舞蹈手札 dance journal/hk 18-4 by Hong Kong Dance Alliance

18-4

AUG 2016 / SEP 2016

舞訊 News / 評論 Reviews / 專欄 Columns / 人物 People / 專題 Feature Articles / 節目 Events 人物 People

王榮祿 Ong Yong-lock 李偉能 Joseph Lee 林悅榮 Bobby Lam 李思颺 Justyne Li

黃大徽專題《人與機器－梅田宏明新作論壇》

肥力評《起跳2016》

周凡夫評第二十七屆澳門藝術節：

《迷戀》《賞味期限》

出版人 Published by

目錄 CONTENTS

香港舞蹈聯盟理事委員會 Hong Kong Dance Alliance Executive Committee 主席 Chairperson 劉燕玲 Stella Lau 副主席 Vice Chairperson 黃建宏 Kevin Wong 秘書 Secretary 尹德勳 Jaime Redfern 暫任司庫 Interim Treasurer 譚兆民 Paul Tam 委員 Members 白朗唐 Tom Brown 陳寶珠 Pearl Chan 唐雁妮 Anita Donaldson 古柏樂 Pablo Guzman 林偉源 Allen Lam 羅佳娜 Natasha Rogai 崔德煒 David Tsui 黃國威 Raymond Wong 楊雲濤 Yuntao Yang 榮譽退休主席 Chairpersons Emeriti 白朗唐 Tom Brown 陳頌瑛 Anna Chan 吳杏冰 Helen Ng 曹誠淵 Willy Tsao 《舞蹈手札》出版部 dance journal/hk Editorial Team 編輯 Editors 白朗唐 Tom Brown 劉秀群 Cathy Lau 錢韋君 Akama Chin 助理編輯 Assistant Editor 排版 Design

悼念陳德昌先生 In Memoriam Ringo Chan

2-3 4

舞訊 News 謝禮盈

6-7

放眼舞林 An Eye on Dance

忘不掉有過的家 ―淺評《煙花．冷》

文 by: 陳頌瑛 Anna CY Chan 翻譯 Translation: Scarlet Yu

謝嘉豪

《拍 ‧ 我 ‧ 踢躂》舞出非常魅力曲飛

10-11

Justyne Li: Mandala Effect Tom Brown

12-16 《迷戀》與《賞味期限》 — 舞蹈狂情的塑造周凡夫

16-17

Ballet in Spring

18-21

法國．香港．日本－王榮祿的海外發現與本地展望 France – Hong Kong – Japan: Ong Yong-lock’s Overseas Discovery and Prospect

梁雅媛 Kay Leung@ARTZONE

廣告及投稿 Advertisement and Article Submission 香港舞蹈聯盟歡迎各界於《舞蹈手扎》的印刷或網上版刊登廣告，本會會員及持續刊登者可獲折扣。投稿者請於單數月份的十五號前，將稿件郵寄或電郵至本會，中英不限。 dance journal/hk welcomes advertisement for both printed and online versions. Discounts are available for Alliance members and for ads in consecutive issues. Articles and reviews can be submitted in Chinese or English through our e-mail by the 15th of every odd-numbered month.

《非關舞蹈》的文舞省思

Kevin Ng

文 By: 陳瑋鑫 William Chan 翻譯 Translation: Scarlet Yu

House on Fire!

芭蕾王者的完美告別談《卡洛斯．阿哥斯達告別古典芭蕾之旅》

Angela Lee

陳瑋鑫訂閱 Subscription 《舞蹈手札》是免費派發予香港舞蹈聯盟會員的刊物，非會員以個人名義可以港幣 150 元 ( 本港 )/200 元 ( 亞太區 )/300 元 ( 其他地區 ) 訂閱，以機構名義為港幣 300 元 ( 本港 )/400 元 ( 亞太區 )/600 元 ( 其他地區 )。請將支票連同姓名地址寄來本會。 dance journal/hk is distributed free of charge to members of the Hong Kong Dance Alliance. Yearly subscriptions are also available, non-member subscription prices for individual are $150 (HK)/ $200 (Asia Pacific)/ $300 (others); for institutions are $300 (HK)/ $400 (Asia Pacific)/ $600 (others). Please send cheque, name and address to the Alliance office. 聯絡我們 Contact Us

地址 Address

24-25 人與機器

— 梅田宏明新作論壇黃大徽

26-27 從 SDK 街舞比賽看香港 —與 BOBBY 對談 Akama Chin

《你開︳關了燈？》 — 你靠光暗左右哪邊站格子

九龍黃大仙沙田坳道 110 號地下

G/F, 110 Shatin Pass Road, Wong Tai Sin, Kowloon, HK 電話 Tel 2267 6631 傳真 Fax 2267 6727 電郵 E-mail admin@hkdanceall.org 網址 Website www.hkdanceall.org www.dancejournalhk.com

評《風雲 2016》

In Conversation with Joseph Lee

賴愛美

Jane Chan

32-33《起跳 2016》

— 製作與概念先行的三連畫肥力

Jonathan Ho

香港舞蹈聯盟為藝發局資助團體

Hong Kong Dance Alliance is financially supported by the ADC

版權所有翻印必究 ALL RIGHTS RESERVED © 香港舞蹈聯盟及香港藝術發展局全力支持藝術表達自由，本計劃內容並不反映香港舞蹈聯盟或香港藝術發展局意見。 Hong Kong Dance Alliance and Hong Kong Arts Development Council fully support freedom of artistic expression. The views and opinions expressed in this publication do not represent the stand of the Alliance or Hong Kong Arts Development Council. 封面照片：《見習人類》舞者：吳承芳。攝影：Tony Luk Cover: Human Internship. Dancer: Wu Cheng Fang. Photo Credit: Tony Luk

四強會司同台論舞 — 談東邊舞蹈團：《逆蹈場》

The 2016 IADMS Conference in Hong Kong Brenton Surgenor

36-37 舞蹈節目表

Dance Listings

舞蹈團（ CCD C）副藝術總監及香港舞蹈聯盟 leading figure in Hong Kong dance, Ringo Chan, Assistant 城市當代 A Artistic Director of City Contemporary Dance Company 前副主席陳德昌先生 (Mr. Rin g o C h a n) 於 2016 (CCDC) and former Vice Chairperson of Hong Kong Dance

年 7 月 19 日（週二）晚上因癌病離世，終年五十六歲。

Rin g o 生前服務 CCD C 近三十六年，自 1980 年加入 CCD C，成為香港首批專業當代舞者以來，見證了香港舞蹈從業餘走向專業的歷史進程，亦參與了本土創作從無到有的發展變化。 1990 年 Rin g o 出任 CCD C 排演監督，並於 1997 年晉升為舞團副藝術總監，專注於提升演員藝術素養和保證演出質量，以及致力保存舞團作品，同時協助舞團推展本港、內地和海外的專業舞蹈教育工作，曾先後為廣東現代舞團、北京現代舞團、加拿大吳祖捷芭蕾舞團、香港演藝學院等重排多個 CCD C 經典舞碼。

Alliance (HKDA), passed away at 56 on 19 July 2016 after a battle with cancer.

Chan was with CCDC for almost 36 years and grew up with it after joining as one of Hong Kong’s first professional modern dancers in 1980. He played a central role in Hong Kong dance development. In 1990, promoted to CCDC’s Rehearsal Master, Chan worked on improving dancers’ artistry and program quality. In 1997, he was promoted to Assistant Artistic Director, a role he held until his passing. From the 1990s, he was active in conserving and documenting CCDC’s programs and assisting its educational and outreach events in Hong Kong, the Mainland, and overseas. He worked with renowned organizations, including Guangdong Modern Dance Company, Beijing Modern Dance Company, Goh Ballet (Canada), and Hong Kong Academy for Performing Arts (HKAPA).

悼念陳德昌先生－ In Memoriam Ringo Chan － Ringo 曾於舞盟理事會服務了十年，亦是香港著名舞蹈攝影家，他有見舞蹈記錄對推動舞蹈發展至為重要，故於八十年代開始從事舞台攝影及錄像創作，並為本港及海外眾多藝團委約拍攝宣傳及舞台劇照。自 19 83 年起多次於香港、澳門、內地及美國舉辦舞蹈攝影個展，並於 1998 年獲香港藝術發展局資助出版香港首冊舞蹈專題攝影集《動靜之間》，其攝影作品獲頒香港舞蹈年獎，更被香港文化博物館收藏。他於 2006 年獲香港舞蹈聯盟委約製作「舞團」、「獨立藝術家」、「舞蹈教育」及「海外交流」四集《香港舞蹈檔案》記錄片，光碟連同《舞緣 ‧ 舞故》一書於 2006 年出版，以記錄及推廣本地舞蹈發展。

Acutely aware of the importance of documenting and archiving dance, Chan photographed and filmed performing arts companies from the 1980s. He was an award-winning photographer. Local and overseas organizations commissioned him to shoot publicity and production images and performances. Since 1983, his dance photography has been exhibited in Hong Kong, Macau, Mainland China, and USA. In 1998, he published Hong Kong’s first dance photography book The Dance Photography of Ringo Chan, funded by Hong Kong Arts Development Council (HKADC). His dance photography has been collected by Hong Kong Heritage Museum and he was awarded a 1999 Hong Kong Dance Award for it. In 2005, HKDA appointed him to produce documentaries for Hong Kong Dance Archive, an HKADC commission produced with Why They Dance - Narrations of Hong Kong Dance.

Rin g o 敬業樂業、為人友善親和，深受同事愛戴，是藝術家的良師益友，且獲同業敬重。他於二零零六年獲香港演藝學院頒授榮譽院士，以表揚其對舞蹈界的貢獻。

In his service to CCDC, Chan’s dedication to excellence, his warmth and sensitivity made him greatly loved by colleagues and esteemed in the dance sector. His mentorship of young dancers was full of grace, generosity, and professionalism. A model teacher, he was treasured by students. His contributions to dance and the Academy were recognized with an Honorary Fellowship of the Academy in 2006. Chan promoted and supported dance development throughout his life. His efforts, charism, unfailing support, generosity, and warmth will be sorely missed.

舞盟對其離世感到痛心及可惜，然而他對業界的貢獻將永垂不朽。這個悲傷的時刻，我們的心與他的親友同在。

AU G / S E P 2 0 1 6

本地編舞者李偉能於世界舞蹈聯盟亞太地區周年大會獲獎 Joseph Lee Receives Choreography Award 世界舞蹈聯盟亞太地區於今年 7 月 21-24 日在南韓首爾舉行的周年大會已完滿結束，在香港舞蹈聯盟諮詢平台的協助下被成功取錄之三位本地編 / 舞者 — 林波、李德及李偉能亦參與了表演和編舞交流活動，其中李偉能的演出作品獲頒發新晉編舞獎，肯定其藝術作品。

鍾 ‧ 金寶夫人獲頒發員佐勳章 Mrs. Joan Campbell Awarded MBE 英國外交及聯邦事務部宣布英女皇壽辰授勳名單，當中包括嘉露貝雯芭蕾舞學校校長鍾 ‧ 金寶夫人獲頒發員佐勳章，以表揚她對香港舞蹈界的貢獻。鍾 ‧ 金寶夫人於 1954 年來港，在當時位於梅夫人婦女會的嘉露貝雯芭蕾舞學校任教英國皇家舞蹈學院考試課程，而她作為整個香港舞蹈發展的核心人物，亦視「梅夫人婦女會」為她「第二個家」。其下學生不少現已成為享譽盛名的舞蹈老師，包括王仁曼、毛妹、郭世毅及陳寶珠。鍾 ‧ 金寶夫人於 2008 年曾獲香港舞蹈聯盟頒發香港舞蹈年獎傑出成就獎。 The United Kingdom’s Foreign and Commonwealth Office has announced in the Queen’s Birthday Honours List the award of the MBE to Mrs. Joan Campbell, Principal of Carol Bateman School of Dancing, for her services to dance in Hong Kong and exceptional and outstanding service to Britain overseas. Mrs. Campbell came to Hong Kong in 1954 to teach the Royal Academy of Dance system at Mrs. Bateman’s school at the Helena May in Central and throughout the years has been a central figure in Hong Kong dance development. She calls the Helena May her second home. Her students have gone on to become the most widely known dance teachers in Hong Kong and include Jean M. Wong, Christine Liao, Stephen Kwok, and Pearl Chan. Mrs. Campbell was awarded the Hong Kong Dance Awards Distinguished Achievement Award in 2008.

The Korean chapter of the World Dance Alliance Asia Pacific (WDAAP) hosted the organization’s Annual General Meeting together with its associated activities under the theme: “Dance Routes – Danced Roots: Connecting the Local and the Global”, from 21 to 24 July 2016. With the assistance of the Hong Kong Dance Alliance Consultancy Desk, three local choreographers - Lam Po, Joseph Lee Wai-neng, and Li De participated in the International Choreolab (Lam) and Showcase Performances (Lee and Li). Lee was honored at the event by the Chin Lin Foundation with the Emerging Choreographer Award.

香港舞蹈聯盟舞評寫作交流計劃 2016 Hong Kong Dance Alliance Dance Enhance 2016 香港舞蹈聯盟將於今年第四季再次舉辦舞評寫作交流計劃 2 016，為有志深入認識舞蹈或成為舞評人的人士而設。計劃將設多場講座、工作坊、現場表演觀賞，給予有興趣人士與舞蹈界前輩、藝術家、編舞家、藝評人互動的機會，並鼓勵參加者在專業導師指導下撰寫舞評，傑出作品將有機會刊登於《舞蹈手札》。計劃及報名詳情將稍後於 w w w . hkdanceall.org 公佈。 Hong Kong Dance Alliance announces the presentation of a new edition of its successful Dance Enhance program in the 4th quarter of this year. The Alliance program aims to attract and nurture budding and new dance writers and promote greater dance appreciation. Participants will attend lectures, workshops, and live performances, and interact with artists and other writers. They will be encouraged to write about dance with the help of professional mentors and outstanding work may be published in dance journal/hk. Details of the program and enrollment procedures will be available soon at www.hkdanceall.org.

3 侯非胥謝克特舞團招募合約舞者 Auditions for Hofesh Shechter Company

舞蹈 x 影像無極限

Explore the Unlimited Possibilities of Dance on Screen!

跳格國際舞蹈影像節2016

侯非胥謝克特舞團現正招募男女合約舞者（約 12-18 個月），參與舞團之新作、英國及巡迴演出、以及不同系列的舞蹈計劃。截止報名日期： 2016 年 8 月 25 日下午 6 時。

Jumping Frames International Dance Video Festival 2016

4-14.8.2016

百老匯電影中心 Broadway Cinematheque 香港太空館演講廳 Lecture Hall, Hong Kong Space Museum 登臺 Muse Bar, Hotel Stage

節目手冊 Programme Guide www.jumpingframes.com

Hofesh Shechter Company is seeking female and male dancers with significant experience at an international standard to join Hofesh Shechter Company full-time from January 2017 to be part of Shechter’s new creation, its ongoing UK and international touring program, and a range of diverse participatory project. All contracts will be for a period of 12 to 18 months. Application deadline: 6pm, 25 August 2016. 詳情 Details: http://www.hofesh.co.uk/the-company/opportunities

城市當代舞蹈團於澳亞藝術節巡演 City Contemporary Dance Company Tours to OzAsia Festival

Jumping Frames 跳格國際舞蹈影像節

場地伙伴 Venue Partner

指定酒店 Official Hotel

媒體伙伴 Media Partners

支持機構 Supporting Organisation

協辦機構 In Association with

城市當代舞蹈團由香港特別行政區政府資助 City Contemporary Dance Company is financially supported by the Government of the Hong Kong Special Administrative Region

《跳格國際舞蹈影像節 2016》現正上映 Jumping Frames International Dance Video Festival 2016 in Theatres Now 《跳格》於 2004 年由城市當代舞蹈團主辦，現已成為亞洲規模最大、水平最高的舞蹈影像盛會，並積極在中國及亞洲地區建立一個交流平台，透過委約製作、比賽、工作坊、影展及座談，促進導演及舞蹈家之間的合作。今年，《跳格》於 8 月 4 至 14 日期間在百老匯電影中心、香港太空館演講廳及登臺舉行，門票可於網上購買。 Initiated by City Contemporary Dance Company in 2004, Jumping Frames International Dance Video Festival is the only festival of its kind in Asia, featuring commissioned works, competition, and a selection of acclaimed international productions. This year, the Festival is from 4 to 14 August 2016 with entries shown at Broadway Cinematheque; the Lecture Hall of Hong Kong Space Museum; and, Muse Bar, Hotel Stage. Tickets are available on-line. 詳細片目 / 購票 Programme Details & Ticketing: http://www.ccdc.com.hk/ docs/resources/2016/07/ccdc-jf-2016-07---Program-210x210mm-2016_0707.pdf

城市當代舞蹈團繼 7 月將駐團編舞桑吉加的作品《煙花．冷》帶到北京舞蹈雙週巡演後， 9 月 22 至 2 4 日將桑吉加的另一個作品《那一年 ‧ 這一天》帶到澳亞藝術節巡演。 City Contemporary Dance Company will tour resident choreographer Sang Jijia's work, As If To Nothing, to OzAsia Festival from 22-24 September 2016 at Adelaide Festival Centre. The tour of As If To Nothing follows the successful tour of another Sang Jijia work, Fragile Beauty, to the Beijing Dance Festival 2016 on 22 July.

香港藝術發展局一年 / 二年 / 三年資助獲資助名單 ADC Announces One-Year / Two-Year / Three-Year Grant Recipient List 香港藝術發展局（藝發局）公布 2 016 年 7 月至 2017 年 6 月獲一年 / 二年 / 三年資助的團體名單，當中一年資助團體包括： R & T ( R h y t h m & T e mpo)、新約舞流，及東邊舞蹈團；二年資助團體包括：不加鎖舞踊館及多空間；三年資助團體為香港舞蹈聯盟。 The Hong Kong Arts Development Council (ADC) has announced the One-Year / Two-Year / Three-Year Grant Recipient List for the grant period July 2016 to June 2017. R&T (Rhythm & Tempo), Passoverdance, and E-Side Dance Company have been awarded the One-Year Grant; Unlock Dancing Plaza and Y-Space have been awarded the Two-Year Grant; and, the Hong Kong Dance Alliance has been awarded the Three-Year Grant. 詳情 Details: http://www.hkadc.org.hk/?p=3184&lang=en

《編舞家巡禮 2016》推動舞界創作空間 Hong Kong Ballet Choreographers’ Showcase 2016 由香港舞蹈團主辦之一年一度《編舞家巡禮 2 016》將於九月中旬進行演出，致力培育舞團的舞蹈創作空間、以及為獨立舞蹈人提供平台發揮創意。《編舞家巡禮》系列在過去已為舞團贏得一群忠實的觀眾，其中 2014 及 2015 年連續兩年更場場滿座，見證它作為推動舞壇發展的踏腳石。 The Hong Kong Ballet has announced the line-up for its September Choreographers’ Showcase 2016. In addition to having its own dancers Hui Ka-chun, Ryo Kato, Leung Chunlong, and Li Lin choreograph new works for the Company, the Showcase will also have the premières of works for the Hong Kong Ballet dancers by independent artist Justyne Li and Hong Kong Dance Company’s Chen Jun as well as a collaborative work by Li Jia-bo from the Ballet and He Cao-ye of the Hong Kong Dance Company. The Showcase, whose 2014 and 2015 editions sold-out, has become an important platform for Company dancers and independent artists to explore innovative ideas in dance and show new works for ballet. Details: http://www.hkballet.com/en/Whats-On/Productions/Choreographers-Showcase-2016.html AU G / S E P 2 0 1 6

《非關舞蹈》的文舞省思評論場次：2016 年 6 月 11 日，晚上 7 時 45 分地點：艺鵠

謝禮盈港大比較文學系畢業。曾於明報當實習記者，目前於英語藝評平台 HKELD 發表舞評和劇評。歡迎各方人士給予意見交流。

個作業式氾濫的炎熱六月，《非關舞在這蹈》以研究為出發點，寫的不是交給觀眾看的功課，而是傾盡自己一生書寫給自己的生命功課。不加鎖舞踊館延續之前一系列對舞蹈的正反式思考，今年五、六月又請來資深戲劇演員吳偉碩（梵谷）帶領六節《文字與舞蹈對話工作坊》，探討文字與舞蹈的關係。這次梵谷和舞者王榮祿的演出便是工作坊結束後的展演。不過，與其說探討文字與舞蹈的關係，還不如更直接明瞭地說是文字與身體的對話。

1 .《非關舞蹈》由吳偉碩（梵谷）及王榮祿共同創作。攝影：周金毅 Elsie Chau

感傷，時而思念，時而迷茫，時而痛惜。在王的身上，看到的是從不知該如何面對、如何開始、無從入手的迷茫狀態直至勇敢地進入記憶的漩渦裡去回首過去的那一片赤誠之心。梵谷亦然。他雖沒有像王榮祿那樣先說畫故事，而是直接進入框格內舞動記憶，但深入記憶的演繹亦一樣坦誠。一隻手像麻木或廢了似的掛在腰前，需要另一隻手不斷去刺激它，敲醒它。行走間的身段承載著不可言說的重與懊惱，結束後亦難以釋懷。

雖然場景簡單，幾乎沒有道具也沒有燈光設計，但不得不提的是樂手梁寶榮的功力：即梵谷想要尋找文字最初的意義，探討人如何興敲擊的音樂與舞者的心緒契合得恰到好理解文字作為象徵符號所指向的意涵。換句處。在二人同時於框內即興舞蹈時，個人記話說，身體是如何感應文字的？二人以各自憶的承載體又因為他者的存在而發生了變的記憶作出發點，重臨兒時光景，先在地板化。兩個原本沉重的個體由消化自己的哀愁約兩米寬的正方格中邊說邊畫，而後再在同以至去聆聽關懷對方的時候，個體的能量便一片方塊格中起舞。今天的我已不是昨日的轉化成了正面的能量。在王榮祿主動滑稽地我，那今日的身體可如何回應過去的回憶？「干涉」（關懷）梵谷以後，兩人漸漸生起的當二人今日的身體和昔日的回憶交錯相會，交流便把重量減輕，以至於後來兩人都釋懷地、輕鬆地以身體交流互動。當下的那一刻不僅僅承載了昔日回憶的苦與樂，還包含今日對過往逝去歲月的情感重擔。舞畢，生命的重量也減輕了。過去的快樂時光不再僅僅是單純的快樂，而是附加了今天對過去的緬懷和思念。時間與兒時記憶作為一種方法去探討身體如何理解情感的層疊相加便織出一塊屬於當下獨有的文字固然有趣，但當中衍生起的問題是，當身體質感。在王榮祿的舞影中看到的便是這身體在回應記憶的時候，記憶是以文字的形一個在各種時空交錯下呈現的共同體。以他象呈現還是以畫面的形象呈現？腦海的記憶有著接近三十年舞蹈經驗的舞者身影，外在呈現的是文字固然可行，但記憶若是以畫面動作形象展現的時而有芭蕾舞影，時而有現的形象呈現，那身體回應的又是否真的與文代舞影，但能與文字對話的重點在於他身段字相關，抑或只是感情的投射？所承載的情感：時而輕盈，時而沈重，時而

最

近英國脫歐成為熱話，同行在臉書張貼不同報導，紛紛推測以後英國和歐洲藝術交流計劃的種種問題、藝術家的流動去向等。因過去數月留港專注籌備和主辦下半年度西九的計劃而未有外訪，今期我借此英國「瘋」，淺談兩個在港接觸到的英國舞蹈活動吧！

放眼舞林

e c n a D n O e y E n A an

CY Ch 文 by: 陳頌瑛 Anna

rexit has been a hot topic widely discussed on social media such as Facebook with much speculation about its effects on artistic exchange and on the situation for artists from the UK and the EU. I didn’t get a chance to travel much since my last column, so as a tangent to the Brexit discussion, in this issue I would like to talk about two major UK dance initiatives.

術主管（舞蹈）西九管理局表演藝 forming Arts, Head of Dance, Per (WKCDA) al District Authority West Kowloon Cultur

arlet Yu

翻譯 Translation: Sc

跳舞節 Big Dance I

i g Da n c e 是由英國倫敦巿長於 2 0 0 6 年發起的雙年「跳舞」節。以倫敦為中心，推動英國各地區以至海外的人一起於不同的地點包括學校、商場、停車場、公園和公共空間等參與跳舞的大型舞蹈活動。每兩年邀請一名英國著名的編舞為此節編排一段舞蹈和策劃一系列的跳舞活動。今年是「跳舞」節的最後一屆，主辦邀請享譽國際的英國編舞（ A k ra m K h a n）艾甘．漢編了一段 3 分鐘作品，並編製了教材，推動不同年齡、舞齡、階層、能力、專業和非專業舞者至普通市民等學習大師作品，於 5 月 2 0 日以全球同時集體跳 A kra m Kha n 作品的大型活動 B ig D an ce P le d g e 作跳舞節的頭炮，更策劃了 B ig D an ce B u s T o u r 和七月的 B ig D an c e W e e k 等。

n 2006, the Mayor of London initiated a biennial dance event entitled Big Dance. Based in London and extending to different parts of the UK and with international organizations, it holds massive dance events in various locations such as schools, shopping malls, car parks, parks, and other public spaces. Every two years, the festival invites an established UK choreographer to produce a dance piece or to organize a series of dance events. As it happens, this is the last year of Big Dance, so the festival appointed the internationally acclaimed choreographer Akram Khan to choreograph and create the learning materials for a three-minute dance. The materials were disseminated to dancers of different ages, backgrounds, social classes, abilities, to both professional and amateur dancers, and even to the general public so they could all learn the dance. Eventually, it led to a global collective performance called Big Dance Pledge on 20 May 2016 to launch the festival. In addition, the festival organized Big Dance Bus Tour and Big Dance Week in July.

我特別喜愛這個以「共舞和跳舞」為中心的舞節，相比一些以戶外表演節目，邀請不同團體參與表演的推廣舞蹈的節來得更實在，更親民，更深入。今年西九便領航伙伴 C C DC 舞蹈中心、香港演藝學院的舞蹈學院、表演藝術教育中心、 E X C E L 和舞蹈學院校友會、社區文化發展中心共生舞團及新約舞流參與 Big D a nc e Ple d g e。召集了 1 2 0 位由青少年到 7 0 歲的參與者於西九項目辦公室天台，與全球 40 個地方 43000 人跨領域國度時空共舞。此 1 2 0 位參與者將是香港的舞蹈種子，我們策劃以「 E v ery o n e C an D a n ce」的目標，於九月至明年二月的「自由約」計劃裡延續 Big D a nc e Ple d g e 的精神，帶動「跳舞」普及化。

I really like the festival’s idea of collective dancing as a core strategy to promote dance. Compared with some outdoor performance events with similar objectives that end up being just an assortment of performances from different dance groups, Big Dance seems more concrete, in-depth, and more meaningful to the general public by engaging their participation. Guided by the passion to promote dance through collective dancing, WKCDA partnered with City Contemporary Dance Company Dance Center, the School of Dance and EXCEL (Extension and Continuing Education for Life) of the Hong Kong Academy for Performing Arts, Performing Art Education Centre, and, HKAPA Dance Alumni Association, the Centre for Community Cultural Development-Symbiotic Dance Troupe, and Passoverdance to participate in Big Dance Pledge. A total of 120 participants aged from 17 to 70 gathered to dance on the rooftop of WKCDA offices at the same time as 43,000 people in 40 locations around the world also performed the work. These 120 participants are the seeds of collective dancing in Hong Kong; WKCDA will continue the Big Dance Pledge spirit to promote dance through participation and reach the objective of “Everyone Can Dance”, more events will be organized in our upcoming Freespace Happening event from September to February 2017.

詳情請參閱以下網址 Please click the following links for more details about Big Dance:

http://www.bigdance.org.uk/about-us/ ; http://www.westkowloon.hk/en/whats-on/past-events/big-dance-pledge-2016-hong-kong/chapter/multimedia-1087

Dance Umbrella 具

38 年老牌歷史的 Dance Umbrella 是一個每年十月於倫敦舉辦的國際舞蹈節。兩年前認識剛

上任、具遠見的藝術總監 Emma Gladstone。 Gladstone

為前 Sadler’s Wells Theatre 的製作人，具代表性的計劃如 New Wave Associates（ TAO Dance Theatre

便是得

到 Gladston 和 Sadler’s Wells 支持 ) 和 2011 年創辦的

Sadler’s Wells Summer University 都是出自她手。猶記得當天見面時，她分享一些所面對的挑戰：如何在重重的寄望中，突破歷史和固有的模式，將已被定為卓越的 Dance Umbrella 打造為一個更具創意、可開鑿當代舞更深遠的層次，又能接觸更多新的觀眾等等問題。她的一句說話：「我想將一些倫敦未展現過的節目和藝術家帶進 Dance Umbrella」，已表達了她求變和冒險的精神。剛剛在香港與 E m m a 短聚，她介紹第三年所策劃的節目，只聞其大概已覺得充滿驚喜。有希臘著名編舞家 D i m it r i s Pa p a io a n nou 的《P r i m a l M a t t e r》；法國編舞

Je r om e Bel 和 20 個倫敦巿民的《G a la》；一個與 C N N

Ba l let d e L o r r a i n e 合作、打破觀眾先入為主觀賞作品的匿名編舞者節目等等。那將是我十月必行之外訪！

2 1.

在香港舉行的 Big Dance Pledge 集體跳出 Akram Khan 作品。 Big Dance Pledge in Hong Kong performing Akram Khan’s choreography.

Big Dance Pledge 希望帶動「跳舞」普及化。 Big Dance Pledge “Everyone Can Dance”.

在倫敦舉辦的 Dance Umbrella 國際舞蹈節。 Dance Umbrella in October at London.

n October, the long-established annual International Dance Festival – Dance Umbrella will hold its 38th season in London. Two years ago, I met Emma Gladstone when she was appointed Festival Director. Gladstone was formerly a Sadler’s Wells Theatre producer and her remarkable projects include New Wave Associates that supported Beijing’s TAO Dance Theatre and Sadler’s Wells Summer University created in 2011. I recall in our first conversations discussing the challenges she faced at that time. Among other things – aside from high expectations – she wondered how she could make a breakthrough with something that has such a long history as Dance Umbrella and transform its established internationally recognized model into something even more innovative and at the foreground of contemporary dance while reaching out to larger audiences! She emphatically stated “I want to bring in artists and artistic events to Dance Umbrella that people in London have never seen before.” Her comment shows how strongly committed she is to bringing new initiatives to the Festival. Recently, we met briefly in Hong Kong and she talked about the 3rd edition of the Festival since she took over. The program promises to be filled with surprises and excitement such as acclaimed Greek choreographer Dimitris Papaioannou’s Primal Matter; French choreographer Jerome Bel’s work Gala done with 20 people from London, and a project with CNN Ballet de Lorraine by an anonymous choreographer that aims to break down the audience’s preconceptions of dance. With such an exciting lineup, I look forward to visiting London in October! 詳情請參閱以下網址 Please click the following links for more details about Dance Umbrella: http://www.danceumbrella.co.uk/

攝影 Photo Credit: 西九文化管理局 West Kowloon Culture District Authority AU G / S E P 2 0 1 6

忘不掉有過的家 ― 淺評《煙花．冷》評論場次：2016 年 6 月 4 日，晚上 8 時地點：葵青劇院演藝廳

謝嘉豪生於香港。畢業於聖若瑟大學哲學系。從事文字及編輯工作外，亦兼具多年表演經驗，現任舞踏藝團「以太劇場」團長。

1 .《煙花．冷》是著名編舞家桑吉加的新作。攝影： Conrado DyLiacco

煙花，既燦爛又淒涼，它發放的時候耀眼亮麗，一片繁華的景色，但發放過後消

組合不斷變化，奔跑、滾地、碰觸 ( 甚至衝撞 )，就像眾多關係的呈現，令人聯想到城裡人的錯綜複雜的糾纏。

殆無痕。煙花是如此淒美之物，成住壞空，剎那見盡。這種物哀的意境，如何與香港比擬？如果記憶不衰，我城曾是個煙花之地，《煙花．冷》運用了抽象敘事為基調，以「虛 ― 實 ― 虛」為佈局；中間的段落較為具象，不是說尋花問柳，而是香港確曾放過很多煙編舞更讓舞者開口「說」他們的故事。令人花，在 1997 之後幾年。著名編舞家桑吉加新印象尤深的是，其中一位女舞者講述她過往編作品《煙花．冷》似乎是喚起我們對香港在喜帖街居住回憶，以及遷拆過後面目全非的憂愁。的感受，而另一段是男舞者訴說他兒時父親帶他到藍田剪髮的往事，如今滄海桑田的變城市當代舞蹈團再次邀請著名編舞家桑吉化，側寫了香港巨大的變遷。因為是個人情加成為駐團編舞。去年，他重臨香江擔任 CCDC 駐團編舞，重排經典舞碼《那一年．感故事，但編舞沒有停留在言語表達上，而是在說故事的過程中，讓其他的舞者用舞動這一天》，而今年他為舞團創作了新編作品來回應，產生了不少的張力。桑吉加投入了《煙花．冷》，以其獨特而進取的風格，表達對香港的情懷和所看到的變遷。《煙花．很大的熱情來訴說香港變遷的感慨，以非線性方式從大敘事（歷史事件）到小敘事（個冷》設置於一個偌大的舞台空間上，三面人經歷）表述過去十多年的滄桑，但篇幅略高高的而厚重的牆，沉實地放在左右及後為過長，使整體節奏拖緩了，令與第三段的方台上，觀眾彷彿形成了另一道牆，牢固銜接有點突兀。地包圍著什麼似的，未開場已經讓人有種屏息凝住的感覺，預示著我們將看到的是雖然，《煙花．冷》試圖以懷念之情來喚醒觀城裡的人的景況。《煙花．冷》大致可以分為三個部份，第一部份與最後一幕呼應，眾對消逝的、變遷的香港的情感，但香港早已隨著本土意識的建立而跨上了另一階段。舞都以抽象的舞蹈肢體編織成一段段耐人尋味的話語。桑吉加激烈、澎湃的動作風格，作中所指涉的懷緬情緒，例如社區回憶，顯得有點時差（Jet-Lag），如果作品出現在雨依然貫穿整個舞作，例如，開場時全體舞者穿著貼身的上衣及半透紗的彩色裙擺，傘運動之前，也許會更有共鳴。現在我們所需要的，也許是更深刻探尋身份和主體性的在圍牆中展開了一段激烈的群舞，就像城市忙碌的人一樣，衝來撞去卻迷迷茫茫，創作視野。無論如何，相信《煙花．冷》對於外地觀眾來說必定是一個很好的窗口來窺只管在圍牆裡打滾。隨後的段落舞者以高探我城，因為香港的故事，總是令人著迷。能量的身體，進行一次又一次的交匯，互相以手臂牽扯，落地、滾動、起身，舞者

《拍‧我‧踢躂》舞出非常魅力評論場次：2016 年 6 月 25 日，晚上 8 時地點：沙田大會堂文娛廳

踢躂節由 R&T (Rhythm & Tempo) 香港主辦，是每年一度的舞蹈活動，轉眼間今年已踏入第六屆。活動目的是希望透過邀請外國著名踢躂舞大師訪港交流，提昇業界水平，並在本地積極推廣踢躂舞藝術。今年的交流活動包括：主題工作坊、大師分享會、即興踢躂匯及重點節目《拍 ‧ 我 ‧ 踢躂》大匯演。據悉活動每年能夠吸引超過九成的本地踢躂舞愛好者參與。於我而言，今年焦點必定是來自日本的浦上雄次、當間里美及久保群清的演出；當然，香港舞者王丹琦的短篇也是值得留意。個人認為，來自日本的三位舞者均表現出踢躂舞者與眾不同的獨特色彩，至於王丹琦的作品，就充滿著一種強烈的故事性和舞台美學設計，是充滿餘韻的演出。先談王丹琦的《Tap & Shoe》，他一開始時候，已經強調舞鞋的個性和生命力，於是穿上不同色調的舞鞋進行個人演出，雖然舞蹈風格是不如英式踢躂般，強調以優美肢體動作為主，舞步方面有較多的旋轉、滑步，舞者在演出時常帶給人們一種貴族的氣息；不過在節奏部份的安排上，就有點類近，因為分音的變化比較少，但是重複的音節比較多，當王丹琦在第一部分成功將舞鞋擬人化後，進入第二部分就播出流行曲《偏偏喜歡你》和舞鞋產生互動。如果我沒有聽錯，現在選擇播放的，應該是由女歌手趙學而演唱，具有藍調憂鬱色彩的版本。王丹琦選擇這個版

本非常聰明，因為女歌手的聲音隨即轉變成一雙舞鞋的對白，王丹琦只須要透過踢躂舞的聲音和「她」溝通。有趣的是，初段時候我發現舞者與歌手聲音互相排斥，甚至於讓人誤解，舞者跟本不能夠配在歌曲起舞，表面上似乎是錯配的。但是，當我用心感受舞者的內在情感時，我就發現，原來歌手的聲音其實是向新的愛人而唱，身為舊愛的舞者，只可以心如鹿撞，步履凌亂，難分難捨。故此，舞步和音樂風格不能溶合是可理解的，只要是曾經有失戀經驗的男生，相信也能夠被感染。至於來自日本的浦上雄次、當間里美及久保群清的演出，我只可以用無懈可擊來形容。其實只要對踢躂舞有所認識，都知道踢躂是有拍打敲擊的意思，舞種是源於 20 年代的美國。當時愛爾蘭移民和非洲奴隸把各自的民間舞蹈帶到美國，逐漸融合形成了新的舞蹈形式。這種舞蹈的形式比較開放自由，沒有很多的形式化限制。舞者不注重身體的舞姿，而是著重趾尖與腳跟的打擊節奏的複雜技巧。所以，個人認為踢躂舞者不只是舞蹈家，更加是演奏家，他們如何可以將自己的身體變成獨一無二的樂器是最為關鍵。當然，如果只是沉迷在技巧層次上的舞者，是不會明白的。現在，浦上雄次、當間里美及久保群清就可以給我感受到超越舞蹈技巧層次的演出，令人目不暇給。他們的風格偏向美式踢躂，則是比較注重整個身體與腳步的協調性。

曲飛國際演藝評論家協會（香港分會）專業成員、香港藝術發展局審批員（舞蹈、戲劇、電影及媒體藝術、藝術評論界別）、香港小劇場獎創辦者兼召集人。

1 .《拍 ‧ 我 ‧ 踢躂》，藝術總監：郭偉傑，舞者：浦上雄次、黃宇清、當間里美、久保群青、鄧偉豐、林易澤。攝影： Dicky Wong 相片由 R&T （Rhythm & Tempo）提供

AU G / S E P 2 0 1 6

Justyne Li -

Mandala Effect by Tom Brown

year ago, Justyne Li thought she might stop dancing and find something else to do with her life. She explains, “I was in a bad condition physically and emotionally last year. Wasn’t able to dance or make choreography or do anything”. She attended workshops, had human design readings, and learned how to draw mandalas. I caught a glimpse of this last skill in an intricate sketch in her notebook during technical rehearsals for Hong Kong Dance Alliance Springboard Showcase in June. Making radical shifts is nothing new for Li. Like a lot of young girls, she aspired to be a dancer in a ballet company. Unlike most, she had the drive, talent, and worked hard to make it happen. In 1999, when she graduated from the Ballet Stream of the School of Dance at Hong Kong Academy for Performing Arts (APA) she was offered a coveted contract with Hong Kong Ballet. After three years in the corps de ballet, however, she decided it wasn’t enough. Determined to look elsewhere, she went to Europe, auditioned, and got into Tanz Graz (Austria). After a year there, when offered a contract renewal, she declined. Wanting to be a more versatile dancer, she returned to Hong Kong for further study at the APA; this time in modern dance and choreography. She calls the next episode of her life, the lost years. In 2004, when she again graduated, she auditioned for Hong Kong’s flagship modern dance company, City Contemporary Dance Company, but didn’t get a job. Instead, she became a freelancer. Like many APA graduates, she danced for choreographers in ‘pick-up companies’, so called because choreographers ‘pick-up’ the dancers just to work for one concert, rehearsing anywhere from a couple of weeks to a couple of months. The rehearsals are often erratic; many times the choreographer works separately with different dancers to accommodate their varied schedules of dancing in other pick-ups or teaching. The results are mixed. When the concert is over, the company is disbanded. It can be a very unsatisfying experience.

She remarks, “Not so many people invited me to dance in their pieces, so if I didn’t make my own choreography, I wouldn’t have had anything to dance . . . I never had a wish to be a choreographer when I was at the APA. I just wanted to dance. And I just wanted to be a good dancer and enjoy what I was doing as a dancer.” She explains why she continued choreographing, “Maybe one reason was that I met my husband (Wong Tan-ki) at that time and he was in the same situation as me . . . And we found out that it was just our natures to create something. This accident of losing jobs from companies and meeting him also gave me signs about what I really am. I think it helped me to develop in a way that it is impossible to do in a company.” In 2006 they choreographed Studio Storm, their first work together. She talks about her early efforts, “When I first started making choreography, I think I was also lost for many years. I didn’t really consciously know what contemporary dance was and what ‘good’ contemporary dance was. I was lost because I heard how people around me explained the difference between ballet dancers and modern dancers. When I watched people doing modern dance, I didn’t know what was going on. I got a feeling that if your body is more soft and you make the technique a bit more irregular then it’s modern dance. I was lost.” In 2008, she was back in Europe dancing with Ballett Bremerhaven (Germany). With regular employment again, dancing in a professional company, Li noticed something she hadn’t realized before. She remarks, “There is an important difference between those who have tried to make a piece and those who have never made a piece in the way they dance . . . Instinctually, they make whatever they dance believable, and I had this feeling when I went back to Germany and was a company dancer again after so many years of freelancing choreography. . . I feel that when I dance, I carry an energy that was different than before when I was in the Hong Kong Ballet. This energy, I also see from company dancers that sometimes I feel that they

11 were too young to be there. In some rehearsals, a few of the dancers were not so respectful of us, no matter what we were trying to do. For example, I tried to give a particular movement and the dancers didn’t like it, and I felt that I was not qualified to be there to give them movement or tell them what to do. Me and Tan-ki talked about it, and we found that we were being too nice. Sometimes it’s like this in Chinese society. In your attitude you need to be strong. And I was not good with this.” Despite that, Li persisted and was given one of two slots in the Alliance’s 2015/16 Creative Space: Residency for Mid-Career Choreographers where choreographers select dancers and work with them regularly over a four-and-a-half-month period to create new work. Rehearsal space is provided by CCDC Dance Center and funding from a Hong Kong Arts Development Council grant provides a nominal stipend to dancers and choreographers. 30 or so dancers auditioned; she selected four and Lam Po, the other project choreographer, selected three. The audition had three parts: a series of set movement phrases, an improvisation section, and dancers showed a prepared solo that included vocalization. Li recalls, “First of all, I think that the improvisation section was really important. Because, in set movement, I see that everyone who has good technique can do those movements. There is not much difference. But in an improvisation exercise, besides the movement – the body shape and the technique, I also see their personality. I can also see if they have guts, if they are open to something they are not familiar with. I can also see if they have curiosity in the given task. I can also see if they are aggressive enough to be watched, and show who they are. So in this improvisation exercise, I am looking for a more mature mentality from the dancers.”

just execute, but something important is missing behind the nice body, and the long legs, and maybe perfect technique. I felt quite lucky when I was in Germany. If I didn’t have those four lost years, then maybe I wouldn’t even have gotten the job in Germany and wouldn’t have enjoyed dancing so much. One thing was that when I was dancing for another person’s piece I had the mentality to understand the choreography in his position. This is an even more direct communication, this understanding, than any coaching. When I knew what it is like to make a choreography, and I danced it as if I choreographed it, then the dancing became much more believable, and easier for me to be able to do it.” With this new insight, she returned to Hong Kong in 2010 and began again to choreograph with Wong. Their efforts paid off and in 2011 they were recipients of the Hong Kong Dance Award for Outstanding Independent Dance Production for their work Galatea and Pygmalion. In 2014, they received their second and third Hong Kong Dance Awards, this time for Outstanding Choreography for Galetea X and for Outstanding Performance by a Female Dancer for Li for her performance in the dance. But it wasn’t all smooth sailing; there were problems along the way. She comments, “Actually, in the past I didn’t really have many chances to work with a group. Because some of the works were just me and Tan-ki and we danced them. I had some problem in one experience when I was making a piece. I don’t know if the problem was the rush of time or they thought we

Of the experience Li says, “(It) gave me time in the beginning to get to know my dancers. To do different tasks including movement tasks that ask them to choreograph set movement or improvisation just to play games and see how they react. So I have enough time to get to observe them and know about their body types, their movement patterns, their thinking patterns, what they like or don’t like, and we even talked quite a lot to understand each other’s background or stories.” The time also allowed for Li and the dancers to establish a sense of mutual trust, so that they could let the work evolve. She says, “I can see with the process that they improved and they transformed a lot. This process also transformed me . . . And with the process of this project, I came to a conclusion that this is just what I am good at. It’s like the universe chose me to be in this place doing this.” She also continues to draw mandalas - another expression of creativity of which she says, “Quite magically, almost without effort, ideas come out from my pencil whenever I sit down and start drawing.”

1. Li performing in Galetea X Photo: Tony Chan 2. Li’s mandala for her new work Human Internship. Photo provided by Justyne Li. 3. Li and dancers in the final rehearsal for the Human Internship. From left: Chan Wing-yip, Wu Cheng-fang, Alice Ma, Rex Cheng, Justyne Li Photo: Wong Tan-ki 4. Rex Cheng (left) and Alice Ma (right) in Human Internship. Photo: Wong Tan-ki 5. Chan Wing-yip (left) and Wu Cheng-fang (right) in Human Internship. Photo: Tony Luk AU G / S E P 2 0 1 6

《迷戀》與《賞味期限》 ― 舞蹈狂情的塑造《迷戀》評論場次︰ 2016 年 5 月 20 日，晚上 8 時

地點：澳門文化中心綜合劇院

《賞味期限》評論場次︰ 2016 年 5 月 1 日，晚上 8 時

地點：澳門舊法院大樓二樓

周凡夫活躍於中、港、台、澳的著名樂評人，從事藝評寫作超過四十年。2011 年獲香港特區政府頒授榮譽勳章（ M H ），以表揚其長期積極推廣古典音樂及藝術欣賞所作的貢獻。

限》與《迷戀》是今年澳門藝《賞味術期節兩個分別由港澳新一代舞者及日本舞蹈界大師製作的舞蹈劇場作品，這兩個舞作演出時間相隔兩個多星期，將之對比觀賞，可說是港澳本土與日本東瀛現代舞蹈劇場的先後輝映，新生一代與大師名家的互相影照，亦是不同空間運用的挑戰；但相同的是，兩者都在於運用舞蹈形態，結合音樂、劇場空間來設法展現現今男女異於一般的狂情。為此，兩個製作的演出形式，同樣是男女雙人舞，但展示的手法、意念、形態與美學上的考慮，卻很不一樣，由是狂情的塑造過程，也就有不同的效果。

《迷戀》虛實相融交錯難分

1 .《賞味期限》，編舞及舞者：（左至右）黃翠詩、毛維相片由澳門文化局提供

先談備受矚目的日本舞壇大師勅使川原三郎帶來的《迷戀》。這是勅使川原三郎與宮田佳於 1985 年創辦「 K A R AS」所製作的雙人舞作品。場刊除了透露創作靈感來自路易斯．布紐爾（ Luis B u nuel）的電影短片《安德魯之犬》（ Un C hien Au d alou），用中文來寫便祇有四句三、四十個字﹕「內心的痴迷撕裂了理性，只有盲目地愛，妄想才會變成現實。在死亡面前，愛情幻化為四季」。這是一個關於愛情的舞蹈，關鍵詞卻是「痴

迷」，兩者結合便是這個製作的名字《迷戀》，舞蹈呈現的便是在痴迷下失去理性，愛亦變成盲目，但藝術家的理解卻是，由此妄想才會成為現實，甚至面對死亡亦會幻化為四季。所以，這個製作要呈現的便是不正常的被扭曲的痴迷狂情，與正常的理性形成的矛盾衝突。是痴迷的狂情行為，與幻化出來的虛象相互交錯。為此，整個演出充滿不安的張力，在牽扯著的情緒氣氛中，又不時會出現完全鬆弛的美好抒情詩意感覺，虛與實相融相混，和交錯難分的現象。勅使川原三郎自上一世紀八十年初慢慢闖出名堂，並建立起獨特鮮明，讓人一看便知道是他的創作。這源於他個人包辦整個製作的獨立元素，得以將這些元素作出有效的結合。以《迷戀》來說，肢體舞蹈動作與音樂是兩大核心元素所在，舞台場景裝置與服裝，加上燈光形成的立體空間，成為承載展示這兩大元素的平台。《迷戀》的服裝、燈光與場景裝置，都以明確簡約的方式呈示，男女的舞服以深（深藍）淡（米白）兩主要色調作出矛盾對照，女的服裝傾向淡肉色，在暗燈影照下，還帶有回歸原始的赤裸感覺。男的大多數時候都處於主動作用，也就出現一強一弱、一惡一善的傾向。

13 澳門文化中心綜合劇院超過一千座位，舞《賞味期限》演前裝置藝術台空間不小，在此一場景主體中的裝置祇有一張四腳小桌（有時還被「消失」掉），《賞味期限》的演出時間同為一小時，而且和八張靠背椅。開始時八張椅子分左右整同樣運用了音響和音樂結合來營造具有強烈齊排列。但開演不久，兩位舞者坐在椅上，觀感的空間，開場時以強大的音響為觀眾帶以集中椅腳的燈光來展現兩人不斷變化座來意想不到的劇場效果，為觀眾帶來強烈的椅的動作後，這些靠背椅便被推翻在舞台狂情預感。但和《迷戀》不一樣的是，在強上，不復正位。至於四腳小方桌很多時則烈音響響起之前，還有一些「鋪墊」：在場是女舞者依存的空間所在。除了舞台天花刊製作名單中便有一項「視覺與裝置藝術：上的十支大照明燈外，舞台左右兩邊懸吊周文慶」，演出後這位來自香港的視覺與裝各四支細小的照明燈，和在中間後場兩排置藝術家，亦被兩位表演舞者邀請出場一起緊貼橫向各六支緊貼著舞台地板的強光排謝幕，這便很明確地告訴觀眾，這是一個澳燈，合共二十支燈光來直接營造氣氛與色門與香港藝術家合作，結合裝置藝術的舞蹈彩變化，將虛與實兩者相融相混，增添了劇場表演。狂情的虛幻和浪漫感。其實，就列於場刊上的演出和製作的台前幕後人員的背景來看，不難發現這個製作真正具有澳門背景的，除了自編自演的女舞者黃音響音樂交融成為核心翠詩，便只有擔任舞台監督助理及行政管理音樂，或許準確一點說是音樂加上音響的的孫正琪。另一位自編自導的男舞者毛維來「聲音」，在這個製作中成為與肢體舞蹈幾自內地，他與黃同是香港演藝學院的畢業乎同樣重要的核心元素。這在於「聲音」生。其實九位台前幕後人員，其中七位都是在此製作中同樣發揮了推進整個製作的作香港演藝學院的畢業生，將此視為香港新一用。代的製作會更為準確，這對理解這個製作的產生與呈現的畫面相當有幫助。從開演時全場黑漆的一刻，隨即整個場內爆發出強烈的環迴聲道音響，將全場觀眾由於並未觀賞過 2014 年首次演出的《賞味置於強烈節奏不斷變化的官能性音響中。期限》，無法與今次比較，但相信加入視覺也就是說，自開始「聲音」便賦予整個空與裝置藝術是今次製作的其中一項特色。然間持續不斷的張力，為要展現突破性的狂而，由於事前的文宣資料並無特別提示觀眾情提供強大動力。這種帶有壓迫感的音響要「提早」到場，甚至到場後的觀眾亦不一不斷結合著舞台上的肢體影像，對觀眾帶定得知要在開場前早些上到二樓劇場入口，來的衝擊，而這開始讓人有點難受時，有相信不少觀眾都會錯過這個製作在劇場開始調性的音樂突然在音響層中滲透出來，但前，發生在劇場外面、面向樓梯的走廊空間很快地又被掩去消失 …… 帶著張力壓迫感所發生的，作為這個演出前的「裝置藝術」的音響持續並慢慢增強，直到暴烈高潮一的誕生與消失。演出前「裝置藝術」的誕生刻，突然靜止下來，男舞者倒在舞台上，由周文慶親手製作，採用特製的有如泡沫的女舞者的表演平台轉到小桌面，整個肢體白色冰狀半固體物，塗抹在人型木架上，塑屈曲、俯伏在桌面。在緊密排成一字的六造出一座人體高度的人型雕塑，並待該白色支燈槽的強光下，女舞者成為觀眾聚焦所泡沫雕塑開始緩慢融化滴水時，觀眾便開始在。入場。這座完成後便開始融化的泡沫冰雕，很顯然便是在於配合這個製作《賞味期限》此時奏起的是有調性的小提琴音樂，這部的主題，物件保質期過了便會被遺棄或銷曲很明確地標明在場刊上，採用的是女小毀，人與人之間是否亦存在保質期和賞味期提琴家 F a n n y C la m a g i r a n d 演奏的錄音，限呢？樂曲是伊薩伊（E.Ysaye）作品 27 的無伴奏小提琴奏鳴曲。伊薩這套奏鳴曲共有六首，演奏時間超過一小時，在《迷戀》中強烈複雜赤裸感情之旅所選的應只是部份樂章。但無論如何，在場刊中不難見出這些奏鳴曲在這個製作中黃翠詩與毛維兩人自編自演的舞蹈劇場內的重要性。事實上，在餘下長約四十分鐘容，便在於探討兩性間複雜微妙的，從保質的演出中，伊薩伊小提琴曲和設計的音響期到賞味期限完畢後的微妙變化關係，帶有便相互結合，將整個演出保持著強大張力。一定的戲劇性內容。呈現了一種充滿強烈刺勅使川原三郎對音響與有調的小提琴音樂激性、幅度對比具有爆發性的高能量的狂情時而交替、時而融合的處理手法，自然而式畫面，從觀眾入場到最後終場的約一小時有效果；不僅如此，期間還插入女聲，還內，帶給觀眾的是一種暴烈，甚至揭示出人有歌劇片段的歌聲，都能做到自然無縫的類原始獸性的展示，觀眾從一個寧靜暗黑世接合，確是出色，見出勅使川原三郎對聲界開始，經歷了一次強烈視覺效果下的複雜音的高度敏銳掌握能力。赤裸的感情之旅。 AU G / S E P 2 0 1 6

《賞味期限》安排在澳門舊法院大樓二樓的一個「臨時」性黑盒劇場舉行，那只是一個高樓底的長方形空間改變過來的簡陋劇場，與可容納過千觀眾的澳門文化中心很不一樣，演區面積較觀眾席還大，觀眾入場便看到演區幾乎是一片空洞的暗黑荒蕪空間，細看可見演區地面鋪滿一片泥塵，上方則裝置了兩大幅分別向左右兩邊垂下來的大帳篷（看來是以膠質與布質混合）。演區的後場緊貼著牆邊，成為背景的有靠背椅、掛衣柱、橫置小長几、雜物，一片凌亂。兩位男女舞者便在此一裝置下雙雙握著手，正面互望著對方，女是黑色連衣裙，男是白衣黑褲，男右女左靜止著，一動不動的，時間彷彿停頓了，入場觀眾產生的響聲完全沒有為他們帶來任何影響。大家耳邊聽到的是空調系統的風聲，外間汽車聲音亦隱約可聞，兩位舞者僵硬地赤著腳站在泥塵中，時間凝結著……

開局驚嚇挑戰觀眾底線

2 .《迷戀》，編舞：勅使川原三郎，舞者：（左至右）勅使川原三郎、佐東利穗子。相片由澳門文化局提供

開演時間已過了五分鐘，觀眾亦幾乎已全就位，正當人人都已開始感受到在黑暗演區裝置下的氣氛，期待著會有甚麼發生時，突然爆發出一下巨大響聲，但見演區漸漸光亮起來，觀眾席則相應漸漸暗黑下來，高懸著的兩塊大帳篷亦突然隨著轟鳴的巨響向兩側翻滾下來，地面上的泥塵一下子全被大帳篷翻下的強風掀起，吹滾到整個演區和觀眾席中，大家感受和看到的便是

滾滾不絕的塵埃，混濁一片。大家慢慢才發現男的將女的大力甩掉，將女推倒在滿是泥塵的地面便走向後場去。女的靜伏在泥塵中，全無動靜。此一「開局」設計充滿讓人驚嚇的氣勢。演出已進入第二部份，男的回過頭來將泥塵中的女舞者托起來，但女的目無表情，亦無動作，有如戲偶，只隨著男的操控而僵硬地動著。男的拿著紅玫瑰放到女的口中咬著，但仍無絲毫反應，而場內兩側卻一直讓人感覺到有水流到泥塵中，水聲潺潺不絕。在這種帶著不穩定且充滿不安張力的氣氛下，男的不斷擺佈女方，一再猛力將女的摔倒，其後女的開始反擊，動作同樣迅猛，雙方糾纏不休，男子開始掙扎，終於獨自引退，退回後場。

殘酷高能量高潮如困獸演出進入第三部份，女的佇立在射燈下慢慢轉身，惘然地走向觀眾席，將紫色絲帶花摘下送給觀眾，還口含玫瑰花瓣，示意女觀眾同樣用口來承接。有如心臟跳動的聲音持續不斷響著，突然在演區中央，一股泥沙自天花上傾瀉而下，女舞者回過身去，與男舞者齊齊將傾瀉下來的泥沙推叠起來。泥沙停了，女的馬上奔向觀眾，繼續將紅玫瑰花瓣派給觀眾，對男的視若無睹，男的顯然不甘心，猛力將女拉回暗黑的演區。女的猛力反抗，氣氛隨即變得激烈，進入情緒激化的第四部份。男女兩人相互追逐糾纏、激烈猛打，但當天花突然又傾瀉下一股泥沙時，兩人隨即轉而

爭著將泥沙推叠起來，但當泥沙停止傾瀉，兩人又再強力扭打 …… 再三傾瀉下來的那股泥沙，變成為兩人短暫的喘息機會。

以之作為「目標」舞動，由此不斷將兩人之間的空間作出變化。整個製作兩人身體上的接觸並不多，在開演約十五分鐘後，男舞者將女舞者推倒在舞台上的首次接觸，亦只是點到即止。男女舞者的交集、接觸，始終存在著一些距離。就如其中一幕，男舞者在燈光的近距離映照下，形成雙腿巨大的投影，女舞者匍匐其間，兩人亦無直接的接觸。甚至終場一幕，左右兩邊各懸垂下來的四支小燈，不快不慢地左右擺動起來，兩舞者不停地舞動穿插，仍是沒有接觸。

強烈震動的音樂，相對地亦有完全無聲靜止的時刻，但男女兩人持續不斷的爭逐，動作的能量亦持續增加，電子化的配音中夾雜著女子的葡語叫聲，又有男子的喊叫。男女兩舞者的身上、面上還不知何時潑上了白漆般黏液，劇場內的氣氛變得愈來愈緊張激烈。將整個演出掀上高潮的是兩人於沙推中找得一串「肉餌」，爭相搶奪。兩人彎下身來，四肢著地，面對面地雙互凝視著「肉餌」，男女均如野獸般發狂地追逐殘酷劇場景象既遠亦近著要搶奪「肉餌」，而最後女的終將「肉餌」搶奪到手，騎在男的背上，以「肉餌」誘《賞味期限》的男女舞者卻是不斷在互相扭惑著男方追逐狂奔，男女有如困獸一樣。打，雙方肢體不斷衝撞，並由此形成充滿著張力的畫面，讓觀眾的神經不斷被拉緊。男女兩舞者不斷激化的肢體動作中，融入了現代舞、日本舞踏、泰拳搏擊、中國武肢體直白痴迷扭曲心態術，但全都已變成現實生活中的自然行為一《迷戀》的舞蹈，無論男、女，同樣都是高樣。整個表演風格、高能量的迅猛動作，加能量的舞蹈；動用了全身肢體，具有鮮明上兩位舞者百分百真情投入的表演，風格舞蹈形象的設計，但男女兩人的舞蹈動作上就如二十世紀的殘酷劇場（ Thé â tre de la 特點傾向不同。男舞者的舞蹈融入了日本 crua uté）。難道這便是人與人之間「賞味期舞蹈，中國功夫，甚至中國太極、泰拳，限」屆滿後的境況？這種在劇場中展現出來不斷以重覆變化的方式來推進，變化幅度的景象似乎很遠，但實際又似乎很近。就一亦不少，整體感覺都是極不自然，強度明直以來在澳門小城生活的氛圍而言，感覺便顯高於女舞者。女舞者的舞蹈動作，同樣確是有點遠；確實，相較澳門來說，那應是很不自然，但動作幅度相對變化較少，動在生活步伐更為逼緊，壓力更大的香港，才作軌跡亦多是弧線，較男舞者多是凌厲的會較易感到得到的，更為真切的東西，這與爆發性的直線來得柔和。整個製作團體大多存在著香港生活的背景脫不了關係。另一特點是兩位舞者的舞蹈所構成的雙人舞空間，大多以女舞者作為中心，男舞者

3 .《賞味期限》演出開始時的場景。相片由澳門文化局提供

16 回歸現實狂情放大多少無論如何，兩個製作演出後觀眾與演員都回歸現實。看完《賞味期限》離場走下樓梯前，經過走廊空間，開場前周文慶創作的裝置藝術，泡沫式的人型雕塑已全部融化掉，只餘下一副人型木支架，難度「賞味期限」過後，真的是一切都不再存在？一切都變得赤裸裸的？現實真的是如此殘酷嗎？至於《迷戀》，在劇場亮起光後，痴迷感亦慢慢被理智替代，便會發覺整個製作呈現出來的便是節目介紹中所說的，是妄想的痴迷，與理性的現實的相互對照。作為演出中核心元素之一的「聲音」，由沒有調性

的音響，與富有動人感情的有調性小提琴曲，正是非理性的妄想痴迷與理性現實的呈現。而男女舞者的舞蹈編排設計，更多的是非自然的被強烈扭曲的動作，呈現出內心痴迷的不正常心理狀態，而夾雜其間較流暢自如的動作，正是仍存在其中的現實。可以說，這兩個製作，無論是音樂還是舞蹈，都將男女之間兩性角力潛在著的變異情感，和迷戀這種近乎瘋狂的狂情心態，很直接、赤裸裸地直白出來，至於是否放大了？放大了多少？那便要看觀眾的觀賞經驗了。

Ballet in Spring Serenade and More

Date: 10 June 2016 Time: 7:30pm

Carlos Acosta - A Classical Farewell

Kevin Ng

started reviewing dance in 1997. He has contributed to many publications including The Financial Times, Wall Street Journal Asia, Hong Kong Economic Journal, Time Out Hong Kong, Moscow Times, Ballet Review (New York) and Ballet 2000 (Italy).

Venue: Grand Theatre, Hong Kong Cultural Centre

Date: 2 July 2016 Time: 7:45pm

Venue: Grand Theatre, Hong Kong Cultural Centre

he Hong Kong Ballet ended the current 2015/6 season on a high note with a mixed program including two world premieres. As usual, the company’s last program of the season in spring is normally a mixed-bill instead of a full-length ballet. The program opened with Balanchine’s 1934 early masterpiece Serenade that was first staged by Judith Fugate from the Balanchine Trust for the Hong Kong Ballet two years ago. Hong Kong Ballet used to have a sizeable Balanchine repertory under the former artistic director John Meehan including Theme and Variations, Concerto Barocco, and Rubies. Unfortunately, it hasn’t been the case in the past eight years under the current artistic director Madeleine Onne. Onne prefers the modish European choreographers such as Nacho Duato and Jorma Elo. This time the company’s guest principal, Tan Yuan Yuan, danced the waltz ballerina in Serenade. Tan, a principal of the San Francisco Ballet, normally appears with Hong Kong Ballet once a year in spring. This year it was welcome to see her dance with company members instead of with a partner brought in from San Francisco. Tan’s performance on the opening night was, however, rather bland and lacked poetry. The ‘Russian’ ballerina was joyously danced by Jin Yao who was even more Balanchinean than Tan. She danced on a big scale and was extremely

musical. It’s a pity that this ballet was danced to taped music this time instead of live orchestral accompaniment. No surprise perhaps that the corps de ballet danced rather mechanically. This revival did not match the high standard of the company’s performances two years ago when it was led by Liu Yuyao as the waltz ballerina. Judith Fugate didn’t come again to Hong Kong this time, and it was left to Tang Min, the company’s ballet mistress, to rehearse the company in Serenade. The better of the two world premieres was created by the Taiwanese choreographer Edwaard Liang, a former New York City Ballet dancer. Liang is currently the artistic director of Ballet Met. Entitled Sacred Thread, the choreographer mentioned in the house program notes his inspiration from traditional Chinese weddings as well as the uncertainty and freedom of relationships. Set to propulsive music by John Adams, Liang’s choreography is certainly musical and full of vitality. Casual gestures are often used by the corps de ballet dressed in brightcolored clothing. The joyful and folksy first part reminds me of Jerome Robbins’s West Side Story Suite for the New York City Ballet. The leading couple, excellently danced by Liu Yuyao and Li Jiabo, seem to have an uneasy relationship, as shown by their tense pas de deux in the middle of the work. He tries to subjugate her at one point. The leading couple then joins the corps de ballet in the finale which seems to be a wedding celebration. However, it doesn’t feel all that joyful

and lacks an emotional resolution. I wonder if the choreographer wants to depict a traditional Chinese arranged marriage. The other premiere was created by the Chinese choreographer Fei Bo, whose most famous work is The Peony Pavilion created in 2008 for the National Ballet of China. Shenren Chang, set to music by Chinese composer Wen Zi, supposedly expresses the Chinese concept of unity of mankind and universe in the spiritual realm. There is a dominant goddess figure who leads mankind in a journey from darkness to light that symbolizes hope. So the dancers appropriately wear white leotards in the end instead of the black worn in the beginning.

lu and Wang Ji-yu. Overall, this was an ambitious program with mixed results. Cuban ballet star Carlos Acosta’s farewell program A Classical Farewell was rather disappointing, in that the star only appeared in two showcase numbers out of the 12 numbers that evening. Yes, he also appeared as one of eight dancers in the final number Majisimo. But he should have danced more, as the majority of the audience who bought tickets must have expected to see him more, instead of his group of backup Cuban dancers who were average and none too outstanding.

Jin Yao was superb as the goddess, dazzling in a sinewy solo showing off her long line, and in a duet. The choreography for the small corps de ballet is well crafted, and full of energy. This dark piece is theatrical, but it is slightly muddled at times. In the middle, another female dancer seems to collapse for some unknown reason. And in the end, Jin Yao is left alone in darkness instead of in light.

The first half consisted of five classical numbers. Acosta, in his early forties, was still suitably dazzling in the Soviet pas de deux from Diana and Acteon choreographed by Agrippina Vaganova. The contemporary choreography for the second half was, however, pretty forgettable. Acosta’s performance didn’t lift the banal choreography by Ben van Cauwenbergh for the solo Le Bourgeois. The comic solo was quite funny, but it was a pretty slight solo nevertheless. I don’t understand why Acosta could not have picked a more substantial solo or duet by other contemporary choreographers.

Hong Kong Ballet also presented Over There, an earlier piece by Fei Bo featuring two young unknown guest dancers from the National Ballet of China. This short and slight pas de deux is rather sentimental, about an unforgettable place in one’s memory, depicted by smoke in the wings. It was nevertheless danced with high spirits by Zhan Xin-

Acosta’s own choreography was shown only in one number – the pas de deux from his new production of Carmen for the Royal Ballet last autumn. It was full of drama and danced with conviction by Laura Rodriguez and Luis Valle. But the evening wasn’t a well-conceived farewell program for Acosta who didn’t dance enough.

1 . Serenade, Choreographer: George Balanchine © The George Balanchine Trust, Dancer: (Front) Tan Yuan Yuan Photo Credit: Tony Luk

18 法國 France ·香港 Hong Kong ·日本 Japan

王榮祿的海外發現與本地展望

文 By: 陳瑋鑫 William Chan 翻譯 Translation: Scarlet Yu

Ong Yong-lock’s Overseas Discovery and Prospect

香港舞蹈年獎得主專訪 Interview with Hong Kong Dance Awards Recipient

最

近這一兩年，我差不多每隔數月也總會到不加鎖舞踊館於新蒲崗的排練室，並不是排練學舞，而

是去欣賞一些小型演出或是正在創作中的片段展演。如果大家一向有留意不加鎖舞踊館的活動，便會發現舞團近年甚為積極地與不同藝術範疇，及來自不同地區的藝術家合作。有演出，亦有工作坊，好不熱鬧。今年四月，舞團作品《男生 ‧ 男再生》便取得香港舞蹈年獎傑出獨立制作，再次肯定其藝術成就。七月中，舞團亦舉辦了《 L e P h a r e X U n l o c k 法港交流展演及分享會》，特別邀請了勒拉佛爾－諾曼第國立舞蹈中心（Le Phar e ）的總監－法國編舞家艾曼紐．汀（Em m a n u e l l e V o - D i n h ）來港，一方面展現三月時在法國跟四位香港舞者合力編作的新作品，另一方面就繼續深化自去年 1 0 月起所進行的雙邊研究與交流。

n the past two years, I’ve been a regular visitor to Unlock Dancing Plaza’s rehearsal studio located in San Po Kong not to attend dance rehearsals but to go to performances and informal showcases. If you pay attention, it’s not hard to notice that Unlock Dancing Plaza has been active organizing various kinds of artistic activates such as collaborations with overseas artist, performances, and workshops, all these make the studio a bustling place in Kowloon. Unlock Dancing Plaza was awarded Outstanding Independent Dance Production at the 18 Hong Kong Dance Awards. In July, the company invited Emmanuelle Vo-Dinh, Artistic Director of Le Phare, Centre Chorégraphique National du Havre Haute – Normandie for Le Phare X Unlock – France & Hong Kong Exchange: Showcase & Sharing Session. It showcased a new work made by Vo-Dinh and four Hong Kong dancers in France this March, what’s more, the sharing session continued the dialogue begun last October to discuss further research and exchange opportunities. Although, as the artistic director of the company, Ong Yong-lock

19 身為不加鎖舞踊館藝術總監的王榮祿（阿祿），雖然並未有直接參與是次的演出及創作，但他也藉此機會與舞團的行政團隊與四位舞者於今年三月赴法研習，在當地的兩星期裡觀看了好些演出及展覽，也拜訪了不同的表演場地及舞團。阿祿笑言最初看到四位舞者在排練室應編舞要求，不斷重複做著回應，實在不太明白為什麼要這樣做。但默默看著看著，他就慢慢從重重複複的行動中得到一些啟發，並看到舞者作出了一些意料之外的反應。對於早已有意尋求新藝術方向的阿祿來說，這次法國之旅正好來得合時，讓他看到一種不一樣的創作方式，也令他的心態有所轉變。他自言過去做創作時往往太貪心，不斷作很多不同的嘗試，但實際上方向欠奉，所以希望以後可以更專注地了解自己尋求的探索方向。因此，他在十月份會再隨四位舞者到法國，除了追蹤觀察兩地合作之新作的最新發展，也會在當地主持工作坊，直接跟法國舞者交流。

(Ah-Lock) wasn’t directly involved in performing and creating this new work, he took the two-week exchange opportunity and went to France with the administration team and the four Hong Kong dancers. While there he attended performances, exhibitions, and visited various performance venues and dance companies. Ah-Lock smiled “At the beginning of the rehearsal process, I wondered why the four Hong Kong dancers repeatedly had the same kind of responses to the choreographer’s instructions. But, after a while, I started to notice unexpected responses from the dancers and could see differences within their repeated movement patterns.” Ah-Lock is an artist known for being passionate about innovative artistic practices. This trip to France came at the right time for him to broaden his artistic vision and see other ways of creating. He confesses that in his past creative practice he was voracious in combining many ideas without having a concrete artistic direction; in the future, he wishes to concentrate on a more reflective approach to discover his artistic direction. Hence, he has decided to join the four Hong Kong dancers when they visit France again in October. Besides observing the overseas exchange project’s progress, he will also hold workshops with the French dancers and choreographers during the visit.

AU G / S E P 2 0 1 6

談到不加鎖舞踊館的未來動向，阿祿指舞團的發展主要會有兩大方向：一個是繼續策劃 U n l o c k B o d y Lab 系列的活動，跟不同的朋友探索身體及舞蹈的多樣性及可能性，另一方面希望與不同的伙伴作交流及合作，併發火花，例如這次法港合作，就是從工作坊內慢慢發掘表演素材再去發展，而並非從一開始已是以表演作為終極目標，事情就變得有意義多了。阿祿直言以前會想編想跳，要為舞團編舞之餘，自己又想一起玩，但缺乏明確方向，就算做更多的作品也是徒然。他指其實有不少舞者及舞團都有類似問題，演出一個接一個，可是倒頭來可能只吸引到自己的一群朋友來看，永遠活在小圈子中。相反，現在確立了舞團的這兩大範疇，阿祿認為自己現在更有動力去建構更多有趣的計劃。接下來這下半年，不加鎖舞踊館除了會於今年十月再次回到法國跟艾曼紐．汀繼續發展與修訂新作《Simon

S a y s 》外，其實七月尾就已經先出發到日本，參

與瀨戶內海國際藝術祭，於男木島及高松港演出；而於八月份就與香港舞蹈團八樓平台X合作，請來日本宮崎縣的體育藝術團隊nmatu-posus*，聯同宮崎大學教育文化學部的教授高橋留美子，來港作四天密集式的公開工作坊及展演，實行遊走歐洲與東亞，作出更多深度交流。

Speaking about future plans for Unlock Dancing Plaza, Ah-Lock pointed out there will be two major directions; one wintinuous effort to develop Unlock Body Lab series with the aim of discovering the body and the multiplicity and possibilities of dance with different people. The other direction will be to foster overseas exchanges and collaborations with different kinds of partners and organizations. This French and Hong Kong exchange is a great example of the fusion that emerges from collaboration in which time is given to devise choreographic material through workshops instead of starting with the goal of producing performance. Comparing the two different approaches, for AhLock, the former is much more meaningful. In terms of choreographing for the company, Ah-Lock says that in the past, he was driven to produce performances in order to fulfill his interest in performing and choreographing and the work suffered without a clear artistic direction, and his creative efforts were in vain. He opined that some dance companies and artists in Hong Kong have similar opinions that producing performances one after another eventually leads to an excessive level of production that can only attract friends for support. It results in a small circle where everybody circulates only within this inner circle. Looking forward, with the two major directions that are the company’s focus from now on, Ah-Lock is motivated to organize more interesting projects in the future. In the next half year, Unlock Dancing Plaza will embark on European and East Asian artistic exchanges. Besides going back to France to continue developing and refining the new dance Simon Says with Emmanuelle Vo-Dinh in October, the company will travel to Japan for Setouchi Triennale 2016 and perform on

21 阿祿坦言對比只是邀請海外編舞來港合作，這種深度交流的成本其實高很多，因為資助機構往往只會資助機票或交通費，除非計劃內包含表演創作與演出，否則其他開支一律自行應付。可是，阿祿覺得交流過程最重要的絕非只去做一件作品，而是在過程中成長，所以他希望將來可以有更多開放的交流觀摩機會，並獲得資助者認同與支持。最後，阿祿認為要改善目前本地的舞蹈生態，大家必須要去努力吸收養份，出去走走、感受更多，否則難以在港培養出色的藝術家。他亦強調，重要是能與不同人同行，特別是圈內人及其他有心人，共同去探索舞蹈的根本。

the island of Ogijima and in the city of Takamatsu in July and August where they will join with Hong Kong Dance Company 8/F Platform X, to invite nmatu-posus*, a sport-art team from Miyazaki, Japan, and Professor Rumiko Takahashi from the Faculty of Education and Culture of the University of Miyazaki, to lead an intensive 4-day workshop and showcase. Ah-Lock acknowledges that this kind of exchange is more indepth than those that invite an international choreographer to create a work in Hong Kong. In fact, the cost for an in-depth overseas exchange trip is much higher, most often the funding organization only supports travelling expenses such as air-ticket or transportation, unless the exchange project eventually includes producing a performance or a showcase. Otherwise, this kind of exchange project hardly ever gets funded and is likely to be selffinanced. Ah-Lock believes that the process of exchange can provide a ground for artistic growth and is not necessarily only for the purpose of creating a show. Therefore, he wishes there would be more opportunities for, and openness to, such kinds of observational exchange trips and, most importantly, that funding organizations would support and recognize the value of these types of exchanges. In the end, Ah-Lock thinks that in order to improve Hong Kong’s dance ecology, everyone needs to be actively cultivated in Art. Travel to different places and to experience the world is considerably beneficial; without it, it would be hard to become an outstanding artist knowing only the local context. He stresses that it is important to travel with different people, especially those from the field of dance who are passionate about discovering the essence of dance with you along the journey.

* 來自日本宮崎縣的nmatu-posus團隊為擁有體育訓練背景的三位日本藝術家所組成。 nmatu-posus is the name of a group formed by three artists from Miyazaki, Japan, who possess athletic training background.

王榮祿於瀨戶內國際藝術祭期間在男木島進行工作坊。 Ah-Lock instructs a workshop at the Asian Performing Arts Market in Setouchi 2016 at Ogijima

王榮祿於瀨戶內海國際藝術祭演出。 Ah-Lock perfoming at the Asian Arts Market in Setouchi 2016

艾曼紐．汀進行展演及交流。 Emmanuelle Vo-Dinh at the Work-in-Progress Showing and sharing.

4.&5. 四位與艾曼紐．汀創作的舞者。(下圖左至右) 丘展誠、黃翠詩、李偉能、李嘉雯。 The four Hong Kong artists who worked with Emmanuelle Vo-Dinh (bottom photo, left to right) James Yau, Tracy Wong, Joseph Lee, Carmen Li

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House on Fire! -Review of Recital Flamenco Date: 5 June 2016

Time: 8pm

Venue: Theatre, Sheung Wan Civic Centre

Following the cool and muted atmosphere of the opening, the second palo is Solea. The word solea originates from the Spanish soledad meaning solitude or loneliness. Solea is often regarded as the mother of all flamenco musical forms. The first part is slow and gloomy but the second part becomes delightful and hopeful. However, Liñán’s version is not a desolate one. Instead, his version is rather calm and introspective in the opening and turns relaxing and confident at the end. It seems that Liñán uses his own unique style of body language to convey a positive message: “Be a wise man, let sadness go!”

Angela Lee

is currently studying for her doctorate in Applied Language Sciences at Hong Kong Polytechnic University. She started learning flamenco dance in Hong Kong in 2009 and was a participant of Dance Enhance: Dance Appreciation & Criticism Writing Project 2015.

ong Kong audiences, especially flamenco lovers, were lucky to have Manuel Liñán, one of Spain’s hottest contemporary flamenco choreographers and dancers, perform his work on 5 June 2016 at Sheung Wan Civic Centre Theatre in Hong Kong. The evening, presented by Jazz Dance Group and Academic Theatre Association of Hong Kong, with Liñán accompanied by guitarist Franciso Vinuesa and singer David Carpio, was a spectacular and unforgettable experience for audiences. Since the early 2000s, Liñán has won numerous choreography and dance awards for flamenco. Most recently, at the Festival de Jerez 2016, Liñán’s production of Reversible received the Critics' Choice Award. It is without a doubt that audiences have very high expectations from this ‘King of Flamenco Dance’ – as he is known in the local flamenco community. Liñán didn’t disappoint, the show that went on for nearly 90 minutes and that included Instrumental Guitarra and Instrumental Voz for guitar music and voice respectively, featured Liñán’s solo dancing in all of the remaining five palos.

1 . Recital Flamenco, Choreographer: Manuel Liñán. Photo Credit: Ming Ng

The stage setting was simple: two antiqued wooden chairs placed center in front of the cyclorama with a large rose projected in white on the stage floor at center stage. A voiceover - a woman recounting a story in Spanish - serves as background for the audience’s first glimpse of Liñán. Dressed in black with an aloof expression, he performs the first dance, Play Back Romance, with masculine and quick movement as well as strong and clear footwork.

The third piece is Martinete performed by Liñán and Carpio without other accompaniment; it is the only duet on the program. The piece is challenging because both singer and dancer have to be very attentive to, and synchronous with, each other’s percussive rhythms. Carpio, in particular, has to interact and respond to Liñán’s sometimes unexpected but natural, somehow humorous, flow of movement. The fourth dance is Tientos y Tangos. No longer a man totally in black, Liñán has changed into a redpatterned shirt, a shiny tight belt, and red shoes. Although Tientos is also a slow palo expressing loss, despair, and longing for freedom, Liñán brings in contrasts by means of fast turns, intensive footwork, and sharp postural gestures. When Liñán has taken the audience to the boiling point, he whips off this belt and flips out his shirttails to perform Tangos joyfully and sensationally as the work’s finale. The house was totally inflamed by his passionate and aggressive performance. The final dance is Caracoles. Wearing a singlet with a very large and heavy fancy mantón draped over his shoulders, he appears on stage - a man in bata de cola (skirt with a long tail) - as a king. Liñán utilizes the full stage to fly the mantón’s tail and to wave its wings. His artistic sense and charisma make for an explosive and powerful climax. The audience’s reaction to his performance was overwhelming - wild applause and shouting. Despite anxious moments caused by two false fire alarms during the performance, the whole evening was a stunning and gorgeous offering to Hong Kong audiences. The sound system and lighting effects were clear and precise. Liñán, Vinuesa, and Carpio successfully presented an exquisite worldclass masterpiece.

芭蕾王者的完美告別談《卡洛斯．阿哥斯達告別古典芭蕾之旅》評論場次：2016 年 6 月 24 、25 日，晚上 7 時 45 分地點：香港文化中心大劇院

Acosta）雖然卡洛斯．阿哥斯達（Carlos 曾與多個國際知名舞團合作，更是英國皇家芭蕾舞團史上第一位黑人首席舞者，但對香港的觀眾來說，卻未必熟悉。其實上一次阿哥斯達領軍來港演出，已經是接近 11 年前，於 2005 年舉行的「情迷拉丁」藝術節。當時他帶來其一手包辦編舞、導演及主演，以他自己的童年往事為藍本的舞劇《舞出新天地》（Tocororo - A Cuban Tale）；這次重臨香港，他同樣帶上一眾古巴舞者，作為他告別傳統芭蕾舞演出生涯的謝幕表演。節目以《卡洛斯．阿哥斯達告別古典芭蕾之旅》（Carlos Acosta – A Classical Farewell）為名，雖然開宗明義以古典芭蕾舞演出為主，但其實十二段舞節中，除了有選自經典的芭蕾舞作外，也有近代的新編芭蕾，還包括有阿哥斯達新近編舞的作品《卡門》（Carmen）內的一節雙人舞。

Vaganova）根據希臘神話人物改編的舞作，為舞者提供了不少炫技的機會，其中為男舞者所編的多組連續鹿跳（stag leaps）動作，阿哥斯達跳來好像毫不費勁，騰空動作優雅輕盈，著地亦極為穩定，使人讚嘆。

整個節目以舞者逐一抵達劇院作表演前的準備開始，讓觀眾看到身穿便服的舞者更衣暖身，而非一來就舞接舞跳個不停。開場時舞台上沒有古典芭蕾常有的華麗布幕、佈景或節目的下半場就集中為當代舞作，除了有上吊片，只是在後舞台上擺放了幾組高低扶把、述提及由勞爾．雷諾索（Raul Reinoso）所兩個大型飛行箱，以及長梳化，把平常舞者編的《進化》外，也有另一支為女舞者編排於舞台背後的準備空間先呈現於觀眾眼前，的獨舞作品《我無怨無悔》（Je ne regrette 然後才慢慢把中幕與側幕放下，讓舞台變回 rien），兩支雙人舞作《末日》（End of 一個空的表演空間。如此的開場設計，嘗試 Time）與《在布宜諾斯艾利斯》（A Buenos 展現出舞者的真我一面，尤其讓節目主角阿 Aires），還有由阿哥斯達所編的《卡門》，以哥斯達把傳奇芭蕾舞舞台王者的光環先摘下，及另外兩支阿哥斯達有份登台演出的舞作：拉近與觀眾的距離。《小資情調》（Les Bourgeois）和《邁斯姆》（Majisimo）。中場休息之前的上半場，以經典的芭蕾舞選段為主，三支分別來自《天鵝湖》（Swan 眾舞者於下半場的表現較為平均，不過默契 Lake）、《仙凡之戀》（La Sylphide）及《冬實在有待改善，最後合跳《邁斯姆》時就明之夢》（Winter Dreams）的雙人舞段，分別顯見到四對舞者的不齊整，各人移動的位置由三對年青男女舞者演出。可能因為我看的也欠準繩。畢竟他們並非全屬同一舞團，合是香港首場演出，舞者們難免有點緊張，個作練習的時間相信也不長。而作為全晚焦點別舞者也似乎未在十足狀態，特別是男舞者，的阿哥斯達，縱使只參與了其中三段舞的演節奏偶有過急或托舉時未夠平穩；不過接著出，但無論是上半場《戴安娜與亞迪安》的第四支由加比艾拉・盧戈（Gabriela Lugo）雙人舞，還是下半場幽默輕鬆的《小資情調》演出的《垂死的天鵝》（Dying Swan）獨舞，獨舞，抑或壓軸的《邁斯姆》群舞，其演出就令人相當驚喜。她穩定的足尖技巧，加上皆非常穩定，壓場感十足，而且技巧仍然大流麗的動作，把角色的複雜心理完美呈現；大拋離同場的古巴後輩。而下半場尾段同樣由盧戈作獨舞的《進化》（Anadromous），其演出也相當不俗，值得好節目尾聲眾舞者在台上換回便服，逐一收拾好記住她的名字。離場，最後剩下阿哥斯達帶點不捨向觀眾回不過數全晚我最喜愛的，卻是上半場壓軸由卡洛斯．阿哥斯達跟羅拉．羅德里格斯（Laura Rodriguez）合跳的《戴安娜與亞迪安：雙人舞》（Diana & Acteon: Pas de deux）。這支由阿格里皮娜．瓦岡諾娃（Agrippina

眸道別，彷彿具象地暫別古典舞舞台，進而踏上當代舞之路。期望香港觀眾不用再多等十年，才能再次欣賞到阿哥斯達在舞台上的風采，也寄望阿哥斯達在當代舞的編與演上，也能有所突破。

陳瑋鑫資深藝評人、媒體及劇場製作人，近年主要從事表演藝術研究，現職國際演藝評論家協會（香港分會）項目經理。

1 .這次演出是卡斯．阿哥斯達別傳統芭蕾舞出生涯的謝幕演。

洛告演表

相片由康樂及文化事務署文化節目組提供 AU G / S E P 2 0 1 6

人與機器－梅田宏明新作論壇黃大徽

次遇見梅田宏明是在網絡上，作品叫《While 第一Going to A Condition》，他的成名作。小小的十四吋電腦屏幕，幾分鐘的片段，一看之下，也真像那齣舞的名字一樣－我有若走進了某種狀態去。有別於其他以科技入舞的同儕，梅田沒有用賣弄綜藝式的身體笑話（body gags）以換取浪接浪的笑聲，也沒有強化數碼影像的近乎無所不能的特質以彰顯肉身的渺小，而是冷靜的站在中央揮臂揚足，跟聲音和影像時而融合時而對抗，自有其純綷與從容。他的作品，走得進去的話，就如編舞者自己所言，是一次純感官的體驗；走不進去的話，則可能衍生「情感在哪」、「訊息在哪」、「為什麼只有形式」等等的質疑。今年六月，梅田應西九邀請來港出席《新作論壇》，與本地十二位來自舞蹈或多媒體創作的藝術家共渡五天，既是交流也是工作坊。而身為全程伴隨的觀察者，這也是一個很好的機會，讓我對其作品的一些疑問得到解答。差不多二十歲才學舞的梅田，最初接觸的是芭蕾舞和嘻哈舞（ Hip Hop），這兩個舞種在其獨舞系列中的影響清晰可見，例如大部份時間堅守的直立式舞動，又例如機械舞（Popping）及鎖舞（Locking）的技巧等等。不過，當事人對此其實很不以為然，因為一來舞蹈對

他來說是一種視覺藝術多於身體藝術；再者，風格和狀態或他提及的質感（texture），才是他在動作上的追求。也許這正好解釋了他自編自跳的獨舞和為別人而排的群舞之間的差異－視覺與聽覺上一脈相承，但肉身如何回應卻好像完全是另一回事。閒聊間，其中一個多媒體藝術家問：這麼細密連綿的動作是怎樣記的？梅田說他的動作基本上是即興。但所謂即興，當然也是有所依據的，梅田對動作有清晰而簡潔的理念，再加上影像和聲音以至燈光的設計都由他一手包辦，所以從創作過程的第一天開始，不同元素已緊密的在互相影響和共同發展。而從觀者的角度看，因為其不確定性而在時間上帶出的鮮活感，即興亦有助於抗衡在梅田宏明的舞台上，以刺激神經反應為出發點的台燈聲。在科技的應用上，梅田倒不是死硬派。以 2 011 年的《Holistic Strata》為例，正當人人都以為被影像包裹全身的效果是用影像追蹤（ mapping）去製造，他不諱言那不過是在舞台的兩邊放了投射器，再加上前正方的投射重疊而成的立體效果。以科技入舞之時，因應影像材料以更簡單的方法去達致相近效果，當中的一份靈活思維是很好的啟示。

並不多言的梅田坦白起來有時也會語出驚人。經過一整天的各自表述之後，到了工作坊的第二天，梅田開始為舞蹈及媒體藝術家配對，但之前卻拋了一句：我其實並不喜歡共同創作（collaboration）。有那麼一刻空氣像凝住了，大家面面相覷，因為在未來的三天正是在場的十二位藝術家將要付諸實行的合作形式。作為導師，可以說梅田並沒有太多的指示，但另一說法就是對一切抱開放態度，在過程中他對每組的提問都是比較宏觀的，例如「概念出來了沒有」、「如何執行」、「落實了沒有」等等。偶爾他也會提供一些網站作參考和分享。六隊組合在過程中有擦出火花的，有每天都在轉換構思的，有默默耕耘的 ⋯⋯比較有趣的觀察是舞蹈和媒體藝術家之間，因為創作工具有別而出現的對照。別的不說，簡單如對於時間的概念就很不同。舞蹈家用的是身體，意到身動，隨時隨地都可創作；媒體藝術家用的是機器，任何構想得經過編寫程序的步驟才能確實，兩者之間有若即時和等待的對峙。

雖然主辦當局一再強調展示成果並非前設，但最後六隊組合還是整整齊齊地分享了他 / 她們的實驗。這是否目標為本（task oriented）的心態使然？我傾向相信是出於舞蹈和多媒體藝術家對彼此的一份好奇，而為了滿足這份好奇心，就得完成階段性的實驗品，當作一次旅程的終站。而這份好奇心能延續下去，就是真正合作的開始。據說其中的林欣傑和陳凱已情投意合，正磨拳擦掌來一次落實的共同創作。期待九月親身去做見證。

1 .梅田宏明在公開論壇席間分享創作心得。講者：（中）梅田宏明，主持：（左一）黃大徽，回應：（左二）張瀚謙、（右二）葉彩鳳、（右）陳頌瑛 2 .藝術家即席展示交流成果。舞者：陳凱 3 .梅田宏明認為舞蹈是視覺藝術多於身體藝術。攝影：Andy On

AU G / S E P 2 0 1 6

從SDK 街舞比賽

看香港 —與BOBBY對談 Akama Chin

視為「地下文化」，然而其文化活香港動的在街世界舞一直被的版圖一直擴大，不論是小型聚會或大型活動、新手賽或極高水準的舞鬥、本地或跨國的淘汰制賽事、以至著重交流的「派對」形式比賽或宿營，已經在各國百花齊放、蓬勃成長，體現出街舞的多元性及背後的文化基礎。回望香港街舞最近亦十分精彩，於 4 月中旬完滿舉辦源自捷克共和國、可稱為「街舞奧林匹克」的國際盛事 St r e et D a n c e Kem p (SDK) 亞太區淘汰賽。其中，在機械舞（Po p pi ng）項目奪得亞太區冠軍，並剛於 7 月前往捷克參與 16 強賽事的香港舞者林悅榮（Bobby），在本地街舞圈成長逾十年的他，如何看待這次比賽的經歷？

從捷克土壤看到舞蹈靈魂筆者與 B obby 相約在經常聚集一群街舞人的練習場所— 城大惠卿劇院前的室內空間進行訪問，在放克（Funk）音樂的籠罩下進入對談的氣氛。問及剛從捷克回來的感受， B obby 直言在當地看到「舞蹈」本身：「我經歷的數個晚上都有派對， D J 會播不同種類的音樂，而你會看到擁有不同舞蹈背景的人無論放甚麼音樂都會全程投入。」他看到派對中的人無分階級、背景，即便是比賽的評審及著名 H ip H op 舞者 H e nry Link 在跳舞，大家也不會刻意靠近或駐足觀賞。他覺得舞蹈彷彿成為「語言」，關係是建基於當下的。「回來香港，立刻感覺到日常空間、聲音對身體的影響。」他形容捷克比賽夏令營在一個郊外地方舉行，遼闊的青草及彷彿看不到盡頭的湛藍天空，都啟發了他在跳舞時對空間的覺察和感受。「在香港，耳際盡是機械、噪音，在那邊只有悅耳的音樂和大自然的迴響，自然讓身體放鬆下來。」他不諱言歐洲街舞者未必比亞洲人懂得鑽研技術，但舞蹈的感覺卻像天賦一樣，無可奈何都是環境所孕育的結果，而「感覺」對比單純的「動作」又是最難模仿和假裝的。

在小城市看大世界衝出香港面向世界，B o b b y 希望讓世界「看到」香港：「其實香港有不少厲害的舞者，例如我的隊友 Louis ，便在去年日本著名 P o p p in g 比賽 O ld S ch o o l N i ght（註一）打進 8 強，是很不容易的事。」他分享過去到國外比賽時，其他國家的舞者知道自己來自香港的時候總表示驚訝，讓他非常想變強，讓其他人知道香港舞者的實力。「人都是很膚淺的，看到你的舞技出色，才會想認識你、了解你，所以香港舞者唯有努力求進，才能讓世界認識這個小城市、了解這個地方其實卧虎藏龍。」參與 SDK 除了是逼自己比去年更進一步，亦坦言希望讓更多香港人打進 1 6 強：「數數手指，每年每個項目有多少個香港人可在 16 強佔一席位？普遍都是如日本、台灣、韓國等地方的舞者佔大比數。」他認為香港街舞者害怕失敗，便逃避參與大型或國際性競技，變相無法令自己突破之餘，亦阻礙他國舞者認清香港舞者的實力。

生命不該「只有」跳舞在過去十年裡，Bobby 由懵懂的小男孩銳變為無數大小比賽得獎者、舞蹈老師、演員、甚至服裝店老闆，可謂「百足咁多爪」。「其實我覺得生命不應只有跳舞，我也喜歡做其他事情，例如賣衣服可以啟發我思考如何增加客源。」Bobby 說到這裡更是喜形於色，「我也希望三十歲前可以組織家庭，最好有一子一女一隻狗！」正因為生命的豐富，才令他的舞蹈更自在，街舞與生活就是如此不可分割。「當初我喜歡跳街舞也是因為它沒有規矩、不會限制你，而這就和我理想的生活一樣，每個人走的路都是獨特的才有趣。」為此，他特別感謝前輩的教導、服裝店同事、朋友、以至家人，在路上的支持和包容才令他有空間做喜歡的事情。無論是電影、舞台劇，還是有血有肉的人生，Bobby 對於跳舞的執著始終如一。「未來希望舞技繼續進步，讓世界看到香港這個地方，贏得尊重。」他眼神篤定，最後分享現階段對舞蹈的感悟：「學習欣賞他人，也同時擴闊眼界，問自己真正喜歡甚麼。」無論街舞還是人生，都是同一個課題。 * 註一：「OLD SCHOOL NIGHT」始於 1999 年，是 OLD SCHOO L D A N C E 創辦的 BATTLE 比賽。此賽事共有 POPPING、LOCKING、BREA K I N G 3 個項目的比賽，2015 年加入 WAACKING 總共四個項目。

1. Bobby 在亞太區決賽對上隊友 Louis，最後取得冠軍。相片由 JAMCITYHK 提供 2. Bobby 在捷克的大自然環境中感受到對舞蹈的影響。相片由 JAMCITYHK 提供 3. 擁有不同舞蹈底子的人在派對上互相交流。相片取自 SDK EUROPE Facebook 專頁 4. Bobby 與來自世界各地的街舞者互相切磋。相片由 JAMCITYHK 提供 AU G / S E P 2 0 1 6 AU G / S E P 2 0 1 6

《你開｜關了燈？》 ― 你靠光暗左右哪邊站評論場次：2016 年 6 月 20 日，晚上 8 時地點：CCDC 舞蹈中心賽馬會舞蹈小劇場

誠言，作品若按飲食選擇再到社會議題，或許編排《我的選擇，你 OK 嗎？》在開首比較合適。作品看似是雙人舞，但其實像單人在跳。一身黑衣的廖向民如同影子一直在背後支撐著、摟抱著、移動著呂沅蔚的身體。她碎碎念不介意選擇 ABCD 餐看似很隨和民主，還邊說邊把便利貼黏到天花板上的燈罩，後來卻逐漸變得彆扭道出「其實我的選擇是因為你的選擇而決定」之意。整個演出大概十分鐘左右完結。我納悶，把這個作品放在中間 / 區間，是否要為觀眾帶來一點稍息的空間？

格子表面是藝術行政人員和自由撰稿者，實為偽文青與宅女共同體，經常游離在劇場與戲院暗黑之間造清醒夢。

1 .《選擇恐懼症》，編舞：呂沅蔚，舞者：（左至右）李朗軒、白濰銘 2 .《光明磊落》，編舞：程偉彬，舞者：（左至右）白濰銘、廖向民、呂沅

運，培育本地每個新藝人團也除是了其維使持命基。本是營次《你開︳關了燈？》為 C C D C 舞蹈中心《真演出》系列 X 旅藝團合辦。編舞者以「燈」為主題去解構「選擇」的兩難，三個獨立作品無論在題目或是編舞基調上也緊扣主題。從看似個人飲食選擇《我的選擇，你 O K 嗎？》（李朗軒編舞），到害怕選擇的精神狀態《選擇恐懼症》（呂沅蔚編舞），延伸到大是大非的社會議題《光明磊落》（程偉彬編舞），當中借燈所呈現的「選擇」如：開關／光暗／虛實／是非等的二元對立均鮮明有趣。甫開始，《選擇恐懼症》三男一女舞者分成兩對，黑暗中坐在盒子上爭奪開燈關燈，四人對峙且不斷轉換位置。燈亮聲亮，燈滅聲滅。這個動作看似是一種話語權的表現。先是雙人舞後來各人四散來回奔跑，每個人企圖找回自己的位置，卻像「爭凳仔」遊戲被對方佔據，而不斷大聲指喊對方「你！佢！你！唔係我！」舞者又戴上燈罩排成一線繼續互相爭奪，同時由梁天尺聲演的旁白提出了各式各樣的二元選擇，如生仔生女／同性合法化非合法化／共產黨黃絲等選項。沒爭到燈罩的「保護」會顯得很不安沮喪，然而舞者左右追逐暗示「我們永遠無法選擇正確的答案」。當選擇不只是個人的事時，我們該根據什麼準則決定？

至於《光明磊落》明示暗示雨傘運動暗角七警，群毆公民黨成員曾健超一事，以表達對政局動盪不安不公的感受，期間還播放在雨傘運動裡美國 CNN 記者記錄警隊投放催淚彈時的新聞錄音。作品以一位舞者拿著電筒在暗黑開始，其餘的舞者逐漸加入後，更有人搶奪他的電筒甚至合力把他推向牆並將其制服。舞者手中的長型電筒又令人聯想到，前警司朱經緯於 2014 年在旺角佔領運動期間，辯稱以警棍毆打途人是「手臂延伸」。這該是經歷過雨傘運動的港人才意會到的典故。群舞以街頭格鬥（Battle）混搭擬似空手道和芭蕾舞的編舞，還裝作托著步槍對付群眾或示威者。編舞更安排一女舞者在群舞以外，故意跟不上團隊後才漸漸融入成為一體。這難道暗示個人最終歸順主體的選擇？生活，原本是個不停選擇的修羅場，魚與熊掌不可兼得。作品當中的吶喊、追逐、爭奪、面對或逃避，對生活中取捨而產生的煩惱障，該忠於個人或是大眾的意願，還真沒有標準答案可供選擇。

評《風雲 2016》評論場次：2016 年 6 月 24 、25 日，晚上 7 時 45 分地點：香港文化中心大劇院

賴愛美熱愛舞蹈藝術。學習多種舞蹈包括中國舞、現代舞等。現為 La P en V 優之舞團員，，近期的表演和比賽包括《2014 紫荊杯舞蹈比賽》、 2014 CCDC《Good Show》和東邊舞蹈團主辦的《舞出真我》。喜歡游走於不同劇場，將舞蹈演出做文字紀錄，文章發表於《舞蹈手扎》。

中國舞蹈劇一般都取材於文學、民間故事或神話，不少已經演繹過，缺乏新鮮感。香港舞蹈團的近作《風雲》嘗試取材於大眾文化—漫畫和電影，可說是為舞劇題材提供了更多選擇。漫畫裡的人物能立體地舞動於眼前令所有漫畫迷十分期待和雀躍。2014 年的初版相當強調漫畫感和電影感，極具漫畫書質感的場刊、錄像中出現的拳風、天池十二煞的亮相、水裡和空中決戰都是十分亮眼奪目的畫面。今年的編舞作了若干調度，把重點回歸到舞劇本身，讓故事更為完整。舞劇的限制是無法交代太複雜的人物關係或故事細節，劇本取材是「情」和「仇」兩大主線，兩男一女的內容是意料之內的。坦白說故事有點單薄，可以發展的情節不多。編舞花了不少心思把人物塑造得有血肉，三位主角的內心矛盾及感情關係交代得相當細膩，讓觀眾不經意地投入他們的宿命中。人物造型參考了漫畫原著，甚具動漫感覺。動作設計上則花了心思突顯人物性格，聶風手持紙扇，動作輕柔圓潤，舞段配合身韻顯得斯文秀氣，而步驚雲動作則沉厚，線條剛直極具爆發力，那大開大收的動作描摹出一個乖戾的硬漢子。作品中「情」的描述最為細緻，同時看得出編舞對「情」的處理越見成熟。故事中，孔慈捉摸不定的感情取向牽引著兩位男主角的情感，編舞以絲巾比喻那搖擺不定、若即若離的愛情關係，舞者斷斷續續的與絲巾起舞，游走於有與沒有之間。孔慈的愛情終局隱喻在這舞段結束時，當她正等待被張開的絲巾覆蓋時，冷不防絲巾被搶走，愛情最終都離她遠去。絲巾的運用回應到孔慈死後的段落，它逐一慢慢的從高處飄下似是哀悼它的消逝，最後孔慈被黑色絲巾包裹離場，舞段設計把

女主角的愛情故事交代得非常完整。另一相當欣賞的段落是孔慈與步驚雲在水池激情的舞步，以及跟聶風結婚同時發生的場面：這邊廂舞者跳著喜慶舞步伴隨神情呆滯的聶風，跟那邊悲慟不已的步驚雲形成強烈對比，體現出兩位情傷到極點的男子，令觀眾感受到他們的痛。演員對角的安排，慘白和暗紅燈光的視覺對比，斷裂音樂和舞段間斷的出現等處理手法相當具時代感。提到其他劇場元素，不得不提音樂的用心編排。編舞楊雲濤的多元化音樂取向配合大膽嘗試，加入了菲利普 ‧ 格拉斯（Philip Glass）的音樂，亦起用了兩位編曲創作者—古典音樂的李哲藝和多媒體音樂人蔡世豪，傳統音樂和電子音樂的交錯出現令作品更見虛幻和超現實，兩者配合得宜，沒有突兀感覺。重要是所編選的音樂有空間讓舞蹈去詮釋故事，讓舞蹈的抽象特質填補敘事空隙。一個舞團的風格深受藝術總監影響，楊雲濤的現代舞背景的確為舞團帶來了新景象和視點。近年香港舞蹈團的形象亦有所改變，在保留傳統之餘仍緊扣當代，銳意將傳統舞蹈融入社會中。中場休息時播出的舞蹈片段可見舞者穿上時尚服飾，有的配上水袖等中國舞道具在香港不同地方如天橋、屋村公園起舞，舞姿優雅又不失現代感。舞團亦會安排在地區進行快閃舞蹈表演，穿著便服的舞者跳起中國民間舞，感覺新鮮，十分接近群眾。而《風雲》能在不足兩年之內重演，可以證明了走對了方向，為大眾接受。總的來說，這個作品給舞團創作上開拓了一個新路線，而作品能抓緊題材發揮，把握有趣元素製造了一個有話題有特色的作品，雖仍未算完美，但絕對是有香港特色的中國舞蹈。

1 .《風雲》，編舞：楊雲濤。攝影： Crystal Kowk AU G / S E P 2 0 1 6

In conversation with Joseph Lee Jane Chan

oseph Lee is a freelance dance artist born and raised in Hong Kong whose journey has had a different twist than most of ours. He holds a degree in Accounting from the Chinese University of Hong Kong and also an MA in Contemporary Dance from The Place, London Contemporary Dance School, UK. He came back to Hong Kong in early 2014 and worked as an intern at Unlock Dancing Plaza for a year. He now works freelance and is involved in different local and international projects, teaching as well as choreographing.

It’s a question probably many would ask, why would someone who has a degree in accounting want to study contemporary dance. His answer is simple, “I want to take dance seriously and I want others to take me seriously.” Lee started dance as a hobby. He was at HKCEE level and took part in an inter-house competition in his school followed by an interschool dance competition in modern dance for the first time. It was his first performance experience on stage with a proscenium arch. “It just felt absolutely amazing!” He continued dancing in the school’s dance team during the last two years of his secondary school education. In his final year of secondary school, he choreographed a piece and entered the interschool competition as a choreographer. Lee was awarded one of the outstanding choreographers’ award that year. One of the judges,

I want to take dance seriously and I want others to take me seriously. Pewan Chow, Artistic Director of Passoverdance who knew Lee’s teacher, Cary Lee, at school suggested Joseph attend classes at Passoverdance. At the time, Passoverdance only had professional dance classes. Lee did not think much of it, only knew he wanted to dance and went along. And that was the beginning of Lee’s contemporary dance training. He trained for three years and it was Chow who suggested Lee go abroad to London to further his training. “I am grateful for her and Cary Lee, always.” Chow has been a significant influence on Lee’s further training and beyond. The summer before Lee started his accounting degree was pivotal. Chow’s production of Homecoming influenced Lee immensely. It was a piece that was simple, pertinent yet piercing. “The dancers’ individualities were vivid on stage and it was not just about the technique, not about how many pirouettes you could do on stage...Then and there I thought, I want to create works that have the same impact!” Another pivotal incident for Lee was the professional classes at Passoverdance, “there’s always a positive vibe in that studio, there’s no competitive energy amongst the group, but within themselves and everyone is bettering themselves at their pace and Chow will push us to our best abilities wherever our levels.” Lee says. “I feel Chow is my mentor, someone I can always go to.” That year in London for Lee was an eye opener, a year that was critical to his career. Lee considered himself a very naïve dancer before London. In London, apart from the many likeminded friends he made, he also met one of his greatest friends, Tuan Ly. They have very different artistic visions and at times there were very heated discussions on the performances

31 they watched and ideas they both had, but to Lee those back and forth was exactly what he had been looking for, a partner in crime for artistic conversation, inspiration, exchange, and fun. “The friendship and constant exchange with Tuan opened up countless possibilities for me artistically. We are hoping to work together in the near future, we are continuously looking for opportunities for us both.” Lee was very determined to go to London as soon as he graduated from his accounting course because he knew dance was a relatively young industry. Also, he wanted to focus solely on dance for a year, to work on his technique and his body. It was a luxury for him. Lee came back to Hong Kong as he was offered a job opportunity with Passoverdance, which came at the perfect time as his visa in the UK was about to expire, so was the contract on his accommodation. Little did he know, the audition for Unlock Dancing Plaza’s internship was the day he arrived in Hong Kong. He arrived at 5pm and the audition was at 7pm. “It felt unreal, I could only call it fate.” Dance to Lee is using the body to express, inspire, and connect. Chow never failed to inspire and motivate Lee. “I wanted to do the same, to share, connect with other people, dance artists or not, to inspire and be inspired.” One of the main reasons Lee chose to study accounting was to have a plan B, just in case. “I strongly believe the three years at university were not just about the knowledge, the people you meet are from all walks of life and in the university environment it was a common ground for all. The programme about dance on RTHK in September 2015 「自由起舞」 that I was part of, was an idea from one of my friends at the university. He is now a film director. I also wanted my parents to stop worrying about me before I told them I wanted to take dance seriously.”

Lee is grateful for a lot of the experienced dance artists and practitioners who have been very generous with their time and experience. These dance artists, practitioners, and managers are like lighthouses, pointing you to the right directions when you need it. “And of course you’ve got to put in the hard work and it depends on who you meet along the way.” Lee is grateful for his families’ support. “I think their only worry was whether or not I could survive. I guess they observed my dedication throughout and I think a perk being the youngest in the family is that I could pursue my happiness.” Lee found his parents’ support invaluable because they have no clue about contemporary dance and yet support him fully. Some would consider Hong Kong a cultural desert, Lee seems to agree. “I think it is due to this attitude of procrastination, a lack of sensitivity, imagination, critical thinking, and appreciation of life in general. But, I know our generation is working on it, it is changing evidently. The more struggles there are in life, the more humans realize the need of expression resulting in the birth of new art works. I look forward to these vast possibilities.” Lee thinks it is important to be nice and open as he believes what goes around comes around! A recent inspiration for Lee is what Taiwanese dance artist, Chou Shu-yi notion that dance and life are intertwined. One informs the other. As most artworks reflect the social situation of the time. Or else, both become two separate entities that have no connection to anything or anyone. Lee is looking forward to working with Emmanuelle Vo-Dinh along with other local artists on a West Kowloon Cultural District research and development project in Hong Kong and France in the following months. In addition, he is excited to work with Unlock Dancing Plaza again and his 30-minute solo piece at CCDC’s black box in September, 2016.

Postscript I took a professional class with Lee on 16 February, 2016 at Passoverdance. It was as Lee said, a studio full of positive energy and curiosity. It felt great to be dancing amongst local dance artists and be challenged physically and mentally in a welcoming studio for two hours. Lee metamorphoses as soon as the music starts. His concentration, focus, and precision are palpable. It was captivating to see the multifaceted Lee in action. Keep your eyes peeled!

1.&2. Joseph Lee Wai-neng Photo Credit: Daphanie Wong and Ken Leung

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《起跳 2016 》

― 製作與概念先行的三連畫

評論場次︰ 2016 年 6 月 18 日，晚上 8 時

地點：葵青劇院黑盒劇場

肥力藝評人，劇場人，插畫人。個人網站： www.felixism.com。

跳 2 016》，為由「香港舞蹈聯盟主辦的《起創意空間－編舞『中間人』駐場計劃」的成果演出。舞盟為三名編舞及多位舞者提供為期五個月的全面支援，包括場地、行政、創作、排練等來完成是次演出，令缺乏資源的獨立舞者有機會以完整製作的規模做作品。有趣的是三位編舞阮日廣、李思颺、林波的作品風格迥異，但或因為三者皆有全力的支援，其演出在完成度甚至大體的舞蹈種類方向，也非常接近。就是說三者對所謂「完成」的舞蹈有着相同的概念，使同為五個月成就一個舞作的基礎上，其舞蹈構成上極為相似。縱然是一晚觀看三個約三十分鐘演出，就我而言也是三段不同風味，重量、質感卻相同的舞蹈，三場同樣展示編舞對某種題材而所環抱的感性想像，繼而通過舞者身體的流動觸感，散射出濃烈的感情。 1 .《 Cham’s Soul》，編舞：阮日廣，舞者：（左至右）麥卓鴻、余曉彤、潘振濠。攝影： Tony Luk 2 .《見習人類》，編舞：李思颺，舞者：（左至右）馬師雅、吳承芳、程偉彬。攝影： Dominic Wong

例如第一位編舞阮日廣，演出乃十年前於英國編舞比賽時入圍的舞作《C h a m’s Sou l》。舞作源於對古時越南一帶占族的雕塑的想像。演出有很強烈的東南亞舞蹈影子，其中動作更有點像在越柬常見雕像一樣，卻因為現代舞的轉化，令儀式性的手腳符號只停留在形狀上，舞者所要流動的還是當代的身體。看起來舞蹈便從原始身體、愛欲交纏等概念出發，二男一女的舞者互相纏繞，不斷形成一些男女勾引、試探、爭奪等的角力。舞者麥卓鴻有着雄厚又柔軟的身型，與戲劇出

身潘振濠那種剛烈又精幹的體格不盡相同，但也展示力的根源，配合芭蕾舞者余曉彤還要穿上足尖鞋，突出一般社會對女性想像的柔弱而曲線上揚的美態，完成一場典型的壯男美女互動意象，就連服裝也是如同《泰山》電影的金黃獸皮布塊，反映典型的獸欲與男女關係，使觀眾很快適應了那種很一般的性與力的象徵、多留意三位舞者的拉扯及抬舉動作，組合出往上延展及往外伸張的肢體連結，大幅度的舞動加上男性很用力擺動女性的一連串動作，力量充滿了整個空間，但還是沒有超越一般對原始、欲望、情愛的其他想像。

33 來表現自尋與外求，點到即止而沒有舞蹈應第二支舞是《見習人類》，編舞李思颺以一有的基本想像。就像製造一些簡易舞蹈符種探索身體、靈性的概念出發，通過舞蹈號，好讓觀眾理性上明白當中男女的身體語呈現人的自主性，及尋找人之於黑暗、悲言。至於走進夢這個概念有趣，但如何呈現哀內的自我。「見習人類」似乎指向人要學虛實，怎樣表達夢的自由，似乎未見出來。習如何為人。最為突出的是二男二女的舞單單一人睡下便把舞台變成夢（或夢外），者互相操控對方，第一位舞者像木偶一樣而沒有表述其他舞者如何走進夢或最為重要被第二位擺動身體，第三位又在第二位完的表達夢的形狀，便有點簡單。成木偶動作時，又擺動第二位，支配別人又同時是被支配者的連帶感覺，一種沒有上述三者相似的說法可能是我個人主觀意人可逃離被控制的情況，比以鎖緊關節而願，但即使三者有一定水平，我還是要說確呈現的木偶／機械動作本身更有張力。至實沒有驚喜。沒有驚喜不是指舞作不好，而於舞者迅速配合衣服及顏色改變身體狀態是我看不到三人對自身創作有尋求更多突的嘗試也很特別，如舞者穿上黑色連帽風破。無可否認，在沒有任何限制的當代舞蹈褸而掩過臉後，頓時變成以典型黑市流氓領域，而對比不同地區的編舞作品，香港的的身體去表現單純的黑暗，以支配其他「正舞蹈演出除了借肢體呈現實在劇情動作的常」的舞者。黑與白，弱與強，支配與被支配，不斷的二元充滿於四位不斷轉換身「舞劇」外，很多時集中以感性題材出發，先有概念，後再由舞者身體去演繹這種抽象體節奏的舞者。誠然，轉換很有力量，但及感覺先行的畫面。而是次三者舞蹈也如當重複幾次轉換 — 由一位舞者再到其他是，即使三位編舞在香港畢業後有不同的創三位，又未免太多。這種「必然」重複性作經歷，但同樣地創作出非關故事性，而是除了帶出黑暗不斷壓抑身體之外，並未有感性先行並再發展身體的創作模式。這個問其他累積，以致少了趣味。最後馬詩雅的題也可能關乎於《起跳》及《創意空間 — 編獨舞很有力量，在自身掙扎與徘迴之間呈舞『中間人』駐場計劃》的計劃目標，令編現身體在對抗環境，乃至自身。只是，為了比較之前的黑暗而生的伴樂〈快樂頌〉，舞最終所關心的還是製作成品本身 — 一個資源較豐厚，製作時間上較充裕的作品，而不又有點順手沾來，我大概明白編舞想觸及是創作的可能性。對我來說，本地這一類年通過解脫身體枷鎖而讓自我自由，才揀選音樂。然而，舞蹈只是呈現人的掙扎過程，輕編舞基本上以太類近甚至過於單一的方式看待現代舞創作，他們可以冒險及真正地打不是推向神聖或挖掘靈魂深處時，在沒有喘息空間而不停轉換音樂，最後以〈快樂頌〉開對舞蹈概念的思維，但在時間及空間如此壓迫的香港，機會太少。以致我會叩問，倘為結，又有點突兀。若《起跳》繼續發展下去，是否還是以龐大資源去製作演出？當今天本地編舞性情及創編舞林波的《T h a t D ay》談及夢與夢的延作模式過於單一化，比起又生出差不多調子伸。林波成為做夢人，他從容地由場外走的舞作，我更希望計劃以充裕的資源，讓編進來，卻突然被另一位舞者擒倒而躺下入舞有機會冒更大的險，真正嘗試突破自己，夢。這個明快的起首令人印象很深刻，尤其是當其餘兩個作品在節奏上有點平面，更重要認清自己的失敗。就像台灣或其他國家推行的實驗計劃（Tryout ），讓參與者首林波被擒倒之時令整個空間停下來，感觀先拋開製作「完成品」的枷鎖，有時間及資上有讓人喘息的機會。只是，其後的舞蹈源投入長期的表演訓練及測試，分階段式試節奏比另外兩個作品更為公式化：男女對演及討論，對創作者自身更是如獲至寶的重要。立的直線衝撞及扭動，過於典型地呈現內在心靈孤獨的身體，一些身體抱緊與伸張，

3 .《 That Day》，編舞：林波，舞者：（左至右）李妍慧、潘振濠、林波。攝影： Dominic Wong

AU G / S E P 2 0 1 6

四強會司同台論舞 ― 談東邊舞蹈團：《逆蹈場》評論場次：2016 年 7 月 9 日，晚上 8 時地點：牛池灣文娛中心劇場

仿螢火蟲的燐光，而她們的律動亦隨著發光裝置反映在後幕上，形成一個多維的視覺空間。由於編舞及舞者皆為芭蕾舞者，此舞甚具現代芭蕾的優雅氣質。對大自然生態觀察入微，而以此類為題材進行創作，相信是日本藝術家們的獨特創作風格，亦唯有日本藝術家有此靈犀，將大自然生態，描寫得如此詩意溢然令人回甘。

李咏靜：《Sense of Distance》

Jonathan Ho 畢業於 L'école Philippe Gaulier London UK，國際演藝評論家協會專業及香港大提琴家協會會員，任環球管理學會 GIM 榮譽顧問、持續進修基金及毅進計劃講師。

東

邊舞蹈團今年推出的舞品：《逆蹈場》為今年「當代舞林系列」的頭炮。舞團藝術總監余仁華請來城中四位炙手可熱的舞蹈家—羅凡、江上悠、李咏靜及龐智筠，以《逆》為題，在牛池灣文娛中心劇場英雄論舞。本文將按當晚演出次序，逐一與各位舞迷談天論舞。

羅凡：《 M r. J udge》羅凡憑他運動家般的身型及精湛的舞藝，在現代舞壇早已贏得多個國際獎項及舞迷的青睞，作品《 Mr. Judge》以黑人舞者般的身段在張藍勻設計的夢魘般的錄像氛圍下，舞出現代西方哲思的迷離境界，夢囈般的英語旁白，呢喃著木織簾的說話，如怨如慕，如泣如訴……聽來似是平常事，卻內藏哲理，引人深思。身穿黑色長袍、頭戴黑帽的羅凡，小心翼翼地將幾張放在台左下的黑色椅子，慢慢移至台右上的位置，幾段獨舞後，又將椅子平排背向觀眾。羅凡的舞蹈動作，集合默劇形體及美國爵士舞的騷靈風格。如此的舞蹈氛圍，有若夜闌人靜，與良朋知己促膝談心，令觀眾與舞者一同呼吸，一同感嘆！

1 .《 Mr. Judge》，編舞及舞者：羅凡。攝影： Mark Lam

本地資深舞蹈家李咏靜今次的作品《 Sense of Distance》找來她的演藝學生何樂宜及鄺彥璋演繹人際間的疏離及空虛無奈。起初彥璋從台右的消防門悄然地步入觀眾席，默然坐在觀眾席最前的座位，幔幕升起，在完全拆除所有側幕及後幕的原舞台上，樂宜以她柔韌的舞姿獨舞著，舞步與原舞台的鐵絲網、磚牆、鋼閘形成強烈對比，正當她在台上的三支白柱間律動遊走，彥璋突然跳上舞台與樂宜共舞，他們的雙人舞時而浪漫，時而衝突，時而和諧，時而對峙，就與粗獷原始的原舞台一樣，毫不保留地將現實世界、人際關係的角力與對衡描寫得淋漓盡致，兩人狂野的舞動和思潮，令筆者怦然心動，彷彿與台上舞者同呼同吸！作品在浪漫舞姿間流露著粗獷的角力與對衡，將人性的真實面毫不客氣地宣示出來，敢怒敢言，坦然率性，女中豪傑，令人佩服。

龐智筠：《讓我等下去》

江上悠：《螢火蟲》

龐智筠今次的作品將女人心事敘述得透徹淋漓。少女懷著一顆恨嫁的心，從台右上少女情懷的浪漫詩意，飄落至與黎德威夢中王子翩然起舞的夢幻中……可惜，現實世界中的灰姑娘，又豈如童話故事般騙人的美滿！可憐南柯夢醒，只剩空筵，一切歸於平淡，臉上的唇彩還想保留，殘存早已退色的回憶，還是應該全然抹掉面對現實？於是又抹又留，忐忑不安，場中播放的浪漫戀曲，是助興還是嘲諷？不安的思緒反映在神經質的撕紙巾、搽唇膏、抹嘴唇……沒完沒了！她將女人心情不諱直言，女士共鳴，男士心酸，究竟人間之苦，是天意弄人，還是自作孽？相信唯有清心直率如她的舞蹈家才可看得透徹。

香港芭蕾舞團日本芭蕾舞者江上悠的《螢火蟲》利用舞台作為畫簿，描繪螢火蟲的生態，台灣舞者吳承芳及日本舞者菅原愉依這對舞蹈兩生花，在舞台上化身為螢火蟲，訴說著牠們短暫而明亮的一生，兩人的手肘及小腿上，配戴著發光的裝置，模

綜觀此次《逆》可謂人材濟濟，精英盡出，既有資深編舞的瀝血新作，亦有舞壇新力軍實力的比拼。四套作品悅目賞心之餘，亦發人深省，余仁華在舞壇的實力及甚佳人脈由此可見一斑。

The 2016 IADMS Conference in Hong Kong Brenton Surgenor

he International Association for Dance Medicine & Science (IADMS) is a group of dance medicine practitioners, dance educators, dance scientists, and dancers committed to enhance the health, well-being, training, and performance of dancers. Each year IADMS holds a conference, a Day for Teachers and Special Interest Groups for: dancers; dance educators; health professionals; dance movement researchers; and dance students. The 2016 IADMS Conference will be held in Hong Kong at the Hong Kong Academy for Performance Arts. The Conference will span the four-day period, 20 to 23 October, and will offer the latest in Dance Science research, movement sessions, and posters. One of the biggest benefits of attending an IADMS Conference is getting up-to-date with the latest in dance science and dance medicine research, either formally through the many presentations or informally chatting with researchers, educators, and practitioners during the many breaks. The dance science community is small so everyone is very approachable and always willing to talk about their work. These are people passionate about helping dancers dance better and longer, with fewer injuries. The movement sessions connect the science and practice offering participants the opportunity to explore research and ideas through moving and interacting with presenters. Unlike the research presentations - which are generally short in length - the movement sessions run about 60 minutes, giving time to experience and learn through doing, discussing, and asking questions. In addition to the research presentations and movement sessions, poster presentations are another form of information sharing. Posters are displayed in a relaxed way so you can view them and discuss ideas with their creators. There are generally two poster presentation slots during the Conference, and they cover a wide range of topics. Friday morning the posters will focus on dance education topics to coincide with A Day for Teachers. This year the Conference will include A Day for Teachers on Friday 21 October at a special reduced conference rate for local Hong Kong delegates. So, if you can’t spare the time to attend the full four-day conference, you can join for a special day of workshops and presentations. This year’s schedule will include a Franklin Method workshop with Morten Dithmer, a lecture on “Nutrition for Dancers” with Frankie Siu (Hong Kong Sports Institute) and a panel discussion with leading dance educators from around the world - Margaret Wilson, University of Wyoming; Edel Quin, Trinity Laban; Katy Chambers, RAD;

Professor Rou Wen, Director of Scientific Research Department of Beijing Dance Academy and the Vice President of Chinese Art Medical Association. There will also be a special round table lunch for dance educators to discuss how dance science can help dancers and dance educators. In the afternoon the delegates taking part in A Day for Teachers will be able to attend any of the main conference presentations and movement sessions. And for those who what to make a full day of it, the School of Dance will be presenting excerpts from their upcoming Dance 1 performance in the Amphitheater at 7.30pm The IADMS Conference offers great opportunities to network because it brings together professionals from all over the world (more than 35 countries). It’s a unique chance to compare notes, talk with international colleagues, and get to know people from all over the world. Because IADMS is a small community, faces become familiar after a day or two, and this makes approaching people less intimidating. There are also social events scheduled during the Conference that allow participants to just relax and mingle. Among these are the welcome reception and a dance party on the final evening. Having the IADMS Annual Conference here in Hong Kong is an exciting opportunity for our local community to meet colleagues from around the world, to participate in movement sessions offered by local and international dance practitioners, and learn the latest in Dance Science research. If you are a dancer, dance teacher, choreographer, physio or company manager - or anyone who works with dancers - this is an event not to be missed! To register for the IADMS Conference or A Day For Teachers, visit their website (www.IADMS.org).

Photo Credit: International Association for Dance Medicine and Science AU G / S E P 2 0 1 6

AUG

八月《飛躍動暑期舞蹈課程總結演出》 Leap Up Summer Courses Finale Performances

芭蕾舞導賞講座系列：《邂逅編舞家》 Lecture Series on Appreciating Ballet: Encounters with Choreographers 康樂及文化事務署 LCSD

東邊舞蹈團 E-Side Dance Company

《Endless Journey》 Endless Journey 香港賽馬會音樂及舞蹈基金得獎者協會與民政事務局 Hong Kong Jockey Club Music and Dance Fund Awardees Association and Home Affairs Bureau 13/8 (8pm) 葵青劇院演藝廳 Kwai Tsing Theatre Black Box Theatre

導師/編舞Instructors/Choreographers: 林波Lam Po, 黎德威Lai Tak-wai, 霍嘉穎Fok Ka-wing, 葉麗兒Cally Yip, 曾詠暉Tsang Wing-fai, 李咏靜 Li Yong-jing, 龐智筠Noel Pong, 黃狄文Dominic Wong, 樂知靄Shirley Lok 20/8 (8pm); 21/8 (3pm) 牛池灣文娛中心劇院 Ngau Chi Wan Civic Centre THeatre

講者：劉玉華 Speaker: Margaret Lau 11, 18, 25/8; 1, 8, 22, 29/9 (7:30pm) 香港文化中心行政大樓四樓一號會議室 AC1, 4/F, Administration Building, Hong Kong Cultural Centre

《天鵝湖》 Swan Lake 《Unlock ╳八樓平台 X: nmatu-posus 四天公開工作坊及展演》 Unlock X 8/F Platform X: nmatu-posus 4-days Workshop and Showing 主辦：不加鎖舞踊館 Presenter: Unlock Dancing Plaza 合辦：香港舞蹈團八樓平台X Co-Presenter:Hong Kong Dance Company 8/F Platform X 特邀藝術家：nmatu-posus 及高橋留美子 Invited Artists: nmatu-posus and Rumiko Takahashi

工作坊 Workshop

9-12/8 (10am - 6pm) 不加鎖舞踊館 Unlock Dancing Plaza * 詳情Details：www.unlock.com.hk

展演 Showing

12/8 (8pm) 不加鎖舞踊館 Unlock Dancing Plaza

香港芭蕾舞團 Hong Kong Ballet 編排Staged by:米瀚文（以佩蒂巴和艾化李夫的編舞為藍本）John Meehan based on Petipa Ivanov’s choreography 19-20/8 (7:30pm); 20-21/8 (2:30pm) 元朗劇院演藝廳 Auditorium, Yuen Long Theatre

《西遊記》 Journey to the West 城市當代舞蹈團 City Contemporary Dance Company 編舞Choreographers: 曹誠淵Willy Tsao, 鄺韻儀Ronly Kong, 林詠茵Peggy Lam, 樂知靄 Shirley Lok 26-27/8 (8pm); 28/8 (3pm) 沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall

26-28/8 (7:30pm); 27-28/8 (2:30pm) 香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre

節樂 2016 : 《曠古．爍今》受難舞曲 HKFO2016: The Passion of the Earth 香港節慶管弦樂團 Hong Kong Festival Orchestra 編舞 Choreographer: 黃銘熙 Ronny Wong 29-30/8 (8pm) 香港大會堂音樂廳 Concert Hall, Hong Kong City Hal

SEP

九月

《炫創者 3》 Imagination Boom3 東邊舞蹈團 E-Side Dance Company 編舞 Choreographers:陳旻禧 Maze Chan, 梁晞藍 Helen Leung, 李嘉雯 Carman Li, 黃寶蕾Wong Po Lu, 盧樂瑤 Chloe Lo, 胡詠恩 Wu Wing Yan 9-10/9 (8pm); 10-11/9 (4pm) 牛池灣文娛中心文娛廳 Cultural Activities Hall, Ngau Chi Wan Civic Centre

OCT

十月

《旅行人撞舞蹈人：尋找生活與創作裡的一念》 Traveler Meet Dancer: In Search of the One Little Kind Thought Between Life and Creation 國際演藝評論家協會(香港分會) IATC(HK) 講者 Speakers:王劍凡Dr WONG Kim-fan, 王榮祿 Ong Yong-lock 28/9 (7:30pm) 誠品銅鑼灣店 9F Forum Eslite Causeway Bay Store

《仲夏夜之夢》 A Midsummer Night’s Dream 康樂及文化事務署及新西蘭皇家芭蕾舞團 LCSD and Royal New Zealand Ballet 編舞 Choreographer: 里安姆．史家列 Liam Scarlett 7-8/10 (7:45pm); 9/10 (3pm) 沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall

《編舞家巡禮 2016》 Choreographers’ Showcase 2016 香港芭蕾舞團 Hong Kong Ballet 編舞 Choreographers: 陳俊Jun Chen, 何超亞 Chao-ye He, 李嘉博Jia-bo Li,許嘉俊Ka-chun Hui, 加藤凌Ryo Kato, 梁晉朗Chun-long Leung, 李思颺Justyne Li, 李林 Follow Your Heart, 尊尼芬‧斯納Jonathan Spigner 23-24/9 (8pm); 25/9 (3pm) 香港文化中心劇場 Studio Theatre, Hong Kong Cultural Centre AU G / S E P 2 0 1 6