觀・影 ― 香港舞者 ON VIEW: HONG KONG 全新 ArtisTree New ArtisTree 裝置展覽 Installation Exhibition 1-3.11.2017 9:00am-6:00pm 現場演出 Live Performance 2-3.11.2017 8:00pm
觀・影 ― 香港舞者
Photo: 張志偉 Cheung Chi Wai
由西九文化區委約及製作，「觀・影 ―― 香港舞者」是一個全新的舞蹈 項目，透過「舞蹈」及「影像」探索「人像」、「身份」及「身體動態」等 概念。 「觀・影 ―― 香港舞者」緣起於 2015 年， 西九與城市當代舞蹈團合辦 「新作論壇：光影舞蹈」，邀請了包括澳洲編舞及舞蹈影像導演蘇・希利 （Sue Healey）及香港舞蹈影像攝影師黎宇文等舞蹈影像創作人主持工 作坊，並與香港、澳門及台灣等地的導演、電影製作人及舞蹈藝術家一 起 交 流。2016 的 夏 天，受 蘇・希 利 之 前 獲 獎 作 品 ON VIEW: Live Portraits 啟發，西九邀請了蘇・希利、黎宇文及十位香港優秀舞蹈家， 聯手攝製「觀・影 ―― 香港舞者」。 「看見」及「被看見」一直都是蘇・希利關注的主題，亦是這個作品所探 討的：對於舞蹈家， 觀眾是怎樣察覺其容貌、眼神及動態，以至舞動的 方式、力量或節奏？身為舞蹈家，他是怎樣展示上述種種有形、無形的 特質 ? 單靠肉眼看世界，已經變化多端， 倘若再加上鏡頭，還會發生什 麼 ?「觀・影 ―― 香港舞者」重新檢視「人像」、「身份」及「身體動態」 等概念的定 義 及 內 涵。透 過「觀・ 影 ―― 香 港 舞 者」， 西 九 期 望 拓 闊 創 作 人、表 演 者，以 及 觀 眾 對「舞 蹈」及「影 像」的 思 考 及 想 像，並 且結合兩個媒介獨有特質，進一步促進其長遠發展，同時，大眾亦可透 過作品加深了解多位不同年齡、背景及專長的香港優秀舞蹈家。 關於西九文化區其他舞蹈項目及舞蹈影像計劃請瀏覽 : www.westkowloon.hk/dance
ON VIEW: HONG KONG
Photo: 張志偉 Cheung Chi Wai
Commissioned and produced by West Kowloon, ON VIEW: HONG KONG is a new dance project exploring notions of portraiture, identity and the moving body through the medium of screendance. ON VIEW: HONG KONG was conceived in 2015 during New Works Forum: Screendance, a collaborative programme organised by West Kowloon and City Contemporary Dance Company that brought together Australian choreographer and filmmaker Sue Healey, Hong Kong dance film cinematographer Maurice Lai and other screendance artists for workshops and exchange with directors, filmmakers and dance artists from Hong Kong, Macau and Taiwan. The following year, inspired by Healey’s award-winning work ON VIEW: Live Portraits, West Kowloon engaged Sue Healey to collaborate with Maurice Lai and ten prominent Hong Kong dance artists for the production of ON VIEW: HONG KONG. Exploring what it means “to see” and “to be seen” – elements that are central to Healey’s work – ON VIEW: HONG KONG challenges the way performers and spectators view a dancer’s presence, gaze, gestures, movement, force and rhythm, and looks at how a dancer presents both tangible and intangible qualities, and at what happens when the complexities of real world movement and observations are compressed by the camera. The resulting works redefine the context and cultural interpretation of the concepts ‘Portrait’, ‘Identity’ and ‘The Moving Body’.
ON VIEW: HONG KONG ON VIEW: HONG KONG provokes creators and audiences with fresh perspectives of ‘dance’ and ‘moving image’, promotes the development of screendance, and offers the public a unique opportunity to discover Hong Kong dancers of different ages, backgrounds and expertise. For more details about West Kowloon Cultural District’s Dance programmes and Screendance projects, please visit: www.westkowloon.hk/dance
前言
「觀・影 ―― 香港舞者」以「舞蹈影像」為創作起點，讓舞蹈在多方面發揮更大影 響。為什麼是「舞蹈」加上「錄像」？西九是根據香港目前狀況，以及未來發展趨 勢而作出決定：香港舞蹈影像的發展已有至少十年穩固基礎，不少團體及平台亦不 斷推動培訓和展演，而西九不同表演場地日後將陸續建成，如何擴闊觀眾體驗舞蹈 的方法，成為了重要考量。 科技發展一日千里，電腦的、手機的多重螢幕已經介入我們的日常生活，其影響力 日後可能更無遠弗屆；如果要讓舞蹈接觸更多群眾、拓展更闊邊界，結合影像就是 其中一個重大方向。 同時西九日後除了室內劇場，還有大量戶外地方及公共空間，都很適合影像放映， 因此我們現在開始籌劃，要去滿足未來五年到十年的發展需要，累積豐富內容。 「觀・影 ―― 香港舞者」其中一個重要使命是讓舞蹈存在於日常生活中，舞者不一 定在台上才舞動，舞者同時可以是普通人，游離城市不同角落，只是他們擅長以身 體作表達，我們希望給予公眾近距離接觸舞蹈的機會。 另一方面，有別於舞台演出，舞蹈影像不因落幕而消失，反而可以隨時隨地播放， 讓具獨特風格的香港舞蹈和舞者超越既有邊界，遊歷世界各地。 至於十位舞蹈藝術家的挑選，考慮原則則是呈現多元舞種及特色。西九過去一直跟 不同的個人及團體聯繫、合作，在這個基礎上，我們邀請了十位優秀、卓越的舞蹈 藝術家，涵蓋了不同的年代、年紀及背景。 我期望西九可以變成一塊磁石，匯聚四方八面的人才與創意，而製作人則可從中整 合，並通過不同的網絡、渠道及資源實踐各項計劃。
陳頌瑛 西九文化區管理局表演藝術主管（舞蹈） 總監製
Foreword
ON VIEW: HONG KONG takes screendance as a creative starting point – Bringing together film and dance in a programme that reflects both the current situation within the Hong Kong dance ecology and future development trends. Over the last decade, a number of Hong Kong dance organisations and platforms have been working with screendance as a genre, building a solid foundation through showcases and workshops training programmes. With the West Kowloon venues beginning to take shape, it is important that we think about how to provide a wider range of dance experiences for our audiences. As technology advances, our daily lives revolve more and more around computer, smartphone and multiple screens. To engage with a mass audience, dance needs to expand its boundaries, particularly in the direction of visual and moving images. Another consideration is that, alongside theatres and indoor venues West Kowloon will also have a lot of fantastic open-air spaces perfectly suited for public screenings. To make good use of these platforms, our development plan for the next five to ten years is to start to produce and accumulate rich, comprehensive content. One of the missions for ON VIEW: HONG KONG is to make dance part of everyday life. Dance artists don’t just dance on stage, they dance as ordinary people too, expressing themselves through their bodies as they move around the city. We hope our work will offer an opportunity to bring dance into people’s lives. Unlike a stage performance, a work of screendance does not end when the curtain falls – it can be screened and continue anywhere. This allows the unique qualities of Hong Kong dance and Hong Kong dancers to move beyond the existing limits and reach out to the global. In selecting the ten dance artists, we considered the overall variety of dance styles and characteristics. Our aim at West Kowloon is to bring together and collaborate with individuals and organisations from all fields and backgrounds. On this basis, we invited ten outstanding dance artists who represent a range of generations, ages and backgrounds. It is my hope that West Kowloon will become a magnet for talent and creativity from around the world, and that we can help producers create different forms of networks and resources that enable them to realise a limitless variety of projects.
Anna CY Chan Head of Dance, Performing Arts, West Kowloon Cultural District Authority Chief Producer
「觀・影 ―― 香港舞者」雜感（2015 — 17）
自2015年開始，我在香港渡過了三個炎熱夏天－教育工作、場地揀選、實地拍 攝、舞蹈編排、籌備合作，以及想像著更多令人興奮的未來計劃，全都在西九文化 區舞蹈團隊的全力支援下進行。這些經歷大大開闊了我的眼界，看到了舞者、攝影 師及設計師等香港藝術家的獨特一面，以及2017年香港充滿挑戰的面貌。 高溫、食物、生活的節奏與密度，以及無法避免的「翻譯的失落」，都曾使我裹足 不前，儘管如此，這三個夏天同時使我超越了自己想像中的個人極限，讓我發現了 有關日常溝通、有關舞蹈創作的全新意念。 過程中每一個階段都充滿繁複的後勤安排 ―― 由2015年的工作坊、2016年的拍 攝，到2017年的現場演出排練，每部份也由西九專業的製作團隊妥善考慮、處 理。 實地拍攝更是絕不平凡 — 由尋找十處香港獨特外景場地、處理冗長行政手續、確 保做足安全設施，到為每一位舞者配搭一種不同的動物（牛、蛇、蜥蜴、青蛙、 貓、狗、魚……），作為其人像拍攝的一部份，以至聚集十位藝術家，並將他們放進 「觀・影 ―― 香港舞者」框架之中。黎宇文及由香港演藝學院學生組成的拍攝團隊 均是解決問題能手，能夠與他們合作，我感到非常榮幸。 至於2017年為現場演出作出的排練，意味著要將五位非常忙碌的藝術家集合在同 一時間、同一地點一同工作，再一次帶來極大挑戰，而西九技術團隊今次亦完善滿 足了所有技術要求。 自2016年拍攝以來，十位香港藝術家彷彿住進了我在悉尼的家，成為了我家庭的 一份子。儘管只是透過屏幕，每天他們都起舞，並以自己的方式跳到我的現實世 界，並融入我的心扉與想像。 我攝製了十段各兩分鐘的短片，每段分別屬於一位藝術家、創作了兩個長約二十分 鐘的影像裝置展覽，各自會有五條頻道，而在2017年夏天，我亦製作了一個一小 時現場演出及裝置。 在這三個夏天，我意識到「觀・影 ―― 香港舞者」是一個需要深層連繫「身份」這 個概念與不同「表演」模式的過程。我對藝術家如何看待自己「個人」與「表演 者」這兩個身份，以及他們選擇如何向觀眾傳遞這些資訊感到興趣。我對不同文化 怎樣看待舞者亦深感好奇。到底有否一種世界通用的「看見」，或者「看見」會因 文化不同而出現差異？ 同時，在任何人像中，創作對象（今次即為舞者）與創作人之間關係極為重要，透 過「觀・影 ―― 香港舞者 」這個框架，我希望以最真實的方式將這些藝術家的人 像呈現出來。對於表面化的文化交流研究，我不感到興趣，相反當我碰上來自中西 不同文化的合作夥伴，彼此的交流則使我更加起勁，而我相信，「觀・影 ―― 香港 舞者 」正正就是一台工具，承載著我們早已交疊的文化聲音。
蘇・希利 舞蹈影像導演及編舞 2017年8月
ON VIEW: HONG KONG reflections (2015 – 17)
Since 2015, I have spent three intense periods of work in the dense summer heat of Hong Kong – teaching, location scouting, film shooting, choreographing, collaborating and dreaming up exciting future plans – under the auspices of the inspiring West Kowloon dance team. These experiences have opened my eyes to the unique local artists – dancers, cinematographers, designers – and the challenging scene that is Hong Kong in 2017. While it has been overwhelming on many fronts – the heat, the food, the pace and density of life, and the inevitable ‘lost in translation’ moments – these three summers have enabled me to push beyond what I thought was personally possible, and to uncover new ideas about how we communicate, and create dance. Each stage of the process has been a logistical feat – from the workshop in 2015, the shoot in 2016, and the live work rehearsal in 2017 – all expertly considered and solved by the West Kowloon production team. The shoot was extraordinary – from finding ten unique exterior locations around Hong Kong, navigating significant red tape and making it safe for all – to solving how to partner each dancer with a different animal (a cow, snake, iguana, frog, cat, dog, fish…) as part of their portrait – to bringing ten artists together to work within the framework of ON VIEW. Maurice Lai and the filming team from HKAPA were expert problem solvers and a great pleasure to work with. The live work rehearsal in 2017 meant scheduling five very busy artists in one place at the same time. Again, no mean feat! And the technical requirements of this work were met with extreme and expert consideration by the West Kowloon technical team. Since shooting the films in 2016, the ten Hong Kong artists have inhabited my home in Sydney, and become part of my family. On a daily basis they have danced their way into my reality (albeit through a screen), and into my heart and imagination. I have made two-minute short films of each of the ten artists, two 20-minute five-channel video installations, and, during summer 2017, a one-hour live performance installation. After these three summers, I realise ON VIEW is a process that demands a deep level of engagement in notions of identity, as well as modes of performance. I am interested in how artists see themselves as individuals and performers, and in the ways they choose to reveal information to an audience. I am profoundly interested in how different cultures see dancers. Is there a universal way of seeing or is this different across cultures? Also, in any portrait, the relationship between the subject (the dancer) and the portrait-maker is a vital part of the equation. I hope that through my ON VIEW framework, I can reveal the portraits of these artists in an authentic reality. I am not interested in a superficial investigation of cultural exchange, but a unique meeting between collaborators, from east and west – and I trust that ON VIEW is a vehicle for the culturally inflected voices that we all possess. Sue Healey Filmmaker and Choreographer August 2017
流動畫框： 「觀・影—香港舞者」的影像美學 洛楓 我一直覺得鏡頭比眼睛更能精確的看到舞蹈的細節，攝影機教導我們從另 外一些角度看待舞蹈的存在，less is more，鏡頭其實是一種「微型編舞」 (micro-choreography)，不在於身體動作的全部展示，而在於舞蹈本質的 凝住！ ―― Sue Healey 前言：當「舞蹈」邂逅「影像」 2016年夏天，西九文化區請來澳洲舞蹈錄像導演 Sue Healey，製作一個以 「香港」作為拍攝場域的 ON VIEW 版本，題為「觀•影――香港舞者」 (ON VIEW : HONG KONG)，合共三個星期緊密的攝製流程，我跟隨了其中 的部份段落，從演藝學院的攝影棚到香港一些戶外地區的追蹤，期間跟Sue Healey做了一個詳細的訪談，上面引述的話語，是她當時最讓人觸動的解 說，她是少數能將「舞蹈」和「影像」結合為一、化零為整的藝術家，原因 來自她的出身與基礎訓練。Sue Healey出生於紐西蘭，在墨爾本創立舞團， 曾經遊學紐約，師從後現代舞蹈大師Merce Cunningham 和 Trisha Brown 的門生和門派，返回澳洲後致力創作，同時推動舞蹈、影像與裝置藝術的跨 媒體實驗，一人兼任編舞、影像導演和裝置藝術家等多重身分；以悉尼作為 基地，她先後完成四個舞蹈影像系列，其中的 ON VIEW 從2013年開始研 創不同的版本，同時展開巡演。2016年的「觀•影――香港舞者」找來同 樣也是舞蹈影像導演的黎宇文協助拍攝，幕後還有一班香港演藝學院電影電 視學院的畢業生作為技術支援，參與的十位舞者包括梅卓燕、喬陽、楊春 江、陳敏兒、楊雲濤、曹德寶、江上悠、莫嫣、徐奕婕和李偉能。 什麼是 「舞蹈影像」 (dance video)？顧名思義就是以攝錄器材和電影手法 拍攝舞蹈的媒介，涵蓋的範圍廣闊，從舞蹈大師生涯與作品創作過程的紀錄 片，舞蹈文獻和歷史的檔案，以舞蹈為題材的劇情片、歌舞片和短片，到舞 蹈演出的宣傳、預告片和舞台實況的拍攝，以及經典舞碼的選段剪輯等等， 無不圍繞「舞蹈」作為主體和主題而衍生的「錄像/ 電影」(video, film) 形 態 (Siebens, 218)。Healey 的試驗有別於上述所列，不是為了記錄或推廣 的實用目的，而是視為藝術的整體及跨界整合之能耐，她是為了拍攝影像而 編排動作，也是為了展示舞蹈而形構畫面，「舞蹈」和「影像」同為主體， 不分從屬，彼此的位置平等，於是在拍攝的過程中，舞者與攝影機的鏡頭是 互動的，鏡頭因舞者而來，舞者因鏡頭而動，著重如何拍攝、怎樣觀看的層 次和變化——基於這些美學認知，Healey才會說鏡頭是一種「微型編舞」， 比眼睛更能精確看到舞蹈的細節和本質！此外， ON VIEW系列不是單純的 影像攝錄，同時也是現場真人演出的跨媒體展映，地點可以是畫廊、博物 館、戶外空地或黑盒劇場，舞者在自己的「影像」(image)前表演，形成 「現實」與「虛擬」界面的碰撞或接合。 「觀•影――香港舞者」由七個段落組成，分別是服飾三連圖、鏡頭凝視、 動物雙人舞、人體剪影、環境舞蹈、舞動布料及色彩幻影，既可各自分離獨 立播放，又可經由剪接拼合不同的片段，彷彿可以無休止變更和混合的組
件。這篇論文從影像美學與文化研究的角度出發，闡釋Healey的影像藝術 (cinematography) 及其主題導向，包括技術層面的鏡頭運用、節奏與時性 (rhythm & timing)、畫框結構 (framing)、「凝視」 (gaze) 的主體與客體換 置、舞者性格與動作的捕捉，以及「香港」作為場域的本土風貌及其城市特 質，從而架起「舞蹈」與「影像」的實驗成果和觀照方法。 「觀•影――香港舞者」的影像藝術與詩化哲思 在現實的舞台看舞，除了燈光、佈景、音樂與音效之外，我們還看舞者真實 而當下存在的軀體、表演場地的物理空間、台景裝置，以及跟演出共同度過 的生命時間；然而，當舞蹈化成影像，經由攝影機的擺放角度、距離與鏡頭 的快慢，還有燈光照射營造而來物象的剪影、線條、色彩、色溫與色光等等 調度，舞者變成虛擬的影像 (virtual image)，整體變成局部，局部呈現細 節，導演的技術選擇就是他/ 她對舞蹈的美學取向與哲學思考 (Diamond, 195)。Healey 接受訪問時曾經指出，她的舞蹈影像都是關於「移動的身體 與移動的影像」(the moving body, the moving image)，將身體放入不同的 裝置和空間，會帶來無窮無盡的挑戰和認知，而 ON VIEW是一個關於「塑 像」(portraiture) 的意念，目的是為了尋找攝影機顯露舞者性格、身份、種 族、年齡和性別的可能，這是一種「看」和「被看」的行動 (the act of seeing & being seen)，是舞者和觀眾之間既親密又恆常變動的 關係 (Baumann)。基於這些技術與美學的前提，「觀•影――香港舞者」 有兩項特色：第一，Healey的攝影機差不多全是靜止不動的，固定的距離與 方位，讓舞者舞向鏡頭；第二，Healey 採取「獨舞」(solo) 形式編排動作， 每個段落、每個畫框只有一個舞者，舞者凝神展演，讓觀眾集中視線焦點。 1）複合視框的人間色相：服飾三連圖 參與「觀•影――香港舞者」的舞蹈藝術家來自不同的文化背景、性別、階 層和團體，包括香港舞蹈團的楊雲濤、香港城市當代舞蹈團的喬楊和香港芭 蕾舞團的江上悠，其餘是獨立舞者梅卓燕、陳敏兒、楊春江、曹德寶、莫 嫣、徐奕婕和李偉能。這群舞者的年齡分佈從57歲到24歲，包羅資深的前 驅、中生代和年輕的新世代，舞種涵蓋中國舞、芭蕾、現/當代舞、戲曲、 武術和拳擊，部分舞者甚至/備有劇場、環境舞蹈、多媒體和裝置藝術的表 演經驗，聚合而成多樣風格與多種身體的特性，例如梅卓燕融合古典與現代 的女性身段、喬楊與陳敏兒滲入戲劇元素的韻味、楊雲濤來自雲南白族的雄 渾與異質、楊春江的酷兒身體與情色、曹德寶矯健的武生型格、徐奕婕貼近 日常的詩意、莫嫣充滿玩味的黑色幽默及李偉能的男體陰柔。在「服飾三連 圖」的影像中，Healey 要求他/ 她們自選三套服飾，彰顯個人的訓練基礎、 藝術淵源、獨立個性和品味取向，衣服猶如皮膚的表層、自我的鏡像，裝入 不同的軀體，經由鏡頭透視、放大、濃縮、延長，顯影了肉眼看不到的人間 色相！ 基本上，Healey 以「複合視框」(multiple framing) 構造畫面，在「服飾三 連圖」中，十個舞者分成兩組，舞者輪流更換衣服，並在特定的音樂下重複 同一組動作，而動作必須在固定的邊界完成，不能溢出鏡頭的視線以外；然 後，Healey 在後期製作的剪接上，將熒幕以橫向分成三層，上層兩個、中 層一個、下層兩個，為五個舞者合共設置五個直立長方形的畫框，由於每個 大的視框裡又分成三個小的，總共十五個視框呈現眼前，同時採用不同的切 入節奏，每一格視框的時性不同，營造此起彼伏、目不暇給的流動形態，彷 彿人體畫像的逐格顯影。這樣的排列，猶如電影菲林的「再現」，以慢鏡的
捲動、重複的細節，讓觀眾看到動作漸變的來龍去脈、人體的線條美感、內 層空間的固定對比外層空間的流轉；加上十個舞者無論體型、身韻還是動感 都各有風采，帶來了豐富的視覺感官。像艷麗詭異的喬楊一身紅色晚裝、古 典優雅的梅卓燕是灰色閃亮的旗袍、出身芭蕾舞的江上悠卻一身清朝皇帝的 金裝打扮、赤裸上身配上黑紗裙褲的楊雲濤散發莊嚴氣度，還有性感內衣的 陳敏兒、戲曲武生的曹德寶、掛上假胸道具的楊春江，以及青春活潑和彩色 繽紛的莫嫣、徐奕婕和李偉能等等。每個舞者三副裝扮，十五個視框便有十 五種形相，表層很分裂互不統屬，但並置一起後又產生了另類的和諧，猶如 藝術萬花筒的鏡面，互相折射、反照和統合各種構圖的可能，而觀眾則可以 隨機選擇吸引自己喜好的影像，又或每次重複細看都將焦點移換不同的舞者 身上，再在接收的內層意識裡自行建立屬於個人的觀照和認知結果。
2）看與被看的詭異：凝視鏡頭 「凝視鏡頭」關於「看與被看」的主題，一般來說，電影和錄像的被拍攝者 總是被看的客體，鏡頭前他/她是一個「慾望的對象」 (object of desire)， 主要的功能是取悅觀眾，因為觀眾才是主體(subject)，這種主客身份形成了 觀看的權力關係，這是西方歷來電影、繪畫和視覺藝術討論的話題，當中還 涉及性別、種族和階級的高下與從屬設定，例如男人觀看女人、白人凝視有 色人種、貴族睥睨勞動階層等等 。然而，到了現代和後現代時期，這種凝視 的權力形態卻被解構了，主體與客體不單逆轉，而且位置不再固定，而是變 動不居，被看的甚至主導整個觀看的過程，反客為主，而觀看者又隨時變成 被看的對象而身不由己！Healey 的「凝視鏡頭」同樣以複合畫框展示，五 個鏡框分別有五個舞者站在固定的攝影機前面，他/ 她們主動的游離，時而 走近鏡頭，眼睛緊緊盯著熒光屏不放，時而側身注視，然後轉身走遠，卻依 舊扭腰回眸，導演借用全身的遠景、半身的中景和臉部特寫捕捉每個舞者凝 望的神態。在這種極度放大的「對望」界面上，原本被看的表演者剎那變成 凝視的建構者，透過攝影機的鏡頭、隔著熒光屏，「我們/ 觀眾」變成被對 方凝神觀看的客體或物體，形成了「反凝視」 (anti-gaze/ gaze back) 的回 擊 (fightback)，顛覆了藝術慣常的規條。然而，這種看與被看的位置卻並非 一成不變，而是整個都在流動的過程上來來回回、不停更替，我們/觀眾一 直確實也在觀看舞者，舞者也沒有完全脫離被看的銀幕，只是在預設的鏡位 上，我們/觀眾早已也被導演設定為被看的對象，舞者拍攝的時候，必須假 裝在鏡頭的框架上看到「虛擬/ 隱藏觀眾」(virtual/ implied audience) 的存 在，因此，有些舞者在走近鏡頭的一刻，不能避免流露尋找的表情和身體姿 勢，彷彿在搜索凝望的對象，就這樣，鏡框內外不斷交替一層一層看與被看 的佈局。
在這一組的片段中，出現一個溢出常態的「異端」，那就是戴了面具的梅卓 燕！只見她手持一個白色的、類近日本能劇的女性面具，除下又戴上、前行 或走遠，我們有時候看不見她的臉孔和眼睛，也就是看不到她凝視的表情與 眼神，從而產生一種陌生化的效果：看不見的看到、或看見的看不到，尤其 是當舞者依舊設定為看著我們的情況下。於是，在自己「被看到」而 「看不到」 對方的情景中，升現一股莫名的不安，是為觀看的焦慮 (anxiety of spectatorship)！我相信這是Healey 這個 ON VIEW 系列中非常奇特的拍 攝經驗，因應一個香港舞者和一個東方面具的介入，添加了意料之外的異相 和異質，將「凝視」的主題拉開更寬廣的深度。 3）托物言志物我相忘：動物雙人舞 「觀•影――香港舞者」不單跟攝影機共舞，也跟動物一起手舞足蹈。 Healey 要求各人揀選一種動物，並且自選動作，便創造了「動物雙人舞」 的畫面，十個舞者的選擇不同，卻有趣地分成「實物」與「虛像」兩個組 別。第一組的「實物」包括陳敏兒的蜥蜴、江上悠的青蛙、楊雲濤的牛、徐 奕婕的金魚、莫嫣的蛇，而喬楊與曹德寶同樣選擇了狗。導演以特寫鏡頭拍 攝動物身體細緻的肌理或紋理，以中景的距離映現人與動物舞動的形態，於 是我們看到蜥蜴在陳敏兒頭部與肩頸蠕動，蛇頭和蛇身在莫嫣的背部滑轉； 有時候動物被置於前景，人的影像朦朧在後，例如江上悠與青蛙、徐奕婕和 金魚，舞者的比例時大時小，營造對比；又有時候動物才是主角，人類反而 變成模仿牠的物種，像曹德寶與狗的主客逆反，小狗精靈的神采成功搶鏡！ 另有時候是動物發掘也襯托了舞者潛藏的形相，例如莫嫣穿上綠衣，將頭髮 染成綠色，然後跟綠色的蛇一起展露妖媚與野性。這些人與動物並置的鏡 頭，突顯了舞者作為人種的動物性，每個舞者選擇的動物或多或少都是他/ 她們的個人喜好與自我投射，「動物」擔當了「象徵」的系統，用以呈現舞 者內藏的另類特性，表現了動物的「人格化」(personification)，以及人的 「獸性化」(animalization)。 第二組的「虛像」，並不是一隻動物配合一個舞者的二重關係，而是合二為 一，由舞者利用身體、衣飾或道具扮演動物，形成「半人半獸」，你中有 我、物我兩忘的形態，當中包括李偉能穿上孔雀羽毛的裙襬和頂冠，楊春江 利用人體化妝和彩繪變身天鵝，而梅卓燕則以影像將貓的臉孔投映一張白扇 上。這個組別的舞者沒有借助任何活生生的動物一起共舞，而是自己化身動 物，人體與動物合一，尤其是楊春江與李偉能完全是以自己的身體擔演動物 的角色，彷彿人格分裂，一人飾演兩種生物，既是人也是鳥，表面是單人獨 舞，實際上是一個人形的自己跟一個獸形的自己雙雙起舞，帶點「水仙子」 (Narcissus) 對鏡自照、化身為二的況味！
¹有關論述，可以參考John Berger 的名著 Ways of Seeing. London: BBC & Penguin Books, 1972.
4）Locating Hong Kong: 環境舞蹈 ON VIEW 題為「香港舞者」，英文是ON VIEW: HONG KONG，顧名思義， 「香港」是在地的指標與文化指涉，而「環境舞蹈」最能表現這項特色。 Healey 以「金木水火土」的元素作為基調，任由舞者自由選擇香港一個景 點，在炎夏熾烈的陽光或突如其來的風雨季節前往拍攝，用鏡頭攝錄了地景 與舞蹈的契合或撞擊。十個舞者、十個區域合成十幅流動的風景畫，以「地 域」的性質劃分，共有四個類別。 第一是自然風景。陳敏兒選擇了香港中文大學的合一亭，體現人與自然的和 諧結合，舞者穿上紅衣，游動於水天接連的鏡像折射中，樹木垂下的根鬚， 紅色指尖的轉動，搖擺的身軀帶致，輕柔的風掠過天色和水影，彷彿顧盼回 應，映現了香港作為極度現代化城市難得寧謐的湖光山色。楊雲濤選擇了油 麻地避風塘，在落日時份、臨近海面拍攝，夕陽的餘暉照耀金光燦爛的水 紋，舞者氣定神閒的立於天地之間，鏡頭從近鏡的特寫到遠景的拉闊，天 色、雲霞與水光不停幻變，楊雲濤隨意揮灑也瀟灑的展演動作，流露一股陽 剛氣息，仿若寫意的潑墨！ 第二是城市高樓的風景線。梅卓燕的所在地是西九文化區項目辦公室天台， 影像採取夜景拍攝，以霓虹閃爍的現代化商業大樓作為背景，舞者穿上銀灰 色中式珠片旗袍，兩重閃射耀眼輝煌，再現了香港中與西、傳統與現代的文 化混雜風格，很有後現代的拼貼味道。相反的，喬楊的高山劇場天台卻呈現 迥異的城市地景，影像拍攝的是日光時段，將猶如「屏風」密集排列的住宅 樓房置於後景，前景綠草如茵，舞者在遠景、中景和近鏡的距離舞動，空間 對比強烈，擠擁與舒閒並存，是城市建設一道奇異的板塊！ 第三是公眾運輸地區。楊春江跟楊雲濤一樣選擇了油麻地避風塘，卻拍出另 一個時段、另一種體態風情，只見舞者穿上奪目的黃衣紅褲，將自己倒掛遊 艇的桅杆上，船隻緩緩移動，鏡頭逐漸拉遠，背後的裝卸支架跟高樓大廈來 回移換，繪成現代風的油畫氣質！至於江上悠與莫嫣，一起選擇了西區公眾 貨物裝卸區：江上悠的影像由兩組鏡頭組成，一組是遠景，舞者站立在巨型 裝卸器械的頂端跳舞，逐漸走近鏡頭的前面，人與機件在海天一色之間抖 動，機器支架與人體線條形構新的視覺美感；另一組是舞者站在畫面左邊的 高台，在大幅藍天白雲的背景下，以慢鏡節奏揮灑四肢，雲層的游移映照動 作的變化，另類天人合一的境界。雖然是同一個地景，莫嫣的畫面構成卻完 全不同，一捆一捆堆疊如山的竹枝上，舞者或攀爬、或踩步、或躺臥、或輕 柔的以指尖撫摸，帶點驚險的意趣，體認舞者冒險的實驗精神，而鏡頭由竹 枝逐漸拉遠背景的高樓，隱喻竹枝搭棚建造樓房的本土想像，不以具象說 明，而以物象並置聯繫。
第四是庶民的生活空間。曹德寶的彩虹邨巧妙地運用了七色的屋邨外牆與運 動場的地面空間，配上鮮黃色褲子，以武術的跳躍動作為主，通過遠鏡逐漸 的移近和慢鏡的節奏，打造一種朝氣勃勃的奮鬥氣息，仿若一個青年衝出屋 邨的飛躍姿勢。徐奕婕的華富邨則從香港著名的井字形建築設計開始，一個 空境帶出困在樓底下的藍天白雲，然後是人頭的剪影切入，接著是舞者穿梭 於欄杆的前後，塑造了自由與拘束的意境。如果說曹德寶與徐奕婕不約而同 選擇了公共屋邨，牽涉的可能是年輕世代的成長環境，那麼，李偉能的獅子 山公園，或多或少總帶有香港社會運動的回憶與想像。2014年10月「雨傘 運動」期間，有人在獅子山上懸掛了一張寫著「我要真普選」的巨型黃色直 幡，在城市許多不同的角落都清晰可見，照片其後在網上瘋傳，引發其他地 區模仿的效應。李偉能的環境舞蹈從一個遙遠的空鏡凝定開始，「獅子山」 作為存在的主體，逐漸拉入人在山嶺下翩翩起舞，這是一個政治寓意的空 間，銘刻了香港「後九七時期」重要的民間訴求！
「環境舞蹈」非常體現「觀•影――香港舞者」的本位意識與本土風情，十 個舞者的選擇有他/ 她們的政治取向、美學考量與文化記認，如何將自己置身 於香港的地理環境上，怎樣鋪展空間的物理性、生活感、文化象徵與藝術意 境，全憑Healey 的鏡頭設計與剪接技法，這是一趟外來影像導演與本地藝術 家交流和溝通的成果；有些地景，因有舞者的存在與身體動作的介入，呈現 了跟日常所見徹底不同的氛圍，而有些舞者，經過空間的調配、裝點與襯 托，也衍生異於平常舞台演出的情志和氣質，建立了人與城市多元層次糅合 或撞擊的版圖！ 結語 Sue Healey 的「觀•影――香港舞者」，有別於主流一些舞蹈錄像或影片， 它不講故事、不敘述情節，沒有戲劇結構，而是回歸舞蹈和影像最基本的元 素：人與攝影機的關係！舞蹈的基本是身體，身體衍生的是動作，追本溯源 就是「人」存在，並從「人」帶出外相的樣貌、體型、年齡、性別和個性， 甚至內在的思想與生命狀態；錄像的基本是攝影機的存在、鏡頭構成的畫 面，還有顏色、聲音、燈光的合成，加上後期製作的剪接和混音，牽引空間 的流動、時間的切換。正如Healey 在訪問中指出，她要讓鏡頭回歸一個「框 架」(frame) 的功能，在意的是鏡頭如何牽動畫面，「舞蹈」與「影像」互不 割裂，而是渾然合一的整體，她考量的是舞者作為「人」的真實性 (authenticity) 和本質 (essence)，及經由舞者提煉而成的舞蹈本相。基於這
些設定，「觀•影――香港舞者」充滿詩情畫意，美學的傾向是抽象思維與 詩意風格，儘管每組影像各有不同的主題，但核心依然維繫在「舞者的塑 像」及其變奏的顯影上，一幅一幅流動的畫框，合成無數詩化的剪影，因其 抽象，容納了天馬行空的聯想，因其詩意，產生了感官的挑動，同時引發哲 學思考的趣味。此外，「觀•影――香港舞者」不是只有一個存在模式或版 本，採用不同的剪接方式和鏡框處理，便會製造無數的變相，加上影像在現 場裝置的環境變動，或影像跟真人演出的配合和互動，經由地方 (place)、空 間 (space)、時段或時性 (temporality) 的轉移，從白天到黑夜，從戶外到室 內，從廣場、展覽廳到黑盒劇場等等，都會層出不窮而千變萬化，具有不斷 再生的能量，而且便於「攜帶」(portable)，能夠衝出香港，讓舞蹈與舞者藉 著影像的界面，走向世界各地的城市！
引用書目： Baumsnn, Rebecca. “Interview: Sue Healey.” Web Entry. Performing Line WA. 16 September 2013. 1 July 2016. <http://performinglineswa.org.au/2013/09/interview -sue-healey/> Diamond, Matthew. “Watching Dance with a Remote in Your Hand.” Judy Mitoma ed. Envisioning Dance On Film and Video. New York: Routledge, 2002. 194-198. Siebens, Evann E. “Dancing with the Camera: The Dance Cinematographer.”Judy Mitoma ed. Envisioning Dance On Film and Video. New York: Routledge, 2002. 218-223
Photo: 張志偉 Cheung Chi Wai
Flowing Frames: Visual Aesthetics of ON VIEW: HONG KONG Lok Fung
Foreword: When Dance Encounters Video The camera retaught me how to see things, how to see dance in p a r t i c u l a r. I m p o r t a n t l y l e s s i s m o re. I t ’s m o re a b o u t a m i c ro choreography rather than showing the whole body moving as we need to see in real life. It’ s honing the idea down, showing the essence of the idea, rather than showing everything. ―― Sue Healey
In the summer of 2016, the West Kowloon Cultural District invited Australian dance video director Sue Healey to produce ON VIEW: HONG KONG, a version of her work ON VIEW with Hong Kong as its film location. In the three-week intensive production period, I followed some of the shooting sessions, from indoor studios of the Hong Kong Academy for Performing Arts to outdoor sites, and conducted an in-depth interview with Healey. The above quote is the most telling of her interview. Because of her background and initial training, Healey is one of the few artists combining dance and video into a unified whole. Born in New Zealand, she graduated from Victorian College of the Arts and was a founding member of Melbourne’s Dance Works for five years before going to New York for further study with dance luminaries such as Merce Cunningham and Trisha Brown Companies. After returning to Melbourne, she founded the eponymous – Sue Healey Company and has focused on creating new work and exploring cross-media experiments with dance, video, and installation. Using Sydney as a base, she has made four dance video series, including ON VIEW begun in 2013, into various versions and toured internationally. For ON VIEW: HONG KONG, she enlisted Hong Kong dance video director Maurice Lai Yu-man as cinematographer and a group of fresh graduates from Hong Kong Academy for Performing Arts School of Film and Television to provide technical support. The ten dancers in the project are Mui Cheuk-yin, Qiao Yang, Daniel Yeung Chun-kong, Abby Chan Man-yee, Yang Yuntao, Hugh Cho Tak-po, Yuk Egami, Jennifer Mok, Ivy Tsui Yik-chit, and Joseph Lee Wai-neng. What is dance video? As the name suggests, it is a medium that records dance using film equipment and techniques. It covers a wide spectrum of works “including dance documentation or archival work, documentary, and dance film or dances created for film. This list could also include stage works being translated for the camera, excerpted promotional tapes used by dance companies to gain bookings, narrative shorts or feature films that include dance as a plot device, and even films in which actors spontaneously break into song and dance, otherwise known as musicals.” (Siebens, 218). All are dance videos or films created with dance as the central subject or theme – Healey’s work could be considered different
from these in that it is not for practical uses such as documentation or promotion, but created as a stand-alone art form that integrates across media – she choreographs for film, and constructs video images to illuminate dance. Dance and video are both central; they are equal, and neither is subordinate to the other. In the filming process, the relationship between dancers and camera is interactive – the camera is for the dancers, and the dancers move because of the camera. The perspectives and variations of filming and viewing are emphasized. Based on this aesthetic point of view, Healey calls film making “micro-choreography", with the camera able to “see [the details and nature of a dance] more accurately”. In addition, the ON VIEW series is not simply about recorded images, but is also a cross-media presentation with live performance and installation at venues such as galleries, museums, outdoor spaces, or black box theaters. Dancers perform in front of their own images creating interactions, collisions, or fusions between the real and virtual worlds. ON VIEW: HONG KONG is composed of eight sections, namely “Triptych”, “Looking”, “Gold & Silver”, “Travelling”, “Animal”, “Silhouette”, “Body Parts”, and “Location”. They can be separated and played independently, or edited into different clips, like components that can be changed and mixed indefinitely. This article will examine, from visual aesthetics and cultural studies perspectives, Healey's cinematography and its thematic direction – including technical aspects such as the usage, rhythm, and timing of shots, as well as framing, subject-object position, shifts in gaze, capture of dancer's characteristics and movements, and scenes and urban characteristics of Hong Kong as the film’s location – and how she achieves the results and viewing approaches of this dance video creation. Imagery and Poetic Philosophical Ideas in ON VIEW: HONG KONG In addition to the actual bodies that exist at the moment of a dance performance on stage, we also perceive lighting, set, music, and sound effects, the physical space of the venue, as well as experience the passage of life and time with the performance. However, when a dance is transformed into a video, things such as silhouette, line, color, color temperature, and shade can be rendered through manipulation of camera angle, filming distance, fast- or slow-motion filming, and lighting. As a result, dancers become virtual images, the whole becomes parts, and the parts illustrate details. The director’s technical choices are his/her aesthetic preferences and philosophical thoughts for dance (Diamond, 195). In an interview, Healey points out that all her dance videos are about “the moving body, the moving image”. Putting bodies into different installations and spaces brings endless challenges and insights. Conceptualized from the idea of portraiture, the aim of ON VIEW is to explore the possibilities of using the camera to reveal a dancer’s character, identity, race, age, and gender. It is the act of seeing and being seen reflecting an “intimate and dynamic agency between subject and viewer” (Baumann). Based on these technical and aesthetic premises, ON VIEW: HONG KONG has two characteristics. Firstly, Healey's camera
remained stationary most of the time with a fixed distance and orientation for dancers to dance toward. Secondly, all the movements Healey choreographed are solos with only one dancer in each section or each portraiture frame, so that dancers perform with concentration and the audience can focus on them. 1) External Appearances in Multiple Frames: “Triptych” The dance artists in ON VIEW: HONG KONG are of different genders and come from diverse cultural backgrounds, classes, and organizations – Yang Yuntao from Hong Kong Dance Company, Qiao Yang from City Contemporary Dance Company, Yuh Egami from Hong Kong Ballet, and independent artists Mui Cheuk-yin, Abby Chan, Daniel Yeung, Hugh Cho, Jenifer Mok, Ivy Tsui, and Joseph Lee. Aged from 24 to 57, they include young, mid-career, and veteran artists from the Hong Kong dance community, with their dance or movement types ranging from Chinese dance, ballet, and modern dance, to Chinese opera, martial arts, and boxing. Some also have performance experience in theater, environmental dance, multimedia, and installation art. Together, they form a group of dancers with a variety of styles and an array of physical characteristics, such as Mui Check-yin’s womanly manner fusing the classical and the modern, the haunting charm of Qiao Yang and Abby Chan imbued with theatricality, Yang Yuntao’s vigor and hint of otherness due to his Yunnan Bai minority background, Daniel Yeung’s insinuation of erotica and the queer body, Hugh Cho’s robust physique of a Chinese opera martial arts actor, Ivy Tsui’s poetic approach to the prosaic, Jennifer Mok’s thought-provoking black humor, and Joseph Lee’s femininely soft maleness. For the filming of “Triptych”, Healey asked each to choose three sets of clothing to reflect their own training foundation, artistic point of view, individual personality, and personal taste. Clothes are like an outer skin or mirror. Put them on different bodies and capture, enlarge, enrich, and stretch them through the lens of a camera and they can reveal external appearances of each person not seen with the naked eye. Healey’s basic idea is to construct images using multiple framing. For the filming of “Triptych”, she divided the ten dancers into two groups, alternately, dancers in each group change clothes then repeat their individual phase of movement filmed with specific music. The dancers move within a fixed virtual frame with no body part going beyond the camera’s field of view. For its presentation, Healey projects the films onto five rectangular screens, one for each dancer – two on top and three at the bottom. Each screen is subdivided into three smaller frames creating a total of fifteen frames. The starting point of the clips on each screen’s three frames is at a different point in the film’s timeline, an overpoweringly flowing format that rises and falls in successions, as if a frame-by-frame illumination of dancer portraits. Such arrangement is like the recreation of a roll of film. By playing it in slow motion and repeating details, it presents the audience with the gradual change of movements – their comings and goings, the aesthetics of body lines, and the contrast between the fixed inner space and the flowing outer space. With the various qualities of the body shapes, rhythms, and dynamics among the ten
dancers, the result is rich in visual impact – Qiao Yang is dazzlingly gorgeous but mysterious in a red evening gown, Mui Cheuk-yin is classic and elegant in a sparkling gray cheongsam, ballet dancer Yuh Egami wears a Qing dynasty emperor’s golden robe, Yang Yuntao with his bare chest and black gauze skirted pants radiates a solemn bearing, Abby Chan in sexy lingerie, Hugh Cho in martial outfit for Chinese opera, Daniel Yeung with false breasts, and the youthful, lively, and colorful Jennifer Mok, Ivy Tsui, and Joseph Lee. With each dancer donning three sets of clothing, the fifteen frames illustrate fifteen forms and appearances. They seem very fragmented and disjointed from each other, but together they achieve an atypical harmony. Like the mirrors of a kaleidoscope, they refract and reflect on each other, and combine in various compositions. Viewers can randomly choose to watch images that attract them, or repeatedly watch the video focusing on different dancers, and develop a personal process of selecting, observing, contemplating, and understanding information.
2) Strangeness between Seeing and Being Seen – “Looking” Seeing and being seen is the theme of “Looking”. Usually, those being filmed are
those being seen. In front of the camera, they are ‘objects of desire’ with the main
function of pleasing the audience, because the audience is the subject in the relationship. These roles of subject and object form a power relationship in
viewing – a topic discussed over the years in the West in relation to films, painting,
and the visual arts. It also involves the dominant-subordinate settings of gender,
race, and class, such as men watching women, whites staring at people of color, and the disdainful gaze of the aristocrat towards the working class². However, in the modern and postmodern eras, this power of gaze has been deconstructed,
the positions of subject and object are not just reversed, but are no longer fixed
and are continuously changing – the one being seen can even steer the whole viewing process, and become the subject, while at any moment the viewers might
turn into the objects, being seen involuntarily. Healey's “Looking” is also shown in multiple screens, with each showing a fixed camera film of a dancer moving freely. Sometimes they approach the camera with eyes glued on the lens; sometimes they stand sideways to stare at the camera, and then turn and walk away, body
² For a related discussion, see John Berge, Ways of Seeing, London: BBC & Penguin Books,
1972.
twisted to look back at the camera. The director uses full-body long shots,
half-length medium shots, and close-ups of the face to capture each dancer’s
expression of looking. With this highly magnified interchange of ‘mutual gazing’,
performers who were originally being observed are suddenly observing through the camera’s lens and across to the other side of the screen, so that we/the
audience become the object being seen by them. This creates fightback with ‘anti-gaze’ or ‘gazing back’ that subverts the usual conventions of art. However, these positions of seeing and being seen are not static, but change back and
forth throughout the entire piece. It is true that we/the audience are watching the dancers, and they are never completely absent from the screen, but because of
the preset deployment of the camera, we/the audience have already been
designated by the director as the object being seen. During filming, the dancers
must act as if they see the virtual/implied audience beyond the camera lens. As a result, when close to the camera, some dancers inevitably reveal searching
expressions and postures, as if seeking something at which to gaze. In this way, alternating layers of ‘seeing and being seen’ are set in front of and behind the screen.
Among the clips for this section is an anomaly – the mask-wearing Mui Cheuk-yin.
Holding a white mask similar to a Japanese Noh theater female mask, Mui places it on and takes it off her face while approaching or moving away from the camera.
As a result, sometimes we cannot see her face and eyes or their expression, creating a defamiliarization effect – in making the ordinary strange, allowing the
invisible seen or the visible not seen – especially when the dancer is intentionally meant to look at us. This condition of being seen by the other who cannot be seen causes an inexplicable anxiety – the anxiety of spectatorship. I believe this was an unusual filming experience for Healey in the ON VIEW series – a Hong Kong
dancer unexpectedly using an oriental mask added something extraordinary to her work, and took the theme of “Looking” to a deeper level.
3) Expressing through, and Merging with an Object – “Animal” In addition to dancing with the camera, the dancers of ON VIEW: HONG KONG also
move with animals. Healey asks each artist to choose an animal and create
choreography for the video images of “Animal". Interestingly, the choices made by the ten dancers can be divided into two categories: actual and virtual animals. The
actual animals include Abby Chan’s lizard, Yuh Egami’s frog, Yang Yuntao's cattle,
Ivy Tsui’s goldfish, Jennifer Mok’s snake, and dogs chosen by Qiao Yang and Hugh Cho. The director uses close-ups to film the detailed skin texture or pattern of each
animal and medium shots to capture the dancing artists and the animals, so that we see the lizard crawling over Chan’s head, neck, and shoulders, and the snake’s head and body sliding across Mok’s back. Sometimes the animals are seen in front with the image of the dancers blurred in the background – as with Egami and his
frog and Tsui and her goldfish – with contrast created by the moving back and forth
of the dancers, which repeatedly changes the proportion of their images in relation to the animals. In some cases, the animal becomes the lead with the dancer
imitating it, as seen in the inverted relationship between Hugh Cho and his dog in
which the puppy with its bright spirit successfully steals the scene. In other cases,
the animal reveals and enhances the dancer’s hidden potential, as when Mok,
green-haired and wearing green clothes, shows a devilish and wild side while with
her green snake. By placing people and animals side by side, these shots highlight the animality of the dancers as humans. The animals selected by the individual
dancers more or less reflect their personal preferences and projection of self, and therefore serve as symbols illustrating their hidden alternative interior characters, and personify the animal, as well as animalize the person.
The second group, the virtual animals, doesn’t present a two-way relationship
between animal and dancer, but fuses the two into one – dancers use their bodies, with the help of clothing and props, to imitate animals and create human-animal,
with one inside the other and the two becoming one. This group includes: Lee’s peacock that he creates by wearing a skirt and crown decorated with the bird’s
feathers; Yeung’s swan produced with make-up and body paint, and Mui’s video projection of a cat face on a white Chinese fan. The dancers in this group do not
dance with living creatures, but instead are transformed, merging dancer and animal into one. This is exemplified by Yeung and Lee, in which the dancers use
only their bodies to play the role of the animal. As if having split personalities, one body becomes two different kinds of creatures – being a person as well as a bird. Superficially, each is a solo dance, but in fact, a human dancer dances with his animal form.
Photo: 張志偉 Cheung Chi Wai
4) Locating Hong Kong: “Location” The project name, ON VIEW: HONG KONG, makes clear that Hong Kong is where
it takes place and is its cultural reference; this is best illustrated in the “Location”
segment. Healey uses the Chinese concept of ‘five elements’ – Metal, Wood, Water, Fire, and Earth – as themes, and asked each dancer to choose a scenic
spot in Hong Kong to film, recording the harmony or dissonance of landscape
with dance. The resulting ten ‘flowing landscape paintings’ formed by the dancers and their chosen places can be divided into four categories based on the geographical nature of their choices.
The natural landscape is the first category. Abby Chan chose the Pavilion of
Harmony on the campus of the Chinese University of Hong Kong to show the
harmony between man and nature. Clad in red clothes, Chan moves about a scene of mirror-like reflection where sky meets water and beard-like aerial tree roots hang. The tranquil landscape, propelled into motion by Chan’s
swinging body and waving fingers – with her fingernails painted blue – and by the gentle breezes that seem to glance back in response, caressing the
radiant sky and reflective surface of the water, offers a rare glimpse at serene nature in this intensely modern city. Yang Yuntao, on the other hand, chose
Yau Ma Tei Typhoon Shelter. On the waterfront at dusk with the afterglow of
the setting sun casting its golden hue on the water, Yang stands calmly between heaven and earth captured by the zooming out from close-up to long
shot of the camera. With the painted sky, the rose-tinged clouds, and the
continuously changing reflection of light on the water’s surface, Yang moves
with cool elegance, creating an air of masculinity, with the spontaneous expressivity of a Chinese ink painting.
Skylines defined by skyscrapers is the second category. Mui Cheuk-yin
chose to film at night on the rooftop of West Kowloon Cultural District Project
Site Office. The modern commercial buildings with flashing LED lights in the background and Mui’s silvery gray sequined cheongsam create a duet of
dazzling lights echoing Hong Kong’s cultural style, its mix of the Chinese and the Western, the traditional and the modern, like a post-modern collage. In contrast, the rooftop of Ko Shan Theater, chosen by Qiao Yang, shows a
completely different city scene. Filmed during the day, the video uses the residential buildings, densely packed together like a massive wall, as its
background and the site’s carpet-like lawn of green grass as its foreground. Qiao dances in long, medium, and close shots, creating strong spatial
contrasts between the coexistence of crowded and open spaces, showing this odd facet of the city’s built environment.
The third category consists of public places related to transportation. Like
Yang Yuntao, Daniel Yeung chose Yau Ma Tei Typhoon Shelter, but was filmed at a different time. With his distinct physique, bearing, and expression,
wearing dazzling yellow top and red pants, Yeung drapes himself over a pole
on a harbor boat. With the boat moving at a leisurely pace, the camera slowly zooms out, showing loading-cranes and high-rises seemingly shifting back and forth behind him and creating a modern oil painting-like effect. Yuh Egami
and Jennifer Mok chose the same location also – the Western District Public Cargo Working Area. Egami’s video is composed of two sequences. One is of
long shots, in which he dances atop a giant loading machine and gradually approaches the camera. With the dancer and machine shaking in the
foreground of a scene in which sky and sea seem to merge, the lines of the
mechanical structure and the human body create a new visual aesthetic. In the other sequence, standing on a high platform in the left of the camera’s
field of view, Egami moves his extremities in slow-motion under the immense
backdrop of a cloud-dotted blue sky. The shifting clouds reflect the variations
in the movement, showing another harmonic connection between man and nature. Although using the same location, Mok’s video is completely different.
She climbs, steps, and lies on stacked mounds of bamboo poles or gently
caresses them, adding a risk-spiced romp that embodies her adventurous spirit. The camera gradually zooms out from the bamboo to show the high-rises in the background, creating, through juxtaposition of images, rather than a literal description, an association drawn from the local imagination – bamboo scaffolding as device for construction of buildings.
Living spaces for ordinary people make up the fourth category. For his video,
Hugh Cho, wearing a pair of bright yellow pants and cleverly using the rainbow-colored exterior wall of the Choi Hung Estate and its playground,
performs movements consisting mainly of martial arts jumping. Slowly zooming in to a close-up from a long shot and filmed in slow-motion, the camera gives a
vibrant and resolute quality to the scene, as if showing a young person leaping away from public housing. Ivy Tsui’s choice of location was another public
housing property – Wah Fu Estate. The video starts with a scene-setting shot from the courtyard of its well-like architecture, renowned in Hong Kong, showing
the blue sky and white clouds confined by the surrounding walls of the building, and then cuts to the silhouette of a human head. It is followed by a sequence
with the dancer moving alternately in front of and behind a railing, suggesting the idea of freedom and constraint. If we consider Cho and Tsui’s selection of public housing as a reflection of the environment in which the younger
generation grows-up, then Joseph Lee’s choice of Lion Rock Park could be said
to carry the memories and imagination of a Hong Kong social movement. During the ‘Umbrella Movement’ of October 2014, a giant yellow banner with the
Chinese characters for “I want a real election” was hung on Lion Rock, and could
be clearly seen in many corners of the city. Photographs of it went viral on the internet and triggered imitations in other areas. Lee’s video begins with a still,
scene-setting, long shot with Lion Rock as the main feature, and slowly zooms in to a person dancing in front of it. It is a space embedded with political implications of an important civil appeal of Hong Kong in the post-1997 era.
“Location” amply embodies a Hong Kong oriented consciousness and local
characteristics in ON VIEW: HONG KONG. The choice of locations reflects the
ten dancers’ political orientations, aesthetic considerations, cultural identities. How to locate herself in the geographical environment of Hong Kong and how to
render the physical qualities, sense of living, cultural symbols, and artistic conceptions of its spaces depended entirely on Healey's design of shots and
editing choices. The result is the fruit of exchange and communication between an international video artist and local dance artists. Because of the presence of the dancers and the impact of their movements, some of the landscapes offer an
ambience completely different from what can be felt on other days. Amplified by
their spatial deployment and enhanced and accentuated by the environment, some of the dancers deliver sentiments and temperaments not found in their
stage performances. Joined together, they build a realm where people and the city merge or collide with each other on multiple levels. Conclusion Sue Healey's ON VIEW: HONG KONG is distinct from mainstream dance videos
and films. It does not tell a story, nor have a plot, nor a dramatic structure; rather, it returns to the most essential elements of dance and video: the relationship
between people and the camera. The bases of dance are the body and movements of the body. It is rooted in people and their appearance – facial features, body
shape, age, gender, and other characteristics, as well as interior factors such as thoughts and state of mind. The foundation of video is the camera. Images
constructed by the camera lens, synthesized with color, sound, and lighting, after editing and audio mixing in postproduction, propel the flow of space and control time. As Healey notes in her interview, she seeks to return camera shots to their framing role. What occupies her is how the camera moves images, and how dance
and video can become a unified whole instead of separate entities. Her interest is
in dancers’ authenticity and their essential humanness, and the genuine dance
forms they create. These characteristics make ON VIEW: HONG KONG lyrical and pictorial; its aesthetic orientation abstract and poetic. Although each group of images has a different theme, at their heart is the rendering of portraitures of
dancers and their variations, creating a series of flowing frames composed of
countless expressive sketches. Because of the work’s abstractness, it allows
imaginative associations; because of its poetry, it produces sensual provocations and triggers philosophical contemplations. Moreover, ON VIEW: HONG KONG is not confined to one format or version. Using different editing and framing techniques, numerous alternates can be created. And, because of variations in
place, space, and temporality, such as day to night, outdoor to Indoor, plaza or
exhibition hall to black box theater, the installation setting as well as coordination and interaction between video and live performance will be different. The resultant outcomes could be diverse and limitless, and the work continually reimagined. Additionally, it is portable and can break through Hong Kong’s geographical
boundaries, so that through the video, Hong Kong dances and dancers can reach cities around the world.
Bibliography Baumann, Rebecca. “Interview: Sue Healey.” Web Entry. Performing Line WA.
16
September 2013. 1 July 2016.
<http://performinglineswa.org.au/2013/09/interview-sue-healey/> Diamond, Matthew. “Watching Dance with a Remote in Your Hand,” in
Envisioning 2002.
Dance on Film and Video, ed. Judy Mitoma. New York: Routledge, 194-198.
Siebens, Evann E. “Dancing with the Camera: The Dance Cinematographer,” in Envisioning Dance on Film and Video, ed. Judy Mitoma. New York: Routledge, 2002. 218-223
Photo: Winnie@iMAGE28
藝術團隊 Artistic Team
舞蹈影像導演及編舞 Filmmaker and Choreographer 蘇．希利 Sue Healey 攝影指導 Cinematographer 黎宇文 Maurice Lai 作曲 Composer 戴倫．韋哈根 Darrin Verhagen 積斯甸．雅士維 Justin Ashworth 編舞助理 Choreographic Assistant 修娜．艾斯金 Shona Erskine 創作舞者 Choreography in collaboration with the Performers 李偉能 Joseph Lee 莫 嫣 Jennifer Mok 梅卓燕 Mui Cheuk-yin 徐奕婕 Ivy Tsui 楊春江 Daniel Yeung 總監製 Chief Producer 陳頌瑛 Anna CY Chan * 監製 Producer 鄭煥美 Anna Cheng *
現場演出
LIVE PERFORMANCE
監製助理 Producer’s Assistant 謝穎琦 Olivia Tse * 張瑋珊 Cynthia Cheung ˇ 卜瑋宣 Shirley Pu ˇ * 西九文化區管理局職員 West Kowloon Cultural District Authority’s Staff
ˇ 西九文化區管理局實習生 West Kowloon Cultural District Authority’s Intern
備註 Remarks
澳洲版本ON VIEW: Live Portraits由攝影指導Judd Overton 及演出者Martin del Amo, Shona Erskine, Benjamin Hancock, Raghav Handa and Nalina Wait 聯合製作及創作。
The Australian version ON VIEW: Live Portraits was devised and created in collaboration with Judd Overton (Director of Photography) and
performers Martin del Amo, Shona Erskine, Benjamin Hancock, Raghav Handa and Nalina Wait.
製作團隊 Production Team 燈光設計 Lighting Designer 李智偉 Lee Chi Wai 技術總監 Technical Director 胡偉聰 Rae Wu * 技術及製作經理 Technical and Production Manager 林俊杰 Simon Lam * 助理技術及製作經理 Assistant Technical and Production Manager 羅唯真 Virginia Lo * 技術統籌 Technical Co-ordinator 何咏川 Simon Ho 舞台監督 Stage Manager / 執行舞台監督 Deputy Stage Manager 黃潔釵 Janet Wong 助理舞台監督 Assistant Stage Manager 何香怡 Vivia Ho 舞台助理 Crew 陳芳曉 Frankie Chen
鄭志偉 Cliff Cheng
現場演出
LIVE PERFORMANCE
製作電機師 Production Electrician 王君君 Wong Kwan Kwan 燈光控制員 Lighting Operator 黃子健 Billy Wong 服裝統籌 Costume Co-ordinator 鄭運蓮 Twinny Cheng 服裝助理 Dresser 蔡天琪 Thai Tin Ki
湯靜雯 Natalie Tong
*西九文化區管理局職員 West Kowloon Cultural District Authority’s Staff
Photo: 張志偉 Cheung Chi Wai
導演及剪接 Director and Editor 蘇．希利 Sue Healey 攝影指導 Cinematographer 黎宇文 Maurice Lai 作曲 Composer 戴倫．韋哈根 Darrin Verhagen 積斯甸．雅士維 Justin Ashworth 助理導演 Assistant Director 陳敏兒 Abby Chan 助理攝影 Assistant Cinematographer 秦紹良 Ziv Chun 演出 Performers 陳敏兒 Abby Chan 曹德寶 Hugh Cho 李偉能 Joseph Lee 莫 嫣 Jennifer Mok 梅卓燕 Mui Cheuk-yin 喬 楊 Qiao Yang（城市當代舞蹈團 City Contemporary Dance Company） 徐奕婕 Ivy Tsui 楊雲濤 Yang Yuntao（香港舞蹈團 Hong Kong Dance Company） 楊春江 Daniel Yeung 江上悠 Yuh Egami（香港芭蕾舞團 Hong Kong Ballet） 總監製 Chief Producer 陳頌瑛 Anna CY Chan * 監製 Producer 鄭煥美 Anna Cheng * 製作經理 Production Manager 王沛雯 Etsuko Wong ˇ
電影製作
FILM PRODUCTION
攝影師 Camera Operator 王嘉諾 Jonathan Wong ˇ 第一攝影助理 First Assistant / 跟焦 Focus Puller 黃詩洛 Daphanie Wong ˇ 燈光 Gaffer 梁展皓 Felix Leong ˇ 攝影及燈光助理 Camera and Lighting Assistant 陳學倫 Allen Chan ˇ 張智訓 Johnny Jang ˇ 陳耀熙 Purple Chan ˇ 數據整理 Data Wrangler 翁婉婷 Yung Yuen Ting ˇ 化粧及髮型 Makeup and Hair Stylist 蔡雪梅 Priscilla Choi @Spectrum 服裝統籌 Dresser 李倩迎 Rochelle Li ˇ 合作單位 Collaborator 香港演藝學院電影電視學院 School of Film & Television, The Hong Kong Academy for Performing Arts * 西九文化區管理局職員 West Kowloon Cultural District Authority’s Staff ˇ 香港演藝學院電影電視學院學生
Student of School of Film & Television, The Hong Kong Academy for Performing Arts
舞蹈影像導演及編舞 Filmmaker and Choreographer
Photo: Kimhoo So
蘇・希利 Sue Healey 蘇・希利是一位編舞及影像製作人，亦是澳洲其中一位最前衛的獨 立舞蹈藝術家。 她熱衷於在不同形式及認知中進行實驗，曾在各種空間及環境創作 多元化的舞蹈作品，例如劇場、畫廊及鏡頭等等，作品曾於亞洲、 美國、英國、澳洲和紐西蘭等地巡迴演出。 2014 年，蘇・希利榮獲澳洲藝術理事會頒發創意研究獎金，並於 2015 年獲墨爾本大學維多利亞藝術學院頒發榮譽院士。 她的影像作品曾在多個主要國際藝術節放映，並且贏得不少獎項， 包括先後 5 次奪得澳洲舞蹈獎的傑出成就獎，包括舞蹈影像／新 媒體及獨立舞蹈作品，她同時亦是澳洲 Reeldance 及意大利拿坡 里 Il Coreografo Elettronico 等獎項的得主。她曾聯同其主要影像 製作夥伴、攝影師 Judd Overton 創作 10 部大型影像作品。2017 年，她的影像作品包括：為全新公共藝術裝置項目 Wynscreen 創 作的《En Route》，作品於悉尼中央商業區 Wynyard 車站放映， 以及另一項在悉尼城市藝術廊 Customs House 展出的《City as Portrait Gallery》。 2017 年 6 月，紐西蘭舞團 New Zealand Dance Company 推出 「Kiss the Sky」系 列，蘇・希 利 則 為 其 中 一 個 作 品《The Seasons Retouched》擔 任 編 舞，並 與 紐 西 蘭 樂 團 Blackbird Ensemble 合作。 現時，她正在創作亞洲版本「On View」，一個由西九文化區製作、 連結不同城市的大型現場演出及裝置，製作期由 2017 年至 2019 年。
Sue Healey is a choreographer and filmmaker, and one of Australia’s foremost independent dance-makers. Experimenting with form and perception, Healey creates dance for diverse spaces and contexts: theatres, galleries and the camera. Her work has toured to Asia, USA, UK and throughout Australia and New Zealand. Healey received a Creative Fellowship in 2014 from the Australia Council for Arts, and was made an Honorary Fellow of the Victorian College of the Arts, University of Melbourne 2015. Her films are widely acclaimed and have screened in many major international festivals and have won awards including; 5 Australian Dance Awards for Outstanding Achievement in Dance on Film/New Media and Independent Dance, winner Reeldance Australia and winner Il Coreografo Elettronico, Napolidanza, Italy. She has created 10 major films with cinematographer Judd Overton, her key film collaborator. Her 2017 films include En Route for the new Wynscreen public art project at Wynyard train station, Sydney and City as Portrait Gallery exhibited the at the Customshouse, Sydney. Sue choreographed The Seasons Retouched for the New Zealand Dance Company ‘Kiss the Sky’ season in June 2017 with the Blackbird Ensemble. Sue is currently creating the Asia version of ON VIEW, a major performance installation that collaborate with different cities, produced by West Kowloon Cultural District Authority in Hong Kong, 2017-2019.
攝影指導 Cinematographer
Photo: Jesse Clockwork
黎宇文 Maurice Lai 由 2000 年起，黎宇文為本地及海外不同的表演藝術團體拍攝錄 像、負責影像設計及製作宣傳片。2004 年與伍宇烈首次發表舞蹈 影像《一杯茶》獲首屆香港跳格舞蹈錄像比賽大獎及意大利拿波里 II Coreografo Elettronico 暨 第 十 四 屆 國 際 舞 蹈 影 像 節 特 選 獎。 2011 年至 2012 年間，跳格舞蹈影像展為他舉辦「舞蹈錄像非常 導：黎宇文」個人影展，並在香港、北京、台北、羅馬、佛羅倫斯 及拿波里巡迴展出。2013 及 2014 年，他被美國 Harbor for the Arts Festival 邀請，到美國維珍尼亞為 Experimental Film Virginia 作駐場藝術家。2015 年，他獲香港舞蹈聯盟頒發「香港舞蹈年獎 －最值得表揚舞蹈錄像及攝影」。2017 年，他獲城市當代舞蹈團頒 發「城市當代舞蹈達人」。 Since 2000, Maurice Lai has produced dance and performance videos and promotional films for various performing arts organisations in Hong Kong, China, Taiwan, Singapore, Italy, the USA and the UK. His first independent dance video A Cup of Tea, a collaboration with Yuri Ng, was the award-winning video at the Jumping Frames Dance Video Competition 2004 in Hong Kong, and received a special mention at Il Coreografo Elettronico and the XIV Festival Internazionale Di Videodanza 2006 in Napoli, Italy. In 2011 and 2012, Jumping Frames screened five of his dance videos in Hong Kong, Beijing, Taipei, Rome, Florence and Napoli. In 2013 and 2014, Maurice was a resident artist at Experimental Film Virginia at the Harbor for the Arts Festival in USA. In 2015, he received the Hong Kong Dance Award for Outstanding Achievement in Video and Photography for Dance from the Hong Kong Dance Alliance. In 2017, he received the City Contemporary Dance Laureate from City Contemporary Dance Company.
作曲 Composer
戴倫・韋哈根 Darrin Verhagen 戴倫・韋哈根（又名 Shinjuku Thief）是一位屢獲殊榮的音響設計 師及作曲家，活躍於各類型的藝術媒介。他是墨爾本皇家理工學院 數 位 媒 體 課 程 音 響 設 計 的 高 級 講 師 及 AkE（ Audiokinetic Experiments Lab）的總監，負責研究有關多感官體驗的精神生理 學。 他最近的首個長片原創配樂為電影《Boys in the Trees》，此電影 屬於短片《The Last Time I saw Richard》的延續；舞蹈方面，戴 倫 曾 與 Chunky Move、Australian Dance Theatre、Expressions Dance Theatre、Lucy Guerin、Sue Healey 及 Antony Hamilton 等合作。身為新媒體團體 (((20hz))) 的創團成員，他最近的裝置作 品融合了音響、燈光、感應振動及動態模擬器，並在墨爾本白夜藝 術節、澳洲維多利亞國家美術館及澳洲媒體藝術雙年展上展出。他 與 Antony Hamilton 的 6DOF 動態模擬器合作項目《Number of the Machine》最近亦於墨爾本首演。 他 的 近 作 還 包 括 兩 首 為 澳 洲 電 子 樂 團 Snog 混 音 的 工 業 舞 曲 《Clockwork Man》及《Corporate Slave》混 音。他 亦 代 表 澳 洲 前往越南為 2017 年 6 月的芽莊祭海節作開幕演出。他目前正在完 成兩部音頻動能歌劇，一部重塑塔可夫斯基經典電影《潛行者》 （Stalker），另一部則以冷戰時期的密碼傳訊為靈感。兩部作品也 將在 2017 年年底於墨爾本首演。 他 的 最 新 文 章〈What’ s wrong: The sound of danger versus hearing dangerously〉被刊載於《Endangering Science Fiction》。 他 的 影 像 論 文〈Materialisation, Emotion & Attention〉亦 被 輯 錄 成《In Transition 》期刊的視點追蹤版本。
Darrin Verhagen (AKA Shinjuku Thief) is an award-winning sound designer and composer, working across a range of media. He is a senior Sound Design lecturer in the RMIT Digital Media program and the director of the AkE (Audiokinetic Experiments Lab) where he researches the psychophysiology of multisensory experience. His recent debut feature was the score for Boys in the Trees, a sequel to the short film The Last Time I saw Richard. In dance, he has worked with Chunky Move, Australian Dance Theatre, Expressions Dance Theatre, Lucy Guerin, Sue Healey and Antony Hamilton. As a founding member of the (((20hz))) collective, his recent installations have fused sound with light, felt vibration and motion simulators, and have been exhibited at White Night Melbourne, the National Gallery of Victoria and the Experimenta biennale. His 6DOF MoSim collaboration with Antony Hamilton, Number of the Machine recently premiered in Melbourne. His recent works include two industrial dance remixes for Snog Clockwork Man and Corporate Slave. He also represented Australia in Vietnam, performing for the opening of the Nha Trang Sea Festival in June 2017. He is currently completing two audiokinetic operas – the first reworking Tarkovsky’s Stalker, the second based on secret numbers stations transmissions from the Cold War. Both will premiere in late 2017, Melboune. His most recent book chapter What’s wrong: the sound of danger versus hearing dangerously was recently released in Endangering Science Fiction. And his video essay Materialisation, Emotion & Attention is featured in the upcoming eyetracking edition of the In Transition journal.
作曲 Composer
Photo: Ryan McRobb
積斯甸・雅士維 Justin Ashworth 積斯甸・雅士維是一位來自澳洲墨爾本的作曲家及聲音藝術家，涉 獵範疇包括空間聲音裝置、當代音樂表演，以及與舞蹈和電影創作 人的跨媒體合作。 積斯甸對緩慢音樂、重複節奏及深度聆聽感到興趣，最近他的聲音 硏究則聚焦於模組化合成器。 備 受 注 目 的 電 影 及 舞 蹈 合 作 包 括《Circle Of Fire》（2016 年， John A Douglas）、《On View》（2014 年 至 今，Sue Healey）， 《Sea Shake》（2014 年，TAM Projects）以 及 與 Arcko Symphonic Ensemble（2013 年）及 Damo Suzuki（2011 年）的 聯合演出。 2015 年，積斯甸參與了冰島小鎮 Seydisfjordur HEIMA 藝術家駐 留計劃，在遠離繁囂的環境作曲及錄製全新作品。 積斯甸還與 Glasfrosch 合作發表原創音樂作品，至今已為該樂隊 監製了 3 張專輯。 2014 年，積斯甸完成了藝術學士學位，並將完成墨爾本皇家理工 學院榮譽學位課程。
Justin Ashworth is a composer and sound artist based in Melbourne, Australia. His practice encompasses spatial sound installation, contemporary music performance, and cross media collaboration with practitioners in dance and film. Justin is interested in slow music, repetition, and deep listening, and has recently turned to modular synthesizers as the focus of his sound practice. Notable film and dance collaborations include Circle Of Fire (2016, with John A Douglas), On View (2014-present, with Sue Healey), Sea Shake (2014, with TAM Projects), and performance collaborations with Arcko Symphonic Ensemble (2013), and Damo Suzuki (2011). Justin was an artist in residence at HEIMA Artist Residency Program in Seydisfjordur, Iceland in 2015, composing and recording new works in remote landscapes. Justin also releases original music with the band Glasfrosch, and has produced all 3 of their albums to date. Justin completed a Bachelor of Fine Art 2014, and is currently completing an Honours in Fine Art at RMIT University.
編舞助理 Choreographic Assistant
Photo: Emma Fyswick
修娜・艾斯金 Shona Erskine 修娜・艾斯金是一位研究舞蹈與心理學關係的舞蹈藝術家，現駐珀 斯，其中她對關於社交的敘事特別感到興趣，故此合作過程中一直 強調對於個人及其故事的好奇心。1994 年於維多利亞藝術學院更 畢 業 以 來，修 娜 一 直 從 事 專 業 表 演 工 作。她 與 蘇・希 利（Sue Healey）的藝術合作關係長達 20 年，並從對方身上學習到編排動 作的技巧、將概念性的元素嵌入抽象的當代舞方法，以及如何嚴格 地、專注地連繫創作與生活。修娜亦與 Natalie Cursio 有著長期合 作關係，並為修娜的藝術實踐帶來了幽默及靈巧。對於 Natalie 來 說，藝術創作需要增進人們的參與，其作品處處流露出她對他人的 重 視，對 修 娜 極 富 啟 發 性，而 且 影 響 深 遠。修 娜 亦 是 Philip Adams BalletLab 的創始成員，Philip 讓她明白誠實面對自己理念 的重要性，鼓勵她堅持想法，並且全力探索當中奧妙。1997 至 2000 年 間，修 娜 與 Sun Ping 及 Tina Yong's Wu Lin Dance Theatre 合作，Ping 及 Tina 的個人故事分享使 Shona 在跨文化交 流上得到十分寶貴的經驗。此外，她亦曾與 Neil Adams，Lucy Guerin，Kage Physical Theatre 及 Danielle Micich 合作。
Shona is a Perth based dance artists who engages in works that explore the nexus between dance and psychology. With a deep interested in social narratives her collaborative processes call strongly on her curiosity in people and personal stories. Shona has been working professionally as a performer since graduating from the VCA in 1994. Her artistic relationship with Sue Healey now spans 20 years. From Sue, she learnt the skills of crafting movement, embedding conceptual material in the abstract nature of contemporary dance, and the rigor and attention necessary to bring work to life. Shona has a long-standing relationship with Natalie Cursio who brought humour and lightness to her practice. Natalieâ&#x20AC;&#x2122;s attitude to making art as a means to engage people and the attention to the humanness of Natalieâ&#x20AC;&#x2122;s work is an inspiring and huge influence. Shona was a founding member of Philip Adams BalletLab. Philip taught her to stick with an idea and explore its parameters fully to be true to your concept. She worked with Sun Ping and Tina Yong's Wu Lin Dance Theatre between 1997-2000. Ping and Tina told personal tales while giving Shona invaluable experience working cross culturally. In addition, and among others, she has worked with Neil Adams, Lucy Guerin, Kage Physical Theatre, and Danielle Micich.
燈光設計 Lighting Designer
Photo: Jesse Clockwork
李智偉 Lee Chi Wai 李氏於 2009 年成立香港舞台設計有限公司。 曾擔任舞台及燈光設計的合作藝術家包括：王榮祿，楊春江，梅卓 燕，邢 亮，桑 吉 加 及 周 書 毅；燈 光 設 計 的 製 作 包 括：全 新 ArtisTree 開 幕 節 目 楊 春 江 編 舞《舞 • 師》，不 加 鎖 舞 踊 館《無 用》，梅卓燕及李鎮洲舞蹈劇場《藍舞》等。 曾獲獎項包括：香港舞台設計有限公司《六翻自己》獲頒「香港舞 蹈年獎 2011 值得表揚環境舞蹈獎」及 2016 城市當代舞蹈達人。 Lee founded Hong Kong Theatre Design Company Limited in 2009. As a set and lighting designer, Lee collaborates with Ong Yong Lock, Daniel Yeung, Mui Cheuk Yin, Xing Liang, Sang Jijia and Chou Shu-Yi; Lee has been the lighting designer for New ArtisTree Opening Programme ContempoLion by Daniel Yeung, Never-never land by Unlock Dancing Plaza, Dancing Blue by Mui Cheuk Yin and Lee Chun Chow. Lee is the winner of Hong Kong Dance Award 2011 for Outstanding Achievement in Environmental Dance with the work Positioning and City Contemporary Dance Laureate 2016.
十位香港舞蹈家 10 Hong Kong dance artists
李偉能 生於香港，十七歲開始接觸現代舞。畢業於香港中文大學專業會計系，同 年遠赴英國倫敦當代舞蹈學院深造舞蹈課程，並於 2015 年取得其藝術碩 士學位 ( 當代舞 )。畢業回港後，隨即加入不加鎖舞踊館。過往合作藝術 家 包 括 Crystal Pite (Kidd Pivot)，Maresa Von Stockert (Tilted Production)，Emmanuelle Vo-dinh，Sue Healey，周 書 毅，王 榮 祿 及 周 佩 韻 等，亦 曾 於 法 國、倫 敦、東 京、台 灣、首 爾、新 加 坡、馬 來 西 亞 等地演出。現為不加鎖舞踊館駐團藝術家。 近年發表作品包括《彼岸》(2015)、《Pardon … Pardon?》(2016)、《It tastes like you》(2016)、《回 聲 摺 疊》(2016)、《並 不 只 有 我》(2017)， 《The Way Horse Talk; The Path We Walk》（2017）。 李氏曾獲世界舞蹈聯盟挑選於 2016 年於南韓舉行的匯演中演出，並獲得 菁 霖 文 化 藝 術 基 金 頒 發 新 晉 編 舞 獎。其 首 次 執 導 的 舞 蹈 錄 像 作 品《It tastes like you》獲選於南方影展 2016( 實驗類 )，跳格國際舞蹈錄像節 2016（獲 得「觀 眾 之 選」大 獎），加 拿 大 Festival of Recorded Movement 2017 以 及 蘇 格 蘭 Perth Dance Festival - Screendance Awards 2017 影展中放映。 2017 年與獨立藝術家邱加希共同策劃《re:do/ Joseph Lee/ KT Yau》， 首個以眾籌方式進行重演，演出其獨舞作品《回聲摺疊》，作品同時受邀 往北京舞蹈雙周、德國美茵茲的國際表演藝術節、城市當代舞蹈節、廣東 現代舞周中作巡迴演出。 網站：www.josephwnlee.com
Joseph Lee Born in Hong Kong, Joseph Lee began his dance training at the age of seventeen. After graduating from The Chinese University of Hong Kong with a degree in Professional Accountancy, he continued his dance studies at The Place, London Contemporary Dance School in UK, obtaining a Master of Arts (Contemporary Dance) in 2015. Returning to Hong Kong, Lee joined Unlock Dancing Plaza, first as an apprentice and then as a resident artist. He has worked with Crystal Pite (Kidd Pivot), Maresa Von Stockert (Tilted Production), Emmanuelle Vo-dinh, Sue Healey, Chou Shuyi, Ong Yong Lock and Pewan Chow, and performed in France, London, Tokyo, Taiwan, Seoul, Singapore and Malaysia. Recent choreographies include The Other End (2015), Pardon...Pardon? (2016), It tastes like you (2016), Folding Echoes (2016), Confession Ain’t Solo (2017), The Way Horse Talk; The Path We Walk (2017) In 2016 Lee was recognised with a Chin Lin Foundation Emerging Choreographer award for his solo work Pardon…Pardon? in Seoul. His directorial debut dance video It tastes like you was screened at the South Taiwan Film Festival 2016, Jumping Frames International Dance Video Festival 2016 (Audience’s Choice Award), the Festival of Recorded Movement 2017 in Canada, and the 2017 Perth Dance Festival – Screendance Awards in Scotland. Working with independent dance artist KT Yau, Lee recently launched the first crowdfunded dance project in Hong Kong, Re:do/ Joseph Lee/ KT Yau. His solo work Folding Echoes is currently on tour at the International Performance Festival in Mainz, Germany, the Beijing Dance Festival, the Guangdong Dance Festival, and the City Contemporary Dance Festival. Website: www.josephwnlee.com
十位香港舞蹈家 10 Hong Kong dance artists
莫嫣 生於香港。2005 年畢業於香港演藝學院，主修芭蕾舞，次年修讀現代舞。 2007 年在學期間曾赴澳洲 Expressions Dance Company 交流並随團到美 國巡迴演出。同年加入城市當代舞蹈團至 2014 年離職。現為自由身工作者。 演出包括黑目鳥劇團《在平坦路上看不見日出》並擔任女中醫一角、西九文 化區與城市當代舞蹈團合辦的舞蹈錄像工作坊「新作論壇：光影舞蹈」、城 市祭舞蹈錄像計劃等。2015 年 9 月，莫氏於東邊舞蹈團《赤式》中展出首 個自編自跳作品《A Major Clown in G Flat》。翌年憑此作獲香港舞蹈年獎提 名「傑出編舞」及「傑出女舞蹈員」。今年 2 月於第 45 屆香港藝術節賽馬 會當代舞蹈平台《舞鬥》中展出第二個自編自跳作品《你很美麗》。
Jennifer Mok Born in Hong Kong, Jennifer Mok graduated from the Hong Kong Academy for Performing Arts in 2005 with a major in Ballet and studied modern dance the following year. In 2007, she undertook an internship with Expressions Dance Company in Australia for its US tour, before joining City Contemporary Dance Company the same year. In 2014, she left the company to work as a freelance artist. Recent performances include, the Black Bird Theatre production Freedom of Expression, the Rite of City Dance Video Project, New Works Forum: Screendance workshop co-presented by West Kowloon Cultural District and City Contemporary Dance Company. Mok’s debut choreography, A Major Clown in G Flat, presented by E-Side Dance Company in Femininity in 2015, was nominated for “Outstanding Choreography” and “Outstanding Female Dancer” at the Hong Kong Dance Awards. In February 2017 she presented her solo work You are Beautiful at the Hong Kong Jockey Club Contemporary Dance Series as part of the Hong Kong Arts Festival.
十位香港舞蹈家 10 Hong Kong dance artists
梅卓燕 70 年代在香港學習中國舞，80 年代為第一代專業舞者，曾於香港舞蹈團擔 任多部舞劇主角。90 年代為獨立編舞、教師、舞者及策劃，其創作曾於 Tanztheatre Wuppertal Pina Bausch 25 及 35 週年節、法國 Lyon 舞蹈雙 年展、威尼斯舞蹈雙年展、東京舞蹈雙年展，以及紐約、哥本哈根、英國、 巴黎及北京等地演出，作品風格遊走於傳統與現代。梅氏兩度獲亞洲文化協 會獎學金，到美國學習現代舞。曾獲香港舞蹈聯盟頒發四屆「香港舞蹈年獎」， 並於 2012 年獲頒「傑出成就獎」。2001 年獲慧妍雅集選為「傑出女士」。
Mui Cheuk-yin A student of Chinese classical and ethnic dance in Hong Kong during the 1970’s, Mui Cheuk-yin emerged as one of Hong Kong’s first generation of professional dancers, and in the 1980’s was the lead dancer in numerous dance drama productions of the Hong Kong Dance Company. In the 1990’s, Mui became an independent artist, choreographing, teaching, performing, and producing dance works in Hong Kong. Her works have been featured during the 25th and 35th Anniversaries of Tanztheater Wuppertal Pina Bausch, at the Lyon Biennale de la Danse, the International Festival of Contemporary Dance in Venice, the Dance Biennale Tokyo, and on major stages around the world including, New York, Copenhagen, London, Paris and Beijing. Her style traverses between traditional and contemporary with effortless fluidity. Mui has won two Asian Cultural Council fellowships to study modern dance in the US, four Hong Kong Dance Awards, and in 2012 received a Distinguished Achievement Award from the Hong Kong Dance Alliance. She was also recognized with an Outstanding Women Award by the Wai Yin Association in 2001.
十位香港舞蹈家 10 Hong Kong dance artists
徐奕婕 獨立編舞及舞者，80後，6歲開始習舞，香港演藝學院舞蹈學院畢業生。2015 年度香港藝術發展獎之藝術新秀獎（舞蹈）得主。徐奕婕擅長編創環境舞蹈 ， 走近觀眾，分享當下。她亦憑自身對大自然的觸感，喜以花為題材，作品包括： 《睡 蓮》、《乾花》、《牽牛花》、《雞蛋花》等，風格被喻為詩意洋溢，簡潔有力，精 準地以不同層次的比喻，詰問人類身體的存在性。
Ivy Tsui
Independent choreographer Ivy Tsui specialises in site-specific dance. She graduated from The Hong Kong Academy for Performing Arts (HKAPA) in 2009 with a first-class honours degree and was recognised with the “Young Artist (dance)” award at the Hong Kong Arts Development Awards in 2015. Her site-specific dance work Quan Quan, which premiered in 2011, was recreated and performed at the Kubrick bookstore in Hong Kong in 2012 and again in 2017 at the Rahva Raamat bookstore (named one of the world’s four best bookstores in 2016) in Tallinn, Estonia. Ivy’s choreography is inspired by her passion for nature and the environment. She has created a number of commissioned works for the Hong Kong Arts Festival and the Hong Kong Leisure and Cultural Services Department, including Water Lilies (2017), Morning glory (2016), Dehydrated Flower (2015), and Frangipani (2015). She was recently selected as one of three artists representing Hong Kong in “Creative Meeting Point: Hong Kong x Finland”, a dance exchange programme organised by the West Kowloon Cultural District and three Finnish dance institutions: Dance Info Finland, Zodiak – Centre for New Dance, and Dance House Helsinki. 網站 Website: ivytheatres.com
十位香港舞蹈家 10 Hong Kong dance artists
楊春江 畢業於香港中文大學藝術系，後自習舞蹈並兩獲獎學金到荷蘭及英國修讀編 舞。曾 獲 六 度「香 港 舞 蹈 年 獎」(2000、2005、2009、2012、2013、 2014) 、兩度南華早報《全年五大最佳編舞》(2006、2008) 及香港藝術發 展局舞蹈新晉藝術家年獎等 (2002)。並被歐洲芭蕾舞蹈雜誌 Ballettanz 年 刊提名為「備受注目編舞家」。2013 年楊春江獲香港藝術發展局頒發年度最 佳藝術家年獎，讚揚他在編丶演丶教丶策劃丶評論等各方面的成就及建樹。
Daniel Yeung Daniel Yeung graduated from The Chinese University of Hong Kong with a major in Fine Arts and a minor in Chinese Music. He is a self-taught dancer and was twice awarded scholarships to study choreography in Holland and the UK. In 2002, Yeung was nominated by the European Ballettanz yearbook as “The Choreographer To Look At” and was awarded the “Rising Artist Award” by the Hong Kong Arts Development Council. He is a six-time awardee at the Hong Kong Dance Awards (2000, 2005, 2009, 2012, 2013, 2014), organized by the Hong Kong Dance Alliance, and has twice been named as one of the “Top Five Best Dance Works of the Year” by the South China Morning Post. In 2013, Yeung was recognized as “Best Artist of the Year (Dance)” by the Hong Kong Arts Development Council for his contributions as curator, choreographer, performer, teacher and critic for developing dance culture in Hong Kong.
十位香港舞蹈家 10 Hong Kong dance artists
陳敏兒 香港演藝學院現代舞系畢業生。畢業後隨即加入香港城市當代舞蹈團成為專 業舞者，1995 年獲亞洲文化協會利希慎獎學金赴美交流。1998 年與舞者楊 惠美創立「雙妹嘜舞蹈劇場」，風格被喻為充滿香港本土情懷，別樹一幟的 女子雙人組合。陳氏所編作品曾應邀於紐約、科羅拉多、悉尼、東京、京都、 首爾、馬來西亞、台北、新加坡、廣州及巴西聖保羅等地演出。陳氏獲香港 舞蹈聯盟頒發四項香港舞蹈年獎。 近年作品包括編導演古蹟舞蹈劇場《免治 O 孃》；不加鎖舞踊館舞蹈連續劇 《牆 44》；及去年剛完成參與獨立電影許雅舒新作「風景」。陳氏除活躍舞蹈 界外，亦積極參與戲劇演出及擔任形體指導 。近作包括三角關係《家。寶》; 神戲劇場《馬》及《仲夏夜之夢》; 新視野藝術節節目：甄詠蓓戲劇工作室《黑 色星期一 》及 再構造劇場《未來簡史》。新作品《花生騷》以快速舞蹈時裝 秀窺探社會和人性的荒謬。 網頁：www.abbychancandance.com
Abby Chan Abby Chan is a graduate of the Hong Kong Academy for Performing Arts, and was a dancer and guest choreographer with the Hong Kong City Contemporary Dance Company from 1991 to 1998. The founder of Chan-Can-Dance Theatre and co-artistic director of Mcmuimui Dansemble, she received the Lee Hysan Foundation Fellowship of the Asian Cultural Council to present her work in New York. In New York her work has been presented at various theatres and festivals including the Mulberry Street Theatre, Joyce SoHo, the chashama OASIS Festival, the Brooklyn Arts Exchange Women’s Performance Festival, 92nd Street Y, Galapagos Art Space, Chen Dance Center and La MaMa. Chan’s choreography has been performed in Hong Kong, Guangzhou, Taipei, Singapore, Seoul, Tokyo, Kyoto, Malaysia, Sydney, Sao Paulo, Colorado and New York, and she is a four-time recipient of the Hong Kong Dance Award. In addition to her dance work, Chan has collaborated and performed with a number of theatre companies, showcasing her versatility in performing arts. Recent appearances include Candace Chong’s play Wild Boar, directed by Olivia Yun for the 40th Hong Kong Arts Festival; Unlock Dancing Plaza’s first serial cross-disciplinary creation, the trilogy Walls 44; and her own free-form dance theatre production Kidult Ophelia. She was also the director of movement for the Dionysus Contemporary Theatre productions Equus and A Midsummer Night’s Dream. Chan featured as an actress in the local independent movie Pseudo Secular, and performed and served as director of movement for O Theatre Workshop’s Black Monday and Reframe Theatre’s A Concise History of Future in Hong Kong’s New Vision Arts Festival. Her latest production, Cattle Runway, mixes theatre, multimedia, and a live string quartet to create an exhibition-like experience of a catwalk and fast fashion that explores the dynamics of contemporary human behaviour. Website: www.abbychancandance.com
十位香港舞蹈家 10 Hong Kong dance artists
曹德寶 畢業於香港演藝學院當代舞系。 2010 年加入不加鎖舞踊館任駐團藝術家至 2014 年，其間開始參與舞蹈創 作。 2012 年為短片《盛放永恆的陽光》編舞及演出，短片於 2013 年康城影展 「Short Film Corner」展出。 2015 年於西九文化區及城市當代舞蹈團合辦的《新作論壇：光影舞蹈》創 作舞蹈短片《yellow alert》，並獲委約繼續發展，於 2017 年跳格國際舞蹈 影像節進行首映。 2016 年獲 Japan Contemporary Dance Network 邀至日本沖繩及北海道 作交流演出。同年舞蹈作品《土炮》獲邀至德國杜塞爾多夫國際舞蹈博覽會 （internationale tanzmesse nrw）演出。 現為自由身舞者、編舞及兼職戲曲武師。
Hugh Cho A graduate of the Hong Kong Academy of Performing Arts, Hugh Choâ&#x20AC;&#x2122;s interest in choreography began during his time as Artist in Residence with Unlock Dancing Plaza, between 2010 and 2014. In 2013, Cho choreographed and performed in the dance video Eternal Sunshine shown in the Short Film Corner at the Cannes Film Festivalâ&#x20AC;&#x2122;s Film Corner. In 2015 he directed the short dance film yellow alert at the New Works Forum: Screendance, co-presented by the West Kowloon Cultural District and City Contemporary Dance Company, and was commissioned to further develop the film to be premiered in Jumping Frames International Dance Video Festival 2017. In 2016, he was invited by the Japan Contemporary Dance Network to Okinawa and Hokkaido for exchange and creation. His dance piece Made in Hong Kong was invited to the largest international contemporary dance market and festival internationale tanzmesse nrw in Germany in the same year. Cho is now based in Hong Kong as a freelance dancer, choreographer and part-time Chinese opera acrobat.
十位香港舞蹈家 10 Hong Kong dance artists
喬楊 喬楊生於陝西，十二歲開始學習中國舞。1987 年參加廣東省舞蹈學校現代 舞班；1990 年獲法國巴黎國際舞蹈大賽「現代舞雙人舞金獎」；1992 年成 為廣東現代舞團創團成員，並多次獲廣東省藝術節表演及編舞一等獎，曾隨 團到海外參加多項國際性演出。1996 年加入城市當代舞蹈團，2003 年獲 香港舞蹈年獎，並被列入「香港傑出舞蹈藝術家名錄」；2011 年憑《雙城記 ―香港•上海•張愛玲》獲頒香港舞蹈年獎「最值得表揚女舞蹈員」，並憑《孤 寂》再次獲提名 2016 香港舞蹈年獎「傑出女舞蹈員演出」。
Qiao Yang Born in Shaanxi, Qiao Yang started learning Chinese dance at the age of 12 and has been a dancer with City Contemporary Dance Company (CCDC) since 1996. She received the Gold Award in the Modern Dance Duet Class at the Paris International Dance Competition in 1990, and in 1992 became a founding member of Guangdong Modern Dance Company, performing extensively at major international arts festivals. In 2003, she received a Hong Kong Dance Award and was listed in the “Hong Kong Dance Hall of Fame”. Qiao received the 2011 Hong Kong Dance Award “Outstanding Performance by a Female Dancer” for her performance in Tales of Two Cities, and was nominated for the same prize for her performance in Soledad at the 2016 Hong Kong Dance Awards.
十位香港舞蹈家 10 Hong Kong dance artists
楊雲濤 白族，畢業於中央民族大學舞蹈系，曾任廣東現代舞團、北京現代舞團舞 蹈員。其主演的舞劇《媽勒訪天邊》獲第二屆中國舞蹈荷花獎比賽金獎及 優秀男主角獎、第六屆中國藝術節優秀劇目獎，於第七屆全國少數民族舞 蹈比賽憑《雲之南》獲獨舞表演金獎。 2002 年加入香港舞蹈團，擔任首席舞蹈員，並憑舞劇《水滸傳》及《大 地之歌》獲 2003 年香港舞蹈年獎。2005 年加入城市當代舞蹈團，憑該 團節目《霸王》再獲 2006 年香港舞蹈年獎。2007 年出任香港舞蹈團助 理藝術總監。2010 年獲香港藝術發展局頒發「2009 年度最佳藝術家獎 （舞蹈）」，其編導的《蘭亭•祭姪》、《花木蘭》及《風雲》分別獲香港舞 蹈年獎「最值得表揚舞蹈製作」。楊氏於 2013 年起出任香港舞蹈團藝術總 監一職。 楊氏曾分別於廣東現代舞團、北京現代舞團及城市當代舞蹈團發表多個舞 作。為香港舞蹈團編創的作品包括《邊城》、 《笑傲江湖》、 《天上•人間》、 《三 國 風 流》、《蘭 亭•祭 姪》、《金 曲 舞 韻 顧 嘉 煇》、《花 木 蘭》、《梁 祝• 傳 說》、《風 雲》、《在 那 遙 遠 的 地 方》、《倩 女•幽 魂》、《紅 樓•夢 三 闋》 之＜白＞及《中華英雄》等。《蘭亭•祭姪》應邀於 2013 年 9 月在北京 國家大劇院歌劇院上演，並於 2013 年 12 月在台北新舞台上演，作為「香 港週 2013」的重點演藝節目；《花木蘭》於 2015 年 3 月赴紐約林肯表演 藝術中心、9 月赴悉尼及 2017 年 4 月赴倫敦南岸藝術中心演出；《梁祝 •傳說》於 2016 年 4 月在韓國首爾「韓國舞蹈祭典」中演出； 《倩女•幽魂》 於 2017 年 7 月在北京天橋藝術中心及廣州大劇院演出。
Yang Yuntao Yang Yuntao joined the Hong Kong Dance Company (HKDC) in 2002 as Principal Dancer, becoming Assistant Artistic Director in 2007 and Artistic Director in 2013. A graduate of the Faculty of Dance at the Minzu University of China, Yang has been a dancer with the Guangdong Modern Dance Company, the Beijing Modern Dance Company and the City Contemporary Dance Company. He has received a number of awards at national dance competitions in China, and was recognised at the Hong Kong Dance Awards in 2003 and 2006. In 2009 he received the “Award for Best Artist (Dance)” in the Hong Kong Arts Development Awards. Yang has choreographed for various dance companies. His choreographic works for HKDC include Border Town, Romance of the Three Kingdoms, Spring Ritual•Eulogy, Joseph Koo’s Dance Melodies 2013, The Legend of Mulan, The Butterfly Lovers, Storm Clouds, Voices and Dances of the Distant Land, L’Amour Immortel, Blanc in Reveries of the Red Chamber, and Chinese Hero: A Lone Exile. Spring Ritual•Eulogy won the “Outstanding Achievement in Production” award at the 2013 Hong Kong Dance Awards and was presented in Beijing and Taipei in 2013. The Legend of Mulan won two awards at the 2014 Hong Kong Dance Awards and was presented in New York and Sydney in 2015, and in London in 2017. The Butterfly Lovers was presented in Korea in 2016. Storm Clouds and L’Amour Immortel won three awards at the 2015 and 2016 Hong Kong Dance Awards respectively. L’Amour Immortel was presented at the Beijing Tianqiao Performing Arts Centre and Guangzhou Opera House in July 2017.
十位香港舞蹈家 10 Hong Kong dance artists
江上悠 江上悠生於日本沖繩，於倫敦皇家芭蕾舞學院畢業，2002 年加入香港芭 蕾舞團擔任群舞員，2014 年同時兼任舞團的排練導師。 他曾參演的香港芭蕾舞團劇目包括米瀚文的《天鵝湖》、謝傑斐及科勒不 同版本的《胡桃夾子》、海德的《夢偶情緣》、卡尼柏諾烈的《茶花女》、 巴蘭欽的《主題與變奏》、杜亞陶的《卡薩廸》、伊羅的《律動的神采》、 科西的《舞極》、韋爾奇的《空．色》，以及維亞的《杜蘭朵》等。 江上悠曾為香港芭蕾舞團的《編舞家巡禮》系列創作的作品包括：與胡頌 威 共 同 創 作 的《觸 角》（2014）和《白 色 謊 言》（2012）、《OIOIO》 （ 2 0 1 1 ）、《 鏡 花 水 月 》（ 2 0 1 0 ）、《 一 一 》（ 2 0 0 8 ）、《 櫻 》（ 2 0 0 7 ） 及《 影 》 （2005）。他亦曾為舞團創作長篇作品，如與胡頌威聯合編舞的《卡 門》(2017)、與 胡 頌 威 一 同 擔 任 伍 宇 烈《新 中 國 芭 蕾―青 蛙 王 子》 （2013）的聯合編舞，以及擔任伍宇烈《糊塗爆竹賀新年》（2010）的聯 合編舞。他與胡頌威攜手創作《波萊羅》（2015），香港芭蕾舞團憑演繹 此作勇奪 2016 年香港舞蹈年獎傑出群舞演出獎。 江上悠於 2015 年為日本的舞蹈組織 Architanz 重新編排伍宇烈的《惡魔 之物語》，又曾獲香港的東邊舞蹈團委約創作《Sonographer》（2011） 及《Firefly》（2016）。
Yuh Egami Born in Okinawa, Japan, Yuh Egami graduated from The Royal Ballet School in London and joined Hong Kong Ballet as a member of the Corps de Ballet in 2002. He assumed the additional role of Répétiteur for the Company in 2014. With Hong Kong Ballet, Egami has danced in various works such as John Meehan’s Swan Lake, Stephen Jefferies’ and Terence Kohler’s The Nutcracker, Ronald Hynd’s Coppélia, Val Caniparoli’s Lady of the Camellias, Natalie Weir’s Turandot, George Balanchine’s Theme and Variations, Nacho Duato’s Castrati, Jorma Elo’s Shape of Glow, William Forsythe’s Steptext, and Stanton Welch’s Clear. Egami has presented his works at Hong Kong Ballet’s Choreographers’ Showcase, including Horn (2014) and White Lies (2012) with Ricky Hu Song-wei, OIOIO (2011), Mirage (2010), Collage of One (2008), Sakula (2007) and Kagé (2005). He has also contributed choreography to several full-length works including Carmen (2017) and The Frog Prince-A Ballet Chinois (2013) together with Hu and as associate choreographer to Yuri Ng, and Firecracker (2010) as an associate choreographer to Ng. His work Bolero (2015) with Hu, won Outstanding Ensemble Performance at the Hong Kong Dance Awards 2016. Egami also re-choreographed Ng’s Devil’s Tale for Architanz, Japan in 2015 and choreographed Sonographer (2011) and Firefly (2016) for E-side Dance Company in Hong Kong.
製作 Produced by
鳴謝 Acknowledgement
香港演藝學院電影電視學院 School of Film & Television, The Hong Kong Academy for Performing Arts
香港青年藝術協會 Hong Kong Youth Arts Foundation 美仕特科技有限公司 Miso Tech Company Limited 恩像視聽製作有限公司 Blessed Vision Limited 卓翔 Cheuk Cheung 喜鵲媒體 Pica Pica Media
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