( 4/14)
今晚的演出讚爆、讚爆了 ~~ 。 韓國舞者們 ~ awesome ~ !!
舞者們身體個個都那麼游刃有餘，不論是技巧還是身體的自由度都超呼我想像…去年沒看『沈青』…當時猶疑原因是對此團不熟悉….好ㄅㄟ，我承認有點懊腦中…… 引用一下澤馨老師說的 : 『韓國舞者真的是可怕…』
★
1)
上半場 Jiri Kylian作品—Petite Mort 與Sechs Tanze，把莫扎特的音樂 --不論是16 或14 分音符、甚至三連音，透過足尖、肩胸、腰臀、手臂來表達每一個音符的情緒，動作很輕盈、質地很細緻、飽和度剛剛好…感謝編舞者、更感謝舞者們把身體靈魂整個融入在音樂中，欣賞起來真的很過癮。我想莫扎特在場也會鼓掌叫好 ~ ^0^
2)
第一個中場休息之後是William Forsythe的作品—In the Middle, SomewhatElevated，音樂超級Cool !! 9位舞者有個自的個性、美麗的線條及高度技巧…不論是雙人舞或是獨舞都讓我在心中起疙瘩…
不論是那一個作品，每位舞者的程度、質地、技巧都相當一致…女舞者的硬鞋功力讓我傻眼…….在第三支舞碼In the Middle, Somewhat Elevated跳到一半時，我才意識到女舞者們是著硬鞋的…..一般硬鞋在跳躍時會有聲音，但她們落地時真的是非常輕了，我想硬鞋之於她們就像是打赤腳跳現代一般的自然。
3)
第二次的中場休息開始時，Ohad Naharin的Minus7。也就是前年『以色列巴希瓦現代舞團』來台在<十載精彩>中的一支舞碼。
一開始的solo舞者—李榮道(如果當晚是節目單印的舞者名的話) ，讚 ~ 除了讚…我實在詞窮ㄚ ~ ~ 呵 呵。 他的solo讓我完全把在<十載精彩>中獨舞者的舞蹈面貌忘得一乾二淨 !!
UniversalBallet Korea的詮釋雖與編舞家Ohad Naharin 所帶領的Batsheva Dance Company有點不太一樣的fu、各有特色…給我的印象，Universal Ballet優雅中有種堅毅感、Batsheva Dance Company則是蓄勢待發的酷感。兩者我都很喜歡，但若以舞者身體面貌來說，我覺得UniversalBallet Korea整體的游刃有餘更讓我留下深刻的印象 ^0^
★
該怎麼說呢…這是第一次看台灣以外亞洲舞團的演出…突然對於台灣的舞蹈非常地憂心…真的不希望我以後的購票都是國外舞團 ! 台灣的舞蹈界真的有在努力加油…但還不夠。
可以有機會觀賞這些國際好團體的演出多少可以促進一些交流跟接受刺激…主辦單位也都藉機向來台演出舞團推薦台灣適合的舞蹈人至該團…很多有心人都默默在作…
我真認為國內的舞蹈教育內容及教授目標真的是應該要檢討 ! 舞蹈教育者的視野要再廣一些… 每年不少人考進舞蹈學校…試問學校給了他們什麼…而同學們真的都是抱著有目標跟當初的舞蹈夢在學習嗎 ? 還是只是混文憑?
★
UniversalBallet Korea的主要贊助者不是韓國政府 (下方文章有介紹)。 即便他們有不錯的幕後贊助基金會，但看得出經營得非常好…今晚的演出，我想應該男舞者當中只有2位不是韓國舞者..其餘的18位男女舞者都是韓國人，且一半以上都有得到韓國芭蕾比賽獎項。(台灣的芭蕾舞發展也不算短…成果呢? )
有很完整的製作團隊，而藝術總監是中國吉林出身的劉柄憲，原先是Universal Ballet的獨舞者 à 該團的芭蕾指導 à藝術總監，本身也編舞，所指導的許多學生在許多國際芭蕾大賽都獲得獎項。
身為觀眾，有時不是只誇他人而滅自己人威風…今晚看完同是亞洲人、以韓國舞者為主的Universal Ballet Korea演出後，喜樂之餘竟不知覺地憂心了…、、。
**演出後遇見了澤馨老師，兩人尖叫互擁了一下^0^ 還是優雅甜美的笑容，真的是辛苦了… 期待『舞姬』 ^0^ 同時也巧遇到了兩位某知名日本廣告公司在台灣分公司的超強宣傳製作企劃部的朋友跟他們的副總及夫人… ^0^
**BMW及一些大企業主要是贊助來自國際知名的音樂家與團體… 國內的音樂、舞、劇團一直希望能找到企業贊助的同時，也真的需要好好深思一下，要拿什麼來說服企業的贊助 ! 不只有舞者、演員、樂手的實力，這當中還包括演出單位整體的製作、經營與管理能力 !
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(4/13)
好幾年前從DVD看了 JiriKylian的SECHTANZE作品後就留下深刻印象，那種會讓每個人感到無比愉悅的情緒就跟閱讀莫里哀的作品一樣，永遠難以忘懷。
終於在這次韓國芭蕾舞團來台演出時可以看到現場版了 ~ 呵呵，期待。
去年來台演出『沈青』正值台韓關係有些『緊張』(跆拳道比賽是件)，第一次聽到韓國環球芭蕾舞團之名時倒是有幾分訝然，更讓我好奇的是這個團的成立背景。原以為這舞團是國家舞團，後來才知是盛名的統一教的領袖文鮮明所成立的。
文鮮明與韓國政府有很好的關係 ~ 然而不同之處，這個舞團很爭氣，主要經濟來源是售票(演出費及行政費)、主要的贊助者是統一教組織之下的基金會，然後才是來自政府的補助、企業社團法人及個人捐獻。努力之下，現不僅成為國際知名舞團，舞團成員也來自許多不同國家、也建立出自己的舞團風格。
< 以下摘自相關網站 >
1984年成立於首爾 約有73位舞者 來自於全球超過12個國家來自歐洲、美國及亞洲各國的優秀舞者，包括了20~30韓國舞者及多位俄國舞者，主要傳承基洛夫芭蕾舞團的舞碼包括西方古典芭蕾經典舞劇以及融入東方民族色彩的芭蕾作品，更積極的演出目前國際知名編舞家的大師級現代芭蕾作品。
該舞團目前由韓國知名芭蕾舞蹈家Julia Moon為總監 ，BrianYoo(劉柄憲—中國吉林人)為藝術總監，該團已在國際上累積了極佳的風評與知名度。
2011年4月來台演出原創舞劇「沈青」，展現了驚人的芭蕾實力、令人驚豔。 2011年10月是受邀遠赴阿曼王國為「皇家劇院」慶祝開幕演出的三大芭蕾舞團之一。 今年來台將演出季里安、威廉佛賽及以色列編舞家歐納林的作品。
◆ 這次演出的台灣舞者 -- 梁世懷 --- ( 4/14晚場 ..因他受傷，所以無緣看到他在台上)
< 以下是2011年對於他的報導 >
舞團內唯一一位台灣舞者梁世懷。
從基洛夫的學習大破大立
2004年，梁世懷17歲，拿了部分獎學金去美國華盛頓DC的基洛夫芭蕾學院(Kirov Academy of Ballet) ，2年後成為美國哥倫比亞古典芭蕾舞團職業舞者。隔年參加紐約國際古典芭蕾大賽，遇到韓國環球芭蕾舞團團長，開始到韓國工作，至今已經3年半。梁世懷一開始從群舞跳起，到現在開始有一些獨舞角色。
梁世懷說，一開始到美國基洛夫芭蕾舞蹈學校，「自尊心完全被挑戰跟破壞，時常需要把自己的身體和想法打破再重組。」梁世懷說就像小時候堆樂高，總是照著說明書上面的步驟完成跟封面一模一樣的成品，卻從不願意挑戰沒有步驟說明的堆法，把樂高變成封面以外的飛機或是潛艇。
但現在，梁世懷非常習慣破壞，「不管我的身體現在達到什麼樣的程度，當我再次破壞它的過程中，我會找到另外的樂趣跟突破。」
兵役問題考驗舞蹈生涯
梁世懷說，出國多年，「最寶貴的經驗是我印證了自己當時出國前的想法，不要怕改變，正面的面對挑戰就有機會成功。」但對於回台灣喜憂參半，當年是在服兵役年紀之前出國，返台服兵役成為命定，「很可惜，台灣並沒有跟其他義務役國家一樣有藝術家培育方案。」
舉例來說，像土耳其舞者只要在國外工作滿兩年，就可以不用服役；俄羅斯只要在國內歌劇院當上舞者，由歌劇院證明就可以不用服役，韓國藝術家跟運動選手，只要在國際比賽上面有拿獎項就不用服役。梁世懷考慮很多，「舞者生涯真的太短，我想我應該在身體狀況可以的情況下回台灣當兵，然後繼續舞者生涯。」…
( 坦白說，我覺得當兵，照道理從某些層面來說對舞者的身心會是有助益的，何況現在根本也沒戰爭且不到一年就退役還週休兩天…心態調整好、未來目標確定才是退役後能夠繼續舞蹈生涯的最大關鍵吧 ! 男舞者們，Be Strong ! 加油 ! )
**
2012年這次環球芭蕾舞團帶來的作品，包括了季里安的「六首舞曲」、「小死亡」；現代芭蕾大師威廉‧佛塞當年為巴黎歌劇院芭蕾明星西薇．姬蘭量身打造的「在空中，懸浮著」；還有以色列巴希瓦舞團曾經在台演出的Minus7。梁世懷將在「六首舞曲」和Minus7中演出，分量吃重。
環球芭蕾舞團將舞的季里安兩支作品，都以莫札特樂曲編舞，分別是「六首德國舞曲」及兩首鋼琴協奏曲中的慢板與行板。季里安指出，他在前者藉六段看似毫無意義的段落，想展現幽默的力量；「小死亡」的法文寓意為性高潮，則展現情慾力量。
主辦單位黑潮藝術負責人王澤馨指出，「在空中，懸浮著」應是首次在台演出。該舞以不規則有稜角的手部運行、剛硬的肢體節奏、勾起的足踝等，完全打破傳統芭蕾慣例。
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< 以下簡單整彙翻譯自英文相關網站 >
JuliaMoon(1963)出生美國華盛頓DC，從小學習芭蕾，孩提時被送回韓國參加民族舞，一方面繼續芭蕾課程。1982年前後曾加入OhioBallet與 Washington Ballet舞團。
她是韓國有名的統一教領袖文鮮明第二兒子的媳婦，20歲的她與當時才17歲的Heung Jin Moon 訂婚，她會進入芭蕾舞世界受到Heung Jin Moon很大的鼓舞，但不幸的是，隔年1984年Heung Jin Moon卻在一場車禍中喪身，他們最後以冥婚方式完成婚禮。她也是在統一教中唯一一個以這方式完成婚禮的人。
Julia一直未再婚，她的姐妹過繼一個兒子讓她收養。 她曾接受美國舞蹈雜誌專訪，談及這一段感情時「When I dance, I'm communicating with my husband. He's not herephysically,but he's close in spirit.」
就在同一年文鮮明創立了韓國環球芭蕾舞團。1995年之前 Julia一直跟著其它國際舞團在海外演出，1989年首次與Kirov Ballet(MariinskyBallet舞團在列寧格勒登台演出吉賽兒，文鮮明為此透過紐約時報的大版面幫她大力宣傳並刊登她的專訪。
她談到東西方舞者在舞蹈表達方面時：
「I think I would say thatKorean dancers - those born andraised there - are very lyrical in theirmovements, more so than Japanese or Chineseor American dancers," she said."It's probably something related toKorean folk dancing, which uses a verysoft line and is very lyrical.」
Shesaid the company does not perform modern balletstyles, due to her view that the 「classical form is themostbeautiful form and therefore that's where our background is.」 She commented that she would like for the company to move in thedirectionof more contemporary pieces, 「We really do wanttoknow more of these contemporary modern works. I think we're ready for it.Weneed to expand artistically in that area, as well as keeping parallel withtheclassical tradition.」
In2000, Julia Moon was interviewed by The Daily Telegraph on her thoughtsaboutbeing the general director of Universal Ballet.「Ilack certain qualities,as a dancer and as a director. Sometimes I do wish Iwas a nobody, but becausethis company was formed on me, I feel that if Ifaltered or wavered the companywould falter as well,」 shesaid She commented in2000 to The Evening Standard about homosexualityinballet,「It exists in Korea, but since we started16years ago we haven't had any gay dancers. We just haven't had to deal withthatissue.」
◆
AnInterview with Julia Moon, GeneralDirector of Universal Ballet of Korea
Robert Abrams / LincolnCenter /June23, 2004
Ihadthe great privilege of interviewing Julia Moon, the general director oftheUniversal Ballet of Korea. She was a ballet dancer for many years and isnowdirecting the administrative side of Universal Ballet's work. Sheradiatedpoise and an unassuming command of the space.
Sinceshe is herself a product ofUniversal Ballet's ongoing development as a dancecompany, and since the partis often an indicator of the whole, her elegant andgraceful presence justbeing herself was enough, by itself, to recommend thatyou buy tickets toUniversal Ballet's upcoming Lincoln Center seasonon July 30and 31, 2004.
Robert Abrams: How did you start dancing?
Julia Moon: Like every other girl, my mom putme inballet class and piano class. I stayed with ballet. I was born in Washington, DC.Myparents sent me to Koreato join the Little Angels of Korea, a touringgroup that performed Korean folkdance, singing and played a musical instrumentcalled the kayagum.
Icontinueddancing in high school and studied ballet in Seoul, with the RoyalBallet inLondon, and with Marika Besobrasova at L'Academie de Danse ClassiquedePrincess Grace de Monaco. I was with The Washington Ballet for a few yearsandjoined Universal Ballet in 1984.
RA: Who inspires you?
JM: Oleg [Vinogradov] is alwaysinspiring to workwith. He is a great master in his field. I am constantlylearning from him.
RA: How does he inspire you?
JM: He has a well of knowledge andinformation thathe draws from. He is a choreographer, a painter and a historian.He is neverstill. He is always trying to create things anew, looking for thataddedelement. He recreates a work even if it is an old masterpiece.
Withall hisknowledge and mastery, he has always is been very respectful of myopinions. Hehas the space and confidence to hear what other people are saying.It has beenan honor to work with him. Our company would have not come this far,to performat the State Theatre without him. [Oleg Vinogradov, who had been theArtisticDirector of the Kirov Ballet for nearly 25 years, became the artisticdirectorof Universal Ballet in 1998.]
RA: Who else inspires you?
JM: My coach, Geta Constantinescu, aRomanianteacher. She is a wonderful coach. She taught me how to act, tobreathe, how tobe real, as well as technique. She was a friend, mother andteacher, not justin the studio but in life too. I owe her so much.
AdrienneDellas, my teacherand founding artistic director of the company, was also aninspiration. Sheinspired me and all my colleagues at that time to becomeballerinas. Back thenin Korea,notgoing to university was unheard of. Although in the West it is common toforfeitcollege to become a professional dancer, in Korea it was a hugechallenge.
Thesocialclimate in Koreais that one must have a university degree in order tosucceed or marry well.Even now, parents are still reluctant to let theirchildren skip university tobecome professional dancers.
Adrienneinspired us in a time and a place whereyou just didn't go this route to becomea professional dancer. That group ofdancers that Adrienne taught became thenucleus of the company.
RA: Where are you and the company now?
JM: I stopped dancing two years ago, andnow I amfocusing my energy on directing the company. This is a very excitingtime forus because the company is now celebrating its 20th anniversary.
Partof the20th anniversary celebration is this tour to the United States, which will be our 4th trip to the US. Wefirstperformed in the US in1998with Swan Lake including a run at CityCenter in New York. In 2001we performed La Bayadere and ShimChung,an original full length ballet about the devotion and love of filialpietycreated by Adrienne Dellas, which we presented in New York as well as in DC and LA.
Theworkwe are presenting on this tour is Romeo and Juliet choreographed byOlegVinogradov and performed by Universal Ballet's 70 member company and a 60piecesymphony orchestra. Oleg Vinogradov first created Romeo & Juliet in1965.
Romeo& Juliet, was restaged and performed by us for the 2002World Cupcelebration in Korea,andin 2003 in Paris, where it waswellreceived. Although it has been performed in Russia,Europeand Asia, it will be seen by USaudiencesfor the first time. This production is very different from theLavrovsky versionand others such as the MacMillan or Cranko versions.
RA: How is this production different?
JM: Excluding pantomime sections andputtinggreater emphasis on choreographic elements, Mr. Vinogradov'sproductiondisplays love in all its guises through contrast of characters andimagery withdynamic group dancing.
Mr.Vinogradov has done extensive research to capturethe feeling, the fashions andthe images of 16th century Italy,incorporatingthem into his work. He also takes note of the tenor of the era inwhich he isworking, so the production contains thoughts and philosophy frombothperiods.
One ofthe great innovations in Oleg Vinogradov's production hasbeen the addition ofan epilogue where the Romeos and Juliets of today (youngmen and women in moderndress) light candles at the grave of the two younglovers and, in a beautifuladagio, lift their spirits to convey artisticallythat there are still ways torescue hope, even out of tragedy.
RA: Could you talk some more aboutUniversalBallet's founding influences?
JM: Adrienne Dellas, an Americanteacher, came to Korea in1976 to teach in the ballet departmentof the Sun Hwa Arts School.She was always referring toVaganova training system and the Kirov Ballet of St.Petersburg.
Adriennedrewon this system when she taught us. Roy Tobias, a founding member of theNewYork City Ballet, joined the Universal Ballet and brought aBalanchineinfluence. In 1992, Universal Ballet started to work with Russianteachers fromthe Kirov Ballet.
Wefocus mainly on this Russian tradition. This tradition isa very strong backbonefor both classical ballet and more contemporary works.With this foundation, aUniversal Ballet production of a Balanchine ballet, forexample, will not lookthe same as a New York City Ballet production of thesame ballet. It will bebeautiful in its own way.
RA: Universal Ballet is grounded in whatis knownas the St. Petersburgstyle of ballet. What are the signaturefeatures of St. Petersburg styleballet that audiencesshould watch for?
JM: The St. Petersburg style is very elegant andclassical. It isall about the use of the upper body: the coordination of torso,hands, arms,head and eyes.
Theuse of the back is important as well. The St. Petersburg style is somewhatdifferent from the Bolshoi style inthat the St. Petersburgstyle is morerefined and academic.
RA: Could you give me an example todescribe thatdifference?
JM: The Bolshoi style is more dynamic, morefree,whereas the St. Petersburgstyle shows more classicism. I would haveto show you.
RA: I wouldn't ask you to put on ademonstrationhere, although it does demonstrate the difficulty of translatingdance intotext. What do your dancers do to stay healthy?
JM: Our dancers stay in shape by working from11 amto 6 pm. They have ballet class every morning for an hour and a half.Thisclass is like a daily vitamin for ballet dancers. It is a must.
It isimportantfor me that the dancers are there every day in class working andfine-tuningtheir bodies, which are their instruments. Later in the day theyhave rehearsalof the repertory.
Thereis also a health clinic that we work closely with thatprovides physicaltherapy, professional advice if a dancer is injured, and awork out room withspecial exercises.
Somedancers do yoga. Of course diet isvery important. What dancers do to stayhealthy is very individual.
RA: What is Universal Ballet's next challenge?
JM: Striving to be the best, to get toa certainlevel, to always have our eyes on the goal. It is also just asdifficult tomaintain what you have achieved.
Itis a continuing challenge to maintain whatwe have built and at the same timecreate something new.
Thefirst challenge:raise the level of ballet in Koreato an internationallevel--ballet in Korea wasunderdeveloped, but nowwe are at an international level.
Ouryoung students are winning medals ininternational ballet competitions, and weare acknowledged by the internationaldance community. Now our challenge is todevelop that further. Dancers in thecompany want to do more contemporaryworks.
Wewant to add to our classicalfoundation and do works by contemporary Europeanchoreographers.
Wewant toexpand our repertory from our Russian base and create new ballets andnew workswithin the company by developing new young choreographers and neworiginalworks. This is always a challenge.
RA: Has Universal Ballet worked with schools?
JM: We just started doing lecturedemonstrations inschools. There are so many people who don't know about balletin Korea.We haveto educate people about the beauty of ballet with performances atschools, andfield trips by schools to the company.
Forinstance, we take the studentsbackstage to try on costumes. We want them tohave real experiences of what aballet company is like.
Balletis not just for a certain group of people; it isthere for everyone. For thepast 20 years we have struggled to create a balletcompany worth watching.
Wealso have to develop a strong support system aroundthe company: an audience,general appreciation of ballet.
Thatis when balletwill take root in Korea:when appreciation of balletexists in the general public. It is pointless tohave beautiful ballet withoutan audience.
I fellin love with ballet all overagain when I stopped dancing. When I was dancing Iwas mentally aware of theneed to develop an audience, but when I stoppeddancing it was a shock to realizehow many people have never seen a ballet.
It wasonly after I stopped dancingthat the need to develop a broader audience reallysunk in. I realized what Ican do for future generations of dancers is to createthat audience for them.Now we have a foundation.
Thenext twenty years will be very important for theculture of ballet to take rootin Korea.
RA: Is there anything else you would like toadd?
JM: I am very pleased that the companyis comingback to New York.To come to the New York State Theatre is alwaysa great privilege and honor.This ballet, Romeo and Juliet, is very appropriatefor the time we are livingin.
I hopewe can move people with the message that Romeo and Juliet is giving:to remindpeople that the things we have in common are greater than ourdifferences.
Weneed to work for a world of peace. The way to get there is longand hard. For mepersonally, I have spent so much time here, coming to New York is like cominghome.
< 2012 來台演出節目內容 >
l ) PETITE MORT
編舞: JiriKylian
音樂: Wolfgang Amadeus Mozart:
Piano Concerto in A Major (KV 488),Adagio
Piano Concerto in C Major (KV 467),Andante
佈景設計: Jiri Kylian
服裝: Joke Visser
燈光: Joop Caboort
技術協調( 燈光/ 佈景): Kees Tjebbes
首演: 1991年8月23日，23August1991, 奧地利Kleines Festspielhaus, SalzburgerFestspiele
節目長度: 17 分鐘
2) SECHS TANZE (Six Dances)
編舞: Ji?iKylian
音樂: Wolfgang Amadeus Mozart: Sechs Deutsche Tanze, KV571
佈景/服裝設計: Ji?i Kylian
燈光: Joop Caboort / 技術協調(燈光/佈景): Kees Tjebbes /
荷蘭舞蹈劇場 I / 首演: 1986年10月24日，阿姆斯特丹，荷蘭
荷蘭舞蹈劇場 II / 首演: 2001年4月7日，路德維希堡，德國 /
節目總長: 17分鐘
3) In the Middle, Somewhat Elevated
編舞: WilliamForsythe
音樂: Thom Willems in collaboration with Leslie Stuck
舞台/燈光/服裝設計: William Forsythe
節目總長: 26分鐘
4) Minus7
編舞: OhadNaharin
音樂: Traditional song arranged and performed by theTractor’sRevenge and Ohan Naharin,Vivaldi, Marusha, Chopin
燈光/服裝設計: Ohad Naharin
節目總長: 40分鐘
