節協會主辦的這個工作坊採用的舞
insight to each other. The rental and
stories that make our lives
蹈/動作/藝術表達治療方法源於著
application procedures for the
meaningful, tap into deep sources
名舞者/治療師Anna Halprin。以直 覺的動作入舞、再透過視藝術和文字
JCCAC has been finalised, and the
of bodily wisdom, and dance the
application for tenancy is from 22
renewal, recreation, and healing of
（中文或英文皆可）讓我們思考和對
November 2006 to 21 December
ourselves and our world. This
話，協助我們改變和成長’Halprin 是位先驅舞者，後現代舞蹈之祖°她
2006. Details about the studio and
healing process integrates physical,
workspace at the JCCAC are listed
emotional, and spiritual aspects of
的創作和實驗，為舞蹈、音樂'行為
on the following website: www.hkbu.
the self in a joyous celebration of
藝術等開創了先河。她的學生包括了
edu.hk/jccac. Inquiries: 2353 5506
life. Anna co-founded, with her
當代極度著名的舞者/藝術家如
(Eddie Lui, Planning Director of
daughter Daria Haprin, the Tamalpa
Trisha Brown ' Simone Forti ' Yvonne Jockey Club Creative Arts Centre) Rainer ' Meredith Monk和 Robert or 2353 1311 (Ms. Hannah Ng). ■ Morris等。Halprin的作品直接關心
Institute in San Francisco, where she researched and practiced art/
dance and healing. It was the first
民眾的生活和他們關心的課題，融合
A WEEKEND OF TAMALPA ■■ AN
movement-based expressive arts
藝術與儀式，把兩者回歸到社區生活
EXPRESSIVE ARTS WORKSHOP
education and therapy school in the
之中，把舞蹈跟生命的原動力結合起
BASED IN MOVEMENT
West. It offers a comprehensive
來。她的當代舞蹈是一個療傷的歷
Slowly, slowly, we enter the room.
training program for individuals who
程，含蘊了人的身體、情感和精神，
We enter our bodies. We begin to
wish to incorporate the principles
是生命的慶典。Anna Halprin和女兒
move, we begin to feel. With our
and tools of embodied creativity into
Daria Halprin 在三藩市創立了 Tamalpa藝術治療學院，開展了藝
eyes closed. Finally, we begin to
their own personal development and
see. Co-organized by Centre for
professional practices, including
術/舞蹈治療的研究並設壇授徒，是
Community Cultural Development
experiential exploration through the
西方最早的一所以動作為基礎的藝術
and Asian People’s Theatre Festival
arts, philosophy, and theory of the
治療學院。訓練課程全面，讓受訓者
Society, this movement-based
practice, and basic maps and
能夠將藝術溶入他們的個人成長和專
expressive arts workshop utilizing
methods of the work. The Facilitator
業實踐，內容包括了藝術、哲學、實
the Tamalpa approach developed by
of the Workshop, Karina Bergen, is
踐的理論和工作方法等（有關Anna
renowned dancer/healer Anna
a Somatic Movement Therapist and
Halprin及Tamalpa藝術治療學院的更 多資料，可瀏覽網頁www.tamalpa. o「g）。這次工作坊主持Karina Bergen曾在Tamalpa藝術治療學院接
Halprin using intuitive movement
Expressive Arts FacHitator. She
and dance to enter the body, and
trained at Tamalpa Institute, and
visual art and written word to
teaches group workshops as well as
express it. Anna Halprin is well
guided individual client sessions.
受訓練，現居香港，常為個人及團體
known in the world of dance for her
The Workshop will be held in 16
舉行工作坊。工作坊舉辦日期為2006
pioneering work. She taught Trisha
December 2006 (Sat) 2:00-5:30pm,
年12月16日（星期六）下午2:00至
Brown, Simone Forti, Yvonne
7:00-9:30pm, and 17 December
下午5:30、下午7:00至下午9:30及
Rainer, Meredith Monk, and Robert
2006 (Sun) 10:00am-1:00pm, 2:30-
2006年12月17日（星期日）上午10: Morris and is considered an 00至下午1:00、下午2:30至下午5: originator of post-modern dance, 30 °地點為Loft Stage文化連線（旺 creating work that was a key to 景總部— —九龍新蒲崗大有街2 - 4號 unlocking the door to 旺景工業大廈13字樓D座，鑽石山地 experimentation in theatre, music, 鐵站A2出口）。於12月8日及以前報 Happenings, and performance art. 名Tamalpa舞蹈/動作/藝術表達治 But her own dances speak directly 療工作坊，費用為HK$900 ;於12月8 to major issues in people's lives 日後報名，費用為HK$1,100。查詢: blending art and ceremony - and 9800 7169 （Mr Gus Mok）/ 9731 3262 moving art and ceremony back into （Ms Elisa 丫u） o ■ the center of community life. Her
5:30pm, at Loft Stage Cultural Network (Wong King Headquaters -Block D, 13/F Wong King Industrial
Building, 2-4 Tai Yau Street, San Po Kong, Kowloon, MTR: Diamond Hill A2 exit). Workshop fee is HK$1,100,
and HK$900 for early birds (until 8th
December 2006). Enquiries: 9800 7169 (MrGus Mok)/9731 3262 (Ms
Elisa Yu). ■
contemporary dance accesses
請以本刊封面內頁所列的關絡方式提供舞蹈資訊 Send news items to the Joutrnal at the contacts listed on the inside cover
1 5 DEC M
目錄 Contents
news!算蹈快訊
Vol.8
No.5
麗
1
封面Cover 香港芭蕾舞團 《夜夜西門慶》
學院 圖書館 THE HONG KONG ACADEMY FOR PERFORMING ARTS
Hong Kong Ballet’s yeah yeah XI MEN QING
「賽馬會創意藝術中心」開始接受租戶一 > IB RARY
編舞 Choreographer:伍宇烈 Yuri Ng
由空置多年的石硤尾工廠大廈改建成的賽馬會創意藝
攝影 Photo: Conrad Dy-Liacco
術中心，預計將於2007年第四季開幕，成為藝術工作 者及設計師之家，並成為本地文化藝術的活動中心。 中心為藝術工作者提供理想的場地，讓他們創作和展 示作品|同時也讓藝術團體舉辦藝術課程及各種文化
舞蹈快訊NEWS
1
藝術活動。中心將提供約一百個不同面積的單位，滿 足不同藝術工作者和藝術團體的需要。此外，中心設 有公共設施，供展覽、實驗舞台製作' 講座和表演之
香港舞蹈年獎2007接受提名 Nominations for HK Dance Awards 2007
3
用，更有食肆等配套設施。創意藝術中心的目標是發 展成為藝術村，讓不同範疇的藝術工作者在同一屋簷 下各展所長，並且互相交流•從而啟發創作靈感。賽
我對中國古典舞的認識(III)
馬會創意藝術中心的空間設施建議及租務安排現已備
—關於「身韻課」 — My Understanding of Chinese Classical Dance (III)
妥。而中心將於2006年11月22日至12月21日，開始 接受租戶申請。租用中心的工作室及藝坊的詳情可到
-On The Shenyun Lesson
網址 www.hkbu.edu.hk/jccac瀏覽。查詢：2353 5506
文：裴長青 by Pei Changqing
4
由衷和計算的拉扯
（賽馬會創意藝術中心策劃總監呂豐雅）或2353 1311 （吳翠嫻小姐）。■ Tamalpa舞蹈/動作/藝術表達治療工作坊
Between Authenticity and Calculation 文：劉建華 by Jaspar K. W. Lau
7
慢慢地、慢慢地' 我們進入房間。進入了我們的身
體。我們開始舞動1開始感覺。我們閉上眼。最後， 我們開始看見！由社區文化發展中心及亞洲民眾戲劇
JCCAC ACCEPTING APPLICATION FOR TENANCY
Dance in Autumn by Kevin Ng
14
Renovated from a decommissioned Shek Kip Mei Factory Estate built in the 1970s, the Jockey Club
黑白灰沉，悲情過重
Creative Arts Centre is scheduled to be opened in
舞蹈若狂，如譏似諷
the 4th quarter of 2007, and will become a home for
— — 評CCDC《尼金斯基》
artists and designers to pursue their creative work
文：Jonathan Ho
16
and an arts and cultural hub for the community. The
Centre is an ideal place for artists and designers to
work and display their creative works and for art
Notes on Nijinsky by Sarabeth Berman
17
groups to run art courses and organise various
activities to promote arts and culture. There will be about 100 studios of different sizes to suit the needs
芭蕾純舞與劇場舞蹈多面睇 文：鄧蘭
of the artists and art groups. In addition, there will be
18
communal facilities for exhibitions, experimental
theatre work, talks and performances as well as
舞蹈節目表 Dance Events
catering and other ancillary services. The Centre aims
22
to develop into a home for artists where they can utilise their artistic talents to the full. The assembly of
artists of different disciplines under one roof will enable them to interact and bring inspiration and
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dance journal/hk vol.8 no.5
Nominations
香港舞蹈年獎2007
for HK Dance Awards 2007
接受提名
Established by the Hong Kong Dance Alliance in 1999, the Hong Kong Dance
由香港舞蹈聯盟創立的「香港舞蹈年獎」，自
Awards recognize outstanding and significant contributions to dance for work
1年起便表揚每年對舞蹈有突出和重要貢獻
accomplished during the previous year. Rather than on a competitive basis,
的工作。「舞蹈年獎」並不是競爭性的獎項，
award selection is made through open nominations with final determination by
而是由香港舞蹈聯盟理事委員所組成的評審團
a panel comprised of the Alliance Executive Committee.
從公開提名的名單中選出。
The 9th annual Hong Kong Dance Alliance Hong Kong Dance Awards will be
第九屈「香港舞蹈年蹈年獎」將於2007年2月
presented on 6 February 2007 at the Kwai Tsing Theatre, and are now open for
6日假葵青劇院頜發，現已公開接受提名。提
nominations. A limited numberof complimentary tickets for the Gala presentation
名者可免費獲贈《香港舞蹈年獎2007》入場卷
are available for individuals submitting nominations (two each).
兩張，門卷有限，送完即止。
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，包括編舞、
area (e.g.，choreography, performance, scholarship, education, writing,
表演、學術、敎育、寫作、行政、技術支
administration, technical support, notation, etc.) may be nominated.
援、舞蹈記錄等有貢獻的個人、團體或事
• All events related to the nomination should be completed between 1
•所有與提名有關的事項都須於 2006年1月
January 2006 and 31 December 2006.
• Each nomination must include the name of the individual, organization, or event being nominated and a brief reason for the nomination. Any
• Nominated individuals or organizations are not required to be members
• Nominations must be returned by 1 January 2007
UJnl y
似
Fax: Address:
CD
•每份提名都須列出被提名者（可以是個
名次數不限。 •候選人或團體丕必為香港舞蹈聯盟會員 。
of the Hong Kong Dance Alliance.
W
1日至2006年12月31日間完成。
人、圑體或事項）的名稱及提名原因。提
number of nominations may be submitted.
0 ^
項，均有資格成為候選人。
2584 8778 c/o Hong Kong Dance Alliance Office of the Director of Graduate Edu. Centre, HKAPA, 1 Gloucester Road, Wanchai, HK
•候潠人提名於2007年1月1日截I卜。
傳真：25848778 地址：香港灣仔吿士打道一號 香港演藝學院 研究生課程中心總監辦公室 轉交香港舞蹈聯盟收
Hong Kong Dance Awards 2007 香港舞蹈年獒 2007
Nomination Form 提名表格 Nominee’s Name:_________________________________________ 被提名人姓名：________________________________
Reason 原因：___________________________________________________________________________________________
* 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。 To receive 2 complimentary tickets for Hong Kong Dance Awards 2007 at 6 Feb, 2007 Kwai Tsing Theatre, please till in the following information. 如欲索取於2007年2月6日假葵青劇院舉行的《香港舞蹈年獎2(〕()7》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：_________________________________________________________________________________________________
■:
j第8冊第5期
徽專稿
■
Article
我對中國古典舞的認識(III) —關於「身韻課」 — 文：裴長青
My Understanding of Chinese Classical Dance (III) -On The Shenyun Lesson (Body Rhythm Lesson) Written by Pei Changqing, Translated by Irene Cheng, Polished by Paolo Moselli
身韻課」
的創立，是 中國古典舞
qpl
i
incunabula "Shenyun Lesson"
worth in developing classical dance from
m established a key milestone in
being a component of opera, to one of
發展史上的一個重要里程碑。在呂
the history of Chinese classical dance.
dance, and acknowledged its scientific
藝生先生為《唐滿城舞蹈文集》所
In his preface written for Collection of
value. It is no exaggeration to state that
作的序中，有這樣一段論述，他
Essays on Dance by Tang Mancheng, Mr
classical dance was rejuvenated. People
説：「8()年代初，古典舞一方面遭
Lu Yisheng writes, “in the early eighties,
seemed to be watching at the dawning
到文化大革命的嚴重破壞，一方面
classical dance on one hand came under
of a classical dance renaissance.” His
又面臨外來藝術衝擊的浪潮。當時
the challenge of the massive dilapidation
words read the importance of Shenyun
中國古典舞敎學和創作正處於一個
left by the sweeping effect of the Cultural
Lesson to Chinese classical dance.
進退維谷，難於生存的境地。他與
Revolution, while on the other hand, it
李正一老師真正擔起學科帶頭人的
was overwhelmed by an incoming
In its infancy, "Shenyun Lesson’ was
重擔，共同在原古典舞身段的基礎
artistic current. Given this situation, the
referred to as 'Shenduan\ a jargon
上，採用元素提煉的方法，創建了
teaching, learning, and creation of
adopted from the genre of Chinese
一門崭新的身韻課。這門課一問
Chinese classical dance were as if
opera. Apart from ‘singing, orating,
世，便引起國內外的巨大反響。人
chained. In view of such difficulties,
gesturing and combating’，five other key
們一下子就看到了它使古典舞從戲
Tang and Li Zhengyi took up the burden
elements of opera-dance arc “hand, eye,
曲模式走向舞蹈化•科學化的價
of leading an intellectual discipline.
body, hair, and step”. "Shencluaif is the
值。可以説，它使古典舞獲得了新
Based on the foundation of Shenduan
soul and conscience of opera-dance.
生.人們仿佛看到了古典舞事業升
(body gesture), which existed in classical
起了復興的曙光」(《唐滿城舞蹈文
dance, they adopted an extraction
While Chinese classical dance feeds on
集》2頁)。這一評價是相當準確
approach to break ground with a new
the essence of opera, 'Shenduan \ which
的，它不住説明「身韻課」對中國
discipline called Shenyun Lesson. Right
is a treasure of Chinese opera, would
古典舞發展的影響，更閘明它在中
away, this aroused an overwhelming
evidently be 'brought over' as a useful
阀古典舞屮的重要地位。
response within and Outside the country.
tool. But just ‘bringing over' is far from
People immediately appreciated its
being an adequate process, as opera-
dance journal/hk vol.8 no.5
m
專稿’Article 「身韻課」在初創的時候，被稱之
就有了「雲手」、「晃手」、「小
dance is so different from the ‘pure
為「身段」，這也是因循戲曲的叫
五花」、「大刀花」、「穿掌」等
dance’ being sought. What the
法。在戲曲中，除最講究的「唱、
動作。但是，在「拿來」的同時，
developers of "Shenyun Lesson’
念、做、打」外，就是「手、眼、
問題也就產生了。因為，對於戲曲
achieved is a new understanding of their
身、髮、步」這五大戲曲舞蹈的要
來説，它的「形」是與「唱」「念」
inheritance and tradition while freeing
素了，
「身段」正是戲曲舞蹈的
「做」「打」並存的，而一旦使這些
them from the format of tradition. “Our
「形」變成為孤立存在的•它也就
top concern about traditional style is
失去了這些「形」在戲曲舞蹈中的
to gain an overall aesthetic developed
當中國古典舞從戲曲中汲取精華的時
光彩。而更深一層的問題是：把這
from the long history of Chinese
候，戲曲所講究的「身段」無疑也會
些戲曲舞蹈中的「形」，放在中國
ethnicity, instead of a few static
被當作對舞蹈有用的東西「拿過
古典舞中，也難以形成風格，像是
postures.” (Tang, p. 72)
魂，戲曲舞蹈的神韻所在。
來」，但是僅僅「拿過來」顯然不行，
單單的一張皮擺放在那。同樣從
因為戲曲舞蹈畢竟不是我們所需要的
武術中「拿來的」，如：「風火
At the beginning of Chinese classical
「純舞」。「身韻課」的創始者們的功
輪」、「擺連腿」、「烏龍盤打」等
dance, there was a stage where 'opera-
績，在於他們對繼承與發展傳統的再
動作，也存在著同樣的問題。
dance' was understood to be ‘Chinese
認識，在於他們擺脱了對傳統從形式
classical dance’ This understanding is
著眼的方法。「我們認識到所謂傳統
反思從這
開始。吸收進來的東
unavoidable, even though it is narrow
風格指的是中華民族在歷史長河中積
西，必需經過消化，使之成為自己
minded. Dance practitioners of former
澱和形成的審美總體傾向，而不是
的•才會有真正的發展和真正屬於
generations were very knowledgeable
一、兩個凝固的動作。因而我們茅塞
中國古典舞自己的東西，老一輩舞
about various Chinese operas,
頓開，從形式上繼承傳統轉向了從提
蹈敎育工作者的這一明確認識，正
particularly Peking opera, which
練訓練元素來建立敎材的設想。這可
是中國古典舞「身韻課」創立的根
explains their capacity to thoroughly
以説是一個比較重大的在認識與實踐
本所在。
research opera-dance. Their studies laid
上的突破。」（《唐滿城舞蹈文集》72
a solid foundation for the establishment
頁）。這一重大突破對中國古典舞發
在那時，李正一、唐滿城等老師就
展產生了巨大影響，使中國古典舞蹈
嘗試著編排了一些「舞蹈身韻組
Professor Tang Mancheng did not only
獲得了新生。
合」，並從嘗試中，看到了一個有
possess a wealth of knowledge about
可能實現、有可能發展的勢頭。但
Chinese opera, he was passionate about
在中國古典舞的初創時期，曾有過把
那時還沒有上升到理論上的認識和
Peking opera as well as having a
「戲曲舞蹈」認識成為：它就是「中國
行動上的進一步深化、提高。直到
scholarly understanding of this art form.
古典舞」這樣一個階段，儘管當時的
1980年以後，客觀條件逼著人們必
With these remarkably talented and
這種認識，有很多的局限性，卻又是
須重新認識繼承和發展的關系 。按
highly knowledgeable seniors,
必經之路。老一輩舞蹈工作者，對中
唐滿城敎授的話説是：「認識上最
Chinese classical dance has achieved
國的戲曲，特別是京劇有著十分深入
大的突破就是我們認為民族傳統和
what it has today.
的瞭解，正因如此，也才有可能對戲
風格既不是不可知的、虚無的，也
曲舞蹈進行深入的研究，這就為「身
不是簡單模擬戲曲或武術能解決問
'Hand figure’，‘hand position’ and 'leg
韻課」的創建，打下了一個良好的基
題的… …。因而我們茅塞頓開，從
position’ were ‘brought over' from
礎。我的老師唐滿城敎授，不僅僅是
形式上繼承傳統轉向了從審美性去
Chinese opera, also the movements of
對戲曲有所瞬•解，他還是一位非常出
繼承傳統的思路•從套路上和動作
1 Yun Shoii', ‘Huang Shoit’，"Xiao Wu
色的京劇票友，並有著淵源家學。正
上去整理傳統轉向了從提練訓練元
Hua' and 'Da Dao Hu a
是因為有了這樣一批才華出幂，涉獵
素來建立敎材的設想。這可以説是
'bringing over，brings out problems. For
面非常廣泛的老前輩，中國古典舞才
一個比較重大的再認識與實踐上的
Chinese opera, its ‘figure’ exists
會有今天的發展。 從戲曲中「拿來」’ •就有了
「手
型」、「手位」、「腳位」.....
of "Shenyun Lesson'. My mentor,
etc. But
突破，從而在實踐中找到了按照舞
shoulder to shoulder with 'singing’，
蹈藝術特性去發展傳統而又不失去
‘orating’，‘gesturing，and ‘combating’.
民族傳統審美特徵的道路」。（《唐
If the ‘shape’ is alienated, standing
滿城舞蹈文集》72頁）。
alone, then its glamour which would
舞蹈fL第8冊第5期
專霜
Article
從「繼承傳統」轉向「從審美性繼承傳
have radiated in opera-dance, is blown
The change from 'Shenduan’ to
統」，從「整理傳統」轉向「提煉訓練
right away. Indeed, the crux of the
‘Shenyun’ initiated a distinction between
元素」，這個轉向，是認識上的一次
problem is that, merely inserting the
‘opera-dance’ and 'dance’，and
大飛躍，從此它改變了中國古典舞的
‘figure’ of opera-dance into Chinese
established as its dance criteria, ‘balance
屬性，推動了中國古典舞的發展。
classical dance falls short of growing a
between the concrete and abstract’,
unique character, in a way not too
‘unity between the interior and exterior，，
從「身段」變為「身韻」，雖只是一
different from a man wearing a cloak
and ‘equal attention to both heart and
字之差，卻足以表明它在質上所發生
borrowed from somebody else. The
body’. It set free classical dance from the
的變化。從「身段」到「身韻」的變
‘bringing over’ of the martial arts
shadow of ‘opera-dance’ and began a
化，正是「戲曲舞蹈」和「舞蹈」二
elements of ‘Feng Huo Lun’，'Bai Lian
new chapter in Chinese classical dance.
者分家的開始，開始對舞蹈提出了一
Tui" and 4 Wu Long Pan Da\ carries the
個「神形兼備」、「內外統一」、「身
same problem.
The single character 'Yun’ (rhythm),
「戲曲舞蹈」對舞蹈的束縛，展開了
Retrospection begins here. Things taken
beginning with the meaning of
中國古典舞一個新的篇章。
in have to be digested before turning
dance. 'Yun' is the ‘spirit’，the ‘breath’,
心並用」的要求，從而徹底擺脱了
itself unfolds a rich discussion, in
into nutrients for the development of
the ‘meeting of a point with a plane’，4an
僅就這一個「韻」字而言，就有很
Chinese classical dance and for the
urge to perform the call springing straight
多可説的。「韻」在舞蹈中是什麽？
formation of its identity. Senior dance
from the heart’. ‘Springing from the
就是：「神」、就是「呼吸」、就是
practitioners clearly realise that this is
heart; setting off from the waist, and
「點與面的結合」，就是內在的一種
what the establishment of ‘Shenyu
contouring in a body’ are what matter in
表現力，一種「起於心，發於腰、
Lesson’ is about.
this presentation style. Every movement
形於體」的表現手法。所謂「起於
obeys the calling from the ‘heart’，and
心」，就是説，任何一個動作都是
Li Zhengyi and Tang Mencheng
follows the steering function of the waist,
從「心」領出來的，是發自內心的；
attempted to create some “dance-
which is the crux and essence of Chinese
而「發於腰」，則是中國古典舞非
Shenyun ensembles”. From trials they
classical dance, the focus of daily
常關鍵的一個動作要領，這也正是
discovered possibilities, but these were
training, and is what we call the 'central
我們在平時訓練中所特別注意的，
not lifted to a theoretical level and put
section’. With initiation by the ‘heart’
被我們稱之為「中段」的這一部分；
into sophisticated realisation. Thus, since
and the lead of the ‘waist’，movements
有了「心」動、「腰」領，而最终是
1980，people have been pressed by
are finally presented by the ‘body’.
由「身體」表現出來。
objective reality to re-understand the
relationship between inheritance and
The change of one character has brought
從「身段」到「身韻」，一個「韻」
development. According to the words of
a new content to Chinese classical dance,
字的改變，赋予了舞蹈新的內涵，
Professor Tang, “the greatest breakthrough
giving this art form a new life and an urge
賦予中國古典舞新的生命力和表現
is our acknowledgement that our ethnic
for performance. Massive telements,
力。在從戲曲和武術中大量提取了
tradition and style are neither unknown nor
extracted from ‘opera’ and ‘martial arts’
「元素」的同時，再把它付諸實踐，
abstract, nor of the kind whose problems
are applied to dance performance and
付諸敎學，使其具有實用性、表現
can be dealt with by simple imitation of
dance classes. These 4elements, possess
性和時代性，那些被提煉出來的
opera or martial arts’，.
practical values and power of articulation,
「元素」，才有了它們的真正的價
and are representative of an era, weaving
值。「元素」不再是孤立的，戲曲
The transformation from ‘Shenduan’
their own credits and worth. They are no
中的「身段」在舞蹈中，不再是「一
to "Shenyun might appear only to be
more island entities. ‘Shenduan’ borrowed
張皮」。「身韻課」的建立和產生，
the literal substitution of a single
from opera no longer plays a ‘sheet of
給予中國古典舞新的生命，它從此
Chinese character, but in fact this
detachable skin' in the dance genre. The
才真正擺脱了戲曲舞蹈的束縛，讓
seemingly marginal change was
birth of'Shenyun Lesson incubates a new
我們看到了它長足的進步和飛躍的
sufficient to set about an substantial
life for Chinese classical dance, liberating
發展。■
evolution in content.
it from the bondage of drama-dance.H
dance journal/hk vol.8 no.5
H
沿舞壇手記
Danes Diary
由衷和計算的拉扯
Between Authenticity and Calculation 文：劉建華 by Jaspar K.W. Lau
出出入入香港，先後錯過
市芭蕾舞團當個「四環之友」在高山
了米蘭史卡拉歌劇院芭蕾
座作點補課自然不過。後來到了「美
Travelling Hong *nandKKong 0Ut°inf
舞團的《仲夏夜之夢》，以及邢亮為城
國舞蹈節」，更是領敎當《太陽報》舞
recent months, I missed the Teatro alia
市當代舞蹈團編的《尼金斯基》，而新
評的同學對巴蘭欽如若神明的推崇。
Scala Ballet Company performance of
視野藝術節的沈偉《天梯》和《春天
因此回港後悉知香港芭蕾舞團藝術總
George Balanchine^ A Midsummer
祭》，以及唯一涉及本地舞蹈的節目
監米瀚文新上任後即以巴蘭欽舞作來
Nights Dream, as well as Xing Liang’s
《迷走雙城/出走沒路》，本也足跔我
擔首個製作的主力號召，對此無疑深
Nijinsky for CCDC. However, if I am to
對《傾情舞夜》避重就輕•但因為伍宇
感興趣。
focus on Shun Wei’s The Rite ofSpring
烈給香港芭蕾舞團編的《夜夜西門
and Near the Terrace for the New Vision
慶》，這次我不得正視芭蕾，雖然還
然而《巴蘭欽•舞越凡音》的節目編
Arts Festival, as well as Exit No Exit/
是點到即止，但凡事總得有個起頭。
排，其實焦點不盡在巴蘭欽，在巴蘭
city:zen, which involved a local
欽的經典《主題與變奏》加上《柴可
choreographer and dancers, they should
年中在「美國舞蹈節」（ADF）上的藝
夫斯基雙人舞》外，還有（奥士汀芭
provide me with enough to bypass
術新聞（舞評）課程，雖有討論點芭蕾
蕾舞團藝術總監）史提芬•米爾斯的
Soiree de Danse - Roland Petit and
舞，也有芭蕾舞評專家作客席論者•
《此時無聲… …》，以及本地編舞伍
ballet territory with which I am
卻因那種沒芭蕾舞演出.故也沒有芭
宇烈的新作《夜夜西門慶》。三個不
unfamiliar. Yet, Yuri Ng’s compelling
蕾舞評即晚習作要寫。但我跟同學們
同編舞家的短篇串合，從國際經典到
yeah yeah Xi Men Qing won’t allow me
説，過去寫舞少碰芭蕾，我想大家可
本土原創，對於展示舞團新藝術總監
to leave ballet untouched, so I have
能已感有點奇怪，當我表示中國舞也
的視野，無疑有其用心。
decided to write a little bit more on ballet
鮮碰時，大家大概也對《舞蹈手札》對
here, for a change, than I usually do.
我的有限寫作覆蓋領域的包容，想必
巴闌欽經典的份量，當然本不如此輕
感到有點難以想像。然而這還未談到
易分薄，加上巴蘭欽基金會配套的客
In my dance criticism course at the
我對古典音樂、以及對一般音樂的不
席排練導師美妮爾•艾雪利，對舞者
American Dance Festival (ADF) 2006
懂和耳朵遲鈍。相較班上同學們間有
把握巴蘭欽典型動作有一定幫助，然
in Durham N.C., despite some class
一個本是音樂評論人，大家對舞蹈幾
而看畢十月十五日演出，感覺節目還
discussion
乎形影不離的音樂每有疑難也可向他
是愈後愈佳，巴蘭欽品牌效應變得雷
distinguished ballet critics as guests,
請敎，導師鼓勵我善用自己的視藝背
聲大卻雨點小。香港芭蕾舞團的巴蘭
since there were no ballet performances
境•我倒不甚見到長益何在。
欽於我，结果沒有想像的清澈，手牽
during the Festival, I never got the
手人鏈的對稱內捲等的簡單編舞結構
chance to write on one for the overnight
留美期間•當看過些美國的芭蕾舞
演來也覺點亂，未有一舉為香港芭蕾
review exercises. My fellow critics must
團，而巴蘭欽作為美國之寶，在紐約
注入巴蘭欽那股純然的現代精神。
have been surprised when I told them I
about ballet, and
舞蹈手札第8冊第5期
M
舞壇手記
Dance Diary Balanchine at that time, until I met some
of his true worshipper in class, one of them (surprisingly, to me) a young critic
from the Sun. When I returned to Hong
Kong to learn that the Hong Kong Ballet Company’s new artistic director, John
Meehan, was going to kick off his tenure with Balanchine works, I felt this should
be a good move.
Yet, the emphasis of Balanchine and
Beyond, as the English title suggested, was not just an entire night of 香港芭蕾舞團《主題與變奏》。編舞：喬治•巴蘭欽。攝影：Conrad Dy-Liacco Hong Kong Ballet’s Theme and Variations. Choreographer: George Balanchine. Photo: Conrad Dy-Liacco
Balanchine’s pieces. Other than
Balanchine’s classics Theme and
Variations and his Tchaikovsky Pas de
大概愈是從美國芭蕾舞的特色去期盼
seldom wrote about ballet performances,
Deux, the program also included Hush
巴蘭欽，採柴可夫斯基的管弦樂而走
and it must have left them wondering
choreographed by Stephen Mills (of
華麗氣派的《主題與變奏》，反不及其
how Dance Journal/HK could bear my
Ballet Austin), and also the new local
《競技》、《阿波羅》等採史特拉汶斯
narrow range of interests, when I said I
commission cited above, Yuri Ng's yeah
基音樂的經典作品純煉（但莫非借《主
also don’t write about Chinese dance.
yeah Xi Men Qing. The program
題與變奏》的《睡美人》影子，安撫傳
But I did not even confess about how
certainly had a thoughtful balance, from
統芭蕾的觀眾，方正是米瀚文選巴蘭
poor my knowledge of classical music
the importation of world-class classics
欽的原意？）。反是從音樂、服裝到
is or my lack of a musical ear. As there
to the commission of local cutting edge
如《柴可夫斯基雙人舞》，當中技藝
was a fellow critic in class who is also a
work, demonstrating the vision Meehan
化、明星化的味道，不期使之聯想到
music reviewer, we were lucky to have
has set for the Hong Kong Ballet.
巴蘭欽的《主題與變奏》本來就是編予
knowledgeable answers to all of our
美國芭蕾舞劇院的。
questions concerning the music that
Balanchine’s greatness certainly wasn’t
accompanies dances. Though the tutor
so readily apparent in the Hong Kong
湊巧的還有，就是《此時無聲……》
encouraged me to put my visual arts
Ballet’s tripartite program. The George
也是史提芬.米爾斯為美國芭蕾舞劇
background to good use, I doubted how
Balanchine Trust and Foundation, helped
院的青年實習劇團而編、去年上演的
helpful it could be, and thought I could
arrange Merrill Ashley’s Hong Kong
委約作品。採了格拉斯以民歌採風而
rather read better, say, the music
visit as repetiteur and guest teacher, so
成的音樂，《此時無聲... 》精簡的
visualization in dance.
that she could pass on the authentic
動作架構，反而多少讓人感到巴蘭欽
flavour of Balanchine’s work. However,
在美國的深遠影響力，幾番的腳尖拉
During my trip in the US, of course, I
my impression of the production on the
拖，又不失發展的銳角。香港芭蕾舞
did strive to see some ballet as well, and
15th of October was that the performance
團的《巴蘭欽•舞越凡音》似乎在演
how could I leave out the works of
of the later pieces outshone the
繹米爾斯的難度挑戰•更見自我所
George Balanchine, which are regarded
performance of the Balanchine works，
長•習巴闡欽技巧，除訓練曰子有
as one of America’s most valued dance
turning the whole promotion of
功•舞碼《主題與變奏》的方向重
treasures. In New York City, I tried to
Balanchine quite on its head. The
心•亦不及《柴可夫斯基雙人舞》清
catch up with what I have missed by
Balanchine works, as performed by the
晰•或也有所影響。
watching the New York City Ballet
Hong Kong Ballet, seemed to lack the
(NYCB) occasionally, high up in the
clarity he was so famous for: even the
若如舞坏克羅齊所言.巴閑欽對於主
fourth-ring of the Met. And I thought I
symmetrically curled arms of a simple
觀性強的柴可夫斯基，或還非全強
had developed a great appreciation for
line of dancers, holding hands in a kind
H 舞壇手記— Dance Diary
dance journal/hk vol.8 no.5
沿
項，沈偉起用史特拉汶斯基的《春之
of hand-chain, seemed a bit rumpled. It
As a matter of fact, Hush by Mills, is
祭》同名作在舞蹈和音樂之間的關係
failed, despite reasonably high
also a work commissioned by the
處理，無疑更使人頗難適從。如本地
expectations, to distil all its former
American Ballet Theatre Studio
舞評人所言，在《春之祭》裡，「沈
excessiveness and inject a modem austere
Company that it premiered in 2005.
偉所追求的並不是音樂、外的戲劇
spirit into this local Ballet company.
Philip Glass’ score Tirol Concerto with
性」，但也是這樣，選取此強烈風格
its inspiration from folk songs,
的舞劇音樂的理由就被自我打消或被
accompanies Mills’ piece well, which
大打折扣。改以赛依的雙鋼琴（/四
did not have any big-scale, heavy-
手聯彈鋼琴）版，得佩服其膽色自信
handed choreography. But the partnering
之餘，抽取旋律節奏，從而繞過樂曲
in the piece, demonstrated a bit of
的敘事風格，從改編音樂而來的靈
Balanchine spirit in exploring complex
感，其實性格不見突出，就如伍宇烈
structural variations, while a few
所編《春之祭》把玩的風盈感覺，欠 了管樂的音質不成。 在美國舞蹈節的時候，第一次看了沈
香港芭蕾舞團《此時無聲……》。編舞：史 提芬•米爾斯。攝影：Conrad Dy-Liacco Hong Kong Ballet's Hush. Choreographer: Stephen Mills. Photo: Conrad Dy-Liacco
偉的演出《重》跟《地圖》，他也有
episodes with pushing and towing on
pointe, gave the work traces of edginess. I guess Hong Kong Ballet has had this
modern potential to tackle pieces as demanding as Mills’ all the while, but to
到舞評班來作個訪談。《重》是帶點
But maybe I am approaching the
attain the fine-tuned Balanchine quality
西藏遊色彩的新短篇，《地圖》則是
Balanchine works here on the wrong foot,
of the New York City Ballet that results
配以賴治的極限音樂的力作，我雖未
as what Meehan selected, were the
from day in day out training over the years,
至如學友們都對其重覆性感到煩擾，
6 glorious9 Theme and Variations with its
is not an easy task for many dance
但我也就寧選擇了把舞評功課改成一
Tchaikovsky accompaniment, not Agon or
companies to accomplish.
篇較平衝客觀的預告論述，想其作為
Apollo with their Stravinsky’s scores.
華人在美國的受捧程度，必快臨香
Theme and Variations with its connection
On the other hand, as dance critic Arlene
港。殊知人一回來，已見沈偉即將來
to Sleeping Beauty, plus the Tchaikovsky
Croce has said, there is still “weakness”
港的宣傳，至於演出的，更是當地人
Pasde Deux, which depended on technical
in Balanchine’s handling of the
們視為沈偉最出色的《春之祭》。沈
display and ‘star’ power, reminded me
subjective
偉當曰在課堂中談接下來的幾年工作
after all, that Theme and Variations was
choreographing dance to existing music,
安排，竟就是漏了香港。
actually a Balanchine work commissioned
particularly ballet music, The Rite of
Tchaikovsky.
In
by the American Ballet Theatre (ABT).
Spring is probably one of the greatest
沈偉在解説其《地圖》時，就跟現時
And the different characters of the two
challenges for any choreographer. Shen
説到《春之祭》一樣，強調對於音樂
companies, (NYCB and ABT) for the
Wei's The Rite of Spring is perhaps
的曲譜的仔細閱讀，另而也不難見出
ballet fan, speak for themselves.
controversial in an opposite way, in that
些中國戲曲的弧圓碎步跟造手。不同
的是，《地圖》那些身體動作，沈偉 都説沿自其對不同呼吸練習的研究。 現時《春之祭》中，本地舞評説為中
國民間舞的弧形線性動勢，縱是優
雅，但若是從沈偉也承認感情激盪的 《春之祭》而來，那恐怕只能説樂章 的分析已陷於見樹不見林1和大眾認
知和欣賞《春之祭》的期望和音樂反
應的距離甚遠。 沈偉近年是美國舞蹈節的常客，最有
趣的，卻是其作為一名剛拿「綠咭」
沈偉舞蹈藝術《春之祭》。編舞：沈偉°攝影：Christy Pessagno (Shen Wei) & Bruce Feeley Shen Wei Dance Arts's 77?eof Spring. Choreographer: Shen Wei. Photo: Christy Pessagno (Shen Wei) & Bruce Feeley
舞蹈手札第8冊第5期
m
和I舞壇手記
Dance Diary it tries to avoid the scandalous. A local
In explicating his work, Shen Wei often
critic observed, what Shen Wei is after
stresses how carefully and in detail he
is not the theatricality inside or outside
reads the music score before working out
the music; but such an approach actually
his choreography. And he is pretty
diminishes the reason for choosing The
determined to get the impression across
Rite ofSpring. By taking on Fazil Say’s
of the rationalized process of his
two-piano version of the score, Shen Wei
choreography. Something interesting
demonstrated confidence in his own
that he mentioned about Map, is how the
abstract approach that disregards the
movement also corresponds to the
narrative passion he acknowledges is
different breathing exercises he and his
編舞：修芭娜•嘉亞辛、梅卓燕。攝影：陳德昌。
within the music. Yet by extracting the
dancers researched and practice. I asked
Shobana Jeyasingh Dance Company and CCDC’s city:zen. Choreographer: Shobana Jeyasingh, Mui Cheuk-yin. Photo: Ringo Chan.
melodic and rhythmic qualities and
him then of the Chinese opera gestures
building movements from these elements,
and curved steps in arcs (their source
the choreography’s close adherence to the
quite obvious) in Map (that also appear
的爭裔編舞，竟以簡約主義舞蹈而在
score, paradoxically alters it beyond
in The Rite of Spring), but failed to see
美國竄紅。除此，沈偉還被塑為全
recognition. Yuri Ng’s allusion to the gush
the inner rationale. The turning starting
才，看《春之祭》的服裝跟地面畫
of air in his use of props in the opening
from the wrist and progressing to the
幅，《地圖》的草稿圖等似乎不賴，
sequence of his version of the The Rite of
whole body in The Rite ofSpring, as one
但抽象表現主義畫風，跟極限（簡
Spring, for example, is unimaginable
local preview noted, has its origin in
約）主義在繪畫不相為謀，採了阿弗
without referencing the wind instrument
Chinese Opera, but how it ended up in a
•佩爾特音樂的《天梯》，謂受比利
quality of the music.
close study of The Rite ofSpring is again an
時超現實畫家德爾沃啟發，但那舞臺
unanswered question. Some hint of the
上「色空」的「糜爛」氛圍，跟畫家
During my stay at ADF, I was lucky to
essential affinity between Chinese Opera’s
的詭異氣氛，尤其裸女的粗兀描繪也
have seen Shen Wei’s Re- and Map, plus
symbolism and minimalism, ifone is to assert
難以聯繫。沈偉鮮明的中國戲曲動作
meeting him in a group interview in
so, probably needs better explication.
又或內蘊的東方藝術精神，真的與西
class. Re- is a new piece he composed
方簡約主義互通創新？
after a trip to Tibet, while Map is quite
Shen Wei has been commissioned by
similar to The Rite of Spring in its
ADF year after year since the company’s
新視野藝術節的《迷走雙城/出走
development of movement, but using a
founding. But the spectacular thing about
沒路》，印裔編舞修芭娜•嘉亞辛
Steve Reich minimalist score. Despite
his success is how he, as a Chinese artist
在《出走沒路》以南印的舞蹈跟武術
his popularity in America, a number of
in America (or American Chinese, since
的蹲姿手勢，化入框的架立與穿
my fellow critics, however, were irritated
he got his green card just a while ago)，
破，邊位的排排斜倚與阻出拉扯外
by his use of repetition. In response, I
won his acclaim via the rather American
等現代舞式。而加入（中國舞底子
tried to write a proper journalistic (rather
doctrine of minimalism. Portrayed as a
的）梅卓燕聯合編舞和六位城市當
than promotional) preview, and balance
holistic artist, the floor painting and
代舞蹈團女舞者的《迷走雙城》•也
different views for a change. I had a
matching costumes for The Rite of
進一步把不同的舞蹈文化在現代舞
hunch that a Chinese choreographer with
Spring by Shen Wei do deserve praise.
中重新加以弘揚轉化。然而從（也
such a high profile, as he has in America,
Yet abstract expressionism and
是雷聲大卻雨點小）媒體投影到肢
would definitely land in Hong Kong
minimalism do not come naturally
體攀旋，這種短期融混難見章法體
sooner rather than later. Receiving the
together in painting, and his Near the
系之作，使我想起是上次梅卓燕亦
New Vision Arts Festival Program when
Terrace is far from Paul Delvaux’s
有參與的《夜奔》的納悶（梅卓燕更
I got back, I was, however, surprised by
surrealism, which has a constant sense
近期的《風.水》，我不幸錯過）。
my sixth sense, for when Shen Wei told
of awkwardness, the nudity in particular,
《迷走雙城》加入了多聲道語言的街
my class of the different performance
not poeticness. (Maybe this is where my
名和簡單封話.有過去紐約香港兩
bookings coming up for his company,
fine arts background comes in handy?)
地雙邊舞蹈交流計劃《情尋家》的影
he somehow left out Hong Kong.
His Near the Terrace hence seems like a
dance journal/hk vol.8 no.5
默舞壇手記-
11
Dance Diary
子，卻跟朱加寶設計的舞者服飾
setting exercise for evoking a pleasing
of streets in different cities, spoken in a
般，硬湊而欠那自然的融和。
harmonious atmosphere, as the dance
variety of languages, yet this added
hides beneath Arvo Part’s music without
element, very similar to what Dance
really asserting itself.
Wide HKNY explored in Back Home,
因此也有點使自己意外，近月來使我
興奮的舞作，竟不是現代舞，而反是
lacked the movement support of that
芭蕾。新視野藝術節祗此一晚的羅蘭
In the New Vision Arts Festival’s Exit no
brilliant show. Instead, the stylistic
•佩蒂《傾情舞夜》，打頭的粉萊藝
Exit, Shobana Jeyasingh from India (who
juxtaposition reminded me of the
術搖滾芭蕾對我這非古典音樂迷固喜
founded the Shobana Jeyasingh Dance
frustration I experienced in Flight,
出望外，草刈民代和一眾舞者整晚的
Company in London), demonstrates a
another similar short-term exchange
出色技藝，都充滿自信地轉化作投入
blend of modern dance techniques with
project in which Mui was involved.
演繹舞角的工具，服務於一個面向觀
Southern Indian Bharata Natyam dance
Judy Tchou’s costumes are also an
眾的演出，我發覺自己難得的在投入
and Kalaripayattu martial arts movement.
artificial pastiche.
欣賞，而非斷章切割討求理解。《傾
In addition to traditionally inspired finger
情舞夜》中的《卡門》的埋身和性感，
gestures and squatting postures, the
This is thus a bit surprising even to
個别作品的蛇蠍美人高跟鞋形象 ，則
dance constantly accumulated angular
myself, that the dances that got me
又使我聯想到伍宇烈為香港芭蕾舞團
body shapes before breaking them
excited in recent months happened not
《巴蘭欽•舞越凡音》編的《夜夜西門
through further relational movement.
to be modern and contemporary dance
慶》中女性造型和題旨。
While a video projection of abstract
works but ballet. Even the New Vision
patterns seemed as detached, the dancers’
Arts Festival Soiree de Danse - Roland
《夜夜西門慶》，伍宇烈強調這支舞
tilted bodies at the side wings obstructing
Petit, surprised me with the serial Pink
沒有故事，故編舞從中國《金瓶梅》
exit transformed the whole theatre into
Floyd Ballet accompanied by music of
情色小説中，抽出西門慶、潘金蓮
another frame of no exit.
the art rock band. Tamiyo Kusakari and
等，不過為兩性人物象徵。至於舞者
the outstanding dancers she assembled
的中式造型，自多少使人猜憶伍宇烈
city:zen on the same program was co
turned with ease, their superb technique
對於香港舞蹈團「八樓平臺」經驗的
choreographed by Jeyasingh and Mui
into a means of serving the dance idea.
回味和啟迪。然而，把這些元素引入
Cheuk-yin, with dancer Janet Chang, one
Watching the dance, the audience was
芭蕾舞團把玩，編舞卻把聯想導向跟
of the six CCDC dancers in the work,
led to enjoy the make believe on offer, a
芭蕾舞相關的那種肢體迷戀。直把芭
who participated in an exchange scheme
dance that presents and enjoys itself
蕾人對足的戀物以三寸金蓮的非人道
with the company earlier in London. Mui
without demanding people to make
習俗喻之，坦率得來，又對兩性遊戲
Cheuk-yin with her Chinese dance
sense out of some artistic non-sense
中的權力作顏覆，看到女人同時也利
background, brings to the project another
materials. The bodily contact and
用纏足作其武器。至於點明要求于逸
cultural dimension; modem dance turned
relational tension of the Pas de deux de
堯@人山人海作帶中國味道、「有點
into a platform for intercultural
la Chambre from Carmen, was simply
像三級甚至四級片」的音樂，更可説
encounter, city.zen also uses, as text,
sensational. The liveliness of the femme
無視禁忌，結果帶點虚晃輕挑（意淫
excepts from conversations and names
fatale characters in high heels, on the
other hand, echoed and contrasted with 香港芭蕾舞團《夜夜西門慶》
。編舞：伍宇烈。攝影：Conrad Dy-Liacco
Hong Kong Ballet’s yeah yeah XI MEN QING. Choreographer: Yuri Ng. Photo: Conrad Dy-Liacco
the stereotypical image as presented in Yuri Ng’s yeah yeah XI MEN QING.
Yuri Ng stresses that his yeah yeah XI MEN QING has no storyline, despite
utilizing familiar characters from an old Chinese erotic novel. The dancers can perhaps thus be seen as symbolic figures
of the opposite sexes, related via desire. The Chinese outlook of the ballet.
舞蹈手札第8冊第5期__________________________
舞壇手記
Dance Diary
邊緣）的精確配樂，帶動演出的心理
reminded me of Ng’s recent collaboration
Maybe, as I have not seen Yuri Ng’s Boy
起伏節奏。而當代劇場的場面調度，
with the Hong Kong Dance Company
Story or A Brave New World of Suzie
射燈下的肌肉大隻佬•大紅的豔光美
in one of their 8lh floor Platform
Wong, watching yeah yeah XI MEN
腿，那壓迫力，就如伏在掌上壓的男
workshop performances. I certainly
QING, I really felt that I was witnessing
子陣下。
wouldn’t be surprised if Ng really got
history (a ‘glocal’ one) in the making. I
his inspiration for this piece from there.
see in Ng, a choreographer so well
《夜夜西門慶》這種入肉的人性心理
One link across the two classical dance
versed in, so fond of, ballet, employing
表述，在舞作力透舞臺，當非《天
forms that the choreographer seemed to
all the virtuosity he can mobilize, yet to
梯》那高貴格調的無殺傷力扮相可以
try to make was the parallel between the
subvert ballet itself. One could not help
並論，陳友榮設計的肚兜般的鮮艷束
obsession of the inhumanly bound feet
imagining how ballet audiences in the
身裝，比沈偉那舞者半棵一著，更是
for women in old China, and the ballet
West might be bewildered by something
言之有物的賣弄。甚至如《傾情舞
fetish for the pointe shoe and the female
so familiar yet so remote. (Such
夜》中，選自《夏洛特與我們共舞》的
body. But instead of falling into the usual
queemess, in my experience, is matched
《小舞鞋》，貌似詼諧，由因體能於
one-sided condemnation, the choreographer
only by Lar Lubovitch’s Men’s Stories,
歲月催人下的男舞者路易吉•博尼諾
explored how the fetish could also be
which I saw at New York’s Skirball
獨演，把芭蕾舞裙穿到頸上，以雙手
used as a tool, turning the male (or the
Center). Such a move (an embodiment
扮女舞者的雙足，角色大智若愚，笑
agent of the fetishization) into the victim.
as well as an attitude) is something
中有淚，勾起電影《兩生花》中的手
One particular example Ng constantly
perhaps uniquely Hong Kong in its
偶芭蕾之餘，無身躯的扮相，肢體演
returned to was to show how the male
character and yet (after Yuri Ng’s
繹肢體，也有如《夜夜西門慶》般的
dancer is reduced to a lifting machine.
transformation and remoulding) speaks
芭蕾自我指涉可嚼。
of a universal humanity.
Noteworthy, is the superb music score
或者是我未有親身看過伍宇烈的《男
Yu Yat Yiu@PMPS produced especially
Perhaps, I should at least acknowledge,
生》、《操操蘇絲黃》，看著《夜夜
for the ballet, with its Chinese flavour,
observing, as I did, that the Forsythe
西門慶》，我強烈的感覺我在經驗香
and flirty sensations. The sexy undergar-
technique class at ADF was really
港舞蹈的另一重要歷史時刻。伍宇烈
ment-like costumes by Ewing Chan, plus
nothing more than ballet, while the
對於駕馭芭蕾語言的駕輕就熟 ，統統
the scenography of the muscle man, and
Kirov Ballet performed an evening-
表現在猶如探戈的芭蕾雙人舞，能量
saturated red lighting by Billy Chan, all
length Forsythe program at Kennedy
收放自如，偏偏對此傳統，編舞有把
contributed to the unity of the piece.
Center, Washington D.C., the key to
其活用，進行天馬行空改造的膽
Prevailing throughout, is a sense of
contemporaneity in dance is not to
色/本色。然而跨涉文化的藝術傳
oppressiveness, as exemplified by the
exclude it just because it’s ballet. In
統，雖是改頭換面，表現對本土自身
girl crawling under the matrix of men
the recently published Why They
的肯定同時，卻其實又勾劃出一種普
doing push ups. Only through such a
Dance - Narrations of Hong Kong
遍的人性面貌。
daring move of breaking the sexual
Dance, each of the interviewed
taboos of ballet, could a ballet finally
choreographers had to answer similar
或者，我早該從在美國舞蹈節看威廉
face and honestly examine itself to such
questions; one which was asked of
•科西技巧班練的是不過是芭蕾，而
an extremity. The half-naked dancers in
them was: “Is Hong Kong an inspiring
在華盛頓看基洛夫芭蕾的節目則反屬
Near the Terrace, in comparison, were
place to be?” Yuri Ng answered that
科西舞碼，理解到芭蕾不芭蕾.本非
just harmless kitsch. (Even the Lespetits
he had somewhat complex feelings
舞蹈藝術當代（本我）不當代的關鍵。
chaussons, in Soiree de Danse - Roland
about it, for it always requires distance
在剛出版的《舞緣。舞故》中，每個被
Petit, which had Luigi Bonino putting a
to put things into perspective. The
訪的本地編舞也要面對「香港是一個
tutu around his neck and dancing with
East/West, balletic, and universal
刺激你創意的地方嗎？」的問題，而
his hands as if they were feet, despite
elements in yeah yeah XI MEN QING
我感党到《夜夜西門慶》，大概正是伍
its comic outlook, had arguably more
seem to be a good artistic testament
宇烈回答中所提到文化得以有互照距
to say about dance itself, or the lack
to that.H
離那极雄掀會的一次藝術作品答話。■
of the body.)
《舞緣。舞故》 Why They Dance? 精裝。中英對照。共31 5頁。30頁彩色圖片
Hard-cover ° Chi-Eng Bilingual。315 pages。30 pages colour photos
《香港舞蹈檔案》 Hong Kong Dance Archives 雙DVD。共1 95分鐘。廣東語。英文字幕
2 DVD set ° Total 195 minutes0 Cantonese with English subtitles
由香港藝術發展局委約、香港舞蹈聯盟製作 的「舞蹈保存計劃」推出了新, 書《舞緣。舞故》和《香港舞I
As a part of the Hong Kong Arts Development Council commissioned Dance Archival Project, Hong Kong Dance Alliance proudly presents its new publication Why They Dance? and DVD set Hong Kong Dance Archives.
蹈檔案》DVD。
《舞緣。舞故》藉著一些圈中人 的說話和工作，記錄了他們的信 念、爭扎、堅持和願景，讓讀者 _瞥推動香港舞蹈發展的一些因 素，以及其多元發展的面貌。書 中除了記錄了舞團藝術總監曹誠淵 、謝傑斐、蔣華軒、黃廷琳和梁家 權；編舞家黎海寧、梅卓燕、伍宇 烈、楊春江和楊惠美；舞者陳敏兒 、余碧艷、蘇漢華、胡軍、周錦欣 和黃狄文；舞蹈教育工作者和推動 者陳寶珠、潘少輝、羅廖耀芝、雷佩 瑜、王廷琳和吳詩韻等人物外|亦 收錄了一篇記錄了香港跨媒體舞蹈 的文章。《舞緣。舞故》書內亦收 藏一隻電腦光碟，載有本地拉賓舞 譜編寫人陳玉葉所寫的余碧艷作品 《生於死以前》的舞譜，以及一齣 舞譜-舞蹈同步錄像，向讀者介紹 一個更全面的舞蹈保存方式。
Why They Dance? is a book that records the experiences of 21 HK dance artists whose conviction, struggles, and perseverance have enabled them to realize their visions in dance. It provides a glimpse into some of the things that motivate the wonderfully diverse expressions of dance in HK through the words and works of the people engaged in this multifaceted art form. The book is a collection of articles about artistic directors Willy Tsao, Stephen Jefferies, Jiang Hua Xuan, Andy Wong, and Francis Leung; choreographers Helen Lai, Mui Cheukyin, Yuri Ng, Daniel Yeung, and Yeung Wai-mei; dancers Abby Chan, Yu Pik-yim, So Hon-wah, Wu 二二in Kwan, Selina Chau, and Dominic Wong; dance lOHongl ®W® advocates and educators Pearl Chan Po Chu, Pun Siu Fai, Virginia Lo, Florence Lui, Andy Wong, and Ng Sze-wan; and cross media dance in HK. Why BS DanceCom&mies Si • Si 5 mdepcndtn: Aitati They Dance? is complemented by a CD-ROM with a synchronized T! 拉利苗 Dance Education • SB 外 S 决 OverscM bcturge notation and video of Life? choreographed by Yu Pik Yim, one of the featured artists, documented by Queenie Chan, a HK Labanotator.
舞
•霣
《舞緣。舞故》隨書附送「舞蹈保存計劃」製作的《香港舞蹈檔 案》雙DVD，收錄了四集甶陳德昌、陳樂儀和方育平製作的記錄 片，記錄了香港舞蹈的現況。這四集分別為〈舞團〉、〈獨立藝 術家〉、〈舞蹈教育〉和〈海外交流〉的記錄片，除了訪問了多 位香港舞蹈工作者外，亦輯錄多齣舞蹈的片段，其中包括楊春江 的《形亡極樂》、00合的《弦舞曲》、楊惠美的《捕捉流水》 、梅卓燕的《流年歡》和王榮禄的《10夜》等。
Accompanying the book is a 2-DVD set Hong Kong Dance Archives produced by Ringo Chan, Chang Lok-yee, and Fong Yuk-ping. Recording different aspects of Hong Kong dance in action, the DVD set contains four documentaries: "Dance Companies”，"Independent Artists”，“Dance Education", and “Overseas Exchange”，with interviews and dance excerpts, including Daniel Yeung’s Metalove, Zero Zero Ensemble’s Visable Melody, Yeung Wai-mei’s Spiritual Girl, Mui Cheuk-yin’s Lotus, and Ong Yong Lock's 10 Nights.
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轉交香港舞蹈聯盟
Hong Kong Academy for Performing Arts,
香港演藝學院
1 Gloucester Road, Wanchai, Hong Kong
舞g手札第8冊第5期
Review q
Ballet’s month
The opening programme in this year’s
long tour of
New Vision Arts Festival was the 14-
China, one of the highlights of the current
strong American company Shen Wei
Year of Italy in China, opened in late
Dance Arts formed by the renowned
1
October in Hong Kong. Italy’s top ballet
company, founded in 1778 and now being directed by Frederic Olivieri, could not
have brought a better ballet for the Chinese
Dance in Autumn
years ago. The opening abstract work The
Rite of Spring set to a piano version of Stravinsky’s music, is uneven. Almost five
minutes have passed in the beginning with
audiences than the two-act masterpiece A Midsummer Night’s Dream by George
Chinese choreographer Shen Wei only six
By Kevin Ng
the dancers doing nothing but walking
Balanchine, the greatest ballet
slowly into place. The dancers are all
choreographer of the 20th century.
technically strong and in tune with Shen’s rather limited movement vocabulary —
This 1962 version by Balanchine, last
circling arm movements, spiral turns.
performed here by the Pacific Northwest
However the patterns for the ensemble are
Ballet in 2000, is by far the best ballet
quite interesting, and the lighting and
production of Shakespeare’s classic. Set
costume designs are excellent.
to a selection of music by Mendelssohn,
the story is effectively recounted in Act
Far better is the second work Near The
One. Act One ends happily with the
Terrace whose movements are in Japanese
resolution of human conflict in the quarrels
Butoh style. It is a beautifully designed
of the two pairs of lovers — Hermia and
white monochrome work with a snow
Lysander, Helenda and Demetrius — as
landscape and matching white costumes.
well as the petty quarrel between Oberon
The second part of this Arvo Part ballet is
and Titania over a changeling Indian boy.
mesmerising in the beauty of stillness and
slow movements. Wen has a gift for Act Two is simply a pure-dance
adagio. The dancers are stoically dignified,
celebration of celestial harmony. At the
climax ofAct Two is a heart-wanning duet depicting an ideal spiritual love beyond
having resigned to their grief. The ending
La Scala Ballets A Midsummer Nighfs Dream. Choreographer George Balanchine
human level. Balanchine’s ravishing
Balanchine dancer. Her dancing, smoothly
choreography for the wedding divertisse
phrased, was so glorious. Mick Zeni
ments in Act Two offers a glorious feast
danced nobly as her cavalier in Act Two.
of dancing. The pure classical dances for
is most theatrical with all the dancers
walking up a staircase in darkness and then sliding back down again.
The Hong Kong Ballet opened its new
season in mid-October with an ambitious
the six wedding couples, with endless
In another cast Zeni was a dazzling
mixed-bill programme designed by its new
pleasing patterns, are sheer joy to watch.
Oberon. Among the four human lovers,
artistic director John Meehan, the former
Gianni Ghisleni as Lysander and Gilda
director of the American Ballet Theatre
This is an ideal ballet to show off La Scala
Gelati as Helena in different casts were
Studio Company.
Ballet’s excellence in all levels. The mime
particularly outstanding. Antonio Sutera
and drama in Act One was convincingly
was a delightful Puck. Francisco Sedeno
What is most significant is that Meehan
performed. The ensemble’s dancing in the
was endearing as Bottom. The
has staged again for the company, ballets
wedding divertissements in Act Two was
performances had the participation of the
by Balanchine whose works have been
splendid. I saw the two different casts in
Hong Kong Ballet group as well as the
inexplicably absent from the company’s
1 long Kong. Marta Romagna, the opening
Hong Kong Philharmonic Orchestra under
repertory for over a decade. The first
night's Titania, has a beautiful long line
the baton of David Garforth.
Balanchine masterpiece Theme and
and easy high extensions, and is a natural
Variations which opened the evening is a
dance journal/hk vol.8 no.5
遵舞評
Review
fantasy on Petipa’s, the 19th century classic
Closing the programme was the premiere
The Sleeping Beauty. The company’s
of a new ballet by Yuri Ng entitled Yeah
dancing on the opening night seemed
Yeah Xi Men Qing, loosely based on the
somewhat restrained and lacking in
Chinese erotic classic The Plum in the
expansiveness, though everyone seemed
Golden Vase which is about the lustful
to have relaxed towards the end and
social climber Xi Men Qing and his
danced the glorious polonaise with zest.
women. It is an inventive and original
work full of wit, which skilfully blends Another Balanchine jewel, Tchaikovsky
classical ballet with Chinese martial arts
Pas de Deux, was staged by Merrill
and folk dance. Ng’s choreographic craft is
Ashley, one of Balanchine’s greatest
certain. Faye Leung was alluring as the
ballerinas who is now a teaching associate
leading woman, her long extensions
at the New York City Ballet. Crystal Costa
heightening the tension in the climactic pas
in the ballerina role was musical, and her
de deux in the exciting orgiastic scene. The
dancing was bright and clear.
closing tableau is spectacular.
On the second night, Ms Costa impressed
Also in the programme was Hush, a
again, with her partner Han Po, in Theme
pleasing Philip Glass ballet for four
and Variations. The company’s dancing
couples choreographed by American
was also much more vibrant than the
choreographer Stephen Mills, which
previous night. Tchaikovsky Pas de Deux
provided a good contrast in its romantic
was superbly danced instead by Jin Yao and
style. This wonderful first programme
Huang Zhen. Mr. Huang, a talented corps de
staged by John Meehan certainly shows
ballet dancer in his second year with the
off the Hong Kong Ballet in its best form
company, has a fine classical style and his
ever. More Balanchine ballets please, as
effortless virtuosity was absolutely dazzling.
well as more commissions from Yuri Ng.
Handkerchiefchoreographed by Lai ManWai is rhythmically exciting.
Huang has since been promoted to junior
soloist and is definitely someone to watch.
Hong Kong Dance Company’s Dream Dances. Choreographers: Mui Cheukyin, Lai Man-wai, Yu Pik-yim & Sheng Peiqi. Photo: Conrad Dy-Liacco
In late Sept. Hong Kong Dance Company premiered, for a change, a pure-dance
Mui Cheuk-yin’s earlier section Drapery
programme instead of their usual dramatic
has some insteresting ensemble dances.
works. Dream Dances is divided into
Long Sleeves choreographed by Mui and
eight sections and comprises earlier works
Sheng Peiqi is a very fluent dance for the
by several choreographers. Yuri Ng, as the
ladies with some pleasant circular patterns.
visual director, fits these segments into a
This was well contrasted by an aggressive
coherent whole. Billy Chan’s lighting
male dance Long Hair by Yu Pik-yim.
throughout was atmospheric and effective. It is a well-structured work showing off
How encouraging that the National Ballet
the company’s dancers at their best.
of China has been gradually expanding its repertory of ballets by the great 20th
Hong Kong Ballet’s Tchaikovsky Pas de Deux. Choreographer: George Balanchine. Photo: Conrad Dy-Liacco
The best section is the final Paper
century choregraphers. This new season
Umbrella by Mui Cheuk-yin who
opened in Beijing in early October with a
originally created this work in Germany.
premiere of John Ci anko’s version of
Set in a heavy snow with the dancers clad
Romeo and Juliet. Staged by Reid
in green, it is an exhilarating work. The
Anderson, the artistic director of the
duet for Huang Lei and Tina Hua is
Stuttgart Ballet, this is the first Cranko
excellent. The previous section
ballet staged by the company. There arc
舞蹈手札第8冊第5期
舞評
Review
generally less histrionics and excessive melodrama in this version. However the
balcony duct is more ecstatic in Kenneth
黑白灰沉，悲情過重
MacMillan’s version for the Royal Ballet,
whose ending is more tragic and rousing.
舞蹈若狂，如識似諷
I attended the second and third nights. Zhu
Yan, the company’s leading ballerina, was
---- 評CCDC《尼金斯基》
a sublime Juliet. She was entirely credible as the innocent teenager in the first scene with the nurse. In the ballroom scene she
文：Jonathan Ho
danced exquisitely her solo variation. In the balcony pas de deux she was most tender. In the bedroom scene, her legs beautifully sketched a trajectory in the air
九月，CCDC推出邢亮的
邦、林波，在《尼》演出中，都有極佳
in those high soaring lifts. Her death scene
新編製作《尼金斯基》。
的表現■特別是〈春之首演〉與〈萌動〉 兩幕，在史達拉坟斯基(Stravinsky)及
was heartfelt. It was another triumph in
邢亮本人是一位優秀的舞蹈家 ，近來
her illustrious career. Zhu is definitely one
舞而優則編，更可説是CCDC近的一
韋伯(Weber)震撼的音樂下，皆盡展
of the finest ballerinas in the world today.
位編舞新力軍。難怪《尼》的宣傳推
各人精湛的舞姿。飾演尼金斯基的陳
出不久，門票隨即售馨，後來在觀眾
宜今更將尼氏似瘋如狂的性情完全發
Her Romeo was Friedemann Vogel, a
要求下加開9月29日日場。反應如此
揮於他凝練的舞蹈造詣中。黃狄文飾
principal dancer from the Stuttgart Ballet.
熱烈，相信觀幂是想透過邢亮獨特的
演的醫生，將尼氏主診醫生的那份無
Vogel was an intensely passionate Romeo,
編舞技巧了解尼金斯基這位近代舞蹈
奈，以黑色幽默的演技演繹得耐人尋
and strongly partnered Zhu throughout the
界傳奇人物。然而，邢亮此劇的演繹
味之餘，亦令人記憶猶新。
evening. In the middle of the balcony pas
較為悲情、沉重，對命運的不滿情緒
de deux, when he did those expressive
亦較強！
白蝴蝶(Frederic Blin)重金屬般震
renverse en attitude, it made such a striking impression that the audience unexpectedly
馮國基慘白誇張的燈光設計，配合
在素淡、銀白的燈光影照下，整個舞
耳的音效，營造出令人不安之感.
台只單調的分作兩個演區，台左是刻
皆令觀眾彷彿走進尼氏瘋颠後的思
板單調的「排舞室」；台右是「劇院
維當中，如此的凌亂、複雜，敎人
The final third performance was led by a
的舞台」，台上的舞者亦只穿著顏色
不安！
17-year-old corps de ballet members who
單調的黑、白、灰色舞衣，他們這
has just joined the National Ballet from
「剩院」與「排舞室」間遊走、舞動、
綜觀全劇•雖説是邢亮感性傾情之
the Beijing Dance Academy ~ Cao Shuci.
徘徊，而每次舞者出台都面如鐵灰，
作，然而卻略嫌陰霾過重•悲懷較
Her dancing and acting were
木無表情，像是對生活刻板的麻木•
濃■不免予人顧影自憐之感•尤其是
straightforward. It was a most promising
對舞蹈生命的無感！是邢亮想表達尼
〈夜晚〉一場「劇院觀眾席」剌眼的燈
debut, her performance gaining in
金斯基生活圈子窄淺，還是宣示舞蹈
光及〈上帝的木偶〉那件像是永遠走
confidence as the evening progressed. Her
生涯的單調枯燥？我們在舞台上•看
不出、脱不下，有如枷鎖般的舞衣。
partner Yu Bo was rather strained however
到神飛揚、舞影翩然的舞蹈演員，在
劇院觀幕熱烈的反應和掌聲•真是如
in his dancing.
幕後或排練時，又是否盡是活在這般
此的炎熱刺眼？舞蹈的生涯又是否如
枯燥的生活之中？邢亮這樣的演繹.
此的約束制肘？相信，就算是尼金斯
The company gave strong supporting
是他感懷尼金斯基的人生，還是他對
基本人，亦未必抱著如此悲觀的人生
performances. Feng Ying, the deputy
舞蹈生涯的寫照？
態度。邢亮此劇，是他對舞蹈生涯的
broke into spontaneous applause.
artistic director, was authoritative as Lady
呼喊、對人生悲情的控訴、還是對造
Capulct. National Ballet’s tour to Hong
CC1)C全體男舞蹈員：陳宜今、楊雲
Kong next summer is eagerly awaited. ■
濤、黃狄文、羅凡、盧思邁、黃振
物弄人的譏调.？ ■
dance journal / hk vol.8 no.5
舞評
昭
Review movement
to
more
obscure
contemporary movement. This conflict
birthed the entire movement of Modem
dance, so to dwell on this contradiction
seemed exhaustive.
Notes on Nijinsky
For those who came to see the beautiful
By Sarabeth Berman
paid for. The dancers are expressive and
cast of male dancers, they got what they
technically strong performers. It was a
pleasure watching them move and partner each other. Both the supreme
masculinity and the challenging of traditional gender roles was the most
丄
viaQness, manliness> and xing
Liang
fueled
four
unique costumes, a pristine set, and
artful aspect of the evening.
beautiful men. Whatever it was that brought the
sold-out
performances for City Contemporary
Those audience members who came to
audience to the theater, the ultimate
Dance Company’s Nijinsky, at the
see a piece inspired by one of the
result was an evening worth seeing,
Studio Theater in the Hong Kong
greatest male dancers of all time found
perhaps even to investigate the aspects
Cultural Center in late November.
a performance that certainly explored
of the performance that were not quite
Perhaps it was past works that Xing
Nijinsky, but did not illuminate anything
as mad or manly. ■
Liang had choreographed that
other then what history already reveals.
intrigued the prospective audiences, or
Nijinsky is an oft-dramatized historical
maybe it was the legendary character,
figure who serves as fodder for
Nijinsky, that excited the crowds, or
discussion of mental deterioration and
it could have been the beautiful
challenging the status quo. Following the
publicity that flaunted the well-
performance of L ’apres- midi d ’un faune
sculpted male performers that spurred
in
ticket sales.
masturbation, the Champs-Elysees in
1912, in which he mimed
Paris was packed with protesters who
For those who were motivated to see
were outraged by his immodesty.
Xing Liang’s newest work, what they
However, the character depicted on
found was a collage of intriguing
stage did not seem like one who would
moments, but a show that lacked a
outrage thousands to protest on the Paris
dramatic arc to hold the evening
streets, but rather like a personally
together.
The performance began
tormented and struggling human.
quite strikingly— a scene that dramatized Nijinsky’s last public solo.
Liang spent what seemed like a
Chan Yi Jing used extraordinary
significant amount of time dealing with
technique and intensity to capture
the dichotomy between traditional ballet
Nijinsky’s consciousness. When the
and the defiant movement that Nijinsky’s
other men entered the stage, the piece
body was inclined to do. This somewhat
became about the dancers, not the
trite conflict informed moments in which
dance—it detached from the human
the dancers moved back and forth
narrative and became a collection of between restrictive traditional ballet
CCDC's Nijinsky. Choreographer: Xing Liang Photo: Ringo Char
舞蹈手^第8冊第5
藥j舞評
期啪
Review
芭蕾純舞與劇場舞蹈多面睇 文：鄧蘭
看了幾個舞蹈節目，湊巧 印］地兩個是芭蕾，且是巴蘭 欽的作品，分别是港芭的《巴蘭欽•
故事性的舞蹈跟不少以故事交織的古 典舞劇截然不同，同時又能將古典芭
蕾舞的傳統技巧與其意念融為一體 。
舞越凡音》及La Scala的《仲夏夜之
夢》，另外兩個則是CCDC的新作：
《主題與變奏》除了正中在天花吊下
《迷走雙域》與《尼金斯基》。
的一大盞宮廷燈飾及簡單的背幕，舞
《巴蘭欽•舞越凡音》帶來久違的純
往的製作有頗大分別，廣閟的舞台空
舞體驗
間卻令人眼前一亮。十位男女舞者穿
筆者看了香港芭蕾舞團的《巴蘭欽•
起傳統天鵝湖式舞衣手牽手地跳出節
舞越凡音》首場。節目包括由喬治•
拍悠揚的步姿，簡單而富變化，群舞
台上沒有一點多餘之物，這與港芭以
巴蘭欽編的《主題與變奏》及《柴可
的步式充滿韻律，雙人舞流麗舒暢，
夫斯基雙人舞》.史提芬.米爾斯的
一下子叫人重拾芭蕾舞最原始的表現
《此時無聲… …》及本地編舞家伍宇
形態：腳尖的魅力。《主題與變奏》
烈的新作《夜夜西門慶》。
帶來了很好的開始，雖然金瑤與黃震 的雙人舞欠了一些默契。金瑤在幾處
故名思意，喬治•巴蘭欽（1904-
落點稍欠例落，她絕對可以做得更
1983）自然是這個節目的重點所在。
好，而黃震轉圈後的落點都差了四分
自小便接受音樂和俄羅斯舞蹈培訓的
一圈，這方面應予努力。
巴蘭欽，一生創作超過四百齣作品，
、r^、
範疇還包括歌劇、舞台劇、音樂喜
《柴可夫斯基雙人舞》以大藍天幕做
劇、電影及電視製作中的編舞。他的
背境來视托一雙舞者，舞台更見寬
編舞風格被稱為新古典派，強調沒有
廣•然而藍天背境透發一種莫名的舒
適感•加上柴可夫斯基的樂段•韓潑
p
與高秀桃的雙人舞輕快自然。或許巴
香港芭蕾舞團（上起）《主題與變奏》 （編舞：喬治■巴蘭欽）、《此時無 聲+ + +…》（編舞：史提芬•米爾斯）及 《夜夜西門慶》（編舞：伍宇烈）。
舞者偶以來一個撲跳•由男舞者輕輕
攝影：Conrad Dy-Liacco
接著•其餘在形式視觉上不會有太大
闡欽的編舞就是這樣純樸古典•除女
agge journal/hk vol.8 no.5
卷'舞評
砌
Review
的突變動作，但舞步的變化往往就在
膩，男女混合的競赛以至四人舞，雙
《仲夏夜之夢》推進力強
不知不覺間形成，那種渾然天成的風
人舞的展示此起彼落都令人目不暇
La Scala在中國巡迴演出的芭蕾舞劇
格看似簡單實非簡單，往往對舞者有
给，尤其中段時拉開黑布幕是一大片
《仲夏夜之夢》，筆者看了首站在香
嚴格要求。舞者若然掌握不好，瑕疵
紅背境，背境下呈列了一個悃艷女
港的開幕演出。首度訪港的La Scala
立見。高秀桃演繹純舞作品（即不需
郎，夜夜笙歌的景象不脛而出，抽象
芭蕾舞團有悠久歷史，與史卡拉歌
受外形局限），都比演某些特定角色
中難掩其意，似沒有故事卻帶動具體
劇院和芭蕾舞的歷史息息相關。曾
更具信服力，加上她的拍檔韓潑■，或
聯想，是耶非耶，識隨尊便。
合作和誕生的&蕾舞星和創作人不
之前的梁靖都有很好的表現，跳來自
然事半功倍。
勝其數。巴蘭欽與史卡拉的合作是 伍宇烈顯然找對了古今共識的法門 。
從1952至1964年，那段日子La
除了以純舞來表現出《夜夜西門慶》
Scala芭蕾舞團舞星如雲，其中以科
《此時無聲……》是史提芬•米爾斯
介乎故事與非故事間的特點，可喜處
拉琦最為耀目，65年加盟的雷里耶
於2004獲美國芭蕾舞劇院「青年實習
還有棄用道具和含誘惑成份的舞姿。
夫更成了她的拍檔。《仲夏夜之夢》
劇團」委約，根據菲力普•格拉斯的
當然此作的音樂亦極為出色。于逸堯
是巴蘭欽在1962年創作，全劇分兩
Tirol Concert慢板創作而成。微紅的
的作曲風格殊異，雖沒有中樂的影
幕。第一幕重故事鋪排，第二幕則
背境與《柴可夫斯基雙人舞》的天藍
子，卻處處顯露中國味道的色調，亦
是純舞的體驗。
色調截然不同，前者的開朗調子在
冷亦熱，忽古忽今，明明中西合璧-
《此時無聲……》中變成含蓄温暖。
卻融合得沒有分界，引人奇思，剛好
舞劇的故事在第一幕基本已完結，第
一身緊身衣的舞者展示了現代芭蕾舞
與舞作互相輝映。《夜夜西門慶》不
二幕可以獨立視之。舞蹈與故事的推
的魅力。形體與技巧有別，但同樣簡
但沒有破壞此晚的純舞體驗，更將整
展融為一體，雖有敘事成份，但仍以
約精煉，梁菲的飽滿柔潤正合這套作
晚節目推向高峰。
舞蹈帶出，尤其原著中兩對戀人的錯
品中的動作要求，流動的體態像入了
中複雜關係都能以清晰貫通的處理呈
電腦程式，動作沒絲毫偏差。整體表
由於筆者座位偏後未能清晰分辨各舞
現出1編舞更利用了紅和藍兩種強列
現出一幅立體圖畫，美不勝收。
者，只見群舞中略為凌亂，一些快速
色彩的服裝代表兩對戀人，觀眾看色
節奏下部份舞者表現較吃緊•講求速
便能辨別眾■人身份，並無混淆。巴蘭
《夜夜西門慶》續有驚喜
律的動作完成得較免強；雙人舞中隱
欽的編舞流暢，推進力強，且具邏
《夜夜西門慶》既是新作兼首演，便
約看到梁靖與梁菲，二人線條優美，
輯，令人享受到舞蹈本身之美的同
不能説只是陪襯或客串角色。在三個
加上多年合作，表現純練，尤其梁靖
時，又能感受虜情，然而舞台上卻如
純舞體驗帶來久遣的滿足後，極害怕
十分懂得因應對手發力•雙人舞中的
斯簡約，沒有多餘一件道具，舞者的
它是以故事來表現的舞蹈，尤其一開
拋接尤為準確倒落，往往令動作更為
動作就如跳曜的文字，呈示了人物'
始便見一個如説書人的角色遊走舞台
流暢。
情節和各種關係。巴蘭欽的《仲夏夜
中。由於場內仍未把燈光收暗，不少
之夢》能摒除舞蹈以外的元素，以淨
觀幂還斯斯然入場，殊不察節目已經
新藝術總監米瀚文上任的首個節目不
化的表達形式來表現莎翁的名作，跟
開始。不過看畢全程後，証明上述憂
選擇經典舞劇，而點了幾個短篇打頭
匯聚各種舞台元素或跨媒體的表現形
慮是多餘。
陣，可謂大膽之餘亦反映了他的獨到
式截然不同。
眼光。《巴蘭欽•舞越凡音》中，雖 同樣只用背幕為布景，《夜夜西門
只有一個新作，卻能帶給觀幂一種清
全劇編排優秀，舞姿豐富，獨舞與雙
慶》開始時的陣式有些像戲曲的味
新感覺，這與富麗堂皇的舞劇截然不
人舞以外的群舞一樣朝氣勃勃，唯終
道。一排男舞者橫列舞台中央，背境
同，後者的盛大製作與戲劇性固然吸
場一段的詭秘氣氛，跟全劇亳不協
站了一個形體看似宏大的男人，接著
引，但純舞的質樸自然亦同樣富有魅
調，做成前後不統一，加上匆匆作結
一個身穿火紅舞衣（狀似泳衣，但衣
力，尤其舞團為了讓舞蹈員深入掌握
都見突兀。若用此作结，前面某曲段
上方布儼如中國古代女子所穿的肚
巴蘭欽的編舞和技巧，特別請來隨巴
落，如第一幕的林中也宜加插一點迷
兜）、高跟鞋，形像仿如鶯燕的舞者
蘭欽習舞多年的梅雪莉來港作指導，
離色彩。至於演出方面，Scala今
出場，並逐一點相，不合意的男者即
可見這位新總監的嚴謹慎密。看來米
次的舞者沒有預期那樣突出’星味亦
離場。這樣鋪排，不能不説沒帶敘事
瀚文的選擇為舞團帶來很好的開始 ，
一般。女比男舞者表現較好，全劇最
成份。不過其後績有驚喜，舞段一浪
港芭能否在他的帶領下再上一層樣 ，
突出的舞者是飾仙后的M a r t a
接一浪。全男班的剛勁，全女班的細
且拭目以待。
Romagna及飾卜克的Ricardo
舞蹈手jL第8冊第5期鬧
磬舞評
Review 現場獨奏者坐下，右下方靠近觀幂席
《迷走雙城》並未找到出路
設有一張白色小圓桌及白椅子，坐著
出場的女舞者（張慈妤）的花旦形態
穿上紅衣的男舞者。
和做手混和於現代舞中不見其利，反 見其弊。其後與「修芭娜」三位男舞
節目開始時，男舞者走到中央以頗
者的合舞|儘管對方依然硬朗•以原
快的速度展示了肢體的剛勁活動•
風格展示舞式，張的偶然來一個古代
約數分鐘後，高臺上的單簧管獨奏
做手或形貌霎時產生異常不協調的畫
者加入，男舞者繼續以強烈的手腳
面，甚為古怪。這種情況續有出現。
活動，硬朗時像武術，當中糅合不
整個舞作就介乎「修芭娜」與「梅卓
少印式瑜伽動作。接著是另外一雙
燕」的風格完成。代表前者之風從
舞者出場，原本的舞者返回椅子坐
《出走沒路》可見一二•那麼我們地
下，接著是雙人舞、集體舞，舞者
道的梅卓燕呢？
亦輪流在左右進出，直到原來的男 舞者加入與幂比併，戲劇化的段落
作品告訴了我們，因為要跨文化，
產生。他想離開這個競技場，走進
又或許編舞者本身是中國舞出身，
後台，但每每被後台的人推出來或
舞蹈作品無可避免地加上戲曲身
被拉回到台中。最後被一位舞者助
段；要跨藝術•舞作須要戲劇成
他逃離困局，避到高臺上。臺下繼
份，舞者不但要做戲還要念白；要
續互鬥。無論獨舞與小組舞，依然
跨媒體也要好好利用音樂和映象。
是剛勁硬朗，實橋實馬。每個動作
然而這些元素卻被錯用，亂用，甚
都實淨清晰。
至濫用。
整個舞動作一致，風格強烈。全程沒
在《迷走雙城》中，筆者看到一些很
Massimi。Marta的身體很柔軟，雙
有加插念白，亦沒刻意把舞者變成演
古怪.，甚至不舒服的動作，往往是現
腿修長，分腿動作♦直完美。
員，儘管最初出場的男舞者是作品的
代形體突然轉變到戲曲身段之狀態，
Ricardo很能表現出角色的靈敏和動
中心人物，他獨坐時也沒有做出甚麼
總敎人莫名其妙。當然，如果節目內
感。反而飾兩對戀人的舞者礙於情節
表情，只是默默看著觀幂，這反而加
的環境設定是劇場戲院，或者是化裝
所限，第一幕沒太大的發揮，第二幕
強了互動色彩。背境的電子數碼效果
舞會•甚至殯儀館之類，戲曲人物形
的純舞中則有較多表現機會 。•港樂在
修芭娜•嘉亞辛舞團及城市當代舞蹈團 《迷走雙城》。編舞：修芭娜■嘉亞辛、梅卓燕。
攝影：陳德昌。
亦不複雜，只是一些光影的條子，初
態的出現會變得較合理和具邏輯，否
大術.加福斯領導下亦表現了孟德爾
時還是黑白，中段才呈藍綠映象，些
則容易被人誤會是瘋了或著了魔！但
領音樂的美妙。
毫不過火。至於音樂更是一流。單簧
相信這並非編舞者的意思。另外，舞
管獨奏者表現出色，奏出光亮音色•
植出現的舞者念白設計委實累赘。劇
製作方面，舞劇基本用了兩幅大畫布
雖然下面的舞者節拍強烈，獨奏時他
中最初出現的念白是兩位如演員的女
為背境，輔以少許道具演出，礙於資
總以輕柔的中板來伴和著，往往是加
舞者走出來邊走邊説，女甲問女乙：
源•以立體布景為主體已不常看到，
入弦樂後才轉為快板。這様的配合反
「我陪你去買嘢，尖沙咀？佐
不過用布幕作背境亦省下不少空間给
而凸顯了音樂與舞的關係。觀眾眼睛
敦？……」。對白或獨白成了一個重
舞者，仍是可取：不過兩對戀人的服
看著舞者澎湃之態，耳朵卻接收到柔
要元素，往後「修芭娜」女舞者也念
裝則稍嫌粗糙。
和之音，就算是合奏的快板，也非常
起白來，欠致是我在New York，現
純淨統一，完全沒有混雜印度或其他
在是早晨……。但節目中已不斷播出
《出走沒路》特性強
音樂來製造印式效果，全程也沒有加
這是甚麽車站，甚麽地方的聲帶（儘
11月12曰看了修芭挪.嘉亞辛舞團
上其他音樂處理。
管一時廣東話，一時國語），觀眾不
（英國）與CCDC合作的《出走沒
用實際知道舞者的所在，自可聯想到
路/迷走雙城》。節目上半場是前者
可惜中場後的《迷走雙城》變了樣•
他們游走在不同城市間。這些念白在
帶來的《出走沒路》。《出走沒路》的
或許這是兩個不同文化基因錯配了，
舞中究竟是畫龍點睛•還是畫蛇添
佈局很簡緻。左上角靠背境是一白色
又或者另有喻示。
足•觀眾自定。
高台•約二米餘高，台上面積剛好讓
履 Review
lance journal/hk vol.8 no.5
舞評
回説音響方面，如噪音的聲帚不時出
出現在節目中的劇場元素包括不少戲
現，不斷説出上面提到的甚麼站，甚
城市當代舞蹈團至今演出與編舞相
劇成份，而輔助人物情緒的行為表現
間的刑亮，早前更成為港台華人藝
麼路，無時無刻不在提醒觀豕們置身
則有撞踏、扔凳、搬檯•念白等。這
術家系列的一員，在港擁有不少
在怎樣一個設定環境裡頭，加上廣東
些元素的產生往往透過舞者與選定的
fans。刑亮在現代舞壇一直發放異
話、普通話、英語交錯令人煩厭得
物件的關係和接觸，來表達舞者的某
彩，前作《霸王》既編亦演，亦引
很，而這種錯亂同時在音樂出現。西
一個狀態。明顯地在節目中出現的撞
起不少迴響。《尼金斯基》是他第
樂中樂，還有甚麽，筆者也分不出，
牆和扔凳解示著一種被壓抑的精神的
一個長篇舞作，心思細密可見，其
總之混集在一起。幸好視象方面沒有
爆發，《對醫生的話》中的搬檯又產
中的《春之祭首演》和《自由的花
出現不同城市重疊交錯的映象，只有
生另一種化學意義，是主角內心的凌
魂》更表現了純舞的力量和無比魅
簡單的畫面，這方面則較接近「修芭
亂的反映，還是半癲的人的錯覺都見
力。或者由他親自演繹舞作的主
娜」的風格。
合理，觀眾可靠自己的觸覺去想像。
角，可能有更多的發揮。誠希他在
念白則更直接地表現一種特定的意
編舞之餘，不忘演出，繼續他的舞
或許戲曲、念白和聲帶（英語、廣東
思。這些元素無疑能提供一個較寬闊
壇傳奇。■
話、普通話）、錯亂的音響和音樂的
的創作空間和強化視覺
加入不是梅卓燕一'向的風格，甚至有
內容，但同時亦把原本
些成份是來自「修芭娜」的，然而這
較抽象的舞蹈變為接近
種處理卻見於不少本地劇場舞蹈作品
現實的生活形貌，在某
中，亦有濫用之勢。今次梅卓燕選用
程度上也限制了舞蹈語
了這個方向來作跨文化交流令人失
言本位的發揮。這些虞ij
望，好像不用戲曲形態就表現不出中
場元素吸引創作者的地
國文化的特性。她還在香港舞蹈團
方在其不受限制拘束，
時，常擔演一些帶有現代技巧的中國
既有特定意義，又可視
舞•當時感覺很新鮮。經過時間的磨
為符號，帶像徵成份，
練，她應該比其他人更能找到兩者之
且素材包羅萬有。《尼
間融和的交匯點。
金斯基》中的劇場元素 無疑用得恰當，卻是較
現代劇場包容性大，甚麼都有可能，
常見（利用字幕介紹尼金斯基的一些
沒有可以不可以，只有好與不好！今
重要思想則見直接簡潔）。除上述
次的跨地域合作顯然找不到新出路 。
的，筆者看過引進在舞蹈裡的（不限 於舞蹈劇場）有扔枕頭、掃垃圾、爬
最後不得不談談那些舞衣，舞者胸前
那塊金屬布是要代表未來嗎？
梯、拋羽毛、踢球等等，而以'一種專 門訓練如馬戲雜技、行槓杆、跳彈床
及飛車等亦早已登臨舞蹈劇場世界，
《尼金斯基》純舞蹈耀眼
換言之，如非有更強的舞蹈支撐或意
劇場元素未有突破
念表達，不少這些劇場形式已敎人熟
城市當代舞蹈團於九月廿九和十月一
口熟面，不但未能做成突破，反見千
日上演了四場刑亮的全男班作品《尼
篇一律。
金斯基》。筆者看了十月一日的曰
場•在十月十五日的文匯報文化版亦
初認識刑亮的名字約在十年前。當
曾發表意見•唯篇幅所限，未能盡
時他隨廣東現代舞團來港演出，在
述，借此稍作補充。九段舞的特色已
芸芸的舞者中他和桑加吉，還有楊
在前文發表，這裡不贅。這裡想補充
雲濤的身段與技巧令筆者最難忘•
前文説「整個作品如能減掉那些劇場
自此便有留意他們的動向。桑加吉
元素，純以舞蹈來表達「舞者芳魂」
已到外國發展，年初楊雲濤剛由香
的意念■可能爆發出更璀璨的星光」
港舞蹈團轉到城市當代舞蹈團，旋
一段。
即參與《霸王》的演出。98年加入
城市當代舞蹈囲《尼金斯基》 編舞：邢亮。攝影：陳德昌
Dance Expression/Improvisation
Land XV- Classical vs Modem 《Dance Expression /緣舞場十五
Body Touch《共胸渡》
Body
T O U C tlS'
E-Side Modem Dance Company
—古典與現代》 —
男w烈肢n
女感性形您
東邊現代舞團
YSpace多空間 7-8/12/2006
6/12/2006
7:30pm
Theatre, Sheung Wan Civic Centre
Y Space Theatre Y多空間Y劇場
上環文娛中心劇院
Performers 演出者：
J
Lam Po 林波、Chan Yi Jing
馬才和、Mandy Yim嚴明然、
陳宜今、Fan Xinghua樊興華、
Terry Chan 陳廷安' Nelson Hiu
Enquiries 查詢：9492 3673
二 1
Choreographers 編舞：
Astad Deboo ' Victor Ma
邱立信、Ahno Kwan關飛燕
8pm
Yunna Long 龍雲娜、Ricky Sim
沈紹傑、Tung Kuei-Ju董桂汝、 Shih Chih-Ru 石志 4口 Enquiries 查詢：2372 9351
testimony《證言》 CCDC城市當代舞蹈團
15-16/12/2006
8pm
Kwai Tsing Theatre Auditorium
葵青劇院演藝廳 Choreographer 編舞：
Helen Lai黎海寧 Enquiries 查詢:23297803
The Nutcracker《胡桃夾子》 Hong Kong Ballet香港芭蕾舞團 15- 16,19-21,23-25/12/2006
7:30pm
16- 17,23-26/12/2006
2:30pm
Grand Theatre, HK Cultural Centre
香港文化中心大劇院
WuDaoQingNian 2006
《舞蹈青年2006》
Choreographer 編舞： Stephen Jefferies 謝傑斐
14/01/2007
L4 Atrium, Langham Place
Enquiries 查詢：2105 "9724
朗豪坊4樓通天廣場
鄭州歌舞劇院 ■大型！創舞劇 A grand dance drama Zhengzhou Song and Dance Theatre
Shaolin in the Wind
2:30 & 4:30pm
Choreographers 編舞：
禪•武合-
Abby Chan 陳敏兒、Ronly Kong
武舞相生
鄺韻儀、LaiTak-wai黎德威、
Shaolin in the Wind
Enquiries 查詢：2328 9205
Zhengzhou Song and Dance
19.11.2006 （日 Sun）
Theatre鄭州歌舞劇院
Piazza, Hoiifl Kony Cultural Ceniro
20-21/1/2007
8pm
Auditorium, Shatin Town Hall 沙田大會堂演奏廳
Enquiries 查詢:22687323
R天廣珥
香港文化中心
14.O1.2OOZ （日 Sun） 朗臺坊4櫓通天廣壤 L4 Alnuni. Langham Place 2:30pm & 4:30pm
平台舞蹈表演計劃
呼 ’
《風中少林》
Yeung Wai-mei 楊惠美
WuDaoQingNian 20 Podium Dance Performar