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[中][ENG] 舞跡可尋 In Search of a Dance Story


柳廣成作品 Lau Kwong Shing’s work

有別於一般舞蹈漫畫,沒有框框,也沒有特定的閱讀次序。

Unlike conventional dance comics, Shing Shing choreographic comics have no frames or a predetermined order in which to read them.


從柳廣成的角度 From the angle of Lau Kwong Shing ->> https://goo.gl/Ps9FSE

舞蹈漫畫—發掘賞舞新視點

Choreographic Comics – A New Way to Appreciate Dance


舞蹈漫畫將活現的舞蹈轉化為平面作品,如何在畫面上表達演出的質感是柳廣成的漫畫實驗課題。柳廣成(成成)是一位漫畫家,舞蹈是他筆下漫畫常出現的題材,同時他也是一位街舞舞者和油街實現的導賞員 。作為專業「導賞」員的他於訪問當日拿出畫作仔細解釋,聽著看著,發現他正在介紹的一系列畫作本身也是一個舞蹈導賞團。


Choreographic comics transform living dance pieces into two-dimensional graphic works. Lau Kwong Shing has made the expression of dance’s performing texture in comic strips a recurring experimental subject of his art. As a comic strip artist himself, dance is a frequent theme that his works often visit. He is also a street dancer and professional docent for Oi! (Oil Street Art Space). On the day of our interview, he brought his comics with him to talk about them. As I listened, I found that his art is also a kind of visual guided tour of dance.


柳廣成 Lau Kwong Shing; 攝 Photo: 錢一葉

把舞蹈從時間抽離 Distancing Dance from Time


時間是他作品的研習課題,漫畫是靜止圖像,不及舞蹈演出所盛載的內容多,但卻開放更多想像空間。時間把一個一個舞蹈動作串連起來,不論表演如何創新破格,現場表演總不能脱離時間軸。成成認為時間在舞蹈表演或錄像的觀眾和舞者之間建立了一種主客的關係,觀眾感受與解讀的空間多,想像的可能性小。相反,在紙上舞動的定格畫作則處處留白,為想像鋪墊疾馳的遼野。


Time is a recurring research topic in Shing Shing’s works. Comics are composed of still images. There is a limited amount of visual information that Shing Shing’s choreographic comics can carry, and strictly speaking, it is not as rich as dance performances. But this very weakness is also its strength, liberating the imagination of its viewers. Time, like an invisible thread, strings together every dance movement. No matter how unprecedented and rule-breaking a live performance is, it still cannot be separated from the element of time. Shing Shing thinks that the subject-object relationship that time establishes between the viewers and dancers in performances or dance videos, though giving audiences ways of reading performance, leaves little room to re-imagine the content of movements. On the other hand, dance motions rendered static on paper remain details untold, allowing the viewer's mind to wander through the realm of imagination.


一本漫畫中縱使每格圖畫大小一樣,但總會有一兩格圖讓你定睛留神。而先看哪個動作,哪個動作在後,也大大影響讀者幻想動作時怎樣串連起來。舞蹈漫畫把時間從舞蹈表演中抽走,把觀賞視點廷展開放予觀眾,將看一個舞作的時間軸交由觀眾控制。

In a comic strip, each frame is of more or less the same size, but there must be one or two frames that will capture your attention. The sequence of looking at these comic frames determines how readers imagine the dancer moves from frame to frame. Choreographic comics need to distance the time element from a dance piece, as if handing over control of time in the piece to the viewers, and distilling the body in motion, in order to open up fresh perspectives of appreciation to its audience.


成成去年在法國參與第四十四屆安古蘭國際漫畫節,他把舞蹈漫畫轉化為現場演出,伴著強勁節拍即興繪畫舞蹈漫畫,他笑著說成功令觀眾不期然郁動身體模仿漫畫人物的動作起來,嘗試填補一個個漫畫動作之間的空隙。把平面作品變成現場演出,他的實驗充滿玩味。

Last year, Shing Shing participated in the 44th Angoulême International Comics Festival. On that occasion, he put his dance comics into a live performance, and improvised a comics-drawing performance set to a piece of music with a strong beat. He said he managed to make the audience follow the movements that he drew, while trying to imagine how the comic character moves and fill in the gaps between the gestures drawn. Transforming a two-dimensional work into a live event filled his experiment with playful contemplation.


感受舞者的能量 To Experience the Energy of Dancers