漢字藝術展覽開幕式演出

漢字藝術展塔石藝文館展出 開幕式安排行為藝術表演

文化局主辦的“中國漢字藝術家五人邀請展（澳門）”於二零一零年八月十三日下午六時在塔石藝文館開幕，主禮嘉賓包括文化局局長吳衛鳴、文化諮詢委員會委員馬若龍、文化局藝術顧問繆鵬飛及澳門美術協會會長黎鷹等。

是次展覽將展出五位中國著名的漢字藝術家包括古幹、濮列平、曾來德、一了及呂子真共五十幅作品。開幕式上，濮列平代表全體參展藝術家致送作品予主辦單位留念，而主辦單位更特意在開幕式上，安排漢字行為藝術表演，濮列平即席藝術創作，本地舞蹈員郭瑞萍及大提琴伴奏吳偉玲擔任演出，現場氣氛歡愉。

吳衛鳴致辭時表示，展覽為向觀眾展示以漢字作為藝術創作思維語言的重要性，觀眾也可以從這些作品中，看到漢字藝術已從架上藝術，發展到觀念、行為、多媒體等藝術形態及各種領域，相信展覽將可引起本地觀眾及遊客的喜愛。

漢字藝術的形成始於中國改革開放後，從中國漢字文化的大背景出發，在面對東西方文化交匯所出現的特殊情況，嘗試將漢字作為藝術創作思維語言的全新藝術。其概念可淺釋為凡是以漢字之音、形、意等元素所進行藝術表達，或以漢字作為視覺藝術、思維語言等的藝術創作都稱為漢字藝術。在二零零五年北京大學資源學院成立了漢字藝術系，這是我國第一個以漢字作為藝術創作思維語言的專業學科。參與展覽的五位漢字藝術家，各自呈現了漢字藝術創作風格的不同方向，定能給予觀眾視覺上的全新感受。

展期由8月14日至11月14日，為了能進一步推廣藝術創作，主辦單位將於九月六日至十月二十八日期間，逢週一至週四，下午二時至四時將舉辦“藝術工作坊－書法班”，報名可致電二八五二 二○○三，同時接受現場報名，額滿即止，費用全免。塔石藝文館開放時間為每日上午十時至下午七時，地址荷蘭園大馬路95號。

Local performers take their inspiration from Macau's rich culture

澳門各界的表演人才輩出，不同藝術形式的交融使得澳門舞台熠熠生輝。澳門各方面的表演藝術人才，近年來可謂光芒漸露。但舞台背後的故事卻各有不同。

多才多藝的飛文基不僅是大律師，話劇導演和編劇，更是土生葡語的推動先驅。自1993年完成首部作品《見總統》以來，一直致力推動土生語話劇。

「土生葡語是一種以葡語為基礎，並混合西班牙語、馬來語和粵語等語種的方言。土生語一度有失傳的危機。」飛文基說。如今澳門的土生族群大概有二萬人，但通曉土生語的卻不足一千人。「我開始用土生語創作時，還要先學習這種語言。它的語調和用詞都很有趣，很適合演喜劇。」

2000年開始，劇團加入了華人的角色。飛文基解釋，創作是要反映澳門的生活面貌，所以有華人的參與是必然的。「今年我們還增加菲律賓人的角色，以反映菲律賓社群在澳門不容忽視的地位。」劇團的華人觀眾不斷增加，他們未必明白土生語，但會被土生語詼諧輕鬆的表達方式感染而開懷大笑，這大概就是土生葡語的魅力。

要是你喜歡舞蹈勝於戲劇，澳門的舞者和編舞家絕不會讓你失望。何雅詩和郭瑞萍，自幼分別學習中國舞和現代舞，加入紐約艾美．瑪素舞蹈團受訓後，兩人的舞蹈軌跡便交織在了一起，並共同創作以澳門為主題的舞作。現為澳門紫羅蘭舞蹈團副團長的何雅詩指出，澳門沒有自己的舞步，很多時候只能抄襲。「但我覺得原創精神很重要。所以我在編舞時，會加入一些現代舞元素。」何雅詩解釋：「舞蹈是情感的符號，作品要有意蘊，否則就會變得蒼白。而跳中國舞的多是女生，所以我都以女生的角度出發，讓舞蹈反映當代澳門女性的面貌。令舞蹈有本土情懷，童年回憶是我們靈感的來源。」

澳門知名的藝術團體石頭公社骨幹成員郭瑞萍也同意：「創作舞蹈時，我會從身邊的人和事出發，再加上自己的體驗。」郭瑞萍認為集體創作對現代舞很重要，如近期的《澳門故事》系列，以女扮男裝的姿態探討現代澳門女性的角色。「因為我們有很多集體回憶，合作時更容易擦出火花。舞蹈不只是形體動作，還是一次心靈旅程。」

若戲劇和舞蹈是動的藝術，那音樂就是靜中帶動了。作曲家李慧芬深知音樂如何在舞台上打動人心。李慧芬先後在澳門和台灣接受訓練，鋼琴和古典音樂伴隨著她成長。1999年她首次發行原創大碟《非常澳門》。 「創作本地音樂好像是我的使命。我會去澳門舊城區，錄下對老街坊的訪問。細嚼他們的聲音時，音符就跳出來了。」李慧芬說。由於澳門幾百年來盛行基督教，宗教聖樂在李慧芬的作品中也扮演重要的角色。「談澳門不能不談宗教。第一個把聖經翻成中文的馬禮遜也葬於此，所以我創作《馬禮遜組曲》時，把他翻譯的66卷聖經，化成西洋教會調式A Dorian ，奏66次。」

李慧芬對澳門的感情，完全體現在了她的音樂創作中。由數年前在澳門藝術節上發表的《向左走，向右走》組曲、到為舞蹈劇場創作的《靜安寺路192號6樓》，還有為澳門獨立電影《澳門街》配樂，李慧芬的每個音符，都很抒情、很澳門。

A lawyer by profession, Miguel de Senna Fernandes is also a playwright, director and linguist dedicated to preserving the Macanese culture. as a founding member of the amateur theatre group Doci Papiacam di Macau, literally sweet talk , Senna Fernandes has written a number of plays in Patua since the group s stage debut in 1993. Every year the group s comedy is a highlight of the Macau arts Festival, which is set to again dazzle audiences with its 20th staging this May.

“Patua is a creole language that fuses Portuguese with chinese, Malay and other languages, Senna Fernandes explains. it was once stigmatised as bad Portuguese. People weren’t allowed to speak it publicly. Today, among the 20,000 Macanese born Portuguese in Macau and overseas, only a handful are able to communicate in this highly endangered language. “Before putting pen to paper, i had to learn my mother tongue. Patua is a very funny language, phonetically and syntactically. it’s absolutely a language for comedy. That explains why our plays are all light-hearted, topical and, above all, humorous.”

Traditionally, only Macanese would take part in the plays, but since 2000, a chinese character has been added. “Our plays have to reflect all walks of life in Macau. it’s very narrow-minded if we exclude the role of chinese in the play. The Filipino community in Macau is growing. This year, we have an additional Filipino role to show their importance in our society.”
But how do the actors and actresses master this at-risk language so quickly during rehearsals? “Maybe it’s because we are Macanese,” says Senna Fernandes. “We’re of mixed Portuguese and chinese blood blended with strains of everything from Malay to indian. Perhaps our hybrid nature helps us grasp the essence of this hybrid language.”

Those preferring dance to drama may have caught the work of burgeoning dance talents Stella Ho and candy Kuok at previous festivals. Ho’s knowledge of classical chinese dance and Kuok’s innate passion for ballet and contemporary dance give their works a distinct and diverse style. Trained together in new York’s renowned repertory, The Amy Marshall Dance company, both Ho and Kuok were inspired to develop a movement vocabulary with a unique Macanese element.

Ho, vice president of Violet Dance company Macau, believes that even though chinese dance originated on the mainland, it doesn’t mean that Macau should simply copy everything. “I believe that creativity is as essential as originality. Many people think that classical chinese dance is very old-fashioned. To revitalise it, I interweave classical dance with a contemporary edginess,” says Ho. “Powerful, provocative choreography isn’t just about the beautiful outfits worn by dancers. I’m looking at this from inside. It’s the powerful charisma of the dancers and the story they express that moves people. Since most dancers are female in a Chinese dance troupe, we naturally tell stories with a feminine perspective. My childhood memories of Macau also inspire me, especially in our works Macao Tale and Tides of Change.”

Music plays an important role in any kind of performance. Independent pianist and composer Evonne Lei knows the power of sound, knows how it skewers the subconscious and provokes emotions at a deep level. With her training in classic music and passion for contemporary music composition, Lei’s enormous musical talent and love of the piano led her to the successful release of her debut album Macao Sensation, a medley of songs with a distinctive Macau flavour. “After studying in Taiwan for years, composing songs for Macau is the driving force for me to come back. This is a city full of stories and sensations, melancholic but hopeful,” says Lei. “I often visit the old town of Macau with my tape recorder to record the voices of the residents there. They are the voices of the past. When I savour the sounds of this historical part of town, the rhythms emerge naturally from my mind.” Lei’s pop-classical crossovers are relaxing, soothing and even meditative, reflecting the enclave’s serene and sacred temperament – Macau has been a centre of Christianity in the Far East for centuries. According to Lei, it’s impossible to talk about Macau and music without talking about religion. As if to emphasise her point, she dedicated Morrison Suite to English missionary Robert Morrison, who first translated the Old and New Testament into Chinese and is buried in the Old Protestant Cemetery in Macau. “This is a tiny place, but I have a lot of inspiration from its unique history,” says Lei.

Source: Air Macau Inflight Magazine April/May 2009 Issue

Writing by Chung Wah Chow

Photography by Gary Mak

THE MEANING OF CHANGE

Amy Marshall’s recent performance “Tides of Change”, commissioned by the Macau Cultural Centre

Sevem months after the launch of the “Dance to New York– Choreographer Exchange Programme” created by the Macau Cultural Centre, the Amy Marshall Dance Company (AMDC) and local choreographers Candy Kuok and Stella Ho energetically presented the fruit of their labours on the 18th of October in Macau.

On its world premiere evening, the performance “Tides of Change” was greeted by the local audience with overwhelming enthusiasm. Despite critiques of Amy Marshall’s provocative style of overt sentimentalism and her abundant usage of tiresome body movements, one has to admit that the whole project ended in a remarkable success in terms of local acceptance and involvement. Groups of local students and friends who met the troupe during school tour workshops waited at the backstage door as if the AMDC were visiting rock stars. Unrestrained cheers and applause were showered on them. In retrospect, the generous response of our notoriously “passive” Macau audience is worthy of our attention and thoughts. A small troupe of just nine dancers, including lead choreographer Amy Marshall, the New York-based AMDC enjoys a fame centred on its technical ability, often expressed in terms of powerful physical movements. Local choreographers Stella Ho and Candy Kuok both commented on their impressions of the company’s “efficiency” and “skill”, observed during their visit to New York. “Personally, I tend to learn from many different styles and skills,” Candy Kuok says. “In contrast, I realised that the AMDC dancers would rather spend their time focusing on the development of their own style. Though they might seem not to know very much about what other troupes are doing, they certainly know what they themselves are getting at. The concentration is amazing. This has led them to be experts at what they do.” During the three-week workshop in New York with the AMDC, Candy and Stella participated in a series of intensive training and brainstorming sessions. “For me, the experience was certainly new,” Stella ho says. “As my background is based exclusively on Chinese dance, the training sessions in yoga and modern dance gave me a chance to reconsider my previous approach, and my view of Chinese dance was further developed thanks to the distance I experienced.” The influence was certainly not one-sided. as was observed in the performance of “Tides of Change”, a lot of Chinese dance elements were incorporated into Amy Marshall’s choreography. Nevertheless, during this encounter some adjustment was inevitable. Candy Kuok recounts her own experience: “Since we were invited also to contribute ideas for the creation of ‘Tides of Change’, I was very excited and wrote lots of proposals concerning the choreography, even before I arrived in New York. I soon realised, though, that amy had a very precise idea of just how we were going to contribute, and she did not hesitate to claim her responsibility as the lone choreographer of the piece. I adjusted to the idea but kept sharing my suggestions as soon as I had any. Then, once, during a brainstorming session in New York, while I was improvising a movement, Amy saw it and suddenly cried out to me. ‘That’s it!’ she said. We finally understood that it was through physical encounter and expressions that we could really exchange our ideas in the practice of dance.”In this way, Amy Marshall gathered together all the ideas and created “Tides of Change”, which is based on the three choreographers’ memories, their current lives and the way their imagination revolves around the city of macau. Once back in Macau, Candy and Stella anxiously awaited the the troupe’s visit to the city.

Three weeks before the performance, the AMDC finally arrived and was fully geared. They conducted a series of educational workshop sessions in various local schools and rehearsed “Tides of Change” in the evenings. Training sessions were again necessary, as more local dancers were auditioned and cast in the show. New encounters with local citizens and the cityscape of macau were the background of the activities. While everything was working towards the final goal, the energy of the troupe grew towards a climax, which took place on the evening of the performance. The project “Tides of Change”, commissioned by the Macau Cultural Centre, was a successful venture in a definite sense. The confrontation of Macau’s artists and audience with the extraordinary energy of the AMDC is sure to leave a lasting impression. as Macau’s social atmosphere is being doomed to materialistic boredom, such dynamic energy was perceived as fresh water in a thirsty mouth. Local choreographers Candy Kuok and Stella Ho have shown, before an audience, their ability not only to adapt such energy, but also to exalt their previous achievements. Now we can actually hope that this kind of “tide” will continue to come in and wash over our artists and audience, because in a time of critical change, Macau has no reason to stay passive and wait.

Macau Closer Magazine, 2008 November issue @ page116 / page59 digital version

by Alice Kok

編舞者的悄悄話

a.m post: 05.2008 issue

文/孫嘉蓉

絶大多數的編舞家都是舞者出身，但並非每個舞者都有能力或意願成為一位編舞者。原因在於一支好的舞作，乃是集編舞者的視野、洞察、敏銳、好奇，外加與舞者的溝通、互信；還有種種技術層面和現實層面的考量才能產生，真希望能窺視編舞者的腦子裡在想什麼？組織著什麼？

澳門文化中心日前請來三位與澳門各自相關的編舞家對談：一位是香港資深編舞伍宇烈，他先前受邀用三個月的時間，指導一班學習中國舞的澳門年輕業餘舞者們，創作出舞作〈秋水夜人〉；另面位則是【跳躍.紐約－編舞精英文流計劃】的獲選人－郭瑞萍及何雅詩，郭遊走在現代舞和劇場之間，喜歡嘗試多種實驗，後者則以中國舞蹈為根基，希望開創不同的天空，她們都將在八月前往紐約接受訓練。兩個女生在伍宇烈面刖一點都不見生澀，談起編舞各有主見，在這場有點形而上的討論中，我們逐漸琢磨出關於編舞的點點滴滴。

相信自己就是天鵝

如果說藝術創作都是創作者自我成長的摸索，編舞者所要摸索的住往不只自己，還包括負責演繹的舞者。「跟人排舞時最有趣的是，他是不是自願去作某些事，他找不找到目的去作某些事。」曾與多個不同團體合作的伍宇烈認為，讓舞者進入狀態很重要，「例如一群天鵝，不只要指導他們的手怎樣放，他們要相信自己就是天鵝，正在支持某一隻天鵝和王子的愛情。如果你不相信愛情，自己根本沒有感覺，觀眾怎會有呢？」

而舞者的吸收也是關鍵，郭瑞萍說：「有時我編舞會給舞者看我想要的東西，他們一開始可能不了解或不接受，必須到他們真心接受那個安排才能作到我要的效果。」伍宇烈於是提出一個經驗：「其實不一定是你的想像畫面，只要他相信自己，出來的效果也是你想要的狀態，這就ok。」

談到相信，編舞者有時也要對自己相信的事情做一番拆解。何雅詩表示：「中國舞有古典舞和民族兩大派。古典就是劍舞、羽扇之類；民族舞就百花齊放，他們不是面對觀眾，而是圍一個圈大家一起跳，或者簡單到我們在北京公園中看到的那些。其實是很廣，學之不盡的。但所有團員，包括學生，都覺得跳很『中國舞』的中國舞很老土。所以從我學編舞開始，已不常排中國舞。」

伍宇烈反問：那麼到底什麼可以被稱為『中國舞』？拿把劍跳舞算不算？作中國舞動作但拿掃把算不算？配西洋音樂？不穿衣服？邊跳邊駡粗口呢？標準在哪裡？何認為中國舞的動作特徵應是高過音樂和道具，至於標準，她表示客觀上仍是有的：「你學回來的就是標準，是個對比的問題，我現在從北京舞蹈學院學來的一套，在澳門就會覺得是標準，因為大家都會覺得是他們整合的，在這個中國舞的殿堂中，北京舞蹈學院學程的研究者，他們規定的，也有文字記載，有錄影參考。」為了統整而制訂標準無可厚非，但是自由存不存在呢？「我回到澳門演藝學院學民族舞，也曾有蒙古老師教蒙古舞，會發現有不同，他們不注重手腳的角度，反而注重你心裡怎樣想。後來有個年輕的上海老師來教民族舞，他會赋與一些自由度。從前腳提不到某個點就是不對，考試也不會及格，全部有目標的。但後來發現有自由的，你自己覺得美就可以。」

「有動機就會有自由。大家都在追求某種自由，是貼近現在自己想做的東西，不只是給人家看、交功課。如果舞者很享受，就達到目的了。」伍宇烈現在的編舞心境是忠於自己，「我現在會去想，在台上到底會不會有很大滿足感，滿足感不是來自往很的掌聲，而是說出自己的故事，無論你的角色為何。」

編舞找答案

編舞對三個人來說都是在回應不同階段心中的疑問。去過印度一段時間的郭瑞萍一直想知道的是人在尋找什麼？開心和快樂如果是一種永恆的平靜，該怎麼維持這種平靜呢？「我會通過創作去找掌時擔憂或好奇的東西，以至於有幾年我的東西都很相似，因為還沒找到答案。其實答案未必找得到，但會變得清晰，有時候甚至連疑問也都變得清晰了。例如第一次腦中出現開心和幸福，第二次才慢慢出現問題句子。」

伍宇烈說舞蹈是他是誠實的生命記錄：「我現在都是想作些自己有興趣的東西，我有陣子發現同年紀的人有興趣的都差不多，那麼不知道是不是年紀的關係，大家都面對人生方向之類的東西。回頭去看大師作品，也都有些歷程，例如大家好像都對木偶有興趣。最內心的還是用排的出來的舞蹈，雖然不易懂，但都誠實一點，如果用一篇文章是怎麼也表現不出來的，都可能很做作。」

很多演員不敢看自己的戲，那麼編舞者如何看自己以往的作品呢？郭瑞萍說：「我覺得很奇怪，回頭看自己做的東西時，常會感到不好意思看。」「也許因為突然客觀了，理性了，」伍宇烈解釋：「表演時我們顯露出自己很內在、裡面的東西，你再看就好像脫掉所有衣服，有點這種感覺。這其實是一個很好的經驗和訓練，要逼自己回看自己的作品。如果發現很不好，就會催促自己改，所以每次重演都會完整些。」

何雅詩說：「（回看作品時），我各而常覺得不夠「大」（內在的），自己可以再擴張些。我很少排舞給自己跳，通常排給別人，而且是群舞。演員多是受中國舞訓練，是收歛的。學生從小到大都是「小」的，不懂將身體擴張，所以要向他們解釋，排一條最長的路線給怹們。」

伍宇烈：「芭蕾的話就會說，差兩度，腳不夠高，落地歪了之類。芭蕾是要很精準，差一點點也很容易看出來。」他也自問：「其實為什麼要大，為什麼要整齊，內裡是有目的的。我現在開始明白古典芭蕾為什麼要追求整齊，去迪士尼排隊不一定要整齊，但跳《吉賽兒》，或者感覺到有些東西需要「大」的時候，可能就需要這樣去表達。但跳中國舞群舞的時候是否要「大」、我擴大的時候人家又是否要擴大、大和小的概念是什麼等等，我也一宜在找答案。」

打開世界的門

出走，對於年輕藝術家是重要的，打開心裡那扇世界的門，才能清楚看到自己的腳踩在什麼位置之上。最後，伍宇烈問兩個女生對於去紐約的期待，郭瑞萍希望能多參加些奇奇怪怪的工作坊；何雅詩則想單純去感受一下由早到晚都在跳舞的滋味。兩個人的答案透露出一股興奮，沒有堂而皇之的說詞，只有對舞蹈和創作滿滿的好奇心與渴望。稍微沉靜地思考後，一向和業餘舞者工作的郭瑞萍談到，期待之二就是可以和專業的舞者工作。關於這點，何雅詩也有共鳴：「我以前編舞都會顧慮到舞者做不做得到，我很好奇到了紐約會不會還有這種想法，甚至如果紐約舞者們可以做到的我都未必做到，那又會發生什麼事？」

而何雅詩也希望紐約之行可以為她對中國舞的困惑帶來一些啟發：「很多人覺得中國舞很老土，我覺得林懷民的舞也很中國，但郤不會讓人這樣覺得。我自己學民間舞不是很有系統的，要怎麼用學到的來教中國舞然後不老土，我希望能找到一個突破的方式。」

對話結束了，兩人的編舞之路郤才剛開始，一支好舞作的形成與一個編舞者的養成一樣得來不易，就像伍宇烈所說：「編舞者需要的是不斷的機會。」期待看到的除了他們更多的舞作，也期待看到一種在深處默默流動的傳承力量。

Sainkho Namtchylak即興對話

本文作者－子嬰　　　　　　　　　　　　　　　　　　　　　　刊於澳門日報 2004.11

Sainkho Namtchylak將於十一月首次來到兩岸四地舉行演出與工作坊,主辦單位特別邀請四位傑出的華人音樂家 / 藝術家, 與 Sainkho 進行一連中串現場雙人即興演出。為期九天的緊湊行程中, 首站 (十一月六日) 將先到廣州, 並和前陣子剛拿下華語音樂傳媒大奬新音樂大奬的李勁松有一場即興演出, 李過去曾以 Dj Dee 名義來澳, 其擅長以採樣拼貼的手法, 運用 laptop 、效果器與唱盤，音樂風格兼容並蓄，從舞曲到環境到噪音，這次勢將與Sainkho 那變化多端的人聲有一場精彩對話。

十一月七號Sainkho 將來到澳門主持一場工作坊，除教導如何挖掘自己的發聲潛能，當然少不了示範那讓人驚嘆不已的雙聲唱法，最後還將與本澳著名現代舞者 Candy Kuok 有場別開生面的互動演出。能夠跟大師級藝術家學藝實在機會難逢！九號Sainkho 將抵達香港藝術中心，與香港著名打擊樂演奏家李耀誠進行 duo 演出。近年專注研究、教授和表演手鼓的他，從中東、印度的手鼓作曲和表演技巧，巴西搖鼓 Pandeiro 到非洲敲擊樂等，經過各地不同特色的手鼓音樂薫陶下，加上他本人的音樂背景和各種現代音樂的影響，發展出一套非常個人化的敲擊樂，與Sainkho 的人聲相信會擦出耐人尋味的即興火花。

Sainkho 巡迴的最後一站是台北，並將舉行兩場不同形式的演出與一場工作坊，十三號在台北中山堂的三重奏演出，Sainkho 特別召集負責 laptop、傳統樂器與人聲的 German popov與負責吉他與人聲的 Caspar David Sacker，樂迷將現場感受她如何演繹近年來幾張重要專輯，包括＂Naked Spirit" 、 "Time out "與　" Who Stole the Sky" 中的經典歌曲。至於十四號晚在台大迴廊咖啡廳的壓軸演出，Sainkho 將再度以 duo形式，這次合作對象是華人重量級聲音藝術家姚大鈞，他將以兩台 laptop炮製出許多不同的聲音，從具象到抽象，與Sainkho 展開多層次的即興聲音交流。其間她也會到國立台北藝術大學，為該校五十名藝術學生傳授發聲技巧。過往由於許多原因，Sainkho Namtchylak的名字跟音樂在華人地區仍停留在少數樂迷心目中的 "Best Kept Secrets"，期待透過這次演出，讓更多人親身感受她音樂的美好吧。　（下）