This year’s Festival brings together over 1,300 international and local artists in some 125 performances covering music, dance, theatre, Chinese and Western opera and much more. The Festival-opening performance, by Italy’s Orchestra of the Teatro Comunale di Bologna, conducted by Maestro Donato Renzetti, features classic Italian opera arias. Renowned Chinese conductor Lü Jia and the China National Centre for the Performing Arts Orchestra, together with international pianist Zhang Haochen and soprano Song Yuanming, bring the Festival to a close in grand style. Festival PLUS returns, presenting a wealth of artistaudience events, including masterclasses and workshops, backstage visits, guided cultural tours and more. Besides, the Festival’s “Young Friends” programme features school tours, pre-performance talks, arts demonstrations and other special events designed to engage local young people with a world of arts and culture.
The Government is determined to enhance the appeal of Hong Kong’s culture. To further solidify Hong Kong’s position as a vibrant East-meets-West centre for international cultural exchanges, the Government has launched the Blueprint for Arts and Culture and Creative Industries Development in November 2024, and has been actively working on the 71 measures under four key strategic directions as outlined in the Blueprint.
I am grateful to the Hong Kong Arts Festival and its dedicated team for their unremitting efforts in promoting arts and culture in Hong Kong, throughout the region and around the world. I am grateful, too, to the many sponsors and donors for their generous support for the Festival.
I wish this year’s Hong Kong Arts Festival another resplendent season of arts and culture, entertainment and memorable community engagement.
John KC LEE Chief Executive Hong Kong Special Administrative Region
A warm welcome to the 53rd Hong Kong Arts Festival. As a leading international performing arts event, the Festival is continuing its mission of enhancing Hong Kong’s cultural landscape by showcasing over 1,300 exceptional international and local artists in more than 125 performances of over 45 unique programmes, as well as organising about 300 PLUS and educational activities for the community.
I would like to thank the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention and matching grant which are not only essential to our operations, but also an important recognition of the work we do. I also want to thank The Hong Kong Jockey Club Charities Trust for its unwavering support during the past 53 years, as well as other corporate sponsors, charitable foundations and donors, whose contributions have enabled us to reach out to different sectors of the community and positively impact society through the performing arts.
My deepest gratitude goes to all participating artists for their dedication and exceptional performances. I also thank all HKAF staff, who worked extremely hard to bring this Festival to life.
Most importantly, I extend my heartfelt appreciation to all audience members for your participation and support. May you find joy and inspiration in our programmes and events.
The Hong Kong Arts Festival is made possible with the funding support of:
Promoting international cultural exchange has always been a key objective of the Hong Kong Arts Festival. This year’s Festival continues to invite renowned global masters and internationally recognised young pioneers to present a range of world-class programmes, respecting tradition while encouraging new, innovative initiatives. Many of these works are inspired by classic literature or offer rediscoveries of the original, bringing vibrant artistic experiences to the city.
We will also present a series of programmes centred around “fantasy and adventure”. These include works that seamlessly blend the arts with VR and AR technology, as well as captivating new creations that draw on traditional puppetry and circus performances. The Festival will also continue to support local artists and encourage exchanges to foster a vibrant and diversified platform for the arts.
We also remain dedicated to advancing arts education and audience building. Our PLUS programmes will present a series of thoughtfully curated masterclasses, backstage visits, post-performance artist talks and an exhibition. And our Young Friends and educational activities will continue to offer multi-dimensional arts experiences to students.
We hope that you will enjoy this year’s arts extravaganza prepared by the Hong Kong Arts Festival team.
Flora Yu Executive Director Hong Kong Arts Festival
香港藝術節
HONG KONG ARTS FESTIVAL
扎根香港的國際藝壇盛事 聯繫中國與世界
An International Arts Festival in Hong Kong Connecting China and the World
The HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year.
The HKAF is a non-profit organisation. The total estimated income for FY2024/25 (including the 53rd Hong Kong Arts Festival and 2025 “No Limits”) is approximately HK$150 million. Current Government annual baseline funding accounts for around 12% of the Festival's total income. Around 23% 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 20% is expected to come from other revenue sources including the Government’s matching grant scheme, which matches income generated through private sector sponsorship and donations.
The HKAF has presented top international artists and ensembles across multiple genres, such as*:
• Western opera: Bayerische Staatsoper, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre
• Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Kunqu Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe
• Classical music: Cecilia Bartoli, Riccardo Chailly, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Bruce Liu, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, Bamberg Symphony, 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, Natalia Osipova, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet–John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch, Teatro alla Scala Ballet Company
• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company
• Large-scale special events: World of WearableArt, Zingaro
• Outdoor events: Power Plant, Super Pool, Chorus
The HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, the HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include Miss Julie, Table for Six On Stage, Loveless Romance, We Are Gay, The Plague, Always by Your Side, Pavilion of a Hundred Flowers, A Floating Family—A Trilogy, Hong Kong Odyssey, Danz Up, Datong—The Chinese Utopia, The Amahs and Murder in San Jose, to name a few.
The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by the 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 the HKAF as a co-commissioning institution, Green Snake co-commissioned with the Shanghai International Arts Festival, Dream of the Red Chamber co-produced with the San Francisco Opera, and Laila, a co-production of the HKAF and the Finnish National Opera and Ballet.
The HKAF invests heavily in arts education for young people. Over the past 32 years, our “Young Friends” scheme has reached around 836,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year.
The HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided cultural tours.
The HKAF actively promotes inclusion 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.
To provide greater financial security and long-term sustainability for the Festival, the Hong Kong Arts Festival Foundation was officially launched in 2022. Donations to the Foundation will be used towards enabling the Festival to present in the future largescale or special projects which its annual budget cannot cater for.
*有關香港藝術節的過往節目 Details of past HKAF programmes https://www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2024.html
誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。
To find out more about sponsorship opportunities and donation details for the Hong Kong Arts Festival, please contact the HKAF Development Department.
香港藝術節協會2024/25年度預計收入來源（約港幣一億五千萬）
電郵 Email: dev@hkaf.org
直線 Direct Lines: (852) 2828 4911/12
網頁 Website: www.hk.artsfestival.org/en/support-us
Estimated Income Sources for the Hong Kong Arts Festival Society in FY2024/25 (About HK$150 million)
約Around 45%
贊助和捐款 Sponsorship & Donations
約Around 23%
票房收入 Box Office
約Around 12%
政府的年度 恆常撥款 Current Government annual baseline funding
約Around 20%
其他收入 (包括按捐款和贊助收入 可望獲得的政府配對資助) Other Revenues (including possible Government Matching Grant for Sponsorship and Donation Income)
賽馬會藝貫中西系列：《海底兩萬里》
Jockey Club East-meets-West Series:
20,000 Leagues Under the Sea
20 -22.03.2025 / 7:30pm 22-23.03.2025 / 2:30pm
西九文化區戲曲中心大劇院
Grand Theatre, Xiqu Centre, WestK
演出長約 2 小時，不設中場休息
Approximately two hours with no interval
普通話演出，附中、英文字幕
Performed in Putonghua with Chinese and English surtitles
本節目有接近全黑之場景
This production contains scenes of near complete darkness
適合 6 歲或以上的兒童及家長觀看
Suitable for children aged six and above and their families
聯合製作 Co-Production:
本節目之藝術家乘坐第 53 屆香港藝術節指定航空公司國泰航空 來回香港
The artists in this programme flew to and from Hong Kong on Cathay Pacific Airways, the Official Airline of the 53rd Hong Kong Arts Festival
Please switch off mobile phones and all electronic devices so they will not emit sound or light during the performance, disturbing the performers and other audience members.
※ 請勿擅自攝影、錄音或錄影。
Unauthorised photography or recording of any kind is strictly prohibited.
※ 演出期間請保持安靜。
Please keep noise to a minimum during the performance.
※ 本場刊採用環保紙張印刷。
This programme is printed on environmentally friendly paper.
※ 如不欲保留本場刊，請於完場後放回演出場地入口。
If you don't wish to keep this booklet, please return it to the admission point.
None of The Hong Kong Jockey Club Charities Trust, The Hong Kong Jockey Club, their respective affiliates or any other person involved in or related to the compilation of the contents herein (collectively, “the HKJC Parties”) makes any express or implied warranties or representations with respect to the accuracy, timeliness or completeness of the contents or as to the results that may be obtained by the use thereof. In no event shall any HKJC Party have any liability of any kind to any person or entity arising from or related to any actions taken or not taken as a result of any of the contents herein.
The content of this programme and the opinions featured in this publication are solely those of the artists/guest writers and do not represent the views or opinions of the Hong Kong Arts Festival (“HKAF”).
Ticket holders are strongly advised to arrive punctually. The HKAF reserves the right to refuse the (a) admission of latecomers (whether at the beginning of the performance or after the intermission) and (b) re-admission of audience members who leave the auditorium during the performance.
本會保留全權決定觀眾（包括遲到和中途離場的觀眾）入場和重新入場的可能 性及方式。
The HKAF also reserves the sole discretion to determine the possibility of admission and re-admission of audience members (which includes latecomers and audience members who have left the auditorium and are seeking readmission), as well as the manner in which they are admitted.
In any case, should the HKAF permit the admission of latecomers, such latecomers shall only be admitted at designated latecomer point(s). No refunds or changes will be offered if ticket holders are refused admission due to late arrival. In the event of any dispute, the HKAF reserves all rights to make the final decision.
賽馬會藝貫中西系列：《海底兩萬里》
Jockey
Club East-meets-West Series:
20,000 Leagues Under the Sea
原著
儒勒．凡爾納
劇本改編及導演
克利斯蒂安．埃克
華莉里．萊索爾
香港藝術節委約
聯合製作
香港藝術節
中央戲劇學院
總監製
郝戎（中央戲劇學院）
蘇國雲（香港藝術節）
製作人
李東
Original Story
Jules Verne
Script Adaptation & Directors
Christian Hecq
Valérie Lesort
Commissioned by the Hong Kong Arts Festival
Co-Production
Hong Kong Arts Festival
The Central Academy of Drama
Chief Producers
Hao Rong (The Central Academy of Drama) So Kwok-wan (Hong Kong Arts Festival)
翁世卉 Producers
Li Dong Weng Shihui
執行製作
抱風嶼 Executive Producer Tempest Projects
法國創作及製作團隊
French Creative and Production Team
佈景及服裝設計
艾力．魯夫
燈光設計
帕斯卡．拉之利
蘇朗芝．迪南
音響設計
多米尼克．巴塔耶
助理導演
Set & Costume Designer Éric Ruf
Lighting Designers
Pascal Laajili
Solange Dinand
Sound Designer Dominique Bataille
盧逸凡 Assistant Director Ivan Ruviditch
戲偶構思及製作
嘉露爾．阿勒芒
華莉里．萊索爾
技術經理
瑪蒂達．勒莫瓦納
斯洛安．哥勒
佈景設計助理
黛芬．聖–瑪麗
莫妮卡．施華素
服裝設計助理
西格烈．伯迪–岩伯特
監製
馬可．蘭科夫
Conception & Creation of Puppets
Carole Allemand
Valérie Lesort
Technical Managers
Mathilde Lemoine
Silouane Kohler
Assistant Set Designers
Delphine Sainte-Marie
Monika Schwarzl
Assistant Costume Designer
Producer
Siegrid Petit-Imbert
Marko Rankov
演員及角色
Cast and Characters
江珊
飾 旁白
保劍鋒
飾 尼摩船長
任山
飾 阿隆納斯
盛路悅
Jiang Shan as Narrator (Voice)
Jeff Bao as Captain Nemo
Ren Shan as Pierre Aronnax
飾 奈德
張天暘
飾 康賽爾
顧天宇
飾 弗利波斯
王堯
飾 海底原住民
依克桑．塔依爾
飾 尼摩船長（澳門、內地巡演）
金曾
飾 尼摩船長（內地巡演）
中國創作團隊
Chinese Creative Team
執行導演
查文淵
中文劇本改編
田曉威
戲偶協力
劉凱茵
戲偶指導、字幕控制
金曾
中方服裝設計及服裝製作
大可
支持
法國駐華大使館
Sheng Luyue as Ned
Zhang Tianyang as Conseil
Gu Tianyu as Flippos
Wang Yao as Sauvage
Yikesang Tayier as Captain Nemo (Macao and Mainland China tour)
Jin Zeng as Captain Nemo (Mainland China tour)
Executive Director Sophie Zha
Chinese Script Adaptation Tian Xiaowei
Puppet Collaboration Kain Liu
Puppet Director & Surtitles Operator Jin Zeng
Chinese Costume Designer & Producer Viola Zhang
Supported by Ambassade de France en Chine
馮寧馨 Feng Ningxin
燈光執行
馬銘謙 Lighting Operator Panda Ma
音效執行
杜思亮 Sound Operator Du Siliang
音效助理
董珂欣 Sound Assistant Dong Kexin
執行舞台監督
張媛媛 Debuty Stage Manager Bloom Zhang
技術統籌
陳雷 Technical Co-ordinator Chen Lei
服裝及化妝執行
王阿琦 Wardrobe & Make-up Wang Aqi
服裝執行 Wardrobe Chinese Opera Movement Coach
聯合製作
Co-Producers
香港藝術節
Hong Kong Arts Festival
項目經理
趙蔚霖
技術統籌
溫迪倫*
製作統籌
陳娟瑜
黃明儀
製作助理
楊嘉嘉
宣傳設計
陳輝雄
宣傳攝影
錄像拍攝及製作
玖號士多房
中央戲劇學院
The Central Academy of Drama
Project Manager Crystal Chiu
Technical Co-ordinator Bee Wan*
Production Co-ordinators
Alice Chan Melissa Wong
Production Assistant Yang Jiajia
Graphic Designer Ivan Chan
黃廷匡 Photographer Sonny Wong
Video Shooting & Production Storeroom No.9
*
承蒙演戲家族允許參與是次製作
*With the kind permission of Actors’ Family
藝術節加料節目
特備節目 Special Programme
賽馬會藝貫中西系列：《海底兩萬里》—漫遊東涌海岸生態導賞團 Jockey Club East-meets-West Series:
20,000 Leagues Under the Sea Tung Chung Coastal Eco-Tour 22.02.2025, 01.03.2025（已舉行 Past event）
監製
靳燕 Producer Jin Yan
項目統籌
林蔚然
琚萍
周毅
製作統籌
劉媛君
王姼
外事及港澳台
事務統籌
向月怡
武國宇
行政統籌
楊雲雁
雷嘉懿
技術統籌
范愛眾
周慧超
Project Co-ordinators
Lin Weiran
Ju Ping Zhou Yi
Production Co-ordinators
Liu Yuanjun
Wang Shi
Co-ordinators of External Affairs (Regions of Hong Kong, Macao, Taiwan)
On his arrival in Paris in 1848, Jules Verne befriended authors Alexandre Dumas and Victor Hugo, and started writing tragedies and operetta librettos. His novel 20,000 Leagues Under the Sea and his partnership with the publisher Hetzel made him a force in the literary scene. A travel lover, his novels often involved extraordinary journeys. After exploring the air ( Five Weeks in a Balloon , 1865) and going deep underground ( Journey to the Centre of the Earth , 1867), he explored the wonders of the ocean with 20,000 Leagues Under the Sea . “I have never had a more beautiful subject in my hands,” he wrote to Hetzel, adding that his hero no longer had “any relation with the humanity from which he parted”. First serialised in the journal Le Magasin d ’ éducation et de récréation in 1869-70, the novel was published in 1871. Verne’s 1882 play Journey Through the Impossible was later turned into the early silent film Voyage à travers l’impossible in 1904.
This new rendition of the fantastical play 20,000 Leagues Under the Sea , co-created by top-notch artistic teams from China and France, is a commissioned production of the 2025 Hong Kong Arts Festival and a featured project of the 2025 China-France Cultural Spring. Christian Hecq, a director and actor from the Comédie-Française who has won nine of France’s highest theatrical honours, the Molière Award, took up residence in Beijing while creating this piece. The work cleverly combines a comedic plot with breathtaking blacklight theatre puppetry, transforming the strange and colorful world of the deep sea into a visual fantasy that is full of surprises and humour.
The original novel 20,000 Leagues Under the Sea is a classic science fiction novel written by French writer Jules Verne more than 150 years ago, and this new adaptation introduces new characters, while injecting a range of puppets with personality and soul. The production transcends time and space, breaking down cultural and racial barriers, allowing the imagination to roam freely in the endless ocean. Welcome aboard the Nautilus , co-produced by the Hong Kong Arts Festival, the Central Academy of Drama and Tempest Projects, as we embark on an unforgettable underwater adventure.
尼摩船長
弗利波斯
全能的鸚鵡螺號大副，身兼管家、廚師、清 潔、船員等多職，與尼摩船長創造了一套船員 的專屬語言。
Flippos
The all-round first mate of the Nautilus , a multitasking steward, cook, cleaner and crew member, who creates an exclusive language for the crew with Captain Nemo.
The captain of the Nautilus , who built the deep-sea technological marvel several years before, has been cut off from the world and separated from human society for reasons unknown.
海底原住民
誤進鸚鵡螺號的原始人類，還被其他船員誤以 為是食人族。
Sauvage
康賽爾
奈德
亞伯拉罕．林肯號船上的捕鯨手，脾氣火爆， 一身反骨，後來被迫成為鸚鵡螺號的其中一名 「俘虜」。
Ned
A whale-catcher on the Abraham Lincoln who is hot-tempered and rebellious. He also becomes one of the captives on the Nautilus .
阿隆納斯教授的忠誠、貼心、神經質助手， 一心只知道和魚打交道。
Conseil
The loyal, attentive, neurotic assistant of Professor Aronnax who is dedicated to researching marine life.
A professor at the Museum of Natural History and the author of the academic journal Mysteries of the Great Submarine Grounds Aronnax becomes one of the captives on Nautilus his assistant, Conseil, as they hunt the “mysterious sea monster”.
人偶合一 暗中作樂
活現海底奇想
Blacklight Theatre Magic Brings a Marine Fantasy to Life
The French science fiction novel 20,000 Leagues Under the Sea has long been a part of the cultural fabric of France, even referenced during the recent Paris Olympics opening ceremony in 2024. The members of renowned theatre company Comédie-Française share their country’s passion for the Jules Verne novel, and have ingeniously transformed the tale into a spectacular play with puppetry and blacklight theatre techniques. Despite a lack of water on stage, audience members will still feel as though they are travelling deep under the sea during this oceanic fantasy.
Verne’s masterpiece, first published in 1870, was first brought to the stage by ComédieFrançaise in 2015, helmed by visionary ComédieFrançaise Director Christian Hecq along with Valérie Lesort. It tells the tale of a marine biologist, his loyal assistant and a daring whaler who are swept into the sea, only to be rescued by the enigmatic Captain Nemo aboard the submarine the Nautilus . After first mistaking the submarine for monstrous sea creature, they embark on a thrilling underwater odyssey. Set entirely within the submarine, the play invites viewers to peer through expansive cabin windows into the mysterious ocean depths, encountering a colossal squid, shimmering jellyfish and menacing anglerfish. These wonderous sea creatures are the stars of the show, bursting onto the stage, floating elegantly through the water and sometimes launching attacks on the submarine.
Director Lesort has explained that there is a lot of magic happening behind the scenes with the puppetry. The actors not only perform on stage but also go backstage to manipulate the puppets. The puppets are brought to life by actors on stage who are clad in black outfits and gloves. They skilfully manipulate the puppets, creating bizarre half-human, halfpuppet figures, all while maintaining meticulous control over their movements. “Costume and
puppet changes are done in a few seconds in complete darkness. This involves a great team effort by the technicians and dressmakers.”
To create the illusion of fish gliding through water, the production decided against using projections and instead utilised the enchanting effects of blacklight theatre. This creates a magical dance of light and shadow in which the puppeteers remain hidden, ensuring that the fantasy isn’t disrupted by any human forms. And it’s all made possible by precise lighting of the highest artistic order.
Director Hecq’s lifelong fascination with puppetry is on full display throughout 20,000 Leagues Under the Sea . “How far can we push our limits in the expression of movement? This research has always interested me,” he says. Puppets, he believes, act as extensions of the actors’ bodies, unlocking movements that are beyond the capabilities of humans. And the curious, darting movements of the fish required the actors to unleash their full creativity.
During rehearsals, actors quickly imbued each fish with a unique personality, overcoming any initial discomfort with performing in the dark. “I wanted to combine the puppets with really incarnated characters. In this show, everyone belongs to a very distinct universe: that of men and that of animals.”
Comédie-Française’s groundbreaking production earned the team the prestigious Molière Award for Best Visual and Sound Design. And now, the troupe has been commissioned by the Hong Kong Arts Festival to team up with a creative team from Mainland China and the Central Academy of Drama, debuting this unique Putonghua version of the play, featuring Mainland Chinese actors, at the Hong Kong Arts Festival in 2025.
Text: Eugene Chan
(This article contains excerpts from an interview conducted in 2015 with Chantal Hurault, Head of Communications and Publications at the Théâtre du Vieux-Colombier, compiled by the Hong Kong Arts Festival editorial team.
This article was originally published on the HKAF’s News & Features website in December 2024)
Starting in 2023, the Hong Kong Arts Festival initiated efforts to foster collaboration between China and France on the creation of a new Chinese-language version of the stage play 20,000 Leagues Under the Sea and began its preliminary preparatory work. This lengthy process encompassed discussions on the adaptation's direction and collaboration model, mutual visits, rehearsals, and team formation. By early December 2024, directors and actors from both countries commenced rehearsals at the Central Academy of Drama in Beijing. This international project of creative and cultural exchange holds great significance for the Hong Kong Arts Festival, the Central Academy of Drama, as well as for the artists of both China and France.
Chinese director Sophie Zha says: “The script has been adapted and translated by the Chinese side, and many Chinese elements have been incorporated. The dialogue has been adjusted to be more in line with Chinese language practices, and several elements of local humor have been added.” Making the dialogue more in line with Chinese not only enhances the audience’s immersion, but also mitigates the feeling of alienation caused by cultural and linguistic differences. She points out: “In this Chinese-French co-created version, the original puppets have been infused with Chinese aesthetic elements. We also updated the costume designs of the main characters, incorporating Chinese aesthetics while retaining the original character traits.”
During three weeks of rehearsals at the Central Academy of Drama in Beijing in December 2024, Zha shared: “I was deeply surprised that the actors did not feel confused at all by the differences in nationality or time period while shaping their characters. On the contrary, the Chinese actors, with their rich life experiences, created unique and profound interpretations of their roles.”
French director Christian Hecq candidly remarked during the rehearsals: “Whether in China or France, finding actors who are skilled in puppetry and also possess strong acting abilities is a challenge.” And he provided high praise of the performances of the Chinese actors.
“They were excellent. Even those without puppetry experience were able to quickly grasp the necessary skills,” Hecq says. “I believe that Chinese audiences will definitely enjoy 20,000 Leagues Under the Sea , as I understand that they have a keen interest in visual effects.”
Hecq noted during the creative process: “We have explored new aesthetic styles, with the costume design subtly incorporating Asian elements. The appearance of the fish puppets has been meticulously adjusted, drawing inspiration from the local natural environment. We combined the original aesthetic style with the unique charm of Asia to create a new audiovisual experience.”
Zha highlighted the core appeal of 20,000 Leagues Under the Sea : “The most striking feature is its global perspective. The story follows Captain Nemo as he navigates the Nautilus on a global underwater exploration, emphasising the ocean as a shared treasure for all humanity, not just for any single country or region... The script showcases a global perspective and encompasses the collision of diverse cultures. For example, the crew of the ship comes from various countries, and in our version, we can even see Chinese appearances. On this ship, there are many sparks from the clash of different cultures.” This idea is particularly important in today’s globalised
world, as it reminds people to pay attention to the Earth’s shared resources and the collective fate of humanity.
As a co-producer of 20,000 Leagues Under the Sea , Hao Rong, the president of the Central Academy of Drama, emphasised the important mission of cultural exchange. The academy’s collaboration with the Hong Kong Arts Festival allows it to leverage its resources effectively, strengthen cultural ties and promote the continuous development of friendship between China and France. This partnership explores innovate pathways for the development of Chinese theatre and new models for the integration of industry, academia and research. From its initial French adaptation to the current Sino-French collaboration, this play has achieved growth and integration in many ways, showcasing boundless vitality and potential.
Text: Yang Jiajia
2025 Tour Schedule
20–23 March
Hong Kong
Xiqu Centre, WestK
26 March
Macao
Macao Cultural Centre
30 March
Zhuhai
Zhuhai Jinwan Arts Centre
11–12 April
Shenzhen
Shenzhen MixC World Theater
25–27 April
Shanghai
Shanghai Jing’an Modern Drama Valley, Yihai Theatre
10–11 May
Nanjing
Jiangsu Centre for the Performing Arts
11–20 July
Beijing
Beijing Performing Arts Centre, National Centre for the Performing Arts
The Central Academy of Drama is the first higher education institution for drama in New China. It is directly affiliated with the Ministry of Education and is the highest institution for drama and film education in China. Recognised as a “Double First-Class” university, it is also the headquarters of the China Alliance of Theatre High Educational Institutes, the Asia Theatre Education Centre, and the World Theatre Education Alliance, making it a world-renowned art school.
The history of the Central Academy of Drama can be traced back to the establishment of the Lu Hsun Art Institute in Yan’an, marking more than 80 years of history. In December 1949, the Central Academy of Drama officially began its operations, and in April 1950, the founding conference was held, where Chairman Mao Zedong personally wrote the institution’s name.
In its long-standing educational practice, the Central Academy of Drama adheres to the principle of realism in aesthetics, preserving the nation’s aesthetic traditions. It draws from a wide range of influences, emphasising a solid foundation and its decades of experience. Upholding the motto “Seeking Truth, Creation, Perfection”, the academy is dedicated to cultivating elite talent in drama and film for both the country and the world. Many of its graduates have become renowned artists, scholars, professors, and writers, making outstanding contributions to the prosperity and development of Chinese drama and film.
Hao Rong is the President of the Central Academy of Drama, a professor and a doctoral supervisor. He is also a member of the 14th National Committee of the Chinese People’s Political Consultative Conference and serves as the Vice-Chairman of the Teaching Guidance Committee for Higher Educational Institution Drama and Film Studies under the Ministry of Education. He is the Vice-Chairman of the Beijing Film Association, Vice-Chairman of the China Musical Association, a contract research fellow for the China Federation of Literary and Art Circles, Secretary-General of the World Theatre Education Alliance, Director-General of the Asia Theatre Education Centre, and an Honorary Awardee of the Hong Kong Academy for Performing Arts.
Christian Hecq joined Comédie-Française in 2013 after leaving Compagnie Philippe Genty in 2008. He won the Molière Award for best male newcomer in 2000, and for best actor in 2011 for Un Fil à la patte and in 2020 for La Mouche , and shared the Molière for staging Le voyage de Gulliver with Valérie Lesort in 2022. Since 2012, he has co-written and co-directed various projects with Lesort including Monsieur Herck Tévé for Canal+ and 20,000 Leagues Under the Sea , in which he played Captain Nemo. At Opéra Comique, he directed Le domino noir and Ercole amante , winning accolades for both productions. Hecq also starred in Le Bourgeois gentilhomme at Comédie-Française in 2020 and is a Knight of the Order of Arts and Letters.
Valérie Lesort is a director, visual artist, author and actress. In 2012, she co-created the short programme Monsieur Herck Tévé for Canal+ with Christian Hecq. Their 2016 adaptation of Jules Verne’s 20,000 Leagues Under the Sea at Comédie-Française won the Molière Award for best visual creation and the Prix de la Critique. They staged Le domino noir at the Opéra Royal de Wallonie in Liège and the Opéra Comique, earning the Grand Prix de la Critique in 2018. In 2020, they adapted and staged La Mouche at the Théâtre des Bouffes du Nord, winning three Molières. Lesort directed La Périchole by Offenbach at the Opéra Comique in 2022 and adapted Le Voyage de Gulliver , in which she played the empress. She is a Knight of the Legion of Honour.
Tian Xiaowei is one of the founders of the Little Shakespeare Art Space (Theatre), serving as Artistic Director. He graduated from the Central Academy of Drama’s Department of Directing in 2000. His personal awards include the Annual New Director Award at the 2023 Shanghai Jing’an Modern Drama Valley One Drama Awards. His notable playwriting works include William and Me, Li Lei and Han Meimei, Revolutionary Road, Love Letters to Unknown Lover, How Can We Fool with Love, The Runaway Bride and so on. His notable screenwriting works include the movies Young Style, All About My Mother, Love Contractually, Better Man , as well as the web series Dating High , and so on. His work William and Me received the Beijing Cultural Development Foundation’s 2021 grant and won the Best Playwright Award at the first Central Academy of Drama International Theatre Academy Awards.
Sophie Zha is a theatre director with a PhD in Drama and Film Studies from the Central Academy of Drama. She holds a Master’s degree in Advanced Theatre Practice from the Royal Central School of Speech and Drama in London. She was awarded the Annual New Director Award at the 2024 Shanghai Jing’an Modern Drama Valley One Drama Awards. Her works as an independent director include Chasing the Moon, Finding You Meeting Me , Twelfth Night (allmale version), Shall I Compare You to a Spring Day (youth version), My Poor Marat, Waiting for Godot, Big Hot Pot , and so on.
Her works have received several awards, including the Outstanding Production Award at the 2018 Asian Theatre Schools Festival, the Outstanding Direction Award at the eighth Musical Academy Awards, and the Outstanding Production Award at the 22nd Golden Hedgehog University Student Drama Festival and Campus
Wang Yao has studied physical theatre, masks and puppetry, and has a deep passion for the stage.
He has participated in various domestic and international theatre festivals, such as Festival d’Avignon in France, the San Francisco Arts Festival, the Wuzhen Theatre Festival in Zhejiang province, and so on.
His theatrical works include Rhinoceros in Love, Parasite, Robot, L'Étranger, L’Orphelin 2.0, A Man Who Flies Up to the Sky, Isolationism Carnie and The Animals .
Yikesang Tayier is a faculty member of the Central Academy of Drama’s Department of Acting. He graduated from the Central Academy of Drama in Drama and Film Acting in 2012 and became the first Uyghur student to be granted direct admission to postgraduate studies in 2016.
He has appeared in the films Bazaar Joy, Nana, Kung Fu Little Heroes , and so on. He has also acted in, directed or participated in theatrical works such as The Lady with the Dogs and Hamlet
Jin Zeng is an action director, puppetry director, playwright and actor who graduated from the Minzu University of China. He has directed, choreographed and action-designed works including the plays Red Sorghum Family , Battle of Shangganling , the musical Once Upon a Time in Fudeli , and so on.
His performances include the Chinese version of the stage play War Horse , the play Battle of Shangganling , the musical Once Upon a Time in Fudeli , and so on. His play Red Sorghum Family was selected as a funding programme for the China National Arts Fund in 2023.
Pascal Laajili has served as a lighting supervisor, chief electrician and lighting designer. From 1999 to 2009 he worked at Compagnie Philippe Genty, a 音響設計 多米尼克．巴塔耶（法） 多米尼克．巴塔耶先後為讓 - 路 易．馬田尼利、菲利普．卡爾瓦 里奧等導演創作戲劇原聲（最新 作品為與法國龐畢度中心 IRCAM 聯合製作的《縈繞的旋律》，並在 法蘭西喜劇院為多位導演設計音 樂。
2010 年，他憑藉詹姆斯．狄龍的 《菲洛美拉》榮獲「金奧爾菲斯獎 最佳抒情音樂錄音獎」。
Sound Designer
Dominique Bataille (Fr)
Dominique Bataille has created original scores for directors such Jean-Louis Martinelli and Philippe Calvario. His
Ivan Ruviditch is a French Sinologist and drama director, founder of the Yuan Theatre, and currently serves as an associate researcher at the Department of Chinese at the East China Normal University. His research focuses on ancient Chinese poetry and the study of Chinese and foreign drama. He has long been dedicated to Sino-French theatrical collaborations, introducing and promoting multiple cultural projects. His directed works include The Seagull , Giacometti’s Studio and so on. In 2019, he was awarded the Shanghai Magnolia Silver Award.
師菲臘．尚狄的指導下開始接觸 這些藝術形式。阿勒芒曾參與了 大量當代戲偶劇和視覺戲劇的創 作。
她的作品曾三次獲莫里哀戲劇獎 最佳視覺創作獎。
Conception & Creation of Puppets
Carole Allemand (Fr)
Carole Allemand is a visual artist specialising in puppet making, special effects, and the design of stage and set props. She began her journey in these art forms under the guidance of Alain Duverne and internationally renowned puppeteer Philippe Genty. She has participated in the creation of numerous contemporary puppet theatre and visual drama productions.
Her work has been awarded the Molière Award for Best Visual Creation three times.
Kain Liu is an independent visual artist, animation director, and world-traveling puppetry producer and researcher. She graduated with an MFA in Computer Programming Arts from Goldsmiths, University of London. She spent a significant period at the Horse and Bamboo Theatre in the UK, working as a puppet designer and set animator. Since 2018, she has served as the chief visual designer and animation promotional film director for the Beijing International Puppet Festival.
Viola Zhang is a costume and styling designer. She completed her undergraduate studies at the Accademia di Belle Arti in Rome and her postgraduate studies at the Accademia Costume & Moda in Rome. She has worked at the Teatro dell’Opera di Roma and the Teatro Massimo Vittorio Emanuele in Palermo, Sicily.
Her independent representative works include the dance theatre plays Lady White of West Lake, The Sleeping Beauty and Secret World , the musicals Flying Apsaras and Giant Pandas , the plays A Doll’s House and A Doll’s House, Part 2 , and the modern dance production Disappear
Panda Ma graduated from the University of the Arts London with a degree in Theatre Lighting Design and Theatre Design.
His lighting design works include the musical In the Mood for Sorrow , the play One Night in WuHuan by Jim Chim, the large-scale acrobatic show Don’t Stop Smiling , the major stage play Perfect Program , the large-scale acrobatic show Call 4921 by the China National Acrobatic Troupe, and the modern dance theatre play Romeo and Juliet .
He also worked on the lighting design for revivals, including Deling and Cixi and so on.
Du Siliang is the head of the sound team at the Central Academy of Drama’s Teaching Practice and Performance Centre. He is a faculty member in sound design at the Department of Stage Art at the Central Academy of Drama, and a doctoral student in drama and film directing at the same institution. He is also a council member of the Music and Sound Professional Committee of the Chinese Collegial Association for Visual Arts.
His representative works include musicals such as Crazy for You and Home , as well as plays such as Red and White Weddings and The Tiger Tally
Deng Ran is an intermediate producer (filmmaker) in Beijing and the founder of Yicheng Culture. She graduated from the Central Academy of Drama.
Her representative production works include plays such as La Voix Humaine, Looking at the Galaxy, Red Sorghum Family, Deling and Cixi and Battle of Shangganling , as well as the musical Today and Me . Other notable works include the Chinese version of War Horse and What Do You Usually Do?
Fan Chaowei is an expert committee member of the Theatre Architecture and Stage Technology Professional Committee of the China Institute of Stage Design. He serves as a design and engineering consultant for theatre buildings and exhibition venues in China. He is also a visiting professor at the Department of Stage Art at the National Academy of Chinese Theatre Arts.
His representative works in production management and technical co-ordination include the musicals Star Catcher, On the Road and Mozart L’opéra Rock , as well as the operas THEBES and Dream of the Red Chamber
鳴謝 ACKNOWLEDGEMENTS
香港藝術節衷心感謝下列機構及人士的慷慨支持﹕
The Hong Kong Arts Festival would like to thank the following for their generous support:
贊助舍計劃會員 Patron's Club Members
鉑金會員 Platinum Member
嘉里控股有限公司
Kerry Holdings Limited
黃金會員 Gold Members
怡和集團
純銀會員 Silver Member
太古地產
The Jardine Matheson Group Swire Properties
上海商業銀行有限公司
Shanghai Commercial Bank Limited
香港藝術節 2024 慈善晚宴之贊助人
Sponsors of the Hong Kong Arts Festival 2024 Gala Dinner
鑽石席 – 宴桌 Diamond Table Sponsors
查懋成先生 Mr Victor Cha
呂耀東先生 Mr Francis Lui
何超盈博士 Dr Sabrina Ho
鑽石席 – 宴位 Diamond Seat Sponsors
無名氏 Anonymous
黃金席 – 宴桌 Gold Table Sponsors
無名氏 Anonymous
鄭阮培恩女士 Mrs Betty Yuen Cheng
其他支持機構 Other Supporters
荷蘭表演藝術基金
Performing Arts Fund NL
實物支持機構
In-Kind Supporters
半島酒店 The Peninsula Hotel Limited
鄭慧恩小姐及友人 Ms Vena Cheng and friends
馮愉敏先生 Mr Michael Fung
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摩根大通私人銀行 ( 香港 ) J.P. Morgan Private Bank (HK)
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文肇偉先生 Mr Sebastian Man
文藝女士 Ms Wen Yi Wendy
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許鴻光先生 Mr Patrick Hui Hung Kwong
梁婉玲博士 Dr Elina Leung
通利琴行 Tom Lee Music
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牧羊少年與他的浮萍 Lemna of the Alchemist
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富豪東方酒店 Regal Oriental Hotel
黃日芝芭蕾舞學校 Regine Wong School of Ballet
倫敦皇家歌劇院及芭蕾舞團館藏 Royal Opera and Ballet Collections
皇家太平洋酒店 Royal Pacific Hotel
沙田大會堂 Sha Tin Town Hall
上環文娛中心 Sheung Wan Civic Centre
Southgate Design
春天芭蕾舞學校 Springtide Ballet School
大館—古蹟及藝術館 Tai Kwun Centre for Heritage and Arts
台灣蘇富比國際房地產 Taiwan Sotheby's International Realty
駐香港臺北經濟文化辦事處 Taipei Economic and Cultural Office in Hong Kong
藝林文具印刷有限公司 The Artland Co. Ltd.
瑞典駐香港及澳門總領事館 The Consulate General of Sweden in Hong Kong and Macau
灣景國際 The Harbourview
香港演藝學院 The Hong Kong Academy for Performing Arts
音樂學院 School of Music
表演場地管理部 Venue Performance Unit
場地技術部 Venue Technical Unit
香港兒童合唱團 The Hong Kong Children's Choir
香港管弦樂團 The Hong Kong Philharmonic Orchestra
加拿大國家芭蕾舞團 The National Ballet of Canada
香港半島酒店 The Peninsula Hong Kong
港青—香港基督教青年會 The Salisbury – YMCA of Hong Kong
荃灣大會堂 Tsuen Wan Town Hall
屯門大會堂 Tuen Mun Town Hall
東華三院東蒲 TWGHs TungPo
郭慧芸芭蕾舞學校 Vivian Kwok School of Ballet
西九文化區管理局 West Kowloon Cultural District Authority
Wewow House
艾希妮控股有限公司 X Social Group Holdings Limited
高木 Yakitori Takagi
元朗劇院 Yuen Long Theatre
贊助人 李家超先生 , PATRON
電話 TEL （852）2824 3555
傳真 FAX （852）2824 3798、（852）2824 3722
電子郵箱 Email afgen@hkaf.org
節目查詢熱線 （852）2824 2430
Programme Enquiry Hotline
電話 TEL （852）2824 3555
地址 ADDRESS
傳真 FAX （852）2824 3798、（852）2824 3722
電子郵箱 Email afgen@hkaf.org
節目查詢熱線 （852）2824 2430
Programme Enquiry Hotline
香港灣仔港灣道二號十二字樓 1205 室 Room 1205, 12/F,2 Harbour Road, Wan Chai, Hong Kong
地址 ADDRESS 香港灣仔港灣道二號十二字樓 1205 室 Room 1205, 12/F,2 Harbour Road, Wan Chai, Hong Kong
The Hon. John KC Lee, GBM SBS PDSM PMSM GBM SBS PDSM PMSM
贊助人 李家超先生 , PATRON
永遠名譽會長 邵逸夫爵士（1907-2014）
執行委員會
The Hon. John KC Lee, GBM SBS PDSM PMSM GBM SBS PDSM PMSM
製作主任 王子蕙* 技術統籌 張詠宜*、范文恩*、李浩賢*、彭家達*、曾以德* Head of Artist Coordinators Eleanor Chu* Artist Coordinators Haynes Cheung*, Viola Chong*, Cassandra Heung*, Kelvin Ho*, Kitty Leung*, Joyce Lo*, Giacomo Matelloni*, Jan Pang*, Renee Tsang*, Blanche Wu*, Jiajia Yang*, Bonnie Yung* Production Officer Anissa Wong* Technical Coordinators Jess Cheung*, Yan Fan*, Lawrence Lee*, Pang Ka-tat*, Joyi Tsang*
Production Officer Anissa Wong*
Technical Coordinators Jess Cheung*, Yan Fan*, Lawrence Lee*, Pang Ka-tat*, Joyi Tsang*
*合約職員 Contract Staff 按英文姓氏首字母排列 In alphabetical order # 藝術人才見習配對計劃2023/24 及2024/25 由香港藝術發展局資助 # 2023/24 and 2024/25 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2025年2月更新 Updated February 2025
*合約職員 Contract Staff 按英文姓氏首字母排列 In alphabetical order # 藝術人才見習配對計劃2023/24 及2024/25 由香港藝術發展局資助 # 2023/24 and 2024/25 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2025年2月更新 Updated February 2025
