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香港演藝學院 圆書館
I
THE HONG KONG ACADEMY FOR rSEFOKMINGARTS LIBRARY
大公報
Commentary
林懷民先天下之憂而憂
評論
作者：思念
大公報
現代舞的價值（二）
《愛德華二世》展現編演實力
The Value of Modern Dance
—伯明翰皇家芭蕾舞團周內訪港演出
Author: Willy Tsao
作者：劉玉華
作者：曹誠淵
Events
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Press Clippings 剪報服務
胃 四月份演出節目名單
浮世與巴赫共舞 作者：小棕
Dance Alliance News 舞盟快訊
Hong Kong Standard An irreverent chaos
Author: Kevin Ng
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大公報
香港舞蹈聯盟會員名單
祈福與控訴---看《焚松》與《巴赫浮世繪》有感 作者：佛琳
會員申請表
□
Hong Kong Standard Gypsy queen reborn
Author: Kevin Ng
封面設計：Lilia Ng
SE
COMMENTARY 現代舞的價值
The Value of Modern Dance
這篇文章是由曹誠淵先生撰寫有關現代舞在中國
This is the second installment in a series of articles
的發展的第二輯，其它文章將會陸續於舞蹈手扎
by Willy Tsao on the Modern Dance in China.
中刊登。
Subsequent installments will appear in Dance Journal/ HK throughout the year.
（三）對現代舞的一些批評和回應：
C. Modern Dance: some criticisms and responses
一•抽象難懂，缺乏觀眾支持
1 •現代舞以肢體作工具，動作為媒介，不以文字説 話、甚至故事情節表達內容，觀眾只憑舞蹈演員的
1. Abstract and difficult to grasp, lacking in audience support.
形神姿態，揣摩其中涵義，有部份觀眾因之而感悟
2
於心，卻也有許多人看後大不滿意，他們當中可能
a. Modern Dance uses the human body as vehicle, and
有些是因為舞蹈的內容不夠具體而不安，也可能有
movement as medium. It doesn’t explain with
些是知道了內容、卻對編排的形式手段捉摸不透而
words, nor use any storyline to express its content.
煩躁。
The audience gathers its meaning from the dancers’
-其實高層次的藝術都以“抽象”為美，中國傳統一 直崇尚"抽象”：書法中的取意、繪畫中的留白、
音樂中的餘韻、甚至京劇中的一桌兩椅代表了一切 繁雜佈景，都顯示中國人有欣賞"抽象”的能力。
movements and expressions on stage. While part of
the audience understands the meaning of the dance, an even greater part is dissatisfied with the
experience: there are those who feel uneasy because
the content of the dance is not concrete enough, and
舞蹈作為一種藝術，本質上就是抽象的：演員跳一
others who, although they understand the dance, are
段孔雀舞，並不是真去假扮一只孔雀，而是摘取孔
nonetheless mystified by the choreographer’s devices.
3 •
雀的神緒，以肢體動作編結成一種形式，從而逗引 出觀幂對孔雀的感覺— —現代舞也不過是要逗引出
觀眾對生活、對時代、及對人類某種生存狀態的感 覺罷了！
b. Actually all sophisticated art forms are "abstract” .
There has always been a pursuit for this "abstract"
quality in Chinese tradition: whether in calligraphy, painting, or music; and even in Beijing Opera:
4
•那為何許多中國觀眾認為現代舞“難懂”呢？最大 的原因在於現代舞的特徵之一：“原創性”。現代 舞的創作，總希望推陳出新，每個節目要跟以前的 不一様，國人習慣於固有藝術表演程式，對“原
創”的新事物雖感好奇，也能包容，卻不耐煩去細
心研究；現代舞出現於中國舞台上，也只是近十年
where the simple placement of 1 table and 2 chairs
replaces complex sets on stage - all these indicate that the Chinese have the ability to appreciate "abstract" qualities.
c. Dance as an art is abstract to start with: when a
的事，每次演出又如曇花一現，沒有足夠時間和渠
dancer performs a peacock dance, he does not
道讓觀眾浸淫於“原創”作品並吸收其中精粹。
actually seek to disguise himself as a peacock. Rather
5 •倘若現代舞藝術家們能持之以恆，不斷為中國觀眾 在舞台上演出“原創”而“抽象"的現代舞，則以 中國觀眾的靈智和文化素養，很快會接受並領會此 種藝術的獨特魅力，增強國人的創造性。
he portrays the essense of a peacock. Creating certain characteristics with his body, he induces in the
audience images of the peacock. Similarly, Modern
Dance extracts from the audience their reactions to life, to their own times, and to certain living conditions.
d. Why do Chinese audiences find Modern Dance 2 •內容陰暗，偏離進取精神
"hard to understand"? The main reason has to do
1 •雖然間中也有輕鬆愉快的作品，現代舞給人的總體 感覺是深沉陰暗，舞蹈家們在舞台上不是茫然若
Modern Dance aims to create something new with
失，就是歇斯底里，有時也頗能觸動感染觀眾，卻
each work, never repeating itself. Chinese people,
好像老跟國家文化政策中要推動的樂觀進取、振奮
although curious and tolerant with such
人心的主旋律背道而驰。 2
with one of its main characteristics: "originality".
•其實藝術的上乘處，“悲劇”要比“喜劇”和“鬧
"originality", are nonetheless more used to established forms of artistic expressions. They are
劇’’來得更打動人心，莎士比亞的《哈姆雷特》在
often impatient to explore new vocabulary.
層次上要比《仲夏夜之夢》高，而中國四大奇書
Furthermore, it’s been less than a decade since
中，除了《西遊記》外，《紅樓夢》《水滸傳》和
Modern Dance appeared on the Chinese stage, and
《三國誌》都在不同層次上描繪人生的離亂與不幸；
each time for short periods only. These have hardly
而千百年來許多燴炎人口的唐詩宋詞中，也是以悲
provided enough time, nor the proper channels for
涼蒼桑或婉轉低迴的多。
the audience to really understand and appreciate it.
3 •難道説西方的莎士比亞和中國的小説家曹雪芹、施 耐庵、羅貫中以及詩人杜甫、蘇軾、李清照、辛棄
e. However, if Modern Dance artists persist in performing more often, exposing the audience to
疾等都活在陰暗中而沒有進取精神嗎？他/她們是
"original" and "abstract" pieces, then these
以更高的藝術手段在更深層次處去打動人心而已；
audiences are bound to accept these uniquely
重要的是，藝術家以非凡的洞察力觀照“時代”，
fascinating aspects of this art form, given their
每一 “時代”中，總有一些不如意事.把人生中的
wisdom and cultural finesse. In the process, they
艱難苦惱以藝術手段展現出來，目的不是描繪陰
also strengthen their own creativity.
暗，效果卻是讓觀幂獲得適當的渲洩渠道，從而滌 洗心靈，以更平靜而飽滿的態度去面對生活。 4
•現代舞的特徵之一便是“時代性”，現代舞蹈家們
在作品中不斷反思“時代”的狀態和變化.可以説
2. Dark content, not motivational enough.
a. Although occasionally light and happy, Modern
他們是居安思危，也可以認為他們對生活真有所
Dances are often dark and sombre. Dancers seem
感0
lost on stage, even hysterical. And even if these
5 •現代舞把“時代”中陰暗一面展露出來，並不會和 國家的文化政策“對著幹”，反而豐富了對“時代”
的刻劃，中國觀眾因而能從多層面、多角度去認識 和感受“時代”，以更進取的精神和心態在時代中 邁進。
works can touch and move the audience, the
message contradicts the main theme of the country's cultural policy: to instill optimism and
uplift people's spirits. b. Actually among the really important art works,
"tragedy" has a much stronger effect on people than "comedy”. In this regard, Shakespeare’s Hamlet is
3 •糢仿西方，沒有中國特色
'better’ than Midsummer Night’s Dream. With
1 •中國現代舞的演員在舞台上雖然動作靈巧，感覺也
China’s 4 major literary works: apart from Journey
頗貼近生活，可在表演的形式和內涵上，和常見的
To The West, the 3 other opuses - Dream Of The Red
來自西方的現代舞沒什麼兩樣。許多中國的舞蹈家
Chamber, Outlaws of The Marsh, and Tales Of The
甚至西方的舞評人都會説：中國的現代舞就應該有
Three Kingdoms - all portray misfortune and
中國的特色，否則只是照搬外國人的東西，藝術價
unpredictability in life on various levels. Moreover,
值不高，也不能算是真正的中國現代舞。
the majority of well-known Tang and Sung poems
2
•面對這樣的批評，可要分兩個層面來回應。
3•第一個層面是：要有中國特色的現代舞才算是中國 現代舞，那什麼才是中國特色呢？
dwell on sad and desolate topics. c. Should we then conclude that Shakespeare and
authors of the above great Chinese literary works led dark and sombre lives? That they lacked
a•對習慣於觀賞傳統舞蹈的觀幂和舞蹈家來説’
motivation, and were always pessimistic? They
舞蹈中的中國特色很容易被簡化成為某種傳統舞蹈
merely employed higher artistic means to reach out
的模式，譬如民間舞蹈中扇、巾、傘'筷 '碗'鼓
and touch our souls on a deeper level. The crux of
等道具運用手法和古典舞中雲手、柵膀、圓場等身
段套路，倘若在現代舞中加進這些模式，便算是中 國特色。
the matter is that artists throughout history have had
the ability to be extraordinarily perceptive about
their own times. Every historic period has had its
DcmceJK您2 No. 2
own share of 'misfortunes'. By portraying these hardships artistically, these authors aim not to stress
or even glorify the dark and sombre; but rather to b•可是很多外國舞蹈家也在學習中國傳統道具運
provide the audience with proper channels to vent
用手法和身段套路，甚至包括太極’武術等’當一
their feelings. After such a release they are equipped
個美國人在其現代舞作品中借用太極或武術動作
to face life again, calm and fulfilled.
時，是否可以説美國舞蹈家在創作中國現代舞呢？
d. One of the characteristics of Modern Dance is that it
c •可見中國特色，甚至任何地域文化特色，是不
relates to the times during which it is created.
能單憑外在的形式來決定。一個生於斯' 長於斯的
Modern Dance artists exhibit the quality of
中國藝術家在創作時，借用某些外國人發明的形式
'vigilence' by closely monitoring the current state of
手法，可不能説這些作品不屬於中國。
society, and are mindful of any changes. In doing
d•有時更因為藝術家們的勇於借鑑，豐富了中國 的傳統。就像中國的傳統樂器如琵琶、二胡、揚琴
等，都是古代音樂家們向外學習而使之傳入中國的
so, they also prove to us that they feel deeply with
their lives. e. Modern Dance artists do not aim to contradict
成果。可以説，中國人在這片大地上的創作，只要
mainstream cultural policy by exposing the dark and
是有價值而能被保存下來的，都是中國藝術。
sombre side of "the times”. On the contrary, they
e •美國舞蹈家不可能創作出中國現代舞，同理•
enrich "the times", adding depth to its
當代中國舞蹈家們生活在中國社會_，有所思、有
perception. Because of them, Chinese audience can
所感而編創出來的現代舞•不可能是外國的現代
understand and feel "the times" from different
舞，而只能是中國現代舞。
perspectives, enabling them to go forward with
vigor. f•中國現代舞有沒有中國特色？這種特色又是什 麼樣子的？便要留待後人，或者是有見識和胸襟的 藝術評論家們，站在歷史的更高點•以學術研究的
3.Imitate the West, not "Chinese”.
態度，一方面觀察和搜集今天中國藝術家們創作出 來的現代舞，另方面則從這些創作中，梳理和歸納
出屬於今天中國現代舞的特色。
a. Although Chinese Modern Dancers appear agile on stage, and their performance is inspired by real -life experiences; these performances do not differ
g •在歷史長河中，中國特色其實不斷在變，每一 時代的中國有不同的中國特色，譬如封建時代有封
建中國特色、革命時代有革命中國特色，不能把過 去了的中國特色硬套在今天開放中國的藝術家頭
上•只有當今天的藝術家能自由自在的創作 ，其中 最優秀的作品被保存下來的時候，才會在其中發現 屬於當代的中國特色。
4•第二個層面是：現代舞的創作是否必須尋求一
significantly in form or content from Modern Dance that comes from the West. Chinese dance critics,
and even those of the west would argue that for Chinese Modern Dance to have any value at all, it
must not be a copy of its western counterpart.
Otherwise its artistic value is questionable, and the genre itself cannot be truthfully considered to be
"Chinese" Modem Dance.
種國家或民族的特色？
b. Criticism such as this can be answered on 2 levels.
a•現代舞的特徵之一是：發揮藝術家各自獨特的 "個性”。其實任何藝術創作都強調“個性”，沒有
“個性”的藝術容易流為一個模子_倒出來的工商
Jo °
b •就算以中國最傳統的書法藝術為例，歷代以來
c. The first level is: if Chinese Modern Dance must have a "Chinese-ness” to it in order to qualify, what then
is this "Chinese-ness〃？ i. For dancers and audiences alike, who are used to
著名的書法家們之所以得享盛名，並不單是因為他
seeing traditional Chinese dance, it is easy for them
們能繼承前人法度.而更多是因為能別出抒機，寫
to equate this "Chinese-ness" with certain cliches.
出自己的“個性”和風格，從王羲之掃除魏碑遺
These can be props used in Folk Dance such as fans,
風，發展出灑脱字體開始，歐陽詢的剛正、顏真卿
scarfs, umbrellas, chopsticks, bowls, and drums etc.,
的融渾、柳公權的傲拔、懷素的狂放、米芾的自
or typical dance steps used in Classical Chinese
然，是使他們佔據中國書法大家地位的原因。他們
Dance. They feel that if we can see any of these in a
在書寫創作的時候，有刻意地在筆鋒處尋求某種民
work, then the dance is "Chinese".
族特色嗎？率性而為而已！倘若他們寫字時心中存
ii. A lot of foreign dance artists are learning and
有展現某種國家特色的念頭，便可能連一隻字都寫
incorporating traditional Chinese dance steps and
不出來了。
props into their compositions. They are even
•現代舞的創作也應如是。今天提到美國的現代
including Taichi, and Kung Fu steps etc.. When an
舞，並不是指某種帶有“美國特色"的現代舞，而
American uses such steps in his choreography, is he
是包括依莎多拉•邹肯、瑪莎•格藍姆、保羅•泰
then creating a piece of Chinese Modern Dance?
C
勒、荷西•李蒙、默斯•肯寧坎等在內的各種個性 風格截然不同的美國舞蹈家的作品在內；美國現代 舞集合了所有美國舞蹈家的“個性”而使人們對美
國的現代舞產生多姿多彩的印象，而這種印象又會 隨著年青美國舞蹈家們的出現 、展現出更多不同 “個性”的作品而變得更美不勝收。
iii. Clearly we cannot simply use superficial / external
criteria to judge this so-called "Chinese-ness"; and this applies to any other country as well. A truly Chinese dance artist, born and bred in his own
country, cannot be considered to be creating works
not belonging to China when he chooses to borrow
d •不但美國的現代舞是這樣，許多先進國家地區 如德國、法國、英國、日本、韓國甚至台灣和香
港，都各有為數幂多的充滿“個性”的現代舞蹈 家。
steps and devices originating from another country. iv. Moreover, this kind of courageous "borrowing"
enriches Chinese tradition. We need look no further
for examples of such an enrichment than to
e•當人們品評一個國家或地區的現代舞發展的時
traditional Chinese musical instruments: the erhu,
候，並不在意舞蹈有沒有地方特色，而是注重有沒
pipa, yangqin etc., were all "borrowed" from outside
有各具“個性”的藝術家。倘若一個地方的舞蹈家
China, but incorporated and further developed to
們只有一種“個性”，而創作出來的所有舞蹈只有
be very much a part of Chinese musical fabric. We
一種特色時，就算這單一的“個性”被提昇為“民
can say then, that whatever has been developed
族性”，單一的特色被尊崇為國家特色，仍掩蓋不
住的事實是：這個地方的藝術只有單一路線，藝術
家們都朝著同一方向走，他們不可能有各自獨立的 “個性”。
and deemed to be worthwhile to preserve in this great country of ours is Chinese art.
v. Just as it is impossible for an American to create Chinese Modern Dance, it is equally impossible for
f • “個性”和“民族性”在本質上是有很大區別
a Chinese person, who feels and thinks deeply about
的。“民族性”要求的是人群社會間的共通面貌；
his work, to create anything but a piece of Chinese
“個性”則追求在群體中每一獨立個體的相異點。
Modern Dance.
g •因此尋求“民族性”的古典舞和民間舞必須附
vi. So is Chinese Modern Dance "Chinese" enough?
庸於一種整體特色，否則便不是民族舞；追求“個
What is this "Chinese-ness"? These issues should
性”的現代舞必須發展自己獨特的面貌，有時甚至
be left for dance critics and persons who are qualified
要和那種群體公認並接受的整體特色拉開距離，否
to evaluate from a historical standpoint. First they
則便不能稱之為現代舞。
should gather and sieve through as much
h •今天中國全國境內，已經有上千個民族歌舞 團，都在重覆著相同的步伐去尋找某種“民族
information as possible regarding all the Chinese
性”，而稀有的中國現代舞蹈家們在創作現代舞
and then they have to digest this material and make
時，仍然被壓抑著“個性”、被要求交出千人一面
their judgements based on scholastic research.
的“中國特色”，這不能不説是今天中國藝術發展 的悲劇。
Modern Dance works they can lay their hands on,
vii. Actually, in the long history of China, every dynasty, every epoch had its own "Chinese-ness".
5 -只有身處弱勢文化的社群，才會整曰害怕自己的文
These qualities, for example, are very different in
化被別人蠶食消失；只有對發展前途信心不足，才
feudal China and modern 'revolutionary' China. It
會時刻害怕別人誤會自己在模仿別人；只有自卑傳
is unfair to force any of these qualities onto our
統，才會不斷要求把傳統特色扛在頭上。
present day dance artists. It is only when they are
6 •昔之長安、今之紐約，大都會氣象萬千，文化薈 萃。中國的藝術家們自當有足夠的胸襟氣魄去擷取
萬家，而中國的現代舞更應是在對傳統遊刃有餘
left completely free to create, and that the best of these works are passed on to the next generation; that we can discover the real "Chineseness" of our own age.
下，踏出那充滿“個性”的一步。 文：曹誠淵
d.The second level is this: is it really necessary to identify a country, or qualities belonging to an ethnic
2 No. 2
certain place only has 1 kind of Modern Dance artists producing works all of a very similar style: then even
if that style is elevated to represent its enthnicity, or group in the creation of Modern Dance"?
even respected as a national style; the fact remains that all art develops towards a single style in this place.
i. A Modern Dance trademark is the manifestation of
It is a place devoid of different and unique styles.
the "uniqueness" of individual artists. Actually, the
pursuit of these 'unique characteristics’ is common
vi. "Uniquely individual styles" exist in great contrast
to all artistic creations. Works lacking in this aspect
to any single 'national/ethnic’ style. The "national/
degenerate into commercial commodities, all
ethnic’ style seeks a common 'face’ for the entire
stamped from the same mode.
community concerned; whereas 'individual’ styles seek to reveal what's different among this
ii. Lefs take calligraphy as an example, the most
community.
traditional of Chinese art forms. The reason for fame
and success with well-known masters is not because
vii. Because of this, 'classical’ and 'folk' dance must
they could continue with prior standards, but rather
exhibit an overall similarity in style in order to
that they brought new qualities to the art. By
'qualify' as the 'national/ethnic' representative. On
contributing their own unique style of calligraphy,
the other hand, Modern Dance must make its goal
they succeeded in gaining respect and a permanent
to pursue unique and individualistic styles. It even
position of honour. Yet when they practised
has to distance itself from the traditional and widely
calligraphy, did they consciously seek to embrace a
accepted national/ethnic style, or else it will no
"Chinese-ness〃？ Quite doubtful. They were only
longer be Modern.
practising their art, doing what their hearts told
viii. There are over 1000 folk dance troupes in China
them. It might even be argued that had they
today, all being expected to cover the same ground
focused on achieving "Chinese-ness〃，they would
in exhibiting a "Chinese-ness” in their work. The
have written nothing at all!
handful of Modern Dance artists are restricted in
iii. lt should be the same with creating Modern Dance.
their work, under pressure to manifest this all-
When we talk about American Modern Dance today,
prevailing "Chinese-ness". How can this not be
we do not refer to just 1 particular style. Rather, we
looked upon as a great tragedy in the development
include the very diverse styles of Isadora Duncan,
of art in China today?
Martha Graham, Paul Taylor, Jose Limon, Merce
e. Only communities that exist in a weak culture are
Cunningham etc.. American Modern Dance includes
constantly afraid of being overrun by other cultures
the above and other 'unique’ and 'individual’ styles
into oblivion. Only those without confidence in their
to give us a rich body of literature. This is constantly
future are afraid of being accused of copying others.
being augmented with the appearance of each new
Only traditions that think little of themselves are
genration of Modern Dance artists. Each of these
afraid to the point where they constantly brag about
new artists contribute their own style to the genre,
their tradition.
adding even more hues to the already colorful fabric. f. The Changans (ancient Chinese capital) of yesterday,
iv. And this is by no means perculiar to American
and the New Yorks of today - these huge
Modern Dance. Today we can find such dance
metropolises are showcases of any Nations7 cultures
cultures in countries such as Germany, France,
and developments in all realms. I have no doubt
England, Japan, Korea, and even Taiwan and Hong
that Chinese artists have more than enough
Kong. In each of these places we find Modern Dance
confidence in themselves to incorporate elements
artists of very different styles, each contributing their
from different sources/cultures and make them their
'uniqueness7 to this art.
own. As for Chinese Modern Dance, it should finally
v. When we evaluate the development of Modern Dance in a certain place, we do not care whether the
take that big step forward in pursuit of 'uniqueness’ and 'individuality: knowing full well that they have
Modern Dance in this place possesses a certain
done more than their share in tipping their hats in
'style’； but rather if that place has artists practising
respect to so-called tradition.
in different but 'unique' styles. In other words, if a
TEXT: Willy Tsao
Translated by: Ben Wong
「集體創作者」是《巴赫浮世繪》中舞者的另一個稱
拉下裙子露出臀部猛烈地搖擺的自信女子、四個搶咪宣
號，每個人都來自不同的文化背景，擁有不同的舞蹈
洩她們對殖民主義不滿的激動女子，那拿著玫瑰滿心歡
經驗（甚至沒有任何舞蹈經驗！），強調集體創作的編
喜的在下體淌血中慶祝婚禮的純潔女子；而當中黑人的
舞導演阿蘭。普拉特湊合了「家家有本難念的經」而撞
角色更突顯了既為女人又為少數族裔的雙重邊緣性，這
擊出非常獨特及難以模仿的身體語言：大膽、幽默，
種女性形象的呈現，雖無颠覆之意，然這劇場身體感官
卻又隱隱渗出悲涼，叫人動容。
經驗卻能引起強烈反思。
在低下階層的浮世繪中，呈現的是痛苦、暴力和混 亂的狀態，在邊緣上卑微營役的身體■究竟可以承受
複雜及層次豐富的《巴赫浮世繪》叫我久久不能言
語，唯有激烈鼓掌。
多大的壓力和煎熬？手被火燒、肚上承受保齡球從高
處掉一來的衝力，胸口被重楗、頭髮被拉扯、身軀受
踐踏、甚至只用一隻手指去托舉大木絛— —全都是驚
人的傷痛，但舞者面上卻無任何痛苦或難受的表情’ 彷彿這些傷痛都是每日慣常發生的事一樣，無甚希
奇，生活的味道和颠沛流離都潛藏於每個人體內，大 量的手部活動都是由衷的情感伸延，然而手的關節曲 折與方向突變顯示其情感未能完全釋放 ，甚至被扭 曲，不時爆發出控訴及怒火：爭執咒罵無補於事，復
又重重的倒在地上，卻不以雙手作為支撐及卸力，身
體白白承受了痛楚，亦增加束手無策的無助感。發洩
過後，情歸何處？ 也許，巴赫的音樂是他們遙遠的慰藉；神聖’莊嚴 的音樂散播於舞台上，沒有介入他們的生活’只是抽 離地存在，樂團與歌詠者的演出空間是一個高腳的小 平房，從上而下的冷眼牽觀這俗世境況，糾纏不清的
人際關係與計算精確、條理分明的巴赫音樂形成強烈
對比，也顯得與混亂的現實世界格格不入 。這種矛盾 性充斥著整個作品，然而幂人都欠缺動力去打破這個
循環不息的局面。也由它吧，這就是生命！
《巴赫浮世繪》流露出對性別，弱勢社會位階與族裔 背景的關懷：二元對立的性別系統在此根深蒂固 ’女
性都被男性欺壓、嘲弄和性騷擾，唯有在歇斯底里時 才能建立起女人之主體性，表達自己的慾望’例如那
文：小棕
HONG KONG STANARD
0
25 February 2000
The musicians were placed inside a hut-like raised REVIEW Lets op Bach
Academy for Performing Arts, February 23
structure with aerials and satellite dishes on the roof.
The musicians were all casually attired, the soprano in jeans.
Platel's choreography was influenced by the By Kevin Ng
improvisatory manner of German Pina Bausch, whose
company appeared at the 1997 Arts Festival.
Movements were designed to look natural, but Platel did not have as strong a sense of theatre as the eminent Bausch to captivate the audience. Spoken dialogue was also required from the dancers, in this case English, Spanish and Flemish, as
1 | Jhis millennium year is also significant because it
JL
is the 250th anniversary of the death of the great
Baroque composer Johann Sebastian Bach. Fittingly,
the Hong Kong Arts Festivalâ&#x20AC;&#x2122;s second dance company,
well as some acrobatic skills. There was an episode
when a dancer was swearing loudly on stage. Such provocation, deliberate chaos and violence are nothing new in modern dance.
the Belgian modern dance company Les Ballets C de
la B, presented a 90-minute long work entitled lets op Bach (A Little Something set to Bach).
Bach's music - to be performed onstage by the 11strong chamber group Ensemble Explorations promised a fusion of great music and dance, but after
the performance, I began to wonder what Bachâ&#x20AC;&#x2122;s reaction would have been if he had seen his music treated merely as incidental background music to
8
choreography that made no attempt whatsoever to construct any visual images to enhance the sublime
music.
Of course, I didn't expect choreographer Alain Patel
At curtain rise, we saw a man with half his face and his white shirt drenched in blood. The cast
impersonated a disorderly community. There were wrestlers, a small girl who was constantly coughing throughout the evening (as part of the choreography no doubt), female demonstrators shouting political
slogans against oppression, a black transvestite, a man
with paedophile tendencies who made repeated advances to a girl by fiddling with her skirt.
We saw two men fighting with each other over the beautiful character called Gabriella. Among the stage
props were a wheelchair and a wading pool.
to create a work to equal George Balanchine's Bach
The best dancing came from a bare-chested male
ballet Concerto Barocco. But no doubt the audience
whose hair covered his eyes. He performed an
would have expected more than what was actually
energetic earthbound solo. The group steps tended to
delivered.
be nothing more than arms circling the head.
Balanchine once said that in any dance
After the first hour, the momentum of the work
performance, one can at least close one's eyes and just
sagged noticeably. The material wasn't developed to
listen to the music. This is not bad advice about lets op
sustain the audienceâ&#x20AC;&#x2122;s interest, and became repetitive.
Bach.
Overall, this was undoubtedly an ambitious work,
Bach's music was certainly well presented by
but there could have been more diversity in dancing,
Ensemble Explorations and the soloist singers,
editing and a better sense of timing to present the
especially alto Steve Dugardin. The music was the
shocking routines. And I wish Platel could have
best part of the evening.
treated Bach's music with more reverence.
大公報
二零零零年三月一日
術福與控訴— —
看《焚蚣》與《£赫浮世繕》有感
現代劇場裡面，傳統與創新其實並不對立，也難
但舞台呈現的則是混雜纷陳的天上人間景象。這既是一
作出明確分野。優秀的藝術作品，也許就是能跔
齣舞蹈劇場作品，也是一個雜_^支匯演。舞台上築起了一
把傳統與創新兼收並蓄，讓觀幂同時可以獲得不同程度
間有蓋小房子，裡面坐著八位樂師及三位歌者，他們一
的精神洗滌。二千年香港藝術節其中兩齣舞蹈作品 ，都
面奏著悠揚的巴赫音樂，一面唱出婉約的歌曲。房子上
把傳統與創新共冶一爐。
面擺放著凌亂的f視機天線，横七豎八地指著不同的方
自從林懷民遠赴印度修習之後，其舞蹈作品似有更
深邃的博愛精神。他率領雲門舞集來港演出《焚松》，
與其説這是一場祈福大會，倒不如看看林懷民及設計大
向。房子外面就是各式人等，他們以身體展示了世間的 殘酷，同時也展現了舞台表演的百般可能性。
《巴赫浮世繪》刺激官能
師李名覺，如何以身體動作、布匹與石頭，展現人間苦 難、幕生色相。演藝學院歌劇院舞台以簡潔的白色布幕 圍擺著，隨著演出進行而逐漸增添豐富色彩。一個三跪
九叩的膜拜者，穿梭於各舞蹈片段之中，既祝願紅塵眾 生遠離苦難，但也與守護神一起•遙看眾生如何浮沉苦
海。
《巴赫浮世繪》必定能夠讓觀眾感受至深，因為它充 斥了大量的官能刺激效果。開場不久，一個血流披面 （當然是化妝效果而成）的男舞者在舞台中央位置徐徐
起舞。繼之而來的另一位男舞者，將一些保齡球愍掛於 高處，然後躺下來讓保齡球跌下直擊腹部。全劇類似的 自殘動作多不勝數，其中尤以舞蹈員在獨舞或群舞之
《焚松》祈求真善美
時，經常以拳頭槌打自己胸口位置，那重擊的聲音令觀
《焚松》的舞台技巧及舞蹈語彙純熟豐厚，尤其是舞
眾不寒而慄。末段四位女舞者聲嘶力竭、聲淚俱下地高
者與布幕及石頭的關係，剛柔並濟產生了強烈的舞台質
呼口號，然後在台上不停飲泣，雖然我不知道她們的叫
感。布幕表現了飄浮虚茫的人生，石頭則是生活的顏簸
喊內容，但在一片巴赫音樂襯托及混和之下，舞者的哭
與重擊。其中一個環節，一位舞者被綑綁著雙手、蒙著
訴彷狒變成一首協奏曲，將人間的苦楚直接傳達予觀
雙眼，在舞台中央被其他隱伏在台側的舞者，不斷拋擲
幕，從而惹起觀策共鳴。
石頭，這種象徵性的動作，不單令觀眾■看得心膽俱裂，
《巴》劇的舞蹈場面頗為混雜，芭蕾、佛蘭明高•以
更清晰展現了生命的危機與無助，渺小的人們只能夠寄
至的士高式的舞蹈（全劇現場演奏唱歌以外的唯 ---- 段
望上天的祝福，從而面對茫然不知的災褐。
錄音歌曲）都包攬其中，這不單體現了全劇呈現的天
從舞蹈意識而言，《焚松》以基本的舞蹈結構出 發，交錯的獨舞及群舞，配合舞台的意象，還有舞者們
上、人間混濁狀態，也能給予觀幕高度娛樂享受。然 而，它的各類自殘身體動作，其實又不斷傳達對人生的
高度集中的精神意志，表現了編舞者對人生真善美的熱
百般控訴，令觀幂帶著歡愉離開劇院的同時’也隱隱地
切期望。不過，這種善意的祝福（终幕前更有一位懷孕
對生命產生更多反思。
的舞者焚松祈禱），同時也形成了一種宿命的人生觀，
未能在現代劇場對生命再作進一步的探索。 芭蕾C之B與探索樂團合作的《巴赫浮世繪》，同樣
在演藝學院歌劇院演出，卻建構起另一種截然不同的舞 蹈世界。顧名思義，該劇以巴赫的音樂及歌聲作背景，
Dcm坪2 No. 2
Gypsy queen reborn
\
A Spanish director's 'Carmen' looks all set to dance her way to our hearts, with the help of SAWs four-legged star. Kevin
Ng writes about the flamenco spectacle with a twist H K Standard
4 March, 2000
‘ ■ 1 HERE is certainly more to the Spanish flamenco JL spectacle Carmen, to be presented this weekend by La Cuadra de Sevilla, than its unusual star being promoted by the Hong Kong Arts Festival - a white horse.
A local talent, the horse has been chosen from the Tai Tong Riding School in Yuen Long.
Needless to say, the prized horse has been undergoing training sessions for several months. The company’s trainer arrived form Spain last week for the final round of rehearsals even though the 46-strong flamenco company only flew in on Wednesday. The ensemble comprises three singers, seven dancers, and 24 musicians.
On Thursday morning, at the Cultural Centre, I spoke to the three most important personalities behind Carmen - its director Salvador Tavora and stars Lalo Tejada and Marco Vargas, who play Carmen and Don Jose. Tour manager Liliane Drillon acted as our interpreter. Tavora, an ex-flamenco singer, has been the company’s director since 1971. The artiste is also responsible for choreography, set designs and part of the music.
This Carmen, created in 1996, is his 12th and most recent work for the company, which has toured 30 countries.
10
Box office revenue, both in Spain and overseas, is the major source of income for La Cuadra de Sevilla, a private arts troupe. After Hong Kong, it will perform in Mexico, Holland, Bogata, Australia and Japan. The Hong Kong audience would no doubt associate Carmen with Bizet’s famous French opera based on Merimee’s libretto. I asked Tavora how different his show was from the French production.
"In my show, the story is only briefly narrated through flamenco singing . And because it was impossible to have a real bullfight on stage, the scenes have been enacted by a horse as part of the dancing routine."
Tavora added that he had always felt the need to re-examine the Carmen myth. He said Carmen had been seen throughout the world from the point of view of the French; a vision of gypsies set against Andalusian background in early-19th century Spain. "There have been many other versions of Carmen,
which have taken a cold and purely artistic view, and merely treated us Andalusians as observers," Tavora said.
"They are not really a part of us, and we are constantly having to put up with the frivolous folklore associated with this myth."
Tavora said he had been researching historical documents to get down to the roots of Carmen.
"The exercise has reaffirmed my belief that the story has to be rediscovered and remade, bringing it closer to the anecdotes that our grandmothers told us about this era in Seville. My production is far more Andalusian in feeling. "In last year’s French May Festival, I remember the ballerina from Lyons Opera Ballet, gave us an unusually "masculine” Carmen, more masculine in fact than her lover Don Jose. She even smoked a cigar at one point. "My Carmen is the prototype of a new female working class, made up of independent women, who are not subjected to a man's authority. As a cigarettemaker for the Seville Tobacco Factory, she has status."
Lalo Tejada, previously a dancer with the worldfamous Antonio Gades Flamenco Company, appears to be Tavora's ideal Carmen, with her long flowing raven hair. In one scene she even dances with the horse.
Speaking about her "interesting partnership” with the horse, she said: "I rehearsed with the horse this morning. It was fine, no problem at all.” Her co-star, the handsome Marco Vargas, was previously with Mario Mayo’s flamenco company. Vargas plays Don Jose, the Basque soldier who saves the gypsy Carmen from arrest and falls in love with her. The early 19th century Seville isn't particularly sympathetic to the lovers. Jose's love turns to jealousy when Carmen abandons him for a famous picador. He stabs her in the end. So, what next? "The legend of Don Juan. This will be premiered at a festival in Catalunia in July,” Tavora said.
But for the meantime, his busy putting the final touches to Carmen.
"I look forward to doing some sightseeing in Hong Kong after our first night here!" he said.
大公報
三月四日
林懷民新作《焚松》中，災難與祈祝交替或同時
當人們歷盡苦劫後，台上亮出一幅巨型佛像唐卡，
地映現眼前，欣賞的過程中，不自覺地思索起祈
神聖的女郎奉上哈達，還有孕婦的出現，一切都似乎光
祝這個命題，如果永遠只能伴隨著災難，祈祝還有意義
明美好起來，善忘的人們又充滿希望。這時心中產生了
嗎？重複又隆重的祈禱儀式，真的能洗淨人類的欲念、
巨大的悴動，這悸動不像是平日看見光明美好事物般充
心魔，歸向和平？《焚松》當然沒有明確提供答案，它
滿希望，而是強烈地發出問虢：難道我們就這樣一次次
只是展示著人生的必然歷程。
的輪迴下去，對災難逆來順受，唸經超渡後便安息了？
當雲門的舞者排著隊出場•穿著的緊身衣露出真實 的體態，當場覺得人的軀體原本著實不漂亮，可是到了
「追尋」一段，女舞者周章佞以其游弋如流雲，蔓延似
細胞的靈動舞弄於石上，那種飄忽柔韌之美.猶如風中
飛散的蒲公英。雲門舞者的太極與氣功修習，令他們練
雲門舞者原始的身軀，古老的宗敎吟唱，守護神的 祈祝……是帶出一種反璞歸真、回到自然的信息，引發 人類的仁慈、善良。人類科技、文化、藝術、生活... 大部分範疇都已進化至文明的領域，然而，想得深切一
點，原來我們的精神、思想或者潛意識I可能仍停留在
就了收放自如勁力內蘊的能量，是藝•術與創造，令人類
非洲森林中弱肉強食、強霸地盤、你爭我奪的階段，林
美化了身軀，而林懷民堅持在中國人本身文化基礎中找
懷民這位先天下之憂而憂的編舞家 ，以他的創作，來為
出舞蹈的語言，扭轉了現代舞象徵西方的觀念，這些冉
世人的精神進化而祝福、呼喚。
冉變動的姿式，像沒有實體的生物，令人聯想到宇宙萬
物混沌最初的狀態，也令他所展現的，不只限於人的世 界，而包容到任何生命。
石頭，在舞中可以變化出很多角色，有時候是把玩
也許，祈祝未必讓災難停止或減少，起碼，可以撫 平災難造成的傷口•可以是人類的愛仍存之證' 文：思念
的情趣，有時候是樂器，有時候是控制的對象，有時候
則是攻擊的武器..... 其實，石頭是一種不變的東西，
變化最大的是人類，好，可令其成樂器，歹，可令其成 武器。石頭的歷煉，就如一些災難的受害者，無可選
擇。
在災難與災難之間，總有人或神為受害者祈福，人 以五體投地的方式不停地朝拜，守護神以強勁威儀的姿
式作法、超渡，然而守護神守護不了無辜的人，災難依 然繼續，這不免令人心生懷疑：任何神的力量，極限在 哪兒？世上一切的因果偶然，都只能按照某種秩序循環 不息，而不是神或人可以改變的。《焚松》本以祝福來
撫慰人們的心靈，也引起了對宗敎的反思，在欣賞的過 程中，便有點迷茫與壓抑。
2 Mo.
2
G O 5
U 大公報
三月六日
々《愛德華二世》展現編演實力
C>
---- 伯明翰皇家芭蕾舞團周內訪港演出 九三年四月底彼德•賴特(Peter Wright)率領正式易 $名為伯明翰皇家芭蕾舞團(前稱作莎拉惠斯皇家芭蕾
舞團)的演出大隊訪港後，一別七載，本周內該團應邀重 臨，推出的兩幕舞潮《愛德華二世》(Edward II) •不但將 為本地觀幂帶來震撼性的觀賞視野 ，更讓舞迷有機會全面 檢閱舞團在第二任藝術總監兼編舞家大術 •賓利(David Bintley)的領導下，編舞水平及演員陣容所具備的雄厚實 力。
12
被視為是弗德烈.艾斯頓和肯尼夫•麥美倫兩位已故 英國編舞大師接班人的大術.賓利，現年四十三歲，九五 年九月接掌伯明翰皇家芭蕾舞團，並身兼舞團編導的重 任。他每年皆替舞團度身創作短篇及長篇劇目，又經常排 演其備受讚賞的舊作。 大術•賓利風格多變化 賓利的長篇舞劇《霍布森的抉擇》(Hobson, s Choice)、 《雪國皇后》(The Snow Queen)、《遠離那使人惱火的群眾》 (Far From the Maddening Crowd)、《愛德華二世》等叫好 又叫座，早成了伯明翰家芭蕾舞團的拿手好戲 。 他的獨幕舞劇《企鵝茶居》(「Still Life」at the Penguin Cafe)深受觀幂歡迎，兩年前香港芭蕾舞團還特地請賓利來 港把它搬上本地舞台，大家對贫劇開朗活潑的調子，生趣 盎然、活力充沛的氣氛，相信印象猶新。 然而，這回公演的《愛德華二世》，無論題材、氣氛 效果、動律設計或探索的命題等各方面，均與《企鵝茶居》 的表現手法截然不同。 舞劇《愛德華二世》取材自十六世紀英國作家克里斯 托弗.馬洛(Christopher Marlowe)的同名劇作，述説十四 世紀大英王朝一段黑暗混亂的歷史。該劇原於九五年由德 國史圖加芭蕾舞團首演，大術•賓利在場刊內清楚地闡明 了他再現該段歷史悲劇的目的與反思： 「十四世紀是一個充滿暴力、折磨、苦難和瘋狂的時 代，至今為止歷史上沒有再出現過這樣的悲劇。那是經濟 的災難、社會的動亂、宗敖的狂熱、致命的瘟.疫、狂暴的 民族主義、不息的戰火和暴力與強權政治等種種因素造成 的悲劇。但二十世紀發生的一些事件，使我們不禁回憶起 過去的黑暗年代，回憶起中世紀的暴力和苦難。」 《愛》劇描寫邪惡肆虐
「馬洛根據愛德華二世的生平編寫的這個劇本(內容描 述自一三零七年至一三三零年間二十多年的歷史變 遷)……改變了人們的傳統觀念和道德準則，使我們如同 觀看所有偉大的悲劇時一樣，對暴力和邪惡的肆虐無能為 力。這場悲劇利用人們過度的脆弱，將美好的一切踐踏入 萬劫不復的深淵……」 「六百年後，我們從此劇中所感受到的不僅是那整個社 會互相殘害、令人恐懼的時代，而且還感受到一個男人極 為可悲的處境---- 在他出生的那個時代，他的個人自由和 社會地主都被剝奪殆盡。」 驟眼看，這個舞劇揹負了歷史包祇，悲劇感非常凝重 蓽H肢體語言述説如此繁複的情節，體現概括面廣、深層 意義沉重的思想主題，一般兩幕舞劇所開展的空間及涵蓋 的範園似乎不勝負荷。 事實證明，大術•賓利過人之處正在於他的獨具專 長•能把極之複雜的故事、意念或哲理化之為舞蹈，以具 體形象的手法轉化得清晰易懂。他曾揚言.觀眾進場時只 管細心欣賞台上展現的一切•即能明瞭箇中的來龍去脈。
「我偏愛把综錯交織及不可能實踐的理念轉化成舞蹈演 出，我關注申述真正的情節，而不是附加的裝飾品。」大
術上次跟我對談時強調説。為了刺激觀幂前來看舞團的表 演，他近年決意在一己的創作中灌注某些強勁且能激發大 家想像力的意念或展示強而有力的主題內容：《愛德華二 世》便是他其中一齣按照上述創作原則編排的敘事性劇 目。 三組演員各有特色 可以想像，《愛德華二世》長約兩小時的演出，匯聚 的諸種情緒將是何等的壓縮密集，反差對比又將是何等的 尖鋭骇人！ 劇中主要人物分别由三組首席演員輪流擔演 ，可見舞 團人才濟濟。飾演愛德華二世的男演員包括：沃爾夫剛• 斯托爾威齊爾(Wolfgang Stollwitzer)(三月九日■十一日日 場)、飢文•奥黑爾(Kevin O' Hare)(三月十日及十二日) 及羅拔•帕克(Robert Parker)(三月十一日夜場)。扮演依 莎貝拉皇后的女演員計有：薩拜娜•倫兹(Sabrina Lenzi) (三月九日，十一日日場)、利蒂希亞•米勒(Leticia Muller)(三月十日及十二日)和莫媚•卡.贊姆娜(Monica Zamora)(三月十一日夜場)。 三對招•稽中，以沃爾夫剛.斯托爾威齊爾和弦拜娜 • 倫兹這一組最矚目•因他倆正是此舞劇首演時的扮演者， 大術•賓利特別給二人創作排演了愛德華二世與依莎貝拉 皇后的角色。這兩位原為史圖加芭蕾舞團的首席演員，演 畢《愛德華二世》後，雙雙追隨大術•賓利轉投伯明翰皇 家芭蕾舞團。 斯托爾威齊爾早於九()年香港藝術節舉行期間隨史圖 加芭蕾舞團訪港演出《尤金•奥涅金》，他是四組主要演 員之一，除扮演奧涅金外，還飾演第二主角連斯基。此 外，九六年初，他再度隨史圖加舞團臨港演出瑪茜•海帶 排演的《睡美人》中迪西亞王子的角色。斯托爾威齊爾外 型俊朗，基本功全面紫實，演繹角色富感染力和表達力， 是位別具個人風範的優秀演員。 薩拜娜•倫兹九0年亦曾隨史圖加舞團來港，擔演奥 爾加的角色。倫兹生於羅馬，在蒙地卡羅習舞，八四年加 盟史圖加芭蕾舞團，九四年晉升為主要演員。不少國際知 名的編舞家，如依利•基利安、約翰.紐邁亞、麥斯•艾 克、莫里斯•比才特、范曼農等皆曾给她編排創作獨特的 舞作。她九五年加入伯明翰皇家芭蕾舞團。 凱文•奧黑爾和羅拔•帕克均為英國皇家芭蕾舞學校 的高材生，前者原為莎拉惠斯皇家芭蕾舞團的主要演員 ， 九三年亦曾隨伯明翰皇家芭蕾舞團來港演出 《羅密歐與茱 麗葉》；後者九四年方加盟伯明翰皇家芭蕾舞團，去年更 被擢升為主要演員。 六十人樂隊掮手演出 於德國出生的利蒂希亞.米勒九五年加入伯明翰皇家 芭蕾舞團.大術.賓利曾專門替她編排了 《遠離那使人惱 火的群眾J中女主角芭芙舒芭的角色。 莫妮卡.贊姆娜生於西班牙，原為莎拉惠斯皇家芭蕾 舞團的演員，九一年加入伯明翰皇家芭蕾舞團，九七年晉 升為主要演員。值得一提的還有這次舞團將帶同自己的六 十人交響樂隊前來，現場演奏作曲家約翰•麥凱布(John McCabe)專誠替此舞劇撰寫的配樂.使得整個演出製作更 顯完整。 文：剴玉華
闕
iMFBiyS
月 份
7
8.00 pm
SWEATS
動作纖維
發生進行式
Movement Fibre
Happening Continuous Ngau Chi Wan Civic Centre
Choreographers
:Xing Liang & Sang JiJia
編舞
:形亮及桑吉加
香港舞蹈聯盟
松島誠《鳥，鳥s》
HK Dance Alliance
“Bird, Birds” by Matushima McAulay Studio, HK Arts Centre
Choreographer
:Makoto Matushima
編舞
:松島誠
牛池灣文娛中心劇院
i
即 D 白
7-9
8.15 pm
藝術中心麥高小劇場
南群舞子《無論如何》
14-16
“Whatever” by South “ASLI” Dance Workshop
Choreographer
:Ong Yong Lock
編舞
:王榮祿
動藝《男人獨白》
28-30
“Crosslolgue” by DanceArt Hong Kong
14 - 16
Choreographers
:Allen Lam, Francis Leung, Andy Wong, Wil Swanson
編舞
:林偉源、梁家權、王廷琳及韋施迅
三分顔色
飛行運動員
Three Colors
The Flying Sportsman Studio Theatre, HKGC
Choreographers
:Afa Chiang, Wong Kwan Sun
編舞
:鄭志鋭及王鎏燊
22
7.30 pm
香港芭蕾舞蹈團
美女與野獸
23
2.30 pm
HK Ballet
Beauty & the Beast
Choreographer
:Domy Reiter - Soffer
編舞
:蘇東美
香港文化中心劇場
元朗劇院演藝廳
Auditorium, Yuen Long Theatre
I純■MblT MLLIMIlblZ I1IZ1I1ICI
jr香港舞蹈聯盟獲得香港藝術發展局撥款（一九九
•九至二零零零年度）的項目當中，壓軸的一項一
女士聯手演出的精彩作品。 城市當代舞蹈團今年的作品《脱衣秀》，將在六月
一舞蹈評論工作坊，已在三月順利舉行。工作坊為期一
二十三、二十四日晚上八時假大會堂音樂廳上演 。作品
個禮拜（三月五日至十日），出席的香港新進專業舞評
由陳敏兒女士、林偉源先生、劉中達先生、桑吉加先
團體的成員，在著名的舞評學者瑪希姐•希格爾女士和
生、刑亮先生、楊春江先生和楊惠美女士合作編舞，服
馮雙白敎授領導之下，合共舉行了二十二個小時的講座
飾由香港當時得令的時裝設計師精心設計。
和研討會=此外，工作坊的學員並出席了舞盟會員的
《歐亞舞蹈共同睇》演出，會後更與舞盟的團體成員和
其他出席者共進午餐。最後，舞評人觀賞了香港藝術節
的兩項表演，分別是創意無限的《花天走地》和城市當 代舞蹈團黎海寧女士的驚人新作Plaza
《與異變街
X
道》。
我們謹希望各舞盟成員頂力支持，參與我們演藝人 在這些項目中的精彩製作。 最後，舞盟今年的香港舞蹈年獎已經接獲多個提
名，香港舞蹈聯盟理事會將準備選票讓會員投票 ，成員 會在四月初收到選票。發表你的意見，請投神聖一票！
舞盟計劃今年在麥高利小劇場和藝穗會舉行的各自
各舞蹈系列2000，最近已確定獲得撥款，節目將可如
期舉行。 麥高利各自各舞蹈系列2000即將在四月七日晚上八 時十五分揭開序幕，一速三晚上演松島誠先生的《鳥，
香港舞蹈聯盟主席
鳥s》。作品由他本人、何靜茄女士和馬千山先生擔 演，由菅谷昌弘先生配樂，黃志輝先生製作錄像。從四 月十四到十六日上演的《無論如何》，則是南群舞子王
榮祿先生的作品。作品由李耀誠先生配樂，與周金毅女
士擔演。整個系列的最後一擊，將會是從四月二十八到
14
三十日上演的聯合編舞作品。作品由動藝主辦，製作人 林偉源先生、梁家權先生、王廷琳先生和紐約演藝人章
施迅先生親自演繹。 藝穗會各自各舞蹈系列2000將會由兩個周末的音樂 會帶上高峰。第一個周末（五月十九、二十日）將會上
演《舞蹈2000炸珍寶》，這會是去年精彩表演的延續。
今年參與表演的有Salsa、印度舞、輪椅舞、街頭舞和 爵士舞的專業舞者。
第二個周末的音樂會將在六月二、三日舉行，名為
《藝穗四舞「雌」》。即由香港芭蕾舞團数育及外展部主 管暨獨立編舞者雷佩瑜女士、香港舞蹈團舞蹈員曹寶蓮 女士’獨立編舞者張秀梅女士和戀舞狂藝術總盈鍾碧霞
二零零零年三月
rch saw the successful completion of the Hong
last year. This year’s artists include those working in
ong Dance Alliance’s final project funded by
zSalsa Dance7, 'Indian Dance', 'Wheel Chair Dance,,
the Hong Kong Arts Development Council in its 1999-
2000 cycle.
Marcia B. Siegel and Fung Shuang Bei,
eminent dance critics and scholars, led members of Hong Kong’s growing professional dance critics’
community in a Dance Critic's workshop. Working dance critics met during the week of 5 -10 March for 22 hours of lectures and discussions.
Workshop
members also attended performances of the Asia-Euro
Dance Networking Forum by Alliance choreographers
zHip Hop' and Jazz Dance’. The second weekend of concerts, held on 2 and 3
June, is entitled «Four Women on the Fringe». This exciting programme features Hong Kong Ballet Education Head and independent choreographer, Florence Lui; Hong Kong Dance Company dancer, Tso
Po-ling; independent choreographer Vanessa Cheung Sau Mui; and, the work of Danseomanie Director, Jocelyn Chung.
and met with Alliance organizational members and attendees of the Forum for a special lunch get-together.
Strip Teaser, City Contemporary Dance Company’s
Finally the critics attended Hong Kong Arts Festival
contribution to this year’s series, will be presented 23
performances of the innovative Walking on Wings and
and 24 June at 8PM at the City Hall Concert Hall and
the City Contemporary Dance Company’s production
will feature choreography by Abby Chan, Allen Lam,
of Helen7 Lai’s stunning new work, Plaza X.
David Liu, San Gi-jia, Xing Liang, Daniel Yeung, and
The Alliance has just received news that funding
for this year’s Millennium All Independent Dance
Yeung Wai-mei in works with costumes designed by
up-and-coming Hong Kong fashion designers. We hope all members will join us in supporting our
Series at McAulay and at the Fringe has been
secured, enabling these two exciting phases of this
artists at these events by attending these exciting
year’s Hong Kong Dance Alliance events to proceed.
productions.
The McAulay All Independent Dance Series begins
One final note, scores of nominations for this year’s
on 7 through 9 April at 8:15PM with the presentation
Hong Kong Dance Awards have been received by the
of 'Bird, Birds' by Makota Matushima with music by
Alliance and the Executive Committee will finalize the
Sugaya Masahiro and performed by Makoto, Frankie
ballot for members’ voting. Members will receive their
Ho, and Clifford Ma with video by Wong Chi Fai.
ballot in early April. Don't forget to make your voice
South ASLI Dance Workshop will present Ong Yong
heard, Vote!
Lock's 'Whatever' on 14 through 16 April, with music by John Lee and performed with Elsie Chau. The series
will wind up on 28 through 30 April with 'Crossologuef
a joint choreography presented by DanceArt Hong Kong and created and performed by Allen Lam, Francis
Leung, Andy Wong, and New York artist, Wil Swanson. Two weekends of concerts will highlight the Fringe Millennium All Independent Dance Series.
Tom Brown Chairman March 2000
On the
first weekend, 19 and 20 May, «Cross Dancing
Jajumbo〉〉will be performed.
This is a return
engagement of the highly successful installment from
2 No. 2
2000
Members of Hong Kong Dance Alliance
個人會員
INDIVIDUAL MEMBERS Andrew Broomhead
Mr Jason Brockwell
千
年 香 港 蹈
聯
盟
會 員 名
單
簡麗珊女士 鄭健華先生 宋孟青女士 局家霖先生 黃亞華女士 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
Mr Willy Tsao
Ms Scarlet Wong
團體會員
聯絡人
方舟舞蹈劇場 霹靂啪:勒身體劇場 陳紹傑舞蹈中心 精舞門標準舞蹈學院 城巿當代舞蹈團 接觸點 動藝 乃11■ 1 舞渡界 舞城 戀舞狂
鄭楚娟女士 黃狄文先生 陳紹傑先生 尤月興女士 曹誠淵先生 梅卓燕女士 王廷琳先生 湯布力先生 潘少輝先生 鍾碧霞女士
共享空間舞蹈劇場 東邊現代舞蹈團 基督徒舞坊 蜉蝣舞團 步韶舞蹈團 波希舞蹈團 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 香賴年麵節協會有限公司 智才補習學校及創作天地 王仁曼隨舞學校 雙妹曖 動作纖維
溫玉均先生 許淑嫉女士
Ms Vivian Kwok Ms Helen Lai
Mr Luk Kwok-hung
Mr Edwin Lun
施素心女士 黃國強先生
Ms Susan Street
Mr K. K. Wong
Ms Xu Shu-ying
Mr Dominic Wong
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
Dua Space Dance Theatre
Mr Anthony Meh Kim-chuen
E - Side Modern Dance Company
Mr Jacky Yu
Evangelical Dancing Troop
Ms Tsang O-ying
Fau Yau Dance Circle
Mr Wong Hang-fai
The Harmonious Dance Troupe
Ms Chu Kit
The Boheme Dance Company
Mr Yuen Wai-tung
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 Professional Dcnce Sports Council
Mr Chan Wai
Hong Kong Youth Arts Festival Association Ltd
Ms Lindsey McAlister
ITS & TS Creative
Ms Keren Suen
Jecn M. Wong School of Bdet
Ms Arma Chai
McMuiMui Dansemble
Ms Yeung Wai-mei
Movement Fibre
Mr Xing Liang
Ones To Watch Dance Company
Ms Angela Hang
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 Kwok Shuk-yan Ms Lai Siu-ling
Mr Makoto Matsushima Mr Juergen Morhard
Ms Daphine Wong Ms Asha Sawlani
STUDENT MEMBERS
Ms Audrey Wong
Ms Kim Law
Mr Billy Chan
Ms Kwan Yim-Ian
Ms Chung Ching
Ms Medina Lau
Billy Chan Dance Centre
Ms Fong Kit-ping
Ms Candy Lo
Mr Ho Wai-keung
Ms Eve Cheng
Ms Cheung Sau-fan
Mr Cody Choi
Ms Stella Chung
Bilibala Physical Theater
ASSOCIATE MEMBERS
Ms Susanna Chan
Ms Chu Kit
Ms Priyadarshini Ghosh-shome
Mr Yuri Ng
Mr Aaron Wan
Mr Chau Chuen Fai
Ark Dance Theatre
普通會員
陳雅芝女士 蔡嘉樂先生 盧幸賢女士 鍾晶女士 黃天華女士
Mr Mohamed Drissi
Mr Tom Brown
Contact Person
新約舞流 絲路舞蹈文化協會 躍舞翩 南群舞子 二分顏色 原體糸 舞蹈菲場 浦窩青少年中心 X 一劇場 歪:的zrd本 多空間
學生會員
Ms Ulian Chun
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
ORGANIZATION MEMBERS
馬金泉先生 余仁華先生 曾澳英女士 黃恆輝先生 宋絜女士 袁惠東先生 施素心女士 吳杏冰女士 劉志青女士 陳偉先生 麥連西女士 孫名翠壮 醐瑛壮 楊惠美女士 邢亮先生 韓錦濤女士 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
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
Ms Miranda Chin
Ms Indira Sawlani
Daryl Ries
曹誠淵先生 黃翠玲女士
Mr Ringo Chan
I
Membership Form
暑■由謂表
Membership
會藉
Member' s Information
Name
）Individual
（
）
（
）Associate*
（
）Student*
個人會員 團體會員 普通會員 學生會員
Organization
職位
$100
$50
中文）____________________________
（Home 1主宅） （Home
___________________________
住宅）___________________________ _
____________________________________________________________________________
Name of Company
公司名稱
_______________________________________________________________
Affliated Cultural Organization 戶/f屬塾機構 Address
$600
（Chinese
電B舌（Office 公司）_______________________
傳真（Office 公司）___________________________
Position
$200
會員資料
姓名（English 英文）________________________
Telephone
Fax
（
____________________________________________________
地址 ____________________________________________________________________________
Organization Member’ s
團體會員資料
Information
Name of the Organization
團贈名稱________________________________________________________
Person in Charge負責人姓名______________________________________________________________ Telephone電話
___________________________
Correspondence Address
Fax傳真-----------------------------------— —
通訊地址_______________________________________________________ _
Applicable Dance Category
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| |
I
芭蕾
現代舞 | Eastern Folk東方民fi笑舞 □ Western Folk西方民族舞 | Education教育界 | | Criticism寫作與評論 | Cultural and Arts Administration 文化及藝術彳了政 I Notation舞蹈記錄 I I Others其他 | Ballet
|
所屬舞蹈類別
Signature
|
| Contemporary
簽署
Date
|
| World Dance民族民間舞
|
| Ballroom國際標準舞
| Technical Arts
舞台技術
]Musical Theatre / Jazz / T叩 Dance
音樂舞劇/爵士舞/踢躂舞
日期：
Please enclose cheque payable to THE HONG KONG DANCE ALLIANCE with this application form to c/o Office of the Associate
I
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：「香港舞蹈聯盟」寄香港灣仔告士打道一號香港演藝學院舞蹈學院副院
I
長辦公室轉交香港舞蹈聯盟收。
I I
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|
* Non voting沒有投票權利
No. 2