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舞蹈快訊

目錄 Contents Vol.7

NEWS

No.6

封面Cover 「城市當化舞蹈團」《創世記》

「城市當代舞蹈團」2005美國巡迴演出

「城市當代舞蹈團」(CCDC) 10月完成了2005美國之旅。在這

次巡迴演出中，舞團先於10月7-9日聯同「北京現代舞團」及

編舞：黎海寧。攝影：陳德昌。

「廣東現代舞團」於華盛頓甘迺迪中心的「中國文化節」中聯

CCDC's In the Beginning

合演出《銀雨•臨池.滿江紅》，反應熱烈，三場門票瞬即售

罄。RobertGreskovic在「亞洲華爾街日報」寫道:「於甘

Choreographer: Helen Lai Photo: Ringo Chan

迺迪中心演出的現代舞中，只有CCDC的2004年作品《銀雨》

遠超專業地打造出來的劇場效果 ，達至自成一派的表達世界。 《銀雨》展現了一連串源自中國今昔、對比強烈的劇場視野。」

「紐約時報」的John RockwellS忍為「香港的CCDC最為成功，

舞蹈快訊NEWS

1

提供了一個令人眩目的節目，以不同的舞蹈選段編織成一個實

質上全新的作品

《銀雨》。」「華盛頓郵報」Sarah

舞蹈中的地和人

Kaufman則說：「…那些作品都有劇場的震動感覺和強烈的

Place and People in Dances

視覺影像…整個節目由這些因素頻密而誘人地交織而成，再添

文：方人

上一點美意'過去的迴響、奇異和豐富的壯麗場面。」同月

3

by Ian Fong

13-15 0 * CCDC移師紐約市Danny Kaye Playhouse演出經 典舞碼《365種係定唔係東方主義》。這個由「香港駐紐約經

運用多種對比技巧烘托對照出色

濟及貿易辦事處」及Hong Kong Association of New York合

文：鄧蘭

11

by Maura Donohue

12

A NY Dancer in HK

辦的演出亦獲好評，被譽為「以前衛大膽及後現代的概念，把

CCDC 2005 USA TOUR In October, CCDC returned from a successful tour to the USA.

The first stop was Washington D.C.’s John F. Kennedy Center for

Better Approaches in Technique Class (II)

較佳的技巧課方法(下)

October, on a bill with the Beijing Modern Dance Company and

by Rob Kitsos

文：羅傑索

the Performing Arts, where the company performed from 7 to 9

Guangdong Modern Dance Company. The programme, entitled

15

Trilogy of Modern Dance, was a part of the “Chinese Culture Festival”. The shows were sold-out and the performance received

香港舞蹈年獎2006開始接受提名 Hong Kong Dance Awards 2006 Call for Nomination

rave reviews from America’s top dance critics. Robert Greskovic wrote in The Asian Wall Street Journal'. “Of the modern-dance

18

works shown at Kennedy Center, only CCDC’s 2004 Silver Rain

rose much above the realm of professionally crafted theatrics to

舞蹈節目表 Dance Events

an expressive world of its own. Silver Rain unfolds as an array of

20

contrasting theatrical visions from China’s past and present.” John

Rockwell of The New York Times remarked that CCDC ftwas the

most successful, offering a dizzying program of excerpts that had been previously knit together to form an actual new piece, Silver

Rain.” The Washington Post’s, Sarah Kaufman wrote: “...the

works shared a vibrant sense of theater and strong visual imagery... A bit of beauty, echoes of the past, quirkiness and a hearty dose of spectacle capped a program in which these three

elements were in frequent and alluring play5’ In DanceViewTimes, Naima Prevots wrote: ‘The evening was a revelation of brilliant and original choreography, extraordinary technique integrated with

sensitive artistry, and passionate commentaries on breaking the

bonds of conformity... All the dancers have virtuoso technique 圖丁丁¥!舞一蹈團 JTi 編導及編舞：胡嘉祿。攝影：張志偉。

Image: Hong Kong Dance Company’s Tempo of Hong Kong.

Director & Choreographer: Hu Jialu. Photo: Cheung Chi-wai.

舞超手札賺第6期

R

傳統中國文化來一個大變身」（明報美東版）及「詩

and are talented artists, with charisma and sensitivity on stage.” After

般的舞蹈」（Robert Abrams, ExploreDance.com） °

Washington, CCDC traveled to the Danny Kaye Playhouse in New York

紐約時報的Roslyn Sulcas認為：「城市當代舞蹈 團…是一個老練成熟的舞蹈團…這是一個生動奪目而

City to perform 365 Ways of Doing and Undoing Orientalism from 13 to 15

可觀的作品。」這次美國之旅是由香港特別行政區民

Office New York and Hong Kong Association of New York, were described

政事務局（藝術發展基金）資助。■

as “using cutting-edge, risky and post-modern ideas to transform tranditional

October. The performances, co-presented by Hong Kong Economic & Trade

Chinese culture” (Ming Pao, Eastern American Edition) and “poetic dance”

「香港舞蹈聯盟」《情尋家》

(Robert Abrams, ExploreDance.com). Roslyn Sulcas’ review in77?e New

四位獨當一面的香港舞蹈工作者— —陳敏兒、林偉

York Times noted that CCDC “…is a sleek, sophisticated troupe...It’s a

源、王廷琳及楊惠美，現正投身於一場八方角力

vividly pictorial and enjoyable work.” CCDC’s 2005 cultural visit to the US

中，務要與四位在11月初到訪港的紐約舞者Julian

was supported by the Arts Development Fund from the Home Affairs Bureau

Barnett, Maura Donohue, Becky Jung R. Christopher

of the Hong Kong SAR Government. ■

Morgan拉扯碰撞出一場精彩的演出。合作創作從來

都是有趣而困難的工作。有趣是由於碰撞出來的火

HONG KONG DANCE ALLIANCE BACK HOME

花常常是尤其燦爛；困難是碰撞時往往會頭崩額

4HK established dance artists, Abby Chan, Allen Lam, Andy Wong & Yeung

裂。這次八個舞蹈工作者的跨國界聯合創作更是難

Wai Mei, are now pulling and colliding in an 8-party tug-o-war with 4 New

上加難，結果要到12月9-10日晚上8時，在文化中

York artists, Julian Barnett, Maura Donohue, Becky Jung & Christopher

心劇場《情尋家》的演出中才能分曉。《情尋家》是

Morgan, who arrived in Hong Kong in early November, in order to produce

Dance Wide HKN丫舞蹈交流計劃的一部份。由「香

an exciting performance for local audiences. Collaborations are always

港舞蹈聯盟」主辦的Dance Wide HKN丫是「香港藝

interesting and difficult: sparkles from collision of ideas are brilliant; but the

術發展局」和「康樂及文化事務署」的「雙邊文化交

process of collision is always caustic. A collaboration of 8 artists makes it

流計劃」之一。查詢：2584 8753。■

even more difficult. The result will be shown in Back Home, at 8pm on 9-10

「城市當代舞蹈團」第四屆東亞運動會閉幕禮演出

part of Hong Kong Dance Alliance’s Dance Wide HKNY, a Hong Kong Arts

December, at Hong Kong Cultural Centre Studio Theatre. Back Home is a

迎接香港2009年舉辦的第五屆東亞運動會，香港旗

Development Council and Leisure and Cultural Services Department Bi­

艦舞團「城市當代舞蹈團」應「中國香港體育協會暨

lateral Cultural Exchange Project. Enquiries: 2584 8753.H

奧林匹克委員會」邀請，於11月6日（星期日）晚

上，假澳門東亞運動會體育館，於第四屆東亞運動

CCDC PERFORMS AT 4TH EAST AISA GAMES CLOSING CEREMONY

會閉幕禮演出大型舞蹈，見證香港從澳門接過主辦

As the first cerebration of the HK 5th East Asia Games in 2009, the Sports

權的歷史性一刻。舞蹈團一行五十三人，由藝術總

Federation & Olympics Committee of Hong Kong China invited CCDC to

監曹誠淵率領，向全球觀眾演繹香港豪邁好客的一

perform at the 4th East Asia Games closing ceremony on 6th November.

面，為香港代表接過東亞運動會會旗儀式錦上添

Led by Willy Tsao, CCDC’s Artistic Director, 53 dancers presented HK’s

花。長約八分鐘的舞蹈以貝多芬《快樂頌》打響頭

hospitality to the world at the Macau East Asia Games Gymnasium. After

炮，十三位穿著隆重華麗服裝的舞蹈員，以優雅的

HK representatives received the flag of East Asia Games, 13 dancers in

舞姿製造熱鬧華麗的氣氛。接著，舞蹈員換上八十

glamorous costumes began the 8-minute dance accompanied by

年代香港的熱舞服裝，在知名金曲《Kowloon Hong

Beethoven’s Ode to Joy, creating a grand atmosphere with elegant

Kong》下大跳A-go-go，展現香港動感之都獨有的躍

movements. With the shift of the music to the famous oldie Kowloon Hong

動氣息。壓軸的第三段舞蹈更加入了四十位青年舞

Kongan6 the costumes changed into 1980s dance wear, the company Go-

者，以快速整齊的動作，配合強勁的鼓撃節奏，把

Go danced to present the dynamic spirit of HK. The climax was the finale as

整段演出推至最高峰。国

the company was joined by 40 young dancers to perform fast unison

国

movement to the densely pulsed percussion music-

「香港舞蹈節2006」最新消息 將於明年6月舉行的「香港舞蹈節2006」現正進行節

HONG KONG DANCE FESTIVAL 2006 UPDATE

目籌組的工作，在各個節目中，參與「舞蹈•各自

Hong Kong Dance Festival 2006, which will be held next June, is now busy

各」、「舞蹈•場鎖」、「談談舞— —威」和「跳

programming its various events. Among the events, applications for

格@HKDF2006」的申請已分別於8月及10月截止。

Indepenent Dance, Specific Dance, Talking Dance - Two and Jumping

大會共收到約2 5 0份建議書，除了「跳

Frames @HKDF2006are all complete, with about 250 proposals received.

格@HKDF2006」外，其餘三個項目已大致選定了作

With the exception of Jumping Frames @HKDF2006, works for the other

品。下一輪接受申請的節目包括「齊齊舞— —壹」

three events have been selected. The next round of applications will be for

（表揚舞蹈的不同範疇、風格、形式和層面的戶外舞

Everybody Dance - One (A outdoor mass dance performance to celebrate

蹈大集會演出）'「齊齊舞— —貳」（表揚多元而優

different aspects, styles, and strata of dance), Everybody Dance - Two (a

秀的社區舞蹈的正式舞台演出）和「齊齊舞— —三」

formal stage performance demonstrating the excellence of Hong Kong

（舞蹈課及工作坊導師），截止日期是2006年1月31 曰•歡迎有興趣的人士或團體申請。■

community Dance), and Everybody Dance - Three (Instructors for classes and workshops). The application deadline will be 31 January 2006.■

請以本刊

裔面

I■■所列的關络方式提供舞蹈資訊

dance journal/hk vol.7 no.6

舞評

H

Review

舞蹈中的地和人

Place and People in Dances 文：方人

by Ian Fong

《蝴蝶夫人》

MADAMA BUTTERFLY

這是澳洲編舞家娜泰莉•維亞第二

This is the second full-length dance

intense character and colour of the

次為「香港芭蕾舞團」編長篇舞劇

drama Australian Natalie Weir has

operas are lost, and the weakness of the

（上一次是《杜蘭朵》）。兩次都是改

choreographed for Hong Kong Ballet,

original stories is exposed - after all, the

編自歌劇故事，兩個歌劇故事都是

following last year’s Turandot. Both are

tragic love between the American

以亞洲為背景，「東方主義」的色彩

based on Puccini operas with Asian

Lieutenant Pinkerton and Butterfly is

很濃。為了避免「東方主義」這個

backgrounds. Possibly in order to avoid

simple and mundane - a heartless man

「係定唔係」的負面標簽，編舞在創

the faux pas of indulging in orientalism,

drives a broken-hearted girl to suicide.

作舞劇時，刻意減少了故事的背景

the choreographer reduced the

色彩，這是一個無可厚非的選擇。

significance of the stories’ backgrounds

The choreographer seemed to have

但這個選擇的必然結果，是故事失

when she adapted them for Ballet.

recognized the problem. To mitigate it,

去了歌劇原有的濃烈色彩。當然，

Unfortunately, an unavoidable result of

she developed a role for Butterfly’s

such a reasonable approach is that the

色彩濃烈並不一定是好，但色彩淡 化後，故事本身的缺點便更彰顯 了。《蝴蝶夫人》這個美國海軍平克

頓和日本藝伎蝴蝶的愛情悲劇，在

失去文化背景後，故事和角色上都 較為老套單薄：男主角負心薄悻， 女主角傷心自盡。

編舞可能也看到這個問題，所以加 重了兒子這個角色，以年老的他來

憶述整個故事，除了為故事增添了 一個角色外.以一個無辜受害者的

角度來敘述故事，在男女愛情悲劇 以外增加了兒子的追念，的確能為 這個單薄的故事帶來點新意。而這 個角色於開場時在蝴蝶夫人墓前所

跳的一支獨舞也是整個舞劇最令人 留下印像的一段舞蹈。這段舞採用

Faye Leung (as Madama Butterfly) and Kenji Hidaka (as The Bonze) in Hong Kong Ballet’s Madama Butterfly. Choreographer: Natalie Weir. Photo: Conrad Dy-Liacco. 梁菲(飾蝴蝶夫人)和日高賢二(飾僧侶)演出「香港芭蕾舞團」《蝴蝶夫人》' 編舞：娜泰莉■維亞。攝影：加力' 杜里高'

n Rev：

舞@手|第7冊第6期

遵舞評

了大量疲乏、倒下和爭扎的動作•

grown-up son, who, as a innocent victim

basically the single most important

恰當地表達出角色的悲傷心情和破

of the story, is its narrator. Therefore,

character of the whole story.

碎無力的心境。舞者時而管曲雙

besides the love tragedy, there is also the

originally story she is a Geisha. In many

腿，以腳背短暫地支撐著身體，對

suffering of the son, and his love and

opera productions, she is cast in a

抗著身躯的重量，但最終頹然倒

memory of his mother, which brought a

westerner’s idea of the ‘typical’ Geisha:

下：時而在舞動時小腿横掃向另一

In the

new aspect to the well-known story. The

overly made-up, thickly powdered,

腿的腿彎而把身躯推跌於台上。舞

solo dance Weir choreographed for this

wearing kimono, a loaded image of

者陳青的演出也能放下芭蕾舞的典

additional character at the very

‘orientalism’. Possibly trying to avoid

型「英挺優雅」的身段動作，描畫出

beginning of the Ballet was the most

repeating this ‘hollow’ idea (in fact, with

角色的情感和性格。在這段開場獨

impressive of the evening. Using a

proper make-up and costume, it can be

舞後，這個兒子的角色一直都出現

series of gestures suggesting

very elegant), the choreographer

在舞台上，旁觀著/想像著父母的

helplessness together with collapsing

removed Butterfly from it completely.

故事。這個敘事手法在音樂劇中常

and struggling movements, the dance

Losing this unique cultural element from

有出現，今次用在舞劇中頗見特

evokes the sadness and suffering that

the character, the role of Butterfly in the

色，但可惜在獨舞之後，這個角色便

consume the character. Several times,

dance drama reduces it to something

沒有什麼發揮的機會，也未能做出帶

he tries to stand, supporting himself on

equivalent to a prostitute in western

引故事發展的作用。其實，在處理這

the backs of his feet with legs bent, but

culture. Geishas are girls trained in

個角色時只要再花多點心思，就算沒

after brief successes in resisting the pull

music, dance, poetry and other skills to

有太多的舞蹈編排，也會使到場面處

of gravity, he collapses. At times, he

entertain men. They are often well-

理上變得更靈活有趣。

kicks sideways at one knee with his other

educated and elegant.

leg pushing himself down onto the stage.

many may, at the end, have relationships

其實，很多評論者都指出，東西文

Most of the time, the dancer, Chen

with their clients, for money or not,

化間的不同價值觀、衝突和誤解，

Ching, was able to abandon the elegant

geishas are not prostitutes. Either the

是《蝴蝶夫人》故事的脈絡，淡化了

attitude typical of ballet, and portray the

result of a misunderstanding between

Even though

這背景因素，整個故事也受到很大

feeling and character of the role. After

East and West, or a critique by the

影響。這對舞劇女主角蝴蝶夫人

this opening solo, the character stayed

choreographer of the social position of

（亦是全劇最重要的人物）角色塑造

on stage throughout the ballet to tell/

Japanese women, the description of

影響最大。歌劇中的蝴蝶夫人原是

witness the story of his parents. This

Butterfly and the other women in the

藝伎，很多西方歌劇製作都會把她

use of a ‘narrator’，which is common in

production was spare and gloomy. The

的形像描繪為化濃裝、塗厚粉、穿

musical theatre, added dimension to this

marriage broker Goro was portrayed as

和服、西方人眼中的「典型」日本藝

ballet drama. Unfortunately, after the

a pimp with exaggerated and flamboyant

伎，東方主義色彩濃厚。編舞為女

solo, there was not much development

costume and gestures.

主角脱去這個造型，的確避免了重

in the role, and the character only played

introduced Pinkerton and his

複這個很多時都顯得淺俗的形像

a limited part in the story. More thought

subordinates to the girls who were

（但其實適當的配搭和裝扮下，這個

on this role, not necessary choreo-

confined to a cage, tightly squeezed

藝伎的形像其實是可以有清麗優雅

graphically, would surely make the

together. The girls posed provocatively

的效果），但失去這個東方獨特的

drama more dynamic and interesting.

then were lifted up one by one out of the

文化背景，蝴蝶這個角色在舞劇中

First, he

cage for the men’s appreciation and

便淪為西方文化中的妓女。日本藝

For many critics, the different values,

selection. The women also reached out

伎接受音樂、歌舞、詩詞等訓練，

conflicts, and misunderstandings

through the bars of the cage to touch and

有一藝之長，而且理論上也可以

between East and West are central to the

fondle the men. And then Goro introduces

「賣藝不賣身」，可以是一個風雅的

story of Mcidama Butterfly. Therefore,

Pinkerton to Madama Butterfly. She is

人物。但不知是由於東西方文化間

minimizing the story’s background

encaged alone in a clear plastic ‘bubble’.

的誤解，還是編舞在演繹上刻意批

immeasurably influences and reduces it.

Although the girls were not listed in the

判當時日本女姓的地位.舞劇對蝴

This is especially true of the rendering

house program as prostitutes, the portrait

蝶和其他女性的4苗績是赤裸而悲慘

of the character Butterfly, which is

was unmistakable.

dance journal/hk vol.7 no.6

舞評

M

Review

的。舞中媒人五郎的角色被演繹為 衣飾和動作跨張俗飽，有如「馬伕」 般的人物。他先向男主角平克頓和 他的海軍下屬介紹一群有如禽獸般 密集地困於籠牢中的女孩。她們擺 出取悦男人的姿勢，被一一提出籠

外予人欣賞和挑選，還把手臂伸出

籠外撫摸和摟攬旁觀的男子。接著

蝴蝶出場，則是獨自困在一個透明

的塑膠「泡沬」中，同樣予人觀賞挑

選。雖然場刊沒有直接指明，但妓 女的形像象卻呼之欲出。

失去了東西文化的對比，對跟著的

劇情發展也有很大影響。例如，蝴

蝶為了丈夫而脱離自己的家庭、親

友、宗敎、文化，中間的爭扎和犠

Faye Leung (as Madama Butterfly) in Hong Kong Ballet’s Madama Butterfly.

Choreographer: Natalie Weir. Photo: Jimmy Chan. 梁菲(飾蝴蝶夫人)演出「香港芭蕾舞團」《蝴蝶夫人》。 編舞：娜泰莉•維亞。攝影：陳俊濠。

牲，其實是很大的，從而側寫了丈

夫和愛情在她心中的地位。然而，

The lack of contact between different

Japanese girl abused by a foreigner. Or

在沒有清晰的文化背景下，舞劇描

cultures also influenced the drama’s

perhaps, the knife/set was merely a bit

畫不出其中的改變和犧牲，人物的

development. For example, Butterfly’s

of orientalism? A low terrace across the

性格和劇力也城弱了。

denunciation of her family, religion, and

back of the stage and a horizontal banner

culture for her lover is very courageous,

hanging above it were stage design

話説回來，舞劇中也有很濃東洋色

a bold statement of her love and devotion

elements with a more subtle Japanese

彩的設計。那就是由頭到尾一直放

to Pinkerton, but without some clear

cultural background. Together, these two

在台側的大型武士刀形狀的佈景。

clues of the cultural background, her

elements frame the seaside scenery of the

這佈景在不同場境有不同的角色：

sacrifice is meaningless. Without

back curtain, creating an effect similar

開場時的墓碑、蝴蝶夫人的睡床，

context, both Butterfly’s character and

to the engawa (a partially out-door

和終場時蝴蝶夫人自殺時的刀。這

the dramatic impact are greatly reduced.

terrace under the eaves of a house) in

一整個舞劇中最顯眼的設計，標誌

traditional Japanese architecture.

著的（尤其是在受過日本侵略的國

Although the choreographer tried to

However, this unique ‘Japanese’ space

家來説）是日本男性的侵略性，與

avoid the cultural background of the

was only used as a decorative backdrop

這個日本少女被外國男人所欺的故

story, there was a strong Japanese

of the dance drama, and not really

事根本格格不入。這「係定唔係」東

element in the design - the giant samara-

integrated into the dance and the story.

方主義？貫穿全劇的另一個帶東洋

knife-shaped set that was on the stage

In fact the use of space in Madama

色彩的舞台設計，則較為隱晦。那

throughout the performance. The set was

Butterfly was quite uninventive.

是台後稍為提—級的地台，配合

used for different functions in different

Inspirations from unique Japanese spaces,

上空懸掛的横幅，把天幕上的海景

scenes: Butterfly’s tomb at the beginning,

such as the half outdoor/indoor engawa,

上下框著，做成了 一個日本傳統建

later her bed, and, at the end, the knife

the flexible partition of space, and the

築中圍繞著房子的走廊/平台的視

with which Butterfly commits suicide.

dimly-lit indoor environment (especially

党效果。可惜的是，這個被視為曰

However, this most significant design

for the second act), might have helped to

本傳統建築精粹之一的獨特空間 ，

element on the stage, is an icon of

create a design with more character.

在舞劇中只是佈景•未能真正融入

Japanese male aggression (viewed that

舞劇之中，成為舞蹈和故事發展的

way especially by people from countries

TEMPO OF HONG KONG

一部份。其實，整鉤舞劇的空間運

invaded by Japan), which is the complete

With great expectation, I went to sec

用頗為平淡，如果能在日本的空間

opposite of the story about a young

Hong Kong Dance Company’s Tempo of

舞第7冊第6期

H

磬舞評

Review

特點中汲取靈感，例如上文所説的半

室內半室外的日式走廊/平台、靈活

分割的室內空間和日本房屋室內的幽

暗光線氣氛等（尤其在第二幕），都 會為舞台設計帶來更多特色。

《香城若舞》 觀舞前，個人對「香港舞蹈團」的《香

城若舞》是頗期待的。在電視節目預

告片段中驚鴻一瞥，清一色西裝的舞

蹈員、匆匆的舞姿，的確有一份香港 的都市感，由多年來一向偏重中國舞

的「香港舞蹈團」製作演出，更叫人 感到一點新意，叫人期望看看到港才 一年多的藝術總監胡嘉祿如何「演繹

一份香港情懷」（宣傳字句）。

觀舞後，才發覺這是一場誤會。

「香港舞蹈團」《香城若舞》。編導及編舞：胡嘉祿。攝影：張志偉。

Hong Kong Dance Company Tempo of Hong kong. Choreographer: Hu Jialu.

Hong Kong. Enticed by a glimpse of a

production that I, a person who was bom

promotional clip on television showing

and grew up in Hong Kong, could

在電視中看到的片段，是演出開場時

a group of dancers in smart and uniform

identify being about the Hong Kong I

的一段引子。男女舞者穿著劃一的西

dark suits moving in fast steps that quite

am familiar with. To me, what followed

裝，以整齊而急速的步伐於舞台上匆

ably conveyed the metropolitan feel of

were fantasies, imaginations, dreams, or

匆踏步，中間夾雜著一些辦公室中常

Hong Kong to me. The fact that it would

possibly memories, but not Hong Kong.

見的動作，舞蹈編排簡單到位，在匆

be produced and performed by the

忙之中捕捉了繁忙的中環上班一族的

Chinese-dance oriented Hong Kong

The choreographer seemed to want to

氣象。然而，整個節目對筆者所認識

Dance Company added another

push the boundaries, and use an

的香港的描述到此便完了。跟著來

attraction, made me speculate on how the

imaginative approach to present Hong

的，是狂想，是幻想，是夢想，也許

company’s recently appointed Artistic

Kong, but the outcome of this aggressive

是回想，但並不是我這個土生土長的

Director, Hu Jialu would, “interpret the

approach was not very successful. For

香港人眼中的香港。

mood of Hong Kong” (translation from

example, in the second scene

production publicity).

‘Contrapuntal’，Hu tried to use the

編舞似著意跳出框框，以天馬行空的

famous Tang Dynasty poet Li Bai and

手法來看香港這個都市，這份態度是

After the performance, however, I found

the ingenious European musician Mozart

進取的，但效果卻並不理想。例如第

it was purely a misunderstanding.

to render the characteristics of East­

二幕「對位」，編舞欲以中國的詩仙

meeting-West in Hong Kong. This post­

李白和西方的音樂神童莫扎特同舞 ，

What I saw on television were excerpts

modern approach was interesting, but the

來描畫香港中西合壁的特點，這個後

of the opening dance in the first scene.

problem

現代的構思是新奇的。但問題是，兩

Dancers, male and female, wearing

arrangements of the two ‘voices’ were

was

the

movement

者在舞蹈編排上並不「對位」，也就

similar dark suits, rushed onto the stage

not ‘contrapuntal’，and as a result, the

拼不出火花和趣味。詩仙是中國舞的

with rapid steps that were punctuated

encounter could not produce much

一個典型人物，自有一套頗成熟的動

with movements and gestures commonly

sparkle. Li Bai, the 'Fairy Poet” is a

作語言。所以，這次舞中的李白在角

seen in the office. The choreography was

character in Chinese dance repertory,

色造型和動作上都有一定的「規

simple and direct and captured the spirit

and it has a fairly developed movement

模」。相反，莫札特這個人物並不是

of the always-rushing Central and the

vocabulary. Therefore the character, the

西方舞蹈中常見的角色•動作素材貧

people who work there. This opening

design, the gestures, and the movements

乏，角色蒼白無力。在「強」「弱」愍

sequence was the only thing in the

of Li Bai in the dance have a certain

H Flevie;

dance journal/hk vol.7 no.6

翌舞評

殊的情況下，根本就沒有「合璧」的

known quality. In contrast, Mozart is not

LEAVE LEAVE MUNG

條件，起不了化合作用。雖然編舞強

a common character in Western dance,

Leave Leave Mung was a production of

調其中的胡鬧趣怪，但效果卻不突

there was not much movement material

Hong Kong Dance Company’s Eight

出，叫人不禁問：這是香港情懷嗎？

available, and as a result, the character

Floor Platform series. The idea of Eight

外人眼中的香港會否就是這樣？跟著

was weak and pale. The two, one strong

Floor Platform is to present works by the

看傳統農村民間色彩甚濃的第三幕

and the other weak, weren’t of the right

company’s dancers and

choreographers in co-operation with the

local

r無畏」、第四幕「奈何」所描畫的

sort to fuse and create a chemical

早期殖民時代的上流社會社交舞會

reaction. Although the choreographer

dancers in the company’s dance studio .

中的情愛角力，都有相同的問題：

emphasized the bizarre, it did not help.

The productions are small-scale and

無畏和殖民兩個都可説是描畫香港

I could not stop asking myself “is this

informal, and therefore the cost is

的恰當主題，但舞蹈無論在在動作

the mood of Hong Kong?” “Do

limited, especially relative to the size of

取材、手法、編排和設計上都沒有

‘outsiders’ really perceive Hong Kong

the company, but the benefit is

香港的特點，沒有香港的感覺，也

in this way?” Both scenes that followed,

significant; the company’s dancers

難以引人共鳴。

the third scene ‘Fearless’，with its intense

obviously profit from working with

tone of traditional rural motifs of ritual

various artists, audience also get to know

相對於西方人看東方時的「東方主

and fighting against nature, and the fourth

more about, and come closer with the

義」，《香城若舞》展現的是否算是

scene ‘Forlorn’，which portrayed love

company and its dancers. It is not only

一種「香港主義」？

affairs at an early colonial upper class

good for the development of the

social event, exhibited the same problem:

company, its dancers, and its audience,

《別留夢》

‘fearless’ and ‘colonial history’ are both

it also provides more opportunities for

《別留夢》是「香港舞蹈團」「八樓平

suitable themes to portray Hong Kong, but

local independent choreographers to

台」的演出。「八樓平台」這個構思，

the dances, whether their movement

create and experiment. With its close

是安排舞團的舞蹈員或與不同的本地

materials, approach, arrangement, or

association with Chinese dance, the

編舞合作，在舞蹈團現有的舞蹈室來

design, were all short of the character and

Hong Kong Dance Company’s

製作小型而非正式的演出。相對於一

feeling of Hong Kong, and were unable

performances on stage are always serious

個大型舞團來説，這計劃的成本應不

to reach the audience’s hearts.

and formalistic, which can easily create

會太大，但效益卻頗顯著：舞者有機

a traditionalist image that often alienates

會與不同編舞合作故然可以有很多得

Relative to ‘Orientalism’，should

young audiences. However, the close

著，觀眾又可以更加認識和接近舞團

‘Hongkongism’ be used to classify

encounter with the dancers, free of heavy

和舞者，無論對舞蹈員的培育和觀眾

Tempo of Hong Kong ?

make-up and complex costumes, in the

的拓展都有繁助，也給本地的獨立編

flexible and dynamic performances of

舞家或團內舞者提供更多創作和實驗

Eight Floor Platform really compliments

的機會。尤其是「香港舞蹈團」的中

regular performances and gives

國舞背景，台上的演出一向嚴緊和規

audiences something new to see: outside

範化，容易叫年輕的觀幂感到傳統和

the formal stage, these dancers are real

產生隔膜，但「八樓平台」的近距

and young, with flesh, blood, and sweat.

離、無化裝戲服、靈活活潑的演出， 卻能補足了常規演出，叫人眼前一

Reflecting the idea of Eight Floor

亮，令人見到這些台下的舞者，其實

Platform, Leave Leave Mung, created by

也是有血有肉有汗水的年輕人。

Ong Yong Lock and Chan Chu-hei, was a

light and dynamic performance. The first 由王榮祿及陳曙曦創作的《別留夢》

就是這般一個輕鬆活潑的演出。第一 段以舞團的舞蹈員面試為題材，舞蹈 室的一邊排著一列活動鏡子，上掛著 刀、劍、水袖等各式中國舞道具。與

「香港舞蹈團」《香城若舞》。 編導及編舞：胡嘉祿。攝影：張志偉°

Hong Kong Dance Company’s Tempo of Hong kong.

Director & Choreographer: Hu Jialu.

Photo: Cheung Chi-wai.

part used interviews of the company’s dancers as its theme. A scries of mirrors,

with all kinds of Chinese dance props hanging from them were lined up on one

side of the studio. Some distance away

第7冊第6期

舞評

Review

鏡子隔了一段距離f排著一列長長的

that the performance of each dancer more

桌子，桌後排著十多張椅子•當中的

or less related to their interview experience,

一張坐著一個穿白色西裝外套的男

and reflected their character and feelings. I

人，其餘的空椅椅背上都掛著同一式

hope this is not just my fantasy.

的外套。觀眾就在椅子後數尺之遙蓆

地觀看著一個又一個的舞者走入舞蹈

The second half of the evening was more

室中，報上一個年份（是否入團年

‘dancey，. In one section, the performers

份？）、姓名和試演的舞蹈種類，然

dance with their own injuries and

後到鏡前取道具，試演，被「叮」

suffering. In the open and dark studio,

停，回答問題，然後舞到桌子之後穿

dancers were at first struggling on the

上其中一件掛著的外套，坐下成為

floor, each nursing and massaging his/

「主考」之一。到最後所有舞者坐下

her injured body part quietly. Then,

後，便輪到開始時坐著的「主考」、

moving close to each other, they started

也是演出中年資最大的王林的演出 。

to use their heavy bodies to support each

形式就是這樣，但有趣的是各個舞者

other, fight to stand up and stagger.

間的差異。希望不是個人的一廂情願

吧，我想每個舞者的演出多少也是根 據他們在舞蹈團面試的經驗，也反映 了各自的個性和感受。

「香港舞蹈團」《別留夢》。創作：王榮

祿、陳曙曦。攝影：阮漢威。

Hong Kong Dance Company’s Leave Leave Mung. Creation: Ong Yong Lock & Chan Chu-hei. Photo: Yuen Hon-wai

Small and unsteady steps evolved into

big steps and developed into a simple and light (relative to the heaviness before) dance based on a series of simple

Chinese dance steps. In another dance,

舞蹈性較強的是下半場的演出。其中

from and parallel with the mirrors was a

dancers used aerodynamics and their

一段中，舞蹈員在空曠幽暗的舞蹈室

long table, with chairs arranged behind it.

exhalation of breath to carry A4 size

中以各自的受傷痛楚而舞，最先是匍

A guy in a white jacket was sitting in the

printing paper to dance with them. It is

匐、扭曲在地，各自默默的按摩著受

middle chair, while white jackets similar

hardly anything about movement

傷的部位，接著舞者互相以沉重的艇

to his were hanging on the backs of each

vocabulary and development, but seeing

體支持對方，努力站起。慢而不穩的

of the other chairs. The audience sat on

the dancers, full of joy and with no

步伐慢慢變成踏步，最後以中國舞的

the floor behind the chairs, watching

restraints, dancing fanatically and

踏步發展出一段簡單輕鬆（相對之前

dancers, one by one, come into the room,

moving rapidly with multiple turns in

的沉重）的舞蹈來。另一段舞蹈中，

announce his/her name and a year (the year

order to keep their papers in the air,

舞者則藉著舞動的氣流及呼氣來帶動

he/she did the interview?), and the type of

showing their wonderful movements

「A4」紙與躯體共舞。雖説動作在編

dance that he/she was going to show. The

unconsciously and naturally, touched the

排上沒有甚麽舖排發展，但看著舞者

dancer would then pick a prop from the

audience in a way that is different from

們開懷暢快地狂舞、飛奔再加上高速

mirror, perform until stopped by the

the experience of well-crafted and

轉體以求保持紙張不落地，在遊玩中

interviewer’s bell and then answered

rehearsed formal stage performances.

不經意地自然顯露身手，比之經千錘

questions. After this, the dancer would

百練的編舞和排練而成的正式台上演

dance in his/her own way to the table, put

DANCE PLATFORM 05

出，另有一番動人之處。

on one of the jackets, sit down and become

With a similar name to Eight Floor

one of the interviewers. At the end, after

Platform, Dance Platform also shares a

《舞蹈平台05》

all of the othter dancers were sitting down,

similar nature. Both provide opportunities

「香跑舞蹈聯盟」的「舞蹈平台」與「八

it was the turn of the dancer who was

for choreographers to create works, but

樓平台」的名字相似，性質也接近，

sitting at the beginning of the show, and

Dance Platform is more orientated to

都是一個予編舞發揮的平台，但「舞

who was also the most senior among the

newcomers, and its resources are more

蹈平台」的資源較為有限，參與的編

dancers performing that evening, to be

limited. These different platforms are in

舞也較嫩。其實這樣不同「程度」的

interviewed. The format is simple, but

fact complimentary, providing

計割正好可以互相補足，令不同階段

what was interesting was the variation

opportunities for choreographers during

的編舞者都有發揮的機會。

among the different dancers. I got the idea

different phases of their careers.

Q Review

dance journal/hk vol.7 no.6

s

舞評

「舞蹈平台05」共演七支舞蹈作品。

There were seven works in Dance

(actually it is seldom seen in dance

其中黃靜■婷的《Precious Thing》以人

Platform 05. Among which Precious

recently), and often easily becomes

類對珍惜事物的態度為出發點，運用

Thing by Chloe Wong used the ways

either mundane or over done. However,

了很多手部的動作— —帶著渴求的伸

people deal with precious things as the

in Couple, the choreographers Pinkey

展、炫耀般的高舉、彎著臂的捞取、

starting point. Wong explored different

Tang and Eagle He handled the theme

温柔的輕握、雙臂成環的虛抱、緊擁

arm and hand movements in the dance:

just right, and were able to use simple

於胸前、雙掌合;f龍地捧著……。前半

reaching out, holding high an opened

and direct movements to create an

部從容不迫的處理顯得編舞胸有成

hand to show off, catching with a bended

innocent tone for the dance, especially

竹，不會只管以動作把整個作品填得

arm moving around the body, holding

in the first half.

實實的。鄧嘉欣和何其沃合編的《吾

gently, hugging with two arms forming

choreographer Cyrus Hui based the

男吾女》以小情侶為材，題材既不新

a ring, enfolding tightly with one arm in

dance on the legend of the dividing of

鮮也不討好（想來近年已很少人用這

front of chest, cupping with two hands.

one-headed, four-armed, and four­

題材編舞），處理不好便很易變得老

The ease of the movement arrangement,

legged creatures into halves to create

套或過火。但編舞掌握得頗適中，尤

especially in the first half, demonstrated

human beings, and thus causing the

其是前半部，頗能以單純直接而不花

that the choreographer knew what she

uncontrollable love which drives each

巧的動作營造出兩小無猜的感覺。許

was doing, and did not just stuff the work

person to look for their other half. The

俊傑編舞的《半個你》，以傳説故事

with any movement. The theme of

short dance used crisp movements to

中人是由一頭、兩臉、四手' 四腿

puppy love is neither new nor popular

express the idea.

In half: W, the

With its suitably

的個體所分割開來，因而有不能遏

controlled tempo and simple but

止的愛情，各自有尋找另一半的渴

complete structure, it was a tightly

求這個故事為本。短短的舞蹈，但

focused work. The most impressive

能以簡潔動作清晰地表達意念，節

aspects of the Dance Platform

奏快慢控制得宜，架構簡單完整，

choreographers are that they all know

是一個「清脆側落」的作品。個人最

clearly what they want and are able to

欣賞的是，這次「舞蹈平台」的編舞

master what they are doing, and they

大都清楚並掌握到自己在做什麼，

don’t try to pretend to be more than

沒有強裝高深。

themselves.

其實，「舞蹈平台」是一個給予新編

The fact that Dance Platform is intended

舞創作機會的計劃，個人認為不能要

specifically to provide opportunities for

求過高，否則可能反會拔苗助長。畢

new choreographers must mediate our

竟，今日幂人推崇的黎海寧，也是經

expectations of any single work. What’s

過近十年編舞的經驗，才創作出出色

important is to identify budding talents

的作品。現在還有誰記得她初出道時

and give them room to grow. Indeed,

的作品？重要的是，要有不同而延績

even the acclaimed choreographer Helen

的平台，讓新編舞嘗試創作；而新編

Lai has said that she needed ten years of

舞也要持之以恆，不斷從創作中學

continuous practice before she created

習，香港才有可能出現新一代的出色

mature works. To develop the next

編舞。■

generation

of distinguished

choreographers, we need various and

continuous platforms for new choreographers, and we need new (上起)黃靜婷《Precious Thing》、鄭 嘉欣及何其沃《吾男吾女》、許俊傑 《半個你》。

(From top: Chloe Wong’s Precious Thing, Pinkey Tang and Eagle He’s Couple, Cryus Hui’s half: w.

choreographers to insist on these

opportunities and learn from their

creations. ■

反鵬烈旋即重演 Triumphant Return

14

讀

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歌溫

臟懲次中

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<<

工 o

era

fistic D i rector- &JCfcreggrapjier

Hu Jialu

Craig Au Yeung

Set&

黃智強 Costume Designer

Edmond Wong

伍卓賢 Music Coordinater & Composer

Lighting Designer

Video Designer

主演

Ng Cheuk-yin

柯志勇 謝茵

Kim Lee

Mark Chan

陳德昌、張志偉B

王林 陳榮 唐短 陳海勁

Ringo Chan, Cheunt

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dance journal/hk vol.7 no.6

舞評

EEI

Review 異性，托戈洛洛的純良和略♦鄉土味 與一眾J成市潮人都產生很大的對比。 有了這樣鮮明的對照.劇中幾場熱鬧

的群舞便顯得趣味盎然.而卡氏亦盡 量透過角色的身份、背景的差異帶出 不同舞步的特色。當中除了他作為核

心人物跳的芭蕾舞，還有飾摩爾人的 亞歷山大華朗納跳出街頭舞步快且趣

的動作，他倆以至一眾舞者的現代舞

式都能帶出豐富而具變化的畫面組

合。另外獨舞與群舞不斷在劇中交錯 出現亦產生對比效果。那是寧靜與熱

鬧、傳統與破格、沉實與活潑的分 別。亦基於這種分別，角色的服裝與 卡洛斯•阿哥斯達作品《舞出新天地》。攝影：Laurie Lewis。

布景亦同様有其效果。托戈洛洛的灰 調服裝與一眾城市人的鮮艷衣服，以

《舞出新天地》

雖然筆者不認為這台舞每一個部份都那

至純樸與繁華的背境景象都令《舞》滲

樣出色，但卡氏在編排上運用不少對比

出更濃烈的氣氛。而在整體結構方

（以下簡稱《舞》）是「情迷拉丁藝術節」

元素，無異大大增強《舞》的戲劇效

面，劇中既有一個清晰的故事大纲和

的第二個舞蹈節目。由古巴籍國際芭

果，是故這方面仍然值得細看。首先是

固定的人物作為舞劇的發展脈络•卡

蕾舞星卡洛斯•阿哥斯達（以下簡稱

《舞》把兩種不同舞種融合在同一齣舞

氏亦在適當時候製造一些即興效果，

卡氏）擔任編舞、導演、劇本及領

劇中演出，即不同舞者分别以芭蕾舞和

如眾女孩為博摩爾人歡心，比併舞

舞。內容關於一名叫托戈洛洛的古巴

現代舞同台演出同一故事裡的不同角

式1又或者是眾人與托戈洛洛Jam舞

男孩在父親的苦勸下離開貧窮的鄉

色。這裡指的並不是這個作品是以現代

等，尤其設在台上的樂隊即時隨著舞

下，到城市去闖一番事業，過程中卻

芭蕾舞跳出•或者分別以芭蕾舞及現代

者增減人手或索性拿起樂器移師到舞

遇上重重障礙。

舞來J眺出一個作品中的不同段落，而是

者的演出區，打著拍子與舞者拍和都

在同故事同場中同時展示不同的舞蹈 。

讓觀豕有一種即興的感覺。而這種做

1973年出生於古巴的卡氏童年時在父

由於不同舞種有特定的表現程式和技巧

法往往令觀策更易投入和產生共鳴。

親的堅持下開始習舞，1991年以最高

以至音樂的採用，於同場中以兩種完全

成績及取得金獎畢業於古巴國家芭蕾

不同類型的舞蹈來串演同一故事•而要

另外由於人物的特性對比分明，不但

舞學院。接著以優秀及出色的表現在

達到成效，實非簡單。舉例説在戲曲中

在形相和舞式方面能製造出對比，且

不同亨負盛名的舞團參演多個重要角

有不同種類.如京劇、崑劇、粤劇、梆

色，98年與皇家芭蕾舞團首次合作，

子等，《舞》的做法就等如戲曲中「兩

能加強舞劇的中心思想。整齣《舞》予 人一種一與舊、傳統與新派的社會共

現時已是該團的首席客座藝術家。

下鍋」的表現手段，即在一個劇目中.

性和收斂與開放、古板與任性的個人

比如《蘆花蕩》中，飾張飛的演員以梆

情操，雖然卡氏在編舞時或許沒有想

從今次的演出，香港觀眾不難明白卡

子戲演出，而飾周俞的演員則以粤劇演

得這麼遠，•《舞》的成功除了舞者的優

氏如何能在國際舞壇闖出一席位•其

出。《舞》中以現代舞及芭蕾舞同場演

秀表現，更多在於其能形神俱全。

精湛和純熟的舞技在《舞》中展露無

出一個連貫性的故事看似簡單，其實需

遺。男舞者在芭蕾舞中的高難動作如

要各種配合，尤其是現代舞和芭蕾舞幾

單腳轉圈、空中停留拍腿、跪步及大

乎代表著舞蹈中的兩個極端。一個是自

果，同時也有很強的表達能力.南開

量飛躍動作以至與女舞者之間的托舉

由破格、擺脱程式，另一種則有固定和

場的一段父子雙人舞，已能透過肢體

及拋接都非常倒落完美，散發強烈的

嚴格的程式。兩種舞蹈放在一起自然產

語言和舞步帶出內容.其後的表現亦

個人風采。而一幂參演現代舞的舞者

生強烈對比。

縱觀卡氏的編舞除了運用不少對比效

以舞為中心，但近後段時加插一節由 演員擔纲的戲劇部份則嫌累贅•尤其

亦爽勁厲害，舞技不凡。不過筆者今

次不打算詳述舞者的表現，反而想與

故事方面•《舞》的背景分別是窮鄉與

這部份包含不少對白•反而把全個舞

讀者分享這個舞劇的一些編舞技巧。

閒市，引申出的人物自然有著很大的差

作的張力拉鬆。国

舞@1第7冊第6期

緣［專稿 Article

going to take us over half an hour to get

there. I start my week with the lowest level.

These 17 year olds are keen to learn and

quite goofy. I，ve made it my goal to try and learn everyone’s name, and get it right,

A NY Dancer in HK

having just made a show based on names. I

get a Pinky and a Kinky in class, both wearing high ponytails. They’re good. I’m

by Maura Donohue

still quite dazed from a sleepless 14-hour

flight from San Francisco and just a small

negotiation of sleep from the five-month old.

I’m hoping they learned something from me Vietnam brings up each time I’m there. Fve

about connection to the floor and dancing

artist who is visiting Hong Kong for an

got these two Chinese pups with me (okay,

on long diagonals and spending time upside

exchange project, Dance Wide HKNY.

they’re only half Chinese but that quarter

down but I honestly have to spend a chunk

She will perform with 7 other Hong

of Irish in them is lurking somewhere too

of class getting my own body back into

Maura Donohue is a New York dance

Kong and New York artists in Back

deep to change how the world views them)

working order. At 10:45 I teach the highest

Home at Hong Kong Cultural Theatre,

and one, having just reached her second

level. A few alums join class and while I

Studio Theatre at 9-10 December.

birthday, is due for some serious language

thought the lower Level was surprisingly

immersion. So am I. Can’t have my kids

good, I’m provided suddenly with a treat.

WEEK 1-2: NOV 13 - 25

growing up with a special language they could

I，ve never seen these movement phrases

I’m playing house in Hong Kong. With 2

share exclusively with their dad at my expense.

look so good. They’re right there with me

kids the experience isn’t quite as sexy or

So my stake in this project is personal. I’m

moment for moment improvising and

seedy as a Wong Kar Wai film but it’s still

keen to go native, well at least pass as local.

connecting with the floor, dropping weight, fluidly shifting and following throughout the

thrilling. I love this city and getting to play out a dream I’ve had for years. Living and

Our first day of classes starts a little less than

warm up with respectful attention. I think

working in a town I’ve often wanted to set

12 hours after we’ve arrived. Pilobolus

things are going really well and am pretty

up shop in. My potentially ideal home base

veteran, Becky Jung, and I are escorted by

impressed with myself for getting through

for my potentially idealistic bicultural

Allen Lam on the 115 bus to the Academy

these two classes but then I’m totally

lifestyle. They’ve got a great performing

for 9am classes.

I’ve paid extra to

upstaged by the arrival of Perry and the kids

arts school (HKAPA), a highly active and

accommodate the needs of the fam and by

at the end of class. The Chinese love babies

altruistic professional contemporary dance

administrative error spend the first week in

and the students swarm them like superstars.

company (CCDC), groovy independent pick

a 27th floor, 3 bedroom, 2 bath apartment

up groups, and a fantastic Cultural Center.

with an amazing view across the harbor to

Abby Chan, the hardworking woman behind

I'm interfacing with these gems as part of

Hong Kong’s gorgeous skyline. It feels like

the entire project, Chris Morgan,Becky,

an exchange project that has 4 New Yorkers

the highlife even if the streets of our

Perry and I meet up with Wai Mei Yeung

here to teach at three of those locations and

immediate neighborhood, known as Hung

and we head to the Atrium for lunch. Abby,

premier a new collaborative work with 4 Hong

Hom, appear decidedly decrepit. We’re

Wai Mei, Allen and Andy Wong, the fourth

Kongers at the fourth space.

actually a couple blocks from the Kowloon

HK participant are all A PA alums. Abby

Canton Railway (KCR) and the cross harbor

and Andy also danced for CCDC, Allen and

It’s cosmopolitan, with a good deal of

tunnel. So it seems this city really never sleeps

Andy both work together in DanceArt and

spoken and written English and an excellent

because around us someone always isn’t.

Wai Mei and Abby have worked as a pair called Mcmuimui. However, this project is

public transportation system (do I really have to thank the British?). Plus, on the

Allen pays his fare with his watch (!) and

the first time they are all working together

Kowloon side, it can get pretty old school

we’re off into morning traffic. I can actually

as a group. In the past, the Hong Kong

Asian without all the interpersonal angst that

see the Academy from my window but it’s

Dance Alliance brought guest teachers to

dancejoumal / hk vol.7 no.6

閒

摩稿’Article Hong Kong as part of the kBig Apple Dance

idea. At the end of our time together we

advanced once and members of DanceArt

Miguel Gutierrez, Colleen

showed over an hour of material at a Dance

Company once. I’ve met Maggie Sietsma,

Thomas, Alex Beller, David Dorfman, Lisa

Theater Workshopstudio showing. Now that

the new APA Dean of the Dance (from

Race, Michelle Miller, KT Niehoff have all

we are all back together again, or will be

Australia) and Tom Brown, the Associate

come over to teach and informally show

once Julian Barnett arrived Monday night,

Dean (currently developing the MFA

work. For DanceWide HKNY the Alliance

we have the hard task of making an actual

program), had a production meeting, been

expanded the project to include a true

cohesive whole from all we’d spewed. I’ve

photographed, interviewed by HK

exchange. For ten days in August the eight

been collaborating and exchanging solidly

Magazine, been seen by the lighting

of us worked in New York to introduce

for the past 3 years in Thailand, Japan, NYC,

designer, rehearsed for four days for four

ourselves and generate material. And man

Vietnam, Cambodia. But I’ve never been

hours each and ran frantically up Ice House

did we generate. Each day one of us would

in a situation where 8 choreographers are

Street in heels to arrive just in time to catch

lead a warm-up and develop some creative

invited to come together and create an

Andy’s show at the Fringe Club. Andy and

entirely new work. We didn’t choose one

a longtime collaborator, Taiju Matsumoto

another as a collective. We’re not being

from Japan have committed themselves to

directed by an outsider, or even following a

dancing together once a year in a theater for

lead artist. It’s a level playing field. We

the next ten years. Serendipitous for us in

have to work together as equals and perform

that we got to see the first installment in a

and make something worthwhile. On top

space I’ve heard of many times. Unfortunate

of a pretty heavy teaching schedule.

in that it kept Andy out of a couple rehearsals

Project’.

and clearly exhausted when he was present.

It’s a big project. And the first week takes

Their program titled Dance Forest was like

its toll on energy and good spirits. But in

a series of unrelated poems. It began with a

the end I have faith in Abby’s vision and

hearty dose of dancing in a duet titled Double

really respect her desire to offer both her

Selves. The partnering and vigorous

Hong Kong and New York communities

movement was an exciting and promising

with increased exposure. She really wants

start. The two looked interchangeable and

to ensure Hong Kong dancers get a chance

well matched. From there the piece is

to experience an antidote to the kind of big

mainly a series of solos with some quickly

dance companies that generally come to

devised transitions. Taiju and Andy were at

town via the arts festivals. To get a glimpse

their best when they were dancing. Taiju’s

of downtown, experimental work and styles

solo Thunderfrom a Distance and Andy’s solo

that don’t fit into rigid conservatory

Shadow Taking the Lead stood out as clear ideas

categories of dance. To meet dance artists

with sharp execution. It was great seeing Taiju

who work and survive outside established

again having enjoyed his performance in

institutions and whose work thrives. And

Andy’s Paper Balloons five years ago.

in return she’s revealing a sophisticated,

highly trained community of devoted

What I really loved, aside from meeting a

dancers to those who might not generally

Chinese Harry Potter named Jonas who I

think of Asia as breeding ground for

insisted on calling Joshua (which apparently

innovative dance making. I’m impressed and

many Americans do) at the reception

grateful that she, just another dancer, took upon

afterwards, was the feeling that this groovy

herself to leverage support and grow a project

little 65 seat theater was a home that Andy

whose impact is noticeably rippling outward.

was comfortable in. A home he’s returned to countless times, where he expects to be

Maura and other Hong Kong and New York artists rehearsing for Back Home.

Photo: Jesse Clockwork.

At the end of week one I’ve taught the lower

welcomed for years to conic, where the

level three times, intermediate once, and

stakes aren't so high and he can work out a

舞蹈第7冊第6期

專稿

m

Article

few ideas in fi'ont of an appreciative audience.

us to build a little foundation but not enough

and others would run with it. Back in August

The Fringe Club is a stubborn snub to a local

to effect fundamental change. But at CCDC

Allen taught a movement phrase. We each

sentiment that HK is a cultural wasteland. It

it’s enough for me to watch these exquisite

came up with variations and then he put four

includes two small theaters, a gallery, a bar and

dancers turn my material around. They

of us together and created interactions based

a rooftop beer garden. Jackie Lo, the chipper

chomp it up and spit it back fresh and hot.

on that. Here, while Abby and I were talking

program manager, invited us to bring our work

So even if warmup feels like a chore because

to HK Magazine he worked on Julian’s

to the space and Catherine Lau, the manager/

they seem so serious and I worry that they’re

variation. We walk back in, see it and I think

administrator is a benevolent roll-up-your-

bored or wondering when we’re getting off

he looks lost. We return to a projection idea

sleeves-and-serve-drinks kind of champion for

the floor it doesn’t matter. This is a company.

of maps I pitched but we let go, but Julian

innovative spirits around town. The night felt

They laugh and support one another I’m not

feels strange about how the dance is

intimate and easy and with a piece called Back

really inside that circle but it’s heartening to

suddenly a dance-with-map so Chris jumps

Home in my head and a constant clash of see them together and see them kick some

up and grabs the map and starts moving

cultures in my path I was instantly nostalgic

serious dance around with individuality,

around Julian. Now it’s Chris who is lost.

for a happy little moment when all was familiar.

power, abandon and attack. I keep wishing

We get up and improvise around this and

Vietnam Opera Ballet dancers I worked with

suddenly we’re back to the original quartet

THURSDAY, NOV 24 THANKSGIVING

in Hanoi could take a book out of their page.

with Chris making his way around all of us

Had to teach at CCDC at 9am. Up at 6 with

They’re similarly well trained but the

trying to get directions. Allen and Abby give

the baby, then Sasa, dress and feed her

incredible level of underexposure in Vietnam

direction and we go from there. Everyone

breakfast, change a couple diapers, dress

leaves them ignorantly disrespectful. The

enters with electrons and protons firing and

kids and we’re off. Energy is low and I fret

CCDC dancers might seem quite serious in

things get pretty electric. Or we get stuck

every morning I walk back into class with

the morning but they pay attention, work

and talk too much but it there are a few

them and its like Sisyphus pushing the

hard and dance like devils.

keeping an eye on the finish line and making sure we walk away from each rehearsal with

boulder back up the hill. It’s early for

company class and they’ve got a press

FRIDAY NIGHT, NOV 25

a solid chunk of new material and continue

conference today for a show coming up so I

It’s the end ofa second week’s work. It’s happy

clarification of yesterday’s idea.

know they’re tired from rehearsals but

hour in Wan Chai and I feel the lure of lights

they’re just so serious. And at the end of

and sounds and jolly ‘gwailos’ filling the air

I do feel the New Yorkers are more

each class when they're dancing and

with English. But instead I hop a 101 bus on

aggressive about pushing the process and

laughing I think we’ve journeyed and shared

Hennessey and start chugging home through

demanding choice making but it’s not an

an experience together and grown closer.

the endless rush hour to Hung Hom, or Jersey

unequal distribution. What’s truly exciting

But then I return the next day and start

City as I like to call our hood, which

is the challenge of working and learning and

building a relationship again. It leaves me

unfortunately isn’t on the MTR (subway).

expanding beyond my creative comfort

zone. It’s interesting to feel a little second

wondering if I should be teaching what I

want to teach. Should I focus on imparting

Yeah, it’s Friday night and we worked hard

guessed about preferences. It’s as though

a new perspective or do I just get them

and progressed a bit slower but I think we

there are seven editors calling me on every

wanned up for the day or do I want to give

got a little deeper creatively and the piece is

choice in every rehearsal but rather than

them a good class that is fun and enjoyable

really starting to take a solid and clear shape.

feeling stifled I feel prodded to look more

so they’ll like me or do I need them to feel

We’ve got just under halfhour complete with

closely. I wonder how this will continue as

challenged. And then I wonder what to do

transitions and musical choices. I think the

the pressure to finish looms. Next week will

if I can’t get it up. This much teaching is

second half could go slower though. It could

feel critical but today I feel grateful. Grateful

intense. Far different from a couple weeks

be a harder path. But maybe it’ll be a clearer

for the weekend, grateful to be welcomed

at Dance Space or master classes on tour or

explosion of our thematic ideas. Who knows?

by these peers, by the energetic, receptive

even a semester long gig at university. We’re

students at the Academy, for the honor of

running all over town teaching a substantial

So far we’ve managed to riff off one another

sharing time in a studio with the

range of dancers. At best wc get three days

and interweave ideas surprisingly well. In

extraordinary dancers of CCDC, for the

in a row with the same group which allows

the beginning someone would pitch an idea

chance to tap into the pulse of this city.H

dan⑧oumal/hk vol.7 no.6

EE

g 專稿’Article

Better Approaches in Technique Class (II)

by Rob Kitsos

較佳的技巧課方法(下) 文：羅傑索

了 Another sign that students are too

whose movements are interrelated in

丄 concerned with the mechanics is the

a seamless continuum and who relate

A

-7*

過度關心機械性技術的

3^另一^固跡象，可從他們

kind of questions that are asked in class.

to the music as if they are the music.

在課堂中所提的問題中看到。每個

While every movement idea or sequence

When a dancer moves like this, no one

動作意念或動作段落都有很多不同

has a qualitative energy, a spatial

will recall whether her arms were in

的質素—能量、空間方向、所傳

direction, an expression, a relationship to

fifth or her leg in attitude or foot

達的意義、與重力的關係、音樂感

gravity, a sense of musicality or timing

flexed or pointed - who cares!

或時間性等等，但他們所問的卻總 是機械性的：「右腿應轉出還是轉

etc., the questions are always mechanical.

“Is the right leg turned out or in? Is that

OK- so how do we do this? How do we

入？」「這是甚麼芭蕾舞步？」「轉

in coupe or pose? Is this a pique or releve?

take a technique class and not only focus

多少轉？」。我甚少聽到「這段的

How many turns?” Etc. I almost never

on the mechanical parts? How can

感覺應是如何？」「這動作如何關

get questions like “What is the feeling of

anyone think about fifteen different

連到下一個？」「處理這個意念

this phrase?” “How does this movement

objectives all at once?

時，有什麼適合的影像可作參

relate to the following movement?”

sounds daunting.

考？」或類似的問題。

The most important idea to remember is

一些著眼於質素上的關係及更重大

to stay open. Learning to be a performer

意念的提問，所包含的內容是遠超

The kind of questions that are focused

is a process. For generations of students

（但不排除）機械性技術的。要成

on qualitative relationships and bigger

who are obsessed with the ‘right

就這樣的舞蹈須要時間和專注力。

ideas encompass much more than (but

answer\ this is a big challenge. When

要做到只是在台中一站便吸引著觀

don’t exclude) mechanics. It takes time

three different teachers give you three

幂，舞者要擁有高超技巧，但這種

and focus to achieve this kind of dancing.

different answers to the same question

能力與機械技術的關係不大。對個

A performer that can just stand in the

it’s not to confuse you about which one

人來説，能令人看得投入的演出

space and be riveting is a dancer with

is the right answer. Your teachers are all

者，會帶著一種存在和有目的感覺

great technique - and this ability has

different people with different

進入演出空間，他們能帶引觀眾進

little to do with mechanics.

experiences. Different strategies work

I admit it

“What is a good image I can work with for this idea?”

I am

engaged by performers who enter the

for different bodies and minds. Your job

space with a sense of presence and

is to take in all the information and find

purpose, who draw us into an

what works for you.

experience that has a life of it’s own,

入一種自有生命的體驗.他們的動 作互相緊扣，延綿無縫，他們與音

樂配合無間，就像他們便是音樂

般。當一個舞者如此舞動•沒有人 會記得她的雙臂是否放在第五位

L第7冊第6期 B 專藏 Article

舞蹈

In terms of changing your focus from

置，或是她的腿在那個水平，或是

簡單的動作是最大的挑戰。當腳尖

only the mechanics to the bigger picture,

她的雙腳究竟是放鬆還是尖直 。誰

在地板上向前伸展，做出Tendu這

try working with the idea of synergy.

會在意！

個動作時，那並不只是腿部動作的

練習，而更練習了「伸延」這個動

Synergy is the phenomenon of multiple parts working together to produce a

可是，如何能達到這樣？如何能上

作。當你伸手向書架頂層的一本書

greater effect than what is possible by

技巧課而不只專注於機械因素？有

時，你不單只要運用手臂，而且也

the individual parts. This quality can

誰能同時想著眾多不同的目的？這

要用上背、眼、競、腳踝-----整個

often be triggered by mental images.

看來叫人洩氣。

身躯。

whole body in full and specific

最重要的是要保持著開放的心懷。

最重要的是，協同效益的運作並不

expression. While there are many

學習成為一個演出者是一個過程。

排除機械性技巧，只是將其結合於

movement systems out there that use

對於一代又一代沉迷於正確答案的

一表達性的動作段落，而非以個別

images as inspiration to move in a more

學生來説，這是一個巨大的挑戰。

動作來處理。每個轉動、平衡和腳

Images can effectively incorporate the

creative, incorporative and efficient way,

當三位老師給學生的同一條問題回

尖動作都融合於一個更大的動作概

these philosophies are usually isolated

答了三個不同的答案，那並不是要

念。唯一不同的是，舞者要從更大

as support subjects or alternative

學生迷惑於那個才是正確答案。每

的概念出發，而非腳尖。

approaches to movement and don’t

個老師都是有不同經驗的獨特個

typically make it into technique class.

體，而不同的策略又適合不同的身

最後，舞蹈學生要常常緊記，舞蹈

體和思想。所以，學生的工作是要

室中的練習和工作是一種藝術的嘗

For example, if you find yourself staring

汲收所有的資料，並從中找尋適合

試。要超越舞蹈員而成藝術家，就

blankly in the mirror during a devlope -

自己的東西。

要進入更深的層次。像很多寫作有 關藝術體驗的哲學家一般，John

tilting and tucking your pelvis as you tensely muscle your leg as high as

在把專注力由機械技術擴展到更全

Dewey指出「如果他的理解在本質

possible - you need to change your

面的因素時，要嘗試以協同效益的

上不含美學，那會是一種無色而冰

mental focus.

Try considering the

概念來處理。協同效益是一個不同

冷的認識，用以作為一個機制，以

energy of your entire body slowly rising

部份共同運作所起的成效較各自運

實質上是機械性的程序來啟動下一

and opening like bubbles in a glass of

作的總和高的現象。在舞蹈中，這

步。」】要以美學來處理在舞蹈室中

champagne as your hip opens and your

效益往往可以以一些內心影像來啟

的練習和工作，我們就要加強在認

leg floats up through the ceiling. The

動。影像可以有效地把整個身躯全

知結構（形態）元素時的敏感度一

latter approach is much more fun to do,

面地結合於獨特的身體表情。雖然

—傑出的藝術擁有傑出的形態。形

and you can imagine which one is more

現在已有很多動作系統是以影像來

態創造出結構，予藝術家來創作完

fun to watch.

啟發更具創意、合作性和效率的動

整的意念，就如一些舞蹈，在整鉤

作，這些理論常被視作為一些支援

作品中都貫穿了一些可以見到或感

The simple movements are the most

的課題或另類手法而獨立開來，通

覺到的特質---- 有一種起承轉合的

challenging. When reaching the toes

常不會進入技巧課的門檻。

感覺。「… …因為不斷的融合，我

們在體驗時沒有空隙、剪接和盲

forward on the floor in a tendu, it’s not only to practice the movement of that

舉例説，當你發現自已麻木地望著

點。有的是停頓和歇息的空間，起

leg, but also to practice the act of

鏡子，做著腿部伸展練習— —用肌

著標點般的作用•介定了動作的素

reaching. When you reach for a book

肉的力量盡量提高腿部，從而把盤

質。」2

on the top shelf of a bookcase you

骨傾斜推高— —你便須要改變自已

don’t just use your arm, you use your

心中的焦點。試試想像自已整個身

因此，習舞的學生們：下次上技巧

back, you eyes, pelvis, ankle - your

體的能量有如香檳酒的泡沫般慢慢

課時，嘗試以具協作效益的焦點來

whole body.

的上升和打開，隨而張開髖部，並

處理。嘗試忘記自己正被評分。暫

把腿浮起，穿越天花板。這個方法

時不要被曰常生活的細節防礙了身

This is the best part; working with

做來固然更有趣：對於觀看的人來

體內的能力。提醒自己並不只是任

synergy doesn’t mean that the mechanics

説是否更有趣，則是不言而喻了。

由編舞家操弄的機械工具。作為人

dance journal/hk vol.7 no.6

凝專霜

iB

Article

are forgotten. The mechanics become

to be a vessel for expression as human

類’要成為盛載身體情感的器皿，

incorporated into an expressive sequence

beings we have to allow the mechanics

我們就要讓機械因素達到更大的目

and are not addressed as isolated

to serve a greater purpose. As Dewey put

的。就如Dewey所説：「藝術家的

Each rotation, balance,

it; “Hand and eye to an artist do not work

手和眼並不會單獨操作— —藉著這

pointed foot is integrated into a larger

alone - they are but instruments

些工具，整個能走能動的生物得以

movement concept. The only difference

through which the entire live creature,

運作。所以，身體情感是情緒化

is you start from the larger concept

moved and active throughout,

的，並由目的所指引。」3

instead of the pointed foot.

operates. Hence the expression is

moments.

emotional and guided by purpose.” 3

記著，我們作為人類，基本上就擁 有舞蹈的基礎。作為具有表達能力

Lastly, students of dance need to keep in mind that our work in the studio is an

Remember that our presence as human

的個體，我們擁有創作和傳遞不可

artistic endeavor. To cross the line

beings is fundamentally what dance is

置信的經驗的能力，不單只依靠我

between a dancer and an artist means

based on. As expressive beings we carry

們的身躯，也藉著我們的想像和連

going deeper. Like many philosophers

the power to create and communicate

繫意念的能力。對一些因未能做到

who write about the experience of art,

incredible experiences - not just with our

四個單腳轉身而認為自己不會成為

. if his perception

bodies - but with our ability to use our

舞者的學生來説，要記著有很多藝

is not also aesthetic in nature, it is a

imagination and create connections

術家是能單靠站在台上便能攝著全

colorless and cold recognition of what

between ideas. And for those of you who

場觀眾的，要朝著這個方向努力。

has been done, used as a stimulus to the

think you will never make it because you

或著，最重要的是，要時常看到事

next step in a process that is essentially

can’t pull off four pirouettes, remember

情的全面。就如Monroe Beardley

mechanical.’’*1 2 To approach our work in

that there are artists who can engage an

所説：「如果部份終局的滿足感能

the studio aesthetically means

entire theater full of people by just

鉤帶到過程中，而每一階段的過程

heightening our sensitivity to perceive

standing in the space- so work on that.

又能讓我們感到帶有終局的重要

the elements of composition - the form

And maybe most importantly, keep the

性，那麼我們便會在生命中擁有更

-and great art has great form. It is form

big picture present at all times. As

多美學體驗的素質。暫時來説，這

that creates the structures that allow

Monroe Beardley writes; “If some of the

些體驗在我們面前提供了 一些線

artists to create complete ideas, like

satisfyingness of the end could be

索，讓我們見到生命在最豐盛和喜

dances that embody a quality that can be

brought into the means, and the means

樂時的面貌。」4国

seen or felt throughout the entire work -

at every stage felt as carrying the

a sense of beginning, middle and end.

significance of the end, we should have

..because of continuous merging, there

in life something more of the quality of

are no holes, mechanical junctions, and

aesthetic experience itself. Meanwhile,

dead centers when we have an

such experience holds before us a clue

experience. There are pauses, places of

to what life can be like in its greatest

rest, but they punctuate and define the

richness and joy.”4 ■

John Dewey writes

quality of movement.442

So, students of dance: The next time you

Notes 註：

go to technique class, try working with

a synergistic focus. Try to forget that

1

John Dewey (1995)，“Having an Experience" in The Philosophy of Art: Readings Ancient and Modern, edited by Alex Nell and Aaron Ridley, New York: McGraw-

you are being graded. Don’t let the details of your daily life hinder your

2

ability to be in your body - in the

3 4

Hill, pg. 69 ibid pg. 61

not just mechanical instruments for

ibid pg. 70 Monroe C. Beardsley (1995)，“The Arts in the Life of Man” in The Philosophy of Art: Readings Ancient and Modern, edited by Alex Nell and Aaron Ridley, New

choreographers to manipulate. In order

York: McGraw-Hill, pg. 538

moment. Remind yourself that we are

1、王 r 復

Company 香港舞蹈 PB □ None of

Daniel Yeung & Asian

Your Business 行關係--丫-space

|~| Little Prince Hamlet

Artists ;

多空間□ She's the One《眾裡尋

□ Cinderella Magic

她》--DanceArt Hong Kong 動努

身Hong Kong Ballet Education

I 18/F Platform Min Jian Chuan Qi

& Outreach Department香港芭蕾舞

「八樓平台」《民間傳奇:;--Hong

;及外展部圍Spartect/s《風

Kong Dance Company 香港舞蹈團

雲群英會--Hong Kong Ballet 香

Hong Kong Dance Awards 2006

港芭蕾舞團□ FAReWell my

□ Play《游戲》-Y-space多空間

l~~l HeyDance Night Fever

Call for Nomination

ConcuBINE《霸王•別姬》--Hong

Kong Dance Company 香港舞蹈團

Hades’ Invitation《魘魂請柬》--

香港舞蹈年獎2006

［~l Colour Fugue《逐色》--CCDC

Spring Poetry 躍舞翩□ Dance

開始接受提名

城市當代舞蹈團□ Love ... silence,

《喜舞夜》--HeyDance喜舞口

Platform 05 :舞蹈平台05》-- Hong

awaiting, return《愛無言•愛等待

Kong Dance Alliance香港舞蹈聯盟

•愛回家》--DanceArt Hong Kong

门 Individual Dreams ... Shared

動藝［3 Dowda Happenings《、多大

同床異夢》--DanceArt Hong

事件》--Y-space多空間口 Post 7.

Kong 動藝口 Antipasto-Dancing

1 Arts Teens後人1藝術青年劑作及

Established by the Hong Kong Dance Alliance in 1999,

Com/90《4式拼盆》--E-Side

綵排工作坊--DanceArt Hong Kong

the Hong Kong Dance Awards recognize outstanding

Modern Dance Company東邊現代

動藝□ Side by Side《舞樂匯》--

and significant contributions to dance for work

舞團□ /n the Beginning《創世

Hong Kong Academy for Performing

accomplished during the perious year. Rather than on a

記》--CCDC城市當代舞蹈團□

Arts香港演藝學院□ Postmodern

competitive basis, award selection is made through open nominations with final determination by a panel comprised

Beauties《后現代主義》--E-Side

of the Alliance Executive Committee.

Tempo of Hong Kong《香城若舞》-

-Hong Kong Dance Company 香 港舞蹈團□ dancelsewhere.com

Modern Dance Company 東邊現代 舞團□ Giselle《吉賽爾》--Hong

The 8th annual Hong Kong Dance Alliance Hong Kong

《舞•「車L」界》--Medina Lau □

Kong Ballet香港芭蕾舞團□

Dance Awards will be presented on 15 February 2006 at

Madama Butterfly《蝴蝶夫人》—

Stranger Than F/cf/on《鏡•花•

the Kwai Tsing Theatre, and is now open for nomination.

Hong Kong Ballet香港芭蕾舞團□

圓》--CCDC城市當代舞蹈團口

Limited amount of complimentary tickets for the Gala

Homage to Stravinsky - The

Dance... The Emperor’s New Clothes《跳出... 國王的新衣》--

presentation are available for individuals submitting nominations (two each). To nominate, please complete

Soldier’s Ta/e《士兵的故事》--Yuri

Ng 伍宇烈□ The A/tvfcracker《胡

and return the Nomination Form on the next page.

Hong Kong Dance Alliance 香港舞

桃夾子》-Hong Kong Ballet香港

S舀写辞盟□ Andersen’s Lookbook

芭蕾舞團□ Dance Echo Project

安ft生窺探少年記事簿2005》-

-DanceArt Hong Kong動藝□ Love

由香港舞蹈聯盟創立的「香港舞蹈年獎」，自1999

「舞蹈迴音工程」--Unlock Dancing

年起便表揚每年對舞蹈有突出和重要貢獻的工作。

Plaza不加鎖舞踊館□ Back Home

找家豬的故事》-

「舞蹈年獎」並不是競爭性的獎項，而是由香港舞蹈

《情尋家》--Hong Kong Dance

-McMuiMui Dansemble雙妹唼舞蹈

聯盟理事委員所組成的評審團從公開提名的名單中

Alliance香港舞蹈勝盟□ Eight

虜1］場口 The Emperor and the

選出。

Floor Platform Leave Leave Mung

in a Doggy Bag

Nightingale《國王與夜鶯》--Hong

Kong Ballet香/巷芭蕾舞團口 Dance Wide HKNY Bilateral Exchange

Projectl Dance Wide HKNY」雙邊交 J: -- Hong Kong Dance Alliance 嬅蹈聯盟匚］RJ Diary

八樓平台《別留夢》-Hong Kong

第八屆「香港舞蹈年蹈年獎」將於2006年2月15曰 假葵青劇院頒發，現已公開接受提名。提名者可免

費獲贈《香港舞蹈年獎2006》入場卷兩張，門卷有

限，送完即止。提名方法及表格刊於下頁。

：RJ 0

童3之王

Dance

Forest

DancingAndy Creative Workshop E 廷琳舞蹈創意工作室［□ Body

Torque :身之繹動》--Hong Kong

Unlock Dancing Plaza 不加鎖舞踊館□ King of Fairy Tales - The Eternal Child

Dance Company香;巷舞蹈團□

Hong Kong Dance

Academy for Performing Arts 香港演：H 學院□ Toppling The World 翻天覆地

E-side Modern Dance Company 束 W 現代

“

* Events listed are not complete, and are for reference only. 列出的舞蹈活動並非完整，只作參考之用。

0 M•—

•

Fax:

2802 3856

傳真：2802 3856

Address:

c/o Hong Kong Dance Alliance

地址：香港灣仔告士打道一號

①

」

Office of Associate Dean of Dance

香港演藝學院

①

HKAPA, #1 Gloucester Road

舞蹈學院副院長辦公室

Wanchai, HK

轉交香港舞蹈聯盟收

g

CD CD

Hong Kong Dance Awards2006 香港舞蹈年獎 2006

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* Please use additional paper or photocopy this form if necessary.如有需要，請另加纸張或影印本表格0

To receive two complimentary tickets for Hong Kong Dance Awards 2006 at 15 February, 2006 Kwai Tsing Theatre, please fill in the following information.

如欲索取於2006年2月15日假葵青劇院舉行的《香港舞蹈年獎2()06》兩張免費門卷，請填妥下列資料。 Nominated by Telephone no. 提名人姓名：______________________________________________ 電話號碼：_________________________ ____________

Address 地址：_______________________________________________________________________________________________________

NOMINATION DETAILS

提名詳情：

• Hong Kong individuals, organizations or events in any dance related

•對香港舞蹈發展中任何範籌有所貢獻的個

area (e.g., choreography, performance, scholarship, education,

人、團體或事項，均有資格成為候選人。

writing, administration, technical support, notation, leadership, etc.)

舞蹈範籌的例子包括：編舞、表演'學

may be nominated.

術、敎育、寫作'行政、技術支援'舞蹈 記錄及領導。

• All events related to the nomination should be completed between 1 January 2005 and 31 December 2005.

•所有與提名有關的事項都須於2005年1月 1日至2005年12月31日間完成。

• Each nomination must include the name of the individual, organization, or event being nominated and a brief reason for the

nomination. Any number of nominations may be submitted.

•每份提名都須列出被提名者（可以是個

人、團體或事項）的名稱及提名原因°提 名次數不限。

• Nominated individuals or organizations are not required to be members of the Hong Kong Dance Alliance.

• Nominations must be returned by 1 January 2006

•候馔人或團體不必為香港舞蹈聯盟會員° .假潠人提名於2006年1月1 a截止'

DANCE EVERT

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Back Home《情尋家》 Hong Kong Dance Alliance

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香港舞蹈聯盟

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HCE XVIOE HKNY

9-10/12, 8pm

The Conqueror《霸王》

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Studio Theatre, HK Cultural Centre

港.：

香

CCDC城市當代舞蹈團

Choreographers 編舞：

9-10/12, 8pm

首

< 1家

香港文化中心劇場

•-:

Kwai Tsing Theatre Auditorium

Julian Barnett, Abby Chan 陳敏兒,

葵青劇院演藝廳

Maura Donohue, Rebecca Jung,

Ju:iq

Allen Lam 林偉源，Christopher

Choreographers 編舞：

Morgan, Andy Wong 王廷琳，

Willy Tsao曹誠淵

Yeung Wai Mei 楊惠美

Xing Liang 邢亮

Enquiries 查詢：25848753

Enquiries 查詢：23297803

Goingfor More《多的朵》 Le Groupe Dance dik gam deu

的咐朵 16-17/12, 8:00pm

Still... A Beautiful Life

Fringe Theatre藝穗會劇院

《依然…「美麗人生」》

oupe Darr

Choreographers 編舞：

DanceArt

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動藝

Yuka Tsukazaki 琢琦由香

29-31/12, 7:30pm

Sze Sze Hon 韓思思，

藝穗會小劇場

Anna Au歐佩詩

美麗人生 fe (A Youth Dance Theatre)

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創怍

劁作■'

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王廷w K小柃 呂以现

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Choreographers 編舞：

Enquiries 查詢:9268 6757

王廷琳，呂以輝，

鄭嘉威，黃嘉泳，黃詩矜

Tempo ofHong Kong 《香城若舞》

赞心飛舞團

Hong Kong Dance Company

»\ldL^sii8 Minnib Olin DaiKCAXMn|uny

火 【武極系列之五】

香港舞蹈團 30/12, 7:45pm，

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易»八好.》»五«.«»»边 •rt»At-HAn

31/12, 3pm

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丁世» 宋萃Ml 林玉英

Lyric Theatre, HKAPA

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香港演藝學院歌劇院 Choreographer 編舞：

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HuJialu胡嘉祿

20-»aiflB»7H«±T.oo ton

Enquiries 查詢:3103 1809

Chinese Martial Arts Dance Series: Episode V《舞極系列之五》 Miranda Chin Dance Company

錢秀蓮舞蹈團

it

6/1/2006

7:30pm

Grand Theatre, HK Cultural Centre

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9，番«

的濟肋色

香港文化中心大劇院

Artistic Director 藝術總監： \4irnndci C'hin 4^ 呑雄

■■亭■MHBItKHI

《我心高飛》 心飛舞團 ■霾

6-7/1/2006, 7:00pm

香港演藝學院戲劇院 Choreographers 編舞： 王廷琳，吳詩韻，梁美嘉

楊建萍•陳欣昕 查询：2835 4337

沒心飛舞 藝術總監：王廷琳

團員名單：

丁世強 宋萃媛 林玉英 唐思聰 唐文瑜 楊順樟 蔡育豪 港香個弱能人士舞團，以舞蹈帶您追尋f真栽

編舞：

王廷琳 吳詩韻 梁美嘉 楊建萍 陳欣听

劉鎮邦

人案都是豐苗、充滿色彩、奇妙茲羹姹的。 藝術是不可鈇少的好畫筆，把生链狸的*點—摘幻畫在J 生的畫布上；鐲蹈蜃七彩鼷紛的顏料 將犓感灌注、感禳、豐富道幅人生的圖畫…

聖雅各福辟會攙康胆務「诹冊籍騸J —直以舞蹈來袭達 t癀塞命的訊息。途過不同的翼蹈伶品分孽智障 人士窆话的體驗，利用婆蹈的幻墨表達儷健共融的和諧感 F;用籍蹈杏蠹富圍騮箠他們的毎一描塞命， 展現人性的真與誠。 表演日期/時間：2006年1月6及7日晚上7:00

1■心飛舞團」將呈現跨媒體舞蹈製作•

價：90^ （快達票將額外收取 45 7t （殘疾人士、綜援人士、

集本土優秀舞蹈工作者，聯同一群專業舞者：

我「心』高「飛、

票

每張門票的顧客服務費〉

地

長者及全日制學生）

於一、一、•、參參弟、，•麥、番參（，承

點：香港演藝學院戲劇院

及舞蹈大使，全心真意為生命而舞蹈 ，決意將快樂與熱情散發至 舞台上下每一個角落 。

査詢電話：2835 4337

（排名不分先後）

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