舞蹈手札 dance journal/hk 2-5

HONG KONG DANCE ALLIANCE 香 港 舞 蹈 聯 盟

VOL. 2 NO.5

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香港舞蹈聯盟

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We welcome submission of unsolicited articles for the Published by :

Hong Kong Dance Alliance

Dance Journal/ HK. Deadline for submission is the 1st

of each month. The article can be either in Chinese or Editoial Board :

Tom Brown

English. Submission can be made through e-mail or

Chu Kit

fax to Hong Kong Dance Alliance. Authors of articles

Willy Tsao

selected for publication will be paid for their work.

Contributors :

Tom Borek

Tom Brown

Anna Cheng

Afa Chiang

Pun Siu-fai

Paris Lau

Edwin Lung

Victor Ma

Andy Ng

Willy Tsao

Andy Wong

Wu Yi-san

Daniel Yeung

Jacky Yu 香港藝術發展局資助

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T. O. Sze

Supported by the Hong Kong Arts Development Council

c/o Office of the Associate Dean

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School of Dance,

發展局作技術性認可或證明確實無誤，亦並不代表香港藝術

Hong Kong Academy for Performing Arts,

發展局之立場。

Wanchai, H.K

The judgement and opinions expressed and the content included

in this publication do not carry technical endorsement or

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authentication by, not mecessarily represent the views of, the Hong

Fax: 2802 3856

Kong Arts Development Council.

E-mail: hkdalli@netvigator.com

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THE HONG KONG ACADEMY FOR PERFORMING ARTS

LIBRARY

17 OCT 醐Hong Kong iMail

Articles

A Midsummer Delight

專論

Author: Kevin Ng

Strip Teaser — An Erotic Encounter

大公報

《仲夏夜之夢》賞心悦目

between Dance and Fashion

作者：洪捷

Author: Tucker

0

大公報

Back from London .......... with

《人肉跳舞機》論盡舞者情

what??

Author: Ock

0

B

作者：何俊輝

Events

Press Clippings

節目表

剪報服務

八 / 九月份 August & September

Houston Chronicle

的

Asian Dance Showcase Offers Varied Delights Author: Molly Glentzer

□

Dance Alliance News

舞盟快訊 The Straits Times

Lithe Beauties in a Sensuous 香港舞蹈聯盟會員名單

Dance Author: Caren Carino

會員申請表

QI

專論

ARTICLES

Strip Teaser —An Erotic Encounter between Dance and Fashion

by Tucker ity Contemporary Dance Company’s Strip Teaser

had the choreographer used other devices such as greater

promised "an erotic encounter between dance and

contrast or 'out of frame' sequences to highlight this conceit.

C

fashion", an interesting mix. The central ideas of the program The choreographer’s neglect of a main element of the stage

were fashion and dance — two creative art forms that many

set — an elevated walkway that extended from the stage into

people consider to be closely related. Traditionally, this

the audience - also resulted in parts of the dance and dancers

relationship stems from the costume design's role as

being blocked from the audience's view. Lam's movement

enhancement of the choreographer’s ideas; while in fashion

invention, which was full of violent couplings, ’smoking

shows, models also use body movement and expression to

gun’ hand gestures, and graphic S/M allusions, further

show the characteristics of the designer’s works. A true

enhanced the work’s comic book references. Further

merging of the two seemed to be quite promising, as

development of these inventions and echoing his references

hybridization, although time consuming, is always an

in the dance’s structure would have given the work greater

interesting mode of creation.

focus.

In their evening length program, CCDC presented seven

In “G-String”，choreographer Daniel Yeung experienced

choreographers and four fashion designers who collaborated

similar problems. His solo work for Janet Chang had the

in creating six works. However, instead of a real merging of

dancer appear in Silvio Chan's almost non-existent costume

dance and fashion, half of the works (including

zen pointe’ playing with a Chinese Fan. The dance itself was

choreographer Allen Lam and fashion designer Henry C.W.

simple and explicit - a semi-nude, sad-looking, adult sex

Lau’s "Rage of Desire”, choreographer Daniel Yeung and

doll manipulating a fan. Although the dancer made several

fashion designer Silvio Chan's "G-String”, and

amusing and provocative uses of the fan, beyond exhibition,

choreographers Sang Jijia and Xing Liang and fashion

I could find little point to the dance. Most of the action of

designer Silvio Chan's “Illusion”) were collaborations in

the dance was played face on to the audience and took place

the traditional sense - the fashion designers took up the role

down stage center giving a very static feel to the work.

邊

of costume designers in their work of enhancing the

Similarly, Silvio Chan’s 'bare essentials’ of a costume came

choreographer's ideas. Indeed not only did the

off looking cheap and tasteless — not so much minimalist as

CM

choreographers here do little to show off the fashion

the minimum to keep the censors at bay. More flesh in this

designers’ work but the designers did little to push the edges

case made the work less sensual.

s

of fashion. As such these works did not quite meet my expectations of 〃an encounter of dance and fashion". While

In Sang Jijia and Xing Liang’s choreography and Silvio

of the remaining three works, that of the evening's two

Chan's design of "Illusion'’，it was clear that the genesis of

women choreographers, Yeung Wai-mei and Abby Chan,

each artist’s contribution was closely aligned: the costumes

were most successful in creating a meaningful encounter

were obviously made for the dance, and the dance itself was

between the two forms.

clearly developed around the costumes. However, the

collaboration came off as one-dimensional. The dance was The main theme of Allen Lam’s "Rage of Desire" was sex

about the burden and binding effects of sex. The idea was

and violence. The choreographer’s use of the double-tiered

literally spelt out by the costume — rubber ropes extended

upstage set, light and set framed movement, bright and

from the crotch of a leather G-String worn by the otherwise

colorful illumination, back lighting, and tableaux vivant

nude Xing that were tied to the costume of Sang. The whole

created a two-dimensional effect that recalled the

dance consisted of Sang’s struggle to break free from the

characteristics of comic books. Lam's further restriction of

ropes, which he accomplished in the end by using a pair of

the action to a narrow band of space reinforced this notion.

scissors that he extracted from an onstage light box (fast

It was an intriguing idea that might have better succeeded

becoming modern dance's favored deus ex machina).

In contrast, Pacino Wan’s fantastic designs dominated the choreography in David Liu's "Chicks,

Quacks and the Dresser"，which combined elements of both fashion show and striptease inasmuch as Wan’s costumes were designed so that they could be stripped off by the dancers.

Even so, there was not much interaction between the choreography - a series of adroitly mimed comic 'backstage7 encounters between the dresser and the models/artistes and 'onstage7 shenanigans of the

characters — and the actual fashion designs.

Yeung Wai-mei's "Upstream Downstream" started with a stylized "cat-

walk7 sequence resembling a somewhat surrealist fashion show. The

five dancers, all in similar gowns, high-heels, 'Bride of Frankensteinesque' hair do’s (frankendo’s?)，and make-up, displayed in their alternating floating, halting,

mesmerizing, and calculated trek down the runway a kind of abstracted interpretation of the glamour that "upstream" celebrities put-on for the public. However, this glamour

deteriorated as the models ripped off each other's wigs and removed or disheveled parts of their couturier artifice, revealing other, deconstructed selves behind these facades. The choreographer developed her idea smoothly, simply, and effectively.

The movement invention and its development and the dance's form combined to

both celebrate and reveal the elegant designs and the somewhat sinister potential

behind these costumes. In the end we are left with an unpleasant mess on stage with all but one of the dancers left 'hung out to dry’ amidst the shambles of their foray into

fashion.

In "Disclosure”，Abby Chan poses the notion that "You are what you wear". In this work the dancers also disclose themselves by shedding and rearranging their clothing throughout the dance, without, however, meeting the devastating results seen in Yeung's choreography.

In Chan’s work the whole process of disclosure was designed and choreographed in a more controlled and measured manner, with the costume design evolving more fortuitously

with the movement of the dancers. Although lacking the raw power of Yeung’s choreography, Chan’s work suggests, nonetheless, a better and more balanced relationship between the choreography (our lives) and fashion design. Through simple episodes and

lighthearted encounters among the dancers, Chan captures the play that goes on between fashion and people. A great deal of the credit for the fun of the work is derived from

Henry C. W. Lau whimsical designs. The dance ended with the projected image of Abby walking away from the zon stage' Abby — possibly her real self walking away from her

'fashioned' self- maybe concluding that "you are not what you wear”.

Over all, despite varied outcomes and notable highpoints, Strip Teaser's promise of "an erotic encounter between dance and fashion" was left unfulfilled. With the

choreographers and designers merely picking up the words "erotic", "dance”，and

"fashion" to add a bit of spice to otherwise standard fare. Encounter it may have been,

but rather than coming up with something new, a real interaction, a fusion of the two forms, it all came out a rather slapdash and harried mixture with results not unlike the

attempt to marry oil and water. This lack of interaction was also reflected in the set, which

included a two story upstage unit and an elevated downstage platform with projecting catwalk. Although striking and full of potential, more often than not, it seemed to get in the

way. None of the choreographers seemed comfortable in their choreography for it, none

seemed to either fully utilize or explore it. It was big and bulky and from my seat in the stalls obstructed more than it revealed.

A

專論

ARTI匚LE5

Back from London..... .with what ne has to really be magnanimous when young

The minimalistic

choreographers return to their homeland and show

approach

O

of

their stuff, bearing names like Back from London etc. movement By invention

no means at all to put down young choreographers but a

derived

programme bearing such a name must have its worth.

pedestrian forms was

from

interesting and the Mandy Chan and Jun Saangundo displayed nice energy in

attempt to incorporate

their duo play in Joyce Au’s “Those were the days” and

sign language gestures

“As ifa little part ofmine had died”. The partner work was

in a stylized manner

well choreographed and it was good that the dance maker

was nice but not fully

used different segments of the already difficult performing

developed. Back from

space in the Fringe Club to juxtapose her ideas, the wall

London sharing their hearts is the cry of these two young

was well used. Chan performed with an exquisite sensitivity

choreographers who have spent much time and effort

that is rare amongst modern dancers. The movement she

dancing with the underpriviledged community. Their

generated commands space with uniqueness. Saangundo

sincerity in the work superseded the yardstick of good

displayed a fury of macho energy that was exciting to watch

choreography.

as this strong young man made all the partner work looked

so easy. The slippery floor encountered by the dancers didn’t

The final work of the evening’s programme was a

affect the mood of the audience as we were all captured by

disappointment. The movement invention was boring. The

the pure energy that was on going.

piece was structured like exercises from a modern dance technique class. More rigorous effort must be present from

“Dragon Fruit’’，as the name suggests, was both bizarre

Iris Sun in her choreography.

and literal. One could well appreciate Matsumoto being a

wonderful mover but also sigh at the appearance of a dragon

With dancers like Matsumoto, Ricco Cheung and Wu Kam-

fruit overhead. Sun’s dancing was full of expression which

ming (both of the latter from HK Dance Company), one

was rather superfluous in this conceptual piece. One could

expects a more refined work rather than one that lacks depth.

CM

just fall in love with the angles of the placement of the

Being able to explore and display the dancers utmost

2

dancers and their relationship with the lighting. Beyond that

potential is the hard work of a choreographer; back from

the barking and meowing by Matsumoto further confused

London - a place where art happens — is vibrant and active,

this bewildering work.

and showing such work is mediocre. One can easily spot the carelessness of the dance-maker’s attitude towards dance­

So this is what people bring back from London................

“”Pure” ”I’m Chisato, she is Joyce” Chisato Minamimura is deaf. Joyce met her at the Laban Centre. Joyce: Here is our dance series. We hope all of you can share our belief in

community dance - dance accessible to everyone.

making with such flippant and shallow work.

Being in London is excellent and back from London is a

much greater challenge for all our young choreographers.

Returning from London or any foreign land does not

automatically endorse the goodness of any artist of any caliber. Being rigorous with

oneself is the motto in art­ The slow and lengthy work by Joyce

Au

and

Chisato

Minamimura was personal.

■■Kl

making and I sincerely hope that being back from London

for these choreographers is not

the end of learning but the beginning.

@ 剪報服務 PRE55 [LIPPING Reprinted with the permission of

the Houston Chronicle

May 1,2000

Nine Songs, CCDC

oustonians have long been aware that good

It kept the men running as they lifted one line, then another,

dancers exist in the Orient, thanks to Houston

of the women in high, wide arabesques. In one section,

H

three men lifted two women between them, then tossed them Ballet’s importation of such talents as Li Cunxin and Yin to other partners. “Birds of Paradise” was aflutter with Le from the Beijing Dance Academy. Still, Friday night’s contrasts. Bodies were alternately stiff and stylized, like Dance Salad Asia program at the Wortham’s Cullen Theater was an eye-opener.

figures on an ancient frieze, then as fluid as water, then

aggressive with thrust hips and buttocks.

I felt like I’d spent time among the fascinating creatures of some exotic menagerie. The animal imagery of several of

Equally compelling was a section of Helen Lai’s “Nine

the dances undoubtedly had something to do with it.

Songs " by City Contemporary Dance Company of Hong

Kong. Set to an ultra-contemporary score, it had the primitive

There were choreographic surprises at nearly every turn of

feel and angst ofbu-toh dance, also borrowing from kabuki-

the late Choo-San Goh’s contemporary ballet “Birds of

style body painting. Wu Yi-san, her brunette hair obscuring

Paradise’’，performed with passionate intensity by 15

her face, was a bundle of inner fury as she tore her white

elegant artists of Singapore Dance Theatre. An abstract work

paper dress into shreds. The male dancer Xing Liang moved

set to Alberto Ginastera’s Concerto for harp and orchestra,

tentatively around her part spirit, part animal, part curious

Birds of Paradise was mysterious and complex, swiftly

child, with his face and bald head painted blue.

shifting through ensemble work, trios and duets with astonishing partnering.

“Lento e largo” was a searingly emotional solo for Japanese dancer Megumi Nakamura, a recent star of Nederlands

Dance Theatre who has recently become a free-lancer. It had apparent technical glitches: the music began before the curtain came up and ended before it came down. Kanamori’s

modem dance was played out within a large circle of candles.

A man with a watering bucket doused them, one by one, as the piece progressed but wasn’t finished when it ended. This

made me wonder if two candles were intentionally left lit,

or he missed his counts. Nakamura’s dancing was solid, deeply from the gut stuff, smooth even through a lot of Nine Songs, CCDC

movement low to the floor.

Xing and Chang Tzu-Yu were also startlingly good in

excerpts from Willy Tsao’s “China Wind/ China Fire”.

Xing, once again some elemental force of nature (and nude

except for a flesh-colored dance belt), was mesmerizing.

His body is both sinuous and strong. Something in his

commanding presence also hints at the depths of human vulnerability. Chang was just as agile and marvelous.

“China Wind/China Fire” involved yoga-like contortions, and she stood on one leg, with the other held at her face, at

a 180-degree angle, for what seemed for-ever — then kept her legs split as Xing swooped her out of the pose into a lift.

Several works were commissioned for the program, including 13 *7Shi San by Houston Ballet’s Dominic Walsh and “Lento e largo-tranquillissimo ’’ by the Japanese

choreographer Jo Kanamori. Houston Ballet’s muscular Yin

and the company’s newest import, female soloist Zhang Jian, put Walsh’s new abstract work on the map. Yin did a few

gasp-inducing, leaping spins that I wish had been repeated.

Zhang was dynamite with him, a beautiful dancer who is

lyrical with a touch of bravura. It is hoped that Walsh will

have a chance to elaborate on this piece in the future. It had

excellent tension.

Eriko Ochai, Michael Wang, He Da-Wei and Ivy Chung

offered a glimpse of the Hong Kong Ballet. They were excellent in pas de deux and pas de trois from two full-

length classical ballets, Domy Reiter-Soffer’s “The Emperor and the Nightingale” and Wayne Eagling’s “The Last

Emperor’’. Unfortunately, taken out of context the

choreography didn’t sing. Singapore Dance Theatre had

more to work with in its pas de trois form Stanton Welch’s Maninyas, featuring the supple Tasha Wong, Xia Hai Xing

and Kuik Swee Bon. It combined beautiful lifts and deeply

emotive limbs, with an ending that suggested Romeo and

Juliet.

5

剪報服務 PRE55 [LIPPINE

The Straits Times

Singapore Tuesday June 6, 2000

Lithe Beauties in a Sensuous Dance SEXING THREE MILLENNIA

By City Contemporary Dance Company

Kallang Theatre

By CAREN CARINO EXING THREE MILLENNIA unveiled the ancient

All aspects under the artistic direction of CCDC founder-

tales of famous Chinese concubines like reading vivid

director Willy Tsao were exceptionally produced, including

excerpts from a well-written novel.

the mastered performance of the dancers; the inspiring set

S

and lighting design by Leo Cheung and Tommy Wong; the

Each story was told poetically through the art of

exquisite costume design by Edmond Wong and the splendid

contemporary movement vocabulary and stage craft.

music composed by Wong Sun-keung.

Each scene left a vivid memory - the sensuous sound of silk

Sexing Three Millennia exemplifies what contemporary

tearing in ''Flown On A Smile”, the ultimate tango line of

productions can be with vision and funds to realise it.

one woman and several men in “Flesh Over Blood', the

diaphanous white beauty in “WadeAcross The Creek’’•，the

Intriguingly so the silences were utilised craftily, drawing

morbidly fragile ascent of the “Beauty Worshipping the

the audience closer.

Moon” in “Pluck Flowers Under The Dark Moon

the

betrayal of the emperor strangling his concubine after

The silent documentary style video in “Turnabout”

lovemaking in “Longing For The Emperor s Glory’、puffs

projected against multiple stretches of fabric hung from

of powder in “Powdering Of The Emperor’s Chambers”

ceiling to floor (called “legs” in a theatre) creating a vortex

and the mass hanging of the “Beauties” in the final scene

was haunting as was the silent lovemaking scene in

“Loveomania”.

“Longing For The Emperor’s Glory”. Both told stories of the doom to come.

Sexing Three Millennia was, for the most part, an evening of solo performances.

Take away the secondary aspects of theatre design and

production leaving only the dancers and dance, and Sexing The “Beauty Igniting the War Fire” in “Flame To Tease”

Three Millennia is still a fine example of Asian

danced by Janet Chang and the “Beauty to be Executed” in

contemporary dance.

“Balcony” danced by Xing Liang were especially magnificent.

The company, established in Hongkong in 1997 (sic), is

strong technically and artistically, mature and cohesive.

Both soloists blended lithe athleticism and artistic nuance

into a mesmerising ritual successfully Xiang Ling’s final

While Sexing Three Millennia may be the last performance

portrayal of the concubine in the “Balcony” scene conveyed

for some of its company members, CCDC will continue to

strength beauty and vulnerability through well-honed

develop and impress the world.

6

artistry.

Perhaps what impressed this reviewer most was the gestalt

and magnitude of the production.

Editors Notes: CCDC was established in 1979.

剪報服務 PRE55 CLIPPING

Hong Kong iMail

Tuesday, July 25, 2000

A Midsummer Delight A Seattle ballet troupe stirs local audiences with an endearing presentation of the Shakespearean classic, compassionately choreographed by George Balanchine.

Louise Nadeau and Olivier Wevers in PNB’s Midsummer Night's Dream. Photo by Angela Sterling.

he Pacific Northwest Ballet (PNB) from Seattle could

The show received rave reviews at the Edinburgh Festival

not have brought a better ballet to Hong Kong for the

in Scotland in 1998. In Hong Kong, the 60 dancers from

T

Seattle are joined by 20 local children who were specially grand opening of this summer’s International Arts Carnival. chosen at an open audition. They portray the tale’s delightful The two-act (tA Midsummer Nights Dreamis a masterpiece

by George Balanchine, widely regarded as the greatest

assembly of fairies, insects and fireflies.

choreographer of the 20th century.

This Balanchine version is by far the best dance presentation The show’s first performances last Saturday and Sunday

of ht Shakespeare classic, reflecting the late choreographer’s

were superb. Those who missed out may still be able to buy

clear understanding of the Bard. Set to a selection of music

tickets for the final shows this week at he Sha Tin Town

by Mendelssohn, the story is effectively recounted in Act 1,

Hall.

while Act 2 is a dance feast in celebration of celestial

harmony.

Originally created by Balanchine in 1962 for his New York City Ballet, this production was restaged for the PNB by

Saturday’s performance was splendidly danced and showed

the company’s co-artistic director, Francia Russell, with

the company’s excellence in all ranks. The drama of the

lovely new sets and costumes designed by Martin

first act ~ the quarrel between Oberon, King of the Fairies,

Pakledinaz.

and his Queen, Titania, over the Indian child; and the

hilarious discord between the two pairs of moral lovers due

visual riches piling up before our eyes, and as a result, our

to Puck’s errors — is convincingly played with clarity and

minds seemed to have been cleansed.

depth.

The climax of the wedding divertissements was a heart-

The danced episode of the human lovers’ quarrels was

melting duet for an unnamed couple symbolising an idealised

especially moving, full of rich and subtle mime details. Full

love. Patricia Barker, the company’s senior ballerina, here

credit to the fine performances of the dancers ~ Alexandra

gave a transcendent performance. Her powerful long limbs

Dickson, Julie Tobiason, Olivier Wevers and Charles

give her dancing a rare limpidity, and the climax of her dance

Newton. Lisa Apple was a luscious Titania, full of grace

phrases blossomed like a flower. Jeffrey Stanton was her

and tenderness. As her king, Paul Gibson was a commanding

noble cavalier.

Oberon.

On the Sunday afternoon, there was a rewarding cast change.

The other main roles were also superlatively danced. Seth

The luminous Patricia Barker stepped into the role of Titania.

Belliston, a mercurial Puck, endeared himself to the children

Barker was a majestic Fairy Queen, her ravishing dancing

in the audience who laughed repeatedly at his mis­

richly nuanced. Her duet with Timothy Lynch’s Bottom (a

chievousness. Kaori Nakamura was delightful as Butterfly.

rustic turned into an ass) was heart-stirring. Kaori Nakamura

As the Queen of the Amazons the athletic Kimberly Davey

and Melanie Skinner gave torching portrayals of the two

dazzled in her spectacular virtuoso solo.

maidens. In the Act 2 showpiece duet, Olivier Wevers was an elegant consort partnering Louise Nadeau.

As a contrast to the disorder of Act 1, Act 2 was sheer

heavenly bliss. In art, as in reality, it is always life-enhancing

Dance lovers are advised to hurry if they wish to purchase

to see the restoration of order and harmony after chaos. The

the few remaining tickets for the performances at Sha Tin

endlessly pleasing patterns woven by the imperial courtiers

Town Hall this Friday and Saturday.

and the six wedding couples felt like layers and layers of

@剪報服 務 PRE55 [LIPPIN5

二O

O 0年七月二十七日

大公報

《仲夏夜之夢》賞心悦目 士比亞的《仲夏夜之夢》既沒有《羅密歐與茱麗 "葉》的痛苦，也沒有《哈姆雷特》的仇恨，有的

《仲夏夜之夢》原著經過編舞者的大刀闊斧改編 ’變得

是童話、圓滿，在這個孩子們越來越早熟的世代，《仲

編舞者的重點並不在炫耀高難度技巧，因此舞蹈以群舞

夏夜之夢》無疑是延續童真的一場夢。

為主，中間加插一、兩投雙人舞，縱觀全劇，舞者的個

較簡單，亦較適合一家大小齊觀賞’可説賞心悦目°而

人功力似乎沒有受到太大的考驗。

美國西北太平洋芭蕾舞團演出巴蘭欽編舞的《仲夏夜之

夢》，創造了孩子們喜愛的一切畫面：美麗的主角，仙

舞劇的第一幕大致上已將劇情「快速」地交代了 ’到了

境般的布景，飄逸美麗的服裝，還有和諧流暢的舞蹈編

第二幕，則集中於慶祝有情人终成眷屬的歡樂場面•讓

排，讓觀眾看得很舒服，原著中人物的糾纏關係十分複

觀幂開開心心一場。

雜，在巴蘭欽的編排之下，化成簡潔易明，最可愛的是 那一隻被仙后睡醒後「錯愛」的小驢子，樣子純憨’在

編者按：美國西北太平洋芭蕾舞《仲夏夜之夢》將於七

漂亮仙后的親切愛憐下，童話味道特別濃郁。

月二十八、二十九日在沙田大會堂演奏廳公演。

文：洪捷

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《人肉跳舞機》

論盡舞者情

筆者所看過的藝術作品袒，有一些以「鏡頭前後」

笨既定的主與客關係，增添跳舞新丁的自信心；而兩位

作為故事骨幹的電影（例如杜魯福的《戲中

專業表演者毫不介意對手的「舞功」比自己弱，還即興

戲》），亦有些以「台前幕後」作為題材的舞台劇（例

地用自己的身體語言熱情地招呼他們，舞蹈霎時變成一

如《蝦碌戲班》）：由「歪V的示體與雙妹麥」聯合演出 的《真實舞戲•人肉跳舞機》’，則算是一齣觸及「舞人

種重要的溝通「語言」。此環節的尾段精采，表演者把

演區交给跳舞新丁，張達明《蓄意種火》裡未能夠成功

舞事」的自傳式舞蹈劇場

的「台下變台上」實驗，

作品。

《人肉跳舞機》终於實驗成

功。該演出花了很多篇幅 演出尚未正式開始，劇場

讓表演者去演、舞出自

傳來陳敏兒和楊春江兩位

傳，包括楊春江成名後接

表演者的錄音廣播，論盡

受外國電視台的訪問，也

香港舞壇現象、觀眾賞舞

有他和陳敏兒未成名前的

的習性、更自嘲本身跳舞

一些錄像、電視訪談；觀

的往跡。熱愛舞蹈者對這

眾看畢整個演出後，大抵

些妙趣横生的説話必定會

會明白到由未成名到成名

心微笑。

的歷程其實殊不簡單。演

出開首以《四季》作配樂跳 一隻舞:，而演出結尾則如

該演出用錄像呈現香港舞 壇現象，筆者未學過跳舞，所以不知道陳敏兒以維他奶

《蝦碌戲班》般以後台作為觀眾的視點重看同一隻舞，

廣告的戲謔口音勸告矮小的楊春江改跳現代舞之真實性

用意就是要令賞舞者切實地感受舞者踏出「虎度門」前

（楊原本想跳芭蕾舞），不過觀幂可從這錄像的內容

的精神緊張，以及踏出「虎度門」後的心情喜悦。該演

中，得到一些關於權力（特别是師長與下一代的關

出更反斗地揭開舞者不為人知的辛酸一面’例如楊春江

和陳敏兒以柔軟、靈活的

係）、性別政治、歧視、消

CM

費文化……等多重的解讀及

身手跳了一隻意態美得動

聯想，意趣盎然。此外，該

人的慢舞，忽然前者竟像

演出還出現一段不斷轉換舞

肌肉麻痺似的跪著離開；

蹈專有名詞的錄像，兩位舞

其後二人跳完一隻勁舞後

者遂按不同的名詞而改跳不

又發覺腳趾渗血，相信沒

同的舞步，結果在短短的時

有一位習舞者未試過受傷

間中盡情跳了探戈、中國

舞、芭蕾舞、舞蹈劇場...

1

等，觀幂大飽眼福。雖然這

此外，《人肉跳舞機》為

環節有點像電視台的遊戲節

了進一步惹起習舞者的共

目，但確實能帶領觀眾體會

鳴和非習舞者的好奇心， 就連陳敏兒用熱水浸腳，

香港舞壇多姿多采的空間。

楊春江用攝錄機欣賞自己的體態，也不避私隱（或炮製

該演出嘗試打破舞者與觀眾不對等的跳與賞關係，強調

私隱？）地公開！

舞蹈是人人皆可以跳的一項活動，因此陳敏兒與楊春江

便擺下舞蹈擂台，從觀眾席即席邀請了數人比「舞」，

《真實舞戲•人肉跳舞機》本身就像一部活的舞壇生活

難得的是觀幂都夠膽跳，又不顧舞姿的好醜而忘我地

雜誌。

跳，這大概和藝術中心麥哥利小劇場座位較少、觀眾■席 與演區緊靠在一起有一定的關係，從而改變表演者與觀

文：何俊輝

Date日期

Time時間

Venue場地

Group團體

Choreographer

編舞

“La Fille Mai Gard’ee”《女大不中留》 3-6/8

7:30pm

Grand Theatre,

Hong Kong Ballet

Sir Frederick Ashton

5-6/8

2:30pm

HKCC

香港芭蕾舞團

艾斯頓勳爵

文化中心大劇院

Holiday Ballet Course假日芭蕾舞課程 7&9/8

Studio 6, HKAPA

Education & Outreach Unit

演藝學院六號舞蹈室

Hong Kong Ballet

香港芭蕾舞團 敎育及外展部

“The Nutcracker”《胡桃夾子》 7:45pm

30-31/8

Grand Theatre,

National Ballet of China

HKCC

中國國家芭蕾舞團

文化中心大劇院

Tangentzer 0”《臨界圖》 8:00pm

1-3/9

Studio Theatre.

South “ASLI” Dance

HKCC 文化中心劇省

Workshop

^藝術家駐場計劃2 0 0 0 2/9

3:00pm

〈〈舞合3

南群舞子

Exhibition Hall,

DanceArt

Allen Lam林偉源

Shatin City Hall

動藝

Francis Leung 梁家權

ylphide & The Yellow River 7:45pm

吳易珊，劉傑仁

3。3陣式》

Andy Wong王廷琳

沙田大會堂展覽廳

2-3/9

Wu Yi-san, Jay Jen Loo

《仙女》、《黃河》

Grand Theatre,

National Ballet of China

HKCC

中國國家芭蕾舞團'

文化中心大劇院

rtete-a-tete tanz # 8:00pm 3:00pm

# Ngau Chi Wan Civic CentreTheatre 牛池灣文娛中心劇院

s

観力 話 tete-a-tete tanz

E-side MDC東邊現代舞蹈團 Danseomanie 戀舞狂 Free Group自由組合 Jill Jill Dance Theatre 蕉蕉舞蹈劇場 Joys Stage Works 喜樂製作 Ark Dance Theatre方舟舞蹈劇場 Iris Suen Dance Group 形0 凍

Mollusc動意空間

TaiJu Matsumoto 松本大樹 Jocelyn Chung 錘碧霞 Mon Ning甯明敏 Maria Chan陳靈玉 Joyce Au歐美儀 Eve Cheng鄭楚娟 Iris Sun孫鳳枝 Sally Chow 周紅

La Bayadere 舞姬 16/9 17/9 22-23/9 24/9 30/9 1/10

7:30pm 2:30pm 7:30pm 2:30pm 7:30pm 2:30pm

Kwai Tsing Theatre Auditorium 葵青劇院演藝廳

Sha Tin Town Hall Auditorium 沙田大會堂H廳

Tuen Mun Town Hall Auditorium 屯門大會堂演奏廳

Hong Kong Ballet 香港芭蕾舞團

Dawn Weller

Members of Hong Kong Dance Alliance 1個人會員

香 港

INDIVIDUAL MEMBERS Andrew Broomhead

Mr Jason Brockwell

簡麗珊女士 鄭健華先生 宋孟青女士 高家霖先生 黃亞華女士 黎倩樺女士 李翠女士 雷佩瑜女士

Ms Margaret Carlson

Mr Billy Cheng Ms Wendy Chu

Mr Graeme Collins Ms Huynh a-hoa Ms Amy Lai

Ms Doris Li Ms Florence Lui

陳德昌先生 錢秀蓮女士 秦懿欣女士 謝漢文先生 郭慧芸女士 黎海寧女士 陸國雄先生 伍宇烈先生

Ms Miranda Chin Ms Ulian Chun

Mr Mohamed Drissi Ms Vivian Kwok Ms Helen Lai

Mr Luk Kwok-hung

溫玉均先生 許淑數士

Mr Willy Tsao Ms Scarlet Wong

ORGANIZATION MEMBERS

Mr Tom Brown Mr Chau Chuen Fai Ms Chu Kit Ms Stella Chung Mr Ho Wai-keung

Ms Medina Lau Ms Kim Law

Mr Edwin Lun Ms Priyadarshini Ghosh-shome

Mr Aaron Wan

施素心女士 黃國強先生

Ms Susan Street

Mr K. K. Wong

Ms Xu Shu-ying

/

g

白朗唐先生 周全輝先生 宋絜女士 鍾秉瑜女士 何偉強先生 劉玉芬女士 羅詠芬女士 龍植池先生

Mr Yuri Ng Ms Indira Sawlani

Daryl Ries

曹誠淵先生 黃翠玲女士

Mr Ringo Chan

、

-

Contact Person

蹈

聯

盟

會

方舟舞蹈劇場 霹靂啪谢］身體劇場 陳紹傑舞蹈中心 精舞門標準舞蹈學院 城巿當代舞蹈團 接觸點 動藝 舞渡界 舞城 戀舞狂 共享空間舞蹈劇場 東邊現代舞蹈團 基督徒舞坊 蜉蝣舞團 步韶舞蹈團 波希舞蹈團 香港演藝學院 香港芭蕾舞團 香港舞蹈團 香港國際專業舞蹈體育總會 香賴年藝術節協麵公司 智才補習學校及創作天地 王厂曼芭蕾舞學校 雙妹曖 動作纖維

新約舞流 絲路舞蹈文化協會 躍舞翩 南群舞子 三分顏色 原體系 舞蹈菲場 蒲窩青少年中心 X —jij 場 歪!］的ZJX体 多空間

鄭楚娟女士 黃狄文先生 陳紹傑先生 尤月興女士 曹誠淵先生 梅卓燕女士 王廷琳先生 湯布方先生 潘少輝先生 鍾碧霞女士 馬金泉先生 余仁華先生 曾澳英女士 黃恆輝先生 宋絜女士 袁惠東先生 施素心女士 吳杏冰女士 劉志青女士 陳偉先生 赉連西女士 孫名翠 陳頌瑛女士 楊惠美女士 邢亮先生 韓錦濤女士 周佩韻女士 帕夏吾賣爾女士 徐偉業先生 王榮祿先生 鄭志銳先生 李笑玲女士 宋倩儀女士 伍梁敏玲女士 廖美燕女士 楊春江先生 嚴明然女士

普通會員ASSOCIATE

名 單

張秀分女士 方潔萍女士 關豐8蘭女士 或淑咏女士 黎少玲女士

學生會員 陳雅芝女士 碧嘉樂先生 盧幸賢女士

Ark Dance Theatre

Ms Eve Cheng

Bilibaia Physical Theater

Mr Dominic Wong

Billy Chan Dance Centre

Mr Billy Chan

Champion Ballroom Dancing Academy

Ms Diana Yau

City Comtemporary Dance Company

Mr Willy Tsao

Contact Point

Ms Mui Cheuk-yin

DanceArt Hong Kong

Mr Andy Wong

Dance HK / NY

Mr Tom Borek

Dancing City

Mr Pun Siu-fai

Danseomanie

Ms Jocelyn Chung

DMR School of Ballet

Mrs D. M. Way bur ne

Dua Space Dance Theatre

Mr Anthony Meh Kim-chuen

E - Side Modern Dance Company

Mr Jacky Yu

Evangelical Dancing Troop

Ms Tsang O-ying

Fau Yau Dance Circle

Mr Wong Hang-fai

The Harmonious Dance Troupe

Ms Chu Kit

The Boheme Dance Company

Mr Yuen Wai-tung

The Hong Kong Academy for Performing Arts

Ms Susan Street

Hong Kong Ballet

Ms Helen Ng

Hong Kong Dance Company

Ms Ophelia Lau

Hong Kong Professlond Dcnce Sports Cotnd

Mr Chan Wai

Hong Kong Youth Arts Festival Association Ltd

Ms Lindsey McAlister

fTS & TS Creative

Ms Karen Suen

Jean M. Wong School of Bciet

Ms Anna Chan

McMuiMui Dansemble

Ms Yeung Wai-mei

Movement Fibre

Mr Xing Liang

Ones To Watch Dance Company

Ms Angela Hang

Passover

Ms Rewan Chow

Silk Road Cultural Society

Ms Pasha Umer

Spring Poetry

Mr Terry Tsui

South Asli Dance Workshop

Mr Ong Yong Lock

Three Colours

Mr Afa Chiang

Uncarved Block

Ms Ling Lee

The Flying Works

Ms Phoebe Chu

The Warehouse Teenage Club Ltd

Ms Miranda Ng

X-tanztheatr

Ms Elina Liu

y. d. thearter

Mr Daniel Yeung

Y - Space

Ms Mandy Yim

■ MEMBERS

Ms Cheung Sau-fan Ms Fong Kit-ping

松島誠先生 莫裕康先生

Mr Makoto Matsushima Mr Juergen Morhard Ms Daphine Wong

Ms Kwan Yim-Ian Ms Kwok Shuk-yan

Ms Asha Sawlani

Ms Lai Siu-ling

STUDENT MEMBERS | Ms Susanna Chan Mr Cody Choi

Ms Candy Lo

鍾晶女士 黃天拿女士

Ms Chung Ching Ms Audrey Wong

Membershi-p Form

罾員由謂表

Membership

會孝■

（

）Individual

（

）

個人會員 團體會員 普通會員 學生會員

Organization

（

）Associate*

（

）Student*

$200 $600

$100

$50

Member' s Information 會貢資料

Name

姓名（English 英文）________________________ （Chinese 中文） 電話（Office 公司）______________________

Telephone

（Home

Fax傳真（Office公司）___________________________ Position

職位

公司名稱

Affliated Cultural Organization

_________________________________

所屬藝術機構 ______________________

地址 ______________________________________________

Organization Member' s

團體會員資料

Information

Name of the Organization

團體名稱

__________________________

________________________________

Person in Charge負責人姓名

電B舌_____________________________________ Fax 傳真---------

Telephone

Correspondence Address

通訊地址

__________________________

Applicable Dance Category

|

1 |

I

Signature

芭蕾

所屬舞蹈類別

現代舞 | Eastern Folk東方民族舞 □ Western Folk西方民族舞 | Education教育界 | | Criticism寫作與評論 | Cultural and Arts Administration 文化及藝術彳了政 I Notation舞蹈記錄 I I Others其他 | Ballet

|

（Home住宅）

______________________________________________

Name of Company

Address

住宅）

|

| Contemporary

簽署

Date

| World Dance民族民間舞

|

□ Ballroom國際標準舞 1 J Technical Arts

舞台技術

]Musical Theatre / Jazz / T叩 Dance

音樂舞劇/爵士舞/踢躂舞

日期：

Please enclose cheque payable to THE HONG KONG DANCE ALLIANCE with this application form to c/o Office of the Associate Dean,

School

of

Dance,

Hong

Kong

Academy

for

Performing

Arts,

1

Gloucester

Road,

Wanchai,

Hong

Kong.

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