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目錄 Contents

18 MAY 2006

Vol.8

No.2

-^-—^ ...

圖書ffi

封面Cover 「雲門舞集」《行草》

THE HONG KONG ACADEMY FOR PERFORMING ARTS

編舞：林懷民

LIBRARY

攝影：劉振祥 Cloud Gate Dance Theatre’s Cursive

Choreographer: Lin Hwai Min Photo: Liu Cheng-hsiang

A Letter to the Editors

香港舞蹈節2006 Hong Kong Dance Festival 2006

An Interview with Choreographer Joelle Bouvier

7 Dear Editor,

香港舞蹈年獎2006 Hong Kong Dance Awards 2006

9 I write in response to an article by the CEO of the Hong

『狂』挑戰耐性『草』有動於心

Kong Ballet, Helen Ng published in the March 2006 issue of Dance Journal/HK about my past reviews.

文：大階G

(None of

my reviews quoted by Ms. Ng were actually published in Dance Journal/HK.)

Dance Offerings from Hong Kong Arts Festival by Kevin Ng

In her article, Ng writes, “...It is equally important that a

positive and negative views so that they can attain higher

從《手拉手》看胡嘉祿作品特色文：鄧蘭

professional and mature performing company should welcome

artistic standards.” Is this actually her opinion or not? If it is,

I don’t understand why she is making such a big issue out of

my reviews. Surely Ng should understand that I have no

意猶未盡的文化啟迪

obligation as a critic to praise every performance I see of the

—林懷民一雲門舞集新作《狂草》 —

Hong Kong Ballet, which has been directed by Stephen

文：歐建平

Jefferies for the past ten years. Ng wrote, “I have been

Jefferies’ working partner for more than nine years and I

舞蹈節目表 Dance Events

have great admiration for his positive attitude and

dedication to his work”.

I have not worked together with Jefferies, but I too admire his

dedication to the Hong Kong Ballet. There is no doubt that he has raised the dancers’ technical standards considerably in the past decade, and that the company has obtained a higher artistic profile by the increase in its overseas tours. I made

this point clearly in my review in the Hong Kong Economic Journal on 20 October 2005.

fL第8冊第2期

舞蹈

庫潇

Article

My main criticism in that review is that

repertory, such as ballets by George

have interviewed him for a feature article

Mr. Jefferies has allocated too much of

Balanchine (the greatest ballet

in the Dance Journal/HK. However, I

the company’s resources on new

choreographer of the 20th century),

do regret that on one point I was unclear

creations many of which are of little

which used to be in the company’s

in my latest review on the Hong Kong

artistic merit. Mr. Jefferies is proud of

repertory before Jefferies became

Ballet’s Madama Butterfly in the Hong

his record in staging, on average, two

director. A larger variety of well-

Kong Economic Journal on 8 December

new ballets — mostly story ballets —

known works may better educate the

2005.1 wrote, “The whole style of the

every season. But quantity does not

dance public in Hong Kong, as well

ballet looks extremely dated, and some

equate to quality, and his record in

as bring more stimulation to the

of her choreography is obviously derived

commissioning dramatic ballets, most of

dancers.

from

other

leading

Western

choreographers in the past.” I meant that

which are based on Chinese folklore but

overseas

It is regrettable that Jefferies did not

the style of Weir’s choreography in the

choreographers who don’t seem that

make more use of his Royal Ballet

duets is similar to those of other past

attuned to Chinese culture, has been

background to bring in more famous

masters such as Sir Kenneth

patchy. Actually Chinese folklore is

British ballets to enrich the company’s

MacMillan who favored a lot of

normally better adapted as dance works

repertory. Among other ballets from its

difficult entangled lifts in his duets. I

by the Hong Kong Dance Company,

repertory that have not been revived are

agree that I should have justified my

created

minor

for instance its Emperor Qianlong and

some interesting ballets by the late

opinion at the time. But then I only

Fragrant Concubine of several years

Singaporean choreographer Choo-San

had 1000 words to cover three

ago. And these Chinese-themed ballets

Goh

Jefferies’

different companies in that review,

are never that popular locally anyway.

predecessor, Bruce Stievel. The

and so I only had about 300 words to

The latest one, Jefferies’ own Legend

repertory of the Hong Kong Ballet was

write on the Hong Kong Ballet.

of the Great Archer had an attendance

a lot more diverse during the previous

rate of barely 30% when it was

directorship; and I’ve been watching

Ng also asked “Why was the

premiered at the Shatin Town Hall in

the company since 1992.

choreography monotonous and boring?

acquired

March 2004.

” I actually explained it in my review if

Ng seems to misunderstand the function

she could re-read it carefully. I wrote

Since these ballets must be staged, why

of a critic. If a critic detects something

“But then Weir’s choreography is largely

couldn’t the commissions go to local

amiss or wrong, does she expect them

uninspired and dull anyway. She

choreographers to benefit local dance

to keep quiet or to state their view

choreographed numbers just to fill up

western

honestly? I get the feeling that she

time, and hence the ballet feels very

choreographers engaged by the Hong

expects the former. She wrote that I was

episodic. A lot of the movements in Act

Kong Ballet couldn’t give the ballets the

“finger pointing at Jefferies”，which

2 just meander on aimlessly, and without

right Chinese flavor, and as a result, the

actually wasn’t the case at all. But as the

any dance interest.”

new works are neither here nor there —

artistic director, surely he cannot escape

neither genuinely western or genuinely

blame for the problems in his capacity

It is my sincere wish that Ng means what

Chinese. The company could have used

as the head of the company. After all, if

she wrote, and will “welcome positive

its resources more effectively; after all

his record is so distinguished, I wonder

as well as negative views” on the

development?

The

it has by far the biggest slice of the

why the Hong Kong Ballet board hasn’t

Hong Kong Ballet, which is soon to

government grant allocated to local

renewed his contract, which will expire

enter a new era under the new artistic

dance companies.

this June.

director John Meehan.

I long Kong Ballet would actually do

I have never been one-sided in my

Yours sincerely,

better to allocate a larger part of its

criticism of the Hong Kong Ballet. I’ve

Kevin NgB

budget to stage some proven master

consistently praised Nobuo Fujino, a

works in the international ballet

former principal of the company, and

jance journal / hk vol.8 no.2

蹈學院節」演變、擴展而成。1986年香港演藝

學院的第一任院長胡善佳先生創辦「國際舞蹈學院節」，當時邀請到世界著名的高等舞蹈學

院到港交流及演出，深受市民歡迎。其後連續

五年均於香港演藝學院舉辦。及後更同時舉行

y c u o l餒 ®

香港舞蹈節2006是由二十年前開始的「國際舞

7 1 03>

「香港國際舞蹈會議」，為舞蹈敎師和學者開拓

要，於是在香港成立「亞太舞蹈聯盟」，再擴展到歐美各地，並正式成立「世界舞蹈聯盟」。

TO年後舞蹈節和會議便以不同形式於不同國家舉行，其中包括了星加坡、台灣、日本、美

肚驶舳

交流機會，與會者深感國際舞蹈界交流之重

0)①

國、德國和澳洲等地。97年舞蹈節重回香港，以「九七舞匯」的主題慶祝香港回歸。今年，

為慶祝「國際舞蹈學院節」誕生的20週年，香

由香港舞蹈聯盟伙同香港演藝學院主辨、香港

聯會和香港歌德學院協辨，及由康樂及文化事務署贊助。香港舞蹈節2006的全部精彩節目及

部份節目的詳情細列於下。

by the Hong Kong Academy for Performing Arts. The extraordinary success of the IFDA prompted the

creation of the World Dance Alliance, which has since taken the annual festival, which features in addition to the IFDA, professional performances and academic

conferences, all over the world. The event returned to

LL ① o c

Hong Kong in 1997 as part of highly successful ‘Dance

roa

Festival is commissioned by the Arts Development

6 u o

2⑻6 -想像.捕捉.投射」。「香港舞蹈節2006」

Emergency Lab、香港舞蹈總會、香港舞蹈團體

Festival 2006 is the International Festival of Dance Academies (IFDA), which was first organized in 1986

On ’97，’ which affirmed Hong Kong’s unique place in

the international dance world with many distinguished international artists performing for the event. The

Council, sponsored by the Leisure and Cultural

港再次主辦國際舞蹈節，主題為「香港舞蹈節

藝術發展局委約，並由城市當代舞蹈團、

Among the diverse events of the Hong Kong Dance

k: a) U O H

Services Department, and produced by the Hong Kong

Dance Alliance. The major Festival partner is the Hong

Kong Academy for Performing Arts together with CCDC, Emergency Lab, the Hong Kong Dance

Federation, the Association of Hong Kong Dance Organizations, and the Goethe-Institut Hongkong. The events of Hong Kong Dance Festival 2006 and some

of the exciting programmes are listed below.

| 12, 14, 16. 6 (—、三、五 Mon, Tue, Fri)

舞蹈•各自各

8pm

':鑛將’:院戲劇院 Drama Theater，HKAP/

indepenDANCE

15個藝術家+ 8個國家x創意=來自世界各地獨立編舞的精彩多姿舞蹈作品

15 artists + 8 countries x innovation = a feast from the best & brightest independent choreographers around the world.

地區Area

Programme

編舞 Choreographer:

《於是…》So....

曹良叔 Cho Yang-Sook

•菲律賓 Philippines

《同性的感傷》Homosentimental

Jose Jay B. Cruz

•廣州 Guangzhou +

《夢旅人》Dream Traveller

* 南韓 South Korea r^i

節目

北京 Beijing

龍云娜Long Yunna

趙梁 Zhao Liang

* 香港 Hong Kong

《舞在荒誕與不朽之》Last Dance For You

梅卓燕 Mui Cheuk-Yin

•美國USA

pas de [siks]

Jonathan Fredrickson

•北京 Beijing

《涙英雄》Tearful Hero

吳鑒Wu Jian

■廣州 Guangzhou

《交錯的圚周》Overlap

楊美琪Yang Mei Qi

•香港 Hong Kong

《深夜舞后神秘習題》

楊惠美 Yeung Wai-Mei

•曰本Japan

《追者》Chaser

新上裕也Youya Shinjo

•香港 Hong Kong

《天使666對魔鬼999》

李思颺Justyne Li

The Curious Incident of the Dancer in the Night Time

Angel #666 vx Demon #999

王丹埼 Wong Tan-Ki

•臺北 Taipei

《我的佛洛伊德》My Freud

何曉玫 Ho Hsiao-Mei

•美國USA

《食糧的精神》Thought for Food

羅傑索Rob Kitsos

•巴丙 Brazil

《謎》Puzzle

Evelin Moreira

舞蹈手札第8冊第2期

9.6

8.6 星期四Thu

星期五Fri

10.6

11.6

星期六Sat

星期日Sun

12.6

世界舞蹈聯盟亞太地區會議 World Dance Alliance Asia Pacific Annual General Assembly

project

碩

齊齊舞不停

capture

捕捉

imagine

Th e Opening . sp . > lr itc Ceremony o fJn H 開幕禮 D ye )aa R

匕 .-

正式演出 Formal Performances

免費節目 Free Performances

輪舞曲 Dance Trinity

國際舞蹈學院節20週年

齊齊舞不停 The Spirit of Dance Rally

激情時代一給傷人心的

(三晚不同節目)20th Anniversary

舞蹈•場一鎖 Specific Dance

Time of Passion — For the Broken Heart

International Festival of Dance

午間試演室(只供持有套票人士)

舞出千禧 New Millennium Dance

Academies (3 different programmes)

Afternoon Showcase (for Package

舞蹈•各自各(三晚不同節目) indepen DANCE (3 different programmes)

purchasers only)

14.6 e

星期三Wed

15.6

16.6

星期四Thu

星期五F「i

17.6

18.6

星期六Sat

星期日Sun

舞蹈教育研討會 Dance Education Conference

講座演出 Lecture-Performances

舞蹈錄像 Dance Video (三組不同節目)

其它節目Other Events 舞蹈大師班(超過1()()課)

賈作光藝術觀禮Jia Zuoguang and the

跳格@HKDF2()()6

Mastery of Chinese Dance

Jumping Frames@HKDF2006

Master Classes (over 100 classes)

(3 different programmes)

舞蹈敎育研討會(8節) Dance Education Conference (<S sessions)

詳細資料 Detailed Information > www.hkdanceall.org/hkdf 查詢 Enquiries > 2584 8759 / hkdf.cnquiry@gmail.com

•世界舞蹈聯盟亞大地區會議World Dance Alliance Asia Pacific Annual General Asscmhl>

舞蹈手札第8冊第2期

輪舞曲 Dance Trinity

8. 6 (四 Thu)

8pm

葵青劇院演藝廳 Auditorium, Kwai Tsing Theater

香港3個旗艦專業舞團以3種截然不同的舞蹈表達形式，演繹3個發生於不同時空的故事，投射出香港舞者 3 3 不盡的澎湃動力。Hong Kong’s 3 flagship dance companies illuminate 3 stories transpiring in different time-space with 3 diverse dance forms that project the infinite dynamism of Hong Kong’s dance.

節目

演出單位Group -城市當代舞蹈團

《星期一（雨）》

CCDC

•香港芭蕾舞團 Hong Kong Ballet

•香港舞蹈團 Hong Kong Dance Company

國際舞蹈學院節20週年

編舞 Choreographer: 龐智筠

Programme

Rainy Days and Mondays…

Noel Pong

《杜蘭朵》（第二及三幕）

娜泰莉•维亞

Turandot (Act II & III)

Natalie Weir

《塵埃落定》（選段）

劉凌莉、關大心

Red Poppies (Excerpts)

Liu Lingli, Guan Daxin

20th Anniversary I

International Festival of Dance Academies | 來自北京、布利斯班、香港、倫敦、紐約、柏斯、南非及台北的優秀年青舞者，演繹各地編舞大師的當代

名作。Matchless performances by outstanding young artists from Beijing, Brisbane, Hong Kong, London, New York, Perth, South Africa, and Taipei in works by some of today’s best-known and most significant choreographers

演出單位Group

■香港演藝學院Hong Kong Academy for Performing Arts

•昆士蘭科技大學Queensland

節H

編舞 Choreographer:

Programme

《脈動》Pulse

梅卓燕 Mui Cheuk Yin

《黃土' 黃河》Yellow Earth Yellow River

蔣華車干Jiang Huaxuan Frances Rings

Happy Place

University of Technology

•西澳演藝學院Western Australian Academy of Performing Arts

•北京舞蹈學院Beijing Dance Academy

•香港演藝學院Hong Kong Academy

《飄流》Adrift

Sue Peacock

《卡斯瑪的色彩》Kazimir rs Colours

Mauro Bigonzetti

少數民族舞蹈七篇 Chinese Minorities Folk Dances Suite

《梁祝學堂》Butterfly Lovers

伍宇烈Yuri Ng

for Performing Arts

•拉賓中心(倫敦)Transitions Dance 《繹動人生》Unstill Life Company / Laban (London)

•香港、澳洲三院合演1IK&

Crystal Pite

《天鵝湖》Swan Lake

Sarah Michelson

《越》Beyond

王榮祿 Ong Yong Lock

《白衣男子》Man in White

孔和平 Kong Ho-ping

Australian Academies jointly perform

•國立台北藝術大學Taipei National University of the Arts

•紐約州立大學Purchase學院 Purchase Conservatory, SUNY • Tshwane科技大學(南非)

Tshvvane University of Technology (South Africa)

《穹蒼下》Under the Welkin

鄭宗龍 Cheng Tsung-Iung

《源生》力 Few Chapters ofFlowing Life

張曉雄 Zhang Xiao-xiong

《裂國》(選段)Cloven Kingdom (Excerpt)

Paul Taylor

《榮耀頌歌》(選段)Gloria (Excerpts)

Mark Morris

《情人》Valentine

Gerald Arpino

《甜蜜夜》Sweef Honey Nights

Songezo Mchilizeli

Tjommies

Debra Gush

《壁花日記》Wallflower Diaries

Timothy Le Roux

賈作光舞蹈藝術觀禮Jia, Zuo-guang and

11.6(3 Sun)

the Mastery of Chinese Dance

演藝學院戲劇院Drama Theater, HKAPA

2:30pm

中阈舞蹈界的•代宗師'阈寶级舞蹈家賈作光先生親臨香江發表專題講座，並率領一群中阈傑出藝術家作

•包括资Ss.、敖登格FI勒、劉敏康紹輝、迪麗娜闹及於曉雪。Chinese dance living legends in an unparalleled lecture by Jia Zuo-guang and live performances by this generation’s brightest stars including I luang Doudou, Dili na er, Kang Shaohui and Liu Min.

journal/hk vol.8 no.2 I

專稿 Article

An Interview

with

You have co-authored 15 pieces since

within which I would direct. The parameters

1980. Where does your passion to create

of the ‘frame’ became more important to my

come from?

choreography after making films. Films

I have a need to express myself. I sometimes

achieve an intimacy with close-ups that's

feel wounded by the world. I need to express

hard to achieve in dance. Nevertheless, my

myself with a group. A dance troupe is like a

filmmaking experience drove me to achieve

small society, and what we do brings us into

an intimacy in my choreography. Even

direct contact with the public. I feel a need to

though an actual physical ‘close up’ is not

communicate in this way with the public.

possible in a dance performance, there are

Choreographer

There is a sort of playful element to About

other ways of achieving the feeling of intimacy

Love, inspired in part by the death of my aunt

that comes with it. All of this came from my

Joelle Bouvier

and uncle during production. I was very close

work with film upon which I have reflected

to them and I felt inspired to bring their joyous

quite a bit.

sense of life to this show. There is a joyous

element to About Love.

What inspired you to create About Love? Working with young dancers, all of them in

Creating is a visceral and vital necessity for

Did

youfind dancing or did dancing

findyou? (Haveyou always been

me; I need it to live. Although my children

production about love influenced me to focus

area great source of joy for me, I think I’d be

on the aspects of romantic love, not

depressed without the dance studio.

necessarily filial love, the love between a

It’s a way to share something with others, a

what my dancers are experiencing and can

means of expression and communication.

better relate to at this stage in their lives.

I’ve made many short films. Film is the

Basically, this is about love for ‘the other’ and

opposite of live performance in that once it’s

searching for ‘another’ to love.

parent and a child. I did this because this is

drawn to the performing arts?) I suppose you could say I have always

danced. I’ve danced since I was four years old. When I was a little girl, I always knew I’d

grow up to be either a dancer or an astronaut.

When I was young, I would improvise scenes on stage at school; I was really good at it.

What made you take the step to become a

choreographer? I discovered choreography with my

collaborator of 20 years, Regis Obadia. We worked very well together. You could say our

work was a true fusion of creativity between

two choreographers. My work is highly influenced by painting,

especially of the human form. The way

done, the result is definitive. With dance, there

are rehearsals, the unknown and all the other

with the Impressionists, too, who showed the human form in the world. Francis Bacon is probably the painter who most influenced me. In fact, I wrote a book called Dance and

Cinema, and had asked for Bacon’s permiss ion to reproduce one of his paintings in it He

was kind and said yes, so we sent him a copy of the book. Later, I saw a photograph

of his studio and saw our book on his desk. It was the shock of my life! We later talked and he told us he liked our work very much.

It’s an emotionally uplifting show because it

factors that come to bear upon a

says we can find love every day, even though

performance on a particular evening. For this

there are some lonely scenes. They are a

reason, it’s never the same performance

part of About Love because love is also

twice. And I love that; it’s extraordinary to

defined by longing, by its absence.And there

experience the same moment, to live through

are many kinds of love, that’s why I also deal

the same experiences with 100 people. Film,

with prostitution in the show.

on the other hand is amazing in that you can

get old next to your films while within them

You could say that in a thematic sense, we

you will always look young! And with film,

took up the 'river of love’ and not necessarily

your work can be simultaneously projected

all of its ‘streams’ and variations. We did this

in 100’s of theatres.

because love and its manifestations

comprise an infinite quantity. In fact, I speak

Courbet depicts the body, the way he

showed how people really move. It’s that way

their 30s, and wanting to make a dance

The short films we made were never

of love in all of my work, but it was really

pigeonholed as ‘dance films’. Indeed, since

liberating to make a show that deals

we began making them in 1989, we won

specifically with the topic of love itself. Here,

awards at film festivals around the world for

the topic is the 'vertiginous of love’，the

what they were: silent movies with a bit of

headiness, both in the sense of intensity and

fantasy thrown in and geared to the general

folly. It’s the moment of realizing you are in

public. We made two black and white films

love, that amazingly powerful feeling that

and two colour films. We were inspired by

overcomes when you realize you are

Japanese films, Kurosowa in particular, and

completely alive and fully conscious of

Russian films with Tarkovsky made a deep

yourself as loving and loved.

impression. Making films really influenced my

choreography in the sense that I would look

Describe the atmospheiv in the mom during

at the audience’s point of view as a ‘frame’

a peifonnance of 'About Love '.

舞第8冊第2期

專籍

H Article

I work with international actors. The show

scene slides in behind the other. It's not all

About Love is like running through the FM

begins with a white feather in a Korean

fun and games because it’s a fact that

‘love stations’ on your radio.

woman's hand, a leafless tree branch

unrequited love entails a lot of suffering. The

standing in the corner. It's a timeless and

fact is that sometimes one is not loved back.

‘About Love’ has poetic and philosophical

typically oriental feel as evidenced by the

The great artists of all time spoke mostly

undertones and theatrical elements. Is this

refinement of her movements. I also have a

about not being loved and the absence of

becauseyou wanted to give the petfonncince

Greek dancer in our troupe. Her character’s

love; in this show, I speak of searching for

a ‘deeper’tone?

expression of love is more carnal, Mediter

love.

It’s deep, intense and most of all, it’s honest. In fact, I think it speaks to a kind of truth, one

ranean. There is smoke, tango dancing and couples checking each other out in a bar.

This can be illustrated by a drunken fellow

that can only come about when the dancers

Their movement is frenetic; they are together

coming home late at night. He’s alone, it’s

are fully committed to their roles and consum

but each is alone, solitary in an abstract world.

so late, the birds are beginning to sing... it’s

mately invested in their performances.

It’s ironic, actually, that in a city with millions

poignant but the show conveys it very

of people many feel lonely and this feeling is

positively in that sense that, if not today, then

Indeed, one must be committed to one’s life.

exacerbated by the fact that they are

perhaps tomorrow, love will come.

The dancers have actual lines which they

surrounded by so many other individuals with

Nevertheless, loneliness still exists.

speak; some are very direct and simple and the words are used in different ways. I didn’t

whom they feel no connection.

You have said that ‘About Love’is not tiying

want to operate under any constraints, such

So, the show has many different ways of

to deliver a message. What then is it trying to

as a prohibition to allow the spoken word in

depicting love; it’s like a series of glimpses

deliver?

a dance. This goes along the lines of ‘Love

of love throughout the world. There are many

Impressions multiple and varied; each

permits everything', so I conjured up diverse

sets: a huge ballroom, a street, a cabaret

audience member has the right to take away

images, women and butterflies, for example,

and many places around the world are

the message he or she wants. My goal is to

as there is no inherent order to love. It is,

represented to emphasize love’s universality.

have a multitude of life's instants unfold

instead, an arrangement of feelings.

Love, in fact, belongs to everyone; no nation

before them as if one were looking in a

has a monopoly on it. I believe the Hong

building with many different rooms. From

This work represents a lot of reflection and

Kong audience will connect with the show

each room, one can glean a different

thinking about love. In fact, I'd like to do a

because love is something that brings all of

impression of love, all of the fragments

show every five years to see what has

us together and is something with which each

speaking to a larger picture. The act of seeing

changed. In sum, with love “anything goes”.

all of these fragments, in the way in which

Let your feelings guide you.

of us can resonate in our own particular way.

we have mixed them together, results in the In essence, I work with images. I have one

audience member wanting to fall in love!

couple who appear on a moving platform

I’d like to stress, however, that this is not a

patchwork. Indeed, I had to include all of

who examine their love relationship as it

Thepiece interweaves aspects qfArgentinean

evolves over the years. In this way, we see

Tango and Swing among other things (Bach

is not a ‘love’ postcard, it’s not a cliche. The

how couples grow. The show is full of stylized

oratorio). How did you create harmony

audience will see whatever they project from

these aforementioned contrasts. About Love

images and metaphors of love. It’s poignant

between these contrasting styles?

themselves into the show. Like Luchino

and self-mocking; referring to the emotional

I created harmony by using the diversity

Visconti’s film, The Damned, there is a marri

states we find ourselves in when in and out

present among my dancers. This fact made

age in the first scene; I was inspired by that.

of love.

me want to dive into the ‘different’ and have

it expressed with sacred music, tango, etc.

The show’s design allows for the spectator

The choreography of 'About Love’is based

There is a diversity of music; it's as if we

to slide in and out of these many

amuncl loves ambiguity. How does the piece

opened one of those doors and out came

manifestations of love.

communicate this?

Korean music and from another an Italian

It does this through many short scenes, an

movie score of the 60s, Bach from another,

Ifyou had to sum up your perspective oil

array of impressions. In fact, the primary

etc... In essence, this is a collage with a

love in one sentence what would you say?

metaphor could be said to be a kaleidoscope;

plurality of possibilities. It’s very much like

I believe in it. I believe in love and I see

move it a bit and you see a different image.

flipping through the FM dial on the radio in

that love loves me and I don't want to

This shows the metamorphic aspect of love;

any large city. On one station you’ll hear an

get into a spat with love; I don't want to

shift your perspective a little and you see a

intellectual discussion, on another, African

be mad at love. ■

different scene. And so, in the show, one

music, on another, blaring advertisements.

dance journal / hk vol.8 no.2

專稿

2006

Article

年2月1 5曰•葵青劇

Recipient Cissy Pao. The recipients of

院。香港舞蹈聯盟頌發

the 8th Hong Kong Dance Awards are:

第八屆香港舞蹈年獎。一■年一■度的香港舞蹈年獎，旨在表揚於過去—年中

The Distinguished Achievement

對香港舞蹈發展有傑出貢獻的人士及

Award — Stephen Jefferies

團體。在今年的各個獎項中.最矚目

The Distinguished Achievement Award

Hong

的可算是的傑出成就獎。香港舞蹈年

獎傑出成就獎並不是每年都頌發的獎

is presented to Stephen Jefferies to honor his decade-long Artistic Directorship of

香港Kong

項，自200］年創立以來，只頌發了三次予四位得獎者•分別為2()01的

王仁曼、2002年的黎海寧和2004年

舞蹈Dance

的包培慶、包培麗。2006年的傑出

成就獎得主是即將離任的香港芭蕾舞

the Hong Kong Ballet.

When Mr.

Jefferies assumed the helm in 1996, his

vision was to propel the Hong Kong Ballet to the highest artistic standard and ensure it acquired an international

年獎Awards

團藝術總監謝傑斐，以表揚他於過去

十年擔任香港芭蕾舞團藝術總監期

reputation for excellence.

His

unwavering dedication has enabled the

間•對提升舞團的藝術水平和國際聲

譽所作出的貢獻。在如雷的掌聲和喝

Company to achieve his vision.

彩聲中，謝傑斐從20()4年的倮出成

During his tenure, Mr. Jefferies

就獎得主包培麗手中接過獎座。

diversified the Company’s repertory

2006年香港舞蹈年獎各得獎者為：

adding thirteen classical and nine original full-length, and nine one-act

傑出成就獎— —謝傑斐

亡 February 2006, in Kwai Tsing

ballets. His Nutcracker is a Hong Kong

謝傑斐先生以過去十年來對香港芭蕾

丄

Hong Kong Dance

Christmas tradition setting a local record

舞團的貢獻而獲取2()06年香港舞蹈

Theatre,

Alliance presented the 8th Hong Kong

of 117 performances over nine years. Mr.

年獎傑出成就獎。謝傑斐先生於

Dance Awards. The Hong Kong Dance

Jefferies’ innovations include

1996年出掌香港芭蕾舞團的藝術總

Awards are an annual event that

commissioning original Chinese-themed

監一職.目標是帶頜香港芭蕾舞團達

recognize and acknowledge significant

productions with new scores. Of these,

至藝術最高水準及爭取國際優秀鼙

contributions to Hong Kong dance for

The Last Emperor, with Wayne

譽，而舞團今天的成就證明了謝傑斐

work accomplished during the pervious

Eagling’s choreography and Su Cong’s

先生努力的成果。

year. The evening’s highlight was the

music, is the Company’s signature

presentation of the Distinguished

touring ballet. The latest, Mr. Jefferies’

Achievement Award. Not awarded every

own Suzie Wong with Chris Babida’s

year, this was only the fourth time the

original score, premieres in March 2006.

Distinguished Achievement Award has

謝傑斐 Steven Jefferies

been conferred. In 2001 it was awarded

Stephen Jefferies has made his first

to Jean M Wong, in 2002 to Helen Lai

priority training dancers. This includes

and in 2004 to Anna Pao Sohmen and

providing opportunities for them to

Cissy Pao. This year, the honor was

develop their full potential including

given to outgoing Hong Kong Ballet

choreographic workshops to showcase

Artistic Director, Stephen Jefferies, for

their talent and creativity.

his work in Hong Kong Ballet which

leadership, the Company has staked its

significantly raised the company’s

place in the international dance sphere

artistic standard and international

and acted as cultural ambassador for

reputation. Cheered by the audience,

Hong Kong on tours to North American

Jefferies received the Award from the

and Europe, Singapore, Shanghai.

2004 Distinguished Achievement Award

Northern China, and Beijing.

Under his

的 Article

舞gggL第8冊第2期

專藏

在任期間，謝傑斐先生豐富了舞團的

感意象圖畫，藉此帶領觀眾展開想象

Stephen Jefferies’ outstanding

劇目，包括十三套古典舞劇、九套原

的翅膀，■■起體驗那對死亡失落和對

achievement has led the Hong Kong

創舞劇和九支獨幕芭蕾舞。他為舞團

生命奥妙的遐想。

Ballet to become one of Asia’s leading

排演了備受觀眾歡迎的《天鵝湖》和

classical ballet companies with a unique

《睡美人》，而《胡桃夾子》更成為經

楊雲濤

identity, excellent dancers, and superb

久不衰的節目，在九年之內共演出了

楊雲濤先生以演出城市當代舞蹈團製

productions.

117場。他又大膽地委約以中國故事

作的舞劇《霸王》中的項羽而獲取

為題材的原創芭蕾舞劇，其中由顏以

20()6年香港舞蹈年獎。楊雲濤先生的

Bill Haycock

寧編舞，蘇聰作曲的《末代皇帝》已經

霸王項羽傳遞著不是舞臺上慣見的修

The Hong Kong Dance Award 2006 is

成為舞團對外巡迴演出的招牌節目。

飾和華美，而是直透人心的一份厚重

presented to Bill Haycock for his set and

感情，而這份感情是在生活中提煉得

costume design of the Hong Kong

謝傑斐先生對培養演員不單是不遺餘

來。在他的演出中，觀眾可以感受到

Ballet’s Madama Butterfly. Haycock’s

力，更提供機會讓演員們進行創作。

這位舞蹈家的專注和坦誠，每一個姿

sumptuous work brilliantly distills and

在他的領導下，香港芭蕾舞團已於國

態內斂含蓄、每一個動作奔騰張揚、

clarifies this contemporary ballet by an

際舞壇上穩佔一席位，並作為香港的

在內斂和張揚之間牽動著觀眾的心

Australian choreographer based on an

文化大使演出於北美洲、歐洲、新加

弦，邀請著觀眾進入他的私人天地，

Italian opera originally set in early

坡、北京、上海、東北三省等地。謝

分享他生活中的經驗。

twentieth-century Japan about the tragic

傑斐先生的傑出貢獻讓香港芭蕾舞團

love of a Geisha for an American sailor.

當之無愧地成為一個具有獨特風格、

Haycock’s coherence of these disparate

優秀舞蹈員和高水準製作的亞洲一流

elements is magic. His beautiful sets and

芭蕾舞團。

costumes glean essence into symbol and

reveal story while enchantingly

夏國斌

resonating theatrical tradition with fairy

夏國斌先生為香港芭蕾舞團的舞劇

lights, glitter, a huge knife, and a very

《蝴蝶夫人》設計佈景和服裝而獲取

long dress train.

20()6年香港舞蹈年獎。夏國斌先生出

色的舞台設計鮮明活潑地展示了一個

Xing Liang

由澳洲編舞家創作、基礎於義大利原

The Hong Kong Dance Award 2006 is

創歌劇、關於二十世紀初的一個日本

presented to Xing Liang, for his

藝伎和美國海員相戀的愛情故事。這

choreography of CCDC’s Stranger Than

眾多看起來毫無關係的文化元素，通

楊雲濤與大會司儀楊春江

Fiction. In this breathtaking work, Xing

過舞台上精美絕倫的佈景和服飾，被

Yang Yun Tao and

mirrors a world of arbitrariness,

神奇地糅合起來並賦予饒有意味的象

Emcee Daniel Yeung

turbidity, and palpable disquiet whose

徵美學符號，使戲劇舞蹈的內容和

賀基富

denizens, the dancers, careen through the

外貌更相得益彰。

贺基富先生為香港演藝學院舞蹈學院

space as if caught in the dark right-hand

的製作《身之繹動》編排舞蹈節目《向

panel of Hieronymus Bosch’s The

邢亮

法蘭仙納杜拉致敬》而獲取2006年香

Garden ofEarthly Delights or in one of

邢亮先生為城市當代舞蹈團編排舞蹈

港舞蹈年獎。舞蹈雖然是以賭博世界

the lower circles of Dante’s Inferno.

《鏡•花•圓》而獲取20()6年香港舞

的黑暗生活為題材，編排上卻處處

Xing’s work is rich, complex and loaded

蹈年獎。在這支充滿張力的舞蹈中，

流露出對生命的憧憬和希望。贺基富

with compelling images masterfully

邢亮先生驅動著一群出類拔萃的舞

先生的精妙舞蹈編排更體現在充分調

composed that allow us to fully savor

者，以無懈可擊的動作語言，穿行在

動演藝學院的一批年輕學生，讓他們

their power to both fascinate and repel,

詭異而暗無天日的黃泉路上，釋放著

得以各自發揮所長，透過法藺•仙納

drawing us in not to quench thirst，but

每個軀體當中的彷徨、猶豫、呐喊和

杜拉的歌曲，展示了一段充滿活力的

to kindle one long buried.

討生命留戀的蠕動和衝動。他成功地

愛情、失落、幸福、寂寞和幸運的奇

展閒丫一幅多層次而充滿感染力的動

妙旅程。

相ncejoumal / hk vol.8 no.2 BI :變專’藏 Article 伍宇烈、黃大徽、陳友榮、陳俊、陳

Yang Yun Tao

stage. While he weaves a richly textured

磊、黃磊、陸仁山、米濤、胡錦明、

The Hong Kong Dance Award 2006 is

paean to the world-weary ways of roues,

謝茵及楊怡孜

presented to Yang Yun Tao, for his

gamblers, and their ladies, Hawley

伍宇烈、黃大徽、陳友榮、陳俊、陳

performance in CCDC’s The Conqueror.

returns us to innocence where darkness

磊、黃磊、陸仁山、米濤、胡錦明、

Striding onto the stage in the Conqueror,

is displaced with exuberance, play,

謝茵和楊怡孜為香港舞蹈團的「八樓

Yang communicates an emotional vortex

and hope.

平台」製作編排節目《民間傳奇》而

with each step. His dancing abjures the

獲取2()06年香港舞蹈年獎。在這個

extraneous, repudiates any patina of

Yuri Ng, Dick Wong, Ewing Chan,

編與演均光彩奪目的《民間傳奇》舞

manner or custom and instead, with

Chen Jun, Chen Kei, Huang Lei,

蹈中，中國的傳統元素和個人的感受

directness and simplicity he embodies

Lok Ian San, Mi Tao, Wu Kam

被結合得天衣無縫。觀眾除了跟隨著

expression, lays bare passion. His effort

Ming, Xie Yin, and Yang Yizi

舞者們同悲同喜之外，更能鉤投入一

is not in accomplishing the movement

The Hong Kong Dance Award 2006 is

個精巧細緻而古今融為一體的舞蹈藝

nor does his movement translate feeling.

presented to Yuri Ng, Dick Wong, Ewing

術世界。

Yang Yun Tao's powerful dancing is

Chan, Chen Jun, Chen Kei, Huang Lei,

suffused with honest intensity; every

Lok Ian San, Mi Tao, Wu Kam Ming,

香港舞蹈團

gesture true, every movement felt, every

Xie Yin, and Yang Yizi for their

香港舞蹈團以策劃及製作一系列的

second a lived experience that we are

choreography and creation of Hong

「八樓平台」節目而獲取2006年香港

privileged to share.

Kong Dance Company's 8th Floor

舞蹈年獎。把位於上環文娛中心八樓

Platform production of Min Jian Chuan

的排練廳改裝成實驗性的表演場地，

Qi. In this fortuitous confluence of

香港舞蹈團的這個概念和計劃為本土

brilliant choreography and exquisite

的中國舞蹈界提供了創作、敎育、演

dancing artistry, the collaborators reveal

出和培養觀眾的機會。在已經舉行的

the rich mother lode of Chinese dance.

一系列「八樓平台」節目中，多個不

By deconstructing tradition and wedding

同界別的藝術家和香港舞蹈團的演員

form and content with personal

合作推出饒有新意的創作，為中國舞

statement, Min Jian Chuan Qi admits

蹈在當代香港社會的發展增添了更多

audiences into the dancers’ lives. It

活力和更多可能性。

allows us to share a sense of immediacy with the intricate and

聖雅各福群會

sophisticated forms of a rich and

聖雅各福群會以其在舞蹈敎育上的貢

complex c.ulture and brings it to the

獻獲取2006年香港舞蹈年獎。聖雅

賀基富與大會司儀劉燕玲

各福群會自1991年以來便推行舞蹈

Keith Hawley and Emcee Stella Lau

here and now.

敎育以幫助香港的弱能人士提高生活

Hong Kong Dance Company

素質，不但聘請專業的舞蹈家為舞蹈

Keith Hawley

The Hong Kong Dance Award 2006 is

敎師，更在1996年起，和香港演藝

The Hong Kong Dance Award 2006 is

presented to Hong Kong Dance

學院合作開設特殊舞蹈課程。聖雅各

presented to Keith Hawley, for his

Company, for its concept and production

福群會更在2()0()年成立心飛舞團，

choreography of A Tribute to Frank

of 8th Floor Platform.

With its

一方面讓弱能人士有機會展示他們在

Sinatra for HKAPA’s Body Torque.

transformation of the dancers’ 8th floor

舞蹈上的才華，也可以讓一般觀眾通

Hawley’s glorious choreography to the

rehearsal studio at its Shcung Wan

過舞蹈欣賞他們的美麗和瞭解他們的

songs of “01’ Blue Eyes” takes us on a

Municipal

wonderful journey through the ups and

headquarters into an experimental

downs of love, loss, joy, loneliness, and

theatre, the Hong Kong Dance Company

陳敏兒，楊惠美

luck! Hawley’s genius is in taking the

has achieved immensely more than just

陳敏兒女士及楊惠美女士合作編創節

measure of his young dancers, finding

changing the furniture. The 8th Floor

目《尋找家豬的故事》而獲取2()()6年

the best in them, and giving it center

Platform is also more than just a hotbed

內心世界。

Services

Building

舞

ggL第8冊第2期

專禧

H Article

香港舞蹈年獎。節目以瘋狂搞笑的形

of creativity, performance, education,

another, Chan and Yeung present a

式進行，展示了陳敏兒女士及楊惠美

demonstration, collaborations with local

deeply humanist and humorous portrait

女士兩位三十餘歲香港女性的成長經

artists, and audience building, although

of the paradise that could be every(wo)

驗。她們玩弄著滿台的舊傢具，並半

it accomplishes these splendidly. The 8th

man’s childhood.

帶懷舊半帶諷刺地借用了許多昔曰的

Floor Platform is a groundbreaking

文化符號，如廣東流行歌、電視劇、

venture for Chinese dance that will help

Allen Lam and Abby Chan

中國革命樣板戲等，在巨大的惹笑效

to ensure its continued vitality in

The Hong Kong Dance Award 2006 is

果背後，對自身歷史和環境的細膩思

contemporary Hong Kong culture.

presented to Allen Lam and Abby Chan,

考•呈現出這一代香港舞蹈家特有的幽默感性和人文關懷。

for realization of Hong Kong Dance St James’ Settlement

Alliance’s dance exchange project

The Hong Kong Dance Award 2006 is

Dance Wide HKNY. Conceived by Chan

presented to St James’ Settlement, for

and the fruit of four years work, it

its work in dance education. To help

enabled artists from Hong Kong and

accomplish its mission of providing the

New York to learn from and about each

best services to enable people with

other.

disabilities to have the best quality of

coming to Hong Kong, in 2005, with

life, St James’ Settlement has, since

Lam’s help, it became a two-way street.

1991, offered dance education. What

Four artists from each city worked in

After three years of dancers

they have accomplished is the best in

both cities for two months and showed

林偉源，陳敏兒

dance. Dance classes are conducted by

the rewarding fruits of their labor, their

林偉源先生及陳敏兒女士以策劃和完

professional artists and, since 1996, for

成香港舞蹈聯盟的交流計劃「Dance

those with deeper interest, augmented

to audiences at NYC’s Dance

Wide HKNY」而獲取20()6年香港舞蹈

with integrated classes at the HKAPA.

Theatre Workshop and HK’s Studio

年獎。「Dance Wide HKNY」的構思

In 2000, Dancing Heart Troupe was

Theatre

開始於四年前，目的是提供機會給香

established to provide these dancers with

港和紐約的舞蹈家進行藝術上的交

greater performing opportunities. In

Jacky Yu

流。2()()5年终於實現了這一理想，

doing so, St James’ Settlement has

The Hong Kong Dance Award 2006 is

四位紐約和四位香港的舞蹈家在兩地

empowered its dancers, enhancing their

presented to Jacky Yu, for his

居住兩個月，進行聯合創作，並在紐

lives, and enriching ours with the beauty

choreography of E-side Modern Dance

約DTW劇場和香港文化中心劇場演

and sincerity of their splendid art.

Company’s Toppling the World. In this

出，讓兩地觀眾能清楚地觀察兩地舞

蹈家對藝術的異同觀點。

tour de force of choreographic skill and

Abby Chan and Yeung Wai Mei

inspired invention, Yu creates a ceaseless

The Hong Kong Dance Award 2006 is

flow of full-bodied movement that he

余仁華

presented to Abby Chan and Yeung Wai

deftly alternates between the highly

余仁華先生為東邊現代舞團編排舞蹈

Mei, for their creation of McMuimui’s

energetic

《翻天覆地》而獲取200()年香港舞蹈年

Love in ci Doggy Bag. In this madcap

contemporary world and the undulating

獎。余仁華先生以驚人的想象力創作

dance theatre production, Chan and

sensuality of shared moments of

了《翻天覆地》，他重新打造空間，

Yeung, the quintessential thirty

intimacy and reflection. To compound

在舞蹈進行中，他要求舞者掀起舞臺

something Hong Kong girls, revisit their

this, Yu adds choreography for the space,

physicality

of the

地板•燈光師把燈杆降到地上.後台

roots and take us on a zany and nostalgic

incorporating swinging lights, lowering

人員把天幕推到台前，讓觀幂的視覺

journey to growing up behind the folding

and rising booms, toppled side

飽受刺激。他又創造了連綿不斷而動

gated door of a public housing flat.

instrument towers, and moving

感強烈的全身體型舞蹈•以高能量的

Through a blaze of classic Mandarin

backdrops in a continual exchange with

動為主，夾雜著一點點的敏感輕柔時

torch songs, cantopop, and soap opera

the dancers that superbly creates a

刻•浓觀取不至於喘不過氣來之餘.

themes and amidst furniture that

remade world. ■

微驗到今曰高度濃縮的社會節奏。■

continually morphs from one use to

ance journal/hk vol.8 no.2

舞評

Review 或奇特姿態的肢體，在宣紙間具生命的晃動著，黑色垂墜的寬褲，勾畫出不同角度的弧曲、直線、與墨流之痕

跡，同時間作出高低對照和呼應。影像、思想與空間相互穿插•在不知不覺間進入意識流的狀態中。

『狂』挑戰耐性

「意」象 — —竹筆捍圓渾自然的通

『草』有動於心

芯，彷如舞者廣闊思

想空間，丹田位置潛

藏著沾滿墨汁的狼

文：大階G

毛，蕴藏著澎湃動

力，從內至外的蓄勢待發。

「意」會— —墨（血液）在氣韻貫身之時，不停的伸延奔

糸交纏、心靈重整，震懾

人心的水鏡交融•孤漠浩瀚金稻穀之記憶，至今仍瀝瀝在

變及在藝術文化上仍沈默在呼喚著。

向至身體各部份與蜿

它所以能成為當今世界知名而矚目之

蜒「墨跡」之虚實相互

舞團，實有其獨特引人入勝之處。

呼應。「識」唯識一台東海岸擊浪聲、呼

目，這一切都是『雲門舞集』多年來

譜出濃淡與流逝

呼自然的風聲、寺廟

憑舞者快、穩、準的優秀超凡舞蹈技

的蟬鳴、清脆鈐聲、

沈默呼喚

巧，深厚根基•加上豐富舞台經驗，

呼吸和踏步聲等，這

期待已久享譽國際舞壇『雲門』作品

論實力，可稱得上是殿堂級的舞者。

都是我們曾經，或許

「行草三部曲」成為香港藝術節2006

反而是林氏怎様將舞者融合在歷史悠

聽過、感受過，是似

之開幕重點節目，可惜筆者錯過了兩

久博大的中國書法內，是筆者所渴

曾相識的自然樂韻•

套行草的演出•所以《狂草》昱能再

求。從「喝」勁度十足一聲，整個舞

它突顯出「舞台上的

錯過。在文化中心大戲院的VIP BOX

台亮起陽光般自然燈光，觀幕的心神

寧靜」：凝聚了「舞台

近距離觀賞，可讓身心疲累的我不至

即被憐著，舞者以丹田吐呐與內剛外

下的專注」，舞者全

進入神遊狀態，且心理上已作出看

柔之氣韻律動，從這刻開始，張力與

神貫注、深互緊扣的

『雲門』的思想準備（舞團一貫方向、

能量充斥著整個大劇院。長約十呎巨

舞蹈風格等）。打開手上「行草三部

幅宣紙緩緩從上而降，在幾位舞者舞

之中。

曲」節目簡介時，突然想起『雲門』之

動時、或溜走之間，七幅長宣悄悄地

「流」傳---- 舞者一呼一吸吐呐氣

靈魂人物林懷民---- 藝術總藍.兼編舞

上下升降，時停時動.像是為舞者譜

運全身，舞動 '靜

家。林氏從1978年的《薪傳》運用台

出生動即興節奏。墨汁在地心吸力下

止、轉移，都意識到

灣歷史、後殖民主義：94年《流浪者

透過凹凸厚薄不均的特製宣紙上，時

一股強勁生命動力•

之歌》借佛傳故事，道出靈流魂浪之

快時慢的蜿蜒彎曲扭動著，濃之凝

從舞台上連貫發放出

生涯；95年《九歌》悼念國殤•萬民

聚，淡之幻化，不斷往下伸延•墨跡

來•甚至將之放大傳

祝禱：98年鏡花水月總成空的《水

隨每刻的流逝而展現。

達至遠處的觀幂。舞

帶给筆者忘不了之回憶。

進入當刻大自然狀態

者不能言喻深厚的功

月》；（）1年色彩強烈的築夢尋真《竹

力，須親身感受。

夢》，及至近期透過太極、冥想和武

紙間之虛實

術等元素融入作品之中。「雲門」活

長巨宣為舞台營造出不同深度的空間

「流」動— —舞者主要律動方式都

躍舞壇三十二載•作品超過七十餘

層次，舞者有時會在它前幅或背後蠕

是從上而下，繼而深

齣•由惜日《薪傳》透過歷史至今的

動著，在光影投射下，霧白的宣紙呈

蹲•重心左右轉移•

「行草三部曲」借中國書法美學作題

現著藝術雕塑般的身段剪影，玲櫳剔

間中連績躍地而跳.

材，在其中可感受到他心路歷程之轉

透，偶爾會發現舍胸收腹彎曲的身軀

較小著地•金位 '幾

舞蹈手札第8冊第2期E!

舞評

Review 位及多位舞者在宣紙

前、後、之間靜悄的凝聚、分散、溜走與

加入•其間沒有任何

身體接觸•相互感覺著身上氣流、温度，往那、往這流進… …

流進著，其剛柔流暢

的過程與在旁的墨跡

隨意地渲染流轉•頓然渾成一體•不會有

喧賓奪主之感。

法、形、生一不離法度井然書法之「狂草」靈感多自取材自然界

現象作筆，加以形容、描述，憑著生

活體驗及感受•去領悟和收賞。其「章法」乃恣意縱横、率性超逸、氣韻淋漓、忽往復收、不拘成法，從墨跡中隱約感受到情绪之轉化，但终不

離法度井然。其「形法」结構以勢為

主，常一筆數字，偶有不連，而血脈

不斷，及其連者，氣候通其隔行，達到全章貫氣、靈巧生動之效。雖脱離

攝影：劉振祥

其實用之意義，但可提昇為一種高度「表現主義藝術」來鑒賞。

舞蹈之《狂草》，由開始至结束約七十分鐘，舞者間相互從沒觸碰及誇張面部表情，及至末段二十多位舞者並肩相互緊扣起來，集結凝聚成唯一動力焦點，繼而漸進的拆解、分散、疏

離與溜走，再報以與開場時一樣的「喝」的咙喝聲，被此和應。這些令

筆者更清澈明碟的感受到，以上所提

及到書法中「狂草」之簡述與『雲門』

之《狂草》舞蹈，實有其相似巧合、融會貫通之處！

假如觀眾•能心思細密的尋回當刻《狂草》之舞蹈片段，實不難發現：

一、舞蹈「技巧之運用」與書法中

的「章法」，同是「不限於法，不拘於形.只從心生」：二、舞蹈「結構上整體形態」與書法中的「形法結

構」，同是以勢為主•存情不斷.

氣存於相互溜走之間，终不離法度

的感與悟•甚至簡單得可跟舞者一

井然。

同呼吸，就能徹底投入享受其中。

須知生命隨流走歲月•總會使人在

「狂」堅持執著「草」有動於心

迷茫中作出反抗、呼喚，從而改變

過去『雲門』曾呈現出不同色調為主

與適應。留下之墨痕濃淡幻化不

題的作品，而林氏在《狂草》運用了

一，沒絕對的黑與白、對與錯，惟

黑與白二色（霧白宣紙、黑墨與黑

有宣纸的留白、呼吸之間，大自然

舞衣），巧妙地將其色兹藏（冷靜、

的對話，這都能讓觀眾得到當刻寧

隱藏、反思和矛盾）之含意，融入

靜、祥和。或許思索就是藝術的能

整個作品中。將「絕對的矛盾」和

量•律動心靈，才能真正找到自在

「非黑即白」這理想主義概論，透過

空間。在舞段结束時•台上遺留著

其作品坦蕩無忌、真實無礙地呈現

一灘似盡的餘墨，「它」沈默地朝著

在觀眾眼前。筆者有感「狂草」是

逍遙無障的邊際•尋找著那沒完

『雲門』在舞蹈藝術上轉捩點的開

的……「它」既可載著無比勇氣•亦

始，發揮出表演藝術精髓— —不是

不受世俗約束，作出多種嘗試一

為演而演。雖沒狂野激盪、節奏澎

挑戰觀幂耐性-引導觀眾反思、實

湃之舞蹈音樂元素，但此「狂」是堅

我行我素之自在•正因為「它J是

持那份執著•「草」乃有動於心，以

『雲門舞集』

舞發之。你只須憑著生活體驗•欣

賞「它」實而不華、靈巧細膩.真正

。画

ance journal/hk vol.8 no.2

舞評

阪

Review is a more sophisticated dance actress.

However Ci Cao was less dramatic as the Beast. In the supporting roles,

Kosuke Yamamoto was a dazzling raven

soloist. Alain Dubreuil was superb as

Dance Offerings from

Belle’s father, lending the right weight to every gesture.

Hong Kong Arts Festival by Kevin Ng

Birmingham Royal Ballet was

final duet after his transformation into a

m the first dance company to

prince is the most moving and expressive

appear in this year’s Hong Kong Arts

of the three. However Bintley is perhaps

Festival, with David Bintley’s Beauty

too meticulous in recounting the story.

np-i

and the Beast. The company last

Some scenes could have been shortened,

appeared in the 2000 Festival with

especially the pantomime scenes

Bintley’s Edward II. Beauty and the

involving Belle’s two feisty sisters which

Beast, created by Bintley in 2003 as a

recall Ashton’s Cinderella. The episode

Christmas show, has choreography

depicting Belle being hindered by her

For its latest appearance in the Hong

which is well tailored to display the

sisters before returning to the Beast’s

Kong Arts Festival, Taiwan’s Cloud Gate

company’s strength as a coherent

castle is rather clumsy.

Dance Theatre, the most renowned

contemporary dance company in Asia,

dramatic ensemble. The ballet’s structure is well balanced with mixture of mime

The first cast led by the golden couple

presented the trilogy Cursive on three

and classical dancing, and includes a

of Elisha Willis and Robert Parker, was

successive evenings. All three parts of

Prologue explaining the Prince’s

magnificent. Willis, whom I saw for the

Cursive, inspired by Chinese

transformation into the Beast.

first time, was a revelation. She has an

calligraphy, are choreographed by Lin

easy technique and a natural radiance.

Hwai-Min,- the company’s artistic

Bintley’s choregraphy is competent, and

She danced Belle exquisitely with a

director. I saw the second and third parts.

the narrative is clear. The ensemble

touching innocence. Her solo in the

dances are pretty lively and were well

castle’s ballroom in Act 2 was

The final part, Cursive III，which was

danced. The classical divertissement of

impeccably danced. She was moving in

premiered in Taipei in November 2005,

the birds led by a male soloist

her first duet with the Beast in their first

is an absorbing 70-minute piece divided

representing a raven at the end of Act 1

encounter. And she was simply ecstatic

into 12 sections consisting of solos,

is however slightly too long. Philip

in the final pas de deux. Robert Parker,

duets, and ensemble dances. Lin explores

Prowse’s gilt sets are sumptuous. The

who actually created the role of the

the spirit of "kuangcao’ (wild

lighting is however too dark at times.

Beast, was dramatically powerful. His

calligraphy) which in its more abstract

Glenn Buhr’s music score serves the

virtuosic solos were brilliantly danced.

style is regarded as the pinnacle of the

ballet extremely well providing a range

And he was at his most noble in the final

art of calligraphy. The wildness of this

of rhythms and moods.

pas de deux.

form of calligraphy is evidently reflected

in Lin’s energetic choreography which The two-act ballet has at its heart three

In another cast the ballerina role was

pas dc deux for Belle and the Beast. The

superbly danced by Anibra Vallo, who

abounds in rapid steps and jumps.

第8冊第2期喵

舞評

Review

Lin uses a small vocabulary of steps which

music accompanies Lin’s choreography

trios, quartets etc. The men danced with

shows the influence of ‘tai-chi’ and

which shows off as usual the technical

excitement. There was an intersting fan

Chinese martial arts. There is however not

strength of the dancers who are equally

dance for three women. And the seven

enough differentiation between the steps

impressive in both adagio and allegro.

muscians including singers and guitarists

of the male and female dancers. The

were fine. Yet the show was too grim. I

troupe’s 23 black-clad dancers are

The simple set consists only of a white

found the lighting too dark at times, and

impressive technicians, and wholly in tune

backdrop at the back of the stage with

the same applied to the costumes.

with Lin’s choreographic style. There are

different images inspired by Chinese

Nevertheless I understand that this is

a lot of undulating arm movements,

porcelain from the Sung Dynasty.

typical of traditional flamenco as

showing off the dancers’ upper bodies

However this 75-minute piece loses

opposed to the more modern forms.

which are richly vibrant in plasticity.

momentum in the last two sections. The

The stage is unexpectedly bare

ritualistic group dances become

The dance programmes this year hit a

repetitive after a while.

new low with the Belgian modern dance

consisting only of six long scrolls of

company Rosas, the final presentation.

simple ink drawings which are raised and

I saw their second programme. Raga for

lowered in different combinations. A

the Rainy Season, a long one-hour work

specially composed sound score fits

for nine white-clad dancers set to Indian

Lin’s choreography perfectly. We hear

raga music. The set is a white rectangle

sounds from nature such as birds, wind,

enclosing the stage. This work has a

and waves breaking on a beach; as well as

simple and solemn air. Initially it is of

a foghorn, drums, and mechanical noises.

interest in its circular patterns for the group. The choreographer Anne Teresa

There is an underlying tension prevalent

de Keersmaeker has a narrow modern

in the work, as if the community were

dance vocabulary which is at times

on the verge of a natural disaster. The

balletic, and which makes prominent use

‘storm’ episode in the beginning is

of the arms. Dancers’ shadows are

theatrically exciting with a large group

sometimes projected onto the backdrop.

of dancers criss-crossing the stage to the

The dancers are all strong technicians.

sound of a storm gradually increasing in

Eva, the Spanish show presented by the

magnitude. Particularly pleasing is a

Eva Yerbabuena Flamenco Company, is

Towards the end the movements become

dynamic trio for three men, which then

a less satisfactory presentation. The only

more violent. A female soloist is being

develops into an interesting quartet with

discernible theme is a woman’s dream

lifted by the group, which seems to recall

the arrival of a female dancer.

of liberation entirely through her

The Rite of Spring. But the ending is far

dancing. There is no doubt that Eva

too long and the momentum sags, as the

The ending, which reprises the beginning,

Yerbabuena, who is a star, is a very fine

work begins to lose direction. It was

is calm with the whole cast assembling

dancer. There were several solos in the

noticeable that some members of the

and forming expressive patterns with

piece to display her artistry -- her

opening night’s audience walked out

their arms, occasionally as if in prayer.

graceful arms, and her azzling command

before the end.

It perhaps symbolises the insignificance

with rhythm, her expressiveness and her

of mankind relative to nature, which is

fieriness. However I found some of the

The second work A Love Supreme set to

particularly resonant in view of the

solos too long, since there was a lack of

jazz for four dancers is more light-hearted.

natural disasters in the news recently.

variation in tone and choreography to

Good to see the dancers loosening up and

Cursive // (2003) is a more lyrical and

sustain our interest.

enjoying themselves. But the work is

meditative work than Cursive III, though

really too light-weight to close the evening,

less accomplished. The ten segments arc

The eight supporting dancers in her

and should have been programmed instead

seamlessly linked together. John Cage’s

troupe shone in some numbers such as

as the opening work. ■

3nc6 journal/hk vol.8 no.2

趋^舞評

Review

從《手拉手》看胡嘉祿作品特色文：鄧蘭

n下旬香港舞蹈團上演了

實環境，由今進古，踏入一個虚幻

覺、第二幕中的《和之署光》，舞者

《手拉手》。此乃香港舞

狀態；又如第三幕《賜我於夢》中現

站在近乎9（）度直板上的突出小格上

蹈團藝術總監胡嘉祿與中國殘疾人藝

代的蘇聰夢想與坐在蓮座上的仙女

展示各種肢體形態甚具創意、同幕

術團總監詹嘵南的共同創作，亦是胡

共舞都亦古亦今，既中且西。這種

中的《圓之構想》氣氣、構圖一流，

氏加盟舞蹈團的第三個作品。四幕劇

中西合璧、古今共全的手法不單存

燈光與燭光製造出玄之境界•美不

連同序、尾聲約長兩小時。舞劇以兩

在幕與幕之間，在同一暮®的不同

勝收。第三幕之《離有所別》及《雪

男（伍佳、歐陽）兩女（蘇聰、萱蘭）

章節基本也是採用這種編排特色，

地友情》中的雙人舞和三人舞簡約

為骨幹•其中兩人為殘疾傷健角色•

最明顯是第四幕：在《迷醉聲光》和

真摯而《掃除塵埃》則活潑有緻，第

內容以殘疾人的故事帚出人與人的互

《鍥而不捨》中萱蘭的沉淪和蘇聰最

四幕《迷醉聲光》利用透光盒和巨型

助互愛。

後破盒而出都展現出現代的西方主

支架表現了聰與萱兩個世界•聰極

義和畫面，到了《圓夢旅程》則來個

力衝破障礙，最終破盒而出•而萱

中西合璧古今共全

中國諸神降臨，霎時又回復東方色

則迷失在規實中•像被困在囚籠都

十五折舞段中（不計序和尾聲）採用

彩之構圖。

對比強烈，佈局精細•編排簡潔有

二

■~

力。在戲劇上，終章中的《圓夢旅

了各式各樣的元素，表達了一幅又一幅的情味意像。形式方面，投影、雜

廣中帶雜亂中見美

程》聰等勇救迷失的萱又似星球大

技、手語、合唱等很是吃重。再顯示

整場節目除了同時運用現代舞與中

戰，虚實相形•弄古作今都有天馬

多媒體的運用漸成胡氏作品之必備元

國舞外，音樂、色彩'服裝以至整

行空的效果。

素。意像方面•中西合璧、古今共全

體構圖都呈現了多元性、多方向和

的畫面亦成為胡氏抒情達意的一種創

多官能的視覺設計。雖然手法廣中

體裁貫徹胡氏作品

作手段。在《手拉手》中當第一幕《相

帶雜，但意像亂中見美則不可置

這種廣含意像、風格雜成的體裁貫

形見聲》的現代氣息過後，接著第二

疑。《手拉手》篇幅之廣或許令人看

徹在胡氏作品中。首作《霸王•別

幕是充滿禪味的《動靜方圓》。此折

得有點膩，加上密集的元素的採

姬》不但嘗試以中國戲曲的技巧糅

舞包含不少中國佛家諸相，跟第一幕

用，確實令人無所適從，但獨立觀

合舞蹈中.現場京樂、彈詞伴春，

的調子、氣氛截然不同，前者充滿現

之.不少章節的設計實屬可觀。如

大風扇•燭光悼念等的設計已見其

代感的人物和環境，後者是一個似虚

第一幕《相形見聲》中一班舞者穿著

大膽運用形形種種的元索來豐富舞

非實的空間•一下子觀取像被抽離現

簡約的便服跳出的舞步予人清新感

作。到了前作《香城若舞》•形式與

舞蹈手札第8冊第2期S0

舞評

Review

風格更與《手拉手》相近。不少舞段

要從舞蹈的角度出

呈現出中西合璧、古今共全的畫

發，多於從戲劇

面，當中李白與莫扎特相遇起舞是

的考慮去創作大

最佳例子。兒童鋼琴或口琴獨奏以至合唱的安排跟《手拉手》中的手語

易。觀眾■有否發覺胡

和兒童合唱基本用意一致•藉歌聲

氏作品的場刊中都有仔細的

增強氣氛、牽動情绪比燭光悼念更

分場。三劇均有序和尾聲，除大標

能產生共鳴。這種編排既能更清晰

題外，每幕同時分了多個小標題，

地帶出主題，又能吸引更廣泛的觀

用意何在？除了幫助編舞構思內容，

幂，都有利於票房。可以説小演員

其實旨在引導觀幂理解故事.有助欣

（包括兒童合唱團或兒童舞蹈團）的

賞節目。惜舞蹈本身實非純粹的模仿

加入除了是作者在創作過程的一種

動作，標題越多越惹人問「做甚

探索之餘，亦是開拓舞團未來發展

麼？」、「點解？」，最後可能出現

的考慮和嘗試。

很多「不明」、「看不懂」的聲音。其實觀幂可視胡氏之作，尤其《香城若舞》與《手拉手》

以舞蹈説故事

為章回小説看，每個章節大可獨立成章，不必過於

胡氏三個作品皆由故事出發。《霸

考究其故事性。畢竟大家看的是舞劇，而非舞台

王•別姬》借古喻今，但又與傳統

劇，過於執著問「點解」反而影響觀賞情緒。

的戲曲故事不同，借兩個經典人物套入文革故事，叫人反思，不無創

還看他的耐力和視觀

意。《香城若舞》利用廣東流行曲帶

持平説，從胡氏三個作品，筆者看到了他的驚人魄力和

出香港數十年的演變，以舞喻情看

耐力。但其作之雜和亂往往影響了作品本身的清晰度

香江，心懷不淺。《手拉手》以殘疾

和定位。事實上筆者每次看他的作品都覺看到了

人的故事説出傷健一家，視野更

很多東西，包括意念、創意和技巧，但不集

廣。雖然總有人批評胡氏作品難

中。雖然個別章節水準很高，整體看之亦

明，尤其是新作《手拉手》。筆者也

只能説好壞參半，因他的好的地方往往给

得承認若不看宣傳單張上的故事大

過多的形式和元素掩蓋了。雖然上文提

綱，很難明白其中意思，皆因胡氏

到可用章回小説的心態看其作，但在同

作品並非以故事來帶動舞蹈，而更

一作品中缺乏統一格調易流俗套，引來各

多是從舞蹈本位去編織意思。胡氏

方意見在所難免。

少有以舞去模仿一些情節而達到如

舞台虞的戲劇效果。舉例説《手拉

姑勿論褒或貶，能在短短一年內創作三個題材各

手》中第一場是工作坊，年青人踴

異的大型舞劇，胡氏的心思與動力，殊不簡單。

曜參予.他不會顯示明確場景给觀幕

至於他現在探索的路向和運用的形式是否為業界接

知道那是工作坊.眾舞者也不會做出

受和推崇則還看他的耐力和視觀。個人認■為其作滿

如填寫表格•紛紛申請參予的情節。

懷誠意，但不乏野心。或者他不須每次都把一切元

或許正因這種不倚重戲劇的手段令觀

素或所思所想，所學所能通通注入其作品中，可能

取產生問號.不過筆者認為胡氏的舞

令人更易看到他的深（度＞和專（業）。現在所見

作能跳出儼如舞臺劇的框框更誠可

評者多為其雜而亂章•少見其亂而含美：多見難

貴。估管這種做法並不易取悦一般觀

明而為劣，少見創新而為專：多見繁為不精，

策•卻是一個編舞創作舞劇時涓衡量

少見廣為博！ ■

和小心處理的環節。

rance journal / hk vol.8 no.2

舞評

Review

意猶未盡的文化啟迪 —林懷民一雲門舞集新作《狂草》 — 文：歐建平

《狂草》亦不例外。

藝人談」中如是説），激發觀眾的想象力為目的...

無論與林懷民的其它作品相比.還

是與我每年在世界各地平均觀看的

出人意料的是，盡管那從天而降的

so到100場舞蹈相比，《狂草》都是

宣紙豎柚、類似屏風的作品先後出

簡約形式與深邃內涵水乳交融的上

現過四幅，整台演出中卻見不到一

總有額外甚至意外的收獲… …此番

乘之作---- 論主題動機，它只有一

個完整的漢字，只有些許在地心引

來港，為港大教授《西方舞蹈史》、

個，就是作為中國傳統文化精髓而

力作用下順流而下的斑斑墨跡，或

《舞蹈欣賞與評論》，最大的收獲當

無始亦無终的氣；論動作發展'它

者經過解構之後的漢字筆畫。有趣

是觀看了林懷民先生05年最新創

只有一個，就是作為漢族經典哲學

的是，當舞者們三五成群地隨氣而

作、雲門舞集世界首演的「行草三

本質而囊括大千世界的太極：論布

舞時，我們則因看不見任何可供辯

部曲」之三《狂草》！

景，它只有一類，就是作為中國傳

認的漢字，而在各自的視覺想象

統書藝載體的宣紙與翰墨；而論表

中，主觀臆造出了某些龍飛鳳舞的

舟來港，無論開會、敎 y人學，還是觀舞、寫舞，

多年來，我在香港、北京、里昂看

達方式，它還是只有一種，就是以

漢字，只是無法確定它們出自哪位

過林先生的一些作品，如《薪傳》、

「書法美學為跳板」（林懷民在「演後

書家之手而已。

《白蛇傳》、《水月》、《流浪者之

歌》；透過海外主流渠道發行的影碟，我也看過他的《竹夢》；課堂上或演講中，我更是經常為各地的學

生們用心解讀過《薪傳》和《流浪者之歌》。難得的是，每次觀賞、品

味他的作品，總能得到與幂不同，甚至各自不同的震撼，無論是身體的、理念的、结構的、文化的，還是音樂的、燈光的、布景的、整體

的，但有一點卻是共同的---- 林懷

民柔中有剛的文人氣質、高屋建瓴

的文化品位、師法自然的審美理念、氣韻生動的中國特色，每每使人心頭悴動.常常令人思緒萬

千……

攝影：劉振祥

舞蹈手札第8冊第2期

舞評

Review

《狂草》中，二十三位雲

見•卻能聽得著，更能

門舞者陸續在十二段長

同步跟進的氣之收放提

短各異、單、雙、三、

沉、肢體隨之而動的摸

四、七、九、十一、二

爬滚打同呼吸共命運，

十三人等八種規模不同

在不經意中感受生命在

的舞段中，以氣息的吐

蒼蒼宇宙中的動靜相

納為手舞足蹈的動力•

生，在行雲流水中的抑

甚至可聞可見的表情，

揚頓挫•得到類似充電

天張地弛、高呼低應、

般的亢奮……

此起彼伏、推陳出新：

那男生稞露的脊梁、女

俗話説，文如其人•字

生緊裹的胸膛，在一氣

如其人。而舞蹈，作為

呵成的舞動中，同「發於

人的身心交互作用的產

內而形於外」的狂草動勢

物，雖不能侃侃而談，

有著某種異曲同工

碓無法墨走丹青，卻能

妙，而腿腳上的喇叭褲

將那些難以言傳或書寫

則在丹田氣的吐納

的感覺、情緒和情感，

成為狂草書體中力透纸

表達得淋璃盡致。《草

背的横豎撇拾。

書》乃至整個「行草三部曲｝的問世足以證明，

狂風驟起，為舞台灌注

舞蹈以身心為媒介，能

了新一輪的天地之氣；

夠將貫穿於書法中的氣

泰（國）蟀小唱，為我們

韻和動勢表達得惟妙惟

部署了新一輪的張力動

肖，讓觀眾在書法形式

靜。男女演員的舞性酣

的間架結構、文字內涵

攝影：劉振祥

暢與這風嘯蟬鳴時而構

成我行我素的自在與對

的意蘊無窮中，親近中

國傳統氣文化的博大精

話，時而舞出相映成輝的風骨與爭

灌書（法），書法佳作的字裡行間無

深，體會民族文化「精、氣、神」的

鳴；而他們渾身上下那種超大幅度

處不充盈著書家們的生命氣息與性

無處不在。

的扭動旋轉、氣息突發、擊鼓為

情意趣，而草書則因擅展用酣暢的

屢看雲門，發現它早已不僅是個單

一的舞蹈表演團體，而且還是所中

節、由內向外，創造出力拔千斤之

氣韻和蒼勁的筆墨直抒胸臆，而成

後的悠然與釋懷，則因這種氣的貫

為所有書體中最能展示書家技藝高

西合壁的文化大學。因此，雲門的

通而顯露出柔初、無骨的神奇與空

下與品第文野的一種。舞台上，似

舞者一旦成熟，並走出它的行列，

靈，更使人感到林懷民長年安排其

筆墨通行的舞者們在低、中、高過

大多都能迅速地進入整個社會的大

雲門舞者們修習太極與書法的苦心

三層空間中或水平移動，或上下穿

文化，從容續寫自己的生命歷程。

與功效—他們無論男女，個個動

梭•偶然間，亦會跺地呐喊，讓氣

而雲門的觀眾，特別是它的發燒友

作沉穩•獨舞者李靜君更表現出氣

息產生無堅不摧的神威，同時亦使

們，則總能在意猶未盡的遐思中身

吞山河的功力與派頭，而作為觀

其張力在對比強烈的時間關係與若

不由己，從不同視角，以不同強

者，我們則禁不住會聯想到：同時

即若離的空間關係中，自然而然地

度•接受它在文化上的某種啟迪。

練習太極與書法，或許是通經活

透視出人間冷暖的各色表情，讓人

絡、防治傷病的捷徑？

心醉神迷....

《狂草》，只是林懷民為雲門的舞者與觀眾.奉獻的一件新品而已… …■

氣無形.人有形，以無形的氣打通

正因為如此，在長達70分鐘、中場

身體內备種有形的屏障，對於那些

不休息的《草書》演出中■坐滿香港

動作不暢且頻頻受傷的舞者們•或

文化中心大劇院的1,734位中外觀

許是一制難得的妙方。人運氣•氣

眾~ •才可能與台上那團雖然看不

'ench

2^》 About Love 《

隊 Dance Company Bouvier舞蹈團呈獻

A contemporary dance show with Argentinian tango, swing and Bach oratorio! 一個融會了阿根廷探戈

搖擺樂和巴赫聖樂的現代舞蹈表演！

A journey through love turbulences 變幻莫測的愛情引發一連串詩意旅程

“I would like to speak about love,

that draws us towards it and that

pushes us away. I have read about it, seen it and felt so many emotions

related to love today,

^uesday 23 May

I just want to take the time to talk about it". Joelle Bouvier

8:00pm Hpng Kong City Hall Concert Hall

香港大會堂音樂廳

Joelle Bouvier識.'.「我想談談愛。是愛令我們走在一起，也是愛令我們分開過去，我讀過'見過和感受過不少段愛情

今天，我只想談談愛。」

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