2022 Hong Kong Arts Festival - FestMag《閱藝》

50 閱 藝

FESTMAG 香港藝術節

CLASSICS REVISITED LOCAL MUSIC TALENTS

藝

LOCAL PRODUCTIONS ON STAGE

閱

HONG KONG ARTS FESTIVAL

ARTS ╳ TECH

MESSAGE 職員 FROM EXECUTIVE DIRECTOR 行政總監的話

行政總監

何嘉坤

行政總監助理

何丹蓉

Dear Reader,

節目

STAFF

PUBLISHER

Hong Kong Arts Festival Society Limited Tisa Ho ADVISORS Assistant to Executive Director Connie Ho Executive Director

Tisa Ho, So Kwok-wan 節目總監 HONG KONG 副節目總監 This edition of FestMag is a very special one, ARTS FESTIVAL

coming as it does in a節目經理 year in which we mark the 香港藝術節 Festival’s 50th edition. 助理節目經理

In this milestone year,節目統籌 there is a particular focus on Arts x Technology, and the AI-driven 物流及接待經理 immersive interactive opera 行政 project Laila is a special highlight. We present first 節目經理the ( 行政 ) edition of Jockey Club InnoArts技術 Series, in which we explore technology in new work. Technology 製作經理 is also central to productions such as 0AR, TM 助理製作經理 and To Be a Machine, and informs a number of 出版 performances which integrate the traditional and 編輯 the new. In addition to 助理編輯 this, we have harnessed technology in preparations 外展 for productions, for example in rehearsals for Stephanie Lake’s 高級外展經理 monumental Colossus, which represents a new 外展經理 dimension in cultural exchange. 副外展經理 外展統籌

Given the continued limitations on touring, 外展主任 international partners in music, opera, ballet and 外展助理 theatre offer performances to be viewed online or live-streamed into our venues from theirs. We 市場推廣 are thrilled to present in this fashion some of the 市場總監 greatest stars of the day: Jonas Kauffman, Kirill 副市場總監 Petrenko, Vladimir Jurowski, Jakub Hrůša, Ivo 市場項目經理 van Hove and many more! 助理市場項目經理

市場經理 We also welcome a host of fine artists from 副市場經理 closer to home, among them the Esmé Quartet, Singapore Repertory 助理市場經理 Theatre, the China National 短期市場主任 Peking Opera, the Shanghai Opera House and 市場助理 and stellar artists Suzhou Symphony Orchestra performing with them. 票務 And we are thrilled that （票務） Hong Kong’s own major市場經理 companies are joining us 票務主任independent local in this special year, alongside artists in HKAF productions that include the new musical Yat-sen, the 發展long-awaited play We Are Gay, and the new 發展總監 dance opera Love Streams.

We also continue with發展經理 site-specific productions, （大額捐獻） as well as community發展經理 performances in our HKArtsFestival@TaiKwun series. 助理發展經理

We reaffirm our commitment to the development 藝術行政見習員 of Cantonese opera by paying tribute to the 發展助理 legendary Sun Ma Sze Tsang in a series of his most iconic works performed 行政事務 by rising stars; by showcasing works which highlight traditional 會計 values in the series Faith, Family and Fealty – Three 財務主管 Tales from Chinese Folklore; and by continuing to 會計經理 experiment in production methodology in the 會計主任 Cantonese Opera Creative Studio. 人力資源及行政 行政經理

The Festival team and I sincerely hope you will

接待員∕初級秘書 enjoy地址 reading this copy of FestMag, that you will ADDRESS 助理 for performances as we celebrate Roomjoin 1205,us 12/F , 2 many Harbour 資訊科技 first Hong 50 years, Road,our Wanchai, Kongand stay with us as we embark on the journey towards資訊科技經理 100 years. 香港灣仔港灣道二號 十二字樓 1205 室

PROGRAMME

各位讀者：

EDITOR

Programme Director

梁掌瑋

Monica Ng Associate Programme Director

蘇國雲

Grace Lang So Kwok-wan

今期 《閱藝》 出版之時，正值香港藝術節踏入金 廖國穎 * 馬筠婷 * Programme Managers

ENGLISH EDITORSophie Liao*

司徒頌欣 * 葉健鈴 禧 50 周年，因此別具意義。

Oliver Farry

Katie Ma*

Samantha Szeto* Linda Yip

譚小敏 *

Assistant Programme Manager Tracy Tam* ASSISTANT EDITORS Programme Coordinator Pecky Chan* 在這標誌新里程碑的一年，我們特別聚焦於藝術 Melody Lai, Rain Elvis Cheng 金學忠 * Logistics Manager King* 陳栢琦 *

科技之上，這種嶄新形式突破表演藝術的傳統設 ADMINISTRATION

PRINTER

蘇雪凌 Programme Manager (Administration) 置，為藝術創作拓展更多可能性。由人工智能驅

Shirley So Cheer Shine Enterprise Co., Ltd

TECHNICAL

動的沉浸式互動歌劇《拉娜》固然是當中的重點 梁雅芝 *

Production Manager

項目，此外今年還有全新推出的賽馬會創藝科 出版 莫賦斌 * Assistant Production Manager PUBLICATIONS 媒系列——表演式裝置音樂會《混序維度》 ，而 黎家欣 *

Benny Mok*

香港藝術節有限公司

* 伍藹然 * 《舞奧利弗．化理 0 度》、《T.M.》 和《機器超人》Editors 等意念創新 鄭豐榮 *

Shirley Leung*

Assistant Editors

顧問

OUTREACH

何嘉坤 蘇國雲

的節目，亦以科技為製作核心。在演出的前期製

作上，我們也充分運用科技的協助，例如史蒂芬 李冠輝 Senior Outreach Manager

編輯

鄧冠恒 * Outreach Manager 妮．雷克的著名舞作 《無極》，其舞蹈排練經由

Oliver Farry*

Monica Ng*

Rain Cheng*

Melody Lai*

Kenneth Lee Joe Tang*

林嘉敏 *

Deputy Outreach Manager 伍藹然

Carman Lam*

李玨熙 *

Outreach Coordinator

Michael Lee*

網上進行，此舉亦體現了文化交流的新維度。 張翠騫 *

林穎茵 *

Outreach Officers

鑑於國際往來依然受限，我們在音樂、歌劇、芭 韓樂恒 * Outreach Assistant 蕾和舞台劇等方面呈獻的國際節目，於今年提供

Tracy Cheung*

Oliver Farry

Leona Hon*

MARKETING

助理編輯

Marketing Director

黎家欣 鄭豐榮

網上點播，又或於香港場地放映海外的演出直 鄭尚榮

英文編輯

播。以這兩種形式亮相的包括有不少著名藝術 盧柏全 胡銘堯 Associate Marketing Directors

鄧巧茵 * Project Manager – Marketing 承印 家：基里爾．佩特倫科、弗拉基米爾．尤洛夫斯 譚懿諾 * 怡

李善衡 *

列，對此我們深感榮幸。 楊 璞* 張予心 *

Eugene Lo

Dennis Wu

Maggie Tang* Hades Tam*

Marketing Managers

Alexia Chow

Deputy Marketing Manager

Michelle Yeung*

Assistant Marketing Manager

Stephanie Cheung*

甄柏衡 * Marketing Officer (Temporary) 此外，亦有許多與我們只有距離接近的優秀藝 邱芷婷 *

Katy Cheng

Assistant Project Manager –嘉昱有限公司 Marketing

基、雅各．胡薩、伊沃．范賀夫等均在出演之 周

Lilian Lam*

Marketing Assistant

術 家， 包 括 伊 斯 美 四 重 奏、 新 加 坡 話 劇 團、

Kidman Li*

Alex Yan* Leila Yau*

The views and opinions expressed or implied in this magazine are those of the 中國 國 家 京 劇 院、 上 海 歌 劇 院， 以 及 蘇 州Manager 交 梁彩雲 Marketing (Ticketing) Eppie Leung authors and do not necessarily reflect those 陳偲穎 * 為我們帶來一系列精采 Ticketing Officer Chan* 響樂 團 等， 表 演。 多 of the Hong KongStephanie Arts Festival TICKETING

個本地主要藝團和獨立藝術家亦會參與本屆 藝術節，與我們共襄周年盛事，同樣令我們感 余潔儀 Development Director

Reproduction in whole or in part without written permission is strictly prohibited Flora Yu

林思穎 * 麥紫琴 * Development Managers 的《我們最快樂》 ，以及形式新穎的舞蹈歌劇

Sharon Lam* 見，並不反映香港藝術節的立場

DEVELOPMENT

到鼓 舞，*當 中 包 括 音 樂 劇《 日 新 Development 》、 萬 眾 期Manager 待 鍾雅妍 (Major Gifts) Fiona Chung* 本雜誌文章所載的觀點及見解乃作者的個人意 Mak Tsz Kam*

Lorna Tam 《兩生花》。除此之外，以推動社區表演藝術為 本刊內容未經許可，不得翻印或轉載 蘇小欣 * Assistant Development Manager Connie So* 譚樂瑤

宗旨的 「香港藝術節 @ 大館」亦會繼續舉行。 蘇曉嵐 * Arts Administrator Trainee 向寶淇 *

Development Assistant

Katrina So* Winky Heung*

藝術節一向對粵劇發展不遺餘力，這點體現於今

CORPORATE SERVICES

屆由新一代紅伶擔綱演出的一系列新馬師曾經典 ACCOUNTS

戲寶；展現孝道及忠義等傳統道德價值的短篇粵 鄺敬婷 Head of Finance

Teresa Kwong

杜詩麗 * Account Manager 劇；以及反映我們在創新戲曲上一直不懈嘗試的

Connie To*

鍾巧明 *

「粵劇新姿創作坊」。

Accounting Officer

Catherine Chung*

HR & ADMINISTRATION hk.artsfestival.org afgen@hkaf.org 楊美君 * Office Manager Janet Yeung* @HKArtsFestival 我與藝術節團隊衷心希望今期 《閱藝》 能讓您在 李美娟 Receptionist/Junior Secretary Virginia Li @hkartsfestival 黃國愛 General Assistant Bonia Wong 閱讀時樂在其中，並期待您參與觀賞我們今屆精 INFORMATION TECHNOLOGY

心籌備的節目，齊來與我們共襄 50 周年盛舉， 陳啟明 *

攜手邁向下一個五十年。

無限亮

Information Technology Manager

Derek Chan*

NO LIMITS

高級項目經理

張文磊 *

Senior Project Manager

Grace Zhang*

(852) 2824 3555

節目及外展經理

施藝虹 *

嚴家卉 *

Programme and Outreach Managers

香港藝術節的資助來自： Alice Sze* Michelle Yim*

節目及外展主任

何敬堯 *

潘詠汶 *

Programme and Outreach Coordinators Ho* Jasmine Poon* The Hong Kelvin Kong Arts Festival is made possible

FAX 傳真

PHONE 電話

with funding support of: Ho the Sze-wai*

市場經理

何詩慧 *

Marketing Manager

(852) 2824 3798

助理市場經理

黃秀雯 *

Assistant Maketing Manager

(852) 2824 3722

助理技術及製作經理

陳梓衡 *

Assistant Technical and Production Manager Jacob Chan*

高級會計主任

彭健欣 *

Senior Accounting Officer

Tisa Ho

updated January 2022 Executive Director,

* 合約職員 Hong Kong Arts Festival 2022 年 1 月更新

*Contract Staff

何嘉坤 香港藝術節行政總監

按英文姓氏首字母排列

Stephanie Wong* Janice Pang*

In alphabetical order

117

香港藝 術 節 An International Arts Festival in Hong Kong, Connecting China and the World 扎根香港的國際藝壇盛事

聯繫中國與世界

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

辦多元化的「加料」和教育活動，致力豐富香港的文化生活。 香港藝術節是一所非牟利機構，2021/22 財政年度預算（包括第 50 屆香港藝術節及 2022 年「無限亮」）約港幣一億二千四百萬， 當中香港特區政府的年度撥款佔總收入約 21%，另外約 16% 需 來自票房收入，約 45% 則需依賴來自各大企業、熱心人士和慈 善基金會的贊助和捐款。預計餘下的約 18% 則來自其他收入， 包括政府針對捐款和贊助收入而提供的配對資助。 香港藝術節每年呈獻眾多國際演藝名家精采多元的演出，例如 *：

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

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

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

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

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HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and

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

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Bolshoi Theatre, The Mariinsky Theatre Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe Classical music: Cecilia Bartoli, Riccardo Chailly, SeongJin Cho, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra Jazz and world music: Bobby McFerrin, Youssou N’Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet – John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company Large-scale special events: World of Wearable Art, Zingaro Outdoor events: Power Plant, Super Pool, Chorus

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

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HKAF has presented top international artists and ensembles across multiple genres, such as*: Western opera: Bavarian State Opera, Oper Leipzig, The

於每年 2、3 月期間呈獻眾多優秀本地及國際藝術家的演出，以及舉

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HKAF is a non-profit organisation. The total budget for FY2021/22 (including the 50th Hong Kong Arts Festival and 2022 “No Limits”) is approximately HK$124 million. Current Government annual funding accounts for around 21% of the Festival's total income. Around 16% of the Festival’s income needs to come from the box office, and around 45% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 18% is expected to come from other revenue sources including the Government’s matching scheme, which matches income generated through private sector sponsorship and donations.

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，

大型特備節目：《藝裳奇幻世界》、星躍馬術奇藝坊 戶外節目：《聲光園》、《幻光動感池》、《聲光頌》

香港藝術節積極與本地演藝人才合作，並致力為新進藝術家提供 展示才華的平台。藝術節至今委約及製作逾 250 套本地全新創 作，包括粵劇、戲劇、室內歌劇、音樂和舞蹈作品，近年開始同 步出版新作劇本，不少製作更已在香港及海外多度重演。近年的 藝術節新製作包括《九江》、《陪着你走》、《百花亭贈劍》、《香 港家族》三部曲、《世紀．香港》、《炫舞場》、《大同》、《金蘭 姊妹》、《聖荷西謀殺案》等。

overseas. Recent HKAF productions include Gangsters of Hong Kong, Always by Your Side, Pavilion of a Hundred Flowers, A Floating Family – A Trilogy, Hong Kong Odyssey, Danz Up, Datong – The Chinese Utopia, The Amahs and Murder in San Jose, to name a few.

香港藝術節多年來與知名海外藝術家及團體聯合製作不少優秀作 品，當中包括由香港藝術節、香港歌德學院及翩娜．包殊烏珀 塔爾舞蹈劇場聯合製作的《抹窗人》、由倫敦布里斯托爾老域劇 場、布魯克林音樂學院與尼爾街製作公司製作、香港藝術節為聯

HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced

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

HKAF invests heavily in arts education for young people.

Over the past 30 years, our “Young Friends” scheme has reached around 800,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year.

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

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

FOREWORD

HONG KONG ARTS FESTIVAL

合委約機構之一的「橫貫計劃」之《暴風雨》及《李察三世》、由 香港藝術節及上海國際藝術節聯合委約的《青蛇》、三藩市歌劇 院與香港藝術節聯合製作的《紅樓夢》等。 香港藝術節大力投資下一代的藝術教育。「青少年之友」成立 30 年來，已為約 800,000 位本地中學生及大專生提供藝術體驗活 動。藝術節近年亦開展多項針對大、中、小學生的藝術教育活 動，包括由國際及本地藝術家主持的示範講座及工作坊、學生展 演、演前講座、公開綵排、以及欣賞藝術節演出。同時，通過 「學生票捐助計劃」，藝術節每年提供約 10,000 張半價學生票。 香港藝術節每年主辦一系列多元化並深入社區的「加料節目」，例 如電影放映、示範講座、大師班、工作坊、座談會、後台參觀、 展覽、藝人談、文化導賞團等，鼓勵觀眾與藝術家互動接觸。 香港藝術節亦銳意將共融藝術理念拓展到社區每一角落。由藝術 節與香港賽馬會慈善信託基金聯合呈獻的「無限亮」計劃於 2019 年正式開展，透過一系列的演出及多元的教育及社區外展節目， 「無限亮」致力創造共融空間，讓不同能力人士均可以一同欣 賞、參與、擁抱藝術。 2021 年 12 月更新

*Visit our programme archive * 過往節目一覽

To find out more about sponsorship opportunities and donation details of the Hong Kong Arts Festival, please contact the HKAF Development Department. 誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。 Email 電郵 : dev@hkaf.org Direct Lines 直綫 : (852) 2828 4910/11/12 Website 網頁 : www.hk.artsfestival.org/en/support-us

Updated December 2021

香港藝術節協會2021/22年度預計收入來源（約港幣一億二千四百萬） 香港藝術節協會2021/22年度預計收入來源 （約港幣一億二千四百萬） Estimated Income Sources for Hong Kong Arts Festival Society in FY2021/22 (Approximately HK$124 Million) Estimated Income Sources for Hong Kong Arts Festival Society in FY2021/22 (Approximately HK$124 Million) 約 around 約 around

45% 45%

贊助和捐款 贊助和捐款 Sponsorship & Donations

Sponsorship & Donations

約 around 約 around

16% 16%

票房收入 票房收入 Box Office

Box Office

約 around 約 around

21% 21% Current

政府的年度撥款 政府的年度撥款

Government Current annual funding Government annual funding

約 around 約 around

18% 18% 其他收入

（包括按捐款和贊助收入可望 其他收入 獲得的政府配對資助） （包括按捐款和贊助收入可望 獲得的政府配對資助） Other Revenues (includingRevenues possible Other Government Matching (including possible Grant for Sponsorship Government Matching and Donation income) Grant for Sponsorship and Donation income)

3

(2021年10月更新 Updated October 2021) (2021年10月更新 Updated October 2021)

CONTENTS 目錄

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EXCEPTIONAL OFFERINGS, FROM NEAR AND FAR 「混合」模式下的藝術節

ARTS ╳ TECH

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藝術科技

MOVING THROUGH SOUND: THE IMMERSIVE OPERA LAILA

CLASSICS REVISITED 再探經典

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HOW A FORGOTTEN OPERA MADE A BIG COMEBACK 湮沒於歲月的《死城》重見天日

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DARKNESS BRINGS REDEMPTION 黑暗中見靈火

聲影隨形：沉浸式互動歌劇《拉娜》

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INNOARTS SERIES – SEARCHING FOR NEW EXPRESSIONS

BOUNDLESS MELODIES FROM ALL DIRECTIONS 以樂以歌 無問西東

科技媒介與演藝新實驗

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A CLOSE ENCOUNTER WITH TRANSHUMANISM 信機器得永生？

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LOCAL PRODUCTIONS ON STAGE 本地劇場製作

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CLASSICS OF SUN MA SZE TSANG

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A NEW APPROACH TO CANTONESE OPERA

細看「新馬」經典名劇

毛俊輝再創粵劇新姿

THROUGH THE LOOKING GLASS 在虛實之間漫舞

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HAVE YOU GOT WHAT IT TAKES? 網上劇場詰問真假世界

THE SUPREME ARTISTRY OF NATIONAL PEKING OPERA COMPANY 國家京劇院經典賞析

PIANO IN DARKNESS AND LIGHT 光影流轉，琴音自「彼岸」迴響 WHEN DANCE MEETS SONG: A DIPTYQUE OF FEMALE VOICES

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THE SPIRIT OF XIQU ON THE PIANO

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JOURNEYS IN THE KEY OF HUMANITY

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CLASSICAL AND CONTEMPORARY DANCE AT THE PARIS OPERA BALLET

琴音妙韻奏響戲曲神髓

以音樂承載的人文之旅

從蕭紅到西西——舞出《兩生花》

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A TALE OF JEALOUSY, SUSPICION AND MURDER

巴黎歌劇院芭蕾舞團的傳統與當代

亂世重塑《我們最快樂》

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PASSION PLAY 《茱莉小姐》中的激情與角力 THE MUSICAL REVOLUTION OF SUN YAT-SEN 孫日新唱歌起義

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THE PANDEMIC MIRACLE OF COLOSSUS

LOCAL MUSIC TALENTS 本地音樂人才

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FILIAL PIETY IN CANTONESE OPERA

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THE AMAZING 35-YEAR JOURNEY OF KING'S HARMONICA

孝經故事 —— 透視傳統戲曲價值

三十五年的口琴之旅

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THE KING IN THE ORIENT: PIPE ORGAN IN HONG KONG 西「風」東漸：管風琴在香港

疫情下的《無極》奇蹟

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GIVING NEW LIFE TO SHENG AND PIPA

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TSANG YAT-HO IN HIS GARDEN OF MUSES

笙與琵琶：傳統與創新

曾逸豪與他的繆思庭院

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A LONG AND FRUITFUL PARTNERSHIP

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WHEN THE PAST AND PRESENT CONNECT

攜手共獻本地精采藝術

古典與現代一脈相承

Innovative Arts Tech online offering Featuring in-venue performances and online shows, this novel “hybrid” structure is the curatorial direction the Festival has adopted this year.

Innovations such as Arts Tech have shaped striking new ways of presenting art that break free of the physical and institutional constraints of the museum and theatre. An exemplar of this is the special project, Laila, which will be accessible to the public at the Hong Kong Maritime Museum.

The immersive interactive opera experience is the brainchild of composer Esa-Pekka Salonen, and it invites participants to shape the performance of the titular Artificial Intelligence diva.

Similar innovation is evident in the field of dance, in Zero AR by British-based company AΦE, which uses Augmented Reality to bring participants on a journey inspired by the 2005 dance collaboration between Akram Khan and Sidi Larbi Cherkaoui, zero degrees. The avant-garde Belgian theatre company Ontroerend Goed makes a return to the Festival after previous visits in 2015 and 2019 with an interactive online show TM, in which participants are invited to pass a test to see if they have what it takes to join a mysterious secret organisation.

Rich offering of online and live-streamed performances and screenings of stage productions Online programmes continue to be vital for presenting more classical formats, to ensure that travel restrictions do not deprive Hong Kong

Symphony Orchestra, who will present four operas, including Wagner’s Tristan und Isolde and Qigang Chen’s Reflection of a Vanished Time for the Festival Finale. Among the other concerts on offer will be the Hong Kong Sinfonietta, the King’s Harmonica Quintet, a Chen Sa piano recital, the Esmé Quartet, two programmes of baroque flute music with Tsang Yat-ho and a hypermedia piano rehearsal by Yu Xiangjun, to name but a few.

audiences of the best in international performing arts, such as the Bamberg Symphony and the Paris Opera Ballet.

In addition to online screenings, the 2022 Festival has introduced screenings and live streams of performances in cinemas and theatres. Audiences will be able to see concerts live-streamed from the Bamberg Symphony’s concert hall in Germany to cinemas in Hong Kong, and screenings of Paris Opéra Ballet’s Romeo and Juliet in the Hong Kong Cultural Centre’s Grand Theatre.

Chinese opera and music have long been a staple of the Festival and this year is no different. Among our highlights include Fredric Mao’s reimagining of Cantonese opera classics, presentations by the China National Peking Opera company, a tribute to Cantonese opera legend Sun Ma Sze Tsang, and an instrumental concert by the Yue Pipa Ensemble. In the spirit of innovation, some crossover events have been curated, including Peking Opera at the Keyboard, with pianists Chen Sa, Yu Xiangjun and Cheng Wai, and also an evening of World Music with sheng master Kevin Cheng.

Local audiences will also be able to avail of topclass theatre performances, including two classic Molière plays by Paris’s Théâtre de l’Odéon, Wonder Boy by Bristol’s Old Vic and Ivo van Hoven’s two epic theatre pieces, Roman Tragedies and Kings of War, which will be screened in venue.

The irreplaceable live music experience The serendipitous boon of online and techassisted programmes has been undoubtedly a new challenge for the Festival. These innovations have helped us “keep connected”, and yet, invaluable as these interventions have been, they are no substitute for the more sensory delights of live performances—the anticipatory rumble of spectators filling the auditorium, the smack of theatre seats flipping up, the orchestra tuning, or the transfixed gaze of audiences beholding an actor or dancer in full flight.

▲

The Hong Kong Arts Festival celebrates its 50th edition this year in unusual circumstances.

The extraordinary disruption of the COVID-19 pandemic has engendered changes to programming and presentation.

INTRODUCTION

EXCEPTIONAL OFFERINGS, FROM NEAR AND FAR

From left to right: Zero AR and Internationaal Theater Amsterdam - Kings of War

Local commissions and international collaborations The live in-venue performances will of course feature local commissions, including an anticipated musical that was given a sneak preview

as a work-in-progress at last year’s Festival— Yat-sen, a scintillating account of the early years of Sun Yat-sen, one of the founders of modern China. Another exciting show is the unique Hong Kong dance opera Love Streams, a doublebill production featuring two operas previously staged at the HKAF—Women like Us (2021) and Heart of Coral (2013), inspired by the tumultuous life of Chinese woman writer Xiao Hong.

Another highlight of local theatre commissions is the ground-breaking work We Are Gay by Candace Chong, which finally comes to the stage in this Festival after being cancelled one week before it was due to be staged in 2020.

Putting together an international line-up of productions in challenging times is a feat in itself and two productions in particular highlight the importance of international collaborations between artists as well as institutions. In dance, the acclaimed Australian production Colossus, by the Stephanie Lake Company, will be staged with the collaboration of 50 or so dancers from the Hong Kong Academy of Performing Arts. In theatre, the Festival will have its first international coproduction in English-language theatre, with Singapore’s Repertory Theatre, putting a definitive local twist on a Western theatre classic—Amy Ng’s adaptation of Strindberg’s Miss Julie, relocated to post-war Hong Kong.

Pandemic circumstances permitting, the Festival hopes to welcome large audiences back to venues in Hong Kong, and a wide range of live performances has been lined up. There will be more Mahler, with the Hong Kong Philharmonic performing his Symphony No 4 at the Festival opening on 25 February; the Philharmonic will also perform Beethoven’s Fifth with soloist Chen Sa. There will be excellent musical programmes also from the Shanghai Opera House and Suzhou

©Dim Balsem

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INTRODUCTION

「混合」模式下的藝術節 期待已久的現場樂韻

本地製作和國際聯作精采上演

獻經典節目而言，仍然非常重要。享譽國際的班貝格

雖然疫情尚未過去，但在情況許可之下，藝術節期望

現場演出節目當然包括藝術節本身委約和製作的新作

交響樂團剛踏入 75 周年，他們將為藝術節帶來一系

能夠一如以往，讓觀眾於香港各大場地親身觀賞現場

品，包括備受矚目、於去年藝術節以工作坊形式展

列現場即時轉播演出，除了網上播放，還有在電影

演出，為此準備了一系列精采的現場節目。香港管弦

示第一幕初稿的音樂劇《日新》。此外，還有形式獨

院特別安排的即時轉播。舞蹈與戲劇作品也採用網

樂團將率先於 2 月 25 日以馬勒第四交響曲，為藝術

特的香港舞蹈歌劇《兩生花》，是以藝術節 2013 年的

香港藝術節在非比尋常的大環境下，於今年迎來五十

在國際巡演變得困難重重的當下，為確保香港觀眾能

周年。2022 年初，新冠肺炎仍然肆虐，藝術節繼續

夠繼續觀賞到國際頂尖的表演藝術，網上形式對於呈

發揮創意和保持靈活變通，在節目策劃或展示方式力 求變革。 科技拓展表演藝術新形式

上轉播與劇場放映雙線並行，巴黎歌劇院芭蕾舞團

節揭開序幕，其後又會於 3 月與鋼琴家陳薩攜手演繹

《蕭紅》和 2021 年的《兩個女子》兩齣歌劇為本的全

由於國際交通往來尚未復蘇，今屆藝術節採用新穎的

將呈獻三齣精采網上播放的表演，還特別安排了其

貝多芬第五鋼琴協奏曲和第五交響曲；上海歌劇院及

新製作。莊梅岩本為 2020 年藝術節創作的《我們最

「混合」模式，在可行的情況下安排現場演出，另一

中一場於劇場放映。外國戲劇方面，除了紀念莫里

蘇州交響樂團會帶來三套歌劇，包括藝術節閉幕演

快樂》，亦終於以全新面貌於今年的藝術節首演。

方面又保留網上形式。新的演出模式依靠技術創新，

哀四百年誕辰而選播巴黎國立劇院的兩齣莫里哀經

出、華格納的《崔斯坦與伊索爾德》和陳其鋼的《逝

結合藝術與科技突破劇場，發展成為引人注目的藝術

典，還會在劇院現場放映著名導演伊沃．范賀夫的

去的時光》。除此之外，還有香港小交響樂團、英皇

能夠在充滿挑戰的時期，將世界各地的各方人才聚首

表演新形式。其中一個例子是芬蘭國家歌劇和芭蕾舞

兩齣史詩式莎劇作品，而英國的布里斯托爾老域劇

口琴五重奏、陳薩鋼琴獨奏會、伊斯美弦樂四重奏、

一堂是何等困難。今屆藝術節的主題是「繫」，而透

團合作的特別項目《拉娜》，節目舉行地點為香港海

團，將會把明年 3 月公演的新作品《奇蹟男孩》帶給

兩場曾逸豪古長笛獨奏會、俞湘君鋼琴超媒體音樂會

過兩個與國際藝術家和藝術機構合作的戲劇和舞蹈演

事博物館。這齣沉浸式互動歌劇是作曲家埃薩—貝

香港的觀眾。

等多場現場表演節目。

出，見證了藝術節繼續與世界聯繫的決心。著名澳洲

卡．沙羅倫的得意之作；節目當中名為「拉娜」的人

編舞家史蒂芬妮．雷克的舞蹈名作《無極》，將會由 網上以及注入各種科技元素的節目，帶來種種令人意

五十年來，中國戲曲和音樂一直是藝術節的重要一

編舞與她的團隊與香港演藝學院約 50 多位舞者進行

想不到的好處，亦毋庸置疑地帶來了藝術創新。這顯

環，今年當然也不例外。其中包括以創新角度演繹傳

網上即時排練，打破地域限制完成劇場的演出。此

創新科技的應用，亦見於舞蹈作品。英國 AΦE 藝

然會在未來幾年繼續成為藝術節的組成部分。這一系

統戲的《粵劇新姿創作坊》、中國國家京劇院演出的

外，與新加坡話劇團聯合製作、改編自史特林堡同名

團帶來的《舞 0 度》以艾金．漢和徹卡奧維創作於

列的創新，都有助大家在這艱難時刻仍能保持連繫；

多場戲寶、向粵劇傳奇新馬師曾致敬的多齣戲碼，

作品的《茱莉小姐》，經由劇作家吳翠茵改寫，將時

2005 年的著名雙人舞作《零度複數》為藍本，透過

而「繫」正是今年藝術節的主題。然而，儘管這些創

以及玥琵琶室內樂團音樂會。秉承藝術節一貫的創

代背景改設於戰後的不知名英國殖民地，是一部聯繫

平板電腦運用擴增實境技術，引領參與者進入一場

新科技具有開拓價值，但始終無法取代現場表演帶來

新精神，一系列的跨界音樂會亦相繼登場，包括《憶

國際的英語戲劇新作品。

目眩神迷的旅程。戲劇方面，作風前衛的比利時劇

的真切感受——在座無虛席的會堂內，觀眾在開場前

韻——黑白琴鍵下的戲韻》，由鋼琴家陳薩、俞湘君

工智能女主角，將因應每位參與者的影響進行表演。

團 Ontroerend Goed 繼 2015 年和 2019 年與香港藝

談論對節目的期待；劇院座椅被翻轉時的響聲；管弦

和鄭慧將鋼琴演奏融合京劇等中國傳統音樂；以及新

術節的合作後，今屆強勢回歸，推出網上互動節目

期待已久的現場樂韻樂團在演奏前的調音聲；還有觀

生代笙演奏家鄭浩筠的音樂會，他將以笙和多種西洋

《T.M.》，當中參與者將會獲邀進行網上遊戲，以此

眾對台上演員或舞者屏息靜氣的凝視。

樂器奏出多種風格的樂曲。

衡量他們是否具備加入一個神秘組織的資格。 ▲

巴黎歌劇院芭蕾舞團 《羅密歐與茱麗葉》

©Agathe Poupeney

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ARTS ╳ TECH

ARTS ╳ TECH

The Hong Kong Arts Festival (HKAF) has always placed great importance on arts development and education in Hong Kong and is committed to developing the potential of local Arts X Tech; this is recognition of the many creative talents in Hong Kong who explore and use various technologies as a medium for the performing arts. By pioneering a series of new programmes of this kind, the Festival hopes to advance the development of Arts X Tech and thus continue to explore the limitless potential of this integration of the two domains and the connections between them.

藝術科技

Building on its years of commitment to arts and technology and coinciding with the 50th Golden Jubilee of the HKAF in 2022, the Festival will present the Project Laila, an interactive opera that combines the traditional genre with new technologies such as Artificial Intelligence and Virtual Reality, and a series of related outreach and educational programmes.

This immersive interactive opera, which has been in the pipeline since 2019, integrates the real and virtual in a nexus of art and technology that is deeply modern and of its time. A demonstration of the possibilities of human encounters with technology and art, Laila – with the exclusive sponsorship of The Hong Kong Jockey Club Charities Trust – is an important work that is a fitting choice to mark the start of the Festival’s next 50 years.

藝術節向來十分重視香港的藝術發展及教育，同時亦 矢志發展本地藝術科技的潛力，並深知香港具備不少 藝術科技人才，勇於以科技作為表演藝術的創作媒 介。透過開拓一系列此類型的新節目，藝術節期望能 夠藉此協助推進藝術科技發展，從而繼續發掘這種聯 繫當中的無限潛能。 承接多年來在藝術科技上的致力推動，又適逢 2022 年為香港藝術節 50 周年金禧盛典，藝術節將為香港 觀眾帶來糅合歌劇以及人工智能、虛擬實境等嶄新技 術的歌劇《拉娜》及一連串相關的外展教育活動。這 部早於 2019 年已開始籌備的沉浸式互動歌劇，在糅 合虛與實的同時，又巧妙地成為藝術與科技之間聯繫 的當代具體範本。獲得香港賽馬會慈善信託基金獨家 贊助的《拉娜》展現出人類擁抱科技與藝術的更多可 能性，毋庸置疑是標誌藝術節邁向下一個五十年的重 要作品。

© Finnish National Opera and Ballet

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In Laila, the audience is no longer passive; each spectator is actively involved in the composition of the opera’s music and story. 觀賞《拉娜》時，觀眾 不是被動的，每個人都 可以參與創作這場歌 劇的音樂與故事。

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聲影隨形：沉浸式互動歌劇《拉娜》

© Finnish National Opera and Ballet

Arts X Tech programme planning entails reviewing the past as well as looking to the future. One of the pioneering organisations in the application of technology to performing arts is E.A.T. (Experiments with Arts and Technology), founded in 1960, whose classic signature project, on which the celebrated composer John Cage worked, 9 Evenings: Theatre & Engineering was a milestone in interdisciplinary collaboration.

E.A.T. (Experiments with Art & Technology) encouraged a crossover between engineers and artists, and produced a series of ground-breaking experimental performances. This was the impetus needed to bring arts and technology together, in a spirit unfettered by tradition and with a profound belief in the value of cross-disciplinary work.

Text 撰文

Joel Kwong 鄺佳玲 Joel Kwong is the Programme Director of Microwave International New Media Arts Festival

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鄺佳玲為微波國際新媒體 藝術節的節目總監。

Since the 1980s, spurred by trends in the international art scene, a number of pioneering experimental art groups, organisations and projects have sprung up in Hong Kong, including Videotage, Media Event I & II, and the Hong Kong International Video Art Festival, all of which have opened up new horizons for local artists and audiences. Technology is now part and parcel of our everyday lives, and it helps bring art closer to the public. With its long-held belief in the potential of Arts X Tech, the HKAF has actively integrated technology into the performing arts. Super Pool (2017) and Magic Butterfly VR Experience (2018) were two iconic Festival

在涉及藝術與科技的策劃過程中，少不免需要前瞻同 時回顧。而藝術節在向前邁進之時，也同時會回顧藝 術與科技多年來的發展，並設定相應的方針。甫一談 到科技應用於表演藝術上的先鋒組織，必定是 1960 年 成 立 的 E.A.T.， 他 們 的 經 典 項 目《9 Evenings: Theatre & Engineering》，透過工程師與約翰．基治

The HKAF is organising school tour demonstration performances, preshow workshops, guided tours, exhibitions and talks to engage students and the general public, and embrace the untold possibilities of Arts X Tech. 藝術節安排到校巡迴示 範演出、演前工作坊、 導賞、公開展覽及講座 等活動，令學生及各界 人士有機會擁抱糅合藝 術與科技的無限可能。

術作品。《拉娜》講述一個關於人工智能的故事，以

Laila is a ground-breaking performance of boundless possibility; it is a space, an environment and an immersive artwork. It is a story about artificial intelligence, how it affects life and encompasses its attendant struggles, fears and aspirations. Composer and conductor Esa-Pekka Salonen, one of the creators of the project says that given audiences of today have grown up with computer games, which offer a certain degree of autonomy, a desire to influence the narrative in interactive art will come naturally to them. And Laila provides ample opportunity to do so. The audience is no longer passive; each spectator is actively involved in the composition of the opera’s music and story. There is no performer, no conductor; the audience stands instead of sits, all of which makes for an unprecedented opera experience.

電腦遊戲伴隨下長大，而電腦遊戲某程度上亦提供了

先鋒派形式呈現它如何影響人類生活，並展現當中的 掙扎、恐懼與期盼。《拉娜》的創作者之一、古典指 揮大師及作曲家埃薩．貝卡認為現今世代的觀眾都在

ARTS ╳ TECH

MOVING THROUGH SOUND: THE IMMERSIVE OPERA LAILA

programmes in recent years. The Arts X Tech trend continues in 2022 with one of the highlights of the 50th Festival—the immersive interactive opera project Laila.

一定的自主性，所以許多人都有想要影響故事發展的 念頭，而《拉娜》就提供了這樣的一個機會。觀眾不 是被動的，每個人都可以參與創作這場歌劇的音樂與 故事，演出中沒有演員，也沒有指揮，觀眾是站着欣 賞，這些都是前所未有的歌劇體驗。 伴隨《拉娜》而來，還有自 2021 年 6 月開展的為期 近一年的外展教育活動，充分實踐藝術發展與藝術教 育的兩大使命。首個大型活動是為中學生與大專生而 設的「藝術 X 科技創作比賽」，藉此支持本地學子進 行跨學科創作，獲選作品將於 2022 年藝術節期間展 演。另外，藝術節也安排到校巡迴示範演出、演前工 作坊、導賞、公開展覽及講座等活動，令學生及各界 人士有機會深入了解藝術與科技的無限可能。

In addition to the opera itself, an accompanying outreach and education programme beginning in June 2021 and running for almost a full year, will fulfil the Festival’s missions of arts development and arts education. The first major event is an Arts X Tech Creative Competition for secondary and tertiary students; it is intended to support creative works by local students, a selection of which will be presented during the 50th Festival. The HKAF is also organising school tour demonstration performances, pre-show workshops, guided tours, exhibitions and talks to engage students and the general public, and embrace the untold possibilities of Arts X Tech.

These outreach activities will culminate in the much-anticipated special programme Laila.

等藝術家的合作，在多種空間內作出不同程度的實驗 演出，這種精神正正是藝術與科技完美結合所需要的 動力，也正好反映當時正是激流派的年代，主張反傳 統及跨界合作。 這些國際藝術的精神也同時影響着香港的藝術生態， 香港在八十年代起，多個先鋒實驗藝團、組織與項目 先後成立，包括錄映太奇、《媒介事件一》、《媒介 事件二》、香港國際錄像藝術節等，為本地藝術家與 觀眾開拓嶄新視野。時至今日，科技已成為觀眾的日 常，藝術變相也能透過與科技媒合更貼近大眾生活， 藝術節多年來一直深信藝術科技的潛力，近年更積極 地把科技融入表演藝術。多個藝術聯乘科技創意項目

Laila will be shown at The Hong Kong Maritime Museum from 25 February to 3 April 2022

包括《幻光動感池》、《魔法蝴蝶虛擬實境》等，正是 近年的代表作。與此同時，藝術節也開始籌備 2022

HKAF 50th Anniversary Special Project Laila is Solely Sponsored by The Hong Kong Jockey Club Charities Trust

年特備互動體驗節目《拉娜》。

《拉娜》將於 2022 年 2 月 25 日至 4 月 3 日於香港海事博物館上演。

《拉娜》是一個突破傳統的歌劇演出，其可能性遠超 大眾想像，它是空間、是環境、也是一件沉浸式的藝

© Finnish National Opera and Ballet

香港藝術節 50 周年特備節目《拉娜》由香港賽馬會慈善信託基金獨家贊助

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INNOARTS SERIES – SEARCHING FOR NEW EXPRESSIONS

科技媒介與演藝新實驗

The immersive audio-visual feast Shuffle Dimensions is an immersive concert, featuring a collaboration between Hong Kong new media artist Keith Lam, composer Alain Chiu and the string ensemble the Cong Quartet. In addition to performing new works by Alain Chiu, the Cong Quartet will also play the classic avant-garde piece Black Angels by American composer George Crumb; the three movements, “Departure”, “Absence” and “Return” echo the world’s current turmoil, while the dialogue between the turbulent music and Keith Lam’s video art adds a layer of complexity to the performance. As part of the set and visual design, Keith Lam will be regularly collecting environmental data before the performance, including sea levels, weather conditions and he will use it alongside data collected from the bodies of the quartet members, as raw material for the performance’s visuals.

Keith Lam emphasises that the performance is simply data mapping based on visualisation, sonification and reification [rendering something concrete or real], but to create an experience for the audience to freely explore the space and feel the ineffable vitality behind typically dry data. In Alain Chiu’s, words, “Data sonification is becoming more common; transforming data into sound is a humanised process, and so we can find our positioning within that relationship. Take automatons as an example—audiences can often instil them with emotion and meaning.”

Text 撰文

Rain Cheng 鄭豐榮

When technology is crossed with art, creators are freed from the limitations of time and space and are thus able to open up more possibilities in theatre. To mark its 50th anniversary, the Hong Kong Arts Festival is launching the Jockey Club InnoArts Series, which will host two pioneering, cross-cultural and regional works: the performative installation concert, Shuffle Dimensions, and the virtual reality theatre piece SHH. The two works aim to explore the unlimited potential of theatre by examining the connections between image and physical space.

沉浸式視聽饗宴

《混序維度》是一場沉浸式音樂會，由香港新媒體藝 術家林欣傑、作曲家趙朗天及 Cong 四重奏攜手合 作。除了演奏趙朗天的新作，Cong 四重奏還將演奏 當代音樂大師克倫姆的經典四重奏《黑天使》，三段 樂曲分別為〈離去〉、〈缺席〉和〈回歸〉，正好呼應 世界的動蕩環境，起伏不定的旋律曲風與林欣傑的影 像藝術互相對話，令表演層次更為豐富。在場景及視 覺設計方面，林欣傑將透過演出前定期收集環境數 據，例如海岸線、天氣等，配合 Cong 四重奏的身體 數據，作為當日演出的視覺創作素材。林欣傑強調這 並不是一場單純將數據圖像化、聲音化和實體化的資 料映射，而是透過讓觀眾於劇院自由遊走，藉此感受 乏味的數據也能擁有難以言喻的生命力。趙朗天形 容：「數據聽覺化逐漸普及，將數據轉化為聲音是一 個人性化的過程，從而在關係裏尋找定位。以自動操 作裝置為例，觀眾往往能夠為其賦予情感與意義。」

當科技與藝術交融，創作者可以不再拘泥於時空限 制，開拓劇場更多的可能性。香港藝術節踏入五十周 年，推出「賽馬會創藝科媒系列」，上演兩個跨越文化 及地域的前瞻性作品，分別是表演式裝置音樂會《混 序維度》及虛擬實境劇場《詩》，呈現影像與真實空間 的連結，發掘劇場無限潛力。

Rain Cheng is an Assistant Editor at the Hong Kong Arts Festival

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鄭豐榮為香港藝術節助理 編輯

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Keith Lam explains the future of theatre using Heidegger’s theory from Being and Time.

“Everything has an existence; yet beyond existing, humans also have Sein, or Being, and can foresee the future.” He hopes to explore the invisible aspect of music through his work: “Art is multifaceted; when it is part of the stage, technology can affect the performer’s mood in the next moment, and there is a very interesting cycle between the two.” When he was conceiving the idea for the performance, Lam decided to use the form of an art installation to guide the audience’s eyes and actions. Since there is no pre-set seating in the theatre, Alain Chiu will pair his music with the spatiality of the site on the day to create a contrapuntal composition for the performance, working with Keith Lam’s presentation of a curated art exhibition to connect the theatre space with the audience.

The search for physical sensations in the virtual SHH tells a moving story about the global pandemic using Virtual Reality, or VR. The piece follows a middle-class family and the individual choices and challenges that each member faces as a virus takes over their lives. The performance is divided into two sections: VR and physical reality.

The former will require participants to wear a VR headset to step into the theatre and experience the story as their own. Director Zhang Daming believes the technology can be a medium of

林欣傑以海德格《存有與時間》的理論解構劇場的未 來。「萬物皆存在，而人存在的同時，兼備存有且預示 未來。」他期望在表演中探索音樂看不見的一面：「藝 術是多面向的，科技作為舞台的一部分，會影響表演 者下一刻的心情，兩者之間是個有趣的輪迴。」他在 構思表演時，以藝術裝置的形式引導觀眾的目光和行 動。由於場地沒有預設座位，趙朗天運用當中帶來的 空間性配合作曲對位法的概念，與林欣傑以策劃藝術

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藝術科技 締造劇場未來式

Cong Quartet will play the classic avant-garde piece Black Angels by American composer George Crumb.

Evan Robinson will replace Caleb Wong (on the very right) as the violist in the performance this time.

ARTS ╳ TECH

The artistic technology creating the future for theatre

Cong 四重奏將演奏 當代音樂大師克倫姆 的經典四重奏《黑天 使》，是次演出將會由 Evan Robinson 代替 黃立恆（最右）演奏中 提琴。

展覽的方式來呈現這次的作品，連結劇場與觀眾。 虛擬之間 尋覓身體感知

至於《詩》，則透過虛擬實境技術（VR）來敍述一個 以全球疫情的動人故事，劇情圍繞一個小康之家，刻 畫每位角色在疫症來襲之際，各自面臨人生抉擇和難 題。演出分為虛擬實境和現場參與兩部分，前者將透 過穿戴式裝置，讓觀眾甫踏入劇場仿如身歷故事其 中。導演章達明認為科技是一種自由媒介：「VR 能 夠提升私密感，當一個人進入虛擬世界，相對屏幕 而言，更能體會場景氛圍。」故事當中出現的醫院、 急症室及隔離病房等場景，早已成為這兩年引發全球 共鳴的詞彙；《詩》藉着一幕幕躍現眼前的畫面震懾

freedom: “VR can enhance the sense of intimacy for the audience member, who gains a sense of the atmosphere of the virtual world much more viscerally than through a screen.” In the story, scenes take place in a hospital, an emergency room and an isolation unit—all of which have become common terms in everyone’s daily lives over the past two years. Through the use of shocking scenes that envelop the audience, SHH hopes to prompt reflection in participants. The story also includes several interactive moments, with audience members able to trigger silent movements in certain characters by staring at them, thus becoming part of the performance themselves. As for the onsite section of the show, we will leave you to experience it yourself.

Zhang Daming says that, even if SHH is a performance that guides our corporeal selves through a virtual world, our bodies are simply not able to let go of the physical sphere. Even so, the constraints of reality are what heightens the joys of the virtual world. Interestingly, VR technology in the theatre takes on a different direction to that in the gaming world, which often focuses on visual stimulation; theatrical VR involves more serious topics, with content that challenges the deepest of emotions. The director believes that as theatre evolves, technology and art will continue to complement each other, whereby the birth of new artistic trends and experiences is nourished by the original principles and conceptions of art.

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人心，期望能夠喚起觀眾反思。此外，這次的演出加 入不少互動環節，當觀眾的眼睛凝視某一位角色時， 能夠啟動定格人物的無聲動作，即時參與當下演出。 至於現場參與部分，則有待觀眾親臨感受。 即使《詩》是一場肉體穿梭虛實之間的表演，章達明 認為身體始終無法擺脫真實世界，亦正因現實有許多 限制，更凸顯虛擬帶來的樂趣。而把虛擬實境的技術 帶入劇場，有別於以視覺刺激為主的遊戲，反而會用 作探討嚴肅題材、挑戰情感內容。對於未來的發展， 她深信科技與藝術會維持互補關係；在嶄新藝術體驗誕 生的同時，原有藝術模式仍然存在，成為前者的滋養。

Jockey Club InnoArts Series SHH-Virtual Reality will be shown from 10-13 March 2022 at the Hong Kong Cultural Centre’s Studio Theatre.

Jockey Club InnoArts Series Shuffle Dimensions – A Performative Installation Concert will be shown from 10-13 March 2022 at the West Kowloon Cultural District’s Freespace – The Box. The programme is solely sponsored by The Hong Kong Jockey Club Charities Trust 賽馬會創藝科媒系列沉浸式虛擬實境劇場《詩》將於 2022 年 3 月 10 至 13 日在香港文化中心劇場上演。 賽馬會創藝科媒系列《混序維度》表演式裝置音樂會將於 2022 年 3 月 10 至 13 日在西九文化區自由空間大盒上演。 演出由香港賽馬會慈善信託基金獨家贊助

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信機器得永生？

has, if the writer himself will not be there? But it then also became an interesting way in to thinking about transhumanists. Because they do not care so much about the body – they see it as a problem. They want to upload themselves into better bodies. And what is acting, if it is not a kind of uploading. We started to think of Mark (the writer) uploading himself into Jack (the actor).

And then at the same time, the audience have to upload themselves too––maybe into better versions of themselves!

The format was clearly forced on you by the pandemic. Do you see yourself using this type of format in the future?

Dublin’s Dead Centre theatre company brings to Hong Kong its adaptation of Mark O’Connell’s Welcome Book Prize-winning To Be a Machine. The book is an offbeat account of encounters with transhumanists, a group of tech enthusiasts who hope advances in technology will give them everlasting life.

Festmag’s English editor Oliver Farry spoke to Dead Centre’s artistic directors Bush Moukarzel and Ben Kidd about the production.

Can you tell us how your collaboration of Mark O’Connell’s book came about?

Bush: In March 2020, like so many other people, we had to stop what we were doing. But we were in the middle of developing a new project, an adaptation of a To Be a Machine. We knew Mark socially and loved his writing. In the book, Mark meets a succession of people who identify themselves as “transhumanist”––they are committed to using technology to enhance the human body… or maybe to replace it altogether–– people who believe that through technology, humans can transcend what Mark calls “the modest problem of death”.

Text 撰文

Oliver Farry 奧利弗．化理 Oliver Farry is an English Editor at the Hong Kong Arts Festival.

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奧利弗．化理是香港藝術 節的英文編輯

The book is about a group of people who stare into the future, but in April 2020, it seemed to be speaking to the present moment––our bodies had become biohazards. So, in partnership with the Dublin Theatre Festival, we decided to rush forward with our plans to make the show and try to create a something which could exist in a time when audiences were forbidden from entering the theatre. So we created this adaptation, where the audience could be there without being there–– they could upload themselves into the audience.

What was particularly challenging about adapting the book, which is a work of non-fiction, for the stage?

Bush: There was a problem––how to put Mark on stage, who should play him? How do you maintain the quality of authenticity that non-fiction writing

都柏林正點劇團將為香港藝術節帶來新劇《機器超 人》。作品改編自馬克．奧康奈爾的惠康書獎得獎作 《成為一台機器》，原著記述作者與一群超人類主義 者的奇異訪談，他們熱衷於科技，期望科技進步能為 他們帶來永生。 《閱藝》英文編輯奧利弗．化理訪問了正點劇團兩位 藝術總監布雪．摩加西和班．奇特，與讀者分享此劇 的製作過程。 你們與馬克．奧康奈爾的合作是怎樣開始的？

布雪：2020 年 3 月，我們與大部分人一樣，（因為 疫情）必須暫停手上的工作，當時我們正忙於創作一 個新項目，就是改編《成為一台機器》。我們早與馬 克相識，也很喜歡他的作品。書中，馬克與一群自稱 是超人類主義者的人會面，他們熱衷於用科技改造人 體，甚至用它直接取代人體，因為他們相信科技能讓 人類克服馬克所說的「死亡這種小問題」。 書中的受訪者談及的雖是展望未來的事，但他們的 分享像是呼應了此時此刻，亦即我們在進行創作的 2020 年 4 月當下，這時我們的身體已演變成生化危 機。因此，我們決定與都柏林戲劇節合作，加快此劇 的製作進程，嘗試在觀眾被隔絕於劇場以外的這段 特殊日子裏，創作出一部作品，因而造就了這套改 編作。《機器超人》的特別之處在於，觀眾存在的同 時，觀眾的實體又不必存在——他們可以把自己「上 傳」至網絡，參與其中。

Bush: We’re always trying to find exactly the right form for every individual piece, so it is unlikely that we will use this exact set-up again. But we are interested in streaming, and the questions (and opportunities) it poses for theatre. It opens up access: anyone with an internet connection can watch the show from anywhere, meaning fewer barriers––either physical, or those that are subtler, determined by the elite exclusive nature of theatre buildings.

The rise of artificial intelligence and other forms of automation is likely to wipe out jobs in many sectors in coming years. Do you think theatre is potentially at risk too?

Ben: Personally, I think no. For the simple reason that theatre has never been an essential part of society. It is inherently silly, a wasteful way to spend our time. It has never even tried to be efficient or economically successful, so the drive to streamline it, to make it more economically viable will probably ignore our little form.

What do you think of transhumanism yourself? Do you have any wish for eternal life if it were possible?

上傳一個更好的身體。這讓我們思考演戲是甚麼，難 道不也是一種「上傳」嗎？於是我們想到讓馬克（作 者）上傳到傑克（演員）身上。同時，觀眾也要把自 己上傳，或許會上傳到一個更優秀的自己之中呢！

ARTS ╳ TECH

A CLOSE ENCOUNTER WITH TRANSHUMANISM

© Ste Murray

你選擇用這種表演形式，顯然是受到疫情的影響。 你以後也會考慮用同樣的形式創作嗎？

布雪：我們一直嘗試為每個作品尋找最合適的展現手 法，所以將來再用同樣形式的機會很微。但我們對網 上直播，以及它對戲劇的探問（和帶來的機遇）很感 興趣。它拓闊了戲劇的接觸途徑，讓身處各地、任何 能連接互聯網的人都能觀看節目，這也意味着各種障 礙也會變少，不論是場地的規限，還是劇院那些更細 微的、讓公眾卻步的空間限制。 人工智能和其他自動化系統的興起，在未來可能會 取代很多不同類型的工種，你認為戲劇界也會受影 響嗎？

班：個人而言，我認為不會。原因很簡單，戲劇從來 不是社會的主流，它本來就是一種不切實際的、無聊 的消遣方式，亦從來沒有打算變得更有效率，或者更 有經濟效益。所以試圖將它簡化，或讓它在經濟上取 得成功的人，是高估了戲劇的規模。 你本人怎樣看待超人類主義？如果有機會，你希望 得到永生嗎？

布雪：我現在也不能確定。如果時機到來，我想我不 會把自己排除在永生的可能性之外。我大概不會冷凍 保存自己的身體，但如果我有幾百萬（歐元），我便 很難保證不會花掉這筆錢來嘗試冷凍技術。說到底， 馬克的書是關於我們怎樣與死亡和解，而我不認為我 現在能做到！

Bush: I’m still not sure. I don’t think I would want to count myself out of the possibility, if it arises.

I will probably never cryogenically freeze myself, but if I ever did have a spare million dollars burning a hole in my pocket, then I can’t be sure I wouldn’t have a go. In the end, Mark’s book is about how we can reconcile ourselves to death, and I don’t think I have managed to do that yet!

將一部非小說類作品改編成舞台演出，有何困難 之處？

布雪：困難之處在於怎樣把馬克放上舞台，該由誰來 Dead Centre (Ireland) To Be A Machine (Version1.0) will be shown online from 23 – 26 March 2022.

扮演他？如果作者不會現身於舞台，我們要怎樣忠實 呈現非小說類作品的真實性？但這也是有趣的切入

正點劇團（愛爾蘭）《機器超人》（1.0 版本）將於 2022 年 3 月 23 至 26 日 於網上演出。

點，讓我們對「超人類主義者」進行深思。他們不太 在乎肉身，反而把它視作一個問題，他們希望把自己

© Ste Murray

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ARTS ╳ TECH

THROUGH THE LOOKING GLASS 在虛實之間漫舞

An echo of an earlier masterpiece resounds through 0AR (Zero AR), an intriguing interactive work from the British-based Franco-Japanese dance duo AΦE. The starting point is Akram Khan and Sidi Larbi Cherkaoui’s 2005 dance collaboration Zero Degrees, which was itself a seminal piece of dance theatre that deftly combined oral narration, Indian rhythms and sculpture.

Commissioned by Sadler’s Wells for their 20th Anniversary and co-produced by Biennale de la Danse de Lyon in 2018, 0AR condenses its predecessor’s 75-minute running time into ten minutes, and the earlier show’s frenetic movements and sprightly narrative is mediated through devices that were, at the time of Zero Degrees’ original staging, largely the stuff of science fiction—tablet computers. The AR of the title is Augmented Reality, a technology which is adeptly exploited for the work. Participants experience reimagination from Zero Degrees, with the visuals shifting and changing based on the participants’ own interventions. The planes of perception constantly move, with the dancers replaced by lithe-cast figures based on Gormley’s original sculptures. A supplementary dimension is overlaid on the mesmeric choreography, and the viewer’s surroundings, bringing them out of the virtual theatre and into a labyrinth of the imaginary and the kinetic.

Founded in 2013 by the Japanese dancer Aoi Nakamura and the French dancer Estéban Lecoq (aka Estéban Fourmi) , AΦE is a UK dance company that works primarily through Virtual Reality and Augmented Reality.

Text 撰文

Oliver Farry 奧利弗．化理

AΦE’s is an undertaking that has been greatly facilitated by contemporary technologies and the portability of devices such as tablets and wearables, which allows audiences and participants to be plunged into notional worlds and soundscapes that provide impressive experiences that still manage to maintain lightness and brevity for a fun casual experience, suitable for all ages.

《舞 0 度》這部引人入勝的互動作品，由來自英國的 法日雙人舞蹈組合 AΦE 創作，以舞蹈家艾甘．漢和 希迪．拉比．徹卡奧維於 2005 年的雙人舞《零度複 數》為藍本，這齣舞蹈劇場作品充滿開創性，是一部 巧妙地結合故事、印度音樂和雕塑裝置的作品。 《舞 0 度》是沙德勒之井劇院為 2018 年劇院二十周 年、與里昂雙年舞蹈節共同製作的作品，將《零度複 數》這部 75 分鐘的舞蹈濃縮成 10 分鐘，原作當中狂 亂的肢體動作和活潑靈動的故事，這次將透過平板電 腦呈現；回看《零度複數》當年上演時，平板電腦還 只是出現於科幻小說中的物件。英文節目名稱當中的 「AR」意指擴增實境，這項技術在作品當中得到了充 分運用。參與者會先觀看受《零度複數》啟發而創作 的錄影片段，當中的視覺效果會隨着參與者的介入而 產生變化，平板上的動態會不斷移動，原作中的舞者 則被啟發自哥晤利創作的雕塑作品的靈巧人偶取代。 《舞 0 度》在迷人的編舞和觀眾身處的環境之上，提 供了另一個維度，讓參與者走進虛擬劇場，進入一個 充滿想像和動感的未知領域。 AΦE 由日本舞蹈家中村葵和法國舞蹈家艾斯迪本 ． 樂寇（又名 Estéban Fourmi）於 2013 年成立，是英 國專注以虛擬實境和擴增實境技術進行創作的舞蹈 團體。 當代科技和可攜式裝置如平板電腦和可穿戴裝備，開 拓了 AΦE 的創作空間，這些科技帶領觀眾和參與者 深入走進概念的世界和聲景之中，令人留下深刻印象 之餘，輕快精簡的內容也讓它成為適合不同年齡對象 的輕鬆有趣體驗。

0AR will be presented at 618 Shanghai Street from 3-13 March 2022, and at The Center’s H6 CONET from 16-27 March 2022 《舞 0 度》將於 2022 年 3 月 3 至 13 日於 618 上海街舉行；2022 年 3 月 16 至 27 日於中環中心 H6 CONET 舉行

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網上劇場詰問真假世界

The Belgian theatre company Ontroerend Goed has twice before graced the Hong Kong Arts Festival. The company’s brand of high-concept interactive theatre was a big hit each time, as is likely to be the case with their latest show T.M., which, in the spirit of the times, is conducted entirely online, and is a unique one-on-one interactive dialogue between the performer and the spectator. The show’s content is probing as it does questions pertaining to a deeply troubled world, where misinformation spreads like wildfire and the susceptible are easily manipulated by people with access to the right data and who know what buttons to press.

比 利 時 劇 團 Ontroerend Goed 主 打 高 概 念 互 動 劇

T.M. puts an extra twist on online communication, which has become a constant in the lives of many in recent times. The concept is a highly intriguing one, right down to its very title, the meaning of which is divulged only to those spectators who agree to undergo an interview for a selfstyled “mysterious organisation that is as old as humanity”. Cast as an “explorative talk”, the show stretches interactivity to its furthest limits as audience members take part together in a process that winnows them out and sees if they have what it takes to become “insiders”.

老的神秘機構」，只會透露「T.M.」的真正含意給願意

A personality test poses a series of questions–– multiple-choice and open-ended, some unsettling, others benign––in an attempt to get participants to focus on our common ground as humans. The questions reach into your conscious, working their way through a system of personality triage that assesses your conscience and perhaps prods in certain directions while doing so.

特定影響。

The result is an entertaining immersive experience that is not nearly as sinister as it might at first appear. Audience members interact with others sitting at computers elsewhere–– participants are required to keep their cameras and microphones on––and it is at each person’s discretion whether they interact with others while in the waiting room. Would it even be possible to forge a meaningful relationship if one were to speak to one’s neighbour here, in the same way you might chat to somebody at the bar during the interval of a “flesh-and-blood” show?

Text 撰文

Oliver Farry 奧利弗．化理

T.M. is the latest in a series of formally radical dramas from a theatre group that push boundaries, tackle the big issues of the day, while giving audiences an improbably uplifting, and thoughtful experience.

ARTS ╳ TECH

HAVE YOU GOT WHAT IT TAKES? 場，着重觀眾與演員之間的緊密互動；此前曾兩度參 與香港藝術節。新作《T.M.》呼應當下的時代環境， 是一個完全以網上形式進行的一對一互動演出，由唯 一的表演者與觀眾進行單獨對話。它所探討的是一個 深陷困境的世界，失實資訊如野火燎原般急速散播， 那些易受影響的人，將被操控在一群懂得如何獲取正 確數據並掌握關鍵要害的人手中。 網絡交流已成為現代人的生活常態一部分，而《T.M.》 為這種交流模式注入了新變化。當中概念非常神秘，一 如其節目名稱一樣耐人尋味，這個「與人類起源同樣古 參與面試的人知道。創作團隊將演出設計成一場極 為互動的「探索性對話」，參與者將參與一個篩選過 程，看看他們是否具備成為「知情人士」的條件。 當中的人格測試將向參與者提出一系列問題，包括選 擇題和開放式題目，有些題目使人不安，有些則相對 溫和；這些問題讓參與者集中思考我們作為人類的共 通之處。這些問題也會進入你的意識，通過一個性格 分類系統來評估你的良知，過程當中或會對意識造成

這是一場有趣的沉浸式體驗，並不如初看時那樣呆 板。觀眾與身處其他地方坐在電腦前的參與者進行互 動，期間必須一直打開鏡頭和麥克風。至於在等候室 的參與者，則可自行決定是否與其他也在等候室的人 交流。劇團希望藉此探討：當一個人能夠在這裏與相 鄰的人談話，是否也能建立一段有意義的關係？就像 我們在現實世界的表演中場休息時，與其他人談天說 地一樣？ 《T.M》是 Ontroerend Goed 一系列形式前衛的劇作 之中的最新作品，它打破了各種界限，探討現今世代 的種種重大議題，同時給觀眾帶來難以言喻的振奮， 以及啟發深思的體驗。

T.M. will be performed online on 26-27 February 2022; 5-6; 12-13; 1920; 26-27 March 2022. 《T.M.》將於 2022 年 2 月 26 至 27 日；3 月 5 至 6 日；3 月 12 至 13 日； 3 月 19 至 20 日；3 月 26 至 27 日在網上演出。

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光影流轉，琴音自「彼岸」迴響

ARTS ╳ TECH

PIANO IN DARKNESS AND LIGHT

© 上海音樂廳

Modern music is fleeting and dazzling, like a kaleidoscope. However, as traditional concepts of pitch, harmony and structure are smashed and cast aside, a looming gap emerges between creativity and aesthetics. As a pianist and piano educator, Yu Xiangjun is committed to harnessing visual effects made possible by new media technologies and turning them into a unique musical medium.

Nirvana – Yu Xiangjun Piano-Hypermedia Concert, the recital series she presented in Shanghai in 2019 and 2020, revitalised piano pieces by Chinese and Western composers from different eras by giving them a new lease of life in a visual feast of light and shadow.

Text 撰文

Jia Haiting 賈海艇 The article originally appeared in Music Lover April 2021 issue and was edited by the editor of the Hong Kong Arts Festival. 原文刊登於《音樂愛好者》 2021 年 4 月 號， 並 經 過 藝術節編輯修訂。

This aesthetic dialogue transcends styles, media, eras and artistic fields, and is presented for the first time in Hong Kong at the Festival. Local audiences are certain to find irresistible this combination of stunning visuals and haunting piano.

現代音樂猶如萬花筒，轉瞬即逝又讓人目不暇給。不 過，隨着傳統音高、和聲、結構的斷裂與失衡，創作 與審美間浮現出一條若隱若現的鴻溝。在此岸與彼岸 之間，我們還能聽到甚麼？俞湘君作為鋼琴教育家、 演奏家，致力將新媒體技術呈現的視覺效果，化作傳 遞音樂的媒介。她於上海舉行過的《彼岸》——俞湘 君鋼琴超媒體音樂會，將多首中外作曲家不同時期的 鋼琴音樂作品配以各種形式的視覺背景，在光影流轉 中為鋼琴賦予新生命。 這場跨越風格、媒介、時代和領域的審美對話，現將 由上海延伸至香港，在今屆藝術節呈現於本地觀眾面 前，透過這場結合裊裊琴音和視覺藝術的精采饗宴， 讓琴聲自「彼岸」不斷迴響。

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Nirvana features piano works by five Chinese and Western composers, spanning various musical periods, including Xu Zhibo’s Vibration of the Heavens, Three Études-Tableaux No.1 & 2 by Shao Qing, Qin Yi’s Fragmented Cloud, John Cage’s In a Landscape and Stravinsky’s The Rite of Spring. New-Media Art Director Da Yan has taken these works as a starting point and combined light and sound in a unique audience experience.

Xu Zhibo, composer of Vibration of the Heavens, describes the concert’s concept: “Nirvana is one of a series of ‘Piano-Hypermedia Recital’ concerts pioneered by the young Chinese pianist Yu Xiangjun, who was trained in Germany. Outstanding Chinese and Western piano music from the modern and contemporary repertoires have been selected for this series. Based on the structural tensions and sonic expressiveness of these musical works, the recital integrates the beauty of piano and the vitality of the media through the prism of contemporary media art, an approach that is both modern and audacious. Presented as ‘Modern Music’, this is an attempt to construct a performance model based on multi-faceted interpretation and secondary creation.”

Taking electronic music as its base, Xu’s Vibration of the Heavens is an exploration of the relationship between people and their living space in its three distinct sections: “light”, “shadow” and “form”. The first two numbers from Three ÉtudesTableaux, a suite for piano and electronic music

by Shao Qing, intends to imitate the brushstrokes of Chinese ink wash painting. Speaking of John Cage’s In a Landscape, Da Yan says: “A mesmerising virtual reality experience can be created from good music. This is particularly evident in In a Landscape, a work for piano or harp by American composer John Cage. It gives you a brief escape from reality, and puts you in a state of tranquillity.” Young composer Qin Yi dedicated Fragmented Cloud to a group of children with hearing impairments. “Their smiles touched us often during our time together,” Qin recalls. “A hearing impairment is not an obstacle to ‘listening’ to music. Music can have a real emotional pull for them because they hear it from the bottom of their ‘hearts’.”

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▼

「人機合一」：一個人的四手聯彈

Steinway’s SPIRIO|r high-resolution player piano makes Yu Xiangjun’s “piano duet for one” come true.

音樂會的重頭戲莫過於俞湘君一人「四手聯彈」的史 達拉汶斯基的《春之祭》。作品由俞湘君與達彥、音

史坦威高解析度自動 演 奏 鋼 琴 SPIRIO|r 讓 俞湘君達成「一人四手 聯彈」。

ARTS ╳ TECH

From Score to Performance, from Auditory to Visual Immersion

響工程總監房大磊合作完成，先以史坦威高解析度自 動演奏鋼琴 SPIRIO | r 錄下俞湘君所奏的聲部，其後 在音樂會現場與機器中的聲音合奏。俞湘君談起這 次嘗試：「四手聯彈考驗的是兩個人的默契，要彼 此傾聽聲音和節奏的細微變化。自己和自己彈，如 果想做到『人機合一』，非常考驗內心聽覺與對音樂 的想像力。」 讓音樂探索延伸至音樂廳以外

© 上海音樂廳

樂譜、演奏、聆聽、視覺沉浸

《彼岸》音樂會的曲目涵蓋五位中外作曲家不同時 期的鋼琴音樂作品 ；《際空之響》、《詩畫三幀 I／ II》、《翳》、《在風景中》和《春之祭》，再由新媒體 藝術總監達彥對音樂線條與強弱起伏進行音畫創作， 讓音樂會變得可聽可看。《際空之響》由徐志博創 作，他曾如此形容音樂會的概念：「《彼岸》是中國青 年鋼琴家俞湘君首創的『鋼琴超媒體』系列音樂會。 該系列選取現代及當代的優秀中外鋼琴音樂作品，立 足於音樂作品內在的結構張力和音響表現力，藉當代 媒體藝術視角，融匯鋼琴之美感和媒介之活態，並試 圖通過富於時代和科技氣息的藝術呈現形式，為『現 代音樂』構建一種多方位闡釋和再創造的演繹模式。」 就徐志博的《際空之響》來看，它以電子音樂鋪墊， 再以「光」、「影」、「形」三段演奏，力求表達作曲 家對人與其生存空間之間的關係探討；邵青的《詩畫 三幀 I/II》是一部為鋼琴與電子音樂而作的組曲，演 出意在模仿水墨畫的筆觸；至於由約翰．凱奇創作的 《在風景中》，達彥認為：「好的音樂本身便可以製 造美妙的虛擬實境體驗，這點在美國作曲家約翰．凱 奇為鋼琴或豎琴而作的《在風景中》中表現得尤為明 顯。它可以在任何時間、地點與心境下讓你跳出周遭 的現實，進入一片安靜。」而青年作曲家秦毅的作品 《翳》，則是獻給一群聽障兒童的作品。秦毅提到： 「在與他們的相處中，他們的笑容經常觸動我們。即 使他們的聽力受損，但這並不阻礙他們擁有一顆『聽 見』音樂的心。音樂之所以打動人心，是因為『心』 聽到了。」

Stravinsky Piano Duet for One

《彼岸》音樂會以一種跨媒介對話的形式，為傳統鋼

The concert culminates in Yu’s performance of Stravinsky’s The Rite of Spring, in a “four-hand” arrangement which she plays solo. This feat was achieved in collaboration with Da Yan and Audio Engineering Director Fang Dalei. One of the two piano parts she pre-recorded on Steinway’s SPIRIO | r high-resolution player piano and it is replayed in concert, serving as the “other half ” of a duet. “In a piano duet, the players have to catch the subtle nuances in sound and rhythm, and the rapport between them is put to the test,” Yu says.

“When playing on my own, however, I have to rely on my inner hearing and musical imagination to accomplish it, to find the place where ‘human meets machine’.”

琴音樂構建了既多方位又具深層次的演繹模式。上海 的《彼岸》系列音樂會經過多次演化，在 2021 年的版 本（又稱「彼岸 3.0」）當中， 除了沿用先前的表演元 素，還在另一空間設置了互動多媒體裝置，使音樂會 現場延伸至音樂廳之外，從而進一步探索作品、演奏 家和觀眾在全新虛擬空間內彼此交流的可能性。這次 在香港的《彼岸》，亦會於香港文化中心平台工作室 設有同樣的多媒體裝置。 在新媒體的助力下，俞湘君每一次的琴弦撞擊都激發 出人類靈魂深處的共振，每一聲樂響均攜着光與熱， 直射藝術的彼岸，淌入人們心間。

Music Beyond the Concert Hall Nirvana is a form of cross-media dialogue which constructs a multi-faceted and thorough interpretation model for traditional piano music. The concerts in Shanghai have evolved multiple times. For instance, the 2021 version— also known as “Nirvana 3.0”—saw a separate display of the interactive multimedia installation in another area, in addition to all the trappings of the previous performances. The display brings the concert out of the concert hall, helping to explore the possibility of interaction between material, performer and audience in a new virtual space. The same multimedia installation will be presented for the upcoming performance of Nirvana in The Hong Kong Cultural Centre’s Podium Workshop.

Combined with new media, every last keystroke of Yu’s resonates in the core of the human soul, touching the hearts of all who hear them.

Nirvana Xiangjun Yu Piano-Hypermedia Recital will be held at Hong Kong Cultural Centre’s Grand Theatre on 24 February 2022. 《彼岸》俞湘君鋼琴超媒體音樂會將於 2022 年 2 月 24 於香港文化中心大 劇院舉行。

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LOCAL PRODUCTIONS ON STAGE 本 地 劇 場 製 作

The bond between performers and audience is one of the inimitable joys of the theatrical experience.

Love Streams is about three women, the choices they make in love, their dilemmas in life and efforts to achieve self-actualisation.

We Are Gay tells a tale of love, desire and disillusion in a circle of upwardly mobile LGBT friends. Miss Julie depicts the decline of traditional power structures in a colonial society. Yat-sen is the story of youth determined to make a change and take pride in their achievements at a critical historical moment. Colossus, meanwhile, is a conceptual contemporary dance performance exploring the pull and influence of individuals and groups, conceived as a microcosm of modern society.

The Hong Kong Arts Festival is proud to present this year these programmes, produced by local performers, with the participation of overseas artists and production teams. Despite the pandemic, we continue to cooperate with international ensembles to bring wonderful performances to Hong Kong audiences.

The shows bring to the Hong Kong stage a variety of worlds and characters, replete with emotion that are certain to be a hit with local audiences, while also providing much in way of reflection. We hope you will find the programmes both stimulating and inspirational, and that the performances resonate beyond the final curtain.

劇場的魅力之一，在於它與觀者之間產生的各種聯繫。 《兩生花》是關於三個女子面對愛情、人生兩難、追 尋真我的迥異態度和抉擇；《我們很快樂》透過同性 戀族群的一個故事，訴說人與人之間的愛與慾和貪嗔 癡；《茱莉小姐》有着對於權力轉換和有關傳統社會階 級的描述；《日新》是一眾年輕角色在面對大時代而 決心作出改變、躊躇滿志的成長故事；還有《無極》，

WHEN DANCE MEETS SONG: A DIPTYQUE OF FEMALE VOICES 從蕭紅到西西 ——舞出《兩生花》

嚴格來說它並非「劇場」，然而這齣概念性極強的現 代舞蹈表演，以靈巧流暢的肢體語言，表現出「個 人」與「群體」之間互相牽制又彼此依存的微妙關係， 說到底也是活在當代社會之中每個人的經歷縮影。 上述都是今屆香港藝術節的本地製作節目，當中不乏 海外團體的參與，即使在疫情影響之下仍然保持交 流，為香港觀眾帶來精采表演。這些節目在舞台上構 築出形形色色的時空，各個角色與其所屬世界固然存 在着聯繫，從而衍生出眼前故事；而舞台下的觀眾， 在欣賞表演的那段特定時空，既彷彿與角色共同經歷 種種，亦往往會聯想到自己或身邊人曾遇上的人事 物，以及帶來的所思所感；我們期望這種「共鳴」與 「同感」，不只存在於身處劇場內的那段時間，而是 直至散場離席，仍縈繞於觀眾心間，生出更豐富的思 考與靈感，開展更寬廣的視野。

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Monica Ng 伍藹然 Monica Ng is an Editor at the Hong Kong Arts Festival.

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伍藹然是香港藝術節的 編輯。

The theme of women battling adversity resounds through Heart of Coral and Women Like Us, two chamber operas previously staged at the Hong Kong Arts Festival, in 2013 and 2021 respectively.

The two operas tell the stories of three women who strive in different times and circumstances, but whose lives are each shaped by the conflicts between love and fate. At the 50th HKAF, these three women will cross paths in a newly reconceived dance opera.

從古至今，「女性」都是藝術創作的靈感泉源。分別 於 2013 年和 2021 年香港藝術節上演的室內歌劇《蕭 紅》和《兩個女子》就是絕佳例子，兩齣歌劇分別演繹 身處不同時代、際遇迥異，卻又同樣在愛情與命運之 中徘徊掙扎的三位女性的故事。來到第 50 屆藝術節， 這三位女性將於舞台上以舞蹈歌劇的形式「重遇」。

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For the music, in addition to expanding the score, which will be performed by a 20-member ensemble, the two composers also made revisions and composed new parts. Lo thinks the music for the new production should evoke a greater sense of scale, in contrast to the 2021 production of Women Like Us. “Chamber opera is more intimate in nature, or you might even call it a bit ‘condensed’.

The previous performance was only an hour long, so I trimmed many of the instrumental interludes.

But this production is a dance opera, and there has to be room for the dance. On the other hand, there are now twice as many musicians in the ensemble.

I want to create more room for their performance, so I have also expanded the instrumental parts.”

Love Streams is choreographed by Yang Yuntao, artist director of Hong Kong Dance Company.

The work opens with Women Like Us, an opera by young composer Daniel Lo, which was adapted from two short stories by Xi Xi. The second half of the work is Heart of Coral, a chamber opera by Chan Hing-yan about the tragic life of the great Chinese modern writer Xiao Hong. Love Streams recounts the fates of women from two disparate eras—the urban ferment of 1990s Hong Kong and the upheavals of Republican China in the 1930s.

Yang has staged many productions that centre on women. He says that has not been deliberate, but rather a by-product of his humanistic artistic vision. If his work is to be examined from the perspective of gender, he thinks there are differences in his approach. “I like to reveal the vulnerability of men. When it comes to women, I am more interested in portraying their resilience.”

In Love Streams, Xiao Hong lives in a turbulent time and has to fight for survival, while remaining true to her quest for love. In Xi Xi’s fiction, the women seem settled in their lives of comfort, but they nurse profound hesitations or even choose to compromise in the face of love. There is no question about Xiao Hong’s resilience. What about Women Like Us? “I think the women in Xi Xi’s stories torture themselves in a way, but it is a reflection of women’s longing for love,” Yang says.

As he sees it, it is a kind of resilience.

Expressing these two different kinds of female resilience through dance presents a challenge.

“The world of Xiao Hong is both vast and barren.

舞蹈歌劇《兩生花》由香港舞蹈團藝術總監楊雲濤擔 任編舞，以《兩個女子》掀起序幕，這個以西西兩篇 短篇小說改編的歌劇，是年輕音樂家盧定彰的近年新 作。下半部則是陳慶恩的歌劇作品《蕭紅》，從香港 的九十年代回到四十年代動盪的中國，《兩生花》是 兩代女性命運的交叉相遇。 楊雲濤曾將許多以女性為題材的作品搬上舞台，他笑

音樂方面，除了擴大音樂編排至二十人樂團兩位作曲 家亦作出了修訂及重寫，盧定彰表示這次的樂曲改 動，有部分是受到楊雲濤的啟發：「他跟我談及舞蹈 需要較充足的音樂長度來發揮。」他也認為對比 2021 年的《兩個女子》，這次的音樂需要給人更宏大的感 覺。「室內歌劇本來就較 intimate，甚至可以說為 『濃縮』。上次的演出只有一小時，所以我把許多純 音樂的間奏部分刪走，但這次既為舞蹈歌劇，要為舞 蹈給予空間。另一方面，樂隊人數也多了一倍，我想 讓他們多發揮一些，因此也擴展了純音樂的部分。」

LOCAL PRODUCTIONS ON STAGE

Xi Xi’s stories zoom in on everyday life and its hidden crises,” Yang says. “My work revolves around this atmosphere, and it is complemented with the use of lighting and stage elements. Text, music and lyrics are relatively concrete things. By comparison, dance employs physical language.

This quality embodies messages and emotions that cannot be conveyed through figurative language, and it opens up a wider emotional space for the audience.”

陳慶恩在華語歌劇創作上經驗更多，同時也是盧定彰 的恩師。「室內歌劇《蕭紅》畢竟已經是九年多前的 作品，期間我創作了另外兩齣歌劇，還有不少聲樂作 品，對音樂如何與華語這種單音節多聲調的語言結 合，有了很多不同的看法。因此當藝術節提出重排 《蕭紅》時，我已決定重寫部分段落。起初的想法是 大概重寫三成，不料牽一髮動全身，現在差不多重寫 了九成。」

Chan Hing-yan has more experience in making Chinese-language opera, and he is also a mentor to Lo. “Heart of Coral was written nine years ago,” he says. “Since then, I have written two other operas and various works of vocal music. I have many new ideas about how to combine music and Chinese, a monosyllabic and polyphonic language. So, when the HKAF approached me about rearranging Heart of Coral, I had already made the decision to rewrite certain parts. At first, I thought I would rewrite

言自己並非故意為之，對他來說，「人」才是根本。 若真要以性別來探討，他認為是切入點不同。「我喜 歡展示男性的脆弱，反之對女性，我更喜歡表達她們 剛毅的一面。」在《兩生花》當中，蕭紅活於大時代， 面對的是基本生存問題，然而她始終忠於愛情；西西 筆下的女子，生活貌似無憂，對於愛情卻是百般掙 扎，甚至選擇妥協。蕭紅的剛毅毋庸置疑，那麼《兩 個女子》又如何？「我認為西西故事中的女子，雖然 帶點自我折磨，然而那不過是展示女性對情感的訴 求。」在他眼中，這也是一種剛毅。 談到如何透過舞蹈來演繹出這兩種不同的女性剛毅， 他說：「蕭紅的世界是宏觀而荒涼的，西西的故事是 微觀而日常，當中醞釀着危機。我的創作會圍繞着這 種氛圍，還會加上燈光等舞台元素來配合。不管是文 本、音樂還是歌詞，都是較為實在的載體。相比之 下，舞蹈以肢體語言作為表達方式，這種不具象的特 質，彌補了具象載體無法傳遞的訊息和情感，讓觀眾 有廣闊的感受空間。」

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about 30 per cent of the score. But the creative process took on its own momentum, and about 90 per cent of the work has been rewritten by now.”

For Lo, presenting opera in the form of dance is a novel gambit and one that opens up fresh possibilities for the genre. “A work of art is a living thing that is constantly evolving,” he says. “This work will be a new experience, even for people who saw the original chamber opera.” Chan says he has confidence in the new production, and he believes dance opera is a more approachable form of expression than chamber opera. Furthermore, the life of Xiao Hong, with its tragic twists and turns, was highly dramatic.

對於歌劇以舞蹈的形式呈現，盧定彰認為「藝術作品

Yang considers the relationship between the performing arts and audiences to be one unique to everyone watching. “When a spectator watches a performance on stage, there is a connection between them and the performer. They are in a space that exists only between the two of them; it is an exclusive and unique space. That is why a performance resonates differently with every audience member. There are no answers to many things in life, but we find a release in the arts. It is a release that happens both onstage and off.”

有很多事情是沒有答案的；然而透過藝術，我們獲得

A TALE OF JEALOUSY, SUSPICION AND MURDER

本身是『活的』，總在不斷 evolve，即使是已看過室 內歌劇版本的觀眾，這次對他們來說也是一次全新體 驗」。陳慶恩亦表示充滿信心，他相信舞蹈歌劇的表 現形式應該會比室內歌劇更容易欣賞，更何況蕭紅不

©Michael CW Chiu

亂世重塑《我們最快樂》

幸的一生本身就極富戲劇性。 楊雲濤則表達了他對於表演藝術與觀眾之間關係的看 法：「當觀眾在欣賞舞台上的表演時，他與表演者之 間是有聯繫的，他們存在於一個只屬於兩者之間的空 間，那是唯一的、獨特的；所以每位觀眾都會有不盡 相同的感動。」他的語氣帶點感嘆：「在現實生活中， 了釋放。而這種釋放，是台上的，也是台下的。」

Jockey Club Local Creative Talents Series Dance Opera Love Streams will be shown at the Hong Kong Cultural Centre’s Grand Theatre from 25-27 March 2022.

The programme is solely sponsored by The Hong Kong Jockey Club Charities Trust 賽馬會本地菁英創作系列舞蹈歌劇《兩生花》將於 2022 年 3 月 25 至 27 日 在香港文化中心大劇院上演。 演出由香港賽馬會慈善信託基金獨家贊助

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Tinny Cheng 鄭天儀

© Vincent Ip

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Tinny Cheng is an arts and culture journalist, and owner of Tai Yip Art Bookshop. 鄭天儀是資深文化寫作人 及大業藝術書店店主。

The play We Are Gay was expected to debut in the 2020 Hong Kong Arts Festival but had to be cancelled due to the outbreak of the pandemic.

In its 2022 premiere, the work is presented as a newly rehearsed and designed version.

《我們最快樂》原意於 2020 年藝術節首演，但疫情

“What does the story mean today? What matters most is that although the numerous adult scenes and taboos—be they sex, deception or bullying— are supposed to be prohibited in a ‘clean and harmonious society’, they can still occur in Hong Kong.”—Candace Chong, playwright

「呢個故仔在當下做有乜意思？最大意義是：裏面好

When interviewed in 2019, a pregnant Candace Chong said she was conducting numerous interviews and background research for We Are Gay. There was a strange disconnect between pregnancy and working on a convention-breaking story of a love triangle and murder. And then Hong Kong was turned upside down with social unrest in the months that followed.

We Are Gay tells the story of Sheng (Yau Hawksau), a shy handsome swimming coach, and his lover Philip (Leung Chung-hang) who descend into a spiral of suspicion and jealousy due to the interference of Neil (Cheung Kam-ching). This

瞬間爆發，當時已完成排練的創作最終被迫取消。 2022 年首演的《我們最快樂》，是全新排練及設計的 新版本。

多成人情節、世俗眼光不道德的層面，無論是性、欺 騙與欺凌，若在和諧與潔淨的社會是不容呈現的，而 香港依然可以上演，就是一件事。」──編劇莊梅岩 上次因舞台劇《我們最快樂》（下簡稱《我》）訪問編 劇莊梅岩時，她腹大便便的在做大量同志訪問和研 究，很難想像，2019 年懷着天使般的方包（莊梅岩 小女兒的暱稱）時，她嘔心瀝血所寫的是一個挑戰尺 度、有關男同志三角戀的情殺故事；更難想像香港將 變得面目全非。 《我》講述青澀美少年游泳教練阿生（游學修飾演）， 與戀人 Philip（梁仲恆飾演）的關係在 Neil（張錦程飾 演）的介入下陷入了猜疑、曖昧、利益與愛慾的掙扎， 繼而牽涉一宗同志圈的離奇命案，在金錢、地位、嫉妒 中角力，他們怎樣在迷惘的時代爭取快樂？

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Cheung Kam-ching as Neil 張錦程飾演 Neil

©Michael CW Chiu

Yau Hawk-sau as Sheng, a shy handsome swimming coach

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游學修飾演游泳教練 阿生

in turn gets the lovers implicated in a mysterious murder in the gay community. Chong’s play examines the characters’ yearning for happiness while struggling with the challenges of money, status and jealousy.

「現在談諷刺時弊都太沉重，或許用當代喜鬧劇手法

“Perhaps only a contemporary farce can reflect the absurdity of reality, given that satire is deemed too heavy nowadays,” Chong says.

“The play investigates equality and the validity of relationships, which seems unrelated to contemporary society.”

《我》為第 48 屆香港藝術節的重點節目之一，原定

Expected to be one of the highlights of the 48th Hong Kong Arts Festival in 2020, the performance of We Are Gay was called off due to the pandemic. “So much happened over these years and it all came to nothing,” Chong says.

“Still, this sequence of events prompted me to change certain scenes for the current production.

What remains unchanged is to look at human nature in terms of love, desire, money, power and jealousy.” For Chong, it was important to respond to societal changes by revising the work.

“Why do we have to do this play now? To find the answer, I keep asking myself: will we still be able to do it in the future?” Chong says. Lau Chun-him was originally cast to play Philip but is now unable to take part due to scheduling conflicts so Leung Chung-hang has stepped in. Chong says he’ll be a more than adequate replacement. “I am grateful to have met Leung. He is a soulful actor and just right for the role.”

“The play explores human nature and also wider subjects: the various life choices made by the characters reflect the current social environment and conditions—the 2022 performance will reflect these.” —Tong Wong, director

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Director Tony Wong says Chong’s changes to the script, made in light of the social movement and the pandemic, mean the current story is livelier than its 2019 version. With a background in physical theatre, Wong presents the human psyche embedded in the script through bold

physical movements. “The ‘form’ is romantic,” he says, “with ample room for imagination, which is a sensual yet modest medium. When theatre is supplemented with physical design, the script is no longer straightforward textual narration, but a more meaningful and layered text, given that what happens onstage inspires free association in the audience.” Wong adds that the 2022 version is a newly rehearsed and designed production, in which he tries using a bold method for arranging performances for the first time. In doing so, he hopes to rethink the reality of the drama and to narrow the gap between stage and audience.

Chong says she and Wong came up with the title We Are Gay together: “We loved the book Nothing to Envy: Ordinary Lives in North Korea by the American journalist Barbara Demick, whose Chinese title is We Are Happy, which conveys the sense of self-deception the book outlines.

It prompted us to name the play We Are Gay as it revolves around killing for love, torture and deception.”

才能映襯出現實的荒誕。《我》探討一段關係裏的平 等和合法性，與當前的社會看似無關卻有關。」莊梅 岩說。

於 2020 年上演，無奈因疫情取消。「這兩三年發生 太多事，一切都唔重要。但正正因為發生了種種事， 如今正式公演，某些情節我覺得需要修改；但沒變的 是愛情、慾望、金錢、權力、嫉妒和誘惑的人性探 討。」莊梅岩堅信，修改作品回應社會，是重要的事。 「為甚麼現在要做這個劇？要找到答案，我會不斷自 問：未來是否還可以做？」當初原定飾演主角之一的劉

▼ Leung Chung-hang as Philip

俊謙，因為檔期問題現在無法參與，易了角為梁仲恆。

梁仲恆飾演 Philip

Chong feels that a compulsion to respond to current events has made the play sharper.

“Although theatre is a kind of collaborative creation with common commitment, brilliant works stem from artists’ true thoughts.”

Meanwhile, for Wong, the pandemic has allowed him more introspective time to create, and to rethink the meaning of theatre in the current context, the possibilities of theatre, and audiences’ very reasons to attend shows.

©Michael CW Chiu

莊梅岩談到，《我》的劇本概念，來自多年前做資料 搜集時一次難忘的面訪，劇名則是與黃龍斌一起推敲 出來。「很喜歡《我們最幸福：北韓人民的真實生活》 一書，裏面情節的諷刺與自欺欺人達到了恐怖級別。 於是我們便把這個關於情殺、折磨、欺騙的故事命名 為《我們最快樂》，算是一種反諷。」 對於未來創作的期許，臨上機到美國愛荷華州進修一 個月的莊梅岩說：「縱使戲劇是群體合作，由大家一 起去承擔，但也要忠於藝術家真實的諗法，才可以做 到好的作品。」黃龍斌則直言，疫情讓自己有更多時 間發酵及沉澱創作，也讓他重新反思劇場在當下的意 義、劇場空間的發展可能，以及觀眾進入劇場的目的。

「原是度身訂造的角色，我感恩遇到阿炳（梁仲恆）， 他也是有靈魂的演員，是很合適的人。」莊梅岩說。

“The play explores human nature and also wider subjects: the various life choices made by the characters reflect the current social environment and conditions—the 2022 performance will reflect these.” —Tong Wong, director

「《我》不再只是探討人性，議題和方向更為宏觀︰ 透過角色在人生道路上的各種選擇，反映當下的社 會環境和狀況，2022 年的《我》會有更多對社會的回 應。」——導演黃龍斌 導演坦言，經歷過社會運動和疫情，莊梅岩對《我》

「《我》不再只是探討人性，議題和方向更為宏觀︰透過角 色在人生道路上的各種選擇，反映當下的社會環境和狀況， 2022 年的《我》會有更多對社會的回應。」

劇本進行的修改，令筆下的故事比 2019 年版本更有 血有肉。黃龍斌擅長形體戲劇，透過大膽的肢體動作 呈現劇本刻劃人心的文字。「『形體』是浪漫的，當中

—— 導演黃龍斌

充滿想像和幻想空間，是感性而委婉的媒介。當劇場 輔以形體設計後，劇本上的文字不再是直白的表述， 觀眾可自行聯想台上發生的事，賦予文本更多意義和 層次。」他表示，2022 年的《我》是重新排練和設計 的製作，舞台上的處理手法是他首次且大膽的嘗試， 期望透過今次演出，反思劇場的「真實性」，拉近舞 台與觀眾之間的距離。

We Are Gay will be shown at the Hong Kong Academy for Performing Arts’ Lyric Theatre from 19-20, 22-27 March 2022. 《我們最快樂》將於 2022 年 3 月 19 至 20 日、22 至 27 日在香港演藝學院 歌劇院上演。

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©Michael CW Chiu

▼

《茱莉小姐》中的激情與角力 Miss Julie’s original playwright August Strindberg 《茱莉小姐》原著編劇 奧古斯特．史特林堡

The Hong Kong Arts Festival and Singapore Repertory Theatre’s coproduction of Miss Julie transposes August Strindberg’s daring 1888 psychological drama Miss Julie, about an illicit, destructive, doomed love between a male servant and his master’s daughter to British colony Hong Kong during turbulent times in the 1940s.

《茱莉小姐》由香港藝術節及新加坡話劇團聯合製

Hong Kong-born playwright Amy Ng’s adaptation of August Strindberg’s Miss Julie takes place in British colony Hong Kong at a particularly momentous time. It is February 1949 – the city and its British colonial population are still recovering from war and occupation, which saw them in the unusual position of being the oppressed, locked up in internment camps. The local Chinese population is getting increasingly restive and refugees flood in from China as the Civil War enters its decisive phase.

這個版本由香港劇作家吳翠茵改編，背景設定於英國

Over the course of Lunar New Year, which in this year happened to coincide with Ash Wednesday, the titular Miss Julie, the daughter of a rich colonial banker, has a potentially ruinous fling with the manservant John (renamed from Jean in the original). Strindberg’s play, written in 1888, has been recast many times in new locations and contexts, and the one Ng has chosen gives it a new layer of racial tension to accompany the class-based ones of the original.

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Oliver Farry 奧利弗．化理

Ng Ping Choon, a Singaporean theatre director who has been working in London for nearly two decades, will direct this multiracial Hong Kong/ Singapore co-production. He was particularly

作，改編自奧古斯特．史特林堡寫於 1888 年、破格 大膽的同名戲劇，講述一個註定悲劇收場的故事：動 盪的 1940 年代，在英國的殖民地香港，貴族小姐與 男僕之間的禁忌之戀。

的殖民地香港，時期亦相當特殊 —— 1949 年 2 月， 當這座城市及其英國殖民者正忙於從戰爭和被佔領中 復元，這些英國人的遭遇與往昔不可同日而語，他們 曾經被關押在拘留營裏，成為被壓迫的一群。當年香 港的中國人躁動不安，大量難民從中國湧入，以躲避

attracted to the project by the fresh spin Amy Ng put on the play. “Amy’s version inflects the class struggle in Strindberg’s original with race and post-colonialism,” he says. “I think the post-war setting in Hong Kong (and similarly Singapore) gives us vivid opportunities to dramatise these inflections.” The post-war setting allowed the class tensions to be thrown into relief in an unusual way, given the local colonists, who had themselves been roughed up in the war, have a new-found vulnerability and their prestige has faded, something Amy Ng thinks mirrors the Sweden of Strindberg’s day, where old orders are beginning to fray but heavy sanctions still await those attempts to transgress them.

Amy Ng admits to having to overcome initial misgivings to adapt the play, finding Strindberg’s version “irredeemably misogynistic” and the characterisation somewhat two-dimensional.

Ng set to redressing this imbalance by having her Julie a former wartime internee. “I feel in a way it gives her extra empathy with John––she knows what it’s like to be put upon,” Ng says. “So I felt that was a basis for a real understanding between the two characters.” She also felt that the play’s tragic arc needed a foil, and found a readymade one in the play’s third character, the cook Christine, who is also John’s lover. “I built up the Christine character as an alternative centre, as another female character who has agency and goes on a really different journey, the only character who changes really in the course of this night.”

Still, Strindberg’s original text, for all its problems, has a robustness that still resounds more than 130 years after it was first produced, and the director finds it especially fertile material, even on the contemporary stage. “I love that the larger power struggle is played out through the specifics of a sexual relationship – a rich source of drama,” he says. “I think the best plays have visceral human stories that carry wider thematic ideas.”

緩解，因為殖民者自身亦受到戰爭摧殘，軟弱之處 被暴露，使他們原來的威望逐漸消亡。吳翠茵認為 這種狀況跟史特林堡時期的瑞典如出一轍——舊有 秩序開始瓦解，然而試圖違反舊秩序的人們，仍會 受到嚴重處罰。

LOCAL PRODUCTIONS ON STAGE

PASSION PLAY

吳翠茵坦承初期要克服種種改編此作的疑慮，她認為 史特林堡的原版「無可救藥地鄙視女性」，對人物的 塑造亦不夠立體。為解決這種失衡情況，她把茱莉設 定為戰時被拘留的囚犯：「這個設定讓茱莉能夠與約 翰共情，她明白被人使喚是甚麼感受。我認為這樣能 為兩個角色建立真正互相理解的基礎。」此外，吳翠 茵認為劇作的悲劇故事線需要一個反襯，而原著的第 三個角色克莉絲汀正好提供現成的素材。克莉絲汀是 大宅的廚娘，亦是約翰的情人。吳翠茵解釋：「我把 克莉絲汀塑造成劇本的另一個中心，她是另一位能推 進劇情的女性角色，與茱莉走向截然不同的道路。她

日趨白熱化的內戰。

是唯一在當晚作出改變的人。」

故事當中的這一年，農曆大年初一剛好也是天主教的

史特林堡的原著雖然有着各種問題，但仍瑕不掩瑜。

聖灰日；富有的英國銀行家之女茱莉小姐大膽挑逗並

作品的首次製作發表已是一百三十多年前的事，至今

引誘男僕約翰（原著角色名為 Jean），而此舉將導致

依然迴響不絕。導演黃俊彬認為劇本提供豐富的戲劇

潛在的毀滅性後果。史特林堡的原著劇本創作於 1888

素材，即使搬到現代舞台依然適用：「作品透過對性

年，曾經過多次搬演和改編。吳翠茵的改編除了保留

關係的具體描述，帶出規模更深層次的權力鬥爭，

原著刻畫的階級衝突，更加添一層種族矛盾的主題。

這些都有助營造戲劇效果。」他補充：「我認為出色 的戲劇必須具備豐富的人性故事，用作承載更廣闊

在倫敦工作接近二十年的新加坡戲劇導演黃俊彬，將

的主題。」

執導這齣由香港和新加坡聯合製作的談及跨民族戲 劇。他深受吳翠茵對劇本的嶄新詮釋所吸引，認為 「吳的版本把原著中的階級衝突，結合種族和後殖民 主義議題」。他又補充：「香港（和新加坡）的戰後環 境給予我們充足的改編空間，得以將這些矛盾加以 戲劇化。」戰後環境使階級衝突以不尋常的方式得到

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The play is also rich with symbolism. Strindberg set it on Midsummer’s Night, Scandinavians’ most treasured holiday and, crucially, the following morning is St John’s Day, when revellers go to church to repent for their excessive cavorting of the night before. The serendipitous alignment of Lunar New Year and Ash Wednesday also gave the play an extra thematic layer. Even if Amy Ng says that they don’t exactly track with the carnivalesque nature of Midsummer’s Night, the alignment also came embedded with a certain dramatic tension. “I thought it would be interesting if the festivities bit was Chinese and the penance would be Christian and Western,” she says, “to highlight it as a competing source of meaning and obligation. And, of course, Ash Wednesday is all about death, which is a huge taboo in Chinese culture. So this just heightened it.”

此外，《茱莉小姐》亦隱含豐富的符號意象。史特林

Amy Ng believes the play will strike a chord with Hong Kong audiences, with a rising interest in the city’s history, particularly during the colonial period. This is something that Ng Ping Choon has also observed of his native Singapore, and he believes that “a complicated mix of nostalgia and resentment will colour individual responses to the production”.

黃俊彬亦在其出生地新加坡觀察到同樣的情況，他相

堡把背景設於仲夏夜，是斯堪的納維亞人最重要的節 日，更值得一提的是，翌日早上正是聖約翰節，狂歡 者一夜放縱後，將前往教堂懺悔。在這次的改編當 中，農曆新年和聖灰日剛好是同一天，為劇本添上多 一層意義。雖然吳翠茵表示他們並沒有特別營造原著

THE MUSICAL REVOLUTION OF SUN YAT - SEN

孫日新唱歌起義

中仲夏夜的狂歡氣氛，但農曆新年和聖灰日的巧合， 為劇本帶來戲劇張力：「如果節慶的部分是中式，而 懺悔的部分是基督宗教和西式，感覺會很有趣。這樣 能夠凸顯意義和責任上的衝突。此外，聖灰日是象徵 死亡的節日，而死亡在中國文化裏是重大禁忌，這一 切都加強了戲劇效果。」 隨着香港觀眾對本土歷史（特別是殖民地史）興趣日 增，吳翠茵相信《茱莉小姐》能夠引起他們的共鳴。 信「懷舊和怨恨相互糾結的複雜情感，會令觀眾對作 品的感受更為豐富多彩。」

©hiro gazo

It is not easy to create a brand-new musical. One, the creative team is huge; two, the rehearsal period is longer than usual—and production schedules for performing arts programmes in Hong Kong are already tight. Rarely does a show take as much time to create and refine as Yat-sen, which took over three years.

Written in 1888, Gustav Strindberg’s Miss Julie takes place on a country estate in the author’s native Sweden.

Despite the play’s groundbreaking naturalism, it has been staged and filmed numerous times in different settings and historical contexts across the world, such as Peronist Argentina, post-war Britain, 1964 Mississippi, 19th-century Ireland, contemporary Russia and presentday South Africa. The play’s themes of class conflict and social climbing have proven remarkably pliable, as is the case with Amy Ng’s latest version, set in the British colony Hong Kong in 1949.

The photo above was taken during the first production of Miss Julie at The People’s Theatre, Stockholm in November 1906. 《茱莉小姐》是奧古斯特．史特林堡於 1888 年寫成的作品， 故事設於史特林堡的故鄉瑞典一座位於郊外的莊園裏。儘管 該作是一部開創性的自然主義作品，但曾被多次改編成舞台 劇及電影，被套用於各式各樣的設定和歷史背景之中，包括 貝隆主義時期的阿根廷、戰後英國、1964 年的密西西比州、 十九世紀的愛爾蘭、當代俄羅斯及現今的南非。作品探討階級 衝突和在社會階梯等主題，可塑性甚高。這次吳翠茵的最新版 本，便是將故事設定於 1949 年一個位於英國的殖民地香港。 上圖為 1906 年 11 月《茱莉小姐》在瑞典人民劇場上演的劇照。

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Ho Siu-bun 何兆彬 Miss Julie will be shown at the Hong Kong Cultural Centre’s Studio Theatre from 17-27 March 2022. 《茱莉小姐》將於 2022 年 3 月 17 至 27 日於香港文化中心劇場上演。

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Ho Siu-bun is a journalist and editor. 何兆彬是記者、編輯及 傳媒人。

The musical Yat-sen has been in the works since 2019. Composer and music director Peter Kam kicked off the process, followed by lyricist Chris Shum, playwright Sunny Chan and director Tang Wai-kit, who together constitute the core creative team bringing the story of young Sun Yat-sen to the stage. In March 2021, the show was presented as a work in progress, and the creatives incorporated audience feedback into the redrafting process. The full production will be presented at the 50th Hong Kong Arts Festival in 2022. “We were very excited to see the first act, but because it is quite long, we continued to explore ways to tighten it dramatically," says Kam. “Presenting the show in a workshop during its first year was actually ideal for the creative process, because a musical requires slow and careful creative process.” After two years of preparation, the creative team was able to revise and refine the script and the music, and the actors had more space to internalise and interpret their roles.

創作一齣全新的音樂劇並非易事，其一，創作團隊龐 大；其二，排練時間較長，而且香港表演藝術節目的 製作時間向來緊迫，鮮有劇目能像《日新》一樣，可 以花上三年多的時間創作及打磨。 音樂劇《日新》自 2019 年開始創作，首先開動的是 作曲及音樂總監金培達，隨後作詞的岑偉宗、編劇陳 詠燊，以及導演鄧偉傑加入成為核心創作團隊，將年 輕孫中山的故事搬上舞台。今年 3 月，劇作以工作坊 形式展演，各主創聽取觀眾意見，加以修改潤飾後， 將於 2022 年第 50 屆香港藝術節上演完整版本。金 培達道：「看完第一幕很興奮，之後我們繼續檢討， 因為第一幕較長，我們一直在構思怎樣加強其追看 性。第一年以工作坊形式表演，其實是理想的創作模 式，因為要做音樂劇就要慢工出細貨。」經過兩年時 間的醞釀，創作團隊可以細緻推敲劇本和製作音樂， 演員亦能有更多空間消化及詮釋角色。

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The Difficulty of Historical Musicals Theatre veteran Tang Wai-kit is the director of the full version of Yat-sen. He is an experienced director of musicals, but this is his first time creating a musical based on a historical figure.

“The musical tells the story of the obstacles confronting young Sun Yat-sen as he sought to overthrow the corrupt Qing dynasty, as well as his and his friends’ exhaustive attempts to solve the problems thrown up by family and social conflicts. The story also shows how a young man can get back on his feet and make his own way when he encounters setbacks.” Tang highlighted the fact that the playwright borrowed plot elements from the quest to obtain Buddhist scriptures in Journey to the West, which creates an interesting analogy to Sun Yat-sen’s experience.

“The story is not so much about the revolution itself, but about against politician grappling with his own thoughts to find out what he actually wanted!”

In the first act, the audience experiences Sun Yat-sen’s development through the eyes of his good friend Luk Ho-tung. Here Sun is a hero who wants to heal his country, but in the second act, the emotional focus shifts to Sun’s life and his experiences in exile, his spiritual struggles and his reflections on the purpose of life. “He feels guilty about the sacrifices of his brothers-in-arms, but despite this moment of doubt, he emerges more determined than ever. The first act starts off from a third- person point of view, while the second act consists of Sun’s own reflections. This difference is reflected in the music and performance.”

歷史音樂劇的難度

資深劇場導演鄧偉傑是《日新》完整版的導演，他執 導音樂劇經驗豐富，但創作以歷史人物為主的音樂劇 卻是首次。「劇本主要以孫中山的少年時代作為故事 骨幹，他在決心推翻腐敗清朝時遇上很多困難，跟朋 友們想盡辦法，應對家庭及社會制度上的問題。當中 也看到一個年輕人遇到挫折時，怎樣重新站起來，走 出自己的路。」鄧特別提及編劇於劇中借用《西遊記》 裏面取西經的情節，用作對比孫中山的經歷，此舉相 當有趣。「這個故事主要描寫的不是起義過程，而是 國父在背後思考自己到底想得到甚麼！」 第一幕，觀眾從陸皓東眼中看好友孫中山的成長，孫 是個渴望想把國家治好的英雄；但第二幕則講述孫中 山流亡海外的一段生死經歷，情緒逆轉，着重描寫 他反省人生目標的靈魂掙扎。「他正為兄弟的犧牲懊 悔，雖曾有一刻猶疑，但因為這段日子才變得更堅 定。第一幕由第三者出發，第二幕是孫中山自己的反 思，兩者在音樂和表演上都大為不同。」 《日新》以音樂劇形式於舞台上演繹一代歷史人物， 此舉對於創作團隊及演員來說無疑是個大膽嘗試。 「做偉大歷史人物音樂劇最困難的是當中既有正史， 又有野史，取材跨度很闊，編劇需要篩選適合的內 容。加上此劇由孫中山的成長一直寫到革命前夕，無 論服裝、背景和舞台陳設都非常講究。」音樂劇製作 繁複，歌詞由岑偉宗創作，音樂由金培達負責，幕前 則要靠演員演繹。鄧對演員有一套獨特要求：「我一 直着重身體的表達，所指的不是演員的動作要多，而

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Constantly adding and subtracting in the quest for improvement

不斷增減 精益求精

歷經三年多的時間製作，創作團隊之間的合作火花更 為強烈。金培達說：「我們經常討論劇中歌曲，有時 會調換次序，我甚至主動要求加歌。」陳詠燊：「很 喜歡這團隊，因為大家都精益求精，甚至肯狠下心 腸，丟棄自己的心血。有些場口我寫了幾天，但為了 整體着想，最終全部丟掉，同樣情形也發生在其他創 作者身上。」 第一幕已經以工作坊呈現過，觀眾該怎麼期待完整 版？陳詠燊：「我們在這個表演裏做實驗，第一和 第二幕無論在形式、故事、人物設計上都有頗大分 別，其實就像兩齣戲！」金培達笑說：「它們就像兩 種不同國家的菜餚，好比麻辣火鍋和日本壽司。」岑 偉宗：「第一幕是正劇，第二幕會後現代一點！」幾 位創作人的合作相當愉快，對於完整版《日新》，大 家最期待的還是觀眾可會喜歡？鄧導：「我們都很好 奇，大家對於音樂劇中，又演又唱的孫中山會有甚麼 感覺？」

The collaboration between the creatives has gone from strength to strength throughout the three years of production. “We often discuss the songs in the musical, sometimes switching the order of songs, and I even asked for additional songs,” says Kam. Chan adds, “I like this team because they are all dedicated to excellence and are even willing to kill their darlings. I ended up discarding scenes that took me days to write for the sake of the whole. The same thing has happened to the other creatives.”

©hiro gazo

The first act has already been presented in a workshop. What should the audience expect from the full version? “We are experimenting in this production— Acts 1 and 2 are quite different in terms of form, story and characterisation, to the extent that it feels like two different plays,” says Chan. “They are like two different national cuisines; like spicy hot pot and Japanese sushi,” laughs Kam. Shum explains: “The first act is the main drama, whereas the second act is more postmodern.” The collaboration between the creatives has been a happy one, and they fervently hope that the audience will enjoy the full version of Yat-sen. “We are curious to know how people will feel about an all-singing, all-dancing Sun Yatsen,” says director Tang.

Jockey Club Local Creative Talents Series Musical Yat-sen will be shown at the Hong Kong City Hall’s Theatre from 11-13, 15-20 and 2227 March 2022.

The programme is solely sponsored by The Hong Kong Jockey Club Charities Trust

是如何透過身體營造戲劇衝突，演員情感表達亦要收

賽馬會本地菁英創作系列《日新》音樂劇將於 2022 年 3 月 11 至 13 日、15 至 20 日、22 至 27 日在香港大會堂劇院上演。

放自如，恰當地表現角色的心理狀態。至於如何以動

演出由香港賽馬會慈善信託基金獨家贊助

作表達感情，當中便須要編舞家從旁協助。」鄧導說。

LOCAL PRODUCTIONS ON STAGE

©hiro gazo

For the creative team and actors, presenting a generation of historical figures through a musical was a bold experiment. “The greatest difficulty in creating a musical about a great historical figure is that there are both official and unofficial histories, which means that the sources are extensive, and the playwright needs to be highly selective. The script follows Sun Yatsen from his youth to the eve of the revolution, and the costumes, backdrops and stage settings are all very elaborate.” The musical is a complex production, with lyrics by Shum and music by Kam, which will be brought to life by the actors.

Tang makes unique demands of his actors: “I always emphasise physical expression, which does not mean that actions need to be big, but that actors embody dramatic conflicts through their movements. Actors have to express their emotions with ease and find the appropriate form for the psychological states of the characters. As for how to express emotions through movement, this is where we need choreographers.”

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疫情下的《無極》奇蹟

the beauty and ugliness of crowd behaviour,” she explains. “It’s also looking at the grand cycles of nature, the patterns in the natural world; and seeing humans as part of that.”

當中的一分子。」 《無極》表現的是個人與群體之間的關係。「群體的 形成與團結，是大多數人合力而成的；但當有人採取

The essence of Colossus lies in the relationship between individuals and the mass. “The group unifies with things happening through strength in numbers,” says Lake. “But then an individual takes an action that steers the group in a new direction and the mass either turns on them or joins in. Sometimes the group is like a beautiful flock of birds or leaves on a tree, but at other times an individual figure stands out because it was important to me that the humans within Colossus become more than just abstract forms and that the audience connects with them.”

不一樣的行動，將群體引往一個新方向，整個群體要

To recruit the numerous dancers required for this ambitious work, the Festival initiated a partnership with the Hong Kong Academy for Performing Arts (HKAPA). Anna CY Chan, Dean of the School of Dance at the HKAPA had no hesitation in accepting the invitation. “It has been interesting for our students to learn the new mode of making productions remotely and it is a great honour for the School of Dance to be part of the 50th Anniversary of the Hong Kong Arts Festival.” Around 60 dance students will be drawn from all three of the School’s streams— ballet, contemporary and Chinese traditional dance—affirming Chan’s unifying crossdisciplinary ethos for the School.

們的學生而言，學習以遙距方式製作節目，是相當新

Lake relishes this new challenge: “It’s a beautiful thing because Colossus takes on so much personality from individual dancers. I don’t want it to be a cookie-cutter replication every time. I love the unpredictability of different interactions with the dancers because it’s not controllable

不反對他們，要不就加入其中。有時候，群體就像一 群美麗的雀鳥或是樹上的葉子，但也有一些時候，一 個個體的形象會變得格外出眾，因為對我來說，《無 極》內的人不僅是種抽象形式的代表，觀眾是可以與 他們建立聯繫的。」

LOCAL PRODUCTIONS ON STAGE

THE PANDEMIC MIRACLE OF COLOSSUS

要為這個極具野心的作品招募舞者，藝術節特別邀請 香港演藝學院（演藝）開展合作，而演藝的舞蹈學院 院長陳頌瑛當時毫不猶豫就接受了這個邀約。「對我 奇有趣的製作模式，而且能夠成為香港藝術節 50 周 年的表演節目，舞蹈學院亦深感榮幸。」有份參與的 大約六十位舞蹈學生，將會是來自學院全部三個專修 科目：芭蕾舞、現代舞及中國舞，體現了陳院長為學 院訂定的跨學科融匯精神。 對於香港版《無極》，雷克無懼面對這個新挑戰：「這 是一個美麗的創作，因為《無極》從每一位舞者身上 汲取了相當多元化的獨特個性；我並不希望每一次的 《無極》都只是重複倒模製作。透過與舞者的不同互 動，我對於當中所帶來的未知感到着迷，因為這都是 無法控制的，而香港舞者也帶來了與之前的版本不一 樣的演繹。」 而對陳院長來說，事前的準備與演出都是教育過程 中必不可少的重要部分。她表示：「排練與演出是我 們整個課程的核心，參與《無極》的演出，對學生的個

© Mark Gambino

At a time when international touring is at a standstill, the Festival has put together a challenging collaborative dance project, Colossus, created by Australian choreographer Stephanie Lake, with more than 50 dancers from the Hong Kong Academy for Performing Arts.

Creating mass movement that is both organic and spectacular is a hallmark of Stephanie Lake’s large-scale public shows, such as her latest, Multiply, performed by 400 dancers in Melbourne’s Prahran Square in November 2020.

Text 撰文

Graham Watts 嘉咸．華特斯 Graham Watts is a freelance dance writer and critic.

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嘉咸．華特斯是位自由身 舞蹈作者及評論人。

The Australian choreographer had already taken her monumental scale inside the auditorium with Colossus, an extravaganza for at least 50 dancers, which premiered in Melbourne in September 2018 and was performed at the Théâtre Chaillot in Paris last June. Lake’s inspiration was twofold. “It’s about the push and pull of society and

面對跨國巡演仍處於停擺狀態，香港藝術節特別策劃 了一個別開生面的國際舞蹈合作項目《無極》。舞蹈 作品由澳洲編舞家史蒂芬妮．雷克，聯同超過五十位 來自香港演藝學院的舞者共同創作。 史蒂芬妮．雷克擅長創作大型公共舞蹈作品，既有機 且壯觀的集體動作是雷克的編舞特色。2020 年 11 月 於墨爾本普拉蘭廣場上，由四百位舞者共同演出的 《繁衍》就是例子之一。 這位澳洲編舞家將大型舞作《無極》帶進表演廳，讓 超過五十位舞者共同參與的演出，於 2018 年 9 月在 墨爾本首演後，去年 6 月於巴黎夏樂宮國家劇院上 演。雷克的創作靈感來自兩個層面：「《無極》是有 關社會中的兩極拉扯狀態，以及群眾行為的美與醜。 它關注自然的大循環、自然世界的形態，而人類是

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© Mark Gambino

and the dancers in Hong Kong bring a different interpretation to those of previous casts.”

人發展極為重要；處於一個專業舞團的排練和演出環

For Chan, preparation and performance will be an essential part of the educational process.

“Performance practice is the core of our whole programme,” she says. “Performing Colossus will be crucial personal development for our students and assimilating the environment of a professional company will help to push them to the next level and they will be ready for a professional career when they leave the Academy.”

學院之前，獲得充分準備以發展其後的專業生涯。」

Due to pandemic restrictions, Colossus has been rehearsed entirely remotely. “It’s an extraordinary feat of international collaboration and technology,” says Lake. “We’re doing all the rehearsals on Zoom, which creates a layer of other issues to contend with. It’s one thing to deal with problems of a lag in timing when you are setting a small piece but it presents an altogether different scale of problems when trying to assimilate 50 or more dancers over Zoom.”

Lake acknowledges that the willingness and optimism of the young dancers are vital to that success. “They’re up for it and just get on board.

They’re also really good with technology; so if things go wrong they can fix it.”

“The challenges of reviving Colossus during the past two years have been mind-boggling but it is so worth it because it couldn’t have happened otherwise since we can’t travel out of Australia,” Lake says. “This large-scale work is touring to major stages around the world without anyone getting on a plane. It just feels like a kind of pandemic miracle.”

境，也有助他們提升技術水平。這些經驗讓他們在離開

由於防疫限制，《無極》的排練完全是以遙距方式進 行。雷克道：「這是一個國際性的合作，亦是包含了 不同科技的非凡壯舉，我們所有的排練都是在 Zoom 上進行，有一連串要去解決的技術問題。當你要構築 一個小型作品時，處理時差是一件事，但當你嘗試在 Zoom 上把五十多位舞者集合在一起時，它帶來的又 完全是另一種問題。」 雷克認為年輕舞者的熱情投入及樂觀態度，都是這場 舞蹈作品成功的重要因素。「他們都準備好了，隨時 可以踏上舞台。他們也很了解科技，即使發生甚麼問 題，他們都能解決。」 「過去兩年間重排《無極》的挑戰實在令人難以置 信，但一切都是值得的，因為沒有這些嘗試，一切都 不能發生，因為我們無法離開澳洲。」雷克道。「這 個大型作品在沒有任何人需要登上飛機的情況下，而 能夠於世界不同的大舞台演出，讓人覺得《無極》就 是疫情下的一個奇蹟。」

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Colossus will be shown at Hong Kong Academy for Performing Arts’ Lyric Theatre on 3-5 March 2022.

The 4 March performance is sponsored by Shun Hing Group

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《無極》將於 2022 年 3 月 3 至 5 日於香港演藝學院歌劇院上演。 CMY

3 月 4 日之演出由信興集團贊助

© Mark Gambino

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CLASSICS REVISITED再 探 經 典

Throughout the history of the performing arts, narrative has never confined itself to one format, with cross-pollination between different forms a feature of presentations, both in China and elsewhere. There are outstanding works that transcend cultures, epochs and borders, emerging in new variations that move and delight new generations in equal measure.

縱觀古今中外，表演藝術的呈現手法變化萬千。出色

The Hong Kong Arts Festival has in its 50 years been tireless in its exploration of the manifold forms of artistic works. While respecting the heritage of classic works, there is always room for innovation. The 50th HKAF in 2022 presents an alluring line-up of opera, classical music and ballet, including masterpieces like Romeo and Juliet and Giselle, performed by the Paris Opera Ballet, and Mahler's Symphony No 4 by Hong Kong Philharmonic Orchestra. We are also proud to present a new production by the Bayerische Staatsoper of Erich Wolfgang Korngold’s opera Die tote Stadt (The Dead City). The 1920 opera, adapted from Belgian writer Georges Rodenbach’s novel Bruges-la-Morte, made Korngold’s name as a composer. The German company will also be performing Dmitri Shostakovich’s first opera Die Nase (more commonly known as The Nose) (1930), based on Nikolai Gogol’s short story. We also have a splendid programme of productions from Hong Kong and mainland China, including a tribute to the legendary star of Cantonese opera Sun Ma Sze Tsang. The Festival also welcomes once again two classic Chinese operas, Farewell My Concubine and Princess Changping, presented by the China National Peking Opera Company.

創新和變革。今屆藝術節呈獻的多場歌劇、古典音樂

的作品往往跨越文化、年代及空間，不論在何時何 地，甚至以另一種變奏形式，重現於舞台之上，都能 為觀眾帶來觸動人心的體驗；有時甚或能夠讓觀眾與作 品的誕生時空重新連繫，帶來新舊交融的迴響與共鳴。 藝術節對多元藝術作品的探索從未間斷，致力為傳統 表演注入新生命力，在傳承經典的同時，亦時刻追求 及芭蕾舞演出，當中不乏經典西方鉅作，例如由巴黎 歌劇院芭蕾舞團演繹的《羅密歐與茱麗葉》和《吉賽 爾》；香港管弦樂團帶來的馬勒第四交響曲；巴伐利 亞國立歌劇院的經典節目載譽而歸 —— 改編自比利 時作家羅登巴克筆下的《死城》，令作曲家康戈爾德 一舉成名；另有新作《鼻子》，是俄國作曲家蕭斯達 高維契根據果戈里的短篇小説創作而成。此外，中國 及本地的表演藝術亦百花齊放，例如重現粵劇傳奇新 馬師曾名作，還有中國國家京劇院載譽而歸的節目， 包括《霸王別姬》、《帝女花》等。 經典作品之所以經典，是因為縱經歷歲月洗禮，作品 蘊藏的美學和情感依然長存。它們傳誦至今，在新舊 文化的交替洪流中，被一再拆解、轉化與重組；當中 包含內容題材、表演形式、舞台設計的糅合與交流。 劇場作為展演空間，承載着來自各個時空的情感論 述，以表演藝術將不同世代的觀眾連繫起來。

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DARKNESS BRINGS REDEMPTION

黑暗中見靈火

© Marek Olbrzymek

Enriching life

responsibly Text 撰文

Patricie Èástková 帕翠絲．卡斯高娃 Patricie Èástková is the dramaturg of the Janá ek Opera at National Theatre Brno. 帕翠絲．卡斯高娃是捷克 布爾諾國家歌劇院楊納傑 克歌劇團的戲劇構作。

Faith in humanity, compassion and the search for answers to many questions related to our existence have become central points of Czech composer Bohuslav Martin ’s scenic works even if their themes might have had different origins. Another thing is always present in his operas—his family roots. In the early operas, these are occasionally visible in flickers, but later they become more and more apparent and form the basis of the composer’s best creations. In the same way that Martin ’s native Bohemian-Moravian highlands were a source of creative inspiration, Greek writer Nikos Kazantzakis’s roots and childhood in Crete under Ottoman rule formed an imprint in much of his work.

縱使緣起各異，捷克作曲家馬替奴譜寫的那些瀰漫故

One of the most prominent representatives of Modern Greek literature, Kazantzakis is a writer whose work is deeply imbued with the theme of faith. His piercing search for answers to questions of faith and religion would bring him into conflict with the Greek Orthodox Church and other Christian denominations. Another connecting line between Kazantzakis and Martinů, each of whom would end their days in exile, was the fate of refugees and emigrants. Kazantzakis’s expatriation was voluntary but for Martinů, the impossibility of returning home, following the rise of communism in Czechoslovakia, cast a shadow on the last ten years of his life.

作為現代希臘文學的領軍人物之一，卡山札基在創作

國風光的作品，貫徹着對人性的信念和悲憫，同時極 力探討關於「存在」的種種疑問。家族根源是另一個 馬替奴的歌劇經常出現的主題：在早期創作裏，能不 時察看得到他將家族歷史隱藏其中，後來這一點愈見 清晰，成為作曲家最優秀作品的底蘊。馬替奴少時徜 徉的波希米亞與摩拉維拉高地亦是其靈感泉源；而希 臘作家尼高斯．卡山札基斯則成長於鄂圖曼帝國治下 的克里特島，他的家族史和童年回憶，也在其作品中 留下鮮明印記。

中深入探討信仰。對信仰和宗教的詰問，使他跟希臘 東正教會和其他基督教派別產生矛盾和對立。此外， 卡山札基和馬替奴半生顛沛、流亡終老，二人分別成 為難民和移民者的命運，亦成為連結他們之間的共通 點之一。不同的是，卡山札基的自我放逐出於自願； 至於馬替奴，共產主義在捷克的崛起令他被逼放棄回 歸故土，離家別國的哀愁，是他人生最後十年揮之不 去的陰霾。

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《 希 臘 服 難 曲 》講 述 在小亞細亞由土耳其 統帥管理的希臘人村 落 —— 里 高 維 斯 一 眾 村民的經歷

In autumn 1953, Martinů and his wife Charlotte settled in Nice in the south of France. That year, he read Kazantzakis’s novel Zorba the Greek. Martinů was captivated by the book and decided he had to meet the author. He wrote to Kazantzakis asking to meet him, expressing his wish to set one of his works to music. Kazantzakis agreed and the two met in early October.

Martinů’s hope that Kazantzakis might create an opera libretto based on Zorba the Greek turned out to be impracticable but the writer offered another piece—the novel Christ Recrucified.

Martinů was familiar with it but couldn’t imagine how such an epic book might be condensed into a libretto. Nonetheless, the idea intrigued him and Kazantzakis allowed the composer to adapt the libretto himself, based on Jonathan Griffin’s English translation.

Like Martinů, Kazantzakis spent the post-war years in exile. He left his job at Unesco in Paris to focus on writing and moved to the south of France with his wife. Here, in summer 1948, he started working on the novel Christ Recrucified.

As with his other books, Kazantzakis drew on his own experience—his childhood in Crete during the fight for the island’s liberation, and the events of the 1920s when refugees flooded into Greece from Asia Minor, forced to leave their homes in the new Turkish republic.

The novel is set at this time, telling the story of the citizens of Lycovrisi, a Greek village in Anatolia, administered by a Turkish Agha. The quiet life of the village is disrupted by the arrival of refugees led by Father Fotis, fleeing persecution by the Turks. They beg the villagers for food and land so they can resettle. However, the local priest, Father Grigoris, refuses to help the refugees, accusing them of bringing cholera to the village following the death of a refugee. The shepherd

▼ Martin and Kazantzakis’s two major themes intertwined throughout The Greek Passion — the human legacy of Christian virtues and the responsibility of man to his fellow humanity— remain hugely relevant 馬替奴和卡山札基重 視的基督人文價值，以 及強調生而為人，對他 人應有慈悲憐憫的兩大 創作初衷仍貫穿《希臘 受難曲》

© Marek Olbrzymek

1953 年秋天，馬替奴與妻子夏洛特旅居南法尼斯。 那一年，他讀到卡山札基的小說《希臘左巴》，驚為 天人，決心一會這位作家。他致函卡山札基，請求見 面，並表示希望將小說譜成歌劇。卡山札基答應會 面，兩人於十月初相見。馬替奴原先希望卡山札基為 《希臘左巴》撰寫唱詞，但因為人物角色太少，改成 歌劇並不可行；作家於是提出改編另一作品《基督再 受難》。馬替奴熟悉這本小說，卻難以想像如何將這

Manolios—who is given the role of Christ in the passion play of the title, which the villagers put on at Easter—joins with others to steal food from the store of the old nobleman Patriarcheas and give it to the refugees, and advise them to settle on neighbouring Mount Sarakina.

Martinů condensed the novel’s 480 pages to a libretto, 40 typewritten pages long. The focus of the plot was now Manolios and his transition, after he is chosen for the role of Christ. Gradually, a four-act opera took shape.

The hardest task for Martinů was condensing the latter part of the book for the fourth act, and in November 1954, he admitted to Kazantzakis that he was having difficulty doing so. In the novel, the conflict between the villagers and the refugees develops gradually over a longer period of time; however, in the opera, Martinů needed a fast and dramatic ending and Kazantzakis agreed to a proposed departure from the original plot.

Martinů had never spent so much time working on an opera as he did on The Greek Passion; with some breaks, the work took over four years to be completed. The opera work was demanding but finally it had a musical shape. He wrote to his friend Miloš Šafránek: “As for the opera, it will be based on ancient Byzantine scales, as long as they don’t impede my imagination that is”.

小說以這時代背景作為開展，講述在小亞細亞由土耳 其統帥管理的希臘人村落——里高維斯一眾村民的經 歷。一群由科提斯神父帶領的難民湧現，擾亂村莊原 本平靜的生活。他們倉皇奔命，只為逃避土耳其人的 迫害。難民哀求村民給予土地和食物，好讓他們獲 得重新安置。然而，當地的神父基哥利斯拒絕伸出 援手，更在一位難民猝逝後，指責他們將霍亂傳入

CLASSICS REVISITED

The Greek Passion is telling the story of the citizens of Lycovrisi, a Greek village in Anatolia, administered by a Turkish Agha

村落。當時正值村民為復活節綵排基督受難劇（劇題 「受難曲」即由此而來），獲分配飾演基督的牧羊人 曼諾里奧，跟村民合作從老貴族柏翠阿齊的店舖盜取 糧食，分發予難民，並提議他們在鄰近的薩拉基納山 安頓下來。 馬替奴將 480 頁小說濃縮成為 40 頁打字稿的唱詞， 當中曼諾里奧及其獲選基督一角後的轉變成為全劇重 心；四幕的歌劇雛形漸成。 對馬替奴來說，最大的難題在於將小說的後段情節濃 縮成第四幕。1954 年 11 月，他向卡山札基坦承箇中 難處。在小說中，村民和難民的矛盾是經過一段時日 蘊釀而成，但在歌劇版本，馬替奴卻需要明快的節奏 和具戲劇張力的結尾。其後，卡山札基同意了馬替奴 提議的改寫方向。

史詩巨構濃縮成歌劇，雖然如此，他對改寫仍然亟欲 一試，卡山札基亦允許他根據喬納森．葛里芬的英文 翻譯創作唱詞。 與馬替奴一樣，卡山札基於二戰後流亡。他辭去巴黎 聯合國教科文組織的工作，偕妻子移居法國南部，潛 心寫作。他於 1948 年夏季，在南法開始寫作《基督 再受難》。跟其他小說一樣，卡山札基從自身經歷擷 取靈感：童年時，他在克里特島見證島民起義，力爭 脫離鄂圖曼帝國統治；然後於 1920 年代的一連串動 蕩，逼使當時大量原居於小亞細亞的希臘裔居民，在 土耳其共和國成立後被迫離開，成為難民湧入希臘。

© Marek Olbrzymek

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© Marek Olbrzymek

The first version of The Greek Passion was completed in January 1957. Martinů initially offered it to the Royal Opera House in London but it ultimately declined. Eventually, the Zurich Opera in Switzerland expressed an interest. Hans Erismann, its chief conductor and choirmaster, suggested some changes, which Martinů agreed to. The first extensive version with spoken numbers was eventually transformed into a different dramatic structure and finale; as Martinů himself noted later, “it changed from drama to dramatic lyricism, which is much closer to my nature”.

《希臘受難曲》是馬替奴花最多時間編寫的歌劇，連

Martinů’s health was deteriorating and in November 1958 he underwent surgery in Basel.

The following April, he was hospitalised again in Liestal and died on 28 August 1959. Like Kazantzakis, who had died two years previously, he did not live to see the premiere of The Greek Passion, which took place, to great acclaim, in Zurich on 9 June 1961. The Greek Passion continues to be regularly staged all over the world today, and Martinů and Kazantzakis’s two major themes intertwined throughout the work— the human legacy of Christian virtues and the responsibility of man to his fellow humanity— remain hugely relevant.

不同的戲劇結構，也有了不同結尾，就如馬替奴之後

同間中的休息日子，作品歷時逾四年完成。改寫過程 異常艱辛，幸而成品最終具歌劇神髓。他在信中與友 人米羅斯．沙梵奈克提道：「只要不窒礙靈感，歌劇 會以古拜占庭樂韻為本。」 《希臘受難曲》的初稿於 1957 年 1 月完成。起初馬替 奴將劇本呈上倫敦皇家歌劇院，惜最終不了了之。最 後，蘇黎世歌劇院表示有意上演，歌劇院首席指揮兼 合唱團長漢斯．艾赫斯曼提出一些改動，獲馬替奴同 意。洋洋灑灑、充滿無曲調對白的初稿最終採用截然 所說：「它從戲劇變為富戲劇張力的抒情詩，更切合 我的性情。」 其後，馬替奴的健康每況愈下，1958 年 11 月，他在 瑞士巴塞爾接受手術； 翌年 4 月，他於利斯圖入院； 至 1959 年 8 月 28 日辭世。他與早兩年去世的卡山 札基皆來不及看到《希臘受難曲》於 1961 年 6 月 9 日在蘇黎世的首演，該演出大獲好評，驚艷藝壇。時 至今日，《希臘受難曲》仍在全球舞台恆常演出，馬 替奴和卡山札基重視的基督人文價值，以及強調生而 為人，對他人應有慈悲憐憫的兩大創作初衷仍貫穿全 作，猶繞耳際心間，永不過時。

National Theatre Brno's - The Greek Passion will be shown online from 17-24 March 2022. 捷克布爾諾國家歌劇院《希臘受難曲》將於 2022 年 3 月 17 至 24 日於網上 放映。

© Marek Olbrzymek

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Shanghai Opera House and the Suzhou Symphony Orchestra to perform a hybrid programme of Chinese and Western classics that brings together traditional and contemporary ideas.

以樂以歌 無問西東

As a long-term collaborator with Italian orchestras and theatres, including the renowned Teatro Bellini in Naples, Xu will open the semistaged opera concert with his renditions of two Italian classics, Cavalleria rusticana and Pagliacci.

Cavalleria rusticana is a single-act opera by the Romantic composer Pietro Mascagni, which includes one of the most famous pieces in the classical canon, the sublime “Intermezzo”, which has been frequently used in films to symbolise the ethereal beauty of romantic love. Pagliacci is a two-act opera that has traditionally been performed with Cavalleria rusticana as a doublebill ever since the New York Metropolitan Opera House’s production in 1893. More than a century on, the two operas’ conception of love and intimacy remains as fresh as ever.

Xu Zhong is a renowned figure in the circles of contemporary musicians and conductors in China. As the incumbent president of Shanghai Opera House, he also holds the chief baton of the Suzhou Symphony Orchestra. In 2021, the maestro was appointed the inaugural International Chair in Opera of the Royal Welsh College of Music and Drama. A highly versatile practitioner, Xu and his music are enjoying increasing exposure across Europe, the United States and Asia.

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Daisy Li 李夢 Daisy Li is a columnist, translator and art critics.

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李夢為專欄作者、譯者及 藝評人。

Xu exhibited a precocious talent in early childhood. After studying piano performance at the Conservatoire national supérieur de musique et de danse de Paris, he learned conducting from the Chinese conductor Huang Xiaotong and the Finnish conducting pedagogue Jorma Panula.

Acclaimed for his exceptional conducting style and bravura, Xu makes euphonious music, blending Chinese and Western wisdom, a fitting accompaniment to the East-meets-West metropolitan nature of Hong Kong. To mark the HKAF’s golden jubilee, Xu will be leading

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Hector Berlioz’s Roméo et Juliette, on the other hand, shows the tragic side of love. Using the Shakespeare classic as a basis, the French Romantic composer undertook an experimental work that transcends the conventional symphonic structure with his dramatic idioms. As its full title suggests, the work is a “dramatic symphony with chorus, vocal solos, and a prologue in choral recitative”. Extending the theme of poignancy and longing, instrumentalists and singers will then perform excerpts from Richard Wagner’s Tristan und Isolde under the baton of Xu, including the “Love Duet” from Act 2, and the Prelude and

許忠的大名，早就響徹中國當代的音樂和指揮界。他 不僅是上海歌劇院院長，以及蘇州交響樂團的首席指 揮；2021 年，他更受邀擔任英國皇家威爾斯音樂戲劇 學院國家歌劇主席，成為首位中國藉藝術家擔任此席 位。許忠身兼多重身分，音樂蹤跡遍及歐美和亞洲。 他少時已顯露音樂天分，曾在巴黎國立高等音樂學院 學習鋼琴演奏，也曾在中國指揮家黃曉同及芬蘭指揮 教育家約爾瑪．帕努拉等名家門下精進指揮技藝，其 演奏和指揮兼採中西之長，於不同流派之間暢順遊 走，且獨具己意。許忠的音樂風格兼顧東西，與香港 這座融合東西美學的城市氣質，頗為契合。香港藝術 節迎來五十周年之際，他將帶領上海歌劇院與蘇州交 響樂團演出中西名曲，也在傳統與現代之間，搭建對 話之橋樑。

Soprano He Hui will perform in Cavalleria Rusticana and Pagliacci. 女高音和慧將參演《鄉 村騎士》及《丑角》。

與貝里尼歌劇院等意大利樂團及劇院合作無間的許 忠，將以半舞台式歌劇音樂會呈獻兩部意大利歌劇 《鄉村騎士》和《丑角》，為此次演出揭開序幕。《鄉 村騎士》是意大利知名浪漫主義作曲家馬斯卡尼的獨 幕歌劇，其中那段美不勝收的間奏曲，常用於電影 插曲，以象徵愛情之浪漫迷離；《丑角》則有兩幕， 常與《鄉村騎士》同場演出，這是自 1893 年紐約大都 會歌劇院以「一晚雙演」的形式合演兩劇後，一直沿 用至今的演出模式，而兩劇對於愛情和親密關係的思 索，百多年間更是常演常新。 另外兩部作品同樣與愛情有關。法國著名浪漫主義作 曲家白遼士的《羅密歐與茱麗葉》，以莎士比亞同名 經典悲劇為藍本，寫成這首富戲劇性的交響曲。樂曲 雖定義為「交響曲」，但從副題「附有合唱、獨唱及 合唱宣敘調序曲的戲劇化交響曲」看來，它已經超越 了交響曲的架構，所以這是作曲家一次創新的嘗試。 此外，許忠將帶領一眾音樂家和歌唱家演出華格納 《崔斯坦與伊索德爾》（選段），包括第二幕「愛之二 重唱」，以及第一幕的前奏曲與〈愛之死〉。華格納 此作深受白遼士的影響，他既傾心白遼士前衛的創 作風格，又從白遼士首創的「固定樂思」獲得啟發， 繼而於其歌劇作品中使用「主導動機」概念。因此， 華格納在《崔斯坦與伊索德爾》的創作後記中，明言 將這部歌劇題獻給「親愛而偉大的《羅密歐與茱麗 葉》的作曲家」。 然後，知名旅法華人作曲家陳其鋼的大提琴協奏曲 《逝去的時光》將帶領觀眾回到當下。這首樂曲是作

CLASSICS REVISITED

BOUNDLESS MELODIES FROM ALL DIRECTIONS

CLASSICS OF SUN MA SZE TSANG

細看「新馬」經典名劇

Sun Ma Sze Tsang has a long relationship with the Hong Kong Arts Festival and Hong Kong City Hall. In the 1970s, he performed in many HKAF Cantonese opera programmes, including in the title role in Xue Pinggui, the roles of Xu Xian and Xu Shilin in Shilin Wailing at the Pagoda. His signature plays The Golden Bracelet and The Sword of Loyalty were also presented at the 1975 and 1977 HKAFs respectively. He also performed Cantonese opera multiple times at the City Hall Concert Hall. 新馬師曾與香港藝術節及香港大會堂淵源甚深。七十年代，他曾多次參演藝 術節的粵劇節目，演出劇目包括《薛平貴》中飾演薛平貴、《仕林祭塔》中飾 演許仙和許仕林，而他的戲寶《金釧龍鳳配》及《一把存忠劍》則曾先後於 1975 年和 1977 年藝術節上演。至於大會堂，新馬更是多次踏足音樂廳舞 台，為當時的觀眾帶來精采的粵劇演出。

(left) He Hui and (right) Han Peng

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（左）和慧及（右）韓蓬

Liebestod from Act 1. Greatly influenced by the avant-garde creativity of Berlioz, in particular his invention of the idée fixe, which influenced the German composer to develop his operatic leitmotifs, Wagner expressly dedicated his Tristan und Isolde to “the dear and great composer of Romeo and Juliet” in a postscript.

Bringing the audience back to the contemporary East, Chen Qigang's Reflet d'un temps disparu (Reflection of a Vanished Age) for Cello and Orchestra will conclude the concert. The piece features cello hymns that recall the personal stories of the composer. Assuming the leading female role in Peking opera, the accomplished soprano Meng Meng will join the Shanghai Opera House Chorus to perform the classic “Ten Years, Dead and Living Dim and Draw Apart” with an exceptional way of interpretation. Having trained in both China and France, Chen’s oeuvre is a blend of Chinese traditional music and the Western avant-garde. Chen work veers between extremes of homeliness and foreignness, convention and innovation and his repertoire resonates with other globetrotting artists, such as soprano He Hui, bass-baritone Shen Yang, cellist Wang Jian and local tenor Chen Yong. It all sets the scene for a stimulating musical dialogue between East and West.

曲家藉以懷緬昔日的作品，以大提琴奏出自身的動人 故事。陳其鋼在中法兩地創作並生活，中國傳統和當 代先鋒音樂都是他的音樂養分，而綜觀其作品，有不 少都糅合了中西音樂元素。在異鄉和他鄉之間、傳統 與現代之間，陳其鋼穿行、思索並創作。這份經歷或 能喚起許忠，以及今次參演的藝術家，包括女高音和 慧、低男中音沈洋、大提琴家王健和本地男高音陳永 的共鳴，亦能幫助觀眾一窺現今揚名國際樂壇的音樂 家，如何在創作及演繹中兼納眾長，無問西東。

Shanghai Opera House and Suzhou Symphony Orchestra will present the following programmes at the Hong Kong Cultural Centre’s Concert Hall, 22 March 2022 - Cavalleria rusticana and Pagliacci 24 March 2022 - Roméo et Juliette 26 March 2022 (Festival Finale) - Tristan und Isolde (excerpts); Reflet d'un temps disparu (Reflection for a Vanished Time for Cello and Orchestra); Jiang Tcheng Tse The Festival Finale on 26 March is sponsored by ICBC (Asia) 上海歌劇院及蘇州交響樂團將於香港文化中心音樂廳演出以下節目： 2022 年 3 月 22 日——《鄉村騎士》與《丑角》 2022 年 3 月 24 日——《羅密歐與茱麗葉》 2022 年 3 月 26 日（藝術節閉幕演出）——《崔斯坦與伊索德爾》 （選段）、 大提琴協奏曲《逝去的時光》及交響合唱《江城子》 3 月 26 日之藝術節閉幕演出由工銀亞洲贊助

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Melody Lai 黎家欣 Melody Lai is an Assistant Editor at the Hong Kong Arts Festival.

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黎家欣是香港藝術節的 助理編輯。

“Ah bitter!” When Sun Ma Sze Tsang wails these words in Beheading in the Sutra Hall, the audience is immediately overwhelmed and thunderous applause follows. This scene from Beheading in the Sutra Hall made a big impression on a young Sun Kim-long (aka. Tin Gor). Sun Ma Sze Tsang, originally known as Tang Wing-cheung, whom everyone fondly addresses as “Coeng Gor”. Hailed as a child prodigy for his debut performance on stage singing “Bestowing the Sword” from Prince of Thieves, a signature play of Ma Sze-tsang, he later took “Sun (new) Ma Sze Tsang” as his stage name and used it thereon after.

「苦呀！」當新馬師曾大喊這句出自《斬經堂》的台詞

A flawless Cantonese opera star

首支首本名曲。「舞台上的祥哥才是最好看的。無論

Lu Bu in Diaochan and Gou Jian in Xishi are the roles that made Sun Ma Sze Tsang a rising star, and “A King’s Revenge”, sung by Gou Jian in the opera of Xishi, became his first signature song.

“Coeng Gor was at his most brilliant when he was on stage. Whether he was playing the role of Zhou Yu or dressed in women’s garb for the role of Mu Guiying, his renditions were always impressive, his singing and acting flawless. The most impressive thing is how he brought drama to his performance, as if he was possessed.” Tin Gor said. Tin Gor admits he only saw Sun Ma Sze Tsang perform live a few times, but each time he was mesmerised. “Coeng Gor excelled at merging the essences of different mainstream

時，立即震懾全場，掌聲雷動，也讓少年新劍郎（田 哥）印象為之深刻。新馬師曾，原名鄧永祥，行內行 外人都喜歡稱呼他「祥哥」。初踏台板，他便因為演唱 馬師曾名劇《賊王子》其中一節〈贈劍〉而獲得「神童」 的美譽，其後更正式以藝名「新馬師曾」行走江湖。 無懈可擊的全能老倌

《貂蟬》的呂布，以及《西施》的勾踐都是讓新馬師曾 嶄露頭角的角色，其中勾踐的〈臥薪嘗膽〉更成為他 他飾演周瑜，還是反串穆桂英，都入木三分，祥哥唱 做唸打的功力無懈可擊，他最厲害的是能夠帶戲上 場，每次演戲都猶如『上身』一樣。」田哥表示，自 己鮮少看新馬師曾的現場演出，但每次演出都讓人著 迷。「祥哥擅長將不同主流地方戲的精髓如京劇、崑 曲等融會貫通，並應用於表演之上，加上他天生擁 有一把悅耳的嗓音，令演出更為精采。」不過田哥坦 言，新馬師曾在戲行的影響力不在於傳承，反而在其 演戲模式和唱腔方式。「祥哥演戲是隨心所欲的，不 論情感傳遞，還是身段舞動，他都是順手拈來，但又 能夠得心應手，每次演出都不盡相同。」在種種先天因 素加上後天培訓，使得新馬師曾的功架更加爐火純青， 能夠活靈活現地展現角色的神髓，看得觀眾拍案叫絕。

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regional operas like Peking opera and Kunju, and apply them to his performance. His beautiful voice rendered his performance all the more fascinating.” Tin Gor says Sun Ma Sze Tsang’s influence on the development of Cantonese opera in Hong Kong lies in the style and mode of his singing and acting. “Coeng Gor’s acting is freespirited, whether it be when expressing emotion or moving on stage. Each is a wilful expression and different every time.” Such innate qualities, married to his acquired training, made Sun Ma Sze Tsang’s performances complete, allowing him to vividly embody the essence of characters and sweep audiences off their feet.

「〈斬經堂〉是《一把存忠劍》的重頭戲；而《一把存

Continuing the Sun Ma Sze Tsang Spirit

演而又為人熟悉的劇目；《金釧龍鳳配》則是祥哥比

Sun Ma Sze Tsang used to perform regularly at Hong Kong City Hall and the Hong Kong Arts Festival. This year marks the 50th anniversary of the Hong Kong Arts Festival as well as the 60th anniversary of City Hall, so this is a timely tribute to commemorate this Cantonese opera superstar.

五十年代，與吳君麗合演的《萬惡淫為首》不但深入 人心，更奠定了新馬師曾在粵劇界的地位。不過， 在田哥心中，《斬經堂》才是他最喜歡的祥哥戲寶。

毛俊輝再創粵劇新姿

忠劍》亦是我入行後第一套學習的長劇。」難怪當藝 術節邀請田哥構思這次系列演出時，他便率先將《一 把存忠劍》列入其中。除此之外，還有《光緒皇夜祭 珍妃》、《風流天子》及《金釧龍鳳配》，田哥解釋， 四套劇目都各具「新馬」的特色和風格。「《光緒皇》

Veteran theatre director Fredric Mao is known for being an ardent Chinese opera fan. For several years, Fredric has been dedicated to setting a brand-new direction for the development of traditional Chinese opera with a modern approach. From script to production, rehearsal to performance, Mao strives to unveil the essence of different aspects of Chinese opera through modern theatre concepts, to explore new artistic dimensions of the works while preserving their original core values.

In 2018, Mao adapted and directed the Cantonese opera classic Pavilion of a Hundred Flowers for the Hong Kong Arts Festival with unprecedented success, changing the perceptions of many audiences, new and seasoned alike, of Cantonese opera. In 2022, Mao is bringing to the HKAF Cantonese Opera Creative Studio, another innovative Cantonese opera programme. Using the format of a workshop, the performance will showcase three play excerpts in a continuous effort to explore and to examine new development possibilities for Cantonese opera.

是主流粵劇中少有的清裝戲；《風流天子》是祥哥常 較冷門的演出，但劇中卻有不少精采場口。」作為這 次的藝術總監，田哥一如以往繼續選用新秀演員。 「我會因應演員專長為他們量身度戲，但不會設計唱 腔，亦不會限制他們的演戲方式。」田哥直言，新馬 師曾的功架非後輩能夠駕馭，但如果演員能夠藉此機 會吸收並學習祥哥的做戲精髓，同時融入自己的個人 風格，便是他對這次演出的最大期許。 新馬師曾是大會堂和藝術節的演出常客。2022 年， 適逢香港藝術節五十周年，以及香港大會堂六十周

香港資深劇場導演毛俊輝（毛 sir）是人所共知的戲曲

年，藝術節特意製作「新馬師曾名劇展」，既為紀念

迷和忠實擁護者。近年，他以現代手法為傳統戲曲開

這位粵劇名伶，觀眾亦正好藉此重溫「新馬」戲寶。

創全新的發展方向。不論是從文本到製作，還是由排 練到演出，他都致力透過現代劇場的理念展現戲曲各 方面的精髓，力求保留原作的核心價值之餘，還希望 發掘更多作品之中的藝術新面貌。 他於 2018 年為香港藝術節改編及執導粵劇經典《百 花亭贈劍》，獲得空前成功，讓不少新舊觀眾對粵劇 改觀。2022 年毛 sir 再接再厲，為藝術節帶來另一 個創新粵劇項目——「粵劇新姿工作坊」，以工作坊 形式展演三套折子戲，從中繼續探討及研究更多粵劇 的發展可能。

Lin Yingshi 林穎施

The following programmes will be shown at the Hong Kong City Hall’s Concert Hall: 22 February 2022 The Romantic Emperor; 23 February 2022 The Sword of Loyalty; 24 February 2022 The Golden Bracelet; 25 February 2022 Emperor Guangxu Paying Homage to Concubine Zhen at Night.

Programme sponsored by Primasia Foundation Limited 以下節目均於香港大會堂音樂廳上演：2022 年 2 月 22 日《風流天子》、 2022 年 2 月 23 日《一把存忠劍》、2022 年 2 月 24 日《金釧龍鳳配》、 2022 年 2 月 25 日《光緒皇夜祭珍妃》。 節目由犇亞慈善基金有限公司贊助

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A NEW APPROACH TO CANTONESE OPERA

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The immensely popular 1950s opera Lust Is the Worst Vice, with Ng Kwan-lai as co-star, established Sun Ma Sze Tsang as a major figure in Cantonese opera. But Tin Gor’s favourite of Coeng Gor’s work is Beheading at the Sutra Hall.

“Originally ‘Beheading at the Sutra Hall’ is one of the highlight scene of The Sword of Loyalty, which was also the first full-length opera I learned when I started out in Cantonese opera.” It came as no surprise that when HKFA invited Tin Gor to conceive this performance series, The Sword of Loyalty was the first work he wanted to include.

Other operas in the series include Emperor Guangxu Paying Homage to Concubine Zhen at Night, The Romantic Emperor and The Golden Bracelet. Tin Gor says each of these four plays has particular aspects of the Sun Ma Sze Tsang inimitable qualities and style. “Emperor Guangxu is one of the few Qing-period Cantonese opera works; The Romantic Emperor is a well-known play frequently performed by Coeng Gor; while The Golden Bracelet was not frequently performed

by Coeng Gor, it contains many brilliant scenes.”

As artistic director, Tin Gor continues to cast young talents in this series, as he has done in the past. “I would tailor the show to the actors’ strengths, but not give specific directions as to their style of singing or acting.” Tin Gor admits the artistry of Sun Ma Sze Tsang is not something young talents can easily master, but if they take this opportunity to learn and to assimilate the essence of Coeng Gor’s artistry and incorporate it into their personal style, it would be his greatest achievement as artistic director of this series.

延續「新馬」精髓

Text 撰文

Melody Lai 黎家欣

After Pavilion of Hundred Flowers, you are collaborating once again with the five major actors from the play, and you have also invited Wai Chun-fai for another innovative attempt. Is there any special reason behind this?

Pavilion of Hundred Flowers has achieved tremendous success not only at the HKAF but also the subsequent tours in China. Originally, we planned to stage a brand-new special edition in the UK in 2020, but unfortunately it was cancelled due to the pandemic. When the HKAF learnt about it, it proposed to stage the special edition at their coming 50th anniversary. However due to issues like pandemic measures, preparation

繼《 百 花 亭 贈 劍 》後， 你 再 度 聯 同 劇 中 五 位 主 要 演 員，以及特邀衛駿輝進行另一次創新，有甚麼特別的 原因？

《百花亭贈劍》不論是在香港藝術節的演出，還是其 後到國內的巡演都非常成功。我們原本計劃於 2020 年到英國上演全新精裝版，但最後因疫情無奈取消。 藝術節得悉後，便提議我於來年 50 周年時搬演這個 精裝版本，不過因為防疫措施、籌備時間、製作規 模等問題，我覺得這不是一個合適的時間搬演，於 是經過多次討論後，我們決定採用工作坊的展演模 式，為觀眾帶來另一種粵劇體驗。 67

Cantonese Opera Creative Studio is a means to see trees in the forest. Through a small creative process and performance, three very special play excerpts are staged such that the creative team, the actors and audience can examine the artistic value of Cantonese opera from another perspective. This time the focus will be on the script and the format of the performance. In addition to revising the script to make the plot even more complete, we would also strengthen the narrative technique to bring traditional Chinese opera closer to the audiences of today. As for the performance format, we would use more modern theatre techniques for character interpretation to further enhance the dramatic tension.

The reason for collaborating again with the principal actors of Pavilion of a Hundred Flowers for this experimental Cantonese opera is simple, since they already have the experience in the making of Pavilion of a Hundred Flowers, in terms of rehearsal and creative thinking, we already have certain mutual understanding which makes the performance much easier.

坊」可謂以小見 大， 通 過 小 規 模的創作和演 出，重新排練三 齣非常特別的折

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The excerpts are selected from Cantonese operas of different eras, including “Hiding the Boat’’ from The Butterfly Dream (also known as Incident in the Turtle Mountain), a traditional opera from the early period; “Peeking at the Drunk” and “Meeting at the Pavilion” from the signature work Red Pear Blossoms of Yam Kimfai and Pak Suet-sin; and “Secret Vow” from new contemporary work Empress Dowager Xiaozhuang and Dargon. These excerpts are selected from different time periods to highlight the plasticity of Chinese opera. Although all three works are love stories, each one of them is special in its own right, worthy of note for audiences. Take for example The Butterfly Dream, to be performed

by Hong Hai and Chan Hoi-man—the focus will be on the physical performance of the actors, how the singing, acting, recitation and acrobatics techniques of traditional Chinese opera integrate with the theatre director’s arrangements. Red Pear Blossom is a classic by Tong Tik-sang, this time the focus will be on the presentation techniques of the characters, whether it is the actors’ interpretation or the director’s handling approach, we hope to bring a brandnew experience to audiences. Last but not least, we have also invited Wai Chun-fai, renowned Cantonese opera artist who equally aspires to the innovation and reform of Cantonese opera. She

What are your expectations of the show this time?

子戲，讓創作團 隊、演員，以及

We hope we would continue to explore the development capacity between modern theatre and traditional Chinese opera. Chinese opera is an art with a long history; however, having a long history does not mean that the art form has to remain in the past. Every art form must evolve with the times such that what is perceived as an “ancient” art can be revitalised, to attract new younger audiences. Inheritance cannot rely only on the actors on stage and the creative team backstage, we must develop the taste and vision of the audience too. I am very pleased that I can once again bring some brand-new Cantonese opera innovation to the HKAF.

觀眾從另一個角 度探討粵劇的藝 術價值。這次的 重點在於文本及 表演形式——我 們會對文本進行 整理和修改，除了令故事結構更加完整之外，還希望 加強文本的敘事手法，藉此拉近傳統戲曲與現代觀眾 的距離；表演形式方面，我們會嘗試以更多現代劇場 的手法來演繹人物角色，從而加強戲劇張力。 至於為何會再度聯同《百花亭贈劍》的主要演員進行 這次的粵劇實驗，原因很簡單，就是因為他們已經有 過《百花亭贈劍》的經驗，在排練及創作思維上，大 家已經有所共識，再次演出將會更得心應手。 可否介紹一下這次的演出劇目？

Can you tell us some more about the programme this time?

will perform Empress Dowager Xiaozhuang and Dargon with Shirley Lin. In addition to having the conventional singing scenes, we will also make certain modifications to the plot, to present more dimensions of the story other than the love talk between the Empress Dowager and Dargon.

「粵劇新姿工作

我們這次選擇的折子戲取自不同年代的粵劇，包括早 年的傳統戲《蝴蝶杯》（又名《賣怪魚龜山起禍》）之 〈藏舟〉、任白戲寶《蝶影紅梨記》之〈窺醉〉及〈亭 會〉，以及現代新編劇《孝莊皇后與多爾袞》之〈密 誓〉，藉着跨年代的選材來凸顯戲曲的可塑性，雖然 三齣劇目都是愛情戲，但每齣都有其特別之處，值得 觀眾留意，例如由洪海和陳鎧汶主演的《蝴蝶杯》， 我們會聚焦在形體表演之上，看看傳統戲曲的唱做唸 打，如何與劇場導演的編排結合；《蝶影紅梨記》是 唐滌生的經典，這次我們着重於人物的表演手法上， 不論是演員的演繹，還是導演的處理，都希望讓觀眾 有耳目一新的感覺；最後，我們這次請來一位同樣希 望改革粵劇、創新粵劇紅伶——衛駿輝，她將與林芯 菱合演《孝莊皇后與多爾袞》，除了會有傳統的唱功 戲，在劇情處理上我們亦都加以潤飾，呈現孝莊皇后 和多爾袞談情說愛之外的更多面向。 你對這次展演有甚麼期望？

我們希望繼續探索研究現代劇場與傳統戲曲的發展空 間。中國戲曲雖然是一種歷史悠久的藝術，但有歷史 不代表這種藝術形式要一直停留在過去，每種藝術都

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香港資深劇場導演毛俊 輝（毛 sir）。

time and production scale etc., I didn’t think the timing was right. After much discussion, we decided to use the format of a workshop to stage the performance, to bring a different Cantonese opera experience to audiences.

From top left to right: Wai Chun-fai, Shirley Lin, Wang Zhiliang, Lin Yingshi, Hong Hai and Chan Hoi-man. 上起左至右： 衛駿輝、林芯菱、 王志良、林穎施、 洪海，以及陳鎧汶。

也需要培養觀眾的欣賞品味和視野。所以我很高興能 夠再次為藝術節帶來全新的粵劇創新。 在培育年輕粵劇演員，以及粵劇創新上，你有甚麼體會？

現時香港的粵劇發展仍拘泥於舊有的體制及表演程 式，不但難以吸引新的觀眾入場，演員的學習和進步

CLASSICS REVISITED

Veteran theatre director Fredric Mao.

的空間亦相對有限。如果要將傳統藝術延續下去，我 們就需要實踐「創造性傳承」——演員不應只模仿前 輩的演戲和唱腔，而是要吸收他們的藝術精髓，結合 自己的個人風格；創作團隊亦不能夠一直搬演傳統戲 或經典戲寶，必須發掘更多題材，創作新的粵劇。以 《百花亭贈劍》為例，雖然是唐滌生的名劇，但我們 的製作與原著有很大差別，劇中的音樂包括曲調和唱 段因應劇情略加修改；我們的戲服亦是根據劇中的角 色特點設計。我以現代劇場的角度去審視傳統粵劇發 展，希望透過導演、編劇、演員，以及其他台前幕 後的工作人員之間的合作，令作品的「戲」味更加濃 厚，從而增加觀賞趣味和藝術價值。

In terms of nurturing young actors and Cantonese opera innovation, what are your personal experiences?

The current development of Cantonese opera in Hong Kong is still pretty much entrenched in the system and performance format from the past. Not only is it difficult to attract new audiences, the scope for actors to learn and progress is also relatively limited. If we want to carry on with a traditional art, we need to practice Creative Inheritance, that is to say actors should not merely imitate the acting and singing style of the veterans, but to assimilate the essences of their art and integrate them with their own personal style. Also, the creative team must not limit themselves to restaging traditional plays or the classics only, they need to explore more subject matters, to create new Cantonese opera works. Let’s take Pavilion of a Hundred Flowers as example, although it is a signature play of Tong Tik-sang, our production is very much different from the original. We have revised the music, including the tunes and the songs according to the development of the story; even our costumes are specially designed according to the particularities of the characters. I am looking at the development of Cantonese opera from the perspective of modern theatre, I hope that through the collaboration of the director, the playwright, actors as well as the crew onstage and backstage, we can make the work even more flavourful as a theatre piece, to enhance the artistic as well as entertainment value of the work.

Cantonese Opera Creative Studio will be shown at the Hong Kong Cultural Centre’s Studio Theatre from 3-5 March 2022. 粵劇新姿創作坊將於 2022 年 3 月 3 至 5 日在香港文化中心劇場上演。

應該跟隨時代的步伐而演變，才能活化一些被認為 「古老」的藝術，從而吸引更多新的、年輕的觀眾欣 賞；傳承並不能單靠台上的演員和幕後的創作團隊，

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Farewell My Concubine embodies all of the above points. Firstly, the characters are created with a broad vision. Although the Chu army is in dire straits, the empathetic Yuji still shows concern for her husband’s feelings and reputation. In the end, to avoid becoming a burden she ends her life—the tragedy of the drama is not that she is a weak woman, but rather the tragedy is the overall situation. In terms of singing, although the famous aria “while the king is in his tent sleeping soundly” is sung in a high pitch, it exudes quietness and movement, being full and clear without too many ups and downs. Mei Lanfang, who was a brave innovator, also enriched the dance elements of Peking opera. He created the sword dance performed to the song “Deep Night”. Due to Master Mei’s grounding in tai chi, the dance is smooth and steady, and does not rely on sensational moves.

國家京劇院經典賞析

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《帝女花》中的長平公 主和周世顯

In 2022, the China National Peking Opera Company brings to the Hong Kong Arts Festival a number of classic pieces including The Trilogy of Zhuge Liang and Su San Escorted to Trial; the seldom-performed unabridged version of Armistice Between Generals; the complete version of Farewell My Concubine; and the Peking opera version of Princess Changping, adapted from the Cantonese opera favourite. This series of performances combines tradition and innovation, allowing audiences to appreciate the various aspects and artistic value of Peking opera.

The lasting appeal of purity

Text 撰文

Elbe Lau 願良 Elbe Lau is an editor, translator and art critic.

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願良為編輯、翻譯及 藝評人。

Not having special characteristics is a special characteristic—this is a dictum of the Mei Lanfang School of Peking opera. How did Mei Lanfang become the most famous of the Dan or female leading role performers, even coming to represent the entire genre? Mei said that “with regards to stagecraft I have always adopted a balanced approach, never emphasising the special characteristics of any part”. In order to stand out, many Peking opera female leading role performers deliberately emphasise their own unique aspects, but the Mei School sticks to purity, paying attention to symmetry and proportionality. The performance is meticulously crafted without being flamboyant, in the spirit of balance and harmony. Just as in traditional

中國國家京劇院將為 2022 年香港藝術節帶來多齣經 典，包括《失．空．斬》、《女起解》、少有演出的足 本版《將相和》及足本版《霸王別姬》，以及由粵劇戲 寶移植過來的京劇版《帝女花》。這一系列的演出兼 備傳統與創新，讓觀眾可從中欣賞到京劇的不同面貌

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Princess Changping (left) and Zhou Shixian (right) in Princess Changping.

Yuji (right) and Xiang Yu (left) in Farewell My Concubine. 《霸王別姬》中的虞姬 及項羽

Li Shengsu, who will play the role of Yuji in this performance, pays particular attention to the use of her eyes. When facing the king, she always presents a happy face, only showing sadness when facing the audience. Although she is about to die, she displays no heart-rending emotion, projecting only profound sadness and helplessness. “In the Mei School, tears are always hidden in the heart,” says Li. In this exquisite performance she fully presents the tears in Yuji’s heart for all to see.

而自刎──悲劇人物可不是個弱女子，時刻以大局 為重。唱腔方面，【南梆子】名段「看大王在帳中和 衣睡穩」雖有高腔，卻以靜寓動，渾圓清澈而起伏不 大。勇於變革的梅先生又豐富了京劇的舞蹈成分，配 上【夜深沉】曲牌的劍舞即由他首創，舞姿流暢而沉 穩，絕無炫技之弊，這與大師深厚的太極拳根底很有 關係。

CLASSICS REVISITED

THE SUPREME ARTISTRY OF NATIONAL PEKING OPERA COMPANY

Chinese art, Mei Lanfang advocated for minimal sensory stimulation. He concentrated on bringing to life the unspoken inner voices and elegance of the characters onstage, giving audiences an elevated sublime experience. The value the Mei school brought to Peking opera was in elevating stage performances to the level of high culture.

這次擔演虞姬一角的李勝素尤其注重眼神的運用，對 着大王一直保持歡顏，只會在面對觀眾時展露愁容， 儘管行將赴死，卻沒有撕心裂肺的激動，只有深沉的 哀愁與無奈。「梅派的淚水永遠藏在心裏。」她道出箇 中要訣，以細緻的表演把虞姬內心的淚水充分展現。 粵劇戲寶，京劇再現

京劇裏的虞姬命運坎坷，卻氣度非凡。由唐滌生先生 編撰的粵劇經典《帝女花》，同樣超越鴛鴦蝴蝶派的 生旦言情格局，放在講求大氣的國劇京劇上，尤為合 適。2018 年國家京劇院移植改編《帝女花》，在粵劇 發展史上首開先河，蔚為盛舉。 兩個劇種在情感展現上各有不同。長平公主與周駙馬 的感情關係非常重要，粵劇任、白配的深情與癡情傾 倒一眾戲迷，而京劇素來講究規範，故有觀眾笑言初 次看見于魁智與李勝素「談情」，但比起粵劇始終較 為含蓄。京劇版導演更將作品稱為「情濃恨更濃的愛 情悲劇」，讚揚公主與駙馬「彰顯着錚錚鐵骨，抒發 出家國情懷，人們得以從中體會到民族的品格」，家 仇國恨大於兒女情長。

與藝術價值。 梅派經典《霸王別姬》

沒有特點，就是特點──這是梅派藝術的精闢概括。 京劇被奉為「世界戲劇三大表演體系」之一，為甚麼 梅蘭芳能夠成為「四大名旦」之首，以至整個劇種的 代表人物？梅先生曾說：「對於舞台藝術，一向採取 平衡發展的方式，不主張強調某一部分的特點」。為 了突圍而出，不少京劇旦角流派刻意強化自身特色， 梅派卻不尚花哨，重視勻稱與分寸，精雕細琢而不着 痕跡，富有中正平和的大度氣魄。與中國傳統藝術一 樣，梅先生主張借助最少的感官刺激，集中展示戲劇 人物難以言傳的精神面貌和高雅氣質，讓觀者得到心 境的昇華與飛揚。把舞台表演提升到文化層次，正是 梅派京劇的價值所在。 以上種種，從《霸王別姬》可見一斑。首先，角色的 設計映現了宏闊視野。儘管楚軍大勢已去，善解人意 的虞姬仍處處照顧霸王的顏面，最後為免變成負累

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Cantonese opera favourite, reimagined through Peking opera Although Peking opera’s Yuji has a tragic fate, she has an extraordinary bearing. Likewise, the characters in Tong Tik-sang’s Cantonese opera classic Princess Changping transcend the usual romantic conventions, making the story especially suitable for the grand Peking opera format. In 2018, the China National Peking Opera Company adapted Princess Changping and added it to their repertoire. This was a grand feat and a first in the history of Cantonese Opera.

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“Covenant Beneath the Tree” in Princess Changping

《帝女花》之〈樹盟〉

包括〈樹盟〉、〈庵遇〉、〈上表〉、〈香夭〉等，並擷 取著名小曲〈妝台秋思〉的主題旋律加以演化，穿插 於全劇之中。另外，行當的安排也為此劇別開生面。

THE SPIRIT OF XIQU ON THE PIANO

琴音妙韻奏響戲曲神髓

文武生是粵劇中的男主角，小武出身的任姐反串飾演 書生駙馬格外有火；京劇的生行則以老生為主流，「中 國第一老生」于魁智飾演的周世顯，在霸氣以外添上 一份醇厚，也凸顯了劇情悲壯蒼涼的一面。2022 年， 國家京劇院再次為香港觀眾帶來京劇版《帝女花》。 對於熟悉《帝女花》的香港觀眾而言，京劇及粵劇版 本風格各異，更堪細味。

Peking and Cantonese opera differ in the way they present emotions. The emotional connection between Princess Changping and her consort Zhou Shixian is very important. In the Cantonese opera version, the deep affection and infatuation between Yam Kim-fai and Pak Suet-sin, who played the lead roles, captivated many fans. On the other hand, Peking opera has always been conventional, leading some audiences to laugh when they see the lead actors Yu Kuizhi and Li Shengsu engaging in “love talk” for the first time, even though they were more subtle than in the Cantonese opera version. The director of the Peking opera version also referred to the work as “a romantic tragedy with strong love and stronger resentment”, praising the princess and her consort for “showing iron resolve in their love for the country, thereby allowing audiences to understand the character of the nation” through the resentment of the couple towards the new regime.

The creative team of the Peking opera version retained the important scenes of the original, including “Covenant Beneath the Tree”, “Encounter in the Nunnery”, “Negotiations” and “Fragrant Death”. They also transformed and rearranged the famous melody of the song “Autumn Thoughts at the Dressing Table” in the Cantonese opera version throughout the entire drama. In addition, the types of roles also broke new ground. In Cantonese opera the young male role is the lead. Yam Kim-fai, who trained in the young male martial role, brought great vigour to the role of the scholarly consort. In Peking opera, it is the old male role that takes the lead. Yu Kuizhi is known as China’s number one old male role performer and played the part of the consort Zhou Shixian, giving the domineering role a touch of mellowness, and highlighting the plot’s tragic and desolate side. In 2022, the China National Peking Opera Company will once again bring the Peking opera version of Princess Changping to Hong Kong. For Hong Kong audiences who are familiar with the Cantonese opera version of Princess Changping, the different style of the Peking opera version will offer more to savour and enjoy.

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至於結構上，創作團隊保留了粵劇版本的重要場次，

© 寬地攝影

China National Peking Opera Company will present the following programmes, at the Hong Kong Cultural Centre's Grand Theatre: 17 March 2022 Su San Escorted to Trial ; The Trilogy of Zhuge Liang 18 March 2022 Princess Changping 19 March 2022 Armistice Between Generals 20 March 2022 Farewell My Concubine 中國國家京劇院將於香港文化中心大劇院上演以下節目： 2022 年 3 月 17 日《女起解》、《失街亭．空城計 ．斬馬謖》 2022 年 3 月 18 日《帝女花》 2022 年 3 月 19 日《將相和》 2022 年 3 月 20 日《霸王別姬》

As told to Rain Cheng, the Assistant Editor at the Hong Kong Arts Festival 與香港藝術節助理 編輯鄭豐榮對談

In 2018, the Hong Kong Arts Festival organised Beyond Impressionism, a concert inspired by Complete Chinese Piano Works, presenting audiences with piano pieces by Chinese composers from different periods. The 50th HKAF in 2022 will capture the essence and characteristic of Chinese piano works again, with pianists performing a variety of Xiqu-themed songs.

2018 年，香港藝術節製作了一場以《中國鋼琴作品

Xiqu, is embedded with the richness of Chinese culture and has assumed a distinctive style overtime. Ever since Western musical instruments first arrived in China Chinese musicians have put significant effort into exploring the requisite skills and the possibility of playing traditional Chinese music on the piano. This includes piano works containing Xiqu elements.

方樂器傳入中國，中國音樂家亦不斷探索鋼琴演奏技

© Meilin

集》為靈感的音樂會《跨越意象》，匯聚不同年代的 中國作曲家的鋼琴作品，向觀眾展示中國鋼琴音樂的 百年發展。2022 年，藝術節再次擷取中國鋼琴作品 的精髓和特色，透過黑白鋼琴鍵，演繹多首以中國戲 曲為題的作品。中國戲曲歷史悠久，擁有深厚文化， 在時間的洗禮下，逐步形成獨特的音樂風格；而自西 法與中國傳統音樂結合的各種可能性，當中包括糅合 戲曲元素的鋼琴作品。

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YU XIANGJUN AND HER PRODUCTION TEAM 俞湘君及創作團隊

CHENG WAI 鄭慧 Q You will be performing challenging piano works, including Xipi and Erhuang, and Autumn Moon Over the Calm Lake. How will you control the timbre, speed and range to reinforce the Chinese characteristics?

A

These works show an empty space. Some are classical Cantonese operatic songs, where the conception is akin to the scenery in ink landscape drawings. I will make use of the piano’s timbre to draw the audience in. I grew up in Beijing, and my childhood memories have helped me figure out the features of Chinese music.

問

你將會在這次的音樂會演奏具有挑戰性的作品，

是次音樂會將演出中國當代作曲家的作 品，在當中得以窺見他們對傳統戲曲藝 術和鋼琴技巧的深入理解。樂曲將由三 位中國及本地鋼琴家演繹，包括來自上 海的俞湘君、北京的陳薩，以及香港的 鄭慧，為觀眾帶來一系列難得一聞的中 國鋼琴音樂瑰寶。

CLASSICS REVISITED

In the concert this year, pianists will perform songs from contemporary Chinese composers. Audiences will be able to observe the composers’ in-depth understanding of traditional Xiqu and the piano.

The concert will be performed by three pianists — Yu Xiangjun from Shanghai, Chen Sa from Beijing and Cheng Wai from Hong Kong.

We trust you will thoroughly enjoy this series of rare works of Chinese piano music.

例如《皮黃》、《平湖秋月》等，你會如何處理及 掌控音色、速度和幅度，來凸出音樂當中的中國

Q

A

問

Some people might think incorporating elements of Peking opera into piano pieces is rather traditional and boring. How might new elements of Chinese operatic music be played on piano and another, more modern, side of Peking opera be revealed to Hong Kong audiences?

There is no direct link between Peking opera and piano. While Chinese composers were creating works for piano, Peking opera was becoming a cultural symbol in its own right. The programme for this concert is constituted of Jingqiang (Beijing rhyme) and Jingyun (old Peking opera dialect), but there are differences in style. Jingyun does not define the style, put rather provides an emotional underpinning. By presenting the aesthetics and features of the pieces, I hope to let Hong Kong audiences see how composers from different periods decode Jingyun. 將京劇元素融入鋼琴作品當中，少不免會讓人有囿於傳統的刻板印象，你

特色？ 答

© 寬地攝影

這些作品展現的是一個虛空的境界，有些更是經 典粵曲，當中的意境猶如一幅水墨畫，我會善用 鋼琴的音色去吸引觀眾，臨摹樂曲中所表達的情 景。加上我曾居住在北京，自身的成長階段回憶 亦有助我揣摩中國音樂的精髓。

CHEN SA

Q To a pianist, how can this kind of contemporary artistic presentation help you be more involved in the performance?

陳薩

認為要如何以鋼琴演繹國音京韻的新元素，從而呈現其另一面給香港觀

A

This novel performance is full of creativity.

Part of the programme was written in the past as piano works, including Instants d’un opéra de Pékin by Chen Qigang. Given its emotions and rhythms, I think it’s ripe for reinterpretation. I’m looking forward to a different type of performance experience.

問

對於鋼琴家而言，這種富於時代感的藝術呈現方

眾？ 答 京劇與鋼琴原先並沒有直接聯繫，然而當中國作曲家譜寫鋼琴作品時，京劇 便成為一種文化符號。這次演出的鋼琴作品或多或少都利用了京腔、京韻中 的元素，但切入點和程度各有不同，因此在風格上也有較大差異。我認為京 韻本身並沒有為音樂風格下定義，它更像是一種情感的寄託或內涵的琢磨。 從演奏的角度來看，展現作品內涵中不同的美態和特色，就是為香港觀眾呈

式，如何幫助你更投入演出？

現現代作曲家對京韻的不同解讀。 答

這個新奇的形式本身是充滿創造力的。這次演奏 的作品有部分是以往已然寫成的鋼琴曲，例如陳

Reminiscence – Chinese Opera at the Keyboard

其鋼先生的《京劇瞬間》，作品本身蘊含的色彩和

will be shown at the Hong Kong Cultural Centre’s Grand Theatre on 26 February 2022.

節奏錯落有致，我相信它深具被再度創作的空間 和可能性。我也十分期待現場演出時不一樣的演

《憶韻》—— 黑白琴鍵下的戲韻將於 2022 年 2 月 26 日在香港文化中心大劇院上演。

奏體驗。

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© Meilin

滌和淨化特質。也許最著名的「河流之旅」，是透過 音符刻畫而成的〈墨爾道河〉，此樂曲出自史密塔納 手筆，是一套六首交響詩《我的祖國》中的第二首。 史密塔納的「河流之旅」全面地展現了當地人民與這

以音樂承載的人文之旅

條壯麗大河的緊密關係，更讓作曲家的家鄉捷克擁有 自己的音樂語言。

© Marian Lenhard

CLASSICS REVISITED

JOURNEYS IN THE KEY OF HUMANITY

生命，因此詩歌、民間故事和音樂都強調河流的洗

另一個以大自然為靈感的音樂之旅，則出自一位面臨 逆境、舉步維艱的作曲家聖桑之手。1886 年 2 月， 聖桑到奧地利阿爾卑斯山區一條小村莊暫住，他正因

▲ Jakub Hruša is the chief conductor of Bamberg Symphony Orchestra 雅各 . 胡薩是班貝格交 響樂團的首席指揮

The French poet and novelist Victor Hugo wrote, “music expresses that which cannot be put into words and that which cannot remain silent.” Since music is viscerally and inextricably linked to ancient emotional centres in the brain, it communicates on a deeply personal and human level. Prepare to be exhilarated as the Hong Kong Arts Festival and the Bamberg Symphony Orchestra present journeys in the key of humanity.

A Journey to the Beyond

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Dr. Georg A. Predota 裴德龍博士 Dr. Georg A. Predota is a lecturer, researcher and writer.

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裴德龍博士是位講師、 學者及作者。

The storied history of the legendary Bamberg Symphony Orchestra reaches back to the 18th century and to the city of Prague. The ancestral orchestra performed the world premiere of Mozart’s Don Giovanni, and in the aftermath of World War II, displaced musicians from that orchestra joined with other Czech German refugees in the city of Bamberg. The city quickly flowered into a musical hub for the entire region, and the Bamberg Symphony Orchestra has become one of Germany’s most-travelled orchestras. Rightly considered the country’s premiere touring orchestra, this exceptional ensemble has performed almost 7,000 concerts in more than 500 cities and 60 countries worldwide.

法國詩人、小說家雨果曾寫道：「音樂表達的是那些 無法言傳、又無法沉默的事情。」音樂與人類腦袋當 中古老的「情感中樞」與生俱來就有着緊密聯繫，因 此以音樂傳情達意時，往往是從深刻而個人的層面出 發，而且與人文主題息息相關。今屆香港藝術節，班 貝格交響樂團將透過音樂呈現不同的人文面貌，定能 令大家驚喜萬分。

從班貝格啟程

傳奇樂團班貝格交響樂團的歷史可追溯至十八世紀的 布拉格：樂團前身正是當年首演莫扎特《唐．喬望尼》 的樂團。第二次世界大戰期間，該團團員流散各地； 戰後，這些團員與其他捷克德裔難民一起聚居於班貝 格，不久班貝格就成了該區的音樂重鎮，班貝格交響 樂團成為德國外訪最頻繁的樂團之一。獲譽為德國首 屈一指的巡迴演出樂團，他們至今已經演出近七千場 音樂會，踏足過六十多個國家共五百多個城市。 孕育自音樂的鄉愁

在人類意識的長河裏，世界各大河川在精神層面上凸 顯了永恆與變幻之間的矛盾。作為生命本身的隱喻， 河流同時展現了人類自身經驗和存在當中的種種永 恆和瞬逝。河流不斷為土地帶來新生滋養，從而孕育

▼

© Andreas Herzau

Mira Lobe, author of the classic children's book The Little I Am Me 米 娜． 洛 貝 是 經 典 童 書《我想知道我是誰》 之作者

Nurtured by Mother Earth Throughout human consciousness, the great rivers of this world have spiritually highlighted the paradoxical relationship between eternity and change. As metaphors for life itself, rivers simultaneously underscore all that is timeless and ephemeral in human experience and existence.

Because rivers sustain life by renewing the fertility of the land, poetry, folklore, and music have long emphasised their purification and cleansing properties. Perhaps the most famous river journey is musically encoded in Bedřich Smetana’s “Vltava” (The Moldau), the second work in a cycle of six tone poems entitled Má vlast (My Homeland). Smetana’s river journey underscores the unity of a people intrinsically bound to this majestic waterway, and it gave his Czech homeland its own musical language.

為之前的德國巡迴演出諸事不順，心情非常低落。為 了自娛，就寫了一套由十四個樂章組成的室內樂組曲 《動物狂歡節》，描繪各種動物列隊行進的情景。樂 曲於 1922 年才得以正式首演並大受歡迎，然而這時 聖桑已經與世長辭。 在聖桑的眾多作品當中，《動物狂歡節》所表達的豐 富想像力、澎湃創意和可愛歡快氣氛，是數一數二 的；而這組刻畫小動物的短曲，也深受世界各地聽眾 的喜愛。 在樂曲中尋找自我

米娜．洛貝的經典 童書《我想知道我 是 誰 》於 1972 年

Another celebrated musical journey that takes nature as its cue has its roots in a composer who found himself ground to a standstill by adversity. In February 1886, Camille Saint-Saëns found himself in a small Austrian alpine village, despondent after a disastrous German tour. To divert himself, he drafted a musical suite of 14 movements for chamber orchestra depicting a procession of various animals. The Carnival of the Animals was first performed only after the composer’s death in 1922, and it was rapturously received.

出 版， 插 畫 由 蘇

In the immense oeuvre of Camille Saint-Saëns, it represents one of his most creative and delightful journeys into the imagination, and his animal miniatures have become favourites with audiences worldwide.

物都由專屬樂器來代表；主人翁（也就是小小的「我」）

A Journey of Becoming

譜寫屬靈之旅

The classic children’s book The Little I Am Me by Mira Lobe was first published in 1972. Illustrated

by Susi Weigel, it tells the story of a colourful animal in search of its identity. It highlights Lobe’s essential message of tolerance and social awareness, and Georg Friedrich Haas set the picture book to music on commission from the Bamberg Symphony Orchestra. Dedicated instruments represent objects and animals in the

西．維格繪製，故 事講述一隻顏色繽 紛的小動物尋找自 我身分過程，藉此 凸顯作者的主旨： 包容和對社會關 注。 作 曲 家 哈 斯 接受班貝格交響 樂團委約，將繪本內容化作音樂。故事裏的物件和動 最後也在一個專屬的泛音和弦中找到自己的身分。哈 斯沒有把樂曲寫得像兒童音樂，但是這首描寫「尋找自 我」的作品，卻樸實清晰、寓意深遠，可謂別出心裁。

布魯克納的音樂生命之旅，始於一所位於奧地利林茲 附近的聖弗里安修道院。他最終來到維也納，然而他 對華格納的由衷崇拜，使他與維也納音樂界和樂評界 結下仇怨。布魯克納本身也不時因缺乏自信而陷入低 潮，也無力應付奧匈帝國時期維也納那種競爭極大、 評論尖銳的音樂環境。另一方面，他是個非常虔誠的 天主教徒，習慣將每天的靈修記錄在日誌上，而且每

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次演出前都會祈禱；有人認為他甚至見過異象。有說 「他穩穩紮根在一種活生生的、發自心底的虔敬之 情，認為祈禱、告解、聖事和奉身是必不可少的元 素。在十九世紀作曲家之中，沒有像他那樣的。」布 魯克納深信屬靈之旅的最終歸處就是死後生命，這份

A Spiritual Journey Anton Bruckner’s musical life journey began at the monastery of St Florian near Linz in Austria.

He eventually made his way to Vienna, but his complete admiration for Richard Wagner elicited deep-seated resentment within Vienna’s musical and critical circles. Habitually plagued by debilitating periods of low self-esteem, Bruckner was ill-prepared for the acidic and highly competitive musical environment of imperial Vienna. Bruckner was a devoutly religious man who kept a log of his daily devotions, and prayed before each performance. He is even thought to have experienced religious visions. It is said “there is no composer in the 19th century who was rooted so firmly in a lived, heartdeep devoutness, to whom prayer, confession, sacrament and profession were vital elements.”

His faith in the spiritual journey towards the afterlife became a process that decisively shaped his compositional imagination. This channelling of profound spiritual messages that elevate music to the level of an undistracted prayer emerges most forcefully in his monumental and unfinished Ninth Symphony. Bruckner described the work, dedicated “to my beloved God”, as his final declaration of faith in the promise of resurrection and the life to come.

A Musical Farewell

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When Gustav Mahler was diagnosed with a serious heart condition in 1907, his fragile mental state was increasingly occupied by morbid visions and deep trauma. Death was no longer an abstract concept, an unavoidable part of the human condition; it had now solidified into certain reality. Alma Mahler remembered that her husband felt afraid of everything. “He was always stopping on walks to feel his pulse and he often asked me to listen to his heart and see whether the beat was clear or rapid or calm.”

In this atmosphere of persistent gloom, Mahler began to draft a new symphony that represents his musical farewell to life. The four movements of his Ninth Symphony are arranged in a specific way, with two enormous slow outer movements framing a pair of vividly contrasting scherzos.

This unfolding of movements mimics the emotional responses of coping with bereavement, progressing from denial and anger to resignation and acceptance. Mahler’s Ninth Symphony is the emotional focus of his last-period trilogy, with Das Lied using poetic terms to evoke the shadow of death, and the incomplete Tenth Symphony rising above the depths of despair.

CLASSICAL AND CONTEMPORARY DANCE AT THE PARIS OPERA BALLET

巴黎歌劇院芭蕾舞團的傳統與當代

信仰對他創作時如何發揮想像力具有重要影響。這種 旨在傳揚深厚靈性訊息的意向，將他的音樂提升至猶

CLASSICS REVISITED

text, and the little “I Am Me” eventually finds its identity in a dedicated overtone chord. Haas makes no attempt to present childlike music, yet this journey of becoming is ingenious in its simplicity, clarity and moral aspiration.

如誠心禱告的程度；這一點在雄偉壯麗但尚未完成的 第九交響曲當中表現得最為明顯。布魯克納明言樂曲 是「獻給我最愛的上帝」，這是他最後一次明確表達 自己對復活和死後生命的信心。 以音樂告別人生

馬勒於 1907 年被診斷出有嚴重心臟病之後，他原本 已經很脆弱的精神狀態更見每況愈下，想法盡是消極 喪志，而且滿懷創傷。死亡對他來說不再是個抽象概 念，也不再只是人生必經階段；某程度上，死亡已經 變成具體現實。其妻艾瑪．馬勒憶述，任何事物都會 令她的丈夫感到害怕。「走路時，他總會突然停下來 摸摸脈搏，又常常叫我幫他聽聽心跳是否清晰，是很 急速還是很平穩。」這種陰鬱氣氛籠罩下，馬勒開始 譜寫一首新的交響曲，以音樂告別人生。第九交響曲 © Agathe Poupeney

的四個樂章以特定方式編排，第一、四樂章規模宏 大，速度緩慢；第二、三樂章卻是兩首對比鮮明的諧 謔曲。這種鋪排方式，與人們面對親人離世時的情感 反應相似，都是從開始時的否定及憤怒，變成後來的 認命及接受。馬勒的第九交響曲是他晚期三大傑作之

▲ Romeo and Juliet 《羅密歐與茱麗葉》

一，另外兩首則是《大地之歌》和第十交響曲。《大 地之歌》以詩歌刻畫死亡帶來的陰影；而未竟完成的 第十交響曲則譜寫對絕望深淵的擺脫。

Bamberg Symphony Orchestra will present the following concerts: Bedřich Smetana's Má Vlast on 4 March 2022 at K11 Art House; Anton Bruckner's Symphony No 9 on 9 March 2022 at K11 Art House; Mahler's Symphony No 9 on 12 March 2022 at K11 Art House; Family Concert - Camille Saint-Saens’ The Carnival of the Animals and Georg Friedrich Haas’ Little I am Me will be screened online from 11-25 April 2022.

4, 9, 12 March Concert screenings are sponsored by The Hong Kong Jockey Club Charities Trust as part of The Hong Kong Jockey Club Series The Hong Kong Jockey Club Student Matinee Programme (by special arrangement with selected schools) is sponsored by The Hong Kong Jockey Club Charities Trust 班貝格交響樂團將放映以下音樂會︰ 史密塔納《我的祖國》將於 2022 年 3 月 4 日於 K11 Art House 戲院放映； 布魯克納第九交響曲將於 2022 年 3 月 9 日於 K11 Art House 戲院放映； 馬勒第九交響曲將於 2022 年 3 月 12 日於 K11 Art House 戲院放映；親子 音樂會 —— 聖桑《動物狂歡節》及哈斯《我想知道我是誰》將於 2022 年 4 月 11 至 25 日在網上放映。 3 月 4、9 及 12 日之音樂會放映節目為香港賽馬會藝粹系列之一，由香港 賽馬會慈善信託基金贊助 香港賽馬會學生專享節目由香港賽馬會慈善信託基金贊助

Text 撰文

Marisa C. Hayes 瑪麗莎．海斯 Marisa C. Hayes is the editor-in-chief of the French dance journal Rep�res, cahier de danse. 瑪麗莎．海斯是法國舞蹈 雜誌《Repères, Cahier de danse》主編。

It may come as a surprise that the world’s oldest ballet company is also home to a thriving contemporary repertoire. While the Paris Opera Ballet can trace its lineage back to 1669 when the institution was founded under Louis XIV, much has changed in those three and a half centuries.

Most significantly, ballet became an art form independent of opera, eventually migrating from the royal court to public theatres, while various styles and schools of dance flourished. Today, the Paris Opera Ballet continues to propel the art of dance into the 21st century by supporting contemporary choreographic forms alongside balletic traditions that span multiple eras, from the Romantic to the Neoclassical.

Yet with such a vast array of choreographic works in tow, contrasting classical and contemporary dance is too simplistic to describe the large troupe’s diverse repertoire. After all, dance history does not follow a linear, chronological progression. Instead, the art form’s evolution from ballet to contemporary dance might be likened to a large constellation of movements and influences, alternately overlapping and diverging at different points in time.

Enter Rudolf Nureyev, the first Soviet artist to defect to the West during the Cold War in 1961.

Internationally celebrated for his impressive career as a performer, Nureyev was appointed artistic director and chief choreographer of the

巴黎歌劇院芭蕾舞團是世界上最歷史悠久的芭蕾舞 團，但也許令人詫異的是，她同時也是擁有很多當代 舞作品。舞團的歷史最早可追溯至 1669 年，其前身 由路易十四建立，至今已超過三百五十年。在此期 間，芭蕾從歌劇中走出來，成為一種獨立的藝術形 式，並由皇室宮廷走進平民劇院，各種風格與流派的 舞蹈也發展得十分蓬勃。時至今日，巴黎歌劇院芭蕾 舞團既推動當代舞蹈形式，也同時傳承橫跨浪漫時期 到新古典時期的芭蕾傳統，繼續在新紀元推動舞蹈藝 術的新發展推展。 然而，對於這個擁有大量不同舞作的龐大舞團而言， 單以古典和當代來二元劃分其豐富作品，實在太過簡 化。事實上，舞蹈歷史並非一個按時序推移的線性發 展進程；相反，從芭蕾舞到現代舞的這種藝術形式演 變，是受着一連串星羅棋布的運動和影響而產生，在 不同的時間點上彼此交匯、又彼此分離。 首先談談魯道夫．雷里耶夫，他是 1961 年冷戰時期 首位投奔西方的蘇維埃藝術家。以其引人入勝的演出 而享譽國際的雷里耶夫，於 1983 年被委任為巴黎歌 劇院芭蕾舞團的藝術總監及首席編舞。在任內的六年 間，他與多位著名的現代編舞家合作，又重新排練經 典芭蕾舞劇，成功提升舞團的國際形象。雷里耶夫的 華麗製作包括《舞姬》、《胡桃夾子》、《天鵝湖》及 《羅密歐與茱麗葉》，迄今仍然是舞團的標誌性劇目。

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In this sense, the choreographer sought to underscore the psychological power of narrative ballets by elaborating upon their themes and characters. To do so, Nureyev often borrowed cinematic techniques, drawing on them to render the protagonists’ inner lives visible. In Romeo and Juliet, the female lead has a premonition of her wedding day in which death appears in the form of a skeleton. This sombre harbinger is performed centre stage, using a double for Juliet and lighting design that isolates specific portions of the stage, similar to how films might cut to a flashback or dream sequence.

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改編作品為原作引入各種複雜新變化，讓過往總是只 能擔當配角的男芭蕾舞者能夠一展所長。男舞者的知 名度獲得提高之餘，其舞蹈詞彙也得以豐富。雷里耶 夫將以往專屬女舞者的優雅連綿舞句，結合複雜的技 巧性獨舞和雙人舞，讓男女舞者都能擁有更廣闊的表 達空間。 就此而言，雷里耶夫試圖通過闡述主題和角色，以凸 顯敘事性芭蕾當中的心理張力。為此雷里耶夫經常會 借用電影技巧，來呈現主角的內心世界。在《羅密歐 與茱麗葉》中，女主角有預感死亡會降臨她的婚禮， 並以骷髏作為代表象徵，出現於表演之中。此黑暗預 兆會在舞台中央展現，以茱麗葉的替身和燈光設計將 舞台的特定範圍區隔出來，類似電影運用剪接製造的 倒敘或夢境鏡頭段落。 雷里耶夫曾指出，要活現過去的編舞作品，唯一的方 法是找到每個動作背後的動機，而這正是其徒弟柏翠 斯．巴特一直銘記於心的。巴特曾經是巴黎歌劇院芭 蕾舞團的星級舞者，他在幕後為舞團所作出的藝術貢 獻同樣為人所熟知。早在他從舞台上退下來之前，巴 特已經透過協助雷里耶夫，學習到不少設計與重構芭 蕾舞劇的技巧。他於 1987 年獲委任為舞團的芭蕾舞 導師，並一直擔任該職位至 2011 年榮休為止。 《吉賽爾》被譽為浪漫時期的芭蕾舞巔峰之作，而 巴特與已故尤金．波利亞哥夫合作的重構版本，於

Nureyev once noted that the only way to bring historical choreography to life is to find the motivation for each movement. That is precisely what the choreographer’s disciple Patrice Bart took to heart. Bart, a former étoile (or star dancer) with the Paris Opera Ballet, is equally renowned for his artistic contributions to the company behind the scenes. Even prior to retiring from the stage, Bart had acquired considerable skill in designing and restaging narrative ballets by assisting Nureyev. He was appointed ballet master of the company in 1987 and remained in that role until his retirement in 2011.

1991 年首演，以誌原作誕生一百五十周年。他們的

Giselle is considered the apogee of Romantic era ballet. Bart’s restaging, in collaboration with the late Eugène Polyakov, premiered in 1991 for the 150th anniversary of the original production.

Their version draws on the historic choreography created in France by Jules Perrot and Jean Coralli while upholding the rigorous technical standards that Nureyev demanded. Bart was particularly attentive to the lines and group formations at the heart of Giselle. They not only provide a lush choreographic backdrop but also set the stage for the title character’s dramatic death from a broken heart.

年底的《身與魂》。這位威廉．科西舞團的前成員，

版本是借鑑朱利斯．栢羅與尚．柯拉里此前在法國所 編創的歷史性舞作，同時堅守雷里耶夫嚴格的技術要 求。巴特尤其着重《吉賽爾》核心中的線條和群舞隊

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While undeniably classical in technique, Nureyev’s adaptations proposed complex new variations designed to showcase male talent in roles that had previously been relegated to supporting ballerinas. Not only did male dancing receive greater visibility, its choreographic language expanded. Nureyev integrated graceful legato phrasing that had previously been reserved for women, alongside complex virtuosic solos and partnering that allowed for a wider range of expression for both male and female performers.

雖然雷里耶夫的技巧毋庸置疑地屬於古典派，但他的

Body and Soul 《身與魂》

Politics, social class and power all drive the narrative of these timeless classics, but recent productions continue to explore similar themes using new choreographic languages. More recently, the Canadian Crystal Pite has created two full-length works for the troupe, including Body and Soul in late 2019. The former Forsythe dancer is founder of the company Kidd Pivot in Vancouver and one of the most sought-after guest choreographers in recent years. She is an associated artist of the Nederlands Dans Theater, Sadler Wells, and the National Arts Centre of Canada.

可見於作品當中的聲音指令，舞者對這些指令作出回

Pite is fascinated by the contrast of scale, creating large group dances in which micro-situations and conflicts emerge. Body and Soul also features the choreographer’s ongoing interest in puppetry, a device used to question our sense of control.

Who is really pulling “the strings”? Pite’s work often features real marionettes or puppeteering techniques as choreographic explorations to demonstrate the complex machinations of group dynamics. In Body and Soul, this interest manifests via voice commands to which dancers respond as if dolls being manipulated by a puppeteer. Her large-scale compositions provide a fascinating look into the life of the corps de ballet and what large ensembles can do in a 21st century context.

體，有聚也有散。

It’s a comfortable, albeit surprising, arrangement in which contemporary choreography and different eras of classical ballet thrive on the Paris Opera Ballet stage. The scope of the repertoire allows audiences to truly appreciate how various dance forms continue to evolve, including the classics, and where their spheres of influence converge and diverge within the larger universe of dance.

應，猶如被木偶師操控的人偶般。她的大型舞作提供 了一個絕妙角度，讓人看見芭蕾舞團群舞員的生活， 以及大型舞團在廿一世紀的背景之下能夠做到甚麼。 當代編舞作品和不同時期的古典芭蕾得以在巴黎歌劇 院芭蕾舞團的舞台上迸發光芒，這不啻是令人感覺愉

CLASSICS REVISITED

Paris Opera Ballet in 1983. Throughout his sixyear tenure, he raised the international profile of the company by collaborating with renowned modern choreographers, while simultaneously restaging iconic story ballets. Nureyev’s sumptuous productions of La Bayadère, The Nutcracker, Swan Lake and Romeo and Juliet remain hallmarks of the company’s repertoire.

悅且帶有驚喜的編排。涵蓋範圍廣泛的舞目，讓觀眾 真正體會到各種舞蹈形式的不斷進化，就連經典舞作 也不例外；這些作品在舞蹈世界各有影響力，並相互 牽引，也各有分歧——就如宇宙中按軌道起舞的星

Paris Opera Ballet’s Romeo and Juliet will be screened at Hong Kong Cultural Centre’s Grand Theatre on 11 March 2022. Body and Soul will be shown online from 14-21 March 2022. Giselle will be shown online from 21-28 March 2022.

The 11 March screening is sponsored by The Hong Kong Jockey Club Charities Trust as part of The Hong Kong Jockey Club Series.

The screening is sponsored by The Hong Kong Jockey Club Charities Trust as part of The Hong Kong Jockey Club Series. 巴黎歌劇院芭蕾舞團《羅密歐與茱麗葉》將於 2022 年 3 月 11 日於香港文 化中心大劇院放映。《身與魂》將於 2022 年 3 月 14 至 21 日於網上播放。 《吉賽爾》將於 2022 年 3 月 21 至 28 日於網上播放。 3 月 11 日之放映節目為香港賽馬會藝粹系列之一，由香港賽馬會慈善信託 基金贊助。 放映節目為香港賽馬會藝粹系列之一，由香港賽馬會慈善信託基金贊助。

形，它們不但提供了一個豐富的舞蹈背景，也為主角 因心碎而導致的戲劇性死亡作出鋪墊。

© Julien Benhamou / ONP

政治、社會階級和權力，統統都在推動這些永恆經典 作品的敘事形式，不過近年的製作就運用了全新的編 舞語彙去繼續探索相近主題。最近，加拿大編舞家克 麗絲特．派特為舞團創作了兩齣足本舞作，包括 2019 在溫哥華成立了自己的現代舞團，並成為近年一位炙 手可熱的編舞家。她目前是荷蘭舞蹈劇場、沙德勒之 井劇院，以及加拿大國家藝術中心的聯席藝術家。 派特鍾情於營造大小的對比，她會創作大型群舞來凸 顯各種微觀處境和衝突。《身與魂》亦可見編舞家一 直以來對木偶戲的興趣，體現她對「操控」的質疑； 究竟真正在操控着木偶線、亦即「運籌帷幄」的是 誰？派特的作品經常出現真實的木偶，又或將操縱木 偶的技巧加以應用，作為對編舞的探索，以展示群舞 節奏當中的複雜機制。在《身與魂》，派特的這種偏好

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孝經故事——透視傳統戲曲價值

Although highly regarded in ancient times, the traditional Chinese virtues—loyalty, filial piety, chastity and righteousness—have faded away, weakening ties between people. The 2022 Hong Kong Arts Festival will present a Cantonese opera series with stories stemming from the classic tales of Filial Piety as a blueprint. How will writer and producer Annie Chow present the characteristics of Cantonese opera through this work? What relevance do the traditional concepts in the stories have to contemporary society? In this pandemic era, the stories about filial piety might have a surprising resonance for people.

New Cantonese Opera Adaptation Centred on the Classic of Filial Piety

Text 撰文

Melody Lai 黎家欣

As an enthusiast of Cantonese opera, Chow looked to the general repertoire of classic, but also to many children’s performances. She found the mainstream operas, such as Princess Changping, unsuitable for children to perform.

Bearing this in mind, Chow came up with the idea of using tales from the Classic of Filial Piety as subjects when she wrote scripts for a children’s Cantonese opera workshop. “Stories based on the Classic of Filial Piety can strike a chord with both adults and children,” she says. However, Chow found the traditional stories in the Twenty-Four

CLASSICS REVISITED

FILIAL PIETY IN CANTONESE OPERA

自古以來，「忠、孝、節、義」是備受推崇的中國傳 統美德，但時至今日，這些觀念彷彿比以前薄弱，人 與人之間的關係亦愈見疏離。2022 年香港藝術節將 為觀眾帶來一個以孝經故事為藍本的粵劇系列，作為 編劇及監製的周嘉儀（Annie）將如何從中展現粵劇 特色？故事中的傳統觀念與現代社會的連結又是甚 麼？在「後疫情時代」，孝經故事或許會給現代人帶 來不一樣的啟發。 《廿四孝》故事改編粵劇

Annie 名副其實是個戲迷，除了一般粵劇節目，她也 留意不少兒童粵劇的演出，但發現主流劇目如《帝女 花》等都不適合兒童擔演。就在她一次為兒童粵劇培 訓工作坊編寫劇本時，忽然想到可以將孝經故事作為 題材。「孝經故事可以引起大人、小朋友的共鳴。」 不過，傳統《廿四孝》的故事過於單調，所以她轉而 考慮現時由《新編三十六孝》改編而成的《王祥臥冰 求鯉》、《雲英繼父守城》及《緹縈陳情救父》。「這 些故事本身比較有『戲味』，鋪排劇情時相對容易， 再加入各式的排場和行當，增加戲劇張力。」

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Initially, this series of works was initiated as a children’s Cantonese opera and developed with the help of the renowned Cantonese opera actor Yuen Siu-fai (aka. Fai Gor), who advised on the writing and directed the performers in rehearsals and performances. In this 2022 production, the plot and the staging are different from the past productions in 2012. “Considering the size of the performance space, this time we have referenced the format of studio theatre and adopted the ‘one table, two chairs’ bare-stage design while reducing the number of walk-ons,” Chow says.

“This way, we can make everyone focus on the stories and main performers.” One of the performers, Cannon Au has further revised the script to make the plot more rounded. He and Chow have also tailored the scenes to the performers’ specialities and have stuck with the traditional Cantonese operatic format, to ensure the actors have ample room for expression.

Inheriting traditional Chinese opera In the famous old operas, routine ways of acting left little room for new performers to flourish.

So Chow once again invited Yuen to be artistic consultant, and he was greatly encouraging as he was with each of the previous collaborations.

“Fai Gor has been very supportive of us ever since our production of children’s Cantonese operas,” she says. “He sees the three plays as unfolding Cantonese opera by presenting its various characteristics such as role types as well as civil and martial scenes; and the plays also allow the

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這一系列的創作由兒童粵劇起始，當時已得粵劇名 伶阮兆輝（輝哥）的幫助，就劇本給予意見，並指導 演員排練和演出。來到 2022 年，故事的編排和演出 形式將有所不同，「這次我們因應演出場地的空間大 小，參考了『小劇場』形式，採用『一桌兩椅』的舞台 設計，同時減少群眾演員，讓大家聚焦於故事和主要 演員身上。」為了令劇情更加完整緊湊，這次演出的 演員之一歐劍麟將劇本加以整理，他和 Annie 更會 因應演員的專長量身度戲，並以傳統粵劇的規格模式 為基本，確保演員有充份的發揮空間。 延續戲曲傳統

過往的傳統戲曲已有一套固定的演出程式，對新秀演 員來說，發揮空間確實有限。這次 Annie 再次邀請 輝哥擔任藝術顧問，他每次的參與對 Annie 而言都 是一大鼓舞。「輝哥由我們製作兒童粵劇之時已經非 常支持，他覺得三齣劇目既可展現粵劇各方面的特色 如不同行當、文場武戲，演員也可以發揮所長，不論 是之前的兒童演員，還是這次的新秀演員，都能夠展 示所學並從中有所領會。」為此，Annie 沒有規限演 員的唱腔和演戲模式，反而要求他們自行詮釋劇本， 自由演繹故事。「排練時輝哥會加以指導和提點，如 此一來，演員既可從前輩〔輝哥〕身上學習，也可發 展出個人風格。」這個排練方式一方面可以保留粵劇 傳統，另一方面也可以達致薪火相傳的效果。

child performers of our previous shows or the young talents of this new programme to harness what they have learned.” To this end, rather than instructing the performers in their singing and acting styles, Chow asks them to freely interpret the scripts and act out stories. “This way, the performers can develop their own styles, while learning from the guidance given by their master [Fai Gor] during rehearsals.” This method preserves traditional Cantonese opera, but at the same time passes on the tradition to the next generation.

Chow also hopes this performance can inspire audiences to reflect on what the traditional virtues in the Classic of Filial Piety mean to contemporary society and to re-examine presentday social relationships. “Chinese opera is educational—the on-stage performances help promote concepts and teachings in stories,” she says. “And also, given the rather negative social atmosphere and weak interpersonal relationships that prevail today, we hope to bring out positive energy while inspiring people through this programme.” Adapting the stories arising from the Classic of Filial Piety can inspire in the audience new insights into the classics, as well as enhancing their understanding of Cantonese opera. Chow sums up the artistic significance of the performance concisely: “Loyalty, filial piety, chastity and righteousness; singing, acting, reciting and martial arts; and sheng (leading actors), dan (leading actresses), jing (male roles with painted face) and chou (male clown roles)”. With well-rounded characters and civil and martial scenes, the three plays will give both audiences and performers a comprehensive Cantonese opera experience.

此外，Annie 期望藉由這次演出，讓觀眾反思《孝 經》裏的傳統觀念在當代的意義，以及重新審視現今 人與人之間的關係。「戲曲有『高台教化』的作用， 透過戲台上的表演，有助宣揚故事中的觀念和教誨。 加上現時的社會氣氛比較負面，人際關係又薄弱，所 以我們想通過這次節目，在啟發大家之餘，亦能帶來 正能量。」將孝經故事重新改編，不僅讓觀眾溫故知

CLASSICS REVISITED

Filial Exemplars too monotonous, so she turned to the stories Lying on the Ice to Catch Fish for Mother, Warrior Woman Yunying Takes Her Father’s Place and Tiying Saves Her Father With an Appeal adapted from the Thirty-Six Exemplars of Filial Piety. “These stories are by themselves relatively dramatic, and so are more conducive to arranging storylines,” Chow says, “and by adding various scenes and roles, you can ratchet up the dramatic tension.”

新，還能加深大眾對粵劇的認識。「忠孝節義、唱唸 做打、生旦淨丑」，Annie 以十二字簡潔有力地總結 出這次演出的藝術意義。三套短篇行當齊全，文戲武 場俱備，為觀眾和演員帶來全面的粵劇體驗。

Three operas will be shown at the Hong Kong Academy for Performing Arts’ Rita Tong Liu Drama Theatre on 5 March 2022; and at the Tuen Mun Town Hall’s Cultural Activities Hall from 26-27 March 2022.

Programme sponsored by The D. H. Chen Foundation 三套粵劇將於 2022 年 3 月 5 日在香港演藝學院廖湯慧靄戲劇院，以及於 2022 年 3 月 26 至 27 日在屯門大會堂文娛廳上演。 節目由陳廷驊基金會贊助

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LOCAL MUSIC TALENTS 本地音樂人才 88

Music is a powerful conveyor of emotion and is believed to be connected to the emotional centre of the human brain. This can explain music’s ability to awaken people’s emotional memory.

音樂能傳情達意，究竟音韻旋律是如何表達喜怒哀樂

This anchoring in emotion has throughout history brought forth beautiful pieces of music, carrying countless human stories.

令還未諳隻字片語的幼兒也能分辨，一段旋律是快樂

Several musical performances by local musicians at this year’s festival have various hidden stories. The King’s Harmonica Quintet’s story is one of 35 years of profound friendship between the members from their school days to the present, as well as their glorious years of local and international success. The “King of Instruments”, the organ, has played a major role in Western religious music and the development of organ music in Hong Kong has naturally been closely related to religion. The evolution in tone and performance skill of ancient and modern flutes will be personally explained by Tsang Yat-ho, a Hong Kong flautist who fell in love with ancient flutes and who will present a historically informed performance of the instrument. There are also pipa and sheng, two traditional Chinese instruments with long histories, performed by young musicians in a new style, each expressing their own perspective of reshaping traditional music.

From the pocket-sized harmonica to the majestic pipe organ, the journey through time and space from the ancient flute to the modern flute, to the new interpretation of traditional Chinese musical instruments, these performances cover the wide variety of musical instruments and performance styles, which carry their personal stories worthy of savouring just as much as the music is.

這些複雜的情感？有說音樂與人腦的情感中樞有所連 繫，因此音樂能夠喚醒人們的情緒記憶，承載情感。 這或許能夠解釋，為何音樂可以傳遞文字也往往無法 完整表達的幽微細膩情感，也能打破語言界限，甚至 還是憂傷。 由情感延伸，歷史上段段美好得足以流傳後世的樂韻 篇章，也都承載着無數人文故事與風貌。 今屆藝術節幾個由本地音樂家演出的音樂會，均於音 韻中深藏着形形色色的大小故事。英皇口琴五重奏以 口琴，吹奏出成員之間從學生時代至今三十五年的深 厚情誼，以及從本地揚威國際的輝煌歲月；「樂器之 王」管風琴在西方宗教音樂中扮演重要角色，這種樂 器在香港的發展歷史，自然也與宗教息息相關；古長 笛與現代長笛在結構、音色和演奏技巧上的演變，將 由香港少數鑽研古長笛的演奏家曾逸豪親自解說，呈 現這種樂器在音樂史上的豐富面貌；還有琵琶與笙， 這兩種歷史悠久的傳統中樂器，今屆將由年輕音樂家 以嶄新風格演繹，他們對於重塑傳統樂韻也自有一番 見解。 從袖珍小巧的口琴，到氣勢雄偉的管風琴，從古長笛 到現代長笛的時空穿越之旅，到傳統中樂器的新派演 繹，這些表演涵蓋的樂器種類之廣、表演形式之多樣， 使其承載的故事及與之聯繫的情感更值得令人細味。

THE AMAZING 35-YEAR JOURNEY OF KING'S HARMONICA

三十五年口琴之旅

The 50th anniversary of the Hong Kong Arts Festival celebrates the return of the Hong Kong harmonica legends, the King’s Harmonica Quintet (KHQ). The five members each have their own unique colour and form a strong bond on stage; the quintet has constantly adapted its repertoire, performing with an immense charm that has enchanted and inspired audiences in a passionate 35-year journey through the world of harmonica music.

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Jenny Lee 李嘉盈 Jenny Lee is the Project Consultant of Hong Kong Philharmonic Orchestra. 李嘉盈是香港管弦樂團的 項目顧問

It all began more than three decades ago in the schoolyard at King’s College in MidLevels. Almost every break time, a group of enthusiastic teenagers came together to play harmonica music, and on weekends, they searched relentlessly for new music at concerts at Hong Kong City Hall. Their passion remained undimmed throughout their university years, and they continued to play concerts. Glory came in 1995 and 1997 when they won 16 prizes at the World Harmonica Festivals in Yokohama and in the home town of the harmonica—Trossingen in Germany, giving the quintet the chance to perform globally in more than 20 countries and 30 cities. In 2002, they established the Hong Kong Harmonica Association to promote harmonica

東京奧運在疫情下順利完成，香港運動員亦在國際舞 台上大放異彩。看到奧運旗幟上的五環緊扣，不期然 令我想起蜚聲國際、本地口琴界的領軍人物——英皇 口琴五重奏。如奧運五環一樣，他們各具特色，卻又 擁有同等份量；既互相扶持又能靈活地轉換角色。在 人生寶貴的三十五年中，他們以口琴奏出動人心弦的 音樂，團結攜手闖上多個高峰。 他們的音樂故事由英皇書院的後花園開始：每逢小 息，這幾位熱愛音樂的中學生會聚在花園玩口琴合 奏，假日又會到香港大會堂找樂譜來改編，大學時期 更自費舉辦音樂會，而他們的藝術征途亦由此展開。 英皇口琴五重奏在 1995 年日本橫濱和 1997 年德國 特勞辛根的世界口琴節上一鳴驚人，此後他們的音 樂足跡遍及多個國家和城市。他們更於 2002 年成立 香港口琴協會，積極推動本地口琴音樂發展。英皇口 琴五重奏的成員各有事業，同時又在口琴音樂上擁有 專業級造詣，獲得廣泛的肯定和支持，包括先後於 2000 年和 2010 年參與香港藝術節的演出；2008 年 參與北京奧運聖火香港站閉幕禮演出。此外，他們又 曾與多個本地樂團如香港管弦樂團、香港小交響樂團 等合作，堪稱業餘音樂家之典範。

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music. Though the five members of the KHQ all have day jobs, their performances are always consummately professional and they have been widely recognised in Hong Kong, performing at the HKAF in 2000 and 2010 and at the closing ceremony for the Beijing Olympic torch relay in 2008. Over the years, the quintet have collaborated with the Hong Kong Philharmonic Orchestra and the Hong Kong Sinfonietta, among many others, being role models for amateur musicians in the city.

Fortune may have smiled on the KHQ, but the road to success has not always been smooth. The chromatic harmonica was invented in the early 20th century, meaning it is a young instrument, lacking original compositions and arrangements.

This has pushed the KHQ to arrange classical music compositions themselves. During rehearsals, the music is revised numerous times and only finalised when they go onstage. They have also commissioned new works by composer friends, like Hui Cheung-wai, Mui Kwong-chiu and Clarence Mak. Through their efforts, there have been around 30 original compositions and over 110 arrangements to date. This HKAF concert begins with the music of their favourite composer, Mozart, with whom they also started their first ever concert. The KHQ love sharing the stage with musician friends—this time they will be joined by pianist Nancy Loo and harpist Dan Yu. The concert ends with Shostakovich, another composer whose work featured in their first performance.

In April 1990, the South China Morning Post described the KHQ as “blowing up a real harmonica storm”. This unprecedented force created a prosperous and glorious phase in the history of the harmonica in the city. Though they lost one member, Lau Chun-bong, to emigration, they continue as a quintet. In their third appearance at the HKAF, Ho Pak-cheong, Kenneth Chan Shu-keung, Rocky Lok Yingkei and Johnny Kuan Manhou return with a new young member Ivan Chong Tingho, accompanied by Nancy Loo and Dan Yu to shine once again on stage and to spread their love for the music of this unique instrument.

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看似一帆風順，但其實當中困難重重。由於半音階口 琴在二十世紀初才面世，算是一種年輕的樂器，因此 缺乏原創和改編作品。英皇口琴五重奏積極改編古典 音樂作品，排練時又會不停修改，直至演出前一刻， 編曲才算真正完成。他們也會委託作曲家好友如許翔 威、梅廣釗、麥偉鑄等譜寫新曲，至今已有大概三十 首原創作品和超過一百一十首改編音樂。這次演奏會 將以莫扎特的改編作品作開場；英皇口琴五重奏很喜 愛莫扎特的音樂，樂團成立之初的首場音樂會，便是 以莫扎特的改編作品揭開序幕。他們亦經常與不同音 樂家合作，這次邀請了合作多年的好友鋼琴家羅乃新 和豎琴家于丹同台演出。音樂會將以蕭斯達高維契的 音樂作結，當年他們的首場音樂會也是改編這位俄國 作曲家的作品，其時的《南華早報》更形容他們的口 琴版本可媲美弦樂版。 在過往的三十五年，英皇口琴五重奏一直致力推動口 琴原創音樂，再憑藉各人的努力，讓香港口琴音樂如 今備受肯定，為本地口琴界開拓史無前例的光輝歲 月。縱然始創成員之一劉振邦早已移居外地，但五人 為口琴發展依然不遺餘力。適逢香港藝術節五十周 年，英皇口琴五重奏將第三次踏上藝術節的舞台；團 員何百昌、陳樹強、駱英棋和關文豪，聯同青年好手 莊庭皓，以及鋼琴家羅乃新和豎琴手于丹，將聚首一 堂，以音樂傳情，以生命影響生命。

King’s Harmonica Quintet will be shown at the Hong Kong City Hall’s Concert Hall on 20 March 2022. 英皇口琴五重奏將於 2022 年 3 月 20 日在香港大會堂音樂廳演出。

© Wong Kin-chung

© Cheung Wai-lok

© Wong Kin-chung

© Wong Kin-chung

© Wong Kin-chung

Organist Anne Lam 管風琴演奏家林芍彬

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Felix Yeung 楊欣諾 Felix Yeung is the Director of Music at St John’s Cathedral.

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楊欣諾現為香 港 聖 公 會 教省及聖約翰座堂的音樂 總監。

It is no surprise that, given Hong Kong’s past as a British colony, the Anglican Church musical tradition would be prominent in the city. The first organist and choirmaster of St John’s Cathedral, Charles Frederick Augustus Sangster (c.18411902), arrived in 1860, the same year as the city’s first organ. From then on the organists of St John’s influenced musical standards both in church, and in the wider colonial community.

© Kurt Chan

香港曾經是英國殖民地，所以英國聖公會的音樂傳統

Numerous local musicians were trained in the art of organ playing. The late Rev. Canon David Leigh (1916-2013) and Cecilia Kwok were leading figures in Hong Kong Anglican church music and beyond in the second half of the twentieth century.

Cecilia Kwok held the position of Organist and Mistress of Choristers until 1991, and one of her many protégés, Peter Yue, succeeded her. One of David Leigh’s pupils was Wong Kin-yu, who still serves as organist at Kowloon Methodist Church.

Another important figure is Dr Chiu Siu-ling, who started the “King of the Instruments” Pipe Organ Education Series on the Hong Kong Cultural Centre organ in 1999. Many young organists have benefited from this series, including Dr. Anne Lam, who is now organist at Chung Chi Chapel at The Chinese University of Hong Kong. Her protégé Carlos Li has just won the 2021 Young Organist Competition organised by the Hong Kong Chapter of the American Guild of Organists.

流傳於香港，亦很順理成章。聖約翰座堂的首位風琴

This “line” of local organists would not have prospered without the instrument itself. St John’s Cathedral, being one of the most historical churches in Hong Kong, and with its numerous organs in the course of history, contains a nearly uninterrupted chapter in the history of pipe organ in Hong Kong. Completed for divine worship in 1849, it is understood that St. John’s first had a seraphine organ, followed by a harmonium in 1854. The first fully functional pipe organ, built by Bryceson and Son, arrived from England in December 1860. Subsequent repairs and overhauls led to three more organs, with the last being built by local organ builder William Charlton Blackett (1859-1941). He was the only professional organ builder ever to have established a workshop in Hong Kong.

His stay of 24 years saw the reconstruction of

會香港分會舉辦的首屆青年管風琴比賽中，奪冠的李

師暨詩班長沈思特先生（約 1841 至 1902 年）於 1860 年抵港，全港首座管風琴亦於同年安裝於座堂內。自 此，不論在教會內外，聖約翰座堂的風琴師都影響着 這片殖民地的音樂。 除了來自英國的音樂家，不少本地港人亦有學習管風 琴音樂。李守正法政牧師和郭鄭蘊檀女士可算是在 二十世紀中葉起，在香港的聖公會圈子中獨當一面的 人物。郭鄭蘊檀女士自 1954 至 1991 年起出任風琴 師及詩班長，其後由她的門生余必達先生繼任。而李 守正法政牧師的學生黃健羭女士，至今仍在香港基督 教循道衞理聯合教會九龍堂事奉。另一位重要人物就 是趙小玲博士，1999 年，趙博士開啟了香港文化中 心「樂器之王」管風琴教育系列，培育無數香港中學 生認識管風琴，其中一人就是現在於香港中文大學崇 基禮拜堂事奉的林芍彬博士。最近在美國管風琴家協 梓諾正是林博士的門生。 如果香港沒有管風琴這個樂器，上文標誌着本地風琴 師傳承的「族譜」就不會存在。聖約翰座堂是香港其 中一座最古老的西方教堂之一，這座被劃為法定古蹟 的教堂曾擁有過多座管風琴，闡述了一段幾乎從無間 斷的香港管風琴歷史。座堂於 1849 年建成，以供崇 拜使用，並先有一部塞拉菲娜風琴（按：其中一種簧 風琴家族的實驗樂器），隨後於 1854 年在座堂添置 一部簧片風琴。首座管風琴由英國拜臣公司建造，並 於 1860 年 12 月抵港。後來，座堂的管風琴經歷修 理及重建，一共先後再有三座管風琴建成。最後一座 由駐港的管風琴工匠布立赫（1859 至 1941 年）建造。 布立赫是香港歷史中唯一在本地設廠的管風琴工匠。

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西「風」東漸：管風琴在香港

LOCAL MUSIC TALENTS

THE KING IN THE ORIENT: PIPE ORGAN IN HONG KONG

Hong Kong Philharmonic (from top left to right): Christopher Moyse, Jiang Lin, Robert Smith, Jarod Vermette, and Paul Luxenberg. 港樂銅管五重奏（上起 左 至 右 ）： 莫 思 卓、 江 藺、 施 樂 百、 韋 雅 樂、雷科斯。

many older organs, as well as the installation of new ones. We can still see Blackett’s work in the Chapel of Christ the King in Causeway Bay and at St Margaret’s Church in Happy Valley.

Unfortunately, neither is functional any longer and will remain mute until restoration work is carried out. There are however a number of excellent pipe organs in the city, in particular the massive Rieger Organ at the Hong Kong Cultural Centre, installed in 2010 and with four manuals, 93 stops and 8,000 pipes, as one of the largest mechanically operated instrument of its kind in East Asia. SKH Tang Shiu Kin Secondary School chapel also has a small Fisk pipe organ installed in 2016, which is frequently used by the Hong Kong Chapter of the American Guild of Organists for educational activities and concerts.

In the upcoming Hong Kong Arts Festival, Dr Anne Lam will join forces with a brass quintet drawn from the Hong Kong Philharmonic Orchestra for a vibrant programme of original music, as well as a transcription for this exciting collaboration. The overture from Handel’s Music for the Royal Fireworks, HWV 351, written for the outdoor occasion, has been transcribed by Carlos Li to open the concert. Handel’s Sonata in C major arranged for tuba and Vivaldi’s Concerto in C major for Two Trumpets will showcase the solo brass writing of the baroque masters. More contemporary works such as Witold Lutosławski’s Mini Overture and Hong Kong-born British composer Dani Howard’s Blue Pavilion further explore the idiom of brass quintet. The programme closes with two rhythmic and catchy pieces for brass and organ from the United States: Daniel Pinkham’s Morning Music and Carlyle Sharpe’s Flourishes.

The combined power and brilliance of brass and organ will create a unique and original listening experience for Hong Kong audiences.

在他留港的二十四年期間，他翻新了無數的管風琴， 亦有建造新琴。我們現在仍可在銅鑼灣聖保祿醫院內 的基督君王小堂及跑馬地的聖馬加利大堂找到布立赫 建造的管風琴。可惜，這些管風琴已日久失修，若要 再次聆聽布立赫留給我們的琴聲，恐怕要為它們進行 一番徹底修理。雖然如此，香港現時仍有不少出色的 管風琴，其中以香港文化中心的奧地利萊格公司手製 的管風琴尤為著名，它於 2010 年落成，擁有四排鍵 盤、九十三個音栓及八千支音管，是東南亞最大型的 機械式管風琴之一。此外，還有聖公會鄧肇堅中學小 聖堂於 2016 年啟用的小型管風琴，由美國菲斯克公 司設計建造。這座管風琴自建成後，經常被美國管風 琴家協會香港分會於音樂會和教育活動中採用彈奏。 來屆香港藝術節，林芍彬博士將聯同港樂銅管五重 奏，呈獻一場別樹一格的風琴及銅管樂音樂會。韓德 爾的《皇家煙火音樂》（作品編號 HWV351）是為室 外場地演奏寫作，而李梓諾則把〈序曲〉改編為管風 琴及銅管五重奏版本。韓德爾另一首為大號而譜寫的 C 大調奏鳴曲，以及韋華第的 C 大調雙小號協奏曲， 則盡顯銅管樂獨奏作品的細膩之處。當代銅管五重奏 作品則包括魯杜斯拉夫斯基的迷你序曲，以及在港出 生的英籍作曲家達妮．霍華德的《藍亭》。音樂會將 以兩首富節奏感的動聽美國作品作結，分別是丹尼 爾．賓卡漢的《晨曲》及卡爾賴．夏普的《盛放》。這 次的音樂會無論是銅管樂抑或是管風琴，在聲效上的 力量及色彩均會為聽眾帶來耳目一新的體驗。

Anne Lam and HK Phil Brass Quintet will be shown at the Hong Kong Cultural Centre’s Concert Hall on 12 March 2022. 林芍彬與港樂銅管五重奏將於 2022 年 3 月 12 日在香港文化中心音樂廳 上演。

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GIVING NEW LIFE TO SHENG AND PIPA 笙與琵琶：傳統與創新

The sheng and the pipa are two Chinese musical instruments, each with a long history.

This year, the Hong Kong Arts Festival presents two exceptional programmes that portray the traditional tunes of these two instruments in the contemporary context.

笙與琵琶，都是歷史源遠流長的傳統中樂器。今屆藝

The versatility of sheng music

鄭浩筠吹出新笙樂

The roots of the sheng can be traced as far back as the Zhou Dynasty (11th to 7th centuries BC) in the saying “play lutes and blow pipes” from the Classic of Poetry. Combining such an ancient Chinese instrument with western instrumentation to perform a repertoire of diverse ethnic styles gives rise to some intriguing prospects.

Kevin Cheng, a rising sheng player born in Hong Kong, says the possibilities of instrument have been generally underexplored. “The sheng itself has a long history but it has largely been used as accompaniment. It was not until 1956 when the first solo work for sheng, The Phoenix Spreads Its Wings, was published.” The melody of this work was inspired by the regional opera in Shanxi, the home province of its composer, Hu Tianquan.

“Later on, many sheng compositions were grounded in specific local music cultures. Some composers even introduced Western musical elements into their sheng works. So I find the sheng a fluid instrument that is open to a wide variety of renditions.”

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Monica Ng 伍藹然

The music Kevin will be performing in his HKAF programme “Reed Minds – Reimagination of Sheng” is also highly diverse in style. In addition

術節帶來的兩個節目分別以這兩種樂器為主角，以別 具匠心的演繹方式，展現傳統樂韻的新時代氣息。

關於笙，早於周代《詩經》已有「鼓瑟吹笙」的文字記 載。如此傳統的中樂器，要是與西洋樂器合奏，演繹東 西方不同民族文化特色的樂曲，又會擦出怎樣的火花？ 談及笙在演奏上的可能性，香港新生代笙樂演奏家 鄭浩筠（Kevin）認為與其背景歷史不無關係。「笙本 身歷史的確悠久，然而其角色一直以伴奏為主。直 至 1956 年才誕生第一首獨奏曲《鳳凰展翅》。」《鳳 凰展翅》曲調取材自山西戲曲，山西正是創作此曲的 胡天泉故鄉。「此後誕生的笙樂曲目，許多都有這種 『就地取材』的特色，有些甚至融入西方音樂元素； 因此笙在我眼中是較沒有傳統包袱的中樂器，發揮自 由度較大。」 的而且確，Kevin 於今屆藝術節「鄭浩筠新笙代同樂 會」上演奏的樂曲，風格非常多元化。經典中樂曲目 以外，還有蒙古、印度、馬來西亞、印尼、峇峇娘惹 民歌樂風的作品，乃至探戈名曲《1930 年代的咖啡 館》和拉丁美洲風格的《西班牙舞曲》。在樂器編排 上亦不拘一格，相較 Kevin 過往以笙為主、其他樂器 為輔的演奏會，這次他將與多種西洋樂器合奏，彼此 沒有主次之分。

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Cang Cai is a work inspired by Peking opera, contains pipa lines that mimic the percussive sonority in traditional opera, intertwined with signature Peking operatic melodies. “The word ‘cang cai’ is an onomatopoeia for cymbals and gongs in Peking opera, which should therefore be pronounced in Northern dialect. In our case, we seek to use pipa to imitate the sonorously rough sound,” said Chan.

“The experience of sheng performance in Singapore has been quite different from that in Hong Kong,” says Kevin, who is currently based in the Lion City. “The repertoires I used to perform and practise in Hong Kong are mostly traditional works. In contrast, Chinese orchestras in Singapore will try to balance historical colours with a hint of contemporary sounds.”

Recalling the characteristic of sheng compositions being rooted in regional music, Kevin seeks to incorporate his own musical experience of Singapore into the concert. “I really hope to showcase the versatility of sheng music in this diverse programme.” 「在新加坡的笙樂演奏體驗，跟我在香港的很不一

琵琶新姿。音樂會先以兩首西域風情樂曲《樂舞圖》 和《龜茲舞曲》揭開序幕，緊接着是極具江南特色的 《春江花月夜》。玥琵琶團員之一陳韻妍解釋：「西 域音樂較有動感，讓人聯想到敦煌壁畫上的樂伎舞 姿，江南音韻就顯得細膩嬌俏。」另一團員劉慕華補 充：「後者也有較多推拉技巧，輪指、泛音、滑音也 較多。」 然後上場的是以京劇為靈感的《倉才》，以琵琶模仿 戲曲的敲擊樂音，再以京劇代表性旋律穿插其中。陳 韻妍說：「『倉才』二字要以北方方言唸出，是模仿 京劇鑼鼓的擬聲詞。我們用琵琶模仿這種「倉才」聲 調，演奏出粗獷的感覺。」 音 樂 會 的 最 後 一 部 分， 以 三 首 風 格 新 穎 的 樂 曲 作 結：《 七 個 瞬 間 的 隨 想 曲 》、《 品 》和《 搖 滾 琵 琶 FIGHT!》。劉慕華表示，希望讓即使不熟悉前三個 部分、帶有地域或歷史背景曲風的聽眾，也能欣賞 到琵琶的魅力。當中的《搖滾琵琶 - FIGHT!》以琵 琶名曲《十面埋伏》為起首，再轉入搖滾風格，創作

Reshaping pipa music with diverse styles

樣。」現定居新加坡的 Kevin 說。「就我在香港的經

此曲的青年作曲家陸尉俊既以《十面埋伏》反映疫情

Yue Pipa Ensemble is another example at this year’s HKAF of the spirit of traditional instrumentation being rejuvenated in innovative ways. This pipa quartet consists of Lau Mo-wah, Chan Wan-in, Chan Nok-cheong and Sun Choham. Besides the traditional baritone pipa, treble and bass pipas are also included in the ensemble.

So the quartet’s repertoire encompasses not only rearranged pipa solo works, but also some dedicated to its various musical ranges.

驗而言，笙的演奏和訓練都以傳統曲目為主。但新加

「無處不在」的狀況，亦期望透過激昂曲風表達擊退

坡的華樂團在保持傳統特色之餘，也會作出更多新

疫情的決心。

Reshaping pipa music, the programme will be a kaleidoscopic showcase of both classic and contemporary works. The concert will begin with Heavenly Dance and Dance Along the Old Silkroad, two propitious tunes from the Western Regions of Mainland China, followed by the Jiangnan-influenced Blossoms on a Spring Moonlit.

One of the ensemble’s members, Chan Wan-in elaborates on the programme: “Music from the Western Regions inherently carries a sense of movement. Audiences might associate the song with the court dancers depicted on Dunhuang murals. By contrast, Jiangnan melodies are usually more delicate and tender.” Lau Mo-wah, another member, adds, “Jiangnan melodies also use more advanced fingerpicking, richer tremolos, harmonics, and glissandi.”

嘗試。」Kevin 笑言，笙樂曲目既然大都帶有「就地 取材」的特質，他這次也來「就地取材」，將他在新 加坡的音樂體驗，展現於這次不囿於傳統的演奏會當 中。「我希望能做到以不一樣的形式，展現出笙樂的 特色。」 多樣曲風展現琵琶新姿

同樣以嶄新形式展現傳統樂器魅力的，還有玥琵琶室 內樂團帶來的音樂節目——《由西域至搖滾》。玥琵

“Music from the Western Regions of Mainland China inherently carries a sense of movement. Audiences might associate the song with the musicians depicted on Dunhuang murals. By contrast, Jiangnan melodies are usually more delicate and tender.” 「西域音樂較有動感，讓人聯想到敦煌壁畫上的樂伎舞姿， 江南音韻就顯得細膩嬌俏。」

琶由劉慕華、陳韻妍、陳諾鏘和孫楚涵四位充滿年輕 活力的成員組成，採用琵琶四重奏形式是他們的特 色，以高音及低音琵琶配合中音琵琶（亦即常見的傳 統琵琶）作演奏，樂曲亦非只將琵琶獨奏曲作改編， 而是特地就多個聲部譜寫音樂。

"I find the sheng a fluid instrument that is open to a wide variety of renditions.”

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The concert concludes with three innovative works: Seven Moments of Caprice for Guitar and Pipa, Pin and Rock Pipa - FIGHT!. As Lau explains, these three works show the glamour of pipa to audiences who might not be familiar with the geographical and historical anchors of the preceding traditional repertoires. Inspired by the pipa classic, Ambushed from All Sides, Rock Pipa - FIGHT! illustrates the musical transition from the classic pipa melody to a spectacular rockstyle arrangement. According to composer Luk Wai-chun, quoting Ambushed from All Sides in the opening passage of this piece aims to reflect the ubiquitous pandemic, with the electrifying pipa arrangement announcing a bold determination to fight the virus.

他們這次的選曲糅合經典與當代，以多樣曲風展現

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to music from Chinese classic repertoires, his programme also includes various works with strong Mongolian, Indian, Malaysian, and Peranakan folk music influences, along with the Astor Piazzolla tango classic Café 1930, and the Latin American Hispanic Dance. Unlike previous concerts that have centred sheng alongside other instruments, this time, Kevin seeks to liberate it from standard arrangements and emphasise the parallels between sheng and Western instruments.

「笙在我眼中是較沒有傳統包袱的中樂器，發揮自由度較大。」

Reed Minds – Reimagination of sheng will be presented on 16 March 2022 at the Hong Kong City Hall’s Concert Hall.

Yue Pipa Ensemble Different Strokes: A Fresh Take on Pipa will be presented on 26 February 2022 at the Hong Kong City Hall’s Theatre. 鄭浩筠新笙代同樂會將於 2022 年 3 月 16 日在香港大會堂音樂廳上演。 玥琵琶室內樂團《由西域至搖滾》將於 2022 年 2 月 26 日在香港大會堂劇 院演出。

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曾逸豪與他的繆思庭院

Can you tell us more about HIP and why do you find it so fascinating?

I am, first and foremost, fascinated by the flute, which propels me to try the historical variants of the instrument. Using period instruments allows me to understand the music in ways that feel closer to the composers’ intention. In fact, in HIP, the performer is often informed not only by the sources, but also directly by the period instruments themselves.

Tsang Yat-ho is the first historical flautist from Hong Kong. He now lives in Germany and has performed in cities such as Amsterdam, Paris, Rome, Rotterdam, Frankfurt, Tokyo and Shanghai. He is currently studying for a Master’s degree in Historical Flutes Performance in Hochschule für Musik und Darstellende Kunst Frankfurt am Main under Prof Karl Kaiser and Daniela Lieb. At the 2022 Hong Kong Arts Festival, Tsang will perform two delicately curated programmes, showcasing a wide range of flute music, from the Baroque period to the Romantic. Accompanied by harpsichordist Torsten Mann, he will be performing on three different period flutes.

To me, the essence of HIP is to constantly ask “why not?” It is a process of research and daring experiment with the aim of translating what is written on the score into music we hear in the most interesting, expressive, yet faithful and convincing ways possible. This is done based on knowledge we have of the performing conventions and techniques of the different eras in which the music was originally conceived. For instance, in Baroque music, the basso continuo part is a semi-improvisation, and the soloist is expected to adorn the notes on the page with embellishments and ornamentations. But even with the exact same knowledge and instrument, the resulting performances can be drastically different according to the performers’ character and creativity. The possibilities can be endless.

Sanders Lau talks to Tsang Yat-ho before his concert in Hong Kong. 曾逸豪為香港首位古長笛演奏家，現時活躍於德國及荷蘭，並於德國法蘭克 福音樂與表演藝術學院跟隨卡爾．凱瑟及丹妮拉．利布教授修讀古長笛演奏 碩士課程。他的樂蹤遍及多個城市包括：阿姆斯特丹、巴黎、羅馬、鹿特 丹、法蘭克福、東京及上海。今年香港藝術節，曾逸豪將以三支不同的古長 笛為觀眾帶來兩場精心細選的節目。屆時，他將聯同古鍵琴家托斯丹．曼， 演出由巴羅克時期至浪漫時期的樂曲。 音樂會前，劉卓熙與曾逸豪進行了簡單的訪談。

How did you come up with the two sets of programmes?

You are Hong Kong’s first historical flautist. What brought you into the world of early music in the first place?

I have been fond of Baroque and Renaissance music since my formative years. My first flute teacher, Joseph Lee, who also taught me the recorder, was very interested in early music.

Every week we would play Renaissance consort music and Baroque music together. Since then, I developed an affinity for early music and learned a little about period instruments. I was enchanted by the unique sound these wooden instruments made, and felt that they go very well with the Baroque repertoire.

Was that why you decided to pursue your further studies in the Netherlands, which is known for its vibrant early music scene?

Text 撰文

Sanders Lau 劉卓熙 Sanders Lau is the Resident Conductor of Die Konzertisten

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劉卓熙為本港室樂合唱團 Die Konzertisten 的 駐 團 指揮。

I actually initially went to Amsterdam to study the modern flute. I took the Baroque flute as a secondary instrument. After learning more about the Historically Informed Performance (HIP) practices, I came to realise this approach to music suited my personality. I wanted to develop further in this direction, and eventually pursued an additional degree on the Baroque flute.

你是香港首位古長笛演奏家，當初是如何開始接觸 早期古典音樂？

從我開始學習演奏長笛不久，就已經喜歡巴羅克及文 藝復興時期的音樂。我的首位長笛及直笛老師李國麒 先生對早期古典音樂素有研究，在每星期的課堂上， 他都會帶領我合奏文藝復興時期的直笛重奏音樂，由 此時開始我便對早期古典音樂及古樂器萌生興趣。我 特別鍾情於木製樂器的聲音質感，當時已覺得這種聲 音跟巴羅克時期的音樂十分相襯。 荷蘭的早期古典音樂氛圍濃厚，你是因為這原因而 決定到當地深造嗎？

其實我當初負笈阿姆斯特丹時是主修現代長笛演奏 的，同時副修巴羅克長笛。隨着我對鑑古演奏的了解 日深，我意識到鑑古演奏看待音樂的想法與我的個性 不謀而合，想往這種音樂方向發展，所以當我完成現 代長笛的學位後，決定將巴羅克長笛學位課程由副修 轉為主修，亦即多修一個學位。

I have named these concerts Le Jardin des Muses (The Garden of the Muses). My muses are the many breeds of period flutes and the wide array of sounds and musical styles in this case.

The first programme showcases a mixture of compositions in French, Italian and German styles across the Baroque period. The whole set of repertoires is chosen in B minor, which I find to be a particularly special key for Bach and the Baroque flute. As the 18th-century composer Christian Schubart put it, “this is as it were the key of patience, of calm awaiting one’s fate and of submission to divine dispensation”.

In the second programme, I will perform on a classical flute and an original wooden Boehm flute made in around 1910. The two instruments have different fingering systems, sounds, and even pitch standards. The early classical flute is a direct descendant of the Baroque flute. They share a conical body, each of which is designed to produce a large palette of tone colours. On the other hand, the Boehm flute (named after its inventor), also known as the “modern” flute, is designed to sound loud and evenly across the register. These differences would be reflected in the performance. Lastly, I hope the audience will enjoy this assortment of flute music.

對你來說，鑑古演奏是甚麼？它使你着迷的地方是 甚麼？

非要說的話，我是首先對長笛這件樂器着迷的，所以 當我得悉原來還有各種不同的古長笛時，自然也想了 解多些這類型的樂器。演奏古樂器讓我對作品有更好 的理解，並且讓我奏出更貼近作曲家想像的聲音。在

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TSANG YAT-HO IN HIS GARDEN OF MUSES

鑑古演奏中，除了研讀史料文獻外，許多時候，演奏 者能直接透過演奏古樂器而獲得啟發。 對我而言，鑑古演奏的精髓在於不斷去問：「為甚麼 不？」它是個大膽假設、小心求證的過程，務求以最 興味盎然、最動人、最令人信服，且忠於原著的方 法，將樂譜上的音符化為音樂。為此，演奏者須熟知 不同時期的音樂傳統及演奏技法。以巴羅克時期的音樂 為例，當時的樂手會以半即興方法將通奏低音部分奏 出，而獨奏部分則會為譜上所寫的音符和節奏，加上各 種潤飾和點綴，以收豐富樂句之效。正因如此，樂手對 樂曲的理解、處理，甚至他的個人性格、創意，都會影 響他對作品的演繹，所以每次的演奏都是獨一無二。 你如何選取這次兩場音樂會的曲目？

我將音樂會命名為《繆思的庭院》，而我的繆思正是各 種古長笛，它們各自的獨特聲音，以及適合奏出的不同 時期音樂風格，都成為了我這次音樂會的靈感來源。 在首場音樂會上，我會帶來橫跨巴羅克時期的法國、 意大利及德國風格音樂。我特意揀選了六首都是 B 小調的樂曲，因為這個曲調對巴赫的音樂和巴羅克長 笛來說都十分特別。借用十八世紀作曲家克里斯汀． 舒伯特的說話，B 小調「是個具備耐性的曲調，彷彿 在平靜恭候並順服神聖的安排。」 至於第二場音樂會，我將會演奏古典長笛，以及一支 約 1910 年製造製造的木製貝姆長笛。兩件樂器在指 法、音質和音高上都有重大差別。古典長笛的前身是 巴羅克長笛，兩者的笛身設計皆呈圓錐形，使之能奏 出豐富且多樣的音色。至於貝姆長笛（由長笛家迪奧 波德．貝姆發明，即我們熟悉的「現代長笛」），它 的結構及設計使不同音高的音色及聲量都顯得均勻； 大家能在演出中感受到兩件樂器的特性各異。最後， 希望觀眾會喜歡這兩場別開生面的長笛音樂會。

Tsang Yat-ho Flute Recitals - Le jardin des muses will be shown at Hong Kong City Hall's Concert Hall on 17-18 March 2022. 曾逸豪古長笛獨奏會——《繆思的庭院》將於 2022 年 3 月 17 至 18 日於 香港大會堂音樂廳上演。

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A LONG AND FRUITFUL PARTNERSHIP 攜手共獻本地精采藝術

The Hong Kong Arts Festival has always been committed to promoting local music and dance.

Since the 1970s, it has collaborated with local artists and ensembles, including the Hong Kong Chinese Orchestra, the Hong Kong Philharmonic Orchestra, the Hong Kong Ballet and the Hong Kong Sinfonietta. As the HKAF marks its fiftieth edition in 2022, Hong Kong City Hall, a long-standing partner of the Festival, celebrates its diamond anniversary this year. It is a golden opportunity to celebrate this remarkable milestone and strengthen our partnership with a range of fabulous productions, bringing Hongkongers together once again to enjoy top-quality performances. 香港藝術節致力弘揚本地音樂及舞蹈，自七十年代起一直與多個本地藝術團體合作無間，包括香港中樂團、 香港管弦樂團、香港芭蕾舞團及香港小交響樂團。2022 年香港藝術節踏入五十周年，又適逢香港大會堂慶祝 六十周年，我們正好藉此機會與長年友好伙伴加強連繫，推出多場精采的表演節目，匯聚本地精英，以樂獻 藝，共慶盛事。 The Stage Door on Mars Hong Kong Chinese Orchestra 香港中樂團《火星上的虎度門》 Imagine it is 2057, and the Hong Kong Chinese Orchestra is holding a ground-breaking outdoor concert on the Chinese space station on Mars, celebrating the centenary of The Story of the Purple Hairpin’s premiere. The concert is themed as Cantonese operatic music, representative of Cantonese culture. The programme includes the immortal The Story of the Purple Hairpin and other classical excerpts, and also stage projection effects that take the audience to through the development of Cantonese opera over the course of a century.

Hong Kong Chinese Orchestra’s The Stage Door on Mars will be shown at the Hong Kong City Hall's Concert Hall on 12 March 2022. 香港中樂團《火星上的虎度門》將於 3 月 12 日在香港大會堂音樂廳上演。

假想時間已推移至 2057 年，中樂團為慶祝《紫釵記》香港首演一百周年， 破天荒在火星上中國太空站的室外音樂廳舉辦音樂會。樂團以最能代表廣 東文化的粵劇樂曲作為這次主題，除了演奏香港最膾炙人口的《紫釵記》及 其他經典折子戲曲目外，亦會以舞台投影效果，帶領觀眾回到一百多年來 粵樂文化基因所出現過的不同音樂場景。

Amor y Pasión Hong Kong Ballet 香港芭蕾舞團《狂熱芭蕾》 This international ballet gala is a blend of contemporary and classic ballets. Juanita y Alicia, an original ballet composed by Septime Webre, Artistic Director of the Hong Kong Ballet, will receive its Hong Kong premiere. Inspired by the 1920s and also Webre’s childhood memories of Cuba, the performance showcases a retro-Cuban stage design, and is accompanied by bolero, Son Cubano and other emotionally charged Cuban dance music by the legendary Buena Vista Social Club. Sombrerismo, a dynamic energetic ballet from 2015 by the leading contemporary choreographer Annabelle Lopez Ochoa, performed by six male dancers in bowler hats, is revived at the Festival. In classic choreographic works, the Hong Kong Ballet will also present Flames of Paris by Vasily Vainonen, and Marius Petipa's unique Don Quixote. Besides, Paquita, which is one of Petipa's signature works, will be the finale of this programme. 這場國際芭蕾盛會匯聚多套現代與經典芭蕾作品。由芭蕾舞團藝術總監衛 承天創作的《胡安妮塔與艾麗絲亞》將在香港首演，創作靈感源自 1920 年 代，是他年少時的古巴生活回憶，舞台以懷舊古巴風格作為設計基調，配 以古巴著名樂隊「遠景俱樂部」的傳統古巴音樂，構成扣人心弦的舞蹈作 品。另外，芭蕾界炙手可熱編舞家奧喬亞的《極端黑暗》將再度登場，六位 頭戴圓禮帽的男舞者將盡顯動感舞姿。經典舞劇方面，舞團將會帶來瓦西 里．伐伊諾能的《巴黎火焰》、佩蒂巴的《唐吉訶德》和《海盜》，壓軸演出 的《帕吉蒂》更是佩蒂巴別樹一幟之作，當中的陽光西班牙選段更是別處少 見，令人份外期待。

Hong Kong Ballet’s Amor y Pasión will be shown at the Hong Kong Cultural Centre’s Grand Theatre from 4-6 March 2022. 香港芭蕾舞團《狂熱芭蕾》將於 3 月 4 至 6 日在香港文化中心大劇院上演。

Joint Celebration Concert of Hong Kong City Hall 60th Anniversary & Hong Kong Arts Festival 50th Anniversary

Reflections on Refractions Hong Kong Sinfonietta 香港大會堂 60 周年及香港藝術節 50 周年聯合誌慶音樂會

香港小交響樂團《影幻形光》 The Feasts of Music Hong Kong Philharmonic Orchestra 香港管弦樂團之音樂饗宴 The HKAF is collaborating with the HK Phil on several concerts this year. First up will be the orchestra performing Mahler’s Symphony No 4 as the festival opening. This is one of the masterpiece of Mahler. With the exquisite lieder at the end, the piece is full of playful tunes, birdsongs and melodic delights. In the second concert, celebrated Chinese pianist Chen Sa will perform classic pieces by Beethoven, including Piano Concerto No 5, popularly known as the “Emperor” concerto, and the famous Symphony No 5. The Germanybased Korean Esmé Quartet is also performing at the Festival. The string quartet, which has swept numerous international contests, will present us with Beethoven’s Große Fuge in B-flat major, Absolute Jest by John Adams, and Piano Quartet No 1 in G minor by Brahms, with Wilson Ng, a young local conductor who made his debut at the 49th HKAF. 藝術節將與管弦樂團合作演出多場音樂會，開幕音樂會將由馬勒第四交響 曲揭開序幕，樂曲充分體現作曲家精妙的作曲技藝，簡潔優雅如「天籟之 音」。當今炙手可熱的中國鋼琴家陳薩將會在第二場音樂會中，演奏貝多 芬的經典作品，包括有「皇帝」之稱的第五鋼琴協奏曲以及大眾耳熟能詳 的第五交響曲，展現驚豔琴技；讓人耳目一新的韓國伊斯美弦樂四重奏活 躍於德國，於多個國際比賽屢獲殊榮，她們將連同於去年藝術節首次亮相 的香港年輕指揮家吳懷世，帶來貝多芬降 B 大調大賦格曲、約翰．亞當斯 《絕對的玩笑》及布拉姆斯Ｇ小調第一鋼琴四重奏。

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Rain Cheng 鄭豐榮

While the HKAF is marking its fiftieth edition, Hong Kong City Hall celebrates its diamond anniversary this year. To mark the occasion, the Hong Kong Sinfonietta performs a special concert on 2 March, the anniversary of City Hall’s establishment. The orchestra will perform AtLasT, a site-specific work that melds perfectly with the ambience and architectonics of the City Hall auditorium. The work is composed by the Sinfonietta’s artist associate Charles Kwong and is conducted by music director emeritus Yip Wing-sie; it promises to serve up a unique experience for audiences. The orchestra will also present a rearrangement of Bach’s Brandenburg Concerto No 3 in G major and Stravinsky’s The Firebird Suite. The show will put an elegant new twist on one of the enduring classics of modern music, accompanied by four dancers, choreographed by Yuri Ng, artistic director of City Contemporary Dance Company.

Mahler’s Symphony No 4 will be shown at the Hong Kong Cultural Centre’s Concert Hall from 25-26 February 2022; Hong Kong Philharmonic Orchestra and Chen Sa will be shown at the Hong Kong City Hall’s Concert Hall from 5-6 March 2022; Hong Kong Philharmonic Orchestra and Esmé Quartet will be shown at the Hong Kong Cultural Centre’s Concert Hall on 10 March 2022.

The Festival Opening on 25 February is sponsored by The Hong Kong Jockey Club Charities Trust

香港藝術節邁向五十周年之際，亦是香港大會堂成立六十周年，為此，小 交響樂團特意選擇於大會堂開幕周年當天舉辦一場別開生面的音樂會，由 駐團藝術家鄺展偉創作「場域特定作品」《AtLasT》，並由樂團桂冠音樂總 監葉詠詩親自指揮，作品充分結合香港大會堂音樂廳的環境與空間，將為 樂迷帶來不一樣的音樂會體驗。此外，當晚小交響樂團還會演奏經過重新 編排的巴赫 G 大調第三勃蘭登堡協奏曲，以及史達拉汶斯基《火鳥》組曲。 新作與經典樂韻，加上城市當代舞蹈團藝術總監伍宇烈為舞台注入的匠心 構思，讓四位舞者伴隨音樂起舞，悠揚樂曲與曼妙舞姿在音樂廳中渾然一 體，相互映照出影幻形光。

The 5 March performance is sponsored by HKR International 香港管弦樂團馬勒第四交響曲為香港藝術節開幕節目，將於 2022 年 2 月 25 至 26 日在香港文化中心音樂廳上演；香港管弦樂團與陳薩將於 2022 年 3 月 5 至 6 日在香港大會堂音樂廳上演；香港管弦樂團與伊斯美弦樂四 重奏將於 2022 年 3 月 10 日在香港文化中心音樂廳上演。

Hong Kong Sinfonietta’s Reflections on Refractions will be shown at the Hong Kong City Hall’s Concert Hall on 2 & 4 March 2022. 香港小交響樂團《影幻形光》將於 3 月 2 及 4 日在香港大會堂音樂廳上演。

2 月 25 日之藝術節開幕演出由香港賽馬會慈善信託基金贊助 3 月 5 日之演出由香港興業國際集團贊助

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Théâtre de l’Odéon - L’École des femmes and Tartuffe (Molière) 巴黎奧德翁歐洲劇院 —— 莫里哀《太太學堂》及《偽君子》 The HKAF is pleased to present screenings of two classic Molière plays by the prestigious Théâtre de l’Odéon, one of France’s national theatres. The Parisbased company offers a production for the 21st century of Molière’s daring 1652 comedy L’École des femmes, a play that was controversial in its day and which examines the relationship between the sexes. Probably the playwright’s best-known work, Tartuffe tells the tale of a pious religious hypocrite who disguises himself and wheedles his way into a businessman’s family. He attempts to seduce the man’s wife and takes his possessions.

古典與現代一脈相承

As the Hong Kong Arts Festival marks its 50th edition this year, it commits itself to gathering performers from around the globe, and exchanging ideas in the “new normal”. In addition to a series of highlight programmes and commissioned productions, the Festival organises performances that blend the past and the present, with East meeting West. The programmes are ground-breaking in that the performing concepts and modes—music, dance, theatre and film—will be presented both online and offline. These will include broadcasts of classic European plays, the screening of documentaries with live music performances, live-streamed performances by renowned international theatre companies, and in-venue performances of Chinese contemporary dance and more. We hope the audiences will get this opportunity to discover new things and connect with the world in spite of these trying times. 香港藝術節邁向五十周年之際，繼續致力凝聚世界各地的表演創作，在新常態之下跨界交流。一連串焦點節目及委約製作之外，同時 帶來糅合古今、匯合中西的演出。節目打破傳統表演概念與模式，以線上和線下形式呈現音樂、舞蹈、戲劇和電影等豐富節目，當中 包括歐洲經典戲劇播放、結合現場音樂表演的紀錄片放映會、海外知名劇團線上直播演出，以及中國當代舞蹈現場表演等。期望觀眾 即使在難以跨境出遊的當下，仍能繼續拓展視野，與世界另一端緊密連繫。 Internationaal Theater Amsterdam - Kings of War and Roman Tragedies 荷蘭阿姆斯特丹國際劇團《戰爭之王》及《羅馬悲劇》 Ivo van Hove’s Kings of War merges Shakespeare’s historical plays— Henry V, Henry IV and Richard III— into one four-and-a-half-hour work. The modern play presents the climax of the plays so the audience can understand the political wars and the historical incidents underpinning them. The plays and their three protagonists demonstrate the cruelty of man and war. Van Hove employs a barrage of multimedia techniques, such as medium long shots, pre-recorded video and close-ups, providing audiences with a uniquely contemporary perspective on the action unfolding.

Roman Tragedies, also adapted by van Hove, with Jan Versweyveld, condenses three of the Bard’s Roman tragedies—Coriolanus, Julius Caesar and Antony and Cleopatra—into one. The play is relocated to a contemporary setting, outlining the power struggles and intrigues of the source works. Themes explored include the role of the media in society and the death of democracy. The audience catches a glimpse of the dark side and contradictions of humanity during civil turmoil. Both these productions are fitting compendiums of the work of Shakespeare.

《戰爭之王》改編自莎士比亞歷史劇《亨利五世》、《亨利 六世》和《理查三世》，擷取莎翁劇作精采的部分，讓觀眾

具爭議性、顛覆男女關係的經典喜劇《太太學堂》，搬到 二十一世紀的舞台，以現代手法演繹昔日妙筆，展現劇作 家的不朽幽默。另外一齣經典劇作《偽君子》講述偽裝聖潔 的宗教騙子混入富商家中，企圖勾引其妻、奪取家財，最 後真相敗露而鋃鐺入獄的故事。兩套戲劇將於藝術節期間 於網上播放，劇力萬鈞，不容錯過。

Please visit the HKAF website for latest programme information. 請瀏覽香港藝術節網站以獲取最新節目資訊。

Wonder Boy 《奇蹟男孩》 Created the rising British playwright Ross Willis, for the Bristol Old Vic, Wonder Boy explores the flaws of language, the joy of friendship and ways to expressing inner feelings. Sonny is a 12-year-old boy with a severe stammer. Hamstrung by a rigid education system, he is immersed in a miserable world. One day, the comic hero he had created helps him to overcome the harsh reality and enables him to soar…language is full of power, but how does Sonny overcome the obstacles before him and break free?

When his teacher casts him in a production of Hamlet, he realises the real hero is right in front of him.

《奇蹟男孩》由布里斯托爾老域劇場著名劇作家羅絲．威利 斯創作，故事旨在探索語言的缺陷、友誼帶來的歡樂，以 及表達內心聲音的方法。主角桑尼是一位十二歲男孩，有 嚴重口吃問題，終日沉浸於悲傷之中，同時又受困於學校 制度。有一天，他自創的漫畫英雄令他克服殘酷的現實， 得以翱翔天際……語言充滿力量，然而桑尼如何克服障 礙，從中尋找出路？當他被老師選中出演《哈姆雷特》時， 他便發現真正的英雄原來近在咫尺。

Bristol Old Vic’s Wonder Boy will be screened online from 26 March 2022 - 2 April 2022.

理解劇中的政治鬥爭並認識當時的歷史脈絡。劇本透過三 位國王的不同性格，展現人性與戰爭的殘酷本質，導演運 用多媒體技術，例如全景拍攝、預錄影像及特寫鏡頭等，

布里斯托爾老域劇場《奇蹟男孩》將於 2022 年 3 月 26 日 至 4 月 2 日在網上放映。

讓銀幕和台上表演連結台下觀眾，猶如置身這場政治遊戲 中，隨時監察執政者的一舉一動。 《羅馬悲劇》則融合《科利奧蘭納斯》、《凱撒大帝》和《安 東尼與克麗奧佩托拉》三部歷史悲劇，以英國十四世紀的 皇族鬥爭作為背景，呈現社會動蕩下政治機關如何運轉及 操作，探究媒體社會的亂象與民主價值的崩解。劇作刻畫 出動蕩時局下的人性幽暗與矛盾，同時細探執政者的領袖 風範，讓觀眾投入莎劇的跨時代魅力。

Internationaal Theater Amsterdam’s Kings of War will be screened at the Hong Kong City Hall’s Theatre on 24 February 2022; Roman Tragedies will be screened at the Hong Kong City Hall’s Theatre on 27 February 2022. 荷蘭阿姆斯特丹國際劇團《戰爭之王》將於 2022 年 2 月 24 日在香港大會堂劇院放映；《羅馬悲劇》將於 2022 年 2 月 27 日在香港大會堂劇院放映。

Le Patin Libre - New Ice Dance 嶄新冰上舞蹈 Hong Kong Arts Festival collaborates with Canadian (contemporary) ice-skating company Le Patin Libre to celebrate the 2022 Winter Olympics in Beijing.

Three videos about ice dance will be shown at skating rinks across Hong Kong, introducing three ice dance choreographic techniques: “Glide”, the technique in allowing human bodies to move through ice without constraints; “Complex Harmony”, showing geometric forms from traditional group skating as well as more complex ways of arranging movements; “Murmuration”, a unique group choreography inspired by the movements of flocks of birds, schools of fish. Besides, the videos include sharing by iceskating performers/artists, that makes learning the art of ice-skating more engaging and fun.

著名法國國家劇院 —— 巴黎奧德翁歐洲劇院將莫里哀最

BACK MATTERS

WHEN THE PAST AND PRESENT CONNECT

為響應 2022 北京冬季奧運會這項國際體壇盛事，藝術節 特別與加拿大自由冰舞團合作，於本港各大溜冰場播放三 套關於冰舞的短片，當中主要介紹三種冰舞編舞技術：「滑 溜」——讓人體突破限制，在冰上自由滑動；「縱橫交貫 之和諧」——是更為複雜的動作編排，展現傳統集體溜冰 組成的幾何美學；「椋鳥群」——靈感取材自雀鳥或魚類 集結成群的一種獨特編舞方式。此外，影片還收錄冰舞藝 術家的分享，讓大眾在享受溜冰樂趣之餘，同時間藉由短 片認識更多關於溜冰表演藝術的種種。

Contemporary Theatrical Work, Xiao Ke and I Hope 當代劇場作品《小珂》及《臍帶》 Shanghai dancer Xiao Ke looks back on her career as a dancer, choreographer and artist. Xiao Ke examines her experimental collaboration with the celebrated French choreographer Jérôme Bel, exploring the development of dance and culture in China over the past four decades. During the pandemic, the two choreographers completed the work through online meetings and rehearsals. Repeated communication and exchanges led to a cross-cultural dialogue between the theatre and ethnic groups in China. The piece also explores Chinese dance theatre.

I Hope is a story of five actors, four women and one man, of different ages, identities and experience.

Among them, the only male actor is cast as an outsider. The play explores memory, identity, anticipation and trauma, and entwines them together in an umbilical cord. The male actor then reads and organises the fragments of the broken stories with the live audience. They capture some fleeting and obviously personal moments. The sound design connects with the audience by integrating samples and background noises with narration, dialogue and physical movement.

上海舞蹈家小珂以舞者、編導和藝術家的身分回顧往事， 作品靈感主要來自她的舞蹈生涯。《小珂》是她與著名法 國編舞家謝洛姆．貝爾合作的實驗性作品，探討過去四十 年來中國舞蹈藝術和文化演變的歷程。在全球疫情籠罩之 下，兩位編舞家跨域合作，通過網絡會議和線上排練等新 常態方式製作，並經過反覆的溝通和交流，形成一次劇場 與民族之間的跨文化對話，也對中國舞蹈劇場進行探索。 《臍帶》的故事由四女一男共五位不同背景的演員組成，他 們的年齡、身分及經歷都有所差異，當中男演員會充當旁 觀者的角色。作品探討記憶、身分、期待，以及創傷，交 織成一個彼此連接的臍帶，繼而與現場觀眾共同閱讀、梳 理當中的故事碎片，再捕捉當中短暫且片面的個人畫面。 空間以錄音採樣和環境聲音的設計為鋪陳，以陳述、對話 及肢體表達的融合方式，與現場觀眾交流。

I Hope will be shown at the Hong Kong Cultural Centre’s Studio Theatre from 24-26 February 2022; Xiao Ke will be shown at the Hong Kong Arts Centre’s Shouson Theatre on 3-5 March 2022. 《臍帶》將於 2022 年 2 月 24 至 26 日在香港文化中心劇場 上演；《小珂》將於 2022 年 3 月 3 至 5 日在香港藝術中心 壽臣劇院上演。

Please visit the HKAF website for latest programme information. 請瀏覽香港藝術節網站以獲取最新節目資訊。

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Conducting Mahler (2021 Restored Version) 《指揮馬勒》 In 1995, the Royal Concertebouw in Amsterdam hosted the Mahler Festival and all the composer’s symphonies were performed. Frank Scheffer documented the proceedings in Conducting Mahler,

1995 年，阿姆斯特丹音樂廳舉辦了一個馬勒音樂節，演

recording rehearsals and performances by the Concertgebouw Orchestra Amsterdam, the Berliner Philharmoniker and the Vienna Philharmonic. Scheffer used interviews with five conductors—Bernard Hermann, Riccardo Chailly, Riccardo Muti, Claudio Abbado and Simon Rattle—to look into Mahler’s soul. To pay tribute the great master, his classic works were reinterpreted by contemporary composers and orchestras. As an added bonus, Hong Kong baritone Caleb Woo and pianist Alexander Wong will perform three Lieders including “Ging heut’ morgen über’s Feld” from Lieder eines fahrenden Gesellen; “Des Antonius von Padua Fischpredigt” from Des Knaben Wunderhorn and “Ich bin der Welt abhanden gekommen” from Rückert-Lieder

括伯納德．海廷克、列卡度．沙爾、列卡度．慕迪、歌迪

出馬勒的所有交響樂作品。《指揮馬勒》正是記錄了阿姆斯 特丹音樂廳管弦樂團、柏林愛樂樂團及維也納愛樂樂團的 綵排和演出，謝菲爾透過五位傑出指揮家的訪問片段，包 奧．阿巴度及西蒙．歷圖爵士，一探馬勒的靈魂深處，由 當代作曲家及管弦樂團重新演繹馬勒的經典作品，向這位 音樂大師致敬。在紀錄片放映現場，更會有歌唱家胡永正 與鋼琴家黃歷琛將一同演出馬勒三首藝術歌曲，包括選自 《流浪青年之歌》的〈今天清晨我走過田野〉、選自《少年 魔號》的〈聖安東尼向魚傳教〉，以及選自《呂克特歌集》 的〈我被世界遺忘〉，令整個節目更圓滿。

Voyage to Cythera (1999) 《塞瑟島之旅》 這是一部關於盧奇亞諾．貝里歐的紀錄片。這位意大利作 曲家以其「拼貼」手法聞名，他於 1968 年譜寫的經典之作 《交響曲》，正是借鑑了馬勒、史特拉汶斯基、布列茲、 荀白克和史托克豪森的作品。謝菲爾以不同的排練片段、 訪問節錄、表演場景及歷史檔案剪輯成這部紀錄片，又不 時以河流的影像貫穿其中，呼應貝里歐在作品中以河流為 意象的創作概念。導演還整合了貝里歐、列卡度．沙爾及 路易斯．安德里森的訪問片段，透過他們之間的交流與分 享，逐一揭示樂曲背後的靈感泉源。

Inner Landscape (2020) and Si Fan (2021) 《內心風景》及《思凡》 In 2015, composer Guo Wenjing, and Sichuan opera performer artist Shen Tiemei were commissioned

by Nieuw Ensemble Amsterdam together with the conductor Ed Sapnjaard to create a contemporary chamber opera Si Fan. Frank Scheffer recorded the collaboration and produced a documentary Inner Landscape, showing how two worlds harmonised when the Western orchestra met the distinctive vocals, gongs and drums of Sichuan opera. The documentary also presents the Sichuan opera performance and the harsh reality of the village stage, prompting reflections on existing values, the human spirit and the cultural inheritance of the folk songs that withstand the test of time. Local percussion ensemble The Up:Strike Project will also perform the music written by Guo Wengjing, including Drama, for three pairs of cymbals and players' voices, Op 23, and Parade, trio for six Beijing Opera Gongs, Op 40.

2015 年，作曲家郭文景、川劇表演藝術家沈鐵梅受荷蘭新 室內樂團委託，連同樂團指揮家艾德．斯潘賈德攜手譜寫 曲目，創作出現代室樂歌劇《思凡》。謝菲爾以他的鏡頭 記錄了這次的跨界合作，製作出紀錄片《內心風景》，展 現當西方古典音樂樂團遇上川劇唱腔與鑼鼓，能夠如何凸 顯箇中的中西風格融合與碰撞，並記錄了民間鄉村舞台上 的川劇演出及現實困厄，反思民歌在歷史洪流中的存在價 值、人民精神及文化傳承。除此之外，屆時香港敲擊樂團 The Up:Strike Project 更會現場演奏郭文景的敲擊樂作品 包括《戲》，為三對鈸與演奏者演唱而作，作品 23，以及 《炫》，為六面京鑼而作，作品 40。

戲劇 THEATRE Frank Scheffer’s Voyage to Cythera will be screened at the Hong Kong City Hall’s Theatre from 1-2 March 2022; Conducting Mahler will be screened at the Hong Kong City Hall’s Theatre on 3 and 5 March 2022; Inner Landscape and Si Fan will be screened at the Hong Kong City Hall’s Theatre from 4-5 March 2022.

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Rain Cheng 鄭豐榮

現場節目一覽

This documentary is about Luciano Berio, an Italian composer who made a name for himself with his technique of “musical collage”. His renowned work, Sinfonia (1968) took he work of Mahler, Stravinsky, Boulez, Schoenberg and Stockhausen as reference.

Scheffer conducted hours of interviews and filmed numerous performances and rehearsals to produce this documentary, supplementing it with archive footage. The director also merges interviews with Riccardo Chailly and Louis Andriessen in which the inspiration behind the music is revealed in fragments.

IN-VENUE PROGRAMME

Sculpting Air – the Music Documentaries of Frank Scheffer 荷蘭紀錄片大師法蘭克．謝菲爾鏡頭下的音樂世界

法蘭克．謝菲爾的《塞瑟島之旅》將於 2022 年 3 月 1 至 2 日在香港大會堂劇院放映；《指揮馬勒》將於 2022 年 3 月 3 日及 5 日在香港大會堂劇院放映；《內心風景》及《思凡》 將於 2022 年 3 月 4 至 5 日在香港大會堂劇院放映。

戲曲／歌劇 CHINESE OPERA/ OPERA 音樂 MUSIC 舞蹈 DANCE

FEB

———————————————— HKartsFestival@TaiKwun 香港藝術節 @ 大館 12-20 FEB ｜ TK ———————————————— A Tribute to Cantonese Opera Legend Sun Ma Sze Tsang 新馬師曾名劇展 22 - 25 FEB ｜ 19:30 ｜ CHCH ———————————————— Xiao Ke – I Hope 小珂《臍帶》 24 - 25 FEB ｜ 19:45 ｜ CCST 26 FEB ｜ 14:30 ｜ CCST ———————————————— Nirvana - Yu Xiangjun Piano-Hypermedia Recital 《彼岸》——俞湘君鋼琴超媒體音樂會 24 FEB ｜ 19:30 ｜ CCGT ———————————————— Internationaal Theater Amsterdam Kings of War 阿姆斯特丹國際劇團《戰爭之王》 24 FEB ｜ 19:00 ｜ CHT ———————————————— Hong Kong Philharmonic Orchestra Mahler's Symphony No 4 香港管弦樂團 馬勒第四號交響曲 25 - 26 FEB ｜ 20:00 ｜ CCCH ———————————————— Laila 《拉娜》 25 FEB - 3 APR ｜ MM ———————————————— Yue Pipa Ensemble Different Strokes: A Fresh Take on Pipa 玥琵琶室內樂團《由西域至搖滾》 26 FEB ｜ 15:00 ｜ CHT ———————————————— Reminiscence - Chinese Opera at the Keyboard 《憶韻》——黑白琴鍵下的戲韻 26 FEB ｜ 19:30 ｜ CCGT ———————————————— Internationaal Theater Amsterdam Roman Tragedies 阿姆斯特丹國際劇團《羅馬悲劇》 27 FEB ｜ 14:30 ｜ CHT ——————————————————

MAR

———————————————— Sculpting Air – the Music Documentaries of Frank Scheffer Voyage To Cythera 看見音樂：法蘭克．謝菲爾音樂紀錄片系列 《塞瑟島之旅》 1 MAR ｜ 19:30 ｜ CHT 2 MAR ｜ 12:30, 16:00 ｜ CHT

Joint Celebration Concert of Hong Kong City Hall 60th Anniversary & Hong Kong Arts Festival 50th Anniversary Hong Kong Sinfonietta Reflections on Refractions 香港大會堂 60 周年及 香港藝術節 50 周年聯合誌慶音樂會 香港小交響樂團 影幻形光 2 , 4 MAR ｜ 20:00 ｜ CHCH ———————————————— Chen Sa Piano Recital 陳薩鋼琴獨奏會 3 MAR ｜ 19:30 ｜ CCCH ———————————————— Jérôme Bel & Xiao Ke – Xiao Ke 謝洛姆．貝爾及小珂《小珂》 3 - 4 MAR ｜ 20:00 ｜ HKAC-ST 5 MAR ｜ 15:00 ｜ HKAC-ST ———————————————— Cantonese Opera Creative Studio 粵劇新姿創作坊 3 - 5 MAR ｜ 19:45 ｜ CCST ———————————————— Colossus 《無極》 3 - 5 MAR ｜ 20:00 ｜ APA-LT ———————————————— Sculpting Air – the Music Documentaries of Frank Scheffer Conducting Mahler 看見音樂：法蘭克．謝菲爾音樂紀錄片系列 《指揮馬勒》 3, 5 MAR ｜ 20:15 ｜ CHT ———————————————— 0AR《舞 0 度》 3-13 MAR ｜ URA-618 ｜ 11:00-20:00 16-27 MAR ｜ URA-H6 ———————————————— Sculpting Air – the Music Documentaries of Frank Scheffer Inner Landscape & Si Fan 看見音樂：法蘭克．謝菲爾音樂紀錄片系列 《內心風景》及《思凡》 4 MAR ｜ 19:30 ｜ CHT 5 MAR ｜ 14:30 ｜ CHT ———————————————— Hong Kong Ballet – Amor y Pasión 香港芭蕾舞團《狂熱芭蕾》 4 - 5 MAR ｜ 19:30 ｜ CCGT 5 - 6 MAR ｜ 14:30 ｜ CCGT ———————————————— Bamberg Symphony Orchestra Smetana’s Ma Vlast 班貝格交響樂團 史密塔納《我的祖國》 26 - 27 MAR ｜ 14:30, 17:00 ｜ K11-AH ————————————————

109

110

網上節目一覽

Please visit PLUS website for more information and online registration 請參閱「加料節目」網 站了解更多相關資訊及 網上報名

Hong Kong Chinese Orchestra The Stage Door on Mars 香港中樂團《火星上的虎度門》 12 MAR ｜ 20:00 ｜ CHCH ———————————————— Reed minds – Reimagination of sheng 鄭浩筠新笙代同樂會 16 MAR ｜ 19:45 ｜ CHCH ———————————————— Tsang Yat-ho Flute Recitals Le jardin des muses 曾逸豪古長笛獨奏會《繆思的庭院》 17- 18 MAR ｜ 19:45 ｜ CHCH ———————————————— China National Peking Opera Company 中國國家京劇院 17-19 MAR ｜ 19:30 ｜ CCGT 20 MAR ｜ 14:30 ｜ CCGT ———————————————— Miss Julie《茱莉小姐》 17- 20, 22-27 MAR ｜ 20:15 ｜ CCST 19 - 20, 26-27 MAR ｜ 15:00 ｜ CCST ———————————————— We Are Gay《我們最快樂》 19-20, 22-27 MAR ｜ 20:00 ｜ APA-LT 20, 26-27 MAR ｜ 15:00 ｜ APA-LT ———————————————— King's Harmonica Quintet 英皇口琴五重奏 20 MAR ｜ 15:15 ｜ CHCH ———————————————— Shanghai Opera House and Suzhou Symphony Orchestra Cavalleria Rusticana and Pagliacci 上海歌劇院與蘇州交響樂團 《鄉村騎士》與《丑角》 22 MAR ｜ 19:30 ｜ CCCH ———————————————— Shanghai Opera House and Suzhou Symphony Orchestra Roméo et Juliette 上海歌劇院與蘇州交響樂團 《羅密歐與茱麗葉》 24 MAR ｜ 20:00 ｜ CCCH ———————————————— Jockey Club Local Creative Talents Series Dance Opera: Love Streams 賽馬會本地菁英創作系列舞蹈歌劇《兩生花》 25 - 26 MAR ｜ 19:30 ｜ CCGT 27 MAR ｜ 14:30 ｜ CCGT ———————————————— Shanghai Opera House and Suzhou Symphony Orchestra Tristan un Isolde (excerpts) 上海歌劇院及蘇州交響樂團 華格納《伊索爾德》選段 26 MAR ｜ 20:00 ｜ CCCH

ONLINE PROGRAMME

Programme Information 節目資訊 hk.artsfestival.org

Faith, Family, Fealty – Three Cantonese Operas 短篇粵劇 —— 民間三孝義故事 5 MAR ｜ 11:00, 15:30 ｜ APA-DT 26 - 27 MAR ｜ 14:30, 17:00 ｜ TMTH-CAH ———————————————— Hong Kong Philharmonic Orchestra and Chen Sa 香港管弦樂團與陳薩 5 MAR ｜ 20:00 ｜ CHCH 6 MAR ｜ 15:00 ｜ CHCH ———————————————— Esmé Quartet 伊斯美弦樂四重奏 7- 8 MAR ｜ 19:30 ｜ CHCH ———————————————— Bamberg Symphony Orchestra Bruckner's Symphony No 9 班貝格交響樂團 布魯克納第九號交響曲 9 MAR ｜ 20:00 ｜ K11-AH ———————————————— Hong Kong Philharmonic Orchestra and Esmé Quartet 香港管弦樂團與伊斯美弦樂四重奏 10 MAR ｜ 20:00 ｜ CCCH ———————————————— Jockey Club InnoArts Series Shuffle Dimensions – A Performative Installation Concert 賽馬會創藝科媒系列 《混序維度》表演式裝置音樂會 10 - 12 MAR ｜ 20:00 ｜ WKCD-FTB 13 MAR ｜ 15:00 ｜ WKCD-FTB ———————————————— Jockey Club InnoArts Series SHH – Virtual Reality 賽馬會創藝科媒系列 沉浸式虛擬實境劇場《詩》 10 - 13 MAR ｜ 19:45, 21:00 ｜ CCST 12 - 13 MAR ｜ 13:30, 14:45, 16:00, 17:15 ｜ CCST ———————————————— Paris Opera Ballet – Romeo and Juliet 巴黎歌劇院芭蕾舞團《羅密歐與茱麗葉》 11 MAR ｜ 19:30 ｜ CCGT ———————————————— Bamberg Symphony Orchestra Mahler's Symphony No 9 班貝格交響樂團馬勒第九交響曲 12 MAR ｜ 20:00 ｜ K11-AH ———————————————— Anne Lam and HK Phil Brass Quintet 林芍彬與港樂銅管五重奏 12 MAR ｜ 20:00 ｜ CCCH ———————————————— Jockey Club Local Creative Talents Series Yat-sen Musical 賽馬會本地菁英創作系列《日新》音樂劇 11-12, 15-19, 22-26 MAR ｜ 20:00 ｜ CHT 12-13, 19-20, 26-27 MAR ｜ 15:00 ｜ CHT ————————————————

FEB Bayerische Staatsoper – Korngold's Die tote Stadt 巴伐利亞國立歌劇院 —— 康戈爾德《死城》 24 FEB 19:30 - 3 MAR 19:30 ———————————————— Ontroerend Goed T.M. 26 - 27 FEB ｜ 5 - 6 MAR ｜ 12 - 13 MAR 19 - 20 MAR ｜ 26 - 27 MAR ————————————————

MAR

Bayerische Staatsoper – Shostakovich's The Nose 巴伐利亞國立歌劇院 —— 蕭斯達高維契《鼻子》 10 MAR 19:30 - 17 MAR 19:30 ———————————————— Paris Opera Ballet – Body and Soul 巴黎歌劇院芭蕾舞團《身與魂》 14 MAR 19:30 - 21 MAR 19:30 ———————————————— National Theatre Brno – The Greek Passion 捷克布爾諾國家歌劇院《希臘受難曲》 17 MAR 19:30 - 24 MAR 19:30 ———————————————— Paris Opera Ballet – Giselle 巴黎歌劇院芭蕾舞團《吉賽爾》 21 MAR 19:30 - 28 MAR 19:30

Dead Centre (Ireland) – To be a Machine (1.0 version) 正點劇團（愛爾蘭） 《機器超人》 （1.0 版本） 23 - 25 MAR ｜ 21:00 26 MAR ｜ 19:00, 22:00 ———————————————— Bristol Old Vic – Wonder Boy 布里斯托爾老域劇團《奇蹟男孩》 26 MAR 14:00 - 2 APR 14:00 ———————————————— Théâtre de l’Odéon – Tartuffe and L’école Des Femmes 奧德翁歐洲劇院《偽君子》與《太太學堂》 Dates and times to be announced 日期時間容後公布

APR Bamberg Symphony Orchestra – Family Concert Carnival of the Animals & Little I am Me 班貝格交響樂團 —— 親子音樂會 《動物狂歡節》及《我想知道自己是誰》 11 APR 10:00 - 25 APR 10:00

VENUE APA-LT

CHCH

MM

Lyric Theatre, HKAPA

Concert Hall, Hong Kong

Maritime Museum

香港演藝學院歌劇院

City Hall

香港海事博物館

———————

香港大會堂音樂廳

APA-DT

—————————

URA-618

Rita Tong Liu Drama

CHT

URA-618 Shanghai Street

Theatre, HKAPA

Theatre, Hong Kong

618 上海街

香港演藝學院

City Hall

廖湯慧靄戲劇院

香港大會堂劇院

———————————

URA-H6 Conet H6 Conet, The Centre 中環中心 H6 Conet

CCGT

HKAC-ST

Grand Theatre, Hong

Shouson Theatre, Hong

Kong Cultural Centre

Kong Arts Centre

K11-AH

香港文化中心大劇院

香港藝術中心壽臣劇院

MCL K11 Art House

CCCH

TK

Concert Hall, Hong Kong

Tai Kwun, Central

TMTH-CAH

Cultural Centre

中環大館

Cultural Activities Hall,

香港文化中心音樂廳

———————————

Tuen Mun Town Hall

WKCD-FTB

屯門大會堂文娛廳

MCL K11 Art House 戲院

CCST

WKCD Freespace-

Studio Theatre, Hong

The Box

Kong Cultural Centre

西九文化區自由空間大盒

香港文化中心劇場

111

+

加料節目 +

演出之外，更多精采！ More than Great Performances

藝術節「加料節目」透過不同活動，讓觀

Festival PLUS 2022 will continue its mission to broaden

眾深入了解各個演出製作，鼓勵觀眾與藝

audiences’ Festival experience beyond the stage.

術家互動接觸，讓大眾在台上台下尋覓啟

Take a step back from what you see on stage and escape

迪和共鳴。透過線上線下平台，帶你投入

into the minds of the artists and creatives, through a

藝術家們的想像世界，一窺音樂、舞蹈、

hybrid of activities of different genres, to give you a deeper

藝術 x 科技、戲劇、歌劇與戲曲的創作

engagement with the artists and their works.

故事。 Whether or not you are an arts enthusiast, it would be a

藝術節「加料節目」，定能讓你探索到屬

pleasure for us if you find something wonderful in this fusion

於你的藝術節演出之外，更多精采！

line-up of in-venue and online PLUS activities.

週末主題特備活動 音樂、舞蹈、藝術 x 科技、戲劇、歌劇 / 戲曲

©

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Thematic Weekend Specials Music, Dance, Arts x Tech, Theatre, Opera

傑出文化領袖講座系列 （九） Distinguished Cultural Leader Series (IX) li ata ©N

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大師班 | 工作坊 Masterclass | Workshop ©

Ma

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幕後花絮

加料電影

演前講座 | 演後藝人談

Behind-the-Scenes

PLUS Film

Pre-Performance Talk | Meet-the-Artists

i ro ©h

ga

zo

職員

STAFF

行政總監

何嘉坤

Executive Director

Tisa Ho

行政總監助理

何丹蓉

Assistant to Executive Director

Connie Ho

節目

HONG KONG ARTS FESTIVAL 香港藝術節

PROGRAMME

節目總監

梁掌瑋

Programme Director

Grace Lang

副節目總監

蘇國雲

Associate Programme Director

So Kwok-wan

節目經理

廖國穎 *

馬筠婷 *

Programme Managers

Sophie Liao*

司徒頌欣 *

葉健鈴

助理節目經理

譚小敏 *

Assistant Programme Manager

Tracy Tam*

節目統籌

陳栢琦 *

Programme Coordinator

Pecky Chan*

物流及接待經理

金學忠 *

Logistics Manager

Elvis King*

行政

ADMINISTRATION

節目經理 ( 行政 )

Programme Manager (Administration)

蘇雪凌

技術 製作經理

梁雅芝 *

Production Manager

Shirley Leung*

助理製作經理

莫賦斌 *

Assistant Production Manager

Benny Mok*

PUBLICATIONS

編輯

奧利弗．化理 *

伍藹然 *

Editors

Oliver Farry*

Monica Ng*

助理編輯

鄭豐榮 *

黎家欣 *

Assistant Editors

Rain Cheng*

Melody Lai*

外展

OUTREACH

高級外展經理

李冠輝

Senior Outreach Manager

Kenneth Lee

外展經理

鄧冠恒 *

Outreach Manager

Joe Tang*

副外展經理

林嘉敏 *

Deputy Outreach Manager

Carman Lam*

外展統籌

李玨熙 *

Outreach Coordinator

Michael Lee*

外展主任

張翠騫 *

Outreach Officers

Tracy Cheung*

外展助理

韓樂恒 *

Outreach Assistant

Leona Hon*

林穎茵 *

市場推廣

Marketing Director

Katy Cheng

Associate Marketing Directors

Eugene Lo

Project Manager – Marketing

Maggie Tang*

Assistant Project Manager – Marketing

Hades Tam*

Marketing Managers

Alexia Chow

Deputy Marketing Manager

Michelle Yeung*

張予心 *

Assistant Marketing Manager

Stephanie Cheung*

甄柏衡 *

Marketing Officer (Temporary)

Alex Yan*

邱芷婷 *

Marketing Assistant

Leila Yau*

鄭尚榮

副市場總監

盧柏全

市場項目經理

鄧巧茵 *

助理市場項目經理

譚懿諾 *

市場經理

周

怡

副市場經理

楊

璞*

助理市場經理 短期市場主任 市場助理

胡銘堯

李善衡 *

市場經理（票務）

梁彩雲

Marketing Manager (Ticketing)

Eppie Leung

票務主任

陳偲穎 *

Ticketing Officer

Stephanie Chan*

余潔儀

Development Director

Flora Yu

發展經理（大額捐獻）

鍾雅妍 *

Development Manager (Major Gifts)

Fiona Chung*

發展經理

林思穎 *

Development Managers

Sharon Lam*

麥紫琴 *

Mak Tsz Kam*

Lorna Tam

助理發展經理

蘇小欣 *

Assistant Development Manager

Connie So*

藝術行政見習員

蘇曉嵐 *

Arts Administrator Trainee

Katrina So*

發展助理

向寶淇 *

Development Assistant

Winky Heung*

行政事務

CORPORATE SERVICES

會計

ACCOUNTS

財務主管

鄺敬婷

Head of Finance

Teresa Kwong

會計經理

杜詩麗 *

Account Manager

Connie To*

會計主任

鍾巧明 *

Accounting Officer

Catherine Chung*

人力資源及行政

十二字樓 1205 室

Kidman Li*

DEVELOPMENT

發展總監

譚樂瑤

香港灣仔港灣道二號

Dennis Wu

TICKETING

發展

Road, Wanchai, Hong Kong

Lilian Lam*

MARKETING

市場總監

票務

Room 1205, 12/F, 2 Harbour

Shirley So

TECHNICAL

出版

ADDRESS 地址

Katie Ma*

Samantha Szeto* Linda Yip

HR & ADMINISTRATION

行政經理

楊美君 *

Office Manager

Janet Yeung*

接待員／初級秘書

李美娟

Receptionist/Junior Secretary

Virginia Li

助理

黃國愛

General Assistant

Bonia Wong

資訊科技

INFORMATION TECHNOLOGY

資訊科技經理

陳啟明 *

Information Technology Manager

無限亮

Derek Chan*

NO LIMITS

高級項目經理

張文磊 *

Senior Project Manager

Grace Zhang*

(852) 2824 3555

節目及外展經理

施藝虹 *

嚴家卉 *

Programme and Outreach Managers

Alice Sze*

Michelle Yim*

節目及外展主任

何敬堯 *

潘詠汶 *

Programme and Outreach Coordinators

Kelvin Ho*

Jasmine Poon*

FAX 傳真

市場經理

何詩慧 *

Marketing Manager

Ho Sze-wai*

(852) 2824 3798

助理市場經理

黃秀雯 *

Assistant Maketing Manager

Stephanie Wong*

(852) 2824 3722

助理技術及製作經理

陳梓衡 *

Assistant Technical and Production Manager Jacob Chan*

高級會計主任

彭健欣 *

Senior Accounting Officer

PHONE 電話

Janice Pang*

updated January 2022 2022 年 1 月更新

* 合約職員

*Contract Staff

按英文姓氏首字母排列

In alphabetical order

117