《身體活》序章

不加鎖舞踊館

UNLOCK DANCING PLAZA

主辦及製作 Presented and produced by

合作夥伴 Collaborated by

鳴謝 Acknowledgement

不加鎖舞踊館為藝發局資助團體 Unlock Dancing Plaza is financially supported by the HKADC

康樂及文化事務署

Leisure and Cultural Services Department

伍宇烈 Yuri Ng

製作團隊

Production Team

�� �� 年 與 不加 鎖 舞 踊 館藝 術 總監 王 榮祿 相 識 於 城 市當代 舞 蹈 團，期 後多次合作，為王 榮祿 第一 個 舞 蹈 長篇作品 《看似昨日的天》任服裝設計。

編舞及演出 ｜ 王榮祿、陳武康 服裝設計 ｜ 伍宇烈

Choreographer & Performer | Ong Yong Lock, Chen Wu Kang

燈光設計 ｜ 李智偉

Lighting Designer | Lee Chi Wai

服裝設計 Costume Designer

於����至����年間出任不加 鎖舞踊 館董 事局主 席。與不加 鎖舞踊 館多次合作，包 括為《跳著舞 去火星 》、《 九色 鹿》、《愛息》及《甩色》任布景及服裝設計；《水舞問》、《男生．男再生》任編舞。 現任無伴奏音樂劇場一舖清唱聯合藝術總監

Having known Ong Yong Lock, Artistic Director of Unlock Dancing Plaza, since their time at City Contemporary Dance Company (CCDC) in 1995, they have collaborated on many works since then, and he has served as the costume designer for Same Time Tomorrow, the full-length debut by Ong Yong Lock.

He also served as Chairman of the Board of Unlock Dancing Plaza between 2009 and 2017. Some of his notable collaborative works with Unlock Dancing Plaza include taking on the role of set and costume designer for Jump to Mars, Dance with Me, A Deer of Nine Colours, Whisper of Love and Love Sick, and choreographer for Hose of Dancing Water and Boy Story．Reborn.

Yuri Ng is currently the Co-Artistic Director of Yat Po Singers.

李智偉 Lee Chi Wai 燈光設計 Lighting Designer

李智偉曾任職 城 市當代 舞 蹈團 技術 部。參與 設計作品包 括 城 市當代 舞 蹈團周書 毅 編舞 作品《喬 楊》、西九文化區 委約及製作蘇．希利編舞作品「觀・影 ── 香港舞者」、不加鎖舞踊王榮祿及周書毅 編舞作品《無用》、香港青年 藝術協會與太古地產合辦《PROJECT AFTER �: Cube Culture》、李思颺及王丹琦編舞作品《Galatea X》、 楊 春 江 編 舞 作 品《 靈 靈 性 性 — 天 體 樂 園 � ��� 》、梅 卓 燕 及李 鎮 洲 作 品《 藍 舞》、不加 鎖 舞 踊 館 王 榮祿 編 舞 作 品 《夢的��日��夜》、廣東現代舞團桑吉加編舞作品《火柴人》、黎德威編舞作品《So Low》、 伍韶勁作品《大禹 之後》等。

Lee Chi Wai worked in City Contemporary Dance Company Technical Department. Design works include City Contemporary Dance Company Almost55 by Chou Shu-Yi ,Unlock Dancing Plaza Never-never Land by Ong Yong Lock and Chou Shu-Yi , West Kowloon Cultural District Freespace at Taikoo Place ON VIEW: HONG KONG by Sue Haley, Neo Dance Galatea X by Justyne Li and Wong Tan-ki, Dan's Exhibitionist 2011 by Daniel Yeung, Dancing Blue by Mui Cheuk-yin and Lee Chun-chow ,Unlock Dancing Plaza Dreams 10 Night by Ong Yong Lock, Sticks choreographed by Sang Jijia and presented by Guangdong Modern Dance Company, So Low by Lai Tak Wai, After the Deluge by Kingsley Ng.

劉曉江 Lawrence Lau 聲音設計 Sound Designer

劉 曉 江，先 後 畢 業 於香 港 演藝 學 院 及香 港 城 市大學，主修 作 曲 及電子 音 樂、創 意 媒 體 藝 術。除了創 作音 樂，包 括 室內樂、管弦樂、中樂、現場電子樂及視聽藝術等，劉曉江也熱衷於劇場、展覽空間及非常規空間中探索各種概念、 語言以及創作的本質，喜歡透過聲音的多元角度切入，以樂手、表演者、聲音設計等身份進行 創作。

Lau Hiu Kong (Lawrence) is an artist based in Hong Kong. He received his BMus in Composition and Electronic Music and MFA in Creative Media at The Hong Kong Academy for Performing Arts and The Hong Kong City University respectively.

Lawrence enjoys researching different art disciplines. Apart from his music, ranging from numerous chamber ensembles, orchestra, Chinese instruments, live electronics and live audiovisual works, he also delivers his creativity in theatre, gallery and other possible spaces as a musician, performer, sound designer.

聲音設計 ｜ 劉曉江

Costume Designer | Yuri Ng

Sound Designer | Lawrence Lau

製作經理 ｜ 馬志恒

Production Manager | Jason Ma

服裝統籌 ｜ 陳靜如

Costume Coordinator | Chan Ching Yu

監製 ︱ 李漢廷

Producer | Michael Li

節目統籌 ︱ 黃芷賢

平面設計 ｜ 田雀工房

Programme Coordinator | Effie Wong

Graphic Designer | Peter Bird Studio

不加鎖舞踊館創作團隊

Creative Team of Unlock Dancing Plaza

藝術總監 ︱ 王榮祿

Artistic Director ︱ Ong Yong Lock

駐團藝術家 ︱ 李 振宇、張嘉怡 +、丘展誠 ^、

李偉能 舞團經理 ︱ 何詩慧 # 外展經理 ︱ 周金毅 # 高級節目主任 ︱ 李漢廷 ^

高級外展主任及研究員 ︱ 馮顯峰 實習節目及宣傳主任 ︱ 黃芷賢 * 會計助理 ︱ 何家寶 行政助理 ︱ 李潔儀

#

#

Resident Artists ︱ Andy Lee, Kerry Cheung+, James Yau^,

Joseph Lee^

Company Manager ︱ Ho Sze Wai# Outreach Manager ︱ Elsie Chau #

Senior Project Officer ︱ Michael Li

Senior Outreach Officer & Researcher ︱ Fung Hin Fung Programme & Marketing Trainee ︱ Effie Wong* Accounting Assistant ︱ Elaine Ho #

Administrative Assistant ︱ Jan Lee #

#兼職員工

#Part-time staff

+藝術人才培育計劃是由香港藝術發展局資助

+The Artistic Internship Scheme is supported by the Hong Kong Arts Development Council

^以項目形式聘請

*藝術行政人員實習計劃由香港藝術發展局資助

^On a project basis

*The Arts Administration Internship Scheme is supported by the Hong Kong Arts Development Council

特別鳴謝

Special thanks to

天寶樓扎作 夏師傅 王師傅 葉榮煌

Mr. Ha & Mr. Wong, Tin Po Lau Guthrie Yip

⋯ ⋯

There is a saying that “everyone is a dancer” – but this is in fact an unfinished saying.

Indeed, everyone can dance or become a dancer. However, not everyone can rely on their

I have been fully devoted to dance for 30 years. For a 51-year old senior dancer like me, body works

“Craftsmanship” is a process of continuous repetition and refinement.

are also a product of time.

The process takes its toll over time and once exhausted, anything

Back when I started to learn dancing, I did not only pick it up as a hobby. I chose dance because I could

bodies as an antenna for thought, nor does everyone need this.

What these works exercise is both internal and external. Successful exercise makes one feel alive!

also live on it. When this form of art becomes a craft for making a living, and is later transformed into

excess is discarded, and true essence is distilled into skill. By using

something that requires protracted operation, maintaining a zestful drive is critical. One should

A prologue refers to a beginning in an entirety. You have to first unravel the works on

their bodies as a form of artistic technique, the dancers show in the

learn to dispense with certain things during the continuous process of strict training, to give the

your own body, then decide on which to focus on or how to carry it forward. This is

present the culmination of their past experiences. Through dance, are

body a chance to absorb and rest, and allow some space for the mind to ruminate and to question.

somewhat akin to a background check of a dancer, to articulate and pronounce which

they creating or reminiscing?

When situated in a full-time professional dancing environment, what you see and hear on a daily

have you engaged in? What heights has one attained? How does one value or reflect upon

basis are the narratives of distinctly different styles of dance. Swayed by such authoritarian

experience?

group one belongs to: which type of dance do you specialize in? What kinds of dances

atmosphere, whilst hesitant, you would nonetheless assimilate everything you have encountered, so

With all kinds of questions in mind, the two dancers Ong Yong Lock

you could accumulate experience through physical practice. Those accumulated experiences are now

Why does a dancer from the Chinese language world suddenly take a philosophical turn,

and Chen Wu Kang will together learn an entirely foreign craft – Wing

deeply engrained in the body. But for those which you have not traced to its source back then, would

and dance away from ordinary life? To talk of Being, to talk of religion… or to be

you still choose to believe that those experiences remain apt and pertinent? Would it be possible to

submerged and caved into a realm of love and hate – up to the point that I am beginning

experience things in a new light by reproducing such experiences? How can body works parallel those

to see the world in loops. Is there going to be anything new further down the road of

in life? All of these questions are to be unlocked in this prologue.

dance? Or, should I say, is there a need for anything new?!

Dance has shown me the path to living, and I hope that I can live on to find a way out for dance.

Looping is also a form of repetition, a technique necessary to elevate work into sublimity.

Lock

Wu Kang

Chun and Traditional Paper Crafting, starting from scratch. Through which, they will parallel their years of experience in dance, and to reflect on its heritage and the blood, sweat and tears devoted to perfecting the craft.

節目長 約 �� 分 鐘， 不 設 中 場 休息。 The running time of the performance is approximately 75 minutes without an intermission.

��

年年資的舞者；透過舞者生活，鍛鍊的到底是

how were my body works actually cultivated?

��

歲的人，

through life as a dancer?

behave professionally at a professional workplace. In an era when systematic learning was lacking,

我是個

step. To learn under the guidance of a professional instructor was no different from being asked to

什麼？

I am a 41-year old man and a dancer of 30 years – what does one aim to train and develop

常說每個人都是舞者，這句話沒有說完：沒錯，每個人都可以跳舞、

Looking back at the times when I was learning to dance, there was no such thing as learning step by

可以成為舞者；可是倚賴著身體作為觸角來思考的，卻不是每個人都

可以，也不是每個人都需要。

活兒，鍛鍊的是什麼，裡應外合。

練好了，就活了起來！

序章，就是一整個的開始；先把自己身上的活，理個清楚，再看看接下

來要往哪活去，亦算是一個舞者的身家調查，清清楚楚地自報家門：

練的是哪個門派？跳過怎麼樣的舞？聽說過什麼樣的境界呢？自己又

是什麼樣子的體會呢？

不然就是持續在愛恨情仇裡面打轉，看了我都覺

為什麼華文世界的舞蹈家，跳著跳著就跳出了生活，玄乎了起來呢？

存在啊、 宗教啊

得世界在持續跳針，那跳舞路上到底還有沒有新東西啊？或是說，還

需不需要新東西！

跳針也是重複的一種手法，一種將活練入化境的必經之路。

武康

回想自己學習舞蹈的過程，是沒有循序漸進的。專業老師的把手教授

歲樂齡舞者的我，身體的活也是

��

下，一切就在專業職場中被要求出專業的表現，在那缺乏系統學習的

年；如今已是

��

年代，到底我身體的活是怎樣養成的呢？

全情投入舞蹈已

由時間累積而成的。

當年學舞跳舞除了興趣外，也因為它養活了自己。當這門藝術變成討

生活的技藝，成爲長期經營的事，最需要保持的是靈活的動力。無間

的鍛鍊中要學習去﹁偷﹂去﹁減﹂，讓身體留有餘地去吸收和休息，

也讓心靈留有空間去思考和懷疑。

置身在一個全職專業的舞蹈環境中，耳濡目染的都是風格自成一家的

說法，在專家權威式的渲染下雖半信半疑但也照單全收，為的是透過

身體演練、實踐累積而變成經驗。如今經驗已存在於肌理之中，但當

時少了追本溯源查證的，是否還會選擇相信這些經驗仍是活靈活用的

？是否能在重現這些經驗中體驗全新的感受？身體的活可以如何對照

於生活？種種的一切留待這次序章的開啟。

舞蹈給我存活的路，也希望繼續活下找出舞蹈的路。

﹁技藝﹂，就是不斷的重覆，累的時候才會把多

餘的放掉，成為技巧。以身體作為技藝，舞者的

王榮祿、陳武康，

詠春和紥作，

當下展現了過去經驗的總和；在舞蹈之中，他們

在創造，還是回顧？

懷抱著各種疑問，兩位舞者

將一起學習於他們全然陌生的技藝

重頭開始，對應自身多年來習舞、練舞的經驗，

思考當中的傳承、累積和筋疲力竭。

—

—

祿

王榮祿 Ong Yong Lock

不加鎖舞踊館藝術總監 Artistic Director, Unlock Dancing Plaza 編舞及演出 Choreographer & Performer

王榮祿出生於馬來西亞，����年加入香港舞蹈團；����年加入城市當代舞蹈團，並隨舞團到世界各地巡迴演出。

王氏 為南群舞子創辦團員，����至����年間出任南群舞子藝術總監一職。王榮祿與周金毅 於����成 立不加鎖舞 踊 館，致力推 廣 和普及現代 舞。王氏 活躍 於舞蹈創作，作品曾應 邀 於亞洲藝術 節、國際 華人華裔舞蹈節、馬來西亞 華人舞蹈節、日本東方之龍舞蹈節、世界舞蹈節、香港藝術節、國際舞蹈學院節、廣東現代舞週、北京現代舞週、中 國舞蹈��天、日本 福崗藝穗節、國際即興舞蹈節（韓國）等。 獲委約創作的機構包括香港舞蹈團、城市當代舞蹈團、北京雷動天下舞蹈團、廣東現代舞團、香港芭蕾舞團、香港 演藝學院、西澳洲演藝學院、昆士蘭科技大學。 王氏於���� 獲頒「香港藝術發展獎」舞蹈界別的年度最佳藝術家獎。

Ong Yong Lock was born in Malaysia. He joined Hong Kong Dance Company in 1989. He then joined the City Contemporary Dance Company in 1993 and toured with the company to perform around the world.

© Tommyfortwo

Ong is a founding member of South ‘ASLI’ Dance Workshop and was the artistic director of the company from 1997 to 2001. In 2002, he founded the Unlock Dancing Plaza with Elsie Chau, striving to promote and popularize modern dance.

Ong is active in dance creation, his works were invited to be performed in the Asian Arts Festival, the International Sino Dance Week, the Malaysian Chinese Dance Festival, the East Dragon Dance Festival in Japan, World Dance Festival, Hong Kong Arts Festival, International Academy of Dance Festival, Guangdong Modern Dance Festival, Beijing Dance Festival, Chinese Dance Masterpieces for 12 Days, the Fukuoka Dance Fringe Festival and the International Improvisation Dance Festival (Korea), etc.

Some of the organizations he worked with include Hong Kong Dance Company, City Contemporary Dance Company, Beijing Dance/LDTX, Guangdong Modern Dance Company, Hong Kong Ballet, The Hong Kong Academy for Performing Arts, Western Australian Academy of Performing Arts, Queensland University of Technology.

Ong received the accolade of ‘Artist of the Year (Dance)’ of the Hong Kong Arts Development Awards in 2014.

陳武康 Chen Wu Kang

驫舞劇場藝術總監 Artistic Director, HORSE 編舞及演出 Choreographer & Performer

出 生台灣，� � 歲 開 始 習舞，畢 業 於 國 立藝 術 專 科 學 校 舞 蹈 科。� � �� 到 � ��� 年 在 紐 約 Fe l d ’s B a l le t Te c h 和 Per ida nce合作，在艾略 特．費 爾 德的作品中擔任獨舞者，���� 年於 紐 約 市立芭蕾Dia mond P roject中客席 演出。 � � � � 年 於 台 灣 成 立 驫 舞 劇 場，擔 任 藝 術 總 監 一 職 至 今。重 要 的 作 品 包 括《 速 度 》(� � � � )、《 骨》(� � � �)、 《兩男關係》(����)，作品曾巡迴亞洲、美國和歐 洲各地。

� ���年 開 始 與 不 同 領 域 藝 術 家 進 行 跨 界創 作。� ���年 獲 國 家 文化藝 術 基 金 會 贊 助，製 作展覽 結 合 演 出 的 創 作 《繼 承者》。���� 年受 邀 於國家兩廳 院�+�雙舞作中編創作品《裝死》。���� 年受台北市立美術 館委託製作環境 劇場《快車道上的慢舞》。從����年至今持 續與即興音樂鋼琴家李 世揚 合作，共同策 劃舞蹈與音樂結合的即興創 作平台《混沌身響》。����年受國家兩廳院新點子舞展委託創作《One dance, one dances, one danced》。 ����至����年開始與 泰國當代 舞 蹈大師皮歇・克朗淳進行跨 國文化交 流與實 地 探究 計畫，連 續 創作兩個階段 性 呈現《身體的傳統》(���� - ����)。����正式更名為《半身相》(����)。同時展開國藝會「表演藝術國際發展專 案」與皮歇・克朗淳合作三年計畫《打開羅摩衍那的身體史詩》。

Chen Wu Kang was born and raised in Taiwan, he began studying dance at the age of twelve and graduated from the Taiwan University of Arts. In 2001, Wu-Kang danced with Feld’s Ballet Tech and Peridance, he became the soloist the next year and started his long-term collaboration with choreographer Eliot Feld. He was also the guest dancer in Diamond Project of New York City Ballet in 2006.

In 2004, he co-founded HORSE Dance Theatre as an Artistic Director, significant works include Velocity (2007), Bones (2008) and 2 Men (2012) which toured in Asia, US and Europe.

He started to collaborate with Artists in different fields in 2011, including Exhibition X Performance Successor (2011) sponsored by National Culture and Arts Foundation, Site-specific work Slow dancing in the Fast Lane (2015) commissioned by Taipei Fine Arts Museum in Taiwan, curation Dance X Sounds seasonal improvisation platform Primal CHAOS since 2016 and One dance, one dances, one danced (2017) in the Mixed Programs commissioned and presented by the National Theatre, Taiwan.

In 2016, he began an intercultural/dance dialogue and an intimate exchange of physical, emotional and philosophical experiences with Thai choreographer Pichet Klunchun. They presented Body Tradition in 2016-2017, later on officially renamed BEHALF (2018). Meanwhile, they also work on a three-year project An expedition to the embodiment of Ramayana of “Performing Arts Abroad” by the National Culture and Arts Foundation.

© Etang Chen