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Hong Kong Dance Alliance 編輯部：
唐鋭荃和淵珊華 朗志自才誠易仁 白鄭劉馬曹吳余
舞蹈手扎盟友: 湯布土
白朗唐 朱絜 曹誠淵
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
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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.
電話：2584 8753 傳真：2802 3856 電垂P hkdalli@netvigator.com
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鄭煥美 瀋少輝 龍植池 吳偉碩 王廷琳 楊春江
THE HONG KONG ACADEMY FOR PSRFORM.TNGARTS
LIBRARY 大公報
Press Clippings
剪報服務
與多位編舞家合作獲益良多
胃
-訪伯明翰皇家芭蕾舞團首席
舞蹈員斯托爾維策
作者：劉玉華
Hong Kong Standard A prayer for the millennium
Author: Kevin Ng
Q Events
Carmen review Author: Kevin Ng
演出節目表
B
South China Morning Post
五月及六月份演出節目名單
Plaza X
Author: Dino Mahoney
Q
Hong Kong Standard
Dance Alliance News
Best ballet in the UK? Author: Kevin Ng
星島日報
村上迷看Plaza
舞盟快訊 X
作者：朗天
D
大公報 全情投入愛德華的世界 員斯托爾維策
作者：劉玉華
香港舞蹈聯盟會員名單
會員申請表
-訪伯明翰皇家芭蕾舞團首席舞蹈
封面設計：Lilia Ng
舞盟快訊
Q
Q
Li u V
Hong Kong Standard
賺新獨》測
Prayer for the Millennium Lin Hwai-min s work was inspired by Tibetan culture, writes Kevin Ng
r ■ ihe first visiting dance company to perform at the
A clandestine affair perhaps? But this is a coherent
Hong Kong Arts Festival 2000, Taiwan's Cloud
work after all, and all the episodes followed each other
Gate Dance Theatre, was hailed by The Times as
smoothly. The overriding theme is eternity, symbolised
"Asia's leading contemporary dance theatre" when it
by rocks, which were often scattered about the stage.
JL
first performed in London last April. The company is
no stranger to Hong Kong, of course, having performed here a number of times.
Amusingly, there is an episode which is reminiscent
of the musical Stomp , which was here last year. The dancers, each holding a stone, started a rhythm,
Last weekend, Cloud Gate presented a new work,
banging them against larger rocks on the ground. This
Burning the Juniper Branches, choreographed by its
primitive rhythm-making happily evokes innocence.
artistic director, Lin Hwai-min. It premiered in Taipei on December 31, and was conceived as Lin’s prayer for the new millennium. The work consists of traditional Tibetan Buddhist chanting and more
contemporary compositions with Tibetan musical instruments.
The set was designed by Ming Cho Lee, a frequent collaborator with Lin. It's simple, metallic structure
resembling scaffolding was quite effective in the 90-
minute production featuring 25 dancers. The dancers
seemed as if they were scantily clad, an impression enhanced by the flesh-coloured leotards the women
Another spark of originality occurred in an episode
when groups of men, with rocks in hand, entered, then banged loudly on the stage before each dancer’s body formed an inverted V shape, showing off his machismo. Then each man paired off with a female partner who took one the man’s rocks. A more violent sequence had a male dancer blindfolded
and with his hands tied behind his back. Rocks were repeatedly hurled at him from both sides of the stage.
After the physical abuse, his tormentors teased him by gently tossing rocks that deliberately missed him.
wore, while the men were attired in what appeared to
The finale revealed a spectacular backdrop of Buddha.
be underpants.
Against this colourful background, the dancers ran
The work was more impressive as a theatrical spectacle
than as a dance work, since the movement vocabulary
was restricted in dynamic range; for a dance work,
there would have to be more variations in speed and rhythm. Lin frequently had his dancers balancing and
swinging on one of the rocks on stage with their legs extended to the front and the back. The most
around the by now rock-filled stage with joyful abandon. But before the final curtain, there was a rather puzzling image. A pregnant woman holding a burning
juniper branch moved centre stage. This perhaps was
designed to echo the beginning of the piece, when a man held a burning branch, but the smoke was so
strong it pervaded the auditorium.
memorable variation of this device is a duet which
All credit to Cloud Gate's dancers for their commitment
sees a man and woman each perching on a rock. Their
to Lin’s vision in this theatrical work, which was,
movements signify a low-key interaction that is none too intimate.
however, thin on the ground as a dance work.
Review byKevin Ng
he 90 minutes long Spanish flamenco spectacle
As for Koala, the unusual HK star which is a white
"Carmen” presented last weekend by La Cuadra
horse specially selected from Tai Tong Riding Club in
de Sevilla for the HK Arts Festival is very different
Yuen Long, it appeared only for about ten minutes or
from the tale in Bizet's famous French opera "Carmen".
so in the bullfighting scene. Koala looked so tame,
T
Salvador Tavora, this production’s director, has reverted the roots of the Carmen tale after researching
and performed impeccably its routine, after several
months of training and rehearsals . It won everyone’s hearts.
himself the anecdotes of this period of the early 19th century in his native Andalusia. After all, Spanish
This scene symbolised Carmen falling for her new
flamenco originated in Andalusia from the folkloric
lover, a famous picador, who for practical reasons was
elements of the ordinary people.
shown riding the horse instead of actually fighting a
wild bull on stage. Jamie de la Puerta played the
This flamenco version of "Carmen" is much more
dazzling picador.
sombre in mood than Bizet’s opera; Tavora emphasises
the darker tragic veins of the tale instead of the
Lalo Tejada, with her long flowing jet-black hair and
romantic elements in the French version.
sensuousness, looked the part of Carmen. In this scene, she acted superbly her lust with the picador. I cannot
A large brass band of bugles and drums was constantly
on stage.
I for one found their loud music
accompaniment rather too uniformly heavy and over
bearing. Music was also performed by two good guitarists. The story was narrated by three female
help wondering however if she was in love with the
horse, or the rider, or both! Her death scene, with blood all over her clothes, was gripping. She brought out in her portrayal of Carmen the independent spirit and daring of the character.
flamenco singers who very seldom took part in the
stage action.
Marco Vargas commendably played Carmen's lover
Don Jose with restraint, so much so that the audience
In view of Tavora’s objections to Bizet’s opera, I cannot
could identify with him as a real person.
comprehend why he has chosen to include taped
snippets from the French opera in his production.
The sets designed by Tavora himself were effective,
Perhaps it was meant to provide some contrasts in tone
the ringing bells for instance enhanced the wailing
from the very heavy flamenco and brass music that he
tragedy. The colourful costumes were by Creativo
has selected.
Fridor.
The flamenco dancing was performed with panache
Tavora certainly has an impressive sense of theatre,
by four dancers, besides the two stars playing the
and his story-telling craft is assured. This Andalusian
leading roles. The dancing certainly had much heat
spectacle of "Carmen" was deservedly a hit with the
and passion, and would even have been better if
full-house audience.
Tavora’s choreography had had more variety in the
steps.
Dance
/JSLY01- 2 No. 3
s
South China Morning Post March 3, 2000
REVIEWS
Plaza X
by Dino Mahoney
T^laza X, the latest work from renowned Hong Kong
To relentless unaccompanied Bach cello the dancers
Choreographer Helen Lai, was an innovative
battled with the space around them but seemed unable
blend of modern dance and ice skating.
to conquer it or to connect with the inc. dancer. The middle section went
The skating was by
Latin. But no amount of
Taiwanese-American
earthbound passion could
Olympic skater and dancer,
quite come up to the
David Liu, and dancing
dynamo on ice who
without blades was the City
dominated.
Contemporary Dance
There were times when the
Company.
dancers found a way of
Plaza X was in three
dancing with Liu, but Plaza
sections, each preceded by
X was an experiment that
a short text from Alan
Light-man's Einstein's Dreams, on the nature of time
Lai’s trademark freshness and originality shone through in the duet between Dominic Wong and Wu
Yi-san. Wong and Wu danced with, and on, Wong's
posed rather than resolved questions of the dance dynamics between ice rink and stage.
> > > HONG KONG DANCE ALLIANCE HONG KONG DANCE
suitcase in movements of wit and lightness. The duet between Wu and Liu was another highlight,
a marvellous blend of Liu's powerful and poetic
fluidity on ice and Wu’s dancing into a slippery world that both excited and defeated her.
4
The 20th century saw a bombardment of new ideas that
smashed the rigid molds of classical ballet. But with so much innovation it has become increasingly difficult to find new ways of creating dance.
Annual General Meeting 周年會員大會 Sunday, 18/6/2000 星期日 2 to 4PM下午二至四時 the Hong Kong Academy for the Performing Arts香演藝學院
In some contemporary dance a new orthodoxy of slow
Dance Awards 2000 舞蹈年獎二千
motion, twitching and contortion seems to have
Tuesday, 27/6/2000 星期二 7:00 pm晚上七時
become the accepted orthodoxy. Helen Lai did not breathe her usual freshness into all
parts of her work. Her effortless originality broke through but there were stretches of Plaza X that could
have been the work of a dozen different choreographers.
In the first section the company, in drab, shapeless costumes, danced in a huge, hollowed out stage while
Liu, set deep up stage, seemed a disconnected miracle.
VIP (Vogue in Paradise), Times Square,
Causeway Bay銅鑼灣時代廣場VIP餐廳 Tickets 門卷:members 會員-$300 non-members 非會員-$400 sponsors 贊助-$600
Information & Tickets 詳情及門卷 Tel 電話：2584-8753
/
Fax 傳真：2802-3856 ■
香港舞蹈聯盟香港舞蹈聯盟香港舞蹈聯盟香港舞
Hong Kong Standard March 8, 2000
est Ballet in the UK?
David Bintley returns to Hong Kong brimming with pride over
his sold-out 'Edward IV, Kevin Ng reports
r | 1 he final week of the Hong Kong Arts Festival 2000
JL
took over as director of the BRB in 1995, Bintley has
offers up David Bintley’s sexually explicit and
done much to raise its artistic standards, and has won
controversial full-length ballet Edward II starting
much acclaim for his innovative policies and creativity.
tomorrow. Not surprisingly, all tickets for the festival
highlight, featuring the Birmingham Royal Ballet (BRB), have sold out.
"I am interested in wonderful dancers," he said of his
approach. "We are a company of good dancers, not a company of models who appear in fashion magazines.
Bintley, the 43-year-old artistic director of Britain's BRB
I don’t want only one or two stars leading the company.
since 1995, is an internationally prominent
The ethic of my company is very democratic. We have
choreographer. He was considered a frontrunner last
very strong dancers right across the board."
year to succeed Sir Anthony Dowell as artistic director
of London’s Royal Ballet, but Bintley surprised everyone by ruling himself out as a candidate. "I like my company, I like it in Birmingham and I like our touring schedule," he told me. "I like the present
size of my company, and my creative freedom there.
It is a difficult post at Convent Garden - I know I couldn’t do what I want there.
So who is hot in the BRB? Among the principals this
week, he said , Robert Parker debuts as Edward II on Saturday night, opposite Ambra Vallo. "He is a very
exciting dancer,” Bintley affirmed.
He sees the BRB as a showcase for great choreography.
One of his achievements is to have acquired for the BRB a number of masterpieces by Balanchine, whom he admires most, as well as the great Briton Sir
"Of course the Royal Ballet is in the capital, but I think
Frederick Ashton. "My mind is with Balanchine, but
people are ultimately more important than the
my heart is with Ashton."
location. If Balanchine had worked in Chicago instead
of in New York, he would have been equally famous.〃 Though Birmingham has been overshadowed by the
"What most impresses me about Balanchine is the breadth of his works . It is not an English trait - English
dancing is much smaller in scale. Balanchine created
Royal for years, he insisted, " I say we are now
his ballets very fast. I like the crudity of his works.
artistically the best ballet company in Britain. "I was
With Ashton, every detail is perfect - it is made like a
curious why the BRB does not have top international
watch."
stars, like the Royal’s Sylvie Guillem and Darcey
The critic Clement Crisp recently suggested that ballet
Bussell.
may find a new identity in China this century.
"Most of the critics are based in London and come to
"Classical ballet is a global language which can be used
Birmingham only to see the first night, so they miss
as a cultural tool," Bintley replied. "Chinese
the other casts and don’t know our dancers that well."
choreographers can use the classical language to
Bintley is no stranger to Hong Kong. In 1998 he staged
express their culture and their concerns."
his well-known Still Life at the Penguin Cafe with the
I asked whether Bintley has thought about preserving
Hong Kong Ballet. The BRB itself last performed in
his legacy for future generations. z/ in 50 years’ time
Hong Kong in 1993, in Sir Kenneth MacMillan’s Romeo
I'll be dead, and I won't care!" he said bluntly, adding
and Juliet.
though that "ballets do decline over time, and it’s not
because people don’t care. A prolific choreographer since age 16 , he was also a
noted character dancer, and one of his greatest roles was the puppet in Fokine’s Petrushka. Since he
It’s because the
choreographer himself isn’t there. I wonder if that isn’t the nature of dance."
Dance
2 No. 3
星島日報
S
17/3/2000
村上迷 看
slaza X
o
.()i秒有多久?感覺其實不在實際時間的過去 •而
和後一刻之間，真的有一條千萬分之一秒的鴻溝，則人
是我們看見這個數字所生的想像和體會。
的身體注定要在這條溝中分解，再組合，方生方死，方
牽稱曾在村上春樹作品中攫取靈感的藝術節2()00參演 舞蹈劇場《Plaza
X與異變街道》，展示了
一次由時間出
發的空間思考歷程— —空間不但在舞台的安排上•也在
舞者的身體之間以及身體之內，成為既是主體(無論是
死方生。劇場上大型投影幕上的溜冰殘象，彷彿在呼應
村上作品中不可跨越的世界(「這一邊」和「那一邊」) 意象，甚至有點柏拉圖洞穴寓言的味道。
第二部分由旅人打開內裹發光的皮箱開始。時間靜止似
演出者或是觀幂)同時是我們思及而又變異的對象。
應是極美當前的屏息，而留住美好的唯一方法原來不外
劇場以《愛因斯坦之夢》的三段文字為三個部分的演出
乎死抱不放.勉力繼續為虚頹吹氣。那種無奈無力又死
文本。文字本是英文，企圖交代「時間不是連續體」、
「概念中時間可以靜止」以及「客觀的過去其實不存在」
力支撑的無悔，是不一定需要在爵士樂下才可以認出村
上商標。
這三個現代物理學時間觀念。不過，放在舞台上，換成
高潮的第三部分舞台機關啟動，冰場前移.舞者後退，
了形體調度，居然可以閲讀成了《人造衛星情人》、
一直在木板地上舞動的肢體先後到了冰上 ，都可跟呼一
《舞舞舞吧》和《世界末日與冷酷異境》的三部曲，不
口氣和流一滴淚都成冰塊的村上「冰男」相遇了。以沉
得不説是一次村上迷的驚喜。
入冰湖為喻的腦死(被「另一邊」完全吞掉「這一邊」)
前後台斷裂
前片刻，迎接主體的只是極光般的冷酷粒子。
中場休息前的第一部分，誇張了舞台前後的分隔，後面
黎海寧和劉中達這次合作創作，聲稱還糅合了博爾赫斯
溜冰者的動作，和前台舞者有時像互不相屬，有時又像
(BORGES)和超現實主義繪畫的元素，如果評論者願意，
彼此呼應。孤清的不止是色調、舞姿和音樂效果，孤清
也可在其中發掘出卡夫卡和卡爾維諾。巴赫和探戈如何
的主要還是不能溝通的斷裂，而斷裂又必須在本可接
在作品中進行符號轉換.更足以寫成另一篇文章 •好的
合’但每一次都錯失了的遺憾中更能顯現。如果前一刻
作品往往能提供多元證釋和解讀，村上迷該暫時止步。 。_______________
文：朗天
大公幸艮
28/3/2000
i方伯明翰皇家芭蕾舞團首席舞蹈員斯托爾維策
九五年四月十五日在德國由史圖加芭蕾舞團首演
性之間諸種錯综複雜的微妙關係。《愛德華二世》的
《愛德華二世》後，一擱兩載，直至九七年十月初
多段男子雙人舞對我來説，跟過去演出的劇目比
方由伯明翰皇家芭蕾舞團首度在英國舞台上搬演此劇。
較，並無太大分別。不過，跟男舞者共舞真要費點
據資料顯示，九七至九九年，伯明翰舞團巡迴英國境內
勁，他們的體重較女舞者重得多呢！(沃爾夫剛笑
演出《愛德華二世》共三十二場，截至該團今次應香港
著)除此以外.一切都可以應付得來。
藝術節之邀作亞洲首演計算，總共上演該劇三十七場。
問大術編排愛德華二世、加弗斯頓及獄卒賴特博恩的
趁著在該劇中擔演愛德華二世的伯明翰皇家芭蕾舞團首
多段雙人舞均採用了某些重複的姿態動律，使之猶
席舞蹈員沃爾夫剛•斯托爾維策(Wolfgang Stoll-
如前後呼應的「主題旋律」。你在第一幕和第二幕
witzer)隨團訪港，請他縷述演繹這個角色的心得。
演釋這些主題姿態動律(movementmotifs)時，如
問當初大術•賓利特意給你編排愛德華這角色時，是
否早已胸有成竹，一切盡根據他的指示執行？你可 有给他提意見？
何讓觀幂看起來有不同的衝擊情緒？ 答那是相當困難的。第一幕愛德華跟加弗斯頓之間傾
慕的激情遠較第二幕他和新歡德斯潘塞深厚，後者
答他肯定早擬訂了最基本的概念。大衛經常花很長時
間去整理推敲一己的意念，直至能得出上佳的創作
只不過是愛德華失去加弗斯頓後，尋求情绪上的替
代慰藉•他和德斯潘塞的關係比較淡薄。
概念為止。他的準備工夫十足，要編排一齣像《愛
獄卒賴特博恩在愛德華極度絕望空虚悵惘的狀態下
德華二世》那樣的舞劇之前，他往往用數年時間作
現身，使他回憶起過往與加弗斯頓共同度過的時
調查研究•勾劃出可行的結構。
刻。大術排這段舞時曾詳細向我解説克里斯托弗 •
與編舞家互相影響 當然•在排練室裡，只要一開始跟舞者合作•自然
會因某些其他因素，使舞者影響了編舞家的做法。
這也是我最欣賞大術的地方是他真正地給予舞者一 定的自由度.讓你表達自己的意見 。
馬洛的原著劇作中二人的對話，箇中的細節現在我 雖不能全部記住，但那段對話在我看來委實怪異萬 分。他倆時而恍似一對戀人在閒話，突然間賴特博
恩轉換了身份，以劊子手的姿態出現。那是一個頗
長的場景。愛德華直覺上因賴特博恩而驚恐不已， 可是當賴特博恩替他鬆開綁著雙手的繩子時，愛德
排練期間，我嘗試引發編舞家的靈感，因此他們也
華似乎有了點希望，頃刻間，賴特博恩竟又殘酷地
會允許我作不同的試驗。這種情況不僅跟大術合作
追趕愛德華。
時發生，我和漢斯•苑•曼倫(Hans van Manen)及 依利•基利安(Jiri Kylian) 一起工作時亦常這樣。
可以説，這一場起初時我好像沉醉在愛戀中，但當
我發覺他開始拍打地板，我意識到蕴藏在其內心的
演愛德華有點像演尤金•奧涅金的感覺，皆因兩個
瘋狂意慾漸漸冒升。他越發激動地拍打地板’我的
角色在舞蹈編排設計方面事先已搭建好進入人物性
情绪亦隨之越被牽動得厲害，因此我的姿態動律也
格的途徑。在這個基礎上•舞蹈編排隨劇情推展漸
緊貼著心理上的不同體會而投射出驚惶失措的狀
漸地把演員帶進角色裡，使你完全投入劇中人的處
態；整段舞蹈很自然地演進到預期的氣氛效果’
境、心態。然而，這並不表示演出前你不需要做好
準備。
問整個演出過程中你都得通過肢體動律去呈現劇中極
為密集壓縮的諸種情緒反應，有否遇上任何難處’
問作為舞者，演出劇中多段男子雙人舞•在技巧要
求、動律的掌握與能量的消耗等各方面，可有特殊 的感受？
致使你未能凝聚預期的感染力’未能使觀幂產生共 鳴？
需要其他舞者回應配合
跳男子雙人舞更費勁
答以前我在史圖加芭蕾舞團跟范•曼倫工作時，演出
答沒有。不過，有時候若未能及時得到其他團員相應 的協助演出，演起來倒會党得吃力'事實上•一齣
過很多類似的男子雙人舞作品。范*曼倫時常在他
舞劇要演得成功.關鍵不單在於主要演員的表現 ’
的舞作中把玩男性與男性、女性與女性、男性與女
而是由整個舞團的協作表演所促成的°
Dance
把^?-1
2
動. 3
,___________________________________________
0
fl?
今
要是我在舞台上尋不著上述那種跟其他團員 S己合的關係，要是當我環顧周遭竟得不到他
們的回應時，整台演出一定會因此而倒垮！這是最
投訴我，喊道：「剛才你又跳了些什麼東西？」我 只得説：「不是存心亂跳的，只是感到很自然地要
隨心之所欲而為。」
重要的！
為角色加添演繹方式
第二幕有很多場景我都被幂人包圍著，所以我很需
我想，自己屬於較偏向自然反應及感受一類型的舞
要他們大量的回應和幫忙，只有當我的舞伴及其他
者！
圍繞著我的團員給予我相應的幫助■舞劇本身要營
問大術從來不會為此而感到不悦罷？
造與投射的感染力便會整個地湧現出來 。 答不會。但是，如果我確實忘記或少做了應有的動
問上一次伯明翰皇家芭蕾舞團演《愛德華二世》是九 九年二月，在倫敦莎拉惠斯劇院進行。幾年來你每
次演這角色時，有沒有新的發展？
作，那是我出了問題，則另作别論。沒有人會喜歡 演員偷工滅料。坦白説，我有時候演傳統古典舞剩
時，明明舞段要求做足某些動作，我卻省略了！
答事實上每場表演我都獲得新的發展，我一定會嘗試
去找尋新的據點。
(他又哈哈大笑起來)
問演繹愛德華的角色對你個人的成長可有禆益？
我的意思是，我在舞台上的日子很久，因此總有機
會和碰上一些時段能讓我替某個角色加添一些自己 的演繹方式■或改換一下演出的方法。
答個人生活經驗方面沒有什麼得著，但舞台經驗方面
則確實有很大的得益。我常常竭盡所能地去認同這
個角色，演出的時候嘗試把一己能力所及的全數付
我倒是個挺出名的、經常擅改舞段原有編排的演員
出，把自己與角色等同起來。我的演繹正是我對這
(沃爾夫剛禁不住笑了)，很多編導不欣賞我的做
人物的看法。(一，待續)
法，有時候，我跳了完全不一樣的舞步，他們就會
文：劉玉華
訪伯明翰皇家芭蕾舞團首席舞蹈員斯托爾維策
8
-^5*陣子曾訪港主演《愛德華二世》的沃爾夫剛•斯 托爾維策，累積了二十一載演出經驗，他並不像
好些首席舞蹈員那樣，愛轉換工作環境，尋求新的突
破，他至今只效力過史圖加芭蕾舞團和伯明翰皇家芭蕾 舞團。
史圖加芭蕾舞團上演的劇目，類別多樣豐富，我們 又常跟很多風格不同的編舞家合作。
當年我參演了許多知名編舞家如莫里斯•比才特
(Maurice Bejart)、漢斯•范•曼倫(Hans van
Manen)、麥斯•艾克(MatsEK)、約翰•紐邁亞(John
問以你的優越條件，難道從來沒想過要往外闖嗎？是
Neumeier)、依利•基利安(Jiri Kylian) •威廉•科
什麼因素使你甘願留在史圖加芭蕾舞團，且一呆就
西(William Forsythe)等人特意替史圖加芭蕾舞團排
是十七個年頭。
演的作品。威廉•科西那時候還是舞團的成員，我
答我七三年到史圖加的約翰•格蘭高芭蕾舞學校習
舞•七九年畢業後順理成章地加入了史圖加芭蕾舞 團’直至九五年大術•賓利前來替我們排演《愛德
演出了他創作的第一齣舞蹈呢！我也參演了基利安
嶄露頭角時期編排的舞作。我覺得很刺激•舞團搬
演的劇目涵蓋的範圍廣闊得實在令人難以置信。我
華二世》之後，九六年我才離開史圖加轉到伯明翰
們已擁有了一切。我找不到任何一個理由要離開•
去工作。
離開了究竟還能往哪裡去？
曾演繹不同風格作品
記得有一回他给瑪茜•海蒂編排一個舞蹈，好像是
問聽起來，倒是史圖加的舞蹈學校和芭蕾舞團一手栽
有關紐邁亞母親逝世的感受；由一個女演員，三個
培你成才，又提供了適當的機會讓你在舞台上盡展
男演員表演，代表他父親、兄弟及他自己。排練的
所長。
時候，我們每做一個動作，紐邁亞便拍一張相片。
答的確，他們塑造了我。
翌曰，他捧著厚厚的一疊相片，逐一指正我們動作 的錯處，説昨天的動作該是這樣那様的，實行用相
問那麽，在你和一豕史圖加芭蕾舞團舞者的身上想必
蘊藏著一些共通的特質吧？ 答我們共有的該是約翰•格蘭高(John Cranko)創塑
片對證動作。我的上帝，我們真箇是推搪不得，無
所遁形，我不知道他現在排舞是否仍以相片代替筆 記做記錄。那真是既苦惱又有趣的經驗！
那種一脈相承的傳統。搏茜•海蒂(MarciaHaydee)、
也許，於我而言，與比才特排舞時日子是最難熬
貝吉•蓋爾(Birgit Keil)、里察•克拉根(Richard
的，皆因我有時候覺得較難理解他集中注意力的方
Cragun)等，他們都因演出格蘭高的劇目而闖出名
式。雖然他的表達能力很好，也作了大堆的動作示
堂。我們仰慕欽佩他們這一批模範的舞蹈家，比我
範，但我仍感到難以掌握。
們晚一輩的舞者亦以同様的態度看待我們。我們目
睹了他們在舞台上的風采，見證了他們演繹角色的
我和他一起工作的時間不算長，演過他的《輕歌劇》
(Operette):我穿上裙裙子、高跟鞋作女裝打扮，覺
卓越成就。
得自己演得實在不理想。 再者，史圖加芭蕾舞因時常邀請風格多樣的編舞家 排演節目，舞者遂練就了善於應變的才能 ，我們能
在很快的時間內從先前一個編導的風格轉變過來，
問和依利•基利安及威廉•科西合作的情況又怎樣？
答基利安是個很有趣的人•他那愛錦■笑、鬧著玩的能
達到另一個編導的要求。這種能演繹變化多端風
力實在驚人！他很愛吃希臘食品，有一次我們到希
格，多才多藝的特性，也是史圖加芭蕾舞團團員的
臘餐廳去，我忘了他隨手拿起些什麽來把玩，好像
特點。
是水果之類的東西。之後，他編了一個作品，舞台 練成善於應變能力
問可否談談你跟眾多蜚聲國際的編舞家如漢斯•范 •
曼倫、約翰•紐邁亞、莫里斯•比才特等合作時的 經驗？他們哪一位對舞者的要求最高？ 答這很難説 ，因為他們全都對舞者在技巧及情緒投入
方面要求極嚴，為此他們的聲名才如此大噪哩！大 術同樣往往要求舞者做到他們本身的極限為止。這
是唯一可行的辦法，不然的話，作品就無法達到預 期到的效果。
苑•曼倫的舞蹈有時候好像很簡單，但出來的結果
上全放滿了鮮橙，舞者們就跟這些鮮橙嬉戲，基利 安還讓一位穿上腳尖鞋的女舞者踩在鮮橙上.她這
一踩，橙就應聲被壓爛了。他天馬行空的構思直箇 是絶妙非凡！
我是他給史圖加芭蕾舞團編排 《踏腳石》(Stepping
Stones)的原演出者之一。基利安很能營造歡愉輕 鬆的工作氣氛，他在排練室裡仍經常愛跟我們嬉 笑。當然，排舞的時候他给指示十分精簡明確’我 們都得竭力地達到要求，但我相信假如你能寓工作
於娛樂，幹得開心自然會幹得更好，更起勁，更有 效率。
卻是極難做到，簡直是要了我和其他男舞蹈員的 命，他就是不容許你有任何放鬆的時刻。 曾有一段日子，范•曼倫是史圖加芭蕾舞團的駐團
讚揚編舞家能編能跳
威廉•科西是個智力型、愛探索深奥論題的編舞 家。跟他一起工作亦是件美事，他也是個很有趣的
編舞家。最記得他第一次來给我們排舞的時候，態
人。他有本事令你以從未曾想像過的方式’如此這
度史極了，沒半點同情心，整天喝罵舞者，所有人
般地驅動一己的身體。他懂得引導你作嘗試’結果
都害怕他。後來，我們才漸漸發覺他不過是虚張聲
你成功了，實在使人讚歎！
勢，實際上和他合作是極其愉快的事。他的作品雖 情節欠奉，但總會描繪多種人際關係。我剛當專業
舞者的頭一、兩年便有幸跟他一起工作，演出他的 很多作品，他更给我和貝吉，篕爾编排創作了《繩 圈》這個舞蹈。
問換言之，科西擅長於發掘舞者的潛質。他有否給舞
者做示範？ 答他做的示範敎人叫絶。其實’上述這些編舞家’他 們每一個都精於示範。就説紐邁亞罷，他能跳其編 排的舞劇《茶花女》裡所有角色：大衛亦能跳自己
跟紐邁亞一起工作其實是挺不錯的，他給史圖加芭
蕾舞團排演了多齣舞作，包括《美狄亞》，他經常 有很好創作構想。
的作品，他演得比任何人更精采'
(二•待續) 文：劉玉華
______
Dance
把2
3
五 Y-Space
26/April
《匯雜碎》 ..... . ....................... . ™'— Choreographer 編舞: Victor Ma
to 1/May
八
月 份
Zimbabwe . ...... . . . ............ ,,-r -馬才和 & Mandy Yim 嚴日月然
20/May
7:30pm
HK Dance Company
“The Princess”
21/May
3:00pm
香港舞蹈團
《紫禁城的公主》
26-27/May
7:30pm
Yuen Long Theatre Auditori
元朗劇院演藝廳
GrandTheatre, HKCC
香港文化中心大劇院
H Choreographer 編舞：Ding Ran
節
Charter House, Harare,
“Chop Sue”
12- 14/May 7:30pm
HK Ballet
13- 14/May 2:30pm
香港芭蕾舞團
巨
Choreographer 26-27/May 7:30pm
[■ r
丁然
&Lu Yumei 盧玉梅
“Beauty & the Beast”
Grand Theatre, HKCC
《美女與野獸》 編舞:
香港文化中心大劇院
Domy Reiter-Soffer
蘇東美
HKAPA
“New Dance Direction”
Lyric Theatre, HKAPA
香港演葵學院
《舞出新方向》
香港演藝學院歌劇院
Choreographer 編舞：Natalie Weir，Gary Harris，Jiang Hua-xuan 蔣華和 Paul Old & Rosaline Newman 廖朗莎 2-3/June
8:00pm
HK Dance Alliance
“Four Women on the Fringe”
Fringe Club, Star Alliance Studio
香港舞蹈聯盟
《藝穗四舞「雌」》
香港藝穗會综藝室
Choreographer 編舞：
Tso Po Lin
曹寶蓬，
Florence Lui
#佩瑜，
Vanessa Sau Mui Cheung 張秀梅， Jocelyn Chung 16/June
17/June
鍾碧霞
7:45pm
Danseomanie
“The Incompatible Humans”
Mcaulay Studio, HK Arts Centri
9:30pm
戀舞狂
《人造術星上的四隻夏娃》
藝術中心麥高利小劇場
2:45pm
7:45pm
g Choreographer 編舞:Jocelyn Chung 鍾碧霞
17/ June
4:00 pm
Spring Peotry
“Modern Dance Performance”
Shatin Town Hall, Foyer
躍■舞翩
《現代舞》
沙田大會堂平台
Choreographer 23-24/June
8:00pm
編舞：
Terry Tsui 徐偉業,Lonce Yu
余世好
CCDC
"Strip Teaser"
Concert Hall, City Hall
城市當代舞蹈團
《脱衣秀》
大會堂音樂廳
I
Choreographer 編舞:Abby Chan 陳敏兒,Allen Lam 林偉源,
David Liu劉中達,Sang Jija桑吉加， Daniel Yeung 構春江,Yeung Wai-Mai 楊惠美
快諷 The Annual General Meeting of the Hong Kong
本年度之香港舞蹈聯盟周年會員大會將在六月十八曰星
Dance Alliance will be held on Sunday, 18 June 2000
期曰，下午二至四時於香演藝學院舉行，敬請所有會員
from 2 to 4PM at the Hong Kong Academy for the
盡量出席。此次會議中，除了提名及選出下屆舞盟幹事
Performing Arts. All members are invited and strongly
會成員之外，亦會對舞盟之會章及財政報告作出檢討及
encouraged to attend. Nominations and elections of
修改。為了使是次會議成為一個會員們歡聚和交流的聚
officers for the Hong Kong Dance Alliance Executive
會，會中亦備有茶點供應。至於場地方面，將會在當曰
Council will be conducted during the meeting. Also
於演藝學院地下大堂中作出指示。請各有意參與者致電
on the Agenda will be a review and recommendations
2584_8753或傳真至2802-3856，與黃翠玲聯絡。
for the organizational by-laws and the financial report. Refreshments will be served and we hope the meeting
另一方面，香港舞蹈聯盟二零零零年舞蹈年獎已完成了
will be an occasion for all members to get together and
點票的程序。在各被提名的候選人中，有十一位得到大
exchange points of views. Signage on the ground floor
部份的選票〔其中得票最高的四位得到相同的票數〕。
lobby of the Academy will point members to the
這十一位得獎者將在六月二十七日星期二晚上舉行的頒
meeting venue. Please confirm your attendance with
獎晚會中接受獎項。此晚會將在位於銅鑼灣時代廣場十
Scarlet Wong at telephone 2584-8753 or Fax 2802-3856.
一樓的VIP餐廳舉行，本人在此邀請各會員出席。頒獎 晚會籌備委員會之聯合主席，孫名翠及曹誠淵，已準備
Official ballots for the Hong Kong Dance Alliance Dance Awards 2000 have been received and counted.
Eleven of those nominated received the majority of votes from members (with the final four nominees
receiving an equal number of votes). These eleven will
receive this year’s Hong Kong Dance Awards at a
special Gala award ceremony planned for Tuesday evening, 27 June 2000. All members are invited and encouraged to attend and celebrate the occasion with
了一個多姿多彩的晚上。會場於下午六時三十分開始接
待賓客，而豐富的自助晚餐〔包括香檳酒，餐酒及汽水
供應〕則於晚上七時開始。各項娛樂節目、跳舞〔現場 伴奏〕、抽獎及舞蹈年獎頒獎亦隨之接踵而來。門卷分
會員〔港幣三百元〕，非會員〔港幣四百元〕，及贊助 〔港幣六百元，贊助者將獲贈紀念品及入坐貴賓席〕三
種。請致電2584-8753或傳真至2802_38%，與黃翠 玲預訂門卷。
the award recipients. Gala Committee co-chairs, Karen
Suen and Willy Tsao have planned an exciting evening
香港舞蹈聯盟主席
of celebration to be held at the wonderful VIP (Vogue in Paradise) restaurant located on the 11th Floor of Times Square in Causeway Bay. Reception will begin
at 6:30 followed at 7PM by a fabulous buffet dinner
二零零零年五月
(including champagne, dinner wine, and soft drinks), entertainment, dancing (with live accompaniment),
door prizes, and Dance Award presentations. Tickets are available by contacting Scarlet Wong at telephone
2584-8753 or Fax 2802-3856. Admission is priced at
HK$300 for members, HK$400 for non-members and HK$600 for sponsors' tickets (sponsors will receive
special souvenirs and VIP seating).
Tom Brown Chairman May 2000
Dance Journ^ LHK VoI. 2 No 3
50
Members of Hong Kong Dance Alliance
個人會員
INDIVIDUAL MEMBERS Andrew Broomhead
Mr Jason Brockwell
簡麗珊女士 鄭健華先生 宋孟青女士 高家霖先生 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 Ringo Chan Ms Miranda Chin Ms Ulian Chun
Mr Mohamed Drissi Ms Vivian Kwok Ms Helen Lai Mr Luk Kwok-hung
曹誠淵先生 黃翠玲女士
溫玉均先生 許淑媒女士
Mr Willy Tsao Ms Scarlet Wong
團體會員
聯絡人
方舟舞蹈劇場 霹靂啪n靭身體劇場 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
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 香港芭蕾堯團 香港舞蹈團 香港國際專業舞蹈體育總會 香賴年藝術節協會有限公司 智才補習學校及創作天地 王仁曼SB舞學校 雙妹噯 動作纖維
Ms Chu Kit Ms Stella Chung
Mr Ho Wai-keung Ms Medina Lau
Ms Kim Law
Mr Edwin Lun
施素心女士 黃國強先生
Ms Susan Street
Mr K. K. Wong
Ms Xu Shu-ying
Contact Person
Ark Dance Theatre
Ms Eve Cheng
Bilibala Physical Theater
Mr Dominic Wong
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
Dua Space Dance Theatre
Mr Anthony Meh Kim-chuen
E - Side Modern Dance Company
Mr Jacky Yu
Evangelical Dancing Troop
Ms Tsang O-ying
新約舞流 絲路舞蹈文化協會 躍舞翩 南群舞子 二分顏色 原體系 舞蹈菲場 蒲窩青少年中心 X —M場 歪0的ZJX体 多空間
普通會員
ASSOCIATE MEMBERS
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 Professiond Dance Sports Cound
Mr Chan Wai
Hong Kong Youth Arts Festivd Association Ltd
Ms Lindsey McAlister
FTS & TS Creative
Ms Karen Suen
Jean AA. Wong School of BcJet
Ms Arma Chan
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 Cheung Sau-fan Ms Fong Kit-ping Ms Kwan Yim-Ian
Ms Kwok Shuk-yan Ms Lai Siu-ling
Mr Makoto Matsushima Mr Juergen Morhard Ms Daphine Wong Ms Asha Sawlani
學生會員
STUDENT MEMBERS
陳雅芝女士 蔡嘉樂先生 慮幸賢女士 鍾晶女士 黃天華女士
Ms Mr Ms Ms Ms
Susanna Chan Cody Choi Candy Lo Chung Ching Audrey Wong
Mr Chau Chuen Fai
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 麥蓮茜女士 縣翠壮 醐瑛牡 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
Mr Aaron Wan
Mr Tom Brown
Ms Priyadarshini Ghosh-shome
Mr Yuri Ng Ms Indira Sawlani
Daryl Ries
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
Membership Form
罾員由誧表
Membership
會藉
（
）Individual
（
）
（
）Associate*
（
）Student*
Organization
個人會員$200 團體會員$600 普通會員 $100 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）_______________________
Fax傳真（Office公司）___________________________ Position
職位
公司名稱
Affliated Cultural Organization
_________________________________
所屬藝術機構 ______________________
團體名稱
Person in Charge負責人姓名 Telephone
電話
團體會員資料
Information
Name of the Organization
__________________________
________________________________
___________________________
Correspondence Address
Fax
|
|
|
]
I
所屬舞蹈類別
現代舞 Eastern Folk東方民族舞[3Z] Western Folk西方民族舞 Education教育界 Q3] Criticism寫作與評論 Cultural and Arts Administration 文化及藝術行政
| Ballet |
芭蕾
傳真 _______
__________________________
通訊地址
Applicable Dance Category
|
（Home住宅）
地址 ______________________________________________
Organization Member1 s
|
住宅）
__________________________________________ ___
Name of Company
Address
（Home
I Notation舞蹈記錄
Signature
|
| Contemporary
| World Dance民族民間舞
|
| Ballroom國際標準舞
舞台技術
|
| Technical Arts
|
| Musical Theatre / Jazz / Tap Dance
音樂舞劇/爵士舞/踢躂舞
Others其他
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 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：「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 長辦公室轉交香港舞蹈聯盟收。
Dance Non voting沒有投票權利
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3