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[中] [ENG]《舞蹈手札》的早期作者群象 Writers of dance journal/hk in the Early Years


上期我們回顧了《舞蹈手札》誕生的背景,以及於草創階段的一些高低起跌,今期我們就會把焦點從早期的編輯,慢慢轉移到另一班同樣不可或缺,而且勞苦功高的朋友們——作者和評論人身上。


In the last issue, we reviewed the birth of dance journal/hk and the ups and downs during its infancy. In this issue, we will slowly shift the focus from former editors to a group whose great contributions are equally indispensable – writers and critics.


曹誠淵Willy Tsao; 攝Photo: WORLDWIDE DANCER PROJECT


一份刊物是否成功,除了定位清楚,設計及編排有序,亦絕對取決於其內容是否豐富精彩,作者是否言之有物,這樣才能吸引讀者持續取閱。正如前文中,創刊總編輯曹誠淵(Willy)提到,最初創辦《舞蹈手札》的時候,資源相當有限,實在難以邀請到具份量的評論家直接供稿,因此早期的編輯們,往往都要親自出手撰寫文章。另一方面,他們也會嘗試透過自己的人脈,誠邀業界內的好友們執起筆杆,為《舞蹈手札》供稿。希望鼓勵他們利用自身的專業知識及獨特眼光,去與讀者們分享一些舞蹈資訊,又或者談談近日之觀演經驗。


To measure the success of a publication, apart from its editorial positioning, design and layout, the critical elements that keep readers coming back are the abundance of content and if writers actually have something to say. As in the previous article, the founding editor-in-chief Willy Tsao said that resources were so tight when he started dance journal/hk that he could not invite contributions from renown critics. Editors at the time had to write articles themselves. At the same time, they also tried to make use of their network and invite their friends in the industry to write for dance journal/hk. They were encouraged to share dance-related information or reviews of dances, out of their professional knowledge and unique perspective.



Susan Street with Tom Brown與白朗唐的合照;照片由受訪者提供 Photo provided by Susan Street


另一位創刊功臣白朗唐(Tom)就指出,《舞》的主要內容除了演出評論以外,專題文章亦佔一重要位置。他記得Willy就曾撰寫過好幾篇深度文章,包括一篇分析香港舞蹈特色,以及另一篇談及現代舞價值的文章。Tom自言即使不能憶起前者的全文內容,都不會忘記文章中提到香港舞蹈作品中的輕盈(lightness)特質,也因而啟發他為《舞蹈手

札》寫了上下兩篇題為《笑中之言⋯》的深度文章,談論香港傑出編舞家作品中的「輕」;而後者的主題到了今天仍然值得深思,所以他對這兩篇文章特別有印象。



Another originator of the journal, Tom Brown said that performance reviews aside, feature articles were also a key pillar of dance journal/hk at the time. He recalled a few in-depth multi-part features by Tsao, including one analyzing the characteristics of Hong Kong dance, and another one looking at the value of contemporary dance. Brown said he’d forgotten the full content of the former article, but he could not forget Tsao’s identification of “lightness” as one of the characteristics of Hong Kong dance. It prompted Brown to write his own in-depth two-part article in the journal entitled “Things Said in Jest” on lightness in the works of leading Hong Kong choreographers. For Tsao’s latter article, Brown still thinks it’s worth contemplating. These two articles left a great impression on him.


而時任香港演藝學院舞蹈學院院長的Susan Street(Susan),也在Tom接手總編輯一職後,獲邀寫了三篇有關芭蕾舞的英文篇章。Susan憶述當時Tom希望《舞》的內容能夠盡量涵蓋不同舞種,所以希望Susan可以寫一些有關芭蕾的文章,故她就以自己的藝術碩士論文內容出發,分三篇文章,深入淺出地說明有關古典芭蕾的歷史發展與特色,並探討與叩問芭蕾舞的本質。

Susan Street, the then Dean of Dance of the Hong Kong Academy of Performing Arts (HKAPA), was invited to write three pieces in English about ballet when Brown was the editor-in-chief. Street said at the time, Brown strove to cover different dance genres in dance journal/hk, so he asked her to contribute articles about ballet. Based on her dissertation in her Master’s degree, she illustrated the history, features of classical ballet, and dug deep into its nature in her three-part series.

2000年,創刊人曹誠淵和編務助理及排版的黃翠玲獲頒香港舞蹈年獎,頒獎嘉賓為費明儀(中)。Founder of dance journal/hk Willy Tsao and Scarlet Wong, who was responsible in design and layout, receiving Hong Kong Dance Awards in 2000 from Barbara Fei (Center) for their efforts.

2000年,在學時A-Hock (Center)(左)與同學Scarlet Yu代表香港演藝學院舞蹈學院在「香港舞蹈年獎」上領獎。In 2000, Ah-Hock and his colleague Scarlet Yu represented the School of Dance, HKAPA to receive Hong Kong Dance Award.


至於當年在演藝學院舞蹈學院讀書,來自馬來西亞的郭亞福(A-Hock),本來並沒有想過要去撰寫舞蹈評論文字,但一天,負責協助編輯及排版的黃翠玲(Scarlet)在上課時特地前來問他,