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[中][ENG] 黃大徽:我們可否不討論「舞蹈是甚麼?」Dick Wong: Can We Not Discuss “What is Dance?”

黃大徽作品《春之祭》Dick Wong’s The Rite of Spring; 攝Photo: Franz Lai

對談嘉賓 Guest: 伍宇烈 Yuri Ng


Winnie Chau www.iamnotwinnie.com



「黃大徽,你幾得意,你扮唔識跳舞!」伍宇烈依然記得2005年在《民間傳奇》演後座談會聽到的觀眾「感想」。這個香港舞蹈團八樓平台演出是二人的正式合作。表演中黃大徽要與其他舞者做一些拉筋動作,他的柔韌度明顯較低,而他不時誇張呈現這個短處。 “Dick, you’re quite funny, you pretend not to know how to dance!” Yuri Ng still remembers hearing this audience member’s remark in the post-show sharing of Min Jian Chuan Qi in 2005. This Hong Kong Dance Company 8/F Platform performance was an official collaboration between Ng and Dick Wong. In the show, Wong had to do stretching exercises with other dancers. He was obviously not as flexible, and he showed this weakness in an exaggerated way.


伍宇烈聽了,先是生氣、然後懷疑、繼而傷心,因為這並不是對他作品的抨擊,而是反映人們怎樣看舞蹈。十四年後的今天,他仍會反問:「為甚麼你會夠膽說:『做不到一字馬,就是不懂跳舞』?」 After hearing this, Ng was first angry, then doubtful, and finally upset, because this remark wasn’t criticizing his work, but was a reflection on how people viewed dance. Today, after 14 years, he still asks rhetorically, “Why would you feel brave enough to state, ‘If you can’t do a split, you don’t know how to dance’?”

這對舞蹈界好友,一個六歲就跟王仁曼學習古典芭蕾舞,另一個在廿多歲時卻未能以足弓說服王校長收他為徒;一個人到中年,離開香港芭蕾舞團後,才開始真正喜歡芭蕾舞,而另一個三十歲出頭告別新聞界,才投身表演藝術。兩人背景看似南轅北轍,其實惺惺相惜,志同道合。

Looking at this pair of dance buddies, one of them started ballet at the young age of six at Jean M. Wong School of Ballet, while the other, in his twenties, couldn’t convince Ms. Wong with the arch of his foot to accept him as a student; one of them reached middle age and left Hong Kong Ballet, and then began really to like ballet, while the other quit working in journalism in his thirties and committed himself to the performing arts . Their backgrounds may seem very different, but in fact they are like-minded and sympathize with each other.

黃大徽(左一)在2005香港舞蹈團八樓平台的《民間傳奇》排練照 Dick Wong (first from left) in rehearsal of Hong Kong Dance Company’s 8/F Platform Min Jian Chuan Qi in 2005;

圖片由香港舞蹈團提供

Photo provided by Hong Kong Dance Company

沒有標準,哪有限制? Without Standards, How Would We Have Limits?

早前有人與黃大徽討論自己對身體最熟悉的是甚麼,他的答案是:limitations(限制)。對於二十歲才學跳舞的他來說,踏入排練室的第一刻「限制」就形影相隨。 Recently in a discussion someone asked Wong what he was most familiar with in his body. He answered: limitations. To Wong, who started dancing only in his twenties, limitations shadowed him as soon as he stepped into the studio.

大專時,他報讀市政局的芭蕾舞班,班上有三十九個穿粉紅舞衣的女童和一個身上有廿多種顏色的五十歲男人。排練室內,有人不明所以模仿正規芭蕾舞姿態手勢;有人動作浮誇,像是要藉此舒解生活的束縛。黃大徽自覺格格不入,後來到城市當代舞蹈團學習較「中性」的現代舞。然而,他仍然會質疑為何跳得像老師才算是好、為何由 Martha Graham 的身體和脾性發展出來的舞步會成為身型背景不一的人之基礎。 When in college, he took ballet classes organized by the Urban Council. The others in the class were thirty-nine girls in pink tutus and a man in his 50s dressed in more than twenty colors. In the studio, some mindlessly imitated standard ballet postures and gestures; some moved exaggeratedly, as if seeking release from the fetters of life. Wong felt that he did not fit in, and later on learned the more “neutral” modern dance at City Contemporary Dance Company. Yet, he still questioned why it was only considered good when you danced like the teacher, or why Martha Graham’s movements, developed out of her body and temperament, would be fundamental for people with different bodies and backgrounds.

黃大徽明白「這些標準是牢不可破」,彷彿是一面鏡子不斷告訴他:你根本不適合跳舞。當標準創造出來的「限制」逼他走到專業的另一端,他反而有自由找自己的方法、以自己的身體能做的事作起點。他做不到專業舞者做的東西,相反,專業舞者也做不到他做的東西。因此,他會以雜誌形式探索舞蹈,也會在《B.O.B.*》用語言顛覆舞蹈的定義,而資深舞者如邢亮亦會有興趣與他合作──他們在2014年聯合創作《無 | 雙》。逆流而行,黃大徽在途中開拓了很多空間,啟發他思考和質疑「甚麼是標準」、「甚麼是訓練」和「甚麼是舞蹈」等題目。

Wong understands that “these standards are unbreakable”, and it is like a mirror continuously telling him: you are not suited to dance. When limitations created by standards forced him to the other side of the dance field, he had the freedom to find his own method, starting from what his body can do. He cannot do what professional dancers do, but equally, professional dancers cannot do what he does. And so, he explored dance in the form of a magazine, and in B.O.B.* he subverted the definition of dance using language. Experienced dancers like Xing Liang were interested in collaborating with him — together they created 0|2 in 2014. Going against the grain, Wong opened up a lot of spaces, inspiring him to think about and interrogate topics such as “what are standards”, “what is training” and “what is dance”.

黃大徽(左)與邢亮(右)作品《無 | 雙》Dick Wong (left) and Xiang Liang’s (right) 0|2 ;

攝Photo: Pazu@萬象鏡社