《虛/實》 Hidden / Manifest 第二幕 Act Two

《虛/實》
為期兩年的「嶺南武術之數碼藝術及教育試驗計劃」由中華武學會主辦並獲文化體育及旅遊局「藝能發展資助計劃」的躍進資助，於2021-2023年推行。當中「嶺南武術精英培訓計劃」訓練出一批融會中華嶺南武術及表演藝術的年輕教學者，並以《虛/實》表演作為計劃的總結。完成課程的學員更會聯同知名音樂家、編舞家、多媒體藝術家一同參與創作，展示武術、表演藝術及藝術科技的完美融合，一同探索現實和虛擬之間的界線。
「虛/實」是中國武術中重要的二元概念，當中包含了武術中一切的攻防組合，包含剛柔、動靜、強弱等概念。這些對立面可以在空間和時間中以不同的形式呈現，無論是作為動態形式、馬步、或攻防之技，或表達相搏之間，肉眼所見不到但確實存在的重心和力量轉移。這種二元性非常切合探索現實和虛擬之間的界線。
第二幕
概念﹕Katharina Schmitt、Christoph Oblique
導演︰趙式慶
編舞﹕王志昇
作曲﹕貝臻雅
大提琴演奏家﹕李拉
新媒體藝術家﹕Andrew Quinn
演出︰王志昇*、黃海芸*、李家名*、周若芸*
舞者透過學習與探索武術的過程中，試圖打破固有的肢體運動方式，以劇場表演，當代思維與肢體元素進行創作。
武術研習的過程像修行，總是漫長，沒有捷徑。倘若貪圖力量，躁進，便會像孟子說的：「其進銳者其退速」。
長年累月的學習，訓練，反思中，我們慢慢地學習調身；調息。就像四平馬裡講求達至心平，也學習六祖惠能一樣降龍伏虎，降伏煩躁脾性與無明火。靜聽自身，聆聽內心。
音樂
“Vivacissimo”
作曲: 貝臻雅
演出: 李拉（大提琴）
*承蒙香港舞蹈團特許參與演出
Hidden / Manifest
Institute of Chinese Martial Studies (“ICMS”) is dedicated to the academic study of Chinese martial studies, focusing on the research of Chinese martial arts and their associated historical, social and cultural aspects. Through research, publication, and educational activities, ICMS aims to preserve the heritage of China’s martial culture.
The hidden-manifest dichotomy is one of the most important dualistic concepts in Chinese martial arts. It encapsulates the totality of tactical combinations of feinting and striking, the opposition of lightness and solidity, which may materialise in space and time as different movement forms, whether as stances and footwork, techniques in attack and defence or, imperceptible to the eye, in how one distributes weight his / her weight or force as you grapple or bind your arms / weapon with those of your opponent’s. This dichotomy is also highly appropriate in the context of the exploration we make between what is real and what is virtual.
Act 2
Concept: Katharina Schmitt, Christoph
Director: Hing Chao
Choreographer: Ong Tze Shen
Composer: Eugene Birman
Cellist: LiLa
New Media Artist: Andrew Quinn
Performers: Ong Tze Shen*, Huang Hai Yun*, Lee Chia Ming*, Chou Jo Yun*
Dancers, through the process of learning and exploring martial arts, strive to break free from conventional physical movements, creating with theatrical performance, contemporary thinking, and bodily elements.
The journey of martial arts practice is akin to a spiritual path, always long and devoid of shortcuts. If one seeks power hastily, they will retreat as swiftly as they advanced, as Mencius said, “If you advance too sharply, you will subside quickly.”
Through years of learning, training, and reflection, we gradually learn to harmonise body and breath. Just like the Stance (Sei Ping Maa) emphasises attaining inner tranquility, so we follow the footsteps of the Dajian Huineng (the Sixth Patriarch of the Chan), overcoming powerful adversaries, being full of vim and vigour and performing as doughty as a dragon and lively as a tiger, and to tame the unruly tendencies and quell the flames of ignorance. We listen attentively to ourselves and heed the whispers of our innermost being.
Music
“Vivacissimo”
Composer: Eugene Birman
Performance: LiLa (Cello)
*By kind permission of Hong Kong Dance Company