Dancers and companies in Hong Kong are always busy filling up their schedules as much as possible in order to make ends meet, having time to reflect or refine a work, not to mention sufficient time for continuous creative development, is always a luxury. Recently there were two dance work-in-progress presentations, one by local artists, while the other was by overseas artists in residence locally. Interestingly, both works were created through collaborations between artists

法國五月主辦的《係咁跳！》(Tel Qul!) 是杜爾國立舞蹈中心藝術總監湯馬‧利布恆(Thomas Lebrun) 探討拒絕與接受、差異與融合和親密與衝特的作品。舞者以舞蹈、遊戲、hip hop及劇場的幽默和日常生活的鎖碎事帶出接納(acceptance)的價值。...

The story of Pinocchio is not often used by ballet companies around the world as a subject for ballet. So it’s very ambitious and praiseworthy of the Hong Kong Ballet to create a new ballet based on this 19th century Carlo Collodi tale to mark the opening of its 2015/2016 season. The result is a two-act ballet lasting just over two hours created by the Swedish choreographer Par Isberg. The story is quite well known due to the adaptation for the 1940 Walt Disney animated f

九月的動藝非常忙碌，月初在白盒子的小型演出《變》才落幕，月中另一個演出《交界記憶》就在北潭涌渡假營的泳池登場。雖說製作規模一小一大，但兩個演出可容納的觀眾也不多，亦各有可觀之處。先說動藝白盒子上演的《變》，本以為馮誠健編舞的作品一如既往熱情澎湃，舞者的動作幅度很大，然而《變...

本地現代舞壇旗手曹誠淵（Willy）前作《365種係定唔係東方主義》在今年初夏再現葵青劇院。正值香港回歸中國18年，雨傘運動後細賞此作，真是別有一番滋味有心頭！ 城市當代舞蹈團《365種係定唔係東方主義》 概念及編舞：曹誠淵 編舞：刑亮 攝影：Conrado Dy-Liacco 事實上，廿一世紀的今天，隨著交通、通訊、資訊、互聯網的普及，東西方在各領域上的聯繫，尤其在藝術與音樂創作上的交流以致互相影響及感染下，所謂東方與西方的概念已變得逐漸模糊或者已經沒有明顯的分界。今日「東方主義」再被提起，多數已淪為吸引西方遊客的商業手法，或西方人對東方國家一廂情願的主觀投射。就正如外國唐人街的中國餐館，永遠都要掛著一對紅燈籠、店內的陳設一定清一色的花燈、大金紙扇……就連電影有關東方的主題，從六十年代關南施與Richard Mason的《蘇絲黃的世界》（The World of Suzie Wong）到近年王家衛的《一代宗師》，鏡頭下皆是青竹簾、紅燈籠、黃包車、木筷子；女的旗袍、男的長衫；還有歌劇《杜蘭朵》、迪士尼的《木蘭》……彷彿都總要帶著一陣