[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
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
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