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[中][ENG]陳曉玲——不止於劇場的療癒 Gabbie Chan, Catharsis Beyond the Theatre

陳曉玲作品《從零開始》Gabbie Chan Hiu-ling’s From Scratch; 舞者Dancer: 陳敏珺 Chan Man-kwan; 攝 Photo: Eric


When I first saw Gabbie Chan Hiu-ling’s performance in Passoverdance’s Site Specific Series, Fabric, she gave the impression of being a dancer with strength. Later, she showed other dark and deep qualities in her performances of 37ºC, Croxxing, and Heaven Behind the DoorII. In addition to performing, in recent years, she has also choreographed, including works such as The 16th Day and From Scratch. She will present her new work, Lördagsgodis, in the coming 'New Force in Motion' Series; she talked about her experiences in my interview with her.


The 16th Day - Sleepless Six Months


In talking with Gabbie about The 16th Day, my memory of this 2016 work is somewhat blurred. I can only recall a dusky space with a hanging light bulb, a mixture of electronic noises, a dark atmosphere.


I once thought The 16th Day was only a response on Haruki Murakami’s short story, Sleep. Yet Chan “was experiencing an inhuman life without sleep for half of a year … living the 24 hours of every day with eyes opened … getting used to this sleepless state and searching for something to do.” Then, she read Sleep. She describes the story as making a point about how our values and choices are affected. From here, she created The 16th Day.

《第十六天》除了回應當時她自己的狀態之餘,亦回應身邊發生的種種。《第十六天》其中一個的主題動作,亦是從她指導的「創意律動」(Creative Movement / CM)課上一名「過度活躍症」(ADHD)學生而來。某天課上,她發現這學生的頭不由自主地抽搐。與其他老師談起時,老師們卻沒有為意這變化。Gabbie開始想像是甚麼令到這學生有這身體反應。那段「好醒」的日子,令她腦袋的引擎無休止地運行。每感知到一事一物,Gabbie也嘗試延伸想像、詰問是受甚麼而影響。

The 16th Day does not only respond to her state, but everything happening around her. One of the movement motifs in The 16th Day comes from an ADHD student in her creative movement classes. She found that on somedays, the student would involuntarily have episodes of head twitching during the lesson. When she mentioned the student’s behavior to other teachers, none of them had noticed it. Chan started to think about what caused the student’s body to react as it did. During her sleepless days, her mind functioned around the clock like a nonstop engine, With every single perception, Chan attempted to figure out and question what was causing this to happen.


After half a year of sleepless days and nights, her continuous insomnia faded with the completion of the piece.



To Think, to Choreograph

持續失眠時,雖然心智上維持清醒,但身體有沒有改變呢?還是有的。除了變瘦了之外,那半年間身體曾感到麻痺、身體感知(body sensing)差了,「好像著了羽絨般」。對於舞者身體感知差了確是很苦惱,但Gabbie嘗試以另一種方式接納這感覺。她直言現在沒有很渴望跳舞,反而更享受做編舞時資料搜集的過程,「比較喜歡思考多些」。當已找到作為舞者的自己,現在更希望通過編舞「找到另一個自己」。

Although she was mentally awake during her bout of sleeplessness, I asked if there were any changes in her body? Her response was “Yes!”. Other than getting thinner, she once felt paralyzed and had a diminished sensation of her body as if she “were wearing a down jacket”. That weakened sense of one’s body is really distressing for a dancer, but Chan tried to adapt to it. She bluntly acknowledges that she doesn’t long to dance as she did before. Instead, she enjoys the research process when choreographing a work. “I like to think.” As she has already become accomplished as a dancer, she hopes to find another side of herself as a choreographer.


Still, Chan works closely wit