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[中][Eng] 與Wayne McGregor同創大世界 Thinking Big with Wayne McGregor


西九文化區的地盤總是在施工中,地面上滿佈大洞和一堆堆的鋼筋,棚架覆蓋著裸露的混凝土,半建成的天橋止於半空。這看似一片混亂,但西九文化區管理局(西九)的工作卻並不只是工程管理。儘管最快落成的場館也還需年月才能開幕,舞蹈場地要更遲才能建成,西九所辦的活動卻越見積極。

The West Kowloon Cultural District building site may look chaotic, a jumble of holes in the ground, piles of rebar, scaffold-covered stunted raw concrete forms, half completed flyovers, pedestrian walkways ending mid-air, but the West Kowloon Cultural District Authority (WKCDA) has been busy with a lot more than just managing construction. With the opening of its first venue still years away, and the dance venue not scheduled for completion until even further in the future, WKCDA activities have nonetheless intensified.

在各種藝術形式的大量活動之中,西九藝術發展主管(舞蹈)陳頌瑛率領其團隊開展了多項計劃,從中可見到西九在本地文化及藝術上的角色。根據西九表演藝術行政總監茹國烈,這包括推動本地創作,委約本地以及國際合作的作品,和主辦本地及國際節目;換句話說,是作為推動者、委約者、製作人和主辨機構。最近幾個月,西九推出了多項具前瞻性又多元化的舞蹈活動,如《本地藝團領袖人才海外考察及培訓計劃分享會II》、涵蓋舞蹈活動及其他藝術項目的《自由野》及《自由約》系列、舞蹈影像實驗室:《新作論壇:光影舞蹈》、《舞蹈影像入門工作坊》、《新作論壇:肢體和聲音的舞動與敘事》及《國際劇場工作坊節:形體、文本和舞蹈寫作工作坊》。

Apart from plentiful events in other art forms, Anna CY Chan, Head of Artistic Development (Dance), Performing Arts Department, WKCDA has spearheaded a number of initiatives that are indicative of the role that WKCDA sees itself fulfilling. According to Louis Yu, Performing Arts Executive Director of WKCDA, this includes developing work locally, commissioning work both locally and with international partners, as well as presenting local and international programs; in other words, WKCDA as developer, commissioner, producer, and presenter. In dance, in the last few months this ambitious agenda has included programs as diverse as Sharing Session on Overseas Training/Research Program for Leaders from Local Arts Groups on Future Arts Development in Hong Kong; a series of Freespace Fests and Freespace Happenings that include dance and other art forms; Dance Video Lab; Screendance Workshop; Writing Choreographic Process Workshop; and Workshop on Writing Movement, Text and Dance.

在本年十二月,西九委約知名的日裔美國舞蹈藝術家尾竹永子(Eiko Otake),來港創作《身在香港》,作為其個人藝術計劃「身在各地」的延續。尾竹除了於香港兩個不同的地方演出《身》外,她亦會主持「可口動作工作坊」。從這些致力於軟件發展的舞蹈活動,可看出陳投入大量的工作為西九準備好軟件,以配合大家期待以久的硬件落成啟用。日前,我在CCDC舞蹈中心遇到了她,帶著一群她十月在首爾表演藝術交易會(PAMS)認識的藝術主辦者。他們都是在西九的邀請下前來香港,會見了十多名有興趣到海外表演的本地獨立舞者。

Coming up in December WKCDA will present the renowned and revered Japanese-American dance artist Eiko Otake, of the duo Eiko and Koma in her most recent work A Body in Places performed at two different locales in Hong Kong. Otake will also conduct Delicious Movement Workshop while here. The number and broad range of these WKDCA dance events directed toward software development are an indication of the sharp focus and enormous effort Chan has devoted to preparing the ground for a successful launch of the WKCDA hardware, the long awaited theatres. I ran into her at CCDC Dance Centre the other day as she was escorting a large delegation of arts presenters that she met while attending the October Performing Arts Market in Seoul (PAMS). They were in Hong Kong at WKCDA’s invitation to meet dozens of independent dance artists who are interested in being presented abroad.

要說陳最具野心的嘗試,莫過於把世界知名編舞家Wayne McGregor(WMcG)帶到香港。WMcG是英國皇家芭蕾舞團駐團編舞、蘭登舞蹈團(Random Dance Company)的藝術總監。他這次來港並非製作演出,而是與本地的舞蹈團體、導師及學生交流,並出席公開論壇。他也與《舞蹈手札》談論他的工作,其中的一些見解,或許會為香港舞者帶來共鳴。

Perhaps none of Chan’s initiatives to date have been as ambitious as bringing one of the world’s most sought after choreographers to Hong Kong, Wayne McGregor, Resident Choreographer of the Royal Ballet and Artistic Director of Random Dance Company. McGregor was here not to present work, but to work with local dance companies, instructors, and students and present a free public forum. While here, he talked about his work with us. Below are some of his comments that may resonate with Hong Kong dancers.

白朗唐(白):你在蘭登舞蹈團與皇家芭蕾舞蹈團的工作有甚麼難忘、具挑戰性的經歷?

Tom Brown (TB): Could you talk about the highlights and challenges of your work with Random Dance Company and the Royal Ballet?

WMcG:我在年輕時已建立自已的舞團,自覺有需要去做。這有點是自己年少氣傲,因為我現才在明白,有很多後來接觸到的藝術家,像是梅西.簡寧漢 (Merce Cunningham),其實在當年我也應該會想與之合作。90年代初,英國政府真正地幫助年輕藝術家創作自己的作品,那是十分難得的事。他們建立了資助架構,來支持年輕編舞者自立門戶,發展自己的願景。UK Arts這個支持年輕未來藝術家的架構,本身就是一個亮點。我認為這也是這裡希望做到的事情之一。

WMcG: I started my company young, just because I felt a need to do it. It felt like a bit of youthful arrogance in a way because now I realize all of the people I would have wanted to work with and subsequently met, people like Merce [Cunningham] whom I would have loved to work with. In those days in the early 1990s, the UK was really supporting young artists to make their own work, which was really quite rare. They were finding funding structures to be able to support young choreographers to form their own companies and have their own vision. That was a highlight itself, the structure of UK Arts to champion these young artists-in-making and I think it is part of the aspiration here [in Hong Kong].