if
*
*
1999 坪 9汽
*
踏入九月，1 9 9 9年行將結束，很多朋友正預備慶祝新世紀的來眩，他們大概誤會了 1 9 9 9年 是二十世紀的最後一年 。其實2 0 0 0年是千禧年的結束，2 0 0 1年才是廿一世紀的第一年，要
慶祝千禧，我們還有整整一年時間去籌備呢。不過，1 9 9 9年仍是有很多東西値得紀念，大的如 中蒼人民共和0成立五十周年，小的如香港專業舞蹈建立二十周年，對香港舞蹈界來説，都是別具
意義的。 新中国成立五十周年慶典，尤其是在香港®歸後的第一次重殳級活動，香港的舞蹈家們都各出
抒機，以不同的方式表達他/她們對祖圃的聞懷，而各類傳媒也對這些活動有詳盡報導 •朋得百花齊放’非常热閙’ 相對來説，香港專業舞蹈二十年，在受社會S3注程度上，卻是十分寂寞《二十年前’香港專業舞蹈的出現’對整體香港舞蹈
及文化的發展和定位，有深速的影钜。1 9 7 9年前的香港舞蹈雖然蓬勃 ’絕大部份的舞蹈因髖卻只能以業餘性質經營 ’究其原
因，是7 9年前的香港，以工商業掛帥，年長而有勢力的一輩大多從内地移居香港’不脱過容心態’不願把血汗錢投資在只蝕不
賺的文化活動：政府也曾鼓勒民間舞蹈活動，但其目的是讓年青人渲洩精力，對香港這個殖民地的本土藝樹發展，根本未恝及甚 麽長遠計釗，更不會花费大量公帮於建立職業舞20。 八十年代是香港舞蹈由業餘轉向專業化的時代 。經過五十、六十、七十年代，佔有絕大多數人口比例的大歧移民已經在香港
落地生根，成家立室之餘，下一代也已經長大。這些在香港土生土長的第一代大部份享受著他們父母白手興家的餘蔭'相對地不 用太顧慮基本生計，以致有能力和時間花在各式更爲精緻的文娛活動中 。其中最具登術才杀的一群人，自然地走在一起•蘊蝻出
一種前所未有的文化氛®。同時，香港的經濟經過整個七十年代的飛躍，漸漸储聚了足約的資源，可以投資在更長速的文化建 設，終於在七十年代最後的幾個71間，棬地爆译出在當時來看，似乎和有•文化沙漠•美譽的香港格格不入的職窠舞蹈面體'
1 9 7 9年，香港芭蕾舞ffl和城市當代舞蹈®相组成立，聞始了香港專業舞蹈有源.町溯，有資料可査，有録像文獻1T供記錄 保存的歷史性第一年。在其後的十多年間，香港專業舞蹈绽放出如初誕新星的輝煜：8 1年市政局香港舞蹈面成立’ 8 4年演藝 學院舞蹈學院成立 ，加上各式各樣的半職業及業餘舞蹈 a體紛紛出現，使香港舞蹈在7 9至99年間踏入空前繁榮的境界'
舞蹈手扎，便是要正视當下香港舞蹈的蓬勃創作*貌。
卜
1⑽/W 香港舞蹈聯盟
Published by :
Hong Kong Dance Alliance
總編輯：
曹誠淵
Editor-in-Chief :
Willy Tsao
Contributors: Tom Borek Anna Cheng Pun Siu-fai Edwin Lung Andy Ng Andy Wong Daniel Yeung
Tom Brown Afa Chiang Paris Lau Victor Ma Willy Tsao Wu Yi-san Jacky Yu
設計及排版：黃翠玲
Design & Layout :
Scarlet Wong
香港灣仔告士打道一?虎 香港演S學院舞蹈學院 副院長辦公室
c/o Office of the Associate Dean School of Dance, Hong Kong Academy for Performing Arts, Wanchai, H.K.
電話：2584 8753 傳真：譏3856 電垂B : hkdalli@netvigator.com
Tel: 2584 8753 Fax: 2802 3856 E-mail: hkdalli@netvigator.com
舞蹈手扎盟友: 湯布力 鄭煥美 潘少輝 龍植池 吳偉碩 王廷琳 楊春江
唐銳荃和淵珊華 朗志自才誠易仁 曰鄭劉 雪 吳余
出版人：
B-
_
6期 Preface :_____
序
編者的話 作者：曹誠淵
Dance Alliance News :__
舞盟快訊 作者：白朗唐
_
___
□
CB
The New York Times Bounding With Energy, East and West Meet Author ： Jennifer Dunning
KE
The Villege Voice Hot Springs Author : Deborah Jowitt
CB
■
專論
兩齣完全不同的作品 作者：金默姬
0
由「育苗」、「艷陽天」的演出想到的 -「舞蹈普及敎育」的意義何在？ 作者：鍾晶 □
剪報服務
Hong Kong Standard Dancing in the dark Author: Kevin Ng
Members List 會員名單
會員申請表
迅
九月及十月份演出節目名單
EE1
_
O
北京報 北京•香港-藝術•生活一現代舞
作者：任華萍
_
香港舞蹈聯盟會員名單
Press Clippings __
IB
_
1 Artie les
L_i
m
South China Morning Post Beastly start shows glint of talent Author: Jason Gagliardi
Philadelphia City Paper DanceArt Hong Kong Author: Deni Kasrel
胃
Author : Tom Brown
情節緊湊性格鮮明 港芭『美女與野獸』風魔沙田 作者：傑靈
□
大公報 北京現代舞團明獻藝自 自編自演風格多樣化 作者：洪捷 □ 香港藝術發展局資助
Hong Kong Standard Excellent pace lifts Perrault fairy tale Author: Kevin Ng
Supported by the Hong Kong Arts Development Council
以
封面設計：Lilia
Ng
快齦 tarting with this issue, Dance Journal/HK will ^Jinclude a new regular feature, Hong Kong Dance Alliance News.
This page, devoted to Hong Kong
interested in participating/being presented in this very successful dance series should contact me by 1 November 1999 to be considered for inclusion.
Dance Alliance member activities, will replace the
biannual Newsletter with a more timely presentation of member and Alliance news, information and events. To insure that your news is included in this monthly feature, please send it to me by the I5' of each month
c/o Office of the Associate Dean, School of Dance, Hong Kong Academy for Performing Arts, # 1 Gloucester Road, Wan Chai, Hong Kong or fax:
(852)2802-3856. This summer, Hong Kong Dance Alliance members took Philadelphia and the 2000 Feet Festival by storm.
Dance Art Hong Kong, Dance HK/NY, and the Dance Ensemble from the Hong Kong Academy for
Performing Arts School of Dance were all featured companies in this international dance extravaganza. Performances by these groups generated enthusiastic
audience responses and very favorable press coverage. Summer tours by Alliance members also included City Contemporary Dance Company's tour to Israel (the
company is currently in Europe on its Fall tour) and the Hong Kong Ballet's tour to China.
Other Dance Alliance events this summer included the very successful Education Workshop led by Lori Klinger of the National Dance Institute from the United States.
Held at the Hong Kong Academy for
Performing Arts and the St. James Settlement House,
this workshop was sponsored by the Hong Kong Dance Alliance with funding from the Hong Kong Arts Development Council and was under the direction of
Tania Tang and organized by Augustine Yeung. The
September 1999
今期開始，「舞蹈手扎」每期將加插一篇特寫，
名爲「舞盟快訊」。这篇幅專門報導香港舞蹈聯 盟的會貝動態，以取代從前每年兩次的「舞盟特刊」，
務求能及时發表舞盟及各會M的消息、資料及活動。爲 確保你們的消息能載於這每一次的特寫中，請於當月 一號前把資料郵遞給本人，並註明香港灣仔告士打道一 號香演藝學院舞蹈學院副院長辦公室收，或傳眞至(852) 2802-3856 °
今年夏季，舞盟的會員在美囡費城舉行的「邁進 2000年J舞蹈節中大放異彩。我們的「動藝J、「舞渡
界J及香港演藝學院舞蹈學院在這個國際舞蹈界的盛會
中擔任重點舞團，表現出色，演出得到觀眾及報界的熱 烈回應，好評如潮。此外，其他的舞盟成員的夏季巡迴
演出包括城市當代舞蹈因的以色列巡迴演出(该S1現正 在歐洲作秋季巡迴演出)，以及香港芭蕾舞囡的中國大
陸巡迴演出。 舞盟今年夏季還窣辦了一個「舞蹈教育工作坊」，
由美國國家舞蹈學院的羅莉•京査主持，在香港演藝學 院及聖雅福群會舉行。該工作坊由舞盟主辦，並獲得香
港藝術發展局資助。是次活動十分成功，有賴鄧孟妮女 士的指導及揚志穀先生的悉心安排。社會工作者及參與
者有機會聚首一堂，就舞蹈教育的實踐互相交流學習。
workshop brought together dance educators, students'
舞盟正計釗舉辦一個由美囤著名舞評人瑪希婭•希
artists, social workers, and other interested individuals
格爾主持的「舞蹈評論及寫作J工作坊，出席的香港及 台灣舞評人名單有待公佈，工作坊爲期一■週，暫訂於明
to share their dance education practices and to learn from each other. Upcoming Hong Kong Dance Alliance events
include a planned Critics and Dance Writers Workshop
led by world renown critic Marcia B. Siegel from the United States, with critics from Hong Kong and Taiwan to be confirmed. The tentative dates for the workshop are for one week in January. Final dates and details
年一月份舉行，正確日期及詳情將於下期的「舞蹈手
扎J中公佈。歡迎各界人士參加，舞盟成員可獲折扣優 待。此外，我們亦開始籌備第四屆「各自各舞蹈系 列J。歷屆的各自各舞蹈系列均成績卓越 ，有意爭取於
今屆參與或演出的成員務請於本年十一月一日前與本人
聯络。 香港舞蹈聯盟主席
will be announced in the next issue of Dance Journal/ HK. Participation is open to all with special discounts for members of the Hong Kong Dance Alliance. Also planned is the 4lh All Independent Series. Members
一九九九年九月
SB
ARTiGt£S^ 兩齣汔今不阀的订品 £》
家權和黃庭琳一兩個不同的人 ，對舞蹈有著相同
＜黑膝»»劑_»路 埔舞：梁家擢
的熱愛和奉獻的心，於八/I二十日至八月二十二
日以記憶障礙爲題，編排了兩齣完全不同風格的舞蹈， 雖無特別驚喜，但從中可看出他們的誠意和挑戰自己的
勇氣。前兩次看梁家權的编舞 ，作品内容都浮游在兩性
之間，今次他已走出了一步，面向更多不同的 病毒取m，麟舞，
其中有五、六個在台中，其他的坐在觀眾中，成爲我們 的一份子，串連舞蹈的每一小節 。基本上整體是順暢
的，但久缺令人®味的時刻，比較喜殽的是林莉主演的
獨舞一段，她披著白紗站在高高的樓上，仿似新娘緩緩 的往下走，看清楚她更似老婆婆 （使人想起Marllm Clark 那渴望回復青春的舞曲，是多麼的淒涼、無奈），隨著
舞蹈發展，她已是將要脱殼的昆虫 ，和其他幼蟲一樣， 在變成蝴蝶前必先要經歷一場痛苦的脱變 。全舞以白色 （台中）和啡色（觀眾）爲主色，很有抽離的感覺，也
很切題，畢竞夢都是虛蕪諷渺，疑幻似真的。
黑膠鎭靜劑一鐵路藍，一個奇奇怪怪的名字，從中 是不能得知舞蹈的内容或舞的原因。不過，這舞也沒有 單一的主題，它分了很多小節，每節都沒有關連，沒有 承上接下，可有可無的便是它的一個特色 。當中有好玩
的，有暴力的，有色情的，有漂漂亮亮的，也有奇奇怪
怪的，各飾其色，永無体止的舞下去，頗富娛樂性。要 特別提的是其中有幾節的音樂、燈光和舞蹈配合得很
好，畫面很美。但若要從舞中得到深一層的意義是欠奉
的，是傳^•以外的另一類選擇。
音樂是全晚的明星，現場演奏的一大好處是樂師能 準確地捕捉舞的發展，加以變化，產生化學作用，得到 意料之外的效果。看著樂師投入的演出，它巳不再是錄
葉，而是全晚的主角，令人回味。
文：金默姬
記憶障礙-動藝
八月二十至二十二曰 文化中心劇場
DanceJteS^/igKjssue No.6
文鍾晶 今年的著假亦是如常進行兒童大匯演節目 。其中最
値得引起討論的，是由伍宇烈爲香港芭蕾舞學會编排的 「動物嘉年華J:但本文的重點是以舞蹈教育爲主 ，所
以暫此不提。説到最能夠表現出舞蹈教育的成果，我應
爲香港芭蕾舞園的「九九芭蕾育苗計釗結業匯演J，及 城市當代舞蹈因的「九九舞出艷碭天」兩項演出最爲出
眾。剛巧與本世紀末提倡的剝意性教育吻合 ，附合本港 r創意2
o o o年」的口號。
該兩舞团的舞蹈教育計釗分別是：1•由臨時區域 市政局與香港芭蕾舞因合辦的「芭蕾育苗計釗」，每年
由「育苗」、「艷陽天」的演出想到的 一「舞蹈普及教育」的意義何在？ 近香港積極鼓吹藝術教育於學校教育 課程内，可
M見社會界人士漸漸對藝術的重視，相信藝術教育 可以培育下一代的創意能力，面對創意性的新紀元。 學習簪術，不單只能掌握該門藝術的技能 ：而且又 能培養人的高尚品德：更能通過藝術的釗作，開拓孩子
們的剝造力和一想像力。這就是我們期待下一代的成
委派專業舞蹈教師入註新界各區體育館教予六至十八歲
的表少年，爲期六個月的舞蹈訓練。2 •由眩時區域市 政局與城市當代舞蹈固合辦的「現代舞培訓計劃J，同
樣每年委派專業舞蹈教師到新界區的中學及兩間特殊學 校，迫行爲期十個月的舞蹈訓練 。 此兩項不同的培訓計釗，一個著重芭蕾舞的基本訓
練，一個著重現代舞的技巧：個集中六個月完成，另一
就。
舞蹈教育的三個層面：一
個有十個月的時間。雖是如此，但它們的共同之處都在
•是以香港演藝學院爲代表
於除了給學生基本的舞蹈
的全fi,性專業舞蹈教育：二
技能和知識外，也十分著
•是以各私人舞蹈學校爲代
重鼓勵學生的參于性和合
表的業餘性專業舞蹈教育：
作性，靈活的思考，及致
三.是以社區活動計劃或以
力啓發學生的創作能力。
工作坊方式爲代表的舞蹈普
這個方案是間明的。只
及性教育。它強調啓發學生
有朝蓊這個方向，才得使
的創意性，不再是死背硬套
新培育的這一代可以適應
的學習方法，帶有靈活性的
未來的社會步伐。正如以
分析能力，甚至具有獨力思
「九九舞出艷陽天」爲首的
考的本能，和主動學習的態
度。
香港的舞蹈教育工作在九十年代初開始得得闞注 。 本港以表演發術爲主幹的三大舞蹈團 ，都紛紛成立了屬 下的教育部門。分別有香港舞蹈團的外展教育組，香港 芭蕾舞固教育及外展•部，與城市當代舞蹈團的教育及外
作品演出，反映了學生在
老師有經;險的指導下，演出那麼自然而又發自内心的表 演— —他（她）們的身體表達是出於一個意念，繼而帶
動了全身的慾動，享受著舞蹈的樂趣，儘管J也散發出對 社會時態、人生哲理、外間世界的一.點心聲。
廿一世紀將會把我們的社會帶入到一個科學的、創
展部。它們除了旨在推廣舞蹈的表演藝•術外，亦擔當著
意的紀元。如何達到創意性的教育 ？贫現德、智、體'
教育工作的重任。
群、美的教育理想？正是香港教育政茧上面臨的大課
每蓬著假，皆是孩子們活動的黃金時期，因此，越
題。「育苗」與「艷陽天」能约在短短幾個月的培訓計
來越多的表演節目都®繞著兒童的題材。各舞蹈學校及
劃中，通過舞蹈教育的訓練，使學生進入一個富創意性
舞蹈S1想除了提供孩子表演的機會，亦藉此機會讓孩子 匯報在過去一年努力的成就 。盡力發揮他們的表演天 份，留下美好的13憶。
的空間。在這個啓發性的天地，學生勇於運用思考，敢 於接受挑戰：建立了自我的形像和自我的空間 ；这就是
我們的教育意義，我們期待的教育！
汰
續扁IF，v心，
丨
HONG KONG STANDARDS SEPTEMBER 1999
Dancing in the dark he Beijing Modern
T
Dance Ensemble
(BMDE), whose artistic
director is noted Hong Kong
dancer Willy Tsao, gave two interesting
debut
performances in Hong Kong
last weekend. Tsao, who also directs the City Contemporary Dance
Company in Hong Kong,
was influenced by the
American choreographer Doris Humphrey. On the
other hand, the technique of
BMDE, which was founded
in 1996, is based on the modem dance master choreographer Martha Graham. Tsao said BMDE has 10 dancers, whom he has
entitled Birdsong, which was by far the best-crafted
work of the evening.
encouraged to get involved in choreography. Unlike
Featuring five couples in orange costumes, and
the prominent American modern dance companies
using Bulgarian folk chanting as background music,
which bear a distinctive personal style of a single
each dancer was illuminated with a spotlight on the
leading choreographer - for example Paul Taylor
darkened stage in the beginning. There was a quick
Dance Company which is to perform at the Macau
exciting solo full of jumps for a male soloist, showing
Cultural Centre in November - this Beijing company
off his nicely arched feet.
was conceived to be a repertory company, presenting
works by different mainland choreographers. Though Tsao cited diversity as a strength of the
company, I seemed to detect among the six works
presented last weekend an overriding theme. It
seemed to highlight the dark side of life; the agony of the human soul.
There was a predominant air of desolation on stage. Tsao only contributed one work to the program,
The general standard to technical execution is
commendably high in this company. The dancers' arms were outstretched resembling the wings of an eagle at one stage.
The five couples seemed to represent a small community sharing a common grief, surrounded by
gloom. And the physically aggressive choreography only heightened their suppressed agony. The ending was quite theatrical. The dancers, one
No.6
by one, shed their garments and climbed up a black
There was a female phantom figure with a long
pyramid, constructing an eye-catching tiered
white cloak, contrasting with a male soloist with a red
formation. Another work was an interesting solo
cloak, while the group dancer wore long white chiffon
choreographed by Teng Aimin and danced by himself
dresses.
in an illuminated diagonal, again on a pitch-dark stage.
Savage Cry choreographed by Li Hanzhong took
I was impressed by Teng's high extensions. His
up the second half of the program. This ensemble piece
upper body was so tautly arched back that it resembled
also had an angst-ridden sensibility similar to Tsao’s
a bow before the arrow is released. The other works
Birdsong. Appropriately, all the dancers wore black.
were more uneven. There was an incomprehensible
The choreography was inconsequential.
work called Quadruple Happiness for four female soloists accompanied by traditional Chinese festive
music. The movements consisted mainly of head-
wagging, hands flinging on the ground, and crawling. If there was any happiness in the piece, it eluded me.
There was also a solo choreographed and danced
by Ma Bo. Henryk Gorecki's very rhythmically alert
music had an urgency which was unmatched by the choreography. A blue laser-beam defined various
geometric shapes, with smoke in the background.
The groupings became repetitive after a while, and momentum flagged. The piece dragged on longer than
necessary with no new ideas to sustain interest.
The ending was not unlike Birdsong, with the group
removing their vestments one by one, and handling them to one particular dancer. Perhaps it symbolised the paring of life down to its bare essentials.
Quite a thought-provoking manner nevertheless to end the evening.
Ma's upper body kept shivering violently and
spasmodically. However, no real climax was generated.
TEXT： Kevin Ng
Dust, choreographed by Gau Yanjinzlii, made its prime
Beijing Modern DanceEnsemble
impact through costume instead of choreography.
City Hall, 4 September
一九九九年七月十五曰
北甭•舍港
北京報
藝做•金雄
規柑舞
（ 二〉
北京舞蹈學院剛剛（上路） 作爲中因首屆現代舞專業本科班，可以説他們是中
國現代舞的新生力量。經過了四年的專業訓練 ，成爲一
個專業的演員或編導，他們所經歷的和付出的也許是常 (-) 現代舞一創造生命本贸的藝術
現代舞一屬于我們所有人的藝■術
人所難以想象的。但也許是現代舞藝術所具有的強大藝
術魅力，讓這20位舞者，用淚用汗用血去追逐著一個
共同的夢想，用身體用心靈用青春去耕耘一片屬于自己 的•’希望的田野•’。
我們的生活、我們的藝術一北京•香港中國現代舞
展演周，北京舞蹈學院、香港i成市當代舞蹈園、北京現 代舞團給了人們7天的心靈陶治。 一個扎實有力的大腳，堅定地採在地板上，我們仿
•
作爲—群刚剛上路的孩子，心中有幾多迷茫，幾多
希冀，對現實的思考，對未來的憧憬，還有無盡的回 憶，融成了一部《上路》。世上本沒有路，採索一條中
國現代舞的新路是他們不懈的追求。整台演出80%的劇
佛聽到它演奏出了一個世紀的強音！我們看到了它在中
目由學生自編自導自演，這是鉗一代現代舞人的一次實
國現代舞史上打下了一個震憾人的梵嘆號！
力的展示，熱情的掌聲也肯定了他們的付出。從｛心
是愛是恨、是喜是悲，我們無從談起：但我們將用
泉》到《無語》，從《深入〉到《嫁接》、從《板控吟〉
身體語言向你傾訴内心的情感 ，世界很小，心的領域很
到（我們不再流淚〉，我們可以看到新一代舞蹈大學生
大。
的創作思維和表演天賦及學院派現代舞的初露鋒芒 ，也
看到了淅生的現代舞者對人生、藝術的思考，有一點學
生氣，而更多的是例新、執著和向往。 城市當代《四種風景》
演。用舞蹈忿釋新的生命動態，展示現代舞人心目中中
國人的精神的獨特形象。正如”一千個讀者就有一千個
哈姆雷特"，每個人對現代舞的理解不同 ，對生活對藝 術的感梵不冏，所以才有了一台精彩的 ＜九九•艷
香港城市當代舞蹈 SI是香港首個全職專業現代舞
陽》，也讓我們看到了中國現代舞的一片陽光地帶，那
圓，具有強大的演員和编導陣容，經過二十年的不斷努
裏有群人在辛勤的耕耘 ，耕耘著自己的夢恝與未來，耕
力耕耘，已成爲香港舞蹈界的中流蹲■柱。
耘著新世紀的中國現代舞。
城市當代舞蹈團此次來京參加現代舞展演周，他們
給北京觀眾帶來了，伍字烈的《男生》、梅卓燕的《獨 步》、潘少焊的《花花世界》及邢亮的 ＜密室》。四位 蜚猓國際的藝術家向人們呈現了四種不同的景致，令人
大飽眼福。《男生》描敘了一群在時代前頭的男人，豎 起了一道迈人的風
很難有人想像得出在（好漢歌》的雄渾歌邻中，有 人靈巧地做著"lanrfu"、"plye" •也很少有人恝像得出把 ＜運動員進行曲》搬迫舞蹈的感觉，也許這就是現代
舞，然而現代舞又不僅僅是這些，現代舞總給人很新的
感党，似乎每次踗可以從
景線，對女人的追
其中汲取許多淅鮮的柬
求，對兄弟的情
西。也許是那種打破常人
義，對生活的態
思維，而追求作者獨立個
度，＜ 男生＞ 給我們
性的緣故。
描繪了新時代男人 的眾生相。（獨步〉
總聽有人説看不僅現
刻釗了 一個女人孤
代舞，看半天不知其所舞
獨淒涼的心境，獨
爲何意，可是我倒是覚•得
行的女人手中有傘
你有這個必要去看究竟 ，
爲她檔風遮風，可
弄個一清二楚嗎？有必要
是區區一傘又怎能
去解讀每個動作每個舞段
撫慰她的寂清與無
嗎？ ？未必！現代舞更多
助呢？《花花世界》
的是一種隨心所欲，而反
舞如其名，普通過
抗舞蹈動作的程式化。很
一個通人的視角去觀注變幻的社會 ，舞蹈對舞台時空的
多的舞蹈動作在現代舞之中早已變更了它的意義，甚至
把握十分到位，使觀眾有置身其中的感觉。《密室》是
可能根本就不代表什麼意義。也許作者原本在意的只是
邢亮的新作，它是一顆沉寂的心在彳争扎，在猝脱封閉的
那種舞的感觉，那種舞蹈的流程而不是在於動作本身有
束縛，擺脱黑暗的控制，其舞蹈動作的本身亦是十分優
何意義，我們所要去感應的是心窒的對話，是在舞蹈動
美，動作的每一個瞬間都是美的一習■。
作之後去趙味恃感韻味和作者思想的流露。學會感跫舞
不同的風格，不同的情調，＜四牲風景》展示了香 港現代舞的多元取向，这也許正是香港文化的多元化發
展的一個側影。受中囤千年古文明的影響，對世界各國 文化的兼容並包，使港文化有了一種•’外籍華人••的感
梵。《四種風景》在體現作者風格的同時，也時刻提示 人們去注视香港文化的多元特殊性。
蹈，而不是一種單純的看。正如美S—位著名的怍家家
提示讀者讀文學作品不應是"read"而應是"lang"全身心的
投入。耶麼作爲一名觀眾，我們在欣賞舞蹈之時也不應 只是’而應是"pJaf，又如我們去欣賞莫奈的 ＜日
出〉，很少有人會去專注於它的每一筆每一劃，或是細
级所究它的色彩搭配、亮度調和，更多的人喜歡它，是 因爲畫面的朝氣蓬勃，給人一種希望。賦予人一片未來
《九九•艷P易》一陽光地帶
的陽光。耶麼現代舞作爲一種前沿發術，更是需要觀眾
一位擾秀的編導，一位杰出的演員可以説是一個舞
用心去感受，而不是把目光定於某個動作的形式。
囫的支柱，也許九八年著名編導演負金星的離開對於北
••我舞故我在•’是本次現代舞展演周的意旨，也是中
京現代舞團來説是一個重創，舞因似乎失去了航標，在
國現代舞人的誓言 ，他們已經告訴我們怎樣去看现代
逆境之中邀到了廣朿現代舞囲的李捍忠主持大局 ，希望
舞，就像看待生活一樣去看現代舞，就像感覺人生一樣
可以挽回昔日的烀煌。
去感受現代舞，因爲它是任何現代人的參■術，它是心密
今次展演81，一台（九九•艷陽》向我們重新証實 了北京現代舞S1的實力以及中囤第一波現代舞者對藝術
的藝術，它是生活的藝術！
的執蓊、堅韌。《舞筇》、〈塵》、〈二人傳》'〈生
命中不能承受的痛》等七個作品全由舞團演員自編自
文：任華萍
No.6
一九九九年九月=FI
大公報
北窃想柑舞豳明献窪
曾編詹镰風 格多欏化
jk京現代舞團首次來港演出，舞目之中除了曹誠淵 的《鳥之歌》外，悉數都由舞者們编創的 。這種
安排不僅能務採創作者的舞蹈思維，也是北京現代舞囫
，
創者的風格，整體來説便形成了極具開釗性的釗作精
神，北京是一個重要據點，將這種創作精神的信息帶到
全國各地，希望任何釗作與藝術領域的人都來嘗試。
—種自由投入的氛IU 更是曾誠淵由城市當代舞蹈囿到
北京現代舞®這回帶來的舞目，基本上是該面今年
廣朿現代實驗舞固再到北京現代舞園所營造的整體藝術 路線，不過，曹誠淵強調，北京現代舞因不會是另一個
五月舉辦「現代舞周J的淅作品，其中 ＜野性的呼喚＞ 更是世界首演，不過，其中曹誠淵的《爲之歌》，卻是
「城當J ， 「她」會有不一樣的成果。
九零年的舊作。
北京現代舞園前天剛到到步，簪術總監曹誠淵昨天
他説：「（鳥之歌》曾分別由「城當J、廣東實驗舞
帶著各成員去「飲茶J，記者抓緊這一頓飯的時間採訪
園、北京舞蹈學院、香港演藝學院表演，創作意念是呼
了舞团成貧，了解這次演出的節目内容及該圍的發展歷
喚人類由約束到自由的迫程，現在由北京現代舞團再
程。
演，感觉上很合適，這個舞園的出現也有符合這舞蹈所
曹誠淵擔任藝術總監 曹誠淵爲了尊重來自北京的客人，以普通話E］簽記
表達的内涵，代表著一種廷續性，而舞蹈安靜内歛的風
格，亦很能反映囿負們默默去幹的特質。」
者的提問，他説：「很不恝現代舞的演員只作爲舞蹈的
夫妻攜手孕育舞蹈
一件工具，老了便退休，或者有時候焦急地等候表演機
執行發術總監李捍忠自從北京現代毒囲九六年成立
會。好的演員其實也有編舞能力，這樣更不會令整個舞
以來，所創作的舞蹈都少不了妻子馬波的份兒，每一支
圍形成革一的風格，在一種鼓勵自由創作的氛®下，舞
舞是他倆互相補足、互相刺激的成果。這®的《野性的
者可以「跳出」自己的碑話，雖然「城當」、廣東實赦
呼喚》亦由夫妻檔合作。身型高大的李捍忠説：「去年
舞園也走這種藝術路線 ，然而效果絕對不會重複，因爲
發生印尼排華事件，喚起我從人性的思考角度去作爲舞
各舞者都有自己的個性、文化背景與生活環境，尤其在
蹈的主題，正値美國舞蹈節邀請我到當地爲他們编舞 ，
北京，來自全國各地的舞者所编剡的作品更能代表整個
當時只编了二十分鐘，由當地的大學生表演，效果很
中國現代舞的特色。」
好。回來後便加以整理，延長至三十三分鐘的作品 。在
正因如此，若果問曾誠淵北京現代舞圊有何風格， 他會答：不會有固定風格，因爲舞蹈作品自然呈現了編
舞蹈中我是採索人性的文明與欲性不冏面貌 。我是螢憂 慮：存在於人性之中的欲性，在某種環境下便會釋於
遇上迷茫、徬徨的段，＜活著〉便是他這段時期心態的
出，引發危機，破壞力很強。人性中的欲性不能消滅，
但他也樂於讓觀眾有恝像空間去添 補这一留白，也許觀
寫照，此格調較爲壓抑、無奈，他很喜歡嘗試编舞因爲
眾憑若個人背景悟性，可能有更豐富的聯想。在李捍忠
現代舞是能约直接表達情感的媒介。
身頦得艏型嬌小的馬波説：「我們自八七年在北京舞蹈
其他舞蹈尚有王玫、賀竹梅台编的《四＞，馬波自
學院便是同班，一起跳民間舞，後來又一起參與廣朿現
编自舞的 ＜鞺》及高艷津子所编的 ＜塵》。
代實-驗舞因，我們幾乎每天都在一起。只要一人提出概
北京現代舞園「九九■艷陽」，將於四、五日晚上 八時在大會堂音樂廳演出兩場門票在奴市電腦售票網發
念，另一個便能通過討論將其完整，有時候我做他的觀
眾，從旁分析利弊，總之舞蹈作品由不具雒到落實，都
售。
共同思考。我很慶幸，我們的舞蹈是二人的力量加在一 起的表現。」
文：洪捷
＜活著〉表達内心迷茫 另一支由滕愛民創作的獨舞
9 9 -艷陽-北京現代舞蹈團
＜活著》表達較爲個人
九月四及五日
的内在感受，縢愛民説，有段時期，舞面在發展路途中
大會堂音樂廳
HONG KONG STANDARD, 18 AUGUST 1999
Excellent pace
lifts Perrault fairy tale
familiar story well danced becomes a new story.
new show this season, Beauty and the Beast,
This is the approach that regular ballet-goers like
choreographed by the London-based choreographer
myself take when watching a classic such as Swan Lake
Domy Reiter-Soffer whose two previous works for
for the umpteenth time.
the company I reviewed here last year.
A
Compared with opera and theatre, the repertory
of ballet is smaller. Hence there is more of a need for repetition for dancers and audience alike.
But if dancers are able to perform or re-interpret
The music this time was specially commissioned
from the local composer Lam Man-yee.
Charles Perrault's fairy tale Beauty and the Beast
has already been adapted into a ballet by Wayne
their old roles as if they were new, or if a choreographer
Eagling, artistic director Stephen Jefferies' former
can shed a new light on the classics, the audience
colleague at the Royal Ballet, in 1986.
should also be prepared to watch with a new pair of
eyes. Last weekend, Hong Kong Ballet premiered its first
But it was a flop, condemned by most of the London critics, and quickly dropped from the Royal Ballet’s repertory. This time Jefferies can take pride
--------------------------------------------------------------------------
No.6
%
Here the dance rhythm, aided by the somewhat
in the result.
Perrault's tale is about Belle, the youngest daughter of a rich merchant, Mr Granite, setting out to rescue her father who has been imprisoned by the beast in
soupy music, was airy. The dancing exuded a romantic fervour.
The duet for Belle and the Beast was quite ecstatic, with some soaring lifts.
his castle. The Beast agrees to her taking her father's place as
Act Three resumed the dramatic development. One
a prisoner. Gradually she warms to the Beast and falls
of the best dance moments was a virile sword dance
in love with him. At the end, her kiss saves the life of
for Hercules, the two sisters' lovers, and the male
the Beast who has been badly wounded by Hercules,
villagers. The final tableau was dazzling with a golden
Belle's admirer, who leads an attack by the villagers.
sunburst in the background. Belle and the Beast, now
Typical of Reiter-Soffer's usual over-literal approach in storytelling, Act One crammed in too many incidents of the story in an hour, from Granite's
bankruptcy in the beginning until Belle's
transformed into a prince, walked towards the back
of the stage, blessed by the four angels lifted high up in the air by suspended wires.
The sets were designed by Ivan Cheng, while
Reiter-Soffer was also credited with the design of the
imprisonment by the Beast. To the choreographer's credit, however, the
momentum never sagged. The stage action was
always busy with a lot of activity, for instance the
tasteful costumes. Reiter-Soffer's choreography was
competent overall, and was quite demanding for the
Beast and Hercules.
creditors taking away Granite’s possessions and the
However, most of his choreography was flat and
juggling of plates and oranges by the Beast’s servants.
linear; and lacked a crucial third spatial dimension
Some passages which I found meandering were
which could add additional excitement.
obviously intended as padding. The choreographer
I saw both casts last weekend. As Belle, Eriko Ochiai
can afford to edit some of his material. There was some
in the first cast was technically proficient and had
delightful dancing for the minor characters such as
lovely arms. But she did not manage to convey all the
Belle's two sisters and their suitors.
emotional nuances of Belle.. Teresa Webster in the second cast had more variety in
The first entrance of the God of the Winds was quite hilarious, as he resembled a character in a Japanese
Noh drama. The Beast7s attendants seemed to be clad in silver Star Wars-like costumes.
Act Two was the most coherent of the three acts,
her dancing. Webster’s long limbs had a freshness
which captured Belle’s innocence. Despite the sharp outline of her face which limited somewhat her acting, she touchingly conveyed Belle's transformation in the castle from fear to losing her heart to the Beast.
providing a much-needed repose from the bustle of
As the Beast, both casts danced the difficult
the previous act. It depicted Belle's gradual warming
choreography wholeheartedly. He Da-wei on Friday
to the Beast in the castle.
had more dignity, while the technical bravura of the
It contained the best choreography I have seen so far from Reiter-Soffer. The central part was a homage to the great Romantic era of ballet in the early 19th
young Japanese dancer Nobuo Fujino on Sunday was
more exciting.
I was also impressed by Fei Leung as the Forest Goddess, and Michael Wang as a vain macho Hercules.
century.
There was a variety of instrumental colours and sonic With a Forest Goddess, four angels an attendant
white "corps de ballet", this act elevated us to an
patterns in Lam Man-yee's score for chamber ensemble
and electronic tape.
Belle seemed to be
The plucking strings, exciting percussive rhythm,
absorbing in her dream a dancing lesson from the
beastly growling noises, for instance, served both the
Forest Goddess.
dancing and the drama well.
otherworldly dreamland.
二AA九年八月十九日 文匯報
情港 節芭 緊
s
性與
怕、迴避，缎而抵禦、抗爭，接著是接觸、交流，最後
告滿座，祝願她接著在屯門及
是互生默契，甚至心生愛意，以上過程都有明顯的情節
荃涔的演出，一樣墟冚。
與語彙作豐富的表達，而這幾段雙人舞編來也各具特
魔
尤其是男主角的體力消耗極大 ，更要戴上麻大的*罩，
這齣兒童皆知的童話 ，讓孩子
但絲毫見不到在舞步方*的削弱 ，可見他功底及爆發力
們容易看得明白。事實果眞如
相當強勁。
此，不只愛看芭®的小女孩大 批大批地被吸引入場 ，就連不
「變身J迅速音樂見效 筆者十分欣賞野獸數度「變身」的舞台處理手法，
大懂芭蕾也因這著名童話而入
運用「轉椅子J及群舞的掩蔽下，把王子變野欺，又把
場看得津津有味。可見在選材
野獸變回王子，這等手法新、速度快，使小觀眾還以爲
上是十分成功的了。
是由'两人分飾的呢。
突破俊男美女框框
大抵這次演出本錢雄厚，港芭可落足心思，在作 曲、現場演奏、服裝及佈景方面，都費用不菲吧。然
完整緊湊，既虛凡實，能以簡
而，這錢是用得値得的、有效果的。尤其是林敏怡的音
潔明快的手段交代生意失敗 、
樂，對演出效果起著重要的配合作用，那些疑幻似眞的
偾主臨門等次要的情節，又以
新音樂效果，頗能表達堡壘、森林中神秘、兇險與恐怖
細緻形象的分段群舞，表現森
的氛園。
林堡壘内的道道屏障 ，處處關
不過，也許是首演，個別也方尚求改迫，諸如在王
卡，以活生生的形象烘托出主
子的自負無情，兩位姊姊對父親無動於衷等情節的表
人公美兒愛父情切'救父情堅
現，就似乎略嫌草率了點。但願明年重演時，會有所加
的鮮明品格。
強。
文：傑靈
這個童話三百年來受人稱道 之處，就是衝出了俊男美女
沙
色，男女主角（何大爲與落合惠利子）各有精彩表演，
由於要演給小朋友看，特選了
蘇朿美把這齣劇編排得十分
明 明風』
是故，爲了表達這種善良與真愛，編舞自然落墨於 美女與野獸的幾次接觸之中，對於野獸，美女先是驚
一連三場假沙田大會堂上演均
格野
鮮獸
愛，儘管是理智的現代人，也不易做得到。
《美女與野獸》可謂風魔沙田，
這是港芭的全新大型製作，
『
湊
香港芭蕾舞園在「兒童综藝 嘉年華」中全新製作長篇舞劇
------
美女與野獸—香港芭蕾舞蹈團
结合的枢框，描寫一位
八月十三及十四曰
美麗的姑娘，居然懂
沙田大會堂演奏廳
得體察被變成野 狭的王子哆善
H
良心靈，同時 又以自己的
善良去鼓
勵感動對方，結果對野獸產生好
感，甚或深深愛上他。 幾度接觸化戾爲祥 把男女之間的愛情
建立在美麗的品 格與心靈上
而非浮泛於 外表的俊麗
之中。這 種真
.
Dan妊No.6
SOUTH CHINA MORNING POST 15 AUGUST 1999
Beastly start shows glint of talent R
ehearsing a huge new story ballet in six weeks
Both man and beast are redeemed by the same woman
would be enough to bring out the beast in
-daughter of the merchant; object of desire to the
anyone. Yet that was the task set Domy Reiter-Soffer, and he has pulled off the impossible. Almost..
prince-turned-beast.
You could fill several reviews with all the allusions
This latest offering by the London-based
at work here, but as with Mr Perrault’s other much-
choreographer - whose last local effort, Lady Of The
loved tale, The Sleeping Beauty, this is first and
Camelias, was a triumph - is a promising work and
foremost about the redemptive, transfiguring power
one likely to enliven for many years to come the
of love - an apt theme if ever there was one for these
company's fast-growing repertoire.
cynical, pre-millennial days.
But even allowing for first-night jitters things were
He Da-wei trades in his elegant line and restrained
sloppy. Props toppled, jugglers fumbled and bumbled,
nobility to unleash the animal within. He is a beastly
masks flew from heads.
beast indeed - think the cast of Cats gone feral.
And there was some uncharacteristically lax corps
From the moment the bursts from his lair, his
work from a company we have come to expect more
sinewy grace and tortured longing make the show his,
from since artistic director Stephen Jeffries took over
helped in no small measure by Lam Man-yee’s
the helm.
excellent score which darts from chamber music to
That said, these minor mishaps should soon be ironed out, leaving a moving piece of dance theatre to
captivate young and old alike. Forget Disney’s version and its saccharine
soundtrack. Mr Reiter-Soffer has gone back to the source - the 17th century fairytale by Charles Perrault,
which tells the story of a bankrupt merchant who gets
lost in forest of horrors and encounters a hideous beast.
roar-punctuated Carl Orff-ish blood and thunder. Eriko Ochiai puts in her customary solid performance as the merchant's daughter, and Michael
Wang stands out as her spurned suitor; a study in bicep-flexing, pelvic-thrusting malevolence.
Not withstanding the aforementioned glitches, it looks like Mr Jeffries has backed a winner again.
PHILADELPHIA CITY PAPER
Wong believes his company "represents a new
JUNE 18-JUNE 24,1999
creative force in Hong Kong. Because we all worked with professional companies fora long time, and we're mature in age ... and we go to different corners of
society and get feedback and we bring a lot of that
back with us." DanceArt has traveled to Taiwan, Germany and the
United States (one trip was to Philadelphia) to
participate in arts festivals. In the past the company
received funding to help pay its way; however, it did
not receive any money - save fora small per diem from the Philadelphia Dance Alliance - to attend 2000 Feet.
So the directors are self-financing their visit, to the tune
"We are using everything we have to do this ... But we
of $8,000. "We are using everything we have to do
can't say, "Oh we don’t have the money, so we can't
this," Wong declares. "The government cut our
come/ Because we promised ..."
sponsorship, but we can't say, "Oh we don't have the
Andy Wong, co-director of DanceArt Hong Kong, first visited the United States at age 22, when he was
money, so we can't come.' Because we promised to come two years ago."
awarded a scholarship to attend the American Dance Festival. The experience left an indelible impression
on him, and not just because it was the first time he’d ever flown in an airplane. It also represented the first time Wong was exposed to modern dance. The three-month stint affected him deeply enough
that several years later, in 1993, Wong formed
DanceArt Hong Kong, for which he shares artistic
director duties with Francis Leung and Yvette Huang. All three have backgrounds in traditional movement
genres of their country, including Chinese classical dance and ballet, but their company is focused on the contemporary. "We can do any style," says Wong,
"Even though we don’t have funding it doesn't
speaking via cell phone from Hong Kong. "Contact
mean we're not important," he continues. "And to be
improvisation, dance theater, modern, even Anna
able to show your own choreography and original
Sokolow. We're still finding a way to merge our own
work is an honor. It shows we should be respected.
style with these techniques."
So it's not about funding, ifs about dignity."
DanceArt’s pieces deal with issues of personal
And there are other reasons, thinks Wong, why
interest to its co-directors. "A lot of what we do is about
participation in 2000 Feet is worthwhile: "To go to a
sexuality, individuality and our identities as Asian
different country, especially to a totally different
people who live in this country. They're about what
culture, for an artist, it’s really an inspiration. Ifs a
we feel about our environment," Wong says. "The
stimulation and encouragement to go on ... To go to
social issues are underneath the choreographic line.
Philadelphia is really like a reinforcement. We've been
It's not very obvious."
doing things here for 350 days a year and it’s only for
According to Wong, traditional Chinese dance
forms are still predominant in Hong Kong, though modern dance with a Western bent has gained a
foothold in the last decade. He now counts 30-plus modern companies in Hong Kong. DanceArt stands
out due to its active outreach programs with children
10 days we can get off our routine and jump into a
new place where we can communicate and share our feelings. It allows us to see ourselves in a better way,
to give ourselves a much stronger self-image and
confidence."
TEXT: Deni Kasrel
and people with disabilities.
Dan残No.6
7 TULY1999 THE NEW YORK TIMES
Bounding With Energy, East and West Meet The Asia-Pacific Contemporary Dance Festival got off
to a glowing start on Monday night with a performance
by the Dance HK/NY troupe at the Kaye Playhouse. The company, which was founded by the American
modern-dance choreographer Rosalind Newman last
year and is based in Hong Kong, is a collection of 12 lithe, good-looking young performers who seem capable of meeting any challenge. And Ms. Newman
"Exit" and disappears, like all the others, at the end.
Ms. Newman explores a similar territory in her haunting new "Different Trains," set to music by Steve
Reich. An urban nightscape is projected against the backdrop and dapples the dancers' costumes, the projection replaced by city names and dates associated
with wars. The names of American cities are spoken
in the score.
has given the dancers sleek choreography that draws
on their lithe energy and individuality even as it makes
The dancers journey through that untroublingly
interesting points about human relatioxnships and
ambiguous but slightly chilling universe in fastÂ
social history.
shifting, stylized wedges, clusters and lapping ranks
The two-week festival in part addresses the ways
in which Eastern cultural traditions and Western dance
of the late 20th century reflect on and shape each other. Ms. Newman hurtled the audience into a maelstrom
of happily colliding cultures in "Scenes from a Mirage,"
of bodies, arms reaching out as if for reaching out as if for something unattainable. Here, too, the stage patterns stand out, elegant and urgent, in a stark dance
filled with invigorating life. Albert Au designed the pale, stylish casuals worn by the dancers.
"Out of Dreams," a 1993 duet for Ms. Newman and
a 1997 signature work. The group piece, inspired in part by the return of
Hong Kong to China in 1997, is both sad and funny in the way it portrays a solemnly observant outsider (Juna
Koo) and the community she seems to have left behind and is perhaps remembering in the dance. The score, by Guy Klucevsek and the Klezmatics,
evokes the tumultuous social rituals of Ms. Newman’s
own Jewish culture. But the cavorting men and women onstage are not playing characters from that culture.
a disturbingly featureless foam rubber figure,
completed a program that was a model of brevity and
blessed conciseness.
The dancers - most of them graduates of the Hong Kong Academy for Performing Arts, where Ms.
Newman has taught for five years - also included
Pewan Chow, Frankie Ho, Rachel Yip, Antoinette Mak, Lily Tsai, Mandy Chan and Bruce Wong. Tiffany Yiu
designed the lighting.
They are clearly modern dancers responding to the
The festival, which runs through July 14, includes
music in an almost abstract way by bouncing heartily
a free panel discussion with company directors and
to it, drawing affectionate laughter from some in the
choreographers tonight at 6 at Thomas Hunter Hall,
audience.
Lexington Avenue between 68th and 69th Streets, and
Individuals separate from the crowd in this rich
weave of stylized patterns, including three men (Pheng Ooi Inn Pang, Li Zi-hao andf Danny Wei Ye) who engage in a bounding encounter.
The woman
eventually finds her way back into the group,
performances at Kaye Playhouse by the Expressions
Dance Company of Australia (tomorrow and Friday), Sun Ock Lee's Son Mu Ga-Zen Company from South
Korea (Sunday and Monday) and the Taipei Crossover Dance Company from Taiwan (July 14 and 15).
reanimating some by her presence. Separating again,
she is beckoned through a mysterious door marked
TEXT: Jennifer Dunning
20 TULY1999
AMERICA'S LARGEST WEEKLY NEWSPAPER
THE VILLAGE VOICE
Hot Springs
moment, the panels are lined up to form one wall;
hands scrabble out between the cracks to haunt a man.
Diverse Summer Fare Hits City By Deborah Jowitt
When larger gaps open, we glimpse people holding hands, passing between the partitions, like figures seen in the night crossing from one lit train car to another.
At the beginning of Scenes From a Mirage, Juna Koo dances in a corner - rocking, reaching, dipping Could this be a Jewish wedding? Maybe. The crowed
carries a man and a woman high on its shoulders. People kick up their heels while klezmer music wails
its irresistible rhythms. But there's no "story", and the dancers are all Asian. No reason for surprise. Rosalind Newman's career,
like her two recent works, crosses boundaries. A New Yorker, she’s been based in Hong Kong since 1989y teaching and choreographing at the Hong Kong
Academy of Performing Arts. Last year, government
under barriers created by her curving arms. A voice sings (the music is by Guy Klucevsek and the Klezmatics). The others huddle at the back: memories summoned up. This dance, too, is about journeying.
The advance toward the front of the stage, each desperate to arrive, often pulled back by someone else,
or helped forward. They gesture as if brushing steam
from a clouded window. When they link arms, they can't agree which way to go. They barely notice as
Koo begins to mold them into tableaux, but once
funding enabled her to form a company, all of whose dancers seem to be Academy graduates. HK/NY
performed here in the Asia-Pacific Contemporary Dance Festival, at the Kaye Playhouse through
Thursday. Different Trains and especially Scenes From a
Mirage are rich, beautiful dances. Newman's supple, springy movement demands strong technical skills,
but - molded by purpose, rhythmic punctuation, and
telling if enigmatic gestures - the most formal of patterns grip the heart. The dancers, wonderfully lush movers, render the emotional hues so sensitively that
you're not aware of them "doing steps"; deep forces seem to propel them.
They perform Different Trains to Steve Reich's stunning eponymous music. The cross-country trip
that's conjured up by the rumbling rhythms, the snatches of a conductor's announcements, the buried
allusions to other trains (like the boxcars of Nazi Germany) is cast by Newman into images of constant
traveling. Against a projected cityscape, dancers
trudge and race, often getting nowhere. Encounters occur on the move. Two women fall into the arms of
two men; others stare, but the pattern resumes (if it
placed, they continue to move in shadowy, indecipherable ways-like windup toys at the end of
their cycles. As the music heats up, they turn one another's pale
coats and vests inside out. The bright colors cue celebration and rapid, boisterous steps. Two men's increasingly outflung lumbering signals the onset of
drunkenness. Just as we begin to know these people as individuals, Newman returns to the dark anonymity
of the beginning. An exit sign lights up at the back; they walk through it, looking over their shoulders. Koo stumbles after them. We hear a heavy door
slamming.
ever really stopped). Four of the eight dancers leap to hang from portable panels that catch the neon names
of cities projected on the back-drop. In an eerie
Despite the desperation, both these pieces teem
with life.
El No.6
Members of Hong Kong Dance Alliance
n n n 華
會
缠 舞 蹈 赖
囲
會 震
番 蓽
個人會員 簡麗珊女士 錢秀蓮女士 謝漢文先生 郭慧芸女士 黎海寧女士 陸國雄先生 施累心女士 黃翠玲女士
INDIVIDUAL MEMBERS Mr Jason Brockwell 陳德昌先生 Ms Margaret Carlson 宋絜女士 Ms Miranda Chin 高家霖先生 Mr Mohamed Drissi 劉玉芬女士 Ms Vivian Kwok 羅詠芬女士 Ms Helen Lai 龍櫃池先生 Mr Luk Kwok-hung Ms Priyadarshini Ghosh-shome Ms Susan Street 曹誠淵先生 Ms Scarlet Wong
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腿均先生
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ORGANIZATION MEMBERS
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方舟舞蹈劇場 霹题啪:勒身體劇場 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
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 湯布力先生 潘少輝先生 鍾碧霞小姐
Ark Dance Theatre Bilibala Physical Theater Billy Chan Dance Centre
東邊現代舞蹈團 基督徒舞坊 蜉蝣舞圜 雙妹唼 動作纖維 新約舞流 步韶舞蹈團 香港演藝學院 香港芭蕾舞團 香港舞蹈團 香鋼願賴綱育總會 綱公司 智糊習學校麵W也 絲路舞蹈文化協會 躍舞翩 南群舞子 三分顏色 原體系 蒲窩青少年中心 X—劇場 歪:的示体 多空間
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Ms Eve Cheng Mr Domanic Wong Mr Billy Chan Ms Diana Yau Mr Willy Tsao Ms Mui Cheuk-yin Mr Andy Wong Mr Tom Borek Mr Pun Siu-fai Ms Jocelyn Chung Mrs D. M. Wayburne Mr Jacky Yu Ms Tsang O-ying Mr Wong Hang-fai Ms Yeung Wai-mei Mr Xing Liang Ms Pewan Chow Ms Chu Kit Ms Margaret Carlson Ms Helen Ng Ms Ophelia Lau Mr Chan Wai Ms Lindsey McAlister Ms Keren Suen Ms Pasha Umer Mr Terry Tsui Mr Ong Yong Lock Mr Afa Chiang Ms Ling Lee Ms Miranda Ng Ms Elina Liu Mr Daniel Yeung Ms Mandy Yim
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Champion Ballroom Dancing Academy City Comtemporary Dance Company Contact Point DanceArt Hong Kong Dance HK / NY Dancing Qty Danseomanie
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Fong Kit-ping Kwan Yim-Ian Kwok Shuk-yan Lai Siu-ling Asha Sawlani
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.
Fau Yau Dance Circle
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s員申話表 Membership
會藉
（
）Individual
（ { （
）Organization ）Associate* ）Student*
個人會員 團體會員 普通會員 學生會員
$200 $600 S100
$50
Member' s Information 會員資料 Name 姓名（English 英文）________________________（Chinese 中文）
Telephone 電話（Office
公司）______________________
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職位
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公司名稱
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Information 團體會員資料
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所屬舞蹈類別
Applicable Dance Category
色蕾
|
| Contemporary 現代舞
| World Dance民族民間舞
|
| Ballet
I
| Eastern Folk東方民族舞（221 Western Folk西方民S笑舞
□
I
| Education教育界
I
|
| Cultural and Arts Administration 文化及塾術行政
I___ I Notation 舞蹈記錄
Signature 簽署
[J Criticism寫作與評論
I
I
國際標準舞
I Technical Arts 舞台技術
□ Musical Theatre / Jazz / Tap Dance
I Others 其他
音樂舞劇/爵士舞/踢躂舞
Date
日期：
|
Please endose cheque payable lo ThE HONG KONG DANCE ALLIANCE with this appCcalion form to c/o Office of the Associate
I
Dean, School of Dance, Hong Kong Academy for Performing Arts, 1 Gloucester Rood, Wanchai, Hong Kong.
|睛填妥表格連同劃線支票抬頭寫：「香港舞蹈聯盟」寄香港灣仔告士打道一號香港演藝學院舞蹈學院副院 I長辦公室轉交香港舞蹈聯盟收。
'Non voting沒有投票權利
Dan驻No.6
SEPTEMBERS EVENTS 4, 5
8.00 pm
北京現代舞蹈画
99 •艷陽
Beipng Modern Dance Eosemble 99 The Sun
10. 11
8.00 pm
Choreographer
:Willy Tsao, etc.
編舞
•-曹誠淵
大會堂音樂聴 Concert Hall, City Hall
三分顏色
三分一.點紅•點綠
Three Colors
3 in 1 • Point Red. Point Green Cultural Activities, Shatin Town Hall
Choreographers
:Afa Chiang, Wong Kwan-sun and Dick Wong
編舞
:鄭志銳，王望燊及黃大徽
沙田大會堂文娛驄
17
8.00 pm
躍舞編
不同世界
藝穗會劇場
18
2.30 pm
Spring Poetry
Different World
La Cremeria Theatre, Fring Club
Choreographers
:Terry Tsui & Lonce Yu
編舞
:徐偉業及余世好
霹超啪
小團大作
8.00 pm
24, 25
7.30
Bilibala Physical Theater Master Pieces of Masters-To-Be Choreographers
上環文娛中心劇院 Sheung Wan Civil Centre Theatre
: Ark Dance Theatre, Bilibala Physical Theater,
South "ASLI- Dance Workshop, Uncarved Block & X-tanztheatr
舞
：方舟舞蹈劇場、霹拯啪:勒身體劇場、南群舞子、原體系及X劇場
十
月份
OCTOBERS EVENTS
節