[中][Eng] 放眼舞林 An Eye On Dance
澳洲表演藝術博覽會 Australian Performing Arts Market
1. 位於布里斯本的發電廠是今次博覽會的主要表演場地 Brisbane Powerhouse, the major performance venue at APAM. 攝影 Photo Credit: Australian Performing Arts Market
歴史悠久的澳洲表演藝術博覽會（Australian Performing Arts Market）（下稱APAM）由2月22日起一連五天在布里斯本舉辦第十二屆雙年展博覽會。APAM是澳洲兩年一度的表演藝術博覽會， 以往一直在阿德莱德藝術節期間舉行，直至上屆起移師布里斯本，以Powerhouse和其他場館為主要會議場地。此轉變據說能活化這個老牌博覽會，亦能帶動其他州分的文化表演發展。APAM聚焦展現澳洲各類表演藝術、藝術家和作品，因此除展銷攤位和一些專題討論項目外，演出和製作方案推介全以澳洲和紐西蘭藝術家為主。在APAM 期間，布里斯班的業界亦藉此國際網絡同步舉辦其他藝術節和相關活動如世界戲劇節以製造更多交流展演機會，產生互動溝通。我除了被邀為APAM其中一個「Global Snapshots」專題討論分享的講者外，於APAM 開幕前一天亦參與由布里斯本市政府主辦的「BrisAsia Festival」 中一個專為澳洲亞洲或澳洲藝術家於亞洲工作的專業發展和網絡的 「Yum Chat」節目，和其他澳洲藝術家作近距離的分享。無論在APAM會議前後或其間， 一眾外地（甚至本土）參與者亦可繼續前往澳洲和紐西蘭其他相關的藝術節或參考團等，可見澳洲和紐西蘭各州分和單位的合作性很高，以推動本土藝術為共同核心，是香港政府和業界可學習之處。
The five days of the 12th biennial exposition of the Australian Performing Arts Market (APAM). started on 22 February in Brisbane this year. APAM is a leading biennial for contemporary performing arts. In the past, it was presented in conjunction with the Adelaide Arts Festival in Adelaide. Since the last edition, it has moved to the contemporary multi-arts, dining, and conference venue Brisbane Powerhouse, as its main hosting venue as well as at other venues in Brisbane. There are claims that this move is an attempt to revive the venerable exposition and to further drive cultural development across Australia. APAM focuses on showcasing the diversity of Australian performing arts practice, artists, and performances. Therefore, beside exhibition booths and fora, the program of showcases and pitching sessions are mainly from Australian and New Zealand artists. During APAM, the Brisbane performing art industries seek to benefit from the international network the event provides and they organize other related events such as WTF (World Theatre Festival) to create more opportunities for exchange and to simulate an interactive communicative environment. I was invited as one of the speakers for Global Snapshots at APAM and a day before the opening, I participated “Yum Chat”, organized by Brisbane City Council, as part of BrisAsia Festival. The event’s objective is to be a professional development and networking platform for Australian artists who work in Asia and Australian-Asian artists to create close exchanges. Whether during or after meetings at APAM, international and local participants can choose to continue their visit to other related events or research groups in Australia or New Zealand, demonstrating the close collaboration between organizations from both countries. Such planning is derived from the common desire to promote local arts as a core value, perhaps this is something the Hong Kong Government and our performing arts industries can learn from.
參與博覽會、觀賞大量演出是指定工作之一，而今次最難忘和深刻的演出首選年青編舞—Liesel Zink。 Zink 的作品《Stance》被APAM 挑選為28個澳洲和紐西蘭最具代表性當代節目的其中之一。原本是一個於喬治國王廣場內九小時連續演出的環境舞蹈，今次因在APAM期間重演， 被安排到昆士蘭表演藝術中心的前院空間演出4.5 小時版本。空間和時間的改變雖然削弱了作品最「真實」的呈現和最「直接」的互動，但編舞對公眾抗議、群眾運動和公共空間等權利的獨特探討和處理手法， 仍是有趣的。觀眾可選擇以無線耳機接收聲效「主動」投入參與，亦可選擇從旁觀看。舞者游走於繁忙空間裡，身體在當下狀態和觀眾/路人時而擦身而過，時而對抗阻路，因而産生有趣的對話。舞者有意識地試圖進入觀眾/路人的個人空間裡， 衝擊觀眾/路人的想法， 挑戰他們、讓他們面對選擇，但卻能同時保留觀眾的思考空間和彼此的共融，從新審視在抗議運動中身體/空間、觀眾/路人和公共財產/擁有權等問題。觀後，我建議Zink可考慮來亞洲作研究和亞洲藝術家展開此題目的對話。
Watching plenty of performances is part of the schedule when attending the Biennial. The most memorable experience for me was Stance, a work by the young choreographer Liesel Zink, which was selected for the contemporary showcase together with twenty-eight other works from across Australia and New Zealand. Originally a nine-hour site-specific work presented in King George Square in Brisbane, for APAM it was abridged to four and a half hours and performed in a courtyard at the Queensland Performing Arts Centre. Indeed, the change of time and space elements in the dance diminishes its sense of ‘authenticity’ and most ‘direct’ interactions with the public. Nonetheless, the choreographic method and the unique way of investigating the right of public protest, collective activism, and public space are interesting. Audience members can choose to be ‘actively’ involved through wireless headphone and receive an original sound composition or they can choose simply to observe the event. Dancers moved within the busy urban space - sometimes they mixed with the audience and pedestrians, at other times they became a barrier by blocking the road; the work created an interesting dialogue. The dancers consciously intruded into the personal space of audience members and pedestrians to provoke them, to challenge, and to confront them with the need to make choices. At the same time, the choreography provided a time and a sense of inclusion for the audience that enabled them to reflect on people who protest, use public space, are members of an audience, or are pedestrians, and their rights on public property. After experiencing Zink’s performance, I suggested that she come to Asia and consider starting this dialogue and investigation with Asian artists.
2 &3. 《Stance》，編舞：Liesel Zink Stance, Choreographer: Liesel Zink. 攝影 Photo Credit: Fenlan Chuang
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陳頌瑛Anna CY Chan
西九管理局表演藝術（舞蹈）主管
Head of Artistic Development (Dance), West Kowloon Cultural District Authority
