2015 Hong Kong Arts Festival - FestMag

Foreword 前言

聯合國「國際婦女年」40 週年紀念之際，第 43 屆香港藝術節豐富 The 43rd HKAF is informed by women’s stories and voices, to 多樣的節目貫穿了關於女性的故事和聲音—既帶引觀眾反思女性

mark the 40th Anniversary of the United Nations International

的社會地位，亦探討她們的自由與束縛；不僅反映她們被禁止的心 Women’s year. 聲，更呈現她們自強不息而豪邁的引吭高歌…… 舞台上一個個生動 的女性角色，或取材於經典童話、或出自神話史詩，或寫照歷史現 實，她們無不與今年藝術節的節目絲縷相連、密不可分—恰如我 們生命中出現的女性，往往與我們的人生息息相關。 這些關於女性的故事，部分可見於第一章的「不朽傳奇」，其餘 則蘊含於第四章「寰宇聲色．破格演繹」。第二章「絕代芳華」則 特寫幾位風采飛揚的音樂、舞台天后，彰顯她們超群絕倫的藝術造 詣。當然，我們亦不會忽略傑出的男性藝術家們，故在第三章「樂 者風範」中，逐一介紹今年藝術節幾位首屈一指的古典音樂大師、 出類拔萃的演奏家以及樂壇的明日之星。最後一章涵蓋藝術節委約 及製作的節目，全部都是原汁原味的「香港書寫」。 「香港書寫」中，有一段特別的故事是關於「住家女傭」這個香 港的特殊女性群體，她們放棄婚姻，選擇以勞動換取獨立生活，話 劇《金蘭姊妹》講的便是三位女性的人生故事。與此遙相呼應的， 是珍．奧斯汀筆下的英國社會，當時的女性以追求婚姻幸福為人生 目標，這便是第 43 屆藝術節另一重頭戲：《傲慢與偏見》。 本雜誌的封面是越劇名伶茅威濤俊逸瀟灑的風姿，這位多年來備 受觀眾喜愛的越劇女星不僅造詣純深，同時也是劇團的領導者和改 革者，在她的帶領下，全女班的浙江小百花越劇團不斷攀登藝術的 高峰。 感謝藝術節的編輯團隊，以及所有貢獻與支持我們的人士和團 體！我衷心希望大家能夠享受閱讀本雜誌，同時希望它能豐富並加 深您對第 43 屆藝術節的體驗！ 期待與您在藝術節相遇！

香港藝術節行政總監 何嘉坤

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Perspectives on a woman’s place in society and the choices open or unavailable to her; women’s voices that are silenced and those that are empowered to sing out in glorious confidence; characters from fairy tale, myth and lives actually lived – these are woven through this year’s programming in the same way that stories of special women are woven into all our lives.

Some of the stories are contained in the section on Heritage which opens this volume; others are in a later section on the New and Renewed. The second section is a straightforward celebration of the resplendent talent that our divine Divas bring to the stage; and to be embracing and inclusive, we also feature the wonderful Maestros in the 43rd HKAF in the section that follows. The final section in this issue of FestMag deals with HKAF productions: all home grown works, all Made in Hong Kong.

The lead story in this final section deals with a very special group of women in this city, featured in The Amahs. This is a sisterhood of Chinese women who eschew marriage in favour of an independent life of labour: a counterpoint to sisters of Austin’s England who obsess over their marriage prospects in Pride and Prejudice, the other major theatre production of the 43rd HKAF. On the cover is the beautiful and talented Mao Weitao who is not only a celebrated and consummate performer but also a leader and innovator who has brought her all female company to eminence in a highly traditional art form.

I hope you will enjoy reading the pages that follow. I am grateful to the editorial team and to all our contributors, and hope that this FestMag will enhance your enjoyment of the 43rd HKAF. See you at the Festival!

Tisa Ho, Executive Director Hong Kong Arts Festival

Hong Kong Arts Festival 香港藝術節

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 月期間呈獻約 140 場 演出及逾 250 項「加料」和教育節目，致力豐富 香港的文化生活。 香港藝術節是一所非牟利機構，2015 年藝術節 的年度預算約港幣 1 億 1 千 2 百萬，當中接近三成 來自香港特區政府的撥款，約四成來自票房收入， 而餘下的逾三成則來自各大企業、熱心人士和慈善 基金會的贊助和捐款。 香港藝術節每年呈獻眾多國際演藝名家的演出， 例如：塞西莉亞．芭托莉、荷西．卡里拉斯、馬 友友、菲力普．格拉斯、庫特．馬素爾、列卡杜． 沙爾、米高．巴里殊尼哥夫、蕭菲．紀蓮、奇雲． 史柏西、羅伯特．威爾遜、皇家阿姆斯特丹音樂 廳樂團、聖彼得堡馬林斯基劇院、巴伐利亞國立 歌劇院、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、雲門舞集、星躍 馬術奇藝坊、皇家莎士比亞劇團、柏林劇團及中 國國家話劇院等。 香港藝術節積極與本地演藝人才和新晉藝術家合 作，每年委約及製作多套全新戲劇、室內歌劇、音 樂和舞蹈作品，並同步出版新作劇本，不少作品更 已在香港及海外多度重演。 香港藝術節大力投資下一代的藝術教育。「青少 年之友」成立 23 年來，已為逾 700,000 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、小學學生的藝術教育活動，並 通過「學生票捐助計劃」每年提供逾 8,500 張半價 學生票。

Hong Kong Arts Festival (HKAF), launched in 1973, is a major international arts festival committed to enriching the life of the city by presenting about 140 performances and over 250 PLUS and educational events in February and March every year.

HKAF is a non-profit organisation. The estimated budget for the HKAF in 2015 is around HK$112 million, with just under 30% coming from government funding, around 40% from the box office, and over 30% from sponsorships and donations from corporations, individuals, and charitable foundations.

HKAF presents top international artists and ensembles, such as Cecilia Bartoli, José Carreras, Yo-Yo Ma, Philip Glass, Kurt Masur, Riccardo Chailly, Mikhail Baryshnikov, Sylvie Guillem, Kevin Spacey, Robert Wilson, the Royal Concertgebouw Orchestra, the Mariinsky Theatre, Bavarian State Opera, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch, Cloud Gate Dance Theatre, Zingaro, Royal Shakespeare Company, Berliner Ensemble, and National Theatre of China.

HKAF actively promotes Hong Kong’s own creative talents and emerging artists, and commissions, produces and publishes new works in theatre, chamber opera, music and dance, many with successful subsequent runs in Hong Kong and overseas.

HKAF invests in arts education for young people. In the past 23 years, our Young Friends has reached over 700,000 secondary and tertiary school students in Hong Kong. A variety of arts education projects targeted at primary, secondary, and tertiary school students has been launched in recent years.

Donations to the Student Ticket Scheme also make available more than 8,500 half-price student tickets each year.

HKAF organises a diverse range of Festival PLUS activities in community locations each year to enhance the engagement between artists and audiences.

These include lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided tours.

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」，例如示範講座、大師班、工作坊、 座談會、後台參觀、展覽、藝人談和導賞團等，鼓 勵觀眾與藝術家互動接觸。

第 43 屆香港藝術節預計收入來源 Projected 43rd HKAF Income Sources

誠邀贊助或捐助第 43 屆香港藝術節； 詳情請與藝術節發展部聯絡。

For sponsorship opportunities and donation details of the 43rd Hong Kong Arts Festival, please contact the Development Department. 電郵 e-mail: dev@hkaf.org 直綫 direct lines: (852) 2828 4910/11/12 網頁 website: www.hk.artsfestival.org/en/support-us

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Contents 目錄

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前言

Foreword

不朽傳奇

Heritage

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莫斯科大劇院

The Bolshoi Theatre

傾城絕韻：《沙皇的新娘》

The Operatic Finesse of The Tsar’s Bride

俄羅斯芭蕾獻禮：革命與鑽石

The Bolshoi Ballet: Diamonds and Revolution

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浙江小百花越劇團

Zhejiang Xiaobaihua Yue Opera Troupe

新版《梁山伯與祝英台》

The New Butterfly Lovers

《二泉映月》

The Moon Over a Fountain

《五女拜壽》

Five Daughters Offering Felicitations

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Dutch National Ballet

荷蘭國家芭蕾舞團 《仙履奇緣》的另一面

The Dark Heart of Cinderella

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都柏林城門劇院

The Gate Theatre

女性頌歌：《傲慢與偏見》

An Ode to Women : Pride and Prejudice

絕代芳華

Diva! Diva! Diva!

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卡珊卓．威爾遜

Cassandra Wilson

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狄杜娜朵

Joyce DiDonato

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莉莎．德萬

Lisa Dwan

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茅威濤

Mao Weitao

香港藝術節資助來自 The Hong Kong Arts Festival is made possible with the funding support of

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Contents 目錄

樂者風範

MAESTROS, NO MYTH

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古樂泰斗：克里斯蒂

Culturist of the Baroque: William Christie

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德奧指揮大師：泰利曼

Master of the German Romantic Repertoire: Christian Thielemann

指揮奇才：廖國敏

Conducting Star from Macau: Lio Kuokman

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南美巨星指揮：杜達美

Conducting Dynamo from Venezuela: Gustavo Dudamel

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巴羅克小提琴家：法比奧．比昂迪

Baroque Violin Maestro: Fabio Biondi

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希臘小提琴巨匠：卡華高斯

Greek Violin Virtuoso: Leonidas Kavakos

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當代聲樂大師：保羅．希利亞

Story Teller in Sound: Paul Hillier

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音．畫魔術師：米凱．路迪

Magician of Music and Image: Mikhail Rudy

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亞洲抒情鋼琴家

Lyrical Pianists from Asia

寰宇聲色．破格演繹

New and Renewed

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人聲長青樹：波比．麥非年

The Vocalist Supreme: Bobby McFerrin

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寰宇之聲：粉紅馬天尼

Musical Travelogue: Pink Martini

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赤腳女聲

Barefoot Divas

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星耀佛蘭明高

Flamenco Bravura

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音樂新路向：破格傳統

A New Direction for Contemporary Music: Tradition Revamped

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神話、寓言、政治：跨劇場詩意

The Poetics of Multimedia Theatre

香港書寫

Made in Hong Kong

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《金蘭姊妹》：從動盪香港看住家女傭

A Look at Live-in Maids through Unrest in Hong Kong: The Amahs

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粵劇傳承之路

Succession in Cantonese Opera

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樂揚香江

Story of Hong Kong

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香港賽馬會當代舞蹈平台：

The Hong Kong Jockey Club Contemporary Dance Series:

培育舞壇新力軍

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群體時代的反思

詩意烏托邦：《大同》－從電影到歌劇

追踪香港藝術節 Follow HKAF on

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Nurturing New Blood Reflection in the Era of Crowds The Poetic Utopia: Datong – from Film to Opera

The Bolshoi Theatre Zhejiang Xiaobaihua 莫 斯科大劇院 Yue Opera Troupe 浙江小百花越劇團

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Heritage

不朽傳奇

Dutch National Ballet The Gate Theatre 荷蘭國家芭 蕾 舞 團

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都柏林城門劇院

BOLSHOI 莫斯科大劇院

「Bolshoi」在俄語中意為「大」。以「大」為名， The Russian word “bolshoi” means “big” and no name could be more fitting for 對於莫斯科這所無與倫比的劇院，以及其舉世聞 Moscow’s magnificent Bolshoi Theatre and its world-famous ballet and opera 名的歌劇團及芭蕾舞團，可謂再適合不過。 莫斯科大劇院始建於 1776 年，眾多音樂、芭 蕾、歌劇史上的頂級大師均「起家」於此。柴可 夫斯基、林姆斯基 – 高沙可夫和蕭斯達高維契都在 這裏完成主要作品；劇院陣容中更不乏傳奇演員， 如芭蕾舞蹈員加蓮娜．烏蘭諾娃、瑪雅．普利瑟 斯卡雅，以及歌劇演員夏里亞平。莫斯科大劇院 芭蕾舞團推動了男舞者舞步和芭蕾舞劇的變革， 是現代芭蕾的先行者。而大劇院歌劇團則是全球 演繹俄羅斯歌劇作品的金標準：莫斯科是傳統俄 羅斯的中心，沒哪個劇團能比莫斯科大劇院更好 地詮釋「俄國精神」。 過去 238 年，莫斯科大劇院幾經變遷。由於前 兩個院址先後失火，劇院於 1825 年進駐現址── 莫斯科地標性建築之一。該建築於二戰期間曾遭 轟炸，2005 年七月至 2011 年十月期間更不得不關 閉，進行全面翻修。莫斯科大劇院數度遭受政治 壓迫、財政困難及醜聞。俄國革命後，甚至有呼 聲要求廢除大劇院，以掃除帝國主義殘風。但大 劇院並沒關閉，反而重新定位，成為蘇聯的藝術 旗艦。 經歷了風風雨雨，莫斯科大劇院依舊屹立不倒，

companies.

Founded in 1776, the Bolshoi has been home to some of the greatest names in music, ballet and opera. Composers like Tchaikovsky, Rimsky-Korsakov and Shostakovich created major works there; legends like Galina Ulanova, Maya Plisetskaya and Feodor Chaliapin have graced its stage. The Bolshoi Ballet revolutionised male dancing and dance drama, paving the way for ballet as we know it now. The Bolshoi Opera is the world benchmark for performing the Russian repertoire – Moscow is the heartland of old Russia and no troupe embodies the unique quality known as the Russian soul the way the Bolshoi does.

The past 238 years have seen many vicissitudes. The current theatre, one of Moscow’s most iconic buildings, was the third Bolshoi Theatre – both its predecessors were destroyed by fire. It was bombed in World War II, and it was forced to close from July 2005 to October 2011 for massive reconstruction.

The Bolshoi has suffered political repression, financial woes and assorted scandals. After the Revolution there were calls for it to be abolished as a relic of imperialism - instead, it reinvented itself to become the Soviet Union’s artistic flagship.

Through it all, the Bolshoi has survived and its extraordinary artists have continued to dazzle and delight audiences worldwide generation after generation.

Text Natasha Rogai

憑藉其非凡藝術家，仍然給世界各地一代又一代 觀眾帶來驚喜和享受。 文 羅佳娜 中譯 曾逸琳

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傾城絕韻 《沙皇的新娘》 十九世紀末，華格納的音樂影響着俄羅斯作曲家，當地樂壇刮起一股意大利歌劇潮流，如寫實歌 劇《小丑情淚》、《鄉村騎士》，還有普契尼的《波希米亞生涯》，林姆斯基 – 高沙可夫的音樂創 作亦無可避免受感染。《沙皇的新娘》寫於1898年，首演於1899年，是作曲家第九部歌劇。這部 悲情起伏的浪漫主義戲劇根據沙皇伊凡四世的薄命新娘瑪爾法的真實故事改編，是林姆斯基 – 高沙 可夫一生所寫15部歌劇中戲劇情節最緊湊、矛盾衝突最強烈的一部。同時，這亦是一部充滿強烈 情感，歌唱旋律源源不絕的歌劇，喜愛動人旋律的愛樂者必然獲得無限滿足。 悲情起伏 歌唱形式多樣 《沙皇的新娘》劇力萬鈞，其音樂形式同樣千變萬化。序曲結尾部分出現了女主角所唱詠嘆調的 素材，全曲瀰漫不祥的悲劇氣氛。其後是多種情感的宣敘調和詠嘆調，描述男角失戀的折磨；繼 後的是優美抒情歌謠 、歌 頌 沙 皇 的 雄 壯 合 唱 曲 （“ Ts a r , Sl a v a ”），還 有 帶 有 民 歌 風 的 《舞 之歌》 （Song of the Hops）。接下來第二女主角柳芭莎（Lyubasha）以無伴奏方式唱出民歌風的傷感悲歌。 加上其後的三重唱和二重唱，第一幕中不同形式和情調的歌唱源源不絕，絕無冷場。 隨後的張力，更是幕幕加強，令人無法喘息。不論是瑪爾法敘述與未婚夫甜蜜生活的詠嘆調、歡 樂開心的的四重唱，或是旋律富有優美民歌風的簡短間奏曲，以至幕終的傷感詠嘆調與由禁衛隊員 所唱、富進行曲風格的雄偉青年之歌，都讓人印象難忘。 第三幕前奏曲採用了第一幕的合唱曲作主題素材；眾人獲悉瑪爾法被選為沙皇新娘時的震驚，則 既有三重唱，亦有六重唱合唱。 劇終的高潮讓瑪爾法發揮歌唱技巧及演技。音樂描述糾纏不休的四角戀，無比強烈刺激。 俄語的悲愴粗獷 《沙皇的新娘》的歌唱風格有別於意大利歌劇雅致的美聲唱法傳統。俄語和意大利文發音很不一樣， 俄語不僅氣音多，且音節結構複雜，歌唱低音宏大，高音抒展，發聲特點在於咽、喉的調節，合唱的 © Pavel Rychkov

粗獷感會更強，感傷的抒情音調又會多一分悲愴。 文 周凡夫

The Operatic Finesse of The Tsar’s Bride Like many of his contemporaries at the end of the 19th century, Rimsky-Korsakov was influenced by the work of Richard Wagner and the popular Italian operas of his time, which included Verismo operas such as I Pagliacci, Cavalleria Rusticana and Puccini’s La Boheme. Rimsky-Korsakov’s ninth opera, The Tsar’s Bride, was composed in 1898 and premiered in 1899. A tragedy-tinged romantic drama based on the true tale of Marfa, the ill-fated bride of Ivan the Terrible, it is the most dynamic of the 15 operas that Rimsky-Korsakov wrote in his lifetime. Its emotional intensity is matched by its soaring arias and haunting melodic line, all of which makes The Tsar’s Bride a deeply rewarding operatic experience.

Tragedy in Splendoured Vocals

© Damir Yusupov

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A revered staple of Russian opera, The Tsar’s Bride shimmers in dramatic intensity and a glorious array of musical forms.

Tragedy looms in the overture, which closes with the theme of Marfa's aria. Gryaznoy’s recitativo and aria delineate the agony of unrequited love, before the mood brightens in the lyrical songs, the majestic chorus (“Tsar, Slava”), and the folksy Song of the Hops. A touch of folk music also underpins Lyubasha's sorrowful solo in a cappella, followed by a mesmerising trio and duet.

Tension builds in the following acts. Marfa’s aria depicting her sweet life with her fiancé, the happy vocal quartet, the melodious intermezzo, the melancholic aria and march-like Song of the Guardsmen near end of Act II are all remarkable gems. In Act III, the shock at the selection of Marfa as the Tsar’s bride soars in the trio and sextet. Marfa's exquisite singing and acting shines through the final scene, where the tragedy of the love rectangle reaches its climax.

The Russian Pathos The Tsar’s Bride is a gem that falls outside the tradition of classically beautiful Italian operatic singing that we have come to know.

The Russian language contains a greater number of aspirated consonants in a more complex syllabic structure, which results in more expansive bass and high notes in the vocals. A unique feature of Russian operatic singing is heightened regulation from the pharynx and larynx, which creates a rawer sound in the choral sections and evokes a deep sense of pathos in the lyrical line.

Text Chow Fan Fu Translation Hofan Chau

the orchestral grandeur On the harmonic language of The Tsar’s Bride, Music Director and Conductor Gennadi Rozhdestvensky says there are sophisticated recitatives that require that kind of great skill that the orchestra at the Bolshioi Theatre claims as one of its fortes.

In revamping the revered classic, Rozhdestvensky eliminated the instrumental duplication of the vocal parts in the original orchestration, since today’s opera singers are “competent musicians who are completely capable of managing without such props,” he says. “I flatter myself with the hope that Nikola Andreyevich (Rimsky-Korsakov) would have nothing against this sort of retouching since he himself was a great experimenter by nature.” 樂團炫技之作 《沙皇的新娘》音樂總監兼指揮根納迪．羅傑斯特汶斯基指出，劇中宣敍調非常精密，對樂手技 術要求很高，恰好是莫斯科大劇院樂團的強項。 昔日歌唱家往往需樂器襯托，因此在《沙皇的新娘》中有一些與聲樂重疊的樂器部分。有見當 今歌唱家技巧超凡，即使沒樂器協助，也能揮灑自如。羅傑斯特汶斯基因此將與聲樂重疊的器樂 刪除，把歌唱家從器樂束縛中釋放出來。他相信，林姆斯基－高沙可夫不會反對這些改動，因冒 險嘗試正是大師的一貫作風。

© Damir Yusupov

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synopsis The Tsar’s Bride is set in Alexandrovskava Sloboda in the autumn of 1572. A cavalry officer of the Tsar’s Ivan the Terrible, Gryaznoy falls madly in love with Marfa, daughter of the merchant Sobakin, but she is betrothed to the boyar Ivan Lykov. Gryaznoy asks physician Bomelius for a love potion while Lyubasha, Gryaznoy’s mistress, overhears his request. She in turns obtains from Bomelius another magic potion with which to kill Gryaznoy’s feelings for Marfa, at the price of an assignation with Bomelius. In the meantime, the Tsar is looking for a new bride from the finest aristocratic maidens in Russia and settles upon Marfa, despite her unwillingness to marry him. Intrigue, heartbreaks and death ensue as the tragedy of the love rectangle unfolds in the Tsar’s palace… 劇情簡介 故事發生在 1572 年秋天，俄國的亞歷山德羅夫。沙皇禁衛軍官 格利格里．格萊亞茲諾愛上了商人索巴金的女兒瑪爾法。然而 瑪爾法與貴族青年伊凡．里科夫已有婚約。格萊亞茲諾向朋友 波梅里索取迷魂藥，可以令姑娘愛上他。格萊亞茲諾的情人柳芭 莎偷聽得悉此事，便譴責情郎變心，卻未獲理會，於是誓要找 出情敵。後來她因妒生恨，於波梅里處買得能奪人美貌的毒藥。 格萊亞茲諾為謀得心上人，假意為里科夫做伴郎，負責為兩位 新人斟酒，趁人不備，將波梅里給的迷魂藥摻入瑪爾法的酒中， 卻不知柳芭莎已將迷魂藥換成毒藥。同時，沙皇忽然宣佈要娶 瑪爾法為妻，一場皇室四角戀就此展開。

The Bolshoi Ballet

Diamonds and Revolution 俄 羅斯 芭蕾獻禮

革命與鑽石 莫斯科大劇院芭蕾舞團重臨香港，帶來兩齣風格 迥異的舞碼。從巴蘭欽精緻細膩的抽象舞蹈《珠 寶》，到轟轟烈烈的大型舞劇《巴黎火焰》，舞團 在彰顯全方位實力的同時，也展示了其傑出的新 一代舞者。 由阿列克塞．羅曼斯基改編的《巴黎火焰》，有 着不折不扣的莫斯科大劇院血統。舞劇以法國大 革命為故事背景，從頭到尾充滿戲劇性和高難度 舞段，無論人物性格還是古典芭蕾段落都高潮迭 起，讓觀眾隨之熱血沸騰。 年輕農民謝洛美與妹妹雅娜一起生活在一位侯 爵的莊園，因挺身保護妹妹免受侯爵騷擾，而被關 進了牢房。侯爵的女兒阿德琳娜幫助謝洛美脫身， 兩人墮入愛河。隨後兄妹倆逃到巴黎，加入了雅 娜心上人菲利普的革命隊伍。革命力量推翻皇室， 取得勝利之際，謝洛美與阿德琳娜終於重逢，卻 又面臨生死永別─阿德琳娜遭出賣，暴露了貴 族身份，與父親一同被送上了斷頭臺。 《巴黎火焰》的最初版本於 1932 年由瓦西里． 伐伊諾能創作。當時莫斯科大劇院上演了許多類 似的社會主義宣傳舞劇：簡單的英雄故事，講述 工人階級英雄如何打倒腐朽的貴族階級。《巴黎 火焰》不但是其中典型，更是史太林最愛看的舞 劇之一。 羅曼斯基在 2008 年重新編排此劇，在尊重伐伊 諾能的版本和莫斯科大劇院的歷史同時，在戲劇 表達上更為含蓄，更多着墨於道德兩難以及法國 （和俄國）在革命時期所付出的人性的代價─ 這在 1932 年是不可想像的。 莫斯科大劇院一向以技藝超群的男舞者聞名， 《巴黎火焰》在突出此優勢的同時，一反常規地 刻畫了三位女性角色。其中熱烈激昂的雅娜和溫 柔善良的阿德琳娜都是英雄角色，不惜一切代價

© Damir Yusupov 《珠寶》－《綠寶石》Emeralds from Jewels

The Bolshoi Ballet returns to Hong Kong with two contrasting programmes designed to highlight the company’s range, from the sleek sophistication of Balanchine’s Jewels to the rip-roaring spectacle of The Flames of Paris, and to showcase its outstanding new generation of dancers.

Set during the French Revolution, Alexei Ratmansky’s The Flames of Paris is quintessential Bolshoi. An epic tale packed with high drama and an abundance of virtuoso dancing, both character and classical, it sweeps the audience along on an irresistible wave of energy.

Jerome, a young peasant, is imprisoned for defending his sister Jeanne when she is assaulted by the Marquis on whose estate they live. The Marquis’s daughter Adeline helps Jerome escape and they fall in love. Brother and sister flee to Paris to join Jeanne’s sweetheart Philippe, who is fighting with the revolutionary forces. There they take part in the overthrow of the King and the triumph of the revolution. Jerome and Adeline meet again but their love ends in tragedy when Adeline is betrayed as an aristocrat and guillotined along with her father.

The original version created by Vasily Vainonen in 1932 is a typical example of the Soviet propaganda ballets the Bolshoi specialised in at that time – a simplistic portrayal of heroic workers defeating decadent aristocrats which acts as a framework for larger-than-life dancing. It was one of Stalin’s favourite ballets.

While Ratmansky’s 2008 staging pays tribute to Vainonen’s work and the Bolshoi’s history, it is more nuanced dramatically, touching on the moral dilemmas and human cost of the French (and by extension the Russian) Revolution – unthinkable in 1932.

In addition to the magnificent male dancing the Bolshoi is renowned for, The Flames of Paris boasts three exceptionally strong female roles. The fiery Jeanne and the gentle Adeline are both heroic figures, with the courage to remain true to their beliefs at any cost. More ambiguous is star ballerina Mireille de Poitiers.

Nothing could be further in style from the flamboyant The Flames of Paris than George Balanchine’s elegant Jewels. This 1967 masterpiece of neo-classical ballet calls upon the Bolshoi’s dancers to show very different facets of their talent – subtlety, musicality and that rare, elusive quality the French call chic – and to

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capture three completely different styles within one evening.

Jewels is unique – a three-act ballet with no plot. Indeed, the 比起熱情喧鬧的《巴黎火焰》，巴蘭欽優雅的 three sections – Emeralds, Rubies and Diamonds – are often 《 珠 寶 》 走 在 時 尚 前 沿， 可說 是 另一 種 極 致。 performed separately. Varying radically from one another 這齣作於 1967 年的新古典主義傑作，讓莫斯科 in style and set to music by different composers, they are 大劇院的舞者展示出另一面：對微妙細節的掌 loosely linked by the theme of precious stones. Balanchine was 控、音樂性，以及法國人稱之為「chic」（雅致） inspired to create the work by the exquisite jewellery of Van 的 那 種 難 以 捉 摸 的 珍 貴 氣質。 與 此同 時，舞 團 Cleef & Arpels and sought to bring out the essence of each gem through choreography, music and design. He also used Jewels 需在同一晚，展現三種截然不同的舞蹈風格。 《珠寶》是一齣獨特的舞蹈作品，這部共三幕 to explore the essence of three different schools of ballet, 的舞蹈完全沒有任何情節，三個篇章《綠寶石》、 French, American and Russian, all of them integral to his own 《紅寶石》和《鑽石》常分別獨立演出。這三個 history and development as an artist.

Emeralds evokes the French Romantic period with its 部分風格迥異，連音樂都採用了三位作曲家的作 品，唯一相通的是都以寶石命名。受梵克雅寶精 combination of soft, flowing arms and filigree footwork. Its 工細作的珠寶啟發，巴蘭欽創作了這篇舞作，想 languorous, lyrical choreography and dreamlike quality are the 要通過舞蹈、音樂和服裝設計，將每種寶石的精 perfect match to Gabriel Fauré’s music.

Rubies is a witty, high energy take on American show髓表達出來。同時，他也藉《珠寶》對法國、美 國和俄國舞派這些深深影響自己的三大芭蕾派別 dancing, filled with the buzz of New York City. Sharp, jazzy and sexy, its dazzling speed, off-kilter movement and extreme 致敬。 《綠寶石》以舒展、如流水般的上肢動作和端 extensions are archetypal Balanchine and a superb example of 莊優雅的腿部動作，喚起法國浪漫主義情懷。它 his special affinity with Stravinsky’s music.

Diamonds is Balanchine’s homage to Marius Petipa and the 慵懶、抒情的編舞和夢幻般的氛圍，與佛瑞的音 Russian Imperial Ballet of the 19th century, set to Tchaikovsky. 樂配合無間。 《紅寶石》靈感來自美國歌舞劇，風趣詼諧、 Grand and glittering, it is a hymn to the ballerina as the 精力充沛，吹來紐約的大都會氣息。辛辣、性感 supreme embodiment of female beauty, the corps de ballet 的爵士風格，目不暇給的快舞，特意失衡的動作， acting as the setting for this most treasured gem.

堅守自己的信念。而第三位角色─芭蕾女星米 雷耶．德普瓦捷─立場則不那麼分明。

以及肢體的極致伸展，都不折不扣地體現了巴蘭 欽的典型風格以及他對史達拉汶斯基音樂的偏愛。

Text Natasha Rogai

《鑽石》是巴蘭欽對十九世紀俄國編舞大師佩 蒂巴及帝國芭蕾舞團的致敬之作，選用柴可夫斯 基的音樂。該幕氣勢宏大、燦爛生輝，是對女芭 蕾舞者的讚美詩，是女性美的終極體現，在群舞 的襯托下綻放最耀眼的光芒。 文 羅佳娜 中譯 曾逸林

© E. Fetisova-Bolshoi

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《巴黎火焰》The Flames of Paris

Blossoming for 30 Years

盛放不斷 :

Zhejiang Xiaobaihua Yue Opera Troupe 浙江小百花越劇團 At age 30, many of us are just starting our career. For the Zhejiang Xiaobaihua Yue Opera Troupe, 30 years represent a significant stride forward, down the path of innovation.

1981– 1984

三十是而立之年，浙江小百花越劇團成立 30 年， 留下一連串錦繡般的足跡。

「小百花」建團之前，已與香港結下不解之緣。1981 年，香港一個同鄉會 邀請浙江省文化局派來越劇團，局方從全省選出精英，聘請越劇與京、昆、 婺等多個劇種著名藝術家親傳技藝。經過一年特訓，最後精選 28 位平均 年齡 18 歲的少女組成「小百花」赴港演出團。1983 年 11 月， 「浙江越劇 小百花赴港演出團」在香港新光戲院首演，包玉剛、邵逸夫等商界人士皆 到場支持。 「小百花」轟動香港的首演催生了翌年 5 月成立的女子越劇團。成立才 四個月，「小百花」就獲邀上京參加國慶演出，先後到中南海懷仁堂和人 民大會堂，參加國慶 35 週年專場演出，全國巡演亦叫好叫座。

圖為首演當年新光戲院門口的演出廣告牌。

1984 年赴京演出前，長春電影製片廠與劇團合作，攝製的彩色戲曲藝

The photograph shows the billboard advertising Xiaobaihua’s debut performance at Sunbeam Theatre’s entrance.

術片《五女拜壽》，獲全國第五屆電影「金雞獎」最佳戲曲片獎與文化部 頒發的政府獎。

Zhejiang Cultural Affairs Bureau was invited to send a yue opera troupe to Hong Kong. The Bureau selected outstanding performers from different regions of the province especially for the Hong Kong performances. After a year’s intense training, studying under famous artists of yue opera as well as other regional operas such as Beijing, kun and wu, 28 female opera artists, on average only 18 years of age, were chosen to perform in Hong Kong as Xiaobaihua – hundreds of little flowers.

In November 1983, “Zhejiang Yue Opera Xiaobaihua Hong Kong Performance Troupe” debuted at Sunbeam Theatre in Hong Kong.

Leading businessmen Pao Yue-kong, Run Run Shaw and others were in the audience.

Xiaobaihua’s Hong Kong success led to the troupe’s establishment in May 1984. In October 1984, they performed at the National Day celebrations in Beijing, with performances at Huairen Hall in Zhongnanhai and the Great Hall of the People, to capacity audience and rave reviews.

In 1984, before the Beijing performance, Xiaobaihua collaborated with Changchun Film Group to shoot Five Daughters Offering Felicitations in colour. The film won Best Chinese Opera Film at the 5th Golden Rooster Awards and a government award from the Ministry of Culture.

圖為在人民大會堂演出《五女拜壽》後，當時的國務院副總理萬里上 台與全體演職員合影。

The photograph was taken after the performance of Five Daughters Offering Felicitations at the Great Hall, with Vice Premier Wan Li joining the cast on stage.

圖為電影《五女拜壽》劇照，左為何賽飛，右為茅威濤。

The photograph is a still from the film, with He Saifei on the left and Mao Weitao on the right.

1989

「小百花」於 1989 年排演的《陸遊與唐琬》 ，是劇團表演風格轉型期的傑 出作品，其後更入選 2002-2003 年度國家舞台藝術精品工程十大劇目。

The troupe created Poet Lu You and Tang Wan, which was named one of the Top Ten Outstanding Operas in the National Outstanding Plays of Dramatic Art 2002-2003.

《陸遊與唐琬》Poet Lu You and Tang Wan

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1991

「小百花」1991 年排演的《西廂記》被譽為劇團「詩化越劇」的代表作之 一。劇目當年初登舞台，就在香港新光戲院上演。2013 年該劇封箱巡演， 再度於新光戲院登台，粵劇名伶汪明荃親自主持封箱儀式。

In 1991, Xiaobaihua created one of its seminal works Romance of the West Chamber, which was staged in Hong Kong during its debut tour.

In 2013 the troupe presented the last-ever performance of the opera at Sunbeam Theatre. 《西廂記》Romance of the West Chamber

1996

1996 年，「小百花」邀請剛從神戶遊學回來的著名導演郭小男執導荊軻故 事《寒情》，拓寬了越劇的題材和表現手法，成為探索越劇出路的起點。

Xiaobaihua invited director Guo Xiaonan, who recently returned from training in Kobe, to direct Cold Feeling about Jing Ke’s failed assassination of the First Emperor. That was the start of Xiaobaihua’s exploration of the future of yue opera.

《 寒 情 》Cold Feeling

1998

1998 年的《孔乙己》把劇團推至另一高峯，其後激情的《春琴傳》和柔 情的新版《梁祝》，為老戲迷帶來驚喜，亦吸引了不少年青觀眾。

Kong Yiji, inspired by Lu Xun’s short stories took the troupe to new height. The passionate follow-up A Tale of Shankin and the gentle new version of The Butterfly Lovers not only brought surprises to old fans, but also attracted a young audience.

《 孔 乙 己》 Kong Yiji

2006

為紀念越劇誕生 100 年，「小百花」排演新版《梁山伯與祝英台》，重新 演繹這部越劇傳統劇目，改編及製作歷時七年，登台至今獲獎纍纍。

Celebrating the centenary of the birth of yue opera, Xiaobaihua spent seven years on the creation of The New Butterfly Lovers, an awardwinning reinterpretation of the yue opera canon.

新 版 《 梁山伯與祝英台》 The New Butterfly Lovers

2013

2013 年的《江南好人》加入大量話劇元素，以「新概念越劇」命名，標 示「小百花」進一步探索越劇的可能。

The Good Person of Jiangnan included significant amount of spokenword drama elements. This “new concept in yue opera” signals Xiaobaihua’s intent to further explore the art form’s possibilities.

《 江 南 好人》 The Good Person of Jiangnan

2014

「小百花」建團 30 週年之際，創作了新編越劇《二泉映月》 ，首次將這首 揚名中外的二胡名曲及其創作者阿炳（華彥鈞）的故事搬上越劇舞台。

Xiaobaihua debuted The Moon Over a Fountain, a new work specially created for the 30 years anniversary of the troupe, bringing to life the story of the famous erhu musician Hua Yanjun and his world-renowned composition. 文 麥慰宗、王明宇 《 二 泉 映月》 The Moon Over a Fountain

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Text Percy Mak, Martin Wang

We Create A Lifestyle

www.hkri.com

The New Butterfly Lovers

新 版《梁山伯與祝英台》

Every yue opera fan knows The Butterfly Lovers. This classic love story opens Xiaobaihua’s HKAF visit and has inspired The Butterfly Lovers Violin Concerto, which fuses yue opera musical elements with Western orchestrations and instruments. Xiaobaihua’s new version brings China’s bestknown contribution to Western classical music back to its inspiration, with opera artists singing the heart-wrenching motif.

This version premiered in 2006 to celebrate yue opera’s centenary. With daring and innovation, Director Guo Xiaonan introduced kun opera’s use of paper fan to replace water sleeves that characterise yue opera. The treatment of the finale, when the lovers transcend their mortal selves, is widely praised. 新版《梁山伯與祝英台》所獲獎項

Awards for The New Butterfly Lovers 1 2006 年浙江省文化精品工程重點專案 Key Projects of Zhejiang Cultural Outstanding Projects of 2006 2 2006 中國越劇藝術節金獎 Gold Award in China Yue Opera Festival of 2006 3 中國戲曲學會獎 Award of China Traditional Opera Society 4 浙江省第九屆精神文明建設「五個一工程獎」 Five Best Ones Award of the 9th Zhejiang Culture Construction 5 2007 年參演中國第十屆戲劇節： 首屆中國戲劇獎．優秀劇目獎

當經典唱段「我家有個小九妹」響起，越劇迷個個懂得接唱下去， 熟悉程度一如幾代香港人聽到粵劇帝女花的「落花滿天蔽月光」。 梁祝的愛情家傳戶曉，是浙江小百花越劇團參演藝術節的頭炮。 其實，早期的越劇梁祝，啟發了後來的梁祝小提琴協奏曲，把越 劇元素運用於演奏和配器。「小百花」的新版《梁山伯與祝英台》 讓聞名中外的優美旋律還鄉，由演員唱出來。 首演於 2006 年紀念越劇問世百年，新版新在表現手法，導演郭 小男要求演員學習崑劇的扇子，大膽以紙扇代替水袖。值得一提的 是，對於劇終化蝶一段的處理，廣受好評，導演頗引以為豪。

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utstanding Play Award of the first Award in the O 10th China Drama Festival in 2007 6 2009 年第三屆全國地方戲優秀劇目 ( 南北片 ) 展演一等獎

The 1st Prize of the 3rd National Showcase of Local Operas in 2009 7 2007 - 2008 年度國家舞台藝術精品工程十大精品劇目 The Top Ten Outstanding Operas in the 2007-2008 Year National Outstanding Plays of Dramatic Art

The Moon Over a Fountain

《 二 泉 映月》 © 郭三省 緊接《梁祝》上演的《二泉映月》同樣呼應名曲， The Moon over a Fountain celebrates another famous Chinese melody and its 靈感來自同名樂曲作者、清末民間音樂人華彥鈞 composer – blind folk musician Hua Yanjun (1893–1950), also known as Abing. （盲子阿炳）的生平。這首二胡名曲衝破了文化 This melody for string instrument erhu depicts Abing’s inner world and bitter 的界限，令人人都體會阿炳心境。歷煉孕育佳作， life story, raising above class and cultural divides. When the country discovered 成名看機遇，華彥鈞遇到伯樂，可惜人生已到盡 Abing’s musical gift, he was already dying. Xiaobaihua chose Abing’s story of 頭……「小百花」以這位民間藝人尋找自我的故 self-discovery to celebrate their 30th anniversary. 事慶祝成立 30 週年。越劇第一女小生茅威濤說，

For Mao Weitao, Xiaobaihua’s artistic director and yue opera’s foremost

扮演阿炳是挑戰，因為傳情的眼睛經常隱在墨鏡 young male sheng performer, it is a challenging role because the eyes – keys to 之後。創作組曾到音樂人的出生地無錫採風，務 expressing emotions in Chinese opera – are obscured by darkened glasses. The 求視覺設計滲現姑蘇靈秀。

creative team went to Abing’s hometown Wuxi to research, ensuring the city’s elegant beauty is realised on stage.

Five Daughters Offering Felicitations

《 五女拜壽》 壓軸的《五女拜壽》是新編經典，手法傳統，惟 The final production Five Daughters Offering Felicitations is a modern classic, 節奏明快，用大家庭的轉折刻劃孝義人情。這部 a traditional yet upbeat story about filial piety as a family’s fortune changes. 群戲行當齊全，除了小生、花旦，還有越劇少見 It shows off every opera role, from the young male and female, xiaosheng and 的老生和老旦；其中老生擔戲頗重， 幾個唱段令 huadan, to the rare appearance of older male and female, laosheng and laodan.

The patriarch role is particularly substantial and moving. As the curtain rises, the word “longevity” highlights the theme. It prophecised Xiaobaihua’s birth three decades ago. Now, four generations of Xiaobaihua performers come 角色將由四代「小百花」演員合演。 浙江小百花越劇團帶給香港觀眾的三部精品， together to revisit the classic.

Xiaobaihua’s programme for HKAF demonstrates three distinct aspects of the 代表劇團三個不同階段，從中看到小百花 30 年來 troupe’s development, charming and enthralling audiences for three decades. 的風采轉悠。 人動容。大幕升起， 一個壽字點出主題。當年香

港首演彷彿預示劇團誕生，30 年後重臨，20 多個

文 麥慰宗

Text Percy Mak Translation Gigi Chang

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Dutch National Ballet

荷蘭國家芭蕾舞團 © Angela Sterling

荷蘭及海外文化界的先行者──荷蘭國家芭蕾舞 Pioneer in the cultural scene of the Netherlands and beyond. 團 擁 有 來 自 30 個 國 家 的 80 位 舞 者， 不 但 是 荷 蘭最大的舞團，更是國際舞蹈人才的聚集地。自 1986 年起，荷蘭國家芭蕾舞團就和荷蘭歌劇院一 起，成為阿姆斯特丹新國家劇院的駐場團體。 荷蘭國家芭蕾舞團 1961 年建團，由阿姆斯特丹 芭蕾舞團及荷蘭芭蕾舞團合併而成。舞團歷屆藝 術總監有桑妮雅．蓋斯凱爾（1961-1969）、路迪． 范丹斯（1969-1991）、韋恩．伊格靈（1991-2003）， 以及自 2003 年起上任的特德．布蘭德森。 舞團的第一位藝術總監桑妮雅．蓋斯凱爾（19041974）生於俄國，是二戰後幫助荷蘭芭蕾在廢墟上 重建的奠基人之一。在她的帶領下，荷蘭國家芭 蕾舞團於 60 年代上演了許多經典舞劇，如《仙凡 之戀》、 《天鵝湖》及《睡美人》。這些舞劇都是首 次在荷蘭足本上演。 如今， 荷蘭國家芭蕾舞團仍然不斷創新、進步， 竭力推廣芭蕾藝術。每年，舞團在阿姆斯特丹演 出約 70 場，在其他荷蘭劇院及海外舞台演出約 25 場。 中譯

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曾逸琳

With 80 dancers from 30 countries, Dutch National Ballet is the largest dance company in the Netherlands and a hub of international talents. Along with De Nederlandse Opera, the Dutch National Ballet has been a resident company of The Amsterdam Music Theatre since 1986.

Dutch National Ballet was formed in 1961 through a merger between the Amsterdam Ballet and the Nederlands Ballet.

The company has been directed successively by Sonia Gaskell (1961-1969), Rudi van Dantzig (1969-1991), Wayne Eagling (1991- 2003) and Ted Brandsen (from 2003).

The company’s first artistic director, Sonia Gaskell (1904– 1974), originally from Russia, was one of the innovators who helped build Dutch ballet from scratch after World War II. Under her leadership, in the 1960s, the Dutch National Ballet presented classics such as La Sylphide, Swan Lake and The Sleeping Beauty for the first time in their entirety in the Netherlands.

Today, Dutch National Ballet continues to innovate, refine and promote the art of ballet. Every year, the company gives around 70 performances in Amsterdam and at least 25 performances in other theatres in the Netherlands and abroad.

The Dark Heart of Cinderella

《仙 履奇緣》的另一面

© Angela Sterling

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© Marc Haegeman

從艾斯頓、巴里殊尼哥夫、紐里耶夫，到羅曼斯基、賓 利，眾多芭蕾史上的著名編舞都曾根據普羅科菲耶夫的 音樂，編排了自己的《仙履奇緣》。但是，從未有人像 克里斯托弗．惠爾頓一樣，如此潛心挖掘這個故事中未 被看到的一面。 所有《仙履奇緣》的編舞，甚至作曲家普羅科菲耶夫 本人，都是從查爾斯．佩羅的故事汲取靈感。然而，惠 爾頓在為荷蘭國家芭蕾舞團和三藩市芭蕾舞團編排的版 本中，大膽地背離了佩羅的故事，轉而採用格林兄弟的 版本。他捨棄了仙女和南瓜馬車的角色，而將魔法的力 量嫁接給格林童話中從灰姑娘母親墳上長出的那棵樹。 「我們都有過這種想法：愛我們的人會永遠以某種方 式守護我們。」惠爾頓說，「比起佩羅的故事，我更希 望從格林兄弟的版本中提取主題，以回應音樂中某些較 為灰暗的元素。格林兄弟的版本更為嚴肅、灰暗，圍繞 母性及母親的靈魂展開。」為此，惠爾頓請來了屢獲殊 榮的木偶師巴素．特威斯特，與舞台設計朱利安．格露 奇，攜手造了一棵會動、會跳舞、甚至隨着故事不斷成 長的魔法樹。 惠爾頓的《仙履奇緣》當中的陰暗特質，來自寫實的 人物性格，尤其是年輕角色，如灰姑娘和她的兩個姐 姐。在大部分版本中，兩個「醜姐姐」天生醜陋、生性 殘忍，常由男舞者扮演，以傳統默劇的誇張手法表現。 而在惠爾頓的版本中，她們並非如此刻板，而是活生生 的人物，也有着真實的情感。 「其中一個姐姐的確心靈醜惡，但樣貌卻美得很。另 一個則更像是家庭環境的受害者。灰姑娘未出現的時 候，她是家中被呼來喝去的那個。」惠爾頓解釋道， 「她也是迫於母親和漂亮姐姐的淫威，才不得不跟着欺 負灰姑娘。」 作為故事的女主角，惠爾頓版本的灰姑娘形象飽滿， 脫離了純粹被動的舞台角色，在一定程度上把握了自己 的命運。儘管只是家中僕人，「她卻深知生活不會總是 這樣。」惠爾頓說，「這是關於善與惡 ( 的故事 ) 。如果 你是好人，就可能會有柳暗花明的一天；但這不等於 說，逆來順受的人會得到獎賞。」 文

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張菁

中譯

曾逸琳

From Ashton, Baryshnikov and Nureyev to Ratmansky and Bintley, many of the biggest names in ballet have created their own version of Cinderella to Prokofiev’s music. Yet, none plunges as fully into its dark heart as Christopher Wheeldon.

Wheeldon boldly chooses to downplay Charles Perrault’s story – which all his predecessors, including Prokofiev, drew inspiration from – in his version for the Dutch National Ballet and San Francisco Ballet. Instead, he looks towards the Brothers Grimm, discarding the fairy godmother and pumpkin coach in favour of a tree that grows over the grave of Cinderella’s mother.

“We all toy with the idea that loved ones are always watching over us in some way,” he says. “What I wanted to do was echo some of the darkness in the music by taking some of the themes from the Brothers Grimm version rather than the Perrault version. The Grimm version is more serious and a bit darker, centred around nature and the spirit of mother.”

Wheeldon enlisted award-winning puppeteer Basil Twist to work with designer Julian Crouch to endow the tree with magic, which moves and dances and grows as the story unfolds.

What gives Wheeldon’s Cinderella a darkly whimsical depth is its realistic characterisation, especially of the young characters – Cinderella and her two stepsisters. Instead of the Ugly Sisters being born grotesque and cruel – who are often portrayed comically by men in drag, following the pantomime tradition – they are distinctive characters with real emotions in this rendition.

“One of them is ugly in spirit and ugly in heart, but actually rather beautiful. The other one is more of a victim of circumstance. Before Cinderella came along, she was the one that got kicked around,” Wheeldon explains. “She’s forced and bullied into being mean to Cinderella by her beautiful, evil sister and their mother.”

Wheeldon’s Cinderella also stands out as a protagonist who is more in charge of her destiny than her traditional passive stage persona. Though she is a servant in her own home, “she knows she doesn’t have to be there forever,” Wheeldon notes. “[It is a story about] good versus evil; it is that if you’re a good person things can come out right. But it’s not saying if you’re meek or subservient you’ll be rewarded.”

Text Gigi Chang

The Gate Theatre 都柏林城門劇院

這是 200 多年來都柏林地標性建築，也是愛爾蘭 Landmark building in Dublin for over 200 years – symbol of Irish Theatre 戲劇在世界上的象徵。 1928 年，城門劇院成立，入駐原為醫院的歷史 性建築。最初的藝術總監是希爾頓．愛德華和米 高．麥連莫。自 1983 年起，劇院由米高．柯根接 管。 都柏林的觀眾在城門劇院第一次接觸到了歐美的 前衛劇場──如易卜生、契訶夫、奧尼爾和左拉， 以及從王爾德到貝克特的愛爾蘭現代經典劇目。好 萊塢明星奧遜．威爾斯及占士．美臣，也是在這裏 的舞台開始演藝生涯。 城門劇院每年平均獲得 20 個重要藝術節及海外 活動的邀約，以國家最高藝術水準，展現愛爾蘭最 優秀的創作、表演及其他戲劇領域人才。城門劇院 的興盛，同時也離不開多位與其聯繫緊密的當代劇 作家，其中就有伯納．法瑞爾、哈洛．品特、法蘭 克．麥健力士、科納．麥弗森、馬克．歐羅偉及布

around the world.

The Gate was established as a theatre in 1928 by artistic directors Hilton Edwards and Micheál MacLiammóir. It has been led by Michael Colgan since 1983.

It was at the Gate that Dublin audiences were introduced to the world of European and American avant-garde theatre – to the work of Ibsen, Chekhov, O’Neill and Zola – as well as modern classic Irish repertoire from Oscar Wilde to Samuel Beckett.

Famous Hollywood actors Orson Welles and James Mason both started their careers on the stage of The Gate.

With an average of 20 invitations each year to major festivals and overseas events, the Gate showcases the best of Irish writing, acting and theatrical talent, representing Ireland at the highest level of artistic endeavour.

The theatre has thrived on unique relationships with contemporary playwrights as Bernard Farrell, Harold Pinter, Frank McGuinness, Conor McPherson, Mark O’Rowe and Brian Friel.

萊恩．費爾。 © Daragh McDonagh

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© Pat Redmond

An Ode to Women

Pride and Prejudice 女 性 頌歌

《 傲慢與偏見》 恰逢「國際婦女年」40 週年紀念，放眼堪稱女性 榜樣的角色，又有誰能像伊莉莎伯．貝內特一樣 鮮活且堅定？這位無人不曉的《傲慢與偏見》女 主角，可謂思想獨立的女性主義者的原型。 「家財萬貫的單身漢，必定需要一位太太，這 是舉世公認的真理。」奧斯汀在《傲慢與偏見》 開篇便寫下這傳世名言。就此推理，反過來說也 未嘗不可，那就是：在 19 世紀初的英格蘭，生活 拮据的單身姑娘，必定需要一位丈夫。但要強的 伊莉莎伯不想只為攀高枝而結婚；她想要的是平 等的婚姻，而且絕不會妥協，接受一段沒有愛的 關係。 在《傲慢與偏見》那個時代的英格蘭，一個人 想要改變自己的社會階級絕非易事。沒有家底的 年輕男性若想躋身更高階層，尚可憑在軍事、教 會、法律領域的建樹而成功；但女性若想改善地 位、獲得保障，就只能靠獲取財富來實現。而獲 得財富的唯一途徑，就是嫁給有錢人。 《傲慢與偏見》自 1813 年出版（奧斯汀以 110 英鎊賣掉了版權），就一直不斷再版，時至今日已 累計售出兩千多萬本，更被無數次改編成眾星雲 集的影視作品。這部小說展示的遠遠不止那個時 代的舉止儀態、華服麗飾以及巧妙的措辭、詼諧 的文字遊戲，更涉及了教養、道德、教育、婚姻

As we mark the 40th anniversary of International Women’s Year, there could be few more spirited female role models than the famously independent-minded proto-feminist, Elizabeth Bennet, heroine of Pride and Prejudice.

Jane Austen’s novel memorably opens with the observation that “it is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” By inference we can also assume the opposite to be true, that in early 19th century England, a single woman of limited means must be in want of a husband. But the feisty Elizabeth Bennet is looking to marry as an equal, not for social advantage, and she won’t settle for anything less than a love match.

The England portrayed in Pride and Prejudice is one in which social mobility is limited. Advancement for young men without independent means lay in the military, church, or law, but self-improvement and security for women could come only through acquisition of wealth, and that could only be achieved through marrying into property.

Pride and Prejudice has remained in print ever since its first publication in 1813 (earning the author £110), selling more than 20 million copies, and been the subject of countless starcast films and TV adaptations. Far more than a mere study of contemporary manners with pretty dresses and witty word-play, it deals with upbringing, morality, education and

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多個主題。它精細而生動地描繪出一幅英國攝政 marriage. It paints an exquisitely detailed picture of Regency 時期的社會畫卷，展現了當時等級分明的社會制 England’s stratified, class system, and in particular, the social 度，同時刻畫了上流階層以及地主豪紳的道德觀 mores of the aristocracy and landed gentry. 念。

Two hundred years on, Pride and Prejudice retains its

兩百年後的今天，《傲慢與偏見》魅力不減當 fascination. This famous and frequently revived Gate Theatre 年，都柏林城門劇院的舞台版本十年來常演不 adaptation shows just why. Reducing Jane Austen’s beautifully 衰，便是最佳佐證。奧斯汀長達 18 章、數百頁 constructed novel of 18 chapters and hundreds of pages into 的優美文字，要濃縮成兩小時愉悅的劇場體驗， two hours of joyful theatre, director Alan Stanford keeps all the 導演艾蘭．斯坦福保留了所有重要場次，對原 important scenes and stays absolutely faithful to every nuance 著中的細節悉數再現。而演員優秀的表演，讓 of the plot. Superbly performed, his romantic comedy makes us 我們不由得再一次愛上這個經典愛情故事和其 fall in love all over again with the classic tale of the five Bennet 中人物：貝內特家五個性格各異的姐妹，受盡 sisters and the efforts of their long-suffering father and frantic 人情冷暖的父親，以及急着把女兒嫁入豪門的 mother to find them suitable husbands. 貝內特太太。

In 2003 the BBC conducted the largest ever poll for the UK’s

英國廣播公司在 2003 年舉辦了歷來最大型的 Best-Loved Book in which Pride and Prejudice came second, 「英國最愛書籍」投票，《傲慢與偏見》高居第二 behind The Lord of the Rings. In a 2008 survey of more than 位，緊隨《魔戒》之後。2008 年，在澳洲一項逾 15,000 Australian readers, Pride and Prejudice came first in a 15,000 名讀者參與的調查中，《傲慢與偏見》雄踞 list of the 101 best books ever written. It is, without doubt, one 「史上 101 本最佳書籍」榜首。毫無疑問，這是英 of the outstanding classics of English literature, which in the 國文學中最出色的傑作之一，而城門劇院的長青 Gate Theatre’s evergreen production has found new popularity 製作，讓作品在舞台上綻放出新生命。

as an irresistible stage drama.

文 約瑟．施力 中譯 曾逸琳

Text Joseph Seelig

It makes me most uncomfortable to see an English spinster of the middle class describe the amorous effects of ‘brass’, reveal so frankly and with such sobriety the economic basis of society.

W.H. Auden on Jane Austen 真讓我好不自在， 看一位英國中產老姑娘 描寫銅錢招惹愛情的力量， 如此坦白清醒地揭示 經濟才是社會的根基。 奧登論奧斯汀

© Pat Redmond

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茅威 濤 37

Cassandra Wilson 卡珊卓・威爾遜

© 2013 Ojah Media Group, LLC.

卡珊卓．威爾遜是很難歸類的音樂家。自早期參 Cassandra Wilson has never been an easy musician to categorise. From her early 與 M-Base Collective 的演出以來，她就巧妙地把 performances with the M-Base Collective onwards her music has artfully interwoven 爵士、藍調、鄉村、民謠和騷靈音樂的元素結合 elements of jazz, blues, country, folk and soul - perhaps best exemplified by her 1993 到自己的音樂中。1993 年由藍調唱片公司為她發 debut album on the Blue Note Labels, Blue Light ‘til Dawn. 行的首張專輯《徹夜藍光》可算是最能體現其風 格的代表作。 作為爵士樂低音結他手的女兒，威爾遜成長於 與爵士樂和藍調淵源甚深的美國南部，早在尚未 形成其獨特唱腔前，已學習過鋼琴、單簧管和結 他。2001 年，她被《時代雜誌》譽為美國最佳歌 手。 威爾遜在作曲方面很有天賦，同時也演繹過各 類歌曲，有選自《美國經典歌曲集》的標準曲， 也有出自其他藝術家的作品，包括羅伯特．約翰 遜、桑．豪斯、瓊尼．米歇爾和 U2。 她的歌唱風格受貝蒂．卡特和艾比．林肯等人 影響，然而從她接受音樂教育之初，吸引她注意 且 留 下 深 遠 影 響 的 人， 是 比 莉． 哈 樂 黛（Billie Holiday）。 為慶祝這位爵士天后 100 週年誕辰，威爾遜在 她的演唱會《爵士天后之日：向比莉．哈樂黛致 敬》上將獻唱與比莉．哈樂黛關係密切的作品。 除了在音樂會上演唱廣受歡迎的爵士標準曲， 如《奇異的果實》、《早安心痛》、《別解釋》 和其他「黛女士」的作品，威爾遜也將會推出由 尼克．洛奈監製的專輯，收錄她對這些作品的重 新演繹。 「我的夢想正在實現。」威爾遜說，「比莉．哈 樂黛的聲線讓我一聽就深深愛上，我的音樂事業 一直受她啟迪。」 威爾遜早於 1995 年的專輯《新月女兒》已收錄 了《奇異的果實》，當時她已盡顯獨特的演繹風 格。這次在香港藝術節演出，她所挑選的歌曲也 定必讓這風格重現，為觀眾帶來難以忘懷的表演。 文 羅賓．利納姆 中譯 戴佩珊

The daughter of a jazz bassist, she grew up in the American south deeply immersed in jazz and the blues, and had already studied piano, clarinet and guitar by the time she began to develop her distinctive vocal style. In 2001 Time Magazine proclaimed her America’s best singer.

A gifted songwriter in her own right, she has interpreted not just the standards of the Great American Songbook but also compositions by artists ranging from Robert Johnson and Son House to Joni Mitchell and U2.

Her vocal influences include Betty Carter and Abbey Lincoln, but from early in her musical education she was aware of and profoundly influenced by Billie Holiday.

She celebrates her music this year with “Coming Forth By Day: A Celebration of Billie Cassandra W ils on won D ownbeat Magazine’s Female Jazz Vocalist of the Holiday”, a programme of songs strongly Year award for three consecutive years associated with the great jazz diva marking from 1994 to 1996. the centenary of her birth.

She has two Grammy awards, the first In addition to concert performances of for Best Jazz Vocal performance of 1996 for her New Moon Daughter album, and standards such as Strange Fruit, Good Morning the second for Best Jazz Album of 2009 Heartache, Don’t Explain, and others which for Loverly.

“Lady Day” made her own, Wilson will be In 2010 she was honoured with releasing an album of her interpretations her own marker on the Mississippi Blues Trail, on Albermarle Road in her produced by Nick Launay. birthplace, Jackson Mississippi. The “A dream of mine is happening,” says marker was the 100th in the series.

Wilson. “I’ve been in love with Billie Holiday’s 卡珊卓．威爾遜由 1994 至 1996 年連續三 voice since the moment I heard it, and she has 年獲《強拍》雜誌選為年度女爵士歌手獎。 inspired me throughout my career.” 曾兩奪格林美獎，先是 1996 年憑《新 Wilson first recorded Strange Fruit as 月 女 兒 》 獲 最 佳 爵 士 歌 曲 演 繹 獎， 並 在 2009 年憑專輯《可愛》贏得最佳爵士專 long ago as New Moon Daughter in 1995, 輯大獎。 and put her own indelible stamp on it then. 密西西比藍調大道協會於 2010 年，在 She can be trusted to do the same with the 密西西比州傑克遜市阿爾伯馬爾路豎立標 songs she selects for what promises to be an 誌以資表揚。該市為威爾遜出生地，這也 unforgettable performance at the Hong Kong 是協會同系列中第 100 個標誌。 Arts Festival.

Text Robin Lynam

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Joyce DiDonato 狄杜娜朵

© Josef Fischnaller / Virgin Classics

Joyce DiDonato’s 2012 Grammy Award for Best Classical Vocal Solo for her album Diva Divo - a collection on which she performed arias sung by both 樂獨唱。其實，這位世界頂尖歌劇女中音屢獲殊 female and male characters with equal élan - is only one in a long series of awards and accolades affirming her status as one of the world’s top operatic 榮，享譽國際，此獎項是其芸芸榮譽之一。 她在今年香港藝術節的演出，會以其 2012 年繼 mezzo-sopranos.

Her performance at this year’s Hong Kong Arts Festival is based on her 2012 《天后天王》推出的大碟《戲劇女王》為本，獻唱 選自 17 及 18 世紀寫給女王、公主和皇后的歌劇 album Drama Queens, the follow up to Diva Divo, on which she performed arias from 17th and 18th century operas written for queens, princesses and 中的詠嘆調。 「我們歌手往往自詡演唱是世上最好的心理治療 empresses. “ We singers tend to boast that our careers offer the best form of 方式，因為我們可藉此克服自己的心魔。這有賴在 台上演繹這些卓爾不凡的戲劇女王，這些高貴的女 psychotherapy in existence, for we are allowed to work out the bulk of our inner 性角色在歌劇中的悲歡離合，愛恨情仇獨具華麗優 demons courtesy of the larger-than-life drama queens we encounter on the stage – those divine ladies who weep and love, moan and avenge more grandly 雅的韻味。」她說。 為演出伴奏的金蘋果古樂團是專業的歌劇樂團， and stylishly than in any other art form,” she says.

She is accompanied for these performances by the opera specialist orchestra 由小提琴大師兼指揮德米特里．辛柯夫斯基帶領。 狄杜娜朵會在本節目中獻唱多個皇室角色，包 Il Pomo D’Oro, led by virtuoso violinist and conductor Dmitry Sinkovsky.

This programme features DiDonato in a range of royal roles, including 括蒙台威爾第作品《波佩亞的加冕》（1643 年） 中的羅馬皇后奧塔維亞，韓德爾作品《亞歷山大》 Monteverdi’s Ottavia, Empress of Rome from the 1643 L’Incoronazione de （1726 年）中的波斯公主羅莎，以及兩位作曲家 Poppea; Rossane Princess of Persia from Handel’s 1726 Alessandro; and 在兩齣不同歌劇中描述的埃及皇后，分別是約翰． Cleopatra Queen of Egypt in two operas by two different composers – Johann 阿道夫．夏西的《安東尼與克利奧帕特拉》（1725 Adolf Hasse’s 1725 Antonio e Cleopatra and Handel’s 1724 Giulio Cesare.

“Why do we adore these queens of the drama?” asks DiDonato. “The answer, 年）和韓德爾的《凱撒大帝》（1724 年）。 「 為 什 麼 我 們 會 喜 歡 這 些 戲 劇 中 的 女 王 角 色 for me, lies at the heart of why we love opera: we yearn to open hidden doors to 呢？」狄杜娜朵問，「在我看來答案與人們喜歡歌 the richest, most complex, utterly human and profoundly moving emotions that 劇的原因一脈相承：我們都渴望通過歌劇，探尋埋 we may not be able to access when left to our own devices. 狄杜娜朵憑在專輯《天后天王》中傾情演唱橫跨男

女角色的詠嘆調，奪得 2012 格林美獎最佳古典聲

藏在心底最豐富、最複雜、最具人性、最感人肺腑 的強烈情感，如果不藉歌劇，或許難以勾出這些情 感。」 文 羅賓．利納姆 中譯 戴佩珊

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Text Robin Lynam

Lisa Dwan

莉莎 ・ 德萬 「每當演出時，我的身體沒有一個細胞不是處於備戰狀態。」 “There is not a cell of my body that is not called to arms while performing.”

© Faye Thomas

莉莎．德萬身材也許嬌小，但這愛爾蘭演員演繹 She may be small in stature, but the Irish actress, Lisa Dwan, is a giant in her 同鄉貝克特的作品時，執着的精神絕對不容小覷。 德萬將在香港演出的，是貝克特三齣最難演的「微 劇目」──三個關於女人的精妙片段。她曾說， 這是三個幾乎不可能學會的劇目：想演壞很容易， 要拿捏到恰到好處則太難。要演好當中任何一部 都需要近乎着迷般的執着付出。這幾部劇從未被 併作三部曲，更勿論由同一演員演出。 其實德萬最初志向是成為芭蕾舞者，可惜 17 歲 時就得因傷放棄。儘管從未受過正規戲劇訓練， 她卻成功參演過一部愛爾蘭長壽電視劇。後來她 到倫敦，在文學出版社工作，同時尋找演出機會。 2005 年，她收到了貝克特的劇本《非我》，乍讀 之下就被深深吸引。她其後回想：「我彷彿聽到 了修女的聲音、街上人們的恥笑聲、尖酸偏狹的 低語、幽默，還有家。」 之 後 數 年， 德 萬 做 了 形 形 色 色 的 工 作， 同 時 尋 找 機 會 將《 非 我 》 展 現 給 更 廣 泛 的 觀 眾。 2012 年，她說服倫敦皇家宮廷劇院，上演了幾 場演出。一場表演後，有位熱情的觀眾找到她， 他 就 是 沃 爾 特． 阿 斯 姆 斯 ─ 貝 克 特 最 親 密 的 合作夥伴之一。阿斯姆斯提議兩人合作，將《非 我》、《落腳聲》及《搖籃曲》連綴成三部曲。 這 部 由 德 萬 親 自 擔 任 聯 合 製 作 的 三 部 曲， 在 倫 敦 劇 季 大 獲 成 功。 其 後 德 萬 又 說 服 重 量 級 製 作 人 尼 卡． 伯 恩 斯， 將 該 劇 帶 到 西 區。 用 伯 恩 斯 的話說：「莉莎既固執又有膽量，才讓這一切得 以實現。這都是她的願景。」 如今「天后」一詞時有被濫用之嫌，甚至會引 起負面聯想，但這詞的本義用在德萬身上卻可謂 恰如其分，那就是：女神，充滿智慧的女性。 文 約瑟．施力 中譯 曾逸琳

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commitment to the works of compatriot, Samuel Beckett. She comes to Hong Kong with three of his most demanding “dramaticules”, fragile pieces about women which by her own admission are almost impossible to learn, easy to get wrong and ferociously difficult to get right. Never previously performed as a trilogy, and never all three by one actress, these are roles requiring almost obsessive dedication.

Her first ambition, to be a ballet dancer, was cut short by persistent injury at just 17. In spite of having had no formal drama training, she succeeded in getting cast in a long-running Irish television series, and when that ended, set off for London, working as a literary publicity agent while looking for acting roles. In 2005 she was sent the script of Beckett’s Not I. As she started to read it, she was transfixed. As she put it later, “I heard the nuns, the streets of scorn, the acerbic parochial asides, the humour, home.”

In the years following that first production she juggled a bewildering number of jobs, but always determined to bring Not I to a wider public. Having talked London’s Royal Court Theatre into doing a short run in 2012, she was approached by an enthusiastic audience member after one performance. This was Walter Asmus, one of Beckett’s closest collaborators, who suggested that they work together to add Footfalls and Rockaby to make a trilogy. It was Dwan herself who co-produced the subsequent, triumphant London season, before persuading leading impresario, Nica Burns, to take it into the West End. In Burns’s words, “Lisa had the tenacity and guts to make it all happen. It was all her vision.”

All too often the term “diva” now has negative connotations, but its original meaning – a goddess, and by association a woman of outstanding talent, fits Lisa Dwan to perfection.

Text Joseph Seelig

Mao Weitao 茅威濤

觀眾熱愛「小百花」很大程度因為茅威濤。生於水鄉浙江烏鎮， 1979 年開始從藝，茅威濤是浙江小百花越劇團「五朵金花」之 首。25 年前，茅威濤扮演南宋詩人陸游獲得高度讚賞，奠定了 她當家小生的地位。從此，「小百花」有了堅挺的台柱，吸引戲 迷捧場。這位尹派小生一上台，瀟灑二字橫空閃現。她的扮相俊 美，嗓音清悠，字重腔輕，迷倒萬千觀眾，尤其女性。 「掉進茅坑裏」是女戲迷自謔不能自拔的公認妙句。女小生滿足

Mao Weitao is the reason why Xiaobaihua is so popular. Born in Wuzhen, a historic water town in Zhejiang, Mao’s career began in 1979 and she has since been the prima donna among Xiaobaihua’s five leading ladies – the five golden flowers. Her portrayal of Southern Song poet Lu You 25 years ago consolidated her reputation as the foremost performer of the young male sheng role, becoming Xiaobaihua’s star attraction – a dashing, handsome sheng of the Yin school with gentle vocal and immaculate diction, a heartthrob for men and women.

“Falling into the Mao trap” is how Mao’s devoted female fans self-deprecatingly describe their condition, humorously punning her name with a type of basic lavatory in Chinese. As a female sheng, Mao embodies the popular imagination of the perfect man, and as a woman, she obviously appreciates beauty in men. Mao Mao, as she is affectionately known, particularly wants to capture “the gallantry of men like philosopher Ji Kang from Wei and Jin dynasties (3rd century)”, because such men are rare in mainland China, but they can still be found in Hong Kong and Taiwan.

大家對完美男性的想像，身為女小生，茅毛（茅的綽號）同樣愛看

Beauty Duplicated

美男。說到最渴望扮演的，茅毛說「是魏晉時期稽康那種男子的風

Speaking of the perfect man, Mao’s husband is the renowned director Guo Xiaonan. He famously said to her in 1994 after her special solo performance, “You played almost ten different persons, but I only saw one character – the rest could be called beauty duplicated.”

As an artist, Mao likes innovating and surprising her audience. When she played Zhang Sheng from Romance of the Western Chamber early on in her career, she introduced elements from Sichuan opera to make the dashing scholar more masculine. As Kong Yiji, she was bald and had a humpback.

Last year, she played her first female role as singer Shen Dai. With such an attitude, each new work from Xiaobaihua inevitably stirs up controversies, but Mao considers herself a Don Quixote, devoted to living out her dream of rescuing yue opera amid the rapids of time.

範」，覺得這種男人內地很少，台灣和香港倒有不少。 美的複製 說到理想男性，茅威濤的丈夫是著名導演郭小男。郭之所以打動她， 全憑第一次見面的一番話。1994 年，「小百花」為茅威濤舉辦個人 表演專場，郭小男看後直言：「你演了近十個人物，而我卻只看到 一個角色，其餘的均可稱為美的複製。」某次閒談，郭導還微笑地 複述當年「金句」。自 1999 年茅威濤出任團長，便一直與郭導合作， 二人更成為愛情拍檔，之後「小百花」的作品，從主角、題材到手 法總有突破。 茅毛本來就勇於開創：早年扮演張生時，她加入川劇「踢褶子」 技巧，令慣見的風流倜儻的書生形象多一分陽剛，後來駝背光頭演 孔乙己，去年演歌伎沈黛，首次嘗試女性角色，每每為觀眾帶來驚 喜。「小百花」每部新作都不免會引來一些爭議，但茅威濤以堂吉 訶德自居，苦心孤詣，無非希望挽救處於時代洪流中的越劇。

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Text Percy Mak Translation Gigi Chang

文 麥慰宗

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Maestros, No Myth 樂者風範

The 43rd Hong Kong Arts Festival presents maestros of classical music, phenomenal conductors, exceptional soloists and artists who light up tomorrow’s stage.

從古典到當代，音樂家的不平凡故事。 他們是指揮、演奏家， 他們人生的每一步都與音樂有關。 他們當中有古典音樂大師，有當時得令的明星， 也有明日的挑戰者。 他們都在第 43 屆香港藝術節的舞台上， 閃閃發亮。 47

Culturist of the Baroque

William Christie 古 樂泰 斗

克里斯蒂 © Denis Rouvre

專家學者型的克里斯蒂，生於紐約州水牛城，60 年代反越戰運動的 William Christie likes to make things flourish, from gardens 熱心分子，1971 年移居法國，是當年反越戰及抵制兵役離開美國的 to Baroque opera. Born in Buffalo, New York, he has lived in 青年中的一員。

France since 1971 and found his métier in reviving rarely heard

克里斯蒂在法國投身於法國巴羅克音樂的復興運動，他在哈 masterpieces. With Les Arts Florissants, world-renowned 佛大學修習藝術史，並在耶魯大學主修古鍵琴，正好學以致用。 Baroque ensemble, and Le Jardin des Voix, a vocal ensemble 1979 年， 他 創 辦 了 將 於 明 年 帶 同 來 港 的 繁 花 古 樂 團（Les Arts from his academy for young singers, he brings a bouquet of Florissants），這是他音樂生涯的重要里程碑。 在克里斯蒂的努力下，由聲樂與器樂家組成的繁花古樂團不僅致 力重現法國的早期音樂作品，特別是 17 及 18 世紀的樂曲，還將 不少巴羅克歌劇重現舞台，重新喚起法國人對巴羅克音樂欣賞的興 趣，克里斯蒂亦成為活躍於音樂廳及歌劇院的指揮家。 克里斯蒂不僅在巴黎音樂學院及茱莉亞音樂學院任教，更經常主 持大師班，所灌錄的過百張唱片都已成為學習早期音樂的最佳教 材。如今，大部分早期音樂演奏團的音樂總監都通過與繁花古樂團 合作來開始他們的音樂事業。克里斯蒂的指揮具有專家學者的氣 質，這與他將演出與教育結合的理念有莫大關係。在對法國巴羅克 時期的作品處理上，他已是權威。除巴羅克時期音樂外，他的節目 單中亦有意大利、德奧的早期音樂曲目。 文 周凡夫

Garden Passion “Gardens have been my second passion after music,” says William Christie. In 1985 he bought a ruined 16th century estate in France and has restored the house and the garden. Today it has magnificent parklike grounds with elaborate topiary and terraces, grand walks and staircases, rose bowers, a cloister garden, a reflecting pool with swans and a theatre for outdoor concerts. Much to his surprise, it was named a Jardin Remarquable (equivalent to a national monument) by the French government. 園藝專家 「繼音樂之後，園藝就是我的第二愛好。」法國指揮家威廉．克里斯蒂如是 說。1985 年，他購入法國一幢荒廢已久的 16 世紀古老大宅，並重新修茸， 保留大宅及花園原貌。時至今日，庭園內盡是一大片翠綠的草坪，種滿各種 精心飾剪的觀賞灌木，連接四周的露天陽台、寬闊的步道和石級；庭園內還 建造了玫瑰園、迴廊式花園，中央大水池內養着天鵝，旁邊更有一個專為戶 外音樂會而設的露天劇場。

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pieces to Hong Kong.

A conductor, harpsichordist and musicologist, Christie founded Les Arts Florissants, which he fondly calls his “lovely child” in 1979 to perform 17th and 18th century music for the opera house and concert hall. In 1987, the wit, finesse and stage sense of their production of Jean-Baptiste Lully’s 1676 tragic opera Atys started a renaissance of Baroque music worldwide.

Beyond the painstaking research and fine musicianship, Christie’s secret is to reveal the natural, human eloquence in the music. As he says, it’s not just “concerts by candlelight and powdered wigs. It’s got something to say to the people of today.

If it touches us, then it’s contemporary.”

Les Arts Florissants have their home at the Théâtre de Caen.

Christie is also in demand as a teacher and was Professor of Early Music at the Paris Conservatoire from 1982 to 1995. He keeps his American connections with workshops every year at the Brooklyn Academy of Music and as Artist in Residence at the Juilliard School.

He has also been a guest conductor at the Glyndebourne Opera House, the Metropolitan Opera of New York, the Berlin Philharmonic, the Opera National de Lyon and the Aix-enProvence music festival.

With the colorful programme In an Italian Garden, Les Arts Florissants performs madrigals and arias by familiar and notso-familiar composers, from Sarro, Stradella and Porpora to Vivaldi, Mozart and Haydn.

Text Alexis Alrich

Master of the German Romantic Repertoire

Christian Thielemann 德 奧 指揮 大師

泰利曼 名家大師型的泰利曼是土生土長的柏林 人，1978 年出任柏林德意志歌劇院的樂 隊助理指揮，開始指揮事業時，年僅 19 歲。1988 年出任紐倫堡（Nuremberg） 音樂總監時只有 29 歲，成為德國最年 輕的音樂總監。1997 年重返柏林德意 志歌劇院，擔任音樂總監七年，繼後出 掌慕尼黑愛樂樂團，又擔任過薩爾斯堡 復活節音樂節的藝術總監，拜羅伊特 音樂節的音樂顧問，同時長期與柏林愛 樂、維也納愛樂保持緊密合作關係。 泰利曼雖然亦指揮過美國、倫敦、阿 姆斯特丹的一流樂團，亦到過亞洲和內 地登台，但他主要活動中心仍集中在德 國和奧地利的音樂與歌劇舞台。泰利曼 的指揮風采散發着福特萬格勒以及卡拉 揚等德奧大師名家傳統的光輝。德奧作 曲大師，特別是李察．史特勞斯的交響 詩、布魯克納的交響曲和華格納的歌 劇，更是他經常演出的曲目及劇目。他 以首席指揮身份帶領與李察．史特勞斯 關係密切的德累斯頓國家管弦樂團外 訪，李察．史特勞斯的曲目，就更是必 然之選。 文 周凡夫

Now celebrated worldwide as a conductor of German Romantic music, Christian Thielemann, like Dudamel, was also called a wunderkind. He studied viola and piano as a child, along with private composition and conducting lessons. At 19, he became rehearsal pianist and Herbert von Karajan’s assistant at the Deutsche Oper, then worked at smaller theatres in Germany. Describing this thorough apprenticeship in an interview with Bruce Duffie, he says, “I had the normal German Kapellmeister career, which means that first you are a coach, studying with more or less intelligent people, and you learn quite well the repertoire.”

In 1988 he became Germany’s youngest Generalmusikdirector in Nuremburg. In 1991 he assisted Daniel Barenboim at the Bayreuth Festspielhaus. Following posts at the Deutsche Oper and Munich Philharmonic, he has been Music Director of the Staatskapelle Dresden since 2012/13.

The Staatskapelle Dresden descends from this German Romantic tradition in an unbroken line. Thielemann himself is the picture of German solidity, conveying his intentions with the slightest hand gestures and a glitter in his eyes. This discipline gives ample room for expressiveness and spontaneity, however: “I like to be very flexible; I like to change every evening the tempo… I just do it.”

In addition to his current position with the Staatskapelle Dresden, Thielemann has close links with the Berlin and Vienna Philharmonics, performs regularly at the Richard Wagner Festival in Bayreuth, at the Salzburg Easter Festival, and has collaborated with the top orchestras in Amsterdam, London, New York, Chicago, Philadelphia, and conducted in Israel, Japan and China.

The two programmes he conducts embody the powerful virtuosity and beauty of Romanticism: the first is Richard Strauss’s Metamorphosen, Study for 23 Solo Strings and Bruckner’s Symphony No 9. The second is Liszt’s symphonic poem Orpheus, Wagner’s tender Siegfried-Idyll, and Richard Strauss’s Ein Heldenleben.

Text Alexis Alrich

Conducting Star from Macau

Lio Kuokman

廖國敏最近獲委任為美國費城樂團助理指揮，更被《費城詢報》譽為 「令人矚目的指揮奇才」。廖氏生於澳門，五歲習琴，精於古鍵琴和 鋼琴演奏，並入讀香港演藝學院，師承香港小交響樂團指揮葉詠詩。 及後，廖氏遠赴美國，先後於茱莉亞音樂學院和寇蒂斯音樂學院深 造，邁向成為費城樂團指揮的夢想。今年，廖氏於巴黎贏得史雲蘭諾 夫國際指揮大賽最高獎項，先後和丹麥國家交響樂團、繁花古樂團等

指揮奇才

廖國敏

合作，並獲邀於北京國際音樂節和美國卡比利羅現代音樂節擔任指 揮。 廖氏擅長指揮和演繹多種音樂風格的歌劇、管弦樂和現代音樂。第 43 屆香港藝術節委約室內歌劇作品《大同》特別找來廖氏擔任指揮， 實屬最佳人選。 文 宮愛雅 中譯 陳楚珊

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Conducting Dynamo from Venezuela

Gustavo Dudamel 南 美 巨星指揮

杜達美

© Vern Evans

超級巨星杜達美，四歲參加委內瑞拉著名的愛樂種子計 Conductor Gustavo Dudamel rocketed on to the international scene at a 劃「El Sistema」，1999 年獲聘擔任西蒙．玻利瓦爾青 precociously early age. Born in 1981 in Barquisimeto, Venezuela, he began 年交響樂團的指揮，時年 18 歲，自 2004 年在德國贏得 studying violin and music from age four with El Sistema, the musical 第一屆馬勒國際指揮大賽冠軍，名聲鵲起後，指揮事業 training programme for needy youth. This background gave him a lifelong 扶搖直上，成為「來自南美洲的超級巨星」；這亦為他 passion for making music accessible to all. His remarkable career has even 贏得了洛杉磯愛樂樂團的音樂總監職位，那年他才 28 sparked talk of a new, more diverse and popular era in classical music. 歲，成為樂團近百年來最年輕的舵手！

At 28, he was named Music Director of the Los Angeles Philharmonic

杜達美在洛杉磯愛樂首個五年合約，樂季節目富有創 and is now in his sixth season. He has been featured three times on CBS’s 意和深度，聽眾大增，在洛杉磯掀起一股「杜達美熱 60 Minutes and is in the Gramophone Hall of Fame. Still in his early 30s, 潮」，由此帶動了「音樂文藝復興」的浪潮，洛杉磯愛 and while continuing as Music Director of the Simón Bolívar Symphony 樂更成為惟一每年預算突破一億美元的美國樂團。可以 Orchestra in Venezuela, he has also conducted at the Salzburg Festival and 說，杜達美是廿一新世紀的「新潮」指揮家，這位「超 with major orchestras worldwide – the Israel, Vienna, New York and Berlin 級巨星」散發着一種彷彿從未感受過悲傷的樂觀主義者 Philharmonics, the Royal Concertgebouw Orchestra and the Chicago

Symphony.

光芒。 杜達美當年指揮馬勒第一交響曲贏得馬勒指揮獎，馬 勒第一便成為他的「飲歌」。今日，馬勒的交響曲已是

Text Alexis Alrich

他長演長滿的曲目，2012 年他更以三週時間全演馬勒 十首交響曲來紀念馬勒逝世百年。在他棒下的馬勒經常 出現新意，他為人樂觀又充滿正能量的生活態度，亦讓 他的馬勒音樂充滿讓人振奮的陽光與歡樂氣息！他現時 與洛杉磯愛樂的新合約已簽訂至 2018 年，正是樂團百 年慶典的樂季，人人都在期待。 不過，作為香港愛樂者，眼前期待的仍是明年他怎樣 演繹被稱為「悲劇」的馬勒第六交響曲。

Gustavo Dudamel remains loyal to his roots by continuing as Music Director of the Simón Bolívar Symphony Orchestra, the apex of the youth orchestras of El Sistema in Venezuela. 指揮家杜達美仍然出任西蒙．波利瓦爾交響樂團的音樂總監，致力培育委內瑞拉本土優秀 年青樂手，回饋祖國。西蒙．波利瓦爾交響樂團正是委國愛樂種子計劃「El Sistema」培 育出來的優秀青年管弦樂團。

文 周凡夫

Young conductor Lio Kuokman, freshly appointed Assistant Conductor to the Philadelphia Orchestra, has been hailed by the Philadelphia Inquirer as a "startling conducting talent”. A native of Macau, he began piano lessons at age five, and is now a virtuoso on the harpsichord and piano. He studied at the Hong Kong Academy for Performing Arts where he was coached by the Hong Kong Sinfonietta conductor Yip Wing-sie.

Later studies were at Juilliard and the Curtis Institute, setting him up for his dream job with the Philadelphia Orchestra. This year he received a first-place win at the Evgeny Svetlanov Competition in Paris and has conducted with orchestras and festivals worldwide, from the Danish National Symphony Orchestra, to Les Arts Florissants, to the Beijing International Music Festival and the Cabrillo New Music Festival.

His versatility as a conductor of opera, orchestral and contemporary works makes him a perfect fit to direct the HKAF-commissioned chamber opera Datong – The Chinese Utopia.

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Text Alexis Alrich

Baroque Violin Maestro

Fabio Biondi 巴 羅克 小提琴家

法比奧・比昂迪 © Emile Ashley

法比奧．比昂迪慷慨激昂、自然流暢的演奏，為 Fabio Biondi’s impassioned and spontaneous music making has swept through 他在巴羅克古樂器風潮中奠定了一個極為重要和 the Baroque period instrument movement, making him one of its most 極具影響力的地位。 比昂迪生於巴勒莫，現居於意大利帕爾馬。11 歲開始學習小提琴，12 歲即與意大利電台國家交 響樂團首演協奏曲，16 歲在維也納音樂協會大樓 首次以巴羅克小提琴舉行獨奏會，之後曾與維也 納古樂團、皇家教堂樂團、音樂研討會古樂團和 羅浮宮音樂家古樂團等樂團合作，1990 年建立自 己的合奏團歐洲嘉蘭古樂團。 比昂迪在獨奏會中將演奏 18 世紀的音樂。當時 歐洲有很多意大利名家：柯里尼、韋華第、謝明 尼亞尼、塔天尼（《魔鬼的顫音》作曲）、維拉 西尼和羅卡泰利，他們為未來的小提琴家如帕格 尼尼建立了良好的基礎。 比昂迪演奏的曲目廣泛，由柯里尼到舒曼，跨 越三個世紀。他曾以獨奏家和指揮的身份與很多 樂團合作，例如羅馬的聖西西里亞國立學院管弦 樂團、薩爾斯堡的莫扎特管弦樂團、歐洲巴羅克 樂團、哈萊歌劇院和馬勒室樂團等。 比昂迪在接受《弦樂》雜誌訪問時說：「我認 為巴羅克音樂是聽眾非常喜歡的『語言』」，他 解釋道：「當初（三百年前）演奏時所傳遞的感 覺和情感到現在我們還能理解，而且音樂很容易 駕馭。換句話說，音樂的詮釋準則不是完全固定 的，往往能給人煥然一新的感覺，像即興爵士樂 一樣，音樂有幻想的風格。」 文 宮愛雅 中譯 張婉麗

important and influential figures.

Born in Palermo and now based in Parma, Italy, he made his concerto debut with the RAI National Symphony Orchestra at the age of 12, only a year after he first picked up a violin. He gave his first recital on a Baroque violin in Vienna’s Musikverein when he was 16. He then worked with groups such as Musica Antiqua Wien, La Chapelle Royale, Il Seminario Musicale and Les Musiciens du Louvre, before founding his own ensemble, Europa Galante, in 1990.

In his solo recital he plays music from the 18th century, an era when Italy was supplying all of Europe with virtuosos: Corelli, Vivaldi, Geminiani, Tartini (of Devil’s Trill fame), Veracini and Locatelli, who built the foundation for future violin virtuosi such as Paganini.

Biondi's repertoire spans three centuries of music from Corelli to Schumann.

As a soloist and conductor he has worked with the Orchestra dell'Accademia Nazionale di Santa Cecilia in Rome, the Mozarteum Orchestra of Salzburg, the European Baroque Orchestra, the Opera of Halle, the Mahler Chamber Orchestra, to Biondi plays on two pieces of living history, a Carl Fernando Gagliano name but a few. violin from 1 76 6 and an Andrea In an interview in Strings magazine, Guarneri di Cremona violin from 1686.

Both Corelli and Tartini played on he says, “I think that Baroque music is a “language” that is much appreciated by fiddles made by the Gagliano family.

There are fewer than 200 Guarneri the audience,” he explains. “When it was violins still in existence. performed [300 years ago] it conveyed 比昂迪使用的，是兩把歷史價值極高的小 feelings and emotions that we can still 提琴：1766 年的卡爾費爾南多加利亞諾 p e r c e i ve t o d a y, a n d i t c a n b e e a s i l y 小提琴，和 1686 年的克里蒙納安德烈瓜 manipulated — in the good sense of the 內里小提琴。柯里尼和塔天尼都是使用加 利亞諾家族製作的小提琴的；而瓜內里小 word. That is, the interpretative criteria are 提琴在當今世上僅餘不足 200 把。 not strictly fixed; it feels like it's always new, fresh, similar to jazz improvisation. There is a touch of fantasy.”

Text Alexis Alrich

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Greek Violin Virtuoso

Leonidas Kavakos 希 臘小 提琴巨匠

卡華高斯 卡華高斯自幼就鍾情指揮，他接受《金融時報》的訪問時說：「小時候在家裏最喜歡 做的事，就是把各種書本放在樂譜架上─也不管是不是樂譜，然後開始指揮。」

Kavakos calls conducting his first love. “As a child, my favourite thing to do at home was to put any kind of book on a music stand – not necessarily a music score – and to conduct it,” he says in an interview in Financial Times.

「藝術不是生活中的美麗一環，藝術就是生活。」 希臘小提琴家暨指揮家列奧尼達斯．卡華高斯說。 這位魅力非凡的音樂家深受香港觀眾喜愛，更在 一項國際公眾投票活動中獲選為 2014「留聲機年 度藝術家」。卡華高斯與鋼琴家安利高．佩斯在 第 42 屆香港藝術節以曲目全為貝多芬作品的演奏 會，贏得全場樂迷擊節讚賞；2015 年，二人載譽 回歸。 卡華高斯分別於 1985 及 1988 年勝出西貝流士 大賽和帕格尼尼大賽，三十年來創下了彪炳的唱 片成績，以及獲得「才藝多方、技藝精純的音樂 家」之美譽。重要的錄音專輯包括史上第一個西 貝流士小提琴協奏曲原版（1991）、全套五首莫 扎特小提琴協奏曲（2006）及布拉姆斯小提琴協 奏曲（2014）。他不僅與倫敦交響樂團及維萊里． 格杰夫等世界頂尖樂團及指揮家同台演出，也與 其樂壇好友合作，包括與大提琴家戈替耶．卡普 森和曾參與第 42 屆香港藝術節的鋼琴家王羽佳， 一同演出室樂音樂會。卡華高斯近年「演而優則 指」，常踏足指揮台，曾合作的主要樂團有波士 頓交響樂團及維也納交響樂團，盡顯其深邃的音 樂造詣和天份。 自 2006 年起，卡華高斯和佩斯成為演奏夥伴， 風靡多倫多、紐約、上海及其他城市的觀眾。二 人為廸卡唱片公司灌錄的貝多芬小提琴奏鳴曲全 集贏得 2013 年「回聲古典樂大獎年度器樂家」； 2014 年巡迴演奏全集，反應熱烈，廣受好評。盛 名之下，卡華高斯從不固步自封，他經常豐富自 己的演奏曲目。在第 43 屆香港藝術節中，卡華高 斯與佩斯將演奏從 19 世紀初至 20 世紀初一系列 音調色彩豐富多樣的曲目，包括舒伯特的《大二 重奏》、康戈爾德的《無事生非》，以及貝多芬 及李察．史特勞斯優美動人的小提琴奏鳴曲。屆 時觀眾定可欣賞到兩位音樂大師的精采交流。

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文 黃進之 中譯 戴佩珊

© Marco Borggreve © Marco Borggreve

"Art is not a beautiful part of life: it is life,” says Greek violinist and conductor Leonidas Kavakos. Named Gramophone’s Artist of the Year 2014 by an international public vote, the charismatic musician is well-loved by the Hong Kong audience. Following their all-Beethoven recital at the 42nd HKAF that was acclaimed with a standing ovation, Kavakos and his concert partner Enrico Pace were invited to return to the Festival in 2015.

Winner of the Sibelius Competition in 1985 and the Paganini Competition in 1988, Kavakos has built a stunning discography and a reputation as a versatile musician with impeccable technique over the past three decades. Among the highlights of his recording career are the first-ever recording of the original version of the Sibelius Concerto (1991), all five Mozart Concertos (2006), and Brahms Concerto (2014). Besides performing with the world’s top orchestras and conductors like London Symphony Orchestra and Valery Gergiev, Kavakos collaborates with his musical friends including cellist Gautier Capuçon and pianist Wang Yuja (also a featured artist at the 42nd HKAF) in chamber music concerts. Increasingly seen with a baton in hand, Kavakos has conducted major orchestras as the Boston Symphony and the Vienna Symphony, demonstrating the breadth of his musicianship and flair.

Since beginning their artistic partnership in 2006, Kavakos and Pace have wooed audiences in Toronto, New York, Shanghai and other cities.

Their recording of Beethoven's complete violin sonatas on Decca won the “Instrumentalist of the Year” at the 2013 ECHO Klassik Awards, and the duo toured the programme through 2014 to popular and critical acclaim. Never one to rest on his laurels, Kavakos revamps his repertoire frequently. In their recital at the 43rd HKAF, Kavakos and Pace perform a repertoire of early 19th to early 20th century music featuring Schubert’s Grand Duo, Korngold’s Much Ado About Nothing, and violin sonatas by Beethoven and Richard Strauss in an eclectic palette of tonal colours. The audience can look forward to a spirited dialogue between the two virtuosos.

Text Nicolette Wong

Story Teller in Sound

Paul Hillier 當 代聲樂大師

保 羅・希利亞

© Magnus Skrede

Born in Dorchester, England, the internationally celebrated choral conductor, Paul Hillier, began as a chorister at St. Paul’s Cathedral in London. In 1974 職業生涯。1974 年創辦全男班四重唱希利雅合唱 he founded the Hilliard Ensemble, an all-male quartet that performed 團，專門演唱文藝復興音樂，其推出的唱片不但 Renaissance music and produced best-selling and award-winning recordings.

After working in California starting in 1980, he became interested in 暢銷各地而且屢獲獎項。 1980 年赴美國加州工作後，希利亞就開始對當 contemporary music, and in 1990 founded the Theatre of Voices to explore this 代音樂產生濃烈興趣，終於在 1990 年創立聲音劇 repertoire along with early music. Storytellers in sound, they dissect each note 場，以便在演唱早期音樂的同時，也在這方面作 to create the exact effect needed. As soprano Else Torp describes in an interview 進一步的研究探索。他們用聲音敘述故事，因此 with Clare Wiley, “If you want us to change from the most horrid noise in one 會剖析每顆音符來充分達到所需效果。團員兼合 bar, to a serene purity of tone the next bar, then that’s what we’ll do.”

Hillier has long ties with key composers of our time, including Arvo Pärt, 唱團經理女高音艾爾詩．拓普曾在《國際藝術經 理》雜誌訪問中向克萊爾．威利說：「如你要求 Steve Reich and David Lang. To him, there is a natural connection between 在發出最可怖的噪音後，立即於下一個小節唱出 these modern minimalists and early music. As he tells Steph Power for the 最恬靜清純的音色，我們就會分毫不差的做到。」 Wales Arts Review, “I was following my instincts you know, and then suddenly I 希利亞與多位當代重要的作曲家，包括帕特、 realised that it does, in many ways, all tie together rather well, and rather a lot. 史提夫．萊克及大衛．朗，都有密切並長期的合 But it wasn’t planned that way.”

The first programme they bring to Hong Kong, Family Values – Old and New, finds 作關係。希利亞認為，現代簡約音樂與早期音樂 有着自然的關聯，並在《威爾斯藝術評鑑》的訪 the common thread among composers Frescobaldi, Carissimi and David Lang, 問中對斯蒂芬．包爾說道：「我一直跟隨着我的 all on the theme of sacrifice: from Biblical stories of Abraham and Isaac, Jephte 直覺，突然發覺，雖然開始並不是這樣計劃，但 and his daughter, to a Hans Christian Andersen tale. the little match girl passion, 在多方面來說，出來的效果都結合得很好，而且 which won the Pulitzer Prize in 2008, was commissioned by Carnegie Hall especially for Theatre of Voices and Hillier. The second programme features 呈現出很多關聯之處。」 聲音劇場帶給香港樂迷的第一場音樂會《新與 the most beautiful choral music of Arvo Pärt, which ranges from his earliest 舊的家庭觀》中會聽到費斯可巴第、卡利西密和 vocal selection Solfeggio to selections from his tintinnabuli years, in celebration 大衛．朗的作品，運用聖經裏亞伯拉罕與以撒， of the Estonian composer’s 80th birthday. 國際知名合唱指揮保羅．希利亞生於英國多爾切 斯特，以倫敦聖保羅大教堂詩班成員身份開始其

以及耶弗大與其女兒之故事，和一段安徒生童話， 來探討「犧牲」這主題。卡內基音樂廳委約大衛．

Text Alexis Alrich

朗為希利亞及聲音劇場而作的《賣火柴的小女孩 受難曲》於 2008 年獲得普立茲獎。第二場音樂會 則為著名愛沙尼亞作曲家帕特慶祝 80 歲生辰的盛 會，選曲包括帕特早期作品《唱名法》和多首以「鐘 鳴作曲法」所創作的作品。 文 宮愛雅 中譯 鄭瑋菁

© Mathias Bojesen When Paul Hillier arrived in California, it became a turning point in his life. While teaching at the University of California at Davis, he founded Theatre of Voices to have more flexibility in repertoire and singers, including adding women's voices. 到美國加州工作成為希利亞生命當中一個轉捩點。他在加州大學戴維斯分校任教之時，創立了 聲音劇場，並加上女聲聲部，以演唱更廣泛的曲目。

57

Magician of Music and Image

Mikhail Rudy 音 ・ 畫 魔術師

米 凱・路迪 近年，俄羅斯鋼琴家路迪不單以獨奏家身份遊走於 In recent years, Russian pianist Mikhail Rudy has established himself as a 國際舞台，更將視覺藝術、表演藝術與古典音樂融 versatile artist who blends different forms of performing and visual arts with 為一體，屢有佳作，甚至還成為電影製作人，將音 classical music. His programme at the 41st HKAF, Pictures at an Exhibition, 樂與影畫結合。第 41 屆香港藝術節，路迪帶來了特 features an animated film of Wassily Kandinsky's drawings as inspired by Modest 別的《圖畫展覽會》，舞台上偌大的銀幕，放映着 Mussorgsky's piano work and live performance by Rudy. The 43rd HKAF presents 康丁斯基（Wassily Kandinsky）受穆索斯基（Modest Rudy’s latest masterpiece The Sound of Colours, a stunning array of musical Mussorgsky） 鋼琴曲《圖畫展覽會》啟發而成的畫 canvases that thrill and inspire. 作，抽象的圖形隨旋律變幻躍動，其中一些部分更 是按照康丁斯基當年的願望製作。 1960 年， 法 國 文 化 部 長 邀 請 了 夏 卡 爾（Marc Chagall），為著名的巴黎歌劇院的天蓬繪畫。夏卡 爾的作畫靈感正是來自音樂：蔥蘢綠意間，尤麗迪 采撫琴而歌；一襲紅衣的卡門在鬥牛場上身姿綽約。 此外，拉威爾、史特拉汶斯基、華格納等等大師的 音樂，全都是畫作的靈感來源。 2015 年香港藝術節將呈獻路迪另一傑作：他徵得 夏卡爾的家人同意，使用夏卡爾為巴黎歌劇院的天 蓬而作的巨畫手稿，親自擔任製片，創作了《音樂 的色彩》，來慶祝 2013 年位於法國尼斯的夏卡爾博 物館成立 40 週年。影片不僅為這些色彩艷麗的畫 作賦予活力，當中更有一些夏卡爾未曾出版的初稿。 熟悉路迪的香港聽眾，應該對他五光十色的琴音印 象深刻。聆聽他以炫目的鋼琴技藝伴隨着依畫作而 製的動畫，演繹諸如拉威爾的《圓舞曲》和莫扎特 的 D 小調幻想曲，必將是與眾不同的體驗。他的創 作進一步把夏卡爾在繪畫藝術與音樂方面的喜好結 合，意義更為重大。路迪離開前蘇聯，在法國取得 政治庇護後，西方首場演出就是於 1977 年舉辦的 慶祝夏卡爾 90 大壽的音樂會。可見路迪除了深愛藝 術，與夏卡爾更有不解之緣。 2015 年香港藝術節，路迪將擔任鋼琴獨奏，演繹 史特拉汶斯基為芭蕾舞劇《彼得魯什卡》所作的樂 曲，並且同步上演他親自策劃、以民間故事為題材 的電影。同時，他亦帶來親自委約製作、改編自卡 夫卡小說的動畫電影《變形記》。 文 胡銘堯

In 1960, France's Minister of Culture invited Marc Chagall to paint the ceiling of the Palais Garnier. Chagall drew inspiration from the work of composers like Ravel, Stravinsky, and Wagner. Giving colour and life to the protagonists of classic tales, Chagall recreated such heroes and heroines like Eurydice playing the lyre against a green backdrop, and Carmen flaunting her beauty in a red dress in the bullring.

In collaboration with the Chagall family, who allowed him to use many unpublished sketches for the Palais Garnier ceiling, Rudy created The Sound of Colours in celebration of the 40th anniversary of Marc Chagall Museum in Nice in 2013. The pianist performs live classics as Ravel’s La valse and Mozart’s Fantasia in D minor, K397 to accompany his animation film about the artworks. The creative fusion must have profound meaning for Rudy, who made his debut in the West in a concert celebrating Chagall’s 90th birthday in 1977 and was close to the great painter in his last years.

A wondrous expression of the deep ties between the two artists, The Sound of Colours promises to be a sensational experience for the HKAF audience.

The concert also features Rudy performing his transcription of Stravinsky’s ballet score for Petrushka and a film version of folk tale, and Quay Brothers' Metamorphosis, an animation film adaptation of Kafka's story commissioned by Rudy.

Text Dennis Wu Translation Virginia Cheng Apar t from his genre- crossing concerts and theatrical plays, Rudy also explored his artistic vision in his French-language novel, Le roman d’un pianiste: l’impatience de vivre (The Novel of a Pianist) in 2008. 除了跨越藝術範疇的鋼琴演奏會以外， 路迪於 2008 年寫了法語小說《Le roman d’un pianiste: l’impatience de vivre》 （《鋼琴家的小說：生命的渴望》）。

58

Lyrical Pianists from Asia 亞洲抒情鋼琴家

Seong-Jin Cho 趙成珍 年僅 20 歲的趙成珍是一位詩人般的鋼琴

20-year-old Seong-Jin Cho is a poet of the piano,

令聽眾如癡如醉。趙成珍獲獎纍纍：14

sterling tone. He is a multiple prize-winner with first prize at the International Moscow Frédéric Chopin Competition at the age of 14, first prize at the 2009 Hamamatsu International Piano Competition and third prize at the 2011 Tchaikovsky Competition in Russia. He has performed with orchestras such as the Mariinsky Orchestra under Valery Gergiev and the Munich Philharmonic Orchestra with Lorin Maazel, and has given recitals in venues including the Tokyo Opera City Hall and the Great Hall of the Moscow Conservatory. His recital ends with three major pieces of Chopin, the pianists’ pianist, and also includes music of Mozart, Schubert and Liszt.

家，憑藉舉重若輕的琴技和絕美的風格， enchanting audiences with his effortless technique and 歲勇奪莫斯科蕭邦國際鋼琴比賽冠軍， 2009 年獲日本濱松國際鋼琴比賽冠軍， 2011 年贏得俄羅斯柴可夫斯基國際鋼琴 比賽季軍。趙成珍曾與多位出色的指揮 家及樂團攜手演出，包括︰格杰夫與馬 林斯基樂團、馬捷爾與慕尼黑愛樂樂團 等；亦曾於世界各地舉行獨奏會，包括︰ 東京歌劇城音樂廳及莫斯科音樂學院大 音樂廳。是次獨奏會，趙成珍將演出鋼 琴大師蕭邦的三首樂曲，以及莫扎特、 舒伯特和李斯特的作品。

© Ramistudio.com The evocative Sonata No 2 in B-flat minor of Chopin contains the famous Funeral March, said to be written for Chopin's mother’s funeral. It was played at his own funeral and at the state funerals of John F. Kennedy and Sir Winston Churchill. 趙成珍將在香港演奏蕭邦的降 B 小調第二 鋼琴奏鳴曲，此曲包含了著名的《葬禮進行 曲》樂章，據說是蕭邦為了母親的葬禮而寫 的，樂曲後來亦於蕭邦的葬禮、約翰．甘迺 迪和溫斯頓．邱吉爾爵士的國葬中奏出。

David Fung 馮大維 馮大維的鋼琴獨奏會將帶領觀眾進入

David Fung’s solo recital promises a rare treat, a trip into Schubert’s Fantasie world, including the 界，當中少不了《流浪者幻想曲》。馮 epic Wanderer Fantasie. In the words of Fung, “My 大維憶述︰「我抒情的鋼琴演繹風格， particularly lyrical approach to the piano probably 大概可追溯到當年聽着母親唱歌，並 stems from one of my earliest childhood memories 與她一起表演的童年時光，因此我特 in music, which is of hearing my mother sing and 別鍾情以海頓、莫扎特和貝多芬為代 also performing with her. That’s why I’m so drawn to 表的維也納古典樂派作品，尤其是莫 the works of the first Viennese school, in particular, 扎特及舒伯特所作的」。比利時《自由 the works of Mozart and Schubert.” But he also has 報》稱他為「敢於冒險、才華出眾」 virtuosic fire, and was called “committed, risk-taking 的鋼琴家。 and brilliant” by La Libre in Belgium. 馮大維曾贏得多項大型比賽殊榮， Fung is the winner of major competitions 當中包括伊莉莎伯女皇國際音樂比賽 including the Queen Elisabeth International Music 及魯賓斯坦國際鋼琴大師比賽，又曾 Competition and the Arthur Rubenstein International 與其成長地澳洲多個主要樂團合作， Masters Competition. He has played with all the 包括墨爾本交響樂團、昆士蘭交響樂 major orchestras in his native Australia, including the 團及悉尼交響樂團等。此外，馮大維 Melbourne Symphony Orchestra, the Queensland 經常參與全球各地音樂節的演出，並 Symphony Orchestra and the Sydney Symphony 為 意 大 利 巴 里 國 際 音 樂 節 的 藝 術 總 Orchestra. He performs at festivals throughout 監。 the world, and is the Artistic Director of the Bari 馮大維身兼杜希金鋼琴三重奏的鋼 International Music Festival in Bari, Italy. 琴手，將於是次藝術節演奏萬眾期待 As a member of the piano trio Trio Dushkin, he 的帕特、蕭斯達高維契及柴可夫斯基 also plays an intriguing programme of Arvo Pärt, 的大作。 Shostakovich and Tchaikovsky. 一個鮮為人知的國度舒伯特的幻想世

The concert venues of the Bari International Music Festival are the stuff dreams are made of. This festival directed by David Fung takes place on the Mediterranean in Italy.

Venues include the Sala delle Muse (“Hall of the Muses”), an Art Nouveau theatre built in 1903, with lavishly ornamented mirrors, opulent frescoes and gilded stuccoes and the Sanctuary of St. Michael the Archangel, where the angel himself is said to have appeared in 490. 巴里國際音樂節的演出場地是人人夢寐以求的。 這個由馮大維策劃的音樂節於意大利地中海舉 行。演出場地包括於 1903 年建立的新潮藝術劇 場「繆斯女神廳」，內有裝飾華麗的鏡子、輝煌 的壁畫、鍍金石灰浮雕以及據說曾於 490 年顯現 的聖彌額爾總領天使之聖殿。 文 宮愛雅 中譯 伍穎姸

Text Alexis Alrich

59

The Premier International Art Show

Vernissage | Saturday, March 14, 2015 Hong Kong Convention and Exhibition Centre Tickets | From January 5, 2015, tickets can be purchased in advance at hkticketing.com, or by calling + 852 31 288 288. A special ticket offer is available when purchased before March 1, 2015.

New and Renewed 寰宇聲色 ・破格演繹

Inventions and much-loved traditions in music, drama and theatre re-energized in a sparkling array of magical genrebreaking cross-over creations.

耳熟能詳的經典， 經過藝術家點石成金的創意， 突破既有的傳統， 迸發成嶄新的音樂、戲劇與舞蹈作品。

61

The Vocalist Supreme

Bobby McFerrin 人聲 長青 樹

波 比 ・ 麥非年 © Carol Friedman

波比．麥非年憑 1988 年極具感染力的樂觀歌曲《別

When Bobby McFerrin scored a massive pop hit with the infectiously optimistic

擔心，要開心》大獲成功，把人聲爵士的精湛技 Don’t Worry, Be Happy in 1988, he had already raised the bar for vocal jazz 藝發展到前所未有的高度。 virtuosity to an unprecedented height. 麥非年自成一套高超的聲樂技巧，可以在沒有

McFerrin had developed an extraordinary vocal technique which allowed

樂器伴奏下獨唱演出，不過他也曾與赫比．漢考 him to perform solo with no instrumental accompaniment, although he had 克等著名爵士器樂大師合作。 also worked with several leading jazz instrumentalists, among them Herbie 如今，這位多項格林美獎得主以爵士和古典音 樂見稱。他指揮交響樂團，曾與馬友友及維也納 愛樂樂團合作，也曾與爵士樂大師合作，包括迪 西．吉萊斯皮、現代爵士四重奏、奇克．柯利亞 及溫頓．馬塞拉斯。 「我父親是首位與紐約大都會歌劇院簽約的非 裔美國人，所以我自小家裏就播放着古典音樂和 爵士樂。」他回憶道。 他以最新項目《靈魂之聲》向亡父羅拔．麥非 年致敬，探索其父也曾演出的黑人靈歌的傳統。 將於香港藝術節演出的《靈魂之聲》，結合了波 比．麥非年的原創作品和卜．戴倫的《我將得釋 放》，以及經典曲目《輕搖！甜蜜的馬車！》、《約 書亞》及《世界在他手中》等作為主打歌曲。 負責監製樂器編排的是音樂總監兼爵士鋼琴手 及手風琴手吉爾．戈德斯坦，他把靈歌與爵士和 美國根源音樂緊緊扣住，以擅長多種樂器的大衛． 曼斯菲特為主打。曼斯菲特是卜．戴倫前樂隊成 員，曾與卜．戴倫同台演出《我將得釋放》。 是次節目與《別擔心，要開心》風格迥異，但 一樣充滿樂觀主義。 「我希望聽眾離開音樂廳之後，翌日早上會在 家中廚房哼歌，」麥非年說，「我想讓聽眾感受 到我唱歌時所感受到的喜悅和自由。」 文 羅賓．利納姆 中譯 戴佩珊

Hancock.

Today the multiple Grammy winner is known for his work in both jazz and classical music. He conducts symphony orchestras, and has collaborated with Yo-Yo Ma and the Vienna Philharmonic as well as with leading jazz artists including Dizzy Gillespie, The Modern Jazz Quartet, Chick Corea, and Wynton Marsalis.

“My father was the first African American to sign a contract with the Metropolitan Opera so I grew up with classical music and jazz in the home all the time,” he recalls.

His latest project, Spirityouall which he is performing for the Hong Kong Arts Festival, explores the tradition of Negro spirituals, also performed by his father Robert McFerrin senior, to whom the album is a tribute. It mixes his own original compositions, and Bob Dylan’s I Shall Be Released, with such staples of the repertoire as Swing Low Sweet Chariot, Joshua, and He’s Got the Whole World In His Hands.

The instrumental arrangements, overseen by music director and jazz pianist and accordionist Gil Goldstein, link the spirituals strongly to both jazz and Americana, and feature multi-instrumentalist David Mansfield, who, as a former member of Bob Dylan’s band, has also performed I Shall Be Released with its composer.

It’s all rather different from Don’t Worry, Be Happy, but imbued with the same optimism.

“I want audiences to leave the theatre and sing in their own kitchens the next morning,” says McFerrin. “I want to bring audiences into the incredible feeling of joy and freedom I get when I sing.”

Text Robin Lynam

62

Musical Travelogue

Pink Martini 寰 宇 之聲

粉紅馬天尼 這是一個充滿分量的名字。粉紅馬天尼代表流行 The name speaks volumes. 音樂應有的態度：精緻、有趣，而且如雞尾酒一般， Pink Martini stands for the 融多元文化於一身。 粉紅馬天尼以「小樂團」自居，在世界各地以 多種語言演出莎莎、探戈和波薩諾瓦等曲目，以 及令觀眾聞歌起舞的搖擺曲調。此外還有歐洲、 中東及亞洲的民謠。 粉紅馬天尼由湯瑪士．羅德岱於 1994 年成立， 主音蔡娜．弗比斯翌年加入。 首張專輯《往日情懷》在 1997 年推出，主打拉 丁音樂，與大碟同名的歌曲由羅德岱和弗比斯作 曲，是樂團首個大熱之作。 第二張專輯《期待美夢成真》在 2004 年推出， 大部分作品由樂隊成員作曲，弗比斯則肩擔演唱 七大不同語言歌曲的重任。 分別在 2007 年和 2009 年推出的《嘿尤金！》 及《花團錦簇》同樣是多語言專輯，而 2011 年的 專輯《1969》，當中喬治．班作曲的《無所謂》 更由永田文夫填上日文歌詞。 第 二 主 音 斯 道 姆． 拉 治 後 來 加 入， 一 起 推 出 2013 的專輯《快樂起來》，而 2014 年的《做個 小夢》，則見到粉紅馬天尼與經典電影《仙樂飄 飄 處 處聞》描述的特拉普家庭合唱團的歌手合 作。 「這刻你覺得身處里約熱內盧的森巴嘉年華， 下一刻又如置身 1930 年代的法國音樂廳或那不勒 斯的宮殿。」羅德岱說，「有點像都市音樂遊記。」 意想不到的音樂編排以及歌手和樂手的精采演 出足以讓你在一個晚上環遊世界；粉紅馬天尼繼 續體現羅德岱認為人人都應渴望成為真正世界公 民的信念。 文 羅賓．利納姆 中譯 戴佩珊

idea that popular music should be sophisticated, fun, and what a pink martini drink is otherwise called – © Holly Andres Cosmopolitan.

The “little orchestra” as its members think of themselves, performs music from all over the world in multiple languages. A typical show might include salsa, tango, and bossa nova numbers, alongside swing tunes that make audiences want to dance in the aisles. But there are also folk songs from Europe, the Middle East and Asia.

Pink Martini was established in 1994 by pianist Thomas Lauderdale, with singer China Forbes joining the following year.

Their debut, 1997’s Sympathique, is dominated by Latin tunes, and includes their first hit in the title track, composed by Lauderdale and Forbes.

Their second album, Hang On Little Tomato released in 2004, is mostly composed by band members, and Forbes takes on the challenge of singing lyrics in seven different languages.

Hey Eugene! released in 2007 and 2009’s Splendor In The Grass are also multilingual collections, and on 2011’s 1969 Jorge Ben’s Mas Que Nada is performed with a Japanese lyric by Fumio Nagata.

A second lead vocalist, Storm Large, joined for 2013’s Get Happy, while 2014’s Dream a Little Dream finds Pink Martini collaborating with the singers of the von Trapp family, of Sound of Music fame.

“At one moment, you feel like you’re in the middle of a samba parade in Rio de Janeiro, and in the next moment, you’re in a French music hall of the 1930s or a palazzo in Napoli,” says Lauderdale. “It’s a bit like an urban musical travelogue.”

Never predictable, and able in the course of an evening vocally and instrumentally to circumnavigate the globe, Pink Martini continues to embody Thomas Lauderdale’s belief that we should all aspire to be true citizens of the world.

Text Robin Lynam

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Lead Singer China Forbes sings songs in 15 languages, but speaks only English fluently. Most other members of the group are multilingual.

樂隊主音蔡娜．弗比斯能唱 15 種語言的歌，卻只會說流利英語； 其他成員大部分也會說多種語言。

The group’s music is frequently heard on soundtracks to film and television programmes. In the Cut, Mr & Mrs Smith, Shanghai Kiss, The Sopranos, The West Wing and Sherlock all benefit from a splash of Pink Martini.

《史密夫決戰史密妻》、《上海之吻》、《人在江湖》、《白 宮群英》及《新福爾摩斯》等膾炙人口的節目都因為加入了一 點粉紅馬天尼的音樂而生色不少。

樂團的音樂常出現於電影和電視節目的原聲配樂。《驚殺》、

Barefoot Divas

© Bindi Cole

赤腳女聲

多種族音樂組合赤腳女聲在 2012 年悉尼及紐西蘭 國際藝術節演出超卓，大受歡迎。 組合由五位獨當一面的唱作歌手組成，由經理 人兼節目監製韋琦．哥頓撮合。 五位成員分別是塞爾維亞 / 布拉拉人烏蘇拉． 尤維契，紐西蘭毛利人惠利馬高．布萊克和梅西． 麗卡，擁有毛利、威爾斯和羅姆血統的美蘭尼亞． 吉利斯，以及巴布亞新幾內亞原住民恩加爾。 《穿我的鞋走一里路》是由五位女星與澳洲劇 作家艾連娜．華倫泰共同開發的節目，演出結合 了歌曲、詩和口語。配器部分由同樣是多種族的 樂隊負責，樂隊領班是澳洲籍希臘低音結他手阿 當．范圖拉。 這個演唱組合的風格同樣多元化，每位女聲以 自己獨特的方法訴說個人故事，當中加入了爵士、 騷靈、節奏藍調、拉丁及原聲尋根音樂的元素， 並且以各自不同的語言唱出極具感染力的密集和 聲，令音樂不同元素完美結合，進一步昇華。 歌曲會以多種語言演出，包括布拉達和干貝季 荷族的原住民語言、巴布亞新幾內亞省的特雷奧 毛利語、英語及西班牙語。 演出藉文化交流表現個人和集體力量，以至鼓 動女性自強。各位女聲將於三月七日國際婦女節 前夕演出。 《穿我的鞋走一里路》至今已於澳大利亞、北 美及加拿大演出，觀眾反應熱烈，組合表現出的 力量、情感共鳴和幽默已收錄在 2013 年 6 月發行 的專輯，獲譽為世界音樂一大盛事。 不過，想感受到這班優秀女聲最動人的情感， 必須耳聞目睹她們的現場演出，因為這有望成為 今屆香港藝術節最精彩的演出之一。

One of the biggest hits of the 2012 Sydney and New Zealand International Arts Festivals was an extraordinary show by the multi-ethnic musical group the Barefoot Divas.

The group, comprising five individually successful singer songwriters, was assembled by manager Vicki Gordon, who is also the show’s producer.

It comprises Ursula Yovich who is Serbian/Burarra; New Zealand Maoris Whirimako Black and Maisey Rika, and Merenia Gillies, who has Maori, Welsh and Roma heritage; and indigenous Papua New Guinean Ngaiire.

Walk A Mile In My Shoes was developed by the five stars in collaboration with Australian Playwright Alana Valentine into a show which combines song with poetry and the spoken word. Instrumentation is supplied by a similarly multiethnic band under the direction of Australian Greek bassist Adam Ventoura.

Stylistically the ensemble is similarly diverse. Each Diva tells her own story her own way, drawing on elements of jazz, soul, R & B, Latin and acoustic roots music, but a whole greater than the sum of its parts finds expression in their powerful close harmony singing – in each other’s languages.

The songs are performed in the Brada and Gumbaynggirr Aboriginal languages, in Te Reo Maori and a language of the Papua New Guinean provinces, as well as in English and Spanish.

The show is a triumphant assertion of both individuality and collective strength through cultural exchange – and of female empowerment. The Divas will perform on March 7, the eve of International Women’s Day. Walk A Mile In My Shoes has now played to enthusiastic audiences in Australasia, North America and Canada, and some of its power, emotional resonance and humour has been captured on a CD released in June 2013 and hailed as a major event in world music.

But to experience these remarkable talents at their most expressive it is essential to hear and see them live. This promises to be one of the most remarkable performances of this year’s Hong Kong Arts Festival.

Text Robin Lynam

文 羅賓．利納姆 中譯 戴佩珊

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Flamenco Bravura 星耀佛 蘭明高

© Cesar Moreno Linde

現代佛蘭明高舞蹈着重創新、不拘一格，舞蹈家從其藝術本身

匯演。

Modern flamenco thrives on making itself new, as artists explore variations on traditional forms and influences from contemporary dance styles. Gala Flamenca brings together some of the world's top flamenco dancers spanning three generations, who set the stage ablaze at the 43rd Hong Kong Arts Festival.

激越節拍 隨心舞動

Rhythmic Panache

豐富多樣的傳統以至風格各異的當代舞蹈挹取靈感，為這門不 朽藝術傾注生生不息的活力。星耀佛蘭明高雲集三個世代的頂 尖佛蘭明高舞者，為第 43 屆香港藝術節帶來活色生香的精采

星耀佛蘭明高透過台上炙手可熱的表演，展現四位舞王鮮明的

Gala Flamenca is a showcase of the rhythmic flourishes, technique and charisma of its four headliners. One of the greatest flamenco 者驚艷不已。殿堂級大師安東尼奧．卡納萊斯將在《現代》及 masters of our time, Antonio Canales astounds with his formidable 《仙人掌探戈》施展矯健踏步和奔放舞風，從容演繹一系列節 footwork and personality in Modernidad and Tangos De La 奏繁複的舞步，表現佛蘭明高發源地安達魯西亞的旖旎風光。 Chumbera, effortlessly rattling out a series of complex rhythms that 傳奇舞蹈家卡門．阿馬亞的侄孫女卡林瑪．阿馬亞亦會華麗登 evoke the passion of Andalusia. Grandniece of legendary Carmen 場，在深沉淒婉的《斷續調》表演獨舞，以紛繁多變的單足旋 Amaya, Karime Amaya dances a luscious Siguiriya solo that 轉、婀娜多姿的腰肢扭動及熱烈如火的氣場風靡台下觀眾。古 highlights the dynamic variety of her pirouettes, her twisting turns 典舞訓練出身的卡諾斯．羅德里基則會在《十二拍子快調》 and her searing presence. Classically-trained Carlos Rodríguez 革新傳統舞步，優雅地糅合西班牙古典舞蹈和佛蘭明高澎湃舞 experiments with subtle variations on traditional steps in Soleá 姿，跳出風格獨具、傳統和現代渾然為一的舞蹈。獲西班牙傳 por Bulerías (Siento), an elegant combination of Spanish classical 媒封為佛蘭明高明日之星的赫蘇斯．卡蒙納將在《歡欣》大展 dance and flamenco dance. Jesús Carmona, the young sensation 其明快有力、大開大闔的跨步，為整個熱血沸騰的晚上推上高 who has been hailed as the future of flamenco (Cordoba Flamenca, 潮。群舞方面，阿馬亞會聯同兩位舞者露西亞．康比路和卡門． Spain), raises the evening's tension with his voracious strides in 凱湊成亮麗跳脫的三人舞，上演馬德里經典佛蘭明高《蝸牛》。 Alegrías. The two back-up dancers for the ensemble numbers, Lucía 在此經典舞碼中，她們手持宮扇、穿上緊身裙，裙擺隨肢體動 Campillo and Carmen Coy, shimmer in the playful trio with Amaya 作翩然起伏，盡顯流麗舞姿。全體舞者攜手演出的《最後的盛 in Caracoles, a typical flamenco piece from Madrid featuring fans, 宴》則將佛蘭明高的奔放舞風演繹得淋漓盡致，動人心魄、激 snug fitting dresses with trains and seductive figures. Performed 情洋溢、豪邁萬丈。 by the whole company, Fin De Fiesta is pure display of flamenco bravura – stirring, impassioned and proud. 藝術風格，其富節奏感的舞姿、非凡技藝及王者魅力，最令觀

傳統精髓 嶄新演繹 長達 90 分鐘的星耀佛蘭明高由西班牙新佛蘭明高舞蹈團著名

Tradition Reasserted

編舞家安海爾．羅哈斯精心創作，旨趣之一在於表達舞蹈與音

Directed by Ángel Rojas of Nuevo Ballet Español, the 90-minute production spotlights the intimacy between dance and music in flamenco. The lighting by David Pérez brings a nightclub edge to the grand stage. The enchanting vocals by Ismael de la Rosa are matched by the sweeping violin by Roman Gottawald, which lends a lyrical touch to the percussion. The on-stage interaction brings to life the communal spirit of the art form, when the instrumentalists lend their voices to the songs being sung, or move to cluster around the dancers. At surprising moments, the singers step into the circle of the dancers and improvise movement of their own. The gala moves with a propulsive force, in an evening filled with shouts of “Ole!” from the audience.

樂你中有我、密不可分的關係。由大衛．裴瑞茲主理的燈光效 果像表演魔法一樣，將酒吧獨有的氛圍搬上偌大的舞台，樂隊 也與台上舞者共鳴共振，韻律伴隨舞步在悲喜之間一同脈動。 歌唱家伊薩梅．德．拉．羅沙繞梁三日、富感染力的歌聲配合 羅曼．葛塔華德盪氣迴腸的小提琴演奏，為厚重的敲擊樂添上 柔軟浪漫的抒情詩意。台上舞者與樂手合作無間的緊密互動， 正是佛蘭明高的羣體協同美學的最佳示範：演奏家一邊演奏樂 器，一邊也將自己變成樂器，隨心為歌曲配上一己的聲音。興 之所至，他們會熱烈地簇擁着舞者，甚至加入舞陣即興起舞。 整個佛蘭明高演出將音樂與舞蹈、樂手與舞者完美統合起來， 無疑是一場磅礴的視覺饗宴，其對傳統藝術的嶄新演繹，更為 觀眾帶來源源不絕的驚喜。 文 黃進之 中譯 李凱琪

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Text Nicolette Wong

A New Direction for Contemporary Music

Tradition Revamped 音 樂新路向

破 格傳統

© Luis Castilla Las Migas

從韓國到西班牙

From Korea to Spain

以韓國傳統音樂演奏新曲的新世代組合「情歌樂 Where the flamenco guitar gently weeps, the Korean drums are struck with 會」（Jeong Ga Ak Hoe），其扎根傳統的音樂既 vigour and the singers’ voices brim with uncontainable power. The first-ever 有豐富內涵，又沒有新音樂常被人詬病的曲高和 World Music Weekend at the 43rd HKAF brings together two time-honoured 寡。情歌樂會為如何追求突破，同時保護傳統精 musical traditions and uplifting performance from three groups of new 粹，做最佳示範。他們創作深化傳統的音樂，藉 generation musicians. 新曲為傳統文化貫注源源不絕的生命力。以「舊 瓶」釀出醇厚新酒的尚有來自承傳西班牙正宗佛 蘭明高傳統的拉米加斯女子樂團，以及同樣來自 韓國、擅長以傳統民族樂器演奏原創新曲的二人 女子組合 Su:m。Su:m 在韓語意為「呼吸」，歌曲 取材當代生活，曲韻富有洗滌心靈的況味，為都 市人營造憩息空間。 三隊組合將於今屆來港演出藝術節首度策劃的 「世界音樂週末營」，樂隊除會分別獨立表演外， 在壓軸音樂會上拉米加斯女子樂團的成員更將與 情歌樂會跨界合作。香港藝術節副節目總監蘇國 雲解釋構思：「當我們物色這幾隊組合時，發現 他們都有清晰一致的風格：音樂是全新的，樂器 或曲式卻蘊藏着悠久的歷史文化。他們極力保存 傳統，源於熱愛與尊重，在現今世代延續傳統音 樂文化的生命力。」

Using traditional Korean musical instruments to play contemporary songs, Jeong Ga Ak Hoe have emerged as a group of daring artists who tap into the richness of their cultural tradition. They are a role model of how one can break new ground while honouring one’s roots. Sharing the stage with Jeong Ga Ak Hoe are the Spanish female flamenco quartet Las Migas, and the Korean female duo Su:m, who also play contemporary songs with traditional folk instruments.

In Korean, the word “su:m” means to breathe. Su:m draw inspiration for their music from daily life, and their melodies purify the soul.

Aside from their individual concerts, musicians from Las Migas and Jeong Ga Ak Hoe join hands in a cross-cultural collaboration for the final evening. On the conception of the programme, HKAF Associate Programme Director So Kwokwan says, “In selecting these artists for the programme, we noted a common thread in their musical approach: the composition of contemporary music by making use of instruments and musical traditions from a rich historical culture.

They are both committed to preserving their musical heritage, and they create from a place of passion and respect. Their creation helps propel their cultural traditions forward.”

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About Pansori Pansori is a genre of Korean musical storytelling. The term pansori is derived from the Korean words pan, meaning “a place where many people gather”, and sori for “song”.

The music is usually performed by a singer (“sorikkun”) and a drummer (“gosu”). The singer plays the central role through her singing, words and body language, while the drummer provides the rhythm and shouts words of encouragement to add to the passion of the performance.

Pansori emerged during the mid-Joseon era (1392-1910).

While the scribes of Pansori and the year of their origin are hard to pinpoint, the genre began as an oral tradition that was popularised by professional entertainers. 關於韓國清唱 韓國清唱是韓國的說唱藝術，音譯可作「盤騷里」，「盤」是 指廣場、舞台，「騷里」則是聲音、歌曲之義，即「場上之曲」。 採一人多唱形式，傳統上由一位歌者以說、唱及肢體語言訴 說具中心主題的故事，另加一名鼓手強化節奏，並呼喊鼓勵話 語，加強表演的情感。韓國清唱相信起源自朝鮮王朝（1392 至 1910 年）中期，由於以口述文化流傳，確實年分難以考定。 惟其在韓國文化中的重要地位不容置疑。

Pansori meets Flamenco

全女班佛蘭明高

Innovative Flamenco

拉米加斯女子樂團的四名成員因着對西班牙佛蘭 Las Migas is a musical project consisting of four European 明高音樂的熱愛而走在一起。大部分作品由靈魂 musicians who share the passion for Spanish flamenco. 人物羅寶斯作曲，以充滿澎湃熱情的曲盛載同樣 Most of the group’s repertoire is composed by founding 情感濃烈的詞。樂隊雖扎根於在 2010 年被列入 member and guitarist Marta Robles. Grounding their work 《人類非物質文化遺產代表作名錄》的佛蘭明高， in the tradition of flamenco, which in 2010 was inscribed on 歌曲卻加入了地中海、拉丁與吉卜賽風情，構成 UNESCO’s Representative List of the Intangible Cultural Heritage 獨特而摩登的曲風。他們將首張專輯命名為《走 of Humanity, the group creates a distinctly modern sound by 私皇后》（Las Reinas del Matute），以示自己是 instilling Mediterranean, Latin and Gypsy echoes into their 音樂的走私者，鍥而不捨地與人交流音樂、文化、 music. From the title of their debut album, Las Reinas del Matute 想法。他們所到之處，感情豐富、與眾不同的西 (“Smuggling Queens”), Las Migas have identified themselves 班牙音樂都深得樂迷歡心。 韓國音樂新力量

as smugglers of music who seek cultural exchanges around the world. Wherever they go, they win the hearts of music fans with their unique and innovative brand of flamenco.

韓國清唱早於 1964 年就被韓國政府定為重要的物

質文化財產，並於 2003 年被列入《人類非物質文 Intangible Cultural Heritage 化遺產代表作名錄》。對於這份傳統，情歌樂會懷 Pansori was officially named an “Intangible Cultural Heritage” 抱着一份使命感，不僅於部分表演加入故事與錄 by the Korean government as early as 1964. It was listed on 像等元素，創作多面的嶄新音樂劇場表演，亦舉 UNESCO’s Representative List of the Intangible Cultural Heritage 辦音樂教育營，讓參加者學習韓國傳統藝術的表 of Humanity in 2003. Jeong Ga Ak Hoe consider it their vocation 演技巧，同時也致力讓社會弱勢社群也可享受深 to carry on the tradition; they incorporate storytelling and video 厚傳統精粹。組合自 2010 年起就為身體或智力殘 into their performance to create a new kind of musical theatre. 障群體提供音樂治療項目，未來亦期望通過音樂， In addition to hosting music education camps where they 融化人與人間的隔膜，推動社會的合一。 teach the techniques of traditional Korean performing arts, the 韓國清唱與佛蘭明高兩種藝術形式，一亞一歐， group set out to bring the joy of music to the underprivileged 看似遙遙相對，卻原來曲式相似，兩者均有採用 across Korea. In 2010, Jeong Ga Ak Hoe began providing 12 拍節奏，並要求藝術家灌注強烈情感。情歌樂 music therapy programmes for the physically and mentally 會與拉米加斯女子樂團就曾於巴塞隆拿 Ciutat 佛 handicapped. It is their hope that music would help dissolve 蘭明高音樂節及蔚山世界音樂節上同台演出，獲 barriers between people and create unity in society. 一致好評。兩個文化傳統交匯的跨界合作，證實 Using ancient instruments to incubate contemporary songs, 時空與地域疆界並非不可踰越的圍牆。

the featured artists of the World Music Weekend show a

綜觀幾隊組合以古器盛載新曲，大膽嘗試，與 ground-breaking direction for contemporary music. 其說破舊立新，不如說是當代音樂「延伸傳統」 的新方向。 文 梁詩敏

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Text Isabel Leung Translation Hofan Chau

The Poetics of

Multimedia Theatre 神 話 、寓言、政治

跨劇場詩意 © Mark Douet 《獅子男孩歷險記》Lionboy

《奧德賽漂流記》

《雞蛋星球》

現今的多媒體劇場常以令人目眩的視聽效果作招徠，來自英國紙影

小偶影院的《雞蛋星球》巧妙結合現場表演、攝錄和聲效。台上的

院的《奧德賽漂流記》卻獨闢蹊徑、返璞歸真，探求在舞台上活現

小偶在攝錄下即時登上大銀幕，在實時音效的烘托下產生濃厚的電

尋常生活的動人詩意。劇場將奧德修斯的十年漂泊，濃縮成 70 分

影感，同時營造出觀眾與劇場的親密距離。在奇巧瑰麗的雞蛋星球

鐘、糅合現場動畫和音樂的夢幻旅程；台上栩栩如生的場景和角色， 上，自然物事、精巧道具與電子裝置可謂俯拾即是；也是在此奇幻 不論是海上的驚濤駭浪，還是在巢穴肆虐的獨眼巨怪，無一不由質

異境，傻戇戇的星際機械人與洋蔥頭踏上太空征途，一路上抵擋好

樸而細膩的黑白剪紙構成，由專業紙偶師在台上操作，再投射大銀

戰磨菇頭的猛烈狙擊，又要逃避灼熱的火山熔岩（火山煎蛋）；兩

幕上。精彩的紙偶動畫，配搭由鋸琴、中提琴、各式鍵盤結他等原

者經歷重重考驗，竟然互生情愫，成了最不可能的情人。這部由以

始樂器演奏的實時音樂，極盡視聽之娛，令人耳目一新，定能為荷

色列總監茨維．薩哈爾操刀的作品想像奇詭、驚險跌宕，定能令大

馬的經典史詩譜出新穎而真摯的演繹。

小老幼全情投入，一同享受劇場的溫馨與歡笑。

《獅子男孩歷險記》

《打擂台》

獲獎無數的倫敦合拍劇團向以世界文學劇場改篇稱譽於世，其得意

由比利時 Ontroerend Goed 劇團和澳洲 The Border Project（邊界

之作包括改編自布爾加科夫代表作《大師與瑪格麗特》的同名劇場。 計劃）聯手炮製的《打擂台》將觀眾即場投票的構思與科技帶入精 《獅子男孩歷險記》是該團首部合家歡劇作，故事改篇自芝舟．科

采表演，為觀眾帶來一個張力萬鈞的晚上。在摹擬拳擊擂台的四方

爾德同系列暢銷小說，講述精通貓語的男孩查理在污染橫流的未來

陣上，五名候選人要經五輪角力及淘汰，在每輪取得觀眾的支持才

世界展開一連串驚心動魄的歷險旅程。洋溢動感的劇場藉說故事、

有晉級和勝出的希望。看似緊張刺激的淘汰賽，其實是反照每名觀

馬戲及現場敲擊共冶一爐，其以小見大、引人入勝的場景及舞台語

眾的鏡子，讓各人思考自身的取向和盲點：我們到底帶着甚麼定見

言也定會令觀眾看得如癡如醉：傾側的弧形舞台，瞬間幻化成非洲

去投入政治？形象包裝、空泛的政治口號以至政治化妝怎樣左右我

的殷紅長空；查理一蹲一動，就變成了被他拯救而奔向自由的獅子。 們的看法？《打擂台》不以寄寓某一政治現實為主旨，而在於再現 選舉本質和其所引起的現實困局。在權力有限的政治架構之下，我 們應怎樣作出最明智的選擇？ 文 黃進之 中譯 李凱琪

紙影院《奧德賽漂流記》The Paper Cinema's Odyssey

68

© Sarah Eechaut 《打擂台》Fight Night

Odyssey

Planet Egg

When most multimedia theatre shows trumpet a slick production with dazzling effects, few conjure up the kind of everyday poetry embodied in The Paper Cinema's Odyssey, a dream-like mix of live animation and music through a 70-minute voyage. From the vivid storm at sea to the Cyclops raging in the cave, the saga of Odysseus unfolds in a panoply of rough-hewn and meticulous black-and-white cut-out illustrations, which are manipulated by onstage puppeteers and projected on to a screen. The visual magic rides on an original live score performed on musical saw, viola, assorted keys and birdbox guitar, in an ingenuous retelling of Homer's story by the British performance group.

P up p etCinema's Plane t Egg, which is simu ltaneou sly performed and filmed live with a live score of Foley Sound and projected video feed, creates a theatrical intimacy and a cinematic grandness with miniature puppets. In a visual world comprised of found and organic objects, crafted creations and electronic parts, The Robot Cosmonaut and Scallion Alien embark on their journey into space, where they fight off a herd of aggressive mushrooms and flee from molten lava (volcanic fried eggs) while falling in love. This inventive, whimsical production by Israeli director Zvi Sahar is set to delight audiences of all ages.

Lionboy The award-winning Complicite from London is well-known for its theatrical explorations of world literature, staging such classics as Mikhail Bulgakov's The Master and Margarita.

Their first-ever family show, Lionboy, is a gripping adventure based on Zizou Corder's bestselling novels about Charlie Ashanti, a boy who can speak the language of cats in a future world ravaged by pollution. Fusing storytelling, circus and live percussion in an electrifying showcase, the production also enchants with its evocative set and stage language – a tilted disc that turns into a crimson African sky, or Charlie doubling, with a crouch and flourish of his body, as the lion he frees.

Fight Night Employing high-octane performance and hand-held voting technology, Fight Night by Belgium's Ontroerend Goed and Australia's The Border Project is an evening of immersive theatre. In a square platform like a boxing ring, five candidates compete in five rounds for the audience's favour. What starts off as a funny game turns into a confronting mirror for every spectator – What prejudices underpin our personal politics?

How are we swayed by image-building, empty slogans and spinmeisters? More than just a metaphor for a political situation, the show is a re-creation of real-life dilemmas, of the decisions we make as individuals in the context of limited power.

Text Nicolette Wong

© Ali Skye Bennet

69

《雞蛋星球》Planet Egg

香港，

是伶人粵韻， 九曲回環的唱腔，

是裙釵髮髻， 在患難歲月中的篤厚情誼，

是人山人海、 狂如潮水的社會運動，

是仁人志士「 天下為公」 的夢想，

是蓬勃而靈秀的交響樂，

是舞動當代的創意和精神……

Made in Hong Kong The story of Hong Kong unfolds through new voices of Cantonese opera, reminsciences of live-in maids from a bygone era, echoes of social movement and the dream of utopia, and symphonies and dance depicting the city’s past, present and future.

71

書 寫

A Look at Live-in Maids through Unrest in Hong Kong

The Amahs 從 動盪香港看住家女傭

《金蘭姊妹》 提起電影《桃姐》，相信大家都記得電影改編自李恩霖的親身經歷， 「劇本初稿是我寫的，當時我寫好就給黃詠詩看，我覺得她的 今屆香港藝術節委約及製作的本地戲劇《金蘭姊妹》，故事原創就是

作品都有點黑色喜劇的味道。她表示很有興趣，說這故事令她有

由李恩霖負責，再加上黃詠詩編劇、司徒慧焯導演。此劇陣容鼎盛， 感應。」寫罷這部劇，專業原是電影財務的李恩霖說從此不會再 演繹三名住家女工的，分別是劉雅麗、蘇玉華及彭杏英。

寫劇本了。

「拍完《桃姐》，我跟香港電台導演了兩集紀錄片，名叫《黃 金歲月》，期間跟很多過往打住家工的女工接觸過，她們今天都

觀照生命

退休了。其後，我開始醞釀一個想法：她們的生活比我們想像中 「李恩霖當初來找我時，還未有劇本。」《金蘭姊妹》聯合編劇黃 精采！怎樣可呈現出來呢？後來想到用舞台劇形式，便開始構 詠詩爽朗的笑道：「他告訴我，他想創作一齣關於住家女工的舞 思這個劇。」李恩霖說：「50至70年代這三十年，香港發生了

台 劇。 大 家 都 知 道 桃 姐 是 他 家 工 人。 我 就 問 他： 做 完《 桃 姐 》，

許多事。她們怎樣度過這些危機和動盪呢？各人都有各人的方

你還未心息？」

法。」戲中主角好姐其實就是桃姐，「拍罷《桃姐》，很多人問

李恩霖跟黃詠詩說起桃姐，「她個性幽默、人很搞笑。年輕時

究竟桃姐的前半生是怎樣的？」另外兩位媽姐，其中一位是替邵

曾經去算命，算命師傅說她只有 40 歲命，於是她把錢全都揈晒，

氏明星打工的，「當年她這種工人稱作『近身』，要替明星穿

誰知道自己很長命！」黃詠詩續說：「李恩霖跟一些老工人一直

衣、熨衫、梳頭、買宵夜，打點一切，她沒有像其他媽姐一樣梳

有聯絡，他想到有一天這一代人都會不在，就想寫一個關於她們

起不嫁，反而選擇了結婚。」

的故事，調子輕鬆一點，找我，是因為我一向寫開黑色幽默。這

第三位女傭工則在日佔時替日本軍人工作，在駱克道一家小食

些工人如今都八九十歲了，很有個性，其中一位曾辦過一場婚禮，

店工作時，學會了日語及煮日本菜，後來日軍撤退，她就到別處

是她自己跟自己結婚，你說多前衛！」黃詠詩說這戲還特別加了

打工，「那是日本人給她介紹的，但過了不久，日本人又逃到台

一名現代女性角色，由蔡運華飾演，用以跟上一代作對比，「我 灣去，她就開始替英國人打工。她很西化，會煮日本菜和西餐， 希望觀眾能從那一代人的生命中，觀照到自己的生命，再重構自 更通曉日語和英語，她也一直替英國人工作，直至退休。」 己的生命！」 文 何兆彬

72

The award-winning film A Simple Life, adapted from Roger Lee’s personal experiences, has remained a popular favourite since its release in 2011. This year, the Hong Kong Arts Festival has commissioned a local production of The Amahs, an original story by Roger Lee. Co-written by playwright Wong Wingsze and directed by Roy Szeto, the star-studded production features Alice Lau, Louisa So and Pang Hang-ying as the three amahs.

“After filming A Simple Life, I directed two documentary episodes for RTHK, called Golden Age. I met many women who worked as live-in maids, all retired now. As I often saw these retired servants, an idea began brewing: their lives are so much more wonderful than we imagine! How could this be presented to the world? That’s when I thought about a stage production, and so this play was conceived.“ Lee says, “From the 1950s to 1970s, a lot happened in Hong Kong. How did they survive the crisis, the turmoil? Everyone had their own way.“ The main protagonist Sister Ho is, in fact, Sister To in A Simple Life. “After the film, a lot of people asked me what Sister To’s earlier life was like,” Lee notes. As for the other two maids, one worked for a Shaw star as a “personal attendant”, having to dress the film star, iron her clothes, brush her hair, buy midnight snacks and sort out everything. “Unlike the other amahs, she didn’t vow to stay a maiden and chose to get married,” Lee explains. The third amah, Sister Ma, worked for some Japanese soldiers during the Japanese occupation. She learned Japanese and cooking Japanese food while working at a small eatery on Lockhart Road. When the Japanese retreated, she worked for someone else. “She was introduced to the job by the Japanese, but soon enough, the Japanese fled to Taiwan, so she began working for the British. From Japanese dishes and the language, she moved on to pick up English and Western

© Chris Chan 李恩霖 Roger Lee

73

© Chris Chan 黃詠詩 Wong Wing-sze

dishes. She worked for the British until she retired.”

“I wrote the first draft of the script, then showed it to Wong Wing-sze, who expressed great interest. I felt she had this sense of black comedy. I asked her about the script, and she said she could feel it.” Lee says he is never writing scripts again; after all, his expertise is film financing.

Contemplating Life “When Roger first approached me, there wasn’t a script yet,” The Amahs playwright Wong Wing-sze laughs heartily, “He told me he wanted to create a stage play about amahs. Everyone knows A Simple Life was based on the family maid Sister To, who raised him. I asked him, “You’re still not done after A Simple Life?” ” Lee spoke to Wong fondly about Sister To. “He said she had a humourous personality. She once went ahead to a fortuneteller when she was young, who told her she would only live until 40, so she went and spent all her money. Who would’ve thought she’d end up living a very long life!” Wong recalls. Lee stayed in touch with some old amahs. Realising that one day this generation of people would no longer exist, he wanted to write a story about them, in a relaxed sort of tone. “So he came to me, because I write with a sense of black humour. These servants are now in their 80s or 90s, with strong personalities. One had a wedding once, saying she was marrying herself. How avant-garde is that!“ Wong especially adds a modern woman character in the play for comparison with that older generation.

“I hope the audience can take a look at their own lives through those of that generation, then contemplate and rethink their lives!”

Text Siu Bun Translation D T

Succession in Cantonese Opera

© Annie Chow

粵劇傳承之路 粵劇傳承之路

地，在「經典復興：粵劇戲寶傳承篇」中，李奇峰先生邀得尤聲

香港粵劇界一直面對青黃不接的難題，近年雖然不少生力軍入

普、羅家英、阮兆輝等大老倌與他聯手親自指導新晉演員如何演

行，仍然求才若渴。能在粵劇界站穩一席位需要很多因素，「栽

繹排場戲，劇目包括《三娘教子》、《平貴別窰》、《鳳儀亭》和

培粵劇人才比栽培會考狀元更難。」資深粵劇演員李奇峰形容。

《打洞結拜》。

他出身粵劇世家，於戲台成長，移居美國多年，退休後返港成立 粵劇戲台公司推廣粵劇文化。

粵劇之路 崎嶇的快樂

「戲曲包含唱、做、唸、打，有武術、舞蹈，很多元化。有心

粵劇是一條不容易走的藝術道路，譚穎倫和李沛妍兩位年輕演

鑽研粵劇的人很多，但有心和有條件是兩回事。一晚演出三小

員，本應有更易走的人生路，偏偏不約而同選擇了粵劇。二人將

時，其中兩小時45分鐘均需唱。能唱，尚要講究外形，長一副武 會在「經典復興：粵劇戲寶傳承篇」中合演《打洞結拜》。 生樣怎樣演書生？似媒婆怎樣做小姐？」李奇峰坦言，「就算具 譚穎倫兩歲已喜歡聽戲，四歲學戲，白天上學，晚上在戲班做 備這些條件都不一定能入行，揣摩角色很考個人造詣，有些人就

下欄，體力與精神不斷透支，但一直不懈地堅持自己的夢想，直

是流於表面。」

到如今方可全職投身於自己的愛好。李沛妍自幼愛看戲但一直沒 入行，在美國讀完大學出來工作兩年儲夠錢，才告訴父親李奇

經典復興 薪火相傳

峰：「我要回港學戲。」李奇峰冷靜了三天，終於接受女兒這個

談到粵劇的推廣，香港藝術節節目經理葉健鈴指出，從2006年 遲來的入行決定。而她亦以刻苦的學習態度證明了自己對粵劇的 的「梨園朝暉顯光芒」，至2013年的「三代同台做大戲」、

執着。

2014年的「文武新一代」，藝術節都積極為新晉粵劇演員提供 在同輩眼中，譚穎倫、李沛妍做了一個不可能的抉擇，這也意 表演平台。

味他們不可能沒吃過苦，但言談間可見二人的快樂。請他們說說

2015年，香港藝術節會邀請粵劇戲台演出，帶來「粵劇《鴛 排場戲為何對粵劇新秀那麼重要時，二人滔滔不絕。李沛妍解 鴦淚》」和「經典復興：粵劇戲寶傳承篇」兩大節目，既為新生

釋：「排場是粵劇演出的特定模式（包括在動作、唸白、音樂上

代演員提供平台，亦積極拓展觀眾。《鴛鴦淚》是名伶芳艷芬的

有特定模式），可套用於不同的劇目之上。練熟排場戲，就如讀

名作，藝術節請來李龍和陳咏儀兩位名伶擔綱演出。難能可貴

熟唐詩三百首，為這門學問打穩基礎。」 文 Pianda

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The Hong Kong Cantonese opera scene has been faced for a long time with a succession issue, and it takes many different factors to make a mark in the scene. Veteran Cantonese opera performer Danny Li, who returned from the US to found Art of Cantonese Opera, remains a pioneer of the art form in Hong Kong. “Cantonese opera involves singing, acting, memorising lines, fighting. Appearance matters, too. How can someone born athletic play a bookish scholar?” Li remarks. “It takes a certain type of person to figure out the role from within.”

Restaging Classics and Passing the Torch Hong Kong Arts Festival 2015 teams up with Art of Cantonese Opera to work on two aspects of promoting the art: fostering actors as well as audiences. Two programmes will be put on: Cantonese Opera - Lovers’ Tears and Classics Revisited: Cantonese Opera Treasures. Lovers’ Tears was one of famous actress Fong Yim-fun’s signature pieces; HKAF has invited two distinguished actors Lee Lung and Chan Wing-yi to take up the lead roles.

Classics Revisited: Cantonese Opera Treasures has invited veterans virtuosos Yuen Siu-fai, Yau Sing-po and Law Kar-ying to coach the newcomers through the formulaic staging. The classics include The Third Wife Giving a Lesson to her Son, Ping Guai Bids Farewell, The Phoenix Pavilion and Sworn in Grotto.

On the issue of promoting Cantonese opera, HKAF programme manager Linda Yip says the Festival has been working to create a performance platform for up-and-coming Cantonese opera talent. From Cantonese Opera New Stars (2006) to In Yau Ma Tei A Legacy of Cantonese Opera (2013) and Cantonese Opera: Romance and Martial Art (2014), HKAF is determined to continue on. “In Hong Kong, few are exposed to Cantonese opera at a young age, so it’s relatively difficult to promote this art form. But we can’t allow that to stop us; if we didn’t do anything about it, our one and only local artform, intangible cultural heritage would fade into nothingness.”

Keeping old art alive In the eyes of their peers, Tam and Li Pui-yan have made an impossible choice. But both are happy for having made this choice. On why formulaic staging, or paichang, is so important to Cantonese opera newcomers, Li explains, “Paichang is the moves in Cantonese opera performances, including gestures, lines and music, which can be used in different plays.”

“Back in the day, it was essential to put on such shows as Eighteen Plays of Cantonese Opera, but few people are doing that nowadays. We have to at least let the new generation know about them, then how they pass that on will be in their hands,” Danny Li concludes. 毋忘「江湖十八本」 《六郎罪子》和他們將會演出的《打洞結拜》都是說官話（即： 中州話），而非粵語，初學要靠死記硬背。訪問時，譚穎倫以 官話唸出：「縱然洗盡三江水，難掩今朝滿面羞。」筆者完全 聽不懂，學習中州話雖然十分艱辛，但二人笑說就當是學「法 文」。

在旁的李奇峰慨嘆：「以前『江湖十八本』一定做這些戲， 現在已很少人做。我們最少要新一輩認識這些戲，他們以後怎 樣傳承是他們的事。」

© Pianda 粵劇戲台總裁李奇峰先生 Danny Li,

Art of Cantonese Opera Association Ltd.

A Bumpy Road to Artistic Joy Cantonese opera is not an easy path to take in the art world.

Two young actors, Tam Wing-lun and Li Pui-yan, are co-stars in Sworn in Grotto in the Classics Revisited: Cantonese Opera Treasures programme.

Tam began enjoying Cantonese opera from age two, and had begun learning the art by age four. In his teens he took up minor roles in professional acts. A full day of school, followed by a full night of performing, was both mentally and physically exhausting. Tam persisted until he was able to pursue his passion full-time. Li, Danny Li’s daughter, loved watching Cantonese opera from a young age. It wasn’t until she graduated from university in the US, and saved up after two years of working, that she told her father, “I’m going back to Hong Kong to learn Cantonese opera.” She has proved herself with her dedication to learning the art.

Text Pianda Translation D T © Annie Chow

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Story of

Hong Kong 樂揚香江 對於香港這傳奇城市而言，要通過音樂呈現其氣魄和內 涵，誠然不易。2015 年藝術節由香港中樂團演奏的滙豐 《弦繫香港》音樂會所選的樂章，其角度和深度可圈可 點。僅七首樂曲，便從香港的面貌和精神着手，深入其

In HSBC A Hong Kong Story concert, the Hong Kong Chinese Orchestra reveals the essence of the city, as the music deepens into traditional classic heritage, moving from collective memories to philosophical connotations, to the forging spirit of the Hong Kong people.

傳統的古典底蘊，從集體回憶，到人們的哲學內涵，再

Embodying the Circle of Life Opening the concert is the percussion concerto The Sun, chosen from renowned composer and conductor Kuan Nai-chung’s The Age of the Dragon. It uses both Chinese and Western percussion instruments, 傳統美學 生生不息 representing Hong Kong’s background as a Chinese and Western 開篇的敲擊樂協奏曲《太陽》選自著名指揮家和作曲家 cultural melting pot. Lo Leung-fai, who immigrated from China to Hong 關廼忠的《龍年新世紀》，中西敲擊樂器齊鳴，象徵着香 港中西文化交融的獨特背景。70 年代從內地移民香港的 Kong in the 1970s, composed Spring, an ode to the season and the joy it 音樂家盧亮輝的名作《春》，勾勒出春回大地、萬物復甦， brings.

Hong Kong’s unique charm comes from its mix of modernity and 人們的喜悅和憧憬。 香港獨特的魅力，在於其現代化之餘，還保留並傳承 tradition. Moonlight Over the Spring River recalls imaginations that 着豐富中華傳統文化。一曲《春江花月夜》勾起從古樂 reach from the rich heritage of classical music, to classical poetry and 到古典詩詞，再到國畫的豐富聯想。有「香港新音樂之 traditional ink paintings. Doming Lam, known as “the father of new music in Hong Kong”, has re-arranged this classic work for the piano and 父」美譽的林樂培以鋼琴和樂隊將《春江花月夜》古曲 新譯，成為適合樂團演奏的作品，隱喻了香港傳統與現 orchestra, bringing out Hong Kong’s distinctly traditional yet modern flavour. 代結合的個性。 到香港人奮發的精神，向聽眾展開一幅生動詳實的香港 畫卷。

經典情結 香港印象 《小刀會》序曲是作曲家商易為 1959 年上海首演的民族 舞劇《小刀會》所作。幾十年來，這首曲的旋律被眾多 香港武俠電影作為配樂，不僅是香港人的集體回憶，更 是全球華人以及對香港的經典印象。說到香港的標誌， 很多人都會想到維港景色。中國現代民族管弦樂的奠基 人之一彭修文的《太平山下不夜城（夏之夜）》生動地 描繪了維港的夜景，烘托出八十年代香港欣欣向榮的氣 氛。

Classic Impressions of Hong Kong The prelude of Dagger Society was written by composer, Shang Yi, for the ethnic dance drama Dagger Society, which premiered in Shanghai in 1959. The tune has been featured in many Hong Kong martial arts films, and it is one of the classic impressions of Hong Kong in the mind of overseas Chinese. One of founding fathers of modern Chinese folk orchestra music, Peng Xiuwen presents Hong Kong – the City that Never Sleeps (Summer Night), which depicts the night view of Victoria Harbour and the glory of Hong Kong in the 1980s.

The Spirit of Perseverance 香港人的智慧核心之處，繼承着中華傳統哲學內涵。香 The core of Hong Kong people’s wisdom encompasses traditional 港作曲家陳明志的作品《精．氣．神》，透過音樂表現氣 Chinese philosophies. Hong Kong composer Chan Ming-chi’s Jing Qi 的流轉，以陰陽相生、虛實相襯的韻律，體現出剛柔並 Shen expresses the flow of qi (breath or air), using the contrast and 濟的智慧，以及百折不撓的精神，該作品入選了聯合國 integration of yin and yang to bring about melodic harmony. It was selected as one of the “Ten Recommended Pieces” in 2001 by the 教科文組織音樂委員會國際作曲家論壇 2001 年度十大推 薦作品。70 年代由內地定居香港的音樂家陳能濟的《龍 International Music Council of UNESCO. As for composer Chen Ningchi, who moved from China to Hong Kong in the 1970s, he uses the 的傳奇》，則以中華民族的圖騰——龍為主題，象徵香港 的騰飛，香港人奮發進取的精神。尾聲巨龍衝破層雲， totem of Chinese legend — the dragon — as the theme in The Legend of the Dragon that encapsulates the rise of Hong Kong and its people. 飛向光明，寄寓人們對香港未來的期許。 華夏思想 自強精神

文

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王明宇

Text Martin Wang Translation D T

The Hong Kong Jockey Club Contemporary Dance Series: Nurturing New Blood 香港賽馬會當代舞蹈平台：培育舞壇新力軍

（左起）李德、黃翠絲、盤偉信

(From left) Li De, Tracy Wong, Wayson Poon

香港賽馬會當代舞蹈平台今年踏入第四屆，最新的發展是，在以往 平台，是調校 的半小時中篇創作以外，增設了「節目三－ 《舞鬥》」讓新晉創作 讓編舞家發展，不是該讓他們由創作中篇過渡到長篇嗎？蘇國雲解 人可以一試身手。

釋說：「平台是讓編舞有機會好好調校自己的作品，跟作品長度無 關。」他指出，創作一個長度約半小時的中篇演出，花的心力不比

平台，是跳板

一個小時以上的長篇少。「創作的完整性不在長度，而在於能夠把

香港藝術節副節目總監蘇國雲表示，以平台命名這系列是因為這次

意念呈現出來。編舞家的藝術生涯發展不應以作品長度來衡量。」

創作機會是新晉編舞發展的跳板，或創作生涯的重要契機。系列的 舉辦了三屆後，藝術節看到有需要為新晉的編舞增設更多的創 構思也非一成不變，而是會按舞蹈圈的發展而調整，以往只演兩個 作機會，於是有了節目三《舞鬥》─七位新晉編舞將各編一部十 節目，今屆將增至三個。

分鐘的作品。節目構思是給新晉編舞嘗試新意念，另外還增添了

他說節目一及節目二仍然繼續以往的中篇滙演，平台的目標是讓 兩位指導─楊春江及邢亮，他們會跟七位編舞交流。演出過後， 編舞有發展空間，創作更為精緻的作品，因此不囿於每年都要有全 也會有討論會。 新編舞者，延續創作更為重要。今屆再次參演的有李思颺、王丹琦 和黃靜婷。而新名字則有風格較為另類的盤偉信，以及去年藝發局 新人獎（舞蹈）得主馮樂恒。

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The Hong Kong Jockey Club Contemporary Dance Series (CDS) enters its fourth year at the Hong Kong Arts Festival (HKAF). This year, in addition to the half-hour, mediumlength creative pieces, a new platform for up-and-coming choreographers has been added to show off their skills.

A Platform is a Springboard HKAF Associate Programme Director So Kwok-wan explains that the series is known as a platform because it is a springboard for the development of new choreographers and their creative careers. The concept of the series has continued to evolve according to developments in the dance world – previously there were only two programmes in the series, and this year there are three.

The first two programmes continue to be medium-length shows. According to So, the aim of the platform is to allow creative space for the development of dance choreography, to nurture the creation of more intricate pieces and to emphasise the continuation of creativity, hence it doesn’t insist on restricting itself to new choreographers every year.

This year, Justyne Li, Wong Tan-ki and Chloe Wong are all returnees, while newcomers include Wayson Poon, whose choreography is often considered alternative, as well as Victor Fung, recipient of the Award for Young Artist (dance) at the 2013 Hong Kong Arts Development Awards.

A Platform is a Calibration In order to allow development in choreographers, shouldn’t they move from creating medium-length pieces to full© Chris Chan length showcases? So Kwok-wan explains, “The platform is to give choreographers a chance to calibrate their pieces, which has nothing to do with how long they are.” He points out that the amount of heart and effort spent on a half-hour, medium-length creation is no less than that spent on an hour-long full-length piece. The completeness of a creative piece does not depend on length, but on whether it can fully bring out the ideas and concepts behind it. The development of choreographers’ creative life should not be judged on how long each piece of work is.

After three years of hosting the CDS, HKAF saw a need to offer more creative opportunities for new choreographers, therefore a third programme was added: Dance-Off – with seven emerging choreographers to each create a 10-minute piece. The concept behind this programme is to give new choreographers a chance to try out new ideas. In addition, two artistic advisors – Daniel Yeung and Xing Liang – will work with all seven choreographers, and a discussion panel will be held after the performance.

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平台，是當代

A Platform is Contemporary

細看系列演出的編舞名單，發現各舞種都有。蘇 Looking closely at the list of choreographers taking part in this series, it can 國雲表示，以當代命名是希望他們脫離編動作的 be seen that there are all sorts of different types of dance. So explains that the 思維，而指導之一楊春江也指出舞蹈不應再以中 idea behind the contemporary theme is that they hope the choreographers 國、芭蕾、現代舞來劃分。他認為自己的工作是 will be free of the notion of just putting together dance movements. Artistic 促進他們創作，以藝術人身份為藝術人提供輔助、 advisor Daniel Yeung points out that dance should no longer be categorised 作出交流及思維撞擊。

into Chinese, ballet, or modern. He believes that his work is in facilitating their

在七位參與《舞鬥》的編舞家中，同時為藝術 creative process, as an artist assisting other artists, creating new ideas through 節主持學校巡迴舞蹈工作坊的黃俊達，身份最為 collaboration and exchange. 特別。觀眾常在劇場演出中看到他的名字，或會 以為他是戲劇出身，訪問他時，才知道在赴法進 修形體劇場之前，他在香港演藝學院攻讀現代舞。 他覺得舞蹈平台這個形式可讓他在十分鐘內以個 人方法呈現內容，而藝術上的挑戰在於要令擅長 身體動作的舞者演戲。 黃俊達期望藝術節可協助他們到中國各省市演 出，讓他們的作品接觸更多的觀眾。 或許，這可以是香港當代舞蹈平台下一個目標。 文 朱琼愛

Among the seven participants in Dance-Off, Ata Wong, who is also hosting a series of in-school dance workshops for HKAF, is quite notable. The public often sees his name in theatre performances, and perhaps will think he started out in theatre arts. However, prior to his physical theatre training in France, he was in fact a student of modern dance at the Hong Kong Academy for Performing Arts.

Wong believes this form of dance platform allows him to express individual content for ten minutes, and the artistic challenge comes in making his dancers, who are trained in bodily movements, act.

Ata Wong hopes that through HKAF, they will have the chance to perform throughout China, allowing a wider audience to see their work.

Perhaps, this can be the next goal of the Hong Kong Contemporary Dance Series.

Text Daisy Chu Translation D T

Asia Pacific Dance Platform 亞太舞蹈平台

Since its launch in 2009, the Asia Pacific Dance Platform (APDP) has showcased an exciting array of choreographic works from mainland China, Japan, Korea, Cambodia, Malaysia, Indonesia, Singapore, New Zealand, Taiwan, Hong Kong and Israel. The seventh edition of APDP spotlights lyrical and experimental works by artists from Korea, Hong Kong and Taiwan, who explore the intricate facets of self and relationship. © 陳長志 W ith violent yet p o etic gestures, Traces by Korean choreographer and dancer Hyoseung Ye is an autobiographical 2009 年首次舉辦的「亞太舞蹈平台」，曾經展示過多個不同地區或 solo depicting Ye’s difficult years far away from his country. 城市的編舞作品，包括中國內地、日本、韓國、柬埔寨、馬來西亞、 From the nervous dance of sickness and self-oblivion, Ye 印尼、新加坡、澳洲、新西蘭、台灣、香港、以色列等。踏入第七年， breaks free and dances to Chopin’s Waltz No 7 in C-sharp 「亞太舞蹈平台」今年邀請來自韓國、台灣及香港的創作人及舞者， minor, his movement morphing into lightness and flexibility.

Collaborator to European artists such as Carolyn Carlson and 以具實驗性的創作手法，透視自我與人際關係之間的微妙之處。 《足跡》由韓國編舞及舞者芮孝承通過飽含力量而又充滿詩意的 Alain Platel of Les Ballet C de la B, Ye came to wider popular 舞姿，以自傳形式的獨舞描述他當年背井離鄉的困頓時光。在略帶 acclaim for his choreography for the Sochi Winter Olympics 病態及自醉的緊張舞步中，芮氏衝破自身的狀態，隨着蕭邦第七圓 closing ceremony in 2014.

Intriguing, intimate and explosive, 2 Men is a collaborative 舞曲自由起舞，舞姿漸轉輕盈靈動。而他與卡羅琳．卡爾遜及芭蕾 creation between renowned director Edward Lam from Hong C 之 B 的阿蘭．普拉特等歐美舞者的合作，以及他為 2014 年索契 Kong, and Chen Wu-kang and Su Wei-chia from HORSE, 冬季奧運會閉幕禮上編排的舞蹈也令他踏上國際舞台。 《兩男關係》由知名舞台劇導演林奕華，及來自台灣首個全男子 Taiwan’s first all-male dance company. In a gradual building 舞團驫舞劇場的編舞陳武康、蘇威嘉共同創作。作品引人入勝、細 of tension, the dance unpicks the personal and professional 緻而又充滿爆發力。逐漸加強的張力，再加上李世揚在預置鋼琴上 relationships between two men “who are most familiar with 激盪人心的旋律，舞蹈表現了「最相互熟悉」的兩男之間的情感與 each other” to Lee Shih-yang’s energetic score on a prepared 工作關係。《兩男關係》於 2013 年的德國庫爾特尤思編舞大獎中 piano. Winner of the First Prize and Audience Award in 取得冠軍，展現了現代新興舞者充滿生機與熱情，且勇於嘗試的特 the Kurt Jooss Preis in 2013, 2 Men encapsulates the driven, passionate and experimental nature of the work of the 質。 emergent dance collective. 文 黃進之 中譯 張軼君

Text Nicolette Wong

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Reflection in the Era of Crowds 群體時代的反思

「當我們悠久的信仰崩塌消亡之時，當古老的社會柱石一 “While all our ancient beliefs are tottering and 根又一根地傾倒之時，群體的勢力便成為唯一無可匹敵 disappearing, while the old pillars of society are giving

的力量，而且它的聲勢還會不斷壯大。我們就要進入的時 way one by one, the power of the crowd is the only 代，千真萬確將是一個群體的時代。」 — 古斯塔夫．勒龐《烏合之眾》

force that nothing menaces, and of which the prestige is continually on the increase. The age we are about to enter will in truth be the era of crowds.” − The Crowd, Gustave Le Bon

群眾的力量如狂風驟雨，既可以造就盛世，亦足以

The power of the masses is like a rainstorm: it can help create life, yet it is

摧毀文明。古斯塔夫．勒龐 1895 年的著作《烏合 also capable of destroying entire civilisations. Gustave Le Bon's 1895 book 之眾：大眾心理研究》，被譽為研究群眾心理的奠

The Crowd: A Study of the Popular Mind is considered the foundation of the

基之作，其書迷既有國家元首，也有混世梟雄。該 study of mass psychology, capturing the intrigue of those from heads of 書分析人形成群體時的種種現象，譬如他們既可以 為了集體的信仰和目標慷慨赴義，也可以失去智 力、理性和道德，變得癡迷、狂熱而殘暴。 香港藝術節最新委約、並與上海話劇藝術中心 聯合製作的話劇《烏合之眾》，故事靈感來源於 此書，講述在文革的狂潮中，主人翁王國慶的母 親被人開槍殺死。其後的幾十年中，他一心要復 仇，最後利用網絡媒體，掀起群眾的狂潮，扳倒 仇人……從文革到當代，從重慶到北京、上海、 香港，再到互聯網，故事的時空滄桑變幻，而鋪 天 蓋 地 的 群 體 浪 潮 卻 每 每 似 曾 相 識。 編 劇 喻 榮 軍在採訪中說：「創作《烏合之眾》是想討論個 體與群體之間的關係，是在有歷史的縱深感的故 事背景之下，在不同的時間裏，討論個體與群體 之間的衝突和事件。…… 但這部戲中，更多是 在說一個人對另外一個人精神上的追殺和自我救 贖。」 生活往往讓當局者迷，而戲劇則能為人提供一個 抽離的視角，重新審視自身的處境。這部話劇將帶 引觀眾在旁觀者和劇情人物之間來回切換，令觀眾 能夠從各種角度和層面去思考個體與群體的關係、 群體運動的現象與本質，思考人性的愛與仇、理性 與癡迷、執着與放捨。面對當今的社會現實，這樣 的思考，總是不可或缺的。 文 王明宇

nations to ambitious antiheroes. It analyses the many phenomena that arise from the formation of social groups; for example, how collective beliefs and goals can bring some people to sacrifice for virtue, while driving others to brutal obsession and fanaticism, causing them to lose intelligence, ethics and rationale.

Commissioned by Hong Kong Arts Festival and co-produced by the Shanghai Dramatic Arts Centre, the production of The Crowd was inspired

by Le Bon’s book. The story surrounds the frenzy of the Cultural Revolution, when protagonist Wang Guoqing's mother is shot and killed. In the following decades, he is hell-bent on revenge, and in the end, he uses online media to trigger a wave of mass mania, through which he takes down the enemy.

From the Cultural Revolution to the present day, from Chongqing to Beijing, Shanghai, Hong Kong, and then to the Internet, the story spans changing time and space, yet the mania of the masses tells of history that repeats itself.

Playwright Nick Yu said in an interview, "The idea of creating The Crowd was to discuss the relationship between the individual and the mass, to discuss the conflicts and incidents of different eras that stem from this relationship, under the context of a background story with historical depth. But more so, this play is about one person’s spiritual assassination of another, and self-salvation."

Life is often lived with onlookers seeing most of the game. The play allows the audience to see this game from the angle of an onlooker, presenting the opportunity for re-evaluation of one’s own circumstances. The play guides the audience between the roles of onlookers and characters within the story, so members of the audience can think about the relationship between the individual and the masses, the phenomena and nature of mass action, and consider the sensibilities of love and hate, rationality and fanaticism, obstinacy and flexibility from multiple points of views. This kind of contemplation, in the face of today’s societal realities, is simply indispensable.

Text Martin Wang Translation D T

81

─

詩意烏托邦

《 大 同 》─ 從 電 影 到 歌 劇

The Poetic Utopia

Datong from Film to Opera ────

82

2011 年，陳耀成拍成電影《大同：康有為在瑞典》，一部糅合了紀錄片及戲劇 的電影，內容精深。電影緣起是近百年前康有為寫成的《康有為瑞典遊記》一 書，曾譯為瑞典文出版，中文原稿卻延至 2007 年才出版，導演陳耀成一看之下， 覺得非同小可，遂以此題材拍成電影。 康有為是著名的「保皇」派，為不少中國文人政客詬罵，其中包括魯迅。但 這本遊記中提到，康有為的保皇，並非支持封建皇權專制，而是基於「三世說」 的理論，認為在當時的中國社會實行君主立憲，是一個必要的過渡階段，當社 會發展到最理想階段時，是不需要皇帝的，這也正是他當時提出「虛君共和」 的原因。 香港藝術節副節目總監蘇國雲看過電影《大同：康有為在瑞典》後，有了新 想法：「康有為的想法很有趣，他對美好世界的追求，再連結了女兒康同璧的 想法，我認為有些想法可以表達。但若是光談政治事件，未必適合，反而用詩 意方法、用歌劇形式去表現康有為的大同構想，可帶出他的思想，及與現代政 治的結合。」陳耀成音樂底蘊頗深，但從來沒寫過歌劇，這次請陳慶恩作曲， 便一氣呵成地寫完了歌詞。《大同》歌劇會由廖國敏指揮、鄧樹榮導演。 三年前的電影， 如今轉化成三幕歌劇。陳耀成要思考的，是用怎樣的戲劇、 歌劇形式表達所思所想。第一幕，講述康同璧去找父親康有為，彼此藉詩詞表 達大同思想；第二幕，康有為赴美見羅斯福總統；第三幕，描述康同璧在文革 時的悲慘遭遇。通過唱詞、音樂，表達「比生命偉大」(larger than life) 的意 義。歌劇可以表達思維性的題材、歷史性的題材。「荷馬史詩就是用詩詞來寫 故事，」蘇國雲總結道：「用詩的方式來寫歷史、寫英雄、寫悲劇，用感性的 藝術形式來表達，來理解中國人的哲學，是《大同》最吸引人的地方。」 文 何兆彬

83

In 2011 director Evans Chan made the profound docudrama film Datong: the Great Society. Chan drew inspiration from The Swedish Diary of Kang Youwei by Chinese reformer and thinker Kang Youwei, which had its first publication in Swedish almost a century ago. The original Chinese text, however, was only published in 2007. Reading Kang’s work was a revelation for Chan, who decided to adapt the book for the big screen.

Kang is known for his support for Guangxu Emperor, which made him the bête noire of the Chinese people for nearly a century following Lu Xun’s criticism of him as an advocate of imperial autarchy. The Swedish Diary of Kang Youwei sheds clearer lights on Kang’s political stance – he saw constitutional monarchy as an essential transition for China in the early 20th century. When the society reached a new equilibrium, the monarchy would no longer be necessary.

After watching Datong: the Great Society, HKAF Associate Programme Director So Kwokwan arrived at some new ideas. “Kang’s vision is very interesting. His search for utopia and his daughter Kang Tongbi's ideas make for an interesting subject.

Instead of approaching it from a political point of view, I think it’s best to render Kang’s utopia in a poetic, operatic representation, which highlights the unison of Kang’s ideas and modern politics,” So remarks. Making his first voyage into opera, Evans Chan writes the libretto to original score composed by Chan Hing-yan. Datong - The Chinese Utopia is conducted by Lio Kuokman and directed by Tang Shu-wing.

In turning the film into a three-act chamber opera, Evans Chan looks for the most fitting operatic and theatrical formats to express his ideas. Act I portrays Kang Tongbi’s journey to visit her father, and delineates Kang Youwei’s utopian vision through poetic dialogue.

Act II depicts Kang Youwei’s meeting with President Roosevelt in the US. Act III narrates the hardship Kang Tongbi endures during the Cultural Revolution. In this tightly woven opera, intellectual and historical subjects take on larger-than-life meaning. “Homeric Epics are also written in the form of poetry. The most appealing aspect of Datong - The Chinese Utopia lies in its poetic retelling of history, hero and tragedy, and its artistic representation of Chinese philosophy,” So concludes.

Text Siu Bun Translation Audrey Cheung

香港文化中心音樂廳

香港文化中心大劇院

香港文化中心劇場

香港大會堂音樂廳

Concert Hall, HK Cultural Centre

Grand Theatre, HK Cultural Centre

Studio Theatre, HK Cultural Centre

Concert Hall, HK City Hall

7:30

8:15

二 25 三wed 月 26

feb

星耀佛蘭明高

Gala Flamenca

四thu

27

8:00

28

6:00

五fri

泰利曼與德累斯頓國家管弦樂團

j

Christian Thielemann and the Staatskapelle Dresden

7:30

8:15

7:30

s

六sat

三 1 日sun 月 2

mar

一mon

3

二tue

4

三wed

5

四thu

6

2:30

Ontroerend Goed & The Border Project 《打擂台》

Fight Night

3:00 8:15

8:00

HKCO - Music about China IX

3:00 8:15

Programme Calendar 時間表

8:15

8:15

威廉．克里斯蒂、庭院之聲學院 獨唱家與繁花古樂團

William Christie and Le Jardin des Voix Academy Soloists with the Orchestra of Les Arts Florissants

亞太舞蹈平台 (第七屆)

Asia Pacific Dance Platform VII

8:15

8:15

3:00

7:30

趙成珍鋼琴獨奏會

Seong - Jin Cho Piano Recital

五fri

7

香港中樂團 「樂旅中國 IX」

8:00

赤腳女聲

b

Barefoot Divas

六sat

歐洲嘉蘭古樂團

Europa Galante

8

日sun

9

一mon

10

二tue

11

三wed

12

8:00

13

8:00

14

8:00

7:30

滙豐《弦繫香港》音樂會

HSBC A Hong Kong Story Concert

四thu

五fri

波比．麥非年

Bobby McFerrin spirityouall

s

7:30

荷蘭國家芭蕾舞團 《仙履奇緣》

Dutch National Ballet Cinderella

7:30

8:15

節目 Programme 1

8:15

節目 Programme 2

3:00 8:15

六sat

15

3:00 8:15

日sun

節目 Programme 3

香港賽馬會當代 舞蹈平台

The Hong Kong Jockey Club Contemporary Dance Series

8:15

Trio Dushkin

8:15

節目 Programme 2 節目 Programme 3

杜希金三重奏 米凱．路迪與馬克．夏卡爾– 《音樂的色彩》

3:00

Mikhail Rudy & Marc Chagall – The Sound of Colours

8:00

聲音劇場

節目 Programme 1

16

一mon

17

8:15

甘迪尼雜技團 《落地開花》

18

8:15

Gandini Juggling Smashed

二tue

三wed

19

8:00

20

8:00

21

8:00

卡珊卓．威爾遜

22

8:00

Cassandra Wilson Coming Forth By Day: A Celebration of Billie Holiday

四thu

8:15

杜達美與洛杉磯愛樂樂團

Gustavo Dudamel and the Los Angeles Philharmonic

7:30

五fri

六sat

日sun

7:30 b

莫斯科大劇院歌劇團 《沙皇的新娘》

j

The Bolshoi Opera The Tsar’s Bride

8:15 8:15

2:30

3:00 8:15

23

一mon

24

7:30

莫斯科大劇院芭蕾舞團 《巴黎火焰》

25

7:30

The Bolshoi Ballet The Flames of Paris

26

7:30

二tue

j Theatre of Voices

三wed

8:00

四thu

27

8:00

28

8:00

三wed

8:00 8:00

s 狄杜娜朵《戲劇女王》

Joyce DiDonato: Drama Queens

新銳舞台系列:《烏合之眾》

New Stage Series: The Crowd

7:30

粉紅馬天尼

Pink Martini

六sat

五 29 日sun 月 may 6

8:15

卡華高斯與佩斯音樂會

Kavakos and Pace Recital

五fri

2:30 7:30

莫斯科大劇院芭蕾舞團 《珠寶》

The Bolshoi Ballet Jewels

3:00 8:15 3:00 8:15

8:00

香港小交響樂團與曼高娃

Hong Kong Sinfonietta & Plamena Mangova

香港大會堂劇院

香港演藝學院歌劇院

Theatre, HK City Hall

Lyric Theatre, HKAPA

A 香港演藝學院香港賽馬會演藝劇院 The Hong Kong Jockey Club Amphitheatre, HKAPA

F 香港演藝學院戲劇院 Drama Theatre, HKAPA

G 元朗劇院演藝廳

Auditorium, Yuen Long Theatre

B 香港演藝學院音樂廳

Concert Hall, HKAPA

C 沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall

D 沙田大會堂文娛廳

8:15

Cultural Activities Hall, Sha Tin Town Hall

8:00

《金蘭姊妹》

The Amahs

3:00 8:00

7:30

合拍劇團 《獅子男孩歷險記》

2:30 7:30

Complicite Lionboy

2:30

8:15

貝克特三部曲 《非我》/《落腳聲》/《搖籃曲》

25

Three short Samuel Beckett plays Not I / Footfalls / Rockaby

26

四thu

二 月 feb

27

8:15

E 油麻地戲院

Yau Ma Tei Theatre

五fri

3:00 8:00

紙影院 《奧德賽漂流記》

8:15

3:00 8:00

The Paper Cinema’s Odyssey

5:00

8:00

三wed

28

六sat

F

1

日sun

2

A

一mon

三 月 mar

3

8:00

二tue

4

8:00

三wed

8:00 8:00

7:30

都柏林城門劇院 《傲慢與偏見》

8:00

7:30

The Gate Theatre Pride and Prejudice

8:15

3:00 8:00

2:30 7:30

3:00 8:00

7:30

馮大維鋼琴獨奏會

David Fung Piano Recital 法比奧．比昂迪小提琴獨奏會

Fabio Biondi Violin Recital

5

C

四thu

6

B

五fri

7

六sat

2:30

粵劇《鴛鴦淚》

Cantonese Opera - Lovers’ Tears

8

C

日sun

9

一mon

10

8:00

二tue

8:00

7:30

8:00

7:30

11

三wed

8:00

7:30

7:30

3:00 8:00

2:30 7:30

8:00

2:30 7:30

7:30 8:00 3:00 8:00 5:00

經典復興：粵劇戲寶傳承篇

Classics Revisited: Cantonese Opera Treasures 小偶影院《雞蛋星球》

PuppetCinema Planet Egg 小偶影院《雞蛋星球》

PuppetCinema Planet Egg

E D

8:00

米凱．路迪與馬克．夏卡爾– 《音樂的色彩》

G

Mikhail Rudy & Marc Chagall – The Sound of Colours

7:30

經典復興：粵劇戲寶傳承篇

G

A

2:30

粵劇《鴛鴦淚》

G

Cantonese Opera - Lovers’ Tears

四thu

13

五fri

D

Classics Revisited: Cantonese Opera Treasures

12

14

六sat

15

日sun

16

一mon

17

二tue

18

三wed

歌劇/戲曲

8:00

賽馬會本地菁英創作系列 《大同》

8:00

Jockey Club Local Creative Talents Series Datong - The Chinese Utopia

OPERA 音樂

MUSIC 爵士/世界音樂

JAZZ / WORLD MUSIC

8:00

戲劇

THEATRE 舞蹈

7:30 7:30

浙江小百花越劇團 新版《梁山伯與祝英台》

Zhejiang Xiaobaihua Yue Opera Troupe The New Butterfly Lovers

DANCE

j

THE HONG KONG JOCKEY CLUB SERIES

s 8:00

拉米加斯女子樂團

7:30

Las Migas

28 六 sat

3:00

韓風樂韻

8:00

韓國清唱X佛蘭明高跨界音樂會

Korean Music - Jeong Ga Ak Hoe & Su:m Pansori meets Flamenco

7:30 2:30 7:30

浙江小百花越劇團《二泉映月》

Zhejiang Xiaobaihua Yue Opera Troupe The Moon Over a Fountain 浙江小百花越劇團《五女拜壽》

Zhejiang Xiaobaihua Yue Opera Troupe Five Daughters Offering Felicitations

香港賽馬會藝粹系列

信和集團藝萃系列

SINO GROUP ARTS CELEBRATION SERIES

b

寶格麗璀璨妙韻

THE BULGARI STAGE FOR VOICES OF WOMEN

19

四thu

20

五fri

21

六sat

22

日sun

23

一mon

24

二tue

25

三wed

26

四thu

27

五fri

28

六sat

29

日sun

6

三wed

五 月 may

藝術節加料節目一覽

Festival PLUS Programme 2014

日期 Date

十一月 NOV

十二月 DEC

時間 Time

2 8 16

日 Sun

1620-1850

六 Sat

1900-2030

日 Sun

1620-1850

30

日 Sun

1620-1905

6 14

六 Sat

1900-2045

11 17 25

日 Sun

1620-1920

六 Sat

1900-2200

日 Sun

1620-1920

日 Sun

1620-1905

節目 Programme 《法老的女兒》 The Pharaoh's Daughter

活動類型 Activity Type 電影 Film

JAN

11, 18, 25

1930-1935

1, 8

1930-1935

25

三 Wed

2000-2130

27

五 Fri

日 Sun

二月 FEB

日 Sun

1115-1215 2120-2150

28

1330-1500

六 Sat

1530-1700

1630-1700 2130-2200

2/2-17/4/2015 27/2 - 29/3/2015

三月

1

日 Sun

MAR

全天 All day 1640-1900 1730-1830

2

一 Mon

1930-2130 2115-2145

3

二 Tue

1100-1300

5

四 Thu

2230-2300

6

五 Fri

2200-2230 2200-2230

7

六 Sat

1100-1230 1530-1730 1910-2130 2210-2230

9

一 Mon

1930-2030

10

二 Tue

1700-1800

11

三 Wed

1400-1500

12

四 Thu

13

五 Fri

PALACE ifc AMC Pacific Place

費用 Fee $190/$160/ $150/$120

百老匯 The ONE Broadway The ONE PALACE ifc

《舞姬》 La Bayadère 《舞姬》 La Bayadère

電影 Film

《愛之傳說》 The Legend of Love

電影 Film

AMC Pacific Place

電視特備節目 Festival on TV 電視特備節目 Festival on TV 講座 Talk 教育活動 Education 藝人談 Meet-the-Artist 工作坊 Workshop

百老匯 The ONE Broadway The ONE 無綫電視翡翠台 TVB Jade 無綫電視翡翠台 TVB Jade 香港藝術中心 agnès b. 電影院 agnès b. CINEMA, HK Arts Centre 香港文化中心音樂廳 Concert Hall, HK Cultural Centre 香港演藝學院戲劇院 Drama Theatre, HKAPA 香港文化中心排演室 GR3 Rehearsal Room GR3, HK Cultural Centre

工作坊 Workshop

香港文化中心排演室 GR3 Rehearsal Room GR3, HK Cultural Centre

$290

香港演藝學院歌劇院 Lyric Theatre, HKAPA 香港文化中心劇場 Studio Theatre, HK Cultural Centre 展覽 Exhibition: The Rotunda 活動官網 Campaign Official Website: www.hkafvoicesofwomen.org 香港文化中心大堂 Foyer, HK Cultural Centre PALACE ifc

免費 Free 免費 Free 免費 Free

2015

一月

地點 Venue

藝術節節目精選 Festival Programme Highlights 藝術節節目精選 Festival Programme Highlights 佛蘭明高舞蹈之談 Flamenco, The Dance 艾瑪的音樂之旅 Kapelle for Kids 與德萬對話 In Conversation with Lisa Dwan 佛蘭明高舞蹈工作坊（一）初級 Dance Flamenco 1 – an Elementary Level Workshop with Karime Amaya 佛蘭明高舞蹈工作坊（二）中級 Dance Flamenco 2 - an Intermediate Level Workshop with Jesús Carmona 合拍劇團面面觀 Method and Process of Complicite 《打擂台》演後談 Fighting for Your Attention 「女 ‧ 聲」攝影活動 “Voices of Women”Photography Campaign

藝人談 Meet-the-Artist 藝人談 Meet-the-Artist 比賽 / 展覽 Competition/ Exhibition 藝術節展覽：康有為面面觀 展覽 HKAF Exhibition: Datong and The World of Kang Youwei Exhibition 《胡桃夾子》 電影 / 展覽 The Nutcracker Film/Exhibition 媽姐的故事 講座 The Amahs' Stories Talk 驫舞劇場舞蹈工作坊 工作坊 Dance Workshop with HORSE Workshop 《奧德賽漂流記》演後談 藝人談 Behind the Odyssey Meet-the-Artist 大師班 威廉 ‧ 克里斯蒂與繁花古樂團大師班 Masterclass with William Christie and Les Arts Florissants Masterclass 《金蘭姊妹》演後談 藝人談 Sisterhood of Old Hong Kong Meet-the-Artist 邂逅舞者：亞太舞蹈平台 藝人談 Dialogue with Hyoseung Ye and HORSE Meet-the-Artist 《傲慢與偏見》演後談 藝人談 Staging Pride and Prejudice Meet-the-Artist 芮孝承舞蹈工作坊 工作坊 Dance Workshop with Hyoseung Ye Workshop 珍 ‧ 奧斯汀的世界 講座 The World of Jane Austen Talk 《胡桃夾子》 電影 The Nutcracker Film 相約法比奧．比昂迪 藝人談 Meet Fabio Biondi Meet-the-Artist 展演 駐節藝術家計劃：創作紙影院 Showcase The HKAF Artists-in-Residence Project: Creating Paper Cinema

以樂為生 On Music as a Profession 1945-2200 傳承粵劇經典 Passing the Torch in Cantonese Opera 1430-1630 杜希金三重奏：音樂道路的迷思 Trio Dushkin: A Case Study on Today's Working Musicians 1945-2215 《雞蛋星球》工作坊 Playing with Puppets?

2230-2300 《金蘭姊妹》演後談 Sisterhood of Old Hong Kong 1745-1845 杜希金三重奏演前導賞及示範 A Listening Guide to the Shostakovich and Tchaikovsky Trios by Trio Dushkin

講座 Talk 講座及電影 Talk & Film 講座 Talk 工作坊 Workshop 藝人談 Meet-the-Artist 講座 Talk

AMC Pacific Place 百老匯 The ONE Broadway The ONE PALACE ifc

香港大會堂演奏廳 Recital Hall, HK City Hall 香港文化中心排演室 GR3 Rehearsal Room GR3, HK Cultural Centre 香港演藝學院香港賽馬會演藝劇院 The Hong Kong Jockey Club Amphitheatre, HKAPA 香港演藝學院音樂廳 Concert Hall, HKAPA 香港大會堂劇院 Theatre, HK City Hall 香港文化中心劇場 Studio Theatre, HK Cultural Centre 香港演藝學院歌劇院 Lyric Theatre, HKAPA 香港文化中心排演室 GR3 Rehearsal Room GR3, HK Cultural Centre 梅夫人婦女會花園廳 Garden Room, The Helena May AMC Pacific Place 香港大會堂音樂廳 Concert Hall, HK City Hall 上環文娛中心演講廳 Lecture Hall, Sheung Wan Civic Centre 北區大會堂演奏廳 Auditorium, North District Town Hall 香港演藝學院音樂廳 Concert Hall, HKAPA 油麻地戲院 Yau Ma Tei Theatre 香港浸會大學演奏廳（AST916） Recital Hall (AST 916), HKBU 沙田大會堂文娛廳 Cultural Activities Hall, Sha Tin Town Hall 香港大會堂劇院 Theatre, HK City Hall 香港大會堂演奏廳 Recital Hall, HK City Hall

$190/$160/ $150/$120

$190/$160/ $150/$120

免費 Free 免費 Free $60 憑邀請參加 By invitation 免費 Free $290

免費 Free $190/$160/ $150/$120 $30 $180 免費 Free $60 免費 Free 免費 Free 免費 Free $180 $200 $190/$160/ $150/$120 免費 Free 免費 Free 憑邀請參加 By invitation 免費 Free $60 免費 Free $320 免費 Free $30

86

詳情及網上報名 For details and online registration:

www.hk.artsfestivalplus.org 日期 Date

13

時間 Time 五 Fri

1930-2100

節目 Programme 執導現代歌劇 Staging a New Opera

2100-2130

14

六 Sat

《雞蛋星球》演後談 Landing on Planet Egg 2200-2230 再續《仙履奇緣》 Rebooting Cinderella 1230-1330 《仙履奇緣》的奇幻世界 The Magic of Cinderella 1500-1630 波比 ‧ 麥非年大師班 The Bobby McFerrin Masterclass 1630-1700 與本地當代舞蹈家對談 The Hong Kong Jockey Club Contemporary Dance Series Post - performance Dialogue 1800-2000 荷蘭國家芭蕾舞團大師班 Dutch National Ballet Masterclass 1600-1630 《雞蛋星球》演後談 Landing on Planet Egg 2100-2130 2155-2225

15

日 Sun

1445-1530 1530-1730 1600-1800

1630-1700

1640-1900 1800-1830

16

一 Mon

1300-1500

19

四 Thu

2115-2145

20

五 Fri

1330-1530 1400-1530

21

六 Sat

1030-1800

1300-1345 2140-2210

22

日 Sun

1230-1330 1430-1800

26

四 Thu

1900-2100

27

五 Fri

1830-1930 1830-2000 2030-2200

28

六 Sat

1015-1230 1700-1730 2130-2200

四月 APR

五月

MAY

六月 JUN

87

七月 JUL

與米凱 ‧ 路迪對話 In Dialogue with Mikhail Rudy 歌劇作曲解碼 Composing for Datong 邂逅 Lady Day Lady Day Live 「新音樂．新構思」座談會 “New Music, Fresh Ideas”: a Discusssion Hosted by Evans Chan 與本地當代舞蹈家對談 The Hong Kong Jockey Club Contemporary Dance Series post-performance Dialogue 《胡桃夾子》 The Nutcracker 《雞蛋星球》演後談 Landing on Planet Egg 米凱．路迪鋼琴大師班 Piano Masterclass with Mikhail Rudy 解讀《落地開花》 Smashed Revealed 雜耍基礎工作坊 Juggling Fundamentals 博爾達分享藝術管理心得 Meeting Deborah Borda 香港藝術節戲劇論壇：「新創作與合適的劇場製作模式」 The HKAF Theatre Forum: “New Writing and a Suitable Producing Theatre Model” 《 沙皇的新娘》後台解碼 Designing The Tsar's Bride 《大同》演後談 Meet the Faces of Datong 烏托邦之後台解碼 Utopia Backstage 《大同：康有為在瑞典》放映座談會 Datong: The Great Society － In Search of a Modern Utopia 中國劇曲的視野－與茅威濤對談 Future of Chinese Opera 佛蘭明高的韻律 Flamenco, The Rhythm 莫斯科大劇院芭蕾舞大師班 ( 一 ) Mastering Ballet with the Bolshoi 1 莫斯科大劇院芭蕾舞大師班 ( 二 ) Mastering Ballet with the Bolshoi 2 卡華高斯小提琴大師班 Violin Masterclass by Leonidas Kavakos 《烏合之眾》演後談 When is a Herd not Herd? 當韓國清唱遇上佛蘭明高 When Pansori Meets Flamenco 《天鵝湖》 Swan Lake

活動類型 Activity Type

香港文化中心排演室 GR1 Rehearsal Room GR1, HK Cultural Centre

$100

沙田大會堂文娛廳 Cultural Activities Hall, Sha Tin Town Hall 香港文化中心大劇院 Grand Theatre, HK Cultural Centre 香港文化中心大劇院後台 Backstage of Grand Theatre, HK Cultural Centre 香港文化中心排演室 CR2 Rehearsal Room CR2, HK Cultural Centre 香港文化中心劇場 Studio Theatre, HK Cultural Centre

免費 Free 免費 Free 報名 Registration $40 $180

大師班 Masterclass 藝人談 Meet-the-Artist

香港文化中心排演室 GR3 Rehearsal Room GR3, HK Cultural Centre 沙田大會堂文娛廳 Cultural Activities Hall, Sha Tin Town Hall

$260

藝人談 Meet-the-Artist 講座 Talk 電影 / 演出 Film / Performance 電影 / 講座 Film / Talk

香港大會堂音樂廳 Concert Hall, HK City Hall 香港大會堂演奏廳 Recital Hall, HK City Hall Orange Peel Music Lounge

免費 Free 免費 Free $220

香港大會堂演奏廳 Recital Hall, HK City Hall

$60

藝人談 Meet-the-Artist

香港文化中心劇場 Studio Theatre, HK Cultural Centre

免費 Free

電影 Film 藝人談 Meet-the-Artist 大師班 Masterclass 藝人談 Meet-the-Artist 工作坊 Workshop 講座 Talk 論壇 Forum

百老匯 The ONE Broadway The ONE 香港演藝學院香港賽馬會演藝劇院 The Hong Kong Jockey Club Amphitheatre, HKAPA 香港演藝學院演奏廳 Recital Hall, HKAPA 香港文化中心劇場 Studio Theatre, HK Cultural Centre 香港文化中心排演室 GR3 Rehearsal Room GR3, HK Cultural Centre 香港君悅酒店 Grand Hyatt Hong Kong 香港演藝學院香港賽馬會演藝劇院 The Hong Kong Jockey Club Amphitheatre, HKAPA

$190/$160/ $150/$120 免費 Free $60

後台解碼 Backstage Tour 藝人談 Meet-the-Artist 後台解碼 Backstage Tour 電影 / 講座 Film / Talk 講座 Talk 講座 Talk 大師班 Masterclass 大師班 Masterclass 大師班 Masterclass 藝人談 Meet-the-Artist 藝人談 Meet-the-Artist 電影 Film

香港文化中心大劇院後台 Backstage of Grand Theatre, HK Cultural Centre 香港大會堂劇院 Theatre, HK City Hall 香港大會堂劇院後台 Backstage of Theatre, HK City Hall 香港演藝學院演奏廳 Recital Hall, HKAPA 香港演藝學院音樂廳 Concert Hall, HKAPA 香港大會堂演奏廳 Recital Hall, HK City Hall 香港文化中心排演室 GR3 Rehearsal Room GR3, HK Cultural Centre

報名 Registration $40 免費 Free 報名 Registration $40 $60

日 Sun

1630-1910

六 Sat

1900-2140

日 Sun

1630-1910

19

日 Sun

9 10

六 Sat

1630-1845 《羅密歐與茱麗葉》 Romeo & Juliet 1900-2115 《羅密歐與茱麗葉》 Romeo & Juliet 1630-1845

電影 Film 電影 Film

21 27 5

日 Sun

1640-1855 《伊凡大帝》 Ivan The Terrible 1915-2130

電影 Film

1640-1855 《伊凡大帝》 Ivan The Terrible

電影 Film

六 Sat 日 Sun

費用 Fee

公開彩排 / 講座 Open Rehearsal/ Talk 藝人談 Meet-the-Artist 藝人談 Meet-the-Artist 後台解碼 Backstage Tour 大師班 Masterclass 藝人談 Meet-the-Artist

5 11 12

日 Sun

地點 Venue

免費 Free

免費 Free

免費 Free $160 $100 免費 Free

$30 $60 $300 $300

香港文化中心排演室 CR2 Rehearsal Room CR2, HK Cultural Centre 香港文化中心劇場 Studio Theatre, HK Cultural Centre 香港大會堂劇院 Theatre, HK City Hall PALACE ifc AMC Pacific Place 百老匯 The ONE Broadway The ONE PALACE ifc AMC Pacific Place 百老匯 The ONE Broadway The ONE PALACE ifc AMC Pacific Place 百老匯 The ONE Broadway The ONE

$120 免費 Free 免費 Free $190/$160/ $150/$120

$190/$160/ $150/$120 $190/$160/ $150/$120 $190/$160/ $150/$120 $190/$160/ $150/$120

Hong Kong Arts Festival Society 香港藝術節協會 贊助人 PATRON

主席 Chairman

梁振英先生 The Hon C Y Leung

夏佳理先生 The Hon Ronald Arculli, GBM CVO GBS OBE JP

職員 Staff 行政總監 Executive Director

何嘉坤 Tisa Ho

外展主任 Outreach Officers

節目 Programme 節目總監 Programme Director

梁掌瑋 Grace Lang 副節目總監 Associate Programme Director

蘇國雲 So Kwok-wan 節目經理 Programme Managers

葉健鈴 Linda Yip 梁頌怡 Kitty Leung

陳慧晶 Ainslee Chan* 黃傲軒 Joseph Wong* 外展助理 Outreach Assistant

譚曉峯 Mitch Tam* •出版 Publication

梁詩敏 Isabel Leung*

余瑞婷 Susanna Yu*

節目統籌 Programme Coordinators

林淦鈞 Lam Kam-kwan* 徐詠殷 Stella Tsui*

余潔儀 Flora Yu 發展經理 Development Manager

蘇啟泰 Alex So

助理發展經理 Assistant Development Managers

編輯 Editor

助理節目經理 Assistant Programme Manager

發展 Development 發展總監 Development Director

陳艷馨 Eunice Chan 張慧芝 Anna Cheung*

發展主任 Development Officer

英文編輯 English Editor

黃進之 Nicolette Wong*

黃苡姍 Iris Wong*

助理編輯 Assistant Editor

藝術行政見習員 Arts Adminstrator Trainees

王明宇 Martin Wang* 莫雅宜 Anne Mok*

譚樂瑤 Lorna Tam* 葉芷霖 Tszlam Yip*

市場推廣 Marketing

會計 Accounts

節目主任 Programme Officers

李家穎 Becky Lee 林 晨 Mimi Lam* 李欣璞 Stella Li*

市場總監 Marketing Director

物流及接待經理 Logistics Manager

金學忠 Elvis King*

鄭尚榮 Katy Cheng

市場經理 Marketing Managers

•技術 Technical 技術經理 Technical Manager

溫大為 David Wan* 助理製作經理 Assistant Production Manager

蘇雪凌 Shirley So

陳綺敏 Katharine Chan

C

會計主任 Accounting Officer

M

周 怡 Alexia Chow 鍾穎茵 Wendy Chung 陳剛濤 Nick Chan

黃奕豪 Bless Wong*

市場經理（票務） Marketing Manager (Ticketing)

行政秘書 Executive Secretary

梁彩雲 Eppie Leung

陳詠詩 Heidi Chan

助理市場經理 Assistant Marketing Manager

接待員 / 初級秘書 Receptionist/Junior Secretary

Y

CM

行政 Administration

MY

CY

CMY

製作統籌 Production Coordinator

劉雅婷 Candy Lau*

梁愷樺 Anthea Leung* 市場主任 Marketing Officer

•外展 Outreach

張泳欣 Yansi Cheung*

外展經理 Outreach Manager

市場見習員 Marketing Trainee

李冠輝 Kenneth Lee

胡盈弢 Vanessa Woo*

外展統籌 Outreach Coordinators

票務主任 Ticketing Officer

李詠芝 Jacqueline Li* 張鼎丞 Bell Cheung*

會計經理 Accounting Manager

K

李美娟 Virginia Li 文員 General Clerk

黃國愛 Bonia Wong 辦公室助理 Office Assistant

歐永剛 Gilbert Au*

葉晉菁 Jan Ip*

* 合約職員 Contract Staff

〈閱藝〉編輯小組 FestMag Editorial Team 何嘉坤 Tisa Ho

蘇國雲 So Kwok-wan

黃進之 Nicolette Wong

梁詩敏 Isabel Leung

王明宇 Martin Wang

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 電話 Telephone: (852) 2824 3555 ︱ 傳真 Fax: (852) 2824 3798, 2824 3722 ︱ 網站 Website: http://www.hk.artsfestival.org ︱ 電子郵箱 Email: afgen@hkaf.org 香港藝術節由香港藝術節協會有限公司主辦。藝術節協會根據香港公司法例註冊為公共慈善團體。本刊特稿中觀點及見解乃作者個人意見，並不代表香港藝術節協會立場。 The Festival is presented by the Hong Kong Arts Festival Society Limited incorporated as a charitable institution of a public character under the Companies Ordinance of Hong Kong.

The views and opinions expressed or implied in the feature articles in this magazine are those of the authors and do not necessarily reflect those of the Hong Kong Arts Festival Society. 本刊內容，未經許可，不得轉載。Reproduction in whole or in part without written permission is strictly prohibited. 出版 Published by 香港藝術節協會有限公司 Hong Kong Arts Festival Society Limited ︱ 承印 Printed by 嘉昱有限公司 Cheer Shine Enterprise Co., Ltd ︱ 設計 Designed by 三語設計工作 室 Trilingua Design ︱ 封面設計 Cover design by 李鏡輝 Alpha Li ︱ 封面人物 Cover image: 茅威濤 Mao Weitao

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