Table for Six - 51st Hong Kong Arts Festival

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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.

香港特別行政區行政長官 李家超

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.

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:

香港藝術節行政總監 余潔儀
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

納愛樂樂團
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)

亮」計劃於
年 1 月更新
Jan
Updated
2023)

香港藝術節

HONG KONG ARTS FESTIVAL

感謝 would like to thank

冠名贊助 for being the Title Sponsor of

Shun Hing Group 70th Anniversary Proudly Sponsors Table for Six on stage

信興集團70周年獻禮 《飯戲攻心》踏台版

©Lawrence Ng @ Workhouse

信興集團 70 周年獻禮

Shun Hing Group

70th Anniversary Proudly Sponsors

踏台版

《飯戲攻心》

TABLE FOR SIX ON STAGE

17-25.2.2023

香港演藝學院歌劇院

Lyric Theatre, Hong Kong Academy for Performing Arts

演出長約 2 小時,不設中場休息

Approximately two hours with no interval

粵語演出,附中、英文字幕

Performed in Cantonese with Chinese and English surtitles

* 此節目含粗俗語言

This production contains strong language

封面照片 Cover Photograph

©Lawrence Ng @ Workhouse

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

故事大綱 Synopsis

分場、演員及角色

Scenes, Cast and Characters

編劇的話 Playwright’s Note

導演及編舞的話 Director and Choreographer’s Note

專訪 Interview

編劇 Playwright

陳詠燊 Sunny Chan

導演及編舞 Director and Choreographer

黃龍斌 Tony Wong

演員簡介

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

Cast Profiles 編創人員簡介 Creative Team Profiles 12 13 15 18 21 31 33 34 43

《飯戲攻心》踏台版

Table for Six on Stage

監製 Producer

香港藝術節 Hong Kong Arts Festival

演出 Cast

周國賢 Endy Chow

廖子妤 Fish Liew

舞台及服裝設計

Scenographer and Costume Designer

張蚊 Irving Cheung

作曲 Composer

何俊傑 Frankie Ho

製作經理 Production Manager

陳寶愉 Bobo Chan

助理舞台監督

Assistant Stage Managers

楊淑雯 Yeung Shuk-man

麥慧儀 Mak Wai-yee

燈光編程員 Lighting Programmer

張詠彤 Aico Cheung

現場混音師 Sound Mixing Engineer

林冠江 Lionel Lam

服裝主管(前期) Wardrobe Supervisor (pre-production)

霍曉彤 Giselle Fok

化妝(廖子妤) Makeup (Fish Liew)

Kings Yip

編劇 Playwright

陳詠燊* Sunny Chan*

梁仲恆 Leung Chung-hang

黃呈欣 Birdy Wong

燈光設計 Lighting Designer

張國永 Leo Cheung

助理舞台設計 Assistant Set Designer

趙婉妏 Tracy Giu

舞台監督 Stage Manager

陳緻諾 Chan Chi-nok

總舞台技師 Stage Chief

陳耀輝 Chan Yiu-fai

總電機師 Chief Production Electrician

伍頴雯 Ng Wing-man

音響技師 Sound Crew

徐海婷 Amy Tsui

服裝助理 Dresser

謝尚敏 Sherman Tse

化妝(梁仲恆) Makeup (Leung Chung-hang)

Leo Tam

改編自電影《飯戲攻心》 Adaptation of the original film production Table for Six

導演及編舞 Director and Choreographer

黃龍斌* Tony Wong*

陳湛文 Peter Chan

胡麗英 Grace Wu

音響設計 Sound Designer

馮展龍 Fung Chin-lung

助理燈光設計 Assistant Lighting Designer

李蔚心 Vanessa Lee

執行舞台監督 Deputy Stage Manager

麥凱欣 Mandy Mak

舞台技師 Stage Crew

李國威 Lee Kwok-wai

吳駿瑋 Jimmy Ng

施鎮宇 Sze Chun-yue

燈光技師 Lighting Crew

梁景欣 Leung King-yan

馮晞彤 Daisy Fung

陳煒樺 Eric Chan

服裝主管 Wardrobe Supervisor

洪榮賢 Hung Wing-yin

化妝(周國賢) Makeup (Endy Chow)

Winki Tsang

化妝 Makeup

Julie Hui

12

髮型(周國賢)

Hairstylist (Endy Chow)

Eve Chiu

髮型 Hairstylist

Ray Mok

音響器材提供 Audio Equipment

J-reamy Sound

字幕器材 Surtitle Equipment

ONEvent Productions

*承蒙香港演藝學院允許參與是次製作

髮型(廖子妤) Hairstylist (Fish Liew)

Zap Tang

佈景製作 Set Production

迪高美術製作公司

Dick Ko Arts Production Co.

中文字幕 Chinese Surtitles

王昊然 Simon Wang

鳴謝 Acknowledgments

髮型(梁仲恆)

Hairstylist (Leung Chung-hang)

Ray Lau

燈光器材提供 Lighting Equipment

3200K Productions

英文字幕 English Surtitles

李正欣 Joanna C. Lee

安樂影片有限公司 Edko Films Limited

萬誘引力電影 Irresistible Films

天下一電影製作有限公司 One Cool Film Production Limited Sinnie@Lolly Talk

* With kind permission of the Hong Kong Academy for Performing Arts

香港藝術節感謝信興集團為《飯戲攻心》踏台版提供家庭電器產品支持

The Hong Kong Arts Festival thanks Shun Hing Group for supplying home appliances for the performances of Table For Six on Stage

13

故事大綱 SYNOPSIS

一個家,最緊要齊人開餐 …… 不過這個家的三兄弟,雖然同一屋 簷下,但卻活於不同時空。大佬(周國賢飾)是過氣廣告導演,三 年前大佬失戀後沉迷 New Age,經常冥想過去; 公關二佬(梁仲恆 飾)口甜舌滑,最叻掌握當下形勢炒賣潮物; 三佬(陳湛文飾)無 懼生活甩皮甩骨,相信只要面前的元宇宙創建完成,就有精采未 來。三佬的廚神級女友 Josephine(胡麗英飾)為了雀巢鳩佔,主動 提出為三兄弟包伙食,每晚 8 點準時開飯,然而隨着二佬女友跳掣 界保育份子 Monica(廖子妤飾)加入,全枱飯餸頓時燶味十足,皆 因 Monica 竟就是當日大佬最牽腸掛腸的前度,大失戀的元兇!大 佬為表豁達,一時就手找來當紅兩性專家 KOL 阿喵(黃呈欣飾)作 新女友,一齊撐枱腳,卻想不到從此飯枱變舞台,人人舌尖有伏, 六個人餐餐鬥戲,晚晚攻心……

What brings more happiness to a family than gathering everyone together for a meal? Well, perhaps not every family—especially this one with three brothers living under the same roof but leading completely different lives. The eldest (Endy Chow) is an advertising director way past his prime. After suffering a broken heart three years ago, he became obsessed with New Age beliefs, often pondering his past. The second eldest (Leung Chung-hang) works in the PR industry, and is a sweet talker highly skilled in speculating on trendy topics. And the youngest (Peter Chan) cares little that his life is falling apart, believing that a bright future awaits once his metaverse is complete. Hoping to stay at their place, the youngest’s masterchef girlfriend, Josephine (Grace Wu), offers to prepare their family dinner at 8pm every night. But when the second eldest’s irritable girlfriend, Monica (Fish Liew), also takes a seat at the table, the meal ends in a heated mess. It turns out that Monica is the ex-girlfriend of the eldest—she’s responsible for his broken heart, and remains on his mind day and night. To show his open-mindedness, the eldest asks relationship expert and famous influencer Meow (Birdy Wong) to join the meal as his new girlfriend. All of a sudden, this table for six becomes full of drama, descending into witty banter, outright confrontations and heartfelt conversations.

©Lawrence Ng @ Workhouse
16

第一場 烏雞一品鍋

Black Chicken Chafing Hotpot

第四場

魚扮蟹 Fish Disguised as Crab

第七場

元宇宙 Metaverse

演員及角色 Cast and Characters

周國賢 Endy Chow

飾–陳鴻 (大佬) as Steve Chan (The eldest)

廖子妤 Fish Liew

飾– Monica as Monica

第二場

有利時鐘酒店

Yau Li Motel

第五場

但我不懂說將來

I Don’t Know about the Future

第八場

八心八箭

8 Hearts 8 Arrows

梁仲恆 Leung Chung-hang

飾–陳禮 (二佬) as Bernard Chan (The second eldest)

黃呈欣 Birdy Wong

飾– Meow as Meow

第三場 一脈相連九龍塘

Connecting Kowloon Tong

第六場

白菜火腿鍋

Cabbage and Ham Claypot

第九場

有福叉燒 Yau Fook Cha Siu

陳湛文 Peter Chan

飾–陳熹 (三佬) as Chan Hei (The youngest)

胡麗英 Grace Wu

飾– Josephine as Josephine

分場 Scenes 17

編劇的話 Playwright’s Note

當了編劇二十多年,我從來都 相信,每個劇本都有自己的生 命,與自己的命運。

早年寫劇本的時候,眼光向 外,期待每個劇本都能開拓新 世界,扭盡六壬,語不驚人誓 不休; 來到近年,人大了,心 態轉變了,反而眼光向内, 期待能夠在最基礎,最簡單的 戲劇原理中,發掘出更多的變 化,更多的可能性。

故事裏處處令觀眾意想不到, 當然好,但明明有機會想像得 到,卻一樣讓觀眾得到感動, 才是編劇更值得去面對的挑戰。

於是我就創作了這個「一間 屋,六個人,五餐飯」的故事。

《飯戲攻心》的生命是我賦予 的,而她的命運,卻是我二十 多年編劇生涯中,最難掌握 的一個。

根劇電腦内的記錄:

2020 年 3 月 13 日,第一份分集大 綱完成。

分集大綱?是,其實創作這個 故事的本意,是拿去拍成幾集 短篇的電視劇的。

不過大綱交到相關機構後,很 快就石沉大海,跟着再拿到另 外幾個不同的媒體上推銷,也 被拒絕了。

之後某天,安樂電影公司的江 志強先生找我,問我有沒有適 合開拍的喜劇電影劇本。我在 會議室裡努力地將我曾經想過

的喜劇故事一一數出來,沒有 一個得到他的完全認同,最後 撐無可撐了,唯有將我認為一 點也不適合變成電影的《飯戲 攻心》的故事說出來。「這個 故事,其實應該是電視劇來的 ……」我連開場白都這様說, 怎料故事講完後,江老闆說: 「這個可以。」

4 月 27 日,《飯戲攻心》的電影 故事大綱完成;

11 月 11 日,劇本第一稿完成;

2021 年

5 月 27 日,第八稿完成;

6 月 2 日,電影正式拍攝;

6 月 21 日,舉行記者會,宣佈 會作為賀歲片,於翌年 2 月 1 日 農曆大年初一上映;

6 月 24 日,經過 18 個拍攝天 後,電影煞科;

2022 年

時,收到消息,政府決定關閉 戲院 14 天;

1 月 14 日,宣佈再關閉 14 日;

1 月 27 日,宣佈又再關閉 14 日,賀歲檔期正式消失。

很多朋友都問我,一直等待 着一個不知何時才出現的上映 日,會否很憂心?其實我並沒 有為上映而憂心,但無止境的 等待,與面對不停地改變的計 劃,確是會磨蝕鬥志的。

就在那個時候,香港藝術節節 目總監蘇國雲先生問我,若 《飯戲攻心》變成舞台劇,你覺 得有趣嗎?

其實那時蘇先生還未看過影 片,但經過這兩年來因為音樂 劇《日新》的合作,他對《飯 戲攻心》的創作與故事早就相 當了解。我安排過藝術節的團 隊去觀看影片後,舞台劇的計 劃就確定了。

「《飯戲攻心》踏台版」,是我

在 Viu
1 月 5 日,正為了新春上映而
TV 錄影廠錄影宣傳節目
19
©Kit Chan Imagery

在那個混沌日子中的強心針, 她讓我相信我確是創作了一個 值得排除萬難,都要呈現到觀 眾面前的故事。

9 月 7 日,電影《飯戲攻 心》首映;

9 月 10 日,「《飯戲攻心》踏台 版」第一稿劇本完成;

10 月 25 日,感謝香港觀眾支 持,電影《飯戲攻心》累積票 房超過了七千萬;

11 月 14 日,「《飯戲攻心》踏台 版」正式公佈;

《飯戲攻心》由一個本來連賣去 電視台都無下文的故事,變成 一個我人生中最受到大家寵愛 的創作,這個反差當然熱血, 然而我藉此想說的,並不是勵 志故事,而是──命運。

如果當日我第一個推銷的機 構,二話不說就答應開拍,我 當下可能也會很開心,但肯定 就不會有之後所有事情的發生。

在命運這個遊戲中,甚麼是 好?甚麼是壞?根本沒有絕 對。剛巧,「《飯戲攻心》踏台 版」想講的,就是好中有壞, 壞中有好;

愛中有恨,恨中有愛。

愛情如是,家庭如是,地方如 是,人生也如是。

2 月 17 日,「《飯戲攻心》踏台 版」正式公演。

多謝。

陳詠燊

Having been a playwright for more than two decades, I have always believed that every script has its own life and destiny.

I tended to write with an outward mindset in my early years, as I spared no effort to make jaws drop with astonishment, hoping that every script would open up a new world. But in recent years, my mentality has matured as I have aged. Instead, my scripts are now more inward-orientated as I anticipate discovering more dynamics and possibilities based on the most basic and simplest theatrical theory.

Of course, a story full of surprises can be great, but if a playwright manages to touch the heart of the audience even when the plot is within expectations, they have achieved a more worthwhile goal.

So that’s how I created a story of “five meals involving six people in one house”.

I have given life to Table for Six, but to be honest, this was my most difficult challenge in my 20odd years of scriptwriting.

According to my computer records, the subplot outline for the first episode was completed on 13 March 2020.

Episode? Yes, you read it right. The script was originally intended to be a short TV series. However, it sank into oblivion after I sent it out. I marketed it to several media channels, but it was rejected.

A while later, Bill Kong from Edko Films approached me one day and asked if I had a suitable script for a comedy film. During the meeting, I knocked out a list of comedy stories that I had, but none of them seemed to interest him. I had no choice but to dish up Table for Six. “Well, it was meant to be a TV drama.” That was how I presented it, but to my surprise, after listening to the story, Kong said: “This will do!”

The synopsis of Table for Six was completed on 27 April 2020.

The first draft was completed on 11 November 2020.

2021

The eighth draft was completed on 27 May.

The first day of shooting took place on 2 June.

A press conference was held on 21 June to announce that the film would be released on 1 February 2022 as a Chinese New Year film on Lunar New Year’s Day.

After 18 days of shooting, the film was finally in the can on 26 June.

2022

On 5 January, we were told that the government had decided to close all cinemas for 14 days while we were recording a promotional programme at the ViuTV studio for the Chinese New Year release.

On 14 January, it was announced that all cinemas would be closed for another 14 days.

20

On 27 January, the suspension was extended for another 14 days, meaning the Chinese New Year release period was now impossible.

Many of my friends asked me if I was worried about not knowing the release date. Actually I wasn’t, but the endless waiting and the constantly changing plan did wear me out.

Around that time, So Kwokwan, Programme Director of the Hong Kong Arts Festival, asked me: “What about turning Table for Six into a drama? Would that be an interesting idea?”

So hadn’t seen the film yet, but after two years of collaboration on the Yat-sen Musical, he had a good understanding of the creation and the gist of Table for Six. I arranged for the HKAF team to watch it and the plan for the drama was confirmed.

Table for Six on Stage was a shot in the arm for me during those chaotic days. It assured me that I had created a story that was worth all the pain and hard work.

The premiere of Table for Six took place on 7 September 2022.

The first draft of the script for Table for Six on Stage was completed on 10 September 2022.

The box office of Table for Six exceeded US$70 million on 25 October 2022, with heartfelt gratitude going to the Hong Kong audience.

Table for Six on Stage was officially announced on 14 November.

It went from a story that even no TV channels would touch to one of the most beloved works of my life, and this stark contrast is unquestionably heartwarming. Nonetheless, it’s not just an inspirational story, but a story about fate as well.

Had the first organisation I approached accepted the script and proceeded to shoot the film, I might have been over the moon at that time, but I’m sure everything else wouldn’t have happened.

Fate is a game, but what is good and what is bad in this game? There may be no definite answer. Coincidentally, “there is good in the bad and there is bad in the good” is the message that Table for Six on Stage wants to get across.

21
©Kit Chan Imagery

要把電影劇本放在舞台是今次 演出具挑戰和有趣的地方。 簡單來說,電影鏡頭和節奏是 由導演和剪片選擇,如六人飯 戲,若只集中在其中兩人身 上,其餘四人均不會出現在鏡 頭中,或只是過鏡; 劇本不須 細緻處理其四人的對白、關 係、反應及其影響。而節奏 也可透過剪片、配樂把喜劇感 提升。相反舞台的呈現是不可 能的,同一樣的六人飯戲,同 樣只得兩人對話,但觀眾看到 的是六個人生活的全部,一餐 飯六個人,他們的反應表露無 遺。觀眾不會透過鏡頭,而是 自由選擇在舞台上自己想看見

的事。在此多謝編劇修改原有 的電影劇本,更感激一班演員 在排練中不斷即興台詞,並創 作其角色的生活感和戲劇感。

從一開始已經沒有想把電影裏 的世界呈現於舞台,原因有 二,電影本身已票房大賣,劇 本、導演和演員也十分出色; 另外舞台和電影語言各有不 同。很喜歡劇本裏提到那間待 賣的屋,我不斷想像一間破舊 待賣的屋和現今香港的關係, 它應該以一個甚麼形態出現, 有怎麼樣的感觀,而生活在屋 內的人有甚麼行為; 於是我便 萌生了你們現在看到的這個舞

台設計。之後更和演員探索因 這個佈景而產生的表演技巧, 與現有表演的不同,特別是對 演喜劇技巧方法的不同,捨易 取難!在排練房常把固有的推 倒重來,過程極好玩。

由上年《我們最快樂》到《飯 戲攻心》,已是第二次和香港 藝術節合作。多謝余潔儀女 士和蘇國雲先生的信任,支持 我不斷嘗試和創作,這趟旅程 很享受。

最後更要多謝戲劇學院一班同 事在排練期間的支持。

黃龍斌

導演及編舞的話 Director and Choreographer’s Note
22
©Kit Chan Imagery

Adapting the Table for Six screenplay into a stage play was a challenging and interesting aspect of the show. In simple terms, the shots used in a film and its rhythm are decided by the director and the editing. For example, if the six-person dinner scene only focused on two of the characters, the other four would be framed in over-the-shoulder shots; and the script doesn’t need to detail the other four’s dialogue, relationships, reactions and so on. The rhythm of the film is enhanced by the editing and music. However, this is not possible in a stage play. In the same dinner scene for six people, there are only two people talking to each other, but the audience can see all six, and their reactions are inside everyone’s field of vision. Audience members don’t see through the camera, but are free to choose what they want to see on stage. I would like to thank the scriptwriter for revising the original screenplay and the cast for improvising their lines during rehearsals and creating a sense of life and drama for their characters.

From the very beginning, I didn't want to present the story of the film on stage for two reasons. First, the film itself was a blockbuster, and the screenplay, the director and the cast were excellent. Second, the languages of the stage and film are different. I kept drawing an analogy between a dilapidated house for sale and the present Hong Kong: how it should appear, how it should feel and

how the people living in it should behave. That's how I came up with the stage design you see here. I then explored with the cast the acting techniques that would arise from this set, and in particular the differences in approach to comedy: we’ll go the easy way! In the rehearsal room, we often reverted to the old techniques and started it all over again, and this was a lot of fun.

From We Are Gay last year to Table for Six on Stage this year, this is the second time I have collaborated with the Hong Kong Arts Festival. I would like to thank Ms Flora Yu and Mr So Kwokwan for their trust and support so that I could keep trying and creating, I have enjoyed this journey very much.

Finally, I would like to thank my colleagues from the School of Drama for their support during the rehearsal.

23

舞台喜劇實驗

One Home . Six Characters . An Experiment in Comedy.

飯,從「食」從「反」。難道屋企開飯註定反枱?陳詠燊以電影《飯戲攻心》挑戰喜劇劇本定型,用 幾場句句有骨的餐桌大戰做實驗,哄笑整喊無數觀眾,更登上香港歷來華語電影票房亞軍,還準備登 上藝術節舞台再做劇本實驗。

There are times when people flip their lids and spill the beans over the course of a meal. And especially so during family dinners. In the script of Table for Six, Sunny Chan challenges many comedy stereotypes, and brings the audiences to laughter and tears with the bitter, witty banter flying across the table during the dinner scenes. The film that now ranks second in the history of the Hong Kong box office is ready to be presented on the stage of the Hong Kong Arts Festival in a new experiment.

專訪 Interview
©Lawrence Ng @ Workhouse
25

今次實驗室換了人: 周國賢、 廖子妤、梁仲恆及舞台劇演員 黃呈欣與胡麗英,還有留守的 陳湛文。跨媒界的化學作用教 人期待。

舞台版故事基調跟電影版相 若: 大佬念念不忘的前度,竟 然成了二佬新歡,大佬不甘示 弱,帶來一個叫阿 Meow 的女 仔; 醉心電競三佬與 Josephine 有一段姊弟戀。照辦煮碗,餐 飯唔慌好食。陳詠燊深明改編 非搬戲過台,花盡心思改造劇 本,人物處理更是大刀闊斧。

陳詠燊珍視演員,不希望觀眾 比較兩邊演員的演出,於是在 角色塑造下苦功,各人背景、 職業都會修改。「電影版演員特 質好強的部分會刪走,讓舞台 劇新組合發揮獨特演法。」電 影版角色阿 Meow 根本為林明 禎度身訂造。無法想像世上有 另一個阿 Meow。「明禎演法獨 一無二,我相信黃呈欣演出也 會有自己風格,無需模仿。」

年輕大佬鬧交更入肉

舞台版大佬由周國賢飾演,與 電影版的黃子華年紀有差,反 而令劇本富新意。「子華比張繼 聰同陳湛文年長一截,似半個 爸爸,孭住頭家同呢兩兄弟相 處。周國賢同梁仲恆及陳湛文 年齡相近,反而爭拗可以再糾 纏多點。」

至於大佬二佬爭風呷醋的對 象 Monica,陳詠燊明言廖子 妤是其首選。廖子妤經歷《智 齒》等電影磨練,爆發力倍 增。「我有信心她會是很吸引的 Monica。Stephy(鄧麗欣)有種 鄰家女孩感覺,無人唔鐘意鄧 麗欣; 廖子妤攻擊性大啲。鄧 麗欣用壓抑來演神經質,但是

廖子妤可以放出嚟,會是另一 種轉化。」

陳詠燊習慣劇本出籠後,與演 員詳談了解特質,找出他們最 有火的演法,再修改劇本配合 其發揮。「我會逐一見所有演 員,傾罷再執劇本,尤其再演 三佬的陳湛文,我同佢傾緊有 無其他演法。」

據統計,香港有過百萬人次看 過電影,觀眾袋住笑位離場, 如果買飛睇劇,笑穴如何一篤 再篤?「會保留深刻橋段,但 用異曲同工寫法修改。」保證 有變奏咁話,我就係要呢啲。

追看性才是戲劇靈丹

陳詠燊從導演首作《逆流大 叔》領悟到準繩笑位對一部喜 劇重要,但要引人入勝,必須 捉緊戲劇中軸線。「觀眾並非等 睇笑位,而是人物後續。」傳 統喜劇只求設計幾個笑位引觀 眾笑,故事發展卻完全意料之 內。《飯戲攻心》在情理之內 放大戲劇矛盾,吸引觀眾追看 幾位主角互動,失驚無神忽然 荒誕,觀眾防不勝防,才會笑 到拱橋。

就如戲中三佬陳湛文向王菀芝 求婚不果。王菀芝在傷感,林 明禎安慰時,認真地說:「你哋 係姣婆遇著脂粉客」,因她誤以 為句子意思乃天生一對。「我很 喜歡寫這種喜感,想挑戰就算 鬧交都可以好笑,但又無影響 場交,你相信兩個角色仍是嬲 或傷感。」舞台劇劇本他同樣 著力鞏固中軸線,再佈署讓人 措手不及的笑話。

遙距房中戲勾起好奇心

自編自導電影的陳詠燊,到舞 台劇版只擔任編劇。「欠缺舞台 經驗我怕規限了製作。黃龍斌

( Tony )想像力好豐富,能令 個劇有所昇華。」電影版有一 幕六人混戰打大交,陳詠燊原 想刪走,導演著他保留。「舞台 上咁樣打交,我原本唔覺得好 睇。Tony 話如戲劇上有需要, 我只是擔心效果的話,他幫我 用舞台方式呈現到好睇。一聽 到就覺得『咦,呢個合作有趣 喇』。我想避重就輕時,佢叫我 放心照做。」

電影有很多重要情節都在房間 內發生,起初讓陳詠燊頭痛, 同時也感受到「讓專業的來」 的好處,「舞台上無鏡頭,如不 轉景,點呈現房內情節? Tony 提議飯廳設於舞台中間,房在 後面。情節如在房內發生,主 角照入房演。刻意保持距離, 讓觀眾只看到一半,令觀眾有 種偷窺感覺。真係要好熟舞 台嘅人先可以變出這樣的可能 性。」設計滿足觀眾「八卦」心 理,看不清楚房內發生的事, 由原本的弱點變成優勢。

電影在農曆新年檔期未能上 映,陳詠燊始終相信總有更好 時機。電影賣座,加上受邀 改編為舞台劇,證明電影可以 走得更遠,不只是「一齣賀歲 片」。「現在識得諗有事發生, 唔使發癲嘅,我相信世界冇絕 對好事同壞事,舞台劇我都有 擺呢種概念落去。大佬冇咗 Monica,慘到黐線,但如果唔 係咁,又點會遇到阿 Meow ?」 他笑謂近年自己「好佛偈」, 信緣分。

沒有白走的路,一切都是最好 的安排。

原文刊登於香港藝術節
雜誌 27
撰文 葉青霞
2023 年之《閱藝》

This time around, a new ensemble has been brought on board: Endy Chow, Leung Chunghang, and theatre actresses Birdy Wong and Grace Wu join Peter Chan and Fish Liew from the original film. From the big screen to the stage, the chemistry sparked between the cast members is highly anticipated.

The play sets the stage with plots drawn from the original film. The much-missed ex-girlfriend of the eldest brother unexpectedly

turns up as the new love interest of the second brother. To even the score, the eldest brother brings home another girl, Meow. And the third brother, who is too preoccupied with his esports career, is in a relationship with Josephine, a woman older and wiser than him. Bearing in mind that following recipes mindlessly would never make a chef great, Chan believes that adapting a film script for the stage should never simply be a copy-and-paste

process. He made a huge effort to recreate the script and even made bold moves to reshape the characters.

In the hope of avoiding comparisons between the two ensembles, Chan re-tailored the background and occupation of each role to match each actor’s unique character. “I deleted elements heavily marked by the actors in the film version, and let the new cast ensemble colour the stage with their own acting style,” he says. The role of Meow in the film was tailor-made for Lin Min-Chen, and Chan couldn’t imagine just creating a copy of the character. “Min-chen has her own unique acting style and I believe that Birdy Wong has her own approach to the role. There is absolutely no need to imitate Min-chen.”

More intense fighting with a youthful big brother

Endy Chow and Dayo Wong, who play the big brother on stage and screen respectively, have a 20year age gap. Surprisingly, this discrepancy in turn adds new dimensions to the adapted play. “Dayo, who is much older than Louis Cheung and Peter Chan, acts more like a father figure burdened by the responsibilities on his shoulders—and that shows in his interactions with the two brothers. In contrast, Endy Chow has a smaller age difference with Leung Chunghang and Peter Chan, allowing for more heated and relentless arguments between the siblings.”

28
©Kit Chan Imagery

As for the role of Monica,who lands the two brothers in a love triangle, Chan’s first choice was none other than Fish Liew. Refined and polished by a succession of roles in films such as LIMBO, Liew’s acting skills have improved exponentially, demonstrating a full range of emotions. “I have faith in her portrayal of Monica, who’s attractive in her own way. Stephy [Stephy Tang, from the original film] has that girl-nextdoor charm that everyone likes. In comparison, Fish is more aggressive. While Stephy played up the neuroticism by bottling up her emotions, Fish chooses to unleash them, which gives her another way to transcend

the role.”

After finishing the script, Chan engaged in detailed conversations with actors to figure out their personalities and their preferred acting methods, before changing the script to suit their needs. “I always meet each and every member of the cast for discussions, and fine-tune the script afterwards. In particular, I’m still in talks with Peter Chan— who plays the youngest brother—to see if there’s another way to portray the role.”

More than one million people are estimated to have seen Table for Six in theatres. Jam-packed with jokes, audience members usually walked out of the theatre in high

spirits. So how does a playwright keep the same jokes alive on stage? “Many memorable scenes have been kept, but have been rewritten in an effective way that retains the essence.” So we are guaranteed variations on the narrative beats—which is exactly what I wanted to hear.

Engageability, the real magic of drama

There is one main takeaway Chan got from his debut film, Men on the Dragon: a welldelivered punchline is crucial to comedy, yet to be really land, it must intertwine with the plot line. “The viewers do not wait for moments of comedy alone, but character development

©Kit Chan Imagery
29

instead.” Traditional comedy merely attempts to make the audience laugh with a few welldesigned moments of comedy, and the storylines are often completely predictable. Table for Six amplifies the melodramatic conflicts within the lines, just to draw the audience into following the interactions between main characters. Only then, with an unexpected twist of absurdity, caught off-guard, the audience would burst into an uncontrollable belly laugh.

One such moment in the film happens when the marriage proposal of Peter Chan, the youngest brother, was turned down by Ivana Wong. Drenched in sadness, Ivana Wong was

comforted by Lin, who put on a solemn face and said: “You two are like Brad Pitt and Angelina Jolie together.” Apparently, Lin said this mistaking its meaning for “a match made in heaven”. “I really love writing this kind of comedic humor. I am down for a challenge, that even a heated argument can be funny, without affecting the conflict itself. Angry or sad, you still believe in the emotions that the two characters experienced.” Same for the play version, Sunny Chan put an emphasize on first developing a solid narrative, before embedding it with twists and jokes.

Curiosity piqued by bedroom scene at a distance

Sunny Chan, who self-wrote and

directed the screenplay, only acts as playwright of the stage play. “Lacking in stage production experience, I am afraid I would hinder the creative process. Plus Tony [Wong] has an imagination fertile enough to elevate the production to the next level.” Sunny Chan originally intended to delete the dinner scene where six main characters broke out into a brawl, but the director urged him not to. “Putting such an ugly fight onstage, it did not seem appropriate to me in the first place. But then, Tony told me if there’s a dramatic need, and all I worried about was the effect, he would present it in a most well-suited way on stage. Once I heard that, I thought to

©Kit Chan Imagery
30

myself, ‘oh, this collaboration is going to be fun.’”, said Sunny Chan. “When I wanted to shirk the difficult work, he has faith in me.”

Another difficult task is that many crucial scenes in the film took place inside the rooms, which initially caused Sunny Chan to have headaches. He then felt the advantages of “letting the professionals do it”. “My question was, there is no camera on stage, how do we present the scenes within the walls without changing the set? Tony then propositioned to set the dining room up in the middle of the stage, and the rooms behind it. If a scene occurrs in the rooms, the cast members will go in there regardless. By staging the drama at a distance, and letting the audience only see half of it, it creates a heightened sense of voyeurism. Only the most seasoned stage masters can come up with such a possibility.” By keeping what happens in the room away from the prying eyes of the spectator, this design satisfies the audience’s need to “gossip”, successfully turning the tables around.

Even though the film was unable to be scheduled on screens during Chinese News Year, Sunny Chan believed that there is always a better timing. The film’s high-grossing box office and the invitation to a theatrical adaptation are living proof that the movie can go further, more than being just “another blockbuster". “Looking back now,

there is no need to lose one’s mind when things happen. In this world, there is no absolute good or evil—that is my faith, and what I instilled in the play. Losing Monica was extremely painful to the eldest brother. Yet, without this, how would he meet Ah Meow?”, says Sunny Chan with a laugh, calling himself a “zen” believer in serendipity.

There is no path taken in vain. Everything happens for a reason.

©Kit Chan Imagery
31
Text: Jenny Ip Originally published in the HKAF's FestMag 2023

More than Great Performances!

2023 FESTIVAL PLUS PROGRAMME 藝術節加料節目

3/2

五 Fri

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日 Sun

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日 Sun

13/2 Mon

18/2 六 Sat

19/2 日 Sun

跨越界限——陳詠燊談劇本創作

Sunny Chan on Screenwriting and Playwriting

說說管風琴•說說巴赫

Tracing the Organ Music of Bach

廣陵情長——粵劇編寫竹林七賢傳奇

Writing Cantonese Opera for the Legendary Seven Sages of the Bamboo Grove

「禹•見」鋼琴大師

Masterclasses and Meet Bruce Liu

「短篇粵劇──戲說八德」演後藝人談

Virtues and Morality—Four Cantonese Operas

Post-Performance Meet-the-Artist

杜國威經典作品選映——《虎度門》

Hu Du Men

Collection of Raymond To’s Classics 杜國威經典作品選映——《劍雪浮生》

A Sentimental Journey Collection of Raymond To’s Classics

22/2 三 Wed 杜國威經典作品選映——《南海十三郎》

The Mad Phoenix Collection of Raymond To’s Classics

24/2 五 Fri 米歇爾.梵德阿《水之書》演後藝人談

The Book of Water Post-Performance Meet-the-Artist

香港藝術節加料節目 X 大館對談:

古董鋼琴與現代鋼琴

長笛的進化史──從巴羅克到現代時期 Evolution of Flute from the Baroque to Modern Periods 8/3

Wed 古鋼琴大師班

Fortepiano Masterclass 10/3 五 Fri

沉浸式歌劇《小狐狸》舞台參觀及公開彩排 Into the World of Silent Opera - Vixen Stage Tour & Open Rehearsal 「毛俊輝•粵劇情」演後藝人談

Cantonese Opera Classics Circa 2023

Post-Performance Meet-the-Artist

「長笛三次方——曾逸豪在繆思的庭院」 演後藝人談 Triptych for Flute—Tsang Yat-ho in Le jardin des muses

Post-Performance Meet-the-Artist

演唱蒙特威爾第 About Singing Monteverdi 「毛俊輝•粵劇情」演後藝人談 Cantonese Opera Classics Circa 2023

Post-Performance Meet-the-Artist

呼吸,讓木偶栩栩如生 Breathing brings Puppet to Life 「毛俊輝•粵劇情」演後藝人談 Cantonese Opera Classics Circa 2023

Post-Performance Meet-the-Artist

巴赫與我 All I Need is Bach

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三 - 日 Wed - Sun

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HKAF PLUS x Tai Kwun Conversations: Early Piano Vs. Modern Piano 盛原——古董鋼琴獨奏會

Antique Piano Recital by Yuan Sheng 韓德兩地的音樂旅途

A Music Journey between Two Cultures –Esme Quartet in Korea and in Germany

《名畫詐騙師》演後藝人談

True Copy Post-Performance Meet-the-Artist

歌劇《尤利西斯歸鄉記》製作解碼展覽

The Making before The Return Exhibition

《超真實》裝置音樂會演後藝人談 Hyperreality—an installation concert

Post-Performance Meet-the-Artist

《名畫詐騙師》演後藝人談

True Copy Post-Performance Meet-the-Artist

「笙世界 音樂會」演後藝人談

Sheng World Music— Kevin Cheng & Friends

Post-Performance Meet-the-Artist

《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

6/3
Mon
11/3 六 Sat
12/3 日 Sun
14/3 二 Tue
15/3 三 Wed
16/3 四 Thu
17/3 五 Fri
25/3 六 Sat
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*最新節目資料及安排以「加料節目」網頁公佈作准。 *The latest information and arrangement are subject to the announcement on PLUS webpage.

陳詠燊 SUNNY CHAN

陳詠燊是香港電影導演及編 劇,亦為香港演藝學院電影電 視學院編劇及創意發展講師。

2000 年畢業於香港演藝學院 電影電視學院學士學位課程, 主修編劇,及後於嶺南大學取 得中文文學碩士。他曾參與編 劇之電影作品逾二十齣,包括

《百分百感覺 2 》、《新紮師妹》

系列等系列、《常在我心》、

《追擊 8 月 15 》等。

其首部自編自導電影《逆流大 叔》( 2018 )獲第 38 屆香港電 影金像獎十一項提名,包括 「最佳電影」,他同時獲提名 「最佳導演」、「最佳編劇」及 「最佳新晉導演」。

第二齣自編自導電影《飯戲攻 心》( 2022 )於香港由中秋放

映至翌年農曆新年,累積票房 超越七千七百萬,登上香港華 語電影票房史上第二位,亦成 為香港電影史上最高票房華語 喜劇電影。

電影以外,他應香港藝術節邀 請參與舞台創作,為音樂劇 《日新》(工作坊展演 2021,首 演 2023 )擔任編劇,及後亦親 自改編電影《飯戲攻心》成為 舞台劇「《飯戲攻心》踏台版」 ( 2023 )。

多年來他出版著作逾二十 本,亦偶有詞作發表於流 行樂壇,包括《大叔情歌》 ( RubberBand )、《狠愛狠愛你》

(王菀之)等 ; 也曾執導多個 MV,包括《百年樹木》(張敬 軒)等。

近年,他亦涉獵節目主持工作, 曾主持 Viu TV 節目《導演 . 門》 (兼任監製)、叱咤 903《最港 產》等。

Sunny Chan is a Hong Kong film director and screenwriter. He is currently a Lecturer (Screenwriting and Creative Development) at the School of Film and Television, Hong Kong Academy for Performing Arts.

In 2000, he graduated from the Hong Kong Academy for Performing Arts with Bachelor of Fine Arts (Honours) in Film and Television, majoring in Screenwriting. He later received a Master of Arts in Chinese from Lingnan University. He has worked as screenwriter on more than 20 films, including the Love Undercover series, Funeral March and Hidden Heroes

The first film he both wrote and directed, Men On The Dragon (2018), was nominated in 11 categories at the 38th Hong Kong Film Awards, including Best Director, Best Screenplay and Best New Director.

Table for Six (2022) is the second film he wrote and directed, and it appeared on screen from Mid-Autumn Festival to the following year’s Chinese New

Year. With box-office revenue exceeding HK$77 million, the film is now the second-highestgrossing Chinese-language film and the highest-grossing Chinese-language comedy film in Hong Kong.

Chan was also invited by the Hong Kong Arts Festival to take part in theatrical productions. He worked as the playwright of the Yat-sen Musical (work-inprogress preview in 2021 and premiere in 2023) and adapted Table for Six into a stage play titled Table for Six on Stage (2023).

Apart from writing more than 20 film scripts over the years, he has occasionally published pop song lyrics, such as An Uncle's Ballad (RubberBand) and Relentless Love to You (Ivanna Wong), and directed several music videos including Centenary Tree (Hins Cheung).

In recent years, Chan has also dabbled in programme hosting. He hosted Director’s Gate (concurrently as producer) for ViuTV, Hongkongest on FM 90.3, and so on.

編劇 Playwright
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©Jefu Ha Studio

黃龍斌

TONY WONG

導演及編舞 Director and Choreographer

黃龍斌現為香港演藝學院戲劇 學院表演系高級講師及形體訓 練課程主管。 2008 年獲香港戲 劇協會獎學金到澳洲留學,於 悉尼的澳洲國家戲劇學院獲碩 士學位,主修形體。 1997 年於 香港演藝學院戲劇學院畢業,

獲藝術學士(榮譽)學位,主 修表演。同年加入中英劇團任 全職演員,期間曾擔綱多個演 出。離團後更成立異人實現劇

場和 Performer Studio。

黃龍斌在導演、演員、舞者 及編舞上各有成績,創作和演 出集多角於一身。曾參與約 一百個演出,近年作品及身 份包括 : 香港藝術節《我們最 快樂》的導演 ; 香港演藝學院

《 You are a Good Man Charlie Brown Musical 》、《我自在江 湖》、《蝦碌戲班》、《仲夏夜 之夢》、《鄭和的後代》、《造 謠學堂》、《秀才與劊子手》的 導演及編舞 ; 中英劇團《羅生 門》、《多次元戀愛》、《搏命兩 頭騰》的導演、《戇大人》音 樂劇的導演及編舞、《莫札特 之死》、《威尼斯商人》及《天 才一瞬》的演員 ; Performer Studio《鄭和的後代》、《真 話》、《單身大哂》(首演及重 演)及《天下舞雙》的編、 導、演及編舞 ; 香港話劇團 《傾城無方》的導演及編舞。

2004 年獲第一屆香港舞台劇獎 傑出專業精神獎。曾多次獲提 名香港舞台劇奬最佳導演及最 佳演員,分別憑《二人前. 2 人後》、《羅生門》、《我自在 江湖》獲香港舞台劇獎最佳導 演(喜劇/鬧劇)及最佳導演

(悲劇/正劇),並憑《仲夏夜 之夢》及《傾城無方》獲香港 小劇場獎最佳導演。黃龍斌現 亦為香港戲劇協會舞台劇獎評 審團。

Tony Wong is currently a senior lecturer in acting and oversees a movement training course at the HKAPA In 2008, he received the Hong Kong Federation of Drama Societies scholarship to pursue his graduate studies in Australia, and later graduated from the National Institute of Dramatic Art in Sydney with a Master’s Degree in Drama, majoring in Movement Studies In 1997, he graduated from the Hong Kong Academy for Performing Arts with a Bachelor of Fine Arts (Honours) degree, majoring in Acting In the same year, he joined Chung Ying Theatre Company as a full-time actor and performed major roles in various works. He established his own companies, 2 On Stage and Performer Studio, after leaving Chung Ying Theatre Company

Wong has received recognition as a director, actor, dancer and choreographer. His multifaceted talents are reflected in his creations and performances. To date, he has participated in around 100 productions; recent works include the HKAF's We Are Gay, the HKAPA’s You are a Good Man Charlie Brown

Musical, Dust and Dawn, Noises Off, A Midsummer Night's Dream, Descendants of the Eunuch Admiral, The School for Scandal and The Scholar and the Executioner (director and choreographer); Chung Ying Theatre Company’s Rashomon, Possible Worlds, The 39 Steps (director), The Government Inspector—The Musical (director and choreographer), Amadeus, The Merchant of Venice and Flowers for Algernon (actor); Performer Studio’s Descendants of the Eunuch Admiral, Invincible Truth, Singlology and Moments in the Palm of Your Hand (playwright, director, actor and choreographer); Hong Kong Repertory Theatre’s Castle of Glass (director and choreographer).

He was awarded the first Hong Kong Drama Awards’ Professional Achievement Award. He was nominated for the Hong Kong Drama Awards’ Best Director and Best Actor awards several times and was awarded Best Director (Comedy/ Farce) for Two of Us, Rashomon and Dust and Dawn. He has also received The Hong Kong Theatre Libre’s Best Director Award for A Midsummer Night's Dream and Castle of Glass. He is a member of the judging panel of the Hong Kong Drama Awards organised by the Hong Kong Federation of Drama Societies.

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演員簡介 Cast Profiles

周國賢 ENDY CHOW

陳鴻 ( 大佬)

Steve Chan (The eldest)

香港音樂人,唱作歌手,樂隊

Zarahn 主音。2004 年出道,致 力於不同類型藝術工作,透過 作品紀錄生命的各種型態,創 作題材包括時間、宇宙、社會 和家庭,希望能透過創作與觀 眾一起成長, 2019 年首奪「叱 咤樂壇我最喜愛的男歌手」, 2022 年 9 月首次在香港體育館 舉行個人演唱會《 Endy Chow jaugwokyin The End Live 》。

2011 年成立製作公司 Vague Eyes(朦朧眼美術工作室),是 為其作曲、繪畫、圖像設計、 MV 剪接的個人工作室。在創 作以外,近年亦積極參與影視

作品,2020 年憑電影《一秒拳 王》奪得香港電影導演會年度

大獎最佳男主角,他為電影製 作的主題曲《時間的初衷》亦

於 2021 年奪得第 40 屆香港電影 金像獎最佳原創電影歌曲獎。

仍然在學習中,仍然在慢慢地 前行中,仍在用音樂畫畫,仍 在用畫筆寫歌。

Endy Chow is a Hong Kong musician, singer-songwriter and lead vocalist of the band Zarahn. He made his debut in 2004, dedicated to different types of artistic expression, recording every aspect of life through his work, including time, space, society and family. Through his creative endeavours, he hopes to grow with his audience. He was named Favourite Male Singer at the Ultimate Song Chart Presentation in 2019, and hosted his first solo concert at Hong Kong Coliseum, “Endy Chow jaugwokyin The End Live”, in 2022.

In 2011 Chow established the production house Vague Eyes, a personal studio dedicated to composing, drawing, visual design and music video editing. Outside of music, he has always actively participated in audiovisual productions. In 2020, his role in the film One Second Champion won him the Hong

Kong Film Directors’ Guild award for Best Actor. And his composition for the movie’s theme song, Origin of Time, won him the award for Best Original Film Song at the 40th Hong Kong Film Awards.

Chow is still learning, still slowly progressing, still drawing with music, and still composing with his paintbrush.

©Lawrence Ng @ Workhouse
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梁仲恆 LEUNG CHUNG-HANG

陳禮 ( 二佬)

Bernard Chan (The second eldest)

以一級榮譽成績於香港演藝學 院戲劇學院畢業,主修表演。 在校期間憑《元宵》、《慾望號 街車》及《羅生門》,三度獲 得傑出演員獎,並獲頒多個獎 學金。亦曾參演香港話劇團 《頂頭鎚》2017LIVE+ 及小劇場 之製作。

2018 年畢業後加入中英劇團, 演出包括《福爾摩斯四圍騰之 華生暴走大狗查》(首演及重 演)、《羅生門》(重演)、《解 憂雜貨店》、黑盒劇場製作《完 全變態》、《過戶陰陽眼》(重 演)、《靖海氛記.張保仔》、 《大偽術爸》網上讀劇演出、網 上節目《底層》、科學怪人.重 生》及《穿 Kenzo 的女人》。

2021 年於電影《媽媽的神奇小 子》飾演成年蘇樺偉一角,並 獲第 40 屆香港電影金像獎最佳 男主角兼最佳新演員雙料提名。

2022 年,亦參與了由香港電影 藝術節策劃,黃龍斌執導、莊

梅岩編劇之同志題材劇目《我 們最快樂》。

Leung Chung-hang majored in Acting at the Hong Kong Academy for Performing Arts’ School of Drama and was awarded first-class honours. During his studies, he received the Outstanding Actor Award three times for his performances in Twelfth Night, A Streetcar Named Desire and Rashomon He was also the recipient of several scholarships. Leung also appeared in Field of Dreams—A Musical (presented by the Hong Kong Repertory Theatre) and some small theatre productions. He joined the Chung Ying Theatre Company in 2018. His performances include Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery (premiere and re-run), Rashomon (rerun), The Miracles of the Namiya General Store, Metromorphosis (black box theatre

production), Go Go Ghost (rerun), Calming the Chaotic Seas, Pa Pa Magician (online scriptreading performance), The Lower Depths (online programme), Frankenstein: Relieve and The Woman in Kenzo

In 2021, he appeared as So Wawai (adult) in the film Zero to Hero and was nominated as Best Actor and Best New Performer at the 40th Hong Kong Film Awards.

In 2022, he participated in the homosexual-themed drama We Are Gay, produced by the Hong Kong Arts Festival, directed by Tony Wong and written by Candace Chong.

©Lawrence Ng @ Workhouse
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陳湛文 PETER CHAN

陳熹 ( 三佬)

Chan Hei (The youngest)

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廖子妤 FISH LIEW

廖子妤出生於馬來西亞。修讀

廣播電視電影傳播學系,熱衷 電影拍攝。2012 年隻身到港發 展,不久有機會參與由泰迪羅 賓監製的電影《末日派對》,成 為女主角之一,更憑這部電影 入圍第 33 屆香港電影金像奬最 佳新演員。2015 年破格參演陸 以心導演作品《同班同學》。

2017 年,憑電影《骨妺》提名 第三十六屆香港電影金像獎最 佳女配角。2022 年,她憑《梅

艷 芳》及《智齒》,獲雙料提名

第 40 屆香港電影金像獎最佳女 配角,最後憑《梅艷芳》榮獲 第 40 屆香港電影金像獎最佳女 配角。廖子妤笑言自己已染上 戲癮,希望繼續在電影圈打拼。

Born in Malaysia, Fish Liew graduated with a Diploma in Mass Communication (Broadcasting TV & Film) and has a great passion for acting. In 2012, she came to Hong Kong alone for career development, and soon received the opportunity to play one of the leading female roles in a film produced by Teddy Robin, Doomsday Party. Her role in the film won her a nomination for Best New Performer at the 33rd Hong Kong Film Awards. In 2015, she was selected to play a role in Lazy Hazy Crazy, a film directed by Luk Yee-sum. In 2017, she was again nominated for the Hong Kong Film Awards, and was nominated as Best Supporting Actress for her role in Sisterhood. In 2022, with her roles of Ann Mui in Anita and Coco in Limbo, she was double nominated for Best Supporting Actress at the 40th Hong Kong Film Awards and won for her

acting in Anita. Liew jokes that she is now addicted to acting and hopes to advance her career in the film industry.

©Lawrence Ng @ Workhouse
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Monica

黃呈欣是藝君子劇團藝術總 監。2009 年畢業於香港演藝學 院戲劇學院藝術(一級榮譽) 學士,主修表演。她是 2016 年 度香港藝術發展獎藝術新秀獎 (戲劇)得主,也是 2021 年度亞 洲文化協會獲獎者(戲劇),曾 到紐約文化交流半年。

其創作及演出多次獲獎,包括 藝君子劇團《罪該萬死》獲第 9 屆香港小劇場獎最佳劇本、 前進進劇場《對倒時光》獲

得 IATC(HK) 劇評人獎年度編

劇獎、藝君子劇團《竹林深處 強姦》獲第 26 屆香港舞台劇 獎最佳女配角(喜/鬧劇)及 最佳劇本提名、香港演藝學 院《老婦還鄉》獲第 18 屆香港 舞台劇獎最佳女主角(悲/正 劇),憑眾聲喧嘩的《此地他 鄉》獲 IATC(HK) 劇評人獎年度 演員獎。

此外,她曾三度獲提名香港小 劇場獎最佳女主角、三度獲 提名香港舞台劇獎最佳女配角 (悲/正劇及喜/鬧劇)、三條

友仔創作的《三個麻甩一個騷》 獲第 3 屆香港小劇場獎最佳劇本 提名。她曾參演的 MV 作品包 括王菀之的《小手術》及柳應 廷的《砂之器》。

Birdy Wong is Artistic Director of Artocrite Theatre She major in Acting at the School of Drama, Hong Kong Academy for Performing Arts, and was awarded first- class honours She received the award for Young Artist ( Drama) at the Hong Kong Arts Development Awards in 2016. She also received a grant for drama from the Asian Cultural Council in 2021 and conducted a cultural exchange in New York for half a year

Wong’s creative productions and performances have won her numerous awards, including Best Screenplay at the ninth Hong Kong Theatre Libre ( for Sins by Artocrite Theatre), Playwright of the Year at the IATC ( HK) Critics Awards ( for Tête- bêche by On & On Theatre Workshop), Best

Supporting Actress ( Comedy/ Farce) and a nomination for Best Script ( for The Truth from Liar by Artocrite Theatre) at the 25th Hong Kong Drama Awards, and Best Actress ( Tragedy/ Drama) at the 18th Hong Kong Drama Awards ( for The Visit by the HKAPA). She was named Performer of the Year at the IATC ( HK) Critics Awards for her performance in Foreign Land ( presented by Heteroglossia Theatre). She has also been nominated as Best Actress at the Hong Kong Theatre Libre three times and as Best Supporting Actress ( Tragedy/ Drama and Comedy/ Farce) at the Hong Kong Drama Awards three times. She was also involved in the Three Men Play production Three Men and a Lady, which won a nomination for Best Screenplay

Wong has also participated in performances for music videos including Minor Surgery (Ivanna Wong) and Sand Container ( Jeremy Lau).

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黃呈欣 BIRDY WONG Meow
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胡麗英現為多倫多鄭師傅全職 小跟班。她於香港演藝學院 戲劇學院畢業,獲頒藝術學士 (榮譽)學位,主修表演。

她分別憑《夢魅雪夜の真的下 雪了》及《通菜街喪屍戰》獲 得第 22 屆及第 30 屆香港舞台 劇獎最佳女配角(喜/鬧劇),

亦憑《搏命兩頭騰》及《米線 女戰士》分別獲得第 23 屆及第

29 屆香港舞台劇獎最佳女主角 (喜/鬧劇)。《過戶陰陽眼》及 《活地阿倫自作.自受》讓她 同時獲提名第 24 屆香港舞台劇 獎最佳女主角(喜/鬧劇),她 還憑《戇大人》音樂劇獲提名

25 屆香港舞台劇獎最佳女主角 (喜/鬧劇),及憑《大 MK 日》 獲提名 30 屆香港舞台劇獎最佳 女配角(喜/鬧劇)。

另外,憑《科學怪人》獲提名 第 20 屆香港舞台劇奬最佳女 主角(悲/正劇); 憑《羅生 門》獲提名第 28 屆香港舞台劇

奬最佳女主角(悲/正劇)及 IATC(HK)「年度演員獎」。

Grace Wu is now a full-time attendant of Toronto's Master Cheng. She graduated from the Hong Kong Academy for Performing Arts’ School of Drama with a Bachelor of Fine Arts (Honours), majoring in Acting

She was nominated as Best Supporting Actress (Comedy/ Farce) at the 22nd Hong Kong Drama Awards in 2013 for Christmas Messages Really Snowing She was awarded Best Supporting Actress (Comedy/ Farce) at 30th Hong Kong Drama Awards in 2022 for War of Tung Choi Guys She also won the awards for Best Actress (Comedy/Farce) at the 23rd and 29th Hong Kong Drama Awards for her respective performances in The 39 Steps and The Best Day In My Life

At the 24th Hong Kong Drama

Awards, she was nominated as Best Actress (Comedy/ Farce) for her roles in Go Go Ghost and Writer’s Block at the same time. In addition, she was nominated as Best Actress (Comedy/Farce) at the 25th Hong Kong Drama Awards and Best Supporting Actress (Comedy/Farce) at the 30th Hong Kong Drama Awards for her respective performances in The Government Inspector and Big MK Day.

Meanwhile, she was nominated as Best Actress (Tragedy/ Drama) at the 20th Hong Kong Drama Awards for her role in Frankenstein; while her appearance in Rashomon led to her nomination as Best Actress (Tragedy/Drama) and Performer of the Year at IATC (HK) and the 28th Hong Kong Drama Awards

胡麗英 GRACE WU
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Josephine
46

編創人員簡介 Creative Team Profiles

張蚊曾於北愛爾蘭、柏林及倫敦 留學,2005 年於倫敦藝術大學切

爾西藝術學院畢業,並於 2017 年修畢墨爾本皇家理工大學藝術 碩士學位。

張蚊於電影行業擔任美術工作超 過二十年,跟許多導演合作無 間,於 2014 以《殭屍》及 2018 年以《空手道》獲提名香港電影 金像獎最佳美術指導。2019 年 更因《翠絲》獲最佳服裝造型設 計及最佳美術指導兩項提名。

她近年開始導演工作拍攝短片及 廣告,並於國際影展到提名及獎 項,正在計劃於

2023 年開拍第 一套電影作品。

Irving Cheung has studied in Belfast, Berlin and London since the age of 11. After graduating from the University of the Arts London’s Chelsea College of Arts with a Fine Art degree in 2005, Cheung further completed a Master of Fine Art at the RMIT University in Melbourne, Australia, in 2017.

Cheung has now worked in the film industry for 20 years and has collaborated with many wellknown film directors. She was nominated in the category of Best Art Direction for her work on the film Rigor Mortis, directed by Juno Mak, at the 33rd Hong Kong Film Awards. In 2018 and 2019, Cheung received three more nominations for Best Art Direction and Best Costume & Makeup Design.

In recent years, she switched to directing television commercials and short films, and has been awarded internationally. Cheung is planning on shooting her first feature film in 2023.

張蚊 Irving Cheung 舞台及服裝設計 Scenographer and Costume Designer
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張國永

Leo Cheung

燈光設計

Lighting Designer

張國永一位全面的燈光設計 師,作品涉獵廣泛,包括本 地及海外劇場、歌劇、舞蹈、 音樂劇及中國戲曲,亦為舞蹈 演出設計佈景。作為香港劇 場最傑出的藝術家及燈光大師 之一,他在職業生涯中屢獲 殊榮,當中包括 1994 年獲香 港戲劇協會頒發十年傑出成就 獎,其作品亦先後獲得香港舞 台劇獎最佳燈光設計二十一次 提名,他曾十度贏得香港舞台 劇獎最佳燈光設計,以及四 度獲香港舞蹈聯盟頒與舞蹈年 獎,其舞蹈燈光及佈景設計的 成就備受肯定。2014 年他獲香 港 民 政事務局局長頒發嘉許狀 及獎章,以表揚他促進文化藝 術發展的貢獻。他曾任香港演 藝學院舞台及製作藝術學院副 教授,教學二十三年,為香港 演藝界培育衆多出色的設計人 才。張國永融合及探索現場表

演中的光線、陰影、空間和視 覺媒體元素的可能性,連結不 同藝術形式,並反映社會和文 化議題。

Leo Cheung has been involved in a wide range of works, including local and international plays, operas, dances, musicals and Chinese opera. He has also been a set designer for dance performances. During the course of his career, he has won many prestigious awards, such as the Outstanding Achievement of the Decade presented by the Hong Kong Federation of Drama Societies in 1994. His work has also received 21 nominations for Best Lighting Design at the Hong Kong Drama Awards. He has won Best Lighting Design at the Hong Kong Drama Awards 10 times and the Hong Kong Dance Alliance Dance Awards four times for his achievements in lighting and set design for dance performances. In 2014, he was awarded a commendation certificate and award pin, presented by the Secretary for Home Affairs, for his dedication and outstanding contribution to promoting development in the field of arts and culture. He has been an Associate Professor of the School of Theatre and Entertainment Arts at the Hong Kong Academy for Performing Arts, and has nurtured many talents in design in the field of performing arts during his 23 years of teaching. Cheung explores the integration of lighting, shading, space, and visual elements in a live

performance, hoping to draw connections between different art forms and reflect societal and cultural issues through his work.

馮展龍

Fung Chin-lung

音響設計

Sound Designer 畢業於香港演藝學院,主修音 響設計。

近期設計作品包括: 新視野藝 術節 2022《塑像譜》; 中英劇團 《金龍》;同窗文化《久天長地》; BHT THEATRE《雄顏一笑》; 達摩工作室《聖荷西謀殺案》; 非常林奕華 X 自由空間《梁祝 的繼承者們》; 爆炸戲棚《音樂 劇: 我們的青春日誌》; 卵之只 《等死研究所》; 神戲劇場《搞 大電影》、《仲夏夜之夢》; 香港 話劇團《最後作孽》、《原則》; 風車草劇團《忙與盲的奮鬥時 代》及香港藝術節《賽馬會當 代舞蹈平台—煉金》。

Fung Chin-lung graduated from the HKAPA, majoring in Sound Design.

His latest design work includes

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Zoetrope with the New Vision Arts Festival 2022; The Golden Dragon with Chung Ying Theatre; A Kind of Eternity with Schoolmates.CC; Try to be Funny by BHT Theatre; Murder in San José with Dharma Workshop; Art School Musical with Edward Lam Dance Theatre and Freespace; Our Journal of Springtime The Musical with Boom Theatre; Laboratory of LunGG with LunGG; Speed-the-Plow and A Midsummer Night’s Dream by Dionysus Contemporary Theatre; The Sin Family and Principle with the Hong Kong Repertory Theatre; Lazy People are Always Busy with windmill grass theatre; and Hermetic Diode of the Hong Kong Jockey Club Contemporary Dance Series with the Hong Kong Arts Festival.

何俊傑

Frankie Ho

作曲 Composer

香港演藝學院音樂學院及戲劇 學院畢業生,師隨羅永暉(作 曲)及陳敢權(導演)。現為香 港作曲家及作詞家協會會員。

何俊傑曾為多齣音樂劇擔任作 曲、編曲及音樂總監,包括 香港演藝學院的《少女夢》及 《三便士歌劇》; 香港話劇團的 《香港一定得》、《時間列車 00: 00 》、《奇幻聖誕夜》及《嗚啦 啦啦啦你的歌》; 城市大學的 《城市傳奇》;TNTProduction 的《但願人長久》; 劇場工作 室的《流浪在彩色街頭》; 異

人實現劇場的《異型金剛》; 中英劇團的《搶奪芳心喜自 由》及《戇大人》; 劇場工作 室及異人實現劇場聯合製作的 《四千金》;TheatreNoir 的《動 物農莊》; 灣仔劇團的《秋城故 事》、《 Cabaret2011 》及《港 式愛擁》; 林澤群實現劇場的 《 DIVA 先生的華麗戲劇教室》 及《 OneNightinFalsettolandin Concert 》; 香港兒童音樂劇團 的《飛行棋》及《揹着希望數 星星》;7A 班戲劇組的《老娘 企硬》;糊塗戲班的《螢火蟲》; 音樂兒童基金會的《童 Sing 童 戲》; 嘉諾撒聖方濟各書院的 《守護天使》; 音樂劇作的《濃 情集.成長的樂章》。近期作品

有香港藝術節《我們最快樂》。

Frankie Ho graduated from both the School of Music and School of Drama at the Hong Kong Academy for Performing Arts. He studied under Law Wing-fai (composition) and Anthony Chan (directing). Ho is a member of the Composers and Authors Society of Hong Kong.

Ho has served as the composer, arranger and music director for many musicals, including the Hong Kong Academy for Performing Arts' The Dream of a Young Girl and The Threepenny Opera; the Hong Kong Repertory Theatre's Hong Kong For Sure!, Departure 00:00, Scrooge and Sing Your Life a Musical; City University of Hong Kong's City Legend; TNT Production's Forever Teresa Teng Musical; Drama Gallery's Vagabond—The Musical; 2 On Stage's Homo Superus; Chung Ying Theatre Company's A Funny

Thing Happened On The Way To The Forum, and The Government Inspector—The Musical; Drama Gallery + 2 On Stage's Four Thousand Gold; Theatre Noir's Animal Farm; Wanchai Theatre's Autumn City Story, Cabaret 2011 and Nothing is Whole without Love; Pichead On Stage's Mr. DIVA's Masterclass, and One Night in Falsettoland in Concert; Hong Kong Children's Musical Theatre's Wong Sze Ma's My Boy the Musical and Under The Stars, We Dream; Class 7A Drama Group's Mother Courage in China; The Nonsensemakers' The Rainbow Troops—The Musical; Music Children Foundation’s MUSIC Stand by Me; St. Francis Canossian College’s Our Guardian Angels; and Musical Trio’s The Heart of Growth. His most recent work was the HKAF's We Are Gay.

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畢業於香港演藝學院舞台及製作 藝術學院,獲藝術學士(榮譽) 學位,主修佈景及服裝設計。

曾參與佈景及服裝設計作品包

括:香港話劇團《中女 7 號》;香 港演藝學院《天真與世故之歌》 等等。曾憑香港舞蹈團八樓平台 《境》獲香港舞蹈年獎 2020 傑出 小型場地舞蹈製作,及憑城市當

代舞蹈團《 42.36.42 》獲香港 舞蹈年獎 2022 傑出中型場地舞 蹈製作。

服裝設計作品包括:同窗小說類

劇場《久天長地》(執行服裝設

計);Paprika Studio《所有記憶都 是潮濕的》; 香港演藝學院音樂

劇《最好先生 Charlie Brown 》; 天邊外劇場《傷逝如她》。憑城

市當代舞蹈團《 42.36.42 》獲 香港舞蹈年獎 2022 傑出中型場地 舞蹈製作。

助理服裝設計作品包括: 香港 話劇團 x 自由空間音樂劇《大 狀王》、香港話劇團《天下第一 樓》; 香港舞蹈團《金裝龍鳳茶

樓》等等。近年亦有參與電影電 視美術及服裝設計工作。

Tracy Giu graduated from the HKAPA School of Theatre and Entertainment Arts with a Bachelor of Fine Arts (Honours) in Set and Costume Design. She has worked in set and costume design on productions including Female N˚7 (presented by the Hong Kong Repertory Theatre), and Songs of Innocence and Experience (presented by the HKAPA). She received the award for Outstanding Small Venue Production at the 2020 Hong Kong Dance Awards for the 8/F Platform show Jing. Her work for Days Are Numbered (presented by the City Contemporary Dance Company) also won the award for Outstanding Medium Venue Production at the 2022 Hong Kong Dance Awards. She worked on costume design in productions including A Kind of Eternity by Schoolmates Novel Theatre (in which she served as Executive Costume Designer), All Memories are Watery by Paprika Studio, You're a Good Man, Charlie Brown by the Hong Kong Academy for Performing Arts, and Mourning Becomes Electra by Theatre Horizon. Her work on Days are Numbered by the City Contemporary Dance Company, received the Hong Kong Dance Award for Outstanding Medium Venue Production in 2022.

She served as Assistant Costume Designer in productions such as The Impossible Trial—a musical by Freespace x Hong

Kong Repertory Theatre, The Top Restaurant by Hong Kong Repertory Theatre and Dim Sum Adventures at Lung Fung Teahouse 2.0 by the Hong Kong Dance Company, and so on. In recent years, she has also worked on art and costume design for films and dramas.

趙婉妏 Tracy Giu 助理舞台設計 Assistant Set Designer
51

李蔚心

Vanessa Lee 助理燈光設計 Assistant Lighting Designer

李蔚心畢業於香港演藝學院, 獲藝術學士(榮譽)學位,主修 燈光設計。曾與演藝⻘年粵劇 團赴多倫多,演出《⻄遊記之 孫悟空三打白骨精》燈光設計, 亦曾到德國不來梅參與 Ballet Gala 2017,為阮日廣編創的作 品 Eternity Formed by Fragments 擔任燈光設計。

體驗劇場作品包括:再構造劇場 《某種不明的東⻄》、《有你,故 我在》; 曾棱尉作品《貓與海邊 的森林》; 藝穗會《她和他意識 之流》、《她與他的時間之流》。

戲劇作品包括:三角關係《無法 誠實的我們》; 香港話劇團《⻄ 奧》;《天下第一樓》; 一路⻘空 《細路桃園》;香港五感感知教育 劇場《我是黑白》; 影話戲《赤 城頌》。

歌劇作品包括:聲蜚合唱節「巴 赫黑盒劇場」《婚岔路》;無極樂 團《一色一香》。

舞蹈作品:新約舞流《訪痕》。

現為自由身劇場工作者 。

Vanessa Lee graduated from the HKAPA with a Bachelor of Fine Arts (Honours), majoring in Lighting Design. She travelled to Toronto with the Young Academy Cantonese Opera Troupe for a performance of The Monkey King and was responsible for the show’s lighting design. When participating in the Ballet Gala 2017 in Bremen, Germany, she served as lighting designer for Eternity Formed by Fragments, choreographed by Anh Ngoc Nguyen.

Immersive theatrical works she has participated in include A Minute Something Else Enters and A Poem in Jail by Reframe Theatre, Cats and the Forest by Cherry Tsang Ling-wai, and Stream of Consciousness and Lingering in Time by the Hong Kong Fringe Club. Theatrical productions she has joined include Still You by Trinity Theatre, Theo and The Top Restaurant by the Hong Kong Repertory Theatre, Finding Wonderland by the Radiant Theatre, I'm black & white by the Hong Kong Theatre of Senses, and Song of Grief by Cinematic Theatre.

Opera productions she was involved in include Bach in Black Box—The Thunder Bay by SingFest and Beyond the Senses by Wuji Ensemble.

Dance productions she has joined include Landing in Suspense by Passoverdance.

She is now a freelance theatre worker.

畢業於香港演藝學院,主修舞 台及技術管理。

畢業後以自由工作者身份參與 不同劇團和文化機構的舞台演 出,擔任製作及技術管理工 作。近年亦為多個本地作品 的國內及外地巡演出任製作總 監一職。

近期參與的舞台製作包括《短 暫的婚姻》、《我們最快樂》、 《最後禮物》、《求證》、《大初戀 日》; 亦為裝置藝術展覧《 THE MISSING SOMETHING—會唱 歌的畫布》擔任項目經理。

Bobo Chan is a graduate of the HKAPA, majoring in Stage and Technical Management. She worked as a freelancer in production management and technical supervision after graduating. She has also served as a production supervisor for numerous foreign and domestic performances in recent years.

Recent stage productions with Chan’s participation include My Very Short Marriage, We Are Gay, One Last Gift, Proof

陳寶愉
Bobo Chan 製作經理 Production Manager
52

and Big First Love Day. She also worked as project manager for an exhibition of installation art, The Missing Something—The Singing Canvases.

陳緻諾

Chan Chi-nok 舞台監督 Stage Manager

畢業於香港演藝學院,主修藝 術、項目及舞台管理系。

曾參與多個本港,外國藝術表 演團體之製作,擔任舞台管理 及統籌工作。於 2014 年獲頒發 「第二十三屆香港舞台劇獎」傑 出執行舞台監督獎。

近期工作包括 Such/《短暫的婚 姻》英皇娛樂《最後禮物》、香 港青年藝術協會《 I'mperfect 》 及同窗文化《久天長地》。

Chan Chi-nok graduated from the HKAPA with majors in Arts, Event and Stage Management. She has worked on stage management and co-ordination for a number of productions involving Hong Kong and foreign performing arts groups. In 2014, she won the award for Outstanding Deputy Stage Manager at the 23rd Hong Kong Drama Awards.

Her recent works include My Very Short Marriage by Such/, One Last Gift by Emperor Entertainment Group, I'mperfect by the Hong Kong Youth Arts Foundation and A Kind of Eternity by Schoolmates Theatre.

畢業於香港演藝學院舞台及製 作藝術學院,獲舞台及製作 藝術學士(榮譽)學位。近年 參與製作包括

Mandy Mak graduated from the HKAPA School of Theatre and Entertainment Arts with a Bachelor of Fine Arts (Honours) in Theatre and Entertainment Arts. She recently participated in the production of The Originals–Hong Kong Musicals in Concert, Murder in San José, A Kind of Eternity, Proof, 2022 ART, My Very Short Marriage, and more.

現為自由身舞台工作者。 A Hong Kong theatre freelancer 現為自由身舞台工作者。 A Hong Kong theatre freelancer. 麥慧儀 Mak Wai-Yee 助理舞台監督 Assistant Stage Manager 楊淑雯 Yeung Shuk-man 助理舞台監督 Assistant Stage Manager ©Kit Chan Imagery :《我們的音樂 劇》、《聖荷西謀殺案》、《久天 長地》、《求證》、《 2 呃 22ART 》 《短暫的婚姻》等。
53
麥凱欣 Mandy Mak 執行舞台監督 Deputy Stage Manager

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

+ 榮譽節目顧問 Honorary Programme Advisor

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 *

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

Flora Yu

Connie Ho

Grace Lang

Ian Leung*

So Kwok-wan

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

Marketing Manager (Ticketing) Eppie Leung

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

Information Technology Manager

NO LIMITS

Project Director

Programme and Outreach Manager

Programme and Outreach Coordinators

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

Derek Chan*

Eddy Zee*

Becky Chung* Christy Ho*

Kelvin Ho* Jasmine Poon*

Deputy Marketing Manager Kaitlyn Liu*

Assistant Production Manager Jess Cheung*

Senior Accounting Officer

HKARTSFESTIVAL@TAIKWUN

Project Manager

PR and Marketing Coordinator

Catherine Chung*

Kwong Wai Lap*

Wind Yeung*

Coordinators

Production Officer Pang Ka Tat*

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

* 合約職員 *Contract Staff 按英文姓氏首字母排列 In alphabetical order 2023 年 2 月更新 Updated February 2023
藝術家統籌 蔡兆欣 *、朱芷慧 * 、張素真 * 、向怡君 * 、劉依靈 * 、劉明月 *、伍美衡 * 製作主任 彭家達 * 技術統籌 歐慧瑜 *、蔡敬堯 *、馮舒凝 *、黎敏兒 *、黎智勇 *、李浩賢 *、曾以德 *
Artist
Jacqueline Choi*, Eleanor Chu*, Susan Hayden*, Cassandra Heung*, Joannie Lau*, Veronica Liu*, Janet Ng*
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