Juliet & Romeo - 51st Hong Kong Arts Festival

第五十一屆香港藝術節隆重舉行，可 喜可賀。

逾半個世紀以來，藝術節每年均呈獻 多姿多彩的文藝節目，由古典音樂、 歌劇、戲劇，以至舞蹈、多媒體項 目等，包羅萬有，令觀眾大飽眼福。

今屆藝術節以《收音機與茱麗葉》及 《春之祭》芭蕾舞表演揭開序幕，兩 齣經典作品經由著名編舞家愛德華· 克魯格重新編排，加上斯洛文尼亞 國家歌劇院馬里博爾芭蕾舞團傾力演 出，萬眾矚目；約五星期後，歐洲頂 尖交響樂團—德國班貝格交響樂團將 登台獻技，為今年藝術節畫上圓滿句 號。其間上演的焦點節目還有： 國 際星級女高音安娜·涅翠柯與丈夫男 高音尤西夫·伊瓦佐夫聯袂表演的音 樂會；由藝術家威廉·肯特里奇精心 製作、南非木偶劇團和比利時里切卡 爾古樂團奇妙演繹的蒙特威爾第歌劇 《尤利西斯歸鄉記》；由芭蕾天后娜塔 麗亞·奧斯波娃領銜主演的芭蕾巨 星之《「世」不可擋》及傳奇舞姬之 《趾尖》；以及國際鋼琴大賽冠軍劉曉 禹的演奏會。

藝術節向來十分重視本地演藝人才， 致力讓他們一展才華。今屆藝術節亦 會上演多個粵劇節目，包括《竹林愛 傳奇》、「毛俊輝．粵劇情」、《畫皮》 (精新版)，以及「短篇粵劇—戲說 八德」； 並帶來其他本地作品，包括 《飯戲攻心》踏台版、《末戀．無愛合 約》、舞蹈歌劇《兩生花》等等，定 必精彩萬分，不容錯過。

大眾還可通過藝術節，體驗繽紛的藝 術魅力。法國食蟻獸沉浸式藝術工作 室創作的《第一步》，會邀請觀眾互 動共舞；在大館舉行的一系列免費藝 術科技節目，以及「無限亮」計劃， 亦會讓公眾參與其中。「無限亮」計 劃由本地和海外不同能力的藝術家擔 綱演出，鼓勵青少年衝破界限，探索

行政長官的話 MESSAGE FROM THE CHIEF EXECUTIVE

I would like to congratulate the Hong Kong Arts Festival on the organisation of its 51st edition.

For more than half a century now, the Arts Festival has enthralled audiences with a superb annual programme of arts and culture performances embracing classical music and opera, theatre, dance, multimedia and a great deal more.

This year’s Arts Festival programme opens with the Slovene National Theatre Maribor’s ballet performances of Radio and Juliet and Le Sacre du Printemps, two classics re-imagined by celebrated choreographer Edward Clug. It closes, nearly five weeks later, with a concert by Germany’s Bamberg Symphony, one of Europe’s greatest orchestras. Other highlights include Anna Netrebko, one of the world’s great sopranos, performing with her husband, tenor Yusif Eyvazov; artist William Kentridge’s remarkable production of Monteverdi’s opera, Il Ritorno d’Ulisse, brought to life by South Africa’s Handspring Puppet Company and Belgium’s Ricercar Consort periodinstrument ensemble; Ballet Superstars’ Force of Nature and Legendary Ballerina

新知。「香港藝術節青少年之友」計 劃同樣以豐富年輕人的體驗為目標， 籌備了多場學校巡演、演前工作坊和 特備節目。「加料節目」的創意活動 則把全港觀眾與藝術家連繫起來，讓 藝術文化遍及社區。

我感謝香港藝術節盡心竭力推廣藝術 文化，協助推動香港發展為中外文 化藝術交流中心。我亦感謝一眾贊 助商和捐款人慷慨襄助，令藝術節精 彩紛呈。

今年的藝術盛宴每場表演均可貴可 喜，大家定能盡情享受，樂在其中。

in Two Feet featuring supreme ballerina Natalia Osipova; and concerts by the international award-winning piano virtuoso Bruce Liu.

As always, the Festival shines a spotlight on standout artists from Hong Kong. This year’s Cantonese opera offerings include Love in the Bamboo Grove, Cantonese Opera Classics Circa 2023, The Painted Skin (Refined Edition) and Virtues and Morality—Four Cantonese Operas. Local productions including Table For Six on Stage, Loveless Romance and Love Streams are sure to be among this year’s Festival highlights.

Several programmes invite public participation as well, including the First Steps participatory dance performances staged by France’s Tamanoir Immersive Studio, as well as Tai Kwun’s free series of arts tech productions and the Festival’s No Limits programme, led by local and international artists of varying abilities. No Limits’ offerings emphasise youth exploration, as does the Young Friends of the Hong Kong Arts Festival with its school tours, preperformance workshops and special programming. And then there is the Festival PLUS creative activities that bring artists and audiences together in communities throughout Hong Kong.

I am grateful to the Hong Kong Arts Festival for its inspired commitment to the arts and to Hong Kong’s continuing rise as an East-meets-West centre for international cultural exchange. My thanks, as well, to the Festival’s many generous sponsors and donors.

I know you will treasure every performance, every moment, of this year’s Hong Kong Arts Festival.

John KC Lee Chief Executive Hong Kong Special Administrative Region

歡迎閣下蒞臨第 51 屆香港藝術 節。隨着香港走出疫情的陰霾，藝 術節再度匯聚本地及世界各地的頂 尖藝術家，呈獻一連串精采的現場 表演。儘管網絡世界無遠弗屆， 親身觀賞演出的體驗依然是無可取 替。今日，我很高興能夠與大家 聚首一堂，共同體驗現場表演的 震撼力。

藝術節得以順利舉辦，有賴社會各 界的慷慨支持。我在此感謝香港 特別行政區政府透過康樂及文化事 務署的年度恆常撥款，為藝術節的 長遠工作奠下根基。我亦非常感 激香港賽馬會慈善信託基金的持續 支持，以及一眾企業贊助、慈善基 金會和個人捐助者的貢獻。我更要 向參與藝術節的藝術家表達由衷謝 意，尤其是早前因疫情而無奈取消 演出、但於今屆願意再度與我們合 作的藝術家。

另外，過去三年，藝術節團隊在充 滿不確定因素的環境下努力不懈， 克服種種難關，繼續為觀眾送上線 上線下的精采節目。我在此向團隊 的每一位成員致謝。

觀眾的支持及參與對藝術節至關重 要。感謝您前來欣賞今日的演出， 希望藝術節的節目能夠為您帶來喜 悅與希望。

主席的話 MESSAGE FROM THE CHAIRMAN

I am delighted to welcome you to the 51st edition of the Hong Kong Arts Festival. As the city recovers from the disruption of the pandemic, the Festival is returning with an array of live performances featuring top-notch artists from Hong Kong and across the world. Despite the boundless possibilities offered by the internet, attending performances in person remains an irreplaceable experience. It gives me great pleasure to share this collective experience with you today.

The Festival is made possible by the generosity of our supporters.

I wish to thank the HKSAR Government, via the Leisure and Cultural Services Department, for the annual subvention which underpins our long-standing work. I am also grateful for the ongoing contributions from The Hong Kong Jockey Club Charities Trust, as well as corporate sponsors, charitable foundations and individual donors. My sincere thanks go

to the participating artists for their dedication to bringing the best to our audiences, especially those returning after previous cancellations due to the pandemic.

I also want to thank the dedicated staff of the Festival who have worked extremely hard to overcome numerous challenges during the uncertainties of the past three years. Last but not least, the Festival counts on the support and participation of each member of the audience. Thank you for joining us at today’s performance. I hope that our programmes will bring you much joy and hope for the future.

Victor Cha Chairman Hong Kong Arts Festival

香港藝術節主席 查懋成

行政總監的話

我謹代表藝術節團隊，歡迎閣下蒞 臨第 51 屆香港藝術節。

經歷了過去幾年疫情的影響，今年 藝術節以「回賞．前行」為題，表 達了我們隆重回歸舞台的決心。憑 着五十年來的努力，香港藝術節成 為了地區首屈一指的文化盛事，確 立了在國際間的重要地位。我們很 榮幸能夠繼往開來，並繼續在多方 面力求進步，與時俱進。在第 51 屆藝術節中，我們全新演繹大師傑 作、建立跨界合作、委約原創作 品，進一步發掘新的創作視野。這 些嘗試都展現了表演藝術的維度和 無限可能性，讓我們在探索的旅途 中向前邁進。

除了出色的表演，藝術節亦舉辦 了一系列「加料節目」，令觀眾對 演出作品有更深入的認識，豐富觀 賞體驗。我們亦繼續大力投資於 藝術教育，希望透過多元的外展活 動，以高質素的表演啟發香港的年 輕一代。

藝術節正式踏入第二個五十年，我 們將抱持樂觀的態度和更大的勇氣 面對未來的各種挑戰。希望您能夠 與我們同行，並喜歡藝術節為您準 備的節目。

On behalf of the Festival team, I would like to extend to you a heartfelt welcome to the 51st Hong Kong Arts Festival.

Our theme this year, “Coming Back, Moving Forward”, represents our determination to come back in full force after several years of uncertainties caused by the pandemic. After five decades of hard work and dedication, the Festival has established itself as a premier arts event in the region and an important international arts festival. We are honoured to carry this legacy forward, while advancing our multifaceted work to stay relevant in the present. In the 51st edition, we discover creative voices through new renditions of masterpieces, cross-disciplinary collaborations and commissioned productions— all of which showcase the breadth and endless possibilities of the performing arts, taking us one step

forward in this journey of exploration. Beyond exceptional performances, we are also offering a series of auxiliary PLUS programmes to enhance audience engagement and provide deeper insights into our programmes. Our strong commitment to arts education is seen in the extensive outreach activities aimed at inspiring the younger generation of Hong Kong through promoting quality arts.

The Festival steps into the second half of its first centenary with both optimism and renewed courage to bravely face the great challenges ahead. I hope you will stay close with us and be inspired by what the Festival has to offer.

香港藝術節資助來自：

The Hong Kong Arts Festival is made possible with the funding support of:

Flora Yu

Executive Director

Hong Kong Arts Festival

MESSAGE FROM THE EXECUTIVE DIRECTOR

香港藝術節 HONG KONG ARTS FESTIVAL

扎根香港的國際藝壇盛事 聯繫中國與世界

An International Arts Festival in Hong Kong Connecting China and the World

香港藝術節於 1973 年正式揭幕，是國際藝壇中重要的文化 盛事，於每年 2、 3 月期間呈獻眾多優秀本地及國際藝術家 的演出，以及舉辦多元化的「加料」和教育活動，致力豐 富香港的文化生活。

香港藝術節 是一所非牟利機構，2022/ 23 財政年度預計收

入（包括第 51 屆香港藝術節及 2023 年「無限亮」）約港 幣一億五千萬，當中香港特區政府的年度撥款佔總收入約 18%，另外約 24%需來自票房收入，約 43%則需依賴來自 各大企業、熱心人士和慈善基金會的贊助和捐款。預計餘 下的約 15%則來自其他收入，包括政府針對捐款和贊助收 入而提供的配對資助。

香港藝術節每年呈獻眾多國際演藝名家精采多元的演出，

例如* ：

• 歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、莫斯科大 劇院、聖彼得堡馬林斯基劇院

• 中國戲曲：中國國家京劇院、河北梆子劇院、上海張軍 崑曲藝術中心、江蘇省蘇州崑劇院、浙江小百花越劇團

• 古典音樂：塞西莉亞 • 芭托莉、列卡杜 • 沙爾、趙成 珍、古斯塔沃 • 杜達美、菲力普 • 格拉斯、馬友友、 丹尼斯 • 馬祖耶夫、安娜 • 涅翠柯、詹安德列亞 • 諾 斯達、小澤征爾、湯瑪士．夸斯托夫、甘拿迪 • 羅傑 斯特汶斯基、譚盾、湯沐海、克里斯蒂安 泰利曼、倫 敦交響樂團、NHK交響樂團、皇家阿姆斯特丹音樂廳樂 團、柏林廣播電台合唱團、萊比錫聖多馬合唱團、維也

• 爵士樂及世界音樂：波比 麥非年、尤蘇 恩多爾、 艾斯佩蘭薩 • 斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼

• 舞蹈：米高 巴里殊尼哥夫、蕭菲 紀蓮、艾甘 漢、美國芭蕾舞劇院、雲門舞集、漢堡芭蕾舞團—約 翰．紐邁亞、紐約市芭蕾舞團、巴黎歌劇院芭蕾舞團、 翩娜 包殊烏珀塔爾舞蹈劇場

• 戲劇：彼得 • 布祿克、羅伯特．利柏殊、蜷川幸雄、羅 柏特 • 威爾遜、柏林劇團、中國國家話劇院、皇家莎士 比亞劇團

• 大型特備節目：《藝裳奇幻世界》、星躍馬術奇藝坊

• 戶外節目：《聲光園》、《幻光動感池》、《聲光頌》

香港藝術節積極與本地演藝人才合作，並致力為新進藝術 家提供展示才華的平台。藝術節至今委約及製作逾 250 套 本地全新創作，包括粵劇、戲劇、室內歌劇、音樂和舞蹈 作品，不少製作更已在香港及海外多度重演。近年的藝術 節新製作包括《鼠疫》、《陪着你走》、《百花亭贈劍》、《香 港家族》三部曲、《世紀

The HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year.

The HKAF is a non-profit organisation. The total estimated income for FY2022/23 (including the 51st Hong Kong Arts Festival and 2023 “No Limits”) is approximately HK$150 million. Current Government annual funding accounts for around 18% of the Festival's total income. Around 24% of the Festival’s income needs to come from the box office, and around 43% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 15% is expected to come from other revenue sources including the Government’s matching scheme, which matches income generated through private sector sponsorship and donations. The HKAF has presented top international artists and ensembles across multiple genres, such as*:

• Western opera: Bavarian State Opera, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre

• Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe

Classical music: Cecilia Bartoli, Riccardo Chailly, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra

• Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini

Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet – John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch

• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company

• Large-scale special events: World of Wearable Art, Zingaro

• Outdoor events: Power Plant, Super Pool, Chorus

The HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include The Plague, Always by Your Side, Pavilion of a Hundred Flowers, A Floating Family – A Trilogy, Hong Kong Odyssey, Danz Up, Datong – The Chinese Utopia, The Amahs and Murder in San Jose, to name a few.

The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina

香港》、《炫舞場》、《大同》、 《金蘭姊妹》、《聖荷西謀殺案》等。

香港藝術節多年來與知名海外藝術家及團體聯合製作不少 優秀作品，當中包括由香港藝術節、香港歌德學院及翩 娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹窗人》、由倫 敦老域劇院、布魯克林音樂學院與尼爾街製作公司製作、 香港藝術節為聯合委約機構之一的「橫貫計劃」之《暴風 雨》及《李察三世》、由香港藝術節及上海國際藝術節聯 合委約的《青蛇》、三藩市歌劇院與香港藝術節聯合製作 的《紅樓夢》等。

香港藝術節 大力投資下一代的藝術教育。「青少年之友」

成立 30 年來，已為逾 810, 000 位本地中學生及大專生提供 藝術體驗活動。藝術節近年亦開展多項針對大、中、小學 生的藝術教育活動，包括由國際及本地藝術家主持的示範 講座及工作坊、學生展演、演前講座、公開彩排、以及欣 賞藝術節演出。同時，通過「學生票捐助計劃」，藝術節 每年提供約 10, 000 張半價學生票。

香港藝術節每年主辦一系列多元化並深入社區的「加料節 目」，例如電影放映、示範講座、大師班、工作坊、座談 會、後台參觀、展覽、藝人談、文化導賞團等，鼓勵觀眾 與藝術家互動接觸。

香港藝術節亦銳意將共融藝術理念拓展到社區每一角落。 由藝術節與香港賽馬會慈善信託基金聯合呈獻的「無限

2019 年正式開展，透過一系列的演出及多元的 教育及社區外展節目，「無限亮」致力創造共融空間，讓不 同能力人士均可以一同欣賞、參與、擁抱藝術。

Bausch, Richard III and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with HKAF as a co-commissioning institution, Green Snake co-commissioned with Shanghai International Arts Festival, and Dream of the Red Chamber co-produced with San Francisco Opera.

The HKAF invests heavily in arts education for young people. Over the past 30 years, our “Young Friends” scheme has reached over 810,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year.

The HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided cultural tours.

The HKAF actively promotes inclusiveness and understanding via the arts to every corner of the community. The “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, was launched in 2019. Through a series of performances and diverse arts experiences for students and the community, “No Limits” strives to create an inclusive space for people with different abilities to share the joy of the arts together.

The HKAF officially launched the Hong Kong Arts Festival Foundation in 2022 to provide greater financial security and longterm sustainability for the Festival. Donations to the Foundation will help the Festival to present large-scale projects which its annual budget cannot cater for. (2023

香港藝術節為創造更穩健的財政環境以及確保藝術節的長期 可持續性，於 2022 年成立香港藝術節基金會，旨在讓藝術 節得以在未來進行年度預算以外的大型特別項目。

*有關香港藝術節的過往節目，可參考以下網頁 Details of past HKAF programmes can be found at https://w2.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2021.html

誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。

To find out more about sponsorship opportunities and donation details for the Hong Kong Arts Festival, please contact the HKAF Development Department.

香港藝術節協會 2022 ／ 23 年度預計收入來源（約港幣一億五千萬）

電郵 Email: dev@hkaf.org

直綫 Direct Lines: (852) 2828 4910/11/12

網頁 Website: www.hk.artsfestival.org/en/support-us

Estimated Income Sources for Hong Kong Arts Festival Society in FY 2022/ 23 (Approximately HK$150 Million)

©Paul Blakemore

迷犬舞蹈劇場

Lost Dog

《茱麗葉與羅密歐》 JULIET & ROMEO

15-19.02.2023

香港大會堂劇院

Theatre, Hong Kong City Hall

演出長約 1 小時 15 分鐘，不設中場休息

Approximately one hour and 15 minutes with no interval

英語演出，附中文字幕

Performed in English with Chinese surtitles

* 適合 12 歲或以上觀眾欣賞

Recommended for ages 12 and above

* 此節目含粗俗語言

This production contains strong language

封面照片 Cover Photograph

©Zoe Manders

About Lost Dog

敬請關掉所有響鬧及發光裝置

Please switch off all sound-making and light-emitting devices

本場刊採用環保紙張印刷

This programme is printed on environmentally friendly paper

所有作品內容均由創作團隊獨立製作，並不代表香港藝術節及贊助機構之立場或意見

Much Ado about Love–or Nothing?

導演及編劇構作 Director and Deviser 班．杜克 Ben

請勿擅自攝影、錄音或錄影

Unauthorised photography or recording of any kind is strictly prohibited

如不欲保留本場刊，請於完場後放入場地的回收箱

If you don't wish to keep this booklet, please return it to the admission point

All the content of works are independently produced by the relevant creative teams, and does not necessarily reflect the views or opinions of HKAF or the sponsors.

迷犬舞蹈劇場《茱麗葉與羅密歐》 Lost Dog Juliet & Romeo

概念及導演 Conceived and Directed by 班．杜克 Ben Duke

編劇構作 Devised by 班．杜克 Ben Duke

蘇連．韋納特 Solène Weinachter

演出 Performed by 基普．約翰遜 Kip Johnson

蘇連．韋納特 Solène Weinachter

藝術協作 Artistic Collaborators 皮柏．杜克 Pippa Duke 拉奎．瑪西格爾 ‧扎芙 Raquel Meseguer Zafe

製作經理 Production Manager 戴夫．舒文 Dave Sherman

中文字幕 Chinese Surtitles

徐昌明 Ben Tsui

廖建邦 James Liu

燈光設計 Lighting Designer

積奇．雪密舒 Jackie Shemesh

執行監製 Executive Producer

黛西．杜爾 Daisy Drury

舞台及服裝設計 Set and Costume Designer 詹姆斯．珀金斯 James Perkins

總經理 General Manager 愛瑪‧伊凡 Emma Evans

Music: I Want You (She’s So Heavy) by The Beatles; Romeo and Juliet, Op. 64 by Sergei Prokofiev; Your Beat Kicks Back Like Death by Scout Niblett; Kissing You by Des'ree; Sound of Silence by Simon & Garfunkel; Ain’t No Mountain High Enough by Gaye & Terrell; Passagalia for Unaccompanied Violin by Heinrich Biber; That's Life by Frank Sinatra; Pari Intervallo, composed by Arvo Pärt and performed by Jeroen and Sandra van Veen; and Wild is the Wind by Cat Power Juliet & Romeo is co-commissioned by Battersea Arts Centre, The Place, and Warwick Arts Centre. The work is funded by Arts Council England and supported by the British Council. Production time supported by Lancaster Arts and Ovalhouse. Ben Duke is a Work Place artist at The Place.

Lost Dog

迷犬舞蹈劇場由班．杜克和拉 奎．瑪西格爾 ‧扎芙於 2004 年成立，旨在以文字、動作和 音樂創作，並將舞蹈置於故事 和人物的框架。劇團首部作品 《鋪往天堂的道路》在布爾戈 斯和紐約的國際編舞比賽中獲 得一等獎，並在漢諾威國際編 舞比賽中獲得二等獎。在 2005 年，《溺死者》獲得邦妮．比爾 德新編舞獎。迷犬舞蹈劇場還 創作了 2007 年《飢餓鬼魂》、 2009 年《雨中遊行》、2010 年 《救援》和 2011 年《它需要馬 匹》，此作獲彭博社 The Place 舞蹈獎。

其他作品包括： 與作家露西． 柯克伍德合作、於 2012 年的 演出《破折之家》和 2014 年 的《似兔》，以及獲廣泛讚譽的 《失落園（我身旁未揭示的謊 言）》，此作入圍 2015 年完全劇 場獎，獲提名 2016 年南岸天空 藝術舞蹈獎，並獲得 2017 年鄉 村巡演舞蹈計劃的「最具啟發 和創意作品獎」。《失樂園》自 2015 年在巴特錫藝術中心首映 以來，於英國廣泛地區巡演， 更被英國戲劇雜誌《舞台》譽

Lost Dog was formed in 2004 by Ben Duke and Raquel Meseguer Zafe to create work using text, movement and music in which dance is framed by stories and characters. The company’s first work, Pave Up Paradise, won first prize at the Burgos & New York International Choreography Competition and second prize at the International Choreographic Competition Hanover. In 2005, The Drowner received a Bonnie Bird New Choreography Award. Lost Dog has also created Hungry Ghosts (2007), The Rain Parade (2009), Salvage (2010) and It Needs Horses (2011), which won the Bloomberg Place Prize for Dance.

Other works include Home for Broken Turns (2012) and Like Rabbits (2014), made in collaboration with writer Lucy Kirkwood; and Paradise Lost (lies unopened beside me), which won huge critical acclaim and was shortlisted for a Total Theatre Award in 2015, nominated for the 2016 South Bank Sky Arts Award for Dance and won the 2017 Rural Touring Dance Initiative Award for the “most inspiring and innovative show”. Paradise Lost was described as “a virtuoso tour-de-force” by The Stage and has toured to far-flung parts of the UK since its premiere at Battersea Arts Centre in 2015.

為「精湛傑作」。

迷犬舞蹈劇場

導演及編劇構作的話 Director and Deviser' s Note

我第一次看《羅密歐與茱麗 葉》時還是個少年，那是皇家 莎士比亞劇團的製作。一開場 我就知道大概兩個小時後，男 女主角就會死去，所以無法對 他們投入太多感情。

十四歲那年，我開始明白在乎 太多人不是明智之舉。通感的 能力是有限的，得謹慎選擇向 誰人投放自己的感情。而我這 小心謹慎的態度，明顯也遺傳 到子女的身上。女兒不想養沙 鼠作寵物，因為小道消息告訴

她沙鼠很容易死亡。她想養 龜，這生物很大機會比牠六歲 的小主人還要長壽，因此要面 對死亡傷痛的，可能是那隻龜 多於我女兒。

羅密歐和茱麗葉正是劇場版的 沙鼠——二人的死亡是如此意 料之中和迫在眉睫，所以無論 他們有多可愛，看來最好還是 收起熱情，撒手離場。

但皇家莎士比亞劇團的演員演 出太精彩了——莎士比亞深知 自己在做甚麼——所以我還是

泥足深陷——我不情不願地交 出我的情感。身而為人，當然 也有例外，我們都有此傾向。 沒有人希望見到自己在乎的人 死去。我不想羅密歐和茱麗葉 死去。我也看過隨後一些製 作，感覺卻完全相反，因為男 女主角太令人煩厭了，而在我 第一個《羅密歐與茱麗葉》製 作中，我希望帶來生命。其實 他們有很多生存的機會。要是 羅密歐收到茱麗葉的口信 ； 要 是茱麗葉少喝幾毫克安眠藥，

©Paul Blakemore

I first saw Romeo and Juliet when I was a teenager. It was a Royal Shakespeare Company Production. I knew as the show began that in about two hours they would be dead so I was reluctant to care about them. At the age of 14, I was starting to understand that it was not advisable to care for too many people. Empathy is not a limitless resource. We have to choose who we invest our emotions in. Invest wisely, I say. This cautious approach is a characteristic I have evidently passed on to my children. My daughter didn’t want a gerbil as a pet because she’d heard through the grapevine that they kept dying. She wanted a tortoise. Here was a creature that had every chance of outliving its sixyear-old owner, and so it would be the tortoise rather than my daughter who had to deal with the grief.

Romeo and Juliet were the theatrical equivalent of gerbils— their death was predictable and imminent and so it seemed best, however cute they were, to just withhold my affection for them and sit it out.

But they were good those RSC actors—and Shakespeare knew what he was doing— so I was sucked in—I cared— and unwillingly handed over emotional energy. As humans we are, with notable exceptions, predisposed to it.

We don’t want the people we care for to die. I didn’t want

Romeo and Juliet to die. I have seen subsequent productions in which I had the opposite feeling because the two leads were so annoying but in this, my first production, I wanted life. And there were so many opportunities for them to live. If only Romeo had got the message that Juliet sent, if only Juliet had drunk a few milligrams less of sleeping potion and woken up 30 seconds earlier, if only Paris had been better at sword fighting and delayed Romeo’s entrance by a minute or two. If only, if only. As the audience, we had to witness just how close they sailed to staying alive, and I found that almost unbearable.

So this piece came from a longstanding dislike of death and a dawning realisation that in my job I was perfectly placed to re-write this moment that had frustrated me for so long. I wanted Romeo and Juliet to live, and that was our starting point. Initially it was exhilarating, anything was possible: where would they go, how would they live? We were overwhelmed with the possibilities.

And then gradually things got harder. The problem with cheating death is that then you have to carry on living. According to the experts, the chemical cocktail that we experience as romantic love only lasts for three years. During those three years, there is a gradual fall from the ideal to the real. And Romeo and Juliet had a particularly long way to fall. I

was interested in this second part of their relationship, the bit after romantic love that was intrinsically less dramatic, more mundane and more repetitive. If their early passion was in part fed by the intransigence of their warring families, then what kind of relationship grows from the daily struggle to get a buggy up five flights of stairs?

The creative process somehow mirrored this fall into the ordinary. We began with a lightness and optimism that allowed us to play with Shakespeare’s story and to find the ridiculous in this supposed tragedy. We spent a great deal of time consuming as many versions of the story as we could find—in particular the ballets by Macmillan and Nureyev and the films by Zeffirelli and Lurhman— and allowed these multiple versions to confuse themselves in our brain. And then we got stuck. There was much sitting in silence, watching the changing light outside and realising that another day had passed with little progress.

I love the uncertainty of the devising process; there is something alchemical about it. But it is frustrating. There is no score to refer to and no script to pick up, just a lot of what can best be described as drifting. It often feels like failing, but without quite knowing against which benchmark I’m failing. I’m constantly reaching for things that “work” and I can only really judge that from some kind of

早醒三十秒 ； 要是帕里斯伯爵 劍術高明些，成功拖延羅密歐 多一兩分鐘。要是，要是。作 為觀眾，要見證二人距離生存 只差這麼一點點，對我來說實 在難以承受。

所以這齣劇正來自我多年對死 亡的厭惡，當意識到我的工作 正正賦予我改寫這惱人結局的 能力，實如看到了曙光。我要 羅密歐和茱麗葉活下去，這就 是創作的原點。最初簡直是振 奮人心，一切也有可能 ： 他們 會去哪裏？如何生活？各式 各樣的可能性充昏頭腦。

可是事情慢慢就變得越來越困

難。避過死亡的魔掌就得繼續 活下去。根據專家表示，浪漫 愛情所帶來的化學反應，只會 維持三年。三年當中，理想慢 慢墮落成現實。羅密歐和茱麗 葉的墮落就更漫長。我對二人 相戀的下半部份較為感興趣， 熱戀過後，本質上就沒那麼戲 劇性、平凡而重覆。要是二人 早期的激情，部分來自雙方家 族鬥爭的矛盾，那麼把嬰兒車 推上五樓的日常掙扎，又會產 生甚麼樣的感情呢？

創作過程不知怎地也反映了這 個墮入平庸的問題。一開始是 輕鬆和樂觀的，我們玩味莎士 比亞的故事，在這悲劇中尋找 荒謬之處。我們花了很多時間 去看不同版本的製作——特別 是麥米倫和紐瑞耶夫的芭蕾舞 表演，還有齊費里尼和魯曼的 電影——並且讓這些版本在腦 海中混和。然後就停滯不前

了。很多時候是一片沉默，看 着外面的光線變換，然後發現 一天又過去了，但無甚進展。

我喜歡創作過程中那種不確 定，有點像鍊金的感覺，可是 也無比沮喪。沒有曲譜可以參 考、劇本可以撿拾，只有無盡 的「飄流」。很多時候覺得是 失敗了，可是又不知道以甚麼 基準來釐定失敗。我一直在追 尋「可行」的東西，但只能以 某種飄浮不定的直覺來判斷。 很多東西最後只留在剪接室的 地上。例如，我們花了很長 時間彩排羅密歐和茱麗葉跟莎 士比亞喝醉酒。覺得那一幕是 讓觀眾理解他們當下狀況的關 鍵，最後卻只是東拉西扯，所 以我們關掉了刺耳的音樂，不 再步履蹣跚，覺得有點尷尬。 我們編排了物理上可行的雙人 舞，可是又覺得言之無物，所 以也要剪掉。但一如《寫我 深情》中傑佛瑞．羅許所演的 角色所言 ：「劇場界生來的狀 況，是通往災難的路上其中一 個難以跨越的障礙 ……」就

像大部份從事創作的人，我也 對這種迫於眉睫的災難輕微上 癮，但同時也堅信最後船到橋 頭自然直。

你大概在開場前才會讀到這段 文字，所以還不能判斷演出順 利與否。我也不希望繼續引導 你，我只能說劇目比原作短。

一般而言，迷犬舞蹈劇場的創 作一直在進步。要是這是你 第一齣迷犬舞蹈劇場作品，那 這就個好時機去發掘我們的劇 作 ； 要是你不喜歡這齣劇，過

幾年再來看我們吧。

迷犬舞蹈劇場 2004 年由拉 奎．瑪西格爾‧扎芙 和本人 成立。當時，我們都是倫敦 當代舞蹈學院的學生。團名 靈感來自一隻雜種狗，雜種 狗的祖宗已不能考證，牠不 是純種，也不是雜交品種， 而是自成其類，甚麼基因都 有一點。我們希望雜種狗成 功。我們沒有說走得很前， 反而有點守舊，因為我們的 興趣，是用我們覺得適合的 方法（並在有限能力以內） 說故事。故事是重心，一直 都是如此。

生命本質上有可能是愚蠢 的、無意義的。這讓我很擔 心。你也看到我對死亡的否 定了，我是逃避讓人不安的 事實的專家，所以我找到一 個讓我透過故事，重塑生命 並為其賦予意義的事業。然 後我意外發現，雖然我肯定 不是第一人，當故事被群體 傳頌，能產生非凡的效果 ： 故事能讓我們離開自己的固 有的思想，擱下我們的高智 慧、勢不兩立的觀點，不知 不覺進入情緒的層面。那是 個陌生的國度，而當中藏有 連結和讓人重視的機會。作 為英國人，我不想做得太過 火。不想拖手或對視等。 其實我只想坐在漆黑的劇場 中，裝作只有我一個人 但同時知道並非如此。這種 分享經驗的可能性，正是我 喜歡前往劇場的原因。

shifting, unreliable instinct. There is a great deal that ends up on the cutting room floor. For example, we spent a long time rehearsing a scene in which Romeo and Juliet get drunk with Shakespeare. We felt that this scene was somehow key to our understanding of their present situation, but it turned out to be a red herring, so we turned off the blaring music, stopped staggering around and felt a bit embarrassed. We created duets that had a physical logic but didn’t seem to say anything, so they also had to go. But as Geoffrey Rush’s

character says in Shakespeare in Love: “The natural condition of the theatre business is one of insurmountable obstacles on the road to imminent disaster.” Like most people involved in creating work, I am slightly addicted to that feeling of imminent disaster while also holding onto the belief that it will all turn out well.

You are probably reading this in that dead time before the show begins, so you are not yet in a position to judge if it turns out well. And I wouldn’t want to lead you on that one. It’s shorter than the original, I’ll say that

much for it. I would also say, as a general rule, Lost Dog's work has been getting better, so if this is your first Lost Dog show, you’ve chosen a good moment to discover our work; if you don’t like this show, try coming back to us in a couple of years.

Lost Dog was formed in 2004 by myself and Raquel Meseguer Zafe. We were students at the London Contemporary Dance School.

The name came from the idea of a mongrel. The mongrel is a dog which has lost track of its heritage. It is not a pure breed, or even a crossbreed; it is its

©Paul Blakemore

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《末戀•無愛合約》演後藝人談 Loveless Romance Post-Performance Meet-the-Artist

以樂器之王為經典默片配樂 Writing Music for Silent Film – Tips from the Organist

傑出文化領袖講座系列（10） 與班貝格交響樂團行政總裁暨 藝術總監馬庫斯•魯道夫•阿克斯對談 Distinguished Cultural Leadership Series (10)

In Conversation with Marcus Rudolf Axt Chief Executive and Artistic Director, Bamberg Symphony 《狂人派對》演後藝人談 Dance Me to the End of Night Post-Performance Meet-the-Artist

傑出文化領袖講座系列（10） 與金像獎最佳編劇杜國威對談—戲畫人生 Distinguished Cultural Leadership Series (10)

From Stage to Ink: In Conversation with Award-winning Playwright and Screenwriter Raymond To Kwok-wai

從一開始成立迷犬舞蹈劇場， 我就希望創造這種體驗。不管 作品被歸類為舞蹈還是戲劇也 不重要，但過程中，我們花了 多個小時跟這兩個糾纏在一起 的媒介搏鬥，為兩者之間的相 同相異驚嘆，同時相信人類境 況的真相，正存於兩者之間。

要以華麗的措詞和動作形容 《茱麗葉與羅密歐》——那就是 否定死亡、確立生命、猶如 鍊金般的實驗，把沙鼠變成烏 龜，重塑這標誌性的愛情和 死亡故事，化成更平凡的細 水長流。

own thing, made up of bits of God knows what. We wanted to make mongrel work. It didn’t feel particularly cutting-edge to us; actually it felt quite old-fashioned because what we were interested in doing was using whatever we felt was right (and achievable within our limited skill set) to tell a story. The story was the thing. And still is.

It’s possible that life is, in essence, senseless and without meaning. That worries me. As you have seen from my denial of death, I am an expert at hiding from uncomfortable truths, so I have found a career that allows me to give shape and meaning to life through the telling of stories. And what I accidentally discovered, although I’m sure I wasn’t the first, was that when stories are told communally, they do an extraordinary thing: they allow us to get out of our heads, to let go of our superior intellect,

and our irreconcilable views, and to drop into our emotional selves. It is an unfamiliar place, one in which I feel the nerve-wracking opportunity for connection and recognition. Being English, I don’t want to make too much of this. I don’t want to hold hands or make eye contact or anything like that. In fact I want to sit in the dark of the theatre pretending I’m by myself… but also knowing that I’m not. It is the potential for that shared experience that makes me want to go to the theatre.

From the beginning of Lost Dog I was interested in creating this kind of experience. Whether the work is classified as dance or theatre doesn’t feel that important, but inside the process we spend many hours wrestling with these two intertwined ideas, marvelling at how close and how different they are, and convinced that the truth of the human condition sits somewhere between the two.

So here is Juliet & Romeo told in the technicolour of words and movement—a death-defying, lifeaffirming, alchemical experiment in turning gerbils into tortoises and re-shaping this iconic story of love and death into something far more ordinary.

Ben Duke

©Paul Blakemore

問席間 情為何物？

Much Ado About Love—Or Nothing?

英國迷犬舞蹈劇場呈獻的《茱麗葉與羅密歐》並非首部改編自同名經典的作品，卻可能是首齣把愛情 神話撕破的舞蹈劇。迷犬舞蹈劇場藝術總監班‧杜克巧妙挪用莎士比亞故事，化經典為趣味十足的 喜劇，讓觀眾伴隨羅密歐和茱麗葉展開一場婚姻輔導課。當至死不渝的愛情褪色，兩人該如何去面對 這段頻臨破裂的婚姻關係？

Lost Dog’s Juliet & Romeo might not be the first modern retelling of the classic story, but it may be the first therapeutic experience involving the tale as the audience sits through a counselling session with the titular characters, who are married and struggling with their relationship. In this decidedly fresh and comedic take on the popular play, Romeo and Juliet are seen coming to terms with the idealised version of their romance and their younger selves, whose story— according to director Ben Duke—was stolen and appropriated by Shakespeare for his own purposes.

有份構思作品的蘇連‧韋納 特解說，他們把莎翁筆下的著 名悲劇改編成（不盡然輕鬆愉 快的）喜劇，是想用笑聲建構

一個空間，讓觀眾思考愛情消 逝這個令人不忍直視的議題 ； 並用笑聲為媒介，以最直接、 最即時的劇場反應，連繫表演 者和觀眾。「而且，誰不喜歡 笑？」她聳了聳肩說。

表演引用了多個版本的《羅密 歐與茱麗葉》，包括著名編舞 麥克美倫的古典芭蕾，並對當 中隱含的性別秩序和認知提出 諷刺和反思。縱使以搞笑為偽 裝，這部舞蹈作品剝開浪漫愛 情小說慣用的糖衣包裝，赤裸 裸地呈現一段觸礁的關係，打 破了韋納特所說的「父權」和 「西方迷思」——初相識的男女 一見鍾情，繼而為愛殉情。有

別於原著中牢不可破的愛情關 係，舞蹈作品中的羅密歐與茱 麗葉來到現代，陷入中年婚姻 危機，迫使茱麗葉率先尋求婚 姻輔導，奠下整部作品的基礎 並拉開序幕。

愛情與婚姻，是很多人需要面 對的課題。這部作品雖然尖銳 幽默，卻也不吝讚賞那些勇於

維繫關係的戀人，並將人們面 對愛情和婚姻的選擇、掙扎描 繪得扣人心弦，易生共鳴。正 如韋納特自言 ：「這部作品只 要在舞台上面向觀眾，就活了 過來，這是迷犬劇場最大的特 色之一。所以，表演哪會有單 一的結局？」

©Paul Blakemore

How did a well-known tragedy get turned into a comedy, though not necessarily a light-hearted one? For Solène Weinachter, one of the masterminds behind the show, laughter creates an atmosphere that allows audience members to confront topics that are otherwise too uncomfortable to think about, and is a tool that bonds the performers with observers through the sheer honesty and immediacy of the physical reaction. “Also, we just happen to love a good laugh,” she shrugs.

Keep in mind, though, that under the guise of a good laugh lies a troubled relationship devoid of any sugar coating that readers of romance narratives will be accustomed to. It turns out that the modern protagonists of Romeo and Juliet, now in their 40s, are here to destroy what Weinachter calls “a patriarchal” and “very white Western myth”— people falling in love and dying for each other after several hours of meeting—that is embedded

within a problematic structure of gender dynamics. In Juliet & Romeo, it is Juliet who initiates the therapy session on which the whole premise of the show is based. And in referencing the multiple versions of Romeo and Juliet, including Kenneth MacMillan’s classical ballet, the show culminates in a metacommentary that reclaims and ridicules an age-old institution buttressed by centuries of endless retellings.

The story gnaws, jests and at times tugs at your heartstrings. But ultimately the production is a tribute to those who hold on to their relationships with courage. It is also about the desire to capture individuals in a certain moment of their lives, which explains the exuberance of the show. “A big part of who we [Lost Dog] are, is that the work comes alive on stage when it’s performed with an audience. So... how do you even end the show?” asks Weinachter.

Text : Shao yi Chan, HKAF Assistant Editor Originally published in the HKAF's 2023 FestMag

©Paul Blakemore

©Paul Blakemore

演出及編創人員簡介

Performer and Creative Team Profiles

班．杜克 BEN DUKE

導演及編劇構作

Director and Deviser

班．杜克是迷犬劇場的藝術總 監及聯合創辦人。他在吉爾福 德演藝學院和倫敦當代舞蹈學 院接受培訓，以一級榮譽畢業 於紐卡素大學英國文學系。他 的作品探索舞蹈與戲劇的類同 和兩者之間的過渡。杜克是倫 敦 The Place 舞蹈中心的「工 作場所藝術家」，並於 2012 至 2014 年期間擔任英國東南舞 蹈團的駐場藝術家。他曾獲得 2011 年邦妮．比爾德的新編舞 獎，亦憑《失樂園（我身旁未 揭示的謊言）》得到 2016 年英 國國家舞蹈獎最佳男演員獎。

除了迷犬舞蹈劇場的作品外， 杜克為其他公司導演和編舞的 作品包括： 蘭伯特舞蹈團《山 羊》，此作獲一項奧利花獎提 名、勉強有序雜技團《親屬》、 蘇格蘭舞蹈劇院《女孩 A 的生 活時光》和鳳凰舞劇院《鋪往 天堂的道路》。他亦曾與探索舞 蹈劇團、謝克特現代舞團、蓋 特劇團、蘇格蘭國家劇院、格

Ben Duke is Artistic Director and co-founder of Lost Dog. He trained at the Guildford School of Acting and the London Contemporary Dance School, and has a first-class degree in English Literature from Newcastle University. His work explores the overlap and transition between dance and theatre. Duke is a Work Place Artist at The Place, London and was Associate Artist at South East Dance from 2012–2014. He was the recipient of the Bonnie Bird New Choreography Award in 2011 the National Dance Critics Award for Outstanding Male Performance in Paradise Lost (lies unopened beside me) in 2016.

In addition to his work for Lost Dog, Duke has directed and choreographed works for other companies including: Goat for

Rambert, which was nominated for an Olivier Award; Kin for Barely Methodical Troupe; The Life and Times of Girl A for Scottish Dance Theatre; and Pave Up Paradise for Phoenix Dance Theatre. He has performed with Probe, Hofesh Shechter Company, the Gate Theatre, the National Theatre of Scotland, Glyndebourne Opera and Punchdrunk.

萊德伯恩歌劇院和暈眩劇團合 作演出。

蘇連．韋納特 SOLÈNE WEINACHTER

編劇構作及演出

Deviser and Performer 蘇連．韋納特的舞蹈生涯從她 的廚房開始，她及後來到倫敦 當代舞蹈學院，修讀當代舞蹈 和表演學士（榮譽）和碩士學 位。在 2007 至 2012 年期間，她 在蘇格蘭舞蹈劇院擔任舞者， 並首次與班．杜克於《女孩 A 的生活時光》中合作。韋納特 於 2012 年以自由舞者的身份加 入迷犬舞蹈劇場。她亦曾與壁 虎劇團和特勞布林劇院合作； 目前演出維拉．圖辛和瓊． 克里維利舞團的作品。韋納特 是格拉斯哥音樂和舞蹈即興創 作團體「集體奮鬥舞團」的創 始成員。

Solène Weinachter’s dance journey started on her kitchen floor and took her to The Place in London, where she graduated with a BA (Hons) and MA in Contemporary Dance and Performance From 2007–2012, she danced with Scottish Dance Theatre, where she first worked with Ben Duke in The Life and Times of Girl A Weinachter joined Lost Dog as a freelance dancer in 2012 She has also worked with Gecko and Troubleyn; she is currently dancing with Vera Tussing and Joan Clevillé Dance She is also a founding member of Collective Endeavours, a Glasgow-based music and dance improvisation collective

拉奎．瑪西格爾．扎芙

Raquel Meseguer Zafe

藝術協作

皮柏‧杜克是迷犬舞蹈劇場至今所有作品的主要協作者。於皇家 芭蕾舞學院完成舞蹈訓練後，在巴伐利亞國立歌劇院工作六年， 在此期間曾作客薩德勒斯威爾斯皇家芭蕾舞團，及後加入荷蘭舞 蹈劇場，在其中與季利安、馬茲．艾克、奧哈．勒赫林和威廉． 科西共同創作。 2002 年，她加入倫敦當代舞蹈學院，並於 2005 年 修畢其舞蹈訓練及教育碩士課程。 2004 年，她曾與侯非胥．謝克 特共舞，共同演繹其榮獲「英國倫敦所在劇場編舞比賽大獎」的 作品《邪教》。

Duke has worked as a core collaborator with Lost Dog on all of its works to date. After completing her training at the Royal Ballet School, Duke danced with Bayerische Staatsoper for six years, during that time she guested with Sadler’s Wells Royal Ballet before joining Nederlands Dans Theater. In 2002 Duke joined the faculty at the London Contemporary Dance School and completed her Master of Arts in Dance Training and Education there in 2005. In 2004 she danced with Hofesh Shechter in his Place Prize piece Cult.

拉奎．瑪西格爾

‧扎芙是迷犬舞蹈劇場的聯合創辦人。她在倫敦 當現舞蹈學院接受培訓，曾與暈眩劇團、傾斜舞蹈劇團和斯坦不 跳舞合作演出。除了迷犬舞蹈劇場的作品外，扎芙還為暈眩劇團 共同製作《非商業旅客》和《黑鑽》，與劇場製作人艾美．霍奇合 作了《流浪者》和《 7- 75 》，並與瑞秋．巴格肖合作了《疼痛的 形狀》。 2015 年，扎芙成立未知合作社，探索患隱性疾病人士的複 雜生活。

Raquel Meseguer Zafe is co-founder of Lost Dog. She trained at the London Contemporary Dance School and has performed with Punchdrunk, Tilted Co and Stan Won't Dance. In addition to her work with Lost Dog, Zafe has co-delivered The Uncommercial Traveller and The Black Diamond for Punchdrunk. She also collaborated with theatre-maker Amy Hodge on The Rover and 7-75 ,and with Rachel Bagshaw on The Shape of the Pain. In 2015, Zafe formed Unchartered Collective to make work that explores the complexity of living with a hidden condition.

皮柏．杜克 Pippa Duke 藝術協作及創作顧問

Artistic Collaborator and Creative Consultant

Artistic Collaborator

詹姆斯．珀金斯的戲劇作品包括 ： 故事屋《秘密七人組》、謝菲 爾德劇院和布殊劇院《親戚朋友》、曼徹斯特皇家交易所劇院《生 命的旋律》及《花樣獠牙》、橙樹劇院《俄羅斯遊行》及《德國的 礁》、橙樹劇院和穿越劇院《永遠的謝茜和祖》、《恐龍世界》英國 巡演、反抗劇團《當我們在這裏》、倫敦經典劇院《歇斯底里》、 古羅維劇院《天窗》、頂峰佳節劇院、古羅維劇院和院落劇院《朝 聖》、新沃爾西劇院《最後那五年》、公園劇院《聚葉》、布殊劇院 和脫節劇團《密碼》等等。

James Perkins’ theatre credits include: The Secret Seven (Storyhouse); Of Kith and Kin (Sheffield Crucible, Bush Theatre); Sweet Charity and Little Shop of Horrors (Royal Exchange); The March on Russia and German Skerries (Orange Tree Theatre); Jess and Joe Forever (Orange Tree Theatre, Traverse Theatre); Dinosaur World (UK Tour); While We’re Here (Up In Arms); Hysteria (London Classic Theatre); Skylight (Theatr Clwyd); Pilgrims (Hightide, Clwyd Theatr Cymru, Yard Theatre); The Last Five Years (New Wolsey Theatre); The Gathered Leaves (Park Theatre); and Ciphers (Bush Theatre, Out Of Joint).

積奇．雪密舒為舞蹈、戲劇和視覺藝術設計燈光。他與班．杜 克和迷犬舞蹈劇場合作超過十年，設計他們的大部分作品。他曾 與以色列巴舒化舞蹈團、蘭伯特舞蹈團、芭蕾男孩、蘇格蘭舞蹈 劇院、柏林多克公園、威爾斯國家舞蹈團、肯杜可舞團和蛋白舞 團等舞蹈組織合作。他還與其他編舞家合作，包括史蒂芬妮．舒 伯、傑米拉．約翰遜．斯摩、伊娃．雷卡查等。雪密舒的戲劇作 品包括 ： 利瑞克漢默史密斯劇院《羅摩衍那》、比波尼卡劇院和尼 爾街製作公司《巴斯克維爾的獵犬》等等。

Jackie Shemesh designs lighting for dance, theatre and visual art. He has collaborated with Ben Duke and Lost Dog for more than a decade, designing most of its works. He has worked with dance organisations such as the Batsheva Ensemble, Rambert, Ballet Boys, Scottish Dance Theatre, Dorky Park (Berlin), National Welsh Dance, Candoco and Protein. He’s also worked with other choreographers, including Stephanie Schober, Jamila Johnson-Small, Eva Recacha and more. Shemesh’s theatre credits include: Ramayana (Lyric Hammersmith); The Hound of the Baskervilles (Peepolykus, Neal Street Productions) and more.

詹姆斯．珀金斯 JAMES PERKINS 場景及服裝設計

Set and Costume Designer

積奇．雪密舒 JACKIE SHEMESH

燈光設計

Lighting Designer

鳴謝

ACKNOWLEDGEMENTS

香港藝術節衷心感謝下列機構及人士的慷慨支持：

The Hong Kong Arts Festival would like to thank the following for their generous support:

香港藝術節基金會贊助人

Hong Kong Arts Festival Foundation Patrons

首席創始贊助人 Lead Founding Patrons

陳俊豪先生 Mr Thomas Chan

黃廷方慈善基金 Ng Teng Fong Charitable Foundation

電訊盈科 PCCW

九龍倉集團 The Wharf Group

主要創始贊助人 Major Founding Patrons

萬通保險國際有限公司 YF Life Insurance International Ltd

眾安銀行 ZA BANK

創始贊助人 Founding Patrons

陳煒文博士, JP Dr Raymond Chan, JP

丹斯里拿督邱達昌 Tan Sri Dato’ David Chiu

曹其鋒先生 Mr Silas Chou

霍建寧先生及霍何綺華女士 Mr and Mrs Canning and Eliza Fok

馮氏基金有限公司 E.M. Fung Foundation Limited

何超瓊女士, SBS , JP Ms Pansy Ho, SBS, JP

科勁國際（控股）有限公司 King’s Flair International (Holdings) Limited

梁婉玲博士 Dr Elina Leung

孫漢明博士 Dr Stephen Suen

包陪麗女士, BBS 及渡伸一郎先生 Ms Cissy Pao, BBS and Mr Shinichiro Watari

其他贊助人 Other Patrons

羅嘉瑞基金 KS & Feili Lo Foundation

孫大倫博士, BBS , JP Dr Dennis T L Sun, BBS, JP

慶祝香港藝術節五十周年晚宴之贊助人

Sponsors of the Hong Kong Arts Festival 50th Anniversary Gala Dinner

鑽石席 – 宴桌 Diamond Table Sponsors 香港上海匯豐銀行有限公司 上海商業銀行

洪祖杭博士, GBM , GBS , JP

鄭慕智博士, GBM , GBS , JP James Houghton 先生, 黃穎灝先生及梅慶堯先生 雍景欣女士

The Hongkong and Shanghai Banking Corporation Limited

Shanghai Commercial Bank

Dr the Hon Albert Hung Chao-hong, GBM, GBS, JP

Dr the Hon Moses Mo-chi Cheng, GBM, GBS, JP

Mr James Houghton, Mr Isaac Wong & Mr Arthur Mui

Ms Jingxin Yong

鑽石席 – 宴位 Diamond Seat Sponsors 呂元祥博士及夫人

譚允芝女士, SBS , SC , JP 龐維新先生及夫人 崇光(香港)百貨有限公司

黃金席 – 宴桌 Gold Table Sponsors 鄭阮培恩女士, 吳來盛先生及夫人 中美國際集團有限公司

華國強先生夫人 太古地產有限公司 卡地亞

黃金席 – 宴位 Gold Seat Sponsors 何苗春暉女士

林梅若梅女士

鄭馮亮琪女士

Janana Suleymanli Pasha 女士 鄭惠貞女士

張利平先生

Dr and Mrs Ronald Lu

Ms Winnie Tam Wan-chi, SBS, SC, JP

Mr and Mrs Wilson Pong

Sogo Hong Kong Company Limited

Mrs Betty Cheng, Mr and Mrs Emil Ng

Chung Mei International Holdings Limited

Mr Granger and Mrs Miriam Hwa

Swire Properties Limited

Cartier

Ms Joanna Hotung

Mrs Lavina Lim

Mrs Fina Cheng

Ms Janana Suleymanli Pasha

Ms Margaret Cheng

Mr Zhang Liping

鳴謝 ACKNOWLEDGEMENTS (續 con' t)

香港藝術節衷心感謝下列機構及人士的慷慨支持：

The Hong Kong Arts Festival would like to thank the following for their generous support:

贊助舍計劃會員 Patron’s Club Members

鉑金會員 Platinum Member

嘉里控股有限公司

Kerry Holdings Limited

黃金會員 Gold Member 怡和集團

The Jardine Matheson Group

其他支持機構 Other Supporters

加拿大駐香港及澳門總領事館

Consulate General of Canada in Hong Kong and Macao

實物支持機構 In - kind Supporters

大亞國際集團 Altaya Group

香港愉景灣酒店 Auberge Discovery Bay Hong Kong

香港君悦酒店 Grand Hyatt Hong Kong

虎豹樂圃 Haw Par Music

藝術節捐助計劃 Festival Donation Scheme

鉑金捐款者 PLATINUM DONOR

HK$140,000 或以上 OR ABOVE

孫大倫博士, BBS , JP Dr Dennis T L Sun , BBS , JP

鑽石捐款者 DIAMOND DONORS

HK$70,000 – HK$139,999

瑞安集團 Shui On Group

Dr Patrick Tong

文藝女士 Ms Wen Yi

翡翠捐款者 JADE DONORS

HK$30,000 – HK$69,999

無名氏 Anonymous

陳求德醫生及夫人 Dr & Mrs KT Chan

Ms Leung Wai Yee Candice

馬美域女士 Ms Yvette Therese Ma

Dr Stephen Suen

楊傳亮先生, BBS , JP Mr Charles Yang , BBS , JP

黃金捐款者 GOLD DONORS

HK$12,000 – HK$29,999

無名氏 ( 2 ) Anonymous ( 2 )

Mr & Mrs Jeffrey & Helen Chan

Mr Edmond Huang

Dr Peter and Nancy Thompson

Dr Sabrina Tsao

曹延洲醫生夫人 Dr & Mrs Tsao Yen - Chow

Mrs Linda Wang

Mr & Mrs YS Wong

純銀會員 Silver Members 太古集團慈善信託基金

The Swire Group Charitable Trust

上海商業銀行有限公司

Shanghai Commercial Bank Limited

荷蘭駐港總領事館

Consulate of the Kingdom of the Netherlands in Hong Kong and Macau

香港故宮文化博物館 Hong Kong Palace Museum

文陳妙蘭女士 Mrs Christina Man

信興集團 Shun Hing Group

純銀捐款者 SILVER DONORS

HK$6,000 – HK$11,999

無名氏( 3 ) Anonymous ( 3 )

Dr Gillian Choa

Ms Ho Man Fung Edith

Mrs Schmitt Ling Jane

文娛慈善基金 The Elementary Charitable Foundation

Ms Isabel Yiu

Mr Vernon Zhang

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏( 2 ) Anonymous ( 2 ) AWORKS . DESIGN

Jose Manuel Sevilla and Julie Bisaillon

Mrs Anson Chan

鍾雅妍博士 Dr Fiona Chung

Ms Zoe Ho

Ms Li Lian Khoo

Dr Alfred Lau

Apple Lee

李芸輝博士 Dr Lee Wan Fai Walter

Savita Leung

Dr Michael Mak

Dr & Mrs Joseph Pang

San Miguel Brewery Hong Kong Ltd .

Mr A . Smith

The Brandon Centre Limited

Mr Wong Yick Kam

姚曼儀女士 Ms Enoch Yiu

朱玉迎女士 Ms Zhu Yuying

學生票捐助計劃 Student Ticket Scheme

鉑金捐款者 PLATINUM DONORS

HK$140,000 或以上 OR ABOVE

無名氏( 2 ) Anonymous ( 2 )

馬振玉慈善基金會有限公司

CYMA Charity Fund Ltd

鑽石捐款者 DIAMOND DONORS

HK$70,000 – HK$139,999

Mrs Purviz R Shroff , MH and

Late Mr Rusy M Shroff , BBS , MBE

田家炳基金會 Tin Ka Ping Foundation

芝蘭基金會 Zhilan Foundation

翡翠捐款者 JADE DONORS

HK$30,000 – HK$69,999

Mr Roger and Mrs Lina Lui

Dr Stephen Suen

黃金捐款者 GOLD DONORS

HK$12,000 – HK$29,999

Dr Chung See Yuen

天智合規顧問 CompliancePlus Consulting

Mr & Mrs Kenneth & Nelly Fung

C H Mak

Mr & Mrs Kenneth Quinn

曹延洲醫生夫人 Dr & Mrs Tsao Yen - Chow

純銀捐款者 SILVER DONORS

HK$6,000 – HK$11,999

無名氏 ( 2 ) Anonymous ( 2 )

新作捐助計劃 New Works Scheme

黃金捐款者 GOLD DONORS

HK$12,000 – HK$29,999

無名氏 Anonymous

劉仰澤先生 Mr Lau Yeung Chak

純銀捐款者 SILVER DONORS

HK$6,000 – HK$11,999

凌霄志醫生 Dr Tony Ling

區燊耀先生 Mr Au Son Yiu

Mr & Mrs Jeffrey & Helen Chan

Dr Chan Wan Tung

Mr & Mrs Norman Chui

Mrs Margaret Hamilton

Miss Jenny Hodgson

Mr Iain Bruce

麥禮和醫生 Dr Mak Lai Wo

Mr Vernon Zhang

陳穎儀與黃乃正

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏 ( 3 ) Anonymous ( 3 )

Mr & Mrs Herbert Au - Yeung

Cynthia Cheng & Aaron Chan

Ms Kit Fung Cheung

Dr Alan Chiang

馮兆林先生太太 Mr & Mrs Fung Shiu Lam

Ms Maureen Leung

Ms Regina Lo

Ms Janice Ritchie

Mrs Anna Chan Sheh

Mr So Kin Man

文娛慈善基金 The Elementary Charitable Foundation

余德銘先生 Mr Desmond Yu

殷和順先生劉善萍夫人

Mr Vernon Zhang

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏 Anonymous

Ms Judith Ling

Ms So Wing Yin

網上藝術教育捐助計劃 Digital Arts Education Scheme

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏 Anonymous

HK CT Alumni Association

支持及協助 SUPPORT AND COOPERATION

教育局藝術教育組

Arts Education Section, Education Bureau

香港展能藝術會

Arts with the Disabled Association Hong Kong

香港愉景灣酒店

Auberge Discovery Bay Hong Kong

澳洲駐香港及澳門總領事館 Australian Consulate-General Hong Kong and Macau

奧地利駐香港總領事館 Austrian Consulate General

Hong Kong

樺利廣告有限公司 Avanny Advertising Co Ltd

宏基國際賓館 Bishop Lei International House

BRICK LANE

英國文化協會 British Council

英國駐香港總領事館 British Consulate General Hong Kong

百老匯院線 Broadway Circuit burgundy etc

CAMPSITE

粵劇發展基金 Cantonese Opera Development Fund

牛棚藝術村 Cattle Depot Artist Village

周生生集團國際有限公司

Chow Sang Sang Jewellery Co. Ltd

中信國際電訊(信息技術)有限公司

CITIC Telecom International CPC Limited

城市當代舞蹈團 City Contemporary Dance Company

城巿花園酒店 City Garden Hotel

思聯設計有限公司 CL3 Architects Ltd

比利時駐港澳總領事館

Consulate General of Belgium in Hong Kong and Macau 加拿大駐香港及澳門總領事館

Consulate General of Canada in Hong Kong and Macao

法國駐港澳總領事館

Consulate General of France in Hong Kong and Macau

西班牙駐香港總領事館

Consulate General of Spain in Hong Kong 瑞士駐香港總領事館

Consulate General of Switzerland in Hong Kong

荷蘭駐港總領事館

Consulate General of the Kingdom of Netherlands in Hong Kong and Macau

大韓民國駐香港總領事館

Consulate General of the Republic of Korea in Hong Kong

俄羅斯駐香港總領事館

Consulate General of the Russian Federation in the Hong Kong SAR, PRC

Die Konzertisten

拔萃女書院 Diocesan Girls' School

愛普生香港有限公司 Epson Hong Kong Limited

香港港威酒店 Gateway Hotel, Hong Kong

德國駐香港總領事館

German Consulate General Hong Kong

六國酒店 Gloucester Luk Kwok Hong Kong

香港歌德學院 Goethe-Institut Hong Kong

香港君悅酒店 Grand Hyatt Hong Kong

青苗琴行 Greenery Music

香港恒生大學

Hang Seng University of Hong Kong

學生事務處 Student Affairs Office

8 度海逸酒店 Harbour Plaza 8 Degrees

快達票香港有限公司 HK Ticketing

香港文聯 HKL&A

香港藝術行政人員協會 Hong Kong Arts Administrators Association

香港藝術中心 Hong Kong Arts Centre

香港浸會大學 Hong Kong Baptist University

音樂學院 Academy of Music

拉闊文化 Cultural Literacy Programme

英國語言文學系 Department of English Language and Literature

香港大會堂 Hong Kong City Hall

香港文化中心 Hong Kong Cultural Centre

香港電影資料館 Hong Kong Film Archive

香港黃金海岸酒店 Hong Kong Gold Coast Hotel

香港管弦樂團 Hong Kong Philharmonic Orchestra

香港公共圖書館 Hong Kong Public Libraries

香港旅遊發展局 Hong Kong Tourism Board

斯洛文尼亞駐港總領事館 Honorary Consulate of Slovenia in Hong Kong

香港都會大學

Hong Kong Metropolitan University

學生事務處 Student Affairs Office

登臺 Hotel Stage

宜必思香港中上環

ibis Hong Kong Central and Sheung Wan

工銀亞洲 ICBC (Asia)

入境事務處 Immigration Department

香港以外地區經濟事務辦事處新聞及公共關係組

Information and Public Relations Units in Offices

Outside Hong Kong

海景嘉福洲際酒店

InterContinental Grand Stanford Hong Kong

高山劇場 Ko Shan Theatre

九龍木球會 Kowloon Cricket Club

Kubrick

葵青劇院 Kwai Tsing Theatre

駐香港韓國文化院

Korean Cultural Center in Hong Kong

康樂及文化事務署

Leisure and Cultural Services Department

牧羊少年與他的浮萍 Lemna of the alchemist

中央人民政府駐香港特別行政區聯絡辦公室 Liaison Office of the Central People's Government in the HKSAR

嶺南大學 Lingnan University

黃炳禮音樂及演藝部

Wong Bing Lai Music and Performing Arts Unit

馬哥孛羅香港酒店 Marco Polo Hongkong Hotel

Maxibit HK/China

MCL K11 Art House

中華人民共和國文化和旅遊部

Ministry of Culture and Tourism, PRC 循道衛理聯合教會國際禮拜堂

Methodist International Church Hong Kong Mission Production Company Ltd

李鏡輝先生 Mr Alpha Li

黃月妙小姐 Ms Kitty Wong

黃宇軒先生 Mr Sampson Wong

音樂事務處 Music Office

北區大會堂 North District Town Hall

One Minden Tapas Kitchen

橙天嘉禾娛樂集團 Orange Sky Golden Harvest

Entertainment Group

柏斯琴行 Parsons Music Limited

奧華酒店 中環 Ovolo Central

卓滙達有限公司 Patsville Company Ltd

Performing Arts Fund NL

電訊盈科 PCCW Pixellent

犇華企業服務有限公司 Primasia Corporate Services Limited

鄭新文教授 Prof Tseng Sun-man

富豪酒店國際 Regal Hotels International

香港瑰麗酒店 Rosewood Hong Kong

皇家太平洋酒店 Royal Pacific Hotel

Russian Club in Hong Kong

沙田大會堂 Sha Tin Town Hall

上環文娛中心 Sheung Wan Civic Centre

聖公會鄧肇堅中學 Sheng Kung Hui Tang Shiu Kin

Secondary School

南非駐香港總領事館

South African Consulate General Hong Kong SAR & Macao SAR, PRC

Southgate Design

香港西班牙商會

Spanish Chamber of Commerce in Hong Kong

事必達推廣有限公司 Speedy Promotion Limited

春天舞台劇製作有限公司 Spring-Time Stage Productions Limited

辰衝圖書有限公司 Swindon Book Co. Ltd.

香港瑞士商會有限公司 Swiss Chamber of Commerce in Hong Kong Limited

大館 Tai Kwun

台灣蘇富比國際房地產

Taiwan Sotheby's International Realty

藝林文具印刷有限公司 The Artland Co Ltd

香港八和會館 The Chinese Artists Association of Hong Kong

香港中文大學 The Chinese University of Hong Kong

聯合書院 United College

藝術行政主任辦公室 The Office of the Arts Administrator

文化及宗教研究系 Department of Cultural and Religious Studies

香港城市大學 The City University of Hong Kong

文化薈 Cultural Exchange Oasis

商務印書館（香港）有限公司 The Commercial Press (Hong Kong) Limited

香港教育大學 The Education University of Hong Kong

文化與創意藝術學系 Department of Cultural and Creative Arts

灣景國際 The Harbourview

梅夫人婦女會 The Helena May

香港演藝學院 The Hong Kong Academy for Performing Arts

戲曲學院 School of Chinese Opera 戲劇學院 School of Drama

音樂學院 School of Music

舞蹈學院 School of Dance

電影電視學院 School of Film and Television

學生事務處 Student Affairs Office

表演場地管理部 Venue Performance Unit

場地技術部 Venue Technical Unit

香港兒童合唱團 The Hong Kong Children’s Choir

香港理工大學 The Hong Kong Polytechnic Universit

文化及設施推廣處 Culture Promotion and Events Office

香港科技大學 The Hong Kong University of Science and Technology

藝術中心 Center for the Arts

The Swiss Chamber of Commerce in Hong Kong Limited

香港大學 The University of Hong Kong

音樂系 Department of Music

香港大學美術博物館 University Museum and Art Gallery Cultural Management Office

學生發展及資源中心 Centre of Development and Resources for Students

港青 - 香港基督教青年會

The Salisbury – YMCA of Hong Kong

通利琴行 Tom Lee Music Company Ltd

三角關係 Trinity Theatre

荃灣大會堂 Tsuen Wan Town Hall

屯門大會堂 Tuen Mun Town Hall

城市售票網 URBTIX

市區重建局 Urban Renewal Authority

同流黑盒劇場 WeDraman Black Box Theatre

進富印刷公司 Wealthy Step Printing Co.

西九文化區管理局

West Kowloon Cultural District Authority

粵海華美灣際酒店 Wharney Hotel

艾希妮網絡公關有限公司 X Social Group Limited

油麻地戲院 Yau Ma Tei Theatre

元朗劇院 Yuen Long Theatre

赤豚事務所 Zhu Graphizs

贊助人 李家超先生, GBM SBS PDSM PMSM

永遠名譽會長 邵逸夫爵士 (1907-2014)

執行委員會

主席 查懋成先生

副主席 盧景文教授

義務司庫 范高廉先生

委員 鄭阮培恩女士 鄭惠貞女士 馮愉敏先生 何苗春暉女士 文肇偉先生 孫大倫博士 姚潔莉女士 楊　光先生

節目委員會

主席 盧景文教授

委員 白諾信教授 紀大衛教授 羅志力先生 毛俊輝教授 約瑟．施力先生+ 譚榮邦先生 姚　珏女士

財務委員會

主席 范高廉先生 委員 鄭惠貞女士 梁國輝先生 發展委員會

主席 鄭阮培恩女士

副主席 雍景欣女士 委員 馮愉敏先生 龐心怡女士 孫林宣雅女士 文藝女士 姚祖輝先生

顧問 夏佳理先生 鮑　磊先生 陳祖澤博士 陳達文博士 霍　璽先生 李業廣先生 梁紹榮夫人 李國寶博士 名譽法律顧問 甘乃迪女士（孖士打）

核數師 羅兵咸永道 會計師事務所

PATRON

HONORARY LIFE PRESIDENT

EXECUTIVE COMMITTEE

Chairman

Vice-Chairman

Honorary Treasurer

Members

電話 TEL 2824 3555

傳真 FAX 2824 3798 / 2824 3722

電子郵箱 Email afgen@hkaf.org

節目查詢熱線 2824 2430

Programme

Enquiry Hotline

地址 ADDRESS 香港灣仔港灣道 2 號 12 樓 1205 室 Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong

The Hon. John KC Lee, GBM SBS PDSM PMSM

The Hon. Sir Run Run Shaw, GBM CBE (1907-2014)

Mr Victor Cha

Prof. Lo King-man, SBS MBE JP

Mr Colin Farrell

Mrs Betty Yuen Cheng

Ms Margaret Cheng

Mr Michael Fung

Ms Joanna Hotung

Mr Sebastian Shiu-wai Man

Dr Dennis T L Sun, BBS JP

Ms Miriam Yao

Mr Sunny Yeung

PROGRAMME COMMITTEE

Chairman

Members

Prof. Lo King-man, SBS MBE JP

Prof. Giorgio Biancorosso

Prof. David Gwilt, MBE

Mr Peter C L Lo

Prof. Fredric Mao, BBS

Mr Joseph Seelig +

Mr Wing-pong Tam, SBS JP

Ms Jue Yao, JP

FINANCE COMMITTEE

Chairman

Members

DEVELOPMENT COMMITTEE

Chairperson

Vice-Chairperson

Members

Mr Colin Farrell

Ms Margaret Cheng

Mr Nelson Leong

Mrs Betty Yuen Cheng

Ms Jane Yong

Mr Michael Fung

Ms Samanta Sum-yee Pong

Mrs Helen Lin Sun

Ms Yi Wen

Mr Andrew Yao

ADVISORS

The Hon. Ronald Arculli, GBM GBS

Mr Martin Barrow, GBS CBE JP

Dr John C C Chan, GBS CBE LVO JP

Dr Darwin Chen, SBS ISO

Mr Angus H Forsyth

The Hon. Charles YK Lee, GBM GBS OBE JP

Mrs Mona Leong, SBS BBS MBE JP

Dr The Hon Sir David KP Li, GBM GBS OBE JP

HONORARY SOLICITOR

AUDITOR

Ms Gabriela Kennedy, Mayer Brown

PricewaterhouseCoopers

職員

行政總監 余潔儀

行政總監助理 何丹蓉

節目

節目總監 梁掌瑋 蘇國雲

高級節目經理 梁偉然 *

節目經理 陳曉彤 * 鄭佩群 * 廖國穎 * 馬筠婷 * 司徒頌欣 *

短期節目經理 游慧姿 *

副節目經理 杜以樂 *

節目統籌 林穎茵 *

藝術行政見習員 容諾行 *

行政

節目經理 (行政) 蘇雪凌

節目主任 (行政) 林穎妍 *

物流

物流及接待經理 金學忠 *

技術

製作經理 梁雅芝 *

助理製作經理 陳梓衡 *

出版

編輯 陳詠恩 * Adam Wright*

助理編輯 陳劭儀 * 李芷晴 *

外展

外展經理 林嘉敏 *

助理外展經理 李萬祺 * 潘穎詩 *

外展主任 張凱柔 *

外展助理 馬曉瑩 *

藝術行政見習員 馮樂程 *

市場推廣

市場總監 鄭尚榮

副市場總監 盧伯全

副市場經理 陳靄婷 * 張予心 * 黃頴儀 *

助理項目經理 李穎軒 * 譚懿諾 *

助理市場經理 許樂欣 * 曾諾怡 *

市場主任 林培生 *

票務

市場經理(票務) 梁彩雲

票務主任 殷嘉駿 *

發展

發展總監 黃美儀

特別發展協理 蘇啟泰 *

發展經理 林思穎 * 吳綺菁 * 譚樂瑤 發展經理（大額捐獻） 鍾雅妍 * 發展主任 鄒穎妮 * 譚尹晴 *

藝術行政見習員 梁詠熙 *

短期發展助理 潘藹怡 *

行政事務

財務總監 鄺敬婷

會計

會計經理 杜詩麗 *

會計主任 顏悅恩 *

人力資源及行政

人力資源及行政經理 楊美君 *

接待員/初級秘書 李美娟

助理 黃國愛

資訊科技

資訊科技經理 陳啟明 *

無限亮

項目總監 錢 佑 * 節目及外展經理 鍾美琼 * 何敏凝 * 節目及外展統籌 何敬堯 * 潘詠汶 *

市場經理 何詩慧 *

副市場經理 廖愷瀅 * 助理製作經理 張詠宜 * 高級會計主任 鍾巧明 *

香港藝術節@大館

項目經理 鄺為立 * 公關及宣傳統籌 楊佩雯 *

STAFF

Executive Director

Assistant to Executive Director

PROGRAMME

Programme Directors

Senior Programme Manager

Programme Managers

Temporary Programme Manager

Deputy Programme Manager

Programme Coordinator

Arts Administrator Trainee

ADMINISTRATION

Programme Manager (Admin)

Programme Officer (Admin)

LOGISTICS

Logistics Manager

TECHNICAL

Production Manager

Assistant Production Manager

PUBLICATIONS

Editors

Assistant Editors

OUTREACH

Outreach Manager

Assistant Outreach Managers

Outreach Officer

Outreach Assistant

Arts Administrator Trainee

MARKETING

Marketing Director

Associate Marketing Director

Deputy Marketing Managers

Assistant Project Managers

Assistant Marketing Managers

Marketing Officer

TICKETING

Marketing Manager (Ticketing)

Ticketing Officer

DEVELOPMENT

Development Director

Special Development Associate

Development Managers

Development Manager (Major Gifts)

Development Officers

Arts Administrator Trainee

Temporary Development Assistant

CORPORATE SERVICES

Finance Director

ACCOUNTS

Account Manager

Accounting Officer

HR & ADMINISTRATION

HR and Admin Manager

Receptionist/Junior Secretary

General Assistant

INFORMATION TECHNOLOGY

Flora Yu

Connie Ho

Grace Lang So Kwok-wan

Ian Leung*

Kristen Chan* Cathy Cheng*

Sophie Liao* Katie Ma*

Samantha Szeto*

Janet Yau*

Tobe To*

Lilian Lam*

Ryan Yung*

Shirley So

Michelle Lam*

Elvis King*

Shirley Leung*

Jacob Chan*

Eugene Chan* Adam Wright*

Shao yi Chan* Rebecca Lee*

Carman Lam*

Kelvin Li* Renee Poon*

Hazel Cheung*

Queena Ma*

Crystal Fung*

Katy Cheng

Eugene Lo

Tobie Chan* Stephanie Cheung*

Joey Wong*

Hill Li* Hades Tam*

Sally Hui* Margaret Tsang*

Billy Lin

Eppie Leung

Cyrus Yan*

Angela Wong

Alex So*

Sharon Lam* Joey Ng*

Lorna Tam

Fiona Chung*

Chau Wing-ni* Linda Tam*

Kirstie Leung*

Carol Pun*

Teresa Kwong

Connie To*

Stephany Ngan*

Janet Yeung*

Virginia Li

Bonia Wong

Information Technology Manager Derek Chan*

NO LIMITS

Project Director

Programme and Outreach Manager

Programme and Outreach Coordinators

Marketing Manager

Deputy Marketing Manager

Assistant Production Manager

Senior Accounting Officer

HKARTSFESTIVAL@TAIKWUN

Project Manager

PR and Marketing Coordinator

Eddy Zee*

Becky Chung* Christy Ho*

Kelvin Ho* Jasmine Poon*

Ho Sze-wai*

Kaitlyn Liu*

Jess Cheung*

Catherine Chung*

Kwong Wai Lap*

Wind Yeung*

Production Officer Pang Ka Tat*

Technical Coordinators Rachel Au*, Tony Choi*, Cherry Fung*, Mandy Lai*, Martin Lai*, Lawrence Lee*, Joyi Tsang*