Vol. 2 no.
1
香港藝術發展局資助
投稿方法
Supported by the Hong Kong Arts Development Council 本刊物所表達之意見或觀點及其所有內容，均未經香港藝術
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或傳真至本會。如來稿獲刊登，作者
可獲得稿費。
The judgement and opinions expressed and the content included
in this publication do not carry technical endorsement or authentication by, not mecessarily represent the views of, the Hong
We welcome submission of unsolicited articles for the Dance Journal/ HK. Deadline for submission is the 1 st of each month. The article can be either in Chinese or English. Submission can be made through e-mail or fax to Hong Kong Dance Alliance. Authors of articles selected for publication will be paid for their work.
Kong Arts Development Council.
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、鱗鯀，今加 I 出版人：
唐鋭茎和淵珊華 朗志自才誠易仁 白鄭劉馬曹吳余
舞蹈手扎盟友： 湯布i
唐絜淵 朗 誠 白朱曹
編輯部：
香港舞蹈聯盟
狀 Published by :
Hong Kong Dance Alliance
Editoial Board
Tom Brown Chu Kit Willy Tsao
Contributors : Tom Borek Anna Cheng Pun Siu-fai Edwin Lung Andy Ng Andy Wong Daniel Yeung
Tom Brown Afa Chiang Paris Lau Victor Ma Willy Tsao Wu Yi-san Jacky Yu
設計及排版：黃翠玲
Design & Layout:
Scarlet Wong
香港灣仔吿士打道一號 香港演藝學院舞蹈學院 副院長辦公室
c/o Office of the Associate Dean School of Dance, Hong Kong Academy for Performing Arts, Wanchai, H.K.
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I香港演藝學院
瞻翁 IlibkaryGARTS
Events
Commentary
演出節目表
評論
二月份演出節目名單
Author: Willy Tsao
作者：曹誠淵
B 三月份演出節目名單
港芭最佳舞蹈員眾望所歸
全球接近二萬人次即時分享喜悦 作者：香港芭蕾舞圑
Dance Alliance News
Articles
舞盟快訊
專論
叫人會心的檔案 作者：小棕
舞盟快訊 □
香港舞蹈聯盟會員名單 帶來驚喜的舞蹈新空間會員申請表
評 < 跳進新世紀-編舞創作坊〉
作者：慧子
D
A double-sided evaluation on
“Yellow River” Editor: Dr Anthony Fung
黃土黃河與創世神話 作者：劉自荃
EQ
中國風，中國火
作者：冼源
封面設計：Lilia Ng
EE
曬關 這篇文章是由曹誠淵先生撰寫有關現代舞在中國
This is the first installment in a series of articles by
的發展的第一輯，其它文章將會陸續於舞蹈手扎
Willy Tsao on th Modern Dance in China.
中刊登。
Subsequent installments will appear in Dance
Journal! HK throughout the year.
現代舞的價值
The Value of Modern Dance
這篇文章撰寫於北京，原文用意是論
This article was written in Beijing. It
述為何一個具有優秀傳統的中國文化
aims to point out why China, with such
仍然需要發展現代舞
a fine tradition, still needs to develop
Modern Dance. （一）什麽是現代舞：
現代舞是以肢體為工具、動作為媒介的藝術•它的 內容不落言詮、它的形式不拘一格，拒絕被傳統藝術的
觀點所束缚•更不願意被人為的概念所規範：它被稱為
"現代"，是因為它隨著時代的更替而變化；雖然沒有固 定的內容和形式，它的特徵卻顯而易見。現代舞的特徵 有三：對藝術家個性的發揮、對當今時代的反思、和對
原創意味的追求。幾乎每一個偉大文明的每一朝代，都 有屬於自己的"現代”藝術，也就是能充份展示該文明社
會中，眾多藝術家們的不同個性-時代性、及原創性的
2
藝術。 中國的現代舞，便是一個代表中國現代文明社會， 能不落言詮又不拘一格地展示中國人多姿多采的個性、
時代性和原創性的的舞蹈。 （二）現代舞有何價值：
A. What is Modern Dance: Modem Dance is an art that uses the human body as instrument, and movement as medium. It doesn’t require words to explain its meaning. Its is not restricted to any particular style. Modern Dance refuses to be bound by tradition, nor limited by any man-made concepts. It is “Modern” because it changes with the times. Although it doesn’t have any fixed content or form, it is still easily recognizable by its special characteristics. There are 3 such
characteristics: the manifestation of the artist’s character, the reflection of current issues, and the importance of originality. Throughout history, major significant cultures have their own “Modern” art forms, which manifest the different characters of their various artists, current issues, and originality of that particular society.
傳統之所以豐盈厚實•是因為每一個朝代的人民和
Chinese Modern Dance is therefore a dance form that represents modern Chinese society. It should highlight the colorful lifestyles of its citizens, reflect on current issues, and focus on its originality. This dance form doesn’t need words to explain its meaning, and it is not restricted to any
藝術家們都有所創造，大量的創作品雖然良莠不
particular style.
一 •豐富傳統面貌
•每一個偉大的文化文明.都有豐盈厚實的傳純。而
1
齊，其中最好的卻能被保存下來，並遺留给子孫後 代，成為傳統的一部份.進一步替文明增添枝葉 。 2
•以中國的傳統文學為例：漢赋、唐詩、宋詞、元曲 等每一朝代都有各具其時代特色的文學創作.邁入
本世紀•更有甚具革命性的五四新文學運動，徹底 改變了中國歷代以來的文學本體面貌。
B. The value of Modern Dance: 1.
Enrich Tradition
a.
Every major culture passes along a wealth of traditional
3 •今天看來，文學上每個因應時代的改革，並沒有摧毁
legacies, created by its people and artists. These creations
中國深厚的文化4艮基，反而是為傳統添上新的一頁。
vary in quality, but the really wonderful works survive
4 •在舞蹈範疇中，中國藝術家們曾經整理出古典學派的
the test of time. They are passed on through each
楚漢舞蹈、唐代敦煌舞蹈、明清戲曲舞蹈，甚至在六
generation, becoming new branches to the tree of culture.
十年代發明了革命樣版舞蹈，而在踏入改革開放現代
b.
化的廿一世紀，更需要創造出屬於今日中國、體現人
Sung, Ming, and other dynasties relate to the times
民現代生活氣息的舞蹈，以延續中華民族豐富的傳
during which they were written. In our own century,
統，在漢代、唐代、明代、清代舞蹈之後，增添現代
the revolutionary May 4th Movement utterly changed
舞之一章。
二•宣洩民間情緒
the format of traditional literature in China. c>
Yet in retrospect, historical changes in literary styles
had posed no threat to the great foundations of Chinese
1 •現代化社會中，人民生活素質要求愈來愈高，尤其是 城市居民，從農業社會過渡至工商業社會，過去日出 而作、日入而息的安詳生態，轉變成高密度而工作量
Using literature as an example: poetry from Han, Tang,
culture, but only served to enrich it. d-
In dance，artists have made revisions to classical dance
集中的環境，人民生活節奏急迫之餘，需要現代化的
from the Han/Ch’u period, the Tang Dunhuang dances,
娛樂和藝術，以調解精神緊張和情緒壓力。
dances from the Ming/Ch’ing dynasties, even stylised revolutionary dances from the 1960s. Now, more than
2 •工商業社會和農業社會的最大不同之處，是農村中農
ever before, as we prepare to step into the 21st century,
民生活樸實，對物慾追求單純，而工商業都市內人民
we need to create dances that belong to modern China,
生活複雜，分工精細，加上敎育的提昇和資訊的傳
dances that relate to how people live today, in order to
播，使現代都市人不再千人一面，物質選擇種類繁
extend the rich Chinese culture; adding a new page to
多，品味開始強調與眾不同的個性展現。
the dance heritage from the Han, Tang, Ming, and
3 •在嫉樂和藝術方面，也便出現商業藝術和高雅藝術之
Ch’ing periods.
分：有通俗而容易為群尿接受的，一般都以商營運 作，被納入市場機制的一部份，稱為商業藝術；有品
2.
Vehicle for people to express their feelings
味高雅，群取未能立刻熟悉，卻受高層知識份子們歡
迎的，則需要有國家政府協助推動和扶持，成為高雅
a.
藝術。
In today’s society, people have increasingly higher expectations. This is especially true for city dwellers.
In the past, people were used to a more serene lifestyle:
4•無論是商業藝術或高雅藝術•都是一個現代化大都會
getting up at sunrise to work, retiring at sunset.
的重要標誌，也是建設一個健全社會不可或缺的組成
However, as the agricultural society changed into an
部份。
industrial one, people have had to adapt to a more 5 •以中國的現狀>|务展來看，知識青年群體日益壯大，對
intense, work-oriented lifestyle. The quickening of pace
國家長遠發展深具影響力，而現代舞因其高雅的藝術
and increase in pressure necessitate a new form of
形象、深遂的哲理內涵、及抽象的思維方式，在本質
modem entertainment and art, which serves to soothe
上不可能成為商業藝術，獲取大量群眾回響，但對於 喜歡發揮個性、願意反思時代、追求原創生活品味的 都市年青知識份子們來説，正是舒解身心的最佳途
nerves and release pressure. b*
The biggest difference between an agricultural society and an industrial one is that in the villages, the peasants
徑。
lead a simpler, more basic life. They are less
materialistic. In the cities, however, people lead more
三.提高社會活力
complex lives. Because of the diversification of labor,
1 •一個社會和民族的進步，端視其人民有多少創造力。
higher education, and mass communication, modern
2 •歷史上傳統深厚的文明如古愛琴海、古巴比侖、古埃
city-dwellers are no longer all the same. With material
及、古印度等，往往為了保存及繼承傳統，人民變得
goods becoming abundantly available, people have
因循保守，思想閉塞，在面對新時代和新挑戰時，不
more choices. The development of4good taste’ begins
敢踰越先人規範，以致畏首畏尾，失去多少改革發展
to emphasize individualistic qualities.
的機遇。
c
Entertainment/art is split into 2 categories: commercial art
3 •可以説，愈古老的文明，其文化包衹便愈重，所以希 臘（古愛琴海文明的延續）、伊拉克（古巴比侖文
and fine art. Commercial art is easily assessable to the common people. It is commercially-based，and as such is
明的延續）、埃及、印度等，都無法擠身今日國際
treated as part of market forces. Fine art, on the other
間先進環列。
h这nd，may not be accepted by everyone, but is favored by
3
---------- Da 峨蜘.1
intellectuals who have good taste and class. Fine art
needs to be nourished and sponsored by the government.
d. 4 ■中華民族卻是眾多古文明中的一個異數，其文化本 身，尤其是儒家和道家理論，所展現的包容力•使 歷代以來的學者文人能夠推陳出新，雖然在強大的
封建皇朝主流勢力下，民間仍然閃耀出充滿個性、
Both commercial art and fine art constitute an important part to any healthy society, acting as one of its most
important pillars. e.
Today, China has a growing number of educated youths who exert a great deal of influence in the country’s
時代性和原創性的藝術，以文學為例，在今日仍為
future development. Modern Dance, with its lofty
廣大人民喜愛的，並不是皇室御用的八股文章，卻
qualities, philosophical content, and intangible
是不容於朝廷而天馬行空、充滿創造力的屈原、李
expressions, will not become a commercial art-form.
白等的詩歌。
However, it provides the best channel for self-
5 •中華文化因為包容力強，更自然地吸收外來影響，
expression for these highly-educated young people.
不斷自我更新•古印度中最高智慧的佛佗文化，在
These same young people who pride themselves in
今之印度已蕩然滅跡，卻在中國被保存為大乘顯
expressing their feelings, who ponder about the time
學、其禪宗一支更與儒家、道家等學説融合發展成 魏晉玄學'、宋代理學、明代心學等，可見中國文化
they live in, they who persue highly-refined
individualistic tastes.
是一直崇尚並充滿創造力的。
6 •在今日，現代舞便是創造力的具體呈現.其形式不 拘一格，不願墨守成規，展現手法往往打破傳統舞 台規則，挑戰傳統美學觀念。
7 -對許多耽於穩定安逸的傳統學者來説，觀看現代舞 可能是最痛苦的經驗；舞台上變幻莫測、捉摸不
3. Enhance social motivation a.
The progress of a society or people is dependent upon the creativity of its people.
b.
The great civilizations of the world - the Aegean, Babylonian, Egyptian, Indian, etc. - in striving to
透，使人如甚在履，一切既定成規全用不上.迫使
preserve tradition, became conservative and close-
觀幂去動動腦袋。
minded. When faced with changing times and new
8 •當藝術家、企業家、醫生、律師、經理、工人、老
challenges, they became afraid to veer from what their
師、學生都開始動腦筋：為什麽舞台上能，我們的
ancestors had achieved in the past. Subsequently they
行當不行？社會的動力便開始被啟動。從藝術，
missed a lot of opportunities for development and
尤其是直接用肢體來貼近觀豕的舞蹈藝術，帶來對
improvement.
社會的創造推動力是可以非常巨大的。
4
c.
Actually we can say that the older the civilization, the heavier its historical burden. It is because of this that
四.促進國際交流
Greece (extension of Aegean civilization), Iraq
1 •現代化社會發展帶動國際交流頻密，政府與政府間
(extension of Babylonian civilization), Egypt, and India,
在經濟、政治、資源、環保等多方合作，這種合作
etc. are not among the really modern societies in the
需要人民與人民之間的溝通和了解，因此出現了愈
world today.
來愈多的國除文化交流活動。
d.
2•文化交流又可分成兩個層次：傳統部份和現代部份。
China is an exception among the great ancient civilizations. Its major philosophies - Confucianism
3•傳統部份的文化交流主要是展示不同國家民族的輝
and Taoism - possess such tolerant qualities that
煌歷史，通過各式各樣的傳統藝術，不但可以欣賞
scholars of each new generation can change and adapt
各類文化悠久堅持下來的特殊成就，更從中了解國
them for his own time. Although forced to survive under
家與國家、民族與民族之間的差異。
despotic feudal dynasties, the Chinese nonetheless
created highly original, timely, and individualistic art
4 •譬如中國有優秀的傳統藝術如京劇和民間歌舞，西 方的先進國家也保存不少精緻的傳統藝術如歌劇和
works. In literature，the historical works that we are
芭蕾舞等。從京劇簡單的佈景道具和色彩鮮明的儉
still familiar with today are not formal dogmatic
譜設計中，可以看見中國民族喜愛空靈抽象的雅淡
expositions originating from court, but rather folk poetry
生活形式，和把事物典型化分類以達忠奸、善惡分
written by Li Bai and T’su Yuan, filled with vivid
明的心態；而從西洋歌劇中龐大的製作和真實的演
imagination and originality.
員造型，可以理解到西方人民務實而一絲不苟的生 活取向.和願意細繳觀察事物本質的科學態度。
e.
The tolerant characteristics of the Chinese culture also means that foreign influences are absorbed and renewed.
5 •因此，傳統文化部份的交流讓人們意識到國家相異
Buddhism, the highest form of wisdom in ancient India,
的背景，俾使將來能在彼此尊重下合作有所成績。
almost ceases to exist in that country today. By comparison, it is incorporated into significant
6•現代部份的文化交流卻是要找尋不同文化中相通之
philosophical thoughts in China. Its branch of Zen
處。
Buddhism has even been combined with Confucianism,
7 -現代文明中，因著科技資訊傳播，處於不同地域的人
Taoism, and other teachings into different schools of
民生活面貌愈趨相近，中國的城市如北京、上海、香
philosophy: Metaphysics in the Y’i/Chin periods, Sung
港和西方的都會如紐約、倫敦、巴黎等，都是高樓林
Rationalism, Ming Psychology etc... This shows that
立、交通繁忙、人流擁擠、節奏緊迫，類似的環境孕
育出相通感覺：人際關係冷漠、自然環境污染、生命 空虚失落，都是在大都會人潮來往間人們所面對的生
the Chinese have always held creativity in high esteem. f-
Nowadays Modern Dance is a manifestation of such
creativity. It is not restricted to any style, blindly
存課題。
8•現代舞蹈家們以身體和感情展示他們對生存課题的 關懷.也因為對這同一時代的關注，使來自不同地 域的觀眾和舞蹈家們得以心靈溝通。
adhering to tradition. In fact, it expresses itself in ways that often break the mode of traditional theater. It
challenges traditional aesthetics.
Watching Modem Dance may be one of the most painful 9 •在現代文化部份的交流，毋須強化地域之別、歷史 差異也不重要，而最重要的是讓來自不同背景的人
們在心靈通融契合中，能坦然地攜手合作。
experiences for traditional scholars who are set in their
ways. It is difficult to comprehend the developments on stage. All pre-conceived notions become useless,
as the audience is challenged to think deeply. 文：曹誠淵（I"9年U月）h'
And so artists, entrepreneurs, doctors, lawyers,
managers, blue-collar workers, teachers, and students all begin to think: if it’s possible on stage, why not in our profession? Thus the great engine of social
motivation begins to turn. Creative motivation, initiated
by such a direct art form as dance - which uses the
human body as a vehicle of expression - is very powerful, and should not be under-estimated.
Facilitate International Exchange The development of modern society has led to an
increase in different exchanges between countries. There are many joint efforts and co-operation between
different governments over issues of economics, politics, resources, and environmental protection. In
order for these to be successful, people of these different countries need to be able to communicate with each other, and understand each other better. Because of
this, there are increasing cultural exchange activities
these days. These cultural exchanges can be divided into 2
categories: traditional and modern.
Traditional cultural exchanges focus mainly on showing off the glorious history of a country’s past. Using different traditional art-forms, not only can we
appreciate special achievements that each country has made, but also begin to understand the differences in these countries and their cultures.
g.
Because of recent developments in information
technologies (IT), people living in different parts of the While China has traditional art-forms such as Peking
world have increasingly similar lifestyles, and live under
Opera and Folk Dances, the West has its own traditional
very similar surroundings. Cities in China such as
art-forms such as Opera and Ballet. Peking Opera uses
Beijing, Shanghai, and Hong Kong are very much like
simple props on stage. From this we know that the
their counterparts in the West: London, New York, and
Chinese love a relatively simple, and yet refined
Paris, etc.. Skyscrapers are everywhere, people are
lifestyle. On the other hand, actors on stage wear highly
concentrated in major urban centers, and the hectic pace
colorful masks. Typically, they are either all good, or
of life is the same. These common conditions also lead
all bad; but not in-between. This is also a reflection of
to very similar feelings: people feel isolated and cold.
the Chinese psyche. By contrast, through the lavish
Their lives become empty and meaningless. Their
sets used in staging Western Operas, and how characters
environment gets more and more polluted.
are portrayed more realistically; we come to appreciate
h.
Modern Dance artists show their concern for these
the Westâ&#x20AC;&#x2DC;s practical approaches to life, their insistence
problems with their body and emotions. Faced with
on details, and their scientific methods in detailed
similar issues, artists and audience alike throughout the
observation. Therefore, traditional cultural exchanges enable people
world feel a special bond in their hearts. i.
In this realm of modem cultural exchange, there is no
of different nations to realize their differences. This
need to heighten geographical differences, nor single
enables them to respect each other, often leading to
out dissimilarities in history. What is important is to
better results when they collaborate.
understand that people with different backgrounds can
Another part of cultural exchange though, is aimed at
come together and communicate with their hearts. By
finding common ground among different countries and
joining hands, they can co-operate to solve a lot of the
cultures.
common problems we face today.
TEXT: Willy Tsao (December, 1999)
6
港芭最佳舞蹈員眾望所歸 全球接近二爲人次即時分旱喜悦 香港芭蕾舞團舉行之「九九年度香港芭蕾舞團最佳舞蹈員選舉」頌獎典禮，經已於上星期日（一月三十日） 假香港大會堂完滿舉行。除了百多名的現場觀眾外，全球接近二萬人次亦於同一時間於香港芭蕾舞團同日揭幕之 網頁欣賞到整個盛會實況，與舞團成員同步分享喜悦。出席頌獎典禮的嘉賓包括：香港芭蕾舞
之友主席Mr
Peter Wynn Williams
先生，及中華網公司執行總裁韓孟晉先生。頒獎後並由香港芭蕾舞團行政總裁
吳杏冰女士致送紀念品與韓孟晉先生。
「九九年度香港芭蕾舞團最佳舞蹈員選舉」由香港芭蕾舞之友會員以一人一票方式，選出他們心目中的各
個獎項。結果可謂眾望所歸。得獎者名單如下：
獎項 得獎者
貝等•肯利最佳新人獎
白家樂
最受歡迎群舞員（女舞蹈員）
鍾詠賢
最受歡迎群舞領舞員（男舞蹈員）
藤野暢央
最受歡迎首席舞蹈員（女舞蹈員）
落合惠利子
最受歡迎首席舞蹈員（男舞蹈員）
蘇漢華
最佳角色性格演繹獎：《羅密歐與茱麗葉》中的妓女
落合惠利子
最佳主要角色演繹獎：《美女與野獸》中的美兒及野獸
尹麗莎及藤野暢央
當曰的網上直播，除了頒獎典禮儀式外，亦播放了舞團製作《跳進新世紀：編舞創作坊》整個節目的精彩演 出。是項直播不僅創亞洲先河，更屬全球首次。香港芭蕾舞團希望能承接是次的成功嘗試，日後繼續開拓運用互
聯網等先進科技推廣舞團的製作及形象。
ARTObES 叫人會心的檔案 不
知不覺間已踏進另一個新紀元，當大家
演出末段，編舞所預視的世界是一幅非常美
都湧到街上慶祝千禧年的來臨時，我心裏總是想，有
麗的圖畫，安寧平和如輕風拂樹 ，如長流細水的景
沒有其他方式去紀念這俏二千年？
象，樂觀又充滿希望，帶領觀眾進
入一個歷史的
祭儀。而沙亦不再困於沙漏之中，
由撒滿大地至
中心劇院觀看「動藝」的演出— —《2000.1.1檔案》
傳於觀幕手中，把操縱命運的權柄
交回給自己，
。這個十分「應節」的選擇叫我猛然思索一個問題 ：
似乎是大團圓結局。然而這種「唱
好」的積極調
無論人類怎樣努力經營和改進，似乎仍未能吸取歷史
子與先前的無奈感卻產生矛盾，與
錄像中星河系
上的敎訓，無數驕傲和具破壞性的錯誤依然再犯，天
所代表的玄虚，神秘和不喜不悲之
感亦不大協
災人禍不斷發生，那麼，千禧何喜？
調，如此一來，開心使者帶出的歡
樂便顯得有點
於是，在二千年一月一日晚，我坐在上環文嫉
一廂情願了。
甫一開場，錄像在放映沙漏的運作情形：細沙 平白的由上端向著狭窄的管道湧下去，倒流盡了，又
用白蠟塑成的
給外來之手調過頭來，從新流動，就是這様具像地、
人頭隨著人們啟動電掣而漫漫溶化，
這種刻意或不
實在地告訴我們時間的流逝，也正正揭示了整晚演出
刻意地「多手」而造成的破壞實在有
趣。但另一個
的母題---- 歷史的進程反覆如是，渺小又被動的人類
並列的作品卻好像與此裝置並無關
係，畫上人形
只能無奈的接受。而反覆地把沙漏調置，不僅能產生
的布抖在木箱上、黑色人頭、香薰等
設計亦沒有發
荒謬感，也因著時間的延長造成疏離效果，與後來各
揮更進一步的功能及深思空間。
個檔案的陳述與呈現互相呼應。•
我説是「陳述與呈現」，是因為編舞並沒有意
8
是次演出還有裝置藝術，其中
圖去探討或解決問題，而是藉著事件的荒謬性及反諷
效應讓人會心與警醒，例如開首一群埋沒在紅紗下努
力向前推進及掙扎的人類，與背後的幻燈圖片如火箭
升空，登陸月球、政治迫害、殘暴、貧窮、戰爭等歷 史事件並置時，那種人類無名的努力，艱辛和血汗所 累積起來的歷史便顯然而見了 。 中段的現代城市面貌，説的仍是老調子，營營 役役的生活，爾虞我詐，你爭我奪，為擁有而擁有， 結果累得人一團糟；又或者由一人指揮，I人附和，
跟沙漏中沙的育從與無奈又如出一轍。人到底為了什 麼而活？答案呼之欲出。值得一提的是•其中一段梁
家權與孫鳳枝的雙人舞實在非常精彩，一根長竹維繫
著、牽引著男與女之間的情感，「你是我的盲公竹」 是我對這段舞的聯想標題，叫人感動。
話説回頭，整個演出我都看得
很愜意•因為
舞台上的演出.如同一次生命的體
驗。這樣渡過
千禧年的第一夭，總比在街一肩摩轂
擊來得有意思!
■ H :來驚喜的舞蹈新空間-
評＜ 跳進新世紀-編舞創作坊 «來沒想過原來穿著芭蕾舞鞋
>
當台上三名燕瘦環肥及各具個性的女性，在台上
也可以把探戈跳得如此婀娜，看著台
演繹一段人與人之間關係的作品時 ，筆者的注意力郤不
上一對對合拍的舞伴，款擺身體，隨
期然被其中一位身裁過度瘦削的舞者所牽引。筆者看著
著拍子在舞台上轉動，不禁驚歎編舞
她穿著「露臍裝」在台上表達的每一個動作時，都可以
者為舞蹈所帶來的新空間。據悉，編舞者謝傑斐在創
清楚地看見她的每一節肋骨，隨著音樂不停地在移動/
作這十八分鐘的舞蹈表演時，放棄了探戈原本的音樂
抽搐。看得納悶，亦愈發令人不忍看。無可否認服裝設
模式■轉而利用交響樂來表現探戈的熱情與浪漫。舞
計的基點是應該依據整個舞蹈作品的構思來運行•但假
蹈的構思雖然是離不開情愛，但是燈光設計採用了大
若出現了以上的情況，是不是設計者可以自行調節，不
量的血紅與鮮橙色，讓人感染到探戈的性感與開放。
致像現在那樣影響了作品原來的美感 ？
筆者較為喜歡作品的後半部，當九名舞者穿著黝黑與
艷紅色的舞衣，不停地從台左及台右交錯地互相穿梭
時，已成功地表現了探戈的生命力。假如舞者能更加
其實以上説的均是「香港芭蕾舞團」在上月底於大 會堂演出的《跳進新世紀-編舞工作坊》，整個演出是由
準確地拿捏出場時間■更可進一步提高是次作品的觀
舞團內六名編舞者分別創作的六個不同風格之作品，包括
賞性。
《心弦》、《笑雨天》、《世紀的捌仙》、《愛情遊戲》、 《芭蕾探戈》及《閃爍》。 服裝、燈光設計及音樂總可成為劇場內的有機
原素.閃燈效果及靈異服裝有沒有令你想起鬼神、
文：慧子
和尚與天外來客？在短暫的閃燈效果下，舞者成了多
變的個體，一忽兒充滿動感，一忽兒又變得虚幻無 實，讓觀眾■不自覺地置身在編舞者的虚擬空間內， 與舞者一同狂歡慶祝。
Ik
兒時的歡樂常叫人懷念，孩子與父母間的感情 亦最為真摯。要從編舞者中看到其赤子之心，其實
頗考功夫。但若在一段輕快的音樂、一張愉悦的表 情下，一個細緻的動作，就可讓人發出內心的微
笑，這不是已經屬於一個成功的作品？
Dan任No. 1
c
A double-sided evaluation on
^Yellow River” fair evaluation of “Yellow Earth, Yellow River”
I think many Chinese would say that people should
would include two parts. The essence of the first part is
listen to their destiny. I think we should “correct” such
descriptive and that of the second part is prescriptive. The dance
mentality in this modern era. Destiny is in part socially
searches and explores the “mysterious link” between among
constructed by the history, environment and civilization of
the Yellow River, the yellow earth, and yellow faces. To me, it
a nation. Destiny however can be changed and reconstructed.
is not so “mysterious.” It is a vivid story that attempts to reflect
To migrate to a modem era necessitates an open mind. This
and replicate how the Chinese cope with the world of Nature.
does not mean that we should forget our history, neglect the
It is a real history and real experience. The dance per se is
river and the earth in which we are nourished and grow, or
without doubt a great success. The dancers are energetic and
negate the values and culture that we are born with. In my
passionate, and in their performance the dancers collectively
reflect the solidarity, cooperativeness, and unity of the Chinese
culture.
opinion, to go beyond that destiny is what our generation should do. An enlightening dance should not only reveal
the old traditions and nature but also presents a possibility
of people’s triumph over the river and the soil. The Chinese Nonetheless, I think a critical audience would demand
more. It is true that the lives of the Chinese People hinge upon the soil and the river. But is the skin of the Chinese entirely
people should not be the controlled by the earth and the water. We should be the men who rule the water and the
earth from which we originate.
colored by the earth and the water? Are the lives of the people
totally dictated by the environment? My answer is no. I think TEXT: Dr Anthony Fung mankind has a kind of independent creativity, imagination or autonomy. The meanings of people’s lives may exist
independently from the structures of the society, control of the environment, and limitation of resources. The dance
expresses people’s close connection with the River and the
earth, and portrays the hard and challenging lives of the people both in joy and in
sorrow. But it seldom comes up with a
theme that people
can surmount the difficulties created by
nature, and lead a
meaningful life of their own.
黃土黃河與創世神話 港舞蹈團的《黃土•黃河》號稱新世紀第一
沒有歷史的中國，只可能是舞台上的創世神話。舞
個大型舞劇。舞蹈分為上半場的《黃土》，與下半場的
蹈雖有離群的獨舞，基本上以群舞為最大特色。在國家
《黃河》。《黃土》以譚盾的《天地人》交響曲及現場
主義的大敘事體下•獨舞者也不過是某些文化符號的象
的鼓聲作配樂，上演的是中華民族誕生的故事。獨舞者
徵，無所謂個性。舞蹈員灰頭土臉，男女兩性亦無甚分
化身為大地之母，撒出黃土，無中生有，先劃成太極•
别，大抵是要湊合作成雙成對，好完成傳宗接代、薪火
再傳承予男女兩性。男女舞者雙雙對對，自黃土中獲取
相傳的最低要求。如此江山，人生幾何，是非成敗轉頭
生命而繁衍，最後眾舞者歡天喜地，滿台共舞。
空，不妨歡天喜地，一切重新開始。
《黃河》是去年藝術節《龍的足跡》三部曲中，《奔
不斷上演的中國神話，好比多次重播的協奏曲錄
流》的重演。現時加入了一段＜土地與歌＞的引子，及
音，聲勢依然凌厲，聽去總有點失真。幸而人在香港，
一段＜索、問天＞女性的中場獨舞。舞蹈以《黃河協奏
不在舞台彼岸，任他驚濤骇浪，我自坐井觀天。
曲》作配樂，應用了河畔船夫的竹篙，中國京劇的水袖
與布幔，在舞台上重現黃河的聲勢。舞蹈員挺赤棵之 身區，演繹出黃河流水翻滚飛揚的景象。他們時而團團圍
繞，模仿河水的液轉逛旋；時而曜走奔騰•狀意河水的 上下衝擊。舞蹈憑河寄意，於洪流中展現中華民族的氣
《黃土•黃河》突顯了編舞者蔣華軒的中國情結。
然而其舞蹈中一再引以為傲的中國，卻是一個抹去了歷 史的神話。當象徵中國的黃土黃河，不斷膨脹，填滿整
個舞台空間之際，中華民族涕淚交零的五千年歷史，新 中國建國以來的五十年苦難，卻被洪流洗去，永埋黃
土。舞蹈以世紀末的失憶，作為新世紀的序幕；虚擬文 化上的想像，填補記憶中的空白。
文：劉自荃
中國風，中國火 很、 .長時間都沒有觀看過城市當代舞蹈團以及曹
4.
舞中所表達出來的人物和現象，有一部份其實是在
誠淵的作品演出。〈中國風，中國火〉我第一次看，進
中國社會改革開放的主流中，泛起的一點殘渣，
劇場前，腦子不免浮現過往的一些印象。演出開始，
這種殘渣有精神的，也有物質的。〈一顆璀璨明
當〈一鉤開場白〉展現眼前.迎面而來的，是一種新的
星〉。他有雙重意義，從正面講，全社會將不再
感覺和氣氛。不是因為突然聽到了那道地的’傳統的
是吃“大鍋飯”，走上市場經濟的競爭之路。從反
〈蘇三起解〉而引起注意。是古老的音樂伴隨著一堆古
面講，也使得一些人，為了金錢，可以不顧良
老的人，自願或者不自願的，擠在一起，束縛在一起，
知，不守法紀。對比之下，〈一場火〉，卻是窮困
他們並不是在唱戲。強烈的視覺效果所傳達的是保守和
的一群，勞動的一群。他們在浪潮中翻滚，不是
封建的精神力量下，剪不斷，理還亂的拉拉扯扯，互相
為了做明星，而是為了有尊嚴的生存。舞蹈創作
爭斗的人群。這是必須變革的社會因由。雖然舞蹈點到
者所表達的，正是希望突出人的應有的價值 。
即止，但我相信，這是一個十分現實的，關於中國社會 題材的舞蹈。
5.
〈中國風，中國火〉從中國社會的一個侧面所揭示
出來的現象，正是由計劃經濟轉變為市場經濟過
1. 〈中國風，中國火〉，從頭到尾並未敘述一故事和
程中的一種陣痛。有時藝術作品從反面反映出來
一個貫串的人物，但十一個單獨的段落，卻組成
的社會現象，也可以是一種良藥，啟發人們深
一個整體，一個內在涵意緊密聯系的整體。
2.
以舞蹈來描述中國社會和中國人，避免了那種穿的
省，在痛苦中覺醒，從而走上正確軌道。
6.
個別段落處理得有點牽強，〈一串心〉好像有點因
是中國式衣服，表達的是西洋人的感情的不真實現
人而設的感覺•為了展現一下邢亮的舞藝。嚴格
象。〈中國風，中國火〉值得肯定的是，它揭示和
來講，也並沒有大的發揮。而後面製造的滿台垃
刻了中國人從封閉、保守的時代，走向開放、改革
圾•手法上與前面某些段落著重複的感覺，有改
的時代所面臨和經受的震蕩。這種描述，不再是某
進餘地。當然它並不影響全舞的完整性。
種表象的東西，而是較深入的觸動了人的思想和心
總之，〈中國風，中國火〉是一個內容深刻，手法
態。因此〈中國風，中國火〉的創作，體現了編舞
新穎，主題鮮明的好作品。
者勇於挑戰這高難度的題材，以及將眼花撩亂的社 會奇景，集中提煉的能力，而作品結構的暢順，形
式的統一，主題的鮮明，就是最好的證明。
3.
文：冼源
編舞手法清晰、簡潔，不帶任何有形或無形的框 框，這也是現代舞的優點之一。〈一條觀光路〉，
突出人的意識的醒覺，從一個舊夢中能解脱的激 情，隱約見到人們朝向該走的陽光道。擊打著塑膠 桶、塑膠瓶的〈一群人〉，雖然喧鬧，但那聲音是 時光，社會脈博以及人們心靈跳動的综合。它使我
想起電影〈上帝也瘋狂〉中的可樂瓶。它有一絲譏
飄，一絲拙笑，一絲無奈。
No. 1
月份
9 -12
8.00 pm
城市當代舞蹈團
九歌
GGDG
Nine Songs
Choreographer
:Helen Lai
編舞
:黎海寧
Peacock Theatre, London
25 - 26
8.00 pm
香港芭蕾舞圑
天鵝湖
高山劇場劇院
27
3.00 pm
Hong Kong Ballet
Swan Lake
Ko Shan Theatre
Choreographer
:Stephen Jefferies
編舞
:謝傑斐
月
份
節
8
2.30 pm
麥高利小劇場
香港藝術節-香港獨立舞展
HK Arts Festival - HK Dance Showcase
巨
動藝
記憶障礙
Dance Art HK
Memory Disorder
Choreographers
:Francis Leung, Andy Wong
編舞
:梁家權及王廷琳
南群g子。
South
看似昨日的天
Dance Workshop Same Time Tomorrow
ASLI
Choreographer 編舞
9
:Ong Yong Lock :王榮祿t
三分顔色
點紅點綠
Three Colors
Point Red. Point Green
Choreographers
:Afa Chiang, Wong Kwan Sun
編舞
:鄭志鋭及王鎏燊
多空間
"舞"可能
Y-Space
Dance In “Possible”
Choreographers 編舞
10
McAulay Studio, HKAC
'
:Mandy Yim, Victor Ma :嚴明然及馬才和
歪的示体
靈靈性性—「翻身」#体樂^
y.d.thearter
Dance Exhibitionist
Choreographer
:Daniel Yeung
編舞
:楊春江
雙妹唼
Revisit
a Paradise for Natural Body【
瘋繼續吹
McMuiMui Dansemble Something Strange in the Air f
10-11
8.00 pm
Choreographers
:Yeung Wai Mei, Abby Chan
編舞
:楊惠美及陳敏兒
東邊現代舞圑
第一回：男5打。獨鬥上環文娛中心劇院 The 1st Round: Men5 s Single Combat Sheung Wan Civic Centre Theatr< i
E-Side Modem Dance Co.
Choreographers
:Wu Kam-ming, Force Fong, Anthony Mah, Aman Yap, Yap Pao-meng, Li Zihao, etc.
編舞
:胡錦明、方俊權、馬金泉、葉忠文、葉步民鳥及 李自豪等
10 - 12
8.00 pm
J
城市當代舞蹈團
與異變街道
葵青劇院演藝廳
GCDC
Plaza X
Auditorium, Kwai Tsing Theatre
Choreographer
:Helen Lai
編舞
:黎海寧
香港舞蹈年獎2000 獎項 香港舞蹈聯盟宣布第二屆香港舞蹈年獎開始接受提 名，理事會呼籲香港舞蹈聯盟各成員提名 ，提名作品必須 為一九九九年一月一日至十二月三十一日所演出或完成 的，這期間的作品符合領取二零零零年頒贈的獎項■
資格 任何個人或團體在上述期間對香港舞蹈發展作出重大 貢獻的均有資格獲得提名。這項貢獻可以屬於任何範疇，
只須提名人認為適合即可，例如在編舞、演出、學識、敖 育、寫作、行政、技術支援、舞譜、領導才能等各方面均
可。任何人均有機會獲提名，而且提名人不限於香港舞蹈
選票和投票程序 所有香港舞蹈聯盟的投票成員■-請注意，如閣下的會 籍到期日為二零零零年二月十五日，你仍有投票權。選票 將在二零零零年寄给所有香港舞蹈聯盟的投票成員。個别 會員將會收到一張選票；曾繳付港幣六百元的團體會員將 會收到三張選票；曾繳付港幣四百元的團體會員（二人成 員），則會收到兩張選票。會員然後在選票上，選出十名 候選人（團體會員須在每張選票上選出十名候選人）。要 獲得承認，選票必須在二零零零年四月十五日或之前 ，傳 真、郵寄或親身送達香港演藝學院舞蹈學院副院長辦公室 （地址：香港灣仔告士打道一號；傳真號碼：2 8 0 2 3856）。郵寄選票的來函郵戳曰期必須為二零零零年四月 十五日或之前的曰期。所有選票均會編配號碼，以確保所 有計算在內或發出的均是官方的選票。
聯盟的成員。
提名
頒發雙項
所有現時有投票權的香港舞蹈聯盟成員* （簡稱投票 成員）而未續會的，到二零零零年二月十五曰為止仍可提 名參選。請利用這頁背面的提名表格。所有提名須在二零 零零年三月十五日或之前，傳真、郵寄或親身送達香港演
二零零零年四月十五日之後，我們收到了所有的選票 後，會隨即點票。得到最高票數的十名候選人將會獲得香 港舞蹈年獎2000的榮譽。票數如有相同，主辦當局或會頒 發多於十個獎項。如得票最多的跟緊接著的候選人票數相 差較遠的話，則大會或會酌情頒發獎項。頒發獎項的最後 決定仍然落在香港舞蹈聯盟理事會身上’得獎名單將會在
藝學院舞蹈學院副院長辦公室（地址：香港灣仔告士打道 一號；傳真號碼：2802 3856）。香港舞蹈聯盟理事會將評 審各提名，並投票選出提名的最後名單。最後名單將包括 舞蹈年獎的選票。提名需要理事會全體成員過半數的投票 支持，所提名字方可列入選票當中。如獲提名的是香港舞 蹈聯盟理事會的一分子，則該名獲提名人在理事會投票叛 選他本人作候選人時不得投票。然而，這名香港舞蹈聯盟 理事會成員仍須獲得理事會全體成員過半數的投票’方可
二零零零年暮春宣布，同時舉行特別頒獎典禮。
香港舞蹈聯盟主席
成為選票上的候選人。
白朗唐
*普通會員和學生會員不屬投票成員
c
HONG KONG DANCE ALLIANCE
CALL FOR NOMINATIONS
HONG KONG ANNUAL DANCE AWARD 2000 The Award
The Ballot and Voting
The Hong Kong Dance Alliance announces its second
All current voting members* of the Hong Kong Dance
annual Hong Kong Dance Award. The Executive Committee
Alliance whose dues are current as of 15 February 2000 are
calls on the general membership of the Hong Kong Dance
eligible to vote for awards. The Ballot will be sent to all
Alliance for award nominations. Nominations should be
voting members* of the Hong Kong Dance Alliance on 31
for work performed or completed between 1 January 1999
March 2000. Individual Members will receive one Ballot;
and 31 December 1999 which is the eligible period for
Organizational Members who have paid HK$600 in dues
awards granted in the year 2000.
will receive three Ballots; (Special Two-Person Organizational Members who have paid HK$400 in dues
Award Eligibility
will receive two Ballots). Members will then vote for ten
Any individual or organization that has made
nominees on their ballot form (organizational members will
significant contribution to Hong Kong dance development
vote for ten nominees on each of their ballot forms). To be
in the eligible period may be nominated to receive an Award.
counted, all Ballots must be returned by 15 April 2000 by
This contribution can be in any area deemed appropriate by
fax to 2802 3856, or in person, or by post to the office of the
the nominator, e.g., choreography, performance, scholarship,
Associate Dean, School of Dance, HKAPA, #1 Gloucester
education, writing, administration, technical support,
Road, Wanchai, Hong Kong. (If returned by post, the ballot
notation, leadership, etc. No one is excluded from being
envelop must be post-marked by 15 April 2000). All Ballots
nominated for an award. Nominations need not be members
will be numbered to insure that only official ballots will be
of the Hong Kong Dance Alliance.
issued and counted.
Nominations
* Associate and Student members are not voting members
All current voting members* of the Hong Kong Dance
16
Alliance whose dues are current as of 15 February 2000 are
Determination of Awards
eligible to make nominations for awards. Please use the form
After 15 April 2000, when all the ballots are received,
on the reverse side of this page to make nominations. All
they will be counted. The ten nominated entries gaining the
nominations must be returned by 15 March 2000 by fax to
highest number of votes will be awarded Hong Kong Dance
2802 3856, or in person, or by post to the office of the
Awards for 2000. In the event of ties, more than ten awards
Associate Dean, School of Dance, HKAPA, #1 Gloucester
may be granted. In the event of a clear separation between
Road, Wanchai, Hong Kong. The Executive Committee of
the top vote receivers and subsequent nominees, more or
the Hong Kong Dance Alliance will review all nominations
less than ten awards may be granted. Final decisions
and vote on a finalist list of nominations. This finalist list
regarding the granting of awards will be made by the Hong
will comprise the Ballot for the Dance Awards. In order for
Kong Dance Alliance Executive Committee. Awards will
a nomination to be placed on the Ballot it must receive the
be announced and presented at a special Award Ceremony
votes of more than 50% of all the members of the Executive
in the late Spring of 2000.
Committee. In the case of Hong Kong Dance Alliance Executive Committee members who are nominated for an
award, that nominee will recuse themselves from the voting when the Executive Committee votes on their nomination.
More than 50% of all Executive Committee membersâ&#x20AC;&#x2122; votes, however, will still be required for the nomination of a Hong
Kong Dance Alliance Executive Committee member to be
Chairman
placed on the Ballot.
February 2000
HONG KONG DANCE ALLIANCE DANCE AWARDS 2000
NOMINATION FORM (Members may make as many nominations as they wish -—please use additional paper as necessary)
Please fax to 2802 3856, or bring in person, or mail to the office of the Associate Dean, School of Dance, HKAPA, 林
1 Gloucester Road, Wanchai, Hong Kong by 15 March 2000
Nomination No.l:
Reason for Nomination:
Nomination No.2:
Reason for Nomination:
Nomination No.3: Reason for Nomination:
______________________________________________________________ 1
'1
c o
香港舞蹈聯盟 各自各舞蹈系列2000 公開座談會曁工T乍坊
日
港舞蹈聯盟"各自各舞蹈系列2000"的籌備
工作已進入了密鑼緊鼓的階段，今年的節目包括有
在六月二、三日舉行'名為Four
Women on the Fringe '
精采的演出由香港芭蕾舞團總監暨獨立編舞家雷佩王余
表演、座談會和工作坊。計劃中有兩項表演節目
小姐、香港舞蹈團舞蹈家曹寶蓮小姐、獨立編舞家張秀
（分別在藝術中心麥高利小劇場和藝穗會舉行）、公
梅小姐（演出自己的作品In
開应談會和工作坊的融資安排仍有待確定 。雖受經
freedom）
that stillness there was a
和戀舞狂藝術總監鍾碧霞小姐。
費所限，遴選委員會仍邀得多位提出建議的人士。 這些建議是從收來幂多的建議書中選出的 ，得到大
舞蹈座談會
家熱烈的反應，我們謹此致謝。至於今年未有獲選
的建議，希望來年再次提出，讓這些富有趣味和創
除了演出外，舞盟這一季將會再次舉行上次非常
意的建議，能有公開發表的機會。香港舞蹈聯盟成
成功的舞蹈座談會。是次題材包括香港舞蹈中心和成立
員數目逐漸增加，香港的舞蹈發展日趨蓬勃，作品
首間舞蹈中學的策略的最新發展事項。論壇定於五月十
的演出水準也較前出色。是次節目的安排取捨絕非
三曰和六月十日下午二時半至六時半舉行。
容易，節目編排由很多因素決定•委員會認為表演 的編排須符合計劃中的環節。
舞蹈工作坊 今年計劃的新增項目有兩個工作坊，由美國獨立
節目安排詳情如下：
舞者Wil
擔演。Swanson先生曾在世界知名的
Swanson
的舞蹈員。他將會主持兩
Trisha Brown Dance Company
麥高利千禧各自各舞蹈系列2000
18
個關於釋放技巧的工作坊，歡迎公幂人士參加。工作坊
麥高利千禧各自各舞蹈系列2000將包括在四月 舉行横跨三個周末的音樂會，屆時將會有本地演藝
的日期暫定在四月二十三曰和五月七日下午二時至五時
舉行。
人和他們與外地演藝人的合演項目。已確定的演出 項目包括：動藝與來自美國的演藝人Wil
攜
Swanson
手合作的演出、獨立舞蹈家何靜茹小姐與日本表演
所有表演、座談會和工作坊的門券訂購詳情將於
下期《舞蹈手扎》刊出。
者松島誠的合作演出和南群舞子王榮祿先生各負責
一晚的演出項目。 香港舞蹈聯盟主席
藝穗會千禧各自各舞蹈系列2000 我們為藝穗會千禧各自各舞蹈系列2000籌備了 兩個周末的音樂會。第一系列的音樂會名為舞蹈炸
珍寶，在五月十九、二十日舉行，是去年極其精采 演出的延續。今年參與演出的包括有精於Salsa、印
度舞、檢椅舞、hip
和雜技舞的名家。第二個周
hop
末的音樂會在六月二、三日舉行，名為藝穗四舞"
雌"，精采的演出由香港芭蕾舞團敎育及外展部暨獨立
編舞家雷佩瑜小姐、香港舞蹈團舞蹈家曹寶蓮小姐 、獨 立編舞家張秀梅小姐（演出自己的作品In there was a freedom）
that stillness
和戀舞狂藝術總监鍾碧霞小姐。
白朗唐
Hong Kong Dance Alliance Millennium All Independent Dance Series Public Forums and Movement Workshops
Xp
lanning for the Hong Kong Dance Alliance
Millennium All Independent Dance Series is well under way with Performance, Forum, and Workshop components
Fringe Millennium All Independent Dance Series
For the Fringe Millennium All Independent Dance Series two weekends of concerts are planned.
The first
Final confirmation of
series of concerts, entitled Cross Dancing JaJumbo, will be
two sets of performances, at the Art Centre’s McAulay
held on 19 and 20 May. This will be a return engagement
Theatre and the Fringe, and of Public Forums and Public
of the highly successful installment from last year. This
Movement Workshops is contingent on financial support
year’s artists include those working in Salsa Dance, Indian
associated with this year’s series.
from our major funding sources.
Conditioned on this
Dance, Wheel Chair Dance, Hip-Hop, and Acrobatic Dance.
support, however, from the many proposals received, the
The second weekend of concerts held on 2 and 3 June is
selection committee has invited a number of participants.
entitled Four Women on the Fringe.
Our thanks to all those who responded to our call for
programme will feature Hong Kong Ballet Education Head
proposals and for those who were not selected to participate
and independent choreographer, Florence Lui, Hong Kong
this year, we ask that you please submit proposals again
Dance Company dancer, Tso Po-ling, independent
next year for the series in 2001. All the proposals were
choreographer Vanessa Cheung Sau Mui in her work “In
This exciting
interesting and inventive and we look forward to their
That Stillness There was a Freedom” and the work of
eventual fruition.
Danseomanie director Jocelyn Chung.
The Hong Kong Dance Alliance
membership is growing, dance in Hong Kong is expanding,
and the quality of work being performed is better than ever. It was a very hard task to decide on line-ups for this year’s
Public Dance Forums
events. Decisions on what to include in our presentations
This season, in addition to the performances, the
were based on many factors including what the committee
Alliance will once again reprise its very successful Dance
felt would be most appropriate for the planned events.
Forums. Topics for the forums will include an update on the Hong Kong Dance Centre and the Secondary Dance
These events and some of the line-ups for them follow:
Specialist School.
Dates for the Forums will be 13 May
and 10 June from 3:30-6:30PM. McAulay Millennium All Independent Dance Series
The McAulay Millennium All Independent Dance
Public Movement Workshops
Series will consist of three weekends of concerts in April
and will feature both local artists and local artists working
Added to this year’s plans are two movement
with international artists. We have confirmed that Dance
workshops by American independent dance artist Wil
Art Hong Kong will present work with American artist Wil
Swanson. Mr. Swanson, a former dancer with the world-
Swanson; independent dancer, Frankie Ho will participate
renown Trisha Brown Dance Company will present two
in a presentation with Japanese performer Makoto
different workshops in Releasing Technique that will be open
Matsushima; and, South 'ASLVDance Workshops Ong Yong
to the public. Dates for the two workshops are tentatively
Lock will present an evening of work.
set at 23 April and 7 May from 2-5PM. Booking information for all performances, the forums,
and the movement workshops will be published in the next issue of Dance Journal/HK.
Chairman
February 2000
交化班挪乂餅No.
Dan
1
2000
Members of Hong Kong Dance Alliance
個人會員
INDIVIDUAL MEMBERS Andrew Broomhead
Mr Jason Brockwell
千 年
簡麗珊女士 鄭健華先生 朱孟青女士 局家霖先生 黃亞举女士 黎倩樺女士 李翠女士 雷佩瑜女士
Ms Margaret Carlson
Mr Billy Cheng Ms Wendy Chu
Mr Graeme Collins Ms Huynh a-hoa Ms Amy Lai Ms Doris Li Ms Florence Lui
陳德昌先生 錢秀連女士 秦懿欣女士 謝漢文先生 郭慧芸女士 黎海寧女士 陸國雄先生 伍宇烈先生
香
港 蹈
聯
盟
會 員 名
單
Ms Miranda Chin Ms Ulian Chun
Mr Mohamed Drissi Ms Vivian Kwok Ms Helen Lai
Mr Luk Kwok-hung
Mr Willy Tsao Ms Scarlet Wong
溫玉均先生 許淑嫉女士
白朗唐先生 周全輝先生 宋絜女士 鍾秉瑜女士 何偉強先生 劉玉芬女士 羅詠芬女士 龍植池先生
Mr Tom Brown
施素心女士 黃國強先生
Ms Susan Street
Mr Chau Chuen Fai Ms Chu Kit Ms Stella Chung
Mr Ho Wai-keung Ms Medina Lau Ms Kim Law Mr Edwin Lun
Ms Priyadarshini Ghosh-shome
Mr Yuri Ng Ms Indira Sawlani
Daryl Ries
曹誠淵先生 黃翠玲女士
Mr Ringo Chan
Mr Aaron Wan
Mr K. K. Wong
Ms Xu Shu-ying
團體會員
聯絡人
ORGANIZATION MEMBERS
Contact Person
方舟舞蹈劇場
鄭楚娟女士
Ark Dance Theatre
Ms Eve Cheng
霹靂啪D勒身體劇場 陳紹傑舞蹈中心 精舞門標準舞蹈學院 城巿當代舞蹈團 接觸點 動藝 舞渡界 舞城 戀舞狂
黃狄文先生 陳紹傑先生 尤月興女士 曹誠淵先生 梅卓燕女士 王廷琳先生 湯布力先生 潘少輝先生 鍾碧霞小姐
Mr Dominic WongF
Billy Chan Dance Centre
Mr Billy Chan
Champion Ballroom Dancing Academy
Ms Diana Yau
City Comtemporary Dance Company
Mr Willy Tsao
Contact Point
Ms Mui Cheuk-yin
DanceArt Hong Kong
Mr Andy Wong
Dance HK / NY
Mr Tom Borek
Dancing City
Mr Pun Siu-fai
Danseomanie
Ms Jocelyn Chung
DMR School of Ballet
Mrs D. M. Wayburne
E - Side Modern Dance Company
Mr Jacky Yu
東邊現代舞蹈團 基督徒舞坊 蜉蝣舞團 歩韶舞蹈團 香港演藝學院 香港芭蕾舞團 香港舞蹈團 香港國際專業舞蹈體育總會 香賴年醐節協會有限公司 智才補習學校及S!）作天地 王仁曼芭蕾舞學校 雙妹曖 動作纖維 新約舞流 絲路舞蹈文化協會 躍舞翩 南群舞子 三分顏色 原贈系 舞蹈菲場 蒲窩青少年中心 X —劇場 歪］的ZJX体 多空間
余仁華先生 曾澳英女士 黃恆輝先生 宋絜女士 施素心女士 吳杏冰女士 劉志青女士 陳偉先生 麥蓮茜女士 孫名翠壮 醐瑛女士 楊惠美女士 邢亮先生 周佩韻女士 帕夏吾賣爾女士 徐偉業先生 王榮祿先生 鄭志銳先生 李笑玲女士 宋倩儀女士 伍梁敏玲女士 廖美燕女士 楊春江先生 嚴明然女士
普通會員
ASSOCIATE MEMBERS
張秀芬女士 方潔萍女士 關艷蘭女士 郭淑欣女士 黎少玲女士 松島誠先生 莫裕康先生
Bilibala Physical Theater
Evangelical Dancing Troop
Ms Tsang O-ying
Fau Yau Dance Circle
Mr Wong Hang-fai
The Harmonious Dance Troupe
Ms Chu Kit
The Hong Kong Academy for Performing Arts
Ms Susan Street
Hong Kong Ballet
Ms Helen Ng
Hong Kong Dance Company
Ms Ophelia Lau
Hong Kong Professiond Dance Sports Council
Mr Chan Wai
Hong Kong Youth Arts Festival Association Ltd
Ms Lindsey McAlister
rrS & TS Creative
Ms Karen Suen
Jean M. Wong School of Balet
Ms Arma Chan
McMuiMui Dansemble
Ms Yeung Wai-mei
Movement Fibre
Mr Xing Liang
Passover
Ms Pewan Chow
Silk Road Cultural Society
Ms Pasha Umer
Spring Poetry
Mr Terry Tsui
South Asli Dance Workshop
Mr Ong Yong Lock
Three Colours
Mr Afa Chiang
Uncarved Block
Ms Ling Lee
The Flying Works
Ms Phoebe Chu
The Warehouse Teenage Club Ltd
Ms Miranda Ng
X-tanztheatr
Ms Elina Liu
y. d. thearter
Mr Daniel Yeung
Y - Space
Ms Mandy Yim
Ms Cheung Sau-fan
Ms Fong Kit-ping
I
Ms Kwan Yim-Ian Ms Kwok Shuk-yan Ms Lai Siu-ling
Mr Makoto Matsushima Mr Juergen Morhard Ms Asha Sawlani
學生會員 陳雅芝女士 蔡嘉樂先生 盧幸賢女士 鍾晶女士 黃天華女士
STUDENT MEMBERS I
Ms Susanna Chan
Mr Cody Choi Ms Candy Lo Ms Chung Ching Ms Audrey Wong
Membership Form
會員申請表
Membership 會藉
（
）Individual
個人會員
$200
（
）Organization 團體會員
$600
（
）Associate*
普通會員
$100
）Student*
學生會員
$50
（
Member s Information 會員資料 Name 姓名（English 英文）_______________________________ （Chinese 中文）___________________________________ _
Telephone 電話（Office 公司）____________________________ （Home住宅）____________________________________ Fax 傳真（Office 公司）___________________________________ （Home住宅）____________________________________ _ Position 職位__________________________________________________________________________________________________ Name of Company 公司名稱__________________________________________________________________________________
Affliated Cultural Organization 戶斤屬藝術機^________________________________________________________________ Address 地址___________________________________________________________________________________________________
Organization Member s Information 團體會員資料 Name of the Organization 團體名稱_________________________________________________________________________
Personin Charge負責人姓名-------------------------------------------------------------------------------
Telephone 電話____________________________________ Fax 傳真--------------------------------------------------
Correspondence Address 通訊地址__________________________________________________________________________
Applicable Dance Category 所屬舞蹈類別 | | | |
| Ballet 芭蕾 | Eastern Folk東方民族舞
| Contemporary 現代舞
]Western Folk西方民族舞 | j | Criticism寫作與評論 i_
| Education 敎育界 | Cultural and Arts Administration 文化及藝術行政
□ Notation舞蹈記錄
*
|
□ Others其他
|
| World Dance民族民間舞 2） Ballroom國際標準舞
]Technical Arts 舞台技術 | | Musical Theatre / Jazz/Tap Dance 音樂舞劇/爵士舞/踢躂舞
Signature簽署:---------------------------------- Date日期:-------------------------------------------------
|
Please enclose cheque payable to THE HONG KONG DANCE ALLIANCE with this application form to c/o Office of the
I
Associate Dean, School of Dance, Hong Kong Academy for Performing Arts, 1 Gloucester Road, Wanchai, Hong Kong. 請填妥表格連同劃線支票抬頭寫：
|
轉交香港舞蹈聯盟收。
I I * Non voting沒有投票權利
「香港舞蹈聯盟」寄香港灣仔吿士打道一號香港演藝學院舞蹈學院副院長辦公室
21
原編舞：佩蒂巴及艾化李夫 編舞/製作：謝傑斐
音樂：柴可夫斯基 佈景及服裝設計：彼得•科曼 Choreography: Marius Petipa and Lev Ivanov Additional Choreography/Production: Stephen Jefferies Music: Pyotr Ilyich Tchaikovsky
紅磡高山劇場 Ko Shan Theatre, Hung Hom
Set and Costume Designs: Peter Farmer
25 & 26.2.2000 （星期五及六 Fri & Sat） 8:00pm 27-2-2000 （星期日Sun） 3:00pm
節目查詢 Programme Enquiries: 2105 9723
票價 Tickets: $120,90, 50 •留座 Reservations:
門票現於各城市電腦售票處發售 全日制學生、高齡及殘疾人士可獲半價優惠 六歲以下小童恕不招待
由Rom 九龍西 Kowloon West
2734 9009
往髙山劇場巴士路線
Bus Routes to Ko Shun Theatre 2E, 5,5A, 5C, 5D, 6C, 6F, 11,1U,12A, 14, 21, 26, 28,93K \ 2E, 3B, 5,5A, 5C, 5D, 6C, 6F, 11,1 IK, 12A, 14,15,21,26,2i\
Tickets available at all URBTIX outlets NOW
九龍東 Kowloon’East
Half-price tickets available for full-time students, senior citizens and people with disabilities
新界 New Territories
41,45,75X, 85,85BZ 85C, 93K
Children under 6 are not admitted
香港島HK Island
101,106, 107,108, 111, 116^121
旺角
Mong Kong
D 沙咀 Tsim Sho Tsui
觀眾務請準時入場，遲到者需待中場休息方可入座 Audiences are strongly advised to arrive punctually. Late-comers will have to wait until the intermission to be seated.
主辦機構保留更改節目及表演者之權利 The presenter reserves the right to change programme and artists.
市政局於一九九六年特約製作《天鵝湖》The production of Swan Lake was commissioned by the Urban Council in 1996.
康樂及文化事務署贽助場地及售票服務 Venue and Ticketing Services sponsored by the Leisure and Cultural Services Department
《術發展局資助
香港
Supported by the
Hong Kong Arts Development Council