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[中][ENG]多媒體當代實驗「獅劇」《千里走單騎》的創作初心The Creative Impulse for Experimental Multimedia “Lion Dance Theatre”: Guan Yu’s Ride of 1,000 Miles

October 23, 2018

《千里走單騎》
Guan Yu's Ride of 1,000 Miles Experimental Multimedia "Lion Dance Theatre" 

 

在陽光充沛的餐廳呷著一壺熱的檸檬茶,背脊早滴汗,但眼前坐上學習西方文化、肌理健碩的當代舞編舞家楊春江,及傳承東方文化、身材魁梧的醒獅師傅郭文龍時,汗不再流,相反,腦袋澄寧。楊春江一句:「直覺告訴自己,現在要做些事,現在要有些行動做一些事!」聽後,腎上腺素提升,即使知道內容,他將當代舞結合中國民間藝術的舞獅活動,甚至試圖擴大舞獅由運動類別,延伸至藝術的領域時,腎上腺素並無下降。這也許正是藝術家的迷人處,擁有永無止境的想法及挑戰,而香港的藝術家更叫人讚譽的,就是「活化」中國傳統文化。


Sipping a pot of hot lemon tea in a sunlit restaurant makes for a sweaty afternoon, but sitting with Daniel Yeung Chun-kong, the brawny contemporary dance choreographer educated in the West, and Kwok Man-lung, the burly lion dance master inheriting Eastern culture, I noticed not the sweat but the clarity and tranquility of mind. Yeung said, “My instinct tells me that I have to do something right now; I have to take action and do something at this very moment!” Adrenalin surged, and stayed heightened at hearing about his integration of contemporary dance with lion dance, expanding the Chinese folk practice from a sport to the realm of art. The charisma of the artist is perhaps the limitlessness of thought and welcoming of challenges; what makes Hong Kong artists more commendable is that they revitalize traditional Chinese culture.

《舞.師》團隊在德國杜塞爾多夫國際舞蹈博覽會期間的示範展演前排練;圖片由受訪者提供
The team rehearsing before Contempo Lion Dance's open studio at the Tanzmesse in Düsseldorf, Germany; Photo provided by interviewees

 

腦裏不斷叩問各有獨特風格的表演體系如何融合?這腦交戰,源自楊春江和郭文龍攜手公演多媒體當代實驗「獅劇」《千里走單騎》。當代劇場公演「獅劇」,筆者鮮有聽聞。翻查資料,獅劇文化更是欠缺有系統性的文獻紀錄,最普遍被認定的,是這口傳身授的民間傳統技藝植根於廣東,表演亦結集舞蹈、敲擊樂、功夫、雜耍等元素。楊春江對這民間技藝很上心,冀望往後可感染同路人再下一城,進行學術等研究範疇。他且十分清晰,即將的公演是一場「當代實驗的獅劇」,並非要重寫傳統舞獅的技藝,故即使兩種風格別樹一幟,融合卻無困難,因為他明白「尊重」的道理,更知循序漸進的原理,故先讓舞者跟隨香港舞蹈團的團員一起跟隨郭師傅的徒弟習藝,再透過海內外不同平台進行探索,進行同場但各自展演當代舞及舞獅的「合作」機會,最後才進入融合的機遇。


I keep wondering how the two distinct performance systems can blend together. This question originated from the experimental multimedia “Lion Dance Theatre”: Guan Yu’s Ride of 1,000 Miles co-produced by Yeung and Kwok. I rarely hear of contemporary theatre presenting “lion dance theatre”. Even concerning the lion dance culture, the literature lacks systematic documentation; commonly regarded as a folk craft passed on by word of mouth and personal instruction, it is rooted in Guangdong, and consists of elements including dance, percussion, kung-fu and acrobatics. Yeung, dedicated to this folk artistry, hoped that he could influence others and expand interest in lion dance to include academic research. He made it crystal clear that the upcoming performance would be a “contemporary experimental lion dance theatre”, not a rewriting of conventional lion dance expertise, so that the two unique styles can go well with each other. Knowing the importance of “respect” and steadiness, he first let dancers and members of the Hong Kong Dance Company learn the skill along with Kwok’s apprentices, and then explored opportunities to perform contemporary dance and lion dance separately on the same stage via local and overseas platforms, before finally embarking on the journey of collaboration.

楊春江 Daniel Yeung; 圖片由受訪者提供 Photo provided by interviewee

 

跟楊春江探索節奏比較,郭文龍師傅則顯得「慢」,縱使習藝廿年間深明改革是命數,亦不斷把龍獅表演時髦化,引入LED閃燈的龍獅舞,甚至把魔術、Hip Hop融入龍獅舞表演的郭文龍,面對兩種截然不同表演體系的「合作」,他採取積極但謹慎的部置,兩年前的展演由年青的大徒弟領航,自己則從旁監督。今天,郭終不再按捺血脈中的藝癢,由幕後跑到台前,親自領軍。在品茗中,且成功跟楊春江推薦搬演《三國演義》中,關羽因對劉備忠義,單人匹馬送嫂尋兄,途中披荊斬棘,寫下過五關斬六將,耳熟能詳的《千里走單騎》。


Compared with Yeung’s rhythm of exploration, Kwok appeared to take it “slow”. After twenty years of lion dance career, he understands the inevitability of reform, and has attempted to modernize lion dance performance by importing flashing LED lights,  magic and hip hop into the acts. Kwok adopts a positive yet cautious attitude. He supervised the production from behind the limelight two years ago, which was led by his young protégé. Now, Kwok does not suppress his itch to perform, and leads the production in person. Drinking tea with Yeung, Kwok successfully recommended the well-known tale of Guan Yu’s Ride of 1,000 Miles from Romance of the Three Kingdoms, about the adventures of the loyal hero Guan Yu overcoming many obstacles to reunite with his brother Liu Bei.

 

楊春江承認,因故事建構出來的畫面很吸引,又可推進當中的內容,使之更引人入勝而選擇這主題,但他從來沒有想像要重現這段故事,因為「每一代都有自己的想像」,但卻要探索當中的詩意,「劉備生死未卜,關公二話不說策著戰馬,千里奔馳尋找一個未知的答案。對現代人來說,究竟有沒有人會不計較付出很大,而去追求一個未知的答案?」


Yeung thought that eye-catching tableaux could be constructed from the story, which could also advance the narrative and make the story more captivating. But he admitted he had never thought of presenting this story, because “each generation has their own imagination”, and searched rather for the poetry within. “With Liu Bei’s fate unknown, Guan Yu unhesitatingly spurs a thousand miles to seek the answer. To modern people, is there anyone willing to take on huge sacrifices to pursue an unknown answer?”

 

楊春江雀躍不已「以獅入舞」做先行者,事實上跟他發現舞獅與當代舞有契接點,更誘發他想重新理解「國際」二字。「當代舞有一種舞叫接觸即興。我看舞獅時,就即時覺得這是中國的接觸即興,透過二人,不是單憑嘴巴,只隨拍子做一些事,而是靠身體的一些腰擺、觸點等,還要講求二人重量的counter balance(對抗平衡)。其實,舞獅完全融會這些身體重量平衡、對抗點、接觸點」。先後在英國及荷蘭進修舞蹈,再遇上這傳統東方民間技藝,楊春江說:「我的警醒,是有很多事其實我們一直都有,但一直進入不了「正路」。可是,外國人後來居上,進入了體系,就變得全世界也要跟他學。所以,我覺得要把這些事放回「正路」如藝術、文化,我們才可對國際文化界或藝術界給予我們源遠流長、較海外更早已有的東西,讓他們學習,而不是我們學外國的東西才叫國際。」


Yeung is eager to be a pioneer to combine contemporary dance with lion dance. In fact, discovering the connection between the two dances has led to a rethinking of the idea of being “international”. “There is a dance called contact improvisation in contemporary dance. When watching lion dance, I instantly thought that it was the Chinese contact improv. Not solely relying on their mouths and simply moving with the beat, the two masters have to put emphasis on their waists and bodily contact, as well as the counterbalance of their weight. Actually, lion dance harmonizes bodily balance of weight, counterpoints and contact points to the full.” Learning dance in Britain and the Netherlands and now meeting this traditional Eastern folk artistry, Yeung said, “I have noticed that we have many specialties, but they do not enter the mainstream. Westerners have caught up and entered the institution, and now the world has to learn from them. Therefore, I reckon that we ought to put these specialties back in the mainstream, such as arts and culture, so that we can offer the international cultural or arts sectors what for us is already well-established for them to learn. Being international is not only about us learning from foreign countries.”

 

即使對舞獅的記憶,楊春江僅限於童年時家住七層高的黃大仙下邨,每有喜慶節日,必有猴子般的舞獅師傅表演騰空跳躍、三爬兩撥徒手攀杆採青等精彩表演。但他要把這記憶化成一個宏願,「獅劇,由我們這代開始,放入中國藝術範疇中的一個類別,然後各施各法,最後讓全球華人各自演譯自己的「獅劇」,使之可成為正統的媒介,希望由我們這代開始!」


Talking about memories of lion dance, Yeung could only recall his childhood in Lower Wong Tai Sin Estate, where spectacular performances took place during festivals; lion dance masters leaped like monkeys and climbed poles with bare hands to pick the greens. He wants to turn these memories into a vision, “Starting from our generation, lion dance theatre should be categorized as a form of Chinese art. With different parties’ endeavors, ultimately ethnic Chinese around the world can interpret and perform their own ‘lion dance theatre’. I hope that the art can become a legitimate medium from our generation!”

 

編舞家楊春江有遠大的願景,習武醒獅經年的郭文龍也好不遜色,不只盼望傳統民間龍獅文化可以持續發展,掃除社會對舞獅故有的誤解,「更可提升致視覺藝術」,非囿於傳統的一隅!兩名香港人要實現心中的宏願,相信在時空線上還要奔馳一段路,但觀眾在短期內可先觀賞這幕港人創作的當代劇場版獅劇,端上的應該是一杯名聞遐邇道地的港式熱奶茶!


Practicing lion dance for many years, Kwok’s passion for the future is comparable to the visionary choreographer. He looks for a sustainable development of the historic dragon and lion culture, clearing up common misunderstandings about lion dance; he  further hopes that it can be “elevated into a visual art”, not restricted to tradition. To realize their aspirations, these two Hong Kongers may have a longer road ahead. But in the short run, audiences can appreciate the contemporary lion dance theatre created by Hong Kong people; what they get may be a cup of typical yet renowned Hong Kong-style hot milk tea!

 

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《千里走單騎》
Guan Yu's Ride of 1,000 Miles Experimental Multimedia "Lion Dance Theatre" 

 

藝術總監/編舞 Artistic Director/Choreographer: 楊春江 Daniel Yeung 
跨媒體創作團隊Cross-media Creative Team: 劉銘鏗(神父)SunFool Lau, 梁基爵GayBird, 成博民Oliver Shing, 王健偉Jan Wong, 蘇善誼 Ainsley So
舞者/聯合編舞Dancers/Co-choreographers: 李拓坤 Li Tuokun, 李匡翹 Soames Lee, 毛維Mao Wei, 黃翠絲 Tracy Wong
獅劇顧問 Lion Dance Theatre Consultant: 郭文龍 Andy Kwok Man Lung
舞獅/戰鼓陣藝術編排及演出Lion Dance/War Drum Sequence Choreographer & Performance: 郭氏功夫金龍醒獅團 Kwok’s Kung Fu & Dragon Lion Dance Team

香港文化中心劇場 Studio Theatre, Hong Kong Cultural Centre 

9-10/11 (8pm); 10-11/11(3pm)

 

節目詳情 Program Detail:

https://www.newvisionfestival.gov.hk/2018/tc/lion.html

 

 

更多新視野藝術節節目預覽 More Program Previews of New Vision Arts Festival
《幻之森》Tree of Codes
《癲鵝湖》Swan Lake/Loch na hEala
《碰上碰》Negotiation

 

 

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