HONG KONG DANCE ALLIANCE
>
S
港
-九九九年一月 JANUARY 99
Vol.
淹砷U
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•
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1 9 9 9年1月（創刊镜）
舞蹈，在香港是一門並不熱門的藝術 ：舞蹈評論，在這門藝術中還是最不受人關注的一 環：而嚴肅認真的舞評，更可說是小困子中再小圈子不過的事了。
就因為這是小圈子，所以一開始我們的焦點便很清楚•也因為有清楚的焦點目標 ，便容
易找到志同道合的盟友來做該做的事 ，即是：落手去寓舞評。倘若你看到這份手扎，也
有興趣去寫認認真真的舞蹈評論的話，請跟舞蹈聯盟的普誠濶或潘少輝聯絡 ， 電話：23268597 •稿费不高，甚至每個月我們這手扎盟友還要相約聚會一次 ，聊聊天，
说说舞評的相關事•若不嫌麻煩•你都可以參加。 這份舞蹈手扎的出版|實在不難 •是因為得到舞盟中幾個職業困想會貝的大力支持：首
先，城市當代舞蹈團負贵收集稿件 •之後拿到演藝學院舞蹈學院打印文字，再傳到香港
致謝！ 閱讀這份手扎時•有幾點值得注意： 1•手扎內的舞評只是針對舞蹈聯盟朽盟友（包括團體會貝及個人會貝）在過去一個月
中的創作和演出•香港的舞蹈81體發展蓬勃•種類繁多•又常有機會欣賞外國蒞港 的舞團節目•若手扎內容要一一兼顧•恐怕目標太歎而播不著癢處•橫豎舞蹈聨盟 以肢勤專業性和原創性作品為主•盟友們有大量創作需要各方意見•如今手扎集中
在評論盟友們的創作和演出•於是演的有人要窩|寫的有人要看，正是相得益彰•
2-
手扎是個公開園地1那一位盟友（只要你加入了舞蹈聯盟便是盟友）都可以在手扎 內發表意見。但圮著|這是一份認真、嚴肅的舞蹈評論刊物，一切無病呻吟、無的
I
芭蕾舞團進行影印裝釘 •最後由市政局香港舞蹈團郵寄派發至各舞盟盟友手中 •索然•
最重要的是有一班不計稿酬的手扎盟友一起來把內容组裝•在此注向這些團體和盟友們
禱 鯀 I 今 加
香港舞蹈手札第一期出版了。這是一份由香港舞蹈聯盟盟友們撝手合力出版 的刊物，目的只有一個：鼓惟嚴宙和認真的舞蹈評論•
|
放矢、無關舞蹈演出和r無厘頭j的文字■請不要寄來•以免浪费紙張•還有•因 為這是公開的囡地，所有犒件的筠作人的名字身份邨會被公間，以便文贵自負。
3-
手扎一個月出版一次，你的朋友若想直接收到這份手扎，請叫他加入舞始聯盟•申
請表格已印在手扎中。 I
1 I *he Hong Kong Dance Alliance publication of JL the monthly Dance Jotiriwl/HK is a reflection of
agencies, as well as to international readers. The
the growing maturity and diversity of the Hong
Journal will also serve as a resource for the specialist
Kong dance culture. On behalf of the Hong Kong
to our members, sponsors and other funding
and general public interested in Hong Kong's dance
Dance Alliance Executive Committee it is with great
development. Dance fournal/HK joins a growing list
pleasure that I introduce this new Hong Kong Dance
of Hong Kong Dance Alliance publications, including
Alliance publication.
the three DANCE ON'97 publications: "International
Besides representing the growth of dance in Hong
Dance Conference - The Value of Dance in the
Kong, Dance Journal/HK embodies the community
Contemporary World - Papers and Proceedings",
spirit that the Hong Kong Dance Alliance strives to
"International Council of Kinetography Laban -
The Journal's roster of writers includes
Proceedings ofthe Twentieth Biennial Conference", and
foster.
individual and organizational members from City
the "Directory". The other current Hong Kong Dance
Contemporaiy Dance Company, DanceArt, Dance
Alliance publication is the "Hong Kong Dance Alliance
HK/NY, E-Side Modem Dance Company, the Hong
Newsletter", published two times a year. Upcoming
Kong Academy for Performing Arts, South Asli
publications include a "Hong Kong Dance Alliance
Dance Workshop, and Y-Space.
The City
Contemporary Dance Company assembles material
Directory ofMembers" and a Chinese language version
of the ^Elementary Study Guide to Labanotation
Composition and lay-out is done
Pending realization of funding for the monthly
by Ms. Scarlet Wong, the Dance Alliance
publication of Dance Journal/HK, anticipated in the
Administrator at the Hong Kong Academy for
second quarter of 1999, its production is made
Printing is contributed by the
possible through our members' generous
for the Journal.
Performing Arts.
Hong Kong Ballet, and the Hong Kong Dance
contribution of time, expertise, and work.
Company completes the mailing and distribution
Journal contains articles in Chinese and English,
of the Journal. Dance Alliance Vice-Chairman, Mr.
funding limitations, however, prevent us from
Willy Tsao, serves as the editor.
currently producing a completely bilingual edition.
The
The principal focus of Dance Journal/HK is our
If you are interested in writing for Dance Journal/HK
growing list of member organizations and artists.
or contributing your time in its production, please
Dance Journal/HK aims at presenting a forum for
contact Mr. Willy Tsao at Tel: 2326-8597, Pun Siu-fai
dance writers and providing in-depth coverage of
at Tel: 27269020 or Fax: 23514199, or Scarlet Wong at
its members’ works. The Journal will publish critical
Tel:2584-8573. Dance Journal/HK is a document of
writing on productions, serve as a press-clipping file
its creators' commitment to Hong Kong dance.
of mass circulation press reviews, contain a summary of productions for each month, and a
calendar of future events. The coordination of these elements within Dance loitrital/HK will provide a monthly "snapshot" of Hong Kong's dance culture
文：劉自筌
0
心支持，女方借勢起舞的習慣逆轉。陳敏兒把王輕易
地一手提起，讓他騰空起舞，固然帶來驁喜；及後王
與梁共舞，兩男四目交投，深情一吻，亦技驚四座• 脫去外衣、赤裸上身的王，朗見病發時的痛楚：把藥
丸當甜點，也是無奈下的幽默。 第三段見王於黑暗中逡巡 ，再有歌聲引領■最後於黃 茹的牽手帶引下，重為生命拼圊。衣根背後，何嘗不
是通往光明之路？昔人已往，後有來者：片片落葉，
终成生命之樹。舞蹈結朿時，黑暗中播出寂箕的病 者，於臨终前對昔日情人的呼喚。執子之手，與子偕
老，往日的誓盟•到頭來又可曾兌現呢？
『我想著死亡，但起舞如常。J
(我在地球的最後一舞〉，是r動藝』筚應1 2月1曰 的世界愛滋曰而排練的舞蹈。98年12月10- 1 3曰於簪術中心麥高利小劇場公演五場，以r凝聚青 年力量』為主題，另有香港柑被展覽、另類情書大
赛、愛之生命樹9
下，重見光明。雖死猶生，從病到愛，主題正面、徤
康而積極•可惜自此至终，跳來跳去，依然跳不出二 元染的宿命。移掉一個男性的愛人，換來兩個女性的
8等活動。
舞蹈既是委約作品，從屬特定的主題，文以載道的轨
跡因而非常明朗。節目表上聲言舞蹈是要'■獻給那些 因為愛滋病的出現而奮起迎戰的人們一因為愛 ，使平 凡苦難的生活充滿了熱情尊贵。j宣傳上更揚言1■藝 術力抗愛滋j ，藉著舞蹈，勸人關心病者，珍惟生
命，極具教育意義。
舞蹈共分十六小節：色相J、r去哪裡？
舞蹈在文以載道的前提下，有著稱職的發揮。舞蹈演 繹著故事，愛滋病患者在朋友及親人的關懷和引領
J、『輕
煙之舞J、'■正負之間J、'■色相Ilj、•■往前走！ J、 r痛j、'■遠與近j、1■甜點j、1■色相IIIj、1■看不
見的j '『歌』s I■生命’拼囡、I■光』、『樹』、 r片語j。以編舞者王廷琳為主角，梁家權、黃茹及陳
敏兒為伴舞，由莊宇耀現場伴奏及吟唱。幻燈打在衣
朋友；把為世不容的愛，改寫作光明正大的情，是不 是便解決了問題呢？有病的到底是個人，還是社會 呢？ 以為健康人士(異性戀者 ？)對愛滋病患者(同性戀
者？)寬大的關懷與愛擭，便可以化苦難為祥和•不
過是編舞者一廂情願的佈局。舞蹈結朿時，Si蛇添足 的f片語j，恰好反諷地顛覆了表面光明的假象。在
眩终之曰，孤寂之時，情人又在何方呢？被®的情人
(The purloined lover)，成了不在的他者；永恆的ft 乏，才是慾望(Desire)的根源。當年黑暗中互相迸發的 火花，當曰彼此共舞時那深情的一吻，在最後閃頭，
皆如夢幻泡影，灰飛燈滅。君若有情，衣帶漸寬终不
悔；可惜驀然回首，那人郤早己不在燈火闌珊處。
榧上，顯現諸般色相作間場，因而把舞蹈分成三個段 落。
第一段只見徬徨無依的舞者，獨自起舞。繼而在人 群/觀眾中|找到另一個自己。香煙上的靈犀一點，
互通情意。接著兩男兩女四位舞者1合踊出連串兩極 對立的修辭：男女、正負、同異、敵我• • •。二元 論的世界觀，在語言成義的過程上，早已為弱勢的他
者(the Other)定位。千夫所指，魚所通形。
第二段有兩場雙人舞，把傳統上男女共舞，男方作重
所謂藝術力抗愛滋，不過是再一次地堕進二元論的語
言陷阱而已。同性憋與愛滋病等問題，從來都是小眾
的煩惱。生老病死，才是人類共有的悲哀。f我想者 死亡，但起舞如常。j面對台前苦難，依舊撫琴微
笑，歌吟如故的莊宇耀，反而能為同樣的情景，點化 出超然物外的領悟。其最原始、同時亦最現代的吟 唱，本身已在顛覆著二元對立的語言世界觀 。音樂並 不一定需要遷就文字，正如舞蹈根本不用從屬於故 事。編舞者一心要表達徤康的主題，到頭來境界平
庸，既欠缺超脫死生的瀟洒，亦沒有自甘沈淪的浪 漫•不獨蹐蹋了別人的歌，亦辜負了情人的愛。
---------------------------- 況脚龙概#丄恥恥j
優質生 （陳德g攝彩）
f九二年你在做甚麼？J是對舞者的當頭棒喝，不斷
落，飄移不定，叫覲眾於黑暗中重新思考香港的過
的提問是要他們翻茗賬 ，看看九二年對他們來說還剩
去、自己的過去，是整個演出中最沉靜|卻最震撼的
下甚麼歷史意義。結果，翻出來的都是各自各精彩的
時刻。
深刻感觸，都是關於個人成長的經歷。誰說歷史從來
演出名稱中的*■教肉（育）j成份，相信更多是在排練
只有大是大非、民族大義？個人生活經驗也是編織i
過程中衍生出來，所教的不是大笪地的歷史硬件：什
史的根本部份！
麼南京條約、英軍進佔、設立軍營等等不再是舞者記
「恶舞狂j的〈優質教肉计劃〉就是由九二年大笪地
憶令的烙印，反而透過對自己身體的記憶作多重審視
紋起喪鐘的事件開始|從老香港的平民生活出發，以
及反省，才是優質教育的開始。講理想也得先從自身
舞者的個人經歷去見誼大笪地興衰的快樂與蒼涼•整
的思想出發，對生命有更深的感動和啟示•才能勝過
個演出充滿懷舊的味道，音樂布景服裝皆竭力營造出
現實的無奈，滿有信心的實行優質生活计劃•
平民夜總會的熱鬧氣氛：年輕舞者寄調F天涯歌 女j 1歌頌食的文化；說書人分別以江湖賣藝漢、講
文：小棕
古佬及相士的身分與觀眾談笑風生，玩味十足。但歡 樂時先並不真實，當與現實並置時，所呈現的不安和
無奈更叫人•希嘘；編舞者所預視的未來是一個充滿災
難的世界，歷史的進程就等於不斷跟人、跟地方、跟 生命說再見•凡此種種都叫後半段演出太過沉重•與 一班''入世未深的年輕舞者做成強烈對比 。而有關
的舞蹈部份感染力亦稍遜 ，可能舞者年紀尚輕•未能 深深感受並發揮動作背後的沉重歷史感。但另一方 面，舞蹈技巧不高的身體卻誠實地將個人成長經歷媒 嫉道來，有喜有悲有希望也有失望，都是真擎而含蓄
的情感，尤其在打開窗子的一段三人舞，赤子之心表
露無遺|為演出加添一份從心出發的原味 。 劇場的處理是曉見心思的一環■說書人與觀眾產生互 動效果•充份利用小劇場的環境f與民同樂j，蝽笑
怒罵，娛樂性豐富；於中段他用幻燈機代替說話•靜
靜地將一幅幅大笪地的歷史圈片照向劇場每一個角
（陳比g格影）
教肓與成戻 它的具體內容是由學員自發的’是對生活對過去的一
越來越發覺，在台下閱讀『未成熟的舞動身體J在跳 躍，是一件快樂的事情• 1■未成熟的舞動身想J，是指一個還未能完全掌握舞
些回愧。把回展示於舞台上，是對自己經驗'理解的
—種回饋方式。努力地重新掌握一種身體表達方式來
展示這種回饋•在意義上更加強了由過去踏往未來的
蹈動作的要竅，然而卻在台上用心地舞動的舞者。這
一個新階段•身體因學習了控制而再次成長•回饋經
些舞者的心中還未能懂得溶入舞蹈作品的意境■裹•但
過辩証過程會產生新內容•〈優質教肉计釗〉在迻兩
是卻僅得專心：專心於跬著音樂、數著拍子：甚至專
方面都達到了教育的目的•
心於看著同伴的舞步，以期自己沒有行差踏錯。然
然而，作為一個表演，
後，控制著自己身體
耆然不能單憑教肓目的
的能量、肌肉、呼
去看。內容和技巧之
吸•在難得人前表演
間，還要加進編舞者巧
的機會袠•或膽戰心
妙心思來平衡•對於初
驚；或飛揚跋扈地舞
踏舞台的人來說•要能
動。
好好掌握自己的舞步巳
每次看到初涉舞台表
非易事•再面對表現不
演的業餘舞者表演•
同形色的表演手段•便
都讓我想起嬰兒學
容易顯示大窮大拙的局
步，在成功企立前行
面。（優質教肉計劃〉
或失敗跌倒之間徘
不獨利用舞蹈，也利用
徊。這樣的身體，既 帶著一份誓不低翊的
自尊，亦«示著一份搖擺不穩，面眩陵時倒下的卮機
感•同時，亦隱藏著一個邁向成功的啟示•這個，其 實正是身體成長的一個階段 。
說詞，利用獨白展示舞 （凍德昌攝影）者片段的心本；利用街
頭藝人現場獨奏來勾引現實某種現像的指涉•當這些
現實感覺加上非成熟的舞蹈動作後•矛盾便大大增
加，因為舞蹈動作及表現的身體，都未能好好演釋窗
•■戀舞狂J把最近一次學生表演名為 〈侵質教肉計
中的情緒。這些時候，觀眾不可能再單獨地注視著
釗〉，其中教肉J二者，實在正是對舞蹈意義的一
•'未成熟的舞動身趙j向來成長的挑戰•他要求台上
種最質樸解釋。假如说嬰兒學步，是身體自然成長的
有更深刻的體驗•未成熟的技巧 ’反而變成了一種閱
第一步，那麼對於舞蹈學習（或者是其他和身體運動
讀文本的味礙•
有關的技巧學習），無疑便是身體追求再次成長的第
二步•這個成長，並不單指生理上的成熟，它是fie■合
著『能動實想這個人的 f•質，每次藉由學習對身體 認識|學習由感受來驅動b作；由此再認識動作背後 的感受與理解。 （俊質教肉計劃〉正好印証著這一個再成長的階段 •
離場時我只覺得，舞蹈的快樂，最直接便是來自身體
動作及其意志的K■合。對於初涉舞台的年青人來说• 有甚麼比在氣喘吁吁，汗流泱背的時候’無誤地完成 所有的動作要求。這種一心一意，倒應好好把握■任
其•■動j的演譯，反能顦示r未成熟的舞動身體j的
活潑、動感，以及勾起直觀的的快樂。
文：梵谷
Danoe^rwl/HKUstte
1
剪報服務
P恥E 絲 SUNDAY MORNING POST, DECEMBER 20,1998
Ballet Company Leaps to New Levels of Grance REVIEW TASON GAGLIARDI The Nutcracker Hong Kong Ballet Cultural Centre Grade Theatre
Until December 27
to
the
hype,
drawing gasps
from the crowd with his
here is little doubt the Hong
trademark
Kong Ballet has been on a roll
spins
over the past 12 months - and
and
T
Stephen Jefferies' exuberant production of The Nutcracker really caps the year with a bang.
leaps.
In
his
It is difficult to fault this production: Everything
first Act
is first rate, from the presence of uber-starTetsuya
One
Kumakawa, to the lush, gilt-daubed sets, the
solo, his
precision footwork of Eriko Ochiai as the Sugar
series of
Plum Fairy, and some lovely corps de ballet work
double
Throw in a lurid Christmas tree that suddenly
cabrioles in arabesque were stunning; he might almost
soars skyward as the shadowy magician Herr
have been dancing in slow motion, so extraordinary
Drosselmeyer transforms the living room into a
were his elevation and beats.
symphony of snowflakes, a bellicose tribe of mice
He might lack the proportions of a true danseur noble
and an array of gorgeous costumes that manage
as the Prince, but he more than makes up for that in
to avoid going over the top, and you have an
dash and technique. He and Ochiai executed
enchanting Christmas treat for young and old.
flawlessly the demanding series of lifts during the
The only thing that came close to marring the
pas de deux; his uncanny sense of balance makes him
magic was the fall-out from the smoke machine
a natural partner and if he has a reputation for
in Act Two, transforming a small section of the
stealing the limelight from his ballerinas it was in
stage into a treacherous slick that caused a couple
evidence on opening night.
of slips and made the rest of the performance
Some of his leaps in his solos almost defy description:
heart-in-the-mouth stuff for the audience - and
double tours en Fair while flying across a huge stretch
no doubt the dancers.
of stage at a 45-degree angle, landed in a perfect
Otherwise, it is hats off to Jefferies for a job very
arabesque with a plie, so deep and sure he might
well done. Snaring Kumakawa was nothing short
almost have been glued to the spot for a spit second,
of a coup.
and a catalogue of similar fireworks.
It is the first time the Japanese-born dancer has
Also worth noting was a sinuous Arabian pasde deux
performed since quitting the Royal Ballet two
by Leung Fai and Jason Wilcock. The pair made
months ago amid a blaze of controversy (he has
Jefferies' innovative and gruelling choreography
joined forces with five other erstwhile Royal Ballet
their own, and were far and away the stand-out of
stars to launch their own company). He lived up
the Act Two divertissments.
THE NUTCRACKER
future, guesting once again with the HK
Ballet It would even be better if he can hristmas is coming up and, as in previous years, the include Hong Kong as Hong Kong Ballet is celebrating the festive season one of the destinations with Tchaikovsky's THE NUTCRACKER at the Grandshould his new ballet Theatre, Hong Kong Cultural Centre. I attended the company (which I performance on Thursday, 17th December, which was the understand will be
C
VICENT LAU
The Nutcracker Hong Kong Ballet Hong Kong Cultural Centre
Grand Theatre 17/12/98
opening night of this series of 12 performances.
formed in May next year) go on a tour.
This production ofTHE NUTCRACKER, first unveiled last
Spurred by such a superlative partner, HK Ballet principal
year to considerable critical acclaim, is, in my opinion, vastly superior in many respects to the previous production, which was seen fora number of years before 1997. The choreography of this production, done by the artistic director of the HK Ballet, Stephen Jefferies, is more classical, elegant and romantic than the previous
Eriko Ochiai (as Clara/Sugar Plum Fairy) gave what was probably her best performance to date. I must confess
incarnation. The sets and costumes (designed by Peter Farmer), were a feast to the eye-the "growing" Christmas tree was most fascinating and the '*Land of the Snow" scene
Kumakawa in flamboyance, her sensitive and delicate portrayal was most endearing, in particular in this production where the Sugar Plum Fairy was indeed Clara
was breathtakingly beautiful. The lighting effects (by Leo Chung) was evocative. The storyline has also been altered, too, with Clara, instead of remaining a mere onlooker, being transformed to the Sugar Plum Fairy by
herself.
that I previously found her technique to be a bit brittle. Yet, on the opening night, she was in superb form with all those intricate steps devised for her by Jefferies immaculately realised. Although she may not really rival
Under the obviously inspired direction of Stephen
One of the major attractions of this excellent production
Jefferies, the HK Ballet has progressed with leaps and bounds over the past few years. Despite a few first night mishaps (largely due to an abnormally slippery floor on the left side of the stage), the HK Ballets performance
was the presence of international ballet star Tetsuya Kumakawa as the Prince. The HK Ballet has scored a great
showed that they have already attained maturity and even the star appeal of Kumukawa cannot eclipse the fact that
coup in inviting Kumakawa to guest with the Ballet so soon after his dramatic resignation from the British Royal Ballet in October and the announcement of his intention to set up a rival company of his own. With his exceptionally good looks and elegant stage presence, Kumakawa is
the Ballet has really become an institution that we should be proud of.
Drosselmeyer.
surely the ideal Prince. Of course, Kumakawa is most well known for his virtuosity
Special mention must be made of So Hon Wah and Wendy Panganiban, who performed a virtuoso Spanish Dance while the audience was most enthusiastic over the exotic (and gymnastics-inspired) Arabian Dance by Leung Fei and Jason Wilcock. But indeed, every member of the Ballet
and he certainly didn't disappoint. His leaps were powerful, his spins were conducted with dare-devils speeds, and his pirouettes were probably the most technically secure and accurate that I've ever seen. His
(including the corps) deserves great plaudits for their effort and team spirit.
solos were indeed moments to cherish. Yet, despite all those pyrotechnics, he was able to maintain his poise and
accompaniment, although the balance of the orchestral parts were not always ideal (which was not
In the pit, the Hong Kong Philharmonic Orchestra under the baton of Yi-p Wing-sie gave competent
a beautiful line at all times. A marvellous all-rounded performance, even though I suspect that THE NUTCRACKER may not
the fault of the generally excellent acoustic of the Grand Theatre) and the playing sometimes lacked tension and fervour, in
be the best vehicle to show off his talents to
particular when both the score and the stage
the full. If one has to carp, perhaps some of the pas de deux in Act I were not ideally
action plainly demanded them.
smooth in the cooperation with his partner, which, however, was understandable given
this was just the first performance in the run. Besides, even such a minor flaw has
completely vanished by the time of Act II.
When I was leaving after the performance, I heard the word "Excellent*' echoing in the foyer of the Cultural Centre. Indeed, it was in every way a most enchanting evening and a perfect showcase for the HK Ballet.
Definitely not to be missed!
I would very much hope that Kumakawa can again grace our stages in the not-too-distant
Internet inis. lifestyle.art.ims.leisure.music, December 18,1998
Dance
Ho. 1
、
0狀々
星島日報• 一九九九年一月二日
nrt離舞台框框，沒有燈光，沒有布景，一切由環
第二部分在路軌的演出 ，與現代火車的對立位置更明
境開始：運用現實環境特有的客觀及物理性的
顯，是與科技革命進行對話的好地方。可惜觀看當曰
條件|再結合當申的文化意義，與歷史進行溝通、對
因天雨關係而刪了大部分演出，餘下的是情侶的離別
話，令人重新思考舞蹈與建築物、文化與環境之間的
糾纏和旅人的遙望他鄉：肢體動作是编排多了 ＞卻沒
微妙關係；這就是環境舞蹈，也是城市當代舞蹈團的
有再進一步的深思空間 。第三部分的舞蹈編排也有著
〈忘情列車八十年〉，以大埔墟舊火車站見證這城市
同一也病|高能量的肢體運動卻流於純動作的役計1
的集體記憶。
與月台和博物館的環境沒有深入的溝通，較諸先前的
火車站的f記愧j包括了回鄉客、新移民、大學生、
演出，味道少了，玩味卻堆砌起來；末段以江湖人物
戀人........... 一言以薇之，全部是『過客j。在
等待*■喪輝j講數作結，幽他一默未嘗不可，但這段
車站任何一角也生不了根 ，只留下了時代的痕跡，不
恩怨情仇伏線不足，破壞了整個演出的平衡，予人不
單是地域上的，也是情感上的•然而，面對如斯情
協調及草草收場之感。
景，火車站只能像那拿著照相機的女子一樣，木著臉
也許，r喪輝』會是下一個系列的引子...........
的紀錄歷史中的人和事，沒法去感受、去動情。古老
車廂令的遊子過客各自在沉思、在張望、在尋見，每 當聽到現代火車的嘶叫聲時，都急不及待的附窗凝望
-但不停站的飛快列車又豈是襄中之物？又繼續等， 是火車站的前段假定啊 ！就在這樣沒完沒了的等待、
拒絕、盼望又等待的過程中，熬人的張力在車廂中不 斷膨脹，突顯了等待的無奈感，使這部分的演出充滿
味道，又有情韻。
文：小棕
SOUTH CHINA MORNING POST, DECEMBER 15,1998
Reviews Somewhere In The Past 80 Years By The Railway, City Contemporary
Dance Company (CCDC) Continues Dec 19-20 Railway Museum, Tai Po Market. Free nee upon a time, when the Kowloon Canton
A woman in black glided through the carriages and
V—/ Railway track was freshly laid, and the New
along the tracks, an implacable spectre bearing an
Territories were far newer than they are today, a
old black Polaroid camera. A camera is after all a
woman saw her lover leave on the train, never to
machine recording the present so that people in the
return.
future can remember the past. She was in another
And two children, arriving from China, lost their
world.
mother in the melee of refugees. And someone, a
In contrast was another "ghosf, in Burberry-esque
young girl perhaps, died on the tracks...
raincoat. Her face was tinged with green shadows;
In the performance choreographer Pun Siu-fai has
she smiled slyly to herself as she passed through the
taken the railway and given it a breath of life.
train; she had secrets we would never learn.
By considering how railways separate people and
The audience was a wider section of the community
bring them together, Pun has created Hong Kong's
than CCDC usually attracts. Gossipping Hakka
first "environmental dance piece", using a historical
women in black bonnets mixed with regular dance
site - or route - as his stage.
fans from the city, both groups transfixed by the
This was less a dance show than an opportunity to
wander through the museum and watch different things happen in different places.
wistful, violent choreography of loss and longing, danced to nanying opera, and schmaltzy violin. Another key event in the past 80 years of the railway.
Had I walked in - as many did - without
preconceptions of what it was about, or even that it
was a show, I would have been hard-pressed to follow the narrative. But it did not matter if we did not
know who the characters were, to
whom they said good-bye, or
why they were pouring tea to accordion music in front of the old station. Instead, the real
achievement of this event was the way it awoke the ghosts. On ordinary days in the museum,
visitors are struck by memories of people who used the trains. Last weekend, Pun brought those
memories to life.
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