[中][ENG] 周書毅眼中的香港 Hong Kong in the eyes of Chou Shu-yi - 錯位的相遇 共時的閱讀 Encounters from the Outside R

周書毅眼中的香港 Hong Kong in the eyes of Chou Shu-yi

錯位的相遇 共時的閱讀

Encounters from the Outside Readings from the Inside

尉瑋Wei Wei

翻譯 Translation: Caesar Choi


《無用》never-never land ;編舞:王榮祿Ong Yong Lock、周書毅 Chou Shu-yi;照片由周書毅提供 Photo provided by Chou Shu-yi


記得第一次見到周書毅時,是2008年他受東邊舞蹈團《亞洲舞蹈家匯演》之邀,來演自己的小作品《從身體出發》,那也是他真正意義上第一次來香港演出。當時的感覺是:跳舞的男生都是這樣嗎?一邊訪問,一雙腳似乎總不能安放,抓到一點機會就要做個拉伸,整個人挪來挪去動個不停。轉眼十來年過去,書毅來香港,又離開,又再來。看他數次與香港不同的舞蹈家合作,往往帶著一個外來者的好奇,不停地觸碰這個城市的秘密;有時身影俐落,有時惆悵低迴,香港似乎也見證了他的人生起落,與他的生命越纏越緊。最近剛好待在香港的他更是與這城市一起經歷了關鍵時刻,在陡峭的時局中,他不停反思,也忍不住發問:藝術是什麼?劇場還有沒有力量?


I remember when I first met Chou Shu-yi, he was invited by E-Side Dance Company for A Showcase of Asian Dancers, to perform his own short piece Start with the Body in 2008. That was the first time he officially came to Hong Kong to perform. My response at the time was: are all male dancers so energetic? During our interview, his legs never stayed still, he took every chance to stretch, his body never stopped moving around. Shu-yi has now been coming to Hong Kong, leaving and coming back again, for a decade. When I look at his collaborations with different dance artists in Hong Kong, one can see him unveiling the secrets of this city with the curious eye of an outsider their destinies entwining more and more tightly. His most recent stay in Hong Kong also happened to come at a critical time for the city. In the midst of turbulence, he did not stop thinking, much less refraining from exploring broader questions: What is art? Can theatre still have any impact?


周書毅與香港的相遇 Encounters of Chou Shu-yi with Hong Kong


缘始 Encounter


「最開始對香港的印象喔,表演空間怎麼在街市的上面?很有趣欸,好像和生活離得很近。」書毅舒展了下肩膀,說起剛開始時見到「文娛中心」的好奇。「然後也發現這裡的票房還是難,發展現代舞還是不容易。有挑戰,有挑戰就想再來。」這是創作者周書毅與香港緣分的開始,而觀眾周書毅與香港舞蹈的緣分,則可以追溯到更早的時候。


“Oh, my first impressions of Hong Kong... Why are there performance spaces in the same building as wet markets? This is so interesting, as it seems to draw us closer to daily life.” Shu-yi stretched his shoulders as he mentioned his curiosity about the “civic centres” in Hong Kong when he first saw them. “Then I realised that there are still struggles with box office here. Cultivating contemporary dance is not easy. It's challenging. And I returned for the challenges." This marked the start of the connection between Hong Kong and Chou Shu-yi the creative artist, while that between Hong Kong dance and Chou Shu-yi the spectator may be traced back even earlier.


將近20年前,雲門2創團,時任藝術總監的羅曼菲邀請《男生》赴台,當時還是中學生的周書毅就在觀眾席上。「那時看到這個香港的作品,很興奮,覺得它很開放。裡面一個男生穿著鳳冠霞披走出來。並不是因為男生穿女裝很開放,而是因為這個作品可以一演再演,被邀來台灣,這個東西很開放——它並沒有被『limit』(限制)住。」那個台灣版本的舞者,有布拉瑞揚,也有後來旅德的孫尚綺。沒想到18年後,周書毅參演《男生》的復刻版,跳的就是當年孫的角色。「一摸到把桿的時候,所有的記憶湧過來!」他笑,「我還記得當年自己心裡的激動,也在想我要怎麼去達到那個時候自己心裡的激動。」


Almost 20 years ago, Cloud Gate 2 was founded and Lo Man-fei, then the artistic director, brought Yuri Ng’s Boy Story over to Taiwan. Shu-yi, still a secondary school student at the time, was among the audience for the show. “I was very excited when I watched this Hong Kong production at the time because it was so open. In it, a boy came out wearing a fengguanxiapei[1]. It was open, not because of a male performer wearing female costume but because the production had been performed again and again, and even been invited to Taiwan. The mentality of the work was open -- it was not limited by any restraints .” The Taiwan version of Boy Story featured Bulareyaung Dance Company, and Sun Shang-chi, who later went to work in Germany. Who would have thought that 18 years later in the revival of Boy Story, it would be Shu-yi who would take the exact role which Sun performed back then. “All the memories poured in as I touched the barre!” He laughed. “I still recall the thrill I felt at that time, and I’ve been wondering how to achieve that kind of thrill again.”


[1] 編按:鳳冠霞披為中國女子的傳統出嫁裝束

Editor’s note: a traditional Chinese wedding shawl for women


《男生.男再生》Boy Story.Reborn;編舞 Choreographers:伍宇烈Yuri Ng、王榮祿Ong Yong Lock;攝 Photo:Maurice Lai


少年誠可貴,因為年少的你不知道什麼時候就突然遇上開啟人生軌跡的一點火花。「年輕人真的很重要。」他想到現在的香港。「作為一個大人,真的很容易看輕他們(年輕人)的可能性。我知道是因為我十五、六歲就已經離開家去唸書,自給自足地去工作,看作品就是自己去買票。你不會知道那個時候會開啟生命的什麼,我最刺激的『energy』(能量)都是從那個年紀開始的。18年後學《男生》的時候,我會完全想起我那個時候的衝動,想起看完後,撞擊到自己的生命歷程,讓我很想去追尋一個什麼,可能就是更確定要去走舞蹈這條路。」


What makes teenage years so precious is their numerous chance encounters, some of which can unexpectedly catch fire and open up a potential path of life. “Teenagers matter a lot.” He thought of Hong Kong today. “As an adult, it’s is easy to underestimate the possibilities that teenagers hold. I understand this because I’d already left home for school when I was fifteen or sixteen and was living a self-sufficient life by then, buying tickets for dance shows myself. You don’t know when something is going to open up in your life or what it will be. The most thrilling energies of my life started from that age. Eighteen years later, learning Boy Story reminded me vividly of how it made me feel back then - the impact it made on my own path of life, how it drove me to aspire to something. Perhaps that was what further affirmed my dedication to dance.”


年少的周書毅遇上伍宇烈30來歲時創作的作品,然後在自己30來歲時重訪這個作品的世界。「我自己有一個感覺,我和香港,好像一直在靠近這群(舞蹈)中堅份子最有能量的年紀,也就是我自己現在這個年紀。」


Shu-yi came across Yuri Ng’s work, produced in Ng’s thirties, at a young age and revisited the world of the work when he himself entered his thirties. “I feel like both me and Hong Kong happened to have been approaching the age, at which these Hong Kong core (dance) artists are at their most energetic, and which is also the age I am at right now.

體驗逼窄 Experiencing the Cramped Space


和伍宇烈與香港小交響樂團合作《拉威爾1875 vs 拉威爾2012》,和王榮祿與不加鎖舞踊館合作《無用》、《男生.男再生》,再到為城市當代舞蹈團編創《Almost 55 喬楊》,在黎海寧的經典作品《春之祭》中飾演關鍵角色,書毅待在香港的時間越來越長,他也有意識地打破原本演出的製作模式,希望在香港常駐來增加創作體驗。「要這樣我才知道這個地方是怎麼樣的,不然都是假的。這個地方的藝術圈很小,其實不大容易進入,並不是因為它封閉,而是你要怎樣進入這個環境?不是只是帶自己的演出來,演完就走。」從《無用》開始,幾個作品下來,他在香港住了半年半年又