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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

回想初次看陳曉玲(Gabbie)的作品,是新約舞流的環境舞蹈系列《藝.裳》。當時印象Gabbie是位相當有勁度的舞者。後來她《37ºC》、《交界記憶》及《人間.獨.白II》的演出,又看見了另一種深沉的質感。除了演出,她近年亦擔任編舞並發表了一些作品如《第十六天》及《從零開始》。本年九月她將在「舞蹈新鮮人」的平台發表新作《Lördagsgodis》,她與我分享她的創作歷程。


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.


第十六天.半年無眠

The 16th Day - Sleepless Six Months

對談從Gabbie《第十六天》說起,2016年的作品在筆者的腦海已變得模糊。只依稀記得昏暗空間垂吊的燈泡、混雜的電子白噪音,氣氛深沉。


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.


起初以為此作只是回應村上春樹《睡》這短篇小說文本,原來Gabbie當時「經歷了非人體所能承受的半年無眠狀態⋯⋯即每一日都是睜開眼度過那廿四小時⋯⋯當習慣了這個無眠的狀態後,便不停地找其他事做。」隨後,她才讀到《睡》。Gabbie提到小說的要點關於我們的價值觀或選擇是由甚麼影響,然後再引伸到《第十六天》這作品。


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.


經過半年無法入睡的日子,完成這作品之時,持續失眠竟巧合地隨之慢慢改善。


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


​攝 Photo: WORLDWIDE DANCER PROJECT

思考.編舞

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.



話雖如此,Gabbie近年與個別編舞也有緊密合作,例如周佩韻和黃靜婷。Gabbie欣賞她們有獨特的藝術取向之餘,還十分開放讓不同想法的舞者參與創作過程。合作過程不但見證了她們怎樣發展原有的作品,嘗試和吸納新的元素,還驚嘆她們是怎樣思考的。


Still, Chan works closely wit