip Adams & Xing Liang Photo: Ringo Chan
were hard to distinguish. Is this problem
舞蹈手札第7冊第4期
%舞壇手記
Dance Diary
陳腔濫調，自然當它們發生在真實的
due to the audience’s lack of
Qi _ On Diet On Diet One Must Still
個體身上，又確會令人真為所動，但
understanding the characteristics of each
Eat is exciting for it is a fully sclf-
是這種真實的移情作用，對於關係陌
performing artist? Or due to our poor
conscious and self-reflective meta-
生的藝術觀眾未必湊效；相反地，陌
observation during the performance? Or
performance. One of the real charms of
生的觀眾或者起碼能免於舞者將真誠
perhaps in the horizon of expectation
the performance is seeing the company
真摯真情放在作品中再演時感覺的尴
(also under the mis-guidance of
dancers performing in a way they are not
尬，易於取得審美上的距離。就如在
expectation), such things are considered
trained for or accustomed to. It does
《游戲》這小劇場的小演出，觀者們
already too minor? Why is what we
seem a bit like some wicked pleasure,
一旦「持熟賣熟」都易誤陷於把舞者
perceive without background knowledge
despite (or precisely because) what the
的演出視為其自編作品，即興和預先
not equally valid as an object of aesthetic
performance requested of them is simply
編定的部份也並不明顯，究竟這對於
appreciation in its own right? Or even
not to act as they are used to, and
我們觀果而言，是對舞者的背景認識
perhaps, has the leading edge of being
paradoxically simply be themselves in
不足、觀察不拘入微、抑或差異本就
free from unnecessary influences
order to perform.
有點無關痛癢?莫非舞蹈演出給我們的
prejudiced opinion?
藝術假像本已是最真實的審美對象？
Take the part the dancers introduced each Discussing the self in art might very well
other in a personal manner one after
藝術家的自我，在舞蹈上因分開編舞
be a symptomatic modern obsession
another, or the part in which they
和舞者，現象本已複雜，但即興、觀
itself. Making things more complicated,
demonstrated the common postures of
者互動等，雖非新的發明，卻是藝術
dancing is an art form that sometimes
Chinese dance as examples. In these
自足性發展後一股反動的再發現。演
involves two parties, the choreographer
sections, the audience could gain more
出作為一種現場的經歷，作品要在演
and the dancer. Besides, in reaction to
personal insight and learn stories about
出情境中方才完成的不自足/不完整
the self-enclosed direction of
the dancers, yet are consciously alienated
性，除舞者對演出的自覺性提高，觀
modernism, improvisation and audience
者也同捲入作品的建構。「香港舞蹈
participation are rediscovered. The self-
團」的《民間傳奇》（之不吃不吃還須
consciousness of the performer is
吃），正是如此一場有趣的演出嘗
deemed to substantially increase, the
試。雖其實一樣有嚴謹作為演出的編
audiences too are becoming part of the
排，但這班「香港舞蹈團」的舞者，
constitution of the work in action.
被要求以一種別於其舞團舞劇訓練的
Despite that it still remains a very strictly
方式作演出，每人於是要陌生地飾演
structured performance, Min Jian Chuan
「香港舞蹈團」《民間傳奇》。 編舞：伍宇烈。演出(左起)：陳俊、
胡錦明、楊怡孜、黃大徽。 照片提拱：「香港舞蹈團」。
Hong Kong Dance Company Min Jian Chuan Qi. Choreography: Yuri Ng. Dancers (From Left): Chen Jun, Wu Kam-ming, Yang Yizi & Dick Wong. Photos: Hong Kong Dance Company
dance journal/hk vol.7 no.4
沿舞壇手記
El Danes Diary
自己。當中舞者間的互相介紹和中國
to keep a distance and from engaging in
舞式的介紹部份，就有別於如「動
any empathy.
藝」上提及的演出，觀眾既接觸到舞
performances by DanceArt, it is a much
conceptual
者間私人的感性印象，卻也保持一種
more intellectual approach. The distance
unfortunately like many conceptual
知性距離。這和客席編舞與舞團舞者
is a reflection, not so much of the
ideas beautiful in the imagination, was
間的一定（藝術認知上跟交往私下的）
unfamiliarity of the choreographer and
painstaking in its realization (as well as
陌生•或也是另一種的忠實反映。
the dancers, but rather the vast difference
for audience to bear). For contemporary
between the dancers’ paradigmatic
dance concert goers, such an
5
mindset and training, and the artistic
arrangement might already be taken as
作為「八樓平台」的一個實驗，客席
paradigm of the guest choreographer and
a signal that the performance is coming
編舞針對「香港舞蹈團」一班舞者的
his handling of the situation. Overall,
to an end. But since there is no curtain
慣性要求一種短暫的抽離，從另一個
the performance is a testimony to the
to fall in the dance studio, most of the
角度來看自己經已內化成理所當然的
efficacy of the unexpected fusion of
audience tended to stay behind and
藝術習性，這既是一種不自然的人工
different horizons as an effective way for
watch till the end, the finale turned into
介入，卻又可説是當代舞蹈藝術舞台
producing interesting outcomes.
a real climax, a collision between
Compared to the
演出的迫真效果，甚至一如真正的把
it any longer, they dropped out one by one.
This was originally a very decision,
which
abandoning at will a repeating gesture
雪糕送進肚裡的情節要求 。當審視的
5
of no particular importance or specific
既非舞者作為個人生涯，而更多是舞
As part of the 8/F Platform workshop
required duration, and the invested value
蹈演出的專業反思，演出有意思的，
program, Yuri Ng thoughtfully prepared
of one’s own will to endure to the utmost
是在這種清醒的距離心態中，卻同喚
the experimental performance for the
one’s own limitation.
出舞者的內心激動。在場中地毯上不
participating dancers to reflect upon the
住重覆十字步直至個人的離場時刻 ，
nature of performance, upon the self,
In the usual case, a performance is the
本是十分之概念化的一個編舞安排•
inviting the dancers to take a temporary
presentation of a choreography
對於觀豕和舞者，執行上都可以是一
leave from the usual mode required by
completed. But when we envision a
種折磨，其實在段落開始後，當代舞
the company. This could be seen as an
performance as a live art form that can
劇的觀者都不難接受這樣一個貌似永
artificial intervention of the embodied
only crystallize in real time, it will
續、直至最後人體不支的想像結局；
genre of dancing, but it was also the
otherwise not be considered as having
但正是觀者置身於舞室的環境成了演
accommodation of what was as real as it
reached completion.
出中的一部份，沒有落幕的可能•結
could get (such as a scene in which a
performance seems to be an ambivalent
果觀者的留下來決定，間接又反逼使
dancer ate ice-cream that ended up in her
case.
演出/舞者要繼續下去。其他演出中
belly and added to her waistline; in other
performance, perhaps only because it has
A workshop
The show is regarded as a
所傳遞對藝術的那份堅持形像’在此
words, the relevance of the performance
an audience. But the audience might be
反得具體化•從簡單的概念指令中達
with eating is the dancer’s obsession with
just another prop of the workshop to help
至一種煽情的效果。
body-weight), for a workshop as
train the dancers. The inclusion of Dick
performance, performance as workshop.
Wong in the performance, on the other
一般的演出•舞蹈都是編排完畢，接
The reflection was, however, not
hand, highlighted the difference between
而公演；而正是觀者的出現，使演出
intended to sentimentally address
dancing genres, generating a comic
成為演出，看《民間傳奇》的觀眾，
personal incidents, but what performing
effect. Not just through the body, Dick
卻可能是工作坊訓練舞者面對演出的
is about. Such experiencing, however,
Wong also brought in his typical
道具。黃大徽的加入，使舞蹈傳統間
stirred up the emotions of many of the
choreography, which plays with the
的差異，得以借人際間的言語和肢體
dancers involved in another way.
addition of language elements.
溝通表達，取得喜劇般的對比效果。
By
incorporating social jargon to rename
《民間傳奇》既非《畫皮》般的傳統故
Towards the end of the dance, the
different traditional postures, Dick Wong
事中國舞演繹，「不吃不吃還頊吃」
dancers joined together to repeatedly
somehow modernized Chinese dance,
的副題更像是個隨手勾勒的側面輪
perform the same simple steps in the
fusing art with life literally, but ironically
廓.在揭示舞者一般職業性對體重的
center stage until, not being able to bear
without altering the traditional
舞蹈手札第7冊第4期
B
%舞壇手記
Dance Diary
重視和個人口味偏好間的時而挣扎
choreography a bit. All he really did, was
playing it, I discovered it could only be
外•若非協助抽象形式的演出作宣
to change (coloring) our way of seeing.
a game of zero-sum. This led me to
傳，莫非確是個編舞饞嘴的藉口？
reflect whether consciousness and
《民間傳奇》中，黃大徽把傳統的動
6/0
作稱呼改以「兩岸三通小旋風」、「上
In the programme Play, Victor Ma stated
reasoning arc loss or gain?
天下海自由行」等替代，有趣處或在
that in the Post 97 social environment of
Recently, on the night of Dance Video
於，這種胡説八道的語言把戲又有幾
Hong Kong, it seemed hard to maintain
Hub opening ceremony, I encountered
分擬真，彷彿確實可行.説穿卻是不
a playful attitude towards life, but at the
a question from a choreographer almost
過—~句 °
same time, it is why we especially need
exactly as one asked of me before. They
to play, or else we will be trapped in our
wanted to know what motivated my
6/0
own resentment. In my opinion, to play
writing on dance, the true question is of
馬才和在《游戲》的場刊中提到，在
or not to play, is the question left for each
course, “if there are any?” for many
回歸後的社會氣氛下「難想像香港人
one to decide, according to one’s own
people cannot sense it in my writing.
還能游戲人間」，然而正因如此又使
sentiment and reading of the situation.
Since I was being asked this question, I
「我們更需要游戲，否則只能在怨氯
Art is, in many ways, such a kind of
wrote my diary entry each time first by
中渡日！」於是對於《游戲》，究竟採
mirror. Attending the Post 7.1 Arts Teen
trying to explain my own view (or
嚴肅認真抑或遊戲態度觀之?我想，
performance on the 1th of July, dragging
excuse) on the matter. But each time, I
最後都還是交歸每個人任由個體的性
my tired body after the demonstration,
removed it in the middle of the process
情和涵養來作決定，藝術不過就是一
or listening to Play -21 music by Pet
as the theme for the particular issue
面這樣的鏡子。拖著疲倦的身躯在遊
Shop Boys and recalling their song
started to emerge and my own grumble
行後去看《後7.1藝術青年》，又或聽
mentioning King Cross tube station, I
seemed a too extreme personal case to
著《游戲》＜21＞本來叫人跳舞的Pet
knew my writing on dancing wouldn’t
be explained to the public reader. Yet
Boys音樂想起其另一首以
be able to be light-hearted. Entering Y-
since I will be away from Hong Kong
Kingcross地鐵站為場境的舊歌，我
space for Play，the performer Yuenjie led
for a while later in the year and not filing
的舞蹈文字，注定未能輕輕的舞動起
me to my seat and invited me to play a
my column, maybe it is a good occasion
來。或者正如丸仔在《游戲》進場時
children’s wit game on his body. But
to reflect on my experience writing about
所要求觀幂在其身上跟其玩一盤圓圈
for me, since I learnt to apply strategy in
dance in the next issue.H
Shop
交叉，實在很久前起，這已是個不再 好玩的零和遊戲。
近曰在「舞映館」開幕夜遇上一名編 舞者，他問了我一個不久前已有另一
舞圈中人問過我的同樣問題，就是我
寫關於舞蹈文章背後的推動力 （drive）在那裡。其實我近期每次寫
這專欄，起首都是先從嘗試回答這個 問題的引子寫起，我明白一般人會覺 得作者（相比於我覺得編輯）是有責 任要去給讀者們交代，但又總是覺得
自己沒有什麼重要性，不值得佔什麼 篇幅，於是最後總選擇删走，這次也 仍未例外。把文中的演出和文字的發
表作平行閱讀，雖非不可，仍不是個
自覺貼切的解説，這個問題或就留待 下一回（專欄暫定的最後一回）來次
分解。■
「多空間」《游戲》。丫-Space P/ay.
dance journal / hk vol.7 no.4
Rl
'專稿_____________________ Article 廣去馬來西亞。2(>04年初，他於當
地組成了舞蹈青年工作坊，召集了十 多名青年人，由當地現代舞工作者執 行敎育工作。馬來西亞的現代舞發展 比香港遲緩，同時受到政府民族政策
「亞洲青年舞蹈網絡」
的影響，不容易把活動推廣開去，可 是亦因此.馬來西亞的舞蹈社群凝聚
從哪裡來，到哪裡去？
力強，而青年舞團的成立過程也變得
容易。王榮祿於2(>(>4年七月邀請了
文：劉天明
來自新加坡的郭勁紅、台灣的譚惠貞
及香港的楊惠美到馬來西亞，分享交 流各個地方現代舞故學的心得*並每 人舉辦了一個舞蹈工作坊，把現代舞 不同國界的元素:•參進馬來西亞的年青
的藝術資源分配相當特 避'別，總是每輯劃逐次審
離，也潛移默化的培育了新一代的舞 蹈大使。這個計劃非常成功.並曾被
批，每個計劃都有自己的限期，由三
中國及台灣邀請出國與當地青年舞者
個月到一年不等，而每次撥款都不足
交流.舞團成員也有不少人投入舞蹈
以應付龐大的開支•甚至每年的申請
界工作•可是受「康文署」的審批條
也會參考過往的紀錄，上年申請成功
件所限，青年舞團計劃獲撥款兩年以
的，今年就可能較難申請•要確保活
後，就不能再獲撥款•於是•大型的
動的可持續性•相當困難。當然，我
青年舞困亦因此而解散。雖然青年舞
們也應該思考往外尋找經費，可是，
團解散了•但是參與計劃的人員仍然
藝術性與經濟性的考量•往往都是走
雄心壯志.而王榮祿則是其中一員，
向兩極。於是，香港的藝術發展總是
他的眼光不只落在香港這片土地 ，還
若隱若現•若即若離似的，發展主導
有馬來西亞，他成長的地方。他想出
是支持藝術家們創作•這也是無可厚
了「舞蹈迴音工程」計劃•邀請了新
非，香港需要優質藝術，可是，這些
加坡、台灣及香港的藝術家，一齊幫
計劃撥款、交流撥款，主力向卓越藝
忙發展馬來西亞的青年舞團，討論舞
術創作方面走，我們也就看不見藝術
蹈創作和敎學，期望建立屬於亞洲的
作品對社會大幕的渗透性敎育性，計
青年舞蹈網络。
次與香港青年舞團的視象會議，通過 寬頻網路，香港「CCDC舞蹈中心」 2()()3年的青年舞團成員，與馬來西亞
的成員互相觀摩•相方的成員並表演 了導師編排的舞蹈。這是兩地青年舞 團的第一次交流。
20()4年底，馬來西亞青年舞團完成了
首兩個公開演出，空前成功，而香港
的撥款或贊助仍未見起色，於是王榮 祿嘗試以雙邊交流的形式•與馬來西
亞舞蹈青年工作坊的凌秀媚合作•於 兩地推出「舞蹈迴音工租」繼續點燃
香港青年舞蹈的一點火。2⑻5年夏
天是這次交流的重點節目，香港 '馬 來西亞分别上演兩場青年舞蹈的大型 演出，並邀請了譚惠貞與楊惠美共同
劃是執行了•任務尚未完成•觀幂群 仍小。
人身上。七月當地的活動並包括了一
亞洲.在這控泛指華人地區。青年•
是年青人，介乎十八至二十五歲。舞 王榮祿參與了兩年由「城市當代舞蹈
蹈，主要推廣的是現代舞。網络，成
團敎育及外展部」(現為「CCDC舞蹈
員包括香港、馬來西亞、台灣及新加
中心」> 的青年舞團計劃，他很感嘆
坡。
這個計劃未能持績發展。青年舞團由
舞蹈中心總監潘少輝策動•向「康樂
王榮祿為香港青年舞困第一次編排的
及文化事務署」申請社區文化大使撥
是《好佳家》，他與青少年們一起探
款-分别於20()1年及2()03年成功組成
索對「家」的思考，而第二次他編排
兩個青年舞團，針對青少年，從社會
了《塵埃未定》，以十五分鐘Ravel的
大幕帶來這班舞蹈愛好者.給他們近
Bolero •與舞困成員面對身體舞不谇
半年優質的培訓，再安排他們到社區
的快感。他兩次編舞的經驗都非常深
例如赤柱 '山T員、尖沙咀等地方公開
刻，他看見了舞蹈加上青年之後所發
免費表演•縮短觀眾與表演者的距
放的強大力量，就決心把這個計割推
籌劃節目，分別以兩地舞者演出。交 流活動並包括舞蹈工作坊及研討會， 以「青年」’「舞蹈J
'「亞洲」及
「網络」為題，與藝術家、青年人探
討藝術發展的方向。 「舞蹈迴音工程」是首次將藝術家與
青少年參加者放在同等重要性的兩地
交流計劃•藝術家們非單與其他簪術 家合作.並與來自兩個不同地方的青
年人直接溝通交流.而青少年人亦會
接受藝術家們的衝擊.延績將舞蹈滲
透到不同層面的使命。画
IB
舞蹈手札第7冊第4期
舞評
Review
A One Weekend Asian Invasion of NYC By Maura Nguyen Donohue
Copyright 2005 Maura Nguyen Donohue
white dress drooped over her head. A
Hong Kong artists perform on stages around the world and have been especially busy in the past few months displaying their talents to international audiences.
Besides Mui Cheuk-yin’s appearance at the Venice Biennial, works of two APA
alumni, Cody Choi and Anh Ngoc Nguyen were featured at London’s Royal Opera House Covent Garden ROH2 series in June. Ahn showed up at New
video-projected block of blue light
slowly makes its way up behind her until it fills the stage-right half of the back
wall, where Chan’s shadow becomes the
York’s Lincoln Centre Festival in July dancing in Random Dance’s production
primary player in this visually
of AtaXia while Choi just returned to London after several months of touring in
compelling dance.
Japan and Korea in the Adventures in Motion Pictures production of Swan Lake.
interplay between the video, designed by
Hong Kong Dance Award recipient (for her performance in Yuri Ng’s Rite of
Chan and Kevin Wu, and movement
Spring and choreography of Pipe Dream) Abby Chan has also been busy
clearly choreographed to work with
between Hong Kong and New York as an independent dance artist since her retirement from CCDC. Maura Nguyen Donohue’s article is a review of works of several Asian-American dance artists in New York, including Abby Chan’s
There is direct
the shifting planes of light and color that cross the screen. The images shift
Spectrum, which was also performed in Hong Kong in 2003 Little Asia Dance
Exchange Network. Nguyen Donohue’s article, gives a brilliant portrait of the New York dance scene and gives readers a glimpse of the central role that one
Hong Kong artist plays in Asian dance in New York.
was a bit of an Asian
And that kind of range of offerings is
dance festival happening
not something I am yet willing to trade
all over New York City last weekend.
in — despite my growing family. I’d
Although I don't think any of the
rather have access like this than wait for
presenters, nor perhaps anyone else,
Mulan on Ice to come to town... if you
knew it was happening. But over the
know what I mean.
course of four days I traipsed my 9-month
pregnant butt and belly from SoHo to
Thursday night, SoHo
Midtown to the upper Upper West Side
Hong Kong transplant Abby Chan
to Chelsea and to the Upper East Side to
performs Spectrum as part of a Joyce
catch Asian and Asian-American novice
SoHo Presents program. She begins
and veteran choreographers around town.
bent forward at the waist with a flowing
Abby Chan’s Spectrum. Photo: Jesse Clockwork.
IE
journal/hk vol.7 no.4
r/
Review
John's Wort, a wacky ditty for six
dancers. The dance actually contains
some enjoyable compositional moments but the performers, histrionics and
overacted facial expressions turn it into mainly a cute bit of hyperactivity.
Friday night, Midtown, East Side Solo/Duo a showcase for emerging choreographers from Japan, was part of a season-wide program with the theme
‘Cool Japan: Otaku Strikes!’ at the Japan
Society.
'Otaku’ is a word I threw
around often with friends in the US and
Abby Chan’s Spectrum. Photo: Cheung Chi Wai.
Japan, and which I vaguely understood
to mean ‘techno geek’ or 'computer between aggressive bars of red light
theatrical experience would have been
nerd’. Based on a concurrent exhibition
that pulse and crowd Chan out of the
complete with stronger lighting and
in the Japan Society gallery, Little Boy:
space into psychedelic flowers and
costuming choices than the ones made
the Arts ofJapan’s Exploding Subculture
hallucinatory childlike images that
here, which conveyed more informality
and the material in the dance program it
blend with echoing Cantonese
than mystery. And, until a segment of
would seem that ‘otaku’ has a broader
children’s poems.
Chan makes a
interesting partnering near the end the
meaning that includes much of what may
strikingly gorgeous canvas for the
dance seemed redundant as a duet.
be looked upon by the Japanese as
light. In the moments when the eye
There’s a lot of unison movement and,
anything beyond mainstream, including
shifts from shadow play to live
regardless, it’s hard to pay much
rampant individualism and obsessive
performer she is breathtaking. Her
attention to anyone else when Estacio is
interest in postwar Japan’s Neo-Pop.
features become arresting as she is
on stage.
With images of big-eyed school girls
captured in the bright white light of
the projector in this surreal, at times
Also on the program was Breezy
whose skirts are short enough to allow
sci-fi dreamscape.
Roger Lin’s
Berryman’s Widows Walk, which would
unfettered crotch views still fresh from
composition swells between surging
have been bettered served without a
a walk through the upstairs gallery, and
force and raw pounding into an
dedication to the choreographer’s cousin,
the lingering memory of a notsolongago
evocative and elusive realm, one that
who is serving time as a U.S. Marine.
walk through Tokyo’s Shibuya district,
reminds me of a young girl’s bedroom
This gesture, and the fatigue green
I watch as Shigemi Kitamura opens her
during the late hours of the night, at
costumes, suggest a weight and
i.d. with a tight spot of light on her red-
once innocent and eerie.
substance to the dance that never
undie-clad bottom. Tight bars of light
materializes. The five dancers, including
illuminate specific parts of Kitamura，s
Homegrown New Yorker and Filipina
Estacio, perform all of the movement
body, including thighs which open and
Sharon Estacio’s Undergrowth is set
with technical precision but the
quickly snap shut. She exits, then returns
almost entirely on the floor, with only
movement vocabulary reveals more
in a long black dress and kneels
the briefest bursts above kneeling. The
method than meaning. Notwithstanding
downstage before dramatically opening
choreography, performed by Estacio and
a few falls to the ground and somber slow
a canned drink and beginning a dance of
Lena Gilbert, is brawny and athletic yet
walks forward towards the audience the
inflated facial expressions. Her tongue
sensual and undulating, perfectly
dance lacks the emotional resonance the
licks her lips making a long, far-reaching
conjuring the quietly seductive shifts of
program notes promise.
Janice
circle around her mouth. Her eyes roll.
the world beneath us. However, the
Lancaster closes the program with St.
She is an anime heroine with regal
B
舞蹈手札第7冊第4期
舞評
Review
bearing and exaggerated features. In
This was an experience and experiment
inevitable boredom of marriage but by
front of a projected image of a woman
to return to, a ritual journey across the
the time the pair meets downstage left to
performing calisthenics Kitamura bursts
enormous landscape of a single body.
perform a dance of boredom and
into madcap frenzies displaying a
annoyance I find my mood pretty well
rambunctious, haphazard energy that is
Unfortunately, Yukiko Amano, also
slightly infectious.
advertised as being on this program, was
Prior to the show proper, Natzuko
reflected.
unable to travel or perform due to a
Saturday night，upper Upper West Side
debilitating knee injury. This was greatly
I dash through a sudden rainstorm into
Tezuka had performed Anatomical
disappointing as I’d enjoyed her work in
the Bridge for Dance right around the
Experiments I in the lobby, placing
a Dance Theater Workshop showing
comer from my apartment to catch New
Xeroxed images of eyes on various parts
earlier this year. She did, however, send
York City newcomer Darcy Naganuma.
of her body.
For Anatomical
a video of her written (and illustrated)
Resettled recently from Hawaii,
Experiments //, she requests audience
apologies that was witty and delightful.
Naganuma is presenting a sketch of sorts
members to join her onstage or view the
Amano should be back in New York for
on a shared program. The 60 or so
dance through binoculars to get an
the Japan Society’s 9th Annual
folding chairs lined in the studio are
intimate view. For obvious reasons, I
Japanese Contemporary Dance
mostly filled and the feeling is youthfully
opt not to drag my mothership out of my seat. The binoculars aren’t particularly
powerful but the general image of the
audience surrounding Tezuka’s horizontal body, laid out on a white plexiglass platform, is appealing in its
own way. And while the magnification doesn’t provide the punch to really get
up-inside-it-all, the lens itself sharpens
the view enough to make certain details like red painted finger and toenails and
buttons pop in a way they wouldn’t otherwise.
Tezuka’s intensity of
concentration — face twitching, eyes
crossed and unfocused, suggesting a
choreographed grand mal epileptic
H.T. Chen & Dancers in Heart of Grace. Photo: Carol Rosegg.
seizure — reveal how a butoh aesthetic
is insinuating itself into contemporary
Showcase during next year’s Arts
supportive, with the young man at the front
Presenters conference here.
desk also serving as technical support.
Akira Kasai, the alien rage of Ko
The duo of Osamu Jareo and Misako
Naganuma9s 24 begins in black with the
Murabashi, the flamboyance of Kazuo
Terada seems out of place on the
artist counting backwards. As the lights
of
program. It Might Be Sunny Tomorrow
and music start the choreographer is
Dairakudakan or even the formal polish
doesn’t seem that original or inventive.
revealed stepping out of a pile of white
of Sankai Juku this single, female figure
Jareo and Terada move two chairs around
rope. She slices her long limbs through
clad simply in plaid skirt and button-
the stage while performing pretty run-
the air with increasing speed and ferocity
down shirt reeks of a performance style
of-the-mill choreography. At one point
while a suit-clad woman, Gina Ferraro,
rooted in the devastated plains of
Mendelssohn’s wedding march plays and
sits at a desk, writing and talking on the
Hiroshima. If I had a parlor I'd invite
I speculate this could all be about the
phone. Eventually Ferraro rises from
her over to perform for all my friends.
dreariness of planning a wedding, or the
behind the desk, bites into an apple and
performance.
Though far from the
grunge of Min Tanaka, the tumult of
Oh no,
the
grandstanding
journal/hk vol.7 no.4 阪
｛舞評
Review
carries the now frozen, doll-like frame of Naganuma back towards the desk.
Angela Gorman, Julia Hellmich, Amy Le
Fleur and Ali Zaid, young members of
the Westchester Ballet and modem dance
students of Naganuma, enter wrapped in coils of rope and turn on pointe while
Ferraro drops papers onto Naganuma’s
prone body. The girls stop and begin to address the audience with lines like “I
am 18, 17, 16... the proud owner of a driver’s permit,” “I am 15... a member of a Passover group,” and “10... at a
sleepover.”
There is a shyness in
speaking for a couple of the dancers and bravado from the others. The intimacy
of the space and the sincerity of some of
the performers’ discomfort and
Dana Tai Soon Burgess Tracings. Photo: Mary Noble Ours.
awkwardness make the sequence strangely
riveting. The work has shifted from what
Workshop (where both Chen and I serve
assurance.
I thought was just another dance about day
on the board), as part of DTW’s
drummer Cao Bao-An, increases in
jobs into a glimpse of girlhood ― albeit
subsidized guest artist series.
volume and intensity the dancers never
Chan’s trek through memory lane. The
Chen starts Heart of Grace with a
frame version of a lion dance mask
girls remove their pointe shoes as
traditional lion dance, like those often
descends from above do we glimpse
Naganuma joins them for a final dance
seen in the streets of Chinatown during
what some of these fine dancers have to
section that concludes with everyone
Lunar New Year or perhaps at the
offer, with Dito Sudito performing a
returning to their texts and ultimately
opening of a new business, and then
dynamic solo while holding the frame
darkness as Naganuma states，“I am.” It’s
proceeds to dissect it. He strips away
over his head. Antoin Gadpaille, also
an interesting beginning, although the
the brightly colored costume and
holding a mask, joins him for a vigorous
symbolism of the suited woman and her
masking to explore varying elements of
duct full of high leaps and spectacular
props remains entirely unclear.
this popular entertainment.
An
jumps and falls. When the back wall is
interesting irony of the lion dance is the
suddenly lit up with a purple sky and
Sunday afternoon, Chelsea
actual absence of lions in China, though
stars the work slips into a more celestial
A festival, even an unintentional one, of
I suppose there weren’t really too many
realm and the remaining dancers begin
dance from the Asian Diaspora would not
dragons or phoenixes on hand either and
to inhabit the dance more organically.
be complete without an appearance from
turtles, though revered for their
A graceful duet between Sudito and a
HT Chen and Dancers, one of the leading
longevity, don’t really inspire bouts of
female dancer (the program did not
Asian-American arts institutions in the
athletic prowess.
break down who danced what, and the
one decidedly less otherworldly than
Though the score, by
match the frenzy. Only after a wire
choreographer had not supplied all
nation for reasons expressed in part in
my Flash Review of the Ear to the
The first half of the piece is shaky and
dancer IDs at presstime) in front of a
Ground series presented at Chen's
unfocused. The martial arts elements
projected lotus blossom, a gentle
Mulberry Street Theater. Today Chen,
drawn upon as inspiration don’t offer the
women’s duct set to flute music and a
with whose company I danced in my
stirring snap and flow of kung fu but
women’s sprightly quartet all reflect the
early days in New York, is premiering
more static, pose-heavy elements, which
dancers working in a more familiar
Heart of Grace at Dance Theater
the dancers don’t perform with
comfort zone.
ggL第7冊第4期
磬舞評
Review
Sunday night, Upper East Side
through a very tight, obviously well-
(Maria Del Carmen) Valle-Riestra stands
I admit that by Sunday night I am hoping
rehearsed series of solid, formal shapes
out in a duet with Burgess, easing
for labor pains to excuse me from the
that melt into gentle gestures. Each
between balanced and broken with
last leg of this dance-doting gauntlet,
dancer molds into the highly specific
exquisite delicacy and power,
which I must clarify was all my idea. But
material naturally without any awkward
performing with even more command
it proved entirely worth the effort to head
gap in translation. Nitadori disrobes
than her choreographer.
back to the East Side for Dana Tai Soon
from her hanbok and moves from
wedding photo and Riestra hints at the
Burgess at the Asia Society. Burgess’s
sharp shifts into curving and carving
slightest gesture of romance before
We see a
Tracings is the finest work of Asian-
gestures that reveal a meeting between
subtly altering it into a more abstracted
American dance I’ve seen. He presents
traditional and contemporary dance
shape. Nitadori and Connie Fink enter
a high measure of artistry mixed with the
styles.
At the end she leaves
slowly upstage right repeating the same
personal, culling from his family’s
everything behind and quickly departs.
gesture with arms raised overhead, slightly bent and swaying while they rise
passage from a Korean palace to a
and dip with hips jutting ever so subtly.
Hawaiian pineapple plantation at the turn
The second section opens with a line of
of the century. Burgess’s company of
dancers holding various white suitcases
Shu-Chen Cuffjoins them with her long
dancers, most notably the women, are
that they will slowly fill with white
hair cascading and the three women
very strong performers, his vision is
painted pineapples. An image of a
perform a perfectly sublime trio, floating
refined and thorough and his choice in
leaning palm tree is projected on the back
through the space and dropping from air
collaborators is impeccable. The work
wall and Korea’s most famous folk song,
to floor and from feet to hands with
is haunting and heartfelt but never
Arirang, echoes through the space.
studied effortlessness.
sentimental. It exemplifies an immigrant’s
Occasional black and white photographs
loss and displacement without banking on
of Burgess’s kin give just enough
As Kang Burgess returns to her chair we
the exotic.
historical context to the work without
see a series of photos that serve as a slow
becoming a family slide show. Tati
pan out from a pineapple to a row of trees to a plot to a huge plantation,
The dance opens with an Anna Kang Burgess, the
as one family’s passage
choreographer’s mother,
becomes mythic and deeply
seated on a chair wearing a
profound.
cream-colored hanbok, the
eloquent poem and touching
traditional dress of Korea.
homage, a work about origin
Tracings is an
She hands a white painted
and exodus that easily discards
vintage hatbox suitcase to
the discussion about inherited
Miyako Nitadori who,
versus borrowed aesthetics.
similarly dressed, portrays
Here Burgess, a Celtic-Asian
the early part of the family’s
hybrid, blurs Asian into
journey in front of video
American in both form and
images of a large steam ship,
content with a deft touch.
projected on the back screen.
Jason Kao Hwang’s score
Next stop
compels immediately,
The Birthing Center at
drawing us in with mystery
Bellevue,
and a bit of foreboding. As
hopefully
Nitadori dances, at times
premiering niy newest
holding a traditional Korean
Asian - American
mask to her face, additional
masterpiece, a.k.a. Sasa's
performers enter and move
Dana Tai Soon Burgess Tracings. Photo: Mary Noble Ours.
where
I'll
soon
bc
younger brother. ■
dancgjournal / hk vol.7 no.4 TO
鬱專藏
Article
舞蹈與新媒
FT'
現代藝術之概念轉移
與傳統藝術相比，現代藝術比較著重
如果「新媒體」是藝術，是現代科技
心靈之證釋。由於心理學之發展，令
及溝通的工具與模式，透過「媒
產生出來的新生藝術的話，那麽我們
人對於「真我」及「現實」重新定位；
體」，我們可以把訊息及思想傳播。
便不得不提到，近代藝術概念的轉變
與此同時，藝術家追求一些可完全表
「新媒體」(New Media)，或稱「數瑪
如何影響現代藝術。
達當代人內心世界之藝術模式。所
r I
I (media)
木•
’ 是指人
」與人之間傳遞訊息
以，在不同的藝術範疇內，也同様地
媒體」(Digital Media)，其實是一些
出現了大大小小、或早或遲的改革。
在近十至十五年之內發展出來的新興
在二十世紀以前，人們認為藝術是生
媒體•是「多媒體」(Multimedia)其
活之重現，藝術本身之價值，是從生
中的一種發展模式•它(們)包括所
活當中抽取精髓，再經由藝術家重新
除此以外•近代人對「創作者」的概
有經電腦處理之媒體，例如數碼錄
修飾，創造出藝術家心目中的事物/
念亦有著湛新的見解。在舊有之藝術
像、數碼相片、電腦動畫、電腦圖
媒體一藝術品(representational art)
模式下1創作者透過創造藝術品，來
像、電子音樂及虚擬實境等等。1對
■透過藝術品與觀賞者作出溝通。但
表達自己的意念和與欣賞者溝通，其
比起傳統的、固有-未經數碼化處理
在近兩個世紀內，世界發生了急劇變
目的是要令欣賞者確切的觀賞到創作
的媒體，即書本、畫作、戲劇、音
化，例如科技與科學進步、佛洛伊德
者所想表達的。所以，傳統藝術家的
樂、舞蹈、雜誌、電影及電視等等，
的心理學、馬克思主義、進化論新等
責任是要帶領欣賞者集中於作品的焦
「新媒體」不單只方便創作，縮短創
新學説、兩次世界大戰等等，它們衝
點上•所有概念與手法，皆是清晰可
作過程，它還比傳統之媒體更具創意
擊著傳統思想及社會，更给二十世紀
見。但是在現代藝術上•
空間，可以做出突破性的虎幻效果。
藝術家帶來對藝術本質的反思 。既然
的概念漸漸變得模糊，藝術家未必是
從前的藝術家，只可以透過舊有媒體
舊有的傳統藝術已經不能再全面表達
藝術品的單一「創作者」，反而欣賞
去傳達他們的概念•超現實的感覺或
新時代中複雜與變遷的社會及人們之
者往往被視為「創作者」之一。現代
者可以展示，但創作需時、過程長及
思想，藝術家唯有企圖從改革藝術之
藝術學説中.有一些藝術家著重「意
成效不高。可是.「新媒體」已經可
本質以及表達手法方面去追求更高層
念」即是藝術，只要有藝術創作的目
以把超現實之概念.更進一步以一個
次的藝術。因此.從二十世紀初，藝
的之任何事情.都可以稱為藝術。當
高效率的手法表達出來，特别在二十
術的概念及表達手法便不斷隨著千變
世紀，科技與電腦之發達，令現代藝
萬化的社會演變。
術有著革命性之轉變。
「創作者」
每一個欣賞者去觀賞藝術品時 ，欣赏 者便會以自己的方法去解釋棼術品內
裡之意思.在這一個行動上•欣赏者
舞第7冊第4期
胃專藏
B Article
已經做了「解釋的行動」這一個藝術
蹈，必定會包括現代藝術概念與手法
正如前文所説，二十世紀的社會及人
品，收賞者亦可以是藝術家及創作
上之革命性轉移的改造。這裡説的現
類心理的變化實在太大了•舊有的、
者•回望最初的「藝術品」.只是帶
代舞蹈•並不只是指始於美國
固有的藝術已經不能滿足藝術家對
領欣賞者去創作的一個誘導而已。而
Isadora Duncan 的現代舞（Modern
「真我」及「現實」的追求，所以新藝
且，現代藝術家在創作時，往往會把
Dance），它們還包括其它舞蹈種
術的產生是必然的。同様地，舊有的
多種不同的物品、影像及概念放在表
類，如芭蕾舞、中國舞、爵士舞、社
傳統舞蹈多是舊社會的生活重現•著
達媒體上，雖然所有事物都是與藝術
交舞等，只要它們是經過現代藝術概
重表現西方「浪漫主義」的素質■它
家對題材的詮釋有關•但是藝術家沒
念轉變而改變，便是現代舞蹈
們的概念及表達手法.對於表達一個
有指定欣賞者從那一個方向及焦點觀
（Modern Dance Form）。其實'從二
複雜的社會及社會上心理之轉變，明
賞，反而讓欣賞者自由選擇觀賞方
十世紀藝術革命性的轉變開始，不少
顯有不足之處。所以，新舞蹈的產
法。這些裝置藝術的表達手法，與傳
舞蹈也從傳統的框框走出，發展出自
生，是必然的。
統藝術有很大的差異•亦令現代藝術
己獨有的現代風格。所以，就算是舞
增加了很多變數，豐富了現代藝術的
蹈之中’也不只是現代舞（Modern
如現代舞，舞者希望從舊有的舞蹈文
內容。
Dance）才算是創新，而是整個舞蹈
化中釋放出來，不單只是想創新一種
藝術之內，也發生了概念及表達手法
新的舞蹈種類，而亦希望追求新的舞
的轉變。
蹈手法•以完全證釋現代人的心理。
現代舞蹈產生之必然性及其轉變 因此，從現代藝術發展出來的現代舞
所以，現代舞不苹只在舞蹈動作上改
「新媒體」常見於近年的舞蹈演出中。
左起：楊惠美《捕捉流水》（攝影：陳德昌）、溫•范德基伯斯《緋紅》' 楊春江《形亡極樂》（攝影：Jesse Clockwork）、黎海寧《1997/2001》（攝影：陳德昌）、 梅卓燕《流蓮歡》（攝影：陳德昌）、溫玉均《烙印》。
danc^journal / hk voi.7 no.4
專’禧
IE
Article
革求變2，而是在表達模式及手法
這些正正是現代藝術把不同元素，擺
體」的出現•其實也直接或間接地影
上，也出現新的理念。
放在同一媒體上的概念，在舞蹈上，
響著社會、現代人的心理及文化。
編舞希望觀眾自行選擇出自己觀看的 從劇場之表達手法來看，現代舞者把
角度及觀賞模式，創造出自己的「舞
原有舞台上，用以提示時間及空間的
蹈藝術」，雖然現代舞移走了道具、
至十五年電腦發展開始。這些經電腦
道具、服飾、佈景等移走，對於現代
服飾、佈景等，好像與「舞蹈劇場」
處理之媒體在表達及溝通上，皆比較
舞的编舞來説，越少具體的東西放在
不同，但兩者都是明顯地強調要為突
傳統固有的媒體為快，而且也可以省
台上，便越能跔讓觀眾有更多及更大
顯「自行選擇」這個概念而創造。
去創作及處理當中的不少時間.在最
這裡所指的「新媒體文化」•是從近十
少的時間，做到最多最大量的工作。
之想像空間，那麼觀眾便可以完全自
由的诠釋他們自己看到的舞蹈。發展
「新媒體」與現代舞蹈
到後來，「舞蹈劇場」之出現，除了
「媒體」是文化之中的一員，它一定
其實，加入「新媒體」於舞蹈之內.
舞蹈之外，亦把戲劇、默劇、生活化
會受到現代文化及藝術的影響。為了
亦是現代藝術那全新之欣賞手法的實
的動作等搬進劇場，更加入更多不同
更切合現代藝術那「j全釋心靈」及內
踐。如在前段提到：「現代藝術家在
之元素，集合不同的表演藝術模式，
在超現實的思想世界，「新媒體」這
創作時.往往會把多種不同的物品、
豐富了表達技巧。
種經由電腦處理過及加工過的藝術
影像及概念放在表達媒體上，藝術家
品，便能跔以天馬行空的手法，把以
沒有指定欣賞者從那一個方向及焦點
往只能跔活在藝術家思想內的概念，
觀賞•反而讓欣賞者自由選擇觀賞方
以最簡單快捷的手法展現出來。這便
法。」某程度上，放入「新媒體」於
是為何「新媒體」在現代藝術界能夠
舞蹈表演，便是根據這種裝置藝術的
突然冒起的原因和侵勢了。而「新媒
舞第7冊第4期
專薷
■
Article
概念而產生，令觀眾自由诠釋及連繫
個實在的媒介.所以當舞者舞動時•
那一個屬於自己的生活與藝術。
視覺與聽覺接收到訊•息，令觀眾身體
註： 1舞蹈藝術工作者一般喜歡採用 「新媒
與思想上也產生共鳴。
體」多於「數碼媒體」來形容這個新
舞蹈表演中•最常用的幾種「新媒
興媒體，為避免不必要的誤會，本文
體」是數碼錄像、電腦動畫、電子音
人的五個感官，是人對環境的認知與
樂及虚擬實境來説明。這些「新媒
探索之主要途徑。因此•當「新媒
體」，主要是集中刺激人視覺與聽
體」結合舞蹈在劇場內表演時，舞蹈
2在舞蹈的動作上，固然有多種不同的
覺.把感官的刺激及訊息盡量誇張放
作品中所呈現的時間與空間，便可以
轉變，但基於本論文之討論範疇不在
大。特別是在表達一些超現實的題材
以「新媒體」隨時更改及整理.以身
此，所以暫且不説。
與畫面時，如果用「新媒體」把視覺
體為主要溝通媒介的現實手法 ，配合
與聽覺的刺激擴大•便能跔增加真實
「新媒體」可產生的超現實空間，當
3這種情況特別容易於現代舞蹈中找
參與的感覺，但這些感覺•只是用
觀策觀賞「新媒體」舞蹈表演時，感
到，因為現代舞蹈比較起傳統固有的
「新媒體」展現出來的幻象。
官的刺激便可以在現實與超現實之間
將會統一使用「新媒體」來論述。
舞蹈，更為著重發掘身體動作的語
言，這亦歸納於傳統固有的舞蹈多數
游走，帶領他們對作品的想像及創意 另一方面，舞蹈是一種结合時間、空
無限地放大，而觀眾被作品感動，亦
間與能量流動之表演藝術。舞蹈在劇
同時跟隨想像及創意無限放大。
有道具、服飾及佈景等協助而產生的 差別。
場之內表演，雖然同樣以刺激視覺與 聽覺為主，但與「新媒體」不同•舞
這便是「新媒體」舞蹈表演的最大特
蹈是即時以舞者的身體作為媒介！，
點及其融合後的優勢。它完全把全新
以真實的表演手法去觸動觀幕 。由於
舞台概念表達出來。■
舞者與觀采之間.也同様擁有身體這
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請填妥表格連同劃線支票（抬頭寫：「香港舞蹈聯盟」）寄香港灣仔告士打道 一號香港演藝學院舞蹈學院副院長辦公室轉交香港舞蹈聯盟收
Hong Kong Dance Company
孽砌键監：如嘉镜 A-tis~tic Director : Hu TiaHu
導-:寅/編舞：梁函婚 Director / Choreocjrapher : Leuncj Kv/ok-shincj
咅嘹總監：鍾志祭违7E鴻 Music Directors : Chuncj Ch卜v/incj
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19-21.8
20-21.8
五-日 I 7:45pm
六-日 I 3pm
葵青劇院演藝廳 Kwai Tsing Theatre Auditorium
$180 $140 $100
節目查詢 Programme Enquiries: 3103 1809 （香港舞蹈團HKDC） 2370 1044 （國際綜藝合家歡IAC）
在珪，主等下的奢話故事滲诱荖鈐真、蕃、笨
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備有國際綜藝合家歡2005套累、學生半價 僵慝及多項優惠計劃 。詳情請參閲單張或本 團網頁 www.hkdance.com
loEorra Media (HK) Ltd.
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串雷么.主*寺十六傑出责年
電話留座 Telephone Reservation: 2734 9009
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各媒 (香溱)有限公司 i. innoform. com. hk
^SS) SUN YA PUBLICATIONS (HK) LTD
RJ Diary侧日記》 Unlock Dancing Plaza
不加鎖舞踊館 12/8
8:00pm
Ngau Chi Wan Civic Centre
Ull W H
牛池薄•文嫉中心 Choreographer 編舞： Yeung Wai Mei 楊惠美 Enquiries 查詢：9309 8191
Andersen’s Lookbook 2005
5 n 'T
《安徒生窺探少年記事簿2005》
The Eternal Child
Dance Art HK 動藝
12- 13/8 13- 14/8
《永遠的孩子》
7:30pm
S0-21.8.05 F\-S I 3pm idi'.orium
Hong Kong Dance Comapny
3:00pm
香港舞蹈團
Studio Theatre, HK Cultural Centre
香港文化中心劇場 Artistic Director 藝術總監
HeyDance Night Fever
25-27/8
7:45pm
20- 21/8
3:00pm
Kwai Tsing Theatre Auditorium
Francis Leung 梁家權
葵青劇院演藝廳
Enquiries 查詢：2722 1650
HeyDance 喜舞
19- 21/8
Choreographer 編舞：
7:30pm
Leung Kwok-shing 梁國城
Fringe 02 Theatre
Enquiries 查詢：3103 1809
藝穗會02劇院 Choreographer 編舞
Rex Chiu趙浩然 Enquiries 查詢：9208 6130
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25-27.8.2005 7:30pm
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番穂窗O2劇院 Fringe O2 Theatre $120, $95 （藝穗密會員Fringe member）
fihV 沙湖慮
6-11/9
8:00pm
10-11/9
2:30pm
Suenos 《熱夢飛揚》
Lyric Theatre, HKAPA Ballet Flamenco Sara Baras
香港演藝學院歌劇院 」
莎拉•芭拉斯佛蘭明高舞蹈團 9-11/9
8:15pm
Grand Theatre, HK Cultural Centre
香港文化中心大劇院 Enquiries 查詢：2268 7323
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