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1,859愛的鼓勵 1訂閱站台

法國卡菲真的不愧是有料的團體。

表演前就一直在猜想、也好奇的是，當晚他們會是用什麼音樂?

出意料之外，是一首有濃厚中東味道的現代音樂， 

連那行雲流水之音符也能在他們有力的肢體下被巧妙地詮釋出來，

剛開始會錯亂 覺得是在看現代舞碼，瞬間閃過的念頭是

 「難道兩廳院的表演內容就一定得跟 "現代" 扯上邊嗎..?...」。 呵 ~

舞碼為「Recital」 --- 整個舞作加入了許多舞蹈原素+口技...

每個橋段的設計都恰到好處...藉由大電視牆上可以很清楚

看到他們每個動作、 每個肌群都在用力、都在說話 ... 

快動作也好、慢動作也好，都很純熟，

看得在場人是鴉雀無聲....有好長一段時間，

我幾乎忘了音樂的重要性。

50分鐘長的表演，完全沒有冷場!

街舞表演中，舞者可以很自由地扭轉肢體是很常見的，

但當晚一位舞者在solo時段，從頭到腳輪替作出的 isolation

令在場每個人都驚嘆，至今也仍在我的腦中盤旋，漂亮極了 !

可真是讓我見識到了歐洲街舞團體的獨特風格跟

亞洲、美國團體不同之處。

在中後段加入了小提琴的演奏形態....非常有趣...，

且從頭到尾只以肢體、些許的道具、口技來詮釋主題 !

不知道是大家看不懂，還是看累了，居然對「拉提琴」

那一大段的幽默毫無反應.....

(只聽到我跟寧的笑聲而已......哎呀....大家也幫幫忙.....   )

我也欽佩他們的體力....整整50分鐘的表演...沒有絲毫怠慢或

有喘不過氣來的神情，很輕鬆、很匆容的神態  ~  令人感到愉悅 ~

舞蹈實力+幽默感+創意 +專業+「完整」的演出 ，....沒有一項被遺漏 !!

DJ覺得這算是一個蠻精緻的街舞表演 !

在一個大的國際舞台演出，就要有「國際舞台的規格」!

DJ我覺得所謂的「國際舞台的規格」，

不單只是場地、舞台、音效、 燈光，

重要的是表演內容 !  主題、構思、編排、音樂、化妝、

道具 、團體心態一致及默契!

如果只是把攝影棚內的東西或是大型成果展之類的東西搬出來...

所有的思維還是局限在這樣的框框中的話，還是不要上台得好!

這代表還沒有準備好 !

黑角+街頭酷 表演「世紀之末」，每段表演 都以幻燈片來作為說明。

我很不喜歡看到把科技多媒體的東西與表演連結一起，

總覺得那意味著表演者的實力不夠...

身體實力或是創意不夠才會用其他方式來說明舞蹈主題 。

表演可貴之處是在於透過肢體、情蓄去帶領觀眾，

對我來說，使用多媒體幻燈片跟請人說旁白是沒有差別的。

不知是什麼原因  兩隊當天的表現----

默契不夠+跳得亂之外， 也明顯感到體力的不足....

不論是不是倉促成軍，既然接受邀請，就要高於平常的水準。

爵劇影色及TURN OUT  的表演水準是一般平日就有的程度...

但既然好不容易有機會在這一次受邀....

原本還蠻期待他們一些會令人耳目一新的創意及舞步....

但好幾個動作都在舞林大道出現過...一大票人當天老遠

跑去支持....可不是為了要複習舞林大道的表演內容 !

我們都知道排舞‧ 練舞‧團體默契要在短時間作到一定好程度，

是不太容易....但以觀眾立場來看..這樣的演出內容不是很好.......

這一段表演，印象最深刻就是絕劇影色...身體的張力及力道...

可以讓每個人都感受到 !

爵劇影色是很好的表演團體，但總覺得缺少了那麼一些舞蹈魅力...

我說的舞蹈魅力不是指臉漂亮之類的，

而是整個散發出來的感覺....。

當晚主持人阿常老師一派輕鬆模樣跟去年在甄選中

所看到的嚴肅神情，真是判若兩人呀...呵呵.....

阿常老師說希望明年再爭取街舞至兩廳院表演一事.......

說真的，國內街舞團體跟國際團體比較起來

從每個層面來說，還是有很大的懸殊....

若說要登上國際舞台可能至少需要有3-5年...甚至更久...

為什麼我這麼說呢?...其實光看卡菲團中每個人的舞蹈實力

就知道他們舞蹈的札實度...但反觀國內的街舞團體都是硬練起來的...

沒有好的基礎，在肢體呈現上就會一定有很大的差距...

DJ : 「街舞不是只有耍帥或技巧而已，也是需要有美感的...」

肢體語言沒有美感 ~ 就不叫作藝術了 ~ 對吧 !

國內為了推廣街舞，一年四季常有表演、比賽....

得了獎項、 贏得獎金是一種鼓勵 ，並不代表就是最好的...........

既然現場看過堅強實力的外國團體表演.......

如果有人認為「卡菲也不過如此」的話， 那麼更可以知道

我們的街舞還需要多努力才能與「卡菲」接軌.....

一山比一山高....人外有人...天外有天....

大家一起加油吧 ~ !

****

以下是許多年前 舞蹈雜誌訪問他們的內容 ~

「DANCE，Europe's Hip-Hop Isn't an Exact Copy」

WHEN the French-North African hip-hop troupe Compagnie Kafig comes to New York this week on its first United States tour, its dancers may understand what it must have been like for American ballet companies performing for the first time in France, ballet's original home turf. Kafig has the challenge, after all, of presenting a cross-cultural interpretation of a distinctly American art form to a discerning American audience.

But the troupe's arrival will also be making a kind of multicultural statement -- that no one place owns hip-hop anymore. Indeed, hip-hop has traveled unexpectedly far since it was born on the streets of New York in the 1970's, absorbing a variety of influences along the way.

Perhaps no troupe better reflects this cross-pollination than Compagnie Kafig, which melds French, North African and Spanish -- specifically Andalusian -- elements. In many ways, in fact, its New York performances -- on Friday and Saturday at the Hostos Center for the Arts and Culture in the Bronx -- might be seen as a convergence of hip-hop's branches and roots. The French troupe will be performing back-to-back with Full Circle Souljahz, an eight-year-old Bronx-based troupe, as part of the New Europe '99 Festival, a citywide series of events celebrating European currents in the arts.

The pairing will offer dramatic contrasts in style: the French troupe's dancing is more stylized and fully choreographed; the American's is rougher around the edges, more improvisational. But the two companies have much in common. Both remain true to the essence of hip-hop, expressing a belief in the power of community and the human spirit. Moreover, Kafig's six dancers all have Algerian roots, making their experience as immigrants and minorities in France not unlike that of the Latino, Caribbean and African-American populations who originated hip-hop in the United States.

But distinctions between their versions of hip-hop abound. For one, there are no women in Kafig, whereas Full Circle features a female poet and singer, Rocafella, among its seven main performers, representing the positive role that women play in hip-hop.

And unlike Full Circle, Kafig naturally incorporates elements of European culture. (The company takes its name from a word common to German and Arabic, meaning cage, a reference to its self-styled mission to break out of cultural and artistic confines.) At the Hostos Center, Kafig will perform ''Recital,'' a 55-minute piece juxtaposing traditional hip-hop electronic sounds and moves, like moonwalking and pop-locking, with violin playing. The dancers don't actually play the instruments, but in their baggy clothes they stand upright with bows in hand, imitating familiar violin-playing gestures.

Kafig's artistic director, Mourad Merzouki, says the violin ''playing'' is meant to be sardonic, to highlight the generational, cultural and class divisions within France. On an American stage, however, the piece will undoubtedly be seen as a statement about the melding of urban America and classical Europe. Still, Mr. Merzouki insists that that's not what ''Recital'' is about.

''This is more of an artistic confrontation than an historical confrontation,'' he said, speaking by telephone from France through a translator. ''It is not a commentary about where hip-hop comes from.'' Rather, he said, his company, which is four years old, is interested in earning respect for hip-hop as a legitimate art form. Its New York performance is the second stop on its first American tour, having begun it in Washington.

While Kafig's mission has been to translate the hip-hop language, Full Circle's challenge has been to retain the art form's raw, organic flavor while performing in a formal, theatrical venue. At the Hostos Center, for instance, it will offer the premiere of a new work, ''Soular Power-d,'' which incorporates all of hip-hop's original forms, including dance, rap and graffiti, asserting their inseparability.

FULL CIRCLE'S director, Kwikstep, acknowledges that Kafig has made a valuable contribution to the evolution of hip-hop. But he also makes it clear that he is interested in where hip-hop comes from. To him, rapping and breakdancing have played a vital role in easing the pain in the inner city, and he takes pride that Full Circle can easily transport its jams from the theater to the street and vice versa.

Full Circle -- the name grew out of the notion of ''360 degrees of an open mind,'' Kwikstep said -- is interested in cleaning up hip-hop's reputation as a promoter of drug use and violence. So in addition to getting everybody up to dance, the troupe uses its talents to speak to youth about staying away from such negative influences.

''People have told us that after our show they feel re-energized and revitalized mentally,'' Kwikstep said. ''It's power.''

Kafig also strives to shine a positive light on hip-hop, and to appeal to a broader audience. But the company may have already alienated the one audience that understands why hip-hop exists in the first place. As Kwikstep pointed out, the name of Kafig's piece, ''Recital,'' says it all.

''In the urban neighborhoods, people don't even know what a recital is,'' he said. ''It's not better or worse. It's just a different plane.''

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