Dance without Fear 舞者無懼

ART.ZIP: What do you think of dance education in the UK?

HY: I didn’t study my BA here, and also not my first MA. I came here to do my second MA. The reason I wanted to study somewhere else, and not only in Israel is because I wanted to have different perspective on dance, on dance education and choreography. The UK is very different to Israel in all terms, there isn’t a better way or worth, but just different. I also realised that I had to really decide why is it that I study dance so deeply, is it dance for dance’s sake, for amusement’s sake, or it could be for technique’s sake – much more physical, or for more critical reasons, creative, experimental. But all of those studies help and direct oneself to look at the body and the physical in many possible ways.

SA: I studied here a BA and an MA. Some courses here train you as an athlete, so you have to be really fit and very disciplined. Maybe it is a bit less creative, and you are trained to be a dancer for someone else – in a company, for example. That’s the aspiration. I think every school is different, and has a different emphasis. In the UK, what’s great is that there are many options with a huge sector of community dance. England has a massive tradition of community art.

HY: I think dance in the UK is in a very crucial point these days, a very interesting period for dance, for many reasons. The sad thing about dance in the UK is that it is a less viewed art form; people will do it, but they won’t go and watch it. In addition due to the recession people invest less money in dance, this challenge us- the dance artists- to ‘seduce’ people into our world. I find it a very critical time for dance. We don’t know where this art form is going, where the possibilities are or how we need to re-educate our dancers to be able to communicate different things in different ways. As Sophie said, there are some schools with an emphasis on creativity, and other schools with more of an engagement with intellectual, philosophical perspectives. This is very much what I find interesting and also an important linking point to some places in Europe, which ensure that art and philosophy and the academia are all coming together – which I find really amazing, because this opens up possibilities. You can focus on becoming a dancer, which is very technical, and/or you can decide to focus on creativity and engage with dance in different ways.

SA: In terms of people coming for courses, say university courses, it’s a more academic and less vocational thing, it’s about training the body. In Surrey and Middlesex, Brighton, Northampton – these all do good courses; a lot of people go there and you are trained to be an all-round dance artist. You learn to teach. You learn to make and to create – for special communities, film, sound and lighting. It’s very complete, though maybe it’s less being a dancer, there’s lots of that. And you also have 3 to 4 vocational schools to choose from, such as Trinity Laban or London Contemporary Dance School in London and The Northern Contemporary Dance School in Leeds. They’ll retrain you to be a dancer, and maybe choreographer as well.

HY: I think those are the main ones, Trinity Laban Conservatoire of Music and Dance, The Place in London, and then the Northern School of Contemporary Dance in Leeds.

SA: Even between these schools, it depends on who is leading the programme. Some have very straight disciplines; less theatrical, and possibly even less creative training.

ART.ZIP: 您覺得英國的舞蹈教育怎麼樣?

HY: 我的本科和第一個碩士學位都不是在英國讀的,我來英國修的是我第二個碩士學位。我到以色列以外的地方學習的原因是我希望能對舞蹈、舞蹈教育和編舞有不一樣的理解。英國在各個方面和以色列都很不一樣,不是說哪個更好,只是不大相同。我知道我必須作出選擇,到底為甚麼我要這麼深入地學習舞蹈,是只為了舞蹈本身呢,還是為了開心呢,或者是為了肢體上的某種技能,還是為了更批判地探索舞蹈及其創新性和實驗性。但這些所有的學習都能幫助和引導一個人來看待身體和肢體的可能性。

SA: 我在這裡修讀本科和碩士。這裡的課程有些會像訓練運動員一樣訓練你,所以你要非常健美並經受嚴格訓練。或許這樣會使人缺少創造力,因為你會被訓練成為別人的舞者,譬如說為某個特定的舞團服務。我認為每個學校都是不一樣的,他們都有自己的側重點。在英國的好處就是有多種多樣的選擇,而且還有很豐富的社區舞蹈。不得不說英格蘭有很龐大的社區藝術傳統。

HY: 我認為舞蹈在當今英國是很重要的,它也正處在一個很有趣的時期,這包含很多種原因。令人傷感的是舞蹈在英國是較少被觀賞的藝術形式,人們都樂於參與,卻很少去看。另外,因為經濟不景氣,人們投資在舞蹈上的資金就更少了,這對我們來說是個很大的挑戰。作為舞蹈藝術家,我們需要“誘惑”更多人來舞蹈世界。我覺得現在是一個關鍵性的時刻,我們不知道這種藝術形式會向哪個方向發展,可能性在哪,我們如何重新教育舞者來用不一樣的方式進行新的交流。就像蘇菲所說,有些院校會著重于創新性,而其他學校則會側重于思維和哲學層面的探索。這是我覺得英國有意思的方面,也是連接歐洲各地重要的一環。我認為藝術和哲學、學術結合在一起是非常棒的,因為這樣意味著更多的可能性和開放性。你可以專注于成為一名舞藝超群的舞者,或者你又可以選擇專注於創新,用不一樣的方式來舞蹈。

SA: 大學舞蹈課程更多是學術的研究,職業性沒那麼強。在薩里、米德爾塞克斯、布賴頓和北安普頓,他們都有很好的舞蹈課程,很多人在那兒接受訓練并成為全方位的舞蹈藝術家。你會學習如何教學,如何進行編舞和創作,如何為特定的社區、電影、聲音和燈光進行創作等。這種舞蹈教育都比較全面,或許說不是教育你如果成為舞者,因為學習的內容比成為舞者要求的更多。你還可以選擇職業性較強的學校,有三、四家,例如三一拉班藝術學院、倫敦當代舞蹈學院、還有在利茲的北方當代舞蹈學院,他們會把你培養成舞者和編舞。

HY: 倫敦的三一拉班藝術學院、The Place舞蹈中心、利茲的北方當代舞蹈學院都是比較重要的院校。

SA: 這些學校的教育發展方向很大程度是看誰在指導。有些會比較教條,不那麼注重戲劇性的表演,有時候還可能少一些創意培訓。

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