《編舞家巡禮2014》
革新蛻變．舞動身/新體驗
Choreographers’ Showcase 2014
Experimental, Visionary
and Dynamic Choreography
香港芭蕾舞團十位多才多藝的舞者將於《編舞家巡禮2014》中展現他們的編舞才華。他們將編創八個新作，於11月28日至30日在小巧而氣氛親密的香港文化中心劇場上演。
10 of The Hong Kong Ballet’s talented dancers will be demonstrating another aspect of their creativity at the Company’s Choreographers Showcase 2014. The dancers will be choreographing 8 new creative pieces which will be performed in the intimate surroundings of the Studio Theatre, Hong Kong Cultural Centre from 28th November (Friday) to 30th November (Sunday).
這個演出讓觀眾一次過看到多齣由年輕新銳編舞革新意念引發訓練有素舞者演繹的新作，實屬難得。今次的八組編舞包括：康蒂思‧阿迪雅、謝茜嘉‧貝露及楊寶婷、江上悠及胡頌威、威廉‧霍克、李嘉博、李林、尊尼芬‧斯納和法蘭基‧范東拿倫。
This is a wonderful opportunity to see creative pieces of work that are choreographed and performed by the Company’s classically-trained artists - Candice Adea, Jessica Burrows & Sarah Yeung, Yuh Egami & Ricky Hu, Willem Houck, Li Jia-bo, Li Lin, Jonathan Spigner and Frank van Tongeren.
香港芭蕾舞團自八十年代初已開始演出由舞團成員編創的舞蹈。當年的團員熱切地創作，展現新一代芭蕾舞風格。編舞家巡禮便是讓團員發揮創意，累積舞台經驗的平台。藝術總監歐美蓮表示：「在十一月的《編舞家巡禮2014》，我們會繼續呈現舞團多才多藝的舞蹈員及新晉編舞家的作品。」
The Hong Kong Ballet’s performances of choreographic works by our own dancers date back to the early 1980s when many of the Company’s performers began to create their own pieces. The Choreographers Showcase serves as a platform for these dancers to display their creativity, innovation and accumulated dance experience. “It’s perhaps no surprise that our dancers are a multi-talented bunch, and at November’s Choreographers’ Showcase 2014 we will continue the search for Hong Kong’s next choreographer,” said Madeleine Onne, Artistic Director of The Hong Kong Ballet.
有關作品及編舞資料
About the pieces & the choreographers
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《海南度的探戈》康蒂思‧阿迪雅
Hernando's Tango by Candice Adea
被探戈音樂《海南度探戈》裡神秘有力而又趣味盎然的特質所啟發，康蒂思把這些特質演繹成舞蹈，展現舞蹈員對海南度這男士的想像，並為當中的情感和狂熱給予多重詮釋。
Inspired by the mysterious, powerful and at the same time playful characteristics of the tango music Hernando's Hideaway, Candice's work translates these qualities into movements, showcasing the dancers' own different interpretations of sensuality and power over the imagination of Hernando.
Q: 為甚麼妳會想成為其中一位編舞者？
我覺得《編舞家巡禮2014》是一個充實自己的好機會，讓我成為更好的藝術家……身為舞者時，我們努力創造角色，賦予其生命力，而作為編舞者，我們則在創 作故事、或者說是一件傑作。
Q: 請你用一個詞語來形容妳的作品？
探戈。
Q: 現時創作的進度如何？
我發現要將腦裏的想法讓舞者嘗試演繹出來是一件很有挑戰性的事，尤其當排練時才發現所想的並不適合舞者，甚至不可能實踐，所以我要想方法調整我 原來的想法，使作品能夠順利呈現出來。編舞對我來說像拼拼圖，有時就是要轉一轉拼塊的角度才能拼合。
Q: So why do you want to be one of the choreographers?
I just thought the Choreographers’ Showcase was a nice opportunity to expand my knowledge and be a better artist… when you are a dancer, you are creating and putting into life a non-realistic character; whereas, when you are a choreographer you are creating a story or a masterpiece.
Q: How would you describe your new work in one word?
Tango.
Q: How is the process so far?
I really find it very challenging when I have this idea of the movement in my mind and then when I let the dancer try it, I see that my idea doesn’t work for the dancer, or even worse, that the idea is actually impossible! So I have to think of ways on how I can modify my original idea and make it possible. Choreographing is like a puzzle for me. Sometimes you have to twist or switch the angle to make it fit.
康蒂思．阿迪雅 Candice Adea
生於菲律賓，康蒂思2003年畢業於菲律賓藝術高中(主修芭蕾舞)，2008年取得德拉薩大學聖班尼德學院舞蹈學士學位。她於2003年加入菲律賓芭蕾舞團，並於2010年晉升為首席舞蹈員。康蒂思於2012年加入香港芭蕾舞團為獨舞員。她曾出演多齣舞劇，包括《唐吉訶德》的琪蒂、《睡美人》的愛麗娜公主、《夢偶情緣》絲維妮爾達、《胡桃夾子》的嘉麗，亦參演以下製作，如《小飛俠》、《白雪公主》、《黛安娜和阿克泰翁》、比森特‧內夫拉達的《我們的華爾茲》及艾文‧艾利的《夜行動物》。她曾獲獎無數，包括2010年美國國際芭蕾舞大賽成年女子組銀獎、2011年波士頓國際芭蕾大賽馬里斯‧利艾伯傑出藝術表現大獎及俄羅斯芭蕾舞主要角色演出大獎、2011年首爾國際舞蹈大賽銅獎及2012年第七屆赫爾辛基國際芭蕾大賽成年女子組的第一名。
Born in the Philippines, Candice graduated from Philippine High School for the Arts with a major in ballet in 2003 and received her Bachelor’s degree in Performing Arts (majoring in Dance) from De La Salle - College of Saint Benilde in 2008. She joined Ballet Philippines in 2003 and was promoted to Principal Dancer in 2010. Candice joined The Hong Kong Ballet as a Soloist in 2012. Candice’s extensive repertoire includes Kitri in Don Quixote, Aurora in The Sleeping Beauty, Swanilda in Coppélia and Clara in The Nutcracker as well as roles in Peter Pan, Snow White, Diana and Acteon, Vicente Nebrada’s Our Waltzes and Alvin Ailey’s Night Creature. She has won numerous accolades including the Silver Medal at the 2010 USA International Ballet Competition (senior women’s division), The Maris Liepa Award for Outstanding Artistry and Lead Role in Russian Ballet Performance Award at the Boston International Ballet Competition in 2011, the Bronze Medal at the Seoul International Dance Competition in 2011 and First Prize at the 7th Helsinki International Ballet Competition (senior women’s division) in 2012.
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《深淵裡的天鵝》
謝茜嘉‧貝露及楊寶婷
Swan in the Abyss
by Jessica Burrows and Sarah Yeung
謝茜嘉與楊寶婷共同策劃了一場編舞實驗：二人混合了一些為人熟悉的古典音樂，嘗試探索編舞的各樣可能。《深淵裡的天鵝》期望不單能營造視聽氣氛，更希望觸動觀眾各其他感官。
This project is a choreographic experiment for Jessica and Sarah. Taking a remix of popular classical music, they explore different choreographic possibilities. Swan in the Abyss creates an atmosphere with not only visuals and sounds but one that also appeals to our other senses.
Q: 請你用一個詞語來形容妳們的作品？
J: 輕鬆和幽默。
Q: 甚麼啟發了你創作的靈感？
J: 人們總是把小天鵝的音樂扣上天鵝湖的舞步（四小天鵝牽著手），我們希望試一些完全不同的東西。另外，以往的《編舞家巡禮》有很多氣氛較陰暗、沉重的作品。 我們認為這次改變一下這調子也不錯。
Q: 在這作品中，會看到甚麼？
J: 我們對這作品有很多不同的想法。所以，這作品是我們不同意念的拼湊。我們認為這樣很好玩，希望觀眾也看得有趣味。
Q: How would you describe your new work in a few words?
J: Light and humorous.
Q: What inspired your new work?
J: People always associate the cygnets music from "Swan lake" with the same steps (four little swans holding hands). We wanted to try something completely different. Also, the previous "Choreographers' Showcase" had a lot of pieces with darker, heavier atmosphere. We thought it would be nice to change the pace a little this time.
Q: What will be shown in this work then?
J: We had many different ideas we wanted to play with. So our piece is a collage of those ideas. We were just having fun, and we hope the audience has fun too.
謝茜嘉．貝露 Jessica Burrows
生於加拿大馬克姆，謝茜嘉畢業於加拿大國家芭蕾舞學校。加入加拿大國家芭蕾舞團一年後，於2010年加入香港芭蕾舞團，並曾演出不同角色，包括《光與影之間》的紅裙獨舞者、《唐吉訶德》的琪蒂的朋友、《胡桃夾子》的俄羅斯玩偶。她最近曾到斯德歌爾摩演出，作為與瑞典皇家芭蕾舞團友善交流的其中一部分。
Born in Markham, Canada, Jessica graduated from the country’s National Ballet School and danced with the National Ballet of Canada for one year before joining The Hong Kong Ballet in 2010. During her time with the Company, she has danced Red Skirt soloist in In Light and Shadow; Kitri's Friend in Don Quixote; and Russian Doll in The Nutcracker. She recently performed in Stockholm as part of a friendly exchange with the Royal Swedish Ballet.
楊寶婷 Sarah Yeung
生於香港，四歲起於王仁曼芭蕾舞學校接受芭蕾舞訓練。期間於2005至2007年屢獲王振芳紀念獎學金瑪歌芳婷大獎，至德國漢堡芭蕾舞學校受訓。及後加入德國德累斯頓森帕歌劇院芭蕾舞團及荷蘭國家芭蕾舞團，再到香港演藝學院深造。2010年加入香港芭蕾舞團成為實習生，及於2011年成為群舞員。楊氏曾獲不少獎項，包括2005年深圳國際舞蹈大賽金獎、《南華早報》2004年最佳學生舞蹈員優異獎，以及2002-2005年期間多次獲得香港芭蕾舞超新星大賞的金獎和銀獎。
Sarah Yeung was born in Hong Kong and started her ballet training with the Jean M. Wong School of Ballet at the age of four. While she trained there, Sarah received the Dame Margot Fonteyn Award 2005-07 from the Tsinforn C. Wong Memorial Scholarship to attend the Hamburg Ballet School in Germany. After dancing with Dresden Semperoper Ballet, Germany and Dutch National Ballet, Holland, she returned to Hong Kong to further study at The Hong Kong Academy for Performing Arts. She joined The Hong Kong Ballet as an apprentice in 2010, and was engaged as a member of the corps de ballet in 2011. Sarah has won several awards, including the Gold Medal at the Shenzhen International Dance Competition in 2005, Honourable Mention in the 2004 South China Morning Post Student Dancer of the Year Award, and various Gold and Silver medals at the Hong Kong Youth Ballet Stars Award during 2002-2005.
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《觸角》江上悠及胡頌威
Horn by Yuh Egami & Ricky Hu
天生與眾不同，其實是一種負擔；同時也是一種奢侈。
To be inherently different, in fact, is a burden; but also a luxury.
Q: 可以分享一下你所喜歡的編舞家嗎？有影響這一次的創作嗎？
Y: 我喜歡的編舞家有很多，而每天最喜愛的都會隨當天心情而有所變化……但我肯定在不知不覺間他們時時刻刻的影響著我。
Q: 請你用一個詞語來形容你們的作品？
Y: 「扭曲的積極性」──通過限制我們的自由，我們踏上冒險之路。
Q: 在這作品中會看到甚麼？
Y: 首 先，作品會展示兩位才藝不凡的舞者 - 菅原愉依和夏俊；在編舞的過程中不斷的啟發著我倆。另外，我們特別製作了一個道具：觸角；作為舞者身體的延伸。這觸角造成限制的同時，也為作品帶來意外的 效果。我們相信我們會呈現一些我們以前未看過的東西。希望觀眾喜歡這個編舞挑戰；也會在看到舞者受限制掙扎之時，看到生命的美麗。
Q: Can you share with us your admired choreographer(s)? Do they affect your new piece?
Y: I admire too many choreographers in the world and the most favourite one changes every single day depending on my mood.... I am sure that I am affected by them all the time unconsciously.
Q: How would you describe your new work in a few words?
Y: "Twisted Positivity" - by limiting our freedom, we look for adventures.
Q: What will be shown in the piece then?
Y: Firstly, the two young talented dancers in our company - Yui Sugawara and Xia Jun, who have been inspiring us throughout the choreography process. Secondly, we designed our original props (i.e. the Horn) for this piece as an extension of the dancers' body. The Horn creates limitations, but also delivers unexpected effects in our piece. We believe that we are able to present something we have never seen before. We wish that the audience will enjoy this choreographic challenge, see the dancers' struggles and, through the piece, beauty of life.
江上悠 Yuh Egami
生於日本沖繩，江上悠畢業於英國皇家芭蕾舞學院。2002年成為香港芭蕾舞團群舞員；2014年同時擔任舞團的排練導師。他近年編創不少短篇舞作，包括 《影》、《櫻》、《一一》、《鏡花水月》及《OIOIO》。另外，他亦參與長篇芭蕾舞劇編排，如2010 年擔任《糊塗爆竹賀新年》的聯合編舞，協助舞蹈家伍宇烈的編創。2012年，江上悠與胡頌威共同為《編舞創作坊》編創了型格作品《白色謊言》。翌年，二人成為《新中國芭蕾─青蛙王子》的聯合編舞，再次協助伍宇烈的創作。
Born in Okinawa, Japan, Yuh Egami graduated from The Royal Ballet School in London and joined The Hong Kong Ballet in 2002 as a member of the corps de ballet. In 2014, Yuh took on the additional role of répétiteur for the Company. In recent years, Yuh has presented many of his own short choreographic works including Kagé, Sakula, Collage of One, Mirage and OIOIO. He has also contributed choreography to several longer works: as Associate Choreographer, he helped Yuri Ng to create Firecracker in 2010; he worked with Ricky Hu in 2012 to choreograph White Lies, which was presented at the Company’s Emerging Choreographers: 2012 The Beginning or The End?; the following year, Yuh and Ricky were Associate Choreographers to Yuri Ng, creating The Frog Prince – A Ballet Chinois.
胡頌威 Ricky Hu
生於江西，胡頌威於2004年畢業於上海戲劇學院附屬舞蹈學校主修中國舞，及後於新加坡拉薩爾新航藝術學院進修。2007年獲全免獎學金入讀香港演藝學院，其後獲亞洲文化協會金赴紐約艾文艾利舞蹈學院進修。2008年加入香港芭蕾舞團。近年開始編創個人作品，包括《雙生》、《聲‧息》及2012年香港藝術節的《盡情遊戲》。另外，江上悠與胡頌威共同為《編舞創作坊》編創了型格作品 《白色謊言》。他也參與了2013年香港藝術節的 Rush。
Born in Jiangxi, Ricky Hu graduated from the Shanghai Dance School (Major in Chinese Dance) in 2004 before going on to train at the LASALLE-SIA College of the Arts in Singapore. He received a full scholarship to study at The Hong Kong Academy for Performing Arts and later achieved an Asian Cultural Council Dance Fellowship to further his study at the Ailey School in New York. Since joining The Hong Kong Ballet in 2008, he has created works including Twins, Voicing and Play with Abandon (featured in the 40th Hong Kong Arts Festival). His collaboration with Yuh Egami, White Lies, was featured in the Company’s Emerging Choreographers: 2012 The Beginning or The End?. He also performed in Rush at the 41st Hong Kong Arts Festival.
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《求索梵我》威廉‧霍克
The Continuous Search for Ātman by Willem Houck
「梵我」是梵文，意謂印度教裡本我和虛假的自我以外的真我。它往往被翻譯成「靈」或者「靈魂」，指向那真實的自我，或者是支撐我們存在的本質。對威廉來說，它是最長久和純粹的存在形式，恆存於我們內心。它是「發展完好」的自我，把個人發展和自我完善的過程引向完美。威廉把「梵我」的許多方面啟發，轉化為身體律動。這作品不單成為藝術展現，更孕育心靈成長──求索梵我。
“Ātman” is a Sanskrit word referring to Hinduism’s understanding of the real self, beyond the ego or false self. It is often interpreted as “spirit” or “soul” and indicates the true self or the essence which underpins our existence.To Willem, it is the most unchanging and purest form of being, always within us. It is “a developed self” who has carried the process of personal development and self-reliance through to its perfection. Willem’s creation transposes the many inspiring aspects of the Ātman into a body of movement. Not only is this creative piece a means of artistic expression, it is also a demonstrationof spiritual growth – in the continuous search for Ātman.
Q: 請你用一個詞語來形容你的作品？
對成長和在空間舞動的不斷渴求。
Q: 在這作品中，會看到甚麼？
流動著的美。作品概念跟經典的大雙人舞同出一轍！靈感源自很多個人情緒，以及馬克斯．李希特優美的音樂。當然，當中的舞步並不僅止於古典芭蕾舞的界限。
Q: 創作的過程如何？
過程很愉快，而且出乎我意料的，一切發生得很自然。同時，以另外一個身分站在排練室感覺很有趣，我從中學到了很多！
Q: How would you describe your new work in a few words?
A continuous urge to develop and move in space.
Q: What will be shown in this work then?
Beauty in motion. The concept is the same as a classical grand pas de deux! The piece was inspired by a lot of personal emotions as well as the beautiful music by Max Richter. Of course the movement goes beyond the boundaries of just classical ballet.
Q: How is the process so far?
The process has been very enjoyable and to my surprise came very naturally to me. Also it has been very interesting to be on the other side of the studio. I'm learning a lot!
威廉‧霍克 Willem Houck
生於比利時奧斯坦德，威廉受訓於安特衛普皇家芭蕾舞學校及俄羅斯聖彼得堡的雅崗諾娃芭蕾舞蹈學院。他曾參與比利時弗蘭德斯皇家芭蕾舞團及德國德累斯頓森帕歌劇院芭蕾舞團的多個演出，並於2011年成為香港芭蕾舞團的群舞員。
Born in Oostende, Belgium. Willem Houck trained at The Royal Ballet School in Antwerp and at the Vaganova Ballet Academy in St Petersburg, Russia. He has performed many productions with the Royal Ballet of Flanders and Dresden Semperoper Ballet before joining The Hong Kong Ballet in 2011 as a member of the corps de ballet.
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《回家》李嘉博
Going Home by Li Jia-bo
從德伏扎克的《第九交響曲》(又名「新世界」)中得到靈感，「回家」成為編舞的主題。在這個舞段中，李嘉博希望用舞蹈的方式呈現一個人回家路上的經歷，和那種倦鳥知還、歸心似箭的感覺。整個舞蹈多選用古典音樂，同時加入李氏自己為舞蹈的作曲，使每個舞蹈片段連接得更順暢。在動作方面，李氏鼓勵舞蹈員嘗試將感情和舞蹈動作融為一體表現出來，使舞蹈更加精緻而且別具味道。
Inspired by Dvořák’s Symphony No.9, also known as “From the New World”, the theme of this work is “Going Home". Through this piece, Li Jia-bo aims to express how it feels to head for home, the experience of longing to be home after time on the road, and the comforting knowledge that home is where the heart is. Many pieces of classical music feature in this work as well as some of Li Jia-bo’s own compositions which serve to smooth the transitions between the pieces. As for the movements, Li Jiabo encourages the dancers to incorporate their own feelings so that the moves portray a personal nature with a refined texture.
Q: 請你用一個詞語來形容你的作品？
在回家的路上。
Q: 甚麼啟發了你創作的靈感？
那是從德伏扎克《新世界交響曲》中的第二樂章〈回家〉所啟發的，旋律為大家所熟悉。從大師的音樂中我找到舞蹈的靈感的。
Q: 在這作品中會看到甚麼？
我經常外出工作，當工作結束後我都總想飛快的回到家，可現實總要我經歷一段漫長的旅程才到家。所以我把我在回家路上的經歷和感受放在舞蹈裡和大家分享。希 望觀眾從我的作品中得到共鳴，也體驗到用舞蹈理解故事的樂趣。
Q1: How would you describe your new work in a few words?
On the way home.
Q2: What inspired your new work?
I was inspired by the second movement "Going Home" in Antonin Dvorak's "New World Symphony", the melody of which is quite familiar to everyone. From the music, I find the inspirations for my dance piece.
Q3: What will be shown in the piece then?
I often go out for work. When my work ends, I have always wanted to get home quickly. But in reality I have to go through a long journey to get home. So I put my experience and feelings about going home Into the piece to share with the audience. I hope my piece resonates with the audience, and I hope they experience the fun with dance as a narrative means.
李嘉博 Li Jia-bo
生於上海，李嘉博於上海遠東芭蕾舞學校接受芭蕾舞訓練，其後於香港演藝學院繼續進修。2005年畢業後加入香港芭蕾舞團成為群舞員，2012年晉升為獨舞員，2014年成為首席舞蹈員。他曾於不同舞劇中擔任重要角色，包括《睡美人》中的迪塞爾王子及藍鳥、《胡桃夾子》 中的王子、《紅樓夢》中的寶玉、《杜蘭朵》中的卡拉富王子、《一間她自己的房間》中的男主角，以及 《勒格蘭德雙人舞》和納曹．杜亞陶所編的《卡薩廸》等的主要角色。他亦曾多次到海外作表演嘉賓，包括在貝諾瓦芭蕾舞大獎匯演、德國威斯巴登舉行的國際芭蕾匯演及第四屆哥倫比亞國際芭蕾節等。
Born in Shanghai, China, Li Jia-bo started his ballet training at the Shanghai Far East Ballet School and went on to study at The Hong Kong Academy for Performing Arts. He joined The Hong Kong Ballet after graduation in 2005 as a member of the corps de ballet. He was promoted to Soloist in 2012 and to Principal Dancer in 2014. During his time with the Company, he has danced Prince Désiré and Blue Bird in The Sleeping Beauty, The Prince in The Nutcracker, the Prince in Cinderella, Pao Yu in The Dream of the Red Chamber, Prince Calaf in Turandot and the male lead in A Room of Her Own, as well as roles in Steptext, Le Grand Pas de Deux and Nacho Duato’s Castrati. Li Jia-bo’s guest appearances overseas include the Prix Benois de la Danse Gala performance at the Bolshoi Theatre, the 1st Beijing Dance Festival, the International Dance Gala in Wiesbaden, Germany, and the 4th International Ballet Festival in Cali, Colombia.
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《掙脫》李林
Break Away by Li Lin
現今是一個崇尚自由、崇尚個人意志的世界。每個人心中所嚮往的自由各不相同，但是每一個人的生活中、工作中到處都存在各種形式的束縛。這個作品沒有故事情節，只是想表達掙脫束縛，奔向心中嚮往的自由。
In the world today, we value freedom and individual will. Although each person’s idea of freedom may be unique and personal, we are all in some way restricted by different aspects of life or work. This is a non-narrative piece, expressing people’s efforts in their pursuit of freedom.
李林 Li Lin
李林於2010年在北京舞蹈學院畢業後，加入香港芭蕾舞團。自此於不同舞劇中擔任重要角色，包括《風流寡婦》的卡米爾、《仙履奇緣》的弄臣、《糊塗爆竹賀新年》的黑衣人、《杜蘭朶》的帖木兒、《吉賽爾》的農民雙人舞以及《天鵝湖》的四人舞及參演納曹．杜亞陶 的《卡薩迪》。2014年，李林獲晉升為獨舞員。
Born in Zhejian, China, Li Lin joined The Hong Kong Ballet in 2010 after graduating from the Beijing Dance Academy. Since then he has performed many major roles including Camille in The Merry Widow, the Lead Jester in Cinderella, von Rothbart in Swan Lake, the Shadow in Firecracker, Timur in Turandot as well as dancing in the Peasant Pas de Deux in Giselle and in Nacho Duato’s Castrati. He was promoted to Soloist in 2014.
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《我離》尊尼芬‧斯納
Wepart by Jonathan Spigner
「死」和相關的話題，看來社會自人性展開以來就把它們變成禁忌。尊尼芬的《我離》審視這些的不老哲學問題：或許我們都害怕思考這個話題，因為它反映了人生苦短？沒有「失」，哪有「得」？若不知死，焉知生？不接受悲傷，我們怎能找到幸福？尊尼芬希望引導觀眾一同思考這些問題。
“Death” and everything that surrounds it seems to have been taboo since the beginning of humanity. Jonathan’s Wepart addresses some age-old philosophical questions: perhaps we are afraid to ponder the subject of Death because of how it reflects our own mortality? However, without loss, how do we gain? Without accepting sadness how do we find happiness? Without accepting death how do we live? Through this piece, Jonathan will entice his audience to observe these abstract questions.
尊尼芬‧斯納 Jonathan Spigner
生於美國，畢業於南卡羅來納州官立藝術及人文學科學院，其後於格雷斯公主古典舞蹈學院繼續進修舞蹈。尊尼芬分別於2004、2008 及2009年獲得「美國國際青少年舞蹈大賽」區域大賽。2010年加入香港芭蕾舞團成為群舞員，並於2014年擢升為群舞領舞員。他的編創作品包括：(The Wonderful Known Tick)、Overview Effect及SoLo。
Born in the United States and trained at the South Carolina Governor’s School of Arts and Humanities and at the Princess Grace Academy in Monte Carlo. He received dance awards from Youth America Grand Prix Regional in 2004, 2008 and 2009. He joined The Hong Kong Ballet in 2010 as a member of the corps de ballet, and was promoted to Coryphée in 2014. His choreographic works include (The Wonderful Known Tick), Overview Effect and SoLo.
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《睇視見證者》法蘭基‧范東拿倫
Watch the Witness by Frank van Tongeren
我是誰？我以為自己是誰？我等於我的思想嗎？如果我忘掉過去，我還知道自己是誰嗎？我還存在嗎？有人知道我在嗎？甚麼或誰可見證我在呢？這見證是否能被睇視、觀察或被見證？法蘭基的作品源自對兩個「我」的思考：那個正在察覺的「我」和被察覺的「我在」。
Who am I? Am I who I think I am? Am I my thoughts? If I forget the past, will I still know who I am? Would I still exist? Who is aware that I am? What, or who is the witness of that? Can that witness be watched, be observed, be witnessed itself? Frank's creation explores the dichotomy between the I that is aware and the I that I am aware of.
Q: 可以簡短形容你的作品嗎？
海洋裡每一個漣漪都有各自的形狀、各自的動態；但每個漣漪都是海洋的一部分，每個漣漪都是海洋。
Q: 甚麼啟發你去創作這作品？
啟發我創作的是很多相對的問題。在相對的層面上，問題的答案是對的。例如有人問「你是誰？」，然後答：「我是卜。三十五歲。住在波士頓。愛棒球。討厭波菜。銀行戶口有很多存款。」當問及卜的朋友，我們會發現這些答案都正確。但如果卜不幸因交通意外，倖存但失去所有記憶。那麼他的朋友將要不斷告知卜是一個怎樣的人：「你是卜？你不記得嗎？」這證明那些「我是誰」的認知，其實只是我們的自身想法。我們之所以為不同個體，是因為我們有各自不同的思想。人人都活在自我的世界之中，所以可說有七十億個世界存在。但世界不是只得一個嗎？這七十億個不同的思想世界，其實是經歷同一件事吧？
Q: 你的作品會表現些甚麼？
縱然世界好像如此多元化，人和人之間有著很高的獨立性，但在最深處卻由同一源頭發起。我邀請觀眾去觀察和見證舞台上發生的事。對我來說，這不只是舞台上舞者的律動，更是要在意念和判斷出現之前，睇視舞台上的事情。意念和判斷是非常個人的東西，由自身經歷所模造。睇視這動作就像你坐在公園的長椅上看途人路過：你會看到他們是不同的個體。當你不迷失於自我空間的片刻，睇視他們、見證事情發生，你可能會察覺你的自我世界和他人的自我世界尤如海面上的漣漪。這些漣漪各不相同，但他們卻離不開海洋；最終也融於海洋。
Q: Can you briefly describe your new piece?
Every ripple on the surface of the ocean has an individual shape, an individual movement, yet every ripple is part of the ocean itself, every ripple is the ocean.
Q: What inspired you to create the new piece?
The inspiration for this work came from a lot of questions that could be answered in many different ways. On a relative level, the many answers might be correct. For example, if somebody answered the question 'Who are you?' with the answer: 'I am Bob. I am 35 years old. I live in Boston. I love baseball. I detest spinach and I have a lot of money in the bank.' This could all be very true, if we asked his friends about him they might say the same. But if Bob suddenly has a serious car accident, survives, but has none of his memories left, then his friends would have to come and remind him who he is: 'don't you remember? .You are Bob'. This proves to me that most of who we seem to be is actually only who we think we are. Thought is what makes us individual, like every person lives in his/her own 'world', that means that there are 7 billion worlds, yet isn't there actually only one? Aren't these 7 billion worlds’ very different mental experiences of the same thing?
Q: What will be shown in your work?
My work will show that even though the world seems so diverse, and there is such a high degree of separateness between every individual, deep inside all of this arises from one common source. I invite the audience to observe, to witness, what happens on stage. For me it is not just about the movement on stage, but about witnessing what happens on stage, before thought or judgment comes into the mind. Thought and judgment are very individual and have to do with how your mind has been shaped through your individual past. Witnessing is like when you sit on a bench in a park and see the people pass by. You can see all of these people have a very individual, separate world from each other. Yet while you are sitting there observing, you are the witness of all that happens, for a moment not stuck in 'your own' limited individual world, for a moment you might even be able to observe your own individual world and theirs to be just like ripples on the surface of the ocean. The ripples are very individual yet they are never separate from the ocean and eventually will merge back into the ocean.
法蘭基‧范東拿倫 Frank van Tongeren
生於荷蘭哈勒姆，法蘭基在阿姆新特丹國家芭蕾舞學院接受芭蕾舞訓練，其後入讀海牙皇家音樂學院。2008年他獲得為年青專業舞蹈員而設的「舞蹈家基金會1979」獎學金。法蘭基於2010年獲得舞蹈學士學位，同年加入挪威國家芭蕾舞團。2012年加入香港芭蕾舞團成為群舞員，自此參演多齣經典芭蕾舞劇。
Born in Haarlem in Holland, Frank began his ballet training at Amsterdam’s National Ballet Academy before moving on to the Royal Conservatoire in The Hague. In 2008, he was awarded the Dansersfonds ’79 scholarship for young professional dancers. In 2010, Frank graduated with a Bachelor of Dance degree and entered the Norwegian National Ballet. He joined The Hong Kong Ballet in 2012 and was promoted to Coryphée in 2014.
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精彩加料節目
PROGRAMME PLUS
演後藝人談
28.11.2014 (演出後)
英語主講
憑演出門票入場
Post-performance Meet-the-Artist Session
28 November 2014 (Friday) - After the evening performance
Primarily conducted in English
Admission with performance tickets
節目詳情
Event and booking details
2014.11.28 (星期五) 8:00PM
2014.11.29 (星期六) 8:00PM
2014.11.30 (星期日) 3:00PM
香港文化中心劇場
票價
$250，$140
門票現於城市售票網公開發售
節目長約1小30分鐘，包括1節中場休息
適合6歲或以上觀眾
*購票優惠*
五折
全日制學生、長者、殘疾人士
(學生及長者優惠先到先得，額滿即止。此折扣不能與其他優惠同時使用)
八五折
「香港芭蕾舞團之友」
九折 (首兩張門票)
中英劇團「能量粉團plus」會員、「進念之友」
「CCDC Dance Generation 特級會員」、「港樂會會員」
「中樂摯友會會員」、香港舞蹈團「以舞會友」會員
集體購票優惠
每次購買10-19張正價門票可獲九折優惠
20-40張正價門票可獲八五折優惠。
*每張正價門票只可享用其中一項購票優惠*
票務查詢
3761 6661
信用咭購票
2111 5999
網上購票
www.urbtix.hk
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2105 9724
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舞演の速報 (6)