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_^個好消息，香港舞蹈聯盟缎獲得藝術發展局今年的"多項計刻 ”資助，舉辦如《各自 各舞蹈系列》及《舞蹈教育工作坊》等活動外，最近又成功取得藝術發展局的專項撥
款以支持《舞蹈手扎》的出版。相信自此《舞蹈手扎》能更穩定地注视香港舞蹈創作，爲香 港舞蹈發展多使一分力 。香港舞蹈創作在近年漸受國際舞壇重视，原因一方面是本港编舞水 平不斷提高，另方面在九七回歸中画的背景下，香港舞蹈（甚至整個文化）的形象在囤際間起了微炒的變化： 大概五'六年前，香港舞蹈仍只是一種殖民地式的壁•術，什麼中西融合、別具一格等，都使人感到有趣，遊容到香 港便不妨一看，也不會有太大失望：但國際間眞正重視的藝術文化活動，要邀請某些能夠代表國家的舞蹈®體時 ，香
港的藝術家們往往遠憾地被摒諸門外，是他/她們的藝術份量不足嗎？更大的原因是國家代表性不足而已 。
九七前後，香港的舞蹈創作突然倍受國際傳媒及藝術節組織重视，爲要查看一個在資本主義社會下發展出來的藝術 形態，如何過渡至共產主義社會中，創作是否仍然自由？靈感有否窒息？作品要否受審查？藝術家是在忐忑？在害怕？ 在悄怒？還是在悲鳴？
回歸兩年後，初期因爲前途未卜的亢奮平淡下來。可能因爲身在局中，未必最能清晰地審度時勢，但大部份舞蹈家 們確實認爲香港的創作環境眞的沒什麼變動 ，而大概國際間對香港舞蹈創作的興趣便要開始減退 — —
事實卻不然，愈來愈多的因際藝術活動及舞蹈節組織向香港舞蹈家們發出邀請 ：而最有趣的，是他們視香港舞蹈家 們不但代表香港，更足以代表中國。剛在十月初應邀在意大利威尼斯藝術雙年展演出的梅卓燕 ，不但大受歡迎’而且 在妯的名字背後註名的代表画籍是 — —中S。當然梅卓燕也曾跟大會負責人説明她只是來自香港 ，但對方瞪大眼睛並
理直氣壯的説：香港不就是屬於中國的嗎？
此外，法國里昂發術節在明年要以中國舞蹈藝術爲主題，節目總監爲了選取節目 ，在全中囤跑了一圈後’來到了香 港。臨離開時留下一句話：在這裏終於找到最能代表現代中國的舞蹈節目 ！明年（公元二千年）秋天，我們將拭目以 待，在里昂，展現在欧洲觀眾面前的最具代表性的中國舞蹈節目。
IW 出版人：
香港舞蹈聯盟
Published by :
Hong Kong Dance Alliance
總編輯：
曹誠淵
Editor-in-Chief :
Willy Tsao
白朗唐 鄭志銳 劉自荃 馬才和 曹誠淵 吳易珊 余仁華
Contributors: Tom Borek Anna Cheng Pun Siu-fai Edwin Lung Andy Ng Andy Wong Daniel Yeung
舞蹈手扎盟友： 湯布力 鄞煥美 潘少輝 龍植池 吳偉碩 王廷淋 楊春江
設計及排版：黃翠玲
Design & Layout :
香港灣仔告士打道一?虎 香港演藝學院舞蹈學院 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：2802 3856
Tel: 2584 8753 Fax: 2802 3856 E-mail: hkdalli@netvigator.com
電垂B : hkdalli@netvigator.com
7期 Preface
Press Clippings 剪報服務
編者的話
作者：曹誠淵
□
大公報 北京現代舞网踏上成長路
舞盟快訊 Author : Tom Brown
作者：白朗唐
作者：史玉琪
m
大公報 自編自跳探索人生
北京現代舞圃節目「九九•艷陽」觀後感
評論
藝資 林懷民的舞埴藏禮進出於燦爛與純淨間
作者：洪捷
□
Commentary
FestArt Thankas And Mani Stones Author: Pan Shih
明報 澳門文化中心首個現代舞演出 「城當」舊作濠江重演
□
□
作者：思念
EQ
Our Lady in Red Author: Edwin Lung
CQ
Xpression
Members List 會員名單 香港舞蹈聯盟會員名單
專論 CCDC Triple Bill for Macau Author: Ock
□
會員申請表
月圓月缺，小團大作！ 作者：小棕
□ 十月份演出節目名單
《大團小作》分享會後随想
什麼是舞蹈？為什麼跳舞？ 作者：淺見
on
Spring Poetry Made the Difference Author: Ock
EB
十一月份演出節目名單
香港g術發展局資助
封面設計：Lilia Ng
Supported by the Hong Kong Arts Development Council
EB
T am happy to announce great news for the Hong iKong Dance Alliance and Dance Journal/UK.
including a series at the McAulay Studio Theatre,
Funding fora further 12 issues of the Journal has been
series at the Fringe Studio as well as workshops and
approved by the Hong Kong Arts Development
forums continues to go forward.
Council. I would like to also remind members that
news in the next issue but I would like to ask members
part of our funding is defrayed by your advertisements
who have an interest in participating in these events
Decadance at the Shouson Theatre, and a newcomers I will have more
in the Journal. I would like to encourage as many
to please send me your proposals as soon as possible.
members as possible to use the Journal to promote your
Last month I'd asked for members to respond by 1
upcoming performances, school schedules, and other
November.
We have decided to extend that to 20
events.
November.
I would also like to request that, were
New members of the Hong Kong Dance Alliance
include the Jean M. Wong School of Ballet. Ms. Wong
is no stranger to the Alliance, having contributed to the 1999 Hong Kong Dance Award Gala. Her work
possible you include a video tape of your proposal or other work.
Please send to me at: Office of the
Associate Dean, School of Dance, HKAPA,#i
Gloucester Road, Wanchai, HK.
and that of her school continues to make a major
As promised in my last column, we have confirmed
contribution to Hong Kong Dance and we extend our
Marcia B. Siegel's participation in the Dance Critics/
warm welcome. Susan Street, who is the incoming
Writers workshop. The dates for the workshop will
Dean of Dance of the Hong Kong Academy for
be 5 through 10 March 2000.
Performing Arts has joined the Alliance both in her
organizational members City Contemporary Dance
capacity as representative of organizational member
Company and Hong Kong Academy for Performing
the Hong Kong Academy for Performing Arts, School
Arts School of Dance will have productions.
During this period,
of Dance, and also as an individual member. Ms. Street
Productions by other members are planned including
comes to Hong Kong from Australia where she was
some in conjunction with the Hong Kong Arts Festival.
Professor and Head of Dance at the Queensland
It promises to be a very exciting workshop and I urge
University of Technology. She is also the Chair of the
members who are interested in criticism and dance
World Dance Alliance Asia Pacific Dance Education
writing to save the date and attend.
Association and was a very active member of Ausdance,
details will be announced in a future issue.
Registration
the World Dance Alliance organization in Australia. The Alliance looks forward to Dean Street’s
participation in its activities and is very happy to
welcome her on board. Other new members include The Flying Works, directed by Phoebe Chu former dancer with the City Contemporary Dance Company.
We look forward to presentations by Ms. Chu’s new company.
Tom Brown
Chairman
Planning for the All Independent Dance Series
October 1999
要求會員於十一一曰前EJ覆，現本會決定將截止日期
i人十分高興告訢大家一個開於香港舞蹈聯盟及 1 r舞蹈手扎j的大善訊，香港簪術發展局已批淮 了對r舞蹈手扎j新十二期的撥款。順此一提，我們部
延至十一月二十日。此外，可以的話，會員請連同所建
份經費來自各會員在本手扎所刊登的廣告。希望大家盡
明香港灣仔告士打道一號香港演簪學院舞蹈學院副院副
量利r舞蹈手扎j來宣傳你們的演出、學校活動及其他
院長收。
項目。
議的演出或閣下其他演出的錄影帶一併送交本人，並註
上次的r舞盟快訊j中，我們曾宣佈舉辦一個由瑪
關於加入舞盟的新會8，有我們熟悉的王仁曼芭蕾
希婭.希格爾主持的r舞蹈評馀及寫作j工作坊。該工
舞學校，王仁曼女士曾贊助＜香港舞蹈聯盟舞蹈年獎九
九＞的活動。王女士及其舞蹈學校對舞盟貢獻良多，我
作坊謹訂於明年三月五日至十日舉行 。在這段期間，a 體會員如城市當代舞蹈團及香港演登學院舞蹈學院將參
們對此衷心表乐謝意並歡迎這位新會貝加入 。另一位新
與演出。屆時亦會安排其他會貝演出，製作一些配合香
會員是施索心女士，施女士是香港演藝學院新任的舞蹈
港藝術節的項目。這工作坊内容豐富，對舞蹈評治及寫
學院院長。該學院爲舞盟團體會員，而施女士除了代表
作有興趣的會g不容錯通，報名及登記坪情將於下期公
該學院外，亦以個人名義加入舞盟。施女士自溴洲來
港，妯是當地昆士蘭科技大华舞蹈系的教授及主管 ，同 時爲r因際舞蹈聯盟亞太局舞蹈教育協會j的主席，亦
是一位非常活雄的Ausdiimx•會員（Ausdancc-
香港舞盟聯盟主席
—個澳洲
國際舞蹈聯盟組織）。我們十分殽迎施院長加入，相信 她曰後會積極參與舞盟活勤 。其他新會8還有朱债兒領
導的r舞蹈菲場j，朱女士曾任城市當代舞蹈 a舞者， 我們热切期待其新舞a的演出。
計釗中的r各自各舞蹈系列j包括將於麥高利小劇
場舉行的一系列演出：於壽臣劇院上演的r九大簋」： 以及於發穗會進行的新秀系列 ，當然還有工坊及討論*3 會。下期的r舞蹈手扎j將提供更多有r»i消，a 加上述項目的會員請盡快將建議書送交本人 。
一九九九年十月
H^GOMMENTAR?f 關闘 FESTART, 1999 Vol. 1
」 」人」」S7O-^
XjJ£＞ J
A PRAYER FOR THE NEW MILLENNIUM FROM LlN HWAI-MIN Kaleidoscopic, peripatetic, meditative, prayerful... A performance dazzling to the beholder's eye. A dance beyond description That has the means to exalt.
Burning the Pine Branches centres Around Tibetan religious practices. A mandala patterned on the stage Is pointer to the religious theme. Chanted sutras, arcane rites, vivid thankas ... Fluid, colourful, and protean, The dance draws the viewer Into a meditative journey.
...thus the dance-maker's description.
Dance seems an ideal means of conveying the essence of Tibet- the vivid colours of prayer flags fluttering in the wind; the rugged masses of rock looming over the
landscape ...to choreographer Lin Hwai-min, these
take the place of both spoken and written word in bearing witness to the history of the people and the passage of time in the mountain fastness known as
the Roof of the World. To him, the visual impact of Tibet unveils the
significance of the land's spiritual wealth. Its blue
skies, snowy peaks, craggy mountains, and profusion of colourful strips of cloth printed with Buddhist sutras that fly heavenward with every gust of wind - these are what he translates into dance.
Burning the Pine Branches represents Lin Hwai-minzs
farewell to the 1900s, In Taipei, the Cloud Gate Dance Theatre will perform this new work for the first time
on New Year's Eve. It then comes here to help the
Hong Kong Arts Festival usher in the 2000-cycle of
years and also the year of the Dragon.
constellations...
He wants to use the pebbles and stones of Tibet, both the mani stones carved with Buddhist mantras
The title comes from the Tibetan custom of burning
and the plain ones that travelers place in cairns as a
tree branches in the springtime. As the smoke and
mark of respect as they pass by a particularly revered
scent from bonfires rise, they mingle propitiously to
site. He sees the presence of these stones on the stage
convey prayers to the gods, to cleanse the air of all
and hears their sounds as they group and regroup in
that is noxious, and to pave the way for a better life.
different shapes.
The Tibetans also read the rising smoke for portents
But all this will be left to interpretation by Ming
of the future. The burning of these branches is one of
Cho Lee, the Shanghai-born American who is Lin
the images that Lin Hwai-min promises to show us in
Hwai-min's stage designer of choice. Ming Cho Lee
his new dance piece.
Since Pine Branches is still in the making, no one, probably not even the choreographer himself, knows
is a well known name in international theatre, where
his spectacular stage sets for ballet, opera, and drama
have brought him countless awards and accolades.
for sure its final form. If past Lin Hwai-min practice
Lin Hwai-min was featured not long ago in an
can be taken as a clue, then we can expect to see a
RTHK television series on Chinese who have made a
metaphysical exploration through moving energy
name for themselves. On the screen, Line comes across
patterns expressed with fluidity and strength. We can
as a sage and benign man of middle-age (he was born
anticipate rare beauty and an emotional involvement
in 1947). See him at a rehearsal, however, and you
that leaves the audience incapable even of applauding
realise that he has lost none of the fire and fury of
when the curtain drops. There may also be the blend
youth. See a piece of his choreography, and you can
of Tai Chi fluidity and the vital energy engendered by
tell that he is a deeply insightful person capable of
qi that we saw in Lin Hwai-min's Legacy and Nine
profound thought.
Songs. Both of these dances have been performed by
Cloud Gate in Hong Kong, along with others of Lin's dances in the company7s eight visits here since 1975.
Although bom in the rural surroundings of Chiayi
in central Taiwan, Lin Hwai-min comes from a family with scholarly inclinations, and his father attained
Tibet has long held a strong fascination for Lin
considerable eminence in public service. Young Lin's
Hwai-min and since early last year, a dance focused
intellectual slant became known every early, when his
on the spiritual aspects of Tibet has been very much
writing was first published at the age of 14. While
on his mind. In August last year, he and a lighting
still a university student, Cicada brought him
designer friend, Chang Tsao-tao, went to Tibet to
recognition as a leading literary figure. His writing
explore possibilities. In terms of stagecraft, the choreographer told Ruby
skill earned him first an undergraduate degree in journalism in Taiwan, then a Master of Fine Arts degree
Shih (no relation, but her article in Chinese elsewhere
from the University of Iowa, home of the famed Writers
on these pages is incorporated here) that "the dance
Workshop. But dance continued as another of his
will slip in and out between the pyrotechnics of
passions, and he took advantage of his years in USA
operatic drama and the pristine purity of a blank
in the 60s and 70s to dance with the companies of
spirituality" He sees the stage as being "a vast
Martha Graham and Merce Cunningham.
grassland of the soul that contains boundless hope,
endless optimism, and certain redemption".
On his return to Taiwan, he founded the Cloud Gate Dance Theatre in 1973. As writer and dancer, he could
He envisions a colour scheme revolving around the
have made a name for himself as a "Man of Success"
vivid reds and greens of thankas, wall hangings of
on his merits as an intellectual, a writer, or a creative
religious paintings. Silk hangings will cbnvey
artist, but he showed himself to be just as adept as an
suggestions of mountains, flowing water, flames, the
administrator. In the beginning, Cloud Gate was a one-
DansÂŁj^!^MÂŁ^ No. 7
man operation. He pulled the company in an
was rather strict in his expectations, and one can well
astonishingly short period of time from nil to
imagine the conflicts that must have raged in a young
resounding success as he handled finances, casting,
Lin Hwai-min with thoughts of rebellion held back
publicity, and bookings and then went on to attend
only by a strong sense of filial duty. He described his
rehearsals and appear on stage.
father, in his80s, as now being as pure and simple as a
Today, Cloud Gate's reputation is international. Was it all due to Lin Hwai-min? Probably, yes, in great measure. Some years ago when Lin was absent from
Cloud Gate for a
period, his absence hurt.
Since his
child. He feels closer to his father that even before
and time spent with the elderly man is interesting. "I wish I could be at his side every day, pushing his wheelchair as we together revisit the places and friends
of his past," Lin
Hwai-min said.
the
What hopes does
company has gone
he have for the
from one triumph
future and are these
another,
hopes evident in
garnering raves
Burning the Pine
along the way. In
Branches?
the first half of last
dance is seen as a
year, the company
prayer for the future,
return,
to
"If this
four
as a hope that will
continents and then
bring new for old;
in July appeared at
then this was not the
Munich and for the
intention," he told
toured
second time at
Ruby. "The thing is
Vienna at their dance festivals. In October, Pina Bausch
that the creative process has always constituted a social
invited Cloud Gate to Germany to help celebrate the
contract." Time does not bring cures, he explained.
25th anniversary of her Tanztheater Wuppertal. This
"Whatever the apparent changes in this world that may
year, they have toured Holland, Belgium and Germany,
come in the new millennium, its basic nature of the
and when Sadler's Wells reopened its theatre, Cloud
world has not changed, and there's nothing in the way
Gate was invited to inaugurate it along with Pina
of great hopes that I can offer for it to do so".
Bausch, the Frankfurt Ballet, the Netherlands Dance
Theatre, and Sankai Juku. TEXT: Pan Shih
Tibet is where Lin Hwai-min's attention is now focused, but he has always had an inclination toward
far-away places of spiritual significance. He has been to India six times, and to Bali ten times. He told Ruby
Shih that the simple life in those places attracts him but adds that it is a "very rich simplicity" He said:
"It's only when I visited Bodhgaya (where Buddha
attained enlightenment) that I realised a cup of water
is, after all, just a cup of water. It was only then that I was able to set aside the petty little details of life." Simplicity and a sense of purity have come to form
elements of his personal outlook as well. His father
題
一九九九年第一期
才禮
I
＞^»姻離麗 一場沒有說法. 卻洋溢箸宗教氣息的性靈之舞，
柔的絲綢和極粗碾的岩石 ，替代了語言，見迸歷史與時
光，「舞台的形式上，將在視覺燦爛的歌劇式和（水 月》、《白〉的空靈、純淨間出入！到時候，舞台就是
《焚松》的舞題•
心靈的原野，洋溢希望、歡樂以及可能的救贖。」
取自西藏的宗教儀式。
舞台散佈的曼陀羅國案• 是舞蹈的主要精神指標。
林懷民在98年初開始醞釀編作＜焚松》，同年八月， 與燈光設計家張贊桃赴西藏蒐集資料 。在拉薩街上，一 名藏族青年聽説林懷民來自台涔，便殽喜地拉著他問：
藏密的梵唱、儀式•乃至唐卡的顔色
「去年，達賴喇嘛到台•灣時您有見過他嗎，請多跟我説
綿柔流動的引領觀衆• 隨著台上的色相與迴邏的精氣•
些達賴喇在台涔的事，好不好？ J林懷民和這名青年的 對話，是他唯一較顧意對媒體透露的西城印象，他回熄
進行一場冥想之旅。
當時的景象，說：「我端詳眼前的青年，他頂多二十歲
編舞家如是說。
過達賴喇嘛嗎？青年搖搖頭，我接著問他爲什麼那麼渴
出頭，但達頟喇嘛已流亡印度三十多年，我便問青年見
望知道達稍喇嘛的事 ？誰知，青年説了一句：因爲我好
想念他！立刻號啕大哭、淚流滿面！ j
负
門舞集自從94年在香港演出（流浪者之歌〉，96
年演出 ＜紅樓夢〉之後，將在2000年二月香港藝 術節中，再度與香港觀眾見»
這相隔三年的時光裏，雲鬥在國際間的舞步不曾稍 停，僅是98年二月至六月，雲門舞集應邀赴美固、溴
洲、耶路撒冷和新加坡演出，七月除了慕尼克陀塢舞蹈
談到内心，林懷民始終锘往遙逮且有宗教美學的地 方，他曾赴印度六次、答里島十次，他锐：r那裡的生
活常簡單，但對我來説卻是非常豐富的簡單，我唯有到 了菩提伽耶（印度，佛陀的成道處），才發梵一杯水就
是一杯水，才能在生活中每個細節安住下來。」
節，並二度應邀參加維也納國際舞蹈節 ，十月，當今國
二十一世紀即將來臨，對於自我的生命情態，這位
際舞囲祭酒翩娜■包殊親自邀請雲門參加爲慶祝其舞園
備受國際敬重的編舞家如此説道：「早年，父親對我的
25週年而舉辦的藝術節。99年二月至四月，雲鬥在荷
教育非常嚴格，但現在他已經八十多歲了 ，純眞一如孩
比德三國巡演，當儉敦300年歷史的Sadler掇Wells劇
童，和他相處讓我梵得親密、有趣，我希望每天都能陪
院重新開幕，雲門舞集和翱娜•包殊、法蘭克福芭蕾、
伴在他身旁，爲他推著輪椅，一一重訪他年輕時在曰本
荷蘭舞蹈劇場、山海塾等31體同時應邀開幕季演出。
留學的故地舊友！J
目前，僅是千禧年的演出，雲門便已獲得十四項國
至於新世紀對世界的期望，林懷民説：「如果將
際邀請，包括紐約「下一波藝術季J及2000年奧運藝術
〈焚松〉視爲一場内心祈祷，是新萏世紀交替之作的
節，而林懷民的最新作品 《焚松＞＜Burning
話，那並不是刻意的釗作，而是因爲創作本來就和社會
Ihe
Pine
Branches） *將在本世紀最後一天夜裏在台北首演，隨
契合，或説，正好我也是世纪末的一群吧！然而，從二
後，林懷民與雲門也將帶著這支舞作來到香港。
十世紀初便飽受戰火摧折的科索沃，直至今日依然顧沛
＜焚松》的舞題，取材自西藏民族春天時燃燒松針枯
枝的習俗，冉冉的松香煙霧，有祈福、除障、淨化的意 味，藏人也在煙中閲讀吉凶。林懷民説：「觀眾進劇院
流離，孩子的眼中仍然映照著恐怊、無望，那麼，儘管 淅世纪外在運作的形式有所改變，但本質沒變，也就沒
什麼好期望的了。J
文：史玉琪
a考，將可以看見焚燒松枝的意象 ！ j
雲門將再度邀請李名梵擔任舞台設計，在林懷民心
目中，西藏的藍天、雪山、礫石，以及處處楓揚的五色
*雲門舞集《梵松》將於明年香港竪術節期間•二月
■■
旌旗，都將是視觉的重點，他認爲，在西藏，極細軟軽
十八至二十日於演藝學院公演，
HI
ARWtES CCDC Triple Bill for Macau masterpiece. Many different soloists have performed this dance, however, Mui’ performance stands alone.
Eulogy was performed in Macau by Wong Manchui. The sensitivity required for the usage of props and to perform the organic movements in Mui's choreography are always a treat.
Wong performed Eulogy with extreme precision, grace, and superb technique but an aura of the piece
was lacking. The choreography has an innate quality that is hidden requiring, most often, moving between
the lines.
To perform such a piece is a tremendous
t was the 100lh day before the Macau hand-over and CCDC performed at the new Centro Cultural
executed but nuances and the continuity of the highly
I
challenge for any dancer. Eulogy was excellently
de Macau. This amazing structure is an architectural
complex emotions of the piece were missing.
monument for Macau for the coming millennium.
Nonetheless, it still gripped the audience at certain
The timing, though not intentional was,
nonetheless, perfect for the programme that CCDC brought to Macau before touring Germany in mid-
September with the same bill.
moments. The performance ended with a revised version of
Willy Tsao's
China Wind . China Fire. Mr. Tsao's
post card-like choreography of invoked fusion and
Yuri Ng's award winning choreography Boys
conflict when contemporary issues in China confront
traditional norms. The highly symbolic concoction of
Story, began the night's programme.
Man in traditional Chinese wedding gown, Man with guitar, lip-singing, Man at the barre, Man in a head stand, Men marching, and a timer counting-
down every second comprised the images that made
up Yuri's highly stylized and whimsical work.
this piece is full of Chinese rock'n roll music and rich characterization. Each scene is carefully crafted with telltale semiotics, be it in costumes, gestures or even the drama. Willy Tsao's usage of lexicons in the piece
was clear and direct which gave the work a unique
blend of entertaining artistry and meaning behind each The male images were highly juxtaposed together
scene. It is always a privilege to watch the entire cast
with hidden agendas and a clever intertwining of
of dancers from CCDC in a large group work, in this
relationships.
work even more so, as they were really enjoying
The careful control of emotional,
spacial, and physical tension was beautiful to see.
themselves.
Performed by a strong cast of male dancers from
CCDC to carefully selected music, the work demonstrated an impeccable maturity.
Although it
has been performed many times, the piece evolved within itself at every performance, a feature that makes Yuri Ng’s choreography very interesting to watch. It
definitely won the hearts of many in the audience.
The company were treated to an unusually long
round of applause and it was a pity that the stage manager called the curtain too early, putting a stop to
the appreciation of the awe-inspired Macanese
audience. TEXT: Ock City Contemporary Dance Company
Inspired by Li Qinzhao's ci poems from the Song
Dynasty, Mui Cheuk-yin's solo work Eulogy is a
11 September 1999
Centro Cultural de Macau
月圖月鉄，〉
作
白説，我是懷蓊極高期望去看「小®大作」的， 因爲演出革位包括了五個充滿釗意和堅持的小型
現代舞園— —X劇場、方舟舞蹈劇場、南群舞子、原體
系和霹靂啪勒身體劇場。香港的現代舞界多姿多采 ，各 發芬芳，實有楨他們的努力，今次大家合作發表五段大
作，確是甚有噱頭。然而........... 原體系的李笑玲和方舟的鄭楚娟所編的舞蹈均與月
亮上的主角— —婶娥— —有關，唯一虛一實的演繹，效
果大相逕庭。原髖系的（十五》，以不斷流動的山溪流 水作景，配以重覆又深沉的歌泳琴聲，李笑玲在兩張椅 子之間舞動、遊離，意景幽這：縱使她時有激動憤慨的
時刻，但整隻舞仍是淡淡然，正如耶背景的流水一樣 ， 説的是永不止息的一種思情，只是棟選了某章節、某曰 子、某時刻的悸動而作舞。觀眾「浸」在這「心潮」之
中，很難被李之激動情感所牽引，沒有什麼高潮位，淹
不死你，卻要良久才能體會身在流水中的味道。因此，
對觀眾而言，無論在舞的開首看、中段看或是尾段才看 似乎都沒有什麼分別，一切都是淡淡然的。
反觀方舟的《月圆狂想之夜》，雖説是一個虛構的
神話，但處理卻一點也不「虛」，這和她選擇用語言和
戲劇去交待神話的始末有關，而説故事本身，尤其是 「序」所説的神話，既冗長又未能提供任何線索和啓
發，如何叫觀眾「狂想」？「嫦娥奔月J 一段，舞者把
長袖揮了耶麽久卻一點也感受不到那奔月之苦 ，舞動之 情，地的「心」到底在哪裏？後期説嫦娥也用電子郄件 寫信給牛郎是有趣的一段，最後用辦公室的椅子旋轉出
「月亮代表我的心」的獨舞也非常悦目，然而這兩段是
説故事還説故事，舞蹈還舞蹈，但加起來卻並不能説這
就是「舞蹈劇埸」啊！這種結構使觀眾看得斷斷續續，
感梵鬆散，浪費了舞技精递的编舞者。 南群舞孑的《撒洒》充滿著宗教祭祀儀式的意味 ， 以「道」説「道」，流露生命的各種色相，在一片渾沌
之中，一男一女承著轟然作響的大銅片，小心翼翼的漫 遊時空，承若的「天J逐漸成爲他們爭長互惠之 「地」。
吊下來的鮮紅色裝置，在渾沌中顯得份外美麗和熱闡， 然而這種喜氣洋洋的 「紅」，卻隱隱暗示了危險的搞
機：其實大銅片也可以弄得「轟天動地、鬼泣神嚎」，
但編舞王榮祿卻刻意壓抑這種巨響，更加突顯了危機 感。最後人被捲進這銅片之中，似乎是返回宇宙萬物的
本源，而觀眾則屏息靜氣的上了一謀「道J。
X劇場的〈追影》把我們帶回現代社會，編舞廖美 燕用婧戲，開玩笑的手法將人「無良心」的行爲表達出 來，透過投射影像，我們看到一幕幕大壓小、爾虞我 詐、把自己又或是被人聞迫牢籠内等等的景象。我想 编舞花盡心思，卻是貪心了一點，玩樂得太久，似是
沒完沒了，舞者倦透之餘，觀眾也看得很腻，尤其是 後段將吹氣人形公仔反轉再反轉，那裏才是出路呢？
最後，製作單位霹靂啪勒身體劇場派了賴文慈的 《木蘭》作代表，竞是一隻中國舞，有點意外。意外的
是编舞對中國敲擊音樂有一定的掌握和體會 ，把木蘭
的内心掙扎用鼓聲節拍媚媚道來，曉是有趣。舞蹈编 排方面，她喜愛將舞台填得充實工整 ，有不少悦目和 偉大的構圖和畫面。然而，所説的内容一定是老土的 了，怎樣才能突破？我恝編舞今次還是保守了一點，
舞蹈具形具像，如茅:放膽處理得更虛又會如何 ？ ＜木
蘭〉大有潛質發展成長篇的舞蹈作品，今次在上環文 娛中心的場地演出，題得很侷促，又由於時間所限，
木蘭的心情在短短的十數分鐘内就能平復，決定入伍 出征，似乎又來得太快，有點「趕收場J之感，令人失 笑。
五隻舞蹈之間還同場加映錄像作爲連接，但此等錄
像卻是可有可無，純粹爲與中秋節扯上關係而製作： 朿影影，西影影，是在尋找月亮吧。最後打出「刀亮
呢？ J三個字，唏，我也想知道，但它一定不在劇場
裏！
文:小棕
霹靈啪;勒身體劇場 九月二十四及二十五曰 上環文娛中心劇院
U
© O S O Q
《大團小作》今菩會泼逯倦
7
什麽足舞蹈
一九九九年九月廿五日追月晚上。
當晚在上環文娛中心劇院裏，原链系、方舟舞蹈劇
場、南群舞子、X劇場及霹靂啪勒身骽劇場表演後，隨 即舉行了分享會。那是一個十分長的分享會 。
7
卷什麽純舞
事。當中亦可以加插很多其他美好的事物，如音樂、服
装、燈光、佈景或其他剌激视梵或聽梵的事物：甚至是 加上一些無形的東西，如故事、寓意、情感、想法等。 也許曰後可以加上更多更美好的朿西，但我想那個本質
一定要保留，無論邵個本賀是什麼。
本是凝聚了五股舞壇新勢力 ，代表著一份熱誠、一
份愛的一場舞蹈表演，竞然在劇院的舞台與觀眾席之間 接起一場唇舌颱風。 先不理颱風的風眼何在，如何登陆。雖然有人乘颱
對於喜歡採索動作原理的我來説，擁有能夠在空間
中隨意流動的肢體已經是件美:if極的事。動本身在人類 的生存模式中就是不可或缺的 。意動學（kkokinesis）的
其中一位先驅者，Lulu Sweigard在她的Human Movemenl
風吹毛求疵，有人則被「吹沙入眼」，但避風不總是個
Potential : its Ideokinetic Facililalion 一書中提到人顏直
壞傢伙。有颱風，我們學會居安思危：有颱風，就有雨
骨掛是個「不穩的平行J *而她的老种Mabel Elsworlh
水滋潤思想的大地。
Todd在1937年發表的The Thinking Body中更曾提及在人
經過多位前輩的多年努力，香港舞壇發展已具規
•的
類的存在中有一種牽涉到機械、生理及心理的關於尋找
模，如果説開始時我們屈居斗室，現在雖無花固洋房，
平行的採扎。依她們所説，動是人生中不能被免的命
但络算有個「見得人J的私人單位，有朋自逮方來時也
運，而意（思想〉和動（行爲）是不可分割的。意動學
可仗江湖之義，供其暫住。但我們這個私人單位，到底
本來是個鍛練身體的方法；隨意而動，有點太極的味
能否抵受這種與論颱風的吹襲呢？防風措施到底如何
道。當中引申出來關於意和動的一呰關系實是有趣。
做？做得夠不夠？ 要知道怎樣防戳，首先要知道自己的單位用料是何
在這一幅先意而後動的圈畫裏，舞蹈應放在哪裏？
如果舞蹈是肢體在空間中隨意的流動，那麼舞蹈大概也
物。淺見的我想出了兩個我們可以著手考慮的課題 ：
是一種意動學吧！淺見的我亦淺舞。雖然我對於编舞不
「什麼是舞蹈」及「爲什麼跳舞J。
什有研究，但在我愚陋的理解中認爲動作的尋找理應少 不了隨意而動這一環。又或者對一些有「意義」要表達
到底什麼是舞蹈呢？
雖然有人以此著書立説，但我總會問這爲什麼不可
的舞瑪來锐，在尋找恰當的動作前可能先有情感、有想 法，甚至有故事。這麽■一來，是否就產生出一種「意意
以簡單一點：比如説舞蹈是肢體在空間中隨意的流動 。
動」學？如果先有動作，後有意義，是不是又變成「意
容後冉談如何「隨意」。這本來已經是一樁很美好的
動意」犖？
多了一個「意J，把事情弄得複雜多了。可以説成 多姿多采，但從另一個角度看這也可能是麻煩的開端。
主j地動下去，社會
在還未有語言文字的日孑裏，人們用動作及沒什意義的
濞通模式缺憾衍生
聲音溝通。現在大部份時間我們都用捂言文字去讓人明
出來的問題了。
白，去明白他人。偏偏在劇場裏，舞者有意思要表達的
時候，往往卻來個反璞歸具，用近乎史前的渚通方式跟 一班「現代人J打交道。觀眾席上若有「意意動J學或 「意動意J學的妞楚當然沒問題，要不然別人看不明白
也無可厚非。
上又會多了一個由
我喜歡接觸即 興，喜歡那種互動
的感覺。發現接觸 即興的時候，那種 喜悦該我想起阿基米德從浴缸中跳出來大喊Eureka !的
不通，就算有那些「意意動J「意動意」又怎樣？看
一刻。初學接觸即興，以爲一定要有肌膚上的觸磋才能
得開心，跳得快樂不才是最重要的嗎？在這裏恝引用出
互動。後來才發梵，那個接觸原來可以是一個眼神、一
現在九月的舞蹈手扎，摘自一九九九年七月十五日北京
個呼吸：甚至是一個噴嚏、一下咳嗽，一下偷笑、一個
報的「北京、香港、藝術、生活、現代舞J一文中，任 華■萍前輩所提及的幾句話：「總聽冇人說看不後現代
悶哼。最美的原來是那種默契 ，那份信任。
舞，看半天不知其所舞爲何意，可是我倒是觉得你有這
個必要去看個究免，弄個一清二楚嗎？有必要去解讀每 個動作每個舞段嗎？未必！現代舞更多的是一種隨心所 欲，而反4元舞蹈動作的程式化。J
哪又爲什麼跳舞呢？ 能夠隨意讓肢體在空間流動是件快樂的事，我喜歡
這種快樂。有兩件不爭的事實：一是人赶是非動不可的
爲什麼跳舞？爲喜盘跳舞。其實就是那麼簡單-£ ! 偏偏在這個複雜化的人類社會中很難容許這種單純的喜 歡。有人會説你傻，罵你瘋。我已給人暗地裏、私底 下、當眾旳説遇、篇過很多遍。以前眞的很恝任性地 、
單纯地簡單下去：馒慢發跫閉門造車的日孑並不好熬 。 不是要推廣接觸即興，但如果舞蹈能夠跟社會的不同階
層發生那種默契，達到那份信任的話，那將會是很美的 事。
動物：二是人類的身體會隨年月退化 。我喜歡動，喜歡 舞。我希望今生也可 舞下去，舞到死。跳
舞除了可讓我享受到
那份當時、即时的隨 意而流動的快感外， 還可保持身戠的茧活
度、協調性，去迎接
未來舞下去的曰子。 如果不能保持動、保
持舞，能夠舞到死的
機會大概不高。 説回非動不可這
—點。既然每一個人 也非動不可，哪到底
是獨動好，還是互動、與眾同動好？在現今的社會，大 家時常都談及一些從人類溝通模式的缺憾中衍生出來的
一些問題。這些問題的因由，會不會是新一代太沉醉於 所謂「獨立自主j的生活模式中呢？小學生的社會科教 育電視節目中提及現代社會的生活中 ，人根本不可以獨
自生存，因爲我們不可能獨自同時兼顧耕種、畜牧、織 布等此類基本但必須的工作。在現代社會中，互動、與
眾同動大概是無可避免的事 。 無動難成舞，互動更易動。看舞的開心，跳舞的快 樂當然最重要，但就如有位前輩在分享會上所説：「這
文：淺見
佃世界總有人喜歡將所有事情複雜化。J要互動的話， 就不H■以把這些人拒於門外。要是大家都只是「獨立自
Ho.
7
Spring Poetry Made the Difference The Spring Poetry was foundein
performance. Having to accomplish quick changes
1992 by dance couple Terry Tsui
and be in three to four jazz pieces must be quite an
and Lonce Yu. Since then the
experience for most of them.
company has focused on the strong task of advocating
harmony amongst the disabled and the general population through the art of dancing. Its
members and guests performers include the disabled, amateur
dancers, and students and
The modern works were performed by younger
dancers. For young dancers to execute the works set
on that night was a bit too ambitious, nonetheless they tried very hard. The maturity of the choreography and
the themes behind it made it even more difficult for the dancers to handle. The break came with Terry and
Lonce’s solo. One could then piece the entire picture together logically.
graduates of the HKAPA.
With such an strong objective, Spring Poetry's
impressive track record through the years has directly influenced and molded the idea of sharing the joy of
dancing with different groups of amateurs thus allowing dance - the art form - to go back to its grass
roots.
Terry Tsui and Lonce Yu have constantly provided opportunities for enthusiasts from all levels in all fields
to experiment, explore, experience, and enjoy dance.
Such efforts are truly worth mentioning and these
pioneering efforts in this field need support from all
directions. "Different World" debuted at the "Le Cremeire"
theatre at the Fringe club on the 16 -18 September 1999.
Lonce's solo, Freedom, was soothing. Her body
movements were unique and interesting to watch, one could easily be transported to a state of freedom in the
mind with her enticing performance.
The audience gasped when dancers appeared with swinging lanterns that created an enchanted space with
a feeling of serenity. The swinging, illuminated
pendulums pulsated with the eagerness of the
delinquents to turn over a new leaf and start afresh. The performance ended with a high energy jazz piece
'Climax' which sent the audience into a wild frenzy of jubilation.
The audience loosened up and joined in
the fun, cheering and screaming along with joy.
Spring poetry through its production process has
slowly but successfully tapped the nurturing of the
right attitude towards
It themes focus on war and peace, mother's love,
dancing
and prodigals and delinquents of urban society.
and
performance of its
It was interesting to see that choreographically, both
participants and also
choreographers have explored different dance styles
the audience. Cheers!!
such as hip-hop, jazz and modern dance with the use TEXT: Ock
of multi-media projections as transitional elements to
Different World -
create the entire programme. Dancers were used well to set the tone of 'the good
and the bad'. Most of the jazz pieces were used to depict the decadence of society and the modern works
were the serene voices. Though most of the dancers were amateurs they delivered an energetic
t
Spring Poetry 17 & 18 September 1999 La Cremeria Theatre,
Fringe Club
MS；
「
PRESS CUPPING，
SvLfcS V w
腿 一九九九年九月十石A
%
澳
舊 灯 濠 江
丈化中心貴惝現代舞演必 S7
<]
演
< L周末，sg離溴門回歸尚有百日之期，城市當代舞 一蹈31應邀到溴門文化中心表演三場首本戲碼： 《男生》、《獨步＞ 及《中國風■中囤火 》，成爲該中
心自半年前落成以來第一個現代舞演出。
當晚雖然有另一個慶百日的歌舞表演於該中心大劇院舉
行，但「城當j仍有二•§•至三百人的榉場客，主辦者表 示已相當不俗。
現代舞對溴門觀眾來説，仍是淅鮮事。雖然溴鬥每 年都有校際舞蹈節，而凡不論師生，都全情投入地參
與。但學生們一旦步出校門 ，便難再在渙門投身舞蹈事 業之中。因爲溴門政府對民間文化藝術活動的支持不足 夠，缺乏專業舞者或業餘舞因，情況就如七十年代的香 港一樣。
所以，在當晚表演中，時有觀眾不停拍照，或在表 演迫行中大聲拍掌的情況出現，可説不足爲奇。
在當晚演出後，「城當j —眾台前幕後的主要工作
人員，特別到當地曉角劇社的排練室參觀，並與當地劇 場工作者交流心得。老大哥曹誠淵更詳述了香港舞蹈發 展的歷史，並鼓勵溴門的藝術工作者，與政府表達需
要，缎續爭取下去。畢竟，羅馬並非一天才建成的 。
觀眾有此等表現，反映了他們對文化藝術的缺乏和 需要。他們無疑是需要教育的，但如果社會沒有這樣的
一個文化氛園：如果政府不重视推廣文化藝術的教育， 或在政眾和財政上支持文化藝術的發展。空談教育觀
眾，也變得無意思了。要接受教育的不單是民眾，該是
政府本身。
------------------------------------------------------ No. 7
文:小露寶 城巿當代舞蹈團
九月十-曰 澳門文化中心
IBH
大公報 一九九九年九月十六FI
要耔一梗新的藝5行表演棋式帝S3中画内 ±之，：ft京况代•舞團豕單铃藝術S3馆上幻 造新思?fc，也在運馆形式上刀求秸合® 方、香港及內地的畏粟。战格孩團成立 至令只有三丰，一切尚在探紊實•贼的階 段，發畏下去，成我4B何，扠目》•人待
jL京現代舞囿日前首度訪港表演。本報記者抓緊訪
該團與國際上的聯繫相當緊密。爲了讓成員認i我現
問的時機。北京歌舞曲藝藝術中心書記邵鍾世
代舞領域中的不同形式及藝術理念 ，該圓經常邀請外囤
説，現時該中心旗下共有三個藝術囿體 ：北京歌舞31、 北京曲藝團及北京現代舞因 ，政府並沒有在經濟上直接
舞蹈家或编舞家任客席教授，或爲該囲編舞。這些交流
活動也能刺激演員們棍脱小環境的自我封閉意識。也可
資助北京現代舞囲。但在政策上卻資助該圓逐步成長而
了解世界現代舞趨勢走到 了哪兒。這種「撞激J不只對
至自力更生。這三個藝■困的行政 、舞美、宣傳人手及資
該囿成員有益，應邀而來的舞蹈家及編舞家也能在該因
源都是統一運用的。達到節省資源的原則。邵鍾世表
成員的身上找尋靈感。
示，一般人認識現代舞這種形式便是由北京現代舞®成
北京現代舞囫現有舞者十四位 ，部分成員同時兼任
立開始，過去政府有了不了解的地方，現在也了解及支
編導工作，藝術取向由藝術總監曹誠淵及執行藝術總監
持该团。任何新生事物總要有一段成長階段，部分民族
李捍忠擔任，行政方•&由®長武明華負責，總監張長城
舞蹈若要表達人們的情感意識，也有未夠深入之處。
則是作爲藝術與行政之間的協調人，平衡兩方面的需
成立三年不斷採索
北京現代舞圓不設終身制 ，不會長久用固定的一批《
演負，因此，不管演員來自哪個团體 ，只要在壁•術上有 成就'有熱情，便可加入北京京現代舞囲，該团有些成
員來自舞蹈學校，有些來自其他藝團，有些來自港溴，
甚至外國，每位成員都是以二、三年合约形式聘用。每 年都有考核，表現欠佳I便會調到其他單位，合約結東 後可以磧約或不•續約，以保證舞31的素質。該因要求演
員全副精力和全情投入，不贊成成員私自答應其他工 作，除非是政府的表演任務，或一些文化交流的活動，
例如執行藝術總監李捍忠去年應邀往美國爲當地一個藝 術節编掛舞蹈，而舞S給予演員的待遇，相對來説比其
他藝困略高。
要。該团希望參考香港及國際藝團的模式，但又發觉沒
有一個模式是可以完全照搬的，因此現時是邊採索邊嘗 試的階段，盡量找到一種最合適的運作方法。
發掘資源爭取贊助
該園雖然得不到政府的財政資助，其資金的來源主 要是演出的票房收入，或者與一些社會及慈善機構合
作，還有部分是商業贊助。張長城表示，政府對該固是
政策上的協助，他認■爲藝術團體也不應將責任完全推到 政府身上，而是發掘各種資源，找尋在社會上生存的位 置。他説：「我們不可太過自我，要有愛心，關心社
會，藝術也得面對歷史與未來。藝術家就参社會精英，
是人類過去與未來的橋樑 。不要總是采蓊人家應编給我 們甚麼，而是想想自己可給社會甚麼，從而建立自己的
/ #舞福舞雙線發展
該困达監張長城表示，北京現代舞園就如一般容 器，容納不同來源與背景的舞者，而该a的最大侵势是 位於首都這個政治、文化中心，有著很深厚的文化氛 圍，该困鼓勒舞者積極參與编舞工作 ，也是希望他們將 來發展成熟時，各自襄•組織舞圓或工作室 ，將現代舞的
藝街礙展開去8
價値。」他很有信心，將來會有更多内地企業願意贊助
該囲，而這些企業也有一定的意識 。在商業上獲益之 餘，回饋社會及藝術界。只是，要他們了解現代舞這種 表媒因，還需要一個過程。
文：洪捷 99 .艷陽—北京現代舞蹈團
九月四及五曰
大會堂音樂廳
大公報
一九九九年九月三+FI
自编自跳棵紊人i 扑京現代舞園節目「九九•艷陽」軋後或 jL京現代舞圍日前首度在香港舞台演出，舞者演繹 自己的創作，跳出自己的靈魂與情感 ，大部分作
風娌微塵，風吹而起，風過無痕。编舞巧炒地以一白一 紅的布幔，就如冥冥中的造化之手 ，安排著時空分散、
品都具主題性，反映出舞者們對生活對人生的探索 ，不
交匯，女主角髮絲長而及地，男主角也有長長的辦子，
波於個人的窄小空間，很想與觀眾分享他們的世界觀 。
很有戲劇性的造型，加重了盪氣迴賜的愛情色彩。男女
唯一编而不跳的是曹誠淵，開場的 ＜烏之歌》是好
主角在布幔的編配下不由自主地相見、分離，像人世間
多年前的作品。＜烏之歌〉很有一種過渡而至昇華的感
措手不及的緣起緣滅。舞姿的詩意之美，布幔控制的流
梵，舞者那些充滿原始風味的衣服 ，巧妙地採用彈性質
暢輕快，古琴伴奏烘托出李清照「淒淒慘慘戚戚……j
料，舞動時一伸一展，都象徵著破繭而出，採脱過往的
的輕吟，結合著整個故事。震動著觀眾的思想。好像有
4元衡拉力，最後，舞者們一路上脱下衣服 ，走向和煦的
許多生命的題目，由這支舞蹈來引發……。舞蹈反映出
暘光下，安心3也接息著，令我聯恝起耶些廣場上的烈士
中囤人對人生無常的接受與嘆息，有相聚的機會，可別
雕像，述説著飽受折磨，歷盡修煉，最後「羽化登天」
空讓流逝。
的故事。曹誠淵的舞蹈，就是他理想主義人格的寫照，
最後一支較大型的舞蹈 ＜野性的呼喚》，由李捍忠
而《烏之歌》也寄寓著他對北京現代舞團的希冀與勉
與馬波合编，舞蹈帶著強烈的信息，警惕著人類在現代
勵。
與文明的進化中，有一股由洪荒帶來卻偷偷潛藏著的野
舞蹈可以表達崇高的理想 ，當然也可以是純粹的情
蠻煞氣，隨時一發不可收拾地呑＜自己的靈魂。舞蹈的
緒抒洩，滕愛民的獨舞＜活蓊〉便是他某段時間内心的
過程也是扎的過程，.印象最深的是最後一個場面 ，所
悒班，舞蹈簡短又精煉，滕愛民向著一條斜角線走去，
有舞者脱下西裝衫裙，動物般猙獰地咬，觸目驚心的感
每一個高難度動作的開始或結束，都總要雙手托天的姿
梵，令觀眾不其然想起最近世界上發生的人稱禍患 。
式，他步步爲難地前迫，或跌倒或趴下或翻騰或打滾，
＜野性的呼喚》的回到野性，與《烏之歌》的逐漸步
最後必定娥續顶天立地。每一個動作的奮力支撐，流露
入理想境界，一醜一美的呼應對比，都流靈出藝術家對
出一股男人面對壓力的不忿與悲情，就算怎樣吃力，似
世界的關愛，對人類未來的善意啓發。
乎沒有鬆弛下來的餘地。滕愛民鐵漢柔情的演繹 ，將心
中的壓抑融入其使出的每一力度，舞姿粗中有幼，剛中 帶柔，令人對男人的堅毅，深感敬重。
文：思念
高艷津子的「塵」，是所有作品中唯美浪漫的一
99 •艷陽—北京現代舞蹈團
支，因爲，内容關乎一個「緣」字。開場時由頭到腳披
九月四及五日
著白輕紗的舞者疾速地飛過舞台，像一陣風，人生就如
大會堂音樂廳
道歉啓示
手扎九月號專論《兩齣完全不同的作 品中》黃庭琳先生應為王廷琳•本人
就此對王先生致歉*
金默姬
DongeJSgK^UiL? No. 7
XPRESSIONS 17 TUNE 1999
Our Lady in Red It has been 13 years since Hong Kong choreographer
Mui performed with dignity. She interlocked the
Mui Cheuk Yiu began her Diary Series. She described
many scenes while sustaining her own concentration.
it as a series of one-hour solo dance productions that
However, I wondered a little at the way she interpreted
captured feelings relating to people and issues in her
the character in a scene where she got up one morning
life. I do not happen to have seen the first four diaries
in her gown, drank her usual morning cup but
and the current one is number five - "Once upon a
appeared disturbed by a letter that she had just opened.
time..." It was presented at the Shouson Theatre at the
I am not questioning Mui's acting ability here, but the
Hong Kong Arts Centre from June 4-6 and I had made
way she interpreted the scene. It was the combination
sure I had a seat on return from Taipei despite the
of the silence and calmness that made her larger than
Cathy pacific saga and Typhoon Maggie.
life at that moment. Suddenly, it felt utterly out of place
The piece opened with Mui in a rose-red dress
in the theatre and I asked myself if it was real. This
slowly walking towards the audience with a gigantic
question remained unanswered for me. With the huge
wardrobe (about three metres tall) behind her. The
wardrobe on stage, the piece relied on black gauze that
sheer size of the wardrobe had an impact on as Mui
went up and down to disguise the set-up of the
explored the possibilities between herself and the box.
following scene. The crew and the performer did a
It was as if she was telling her story of "how I live my
wonderful job to create all the extremely smooth
life in a box, a big big box". Though it was
transitions. However, from an aesthetic point of view,
claimed to be a wardrobe, it was more like a box with a few household items inside.
the flow of the show was completely disrupted by this device.
Whenever Mui work hard This was a dance production that clearlv showed Mui having forn
to build up a mood or
feeling, it was wrecked by
mature taste, working wit
the scene change.
collaborators such as lighting designer
Diary V: "Once upon a
Gabriel Fung and
time..." has kept Mui on the
ball. She came up with a lot of
visual /graphic designer Sylvia
solutions to handle the huge
Chan.
wardrobe to make it an
Both
attraction prop. But Mui
contributed
deserves to have points taken
tremendously to the performance. Their
away because she did not
visual elements helped
credit all the recording artists'
sustain the piece and
music (Including Laurie
sometimes even "spoke"
Anderson's) which she used for
to us on their own terms.
her work. I suspect she would
The accurately-focused
not like to see someone using
and level lighting kept itself
her choreography and not
within the mood of the
crediting her.
work, no more and no less.
I
t
worked like a zoom lens, guiding us
towards the subject. The colour combination of the production bluntly
confirmed that Mui is a woman and not
a girl.
TEXT: Edwin Lung Mui Cheuk Yin - Dairy V:
Once upon a time... 4-6 June 1999
Shouson Theatre, Arts Centre
Members of Hong Kong Dance Alliance
n n n 華 番
港
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 施素心 黃翠玲女士
團體會員
聯絡人
方舟舞蹈劇場 霹霧啪: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
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
舞
蹈 鼸
囲
會 毳 番
載
INDIVIDUAL MEMBERS Mr Jason BrockweD 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 龍植池先生 Mr Luk Kwok-hung Ms Priyadarshini Ghosh-shome 曹誠淵先生 Ms Susan Street 許淑嫂女士 Ms Scarlet Wong
余仁華先生 曾澳英女士 黃恆輝先生 宋絜女士 施素心壮 吳杏冰女士 劉志青女士 澧育總會 陳偉先生 os™灘測公司 麥蓮茜女士 智才補習學校麵妖地 翻翠 王校 楊惠美女士 邢亮先生 周佩韻女士 文化協會 帕夏吾賣爾女士 徐偉業先生 王榮祿先生 鄭志銳先生 李雜女士 朱倩儀女士 伍梁敏玲女士 廖美燕女士 楊春江先生 嚴明然女士
白朗唐先生 鄭健華先生 宋孟青女士 何偉強先生 黎倩樺女士 李翠女士 伍宇烈先生 腿均先生
Mr Mr Ms Mr Ms Ms Mr Ms Mr
Tom Brown Billy Cheng Wendy Chu Ho Wai-keung Amy Ld Doris Li Yuri Ng Indira Sawlani Aaron Wan
ORGANIZATION MEMBERS
Contact Person
Ark Dance Theatre Bilibala Physical Theater BiBy Chan Dance Centre Champion Ballroom Dancing Academy City Comlemporary Dance Company Contact Point DanceArt Hong Kong Dance HK / NY Dancing City Danseomanie DMR School of BaBet E - Side Modern Dance Company Evangelical Dancing Troop Fau You Dance Circle The Harmonious Dance Troupe The Hong Kong Academy for Performiig Arts Hong Kong Ballet Kong Kong Dance Company Hong Kong Professiond Dtrce Sports Cound Hong Kong Youth Arts Festivd Association Ltd (TS & TS Creative Jeon M. Wong School of Bdet McMuiMui Dansemble Movement Fibre Passover Silk Road Cultural Society Spring Poetry South Asli Dance Workshop Three Colours Uncarved Block The Hying Works The Warehouse Teenage Club Ltd X-tanztheatr y. d. thearter Y - Space
Ms Eve Cheng Mr Dominic Wong Mr Billy Chan Ms Diana You Mr Wily Tsoo 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 Chu Kit Ms Susan Street Ms Helen Ng Ms Ophelia Lau Mr Chan Wai Ms Lindsey McAlister Ms Karen Suen Ms Ama Chan Ms Yeung Wai-mei Mr Xing Liang Ms Pewan Chow Ms Pasha Umer Mr Terry Tsui Mr Ong Yong Lock Mr Afa Chiang Ms Ling Lee Ms Phoebe Chu Ms Miranda Ng Ms Bina Liu Mr Daniel Yeung Ms Mandy Yim
普通會員
ASSOCIATE MEMBERS
張秀芬女士 方潔萍女士 關艷蘭女士 郭淑欣女士 黎少玲女士
Ms Ms Ms Ms Ms Ms
Cheung Sau-fan Fong Kit-ping Kwan Yim-Ian Kwok Shuk-yan Lai Siu-ling Asha Sawlani
學生會員
STUDENT MEMBERS
陳雅芝女士 蔡嘉樂先生 盧幸賢女士 鍾晶女士 黃天華女士
Ms Mr Ms Ms Ms
Susanna Chan Cody Choi Candy Lo Chung Ching Audrey Wong
Andrew Broomhead Mr Ringo Chan Ms Chu Kit Mr Graeme Collins Ms Medina Lau Ms Kim Law Mr Edwin Lung Daryl Ries Mr Willy Tsao Ms Xu Shu-ying
十
OCTOBERS EVENTS
月
8 - 10
8.15 pm
歪:的示体 v. d. theater
靈靈性性•「翻身」天體樂園
，
:Daniel Yeung
編舞
份
7-10
9 & 10
9
7.30 pm
230 pm
7.30 pm
9.30 pm
15
16
19
8.00 pm
8.00 pm
藝術中心麥高利小劇場
Dance Exh&nisj Revisit - a caradis£±aKtoal ixd'-McAulay Studio, HKAC
:揚春江
Va
■
香港芭蕾舞團
羅密歐與朱麗葉
文化中心大劇院
HK Ballet
Romeo & Juliet
Grand Theatre, HKCC
Choreographer
:Bengt Jorgen
編舞
:畢•約根
城巿當代舞蹈團
瘋狂英語
藝術中心壽臣劇院
CCDC
Crazy English
Shouson Theatre, HKAC
Director
:Zhang Yuan
導演
:張元
多空間
••緣舞場-現場計劃一、二、三。
藝穗會劇院
Y - Space
Dance taprovisationsal Land - Live Plopct 12,3
La Cremeria, Fringe Club
Choreographers
:Victor Ma, Mandy Yim, Lim Chee Ki t藝穗會畫郎/酒吧
編舞
:馬才和、嚴明然及林志傑
Nokia, Fringe Club
藝穗會天台
8.00
Roof, Fringe Club
20
22
1,00 pm
嶺南大學
錢秀蓮舞蹈團
易經八卦韻
Miranda Chin Dance Ca
The Chinese Eight Diagrams
Lingnan University
中國武術的源流及發展
城巿大學
6.30 pm
The Origin of Martial Art and its Development The City University of HK
26
22 & 23
5.00 pm
8.00 pm
太極韻源
中文大學
The Origin of Tai Chi
The Chinese University of HK
Speaker
:Lin Guang Lai
講者
:劉廣來
伍宇烈
操操蘇絲黃
Yuri and Company danaNG Ciao Ciao Suzie Wong
藝術中心壽臣劇院 Shouson Theatre, HKAC
yc j初 i-j'.-kGr 9
Choreographer 遝：Yuri Ng TioKe's
|
編舞
:伍宇烈
醐中心
小亞細亞舞蹈綱絡
藝術中心麥高利小劇場
Art Centre
Little Asia-Dance Exchange Network
McAulay Studio, HKAC
Choreographers
: Edwin Lung, Akiko Kitamura, Cazerine Barry, Ku Ming-shen
編舞
：龍植池•北村明子• Cazerine Barry及古名伸
Ago,100
31-3/11 7,45 pm
NOVEMBERS EVENTS 11
12
13
7.30 pm
7.30 pm
5.15 pm
城巿當代舞蹈團不要迫我衰老
Choreographer
: Kevin Ma, Ronly Kong & Class member of CCDC Scholarship Class
編舞
：馬松漢•鄺韻儀及城巿當代舞團獎學金計劉班
DMR芭翯舞學校舞之變
香港演藝學院戲劇院
DMR School of Ballef Variations
Drama Theatre, HKAPA
Choreographers
: D. M. Waybume & Holly Coombes
編舞
：D. M. Wayburne & Holly Goombes
多空間
環境舞蹈•舞蹈拼貼嘉年華
香港文化中心廣場
Y - Space
Sis Sfec& Dsce Ftefanance "Dance CoSege
Piazza. HKCC
Choreographers
:Victor Ma & Mandy Yim
編舞
:馬才和及嚴明然 《舞影流韵》系列二
7.30 pm
香港舞蹈團
21
3.00 pm
HK Dance Company Motion & Emotions II
21
7.00 pm
200 pm
Drama Theatre, HKAPA
Being Young! Growing Old? No!
19, 20
21
香港演藝學院戲劇院
CCDC
Choreographers
:Dancers of HK Dance Company
編舞
:香港舞蹈團舞蹈員
27
8.00 pm
Sai Wan Ho Qvil Centre Theatre
喧圏小劇場
傳說
香港藝術中心壽臣劇院
Qioreo Qiildren Theater
Legend
Shouson Theatre, HKAC
Choreographers
:Bilibcda Physical Theater, Choreo Children Theater & X- tanzlheatr
編舞
:霹菘啪:勒身體劇場•喧圏小劇場及X®lj場
區獅鯛
《舞在高山》嘉年華
Provisioned Urban Council Dance Parade
26
西潘河文娛中心劇院
高山劇場 Ko Shan Theatre
Choreographers
:Bilibala Physical Theater, DanceArt HK, Y-Space & Others.
編舞
:霹靂啪:勒身體劇場、動藝、多空間及其他舞蹈團
城巿當代舞蹈團
《99六段錦》-舞蹈劇場之夜
上環文娛中心劇院
CCDC
Re: Vision - Dance Theatre
Sheung Wan Civic Centre Theali
《99六段錦》-肢體動律大展
8.00 pm
Re: Vision - A Kinetic Exhibition
30
Choreographers
:Willy Tsao, Helen Lai, Mui Cheuk-yirt Pun Siu-fcri, Yuri Ng, 2iang Xiaoxiang
編舞
:曹誠淵•黎海寧，梅卓燕•潘少輝•伍宇烈及張曉雄
胃少年愛滋教育基金我"舞"愛滋
壽臣劇院
Teen AIDS
Teen AIDS Night
Shouson Theatre, HKAC
Choreographers
: Andy Wong, Victor Ma & Mandy Yim, Yeung Wai-mei
編舞
:王廷淋、馬才和及嚴明然•楊惠美
Membership Form
僅員由諳表
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
$100
$50
Member1 s Information 會員資料 Name 姓名(English 英文)_______________________ (Chinese 中文｝
Fax 傳真(Office 公司｝
Position
_______________________________________
______________________
(Home 住宅｝
___________________________
_____________________________________
｛Home 住宅｝
____________________________
Telephone 電話(Office 公司＞
職位---------------------------------------------------------- - ---------------
Name of Company
公司名稱
_______________________________________________________________
Affliated Cultural Organization 戶万屬塾術機構
___ ________________________________________________
Address 地址_____________ ______________________________________________________________
Organization Member's
Information 團體會員資料
Name of the Organization 團體名稱
--------------------------------------------------------
Person in Charge負責人姓名______________________________________________________________
Telephone 電話
---------------------------Fax 傳真----------------------------------
；--------
Correspondence Adddress 通訊地址_______________________________________________________
所屬舞蹈類別
Applicable Dance Category
|
| Ballet
芭蕾
|
| Eastern Folk東方民族舞|
| Eduartion教育界
|
I
| Western Folk西方民fi笑舞
□
| Criticism寫作與評論
|
| Cultural and Arts Adminisfrcrtion 文化及塾術行政
(ZD Nokrtion舞蹈記錄
Signature
簽署
I
| World Dance民族民間舞
| Ccntemparary 現代舞
國際標準舞
| Technical Arts 舞台技術 | Musical Theatre / Jazz / Tap Dance
音樂舞劇/爵士舞/踢躂舞
I Others其他
Date
日期：
Please endose cheque payable to THE HONG KONG DANCE ALLIANCE with this application form to c/o Office of the Associate
Deon, School of Dance, Hong Kong Academy for Performing Arts, 1 Gloucester Road, Wanchai, Hong Kong.
請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
長辦公室轉交香港舞蹈聯盟收。
No. 7 * Non voting沒有投票權利
:養_廣③a Chontography by Dancars ol Iho Hong Kong Dona Company
B*RB 林環 Music CtMxtilnaUon Nancy LAM 傳梁永森 SaMaps & Coaume Design Sam LEUNG •光K計•律華 UgnUng Daign Billy CHAN
鹽麵懕 TI TAN 1C
起科棚龍累财售 from
節目査脚 Programme Enquiry 87累热媒 Booking Hotline 每曰上午十時至晚上八時 10am- 8pm daily
西》糊中心織：二雕溫
4、...，，" aaautM 等麟
PimsM sy n MCoW Ittan Card
19-20.11.99 7:30PM 21.11.99 （置期日 Sun） 3:00PM