Touching the Void - 47th Hong Kong Arts Festival

衷心祝賀香港藝術節今年邁向第4 7屆。今屆藝 術節陣容鼎盛，共有超過1700名來自香港和世 界各地的藝術家傾力演出，為觀眾帶來近1 7 0 場精彩表演。 今年藝術節的節目多姿多彩，當代及古典音 樂、舞蹈、戲劇等不同形式的藝術表演共冶一 爐。每個節目從幕後製作到台前演出，均盡顯 精湛的藝術造詣和超凡的想像力。 我很高興知道最近完成活化的中區警署建築 群，即現在的大館古蹟及藝術館，會在兩個周 末呈獻約5 0場舞蹈表演，供公眾免費入場觀 賞。大家更有機會一起參與在大館的檢閱廣 場、監獄操場，甚至是監獄囚室進行的表演節 目。牛棚藝術村亦會打造為藝術共生創造社， 首度成為藝術節發展作品的平台，場內設有不 同創意領域的工作坊，觀眾並可以欣賞一些創 作中的作品，感受藝術家的多元創意。 除了精彩表演，藝術節亦一如以往，悉心籌備 各項教育和外展活動，致力培育本地藝術人 才。「香港藝術節青少年之友」計劃讓本地學 生有機會觀賞世界級的表演和參與各式各樣的 藝術活動。此外，藝術節亦透過後台參觀和大 師班等「加料節目」，讓觀眾與國際頂尖藝術 家互動接觸，了解節目的幕後製作過程。 衷心感謝香港藝術節團隊一直致力推動本港的 藝術發展，成績斐然。我亦感謝贊助商和捐款 者的大力支持，令每年的藝術節圓滿成功，大 獲好評。 謹祝二零一九年香港藝術節所有觀眾、參加者 和表演者可以盡情享受這次藝術之旅，留下愉 快難忘的回憶。

林鄭月娥 香港特別行政區行政長官

I am pleased to congratulate the Hong Kong Arts Festival, which turns 47 this year in grand fashion, with nearly 170 performances featuring more than 1,700 artists from Hong Kong and all over the world.

This year, the Festival showcases a dazzling range of classic and contemporary music, dance, theatre and more, each produced, staged and performed with consummate artistry and imagination.

I am also delighted to note that our newly revitalised Central Police Station Compound, now Tai Kwun, Centre for Heritage and Arts, is the venue for some 50 free dance performances over the course of two weekends. I am told that audiences will also have the opportunity to participate in the performances taking place at Tai Kwun’s Parade Ground, Prison Yard and even its prison cell blocks. For the first time, the Arts Festival will turn Cattle Depot Artist Village into a Creative Hub for showcasing workshops and works in progress from a variety of creative disciplines.

Beyond its captivating performances, the Festival remains committed to its educational activities, outreach and development of local artists. The Young Friends of the Hong Kong Arts Festival enables local students to enjoy world-class performances and participate in a range of arts activities, while PLUS programmes bring audiences behind the scenes with some of the world’s greatest artists through backstage tours, masterclasses and more.

I am grateful to the Hong Kong Arts Festival team for its continuing commitment and manifold contributions to the development of the arts in Hong Kong. I am grateful, too, to the many sponsors and donors who, each year, help make the Festival a resounding success.

I wish audiences, participants and performers alike a delightful and memorable 2019 Hong Kong Arts Festival experience.

Mrs Carrie Lam Chief Executive, Hong Kong Special Administrative Region

歡迎閣下蒞臨欣賞第4 7屆香港藝術節的這場 演出。感謝您與我們一起歌頌表演藝術在舞 台上的不同季節和階段。 我們要感謝香港特別行政區政府透過康樂及 文化事務署的年度恆常撥款。這項資助對香 港藝術節每年得以成功舉辦，至關重要。多 謝香港賽馬會慈善信託基金持續的支持，為 我們致力豐富城中文化生活，打下根基。另 外要感謝眾多企業贊助商、慈善基金會以至 個人捐助者。他們的慷慨捐助，讓我們能夠 呈獻世界各地的優秀藝術家、發展新作、培 育年青觀眾，並在國際舞台上引薦本地人 才。 最重要的是感謝您前來欣賞今天的表演。香 港藝術節的成功，正是有賴觀眾的熱情和參 與。謹祝您享受藝術節今天這場演出，渡過 難忘的時光。

查懋成 香港藝術節主席

I am delighted to welcome you to this performance at the 47th Hong Kong Arts Festival. Thank you for joining in our celebration of the seasons and stages of the performing arts.

I would like to extend my gratitude to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention, which is vital to the continued success of the Festival. I am also grateful to the Hong Kong Jockey Club Charities Trust, whose ongoing support is a cornerstone in our efforts to enrich the cultural calendar of the city. Thanks are also due to our many corporate sponsors, charitable foundations and individual donors, whose generous support enables us to host some of the world’s leading artists, develop new works, cultivate young audiences, and promote local talent on a world stage.

Above all, I offer my warm thanks to you for joining today’s performance. The enthusiasm and engagement of our audiences is the foundation of the Hong Kong Arts Festival’s success. I sincerely hope that you will find your time spent at the Festival today memorable and enjoyable.

Victor Cha Chairman, Hong Kong Arts Festival

衷心感謝閣下蒞臨欣賞第47屆香港藝術節的演 出。 今屆藝術節以「一步一舞台」為主題。舞台， 不僅是我們呈獻新穎及經典表演的地方，更是 藝術轉化向前的關鍵。頂尖藝術家及明日之星 於舞台相遇，各展姿彩；透過忠實致敬及大膽 改編，經典劇目得以重現觀眾眼前；嶄新作品 以原創設計、技術及敍事方法，挑戰傳統舞台 的極限。 無論於哪個舞台表演，我們會繼續想像藝術世 界的無限可能，亦期望今屆表演能為閣下帶來 啟發和歡愉。另外，誠邀您參加「加料節目」 的各項活動，深入了解重點表演，令藝術節體 驗更全面。 謹代表藝術節團隊，感謝您參與香港藝術節， 支持我們的使命，為香港締造一個世界級藝術 節。

It is a pleasure and a privilege to welcome you to this performance at the 47th Hong Kong Arts Festival.

This year, we celebrate artists and artworks “At Every Stage”. Not only do we spotlight exhilarating programmes at stages old and new across Hong Kong, but also reflect on the stage as a process of transformation. Leading artists at the peak of their careers perform alongside the next generation of rising stars. Classic repertoire is reinvented through brave homages and boldly experimental retellings, and the original designs, technologies and storytelling modes of new works crash through the boundaries of the traditional stage.

I hope that this and many other performances at the 47th HKAF will provoke, inspire and delight you, and that in the course of viewing works at every stage, we may continue to envision the myriad possibilities of the arts. As part of your Festival experience, I would also recommend you join the many PLUS performances, workshops and events that have been designed to bring insight into our core programmes.

Together with the entire team, I would like to thank you for your support of the Hong Kong Arts Festival, which sustains us in our mission to bring a world-class arts festival to Hong Kong.

何嘉坤 香港藝術節行政總監

Tisa Ho Executive Director, Hong Kong Arts Festival

香港藝術節 扎根香港的國際藝壇盛事 香港藝術節於 1973 年正式揭幕，是國際藝壇中重要的 文化盛事，於每年 2、3 月期間呈獻眾多優秀本地及國 際藝術家的演出，以及舉辦多元化的「加料」和教育 活動，致力豐富香港的文化生活。 香港藝術節是一所非牟利機構，2019 年第 47 屆藝術節 的年度預算約港幣一億三千六百萬，當中香港特區政 府的基本撥款佔總收入的近 13%，接近 6% 來自政府 新增加的五年限期額外撥款，另外約 28% 需來自票房 收入，逾 33% 則需依賴來自各大企業、熱心人士和慈 善基金會的贊助和捐款。預計餘下的大約 20% 則來自 其他收入，包括政府針對捐款和贊助收入而提供的配 對資助。 香港藝術節每年呈獻眾多國際演藝名家精采多元的演 出，例如 *： •歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、莫斯 科大劇院、聖彼得堡馬林斯基劇院 •中國戲曲：中國國家京劇院、河北梆子劇院、上海 張軍崑曲藝術中心、江蘇省蘇州崑劇院、浙江小百 花越劇團 •古典音樂：塞西莉亞．芭托莉、列卡杜．沙爾、趙 成珍、古斯塔沃．杜達美、菲力普．格拉斯、馬友友、 丹尼斯．馬祖耶夫、安娜．涅翠柯、詹安德列亞． 諾斯達、小澤征爾、甘拿迪．羅傑斯特汶斯基、克 里斯蒂安．泰利曼、倫敦交響樂團、NHK 交響樂團、 皇家阿姆斯特丹音樂廳樂團、柏林廣播電台合唱團、 萊比錫聖多馬合唱團、維也納愛樂樂團 •爵士樂及世界音樂：波比．麥非年、尤蘇．恩多爾、 艾斯佩蘭薩．斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼 •舞蹈：米高．巴里殊尼哥夫、蕭菲．紀蓮、艾甘．漢、 美國芭蕾舞劇院、雲門舞集、漢堡芭蕾舞團 – 約翰． 紐邁亞、紐約市芭蕾舞團、巴黎歌劇院芭蕾舞團、翩 娜．包殊烏珀塔爾舞蹈劇場

2019 年藝術節預計收入來源 （約港幣一億三千六百萬） Estimated Income Sources for the 2019 HKAF (Approximately HK$136 Million)

贊助和捐款 Sponsorship & Donations

over 逾

•戲劇：彼得．布祿克、蜷川幸雄、羅柏特．威爾遜、 柏林劇團、中國國家話劇院、皇家莎士比亞劇團 •大型特備節目：《藝裳奇幻世界》、星躍馬術奇藝 坊 •戶外節目：《聲光園》、《幻光動感池》、《聲光頌》 香港藝術節積極與本地演藝人才合作，並致力為新晉 藝術家提供展示才華的平台。藝術節至今委約及製作 逾 2 0 0 套本地全新創作，包括戲劇、室內歌劇、音樂 和舞蹈作品，近年開始同步出版新作劇本，不少製作 更已在香港及海外多度重演。近年的藝術節新製作包 括粵劇《百花亭贈劍》、《香港家族》三部曲、《世紀． 香港》音樂會、《論語》、《炫舞場》、《大同》、《金 蘭姊妹》、《爆蛹》、《野豬》、《聖荷西謀殺案》等。 香港藝術節多年來與知名海外藝術家及團體聯合製作 不少優秀作品，當中包括由香港藝術節、香港歌德學 院及翩娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹窗 人》、由倫敦老域劇院、布魯克林音樂學院與尼爾街 製作公司製作、香港藝術節為聯合委約機構之一的「橫 貫計劃」之《暴風雨》及《李察三世》、由香港藝術 節及上海國際藝術節聯合委約的《青蛇》、三藩市歌 劇院與香港藝術節聯合製作的《紅樓夢》等。 香港藝術節大力投資下一代的藝術教育。「青少年之 友」成立 27 年來，已為逾 750,000 位本地中學生及大 專生提供藝術體驗活動。藝術節近年亦開展多項針對 大、中、小學生的藝術教育活動，包括由國際及本地 藝術家主持的示範講座及工作坊、學生展演、演前講 座、公開彩排、以及欣賞藝術節演出。同時，通過「學 生票捐助計劃」，藝術節每年提供約 1 0 , 0 0 0 張半價學 生票。 香港藝術節每年主辦一系列多元化並深入社區的「加 料節目」，例如電影放映、示範講座、大師班、工作坊、 座談會、後台參觀、展覽、藝人談、文化導賞團等， 鼓勵觀眾與藝術家互動接觸。

33% around 約

20% nearly 近 6% nearly 近 13%

around 約

28%

票房收入 Box Office （2019 年 1 月更新 Updated January 2019）

其他收入（包括按捐款和贊助 收入可望獲得的政府配對資助 ) Other Income (Including Possible Government Matching Grant for Sponsorship and Donation Income) 政府五年限期額外撥款 Government's Time-limited Addition Funding (for 5 years)

政府的基本撥款 Government Baseline Funding

Hong Kong Arts Festival A Major International Arts FestivaI ln, Of and For Hong Kong HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year.

HKAF is a non-profit organisation. Secured government baseline funding represents about 13% of the 2019 Festival’s HK$136 million budget, with another nearly 6% specially provided by the Government as time-limited additional funding for five years. Around 28% of the Festival’s income needs to come from the box office, and over 33% from sponsorship and donations made by corporations, individuals, and charitable foundations. It is anticipated that the remaining 20% will come from other revenue sources including the Government’s matching scheme, which matches income generated through private sector sponsorship and donations.

HKAF has presented top international artists and ensembles across multiple genres, such as*: • Western Opera: Bavarian State Opera, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre • Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe • Classical music: Cecilia Bartoli, Riccardo Chailly, SeongJin Cho, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Gennady Rozhdestvensky, Christian Thielemann, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra • Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini • Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet–John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch • Theatre: Peter Brook, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company

• Large-scale special events: World of WearableArt, Zingaro • Outdoor events: Power Plant, Super Pool, Chorus HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 200 local productions across genres including theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include the Cantonese Opera - Pavilion of a Hundred Flowers, A Floating Family–A Trilogy, Hong Kong Odyssey, Chinese Lesson, Danz Up, Datong–The Chinese Utopia, The Amahs, Blast, Wild Boar and Murder in San Jose, to name a few.

HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch, Richard III and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with HKAF as a co-commissioning institution, Green Snake cocommissioned with Shanghai International Arts Festival, and Dream of the Red Chamber co-produced with San Francisco Opera.

HKAF invests heavily in arts education for young people.

Over the past 27 years, our “Young Friends” scheme has reached over 750,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year.

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

誠邀贊助或捐助第 47 屆香港藝術節；詳情請與藝術節發展部聯絡。 To find out more about sponsorship opportunities and donation details for the 47th Hong Kong Arts Festival, please contact the HKAF Development Department. 電郵 Email: 直綫 Direct Lines: 網頁 Website:

dev@hkaf.org (852) 2828 4910/11/12 www.hk.artsfestival.org/en/support-us

* 有關香港藝術節的過往節目，可參考以下網頁 Details of past HKAF programmes can be found at www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2018.html

Presents

倫敦燃料劇團、布里斯托爾老域劇團、愛丁堡皇家蘭心劇院及 北安普敦皇家及德蓋特劇院聯合製作

《攀越冰峰》 A Fuel, Bristol Old Vic, Royal Lyceum Theatre Edinburgh and Royal & Derngate, Northampton co-production

Touching the Void 21-24 26-28 2 月 Feb

1-2 3月 Mar

香港大會堂劇院 Theatre, Hong Kong City Hall 演出長約 2 小時 20 分鐘，包括一節中場休息 Approximately 2 hours and 20 minutes including one interval 英語演出，附中文字幕 Performed in English with Chinese surtitles 此節目有粗俗語言，煙霧、明火、閃光、巨響及可能引起觀眾不安之內容 This production contains strong language, haze, naked flames, strobe lighting, loud noise and disturbing content 不適宜 12 歲以下觀眾欣賞 Not suitable for ages below 12

封面照片 Cover Photograph: © Marc Douet

敬請關掉所有響鬧及發光裝置。 Please switch off all sound-making and light-emitting devices. 網上追蹤香港藝術節 Follow the HKArtsFestival on

請勿擅自攝影、錄音或錄影。 Unauthorised photography or recording of any kind is strictly prohibited.

HKartsfestival

本場刊採用環保紙張印刷。This programme is printed on environmentally friendly paper.

www.hk.artsfestival.org

《攀越冰峰》

Touching the Void 回憶錄原著

Based on the memoir by Joe Simpson

喬．辛普森

編劇 Playwright 大衛．葛利格

David Greig

導演 Director 湯．莫里斯

Tom Morris

舞台設計 Designer 泰．格林

Ti Green

燈光設計

Lighting Designer Chris Davey

基斯．戴維 副燈光設計

Associate Lighting Designer Theo Chadha

西奧．查達 作曲及音響設計

Composer and Sound Designer Jon Nicholls

喬恩．尼科爾斯 音響工程師及音響控制

Production Sound Engineer and Sound Operator Thomas Wasley

湯馬士．韋斯理 動作指導

Movement Director Sasha Milavic Davies

莎莎．米拉域．戴維斯 選角導演

Casting Director Jill Green CDG

吉爾．格林 CDG 助理導演

Assistant Director Evan Lordan*

埃文．洛丹 * 助理服裝設計及服裝監督 艾瑪．凱恩斯

Assistant Costume Designer and Costume Supervisor Emma Cains

選角助理

Casting Assistant Amy Beadel

艾美．比度

13

製作經理

Production Manager Mark Munday

馬克．蒙迪 舞台監督

Company Stage Manager on the Book Owen Thomas

歐文．湯馬士 舞台技術監督

Technical Stage Manager Phil Harris

菲爾．哈維斯 助理舞台監督 / 服裝管理

Assistant Stage Manager/Wardrobe Maintenance Hannah Clare

漢娜．克萊爾 攀山顧問

Climbing Consultant Dave Talbot

達夫．托博 心理學顧問

Psychology Consultant Magda Osman

瑪格達．奧斯曼 生理學顧問

Physiology Consultant Mike Tipton

邁克．帖頓 動作助理

Movement Assistant Jess Clough

謝茜．克拉夫 佈景搭建 TR2、伊恩．潘尼、瑞斯．吉勒

Set built by TR2 and Ian Penny & Rhys Gillard at the Bristol Old Vic Scenic Workshop

（布里斯托爾老域劇團場景工作室） 懸空及吊索指導

Flying consultancy and rigging

by Joe White & Joe Hull of High Performance

喬．韋特、喬．許爾 繪景

Set painted by Cliff Thorne & Tom Crossley-Thorne

克夫．科恩、湯姆．科斯尼 - 科恩

With thanks to Joe Simpson, Simon Yates and Richard Hawking Also to Jon Bausor, Danny Brown, Carol Fairlamb, Ed Gaughan, Penny Liechti, James Ross, Alex Smith, Undercover Rock, Michael Vale and to those who participated in development workshops for this production: Joseph Alford, Bradley Banton, Ed Franklin, Felix Garcia Guyer, Gerald Gyimah, Beau Holland, Jyuddah Jaymes, Caroline Lang, Pieter Lawman, Rona Morison, Alexander Mushore, Kate Reid, Richard Simons, Joseph Tweedale, Charlotte Wyatt and Zoe King Cover Photography by Mark Douet Rehearsal and production photography by Geraint Lewis Scenic photography by Igor Yurchenko A Fuel, Bristol Old Vic, Royal Lyceum Theatre Edinburgh and Royal & Derngate, Northampton co-production This production was first performed at Bristol Old Vic on 8 September 2018 By arrangement with The Random House Group Limited *Evan Lordan is the recipient of a JMK Assistant Director Bursary and a Leverhulme Arts Scholar.

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演出 Cast 喬 Joe 喬希．威廉斯 Josh Williams 西蒙 Simon 愛德華．希特 Edward Hayter 莎拉 Sarah 費安娜．漢普頓 Fiona Hampton 李察 Richard 柏德烈．麥奈米 Patrick McNamee 中文字幕 翁世卉

Chinese Surtitles Weng Shi-hui

藝術節加料節目

Meet-the-Artists

21.2（四 Thu）10:30-10:50pm 2.3 （六 Sat）5:30-5:50pm

英語主講

In English

演後藝人談

更多加料節目詳情及網上報名 More Festival PLUS and online registration: www.hk.artsfestivalplus.org

©MUMMENSCHANZ FOUNDATION

© Geraint Lewis

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導演的話

Director’s Note 高及膝劇團的邁克．謝弗靠過來，一雙洞察人 心的藍色眼睛閃爍着，他緊緊抓着我的手臂說 道：「快放下手上的餡餅。」他興奮得好像一 個熱情的信徒。「我看了部令人難忘的電影， 你必須馬上去看。」 當時我們還在英國利茲，緊鑼密鼓地排練《木 裙》。不過我還是聽從他的建議（我幾乎總是 這樣做），立即衝去最近的一間戲院，馬上便 著迷了。離開戲院，我激動地跑去書店，買了 三本電影原著傳記（一本給自己，另外兩本送 給朋友），從此便踏入了喬．辛普森的想像世 界，不能自拔。從那時開始，辛普森這部鉅作 中的黑暗誘惑和一針見血的見解成為我創作的 參考。這本書叫做《攀越冰峰》。 著迷的並不只我一人。我不斷發現其他人也被 故事深深震撼，無法平復。社會任何角落都有 辛普森迷。他們共同著迷於故事所描繪的、最 絕望的人類經歷。這樣的經歷讓人不得不思考 一些可怕的問題：如果是我，我會怎麼做？我 會割斷繩索嗎？我會有膽量游繩下降到深淵裏 去嗎？ 這類故事並不能單純地被歸納於任何小派系。 他們衝破人際泡沫，像病毒一樣在普羅大眾的 心中傳播。《攀越冰峰》遠不止一本攀山書， 甚至並不單是一本探險書。它已成為民族意識 中對於人類忍耐力的參考。喬．辛普森自己也 覺得這是一個奇怪的現象。這是否與其他古老 傳說有關？像奧菲斯探訪陰間的傳說？或者是 一個失蹤士兵從戰場歸來的傳說？究竟是甚麼 令到一個故事成為人類經驗的基準？這些都是 這部製作嘗試解答的問題。

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Mike Shepherd of Kneehigh Theatre leant towards me with his piercing blue eyes dancing and grabbed me forcibly by the arm. "Stop eating that pie immediately," he said, blazing with the zeal of a convert. "There's a film I can't get out of my head and you have to go and see it now."

We were in Leeds and busy with rehearsals for a show called The Wooden Frock, but I followed his advice (as I almost always do), catapulted myself into the nearest cinema and was instantly obsessed. I bounced crazily from the screen to a bookshop, bought three copies of the memoir on which the film was based (one for me and two for pals) and stepped forever into the imaginative world of Joe Simpson. The dark lure and piercing insights of Simpson's epic tale have been a constant frame of reference for me ever since. The book was called Touching the Void.

I am not alone. I keep finding people who have been bitten by the story and never recovered. There are Joe Simpson obsessives in every pocket of our society. They are united by the lure of a story which maps the bleakest limits of human experience and sucks you into the terrifying question: what would I do if it were me? Would I cut the rope? Would I dare to lower myself into the abyss?

Stories of this kind can't be contained in cliques.

They burst out of their social bubbles and grow like viruses in the minds of the public they find.

Touching the Void is far more than a climbing book, more even than an adventure book. It has become a reference point of human endurance in the national consciousness. Even Joe Simpson finds it mystifying. Does it connect with other ancient myths, he wonders? The myth of the traveller like Orpheus who visits the world of the dead? Or the myth of the lost soldier returning from the War? What is it that makes a story become a benchmark

那你究竟如何將這部發人深思的故事變成一部 戲劇？書中的故事是由一個跌入冰隙的男子以 第一人稱講述，大部分時候他是獨自一人。電 影則在重構事件場面中，穿插當事人在採訪中 描述個人感受以及事件的經過，背景則是壯觀 的秘魯安第斯山脈。然而，這樣的編排卻未必 適合戲劇。 我於是致電編劇大衛．葛利格。他和我一樣喜 歡挑戰高難度的戲劇計劃，於是我們一齊想辦 法。 喬．辛普森在書中寫到，當他身處冰隙奄奄一 息的時候，腦海裏出現一把聲音。隨着故事發 展，他承受着極端的痛楚、疲憊不堪、又餓又

of human experience? That's part of what this production is trying to find out.

So how on earth do you turn this particular mindpopping story into a play? It is a first-person narrative written by a man who fell into a crevasse, and most of the drama happens when he is entirely alone. The film intercuts dramatic reconstructions with interviews of the people who were involved explaining what it felt like and how it happened, all set against the spectacular backdrop of the Peruvian Andes. But that doesn't seem quite right for theatre.

So I called the writer David Greig who, like me, is drawn to impossible theatrical projects, and we started to think.

© Geraint Lewis

© Geraint Lewis

渴，身體開始自噬（身體消耗肌肉以滿足腦部 需求），最終進入缺氧狀態（自噬功能失效， 大腦開始缺氧）。在這種狀態下，你會開始產 生幻覺，脫離現實。於是，他的獨白變成了一 段奇怪且毫無語序的對話。 這是否為我們改編劇本提供了一條鑰匙？畢 竟，戲劇說到底是一種關於想像的藝術形式。 戲劇藝術家，包括演員、編劇、導演以及舞台 設計，他們的工作就是激發你的想像力，去發 掘無限的創意。辛普森的真實經歷，與原著書 迷及電影迷探討的經歷之間是否存在聯繫？他 們躺在床上，在幻象中思考一個令人困惑的問 題：「如果是我，我會怎麼做？」 我們同時也很驚訝，喬．辛普森的作品中持續 地以孤獨為主題。他在書中多次說到，比死亡 更可怕的，是對孤獨死亡的懼怕。他筆下的人 際關係都籠罩在孤立的陰影之中。但有一個值

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In the book, when Joe Simpson is dying in the crevasse, he writes about a voice in his head. As the story progresses, he is in a state of extreme pain, fatigue, exhaustion, starvation, water deprivation, autophagy (when your body starts to digest your own muscles to feed the brain) and eventually hypoxia (when this process starts to fail and your brain loses its oxygen supply). Under those circumstances you start to hallucinate. You lose your grip on reality. And his monologue becomes a strange disordered dialogue.

Might this offer us a key to our adaptation? Theatre, after all, is the art form of the imagination. The job of theatre artists—actors, writers, directors and designers alike—is to provoke your imagination into revelatory flights of invention. Could there be a connection between Joe's experience itself and the experience that fans of the book and film talk about: lying in bed in a state of hallucinatory fantasy inspired by the gnawing question: what would I have done?

得注意且格外生動的例外：在他精彩的自傳 《鬼魂遊戲》中，喬．辛普森惹笑地描述了童 年時與姊姊莎拉的關係。她惡狠狠地欺負他， 慫恿他去冒險，一有機會便會出賣、敲詐他。 不過，他的文字卻透露出深切且包容的姐弟 情。 如果作者腦海中的聲音變成莎拉會產生怎樣的 效果？這又能否幫助我們去激發觀眾的幻想， 讓他們思考如果自己身處其中會如何？ 畢竟，我們在布里斯托爾的劇院建於一個敢於 實驗及冒險的時代。我們精於將炙手可熱的故 事與最前瞻的戲劇語言結合。我們的優秀創意 團隊以及演員憑藉自己的無限想像，尋找問題 的解答。泰．格林設計了一座不是山的山。喬 恩．尼科爾斯創作出一種並不存在於安第斯山 脈的聲音，卻讓人猶如身臨其境一般。莎莎． 米拉域．戴維斯則在動作編排上發揮奇思妙 想，設計出與攀爬完全相反的動作。還有我們 優秀的演員：費安娜．漢普頓、愛德華．希 特、柏德烈．麥奈米、喬希．威廉斯，他們將 喬．辛普森探險歷程中扣人心弦的真實情節和 令人痛心的真相演繹得淋漓盡致。 這是他們為你的想像世界帶來的禮物。我們相 信今晚你將看到在劇場裏史無前例的表演。不 過，只有當你回到家中，決定要與朋友分享觀 看時的感想，我們才算是成功。 湯．莫里斯

We were also struck that one of the enduring themes of Joe Simpson's writings is loneliness. Far worse than dying, he says again and again in his writing, is the fear of dying alone: and the human relationships he writes about are haunted by the shadow of isolation, with one notable and very vivid exception: in his brilliant autobiography This Game of Ghosts, Joe Simpson writes hilariously about his childhood relationship with his older sister Sarah. She bullies him viciously, goading him into hair-raising exploits and adventures, betraying and blackmailing him at every opportunity—but through the writing you can feel a profound and enduring sibling love.

What would happen if the voice in his head became Sarah? And how might that help us in our ambition to inspire your fantasies about what it might have been like if you were there yourself?

Our theatre, after all, was built in an age of experiment and adventure in Bristol—and we are at our best when we combine sizzling storytelling with the most forward-looking theatrical language we can find. Our extraordinary creative team and cast have responded to these questions with their own wildness of imagination. Ti Green has designed a mountain that isn't a mountain. Jon Nicholls has created a sound design which no one in the Andes has ever heard in order to make you feel that you are there yourself.

Sasha Milavic Davies has performed minute miracles of choreography—many of which are the diametric opposite of climbing—and in the middle of it all, our wonderful company: Fiona Hampton, Ed Hayter, Paddy McNamee and Josh Williams are living the intense reality of Joe Simpson's Odyssey, second by second and with agonising truth.

This is their gift to your imagination. We are confident that you will see tonight things that haven't been attempted in a theatre before, but we will only have succeeded if you go home ready to tell your friends about the things you imagined while you were watching it.

Tom Morris

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事實，虛構和幻想

Fact, Fiction and Fantasia 當人類身處極端環境中，奇怪的事情便會發 生。我們的身體在求生的邊緣奮力掙扎，我們 的思想開始徘徊在記憶和想像的邊緣，很快， 我們便會感覺猶如置身夢境之中。 透過一本暢銷書籍和一部獲獎的紀錄片，大家 已經熟知喬和西蒙在修拉格蘭德山的經歷。 三十年來，該故事不斷出現在文章、論文以及 新聞報道中。所以，我想用一種另類的手法， 將故事呈現在戲劇舞台上。我們大致都知道在 山上發生的事情，但喬的探險故事也發生在另 一個地方—他的所思所想中。我就是想在這部 戲中探討這個地域。 我們都喜歡聽真實的求生故事，例如泰國洞穴

Something very strange happens to humans when we find ourselves in extremis. As our bodies focus entirely on survival, our minds begin to wander into the recesses of memory and imagination and soon we find ourselves in a place very similar to a dream.

What happened to Joe and Simon on Siula Grande is well known. It's been a best-selling book and an award-winning documentary film. Thirty years on, it's been covered in countless articles, essays and news reports. So, in telling the story for the theatre, I wanted to find a different approach. We all know, roughly, what happened on the mountain, but there is another terrain on which Joe's adventure took place, the terrain of the mind, and that was the terrain I wanted to explore in this play.

救援行動、智利的採礦事故，因為這些故事讓 我們感到既恐懼又安全。一想到被困在洞穴就 覺得可怕；一想到摔斷了一條腿被困在冰川就 感到害怕。但故事卻是安全的，我們感到恐懼 的同時仍然有空間思考：「如果是我，我會怎 樣做？我會有何反應？我會恐慌嗎？會尖叫 嗎？我會躺下死去嗎？」在故事中，我們讓自 己深入到想像中最陰暗的地方，同時始終知道 自己和英雄最終會平安而回。 千百年來，人類不斷互相講述求生的故事。畢 竟，這樣的故事可以救人一命。故事可以傳播 技能、資訊以及處理極端情況的方法，讓我們

We're all drawn to true stories of survival—like the Thai cave rescue or the Chilean mining accident— because they simultaneously terrify us and make us feel safe. It's terrifying to think of being trapped in a cave; terrifying to think of being trapped inside a glacier with a broken leg. But in the safety of a story, we can feel the fear whilst having the space to think: “If that were me, what would I do? How would I respond? Would I panic? Scream? Would I lay down and die?” In the safety of a story we allow ourselves to go deep into the very darkest places of our imagination, whilst all the time enjoying the knowledge that we, and the hero, will ultimately come back home.

為未來的困境做好準備。這種古老的淵源或許 可以解釋為何這些故事的形式經常跟循史詩和 故事原型。就像奧菲斯和尤麗迪絲的古希臘神 話，《攀越冰峰》也描述了一個最古老、最有 力的故事原型—一個死而復生的故事。如果你 回到過去，在遙遠他鄉和一群陌生人圍坐在篝 火旁，你仍然可以講述《攀越冰峰》的故事， 其中跌宕起伏的情節定會吸引你的聽眾。

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Humans have probably told each other survival stories for hundreds of thousands of years. After all, stories like these could save our lives. They pass on skills, information, and ways to approach extreme situations. They prepare us for our own future struggles. This ancientness possibly explains why these stories often take on such epic and archetypal forms. Much like the ancient Greek

myth of Orpheus and Eurydice, Touching the Void features one of the oldest and most powerful narrative archetypes—the story of somebody who comes back from the dead. If you went back in time and sat round a campfire in a distant land, with a group of unknown strangers, you could still tell the story of Touching the Void and the shape of the story would draw your listeners in. 當然，求生的故事總是發生在兩個截然不同的 世界—有岩石、骨血和嚴寒的真實世界，以及 我們頭腦中的世界，一個充滿鬼魂、祖先、恐 懼、夢想和怪物的世界。這兩個世界都能置人 於死地。如果我們下定決心，就可以在兩個世 界中找到生存的工具。 但光有故事並不夠。舞台需要對話，所以為了 讓故事更加生動，湯和我回歸傳統形式。我們 為喬創造了一個精神嚮導，派了一個朋友前去 尋找他，到陰間去尋找他，並幫助他走出墳 墓。 當然，真實情況並非如此。事實上，喬是獨自 一人。其中的孤獨是我們故事中的一個重要部 分。不過，喬在書中特別提到他腦海中的一把

Of course, survival stories always take place in two distinct worlds—the real world of rocks and bones and blood and cold, and the world of our heads; a world full of ghosts and ancestors and fears and dreams and monsters. Two worlds that could kill us. Two worlds in which we can find, if we are determined, the tools for our survival.

But story alone is not enough for the theatre. The stage requires dialogue, so, to make our version of story feel animated, Tom and I went back to old forms. We gave Joe a spirit guide. We sent him a friend to voyage in search of him, into the land of the dead, to find him and to help guide him back from the grave.

Obviously in real life, that isn't what happened.

In real life, Joe was alone, and that loneliness is an important part of the story we're telling. But

© Geraint Lewis

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聲音。他說這把聲音幫助他最終倖存下來，非 常重要。這對試圖切入故事的我和湯來說，是 個關鍵的立足點。他腦海中的聲音引導我們創 造了一個新的角色。讀遍喬所有的著作後，我 從《鬼魂遊戲》（ 1 9 9 3）中得到極大啟發，這 本書算是他最接近自傳的一部作品。書中有一 章講述了他童年時和姊姊莎拉的關係，寫得引 人入勝且妙趣橫生。她過去常常招惹、刁難和 戲弄她的弟弟（當然，所有姊姊都這樣），所 以，我們突然想到，或許她就是喬心裏的那個 聲音。 莎拉和喬關係很好，但可惜的是，她早已經過 世，所以我們知道，如果想實現這個想法，就 需要得到喬的許可。幸運的是，當我們告訴他 這個想法後，喬毫不介懷，更告訴我們莎拉具 有調皮的幽默感，她喜歡取笑他的攀山事業和 名氣，若她知道自己變成劇中角色，可能會覺 得很有趣。我們認為得到了他的祝福。在我看 來，了解喬和莎拉的真實關係為這個故事增添 了深度。 當然，劇中出現的莎拉是虛構的。她並不代表 喬生活中那位真實人物。李察這個角色也是如 此。在現實生活中，和他們一起挑戰修拉格蘭

in the book, Joe talks quite specifically about a voice in his head. He says this voice was very important in helping him survive. That was a key foot placement for Tom and I as we tried to find a way into this story. We thought about Joe's voice, and that guided us towards the creation of a new character. Having read all of Joe's books, I was very inspired by This Game of Ghosts (1993), the closest to what you could call his autobiography. In it, there's a very compelling and funny chapter about his childhood relationship with his sister, Sarah. She used to provoke and torment and tease her little brother Joe (as all big sisters, surely, do) and so, it struck us that perhaps she was the voice in Joe's head.

Sarah and Joe were very close. Sadly, she died some years ago and so we knew that, if we were going to commit to this idea, we would need Joe's permission. Fortunately, when we opened up the possibility of this approach, Joe was incredibly generous about it, telling us that Sarah had a wicked sense of humour, that she had enjoyed teasing him about his climbing career and fame, and that she would probably have found it very funny that she ended up featuring in the play. It felt to us that we'd received his blessing. For me, knowing of Joe's real relationship with Sarah added a new layer of depth to this story.

© Aly Wight

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德山的是背包客李察．霍金，他在電影中也有 短暫出場。我們理解李察很重視自己的隱私， 他覺得《攀越冰峰》及其反響對自己略有干 擾。考慮到這一點，我們決定創造一個「李 察」來幫助敘事。我們故事中的李察是個登山 迷、作家，也是個書迷。如果說這個角色以誰 為原型的話，那可能就是我自己。彩排的時 候，湯一直叫他李察．葛利格。 由於許多原因，我在談論這部戲劇的時候經常 會提到「幻想曲」這個詞。我的意思是，我們 讓這部劇探索了許多世界、人物以及可能性， 當我們奮力求生的時候，這些東西會在我們的 腦海中起起伏伏。在極端情況下我們開始產生 聯想，我們甚至沒有意識到他們的存在，在這 種夢境一般的思維狀態中，我們發現了色彩和 形式，幽默和風趣，以及愉悅和陌生等，這些 都是我最喜歡的戲劇元素。 我特別喜愛超級馬拉松，這項運動有一句標 語：「當你認為自己無辦法堅持下去時，你其 實可以再跑一倍半的距離。」這是人類的基本 特徵，就好似我們有一個油量錶，當錶盤打到 紅色時，我們內心知道，還能再走很長一段 路。對我來說，這其中有一種不可思議的力 量—努力生存下去的本能。當你遭遇一場交通 事故，或者你的朋友、愛人或自己疾病纏身， 便會明白這個道理。當你以為自己無法繼續下 去時，其實你可以再跑一倍半的距離。至少。 當然，喬的儀錶遠遠超過了紅色，但並非一定 要攀越山峰才會對人類非凡的內在力量感到驚 奇，這種驚奇無時無刻都在我們身邊，在我們 的朋友、鄰居、父母、孩子們的身上。它就在 我們每個人的身上。 大衛．葛利格

Of course, the Sarah who appears in this play is a fiction. She is not intended to be a representation of the real woman in Joe's life. The same is true of the character of Richard. In real life, the boys were accompanied to Siula Grande by backpacker Richard Hawking, who also appears briefly in the film. Understandably, Richard values his privacy and finds the Touching the Void industry a little intrusive. With that in mind, we decided to invent a “Richard” who would best help us to tell the story.

Our Richard is a climbing nerd, he's a writer, he's a fan. If he's based on anyone, he's probably based on me. In the rehearsal room, Tom kept calling him Richard Greig.

For many reasons, I've thrown the word “fantasia” around when talking about this play. What I mean by that is that we've let the show explore the many worlds, characters and possibilities that fizz and pop and come alive in our minds when we're fighting for our lives. In extremis we make connections—often when we don't even realise they're there—and it's in this dreamlike state of mind where we find the colour and form, humour and wit, and the delight and strangeness…all the things I most like in a play.

There's a phrase in Ultra Running, a sport I particularly like, that goes “when you think you can't go on, you can do the same amount and half as much again”. That's sort of a base thing about humans. It's like we have a petrol gauge. When the dial hits red, it's built into us that there's a long way further we can go. For me, there's something incredibly powerful about that—our instinctual fight to survive. You need only be involved in a road accident or have a friend, a lover or yourself touched by illness to glimpse this for yourself.

When you think you can't go on, you can. The same amount and half as much again. At least.

Now, of course, Joe's gauge passed far beyond the red, but you needn't climb a mountain to observe this feeling of surprise at our extraordinary inner strength. It’s around us all the time, in our friends, neighbours, parents, children. It's in ourselves.

David Greig

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登山之旅

The Journey 修拉格蘭德山 6356 米

Siula Grande 6356m 6 月 7 日臨時營地 Bivouac Shelter (7 June)

冰崖 Ice Cliff

6 月 4 日臨時營地 Bivouac Shelter (4 June) 喬爬行至首個雪穴

First snow hole on Joe's crawl

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秘魯 Peru 修拉格蘭德山 Siula Grande 利馬 Lima

發生意外 Accident 割斷繩索 Rope cut 冰隙 Crevasse 雪穴 Snow holes 登山及下降路線 Ascent & lowers

地圖標示了喬及西蒙 1985 年 6 月於修拉格蘭德 山的攀山路線，及主要情節的發生地點

This map illustrates Joe and Simon's route up and down the west face of the Siula Grande in June 1985, marking the locations of major events.

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《攀越冰峰》冒險分析

Adventure Under Analysis 邁克．帖頓是英國普茨茅斯大學的教授，研究方向是人類在極端環境的生理和心理 反應。 我們研究各種極端環境，就如喬和西蒙在《攀

部，首當其衝的主要器官是大腦。嚴寒能引致

越冰峰》中置身的環境一樣。我們想了解，當

性格轉變、認知能力下降和失憶，使生理和心

人類置身於極端環境之中，會有怎樣的生理、

理影響的界線逐漸模糊。在溫暖環境下能夠容

病態生理和心理反應。為了方便研究，我們在

易作出的判斷，到了嚴寒缺氧的環境，會變得

實驗室建立了三個氣候試驗室，內裏溫度最高

困難和遲緩。而且人類在這種情況下能夠進行

可達攝氏5 0度，最低為零下2 5度，海拔可達

的體能活動（力量與耐力）十分有限。因此，

7 , 0 0 0米。其中兩個試驗室設有沉浸設備，一般

即使你的大腦能夠作出某項決定，也未必有進

注滿冷水。

行體能活動的選擇和能力。這些心理和生理的

我曾經與倫敦燃料劇團和挪威「冰塊音樂家」 泰傑．伊松賽特有過愉快合作，因此很高興能 夠參與《攀越冰峰》的創作過程。我主要為劇

影響，全面體現在喬和西蒙在《攀越冰峰》的 冒險故事當中，因為這個故事的本質正是關於 決策和體能。

本的科學相關部分提供意見，並參與導演和演

再一次與倫敦燃料劇團及共同製作夥伴合作，

員討論，特別是與飾演喬．辛普森的演員喬

過程充滿趣味。我作為綜合人類生理學家，堅

希．威廉斯探討山難對喬造成的生理影響。

信跨學科研究的重要性，以及以整全策略去呈

人類是生活於低海拔、空氣充足、熱帶地區的 生物。當渾身赤裸時，人類本能想要身處溫度 攝氏2 6至2 8度、氧氣量百分之二十一的海平 面地區。當身處高地冷凍區域，人類的身體會 承受巨大壓力，寒冷氣溫和缺氧造成身體機能 下降，認知能力亦受影響。在生死存亡的情況 下，這點十分關鍵：神經和肌肉冷壞，難以抓 住繩索及拉動重物，使人喪失活動能力；缺乏 氧氣會減低人類進行有氧、耐力運動的能力， 亦會延長任何運動的恢復時間。同時，呼吸節 奏會變得急促和加深；說話和溝通的方式，以 及談話次數亦隨之轉變。當嚴寒進入身體內

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現我們所發掘的細節。這種信念同樣延伸至藝 術與科學的結合；無疑，藝術能夠建基於理性 和客觀的科學方法，而科學也可以充滿創意和 想像力。這樣看來，藝術與科學其實比想像中 更合得來。 邁克．帖頓

© Geraint Lewis

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© Geraint Lewis

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Mike Tipton is a professor at the University of Portsmouth, whose research is interested in the physiological and psychological responses to adverse environments.

Our research examines the kind of extreme environment in which Joe and Simon found themselves in Touching the Void. We study the physiological, pathophysiological and psychophysiological responses to extreme environments. To help us do this type of research, our lab has three climatic chambers that can go between -25 and +50°C; they can all go to 7,000m altitude, and two of the chambers contain immersion facilities, usually filled with cold water.

As a result of previous positive collaborations with artists including Fuel and the “ice musician” Terje Isungset, I was happy to get involved with Touching the Void, consulting on relevant parts of the script, and participating in discussions with the directors and actors, particularly on the physiological impact of Joe's ordeal with actor Josh Williams.

Humans are low-altitude, air-breathing, tropical animals that, when naked, want to be at sea level in 26–28°C air with 21% oxygen. It follows that going to high, cold places puts an excessive strain on the human body. The cold ambient temperatures and decreased oxygen (hypoxia) in the atmosphere combine to reduce physical capability as well as cognitive function. This is critical in a survival situation; as nerves and muscles cool, the ability to do things like grip ropes and haul weights diminishes to a state of physical incapacitation. The reduced oxygen in the atmosphere decreases the ability to undertake aerobic, endurance exercise and lengthens the recovery time from all types of exercise. Breathing patterns change, becoming more rapid and deep; this changes the way people

speak and communicate, and how much of this they are prepared to do. As the cooling moves into the core of the body, the first major organ to be affected is the brain. Personality changes, cognitive function diminishes, amnesia occurs and the distinction between physiological and psychological impacts becomes blurred. Decisions that would be easy to make when warm are delayed and more difficult when cold and hypoxic. The actions available in terms of physical activity (strength and endurance) are severely restricted. Thus, even if you managed to reach a decision to do something, the options and ability to do physical things may not be available. It is easy to see how these impacts are woven into the story of Joe and Simon in Touching the Void, which is essentially based on decisionmaking and physical capability.

Once again, it has been great fun working with Fuel and the co-producing partners on this production. As an integrative, whole-body human physiologist, I am a firm believer in the importance of multidisciplinary research and a holistic approach to contextualise the detail of what we discover. This easily expands to include collaboration between the arts and science; there is no doubt that art can be founded on rationality and objective method, and science can be creative and imaginative—thus art and science are much closer bed-fellows than one might initially believe.

Mike Tipton

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瑪格達．奧斯曼是倫敦瑪麗王后大學的實驗心理學教授。她的研究範圍包括決策、 潛意識過程及利社會行為。 我們在面對極端不確定的情況時，如何作出決

況，都需要作出兩難的決定，而每一個決定都

定？我為了嘗試解答，於是在研究實驗室的同

可引致嚴重的後果。我應該留在營地還是離

僚及合作對象的幫助下，展開了一個研究計

開？我應作出理智的決定嗎？我應該繼續堅持

劃。在研究時，我亦需要弄清楚我們到底根據

還是放棄？每個決定都伴隨着重大的代價，並

甚麼而作出道德判斷和決定、回報與付出之間

帶來倫理上的疑問：什麼才是正確、該做的

的關係、潛意識在多大程度上影響我們的行

事。劇中的角色，特別是喬和西蒙，他們身處

為、我們的自主意識為何主宰我們所有行動、

在大多數人永遠不會、不想經歷的處境，他們

自主意識與我們如何看待這個世界之間的連

的每個決定均為自身以及自主意識帶來挑戰。

繫，以及當中的因果關係。

倫敦燃料劇團總監凱蒂．麥格夫透過劇團獲頒

在眾多的不確定性之中，我最感興趣的是對未

的維康信託基金持續卓越獎，引薦我加入《攀

來的不確定性。我們可以在許多不同情況下，

越冰峰》的團隊。凱蒂當時已經有連結科學家

經歷對未來的不確定，例如不確定我們的退休

的想法，在此劇的起始階段，她邀請我與導演

儲備是否足夠，又或者不確定某項財政政策能

和編劇對談。我在對談前閱讀了原著，觀看原

否為所有人帶來更理想的退休生活等等。面對

著改編電影和其他相關的攀山電影，亦有與曾

這些情況，我們如何作出決定去減低這種不確

攀山的同僚和朋友對談。這次的會談對我來說

定性？我的研究指出，人們對不確定未來的關

就和任何科學合作項目一樣，先剖析主題，再

鍵心理預備有：為行為制定簡單但深思熟慮的

閱讀現有的心理學研究文獻，綜合我個人的意

計劃、深信自己的行為能夠帶來預料以內的和

見，能夠模擬人類在不同情況下的行為，為此

有意義的改變（即自主意識），以及切合實際

劇人物提供行為模式的參考。

地欣賞我們為達成目標所作的努力。

瑪格達．奧斯曼

我的研究與《攀越冰峰》的交匯點，是劇中每 個主角都需要在極端不確定的情況下作出決 定。例如李察的不確定：「喬和西蒙會否回 來？」、西蒙的不確定：「在繩索另一頭的喬 是否存活？」和喬的不確定：「我做的一切能 自救嗎？」。角色每一次經歷的重大不確定情

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Magda Osman is Reader in Experimental Psychology at Queen Mary University of London. Her research interests include decision-making, unconscious processes and pro-social behaviours.

How do we make decisions in the face of deep uncertainty? With the help of members of my research laboratory and my collaborators, I have developed a research programme to try to answer this. Along the way, I have also had to understand the basis on which we make moral judgments and decisions, the relationship between rewards and effort, the extent to which our conscious mind shapes our behaviour, why it is that our sense of agency is pivotal to everything we do, and how our sense of agency is fundamentally linked to the way we see the world in causal terms.

Of the many forms of uncertainty that there are, I have been most interested in uncertainty of the future. This can be experienced at many different levels, from not knowing if we are saving enough for our retirement, to not knowing if a financial policy will ensure a better retirement for all. How do we make decisions to reduce this uncertainty? In my work, I've shown that the critical psychological ingredients to prepare ourselves for uncertain futures are: a well-crafted simple plan of actions, a strong belief that our actions can create predictable and meaningful changes around us (sense of agency), and a realistic appreciation of the effort needed to get to where we need to be.

The point of connection between my research interests and Touching the Void is that each main character makes decisions under extreme uncertainty. Richard's uncertainty—will Joe and

Simon come back? Simon's uncertainty—is Joe alive at the end of the rope? Joe's uncertainty— will what I'm doing help me survive? Each major experience of uncertainty carried with it a series of highly consequential dilemmas. Do I stay or leave the camp? Do I make the rational decision or not?

Do I keep going or do I give up? Each consequential choice that was made carried a significant cost, and invited moral uncertainty about what the right thing to do was. Each consequential decision also brought with it a challenge, particularly to Joe and Simon, to their sense of agency under conditions most of us will never get to, or want to, experience.

Kate McGrath, Director of Fuel, helped me get involved in Touching the Void through Fuel's Wellcome Trust Sustaining Excellence Award to bring together scientists and artists. Through this and her instinct for making fruitful connections, at the early stages of this play's inception, Kate invited me to speak with the director and playwright.

In preparation for this meeting, I read the book, watched the film and associated epic climbing films, and spoke with colleagues and friends who have climbed mountains. I approached the meeting as I would any scientific collaborative project, and that was to dissect the core themes, and then look at how the available psychological literature, as well as my own accounts, could build a certain profile of behaviours from a given set of circumstances that the team could work from in their development of the show.

Magda Osman

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湯 ‧ 莫里斯

Tom Morris 導演 Director

© Geraint Lewis

湯 ‧ 莫里斯是布里斯托爾老域劇團的藝術總 監，並自 2004 年起擔任英國國家劇院的副總監。

1 9 9 5 年至 2 0 0 4 年間，他擔任巴特西藝術中心 的藝術總監，並曾任職記者、廣播員、自由撰 稿人、監製及導演。 他在布里斯托爾老域劇團的製作包括《咧嘴男》 （布里斯托爾及倫敦西區）、《燕子與鸚鵡》（布 里斯托爾、倫敦西區及英國巡迴演出）、《茱 麗葉與她的羅密歐》、《熔爐》、《李爾王》、 韓德爾《彌賽亞》和《仲夏夜之夢》（與南非 漢斯普林木偶劇團合作）。 他的作品還包括：《克林霍夫之死》（英國國 家歌劇院及紐約大都會歌劇院）、《好男孩該 得恩寵》（英國國家劇院）、《戰馬》（英國 國家劇院聯合導演；2011 年東尼獎最佳導演）、 《生死攸關》（與艾瑪．麗斯共同改編同名電影， 英國國家劇院）、《脫離現實》、《新聞之夜： 歌 劇 》、《 家 》、《 激 情 》、《 無 名 》、《 奧 塞羅音樂》、《仨》和《一切淪落者》，這些 作品皆為布里斯托爾老域劇團製作。莫里斯亦 合寫了《1966 年世界盃總決賽》、《聖戰英豪》 和《賓虛》，並參與《傑瑞．史賓格：歌劇》、 巴特西藝術中心歌劇演出、英國視覺戲劇節和

Tom Morris is Artistic Director of Bristol Old Vic and has been Associate Director of the National Theatre since 2004. He was the Artistic Director of BAC from 1995 to 2004 and has worked widely as a journalist, broadcaster and freelance writer, producer and director.

Productions at Bristol Old Vic include The Grinning Man (Bristol and West End), Swallows and Amazons (Bristol, West End and UK tour), Juliet and Her Romeo, The Crucible, King Lear, Handel's Messiah, and A Midsummer Night’s Dream (with Handspring Puppets).

Other credits include: The Death of Khrighofier (ENO & Metropolitan Opera); Every Good Boy Deserves Favour (National Theatre); War Horse, as co-director for National Theatre (2011 Tony Award for Best Director); A Matter of Life and Death, adapted from the film with Emma Rice (National Theatre); Disembodied; Newsnight: The Opera; Home; Passions; Unsung; Othello Music; Trio; and All That Fall. All were for BAC, where he also co-wrote World Cup Final 1966, Jason and the Argonauts and Ben Hur and produced Jerry Springer: The Opera, BAC Opera, British Festival of Visual Theatre, and Sam Shepard Festival. For Kneehigh, he co-wrote Nights at the Circus and The Wooden Frock with Emma Rice.

山姆．謝普戲劇節。他為高及膝劇團合寫了《馬 戲團之夜》，並和艾瑪．麗斯聯合創作《木裙》。 莫里斯是 J M K 信託基金會的創會主席，並是英 國合拍劇團和暈眩劇團的董事會成員。他獲西 英格蘭大學和布里斯托爾大學授予榮譽博士學

Morris was founding Chair of the JMK Trust, has served on the boards of Complicité and Punchdrunk, and has honorary doctorates from UWE and Bristol University, as well as an OBE for services to theatre.

位，更獲頒大英帝國勳章以表揚對戲劇的貢獻。

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大衛．葛利格

David Greig 編劇 Playwright

© Aly Wight

葛利格是廣受好評及獲獎無數的劇作家，2016 年成為蘭心劇院的藝術總監。他的第一個劇季 有多個廣受好評的製作，包括他改編的《祈願 女之歌》，於貝爾法斯特國際藝術節、曼徹斯 特皇家交易所劇院和倫敦新域劇院及 2018 年香 港藝術節搬演；琳達．麥克林《地球的光榮》 的世界首演是他首次擔任戲劇導演的作品。

Greig is an acclaimed and multi award-winning playwright who became the Artistic Director of The Lyceum in 2016. His first season included the critically acclaimed works The Suppliant Women, adapted by himself, which went on to Belfast International Festival, The Royal Exchange, the Young Vic in London and the HKAF (2018); and the world premiere of Glory On Earth by Linda McLean, which marked his directorial debut at the theatre.

葛利格的著名劇作包括：《事件》（蘇格蘭穿 越劇團及倫敦新域劇院）、《普魯登西亞．哈 特的奇怪毀滅》（蘇格蘭國家劇院）、《仲夏》 （穿越劇院、蘇活劇院和三輪車劇院）、《馬 克白後傳》（皇家莎士比亞劇團在漢普斯特德 劇場和蘇格蘭國家劇院的演出）、《大馬士革》 （穿越劇院和三輪車劇場）、《遙遠的島》（穿 越劇院和皇家宮廷劇院）、《美國飛行員》（皇 家莎士比亞劇團）等。 改編劇目有：《債主》（唐瑪倉庫劇院）、《酒神》 （愛丁堡國際藝術節和蘇格蘭國家劇院）、《丁 丁在西藏》（倫敦巴比肯中心、劇場劇院和英 國巡迴演出）、《當歌手停止歌唱》（穿越劇院， 曾獲國際特赦組織大獎、愛丁堡國際藝穗節自 來水獎和愛丁堡國際藝術節先驅報天使獎）、 《卡里古拉》（唐瑪倉庫劇院）及《小飛俠》（蘇 格蘭國家劇院、穿越劇院和巴比肯中心）。葛 利格是《朱古力獎門人》音樂劇故事作者，該 劇 2013 年在倫敦西區演出後， 2017 年到紐約 百老匯搬演。他的改編劇作《拉奈克》是 2015 年夏季愛丁堡國際藝術節的開幕作品，而他改 編蘇斯同名作品的《羅雷司》則於同年聖誕在 老域劇院首演。葛利格近期的製作有《掩蓋痕

Greig's most notable plays include The Events (Traverse, Scotland and Young Vic); The Strange Undoing of Prudencia Hart (National Theatre of Scotland); Midsummer (Traverse, Soho and Tricycle); Dunsinane (RSC at Hampstead and National Theatre of Scotland); Damascus (Traverse, Scotland and Tricycle), Outlying Islands (Traverse and Royal Court); and The American Pilot (RSC).

Adaptations include Creditors (Donmar Warehouse); The Bacchae (Edinburgh International Festival and National Theatre of Scotland); Tintin in Tibet (Barbican, Playhouse and UK tour); When the Bulbul Stopped Singing (Traverse Theatre—Amnesty International Award, TapWater Award and Herald Angel); Caligula (Donmar Warehouse) and Peter Pan (National Theatre of Scotland, Traverse and Barbican). David wrote the book for Charlie and the Chocolate Factory, which opened in the West End in 2013 and transferred to Broadway in 2017.

His adaptation of Lanark opened at the Edinburgh International Festival in summer 2015 and his adaptation of Dr Seuss' The Lorax opened at The Old Vic for Christmas 2015. Most recently, Greig worked on Cover My Tracks (Old Vic), for which he wrote the book, with Noah and the Whale's Charlie Fink.

跡》（老域劇院），劇作改編自他與諾亞與鯨 魚樂隊主唱查理．芬克的合著作品。

37

喬希．威廉斯 喬

Josh Williams Joe 威廉斯的戲劇作品包括：《如果我們拿到更多可卡因我就會告訴你我如此愛你》（藝 術項目中心）、《邁阿密一夜》（唐瑪倉庫劇院）、《野蠻人》（找到 111）、《新觀點： 天堂上有 WIFI 嗎？》（英國國家劇院）、《溫蒂與小飛俠》（皇家莎士比亞劇團）、 《愛與資訊》、《私生活》（皇家宮廷劇院）、《羅密歐與茱麗葉》（莎士比亞環球 劇院）、《顫抖》（南華克劇院）和《蒼蠅王》（倫敦攝政公園露天劇場）。 電視劇包括：《醫生》、《求救》、《霍比爾市》、《阿加莎．瑞森探案集》、《駭 人命案事件簿》和《律政風雲》。 Josh Williams’ theatre credits include: If We Got Some More Cocaine I Could Show You How I Love You (Project Arts Centre); One Night in Miami (Donmar Warehouse); Barbarians (Found 111); New Views: Is There a WIFI in Heaven? (National Theatre); Wendy and Peter Pan (RSC); Love and Information and Our Private Life (Royal Court); Romeo and Juliet (Shakespeare's Globe); Shivered (Southwark Playhouse); and Lord of the Flies (Regent's Park Open Air Theatre).

His television credits include: Doctors, May Day and Holby City (BBC); Agatha Raison (Sky One); Midsomer Murders and Law and Order (ITV).

愛德華．希特 西蒙

Edward Hayter Simon 希特曾參演的戲劇《三姊妹》、《熔爐》和《不可兒戲》、電影《火人》、《夢想》、 以及以固定角色參演電視劇《青年莎士比亞》。 Edward Hayter’s theatre credits include: Three Sisters, The Crucible, and The Importance of Being Earnest (The Poor School). In film and television, he has appeared in Burning Men, To Dream and as a series regular on Will (TNT).

39

費安娜．漢普頓 莎拉

Fiona Hampton Sarah 參演的戲劇作品包括：《無事生非》（莎士比亞環球劇院）、《帖木兒》（黃色地球 / 阿高拉劇院演出和英國巡演）、《仲夏夜之夢》（新沃爾西劇院）、《私生活》（八 角劇院 / 新維多利亞劇院）、《冬山》、《玻璃動物園》、《圖爾》、《人鼠之間》、《靈 感交集》（八角劇院）、《別笑》（鬥雞場劇團）、《劇場生物》（奇切斯特節劇院）、 《換命謊言》（製作工場 / 南華克劇院）、《咆哮》、《機械心》（京士頓玫瑰劇院） 和《威尼斯商人》（德比現場）。 參演電影包括：《恐怖好鄰居》、《革命》、《皇家特工：間諜密令》、《風車慘案》、 《遺產》。電視劇作品：《巴黎時裝時尚大亨》、《肯頓女巫》、《霍比爾市》和《珍 姐科幻大冒險》。 Fiona Hampton’s theatre credits include: Much Ado About Nothing (Shakespeare's Globe); Tamburlaine (Yellow Earth, Arcola Theatre and UK tour); A Midsummer Night's Dream (New Wolsey Theatre); Private Lives (Octagon Theatre, New Victoria Theatre); Winter Hill, The Glass Menagerie, Tull, Of Mice and Men, and Lighthearted Intercourse (all Octagon Theatre); Don't Laugh (Cockpit Theatre); Playhouse Creatures (Chichester Festival Theatre); The Changeling (The Production Works, Southwark Playhouse); Roar; Clockheart Boy (Rose Theatre Kingston); and The Merchant of Venice (Derby LIVE).

Her film credits include: The Good Neighbour, Revolution, Kingsman: Secret Service, The Windmill, and Legacy. On television, she has appeared in: The Collection (Amazon Prime/BBC Worldwide); Switch (ITV); Holby City (BBC); and The Sarah Jane Adventures (DW Productions).

柏德烈．麥奈米 李察

Patrick McNamee Richard 戲劇作品包括：《輕鬆學法文》（橘樹劇團）、《高校男生》、《魔街理髮師》、《義 海雄風》、《愛與瓶》、《世道如此》、《三姊妹》、《哈姆雷特》、《女人當心女 人》、《依隆拿的雨》和《服務報酬》。電影作品包括（失去的時光》。電視作品包 括《少女從軍記》及《偵探喬治．詹特利》。 Patrick McNamee’s theatre credits include: French Without Tears (Orange Tree Theatre); The History Boys (Selladoor); Sweeney Todd, A Few Good Men, Love and a Bottle, The Way of the World, Three Sisters, Hamlet, Women Beware Women, Iona Rain, and For Services Rendered (all LAMDA).

In film and television, he has appeared in The Invisible Hours (VR project) and as a series regular on Our Girl and Inspector George Gently (BBC).

41

喬‧辛普森 回憶錄原著作者

Joe Simpson Author of the book Touching the Void 喬 ‧ 辛普森是一位前登山家及多本暢銷書籍的作者。他的第一本作品《攀越冰峰》更獲得 NCR 圖書獎及博德曼． 塔斯克獎。他之後的非小說類作品包括《鬼魂遊戲》 （《攀越冰峰》的續集）、《寂靜的召喚》（獲 2003 年美 國國家戶外文學獎，亦是這三部曲的最終作）、《沉默的風暴》和《陰影降臨》。他的小說包括《水中人》和《重 力的聲音》。《攀越冰峰》和《寂靜的召喚》電影更分別獲得英國電影學會獎和艾美獎。他最新的小說《走錯草 路邊》，講述德比郡一個男童兵被捲入桑姆河戰役，是一個愛、悲情及復仇的故事。小說在 2 0 1 8 年 8 月以電子 書方式出版。辛普森在 2009 年從他的登山生涯退休，目前定居德比郡。 Joe Simpson is a former mountaineer and the author of several best-selling books, of which the first, Touching the Void, won both the NCR award and the Boardman Tasker Award. His later non-fiction books are This Game of Ghosts (the sequel to Touching the Void), The Beckoning Silence (which won the 2003 NOBA and forms the final book in the trilogy), Storms of Silence and Dark Shadows Falling. His novels include The Water People and The Sound of Gravity. The films of Touching the Void and The Beckoning Silence won a BAFTA and Emmy, respectively. His latest novel, Walking the Wrong Side of the Grass, is a tale of love, tragedy and revenge as a Derbyshire boy soldier finds himself in the hell of the Somme; it was published as an e-book in August 2018. Simpson retired from climbing in 2009 and lives in Derbyshire.

泰．格林 舞台設計

Ti Green Designer 泰．格林近期作品包括：羅傑斯與漢默斯坦的《灰姑娘》（於七幕人生、上海文化廣場及中國巡迴演出）、《迦 太基女王狄多》（皇家莎士比亞劇團）、《陰影》（伯明翰劇團、皇家蘭心劇院和皇家公園劇場）、《皇帝》（新 域劇團、HOME 和紐約新觀眾劇團）、《欽差大臣》（伯明翰劇團和英國巡演）、《遊樂場》和《羅密歐與茱麗 葉》（HOME，曼徹斯特戲劇大獎最佳設計）、《集中營血淚》（謝菲爾德克魯西伯劇院）、《輝煌的鳳凰》（利 物浦人人劇院）、《聖誕頌歌》（伯明翰劇團）、《奧蘭多》（曼徹斯特皇家交易所劇院）、《亨利六世》（環 球劇院）、《時間與康威家族》（皇家蘭心劇院、丹迪劇目劇院，獲蘇格蘭評論家戲劇大獎最佳設計提名）、《釋 放》（倫敦巴比肯中心）和《可以阻止的阿圖羅•烏依上台》（利物浦劇院）。 格林為英國國家劇院設計的作品包括：《復仇者的悲劇》、《莫里斯．平德的五個妻子》、《聯合國欽差大臣》、 《雙城記》（英國國家劇院和紐約帝國劇院，獲提名東尼獎最佳服裝設計及舞台設計）。為皇家莎士比亞劇團設 計的作品包括：《李察三世》、《小雕》、《科利奧蘭納斯》和《凱撒大帝》。 Ti Green’s recent work includes: Rogers and Hammerstein's Cinderella (Seven Ages, Shanghai Culture Square and tour of China); Dido Queen of Carthage (RSC); What Shadows (Birmingham Rep/Edinburgh Lyceum/The Park London); The Emperor (Young Vic/ HOME/TFANA New York); The Government Inspector (Birmingham Rep and national tour); The Funfair and Romeo and Juliet (HOME—MTA winner for Best Design); Playing for Time (Sheffield Crucible); Bright Phoenix (Liverpool Everyman); A Christmas Carol (Birmingham Rep); Orlando (Manchester Royal Exchange); Henry VI (The Globe); Time and the Conways (Royal Lyceum Theatre Edinburgh/ Dundee Rep—CATS nomination for Best Design); Unleashed (Barbican) and The Resistible Rise of Arturo Ui (Liverpool Playhouse).

Green’s designs for the National Theatre include: Revenger's Tragedy, The Five Wives of Maurice Pinder, The UN Inspector, and Coram Boy (National Theatre/Imperial Theatre New York—Tony nominations for Best Costume and Set Design). Her work for the RSC includes: Richard III, Little Eagles, Coriolanus and Julius Caesar.

42

基斯．戴維 燈光設計

Chris Davey Lighting Designer 基斯．戴維曾為英國國家劇院、皇家莎士比亞劇團、共享經驗劇團、皇家宮廷劇院、漢普斯特德劇場、利瑞克漢 默史密斯劇院、曼徹斯特皇家交易所劇院、英國西約克郡劇場、皇家蘭心劇院、格拉斯哥公民劇院及曼徹斯特國 際藝術節設計。除了英國的皇家歌劇院、威爾斯國家歌劇院、北部歌劇團和奧德堡歌劇團外，他亦為全球各地的 歌劇院工作。 最新設計包括：《奪命證人》（倫敦郡會堂）、《華府風雲》（倫敦劇場劇院）、《傍晚》（橋樑劇團）、《犀 牛》（愛丁堡國際藝術節）、《古巴我來也！》（沙德勒之井劇院）、《魔街理髮師》（布魯塞爾皇家歌劇院）、 《第 42 街》（巴黎夏特雷劇院）、馬修．伯恩的《卡門》和《蒼蠅王》（沙德勒之井劇院、英國及國際巡演）等。 Chris Davey has designed extensively for the National Theatre, Royal Shakespeare Company, Shared Experience Theatre, Royal Court, Hampstead Theatre, Lyric Hammersmith, Royal Exchange Manchester, West Yorkshire Playhouse, Royal Lyceum Edinburgh, Citizens Theatre Glasgow and Manchester International Festival. He has worked for international opera houses, as well as at home for Royal Opera House London, Welsh National Opera, Opera North and Aldeburgh.

Recent designs include Witness for the Prosecution (County Hall, London); The Best Man (Playhouse Theatre, London); Nightfall (Bridge Theatre); Rhinoceros (Edinburgh International Festival); Vamos Cuba! (Sadler's Wells); Sweeney Todd (La Monnaie, Brussels); 42nd Street (Chatelet Theatre, Paris); Matthew Bourne's The Car Man and Lord of the Flies (Sadler's Wells, national and international tours).

喬恩．尼科爾斯 作曲及音響設計

Jon Nicholls Composer and Sound Designer 喬恩．尼科爾斯在倫敦音樂學院修讀作曲，並在達汀頓藝術學院修讀電子原聲音樂。近期音樂 / 音響作品包括：《粉 紅煙霧》、《美狄亞》（布里斯托爾老域劇院）、《哈姆雷特》（皇家莎士比亞劇團）、《春季風暴》、《天邊 外》、《神聖羅森伯格》（英國國家劇院）；《善良金絲雀》（由約翰．馬克維奇執導）、《我的天才女友》、《無 事生非》（京士頓玫瑰劇院）、《貝克斯菲爾德迷霧》（公爵夫人劇院）、《耶爾瑪》、《馬爾菲公爵夫人》、 《復仇者的悲劇》、《仙境》（諾丁漢劇院）、《誰害怕吳爾芙？》（謝菲爾德克魯西伯劇院）。 尼科爾斯亦為多個英國廣播公司、I TV、英國第四台電視和英國天空電視台的紀錄片配樂，並為多個英國廣播公 司電台廣播劇創作音樂及設計音響，以及持續與多個傑出的詩人合作，包括拉維尼亞．格林魯、杰琪．凱伊、安 德魯．莫申、喬．夏普科特和邁克爾．西蒙斯 - 羅伯茲。他創作了兩部歌劇，包括最近在沙德勒之井劇院首演的《閃 爍》，並與英國廣播公司在《旋轉世界》中合作，是他 2017 年配樂的 VR 動畫片《旋轉森林》 的續集。 Jon Nicholls studied composition at the London College of Music and electroacoustic music at Dartington. His recent music and sound scores for theatre include: Pink Mist and Medea (Bristol Old Vic); Hamlet (RSC); Spring Storm, Beyond The Horizon and The Holy Rosenbergs (National Theatre); Good Canary, directed by John Malkovich; My Brilliant Friend and Much Ado About Nothing (Rose); Bakersfield Mist (Duchess); The Duchess [Of Malfi], The Revenger's Tragedy and Wonderland (Nottingham Playhouse); and Who's Afraid of Virginia Woolf? (Sheffield Crucible).

As well as scoring numerous documentaries for the BBC, ITV, Channel 4 and Sky, Nicholls has created music and sound design for dozens of BBC radio dramas, as well as an ongoing series of collaborations with leading poets including Lavinia Greenlaw, Jackie Kay, Andrew Motion, Jo Shapcott and Michael Symmons-Roberts. He has composed two operas, most recently Flicker, which premiered at Sadler’s Wells, and is currently working with the BBC on Turning Worlds, the sequel to the VR experience The Turning Forest which he scored in 2017.

43

莎莎．米拉域．戴維斯 動作指導

Sasha Milavic Davies Movement Director 莎莎．米拉域．戴維斯是動作指導、導演和戲劇顧問。她是英國院子劇場的藝術夥伴和創辦人之一，並獲邀參與 南法亞維儂藝術節新興藝術家計劃。 她以編舞家身份參與的戲劇包括：《可憐》（皇家宮廷劇院）、《劇作家》（艾爾美達劇院）及《祈願女之歌》 （皇家蘭心劇院 / 倫敦巡迴劇團 / 新域劇團）。舞蹈和歌劇作品包括：《齊來舞動》（舞蹈雨傘、合拍劇團）；《白 夜》（漢堡國立歌劇團）及《聖蘇珊娜》（法國里昂歌劇院）。 她執導的作品有：《我的你》、 《星團》（塞爾維亞 Atelje 212 劇團）、裝置藝術《另一面》（艾甘．漢舞蹈團 / 洛瑞劇場）。以副導演身份參與的歌劇製作有：《黃蜂工廠》及《劈嚦啪啦》。 她獲得的獎項包括：Muci DraSkic 大獎的最佳導演 （《我的你》和 《星團》）。 Sasha Milavic Davies works as a movement director, director, and dramaturg. She was a founding member and artistic associate of the Yard Theatre, and was part of Festival d'Avignon's Voyages de Kadmos programme for emerging artists.

As choreographer, her theatre credits include: Pity (Royal Court), The Writer (Almeida) and The Suppliant Women (Royal Lyceum Edinburgh, Actors Touring Company and Young Vic). Dance and opera credits include Everything That Rises Must Dance (Dance Umbrella, Complicité); La Bianca Notte (Hamburg Opera) and Sancta Susana (Opera de Lyon).

As director, her theatre credits include: Moja Ti, Constellations (Atelje 212, Serbia); and the installation One Side to the Other (Akram Khan Company, The Lowry). As associate director, her opera credits include: The Wasp Factory and The Crackle.

She is recipient of the Muci Draškic Award for Best Director (Moja Ti and Constellations).

吉爾．格林 / 艾美．比度 選角導演 / 選角助理

Jill Green CDG/Amy Beadel Casting Director/Casting Assistant 吉爾．格林和艾美．比度分別是英國及愛爾蘭選角導演協會的成員及試用成員。負責選角的倫敦劇目包括：《戰 馬》（英國國家劇院，2018）、《長靴妖姬》（艾德菲劇院）、迪士尼《阿拉丁》（愛德華王子劇院）、《深夜 小狗神祕習題》（吉爾古德劇院）、《新科學怪人》（加歷劇院）、《美麗傳奇：卡洛爾．金音樂劇》（奧德維 奇）、《澤西男孩》（皮卡迪利劇院 / 愛德華王子劇院）；《拉撒路》（國王十字劇院）、《畫舫璇宮》（新倫 敦劇院）、《戰馬》（新倫敦劇院最後選角）、《斯科茨伯勒男孩》（加歷劇院 / 新域劇團）、《金牌監製》（德 魯里巷皇家劇院及英國巡迴）及《福西》（威爾斯親王劇院）。 巡迴演出及地區劇院製作包括：《戰馬》、《深夜小狗神祕習題》、《簡愛》及《獅子．女巫．魔衣櫥》。 Jill Green is a full member and Amy Beadel a probationary member of The Casting Directors' Guild of Great Britain and Ireland.

Their London theatre credits include: War Horse (National Theatre 2018); Kinky Boots (Adelphi); Disney's Aladdin (Prince Edward); The Curious Incident of the Dog In The Night-Time (Gielgud); Young Frankenstein (Garrick); Beautiful—The Carole King Musical (Aldwych); Jersey Boys (Piccadilly and Prince Edward); Lazarus (King's Cross Theatre); Show Boat (New London); War Horse (New London Final Cast); The Scottsboro Boys (Garrick and Young Vic); The Producers (Theatre Royal Drury Lane and UK Tours) and Fosse (Prince Of Wales).

Tours and regional theatre include: War Horse; The Curious Incident of the Dog In The Night-Time; Jane Eyre and The Lion, The Witch and The Wardrobe.

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埃文．洛丹 助理導演

Evan Lordan Assistant Director 埃文．洛丹是導演、戲劇製作人，以及衝突劇團的合作藝術總監。衝突劇團在 2 0 1 7 年都柏林藝穗節及科克仲夏 藝術節演出他們最新的沉浸式製作《西部霓虹》。他今年初在衣櫥劇院執導了菲利普．瑞德雷的《溫柔的凝固汽 油彈》，並為衝突劇團執導了多個製作，包括《人造神》（2014）及《鏡》（2013）。洛丹是邁克爾．博伊德《櫻 桃園》（2018）的助理導演，作品為布里斯托爾老域劇院及曼徹斯特皇家交易所劇院製作。 埃文在布里斯托爾老域戲劇學校完成他的導演碩士學位，他在就學時參與的製作包括《如何永遠消失》（2017） 和卡瑞．邱吉爾的《瘋狂森林》。 Evan Lordan is a director, theatre maker and co-artistic director of Conflicted Theatre Company. Conflicted Theatre performed their latest immersive event, Neon Western, at the Dublin Fringe Festival and Cork Midsummer Festival 2017. Lordan directed Tender Napalm by Philip Ridley at The Wardrobe Theatre in 2018 and has directed numerous productions for Conflicted, including We Make Gods (2014) and Mirror (2013). Lordan was assistant director to Sir Michael Boyd on The Cherry Orchard (2018) for Bristol Old Vic and the Royal Exchange Theatre, Manchester.

He completed his MA in Directing at Bristol Old Vic Theatre School, and credits from his time there include: assistant director on How To Disappear Completely And Never Be Found (2017) and Mad Forest by Caryl Churchill (2018).

艾瑪．凱恩斯 助理服裝設計及服裝監督

Emma Cains Assistant Costume Designer and Costume Supervisor 艾瑪．凱恩斯在諾丁漢特倫特大學完成訓練，並自 2001 年畢業後擔任舞台服裝設計工作。 她以服裝監督身份參與的製作包括：《櫻桃園》（布里斯托爾老域劇院 / 曼徹斯特皇家交易所劇院）、《睡公主》、 《熔爐》、《象人》、《仲夏夜之夢》的國際巡迴演出（布里斯托爾老域劇院）及《福爾摩斯》（巴斯皇家劇場）。 凱恩斯設計的作品有：《粉紅煙霧》、《彌賽亞》、《狄多與依尼亞斯》、《喜怒無常》、《二》、《250 年盛會》、 《後台酒吧》（老域劇院）；《別鬧了，伯納》（科爾切斯特水銀劇團）、《辛白林》及《滑稽之事》（阿爾瑪 酒店劇場）。 凱恩斯亦是一名服裝設計師，參與製作包括：《美狄亞》和《小美人魚》（布里斯托爾老域劇院）、《樂團》（曼 徹斯特歌劇院）、《維捷布斯克的飛翔戀人》（高及膝劇團）。 Emma Cains trained at Nottingham Trent and has worked professionally in theatre costume since graduating in 2001.

Her previous work as costume supervisor includes: The Cherry Orchard (Bristol Old Vic, Royal Exchange Theatre); Sleeping Beauty, The Crucible, The Elephant Man, and A Midsummer Night's Dream international tour (Bristol Old Vic); and Sherlock Holmes (Theatre Royal, Bath), among others.

Cains’ design work includes: Pink Mist, Messiah, Dido and Aeneas, Short Fuses, Two, 250 Year Gala, and The Backstage Bar (Bristol Old Vic); Not Now Bernard (Mercury Theatre Colchester); Cymbeline and A Laughing Matter (Alma Tavern).

Cains also works as a costume maker on productions such as: Medea and The Little Mermaid (Bristol Old Vic); The Band (Manchester Opera House); and The Flying Lovers of Vitebsk (Kneehigh).

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倫敦燃料劇團

Fuel 總監 凱蒂．麥格夫

Director Kate McGrath

劇團致力為廣大觀眾製作有冒險精神、有趣

Fuel produces an adventurous, playful and significant programme of work—live, digital, and across art forms—for audience across the UK and beyond.

They collaborate with outstanding artists who seek to explore our place in the world, expose our fears, understand our hopes for the future, create experiences which change us and in turn the world around us.

Fuel's three-year partnership with the Wellcome Trust facilitates collaborations between artists and scientists sharing their experience and expertise.

而重要的作品，涵蓋現場表演、電子媒體及 跨媒介的藝術表演。劇團與一眾出色的藝術 家合作，探索人類在世界的定位，揭露我們 的恐懼，亦了解我們對未來的期望，為我們 帶來轉變，從而改變周遭世界。劇團與維康 信託基金的三年合作，讓藝術家與科學家得 以互相分享經驗和知識。

2 0 1 9 年是聯合國世界人權宣言七十週年， 燃料劇團將與英國各地的藝術及人權組織於 慶祝活動中合作。 2 0 1 9 年劇季的其他重點 製作包括：恩努瓦．伊拉姆斯的《理髮店編 年史》的英國巡演、遇見劇團的《非單親關 係》，以及因努爾．艾拉姆斯的《半神》世 界首演。

In 2019, Fuel will partner with arts organisations and human rights charities across the UK to mark the 70th anniversary of the Universal Declaration of Human Rights. Other highlights of the 2019 season include a UK tour of Inua Ellams' Barber Shop Chronicles, Encounter's The Kids Are Alright and the world premiere of The Half God of Rainfall by Inua Ellams.

布里斯托爾老域劇團

Bristol Old Vic 藝術總監 湯．莫里斯 行政總監 艾瑪．史丹靈 劇團建於 1 7 6 6 年，目前是英語地區持續營 運最久的劇團，是布里斯托爾的驕傲，象徵 城市的特色與成就。 劇團宗旨是透過原創製作為觀眾帶來啟發， 並透過各項計劃，如擁有三百五十名成員的 青年劇團、多個外展和教育項目、藝術家發 展計劃，以及布里斯托爾萌發藝術節，培育 新一代藝術家。

2 0 1 9年劇季重點劇目包括：莎士比亞的 《李察三世》（與黑德朗劇團聯合製作）， 以及狄更斯的《聖誕頌歌》（重演）。

Artistic Director Tom Morris Chief Executive Emma Stenning Built in 1766, Bristol Old Vic now stands as the oldest continuously working theatre in the English-speaking world. Our Theatre is a symbol of the pride we have in our city and what it can achieve.

Our historic playhouse aims to inspire audiences with its original productions, whilst nurturing the next generation of artists, whether that be through our 350-strong Young Company, our many outreach and education projects, or our trailblazing artist development programme, Bristol Ferment.

Highlights from our 2019 season include Shakespeare's Richard III, in collaboration with Headlong, and Dickens’ A Christmas Carol (re-run).

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愛丁堡皇家蘭心劇院

Royal Lyceum Theatre Edinburgh 藝術總監 大衛．葛利格 行政總監 艾歷斯．麥高文 愛丁堡皇家蘭心劇院建於 1 8 8 3 年，位處愛 丁堡市中心，是一座典雅的維多利亞式劇 院。劇院同時是愛丁堡皇家蘭心劇團的根據 地。劇團憑優秀的經典及當代劇目製作而備 受讚譽，同時致力培育蘇格蘭本地戲劇人 材，及為當地帶來最出色的國際劇作。

2 0 1 8/1 9年劇季的重點製作有《第十二 夜》、《溫蒂與小飛俠》的蘇格蘭首演，另 外有三個世界首演，包括大衛．葛利格改編 喬．辛普森原著的《攀越冰峰》、伊莉．哈 里斯的新版《【馬爾菲】公爵夫人》和音樂

Artistic Director David Greig Executive Director Alex McGowan Built in 1883, The Lyceum is a beautiful Victorian theatre in the heart of Edinburgh. It is home to The Royal Lyceum Theatre Company. The company has gained a reputation for excellence in both classical and contemporary work and is committed to developing Scotland's considerable indigenous talents while presenting the best of international drama in Scotland's capital city.

Highlights of the 2018/19 season include Twelfth Night, a Scottish premiere of Wendy and Peter Pan, and three world premieres: Touching the Void by Joe Simpson and adapted by David Greig ; The Duchess [of Malfi] in a new version by Zinnie Harris; and stage musical Local Hero.

劇《本地英雄》。

北安普敦皇家及德蓋特劇院

Royal & Derngate, Northampton 藝術總監 詹姆士．達克 行政總監 喬．哥頓 北安普敦皇家及德蓋特劇院是英國北安普敦 郡的主要藝術和娛樂場所，是英國最主要的 製作場地之一。去年，其製作在八十五個不 同場地演出。劇院獲提名 2 0 1 1及 2 0 1 6年英 國舞台獎年度區域性劇院。劇院獲頒 2 0 1 5 年英國舞台獎最佳巡演劇院呈獻，並憑《草 藥床》獲頒2016年最佳巡演劇作。

2018/19年劇季的重點劇目有：布亞妮．拉 維利改編愛麗絲．希柏德同名原著的《屍中 罪》世界首演、伯尼．諾威斯改編石黑一雄 同名原著的《長日將盡》及加托莉．賀爾 《基貝賀夫人》的英國首演。

Artistic Director James Dacre Chief Executive Jo Gordon Royal & Derngate is the main venue for arts and enterntainment in Northamptonshire. One of the major producing venues in the UK, it played productions to audiences at over 85 venues in 2017. Named Regional Theatre of the Year at The Stage Awards in 2011 (nominated again in 2016), the Theatre won the award for Best Presentation of Touring Theatre in 2015 and Best Touring Production in 2016 for The Herbal Bed at the UK Theatre Awards.

Highlights of the 2018/19 season include world premieres of The Lovely Bones, adapted by Bryony Lavery from Alice Sebold's novel, and Kazuo Ishiguro's The Remains of the Day, adapted by Barney Norris, along with the UK premiere of Katori Hall's Our Lady of Kibeho.

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鳴謝 Acknowledgements 香港藝術節衷心感謝下列機構及人士的慷慨支持： The Hong Kong Arts Festival would like to thank the following for their generous support:

贊助舍計劃會員 Patron’s Club Members 鉑金會員 Platinum Members

嘉里控股有限公司 Kerry Holdings Limited 新鴻基有限公司 Sun Hung Kai & Co. Limited

黃金會員 Gold Member

怡和集團 The Jardine Matheson Group

純銀會員 Silver Members

銅鑼閣有限公司 Causeway Corner Limited 太古集團慈善信託基金 The Swire Group Charitable Trust

青銅會員 Bronze Members

鷹君集團有限公司 Great Eagle Holdings Limited 上海商業銀行 Shanghai Commercial Bank Limited

其他支持機構 Other Supporters •Agency for Cultural Affairs, Government of Japan •ANA Holdings Inc. •British Columbia Arts Council

•British Council •Canada Council for the Arts •HEED

實物支持機構 In-kind Supporters •帝盛酒店集團 Dorsett Hospitality International •嘉頓有限公司 The Garden Company Limited •鷹君集團有限公司 Great Eagle Holdings Limited •In Technical Productions Limited •香港德迅貨運代理有限公司 Kuehne & Nagel Limited

•香港國際機場 Hong Kong International Airport •奧海城 Olympian City •信和集團 Sino Group •崇光 ( 香港 ) 百貨 SOGO Hong Kong •屯門市廣場 TMT Plaza

藝術節捐助計劃 Festival Donation Scheme 鉑金捐款者 PlATINuM DONORS HK$140,000 或以上 AND ABOVE •Mrs Miriam Hwa •Lincoln & Yu-San Leong •Nine Queens Investment Limited •Yip Foundation Ltd 鑽石捐款者 DIAMOND DONORS HK$70,000 - HK$139,999 •林護紀念基金有限公司 Lam Woo Foundation Limited •Martin Rogers & Janet Cheng •Mr & Mrs Stephen Suen 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 •無名氏 Anonymous •Jeffrey & Helen Chan •Mrs K L Chan •陳求德醫生 Dr Chan Kow Tak •Mrs Mona Leong •Ms Leung Wai Yee Candice •林聖竤 Chris Lin •Ms Sun Tien Chen •Mr & Mrs David S Y Wong 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 (3) Anonymous (3) •Mr & Mrs S Cheng •Mr Edwin Choy •Consigliere Limited •Alex & Hanne Fung •Mr & Mrs Kenneth H C Fung •Richard & Ruth Herbst •Ms Jenny Hodgson •Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •Mrs A M Peyer

•Mr Stephen Tan •曹延洲醫生 Dr Tsao Yen Chow •Linda Wang •Samuel & Amy Wang •黃逸思先生夫人 Mr & Mrs Y S Wong •Mr Wong Yick Kam 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •無名氏 (3) Anonymous (3) •Dr York YN Chow •Ms Ka Shi Lau •Ms Lee Lai-Kuen Shelley •Mr & Mrs David S L Lin •Dr Michael Mak •Mr & Mrs Gilles Martin •Dr Poon Yee Ling Eligina •Ms Jacqueline Swain •Tsang Wing Fun •Ms Tse Chiu Ming •Ms Enoch Yiu •Ms Isabel Yiu 青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 •無名氏 (4) Anonymous (4) •AIA AGAPE A&F •Atkinson Lambert Limited •Ms Alice Au •Mrs Anson Chan •Mr Edmund Cheung •Dr David Fang •HUI Silvia •Ms Khoo Li Lian •Legrand Jewellery

•Ms Lim Geck Chin Mavis •Gary & Flavia Ma •So Ching

•Leland & Helen Sun •Ms Christine Tong •Mr Christopher Wong & Dr Ivo Chen •殷和順劉善萍伉儷

學生票捐助計劃 Student Ticket Scheme 鉑金捐款者 PlATINuM DONORS HK$140,000 或以上 AND ABOVE •駱余劍清紀念基金 Lok Yu Kim Ching Memorial Fund •C H Mak •無名氏 (2) Anonymous (2) •麥禮和醫生 Dr Mak Lai Wo •Burger Collection •Vernon & Karen Moore •馬振玉慈善基金會有限公司 CYMA Charity Fund Ltd •Mrs A M Peyer •恒生銀行 Hang Seng Bank •Dr Poon Yee Ling Eligina 鑽石捐款者 DIAMOND DONORS HK$70,000 - HK$139,999 •Mr & Mrs Kenneth Quinn •法國巴黎銀行 BNP Paribas •Tsang Wing Fun •Mrs Purviz R Shroff and the late Mr Rusy M Shroff, BBS, MBE •曹延洲醫生 Dr Tsao Yen Chow •田家炳基金會 Tin Ka Ping Foundation •Martin Rogers & Janet Cheng •芝蘭基金會 Zhilan Foundation •黃乃正教授及陳頴儀醫生 •Mr Wong Yick Kam 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 •林聖竤 Chris Lin •Roger & Lina Lui •Mr & Mrs Stephen Suen 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 Anonymous •Mr & Mrs Herbert Au-Yeung •Ms Margaret Cheng •招國利先生 Mr Chiu Kwok Lee •Dr Chung See Yuen •馮兆林先生 Mr Fung Shiu Lam •Richard & Ruth Herbst •Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •Yvonne Cheng & Kelvin Koo •Caroline & Stefan Kracht •Mrs Carol Murray •Nathaniel Foundation Limited •Diana d'Arenberg & Jay Parmanand •孫永輝施熙德伉儷 Edith Shih & Stephen Sun •Mr Stephen Tan •Peter & Nancy Thompson •Mr William To •黃逸思先生夫人 Mr & Mrs Y S Wong •Ms Wong Yuen Mee Elsa •Mrs Wu Tseng Helen 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •無名氏 (2) Anonymous (2) •區燊耀先生 Mr Au Son Yiu •Mr Iain Bruce •趙穎雅 Winnie W N Chiu •天智合規顧問有限公司 CompliancePlus Consulting Limited •Mr & Mrs A R Hamilton •Ms Winnie W Ho •羅偉騫先生及夫人 Andy Law & Wendy Chan

•無名氏 (12) Anonymous (12) •Antonhill Company Limited •Biz Office Limited •Carthy Limited •Cynthia Cheng & Aaron Chan •Dr Chan Chun Yin •Dr Cindy Chan •Dr Chan Wan Tung •D Chang •Ms Cheung Kit Fung •張宏毅律師及江淑慧夫人 Mr & Mrs Joseph W N Cheung •Ms Grace Chiang •Mr & Mrs Norman Chui •Community Partner Foundation Limited •Mr & Mrs Kenneth H C Fung •giliproduction •HUI Silvia •Betty Hung •Dr Alfred Lau •Joanna Lau •Dr Nancy Leung •Savita Leung •Ms Janice Ritchie •Susan Lim & Neil Roberts •Mr Siddique Salleh •Mr So Kin Man •William Stork & Jasmine Wong •Dr Tam Oi Wo Joyce •Ms Wong Siu Yee Amy •殷和順劉善萍伉儷 •Ms Yim Chui Chu •Mr Desmond Yu •野豬先生 •皮皮

新作捐助計劃 New Works Scheme 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 •Ms Sun Tien Chen 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 Anonymous •劉仰澤先生 Mr Lau Yeung Chak •林聖竤 Chris Lin •孫永輝施熙德伉儷 Edith Shih & Stephen Sun 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •Ms Winnie W Ho

•Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •駱余劍清紀念基金 Lok Yu Kim Ching Memorial Fund 青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 •無名氏 (3) Anonymous (3) •Star B Chan & MDB •Dr Xina Lo •Mrs A M Peyer •黃逸思先生夫人 Mr & Mrs Y S Wong

支持及協助 Support and Co-operation •Acorn Design •Alfie Leung Design •AMC Pacific Place •艺鵠 Arts and Culture Outreach •香港展能藝術會 Arts with the Disabled Association Hong Kong •教育局藝術教育組 Arts Education Section, Education Bureau •香港愉景灣酒店 Auberge Discovery Bay Hong Kong •樺利廣告有限公司 Avanny Advertising Co Ltd •庇理羅士女子中學 Belilios Public School •BRICK LANE •英國文化協會 British Council •Broadway Cinema •百老匯院線 Broadway Circuit •牛棚藝術村 Cattle Depot Artist Village •CCDC 舞蹈中心 CCDC Dance Centre •中國對外文化集團公司 China Arts and Entertainment Group (CAEG) •中華基督教會公理堂 China Congregational Church •周生生集團國際有限公司 Chow Sang Sang Jewellery Co. Ltd •中信國際電訊 ( 信息技術 ) 有限公司 CITIC Telecom International CPC Limited •城市當代舞蹈團 City Contemporary Dance Company •城巿花園酒店 City Garden Hotel •思聯設計有限公司 CL3 Architects Ltd •阿根廷駐港總領事館 Consulate General of Argentina in Hong Kong •比利時駐港澳總領事館 Consulate General of Belgium in Hong Kong and Macau •巴西駐港總領事館 Consulate General of Brazil in Hong Kong •加拿大駐香港總領事館 Consulate General of Canada in Hong Kong and Macao •法國駐港澳總領事館 Consulate General of France in Hong Kong and Macau •希臘駐港總領事館 Consulate General of Greece in Hong Kong •愛爾蘭駐港澳總領事館 Consulate General of Ireland in Hong Kong and Macau •意大利駐港總領事館 Consulate General of Italy in Hong Kong •日本國駐香港總領事館 Consulate General of Japan in Hong Kong •馬來西亞駐港澳總領事館 Consulate General of Malaysia in Hong Kong and Macau SAR •印尼駐港總領事館 Consulate General of the Republic of Indonesia in Hong Kong •大韓民國駐香港總領事館 Consulate General of the Republic of Korea in Hong Kong •俄羅斯駐香港總領事館 Consulate General of the Russian Federation in Hong Kong SAR, PRC •西班牙駐港澳總領事館 Consulate General of Spain in Hong Kong and Macao •瑞士駐香港總領事館 Consulate General of Switzerland in Hong Kong •英國駐港總領事館 Consulate General of United Kingdom in Hong Kong •澳門特別行政區政府文化局 Cultural Affairs Bureau of the Macao S.A.R. Government •Die Konzertisten •拔萃男書院 Diocesan Boys' School •拔萃女小學 Diocesan Girls' Junior School •拔萃女書院 Diocesan Girls' School •香港荃灣帝盛酒店 Dorsett Tsuen Wan •Edge 'n Pointe Dance Centre •港威酒店 Gateway Hotel •德國駐香港總領事館 German Consulate General Hong Kong •六國酒店 Gloucester Luk Kwok Hong Kong •香港歌德學院 Goethe-Institut Hong Kong •香港君悅酒店 Grand Hyatt Hong Kong •8 度海逸酒店 Harbour Plaza 8 Degrees •嘉湖海逸酒店 Harbour Plaza Resort City •快達票香港有限公司 HK Ticketing •香港聖公會聖保羅堂 HKSKH St. Paul's Church

•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 •香港藝術發展局 Hong Kong Arts Development Council •香港浸會大學 Hong Kong Baptist University 電影學院 Academy of Film 音樂系 Department of Music 拉闊文化 Cultural Literacy Programme 政治及國際關係學系 Department of Government and International Studies •美國管風琴家協會香港分會 Hong Kong Chapter of the American Guild of Organists •香港大會堂 Hong Kong City Hall •香港文化中心 Hong Kong Cultural Centre •香港經濟貿易辦事處 Hong Kong Economic and Trade Office •香港黃金海岸酒店 Hong Kong Gold Coast Hotel •香港文化博物館 Hong Kong Heritage Museum •香港管弦樂團 Hong Kong Philharmonic Orchestra •香港公共圖書館 Hong Kong Public Libraries •香港唱片 Hong Kong Records •香港樹仁大學 Hong Kong Shue Yan University 圖書館 Library •香港旅遊發展局 Hong Kong Tourism Board •香港童聲合唱團 Hong Kong Treble Choir •宜必思香港中上環 ibis Hong Kong Central and Sheung Wan •工銀亞洲 ICBC (Asia) •富薈馬頭圍酒店 iclub Ma Tau Wai Hotel •海景嘉福洲際酒店 InterContinental Grand Stanford Hong Kong •香港洲際酒店 InterContinental Hong Kong •益普索香港 Ipsos Hong Kong •港島太平洋酒店 Island Pacific Hotel Hong Kong •賽馬會創意藝術中心 Jockey Club Creative Arts Centre •賽馬會官立中學 Jockey Club Government Secondary School •高山劇場 Ko Shan Theatre •九龍木球會 Kowloon Cricket Club •Kubrick •葵青劇院 Kwai Tsing Theatre •光華新聞文化中心 Kwang Hwa Information & Culture Center •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 HKSAR •嶺南大學 Lingnan University 文學院 Faculty of Arts 黃炳禮音樂及演藝部 Wong Bing Lai Music and Performing Arts Unit 學生服務中心 Student Service Centre •香港逸蘭精品酒店 Lanson Place Hotel, Hong Kong •La Rotisserie •馬哥孛羅香港酒店 Marco Polo Hongkong Hotel •Maxibit HK/China •中華人民共和國文化和旅遊部 Ministry of Culture and Tourism, PRC •Mission Production Company Ltd •音樂事務處 Music Office •One Minden Tapas Kitchen •PALACE ifc •柏斯琴行 Parsons Music Limited •卓滙達有限公司 Patsville Company Ltd •Pause Rewind n FastForward •電訊盈科 PCCW •犇華企業服務有限公司 Primasia Corporate Services Limited •香港太子酒店 Prince Hotel, Hong Kong •香港帝景酒店 Royal View Hotel •沙田大會堂 Sha Tin Town Hall •聖公會鄧肇堅中學 Sheng Kung Hui Tang Shiu Kin Secondary School •信興電器貿易有限公司 Shun Hing Electronic Trading Co., Ltd. •先鋒廣告製作有限公司 Sin Fung Advertising Production Co., Ltd. •Southgate Design •香港西班牙商會 Spanish Chamber of Commerce in Hong Kong

•事必達推廣有限公司 Speedy Promotion Limited •聖雅各福群會 St. James' Settlement •辰衝圖書有限公司 Swindon Book Co. Ltd. •大館 Tai Kwun •台灣蘇富比國際房地產 Taiwan Sotheby's International Realty •藝林文具印刷有限公司 The Artland Co Ltd •香港八和會館 The Chinese Artists Association of Hong Kong •香港中文大學 The Chinese University of Hong Kong 戲曲資料中心 Chinese Opera Information Centre 音樂系 Department of Music 文學院 Faculty of Arts 和聲書院 Lee Woo Sing College 聯合書院 United College •香港城市大學 The City University of Hong Kong 中文系 Department of Chinese and History 英文系 Department of English 城大創意媒體學院 School of Creative Media •城景國際 The Cityview •香港教育大學 The Education University of Hong Kong 文化與創意藝術學系 Department of Cultural and Creative Arts 圖書館 Library •梅夫人婦女會 The Helena May •香港演藝學院 The Hong Kong Academy for Performing Arts 中國戲曲學院 School of Chinese Opera 戲劇學院 School of Drama 音樂學院 School of Music •香港兒童合唱團 The Hong Kong Children’s Choir •香港理工大學 The Hong Kong Polytechnic University 圖書館 Library •香港科技大學 The Hong Kong University of Science and Technology 藝術中心 Center for the Arts 人文學部 Division of Humanities 學生住宿及舍堂生活事務處 Student Housing and Residential Life Office HKUST Music Alive!

•中環石板街酒店 The Pottinger Hong Kong •皇家太平洋酒店 The Royal Pacific Hotel and Towers •香港大學 The University of Hong Kong Cultural Management Office 音樂系 Department of Music 通識教育部 General Education Unit 國際事務處 International Affairs Office 圖書館 Library 現代語言及文化學院 School of Modern Languages and Cultures 香港大學博物館學會 The University of Hong Kong Museum Society 香港大學美術博物館 University Museum and Art Gallery •香港華美粵海酒店 The Wharney Guang Dong Hotel Hong Kong •通利琴行 Tom Lee Music Company Ltd •三角關係 Trinity Theatre •屯門大會堂 Tuen Mun Town Hall •UA CINEHUB •城市售票網 URBTIX •美國駐港澳總領事館 U.S. Consulate General in Hong Kong & Macau •進富印刷公司 Wealthy Step Printing Co. •wine etc •油麻地戲院 Yau Ma Tei Theatre •葉氏兒童合唱團 Yip's Children's Choir •香港基督教青年會（港青） YMCA of Hong Kong •青年學院 Youth College •青年廣場 Youth Square •元朗劇院 Yuen Long Theatre •赤豚事務所 Zhu Graphizs

節目時間表 Programme Calendar 歌劇 戲 音樂 /曲 OPERA / CHINESE OPERA MUSIC

萊比錫歌劇院 華格納《唐懷瑟》

CCGT

1/3 2/3

7pm 6pm

Madame White Snake

by Zhou Long and Cerise Lim Jacobs

APAL

8-9/3

7:30pm

粵劇《百花亭贈劍》 毛俊輝導演作品（更新版）

Cantonese Opera - Pavilion of a Hundred Flowers Directed by Fredric Mao (Reboot)

STTHAUD

1-2/3

8pm

粵劇越洋半世紀 -《紅了櫻桃碎了心》 - 白玉堂折子戲 -《胡不歸》 - 名伶花旦展演話當年

Cantonese Opera - Global Traces, Local Stages YMTT - Red Cherries and a Broken Heart - Vignettes of Pak Yuk-tong’s “Three Big Trials” - Why Don’t You Return?

- A Long Passion – Talk, Demonstration and Performance

9/3 10/3 11/3 15-17/3

7:30pm 2:30pm 7:30pm 7:30pm

香港小交響樂團 小號巨星納卡里亞科夫

Hong Kong Sinfonietta Sergei Nakariakov • The Art of the Trumpet

CHCH

16/2

8pm

瑪琳．艾爾梭與聖保羅交響樂團

Marin Alsop with the São Paulo Symphony Orchestra

CCCH

21-22/2

8pm

Hong Kong Chinese Orchestra Meeting Across Nine Millennia of Time

CHCH

22/2

8pm

鮮于睿權鋼琴獨奏會

Yekwon Sunwoo Piano Recital

CHCH

23/2

8pm

帕佛．約菲與 NHK 交響樂團

Paavo Järvi with the NHK Symphony Orchestra, Tokyo

CCCH

28/2

8pm

法國世紀樂團：白遼士 150 指揮：麥森．帕斯高

Les Siècles: BERLIOZ 150 Conductor: Maxime Pascal

CCCH

2/3 3/3

8pm 4:30pm

萊比錫歌劇院合唱團 《歌劇合唱盛會》

Chor der Oper Leipzig Opera Chorus Concert

CCCH

3/3

8:15pm

馬祖耶夫鋼琴獨奏會

Denis Matsuev Piano Recital

CHCH

7/3

8pm

馬祖耶夫與得獎新晉鋼琴家匯演

Matsuev and Young Laureates Piano Gala

CHCH

8/3

8pm

Quondam Spanish Renaissance Choral Masterpieces

CHCH

9/3 10/3

8pm 4pm

Li Biao Percussion Group - From Baroque to Tango

CCCH

15/3

8pm

P is for PERCUSSION! Family Concert

by Li Biao Percussion Group

CCCH

16/3

8pm

洪儷僖管風琴獨奏會

Riyehee Hong Organ Recital

CCCH

18/3

8pm

克雷莫納弦樂四重奏

Quartetto di Cremona

CHCH

21-22/3

8pm

爵士新潮 - 馬可．梅斯基達三重奏《拉威爾的夢》

Nouveau Jazz Weekend - Marco Mezquida Trio - Ravel's Dreams

APAD 22/2 23/2 23/2 23/2

8pm 7:30pm 4pm 9:30pm

2-3/3 2/3 3/3

4:30pm 8pm 8pm

《白蛇傳》 作曲：周龍 | 編劇：林曉英

香港中樂團 《九千年的邂逅》

時光之音 《西班牙文藝復興合唱代表作》 李飈打擊樂團《巴羅克．探戈》 《好！擊！動！》親子音樂會 李飈打擊樂團

爵士樂 世 / 界音樂 JAzz / WOrLD MUSIC

- 馬可．梅斯基達鋼琴獨奏會 - 佐治．達洛查低音大提琴獨奏獨唱會

Oper Leipzig Wagner’s Tannhäuser

- Marco Mezquida Piano Solo - Jorge da Rocha Solo

世界音樂週末營 - Criatures 二人組及 Belda & Sanjosex - 易莎．拉娜三重奏《路》 - 佐治．達洛查三重奏《放下．放開》

World Music Weekend - Criatures and Belda & Sanjosex - Yexza Lara - Camino - Jorge da Rocha - To Drop and Let Go

HKAC-ST

馬祖耶夫爵士樂隊

DANCE

舞蹈

Matsuev and Friends Play Jazz

CCCH

9/3

8pm

湯瑪士．夸斯托夫四重奏 《Nice 'N' Easy》

Thomas Quasthoff Quartet Nice 'N' Easy

CCCH

14/3

8pm

希薇雅．佩瑞茲．克露絲 《夜妝》

Sílvia Pérez Cruz Dressed by the Night (Vestida de Nit)

CCCH

22/3

8pm

香港藝術節 @ 大館

HKartsFestival@TaiKwun

TK

2-3/3 9-10/3

雲門舞集 45 週年 林懷民舞作精選

Cloud Gate Dance Theatre of Taiwan The 45th Anniversary Gala Programme Retrospectives of Lin Hwai-min's Works

CCGT

21-23/2 24/2

8:15pm 2pm

Euripides Laskaridis / Osmosis TITANS

APAD

26-27/2

8:15pm

歐里庇德斯．拉斯卡里迪斯及遊離表演工作坊 《泰坦 – 諸神之舞》

CCGT CCCH CCST CHCH

香港文化中心大劇院 Grand Theatre, HK Cultural Centre 香港文化中心音樂廳 Concert Hall, HK Cultural Centre 香港文化中心劇場 Studio Theatre, HK Cultural Centre 香港大會堂音樂廳 Concert Hall, HK City Hall

CHT APAL APADT HKAC-ST

香港大會堂劇院 Theatre, HK City Hall 香港演藝學院歌劇院 Lyric Theatre, HKAPA 香港演藝學院戲劇院 Drama Theatre, HKAPA 香港藝術中心壽臣劇院 Shouson Theatre, Hong Kong Arts Centre

DANCE

舞蹈

香港賽馬會當代舞蹈平台 -《舞鬥》 -《雙篇雙人舞》 -「兩地書」-《沒有大象》 亞太舞蹈平台 -《由削木開始》 -《黃翊與庫卡》

The Hong Kong Jockey Club Contemporary Dance Series - Dance Off

CCST

- Double Bubble

CCST

- Dance Exchange - Elephant in the Room Asia Pacific Dance Platform - From starting to cut the wood - HUANG YI & KUKA

CCST

28/2, 1/3 2/3 15/3 16/3 20-21/3

8:15pm 3pm 8:15pm 2:45pm 8:15pm

KTT-BBT APA-DT

12-13/3 1-2/3

8pm 8:15pm

THEATrE

戲劇

漢堡芭蕾舞團 – 約翰．紐邁亞 《胡桃夾子》

The Hamburg Ballet - John Neumeier The Nutcracker

CCGT

13-15/3

7:30pm

漢堡芭蕾舞團 – 約翰．紐邁亞 《貝多芬計劃》

The Hamburg Ballet - John Neumeier Beethoven Project

CCGT

19-20/3

7:30pm

漢堡芭蕾舞團 – 約翰．紐邁亞 《約翰．紐邁亞的世界》

The Hamburg Ballet - John Neumeier The World of John Neumeier

CCGT

23/3 24/3

7:30pm 2:30pm

重新劇團 《追憶消逝的人生》

Theatre Re The Nature of Forgetting

CCST

21-24/2 23-24/2

8:30pm 4:30pm

瑞士默劇團 《百變樂園》

Mummenschanz Reloaded

APAL YLT-AUD

21-22/2 24/2 24/2

7:30pm 1pm 5pm

倫敦燃料劇團、布里斯托爾老域劇團、 愛丁堡皇家蘭心劇院與北安普敦皇家及 德蓋特劇院聯合製作 《攀越冰峰》

A Fuel, Bristol Old Vic, Royal Lyceum Theatre Edinburgh, and Royal & Derngate Northampton co-production Touching the Void

CHT

21-24, 8pm 26-28/2, 1-2/3 23-24/2, 2/3 3pm

機器神製作 羅伯特．利柏殊創作及演出 《887》

Ex Machina Created and performed by Robert Lepage 887

APAL

27-28/2, 1-2/3 8pm 2/3 3pm

賽馬會本地菁英創作系列 《陪着你走》

Jockey Club Local Creative Talents Series Always by Your Side

KTT-AUD

2,6-9/3 3,9-10/3

8pm 3pm

正點劇團 《哈姆尼特─莎士比亞之子》

Dead Centre Hamnet

CCST

4-5/3

8:15pm

正點劇團 《契訶夫處女作》

Dead Centre Chekhov's First Play

CCST

8-9/3 9-10/3

8:15pm 3pm

北京李六乙戲劇工作室 《哈姆雷特》

Beijing LiLiuyi Theatre Studio The Tragedy of Hamlet, Prince of Denmark

CCGT

7-8/3 9/3

7:30pm 2:30pm

《九江》

Gangsters of Hong Kong

CHTH

8-9,13-16, 20-23/3 10, 17, 24/3

8pm

Ontroerend Goed 《金錢世界》( 英語版 )

Ontroerend Goed - £¥€$ (LIES) (English Version)

TK-F Hall

《金錢世界》( 粵語版 )

- £¥€$ (LIES) (Cantonese Version)

12-17/3 12-15/3 16-17/3 20-24/3 20-22/3 23-24/3

6pm 9pm 3pm 6pm 9pm 3pm

離奇作業劇團 《蛙人》

curious directive Frogman

CDAV

12-15/3 12-15/3 16-17/3 16-17/3

7pm 9pm 3pm 5pm

傑夫．索貝爾 《家》

Geoff Sobelle Home

APAL

14-16/3 16/3

8pm 3pm

皮普．德爾邦諾劇團 《快樂大本營》

Compagnia Pippo Delbono La Gioia (Joy)

APAL

22-23/3

8pm

馬里安諾．潘恩索廸及瑪利亞劇團 《三個女人搞革命》

Mariano Pensotti / Grupo Marea Burning Bright in the Forest of the Night

CCST

23/3 24/3

8:15pm 5pm

3pm

資料截至 Information as of: Jan 2019

KTT-BBT KTT-AUD YLT-AUD STTH-AUD

葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre 葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre 元朗劇院演藝廳 Auditorium, Yuen Long Theatre 沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall

YMTT TK CDAV

油麻地戲院 Yau Ma Tei Theatre 大館 Tai Kwun 牛棚藝術村 Cattle Depot Artist Village

藝術絕不止於劇場或舞台，而是能延伸至生活的每個小節。無論您是藝術節的忠實擁躉、藝術 愛好者或年輕藝術家，PLUS誠邀您透過一系列老少咸宜的節目與特備活動，一起探索與體驗 香港藝術節「演出之外，更多精采！」 PLUS extends your festival experience to more than what you see on stage. Experienced festivalgoers, newcomers, budding artists, and the young and old alike will be delighted that there are "More than Great Performances" at the Hong Kong Arts Festival!

漢堡芭蕾舞團的世界

The World of Hamburg Ballet

漢堡芭蕾舞團 — 舞蹈電影系列 Hamburg Ballet at the Cinema ������Nijinsky 2/3 六 Sat ���������J.S. Bach: Christmas Oratorio 24/3 日 Sun ������Tatiana 30/3 六 Sat 購票詳情 Ticketing details: uacinemas.com.hk

������������ Artist Salon: John Neumeier 21/3 四 Thu 7:30 - 8:30pm 香港逸蘭精品酒店 Lanson Place Hotel, HK

漢堡芭蕾舞團大師班 Hamburg Ballet Masterclass

h ,JSBO 8FTU

16/3 六 Sat 10:00 -11:30am (中級 Intermediate) 24/3 日 Sun 10:00 -11:30am (高級 Advanced) 香港文化中心 GR2 排演室 Rehearsal Room GR2, HK Cultural Centre

漢堡芭蕾舞團����������� Hamburg Ballet The Nutcracker Introductory Class for Kids 17/3 日 Sun 11:30am - 12:45pm | 2:15 - 3:30pm 香港文化中心 GR2 排演室 Rehearsal Room GR2, HK Cultural Centre h ,JSBO 8FTU

報名及更多加料節目詳情請瀏覽 To learn more about PLUS events, please visit: www.hkartsfestivalplus.org

藝術節加料節目 節目詳情及網上報名 For more details and online registration: www.hk.artsfestivalplus.org 音樂 MUSic

特備節目 SpecialS 25/1/2019

26/1/2019

樂與畫音樂會：《哥雅之畫》- 葛拉納多斯的音樂意境 Music and Art Concert: Goya’s World through Granados’s Goyescas 《風琴遊蹤》導賞遊與風琴獨奏會 Pipe Organ Walk & Organ Recital

20/2/2019

聖保羅交響樂團四重奏 SPSO String Quartet

22/2/2019

香港藝術節傑出文化領袖講座系列 講者︰葉 芠芠（雲門文化藝術基金會執行總監） HKAF Distinguished Cultural Leader Series (VI) Speaker: Yeh Wen-wen (Executive Director of Cloud Gate Cultural and Arts Foundation)

20/2/2019

公開彩排︰瑪琳．艾爾梭、聖保羅交響樂團 與本地學生樂團 Open Rehearsal: Marin Alsop, São Paulo Symphony Orchestra and Local Student Orchestras

22/2/2019

聖保羅交響樂團演前導賞講座 : 瑪琳．艾爾梭 細說伯恩斯坦與她的指揮生涯 Sao Paulo Symphony Orchestra Pre-performance Talk: Marin Alsop on Bernstein and Her Conducting Career

22/2/2019

馬可．梅斯基達爵士樂工作坊 Marco Mezquida Jazz Improvisation Workshop

28/2/2019

NHK 交響樂團演前導賞講座︰細聽二十世紀改革之風 NHK Symphony Orchestra Pre-performance Talk: Listen to the Winds of Changes PLUS 兒童合唱團大堂音樂會 Festival PLUS Children's Choir Foyer Performance

22/2/2019 24/2/2019

《舞城遊蹤》 Choreography Walk

26/2/2019 3/3/2019

《家常便飯》 Family Dinner

2/3/2019

2/3/2019

《歌劇探秘同樂日》Opera Adventure Day

2/3/2019

28/2 - 3/3/ 2019

「萊比錫樂韻之路」展覽 Leipzig Music Trail (Leipziger Notenspur) Exhibition

《萊比錫樂韻之路》室樂音樂會 Leipzig Music Trail Chamber Concert

2/3/2019

《一齊玩》戲劇工作坊 We PLAY Theatre Workshop

16/3/2019

《好！擊！動！》同樂日 P is for Percussion! Family Day

2/3/2019

法國世紀樂團演前導賞講座︰幻想交響曲 Les Siècles Pre-performance Talk: Symphonie Fantastique

3/3/2019

萊比錫布業大廳樂團雙簧管、圓號、長號大師班 Oboe, Horn & Trombone Masterclass by Gewandhausorchester Leipzig

3/3/2019

法國世紀樂團演前導賞講座︰白遼士的一生 Les Siècles Pre-performance Talk: The Life of Berlioz

3/3/2019

萊比錫歌劇院演前導賞講座︰《歌劇合唱盛會》 Oper Leipzig Pre-performance Talk: Opera Chorus Concert

21/3/2019

藝術家沙龍︰約翰．紐邁亞 Artist Salon: John Neumeier

舞蹈 DaNce 19, 23/2/2019

雲門舞集工作坊 Cloud Gate Dance Theatre of Taiwan Workshop

1/3/2019

公開彩排︰香港賽馬會當代舞蹈平台《雙篇雙人舞》 Open Rehearsal: The Hong Kong Jockey Club Contemporary Dance Series Double Bubble

11/3/2019

藝術家對談︰從工藝到舞蹈 Arts Chat: From Crafting to Dancing

13/3/2019

漢堡芭蕾舞團演前導賞講座 : 交流網絡的藝術 The Hamburg Ballet Pre-Performance Talk: The Art of Networking

15/3/2019

漢堡芭蕾舞團早課參觀 Observing Company Class

15/3/2019

《胡桃夾子》後台參觀 Backstage at The Nutcracker

4/3/2019

《白蛇傳》歌劇創作講座 Madame White Snake Reimagined

9, 11/3/2019

時光之音合唱指揮工作坊 Choral Conducting and Choral Singing Workshop with Rupert Damerell

9/3/2019

馬祖耶夫爵士樂隊演前導賞講座︰ 古典音樂與爵士音樂的交匯 Matsuev and Friends Play Jazz Pre-performance Talk: Harmony between Classical and Jazz

16, 24/3/2019

漢堡芭蕾舞團大師班 Hamburg Ballet Masterclass

17/3/2019

漢堡芭蕾舞團《胡桃夾子》兒童工作坊 Hamburg Ballet The Nutcracker Ballet Introductory Class for Kids

13/3/2019

湯瑪士．夸斯托夫聲樂大師班 Thomas Quasthoff Vocal Masterclass

19/3/2019

漢堡芭蕾舞團《貝多芬計劃》演前導賞講座 The Hamburg Ballet Pre-Performance Talk: Beethoven Project

14/3/2019

23/3/2019

漢堡芭蕾舞團《約翰．紐邁亞的世界》演前導賞講座 The Hamburg Ballet Pre-Performance Talk: The World of John Neumeier

湯瑪士．夸斯托夫四重奏演前導賞講座 : 古典音樂與爵士音樂的交匯（二） Thomas Quasthoff Quartet Pre-Performance Talk: Harmony between Classical and Jazz II

13, 14/3/2019

李飈打擊樂團敲擊樂大師班 Percussion Ensemble Masterclass by Li Biao Percussion Group

15/3/2019

李飈打擊樂團演前導賞講座︰《巴羅克．探戈》 Li Biao Percussion Group Pre-Performance Talk : From Baroque to Tango

16, 17/3/2019

洪儷僖管風琴大師班 Riyeehee Hong Organ Masterclass

歌劇／戲曲 OpeRa 1, 2/3/2019

萊比錫歌劇院演前導賞講座︰《唐懷瑟》 Oper Leipzig Pre-performance Talk: Tannhäuser

2/3/2019

萊比錫歌劇院《唐懷瑟》後台參觀 Oper Leipzig's Tannhäuser Backstage Tour

12/3/2019

蔡艷香粵劇南派工作坊 Southern School of Cantonese Opera Workshop with Choy Him-heong

戲劇 THeaTRe

16/3/2019

《好！擊！動！》互動敲擊展覽 P is for Percussion Interactive Percussion Exhibition

16/3/2019

拇指琴 及「升」樂樽工作坊 Thumbiano and Musical Bottle Workshop 《律！動！啦！》大堂音樂會 Feel the Pulse NOW!!! Foyer Performance

28/2/2019

藝術家對談︰與劇場大師羅伯特．利柏殊對話 Arts Chat: In Conversation with Robert Lepage

16/3/2019

9/3/2019

藝術家對談︰導演李六乙的莎士比亞 Arts Chat: Director Li Liuyi's Interpretation of Shakespeare

20/3/2019

克雷莫納弦樂四重奏示範講座 Quartetto di Cremona Lecture Demonstration

22/3/2019

希薇雅．佩瑞茲．克露絲 演前導賞講座︰皆有可能 Sílvia Pérez Cruz Pre-Performance Talk: Everything Possible

電影 FilM 27/2/2019 2, 24, 30/3/ 2019

《攀越冰峰》電影放映與影後分享會 Touching the Void: Screening and Post-screening Talk 漢堡芭蕾舞團 - 舞蹈電影系列 Hamburg Ballet at the Cinema

贊助人

林鄭月娥女士

PATrON

永遠名譽會長 執行委員會 主席 副主席 義務司庫 委員

邵逸夫爵士

HONOrArY LIFE PrESIDENT EXECUTIVE COMMITTEE Chairman Vice Chairman Honorary Treasurer Members

節目委員會 主席 委員

財務委員會 主席 委員 發展委員會 主席 副主席 委員

顧問

名譽法律顧問 核數師

查懋成先生 盧景文教授 李錦榮先生 鄭維新先生 鄭惠貞女士 劉鎮漢先生 梁靳羽珊女士 梁卓偉教授 姚潔莉女士 楊 光先生 盧景文教授 白諾信先生 紀大衛教授 羅志力先生 毛俊輝先生 李 義法官 約瑟．施力先生 + 譚榮邦先生 姚 珏女士 李錦榮先生 鄭惠貞女士 梁國輝先生 梁靳羽珊女士 雍景欣女士 鄭阮培恩女士 邱詠筠女士 龐建貽先生 孫林宣雅女士 姚祖輝先生 夏佳理先生 鮑 磊先生 李業廣先生 梁紹榮夫人 李國寶博士 孖士打律師行 羅兵咸永道 會計師事務所

香港藝術節基金會 主席 霍 璽先生 管理人 陳祖澤博士 陳達文先生 梁紹榮夫人 +

PrOGrAMME COMMITTEE Chairman Members

FINANCE COMMITTEE Chairman Members

HONOrArY SOLICITOr AUDITOr

Mr Victor Cha Prof. Lo King-man, MBE, JP, SBS Mr William Li Mr Edward Cheng, SBS JP Ms Margaret Cheng Mr Anthony Lau Mrs Yu-san Leong Prof. Gabriel Leung, GBS JP Ms Miriam Yao Mr Sunny Yeung Prof. Lo King-man, MBE, JP, SBS Mr Giorgio Biancorosso Prof. David Gwilt, MBE Mr Peter C L Lo Mr Fredric Mao, BBS The Hon Mr Justice Ribeiro Mr Joseph Seelig + Mr Wing-pong Tam, SBS JP Ms Jue Yao, JP Mr William Li Ms Margaret Cheng Mr Nelson Leong

DEVELOPMENT COMMITTEE Chairman Vice Chairman Members

ADVISOrS

The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS Sir Run Run Shaw, CBE (1907-2014)

Mrs Yu-san Leong Ms Jane Yong Mrs Betty Yuen Cheng Ms Winnie Chiu Mr Paulo Kin-yee Pong Mrs Helen Lin Sun Mr Andrew Yao The Hon Ronald Arculli, GBM CVO GBS OBE JP Mr Martin Barrow, GBS CBE JP Mr Charles Y K Lee, GBM GBS JP Mrs Mona Leong, SBS BBS MBE JP Dr The Hon David K P Li, GBM GBS JP Mayer Brown PricewaterhouseCoopers

HONG KONG ArTS FESTIVAL TrUST Chairman Mr Angus H Forsyth Trustees Dr John C C Chan, GBS JP Mr Darwin Chen, SBS ISO Mrs Mona Leong, SBS BBS MBE JP

榮譽節目顧問 Honorary Programme Advisor

地址 : 香港灣仔港灣道 2 號 12 樓 1205 室 電話 : 2824 3555 傳真 : 2824 3798, 2824 3722 節目查詢熱線 : 2824 2430

電子郵箱 : afgen@hkaf.org

Address: Room 1205, 12th Floor, 2 Harbour Road,Wanchai, Hong Kong Tel: 2824 3555 Fax: 2824 3798, 2824 3722 Email: afgen@hkaf.org Programme Enquiry Hotline: 2824 2430

職員 行政總監 行政總監助理 節目 節目總監 副節目總監 節目經理 節目經理（行政） 助理節目經理 節目統籌 節目行政主任 物流及接待經理 •技術 製作經理 助理製作經理 •出版 英文編輯 中文編輯 助理編輯 •外展 高級外展經理 助理外展經理 外展統籌 外展助理 藝術行政見習員 市場推廣 市場總監 副市場總監 市場經理 副市場經理 助理市場經理 數碼營銷專員 市場主任 藝術行政見習員 市場經理（票務） 客戶服務主任 發展 發展總監 發展經理 副發展經理 助理發展經理 發展統籌 發展助理 會計 會計主管 助理會計經理 會計主任 人力資源及行政 人力資源及行政經理 人力資源及行政主任 接待員 / 初級秘書 助理 無限亮 高級項目經理 助理節目及製作經理 助理外展經理 助理技術經理 市場統籌 高級會計主任 項目主任 香港藝術節 @ 大館 製作人 技術統籌

STAFF Executive Director Assistant to Executive Director Programme Programme Director Associate Programme Director Programme Managers

何嘉坤 何丹蓉 梁掌瑋 蘇國雲 葉健鈴 余瑞婷 * 蘇雪凌 黃傲軒 * 譚小敏 * 張翠騫 * 金學忠 *

陳韻妍 林淦鈞 * 胡鎮華 *

梁雅芝 * 莫賦斌 * 林秋美 * 廖健邦 * 林惠賢 * 李冠輝 張鼎丞 * 譚曉峯 * 李玨熙 * 李萬祺 * 鄭尚榮 胡銘堯 周 怡 楊 璞* 許慧儀 * 陳閏霖 * 鄭佩欣 * 鄭鈞澤 * 梁彩雲 黃煒城 * 余潔儀 張慧芝 * 譚樂瑤 蘇寶蓮 * 莫穎哲 * 袁愷晴 *

黎家欣 *

林嘉敏 *

鍾玉如 *

張嘉麟 *

楊恆怡 *

麥紫琴 *

鄺敬婷 杜詩麗 * 蘇永恆 * 馮紹昌 簡凱彤 * 李美娟 黃國愛 楊文秀 * 陳慧晶 * 鄧冠恒 * 鄺嘉欣 * 蔡珮珊 * 彭健欣 * 雲希朗 * 羅雪芬 * 梁嘉倩 * 李菁菁 * 周 怡 *

陳穎業 *

Tisa Ho Connie Ho

Grace Lang So Kwok-wan Linda Yip Vanessa Chan Susanna Yu* Lam Kam-kwan* Programme Manager (Administration) Shirley So Assistant Programme Manager Joseph Wong* Programme Coordinators Tracy Tam* Angus Wu* Programme Administration Officer Tracy Cheung* Logistic Manager Elvis King* • Technical Production Manager Shirley Leung* Assistant Production Manager Benny Mok* • Publications English Editor Gloria Furness* Chinese Editor James Liu* Assistant Editors Grace Lam* Melody Lai* • Outreach Senior Outreach Manager Kenneth Lee Assistant Outreach Manager Bell Cheung* Outreach Coordinators Mitch Tam* Carmen Lam* Joey Chung* Outreach Assistant Michael Lee* Arts Administrator Trainee Kelvin Li* MArKETING Marketing Director Katy Cheng Associate Marketing Director Dennis Wu Marketing Managers Alexia Chow Louis Cheung* Deputy Marketing Manager Michelle Yeung* Assistant Marketing Manager Surina Hui* Digital Marketing Specialist Ben Chan* Marketing Officer Bonnie Cheng* Arts Administrator Trainee Jeff Cheng* Marketing Manager (Ticketing) Eppie Leung Customer Service Officers Benny Wong* Hayley Yeung* DEVELOPMENT Development Director Flora Yu Development Managers Anna Cheung* Mak Tsz-kam* Deputy Development Manager Lorna Tam Assistant Development Manager Conny Souw* Development Coordinator Esther Mok* Development Assistant Antonia Yuen* ACCOUNTS Head of Accounts Department Teresa Kwong Assistant Accounting Manager Connie To* Accounting Officer Peter So* Hr & ADMINISTrATION HR & Administration Manager Calvin Fung HR & Administration Officer Vivian Kan* Receptionist/Junior Secretary Virginia Li General Assistant Bonia Wong NO LIMITS Senior Project Manager Camelia Yeung* Assistant Programme Ainslee Chan* and Production Manager Assistant Outreach Manager Joe Tang* Assistant Technical Manager Karen Kwong* Marketing Coordinator Silvia Choy* Senior Accounting Officer Janice Pang* Project Officer Alana Wan* HKAF@TAIKWUN Producers Georgina Lo* Leung Ka Sin* Chan Wing Yip* Cheryl Li* Eva Chau* Technicial Coordinators

技術統籌 * Technical Coordinators*

歐慧瑜 Rachel Au、陳佩儀 Claudia Chan、陳詠杰 Chan Wing Kit、陳家彤 Doris Chen、范文恩 Fan Man Yan、 許肇麟 Boolu Hui 、黎智勇 Martin Lai、李浩賢 Lawrence Lee、羅瑞麟 Wheel Lo、蕭健邦 Leo Siu

藝術家統籌 * Artist Coordinators*

鄭瑋菁 Virginia Cheng 、竺諺民 Edwin Chuk、張素真 Susan Hayden、向怡君 Cassandra Heung 、 何嘉露 Carrol Ho、洪飛鳴 Fei Hung、李仲文 Conan Lee、李海盈 Jane Li、彭慧雯 Jan Pang、 樊明媚 Tess Pham、潘頴詩 Renee Poon、譚善渝 Sally Tam * 合約職員 Contract Staff