露仙達．查爾特斯
Lucinda Childs
編舞
/ 文本
Choreographer / Spoken Text
查爾特斯是美國最重要的現代舞編舞家之一。 她的編舞和表演事業於 1963 年起步，是紐約 賈德森舞團的創團成員之一。查爾特斯於 1973 年創立自己的舞團， 1976 年與羅伯特．威爾遜 及菲力普．格拉斯合作，在《沙灘上的愛恩斯 坦》中擔任主要演員和獨舞編舞。在該劇 1984 年和 1992 年的重演中，她重新編排了兩場群 舞，並再次擔任主要演員。查爾特斯參與了五 部威爾遜的主要作品，包括與米歇爾．皮寇利 合作的瑪格麗特．杜拉斯的《死亡疾病》，與 羅伯特．威爾遜合作的《我坐在露台上，這傢 夥出現了，我以為我產生了幻覺》，海納．穆 勒的《四重奏》，以及威爾遜和格拉斯的歌劇 《白烏鴉》。查爾特斯曾與約翰．亞當斯及弗蘭
克．蓋里等多位作曲家、設計師合作大型作品。
其中第一部《舞》編排於 1979 年，由菲力普． 格拉斯作曲，索．勒維特設計錄影與佈景。
《舞》至今仍在美國和歐洲巡演，《華爾街日報》
在 2011 年稱其為「二十世紀最傑出的成就之 一」。查爾特斯曾獲多個頂級芭蕾舞團及歌劇 院的委約，其中包括 2009 年馬賽芭蕾舞團的 《下一次》及 2011 年尼斯芭蕾舞團的《海洋》。
她曾為洛杉磯歌劇院的《奧菲歐與尤麗迪西》 及布魯塞爾拉蒙尼歌劇院的《柴伊德》做編舞 及導演。 2009 年，查爾特斯獲邀為萊茵國家歌 劇院的《夜鶯》與《俄狄浦斯》任編舞及導演。
2012 年 5 月首演的韋華第《弗尼斯》，則由她 任編舞兼導演，喬治．彼得魯任音樂總監，布 魯諾．德拉凡涅任佈景設計。她還曾為呂克． 邦迪的《莎樂美》、《唐．卡洛》、《馬克白》 及羅蘭．埃施利曼的《帕西法爾》編舞。查爾 特斯於 1979 年獲古根漢藝術基金獎，並獲美 國藝術基金會 / 新英格蘭藝術基金會頒發美國 傑作獎。 2004 年，她的法國藝術及文學勳章從 軍官升為司令級別。
Childs is one of America’s most important modern choreographers. She began as choreographer and performer in 1963 as an original member of the Judson Dance Theater in New York. After forming her own dance company in 1973, Childs collaborated with Robert Wilson and Philip Glass on Einstein on the Beach in 1976 participating as principle performer and solo choreographer. In the subsequent revivals in 1984 and 1992 Childs choreographed the two Field Dances, and was cast again as principal performer. Childs has appeared in five of Wilson’s major productions among them, Marguerite Duras’s Maladie de la Mort opposite Michel Piccoli, I Was Sitting on my Patio This Guy Appeared I Thought I Was Hallucinating opposite Robert Wilson, and Heiner Müller‘s Quartett, and Wilson and Glass’s opera White Raven . Childs has collaborated with a number of composers and designers, including John Adams and Frank Gehry, on a series of large-scale productions. The first of these was Dance, choreographed in 1979 with music by Philip Glass, and a film/decor by Sol LeWitt. Dance continues to tour in the US and Europe and was cited by the Wall Street Journal (2011) as “one of the greatest achievements of the 20th Century”. Childs has received commissions from major ballet and opera companies including Tempo Vicino, for the Ballet de Marseille in 2009 and Oceana for the Ballet de Nice in 2011. She has choreographed and directed Gluck’s Orfeo ed Euridice for the Los Angeles Opera and Mozart’s Zaide for La Monnaie in Brussels. In 2009, she was commissioned to direct and choreograph Le Rossignol and Oedipus Rex for the Opera du Rhin, and the choreography and direction for Vivaldi’s Farnace with décor by Bruno de Lavenere under the musical direction of George Petrou which premiered in May 2012. She has also choreographed Luc Bondy’s productions of Salome, Don Carlo and Macbeth as well as Roland Aeschlimann’s production of Parsifal . Childs received a Guggenheim Fellowship in 1979, and is the recipient of the NEA/NEFA American Masterpiece Award. In 2004 she was elevated from the rank of Officer to Commander in France’s Order of Arts and Letters.
Philip Glass and Robert Wilson © Betty Freeman, 1976
與菲力普．格拉斯對話
A Conversation with Philip Glass
文：瑪格麗．阿仁特．薩菲爾
Text: Margery Arent Safir
你最初和威爾遜討論是次合作時，是 不是馬上就想到要選愛恩斯坦作主 題？據說威爾遜曾經提議做查理．卓 別靈或阿道夫．希特拉，而你否決了 希特拉，又提議甘地。後來選愛恩斯 坦為折衷方案。
愛恩斯坦從來都不是折衷方案。威爾 遜一聽到愛恩斯坦就很喜歡，其實這 個作品原名叫做《華爾街沙灘上的愛
恩斯坦》，但最後縮減為《沙灘上的 愛恩斯坦》。
從一開始你和威爾遜就決定《沙灘上 的愛恩斯坦》的長度將是四至五小 時，每一場20分鐘，並且由你們稱 之為「膝劇」的部分來銜接，「膝」
意指兩個相似部分的連接。你們在決 定作品內容之前先決定長度，意義何 在呢？
我當時已經有創作長篇作品的經驗， 我們稱之為「延時表演」。我是馬布 礦場劇團的創團人之一，那是個從拉 瑪瑪劇場和公共劇院中脫身而來的劇 場，我為這個劇場的演出譜曲，因此 很了解劇場的運作。我 20 歲就開始 在劇場工作了，和羅伯特認識的時候 我已經 37 歲。時間體現在音樂裏就 是時值。我們兩人工作有一個共同
When you first started discussing the project of doing an opera with Wilson, was Einstein the immediate choice of subject? It’s said that Wilson wanted to do Charlie Chaplin or Adolph Hitler, and that you rejected Hitler and proposed Gandhi. Einstein was the compromise.
Einstein was never a compromise. He liked Einstein right away, and the original title of the piece was Einstein on the Beach on Wall Street and eventually it was cut down to Einstein on the Beach
From the beginning, both you and Wilson determined that Einstein on the Beach would be four to five hours, that each scene would be about 20 minutes long, and the scenes would be connected by what you both call “knee plays”, the knee being the joint that links two similar elements. What does it mean to determine duration before content?
I’d done long pieces before, “extended time performances” we would call them. I was a founding member of Mabou Mines, which grew out of La MaMa and The Public Theater, and I wrote scores for their theatre productions; I knew how theatre worked. I’ve been in the theatre since I was 20, and I was 37 when Bob and I met. Time in music
點：都要在「實時」工作。我們對時 間、對「持續長度」抱着同樣的認識。
羅伯特把劇場延展到空間與時間之
中，而我則把音樂投射至空間與時間
之中，我們所用的手法相似，使用這 些手法的動機也相似，我想這點他和 我都認同。因此這樣安排並不奇怪。
我不敢說我們一開始合作時就意識到 這點，但在審視完成的作品時，我們 的共同意識則明確無疑了。
你認為《沙灘上的愛恩斯坦》是政治 作品嗎？
我從不這麼認為。我們因為這類原因 遭遇了很多麻煩，尤其是在東歐演出 時，比如在貝爾格萊德，人們都認為 這是政治作品，在阿姆斯特丹也是如 此。年輕人對這部作品的政治關聯十 分感興趣。但至少在創作《愛恩斯 坦》時，我和羅伯特對政治還沒什麼 概念。我在挺久以後才開始觸及政 治，我想羅伯特也差不多，他是在與 德國劇作家海納．穆勒合作後才開始 的。後來羅伯特在歐洲居住的時間多 了，而我覺得政治和劇場的結合，在 歐洲比在美國更容易實現。我之後寫 了一部關於甘地的歌劇（《真理堅 固》，1980），也寫過一些更具社 會性 以及政治性的作品，但《愛 恩斯坦》從來不在此列。
《愛恩斯坦》2012年的重演將吸引 一些新的觀眾。如今距離這部歌劇問 世已經超過35年了，你認為當今的 觀眾對這部作品會有怎樣的反應？
is duration. This is one of the commonalities in our work: Both Bob and I have to work in real time. We share an awareness of time, of duration. Bob is extending theatre into space and time, and I’m projecting music into space and time, and we use similar techniques, and use them for similar reasons, I think we’d agree. It’s not really surprising that that should be so. I wouldn’t say that Bob and I were that aware of it when we started working together, but it became evident as we looked at the finished piece.
Do you consider Einstein on the Beach political?
I never did. We ran into a lot of trouble like that, especially when we were playing in Eastern Europe, in Belgrade, where people did think it was political, and also in Amsterdam. Young people were very interested in the political connections of the work. But Bob and I, at that point in our lives at least, were pretty innocent of politics. It took me time to move into it, and I think Bob also, when he started working with that German playwright [Heiner Müller]. Then Bob began living more in Europe, and I think that politics and theatre are more easily married in Europe than in America. As for me, after Einstein , I wrote an opera about Gandhi [ Satyagraha , 1980] and I did a lot of other more socially- and politically-oriented things, but Einstein would not have been one of them.
The 2012 revival of Einstein will bring in a new audience. How do you think an audience today – more than 35 years after Einstein’s creation – will react to it?
我的經驗是，每次我們面對新的觀眾 搬演《愛恩斯坦》時，他們都難以 置信。他們真的難以置信。因為在 過去 30 年左右的時間裏，劇場變得
愈來愈不出人意表，愈來愈循規蹈矩 了。沒有人在那裏，沒有人像前人一 樣去做這種抽象的革新，尤其是在大 型劇場裏。我說的前人是指李察．科 曼、彼得．布祿克、羅伯特．威爾遜 等人，再沒有像他們這樣的人了。他 們在七十年代和八十年代所做的，如 今已然絕跡。這很有趣，在社會學上 很有趣。因為現在的演出完全是出於 娛樂，而我們當年則是抱着理想主 義 我們當時並沒有意識到這點， 也沒有這麼想過，但現在回想起，那 時我們確實是一幫理想主義者。我們 沒有想過要賺錢，沒想過要在百老滙 演出，沒想過要在業內出人頭地…… 我們只是創作藝術。純粹的創作。而 如今，人們總是想着賺錢什麼的，走 到哪裏人們都這麼想。然而當我在布 魯克林第一次看羅伯特的作品時，觀 眾只有不到 200 人。三年之後，《愛 恩斯坦》在紐約大都會歌劇院上演， 連站票都賣光了。
本質上來說，《愛恩斯坦》是部非敍 事性、人工化的歌劇，其敍述功能從 「講故事」徹底轉變為「體驗故事」。
我們探討的是時間本身。從某種意義 上，我和羅伯特是整體文化變革的一 部分。我們碰巧處在文化轉向的前 沿，但這也無非是當時的時勢促成。
如今人們從小到大觀看的作品基本上
My experience is that each time we do Einstein with a new audience, they can’t believe it. They just can’t believe it. Because what’s happened in the last 30 or so years is that theatre has become more predictable, more conservative. Nobody’s there. Nobody’s doing the kind of abstract innovations that people did, people like Richard Foreman, Peter Brook, or Bob Wilson, especially in the big theatres. There’s nothing like them anymore. The kinds of things that they did in the 1970s and 1980s, that no longer exists. It’s very interesting, very interesting sociologically. Because now it’s all coming out of entertainment, and the kind of idealism that we had – we didn’t know it, we didn’t think about it that way, but in retrospect we were very idealistic people, and we brought that to everything we did. We weren’t thinking about making money or Broadway runs or advancing in the profession or anything like that. We just made art. We just did it. Today, everyone thinks about those things. It’s everywhere. But when I first saw Bob’s work in Brooklyn, there weren’t 200 people in the audience, and then three years later, we went to the Met with Einstein, and there wasn’t even standing room.
Essentially, Einstein is a non-narrative, artificial theatre in which the function of narrative has shifted completely from telling a story to experiencing a story. We’re talking about time itself. In that sense, I think that Bob and I were part of a general cultural shift. We happened to be at the forefront of it, but that’s just the time and the circumstance in the way it happened.
Robert Wilson and Philip Glass © Lucie Jansch, 2012
都是對 20 年前作品的粗拙模仿，因 此一旦他們看到當年的原作，親眼目 睹那時的製作，比如《沙灘上的愛恩 斯坦》，就會歎為觀止，絕對地歎為 觀止。一些其他藝術家，當他們的作 品在多年後被重新審視時，也是如 此，比如安迪．華荷、蒙克和彼得． 布祿克等。經過六十、七十及八十年 代的洗練，而在二十一世紀仍在創作 的藝術家們，會見到當今觀眾對自己 的作品有了新的評價。而《愛恩斯 坦》這部作品，每次演出的反響都是 一樣的，甚至更為熱烈。我覺得現在 劇場和歌劇界主導的荷里活式 敍事方 式，已經基本上把諸如當年羅伯特和 我所作的那種革新成果掃蕩一空。因
此，我敢說在當今，《愛恩斯坦》會 比以往更能夠興起一種現象，更能給 觀眾帶來刺激。
可是看慣荷里活式娛樂作品的二十一 世紀觀眾，面對《愛恩斯坦》，能否 知道如何去反應？
我覺得他們的反應會跟 1976 年我們 在阿維農演出時人們的反應一樣：他 們看完演出，說：「這是什麼鬼東 西？」話說回來，我們也不知道這是 什麼鬼東西。但人們坐在那裏看了四 個半小時。你在看的過程中學會如何 去看，作品本身教你如何去看、如何 去聽。這是一個專注的狀態。從這個 層面來說，這是精神病學的一種形 態。作品和我們平時看待邏輯的方式 迥然不同，它不需要任何強加的路 數 最好不要有任何路數。別忘了
People today are growing up looking at work that is a strange imitation of things that were done 20 years before, and then when they see the real thing, the actual production that was done, like Einstein on the Beach , they find it astonishing, absolutely astonishing. But that’s happened to other people who are looked at long after what they’ve done. That’s happened to Andy Warhol, happened to Meredith Monk. That happened to Peter Brook. People who are survivors of the 1960s and 1970s and 1980s and are still working in the 21st century are seeing that their work is being given a new appreciation. And Einstein , every time we do it, will have the same effect, and probably more powerfully. I would say that the dominance of Hollywood storytelling in theatre and opera has pretty much swept aside a lot of the best results of the kind of innovation that Bob and I were doing. So I would say that more than ever, Einstein will be a phenomenon. It will have a galvanizing effect on the audience.
But will a 21st-century audience raised on that kind of Hollywood entertainment know how to react to Einstein?
I think they’ll react the way they did when we did it in Avignon in 1976: When they saw it, they said, “What the hell is this?” By the way, we didn’t know what it was, either. But people sat there for four and a half hours. It’s autodidactic. You learn how to see it by seeing it. The piece teaches you how to watch it. The piece teaches you how to hear it. It’s a state of attention. In that sense, it’s a form of psychiatry. It is radically different from the way we look at logic. It
我們的文本作者之一，克里斯托弗． 諾爾斯，是個有自閉症的聰明年輕 人，沒有什麼套路能助你理解他的作 品。新的觀眾通常難以相信《愛恩斯 坦》是多麼的新穎。
你的音樂像織錦一樣，美妙地重複各 種片段。羅伯特．威爾遜也常在舞台 上運用重複動作。重複，作為共同主 題，或塑造時間技法，是否能幫你們 兩人達到相似的目標？這是不是你們 的一個相通或共同之處？ 首先，不存在重複。永遠有某種東西 在進行。這一點很重要。每次你用 「重複」這個詞，都是在強化一種錯 誤觀念。這是一種心理學的聆聽方 式，你以為你在同一位置，但其實你 為了保持同一位置而在不停移動，就 像在泳池踩水一樣，如果真的不動， 那麼你就沉到水底了。事實上，你時 時刻刻都在動。所謂的「重複」，只 是形象地表現那些即使有時看起來靜 止，也仍然在不停地動、不停地變化 的動作組合。我們探討的是一種特別 的專注力，讓你在急速的重複過程中 留意到細微變化。
如果看查克．克洛斯的畫作，你會發 現他不停運用重複的點和圖案，但其 實並非那麼簡單。這是一種創作方 式：一個主題在出現後開始變化，不 停衍變、化為其他東西。約翰．凱治 在《4’33’’》中也是運用這個方法。 他讓你開始留意周遭的世界。這些作 品 無論是羅伯特．威爾遜的、賈 斯培．瓊斯的，還是羅伯特．羅森伯
doesn’t need any course to be given on it –it’s probably better not to have one. Don’t forget that one of our writers, Christopher Knowles, was a brilliant young man who was autistic. No course could prepare you for his work. New audiences can’t believe how new Einstein is.
Your music repeats fragments beautifully, as if weaving. Robert Wilson often uses repeated gestures on stage. Does repetition as a shared motif or timeshaping technique serve a similar purpose for the two of you? Is it one of your connections or commonalities?
First of all, there’s not repetition. Something is always going on. It’s a very important point, and each time you use the word “repetition”, it enforces an idea that’s not true. It’s a psychological way of listening where you think that you’re in the same place exactly, but moving in order to stay in the same place – it’s like treading water in a swimming pool. If you were actually not moving, you’d sink to the bottom. But in fact you’re moving all the time. Repetition actually figures in the combination of acts that are constantly moving, constantly changing, even when they appear to be static. We’re talking about a special kind of attention, which invites you to become focused on smaller changes in the midst of a rapid repetition.
If you look at Chuck Close’s paintings, you’ll see that he’s working with dots and sets repeating over and over, but it’s not that simple. It’s a way of working where a thematic idea is stated and then constantly changed so that it is constantly morphing,
格的 都非常具有 啓 發性；他們將 人的感官注意力提升到一個新的高 度，與我們平時感知世界的方式截然 不同。這種感官注意力 仔細想想 看
其實就是我們把作品個人化的 方式，這樣一來，人們就可以用許多 方式描述我認為自己所見的事情。作 品是由觀眾來完成的。如果沒人觀 賞，作品本身不能獨立存在。作品的 內容是由觀眾賦予的，而不是其本身 固有的。這一點非常重要，而羅伯特 是這方面的高手 他準確地知道人 們會如何觀賞他的作品，而我則準確 地知道人們在劇場將如何聆聽我的音 樂。我們探討的是人們很少討論的話 題，即一個作品與觀眾之間的關係， 以及兩者在互動時心理層面所產生的 化學作用。從這個意義上來說，馬塞 爾．杜尚、1930 年代超現實主義者，
以及約翰．凱治都是我們的前輩，羅 伯特和我跟隨了他們的步伐。
有人用「極簡主義」形容個你和威爾 遜的作品，據說你不喜歡「極簡主 義」這個詞？
我不喜歡這個詞？主要是因為這個詞 常被不幸地當成一個縮寫，來形容實 際上更繁複的過程。這個詞誘使你不 去理解你所做的，我們所做的。人們 用一句「這是極簡主義」概括一切， 很悲哀。這是記者造出來的詞，被那 些試圖將複雜過程變得簡化易明的人 所用。但令作品簡單易懂的同時，也 忽略了很多作品的內涵。正如羅伯特 所說，這並不是關於大幅度的變化，
constantly becoming something else. This is what John Cage did in 4'33''. He opened your attention to the world around you. What these and other works do – whether it’s Bob’s work or Jasper Johns’s work or Robert Rauschenberg’s, any of these people – is enlighten; they create a heightened sense of attention which is radically different from the way that we attend to the world at large. That kind of attending – think about it – is the way that we personalise the work so that, for example, people can give any number of descriptions of what I actually think happened. The spectator completes the work. It doesn’t exist independently of the person watching it. It’s the way the spectator perceives the work that gives it the content. The content is not in the work itself. This is a very important point, and Bob is a master of this, of understanding exactly how people see his work, and I, on my side, of how people listen to my music in theatre. We’re talking about something that people rarely talk about, which is the actual psychological arrangement in the relationship and transaction that takes place between the work and the viewer. In that sense, Bob and I are true children of Marcel Duchamp and the 1930s surrealists and John Cage.
It’s said that you don’t like the word “minimalist”, a word that is applied to both your work and Wilson’s.
That I don’t like the term? The point is that, unfortunately, when the word is used, it’s used as a shorthand to describe a much more complicated process. It invites you not to understand what you’re doing, what
而是點點滴滴正在發生的小變化，宛 如沙粒般在細微地變化着。「極簡主 義」教你的觀眾錯誤地看待作品，最 好就是什麼都不說。人們如果問我是 什麼類型的作曲家，作什麼樣的音 樂，我就告訴他們我寫劇場音樂，我 是一個劇場作曲家。他們說：「噢， 我還以為你是個極簡主義者。」好 吧，你愛怎麼稱呼隨便你，但我無非 是為劇場創作音樂。
節選自《這是專注的狀態》，（《從內在 看羅伯特．威爾遜》，藝術競技場/弗拉 馬里翁出版社，2011 年）
瑪格麗．阿仁特．薩菲爾是巴黎美國大學比較 文學系教授，藝術競技場的創辦人及主任。她 在當代拉丁美洲文學領域著作頗豐，並曾與傑 出科學家史蒂芬．傑伊．古爾德、羅得．霍夫 曼和伊芙琳．福克斯．凱勒等合作，探討科學 與文學的互動。
特稿翻譯：王明宇
we’re doing. They just say, “It’s minimalism”. It’s sad. It’s a word that was invented by journalists and used by people trying to make a complicated process more easily understandable. But making it more easily understandable misses a lot of what a piece is about. As Bob says, it’s not about the big movements, it’s about all the little movements that are happening, changing like sand. Saying “minimalist” trains your audience to look at a work in the wrong way. Better to say nothing. When people ask me what kind of composer I am, what kind of music I write, I tell them I write theatre music. I’m a theatre composer. They say, “Oh, I thought you were a minimalist”. Well, you can call it what you like, but what I really do is write music for theatre.
Excerpted from “It’s a state of attention”, in Robert Wilson from Within (The Arts Arena/Flammarion, 2011).
Margery Arent Safir is Professor of Comparative Literature, founder and director of the Arts Arena at The American University of Paris. She has written extensively on major figures of contemporary Latin American literature, and has collaborated with distinguished scientists Stephen Jay Gould, Roald Hoffmann, and Evelyn Fox Keller on the interactions between science and literature.
Spaceship © Lesley Leslie-Spinks 2012
《沙灘上的愛恩斯坦》文本
Einstein on the Beach Libretto
膝劇 1
膝劇角色 1
（隨機誦讀數字）
膝劇角色 2
（文：克里斯托弗．諾爾斯）
它會把風給帆船嗎。它能給因為 它是。
它能把鐵路給工人。它能在它在 之處。
它能法蘭基它能是法蘭基它能非
常清新乾淨 它能是個氣球。
這全是那日子我的朋友全是那日 子我的朋友…
它能把風給帆船。它能給因為它 是。
它能把鐵路給工人。它能給因為 它在。
它能是個氣球。它能是法蘭基。 它能非常清新乾淨。
這全是那日子我的朋友全是那日 子我的朋友。
它能是那樣。
它會把風給帆船嗎它能給因為它 是它。
它能把鐵路給工人工人。它能給 因為它是
這全是那日子我的朋友這全是那 日子我的朋友。
把 888 分錢的日子換成 100 個硬 幣
這全是那啊日子我 的朋友全是我 的日子我的朋友。
造個灃沺用這全是那啊日子循環 所以如果你說它會把風給帆船嗎 它能因為
它能是法蘭基它能非常清新乾淨。
所以它能是 那些。所以如果
KNEE PLAY 1
KNEE PLAY CHARACTER 1
(Numbers recited randomly)
KNEE PLAY CHARACTER 2
(Text written by Christopher Knowles)
Would it get some wind for the sailboat. And it could get for it is.
It could get the railroad for these workers. And it could be were it is.
It could Franky it could be Franky it could be very fresh and clean
It could be a balloon.
All these are the days my friends and these are the days my friends..
It could get some wind for the sailboat. And it could get for it is.
It could get the railroad for these workers. It could get for it is were.
It could be a balloon. It could be Franky. It could be very fresh and clean.
All these are the days my friends and these are the days my friends.
It could be those ways.
Will it get some wind for the sailboat and it could get for it is it.
It could get the railroad for these workers workers. It could get for it is
All these are the days my friends and these are the days my friends.
Put these days of 888 cents in 100 coins of change...
These are theiidays mmy friends and these are my days my friends.
Make a tiota on thses these are theiidays loop
So if you say will it get some wind for the sailboat and it could for
It could be Franky it could be very fresh and cleann. So it could be those ones. So if
你從十個月前在世界遊客銀行提 款。
你記得嗎！巴士司機漢斯……， 好吧放入紅
球藍球兩個黑白球。然後漢斯一踩 煞車
然後
四個球滾到那兒。然後漢斯說。
「把那四個
球從我換檔器上拿開。」這全是那 日子我的朋友這全是那 日子我的朋友。它能把鐵路給工 人。 它能
它會它將把風給帆船嗎。它能給 因為它是。
第一幕
第一場：火車 1
計數的男人（瘋子愛迪）
（文：克里斯托弗．諾爾斯）
這愛可能是某人
進入愛
它可能是某人曾到過某處就像他 們
它可能是某就像他們
這個就像進入什麼那個就像是他 們
好吧，它可能是某就像他們
那些進入什麼就像那個進入這個
這個已經被打破就像進入什麼 但它可能是某它可能是某像進入 像進入像進入
像進入那樣的什麼地方 那麼它可能是是幸運的那些 這就像進入什麼而那些
那麼在那它可能就像他們一樣
You cash the bank of world traveler from 10 months ago.
Doo you remember! Honz the bus driver... , Well put the red ball blue ball two black and white balls. And Honz pushed on his brakes and the four balls went down to that. And Honz said. "Get those four balls aw ay from the gearshift." All these are the days my friends and these are th e days my friends. It could get the railroad for these workers.
It could
Would will it get some wind for the sailboat. And it could get for it is.
ACT I
SCENE I: TRAIN ONE
MAN CALCULATING (CRAZY EDDIE)
(Text written by Christopher Knowles)
This love could be some one Into love
It could be some one that has been somewhere like them It could be some like them
Tis one like into where that one has been like them
Well, it could be be some like them
Those like into where like that into this This one has been broken like into where But it could be some that it could be some like into like Into like into Like into where like that
It could be be some of the lucky ones then This has been like into where that the ones
That where that it could be some like them too
這個，這些個可能在某處就像他
們
它可能在某處就像
我們來看看
那麼，它可能在某處就像那個
它可能在某處那它可能在某處
那它可能在某處
就像進入那個很幸運
這個就像進入任何什麼地方 這個就像進入什麼就像進入 什麼就像進入
那個歌唱他們愛情的地方
這個就像進入什麼它
就像進入那個什麼 是那愛之所在
它可能在某處就像他們他們 他們他們他們
它能用數字表達哪裏這個 就像進入它
這個是你總體來說總體總體總 它能是它能是的，
能是如此就像它就是那個它能是
那個
它曾像是他們
它能像是他們
那個
它能像是他們
它能在某處
就像他們
你會
這些是 這些是 這些是是
這些像是
這些像是進入什麼這些是這些 這些
這些像是進入這
這些像是那
它
這些像是
這些像是
這些像是他們
這些像是去瘋子愛迪店
是那是那一百萬
This one, the ones that it could be somewhere like them
It could be somewhere like
Let's see
Then, it could be somewhere like the one It could be somewhere that it could be somewhere
That it could be somewhere
Like into that one has been lucky
The one it has like into where ever
The one it has like into where like into Where like into
Where the singing of the love of them
This one has been like into where the one it has Like into what is of that Is where that love was It could be somewhere like them them
Them them them
It could say where by numbers this one has Like into it
The one is you over all the all the all the It could be some that it could be,
Could be so like that it is the one it could be the one
It was the ones like them
It could be some like them
That one
It could be some like them
It could be somewhere
The ones like them
You will
The ones are
The ones are
The ones are are
The ones are like
The ones are like into where the ones are the ones
The ones
The ones are like into this
The ones are like that
It
The ones are like
The ones are like
The ones are like them
The ones are like to the Crazy Eddies
Are the are the a million
這些像是你所做瘋子愛迪
那可能是那是進入這就像它是什麼
它是什麼
它是什麼
它是什麼
它是什麼
對，來用自助服務
它是什麼能讓像我這樣的進入它
它是什麼
那是它
它是什麼
它能是某人就像他們
它能是某人就像他們
像他們
像那樣
這些就像那
這個不像他們
我能哭得像嬰兒我會在那兒
它能當然一直
這些就像他們他們他們他們
誰
他們他們他們他們他們他們他們
另一些，然後，一直
這些當這些更喜歡這些
這些他們他們他們
這些圓圈
這些這啫啫啫啫啫啫啫啫啫啫啫
你會
瘋子愛迪瘋子愛迪瘋子愛迪瘋子
愛迪瘋子愛迪
再見瘋子愛迪
瘋子愛迪是最多的
像進入夾克大衣
是進入像它有那有那永遠
永遠永遠永遠永遠永遠永遠永遠
永遠那
而那就是你問題的答案，帥哥
問題
承諾
這些就像進入這種方式
這總是
這
它能在某處進入什麼它能進入某
The ones are like what you do Crazy Eddies
That could be some that is into it is like what is it
What is it
What is it
What is it
What is it
Yes, come to the self service
What is it that could have some like I into it
What is it
That is it
What is it
It could be some one like them
It could be some one like them
Like them
Like that
The ones are like that
This one is not like them
I could be cry like a baby I'll be there
It could be course of that has been
The ones are like them them them them
Who
Them them them them them them them
The other ones, then, that has been
Like when it was the ones who prefer the ones
Are like them them them
These circles
The ones the th th th th th th th th th th th
You will
Crazy Eddies Crazy Eddies Crazy Eddies Crazy Eddies Crazy Eddies
Goodbye Crazy Eddies
Crazy Eddies are the most ones
Like into a coat jacket
Are into like it has the has the ever
Ever ever ever ever ever ever ever ever the
And that is the answer to your problem, handsome Problem
Promise
The ones are like into this way
This always be
This
That it could be somewhere into where that it could be into some
(L-R) Anne Lewis, Katherine Fisher and Caitlin Scranton, Field Dance 2 © Lucie Jansch 2012
(L-R) Helga Davis and Kate Moran, Knee Play 2 © Lucie Jansch 2012
第二場：審訊 1
眾法官：
本法院現在開庭。
律師：布詹戈先生
（文：克里斯托弗．諾爾斯）
如果你看見一條寬鬆的褲子它寬大 極了
布詹戈先生
如果你看見一條寬鬆的褲子它寬大極 了拋開那山
如果你知道是小提琴去聽電話而如果
別人問你請說它是樹它它它就是那樣 布詹戈先生，布詹戈先生，我找到你 了
所以這是關於桌上的東西所以這個能 計出總數。
在哪兒的黑白相間的圍巾 布詹戈先生如果你看見一條寬鬆的褲
子拋開那山
它寬大極了如果你知道是小提琴去聽 電話而如果別人問你請說它是樹它它 它就是那樣。
布詹戈先生布詹戈先生布詹戈先生我 找到你了
在哪兒的黑白相間的圍巾 這是關於桌上的東西。
這個能計出總數。
這個一直非常美式。
在哪兒的黑白相間的圍巾。
如果你看見一條寬鬆的褲子它寬 大
極了拋開那山
如果你知道是小提琴去聽電話而 如果
別人問你請說它是樹它它它它它
它它它它它
就是那樣的
所以這就像映射
克里斯托弗．諾爾斯－約翰．連儂 保羅．麥卡尼－佐治．夏里遜 這曾
這是關於桌上的東西 這個一直非常美式
SCENE 2: TRIAL ONE
JUDGES: This court of common pleas is now in session
LAWYER: MR BOJANGLES
(Text written by Christopher Knowles)
If you see any of those baggy pants it was huge
Mr Bojangles
If you see any of those baggy pants it was huge chuck the hills
If you know it was a violin to be answer the telephone and if any one asks you please it was trees it it it is like that
Mr Bojangles, Mr Bojangles, I reach you
So this is about the things on the table so this one could be counting up.
The scarf of where in Black and White
Mr Bojangles If you see any of those baggy pants chuck the hills
It was huge If you know it was a violin to be answer the telephone and if anyone asks you please it was trees it it it is like that.
Mr Bojangles Mr Bojangles Mr Bojangles I reach you
The scarf of where in Black and White
This about the things on the table.
This one could be counting up.
This one has been being very American. The scarf of where in Black and White.
If you see any of those baggy pants it was huge chuck the hills
If you know it was a violin to be answer the telephone and if any one asks you please it was trees it it it it it it it it it it is like that
So this could be reflections for Christopher Knowles-John Lennon Paul McCartney-George Harrison
This has
This about the things on the table
This one has been very American
所以這就像是我 們
布詹戈先生 這可以是關於桌上的東西這是關 於槍搶槍槍槍 這曾
老法官
《巴黎》（原製作台詞） （文：塞繆爾．約翰遜）
若論全球最受青睞的城市，巴黎 名列前茅。巴黎是世界上最大的 旅遊勝地之一。這並非浪得虛 名，它確有豐富的內涵。巴黎沒 有紐約繁浩的摩天大樓，卻散發 着無盡的美麗和優雅，更有着深 遠豐厚的歷史底蘊。
巴黎有許多年輕男子，他們英 俊、迷人、惹人喜愛。雖然巴黎 被稱作「光之城」，這些英俊迷 人且惹人喜愛的年輕男子，卻更 喜歡在黑暗中展開他們的社交生 活。
巴黎最美的街道之一叫做香榭麗 舍大街，意為「樂土」。它很寬闊， 夾道綠樹蔭蔭，怡人心目。
巴黎最美的事物之一是巴黎女 郎。她身軀並不寬闊，但臉上倩 笑盈盈，非常，非常，非常怡人 心目。每當男士凝望巴黎的女 郎，他總難免要高呼「喔啦啦」， 因為巴黎的女人實在太迷人了。
而巴黎的女郎總眷戀這經典的宣 言，這雋永的幾個字：「愛，永 遠都是愛！」
一位俄羅斯男人曾說，巴黎女人 的眼眸猶如美酒般令人迷醉，而 她烈焰般的熱吻足以熔化男兒齒 中的黃金。
So this could be like weeeeeeee Mr Bojangles
This could be about the things on the table This about the gun gun gun gun gun ... This has
OLD JUDGE
PARIS (IN ORIGINAL PRODUCTION) (Text written by Mr. Samuel M. Johnson)
When considering the best liked cities on earth, Paris looms large among them. Paris is one of the world's greatest tourist attractions. And not without reason, for Paris has much to offer. Paris does not have a multiplicity of skyscrapers like New York, but it has much beauty and elegance. And Paris has an illustrious background of history.
In Paris there is a number of young men who are very beautiful, very charming and very lovable. Paris is called “the city of lights." But these young men who are very beautiful, very charming, and very lovable, prefer the darkness for their social activities.
One of the most beautiful streets of Paris is called Les Champs-Elysees, which means the Elysian Fields. It is very broad, bordered with trees, and very pleasant to look at.
One of the most beautiful things of Paris is a lady. She is not too broad, bordered with smiles, and very, very, very pleasant to look at. When a gentleman contemplates a lady of Paris, the gentleman is apt to exclaim: "Oo la la," for the ladies of Paris are very charming. And the ladies of Paris are dedicated to the classic declaration, expressed in the words: "L'amour, toujours I'amour!"
A Russian man once said that the eyes of a Paris lady are as intoxicating as good wine, and that her burning kisses are capable of melting the gold in a man's teeth.
在德國、意大利、剛果、中國和 美國，人們都說：「如果你沒有 嘗過法國女郎的香吻，那你就不 算吻過。」
老法官
《人人平等》（為 1984 年重演所 撰替換演講詞）
（文：塞繆爾．約翰遜）
「法庭之上，人人平等。」這句話 大家耳熟能詳。「人人平等」，那 麼女人呢？女人是否與男人平 等？有人告訴我們，是的。
上星期，一個的女性會議正好在 卡拉馬祖市召開。致詞的是一位 傑出而又以端莊聞名的女士。她 十分端莊，以至於連洗澡都會蒙 上自己的眼睛。端莊的精神在她 家中傳承。她的侄子剛滿十歲， 有時會說「我要去『不能說名字 的商店』。」因為這小傢伙太端莊， 以至於不好意思說「我要去 A&P 商店」。好，以下就是這位端莊的 女士在卡拉馬祖向與會女士們的 致詞：
「姊妹們：我們必須站起來、發出 自己聲音的時刻來臨了。我們被 踐踏在男人腳下已經太久了。我 們被男人當做二等公民已經太久 了，那些男人，說我們只配幫他 們做飯、補襪子、帶孩子。
「戀愛的時候，男朋友稱你為女王。 然後，當他娶了你，便給你戴上 皇后冠。當這種男人浪漫起來， 或者說當他們有心情時，就想要 吻你吻你再吻你。
「姊妹們，我要對你們說：這種時 候要堅決翻臉抵制，而且如果那
In Germany, in Italy, in Congo, in China, and in the United States, there are men who say: "If you've never been kissed by a lady of Paris, you've never been kissed at all."
OLD JUDGE
ALL MEN ARE EQUAL (ALTERNATE SPEECH, WRITTEN FOR 1984 REVIVAL)
(Text written by Mr. Samuel M. Johnson)
"In this court, all men are equal." You have heard those words many times before. "All men are equal." But what about all women? Are women the equal of men? There are those who tell us that they are.
Last week, an auspicious meeting of women was held in Kalamazoo. The meeting was addressed by a very prominent lady who is noted for her modesty. She is so modest that she blindfolds herself when taking a bath. Modesty runs in her family. She has a nephew who is just ten years of age. Sometimes, the nephew says "I'm going to the forbidden name store." The little fellow is too modest to say "I'm going to the A & P." Well, here is what that modest lady said to the gathering of women in Kalamazoo:
"My sisters: The time has come when we must stand up and declare ourselves. For too long have we been trodden under the feet of men. For too long have we been treated as second-class citizens by men who say that we are only good for cooking their meals, mending their socks, and raising their babies.
"You have a boyfriend, and he calls you his queen. Then, when he marries you, he crowns you. These are the kind of men who, when they become romantic or, I should say, when they are in a certain mood, they want to kiss you and kiss you and kiss you again.
男人不問自吻，你要堅定地盯着 他，白眼相向，並對他說：『你好 大的膽子，你這隻沙文主義豬！ 把剛才那吻從哪來收回哪去！』
「姊妹們，我們受了束縛，我們 需要解放。解放是我們的呼聲。 昨天，我和一位育有 15 個孩子的 母親談天。她說，『是的，我想 要從臥室中解放出來。』
「因此，姊妹們，時機已經成熟， 我們必須讓這些沙文主義的男人 明白，換尿布的手，該是統治世 界的手。
「現在，姊妹們，請起立，高唱我 們的國歌，如果你還未記住歌詞， 請聽好：
女人出頭之日即將來到，燦爛星 光以昭。
男人下台之日不久將至，請在車 中宣誓。
姊妹們，起來！你們的旗幟飄 揚！別做膽小姑娘。
說『打倒男人，他們的霸權必將 終止：女人將統治世界！』」
年輕法官
（文：克里斯托弗．諾爾斯）
會……它會……它會把……他會 把風……他會把風給……它 會把風給帆……它會把風給帆 船……它會把風給帆船嗎。
"My sisters, I say to you: Put your faces against it, and, if the man takes from you without your permission, look him squarely in the face, roll your eyes at him, and say to him 'How dare you, you male chauvinist pig! You put that kiss right back where you got it from.'
"My sisters, we are in bondage, and we need to be liberated. Liberation is our cry. Just yesterday, I talked with a woman who is the mother of fifteen children. She said 'Yes, I want to be liberated from the bedroom.'
"And so, my sisters, the time has come when we must let this male chauvinist understand that the hand that changes the diapers is the hand that shall rule the world.
"And now, my sisters, let us stand and sing our national song, For the benefit of you who have not yet memorized the words, here they are:
The woman's day is drawing near, it's written in the stars
The fall of men is very near, proclaim it from your cars.
Sisters, rise! Your flags unfurl! Don't be a little girl. Say 'Down with men, their power must end: Women shall rule the world!'"
YOUNG JUDGE
(Text written by Christopher Knowles)
Would... Would it... Would it get... Would it get some... Would it get some wind... Would it get some wind for... Would it get some wind for the... Would it get some wind for the sailboat.
膝劇 2
膝劇角色 2
（文：克里斯托弗．諾爾斯）
KNEE PLAY 2
KNEE PLAY CHARACTER 2
(Text written by Christopher Knowles)
它會把風給帆船嗎。它能給因為 它是。
它能把鐵路給工人。它能是個氣 球。
它能是法蘭基，它能非常清新乾 淨，它能是。
它能給些汽油最短的那種。
這全是那日子我的朋友全是那日 子我的朋友。
它能把風給帆船嗎。它能給因為 它是。
它能把鐵路給工人。它能是個氣 球。
它能是法蘭基，它能能非常清新 乾淨，它能是。
它能給些汽由最短的那種。
這全是那日子我的朋友全是那日 子我的朋友。
它能給個剎車。它能把鐵路給工 人。
能它能是個氣球。它能是法蘭基， 它能是。
回行李架回到行李架。它能是些 工人所以。
它能是個氣球，它能是法蘭基， 它能是。
這些是給哪個的。那麼如果你知 道。那麼我你摘掉你的錶。
他們很容易丟掉或打碎。這就是 那日子我的朋友就是 那日子我的朋友。這可能是一部 分……它可以取決於你。
它可以在一切之處。熨這個的方 式。所以如果你知道你知道。
這將進入它能在之處。所以看這裏。
你知道他們不再為戴眼鏡的人做 衣服嗎。
再也沒有口袋。所以如果你摘下 眼鏡，它們很容易 弄丟或打碎。不過，紐約一個語 音中心能解決你的 問題。非隱形眼鏡和新型軟隱形 眼鏡。中心給 你 30 天讓你看看是否喜歡它。
如果你不喜歡。他們可以
Would it get some wind for the sailboat. And it could get those for it is.
It could get the railroad for these workers. It could be a balloon.
It could be Franky, it could be very fresh and clean, it could be.
It could get some gasoline shortest one. AIl these are the days my friends and these are the days my friends.
Could it get some wind for the sailboat. And it could get those for it is.
It could get the railroad for these workers. It could be a balloon.
It could be Franky, it could could be very fresh and clean, it could be.
It could get some gasoiine shortest one.
AIl these are the days my friends and these are the days my friends.
It could get a stopper. It could get the railroad for these workers.
Could it could be a balloon. It could be Franky, it could be.
Back to the rack and go back to the rack. It could be some workers so.
It could be a balloon, it could be Franky, it could be.
Which one are the ones for. So if you know. So i you take your watch off. They're easy to lose or break. These are the days my friends and these are the days my friends. It could be some of th ... It could be on your own.
It could be where of all. The way iron this one. So if you know you know. this will be into where it could be. So look here. Do you know they just don't make clothes for people who wears glasses. There's no pockets anymore. So if you take your glasses off. They're easy to lose or break. Well New York a Phonic Center has the answer to your problem. Contactless lenses and the new soft lenses. The Center gives you thirty days and see if you like them. And if you don't. They could
退款給你。所以這就像是進入空 中的一個書包。一爐 曲奇餅在因為這全是那日子。這 能進入 一個書包。
它能把鐵路給工作。
你知道他們不再為戴眼鏡的人做 衣服嗎。
再也沒有口袋。所以如果你摘下 眼鏡它們很容易 弄丟或打碎。不過，紐約一個語 音中心能解決你的 問題。非隱形眼鏡和
它會把風給帆船嗎它能給這些工 人
所以這全是那日子我的朋友全是 那日子我的朋友。
你知道他們不再為戴眼鏡的人做 衣服嗎。
再也沒有口袋。所以如果你摘下 眼鏡。它們很容易 弄丟或打碎不過紐約一個語音中 心能解決你的問題。
非隱形眼鏡和新型軟隱形眼鏡。
中心給你 30 天讓你看看是否
喜歡它。如果你不喜歡。他們可 以退款給你。（除去 檢驗費）。所以如果你厭倦了眼鏡。
去紐約的語音中心，在 十
一號西 42 街第五大道附近，輕 輕鬆鬆擁有好視力。
請撥打 Br9-5555
它會把風給帆船嗎。它能給因為 它是。
它能把鐵路給工人。它能是個氣 球。
它能是法蘭基。它能非常清新乾 淨，它能是。
它能給些汽油最短的那種它能是。
這全是那日子我的朋友全是那日 子我的朋友。
看 .. ,. 扒抓搨拉搭撒掐挖。 看。
向愛你的上帝發誓
法蘭基維里四季合唱團
refunds your money. So this could be like into a satchel in the sky. A batch of cookies was on the for these are the days. This could be into a satchel.
It could get the railroad for these works
Do you know they just don't make clothes for people who wears glasses. There's no pockets anymore. So if you take your glasses off They're easy to lose or break. Well New York A Phonic Center has the answer to your problem. Contactless lenses and Would it get some wind for the sailboat and it could get for these workers
So all these are the days my friends and these are the days my friends.
Do you know they just don't make clothes for people who wears glasses. There's no pockets anymore. So if you take your glasses off. They're easy to lose or break Well New York a Phonic Center has the answer to your problem. Contactless lenses and the new soft lenses. The Center gives you thirty days and see if you like them. And if you don't. They could refunds your money. (Except for the exammination fee.) So if you're tired of glasses. Go to New York a Phonic Center on Ele
ven West Fourty-Second Street near Fifth Avenue for sight with no hassle.
Please Call Br9-5555 ...
Would it get some wind for the sailboat. And it could get those for it is.
It could get the railroad for these workers. It could be a balloon.
It could be Franky, it could be very fresh and clean, it could be. It could get some gasoline shortest one it could be. AIl these are the days my friends and these are the days my friends.
Look .. ,. batch catch hatch latch match patch watch snatch scratch. Look.
SWEARIN TO GOD WHO LOVES YOU FRANKIE VALLI THE FOUR SEASONS
膝劇角色 1
（隨機誦數字及《布詹戈先生》 部分）
第三幕
第一場：審訊 2 / 監獄
律師
《布詹戈先生》（審訊 2） （文：克里斯托弗．諾爾斯）
我剛聽到的歌曲正在轉變 （歌曲在那）…………
這東西 這將是你到來的時刻 這已經告訴所有那些女孩了
這整個都一直非常美式
那麼停下來
當你看見當它是它一直都
當你 嗨布詹戈先生 嗨布詹戈先生 嗨布詹戈先生
這曾
這歌曲穿着黑白相見的那麼這曾 這是關於桌上的東西 這會計算在內你一直想要的一直
是非常非常誘人的
那麼停下來
嗨布詹戈先生
嗨布詹戈先生
嗨布詹戈先生
這曾
這用來戴的圍巾是黑白相間的 這曾經是………
這是關於桌上的東西 這會計算在內
這已經告訴女孩們那 （撒旦）的歌曲能
進入那進入那一個
嗨布詹戈先生
嗨布詹戈先生
嗨布詹戈先生
啊這哈這用來戴的圍巾是黑白相
KNEE PLAY CHARACTER I
(Numbers recited randomly and portions of MR. BOJANGLES)
ACT III
SCENE 1: TRIAL TWO / PRISON
LAWYER
MR BOJANGLES (TRIAL 2)
(Text written by Christopher Knowles)
The song I just heard is turning (The song in where) ........
Tis thing
This will be the time that you come
This has been addressed to all those girls
All this one has been very American
So stop
When you see when it was it has been
When you
Hey Mr Bojangles
Hey Mr Bojangles
Hey Mr Bojangles
This has
This song wear a black and white then this has been
This about the things on the table
This will be counting that you allways wanted has been very very tempting
So stop
Hey Mr Bojangles
Hey Mr Bojangles
Hey Mr Bojangles
This has
This scarf of wear in black and white
That this has been.....
This about the things on the table
This will be counting
This has been addressed to the girls where
The song of (Satan) where it could be
Into where into where a
Hey Mr Bojangles
Hey Mr Bojangles
Hey Mr Bojangles
Ah this hah this scarf of wear of black and white
間的那這是關於 桌上的東西
這會計算在內
這整個一直非常美式 那麼停下來
當你看見當它是 嗨布詹戈先生 嗨布詹戈先生 嗨布詹戈先生
這有紅藍
在瘋狂的世界總是跑得很快 就說這個
那叫你天上的小豬的 就像在那 上
這是寫明的
約翰．連儂為從克里斯托弗．諾 爾斯的行動當那（大）明星
保羅．麥卡尼 佐治．夏里遜
這些人
當我這也一樣能行
這一直是映射，像天空一樣幸運 這就像是……
所以這曾
如果你如此傲慢
它能在某處像為那些一樣
那麼記住什麼是這樣
那麼就像進入一個書包像進入什 麼像個怪獸
如果你知道像鑼像像鑼鑼鑼鑼鑼 鑼
嗨布詹戈先生
所以就像如果你見到一個小（鼻 子）乞丐穿着寬鬆的褲子。
目擊者
《過早開冷氣的超級市場》 （文：露仙達．查爾特斯）
我在那過早開了冷氣的超級市場 那裏有那麼多通道 還有那麼多泳帽出售 上面有獨立日羽毛裝飾
that this about the things on the table
This will be counting but
All this one has been very American
So stop
When you see where has been
Hey Mr Bojangles
Hey Mr Bojangles
Hey Mr Bojangles
This has red blue
Always run very quickly in a mad world
Say this
That call you Piggy in the sky
Like up in the.....
This is written
John Lennon for from Christopher Knowles' actions where that (major) star
Paul McCartney
George Harrison
The peoples
Where I this has also worked
This has been reflections Has been lucky as the sky
This has been like ...
So this one has
If you be so arrogant
It could be somewhere like to those ones
So learn what is so
So well like into a satchel like into where like a monster
If you know like gong like like a gong gong gong gong gong gong
Hey Mr Bojangles
So like if you see a little (nose) beggar with baggy pants
WITNESS
PREMATURELY AIR-CONDITIONED SUPERMARKET
(Text written by Lucinda Childs)
I was in this prematurely air-conditioned supermarket and there were all these aisles
有紅有黃有藍
我並沒有興趣買
但這提醒我一個事實，就是我一 直都在逃避海灘。
律師
（文：克里斯托弗．諾爾斯）
所以呃這是關于呃桌上的東西 所以這將計算在內
如果你看見一條寬鬆的褲子，拋 開那山
而如果別人問他，它是樹
那呃在哪兒的黑白相間的圍巾 這個將會坐着
這是關於呃桌上的東西 這將計算在內
所以呃呃這是關於呃桌上的東西
那呃在哪兒的黑白相間的圍巾 這個正坐着
這是關於呃那些曾經
如果你見過他們中的哪個，那麼
這可能是其中一個
所以停在這裏所以停下這個所以 看這裏
所以這是寫明的
嗨布詹戈先生 嗨布詹戈先生 嗨布詹戈先生 所以這可以是那曾 所以如果你見到這個，那麼……
槍搶槍槍 嗨布詹戈先生 嗨布詹戈先生 嗨布詹戈先生 克里斯托弗．諾爾斯銀行搶劫 所以如果你知道
銀行搶劫銀行搶劫銀行搶劫是要 被判
and there were all these bathing caps that you could buy which had these kind of Fourth of July plumes on them they were red and yellow and blue I wasn't tempted to buy one but I was reminded of the fact that I had been avoiding the beach.
LAWYER
(Text written by Christopher Knowles)
So uh this is abut the uh things on the table so this one will be counting up
If you see any of those baggy pants, chuck the hills
And if somebody asked him, it was trees
the uh scarf of where in black and white that this one will be sittin' this about the uh things on the table this will be counting up
so uh uh this is about the uh things on the table the uh scarf of where in black and white that this one is sittin' this is about the uh things that were
If you see any of those, then this could be one of them so stop here so stop this so look here so this is written
Hey Mr Bojangles
Hey Mr Bojangles
Hey Mr Bojangles so this could be the one that was so if you see this one, then ...
Gun gun gun gun
Hey Mr Bojangles
Hey Mr Bojangles
Hey Mr Bojangles
Christopher Knowles bank robbery so if you know bank robbery bank robbery bank robbery is punishable by
在聯邦監獄服刑 20 年所以這是 寫明的
所以如果你知道這是一個那麼那 麼看這裏
所以克里斯托弗．諾爾斯和披頭四 所以所以
目擊者
《我感到大地移動》 （文：克里斯托弗．諾爾斯）
我感到大地移動……我感到那坍塌坍 塌………曾有個法官他 就是說他提出法庭。而且那法官曾就 像在那有能力的監獄它可能是摑。或 者是
敲。或者是揍。或者是擊。或者是打。
這可能是法官和法庭和監獄的地方。 而那是誰。
這會是做大衛．卡西迪的事實在這關 於感情的案子裏。
那會讓你開心。那會讓你傷心。那會 讓你生氣。或者
那會讓你嫉妒。所以你知不知道監獄 是。一個法庭和一個法官可以 做這個可以像在那些 綠色聖誕樹上。所以聖誕老人有大約 紅色。而現在愛恩斯汀審汛就像沙灘 上的愛恩斯坦。所以這將會。 所以如果你知道那事事事事事實。所 以這發生的我看見的在。露西或 一隻風箏。你拚命一路跑 上去。這是場比賽。所以這會有八個 類型進入粉色溜冰場。所以這方式可 能十分神奇。所以這會像是到 現場女人出來去抓她。所以這什麼她 抓到她。所以如果你躺在 草地上。所以這可能是那地球動或不 動的地方。所以我們 開始吧。
我感到大地在腳下移動。我感到坍塌 坍
塌。我覺得如果
一些鴕鳥就像進入一個書包。有些就 像他們。我走到窗邊
20 years in federal prison so this is written so if you know this is one so so look here so Christopher Knowles and the Beatles so so
WITNESS
I FEEL THE EARTH MOVE
(Text written by Christopher Knowles)
I feel the earth move ... I feel the tumbling down tumbling down ..... There was a judge who like puts in a court. And the judge have like in what able jail what it could be a spanking. Or a whack. Or a smack. Or a swat. Or a hit. This could be where of judges and courts and jails. And who was it. This will be doing the facts of David Cassidy of were in this case of feelings. That could make you happy. That could make you sad. That could make you mad. Or that could make you jealous. So do you know a jail is. A court and a judge could do this could be like in those green Christmas Trees. So Santa Claus has about red. And now the Einstine Trail is like in Einstein on the Beach. So this will. So if you know that faffffffff facts. So this what happen what I saw in. Lucy or a kite. You raced all the way up. This is a race. So this one will have eight in types into a pink rink. So this way could be very magic. Sothis will be like to Scene women comes out to grab her. So this what She grabbed her. So if you lie on the grass. So this could be where if the earth move or not. So here we go.
I feel the earth move under my feet. I feel tumbling down tumbling down. I feel if Some ostriches are a like into a satchel. Some like
想要畫出大地。所以大衛．卡西迪告
訴你什麼時候該進入這在 在一個肉上。所以一條紅裙子會在哪。
所以這能給些汽油。所以這能 這會是一些我所有朋友。辛蒂傑伊史
提夫茱莉亞羅賓里克吉蒂和 莉茲。所以這能得到任何能量。所以 如果你知道有些想進入的。所以…… 所以關於一首歌。
我感到大地移動 卡羅爾．金
所以那是一首歌這個它能在沙灘上的 愛恩斯坦加上審訊
然後是監獄。但是在它能發生的法庭。
所以當大衛．卡西迪告訴你你 們所有人說繼續行動行動。所以這在 就像在紐約 WABC 廣播上……
傑伊．雷諾士從午夜到 6 點。
哈里．夏里遜
所以這就像是 WABC 廣播的…
傑伊．雷諾士從午夜到早上 6 點
哈里．夏里遜從早上 6 點到 L
從 WABC 我感到大地移動……
傑伊．雷諾士從午夜到早上 6 點。
哈里．夏里遜從早上 6 點到上午 10 點。
羅恩．倫迪從上午 10 點到下午 2 點。
丹．殷格朗從下午 2 點到
所以這可能錯误再來 9…
傑伊．雷諾士從午夜到早上 6 點。
哈里．夏里遜從早上 6 點
這在 WABC 上可能是真的。
傑伊．雷諾士
這可能是錯的。
這會 WABC。
傑伊．雷諾士從午夜到早上 6 點。
哈里．夏里遜從早上 6 點到上午 10 點。
羅恩．倫迪從上午 10 點到下午 2 點。
丹．殷格朗從下午 2 點到下午 6 點。
佐治．米高從下午 6 點到晚上 10 點。
查克．里奧納多從晚上 10 點到午夜。
強尼．多諾萬從晚上 10 點到凌晨 3 點。
史提夫-奧-布里翁 從下午 2 點到下
午 6 點。
強尼．歐諾萬從下午 6 點到晚上 10 點。
查克．里奧納 多從凌晨 3 點到早上 5 點。
them. I went to the window and wanted to draw the earth. So David Cassidy tells you when to go into this on onto a meat. So where would a red dress. So this will get some gas. So this could This would be some all of my friends. Cindy Jay Steve Julia Robyn Rick Kit and Liz. So this would get any energy. So if you know what some like into were. So ... So about one song.
I FEEL THE EARTH MOVE CAROLE KING
So that was one song this what it could in the Einstein On The Beach with a trial to jail. But a court were it could happen. So when David Casidy tells you all of you to go on get going get going. So this one in like on WABC New York ...
JAY REYNOLDS from midnight to 6 00.
HARRY HARRISON
So heres what in like of WABC ..
JAY REYNOLDS from midnight to 6 AM
HARRY HARRISON from 6 AM to L
I feel the earth move from WABC ...
JAY REYNOLDS from midnight to 6 AM.
HARRY HARRISON from 6 AM to 10 AM.
RON LUNDY from 10 AM to 2 PM.
DAN INGRAM from 2 PM to
So this can misteaks try it aga9 ..
JAY REYNOLDS from midnight to 6 AM.
HARRY HARRISON from 6 AM
This could be true on WABC.
JAY REYNOLDS froj
This can be wrong. This would WABC.
JAY REYNOLDS from midnight to 6 AM.
HARRY HARRISON from 6 AM to 10 AM.
RON LUNDY from 10 AM to 2 PM.
DAN INGRAM from 2 PM to 6 PM.
GEORGE MICHAEL from 6 PM to 10 PM.
CHUCK LEONARD from 10 PM to midnight.
JOHNNY DONOVAN from 10 PM to 3 AM.
STEVE-O-BRION from 2 PM to 6 PM.
JOHNNY ONOVAN from 6 PM to 10 PM.
CHUCK LEONARD from 3 AM to 5 AM.
JOHNNY DONOVAN from 6 PM to 1OPM.
強尼．多諾萬從下午 6 點到晚上 10 點。
史提夫-奧-布里翁 從早上 4 點 30
分到早上 6 點
史提夫-奧-布里翁 從早上 4 點 30 分到早上 6 點
強尼．多諾萬 從早上 4 點 30 分到早 上 6 點
膝劇 5
膝劇角色 1 （誦讀數字和《布詹戈先生》）
膝劇角色 2 （《膝劇 1》）
巴士司機 《一對戀人》 （文：塞繆爾．約翰遜）
白天的煩惱和困惑已然偃息，夜 色籠罩着我們。夜晚應該是安詳 而寧靜的時候，是讓人放鬆和平 靜的時候。我們需要一個令人倍 感慰藉的故事來驅走白天縈繞的 思緒，讓我們充滿煩惱的心恬然 休憩，讓我們皺縮的靈魂釋然放 鬆。
我們該聽什麼樣的故事呢？啊， 這將是個熟悉的故事，一個很古 老，非常古老，但又很新的故事。 那就是很古老，很古老的愛情故 事。
一對戀人坐在公園的長凳上，互 相偎依着，在月色中手牽着手。 靜默氤氳在兩人之間。他們之間 的愛是那麼深，言語的表達已是 多餘。他們就這麼靜靜地坐着， 在公園的長凳上，互相偎依，月 色中手牽着手。
STEVE-O-BRION from 4 30 AM to 6 AM
STEVE-O-BRION from 4 30 AM to 6 AM
JOHNNY DONOVAN from 4 30 AM to 6 AM
KNEE PLAY 5
KNEE PLAY CHARACTER 1 (Numbers and MR. BOJANGLES)
KNEE PLAY CHARACTER 2 (KNEE PLAY 1)
BUS DRIVER TWO LOVERS
(Text written by Mr. Samuel M. Johnson)
The day with its cares and perplexities is ended and the night is now upon us. The night should be a time of peace and tranquility, a time to relax and be calm. We have need of a soothing story to banish the disturbing thoughts of the day, to set at rest our troubled minds, and put at ease our ruffled spirits.
And what sort of story shall we hear? Ah, it will be a familiar story, a story that is so very, very old, and yet it is so new. It is the old, old story of love.
Two lovers sat on a park bench, with their bodies touching each other, holding hands in the moonlight. There was silence between them. So profound was their love for each other, they needed no words to express it. And so they sat in silence, on a park bench, with their bodies touching, holding hands in the moonlight.
終於，她開口了。「你愛我嗎， 約翰？」她問。「你知道我是愛 你的，親愛的，」他答道，「我 對你的愛非言語所能表達。你是 我生命的光，我的太陽、月亮和 星星。你是我的一切。失去你我 便沒有存在的意義。」
兩人坐在公園的長凳上，又是一陣 默然無語，他們互相偎依，月色中 手牽着手。她又一次開口。「約 翰，你有多愛我？」他回答說：
「我有多麼愛你？盡數天上的繁 星，斗量浩瀚的海洋，再數清那 海邊的沙粒。你會說這是不可能 的。是的，正如我不可能形容我 有多麼愛你。
「我對你的愛，比青天還高，比地 府還深，比大地還寬廣。它沒有 盡頭，沒有邊畔。任何事物都有 盡頭，除了我對你的愛。」
公園長凳上互相偎依，在月色中 手牽手的兩個戀人再次陷入靜默。
又聽見她的聲音。「吻我，約翰，」 她懇求道 。他傾過身子，把嘴唇 溫柔地印在她的唇上， 沉 浸在熱 吻之中…… •
文本翻譯：王明宇
Finally she spoke. "Do you love me, John?" she asked. "You know I love you, darling," he replied. "I love you more than tongue can tell. You are the light of my life, my sun, moon and stars. You are my everything. Without you I have no reason for being."
Again there was silence as the two lovers sat on a park bench, their bodies touching, holding hands in the moonlight. Once more she spoke. "How much do you love me, John?" she asked. He answered:
"How much do I love you? Count the stars in the sky. Measure the waters of the oceans with a teaspoon. Number the grains of sand on the sea shore. Impossible, you say. Yes and it is just as impossible for me to say how much I love you.
"My love for you is higher than the heavens, deeper than Hades, and broader than the earth. It has no limits, no bounds. Everything must have an ending except my love for you."
There was more of silence as the two lovers sat on a park bench with their bodies touching, holding hands in the moonlight.
Once more her voice was heard. "Kiss me, John," she implored. And leaning over, he pressed his lips warmly to hers in fervent osculation... •
克里斯托弗．諾爾斯
Christopher Knowles
文本 Spoken Text
諾爾斯生於 1959 年，現居紐約布魯克林。1973
年， 14 歲的他認識了羅伯特．威爾遜。威爾 遜當時聽了諾爾斯的一段錄音，便邀他與自己 的劇團合作演出，兩人的夥伴關係延續至今。
1974 年首次展出作品後，諾爾斯於 1978 年和
1979 年在霍利．所羅門畫廊舉辦個人展覽。
諾爾斯的作品中最出名的要數他上世紀七八十 年代的打字稿，這些作品當初只是他自娛的消 遣，而其獨特的數學排列其實是作者自閉症的 副產品。作品亦顯露了其與序列藝術及音樂結 構的關聯，並且與表演藝術緊密結合（諾爾斯 亦會做現場朗讀或錄音）。他用電動打字機創 作，用紅、黑、綠三色油墨打出成列的短語（有 些源自流行音樂排行榜）。其他特點包括用諾 爾斯名字首字母「 C」精心排列的幾何圖案。
Born in 1959, Knowles lives in Brooklyn, New York. In 1973 at the age of 14, he met Robert Wilson. Wilson heard an audio recording by Knowles, and invited him to collaborate and perform with his company, a partnership that continues today. Knowles first exhibited in 1974, and had solo exhibitions at Holly Solomon Gallery in 1978 and 1979. Knowles is best known for his “typings” of the 1970s and 1980s, textbased pieces that were developed as a private pastime. The exceptional ability in mathematical organisation revealed in these works is a characteristic by-product of autism, with which Knowles was diagnosed as a child. His work also reveals affinities with the structure of serial art and music, and has a strong relationship to performance (the artist has also made live and recorded performances of his texts). Knowles's typings, created on an electric typewriter, using red, black and green inks, employ lists of words and phrases, including those derived from pop charts. Additional features include geometrical patterns, carefully built up using the artist's initial, “C”. Knowles is represented by Gavin Brown's enterprise in New York.
塞繆爾．約翰遜
Samuel M Johnson
文本 Spoken Text
已故的約翰遜是劇中角色「約翰遜先生」的原 型， 1976 年版《沙灘上的愛恩斯坦》的元老， 曾出演哥倫比亞廣播公司電視劇《筆架山》， 電影《守夜人》、《巴士惡作劇》及音樂喜劇 《所有人跳舞》。
The late Johnson originated the role of Mr Johnson and was the patriarch of the original 1976 Einstein on the Beach company. He had appeared in the CBS series Beacon Hill, in the movies Night Watch and Shuttle Escapade , and in Everybody Dance, a musical comedy.
米高．里斯曼 Michael Riesman
指揮 / 菲力普．格拉斯樂團音樂總監 / 鍵盤
Conductor / Philip Glass Ensemble Music Director / Keyboards
里斯曼身為作曲家、指揮、鍵盤手、製作人及 菲力普．格拉斯樂團音樂總監，製作、指揮格 拉斯樂團的所有音樂唱片，並以獨奏者的身 份，與芝加哥交響樂團等知名交響樂團合作巡 演，還兼任洛杉磯愛樂樂團、紐約愛樂樂團等 樂團的客席指揮。迄今為止，《沙灘上的愛恩 斯坦》的所有演出均由里斯曼指揮。
Riesman is a composer, conductor, keyboardist, producer, and musical director of the Philip Glass Ensemble. Riesman produced and conducted virtually every Glass soundtrack, continues to tour as a recitalist, soloist with major orchestras including the Chicago Symphony, and as guest conductor of the Los Angeles and New York Philharmonic orchestras, among others. To date, Riesman has conducted every performance of Einstein on the Beach.
安-克里斯汀．羅曼
Ann-Christin Rommen
聯合導演 Co-Director
羅曼曾於德國科隆大學研讀戲劇、電影及電 視。她與羅伯特．威爾遜的長期合作始於 1984 年的《內戰》，之後二人又於《沙灘上的愛恩 斯坦》首次重演中合作。羅曼至今已為威爾遜 的 40 多部作品擔任聯合導演。
Rommen studied Theatre, Film, TV at the University of Cologne in her native Germany. In 1984 she began her long-time collaboration with Robert Wilson for The Civil WarS, followed by the first revival of Einstein on the Beach. Since then she has worked on more than 40 productions as his Co-director.
約翰．米高．迪根
John Michael Deegan
佈景指導 Scenic Supervisor
迪根為世界各地多個劇團及音樂節設計佈景、
燈光，其中包括佛羅倫斯五月音樂節、齋藤秀 雄音樂節、冰島國家歌劇團、韓國國家歌劇團、 紐約市立歌劇團、波士頓歌劇團、巴爾的摩歌 劇團、亞特蘭大歌劇團及休斯敦歌劇團。迪根
為菲力普．格拉斯設計的作品有《貝拉與貝蒂》 及《德古拉》。
Deegan has designed scenery and lighting internationally for such companies as Il Maggio Muscale Fiorentino, Saito Kinen Festival, Iceland and Korean National Opera, and The New York City Opera, Opera Company of Boston, Baltimore, Atlanta and Houston. With Philip Glass he designed La Belle et Bette and Dracula
庫爾特．曼卡斯 Kurt Munkacsi
音響設計 Sound Design
曼卡斯自 1972 年起為菲力普．格拉斯任音響 設計、工程師、音樂製作人、唱片主管及格拉
斯旗下廠牌橙山音樂董事長。為菲力普．格拉
斯樂團設計的作品包括：《十二樂章》、《德 古拉》、《貝拉與貝蒂》、《屋頂上的一千架飛 機》、《氫自動點唱機》、《賜福的怪物》及《恐 怖的小孩》。曼卡斯為電影《此時此刻》及《昆 丹》製作音樂，由菲力普．格拉斯樂團演奏， 獲提名奧斯卡最佳配樂獎。其他由曼卡斯製作 的電影原聲及樂團唱片包括《德古拉》、《真 理堅固》、《動盪時代的歌》、《真人 Show》 及《正義難伸》等。
Munkacsi has worked with Philip Glass since 1972 as sound designer, engineer, music producer, and record executive. Designs include the Philip Glass Ensemble concerts, Music In Twelve Parts, Dracula, La Belle et La Bête , 1000 Airplanes On The Roof , Hydrogen Jukebox , Monsters Of Grace , and Les Enfants Terribles . He produced Glass's recordings for the Oscar-nominated scores to The Hours and Kundun , as well as Koyaanisqatsi , Dracula , Satyagraha , Songs From Liquid Days , The Truman Show, The Thin Blue Line . He is also president of Glass's record label Orange Mountain Music.
查爾斯．奧特 Charles Otte
副導演 Directing Associate
奧特為戲劇、電影及媒體導演，合作過的機構 包括布魯克林音樂學院、巨蟒劇團、 A&E、林 肯中心、拉瑪瑪劇場、聖丹斯電影節、洛杉磯 歌劇團、休斯頓歌劇團、美國話劇團、格思里 劇團、林肯博物館及德薩斯州歷史博物館等。 奧特現任洛杉磯動物園區劇團聯合藝術總監、 德薩斯州大學綜合媒體課程教授。奧特曾於 1984 年擔任《沙灘上的愛恩斯坦》的舞台監 督。
Director of theatre, film, and media, Otte’s clientele includes BAM, Monty Python Productions, A&E, Lincoln Center, La Mama, Sundance Institute, LA Opera, Houston Opera, ART, Guthrie Theatre, Lincoln Presidential Museum, Texas History Museum, among others. He is currently Co-Artistic Director for ZooDistrict Theatre in LA and Professor of Integrated Media at the University of Texas at Austin. Otte stagemanaged Einstein on the Beach in 1984.
厄斯．蕭恩包姆
Urs Schöenebaum
燈光設計 Lighting
蕭恩包姆為歌劇、戲劇、裝置藝術與各類表演
藝術設計燈光，已有 70 多部作品在世界各地 知名劇場上演。他常與導演托馬斯．歐斯特麥 耶、導演威廉．肯特里奇及羅伯特．威爾遜合 作。其他合作過的藝術家包括：凡妮莎．碧考 夫、安塞姆．基弗、丹．格雷厄姆及瑪麗娜． 阿布拉莫維奇。
Schöenebaum designed lights for opera, theatre, installations and performances in over 70 productions at major theatres worldwide. He works regularly with Thomas Ostermeier, Stefan Larsson, LaFuradelsBaus, William Kentridge and Robert Wilson. His work also includes lighting design for art projects with Vanessa Beecroft, Anselm Kiefer, Dan Graham and Marina Abramovi.
卡洛斯．蘇圖 Carlos Soto
服裝設計 / 服裝主任 Costumes, Wardrobe Head
蘇圖自 1997 年起與羅伯特．威爾遜合作，在 其眾多歐美劇目及裝置藝術中擔任演員、設計 師及助理，包括《瑪麗娜．阿布拉莫維奇的生 死》。其作品跨越劇場與當代藝術，曾在莫斯科 現代藝術博物館、紐約古根漢博物館等地展出。
Soto has collaborated with Robert Wilson since 1997 as performer, designer and assistant on numerous European and American productions and installations, including The Life and Death of Marina Abramovic . Various collaborations have spanned contemporary art and theatre, presenting at Performa 09, Moscow Museum of Modern Art, and the Guggenheim, among others.
盧克．維舒爾倫 Luc Verschueren
髮型設計 / 化妝 Hair / Makeup
維舒爾倫是坎貝爾青年合夥劇團的聯合導演， 作品包括百老匯劇目《私生活》、《貝蒂》、 《蜘蛛俠》、《跳出我天地》及《搖滾》；在倫
敦上演的《幽靈》、《愛無止盡》、《普里西拉》 及《黑騎士》；以及英國新域劇團眾多劇目。
歌劇作品有《自由射手》（德國巴登劇院）、 《崔斯坦與依索爾德》（米蘭史卡拉歌劇院）、 《來自死亡之屋》（維也納國家歌劇院）及《尼 伯龍根的指環》（東京新國家劇院）。
Verschueren is Co-Director of Campbell Young Associates. His credits include Private Lives, La Bête, Spider-Man, Mary Stuart, Billy Elliot, Rock and Roll on Broadway; Ghost , Love Never Dies , Priscilla , The Black Rider in London and many productions for Young Vic. Opera credits include Der Freischütz (Baden-Baden), Tristun und Isolde (La Scala), From the House of the Dead (Vienna), The Ring Cycle (Tokyo).
安東．西爾弗曼
Antoine Silverman
愛恩斯坦 / 小提琴獨奏 Einstein / Solo Violinist
西爾弗曼曾為眾多樂界傳奇錄音、編曲及擔任 獨奏，包括米高．積臣、米歇爾．勒格朗、史 翠珊、洛．史超域、雪瑞兒．可洛、盧．里德 及藍尼．克羅維茲。他還曾與紐約市芭蕾舞團 合作。西爾弗曼是百老匯音樂劇《蜘蛛俠》的 樂團首席兼配樂統籌。
Silverman has recorded, soloed and arranged music for legends such as Michael Jackson, Michel Legrand, Barbra Streisand, Rod Stewart, Sheryl Crow, Lou Reed, Lenny Kravitz and countless others. He has soloed with the Boston Pops, and played with New York City Ballet. Silverman is concertmaster and music-coordinator of the Broadway show Spider-Man.
赫爾加．戴維斯 Helga Davis
主要演員 Featured Performer 戴維斯曾聯合主演羅伯特．威爾遜導演、柏妮 絲．里根作曲的《聖安東尼的誘惑》及彼得． 格林納威的《藍色星球》。 2012 年，戴維斯出 演了帕奧拉．普拉斯蒂尼的《海之詩》，該劇 在肯尼迪藝術中心首演。同年他還與大提琴手 瑪雅．貝瑟合作了《其他地方》。
Davis co-starred in The Temptation of St. Anthony directed by Robert Wilson with music by Bernice Johnson Reagon as well as The Blue Planet by Peter Greenaway. In 2012 Davis appeared in Paola Prestini's Oceanic Verses , premiering at the Kennedy Center and with cellist Maya Beiser in Elsewhere, and music by Missy Mazolli.
凱特．莫蘭 Kate Moran
主要演員 Featured Performer
莫蘭合作的藝術家有：米高．考斯、提耶爾． 德彼勒提、讓．法布爾、彼得．格林納威、平 田織佐、鮑勃．麥克格斯及帕斯卡．蘭伯特等 等。其最新作品包括帕斯卡．蘭伯特導演的 《愛的盡頭》、克勞德．施米特的《蒂比．海德 莉》（由希治閣的《鳥》改編）及揚．岡薩雷 斯的《午夜會議後》。莫蘭現在活躍於巴黎和 紐約。
Moran has worked around the world with such artists as Michael Counts, Thierry Deperetti, Jan Fabre, Jim Findlay, Yves-Noel Genod, Peter Greenaway, Oriza Hirata, Christophe Honore, Bob McGrath, Gilles Paquet-Brenner and Pascal Rambert, among others. Upcoming projects include Pascal Rambert’s Love’s End , Claude Schmidt's Tippi Hedren , an original piece based on Hitchcock's The Birds , and Yann Gonzalez's first feature film, Les Rencontres d'Apres Minuit. She divides her time between Paris and New York.
賈斯伯．紐維爾 Jasper Newell
男孩 Boy
《沙灘上的愛恩斯坦》是紐維爾首次踏上戲劇 舞台。他之前曾出演電影《我兒子是惡魔》， 以及電視劇《小人物》、《愛探險的朵拉》及 《神奇寵物救護隊》。
Newell is excited to be a part of the Einstein on the Beach company for his stage debut. He previously performed in the film We Need To Talk About Kevin, and his TV credits include Small Potatoes, Dora The Explorer, The Wonder Pets!
查爾斯．威廉斯
Charles Williams
約翰遜先生 Mr Johnson
威廉斯曾於柏林音樂學院學習聲樂與歌劇，後 以歌手及演員身份在歐洲發展。他曾與紐約大 都會歌劇院合作，演出《波基與貝絲》；在威 爾遜和里根導演的《聖安東尼的誘惑》中，他 飾演「硬橡皮」一角。威廉斯任職於華盛頓萊 文音樂學校聲樂系，也在美國及海外開設大師 班及聲樂工作坊。
Williams studied voice and opera at Hochschule fuer Musik, Berlin, and went on to work as a singer and actor in Europe. He has worked with Metropolitan Opera, and played the character of Sportin’ Life in Porgy and Bess . He was on the voice faculty of Levine school of Music, Washington DC. Williams also conducted masterclasses, vocal workshops in the US and abroad. He played Ebonite in Robert Wilson’s and Bernice Reagon’s production of Temptation of Saint Anthony
米歇爾．伊頓 Michèle A Eaton
女高音 Soprano
伊頓以演繹巴羅克清唱劇見長，並隨美國作曲 家彼得．席克爾全美巡演。席克爾最著名的創 意是以虛擬的「 PDQ 巴赫」之名，改編古典 與現代作曲家名曲。伊頓在紐約市歌劇團歌劇 《格倫戴爾》的首演中出演幼年的格倫戴爾， 該劇由茱莉．泰莫導演。她還是《對岸巴羅克》 的女高音兼聯合導演。
Eaton is known primarily for her Baroque oratorio performances, but she also tours around the US with Professor Peter Schickele, known for his “discoveries” of the putative music of PDQ Bach. She has appeared as the Child Grendel in the New York City premiere of the opera Grendel , directed by Julie Taymor. She is the soprano and co-director of BaroQue Across the River.
林德西．凱瑟曼
Lindsay Kesselman
女高音 Soprano
凱瑟曼常夥拍美國作曲家，首演各種聲樂新 作。近期合作演出、錄音的藝術家及藝團包括： 第八隻畫眉樂團成員、第三海岸敲擊樂團、匹 茲堡新音樂樂團與大維．朗、艾美．基斯頓及 史提夫．萊克等。
Kesselman regularly collaborates with American composers on premiering new and diverse works for voice. Recent projects include commissions, performances and recordings with members of eighth blackbird, Third Coast Percussion, and the Pittsburgh New Music Ensemble with composers David Lang, Amy Kirsten, and Steve Reich, among others.
梅勒妮．羅素 Melanie Russell
女高音 Soprano
羅素曾與多個美國一流聲樂團合作演出及錄製 唱片，包括三重華爾街合唱團、耶魯大學合唱 團及康斯普拉爾合唱團。曾與古典結他手西 蒙．博伊斯合作，在紐約演出重新編排的哈恩 及弗瑞作品。近期將與倫敦樂詩樂團合作，舉 行獨唱會。
Russell has performed and recorded with premier vocal ensembles in the US, including Trinity Wall Street Choir, Yale Schola Cantorum, and Conspirare. She recently presented newly arranged mélodies by Hahn and Fauré with classical guitarist Simon Powis in New York City. She looks forward to upcoming recitals with Musica Poetica London.
陳凱婷 Hai-Ting
女中音 Mezzo-soprano
Chinn
陳凱婷合作過的藝術家及藝術團體包括：紐約 市立歌劇團、伍斯特劇團、以色列愛樂樂團、 奧菲爾室樂團、韋佛利古樂團、「 PDQ 巴赫」
及倫敦西區多個劇團。她還首演了杜韻、舒德
芬．韋斯曼、康拉德．卡明斯、尼克．布魯克 及馬修．席克爾等的新作。
American mezzo-soprano Chinn has sung with New York City Opera, The Wooster Group, Opera Omnia, Israel Philharmonic, Orpheus Chamber Orchestra, Waverly Consort, PDQ Bach, and on London’s West End, and has premiered projects by Du Yun, Stefan Weisman, Conrad Cummings, Nick Brooke, Yoav Gal, and Matthew Schickele.
凱特．馬羅尼 Kate Maroney
女中音 Mezzo-soprano
馬羅尼曾與紐約聖三一教堂巴赫晚禱合唱團、 俄勒岡巴赫音樂節、伯克郡巴赫協會、莫扎特 音樂節及紐約合唱協會合作，並即將首演及灌 錄蜜西．馬佐利的《喧囂之歌》。馬羅尼擁有 紐約州立大學帕切斯學院、耶魯大學及伊士曼 音樂學院的學位。
Versatile mezzo-soprano Maroney has recently been heard with Holy Trinity Bach Vespers, Oregon Bach Festival, Berkshire Bach Society, Mostly Mozart, and NY Choral Society. Upcoming highlights include the premiere performances and recording of Missy Mazzoli’s Song From the Uproar Maroney holds degrees from State University of New York, Purchase, Yale, and Eastman.
索朗芝．梅爾迪尼安
Solange Merdinian
女中音 Mezzo-soprano
亞美尼亞裔阿根廷女中音，現於紐約發展。獨 唱家、室樂演唱家。其常演歌劇曲目從巴羅克 時期直跨現代。梅爾迪尼安畢業於紐約巴德音 樂學院聲樂研究生課程， 2007 年獲茱莉亞音樂 學院音樂學士學位（聲樂）。
New York-based Armenian-Argentinean mezzosoprano, Merdinian is known for her versatility and interpretation as recitalist, chamber musician, and her performances in opera ranging from baroque to contemporary repertoire. She graduated from Bard College Conservatory of
Music's new Graduate Program in Vocal Arts, developed by Dawn Upshaw, in 2009, and from The Juilliard School with a Bachelors of Music, Voice, in 2007.
菲力普．安德遜 Philip Anderson
男高音 Tenor
安德遜曾於紐約與阿泰克早期音樂樂團、宮務
大臣古樂團及 ARTEK 演唱早期音樂，並為查 塔姆巴羅克樂團、馬克．莫里斯舞團、彼法羅 早期音樂樂團、女王室樂團及韋佛利古樂團做
客席演出。他曾於卡內基音樂廳獨唱韓德爾的 《彌賽亞》，並參演 2007 年百老匯劇目《科勒 姆男孩》。唱片包括獲格林美獎提名、與蒂芙 尼古樂團合作的《無限神秘》。
Anderson sings early music in New York with ARTEK, My Lord Chamberlain’s Consort, and TENET. He performed as a soloist singing Handel’s Messiah at Carnegie Hall, and also performed in Coram Boy (2007) on Broadway. He is guest artist with Chatham Baroque, Mark Morris Dance Group, Piffaro, The Queen’s Chamber Band, and Waverly Consort. His recordings include Grammy Award nominated O Magnum Mysterium with the Tiffany Consort.
托馬斯．告魯斯 Tomás Cruz
男高音 Tenor
告魯斯生於加州，現活躍於波士頓、特拉維夫
及巴黎。與爵士傳奇菲爾．馬特森在紐約卡內 基音樂廳及瑞典韋斯特羅斯音樂廳的演出，標 誌其歌唱生涯的開始。畢業於新英格蘭音樂學 院，師從爵士歌手多米尼克．伊德。
Cruz launched his career performing at Carnegie Hall and Västerås Concert House (Sweden) with legendary jazz director/educator Phil Mattson. A California native, Cruz has performed locally in Boston and internationally in Tel-Aviv and Paris. He graduated from New England Conservatory, where he was a student of jazz vocalist Dominique Eade.
約翰．卡瓦 John Kawa
男高音 Tenor
卡瓦常合作的樂團、舞團包括：紐約愛樂樂團、 紐約市芭蕾舞團、美國古典管弦樂團、紐約超 技歌者合唱團、紐約聖三一教堂巴赫晚禱合唱 團、美國交響樂團及梅肯交響樂團。卡瓦獲梅 西大學與北卡羅萊納藝術學院的表演學位。
Kawa regularly performs with the New York Philharmonic, New York City Ballet, America Classical Orchestra, Musica Sacra, New York Virtuoso Singers, Bach Vespers at Holy Trinity Lutheran in New York, American Symphony Orchestra, and Macon Symphony. Kawa holds performance degrees from Mercer University and North Carolina School of the Arts.
格哥利．普因哈根
Gregory R Purnhagen
男高音 Tenor
普因哈根演出的菲力普．格拉斯作品有：《貝 拉與貝蒂》、《賜福的怪物》及《伽利略》，也 曾主演歌劇《試音》及《欺詐同行》。普因哈 根還是位獲獎卡巴萊歌舞表演者及新澤維爾． 庫加特樂團指揮。他曾參演 1992 年《沙灘上 的愛恩斯坦》重演。
Purnhagen has created roles in several Philip Glass works: La Belle et la Bête , Monsters of Grace and Galileo Galilei. He has starred in operas by Nicholas Brook (Tone Test) and Michael Kowalski (Fraternity of Deceit), among others. He is an award winning cabaret artist and conductor of the New Xavier Cugat Orchestra. He was a member of the 1992 revival of Einstein on the Beach
祖．達蒙．查普
Joe Damon Chappel
男低音 Bass
查普畢業於伊士曼音樂學院，活躍於紐約早期 音樂界。他是紐約聖三一教堂巴赫晚禱合唱團 的首席低音獨唱，也與學院唱詩班、紐約早期 音樂、「聲音」室內合唱團等團體合作。
Chappel is a graduate of the Eastman School of Music with an active career in the New York early music scene. He is principal bass soloist at Bach Vespers at Holy Trinity (New York City) and performs with groups such as Collegiate Chorale, Early Music New York, Vox Vocal Ensemble.
賈森．查爾斯．沃嘉
Joe Damon Chappel
男低音 Bass
沃嘉曾在羅伯特．威爾遜與柏妮絲．里根的 《聖安東尼的誘惑》中任主要獨唱及合唱團首 席，並為波頓劇團的《勇氣》（改編自喬治． 沃爾夫原作）作曲。沃嘉現於紐約演出，內容 包括其專輯《就像你》中的曲目。
Walker is featured soloist and ensemble leader of Robert Wilson and Bernice Johnson Reagon’s Temptations of Saint Anthony . Most recently, Walker was the composer in the Bolton Theatre’s adaptation of the George C Wolfe’s play Spunk . Presently, he performs his works in New York City including those from his CD Just Like You
泰．布默沙恩 Ty Boomershine
露仙達．查爾特斯舞蹈團彩排總監 / 舞蹈員 LCDC Rehearsal Director / Dancer
布默沙恩獲哥倫比亞史蒂芬斯學院藝術學士學 位，曾與眾多藝術家及團體合作，包括：蘇珊． 范皮爾特、舞動噪音舞團、XXY 舞蹈音樂劇團、
瓊斯與贊恩舞團、丹．瓦格納、簡寧漢舞蹈團、 敦．西蒙斯、鹿特丹舞蹈作品舞團、愛爾蘭現 代舞蹈劇場、朱利亞．米瑞杜及露仙達．查爾 特斯。
Boomershine holds a Bachelor of Fine Arts from Stephens College, Columbia MO. He has worked with Susan Van Pelt, Suzanne Grace/Burning Feet Dance, DANCENOISE, XXY Dance/Music, Bill T Jones/Arnie Zane Company, Dan Wagoner, Gus Solomons Jr, Merce Cunningham repertory ensemble, Ton Simons, Dance Works Rotterdam, Irish Modern Dance Theater, Leine & Roebana, Giulia Mureddu, and Emio Greco|PC, and Lucinda Childs.
凱蒂．德恩 Katie Dorn
舞蹈員 Dancer
德恩曾獲北卡羅萊納藝術學院藝術學士學位、 霍林斯大學美國舞蹈節藝術碩士學位，後於紐 約獲得瑪莎．海勒青年專才表演獎。德恩 2009 年起成為露仙達．·查爾特斯舞蹈團成員，並 協助《舞》在密歇根大學的演出。
Dorn received her Bachelor of Fine Arts from NCSA and her Master of Fine Arts from the Hollins University/ADF MFA programme. Upon moving to New York, she received the Martha Hill Young Professional performance award. Dorn has been dancing for Lucinda Childs since 2009 and has helped stage her work DANCE at the University of Michigan.
嘉芙蓮．海倫．費沙
Katherine Helen Fisher
舞蹈員 Dancer
費沙的舞蹈錄像曾於巴塞爾藝術博覽會及洛杉 磯縣立藝術博物館展出。她的編舞作品曾在舞 動空間、耶德遜教堂及布魯克林藝術博物館等 地演出。費沙曾就讀於紐約大學帝什藝術學 院， 2008 年加入露仙達．查爾特斯舞蹈團。
Fisher’s dance on camera work has been screened at Art Basil Switzerland and the LACMA. Her choreography has been presented at Danspace, Judson Church, The Brooklyn Museum of Art, Here and Dance Now. She attended Tisch School of The Arts at New York University and has been dancing for Lucinda Childs since 2008.
安．路易斯 Anne Lewis
舞蹈員 Dancer
路易斯生於愛荷華州德梅因，畢業於曼荷蓮學 院，獲社會批判與舞蹈文學士學位。她曾獲頒 全額獎學金，於佛羅里達州哈利德藝術學院學 習舞蹈。2009 年加入露仙達．查爾特斯舞蹈團。
Born in Des Moines, IA, Lewis graduated from Mount Holyoke College with a Bachelor of Arts in Critical Social Thought and Dance. She also trained at The Harid Conservatory in Boca Raton, Florida, on a full tuition scholarship. Lewis has been dancing for Lucinda Childs since 2009.
文森．麥克洛斯基 Vincent McCloskey
舞蹈員 Dancer
麥克洛斯基受訓於華盛頓芭蕾舞學院、艾文．
艾利舞蹈學校及卓弗利芭蕾舞學校，其後在建 築公司舞團師從卡羅琳．洛德。除了露仙達． 查爾特斯，還與眾多舞蹈家合作，包括馬克． 莫里斯、杜桑．泰納克、勞拉．斯克茲及帕姆． 塔諾維茲。
McCloskey trained at the Washington School of Ballet, Alvin Ailey, Joffrey Ballet School, and with Carolyn Lord at the Construction Company. In addition to dancing for Lucinda Childs, he has worked with Mark Morris, Dusan Tynek, Laura Scozzi, and Pam Tanowitz, among others.
莎朗．米勒尼茲 Sharon Milanese
舞蹈員 Dancer
米勒尼茲來自新澤西，三歲開始跳舞。她畢業 於德克薩斯州南美以美大學，獲舞蹈表演藝術 學士學位，合作過的舞蹈家及舞團有：露仙達． 查爾特斯、柯賓舞團、莉茲．喬林、雷蒙．奧 勒、環舞舞團、紐約芭蕾舞劇團、科特斯舞團 及動態芭蕾舞團。
Milanese is from New Jersey where she began dancing at the age of three. She received her Bachelor of Fine Arts in Dance Performance from Southern Methodist University, in Dallas, Texas. Milanese has worked and performed with Lucinda Childs, CorbinDances, Liz Gerring, Ramon Oller and the Peridance Ensemble, New York Theatre Ballet, Cortez and Company, and Verb Ballets.
柏德烈．約翰．奧尼爾
Patrick John O’Neill
舞蹈員 Dancer 奧尼爾在紐約州羅徹斯特市出生長大，畢業於 紐約大學帝什藝術學院，獲舞蹈專業藝術學士 學位。與露仙達．查爾特斯合作之餘，也是切 瑞琳．拉瓦格尼諾舞團、腳步舞團及「項目 44」的成員。
O’Neill was born and raised in Rochester, New York. He graduated with his Bachelor of Fine Arts in Dance from New York University's Tisch School of the Arts. In addition to working with Lucinda Childs, O’Neill has been a company member for Cherylyn Lavagnino Dance, The Steps Repertory Ensemble and Gierre Godley's Project 44.
麥特．帕多 Matt Pardo
舞蹈員 Dancer
帕多生於紐約州奧爾巴尼市， 2007 年畢業於水 牛城大學，獲藝術學士學位。曾效力根基舞團、 聖摩尼卡當代芭蕾舞團、北岸舞蹈團、平衡舞 劇舞團及艾森豪爾舞團。獲《歐洲舞蹈雜誌》 評為 2010- 2011 年度世界前百名舞者之一。
Pardo is originally from Albany, New York. He is a 2007 Advanced Honors Bachelor of Fine Arts Graduate from the University of Buffalo. He has danced for Groundworks Dance Theater, Santa Monica Contemporary Ballet, River North Dance Company (Apprentice), Balasole Dance Company, and the Eisenhower Dance Ensemble. Pardo was selected as one of the Top 100 dancers in the world for 2010/2011 by Dance Europe Magazine.
小朗尼．普帕爾 Lonnie Poupard Jr
舞蹈員 Dancer
生於密歇根州門羅郡，畢業於西密歇根大學， 曾與舞蹈家馬克．丹迪、凱瑟琳．米勒、馬克． 莫里斯及喬迪．奧伯費爾德合作；憑在紐約市 音樂與戲劇中心秋季舞蹈節上的雙人舞，獲 《紐約客》評為 2009 年度十佳表演之一。
Originally from Monroe, MI, Poupard graduated from Western Michigan University. He has worked with Mark Dendy, Catherine Miller, Mark Morris, and Jody Oberfelder. He was distinguished in New Yorker Magazine as one of “Ten Best Dance Performances of 2009” for his duet performance at City Center’s Fall for Dance Festival.
凱特琳．斯克蘭頓
Caitlin Scranton
舞蹈員 Dancer
斯克蘭頓受訓於愛荷華舞蹈團、愛德懷藝術學 院及艾文．艾利舞蹈學校，獲史密斯學院美國 歷史文學士學位。他合作過的舞團及舞蹈家有： 麥田舞團、大都會歌劇芭蕾舞團、馬克．丹迪
舞團、環舞舞團、克里斯托夫．威廉姆斯及露 仙達．查爾特斯。
Scaranton received dance training from Dance Theater of Iowa, Idyllwild Arts Academy, and The Ailey School. She holds a Bachelor of Arts in American History from Smith College, and has performed with Cornfield Dance, the Metropolitan Opera Ballet, Mark Dendy DanceTheater, the Peridance Ensemble, Christopher Williams and Lucinda Childs.
史超域．辛格 Stuart N Singer
舞蹈員 Dancer
辛格畢業於紐約州立大學普契斯學院舞蹈系， 曾效力瓊斯與贊恩舞團、道格．瓦倫舞團及沃
利．卡爾多納舞團，現正與格溫．維里沃合作 新舞。他近期還於紐約巴德學院、本寧頓學院 及美國舞蹈節授課。
A graduate of the Purchase College Conservatory of Dance, Singer has danced in the companies of Bill T Jones/Arnie Zane, Doug Varone, and Wally Cardona, and is currently collaborating on a new work with Gwen Welliver. Recent teaching includes Bard College, Bennington College and the American Dance Festival.
夏奇拉．史超域 Shakirah Stewart
舞蹈員 Dancer
史超域獲紐約州立大學普契斯學院藝術學士學 位，曾於該學院演出蘿莉．斯托林斯、保羅． 泰勒、馬克．莫里斯及凱文．韋恩等編舞的作 品。其他合作過的舞團及舞蹈家有：紐約新舞 蹈團、自然之力舞團、阿曼達．塞爾溫舞團、 錫德拉．貝爾、衝撞舞團及嘉芙蓮．海倫．費沙。
Stewart received her Bachelor of Fine Arts at State University of New York Purchase College where she performed works by Lauri Stallings, Paul Taylor, Ori Flomin, Mark Morris and Kevin Wynn. She went on to dance with New Dance Group, Forces of Nature, Amanda Selwyn Dance Theater, Sidra Bell, Gregory Dolbashian in his company The Dash Ensemble, and Katherine Helen Fisher.
麗莎．畢拉瓦 Lisa Bielawa
合唱指揮 / 菲力普．格拉斯樂團女高音
Choral Master / Philip Glass Ensemble Soprano 作曲家、歌手畢拉瓦是 2009- 2010 年度羅馬獎 （作曲）得主，現正創作大型空間交響曲《滕 珀爾霍夫廣播》，將於今年由數百位樂手在滕 珀爾霍夫機場演出。為扎迪克、橙山音樂等廠 牌灌錄過音樂。 1992 年起隨菲力普．格拉斯樂 團巡演。
Composer-vocalist Bielawa is a 2009/10 Rome Prize winner in Musical Composition, currently at work on Tempelhof Broadcast, a spatialised symphony for hundreds of musicians to be performed in 2013 at Tempelhof Airfield. Her music is available on the Tzadik, Orange Mountain Music, BMOP/sound, Sono Luminus and innova labels. She began touring with the Philip Glass Ensemble in 1992.
大衛．克羅韋爾 David Crowell
中音薩克斯管 / 長笛 Alto Saxophone / Flute 加拿大音樂雜誌《 Exclaim!》譽作曲家兼演奏 家克羅韋爾有「超越流派的獨特視角」，《波
士頓環球報》稱其作品有「絕妙的水晶音質」。
其作品曾在紐約現代藝術博物館、莫肯音樂 廳、 MATA 音樂節及翠貝卡新音樂節演出。
Composer and instrumentalist Crowell has been praised for a “singular vision that transcends genre” (Exclaim) and compositional work that is "notable for its crystalline sonic beauty" (Boston Globe). His music has been performed at the Museum of Modern Art, Merkin Hall and for the MATA and Tribeca New Music festivals.
丹．德萊頓 Dan Dryden
音響指導 Sound Supervisor
德萊頓 1983 年加入菲力普．格拉斯樂團，錄製 過多首菲力普．格拉斯及其他音樂家的作品。
他收藏了美國藝術家阿莫里．貝拉東的全部作 品。貝拉東於 1954 至 1986 年間創作了「治療 儀」系列雕塑及畫作。
Member of the Philip Glass Ensemble since 1983, Dryden has recorded several Philip Glass works as well as works of other artists. Dryden preserved the life-work of Emery Blagdon, the late visionary artist who created his “Healing Machines” sculptures and paintings in Nebraska from 19541986.
史蒂芬．厄布 Stephen Erb
舞台音響工程師 On-Stage Audio Engineer 厄布的作品跨越戲劇及音樂界。他 2004 年加 入菲力普．格拉斯樂團，與樂團合作了《貝拉 與貝蒂》及《賜福的怪物》。其他作品包括《飛 燕金槍》及《再見女郎》。
Erb is an audio engineer whose work spans the worlds of music and theatre. This includes La Belle et la Bête and Monsters of Grace with The Philip Glass Ensemble; Annie Get Your Gun and The Goodbye Girl on Broadway. Erb is honoured to collaborate with The Philip Glass Ensemble and has been a member since 2004.
莊．吉遜 Jon Gibson
高音薩克斯 / 長笛 Soprano Saxophone / Flute 吉遜身兼作曲家、管樂演奏家及視覺藝術家， 在當代樂壇活躍 40 餘年。 1969 年菲力普．格 拉斯樂團首年便加入樂團，參與了《沙灘上的 愛恩斯坦》每一場演出。
A composer, multi-wind instrumentalist and visual artist, Gibson has been active in contemporary music for over 40 years. He has been a member of the Glass Ensemble since its inception in 1969 and has performed in every performance on Einstein on the Beach
米克．羅斯 Mick Rossi
鍵盤 / 助理指揮 Keyboards / Assistant Conductor 羅斯與菲力普．格拉斯合作已 12 年，在樂團 中任鋼琴手、敲擊樂手及指揮。其他合作過的 藝術家包括：保羅．西蒙、戴夫．道格拉斯、 李歐納．柯恩及芮妮．弗萊明。曾於悉尼歌劇 院、卡內基音樂廳、荷里活露天劇場及紐約現 代藝術博物館演出，其第九張專輯《失落陸地 之歌》近期於橙山音樂旗下發表。
Rossi has been a Philip Glass collaborator and ensemble-member as pianist, percussionist, and conductor for 12 years. Rossi has worked with a diversity of artists including Paul Simon, Dave Douglas, Leonard Cohen, and Renee Fleming. He has performed in various venues including Sydney Opera House, Carnegie Hall, Hollywood Bowl, and MoMA. His ninth CD Songs From The Broken Land is currently out on Orange Mountain Music.
安德魯．斯特曼 Andrew Sterman
長笛 / 短笛 / 低音單簧管 / 次中音薩克斯管 Flute / Piccolo / Bass Clarinet / Tenor Saxophone
斯特曼於 1992 年加入菲力普．格拉斯樂團， 曾與法蘭．仙納杜拉、佛瑞迪．赫巴德、迪吉． 葛拉斯彼、莎拉．沃恩、艾瑞莎．弗蘭克林、 凱莉．克萊森、托尼．班尼特等知名歌手合作。
2010 年獲美國國家藝術基金會獎，現已發行三 張個人專輯。
Sterman has been a member of the Philip Glass Ensemble since 1992. He has performed with Frank Sinatra, Freddie Hubbard, Dizzy Gillespie, Sarah Vaughan, Aretha Franklin, Buddy Rich, Kelly Clarkson, Tony Bennett, Sterman was recipient of a 2010 commission from the National Endowment For the Arts. He has three solo CDs currently available.
丹．博拉 Dan Bora
現場混音師 Live Sound Mix
製作人及工程師，曾與菲力普．格拉斯、尼可． 穆利、磁場樂隊等知名藝術家及團體合作。
其作品涵蓋戲劇、音樂唱片及電影，包括《瑪 麗娜．阿布拉莫維奇的生死》、奧斯卡獲獎電 影《戰爭的迷霧》及活地．亞倫的《命運決勝 點》。
Producer and engineer, Bora works with renowned artists including Antony, Philip Glass, Nico Muhly, and The Magnetic Fields. His credits appear in theatre, albums, and films, including The Life and Death of Marina Abramovic, Academy Award winning Fog of War, and Woody Allen's Cassandra's Dream.
珍妮．鮑曼 Jenni Bowman
舞台監督 Stage Manager
紐約獨立製作人及舞台監督，作品包括菲力 普．格拉斯《渴望之書》、羅伯特．惠特曼《護 照》、康尼島美人魚遊行、眾多契訶夫作品的 特定場地表演、世界科學節及加州日與夜藝術 節。
An independent producer and stage manager in New York City, Bowman’s previous work includes: Philip Glass’ Book of Longing , Robert Whitman’s Passports at The Dia , Coney Island's Mermaid Parade, numerous site-specific Chekov’s at Lake Lucille, World Science Festival and Glass’ Days and Night Festival in Big Sur, CA.
路易斯．卡坦扎羅 Lois Catanzaro
追光燈操作 / 助理電工
Follow Spot Operator / Assistant Electrician
紐約電工及設計師，獲辛辛納提大學音樂學院 藝術學士學位及南美以美大學藝術碩士學位。
Catanzaro is an electrician and designer based in New York City. She holds a Bachelor of Fine Arts from the University of Cincinnati CollegeConservatory of Music and an Master of Fine Arts from Southern Methodist University.
珍妮特．克蘭西 Janet Clancy
裝配技師 / 木工 Rigger / Carpenter 克蘭西最早是攝影師、吞火魔術師及道具製作 者。為許多藝術家及團體負責裝配，包括約翰． 凱利、滑稽劇二人組瓦烏瓦烏姐妹、朱莉．安 塔拉．姆茲、馬布礦場劇團及最近的空中飛人 閣樓馬戲團。 2005 年因其出色的裝配技術獲貝 茲特別獎。
Clancy started in the arts as a photographer, fireeater and prop builder. She has worked on many rigging projects with John Kelly, Streb/Ringside, The Wau-Wau Sisters, Julie Atlas Muz, LVMH/ Marcade, Mabou Mines, and most recently, Big Sky Works/The Trapeze Loft. In 2005 she received a Bessie Award Special Citation for technical direction and rigging.
約瑟夫．佐丹奴 Joseph Giordano
技術指導 Technical Supervisor
佐丹奴生於緬因州，自 1983 年起隨眾多美國 本地及國際舞蹈團巡演。其作品包括： 1992 年 版《沙灘上的愛恩斯坦》、馬修．伯恩的《車 中人》，白橡園舞集、加思．費根舞蹈團作品、 馬修．伯尼的《汽車人》、莫斯科大劇院芭蕾 舞團及基洛夫芭蕾舞團的演出。
Born and raised in Portland, Maine, Giordano has been touring with various domestic and international dance companies since 1983. His work includes the 1992 production of Einstein on the Beach, White Oak Dance Project, Garth Fagan Dance, Matthews Bourne’s The Car Man, and the Bolshoi and Kirov Ballet companies.
鮑勃．戈英 Bob Going
電工 / 程式設計師 Electrician / Programmer 戈英在紐約從事戲劇、電視及特別活動的燈光 編程達八年，合作劇團有：劇作家地平線劇團、
曼哈頓戲劇俱樂部、第二舞台劇團、拉．喬拉 劇場等。獲艾德菲大學藝術學士學位。
Going is based in New York City and has been programming lights for theatre, television, and special events for the past eight years. Select theatre credits include Playwrights Horizons, Manhattan Theatre Club, Second Stage Theatre, and La Jolla Playhouse. He holds a Bachelor of Fine Arts from Adelphi University.
布拉德．漢普頓 Brad Hampton
助理劇團經理 Assistant Company Manager
紐約視覺藝術家及自由撰稿人，曾任羅俐．安 德遜作品《家園》及《妄想》的巡演經理，近 期為他人製作監督。
A visual artist and freelance writer who lives and works in New York City, Hampton most recently worked as Studio Manager for Laurie Anderson and was Company Manager on her Homeland and Delusion tours.
布拉德．赫本 Brad Hepburn
吊杆操作 / 裝配技師 Flyman / Rigger
木工、焊工及裝配技師，已於伊利諾伊大學克 蘭納特表演藝術中心工作 15 年。曾與數百位 明星合作，包括：麥當娜、U2、老鷹樂隊、《孤 星淚》及 Foo Fighters。曾在電影《奇蹟之戰》 與《告密者》中任技師，最近在米克爾．羅斯 的《電影藝術的終結》巡演中任木工主任。
A carpenter, welder and uprigger at Krannert Center for the Performing Arts at University of Illinois Champaign-Urbana for 15 years, Hepburn has worked with Madonna, U2, Eagles, Les Miserables, Foo Fighters and hundreds more. He was studio mechanic for Miracle Match and The Informant . He recently toured as head carpenter with Mikel Rouse’s End of Cinematics
喬舒亞．霍格倫 Joshua Hoglund
追光燈操作 / 木工
Follow Spot Operator / Carpenter
紐約自由身技師及戲劇導演，常合作的場館有： 巴利辛科夫藝術中心、廚房劇場、紐約現場藝 術中心及其他市中心場地。隱形狗藝術中心聯 合策劃人。
A freelance technician and theatre director based in Brooklyn, NY, Hoglund frequently works at The Baryshinkov Arts Center, The Kitchen, New York Live Arts, and other downtown performance venues. He is a co-curator of performance for The Invisible Dog Arts Center.
德里克．約翰遜 Derek Johnson
木工主任 Head Carpenter
約翰遜曾獲艾美獎，作品包括：《南太平洋》 首次全美巡演、《半醉的護花使者》、太陽馬 戲團的《歡宴人生》。合作過的藝人及團體有： 切特．沃克、米爾頓．邁爾斯、賽達里斯兄妹、 公共劇院、第二舞台劇團、雅各布的枕頭舞蹈 中心、奧爾巴尼．伯克希爾芭蕾舞團及格林美 頒獎禮。
Emmy award winner Johnson has, most notably, worked with the first national tour of South Pacific, The Drowsy Chaperone, Cirque du Soleil’s Corteo, Chet Walker, Milton Myers, David and Amy Sedaris, The Public Theatre, 2econd Stage Theatre, Jacob’s Pillow Dance, The Albany Berkshire Ballet and The Grammy Awards.
喬希．約翰遜 Josh Johnson
助理燈光主管 Assistant Lighting Supervisor 約翰遜用現代技術輔助演員的情感表達。他設 計了許多飛機庫內的演出，在 35 個國家巡演。 曾與米哈伊．巴利辛科夫、羅伯特．勞森伯格 及 Radiohead 合作，與摩斯．坎寧安合作的幾 年是他事業的高峰之一。
A technical artist who uses all the tools of our time to support the emotional expression of theatre artists, Johnson has engineered performances in airplane hangars, toured to 35 countries, and worked with Mikhail Baryshnikov, Robert
Rauschenberg, and Radiohead. A highlight was the years with Merce Cunningham.
賈森．凱澤 Jason Kaiser
助理舞台監督 / 助理木工
Assistant Stage Manager / Assistant Carpenter
凱澤的作品包括：尼可．穆利與斯蒂芬．卡拉 姆的《黑暗姐妹》、《費加羅的婚禮》、《魔 笛》、《萬世巨星》的兩次歐洲巡演、《阿周那 的困境》、諾埃爾．科沃德的《苦澀的甜蜜》
及阿索爾．富加德兩部作品的世界首演。
Kaiser’s previous work includes Nico Muhly and Stephen Karam’s Dark Sisters , Le nozze di Figaro , The Magic Flute, two European tours of Jesus Christ Superstar, Arjuna’s Dilemma, Noël Coward’s Bitter Sweet , two world premieres by Athol Fugard, installation of The Gates with Christo and JeanneClaude, and five years with Jennifer Muller/The Works dance company.
賴安．卡利 Ryan Kelly
射頻系統主管 RF Systems Supervisor
紐約音響工程師，於富賽大學修讀錄音藝術課 程，曾與尼可．穆利、凡爾格．西古德松及碧 昂絲合作演出及錄音。
Kelly is an audio engineer based in New York City. Originally from Olalla, WA, Kelly attended Full Sail University’s Recording Arts programme. His career has included live performance and studio projects with Nico Muhly, Valgeir Sigurðson and Beyoncé.
克雷格．基德韋爾 Craig Kidwell
電工主管 Head Electrician
基德韋爾 2010 年畢業於密西根大學，獲燈光 設計學位。曾擔任卡斯頓歌劇院的助理電工技 師，底特律紅翼隊開季賽助理燈光設計以及表 演網絡劇場的客席技術總監。
Kidwell graduated from University of Michigan in 2010 with a degree in lighting design. Highlights of his freelance career include serving as assistant master electrician for Castleton Opera, assistant
lighting designer for the Detroit Redwing’s season opener and guest technical director for the Performance Network Theater.
帕特．柯比 Pat Kirby
高級巡演經理 Senior Tour Manager
柯比主要為訪美國際團體工作，曾與山海塾、 德魯伊戲劇公司、烏干達精神童聲合唱團及以 色列巴舒化舞團合作。她曾在林肯中心過去 12 季藝術節中的八季擔任各類職務，此前曾任威 廉姆斯戲劇節的經理人。
Kirby works primarily with international companies coming to the US. Previous companies she worked with have included Sankai Juku, Druid Theatre Company, Spirit of Uganda, and Batsheva among others. She has worked for Lincoln Center Festival eight of past 12 seasons in various positions and as business manager for Williamstown Theatre Festival prior to that.
瑪格達蓮娜．克拉舒尼亞 Magdalena Klašnja
服裝助理 Wardrobe Assistant
生於塞爾維亞，現居紐約。為劇場、電影、電 視作品任服裝和舞台設計，曾參與許多國際時 裝秀、展覽及工作坊，展示她的設計、理念、 服飾藝術作品、時裝表演及製作，並曾出版個 人著作。
Born in Belgrade, Serbia, Klašnja works for theatre, film, TV production as a costume designer and scenographer. She was part of many international group fashion shows, exhibitions and workshops showing her drawings, concepts, costume design art, fashion performances as well as installations and she published a book. She currently lives and works in New York.
瓦列里．萊特 Valerie Light
道具主管 Properties Supervisor
萊特是紐約自由劇場藝術家，從事道具、佈景、 壁畫設計及教學等工作。曾隨鳳凰娛樂公司及 百老滙亞洲國際公司於美國及世界各地巡演。
Light is a freelance theatre artist based in Brooklyn, New York. She has toured in the US and around the world with Phoenix Entertainment and Broadway Asia International. She works as a props artisan, scenic artist, muralist, teacher, and set designer in the New York City area.
傑里米．利迪克 Jeremy Lydic
道具主管 前期及製作
Head of Properties – Advance and Build
利迪克身兼技師、設計師、導演、作家及演員， 於紐約布魯克林經營一間名叫「利迪克！設計」
的道具工作室，曾為百老匯演出、電視節目及 美術家設計、製作許多作品。同時，他還與自 己的團隊「半：劇場」一起創作、演出。
Lydic is an interdisciplinary theatre artist working as craftsman, designer, director, writer, and performer. He operates a props design/ fabrication studio, Lydic!Design, in Brooklyn, New York, where he has made countless objects for Broadway productions, television shows, and fine artists. He also creates performance works with his ensemble, semi:theater.
CJ．馬歇爾 CJ Marshall
控制台電工 / 特效統籌
Deck Electrician / Special Effects Coordinator
馬歇爾畢業于瑪格麗特女王大學，獲得舞台監 督及戲劇制作學士學位，目前為塔爾薩表演藝 術中心的電工主任。曾任《翻譯之真理》及 《石柱戲劇實驗室》的技術總監，以及《母親
寫給母親的信》、《自由之聲》等多部作品的 燈光設計。
Marshall holds a Bachelor of Arts in Stage Management and Theatre Production from Queen Margaret University and he is currently the head electrician at the Tulsa Performing Arts Center. He worked as technical director for Truth in Translation project and Colonnades Theatre Lab, and lighting designer for Mother to Mother, Freevoice Productions and numerous other projects.
羅蘭特．科里．麥卡琴
Roland Cory McCutcheon
髮型及化妝主管 / 助理設計師
Hair and Makeup Supervisor / Assistant Designer
麥卡琴是倫敦/紐約金寶．楊有限公司的合伙 人。舞台作品有：百老匯《蜘蛛俠：消滅黑 暗》、《孟菲斯》、《熱淚心聲》、《跳出我天地》 以及經典舞台公司的《失常行為》首演。影視 作品有：《蝙蝠俠：夜神起義》、《大西洋帝 國》、《一鳴驚人》、《護士當家》及《花邊教 主》。
McCutcheon is a partner of London and New York based design firm, Campbell Young Associates. His recent stage credits include Broadway’s Spider-Man Turn Off The Dark , Memphis, The Miracle Worker, Billy Elliot, and Classic Stage Company’s premier of Unnatural Acts . His film/TV credits include Batman ‘The Dark Night Rises’, Boardwalk Empire , Smash, Nurse Jackie , and Gossip Girl
珍．羅森鮑姆 Jane Rosenbaum
製作舞台監督 Production Stage Manager
羅森鮑姆 2011 年首次與羅伯特．威爾遜合作， 任瑪莎．葛蘭姆舞團舞台監督，重演威爾遜的 芭蕾舞劇《平頂山之雪》。此後，她又擔任威 爾遜劇作《瑪麗娜．阿布拉莫維奇的生死》及 《大爆炸：第 19 屆水磨坊藝術中心年度夏季募 款》的舞台監督。
Rosenbaum worked with Robert Wilson for the first time as production manager for the Martha Graham Dance Company where he restaged his ballet, Snow on the Mesa in 2011. Since then she has stage managed Wilson’s The Life and Death of Marina Abramovic and The Big Bang: The 19th Annual Watermill Center Summer Benefit.
約翰．托里斯 John Torres
燈光主管 / 助理燈光設計
Lighting Supervisor / Assistant Lighting Designer
托里斯近期作品及合作者包括：特麗莎．布朗 編舞的《……扔》和《調皮鬼》，羅伯特．威 爾遜的《水磨坊五重奏》，柯賓舞團及愛達荷 芭蕾舞團。曾任助理燈光設計的作品有：《狄 多王的仁慈》（ 2011 艾克斯藝術節）、《賣花女》 （ 2010 艾克斯藝術節）及《冬之旅》（ 2002 林 肯中心藝術節）。托里斯於 2002 至 2010 年間 任特麗莎．布朗舞團的製作經理兼燈光總監。
Torres’s recent designs include ...Toss and Rogues Chor: Trisha Brown, Theatre National de Chaillot, Paris; Watermill Quintet in collaboration with Robert Wilson, Guggenheim New York; CorbinDances; Ballet Idaho. He also worked as an assistant in La Clemenza di Tito (Festival D’Aix, 2011), Pygmalion (Festival D’Aix 2010), Winterreise (Lincoln Center Festival, 2002). He was the production manager and lighting director for Trisha Brown Company from 2002 to 2010.
馬克．沃倫 Marc Warren
製作經理 Production Manager
沃倫的劇場作品有： 1992 年的《沙灘上的愛恩 斯坦》及 莫里斯．桑達克的《糖果屋》及《布 朗迪伯》。 2002 年任鹽湖城冬奧會的特別項目 技術總監。過去 14 年，他一直是林肯中心藝 術節的製作統籌，亦曾任喬伊斯劇場和雅各的 枕頭舞蹈節的製作經理。他還與斯波拉托藝術 節合作三年，其中兩年任技術總監。
Warren theatrical highlights include Einstein on The Beach in 1992, Maurice Sendack’s Hansel & Gretel and Brundibar . In 2002 Warren was the Special Projects Technical Director for the Winter Olympics in Salt Lake City. For the past 14 years he has been a production coordinator for the Lincoln Center Festival. He has been the Production Manager for both the Joyce Theater and Jacob’s Pillow Dance Festival. Warren has also spent three years with the Spoleto Festival, two years as the technical director and scene shop supervisor.
蓮達．布倫巴赫 Linda Brumbach
執行製作人 Executive Producer
布倫巴赫畢業於印第安那音樂學院， 1998 年於 紐約創立 Pomegranate Arts 製作公司。此前 她在國際製作協會任製作總監達 11 年之久， 負責統籌眾多藝術家的全部巡演，如：括菲力 普．格拉斯、崔拉．莎普、斯伯丁爾．格雷、 戴蒙妲．葛拉絲、伊麗莎白．史翠柏、山海塾、 卡倫．芬利和梅麗爾．坦卡德。她曾為創意國
會及新英格蘭藝術基金會民族舞蹈項目擔任顧 問，亦曾是歡樂布魯克林的咨詢委員和國際表 演藝術協會的指導委員，並曾任國家藝術代理 人大會聯合主席。
Brumbach founded Pomegranate Arts in 1998, a production company based in New York City. Prior to forming her own company, she was the producing director of International Production Associates (IPA) for 11 years, where she was responsible for overseeing all touring productions of artists such as Philip Glass, Twyla Tharp, Spalding Gray, Diamanda Galas, Elizabeth Streb, Sankai Juku, Karen Finley and Meryl Tankard. She has served as a consultant for Creative Capitol, and the National Dance Project for the New England Foundation for the Arts. She has served on the advisory board member of Celebrate Brooklyn and the board of director for the International Society of Performing Arts (ISPA), as well as co-chaired the National Arts Presenters Conference. She is a graduate of the Indiana School of Music.
阿莉莎．雷加斯 Alisa E Regas
副製作人 Associate Producer
雷加斯自 1998 年 Pomegranate Arts 創立伊始 便加入公司，任副總監。她曾為民族舞蹈項目 （新英格蘭藝術基金會）及創意國會擔任顧問。
此前，她在國際製作協會擔任項目經理，合作 藝術家和團體包括：菲力普．格拉斯、斯伯丁． 格雷、不可置信劇團、崔拉．莎普、梅麗爾． 坦卡德、山海塾、理查德．福爾曼、羅伯特． 威爾遜、伊麗莎白．史翠柏、莉莎．克隆和戴 蒙妲．葛拉絲。雷加斯於西北大學獲得英文小 說創作文學士學位及綜合藝術文憑，畢業后加 入芝加哥國際戲劇節製作團隊。
Regas joined Pomegranate Arts as Associate Director immediately upon its formation in 1998. She has also served as a consultant for the National Dance Project/NEFA and Creative Capitol. Previously Regas has worked at International Production Associates (IPA) as a project manager working with Philip Glass, Spalding Gray, Improbable, Twyla Tharp, Meryl Tankard, Sankai Juku, Richard Foreman, Robert Wilson, Elizabeth Streb, Lisa Kron and Diamanda Galás. Regas began her career on the producing team of the International Theatre Festival of Chicago after graduating from Northwestern University with a Bachelor of Arts in English Fiction Writing and Certificate in the Integrated Arts.
林賽．波斯威克 Linsey Bostwick
副事務經理 Associate GM
波斯威克 2010 年加入 Pomegranate Arts。她 長期參與「大藝術團」的創意、製作工作，曾 與辛西婭．霍普金斯、蘇珊．馬歇爾、妮娜． 溫斯羅普等藝術家合作。波斯威克獲華盛頓大 學的文學士學位（戲劇），布魯克林學院表演 及媒體藝術碩士學位。
Bostwick joined the Pomegranate team in 2010. She is a long time creative/producing collaborator with Big Art Group and has worked with Cynthia Hopkins, Susan Marshall, Nina Winthrop among others. Bostwick holds a Bachelor of Arts from University of Washington in Theatre and a Master of Fine Arts from Brooklyn College in Performance and Media Arts.
Pomegranate Arts
製作公司 Production Management
Pomegranate Arts 是一間獨立製作公司，致力 於發展當代國際表演藝術項目。自成立起，公 司便構想、製作並呈現菲力普．格拉斯、蘿瑞． 安德森、不可置信劇團、山海塾、丹．詹尼斯 及戈蘭．布列葛維奇等藝術家和藝團的作品。 特別項目包括：菲力普．格拉斯和克儸諾斯弦 樂四重奏的《德古拉：音樂與電影》、音樂劇 場《蓬頭彼得》、巴西歌手弗吉尼亞．羅德里 格斯音樂會、戲劇編輯人獎獲獎作品《查理． 維克多．羅密歐》、菲力普．格拉斯和理查德． 基爾的《療癒鴻溝：一場和平與和諧的音樂 會》，以及哈爾．維爾納的《為美而來》及《萊 昂納德．科恩之夜》。除了將《沙灘上的愛恩 斯坦》重新搬上舞台外，公司近期亦籌備製作 戈蘭．布列葛維奇北美巡演，以及重演露仙達． 查爾特斯 1979 年的經典作品《舞》。
Pomegranate Arts is an independent production company dedicated to the development of international contemporary performing arts projects. Since its inception, Pomegranate Arts has conceived, produced, or represented projects by Philip Glass, Laurie Anderson, London’s Improbable Theatre, Sankai Juku, Dan Zanes, and Goran Bregovic. Special projects include Dracula: The Music And Film with Philip Glass and the Kronos Quartet; the music theatre work Shockheaded Peter; Brazilian vocalist Virginia Rodrigues; Drama Desk Award winning Charlie Victor Romeo ; Healing The Divide , A Concert for Peace and Reconciliation, presented by Philip Glass and Richard Gere; and Hal Willner's Came So Far For Beauty, An Evening Of Leonard Cohen Songs. In addition to the remount of Einstein on the Beach, recent projects include the North American tours of Goran Bregovic and the remounting of Lucinda Childs’ 1979 classic, DANCE
簡歷中譯：林青睿、張熙
Watermill is a laboratory for performance founded by Robert Wilson as a unique environment for young and emerging artists from around the world to explore new ideas. Watermill draws inspiration from all the arts and cultures as well as from social, human, and natural sciences. Watermill is a global community of artists where living and working together among the extensive collection of art and artifacts lies at the heart of the experience. Watermill strives to be a haven for a next generation of artists while supporting their work among a network of international institutions that embrace new interdisciplinary approaches.
Many of the world’s most celebrated artists have participated in Watermill programs including Trisha Brown, David Byrne, Lucinda Childs, Philip Glass, Isabelle Huppert, Jeanne Moreau, Lou Reed, Miranda Richardson, Dominique Sanda, Susan Sontag and Robert Wilson himself. Theaters and museums around the world have mounted dozens of projects that were originally developed at the Watermill Center.
In the words of Jessye Norman, "Watermill is the best idea to find a place in the world of arts since Pierre Boulez created IRCAM in Paris. Robert Wilson's unique gifts and spirit provide the strong basis of a new vision of the creation and presentation of all that we think of as theatre in particular, combining all of the arts in a fresh perspective.”
The Byrd Hoffman Water Mill Foundation operates the Center and coordinates its artistic programmes. In addition, the Center has established collaborative networks with both neighboring and international cultural and educational institutions. Its artistic programs are financed through the generous support of individuals, foundations, corporations and state institutions.
The Watermill Center's new facilities were inaugurated in July 2006. Since the Grand Opening the Watermill Center offers a wide range of programmes and activities throughout the year. For the well-known International Summer Arts Program, Wilson invites 60-80 artists who come from over 25 countries — 48 countries so far — for four to five weeks of intense creative exploration. There are daily workshops with Mr Wilson and his collaborators, based on new projects they are developing in all areas of the arts. Residents also develop their own work under Wilson's guidance. A lecture series completes the ambitious programme. Its mission is to give young emerging artists time and space to create new original works in all artistic fields and related disciplines and to offer them a network of associated institutions, artists and alumni to support them in their artistic and professional development.
For the Center's Fall and Spring Residency programmes, which take place from September to June, a high profile committee of practitioners in the arts and humanities — including Wilson, Marina Abramovic, Alanna Heiss, Albert Maysles, Gerard Mortier, John Rockwell, Jonathan Safran Foer, Richard Sennett, Nike Wagner and others — selects over 15 groups, individual artists and scholars in residence to workshop their own creations. The residencies are complemented by educational programmes with schools and other institutions; public events such as open rehearsals and lectures, seminars and symposia; and tours of the building and grounds.
The London-based performance and video artist Daria Martin writes about her Watermill experience: "We are encouraged to use the space as we see fit, whenever suits us... We also enjoyed the freedom of wandering through Robert Wilson's incredible collection of objects, unhindered by protective glass etc – these statues add a provocative texture to thoughts and to work... The peace and tranquility here is gold dust. You can watch your own thoughts drift past like in a meditation..."
To apply for the summer workshop programme with Robert Wilson or a fall or spring residency, please refer to the webpage www.watermillcenter.org.
For more information please contact tel: 212.253.7484 or fax 212.967.1703 or info@watermillcenter.org
The Byrd Hoffman Watermill Foundation thanks:
Abbey Art Consultants, Marina Abramović, Rodolfo Abularach, Shaikha Paula Al-Sabah, Fawzi M Al-Saleh, American Friends Of The Paris Opera And Ballet, Thomas Ammann, The Annenberg Foundation, Dimitrios Antonitsis, Stephen Apking, The Giorgio Armani Corporation, Bernard & Helene Arnault, Paul Austin, Aventis Foundation, Clayton Aynswroth & Deborah Green, Dianne B, Bacardi Usa, Inc., Alec Baldwin, Stephan Balzer, Monique Barbier-Mueller, Thierry Barbier-Mueller, Toni Beauchamp (in memorian), Bell’Invito, Irving Benson, Pierre Bergé, André Bernheim, Nathan Bernstein & Katharina Otto-Bernstein, Lutz Bethge, Jörg Bittel, Luciano & Giancarla Berti, Ross Bleckner, Louise T Blouin, Guga Sebastiano Bomfim, Robert Borchardt, Frances Fay Bowes, Countess Cristiana Brandolini, Bridges Larson Foundation, Brooks Brothers, The Brown Foundation, Cecily Brown, Ron Brown Scholar Program, Bruno Brunet & Nicole Hackert, Stanley Buchthal & Maja Hoffmann, The Martin Bucksbaum Family Foundation, Henry Buhl, Ed Bulgin, Franz & Bettina Burda, Diana Burroughs, William I Campbell & Christine Wächter-Campbell, Ted Carpenter (in memoriam), Chanel, The Prince Claus Fund, Jean-Paul Claverie, Alain Coblence, Claudia Cohen, Melissa Cohn, Philippe & Wynne Comer, Elaine Terner Cooper (in memoriam), Paula Cooper & Jack Macrae, The Cowles Charitable Trust, Creative Capital, Mary Sharp Cronson, The Dorothy & Lewis B Cullman Foundation, Richard D (in memoriam) & Lisa Colburn, Dominick D’Alleva & Robin Cofer, Zora Danon (in memoriam), Karin Dauch, Cecile David-Weill, Hélène David-Weill, Ethel De Croisset (in memoriam), Lisa De Kooning, Addie De Menil, Christophe De Menil, Eugenia De Olazabal, Simon De Pury, Philippine De Rothschild, Robert De Rothschild, Ziba De Weck Ardalan, Deutsche Bank Na, Margherita Di Niscemi, Bernd H Dinter, Rose Dreyer, Robert Louis Dreyfus (in memoriam), Doris Duke Charitable Foundation, Asher Edelman, David & Susan Edelstein, Lee MacCormick Edwards, David & Sarah Ehrlich, Christian Eisenbeiss, Richard & Eileen Ekstract, Marina Eliades, The Elkins Foundation, The Empire State Development Corporation, Jan Fabre, Harald Falckenberg & Larissa Hilbig, Philip & Lisa Maria Falcone, Jonathan & Somers Farkas, Federation of Migros Cooperatives, Roger & Wendy Ferris, Janet Finkel, Forum Associates, Betty Freeman (in memoriam), Juergen & Anke Friedrich, Larry Gagosian, John Gallaher, Jolmer Gerritse, Molly Gochman, Nan Goldin, Barbara L Goldsmith Foundation, Henry & Barbara Gooss, Douglas Gordon, Florence Gould Foundation, Barbara Grodd, Martin & Audrey Gruss, Guild Hall, Agnes Gund, Dan Gundrum, The Guttman Family, Mimi & Peter Haas Fund, Hachette Filipacchi Media US, Peter Hallock, Hanne Wilhelm Hansen Foundation, Gary Hattem, R Couri Hay, Hearst Corporation, Veronica Hearst, Mary Heilmann, Kim Heirston, Gabriele Henkel, Paul Hilal, David Hockney, Ikepod Timepieces, Yves-André Istel & Kathleen Begala, Ilya & Emilia Kabakov, Donald Kahn, Gene Kaufman, Holm Keller, Anselm Kiefer, Lummi U Kieren, Calvin Klein Family Foundation, William & Eileen Kornreich, Joseph Kraeutler, Oleg Kulik, Stewart F Lane & Bonnie Comely, CD Langehorne, Thomas H Lee & Ann Tenenbaum, Annie Leibovitz, Heidi Leiser, Stephanie Levin, Ann Lewis (in memoriam), Toby Lewis, Lexus, Dorothy Lichtenstein, Harvey Lichtenstein, Peter Lindbergh, Jerry Lindzon, Jenny Ljungberg, LLWW Foundation, L’Oreal USA, Eugenio Lopez, LUMA Foundation, Bruno Lussato, Dr Johann Borwin Lüth, LVMH / Moët Hennessy.Louis Vuitton, Judy Lybke, The Mach Foundation, The Honorable Earle & Carol Mack, The Robert Mapplethorpe Foundation, Marathon Associates, LP, Peter & Jane Marino, Giovanna Mazzocchi, Porter McCray Estate, Margaret McDermott, Jay McInerney & Anne Hearst McInerney, Kelly McNamara, Henry McNeil, Michael Meagher, Jonathan Meese, Andrew W Mellon Foundation, Bruce & Julie Menin, Robert Menschel, Richard & Marcia Mishaan, Microsysteme, Nicole Miller, Vincent Minuto, Montblanc, The National Endowment For The Arts, Caroline Negley, Leslie Negley, Nancy Negley, Daniel Neidich & Brooke Garber Neidich, Samuel I Newhouse Foundation, The New York State Council On The Arts, The New York State Urban Development Corporation, Ed & Helen Nicoll, August Oetker, Lyndon L Olson Jr, Dennis Oppenheim (in memoriam), Joël-André Ornstein & Gabriella Maione Ornstein, Maren Otto, Michael Otto, The Overbrook Foundation, Elise Overland, The Park Avenue Charitable Fund, John & Jenny Paulson, Laura Pels, Simone Perele, Richard & Lisa Perry, Maria Pessino, Campion & Tatiana Platt, Madame Claude Pompidou, Nancy Poses, Alfred & Clare Pott-Siftung, Miuccia Prada, Pringle of Scotland, Dr Edgar Quadt, William & Katharine Rayner, Richmont North America, Inc., Alfred Richterich, The Jerome Robbins Foundation, Kevin Roberts, Michael Robinson, Rockefeller Brothers Fund, The Felix & Elizabeth Rohatyn Foundation, Rolex, Thaddaeus Ropac, Deedie Rose, Aby Rosen, Dieter Rosenkranz, Royal Norwegian Consulate General, The Rudin-Dewoody Family, May & Samuel Rudin Family Foundation, Renee Ruding, The Rudkin Family Foundation, Mark Rudkin, Rolf Sachs, The Mortimer D Sackler Family, David Salle, Louisa Stude Sarofim, Kimihiro Sato, The Scaler Foundation, Bradford Schlei, Kathryn Schmitt, Lynn Schneider, Christine Schwarzman, Henry & Elizabeth Segerstrom, Barton & Jane Shallat, The Evelyn Sharp Foundation, The Peter J Sharp Foundation, Roberta Sherman, Carsten Siebert, Richard Silverstein & Carla Emil, The Juliet Lea Hillman Simonds Foundation, The Simonds Foundation, Raka Singh, Barbara Slifka, Joseph & Sylvia Slifka Foundation, Randy Slifka, Jay & Tracey Snyder, The Soros Family, Sotheby’s, Peter Speliopoulos & Robert Turner, The Alexander C & Tillie S Speyer Foundation, Stanley Stairs, John Stewart, Mickey & Leila Straus, Suffolk County Office Of Cultural Affairs, Jay Sugarman & Kelly Behun Sugarman, Stephen Susman, Taipei Cultural Center, Nader Tavakoli, Tod’s, Trust For Mutual Understanding, Spencer Tunick, Firouz Vakil, HRH Duke Franz Von Bayern, Prinz Von Bayern, Vanessa Von Bismarck, Brigitte Von Ribbentrop, Bettina Von Siemens, Voom Hd Networks, Doda Voridis, Rufus Wainwright, Franz Wassmer, Robert Weil, Michel Weill, The Karan Weiss Foundation, John Williams Trust, Robert M Wilson, Robert W Wilson, Robert Wilson Stiftung, Ivan Wilzig, Isabel Witte, Raoul & Bettina WitteVeen, Denise Wohl, Laura Lee W Woods, Works & Process At The Guggenheim, Eva Wyman, Frank & Victoria Wymann, Neda Young, John Zieman, Michael & Nina Zilkha, Klaus & Antje Zumwinkel and many other esteemed donors.
Einstein on the Beach: Production History
Einstein on the Beach by Robert Wilson and Philip Glass, Music by Philip Glass, Design/Direction by Robert Wilson. Texts by Christopher Knowles, Samuel M Johnson, and Lucinda Childs, choreography by Andrew de Groat, lighting by Beverly Emmons, was originally produced by the Byrd Hoffman Foundation in 1976 and was performed at Théâtre Municipal (Festival d'Avignon), Avignon, France (premiere); Teatro La Fenice (Venice Biennale), Venice; BITEF (Théâtre des Nations), Belgrade; La Monnaie, Brussels; Opéra Comique (Festival d'Automne), Paris; Deutsches Schauspielhaus, Hamburg; Rotterdamse Schouwburg, Rotterdam; Theatre Carré (Holland Festival), Amsterdam; Metropolitan Opera House, New York City.
Subsequent remounts of Einstein on the Beach featuring choreography by Lucinda Childs and lighting by Beverly Emmons were produced in 1984 at the Brooklyn Academy of Music, as part of the Next Wave Festival and in 1992 by International Production Associates/Top Shows Inc at the McCarter Theater (Previews), Princeton, NJ; Oper Frankfurt; State Theatre, Melbourne; Teatro del Liceo, Barcelona; Teatro de la Vaguarda, Madrid; Artsphere Performing Arts Center, Tokyo; Brooklyn Academy of Music, New York City; MC 93 Bobigny (Festival d'Automne), Paris.
Einstein on the Beach
©1976 Dunvagen Music Publishers, Inc.
All Rights Reserved http://www.dunvagen.com/
Choreography Copyright ©1984 Lucinda Childs
Libretto of Einstein on the Beach ©1976, 1984 by Robert Wilson.
Used by permission of Robert Wilson and the Byrd Hoffman Foundation, In. www.robertwilson.com
Contributions to the libretto by Lucinda Childs, Samuel M Johnson and Christopher Knowles
2012-13 Einstein on the Beach Tour
January 20 - 22, 2012 (Previews) Ann Arbor, MI
March 16-18, 2012 (World Premiere) Montpellier, France
March 24-25, 2012 Reggio Emilia, Italy
May 4-6, 9-13, 2012 London, England
June 8-10, 2012 Toronto, Canada
September 14-16, 19-23, 2012 Brooklyn, NY
October 26-28, 2012 Berkeley, CA
November 9-11, 2012 Mexico City, Mexico
January 5-7, 10-12, 2013 Amsterdam, Netherlands
March 8-10, 2013
Hong Kong, China
July 31 - August 4, 2013 Melbourne, Australia
October 11-13, 2013 Los Angeles, US
Einstein on the Beach has been produced by Pomegranate Arts www.pomegranatearts.com/project-einstein/index.html
Einstein on the Beach Production
Production Management
Pomegranate Arts, Inc
Executive Producer Linda Brumbach
General Manager and Associate Producer Kaleb Kilkenny
Associate Producer
Alisa E Regas
Associate General Manager Linsey Bostwick
Administrative Assistant Susannah Gruder
www.pomegranatearts.com
The producers of Einstein on the Beach extend their special thanks to: Pasha Antonov, Baryshnikov Arts Center, Joseph Bradshaw, Chuck Close, Ben Cohen, Joe Cohen, Paul Corley, Simon DePury and Phillips DePury, Sherry Dobbin, Thom Donovan, DPA, Stephanie Engeln, Frank Gehry, Julia Gillett, Douglas Gordon, Chris Green, John Jankowski- College of Staten Island Center for the Arts, Jim Keller, Noah Khoshbin, Zoe Knight, Kurzweil Music Systems, Annick Lavallée-Benny, Rolf Lee, Sharon Lehner, Rebecca Litman, Pinki Patel, James Robertson, Peter Robertson, Carla Sacks, Drew Smith, Ruth Sternberg, Bernhard Stippig, Jorn Weisbrodt, Jim Woodard, Fabien Zurmeyer
The 2012 Production of Einstein on the Beach would not have been possible with out the constant support and tireless efforts of Pierre Audi, Marga Wobma-Helmich and Pieter Hofman; Louise Jeffries, Toni Racklin, Angie Smith, and Graham Sheffield; Ken Fischer and Michael Kondziolka; Janice Price, Chris Lorway and Clyde Wagner; Joe Melillo, Karen Brooks Hopkins, Alice Bernstein and Pat Skully; Jean Paul Scarpitta; and Matias Tarnopolsky.
A very special thanks to the entire staff of the Hong Kong Arts Festival who have made this special presentation of Einstein on the Beach possible in Hong Kong.
The 2012 production of Einstein on the Beach is dedicated in memory of our friend and collaborator, Sue Jane Stoker, whose tireless work and tremendous talent guided us to the staging of this performance.
Credits
Scenic Construction
Freight Coordination
Company Travel
Casting – Principals
Choral Master, Choral Casting
Rehearsal Pianist & Keyboard Understudy
Assistant to Robert Wilson
Rehearsal Production Assistants
Special Effects Consultant
General Legal Consultation
Legal – Grand Rights
Legal – Visa/Immigration
Press Representation
Daedalus Design and Production Inc.
Paul Lippe
Jean Furakawa, Tzell Travel
Zoe E Rotter
Lisa Bielawa
Gordon Beeferman
Julian Mommert
Michelle Scalpone, Alex Davis
Jeremy Chernik
Robyn Guillams, Fettmann,Tolchin & Majors
Rose Schwartz
Franklin Weinrib, Rudel & Vassallo
Andi Floyd, Fettmann, Tolchin & Majors
Blake Zidell and Associates,
Blake Zidell , John Wyszniewski
• 泛聯展覽物流香港有限公司
Agility Fair & Events Logistics Ltd
• 香港法國文化協會
Alliance Française de Hong Kong
• 美國商會 American Chamber of Commerce
• 「安迪．華荷︰十五分鐘的永恆」展覽 Andy Warhol: 15 Minutes Eternal Exhibition
• Art Futures Group
• 亞洲協會香港中心
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• 澳洲駐香港總領事館
Australian Consulate-General Hong Kong
• 樺利廣告有限公司 Avanny Advertising Co Ltd
• Mr Thomas Beales
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• 法國巴黎銀行 BNP Paribas
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Cheer Shine Enterprise Co Ltd
• Cherrypicks Ltd
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• 毛妹芭蕾舞學校 Christine Liao School of Ballet
• 中華書局 Chung Hwa Book Co
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City Contemporary Dance Company
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Consulate General of Netherlands in Hong Kong and Macau
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Consulate General of Switzerland
• 美國駐港澳總領事館 Consulate General of the
United States Hong Kong & Macau
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Fung Kai Liu Man Shek Tong Secondary School
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G.L. Graphic & Printing Limited
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• The Grand Cinema
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• 香港演藝學院
The Hong Kong Academy for Performing Arts
• 音樂學院 School of Music
• 香港藝術行政人員協會
Hong Kong Arts Administrators Association
• 香港藝術中心 Hong Kong Arts Centre
• 香港芭蕾舞團 Hong Kong Ballet
• 香港浸會大學 Hong Kong Baptist University
• 香港大會堂 Hong Kong City Hall
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• 香港文化中心 Hong Kong Cultural Centre
• 香港舞蹈團 Hong Kong Dance Company
• 香港知專設計學院 Hong Kong Design Institute
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• 香港州際酒店 Intercontinental Hong Kong
• iProspect
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• Italian Trade Commission
• 王仁曼芭蕾舞學校 Jean M Wong School of Ballet
• 賽馬會創意藝術中心
Jockey Club Creative Arts Centre
• 九龍巴士（一九三三）有限公司
The Kowloon Motor Bus Co (1933) Ltd
• 光華新聞文化中心
Kwang Hwa Information & Cultural Centre
• 李可興先生 Mr Jonathan Ho-hing Lee
• 朗豪坊 Langham Place
• 康樂及文化事務署
Leisure and Cultural Services Department
• 梁國權先生 Mr Frankie Kwok-kuen Leung
• 李鏡輝先生 Mr Alpha Li
• 中央人民政府駐香港特別行政區聯絡辦公室 Liaison Office of the Central People's Government in the Hong Kong S.A.R.
• Marketing Magazine
• 美心食品集團 Maxim's Caterers Ltd
• 中華人民共和國外交部
The Ministry of Foreign Affairs of the People's Republic of China
• Moët Hennessey Diageo Hong Kong Ltd
• 萬寶龍 Montblanc
• 柏斯琴行 Parsons Music
• 新約舞流 Passover Dance
• 香港半島酒店 The Peninsula Hong Kong
• 稜創意有限公司 Prism Creation Ltd.
• 香港電台 Radio Television Hong Kong
• 香港華美達酒店 Ramada Hong Kong
• 赤豚事務所 Red Zhu Design Co Ltd
• Ren Publishing Ltd
• Righ Eyeball Studio
• ROLEX
• 皇家太平洋酒店 The Royal Pacific Hotel and Towers
• Mr Jay A Sala
• SDM爵士芭蕾舞學院 SDM Jazz & Ballet Academic
• 信永中和（香港）會計師事務所有限公司 SHINEWING (HK) CPA Limited
• Ms Charlotte Simkins
• 信和集團 Sino Group
• 聯合出版（集團）有限公司
Sino United Publishing (Holdings) Ltd
• 藍天製作室有限公司 Sky Studio Ltd
• 事必達推廣有限公司 Speedy Promotion Ltd
• 蘇仲豪先生 Mr Eddie So
• Stanford Club of Hong Kong
• 聖文德書院 St Bonaventure College & High School
• 聖公會聖瑪利亞堂 St Mary's Church
• 舞館 Studiodanz
• 台北經濟文化辦事處
Taipei Economic & Cultural Office
• 天邊外劇場 Theatre Horizon
• 時代廣場 Times Square
• 通利琴行 Tom Lee Music Company Ltd
• TomSenga Design
• 東華三院李嘉誠中學 TWHGs Li Ka Shing College
• 東華三院羅裕積小學 TWHGs Lo Yu Chik Primary School
• 東華三院黃笏南中學
TWGHs Wong Fut Nam College
• Unitel Classica
• 市區重建局 Urban Renewal Authority
• 城市電腦售票網 URBTIX
• White Complex International Co Ltd
• William's Studio
• 風車草劇團 Windmill Grass Theatre
• 香港基督教青年會（港青）YMCA of Hong Kong
• Zenith Designing & Printing Services Ltd
贊助人 PATRON
梁振英先生
The Honourable C Y Leung, GBM, GBS, JP
永遠名譽會長
HONORARY LIFE PRESIDENT
邵逸夫爵士 Sir Run Run Shaw, CBE
執行委員會 EXECUTIVE COMMITTEE
主席 Chairman
夏佳理先生
The Hon Ronald Arculli, GBM CVO GBS OBE JP
副主席 Vice Chairman
查懋成先生 Mr Victor Cha
義務司庫 Honorary Treasurer
李思權先生 Mr Billy Li
委員 Members
紀大衛教授 Professor David Gwilt, MBE
周永健先生 Mr Anthony W K Chow, SBS JP
劉鎮漢先生 Mr Anthony Lau
梁靳羽珊女士 Mrs Yu-san Leong
李錦榮先生 Mr William Li
黃敏華女士 Ms Nikki Ng
李 義法官 The Hon Mr Justice Ribeiro
詹偉理先生 Mr James Riley
任志剛先生 Mr Joseph Yam, GBM JP
節目委員會 PROGRAMME COMMITTEE
主席 Chairman
紀大衛教授 Professor David Gwilt, MBE
委員 Members
盧景文教授 Professor King- man Lo, MBE JP
毛俊輝先生 Mr Fredric Mao, BBS
譚榮邦先生 Mr Wing- pong Tam, SBS JP
姚 珏女士 Ms Jue Yao
伍日照先生 Mr Daniel Ng
羅志力先生 Mr Peter C L Lo
白諾信先生 Mr Giorgio Biancorosso
榮譽節目顧問 Honorary Programme Advisors
高德禮先生 Mr Douglas Gautier
Dr Peter Hagmann
約瑟．施力先生
Mr Joseph Seelig
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: 傳真 Fax: 電子郵箱 Email: 2824 3555 2824 3798, 2824 3722 afgen@hkaf.org
節目查詢 Programme Enquiries: 2824 2430
(辦公時間內during office hours)
財務及管理委員會 FINANCE AND MANAGEMENT COMMITTEE
主席 Chairman
李思權先生 Mr Billy Li
委員 Member
梁國輝先生 Mr Nelson Leong
發展委員會 DEVELOPMENT COMMITTEE
主席 Chairman
查懋成先生 Mr Victor Cha
副主席 Vice Chairman
梁靳羽珊女士 Mrs Yu- san Leong
委員 Members
杜安娜女士 Mrs Igna Dedeu
白碧儀女士 Ms Deborah Biber
廖碧欣女士 Ms Peggy Liao
黃慧玲女士 Ms Hwee- leng Whang
龐建貽先生 Mr Paulo Kin- yee Pong
顧問 ADVISORS
鮑 磊先生 Mr Martin Barrow, GBS CBE JP
李國寶博士 Dr The Hon David K P Li, GBM GBS JP
梁紹榮夫人 Mrs Mona Leong, SBS BBS MBE JP
李業廣先生 Mr Charles Y K Lee, GBM GBS JP
陳國威先生 Mr Patrick K W Chan
名譽法律顧問 HONORARY SOLICITOR
史蒂文生黃律師事務所 Stevenson, Wang & Co
核數師 AUDITOR
羅兵咸永道會計師事務所 PricewaterhouseCoopers
香港藝術節基金會
HONG KONG ARTS FESTIVAL TRUST
主席 Chairman
霍 璽先生 Mr Angus H Forsyth
管理人 Trustees
陳達文先生 Mr Darwin Chen, SBS ISO
梁紹榮夫人 Mrs Mona Leong, SBS BBS MBE JP
陳祖澤博士 Dr John C C Chan, GBS JP
出版：香港藝術節協會有限公司 承印：香港嘉昱有限公司 本刊內容，未經許可，不得轉載。
Published by: Hong Kong Arts Festival Society Limited Printed by Cheer Shine Enterprise Co., Ltd Reproduction in whole or in part without written permission is strictly prohibited.
職員 Staff
行政總監 Executive Director
何嘉坤 Tisa Ho
節目 Programme
節目總監 Programme Director
梁掌瑋 Grace Lang
副節目總監 Associate Programme Director
蘇國雲 So Kwok- wan
節目經理 Programme Manager
葉健鈴 Linda Yip
外展經理 Outreach Manager
梁偉然 Ian Leung
助理製作經理 Assistant Production Manager
蘇雪凌 Shirley So
節目主任 Programme Officer
李家穎 Becky Lee
市場推廣 Marketing
市場總監 Marketing Director
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市場經理 Marketing Managers
周 怡 Alexia Chow
鍾穎茵 Wendy Chung
葉愛莉 Elly Yip
助理市場經理（票務）
Assistant Marketing Manager ( Ticketing)
梁彩雲 Eppie Leung
發展 Development
發展總監 Development Director
余潔儀 Flora Yu
發展經理 Development Manager
嚴翠芳 Josephine Yim
助理發展經理 Assistant Development Manager
陳艷馨 Eunice Chan
會計 Accounts
會計經理 Accounting Manager
陳綺敏 Katharine Chan
助理會計經理 Assistant Accounting Manager
鄒智峯 Andy Chau
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
接待員 / 初級秘書 Receptionist / Junior Secretary
李美娟 Virginia Li
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
梁頌怡 Kitty Leung
助理節目經理 Assistant Programme Managers
邱慧芝 Janel Yau
余瑞婷 Susanna Yu
助理監製 Assistant Producer
李宛虹 Lei Yuen- hung
外展統籌 Outreach Coordinator
陳韻婷 Alyson Chan
外展助理 Outreach Assistants
陳慧晶 Ainslee Chan
陳瑞堃 Chan Sui Kwan
項目經理 Project Manager
林淦鈞 Lam Kam Kwan
項目助理 Project Assistants
鄧詠文 Carmina Tang
林 晨 Mimi Lam
特別項目統籌 Special Project Coordinator
巫敏星 Maria Mo
藝術家統籌經理 Head Artist Coordinator
陳韻妍 Vanessa Chan
技術統籌 Technical Coordinators
黎春成 Anthony Lai
陳寶愉 Bobo Chan
陳曉楓 Chan Hiu Fung
陳詠杰 Chan Wing- kit
陳佩儀 Claudia Chan
蕭健邦 Leo Siu
何美蓮 Meilin Ho
出版 Publication
編輯 Editor
鄺潔冰 Cabbie Kwong
英文編輯 English Editor
黃進之 Nicolette Wong
助理編輯 Assistant Editor
曾逸林 Zeng Yilin
編輯助理 Editorial Assistant
伍穎姸 Winnie Ng
市場推廣 Marketing
助理市場經理 Assistant Marketing Manager
梁愷樺 Anthea Leung
市場主任 Marketing Officer
張凱璇 Carla Cheung
票務主任 Ticketing Officer
葉晉菁 Ip Chun-ching
票務助理 Ticketing Assistant
關愷霖 Kwan Hoi- lam
客戶服務主任 Customer Services Officers
陳昕穎 Chan Yan-wing
馮敏怡 Merrie Fung
楊妙思 Iris Yeung
容巧欣 Rachel Yung
發展 Development
發展經理 Development Manager
蘇啟泰 Alex So
發展助理 Development Assistant
黃苡姍 Iris Wong
行政 Administration
辦公室助理 Office Assistant
江宇麒 Kong Yu-ki
《蕭紅》三幕室內歌劇
Heart of Coral - A chamber opera after the life of Xiao Hong
中國國家京劇院 老旦名劇選演
作曲：陳慶恩 文本：意珩 導演：黎海寧 Music by Chan Hing-yan Libretto by Yan Yu Directed by Helen Lai
China National Peking Opera Company - The Artistry of Lao Dan
《粵歷油麻地 三代同台做大戲》
In Yau Ma Tei - A Legacy of Cantonese Opera
《沙灘上的愛恩斯坦》 Einstein on the Beach
中國國家京劇院《慈禧與德齡》
China National Peking Opera Company - Empress Dowager Cixi and Princess Deling
拿波里聖卡洛歌劇院《呷醋丈夫》
San Carlo Theatre, Naples - Il Marito Disperato
拿波里聖卡洛歌劇院《茶花女》
San Carlo Theatre, Naples - La Traviata
芝加哥交響樂團
Chicago Symphony Orchestra
幻想古提琴室樂團 Phantasm viol consort
香港中樂團「樂旅中國 VII」
Hong Kong Chinese OrchestraMusic about China VII
布列頓百歲誕辰紀念音樂會
Die Konzertisten - The Britten 100 Project
羅浮宮音樂家古樂團
Les Musiciens du Louvre Grenoble
荷迪．薩巴爾《人的聲音》
Jordi Savall - Les Voix Humaines
艾班另一面
The Other Ebène
艾班四重奏
Quatuor Ebène
拉爾夫．拉特鋼琴獨奏會
Ralph van Raat Piano Recital
馬田．霍羅斯特單簧管獨奏會
Martin Fröst Clarinet Recital
朴星吉鋼琴獨奏會
Piao Xingji Piano Recital
吳懷世與黃家正長笛鋼琴音樂會
龍貫天、阮兆輝、新劍郎、李奇峰與眾新晉演員
羅伯特．威爾遜與菲力普．格拉斯四幕歌劇 An opera in four acts by Robert Wilson and Philip Glass
編劇：何冀平 導演：毛俊輝 By He Jiping Directed by Fredric Mao
音樂：占瑪勞莎 Music: Domenico Cimarosa
音樂：威爾第
Music: Giuseppe Verdi
指揮：馬捷爾
Conductor: Lorin Maazel
高音古提琴 / 總監：羅倫斯．德雷福斯
Treble viol / Director: Laurence Dreyfus
指揮：閻惠昌
Conductor: Yan Huichang
演出 Featuring: Die Konzertisten 合唱團
指揮：米高．賴恩 Conductor: Michael Ryan
指揮：馬克．明柯夫斯基 Conductor: Marc Minkowski
古大提琴獨奏會 Viola da gamba recital
艾班另一面爵士六人組
The Other Ebène six-piece Jazz band
鋼琴：約翰．霍羅斯特 with Johan Fröst, piano
Wilson Ng and KaJeng Wong Flute and Piano Recital
7/3 ◤ 8:15pm 米凱．路迪《圖畫展覽會》
Mikhail Rudy - Pictures at an Exhibition
雅絲敏．利維 Yasmin Levy
澳洲室樂團
Australian Chamber Orchestra
艾斯佩蘭薩．斯伯丁
Esperanza Spalding - Radio Music Society
澳洲室樂團《珊瑚礁》
Australian Chamber Orchestra - The Reef
多媒體鋼琴獨奏會 Piano recital with animations STA 9/3 8pm
世界音樂演唱會 World music concert
9/3 ◤ 8:30pm
藝術總監：李察．托尼提 Artistic Director: Richard Tognetti CHCH 14, 15/3 8:15pm
爵士音樂會 Jazz music concert CCCH 15, 16/3 ◤ 8pm
多媒體音樂會 Chamber concert with film CHCH 16/3 4:30pm 8:15pm
香港小交響樂團．笙弦
Hong Kong Sinfonietta
《我的第一個四季》
My First Four Seasons
魯杜斯華夫斯基四重奏
Lutosławski Quartet
拿波里聖卡洛歌劇院《非凡威爾第》
San Carlo Theatre, Naples - Viva Verdi
音樂總監/指揮：葉詠詩
Music Director / Conductor: Yip Wing-sie
17/3 8pm
親子音樂會 A narrated concert NDA 20/3 8pm
21/3 8:15pm
指揮：羅拔圖．阿巴度 Conductor: Roberto Abbado
22/3 8pm 戈蘭．布列葛維奇與婚喪喜慶樂隊《吉卜賽香檳派對》
Goran Bregovic Wedding and Funeral Orchestra - Champagne for Gypsies
英國國家劇團《一僕二主》
編劇：李察．賓
National Theatre of Great Britain - One Man, Two Guvnors By Richard Bean
1927 劇團《怪誕城的動物與孩子》
15-17, 19-
多媒體動畫音樂劇
1927 - The Animals and Children Took to the Streets A cinematic musical
11 圈《反斗先生》
Circle of Eleven - LEO
《中式英語》
Chinglish
The TEAM《美國夢險號》
雜技獨腳戲 A one-man show combining circus and theatre
編劇：黃哲倫 導演：雷．西爾弗曼
By David Henry Hwang Directed by Leigh Silverman
The TEAM - Mission Drift 音樂劇場 Musical
《爆．蛹》
Blast
洛桑劇院《戲偶人生》
Théâtre Vidy-Lausanne - Hand Stories
《屠龍記》
Smear
中國國家話劇院《青蛇》
National Theatre of China - Green Snake
美國芭蕾舞劇院
American Ballet Theatre
藝術總監：凱文．麥肯齊
Artistic Director: Kevin McKenzie
神氣舞團《信靠》
Compagnie La Baraka - NyA
優獸舞團《足跡》
Fabulous Beast - Rian
編劇：王昊然 導演：陳曙曦
By Wang Haoran Directed by Chan Chu-hei
創作 / 設計 / 操偶：楊輝
Designed, created and performed by Yeung Faï
編劇：黃詠詩 導演：李鎮洲
By Wong Wing-sze Directed by Lee Chun-chow
改編/導演：田沁鑫
Adapted and directed by Tian Qinxin
精選舞薈 Dance Gala
《羅密歐與茱麗葉》
Romeo and Juliet
莫米克斯舞蹈奇藝坊《四季狂想曲》
MOMIX Dance Theater - Bothanica
亞太舞蹈平台 V
Asia Pacific Dance Platform V
香港賽馬會當代舞蹈平台系列
編舞：麥克美倫
Choreographer: Sir Kenneth MacMillan
編舞 / 藝術總監：阿布．拉格
Choreographer / Artistic Director: Abou Lagraa
導演/編舞：Michael Keegan-Dolan
Director / Choreographer: Michael Keegan-Dolan
藝術總監：摩斯．潘德頓
Artistic Director: Moses Pendleton
The Hong Kong Jockey Club Contemporary Dance Series
◤
香港賽馬會藝粹系列 The Hong Kong Jockey Club Series
◤ 信和集團藝萃系列 Sino Group Arts Celebration Series
APAA 香港演藝學院香港賽馬會演藝劇院
The Hong Kong Jockey Club Amphitheatre, HKAPA
APAC 香港演藝學院音樂廳 Concert Hall, HKAPA
APAL 香港演藝學院歌劇院 Lyric Theatre, HKAPA
APAD 香港演藝學院戲劇院 Drama Theatre, HKAPA
CCCH 香港文化中心音樂廳 Concert Hall, HK Cultural Centre
CCGT 香港文化中心大劇院 Grand Theatre, HK Cultural Centre
CCST 香港文化中心劇場 Studio Theatre, HK Cultural Centre
CHCH 香港大會堂音樂廳 Concert Hall, HK City Hall
◤
瑞信新晉藝術家系列 Credit Suisse Emerging Artists Series
◤ 埃克森美孚新視野 ExxonMobil Vision
CHT
KTTA
香港大會堂劇院 Theatre, HK City Hall
葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre
KTTB 葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre
NDA 北區大會堂演奏廳 Auditorium, North District Town Hall
NLG
南蓮園池 Nan Lian Garden
STA 沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall
YLTA
YMT
元朗劇院演藝廳 Auditorium, Yuen Long Theatre
油麻地戲院 Yau Ma Tei Theatre
資料截至
節目詳情及網上報名 For more details and online registration: www.hk.artsfestivalplus.org
特別節目 Special 「與頂尖文化領袖對談」香檳午餐會
Champagne Luncheons with Leading International Arts CEOs
29/ 1 領導者的影響力 Leadership and Leverage 20/ 3
傳統與革新 Tradition and Transformation
歌劇/戲曲 Opera / chineSe Opera
粵歷油麻地 Opera Treasures of Yau Ma Tei
12/ 20123/ 2013
粵劇教育計劃
Cantonese Opera Education Project 3, 9, 10/ 3 「薪火代代傳」講座 Talks: Passing the Torch
8- 10/ 3, 15- 17/ 3 「藝遊油麻地」導賞團
Yau Ma Tei Cultural Walk 10/ 3
粵劇髮飾工作坊
Accessorising Cantonese Opera
威爾第歌劇全方位 All About Verdi’s Operas
1- 3/ 2013 威爾第介紹講座及工作坊
Verdi Introductory Talk & Workshop
13/ 3 石倚潔美聲大師班 Bel Canto with Yijie Shi
完全威爾第歌劇電影系列 Tutto Verdi Film Series
12/ 1 《奧貝爾托》 Oberto, Conte di San Bonifacio
13/ 1 《阿依達》 Aida
19/ 1 《一日國王》 Un giorno di regno
20/ 1 《遊吟詩人》 Il trovatore
26/ 1 《弄臣》 Rigoletto
27/ 1 《倫巴第人在第一次十字軍中》
I lombardi alla prima crociata
2/ 2 《假面舞會》 Un ballo in maschera
3/ 2 《法斯塔夫》 Falstaff
解構愛恩斯坦 Decoding Einstein
28/ 2
6/ 3
電影《菲力普．格拉斯 鏡中遊》
Film: Philip Glass: Looking Glass
電影《絕對威爾遜》 Film: Absolute Wilson
9/ 3 「藝術與技術的完美結合」講座
Restaging Einstein on the Beach: Artistic and Technical Theatre in Collaboration
其他 Others
23/ 2 蕭紅：她的人生與作品
Xiao Hong: Her Life and Her Work
2/ 3 《蕭紅》創作分享
10/ 3
10/ 3
Heart of the Matter
京劇演前講座
Beijing Opera: a Pre- performance Talk
京劇製作後台之旅
Backstage of a Beijing Opera
音樂 MuSic
大師的藝術 Maestro's Art
20/ 2
芭蕾舞指揮之道 Conducting for Dance
13/ 3 Rousset 的巴羅克風格
13/ 3
Interpretation of Baroque
托尼提小提琴大師班
Violin Masterclass by Richard Tognetti
其他 Others
27/ 1
21/ 2
2/ 3
5/ 3
7/ 3
銅管樂大師班 Mastering Brass
幻想古提琴室樂團古提琴大師班
Viol Masterclass with Phantasm
艾班四重奏弦樂大師班
Quatuor Ebène Masterclass for Strings
拉爾夫．拉特鋼琴大師班
Piano Masterclass by Ralph van Raat
電影《被遺忘的天籟》
Film: Ladino - 500 Years Young 戲劇 TheaTre
世界劇場面面觀 Global Theatre
17/ 2
《一僕二主》演後談 Two Guvnors First Hand 22/ 2 與 1927 劇團演後對談
Post- performance Dialogue with 1927 23/ 2
《一僕二主》後台解碼
Behind the Scenes of a Smash Hit Comedy 24/ 2 後台參觀怪誕城
The Animals and Children Backstage 1/ 3 《反斗先生》幻像的藝術 The Art of Illusion 3/ 3 中式英語交流會 Exchanging the Chinglish 7/ 3 《美國夢險號》演後談
Staging the American Dream 10/ 3 《爆．蛹》演後談 Behind the Blast 16/ 3 《屠龍記》演後談 The Might of the Pen 23/ 2 劇場與動畫工作坊
Integrating Performance and Animation Workshop
舞蹈 Dance
舞蹈點滴 About Dance
22/ 2, 1/ 3
與凱文．麥肯齊對談 Meet Kevin McKenzie 23, 24/ 2
美國芭蕾舞劇院大師班
American Ballet Theatre Masterclass 2/ 3 《羅密歐與茱麗葉》後台之旅
Behind the Scenes at Romeo & Juliet 16/ 3
舞蹈奇藝後台之旅 MOMIX Revealed 16/ 3 亞太舞蹈平台演後藝人談
Meet the Artists of the Asia Pacific Dance Platform 17/ 3 「舞動的表象與空間」工作坊 Surface and Space of Movements Workshop 23, 24/ 3
與本地當代舞蹈家對談
The Hong Kong Jockey Club Contemporary Dance Series Post- performance Dialogue
駐節藝術家計劃 The Artists-in-Residence Project
10/ 20123/ 2013
23/ 2
13, 20, 27, 28/ 1; 3, 4, 10/ 2
舞入校園 Dance into Schools
現代舞 x Hip Hop 示範講座 Contemporary Dance x Hip Hop Lecture Demonstration
電視特備節目 FeSTival On T v
藝術節節目精選 Festival Programme Highlights
