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[中][ENG]陳敏兒、盤彥燊的創意交流之旅 To Festivals with Abby Chan & Wayson Poon

放眼舞林 An Eye on Dance

陳敏兒、盤彥燊的創意交流之旅 To Festivals with Abby Chan & Wayson Poon

(左起 From left) 陳敏兒 Abby Chan, 黃大徽 Dick Wong, and 黃俊達 Ata Wong

圖片由西九文化區提供Image provided by WKCDA

今期放眼舞林,我誠邀兩位本港舞蹈家陳敏兒和盤彥燊,以藝術家身分,分享他們分別參與愛丁堡藝術節和月滿舞蹈節的體驗。兩位藝術家都是受邀參與由西九文化區表演藝術部分別與芬蘭和紐西蘭及蘇格蘭當地舞蹈團體所合辦的「國際創意交流」計劃。


For this issue, I invited two Hong Kong dance artists, Abby Chan and Wayson Poon, to share their experiences at the Edinburgh Festival and Full Moon Festival respectively. Both were invited to Creative Meeting Point co-organized by West Kowloon with dance institutions in Finland, New Zealand, and Scotland.

陳敏兒 - 愛丁堡藝術節

Abby Chan – Edinburgh Fringe Festival

兩次世界大戰均沒破壞蘇格蘭首都愛丁堡,每年八月的大街小巷都會擠滿參與歴史最悠久丶規模最大的愛丁堡藝術節的遊人和藝術愛好者。今年踏入七十載慶典,街頭巷尾遍地表演場地,保守估計有過萬場演出,厚厚的節目書,令人容易患上「選擇困難症」 。


Edinburgh, the ancient capital of Scotland was not spared destruction during the Second World War [and in the post-war period, the Edinburgh Fringe Festival was founded to "provide a platform for the flowering of the human spirit."] Every August, the city fills with enthusiasts of arts who come to its seventy-year-old Festival. There were thousands of performances and it is difficult choosing from amongst them.

今次有幸聯同黃大徽及黃俊達兩位出色的香港跨界藝術家,參與西九文化區、蘇格蘭的Forest Fringe和紐西蘭的 Basement Theatre合辦,為期三年的「國際跨界實驗交流」計劃 ,於愛丁堡作文化交流的第一站。很久沒有由朝至晚趕場看演出,我們一星期內欣賞了14個演出。


所看的節目中,創作內容主題多充滿社會性的提問—以個人嫉妒心、比較心等暗批全球資本市場造成的不公平資源分配;個人真實經歷探討難民問題、種族歧視、層壓式暴虐;嘻笑怒罵式翻起性別、複製生物及身份認同的交錯;用屁股毫無保留地以「抵死」的藝術創作回應失控評論生態;重複又重複的問答遊戲反映出世人對崩壞的金融體制、地球暖化和全球化引發之禍害視若無睹,拒絕作出改變……另外,亦有兩個概念演出—六小時內兩位表演者不斷以口業傷害對方,彰顯語言暴力的日常。也有三小時不停重複,每次為一位觀眾演唱同一段歌曲,觀眾隨意決定逗留時間及去留……

Edinburgh was the first stop in the three-year International Co-Lab project co-organized by WKCDA, Scotland’s Forest Fringe, and New Zealand’s Basement Theatre that I visited together with two outstanding Hong Kong interdisciplinary artists, Dick Wong and Ata Wong. We attended fourteen performances in a week. Most of these questioned socio-political issues, for example: using jealousy and comparing mind-sets to indirectly critique the unfair allocation of resources in the globalized market economy; investigating refugee issues, racial discrimination, and hierarchical tyranny through personal experiences; connecting gender, biological cloning, and identity in an ironical, mocking style; uninhibitedly using the buttocks in a creatively sardonic way to respond to critics’ out-of-control practices; reflecting, through a repetitive quiz game format, on the state of affairs in which people ignore problems caused by collapsing financial systems, global warming, and globalization and refuse to make changes, and so on. There were two conceptual performances, a six-hour performance with two performers insulting each other non-stop to highlight everyday verbal violence, and another three-hour performance, at which a performer repeatedly sang the same song to each one in the audience with the audience members free to choose the time and the duration of the visit.

(左起From Left) 劉祺豐Low Kee Hong (西九管理局藝術發展主管 (戲劇) WKCDA Head of Artistic Development (Theatre)), 陳敏兒Abby Chan, 黃大徽Dick Wong, and 黃俊達 Ata Wong