香港藝術節 Hong Kong Arts Festival
扎根香港的國際藝壇盛事 聯繫中國與世界
An International Arts Festival in Hong Kong Connecting China and the World
香港藝術節 於1973年正式揭幕，是國際藝壇中重要的 文化盛事，於每年2、3月期間呈獻眾多優秀本地及國 際藝術家的演出，以及舉辦多元化的「加料」和教育 活動，致力豐富香港的文化生活。
香港藝術節 是一所非牟利機構，2023/24財政年度預 計收入（包括第52屆香港藝術節及2024年「無限亮」） 約港幣一億五千萬，當中香港特區政府的年度撥款佔 總收入約12%，另外約25%需來自票房收入，約48% 則須依賴來自各大企業、熱心人士和慈善基金會的贊 助和捐款。預計餘下的約15%則來自其他收入，包括 政府針對捐款和贊助收入而提供的配對資助。
香港藝術節 每年呈獻眾多國際演藝名家精采多元的演 出，例如*：
•歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、莫斯 科大劇院、聖彼得堡馬林斯基劇院
•中國戲曲：中國國家京劇院、河北梆子劇院、上海 張軍崑曲藝術中心、江蘇省蘇州崑劇院、浙江小百 花越劇團
•古典音樂：塞西莉亞 芭托莉、列卡杜 沙爾、趙成 珍、古斯塔沃 杜達美、菲力普 格拉斯、劉曉 禹、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、班貝格交響樂團、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
•爵士樂及世界音樂：波比 麥非年、尤蘇 恩多爾、 艾斯佩蘭薩 斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼
•舞蹈：米高 巴里殊尼哥夫、蕭菲 紀蓮、艾甘 漢、 娜塔麗亞 奧斯波娃、美國芭蕾舞劇院、雲門舞集、 漢堡芭蕾舞團—約翰．紐邁亞、紐約市芭蕾舞團、 巴黎歌劇院芭蕾舞團、翩娜 包殊烏珀塔爾舞蹈劇場
•戲劇：彼得 布祿克、羅伯特．利柏殊、蜷川幸雄、 羅柏特 威爾遜、柏林劇團、中國國家話劇院、皇 家莎士比亞劇團
•大型特備節目：《藝裳奇幻世界》、星躍馬術奇藝坊
•戶外節目：《聲光園》、《幻光動感池》、《聲光頌》
香港藝術節 積極與本地演藝人才合作，並致力為新進 藝術家提供展示才華的平台。藝術節至今委約及製 作逾250套本地全新創作，包括粵劇、戲劇、室內歌 劇、音樂和舞蹈作品，不少製作更已在香港及海外多 度重演。近年的藝術節新製作包括《飯戲攻心》踏台 版、《末戀 無愛合約》、《我們最快樂》、《鼠疫》、 《陪着你走》、《百花亭贈劍》、《香港家族》三部曲、
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 FY2023/24 (including the 52nd Hong Kong Arts Festival and 2024 “No Limits” programme) is approximately HK$150 million. Current Government annual funding accounts for around 12% of the Festival’s total income. Around 25% of the Festival’s income needs to come from the box office, and around 48% from sponsorship and donations by corporations, individuals and charitable foundations. The remaining 15% 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 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
• 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, HKAF has commissioned and produced more than 250 local productions across various 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 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.
《世紀． 香港》、《炫舞場》、《大同》、《金蘭姊妹》、 《聖荷西謀殺案》等。
香港藝術節 多年來與知名海外藝術家及團體聯合製作 不少優秀作品，當中包括由香港藝術節、香港歌德學 院及翩娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹窗 人》、由倫敦老域劇院、布魯克林音樂學院與尼爾街 製作公司製作、香港藝術節為聯合委約機構之一的 「橫貫計劃」之《暴風雨》及《李察三世》、由香港 藝術節及上海國際藝術節聯合委約的《青蛇》、香港 藝術節與三藩市歌劇院聯合製作的《紅樓夢》、香港 藝術節與芬蘭國家歌劇院及芭蕾舞團聯合製作的《拉 娜》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31年來，已為逾820,000位本地中學生及大專 生提供藝術體驗活動。藝術節近年亦開展多項針對大、 中、小學生的藝術教育活動，包括由國際及本地藝術家 主持的示範講座及工作坊、學生展演、演前講座、公開 彩排以及欣賞藝術節演出。同時，通過「學生票捐助計 劃」，藝術節每年提供約10,000張半價學生票。
香港藝術節每年主辦一系列多元化並深入社區的「加料 節目」，例如電影放映、示範講座、大師班、工作坊、 座談會、後台參觀、展覽、藝人談、文化導賞團等， 鼓勵觀眾與藝術家互動接觸。
香港藝術節亦銳意將共融藝術理念拓展到社區每一角 落。由藝術節與香港賽馬會慈善信託基金聯合呈獻 的「無限亮」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。
為創造更穩健的財政環境以及確保藝術節的長期可持 續性， 香港藝術節基金會 於2022年成立，旨在讓藝術 節在未來進行年度預算以外的大型特別項目。
（2023年12月更新 Updated December 2023）
*有關香港藝術節的過往節目，可參考以下網頁
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. During the past 31 years, our “Young Friends” scheme has reached more than 820,000 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 halfprice 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 large-scale projects which its annual budget cannot cater for.
Details of past HKAF programmes can be found at https://www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2023.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.
電郵 Email: dev@hkaf.org
直綫 Direct Lines: (852) 2828 4911/12
網頁 Website: www.hk.artsfestival.org/en/support-us
創作人的話
Creators’ Note
創作喜劇，從來不是一件容易的事。
《神．話》是我倆共同創作及編導的第九齣 粵劇喜劇作品。前八齣劇作，從類似「大龍 鳳」式的搞笑橋段，到探討兩代關係、飲食 文化、夫妻關係、伶人辛酸、人間地獄、因 果報應，再到駕馭山河，甚至天災人禍等， 皆以諷刺、嬉笑的形式，來傳遞我們想表達 的訊息。所有劇作的來源，說到尾，都源自 我們對生活的地方的一份愛。
相信大部分人，都希望快樂地生活、笑着 過日子。喜劇創作人肩負的使命，正是為大眾 帶來笑聲，調劑生活壓力，帶來正能量。但在 創作過程中，我們卻不時墮入哭笑難分的「結 界」，說來認真可笑⋯⋯
戲曲，從來離不開民眾。追溯香港粵劇發 展史時，我們不難發現，上世紀四十至六十年 代的香港粵劇，其實正正是那個年代的「主流 娛樂」。不少劇作都非常貼近生活，除了以古 代中國名人名著、民間故事為本之外，更從不 少外國名著、甚至電影「借橋」。那些年，市 場可容納不同風格的粵劇，可以百花齊放、雅 俗共賞。作為當代香港粵劇人，我們雖不能令 粵劇成為主流娛樂，但也希望承先輩之精神， 創作貼近生活、雅俗共賞的劇目，盡力令香港 粵劇，繼續「有市場」。
戲曲，從來與神話故事密不可分。《神． 話》一劇以此為題材，闡述中國神話傳說與人 的關係，並探索它們對當代人的意義。除了探 古知今，了解自我文化價值之外，更在不朽的 傳說中，找出安身立命之所。我們貫徹「吾識 大戲」一貫的喜劇風格，將饒有意義的故事題 材，通過不落俗套的形式，令觀眾產生不同的 共鳴，收獲不同的得着。
一千五百年一遇的殺劫，誰能預計？也許 是劫，也許是計，也許⋯⋯不過是一場玩笑！ 劇中人在遊歷神話世界時，領略出神的說話： 「總是前途莫心勞，求神問聖枉是多；但看雞 犬日過後，不須作福事如何！」放諸今天，不 也是一碗美味的心靈雞湯嗎？
「吾識大戲」一向以嚴謹認真的態度，秉 承粵劇傳統之餘，亦期望探索當代戲曲表演的 可能性，並通過傳統藝術形式，與現代人思想 接軌。我們希望將戲曲藝術的虛擬性，與現代 舞台的調度結合，無論在群戲展演、武打、舞 蹈，還是佈景、燈光及音樂設計，均經過精心 編排，以展現當代香港粵劇的無窮創意。
Creating comedy is no joke.
The Oracle is the ninth Cantonese opera comedy that we have co-created, written and directed. The previous eight productions vary from classic Da Long Feng style (a humorous and boisterous style associated with the legendary troupe Da Long Feng) to various themes, which include intergenerational relationships, food culture and marital relationships, as well as living hell, karma, how to deal with difficulties, natural or man-made disasters and many other topics we encounter in our daily lives. After all, our productions stem from our love for the place we live in.
We believe that most people want to lead joyful lives full of laughter and love. As such, our mission as comedy creators is to bring happiness to the public, helping them reduce stress and increase positivity in their lives. But during the creation process, we often struggle to differentiate the boundaries between laughter and tears. These moments, in retrospect, are also amusing in their own way...
Chinese opera is all about people. Looking back at the history of Cantonese opera in Hong Kong, Cantonese opera was in fact a mainstream entertainment from the 1940s to the 1960s. Many productions from that era dealt with themes related to everyday life in Hong Kong. In addition to featuring renowned ancient Chinese figures, stories and folk tales, these productions also took their plots from foreign masterpieces and movies. Different types of Cantonese opera flourished in those days, allowing audiences from different social classes to enjoy everything the art form had to offer. Although we cannot transform Cantonese opera into mainstream entertainment again, as contemporary Hong Kong Cantonese opera practitioners, we hope to contribute towards the development of Cantonese opera in Hong Kong by preserving its essence as we continue to create productions relatable to audiences of all backgrounds.
Chinese opera has always been inseparable from mythology, which happens to be the theme of The Oracle. The production elaborates on the relationship between Chinese mythology and the people, exploring its significance in a contemporary context. Not only does mythology help us learn from the past and understand our own cultural values, but it also offers a safe space and a sense of belonging. By using Canto Op’s typical comedic style and storytelling structure, The Oracle tells a meaningful story in an unconventional way, allowing the audience to resonate with various emotions and gain insights from the story.
Who can actually predict an apocalypse that occurs once every 1,500 years? Whether it is predestined fate, a trick or... just a joke perhaps! While travelling to a mythical world, the characters in The Oracle finally embrace the immortals’ wisdom: “Don’t worry about the future. It’s pointless to seek divination. Wait until the right moment, and everything will be revealed!” Isn’t this piece of wisdom also inspirational in today’s context?
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我們十分榮幸，能在十周年之際參與第 五十二屆香港藝術節的演出。團隊上下定必傾 力演出，為觀眾帶來一齣賞心悅目的劇作，往 後亦定必繼續秉承嚴謹認真的態度，製作更多 精采的粵劇節目，昂首步向下個十周年！
祝願大家，找到「神話」！
撰文：黎耀威、梁煒康
Canto Op has always adhered to the traditions of Cantonese opera while exploring the different possibilities of presenting contemporary Chinese opera in ways that resonate with modern sensibilities. By combining abstract elements of Chinese opera with contemporary stage arrangements, whether it is ensemble performances, martial arts, choreography or set, lighting or music design, we hope to showcase the infinite creativity of contemporary Cantonese opera in Hong Kong.
In line with Canto Op’s 10th anniversary, we are honoured to participate in the 52nd Hong Kong Arts Festival with The Oracle. We are committed to delivering a delightful performance to the audience as we continue to create more wonderful Cantonese opera experiences in the next 10 years and beyond!
We wish you every success in searching for the Oracle!
Text: Keith Lai, Wyborn Leung Wai-hong
黎耀威
Keith Lai
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梁煒康 Wyborn Leung Wai-hong
編劇、執行導演、主演 黎耀威 飾 司馬智華 畢業於香港城市大學中文系。屬名伶文千歲及音 樂名家潘細倫之入室弟子，曾跟隨文禮鳳、韓燕 明習藝。一直活躍於各大粵劇團的演出。
黎耀威在2010年奪得由香港八和會館和香港 電台第五台合辦的粵劇青年演員飛躍進步獎金獎 （生角），2011年榮獲香港藝術發展局的藝術新秀 獎（戲曲），並於同年與梁煒康等共同創立「吾識 大戲」，以新鮮形象推廣粵劇。
近年從事粵劇寫作，作品包括《青蛇》、《瀛 台泣血》、《覆水難收》、《山海危城》等，亦曾將 莎士比亞名著《仲夏夜之夢》及《哈姆雷特》分
Playwright, Executive Director, Actor
Keith Lai as Sze Ma Chi-wah
Keith Lai is a graduate of the City University of Hong Kong, majoring in Chinese. He is an apprentice of Cantonese opera master Man Chin-sui and celebrated musician Poon Sai-lun. He studied opera under Man Lai-fong and Han Yanming, and is active in several leading Cantonese opera companies.
In 2010, he was awarded the Most Promising Actor Golden Award for a young male opera role by the Chinese Artists Association of Hong Kong and Radio Television Hong Kong Radio 5. In 2011, he won the Hong Kong Arts Development Council Award for Young Artist (Chinese Opera) and, in the same year established Canto Op with the hope of promoting the genre with fresh takes on classic productions.
Lai has also been engaged in writing Cantonese operas in recent years. His works include Green Snake, Son of Heaven, Irrevocable Loss and Breeze . He has also adapted Shakespeare classics A Midsummer Night’s Dream and Hamlet as A Dream in Fantasia and The . In 2017, he worked as a playwright Emperor Wu of Han and His Jester Strategist for the 45th Hong Kong Arts Festival. Starting in 2016, he took part in multiple collaborations with the West Kowloon Xiqu Centre and created the experimental Farewell My Concubine (New Wenguang Explores the Valley, which won the awards for Best Experimental Xiqu at the China (Beijing) Performing Arts Expo in 2017 and Best Actor at the 2019 Beijing New Arts and Culture Outstanding Theatre Showcase series.
Lai is currently a committee member of the Cantonese Opera Development Fund Advisory Committee and a former guest lecturer for the Chinese opera programme at The Hong Kong Academy for Performing Arts.
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© Lawrence Ng @ Workhouse
編劇、執行導演、主演
梁煒康 飾 混沌師太 年少時於父親梁漢威之漢風粵劇研究院學藝，努 力秉承其改革粵劇之精神；蒙郭錦華教授基本 功、賈君祥教授淨角身段，拜高潤權門下學習鑼 鼓，更隨阮兆輝學習傳統粵劇排場演藝，近年專 注丑行當發展。近年有幸參演龍劍笙帶領之《紫 釵記》、《牡丹亭驚夢》、《蝶影紅梨記》及《帝 女花》演出，得其悉心教導，劇藝上獲益良多。
除幕前演出外，更涉獵舞台監督、燈光佈 景設計、音樂設計、導演、編劇等範疇；亦曾參 與多屆香港藝術節及中國戲曲節的演出及製作。
近年執行導演劇目有《香江號》、《血海迷航》、 《繁華三夢》、《火鳳凰》等。
2011年與黎耀威、龍玉聲及劉芷恩創立劇團 「吾識大戲」，執導並與黎耀威聯合創作《三姑六 婆賀新春》、《飯冰冰舞會佩夫人》、《鮮味飄香 處處聞》等喜劇，及製作《王子復仇記》、《忽必
Playwright, Executive Director, Actor Wyborn Leung Wai-hong as Abbess Chaos
Since his youth, Leung Wai-hong has been a student at his father Leung Hon-wai’s Hon Fung Cantonese Opera Institute and is devoted to passing on the spirit of Cantonese opera. Leung established himself as a performer under Guo Jinhua for the basics, Jia Junxiang for movement of jing roles (a role for painted faces such as heroes, generals, villains, gods or demons), Ko Yun-kuen for gongs and drums and Yuen Siu-fai for the essence of traditional formulaic plays. He is now extending his range by specialising in chousheng (comic male) roles. In recent years, Leung has made significant progress in his performance skills with Loong Kim-sang’s guidance. Under Loong’s leadership, Leung has participated in various performances including The Purple Hairpin, The Peony Pavilion, The Butterfly and Red Pear Blossoms, and Princess Changping.
In addition to stage performances, Leung has been involved in stage management, lighting and set design, music design, directing, playwriting, and so on. He has also taken part in many performances and productions of the Hong Kong Arts Festival and the Chinese Opera Festival. His recent directorial works include Spirit of Hong Kong, Surfing the Sea of Blood, Three Dreams to Prosperity and The Flaming Phoenix.
In 2011, Leung established Canto Op alongside Keith Lai, Thomas Law and Lau Tsz-yan, and staged a significant number of comedy productions with Keith Lai, including Lunar New Year’s Chatty Women, Madame Pui at the Ball and Taste of Delight He also staged various drama series such as The Arrant Revenge, Kublai the Great, Sister Cheng and The Tongque Terrace, committed to exploring new directions for Cantonese opera.
Leung was previously a member of the Consultation Panel of the West Kowloon Cultural District Authority. He has also given lectures at The Hong Kong Academy for Performing Arts’ Chinese opera programme and the Cantonese Opera Academy of Hong Kong as a guest lecturer. ©
@ Workhouse 19
Lawrence Ng
音樂設計、編曲、譜務 江駿傑 九歲起接受全面傳統戲曲訓練，現專注劇本及音 樂創作，兼涉表演及樂器演奏，另建立YouTube 頻道「水馬人會館Aphros Studio」推廣粵劇。
師承蔣艷紅習古腔，隨韓燕明習北派，後 於八和粵劇學院進修。師承杜國威習編劇，隨毛 俊輝、榮念曾習中西戲劇創作。2012年獲香港 藝術發展局藝術新秀獎（戲曲），後赴上海戲劇 學院進修音樂，並畢業於香港演藝學院戲曲學 院。劇本作品有《搬家》、《百花亭贈劍》（聯合 改編）、《後話西遊》。南音作品有《阿群帶路》、 《劏雞》、《香港墳場》、《四格南音》、《帶走三嚿 朱古力的婆婆》、《塑像譜．秋別》。
Music Design, Arrangement, Scores Jason Kong
Jason Kong started receiving comprehensive training in Chinese opera at the age of nine, and is now devoted to scriptwriting and music creation, while also performing and playing different instruments. He launched the YouTube channel Aphros Studios to promote Cantonese opera.
He apprenticed under Jiang Yanhong to learn guqiang tunes and under Han Yanming to learn the Northern School of martial arts. He later pursued further studies at the Cantonese Opera Academy of Hong Kong. He studied playwrighting under Raymond To and later received training under Fredric Mao and Danny Yung in Chinese and Western theatre production. In 2012, he won the Hong Kong Arts Development Council Award for Young Artist (Chinese opera) and later went on to study music at the Shanghai Theatre Academy. He graduated from the School of Chinese Opera at The Hong Kong Academy for Performing Arts. His scripted works include Moving House, Pavilion of a Hundred Flowers (co-adaptation) and Journey to the West Rewind. His nanyin works include Ah-kwan Leads the Way, Slicing Chickens, Hong Kong Cemetery, Four-syllable Nanyin, Gone with the Chocolate and “Farewell, Autumn” from Zoetrope.
佈景設計 張正和
畢業於香港演藝學院，獲藝術學士學位，主修舞 台及服裝設計。舞台作品包括香港藝術節《挪亞 方舟》、任白慈善基金《蝶影紅梨記》（助理舞台 設計）、桃花源粵劇工作舍《帝女花》及《拜將 臺》、香港話劇團《大狀王》、香港中樂團與香港 話劇團的《封神外傳》、香港舞蹈團與結界達人的 《Electric Girl》、澳門舞蹈學院《海上花》、澳門 藝術節《例外與常規》等。
Set Designer Cheung Ching-wo
Cheung Ching-wo graduated from The Hong Kong Academy for Performing Arts with a Bachelor’s degree, majoring in Set and Costume Design. His theatrical works include Cantonese Opera—Noah’s Ark by the Hong Kong Arts Festival, The Butterfly and Red Pear Blossoms by the Yam Pak Charitable Foundation (in which he served as Assistant Set Designer), Floral Princess and Arena by the Utopia Cantonese Opera Workshop, The Impossible Trial by the Hong Kong Repertory Theatre, Fantastic Gods and Spirits of China by the Hong Kong Chinese Orchestra and the Hong Kong Repertory Theatre, Electric Girl by the Hong Kong Dance Company and The Autistic Genius, Flor do Mar by the Macao Conservatory Dance School, and The Exception and the Rule by the Macao Arts Festival.
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舞蹈設計 曾浩姿
2008年畢業於香港演藝學院中國戲曲學院課程，
在校期間曾獲取多個獎學金，畢業後留校任教， 2013年至今在各大粵劇團演出，並在中小學任教 及推廣粵劇課程。近年參與大型粵劇班的編舞作 品，當中包括：李居明所編撰的《大唐胭脂》、
《粵劇．毛澤東之智擒四人幫》、《金玉觀世音》、
《莊周蝴蝶夢》和《小平你好》，以及香港藝術節 《竹林愛傳奇》、粵劇元宇宙《新胡不歸》和《新 梁祝》、揚鳴粵劇團《華光～神話篇》等。
Choreographer Vanessa Tsang
A graduate of the School of Chinese Opera at The Hong Kong Academy for Performing Arts in 2008, Vanessa Tsang received several scholarships during her studies. After graduation, she became a teacher at the Academy and has performed in various Cantonese opera troupes while also teaching Cantonese opera at primary and secondary schools since 2013. In recent years, she has been involved in the choreographic works of established Cantonese opera troupes, including works by Li Kui-ming such as Rouge of the Tang Dynasty, Cantonese Opera—Mao Zedong Wisely Captured the Gang of Four, The Golden Jade Guanyin, Butterfly Dream and Hello, Xiaoping, as well as Love in the Bamboo Grove by the Hong Kong Arts Festival, A Rift Repaired and Butterfly Lovers by the Cantonese Opera Metaverse and Huaguang Myths by the Yeung Ming Cantonese Opera Troupe.
武術設計及指導 韓燕明
上世紀六十年代始習京劇，1972年加入浙江京 劇團，任武生。曾憑《雁蕩山》獲浙江省匯演一 等獎，及憑《挑滑車》獲全國匯演優秀演員獎。 1989年來港拍攝電影，後獲任大勳推薦，任粵 劇龍虎武師及武術指導。曾合作粵劇團包括雛鳳 鳴、鳴芝聲、慶鳳鳴、頌新聲、好兆年及粵劇之 家等。歷年來曾參與多項大型粵劇演出，如1998 年在「南北劇藝顯光華」《龍鳳呈祥》擔演趙雲， 又曾主演《十八羅漢鬥大鵬》、《易水送荊軻》、 《霸王別姬》等。曾出任香港八和會館理事及八和 粵劇學院毯子功（翻騰跌撲）主要導師多年。
Martial Arts Choreographer, Instructor Han Yanming
After starting to learn Peking opera in the 1960s, Han Yingming joined the Zhejiang Peking Opera Troupe in 1972 as a wusheng (military male) performer. He was awarded First Prize at the Zhejiang Gala for his performance in Yandang Mountain and the Outstanding Performer Award at the National Performing Festival for his performance in Lifting the Chariots. In 1989, Han joined the film industry in Hong Kong, and was later recommended by Yam Tai-fan as a Cantonese opera kung fu stuntman and martial arts instructor. He has collaborated with various Cantonese opera troupes including Chor Fung Ming, Ming Chee Sing, Hing Fung Ming, Chung San Sing, Ho Siu Lin and the House of Cantonese Opera. Over the years, he has participated in multiple large-scale Cantonese opera performances, starring as Zhao Yun in A Perfect Matrimony as part of the event “Splendor of Northern and Southern Opera Arts”, and playing lead roles in Eighteen Arhats Fighting Dapeng, Sending Jing Ke at Yi River and Farewell My Concubine. He has been a member of the Board of Directors of the Chinese Artists Association of Hong Kong and the main instructor in somersaults (tumbling and swooping) at the Cantonese Opera Academy of Hong Kong for many years.
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擊樂領導 高潤權
生於粵劇擊樂世家，三代皆為粵樂名家，為已故 擊樂領導高根之子，自幼立志繼承父親衣砵。七 歲入行，十四歲擔任大龍鳳劇團擊樂領導，後追 隨譚桂華實習。曾任多個大型粵劇團及粵劇節目 之擊樂領導，如雛鳳鳴、錦添花、鳴芝聲、粵劇 戲台、香港藝術節、亞洲藝術節等。
在而立之年已桃李滿門，現時多位職業樂 師、演員都出自其門下。他曾出任香港大學音樂 系粵曲講師。2012年起，於香港八和會館的粵劇 新秀演出系列任擊樂統籌，積極培訓擊樂人才及 新秀演員，對推動粵劇承傳貢獻良多。
Percussion Leader Ko Yun-kuen
音樂領導 佘嘉樂
土生土長的年輕粵樂音樂家，七歲起跟隨曾志 偉、邵琳習二胡，其後就讀香港演藝學院，師隨 吳聿光、駱慶兒、周仕深、宋向民和戴日輝學習 戲曲音樂知識。
他於2017年以一級榮譽畢業，後獲聘為演 藝青年粵劇團音樂領導，並為全港各大劇團擔任 音樂設計和音樂領導，曾設計劇目包括《蘇秦─ 合縱金印記千秋》、《袍中詩》、《繁華三夢》、 《乾坤鏡》等。曾合作劇團有福陞粵劇團、藍天 藝術工作室、吾識大戲等。
2020年成立樂孜聲工作室，寓意「孜孜不倦 地傳承粵劇藝術」，除傳統粵劇藝術外，也習中國 音樂和西方樂理，納百家之善，融會貫通。
Music Leader Share Ka-lok
Born to a Cantonese opera percussion family with three generations of famous Cantonese musicians, Ko Yun-kuen is the son of late percussionist Ko Gun, and aspired to follow in his father’s footsteps from an early age. Ko has been in the industry since the age of seven, and by 14, he was already leading the percussion section of the Da Long Feng Opera Troupe. He later practised under Tam Kwai-wa and has been the percussion leader for many large-scale Cantonese opera troupes and programmes, including Chor Fung Ming, Aroma Cantonese Opera, Ming Chee Shing Chinese Opera Troupe, Art of Cantonese Opera, the Hong Kong Arts Festival and the Asia Arts Festival.
Share Ka-lok is a young Cantonese opera musician born and raised in Hong Kong. Under the coaching of Tsang Chi-wai and Shao Lin, he learned to play the erhu from the age of seven. He later entered The Hong Kong Academy for Performing Arts and studied opera under Ng Lut-kwong, Luo Qinger, Boaz Chow, Sung Heung-man and Dai Rihui.
Ko has amassed a sizeable number of pupils and has taught many professional musicians in the Cantonese opera industry in Hong Kong. He is also a former lecturer in Cantonese opera at the University of Hong Kong’s Department of Music. Since 2012, he has been the percussion co-ordinator for the Cantonese Opera Young Talent Showcase of the Chinese Artists Association of Hong Kong. He has been actively involved in the training of percussionists and emerging talents.
After graduating with First-Class Honours in 2017, he was first recruited as a music leader at the Young Academy Cantonese Opera Troupe, and later served as a music designer and music leader at many theatre groups in Hong Kong. Productions designed by Share include Strategist Su Qin and His Vertical Alliance, Love Poem in a Robe, Three Dreams to Prosperity and The Cosmic Mirror. He has also collaborated with multiple troupes including the Boomabliss Cantonese Opera Troupe, Nan Art Workshop and Canto Op.
In 2020, he founded the Isaac Music Art Workshop to celebrate and preserve Cantonese opera. Aside from traditional Cantonese opera music, Share also studies Chinese music and Western music theory, blending different musical cultures into his practice.
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譚穎倫 飾 梁武帝、漢武帝
三歲加入香港兒童/少年粵劇團。師承伍卓忠， 並隨張寶華、呂洪廣、鄭詠梅、傅月華、何孟良 及王家玲等學藝，隨林錦堂習唱，後於八和粵劇 學院畢業，主工生角。畢業後活躍於香港八和會 館粵劇新秀演出系列，以及各大粵劇團之職業演 出，曾參與慶鳳鳴劇團及任白慈善基金之演出。
2013年獲香港藝術發展局藝術新秀獎（戲曲）， 2014年獲選為西九戲曲中心粵劇新星。現為西 九戲曲中心的茶館新星劇團演員、慶穎新劇團文 武生。擅演之劇目包括《李後主》、《七彩蝴蝶 精》、《巧判連環案》等傳統劇目。
Alan Tam Wing-lun
as Emperor Wu of Liang, Emperor Wu of Han Alan Tam Wing-lun joined the Hong Kong Children and Juvenile Chinese Opera Troupe at the age of three. He studied under Ng Cheuk-jung, Cheung Bo-wah, Lui Hung-kwong, Cheng Wing-mui, Fu Yuet-wah, Ho Mang-leung and Wong Ka-ling. Tam also studied singing techniques under Lam Kamtong. He later graduated from the Cantonese Opera Academy of Hong Kong specialising in male roles. After graduation, he became active in the Cantonese Opera Young Talent Showcase by the Chinese Artists Association of Hong Kong, as well as in professional performances of various Cantonese opera troupes. He has participated in performances by the Hing Fung Ming Cantonese Opera Troupe and the Yam Pak Charitable Foundation. In 2013, he won the Hong Kong Arts Development Award for Young Artists (Chinese Opera), and was selected as the Rising Star of the West Kowloon Xiqu Centre in 2014. Currently, he is part of the West Kowloon Xiqu Centre’s Tea House Rising Stars Troupe and plays the role of wenwusheng (principal male) in the Hing Wing Sun Opera Troupe. His repertoire includes traditional operas such as The Last Emperor of Tang, The Butterfly Spirit and Cases of the Skillful Judge.
黃成彬 飾 侯龍定、二郎神
於澳門長大，九歲起在澳門街總青少年粵劇培訓 中心學藝。曾在澳門藝術節擔演《雙槍陸文龍》 及《周瑜》，前者幸獲紅線女光臨觀賞及指導， 在劇藝上獲益良多。後成為香港八和會館的粵劇 新秀演出系列新秀演員，並隨關世振、王勝焜、 游龍、蔡之崴等，進修唱唸做打及音樂鑼鼓等知 識。現時活躍於各大粵劇團作職業演出。曾參演 劇團有鴻嘉寶、耀明珠、新羣英等。黃成彬扮相 俊俏，做功紮實，唱演亦見用心，現為耀明珠、 翠羽紅裳等多個劇團之文武生。擅演劇目包括 《狄青》、《再世紅梅記》、《碧血寫春秋》、《帝 女花》等。
Vong Seng-pen as Hau Lung-ting, Erlang Shen
Born and raised in Macau, Vong Seng-pan began to learn Cantonese opera at the Youth Cantonese Opera Training Centre of the Macau Federation of Neighbourhood Associations at the age of nine. He has performed in Double Speared Lu Wenlong and Zhou Yu at the Macau Arts Festival, where the former was appreciated and instructed by the famous Cantonese opera singer Hung Sin-nui. Vong later became a budding performer at the Cantonese Opera Young Talent Showcase of the Chinese Artists Association of Hong Kong, and further studied the “four basic skills” of singing, acting, speech and martial arts, as well as music and knowledge of gongs and drums under Guan Shizhen, Wong Sing-kwan, Yau Lung, Waden Tsai and other teachers. He is now an active professional performer in various Cantonese opera troupes, which include Hung Ka Po, Shing Pearl and Sun Kwan Ying. Vong’s repertoire includes Diqing, Reincarnation of Lady Plum Blossom, Death of a Loyal Warrior and Princess Changping.
© Lawrence Ng @ Workhouse
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© Lawrence Ng @ Workhouse
黃寶萱 飾 麗翔郡主、風月仙 工花旦。畢業於香港演藝學院中國戲曲課程。幼 承家學，父親為著名粵劇演員黃金堂，師承吳聿 光，曾隨梁谷音、胡芝風及李鳳等名師學習。
2006年成立粵劇場。2014年於西九文化區戲曲中 心粵劇新星展演獲優秀表演獎，2015年獲香港藝 術發展局頒發藝術新秀獎（戲曲），2021年獲頒第 二屆粵劇金紫荊優秀年青演員獎。近年的作品包 括《覆水難收》、《清風亭》及小劇場粵劇《霸王 別姬》（新編）、《文廣探谷》等。2018年，加入西 九文化區戲曲中心茶館新星劇團，擔任音樂設計。
Janet Wong
as Princess Lai-cheung, Wind Moon Nymph
Janet Wong graduated in 2005 from the Advanced Certificate Programme (Cantonese Opera) of The Hong Kong Academy for Performing Arts, where she specialised in dan (female) roles and studied under musician Ng Lut-kwong. Since then she has performed with various Cantonese opera troupes, and formed her own troupe Cantonese Opera Theatre. In 2011, Wong became a resident actor of the Hong Kong Young Talent Cantonese Opera Troupe. She won the Outstanding Performance Award at the Rising Stars in Cantonese Opera Showcase organised by West Kowloon Cultural District in 2014, the Award for Young Artist (Xiqu) by the Hong Kong Arts Development Council in 2015, and the Outstanding Young Performer at the second Cantonese Opera Golden Bauhinia Awards in 2021.
符樹旺 飾 仁天算、太上老君
九歲開始學藝，畢業於湛江市小孔雀粵劇學校， 在學期間隨表演藝術家孔雀屏學藝。其後進入湛 江市小孔雀粵劇團及江門市粵劇團工作，擔任 丑生及小生。2013年於香港演藝學院戲曲學院 深造，畢業後加入演藝青年粵劇團，至今一直活 躍於各大香港粵劇團職業演出，擔任文武生、丑 生、小生及武生等不同行當角色。曾參演劇團包 括吾識大戲、兆雲飛粵劇團、日興粵劇團等。 符樹旺功底紮實，唱做唸打俱佳，劇藝臻至 成熟。歷年來擅演劇目有〈擋馬〉、《十五貫》、 《三岔口》、《武松》、《活捉張三郎》等，均大受 觀眾好評。
Fu Shuwang
as Yan Tin-shuen, The Heavenly Lord of Dao
Fu Shuwang began to study opera at the age of nine. He graduated from the Zhanjiang Xiao Kong Que Cantonese Opera School and was an apprentice of late artist Hong Zheuk-ping. He later joined the Zhanjiang Xiao Kong Que Cantonese Opera Troupe and the Jiangmen Cantonese Opera Troupe playing chousheng (comic male) and xiaosheng (young male) roles. He furthered his studies at the School of Chinese Opera at The Hong Kong Academy for Performing Arts and joined the Young Academy Cantonese Opera Troupe after graduation. He has been actively performing in various Hong Kong Cantonese opera troupes in various roles including wenwusheng (principal male), chousheng (comic male), xiaosheng (young male) and wusheng (military male). He has performed in troupes such as Canto Op, the Siu Wan Fei Cantonese Opera Troupe and the Prosperity Cantonese Opera Troupe. He possesses solid performing skills, excelling in the “four basic skills” of singing, acting, speech and martial arts. Fu’s repertoire includes “Stopping the Horse”, Fifteen Strings of Cash, At the Crossroads, Wu Song and Catching Sanlang Alive.
© Lawrence Ng @ Workhouse
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© Lawrence Ng @ Workhouse
郭啟煇
飾 六不相、西王母、老仙家
陳劍烽的入室弟子，隨擊樂名家 陳小龍學習鑼鼓及音樂拍和，並 師承呂洪廣、關世振、張寶華。
2010年正式投身粵劇界，擔任 武生/丑生。曾於2019年榮獲第 一屆香港粵劇金紫荊獎「優秀青 年演員獎」。郭啟煇現為香港粵 劇演員會及香港粵劇慎和堂理 事。
Gregory Kwok Kai-fai as Luk Pat-sheung, Queen Mother of the West, Elderly Deity
Gregory Kwok Kai-fai was apprenticed to Chan Kim-fung and studied gongs and drums as well as accompaniment under famous percussionist Chan Siu-long. He also studied under Lui Hung-kwong, Guan Shizhen and Cheung Bo-wah. In 2010, he started his career in Cantonese opera, often playing the roles of wusheng (military male) and chousheng (comic male) in various troupes. In 2019, he was awarded the Outstanding Young Actor Award at the Cantonese Opera Golden Bauhinia Awards. Kwok is currently a member of the Board of Directors of the Hong Kong Cantonese Opera Artists Club and the Hong Kong Cantonese Opera Sun Wo Tong.
吳立熙 飾 毛吒哪、哪吒 工小武，兼老生及丑生。自小隨 黃綺雯、楊明、周鎮邦等名師學 藝，後拜關世振門下進修。曾獲 香港電台《戲曲天地》的梨園新 輝獎、香港藝術發展局的藝術新 秀獎（戲曲）等獎項。
吳立熙唱做唸打俱佳，擅演 劇目《困谷》、《三氣周瑜》，曾 主演《長坂坡》、《三帥困崤山》 等。現為香港八和會館理事、粵 劇發展諮詢委員會委員。
Edgar Ng Lap-hei
as Mao Zha Ne, Ne Zha Edgar Ng Lap-hei specialises in the xiaowu (young military male) role as well as laosheng (old male) and chou (comic male) roles. From a young age, he studied with virtuosos such as Wong Yee-man, Yeung Ming, Zhou Zhenbang, and later Guan Shizhen. Ng has a number of awards under his belt, including the RTHK award for Best Opera Newcomer and the Hong Kong Arts Development Council Award for Young Artist (Chinese Opera).
Ng excels in the “four basic skills” of singing, acting, speech and martial arts. His repertoire includes Trapped in Calabash Valley and Insulting Zhou Yu Thrice, and has played lead roles in The Long Slope Hill and Three Generals Beseiged at Mount Yao. He is also a member of the Board of Directors of the Chinese Artists Association of Hong Kong and the Cantonese Opera Advisory Committee.
沈栢銓 飾 魯沖渾、老仙監 專工生角，曾跟隨潘世倫、何家 耀、黃綺雯學藝，多演武生/丑 生角色。現為香港八和會館粵劇 新秀演出系列新秀演員，亦參與 各大劇團演出。
曾於2019至2023年參與西 九文化區戲曲中心小劇場戲曲節 演出，參演原創小劇場作品《文 廣探谷》及《奉天承運》，2019 年，更憑《文廣探谷》隨團到北 京參加「第六屆當代小劇場戲曲 藝術節」。
Shum Pak-cheun as Lo Chung-wan, The Heavenly Eunuch
A specialist in sheng (male) roles, Shum Pak-chuen studied under Poon Sai-lun, Ho Ka-yiu and Wong Yee-man. He usually plays the roles of wusheng (military male) and chousheng (comic male). Shum is currently a budding performer at the Cantonese Opera Young Talent Showcase of the Chinese Artists Association of Hong Kong, and has performed with various troupes.
Shum participated in the Black Box Chinese Opera Festival organised by the West Kowloon Xiqu Centre from 2019-23, and performed in the original theatre productions Wenguang Explores the Valley and The Imperial Decree. He followed the troupe to Beijing to participate in the 6th Xiqu Opera Black Box Festival in 2019 with his work Wenguang Explores the Valley.
© Lawrence Ng @ Workhouse
© Lawrence Ng @ Workhouse
33
© Lawrence Ng @ Workhouse
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藝術行政見習員 容諾行*
節目助理 鍾曉晴*
製作助理 陳娟瑜#
物流
物流及接待經理 金學忠*
技術
製作經理 梁雅芝* 副製作經理 陳梓衡*
出版
編輯經理 陳詠恩*
英文編輯 Adam Wright*
副編輯 陳劭儀*、楊紫媛*
外展
外展經理 林嘉敏*
助理外展經理 余穎彤*
外展統籌 羅凱盈*、連凱嵐*
外展主任 陳沅渟*、張凱柔*、馬曉瑩*
藝術行政見習員 吳勵宜*
市場推廣
市場總監 鄭尚榮 副市場總監 盧伯全
市場經理 陳靄婷*、張予心*
副市場經理 黃頴儀* 副市場項目經理 譚懿諾*
助理項目經理 李穎軒*
助理市場經理 許樂欣*、曾諾怡* 市場主任 梁喬正* 市場助理 陳慧琳#
票務 高級市場經理（票務） 梁彩雲 助理市場經理（票務） 陳偲穎*
發展
發展總監 黃美儀 特別發展協理 蘇啟泰* 高級發展經理 譚樂瑤 發展經理 陳世敏*、吳綺菁* 發展主任 譚尹晴* 藝術行政見習員 周翹*
行政事務
財務總監 鄺敬婷 會計
會計經理 杜詩麗* 會計主任 顏悅恩* 人力資源及行政
人力資源及行政經理 楊美君* 接待員/初級秘書 李美娟 助理 黃國愛 資訊科技
資訊科技經理 陳啟明*
無限亮
項目總監 錢佑* 節目及外展經理 鍾美琼*、何敏凝* 節目及外展統籌 雷晴*、潘詠汶* 市場經理 黃嘉欣* 副市場經理 陳婉怡* 助理製作經理 張詠宜* 高級會計主任 鍾巧明* 香港藝術節@大館
項目經理 鄺為立*
藝術家統籌經理 朱芷慧*
STAFF
Executive Director Flora Yu
Assistant to Executive Director Connie Ho
PROGRAMME
Programme Directors Grace Lang, So Kwok-wan
Senior Programme Managers Ian Leung, Shirley So, Janet Yau*
Programme Managers Cathy Cheng*, Crystal Chiu*, Sophie Liao*, Katie Ma*, Janet Ng*
Programme Coordinator Lilian Lam*
Arts Administrator Trainee Ryan Yung*
Programme Assistant Dorothy Chung*
Production Assistant Alice Chan#
LOGISTICS
Logistics Manager Elvis King*
TECHNICAL
Production Manager Shirley Leung*
Deputy Production Manager Jacob Chan*
PUBLICATIONS
Editorial Manager Eugene Chan*
English Editor Adam Wright*
Associate Editors Shao yi Chan*, Trista Yeung*
OUTREACH
Outreach Manager Carman Lam*
Assistant Outreach Manager Enid Yu*
Outreach Coordinators Vicgina Law*, Jade Lin*
Outreach Officers Olivia Chan*, Hazel Cheung*, Queena Ma*
Arts Administrator Trainee Nicky Ng*
MARKETING
Marketing Director Katy Cheng
Associate Marketing Director Eugene Lo
Marketing Managers Tobie Chan*, Stephanie Cheung*
Deputy Marketing Manager Joey Wong*
Deputy Project Manager Hades Tam*
Assistant Project Manager Hill Li*
Assistant Marketing Managers Sally Hui*, Margaret Tsang*
Marketing Officer Isaac Leung*
Marketing Assistant Kelly Chan#
TICKETING
Senior Marketing Manager (Ticketing) Eppie Leung
Assistant Marketing Manager (Ticketing) Stephanie Chan*
DEVELOPMENT
Development Director Angela Wong
Special Development Associate Alex So*
Senior Development Manager Lorna Tam
Development Managers Cindy Chan*, Joey Ng*
Development Officer Linda Tam*
Arts Administrator Trainee Nicole Chow*
CORPORATE SERVICES
Finance Director Teresa Kwong
ACCOUNTS
Account Manager Connie To*
Accounting Officer Stephany Ngan*
HR & ADMINISTRATION
HR and Admin Manager Janet Yeung*
Receptionist/Junior Secretary Virginia Li
General Assistant Bonia Wong
INFORMATION TECHNOLOGY
Information Technology Manager Derek Chan*
NO LIMITS
Project Director Eddy Zee*
Programme and Outreach Managers Becky Chung*, Christy Ho*
Programme and Outreach Coordinators Jade Lui*, Jasmine Poon*
Marketing Manager Carly Wong*
Deputy Marketing Manager Tiffany Chan*
Assistant Production Manager Jess Cheung*
Senior Accounting Officer Catherine Chung*
HKARTSFESTIVAL@TAIKWUN
Project Manager Kwong Wai Lap*
藝術家統籌 張素真*、張凱婷*、向怡君*、何敬堯*、黎善涵*、劉欣彤*、梁頌怡*、吳麗文*、彭慧雯*、胡肇婷*、翁蒨懃* 製作主任 黃詠詩*
技術統籌 李浩賢*、曾以德*、范文恩*、林仁健*、莊曉庭*、許肇麟*
Head of Artist Coordinators Eleanor Chu*
Artist Coordinators Susan Chang Hayden*, Becca Cheung*, Cassandra Heung*, Kelvin Ho*, Christa Lai*, Venice Lau*, Kitty Leung*, Stephenie Ng*, Jan Pang*, Blanche Wu*, Bonnie Yung*
Production Officer Bonnie Wong*
Technical Coordinators Lawrence Lee*, Joyi Tsang*, Yan Fan*, Hoi Lam*, Sai Chong*, Boolu Hui* *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由香港藝術發展局資助
# 2023/24 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2024年2月更新 Updated February 2024
職員
Our home base most promising.
amongst the world's
我們位於世界最具潛力的城市之一 is
( 99 ) 北市經證字第 01583 號 蔡吉政 Each Office Is Independently Owned And Operated
1899.Childe Hassam - New England Headlands
John KC LEE Chief Executive Hong Kong Special Administrative Region
Victor Cha Chairman Hong Kong Arts Festival
Flora Yu Executive Director Hong Kong Arts Festival
