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目錄 Contents Vol.7
No.5
封面Cover 「香港笆蕾舞團」《國王與夜鶯》 編舞：蘇東美。演出：白家樂。攝影：陳俊邊
「躍舞翩」《魘魂請柬》
十月某夜’鬼魅陸續現身……廣邀夜貓子一齊投入妖豔、恐
Hong Kong Ballet’s
怖' 凄美' 瘋狂的迷離境界……「躍舞翩」將於2005年10
The Emperor and the Nightingale
月21及22日假香港中環藝穗會02劇院晚上7時30分及9時
Choreographer: Domy Reiter-Soffer.
正〔每晚兩場〕演出最新作品《魘魂請柬》，糅合現代舞、
Dancer: Carlo Pacis. Photo: Jimmy Chan
爵士舞、錄像及電腦效果，描繪出幽冥國度的陰森與瘋狂，
帶來驚、幾、幽、玄的萬聖節。節目查詢:2511 5551余小
舞蹈快訊NEWS
1
解除語言劫持的神話
姐 /www.sDringpoetry.org.^ 「香港笆蕾舞團」西班牙之旅
Deconstructing the Myth of Language Hijacking 文：劉建華 by Lau Kin Wah
「香港芭蕾舞團」首次踏足歐洲文化腹地西班牙，以舞團的兩 齣代表作：《杜蘭朵》及《末代皇帝》分別於馬德里及「桑坦
德國際藝術節」贏得當地觀眾稱譽，舞團並連續兩星期高踞全
3
馬德里劇院票房之冠。西班牙主流報章ABC評論：『香港芭 蕾舞團」積極創作嶄新劇目•豐富其舞蹈藝術領域|表現舞團
獨特風格。』在這次為期23天的西班牙之旅中|舞團於馬德
Summer Highlights Kevin Ng
11
里著名Alb6niz劇院及「桑坦德國際藝術節」共演出14場， 錄得超過12,000名觀眾的佳績|其中4場更全院滿座，平均
Better Approaches in Technique Class
較佳的技巧課方法
SPRING POETRY’S HADES’ INVITATION On an October night, denizens of the afterworld
by Rob Kitsos
文：羅傑索
13
return...Invitations from Hades are widely sent, to both the
living and the dead. The glamorous but scary midnight fever is about to begin... Spring Poetry’s Hades’ Invitation, a
《創世記》
portrait of a gloomy but wild netherworld in an ensemble
文：小拾
16
work that includes modern dance, jazz dance, video, and
computer effects, will be shown at O2 Theatre, Fringe Club,
-個舞者的反思一
Central, Hong Kong in two shows nightly at 7:30 PM and
Miguel Gutierrez在藝穗會的表演
9PM on 21-22 October, 2005. Inquiries: 25115551 Ms.
文：心山豆
17
文：Kiris
18
香港舞蹈的新媒體
Lonce 丫u/www.soringpoetry.org.^ HONG KONG BALLET’S SPAIN TOUR
In its debut tour to Spain - a country with a superb cultural
heritage and vibrating arts scenes - Hong Kong Ballet
舞蹈節目表
presented its two signature original productions Turandot
Dance Events
and The Last Emperor. The Company received an
21
enthusiastic reception at the Santander International Festival, and later topped the Madrid theatres box-office chart for two consecutive weeks. On the 23-day Tour the Company gave
14 performances to audiences of over 12,000 with an average of 85% capacity with 4 performances playing to full houses. The performances all ended with enthusiastic,
standing ovations. A review in the national daily ABC says of the Company: “It is a very interesting initiative from the 圖：「香港舞蹈團」演出《童話之王
永遠的孩子》°
編舞：梁國城。攝影：張志偉。Image: Hong Kong Dance Company’s King of Fairy Tales - The Eternal Child. Choreographer: Leung Kwok-shing. Photo: Cheung Chi-wai.
舞蹈手札第7冊第5期 入座率高達85%。舞團此行獲傳媒廣泛報導，「香港芭蕾舞
Hong Kong Ballet, adding to its repertoire new works in its
團J —時成為城中焦點。「桑坦德國際藝術節」總監Jose Luis
own culture... enriching its own art of dance.” Santander
Ocejo稱：『「港芭」是一個優秀的專業舞團’兩齣製作各具
International Festival Director Mr Jose Luis Ocejo praised
特色，深深打動觀眾。』馬德里文化部部長Santiago Fisas更 於演出後上台為舞團打氣 。西班牙此行為舞團提高士氣和帶來
the Hong Kong Ballet for its uniqueness and fantastic
衝撃，藝術總監謝傑斐稱：「巡迴演出有助舞團的成長。舞蹈
welcome from the media. Its performances were also well
員到外地演出，可感受不同文化氣息’為演出帶來新氣象°」
attended by festival directors, impresarios, local Government
舞團更為西班牙觀眾的熱情而感到興奮"是次演出由馬德里市
and Chinese Consular officials, local dance professionals and
政府、「桑坦德國際藝術節」及「EuroArte製作公司」主辦。
general audiences. The Madrid Culture Minister Mr Santiago
演出除獲得觀眾稱許，更獲其他藝術節總監的青睞’
Fisas greeted the Company on stage after the opening
「EuroArte製作公司」現已計劃於明年再次邀請舞團演出，屆
performance of The Last Emperor \n Madrid. Artistic Director
時將到西班牙其他城市及意大利巡迺演出。■
performances. The Company’s visit received a warm
Stephen Jefferies expressed it this way, “This tour is amazing. The enthusiastic responses from audiences in Spain injected
us with high spirit for more good-quality performances.” He added, “By performing overseas with diverse cultures, the dancers can broaden their horizon which is essential for their
own development.” This Tour was organized by the Madrid Community, Santander International Festival and EuroArte
Management. Following the success of this Tour, EuroArte has initiated the Company’s return to Spain next January,
while another prospective tour to Italy in late 2006 is in the planning stage.H
高秀桃體態柔軟輕靈，演繹優雅動人，令人陶醉。」
-譯自西班牙Alerta《杜蘭朵》評論，2005年8月20日 "She (Crystal Costa) delighted us (audiences) with her suppleness and the elegance of her interpretation."
-Alerta, Spain on Turandot, 20August 2005
NEW WORKS BY NEW CHOREOGRAPHERS In its second year, Hong Kong Dance Alliance Dance Platform is a continuation of its highly acclaimed All Independent Dance
Serzes featuring seven new choreographers and groups: Kevin
Hung, Cindy Leung, Cryus Hui, Chloe Wong, Pinkey Tang, Informal Space and 5 Ding. Choreographers’ works-in-progress
新進編舞新舞作一《舞蹈平台05》
were critiqued by Pei Chang-qing, John Utans, and Tom Brown
為延續「各自各系列」的精神，「香港舞蹈聯盟」今年主辦第
at the first showing in September, and the Academy’s new Dean
二屆《舞蹈平台》。參與今次計劃的新進編舞和團體包括洪
of Dance, Maggi Siestma, founding director of Australia’s
建林、梁綺雯、許俊傑、黃靜婷、鄧嘉欣、「非凡夢空間」
Expressions Dance Company will be a panelist for the October
和「五丁躍舞主意」。這些新進編舞的創作中作品已於9月 進行了第一次閉門演出，並由裴長青、余載恩和白朗唐給予
showing. Final works will be presented at the Ngau Chi Wan
評語及意見。第二次閉門演出將在10月舉行，屆時演藝學院
2584 8753/hkdalli @ netvigator.com.^
Civic Centre Theatre on 5 November 2005 at 8PM. Enquiries:
的新任舞蹈學院院長、澳洲「艾思普森舞蹈團」的創團總監
邵奕敏女士亦會出席作為評審之一。《舞蹈平台05》的最後
DANCE WIDE HKAZKBACKIN HONG KONG
作品，將於11月5日晚上8時假牛池灣文娛中心演出。查
Four Hong Kong dance artists, Abby Chan, Allen Lam, Any
詢：2584 8753/hkdalli @ netvigator.com。■
Wong and Yeung Wai Mei, visited New York City in August, and worked together with four New York City dance artists,
「Dance Wide HKNY」從紐約回到香港 四位香港舞蹈家— —陳敏兒、林偉源、王廷琳及楊惠美— —剛
Julian Barnett, Maura Donohue, Becky Jung and Christopher Morgan on an exchange project - Dance Wide HKNY - which
於8月到訪美國紐約市，與四位當地舞者--- Julian Barnett,
included a forum, workshops and showing at the Dance
Maura Donohue, Becky Jung 及 Christopher Morgan------ 合
Theatre Workshop. Presented by Hong Kong Dance Alliance
作，並於Dance Theatre Workshop中進行了講座' 工作坊和
as part of the Hong Kong Arts Development Council and
演出等交流活動。這個由香港舞蹈聯盟主辦、名為Dance
Leisure and Cultural Services Department Bi-lateral Cultural
WideHKNY的計劃，將於11月進入第二階段。八個參與計劃
Exchange Project, the project will enter its second phase in
的舞蹈工作者將齊集本港，除了在演藝學院和城市當代舞蹈團
November. The eight artists will gather again in Hong Kong,
授課外|更會合作編舞，準備於12月9-10日晚上8時假香港
conduct classes and workshops at the APA and CCDC, as well
文化中心劇場舉行的演出。Dance Wide HKN丫是「香港藝術
as collaborate on works for a performance at the Studio Theatre
發展局」和「康樂及文化事務署」的「雙邊文化交流計劃」之
of the Hong Kong Cultural Centre on 9-10 December 2006 at
查詢：2584 8753/hkdalli@netvigator.com。■
8PM. Enquiries: 2584 8753/hkdalli@netvigator.com.^
請以本刊封面內頁^列的關絡方式提供舞蹈資訊
dance journal/hk vol.7 no.5
舞壇手記
网
-7 OCT 2005
Dance Diary
|香港演藝學院 圖書館 THE HONG KONG ACADEMY FOR PERFORMING ARTS I library
解除語言劫持的神話 Deconstructing the Myth of Language Hijacking 文：劉建華 by Lau Kin Wah
（前）
[pre-]
screen, I thought, why not treat it
自上期一時多手預告這篇暫別前文章
Having foretold of writing a little self-
separately next time and make space
會就著寫舞的自身想法作些反思整
reflection on dance writing for this
for the dances that I saw in the past
理，便總有點兒想逃避動工。一起筆
issue, it makes me a bit uneasy to
months? But as I carried on, it seemed
（當然是指手落鍵盤），忽然再次想
begin. Facing notebook and blank
clearer to me that the two could not
到，何不把自己的角色擱後遲些獨立 處理，騰多些空間给仍要交代的已觀
舞作。但用這樣的心態動筆了一陣 子，我發現自己有時文字和舞作之不 願去分開處理，或正是因有編舞者的 創作、舞者的投入，才有文字的被動
出現，就算是從中偷取論述空間，但
借題發揮也得因此才成為可能，把兩 様東西硬分就兩樣也更索然無味。然 而若果舞者的動作是種語言，那關於
舞蹈的文字是什麼樣的語言和語言的
關係？這裡就讓我們先反過來，從舞 臺上的語言運用談起，最後談不談到 關乎舞蹈的語言那第二層次，這一期
就容它自由發展好了，至於言外之音 的解讀與否，那就從來也是悉隨尊
便。
《4式拼盆》中「南群舞子」的《Second Part》°編舞：劉傑仁'演出：劉傑仁' 黎德威'
South ASLI Dance Workshop’s Second Partin Antipasto-Dancing Combo.
Choreographer: Jay Jen Loo. Dancers: Lai Tak Wai & Jay Jen Loo.
II
舞滔手札第7冊第5期
泊|舞壇手記
Dance Diary go very far on their separate ways. For
[one]
這兩個月來.最先看的一場演出•是
without the input of choreographers
In the past months, the first production
「東邊現代舞蹈團」的《4式拼盆》。
and dancers, there probably wouldn’t
that I saw was Antipasto-Dancing
而演出中最礙「耳」的•正是「方舟
be any writing, which is after all,
Combo，part of the E-side Modern
舞蹈劇場」四位舞者並列台上的那節
passive in its becoming, despite that
Dance Company ‘New Waves of
語言運用，以及有失斯文、針對第一
each might take on a life of their own
Culture & Style.’ The crudest scenes
支舞的配樂而至全場沒停的一名觀者
or be twisted to serve some of my own
were, for me, the Ark Dance Theatre
不滿叫囂，兩者同展現了文字語言的
thoughts. But dance is still the primal
dancers lining up on stage talking in
粗暴殺傷力。事實上，「南群舞子」
condition (or excuse) for the
SIK，SIK, SIK, and an ill-mannered
名為〈〈Second Part》的第一支舞，劉
discourse, while the possibilities of
audience member shouting from her
傑仁的編舞(跟黎德威參與的動作設
intertwining them make the writing
seat, complaining, at the start, of the
計)和遙呼上師的音樂和翁則耶喜的
worth trying for me. Often having
mismatch of music and dance in South
歌聲，和展現於黎德威身上那精準的
heard that dance is a language of body
ASLI Dance Workshop’s Second Part.
現當代舞的舞感，文化上是確有所距
movement led me to think about the
Both were demonstration of the
離的；但近期如王廷琳的舞作，也喜
relationship between the language of
violence that language can inflict.
加入這種帶點宗敎神秘性、異域色彩
dance writing and dance/language?
的配樂(世界音樂(world music)、新
Here I will, however, start in reverse
To be fair, South ASLI Dance
紀元(new age)等的影響無疑更早)，
again, and see how language has been
Workshop’s Second Part with Jay Jen
而「南群舞子」這支舞，音樂與動作
put on stage in recent productions, and
Loo’s choreography (and Lai Tak Wai，s movement design) did not come
兩者的結合亦也不是單配單的進行。
hopefully raise the discussion slowly
伍宇烈的視覺與美術設計，將舞台以
towards the meta-level. As to whether
together
一寬帶對斜劃分，既有這種劃分卻又
related to dance writing in the end, the
Supplication Prayer to Gurus of All
對合的意味，劉傑仁的背臺靜坐與横
answer is as usual implicit and open
Lineages sung by Omze Yeshi. Lai Tak
臺奔跑，和黎德威的旋身舞動，只有
to interpretation.
Wai’s
natural 1 y
attentive
and
with
the
precise
短暫把張力抵消的相碰和疊影
contemporary body movement
齊舞，大部份時候則構成了彼
is always outstanding, and
岸的對揚。整支舞作由此重新
hence maybe a bit too much so
理解，就彷成了一邀觀眾共浸
(and culturally distanced) for
於赫塞(Hermann Hesse)帶有
the background chanting. Yet,
東方哲學的〈渡船夫〉的時間
just as with Andy Wong of
(生命)之河的完整嘗試。
DanceArt, who has also used
由「方舟」的鄭楚娟及葉步鴯
years, the influence of world or
合編的《式.息.色》，舞蹈劇場
new age music, has been going
中的四個角色，誇張的職業形
on for decades and is nothing
象，甚至定型化的言行談吐，
new. Besides, the relationship
惹人生厭多於喜劇效果，動作
between the music and
成了稚幼、樂天的充喜劑，和
movement in Second Part was
「南群舞子」的玄沉調子忽然
not just one to one. The stage
來個大扭轉。「0()合」在中場
with Yuri Ng’s visual design
休息後的《你背後的我》，無
was split by a diagonal band.
疑更達莊諧並重的妙趣平衡。
The dance, correspondingly，
方俊權與黃狄文，各穿一直一
was for most of the time a
more spiritual music in recent
橫的囚犯服裝，造型本身經已
搞笑• 一個納口、一個孩子臉 更加倍惹笑。兩人以一種正反
《4式拼盆》中「00盒」的《你背後的我》。 演出：方俊權、黃狄文。Zero Zero Ensemble's
Multi-faces in Antipasto-Dancing Combo. Dancers: Force Fong & Dominic Wong.
contrasting juxtaposition, with Jay Jen Loo’s cross-stage
running
then
sitting
dance journal/hk vol.7 no.5
舞壇手記
H Dance Diary
（真身/影子）互補的空間穿
Ensemble’s Multi-faces after the
插、位移和身體接觸，在平實
intermission, struck a much
的形式變化中，又充滿相當的
better balance between the funny
幽默，橋段本不是十分新鮮，
and the artful. Force Fong and
但這種帶娛樂性的輕鬆小品向
Dominic Wong each wore
來萬試萬靈，加上兩人的用心
prisoner’s outfits, one with
演繹，沿承了「00合」的一貫
horizontal and the other with
水準保證。
vertical stripes. Echoing the
costume, the two dancers played
「4式拼盆」的最後一支舞，是
with a kind of positive (body self)
楊春江編、並與陳文進合演的
and negative (shadow partner)
《i.c.》。ri.c.j雖過去是身份
choreography, and demonstrated
（證）的縮稱，但現在難免加入了
opposite pairs of spatial usage
「ICQ」的網路聯想，身份卻從
with quick position shifting,
中進一步被含糊化。編舞於此
contact
舞作中利用的雙人編排和即時
interlocking postures. Force
攝錄投影，似乎兩種用意皆想
Fong’s serious look and Dominic
指涉；服裝上的半邊設計，進 一步加強了這雙重方向的聯
想。舞作的開初，是幕上的投
sequences
and
Wong’s childish facial expression 《4式拼盆》中「00盒」的《I.C.》。編舞：楊春江。 演出：陳文進' 黃狄文。/.C. in Antipasto-Dancing
影*讓觀尿看到幕的背後-一
Combo. Choreographer: Daniel Yeung. Dancers: Chris Chan & Daniel Yeung.
面，舞者各在一方揭起幕底穿
added to the hilarious effect. These sorts of conditioned formal
explorations are not particularly
new, but are always pleasant to
過的完整展示，構成了一個真實與
motionlessly facing backstage while
watch and enjoy. As a small-scale duo,
（真實）畫面之間，既非對稱、層級
Lai Tak Wai performed turns on the
Zero Zero Ensemble’s piece was
式或以虚補實的一事兩面睇。舞蹈的
other side of the stage. Only in rare
skilfully lightweight and entertaining.
動作，往往因慢速而在身體力量的環
structured moments did the two meet,
節上未算全然的流暢自然，但最重要
act in unison, or in counterpoint.
The last dance in Antipasto-Dancing
的，其實是攝錄投影似乎才是舞作本
Therefore, with the whole dance in
Combo was a piece called I. C.
身的重點建構語言。拿著鏡頭的舞者
view, the music fused with the dance
choreographed by Daniel Yeung and
的特寫（相較楊春江過去的舞作）還
well enough, and evoked Hermann
co-performed with Chris Chan. The
是次要•最有意思的鏡頭還是那放在
Hesse’s philosophy of the East as in
short initialled title might have, in the
後臺中央而把舞臺鏡化的角度（可惜
his short story about the river in Die
past, reminded people of Identity
未有照顧而安排了放置地面的角
Morgenlandfahrt (Journey to the East).
Card, now it inevitably also brought
度）•使結構形同於概念藝術家格咸 （Dan Graham）的對鏡的雙座攝錄機
to mind the Internet ICQ. The instant Ark Dance Theatre’s Eve Cheng and
live camera projection, plus a
的裝置室的經典設計，卻保留了一種
Yap Poo Meng co-choreographcd SIK.
doppelganger-like, half and half
沒延時時間透視的表演藝術特性。
SIK. SIK, in which the role-playing of
dancer’s outfit, seemed to suggest an
the four dancers was exaggerated and
identity issue (I & Chris?) via the act
（二）
so full of cliche that it seemed to
of mirror ‘see’ing. The dance started
「雙邊文化交流計劃— —舞蹈迴音工
irritate rather than produce comic
with a projection on the curtain that
程」的終結演出《RI日記》以羅蜜歐
effect. The energetic movement was a
was the backside of the remaining
與茱麗葉的言情和敢愛精神，作為馬
somewhat naive means to keep the ball
closed curtain. One dancer lifts up the
來西亞的凌秀眉、台灣的譚惠貞及香
rolling. The shift from the meditative
curtain and goes underneath it at the
港的楊惠美三地編舞合作的出發點，
of the Second Part to this dance
right side, while the other dancer
經馬來西亞青年舞者的演出後.這次
performed as the second part seemed
reveals himself on the left. This reality
換上香港的青年舞者，除了早前在Y-
perhaps a bit too sudden. Zero Zero
arrangement allowed us to experience
舞蹈手札第7冊第5期
B
奔i舞壇手記
Dance Diary projection a mirror effect. It reminded me of the paradigmatic installation by artist Dan Graham with two video
cameras each facing opposite mirrors. One outstanding difference here was,
however, the retaining of real time in the dance piece, which is something very unique to performance arts.
[two] The second performance to write about is Unlock Dancing Plaza and CCDC Dance Centre Exchange
Project finale - RJ Diary, based on the love theme from the ultimate romance of Romeo and Juliet. Amy Len Siew-
Mee from Malaysia, Tan Hui-Chen
from Taiwan and Yeung Wai-Mei from Hong
Kong were
invited
to
choreograph the piece together. As for
the dancers, different from the former Malaysia exchange in which most
were non-academically trained enthusiasts, most of the local dancers
came from the Academy
for
Performing Arts, Leong Wan-Sing
might be the only exception. Besides undergraduates, some, such as Lai
Tak-Wai and Rebecca Wong Mei-Yuk who were given more specific tasks, have already graduated and are
independent dancers with more experience. In terms of choreography, SPACE遊戲中編演的梁允陞外，一幂
an almost similar scene on stage and
three different styles, which were at
主要皆為演藝的學生或經已畢業的自
on screen, which was really two sides
once individual, somehow also
由身舞者，如黎德威、黃美玉等站臺
of the same act. The dance, at some
revealed some vague characteristics of
經驗豐富的舞者，則又有較多的發揮
points, seemed a bit too energy
the aesthetics of their choreographer’s
篇幅。在編舞上，三地的特色隱隱流
demanding, particularly in the
native country. Tan Hui-Chen from
露，譚惠貞似乎較專攻動作的完整優
slowness of a body-climbing motion,
Taiwan seems more concerned with
雅感•凌秀眉則相對有些馬來西亞舞
the flow did not seem as smooth as the
elegance of forms, Amy Len Siew-
壇起步的實驗衝勁.楊惠美則仍是愛
technological zoom. The video camera
Mee from Malaysia was still enthusiastic
在情感和心理上玩把戲，展現典型的
seemed to be the center of the piece,
about breaking constrains, while local
港式戲謔。
particularly in a structural sense. The
choreographer Yeung Wai-Mei was more
most spectacular move was the placing
interested in her love and psychological
凌秀眉一開首要求每個舞者以三言兩
of the camera at the back of the stage
playfulness, with a typical Hongkongese
—些對情感的見解心得.一些平
facing the audience, thus giving the
sense of irony.
dance journal/hk vol.7 no.5
舞壇手記
B Dance Diary
常或已不宣於口的感覺，轉成面迎陌
Amy Len Siew-Mee asked each dancer
Thematically, they covered from the
生觀眾的公開説話•這跟蓋著頭的動
to pronounce a short remark on love
beginning ‘Chaos’ to the ‘Creation of
作•同來有點簡單而讓觀者不知浮淺
and human relationships to the
the World,’ then of ‘Mankind’，
或是交心的應對。楊惠美則在把接吻
audience in the early part of the show.
followed by ‘The Flood’ and its
動作入舞的環節上，緊接加入文字語
These words, which one seldom
‘Survivors/ ending, however, as a
言，卻刻意和動作的親密性產生相左
speaks to strangers, were weird for the
contemporary myth of ‘Creation
意義，反映情愛唔係得把口，但接吻
audience to hear as much as for the
Again.’ The scene most directly
也不一定就是情愛。言語一真心話'一
dancers to say. Just as with a sequence
related with language was definitely
假大話的運用，真誠與戲謔，還要看
of head covered struggling, they were
the biblical story of the Tower of
是身體語言的認合或出賣。舞者個人
presented straightforwardly, not
Babel. But the emerging and
的身體，編舞如何擺弄，到底舞者各
allowing the audience to build a
collapsing of the dancers under the
有自己的底線•簡單的所謂演員道
subtler mood to envelop them. In
projection of a high-tech ruin of
德，欠了演出者的反省，其實不過是
contrast, Yeung Wai-Mei’s use of
language, also opened up a cyber
強套的道德標準，關涉肢體的舞蹈，
speech immediately after a kissing
dimension of writing that turned the
「專業」的意義比單純的執行遠為複
sequence, obviously used language as
corporeal into a traceless existence.
雜。何況，真吻假吻，從來也不是指
a clear contradiction
（止）涉於肉體上而言。
to
the
signification shown by the intimate
Two other scenes were equally
action, betraying thoughts or
important in shedding light on
（三）
intentions. Love is certainly not just
language usage. One was while Tang
關於當代舞蹈的語言運用，在城市當
words from the mouth, but it is not just
Shu-Wing was speechless and
代舞蹈團的《創世記》（1998年）重演
kisses either. Amy Len Siew-Mee and
followed a God-like figure begging to
無疑更是值得討論。此支黎海寧編舞
Yeung Wai-Mei each utilized language
communicate and pointing to a scroll
的作品，除了鄧樹榮飾演的「説書
in opposite ways, one as a truthful
he held. The other was when the
人」，引述不同國族的神話，作為點
expression, the other for some playful
dancers, God-like with masks, partied
題的引子、場口的串聯外•舞者與語
jokes. With the dancer’s body as the
at the highest row of seats. Both scenes
言的關係還有其他更直接的環節。例
medium, to follow dutifully what a
did not use
如舞者在「遺民」一節中，也因應舊
choreographer suggests, is not the
conventional sense, but the audience
language in the
約聖經裡巴比塔（Tower of Babel）的
whole story for professionals
could still read what was happening
故事而有一段關乎語言的演出，臨到
nowadays. To reflect on the act and
from the dancer’s body language, so
舞劇終結前，則有舞者與虚擬世界混
how one enacts or refuses a certain
language
沌字符删滅不留痕跡的魂魄共亡。但
physical act such as kissing, the often-
omnipresence. While humans treasure
兩個關於語言更有趣的切入位 ，反是
retreated consciousness between the
their tanimal-of-language, nature and
在於沒有語言的場口，一個是當鄧樹
performative and the real self seemed
fear where the deprivation of language
榮的角色沒有了語言，拿著文卷追著
to suddenly re-emerge. Besides,
might lead us, the Gods seem to enjoy
那神祗欲意溝通的乞討狀，而那本身
whether a kiss is fake is never just a
the vulgar, uncontaminated by human
就正正是一種大家也會一看便明白的
question of physicality.
language.
觀眾席的最頂排吃喝與胡作非為時•
[three]
As Lai is a lover of Latin-American
神祗們卻都是沒有可辨的語言的，我
Even more intriguing was the use of
literature, it is easy to relate In the
們卻亦知道他們在幹什麼— —或是一
language in CCDC9s In the Beginning
Beginning with Mario Varga Llosa’s
種沒有語言而沒有文化的粗鄙。
rerun (first shown in 1998). In this
The Storyteller, which is also about
work, choreographed by Helen Lai,
language, myths, and cultural heritage.
黎海寧作為拉丁美洲文學的忠實讀
there was a storyteller character played
As retold by Tang, the K a raj a Indian
者•不難使人從舞作聯想到巴爾加斯
by playwright/actor Tang Shu-Wing.
myth tells of a Creator whose limbs
His role included reciting excerpts of
are bound preventing him from
seemed
even
more
身體語言。另一個場口，是神祗們在
•略f産（Mario Varga Llosa）的《説故 事的人》的小説中，那關於文化與語
myths
from
various
lands.
bringing disaster to mankind. In her
舞蹈手札第7冊第5期
fl
逐i舞壇手記
Dance Diary
言的傳承與消亡。鄧樹榮飾演的「説
choreography
however,
choreography allows the audience to
Lai,
書人」語言上交代卡拉哈印第安人的
immediately ignored this warning by
see the myth in a spatial manner that
神話，指造物主被綁以防其將災難帶
having the dancer unbind the Creator.
discloses mythic dialectics. With
給人類，和舞者解綁的動作的預期偏
This is undoubtedly a fascinating
strong light cast from one side of the
差，沒錯吸引著我們去窥探人性•但
glimpse into the psyche of humankind,
stage, shadows of different body parts
我們同時似不為意.神話，正有把神
but one should not neglect the power
manipulated by the dancers were
的手腳綁起來的力量。「遺民」一節
of myth to tie up a Creator in the first
projected onto a screen stretched
中，舞者在觀幂席界四處奔走，急於
place. After the ‘Flood，’ in the
between them and forming a two
相告一些快將被遺忘的故事，愈急卻
‘Survivors’ section, dancers ran about
dimensional image of an ancient
愈亂，愈亂卻愈忘，最後成了一種失
the theatre anxiously telling the
goddess. Even the storyteller for once,
語狀，這又比耶和華變亂天下的共通
audience their stories, but more and
bowed to this image, which not only
語言來得弔詭得多：同時，正是人類
more details were lost as they hurried
resembled Plato’s metaphor of the
開展語言翻譯藝術之創世時刻。
to retell the stories, the story of the
cave, but hence also the ‘white
Tower of Babel in comparison was not
mythology’ of deconstructionism.
若果語言是一種對無言者的強權，一
a story of loss but the creation of the
種人類創世時從潘多拉盒子遁出來的
art of translation (between languages).
災難，那難怪乎語言成了近代反一邏
[Post-] The stage design of ruin in In the
各斯中心主義(anti-logocentrism)的
If language has a dictatorial power
Beginning, easily reminded people of
攻擊對象。《創世記》於此方向想，
over those without a language of their
the World Trade Centre after 911. But
仍是被言語所「劫持」，服務於不是
own,
a
in the ‘Flood’ scene, Helen Lai took a
舊約《聖經》的神話而是新約《聖經》
‘Pandora’s Box’，no wonder it has so
different light-hearted approach to
〈約翰福音書〉禮所言的「大初有
often been the target of anti-
handle the flooding disaster. Two male
言」。有趣的是在於劇場界因此而有
logocentrism.
note,
dancers in swimming trunks slouched
如亞陶(Antonin Artuad)反(/先於)
deconstruction, in Derrida’s case, is
lazily on two chairs, just opposite a
言語的殘酷劇場意念，然而本來以身
really against phonocentrism rather
bench where the women performed in
體為語言的舞蹈，卻在劇場化下反而
than writing.) In the Beginning, in
an earlier scene. Instead of miming
選擇引入語言。(進一步而言，解構
many senses, could be described as
swimming or any other action driven
主義針對言語中心主意
having been hijacked by language. It
movement, the scene was almost filled
(Phonocentrism)，書寫反是要平反的
is not serving the myth as in the Old
only with talking. As Helen Lai
對象。)埃及神話述神如何左與右交
Testament but as in the New Testament
revealed in the post performance talk,
配，又或中國《山海經》的女媧傳
Gospel of St. John that started with:
what the two dancers alternatively
説，於「造人」一節無疑最起舞臺上
“Before the world was created, the
named were the things that modern
解一神話/辯證的效果。在兩面對臺
Word already existed.” It is interesting
people might bring on an ark to make
中拉起布帳.由舞者把身肢在空間的
though, how the theatre in reflection
it through a flood. This list of items is
舞動在平面投影中重組成一體的皮影
something evil
(Just
from
a
produced something such as the
certainly sociologically interesting,
式的影象，把説書人攝伏•恰和柏拉
‘theatre of cruelty’ of Antonin Artuad
and a critique of the materialistic and
圖洞穴暗喻相連，成了對「白色神話
which is pre/anti-language, while
consumerist society.
學」的颠覆。
dance that started with body language, re-imported spoken language -
Yet the flood and the necessity of an
(後)
particularly often recently in the genre
ark, originating from the rain that kept
《創世記》的舞臺廢墟，不難使人聯
of dance theatre.
falling after the 1st of July (HKSAR
想到九— —後的世貿。但「洪水」一
handover), is perhaps the biggest
幕，兩位穿水泡的男舞者•和在過去
In the section ‘Creation of Mankind,’
myth. ‘Chaos’ seemed to start then and
錄像以正面拍錄的「造人」四位女舞
which blends Mayan myth with those
the swirling dragged everyone in. And
者的平排動作兩者空間相對•焦點恰
coining from the Chinese The Book of
Disneyland or West Kowloon Cultural
不是在上一幕的肢體舞動，而是在言
Mountains
District can be now taken as our
und
Oceans,
the
dance journal/hk vol.7 no.5
沟|舞壇手記
vi
Dance Diary
説中。據編舞云，舞者們諸的都是現
侈，有時我卻感到那是供應短缺的必
viewing promotion session for the
代人上方舟避災會想到要帶的重要物
需品。語言的實驗，最終歸是語言使
Jumpingframes@HKDF2006,
品。這無疑是對當今物質與消費社會
用者中的少數，至於對語言的解構，
的微細觸覺與批判，然而（九七年）
那當真是一種文化的平權？■
Dancing in Transfigured Time Dance
Video Competition, even though there
七一後的大雨成因會否隨而被埋於神
is not even a proper projection screen.
話背後？將我們捲入「渾沌」的旋
In this city, sometimes I feel art is too
渦？我們社會的求生方舟（神話），
Noah’s Arks (as if). Sitting in the last
much of a luxury, most of the time,
難道就是迪士見、抑或西九龍？坐在
row of the Lyric Theatre at the Hong
however, I feel they are really
演藝歌劇院的最高層最後排看楊春江
Kong Academy of Performing Arts
insufficient necessities. Artists
參與編舞的《白蛇青蛇》，我覺得我
watching the commercial production
interested in the exploration of
的位置反而最能欣賞到全演出唯一使
of White Snake Green Snake that
language inevitably will only be a
我眼曈一亮的那大幅布幔配合燈影的
Daniel Yeung choreographed, I found
minority amongst a language
一幕場景。反觀之，跳格
only one particular scene that roused
community. To say deconstructing it
@HKDF2（）06「舞在現實與虛擬之間」
me from sleepiness. With light
is an emancipating empowering act,
所安排撮合錄像人和編舞者們的放映
projected onto a huge cloth that the
without constant self-reflection and
晚會，大家就地坐在連投影屏幕也缺
dancers stretched, it seemed as if 1 was
dialogical criticism, is probably more
奉的非定規舞室，那管那祗是一隻半
sitting in the best seat and viewing
like a myth in itself. ■
浮沈間的救生筏，它卻無疑更是讓人
angle for it. To have a better closer
把握本地舞圈創新力量的場合。在這
glimpse of the local dance scene, one
個城市裡，有時我感到那已是種奢
should instead head to the video
山
Q:
e
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Dance Drama
藝術總監胡嘉祿購蹈繃作
鵬頁i多髓詞
歐陽麟的舞台美術黃智強醒裝設計
仍然記得嗰一次黎明不要來瞥聲笑 忘盡心中情獅子山下世界麵小
帶領觀眾越繡舰.鷗術空間
演繹一份鶴龍
現場口琴及鋼琴演奏
香港兒童合唱隨場演唱
14-15.10.20 0 5 7 45pm 16.10.2005 3:00 pm wb VUnHUSMKMVr ■輯 n
aMBMI
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dance journal/hk vol.7 no.5
舞評
Rl
Review
Summer Highlights by Kevin Ng
r-p L
W
dance programmes in this
and repetitive at times. The ensemble
summer’s International
dances are sometimes quite effective.
Arts Carnival were specially chosen to
Some of the pas de deux are quite
celebrate the bicentenary of the birth of
touching, for instance in the flashback
Hans Christian Andersen. Hong Kong
duet in the tale The Old Bachelor s
Ballet presented, at the Cultural Centre,
Nightcap. The ending in The Ugly
a full-length ballet based on Hans
Ducking when the child dreams himself
Christian Andersen’s tale The Emperor
taking wing and becoming a swan is
and the Nightingale. Hong Kong Dance
imaginatively presented. The third tale
Company was far more ambitious in its
Emperor s New Suit is quite jolly with a
Hans Christian Andersen programme,
lot of spectacular ribbon dances, and the
premiering at Kwai Tsing Theatre a
drama is well narrated.
two-act work King of Fairy Tales -
The Eternal Child choreographed by
The best is the moving final tale The
its assistant director Leung Kwok-
Little Mermaid, about the mermaid
shing, with specially composed music
destroying herself to save the prince who
by Ben Cheung.
has fallen in love with the princess instead of herself. The final tableau with
Costumes are excellent throughout the
flower petals raining from above is quite
Hong Kong Dance Company’s new
spectacular. All three leading dancers
work, as is typical of this company’s
were fine - Su Shu tender as the
productions. There is a child-like figure
mermaid, Huang Lei noble as the prince,
who appears throughout the evening
and Yang Yizi a haughty princess.
representing Hans Christian Andersen,
impressively danced by Ke Zhiyong. He
Domy Reiter-Soffer’s ballet The
is the unifying character linking six of
Emperor and the Nightingale was well
Andersen’s fairy tales presented in this work starting with The Ugly Ducking
and ending with The Little Mermaid.
Leung’s choreography is adequate overall, though somewhat predictable
Hong Kong Dance Company's King of Fairy Tales - The Eternal Child, from top: The Emperor’s New Suit, The Little Mermaid, The Ugly Duckling (last two). Choreographer: Leung Kwok-shing • Photo: Cheung Chi-wai.
舞蹈手札第7冊第5期
舞評
Review
Hong Kong Ballet’s The Emperor and the Nightingale. Dancers: Eryck Brahmania, Fuzuki Nakajima and 丫uh Egami as Monkeys. Photo: Jimmy Chan.
fares better. The happy ending with the
by the dancers are easy to spot -
wedding was a heart-stirring climax
deer, dogs. There is a funny episode
enhanced by the drummers. Richard
for the male ensemble parading
Tsang’s music accompanies the ballet
themselves as in a beauty contest. A
well. What a pity that the company did
recurring motif has the dancers
not bring this ballet on its Spanish tour
moving around with protruding arms
this summer, as it shows them off at their
and headgear. You have to admire
best.
the dancers for excelling in these non-dance routines.
Earlier in the summer, the Lyons Opera
Ballet presented as the closing
Finally to the Jean M. Wong School of
received when the Hong Kong Ballet
programme of the French May festival
Ballet, which celebrated in late August
toured Germany in 2000. Seeing the
Tricodex，which is appealing to both
its 45th anniversary with two
work again, I was suitably impressed
children and adults alike. This 80-minute
performances of Stars of Tomorrow at
by how much better the company
work, which is mostly in the dark, was
the Cultural Centre, offering many
dances it now compared to the
choreographed by Philippe Decouffle.
delightful numbers danced by its talented
premiere in 1997.
Images include animals, plants,
students. The highlight was the white
insects, flying machines; and the
act of Swan Lake closing the evening.
influence of circus and acrobatics is
The prince was stylishly danced by a
Not all sections are
corps de ballet dancer from the Kirov
This Chinese-
themed ballet is well crafted.
Eryck Brahmania stole the limelight as
pretty strong.
the narrator; his several short solos were
memorable.
Among the best is a
Ballet, Sergei Kononenko. Kononenko
excitingly danced with plenty of energy.
section for two women on a flying
also danced the solo from Le Corsaire
William Lin danced adequately as the
wire leaping up and down supported
and the Black Swan solo, and was more
Emperor, but his montonous facial
by their male partners.
impressive in the former. The school’s corps de ballet of swans certainly stood
expressions needed improvement. Faye
Leung was tender as the Maid. Liang
Another duet has a girl spinning on
Jing was a dignified minister, but Kyoko
a disc. The animals impersonated
up pretty well. ■
Tomimura was a plucky nightingale without much beauty. Carlo Pacis was
quite lively as the mechanical bird.
Rcitcr-Soffer, however, crammed in far
too much action in the ballet, with a lot of busy dancing for the corps de ballet.
Some prudent cuts could have made the ballet much tighter, for instance the
episode depicting the breakdown of the mechanical bird which went on for far
too long after making its point. And the long animals’ dance in Act 1 was not all that funny after a while.
The ducts however lacked poetry except for the final pas de deux, and the steps
weren't particularly memorable overall.
It is in theatrics that the choreographer
Hong Kong Ballet’s The Emperor and the Nightingale. Dancers: Kyoko Tomimura as Nightingale, William Lin as the Emperor. Photo: Jimmy Chan.
dance journal/hk vol.7 no.5
專藏
EE
Article
Better Approaches in Technique Class (Part I) by Rob Kitsos
較佳的技巧課方法(上) 文：羅傑索
T
來敎授大專學生及專業
have been teaching contemporary
philosophy about integrating physical
丄 dance to college students and
and mental health. It’s not about turning
舞者現代舞的經驗常叫
professional dancers for years, and I’m
your body into a machine (most people’s
筆者感到沮喪：很多學生似乎認為
frustrated. Many dance students seem to
bodies don’t have the ability to get into
他們的訓練應全專注於身體的機械
think that the focus of their training
those positions, anyway). You don’t
性鍛鍊上------- 些有如解剖學般仔
should be all about mechanics - all about
need your body to be the perfect
細的舞蹈細節，例如如何做到完美
the anatomical details of dance, such as
machine to be a great yogi. And
的芭蕾舞步Arabesqui:，或於一次
how they do the perfect arabesque or
dancers don’t need to be perfect
跳躍中多次拍腿.或如何於某一動
multiple beats in a jump or how they get
machines to be great performers.
作中盡量把腿提高。他們看不到整
件事的全面：他們似乎不知到舞蹈
their legs as high as possible in specific positions. They don’t look at the big
When you think of all the ways that a
同時也是有關人類的達意和聯繫一
picture: they don’t seem to realize that
dancer can engage an audience, the
一如何掌握空間、使觀眾投入、觸
dance is also about human expression and
mechanics are important, but they’re
動人心。舞蹈是有關不同概念的連
connection — about commanding a space,
only part of it. People go to see the
結，並懂得如何將之傳達。
engaging an audience, moving someone.
multiple turns and high jumps, but the
Dance is about making connections
same audience, the public, also wants to
between ideas and knowing how to
be moved. They want to see art, they
熱：你見到的是廣告板和雜誌封面
want to be changed in some way, they
上那把身體極端伸展和處於極端形
want to be challenged, and mechanics
態、把身體扭曲成「脆庥花」似的照
The students’ perspective reminds me of
can’t do that alone. In fact, mechanics
片。每個人都想做這些把戲•想把
the current yoga fad: you see photos on
are something that dancers often hide
他們的腿拉到耳旁，以為模仿這些
billboards and magazine covers showing
behind - they don’t have to be brave
極端形態便可使他們明白和完全掌
bodies in extreme stretches and in
about being expressive people, and
握到瑜伽。但瑜伽是包含更多層次
extreme positions, twisting themselves
maybe revealing their vulnerability.
的---- 它是一們源遠流長、融合肉
into pretzels. Everyone’s doing all these
Being a good performer requires a
體和精神健康的哲學。它並不是要
tricks, trying to get their legs to touch
deeper kind of involvement than
把身體變成一部機器（其實•大部
their ears, as though if they mimic these
attention to mechanical details, it
份人的身體並不能做到那些形
extreme physical positions, they’ve
requires an awareness of what you're
understood and mastered yoga. But yoga
trying to communicate. It’s a whole other
來成為瑜伽大師。舞者成為偉大的
part of human expression that’s not as
舞蹈家•也不須要•成為完美的機$
communicate them.
has many more layers — it’s an ancient
學生的看法令我想到近年的瑜伽
態）。你並不須要完美機器般的身軀
tB
第7冊第5期
專稿
Article
tangible as the mechanics, so
兩個問題：第一，有些學
it’s harder to define - but to me
生於畢業後，還對他們將
it’s even more important.
要投入的舞蹈事業的真實
面貌所知有限：他們有很 But when many students enter
強的機械因素— —他們能
a technique class, their minds
做到重複轉身和高腿位置
are only on the mechanics —
—但從觀賞的角度來看 —
the parts of the body they can
卻是欠缺趣味。
see and touch, the nuts and bolts, the anatomy of muscles
另一類學生則早已看到他
and bones one can visualize.
們的機械因素不好— —他
This perspective causes two
們所能做到的轉身的數量
problems: First, some students
不多句，腳掌不狗強，又或
graduate from college and
者學習複雜的舞步組合不
begin a career in dance with
狗快— —便決定他們做不
only a limited sense of what
了專業舞者。他們放棄、
dancing is really about: they
退出。我見這些學生時，
have strong mechanics - they
常問他們對未來的打算。
can do the multiple turns and
他們差不多全都承認想做
high leg positions - but they
專業舞者•但認為自己的
aren’t interesting to watch.
能力不及，所以會嘗試敎
學、編舞或舞蹈行政等工 Another group of students
作。往往，這些缺乏超級
decide that they aren’t good at
機械能力的學生，很多是 出色的舞者。於舞台上•
the mechanics — they can’t do
enough turns and the arches of their feet
在舞者可以令觀幂投入的所有方法
他們常常比機械體能優越的舞者更能
aren’t high enough or they can’t pick up
中，機械性因素是重要，但只是其中
令觀眾投入。
the combinations fast enough - so they
的一部份。不錯，人們要看重複轉身
decide they’re not going to make it as
和高躍，但同樣的觀眾
performers in the dance world. They give
也想心靈被觸動。他們想看藝術，他
up. They drop out. Often when I meet
們想要某些改變，他們想得到挑戰。
確答案」：他們想要的，就只是老師
with these students, I ask them, “What
單憑機械因素並不能做到這些。事實
給他們成為偉大舞者的最直接而又可
do you see yourself doing in the future?
上，舞者往往用機械因素來隱藏自己
掌握的資料，沒有其它。他們想要
” Almost 100 percent of them admit, “I’d
---- 他們不須要勇氣來表達內心感
的，是一些詳細步骤，讓他們逐步砌
love to be a performer, but I don’t think
受、及可能揭露自己脆弱之處。作為
合起來•達到他們那清楚介定的目
I’m good enough - so I think I’ll try
一個好的演出者，須要一種比注重機
標，就像組合一張「宜家」傢俶的桌
teaching or doing choreography or
械細節更深的投入.要清楚明白到所
子般。只要你懂得一、二、三，你便
something in dance administration.”
要傳達的是什麽。那是完全不同的表
會成為傑出的舞者。
Many times, a lot of these students who
達形式，並不如機械因素般可以觸
don’t have super mechanical facilities
摸，因而也更難介定— —但對個人來
這是一種普遍存在的心態，他們就以
arc incredible performers. They’re often
説卻更重要。
這種心態來面對所有學科。問題的所
大眾
械體能的原因是他們想要簡單的「正
在，是傳統的敎育系統，和建立這些
more engaging on stage than someone
who’s mechanically proficient.
在我所敎的學生中，大部份沉迷於機
但是，當很多學生上技巧課時，他們
系統的因素：多項選擇試題、是非题
心中只想著機械因素— —他們能看到
，只有選取正確的答案才會有好分
The majority of students who’ve been
和觸摸到的身體部份，和可以形像化
數。這系統不會敎人思考和把意念關
in my classes have been obsessed with
的肌肉和骨格解剖知識。這種看法有
連起來•只敎人記誦。所以.這並非
dancejoumal / hk vol.7 no.5
凝專藏
Article
mechanics because they want the right
Here’s an example: Just this past
全是學生的錯，而是一個根深蒂固的
answer: they want teachers to give
semester, I was in the middle of
問題。
them the tangible information they
teaching a movement phrase that was
need to be great dancers. Period. They
designed to practice the feeling of
一個好的例子是歷史料的敎學法。我
want precise procedures that they can
circularity and continuity. One of the
所上的歷史課，都是有關在漫長的歷
piece together to achieve their
most mechanically proficient students
史時期中，名字和日期的記誦。善於
definable goals - like instructions to
in the class was having trouble
記誦的學生固然可以在多項選擇題和
assembling a desk from IKEA. If you
completing a full circle. During the
是非題中獲得高分數，但他們很多都
do ABC, you will be a great dancer.
turning part of the phrase, where her
不能看到歷史的整體— —不懂得如何
torso should have been moving
談論某一時期中的背景脈络，藝術、
This is the mentality, a pervasive
through a spiral, she would suddenly
政治、社會和文化間的關係。
mentality, which they apply to all their
break the continuity to display her
subjects in their education. Part of the
extended leg, and she would ask,
單只記誦名字和日子，就如理解歷史
fault has been traditional systems of
“Should my leg be placed in second
的機械因素。對比於舞蹈室內的情
education and how these systems were
position here?” It was as if she kept
況，那就是要藉著記誦一連串互不關
set up: multiple-choice tests, true or
pausing a video to focus on one frame
連的姿勢，來跨越空間— —對舞蹈的
false tests, you pick the right answer
in a two-minute movement sequence,
一種機械性理解。
and you get the right grade. The
when the goal of my exercise was not
system doesn’t teach people to think
any one position but a quality of
在上一學期的敎學中，我遇到一個好
and relate ideas, it teaches them to
continuous motion. Even when I
例子。在敎授一段設計來練習圓轉和
memorize. So it’s not totally the
demonstrated the exercise, I could see
延續的動作段落中，其中一個機械技
students’ fault - it’s been ingrained.
her trying to break it down into
術最熟練的學生就是不能完整地完成
separate technical and mechanical
一圈。在段落中的轉身部份，她的身
A good example is the way history has
positions. The technique I was trying
軀應作螺旋移動，但她卻會突然中斷
been taught. The history courses I’ve
to teach — moving through a sequence
了連绵的動作而展出腿來。她問是否
taken were about remembering names
with a lush ease as if there are no
應把腿放在第二位置。就像她在這一
and dates over huge spans of time. The
transitions — —is one of the most
段兩分鐘的動作段落中，不斷把錄像
at
important achievements for a dancer.
暫停下來專注於其中一格影像。然
memorizing would do well on the
Another student, who’s usually quiet
而，整個練習的目的卻不在任何一個
multiple choice and true-or-false tests
and doesn’t ask a lot of mechanical
姿勢上，而是在連續動作的質素。就
and get good grades. But many of them
questions and almost never even looks
算在我示範了整個動作後，我仍見她
didn’t grasp the bigger picture - they
at herself in the mirror, immediately
嘗試把動作拆解成個別的技術性和機
couldn’t talk about the context, the
picked up the exercise through
械性姿勢。我所嘗試敎的技巧— —輕
connections between the art, the
understanding the bigger idea of
易而沒有過渡痕跡地舞出一串動作一
politics, the sociology and the culture
moving with a sense of connectivity.
一是舞者的最重要成就之一。另一個
of that time.
There was a quality of effortlessness
學生則剛巧相反。她平時很静，不會
and not one position spoke louder than
問很多有關機械性的問題’什至差不
Merely memorizing the names and
another. The motion of the spiral was
多永不看鏡中的自己，但卻能明白到
dates is like understanding the
executed
communicated
舞動連續感這個較高層次的概念’而
mechanics of history. The parallel to
beautifully. I didn’t recall whether she
立即做到了這個練習，動作看來毫不
this in the dance studio is a student
moved through second position- and
費力而沒有突顯任何一個姿勢•把螺
who moves across the room in a series
don’t see why it would be relevant to
旋移動漂亮地完成和傳達"我記不起
of well-memorized positions with no
extract and identify. I have never had
她的動作中有否出現第二位置’也看
relationship between the positions - a
more than two students out of thirty
students
who
were
good
mechanical understanding of dance.
and
who can absorb movement qualities
国
this way-
不到將動作抽離和分辦的需餐°根據 個人的敎學經驗，在三十個學生中只
有一、二人可以如此吸收動作質素■
舞蹈手jL第7冊第5期
禮舞評
_____________
Review —
cede BC8E:曹XXI
费洧藝的■世番超■遢 A Modern Dance Spectacle by Helen Lai
城市籯代興囲■
Artistic Director: Willy Tsao
9-10.9.2005 星期五至n Fri-Sat Bpm
11.9.2005
瞿期曰 Sun
3pm
騮港文佗中腿蒯暹 Hong Kong Cultural
的tre
Centre Studio Th
《創世記》 文：小拾
祖链 失 地
平
援
的
,V 當代舞蹈團再次把黎海寧的作品《創世記》搬 W, T上舞台，當中的演繹與以前的有多大分別. Helen Lai
筆者因初次觀看而未能作任何比較的論述。也許，這會
as 三s番播籤蹈年鼸爾主
錯過了那份因不同地點、不同時刻、不同心情的觀賞
Choreographer TljrcB-llmB Hong Kony Dance Awe
下■而能體驗當中不同奇妙處的經歷，不過不管怎樣，
窠錦添Tim Yip
舞台上的一切卻確切地讓觀者獲得「破解隱藏大地不解
形面及服裝殷訐 田期长萑■■疆径塞
之谜，重現散失地平線的生命密碼」的見證！
S
Lbo
Cheung
曲顥及 齐IS針
fin，
K肝
協麗■隹耀卉
Image and Costume Designer Oscar Winner lor Beit An Dtrectiuu
Set & Lighting Designer Winner o( the Bosl Lighting Designer Award from Federattan at Drama Sod
.明菊 Tang Shu-wing
打從舞台的設計之始，這個環境已造就我們成了主宰去
疆播羼&麵■疆佳鳄主周
俯視、去監察眾生成形的過程。兩面舞台下是一個空廢
Starring as The Starytoller Best Aflor ol Hong Kong Drana Awards
野地，當中兩邊置了兩道泥溝和嶙峋石壁.人或許將於
K助 Sponsored by
這塵土之間出現，而大地之始就在一種孤獨與渾沌之間
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UTGliUMIMd
> / /Z
,
iu< Sctvkcj Dnurtmeni
發生.一個舞者身體被布幔裏著，他扭動著身軀，從孤 單的苦澀氛圍內抨扎，他是世界的序幕，舞台地上的布 幅被他掀動.他站在「世界」中間把布幅旋渦式捲動，
外•他旁觀著、記錄著這創世的故事。當我們以為
一切像被呑噬.萬物因而入世：從此渾沌不再、孤單不
自己是處於萬物之上時，一切卻原來並非如此•因
復.男中有女、女中有男.獨舞演變成群舞，舞者提著
舞者們不單跑到我們跟前•亦走在我們背後•他們
一點燭先，這像是長明燈把生命帶進，而世界便開始熱
帶著爆米花，吵著嚷著便走到觀幂席的最後一排•
鬧起來了。
他們是在舞•還是在看？那一刻究竟誰才是一群遺
民？不管怎樣，一切快將重新開始，説書人手持著 這個舞章共有六個段落：從〈渾沌〉、〈創世〉、〈造
手提電腦，他把故事記載，與此同時打在電腦上的
人〉、〈洪水〉、〈遺民〉至〈再創世〉.瞥見或許以
創世密碼亦—投射在舞台上•台上像無意思的一
為舞台上將呈現一幕幕嚴肅得很的舞碼，不過這估計卻
連串英文字母，原來是國語的拼音.它與間插的數
是錯的•就在〈洪水〉那幕，編舞改用了輕鬆的手法，
個中文字像一組電腦密碼程式•世界就於此時被重
以兩位巧舞者穿上游泳衣、戴上水泡以天氣報告的形式
設。簡單而論.這是一個富趣味與詩意的創世舞蹈
农和大京舞著玩。而整個舞蹈演出除了舞者之外，還加
故事。■
插丫 一位況言人•他走在故事裡的同時亦處於故事之
dance journal / hk vol.7 no.5
舞評
in
Review
一個舞者的反思---Miguel Gutierrez在藝穗會的表演 文：心山豆
來拿一本書，把書放在放燭火的小盤
面裡的Gutierrez同時望電視種的
下。一個觀眾又忽然出來拿一本書.
Gutierrez望電視裡的Gutierrez望電視
Gutierrez的獨舞作品
把書放在放燭火的小盤下。書，是關
種的Gutierrez *所有Gutierrez同時望
Retrospective Exhibitionist （《舞者回憶
於舞蹈的書。燭火一步步升高。最
觀眾.... 畫面凝著，Gutierrez裸著身
錄》），入場觀眾不過十多廿人，而
後，Gutierrez讓股肌把燭火按熄。有
體站著，望著觀眾。Gutierrez呻吟，
且大部份是老外。開場時並沒有黑
一幕，Gutierrez大叫。有一幕，
Gutierrez 嚷著 1 am I am I am I am I
燈，反而亮起平時完場時才開的光
Gutierrez走到到窗前開窗。有一幕，
am……作為一個舞者的身體。舞者在
管。Gutierrez赤著身體戴著鴨舌帽和
Gutierrez吻向鏡中的自己。有一，
問，在思考他的身體。舞者的生涯如
波鞋進場，在強勁的音樂下把空的舞
Gutierrez用一個聲音裝置不斷重覆他
同出賣身體？他的身體屬於誰？不斷
演出總是不多人看。8月25曰 厂到藝穗會studio看來自美國的 Miguel
台即場裝置起來：有電視組合、咪及
的話語。擴音器。Recall。Gutierrez
的鍛鍊只為了觀眾的一刻注目和掌
擴音器、鏡、舞台地燈、書本、椅子
又跳又叫，Gutierrez嚷著望我望我望
聲？還是，舞者要找到自己，舞者的
等等。把原本後台的工作都赤裸裸地
我望我望我！ Gutierrez在電視畫面
身體不就是一件工具。身體是生命的
呈現於觀眾眼前，表明了毫無保留的
旁，與畫面種的Gutierrez同時望觀
載體，它展現的該就是真正的生命
態度。跟著Gutierrez沒有立即跳舞，
尿，Gutierrez 與畫面裡的 Gutierrez
啊！ Gutierrez以他過來人的身份和身
他穿回衣服，坐在電視機旁。電視畫
同時望電視。Gutierrez與畫面裡的
體，與一眾同儕共勉。■
面播放著一場演後座談• Gutierrez拿
Gutierrez同時望觀尿，Gutierrez與畫
著稿子現場替自己配音。舞者的回憶
切入現場，Gutierrez即席示範。電視 機頂還有數盒VHS。Gutierrez脱剩 白色內褲，躺下，靜止，手掌快速搖
動，雙手慢慢升起，大力拍打地板， 很響，手伸進內褲，摸下體，轉身，
吐口水•跌•臉貼地，抹去唾 液.... 。另一盒。畫面有雪花，記憶
模糊。強勁音樂響起，Gutierrez终於
展示舞技，一邊跳就一邊扮鬼臉。有 一幕，Gutierrez大力擲椅子向牆，他
説對不起。有一幕，Gutierrez內褲半
脱光著見股，心口向上•反著四肢支
推身體，八月十五對準著放在地上的 濁火。Gutierrez唱歌。鍛鍊。後台哥
哥忽然出來拿一本書，把書放在放燭 火的小盤下。一個藝穗會職員忽然出
j Miguel Gutierrez
第7冊第5期
專稿
E Article
香港舞蹈的新媒體 文：Kiris
藝術、科學及社會是息
設性評論，所以中產階級成為當時
息相闞的•因為我們創
舞蹈表演的常客。其實，歷史上也
作藝術的靈感，是來自生活的感
有很多相似的例子，如在文藝復興
受，而現代科技又影響了我們的生
時期，佛羅倫斯是歐洲贸易及商業
活模式。故此，在香港這個擁有多
中心•其經濟十分發達。那時藝術
元文化的社會中，藝術、科學及社
開始脱離敎會的贊助，中產階級的
會又如何產生多方面的相互影響，
群眾亦開始對文化藝術及哲學等有
繼而引致「新媒體」出現於舞蹈表
所要求，便以贊助的形式，推動那
演中？
時藝術的發展了。
任何文化及藝術之改革及發展.也需
基於簡單的「供求定理」，中產人士
要有良好之經濟作為背景，「因為財
要求高度品味的藝術及文化，希望在
富產生了閑暇，使藝術等活動更為可
舞蹈表演中可以融合一些創新的元素
能。」4。在香港，「新媒體」於舞蹈
及題材，令舞蹈有所改變。編舞者回
表演的應用，絕對與從八十年代開
應這些訴求的其中一個方法，便是以
始，香港經濟發展有密切關係的。最
「新媒體」滲入舞蹈表演之內，並成
簡單直接的，便是舞蹈團體在有良好
為了代表該年代的特色。
經濟背景之城市•可以得到較優勝的
資助.而舞蹈藝術家.便能殆以充足的
香港第一個專業現代舞蹈團「城市當
資助去購買或租借昂貴的器材，經濟
代舞蹈團」助理藝術總監陳德昌5先
給予藝術發展硬件上的配合，提供了
生指出•早在8()年代中期，「城市當
一個客觀的發展環境。
代舞蹈團」已經開始運用不同媒體於 舞蹈表演之內，例如幻燈片、電視牆
上：楊惠美《捕捉流水》，
下：黎海寧《Plaza X與變異街道》。 攝影：陳德昌。
從八十年代中後期開始，香港的金
及輪廓剪影等媒體。雖然以現在的尺
融及商業及服務棠發展，舊有工業
度去想，這些東西未必被確認為「新
之利益仍然未消退於香港•所以當
媒體」，但我們必須要留意每一件事
時香港社會便漸漸富裕起來。就在
的歷史意義，而以上敘述的媒體•在
這個時候，一班受過高等敎育•較
當時也算是新穎的媒體.而它們最大
一般大眾富有的中產階級，願意付
的意義，可能是實踐的現代藝術對超
出金錢去觀賞有質素的藝術表演，
現實的表達手法。
而他們亦有能力對舞蹈表演作出建
dancejoumal / hk vol.7 no.5
鬱專藏
IE
v-l D IV B
K. a
^7
Article F E 5 T
與眾共舞 當然，一徊經濟良好的社會•便越是更加開放。在八十
5/11 /2005
年代以前的香港•觀幂開始討論一些如性愛這類敏感的
7:30pm
話題.而女性在社會及經濟上的角色比以前重•這令舞 蹈及其他藝術.開始朝不同的題材及方向發展。可是這
香港藝術中心壽臣劇院
Shouson Theatre Hong Kong Arts Centre
些較以往複雜及前銜的思想.很難再以舊有的舞蹈去表
達，因此應用「新媒體」於舞蹈表演，便能把屬於新時 代的題材表演出來。
從8()年代初開始，電腦科技的發展可謂「一日千里」，
無論是「硬件」或「軟件」的進步，都會令「新媒體」 藝術的創作變得更加快捷。高效能的「硬件」，能跔令
媒體藝術家以電腦修飾作品的工作做得更好。而電腦及
Dance 4All Series
Insomnia
舞0寺哝
Tossing around, the restless mind bouncing amongst incoherent events; Reflecting the underneath, the subconscious, the unfulfilling... One sleepless night, many unfolding desires. 四處擺動，活躍的思想於一連串不相干的事件間躍
動…反映出不為人知的一面、潛意識間的思想、未 能實現的願望，一夜無眠，顯露心中無限的渴望。
科技發展後，性能良好的「硬件」及使用方便的「軟
件」，更能鼓勵一些原來不會或不懂創作「新媒體」的
藝術家對「新媒體」有興趣。如果編舞家能跔做到媒體 創作，對於作品風格的統一會有很大幫助 ，可減少不同
範疇的藝術家在溝通上的誤會。但同一道理，如果一個
懂得跳舞的媒體藝術家創作一個影像計劃，也很可能對 於鏡頭捕捉會有幫助。
前香港演藝學院高級講師Robert Kitsos便是一個在編舞
的同時，亦會自行創作舞蹈表演時的「數碼影像」的藝
Shadows 疊署3 An attempt to grasp fear and look into its eyes, to understand a foe who is no one else but our self. 嘗試捉緊恐懼、真切地認識恐懼，
明白這個敵人不是任何人， 而正正是的我們自己。
術家。問到他的創作，他説是想以實驗性質，去嘗試把
兩個不同媒體放在一起去互相協助；而現代科技的簡易 方便及進步，能跔令他在家中完成媒體創作。
從八十年代開始，香港政治之急劇變遷也間接影響到藝
術的發展。「城市當代舞蹈團」藝術總監曹誠淵先生在 「什麼是香港舞蹈特色？」一文中談到香港舞蹈之一大
特點，便是］997年香港回歸的影響：1997年之回歸，
代表著一個文化及歷史上的轉捩點6。而這一個轉變. 不單只從回歸前好幾年開始 ，而是一直延伸至回歸後。
其實早在1984年，中英兩國茶署了中英聯合聲明，香 港突然要從一個殖民地變回中國的一部份，回歸的時鐘
開始倒數。在社會上.人們不想面對政治的改變，所以 便出現了一種逃避現實的思想。直至回歸後，政制的改
變及金融風暴後之經濟大衰.令到香港人的生活及心理
上，與回歸前亦有很大程度的轉變與差别。就正如現代 藝術的誕生的必然性一樣 ，因為舊有的思想已經不能再
表達現實社會的複雜性及人類心理的轉變•所以，一個 全新的藝術模式及概念必定會出現的，那便是「新媒
體」應用在舞蹈表演上。為了滿足觀眾需要逃避對現實
社會的擔憂，在當時選擇的題材很少是完全切合現實的
票價 Tickets:
社會焦點的。而現代舞正可以是一個心靈的避難所，那
電話留座Telephone Reserxation:
麼「新媒醴」便是其中一種工具以放大我們心中的慜望 了。所以.這些逃避現實的超現實概念之舞蹈表演.
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c o p
舞蹈手
j
第7冊第5期困
Article 「新媒體」絕對可以給予我們幻想空
媒體藝術家作分享交流•而且這亦给
間上的支援。
予編舞家機會去認識這些不同藝術範
所分享的一句説話：「我的舞蹈動
疇的藝術家•欣賞媒體藝•術家的作
作，是為了服務我的概念。」藝術工
如果我們要透徹的了解「新媒體」應
品，無形之中，不少編舞家與媒體藝
作者在編排每一個表演內的動作及事
用於舞蹈表演在香港之發展情況•我
術家，就在這些媒體的發表會後開始
物，必須是為了服務他自己所希望表
們便不能只集中在研究舞蹈及舞蹈團
合作。因此•「錄影太奇」可以説是一
達的主旨，運用「新媒體」，不可以
體之發展了。在舞蹈走向現代藝術模
個促進兩個不同範疇的藝術家合作的
只是「為新而新」，令到「新媒體」或
式的同時■香港的劇場及影像範疇，
渠道，亦令不少精彩的「新媒體」舞蹈
其他藝術欠缺主旨與靈魂。■
亦隨著各自的藝術概念之轉移成立不
表演得以在專業的水準內演出 。
註：
同的團體。當中，最不能忽視的•便
是「進念二十面體」(z u n i
集」2()()4年《烙印》演出後藝人談中•
「舞蹈錄像」這一個歐美已經開始了
4奧斯汀華報對文藝復興興起的一個見
Icosahedron)。雖然從「進念」成立開
幾年的藝術創作•便是「新媒體」發
解，資料來源:http:〃www.oklocal.
始，便很難界定它究竟是屬於戲劇定
展下的產品。與一般記錄舞蹈表演時
com/austin/OOl.htm。
還是舞蹈的範疇•但是「進念」對於
拍攝的影像不同，舞蹈錄像不是記錄
香港的現代表演藝術，有著劃時代的
片，是另一種融合新媒體與舞蹈的藝
貢獻。「進念」於1982年成立，它的
術作品。如果本次研究的主題，是以
表演结合戲劇、舞蹈、裝置藝術及錄
舞蹈為主要溝通媒體，「新媒體」是
像等多個媒體，從西方引入現代劇場
輔助的角色，那麽舞蹈錄像便是剛好
技巧，成為香港表演藝術的領航者7
相反，藝術家嘗試用錄像之不同拍攝
。這一種近乎西方的「舞蹈虞|］場」s的
手法，把舞蹈員及動作所想表達的拍
表演，除了帶給觀幕新的藝術刺激
攝下來•再加上剪接效果，令錄像比
外，亦給予香港的編舞家引入現代表
原來之舞蹈更為有趣。香港的「城市
演藝術概念之轉變及表達手法之革
當代舞蹈團」亦曾於去年舉辦《跳格》
新。因此，很多藝術工作者都指出
錄像放映。
「進念」是香港運用「新媒體」於表演
5城市當代舞蹈團前舞蹈員，現任副藝
術總監。 6
原文："re-unification with China in
1997 represented a turning point in
our culture and history..."，資料來 源：What Are the Characteristics of
Hong Kong Dance?，《舞蹈手 札》，第2冊第4期。
7由於是次討論主要集中以舞蹈為中心 的應用「新媒體」研究，故此，對於 「進念」引入西方「舞蹈劇場」之原因| 筆者尚未作一正式之深入探討，但根
中之先河。雖然「進念」的表演不盡
據部份零碎的歷史資料，以及筆者之
是以舞蹈表達，但是「進念」帶給香
雖然現在的社會植，仍然有觀幕未能
估計，相信「進念」的創辦人榮念曾先
港舞蹈界別的，是於「新媒體」應用
完成接受「新媒體」運用於舞蹈表
生從外國讀書歸來，有感香港表演藝
的這一段歷史起點，從沒有到有的貢
演，但「新媒體」運用於舞蹈表演在
術之單一化，於是希望在引入西方表
獻。難怪在《香港舞蹈歷史》一書中
香港已經十分普遍，甚至是編舞家創
演藝術的現代概念及表達手法，提供
提到，「進念」被「肯定了它在推動
作的其中一種手法及嘘•頭。但是，香
香港舞蹈多元化發展的作用」。
港現在最主要含有「新媒體」的舞蹈
多方面之選擇予其他表演藝術工作者
參考。
表演，仍然以現代舞為多。可是，當
8「_種表演混合了舞蹈、戲劇及裝置藝
當然.在表演藝術方面我們有很多代
大家留心一點其他舞蹈，便不難發現
術等• +從1960年代至1970年代開
表團體，而香港的「新媒體」工作者
現在已經有芭蕾舞及中國舞應用「新
始產生+ •••••舞蹈劇場追求的……是用
及藝術家，也在早期成立了「錄影太
媒體」的了。就如「香港芭蕾舞團」
舞蹈去真實地表現人生，甚至不惜將
奇」(Videotage)來團結範疇內工作者。
的《不死傳説》及「香港演藝學院」的
真實的搬上舞台……具有極為濃重的
「錄影太奇」成立於1985年。或許「錄
中國舞《婚宴究麥西熱甫》等。
“表現論”及”模仿論”的意味。」《現 代舞的理論與實踐》，15頁。
影太奇」的宗旨•便正如在他們的網
頁上提到：「錄影太奇……是一個非
無論「新媒體」怎様運用於舞蹈表演
謀利的跨領域的團體•(我們希望)集
之內，作為「編舞」的藝術工作者亦
合藝術家在一起，著重於如何在香港
應緊記，舞蹈編排並不是為了炫耀高
發展影像及新媒體。」111「錄影太奇」
超的舞蹈技巧•滿足觀眾•愛好新、奇
集合一些媒體藝術家定期舉行發表會
的想法，而是表達藝術家心裡盼望與
或媒體藝術節，不單對大取推動「新
觀幂溝通及分享的概念。引用演藝學
媒《」藝術•以及令同業的工作者及
院的高級講師温玉均老師於「玄牝舞
9《香港舞蹈歷史》，96頁。
10 原文："videotage... is a non-profit in
terdisciplinary artist collective, which
focuses on the development of video
and new media art in Hong Kong" ’ 資料來源：http://www.videotaqe.org.
hk。
節目表 None of Your Business! 《冇關係》 Y Space多空間
5-8/10, 8:15pm Fringe Studio藝穗會小劇場
Choreographers 編舞： Victor Choi Wo, Ma 馬才和
Mandy Ming Yin, Yim 嚴明然 Enquiries 查詢：24700511/9561 5559
Sleeping Beauty《睡美人》 根
)ance Drama
Russian National Ballet Theatre俄羅斯國家芭蕾舞劇院
7/10.
Auditorium, Tsuen Wan Town Hall
I
|loiseev
荃灣大會堂演奏廳 8/10. 8pm
始
Auditorium, Yuen Long Theatre .Tchaikovsky
元朗劇院演藝廳 9/10. 8pm
Auditorium, Sha Tin Town Hall 舞对，加上堂皇華麗的布景及服飾 ，蜣針賞心悦曰，J
沙田大會堂演奏廳
aordinaty dancing ofsoloists...the magnificent scenay wrf costumes...made the evening ctyoydblc."
-美
Choreographer 編舞：Marius Petipa 佩蒂巴
8
Pilm Beach Daily News (USA)
l是荚斯科大劇院芭蕾舞困成立以來又一俄羅斯芭蕾舞鉅獻。 Met JJiearre is the mast exciting cantribucion co Russian ballet since the establishment ofthe Bolshoi Bailee."
一英fl ＜每日 ＜我级》The Daily Telegraph (UK)
Enquiries 查詢：2268 7323
Tempo ofHong Kong《香城若舞》 Hong Kong Dance Company 香港舞蹈團
14-15/10, 7:45pm,
閗格岡特别£« ＜)ix-ning weekS
16/10, 3pm
ik\ i«)l
Pics»'i)i«
Jarocho (Bisb M,
Grand Theatre, HK Cultural Centre
香港文化中心大劇院 2O.11.2OOS
Choreographer 編舞 HuJialu胡嘉祿 Enquiries 查詢：3103 1809
Jarocho《古都傳説》 The Unexpected Mexican Dance
Spectacular墨西哥舞樂盛典 22-23/10, 7:30pm
23/10, 3pm
Grand Theatre, HK Cultural Centre
香港文化中心大劇院 Enquiries 查詢:2370 1044
Hades’ Invitation《魘 Spring Poetry
躍舞翩
21-22/10, 7:30pm & 9pm 2008 • 10 • 21-22 (FRI • SAT) 7:30PM - 9:00PM OgTHiATFi, Priboi Club, Cnmut, HK •香®中環 EkwikimIH 轟M:2611 5651 Ticrrr Porcuasi - II 31 288 288 • wirir.uKncxrnM.coK
02 Theatre, Fringe Club 藝 S穗會02蒯院
Choreographers 編舞：
Terry Tsui徐偉業• LonceYu余世好 Enquiries 查詢：2511 5551
ww'v.kitli
舞蹈節目表 Homage to Stravinsky - The Soldier’s Tale 《士兵的故事》 Hong Kong Sinfonietta香港小交響樂團
大型舞劇
Dance dranu
28-29/10, 8pm Kwai Tsing Theatre Auditorium
葵青劇院演藝廳 Choreographer 編舞 Yuri Ng伍宇烈
紅也-
Enquiries 查詢：28363336
The Red Lovers《風紅棉雨》 Guangdong Song and Dance Theatre
H0MMAGE葉伍毛邢白
A
廣東歌舞劇院
詠宇俊亮井
28-29/10, 8pm
STRAVINSKY詩烈輝剛
Auditorium, Sha Tin Town Hall
沙田大會堂演奏廳 Choreographer 編舞： Wen Zhenya文頑亞 Enquiries 查詢：2268 7323
5/11 Z2005
7:30pm
MadamaButterfly《蝴蝶夫人》
漏購««中心酶臣劇陕 SbouMxi Theane Hong Kong Arts Centre
Hong Kong Ballet香港芭蕾舞團 3ve, Sacrifice, Betrayal and Beat Contemporary-Ballet Classic is B(
28-30/10, 7:30pm
Insomnia
29-30/10, 2:30pm
Grand Theatre, HK Cultural Centre
香港文化中心大劇院
wmnd «h» rrttlan mind bouneiq(
Reflectif urn]ef(MWK it* iubeomeioui.1 the unfulfJImj One runy urfcMnj 1 - nr.e- «« ■ iiw»»naa-*
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人助*
Shadows
番黔
■戴■
•中備«的潘篇•
Choreographer 編舞： Natalie Weir娜泰莉•維亞
An inempc co graip lear
Enquiries 查詢：2105 9724
rbfiy K'jrig
Dance Platform
w
人不麗》«人
白濃Ml
ice Platform 05《舞蹈平台05》
B
lg Kong Dance Alliance 香港舞蹈聯盟 I lu
8:00pm Chi Wan Civic Centre
匕灣文嫉中心
Choreographers 編舞：
dancelsewhere.com 《舞•「軋」$ Youth Arts Festival 青藝節
Kevin Hung 洪建林，Cindy Leung 梁绮雯
5/11，7:30pm
Cryus Hui 許俊傑.Chloe Wong 黃靜婷，
Shouson Theatre, HK Arts Centre
Pinkey Tang 鄧嘉欣
香港藝術中心壽臣劇院
Enquiries 查詢：2584 8753 5/11/2005 8pm
Choreographer 編舞
Medina Lau
牛池灣文城中心 Ngau Chi Wan Civic Centre
Enquiries 查河：9S34 6242