生
活
日
誌
身體的挑戰-芭蕾課
The brand-new experience - The Ballet
柯佩宜
ELENG
ELENG
據我們的了解,從小學習古典舞的舞者們,也不會有另外舞蹈的肢體訓練,能說 是個束縛,但當然更是遵循傳統的美德,Daksha ji和Kaishiki的舞者們都沒有接觸過芭蕾,但相較於我們台灣的舞蹈訓練,當學習舞蹈時很多人是把芭蕾當作做最基礎的訓練,當然,從小學習西方舞蹈的路之老師和巴魯老師,也相信利用芭蕾的基本功去加 強Tjimur舞者的身體強度,Tjimur安排每週至少兩堂,來訓練舞者,在印度聊到這樣的 規劃時,我們本以為Kaishiki舞團會抗拒,但沒想到她們卻躍躍欲試,然後比畫些她們 所認知的芭蕾舞蹈動作,真的很可愛,Daksha ji也表示非常樂意看見自己的舞者們嘗 試不同的舞蹈身體,一方面讓舞者們吸收新的舞蹈知識,另一方面非常鼓勵舞者們嘗 試不一樣的身體,看看自己能突破到什麼程度,「謙虛學習」我想也是Daksha ji在教育上很大的宗旨。
到了台灣,工作的第一天下午,我們一起迎接了芭蕾老師,芭蕾老師和藹地問印 度文打招呼,自我介紹後,說到今天的芭蕾課程是有特別為Odissi的舞者們安排,請大 家拋開舊身體,輕鬆的面對接下來的課程,覺得老師很貼心,但我們依然想不透稍後 會是什麼樣的芭蕾課呢?課程開始,Kaishiki舞者們,雖說沒有接觸過芭蕾,但身為專 業舞者,當她們靠近把竿,做出芭蕾一位時,她們的自信跟態度像極了專業芭蕾舞伶 ,在課堂上,我們發現為什麼老師說是為了Odissi舞者發展的課程,因為老師先指導了 芭蕾基本五位和手擺放的位置後,開始變化了舞步,而這些舞步,芭蕾老師依照去年 在蒂摩爾藝術生活節(Tjimur Arts Festival)所看到的演出,去編排思考加入雷同Odissi舞 步的芭蕾動作,好讓Kaishiki舞者們不會因為陌生而畏懼挑戰,Kaishiki舞者也發現了 這個很貼心的安排,雖然依然不是熟悉的舞步,但也因為類似而有自信地跳出,甚至 提出希望老師能給機會多做幾次,好讓動作練習得更加確實,離開把竿後,老師循序 漸進加強得動作的難度,沒有了把竿的輔助,的確讓Kaishiki舞者多了點不安,也看見 她們表情開始緊張,但在芭蕾老師的鼓勵、指導下,還有Tjimur舞者們的協助和陪同 ,他們依然一遍一遍地完成動作,甚至越跳越好,在台灣,我們安排了兩天的芭蕾課 ,從第一天緊張到第二天的自然應付芭蕾老師的所有要求,或許不是精確地做出,但 身為專業舞者,她們可說是非常有架勢的,在一旁的Daksha ji也很興奮的東拍拍西錄 錄紀錄這有趣的一刻,也很驕傲地看著自己的舞者們不斷的嘗試、突破自己的身體。
Tjimur舞者在兩天的課程結束後回饋,他們非常佩服也驚訝Kaishiki舞者的專業, 對她們而言,這是多麼陌生的身體技巧,但她們並不畏懼,將最專業的態度擺出,盡 最大的努力達成所有動作要求,路之老師也說到,很開心這樣的安排,沒有讓她們覺 得困擾,他們甚至很興奮的上課,與Daksha ji相同的感受到,透過這樣的安排彼此學 習,無論是身體技巧,甚至是學習態度,這就是交流的意義。虛心接受彼此的訓練, 而進而轉為成自己身體的能量在未來的表演及創作上,更多元豐富。
到了台灣,工作的第一天下午,我們一起迎接了芭蕾老師,芭蕾老師和藹地問印 度文打招呼,自我介紹後,說到今天的芭蕾課程是有特別為Odissi的舞者們安排,請大 家拋開舊身體,輕鬆的面對接下來的課程,覺得老師很貼心,但我們依然想不透稍後 會是什麼樣的芭蕾課呢?課程開始,Kaishiki舞者們,雖說沒有接觸過芭蕾,但身為專 業舞者,當她們靠近把竿,做出芭蕾一位時,她們的自信跟態度像極了專業芭蕾舞伶 ,在課堂上,我們發現為什麼老師說是為了Odissi舞者發展的課程,因為老師先指導了 芭蕾基本五位和手擺放的位置後,開始變化了舞步,而這些舞步,芭蕾老師依照去年 在蒂摩爾藝術生活節(Tjimur Arts Festival)所看到的演出,去編排思考加入雷同Odissi舞 步的芭蕾動作,好讓Kaishiki舞者們不會因為陌生而畏懼挑戰,Kaishiki舞者也發現了 這個很貼心的安排,雖然依然不是熟悉的舞步,但也因為類似而有自信地跳出,甚至 提出希望老師能給機會多做幾次,好讓動作練習得更加確實,離開把竿後,老師循序 漸進加強得動作的難度,沒有了把竿的輔助,的確讓Kaishiki舞者多了點不安,也看見 她們表情開始緊張,但在芭蕾老師的鼓勵、指導下,還有Tjimur舞者們的協助和陪同 ,他們依然一遍一遍地完成動作,甚至越跳越好,在台灣,我們安排了兩天的芭蕾課 ,從第一天緊張到第二天的自然應付芭蕾老師的所有要求,或許不是精確地做出,但 身為專業舞者,她們可說是非常有架勢的,在一旁的Daksha ji也很興奮的東拍拍西錄 錄紀錄這有趣的一刻,也很驕傲地看著自己的舞者們不斷的嘗試、突破自己的身體。
Tjimur舞者在兩天的課程結束後回饋,他們非常佩服也驚訝Kaishiki舞者的專業, 對她們而言,這是多麼陌生的身體技巧,但她們並不畏懼,將最專業的態度擺出,盡 最大的努力達成所有動作要求,路之老師也說到,很開心這樣的安排,沒有讓她們覺 得困擾,他們甚至很興奮的上課,與Daksha ji相同的感受到,透過這樣的安排彼此學 習,無論是身體技巧,甚至是學習態度,這就是交流的意義。虛心接受彼此的訓練, 而進而轉為成自己身體的能量在未來的表演及創作上,更多元豐富。
As we learned, the dancers who had been practicing the classical dance since childhood hadn’t had physical trainings of any other types of dance. It was a constraint as well as a virtue of following the traditions. Daksha ji and the Kaishiki dancers hadn’t tried ballet before. In comparison, in Taiwan, a lot of people use the fundamental of ballet for basic trainings of dance. Of course, director Ljuzem and choreographer Baru who had learne western dance since childhood have been using the fundamental trainings of ballet to enhance Tjimur dancers’ physical strength. Tjimur planned to arrange at least two sessions a week to train the dancers. We thought Kaishiki would resist this arrangement when we talked about it in India. On the contrary, they were eager to try and showed us some ballet movements they knew. That was really cute. Daksha ji suggested that she would love to see her dancers trying difference dance body movements. On the one hand, the dancers can acquire some new knowledge about dance. On the other hand, they could try different body movements and find out how far they could go. I think “learning humbly” was one of Daksha ji’s essential principles in education.
During the first day when we started to work in Taiwan, we received the ballet teacher, who said hello in Hindi and introduced herself. She said the ballet session that day was specially designed for Odissi dancers and wished everybody to let go of their old bodies to face the upcoming session in a relaxed state. We found her thoughtful, yet we still couldn’t imagine what kind of ballet session that would be. The session then started. Although the Kaishiki dancers hadn’t tried ballet before, as professional dancers, when they approached the barres and practiced the first position of ballet, their confidence and attitude made they look just like professional ballet dancers. In the session, we found out why the teacher said it was designed for the Odissi dancers. In the beginning, the teacher taught the five positions of ballet and the hand positions. Then she started to teach different dance steps. These steps were designed based on the performances during the Tjimur Arts Festival last year to closer to Odissi dance steps, so that the Kaihiki dancers wouldn’t fear the challenge due to unfamiliarity. The Kaishiki dancers discovered this thoughtful arrangement. Although they were still not familiar with these steps, they could still try them confidently as they were not too far from what they had learned. They even asked the teacher to give them more time to do these steps better. Then, without the barres, the teacher began to teach more difficult movements. The Kaishiki dancers were indeed more anxious without the help of the barres. Their facial expressions revealed their uneasiness. However, under the encouragement and guidance of the ballet teacher and with the help and companionship from the Tjimur dancers, they completed the movements over and over. They even did better each time. We arranged two days of ballet sessions in Taiwan. In the first day, they were nervous. In the second day, they could meet all the ballet teacher’s demands easily. Maybe their performances weren’t that precise. But, as dancers, their postures and manners were very professional. Daksha ji who was aside was also very excited and recorded these interesting moments. She proudly watched her dancers keep on trying and make breakthroughs with their own bodies.
After the two days, the Tjimur dancers were very impressed and surprised due to the professionalism of the Kaishiki dancers. These physical techniques were very unfamiliar to them. However, they weren't afraid and showed the most professional attitude by doing their best to meet all the physical demands. Director Ljuzem was glad that this arrangement did not bother them. They were excited about the sessions. Like Daksha ji, they felt that through this arrangement they could learn physical skills and attitudes from each other, which was the meaning of the exchange. They humbly received these new things and turned them into their own body energy for future performances and creation with richer content.
During the first day when we started to work in Taiwan, we received the ballet teacher, who said hello in Hindi and introduced herself. She said the ballet session that day was specially designed for Odissi dancers and wished everybody to let go of their old bodies to face the upcoming session in a relaxed state. We found her thoughtful, yet we still couldn’t imagine what kind of ballet session that would be. The session then started. Although the Kaishiki dancers hadn’t tried ballet before, as professional dancers, when they approached the barres and practiced the first position of ballet, their confidence and attitude made they look just like professional ballet dancers. In the session, we found out why the teacher said it was designed for the Odissi dancers. In the beginning, the teacher taught the five positions of ballet and the hand positions. Then she started to teach different dance steps. These steps were designed based on the performances during the Tjimur Arts Festival last year to closer to Odissi dance steps, so that the Kaihiki dancers wouldn’t fear the challenge due to unfamiliarity. The Kaishiki dancers discovered this thoughtful arrangement. Although they were still not familiar with these steps, they could still try them confidently as they were not too far from what they had learned. They even asked the teacher to give them more time to do these steps better. Then, without the barres, the teacher began to teach more difficult movements. The Kaishiki dancers were indeed more anxious without the help of the barres. Their facial expressions revealed their uneasiness. However, under the encouragement and guidance of the ballet teacher and with the help and companionship from the Tjimur dancers, they completed the movements over and over. They even did better each time. We arranged two days of ballet sessions in Taiwan. In the first day, they were nervous. In the second day, they could meet all the ballet teacher’s demands easily. Maybe their performances weren’t that precise. But, as dancers, their postures and manners were very professional. Daksha ji who was aside was also very excited and recorded these interesting moments. She proudly watched her dancers keep on trying and make breakthroughs with their own bodies.
After the two days, the Tjimur dancers were very impressed and surprised due to the professionalism of the Kaishiki dancers. These physical techniques were very unfamiliar to them. However, they weren't afraid and showed the most professional attitude by doing their best to meet all the physical demands. Director Ljuzem was glad that this arrangement did not bother them. They were excited about the sessions. Like Daksha ji, they felt that through this arrangement they could learn physical skills and attitudes from each other, which was the meaning of the exchange. They humbly received these new things and turned them into their own body energy for future performances and creation with richer content.