香港舞蹈團《舞韻中華》Elegance of Ancient Chinese Dances by Hong Kong Dance Company

簡介 

《舞韻中華》選取中國歷代的樂舞來展現不同朝代的歷史文化，包括漢代的盤鼓舞和漢唐流行的踏歌。先秦時代楚國盛行巫風，在宗教文化影響下產生了獨特歌舞形態。宋代舞蹈傾向含蓄清雅，而清代舞蹈則展現嚴謹典雅之態，呈現仕女生活在時代變遷下的不同面貌。 

*設演後藝人談（粵語）

嘉賓：楊雲濤先生， 香港舞蹈團藝術總監

 

BRIEF INTRODUCTION

The program features dances from Pre-Qin period to Qing dynasty, reflecting the diversity of the art form under the influences of Chinese history and culture. During the Pre-Qin period, wizardry was popular in the Chu State, dance was affected by the religion and culture of the time. Dancing with platters and drums was a unique style that appeared in Han court dance, whereas treading feet with singing was a type of dance common in both Han and Tang societies. Court dance in the Song dynasty tended to be elegant and implicit. Lastly, the refined and rigorous dance selected from the Qing dynasty shows the life of genteel ladies in the changing time of China into the modern society.

*With post-performance meet-the-artist session (Cantonese)

Guest: Mr Yang Yuntao, Artistic Director of Hong Kong Dance Company

 

香港舞蹈團

「融匯中西 舞動香港」

香港舞蹈團於1981年成立，致力推廣具當代藝術創意及香港特色的中國舞蹈，歷年排演超過二百齣深受觀眾歡迎和評論界讚賞的作品，享譽舞作包括：《倩女．幽魂》、《白蛇》、《九歌》、《一水南天》等。舞團擁有廣泛國際脈絡，曾涉足美國、歐洲、韓國、內地等十多個國家及地區演出，促進文化交流。舞團銳意跨界創作，深研中國舞蹈與中國武術之糅合，原創新猷包括：舞x武劇場《凝》 及大型舞蹈詩《山水》。

Hong Kong Dance Company (HKDC)

“Dancing across East and West, Moving to the Tempo of Hong Kong”

Established in 1981, Hong Kong Dance Company (HKDC) is dedicated to promoting Chinese dance with contemporary artistic visions and Hong Kong character, staging over 200 productions to great acclaim. They include L’Amour Immortel, Lady White of West Lake, Nine Songs, A Tale of the Southern Sky and more. The Company has extensive international connections, creating cultural rapport by touring to the US, Europe, Korea, the Mainland and multiple others around the globe. With its mandate to create original interdisciplinary works, the Company has explored the confluence of Chinese dance and Chinese martial arts traditionsto create the innovative dance and martial arts theatre Convergence and the grand dance poem Shan Shui: An Ode to Nature

 

節目表 PROGRAM LIST

1.《群伎獻藝》漢

選自中國大型古典舞劇《銅雀伎》片段，是舞劇中曹操眾宴群臣時表演的一個舞蹈。以腳踏盤作舞，舞風端莊典雅，重現了漢代宮廷樂舞的景況。

'Group Dance' Han dynasty

Excerpted from the large-scale dance drama Dancing Girl of the Bronze Sparrow Pavilion, this dance features dancers entertaining Cao Cao and his generals at a grand banquet. Based on intricate footwork on upturned platters, this dance is elegant and graceful, recreating the splendour of the Han court.

 

2.《楚腰》先秦

相傳先秦時楚靈王愛好細腰，所以楚地女子以腰細為美。而當時楚地又盛行巫風，婆娑歌舞，事神娛神也就成了楚人的「時尚」。這段舞蹈根據楚文化的歷史訊息，也參考了湘、桂邊境銅鼓飾紋中的羽人形象，試圖表現先秦時代樸拙的舞風、坦蕩狂放的巫女神韻，以及不同於後世的秀麗嫵媚。

《楚腰》不僅是跳給楚王欣賞，整個舞蹈表演的過程表現了當時的祭祀過程。隨著漸漸響起的音樂，五位舞者圍坐成一圈祈神，頭隨著音樂的節奏晃動，頭上的翎子既娛人也娛神，隨著舞動起來，營造出神秘的意境。然後大巫帶領著其他女巫進行祭祀活動，出現瘋狂、歇斯底里的動作，體現出女巫入神的身體狀態，表現達到「通神」的境界。

'Chu-style Waist Dancing' Spring and Autumn Period, pre-Qi

Legend has it that Duke Ling of the Chu state was fond of women with slender waists, setting off a trend. The Chu state was also steeped in wizardry, characterized by highly stylized ceremonies and rituals celebrating the spirits. This dance is constructed on historical research of ancient Chu culture, incorporating images of figures wearing ornamental feather headdresses discovered along the borders of today’s Hunan and Guangxi provinces. It is an attempt to explore dance styles predating the Qin dynasty. The style of the sensual ritual dance differs greatly from the characteristic reserved beauty and charm of Chinese dancers of later periods.

 

3.《踏歌》魏晉南北朝

踏歌，指拉手而歌，兩腳踏地為奏，邊歌邊舞。這一漢民族傳統舞蹈遠在兩千多年前的漢代就已興起，到了唐代更是風靡盛行。民間有、宮廷也有。漢族地區現已失傳，邊疆兄弟民族至今仍有踏歌形式舞蹈，現在表演者的踏歌是取魏、晉以及南朝的文化風韻和古江漢秦淮地域特色參考文物中的舞蹈形象資料編創的。

舞者踏腳歌舞，跳出《踏歌》的斂肩、含頦、掩臂、松膝、擰腰、倾胯等等形態。編導將漢代的「翹袖」、唐代的「抛袖」、宋代的「打袖」和清代的「搭袖」兼融並用，這種不拘一格、他為己用的創作理念，無疑成就了古典舞《踏歌》古拙、典雅而又活潑、現代的雙重性。

歌詞

君若天上雲，儂似雲中鳥；

相隨相依，映日御風。

君若湖中水，儂似水心花；

相親相戀，浴月弄影。

人間緣何聚散？人間何有悲歡？

但願與君長相守，莫作曇花一現。

'Spring Excursion' Wei-Jin, Southern & Nothern dynasties

When two feet tread the ground, rhythm is created. Singing and dancing in such a manner was a popular style for the common people as well as in the imperial court. Although the tradition of singing while treading has long been lost among the Han people, many minorities in the border regions have preserved this heritage. The dance captures the historical essence of the Wei-Jin period and the Southern dynasty along the delta region of the Yangzi, based on artefacts with dance images unearthed in the area.

Lyrics

If you were a cloud in the sky, I’d be a bird in your midst.

We’d lean on each other, basking in the sun and warm breeze.

If you were water in a lake, I’d be a blossom floating upon you.

We’d be close together, relishing the moonlight and playing with shadows.

Life is filled with meetings and partings, joys and sorrows.

I wish to spend the rest of my life with you, not as a transient blossom.

 

4.《玉兔渾脫》宋 

宋代的女子宮廷舞蹈，講究端莊典雅，舞來輕盈飄逸，如仙子般的清靈，傳達一種清新和諧的動人之美。「渾脫」是胡語，意為「帽子」。玉兔渾脫是頭上戴有精美的兔形帽飾，穿四色繡羅襦，腰系銀帶。此舞或許與對月亮的崇拜及銀波月色清凜安逸的情調有關。另外編導採用了宋代詞人陸放翁的《詠梅》配樂吟唱作為舞曲，不表現詞的內容，只藉以渲染這段舞蹈端莊秀麗清淡、優雅的氣氛。

'Rabbit Headdresses' Song dynasty

This dance depicts the worship of the moon during the Song dynasty, with girls wearing beautiful headdress in the shape of rabbits dance gracefully bathed in moonlight. The choreographer adapted the music and the singing from a poem In Praise of the Plum Blossom by a Song dynasty poet Lu You.

 

5.《挽扇仕女》清 

描繪清代仕女大家閨秀的形象，含有中國近古女性舞蹈的一些特色。主要表現女子在行走時的輕盈步態、動作的圓潤含蓄和平和穩靜。舞中十多位「仕女」款步而出，霎時給人一種高貴優雅的感覺。不一會兒樂調忽轉，仕女們一改矜持的形象，歡快活潑，天真爛漫。舞台上裙紗飄揚，賞心悅目。中國的女性習俗，在上古、中古和近古之間都有很大的差異，明清至五四新文化運動年間，女性的纏足時代對中國女性舞蹈有著深遠的影響。因此編創清代舞蹈時，對時代和社會的影響，既如實的反映，也作了一些改變。

'Maid of Honour with Fan' Qing dynasty

Much of Chinese classical dance is imbued with images of genteel ladies of the Qing dynasty landed gentry, noted chiefly for their gait and poise. However, Chinese customs through the ages have also limited women’s mobility because of the practice of footbinding (prevalent in the Ming and Qing dynasties until the May Fourth Movement). Therefore in this dance depicting noblewomen of the Qing dynasty, not all portrayal of their postures or movements have remained true to genuine history.

 

6.《鼓舞天成》漢 

選自中國大型古典舞劇《銅雀伎》片段，表現男女主角自幼習藝，專精此舞，借助手鼓與踏鼓的對話形式，一方面表達了二人從青梅竹馬到暗生情愫等情感變化，同時也體現了漢代鼓舞獨有的宏放、樸拙之美。

'Love Song with Drums' Han dynasty

Excerpted from the large-scale dance drama Dancing Girl of the Bronze Sparrow Pavilion. Using dialogue between hand drums and treading drums, this dance depicts two young people growing up together and falling in love and the distinguishing features of the vivid yet simple drum dance of the Han dynasty.

 

7.《相和歌》漢 

選自中國大型古典舞劇《銅雀伎》片段，是中國古代音樂、詩歌、舞蹈相結合的完美體現。表現中國漢代獨有的樂舞表現形式–踏盤踏鼓邊歌邊舞，彰顯中國深厚的文化底蘊和漢代博大、宏放、古拙的審美韻味。

歌詞

青青子衿        悠悠我心

縱我不往        子寧不嗣音

青青子佩        悠悠我思

縱我不往        子寧不來

挑兮達兮        在城闕兮

一日不見        如三月兮

'Grand Chorus' Han dynasty

Excerpted from the large-scale dance drama Dancing Girl of the Bronze Sparrow Pavilion, this dance is an amalgam of ancient music, poetry and dance. The characteristic singing while treading on upturned platters and drums becomes a vehicle to show the depth of Chinese culture and the historical aesthetics of the Han dynasty.

Lyrics

Blue-collared lad, you’ve long been in my heart.

Although I cannot come to you, couldn’t you send word to me?

Blue-belted lad, you’ve long been in my thoughts.

Although I cannot come to you, couldn’t you come to me?

I pace around, I even climb to the watchtower on the city wall.

I haven’t seen you for a day, and it feels like three months!

 

ONLINE REGISTRATION 網上報名

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REMARKS 備註

• Free admission
  免費入場。
• Online registration is required.
• 參與活動必須先網上登記。
• Please arrive at the venue 15 minutes before the showtime.
  請於演出15分鐘前抵達場地。
• Age Limit: 6 (Person below this age not admitted.)
  年齡限制: 6 (此歲數以下恕不招待)。

• With post-performance meet-the-artist session (Cantonese)
  設演後藝人談（粵語）

 

ADMISSION RULES 入場守則

• Free-seating arrangement is adopted on a first-come-first-served basis.
  不設劃位，先到先得。
• No Food or drinks are allowed.
  嚴禁飲食。
• Unauthorized photo-taking, audio and video recording are strictly prohibited.
  未經許可，嚴禁攝影、錄音或錄影。

• Late-comers will be admitted only if there is a suitable break in the performance.
  遲到者需按工作人員指示在合適時間下方可進場。
• The organizer reserves the right to add, withdraw or substitute artists and/or vary advertised programs, seating arrangement and audience capacity.
  主辦單位有權保留更改表演者、節目資料、座位安排和觀眾人數上限的權利。