台北民族舞團《拈花微笑》觀後

好久沒有欣賞演出了,當然是有原因的。看不到能打到我內心深處的舞作是原因之一。所以現在看演出,常是為了台上的某位舞者或是整場舞蹈演出的某個片段的編舞者,可以說是捧場吧!
這回,因為賴筱婷老師參與演出,所以再度買票進劇場。當然也是因為和台北民族舞團有一份緣。
坦白說,在前往城市舞台的途中,是有點擔心瞌睡蟲會找上門來的。因為我看的是首演的午場,前一天晚上因為上舞蹈課的關係,比較晚睡,所以是一路打著呵欠到劇場的。但是,第一幕~《微笑》~就告訴我,我多慮了。
《跑香》裡舞者在空間的流動,讓我的眼睛一亮!新一代年輕舞者的加入,果然給舞團帶來不同的氣象。
《心路》使我想起與台北民族舞團結的緣。從踏進台北舞坊(台北民族舞團在重慶南路舊址時兼營的舞蹈教室)習舞;因緣際會與舞團一起演出《孔雀公主》;參加雪曄和其斡的婚禮;舞團因為種種原因暫停營運;老師出國進修;老師回國召回子弟兵,在大直重新出發;琳琳結婚;《香火》演出前琳琳的夫婿發現罹癌;老師中風……。看著台上的舞者,除了筱婷老師,現在的團員沒有人認識我了,即便是跟著老師走到後台,也不會有人熱情的稱我「母后」,開心的與我打招呼,謝謝我又來捧場了。想著、想著淚水佈滿了我的臉龐。病後的蔡老師應該有著更深的體悟吧!對於這無常的人生、歲月的流逝。
拭著眼淚看《聽濤》,浪潮的聲音奇異地讓我澎湃洶湧的心平靜了下來。《禪悅》的鐘聲卻又讓我流下感動的眼淚。
中場休息時間,我便急急搜尋著老師的身影,我想告訴她:我好喜歡!好感動!她真的打到了我的心,讓它那麼悸動不停!
很喜歡《落花》的氛圍,從一開始白色長布條上投射的虛幻舞影與舞者的投影相互呼應,到最後沈寂的舞台上慢慢凋零的“花”,整個第二幕充滿了蕭君玲老師特有的柔美風格,看得到民族舞蹈獨特的身段,又兼具現代舞的鋪排技巧。應該是近幾年來致力於融合現代與民族的老師,進入一個新的里程碑的佳作吧!
胡民山老師的《色空》與其他二位女性編舞家的作品擺放在一起,顯得有點嗯~突兀?我不知道該不該這麼說?但這是我的感覺。雖然比起上一回,那種突兀、不相容的感覺已經減輕了許多,不過還是會有這種感受。或許我和蔡老師、老師比較熟吧?看她們的作品已經好多年了,比較能夠感受她們想要傳達的理念,與隱含在舞作裡的哲理。或許蔡老師想藉由老師的加入,刺激舞團的成長吧!
這是個讓我反覆回味的表演,我很喜歡。

演完了 (The 2010 Dance Performance is finished)


這是我們到豫和的第一次成果展, 也是豫和第一回有成人演出的年度發表會, 對我們彼此來說都是全新的體驗吧!
This was the first dance performance we had in Yu-Ho. It’s also the first dance performance including adults’ show for Yu-Ho. For both of us, it’s a fresh experience.

猶記得5月初確定我們將以水袖做為在豫和初試啼聲的作品時, 我和Bekey都很佩服葉老師的勇氣, 可一方面也有些提心吊膽的, 才短短4個月我們真的可以練得好水袖這支舞嗎?
In order to have a good start, our program had been changed several times. Finally in the beginning of May, Teacher Yeh decided to choreograph “Water/Shake Sleeves Dance” for us. Frankly, Bekey and I were very worried not only because we only had 4 months to study and practice but also we both know that how difficult a Water/Shake Sleeves Dance can be.

所謂「水袖」並不是用水做成的袖子, 而是在原本的袖子前面裝飾加長的白綢子, 透過舞動長長的白綢來表現情感或意象。一般來說, 水袖的長度約為臂長的2倍, 因此水袖舞的基本動作中最難的首推「收袖」了。要將這般長度的袖子整齊的、美麗的、一層層的在一個動作內推疊回手心中, 光是想像就頭皮發麻了。
“Water Sleeves Dance” doesn’t mean that dancing with sleeves made by water but with an attached long white silk in addition to the original length of sleeves to express emotion or create imagination. Usually the length of “Water Sleeves” is two times long of one’s arm to hand. Hence, the most difficult movement of “Water Sleeves Dance” is to return the long white silk back to your palms orderly, one layer after the other beautifully.

事實證明, 「收袖」真的不是個簡單的動作; 但, 葉老師的編舞能力也真不是蓋的。一剛開始, 大部分的同學都很興奮, 可是練習了1個月, 老師和我們自己都快昏倒了, 因為真的「收」得很醜! 再者, 夏天練水袖真的是一大折磨, 無論冷氣開得多強, 一堂課跳下來, 水袖衣內的緊身衣還是濕漉漉的。過程中也曾有同學萌生退意, 好在大部分的同學還是意志堅強的一起撐過來了。當然, 葉老師也為了我們做了些調整, 將舞蹈注入較多的現代舞元素、縮短袖長、減少收袖的頻率、週日加排…等。直到當日下午彩排時, 我們還被老師唸「你們的袖子收得好醜, 去後台練」。不曉得是大家臨時抱佛腳真的有用, 還是平日被操練得久、罵得夠, 正式演出時, 大家的袖子都有收到, 而且還很整齊哩! 只有我在剛剛開始時沒多久, 就「碰」得跌了一跤, 算是最大的意外吧! 幸運的是, 我只是被褲腳絆倒, 沒扭到腳, 算是不幸中的大幸吧!
Some classmates were so exciting in the beginning but became frustrated after 1 month practice because they couldn’t make the water sleeves back to their palms as they wish. So did I sometimes. Besides, it was in summer; wearing water sleeves and keeping practice the same movements again and again made us sweat a lot. Even though some did think of quitting, most were diligent and practiced hard. Teacher Yeh also modified a lot of movements for us, such as changing the dance style from traditional Chinese folk dance to a bit modern, cutting the length of water sleeves, reducing the frequency of returning water sleeves, having one more class on Sunday, etc. However, in the afternoon rehearsal on the performance date, one still could hear Teacher Yeh yell at us about our movements especially for returning our water sleeves. Maybe we did practice hard afterwards; we had a good show during the performance. The only imperfect part was that I fell on the stage because I stepped on my trousers. Well… at least I just fell not twisted my ankles.

By 禹樺 (Rainy)