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目錄 Contents
NEWS?舞蹈快訊 Vol.6
NEWS
No.3
封面Cover 香港芭蕾舞團演出謝傑斐作品 《不死傳説》 Hong Kong Ballet’s Legend of the Great Archer by Stephen Jefferies
楊春江新作《形亡極樂》 被舞評家指為本地最擅於「玩傳統、玩禁忌，尤其是關於有
攝影：陳俊濠
血有肉又有汗的身體」的編舞家楊春江，於2002年香港藝
Photo: Jammy Chan
術節以出位舞作《哥仔戲》玩盡男人身體性別政治後，將一 切情色遊戲反璞歸真，以兩年心血，打造嶄新超視像舞蹈劇 場的「新感官世界」。身體感官的極限是什麼？楊春江嘗試 以生命和愛的盡頭展示這個題目，來編演一闕以愛至樂極，
舞蹈快訊NEWS
到舞至亡形的生死舞曲詠嘆調。生與死並非什麼抽象的偉大 課題，而可以是極之貼身的情景— —於數年間經歷了父親、
進入舞評的平權時代
母親和愛人的猝然離世後，至2003年，SARS籠罩著七百 萬人命脈的消沈下，編舞赫然發現原來生與死、愛與思念是
On Writing On Dance
可以每一天關係著每一個人的。這齙舞作將會令觀眾切身處
(Just Another Sharing Session?) 文：劉建華
地，體現表演者如何將身體舞動至極限之時，目睹能量和生
by Lau Kin Wah
命虛耗胎盡的_剎，一切塵緣世事是會顯得再無關重要 ？或
是反而一生中最愛的人與事會更突顯？對於未忘人的我們， 是否總愛迴避一切會勾起傷痛回憶的人情事物 ？還是堅持對
故人的無形思念，來見證愛可超越時間空間？《形亡極樂》
夢在永遠的兩難之間
將會揉合身體、錄像、光影視聽裝置，營造從有形到無形的
文：春江
極至感官效果|來展示這些生死時間空間的種種可能。當生
命比愛脆弱，愛和生命可會有同一盡頭？由楊春江編舞、演
DANIEL YEUNG NEW WORK - METALOVE
Mirror and Microscope by Tom Brown
After Playboy, performed in the 2002 Hong Kong Arts
Festival, in which the sexual politics of men’s bodies were
manipulated to the extreme, Hong Kong choreographer
香港芭蕾舞團《不死傳説》 文：方人
Daniel Yeung, cited as most capable to “manipulate tradition and taboo, especially relating to the body, with flesh, bood and sweat”，returns to the basics in all the games of love and sex to create a brand new ultra-visual dance theatre, a
舞蹈節目表 Dance Events
new world of the senses. What is the limit of the body’s senses? By dancing an aria of life and death, loving and
dancing to the extreme, Yeung attempts to explore this question by examining the terminations of life and love through his choreography.
According to Yeung, life and
death are actually not abstract or grand topics. They can be really close to us -- after experiencing the sudden deaths of his parents and lover within several years, during the
depression of SARS whose threat hung over the heads of seven million poeple in 2003, the choreographer discovered that life and death, love and longing, actually relate to
everybody everyday. Yeung's choreography seeks to place the audience in the midst of the dance, allowing them to experience the performer dancing to his limit, witness that
moment when life and energy burn out - at that moment, Image: CCDC’s The Comedy of K by Helen Lai. Photo: Ringo Chan.
圖：城市當代舞蹈團演出黎海寧作品 《畸人説夢》 攝影：陳德昌。
出，劉柏基、張志光設計錄象' Gabriel Mandosa負貝舞口 裝置'潘素齡製作光影效果和陳仲輝設計服裝及形象•《形
will nothing matter any more, or will those we love become
亡極樂》將於6月18及19日〈星期五及六〉晚上8時’假
survivors, try to avoid everything that brings painful
香港文化中心劇場上演◦是次節目由康樂及文化事務處委約
memories? Or rather, will we insist on holding on to our
more important to us? On the other hand, will we, the
memories of those who have passed away, to prove that
創作及主辦。
love can overcome time and space? Metalove will integrate body, video, lighting effects, and audio-visual installation to create the effect of extreme senses, from physical to non
physical, and show the possibles of life-death, time-space. When life is more fragile than love, will love and life have the same ending? Choreographed and performed by Daniel
Yeung, video designed by Chris Lau and Cheung Chi Kwong, stage installation by Gabriel Mandosa, lighting effects by Jo
Phoa, and custume and imaging by Silvio Chan, Metalove
will be performed on 18 and 19 June 2004 (Friday and Saturday), 8pm at Hong Kong Cultural Centre Studio Theatre. Metalove is commissioned and presented by the Leisure and
Cultural Services Department. 楊春江 Daniel Yeung
HONG KONG BALLET EMBARKS ON “RELAUNCH
HONG KONG” CAMPAIGN 香港芭蕾舞團「重整香港經濟活力」北美洲巡迴演
The Hong Kong Ballet has just completed its second North
香港芭蕾舞團剛結束其三年來的第二次北美巡迴演出返港 。
American Tour within three years. The 22-day, four-city tour,
這次北美4市22天的巡迴演出於5月4日出發，是特區政府
setting off on Tuesday 4 May 2004, was part of the
的「重整香港經濟活力」計劃的一部份。應香港經濟貿易辦
government's “Relaunch Hong Kong” Campaign. Invited by
事處邀請，香港芭蕾舞團分別於多倫多、溫哥華、聖荷西及
the Hong Kong Economic and Trade Office, Hong Kong Ballet
華盛頓演出《不死傳説》和《末代皇帝》兩齙舞劇。於首站
performed two ballets: Legend of the Great Archerand The
多倫多，舞團匯合了民政事務局局長何志平醫生，在5月7
Last Emperor, on the tour to Toronto, Vancouver, San Jose
日假St. Lawrence Centre for the Arts演出藝術總監謝傑斐
and Washington, D.C.. The premiere performance for this
作品《不死傳説》。該劇於今年三月於香港首演，是首齣以
tour was joined by Secretary for Home Affairs Dr. Patrick
中樂作現場伴奏的芭蕾舞劇。當地舞蹈作家Susan Walker認 為《不死傳説》的製作「成功地融匯了古典芭蕾舞與亞洲武
Jefferies’ Legend of the Great Archer ai St. Lawrence Centre
術電影的舞台誇張手法或中國雜技演出」、「四個主要舞蹈
for the Arts in Toronto (7 May). Legend of the Great Archer,
員— —演玉兒公主的梁菲、演逸的梁靖、演侍女的藤岡綾子
which premiered in Hong Kong in March this year, is the first
和演方蒙的藤野暢央— —可於任何芭蕾舞者群中脱穎而出。
original full-length ballet with Chinese music accompaniment.
舞團中的男舞者尤其令人留下深刻印像，彰顯了編舞所強調
Toronto Dance Writer Susan Walker wrote that the production
的剛陽攻撃性。女舞員的en pointe控制優美，且滲透出看似
“successfully married the stage hyperbole of Asian martial
是中國戲劇中所講求的極端情感」。香港芭蕾舞團跟著於溫
arts movies or Chinese acrobatic shows to classical ballet”,
哥華及聖荷西匯合了民政事務局常任秘書長李麗娟，分別於
and “The four principal dancers - Faye Leung as Princess
Queen Elizabeth Theatre （5月 14 日）及San Jose Centre for
Jade, Liang Jing as Yi, Ayako Fujioka as the maid, and Nobuo
Performing Arts （5月19日）演出《不死傳説》。於這次巡迴
Fujino as Feng - would stand out in any ballet crowd. The
Ho, the company performed Artistic Director Stephen
的最後一站中，舞團在華盛頓D.C.的Warner Theatre（5月
men in this company are particularly striking, all the more for
25曰）演出九七年為慶祝香港回歸而創作的《末代皇帝》。巡
the emphasis on masculine attack embodied in Jefferies'
迴演出期間，舞團亦安排了一系列敎育專場和公開排練 ，予
choreography. The women show beautiful control en pointe
四市的芭蕾舞學生和非牟利團體參加。
even as they exude the over-the-top emotions Chinese
theatre seems to demand.” The company, joined by
美國現代舞蹈藝術家訪港
Permanent Secretary for Home Affairs Ms. Shelley Lee,
繼本年二月初三位美國舞蹈藝術家訪港後，香港舞蹈聯盟主
performed the same repertoire at Vancouver’s Queen
辦的「港美現代舞蹈交流計劃」於5月29日至6月12日邀
Elizabeth Theatre (14 May) and San Jose Centre for
請了第二批藝術家到港。這次來港的是從紐約來的Michelle
Performing Arts (19 May). On the final stop of the tour, The
巳oule及Miguel Gutierrez。兩位藝術家除了於城市當代舞
Last Emperor, which was originally commissioned to
蹈團和香港演藝學院敎課外，更會於6月9日星期三下午6時
celebrate the 1997 handover, was performed at Warner
30分假香港演藝學院一號舞蹈室舉行一次非正式的免費公開 演出° 「港美現代舞蹈交流計劃」是由香港藝術發展局支
Theatre in Washington, D.C. (25 May). Apart from the main
持•而這次第二批藝術家到港是由香港演藝學院贊助 ，城市
programmes such as master classes and open rehearsals for
當代舞蹈團協辦。
ballet students and non-profit organizations in the four cities.
2
performances, the company also organized educational
ICPE2004--舞蹈研討會 由香港敎育學院體育及運動科學系所主辦的「學校體育國際
After the visit of three American Artists in February, the Hong
會議」將於本年7月7-10日假香港敎育學院舉行。會議的其
Kong Dance Alliance’s “HK/USA Modern Dance Exchange
中一個部份是於7月8日下午3-5時舉行的「舞蹈敎學與動作 科學研討會」。研討會的目的在展示現時對動作科學和舞蹈
Council, sponsored by the The Hong Kong Academy for
敎學的研究。這個由美國密西根州立大學劇場學系副敎授
Performing Arts, and in partnership with City Contemporary
Lynnette Young Overby博士所主持的研討會，將包括了五 篇由美國、加拿大和韓國的舞蹈學者和敎育工家所創作的論
Dance Company, will initiate visits by American Modern
文。首兩篇是屬於動作科學的範疇，提供了有關舞蹈活動所
2004. The visiting artists are Michelle Boule and Miguel
涉及的健康問題和舞者訓練方法的珍貴資料 。另外三篇則集
Gutierrez from New York. Beside giving company classes
USA DANCE ARTISTS VISITING HONG KONG
Project”，supported by the Hong Kong Arts Development
Dance artists to Hong Kong between 29 May and 12 June,
中討論大、中、小學和幼稚園中的舞蹈，對於舞蹈在敎育中
for CCDC and classes for HKAPA students, the visiting artists
的重要地位，提出了具説服力的數據。五篇論文的題目和講
will also present an informal showing of their work open to
者分別為：韓國Chungbuk國家大學Jae-Kyung Byeon博士
the public at 6:30pm in Dance Studio One at the APA on 9
主講的「經期對女性芭蕾舞員的骨骼礦物質密度和荷爾蒙的
June (Wednesday).
影響」、加拿大溫莎大學Marliese Kimmerle博士的「舞蹈的 側面偏性」、美國北科羅拉多州大學Sandra Minton博士的
ARGENTINEAN TANGO MAESTROS VISITING HK
「舞蹈敎育的質和量研究：對四個研究的討論」、美國密西根
Argentinean maestros Pablo Villarraza and Dana Frigoli will
州立大學 Lynnette Young Overby 博士和 Tama Hamilton-
visit Hong Kong in June and teach three sessions of
W「ay主講的「把舞蹈融匯於課室課程：一個研究/外展模
Argentine Tango for absolute beginners between 4 and 6
式」' 以及美國北愛俄華州大學 Cynthia Herndon博士和
June, 2004. The two Argentineans will also perform in
Kathleen Ker「博士的「把舞蹈伸展至社區：合作性舞蹈敎育
TangoTang’s Tango Ball at the China Club on 5 June 2004,
作為大學舞蹈課程的基礎」。除了研討會外，香港敎育學院
which is a night of dancing and dining with the topic of
的高級講師高樂麗博士亦會於7月8日上午11時以「舞蹈敎 育：帶動創意發展的動力」為題致辭。報名及詳情：網頁
“Glamorous China” to celebrate the fifth anniversary of the
www.ied.edu.hk/icpe2004 •或電郵 icpe2004@ied.edu.hk
tangotang.com or contact TangoTang on 8209 0520.
organization. For bookings and enquiries, log onto www.
(Ms. Cherise Sin)。
ICPE 2004 - DANCE SYMPOSIUM
阿根庭探戈舞大師訪港
Presented by the Department of Physical Education and
從探戈舞的發源地阿根庭來的舞蹈藝術家Pablo Villarraza及
Sports Science of The Hong Kong Institute of Education, an
Dana Frigoli將於6月初到港，於6月4日至6日敎授三節適
International Conference for Physical Educators (ICPE
合初學者的阿根庭拉丁舞。兩人並會於6月5日假中國會舉 行的探戈舞會中演出。這個以「魅力中國」為主題的舞會，
2004) will be held at the Hong Kong Institute of Education 710 July 2004. As a part of the conference, a Dance
是一個以舞蹈和晚宴來慶祝Tango Tang五週年紀念的晚上。
Education and Movement Science Symposium will be
報名及查詢：www.tangotang.com 或 8209 0520。
held Thursday 8 July 2004, 15:00-17:00. The purpose of this symposium is to present current research in movement
science and dance education. Chaired by Dr. Lynnette Young Overby, Associate Professor, Department of Theatre,
Michigan State University, the symposium includes five
papers delivered by dance scholars and educators from the United States, Canada, and Korea. The first two papers are
in the area of movement science. They include valuable information that will provide insight into the health implications
of dance experience, and training methods for dancers. The
next three papers are focused on dance in K-12 and higher education settings. The authors provide convincing data
regarding the important place of dance in education. The Pablo Villarraza and Dana Frigoli
titles and presenters are: “The Effects of Menstrual Cycle States on 巳one Mineral Density and Hormones in Female
Ballet Dancers” by Jae-Kyung Byeon, PhD, Chungbuk
拉賓動作記錄國際委員會北京會議
National University, Korea; “Lateral Bias in Dance” by
為了向一直長期支持拉賓動作記錄的中國中央芭蕾舞團創辦
Marliese Kimmerle, PhD, University of Windsor, Canada;
人戴愛蓮女士致敬，第23屆拉賓動作記錄國際委員會
“Qualitative and Quantitative Research in Dance Education:
(ICKL)雙年會議將於2004年7月23-29日假北京師範大學
A Discussion of Four Studies" by Sandra Minton, PhD,
舉行。由Rudolf Laban所創立和發展的拉賓動作記錄是一套
University of Northern Colorado, USA; “Integrating Dance
全球最廣泛使用的舞蹈記錄系統。戴女士於1939年在歐洲學 得拉賓動作記錄後，把它帶至中國和亞洲。會議內容方面，
by Lynnette Young Overby, PhD, and Tama Hamilton-Wray,
into the Classroom Curriculum: A Research/Outreach Model"
除了由ICKL院士和成員討論和改良拉賓系統的技術部份外’ 亦包括了舞蹈界一般關注的論題簡佈 •和最新的舞蹈記錄科
www.ickl.org，吳靜珠(lollie_wu@sina.com)
技示範等。是次會議將以亞洲舞蹈形式和舞蹈敎學資源為主
書朱孟青(wendychu@hkapa.edu) ’或ICKL研究小組主席
題，由戴愛蓮女士和吳靜珠女士統籌°詳情：ICKL網頁
白朗唐(tombro@hkapa.edu) 。■
MA, Michigan State University, USA; and, “Extending Dance
Conference of International Council of Kinetography Laban
into the Community: Collaborative Dance Education as the
(ICKL) will be held from 23 to 29 July 2004 at the Beijing
Basis for a University Dance Program” by Cynthia Herndon,
Normal University, Beijing, China. Labanotation is a dance
Kate Weglarz (kateweglarz@earthlink.net)
’ ICKL秘書 ’ ICKL 助理秘
PhD, and Kathleen Kerr, PhD, University of Northern Iowa,
notation system developed by Rudolf Laban, and is the most
USA. In addition to the Dance Symposium, one of several
widely used dance notation system in the world. Beside
invited speakers, Dr. Paulette Cote-Laurence, Senior
technical sessions during which ICKL Fellows and members
Lecturer of The Hong Kong Institute of Education, will deliver
refine the Labanotation (America and Asia) and Kinetography
an address entitled “Dance Education: Vehicle for the
Laban (Europe) systems, there are also sessions devoted to
Development of Creativity”，on 8 July, at 11:00.
For
presentations of general interest to the dance community as
information concerning the conference and registration to
well as to demonstrations of the latest in dance documentation
these events, visit the website http://www.ied.edu.hk/
technology. The 23rd conference will focus on Chinese and
icpe2004 and contact Ms. Cherise Sin at icpe2004@ied.
other Asian dance forms as well as dance teaching resources. Mme Dai and Wu Jingshu are the on-site coordinators for the
edu.hk.
conference. Information: ICKL website at www.ickl.org, Wu
23rd BIENNIAL ICKL IN BEIJING
Jungshu at lollie_wu@sina.com, ICKL Secretary, Kate
To honor the founder of the National Ballet of China, Mme.
Weglarz at kateweglarz@earthlink.net, ICKL Assistant
Dai Ai Lian, who studied Labanotation in Europe in 1939
Secretary, Wendy Chu at wendychu@hkapa.edu, and ICKL
and introduced the dance notation system to China, and for
Research Panel Chair, Tom Brown at tombro@hkapa.edu.H
her steadfast support of Labanotation, the 23rd Biennial
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j舞壇手記-
薄
Dance Diary
進入舞評的平權時代
On Writing On Dance (just another 'sharing session’？) 文：劉建華
by Lau Kin Wah
近來看舞寫舞，慢慢覺得從表演中
抽出一個兩個動作來捉緊4苗述的習 慣，對把握一個有一定時間長度、
由多種媒介湊合而成的作品，其實 不見得「公允」（或「最有」見仁見
智的「價值」）。然而自己對於氣氛 和情感的把握從來都並不擅長，於 是愈看愈覺無從埋手。抱歉而遺憾 的•是自己遲遲腾不出什麽時間積 極惡補對舞蹈的認識•於是有點欲
變而無從。
看了朗天在CCDC廿五周年特刊（春
季號）的文章提出「舞者何為 於是覺得提出「舞評何為？」
或者
CCDC’s The Comedy of K by Helen Lai. Photo: Ringo Chan. 城市當代舞蹈團演出黎海寧作品《畸人説夢》。攝影：陳德昌。
會是一個更能跳出作者自我，而對 讀者更有意義、更值得討論的問題？看近期的一些香港
(I)
的舞蹈演出，每次幾乎也有新的賣S加入，有新班子的
After writing this column for some time, I have begun to
合作火花，覺得實在使人目不暇給。舞步相反地似已不
feel that my past habit of dissecting a certain movement
是一個十分顯要的重心。不但在有限的評論空間.動作
sequence from a performance (that has a certain duration
也不可能逐句詳析，重要的是，究竟我們有什麼理由要
and is composed of different media), might not be as
仍要去這樣做？
‘objective’ as I first imagined it to be. After encountering Longtin’s question: “What is it that dancers for?” in CCDC
（二）
25,h Anniversary Special (Spring Issue), I think it might be
從看完黎海寧《畸人説夢》，我開始了替這篇文章如何
timely to ask the question: “What is writing on dance for?”
下筆感到擔心。和上次對其《愛玲説》一樣，個人沒有 什麼舞蹈動作的深刻記憶，反而覺得調子和茜思瑪的
(Il)
《那時》頗為近似。黎海寧説她其實也喜歡看劇場，這
Choreographer Helen Lai’s The Comedy o'fK, triggered me
沒有人會有意見•但問題是那是否她的「強項」？那恐
to ponder about the self-reflective theme of this essay,
怕仍是未知之數。至於所謂「強項」，更當然涉及了一
because, just as in her previous Voices, the work didn't leave
種判斷.干涉了一種發展的自由。於是我只知道，現在
me with many strong impressions. It seems to me that The
去觀黎海寧的舞，要有心理準備•那可能已不是我最欣
Comedy of K could as easily be a companion production to
賞那個「編舞家」的黎海寧？
Maggi Sietsma’s That Time. Lai’s assertion that she is now
警如《九歌》.那種現代與古代，情緒和形格的結合’
more and more interested in theatre might be a persuasive
無論我們當不當成是其「強項」•在國際卻似乎可以只
explanation. I question whether this would be a good
此一家，相反在「卡夫卡」的國際大名下’要提供脱穎
direction for her, however. Perhaps no one has the right to
而出的新鮮觀點，殊不容易。重拾6()年代作為「文藝
form hasty judgments in this matter. Yet, if theatre is really
青年」看的卡夫卡’起碼在這種階段’未必見其特色。
the direction Lai has chosen to go into, then perhaps she
但個人特色、國際賣點.比恰如其分的説一個觀點重要
will no longer produce such unique productions as Nine
嗎？那自然又未必成立"
Songs. Seeking inspiration through collaborations with
various stage partners seems to be the new formula for 但從卡夫卡筆下的畸人想到個人、小承和大眾’從而對
creating work. But Kafka, a writer of literature, uses the
應「沙士」事件，The Comedy of K (《畸人説夢》)比起
conventions of language. If successfully re-articulated, the
The Tragedy of ()(《0先生家族死亡事件》)對於文本的
work can no doubt speak to the worldwide Kafka devotee.
關涉更為間接，詹瑞文打開報纸的念念有詞，就是有
But to compete with the other worldwide treatments of
力，也是話劇多於形體。舞台設計方面，錄像投影有較
Kafka’s work would certainly present much fiercer
特別的角度•但若果真的朝舞臺的意像進發，倒懸街燈
competition. If not substantiated by Jim Chim’s frantic
最後的置中直垂而下，而不是如場刊所登的模式般傾斜
monologue, Lai’s link between Kafka and SARS presented
而出，卻是個太大的妥協。
in The Comedy ofK, would unfortunately be relatively weak.
The dull vertically inverted lamppost (as opposed to tilted 自從與不同出色舞台設計的碰撞開始，我感覺到黎海寧
like the rest of the set) seemed also like a technical
的舞作已不再是一種由編舞獨大的舞蹈演出 ，但因為正
compromise that shouldn’t have been allowed, especially
是編舞過去建立的「名聲」，使其今天有這種實驗的自
if the production really chose to emphasize theatrical
由，也使觀眾有了某種的預期和差距，兩者對於處境似
stage imagery.
乎都有點迷惘。我過去錯過了的《Plaza X與異變街道》
在今年十月份將會重演，無疑將是一個對於重審黎海寧
(Ill)
發展的重要機會。
One Table N Chairs - the 5 senses of Chinese opera,
choreographed by Willy Tsao with Li Hanzhong and Ma Bo of the Beijing Modern Dance Company, on
城市當代舞蹈團演出《一桌N椅》。編舞：曹誠淵、李捍忠、馬波，攝影：陳德昌。 CCDC performs One Table N Chairs. Choreographers: Willy Tsao, Li Hanzhong and Ma Bo, photo: Ringo Chan.
（三）
the other hand, used music from traditional Chinese
反而曹誠淵跟北京現代舞團的李捍忠、馬波合編的《一
opera. But instead of returning to the traditional, it
桌N椅》，舞步上對於戲曲的傳統法門（五段「圓場」：
singled out Chinese opera’s five elements (hands,
手、眼、身、髮、步）強調放棄了動作的「套路」，豎
eyes, body, hair, feet) and inserted them
的卻也並非全然斷絕的距離，反與相認、結拜、送別、
independently among nine typical scenes (that of
思親、聚義、重逢、復仇、殉情、團圓的九種傳統故事
encounter, bond, farewell, homesick, comradeship,
情節來次相認，比起《365種係定唔係東方主義》更講
reunion, revenge, dying for love and happy ending)
親和義。
to produce a modern work that was a dialogue with
traditional art.
Compared to Tsao’s 365 Ways of
個人對傳統戲曲沒有什麼認識，無論於同輩中是否典
Doing and Undoing Orientalism, the piece is less
型，雖不能如歐建平能從京劇戲曲《四郎探母》對舞臺
cynical, and perhaps modern audiences can more
的現代舞動作情節演繹的詮釋，但「二人傳」的「十八
easily identify with its sentimentality (particularly in
相送」或「黃梅戲」的「天仙配」提供情感起伏的熟悉
Eighteen Farewell or Marriage of the Goddess in
訊號，其所產生出的親切感，又是有別於行家「有沒有
Huang-Mei-Xi which are familiar to local audiences
搞錯？」的心跳疑惑。
both young and old alike).
The backdrop of
overturned chairs and tables accompanying the Yuet《一桌N椅》對傳統國粹的創新運用在北京首演時遇到
Ju excerpt of The Flower Princess, however, suggests
的批評，其實和進念辦的《尋找新中國》在內地上演
a possibly subtle culturally subversive reading of the
時，所遭遇上對於香港藝術工作者敢於創新運用中國特
marginal Canton culture in geo-political terms,
定正統/官方文化符號的（甚至資格上的）質疑有點類
echoing the Tan Dun incident that occurred during
似，反映香港在整個中國現代文化中的特殊腳色（甚或
the handover celebration concert.
「優勢」）。至於演出到法國公演後回到北京重演得到不
同的評論反應，現象説明，這種外銷回流的迂迴滲透，
(IV &V)
仍是可行（雖也是可悲）的文化策略。
Another CCDC featured program this season, Jumping Frames was a joint production with Videotage. A total of
《一桌N椅》另一個令我個人感到意外的，是「帝女花」
nine works of‘dance + video’ commissioned or selected by
的選段，配的是全晚唯一以塌倒檯椅作為背景的安排。
a panel were arranged in two screening programmes.
在以南北戲曲的編舞分工基礎上，曹誠淵此舉，使我立
Unfortunately they were presented only at the Fringe theatre,
即聯想到余少華在《樂在颠錯中》，就譚盾在香港回歸
and not on a big screen as those in the 3-D Dancing
表演上採了《香夭》的論述分析，為舞作给出另一層次
programme. Since most of the works were not based on
的香港文化藝術的特殊政治反叛色彩 。
any performance project, we did not see highly inventive choreography or sophisticated group dancing, most works
（四與五）
in fact seemed like improvisations done on location. The
同為重頭的節目，是CCDC和「錄影太奇」合辦的「跳
media’s foremost objective seemed to be to take the audience
格」。這次節目選以「舞蹈+錄像=!」來宣傳，隱然反
away from the stage to see dancers，actions done in non-
映大會將舞蹈和錄像地位平起平坐的姿態，重視兩者媒
conventional places.
體相加時所產生的火花。可惜宣傳雖久，並安排了三場 相關講座，但最後未能如上次「2-D舞影錄」般讓作品
Yuri Ng’s performance in Seba Lallemand's Alienation,
在電影資料館的大銀幕上放映。九齣的短片，分為撮合
produced a second layer of arty human alienation against a
編舞與錄像人的委約作品，以及經評審推薦的公開徵集
hushed Central, the beginning scene danced against the blue
兩個主要類別。看了分成兩場的放映會，其實皆見不到
tape police use for public control seemed to be only an
太多的舞蹈，或者當中的編舞，始終沒有堪比演出的預
unintended coincidence (despite its potentially significant
算，也沒有舞團的人腳•於是場景的選擇，與環境的單
meaning). In Yuri Ng’s own choreography, A Cup of Tea,
打獨鬥.幾乎成了所有作品的重心，著意以鏡頭帶領觀
the director Maurice Lai’s stylistic treatment further
眾走出舞臺看舞。
strengthened the grotesque playfulness between the high and
low, so typical of Ng’s work. More somber in tone (because 委約作品《流離都市》由錄影太奇的駐場法國藝術家斯
of its meta-physical theme on love and death) but equally
巴•拉勒蒙導與拍•伍宇烈穿著黑西裝在中環鬧市人潮
visually stunning, was Daniel Yeung, Nose Chan, and
中舞動，在碼頭地上翻爬，trailer的節奏似更合拍•反
Christopher Lau’s collaborative piece: Aftermath (in memory
是一開始與警方藍白膠條的拉扯•意念上帶有公共空間
of his body).
的挑朵性。至於由伍宇烈當編舞的《一杯茶》’四個舞 者化成街邊打烊茶餐廳的二打六’選材有趣’造型配樂 誇張•加上導演黎宇文的鏡頭取景，令使整齣黑白影畫
更加風格凌厲。看過黃霑早前給吳宇烈作的訪問’談到 藝術家如何面對自己的心結關 ，忽然覺得伍宇烈一再
拉扯「高一低」素材大纜的個人作風，背後心理無疑值 得細味。
北京空空舞室的《出口》■山東李凝的《Untitled-3》’ 都不約地在比較促狭的圍內空間來找尋另種藝術思绪的 釋放：傅慧儀導演的委約作品《舞在北京邊上》’堅持
於公共空間演出.反映港人作客北京的不同心理。特邀
作品《任天堂沉淪》，則展示導演拉許沙作客香港游擊 式拍攝的相對自由.卻因此未有突入虚擬世界，停留在
現實的困窘局面。由吳小肥操刀的《10夜排演記事
簿》，倒帶效果那種對地心吸力的違抗，雖仍是萬試萬 靈.最後的一把火，卻似過於矯情造作。楊春江、陳序
慶及剴柏基合作的委約作品《迫光（軀體惮念）》，探索 死別身離，意象閃畫在飽一素、動
一靜兩極之間，由於
題材較為抽象，視覺效果於是更有發揮.相反實景往往
成了形下的干擾。
餘觀香港本地編舞者的錄像，似乎都傾向尋找和因應空 間而創作，王榮祿編導的《10夜排演記事簿》中廢棄的
學校，梅卓燕、楊惠美編導的《愛未》對於荒置大屋的 鍾愛，都彷彿延續著香港文化研究所謂「消失的文化」
的美學特色。《愛未》的「60分鐘真人版」，自然是一 個有趣的異數.從一個「場一鎖」性（Site Specific）的舞
蹈化成了錄像，卻竟在異地重生，似轉成了一個場地與 場地間的對話，除了邀了龔志成、盧偉力加入，錄像的
殘影角色卻反更為凸現，最精彩的構思，莫如加添了現
«
場的鏡頭投影，把真實的劇場時空也轉化成「錄」像的 形式出現，兩個不同的時空，於是在同一種隔膜經验中
衍生另一重的暧昧關係。
2 （六與七＞
動藝同於五月中辦的《生命速記》，也是個標榜「跨媒
體舞蹈劇場」的演出，編舞王廷琳、導演鄭傳軍，加上 音樂創作/聲音演出的莊宇耀和梁小術、陳友榮的裝
置、小橘子的繪畫、董啟章的文本創作，還不是全部的 陣容，舞者除了梁家權、周慧等五人，演出更是邀來松
本大樹、落合惠利子、林志傑和兩位小女孩一同演出 。
作品的副題：「给世界上每一位在苦難中挣扎的兒 童」•則坦懇道出動藝長期對社會問題的關注心跡 。
舞作試圖組合主題和參與者的不同面相，有借助道具（玩
「跳格」錄像作品，上起：伍宇烈《一杯茶》，梅卓燕和楊惠美 《愛未》，李捍忠、馬波、龍永邦、厲詠詩和傅慧儀《舞在北京邊
上》1楊春江、陳序慶和劉柏基《迴光(軀體悼念)》。
讲、戰备I而淺白的，也有動作服裝較抽象的.有時人聲
Jumping Frames dance videos, from top:
音樂和水性圖畫彼此相融，有時光管泛起的漂亮調子則獨
Yuri Ng's A Cup of Tea, Mui Cheuk-yin & Yueng Wai Mei’s
立延名：至於舞種的多元性亦然.如編舞所言，為的首要
是服传於良善的主题意願，不管出處，卻對應世界性現
Ambiguity, Li Han Zhong, Ma Bo, Franky Lung, Terry Lai & Winnie Fu’s Dancescape@margin@Beijing, Daniel Yeung, Nose Chan, & Christopher Lau’s Aftermath (in memory of his body).
象。但藝術在手段與目的上，本不該自我異化.董啟章對
Exit by Beijing’s Kong Kong Dance Studio and Untitled-3
他人苦痛的感受，和自我的後設反思結為一體，其實自身
by Fierysky Li, also from the mainland, both used an
已説明「藝術能改變人心」斷不該只是「奢望」。
enclosed space to counter their expressions of creative
yearnings. Hong Kong Winnie Fu and Franky Lung’s 相對於黎海寧就《畸人説夢》所謂「整個故事由很多夢
dancescape@margin@beijing, in contrast, insisted on
境串連，但要觀眾去判斷」，進念•二十面體的《2004
having the Beijing dancers perform in public space (without,
香港漫遊— —劇場內一個關於香港的多謀體音樂旅
however, touching on any really sensitive issues). So too,
程》，導演雖仍標舉「媒體就是內容」，但創作的內容
Pierre Larauza in his Over the Game paid much attention,
實際（從來）已不止於媒體自身，尤其當中若有令觀者感
as a foreign visitor, to our familiar urban environment. 10
動的部分。就簡寧漢來港的兩場演出，楊春江在〈精煉
Nights - Rehearsal Note, choreographed and directed by
至純的舞蹈境界〉一文中，就提出了一些值得思考的想
Ong Yong Lock, represented the typically opposite
法。他把「沒角色身份」、「沒情感元素」的「純形式
Hongkongese way of working. In it, the discovery of the
舞蹈」視為對應於「應用數學」的「純數學」，甚至認
abandoned school served as the uncanny initiative for the
為，簡寧漢的「淨化語言更容易與其他媒體溝通 」。但
piece itself. It is worthy to note that Hong Kong cultural
媒體純形式之間，究竟想「溝通」什麼的內容？
theorists’ notion of “the culture of disappearance” still seems to apply very well to such artistic preferences.
簡寧漢舞團的這次重臨，兩場演出都有叫人遺憾的意外
臺下演出，比臺上更加即興。這莫非正是邁克在〈簡寧
From dance video Ambiguity to Ambiguity - Live on Stage，
漢的第二個機會〉中所謂「自助式文化活動」「花錢買
Mui Cheuk-yin and Yeung Wai-mei (as choreographers,
難受」的表現？不過是如「看抽象畫」的觀賞經驗，在
directors, and performers) interestingly dealt with a recorded
今天其實仍有什麼的前術性可言？簡寧漢的真正挑戰，
site-specific piece made in an empty warehouse in
我忽然覺得，甚至不是挑戰傳統根深蒂固的表演整合作
Copenhagen, and gave it an extended new life in the real
者論，容許（不論6/ped的調性或過去lohn Cage的無調
world at the tiny Fringe Club 02 Theatre. The addition of
性）音樂和其所編動作的各自表述，而是要崇拜「大師」
music by Kung Chi Shing and the poems of Lo Wau Luk
（master）（神化藝術家觀念）的一眾人等接受大師一樣「有
might have provided new textures to the work, but it was
時行，有時不行」。當創作者明言作品不附實際傳遞訊
the use of live video projection that added a wholly new
息的功能，觀者「如何看」，就無疑比舞者「如何跳」
dimension to the performance, producing a kind of unusual
更值反思。
duo-media ambiguity.
（八 ）
(VI & VII)
有位進修過舞蹈的友人最近説我在舞蹈手札有個專欄 ，
Children’s Prayers by DanceArt Hong Kong was another
怎可以撒賴説自己不是專業。但把有專欄等同於專業，
work that fit the popular genre of ‘Multi-Media Dance
未免是對於其自我專業的不鉤自信，太給為了行事方便
Theatre\ Live vocal music by Ulysses Chuang and Priscilla
的虚名騙了。我從來也是抱著一個學習中、求有識之仕
Leung provided the primitive tonicity to a rather
賜敎的身份和心態來寫作。仍硬著頭皮繼績，主要是另
straightforward apology by adults for the sufferings of
一位跳舞朋友的一番話，他説我的文章，起碼可以讓舞
children around the world. The touching dedication of the
圈的人看到其他不同類人對於舞蹈的不同思考。唯有這
dancers and all those involved in the project answered Dung
個説法，能讓我稍稍坦然的寫下去。
Kai Cheung’s self-reflective writings that questioned whether art could really change a person for the better.
近期由於時勢政局，令我往往聽著收音機到開演前的最 後一刻；舞臺的獨立世界，卻因此總叫我未能充分投
In contrast to DanceArt’s emphasis on the conveyance
入。至於覺得香港的藝術創作欠了一些呼應社會的意
of messages via art, one still encounters, in Zuni’s latest
識，我雖知這是粗暴強加的認知要求，但也卻是我對藝
production 2004: a Hong Kong odyssey 一 A Multi-media
術的真心失落，一如我們不再以編舞者的動作編排作為
Theatrical Music Journey^ for example, the view that
欣賞、談論舞蹈的重心。若果我們真的相信觀者參與完
‘The Media is the Message’ or 4 Form is Function'. Ina
成作品、開展交流對話的重要性，一個可能的説法，是
recent article on Merce Cunningham, Daniel Yeung
當代的舞臺演出焦點，並不再是在臺上刻意加添的梳
suggests that we treat Cunningham’s work as a pure form
化、桌椅、大床.也非结束在表演者謝幕、觀尿拍手之
devoid of emotion and character, comparable to pure
時。動藝成員對於「演後藝人談」那種近乎乞求溝通的
mathematics. Yeung even suggests that this purity of
耐性，可能比一切還更是可貴。■
language might have been a key advantage in allowing
Cunningham to be ahead of his times in communicating
(VIII)
with other media. But this brings up the rather vexing
It maybe that I will always be held accountable for my
question: “what remains to be communicated in media
lack of professional dance and dance criticism training,
stripped of content?”
or perhaps it may be that my ‘outsider’s’ view has something different to offer. I simply cannot tell which
For the return to Hong Kong of the Merce Cunningham
is more reasonable. Just as when watching a dance
Dance Company, there were a few different unplanned
performance, such issues are more and more left for each
incidents that occurred in the auditorium on successive
audience member (or in this case, each reader) to decide.
nights. These might not provide the proof of the company’s
It seems that, particularly when a dance is devoid of any
avant-garde-ness, but what after all is so challenging about
message, instead of asking “how to dance,” a paradigm
the idea of looking at an abstract dance (when abstract
shift to “how to see dance” is occurring more often. As
painting has been around for almost a century)? For me
more mental/intellectual or even physically active
personally, the truly intriguing point of Cunningham’s
participation by the audience is required to complete a
independent treatment of choreography and music
work (that of a communication process), the ‘state of
(regardless of whether the atonal John Cage or the tonal
the art’ is certainly reflected by the (over?)abundance of
Biped) - his putting them together for the first time
‘Meet the artist’ sharing sessions. As the author of this
(sometimes by chance) only in performance - is that the
column, patience in dialogue on a humble equal footing,
results can still be judged individually by each member of
is certainly what I still strive to learn. ■
the audience. The title of one of Cunningham’s works is worth citing: Sometimes It Works, Sometimes It Doesn’t.
▼TWm〈一i涵i丽 尤其發揮在馬松漢的角色上，他那説書人的角色一直忙
有否錯付同情？大部份觀眾也許忽然頓感迷失之際，演
於為作品説文解字■在具體、抽象之間刻意架起橋樑。
出卻终劃上句號。
森山則以他糅合芭蕾及舞踏的身段在貫串他那一直沒有 先兆便舞得極之深沉與鬼魅的角色。相較之，王似乎沒
王因為身、心的不逮和損傷而不再演出的決定，説實在
有貫徹明顯的定位，而是以片段式地游離於兩個角色的
也叫舞者忐忑了好一個晚上•••…固然.假若舞蹈真要如
情绪和突如其來的衝動之間。然而.馬忙不迭在縫隙間
一般人以為的•只是在心靈自我陶醉和釋放.及生理上
以台詞補上意思•在刻意傳遞「明白」與「不明白」之
自我折騰之間掙扎的話，舞蹈的日子也著實不能多久，
間，也似乎突顯了戲劇總較舞蹈易於成為主導的角色。
除這種兩難局面之外，舞蹈的世界還可有多遠，這才是
讓我們深思的……舞蹈仝人，共勉之。■
是表演還不是表演之間 那麼•舞蹈到底是什麼角色？在演
後藝人談之環節中，當大家在討論 和細味之前的演出之時.王忽然感 慨地宣佈這其實是他最後一次踏台
板之作，只因他一直的付出與投入 已敎他心力交瘁，那切膚之痛實在
叫同是跳舞人的同感哀戚•説至哀 傷處他還忽然逃離現場，然後森山
也似乎為要安撫王而相隨離去•討 論環節也得草草完事：忽然.正當
大家以為真正曲终人散，舞台音響 和燈光卻再起.馬就在原地繼續演
出尚未完一章•還加上剁是好看的 機動場景裝置和舞台技術效果…… 原來剛才一切都是早有安排？現實
和虚假又再次交鋒— —到底王的深 情剖白有多少已被編排？大家著實
不加鎖舞踊館《夢的10日10夜》。攝影：張志偉。
舞評
Review
夢在永遠的兩難之間 文：春江
不加鎖舞踊館《夢的10日10夜》。攝影：張志偉。
跨媒體劇場導演羅■伯特利柏殊(Robert Lapage)
承而説「舞台是一個永遠在實體(Reality)與幻象
並投射進汽球中去，然後整晚我們便手執著自己的夢
想，成為了整個演出中最明顯的符號。
(Illusion)之間追尋夢想的地方。」莎士比亞卻説舞台 演出其實最重要的，是觀眾。剛於三月中由不加鎖舞踊
其實什麼才是「最重要」呢？這三個字對城市人來説可
館演出的《夢的10日10夜》似乎正切合(或整合)了
能有點撲朔迷離，對於所謂文明城市中那種生命所不能
兩者之説。這台舞蹈劇場演出一直緊扣著「夢」這個主
承受的「輕」，一切都即食、快省：或許，有時候「夢」
題，隨有關表演者們對夢的執迷，至闡釋著每人皆有自
的超現實，反而在他們心中比很多其他東西更需要•更
己理解夢的方式的種種，叫觀眾和演出者一起來一次夢
「重」要。
飛行。
真假、虛實之間 夢的定義
演出中有很多大膽的嘗試、豐t的假設，讓觀幂游走於
中文的「夢」是指我們睡眠時大腦中框神經所反射假像
真假、虚實、甚至台上、台下之間。説起什麼是最重
的夢境，還是對將來有所冀盼的夢想，大抵要看所言者
要，馬松漢卻和觀幂玩起現實遊戲，他亮出一張張由小
前文後理所付予的意思；英文的Dream則乾脆一字二
至大不同面值的鈔票來引誘觀眾，逗得哄堂大笑之時，
用，動、名詞也以一字涵概。曰語中「做夢」和「夢想」
想不到真有觀眾會投入搶錢的族群.只是同時間王與森
卻是兩個完全不同的詞語，解釋範圍完全壁壘分明。這
山卻在台上舞起優美鬱怨、技巧與情緒都拿捏得極之搭
晚演出來自戲劇界擔當「説書人」角色的馬松漢的台詞
檔的雙人舞來，筆者位處前數排，於是忙於享受台上的
一貫中英對照，華裔舞者王榮棟及曰裔舞者森山開次也
優美動人，又分神於身後的搶錢瘋狂遒戲，台上和台
同時演繹各自夢境，大抵也會為夢的定義引出不少吊詭
下、金錢或藝術，突然身處在一極其現實的角力場景。
的解説。 具體和抽象之間 但對觀眾■而言，演出的安排似乎於一開始便伸延至「夢
有這樣互動式的設計當然也叫觀幂投入不少•亦彌補了
想」的層面去— —觀眾甫進場便獲得一個汽球.源起於
一般觀取＜2 為現代舞便是「抽象」的疏離感。這方面•
馬松漢叫大家集中意念，將心裡認為最重要的柬西想像
、
下接第10頁
@ 舞評
Review
Mirror and Microscope by Tom Brown
Karl/Joseph K perceives himself as grotesque,
the last two months CCDC presented two evening外 length works: The Comedy of K choreographed by
unintelligible, alien in a world that reacts to him with either
Helen Lai at the Kwai Tsing Theatre on 2 and 3 March; and,
antagonism or indifference. The fate of Prague’s Jews,
One Table N Chairs - The 5 Senses of Chinese Opera,
about which Kafka was so prescient (he died in 1924),
choreographed by Willy Tsao, Li Hanzhong, and Ma Bo at
resonates so frighteningly today in events in Asia, the
the Hong Kong Cultural Centre Studio Theatre on 30 April
Middle East, America, and elsewhere that Lai’s choice of
and 1 May. Lai draws on the works of one of the 20th
the world of K as a central metaphor and springboard for
century’s most influential writers to reflect on the 21 st, while
her work on 21st Century man is right on. Her selection of
Tsao, Li, and Ma scrutinize tradition to inject new meaning
music by Alfred Schnittke, Gyorgy Ligeti, Eugene Ysaye,
into the present.
and Leos Janacek (as well as German/Argentinean Mauricio
f
Kagel and British John Tavener) echoes the mitteleuropean
The Comedy ofK
feel of the work as much as Taurus Wah’s costumes. The
At the start of Lai’s work, a group of dancers in black suits
set by Tsang Man-tung, which includes a hospital bed and
and bowlers stands in a circle. Bits of fabric hang beneath
high backed, velvet upholstered salon chairs is dominated
their jackets like tallith tzitzit, the fringe of prayer shawls
by a huge light-ringed platform suspended ominously askew
worn by central European Ashkenazim. They surround a
above the performance area like an inverted stage or the
naked man who lies prone on the floor. As they stare at
blade of a guillotine poised on its downward sweep.
him, they gag and cover their mouths as if sickened.
Together with Gabriel Fung Kwok-kee，s lighting, these
Suddenly, he stands as if startled from a dream and they
transform the broad expanse of Kwai Tsing’s stage into a
back away. As he trembles they peek at him from behind
nightmarish world where people appear and disappear from
their hats. A few giggle nervously at first, then all laugh
shadows.
derisively. He collapses back to the floor. They close in and one after the other clap sharply at him, like visitors at a
As the naked man continues his tormented encounter with
zoo trying to draw the attention of a caged animal. As all
a world turned upside down, the group is entertained by
clap, he haunches over on hands and feet, quivering,
Chen, who pulls colorful handkerchiefs from his hat，etc.，
A soundtrack of applause draws the dancers’
while he either studiously avoids noticing the naked man
attention away to a bright-faced smiling character in clown
or pooh-poohs him as an interruption to the more serious
make-up (Jim Chen) entering briskly from the right.
business of diversion. Finally, Chen covers the man with a
frightened.
sheet and repeatedly incants a spell, as if trying to make
Thus, with an allusion to Franz Kafka’s hapless salesman,
him disappear. Instead, he chases Chen off.
Gregor Samsa from The Metamorphosis, who wakes from
juxtaposition of Chen’s shenanigans against the naked
a nightmare to discover he has been transformed into a man-
man’s suffering, and their reversal - the object of derision
sized cockroach, Helen Lai begins The Comedy ofK. It is
getting up and biting his tormenter on the ass - Lai
a precis of Kakfa’s fix on modern life in which Samsa/K/
introduces the main themes of her work. Using motifs
With her
drawn from music hall, circus, and absurdist theatre to build
him.
a sui generis vocabulary of expressive full-bodied
The lying man rises; the man left behind pushes him back.
movement to examine the easy road from provisional
The lying man reaches up and embraces the other who
revulsion of the ‘other’ to its trivial ization, to the capricious
ignores him, rebuffs him. He tries again and again to engage
nature of ‘otherness’，Lai explores the consequences of
the sitting man, his attempts growing more intense and
individual and societal complicity, passivity, and evasion
insistent. Finally, they struggle and the lying man gets up
in dehumanization and tyranny.
and leaves the other man there, lying in his place. As if in
Filing off, they leave one of their fellows behind.
further variations on musical chairs, here and in succeeding The next scene begins with the dancers lined up across from
scenes, Lai has different dancers occupy the bed. In this
the bed where a man lies under a sheet. To Kagel’s ominous
scene she echoes the reversal of tormented turning on
MM51 with loud ticking clock, the dancers perform a series
tormentor and varies it by constructing an elaborate charade
of choral gestures with their hats as they creep toward the
in which the group of spectators chooses one of their own
lying man. Using them to conceal themselves, crouching,
to replace the ‘other’.
they peek at him and take a few quick steps. Casually twirling the hats to disguise their advance, they sneak up on
In the next scene, Lai elaborates on the ‘other’s’ sense of
him. Facing away, they back-up towards him. Distracting
isolation and alienation as two women, echoing the naked
attention by playing a balancing game with the hats on their
man in the opening, sit apart. Squirming, they move as if
chests, then spin and fall, rolling and crawling, the hats
their skins crawl, as if their actions are alien to them. A
pushed down tightly on their heads, as if to get below his
choral scene enlarging on these motifs follows as, facing
line of vision. Clustering together, they pass the hats around
away from the audience, the group wildly gestures, fidgets,
to each other, like a variation on musical chairs. Finally,
and twitches, each as if alone, isolated from the others. This
cautiously, they turn to face the audience signaling our
leads into a solo by Xing Liang, who performs a lyrical
silence and collusion by pressing their forefingers to their
lament that weaves together the movement ideas of the
lips and then sharply flicking them to point him out to us.
preceding scenes, the crouching, the staring, the hiding, the
They quickly glance at him, turn to us shaking with silent
hat tricks, the restlessness, the struggling, the betrayal of
laughter and then move in to sit on the bed, surrounding
the familiar, of being thrown into the unknown, of awakening
CCDC’s The Comedy of K by Helen Lai. Photo: Ringo Chan.
CCDC’s The Comedy of K by Helen Lai. Photo: Ringo Chan.
alien. Performed to the solemn prelude of Schnittke’s
similar duets follows while the bed’s new occupant rises
Memoriam to Shostakovich, Xing Liang’s dancing is pure
from it, dresses and undresses, attempts to join in on the
He moves from one phrase to the
duets, falls back in bed and trashes about. The scene
next totally inhabiting the movement. When he turns, there
concludes with Chen returning in oversized bow tie and shoes
and direct, exquisite.
is no preparation, it’s as if he is suddenly caught in a
carrying a giant sunflower, moving from one member of the
whirlwind. He performs full-bodied extensions in which
group to the next trying to engage them, but instead setting
he stretches one leg forward and reaches his torso backward
them off on a reprise of their wild gesturing. He descends
horizontally without bombast or bravura, but as if he is being
from the stage, offering his flower to the audience, pursing
rent from within. At the end, spent, he slumps back on the
his lips as if to kiss them, and mouthing silent entreaties to
bed staring vacantly into space as the lights fade. The lights
them, before wandering off.
come up on Chen, who has returned and is lounging on his
2
back, dressed in a luxurious satin quilted robe, reading aloud
In the next scene one dancer after the other enters the space,
from a newspaper. While he is preoccupied by reports of
undresses and jumps onto and tumbles around on one of
SARS and bird flu, three of the group sneak into the space
two beds now occupying the space (the second bed is
from an upstage window. As Chen descends into incoherent
inclined, its head raised above its feet).
ranting and raving, the three take turns gesturing abusively
with one dancer sitting slumped on the edge of one bed,
at the man on the bed. The scene ends with Chen screaming
another spread eagle on the raised bed, his arms outstretched,
at the man, the man collapsing on the floor before a gaping
ankles crossed, like Christ on the crucifix. As the lights
hole, and Chen inadvertently falling into it.
come up again, a man sits playing the adagio of a Janacek
The lights fade
piano sonata while two others, whose heads are wrapped in A forlorn duet follows in which the two dancers cling as
scarves, listen. As the music plays on, the piano player
much to themselves as to each other, touch not so much
approaches the couple attempting to embrace them, fondle
from desire for the other, but to use the other as a prop, a
them. They are impassive like rag dolls and he returns to
place to cower, as if each is the other’s bed. As they dance,
the piano, wraps his head in a scarf and continues playing.
one of the group watches through a window behind them.
The scene ends with a dancer emerging from beneath the
As the duet ends, the voyeur raises the window reaching
clothes discarded at the opening of the scene by the others.
through to put his hand over the man’s mouth. A series of
Watched over by Jim Chen, who hangs suspended above
her wearing a pair of giant wings, she squirms around the
the sequence. He alternates these with fluidly sustained
pile like yet another discarded rag.
gestures that carve and mold the space around him. In the background, the group acts as a chorus, shifting in a slow
The penultimate scene begins with a film of the dancers
motion vortex of movement. Chan’s solo is visual music, it
struggling underwater as if drowning, a dancer standing by
sings; his performance is so strong and clear, the flow of his
the bed undressing, and the group facing the audience and
movement so articulate that it is flawless. Like the music
once again performing their individual wild gestures, this
he evokes, his movement is highly colored, oscillating
time in slow motion. The forlorn duet is reprised with the
between extremes. Its reference to the martial arts and to
couple performing their movements apart from one another.
Chinese opera movements is explicit. More often than in
After this, a second couple performs. The man lies beneath
these forms, however, Chan resolves his movements into
an inverted street lamp (hanging upside down it looks like a
moments of repose, contemplation. At times his aggression
Temple’s sanctuary light) as the woman, dressed in rags,
seems inwardly directed, as if he is carrying on an interior
lies beside him. She caresses his face, embraces him, lies
debate. As he ends his solo, another dancer steps out of the
atop him, places his arms around her, nestles her head on
group, replacing him in the center as he moves off to one
his chest. Throughout, he lies motionless. The lights dim
side. One by one the other dancers leave the upstage group
as she departs and come up again on the bed, lit as if by a
to take their turn as the central figure, then join one of two
shadow cast by a jail-cell’s bars. A dancer enters and moves
groups forming on either side of the stage.
languorously on the bed as Jim Chen, his head imprisoned
prologue, a bit of exposition, introducing each of the dancers
in a basket, lip syncs to John Tavener’s Death from the
who will later become pivotal characters in episodes of the
Akhmatova Songs.
dance that follows.
In the finale the group, in a triangle formation, walks forward
The dancers are costumed in contemporary dark colored
and backward, raising their hats and smiling on the forward
shiny outfits. One man sports a silver lame codpiece over
steps, then retrograding the movement, the smile fading on
dark leathery pants, while some of the women wear vinyl
The scene is a
the retreat, like a film run backward. To Schnittke’s
Collected Songs Where Every Verse is Filled with Griefthey perform a slowed down Chorus Line number intercut with
gestures of despair, confusion, loss, abandonment, dejection. At the end, one by one they depart, leaving their hats behind
like memento mori. They rush in again; momentarily stare out at the audience and exit leaving one man behind. Doffing
his hat, this survivor takes in the hat-strewn stage and repeats the forward/backward phrase again and again until he disappears into the shadows.
The Comedy
is a work of genius. In it, Lai, at the
height of her choreographic powers, creates a dance of
compelling beauty, profound insight, and resonant import. Using a superbly crafted and original movement invention
she develops the work with unwavering focus. The company dances magnificently; every gesture, each movement is true.
The inclusion of the wonderful Jim Chen provides another layer of meaningfulness to the work.
One Table N Chairs - The 5 Senses of Chinese Opera
begins with a solo figure (Chan Yi-jing) isolated in front of a cluster of dancers. Chan performs an extended phrase of
sudden thrusts and parries, explosive punches, kicks, and quick steps employing the torque of his spiraling torso and
CCDC performs Willy Tsao, Li Hanzhong and Ma Bo’s
the force of gravity to fall and rebound effortlessly through
One Table N Chairs. Photo: Ringo Chan.
bras with short tight skirts. Some of the costumes are padded
each other and the chairs to elaborate on the idea of
and some studded so that they have a generic military/SM/
fellowship. The next scene is a transition that explores the
gay bar look about them. On the other hand they are also
use of the Hair and the dancers, now wearing trench coats,
apt modern translations, reinterpretations of the gear you
follow Noel Pong through the space bobbing their heads.
might expect to see in traditional Chinese theatre.
At the
In Farewell accompanied by a passage from the Er-Ren-
end of the opening scene, the dancers exit and two chairs
Zhuan Eighteen Farewell, Janet Chang and Joann Chow play
are placed in the space. As in Chinese opera, these chairs
out a chummy scene on the table again using spiraling around
and ones like them with stilt-like legs, and a table, which
each other, this time resolving it with one standing atop the
are rearranged throughout the work, provide the only set
other as if poised on a promontory watching the departure
The dance is divided into nine scenes each
of a friend. The scene ends with Chow disappearing beneath
accompanied by music from one of the putative hundreds
the table. Qiao Yang performs Body, the next transitional
of regional styles that can be found in Chinese opera.
episode in which she exquisitely explores seemingly endless
Serving as the prologue and as transitions between some
articulations of the torso.
for the dance.
scenes are episodes that use as points of departure one of
five performance elements common to all Chinese opera.
In Comradeship, to a selection from the Jing-Ju Harmony
These deal with the use of the step, the hair, the body, the
in the Court, which tells the story of the attempt during
eyes, and the hands by the dancers as they play out themes
China’s Warring States period to build up allegiances, the
of reconciliation, fellowship, parting, homesickness,
dancers pile the chairs and the table together to form a
allegiance, reunion, revenge, ill-fated love, and happy
labyrinthine platform around, through, and on which, five
endings.
men and a woman perform a dazzling series of gymnastic and acrobatic movements arranging and rearranging
In each of the scenes and transitions, the choreographers
themselves in tight formations that move from symmetry
home in on one or two salient features that strip bare the
into asymmetry like pieces in a giant clockwork.
sentiment behind the operatic story explored in the musical
process of their machinations, different dancers ascend to
excerpts that they use. They are thus able to depart from
seat themselves at the top of the pile. Each round of actions
the traditional sources and interrogate the conventions that
echoes preceding rounds, with slight variations, however,
dominate these forms. By questioning these precepts they
so that what first appears to be a rehashing of familiar roles,
tear down the veil that provides sanction for what might
produces different consequences with each retelling.
In the
otherwise be unpalatable. By deconstructing their sources they uncover the emotional core that the sentiment of the
In Reunion, to an excerpt from the Chao-Ju Meeting in the
originals camouflages. By moving away from linear
Grain Room, Jay Jen Loo alternately lounges and lurches
narrative, the choreographers also avoid the trap of
across the stage using one of the chairs either upright or
illustrating the stories and getting lost in literary minutiae
upturned. His somnambulance, interrupted by starts and
They are able to expound on the emotional kernel contained
fits of movement, moments of terror and apprehension, is
within the opera theme and build movement metaphors that
played against a background of the women dancers who
they then develop to draw us into their ideas.
saunter around the stage as if unaware of his presence. Rather than offering the sense that everything remains
In the first scene, Encounter, to music from Chasing the
unchanged upon his return, that he can take up where he
Fish in the Yue-ju style, the dancers perform phrases that
left off, even after lengthy separation from ‘home’ and
speed up in their spiral toward each other and slow as they
‘loved ones’，the scene seems to say “you can never go
loop away - their steps seeming to become suspended in
home again.”
time. The choreographers’ use of spiraling in space and
Eyes, with frantic gestures that attempt to pinpoint an ever
time to signal the emotional rush of approach and the sense
shifting focus in space while the dancers, who have again
of time being unbearably stretched at withdrawal sometimes
donned trench-coats, traverse the stage in broad running
mirrors the music and at other times stands in stark contrast
passes, one after the other. The interlude serves as a
to it, partnering the musical form and carrying on a dialogue
companion to the preceding scene, by reinforcing its notion
with it.
of dislocation.
In Bond, to an excerpt from the Qin-Qiang Horse
Michael Lopez starts off the next transition,
Flume, Lam Po and Bruce Wong begin with a face off at opposite sides of the stage then use shadowing,
Chan Yi Jing is magnificent in the next scene, Revenge, to
counterbalance, and mutually supportive partnering with
music from the Yu-Ju Luoyang Bridge. Caught in the center
of an imaginary cross whose axes are defined by four chairs
intricate gestures. The finale uses a well-known excerpt
arranged in the middle of the space, Chan dances his solo as
from the Huang-Mei-Xi The Marriage of the Goddess as
an exegesis on polarities. Recklessly, he hurls himself into
accompaniment for the dancers’ easy going amble around
a turning fury coming out of it to gingerly place his foot on
the space to greet and embrace each other in a simple and
a chair. He whips through a succession of curvilinear torso
Happy Ending.
actions that have their resolution in a direct thrust of his
arm or leg. It’s as if he swings between flight and a crawl,
Willy Tsao, Li Hanzhong and Ma Bo’s use of movement
as if the rage that fuels him also binds him, the thing that he
elements from traditional sources as a starting point for their
uses to set himself free, defines him, confines him.
invention in One Table N Chairs enables them to create
something entirely new and absolutely contemporary and The penultimate scene, Dyingfor Love with Cheng Pui and
yet something that has the weight and rooted-ness of the
Luo Fan is set to an excerpt from the Yuet-Ju The Flower
familiar. Helen Lai’s reliance upon the integrity of the
Princess. In it, the couple’s movements seem to melt into
gesture and the inviolable truthfulness of movement
each other, as if blurring their individuality. The dancers
expression in The Comedy of K posits it firmly within us,
move somberly with one then the other shadowing while
like self-discovered verity. At the same time that we are
around them the chairs and tables lie scattered, overturned,
exhilarated by the ingenuity of these dances we feel entirely
As the density of the couple’s
at home with them. The choreographers’ development and
movements build into a tango, the rest of the dancers enter
masterly manipulation of movement into distillations of
weaving in and out of a line in a kind of hieratic danse
universal themes draws us in and carries us along.
macabre giving the scene an overwhelming weightiness as
Simultaneously, the choreographers’ sensitivity to their
if the space itself is pressing down on the couple.
The
dancers and the dancers ability to take the material given to
concept of noble sacrifice engendered by high-minded ideals
them and soar with it, to work as an ensemble totally in tune
that dominates the operatic source is replaced by the pursuit
with one another, and as a company composed of skilled
and indulgence of the sensual. The final transition before
soloists, distinguishes CCDC’s artistic achievement and its
the end of the dance is Hand, which knits movements from
preeminence, and make it one of Hong Kong’s finest cultural
shadow boxing and table games into a dense fabric of
treasures. ■
the stage in a shambles.
CCDC’s One Table N Chairs. Choreographers: Willy Tsao, Li Hanzhong and Ma Bo. Photo: Ringo Chan.
專稿
Article
香港芭蕾舞團《不死傳說》 文：方人
香港芭蕾舞團《不死傳説》
謝傑斐，舞蹈員：梁菲、梁靖，攝影：陳俊濠
舊曰剪報，讀到香港芭蕾舞團藝術總監謝傑
君、為人民的福祉而偷藥的「英雄」形象，而且對於所
侧嚴斐説到港芭要邁向國際，便須要製作-些以
愛似乎亦搖擺不定。改編後的英雄角色便完全落在逸的
中國為背景的芭蕾舞劇。個人十分認同這個方向：每個
身上。除了射下九曰，成功取藥外，劇中更加上了他除
藝術團體其實都要有明確的特色和定位，才能於國際上
妖伏魔的情節，把他塑造成一個徹徹底威的英雄 。這一
被人認識。港芭三月上演謝傑斐編舞的《不死傳説》，
改變，把這個傳説變成一個傳統的重男輕女的故事。沒
便是其中一鉤朝這個方向走的作品。
有了后笄後來由英雄變成了昏君，貪求長生的此一轉
折，逸這一個角色便平面化了，「射曰」和「奔月」這 雖説舞劇是以中國后羿射日、嫦娥奔月這個家傳户曉的
個故事.也失去了神彩。（當然，這並不是説改編故事
傳説為藍本，但改編之處甚多，最後完成的作品與原來
時一定要完全忠於原來板本。譬如説，如果把角色完全
的故事相差甚大。其中最重要的修改，是舞劇以人物的
反轉，把婦娥描繪成貪心自私，存心偷藥的人也是一個
恩怨情仇為重心，結果原本的故事只成為一個蚪纏不清
很有趣的故事。）
四角關係的背景。這個四角關係的主角是玉兒公主、
逸、公主侍女薇兒和皇上侍術方蒙 。不知什麽原故，故
在舞劇的四個主要角色中，最叫人留下深刻印像的是原
事沿用了「射曰」和「奔月」的故事，但卻捨棄了原本
來傳説中並不重要的角色方蒙。改編後，這個人物成為
主角—释娥和后羿的名字。舞慮1］中玉兒與方蒙原是一
了一個全面而徹底的大壞蛋 。他做大事固然是一無是
對情人，但方蒙射曰不成，结果玉兒被許配與天帝派來
處：射日不成，除妖無力，且被愛人離棄：但做壞事卻
而成功射下九個太陽的逸。方蒙失去了玉兒，便露出醜
得心應手•可説是極盡奸的能耐：失戀後視愛他的待女
惡的一面，利用暗戀他的公主侍女，暗中算計.想要在
薇兒為發泄怒氣和慜念的對像 ，於逸離家尋藥時哄騙和
逸去了尋求長生藥時奪回公主•結果是三人先後慘死•
誘感玉兒，當逸尋得長生藥後又利用薇兒偷藥，最後更
只餘下公主服藥奔月，長生不死。
引政致薇兒自殺、逸慘死和玉兒奔月。事實上，整個舞
劇的第二幕便是由方蒙這種種惡行所推動。
這些改動是否有須要•是好是壞，可説是見仁見智，但
修改後的人物性格•卻典型化了.失去了血肉。玉兒的
方蒙與薇兒的關係充滿暴力•是虐與被虐的關係。兩人
性格一如其名般方便和普通.成了又一個愛情悲劇中的
的雙人舞充滿直接而甚少修飾的、頗為露骨的性與暴
主角•不單失去了完來故事中嫦娥那不齒丈夫成為暴
力.看得令人有點不安。當然，性與暴力正是近年國際
■■KD
上芭蕾舞的潮流和賣點，《不》制中的血腥暴力也許不
但篇幅郤都不長.其實甚有發展的空間 。
能與外國的一些作品相比，而且在現實生活中也的確是 有很多這樣的「家庭暴力」發生著；但是•舞蹈始终不
舞劇中另一有趣之處是群舞中的女舞蹈員用上了水袖。
是一門寫實的藝術形式，這樣的處理是否恰當？究竟如
這可以説是整齣舞劇中最有中國特色的地方。可惜的
何以藝術美學來表達人性的醜惡？這是一個不易找到答
是，《不》劇中群舞並不多，而其中水袖的使用也很簡
案的難題。
單，沒有甚麼發揮變化。其實個人一向都認為水袖和芭 蕾舞都講求優雅，兩者是一個有趣的中西組合。能跔把
當然，舞劇中不是段段都是充滿暴力的。其中叫人留下
正規而傳統的中國水袖舞蹈技巧融合入芭蕾舞中固然是
深刻印像的一段中，方蒙與薇兒「帶暴力地纏绵」起舞
一個有趣的實驗，如能夠另闢蹊徑，别出心裁地以芭蕾
後，側身相擁队於台上。當兩人靜止下來後•男舞者偷
手法來演釋和運用水袖，也會是很有趣，是一個邁向國
偷地把身體從女舞者輕抱的雙臂中抽離了開來，到舞台
際的賣點。
的另一方與夢中情人玉兒翩翩起舞。兩人共舞時，靜靜
臥於台上的薇兒雙臂一直保持著虚抱著方蒙的姿勢。與
縱觀整齣舞蹈，最大的問題其實是在最基本的「劇本」
玉兒共舞了好一會後，方蒙才不捨地返回薇兒身傍，輕
上：以英雄美女為題的舞潮相信沒有一百也有八十，以
輕鑽進薇兒虚抱的雙臂之中，繼續入睡。這一幕在舞蹈
男女情愛為材的優美舞蹈更是不計其數，其實都是吃力
設計上頗見心思，成功地以舞蹈描繪了方蒙、玉兒和薇
不討好的題材。再加上劇中人物性格不跔特出.編舞只
兒的關係：方蒙與薇兒同床異夢，其實心中所戀的還是
好以曲折複雜的情節來補救。結果是編舞便得用上很大
玉兒。
的篇幅和精神於交代故事情節上。雖然編舞在敘述情節
上頗為成功，但台上幾個主要舞蹈員兜兜轉轉，真正的 另一有趣的段落是在方蒙偷取玉兒送給逸的定情信物的
舞蹈---- 尤其是群舞這'一個舞劇中重要部份-----的空間
一幕。這段發生在逸臨行前往尋找長生藥之時，台上幂
和時間便縮減了。《不》劇強調了戲劇性這一個弱項（創
人臨別依依，只見人群中一條手臂偷偷地從眾人身後慢
作班底和舞蹈員並不是這方面的專才），但減弱了舞蹈
慢由上伸下。細看下，手臂完來是屬於舞於後排的方
性這一個強項，在創作上和演出上都事培功半。一些見
蒙。初時這個鬼祟動作的動機並不明確，還有點「鹹豬
心思和有趣的舞蹈編排，也沒有足跔的發揮和發展的機
手」之嫌。手臂的動作多次被眾舞者的動作所打擾而停
會。相反.如能以舞蹈來加強劇戲性，才是一鉤舞剩成
下或縮回後，到最後才成功地達到其目的— —完來是要
功的因素。
偷取掛於逸胸前的信物。這段舞不單以舞蹈動作陳述劇 情的發展，而且把兩件事情---- 送別和偷物---- 重疊進
舞蹈根本上是不適合，也不能跔敘述複雜情節的。忽略
行，加強了戲劇效果，而安排上也有愍疑性，吸引到觀
了「劇本」是否適合舞蹈，其實是編排舞劇上一個常見
眾■注意。這與之前所描述的一段都能成功地由舞成慮1］，
的、也是致命的問題。■
香港芭蕾舞團《不死傳説》。編舞：謝傑斐，舞蹈員：藤野暢央'梁菲'藤岡綾子•攝影：陳俊漠'
籌蹈節目表
Cullberg Ball
TrJ;
HONG KONG MUslcAl/THEATRE FEDERATION PRESENTS
Riksteatern
’ Cullberg Ballet (Sweden)
加爾堡芭蕾舞團(瑞典) 3-5/6
8pm
Auditorium, Kwai Tsing Theatre 葵青劇院演藝廳
Choreographers 編舞： Johan Inger約翰•英格爾 Mats Ek麥斯•艾克 Enquiries 查詢：22687323
■PIPPIN IS A MUSICAL OF ENORMOUS STYLE, AND Douqlas Wall
Pippin (Musical) 《邊邊正傳》(音樂劇)
3ANZA!'
演出 in cantonese
Hong Kong Musical Theatre Federation
爾堡芭蕾舞團 「英格囲和艾克把《今大多人都比了下去。他們潢晰不遇的
香港音樂劇協會
【瑞典】
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k洲風格，令我們不得不跳出傅统思想枢框。」-（》格 人狃》 Both Inger and Ek could wipe the floor wilh many of today's choreographers,
their distinctly European style forcing us lo think firmly outside the box*
11-13/6
7:30pm
12/6
2:30pm
J & T CO.
HK Cultural Centre Studio Theatre
- The Scotsman
香港文化中心劇場
Choreographer 編舞： Mohamed Drissi 謝漢文 Enquiries 查詢:9608 8035
《沉默•暗啞》 黃碧雲讀書小劇場
17-20/6
8pm
牛池灣文娛中心文娛廳
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Ci Choreographer 編舞： 黃碧雲 Enquiries 查詢：2268 7323
Metalove 《形亡極樂》 18-19/6
8pm
HK Cultural Centre Studio Theatre 香港文化中心劇場
Choreographer 編舞：
Daniel Yeung 揚春江 Enquiries 查詢：2268 7323
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Palace IFC NEVE CAMPBELL
malcolm
Director 導演：
McDowell
Robert Altman羅拔•艾特曼
JAMES FRANCO
Enquiries 查詢:27269095
ROBERT ALTMAN
THE COMPANY
Victoria 《維多利亞》 Dulcinea Langfelder & Co. (Canada) »ng Cultural Centre □ lIri-Sun)8pm ;ri-!
杜仙娜•朗費達劇團
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HK Cultural Centre Studio Theatre 香港文化中心劇場
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HK Cultural Centre Studio Theatre 香港文化中心劇場
Choreographers 編舞：
Vincent Mantsoe 雲遜•文素 (E - B Fri - Sun) 8pm番港文化中心
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S-'：'.7；i：! i:M:o ii one of rhe brigh'esl rising s'ars in (he donee woHd. He was irwifed to perfom in Hie renowned Dance Umbrella lejtivol in lordon for 3 hmes. Bom in Soweto, SouA A/rico, Mantsoe is now based in France while louring around the world ftequenify. In 1997, he wos appointed Resideni Chacogiopher ord Auociole ArtijHc Oiieder d As Moving in^o Dacce Compony. bunded in ,978 by SyKio G!o>ser. Th« work of Moving into Doixe - a company #ial greasy conlribi/ed "o ihe artiUit developinerl o( Vincen! Mxjnisoe - is on ongino' fusion of Afrken irovemeBl, riiud ond mvyc wiHi conten-porary WsVem dance fenns ond mujic. Vnxen! Wonlsoe has received numerovs prestigievs awardi and cow-Tisiioos icdud'ng Prix cTouteur du Conjel Generol de Se;ne5oir.»Denis in 1996 & 98 ond l)-« FN3 V.U Chofeograp^er d !U Ye«; ond Best Mt Doncer in ConteTp^fory Sfyte in 2000 Aport from b：j celebrated solo wwb, AVjr.tso* has clio aeatod woils (or Dance THraiit ol Had«m, Boto TheoM AWon. Slcnet DcnsJcoter (Sweden) ond Inbol Oorce Compony oJ brad.
Cinderella 《仙履奇緣》 30/7-1/8
Hong Kong Ballet
沙田大舍堂
香港芭蕾舞團
Sha Tin Town Hall
30-31/7, 1/8
7:30pm
31/7, 1/8
2:30pm
Auditorium, Sha Tin Town Hall *
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沙田大會堂演奏廳
Choreographer 編舞：
David Allan大術•艾倫