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[中][ENG] 那對早起的野馬與伯樂—訪問麥卓鴻與喬楊 Two Early-birds – Mustang and Horse Whisperer: An Interview with Kelvin

喬楊頒獎予麥卓鴻。Qiao Yang presents the Outstanding Performance by a Male Dancer award to Kelvin Mak. 攝 Photo: Mark Lam

別人的一句「香港舞者的身體一定比不上中國舞者」,麥卓鴻因而激起更大決心要鍛鍊好身體及技巧,以行動來證明香港也有出色的舞者。而他在「香港舞蹈年獎2017」的頒獎禮上獲頒「最佳男舞蹈員演出」也正好肯定了年僅二十三歲的他一直以來的努力成就。當晚更由他稱為「契母」,亦曾兩度獲「香港舞蹈年獎」的喬楊親自將獎座頒發。對一直受她照顧及提攜的他而言,著實有重大的意義。是次訪問正是與這對契母子的對談,談及他們的舞蹈上的默契,生活上的點滴,更重要是提及對舞蹈的熱情及執著。

“Hong Kong dancers’ bodies can’t compare to dancers from China”. The remark sparked Kelvin Mak’s determination to sharpen his body skills to prove that there were exceptional dancers in Hong Kong. Receiving the Outstanding Performance by a Male Dancer at the 19th Hong Kong Dance Awards was a fitting result for the 23-year-old’s endeavors. At the ceremony, he was presented the award by two-time Hong Kong Dance Award recipient, Qiao Yang, whom Mak calls ‘godmother’ for her care and guidance. In an interview with them, the two talk about their chemistry while dancing together, their lives, and most importantly, their passion and perseverance in dancing.

"舞者唯一擁有的就是身體。

A dancer’s only asset is his or her own body. "

麥卓鴻於城市當代舞蹈團《回初》中的演出,編舞:阮日廣 Kelvin Mak in Mother I am Sorry, CCDC, Choreography: Nguyen Ngoc Anh.攝 Photo: 黃狄文 Dominic Wong

野馬與伯樂 Mustang and Horse Whisperer


提及他倆的關係,便應由彼此如何欣賞對方開始說起。約三年前,喬楊認識當時剛加入城市當代舞蹈團(下稱舞團)的麥卓鴻。喬因為自己身材較高大,自認是個在做舞蹈動作時比較大膽的女舞者,所以很多時她需要如麥這個身材健碩的男舞者作為雙人舞的對手。她形容麥的個頭大,骨架厚, 跳舞時使人很放心將身體交付過去。例如有一次她原本需要飛跳到麥身上之後翻身,但在跳向麥身上時不慎差點撞向地面。那時麥反過來利用自己身體支撐着,並先讓自己着地,再使喬在上,令喬不致倒地受傷。喬說她跳舞四十年了,少見這樣可靠的舞伴,可以令自己安心去嘗試更多不同的動作,以使三年來從麥加入至離團,當中所有的雙人舞,甚至是群舞中的拍檔,也一定是他們一起跳,一來是大家同是個頭大的人,也因為她很放心與這些很有默契的男子去跳舞,故才有互稱契母契子的事。


Qiao Yang and Kelvin Mak’s relationship began with mutual admiration for each other. Around three years ago, Qiao met Mak when he joined CCDC. Because of her height, her dancing is considered bold. Therefore, in duets, she needs a strong male dancer like Mak as a partner. She describes Mak as a hefty guy with big bones, very reassuring in a partner. Once, when she was about to be caught by Mak after a leap, and flip her body, the leap failed and she nearly crashed hard onto the ground. Mak used his own body to support her so that he landed before her. Qiao landed on Mak’s body without getting hurt. Qiao has been dancing for 40 years and has rarely met a partner as reliable as Mak. This gave her confidence to try more new movements. During Mak’s three-year stay with the company, they were always paired together. They were even partners in group dances. The mutual understanding between these two formidable dancers was the reason Qiao felt secure dancing with Mak. It also resulted in a bond that made them like godmother and godson.

喬楊於城市當代舞蹈團《雙城記—香港.上海.張愛玲》中的演出,編舞:黎海寧。

Qiao Yang in Tales of Two Cities, CCDC, Choreography: Helen Lai. 攝Photo: 陳德昌Ringo Chan