表演場雙週刊第七期 (20190606) - 「明」人飯局 The Art Venue Bi-Weekly Issue 007 - Win.Guest.Food

嘉賓 | 國際著名編舞家 安洛克‧馮‧黛沃克

Guest | Anouk van Dijk, Internationally renowned choreographer

心水餐廳 | 君悅咖啡廳  Restaurant | Grand Café

安洛克‧馮‧黛沃克(Anouk van Dijk)是荷蘭籍編舞、舞者、藝術總監及名為「抗衡技巧」舞蹈訓練系統的始創者。她曾創 立自己的舞團，並剛卸任澳洲塊動舞團 (Chunky Move)藝術總監一職，重回自由身。Anouk 最近應邀來港在香港演藝學院客席授課，場主藉此良機邀請了Anouk 接受「明」人飯局的訪問。

Anouk van Dijk is a Dutch choreographer, dancer, artistic director and the creator of the movement system, Countertechnique. She was Artistic Director of dance company Chunky Move in Melbourne, Australia (2012-2018).

陳:我2015年於澳門藝術節有幸欣賞由編 劇、導演福克・李希特(Falk Richter)與你 跨界創作的「舞劇」《信任》，非常難忘。 之後《歸屬習題》在台北上演，但可惜我 錯過了。

安:談到這些作品，《歸屬習題》去年仍 在歐洲巡迴;而《信任》亦仍在重演，演員已更新，我已沒有參與演出，但作品繼續非常成功，一票難求。

我對於社會如何影響個人十分感興趣。在一個安全的社會之中，相對於被監視及處於危機時，你對別人的態度及親密度也將有所影響。《信任》當中，抗衡技巧是一 個載體，亦有助演員發揮角色;一方面自由，另一方面受到約束。

陳:舞蹈有什麼吸引你?

安:15歲那年，我近距離看了一位男舞者 的演出，令我相當震撼，他表現出的能量、 自由、流動、從容、危機及音樂感，令我 立即跑去跟媽媽說:「我要成為舞者!」 媽媽反應過來，說:「讓我查詢一下這裡 的舞蹈學校，看你年紀是否合適。」就是這樣開始。

作為編舞，我對演出者在台上如何作決定， 如何以一己力量壓下恐懼，去冒險，去 表現強烈的慾望、幽默感、能量，往往 令我著迷。

環境亦可以改變感官。以這間餐廳 為例，高樓底、海景、寬闊的空間 相對於一個狹窄空間將影響我們的 經驗、判斷及價值觀。我發覺環境 對於個人行為及對舞蹈的理解而有 所影響這點十分有趣，作為編舞， 我喜歡操控這個經驗。

對演出的期待、觀眾的心情、看演出 心態結合而成為語境。這些條件能令不看舞蹈的人愛上舞蹈。

陳:觀眾常希望在舞蹈中找尋註釋及故事內容，你會如何閱讀舞蹈?

安 : 舞蹈工作者創作時太注重內在， 忘記觀眾如何解讀他們不明白的內容，這樣非常危險。我喜歡與不太 關心舞蹈的創作者合作，他們的意見更貼近大眾，而受不同領域藝術 訓練的創作者，以故事、以聲音出 發提出意見，能助我以不同角度看 自己的作品。《信任》第二場，我 問李希特對動作的看法，他說像在溜冰!我立即大幅修改。我亦喜愛「被迫男朋友」的概念，找一位不入劇場的朋友 看舞，然後讓他在中途大叫:「天!是我 看漏了什麼嗎?」然後乖乖聚精會神看 下去，這是我嚮往的。

陳:往後有什麼計劃?

安:我現居於澳洲，在澳洲、紐西蘭、加拿大、歐洲仍有項目在進行。未來希望與更大型的舞團合作並計劃回流歐洲。

我的「抗衡技巧」舞蹈訓練系統受歡迎度 亦與日俱增，稍後將發展網上平台。自 2008年起，我們開始兩年一度的導師培 訓，下年將有另一屆。現有的32位註冊導師來自世界各地，其中有任教於舞蹈學校 的，已將訓練編入課程當中。

我亦希望有機會在香港創作。有個概念 計劃已久，是與廚師合作，看看餐點與 舞蹈如何互動。食物有不同層次的意義: 氣候變化、人口增加、資源分配等，有 待發掘。誰知道?或許香港是個適合的 地方。

陳:我們十分期待你的作品能於香港上演。

W: I was so impressed by the performanceTRUST that you co-directed with Falk Richter.

A: I'm interested in how society impacts on a personal level. When you feel safe in the society, you behave differently from when being observed, or in crisis, that could also affect your behaviour toward others and in creating intimacy. In TRUST, Countertechnique is a vehicle and a source of inspiration for performers: on one hand to be free and on the other hand constraints.

W: What draws you to dance at the very beginning?

A: By watching someone closeup. I was 15 and a male jazz dancer appealed to me with his energy, the freedom, the flow, the ease, the risk and musicality. I started dancing at 13 and after watching that performance, I went to my mother and determinedly telling her that 'I wanna be DANCER.' My mom said she will call the local school and see if I'm too old to get in. That's how it began.

I was attracted to people who make decisions on stage, in their own power, without fear, to take risk, to express strong desire, humour and strength.

W: Audience always look for meaning and narrative in dance, how would you read dance?

A: It's dangerous for dance community being too inward looking and forgetting how audience perceive works that they don't know. I like to work with creative team who don't care about dance. We need people around whose opinion relate more to the general public. It's great to get feedback from trained eyes, seeing through story and sound etc. Like in the second show ofTRUST, I asked Falk to give feedback to the movements, he said it was like ice skating. I quickly changed everything. I also like the 'reluctant boyfriend' concept, where someone's friend, not really keen, will be invited for the preview and I'm always seeking a moment to wake them up, 'Oh no, I'm missing something here' and grasp their attention.

W: What are your plans ahead?

A: I'm currently staying in Australia, refreshing myself, travelling around 3 times a year with projects around the world. I have the ambition to work for a larger ensemble and plan to gradually base back in Europe.

My Countertechnique methodology is so blooming that we are organizing an interactive digital platform to make it more accessible. We have been having teachers' training since 2008 and continued biannually. We will have another one next year. With currently 32 certified teachers teaching around the world, we are able to include the methodology in the curriculum of some dance schools.

There is an idea in my mind for a long time working with chef and how menu and dance influencing each other. Food is loaded on multiple levels, like climate change, growing population, resources and so much more. Who knows? Hong Kong might be a good place.

W: We definitely anticipate your returning to Hong Kong and presenting your new work here.