順著生死之河跌宕起伏

建立日期

18 十月 2019

項目

表演藝術 Performing Art , 國內新聞 Local news

順著生死之河跌宕起伏

馮顯峰

二十世紀初美國舞者擺脫芭蕾舞的束縛,發展成不同流派的現代舞,久而久之這些流派又成了經典。香港演藝學院現代舞系成立時的八十年代,亦深受美國的現代舞影響。近代舞蹈藝術家嘗試突破這些規範,尋求各種舞蹈及劇場的可能。新約舞流十一月製作的《活著》卻追本溯源,一次過上演五個舞碼,讓觀眾回看現代舞的經典。

五支作品橫跨超過⼤半個世紀,順著Doris Humphrey(韓福瑞)及José Limón(李蒙)的門路,帶有一種承傳關係。Humphrey1947年創作的《Day on Earth》,數十年前由Tom Brown(白朗唐)多次搬上香港舞台。再加上Tom的兩個作品《Do Not Go Gentle》、《Le Bœuf sur le Toit》及Rosalind NewmanOut of Dreams》的選段。最後還有Tom的學生、新約舞流的藝術總監Pewan Chow(周佩韻)的新作。整個製作讓經典累積並承傳下去,折射出對香港現代舞發展的影響。

上述編舞有著近似的舞蹈質地及美學,承傳、運用及演化「跌落與復原」(Fall and Recovery)的技巧。訪談間Pewan刻意不將HumphreyLimón發展的「跌落與復原」稱為一種風格,因為她認為這是一種對身體、空間及重量的拿捏,相當根本(Fundamental)。即使是這次演出的舞者,大多沒接觸過這種技巧,也很不習慣。他們都花了些時間,吸收這種控制身體重量的感覺。縱使舞蹈流派日新月異,Pewan不希望切斷了這種根本,故將此延續下去。

製作主題圍繞生死,新約舞流亦藉此紀念去年離世的Dr. Thomas Brown。Tom過去30多年對香港舞蹈界及舞蹈教育有莫大貢獻,同是其中一位影響Pewan最大的老師。不止在學期間,到後來創作與教學也得到Tom的支持及鼓勵。《活著》不止在劇場演出,更會舉行多場展演,示範並解說其中Humphrey的《Day on Earth》及Tom的《Do Not Go Gentle》,讓製作成為教育的一部分,延續Tom致力推廣舞蹈、有教無類的理念。

____________________________________________________________________

Going down the river of life and death

Text / Fung Hin-fung

At the beginning of the twentieth century, American dancers got rid of the restrictions of classical ballet and developed into modern dances of different schools. Over time, these schools have become classics. In the 1980s when the School of Contemporary Dance of HKAPA was established, it was also deeply influenced by modern American dance. Modern dance artists try to break through the norms and seek the possibilities of various dances and theatres. By tracing historical sources, Pass Over Dance's "Live" this November let the audience appreciate the classics of modern dances with five different performances.

The five works span more than half a century, with the influencesby Doris Humphrey and José Limón. "Day on Earth" by Humphrey in 1947, was performed on the Hong Kong stage several times by Tom Brown several decades ago. There’s also two of Tom's works "Do Not Go Gentle", "Le Bœuf sur le Toit" and excerpts from Rosalind Newman’s "Out of Dreams". Finally, there is a new work by Pewan Chow who’s Tom's studen and the artistic director of Pass Over Dance. The whole production pass on the classics, reflecting the impactsof the development of modern dance in Hong Kong.

The choreographies have similar aesthetics, which inherits, applies and evolves the skills of "Fall and Recovery". During the interview, Pewan deliberately did not refer to the "Fall and Recovery" which developed by Humphrey and Limón as a fixed style, because she thought it was a kind of “fundamental” control of the body, space and weight. The dancers of this performance have not been exposed to this technique and are not used to it. They all spent some time absorbing the feeling of controlling the weight of the body. Even though the dance schoolsare changing with each passing day, Pewan does not want to cut off this fundamental” existence, so it will continue.

The theme of the production is about life and death. Pass Over Dance also commemorates Dr. Thomas Brown who passed away last year. As one of Pewan’s greatest teachers, Tom has contributed a lot to Hong Kong's dance and dance education over the past 30 years. Pewan had Tom’s guidance and support during school and her later stage of creation and teaching. "Live" not only is performed in the theater, but has many other performances demonstrating and explaining oHumphrey's "Day on Earth" and Tom's "Do Not Go Gentle", making production a part of education, continuing Tom's efforts to promote dance and dance teachings.