HOilG ICOilG DA I ICE
敦搞豸法
歡迎投稿.請於每個月的五號之前送交有關資料.中英 不限，稿件可電郵或傳真至本會。如來稿獲刊登，作者 可獲得稿費。 We welcome submission of unsolicited articles for the Dance Journal/ HK. Deadline for submission is the 5th of each month. The article can be either in Chinese or English. Submission can be made through e-mail or fax to Hong Kong Dance Alliance. Authors of articles selected for publication will be paid for \thei work.
Press Clippings
Editorial Board 編輯部
■
」
剪報服務
星島日報
Editor : Tom Brown
編輯：白朗唐
□
港芭茱麗葉水準甚高
作者：程素
Commentary
Hong Kong Standard
評論
Cultural delight Author Roberta Nobleman
藝展局舞蹈界代表曹誠淵先生的工作
匯報及對未來藝展局工作的想法 作者：曹誠淵
專論
Sunday Morning Post
Shakespeare ballet Woos the audience
□
Author: Jason Gagliardi
1
演出節目表
Sunless 99
Author: Paris Lau
Ul
十一月份演出節目名單
KB
十二月份演出節目名單
tB
□
在小劇場看到的舞蹈語言一 評「小亞細亞舞蹈網絡」 作者：慧子 □
Dance Alliance News 舞盟快訊
舞盟快訊 香港舞蹈聯盟會員名單
CE
會員申請表
CB
香港藝術發展局資助 Supported by the Hong Kong Arts Development Council
封面設計：Lilia Ng
.曬雜 扎》亦會刊載有關非會負的演出活動的評論。非會員如
有即將舉行的演出，可提交有關資料，以便刊於 ＜手 扎》的節目表内。爲確保能及時刊登，必須在演出前一 個月的五號之前送交有關資料，包括節目名稱、主辦舞
團或機構的名稱：编舞家、作曲家及其他裂作人員的名
字：日期、場地、時間、票側包括特惠儐、因體價、 長者及學生優惠價等）以及訂票電話號碼和其他相關資 料。最後，每期的（手扎〉尾萸會印有舞盟會員名苹 、 最新消息及入會申請表格。
本會编料部謹此感謝讀者們的支持 ，我們將加倍努 力辦好未來十二期的《舞蹈手扎》，缆續爲香港舞蹈界
服務。
「舞盟」本年獲得 香港藝術發展局的撥款，於十個月内 出版了五期的 ＜舞蹈手扎》，今期是最後一期。第二
次的撥款已獲批淮，「舞盟」將於未來一年内出版新十 二期的 ＜ 舞蹈手扎〉。這份定期刊物爲讀者提供「舞盟」
會員的演出評論、會員活動節目表'舞評剪報服務及其 他消息。《舞蹈手扎〉出版以來佛受會員歡迎 ，會員及
讀者均向我們提供了許多背贲意見，而本會亦不斷檢討 ＜手扎》的内容，力求改迫。新出版的《手扎》仍會谩
先刊絷本地舞評人對香港舞評人對香港舞蹈界評論。若
然有足夠的空間，我們會刊登一些由本地或其他作者所 撰寫有關本港舞蹈園維在外地的活動的評論。最後，餘 下的空間會刊載一些有關香港舞壇的文章及值得關注的
事項，或一些本地舞評人的文章。 本期 ＜手扎》與以往數期有所不同，而日後的《舞
蹈手扎》亦會不時作出改變，務求改善質素，使〈手 扎》成爲一份對本港舞蹈界更具影響力的刊物 。爲此， 本會成立了一個編輯部協助 ＜手扎》的編輯工作。同 時，〈手扎〉將接受外界投稿並考慮刊登該些舞評來 稿。如麥福獲刊登，作者將會得到與＜舞蹈手扎〉盟友
同等的稿費，以及有關演出門券的退款。此外，〈手
ith this issue of
The Journal will also accept unsolicited manuscripts
Dance Journal/HK,
and consider these for publication. The authors of
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the Hong Kong Dance those selected for publication will be paid at the same
Alliance completes its first
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Tom Brown
綱《'戀 鑑觀 文：曹誠淵
藝展局工作匯報 藝展局的工作，主要在於如何分紀有限的資源予蓬 勃發展且爲數愈來愈多的舞蹈®體及舞蹈發術家 。
一九九六年，本人在藝展局力爭成立「舞團資助」
1. 爭取成立全港舞蹈中心 ，解決舞蹈界缺乏排練場
地困難，並藉此讓舞蹈界人士有一個溝通及交流的空 間，推動香港舞蹈的發展與保存 ： 2. 促使教育署及全港學界重視舞蹈教育，爭取舞蹈
成爲中、小學教育的主體課程部份：
計釗，支持民間舞蹈因體的行政經費 ，而在此之前，藝 展局的「一般計釗J資助政茱是不考慮申請者的行政费
用的。一九九七年間，香港舞蹈總會、香港芭蕾舞學
3. 參考台涔經验，爭取中學發展舞蹈專科 ，讓有潛
質的年青人能更早專注學習舞蹈：
會、動藝舞蹈圓、束邊現代舞圓共四個®體獲得r舞®
4. 製定傳媒茱略，爭取在電视、電台設立更多藝術
資助」。一九九八年，藝展局推新撥款政g，分「一年
類型節目，將舞蹈及其他藝術滲入民間生活旄無線電視
經費」、「多項計釗」及「一般計劃j資助方式，其中
於一九九七年六月裂怍了舞蹈專輯、有線電視將於一九
「舞團資助」因與「一年經費」及「多項計刻」兩類方
九九年年底推出藝術節目 。
式相似，故由該兩項資助方式代替。本人鑑於r一年經
5. 設立定期刊物，報導舞蹈訊息，並提供園地給讀
費j?隻選囲體在該年内不能再向藝展局申請其他資助 ， 且對因體内部結構及財政預算等規限较多 ，便於界内力
者，觀眾、舞評人、舞蹈家們發表意見，促進交流旄 《打開》及《舞蹈手扎》分別於一九九八|年八月及十二
倡對申請園體的资格要求較爲靈活的「多項計釗」，申
月出版：
請®體除可獲取包括行政經費在内的金額外，還可在该 年内繼續申請其他項目資助 。九八至九九年的「一年經
6. 宣揚本土舞蹈藝術，鼓勵本土舞蹈家們溝通合作
費」由多空間舞蹈因獲得，而取得「多項計釗」資助的
旄「香港舞蹈日J一九九八年十一月四日於文化中心外
有香港舞蹈縝會、香港芭蕾舞學會、香港舞蹈園體聯
囡廣場舉行，全港舞蹈界共二萬多人參與，展示香港舞
會、香港舞蹈聯盟、束邊現代舞因、錢秀蓮舞蹈團及霹
蹈的繽紛姿采，並髗現香港舞蹈界的团結和實力：
靂啪3勒身體劇場等七個舞蹈团體。 除了研究及執行捞款政眾外，本人還注意推動對全
港舞蹈界有實質影梁的工作，包括：
1.紀錄香港舞蹈資料旄「香港舞蹈史」由全港舞蹈
家及舞蹈團體通力合作编訂，將於一九九九年十二月底 出版。
以上工作已經全部開展，但除了4至7項有點實質成
2 •壁•術發展局現有二十二位委員，其中十位分別
績外，1至3項則因爲牽涉面太廣，仍然在討論研究階
由舞蹈、音樂、戲朋、戲曲、文學、視藝、電影媒介藝
段，本人希望能組續代表舞蹈界把計釗落實。
術、藝術教育、藝術許論' 藝術行政界別選出，而其他
對未來藝展局工作的想法 踏入2000年，香港的整體文化架構會有很大變化，
政府的民政署將接替市政局及區域市政局管理文化藝術
十二位則由行政長官委任 。現存制度的優點是委員數目
適中，委任的委員較有後會經驗，尤其是主席及副主席 人選由對藝術有興趣又超然於各藝術類別的企業家擔 任，最能保持及維持藝展局的容觀運作。但壞處是每個
事務的職能，並成立文化委員會去制定有關全港文化政
藝術界別只有一位代表，逮未能反映界別中不同的觀點
策事宜：以往由市政局及區域市竑局鞏控的佔全港百份
和角度，而且十個界別劃分得莫名其妙 ，有以藝術類型
之九十的文化資源，將被重新分配。藝展局的成員在這
（如舞蹈、音樂、文學等）爲區別，又有以藝術功能
新形勢下，必須對藝展局的定位有清晰理解，並能推動
（如評論、教育、行政）作區分，以致代表的身份混
藝展局找到自我完善機制。 本人認爲藝展局要適應新形勢，需要進行兩點改
革：
淆，譬如藝術評論中的戲劇評論和繪盡許 論可以是天壤 之別，藝術教育中教文學與教舞蹈的更是不能混爲一 談。本人將全力從内部促使藝展局進行改組，理想的模
式是：全部二十八位委員，其中七位（包括正、副主
I -藝術發展局應該以前瞻性的態度扶植本土藝
席）由行政長官委任，其餘七個藝術組別（舞蹈、音
術，可是囿於歷史原因，現有資源首先要照顔幾個龐大
樂、戲劇、戲曲、文學、视藝、電影媒介藝術）每組選
的旗艦藝團如香港芭蕾舞团、城市當代舞蹈園及小交昝
出三位代表：這些代表中可以以藝術家爲主，也可以是
樂团等，剩下可供發展藝術的資源十分有限 。旗艦藝團
各組別中傑出的教育家 、評論家或行政人員，視各藝術
是代表香港藝術水平的重要支柱，發展香港藝術的經費
界別的需要而自行選定。只有公平而良好的代表機制，
不應蝕入旗.艦藝園的經費之中，以免發展藝術變成了削
才能保淺藝展局公正而有效的運作，本人積四年於藝展
弱藝術水平。在重新整理的文化架構中，藝展局可以要
局工作及内部觀察的經驗 ，相信能更有效地促使藝展局
求文化委員會通過民政署接收這批旗艦藝囿 ，以更恰當
本身進行實質改革。
的姿態去資助及監管代表香港最高水平的藝術。而藝展 局則可以把所有資源投注在具前瞻性的藝術發展計劃 ，
如培養年青藝術家和新興藝囿、資助研究計釗、鼓勵對
外文化交流及主動設計具創意的藝•術活動等 ，使藝■術發
*曹誠淵先生於一九九六年一月一日開始任職香港塾術
展局的具正功能一發展藝術一得以完全發撺。
發局委員，並後任爲下屆委負。*
Sunless
99
eijing Modern Dance Ensemble's recent
B
gowns. Well-concerted, dexterous movements
female dancers. The dancers' tempting figures and
were immediately back to normal. They began to tidy
muscular bodies were tightly wrapped inside long
their hair and make-up their faces, once more waiting
performance, 99 - The Sun, at the City Hall
followed the Bulgarian background music of Heavenly encompassed six dances: Willy Tsao's Birdsong, Wang Songs. Under the restrictions of the gowns, the dancers Mei and He Zhumei's Quadruple Happiness, Teng could hardly open-up their actions. Asa last resort, a Aimin's Being Alive, Ma Bo's Featherlight, Gau handsome young boy removed his gown displaying Yanjinzhi's Dust and Li Hanzhong and Ma Bo's Savage his naked body. This "lonely bird" then began a solo Cry. Though the Chinese title seems to emphasize the dance. Impressed by his breakthrough, the other brightness of the sun, no brilliant image was ever dancers followed his lead and all returned to nature found throughout the performance. The dance was by getting rid of their civilized restrictions. In the end, in fact shown in a dark and gloomy background. The they smiled to each other and climbed up both sides sense of irony could hardly be more obvious if gleams of a mountain platform. Spreading their "wings" wide, of pale spotlight above the head already signified together they formed the ideogram of "man"(äşş). certain mental symbols for the sun of Year 99. Quadruple Happiness used traditional Chinese The order and arrangement of dances were festival songs as the background music. After a short different from the pamphlet distributed a month prelude, the sound of the boisterous cymbals and earlier. The original program had five dances only: rampageous pipes ended suddenly. In a dark and the company's The Sun followed by Gau Yanjinzhi's quiet atmosphere, four women dressed in antique Dust, Zhou Junle and Wang Meizs A Tale of Two Persons, clothes were revealed kneeling on the floor, their ending with Willy Tsao's Birdsong and Li Hanzhong's expressions faint forced smiles, their eyes callous. They (without Ma Bo) Savage Cry. With the disappearance seemed like puppets on a string. Movements of the of the title-bearing dance, The Sun, and the addition of four dancers progressed one by one from the right to Quadruple Happiness and Being Alive, plus repositioning the left. This upper body dance followed the Birdsong as the first dance, the configuration of the increasingly quickened and thickened panting of the choreographic discourse was fully re-coded. dancers and became more and more chaotic. Suddenly, Birdsong was performed by five male and five the festival song broke the silence again. The women
in full happiness.
The heaviness in Being Alive and lightness in
Featherlight reflect the predicament of both sexes. The half-naked Teng repeatedly gazed at the pale spotlight
above. Yet his legs seemed to be burdened by heavy shackles and his body moved with Sisyphus-like difficulties. On the other hand Ma Bo tried hard to show different facets of her feminine sensibilities in family and society: self-respect, self-pity, self-
confidence, and inferiority complex. Yet none of the physical and emotional vexations could free her from
the sense of powerlessness and hopelessness. The works seem to suggest that both men and women,
despite their endeavours and struggles, still fail to
approach their brilliant sun. In Dust, certain faceless dancers tossed a red and a white piece of cloth up and down, back and forth. The
cloth resembled ruthless fate, thin as silk, yet hard to
penetrate. Ups and downs, the male and female
protagonists were still blocked by the cloth and failed to meet. Back and forth, their chance of re-union came
to an end. The program note suggests that life begins
and ends in the same dust of floating chance. The past and the present witness two disparate lives. But one
can also assume that the fickleness of dusty chance is
the determinant of love affairs. Love is felt for a moment, then the two hearts are forever asunder.
The other dancers vacillated between stripping or not stripping. Taboo comes from oneself, but also from
society. How to free oneself from restrictions and return to nature had become the theme of the whole program. The savage cry is also a human cry. Back
from the mainland, the Artistic Director Willy Tsao
Savage Cry was performed by the whole company.
tried to re-present on stage both the totem and the
In the beginning all dancers were formally dressed in
taboo in his mind.- The sunless Year 99 is duly
suits and robes. Then a male dancer stripped off this
appropriate to demonstrate the sunshine of humanity.
civilized pretence and danced with his natural gait. TEXT: Paris Lau
99 The Sun - Beijing Modem Dance Ensemble
4,5 September 1999 Concert Hall, City Hall
DcmssJSč„šç?bUSLlfe. 8
在小劇場看到的舞蹈語言-
評「小亞钿亞舞蹈縐貉」 看到四名舞者在藝術中
心的麥高利小劇場爲 「小亞細亞舞蹈網络」的
演出後，想到要爲舞蹈 寫點文字。四段約二 十分鐘的演出，分別由 來自香港、台涔、墨爾
本和朿京的舞者所編演 的劇目，包括龍植池的 〈淨物＞ ' 古名伸的＜迎
向風去的路》、Cazerine Barry《Lampscapu》及北村
明子的《Quile
Secant
Square》。
個強烈的對比。 墨铒本的舞者倚仗著一塊小型屏幕.看似鞺易地突
破了小劇場的空間.但與此 同時，觀眾與舞者的姥郄郤
不經意地被拉遠了。劇埸 内的觀眾，在屏幕上看到從
投影機所放映的盡面/影象/
肢體動作/動盡/内容，雄 可直接地看到舞者的感觀世
界，然而此刻的劇場，郤 驟然變成了 一個小型電影院
。觀眾只能從屏幕前，看 到舞者在屏幕後掩映的舞蹈
動作，逐產生了一種難以言
其中就墨爾本及東京兩地的舞者均不約而同地將舞 蹈與數碼影像结合.主辦單位爲了方便裝 S,亦刻意 地將此兩段舞作，安排在下半場演出，因而湊巧地將
呈現形而上觀念之因襲的(conventional)舞蹈作品，與現 代科技劃清界線。
喻的偷夜感梵，與在電影院 觀賞電影無異。實在不禁令人莞铒.戲場的義意到 底是甚麼？舞者在此間檐當了甚麼角色？
同樣是一塊屏幕，但位X的擺放郤突顯了编舞者的 意S 。從東京來的北村
龍植地裸露著身链.僅靠著手上随約的堝光.説著
明子，將小d、一塊屏幕順
一捆從鸩片戰爭開始的生命旅程 。這旅权由地底出
势推前至觀眾席，讓觀眾
發，龍倚務著龙.點搖晃的燭光以及懸昂在半空的缂子
感受到強烈的壓迫感之餘
.躍身飛往其内心深處所猙往的自由囤度，並肆意地
.更被刺跟的燈光，迫使
採索自由的界限。可惜.始終擺脱不掉現實世界的
他們反思舞蹈與影象的閊
枷鎖，儘管他曾歇力地與緊緊束缚著他的缒索角力，
係。
仿佛要採脱現實中無形的壓力.但仍只能原地踏步' 在多番争扎後，頓然悟出r菩提樹j的递理來•於 是，毅然抽身郯去.遺下的只是一根熥孑一＜淨物〉°
簡單的電腦線條、準
確可觀的動作與舞者在屏 幕前後忽前忽後的移動.
古名伸的(迎向風去的路〉，用即興動作演譯了一
都卵現了编舞者刻意衝破
段風的形態，藉著一個有形的身體，來表達風這個無
屏幕在劇場内所帶來的幻
形的狀態.絕對是一個形而 上的觀念。在不同的時序
.不同的境況下，風成了一
個形體悒j名仲。在男女間 呢'■南的絮話下，「她」如清
象。
而我想說的只是.無論劇場内的屏幕上放映進•麼内 容.觀眾的注意力仍是只會集中在舞者身上.既然如 此，何必硬要給舞蹈與電腦科技扯上關係呢 ！
風般鞺拂著你的*龐.「她」
艾：慧子
蕩漾在綿綿情話中，攘你感
/」\亞細亞舞蹈綱絡-香港藝術中心
梵到生命中的歡愉。她與
十月三十及三十一日
龍植池的沉重.正好成了一
藝術中心麥高利小劇場
星島B報
一九九九年十月二+二F1
港芭茱麗葉水準甚高
乾淨利落，手起刀落，大幅剪裁，簡化了家族仇恨及複
雜的人物與細節，將重點於在羅密歐與茱麗葉的愛情 上，連菜麗葉的父親都裁悼。他苦心經營菜麗葉的浪
漫，而飾演菜麗葉的梁菲無論在造型或感情表達甚至技 近國際演藝評論家協會（香港分會）又出奇謀，
巧上，都至臻完美，成爲全劇的焦點。
搞了個莎劇10分鐘大賽，目的是「加強大眾對莎
整體而言，〈羅密歐與茱麗葉 〉编排緊湊，布景簡
劇的認識」，意念之鬼馬，媲美年前藝術節的＜完全莎
單而變化豐富，完全脱離了一味華麗堂皇大堆頭大場面
士比亞手冊〉。所謂「莎翁名著J這頂帽子是可以很壓
的弊病。演員方面，王靖如常老練有型，何大爲則漸入
人的，古今中外不知多少藝術家奉之若神明，以各式各
佳境，梁菲絕對光芒四射，假以時日，此妹终非池中
樣的形式改编演繹，有些人更自命專家，拿著當金漆招
物，至於其他主要演員如茱麗葉的母親及奶娘的塑造都
牌，其實能耐卻只是江湖郎中而已。不過話説回頭，任
異常成功。
何經典名著，愈是企圈忠於汲著，則愈造人罵，反而劍
最令人驚喜的是結局，羅密歐與茱麗葉的情死簡約
走偏鋒，勝數更大，因爲注意力都轉移了，可以理直氣
有力，動作编排巧妙聪明，而且一死便落幕完場，去掉
壯地説取其精神而已，不逐字逐句被人批評得體無完
雙方家族唬哭的大場面，椹稱神來之華，死得乾淨。
氓。
君不見電影 ＜羅密歐與茱麗葉一後現代激情版 〉，
一般都大談導演手法之創新，演繹之大膽，當然還有里 安納度之迷死人，似乎沒有人執著是否離經叛道之作。
文：程素 羅密歐與宋麗葉-香港芭蕾舞團
正所謂大有大做，小有小作，英國皇家莎士比亞劇困可
十月七至十日
以名正言順，堪稱權威，紐約百老匯一樣有男孑四人幫
文化中心大剷院
劇場演出的（R&J》，在比麥高利
還小的劇場内，以最簡單的道
具，最豐富的創意，演出一幕戲 中戲的羅密歐與茱麗葉男裝版， 暴露英舀教會中學男校的壓抑與 gay情，演員絕佳，頗具震撼。
至於舞蹈版，年前藝術節的
里昂芭蕾舞園的冰冷演繹亦別具 一格，叫人意外的是今次香港芭
蕾舞園的｛籙密欧與茱麗葉》， 竞然水準甚高，教人驚喜。
死得乾淨 今次由來自加拿大的畢•約 根编舞，打正古典芭蕾的旗號，
卻竞然甚有現代精神，他的编排
HONG KONG STANDARD
OCTOBER 14,1999
Cultural delight s Americans in another visit to Hong Kong, my
A
husband and I were delighted to discover a
cultural feast at the Grand Theatre: opening night of
Prokofiev's ballet, Romeo & Juliet. Accustomed to "sold out" signs at Lincoln Centre,
New York, we could not imagine dress circle seats
available - and for so little money!
After three weeks touring China, I believe we Americans have much in common with the Chinese
people, not the least of which, is the passion and
energy, the exuberance and hard work, exemplified by the highly-talented Hong Kong Ballet. Beyond our wildest dreams was the superb artistry
of the entire production, marvellously-played music, imaginative choreography, and beautiful sets,
costumes and lighting. Shakespeare's story is universal: when Lady Capulet wrung her hands in despair over her daughter,
she was very mother, anywhere; when Mercutio,
for this soul fest?
Hong Kong, are you only about "getting and spending"?
("King of Cats") dies in the street brawl, it is every
Is ballet not appropriate here? As we emerged on
brash young man from Beijing to Birmingham.
to Canton Road that night, we were bombarded with Five thousand years of civilisation have graced Asian dancers with a very lively response to this
Western style anti-culture! America is not only Rock'n Roll and Coca-Cola.
western art form. If weary tailors, over-worked parents and harassed
When I compare Chinese
and
shopkeepers cannot make the 7.30pm curtain, tell the
tourists!
Western art - for
example religious
Our hotel did not even know Romeo & Juliet was
statues - I see the
playing, though they helped us with buying tickets in
virility I enjoyed so
a courteous manner.
much last night: the dynamics of the
At the heart of Hong Kong, there must be more
than razzamatazz!
Peking Opera with the zest of West Side
Story. Finally,
TEXT: Roberta Nobleman Dumont, New Jersey
a
Romeo & Juliet - Hong Kong Ballet
question: Why was
7-10 October 1999
the hall half empty
Grand Theatre, HKCC
SUNDAY MORNING POST
OCTOBER 10,1999
Shakespeare
ballet
Woos the audience After the patchy Beauty And The Beast, the Hong
REVIEW
Kong Ballet badly needed a crowd-pleaser to drag the
Jason Gagliardi
company back on track, and that is precisely what the
Romeo And Juliet
Swedish-born, Canada-based Jorgen has delivered.
Grand Theatre,
Plaudits, too, for a gutsy casting decision which,
Cultural Centre
on opening night, paired junior soloist Fei Leung with nascent leading man He Da-wei in the title roles. What Leung lacked in technique and experience,
she more than made up for with a moving, instinct-
driven portrayal of Juliet which belied (yet perhaps was helped by) her tender years.
Her doe-eyed fragility and his broad-shouldered nobility were a perfect match. It was impossible not to be completely swept up in their ill-fated love story, no matter how familiar the
tale. Anyone left dry-eyed by a final curtain might ponder who swapped their heart for a stone.
Worthy of mention, as always, was So Hon-wah, who excelled as Mercutio, managing to make his death
at once funny and sad. Tybalt was a walk in the park for Michael Wang:
add glower and goatee, and point him in the right
direction. Glenn Davidson's set was minimal, to say the least, but it lent just the right muted note to frame to full
horn of Shakespeare's silver-quilled thrills, Romeo
effect Gary Dahms' sumptuous costumes; a fiesta of
And Juliet is wont to dissolve into a melodramatic
velvet and gilt festooning an orgy of vanity and guilt.
S
massacre.
Each swirling cape seemed an organic extension of
The principals drop like flies- presenting a challenge
Prokofiev's blood and thunder.
to the choreographer who, robbed of the bard's
badinage, hopes to avoid bathos.
While the past year's offerings might leave artistic
director Stephen Jefferies feeling like it has been one
Full marks, then, to Bengt Jorgen, who offers a work
step back for every two forward, this Romeo And Juliet
which is restrained, elegant and, ultimately, heartÂ
leaves no doubt that the company's momentum is in
rending.
the right direction as the millennium looms.
--------------------------------------------------- DnnceJgaSSalilBK WB. 8
NOVEMBER’S EVENTS 11
7.30 pm
城巿當代舞蹈囲
與衆共舞-不要迫我衰老
CCDC
Dance 4 All - Being Young! Growing Old? Nci Drama Theatre, HKAPA
Choreographer
:Kevin Ma, Ronly Kong & Class rrember of CCDC Scholarship Class
編舞 12
7.30 pm
編舞 13
19, 20 21
19, 20 21
5.15 pm
7.30 pm 3.00 pm
8.00 pm 3.00 pm
8.00 pm
21
7.00 pm
2D0 pm
多空間
環境舞蹈•舞蹈拼貼嘉年華
香港文化中心廣場
Site ^ecfe Eteice Perfotniance 'Dme Oilege Carnival'
Piazza, HKCC
Choreographers
:Victor Ma & Mandy Yim
編舞
:馬才和及嚴明然
香港舞蹈團
《舞影流韵》系列二
HK Dance Company Motion & Emotions II Choreographers
: Dancers of HK Dance Company
編舞
：香港舞蹈團舞蹈員
古典芭蕾精選
牛池灣文娛中心劇院
Excerpts from the Favourite Ballets
Ngau CHi Wan Civil Centre Theatre
Choreographers
:Marius Petipa, Domy Reiter-Soffesr, Bengt Jorgen
:佩蒂巴'蘇東美及畢•約根
邊現代舞蹈團正負遊戲
Choreographer
:Jacky Yu
編舞
:余仁華
文化中心劇場 Studio Theatre, HKCC
喧圏小劇場
傳說
香港藝術中心壽臣劇院
Ctoeo CJiildren Theater
Legend
Shouson Theatre, HKAC
Choreographers
編舞
:Bilibala Physical Theater, Choreo Children Theater & X- tanztheatr :霹露啪:勒身體劇場、暄圏小劇場及X劇場
區職願
《舞在高山》嘉年華
高山劇場 Ko Shan Theatre
編舞
:Bilibala Physical Theater, DanceArl HK, Y-Space & Others. :霹露啪:勒身體劇場、動藝、多空間及其他舞蹈團
城巿當代舞蹈囲
《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 Theatre
Choreographers
:Helen Lai, Pun Siu-fai, Yuri Ng
編舞 27
Sai Wan Ho Civil Centre Theatre
HK Ballet
Choreographers
8.00 pm
西灣河文娛中心劇院
香港芭蕾舞團
Provismd Urban Gaundl Dance Parade
26
Drama Theatre, HKAPA
:D. M. Wayburne & Holly Coombes :D. M. Wayburne & Holly Coombes
E-Scte Mod Dance Canpany Paradoxical Illusion
21
香港演藝學院戲劇院
Y - Space
編舞 19-21
:馬松漢、鄺韻儀及城巿當代舞團獎 學金計劉班
DMR芭蕾舞學校舞之變 DMR School of Ballet Variations
Choreographers
香港演藝學院戲劇院
:黎海寧、潘少輝及伍宇烈
《99六段錦》-肢體動律大展
8.00 pm
Re: Vision - A Kinetic Exhibition
30
Choreographers
:WiDy Tsao, Mui Cheuk-yin, Zhang Xiaoxiang
編舞
:曹誠淵，梅卓燕及張曉雄
青少年愛茲麵驗 我"舞"愛滋
壽臣劇院
Teen AIDS
Shouson Theatre, HKAC
Teen AIDS Night
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
B 月份
DECEMBERS EVENTS 3
10-11
8.00 pm
7.30 pm
躍舞編
形•影，動，靜
藝穗會綜藝室
Spring Peotry
Four Elements
Star Alliance Studio, Fringe Club
Choreographers
:Terry Tsui, Lonce Yu, Li Zihao
編舞
:徐禕業、余世好及李志自豪。
香港演藝學院
舞匯‘9 9 Dance Extravaganza
HKAPA
演藝學院歌劇院 "99
Lyric Theatre, HKAPA
Choreographers : Graeme Collins, Liu Chun-wai, Zhao Xiao-gang, Willy Tsao, Aaron Wan, Mohamed Drissi & Shi Min
:高家霖、廖春慧、趙小剛、曹誠淵 、溫玉均、謝漢文及史敏
編舞 10 - 12 14 - 18
7.30 pm
11 - 12 18 - 19
2.30 pm
25 -26 27
7.30 pm 230 pm
22 -23
8.00 pm
香港芭雷舞囲
胡桃夾子
Hong Kong Ballet The Nutcracker Choreographer
:Stephen Jefferies
編舞
:謝傑斐
Kwai Tsing Theatre
臨界角藝術工作室花木間
上環艾娛中心劇院
Gitical Angle Art Theater Mulan
Civic Centre Theatre, Sieung Wan
編舞 10.00 am 5.00 pm
Grand Theatre, HKCC
葵青劇院
Choreographers
28 -29
文化中心大廉IJ院
:Pao Ling-ling, Carmen You
:鮑寧寧、丘文紅
香港芭蠹舞画額及外展部 假日芭蕾舞課程
演藝學院8號舞蹈室
及香港演藝學院 HKB Bjucalion & Outreadi Unit & HKAPA
Holiday Ballet Course
Instructors
:Scarlet Wong, Tsang Mei
導師
:黃翠玲•曾眉
Studio 8, HKAPA
《各自各舞蹈系列2000》的荐劃工作縱續迫 行。我們爲本屆的舞蹈系列構思了下列節目：
• ＜麥高利系列》一四位編舞家於爲期四過的演出 上展示他們的作品。演出訂於明年四月舉行，截止報名 日期爲本年十二月十七曰。
•《舞蹈工作坊》一這是一個爲配合《麥高利系列》 而舉辦的r釋放技巧j工作坊，將於明年四月舉行。
-〈藝稳會系列〉一這系列共有兩晚演出，第一晚 的演出預料與去年的｛舞過界炸珍譜〉相似，六位從事 不同舞蹈類別的编舞家將展示他們的作品。第二晚的演
出則會展示四位編舞家的作品，該些作品來自一個爲期 兩個月的編舞家工作坊，期間四位编舞家將一同參總共
四次的聚會，並互相展示其創作的進展 。工作坊的主辦 人亦會出席。此外，工作坊設有座會讓編舞家有機會一
起討論他們的作品。＜藝穗會系列》訂於明年五月下旬
及六71上旬舉行，截止報名日期爲本年十二月三十日。
9 9
•（藝穗會座談會》一這是一系列公開的座談會，
讓公眾人士參與討論一些有關香港舞蹈界的題目 ，訂於
明年五月舉行， •（九大簋2000〉之（赋衣秀＞ —這項節目由城市
當代舞蹈園籌辦及箓釗，一群年青編家將爲該舞S的舞 者創作舞蹈，並由一班年青時裝設計師提供服飾設計 。
薅慕篝
（脱衣秀》訂於明年六月中舉行，截止報名曰期爲本年
十二月三十一曰。
有意參與上述節目的人士或圓體，不論是主動申請 或應邀報名，均會由本會的評審園作出甄遂。許審園的 成員由各個製作及表演困體的代表組成 ，包括舞盟及由
舞盟委任的獨立會員。評審囲會根據下列準則來選出參 加者：參加者是否爲舞盟會員或聯同舞盟會員一起提交 建議書：參選作品是否爲新作或具革新創意 ：以及參加
者的舞台經驗。申請書上應詳細列載編舞家的建議及有 意參與的項目，並附上録影帶以供參考 。評審團會盡量 安排參加者演出他們所申請的項目，但亦有可能安排參 他們在其他項目中演出。請把申請書送交「香港舞蹈聯
盟J，並註明香港i彎仔高士打道一號香港演藝學院舞蹈 學院副院長收。
香港舞盟聯盟主席
一九九九年十一月
lanning for the All Independent Dance Series 2000
A panel composed of representatives from each
continues to go ahead. Events contemplated for
producing and presenting organization, including the
this year's series are:
Hong Kong Dance Alliance, and independent
P
♦ McAulay Series - Presentation of four choreographers in evening-length concerts over four weeks in April. Deadline for submission of
members nominated by the Hong Kong Dance Alliance, will select participants for all events from
among applications received and invited submissions. The panel will select participants based on the
application is 17 December 1999.
following criteria: applicants who are members of the ♦ Dance Workshop - In conjunction with the
Hong Kong Dance Alliance, or applicants who propose
McAulay Series, a workshop is planned in
work in conjunction with members of the Hong Kong
Releasing Technique in April.
Dance Alliance; applicants who propose new work;
♦ Fringe Theatre Series - Presentation of two evenings of performances. The first evening is
anticipated to be similar to last year's Cross Dancing Jajumpo presentation in which six choreographers working in non-traditional areas were featured.
The second evening is planned to be shared by four choreographers whose work will emerge from a choreographer's workshop. Choreographers will
meet four times over a two-month period and show their developing work to each other and the
applicants who propose innovative work; and, applicants with theatre experience.
Applications
should detail the choreographer's proposal and
indicate in which event they wish to participate and include a video-tape. Although every attempt will be made to place applicants in the event they request, the
panel may offer a place in one of the other events to applicants.
Applications should be sent to the Hong
Kong Dance Alliance, the Office of the Associate Dean, School of Dance, Hong Kong Academy for Performing
Arts, #1 Gloucester Road, Wanchai, Hong Kong
workshop leaders. The workshop will provide choreographers with a forum to discuss the
development of their works. Fringe performances
are scheduled for late May and early June. Deadline for submission of application is 31
December 1999. ♦ Fringe Forums - Open public forum discussions
of topics of concern to the Hong Kong Dance
community. Public forums are planned for May. ♦ Decca-Dance 2000, 'Strip Teaser' - a contribution
to the All Independent series by the City Contemporary Dance Company, coupling young
choreographers creating work for dancers of the City Contemporary Dance Company with designs
provided by young fashion designers. Strip Teaser is scheduled for Mid-June.
Deadline for
submission of application is 31 December 1999.
Tom Brown
Chairman
November 1999
Members of Hong Kong Dance Alliance 個人會員
INDIVIDUAL MEMBERS
Mr Jason Brockwell 間麗珊女士 Ms Margaret Carlson 錢秀蓮女士 Ms Miranda Chin 謝漢文先生 Mr Mohamed Drissi 郭S芸女士 Ms Vivian Kwok 黎海寧女士 Ms Helen Lai 陸國雄先生 Mr Luk Kwok-hung Ms Priyadarshini Ghosh-shome 施累心女士 Ms Susan Street 黃國強先生 Mr K. K. Wong
團體會員
聯絡人
方舟舞蹈劇場 霹履啪E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
陳德昌先生 宋絜女士 高家霖先生 劉玉芬女士 羅詠芬女士 龍植池先生 曹誠淵先生 黃翠玲
余仁華先生 曾澳英女士 黃恆輝先生 宋絜女士 施累心过 吳杏冰戈士 劉志青女士 陳偉先生 麥蓮茜女士 脇翠过 揚惠美女士 邢亮先生 周佩韻女士 帕夏吾S爾女士 徐偉業先生 王榮祿先生 鄭志銳先生 李笑玲女士 宋倩儀牡 腿敏玲女士 磨美燕女士 揚春江先生 嚴明然女士
普通會員 張秀芬女士 方潔萍壮 關艷醑女士 郭淑欣女士 黎少 奠裕康先生
學生會員 陳雅芝女士 蔡嘉樂先生
盧幸»壮 鍾晶女士
Tom Brown BiBy Cheng Wendy Chu Ho Wai-keung Amy Lai Doris Li Yuri Ng Indira Sawlani Aaron Won Xu Shu-ying
Contact Person Ms Eve Cheng Mr Dominic Wong Mr BiBy Chan Ms Diana Yau Mr Willy Tsao Ms Moi Cheuk-yin Mr Andy Wong Mr Tom Borek Mr Pun S'm-fai Ms Jocelyn Chung Mrs D. M. Wayburne Mr Jacky Yu Ms Tsang O-ying Mr Wong Hang-fai Ms Chu Kit Ms Susan Sh*eet Ms Helen Ng Ms Ophelia Lau Mr Chan Wai Ms Lindsey McAlister Ms Keren Suen Ms Ama Chen 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 Sina Liu Mr Daniel Yeung Ms Mandy Yim
Cheung Sou-fan Fong Kit-ping Kwan Yim-Ian Kwok Shuk-yan La Siu-Eng Juergen Morhard Asho Sawlani
Susanna Chan Cody Choi Candy Lo Chung Ching Audrey Wong
溫玉均先生 許淑
Mr Mr Ms Mr Ms Ms Mr Ms Mr Ms
Ark Darice Theatre Bilibala Physical Thecrter Billy Chen Dance Centre Champion Balroom Dancing Academy City Comtemporary Dance Company Contact Point DanceArt Hong Kong Dance HK / NY Dancing City Dcnseomanie DMR School of Balet E - Side Modern Dance Company Evangelical Dancing Troop Fau Yau Dance Circle The Harmonious Dance Troupe The Hong Kong Academy for Performrig Arts Hong Kong Ballet Hong Kong Dance Company Hong Kong Professiond Dcnce Sports Gxjnd Hong Kong Youth Arts Festivd Assodalion Ltd ITS & TS Creative Jean M. Wong School of Met McMuiMui Dansemble Movement Fibre Passover Silk Road Cultural Society Spring Poetry South Asli Dance Workshop Three Coloirs Uncarved Block The Flying Works The Warehouse Teenage Club Ltd X-tanzthea*r y. d. theorfer
STUD&4T MEMBKS Ms Mr Ms Ms Ms
白朗唐先生 鄭健華先主 宋孟青女士 何偉強先生 黎倩樺女士 李翠女士 伍宇烈先生
ORGANIZATION MEMBERS
ASSOCIATE MEMBKS Ms Ms Ms Ms Ms Mr Ms
Andrew Broomhead Mr Ringo Chan Ms Chu Kit Mr Graeme Coffins Ms Medina Lau Ms Kim Law Mr Edwin Lung Dcryl Ries Mr Wily Tsao Ms Scarlet Wong
Membership Form
s員申諾表 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
Member' s Information 會員資料
Name 姓名(English 英文｝ Tel印hone
________________________(Chinese 中文)
電話(Office 公司 1
_______________________________ (Home 住宅｝ (Home住宅＞
Fax傳真(Office公司)__________________________
_____________________________________________
Position 職位
Name of Company
公司名稱
_________________________________
Afflicted Cultural Organization 所展塾術機構 Address 地址
______________________
______________________________________________
Organization Member1 s
Inforrnaticn 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
__________________________
________________________________
__________________________
Correspondence Adddress
通訊地址
Fax
傳真 _______
__________________________
所屬舞蹈類別
Applicable Dance Category
芭蕾
[21 Contemporary 現代舞
|
| Bollet
|
| Eastern Folk東方民族舞|
|
| Education教育界
| Western Folk西方民族舞 |2Z1 Crifieism寫作與評論
| Cultural ond Arts Administration 文化及藝術行政 I___ I Notation舞蹈記錄
Signature
簽署
I
I
| World Donee民族民間舞
I
| Ballroom國際標準舞
1
| 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
Dean, School of Dance, Hong Kong Academy for Performing Arts, 1 Gloucester Road, Wanchai, Kong Kong.
請填妥表格連同劃線支票抬頭寫：「香港舞蹈聯盟J寄香港瀵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。
• Non voting沒有投票權利
□
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