dance journal/hk
舞蹈手札 第15冊 第期
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dance journal/hk vol. 15 no. 4 1
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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
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香港舞蹈聯盟及香港藝術發展局全力支持藝術表達自由，本 計劃內容並不反映香港舞蹈聯盟或香港藝術發展局意見。 Hong Kong Dance Alliance and Hong Kong Arts Development Council fully support freedom of artistic expression. The views and opinions expressed in this publication do not represent the stand of the Alliance or Hong Kong Arts Development Council.
康 樂 及 文 化 事 務 署 天 虹 印 刷 有 限 公 司 Leisure and Cultural Rainbow Printings Limited Services Department
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目錄 Contents
作者簡介 Writers Profiles Vol.15 No.4
封面 Cover 《生死蕭紅》 The Life and Death of Xiao Hung 編舞 Choreographer：梅卓燕 Mui Cheuk-yin 攝影 Photo：陳立怡 Yvonne Chan 舞訊 News
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「老井新泉」—— 淺評《野鴨．女孩》與《尋找許仙》 史洛文 5 Speak It / Dance It? Hedvig from The Wild Duck Bergspitze 7 從焚燒的靈魂到蒼白的飄泊： 《生死蕭紅》 Summer Offerings
洛楓 9 Kevin Ng 11
舞影定格 Dance Frame 14 《金曲舞韻顧嘉煇》 方人 16 新一年的六雄匯演—— 評《亞洲當代舞林匯演之AM篇4》
馮顯峰 17
Interview with Two Hiphop Dancers Rock Fang from Hong Kong Studiodanz and Kader Belmoktar from Compagnie Käfig, France Alice Rensy 18 Witty Dance Poetry - Yo Gee Ti by Mourad Merzouki Stefania Mui 21
洛楓 詩人、文化評論人，美國加州大學聖地牙哥校區比較文學博 士，香港電台廣播節目《演藝風流》客席主持，曾獲中文文 學雙年獎詩組首獎及「香港書獎」，著有演藝評論集《情書 光影》。 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). 方人 資深觀眾，沒有舞蹈背景，於千禧年開始於《舞蹈手札》發 表舞評。以二十多年觀舞經驗，從觀眾角度評賞演出。 馮顯峰 現就讀香港中文大學哲學系，為2009、2011及2012年香港 舞蹈聯盟主辦的「舞蹈賞析及評論寫作計劃」學員之一。願 以字為舞蹈留痕，望借文將所想分享。文章曾刊於《舞蹈手 扎》、《信報》、《文匯報》及《城市文藝》。 Alice Rensy Alice Rensy is a contemporary dance producer from France, now living in Hong Kong. Among her most important collaborations is with German choreographer Raimund Hoghe. She has also originated seven performances in private appartments in Paris under the concept name HappArt and will launch the first such event in Hong Kong in September 2013. Stefania Mui Stefania graduated from American University of Rome in 2008, with a major in Communication. She started taking a variety of dance, stretching, and Yoga classes in 2009. She received a Yoga teacher training certificate in 2011, participated in two Yoga competitions in Beijing and Hong Kong, and teaches Yoga.
鄧蘭 22
程天朗 24
程天朗 跨界別寫作人，中學時代起於本地多份報章刊物發表小說、 新詩、散文及藝評。現為自由身舞台工作者。
Walk Away or Walk Along - Walkalong by Passoverdance x Passing On Shu 25 舞蹈節目表 Dance Events
Bergspitze Freelance dance reviewer, who started writing after joining IATC series of workshops. Seeks to reflect on life and dance through writing.
鄧蘭 專業藝評人、創作人；國際演藝評論家協會（香港分會）和 香港影評人協會會員。從事市場策劃多年，熱衷推廣文化藝 術工作。
《風流寡婦》挑戰港芭舞者結構
編舞七巧板—— 《長情．長程》(Walkalong)
史洛文 跨界別創作人，愛在文字國度與舞台之間穿梭遊歴。
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Shu Shu teaches yoga at Epic MMA Club and assists Mestra Jo with her kids Capoeira classes. She is also a teacher assistant at Twinkle Ballet. Shu finds solace in museum and gallery spaces. She enjoys creative writing, painting, movement, and stillness.
dance journal/hk
舞蹈手札 第15冊 第4期
訊
DAN CE
NEW S Presented by Hong Kong Arts Development Council in partnership with professional dance companies, associations, and training organizations, the Hong Kong Dance Festival 2013 will be held from 25 October to 15 December 2013 with the theme “Unleash Creativity Dance On”, showcasing the city’s creativity in dance through premiere productions, new ensembles, and innovative presentations. Public participation is very much encouraged. For the Festival, selected classic productions will be brought to the stage. Additionally, a number of environmental dance works have been commissioned in order to provide audiences opportunities to experience dance in non-traditional settings. Dance productions and celebrated dancers from different genres are planned as part of the Festival together with community events that aim to share the joy of dancing with a wider public.
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Hong Kong Dance Festival 2013
NEW S
「香港舞蹈節2013」 由香港藝術發展局主辦，香港舞蹈界多個專 業舞團、聯會及培訓機構為計劃伙伴的「香 港舞蹈節2013」將於2013年10月25日至12月 15日舉行。今年的舞蹈節以「身體力行．創 造舞動新動力」為主題，以全新作品、創作 組合及形式，展示香港舞蹈的創意，邀請大 眾齊齊參與。本屆舞蹈節除了著力向觀眾市 民推介多個殿堂級製作外，亦邀約多個環境 舞蹈創作，以破格的形式分享舞蹈；當然亦 不可缺少由各界舞蹈菁英傾巢而出的匯演， 並會深入社區推廣舞蹈的樂與趣。
Company, and City Contemporary Dance Company, the 2013 Beijing Dance Festival was held from 14 to 26 July 2013. Artists and companies from Israel, Germany, Finland, and other cities including from China participated in the educational activities, performances, and showcases. City Contemporary Dance Company and DanceArt performed Hedvig from The Wild Duck and M-cident respectively. Also, Rebecca Wong Pik Kei, Rainbow Lam, Xiao Chengyong, Alice Ma, Ivy Tsui, Kenneth Sze, and Terry Tsang presented works in the Youth Dance Marathon sessions.
DA N C E
2013 BEIJING DANCE FESTIVAL Co-organized by BeijingDance/LDTX, Guangdong Modern Dance
訊
「2013北京舞蹈雙周」 由北京雷動天下現代舞團、廣東現代舞團和城 市當代舞蹈團主辦的「2013北京舞蹈雙周」已 經於2013年7月14至26日圓滿結束。舞蹈節匯 聚了來自以色列、德國、芬蘭等地的舞蹈團， 共同參與了密集式的舞蹈工作坊和演出。城市 當代舞蹈團和動藝分別演出了《野鴨女孩》和 《Ｍ事件》，而黃碧琪、藍嘉穎、肖呈泳、馬 師雅、徐奕婕、施卓然和曾景輝亦在「青年舞 展」平台中展演了其作品。
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HKADC YEAR GRANT Hong Kong Arts Development Council announces its 1-year / 2-year / 3-year grant list for the year 2013/14. Under the dance category, Dance Art Hong Kong Limited, Unlock Dancing Plaza Limited, and Y-Space (HK) Limited received 2-year grants and Hong Kong Dance Alliance Limited received a 3-year grant.
NEW S
香港藝術發展局「一年／兩年／三年資助」 香港藝術發展局公佈2013-2014年度「一年／兩 年／三年資助」名單，獲兩年資助之舞蹈團體 包括：動藝有限公司、不加鎖舞踊館有限公司 及多空間（香港）有限公司，而香港舞蹈聯盟 有限公司則獲得三年資助。
City Contemporary Dance Company has issued an open call for submission of dance video works for its One-Minute Jumping Frames Dance Video Competition 2013. Participants can upload their works to Youtube and email to info@ccdc.com.hk by 30 August 2013. Winners may be commissioned by Jumping Frames to produce a 5-15 minute dance video in 2014. Visit www.jumpingframes.com or call 23297803 for further details.
DAN C E
Jumping Frames Open call for dance videoS
訊
「一分鐘跳格舞蹈影像比賽2013」作品徵集 由城市當代舞蹈團主辦的「一分鐘跳格舞蹈影 像比賽2013」現正公開徵集作品，參加者可上傳 影片至Youtube及電郵至info@ccdc.com.hk，截止 日期為2013年8月30日。得獎者將有機會被「跳 格」委約創作5至15分鐘的舞蹈影像，於「第六 屆跳格國際舞蹈影像節」中作播出。詳情請瀏覽 www.jumpingframes.com，或致電23297803查詢。
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NOMINATION EXERCISE OF HKADC ARTS INTERESTS REPRESENTATIVES The current term of office of the Hong Kong Arts Development Council members will expire on 31 December 2013, and the voter registration phase of the nomination exercise for new arts interests representatives has been completed. Registered arts organizations have registered eligible members and employees as voters. The nomination exercise will enter its third phase in early August, registered voters can nominate candidates in this phase. For details of the nomination exercise and the list of registered arts organizations / individual arts workers, visit www.voteforhkadc2013.hk or call 2232 3932.
N E W S
藝發局藝術範疇代表提名推選活動 新一屆香港藝術發展局藝術範疇代表提名推 選活動第二階段已結束，合資格的藝術團體 已為其會員或僱員完成選民登記。提名活動 將於8月初進入第三階段，已登記之選民可 在此階段提名候選人。有關此推選活動資料 和成功登記團體及個人藝術工作者之名單， 請瀏覽www.voteforhkadc2013.hk，或致電 2232 3932查詢。
DA NC E
dance journal/hk vol. 15 no. 4 3
NEW S
Pan Ling-juan and Li Han promoted to Senior Dancers
香港舞蹈團晉升潘翎娟和李涵為高級舞蹈
Hong Kong Dance Company (HKDC) announces the promotion of
員。潘氏畢業於北京舞蹈學院中國古典
Pan Lingjuan and Li Han. Pan graduated from the Beijing Dance
舞系，於2011年加入香港舞蹈團，其中
Academy, majoring in Chinese classical dance. She joined the
《金曲蛻變顧嘉煇》飾妹妹、《雙燕 - 吳
HKDC in 2011 and major performances include Younger Sister in
冠中名畫隨想》紅影中任領舞、《竹林七
Joseph Koo’s Classic Melodies, Lead Dancer in Shadow in Two
賢》中飾向秀、《遷界》中飾袁安及《藍
Swallows–Ode to Wu Guanzhong, Xiang Xiu in Seven Sages of
DAN C E
花花》中飾藍花花；李氏先後畢業於北京
the Bamboo Grove, Yuan An in Evacuation Order, and Bluebell in
舞蹈學院中國民族民間舞蹈系及香港演
Plateau Bluebells. Li graduated from the Beijing Dance Academy
藝學院研究院，於2010年加入香港舞蹈
and the MFA program, HKAPA in 2007 and 2009 respectively.
團，其中《清明上河圖》飾媒婆、《舞
He joined HKDC in 2010. His recent major performances include
韻．尋源》中〈鼓語無聲〉的獨舞、《竹
the matchmaker in Qingming Riverside, a solo in Dance Roots,
林七賢》飾王戎及《遷界》飾李天賜，備
Wang Rong in Seven Sages of the Bamboo Grove, and Li Tianci in
受好評。
Evacuation Order.
城市當代舞蹈團聘請助理節目經理
CCDC seeks Assistant Project Manager
城市當代舞蹈團節目及市場部現正聘請
The Programme and Marketing Department of City Contemporary
助理節目經理，詳情請瀏覽舞團網址：
Dance Company announces an opening for the post of Assistant Project
http://ccdc.com.hk/zh/site/p/258。
Manager. Interested applicants are requested to apply. For further details see http://ccdc.com.hk/en/site/p/258.
梅卓燕獲頒授榮譽院士
Mui Cheuk-yin receives Honorary Fellowship
香港演藝學院公佈2013年榮譽博士及榮譽院
In its honorary degree and honorary fellowship recipient’s list for the
士名單，以表揚他們在表演藝術方面的成就
2013 Conferment Ceremony, the Hong Kong Academy for Performing
及貢獻。其中梅卓燕獲頒授榮譽院士，並已
Arts (HKAPA) announces Mui Cheuk-yin a recipient of an Honorary
於2013年6月28日第廿七屆畢業典禮中進行
Fellowship in recognition of her achievements in dance.
頒授儀式。 香港賽馬會音樂及舞蹈信託基金舞蹈獎
Hong Kong Jockey Club Music and Dance Fund Dance
學 金 2013-2014 香港賽馬會音樂及舞蹈信託基金宣佈李怡
Hong Kong Jockey Club Music and Dance Fund announces Dance
燃和姚潔琪獲頒2013-2014舞蹈獎學金，
Scholarship 2013-2014 awarded to Li Yiran and Yiu Kit-ki. A classical
資助兩人海外深造。李為古典芭蕾舞者，
ballet dancer, Ms Li danced first with the National Ballet of China, then
曾任中央芭蕾舞團舞蹈員。加入香港芭蕾
with the Hong Kong Ballet, for which she has also choreographed.
舞團後，她亦有參與編創工作。這項獎學
With a background almost exclusively in China, both on the Mainland
金將使舞蹈背景以中國（內地及香港）為
and in Hong Kong, the Scholarship will enable her to be exposed
主的她，接觸更多樣化的舞蹈意念和實
to a more diverse set of ideas and practices in dance. Ms Yiu has
踐。姚在取得香港演藝學院現代舞（榮
been a freelance choreographer and dancer, since her graduation
譽）學士學位後，從事自由身編舞及舞
from the Hong Kong Academy for Performing Arts with a BFA(Hons)
者。她最近的編創計劃是一系列簡短的環
degree. Her most recent choreographic project was a series of brief
境舞蹈。姚到訪不同地點，設置攝錄機拍
site specific solos. Ms Yiu travelled to the site, set up a camera, and
下一段段的獨舞，再剪接成一篇有關國際
filmed each solo, then edited the film into a compelling essay on
主義的影像文章。信託基金成立至今已經
internationalism. The Scholarship will support the two recipients to
三十年，先後頒授了二百多項獎學金予才
study dance overseas. In the 30 year history of the Hong Kong Jockey
華出眾的青年音樂家和舞蹈家，總金額逾
Club Music and Dance Fund, more than 200 scholarships amounting to
4,1 00萬 元 。
around $41million have been awarded to outstanding young musicians
Scholarship 2013-2014
and dancers.
dance journal/hk
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訊
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NEW S
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訊
DA N CE
NEW S
潘翎娟和李涵晉升為高級舞蹈員
訊
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DANCE
舞蹈手札 第15冊 第4期
dance journal/hk vol. 15 no. 4 5
「老井新泉」—— 淺評《野鴨．女孩》與《尋找許仙》 文︰史洛文 跳舞又何需說書 香港旗艦舞團城市當代舞蹈團 (CCDC)邀請了挪威著名舞團Zero Visibility Corp 藝術總監伊娜．約翰 內森前來，將易卜生的《野鴨》演 化成舞蹈劇場《野鴨．女孩》。 演繹經典的好處，就是不怕觀眾不 明白劇情：縱使沒有翻看原著，經 典的故事綱要和人物關係，觀眾上 網一查便略知一二。簡單來說， 《野鴨》是一個窮人發現一直疼愛 的女兒並非親生的，最後逼死女兒 的故事。 易卜生的《野鴨》，一個百多年前 的劇目，對民國時期的中國劇作家 影響至深，然而直到本世紀，易卜 生的劇目仍在本地上演。當中一些 對白，如：「如果你剝奪了一個平 常人的生活幻想，那你同時就剝奪 了他的幸福。」，至今仍擲地有聲。 一個外國文本卻富有中國特色，如今 由原產地的藝術家重新剪裁，給中國 觀眾欣賞，確是讓人期待。 主辦單位很貼心，猶如很多芭蕾 舞劇的演出安排一樣，把《野 鴨》的內容刊於場刊，令觀眾對 人物關係有一個簡單的概念。不 知是編舞怕觀眾來不及看場刊， 還是希望觀眾抽離地看這個悲觀 的故事，舞劇中加插了說書人的 角色，有時更召喚其他角色上前 以對白交待劇情。也許編舞太愛易
卜生，所以難以取捨，整套劇基本 上只是完整地把故事說出來。舞蹈 並非話劇，舞蹈員不是應該用以身 體去傳情達意嗎？即使在舞台深處 的舞者如何落力地跳，站在舞台前 端的說書方人未免太過惹人注目。 舞台的佈景簡約中見瑰麗，背景似 是木紋底上有飛翔的野鴨，台左是 一棵高大的銀色大樹，台右是一排 裝有動物玩偶的籠子，另有兩張紅 色梳化。這就輕易劃分出大廳、閣 樓及森林的場景。舞劇中段角色的 關係起了變化，籠子由舞者帶去台中 央，重新架疊成高牆，營造出女主角 海特維格成為籠中獵物的處境。 《野鴨》原著中字字珠璣，一個舞 劇很難表達當中所有訊息，加入說
書的處理，反而有點進退失據。只 是《野鴨．女孩》眾多的舞蹈場 面，又充份呈現劇中某些段落的氛 圍和意態。 開首那場十三個人的宴會，海特 維格閉上眼，任由賓客在空中拋 擲，舞者那看不見的一刻是幸福 的。閉上眼跳舞，舞伴間的信任 與默契尤其重要，反映了當時海 特維格一家的狀況。海特維格跟 父親的雙人舞，舞步中也展現父 女間的甜蜜情誼。 「野鴨」在劇中有多重意義，在狩 獵場景中，舞蹈員以獵犬的姿態， 把埋首水底緊咬水草的受傷「野 鴨」揪出來，配合了燈光的變化， 頗有悲劇發生的預景意味。
城市當代舞蹈團《野鴨．女孩》。編舞︰伊娜．約翰內森。攝影︰張志偉。
舞蹈手札 第15冊 第4期
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另一震撼的場面是真相揭穿後，母 親一直拿著的一疊碟子被另一舞蹈 員強行逐一搶去，繼而拋擲地上， 碟子撞擊地面的聲音鏗鏘響亮，敲 破了幻想，也敲醒了劇中人。破碎 的碟子，象徵家庭破碎，舞者走過 滿佈碎片的路，喻意往後的人生滿 佈傷痕和鮮血。
動藝《尋找許仙》。編舞︰梁家權、何應豐。攝影︰阮漢威。
台中央鋪了一張白宣紙，也是舞 者主要活動的舞台，全身沾滿墨 汁的法海在其上留書；抓破紙 張，青蛇也可在其下潛遊。演白 蛇、青蛇兩位舞蹈員的肢體動 作，維肖維妙，讓人驚歎。尤其 是其中一場，舞者身上放著茶杯 茶盤跳舞，頗能展現舞者的功 架，而「杯子」又有「輩子」的 弦外之音。每一次轉場，宣紙捲 起推在台的一邊，從新換過一張 新的白紙，換妝後的人與妖繼續 在其上糾纏。最後一場，舞台中 間橫了一條紅線，紅線有姻緣一 線牽的意味，卻又劃成一道界 線，舞者也困在界限之內，而
《白蛇傳》的故事本來就是一段 姻緣開始的。最後，撕破的紙張 堆成一堆，孤獨地留在舞台上， 像脫下的蛇皮。
動藝《尋找許仙》。編舞︰梁家權、何應豐。攝影︰阮漢威。
小結 舊瓶新酒要是用來比喻舊形式新內 容，老井新泉就可比喻為老地方的 新事物，始終泉水是活的，源源不 絕，陸續有來。但願所有舊作新 編，都像老井新泉。
舞台上的裝置簡單得來充滿象徵意 味，台前的一盆水，既像鏡子（照 妖鏡），又是洗手盆，有洗心革面 的意味。舞台深處是一個化妝間， 每一次轉場，舞者入內換妝，再堂 而皇之步出，過了一世，臉上身上 又添上新的痕跡。
看完《尋找許仙》，觀眾會帶著很 多個問號離開，舞台效果是瑰麗 的，作品沒有具體內容，全靠舞者 的澎湃的能量和豐富的肢體語言去 支撐整個作品。 後現代藝術本來就是拼貼藝術， 《尋找許仙》把本來的圖畫撕碎再 拼貼，觀眾離開時又各自撕下一片 帶回家，各自擁有一幅屬於自己的 圖畫。
評論場次︰ 《野鴨．女孩》 2013年6月29日晚上8時 《尋找許仙》 2013年6月21日晚上8時
dance journal/hk
沒有許仙的《白蛇傳》 沒人揭穿真相，就沒有真相與謊 言之分。無獨有偶，《野鴨》那 個要揭穿謊言的老同學，跟《白 蛇傳》以斬妖除魔為己任的法海 就是同一類人。沒有一個多管閒 事的傢伙來搞局，也就沒有以上 兩個故事。《白蛇傳》的故事在 舞台上的版本多如繁星，這一次 的編導何應豐卻捨棄了故事，反 而從人物關係上著墨。許仙本是 尋常百姓，遇上幾個不尋常的角 色，也成就了一個傳奇。法海跟 蛇妖的糾纏，對於許仙來說，他 不過是一個旁觀者，而這個旁觀 者的角色亦可以是任何人。
dance journal/hk vol. 15 no. 4 7
Speak It / Dance It? Hedvig from The Wild Duck by Bergspitze
Ina
Christel Johannessen and Henrik Ibsen, are both renowned Norwegian artists; the former is a contemporary choreographer, the latter the great 19th century playwright. This summer, Johannessen was invited by CCDC, Hong Kong’s flagship modern dance company, to create a new work for the company. Johannessen chose to re-interpret what some consider I b s e n ’s g r e a t e s t b u t a l s o m o s t complex play, The Wild Duck, by focusing on Hedvig, the character of the young girl from this classic tale. The resultant work, Hedvig from The Wild Duck gave CCDC dancers the rare opportunity to work with an overseas choreographer.
Jennifer Mok performs the main character, Hedvig, in the production. This demanding role requires the dancer to portray a little girl who, in the beginning, is naive, innocent, and full of life. As the p i e c e p r o g r e s s e s , h o w e v e r, t h e character becomes more and more lost and depressed in reaction to going blind and discovering the truth about her biological father. Mok masters the demands of the role well by focusing on the quality of weight. By changing from holding
herself upright at the beginning, to letting her weight drag her down, draw out her movements, and cause her to fall, she was able to present the deterioration of Hedvig’s psychological and existential states during the different parts of the dance. One of the most jarring episodes of the piece is a hunting scene that presages the disclosure of the truth about Hedwig’s father. Grandpa (Dominic Wong) and Hedvig are in the foreground, while the Mother (Qiao Yang) and another dancer, Peggy Lam are in a corner in the background. While the action in the
foreground moves along without incident, behind is full of conflict. With her head hanging low, the Mother holds a stack of plates and bowls that Lam smashes on the floor one by one. The contrast in energy radiating from the corner, where pieces of broken pottery litter the stage, with the peaceful foreground, gives the scene a palpable dynamic, d e f t l y r e v e a l i n g t h e M o t h e r ’s realization that she is powerless to control whether the truth comes out or not. When it is discovered that Hedvig has committed suicide, the Mother
City Contemporary Dance Company. Hedvig from The Wild Duck. Choreographer: Ina Christel Johannessen. Photo: Cheung Chi-wai.
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and the Father (Bruce Wong) dance their reactions at opposite corners of the stage – the mother at upstage right, the father downstage left. Perhaps this diagonal placement of the dancers is intended to create a huge dynamic across the whole stage, but the expressive power of the two dancers is not balanced. The weighted swinging lament d a n c e d b y Q i a o , C C D C ’s m o s t senior dancer, captures the intense sadness of a grieving mother. Wong’s movements, on the other hand, are less persuasive. The prevailing reaction from H e d v i g f ro m T h e Wi l d D u c k audiences was that there was too much spoken text. From a microphone placed downstage left, at intervals throughout t h e w o r k , M a l v i n a Ta m g a v e a running narration of the plot and relationship among characters. During some of these, dancers s t o o d n e x t t o Ta m m i m i n g h e r words and occasionally adding their own comments.
text in dance. These utterances often focus more on how the words are
City Contemporary Dance Company. Hedvig from The Wild Duck. Choreographer: Ina Christel Johannessen. Photos: Cheung Chi-wai.
spoken. In the case of Hedvig from
Johannessen has said that
Direction, and Performance awards at
our understanding of the work and
Duck was more difficult in Hong
Cao Yu’s play Thunderstorm is also
The Wild Duck the text adds little to actually hinders the flow of work’s
dynamics. The audience needs to constantly shift attention from the dance to the narrator, as she goes
back and forth to deliver her story.
Fixing a microphone stand in one place rather than having a wireless headset restricted Tam’s spatial range and made her performance flat.
choreographing Ibsen’s The Wild Kong than in Norway because every Norwegian knows the story of Hedvig
while not many in Hong Kong do. This production of Hedvig from The
Wild Duck brought to mind a dance theatre production of Thunderstorm by
Tang Shu-wing Studio last year also
based on classical play, which received
Outstanding Choreography, Dance
the 2013 Hong Kong Dance Awards.
a complicated story with complex relationship among characters. The Director, Tang and the choreographers
Xing Liang and Mui Cheuk-yin brilliantly presented the story with
its complex relationships simply and clearly through movements and spatial arrangements alone and not a single word was spoken.
dance journal/hk
It is not uncommon to have spoken
dance journal/hk vol. 15 no. 4 9
從焚燒的靈魂到蒼白的飄泊： 《生死蕭紅》 文︰洛楓
《生死蕭紅——環境舞蹈專場》。編舞︰梅卓燕。攝影︰陳立怡。
總
覺得張愛玲是冷色調，蕭紅 是暖色系，前者是白月光， 冷眼、冷嘲、冷靜，近乎冷漠與冷 酷，後者是滾動的脈血，熱腸、熱 情、熱烈；面對破敗人生，張愛 玲總會一臉冷笑而蕭紅每每熱淚 盈眶，淒苦嚥下去，咬緊牙關再上 不歸路。這是兩位女作家給我的文 字感官，而天生虛寒的我一向祇宜 冷色調，很少步近蕭紅激烈焚燒的 生命圖譜，但這一年蕭紅真的很熱 熾，先有香港藝術節由意珩編劇、 黎海寧導演的室內歌劇《蕭紅》， 再有跨媒體舞蹈演出的《生死蕭 紅》，而聽說許鞍華的電影《黃金 時代》也拍完了，由湯唯飾演這位 東北女作家，正待上映。剎那間真 是鬧哄哄的你方演罷我上場——無 他的，2012年是蕭紅誕生一百周年 紀念，歸因資助和資金的問題，這 些遲來的迴響正好體認了苦命作家 崎嶇曲折的命途！ 《生死蕭紅》由盧偉力執導和構思 文本、梅卓燕編舞、羅乃新鋼琴演 奏、陳錦樂口琴吹奏及錄像製作、 龔志成作曲及音響設計，組成非常
「藝術跨界」的團隊。他們先在赤 柱聖士提反書院開展「環境舞蹈劇 場」，再在香港兆基創意書院上演 「多媒體舞蹈劇場」，以兩種不同 的表達方式、兩處不同的空間形 態，再現蕭紅祇有短短三十一年的 生死愛慾。 若即若離的環境舞蹈 「環境舞蹈」(Site-specific dance)是 當代舞蹈結合文化空間的景觀，身 體的舞動在特殊的實體建築展開， 環境既改變動作的流向，表演者的 介入也重新界定發生場所的存在意 義。兩者互動的關連為觀眾建構了 流動的觀照旅程，我們切入不同的 界面(interface)，在走廊、門窗、戶 外庭園和室內房間跟旋轉、停步、 跳躍、翻滾等動作彼此織縫的時 候，我們的視點不斷轉移、感官不 停累積或剝褪，最後也化入這流動 的風景之中，共同參與一台故事。 《生死蕭紅》的環境舞蹈從圖書館 一堆裝置藝術展覽開始，桌面舖滿 了蕭紅的生平著作像《生死場》、 《小城三月》和《呼蘭河傳》，還 有舊時的文藝雜誌、剪報、寫作用
的筆和紙、女裝的衣料和布鞋等， 伴著羅乃新的文字誦讀與陳錦樂的口 琴獨奏，讓觀眾游移於視覺與聽覺交 匯流離的感官中，展開了蕭紅的文學 與生命旅程；第二幕〈時代．餘韻〉 走出迴廊，鄭煥美的白衣靜態，化身 讀者的身份，在陽光下翻開書頁的情 景讓觀者凝視時間與空間的距離，意 識今我的存在，然後盧偉力雄壯的誦 讀穿過微顫的空氣和風，以「回音 壁」的效果，在石牆與梯級之間撞擊 高昂的迴響；第三幕〈尋找蕭紅〉巧 妙地將蕭紅的文字印在細小的紙片 上，收藏在不同的儲物櫃內，觀眾跟 著鄭、盧二人一邊走動、一邊翻尋櫃 內的紙張，可以拿在手裡、也可以 隨意放下，尋得或尋不見在於一份機 緣；第四幕〈走向永恆〉是觀眾與演 出主體距離最遠的接觸，遙遠的運動 場上，獨舞者梅卓燕一身紅色衣裙來 回奔馳於茵綠的草地，舞動迤邐的紅 色綢布，烈日下像火熱的靈魂在遠 景焚燒，我們站在樓房的欄杆上祇能 遙望、遙想，伸手不可觸及，美感的 距離帶來思辯的空間；最後一幕〈緬 懷蕭紅〉在小教堂進行，是一場「儀 典」(rite)，鋼琴與口琴的合奏繚繞空
舞蹈手札 第15冊 第4期 10
對影爭持的多媒體劇場 「多媒體舞蹈劇場」的《生死蕭紅》 跟「環境舞蹈」的演出有三個不同之 處：空間由流動的戶外轉入固定的室 內劇院、舞者由焚燒的紅艷化成薄命 的蒼白，而錄像代替了裝置藝術，儘 管依舊是音樂、文字、舞蹈和聲音的 交錯，卻各自分裂成章，在連不起彼 此微弱的絲線下，我祇能集中論述梅 卓燕的舞境意象。 《生死蕭紅》的「紅」祇出現於開首 第一幕：那一幅彷彿延伸無盡的紅 色綢布翻動如血海，象徵女性生命 的花火與情慾，梅卓燕將它塞進衣服 內再倒退出來，便化衍成血、懷孕、 流產的隱喻，然後「紅色」褪去，換 上白色登場。舞者一身白色衣褲，帶 有離散與病態的消頹，動作有時很歇 斯底里，有時很迷亂惘然，體現孤獨 女子面對時代洪流與生命殘破的掙扎 求存，帶著豁出去的狂暴狀態。梅卓 燕投入情感的力度很深，剎那讓我看 到一個跟過往很不一樣的舞者形相， 沒有《日記》系列那份從容自得的柔 美，代之而來卻是劇烈的抖動、斷續 的追索！無論在舞台上走動或翻落， 還是靜止如雕塑、落寞如落葉，梅卓 燕的身段都充滿緊張的自我束縛，時 而向外推出發放、時而交臂環抱，看 得出舞者努力進入角色內在的生命空
間，卻不經意地將進出的痕跡流露於 外，於是角色與舞者、蕭紅與梅卓燕 在舞影旋動的交叠裡，恆常地彼此角 力推拉，不是鏡像的映照，而是對影 爭持！ 紅色綢布、白色單人床，手提行李 箱、散落四周的書、能夠拆卸組合的 木櫃等等，都是《生死蕭紅》炫目的 舞台設置。梅卓燕向來擅於運用精巧 的道具營造出人意表卻華麗豐盛的舞 蹈意象，一方面跟物件互存起舞，一 方面託喻身心與情志浮變的痕跡，從 而架起人與物件的戲劇性關係。《生 死蕭紅》有兩個扣人心弦的場景：第 一個是那張被砍掉半邊的單人床，來 自雙人床的一分為二，暗示了一生追 逐愛情依歸的女子最終的落寞與慾求 不滿。「床」是情慾交鋒之處，也是
生老病死的所在地，梅卓燕上下翻落 跌碰，浮躁的身影傷痕纍纍，顯示了 人物的孤獨、自憐與無處寄身；她將 書本平放床上，張開書頁如展翅的蝴 蝶或鳥，象徵寫作帶來的飛揚，如何 彌補人世的遺恨與飄泊。第二個是床 邊的白色木櫃，舞者一格格的把櫃桶 抽出、反轉，再矗立起來，蒼白的燈 光打落其上，就是一塊墓碑。它既是 一代苦命女作家最後的歸葬處，同時 也寄寓了她留下的文字猶如碑石那樣 䇄立不倒，永垂於她早已離開的人世 間，舞台的景觀發展至此，是餘哀， 也是餘韻…… 評論場次︰ 《生死蕭紅——環境舞蹈專場》 2013年5月11日下午3時 《生死蕭紅——多媒體舞蹈劇場》 2013年5月24日晚上8時
《生死蕭紅——多媒體舞蹈劇場》。編舞︰梅卓燕。攝影︰陳立怡。
dance journal/hk
靈，氣氛莊嚴肅穆，大會因應戴望舒 為蕭紅寫的詩句：「到你頭邊放一束 紅山茶」，製作了許多小紅花瓣，讓 觀眾放入玻璃盤內的水中，既是致敬 也是悼念！由此可見，《生死蕭紅》 的環境舞蹈，以空間的設置彰顯演出 者、觀看者跟蕭紅若即若離的關係， 由近而遠、再從遠及近，既進入創作 人與被創作者的交界，也抽離於旁 觀的想像。於是，「空間」(space)、 「地方」(place) 是多面向的轉動，音 樂、舞蹈、文字誦讀也隨環境的結構 遷移，而人在其中也隨機擷取，各自 形構個人跟蕭紅的連繫。
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Summer Offerings by Kevin Ng
In
Geneva Ballet. Romeo and Juliet. Choreographer: Joelle Bouvier. Photo courtesy of Geneva Ballet.
l a t e J u l y, G e n e v a B a l l e t presented a one hour 15 minute chamber version of Romeo and Juliet by French choreographer
Joelle Bouvier without interval. This small Swiss company has about 30 dancers in total. Actually Hong Kong audiences had seen earlier this year the greatest version of Romeo and Juliet by Sir Kenneth MacMillan danced by the American Ballet Theatre during the Hong Kong Arts Festival.
The Bouvier version has only four roles – Romeo, Juliet, Tyabalt, and Mercutio. Other important characters such as Paris, Friar Laurence, Lady Capulet, and Juliet’s nurse are cut. So the story telling is reduced to its bare
bones. There is just one stage set – a metal slope. The lighting is mostly dark, which makes this version, danced on bare feet, relentlessly grim. There is nothing wrong with creating a small-scale version to suit the resources of a small company like Geneva Ballet, as long as the drama is convincing and it has good choreography. Initially I was quite impressed by the first half. The balcony pas de deux, the emotional high point of any production of Romeo and Juliet, is quite moving in its own right. A recurring motif is when Juliet hurls herself at Romeo who catches her in a lift. And the early market scenes are suitably lively.
However, the production gradually became tedious. Mercutio’s death scene isn’t clearly presented at all and has no dramatic urgency. The bedroom farewell duet for Romeo and Juliet seems to repeat the choreography of their earlier balcony duet and therefore feels repetitive. Juliet’s death scene is just perfunctory. And worse, the final scene in the tomb is a muddle. The company danced with commitment, but they were bogged down by the limited vocabulary of the choreography and the poor narrative skill of Bouvier. It might have been better if the Geneva Ballet had presented a mixed programme instead.
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Hong Kong Ballet closed the 2012/13 season in late June with a winner – The Merry Widow. It was first staged
in Hong Kong in 2007 by the previous artistic director, John Meehan. Meehan was supposed to return to Hong Kong to restage this ballet, but unfortunately suffered an accident at the last minute, and the staging was done instead by Mark Kay, a ballet master of the Australian Ballet. This ballet was actually created for the Australian Ballet in 1975 by the British choreographer Ronald Hynd. Also, Dame Margot Fonteyn was invited as a guest star to dance the ballet in Australia.
舞蹈手札 第15冊 第4期 12
Hong Kong Ballet was on its very best form in this ballet. The opening night cast was Jin Yao, who had actually also danced this ballet last season as a guest artist with the Australian Ballet. She has deepened into the ballerina role since 2007. She certainly was most sophisticated and beautiful as the rich widow. She was ably partnered by Wei Wei as Count Danilo. The second night’s cast was even better. Wu Feifei conveyed more humanity and warmth as the widow. Kostyantyn Keshyshev was even more dashing as the Count. Their duets were certainly more moving. Keshyshev has danced many leading roles including the first night of Cinderella, which opened the season last summer. As for the second pair of lovers, Li Jia-bo and Zhang Siyuan were charming and touching. Praise is also due for the character roles. Yuri Ng was delightful as the Maitre d’ in Maxim’s restaurant. Liang Jing was impressive as the Baron, and Conrad Dy-liacco was funny as the embassy’s secretary.
The Merry Widow is most easy to
appreciate even for non-balletomanes. Firstly, the story is straight-forward and easy to understand. The story is about a Count in an Eastern European country meeting in Paris his past lover who is now a rich widow. He’s encouraged by his embassy’s officials to marry her so that her inherited wealth won’t fall into the hands of a Frenchman. Secondly, the music by Lehar is most intoxicating and danceable. And the several pas de deux at the heart of the ballet are most heartstirring, especially the final climactic
duet, which is simply ecstatic. Hynd’s choreography is masterly in combining classical grace and popular appeal. The French can-can dance in the final act set in Paris is rousing and exciting. True, this ballet has the ingredients of the 19th century classics. The exciting national dances in Act 2 remind one of the national dances in Swan Lake for instance. In Act 1, the Count’s conflict between the peasant girl in the past and the rich widow in the present reminds one of the duality of the black and white swans.
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Hong Kong Dance Company has for a change shed the line of its normal programs based on Chinese folklore, and presented in early June a more popular program entitled Pop Classics, Joseph Koo’s Dance Melodies. But for a change, Koo’s songs
this time are stripped of lyrics and heard with only their melodies, in accordance with Koo’s wishes. This 90-minute-long programme is neatly divided into two acts, each of which consists of five songs. Yang Yuntao is the artistic coordinator, and the other choreographers are company members Liu Yinghong, Ke Zhiyong, and Wu Kam-ming.
dance journal/hk
The Hong Kong Ballet. The Merry Widow. Choreographer: Ronald Hynd. Dancers: Wei Wei, Jin Yao. Photos: Gordon Wong.
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The work opens with a pianist on stage playing “Below the Lion Rock”, no doubt representing the composer Koo, who is also represented as a dancer on stage by Huang Lei. Huang first dances a solo. And the beginning finds its echo in the finale with the reappearance of the pianist and the reprise of the song “Below the Lion Rock”. The choreography in this first act offers a good variety of solos, duets, and ensemble dances. A male ensemble dance with martial arts steps is well contrasted by the following duet that is actually quite balletic. Some of the group dances are predictably popular showbiz in style, recalling the musicals in the era of the TVB variety show Enjoy Yourself Tonight. In Act 2, there is more variety. The blue ribbon set to the song “Solace of the Heart” is quite touching, as is the expressive duet set to “The Sigh”. And the choreography of “Fly” recalls a dream scene in a classical ballet. However, its ending is too gaudy and contrived. The dancing was on the whole of a good quality. The two lead couples representing the local citizens were well danced by Chen Jun and Tang Ya, Li Han and Pan Lingiuan. It’s
Hong Kong Dance Company. Pop Classics, Joseph Koo’s Dance Melodies. Choreographers: Yang Yuntao, Liu Yinghong, Ke Zhiyong, Wu Kam-ming .Photo: Conrad Dy-Liacco .
encouraging to see Hong Kong Dance Company exploring a new direction in its programming.
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I n t h i s y e a r ’s L e F r e n c h M a y Festival, the highlight of the dance programs is a new modern dance work premièred last year entitled Yo Gee Ti. This was a work choreographed for the Compagnie Käfig by Mourad Merzouki, and was actually a collaborative project between this company and Taiwan’s National Chiang Kai-Shek Cultural Centre. Thus several dancers in this work are from Taiwan.
Compagnie Käfig. Yo Gee Ti. Choreographer: Mourad Merzouki. Photos courtsey of Le French May.
The work for ten black-clad dancers lasts just over an hour, and the music is mainly by AS’N. The décor is pretty effective, consisting mainly of five long ropes suspended onto the stage as well as a movable curtain. The choreography seems to focus on the male dancers who are more prominent than their female colleagues. There are several male duets. The piece commences in a gloomy mood with darkness on stage. Gradually the mood brightens as reflected in the brighter lighting. In the middle of the piece, there is a hilarious section with three dancers each of whom is clad in a grey lizard-like costume. And the ending is a return to the dark pessimism in the beginning of the piece. The dances offer a good variety in terms of mood. The ensemble dances are mostly energetic and lively. The vocabulary of the choreography is eclectic and at one stage includes some hiphop steps. One mixed duet is rather agitated and has the couple mostly bound on the floor. Overall the choreography is pleasing though not particularly outstanding or original. The whole troupe danced with enthusiasm.
香港舞蹈團《再世尋梅》。編舞︰梅卓燕。攝影︰阮漢威。承蒙香港舞蹈團批准刊登。 Hong Kong Dance Company. Desperately Seeking Miss Blossom. Choreographer: Mui Cheuk-yin. Photos: Yuen Hon Wai. Photos courtesy of Hong Kong Dance Company.
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舞蹈手札 第15冊 第4期 16
上、萬家燈火的晚飯時候，便使此 音樂喚起這種光影色彩。
文︰方人
香港舞蹈團《金曲舞韻顧嘉煇》。編舞︰楊雲濤、劉迎宏、柯志勇、胡錦明。 攝影︰加力‧杜里高。
一向
不大欣賞獨舞和雙人 舞，總覺得它們要不 是太重技巧的展現，便是過於華 麗。也許是舞蹈上的高超技巧與 我們這些凡夫俗子的生活感受距離 太大，故帶給觀眾的往往是視覺上 的刺激，多於心靈的觸動。然而， 六月九日於香港文化中心大劇院看 香港舞蹈團的《金曲舞韻顧嘉煇》 （編舞：楊雲濤、劉迎宏、柯志 勇、胡錦明，首演導演及編舞：梁 國城），數段獨舞和雙人舞卻留下 了鮮明印象，頗為賞心悅目。也許 這個製作是小品創作的緣故，編舞 反而可以放下技巧的包袱和華麗的 包裝，舞段沒有甚麼花巧，簡潔有 力，在悠悠的樂聲中條理分明的展 現，觀眾可以在沒有壓力下欣賞舞 者的肢體動作。另一方面，舞台上 的氛圍營造得恰到好處，也是這些 舞段令人留下印象的一大原因。 其中開場的一段，舞台上用白木板 代替側翼幕和天幕，台後方空間層 層收窄，透視的錯覺下有如一所深 堂，加上昏黃簡約的水晶吊燈，營 造出一種內省靜思的氛圍。伍仲衡 鋼琴獨奏《獅子山下》配黃磊的獨
舞，音樂和舞蹈都是悠悠的，融入 了台上的氛圍。舞蹈似是對音樂的 沉思，黃磊的演繹很有功架，動作 沈穩內歛，簡單的舉手投足都能隱 含色彩。 另一段是《人海》的雙人舞。在 引子時，男女舞者陳俊和唐婭分 別於台上不同角落單獨起舞，身 影有時擦身而過而不見。在兩人 終於發現對方，四目交投之時， 節拍舒緩悠揚的《狂潮》主旋律 開展，男女舞者相遇起舞。由開 始時身體相傍依偎，慢慢到肢體 交纏，動作簡潔，節奏平緩。舞 者的演出直接自然，動作條理清 晰到位，含蓄但具感染力。舞蹈 以歌詞中「大家偶遇在人海」來 作主題，固然是其感染力的一部 份，但舞台上氛圍的經營也很重 要。台上空數十盞式樣不同的家 居燈飾如繁星般慢慢亮起，恰到 好處地展現了筆者對這首樂曲的 矇朧感覺：華麗都市燈光夜色中 的幽暗和昏黃。這種感覺從何而 來已無從稽考，但反覆思量下， 也許是當年聽到這首樂曲之時 （即劇集播放時），正是華燈初
勐的演出看似毫不費力，一停一動 都收放自如，肢體動作十分合拍， 人物演繹有現代感也具說服力，是 一次令觀眾賞心悅目的演出。 群舞方面也有一些引人注目之處。 如《人海》後段的群舞中採用很多 民族民間舞的動作來跳節奏強勁的 電子音樂、《共舞》中的鬧市行人 脫下西裝在《世間始終你好》的樂 聲中大耍功夫、《放飛》中以竹架 撐起的大塊白色半透明紗巾，在舞 動下有如黑暗深海中的發光水帽變 幻流動，都有不錯的效果。 雖說是小品，《金曲舞韻顧嘉 煇》讓觀眾見到，如果把舞蹈中 不必要的服飾、扮演、浮誇的動 作除去，原來中國舞也可以與時 代接軌。
dance journal/hk
《金曲舞韻顧嘉煇》
然而，令筆者留下最深印象的是 《鄉情》一段。其實，在兩年前的 《金曲蛻變顧嘉煇》中，這齣雙人 舞已很突出，但記憶中當時演出的 兩個舞者以老人的角色來演繹，動 作又刻意逗笑，結果舞蹈本身的力 量便減弱了。其實要舞者刻意扮演 老人和小孩的角色，結果往往是造 作而缺說服力。這次演出便把這些 不必要的演繹篩去，舞者做回年輕 人，一身清爽的純白衣服，演起來 便自然而具說服力。這段舞的音樂 是《萬水千山總是情》，旋律本身 通脫輕鬆、段落分明，舞蹈編排配 合了音樂的這些特點，其中使用音 樂段落間的停頓位來凝住動作更是 神來之筆，自然地以動作描畫年青 情侶調皮和互相捉弄的情趣；不用 刻意扮演，也不是直接的搬弄玩笑 動作。動作的編排清爽自然，條理 清晰分明，沒有拖泥帶水，其中拋 接抬舉的動作很多，但大多配合調 皮捉弄的主題。舞者何超亞和李曉
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新一年的六雄匯演—— 評《亞洲當代舞林匯演之AM篇4》 文︰馮顯峰
東邊舞蹈團
作為 牛池 灣文娛中心的「場地伙伴」，近年 積極策劃各式各樣的舞蹈平台，將 場地資源再分配，與香港及海外的 舞蹈藝術工作者分享。七月初，東 邊上演了已是第四年的《亞洲當代 舞林匯演之AM篇4》。除了中港台 三地之編舞外，還有一名來自越南 及兩名來自韓國的編舞。 詰問老家的樹根 越南編舞Nguyen Ngoc Anh的 Motherland結構較為豐富。編舞近年 旅居英倫、香港和澳門，Motherland 是他兩年前在其故鄉越南發表的作 品，詰問自身與老家的關係。約
十分鐘的舞碼，分了三個段落：從 台後橫線的沉實地起舞(grounding movement)，到台中央懸浮樹根下往 上伸的動作，再結於台前左方的一角 。抓緊泥地的樹根本來予人安穩的感 覺，在懸浮的樹根下舞動產生不安、 無定的意象，配合綿延、翻身及跳躍 的動作，呈現出離鄉別井的藝術家之 存在狀態。不過，若將這意味深長 的作品擴闊至三十分鐘，甚至一小時 的舞碼，想必更能教人感動。如今即 使編舞有高水準的身體舞動，但舞碼 匆匆的感染，觀者自然未及沉澱。 當燈光成為舞蹈主體 兩位韓國編舞的作品使筆者留下 深刻印象，尤其當中的燈光設計
和運用。這兩項作品中，燈光成 為舞蹈的主體，構成舞作的張力 和詩意之關鍵。全爀振的舞作 Small Inconvenience，台中央垂下 的吊燈是整個舞台光源。當燈垂至 近地面時，光區便收窄至一點；當 燈拉高時，光區便放大。垂直的 吊線，地上的圓面，構成簡約的 美麗。而全起初是在光區以外的 黑暗舞動，耳聽舞台上腳畫地板 的聲音，卻不見舞影，誘發觀者 腦內絲絲的聯想。隨 著 身 穿 黑 衣 的全，遊走那時大時小的燈區 裡 外 ，吊燈拉上垂落，拉出的張 力吸引觀者的目光，紛紛注目台 上黑暗與光明的共舞。 李廷仁的Little Society也是一台光 與人的共舞。李在台上緩慢地轉 移身體的重心，清晰而細膩。至 於燈光設計則是不同大小的圓形 聚光燈，從四方八面逐一打在李 所立的地方。縱然舞者幾乎沒有 移動，但燈光的變化使觀者因相 對運動而產生流動的詩意。 總括而言，這晚的六個舞碼中，有 好幾個作品的動作、舞台空間的運 用，以至音樂的選擇十分相似，整 個節目令人稍感單調。如果可以在 製作下次演出時，多考慮舞作類型 及合作方法，效果可能會更好。
東邊舞蹈團《亞洲當代舞林匯演之AM篇4》。攝影︰Mark Lam。 左︰Motherland。編舞︰Nguyen Ngoc Anh。右︰Small Inconvenience。編舞︰全爀振。
評論場次︰2013年 4 月6 日
舞蹈手札 第15冊 第4期 18
Interview with Two Hiphop Dancers Rock Fang from Hong Kong Studiodanz and Kader Belmoktar from Compagnie Käfig, France by Alice Rensy
Rock It was dance videos. When I was a kid I saw Battle of the Year on TV, a kind of competition for breaking, then the first years I started to try and learn alone. We used to meet with the crew outside the Cultural Centre to dance. Kader A TV show called H.I.P.H.O.P. on which dancers were showing the new movements from the USA for the first time in France. One could learn the movements from that TV show. What was your first professional experience? Rock It was for a big live concert by Leon Lai in 2000 at the old airport. At that time, I was learning hiphop and also trying many different forms of dance. The choreographer of this show was pushing for hiphop, while at that time the hiphop scene was not as developed as today. He invited dancers from Japan and other countries to join the project. They were really amazing. I was so impressed. This experience comforted my wish to focus on hiphop mainly.
Kader A cros s -border proj ect bet w een hiphop and Japanese buto! It was very
difficult, because I was a pure hiphop dancer. The choreographer, Sumako Koseki, was giving me instructions like “imagine you are a stone”, “a seed that grows”, “water that flows” while I was asking her “when do I turn on my head, when do I jump?” Buto is internal, I was all external. We were dancing barefeet, to Japanese drum music. Sumako helped me to open my mind to new perceptions.
What knowledge have you learned from cross-over experiences with other types of dance? Rock Many things. When I work with other kinds of dancers, I try to understand how they feel the music, how their bodies react to the music. F o r i n s t a n c e w i t h Wo n g Ta n - k i (Hong Kong tap dancer who cocreated a duet with Rock), when his body moves, he flows on the music a lot more than I do, whereas I like to hit on the beats. I realized that we share a common sensitivity to the music and that we can talk about that together, although our movements look so different.
Kader We travelled a lot and had the chance to meet many dancers and see their styles. The mix of styles (African, contemporary, Capoiera, circus, ballet) enriches hiphop in a way that it evolves and can endure. I learned Capoiera and took ballet classes myself. It has changed my way to dance hiphop. How has it been working with amateurs or non-dancers on stage as a further experience? Rock I teach a lot to amateurs and I love it. My experience is that everybody can dance and reach a good quality of movement. The technique is important, but the feeling is even more important. Kader I am not a fan of ‘non-danse’ (nondanse is a choreographic movement from the 1990s that uses less or no traditional dance movements or technique). I saw a show once in Lyon. When I see a show, I like to see the work, I do not like that anybody could do it. I do not see the point. But, if one offers me to work on a non-danse project, I would go for that challenge because I am curious. I would like to understand
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What show influenced you in your childhood or teenage years?
dance journal/hk vol. 15 no. 4 19
dancers turning on their heads, music beating too loud, no story, etc. We like to show that evolution in any direction is possible. Some hiphop dancers do not like it, they think it is not hiphop, although I use hiphop movements. It is too bad that some people refuse evolution. Hiphop was born as a radical new form of dance, we think that we have to continue creating new changes. Who do you consider your master? Rock His name is High King. He taught me an attitude towards dance. I respect him a lot. Kader Mourad Merzouki and the other members of the Compagnie Käfig. I learnt so much from them. Which piece has been special or more difficult for you?
Rock Fang. Photo courtesy of Hong Kong Arts Festival.
their position, just as I like to change people’s perception of hiphop. What is a norm that you like to challenge? Rock In an experimental show with contemporary choreographer Yuri Ng, a dancer from Hong Kong Ballet, and me, we were questioning the norms of
each dance style and their established codes: should a ballet dancer wear ballet shoes? What if a hiphop dancer dances to different music? Kader We l i k e t o s u b v e r t a u d i e n c e expectations. I was happy when people from the audience said they had been surprised, because they thought hiphop had remained the same for 20 years:
Rock My first show in the Arts Festival in 2012. Because I had never done a show lasting more than 30 minutes before. It required a change in my way of dancing, to develop a real piece with new ideas. I used the concept of chess, the way one thinks while playing chess, or playing jazz music. The choreography involved six dancers and myself. Moving to a big stage, working for an established festival is still rare for hiphop dance in Hong Kong. It was a challenge. I was very happy that people liked my work and that the Hong Kong Arts Festival invited me again the next year. Kader Yo Gee Ti was the most difficult, because contact with other dancers was
舞蹈手札 第15冊 第4期 20
something new. I was shy to lift my partner in duets. Dancing in very tight unitards was also uncomfortable in the beginning. And when we started I had not danced in a creation for two years. The most memorable tour was in Jakarta. We went to teach children in a shanty town. We shared a lot with the kids. Hiphop was born in poor areas, based on friendship. It belongs to these children in a way.
talk about how to make better effects. They gave me a lot of ideas.
movements much faster and in a much safer way for the body.
Kader Dancing in the same venues as the established forms of dance is a reward for hiphop dancers, in my view. In Mourad’s company, we have always been working closely with our lighting and set designers. They are part of the creative process.
What do you like in Hong Kong?
What are your thoughts about the integration of set and lighting designers in your work, whereas hiphop was first
What physical pain do you feel?
created outside theaters?
Rock For me it is natural. I have worked with set designers and lighting designers since I was a student at the university. But what was different was to work for the Hong Kong Arts Festival, in the way that it is less commercial than other productions. The technicians have more time to
Rock Back pain and bone pain kill me when it rains! But the passion is stronger. Kader I learned on concrete floors reproducing dangerous movements that I had seen on TV, injuring myself. Now that I am 35 years old, I feel strong, but I see the consequences of not warming up. Nowadays, one can learn the
Rock I love Hong Kong, it is my hometown, it is great. One thing that I would like to change though is that it is not really possible to dance in the public spaces. Unlike many countries where it is
tolerated. In Japan I saw people dancing hiphop in the MTR stations. Here I guess the police would not let one do that. Kader It is my third time in Hong Kong and I love it. First I love the people, they are nice and Zen. The water from the bay brings a lot of peace in this vibrant city. We have met super good dancers here, we have trained together outside the Cultural Centre, they were really good. The venue at the Cultural Centre is great and the audience also. Plus, I love the shopping and the food!
dance journal/hk
Compagnie Käfig. Yo Gee Ti. Choreographer: Mourad Merzouki. Photo courtsey of Le French May.
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My
keen interests in hiphop culture, gymnastics, circus, martial arts, visual arts, dance, yoga, and movement drove me to watch this French-Taiwanese choreographic piece (a 2012 creation by CCN Creteil and Val-de-Marne/Compagnie Käfig) on 30 May. I was mesmerized from beginning to end as Yo Gee Ti carved out these elements gracefully. Precise, minimal, yet sufficient and elegant lighting formed a crucial element to show off each dancer - one by one - or hide them all at the same time. The atmosphere was engaging, while leaving me room to breathe, and to contemplate.
Witty Dance Poetry - Yo Gee Ti by Mourad Merzouki by Stefania Mui
Yo Gee Ti (Mandarin for organic
substance) started with dancers wearing tight costumes, laying in a row under dim light. Four ropes, with big knots forming a clump, hung down from the ceiling framing and at the same time menacing the dancers. Each dancer began to move in a half squatting, half sitting manner. Their moves were crisp and fluid, blending hiphop footwork and modern dance, with a flexible gymnastic flair. Music heightened specific parts and at times, drew the viewers’ attention to the dancing. Sometimes the performers looked like unique and rare plants growing - strong and flexible branches of trees, crawling roots, yearning grasses, roaring seaweeds, mysterious corals. A balance of strength, fluidity, speed, and simple dark colored costumes defined their lines and curves. Hiphop dance elements were transformed into a modern mode. The music was from string instruments not rap. It was as if a mixture of Taiwanese and Käfig; elements of Chinese modern dance battling or merging with break dance and other street style undertones.
Compagnie Käfig. Yo Gee Ti. Choreographer: Mourad Merzouki. Photo courtsey of Le French May.
As both parties found common ground, reinforced by harmonious moves, their energies became attuned to each other. Rather than graffiti, a wide, white, hair-like curtain tied into sections like loose ponytails hung down over the stage and was reflected like a river on the black floor. The sleek, floor also clearly mirrored the dancers’ legs, feet, hands, and arms, as these were fairer than the dark costumes. At one point, two dancers at opposite ends of the curtain created interesting scenes of light and shadow moving it while six dancers in a row behind it bobbed up and down like darkened dummies. As the light revealed them, Chinese music played and they began separating the curtain’s threads into smaller segments. Then they worked
on their own costumes, which for this part were a complex dresses composed of what looked like oriental hair knitted of woolen fabric - long, straight, black, and right down to the floor. The dancers’ tiny fingers flowed through these ‘hair dresses’, in a subtle but delicate finger dance. Their dresses and the curtain eventually became one. It ended like a sonnet. The dancers’ careful and delicate strength, endurance, and concise but rhythmic speed rocked the work, yet my heart beat with the steady flow of nature throughout Yo Gee Ti. As the lights gradually reached the audience each dancer had a chance to showcase their skills, I saw some killer hiphop moves!
舞蹈手札 第15冊 第4期 22
《風流寡婦》挑戰港芭舞者結構 文：鄧蘭
今年
香港芭蕾舞團 （下 稱港芭）的舞季以羅 奈．海德編舞的《風流寡婦》作 結，筆者看了六月十四日那場。這 作品在上任總監米瀚文時期排演過 一次後便沒再出現，相隔四、五年 再度上埸，同樣令人興奮。 這齣舞劇幽默、輕快、亮麗，且情 節豐富，甚至比不少經典更耐看和 好看。如果說原創劇是藝術的最高 境界，那能將一種藝術類別成功移 植到另一藝術類別並進行改編，便 是才藝與膽識結合的成果。
由於是輕歌劇，音樂本身已有其吸 引力，且很完整。內容輕鬆幽默， 兩對男女關係微妙，四人穿梭全 劇，集中而突出，為舞劇提供很好 的基礎。米瀚文當年排演這劇是因 他在澳洲芭蕾舞團時也曾擔當此劇 的男主角丹尼爾伯爵，對這劇固然 情有獨鍾，遂決定為港芭排演。 《風流寡婦》除第一男女主角外， 另一對男女主角也非常吃重。兩對 男女不斷互間出現，甚至同台；且 各有大量舞段，四人的獨舞、雙人 舞源源不絕。任何一方不到位都會 影響全局，可說甚難排演。 港芭以金瑤飾風流寡婦漢娜，魏巍 飾追求漢娜的丹尼爾伯爵，張思園
飾大使拜倫的夫人茜娜及李嘉博飾 茜娜的情人卡米爾專員。兩位女舞 者可說是現時港芭於此劇的最佳人 選。金瑤憑出色技巧，演活不少芭 蕾人物。作為首席，她有其個人魅 力，總有壓場本事。漢娜出場光亮 艷麗；接著的農村少女模樣依然耀 目；尾場穿白色外衣出場，續顯氣 派。不過今次金瑤少了一份冷艷， 多一份熱情，配合矯健的肢體動 作，演出理想。跳得好是第一難； 能古典現代俱佳是第二難；能有壓 場光彩就更難。金瑤能突破三難， 就算飾非第一主角，如《新中國芭 蕾——青蛙王子》中的太后，其光 采四射不是很多人做到。 筆者亦發現張思園是次表現不俗。 她飾的茜娜嬌媚亮麗，氣息足、神 態美，風度萬千，幕一與米卡爾偷 情之舞段鬼馬風趣而不失儀容，後 段不少雙人舞依然有水準。只是張
的一些空中姿勢略硬，身體與手 腳動作未臻完美。不過女舞者較被 動，她們能否做出優美的動作，很 視乎男舞者舉起她們時的落點是否 適中和拋起的高度。這次李嘉博整 體表現不錯，但在多段大量拋接的 雙人舞中，托舉與落點不夠精準， 好幾次把對手張思園的紗裙翻起， 二人的配合仍需改進和磨合。剛躍 升為首席的魏巍，表現生猛，充滿 活力。第一埸他醉酒亮相，神態不 穩，目光浮遊，動作鬼馬惹笑；加 上其妝容，形象甚似喜劇泰斗差利 (Charlie Chaplin)。魏巍雖然受外 型所限，但勝在有速率感，手腳夠 活，在幕一至三的獨舞或雙人舞都 能保持水準。 兩位男舞者在幕三的角力，勢均 力敵；四位舞者的同場雙人舞亦 能做到等量齊觀，表現相若。這 並不容易，可算是挑戰現今港芭
dance journal/hk
《風流寡婦》是波希米亞作曲家雷 哈爾(Franz Lehar 1870-1948)的第三 部輕歌劇，在1944年由羅奈‧海德 改編為芭蕾舞劇。
香港芭蕾舞團《風流寡婦》。編舞︰羅奈‧海德。 舞蹈員：李林、劉昱瑶。攝影︰Gordon Wong。
dance journal/hk vol. 15 no. 4 23
的人才。其他舞者在此劇亦大派 用場，幕一的華爾滋、幕二的公 國舞（類似民族舞）、幕三的肯 肯舞，色彩斑斕，輕快奪目。不 過演釋得最佳的卻是昔日首席， 現為舞團排練導師梁靖所飾的大 使拜倫，一再發揮其細緻的戲劇 細胞，而剛成為舞團客席藝術家 的伍宇烈扮演的餐廳經理亦維肖 維妙。 如果港芭首席人才有更多選擇， 相信水準會更可觀：現在每齣節 目通常只有一位男或女首席參 與，難免單薄了點。尤以這套要 求舞者色藝俱全的舞劇，若一人 表現略遜或不符合形象要求，足 已影響全劇的可觀性。 此外，這劇舞蹈精彩：佈景華 麗、服裝耀眼、視覺繽紛，惟入 座率卻比幾套經典略遜。究其原 因，除觀眾對此劇陌生外，毫不 吸引的宣傳單張絕對是致命傷。
香港芭蕾舞團《風流寡婦》。編舞︰羅奈‧海德。
男女主角魏巍與吳菲菲形態不算 吸引，尤其是吳。《風流寡婦》 是齣輕喜劇，女主角漢娜是位美 艷多金的俏寡婦，她可以冷艷、 風流、甚或熱情嬌媚，但絕非憂 鬱。吳菲菲在宣傳單張上卻予人 怨婦之感，可說是演繹錯誤。筆 者認為不熟悉《風流寡婦》這劇
目的人可能誤以為此戲很俗套， 認識的也會覺得選角出錯。雖然 正式演出時角色的演釋不俗，但 宣傳單張的選圖與設計不可小 覷。港芭有意在團中躍升舞者本 是無可厚非，但舞者不單需要技 巧超卓，還需夠全面和有光釆才 能得到觀眾緣。
香港芭蕾舞團《風流寡婦》。編舞︰羅奈‧海德。舞蹈員：李嘉博、張思園、Conrado Dy-Liacco。攝影︰Gordon Wong。
舞蹈手札 第15冊 第4期 24
編舞七巧板—— 《長情．長程》(Walkalong) 文︰程天朗
《長情．長程》(Walkalong) 讓筆者想起七巧板。
七巧板是一種中國傳統的拼板玩 意，每組由五個大小不一的三角 形、一個正方，及一個平行四邊形 組成，數組七巧板一起玩可以有無 窮變化，亦可看出拼板人的智慧與 巧思。其實編舞要做的事不就是跟 拼七巧板一樣嗎？不是要還完成一 幅工整的正方，而是善用板塊不同 的特質，拼揍出一幅又一幅美麗的 圖畫。 《長情．長程》是「新約舞流 x 新躍舞青」共同創作的作品，以 演出者而言，後者的人數佔多。 他們不是專業舞者，只有在學習 與工作之餘的時間來排練，最後 在舞台上與另外數位專業舞者共 同演繹出來的四個作品，幾乎都 是群舞，一支獨舞也沒有；個別 舞者完全沒有表現個人技能的機 會，看慣舞者在台上「賣藝」的 觀眾可能會失望了。《長情．長 程》的主題是友情，因此作品的 編舞不同，風格上大同小異，卻 能從舞步中展示友情中的相伴同 行、互相扶持的精神。 新人李偉能編的〈依依〉，舞者伴 隨著低沉婉約的大提琴音樂進場， 其中一人提著大椅子，舞者們有時
相依相傍；有時是拉著椅子轉圈， 連綿的舞步都表現出依傍的關係。 其中一段是一舞者獨自倚牆而行， 物理上是與另一組舞者分開，但整 體及精神上卻又互相呼應，體現了 另一層次的相依。 葉麗兒的〈近而遠，遠而近〉由輕 快的結他聲展開，舞者們亦步亦 趨，剛靠近又分開，隨著急促的小 提琴聲，舞者們在舞台上穿插交錯 而行，似是擦身而過卻有打個照面 便掉頭而去，活生生展現了都市人 的關係。 郭曉靈的〈網路行〉，舞者交叉雙 手成網狀進場，似是隱喻互聯網，
周佩韻編的〈粲然關係〉作為壓軸 之作，十四位舞者加上十四張椅子 總動員出場。回應上文的七巧板比 喻，前三位舞者各自拼出兔子、小 狗和狐狸，這一支舞就是由多組七 巧板拼出來的動物嘉年華。舞者們 的分成三組，他們亦聚亦散，位置 或高或低，動作時急時緩甚至停 頓。當中很多動作是重覆又重覆， 最多的是用手撫臉把頭按去另一 方，失重跌後時被另一人接著，只 是舞者在空間上不同層次的組合， 構成一幅美麗的流動風景。 友情中最重要的原素是信任、默契 與互相扶持，這些從四個作品的動 作編排都看到了。然而這也是這個 作品的用心之處。作為一個舞者， 除了無止境追求舞蹈技巧的突破， 還有更多重要的事情。 評論場次：7月13日下午2時
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看
又可引申為人際的網絡關係。舞者 們很快就脫手換成其他姿勢。有時 背靠背，有時手拖手，有時排成一 行，像鐘擺般的左右輕擺，也時像 人偶般的遲滯的動作，這又讓筆者 想起時間的流逝。想深一層，時間 跟網路卻又息息相關。
新約舞流 X 新躍舞青《長情．長程——粲然關係》。 編舞︰周佩韻。攝影︰Brian Hung。
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Walk Away or Walk Along - Walkalong by Passoverdance x Passing On by Shu
What
do you do when you feel left out? Do you walk away or walk along? Walkalong is a spontaneous and
heartfelt dance production comprised of four works choreographed by Joseph Lee, Cally Yip, Elaine Kwok, and Pewan Chow. Performed by Passing On - a group of young dancers, the works explore ways of handling and keeping friendship. A production of Passoverdance, an independent Hong Kong dance company that encourages and supports young dancers and choreographers to develop their potential, Walkalong is an accessible and uplifting modern dance work that invites audiences to get to know about contemporary dance through a most obvious but often neglected theme – friendship. At the 13 July afternoon postperformance Meet-the-artist session, Passoverdance Artistic Director and choreographer, Pewan Chow boldly stated that 90% of people (who do not have modern dance background/ knowledge) can understand contemporary dance movements, only they do not realize it or believe it themselves. I appreciate Chow’s humble and genuine comments. As a
communication major myself, I have examined the impact of mass media and mass culture on our society. Perhaps we have been fed, if not fooled and manipulated, by the media who constantly bombard us with all the ‘answers’ they want us to believe and absorb. We’ve become lazy and listen to them; we forget how to think independently. Dance movement can be the most honest language; we do not need to know the story to feel the sense of the movement. The four choreographic works i n Wa l k a l o n g p r e s e n t d i ff e r e n t perspectives on friendship, yet each piece connects smoothly to the next like pieces of a puzzle. The first dance about reliance was by Joseph Lee, a fresh university graduate and the team’s youngest choreographer. It begins with a girl leaning her cheek on another girl’s palm, a third girl stands by under soft light. They lend support and bear each other’s weight by moving towards or pulling away from one another. A fourth and fifth dancer join them. The piece ends with one dancer resting her cheek on another’s cupped palm; the closing
Pewan Chow's choreography in Walkalong by Passoverdance x Passing On. Photo: Brian Hung.
image echoing the dance’s warm and gentle opening. The second piece by Cally Yip touches on the distance between people. How do we react when we are approached by another person moving towards us, who might be either friend or stranger? Do we feel intimidated and get ready to turn away at anytime, or do we say “hi” to them and move along with them? In the work, each dancer moves in his own way to interact with a potential friend.
舞蹈手札 第15冊 第4期 26
Elaine Kwok shares her views on friendship through mechanical motions that underneath have hidden compassion. Ho Lok Yung’s automatic movements and responses i n t e r p r e t K w o k ’s p e r c e p t i o n wonderfully and Ho excels in this dance. Her petit figure in a feminine white skirt with her hair tied in a sleek high pony tail that rebounds with her accurate, firm, and robotic
movements; her body tilts at precise angles and her arms draw interesting structural forms. Her face expresses subtle but visible feelings towards different situations throughout the performance. She never forgets her hopeful and supportive smile while she is sitting on a chair next to her buddies, watching other performers in center stage during other parts of the show.
Chow’s piece starts with fourteen dancers on fourteen chairs, seven on the far left and seven against the opposite wall. It presents a collage of feelings danced by diverse personalities with the flowing music creating a strong cohesive impact. The dancers move their arms and bodies as if they are reaching toward something. The seven dancers on the left walk straight to the center and face the other seven. The two groups take turns arching backward. As they come back up and fold forward, their partners push their face and chin back so each falls backward again. This repetition of partner work reveals fourteen characters and temperaments. They can be supportive or be as impersonal as Ho’s blank slate mode from the previous piece. A scene that particularly resonates my experience with people is when all the dancers line up in several rows in the center facing the audience, as the dancers duck and dodge, two or three are left standing, this repeats, and each time ends with different people at different spots being left out.
Cally Yip's choreography in Walkalong by Passoverdance x Passing On. Photo: Brian Hung.
very well with the heritage Upstairs Studio of the Fringe Club. It also reminds me of Cocoa at Theatre (2009) also from Passoverdance by Chow, Pandora Sin, and Joyce Au. Cocoa was the first and only production by the company I had seen at the time. The off-white wall built from paper cartons, young dancers in light colored cotton c l o t h i n g l i k e Wa l k a l o n g l e f t a pleasant impression that remains in my memory – authentic, stylish, and stimulating.
dance journal/hk
Walkalong is a tender piece that goes
dance journal/hk vol. 15 no. 4 27
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