[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
Encounters from the Outside Readings from the Inside
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
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
“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.
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. 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.”
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
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