舞蹈手札 dance journal/hk 15-3 by Hong Kong Dance Alliance

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廣告 Ad ve r tise m e n t 香港舞蹈聯盟歡迎各界於《舞蹈手扎》刊登廣告。本會會員及持續刊登者可獲折扣。詳情可向本會職員查詢。 d ance journal/hk welcomes advertisement for both the printed and online versions. Discounts are available for Alliance members and for bulk purchase. Please contact the Alliance office for more information.

香港舞蹈聯盟理事委員會 Hong Kong Dance Alliance Executive Committee : 署理主席 Acting Chairperson: 白朗唐 Tom Brown 副主席 Vice Chairperson : 周佩韻 Pewan Chow 秘書 Secretary : 羅佳娜 Natasha Rogai 財政 Treasurer : 麥素賢 Stacey Morse 委員 Members : 陳德昌 Ringo Chan 唐雁妮 Anita Donaldson 梁國城 Leung Kwok Shing 吳杏冰 Helen Ng 名譽退休主席 : 曹誠淵 Willy Tsao Chair Emeriti 白朗唐 Tom Brown 陳頌瑛 Anna CY Chan

投稿 Articles Submission 《舞蹈手扎》致力為本土舞評人提供出版平台。有興趣投稿者請於單數月份的十五日前，將稿件郵寄或電郵至本會，中英不限。新晉舞評人亦可於「清新眼」中發表文章，更有機會被邀請成為《舞蹈手扎》常規舞評人。 dance journal/hk offers dance writers the opportunity to publish their work. Articles and reviews can be submitted in Chinese or English through mail or e-mail by the 15th of the month before publication. New writers may publish in Fresh Eyes and be selected to become regular contributors.

香港舞蹈聯盟職員 Hong Kong Dance Alliance Staff : 行政主管 Administrator : 黃盈芝 Elena Wong 見習經理 Management Trainee : 羅雪芬 Georgina Lo 行政助理 Administrative Assistant : 馮顯峰 Wilson Fung 編輯部 Editorial Board : 白朗唐 Tom Brown 陳德昌 Ringo Chan 黃盈芝 Elena Wong

訂閱 Subscription 《舞蹈手札》是免費派發予香港舞蹈聯盟會員的刊物，非會員可以下列年費訂閱。請將支票連同姓名地址寄來本會。 dance journal/hk is distributed free of charge to members of the Hong Kong Dance Alliance. Yearly subscriptions are also available at the following rates. Please send cheque, name, and address to the Alliance office.

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dance journal/hk

舞蹈手札第15冊第期

dance journal/hk vol. 15 no. 3 1

目錄 Contents

作者簡介 Writers Profiles Vol.15 No.3

封面 Cover 香港芭蕾舞團《青蛙王子》 The Hong Kong Ballet The Frog Prince 編舞 Choreographer：伍宇烈 Yuri Ng 聯合編舞 Associate Choreographers︰江上悠 Yuh Egami、胡頌威 Ricky Hu 攝影 Photo：加力．杜里高 Conrad Dy-Liacco 舞訊 News

曹寶蓮 Tso Po-lin 1966-2013

立新而不除舊——評《購人心弦》

李米 6

這篇文章題目消失了。咱們直接從內文開始吧。李海燕 7 《牆44》第一章——消失舞蹈劇場的新可能

賴愛美 8

What’s the Matter? — The Hong Kong Jockey Club Contemporary Dance Series (Programme 1) Winnie Chau 10 2013 香港舞蹈年獎 2013 Hong Kong Dance Awards 12 舞影定格 Dance Frame 14 The Hong Kong Ballet and Dirty Dancing Kevin Ng 16 《漆黑的芬芳》賴愛美 19 千里之行，始於足下來自民間的舞蹈回歸個人的表達

木火 20

加點糖 21

《青蛙王子》鄧蘭 23 An Expected/Unexpected Game Bergspitze 25 舞蹈節目表 Dance Events 27

李米媒體人，畢業於香港中文大學新聞與傳播學院。喜愛現代舞和古典音樂，熱衷探討音樂與舞蹈兩媒介的關聯。藝評文章散見於香港和北京兩地報刊雜誌。李海燕畢業於中文大學英文系，身懷與藝術無甚關連的碩士學位及商界經驗，回到文字再出發，從藝術行政走向學徒藝術家。賴愛美舞蹈藝術愛好者。學習各種舞蹈並參與創作演出，喜歡從舞蹈欣賞中提取藝術養份 ; 以文字記錄賞舞感受和得著，並跟舞友分享。為香港舞蹈聯盟主辦的「2009舞蹈賞析及評論寫作計劃」學員之一。 Winnie Chau Winnie Chau is a freelance writer and a theater and dance critic. She writes in Chinese and English. Kevin Ng Kevin Ng is based in Hong Kong and London, and writes about dance for a number of publications including The Financial Times, St. Petersburg Times, Hong Kong Economic Journal, Ballet Review (USA), Ballet 2000 (Italy), Dance Expression (UK), and Shinshokan Dance Magazine (Japan). 木火自由撰稿人。加點糖當初很不巧地踏入它的家門，卻很幸運地與它生活了近 20餘年，如今，自己已是韶華將逝，為了能夠將這段關係繼續下去，對它的關愛只能由身體力行變為紙墨文字，只是希望我能和它一路走下去⋯⋯。它的名字叫「舞蹈」。鄧蘭專業藝評人、編劇；國際演藝評論家協會（香港分會）和香港影評人協會會員。傳理系畢業，初期曾從事文化、電影及電視工作，後轉投廣告界，曾當市場客戶總監，近年活躍於文化舞台的評論工作，評賞範疇涵蓋舞蹈、音樂、戲曲及舞台演出。文章曾刊於各大報章、文化雜誌和演藝網站。 Bergspitze Bergspitze is a freelance writer who contributes to Fresh Eyes.

香港舞蹈聯盟宣布白朗唐先生署任主席香港舞蹈聯盟宣布，主席吳杏冰女士因私人事務於2013年5月8日起暫時離任。主席一職由榮譽退休主席白朗唐先生署任。

Hong Kong Dance Alliance Announces Acting Chairman Hong Kong Dance Alliance announces that Chairperson Helen Ng will take leave from her

香港芭蕾舞團宣布新董事局主席上任香港芭蕾舞團（港芭）董事局宣布，何超鳳女士於2013年4月1日起出任董事局主席，接替自 2007年3月以來擔任主席的應侯榮先生。應侯榮先生將出任香港芭蕾舞團名譽主席。何熱愛藝術及芭蕾，多年來對舞團貢獻良多，特別在籌款方面更是不遺餘力，曾擔任舞團每年最大型籌款活動——港芭籌款晚會的籌委會聯合主席。何持有加拿大多倫多大學工商管理碩士（金融）學位，以及美國南加州大學市場學學士學位，現任信德集團副董事總經理及財務總監。

The Hong Kong Ballet Announces New Chairman of the Board The Hong Kong Ballet Board of Governors announces the election of Mrs Daisy Ho as

2012香港藝術發展獎由香港藝術發展局主辦、香港電台電視部聯合製作的「2012香港藝術發展獎」頒獎禮，已於 5月9日於香港演藝學院歌劇院舉行，表揚香港藝術家的成就，以及在推動香港藝術發展上的貢獻。今年的終身成就獎及傑出藝術貢獻獎分別由陳達文博士和劉以鬯教授奪得；而與舞蹈有關的得獎者包括獲頒年度最佳藝術家獎（舞蹈）的楊春江、藝術新秀獎（舞蹈）的胡頌威、藝術贊助獎的城市當代舞蹈團，和藝術教育獎（非學校組銀獎）的香港演藝學院表演藝術教育中心。

Hong Kong Arts Development Awards 2012 The Hong Kong Arts Development Awards 2012 Presentation Ceremony, organized by the Hong Kong Arts Development Council (ADC) and co-presented by Television Division of Radio Television Hong Kong (RTHK), was held on 9 May 2013 at the Lyric Theatre of the Hong Kong Academy for Performing Arts. 33 awards were presented to recognize Hong Kong artists’ support and contribution to the arts development in Hong Kong. At the ceremony, the Life Achievement Award and Award for Outstanding Contribution in Arts were presented to Dr. Darwin Chen and Prof. Liu Yichang. Dance related award recipients included: Daniel Yeung, Award for Best Artist (Dance), Hu Songwei, Award for Young Artist (Dance), City Contemporary Dance Company, Award for Arts Sponsorship, and Performing Arts Education Centre, the Hong Kong Academy for Performing Arts, Award for Arts Education (Non-School Division Silver Award).

「跳格」委約作品參展康城影展「短片角」 2012年跳格舞蹈影像節的兩部委約作品《城市祭‧回望》及《盛放永恆的陽》獲選於2013年康城影展「短片角」參展，導演黎宇文及何海藍於5月中出席影展。黎畢業於香港演藝學院，主修電影電視。曾為香港、新加坡及英國不同的編舞者及舞團製作舞台錄像設計及宣傳片。何畢業於香港浸會大學傳理學院，主修數碼圖像傳播，現為視覺藝術碩士研究生。曾任職電視導演及大專設計系講師。

Jumping Frames at Festival de Cannes 2013

「本地藝團領袖人才海外考察及培訓計劃」香港編舞者楊春江獲「本地藝團領袖人才海外考察及培訓計劃」資助，於6月出訪歐洲，進行為期三個月的考察，參與不同的藝術節並與各地藝術家交流。這個由香港藝術發展局及西九文化區管理局合辦的計劃，目的在擴闊本地演藝團體藝術及行政領袖人才的藝術視野，並提升知識與技能以貢獻香港未來的藝術發展。

position as of 8 May 2013 due to personal reasons. The Executive Board has appointed Chairman Emeritus Tom Brown to serve as Acting Chairman during Ms Ng’s absence.

its new Chairman as of 1 April 2013. She succeeds Mr John J Ying, who was Chairman from March 2007 and Vice Chairman from November 2004. Mr Ying will continue to serve the Hong Kong Ballet as Chairman Emeritus. A keen arts and ballet enthusiast, Mrs Ho has contributed significantly to the Company over many years both as a Board member and as a fund-raiser, particularly in her capacity as Co-Chairman of the Company’s annual fund-raising event, The Hong Kong Ballet Ball. Mrs Ho holds a Master of Business Administration degree in Finance from the University of Toronto, and a Bachelor’s degree in Marketing from the University of Southern California. She is currently Deputy Managing Director and Chief Financial Officer of Shun Tak Group.

Two commissioned works of 2012 Jumping Frames International Dance Video Festival, Rite of City - Reminisce and Eternal Sunshine, have been selected for presentation at the Festival de Cannes 2013 Short Film Corner. Film Directors Maurice Lai and Leecat Ho attended the festival held from 15-26 May. A graduate of the Hong Kong Academy for the Performing Arts who majored in TV and Film, Lai has created stage video designs, video promos, and shorts for various choreographers and dance companies in Hong Kong, Singapore, and the U.K. Ho is currently a MFA student. He graduated from Hong Kong Baptist University with a major in Digital Graphic Communication. He has worked as a TV director and college lecturer. Daniel Yeung Receives Grant for Europe Research Hong Kong choreographer Daniel Yeung has received a grant from “Overseas Training / Research Program for Leaders from Local Arts Groups on Future Arts Development in Hong Kong” to conduct research in Europe. During his research, which will last for three months starting from June, Yeung will participate in different arts festivals and exchange programs with various artists. The program is supported by the Hong Kong Arts Development Council and West Kowloon Cultural District Authority, and is aimed at expanding the vision and enhancing the skills and knowledge of artistic and administrative leaders of local arts groups, contributing to the arts development in Hong Kong.

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NEW S Hong Kong Dance Alliance Membership Drive Hong Kong Dance Alliance is now registering members for the coming year (1 July 2013- 30 June 2014). Anyone interested in dance is welcome. For details: http://www.hkdanceall.org/

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香港舞蹈聯盟會員招募香港舞蹈聯盟現正招募新一年度（2013年7月1日至2014年6月30日）的會員，歡迎熱愛舞蹈的朋友加入。詳情請參閱網址︰http://www.hkdanceall.org/

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Nomination of HKADC Representatives of Arts Interests – Voter Registration The current term of office of the Hong Kong Arts Development Council members will expire on 31 December 2013, and the exercise to nominate new representatives of arts interests has entered the voter registration phase. Being one of the registered organizations to participate in the Nomination Exercise, Hong Kong Dance Alliance will arrange its eligible members and employees to register as voters. The voter registration will end in mid-July, followed by Candidate Nomination till early August. For details of the Nomination Exercise, please visit www.voteforhkadc2013.hk or call 2232 3932.

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藝發局藝術範疇代表提名推選活動選民登記本屆香港藝術發展局成員任期將於2013年12月31 日屆滿，新一屆藝術範疇代表提名推選活動現已進入選民登記階段。香港舞蹈聯盟是推選組織成員之一，將會為其成員、或其參與藝術製作或藝術行政的僱員，登記成為選民。選民登記將於7月中結束，緊接著的是為期至8月初的候選人提名。有關此推選活動資料和成功登記團體及個人藝術工作者的名單可以瀏覽網頁www. voteforhkadc2013.hk，或致電2232 3932查詢。

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June 2013 issue of Asia-Pacific Channels Profiling dance events and activities from World Dance Alliance members throughout the Asia–Pacific region, including Hong Kong, the June 2013 issue of Asia-Pacific Channels, a biannual newsletter of the World Dance Alliance Asia Pacific, will be available on the Hong Kong Dance Alliance website (www.hkdanceall.org) from 30 June.

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Asia-Pacific Channels 6月刊新一期Asia-Pacific Channels 將於6月30日出版。這份由世界舞蹈聯盟亞太分會出版的半年刊，匯報了包括香港在內的各地區成員的舞蹈訊息和活動，可於香港舞蹈聯盟網站（www.hkdanceall. org）免費下載。

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舞蹈手札第15冊第3期

曹寶蓮 Tso Po-lin 1966-2013

許多舞者都能在台上演活英雄豪傑的角色，曹寶蓮卻是現實生活中的「英雌」。她超卓優美的舞姿帶我們穿梭不同的演出；她開朗和樂天知命的個性令我們對生命肅然致敬。以下的文字和相片記載了朋友對她的懷念。 Tso Po-lin graduated from the Hong Kong Academy for Performing Arts in Chinese Dance and while there, was awarded an Asian Cultural Council scholarship to study at Jacob’s Pillow Dance and American Dance Festivals in the USA. On graduation, she joined the Hong Kong Dance Company and in 1995, received a Hong

Kong Jockey Club scholarship to the Alvin Ailey American Dance Centre in New York. She was awarded “Artist of the Year — Dance” by the Hong Kong Artists’ Guild in 1997. In 2005, she received a second Fellowship Award from Spring-Time Stage Productions and in 2006, performed at Bates Dance Festival, Maine, and in John Moran’s Zenith 5 in New York’s Galapagos Arts Space and Spiegeltent. In 2007, she was invited by International Workshop Festival to teach Chinese dance to professional and local communities in the UK. After leaving the Hong Kong Dance Company in 2001, she choreographed and performed extensively for numerous companies and organizations including DanceArt, Miranda Chin Dance Company, Hong Kong Reportory Theatre, and Theatre Fanatico for theatre director Hoyingfung, in Heading West, Springtime in Wuhu Street, The Seventh Drawer, Exposed/Still Burning, Heading West 2: The Trial of Sanzhuang, O You Heavenly Creatures!, and her 2010 solo performance Lotus in Motion. Many dancers have portrayed heroes or heroines on stage; Tso Po Lin was a hero in real life. A transcendent beautiful dancer, she transported us with her performances and deeply inspired us with her joy and open heart. Messages and photos on these pages were sent to the journal from her friends and colleagues.

dance journal/hk

曹寶蓮畢業於香港演藝學院中國舞系。在學期間獲「亞洲文化協會英美獎學金」赴美國參加「美國舞蹈節」及「Jacob’s Pillow Dance 舞蹈節」。她畢業後加入香港舞蹈團，並於1995年獲「賽馬會獎學金」遠赴紐約艾雲艾利舞蹈中心深造一年。回港後，1997年獲「香港藝術家年獎─舞蹈家」。在2005年，她二度獲得「春天創意舞台獎助金」，赴美國緬恩州參加了2006年的「Bates 舞蹈節」，同時在紐約的 Galapagos Arts Space 及Spiegeltent 演出由John Moran 編導的《Zenith 5》。 2007年應邀到英國倫敦的 International Workshop Festival 教授中國舞。離開香港舞蹈團後，她活躍於與動藝、錢秀蓮舞蹈團和香港話劇團等不同團體合作演出及編排舞蹈，更與瘋祭舞台的何應豐於《大路西遊》、《蕪湖街上好風光》、《七重天》、《曝/光》、《大路西遊 2之阿公審三藏》、《大鬧天宮》及2010年的獨舞作品《觀蓮》中多番合作。

dance journal/hk vol. 15 no. 3 5

上圖攝影：阮漢威。Image above photographed by Leocampo Yuen.

lost a beautiful Hong Kong has who inspired her dancer, an artist her audiences. peers and thrilled e in dance and Through a lifetim struggle with a heroic 10-year h ht us the strengt cancer, she taug of joy and love. d Tom Brown

Pewan Chow an

1989年加入香港舞蹈團，曾於多齣舞劇擔任要角，包括：《周璇》(周璇)、《達賴六世情詩》(賣酒女)、《春香傳》(春香)、《龍鳳禮樂》 (《冥婚雙人舞》)、《畫皮》(美女)、《紅雪》 (啞巴女)、《胭脂扣》(如花)、《玉卿嫂》(玉卿嫂)、《寶蓮燈》(三聖母)及《誘僧》(紅萼、心魔) 等。她於2001年離團發展。2011年12月她回團參演 8 樓平台《疏離鴉》節目。「曹寶蓮對塑造香港舞蹈團的藝術形象貢獻良多，對舞團的關愛常存。」香港舞蹈團行政總監曾柱昭

與你相識只是數載，每次見面都是笑個不停，合作總是在笑聲中渡過永遠不會忘記我們一同，經歷的三十場演出，每次都有不同的版本，笑聲、歡樂、舞蹈、觀眾、默契、溝通，一一溶入生活裡。平易近人的你，一沒有，還記得細心的你點架子都，見到有我的訪問，怕忙碌的我會錯過，特意把報導剪下，托人轉交給我。

Tso Po-lin joined the Hong Kong Dance Company in 1989 and performed leading roles in The Story of Zhou Xuan (in the title role), The Love Story of Dalai VI (as the waitress), The Story of Chunhyang (in the title role), Chinese Customs and Riluals (in Spiritual Medium – pas de deux), Hua Pi (as the Beauty), The Snow is Red (as the Mute), Rouge (92 New Version) (as Yu Fa), Jade Love (Re-run) (in the title role), The Magic Lotus Lantern (as Goddess of Mount Hua) and Temptation of a Monk (as Hong E, Seductive Spirit). She left the Dance Company in 2001. In December 2011 she took part in the Dance Company’s 8th Floor Platform performance of Solea. “Tso Po-lin has contributed to the shaping of the artistic identity of the Hong Kong Dance Company. Her care and love for the Dance Company will always remain.”

Gerard CC Tsang, Executive Director, 難忘開心的記憶，永遠都活在我腦海中；選擇了默默的支持， Hong Kong Dance Company 亦想跟你說聲「掛念你但此時」。會將你的笑聲、樂天帶給身邊每一個人，來繼續我們的旅程。 I am so lucky that in this Dearest CPP (a.k.a. Crazy PoPo), life I had a chance to me et a beautiful dancer, lovely person. Every time we met, wh erever or whenever we were, was always surrou you when we wrote each other. nded by loud and crazy That’s the nickname I loved to call sin cer e laugher. Will never forget the 30 per in your special way. You were formances we did togeth were crazy, in a good way, and you , Yes er, every time a different rist; version; dance, happiness e; crazy for sweets; a crazy adventu , laughter, joy, tacit com crazy about Dance; crazy in Lov le mu orab nic mem atio t n all merged together in our lives, and stage; and the mos to our audiences as well. ily attractive and charming on craz I’m Sh w e was such a sweet, approachable, attentive laughed crazily together. I kno person, I still remember moments were when we always she ce and wo rrie d tha t I might miss an interview publish also know we will meet and dan ed in a newspaper becaus going to miss you forever, but I e of my busy schedule, she cut it out and asked someone to pass it to me laugh together again. . All these unforgettable memories are stored dee ply in my heart, and I will pass on her laugher and me) joy to everyone around me Tall Girl, the nickname you gave so that our journey continu Love you, TG (Abby Chan, a.k.a. es.

With Love, Irene Lo 勞曉

昕

舞蹈手札第15冊第3期

立新而不除舊—— 評《購人心弦》文︰李米

城市當代舞蹈團《購人心弦》。編舞︰龐智筠。攝影︰陳德昌。

城市當代舞蹈團新舞季開幕的《購人心弦》，稱得上編舞龐智筠的「突破之作」。她之前的作品，譬如《全院滿座》和《Inside Out》等，常見笑鬧幽默的肢體語彙，誇張，不時拋一個意想不到的噱頭，足以令觀眾離場時嘴角上揚。的確，那些作品很「好看」，出入自如轉接流暢，編者和觀者間不會有隔閡。只是，這樣的「親密」也難免令到作品不夠超脫，甚至有些淺。編排新作時，龐智筠並未繼續在原處挖掘，而乾脆跳出來，排一齣有些「冷冰冰」及嚴肅的作品。在她那裡，「冷」或可幫助觀眾靜下心來回憶並反思。的確，看至最末一場，一眾演員排成行在觀者面前除去衣衫再穿上又再除去如此往復不停的動作時，筆者想到了「有／無」抑或「存在／消亡」這樣二元對立的命題。看來，逢人總笑眯眯的龐智筠也有嚴肅想心事的時候。第四幕中林波與黃狄文兩位男舞者的一段雙人舞中，兩

人互相依傍、拉扯及掙脫又再回首，似乎含了女性編舞對同性及異性關係的思索；倒數第二幕有一段男舞者手拉手跳四小天鵝的舞段，既是對「男權」的質疑，也有對經典和既定規則的嘲諷。劇中舞者有三個動作，令筆者印象深刻：游動、抓取和托舉。不論群舞、獨舞抑或雙人舞，舞者總不時擺出水中潛游的動作，見出在物慾深海中游動的不安。群舞中，總有一位舞者被眾人舉起又隨即扔下，似乎是個體想逃離、解脫而不得的寫照。還有舞者雙手高擎在空中做出抓取的動作，以及不倒翁般左右搖擺的姿勢，似都在暗示人面對慾望時的無助和惶恐。佈景和音樂也配合了舞作的寂寥和不安，譬如背景板前歪斜懸吊的巨型晾衣架，以及若冷風般飄忽的《The Fragile Tide》和急速猛烈又有些神經質的《Concerto Para Bongo》。舞作中頻繁出現的那個「旁觀者」角色也顯得意味深長：他／她只是遠遠站

著，面無表情看身前身後一眾舞者在爭搶，莫名令筆者想到林懷民舞作《九歌》中那個拎著皮箱穿梭過去與現今的人，好像喧鬧中的一處冷靜。舞作共分十段，每段各有起伏，拼在一起看，十段舞大體是一個「快—慢 —快」的節奏，再加一個抒情的尾聲。不知編舞是否古典樂迷，但這樣的章節鋪排，確有四樂章交響曲的味道。而且，前文提及的三個動作，也像音樂中的三個主題動機或音型，貫穿首尾，令到作品更顯圓融完整。很多人為顯出創新的決心，往往徹底拋下過往風格，但龐智筠沒有。她仍然在這齣冷清寂寞的作品中穿插了擅長的歡鬧幽默段落，好像黑幕上幾點星光，是醒神的，也足以給觀眾一個緩衝。筆者喜歡編舞這種在嚴肅與笑鬧間自如轉接的魄力：拋開過渡及一切不必要的鋪墊，就是將光亮和黑暗兩個面向都攤給你。不去特意在乎觀眾是不是笑了又或領會了甚麼，編舞只是講出自己想講的話而已。

dance journal/hk

為

dance journal/hk vol. 15 no. 3 7

這篇文章題目消失了。咱們直接從內文開始吧。文︰李海燕

王榮祿

說《牆44》第一章是個女兒尋父的故事，是三部曲的上集。女兒在五個住著不同租客的大廈單位尋找父親失蹤原因的蛛絲馬跡。這個父親的曾經存在，由廣播劇和不時叫嚷著的電話機暗示著。在我看來，用一個角色貫串，是一種劇場手法。《牆44》要說的不是這個消失的人，而是「消失」本身。消失是個辯證的概念，物事必須在我們的認知中存在過，才有消失的能力。時間是綿延不斷的；回憶也是。只要回憶能夠保存，便沒有真正的消失，萬象總會以相似或不同的面貌輪迴。我們應該如何看待消失？像第一場中，演員大費周章地動用整個身軀抹去脆弱地粘附在黑板上的粉筆字？還是關上窗，拒絕承認街外風景存在，讓它消失？觀眾在演出的一個半小時中，在富德樓各層上下穿梭，五個演出場地，次第滲透出上世紀六十到八十年代的感覺。藝術表現需要載體，王榮祿和陳志樺選擇重現這段時間的特色可能與他們的成長有關，但志不在懷舊。他們帶領觀眾走一段時光隧道，觀眾生命中的真實時間，在演員於模擬已消失的年月中演出的當下，

不加鎖舞踊館《牆44》第一章。編舞︰王榮祿。攝影︰Quist Tsang。

消失。好不容易回到現在，「現在」卻是盲的。真正消失的，是處身在藝術家向我們所呈現以外的畫外音。消失的還有熟悉的邏輯。似有還無的交談；錯置的對話：向茶餐廳點菜卻是由對方先來電；用陳百強反吸毒的「摘星」作為背景音樂濫「藥」──萬金油；陳敏兒在餅乾罐發現完整的餅乾塊時會嚇得大叫；為死屍拍照，為已消失的製造永遠存在的假象。要突顯消失的空，就要有意象紛陳的滿。沉迷練習《玉女心經》的男

住客用叮噹的法寶「記憶麵包」將知識囫圇吞棗，之後用「存在主義」一書殺死拳手；攝影師口袋中的瑞士糖和「飼養」在魚缸中的菜刀；游弋於賭徒和怨婦之間的女人，在室內撐開從冰箱取出的傘遮擋不會下的雨；同居男女充滿性暴力意味的糾結，在八十年代色彩繽紛的表面下，原始的不安在騷動。觀眾在上落之際，在梯間會遇上莫穎詩，她仿似古代悲劇中的小丑，用慧黠的眼睛看著你。王榮祿、陳志樺、陳敏兒已多次合作，漸見純熟。消失了一段時間的不加鎖 (Unlock) 風格重現：市井的生命感覺，隨意、強悍、具滲透力。

舞蹈手札第15冊第3期

環境舞蹈與環境發生的關係除了是物理性的，還要考慮建築物本身歷史和環境周遭的文化脈絡。富德樓是由支持藝術發展的業主捐出的物業，由一基金會管理，為有需要的藝術家在市區提供租金低廉的工作室。雖然《牆44》本身並無回應這種對藝術發展尊

重的精神，借出單位的租戶卻已就此身體力行：觀乎單位為演出而重新佈置的程度，各人大概把工作室騰出了一星期的時間讓節目得以進行吧！而設計師在場地佈置上亦呼應單位原來的用途，如艺鵠大量的書籍、影意志的長條菲林裝飾等。

消失理應是主動的，但在今天「被消失」也見怪不怪。如果今次《牆44》的觀賞過程由觀眾自由選擇次序而非如參加旅行團般走指定路線，我們將更能體會「消失」是一次唯心的覺醒，只有主動認知，物事才會有存在或不在的分別。

《牆44》第一章——消失舞蹈劇場的新可能文︰賴愛美

消失，因為它曾經存在過！很多事情、人物或價值，是當快要消失了才會覺得可貴，存在時卻被忽視和冷待。消失是否這樣可怕，怕可是那沒法自主的消失。要從消失開始，明明草擬好的文章大綱竟然消失了，需要大費周章的找尋那記憶思緒。像是要提早經驗這個舞蹈連續劇的三個主題：分別是消失、記憶和虛無。最後還是把文章完成了。畢竟，這是一次不可多得的賞舞經驗，驚喜處處。一個半小時的舞蹈旅程，觀眾進入了時光隧道，回到了七、八十年代，去到一個熟悉又陌生的空間；當中的佈局、人物、聲音和舞蹈交織出虛幻荒誕的情節片段，強烈衝擊感觀神經。短短時間裡讓觀眾經歷了消失和存在的感覺。造就這演出效果的原因之一是演出場地——灣仔富德樓，一所建於六十年代的舊商廈，它本身已經充滿了年代記憶。現在部份成為藝

術工作者的創作室，被形容為鬧市中的垂直藝術村，不過部份仍是劏房。富德樓提供了一個相當特別的演出空間和環境，同時有不少限制。要把限制轉變成為特色，當中由概念構思到執行都花了不少心力，絕對是打破常規勇於嘗試的成功例子。

演出用了五個單位發展了六段故事。觀眾被帶領經樓梯上落到不同樓層的房間，每個房間的佈置有如裝置藝術般豐富有趣，既是就地取材，亦是借題發揮。每個房間既獨立又有個性，配合故事的人物劇情。樓梯間有不少令人目不暇給的佈置，不太清楚是裝置或是住戶家具。年青的觀眾未必見過那八十年

dance journal/hk

它

不加鎖舞踊館《牆44》第一章。編舞︰王榮祿。攝影︰Quist Tsang。

dance journal/hk vol. 15 no. 3 9

不加鎖舞踊館《牆44》第一章。編舞︰王榮祿。攝影︰Quist Tsang。

代清潔香港告示，但總會認得海報中年輕的周潤發。上落樓梯間有位在全身塗上牆磚顏色彩繪的行為藝術家作形體演出，她的出現完全了存在的真偽和虛實，這樣細緻的創作安排，值得一讚。每個單位不大，演出空間有限，演員與觀眾之間伸手可及，貼近的距離下改變了演員和觀眾的關係。演出時觀眾自己選擇位置、選擇想看的角度和事物，有點偷窺私隱的感覺。觀眾能把片段串聯併合解讀出故事脈絡，令欣賞過程更為投入和有趣味。作品成功利用了富德樓說故事，而當中也存在富德樓的故事。跟其他劇場不同之處是這裡並不只是場景，是有生命的地方；不會因演出完結而停頓，不會消失。

嚴格的說這不是環境舞蹈，創作由故事文本主導。第一章的故事是離家18年的女兒，回大廈舊居尋找失蹤了的父親，遇到一班怪住客：有喜歡影車頭相的攝影師、禪心修練《玉女心經》的男人、集賭徒和怨婦於一身的媽媽、鐘情於暴力遊戲的情侶、扮作正義朋友的搏擊手和吃花生的盲歌手。情節荒誕、矛盾、不合邏輯，攝影師吸食毒物（萬金油）時播放著禁毒歌曲《摘星》、男人聽著《禪院鍾聲》看色情雜誌、搏擊手毫不留情把餅乾打碎。這些壓縮了、倒置了的情節卻有種莫明的迷失、恐懼和失落感。值得進一步思考。作為舞蹈連續劇場，內有不少戲劇元素，對於舞蹈演員有一定的難度，喜見他們邊演邊跳，節奏流暢自然。像飾演同居情侶的

林薇薇和丘展誠，處理那斷續、無頭無尾兼帶有助語詞的調情對白，同時要應付大量角力的動作，演出把男女關係交代得維妙維肖。最吸引還是陳敏兒演繹的媽媽，完全掌握演出的節奏，眉宇眼角間的轉變把觀眾帶進角色情緒中。作品中舞蹈和話劇平衡發展並且互相補足，動作填補了對白空置的地方，是深化了的跨媒體合作成果，舞蹈和話劇觀眾同樣喜歡。作品還有很多元素如燈光、聲音運用等值得討論，且留待下回分解。享受作品之餘更為欣賞是背後那創作激情和對藝術的探索精神，實不容輕視。作品開拓了一種劇場可能性，也不容輕視。期待《牆44》的第二、三章再次擴闊劇場欣賞經驗，製造更多討論空間。

舞蹈手札第15冊第3期 10

What’s the Matter? — The Hong Kong Jockey Club Contemporary Dance Series (Programme 1) by Winnie Chau

But am I being naive to trust a dancerchoreographer’s words completely? I’ve read enough overblown, pseudopoetic synopses. Dancers may not be able to talk about their dance meaningfully, but they should be able to speak through their movements. Watching What’s the Matter? I felt cheated by its creator Justyne Li Szeyeung. She didn’t say this was what she meant by ‘role-playing’. She didn’t say our perception could be questioned like this. She didn’t say the work would be this impressive. Impressive because as I saw the movements unfold in front me, a sense of elation grew inside me. And I know spontaneous feeling doesn’t lie. Yet,

I wouldn’t be this gratified if I hadn’t seen Li’s previous works, especially Pulsate (2011) and The 3.5th Dimension

(2012) — both are collaborative works centering respectively on the real and the unreal, and time and an alternative universe. Pulsate suffocated me with its intense movements. The 3.5th Dimension, while cogent, is not as

elaborated and compelling as What’s the Matter?. What’s the Matter?,

choreographed solely by Li, is an elevation of those other two works. The piece makes me feel proud to tell people, this is a work by a Hong Kong choreographer. It can meet the rigorous standards of any international stage. Atoms, matters, cells, fragments, body movement, limitations of

subjectivity, (mis)perception of time and reality. What Li tries to express is almost ineffable. Yet, her choreography prompted my reflections on most of these notions and triggered my imagination beyond what was on the stage. Contemporary dance is often granted the artistic licence to be ‘abstract’. Some contemporary dance choreographers make themselves quasi-philosophers. Their ‘nothingness’ is full of rambling. Evoking physics and phenomenology, What’s the Matter? is, nevertheless, grounded. Even without any idea of its creative motives, audience members could experience the peculiar beauty created by the movements interacting with the music and video projection. They were

What's the Matter?. Choreographer: Justyne Li. Photo: Keith Hiro.

dance journal/hk

Should

I talk to choreographers before seeing their works? It sometimes feels like cheating, having a little more knowledge than other people in the audience. Knowing the work’s motives and concepts from either formal interviews or even friendly chats with the choreographer, I find it easier to be moved by the seemingly abstract dance movements. Or so I think.

dance journal/hk vol. 15 no. 3 11

also given freedom to associate the figurative with the literal. You’d hope to see the imagery once more. You’d even want to ask the choreographer to consider a re-run. For this is no ordinary work among the new generation of contemporary dance artists in Hong Kong. In fact, I returned to see the production again at its closing performance. Even with pen and paper in hand and a fair understanding from the première, I was anxious about not being able to capture what I saw with the finesse the work possesses. But the thought also relieved me of the pressure to describe the work ‘as it is’, since nothing compares to seeing it in the movement. In the opening scene, the four dancers Li De, Henry Shum Chi-yee, Sylvia Lee Ting-yan, and Li herself, stand up from the floor by turn and move with slightly bizarre movements accenting the joints of the human body. Yet, it was unlike the marionette-like motion in Li’s other accomplished work Galatea & Pygmalion (2010). The anatomical movements of the four dancers seemed to remind me that they are not only dancers. They are people, after all, just like me.

The ‘role-playing’ by Justyne Li and Sylvia Lee in What’s the Matter? is in fact a range of movements echoing things and phenomena in nature. The movements are not imitation. They possess just enough to provoke your imagination. At the same instant, some might see lions, some flowers, others seasonal change. One memorable moment is a scene where Li and Lee lie on their stomachs, face to face, move their fingers rapidly to ‘role-play’ ants (or perhaps some other insect),

What's the Matter?. Choreographer: Justyne Li. Photo: Keith Hiro.

and tickle each other. They are at once insects and human beings being tickled by insects. The picture gives audience members an alternative point of view to the panorama of the previous scene. Perception and the idea of ‘reality’ are complex intellectual subjects. But what What’s the Matter? has visualised is light, yet substantial, while carrying a touch of mild humor. Still lying on their stomachs, Li and Lee no longer look at each other. They continue playing with each other like children imitating animals (or is it exchanging messages?) with their hands. All of a sudden, Lee is dragged off the stage by a male dancer. She screams, and it occurs to me that perhaps Li might have been playing on her own all along. Lee wasn’t her shadow but a figment of her imagination.

A later bit seemed to justify my idea. Li abruptly breaks into an ongoing scene by running to the same spot, lying on her stomach doing the same series of movements under the spotlight. Only, for this scene, Bach piano music is replaced by electronic music, and Li’s partner is conspicuously absent. There is, however,

a witness (played by a male dancer) sitting in a dim corner. Li, yet again, gives us an alternative point of view. This ‘disruptive’ scene actually goes against accustomed temporal logic and hence audience expectations (and perceptions). It’s deft, profound, and very ‘cool’. Absolute reality is easily subverted by the presence of an alternative point of view. A fact is hardly indisputable when there is more than one way of seeing it. The entailed scepticism is frightening. Yet, it is not completely hopeless, for there is always more than one possibility. Having seen the programme twice hasn’t made me a better reader — I’d understood a lot the first time. Neither have the pre-performance exchanges with the choreographer made me a more informed spectator. It was not words that did the magic. It was movements and my eyes. This review was originally published in Muse blog section. To read the review in full, please visit: http://www.musemag. hk/textpattern/winniechau/71/what-s-thematter-talk-to-me-no-rush-in-english

舞蹈手札第15冊第3期 12

2013

香港舞蹈年獎 Hong Kong Dance Awards

獎項 Award

得獎者 Recipient

得獎作品 Work

最值得表揚社區舞蹈計劃 Outstanding Project in Community Dance

香港藝術中心與楊春江先生 Hong Kong Arts Centre and Daniel Yeung

《開放舞蹈》 Open Dance

最值得表揚舞蹈製作 Outstanding Dance Production

香港舞蹈團 Hong Kong Dance Company

《蘭亭 • 祭姪》 Spring Ritual • Eulogy 《舞 • 雷雨》 Thunderstorm

最值得表揚獨立舞蹈製作 Outstanding Independent Dance Production

新約舞流 Passoverdance

《界限 • 街道圖》 Maze

最值得表揚舞蹈影像計劃 Outstanding Project in Video for Dance

城市當代舞蹈團 City Contemporary Dance Company

「跳格國際舞蹈影像節」 Jumping Frames International Dance Video Festival

最值得表揚燈光及佈景設計 Outstanding Lighting and Set Design for Dance

張國永先生 Leo Cheung

《界限 • 街道圖》 Maze

最值得表揚男舞蹈員演出 Outstanding Performance by a Male Dancer

黃狄文先生 Dominic Wong

《畸人說夢》 The Comedy of K

最值得表揚女舞蹈員演出 Outstanding Performance by a Female Dancer

華琪鈺女士 Tina Hua

《舞 • 雷雨》 Thunderstorm

最值得表揚群舞演出 Outstanding Ensemble Performance

香港芭蕾舞團 Hong Kong Ballet

《卡薩廸》 Castrati

最值得表揚編舞 Outstanding Achievement in Choreography

梅卓燕女士與邢亮先生 Mui Cheuk Yin and Xing Liang

《舞 • 雷雨》 Thunderstorm

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最值得表揚舞蹈劇作指導鄧樹榮先生 Outstanding Achievement in Direction for Dance Tang Shu Wing

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得獎者與頒獎嘉賓照片。攝影︰陸藝揚 1 – 香港藝術中心總幹事林淑儀女士（中）、楊春江先生（右）與主禮嘉賓立法會議員馬逢國太平紳士。 2 – 香港舞蹈團署理藝術總監楊雲濤先生。 3 – 鄧樹榮先生（左）與劉兆銘先生。 4 – 新約舞流藝術總監周佩韻女士（右）與香港舞蹈聯盟名譽退休主席白朗唐先生。 5 – 城市當代舞蹈團節目及市場部高級經理黃國威先生（右）與香港舞蹈聯盟主席吳杏冰女士。 6 – 張國永先生。 7 – 黃狄文先生（左）與梁靖先生。 8 – 華琪鈺女士（左）與喬楊女士。 9 – 香港芭蕾舞團財務總監廖艷慧女士。 10 – 梅卓燕女士（左）、邢亮先生（右）與周凡夫先生。 Photos of Award Recipients and Presenters. Photos by Woody Luk 1 – Connie Lam, Executive Director of the Hong Kong Arts Centre (center), Daniel Yeung (right), and Guest of Honor Ma Fung-kwok, SBS, JP. 2 – Yang Yuntao, Acting Artistic Director of Hong Kong Dance Company. 3 – Tang Shu-wing (left) and Lau Siu-ming. 4 – Pewan Chow, Artistic Director of Passoverdance (right) and Tom Brown, Chairman Emeritus of Hong Kong Dance Alliance. 5 – Raymond Wong, Programme & Marketing Department Senior Manager of City Contemporary Dance Company (right) and Helen Ng, Chairperson of Hong Kong Dance Alliance. 6 – Leo Cheung. 7 – Dominic Wong (left) and Liang Jing. 8 – Tina Hua (left) and Qiao Yang. 9 – Sheryn Liu, Finance Director of the Hong Kong Ballet. 10 – Mui Cheuk-yin (left), Xing Liang (right), and Chow Fan-fu.

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舞蹈手札第15冊第3期 14

香港舞蹈團《寶蓮燈》。舞者︰曹寶蓮。相片由香港舞蹈團提供。 Hong Kong Dance Company. The Magic Lotus Lantern. Dancer: Tso Po-lin. Photo courtesy of Hong Kong Dance Company..

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瘋祭舞台《大路西遊》。舞者︰曹寶蓮。攝影︰張志偉。 Theatre Fanatico. Heading West. Dancer: Tso Po-lin. Photo: Cheung Chi-wai.

舞蹈手札第15冊第3期 16

The Hong Kong Ballet and Dirty Dancing by Kevin Ng

of the Qing Dynasty in China, and set to music by Ravel. This ambitious new ballet commences with a young boy taking ballet class with his mother. Then the ballet class becomes a much larger company class taken by all the dancers in the production. The Frog Prince seems to be a story taking place in the mind of this boy. This beginning later finds its echo in the last scene of the ballet, which shows the now grown-up young man taking class again with his mother. After the beginning ballet class, the boy is transformed into a young Emperor, and the teacher becomes the Emperor’s mother, the Dowager Empress. She doesn’t quite approve of his love of the Princess Moon, his favorite consort. The Emperor gives Princess Moon a gift of a golden ball. The green frog finds the golden ball in

the well and returns it to the Princess. There is also a visit to the royal court from the French Ambassador. In the shorter Act 2, the allied army of eight countries defeating the Qing Dynasty is the theme. All this is extremely good fun to watch. The choreography by the three choreographers is competent. The only drawback is that too many threads are crammed into the ballet and they do not all make sense in the first viewing. Act 2 is definitely too rushed, and the attack by the Allied Army of eight countries isn’t clearly presented. The emphasis of this production is definitely more on the dancing than on the drama. There

are some nice memorable touches, for example, a teapot dance, and the “Made in China” dance. The company was quite impressive. Jin Yao had warmth as the mother, and also as the Dowager Empress. Wu Feifei was moving as the Princess Moon. Wei Wei was quite handsome as the Emperor, while Shen Jie was nimble as the frog. Li Jiabo was funny in the teapot dance. Praise is also due to Jordan Chan as the boy. In late March, Hong Kong Ballet also revived its 2010 production of The Sleeping Beauty. Very wisely,

in view of the competition from the American Ballet Theatre in the same

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late April, Hong Kong Ballet premièred The Frog Prince, which is adapted from the traditional Grimm Brothers’ fairy tale of a princess kissing a frog that turns into a handsome prince. Yuri Ng, together with company dancers Yuh Egami and Ricky Hu, have created an imaginative two-act ballet blending the fairy tale of The Frog Prince within a new context

The Hong Kong Ballet. The Sleeping Beauty. Dancers: Jin Yao and Friedemann Vogel. Photo: Cheung Chi-wai.

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month, Hong Kong Ballet brought a male guest star, Friedemann Vogel, for the first two nights. Vogel is the top male principal from Germany’s Stuttgart Ballet. Vo g e l a s w e l l a s h i s p a r t n e r J i n Ya o d a n c e d the opening night when this production was premièred. Actually it’s sensible for the company to invite a male guest star since it adds strength to the company’s present cohort of male dancers, especially after former principal Huang Zhen’s departure. It seems very hard these days to sell tickets to Shatin Town Hall for some reason. Even the opening night wasn’t full despite the guest star’s presence. This time the production was sensibly shortened in the hunting scene in Act 2, enabling children in the audience to return home before too late. This Sleeping Beauty production by former American Ballet Theatre star Cynthia Harvey is excellent and has mostly retained the traditional c h o r e o g r a p h y. H a r v e y h e r s e l f has choreographed the “Jewels” divertissement in Act 3 as well as the waltz in the prologue. The décor is sparse but functional enabling quick scene changes. A golden fan-shaped set dominates the stage and is adapted for different scenes. The dancers struggled in the prologue no doubt due to first-night nerves. The female corps de ballet was more uneven than usual, and was noticeable for their uneven heights and sizes, and the different angles of their raised legs. But they improved steadily and were back to form as the evening went on. In Act 1, even the technically superb

Dirty Dancing. Photo courtesy of PRO Marketing.

Jin Yao had a stumble during her solo but recovered quickly. As the prince, guest star Friedemann Vogel was like a breath of fresh air, and definitely in a class of his own. He was elegant with his tall and noble bearing. His solos were remarkable for his powerful technical fireworks, and were even more exciting than last time. May he return

to guest more often with Hong Kong Ballet, which really benefits from its guest dancers including its guest principal Tan Yuanyuan. Jin Yao in the title role was excellent. Her balances in the “Rose Adagio” this time were more secure than last time. Technically she was always marvelous, but she could really afford to relax more sometimes in her

舞蹈手札第15冊第3期 18

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Baby stumbles upon the staff quarters where an all-night dance party is in full swing. She wishes to join the fun, especially after she’s caught sight of the handsome dance instructor Johnny. Later, Baby is handed a big chance after Johnny has asked her to learn the steps to replace the leading lady who is pregnant.

The musical Dirty Dancing, adapted from the 1980s blockbuster movie of the same name starring Patrick Swayze, was shown at the HKAPA in late April. Premièred in Australia and later also seen in many other cities around the world, this popular musical tells the love story of Baby and her handsome dance instructor Johnny set in America in 1963. On holiday at a resort with her family,

The musical offers a most enjoyable night out at the theater. Its two acts last for 2 hours 15 minutes. I certainly enjoyed it, not having seen the film beforehand. It’s visually lovely, dominated by a luxurious decor with a central panel and side panels. Different locations are depicted by film footage. A moving circle in the middle of the stage moves the characters around rapidly.

At the heart of the musical is the romance between Baby and Johnny. The side plots are quite interesting. The production offers stylish, oldfashioned entertainment. Baby’s dancing lesson with Johnny is delightful to watch. Another memorable sequence sees Johnny teaching the cha-cha to the ladies in the resort. The rousing surprise ending would easily send anyone home happy, enhanced by the repeat of the song “The Time of My Life” with Baby lifted high in the signature pose by Johnny. As Baby, Bryony Whitfield captured the character’s innocence, goodness of heart, and generosity. Gareth Bailey was tall a n d h a n d s o m e a s J o h n n y. B o t h certainly touched our hearts.

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acting and dancing. In the supporting performances, Zhang Siyuan danced authoritatively as the Lilac Fairy. The “Jewels” divertissement was impressive; Shen Jie was precise and Dong Ruixue was sharp and fleetfooted. Li Jiabo, however, was heavy and clumsy as Blue Bird.

The Hong Kong Ballet. The Frog Prince. Choreographer: Yuri Ng. Photo: Conrad Dy-Liacco.

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《漆黑的芬芳》

指出兩者的分別。編舞把讀白重複播了一遍並以此配合出一段動作。這樣的處理好讓觀眾在笑聲後有空間去細想事情。平日大家以甚麼準則作判斷，多少是基於事實、真相，還是只是主觀感覺和情緒罷了？段落為作品平添了思想空間。

文︰賴愛美

《漆黑的芬芳》。編舞︰施卓然。攝影︰Kevin Wong。

雖然

未必人人喜歡喝咖啡，但都不會抗拒咖啡那股叫人精神喚發的香氣、略帶苦澀沉厚的味道，總帶種耐人尋味、有待發現的吸引力。喝咖啡已經被視為一種時尚的生活文化。當知悉作品以咖啡為創作元素，筆者份外覺得有趣。如果以為作品是另外一種跨界別合作（那得把喝咖啡視為一種藝術而言），會以不同種類的咖啡、不同的味道，又或者是沖飲方法連線來創作，可能會帶點失望，因為根本不是那回事。作品之所以以咖啡為題，只是源於編舞跟咖啡達人在社會和生活經歷上的惺惺相惜。是咖啡或蛋糕，並不重要；重要是那份對理想的期盼、堅持和對現實的無奈。演出中的咖啡達人是演員之一，她即席示範煮了一杯混合了幾種豆的咖啡，不太酸、有點甜味、易入口，她強調這咖啡是適合大眾口味，卻仍舊留有自家特質和性格。她沒有專業的舞蹈背景，主要參與話劇部份及敘述自己的故事。她吐字清楚、演出穩定，特別喜歡的是她提到希望教授大眾如何欣賞不同咖啡文化，而不是將咖啡一統化的

理想。除此之外，她也飾演一位旁觀者，段落中燈光特別照著她的眼睛，強調那種冷冷的注視。作品不足一小時；演戲的部份不少，最為有趣同時現場最有回響是那幾段訪問，特別是編舞提到的自身經歷，惹笑地戴上一個打了格的面具，改造了聲音，把演出後要等一年才收到薪水一事輕鬆交代。俗套來說是笑中有淚，內容直接，觀眾中的同業有很大的反應，相信是搔到癢處之故。這段落不長，安排不俗。相比將實況直接道出來，第二幕中的〈洋溢四方〉更能帶給觀眾感受。樂師架上墨鏡搖頭晃腦的演奏和唱出流行樂曲《喜氣洋洋》、工作人員在射燈前晃動顏色紙製造出夜總會的燈效、編舞手持酒瓶扮醉，跳出的卻是芭蕾舞動作，看來詼諧的安排其實別有用心。那被視為高雅藝術的舞蹈卻淪落成為夜總會的娛樂舞蹈，實在是一種諷刺，多少反映了藝術工作者在商業社會生存的困窘，有點唏噓。幸而作品不只是單一的訴說故事，演出中有段錄像，似是比較咖啡味道。主辦單位找途人品嚐兩杯咖啡，識別它們不同的地方。其實兩杯是相同的即溶咖啡，但品嚐的人竟蠻有信心的

整個作品其實頗灰暗的，沒有交代任何出路或方向，也許是編舞此刻的心境描述。就末段的獨舞，接連的騰空翻轉似是有點迷失，當中需要的身體控制展示了那種堅持，舞動跟隨音樂由慢轉至激盪，但感覺是孤獨的。段落中樂師專注演奏，沒有抬頭望舞者一眼，使孤獨感覺更加強烈。這也使舞者的感情跟音樂未能完全配合的情況，多少影響了效果。提到現場音樂，把樂師安排在演出區，難得是他們粉墨登場，成為演員一部份，效果相當好。唯一是他們在段落間改換樂譜時要在燈光下進行，場面顯得有點忙亂。作品多次強調飛蛾會朝光去，筆者明白人總希望有光明的前途，但作品中這對光明的表達並不實在。作品從生活取材、慨歎生活怎樣變成這般乾涸迷茫是無可厚非，但這樣灰暗的題材在年輕編舞的作品中重複出現，不同的只是其演繹手法。容許將話題帶開一點︰作為觀眾不會抗拒透過藝術去豐富對社會現實的認識和生活的理解，但不願意見到藝術成為一種發洩或控訴的手段。畢竟觀眾追求的不是將現實重現，而是當中更深的感悟。如果以喝咖啡比喻欣賞一個作品，香味只是吸引注意的前奏，最重要還是品嚐時的味覺感受，加上往後的餘韻。至於編舞的作品，無論喜歡與否，肯定的是相當有自家性格和特質的。評論場次︰2013年 4 月6 日

舞蹈手札第15冊第3期 20

千里之行，始於足下文：木火

生活

在資本化的都市，我們很多時會忘記了舞蹈本質有社會性的一面：分享同一種生活模態的人群，把日常活動韻律化，透過協調的集體動作，建立團體認同，一同抵禦面對自然的無力感。在今天的香港，若希望舞蹈在每個人的生活中都有位置畢竟是緣木求魚，但當我們慨歎在本地舞蹈藝術的推廣比愚公移動獅子山還要費力時，優獸舞團的《足跡》有沒有帶來一點啟示？

隨大幕升起，觀眾見到設計簡約的舞台及已處於準備位置的演出者。演區成馬蹄形狀，被高約半米的高台包圍著，上面放置了樂器，也有十數張如學生座椅的椅子，供樂手及舞者用。舞者亦可坐在這個半圓高台上，仿如閒坐台階或稻穀堆上，觀看其他舞者和樂手演出。二重性的演員或觀眾身份，加強了演出真實感。

優獸舞團《足跡》。編舞︰連恩．奧馬安賴。攝影︰Ros Kavanagh。

編舞沒有刻意把動作「舞台化」，沒有為搏取掌聲而設計的高難度動作，主要是豪邁的四肢搖擺、旋轉，或者是舞者把身體水平降低使之貼近土地，都是民俗舞蹈特色的舞步；偶爾加入了現代舞常見的滾動或用腳在地上劃圈從而移動的動作。主要的舞台表現在於樂手與舞者的排陣組合(formation)，除了帶來視覺變化，也是傳統生活的意象：例如四名男子圍成正方形坐著，二人彈奏樂器唱著歌，另外二人或抽煙或低頭不語，加上想像中的爐火和湯鍋，儼然是冬天晚上的農家風景。群舞佔整台演出的大部分，坐在台邊的閒置舞者隨時加入由一至兩名舞者開始的舞段，舞至熱烈時脫掉外衣皮鞋，喝口水，抽口煙；

那是與自然共生死的人類，辛勞地在土地上操作完畢，活動生命載體，感受靈魂的存在。燈光變化仿佛從日出到日落，從篝火到晨曦，舞蹈或熱情、或激昂、或浮動著慾望，人隨著時間走過七情六慾，或淺嚐或大嚼生命各味。質樸也見於現場演奏的音樂，樂器組合簡單，不過是鋼琴、六角風琴、風笛、小提琴、布祖基琴，以及吟唱，大部份由連恩．奧馬安賴親自操刀。音域和音質都是濃郁的塞爾特感覺，高吭中帶悲涼，有著都柏林這城市的深度，是在艱苦自然環境中接受生命卑微的語言。根據場刊介紹，樂手們都是愛爾蘭人，但舞者無一原籍該地。要讓一

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來自愛爾蘭的優獸舞團，在2013香港藝術節演出了於2011年在都柏林首演的作品《足跡》。藝術總監米高．基謹杜蘭及音樂總監連恩．奧馬安賴都是愛爾蘭人，作品由舞台設計、女舞者的服裝主調，以至場刊內舞團名字的印刷，都呼應著愛爾蘭國旗上的綠。綠色，自然、質樸、富生命感，這些也是《足跡》散發的特質。

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種外來文化的音樂成為自身的韻律並不容易，舞者的功力可見一斑。米高．基謹杜蘭原是一位現代舞創作人，並非在愛爾蘭長大，但他在祖國的傳統中找到了養份。香港的本土主義不斷被探索、模塑，不少編舞受著「要做香港的現代舞」這焦慮困擾，轉向自身經驗尋求答案。但個人生命在歷史流動中不值一哂，我們好像找不到讓雙腳植根的文化深土，讓舞蹈的社會性把我們原始的生命狀態聯結。香港人已經走到第五代1，若果仍然說我們居於一個暫借的移民城市，未免對過去一百年香港的藝術家作出的各種努力有點不敬。中國文化在香港也不缺乏，我們不必面對文化大革命後的茫然。我們面對的是香港人，包括我們自己的生活選擇。在中國各地的城市鄉郊，在早上或黃昏，大群民眾在廣場或跳傳統的民俗舞蹈，或搖曳的西方社交舞，透過集體活動製造自我認同、溝通、團結和生活。在功利思想主導下的香港，這種不事生產的活動是沒有生產能力的老人才做的。在有潔癖和管理癖的香港，群眾聚集已經是問題的開始。在著重衡量的香港，身體是符號和身份，它不是靈魂的載體。在「高雅藝術」的「薰陶」下，把源於土地的舞蹈帶入劇院是土氣，創作是產業，賣弄才值錢。我們令舞蹈與生活壁壘分明，然後又大費周章地讓「藝術家」走進社區推廣舞蹈，豈不枉然。《足跡》的啟發，是讓米高．基謹杜蘭及觀眾思考這次劇場演出的真正根源。千里之行，當舞蹈作為一種靈性追求向藝術化出發時，它還是始於足下，從土地開始。

來自民間的舞蹈回歸個人的表達文︰加點糖

一向

覺得試圖將舞蹈分類是一件很不討好的事，這件事只有學術界和理論界才會去要面對的吧。這次筆者想斗膽賣弄一回「學術理論」，將舞蹈乾脆分兩種：「民族的舞蹈」和「民間的舞蹈」，一種源於上層社會，一種來自底層民間；一種滲透出一個民族精神上的氣質，一種烙印著一個民族生命中的喜怒哀樂；一種講究規範、法度、千錘百煉，一種崇尚個性、自由、順手拈來；一種嚴格遵循傳統，一種隨心而動在乎自我；一種雅，一種俗；一種⋯⋯ 算了，繞了半天，終於還是把自己繞進去了。其實當今舞台上的舞蹈，尚可以外表進行粗略的劃分種類，但就內在來說，便很難去界定

了。這次香港舞蹈團的《風水行》劇中，筆者就看到了一種「對傳統的個性化表達」。這點，就足夠顛覆筆者之前的「歪理」了。如傳統觀念所說「音樂是舞蹈的靈魂」的話，那《風》則將來自民間的舞蹈換了一個「靈魂」。沒有了民間小調，甚至沒有了旋律，換上了營造意境，具想像空間又現代感十足的音樂，把民間舞蹈要傳達的具象和情緒性的主題，變作了傳達一種氛圍和氣質。編導者這招「釜底抽薪」，應該讓傳統的能人學士小小地跌了一下眼鏡吧。這還是來自民間的舞蹈嗎？當然是，筆者認為沒有了傳統音樂的「干擾」，傳統舞蹈的動作韻律、呼吸與節奏反

評論場次：2012年3月1日晚上8時葵青劇院編者按：根據呂大樂在《四代香港人》中提出的說法。

香港舞蹈團《風水行》。編舞︰陳磊、謝茵。攝影︰劉衛。

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舞蹈的產生和遠古人類祭祀文化密不可分，證明舞蹈藝術莊嚴、神聖的一面是與生俱來的。舞蹈不僅是我們和觀眾交流、和自己交流的手段，更是一場和「神明」交流的儀式。沒有常見用來表達群眾「喜聞樂見」的故事以及「喜怒哀樂」的情緒，《風》的切入點可以說是去到了民間舞蹈相對核心的部份。演出被包裝成一場儀式：舞蹈場面，平緩而安靜；舞台空間，莊重而空靈。編創者對民間舞蹈的聚焦除了動作，還有我們常見的，拿在手上跳舞的道具，這些道具恢復了最初被賦予的意義；這些意義在這裡被重新強調。傘、扇、鼓、棒，是貫穿整個演出的線索，他們各自獨立成章，又相互發生關係，其中兩段令人印象深刻的就是「鼓與扇」以及「傘與鼓，棒」。舞段精彩之餘，更讓人感到一種跳出了民間舞蹈在表現上常見的框框，一種凌駕於喜怒哀樂之上的情緒瀰漫在舞台空間裡，從舞者的肢體、狀態中緩緩滲出。每一個道具，就是一種精神、一股情緒，它們之間相互關連、影響、凝聚，彰顯出一個民族的氣韻。在這演出裡，我們從民間的自娛自發性中看到民族的規範和法度。其實，好的創造不就是給你看一片落葉，就能讓你感受到整個秋天；給你一滴水珠，就能讓你看見一片汪洋嗎？如果真的要給「中國舞」下一個定義的話，那至少這種舞蹈要蘊含著一種氣質，一種屬於中國文化的氣質。總括而言，整個演出凝重有餘而表達不足，無論是對祭祀場面的

營造，還是對民間藝術傳承的表述，落點都稍欠有力。筆者認為除了與表演者在舞台的狀態有密切關係之外，編創者在舞蹈的民俗部份著墨不夠也有一些關係，欠缺一種對比，「雅」是怎樣從

「俗」中誕生的呢？這樣也許可以解決所謂「觀賞性」不足的問題。當然，能夠從「傳統中看到個性的表達」就已奠定了一種藝術上追求的方向，其他的，不過是繼續堅持和努力而已了。

上、中、下︰香港舞蹈團《風水行》。編舞︰陳磊、謝茵。攝影︰劉衛。

dance journal/hk

而更能顯現，更容易將觀眾的視覺吸引到舞者的肢體舞動和變化，而這些民間舞蹈中的每一招每一式，在褪去了外在（傳統音樂）賦予的情緒之後，所呈現出肢體的單純性，好像更深刻地在述說著一種真正的傳統。

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《青蛙王子》文︰鄧蘭