舞蹈手札_675x120 (1).jpg

[中][Eng] 舞蹈是人性的表達 — 訪香港舞蹈年獎得主 唐婭及李涵 Expressing Emotion through Dance – An Interview with the 18th Ho

由香港舞蹈聯盟主辦及藝術總監Mandy Petty傾力製作的「香港舞蹈年獎2016」剛於四月底在葵青劇院圓滿結束,14個舞蹈團體以及舞蹈家於這場盛大的頒獎禮中獲得肯定。也許,在眾多獎項裡最令人感到尤其珍貴的便非傑出男、女獎項莫屬。今年,傑出男女舞蹈員由香港舞蹈團參演《倩女幽魂》的唐婭和李涵獲得(另一位獲得傑出男舞蹈演員的是參演《羅密歐與茱麗葉》的沈傑)。在一個晴朗的上午,我們專訪了兩位獲獎者,聊演出的心得、獲獎的感受以及對舞蹈的追尋。

The outstanding achievements of 14 remarkable dance artists and organizations were recognized at the Hong Kong Dance Alliance 18th Hong Kong Dance Awards during a scintillating Gala Performance and Presentation Ceremony that was produced under the artistic direction of Mandy Petty to a sold-out house at Kwai Tsing Theatre in late April of this year. Among the many awards, perhaps those for outstanding performances by dancers are most cherished by the artists who are central to the art form. This year, the awards for Outstanding Performance by a Female Dancer and Outstanding Performance by a Male Dancer went to Tang Ya and Li Han, respectively for performances in the Hong Kong Dance Company production of L'Amour Immortel. In a rare occurrence, the polling for the Outstanding Performance by a Male Dancer resulted in a tie, and Shen Jie also received the award for his performance in the Hong Kong Ballet production of Romeo and Juliet. Zhu Yongxiao of dance journal/hk was able to sit down and talk with Tang and Li about receiving these prestigious awards.

1. 唐婭於《倩女‧幽魂》飾演聶小倩 L’Amour Immortel, Dancer: Tang Ya 攝影Photo Credit: Henry Wong

2. 李涵於《倩女‧幽魂》飾演寧采臣 L’Amour Immortel, Dancer: (in white changshan) Li Han

把握角色就是把握靈魂 唐婭和李涵都是中國舞的舞者,唐婭習古典舞,李涵習民間舞。去年,他們被選中參與舞劇《倩女‧幽魂》的演出。《倩女‧幽魂》的人物角色偏中國舞形象,屬柔美型。而聶小倩是有故事的人,性格鮮明、愛恨強烈,唐婭還記得電影版《倩女幽魂》裡,王祖賢飾演的聶小倩因為見到有人受難而流淚不忍,「我覺得她是善良的,是個有情意的鬼。」李涵則把電影看了無數遍,感受張國榮爐火純青的文弱書生形象,一面問自己,怎樣同時做到借鑒和突破。

在舞蹈的世界裡,如何表達角色?這是讓很多外行人比較困惑的問題。因為無法借助語言來傳遞人物所思所想,一切就只有誠實的身體,在燈光的照耀下裸露出內在的靈魂。唐婭說,這麼多年來,作為舞蹈演員已經習慣了不說話而在舞台上傳遞信息,而舞劇和舞蹈又確實是不一樣的,舞劇有「戲」的成分,因而對人物刻畫和塑造的要求更高。在排演《倩女‧幽魂》時,唐婭和李涵分屬AB組的聶小倩和寧采臣,各自在和搭檔合作的時候,想了很多動作來傳遞人物思想情感。「每一段都會想一個主題出來,這一段要表達什麼。就像有了骨頭一樣,然後就是填肉和血的過程,這個過程很艱難。」李涵說。他曾經和搭檔試著排演了幾段,導演看了以後說:「嗯,動作都對了,但感覺沒有。」 「我們內行有個術語,叫『心裡沒有,身上白走』」唐婭說,「我必須理解那個角色,她才能在我身體裡面,我才能表達她。」唐婭最終用她擅長的刻畫性格的舞蹈表達,演活了這個具有人性的鬼魂形象,難怪香港舞蹈年獎評審給予唐婭的評語寫道:「唐婭在劇中向我們展示了出色的中國舞技藝,並以她自身的可塑性、對情感抒發的掌握和靈動性,突顯出這次作品的編舞,生動地演繹出聶小倩如何從一個冷漠無心並欲誘惑寧采臣的鬼魂,轉變成那個為了救他而甘於犧牲自己性命的大無畏情人。」而李涵亦在不斷地摸索思考中總結出:「劇是有跌宕起伏的,有那個度,要把握得恰到好處。」我們在香港舞蹈年獎評審對他的評價中也可見他的深度演繹:「李涵的動人演繹將寧采臣的戲劇化和憂愁感表現得淋漓盡致,完全表達出他的年少無知,他對聶小倩至死不渝的愛,以及當她消失時的那份傷痛。他的舞蹈充滿流動性和與生俱來的優雅氣質,展現出完美的精準、強度和控制。」

The Soul of the Character Both Tang Ya and Li Han have a Chinese dance background; Tang studied classical Chinese dance and Lin studied Chinese folk dance. The characters they portray in L'Amour Immortel are based on classical Chinese literature; the contours of their movements are elegant and refined. Nie Xiaoqian, the main character is self-assured and both loves and hates passionately. Tang recalled the character was played in the movie version by Joey Wong who gave her a soft-hearted quality, “For me, she is such a kind and good-hearted ghost”, Tang said. Li, who dances the character of Ning Caichen, added that he had repeatedly viewed the movie and observed the way Leslie Cheung depicted his role of the frail scholar. While using his observations as a reference, at the same time, Li asked himself how he could achieve a breakthrough in this iconic role.

How does a dancer create his or her characterization for a dance role? To many non-practitioners, it may seem quite difficult. Because thoughts are most often expressed and communicated through spoken language, without words, dancers must rely on the honesty of their bodies to serve as the vessels to convey their thoughts; while on stage, the naked soul is revealed under the theater lights. Tang explains that as a result of all the years she has been a dancer, she is used to communicating on stage without words. The difference between dance drama and dance is the dramatic element in the former, it requires extensive effort in sculpting the character. In rehearsals, Tang and Li were in different casts, with different partners with whom they created the nuanced movements and gestures expressive of the soul of their characters. Li said, “I would have a theme for each segment of the dance. The process [of creating my character] was similar to first forming the bone structure and gradually filling in the flesh [of the character]. It's a very difficult process.” On one occasion, he and his partner showed some material they had rehearsed to the director who commented “The movement is great, but it lacks soul.” Tang pointed out, “There is an expression we have: ‘without heart, it’s wasted.’” She continued, “I have to understand the character and let her grow inside my body then I can truly express her.” Tang specializes in depicting the soul of a character through dance, her outstanding performance gave life to this humane ghost. The citation for Tang’s award read, “Tang gave a superb display of Chinese Dance technique, illuminating the choreography with her plasticity, lyricism, and lightness. She vividly conveyed Nie Xiaoqian’s emotional journey as she