香港藝術節匯聚全城文化精髓， 是享譽亞洲的文化盛事。藝術節 絢麗多姿的節目，每年吸引無數 海內外藝術愛好者熱烈捧場。觀
眾無論以香港為家，還是慕名而 來，都不難感受箇中都會魅力。
香港藝術節雲集本地以至全球名 家傾力演出，盡展藝術才華。精 選節目包羅萬象，古今俱備，觀 眾既可欣賞當代新銳創作，更可 回味大師經典作品。
欣逢香港藝術節四十周年，可喜 可賀。謹祝各位有一個愉快難忘 的晚上。
獻辭 message
The Hong Kong Arts Festival is a highlight of our city’s cultural calendar and a widely celebrated arts event in Asia. Each year it presents a feast of exciting programmes that draw arts lovers from near and far, adding to Hong Kong’s attractiveness both as a home and a tourist destination.
The Festival is an important platform for showcasing local talent alongside the best artists from around the world. With a judicious mix of programmes, it champions new and contemporary works while celebrating great masterpieces, giving audiences much to savour.
I congratulate the Hong Kong Arts Festival on its 40th Anniversary and wish you all a truly memorable evening.
香港特別行政區行政長官
Chief Executive Hong Kong Special Administrative Region
歡迎蒞臨第40 屆香港藝術節。
作為重要的國際
文化盛會，香港
藝術節每年呈獻 世界頂尖及多元 化的表演節目。
今年榮幸再邀請
到世界各地及本
港藝術精英，帶
來舞蹈、音樂、
歌劇及戲劇等精采表演，讓觀眾可欣 賞振奮心靈的繽紛藝饌。
我藉此感謝香港特區政府、香港賽馬
會、各贊助企業及個人的慷慨資助。
踏入第40周年，香港藝術節除了雲
集世界各地的藝術界翹楚，帶來精采
演出，亦透過學生票贊助計劃及「青
少年之友」計劃，培養年青人的藝術
體驗；此舉有賴一群熱愛藝術的有心 人慷慨資助，鼓勵年青人參與藝術節
的精采演出，提升日後觀賞藝術的興 趣。
各位觀眾的支持和參與，乃驅動藝術
節向前邁進的力量。感謝您前來欣賞 本節目，希望本屆藝術節為您帶來美 好的觀賞時光。
I warmly welcome you to the 40th Hong Kong Arts Festival.
Recognised for the quality and variety of its programming, the annual Hong Kong Arts Festival is keenly anticipated as the premier event in Hong Kong’s cultural calendar. This year we again welcome top international and local talent in dance, music, opera and theatre, whose artistry will delight and inspire us.
I wish to acknowledge strong support of the Government of Hong Kong SAR, the Hong Kong Jockey Club, and sponsors and donors who make this Festival possible. At this 40 year mark, I am particularly delighted that in addition to presenting wonderful artists to a discerning public, we can also nurture young audiences through our Student Ticket Scheme and Young Friends Scheme, thanks to the contributions of donors and supporters who generously share their own love for the arts with audiences of the future.
Thank you very much for coming to this performance. Your presence is paramount to the success of the Festival, and I wish you a very enjoyable experience.
歡迎閣下蒞臨第 40屆香港藝術 節。
今年香港藝術節 呈獻的藝術名家 及精采節目，就 如香港大都會一 樣多元化又璀璨 奪目。延續四十 年的優良傳統， 我們繼續邀請
本地及國際知名的星級藝術家點亮香 港大小舞台，呈現世界豐碩的文化傳 統，豐富未來的文化面貌。
衷心感謝多年來熱心支持香港藝術節 的各界人士及團體。我們過去的成 功源自他們對藝術的熱忱，他們亦深 信豐盛多元的文化藝術生活，是香港 作為名副其實的國際大都會之重要支 柱。
感謝您與我們一起慶祝香港藝術節的 四十年。藝術節團隊向每一位支持香 港藝術節的觀眾衷心致謝，期望您盡 享連串多姿多采的節目。
It is a pleasure and privilege to welcome you to the 40th Hong Kong Arts Festival.
The array of artistic talent and programmatic content presented at this year’s Festival is as diverse and multi-faceted as the city which has hosted this annual event in the course of four decades. As we add to the roll call of local and international luminaries who grace our stages, we continue to draw upon the impressive traditions available to us, and work to augment a heritage for the future.
I am deeply grateful to many individuals and institutions for their contributions to the Festival’s success over the years, informed by a love for the arts and an appreciation of how important it is for a major city worthy of that description to have a rich cultural life.
Thank you for being here to celebrate forty years of the Hong Kong Arts Festival. The Festival would not happen without its audience. The entire Festival team appreciates your contribution to the 40th Hong Kong Arts Festival and hopes that you enjoy many wonderful performances.
Charles Lee, Chairman
Tisa Ho, Executive Director
香港藝術節資助來自： The Hong Kong Arts Festival is made possible with the funding support of:
創作人員 ｜ Creative Team
編劇
莎拉．肯恩
Playwright Sarah Kane
導演
格哥斯．積仙拿
Director Grzegorz Jarzyna
佈景設計
Set Design
燈光設計
瑪歌莎達．斯實妮克
Małgorzata Szcz niak
菲莉絲．羅斯
Lighting Design Felice Ross
投影
馬仙．域拖洛斯基
Projection Marcin Wiktorowski
音樂
皮亞特．多米尼斯基、包奧．邁奇田及格哥斯．積仙拿
Music Piotr Dominski, Paweł Mykietyn and Grzegorz Jarzyna
演出 ｜ Cast
中文字幕
Chinese Surtitles
瑪格達蓮娜．席莉卡
Magdalena Cielecka
卡翠娜．赫爾曼
Katarzyna Herman
馬力斯．賓洛迪
Mariusz Benoit
華化．麥高韋
Rafał Ma kowiak
珍雷斯．查比亞
Janusz Chabior
祝雅研
Phoebe Chuk
字幕編訂 蘇國雲、曾逸林
Surtitles Editor So Kwok-wan, Zeng Yilin
聯合製作 ｜ Co-Producers TR Warszawa 劇團及波蘭國家劇院 TR Warszawa and Teatr Polski in Poznan
鳴謝︱Acknowledgement
亞當．密茨凱維奇文化中心支持是次TR華沙劇團之香港演出
The tour of TR Warszawa is supported by the Adam Mickiewicz Institute
無人觸及之死亡幽谷 A Private Darkness
1998 年8 月，莎拉．肯恩進入了生命 的最後六個月。我們無從得知當時她 是否知道自己即將辭世，但她肯定曾 向身邊至親的人提起或暗示過自殺這 件事。即使有人知道她有這個意圖， 也不敢貿然或試圖揣測她會在什麼時 候自殺；但可以想像到當時她令朋友 和家人感到異常忐忑不安。
毫無疑問，自她20 歲起抑鬱的徵兆便 日趨嚴重，自殺這個意念，甚至是具 體的實行方法，顯然已在她的腦海裏 盤旋不休。缺乏醫學背景的我猜測， 這可能還對她的創造力構成毀滅性的 影響。作為藝術家，想要結束自己的 生命也意味着創造力的終結。縱然她 的自尊已經沉淪，但每一個回想她在 綵排或研討會工作的人都會這樣說： 她是一個極為投入、甚至有點苛刻的 作家。她熱愛戲劇、熱愛寫作（她信
In August 1998, Sarah Kane entered the last six months of her life. Whether or not she knew this would be so is not for us to speculate. She must have talked about or alluded to dying by her own hand with those closest to her. They would not – naturally –have dared or wanted to put a date on it; but it can be assumed that she was causing great disquiet among her friends and family.
There is no doubt the depth and increasing length of her depressions as her 20s wore on. Suicide – the concept, maybe the mechanics of the act – clearly crowded in on her thoughts and, by my medically untrained guess, had a devastating effect on her creativity. If you are an artist, doing away with yourself also brings productivity to an end. However low her self-esteem had sunk, it is evident from everyone who recalls her at work – in rehearsal, at workshops –that Kane was an unusually dedicated, even
奉「憂思不止，努力不斷」）、熱愛
文學。若一個人開始覺得自己所熱愛 的東西沒有任何意義，隨之而來的憂 患確實如殘疾般嚴重。
所以我們今晚欣賞的這部作品給我們 呈上一道兩難的選擇題：它會否代表
着剛踏入 28 歲的年輕女子決意放棄
生命、在即將臨終前的最後喘息？還 是份屬一部完全脫離作者狀態和經歷 的激進實驗作品？似乎兩者皆是。表
面上看來，《 4 . 48 精神崩潰》預見死 亡，它直面死亡無可避免的特性，着 重點不在於哲學探討，而在於表現生 命的不可承受之重。肯恩的作品表達 內心深處的感受，她癡迷於舞台的可 塑性，樂於嘗試新的表現手法，並異
乎尋常地醉心於發揮舞台的潛力來表 現「真實」的生活。她的想像領域大 多是圍繞生命更抽象的輪廓（她感到
無法忍受），到底會怎樣終結和該如 何終結。整體來說，她的劇作毫無愉 快的元素。
倘若把《 4 . 48 精神崩潰》視為自殺筆 記是錯誤的話，這部戲劇化的作品更 應被看成是一首關於自殺的詩。肯恩 有不少作品都展現了優秀詩作的精 煉文筆，並從比喻的思考模式出發。
在1995 年1 月，很多評論家首次看過
《驚爆》後均犯了一個嚴重錯誤，就 是以現實主義的傳統意念來批評這部 劇作。誠然，幾乎所有二十世紀的英
國劇作，不管是出自主流或激進作家 之手，在其著作當中都傾向為觀眾提 供至少一個現實主義的框架（不管這
個框架是什麼），有了這個框架，整
fastidious writer. She loved drama, she loved writing (she relished “worrying away at it”) and she loved literature. An illness has indeed to be of a crippling severity for one to “know” that those pleasures have ceased to mean anything.
So the play we are seeing tonight poses a dilemma. Is this work the last gasp of a young woman who had given up and knew what she was going to do shortly after her 28th birthday? Or is it a radical experiment in form, to be wholly detached from its author’s condition and biography? It seems to be a bit of both. On the face of it, 4.48 Psychosis foresees death; it confronts death’s inevitability less in philosophical mode then because of the crushing insupportability of life. Kane was a visceral writer who was fascinated by the plasticity of the stage, by what could be invented on it, and rarely by its potential to represent “real” life. Her imagination engaged with how the more abstract contours of life – unendurable, as she conceived it – would end and could be ended. Her drama is not, on the whole, cheerful stuff.
If it is wrong to call 4.48 Psychosis a suicide note, in dramatised form it is more subtly a suicide poem. Much of Kane’s writing has the terse energy of good poetry and she thought in metaphors. The egregious mistake so many critics made on seeing Blasted for the first time, in January 1995, was to judge it as if it came from a tradition of realism. True, almost all 20th-century British plays, from hands both distinguished and radical, have tended to offer their
部作品在形式上才有安全保障。
然而，肯恩卻着力於以語言和意象為 主的創作（在《 4 . 48 精神崩潰》中尤 甚），在作品搬上舞台的過程中，並 不刻意將兩者糅合成一個傳統形式的 劇作。這就是為什麼她的作品到現在 還是如此饒富趣味。（面對面的舞台 形式也有類似的表達手法，基本上薩 繆爾．貝克特的所有作品，由1957年 推出的《結局》及其後之作品，也源 於這種創作風格。貝克特被肯恩視為 標杆一樣的劇作家。）
《4.48精神崩潰》在2000年6月肯恩去 世後於倫敦皇家宮廷劇院首度公演。
難免會令人將它視為作者對世界的告 別之作。然而若把這部作品當作精神 病人草草寫下的筆記，它就淪為了一 個病理現象。我並不認為這部劇寫得
public at least a frame of realism (whatever that might be): something in which to feel formally safe.
Kane, however, began with words and images – this is no truer than in 4.48 Psychosis – and, moulding them for the stage, did not pretend they had to add up to an old-fashioned play. That is what remains so interesting about her work. (The same, vis-à-vis stage form, may be said of virtually everything written by Samuel Beckett, who was a benchmark playwright for Kane, from his Endgame of 1957 onwards.)
When 4.48 Psychosis had its premiere, posthumously at the Royal Court in London in June 2000, it was inevitable that it would be received as the writer’s farewell to the world. Yet to call it the jottings of a psychiatric patient would render it mere
時不足 50 歲），肯恩與他有着強烈 的共鳴。一般而言，她的品味遠遠超 越了常規的英國經典戲劇作品，這對 於她在構思戲劇靈感方面影響深遠。
她去世前一年接受尼爾斯．塔伯特的 訪談邀請，當中被問及她在劇壇的影 響力和每部劇背後所隱藏的含意時，
她答道：「是的，我的劇作除了受到 品特、巴克和邦德的影響之外，大部 分作品都是非英式類別的作品。我感 興趣的主要是歐洲文學……當我寫每 一部劇的時候，經常會翻閱幾本我一 看再看的書：寫《滌淨》時會閱讀喬
治．畢希納的《沃伊柴克》、喬治． 奧威爾的《1984》、《十二夜》及斯 特林伯格的《鬼魂奏鳴曲》。寫《驚 爆》時會閱讀《李爾王》、《等待戈 多》及 其實，寫《驚爆》時有點 奇怪，因為對我來說這部作品好像分
了三個部分，第一部分受到很多易 卜生的影響，第二部分受布萊希特影 響，而第三部分則受貝克特影響。寫
《菲德拉的愛》時會閱讀布萊希特的 《Baal 》……及加繆的《局外人》。
寫《渴求》時受到《荒原》啟發，而
這部新劇《 4 . 48 精神崩潰》則受到阿 鐸的影響。 」
1992 年，肯恩以一級榮譽從布里斯 托大學畢業，如此優異的成績也許很 令人嘖嘖稱奇（因為她說她在首兩年 幾乎沒有專心過）。之後同年她在愛 丁堡戲劇節看到傑里米．韋勒的劇作 《瘋狂》，以探討女人心理疾病為主 題的三部曲之第三部。這部劇讓她堅 信，她要寫的話劇，如她所說，屬 「實驗性的」。
Barker, anti-naturalistic to the core, was one of the few younger contemporary British dramatists (he was under 50) with whom Kane could claim close affinity. Her tastes in general ranged well outside the regular British canon, and this was to have lasting impact on her theatrical ideas. In a revealing interview with Nils Tabert a year before her death, in answer to a query about her influences and what lay behind each of her plays, she explained: "Yes, mainly non-English stuff…except for Pinter, Barker and Bond. It’s mainly European literature I’m interested in…with everything I write there are usually a couple of books that I read again and again when writing. With Cleansed it was [George Büchner’s] Woyzeck, [Orwell’s] 1984, Twelfth Night and Strindberg’s The Ghost Sonata . Blasted was King Lear , Waiting for Godot and — well, it was strange with Blasted, because for me there are kind of three sections: the first one was very influenced by Ibsen, the second one by Brecht, and the third one by Beckett. Phaedra’s Love was [Brecht’s] Baal…and Camus’ The Outsider . Crave was The Waste Land. And for the new one 4.48 Psychosis, it’s Artaud."
In 1992 Kane left Bristol with, perhaps surprisingly (given how little she said she concentrated in her first two years), a firstclass honours degree. Later that year at the Edinburgh Festival she saw a play by Jeremy Weller called Mad , the third in a trilogy exploring women’s mental illness. It convinced her that the type of drama she wanted to write was, as she put it, “experimental”.
在大衛．艾嘉的指導下，肯恩在伯明 翰大學修讀劇本創作文學碩士學位。
她在那兒寫出了首部劇作 45分鐘的 《驚爆》，她唯一一部自然主義的作 品，風格極盡辛辣諧趣。之後她移居 倫敦，成為布殊劇場的文學助理，繼 續創作《驚爆》。她銳意將這部劇完
全脫離自然主義，並賦以全新風格， 結果該劇經過15 個修正版後才得以定 稿。
現在看來，媒體對這部劇首演的小題 大作似乎幼稚又多餘，甚至有些好 笑。《驚爆》所激起的風波帶來了兩 個嚴重後果。第一，肯恩如此年輕便 變得聲名狼藉，這無疑令她原本脆弱 的神經增添了不少壓力。沒有人會提 出肯恩發病或令她病情急轉直下的導 火線是源自傳媒的猛烈評擊，但23 歲 的她肯定還沒有準備好滿足那些庸俗 小報對她的期望和索求。
第二個後果是，英國主流劇場的大門 都因傳媒對肯恩的激烈攻勢而不再 為她開啟。她可以說是邦德 / 品特時 代以來出現過最令人興奮的英國劇作 家，然而傳媒在她出道初期便公然散 播對她的誤解，也誤導了戲劇製作人 和經理人。現在英國戲劇界依然普遍 認為肯恩的劇作並不叫好叫座，導致 她的作品從未被搬上像國家劇院這類 級數的大舞台，確實令人感到非常驚 訝。
肯恩還在世時，她的劇作就開始在德 國廣受歡迎，尤其在法蘭克福、漢堡
和柏林等當地劇院，以及歐洲各地和 大西洋彼岸的劇院。
Under the tutelage of David Edgar, Kane followed an MA in playwriting at the University of Birmingham. There she wrote the first 45 minutes of Blasted, which remains her only tilt at naturalism – and a very brisk, witty one it is. She then moved to London, became a literary assistant at the Bush Theatre and worked on Blasted. Soon demanding of its author a violent shift from naturalism to something else, the play went through 15 drafts.
The media fuss over its first production now seems puerile and unnecessary – and even faintly amusing. The storm that broke over Blasted had two serious consequences. First, it made her prematurely notorious, no doubt adding pressure to her already private fragility. No-one would suggest that aggressive media attention in itself made her ill, or exacerbated her illness, but at 23 she was certainly not ready for what the tabloids, in particular, might have wanted from or expected of her.
Second, it shut the gates against her entrance into mainstream British theatre. She is arguably the single most exciting English dramatist to have emerged since the Bond-Pinter generation; but early misunderstanding, aired to a general public, can do its evil work among theatre makers and managers too. In Britain Kane is still considered a seat-emptier. In the eyes of some people, it is shocking that not one of her plays has been done, for instance, at the National Theatre.
Hunger for Kane’s work began in Germany while she was still alive, specifically in
TR WARSZAWA
TR Warszawa has been one of the best known theatres in Poland for over 10 years. It is regarded as a modern theatre open to new ideas, a theatre that cultivates the best theatrical traditions. TR’s high position in various rankings of young European theatres is confirmed by numerous awards won by the company at national and international festivals.
It attracts brilliant directors – Grzegorz Jarzyna (Artistic Director since 1998 and since 2006 also General Director), Krystian Lupa, Krzysztof Warlikowski, René Pollesch as well as representatives of younger generations, such as Michał Borczuch. TR’s actors are among the best in Europe. The company's search for a new language of theatrical expression makes it a necessity to not only reach for new, contemporary dramatic texts but also to reinterpret the classics. As a centre for broadly defined artistic experiments, TR Warszawa has been hosting a series of visual arts and contemporary drama presentations since 2000.
Following the success of TEREN WARSZAWA (Area Warsaw) in the 2003/04 season – which was initiated to explore the artistic potential of the city, as well as offering creative opportunities to young, talented people – several new productions have been presented in spaces outside the theatre, from an old printing house to a modern office building. During the 2004/05 season, the company organised the TR/PL project in order to find a new dramatic form for contemporary Poland. More than 10 playwrights participated, exploring changes that have taken place in the country in recent years.
Among the theatre’s latest projects are T.E.O.R.E.M.A.T. based on the work of Pier Paolo Pasolini, directed by Grzegorz Jarzyna; a co-production with Schaubühne am Lehniner Platz of Dorota Masłowska’s No Matter How Hard We Tried; Areteia by Grzegorz Jarzyna, a co-production with Schauspiel Essen prepared as part of the programme RUHR.2010 – European Capital of Culture; Jackson Pollesch by René Pollesch; and Nosferatu by Grzegorz Jarzyna, inspired by Bram Stokers’ Dracula.
TR Warszawa is invited to various festivals and stages in Europe and beyond, including Avignon, Edinburgh, Moscow, St. Petersburg, Jerusalem, Berlin, Munich, Vienna, Stockholm, London, Dublin, Toronto, New York, Los Angeles Wellington and Hong Kong.
In 2015 TR Warszawa will change it’s location and move to the Modern Art Centre in Warsaw, a new space of culture designed by the Swiss architect Christian Kerez.
格哥斯．積仙拿 Grzegorz Jarzyna
導演 Director
1968 年在霍茹夫出生，積仙拿是來自波蘭的頂尖舞台導演。他的成名 為波蘭戲劇界翻開了全新的一頁。積仙拿在雅蓋隆大學修讀哲學學士學
位後，又在克拉科夫的國家戲劇學校取得舞台指導學士學位。自1998
年起，他擔任TR Warszawa劇團 (前稱多樣化劇團) 的藝術總監，這是 波蘭最頂尖的劇團之一。至2006年，他晉升成為劇團總監。
積仙拿重新演繹了多部戲劇經典，例如以維奇維茨劇作為藍本的《熱帶狂熱》, 以及改自 亞歷山大．弗雷德羅《少女誓言》的《心之磁力》；他又將歐洲小說巨著改編成戲劇， 例如湯瑪斯．曼斯的《浮士德博士》及改自陀思妥耶夫斯基小說《白癡》的《梅什金公 爵》。此外，他亦曾執導多部著名當代戲劇及深受歡迎的歌劇，戲劇作品包括布拉德．費 雷沙的 《不明的人類殘骸》
及曾在華沙和杜塞爾多夫上演的莎拉．肯恩劇作《4 .48 精神 崩潰》；而歌劇作品則有在波茲南羅茲大劇院上演的莫札特作品《女人心》， 以及在里昂 歌劇院上演的普羅科菲耶夫作品 《賭徒》。積仙拿敢於揉合不同藝術體裁，根據莎士比亞 2005年的劇作版本，打造出《2007：馬克白》。這個演出共分為四個不同的場景，規模可 媲美專業電影製作。此外，他又根據莫札特的《唐．喬凡尼》和 莫里哀的 《唐璜》，完美 融合戲劇和歌劇，打造出《喬凡尼》劇作。
隨着積仙拿接獲多個藝術節邀請，衝出歐洲、面向世界，他在國際藝壇的名聲可謂與日俱 增，他曾獲邀到莫斯科、耶路撒冷、柏林、慕尼黑、維也納、愛丁堡、斯德哥爾摩、倫 敦、都柏林、多倫多、阿維儂及紐約等地作客席演出。2008 年6 月，《馬克白》在紐約布 魯克林橋橋下的一個臨時舞台上演。2008 年8 月，《4 .48 精神崩潰》在愛丁堡國際戲劇節 期間上演，而《喬凡尼》則於10月在聖彼得堡的波羅的海劇院節中首度公演。
積仙拿的改編作品不計其數，而原創戲劇作品則有兩部，分別為《米荻亞》 和 《雷荻 亞》。他亦曾為齊格蒙．克勞茲的歌劇《伊沃娜，柏甘達的公主》編寫劇本，又執導多部 電視製作，例如以維奇維茨劇作為藍本的《熱帶狂熱》、依照維托爾德．貢布羅維奇作品 改編的《歷史》及電視版本的《2007：馬克白》。
積仙拿曾獲獎無數，其中包括由外交部長頒發的獎項，以表揚他在提升波蘭國際形象方面 的貢獻 (2002年) ，他後來又於2004年榮獲紀念聖彼得堡三百周年的金獎。2007年，他憑 藉《米荻亞》於維也納宮廷劇院的演出，奪得Nestroy-Preis獎，這是德語國家之中，其中 一個令人趨之若鶩的戲劇獎項。此外，他亦分別於1999年及2009年，兩度獲得康拉斯‧維 納爾斯基大獎的最佳導演殊榮。
他最近期的作品包括《T .E .O .R .E .M .A .T .》，取材自意大利導演帕索里尼，於2009 年2 月首 演，以及波蘭年輕劇作家多洛塔．馬斯洛斯卡於柏林廣場劇院首演的劇作《無論我們多努 力嘗試》。
積仙拿獲邀參加「魯爾2010，歐洲文化之都」其中一個節目「歐洲歷險之旅」。
Jarzyna, born 1968 in Chorzów, is one of the best-known stage directors ever to come from Poland. His debut brought about a revolution in Polish theatre. He holds degrees in philosophy from Jagiellonian University and stage directing from the State Drama School in Krakow. Since 1998 he has been Artistic Director of TR Warszawa (formerly Teatr Rozmaito ci), one of Poland's innovative theatres, becoming its General Director in 2006.
Jarzyna has staged and radically reinterpreted classic drama (Tropical Craze according to Stanisław Ignacy Witkiewicz, Magnetism of the Heart based on Aleksander Fredro’s Maiden Vows), adapted major European novels (Mann’s Doctor Faustus, Prince Myshkin according to Dostoyevsky’s The Idiot), directed famous contemporary plays (Brad Fraser’s Unidentified Human Remains, Sarah Kane’s 4.48 Psychosis in Warsaw and Düsseldorf) and well-loved operas (Mozart’s Così Fan Tutte at Teatr Wielki in Pozna, Prokofiev’s Gambler at Opera de Lyon). His readiness and enthusiasm for cutting across genres have resulted in 2007: Macbeth according to Shakespeare (2005), an almost cinematic production with the action taking place on four separate sets, and Giovanni based on Mozart’s Don Giovanni and Moliere’s Don Juan, a production melding dramatic theatre and opera.
Jarzyna’s international reputation was established with the invitation of his productions to numerous festivals and guest performances on stages in Europe and beyond, including Moscow, Jerusalem, Berlin, Munich, Vienna, Edinburgh, Stockholm, London, Dublin, Toronto, Avignon and New York. In June 2008 Macbeth was shown on a purpose-built stage under the Brooklyn Bridge in New York, in August 4.48 Psychosis was presented at the Edinburgh International Festival, while in October Giovanni inaugurated the Baltic House festival in St. Petersburg.
Jarzyna has written many adaptations, two dramas: Medea Project and Areteia, as well as libretto to Zygmunt Krauze’s opera Iwona, Princess of Burgundy. He has also directed several television productions: Tropical Craze according to Witkiewicz, History according to Witold Gombrowicz, and the TV version of 2007: Macbeth
He has won numerous prizes and distinctions, including the award of the Minister for Foreign Affairs for his outstanding contribution to promoting Poland internationally (2002) and a Gold Medal commemorating the St. Petersburg Tricentennial (2004). In 2007, Jarzyna’s production of Medea at the Burgtheater in Vienna (2006) won him the NestroyPreis, one of the most coveted theatre awards in German-speaking countries. He was twice awarded with Konrad Swinarski Prize for the best director (1999 and 2009).
His latest productions are T.E.O.R.E.M.A.T. based on the work of Pier Paolo Pasolini (premiered in February 2009) and No Matter How Hard We Tried by young Polish playwright Dorota Masłowska premiered at Schaubühne am Lehniner Platz in Berlin.
He is one of the authors invited to the project “Odyssey Europe” prepared as part of the programme RUHR.2010 – European Capital of Culture.
包奧．邁奇田 Pawel Mykietyn
作曲 Music
邁奇田於1971 年出生，曾與沃齊米日．科通斯基在華沙的蕭邦音樂學 院學習作曲。1994 年，憑藉出色的單簧管演奏，在波蘭現代音樂協會
舉辦的年輕演奏家比賽（二十世紀音樂）中勇奪殊榮。邁奇田曾為無數 戲劇作品創作音樂，其中包括彼得．切希拉克執導的《猩紅島》和《皆 大歡喜》、《慶祝》、莎拉．肯恩的《4 48 精神崩潰》及由格哥斯． 積仙拿執導的貝爾托．布萊希特劇作《無情都市》。另外，他亦有份參與大部分由克里斯 多夫．華力科斯基演出的音樂創作，包括索福克里斯劇作《伊萊翠》；莎翁劇作《冬天的 故事》、《馴悍記》、《培里克利斯》、《十二夜》、《哈姆雷特》及《暴風雨》；戈爾 德思的《西岸》、歐里庇得斯劇作《酒神女信徒》；莎拉．肯恩的《滌淨》；哈諾奇．列 文的《克魯姆》及托尼．庫什納的劇作《美國天使》和《阿波隆尼亞》。
Mykietyn was born in 1971 and studied composition with Włodzimierz Koto ski at the Fryderyk Chopin Academy of Music, Warsaw. As a clarinettist he won the 1994 Competition for Young Players of 20th-Century Music, held by the Polish Society for Contemporary Music. Mykietyn has composed the music for many theatre productions, including Scarlet Island and As You Like It directed by Piotr Cie lak; The Celebration; Sarah Kane’s 4.48 Psychosis and Bertolt Brecht’s Im Dickicht der Städte by Grzegorz Jarzyna and for most performances staged by Krzysztof Warlikowski, including Sophocles’ Electra, Shakespeare’s The Winter’s Tale, The Taming of the Shrew, Pericles, Twelfth Night, Hamlet, The Tempest ; Koltes’s Quai Ouest ; Euripides’ The Bacchae ; Sarah Kane’s Cleansed ; Hanoch Levin’s Krum and Tony Kushner’s Angels in America and (A)pollonia
瑪格達蓮娜．席莉卡 Magdalena Cielecka
席莉卡畢業於克拉科夫的國家戲劇學院。還是學生時她就在克拉科夫的 星星劇院首次公演，她在扎波爾斯卡劇作《其中四人》中擔演小孩的角 色。之後她開始參與TR Warszawa劇團的演出。她的代表作包括維托
爾德．貢布羅維奇的 《伊沃娜，柏甘達的公主》、布拉德．費雷沙的 《不明的人類殘骸》、積仙拿執導的《心之磁力》、《梅什金公爵》、 《慶祝》、《 4 . 48 精神崩潰》、華力科斯基執導的《哈姆雷特》、莎士比亞劇作《暴風 雨》、托尼．庫什納的《美國天使》，以及華力科斯基執導的《阿波隆尼亞》。
Cielecka trained at the National Academy of Theatre, Kraków. While still a student she made her debut as the Child in Gabriela Zapolska’s The Four of Them at the Stary Teatr, Kraków, and she subsequently performed with TR Warszawa. Her theatre credits include Witold Gombrowicz’s Iwona, Princess of Burgundy, Brad Fraser’s Undefined Human Remains, The Magnetism of the Heart, The Prince Myshkin, The Celebration, 4.48 Psychosis, directed by Grzegorz Jarzyna; Hamlet, directed by Krzysztof Warlikowski, Shakespeare’s The Tempest, Tony Kushner’s Angels in America, and (A)pollonia directed by Krzysztof Warlikowski.
卡翠娜．赫爾曼 Katarzyna Herman
赫爾曼畢業於華沙國家戲劇學院，期後加入華沙博斯科尼劇院，在那兒 參演了安傑．多馬利克執導的《婚禮》、莫里斯．特里連斯基執導的 《馬克白》、阿格尼斯卡．格林斯卡執導的《三姐妹》、彼得．切普拉 執導的《李爾王》、尤利斯．馬諸斯基執導的《閉嘴》、格斯高．維斯 紐斯基執導的《夏之民謠》及馬戈薩塔．薄伽尤斯卡執導的《話》。她
在TR Warszawa劇團的表演包括積仙拿執導的莎拉．肯恩劇作《4 48 精神崩潰》及亞特． 烏班斯基執導的馬丁．昆普劇作《捫心問診》。她近期於埃森劇院為積仙拿執導的《雷狄 亞》擔演佩妮洛普一角。
Herman graduated from the National Theatre Academy, Warsaw, and joined the ensemble of Powszechny Theatre, Warsaw, where her appearances included The Wedding, directed by Andrzej Domalik; Macbeth, directed by Mariusz Treli ski; Three Sisters, directed by Agnieszka Gli ska; King Lear, directed by Piotr Cieplak; Noises Off, directed by Julisz Machulski; Summerfolk , directed by Grzegorz Wi niewski; and Speaking in Tongues , directed by Małgorzata Bogajewska. Her appearances in TR Warszawa include Sarah Kane’s 4.48 Psychosis directed by Grzegorz Jarzyna and Martin Crimp’s The Treatment directed by Artur Urba ski. Her latest role is Penelope in Areteia by Grzegorz Jarzyna in Schauspiel Essen.
馬力斯．賓洛迪 Mariusz Benoit
賓洛迪畢業於位於羅茲國家電影電視戲劇大學，代表作有傑格蒙特．修 伯納執導的《野牛比爾》、亞歷山大．巴蒂尼執導的《野蠻人》、傑格 蒙特．修伯納執導的《飛過杜鵑鳥的巢》、博丹．希布斯基執導的《寇 迪安》，以及安傑．華達執導的《朱莉小姐》。1997年 ，他加入了華 沙國家大劇院，參演斯坦尼斯洛．維斯匹安斯基的《十一月的夜》、貢 布羅維奇的《婚姻》及維斯匹安斯基的《法官們》。 他在TR Warszawa劇團的演出包括積 仙拿執導的《心之磁力》、《慶祝》、《4.48 精神崩潰》，以及華力科斯基執導的《酒神 女信徒》。
Benoit trained at the National University of Film, Television and Theatre, Łód ź . His appearances included Buffalo Bill, directed by Zygmunt Hübner; Barbarians, directed by Aleksander Bardini; One Flew Over the Cuckoo’s Nest, directed by Zygmunt Hübner; Kordian, directed by Bohdan Cybulski; and Miss Julie, directed by Andrzej Wajda. In 1997 he joined the National Theatre in Warsaw, where he appeared in Stanisław Wyspia ski’s November Night, Gombrowicz’s The Marriage and Wyspia ski’s The Judges. His credits with TR Warszawa include The Magnetism of the Heart, The Celebration, 4.48 Psychosis (all directed by Grzegorz Jarzyna) and The Bacchae, directed by Krzysztof Warlikowski.
華化．麥高韋 Rafal Ma kowiak
麥高韋畢業於華沙國家戲劇學院，之後在工作室劇場為《Kubus P .》 及《沙漏標誌下的療養院》擔綱演出。自1997年起他與TR Warszawa 劇團合作，參演了維奇維茨的 《熱帶狂熱》、亞特．烏班斯基執導的 馬丁．昆普劇作 《捫心問診》、《4 48 精神崩潰》、傑沃斯基執導的 恩達．華爾士劇作《迪士高豬》、沃玆傑克自編自導的《無論如何我都 愛你》、科尼卡納執導的莫妮卡．波華利茲劇作《海蓮娜》、珍．科拉塔自編自導的《閉 嘴》及科薩科夫斯卡執導的米克．貝傑劇作《戰爭地帶》。
Ma kowiak trained at the National Academy of Theatre, Warsaw, and performed at the Studio Theatre after graduating, including roles in Kubu P. and Sanatorium Under the Sign of the Hourglass. He has been associated with TR Warszawa since 1997 and has appeared in Witkiewicz’s The Tropical Craze, Martin Crimp’s The Treatment, directed by Artur Urba ski, 4.48 Psychosis, Enda Walsh’s Disco Pigs, directed by Krzysztof Jaworski, Przemysław Wojcieszek’s staging of his own Whatever Happens, I Love You , Monika Powalisz’s Helena S., directed by Aleksandra Konieczna, Jan Klata’s staging of his Cut it Out and Michał Bajer’s War Zone, directed by Natalia Korczakowska.
珍雷斯．查比亞 Janusz Chabior
查比亞在萊格尼察戲劇戲院作首次登台。自1999 年起他就在萊格尼察 的海蓮娜莫傑尤斯卡劇院演出，參演劇作包括格隆布執導的《札卡札伊 民謠》、《M市民》，《歷史》、《日出日落之城》及沃玆傑克執導的 《波蘭製造》。2006年，他加入TR Warszawa劇團參演了讓．科拉塔
自編自導的《閉嘴》、沃玆傑克執導的多洛塔．馬斯洛斯卡劇作《一對 貧窮、說波蘭語的羅馬尼亞夫妻》、《無論如何我都愛你》及讓．科拉塔執導的《門口的 鞋匠們》。他參演的電影有《鬥牛》和《目擊者》。
Chabior made his debut at the Dramatyczny Theatre, Legnica. Since 1999 he has worked with the Helena Modrzejewska Theatre, Legnica, including roles in Ballad about Zakaczawie, Citzen M. – History, Sunrises and Sunsets City (all directed by Jacek Glomb) and Made in Poland, directed by Przemysław Wojcieszek. He joined TR Warszawa in 2006 and has appeared in Jan Klata’s Cut it Out, directed by the author, Dorota Masłowska’s A Couple of Poor, Polish-Speaking Romanians, Whatever Happens, I Love You (both directed by Przemysław Wojcieszek) and Shoemakers at the Gates, directed by Jan Klata. His films include Pit Bull and The State Witness.
Director Simon Godwin Designer Mike Britton
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委員 Members
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會計 Accounts
會計經理 Accounting Manager
陳綺敏 Katharine Chan
助理會計經理 Assistant Accounting Manager
曾愛明 Ming Jung
會計文員 Accounts Clerk
黃國愛 Bonia Wong
行政 Administration
行政秘書 Executive Secretary
陳詠詩 Heidi Chan
地址 Address: 香港灣仔港灣道2號12樓1205室 Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong
電話Tel: 2824 3555 傳真Fax: 2824 3798, 2824 3722 電子郵箱Email: afgen@hkaf.org
節目查詢(辦公時間內) Programme Enquiries (during office hours): 2824 2430
接待員 / 初級秘書 Receptionist / Junior Secretary
李美娟 Virginia Li
辦公室助理 Office Assistant
鄭誠金 Tony Cheng
職員 Staff (合約 contract)
節目 Programme
物流及接待經理 Logistics Manager
金學忠 Elvis King
製作經理 Production Manager
廖卓良 Liu Cheuk-leung
節目經理 Programme Manager
何玉凝 Amy Ho
助理節目經理 Assistant Programme Manager
陳采琦 Kathy Chan
項目經理 Project Manager
林慧茵 Jess Lam
藝術家統籌及項目經理
Artist Coordination and Project Manager
陳韻妍 Vanessa Chan
外展統籌 Outreach Coordinator
陳韻婷 Alyson Chan
外展主任 Outreach Officer
蔡樂庭 Vanessa Tsoi
外展助理 Outreach Assistant
陳慧晶 Ainslee Chan
節目及出版主任 Programme & Publications Officer
曾逸林 Zeng Yilin
技術統籌 Technical Coordinators
黎春成 Anthony Lai
陳寶愉 Bobo Chan
鄭潔儀 Catherine Cheng
陳詠杰 Chan Wing-kit
陳佩儀 Claudia Chan
何美蓮 Meilin Ho
出版 Publication
編輯 Editor
鄺潔冰 Cabbie Kwong
英文編輯 English Editor
魏卓華 Mikel Echevarría
助理編輯 Assistant Editor
陳楚珊 Sharon Chan
市場推廣 Marketing
助理市場經理 Assistant Marketing Manager
陳燕 Lilian Chan
市場主任 Marketing Officer
梁愷樺 Anthea Leung
票務主任 Ticketing Officer
關穎思 Catherine Kwan
客戶服務主任 Customer Services Officers
劉寶軒 Xanthe Lau
楊蘊楹 Flora Yeung
姜嘉敏 Joyce Keung
發展 Development
發展經理 Development Manager
譚穎敏 Myra Tam
