[中|Eng] 官僚與舞者的為與不為 CroXXing

許俊傑的新作《交界記憶》在九月中於北潭涌渡假營泳池上演。早在五年前,一水之隔的澳門已有水上滙演《水舞間》。今天,香港猶未有在泳池的舞蹈演出。筆者八月底訪問許俊傑,了解其籌備及排練作品之點滴。

The House of Dancing Water, launched five years ago in Macau, claimed to be the world's newest water show. Till now, there haven’t been any similar water performances in Hong Kong. However, Cyrus Hui's new choreography, CroSSing, for DanceArt’s Dialogue of Space Series, at Po Leung Kuk Pak Tam Chung Holiday Camp, Swimming Pool in September changed all that. Hui was interviewed in August and talked about the preparation and rehearsal process for the work.

攝影:Jasmine Forest

官僚不能或不為

許透露選擇泳池作舞蹈演出,乃一次經過被抽空池水的泳池而萌生之想法:倘大的空置地方,又屬康樂及文化事務署(下稱康文署)管理之場所,是否可能變為表演場地?及後許投計劃書予康文署文化節目組,惜了無音訊。本以為泳池屬康文署管理會較易辦理,卻發現管理表演場地與水上運動設施屬不同部門,於公眾泳池製作表演節目涉跨部門事宜,官僚的辦事方式難以撼動。許更一度認為此想法會胎死腹中。直至動藝「對話空間」系列出現,泳池編創之想法終得以實現。許望藉此嘗試開拓新的表演場地及賦予空置地方新的意義,同時證明泳池可以做演出。

Bureaucracy's Inability or Inaction

The idea of creating a performance in a swimming pool was inspired by a swimming pool empty of people. Hui thought such a huge empty space could be suitable for performance. Add the fact that the Leisure and Cultural Services Department (LCSD), to the Cultural Department of which Hui had submitted a proposal, manage public swimming pools. Unfortunately, he did not receive a reply to his proposal. At first glance, the administration of his inquiry seems straightforward. But, in fact, two separate departments manage performance venues and land sport venues. Creating a performance in a swimming pool requires cross-departmental collaboration within LCSD, which to some degree, is very difficult in a bureaucratic system. Hui had almost given up his idea, when DanceArt’s Dialogue of Space Series supported the proposal. Through the possibility of presenting a performance in a swimming pool, Hui’s idea to discover new performance spaces and give meaning to abandoned spaces came to fruition.

筆者翻查康文署網上的資料,全港共43個公眾游泳池場館屬其管理範圍,其中17個無暖水池設備,須於每年11月至3月期間暫停開放。康文署將此時段列為「配合每年維修工程的暫停開放時間」。言似合理,惟參考其他備設暖水池的場館,主池每年的維修工程約需時兩個月。換言之,無暖水設備之泳池每年被丟空將近四個月。而現時大部分舞蹈劇場作品排練加入台,亦不過三至四個月的準備時間。假設上述17個被丟空的泳池可轉為表演場地,編舞及舞者即可全程進駐排練;加上大部分公眾泳池設有看台,儼如現成的演出場地;觀眾於看台上俯瞰泳池裡的表演,無疑也是一種嶄新的觀賞經驗。若假設成真,實為表演藝術界不可多得之喜訊。

According to the LCSD official website, there are a total of forty-three public swimming pools under its management. Among these, seventeen non-heated swimming pools are closed annually from November to March for maintenance. Heated swimming pools only close two months for annual maintenance. Which means non-heated swimming pools are practically abandoned during most of the maintenance period. Given that the production time for performances is roughly three to four months, hypothetically these non-heated swimming pools could be turned into performance spaces. They could provide the time and space for a choreographer and dancers to create work on-site fully during the vacancy period. Some existing fixtures such as seats in viewing stands could provide an innovative watching experience. If this hypothesis could be realized, it might be good news for the performing arts community.

在此,我們需討論體育設施成為表演場地之可能。康文署管理的表演場地除各大小劇院外,還有香港體育館(下稱紅館)和伊利沙伯體育館(下稱伊館)。紅館及伊館無疑屬於體育設施,尤其紅館更是當年市政局興建的一座符合國際標準的室內體育館。兩個場館舉行過不少國際體育賽事。然而,普羅大眾對此兩場地的認識及關注,恐怕非歌手演唱會及樂壇頒獎典禮莫屬。當要進行演唱會時,便在場地搭建舞台; 當進行排球或羽毛球等賽事時,便依照要求舖上木地板或膠地蓆,彈性運用場地。若然泳池採取上述兩館的運作模式,亦可成為體育設施兼作表演場地之例。

To further expand this discussion of the possibility to transform land sport venues to performance venues, under LCSD management there are two iconic sport venues: the Hong Kong Coliseum and Queen Elizabeth Stadium. Despite having been built as Urban Council sport facilities that fulfill International standard indoor stadium criterion, and having hosted many International sporting events and competitions, both venues are better known for other uses, such as concerts by pop stars and the Top Ten Chinese Gold Songs Award Concerts. Whenever there is a concert, the stadium installs a stage. When there is a volleyball or Badminton competition, the stadium puts down a wooden floor or rubber mats accordingly. If such flexible arrangements can be applied to swimming pool facilities, they could double as performance venues as well.

外國不少房屋配有泳池。人們喜愛於泳池舉辦各種活動及聚會。故外國不乏公司專門為顧客於泳池水面鋪上各種地板,或是玻璃或是舞台地膠木地板等。假如香港引入同樣技術,那17個每年空置四個月的公眾泳池即可兼作表演場地。此舉一來令表演藝術受惠,二來使香港公共的剩餘資源被充分運用。

In some other countries, many houses have swimming pools that are used for gatherings of all kinds. There are specialized companies that provide custom made flooring such as glass or vinyl tile to facilitate different uses of swimming pools. If this specialized technology could be introduced to Hong Kong, then the vacancy period for the seventeen non-heated swimming pools could be used for performance. This use can benefit the general community and the performing arts as well as maximize public resources.

即使沒有於水面上鋪上地板,外國亦有舞團早於多年前以泳池作舞蹈演出。2004年,美國的Headlong Dance Theater 於一個酒店泳池編創了作品《Hotel Pool》。由該團上載片段可見,舞者時在水裡舞動,時在池邊雙人舞,穿梭於水裡水外。舞者於池邊相擁,然後毫無顧慮地平躺跌入水中。除非罔顧舞者安全,此系列動作難於普通劇場實現。惟有藉著水的緩衝,方可安全地展現。同時,水花四濺本來便相當有視覺效果。翩娜包殊的《月滿》、雲門舞集的《水月》和香港舞蹈團近年的《風雲》等,亦有將水池融入舞台設計。然而,要在一般劇院呈現水花四濺之畫面,牽涉不少舞台技術,費用之龐大非小型舞團經費容易負擔。

In 2004, the American Headlong Dance Theater presented Hotel Pool in a hotel swimming pool even without any special flooring equipment. The online video excerpt shows a group of dancers dancing in a pool and a couple dancing by the poolside. The couple hugs and then the two dancers fall into the water without hesitation. This kind of effortless fall can only be achieved when there is something like water to break the dancers’ fall. Pina Bausch, Lin Hwa-min, and Yang Yuntao have used the spectacular effects of water splash screens in Full Moon, Moon Water, and Storm Clouds, respectively. In fact, these productions also integrate swimming pools into their stage set designs – albeit very shallow ones. A water splash screen involves extensive stage technology and can easily impose a huge financial burden on a small dance company.

攝影:Jesse Clockwork

冰冷與熾熱的排練

《交界記憶》的團隊面對康文署耍手擰頭,惟有改為發信予一些私人泳池,包括學校、私人屋苑會所、酒店等。多次的石沉大海,終得一回音,也是唯一。保良局北潭涌渡假營表示可在他們的泳池做演出。許形容:「場地主管人很好,聽見新穎想法時他會回應:『未試過,試下啦。』他的思維開放又十分配合。」縱使場地與製作團隊偶有意見不合,但至少製作團隊展示相關資料後,場地一方也願意參考。許續說:「至少他們肯傾。」

Cold and Hot Rehearsal

In the end, the team of CroSSing received a disappointing response from LCSD, so they turned their focus to private swimming pools such as those at Schools, Club Houses, and Hotels. Eventually, they received only one positive response from Po Leung Kuk Pak Tam Chung Holiday Camp. Hui said, “The manager is great and open to new ideas, he told me ‘We’ve never tried something like this, Let’s try.’ I found his openness matched mine.” Although, occasionally the venue management and the Artistic team had some disagreements Hui said, “At least they were willing to listen and negotiate.”

攝影:Jesse Clockwork

由於《交界記憶》是環境劇場舞蹈表演,惟有當場地確定後,許方可投身編創作品。訪