Issuu

FESTMAG

閱藝

Your guide to the sounds, sights and sensations of the 2026 Hong Kong Arts Festival 全方位帶你體驗 2026年香港藝術節

Contents

Trends

可持續發展劇場打破地理與物理限制 Sustainable Theatre Breaks Down Geographical and Physical Boundaries 12

約翰．艾略特．加德納藉巴赫巨作登高峰 John Eliot Gardiner on Bach’s Monumental Mass

Trends

編舞黎星站在古典舞劇浪尖 Li Xing: The Choreographer at the Crest of the Classical Dance Drama Wave 15

如幻似真不在現場的合唱團 Under an Illusion: The Choir That May Not Be There 22

Cover Story

Art Roots

沒有馬的「馬戲」 Circus in Motion 72

Feature

Conversation

生於斯樂於斯沈靖韜與王致仁的音樂歷程 Aristo Sham and Chiyan Wong: Shaped by Hong Kong, Playing for the World

如果命運非注定 If Fate Could Be Chosen 48

Analysis

息動歸靜安魂曲 Transcending to Tranquility

善惡的彼岸 Beyond Good and Evil 39

Analysis

以劇場為鏡 Exploring the Vicissitudes of Society Through Theatre

PLUS 活動快訊 PLUS Events Breakthrough

Icon

特雷弗．平諾克永恆的少年心 Trevor Pinnock: The Young at Heart

News

東九新場地 New Venue in East Kowloon

Icon

安．德麗莎．迪．姬爾斯美嘉用舞蹈書寫音樂 Anne Teresa De Keersmaeker: The Choreographer Who Won the "Nobel Prize" for the Arts

Discovery

音樂大師自強不息 Music Masters at the Top of Their Game

今期《閱藝》雜誌除了編輯部撰文，更邀請了多位資深藝術傳媒人、重量級名家，為讀者提供精采內容。版面有限，部分文章為精簡版，歡迎瀏覽香港藝術節線上雜誌，閱讀完整文章。

In this issue of FestMag, in addition to articles written by the Editorial team, we also bring you contributions from veteran arts journalists and renowned writers. Due to space restrictions, some articles in the magazine are abridged versions. Please visit the News & Features website to read the full articles.

Analysis

美國當代音樂中的傷痕 Scars in American Contemporary Music 84

Legacy

尋根追源戲曲承傳 Chinese Opera: Tracing its Roots, Continuing its Legacy 88

Column

坂本龍一混合實境譜出永生 Ryuichi Sakamoto: Eternal Life in Mixed Reality 90

Column

韓式「青春火花」燃亮古典樂壇 The Korean Style Revitalising the Classical Scene 94

After The Show

編輯部精選完場後續夜美食巡禮 Editors' Picks: Late-Night Bites After the Show

Website News & Features Email Facebook Instagram

hk.artsfestival.org news.artsfestival.org afgen@hkaf.org @HKArtsFestival @hkartsfestival

香港藝術節的資助來自 The Hong Kong Arts Festival is made possible with the funding support of

所有作品內容均由創作團隊獨立製作，並不代表香港藝術節及贊助機構之立場或意見。 The content of all works is independently produced by the relevant creative teams and does not necessarily reflect the views or opinions of the HKAF or its sponsors. 香港賽馬會慈善信託基金、香港賽馬會、其各自關聯公司或任何參與彙編此載內容或與彙編此載內容有關的第三方（統稱「馬會各方」）皆無就內容是否準確、適時或完整或使用內容所得之結果作任何明示或隱含的保證或聲明。任何情況下，馬會各方皆不會對任何人或法律實體因此載內容而作出或沒有作出的任何行為負上任何法律責任。 None of The Hong Kong Jockey Club Charities Trust, The Hong Kong Jockey Club, their respective affiliates or any other person involved in or related to the compilation of the contents herein (collectively, “the HKJC Parties”) makes any express or implied warranties or representations with respect to the accuracy, timeliness or completeness of the contents or as to the results that may be obtained by the use thereof. In no event shall any HKJC Party have any liability of any kind to any person or entity arising from or related to any actions taken or not taken as a result of any of the contents herein.

SUPPORT US

支持半價學生票培育藝術小樹苗 Support our Student Ticket Scheme Help us provide more half-price tickets to young people 學生票捐助計劃籌得的所有款項，均全數用作資助本地全日制學生以半價優惠購買藝術節門票。為了讓更多青少年有機會觀賞高質素的演出，從而培養他們對表演藝術的興趣和認識，我們需要您的協助！

香港藝術節是香港特區政府的「藝術發展配對資助計劃」受惠機構，部份籌得的捐款及贊助收入將獲一元對一元的配對資助。*

無論捐贈數額多少，我們均衷心感謝您的支持！

All donations to the Student Ticket Scheme are used for subsidising full-time local students to attend the Festival’s performances at half price. We need your support to encourage more young people to enjoy and be inspired by the Festival’s high-quality performances. The Hong Kong Arts Festival is a recipient of the HKSAR Government’s Art Development Matching Grants Scheme. Part of the Festival’s sponsorship and donation income will benefit from a dollarfor-dollar match by the Government.* Donations of any amount will make a difference, and are greatly appreciated!

網上捐款

ONLINE DONATION

h t t p ://g o . h ka f . o r g/g i v e

其他捐款方法，請參閱刊於本冊子尾部之捐款表格

For other donation methods, please refer to the Donation Form near the end of this booklet

查詢 Enquiries: * 須受「藝術發展配對資助計劃」之條款及細則約束。 Subject to conditions of the Government’s Art Development Matching Grants Scheme.

dev@hkaf.org 2828 4911/12

前言

Foreword 今屆香港藝術節將一如以往，集合各個藝術範疇的頂尖人物及創新先驅，呈獻別開生面的多元演出。透過今期《閱藝》多篇名家筆下的人物特寫，我們或能窺見大師成功背後的心路歷程，加以借鏡。藝術節今年其中一個主題是和平、勇氣及毅力，藉着創作人的訪問和專題分析，我們再一次反思人性複雜的善與惡、光與暗，亦可體會故事主角如何在面對戰亂頻仍或種種困擾，仍憑藉堅毅與努力追求團結與和平。今年，藝術節繼續探索最新的表演藝術形式。《閱藝》為我們深入淺出地解構多個融合藝術與科技的新作品，讓讀者了解它們如何突破時地限制，化有限為永恆。另一方面，藝術節繼續秉承可持續發展理念，呈獻「超極簡」的表演藝術形式，今期《閱藝》亦就這方面作出介紹。版面有限，精采無限，儘管《閱藝》印刷版只能刊登部分文章的撮要，但完整文章會在線上雜誌刊載。當然，我們最希望您能蒞臨第 54 屆香港藝術節的演出現場，更立體地欣賞每一部優秀創作，細味每位藝術家的非凡造詣。

香港藝術節行政總監余潔儀

As always, the Hong Kong Arts Festival is proud to present a stellar line-up of leading figures and innovators across various genres of the performing arts. And here in FestMag, you will gain unique insights into the stories behind these outstanding artists as you explore fascinating features written by a range of experienced writers. This year, one of the Festival’s themes focuses on peace, courage and resilience. Through interviews with the creators and analysis of their works, we reflect on the complexities of human nature—the struggles between good and evil, and light and darkness—and understand how the creators and their protagonists searched for peace and solidarity in times of war and strife. This year, the Festival continues to explore the latest advancements in the performing arts. In FestMag, we analyse new works that blend arts and technology, outlining the ways in which they transcend limitations of time and place, transforming the finite into the eternal. And the Festival of course remains committed to sustainability, presenting a selection of minimalist productions which are examined in illuminating articles throughout these pages. Our space here may be limited, but the brilliance of these productions is boundless. While the print edition of FestMag can only present condensed versions of the articles, the full versions are available in our News & Features online magazine. There’s so much more to discover—and we invite you to join us at our performance venues for another unforgettable edition of Hong Kong’s world-class arts festival. Flora Yu Executive Director, Hong Kong Arts Festival

出版香港藝術節有限公司

顧問蘇國雲

PUBLISHER Hong Kong Arts Festival Society Ltd

ADVISOR So Kwok-wan

編輯經理陳詠恩

英文編輯 Adam Wright

EDITORIAL MANAGER Eugene Chan

ENGLISH EDITOR Adam Wright

副編輯陳劭儀

助理編輯干霖

ASSOCIATE EDITOR Shao yi Chan

ASSISTANT EDITOR Lindsey Gan

設計翻滾出版

承印新世紀印刷實業有限公司

DESIGN FLIP & ROLL

PRINTER New Century Printing Industrial Limited

本雜誌文章所載的觀點及見解乃作者的個人意見，並不反映香港藝術節的立場

The views and opinions expressed or implied in this magazine are those of the authors and do not necessarily reflect those of the Hong Kong Arts Festival

本刊內容未經許可，不得翻印或轉載 Reproduction in whole or in part without written permission is strictly prohibited

關於我們 About Us

香港藝術節香港藝術節於 1973 年正式揭幕，是國際藝壇中重要的文化盛事，

香港藝術節一直大力投資下一代的藝術教育。「青少年之友」成立

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

33 年來，已為約 849,000 位本地中學生及大專生提供藝術體驗活

舉辦多元化的「加料」和教育活動，致力豐富香港的文化生活。

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、

香港藝術節是一所非牟利機構，2025/26 財政年度香港藝術節收

演前講座、公開彩排、以及欣賞藝術節演出。同時，通過「學生

入目標（包括第 54 屆香港藝術節及 2026 年「無限亮」）約港幣

票捐助計劃」，藝術節每年提供約 10,000 張半價學生票。

一億五千九百萬，當中香港特區政府的年度恆常撥款佔總收入約 12%，另外約 24% 需來自票房收入，約 44% 則需依賴來自各大企

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

業、熱心人士和慈善基金會的贊助和捐款。預計餘下的約 20% 則

如電影放映、示範講座、大師班、工作坊、座談會、後台參觀、

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。

展覽、藝人談、文化導賞團等，鼓勵觀眾與藝術家互動接觸。

香港藝術節每年呈獻眾多國際演藝名家精采多元的演出，例如 *：

香港藝術節亦銳意將共融藝術理念拓展到社區每一角落。由藝術節與香港賽馬會慈善信託基金聯合呈獻的「無限亮」計劃於 2019

歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、莫斯科大劇院、

年正式開展，透過一系列的演出及多元的教育及社區外展節目，

聖彼得堡馬林斯基劇院、三藩市歌劇院、薩翁林納歌劇節

「無限亮」致力創造共融空間，讓不同能力人士均可以一同欣賞、

中國戲曲：中國國家京劇院、河北梆子劇院、上海崑劇團、上海

參與、擁抱藝術。

張軍崑曲藝術中心、江蘇省蘇州崑劇院、浙江小百花越劇團、上海越劇院

為創造更穩健的財政環境以及確保藝術節的長期可持續性，香港

古典音樂：塞西莉亞 • 芭托莉、列卡杜 • 沙爾、趙成珍、古斯

藝術節基金會於 2022 年成立，旨在讓藝術節在未來進行年度預算

塔沃 • 杜達美、菲力普 • 格拉斯、劉曉禹、馬友友、丹尼斯 •

以外的大型或特別項目。

馬祖耶夫、安娜 • 涅翠柯、詹安德列亞 • 諾斯達、小澤征爾、湯瑪士．夸斯托夫、甘拿迪 • 羅傑斯特汶斯基、譚盾、湯沐海、克里斯蒂安 • 泰利曼、安德拉斯 · 席夫爵士、班貝格交響樂團、倫敦交響樂團、NHK 交響樂團、皇家阿姆斯特丹音樂廳樂團、柏林廣播電台合唱團、萊比錫聖多馬合唱團、維也納愛樂樂團爵士樂及世界音樂：波比 • 麥非年、尤蘇 • 恩多爾、艾斯佩蘭薩 • 斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼舞蹈：米高 • 巴里殊尼哥夫、蕭菲 • 紀蓮、艾甘 • 漢、娜塔麗亞 • 奧斯波娃、美國芭蕾舞劇院、雲門舞集、漢堡芭蕾舞團—約翰．紐邁亞、紐約市芭蕾舞團、巴黎歌劇院芭蕾舞團、翩娜 • 包

政府的年度恒常撥款

贊助和捐款

Current Government annual baseline funding

Sponsorship & Donations

Around

其他收入

12%

Other Revenues （包括按捐款和贊助收入可望獲得的政府配對資助

including possible Government Matching Grant for Sponsorship and Donation income）

殊烏珀塔爾舞蹈劇場、米蘭史卡拉歌劇院芭蕾舞團

Around

20%

Around

44%

戲劇：彼得 • 布祿克、羅伯特．利柏殊、蜷川幸雄、羅柏特 • 威爾遜、柏林劇團、中國國家話劇院、皇家莎士比亞劇團、英國國家劇院大型特備節目：《藝裳奇幻世界》、星躍馬術奇藝坊

票房收入

Box Office

戶外節目：《聲光園》、《幻光動感池》、《聲光頌》

Around

24%

音樂劇︰《日新》、《雄獅少年》、《咆哮山莊》香港藝術節積極與本地演藝人才合作，並致力為新進藝術家提供展示才華的平台。藝術節至今委約及製作逾 250 套本地全新創作，包括粵劇、戲劇、室內歌劇、音樂和舞蹈作品，不少製作更已在香港及海外多度重演。

香港藝術節協會 2025/26 年度收入目標 : 港幣一億五千九百萬

Estimated Target Income for the HKAF in FY2025/26: HK$159 million

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聯同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》；作為聯合委約機構之一並聯同倫敦老域劇院、布魯克林音樂學院與尼爾街製作公司製作的「橫貫計劃」之《暴風雨》及《李察三世》；與上海國際藝術節聯合委

誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。 To find out more about sponsorship opportunities and donation details for the Hong Kong Arts Festival, please contact the HKAF Development Department.

約的《青蛇》；與三藩市歌劇院聯合製作的《紅樓夢》；與芬蘭國

電郵 Email: dev@hkaf.org

家歌劇院及芭蕾舞團聯合製作的《拉娜》，以及與中央戲劇學院及

直綫 Direct Lines: (852) 2828 4911/12

Compagnie Point Fixe 聯合製作的《海底兩萬里》等。

網頁 Website: http://go.hkaf.org/give

Hong Kong Arts Festival The HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year. The HKAF is a non-profit organisation. The total estimated income for FY2025/26 (including the 54th Hong Kong Arts Festival and 2026 “No Limits”) is approximately HK$159 million. Current Government annual baseline funding accounts for around 12% of the Festival's total income. Around 24% of the Festival’s income needs to be generated from the box office, and around 44% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 20% is expected to come from other revenue sources including the Government’s matching grant scheme, which matches income generated through private sector sponsorship and donations. The HKAF has presented top international artists and ensembles across multiple genres, such as*: Western opera: Bayerische Staatsoper, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre, San Francisco Opera, Savonlinna Opera Festival Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Kunqu Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe, Shanghai Yue Opera House Classical music: Cecilia Bartoli, Riccardo Chailly, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Bruce Liu, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, Sir András Schiff, Bamberg Symphony, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, Natalia Osipova, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet – John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch, Teatro alla Scala Ballet Company Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company, National Theatre of Great Britain

The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced with 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 co-commissioned with Shanghai International Arts Festival; Dream of the Red Chamber coproduced with San Francisco Opera; Laila, a co-production with Finnish National Opera and Ballet, and 20,000 Leagues Under the Sea , coproduced with The Central Academy of Drama, China and Compagnie Point Fixe. The HKAF invests heavily in arts education for young people. Over the past 33 years, our “Young Friends” scheme has reached around 849,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 halfprice student tickets each year. The HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meetthe-artist sessions and guided cultural tours. The HKAF actively promotes inclusion via the arts to every corner of the community. The “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, was launched in 2019. Through a series of performances and diverse arts experiences for students and the community, “No Limits” strives to create an inclusive space for people with different abilities to share the joy of the arts together. To provide greater financial security and long-term sustainability for the Festival, the Hong Kong Arts Festival Foundation was officially launched in 2022. Donations to the Foundation will be used towards enabling the Festival to present in the future large-scale or special projects which its annual budget cannot cater for.

Large-scale special events: World of WearableArt, Zingaro Outdoor events: Power Plant, Super Pool, Chorus Musicals: Yat-sen, I Am What I Am the Musical, Wuthering Heights The HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas.

* 有關香港藝術節的過往節目 Details of past HKAF programmes https://www.hk.artsfestival.org/en/about-us/ past-programmes/past-programmes-2025.html

同心同行在您身邊任職於金融市場部亦是一名環保超人

任職於機構業務部亦是一名運動鐵人

手機銀行

工銀智投資

www.icbcasia.com 客戶服務熱線 (852) 2189 5588

任職於渠道管理部亦是一名網絡紅人

任職於金融科技部亦是一名攝影達人

任職於渠道管理部亦是一名通透人

AVV-0616/2512/113

任職於金融市場部亦是一名國際人

TRENDS 比利時劇團 Ontroerend Goed 的最新作品《戲劇盲盒》將挑

盲盒》沒有演員、導演或戲劇構作在場，真正突顯了「觀

戰用最少資源帶來可持續發展的劇場。此作完全由觀眾帶

眾」的重要性，而這亦正是此作的核心主題之一。

動，並透過一個神秘盒子內的指示引發一連串「情節」，不需要演員或技術人員親臨演出場地。

來自德國的導演塞巴斯汀．凱撒則採用另一種方式，追求劇場的可持續發展。他受香港藝術節委約，將香港作家劉以鬯的長篇意識流小說《酒徒》改編為同名劇作。有別於

多演出都強調觀眾的高度參與。參與構思及創作的薩米爾．

一般美侖美奐的劇場佈景，這部作品將會以簡約的舞台示

菲恩表示戲劇能夠接觸的觀眾相對有限，但《戲劇盲盒》

眾，並根據劇情需要，由演員即場以簡單道具搭建「臨時」

卻能以相對較低的成本和碳足迹接觸更多觀眾。「我認為透

佈景。他同時強調這種形式的流動性，可以讓劇作在任何

過《戲劇盲盒》，我們可以探索劇場的界線。香港版《戲劇

一個地方演出，突破劇場界限。

《戲劇盲盒》 Handle with Care

撰文：鄧穎瑶、陳詠恩英譯：鄧穎瑶 Text: Elma Tang, Eugene Chan English translation: Elma Tang

可持續發展劇場打破地理與物理限制

Ontroerend Goed 素以極具前瞻性的內容和形式為標誌，很

Sustainable Theatre Breaks Down Geographical and Physical Boundaries

Belgian theatre group Ontroerend Goed’s latest production, Handle with Care, demonstrates how sustainable theatre shows can travel the globe with minimal resources. In this theatre experience, audience members take the place of performers by following instructions contained in a mysterious box— without the need for actors or technical crews to be physically present. The group is renowned for its groundbreaking content and innovative productions, and many of its immersive experiences involve high levels of audience participation. Samir Veen, one of the creators behind the show, believes that Handle With Care is unique in its ability to reach a wider audience with a “relatively small footprint, both financially and ecologically”, in comparison with traditional theatre that is more limited in its reach. "Handle with Care explores the limits of what the theatre can be," he says. This local production of Handle With Care has

no performers, directors or dramaturge. It emphasises the need for the audience, which is one of the core themes of the show. Meanwhile, German director Sebastian Kaiser takes a different approach, pursuing a sustainable form of theatre. He has been commissioned by the Hong Kong Arts Festival to adapt Hong Kong writer Liu Yichang’s stream-of-consciousness novel The Drunkard into a play of the same name. Unlike the glamorous sets seen at many theatre shows, Kaiser’s stage is minimalist— save for makeshift sets “constructed” on the spot by the actors using simple props. He also emphasises the mobility of this form, which allows the play to be performed anywhere, breaking down the traditional boundaries of the theatre.

節目詳情請參閱 96 至 97 頁活動日程 Please refer to the calendar on P96-97 for the programme details

TRENDS 把詩詞歌賦入舞，由舞者以身體刻劃中國古典名著內涵，再加上華麗的現代舞台語言。內地炙手可熱的舞蹈藝術家黎星憑這些編舞特色，把古典舞劇推向高峰。

Poetry and prose are infused into dance, and dancers use their bodies to reveal the inner meaning of classical Chinese masterpieces, combined with the sophisticated language of the modern stage. These are the choreographic features influential Chinese dance artist Li Xing has employed to propel classical dance drama forward.

編舞黎星站在古典舞劇浪尖 Li Xing: The Choreographer at the Crest of the Classical Dance Drama Wave 撰文：陳詠恩英譯：梁漢波

Text: Eugene Chan English translation: Stanley Leung

Today, every dance drama Li takes part in sells out. His staging of Dance Drama: A Dream of Red Mansions, which premiered in 2021, has now been performed more than 400 times in 41 cities both domestically and abroad. In 2023, it won the Dance Drama Award at the 13th China Dance Lotus Awards, and it recently received the Outstanding Performance Award at the 18th Wenhua Awards. His latest work, Dance Theatre—Dream in The Peony Pavilion is now scheduled to be performed at the 54th Hong Kong Arts Festival. Li gained widespread recognition in 2019 after participating in the televised dance competition show Dance Smash. However, before that, he had devoted more than 10 years to the stage, earning awards for both groundbreaking performance and choreography. 12

His works, including Dance Drama: A Dream of Red Mansions and Dance Theatre—Dream in The Peony Pavilion, have enjoyed tremendous success in the post-pandemic era. Li believes audiences now seek deeper connections: “People are more focused on communicating with themselves and the world. These productions help us reconnect with our land and culture.” Li’s productions may be grand in scale and feature lavish costumes, but he insists the essence lies in the art of suggestive absence in classic Chinese literature. Dance Theatre—Dream in The Peony Pavilion conjures the spirit of Suzhou gardens through golden bricks and whitewashed walls, with mist and shifting light dissolving the boundary

如今，凡是黎星有份參與的舞劇皆一票難求。他所編排的

黎星創作的舞劇規模龐大，服飾精緻，不過他認為關鍵是

民族舞劇《紅樓夢》自 2021 年 9 月首演以來，在內地及海

提煉出古典中國文學的「留白」精神，「我採用的都不是很

外四十一個城市演出四百餘場，並於 2023 年榮獲第 13 屆中

實的舞美（舞台設計）」。新作《牡丹亭》選擇以蘇州庭園

國舞蹈「荷花獎」舞劇獎，近來更榮獲第 18 屆文華獎「文

特色金磚、粉牆為主要佈景元素，呼應崑曲的發源地蘇州，

華劇目獎」。其新作舞劇《牡丹亭》將在第 54 屆香港藝術

並配合大量水霧及燈光效果，營造夢境與現實切換，由觀

節演出。

眾發揮想像力，「牡丹亭就是一個極大的夢……杜麗娘她回來了，她看見房間裏的那個柳生，是現實，還是她的幻

回想在 2019 年，他因參與電視舞蹈競技節目《舞蹈風暴》

想？」

而廣為人認識，不過在此之前，他早已縱橫劇場十多年，演出及創作極具開創性的舞劇作品並獲獎無數。近年，他

「我一直認為，舞蹈不是文學的翻譯或轉換，它應該有更多

所創作的《紅樓夢》及《牡丹亭》等舞劇在內地大受歡迎，

『只可意會，不可言傳』的東西，這是只有舞蹈和舞劇做到

他歸因於後疫情時期，觀眾需求有所不同，「所有人更專注

的事，我們的舞劇具備這種特質，有很強的當代性。」黎

於自己和這個世界溝通，這些舞劇讓我們回溯自己出生的

星相信，這種當代性正是與世界各地的觀眾溝通的橋樑。

土地與文化。」以中國古典文學為舞劇題材，較易引起觀眾共鳴。

between dream and reality. “Dance Theatre—Dream in The Peony Pavilion is an immense dream,” Li says. “When Du Liniang returns and sees Liu in her room, is it reality, or her imagination?” “I have always believed that dance is not a mere translation or transposition of literature, but a vessel for the unsayable. This is the unique power of dance drama, and it is profoundly contemporary.” And for Li, it is precisely this sense of contemporaneity that connects his art to audiences around the globe.

舞劇《牡丹亭》 Dance Theatre—Dream in The Peony Pavilion 2026.3.27-29 丨香港文化中心大劇院 Hong Kong Cultural Centre Grand Theatre 3 月 27 日藝術節閉幕演出由中國工商銀行（亞洲）贊助 The 27 March Festival Finale performance is sponsored by ICBC (Asia)

NEWS

東九新場地 New Venue in East Kowloon 劇場 The Theatre

近年，藝術科技已逐漸成為表演藝術界的重要領域—— 剛於 2025 年 11 月啟用的東九文化中心便是香港首個以藝術科技為核心的旗艦表演場地。當中劇場採用獨特的三向舞台設計；劇院則設有 4K 高清投影系統和全方位沉浸式音響系統。而香港藝術節將有三個節目於這場地舉行，詳情可參考 96 至 97 頁活動日程。到時觀眾將能在這個全新藝術地標體驗這些頂尖的舞台科技。

PLUS 活動快訊 PLUS Events

Arts and technology (arts tech) has emerged as one of the key fields in the performing arts during recent years. And the East Kowloon Cultural Centre (EKCC), which opened in November 2025, is Hong Kong’s first flagship venue focused on the genre. For example, The Theatre features a unique thrust stage design, while The Hall is equipped with a 4K projection system and a multi-directional immersive sound system. This year the Hong Kong Arts Festival will present three programmes at the EKCC, where the audience will be able to experience arts tech at its finest. For more details, please refer to the programme calendar on P96-97.

Theatres and concert halls are not the only places where you can gain an appreciation of the performing arts. Two of the Hong Kong Arts Festival’s PLUS cultural walks—one in the historic district of Sheung Wan and the other in the scenic coastal setting of Kau Sai Village—invite participants to explore environments that have touched and inspired artists.

滘西村 Kau Sai Village

感受表演藝術，並非只能留在劇院或音樂廳。香港藝術節「加料節目」其中兩項文化深度遊，帶領參加者游走歷史悠久的上環社區和探索充滿島嶼風光的滘西村，分別細味藝術家的靈感來源。即將在香港藝術節上演的劇作《酒徒》改編自劉以鬯同名小說，講述香港 1960 年代一名潦倒作家的故事。上環路線將帶領參加者走過舊香港的文人蹤跡，體驗當年印刷業的

The Sheung Wan walk is closely tied to the upcoming theatre production The Drunkard, which centres on a troubled writer living in Hong Kong in the 1960s. The route allows participants to step back into that era, as the district has been integral to Hong Kong’s printing industry. The other walk focuses on the traditional fishing culture and songs of Hong Kong. Participants will explore Kau Sai Village to experience the unique culture passed down through generations of fishermen. This journey resonates with the jazz compositions of Hong Kong pianist Chiyan Wong, whose music has been inspired by fishermen's songs.

經營環境及從業員的生活。香港鋼琴家王致仁以漁歌為靈感，策劃了「王致仁與樂友——漁光爵韻」音樂會。滘西村路線旨在探尋香港的傳統漁民文化與水上歌謠。參加者可以透過探訪漁村，體驗

欲了解更多 PLUS 節目詳情，可瀏覽藝術節網頁 For more details on PLUS events, please refer to HKAF's website.

音樂背後的豐富文化脈絡。

BREAKTHROUGH © Gulbenkian Foundation

如幻似真

不存在不存在場的唱團唱團不存在的合唱團不在現場的合唱團 Under an Illusion:

The Choir That May Not Be There

撰文：Adam Wright 中譯：鄧穎瑶

Text: Adam Wright Chinese translation: Elma Tang

「過去五十年間，古典音樂面臨着巨大的革新壓力。一般而言，如非必要，古典音樂不會輕易求變。」作曲家兼香港浸會大學音樂學院副總監（國際化）及副教授貝臻雅如此說，他嘗試運用科技，為觀眾創作出不一樣的合唱演出。

“In the past 50 years, there's been immense pressure on classical music to revolutionise itself. Classical music generally doesn't move unless it has to,” says composer Professor Eugene Birman, Associate Director (Internationalisation) and Associate Professor at the Hong Kong Baptist University's Academy of Music. And Birman is doing his part to help push the music forward with a concept that will come as a surprise to many Festivalgoers.

貝臻雅指出，西方古典音樂的發展由新技術發明所推動，像小提琴這樣精密複雜的樂器，早在三百多年前已設計完善。然而，從那時起，技術卻只有些微進步，甚至算是停滯不前。位於葡萄牙首都里斯本的古本江基金會卻為貝臻雅的古典音樂革新帶來完美契機。基金會素來致力推動藝術、慈善、科學和教育事業，但疫情期間，大多數文化活動均告暫停，基金會旗下的古本江管弦樂團及合唱團以及古本江音樂廳亦被逼關閉。 2021 年，基金會為慶祝可以重新舉行音樂演出，於是邀請

He points out that the development of Western classical music was driven by the invention of new technologies, and sophisticated instruments such as the violin were perfected more than 300 years ago. But since then, advancement has been incremental at best—or non-existent at worst. However, the Gulbenkian Foundation, located in the capital of Portugal, Lisbon, provided Birman with the perfect opportunity to innovate. The foundation has long been committed to promoting the arts, philanthropy, science and education, but saw its Gulbenkian Orchestra and Choir, and Gulbenkian Auditorium, shut down during the pandemic—as was most cultural life.

貝臻雅創作一部紀念作品，並委託葡萄牙著名作家迪祖米莉亞．普雷拉．德．艾爾美達創作詩作《那些最長亦最短的日子》。在香港大學文學院音樂教授白諾信的執導及戲劇構作下，這部作品呈現出革命性的面貌：舞台上，半數的古本江合唱團成員以投影的形式出場，即是他們根本不在現場。這部作品被稱為「科技清唱劇」，貝臻雅解釋：「疫情期間，管弦樂團和合唱團在空盪盪的音樂廳演出，透過直播為不在場的觀眾表演。我們當時想：疫情結束後又會怎樣呢？

In 2021, to mark the return of its concert activities, the Foundation asked Birman to conceive a commemorative piece, and then commissioned acclaimed Portuguese writer Djaimilia Pereira de Almeida to create a poem Os dias mais longos e os mais curtos (The Longest Days and the Shortest Days). With Giorgio Biancorosso, Professor of Music in the Faculty of Arts at the University of Hong Kong, acting as director and dramaturge, the work turned into something revolutionary: half of the Gulbenkian Choir members on stage are projected, and not really there at all.

這部作品所呈現的，正是當時情景的相反，讓現場觀眾看

They describe this work as a “tech cantata”, with Birman explaining:“Orchestras and choirs were performing in empty concert halls and streamed to a virtual audience during Covid. We thought: what about when the pandemic is over? That's what this work represents—a reversal of the pandemic scenario, using a virtual choir playing to a live audience.”

虛擬合唱團表演。」

作曲家貝臻雅 Composer Eugene Birman © DR

劇場構作及導演（舞台與影片）白諾信 Dramaturge and Director (Stage & Video) Giorgio Biancorosso © DR

白諾信表示，古本江合唱團最初於里斯本錄影，在綠幕前現場演唱貝臻雅這首樂曲。然後，影像會以高解析度進行數碼重組，呈現出一隊栩栩如生的虛擬合唱團。演出時，團隊將虛擬合唱團投影在現場四十位真實的合唱團成員身後，效果令人驚歎。但當幻象破滅，觀眾發現自己被騙了，會有何反應？「許多人都鼓掌，因為他們太驚訝了，他們以為自己看到的是真實的合唱團。當中讓人們深信不疑的關鍵因素是聲音，錄音和影像相輔相成，營造出這場幻象。」古本江基金會副音樂總監米高．蘇布拉爾．斯德一直留意

Biancorosso says the Gulbenkian Choir was first filmed in Lisbon singing Birman’s score live against green screens, and the images then digitally recomposed in a high resolution to create a plausible virtual choir. During Os dias, the virtual choir is projected behind 40 live Gulbenkian singers and the results are remarkable. But what happens when the illusion is broken and audience members realise they’ve been tricked? “Many people have applauded because they were so surprised—they thought they were seeing a real choir. One key component in making people believe is sound—the audio and video reinforce one another in this illusion.”

貝臻雅所創作的聲樂、歌劇與聲樂科技作品，更認為若要將艾爾美達的詩作改編為大型合唱作品，貝臻雅是最佳人選。蘇布拉爾．斯德解釋，這詩作和合唱作品皆在封城期間創作，「由於當時正值疫情，貝臻雅便想到不如在存在與缺失、真實與虛幻之間游走。」虛擬合唱團在現場表演中時而顯現、時而消失，模糊了現實與數碼影像之間的界線，這部清唱劇反思了時間的流逝，還有黑暗日子裏藝術的韌性。在香港藝術節上，古本江合唱團亦會演出另一場清唱音樂會，演繹巴赫和布拉姆斯的聖樂作品，以及葡萄牙當代作曲家的作品。蘇布拉爾．斯德表示：「那場音樂會將展現合唱團的另一面貌。總括而言，相關曲目完整展現了合唱團的個性，以及其輕易駕馭不同類型曲目的能力。」

古本江合唱團——科技清唱劇《那些最長亦最短的日子》 Gulbenkian Choir—Tech Cantata: Os dias mais longos e os mais curtos (The Longest Days and the Shortest Days)

Miguel Sobral Cid, Deputy Director of Music at the Gulbenkian Foundation, had been following Birman's vocal, operatic and vocal/tech compositions, and knew he was the perfect composer to transform Almeida’s poem into a work for large choir. Sobral Cid explains that the poem and the large choral work were created during the lockdown, stating: “As it coincided with the pandemic, [Birman] had the idea of playing with presence/absence, and the real/unreal.” As the virtual choir is projected in and out of the live performance, blurring the lines between reality and digital representation, Os dias offers a reflection on the passage of time and the resilience of the arts amid dark days. At the HKAF the Gulbenkian Choir will also be performing an acapella concert featuring sacred works by Bach and Brahms, as well as compositions by Portuguese composers. Sobral Cid says: “The other concert represents a different dimension of the choir. Overall, the programmes put all characteristics of the choir on display and show its enormous flexibility.”

2026.3.4 丨葵青劇院演藝廳 Kwai Tsing Theatre Auditorium 古本江合唱團——葡萄牙合唱瑰寶 Gulbenkian Choir—Choral Treasures from Portugal 2026.3.5 丨香港大會堂音樂廳 Hong Kong City Hall Concert Hall

COVER STORY © Archivio Giovanni Gastel

善惡的彼岸

Beyond Good and Evil

撰文：楊紫媛 Text: Trista Yeung

1886 年，尼采的《善惡的彼岸》橫空出世，震驚當時的社會。尼采認為人性的起點始於人類本能的求生慾望，而道德（所謂的是非善惡）則是在生存需求得到滿足後，人類自我設下的價值體系。本期封面故事以「善惡的彼岸」為主題，探討四位備受爭議的人物。他們的行為超越善惡的傳統框架，難以用一般的倫理道德來衡量。他們的生命是光明與黑暗互相追逐的過程，善惡在辯證的過程中成就不平凡的人生。正如尼采所言：「人生就如一棵樹，越是渴望向上生長，越是追逐光明，我們的根便需要扎得更深，鑽入泥土，深入黑暗。」

Friedrich Nietzsche shocked society in 1886 with the publication of Beyond Good and Evil. Nietzsche argued that the foundation of human behaviour could be found in our instinctual drive for survival. Morality—our constructed notions of right and wrong, good and evil—is, in his view, a set of self-imposed guiding principles that only emerge once our basic needs are satisfied. This issue’s cover story, themed “Beyond Good and Evil”, explores four controversial figures whose actions have long defied conventional moral judgment. Their lives are processes of negotiating light and darkness, where good and evil collide to generate an extraordinary existence. As Nietzsche famously wrote: “But it is the same with man as with the tree. The more he seeks to rise into the height and light, the more vigorously do his roots struggle earthward, downward, into the dark, the deep— into evil.” 23

a De 》死之母聖《

th of th eV irg in (16 02 –16 06 )

闇黑尋光照亮人性的陰暗 A Glimmer in the Darkness 撰文：楊紫媛 Text: Trista Yeung

法國羅浮宮內，矗立着一幅高 3.5 米闊 2.5 米的巨型畫作。畫作中央，一名身披破舊紅袍的女子靜靜躺臥着，蒼白浮腫的身軀散發出死亡的腐朽氣息。她身邊圍繞着一群神情

Inside the Louvre Museum in Paris hangs a colossal painting measuring more than 3.5 metres tall and almost 2.5 metres wide. At its centre lies a woman draped in a tattered red robe, her pale, swollen body exuding the unmistakable stench of death. Around her, a group of grief-stricken peasants gather, their faces etched with sorrow and despair. The entire scene is shrouded in sombre tones, as if trapped in perpetual mourning. Only a faint beam of light slips through a window, illuminating the woman's lifeless face. Surprisingly, this is not an anonymous victim of poverty or the plague—but the Virgin Mary herself.

哀戚的農民，臉上寫滿了悲傷與絕望。整個空間籠罩在陰鬱的色調中，彷彿一場永無止境的哀悼，僅有一束微弱的光線穿過窗戶，照亮女子垂死的臉龐。令人驚訝的是，這名女子並非貧困而病入膏肓的農婦，而是聖母瑪利亞。 1600 年，羅馬階梯聖母堂委託卡拉瓦喬創作一幅聖母像。他耗時五年完成這幅《聖母之死》，卻遭教廷斥為褻瀆與不敬。聖母作為神聖的象徵，理應純潔無瑕、肉身不朽，然而卡拉瓦喬筆下的瑪利亞卻宛如凡人，完全不同於其他畫家筆下般莊嚴高貴。收藏家朱利奧．曼切尼更指控卡拉瓦喬以一名妓女作為聖母的模特兒，事件掀起軒然大波，最終教廷拒絕將這幅畫安置教堂內。

In 1600, the Church of Santa Maria della Scala in Rome commissioned Caravaggio to paint the Virgin. After five years of labour, he completed Death of the Virgin, only to face fierce backlash from the church, which denounced the work as blasphemous and offensive. The Virgin, a symbol of purity and divinity, was expected to appear immaculate and incorrupt. Yet Caravaggio rendered her as a mortal woman—pale, lifeless and heartbreakingly human—starkly at odds with the exalted depictions favoured by his contemporaries. Collector Giulio Mancini even accused Caravaggio of using a prostitute as a model for Mary, fuelling public outrage. Ultimately, the church refused to install the painting in the chapel.

《友第德與敖羅斐乃》 Judith and Holofernes (1599)

這幅畫成為卡拉瓦喬被視為畫壇異端的代表作之一。作為開創「明暗對照法」的現實主義先驅，卡拉瓦喬對巴羅克藝術影響深遠。但他的畫作主題往往血腥殘酷，斬首、斷肢屢見不鮮，也從不以聖潔祥和來描繪聖人，而是通過痛苦扭曲的臉孔，端詳人性的軟弱與詭詐。卡拉瓦喬也常以街頭市井小人物作模特兒，使畫面更貼近現實與人性。卡拉瓦喬早年喪親，遷居米蘭後為畫家朱塞佩．切薩里工作。白天繪畫，夜晚沉迷酒色，街頭鬥毆成家常便飯。他結識了一群社會邊緣人——賭徒、妓女，這些人也成為他

This painting became one of the most iconic examples of why Caravaggio was viewed as a heretic in the art world. A pioneer of realism, he pioneered the chiaroscuro technique—the dramatic interplay of light and shadow—leaving an indelible mark on Baroque art. But his themes were often violent or grotesque: decapitations, dismemberment and raw human suffering were common subjects. He never depicted saints as serene or divine, but as tormented figures, revealing the frailty and deceit at the heart of human nature. He frequently used the urban poor as models, grounding sacred scenes in gritty, earthly realism.

早期創作的重要題材。在這段流浪歲月裏，已婚的卡拉瓦喬戀上了西西里少年馬里奧．明尼蒂，更將少年的俊美定格於畫作《捧着果籃的男孩》中。《捧着

果籃

的男

孩

》

wi th et o ask aB

Caravaggio lost both parents at a young age. After moving to Milan, he worked under painter Giuseppe Cesari. By day, he painted; by night, he indulged in drinking, brothels and frequent brawls. He befriended society’s outcasts—gamblers, sex workers—many of whom appeared in his early works. During these tumultuous years, the married Caravaggio fell in love with a teenage Sicilian boy, Mario Minniti, immortalising his beauty in Boy with a Basket of Fruit.

f Fru 3) it (159

©M

ich

el e

na st

1606 年，卡拉瓦喬因街頭打鬥殺害一名男子，據說衝突正與明尼蒂有關。事發後，卡拉瓦喬逃離羅馬，幸得科隆納家族庇護，在那不勒斯繼續創作，並獲得巨大成功。直至 1610 年，他原計劃返回羅馬，卻在埃爾科萊港離奇身亡，

In 1606, Caravaggio killed a man in a street fight—an altercation allegedly connected to Minniti. Fleeing Rome, he found refuge with the powerful Colonna family in Naples, where his artistic career flourished. In 1610, as he prepared to return to Rome, Caravaggio died mysteriously in Porto Ercole at the age of 38. The cause of death remains unknown, adding another layer of mystery to his already legendary life. Caravaggio’s life and art have inspired generations of creatives. Among them is Italian choreographer Mauro Bigonzetti. Originally trained in fine art, Bigonzetti was long immersed in the visual world before turning to dance. When the Staatsballett Berlin commissioned a work rooted in Italian culture, he immediately chose Caravaggio as his subject. He told FestMag: “The performance highlights Caravaggio’s inspiration and his observations of society, of the lowest people in society. The most earthly person becomes sacred in his paintings.”

年僅三十八歲。死因至今依舊成謎，為他傳奇人生增添神秘色彩。卡拉瓦喬的藝術與人生啟發了無數藝術家，意大利編舞家莫羅．比戈哲提便是其中一人。比戈哲提學習舞蹈前曾修讀視覺藝術，年輕時就浸淫於藝術世界。當柏林德意志國家歌劇院芭蕾舞團委託他創作一個與意大利文化息息相關的作品時，他毫不猶豫地選擇了卡拉瓦喬。他在接受《閱藝》訪問時說：「這場演出突顯了卡拉瓦喬的靈感來源，以及他對於當時社會和底層人物的觀察。在他的畫作中，那些身份最卑微的人往往被賦予神聖光輝。」芭蕾舞劇《卡拉瓦喬》將於第 54 屆香港藝術節舉行亞洲首演，由明星舞者羅伯特．波雷領銜主演、ARTEDANZASRL 公司製作。波雷對《閱藝》說：「他的天賦無容置疑，我能透

The ballet Caravaggio will make its Asia premiere at the 54th Hong Kong Arts Festival, starring celebrated dancer Roberto Bolle in a collaboration with the production company ARTEDANZASRL. “His genius is undeniable and, through his paintings, I was able to grasp the depth of his character and emotions.” Bolle tells FestMag. Minimalist in stage design and cloaked in deep, moody lighting, Caravaggio visually echoes the aesthetics of the painter’s work and its signature tenebrism. “The most important element is the relationship between the choreographer and lighting designer. The set design and choreography are the result of much preparation. The objective is to drown the bodies in light and shadow, imitating the chiaroscuro technique,” Bigonzetti says.

過其畫作，深切體會他的性格與情緒。」《卡拉瓦喬》以極簡的舞台設計與深沉燈光，重現畫作中

「暗色調主義」美學。「編舞家和燈光設計師之間的合作可說是至關重要。這次的佈景和編舞經過長時間的準備，為使身體徹底融入光影之中，模擬出卡拉瓦喬畫作中的明暗對照。」比戈哲提如是說。

羅伯特．波雷《卡拉瓦喬》 Roberto Bolle—Caravaggio 2026.3.7-9 丨香港文化中心大劇院 Hong Kong Cultural Centre Grand Theatre

美麗創造財富絕代舞孃一場空

When Beauty Turns to Fortune: The Fleeting Dream of A Peerless Dancer 撰文：楊紫媛 Text: Trista Yeung

對香港觀眾而言，「美麗的奧蒂羅」這個名字或許較陌生，但在十九世紀歐洲，這位本名卡羅琳娜．奧蒂羅的西班牙舞孃卻聞名遐邇，被譽為歐洲「美好年代」最具代表性的人物之一。她的魅力席捲歐洲社交界，不少貴族為她魂銷腸斷。據說她的情人多如繁星，末代德皇威廉二世、摩納哥親王阿爾貝一世、英王愛德華七世、西班牙國王阿方索十三世等，均拜倒其石榴裙下。

The name La Bella Otero might seem unfamiliar to Hong Kong audiences, but this Spanish dancer was nothing short of a phenomenon in 19th-century Europe. The woman born Carolina Otero was the embodiment of the Belle Époque—European high society was spellbound by her charm. And her list of admirers was as dazzling as her reputation, including Kaiser Wilhelm II, Prince Albert I of Monaco, King Edward VII of England and King Alfonso XIII of Spain.

Otero’s life was both extravagant and controversial, and her perceived moral transgressions only added to her fame. She became a sensation at iconic venues such as the Folies Bergère and Cirque de Eté in Paris, and the music halls of New York.

奧蒂羅奢華放縱的生活使她備受爭議，她被輿論譴責傷風敗德，然而名氣卻與日俱增，紅遍巴黎的女神遊樂廳、夏季馬戲團及紐約音樂廳。奧蒂羅的成功除了歸功於其絕色美貌外，很大原因出自於奧蒂羅這個「品牌」。這種將愛情轉化為金銀珠寶的力量，為奧蒂羅贏得無數仰慕者。談及成功之道，她直言：「每當

But Otero’s allure went beyond mere beauty. She was a master at shaping her public image and cultivating her celebrity. Otero’s gift for turning love into wealth rewarded her with countless suitors and fuelled her legend. Asked about the secret to her success, she replied: “If a gentleman is seen with me, it strengthens his reputation because he is then considered extremely rich.” Spanish director and choreographer Rubén Olmo’s fascination with Otero’s life led him to create the biographical dance performance La Bella Otero, which premiered in Madrid in 2021 with the Ballet Nacional de España. “What’s most compelling about Otero is how she created her own character from nothing,” Olmo tells FestMag. “She made herself a legend—an international superstar.”

有紳士被人看到和我在一起，他就會聲名大噪，因為這證明他非常富有。」

©M

ar í a

Al p

eri

西班牙導演暨編舞家魯本．奧爾莫亦深受奧蒂羅傳奇的一生吸引，聯同西班牙國家舞劇院，創作了傳記式舞劇《美麗的奧蒂羅》，並於 2021 年在馬德里首演。奧爾莫告訴《閱藝》：「奧蒂羅最引人入勝的地方，是她如何從頭到尾塑造出自己的形象。她將自己塑造成傳奇人物、一位魅力四射的國際巨星。」

舞劇以奧蒂羅的童年為起點，敍述她從兒時在家鄉龐特韋德拉的村落遭受排擠與性侵，到成年後經歷無數愛情考驗，再踏上成名之路。奧爾莫補充說：「這些都是真實經歷。我們希望以藝術的角度敍述，讓觀眾更理解這個複雜又迷人的女性。她的人生、經歷、傷痛、情人、失敗，都是『奧蒂羅』的一部分。她一生都在搏鬥，對抗男性與社會的同時，卻深陷金錢與權力的泥沼之中。奧蒂羅縱使半生繁華，晚年卻因賭博而走向末路。」為突顯奧蒂羅內心的情感變化，奧爾莫特意在舞劇後半編

Olmo’s work traces Otero’s journey from a troubled childhood in a small village in Pontevedra, marked by rejection and abuse, through a life of romantic entanglements and extraordinary resilience, to her meteoric rise to fame. “These are real stories,” Olmo says. “We wanted to tell them from an artistic point of view, so that the character, the person, can be better understood. Her life, her experiences, her heartbreaks, her lovers, her failures, everything made her that way. Her entire life was a struggle: fighting against men, against society. She wanted power and money... But an addiction to gambling led to her downfall.”

排了「拉斯普京」一幕。這一幕的氛圍詭譎神秘，與前幾幕的紙醉金迷截然不同。觀眾隨着場景從夜巴黎的燈紅酒綠、賭場與派對，轉入一座神聖的東正教教堂。「這是整部舞劇的轉折點，象徵她與拉斯普京之間的友誼。拉斯普京是她唯一的友人，誠懇地告訴她：『你的時代已經過去了。』步入風燭殘年的奧蒂羅試圖演唱比才的《卡門》，卻發現昔日的光彩不再。這是她的最後一場演出，也是她人生的終幕。」「已將世界等微塵，空裏浮花夢裏身。」奧蒂羅也並非不明盛極必衰之理、生久必亡之道。查理斯．卡素在 1981 年出版的奧蒂羅傳記《美麗的奧蒂羅——最後一位偉大的交際花》中，引述了奧蒂羅的話：「女人一生中有一個使命：變得美麗。當年華老去，就必須學會『打破鏡子』。我非常平靜地等待死亡。」在 1965 年，九十六歲的奧蒂羅在尼斯香

As the classical Arabic verse says: “Everything declines after reaching perfection, therefore let no man be beguiled by the sweetness of a pleasant life.” Otero was never blind to the inevitability of decline and mortality. In the 1981 biography, La Bella Otero: The Last Great Courtesan, by Charles Castle, Otero is quoted as saying: “Women have one mission in life: to be beautiful. When one gets old, one must learn how to break mirrors. I am very gently expecting to die.” In 1965, Otero passed away peacefully in Nice, aged 96 and completely alone.

na s

消玉殞，離世時孑然一身。

To underscore Otero’s emotional journey, Olmo includes a pivotal, haunting scene titled “Rasputin” in the latter half of the production. In stark contrast to the earlier scenes of glittering Parisian nightlife, the audience is transported to a sombre Orthodox church. “It’s the turning point of the performance, symbolising her friendship with Rasputin—her only true friend. He is the voice that tells her that her time has come. In her twilight years, Otero attempts to perform Bizet’s Carmen, only to realise that her glory days are gone. It is her last performance, her last show. It’s the end.”

西班牙國家舞劇院《美麗的奧蒂羅》 Ballet Nacional de España—La Bella Otero 2026.2.27-28, 3.1 丨香港文化中心大劇院 Hong Kong Cultural Centre Grand Theatre 2 月 27 日藝術節開幕演出為香港賽馬會藝粹系列之一，由香港賽馬會慈善信託基金贊助 The 27 February Festival Opening performance is sponsored by The Hong Kong Jockey Club Charities Trust as part of The Hong Kong Jockey Club Series 西班牙國家舞劇院《熱情的感召》 Ballet Nacional de España—Invocación 2026.3.3-4 丨香港文化中心大劇院 Hong Kong Cultural Centre Grand Theatre

recký © Patrik Borecký

絕情誤真心，壞得有道理？柴可夫斯基的《尤金 ˙ 奧尼金》

Misguided Hearts and Justified Villainy in Tchaikovsky’s Eugene Onegin 撰文：焦元溥英譯：DTo

Text: Chiao Yuan-pu English translation: DTo

柴可夫斯基的《尤金．奧尼金》是非常特別的作品。作為歌劇，它其實更像抒情場景合集。誰叫普希金原作實是家喻戶曉，著名到無須交代細節，觀眾即能自行補上。但最特別的，或許還是奧尼金。雖是男主角，光彩卻常落到倒楣詩人連斯基身上，更不用說還有佔壓倒性地位、有偉大「寫信場景」可唱的女主角塔提雅娜。柴可夫斯基甚至沒給奧尼金甚麼了不起的獨唱段。為甚麼會這樣？

Tchaikovsky’s Eugene Onegin is an extraordinary piece of work. It’s an opera, but it’s more like a collection of lyrical scenes. The Pushkin novel on which it is based is so well known that we won’t go into the details—the audience can fill in the blanks themselves. And what makes it special is perhaps Onegin himself. Although he is the male protagonist, it is the unfortunate poet Lensky who most often shines in the opera; not to mention the imposing female lead Tatyana, who sings the grand “Letter Scene” aria. Tchaikovsky doesn’t give Onegin any such powerful aria—and why not? 33

ký rec Bo ik atr ©P

故事中，奧尼金拒絕塔提雅娜的感情，又於決鬥槍殺連斯基。他毀掉種種美好，自己也不好過，最後人生沒有目的，也「沒有職務、事業與妻室」，徒留悔恨難堪。但奧尼金真的壞嗎？再仔細看，我們就會知道他也是僵化社會的受害者。雖然玩世不恭，但奧尼金並非惡人，不然不會小心維護塔提雅娜的大膽示愛，甚或把她當成玩物。正因為他對上流社會的浮誇虛華、爾虞我詐有所警醒反思，

Onegin rejects Tatyana’s love and kills Lensky in a duel. He is a destroyer of all that is good, and ends up living a miserable and meaningless life in shame and regret, “without position, work, or wife”. But is Onegin really so bad? Take a closer look and you’ll see that he, too, is a victim of society. Although he is a playboy, Onegin is not evil, otherwise he wouldn’t have been so protective about Tatyana’s bold profession of love; he could also have used her as a plaything. It is precisely because he is critical of the extravagance and deceitfulness of the upper class that he becomes a world-weary cynic.

所以才更頹唐厭世。逗弄好友未婚妻奧爾加在先，又貿然答應參加決鬥於後，沒錯，這完全是奧尼金的不是，但真正壞的，是那壓着他難以說不的社會積習——決鬥當日，奧爾加完全忘卻，盈

Flirting with his friend’s fiancée, Olga, and then rashly agreeing to a duel—indeed, these are poor judgements on Onegin’s part. But it is the social pressure weighing on him to push ahead with it that is truly bad. On the day of the duel, Olga forgets that it’s happening and casually goes about her day; while Onegin shows up late, it’s as though nothing really matters. In the end, Lensky is fatally shot in the chest, losing his life in the most meaningless way, and leaving Onegin haunted by pain and regret. Pushkin thoroughly understood that society sometimes drove people to murder, leading them down dark paths to death in nonsensical duels. Unfortunately, in reality, Pushkin was also killed in a duel. With so many complex layers folded into the text, how does Tchaikovsky present these in the opera? The French-speaking upper-class circles of the Westernised Saint Petersburg were worlds apart from the nature-filled countryside, where the

盈笑語如常；奧尼金姍姍來遲，好似不當回事。連斯基最後卻胸口中槍而死，命喪得毫無意義，奧尼金也痛苦不堪。普希金太了解殺人的其實是社會，可嘆他最後竟也走上同樣的路，殞滅於莫名其妙的決鬥。文本層次如此繁複，柴可夫斯基要如何表現呢？以法文為主要語言、西化的聖彼得堡上流社會貴族文化圈，和屬於自然、洋溢古老俄羅斯風情、外省地主的鄉間天地，堪稱截然不同的世界。從《尤金．奧尼金》到《安娜．卡列妮娜》，我們一次又一次在俄國小說中見到它們，而柴可夫斯基用音樂做了極忠實的呈現。在開場姊妹二重唱之後，他

r Pat

ik B

ý oreck

land was owned by outsiders and old Russian culture was everywhere. We come across this time and again in Russian novels, from Eugene Onegin to Anna Karenina, and Tchaikovsky creates perfect musical representations of these in high fidelity. After the opening duet by the sisters, he brings in peasants singing in a choral response style typical of Russian folk music, which then evolves into a lively song and dance number. The waltz on Tatyana’s Name Day and the Polonaise later in the grand ballroom in Saint Petersburg are even more concise, encapsulating everything in just a few bars, with the latter remaining one of Tchaikovsky’s most popular concert pieces.

即以俄國民歌的旋律應答風格寫作村民合唱，最後化為活潑歡樂的歌舞。塔提雅娜命名日的圓舞曲與聖彼得堡豪華廳堂的波蘭舞曲，更是言簡意賅，幾個小節就描繪一切，後者更屬柴可夫斯基最受歡迎的音樂會作品。普希金是一等一的反諷專家，柴可夫斯基沒有完全展現他的挖苦，但也不會忽略他的棉裏藏針。比方說，第三幕第一場結尾，當奧尼金對塔提雅娜燃起熊熊愛火，他唱的正是她「寫信場景」開頭的旋律——這實在是最大的諷刺與遺憾：塔提雅娜的悸動其實正確，奧尼金的確該是她的伴侶，可嘆兩人永遠錯過。此次香港藝術節將迎來備受讚譽的捷克布爾諾國家歌劇院製作，還請大家把握機會，看看歌劇裏究竟誰是壞人，壞

Pushkin was a master satirist and while Tchaikovsky does not fully incorporate his sarcasm, he does embrace the hidden barbs. For example, at the end of Scene One in Act Three, when Onegin’s love for Tatyana heats up, his arioso takes on precisely the same melody as the beginning of the “Letter Scene”. It is the greatest stab of irony and regret: Tatyana was correct in feeling that she and Onegin were meant for each other, yet the chance of them becoming a couple was gone forever. The 2026 HKAF presentation of the version by the Czech Republic’s acclaimed National Theatre Brno provides an opportunity for everyone to come and find out for themselves: who is the villain, and is the villainy justified?

得有無道理？

捷克布爾諾國家歌劇院—柴可夫斯基《尤金．奧尼金》 National Theatre Brno—Tchaikovsky’s Eugene Onegin 2026.3.19, 21 丨香港文化中心大劇院 Hong Kong Cultural Centre Grand Theatre 3 月 19 日演出為香港賽馬會藝粹系列之一，由香港賽馬會慈善信託基金贊助 The 19 March performance is sponsored by The Hong Kong Jockey Club Charities Trust as part of The Hong Kong Jockey Club Series

布萊希特的墮落天使

撰文：Adam Wright 中譯：梁漢波

Text: Adam Wright Chinese translation: Stanley Leung

When Cancel Culture Meets Brecht’s Problematic Baal

《巴爾》是德國劇作家貝托爾特．布萊希特的首部作品，自一百年前首演以來，便一直是劇壇的燙手山芋。劇中同名主角是一位充滿魅力、反叛不羈的年輕詩人，卻因厭女及暴力行為而臭名昭著。然而，布萊希特並沒有將巴爾塑造成一個被誤解的反英雄或搖滾明星，而是把他當作一種不帶道德包袱的力量，將他赤裸地呈現在觀眾眼前，迫使我們思索：我們該如何處置他？對愛爾蘭正點劇團及北京當代話劇團來說，答案是：「取消」他。而所謂的「取消」並非只是比喻。即將在 2026 年香港藝術節登場的改編作《詩人之死》中，巴爾這個角色將在

Baal—the first play by German provocateur Bertolt Brecht— has posed a thorny challenge to the theatre world since its debut a century ago. The titular character, a charismatic and rebellious young poet, is notorious for his misogynistic and violent nature. Yet by presenting Baal as an amoral force rather than a misunderstood anti-hero or rock star, Brecht presents a question: what should we do with him? For Irish theatre group Dead Centre and their partners at the Beijing Repertory Theater, the answer is: we cancel him. And they don’t mean figuratively—their adaptation literally blurs out the character live on stage.

台上變得模糊。「取消文化」或許是當代產物，但正點劇團藝術總監布雪．摩加西及班．奇德在接受《閱藝》訪問時指出，這說穿了不過是「舊酒新瓶」。兩人表示：「每個社會都曾試圖驅逐那些象徵社會惡瘤的異端分子。無論是受詛咒而流放的希臘英雄伊底帕斯，還是身敗名裂的好萊塢製片人哈維•韋恩斯坦，『取消文化』其實由來已久。」正點劇團與北京當代話劇團素以重塑經典聞名，而《詩人之死》正正與兩團的創作風格不謀而合，畢竟布萊希特本人亦以不斷重寫劇本而廣為人知。「他不斷反覆思索：巴爾一角能否啟發觀眾？其反社會行為能否成為一種警示，抑或純粹帶來破壞？這種創作上的掙扎之所以耐人尋味，是因其觸及布萊希特整個戲劇理念的核心：藝術為何存在？它是否能扭轉世道？」《詩人之死》愛爾蘭正點劇團 X 北京當代話劇團 Brecht’s First Play—Dead Centre and Beijing Repertory Theater

Cancel culture may feel like a modern phenomenon, but the Artistic Directors of Dead Centre Bush Moukarzel and Ben Kidd tell FestMag that it’s “a new name for an old idea”. “Every society has looked to expel people who seem to represent what is wrong with that community… Whether it’s the cursed Oedipus sent into exile or a disgraced figure like Harvey Weinstein, the phenomenon of ‘cancelling’ has a long history,” Moukarzel and Kidd say. Dead Centre and the Beijing Repertory Theater have a reputation for re-inventing classic works and Baal is on brand for both companies as Brecht himself famously spent much of his career re-writing the text. “He struggled with whether the character of Baal was useful to an audience—was his antisocial behaviour instructive, or was it merely destructive? This creative struggle is interesting as it raises the question central to his whole approach to theatre: what is art for? Can it change the world?”

2026.3.19-22 丨香港大會堂劇院 Hong Kong City Hall Theatre

FEATURE © Mats Bäcker

如果命運非注定

If Fate Could Be Chosen 在威權高牆下，個體力量有多重要？三套重量級舞台製作，分別改編自著名古希臘喜劇、悲劇與南韓間諜小說，主人翁面對難以違抗的命令與難題，或堅守信念奮起反抗，或身不由己作出選擇，為個人存亡或公眾利益而掙扎。

What power do individuals possess when confronted with the shadow of authoritarianism? Three stage productions—adapted respectively from a famous Greek comedy, a Greek tragedy and a South Korean spy novel—explore this age-old question. Confronted with impossible situations and orders they cannot defy, the protagonists either hold fast to their convictions and rise in resistance, or find themselves forced to make the most difficult decision of their lives, whether for personal survival or for the greater good.

《安蒂岡》跨越三千年的命運抗衡

Antigone’s Enduring Power: Defying Destiny Across 3,000 Years

挪威編舞家、作家兼導演安倫．路甘安．奧仁深信，將那些勇於對抗暴力與不公的人物故事傳揚下去，實在無比重要。他的最新作品，便重新演繹了索福克勒斯在公元前五世紀創作的古希臘悲劇《安蒂岡妮》。奧仁慨嘆：「這部三千年前的經典，對今天的世界仍然具有意義，確實讓人驚訝。」

撰文：Natasha Rogai 中譯：吳楚雯 Text: Natasha Rogai Chinese translation: Aster Ng

Norwegian choreographer, writer and director Alan Lucien Øyen believes it is vital to keep re-telling the stories of individuals who are not afraid of speaking out against violence and injustice. His latest work re-imagines Antigone—Sophocles’ ancient tragedy from the fifth century BC. “It’s frightening how relevant this almost 3,000-year-old text is today,” Øyen says. 39

劇中主角安蒂岡妮是被詛咒的國王伊底帕斯之女。父親辭世後，她回到故鄉底比斯。此時，她的哥哥波呂尼克斯與另一位兄長因爭權而同歸於盡；登基為王的舅舅克里昂，下令任何人不得埋葬叛徒波呂尼克斯，違令者一律處死。安蒂岡妮因執意安葬兄長被捕，並向克里昂直言，無論代價如何，安葬兄長比遵從法紀更重要。克里昂判她死刑，後來雖心生悔意，卻為時已晚——安蒂岡妮已經自盡。她的未婚夫、克里昂之子海蒙，以及克里昂之妻也相繼自殺，揭示褻瀆神聖秩序者會遭受天譴。奧仁可謂對《安蒂岡妮》瞭如指掌，因為他曾兩度受委託搬演此劇。他先在挪威執導戲劇原作，隨後於 2025 年夏天，

Antigone, the daughter of the accursed King Oedipus, returns to Thebes following her father’s death. Antigone’s uncle, Creon, has become king after her brothers have killed each other, and Creon decrees that her brother, Polynices, will not only be left unburied, but that anyone who gives him funeral rights will be executed. Caught burying her brother, Antigone tells Creon that doing what is right, whatever the cost, is more important than obeying the law. Creon condemns her to death and then relents, but it’s too late—Antigone has already killed herself. Her fiancé, Creon’s son Haemon, and Creon’s wife also kill themselves, highlighting the divine punishment handed to those who defy the sacred order.

奧仁自己的劇團「冬季旅人」為羅馬安蒂岡妮節創作了舞蹈版本。「在當今世代，我完全可以理解為何大家都想讓它重返舞台。」他說。

Øyen is now something of an expert on Antigone—he has been commissioned to stage it twice. “I understand why everyone wants to stage it now, given the world we live in,” says Øyen, who first directed the Sophocles play in Norway and then his company winter guests created a dance-based version for the Antigone Festival in Rome in summer 2025.

在執導原作時，他把場景設定在殯儀館，令他深刻領悟到一點：「這是一齣關於安葬亡者，關於人性尊嚴的劇作。」後來的舞蹈版本則與前者截然不同，而且將於香港藝術節上演，將舞蹈、戲劇與文本融為一體，並以更抽象、多元的手法呈現出來。雖然「所有故事元素尚在」，但敍事已被「打散」。這部舞作是從奧仁所說的「開放式探索」過程而誕生，由他和九位舞者共同創作，其中四人來自翩娜．包殊的烏珀塔爾舞蹈劇場。他解釋：「有時我會將他們的想法加以塑形，有時則完全保持原貌。」奧仁希望舞蹈版本的《安蒂岡妮》能展現當代意涵，並以希臘神話中女性的命運映照今日。她們長期承受殘酷暴力，而這些現象——「針對女性的暴力、普遍的暴力，以及權力的濫用」——至今依然存在。若說在古希臘人眼中，安蒂岡妮是忠誠與責任的極致典範，那麼在近代，她則成為了自由意志戰勝宿命、勇敢反抗壓迫的化身。奧仁表示：「我明白大家為何如此喜愛安蒂岡妮——因為她勇於發聲。這是寫於三千年前的故事，實在令人驚嘆。」

Directing the original play, which he set in a funeral home, gave him a deeper insight into the story: “It’s a play about someone wanting to bury someone, about human dignity.” The dance-based production coming to the HKAF is completely different. It features his signature blend of dance, theatre and text, and takes a more abstract, eclectic approach. While “all the elements of the story are there”, the narrative has been “blown apart”. The work was created through what Øyen describes as “open exploration” with his cast of nine dancers, four of whom are from Pina Bausch’s legendary Tanztheater Wuppertal, working together and pooling their ideas. “Sometimes I would shape their ideas, sometimes I would leave them untouched.” Øyen wanted this version of Antigone to feel contemporary, drawing modern parallels with the history of women in Greek mythology, who endured horrific violence, something which persists today: “Violence against women. Violence in general. Abuse of power.”

If Antigone was a supreme example of loyalty and duty to the ancient Greeks, in recent times she has come to symbolise the choice of free will over fate and the courage to stand up to the forces of oppression. “I understand why we love her so much,” says Øyen. “She speaks out. And it’s amazing this was written 3,000 years ago.”

《安蒂岡妮》Antigone 2026.3.6-7 丨香港演藝學院歌劇院 The Hong Kong Academy for Performing Arts Lyric Theatre

古希臘狂想顛覆性別政治與戰爭

撰文：Richard Lord 中譯：吳楚雯 Text: Richard Lord Chinese translation: Aster Ng

A Wild, Riotous Tale about Sexual Politics and War from Ancient Greece 《利西翠妲》雖是寫於二千四百多年前，當中議題卻具有驚人的當代性。若以為「古希臘喜劇之王」亞里斯多芬的經典巨作是一齣端莊、嚴肅、艱澀的哲理劇，恐怕要三思了。這部喜劇是一段狂放、喧鬧、親切、極具娛樂性、甚至偶見低俗的旅程。它從性別政治、兩性關係以及對父權社會的諷刺，到反戰立場，以至大膽的體裁拼湊與實驗性喜劇風格，都充滿顛覆力量。

Lysistrata features some strikingly modern themes for a play written more than 2,400 years ago. It’s the work of Aristophanes, the king of Ancient Greek comedy—but if that leads you to expect a mannered, polite, intimidatingly philosophical work, think again. Lysistrata is a wild, riotous, welcoming, highly entertaining and often obscene ride—in its sexual politics, gender relations and satire of patriarchy; in its anti-war stance; and in its experimental mash-up of genres and comedic styles. 42

全劇由女性角色主導，包括女主角利西翠妲。她以一個前無古人的方式結束雅典與斯巴達之間的伯羅奔尼撒戰爭——號召希臘各城邦的女性發動「性罷工」。如今，《利西翠妲》的全新中文改編版本將於香港藝術節首演，並由剛離任希臘重點文化盛事——雅典藝術節藝術總監一職的卡特琳娜．伊雲格拉桃絲執導。伊雲格拉桃絲曾為 2025 年香港藝術節帶來希臘悲劇《希波呂托斯》。是次《利西翠妲》的中文新版本取名《姊姊妹妹站起來》，由香港藝術節與上海話劇藝術中心聯合創作，並由該中心的藝術總監兼著名劇作家喻榮軍擔任中文劇本改編。伊雲格拉桃絲對《閱藝》說：「雖然此劇有很多詼諧的部分，

Led by female characters, including the titular heroine, it tells the story of a woman’s attempt to end the Peloponnesian War between Athens and Sparta by organising a sex strike among the women of the Greek city states. Now the play is set to premiere at the HKAF in a new Chineselanguage adaptation, directed by Katerina Evangelatos, who recently stepped down as Artistic Director of the Athens Epidaurus Festival, one of Greece’s most important cultural events, and also the director of 2025 HKAF Greek tragedy production Hippolytus. It’s a HKAF partnership with the Shanghai Dramatic Arts Centre, with the Chinese adaptation written by the centre's Artistic Director, award-winning playwright Nick Rongjun Yu.

但它同時也是一齣反戰作品，描寫人類在疲憊、孤獨與恐懼中掙扎求存，切中至今仍深陷無盡衝突與撕裂的當下世界。故事提醒我們，個人力量固然重要，但也有其局限，而真正的變革只會在群體合作下發生。唯有集體行動，才能帶來深刻而持久的改變。」喻榮軍補充道：「原著故事很有意思，女人用這樣的方式對抗困境和戰爭，甚至性別、命運，這些話題並沒有過時，雖然在不同時代的程度有所不同，但卻是永恆的話題，在今天仍然值得探討。」像《姊姊妹妹站起來》這樣改編自希臘喜劇的舞台劇，不易拿捏分寸。幽默向來依附文化語境，極受當地脈絡限制，也甚難翻譯。然而，伊雲格拉桃絲指出，亞里斯多芬作品

“While it is extremely funny at times, we must remember that it is also an anti-war play—a story about people who are exhausted, lonely and scared. It speaks directly to today’s world, where societies still suffer from endless conflicts and divisions. The play makes an important point about individual strength—but also about the limits of acting alone. It shows us that true change happens only when people stand together. Collective action is what brings about deep and lasting transformation,” Evangelatos tells FestMag. Yu adds: “The original story is fascinating—women using such methods to confront their predicaments, war and even issues of gender and fate. These topics remain relevant. They are eternal themes still worth exploring today.”

的歷久不衰，加上合作夥伴的才華，令這次改編相對容易。她說：「劇中不少情境都是跨越時代的。所需的只是具備幽默感、時序感與技巧的藝術家。我們之間有着很棒的化學作用，希望能在舞台上讓觀眾感受到。這次改編處理了某些難以翻譯的議題，而我與喻榮軍在文本上的合作，能使作品更易與當代華人觀眾產生共鳴。」 © Shanghai Dramatic Arts Centre © Yunna Wang © 淡鯨

With a comedy like Lysistrata, striking that balance can be especially challenging. Humour is famously culturally specific, context-sensitive and hard to translate. However, Evangelatos says, the timeless nature of Aristophanes’ play and the skill of her collaborators have made it easier in this case. “Many of the circumstances in the play are timeless. All you need are artists with a good sense of humour, timing and skill. We have wonderful chemistry between us and I hope this will be visible on stage. The adaptation resolves issues that cannot be translated, and my collaboration with Nick Yu on the text has been extremely helpful in making the play relevant to contemporary Chinese audiences.” She says. 賽馬會藝貫中西系列：《姊姊妹妹站起來》 Jockey Club East-meets-West Series: Aristophanes' Lysistrata 2026.3.27-29 丨香港演藝學院歌劇院 The Hong Kong Academy for Performing Arts Lyric Theatre 演出由香港賽馬會慈善信託基金獨家贊助 The programme is solely sponsored by The Hong Kong Jockey Club Charities Trust

《光之帝國》下的個人命運 A Family in Crisis

Faith

The Empire of Light

對南韓文化界而言，近二十年可謂空前盛世：從流行音樂、電影、電視劇到文學，韓國的藝術家紛紛進入國際視野——究竟是甚麽孕育了當代韓國的文化力量？

South Korea has emerged as a global cultural powerhouse, conquering the world through music, cinema, television and even literature. Now the world is asking: what drives the phenomenon behind the Hallyu wave? 撰文：陳劭儀 Text: Shao yi Chan

Location on 61 Queen’s Road East and 3-7 St.Francis Street, Wanchai

But behind this remarkable success lies a history riddled with scars. The post-colonial nation, having gone through a series of traumatic events including the division into North and South, the Gwangju Uprising and the Asian financial crisis, is now characterised by a neo-liberal society that is ultracompetitive yet charged with a defiant spirit at the same time.

這個曾受日本殖民的國家在二戰後先後經歷南北分斷、光州事變，還有亞洲金融風暴、新自由主義的洗禮，除了造就以競爭為主導的社會，亦孕育出一種敢於批判的精神—— 生於 1968 年的小說家金英夏正是這個獨特時代氛圍的產物。某種程度上，金英夏可說是代表了九十年代以降的新一代思潮：拒絕讓文學為意識形態服務，並將目光轉向大環境下的凡人——這位作家擅以冷峻、「貼地」的筆調速寫出小人物的內心與日常，以及他們在命運壓頂下的徒勞掙扎。其小說《光之帝國》（2006）也繼承了這種精神。這部作品由法國導演阿瑟．諾士謝爾於 2016 年改編成劇場版，講述一名完美融入南韓社會的北韓間諜金基榮，突然

Author Kim Young-ha is precisely a product of this milieu. Unlike earlier generations of Korean writers, whose works had borne the weight of social missions, Kim is emblematic of a generation less concerned with lofty ideologies than the ordinary people who have to live with them. His writing often deals, in vivid detail and a somewhat detached style, with the daily struggles and emotional paralysis of the common folk— his 2006 novel, The Empire of Light (known as Your Republic Is Calling You in English), is no exception. Adapted for the stage by French director Arthur Nauzyciel in 2016, The Empire of Light follows Kim Kiyeong, a North Korean spy living a quiet life in South Korea, who is suddenly called back “home”. What comes forth? Where does he truly belong? While the protagonist’s predicament is undoubtedly a Korean one, personal tragedies born of ruthless manipulation by those in power are universal. In fact, the ideological and geopolitical tensions between North and South Korea were never the central focus for Kim Young-ha and Nauzyciel—it is the fate of individuals behind grand narratives that concerns them.

收到一封來自「祖國」的召回通知。他該何去何從？哪邊才是他的真正歸屬？金基榮的困局，固然是屬於韓國的困局；但因當權者無情操弄而誕生的個人悲劇，卻是放諸世界皆同。事實上，兩韓博弈、意識形態，從來都不是金英夏和諾士謝爾的着眼點——隱匿在宏大敍事下的個體命運才是他們所關心的。原著及劇本均大量着墨於主角潛入南韓校園後所接觸的革

Both the original novel and its stage adaptation devote considerable attention to the central character’s encounters with revolutionary youth at a South Korean university, and how that generation ultimately abandoned its ideals to become part of the ruling elite—a poignant critique of the very system the writer himself hails from. In an interview with the journal Azalea, Kim observes: “The Korean family is a family in crisis, and lacks the communication skills and education necessary for confronting a new reality.”

命青年，以及這一代人後來如何背離信仰、淪為精英階層的一部分。這無疑是對作家自己所屬體制的最大反諷。金英夏曾在訪談中表示：「朝鮮『民族』是一個失衡的家庭，而且欠缺面對現實的溝通技巧和教育。」對金英夏而言，

For Kim, severing the sacred bond between this “family” and the individual, so to speak, may well be the only way for ordinary people to reclaim agency over their own destinies.

斬斷這個「家庭」和個人之間看似神聖不可侵犯的連結，可能才是小人物重掌命運的唯一途徑。《光之帝國》 The Empire of Light 2026.3.20-21 丨香港演藝學院歌劇院 The Hong Kong Academy for Performing Arts Lyric Theatre 3 月 20 日演出由「Queen's Museum 皇者仁風」贊助 The 20 March performance is sponsored by“Queen's Museum”

ICON

安•德麗莎•迪•姬爾斯美嘉

用舞蹈書寫音樂在當代舞蹈界，鮮有人能如比利時編舞家安．德麗莎．迪．姬爾斯美嘉般出類拔萃，堪稱「標誌人物」。

When it comes to contemporary dance, not many artists are more deserving of being labelled an icon than Belgium’s Anne Teresa De Keersmaeker. 撰文：Natasha Rogai 中譯：吳楚雯 Text: Natasha Rogai Chinese translation: Aster Ng

Anne Teresa De Keersmaeker:

The Choreographer Who Won the "Nobel Prize" for the Arts

作為二十世紀後期最具影響力的編舞家之一，迪．姬爾斯美嘉獲獎無數，包括有「藝術界諾貝爾獎」之稱的高松宮殿下記念世界文化獎。她身兼舞者與編舞家，創立了羅薩絲舞蹈團及布魯塞爾表演藝術研究與訓練工作室，更曾執導電影與歌劇。然而，對於這些頭銜與榮譽，迪．姬爾斯美嘉一向淡然。對她來說，工作就是工作。事隔三十年，迪．姬爾斯美嘉今季再率領羅薩絲舞蹈團重臨香港，呈獻兩套舞作——1983 年令她一舉成名的傳奇經典《羅薩絲之舞》，以及 2025 年與年輕舞者索拉．馬里奧特合作的新作《布雷爾》。迪．姬爾斯美嘉和馬里奧特因一次課堂對談而結緣，當時

Hailed as one of the most important choreographers of the late 20th century, De Keersmaeker's numerous awards include the Praemium Imperiale, widely regarded as the Nobel Prize of the arts. She is a dancer, a choreographer, the founder of dance company Rosas and the P.A.R.T.S. (Performing Arts Research and Training Studios) school in Brussels, and her richly diverse career has seen her embrace film and directing opera. De Keersmaeker herself is dismissive about being regarded as an icon. Work, she says firmly, is work. For the first time in 30 years, De Keersmaeker and Rosas are returning to Hong Kong, presenting Rosas danst Rosas, the 1983 work which propelled her to international fame, and the 2025 creation BREL, made in collaboration with dancer Solal Mariotte.

後者正就讀於布魯塞爾表演藝術研究與訓練工作室。閒談間，他們發現彼此也對比利時香頌歌手雅克．布雷爾感興趣。迪．姬爾斯美嘉指出，「馬里奧特對布雷爾的理解與我截然不同。」但這些差異與共鳴，正成為創作的起點。迪．姬爾斯美嘉是比利時人，自小受布雷爾的音樂薰陶。而馬里奧特則來自法國，「甚至生於不同世紀」。雖然部分歌曲題材對馬里奧特而言較為陌生，但關於愛、友情與死亡的主題卻歷久彌新。而布雷爾那富傳奇色彩的澎湃力量，「既脆弱，又透明，且真誠，即使年代久遠，仍能深深打動我。」《布雷爾》 BREL © Anne Van Aerschot

除新作《布雷爾》外，迪．姬爾斯美嘉更會繼 1994 年香港藝術節演出後，再次為香港觀眾帶來她深情繫念、坦言「情有獨鍾」的經典鉅作《羅薩絲之舞》。自 1983 年首演以來，

The collaboration arose from a casual conversation at the end of Mariotte’s time studying at P.A.R.T.S., in which the two discovered a shared fascination with Belgian chanson singer Jacques Brel. De Keersmaeker notes that Mariotte’s “interest was very different from what made me connect to Brel”. These differences combined with their common interests created a good starting point for the choreography. While De Keersmaeker grew up with Brel’s music and, like him, is Belgian, Mariotte is from France “and not from the same century”. However, while some of the songs’ subject matter and attitude feel distant to him, those that deal with themes like love, friendship and death are timeless. And Brel, with his legendary intensity, is “so vulnerable and transparent and authentic, that it touches me even if some of his songs are from another time”. Along with BREL, the latest addition to De Keersmaeker’s impressive oeuvre, the Hong Kong audience will be seeing Rosas danst Rosas, to which she remains “very attached”. Following its performance at the Hong Kong Arts Festival in 1994, this is the fourth revival since its creation in 1983 and the choreography hasn’t changed. “The piece doesn’t lend itself to evolve,” De Keersmaeker says, because the choreographic writing is so precise and so structured.

這已是第四度重演，但編舞始終維持原貌。她表示：「此舞結構極其精確、嚴謹，不適合隨時間演變。」迪．姬爾斯美嘉對「編舞語言」的嚴謹與專注始終如一，而她本人、音樂與舞者之間的「三角關係」亦始終恒久不移。她說：「為自己編舞和為他人編舞，完全是兩回事…… 每種舞蹈語彙都要與舞者一同培養，方能與之相契。」

De Keersmaeker's rigour and focus on “choreographed writing” have been a constant, as has the “triangular relationship” between herself, the music and the dancers. “It’s very different if I choreograph for myself or for other people… each kind of vocabulary has to be developed with the dancers so that it’s close to themselves.”

《羅薩絲之舞》安．德麗莎．迪．姬爾斯美嘉／羅薩絲舞蹈團

《布雷爾》安．德麗莎．迪．姬爾斯美嘉、索拉．馬里奧特／羅薩絲舞蹈團

Rosas danst Rosas Anne Teresa De Keersmaeker / Rosas

BREL Anne Teresa De Keersmaeker, Solal Mariotte / Rosas

2026.3.11-12 ｜香港演藝學院歌劇院 The Hong Kong Academy for Performing Arts Lyric Theatre

2026.3.14-15 丨香港演藝學院歌劇院 The Hong Kong Academy for Performing Arts Lyric Theatre

ICON ICON

約翰•艾略特•加德納

藉巴赫巨作登高峰上次現場見到約翰．艾略特．加德納，是 2004 年在香港文化中心音樂廳。當時，他首次聯同其創立的蒙特威爾第合唱團，以及英國巴羅克獨奏家樂團訪港，他穿着一件漢服出場，令人眼前一亮。加德納彷彿帶着一道氣場步出舞台，這與他的身型無關，反而源自他作為古樂權威的非凡風範。

The last time I saw John Eliot Gardiner was at the Cultural Centre Concert Hall in 2004. The occasion was the long-awaited debut visit of his Monteverdi Choir and English Baroque Soloists to Hong Kong and, fittingly, the maestro came onto the stage in a Chinese outfit. He was a towering figure: not because of his height, but his aura as a champion of early music.

撰文：蕭樹勝 Text: Jimmy Shiu

John Eliot Gardiner

on Bach's Monumental Mass

小時候，加德納家中掛着一幅巴赫的畫像，那是十八世紀德國畫家以利亞．豪斯曼的作品。二戰期間，為安全起見，當時的擁有者把該畫暫托於加德納家中。2015 年，該畫歸還德國，而加德納亦有份參與促成此事。十歲之前，小小的加德納每天都會望到那幅畫，但究竟週而復始地在巴赫的注視下生活，有否影響他日後成為巴赫專家，或者值得另行探討。加德納的錄音作品數量驚人，超過二百五十個專輯，充分展現其博學與多產。在他龐大的唱片庫中，不難發現那鼎鼎大名的「三 B」：除了巴赫外，也有貝多芬和白遼士的眾多作品。這見證加德納在鑑古演奏領域中，不單止有巴羅克，更跨越古典和浪漫時期。而委身於巴赫的音樂，為加德納帶來不少讚譽和嘉許，包括多次獲留聲機唱片大獎，以及獲巴赫檔案館和萊比錫市頒授「巴赫勳章」。 © Chris Christodoulou

在 2026 年香港藝術節的演出中，本地觀眾會首次欣賞到加德納帶領新的組合亮相。那是剛於 2024 年 8 月成立的星宿合唱團及管弦樂團，成員包括與加德納長期合作的音樂家，以及多位優秀的年青才俊。第一晚有莫扎特兩套大作—— D 小調安魂曲和 C 小調大彌撒曲，不容錯過；而個人更特別關注第二晚的巴赫 B 小調彌撒曲，原因如下：這可能是加德納首次在香港指揮巴赫；事實上，當被問及最喜愛哪首作品時，他不假思索地回答：「B 小調彌撒曲。」雖然如此，加德納到 1985 年，才首次灌錄此作品，當時他成立蒙特威爾第合唱團已達二十一年，而距離英國巴羅克獨奏家樂團成團，也有七個寒暑。當年加德納四十二歲。 2015 年，他與同一個組合，為同一首作品，再次錄音，更表示「之前他們對作品未有整全的概念，對於能再來一次，挑戰高峰，感覺良好。」那時的他已七十二歲。

A famous portrait of J.S. Bach painted by 18th-century German painter Elias Haussmann was hung in Gardiner’s house when he was young. It was entrusted to the family by its owner for safekeeping during World War Two and Gardiner was instrumental in the return of the portrait to Germany in 2015. Gardiner recalls looking at the painting every day until he was 10 and it’s worth exploring how being under the gaze of the great Baroque composer contributed to him becoming a Bach aficionado. With a discography of more than 250 releases, Gardiner is indeed a prolific recording artist. This enormous output also showcases his wide range of expertise. For instance, on top of Bach, there are works by two more Bs—Beethoven and Berlioz—that reveal his expertise with HIP (Historically Informed Practice) which spans across the Baroque to the Romantic eras. Gardiner’s dedication to the music of Bach has earned him numerous accolades including Gramophone Awards, and the Bach Medal conferred by the Bach Archive and the City of Leipzig. At Gardiner’s upcoming appearances at the 2026 Hong Kong Arts Festival, the Hong Kong audience will witness, for the first time, his collaboration with the Constellation Choir & Orchestra, stage partners he recruited quite recently in August 2024. The ensemble combines some of Gardiner’s longtime colleagues and a group of gifted young musicians. The first programme comprises two of Mozart’s best-loved masterpieces—the Requiem in D minor and the Great Mass in C minor— and it’s not to be missed. But what I’m most looking forward to is his rendition of Bach’s Mass in B minor. When asked to name his favourite work by Bach, Gardiner’s immediate answer was the B minor Mass. Having said that, his first recording of it came out in 1985—which was 21 years after he founded the Monteverdi Choir and seven years since the English Baroque Soloists were inaugurated. Gardiner was 42 at the time, but he later re-recorded the work at the age of 72 with the same ensembles in 2015. He noted that “they didn’t get the whole picture the first time’” and that it “felt good to make a second attempt at scaling the heights”. Gardiner once said: ‘If you’re a climber, you want to climb Everest. If you’re a conductor, you want to have another go at the B minor Mass.” Now aged 82, the maestro is making another attempt at Everest in Hong Kong and I, for one, am excited about witnessing the expedition.

加德納曾說：「如果你是個登山者，你會想征服珠穆朗瑪

約翰 ·艾略特 ·加德納爵士與星宿合唱團及管弦樂團 Sir John Eliot Gardiner and The Constellation Choir & Orchestra

峰。如果你是位指揮，你會想再演 B 小調彌撒曲。」如今

2026.3.6-7 丨香港文化中心音樂廳 Hong Kong Cultural Centre Concert Hall

八十二歲的大師，將於香港攀登珠峰，懷着無比興奮之情，

3 月 6 日演出為香港賽馬會藝粹系列之一，由香港賽馬會慈善信託基金贊助 The 6 March performance is sponsored by The Hong Kong Jockey Club Charities Trust as part of The Hong Kong Jockey Club Series

我熱烈期待見證這次旅程！

ICON ICON

特雷弗•平諾克

永恆的少年心英國古鍵琴家兼指揮特雷弗．平諾克年紀小小時，已被音樂改變了其人生。而他堅定不懈地學習音樂，更令他保持住一顆年輕的心。

Music changed the life of British harpsichordist Trevor Pinnock when he was young. And his determination to continue learning about music has kept him young at heart ever since. 撰文：蕭樹勝 Text: Jimmy Shiu

Trevor Pinnock:

The Young at Heart

在小提琴家米高．斯奧的播客中，平諾克談起自己童年的故事，聽來令人快慰非常。他四歲時喜歡在街上四處走，到朗勞．史密夫的住所外，聽這位鋼琴家練琴。有一次，家裏正籌備露營車旅行，平諾克卻傷心得哭了出來，因為這代表他會錯過最喜愛的鋼琴課。平諾克形容自己年少時是一個混亂的青年，因有學習障礙，專注力弱。但自從入讀坎特伯利一所合唱學校後，一切有了轉變。這間學校以培養專業音樂家的方法訓練學生，他的同學包括日後成為顯赫人物的鋼琴家羅傑．威格諾斯及指揮家馬克．艾爾達。不久，他獲得了管風琴獎學金，入讀倫敦皇家音樂學院，

It's fascinating to listen to Pinnock's childhood stories on violinist Michael Seal's podcast. At the age of four, Pinnock enjoyed walking up the road and sitting outside the home of Ronald Smith, and listening to the pianist practising. Pinnock recalls that once when his family was planning to go away on a caravan holiday, he burst into tears because he would have to miss his favourite piano lessons. As a teenager, Pinnock says his life was chaotic and he was incapable of concentrating because of learning difficulties. Things took a sharp turn after he entered a choir school in Canterbury. Along with future big names such as pianist Roger Vignoles and conductor Sir Mark Elder, Pinnock was trained in a professional manner.

才華得以進一步發揮。然而，這裏有樣東西令他「分心」。因為太喜愛古鍵琴，平諾克提出想轉修。校方明顯對此有所不悅，甚至警告他若執意轉科，將取消他的獎學金，平諾克回憶說：「我總算安然度過！」在倫敦皇家音樂學院求學期間，他成立了基利亞得三重奏，後來在 1972 年發展成名字響噹噹的英國古樂團。平諾克身兼古鍵琴演奏家與指揮，帶領樂團在英國、歐洲大陸、北美，以及亞洲各地巡演，贏得廣泛讚譽。平諾克曾多次訪港。2007 年，香港演藝學院頒予他榮譽博士，2012 年，他更成為該院的駐院藝術家，領導學院樂團

His talent was cultivated further after he received a scholarship to study the organ at the Royal College of Music (RCM). However, Pinnock became so enraptured by the harpsichord that he requested to switch to that instrument. Clearly, the college was not pleased with the idea and threatened to cancel his scholarship. However, as Pinnock recalls: "I survived." It began with his Galliard Trio, which he founded while studying at the RCM. It was subsequently merged into the iconic English Concert in 1972. With Pinnock as its conductor (quite often from the harpsichord), the English Concert gained critical acclaim in the UK, Europe, North America and Asia.

舉辦一場全莫扎特曲目的音樂會。本地樂迷將於 2026 年香港藝術節中，欣賞到平諾克以古鍵琴手身份演出。與他同台演出的，是另外兩位星級人馬：柏林愛樂樂團長笛首席艾曼紐．帕胡德，以及阿姆斯特丹巴羅克獨奏家樂團前大提琴首席喬納森．曼森。平諾克曾在德意志留聲機的紀錄片中提到：巴赫的音樂給人嚴峻艱辛的感覺，有時掩蓋了作曲家人性化的一面。舉例說，為享受彈琴的樂趣，又或者想「露一手」，巴赫在《布蘭登堡》第五協奏曲的第一樂章中，寫了個極長的「華彩

His travels brought him to Hong Kong on a few occasions, too. In 2007, he received an honourary doctorate from The Hong Kong Academy for Performing Arts and in 2012 he served as Resident Artist at the academy. Local music lovers have a golden opportunity to admire Pinnock’s talent as a harpsichordist at the 2026 Hong Kong Arts Festival, where he will partner with two great maestri: the Principal Flute of the Berliner Philharmoniker, Emanuel Pahud, and a former Principal Cellist of the Amsterdam Baroque Orchestra, Jonathan Manson.

樂段」，把作品應有的結構完全拋諸腦外。而在《十二平均律鍵盤曲集》第一冊的前言中，巴赫也明言這套作品是為具學習精神的年輕人而作。平諾克更幽默地表示，他也是年輕人，因為他從不停止學習。平諾克始終懷着一顆少年的心，希望他再度來港時，能盡情享受其中，正如巴赫所期望那樣。

共奏巴赫——平諾克、帕胡德與曼森 BACH—Trevor Pinnock, Emmanuel Pahud & Jonathan Manson 2026.3.16 丨香港大會堂音樂廳 Hong Kong City Hall Concert Hall

In a Gramophone magazine feature, Pinnock noted that behind Bach’s hard-task facade lay a certain friendliness. Bach created an extraordinarily lengthy cadenza for the fifth Brandenburg Concerto—sacrificing the entire architecture of its first movement — perhaps a decision stemming from the pleasure of playing or showing off. Pinnock also shared what Bach wrote in the preface of Book One of The Well-Tempered Clavier: the set was intended for young people who were desirous of learning. In this way, Pinnock said he saw himself a youth as he had always been desirous of learning. Now we can look forward to the young-at-heart Pinnock having a good time, just as Bach would have wanted. 53

ANALYSIS

Exploring the Vicissitudes of Society Through Theatre 以劇場為鏡

隨着戲劇形式不斷進化，劇場與觀眾之間的距離亦愈拉愈近。當戲劇與現實悄然重疊，我們是否可以在舞台上窺見自己、窺見世界？本專題訪問了三位劇場人，探討他們如何通過各種大膽的美學嘗試，反思並回應自己身處的時代。

Theatrical styles are constantly evolving, but the theatre and the audience are now closer than ever. As drama overlaps with reality, the stage becomes both a mirror reflecting ourselves and a window to the world around us. In this section, we speak with three theatre makers who, through their daring choices, seek to echo the spirit of their times.

高壓絕境下演繹無力與疏離 A High-Pressure Performance about Powerlessness and Isolation 撰文：Richard Lord 中譯：吳楚雯

Text: Richard Lord Chinese translation: Aster Ng

《火山》是一部難以定調的戲劇作品。形式上，它大膽糅合風格化戲劇、舞蹈與電視影像；主題上，它探討疏離、孤寂和對「連結」的渴望，以及那無孔不入的失序感—— 通過一方小小的舞台，觀眾彷彿可以體驗到整個世界的縮影。表演空間被設置成一個玻璃匣子，佈置如一室凌亂客廳；兩位演員被困其中，觀眾則置身兩側。二人宛若幽閉於太空艙，渾然不知自身境況；又不停以舊式攝錄機互拍，卻

You could spend a lot of time trying to decide what Volcano actually is. It’s a show that opens up the doors to the theatre and lets the contemporary world in—formally, in its daring blend of stylised theatrical performance, interpretive dance and TV show; but also thematically, as it touches on alienation and isolation, the search for connection and a pervasive sense of losing control. Its two performers are inside a glass box, styled as an untidy living room, with the audience on just two sides. The pair appears to be sealed in some kind of capsule travelling through space, but they do not know what’s going on. They keep filming each other using an old-school movie camera, and they’re frequently interrupted by bursts of static from a radio.

頻遭收音機雜訊干擾。

兩人間或手舞足蹈，舞姿時作搖擺，時又狂放；或倣效電視片段，戲仿遊戲節目，甚至模擬新聞主播被風暴吞沒的場面。原來一切皆在「琥珀計劃」監控之下——這個神秘組織對外滿腔官場蜜語，但其實潛藏冷酷陰謀。此劇由愛爾蘭作家、編舞、導演暨表演者盧克．墨菲創作，並於 2021 年愛爾蘭蓋威藝術節首演。作品於新冠疫情期間誕生，初演僅容八人，各自隔間而坐。「這部作品開演時，正好是疫情高峰期。」墨菲憶述，「當時我住在西科克的偏遠地區。封城期間百無聊賴，於是我在家中客廳開始構思新作——這部劇作的雛形還有當中種種想法便是由此而起。孤立、無力、與他人共存，都是當

Occasionally they’re either prompted to dance, in styles from swing to rave, or to stage a pastiche of a TV clip, from a parody of a game show to a news reporter being swallowed by a storm. All this is apparently overseen by an organisation called The Amber Project, which deploys would-be reassuring corporate pablum in its public pronouncements to mask what appears to be a sinister purpose and a chilling lack of regard for life. First performed at the Galway International Arts Festival in 2021, Volcano is the work of Irish writer, choreographer, director and performer Luke Murphy. It was written during Covid and originally presented to an audience of just eight people, each ensconced within their own booth.

時所切身的感受。此作包攬了這些所思所感，並將之化成我腦海中最狂放的幻想。」疫症過後，表演形式驟變，但核心不移。「令我最欣慰的是，此作的演繹方式並未因環境改變而失效。作品的主題依然切中當下時代：在束手無策的情況下，我們應該緊握何物？」

“When we opened it, it was deep in the middle of the pandemic,” says Murphy. “During lockdown, in an isolated area of West Cork [in Ireland], I started working in my living room, and that became the beginning of how the piece is staged and what the ideas around it are. Isolation, powerlessness, coexistence with someone else—they were all relevant at the time. It talks about all these things but transforms them into the wildest fantasy I could think of.”

全劇分為四集，每集四十五分鐘，於同一晚上演。其觀眾群亦一如作品自身，非常多元。墨菲說：「有時在連開幾場的情況下，會有觀眾再三跑來重溫，甚至聽過有人表示：『我有一些愛看電影、從不進劇場的朋友，他們一定要來看！』」「它的其中一個出發點是：製作一齣電視劇式的舞蹈劇場，

究竟意味着甚麼？電視節目每分每秒皆須牽引人心，於是我徹底拋開創作藝術的舊習和包袱，反而有種獲得解放的感覺。」至於《火山》這個頗為抽象的名字，原來是從創作時的心境而來。墨菲形容：「這就像一個瀕臨爆發的狀態，變化一觸即發。當時的氣氛猶如一罐被劇烈搖晃過的汽水。我覺得自己在創作這部作品時，感覺就像一座火山。」

Post-pandemic, the staging has been very different. “What’s been really satisfying is it hasn’t fundamentally changed how we perform it. The themes are still relevant; it’s looking at what you hold onto in a powerless situation.” It’s divided into four 45-minute episodes, presented over a single night. As befits a work that not so much straddles genres as throws a whole variety of them into a blender, the audience is typically diverse, says Murphy. “Across a run of more than two or three shows, we get a huge amount of repeat audience members. Someone comes along and says: ‘My friends who like films and would never normally come to the theatre—they have to see this’.” “One of the places it came from is: what does it mean to make a dance theatre TV show? In TV, the expectation is there’s going to be something to reinforce the audience’s interest every minute. It allowed me to take everything I know about how I make art and scrap it—it was liberating.” Volcano’s rather oblique title, he adds, is a product of how and when it was written. “It’s like an untenable situation that’s about to change. I thought the atmosphere was like a Coke can that’s been shaken too much. I think when I was making it, I felt like a volcano.” 《火山》Volcano 2026.3.13-14, 16-18 丨香港文化中心劇場 Hong Kong Cultural Centre Studio Theatre

士別卅載

我們還在等待孟京輝

Why We’re Still Waiting for Godot 撰文：陳劭儀英譯：DTo

Text: Shao yi Chan English translation: DTo

1991 年，還是北京中央戲劇學院學生的孟京輝，挑了荒誕劇大師薩繆爾．貝克特的《等待戈多》作為他的畢業作品，在現實主義戲劇當道的年代，無疑是驚人之舉。「那個時候像是等待一個新的世界，等待新的世界有甚麼不一樣的東西發生……是青春期的衝動，再加上一種想要顛覆舊有美學的雄心壯志。」這個版本最顛覆的一點，莫過於他對原著情節的大膽篡寫：在貝克特的劇本裏，兩名主角由始至終都沒能等來那個叫「戈多」的人；而在 1991 年孟京輝的版本當中，戈多卻登場了——又無聲無息地死去。為甚麼要殺死戈多？「我們面對這個荒誕的世界，要有超越它的勇氣。這麼一來，你就可以永遠等待了，而且永遠活在反抗和憤怒的姿態下。」

While a student at the Central Academy of Drama in Beijing in 1991, Meng Jinghui chose Samuel Beckett’s absurdist play Waiting for Godot as his graduation piece—an unconventional choice in an era still dominated by realist drama. “At the time, it was as though I was waiting for a new world, waiting for something different to happen in that new world... It was a youthful impulse, coupled with an ambition to subvert existing aesthetics.” The most subversive thing about this rendition was perhaps the bold manner in which he tampered with the original plot. In Beckett's play, “Godot”, the titular character the two protagonists are waiting for, never shows up. But in Meng’s 1991 version, he does arrive, only to be strangled silently. Why kill Godot? “I think in facing this absurd world, we must find the courage to transcend it. The death of Godot means that one can wait in perpetuity and live forever in a state of defiance and anger.”

Thirty-three years on, Meng has decided to stage Waiting for Godot again and will bring this latest version to the HKAF this March. The world, it seems, is still absurdly in need of Beckett—and Meng, with his signature playfulness and a sensitivity unique to his milieu, emerges as the ideal spokesperson for the playwright in the 21st century. His fixation with breaking new ground has also led to him taking the concept of “waiting” to new heights. While Godot does not appear in this re-staging, a pair of mysterious guests do— which essentially turn the act of waiting into eternity.

三十三年後，孟京輝決定重排《等待戈多》，並於今年三月

If the 1991 version embodied the “waiting” that Meng’s generation went through as they grew up in the ‘70s and ‘80s, perhaps the 2024 rendition is about the absence of “waiting” in the 21st century. “In the old days, whether waiting at a hospital or for a flight, people would sit tight and observe what was happening around them as they waited. But now, the act of waiting is rare—people have been given a virtual world and their imaginations have become as thin as their phones.” In this re-staging, the audience is kept busy even before the performance begins: they can step onto the stage and scribble on the walls at will, and those same panels will be used again for the next performance, allowing thoughts and memories to pass on in a palimpsestic manner. Is this not a form of transcendence?

把此劇帶來香港。這也意味着，世界依然荒誕，依然需要貝克特；而孟京輝之所以為孟京輝，還在於他對自我突破的極致追求——這也讓他把「等待」玩出了新高度：新版的《等待戈多》選擇回歸貝克特的文本——這次觀眾沒有等來戈多，卻等來了兩名「不速之客」，真真正正讓等待成了永恆。假如說 1991 年的版本，是屬於孟京輝那一代成長於七、八十年代年輕人的「等待」，2024 年版本則可說是關於廿一

Speaking of another of his major revivals, I Love XXX (1994), Meng Jinghui quipped: “You might wonder—why are we still willing to perform this play after 30 years? Some things I hope transcend time.” Waiting may no longer be an issue in contemporary times, but Meng, through his work, opens up a channel where people from various times can connect and share their differences. What happens then, 30 years from now? Surely we will find out—hopefully when Meng’s next Godot comes out.

世紀缺失的等待：「以前你上醫院也好，等飛機也好，人們在等待的時候都是坐着、然後觀察周圍的事情。但現在很少有等待了——人們有了一個虛擬的世界，想像力都跟手

孟京輝戲劇工作室《等待戈多》 MENG Theatre Studio—En attendant Godot (Waiting for Godot)

機那麼短了。」即使是開場前的等候時間，他也不讓觀眾

2026.3.12-15 丨香港大會堂劇院 Hong Kong City Hall Theatre

閒着：觀眾可以踏上舞台、隨意在牆上塗鴉，而同一塊壁板又將在下一場演出繼續使用，讓人們的情感、文化痕跡不斷堆疊、綿延下去。這又何妨不是一種超越？提及他正在重演的另一部代表作《我愛 XXX》（1994 年），孟京輝笑說：「三十年了，為甚麼我們還願意演這個戲呢？有些東西我希望是跨時代的。」現代的人們或許不再需要等待，但孟京輝卻能通過戲劇，把不同時代人們的失落串連在一起。不知道再過第二個三十年的《等待戈多》，又會呈現怎樣的時代面貌？讓我們拭目以待。

回歸「貧窮」擁抱演出本質

Embracing ‘Poverty’: Returning to the Core of Performance 撰文：陳詠恩 Text: Eugene Chan

在當代劇場形式中不斷尋找突破的，還有塞巴斯汀．凱撒。這位幽默的德國導演半開玩笑地提出「超貧窮極流動劇場」，以破格形式改編劉以鬯的小說《酒徒》，帶領觀眾在意識流中捉迷藏，體會藝術家在現實與理想間的永恆掙扎。

In the world of contemporary theatre, German director Sebastian Kaiser continues to push the boundaries with his playful yet thought-provoking concept known as “Super Poor and Totally Mobile Theatre”. His latest experiment is an adaptation of Liu Yichang’s seminal novel The Drunkard, taking audiences on a stream-of-consciousness journey through the eternal struggles of artists caught between reality and dreams.

「超貧窮極流動劇場」這名堂，或令人聯想起二十世紀兩位戲劇實驗大師埃爾溫．皮斯卡托（1893-1966）和葛羅托斯基（1933-1999）的理論，但這全屬好玩的戲謔。波蘭戲劇傳奇葛羅托斯基在 1970 年代提出「貧窮劇場」，他提倡剔除化妝、非自主的服飾、舞台佈景、燈光等「非必要」的元素，追求觀眾與演員直接的現場交流，告別「舞台—觀眾席」這模式，每個作品都為表演者與觀眾設計一個全新空間。但是，凱撒說他並未直接受葛羅托斯基影響，更無意借巨匠之名借題發揮，明言一切只是自己的實驗起點和遊戲規則，「『極流動』與劇場空間有關，我們非常注重演員的表演……但這只是一個文字遊戲，可以是超貧窮、極流動、爆尷尬、勁搞笑……」他笑說。「極流動」的想法可以再往前追溯：凱撒回想，十七世紀法國劇作家莫里哀的劇團有一輛名為「特斯皮斯」的馬車，裏頭裝着所有道具和服裝，由一個村落到另一個村落，並在戶外搭建舞台，拿出道具，召集觀眾、售票、演出。「我們現在活在全球化世界，也可製作這種完全移動的劇場，把手機、影片放映機放進手提行李，到世界各地旅行演出。」不過實際操作，凱撒則賣關子說必須在戲場中體驗。《酒徒》是華語文學首部意識流長篇小說，講述上世紀六十年代，原本在上海報館工作的主角因戰亂逃難到香港，卻被迫為生活放棄文學理想，只好以酗酒麻醉自己。雖然原著採用意識流的寫法，沒有明顯故事線，但凱撒認為這樣反而賦予他自由，方便為故事設定時序。在構思劇本的過程中，他得知王家衛的電影《花樣年華》及《2046》也受《酒徒》啟發而拍攝。「我們在演出中必然會以某種方式與這些電影相連繫……亦會把當中愛情橋段放進劇本中。」原著小說反映了當時文人或藝術家在香港這種高度商業社

The term “Super Poor and Totally Mobile Theatre” playfully alludes to Erwin Piscator (1893-1966) and Jerzy Grotowski (193399), two major experimental figures in 20th-century theatre, though only in a loose way. Grotowski's “Poor Theatre” concept developed in the 1970s, advocated stripping theatre of all unnecessary elements—make-up, costumes, sets, lighting and so on—to focus entirely on the live, direct connection between actors and audiences. He even proposed abandoning the traditional stage/audience setup, designing a unique space for each production. However, Kaiser notes that he is not directly influenced by Grotowski, but clarifies that his plan is not to ride on anyone’s coattails. It’s just a starting point for his own playful experiments, a set of self-imposed rules to spark creativity. “Super mobile really concerns the theatre room and the fact that we have a big focus on acting … This is a play with words. It can be super poor, totally mobile, mega embarrassing and ultra funny,” he says with a laugh. Kaiser traces the idea of “mobility” in the theatre back to 17thcentury France, when Molière and his troupe toured villages with a wagon called the “Chariot of Thespis”. It carried props and costumes, allowing them to set up stages outdoors, sell tickets and perform before moving on to the next village. Kaiser sees parallels in today’s globalised world: “We also make a kind of theatre that’s totally mobile. Today, we take our phones and our video projector, we put it in our hand luggage, and then we travel somewhere else and show it there.” As for what this looks like in practice, Kaiser prefers to maintain the mystery, encouraging audiences to experience it firsthand in the theatre. The Drunkard is widely regarded as the first stream-ofconsciousness novel in Chinese. Set in 1960s Hong Kong, it tells the story of a former Shanghai journalist who flees the city during the war and turns to alcohol to numb his frustrations. While the novel lacks a clear plotline, Kaiser sees this as a liberating feature.

會中有志難伸，凱撒的改編中也會觸碰這些思考，「藝術家對抗現實，這是一個普遍而永恆的主題，在今天的香港也不例外。不僅對作家，對劇場製作人尤其如此。」

《酒徒》 Sebastian Kaiser X HKAPA—The Drunkard 2026.2.28-3.1, 3.5-3.8 丨香港文化中心劇場 Hong Kong Cultural Centre Studio Theatre

Interestingly, Kaiser learned that Wong Kar-wai’s iconic films In the Mood for Love and 2046 were inspired by The Drunkard. “Of course, we have to relate somehow in the show to the films … We will use some moments of the love story because it’s written in the book,” Kaiser says. The Drunkard reflects the challenges faced by artists in 1960s Hong Kong, a highly commercialised society that left little room for idealism. Through his adaptation, Kaiser plans to delve into these struggles. “This is a universal topic and for sure also relevant today in Hong Kong—not just the writers, but especially the theatre makers,” he says.

ANALYSIS

Transcending to Tranquility 息動歸靜安魂曲

捷克布爾諾國家歌劇院樂團及合唱團 National Theatre Brno Orchestra and Choir

撰文：楊欣諾 Text: Felix Yeung

東華義莊正門的牌坊上刻着「息動歸靜」四個大字，寓意人在勞動和奔波之後，最終回歸平靜。勞碌一生，死亡就是人類回歸平靜的最終階段。因此，「安息」成為許多文化對死亡最普遍的詮釋之一。這種對安息的渴望，正是安魂曲的精神核心——為亡者祈禱，祈求他們的靈魂得到慰藉與永遠的平安。

Above the archway at the main entrance to the Tung Wah Coffin Home are the characters “ 息動歸靜 ” (“Returning to Stillness”). This symbolises the belief that after the ups and downs of life, we all ultimately return to peace and that death represents the final stage in humanity’s journey towards tranquillity. This idea—of finding rest after the labours of life—has long echoed through cultures around the world, with “rest in peace” one of the most universal expressions of condolence. This longing for rest is at the heart of the requiem—a prayer for the deceased, wishing for comfort and eternal peace for their souls.

在《聖經》舊約和新約中，均有不少篇幅論及為亡者祈禱的重要性。到了十三世紀，西方教會正式接納「煉獄」的概念，信徒相信已逝的親友可以藉祈禱得煉淨，早日享受永恆安息，因此安魂彌撒逐漸普及，成為重要的宗教儀式。安魂曲的經文共分十二個部分，包括進堂詠、垂憐經、升階詠、連唱曲、繼抒詠（忿怒日歌）、奉獻詠、「聖、聖、聖」、慈悲耶穌、羔羊經、領主詠、安所經（主請救我）及告別曲（領往天堂）。嚴格來說，「慈悲耶穌」、安所經和告別曲並非彌撒的正式部分。「慈悲耶穌」是祝聖聖體聖血後可自由加唱的短句，而最後兩段經文則用於安葬禮儀。這些經文構成了安魂曲的基礎，為作曲家提供創作靈感。

The Bible contains numerous passages highlighting the importance of praying for the dead. By the 13th century, Catholic doctrine had formally adopted the concept of Purgatory—where the soul is cleansed of impurities before entering Heaven—and believers held that prayers could help purify the souls of departed loved ones, hastening their journey to eternal rest. As a result, requiem masses became widespread and essential rituals. A traditional requiem—the Latin term for “rest” or “repose”— is divided into 12 parts: the Introit, Kyrie, Gradual, Tract, Sequence (Dies Irae), Offertory, Sanctus, Pie Jesu, Agnus Dei, Communion, Exsequiae (Libera Me) and Valedictio (In

星宿合唱團及管弦樂團 The Constellation Choir & Orchestra © Ben Ealovega

莫扎特的安魂曲可謂同類曲式中最著名的作品之一。電影《莫扎特傳》指作品是由一位匿名贊助者委約創作，但這富戲劇性的故事與事實大相逕庭。事實上，是華錫格公爵為紀念亡妻而委約。這首作品涵蓋安魂彌撒所有必要部分，只省略了升階詠及連唱曲，亦沒有加入安所經及告別曲。莫扎特特意將安魂曲劃分為五大部分，並設計每部分以賦格曲式作結。雖然他生前未能親自完成全曲，而作曲家約瑟．艾卜拉及艾比．施塔德納都曾試圖完成這首未完成之作，但最後由莫扎特之徒弗蘭茲．索法．舒斯麥爾完成此曲。在 2026 年的香港藝術節中，指揮大師約翰．艾略特．加德納爵士將率領星宿合唱團及管弦樂團演奏這首經典，同場還有莫扎特的 C 小調大彌撒曲，而另一場音樂會則有音樂之父巴赫的 B 小調彌撒曲。除了莫扎特的作品，香港藝術節的觀眾更有機會欣賞由捷克布爾諾國家歌劇院樂團及合唱團演出德伏扎克的安魂曲。在這首作品中，德伏扎克除了加入了升階詠，更將全曲分為兩大部分；上半部由八個樂章構成，展現沉重嚴肅的氣氛；下半部五個樂章則以奉獻詠開始，轉而表達慰藉的情感。

Paradisum). Strictly speaking, Pie Jesu (Merciful Jesus), In Paradisum and Libera Me are not part of the formal Mass; Pie Jesu is a short phrase sometimes sung after the Eucharist, while the latter two are used during burial rites. Together, these texts form the foundation of the requiem and have inspired countless composers. Among them, Mozart’s Requiem stands as one of the most celebrated. The film Amadeus suggested that the work was commissioned by an anonymous donor, but it was in fact commissioned by German aristocrat Count Franz von Walsegg to commemorate the death of his late wife. Mozart’s Requiem includes all essential parts of the Requiem Mass, except the Gradual and Tract; and doesn’t feature Libera Me and In Paradisum either. Mozart structured his Requiem in five major sections, each concluding with a fugue. He was unable to complete it before his death, so his pupil Franz Xaver Süssmayr—after initial work by Joseph Eybler and Abbé Stadler—ultimately finished the piece. At the 2026 HKAF, renowned conductor Sir John Eliot Gardiner will lead his Constellation Choir & Orchestra in performing this monumental work. The programme also features Mozart’s Great Mass in C minor and, in another concert, Bach’s Mass in B minor.

莫扎特 Wolfgang Amadeus Mozart (1756–91)

在結構設計上，德伏扎克更以一個音樂動機（F- 降G-E-F）貫穿全曲，這充滿半音階的憂鬱旋律，彷彿邀請聽眾思索生死。這個旋律動機並非安魂曲獨有，德伏扎克曾在聯篇歌曲《愛歌》中提到死亡時使用相同的動機。兩首風格截然不同的安魂曲，不僅展現了美妙的樂韻，更讓聽眾可以在音樂廳體會兩位音樂巨匠對「息動歸靜」的看法。

約翰 · 艾略特 · 加德納爵士與星宿合唱團及管弦樂團 Sir John Eliot Gardiner and The Constellation Choir & Orchestra

德伏扎克 Antonin Dvořák (1841–1904)

Apart from the famous Mozart Requiem, the HKAF will also be hosting a rare performance of Dvořák’s Requiem by the National Theatre Brno Orchestra and Choir. Dvořák used the same text as Mozart, but adding the Gradual before the Sequence, and instead of five parts, Dvořák divided the liturgical text into two parts: the first consists of eight movements, with the emphasis on a more solemn tone; the second part, beginning with the Offertory, has five movements and expresses consolation and conciliation. The melodic motif F-G-flat-E-F acts as a unifying element throughout this monumental work. The melancholic nature (provoked by the semitones) encourages the audience to reflect on questions of life and death. This motif is not unique to the Requiem: Dvořák used this in his song cycle Love Songs which explores the idea of death.

2026.3.6-7 丨香港文化中心音樂廳 Hong Kong Cultural Centre Concert Hall 3 月 6 日演出為香港賽馬會藝粹系列之一，由香港賽馬會慈善信託基金贊助 The 6 March performance is sponsored by The Hong Kong Jockey Club Charities Trust as part of The Hong Kong Jockey Club Series

These two contrasting requiems not only showcase profound and beautiful music, but also offer audiences a chance to experience the unique perspectives of two musical masters on the timeless concept of “returning to stillness”.

捷克布爾諾國家歌劇院——德伏扎克安魂曲 National Theatre Brno—Dvořák’s Requiem 2026.3.22 丨香港文化中心音樂廳 Hong Kong Cultural Centre Concert Hall

ART ROOTS

撰文：陳劭儀

n o i t o M n i s u c Cir 」

Text: Shao yi Chan

馬戲

沒有馬的「

馬戲的英語「Circus」源於拉丁語「Circulus」，即圓圈的意思，因為早期的馬戲團多在帳篷和圓形場地內進行演出。而中文的「馬戲」則顧名思義——和馬脫不了關係。1768 年，退役騎兵菲利普．阿斯特利在英國倫敦創辦了一所結合馬術學校與馬術表演的場地，可說是現代馬戲的開端。隨着小丑、雜技演員的加入，馬戲逐漸演變成一種跨領域、多元化的藝術，現代馬戲仍大致保留了這種綜合模式。《閱藝》將會介紹兩個分別來自北美洲和亞洲的馬戲團，一窺他們如何從各自的地域身份詮釋馬戲藝術，並呈現出獨一無二的風格。

The English word “circus” originates from the Latin “circulus” (meaning “circle”), because early circuses were often performed in tents and circular arenas. The Chinese term maxi (literally “horse show”) clearly reflects its historical connection to equestrianism. In 1768, retired British cavalryman Philip Astley established a venue in London that combined a riding school with equestrian performances—considered the beginning of the modern circus. As clowns and acrobats joined in, the circus gradually evolved into a multidisciplinary and multi-modal art form—of which the integrative model is still retained by most circuses. FestMag looks into two circus companies—from North America and Asia respectively—that infuse the circus arts with distinct regional identities.

《決鬥》 Duel Reality

北美洲erica Am t Nor h

七指雜技團魁北克的當代本色 The 7 Fingers A Québécois Vision

經過二百多年的演變和傳播，馬戲早已在世界各地落地生根並醞釀出各自的風格；在新馬戲運動 (Nouveau cirque) 的影響下，「人」漸漸取代動物成為馬戲藝術的中心，精采炫目的特技動作亦不再是這種藝術形式的主軸，而是「戲劇性」以及表演者的人性。以太陽劇團為起點，加拿大魁北克省近年不斷在全球馬戲界大放異彩，對馬戲藝術的復興浪潮可謂功不可沒。該團的成功之處，不但在於其璀璨的美學公式以及與奧斯卡獎等大型品牌的合作，亦在於培養後進方面的成果——莎娜．卡羅便是其中一位出身自太陽劇團的年輕藝術家。從太陽劇團「畢業」後，卡羅與六位夥伴選擇了創建自己的馬戲團——七指雜技團，並一躍成為當代魁北克最重要的馬戲團之一。

After more than two centuries of evolution and global movement, circus arts have taken root around the world, developing distinctive styles. Influenced by the Nouveau Cirque movement, humans have gradually replaced animals as the focal point of circus performances. Jaw-dropping acrobatic feats are no longer the core of this art form; instead, it emphasises theatricality and the humanity of the performer. Quebec has largely been at the forefront of the global resurgence in the circus arts thanks to the success of Cirque du Soleil, which took the world by storm with its exuberant glamour and high-profile collaborations with big international events such as the Oscars. The Cirque has served as a springboard for a growing number of young artists, including Shana Carroll, who went on to co-found one of the biggest troupes in the Québécois circus scene, Les 7 doigts de la main, or simply The 7 Fingers.

七指雜技團《決鬥》 The 7 Fingers—Duel Reality 2026.3.20-22 丨沙田大會堂演奏廳 Sha Tin Town Hall Auditorium

七指雜技團背後的理念十分簡單，就是拒絕讓他人定義自己，並重新讓「人」成為故事的主角。如果說太陽劇團是通過光彩奪目的「角色」帶領觀眾進入奇幻世界的話，七指雜技團則力求突出「角色」背後的表演者，並展現他們真實而複雜的一面。2002 年，七指雜技團推出首個自家作品《頂樓》，即讓七位創辦人「本色出演」，這種做法令他們得以和觀眾建立一種前所未見的親密與連結。在其最新作品《決鬥》中，卡羅把經典莎劇《羅密歐與茱麗葉》來了個大膽的改編——將兩位主角的家族世仇化為一場驚心動魄的賽事，通過對手頂、呼啦圈和雜耍等一連串競技來一決高下。在血脈賁張的氛圍下，觀眾將會情不自禁地與其中一邊產生共鳴、並為之聲援。而在看似簡單的二元對立下，其實有着深刻的寓意：「由結黨、排他所引起的衝突，是一個永不會褪色的議題。」卡羅在和西雅圖保留劇目劇院的訪談中如此說道：「但羅密歐和茱麗葉這兩位年輕的浪漫主義者卻跨越了族群的束縛……我們很清楚，唯有愛能抑制我們內心最糟糕的慾望，並給予我們對未來的希望。」

Carroll and her six friends behind The 7 Fingers share a simple vision: to resist definition and to put the focus back on the human. Whereas Cirque du Soleil invites viewers into a fantastic realm populated by superhuman characters, The 7 Fingers seeks to reveal the human performers as they are— real, troubled individuals who have hopes and anxieties. Loft, the troupe’s first production in 2002, showcased the seven founders as themselves, establishing a kind of personal intimacy with audiences that had rarely been seen in earlier circus acts. Now, in a bold retelling of Shakespeare’s Romeo and Juliet, Carroll pits the rival houses of Montague and Capulet against each other in a nerve-wracking collection of hand-to-hand sequences, hula-hooping and juggling, and audience members are led to side with one team in an almost tribalistic fashion. But beyond its deceptively simple premise of “sworn enemies as sporting competitors”, there lies a universal message at the heart of Duel Reality. “Unfortunately, warring tribes in whatever form they take will never fade in relevance,” Carroll said in an interview with the Seattle Rep, “but these two young romantics see past their families... and we know love is what curbs our worst urges and gives us hope for the future.” 69

亞洲 Asia

FOCASA 馬戲團為台灣馬戲種下第一抔土壤

FOCASA Circus How a Single Troupe Changed the Circus Scene in Taiwan 雖然現代馬戲起源於十八世紀的歐洲，但以人體特技為核心的表演形式，其實在更早之前便已在世界不同地區出現，如韓國的「男寺黨」表演，就是一種結合音樂、雜技與戲偶的綜合型民間藝術，與現代馬戲有很多雷同之處。而「馬戲」作為這類藝術形態的統稱，則是到近代才廣泛使用。在 FOCASA 之前，台灣並無馬戲藝術家，有的是特技演員。復興劇校（現在的台灣戲曲學院）的學生，學習的是如何用技術取勝，卻沒有學習過如何「創作」一部作品；畢業生一般會選擇在街頭或是郵輪賣藝，雖然收入不俗，卻讓當年二十出頭的林智偉陷入反思：為甚麼「特技」不能進入表演藝術的殿堂？於是，林智偉沒有踏上前人的道路，而是決定與一夥志同道合的同伴一起成立了 MIX 舞動劇坊。2011 年，當時街舞風氣正夯，包括林智偉在內，很多年輕人都很迷 B-boy 文化，所以有了 MIX 這麼一個混合了街舞、戲劇、特技還有少年人犟勁的團體。這種特質也被後來更名為 FOCASA 的馬戲團沿襲下來：「很多外國馬戲演員只要專攻一種動作就可以了。丟球就是丟球，踩高蹺就是踩高蹺——但我們甚麼都要會。」就是這股狠勁，讓他們比別人累上了一倍，也讓他們獲得一次意外的機緣。在 FOCASA 創團之初，團員連練習的地方也沒有，只能借用公園來練習。舞蹈大師林懷民知道了，就慨然借出雲門舞集晚上空出來的排練室，讓這班為理想而拼盡全力的年輕人，有了追夢的空間。

Although the modern circus originated in 18th-century Europe, performance styles centred on human feats had already emerged in various parts of the world much earlier. For example, Korea’s Namsadang performances are a form of folk art that combines music, acrobatics and puppetry—sharing many similarities with modern circus. The term “circus” as a general label for such artistic forms only came into widespread use in more recent times. Before FOCASA, there were no circus artists in Taiwan— only stunt performers. Students from the Fu Hsing Experimental School of Theater Arts (now the Taiwan College of Performing Arts) were taught how to master their craft, but not to “create”. Many graduates would turn to performing on the streets or cruise ships, which paid reasonably well but left young performer Lin Chih-wei questioning: why couldn’t stunts be elevated to the realm of performing arts? Rather than taking the well-trodden path, Lin decided to team up with a group of like-minded friends to form MIX Dance Theatre. In 2011, street dance was all the rage and many young people, including Lin, were captivated by B-boy culture. MIX combined street dance, theatre, acrobatics and youthful grit— a spirit that was carried over when they regrouped as FOCASA Circus a few years later. “Most circus performers in the West would specialise in one move. © 李佳曄

If you’re a juggler, you just juggle. If you’re a stilt-walker, you walk on stilts. But we do it all,” Lin says. This meant they had to work twice as hard as others—but it also brought unexpected opportunities. In their early days, the FOCASA crew had to train in public parks as they could not afford a space of their own. This is when Lin Hwai-min, dance virtuoso and founder of Cloud Gate Dance Theatre, stepped in. He handed them the key to his rehearsal studio—and a site to pursue their dreams. © 李佳曄

2020 年，林懷民從一手創辦的雲門退下來，不帶走一片雲彩。但為了幫助在疫情期間陷入窘境的他們，他又破例「出山」，拉來了繪本作家幾米，促成了《幾米男孩的 100 次勇敢》這部雲集各路高手的作品，也註定了這是部不同凡響的馬戲。以幾米的人物、繪畫來貫穿整部戲，加上小丑和絢爛的色彩，表面上很符合馬戲團的既定印象；但在技術層面上，這部作品其實和馬戲的傳統準則大不相同。首次執導非舞蹈作品，林懷民表示，其中一個挑戰來自兩種藝術形式的不同：「馬戲是爆發式的，舞蹈卻是詩意的。所以我讓他們上了很多課。」一般馬戲作品雖然也有音樂，但主要是依賴強勁的節拍來帶動動作；《幾米男孩》卻以音樂為主導，有莫扎特，也有《加勒比海盜》配樂、台灣流行曲。不拘一格的選曲被行雲流水的動作串連起來，當中靠的是舞蹈的呼吸、舞蹈的節奏。如果說 FOCASA 早期的作品是為藝術而生的「文青」作品，《幾米男孩》則是真正為觀眾而做的戲。「以前一心想做『真正的藝術』。後來有一位前輩和我們說，這世上有錢人很多，能讓人開心的人卻不多。」這句話讓林智偉茅塞頓開，也和林懷民的想法不謀而合：「執導馬戲作品最大的不同？就是這次很開心——馬戲最重要的就是讓觀眾開心 !」

In 2020, Lin Hwai-min retired from Cloud Gate, but decided to step in again when he found that FOCASA was struggling to stay afloat during Covid. He brought in Jimmy Liao, the beloved picture book writer and artist, whose vibrant imagery has contributed to a performance that appeals to audiences from all walks of life. The result is One to One Hundred: A Brave Journey, a beautiful work that epitomises the circus arts at their most pure yet manages to defy all conventions. While the show, based on Liao’s artwork, features clowns and vibrant visuals that are typical of the circus, it breaks away from the circus arts in a fundamental way. Lin Hwai-min says the main challenge in directing a nondance piece comes from an underlying distinction between the two art forms. “Where dance is a lyrical art form, the circus is inherently explosive, so I had the FOCASA kids take lessons to attune their bodies.” And unlike most circus shows, One to One Hundred is driven by music, with a delightfully eclectic soundtrack that ranges from Mozart to Taiwanese pop and the Pirates of the Caribbean score. This entails a rhythm and breathwork that is entirely different from the art of circus. While FOCASA’s early works were more about “art for art’s sake”, One to One Hundred is a show truly made for the audience. “We used to be so focused on making ‘real art’,” Lin Chih-wei recalls. “Then a mentor of ours told us, ‘There are plenty of wealthy people in the world, but few who can make others happy’.” These happened to be Lin Hwai-min’s thoughts all along. When asked about the biggest difference in directing a circus production, Lin Hwai-min says: “The difference? I had fun this time. What’s more important than making our audience happy in a circus show?”

林懷民 X 幾米 X FOCASA 馬戲團《幾米男孩的 100 次勇敢》 FOCASA Circus—One to One Hundred: A Brave Journey 2026.3.13-15 丨香港文化中心大劇院 Hong Kong Cultural Centre Grand Theatre 3 月 15 日下午場演出由犇亞慈善基金有限公司贊助 The matinee performance on the 15 March is sponsored by Primasia © 李佳曄

CONVERSATION

生於斯樂於斯

沈靖韜與王致仁的音樂歷程 Aristo Sham and Chiyan Wong: Wong:

Shaped by Hong Kong, Playing for the World 兩位香港鋼琴家沈靖韜與王致仁，各自在國際舞台上綻放光彩，開拓出獨特的音樂路。他們皆在香港成長，繼而負笈海外深造。今屆香港藝術節，他們將帶來展現個人風格的節目與本地樂迷分享。兩位鋼琴家分別與本地指揮劉卓熙對談，分享了他們音樂上的成長點滴及洞見。

撰文：劉卓熙 Text: Sanders Lau

沈：沈靖韜

A : Aristo Sham

Aristo Sham

沈靖韜

Pianists Aristo Sham and Chiyan Wong both spent their formative years in Hong Kong before pursuing studies and rising to fame abroad. During the 2026 HKAF, they will both return to the city to perform programmes that showcase their unique talents. Ahead of the Festival, Aristo and Chiyan share some insights into their musical upbringing and artistry in conversations with local conductor Sanders Lau.

王：王致仁

C : Chiyan Wong

年幼時在香港接受音樂的訓練，如何為你們在國際發展奠定基礎？沈

我七至十四歲於香港演藝學院隨黃懿倫教授學習。黃

教授是世界頂尖的鋼琴啟蒙老師，她的栽培對我至關重要。在香港，我們也有機會欣賞世界名家的現場演出。另一方面，音樂是語言的延伸，而我們演奏的大部分曲目來自歐洲傳統，因此必須深入了解當地的文化與語言，才能心領神會，這方面在香港相對困難。王

香港有不少獨特的學習機會，最令我難忘的是每年的

香港學校音樂節。全神貫注備賽的過程令人振奮，也激發

How did your early training in Hong Kong prepare you for your international careers? A My education at The Hong Kong Academy for Performing Arts played a very important role. I studied with Professor Eleanor Wong from the age of seven to 14. She is one of the best teachers in the world for young pianists. In Hong Kong, we also had access to world-class concerts by great artists. On the other hand, since music is an extension of language and much of the repertoire we play is European, it’s essential to immerse yourself in the spirit and languages of those cultures to develop a more holistic understanding. This wasn’t something that could be easily done in Hong Kong.

了我對音樂的好奇與熱忱。不過說到底，沒有甚麼能真正讓你完全準備好出國。你只能鼓起勇氣、一往無前。做音樂也是如此。歷年來，不少香港鋼琴家在國際比賽中表現亮眼，你認為關鍵是甚麼？沈

演奏鋼琴需具備很強的理解力及分析能力，畢竟你要

以一件樂器承載整個樂團的織體與聲音。而香港人強調多線並行與高效率的思維模式及心態，正好為這種挑戰作好

Pianists from Hong Kong have become highly visible on the international competition stage. What do you think drives this prominence? A Playing the piano is a highly intellectual endeavour. You’re essentially the entire orchestra by yourself. I think the Hong Kong mentality, with its emphasis on multitasking and operating on multiple levels, prepares us for that challenge.

Chiyan Wong

王致仁

準備。

C Hong Kong offered unique opportunities. For me, the annual Hong Kong Schools Music Festival was unforgettable. The intensity of preparation was exhilarating. That experience really sparked my curiosity and energy. But in truth, nothing fully prepares you for moving abroad. You just go and do it. Music is like that too: you just dive straight in.

Thank you for supporting the

Patron’s Club

「贊助舍」計劃

感謝支持

2026 贊助舍計劃會員 Patron’s Club Members Platinum Member 鉑金會員

Kerry Holdings Limited 嘉里控股有限公司

Gold Member 黃金會員

Jardine Matheson Limited 怡和集團

Silver Member 純銀會員

Swire Properties 太古地產

Bronze Members 青銅會員

Nathaniel Foundation 諾業基金有限公司

Dr. Wayne Hu Charitable Foundation Ltd. 胡興正醫生慈善基金有限公司

Join the Festival’s Patron’s Club today and contribute to the development of the arts in Hong Kong! 請參加贊助舍會員計劃，齊為香港的藝術發展作出貢獻！

For details about the Patron’s Club, please contact 欲知贊助舍詳情，請聯絡： HKAF Development Department 藝術節發展部 Tel 電話：(852) 2828 4913

Email 電郵：dev@hkaf.org

Website 網頁：

致仁，你將在藝術節演出以香港漁歌為創作靈感的爵士作品。這些民間傳統對你有何吸引之處？你又如何將之與自己的文化身份認同融合？王

我有幸拜讀葉賜光先生的著作《尋找香港漁歌》，深受

啟發。我一直鍾情於水，總聯想到它與音樂、即興演奏和聲音流動的關係，也與我對爵士樂的興趣呼應。長時間離開香港，讓我有機會以不同、甚至有點複雜的方式去愛這座城市。我也會從舊照片（例如何藩的作品）、電影，還有六、七十年代的設計美學汲取靈感。這些日積月累的元素產生化學作用，當我思索「此時此地」的意味是甚麼，作品就成了答案的一部分。靖韜，這次你的曲目將以布拉姆斯為主。布拉姆斯的音樂對你有何意義？沈

我特別沉迷那些既流露強烈情感，又具嚴謹和完美結

構的音樂，而布拉姆斯的音樂正是當中的典範。在他許多作品中，例如作品 76，你能感覺到宇宙正以自然而然、分毫不差的節奏運行。那種磅礴與深邃，彷彿被整個世界溫暖地擁抱。我希望透過選曲傳達一個訊息：無論經歷多少衝突與困難，世界依然充滿善意，而一切終必好轉。我希望觀眾能深刻感受到這份力量。在繁重的巡演行程中，你們如何在每場表演中保持最佳狀態？沈

練習時，我習慣將樂曲中的資訊像檔案分類般有系統

地整合，這樣我在演出時，便能隨當下感受自由調動與詮譯。王

我習慣嚴謹分配時間來兼顧演奏與創作。冥想與游泳

也幫助我保持專注與平衡。

王致仁與樂友——漁光爵韻 Chiyan Wong and Friends—Reflections on a Sampan 2026.3.14 丨東九文化中心劇場 East Kowloon Cultural Centre The Theatre 2026.3.15 丨香港君悅酒店香檳吧 Grand Hyatt Hong Kong Champagne Bar

Chiyan, you have written new jazz compositions inspired by Hong Kong fishermen’s songs and will play them at the 2026 HKAF. What drew you to these folk traditions and how do you bring your cultural identity into them? C It started with a fascinating book by Kenneth Yip Cheekwong titled In Search of the Songs of the Hong Kong Fisherman. I’ve always been drawn to water, which I associate closely with music, improvisation and patterns, all of which also connect to my interest in jazz. Living outside Hong Kong has helped me love my hometown in new and sometimes complicated ways. I also draw inspiration from old photographs (such as those by Fan Ho), films and the design aesthetics of the 1960s and ’70s. Together, these create a kind of chemical reaction within me when I ask myself what “here” and “now” mean to me. Aristo, your programme is centred around the work of Brahms. What does the composer’s music mean to you? A I’m particularly drawn to music that is expressively compelling and meticulously constructed. To me, Brahms is one of the few composers who exemplifies this balance. In much of his music, for instance his Op 76, it feels as though the rhythm of the universe is just running the way it should. And in all its greatness, in all its experiences, its feels like a warm embrace. I think the repertoire I play conveys the message that despite all the strife, conflict, difficulty or obstacles in life, the world is full of goodness and everything will be alright. I hope we can feel this in a profound way. With demanding touring schedules, how do you stay fresh mentally and physically? A I practise in a way that helps me organise the information about the music, almost like creating a file, so that during performances I can draw on this and interpret the music in the moment. C I divide my time with discipline to balance performing and composing. Meditation and swimming also help me stay centred.

3 月 15 日演出場地由香港君悅酒店香檳吧贊助 The 15 March performance venue is sponsored by the Champagne Bar at the Grand Hyatt Hong Kong 華潤集團榮譽贊助「音樂無疆界」系列：金馬倫．卡彭特 X 王致仁 X 香港管弦樂團 CR Holdings Proudly Sponsors the “Music Without Borders” Series: Cameron Carpenter, Chiyan Wong and the HK Phil 2026.3.3 丨香港文化中心音樂廳 Hong Kong Cultural Centre Concert Hall

沈靖韜鋼琴獨奏會 Aristo Sham Piano Recital 2026.3.20-21 丨香港文化中心音樂廳 Hong Kong Cultural Centre Concert Hall 3 月 20 日演出由信興集團贊助 The 20 March performance is sponsored by Shun Hing Group

華潤集團冠名贊助 Title Sponsor: China Resources Holdings

DISCOVERY

音樂大師自強不息 Music Masters at the Top of Their Game

英國作家兼哲學家赫胥黎曾說：經歷「不是發生在一個人身上的事，而是他如何面對所發生的事」。男高音班傑明．伯恩海姆、管風琴家金馬倫．卡彭特、鋼琴家羅伯特．豐塞卡、長笛音樂家艾曼紐．帕胡德，四位在各自的音樂範疇獨領風騷，他們多年對藝術的不懈追求，錘鍊出今天的優雅與自信。

撰文：Adam Wright 中譯：DTo Text: Adam Wright Chinese translation: DTo

English writer and philosopher Aldous Huxley wrote that experience “is not what happens to a man—it is what a man does with what happens to him”. Tenor Benjamin Bernheim, organist Cameron Carpenter, pianist Roberto Fonseca and flautist Emmanuel Pahud are music masters who have risen to the pinnacle of their respective genres, and possess the kind of grace and confidence that only comes after years of dedication to their craft.

班傑明．伯恩海姆

Benjamin Bernheim

法國男高音班傑明．伯恩海姆被譽為「自巴伐洛堤以來最

French tenor Benjamin Bernheim may now be described as “the most beautiful tenor voice since Luciano Pavarotti” (Süddeutsche Zeitung). But his path to the top wasn’t easy due to a difficult childhood in Geneva in a house full of opera singers.

美妙的男高音嗓子」（《南德意志報》），但他的成名之路並不平坦，他生於日內瓦一個歌劇演唱者世家，卻有一個艱難的童年。伯恩海姆年少時，除了學習小提琴和鋼琴之外，更在歌唱方面展現了非凡的天賦，但目睹父母在歌劇界苦苦掙扎，反而使他對自己的歌唱天賦感到困惑，也缺乏信心。他在《今日歌劇》雜誌中憶述：「我從前不喜歡唱歌，但歌唱似乎盯上了我。」

As a youngster Bernheim learnt to play the violin and the piano, but watching his parents struggle to achieve success as opera performers made him feel conflicted about his obvious gifts as a singer, and he lacked confidence in his voice. “I didn't like singing, but singing seemed to like me,” he said in an interview with Opera Now.

幸好就讀洛桑音樂學院時，他獲得了某位教授的賞識，才慢慢重拾自信，並最終登上世界頂尖舞台。伯恩海姆的成功還在於懂得挑選角色，同時與自己的聲線建立默契、學會掌控緊張情緒，並接受自己的瑕疵。如今，他以完美的連音、流暢的高音，與法語曲目中卓越的咬字聞名於世；這些特質將在香港藝術節他的音樂會中展現。

班傑明．伯恩海姆男高音演唱會 Benjamin Bernheim in Concert 2026.3.26 丨香港大會堂音樂廳 Hong Kong City Hall Concert Hall

After enrolling at the Lausanne Conservatoire, a professor recognised Bernheim’s talent and instilled in him the confidence that would eventually propel him to the world’s biggest stages. Bernheim built this successful career by choosing roles carefully and developing a strong relationship with his voice, learning to manage his nerves and accept his imperfections. He is now known the world over for his flawless legato, seamless high notes and exceptional diction in the French repertoire, which will all be on display when he appears in concert at the HKAF.

金馬倫．卡彭特

Cameron Carpenter

與伯恩海姆不同，美國管風琴家金馬倫．卡彭特自出道以

Unlike Bernheim, American organist Cameron Carpenter has always exuded confidence as he broke various cultural and classical music taboos, taking the “King of Instruments” into unchartered territory and re-inventing the organ for 21stcentury audiences.

來便展現出十足自信。他打破多個文化與古典樂的禁忌，將「樂器之王」帶入全新的境地，為二十一世紀的觀眾重新定義管風琴。他是首位憑個人專輯獲格林美獎提名的管風琴家，但出道之初因為他的破格而受批評。「我從未完全克服負面的批評，只是學會習慣批評。」他又說：「一來自己年紀漸長，二來古典樂界也在疫情後發生了變化，於是這些批評亦變得不再重要。」卡彭特將在香港藝術節演出兩場，一場是與鋼琴家王致仁先後跟香港管弦樂團合奏，另外一場是為中國默片《體育皇后》現場演奏。對於為中國電影配樂，他大感雀躍：「沒有西方文字反而令人感到輕鬆，畢竟早期荷里活電影中的字幕卡常常流於老氣迂腐。」

The first organist nominated for a Grammy Award for a solo album received a critical backlash early in his career for his unconventional style. “I didn’t ever get over it, I just got used to it,” he explained ahead of his latest visit to the HKAF, where he will stage two performances: one on the same programme as pianist Chiyan Wong and the HK Phil, and another providing a live soundtrack to the Chinese silent movie Sports Queen. “As I got older and the classical music landscape changed after Covid, such things simply became less important.” He’s excited to be working with a Chinese film this time. “The absence of Western text is a relief when compared to the often clichéd, pedantic role of text cards in many early Hollywood films.” 電影《體育皇后》管風琴：金馬倫．卡彭特 Organist Cameron Carpenter at the Movies: Sports Queen 2026.2.28 丨香港文化中心音樂廳 Hong Kong Cultural Centre Concert Hall

Tenor

男高音

2026.3.3 丨香港文化中心音樂廳 Hong Kong Cultural Centre Concert Hall 華潤集團冠名贊助 Title Sponsor: China Resources Holdings

金馬倫．卡彭特

Organist

Cameron Carpenter

管風琴家

Benjamin Bernheim

班傑明．伯恩海姆

華潤集團榮譽贊助「音樂無疆界」系列：金馬倫．卡彭特 X 王致仁 X 香港管弦樂團 CR Holdings Proudly Sponsors the “Music Without Borders” Series: Cameron Carpenter, Chiyan Wong and the HK Phil

ermo

kas

Roberto Fonseca One of the most gifted pianists of his generation, Roberto Fonseca embodies the spirit and music of his home country Cuba. Fonseca's parents were influential figures in Cuban music—his mother was a singer and his father a musician— which forced him to face quite different challenges.

羅伯特．豐塞卡在同儕中，羅伯特．豐塞卡是最天才橫溢的鋼琴家之一，他體現了祖國古巴的音樂精神與文化底蘊。豐塞卡的父母是古巴音樂界甚具影響力的人物，他的母親是一位歌唱家，而父親就是音樂家，這卻帶給他另一種困難。他將為 2026 年香港藝術節帶來爵士演奏會，他告訴《閱藝》：「我最大的挑戰是找尋屬於自己的空間與聲音；身處眾多優秀的音樂人之中，最困難的是要建立個人風格，並以此獲得認同。」然而，豐塞卡成功找到了自己的聲音，並成為一位深具爵士感、扎根於非洲與古巴音樂傳統的音樂家。他因為在著名樂團 Buena Vista Social Club 接替傳奇鋼琴家魯賓．岡薩雷斯而聲名大噪。獲得格林美獎「最佳拉丁爵士專輯」提名後，他把音樂帶上全球各地的舞台，憑其具開創性的聲線，在爵士界內外都確立了地位。

華潤集團榮譽贊助「音樂無疆界」系列︰羅伯特．豐塞卡爵士演奏會 CR Holdings Proudly Sponsors the “Music Without Borders” Series: Roberto Fonseca— La Gran Diversión 2026.3.12 丨香港文化中心音樂廳 Hong Kong Cultural Centre Concert Hall 華潤集團冠名贊助 Title Sponsor: CR Holdings

Roberto Fonseca

部、劇院還是音樂節。」

羅伯特．豐塞卡

理解我的音樂，不論是在小型俱樂

But despite the accolades, he’s never forgotten what has motivated him. “Success is when the audience understands my music, no matter whether it’s a small club, theatre or festival. ”

Pianist

向前的初衷，「成功，就是觀眾能夠

But Fonseca did eventually find a voice of his own, evolving into an artist with a deep jazz sensibility and roots in the Afro-Cuban tradition. He made his name replacing the legendary pianist Ruben González in the famed Buena Vista Social Club, and after receiving a Grammy nomination for Best Latin Jazz Album, he has taken his music to stages throughout the world, establishing himself as an innovative voice both within and beyond jazz.

鋼琴家

儘管聲名鵲起，他始終銘記那推動他

“My biggest challenge was finding my own space and my own voice,” Fonseca tells FestMag before he brings his latest performance, La Gran Diversión, to the 2026 HKAF. “There were so many other great musicians that finding my own personal style and winning recognition on my own was the hardest part for me.”

艾曼紐．帕胡德法國及瑞士長笛音樂家艾曼紐．帕胡德並非出身音樂世家，但他的音樂命運卻在五歲那年敲定，緣起是他聽見鄰居為考試練習莫扎特的樂曲。他曾在《普雷斯多音樂》雜誌回想道：「我在走廊哼唱旋律時被鄰居聽見了，他就跟我說：『那是莫扎特的長笛協奏曲！』我便請他教我，就此踏上音樂之路。」二十二歲時，帕胡德加入柏林愛樂，擔任首席長笛至今。帕胡德的曲目涵蓋巴羅克、古典、室樂乃至當代音樂，他經常自覺作為藝術家，應該不斷進步。他在《巴赫軌跡》雜誌訪問中表示：「如果我重複演奏曲目時，感覺已失去了最初的新鮮感，那就是時候改變，嘗試不同的東西。」在 2026 年香港藝術節中，帕胡德將與古鍵琴家特雷弗．平諾克及大提琴家喬納森．曼森合作，演出全巴赫曲目；他形容這兩位音樂家為「古樂界之神」。

sef © Jo

ller

hna

Fisc

Emmanuel Pahud French/Swiss flautist Emmanuel Pahud was not born into a musical family, but his destiny was formed at the age of five when he heard the sounds of Mozart coming from the home of a neighbour who was practising for his examination. “I was humming the song in the hallway one day when the neighbour saw me and said, 'That’s Monzart’s Flute Concerto!’ I asked him to teach me and that’s how it started,” Pahud recalled to Preston Music. By the age of 22, Pahud had joined the Berliner Philharmoniker as Principal Flute—a position he still holds today. Pahud’s broad repertoire stretches from Baroque and Classical to chamber and contemporary music, and he’s always felt a drive to move forward as an artist: “If I feel that I am trying to do the same thing as before but it’s not as fresh as the first time, then I think it’s time to move on and do something else,” he told Bachtrack. At the 2026 HKAF, Pahud will be appearing in an all-Bach programme alongside fellow powerhouse musicians Trevor Pinnock (harpsichord) and Jonathan Manson (cello), whom the flautist has described as “gods of the ancient music world”. 共奏巴赫——平諾克、帕胡德與曼森 BACH—Trevor Pinnock, Emmanuel Pahud & Jonathan Manson 2026.3.16 丨香港大會堂音樂廳 Hong Kong City Hall Concert Hall

Flautist 長笛音樂家

Emmanuel Pahud 艾曼紐．帕胡德

ANALYSIS 史提夫．萊克 Steve Reich

Scars in American Contemporary Music 美國當代音樂中的傷痕

美國當代音樂如同一面鏡子，映照近代歷史從破裂、復甦到重建的過程，反映當下的動盪、社會分歧、民族身份認同，以及城市生活的變遷。從史提夫．萊克的極簡主義傑作，到伊曼尼木管五重奏突破界限的創作，美國當代音樂承載着戰爭、種族不公及修復傷痛所帶來的沉重。

Text: William Lane Chinese translation: Gabi Wong

American contemporary music holds up a mirror to recent history—cracked, mended and polished anew—and reflects the nation’s turbulent state of current affairs, social fractures, evolving national identity and cosmopolitan urban life. From the minimalist masterpieces of Steve Reich to the genre-defying programmes of Imani Winds, this music carries the weight of war, racial injustice and resilience.

史提夫．萊克的弦樂四重奏

Steve Reich’s string quartets

極簡主義大師史提夫．萊克於 2026 年迎來九十歲壽辰。這

Few composers capture the interplay of memory and modernity like minimalist master Steve Reich, who celebrates his 90th birthday in 2026. Reich is a seminal figure in minimalist music, pioneering its defining techniques. Departing from traditional Western musical structures, he is known for constructing hypnotic patterns from minimal material. His innovative “phasing” process, evident in works such as Triple Quartet, involves rhythmic loops gradually shifting out of synchronisation to generate new melodic and rhythmic layers. Reich's incorporation of non-Western elements inspired by Balinese Gamelan and African drumming, combined with innovative recording techniques in pieces like WTC 9/11 and Different Trains, created a distinctive sonic language that has inspired countless artists across diverse genres.

撰文：William Lane 中譯：黃家慧

位極簡主義音樂的翹楚擅長捕捉記憶與現代性的交匯點，為這種音樂類型開創先河。萊克的音樂突破傳統西方音樂架構，以簡約素材構築出催眠性的音型。他創新的「相位移」技法，透過節奏循環逐漸錯位，創造出新的旋律與節奏層次，其代表作《三重四重奏》堪稱典範。而在《世貿中心 9.11》與《不同的列車》等作品中，萊克融合峇里島傳統音樂嘉美蘭與非洲鼓樂等世界音樂元素，並運用新穎的錄音技術創造出獨特的音樂語言，啟發了不同領域的藝術家。

His complete works for string quartet, performed by the New York-based Mivos Quartet, are masterpieces in their own right. Different Trains (1988) juxtaposes recordings of interviews with people in the United States and Europe around the time of World War Two (including Holocaust survivors) with the rhythmic chug of pre-war locomotives represented by the string quartet. As Reich says: “I travelled back and forth between New York and Los Angeles from 1939 to 1942 accompanied by my governess. While these trips were exciting and romantic at the time, I now look back and think that, if I had been in Europe during this period, as a Jew I would have had to ride very different trains.” Similarly, WTC 9/11 (2010) stitches together air-traffic control recordings and first responders’ voices during one of America’s worst tragedies in recent years, with its repetitive motifs possibly mirroring the cyclical nature of trauma. 史提夫．萊克弦樂四重奏全集 Steve Reich: The String Quartets

萊克這套的弦樂四重奏全集由紐約的米費斯弦樂四重奏演奏，三首作品都是傑作。《不同的列車》（1988）將二戰時期美國和歐洲市民（包括大屠殺倖存者）的訪談錄音，與戰前火車行駛的聲響交織，而後者是由弦樂四重奏演繹出來。萊克說：「1939 至 1942 年間，家庭老師帶着我往返紐約與洛杉磯，旅程既刺激又浪漫。但如今回望，身為猶太人的我，若當時身處歐洲，可能就會坐上截然不同的列車。」《世貿中心 9.11》（2010）運用相似的手法，將航空控制塔與救援人員的錄音融合，重現這場美國近代最沉痛的悲劇，

Reich’s Triple Quartet (1998) layers three string quartets— performed live by string quartet with pre-recorded tracks, or alternatively by three string quartets—in a driving, threemovement cycle. Originally written for the Kronos Quartet, its urgent, insistent energy and phasing effects reflect modern urban life. Mivos Quartet, the first ensemble to record all three of Reich’s quartets for Deutsche Grammophon, approaches these works with surgical precision. Its 2026 HKAF programme comprising Triple Quartet, WTC 9/11 and Different Trains becomes a triptych of American upheaval, where minimalism meets the monumental forces of world events.

重複的音型動機或許象徵創傷的循環。《三重四重奏》（1998）則以三組弦樂四重奏層疊，構成三

米費斯弦樂四重奏——萊克弦樂四重奏作品音樂會 Mivos Quartet—Steve Reich: The String Quartets

段式的動感樂章循環，可由一組現場演奏配合預製錄音，

2026.3.14 ｜香港大會堂音樂廳 Hong Kong City Hall Concert Hall

或由三組弦樂四重奏同時演出。樂曲原為克諾斯四重奏創作，其急促而堅定的能量與相位移效果，反映現代都市的生活節奏。米費斯弦樂四重奏是首個為德意志留聲機灌錄萊克三首四重奏作品的樂團，對樂曲演繹尤其精準；他們在藝術節演

米費斯弦樂四重奏 Mivos Quartet

奏的這三首樂曲，將構成一幅描繪美國動盪的三聯畫，亦是一個極簡主義與歷史洪流的交會點。

伊曼尼木管五重奏：重塑新事形式格林美獎得獎樂團伊曼尼木管五重奏則會在 2026 年藝術節演出罕聞作曲家的多元藝術。二十五年來，樂團致力頌揚

伊曼尼木管五重奏 Imani Winds

被邊緣化的聲音，如委約潔西．蒙哥馬利以移民為主題創作，以及推出慶祝該團成立十週年的「傳承委約計劃」。伊

Imani Winds: Reclaiming new narratives

曼尼於 2021 年推出專輯《閉塞之音》探討社會正義議題，

The Grammy-Award winning quintet Imani Winds’ 2026 Festival programme is a kaleidoscope of artistry by rarely heard composers. The quintet has spent 25 years amplifying marginalised voices, whether through commissions such as Jessie Montgomery’s migration-inspired work or its Legacy Commissioning Project. Their 2021 album Bruits explores themes of social justice and also received a 2022 Grammy nomination.

並獲 2022 年格林美獎提名。伊曼尼的曲目如同一幅生動的織錦，文化記憶與音樂創新交錯，融合爵士、古典與非洲拉丁音樂。節目以凡萊麗．高曼改編的《非洲藍調》揭開序幕，此曲為古巴裔美國作曲家蒙哥．桑塔馬利亞的迷人爵士經典，如今以管樂重新想像。另一古巴裔作曲家柏克圖．迪里費拉的《艾利斯的熱帶風情》在古巴與新古典樂間游走，而阿根廷裔美國作曲家拉羅．舒夫林的《新奧爾良》則向爵士樂的克里奧爾根源致敬。伊曼尼獨有的精準與即興風格，為尚．法朗賽《第二五重奏》等歐洲作品注入新活力，證明經典形式無需一成不變。這場令人耳目一新的音樂會印證了即使非殿堂級大師的音樂，亦能在音樂廳中重塑傳統。這兩場音樂會從不同視角出發，見證美國音樂如何探討歷史與身份議題，揭示當代音樂在美國社會中的雙重角色：既是歷史創傷的見證者，也是推動文化進步的媒介。

伊曼尼木管五重奏——熱帶騷靈 Imani Winds—Soul's Delight 2026.3.8 ｜香港大會堂音樂廳 Hong Kong City Hall Concert Hall

Imani Winds’ programme is a vibrant tapestry echoing cultural memory and musical reinvention, weaving together jazz, classical and Afro-Latin influences. The programme opens with Valerie Coleman’s arrangement of Afro Blue, Cuban-American Mongo Santamaría’s hypnotic jazz standard re-imagined for winds. Fellow Cuban-American Paquito D’Rivera’s Aires Tropicales dances between Cuban song and neo-classical wit, while Argentine-American Lalo Schifrin’s La Nouvelle Orleans pays homage to the Creole roots of jazz. Even with European works such as Jean Françaix’s Quintet No. 2, Imani’s signature blend of precision and spontaneity injects fresh vitality, proving that canonised forms need not be static. This fresh programme is a testament to how lesserknown musical voices can reshape classical traditions in the concert hall. Together, these programmes present two compelling perspectives on how American music engages with history and identity. They reveal contemporary music's dual role in American society: as both witness to historical struggles and trauma, and as a medium for cultural renewal.

LEGACY

尋根追源戲曲承傳 Chinese Opera:

Tracing its Roots, Continuing its Legacy 撰文：陳詠恩英譯：梁漢波 Text: Eugene Chan English translation: Stanley Leung

新編梨園戲

滿載歷史質感

梨園戲發源自閩南地區，至今已有九百年歷史。以往凡學梨園戲者，必須學習《陳三五娘》此劇目。面對如此具份量的劇目，福建省梨園戲傳承中心的年輕導演曾龍並不膽怯，他獲香港藝術節委約，創作出取材於此經典的新作《紅眠床》。舞台上放了一張閩南地區傳統婚嫁用的紅色木床，宋代女子五娘在閨房中倚床思念被流放的情郎陳三，而舞台的另一端卻是七名身穿黑衣的現代梨園子弟，象徵梨園戲的七個行當。

Reviving Liyuan opera with historical resonance Liyuan opera has a history spanning nearly nine centuries. Traditionally, every student of the art form began with Chen San and Wuniang. Embracing this formidable classic, young director Zeng Long of the Fujian Province Liyuan Opera Inheritance Centre has received a commission from the Hong Kong Arts Festival to create a new work, Red Wedding Bed, placing a traditional crimson bridal bed at the heart of the stage. Wuniang reclines in her chamber, longing for her exiled lover Chen San, while at the opposite side of the stage, seven black-clad performers symbolise the seven types of roles in Liyuan opera, bridging centuries of tradition with the present.

曾龍解釋，新作結合了該團兩個經典版本的演繹，先以小梨園流派古本《陳三》的折子戲〈大悶〉作開端，由五娘獨唱，夜裏盡訴內心鬱悶。「透過這個『悶』，我把它連接到了《陳三五娘》華東版* 的故事，五娘憶述與陳三相遇、相知、相戀，到最後決定私奔，我把這兩條線連接起來。」本地粵劇創作人江駿傑為此製作擔任劇場構作，他形容梨園戲的音樂充滿歷史質感，「音樂很乾淨、精細，旋律圍繞着五聲音階不斷地變化，卻不會覺得重複。」他與曾龍利用開放式的舞台設計，讓不同時空的演員在台上互相回應。雖然表達手法新穎，但他們仍着力展現梨園戲傳統一面，例如把平常設於幕後的樂隊安排在台上，樂師將演奏壓腳鼓、南噯、南琶等最具代表性的樂器。傳統梨園戲在庭園內以「勾欄」（曲折的欄杆）劃出演區，曾龍將之變化，在舞台四角設置勾欄，劃分成可變形的演區，「這四角可以縮小、放大，而且扭轉角度。」曾龍說，這樣有助觀眾多角度來欣賞演員的身段。在曾龍眼中，梨園戲的演員肢體、妝容、音樂皆具美感，改編並非要改變梨園戲的本質，而是堅守傳統，把它的美畫龍點睛地呈現。

* 華東版是指該中心在 1954 年把《陳三》古本濃縮為十場的《陳三五娘》，並以此代表梨園戲參加上海華東區戲曲觀摩演出大會。

Zeng says the production combines two of the troupe’s classic versions. It opens with “Great Melancholy”, an excerpt from the ancient Chen San script from the Xiaoliyuan (“Pear Garden Junior Troupes”) school of Liyuan opera, in which Wuniang sings alone, pouring out her sorrow into the night. “This thread is then connected to the Eastern China version* of Chen San and Wuniang, recounting their meeting, how they fell in love and their eventual decision to elope.” Local Cantonese opera creator Jason Kong has joined the production as dramaturge. Kong describes the music as steeped in history: “It is clean and delicate. The melodies are constantly varied within the pentatonic scale, yet never feel repetitive.” Together with Zeng, he has conceived an open stage that allows performers to interact across different times and spaces. Despite the novel staging, the work remains rooted in the traditions of Liyuan opera. For example, the musicians are placed visibly on stage to perform traditional instruments such as the yajiaogu (foot-pressed drum), the nan’ai (small pipe) and the horizontally held southern pipa. Traditionally, Liyuan opera was performed within a courtyard framed by railings known as goulan. Zeng incorporates this idea by placing adjustable railings at the four corners of the stage, which can expand, contract and rotate to create shifting performance zones. “These movable corners allow the audience to appreciate the performers’ gestures from multiple perspectives,” he notes. To Zeng, the movement, make-up and music of Liyuan opera are all inherently beautiful. His intent is not to change its essence, but to illuminate its traditional brilliance. *The Eastern China version refers to the centre's condensation of the ancient script of Chen San into a 10-act Chen San and Wuniang in 1954, and using this to represent Liyuan opera at the Shanghai Eastern China Opera Festival.

福建省梨園戲傳承中心《紅眠床》 Fujian Province Liyuan Opera Inheritance Centre—Red Wedding Bed 2026.3.21-22 丨香港文化中心劇場 Hong Kong Cultural Centre Studio Theatre

導演曾龍

劇場構作江駿傑

Director Zeng Long

Dramaturge Jason Kong

藝術總監阮兆輝 Yuen Siu-fai Artistic Director © Lawrence Ng@WorkHouse

忠義情仇

粵劇台上紛陳

現年八十歲的知名資深粵劇演員阮兆輝，年幼時已思考粵劇承傳的問題，「我七歲做戲時，看見台下全是公公婆婆，我也曾擔心『我長大了誰來看戲？』」他認為粵劇要長演長有，必先讓人認識。為推廣不同階段粵劇的精采之處，阮兆輝自 2025 年起與香港藝術節合作進行「三年粵歷三百年」計劃，首年以「始」為主題，上演以官話（中州韻）演出的古腔粵劇及排場戲；今年則以「傳」為主題，演出上世紀三十年代至今著名編劇、名伶之折子戲佳作，以及重演他自編自演的歷史長劇《伍子胥傳》，全面呈現當代粵劇的面貌。阮兆輝解釋，以上世紀三十年代為分界，是因為當時粵劇演出語言漸漸以白話取代官話，粵劇團亦由全男班改變成男女同班演出。題材方面，「當時民生太苦，戰亂多，人們到了某個階段便苦得想『吃糖』。」造就生旦談情、纏綿悱惻的鴛鴦蝴蝶派劇目成為主流。這次阮兆輝除了挑選唐滌生編劇的鴛鴦蝴蝶派作品《牡丹亭驚夢．幽媾》，也選了新馬師曾參考了多個京劇名家後演出的《一把存忠劍．見娘》，反映粵劇如何受京劇影響，同時突顯老旦這個較少人認識的行當特色。而《伍子胥傳》則是阮兆輝 2003 年之作，「這是我寫過最難寫的劇本，寫到走進了困局。」因為他愈抽絲剝繭，愈不解伍子胥的選

Loyalty, honour and rivalry: The rich world of Cantonese opera Veteran Yuen Siu-fai, now 80, recalls wondering about the future of Cantonese opera even as a child performer. “At seven, I looked out into an audience full of elderlies and thought: ‘When I grow up, who will still come to watch?’” For him, the survival of the art depends on cultivating appreciation among new audiences. Since 2025, Yuen has been collaborating with the Hong Kong Arts Festival on a three-year project titled 300 Years of Cantonese Opera. The first season, themed “The Beginning”, presented ancient plays in old Mandarin (also known as the Zhongyuan dialect) together with traditional formulaic plays. The current season, themed “The Transition”, showcases outstanding excerpts by celebrated playwrights and performers from the 1930s to the present, alongside a revival of Yuen’s own historical epic The Story of Wu Zixu, offering a comprehensive portrait of contemporary Cantonese opera. Yuen sees the 1930s as a turning point: performances shifted from old Mandarin to vernacular Cantonese. At the same time, all-male troupes gave way to mixed-gender casts. As society endured hardship and war, audiences looked for more uplifting entertainment and the romantic, lyrical love stories of the Mandarin Duck and Butterfly literary movement came to dominate.

擇。尤其是伍子胥歷盡千辛萬苦，從楚國死裏逃生到吳國，惟後來吳王夫差繼位後，遭其賜死，「他明知皇帝是昏君仍去送死，證明那時賢人也未必有好下場。」阮兆輝慨嘆伍子胥雖然才智過人，卻把仇恨放得太重，以致愚忠送命。阮兆輝這次會將劇本更精簡，把伍子胥跌宕起伏的人生呈現。即使粵劇在主題、演出形式近百年來不斷改變，不過阮兆輝強調，「程式不會變，變了就不成戲曲。我守着梅蘭芳先生說的『移步不換形』，這個移步是思想的進步，戲裏點題的地方進步。」

三年粵歷三百年．傳 300 Years of Cantonese Opera: The Transition 2026.3.13-15 丨沙田大會堂演奏廳 Sha Tin Town Hall Auditorium 《伍子胥傳》粵劇外展活動夥伴：陳廷驊基金會 Cantonese Opera Outreach Programme Partner— The Story of Wu Zixu: The D. H. Chen Foundation

Yuen’s current selections include Tong Tik-sang’s romantic ghost tale “A Union with the Ghost” from Dream of The Peony Pavilion, and Sun Ma Sze Tsang’s “Reunion with Mother” from The Sword of Loyalty, which drew on Peking opera techniques to showcase the distinctive artistry of the lesserknown character type of laodan. His 2003 play The Story of Wu Zixu will also be performed, “It was the hardest script I have ever written; it led me into a labyrinth.” The challenge lay in confronting the enigma of Wu’s decisions. Having survived persecution in the kingdom of Chu and fleeing to the rival state of Wu, he was ultimately executed by the new king Fuchai. “He knew Fuchai was a foolish ruler, yet still sacrificed himself. It shows that even wise men could meet a tragic fate. Wu was brilliant, but his hatred consumed him. He died through misguided loyalty.” This year Yuen will present a distilled version of the drama, tracing Wu’s turbulent life. While Cantonese opera has evolved in theme and style during the past century, Yuen insists: “The conventions of Chinese opera must remain. If altered, it is no longer Chinese opera. I always follow Mei Lanfang’s dictum: ‘Move your steps but do not alter the form.’ Progress lies in the ideas and themes.”

COLUMN

坂本龍一混合實境譜出永生 Ryuichi Sakamoto: Eternal Life in Mixed Reality 撰文：黃志淙英譯：DTo

Text: Wong Chi-chung English translation: DTo

2025 年，香港藝術節把坂本龍一和高谷史郎的《TIME》帶到香港舞台，看過的朋友無不為之動容。在那個舞台上，坂本的遺作橫跨時間與空間、夢境與現實、生命與死亡的界線。2026 年，香港藝術節將帶來坂本龍一的科技遺作《鏡：KAGAMI》。

Everyone in attendance was visibly moved when the Hong Kong Arts Festival brought Ryuichi Sakamoto and Shiro Takatani’s TIME to Hong Kong in 2025. On stage, Sakamoto’s posthumous work crossed time and space, and explored dreamscapes and reality, life and death. In 2026, the HKAF will present the timeless art of the Japanese composer in the hi-tech piece KAGAMI.

作品名稱「KAGAMI 」正是日文「鏡子」的意思，不僅映照坂本的靈魂，同時刺激觀眾的感官，帶來心與靈的交流和互動。這次與「教授」合作的是來自美國的科技藝術團隊「鐵皮鼓」。團隊運用混合實境技術結合真實與虛擬，無需屏幕便能創造前所未有的沉浸式體驗。他們花了四年時間，運用 4DViews 公司發明的先進系統進行立體拍攝，系統配備了四十八個攝錄鏡頭，多角度拍攝坂本彈奏鋼琴的每個瞬間。在特製的混合實境眼鏡幫助下，觀眾可以近距離凝視坂本的手指在琴鍵上飛舞，彷彿置身於宇宙中不同的維度與空間，感受他音樂中自由而深邃的靈魂。在他離世前幾年，坂本已無法再現場演出。儘管如此，在 2022 年末，他仍竭力以最後的一場演出向世界告別，這是一部 2023 年上映的鋼琴獨奏音樂會電影——《Opus》，由他的兒子空音央執導。《鏡：KAGAMI》也會令你聯想到坂

Titled after the Japanese word for “mirror”, the show not only reflects the soul of the late maestro, but also immerses the participants in a rich, sensory experience, bringing about a marriage between the heart and the soul. KAGAMI was created in collaboration with American technology collective Tin Drum, a studio that employs mixed reality technology to merge the real and virtual, creating unprecedented immersive experiences. Sakamoto was volumetrically captured using a 48-camera system invented by 4DViews. The production represented a four-year process, unprecedented in the medium, which ultimately became KAGAMI. After putting on specially made mixed reality glasses, audience members are able to observe Sakamoto's fingers dancing over the keyboard, and feel the free yet profound soul of his music as though they are transported into a different world beyond the land of the living.

本人生中的某個獨特時期、某首曲目，甚至某部鋼琴。比如 2001 年，他隻身遠赴巴西，在作曲大師安東尼奧．卡洛斯．荷比的家中，利用電腦流動錄音設備，演奏荷比創作的巴薩諾瓦音樂，灌錄為經典專輯《Casa》；2011 年，日本 311 大地震後，他為災後飽歷風霜的鋼琴裝上自動彈奏系統，並與高谷史郎合作裝置藝術作品《Is Your Time》；2015 年，他將一台夏威夷百年鋼琴運送到紐約家中的露天庭院，讓它順其自然地朽壞，成為一種藝術、哲學及人生的實驗。 2023 年，我離開東京飛往成都，再回到東京，經歷了教授由病癒到病情復發，再到病逝。世界由未爆發新冠疫情到隔離到復常，百般滋味在心頭。回想當初《鏡：KAGAMI》在海外上演時，自己的心情依然十分沉重，所以都沒有打算前往參與，可能有些朋友也有相似的情況。因此，得知 2026 年在香港有機會欣賞，實在很期待。沉澱了差不多三年，準備與教授在另一維度再遇……

賽馬會創藝科媒系列：坂本龍一與「鐵皮鼓」《鏡：KAGAMI》 Jockey Club InnoArts Series: KAGAMI by Ryuichi Sakamoto & Tin Drum 2026.2.27-3.15 西九文化區自由空間大盒 WestK Freespace The Box 演出由香港賽馬會慈善信託基金獨家贊助 The programme is solely sponsored by The Hong Kong Jockey Club Charities Trust

In the years leading up to his death, Sakamoto could no longer perform live. Despite this, in late 2022, Sakamoto mustered all of his energy to leave the world with one final performance: a concert film featuring just him and his piano. The 2023 solo piano concert film Opus was directed by his son, Neo Sora. While experiencing KAGAMI, you may also connect to a specific time in your life—or even a particular piano used by Sakamoto. In 2001, for example, Sakamoto travelled to Brazil to record the master composer Antônio Carlos Jobim's bossa nova music for his album Casa, using mobile equipment to record in maestro Jobim's home, performing on his piano. In 2011, after Japan's catastrophic Tōhoku earthquake, he installed an automated system on a damaged piano that had survived the disaster, creating the art installation Is Your Time with artist Shiro Takatani. And in 2015, he had a century-old piano from Hawaii hauled into the garden of his New York home and allowed it to disintegrate naturally, turning it into an experiment in art, philosophy and life. I left Tokyo for Chengdu then returned to Tokyo in 2023, having witnessed the “Professor”going from recovery to relapse and then to death. The world had gone from the isolation of Covid back to some kind of normalcy, injecting even more mixed feelings into an already emotional journey. When KAGAMI was first staged overseas, I was still feeling weighed down and didn't feel ready to take part; perhaps many others were in a similar situation. But since learning there would be an opportunity to experience it in Hong Kong in 2026, I have been steeped in anticipation. After missing him for almost three years, I am now looking forward to meeting the Professor once again, this time in a completely different dimension. 89

COLUMN

韓式「青春火花」

燃亮古典樂壇 The Korean Style

Revitalising the Classical Scene 藝術創作風格的發展，往往有螺旋往返的形跡可循。貝多芬雖是跨越古典主義後期與浪漫主義初期的代表人物，於其晚期作品中，卻回歸巴赫的對位法，把賦格推往另一高峰，不但四聲部充滿情感張力，更將哲思與音樂融為一味。此中所言，亦同樣可見諸古典音樂的演奏風格。

The evolution of artistic styles is often cyclical and traceable. Although Beethoven is an icon of the late Classical period and the emerging Romantic era, his later works returned to Bach’s counterpoint and pushed the fugue to new heights, imbuing his string quartets with emotional tension, yet also fuse philosophical contemplation with music. This tendency to revisit the artistry of a bygone era can also be seen in the development of performance styles in classical music. 撰文：邵頌雄英譯：DTo Text: Henry Shiu English translation: DTo

上世紀七十年代末開始，演奏古典音樂的手法，跟「浪漫主義」愈走愈遠，改為崇尚客理性、忠於作曲家本懷的詮釋，造就出新一代的鋼琴大師，包括慕里治奧．波里尼、阿福烈德 · 布蘭德爾、安德拉斯．席夫、莫瑞．普萊亞等，成為一時風尚。如此偏重理性分析，下乘者即流為冷冰冰的演奏。能以近半世紀以來確立的客觀詮釋，融會浪漫主義的主觀情感，也許是當代樂壇亟需邁往的方向。任奫燦的亮眼出現，正適值演藝風格的範式轉移之際。任奫燦贏得 2022 年度的美國范．克萊本國際鋼琴大賽，也是該大賽歷年來最年輕的金獎得主，當時僅十八歲。他於

From the late 1970s, classical music performance increasingly distanced itself from Romanticism, shifting instead towards an emphasis on objectivity and interpretations faithful to the composer’s original intentions. This gave rise to a new generation of piano virtuosos, including Maurizio Pollini, Alfred Brendel, András Schiff and Murray Perahia, whose styles became popular in their times. However, an overemphasis on rational analysis led less-accomplished performers to deliver cold, detached performances. Perhaps integrating the subjective sensibilities of Romanticism with objective interpretations established during the past half century is the way forward for contemporary music. The emergence of South Korean pianist Yunchan Lim coincided with this paradigm shift in performance styles, and he arrived as a fresh spark lighting up the classical stage. Lim won the Van Cliburn International Piano Competition in 2022, making him its youngest ever winner at just 18 years old. It was said that his performance in the final of Sergei Rachmaninoff’s Piano Concerto No 3 moved conductor Marin Alsop to tears. In a flash, his talent caught the attention of the classical world and a video of the performance has now received 18 million views on YouTube. The polish and perfection of his technique allow him to perform pieces such as Franz Liszt’s Transcendental Études—works of such technical difficulty that many pianists don’t even attempt them—with such ease and lightness that a relaxed smile shines from his face while he plays.

決賽時演奏拉赫瑪尼諾夫的第三鋼琴協奏曲的表現，據說讓指揮家瑪琳．艾爾梭也禁不住為他拭淚。霎時間，他的天賦吸引了全球古典樂迷注目。那段演奏「拉三」的影片，上載到 YouTube 後，至今點擊率已近一千八百萬。其技巧的洗練和完美，讓他演奏如李斯特全套《超技練習曲》這類令不少鋼琴家望而卻步、技巧要求難比登天的艱澀曲目，聽來也是輕而易舉，甚至演奏時面帶微笑、輕鬆自如。他的第一張錄音室作品，演奏蕭邦的兩套《練習曲》，甫推能以豐富的想像力和變化無窮的音色，為樂曲貫注一道久違的浪漫氣氛。即使法度要求特別嚴謹的巴赫作品，任奫燦演奏的三聲部創意曲與《哥德堡變奏曲》，都表現出彩，既富巴羅克時代韻味，也具備精巧的時代氣息；至於最近推出的柴可夫斯基的《四季》，卻又深情浪漫，演活另一曲目類型的神髓。

Yunchan Lim 任奫燦

出便教樂迷心折，詫異於他能客觀梳理樂曲結構之餘，尚

He performed two sets of Frederic Chopin’s Études in his first studio recording, which left fans in amazement at his ability to objectively tackle the pieces’ musical structure while remaining wholly imaginative and creative in his timbre, infusing the music with a long-lost sense of romance. Even with Bach, whose compositions require strict adherence to the rules, Lim handles his Three-Part Inventions and Goldberg Variations with magnificence, performing them with Baroque charm while bringing forth a delicate contemporary air.

任奫燦年少時，他的第一個鋼琴老師推薦他細聽葉夫根尼．祈新與塞爾蓋．拉赫曼尼諾夫的錄音，由此引領他深入俄羅斯鋼琴學派的演奏。任奫燦曾提及他最喜愛的鋼琴

Meanwhile, his most recently released The Seasons by Tchaikovsky is deeply romantic, bringing to life the essence of a different musical genre.

家，包括史坦尼史拉夫．涅高茲、艾弗德．科爾托、阿圖．施納貝爾、弗拉基米爾．霍洛維茲、塞爾蓋．拉赫曼尼諾夫、瑪利亞．尤典娜和約瑟夫．利雲。這些名字，不但是「鋼琴黃金時代」的佼佼者，也揭示了任奫燦的風格理念。聽任奫燦的演奏，最讓我聯想到的，卻是歌迪奧．阿勞的沉厚音色。然而，任奫燦無論彈奏何種曲目，都洋溢着青春熱情的生機，與阿勞的悠閒鬆馳剛成對比。YouTube 上，有一段任奫燦中學年代的錄影，於練習室內，與拉小提琴的朋友「玩」起拉赫曼尼諾夫第三鋼琴協奏曲。當時的任奫燦與朋友，都笑容滿面、肢體故意誇張，甚至錯音連連，但那份對音樂的玩味、投入、享受，毫無矯飾地為作品灌注了青春的火花。當今樂壇，不乏技巧凌厲的鋼琴家，但任奫燦最獨樹一幟的，可能是他演奏散發的「青春」。同樣在音樂上展現活力的音樂家，還有於韓國藝術綜合學校成立的 NOVUS 弦樂四重奏，於 2014 年的奧地利薩爾茨堡莫扎特比賽中獲得首獎，曲目橫跨古典名作與現代作品。冀望任奫燦與 NOVUS 弦樂四重奏這股古典音樂的「韓風」，於香港的演出，呈現樂曲理解與情感表達上的高度默契，為古老而不朽的音樂作品，重新賦予現代且青春的生命。

任奫燦與聖馬田樂團 Yunchan Lim with the Academy of St Martin in the Fields 2026.3.28 丨香港文化中心音樂廳 Hong Kong Cultural Centre Concert Hall 任奫燦鋼琴獨奏會 Yunchan Lim Piano Recital 2026.3.30 丨香港文化中心音樂廳 Hong Kong Cultural Centre Concert Hall NOVUS 弦樂四重奏 NOVUS Quartet

At a young age, Lim’s first piano teacher introduced him to recordings by Evgeny Kissin and Rachmaninoff, leading him deep into the Russian school of piano playing. Lim has named Rachmaninoff, along with Stanislav Neuhaus, Alfred Cortot, Artur Schnabel, Vladimir Horowitz, Maria Yudina and Josef Lhevinne, as among his favourite pianists, figures who not only represent the greats of the “golden age of piano” but also reveal the stylistic vision underpinning Lim’s own playing. When I listen to Lim perform, it is the rich timbre of Claudio Arrau that comes to mind. However, no matter what he plays, it brims with a youthful, passionate vitality that stands in stark contrast to Arrau’s languid vibe. There is a recording on YouTube of a secondary-school-aged Lim, “jamming” Rachmaninoff’s Concerto No 3 with a friend on the violin in a rehearsal room. Both are beaming, their limbs flailing ostentatiously, and hitting plenty of off-notes—but their raw youthfulness exudes a sense of enjoyment that is almost palpable. In today’s music scene, there are many pianists with brilliant technique, but what sets Lim apart may well be the youthful spark that permeates every note he plays. A similarly musically energetic group is the NOVUS Quartet, formed at the Korea National University of Arts. The group was awarded top place in the 2014 International Mozart Competition Salzburg, after playing a selection of works that spanned from classical to contemporary. In bringing this “K-style” of classical music to Hong Kong, we can expect Lim and the NOVUS Quartet to showcase the harmony between musical understanding and emotional expression of the highest degree, and offer these timeless, ancient works of music a fresh, contemporary and youthful lease of life.

2026.3.21 丨香港大會堂音樂廳 Hong Kong City Hall Concert Hall

NOVUS Quartet NOVUS 弦樂四重奏 © Jino Park

AFTER THE SHOW

編輯部精選

完場後續夜美食巡禮

Editors' Picks:

Late-Night Bites After the Show 撰文：Adam Wright, 鄧穎瑶 Text: Adam Wright, Elma Tang

晚上欣賞藝術節的演出，大飽眼福後卻發現肚子空虛？《閱藝》編輯們為你搜羅了十來間心水食店，它們位於港九主要演出場地附近，而且營業至深夜，方便觀演後滿足口福。

The evening Festival show is over, it’s getting late and you haven’t eaten yet, but where do you go at this time of night? Located near the performance venues on Hong Kong Island and in Kowloon, these restaurants come recommended by the Festival’s Editorial team.

Bushra 的中東菜式 Bushra's traditional Middle Eastern cuisine

香港島 Hong Kong Island 新源興燒臘茶餐廳 Yuen Hing Restaurant

一蘭（銅鑼灣店） Ichiran

開業超過半世紀，提供茶餐廳美食、鑊氣小炒、火鍋等，戶外座位具香港地道風味。

起源於日本福岡的拉麵專門店，單憑天然豚骨高湯拉麵，已俘虜一眾拉麵愛好者的胃。特色單人座位適合好獨樂的食客。

Traditional no-frills Cantonese specialties like stir-fried beef noodles, with outdoor dining available. 地址：中環機利文新街 34-36 號地下營業時間：24 小時營業（一至日）

G/F 34-36 Gilman's Bazaar, Central, open 24 hours daily

Famous Japanese chain that specialises in tonkotsu ramen, with single seats that let you focus on the true flavour of the noodles. 地址：銅鑼灣謝斐道 440 號駱克大廈 A 座地下營業時間：早上 9 時至深夜 5 時（一至日）

G/F 440 Jaffe Rd, Causeway Bay, 9am to 5am daily

駒記海鮮大排檔 Kui Kee Seafood Restaurant 這間主打海鮮的大排檔設有傳統的海鮮養殖缸，海產即撈即煮，鮮味十足。編輯們最喜愛的是招牌菜的避風塘炒蟹、蒜蓉燒生蠔和臘腸滑雞煲仔飯。

A street food restaurant with great freshly caught seafood at reasonable prices. Signature dishes include Typhoon Shelter Crab and Grilled Oysters with Garlic. 地址：灣仔寶靈頓道 16 號地下營業時間：下午 4 時至深夜 3 時（一至日）

G/F 16 Bowrington Rd, Wan Chai, 4pm to 3am daily

Busan Night

太湖海鮮城 Tai Woo Restaurant

Beyrouth Bistro

韓式居酒屋裝潢加上烤肉香氣，小酌幾杯燒酒，再配上經典炒年糕和韓式炸雞，使食客猶如置身韓國釜山。

以粵式海鮮菜餚馳名的酒家，曾獲《米芝蓮指南》中的必比登推介。招牌菜式包括芝麻鹽焗雞、薑米鮮魚炒飯等。

自九十年代起家庭式經營的黎巴嫩小店，主打沙威瑪（shawarma）和烤肉捲餅。儘管座位有限卻依然不乏人龍。

A Korean dining and drinking experience at a cosy Busan-style pub, offering soju, stir-fried rice cakes and Korean-style fried chicken.

A Cantonese seafood restaurant recommended by the Michelin Guide. Signature dishes include Sesame Chicken Baked in Salt and Fried Rice with Shredded Fish & Ginger.

A family-run bistro serving casual Lebanese food, with starters such as hummous and labneh, and and the best shawarmas in Hong Kong.

地址：中環士丹頓街 28 號地下營業時間：中午 12 時至深夜 2 時半（日至四）、中午 12 時至深夜 5 時（五、六）

G/F 28 Staunton St, Central, 12pm to 2.30am (Sun-Thu), 12pm to 5am (Fri-Sat)

地址：銅鑼灣駱克道 463-483 號銅鑼灣廣場 2 期 9樓營業時間：早上 8 時至深夜 2 時（一至日）

地址：中環擺花街 39 號地下營業時間：早上 10 時至深夜 4 時（一至日）

G/F 39 Lyndhurst Terrace Central, 10am to 4am daily

9/F Causeway Bay Plaza 2, 463-483 Lockhart Rd, Causeway Bay, 8am to 2am daily

九龍 Kowloon 蓮香樓（尖沙咀店） Lin Heung Lau

李家（尖沙咀店）Chicken Hof & Soju

在中環開業近一個世紀的粵式茶樓在尖沙咀開分店，二十四小時營業，重現經典「推車仔」點心文化，提供金錢雞、花膠海鮮灌湯餃等多款懷舊粵菜。

由韓國人主理並以炸雞打響名堂，口味多元的炸雞和蘸滿秘製醬汁的韓式串燒，佐以韓式啤酒和燒酒，最適合宵夜。

A Cantonese tea house that has been in Central for nearly a century has opened a branch in Tsim Sha Tsui. It operates 24 hours and revives the classic dim sum trolley experience, serving nostalgic Cantonese dishes 地址：尖沙咀金巴利道 25 號長利商業大廈 1 樓至2樓營業時間：24 小時營業（一至日）

Korean-owned restaurant with a wide range of Korean fried chicken and imported Korean beer and soju. 地址：尖沙咀山林道 54-56 號利雅商業大廈地下 2 號舖營業時間：下午 5 時至深夜 5 時（一至日）

8Five2 Restobar

G/F The Leader Commercial Building, 54-56 Hillwood Rd, Tsim Sha Tsui, 5pm to 5am daily

開放式酒吧及室外用餐區，提供一系列的

Kaboom

Bushra

Fusion dining at a modern rooftop lounge and restaurant with views over Victoria Harbour.

Authentic traditional Middle Eastern cuisine, cooked home-style. Belly dancing performances take place every Tuesday, Thursday, Friday and Saturday night.

雞尾酒，以及墨西哥玉米餅、辣肉餡捲餅等美食。

1/F-2/F, Cheung Lee Commercial Building, 25 Kimberley Road, Tsim Sha Tsui, open 24 hours daily.

食客可邊享用精心烹調的傳統中東菜式，邊欣賞維港夜景，逢星期二、四、五、六晚上更設有肚皮舞表演。

這家墨西哥酒吧餐廳富異國風情，設有半

天台餐廳兼酒吧設計時髦，食客可在此享用東南亞 fusion 菜與特色雞尾酒，同時飽覽尖沙咀夜色。

地址：尖沙咀北京道 12A 號太子集團中心 20 樓營業時間：中午 12 時至深夜 1 時（日至三）、中午 12 時至深夜 2 時（四至六）

20/F Prince Tower, 12A Peking Rd, Tsim Sha Tsui, 12pm to 1am (Sun-Wed), 12pm to 2am (Thu-Sat)

地址：尖沙咀麼地道 66 號尖沙咀中心地下 6 號舖及 UG 樓 16 號舖營業時間：中午 12 時至深夜 2 時（一至日）

G6 & UG16, Tsim Sha Tsui Centre, 66 Mody Rd, Tsim Sha Tsui, 12pm to 2am daily

Vibrant Mexican restaurant and bar with great food like Mexican tacos and spicy enchiladas and cocktails. 地址：尖沙咀天文台道 8 號地下 2 號舖營業時間：中午 12 時至深夜 2 時（一至日）

Shop 2, G/F, 8 Observatory Court, Tsim Sha Tsui, 12pm to 2am daily

燒烤堂（尖沙咀店） Kushi by Skewer Kitchen 這家人氣串燒居酒屋的宵夜性價比高，除了提供雞、牛、海鮮串燒，更有松露飯、鵝肝多士、芝士玉子燒等等特色料理。

A highly rated izakaya serving up a wide range of seasonal skewers and signature dishes like Truffle Rice and Foie Gras Toast. 地址：尖沙咀諾士佛臺 1 號 1 樓營業時間：下午 6 時至深夜 2 時半（一至日）

* 營業時間可能會有改動，如有需要，請聯絡相關餐廳查詢。 * Opening hours may be subject to change. Please contact restaurant for enquiries.

1/F One Knutsford Terrace, 1 Knutsford Terrace, Tsim Sha Tsui, 6pm to 2:30am daily

* 此欄並非贊助內容，所有餐廳均由編輯部挑選。 *This listings guide is not sponsored content and the restaurants featured have been selected by the Editorial team.

香港文化中心音樂廳 Concert Hall, HK Cultural Centre

二月 FEB 三月 MAR

26 27 28 01 02 03 04 05

香港文化中心大劇院 Grand Theatre, 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

四 Thu

19:30

五 Fri

19:00 Organist Cameron Carpenter

19:30

at the Movies: Sports Queen

六 Sat

電影《體育皇后》管風琴：金馬倫．卡彭特

16:00

Ballet Nacional de España— La Bella Otero 西班牙國家舞劇院《美麗的奧蒂羅》

20:15

20:00 Hong Kong Chinese Orchestra—

Music about China

香港中樂團：樂旅中國 15:00

日 Sun

一 Mon

19:45

二 Tue

CR Holdings Proudly Sponsors the "Music Without Borders" Series: Cameron Carpenter, Chiyan Wong and the HK Phil

19:30 19:30

華潤集團榮譽贊助「音樂無疆界」系列：金馬倫．卡彭特 X 王致仁 X 香港管弦樂團

三 Wed

Ballet Nacional de España— Invocación

Sebastian Kaiser x HKAPA— The Drunkard

西班牙國家舞劇院《熱情的感召》

《酒徒》 20:15

20:00 Gulbenkian Choir—

Choral Treasures from Portugal

四 Thu

06 07 08

古本江合唱團——葡萄牙合唱瑰寶 20:00

五 Fri

20:15

Sir John Eliot Gardiner and The Constellation Choir & Orchestra

20:00 約翰．艾略特．加德納爵士與星宿合唱團及管弦樂團

19:30

20:15

六 Sat

16:00

09 10 11 12 13 14 15

Roberto Bolle—Caravaggio

15:00

15:00 Imani Winds—Soul's Delight 伊曼尼木管五重奏——熱帶騷靈

羅伯特．波雷《卡拉瓦喬》

日 Sun

19:30

一 Mon

二 Tue

三 Wed

20:00 CR Holdings Proudly Sponsors

the "Music Without Borders" Series: Roberto Fonseca—La Gran Diversión

四 Thu

華潤集團榮譽贊助「音樂無疆界」系列 : 羅伯特．豐塞卡爵士演奏會

五 Fri

19:30 14:30 19:30

六 Sat

19:15

FOCASA Circus— One to One Hundred: A Brave Journey

19:15

Steve Reich: The String Quartets

林懷民 X 幾米 X FOCASA 馬戲團 14:30 《幾米男孩的 100 次勇敢》 19:30

米費斯弦樂四重奏——萊克弦樂四重奏作品音樂會

Volcano

日 Sun

16 17 18 19

20:00 Mivos Quartet—

19:15 《火山》

20:00 BACH—Trevor Pinnock,

Emmanuel Pahud & Jonathan Manson

一 Mon

共奏巴赫——平諾克、帕胡德與曼森

19:15

二 Tue

19:15

三 Wed

19:30

四 Thu

20 21 22 23 24 25

National Theatre Brno— Tchaikovsky's Eugene Onegin

20:00

五 Fri

20:00 沈靖韜鋼琴獨奏會

19:45

捷克布爾諾國家歌劇院—— 柴可夫斯基《尤金．奧尼金》

Aristo Sham Piano Recital

捷克室樂薈 20:15

14:30

六 Sat

16:00

日 Sun

15:00 20:15

National Theatre Brno— Dvořák's Requiem

捷克布爾諾國家歌劇院—— 德伏扎克安魂曲

A Gala Celebration of Czech Music

Fujian Province Liyuan Opera Inheritance Centre— Red Wedding Bed

19:45 NOVUS Quartet NOVUS 弦樂四重奏

福建省梨園戲傳承中心《紅眠床》

一 Mon

二 Tue

三 Wed

26 27 28

20:00 Benjamin Bernheim in Concert 班傑明．伯恩海姆男高音演唱會

四 Thu

19:30

五 Fri

20:00 Yunchan Lim with the Academy of

六 Sat

日 Sun

一 Mon

St Martin in the Fields

14:30 19:30

Minsoo Sohn with the Academy of St Martin in the Fields

14:30

任奫燦與聖馬田樂團 15:00

舞劇《牡丹亭》

孫旻秀與聖馬田樂團 20:00 Yunchan Lim Piano Recital 任奫燦鋼琴獨奏會

THEATRE 戲劇

Dance Theatre— Dream in The Peony Pavilion

MUSIC 音樂

CIRCUS 雜技

OPERA 歌劇 / 戲曲

香港演藝學院歌劇院 Lyric Theatre, HKAPA

香港大會堂劇院 Theatre, HK City Hall

沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall 東九文化中心劇院 The Hall, East Kowloon Cultural Centre

西九文化區

藝穗會賽馬會

自由空間大盒 The Box, Freespace, WestK

劇場 The Jockey Club Studio Theatre, Fringe Club

葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre 東九文化中心劇場 The Theatre, East Kowloon Cultural Centre 香港君悅酒店香檳吧

20:00 15:00

五 Fri

12:15 20:00 15:30 21:30 17:00

City Contemporary Dance Company— INterstices

Ontroerend Goed— Handle with Care

六 Sat

《戲劇盲盒》

12:15 20:00 15:30 21:30 17:00

城市當代舞蹈團《空間間析》

日 Sun

20:00

20:00 21:30

Antigone 20:00 《安蒂岡妮》

10:45 17:00 12:15 20:00 15:30 21:30 10:45 17:00 12:15 20:00 15:30 21:30

20:00

20:00 羅薩絲舞蹈團《羅薩絲之舞》

19:30

20:00 21:30

20:00

14:30

15:00

Zixu Part One

孟京輝戲劇工作室《等待戈多》

Rosas—BREL by Anne Teresa De Keersmaeker & Solal Mariotte

羅薩絲舞蹈團《布雷爾》

《伍子胥傳》上本 19:30 The Story of Wu

Zixu Part Two

《伍子胥傳》下本 14:30 Selected Excerpts 折子戲專場

300 Years of Cantonese Opera:The Transition

MENG Theatre Studio En attendant Godot 14:30 (Waiting for Godot)

三年粵歷三百年．傳

19:30 The Story of Wu

19:30

20:00 21:30

Rosas— Rosas danst Rosas

20:00 21:30 12:15 20:00 15:30 21:30 17:00 12:15 15:30 17:00

二 Tue

20:00 Gulbenkian Choir—Tech

Cantata: Os dias mais longos e os mais curtos (The Longest Days and the Shortest Days)

Ontroerend Goed— Handle with Care 《戲劇盲盒》

古本江合唱團—— 科技清唱劇《那些最長亦最短的日子》

三 Wed

四 Thu

06 07 08

五 Fri

六 Sat

日 Sun

09 10 11 Bi-An: Yu Xiangjun PianoHypermedia Recital— Chinese Opera at the 12 Keyboard 「彼岸」：俞湘君超媒體 20:00 鋼琴音樂會——黑白鍵上 13 的古韻新聲 20:00 14 Chiyan Wong and Friends — Reflections on a Sampan 16:00 19:30 王致仁與樂友——漁光爵韻 15

一 Mon

︾ KAGAMI

20:00 21:30

Jockey Club InnoArts Series: KAGAMI by Ryuichi Sakamoto and Tin Drum

20:00 21:30

賽馬會創藝科媒系列：坂本龍一與﹁鐵皮鼓﹂︽鏡：

20:00 21:30

二 Tue

三 Wed

四 Thu

Ontroerend Goed— Handle with Care 《戲劇盲盒》

五 Fri

六 Sat

日 Sun

16 17 18 19

一 Mon

二 Tue

三 Wed

20:00

20:00 15:00 20:00

四 Thu

Brecht's First Play— Dead Centre and Beijing Repertory Theater

20:00

The Empire of Light

《詩人之死》愛爾蘭正點劇團 X 北京當代話劇團

15:00 《光之帝國》

15:00 The 7 Fingers—

Duel Reality

Ontroerend Goed— Handle with Care 《戲劇盲盒》

五 Fri

六 Sat

七指雜技團《決鬥》 15:00

15:00

20 21 22 23 24 25

日 Sun

一 Mon

二 Tue

三 Wed

26 27 28

四 Thu

20:00

Gonia X 點水南樂 Dianshui Nanyue x WOOONTA 點水南樂 X 問他跨界樂團

20:00 WOOONTA x Gonia 問他跨界樂團 X Gonia

World Music Weekend

15:00

世界音樂週末營

20:00 Gonia x Dianshui Nanyue

Jockey Club East-meets-West

Ontroerend Goed— Handle with Care

15:00 Series: 20:00

《戲劇盲盒》

Aristophanes' Lysistrata

15:00

五 Fri

六 Sat

賽馬會藝貫中西系列：《姊姊妹妹站起來》

日 Sun

一 Mon

ARTS TECH 藝術科技

DANCE THEATRE 舞蹈劇場

DANCE 舞蹈

MAR

一 Mon

20:00 21:30

FEB 三月

26 27 28 01 02 03 04 05

四 Thu

20:00 21:30

二月

Champagne Bar, Grand Hyatt Hong Kong

電話 TEL 傳真 FAX

（852）2824 3555 （852）2824 3798 （852）2824 3722

電子郵箱 Email

afgen@hkaf.org

（852）2824 2430 節目查詢熱線 Programme Enquiry Hotline 地址 Address

香港灣仔港灣道二號十二字樓 1205 室 Room 1205, 12/F, 2 Harbour Road, Wan Chai, Hong Kong

贊助人

李家超先生 , GBM SBS PDSM PMSM

PATRON

The Hon. John KC Lee, GBM SBS PDSM PMSM

永遠名譽會長

邵逸夫爵士（1907-2014）

HONOURARY LIFE PRESIDENT

The Hon. Sir Run Run Shaw, GBM CBE（1907-2014）

執行委員會主席副主席義務司庫委員

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

盧景文教授文肇偉先生范高廉先生何苗春暉女士紀文鳳女士林健忠博士李敬恩女士馬清正先生薛文熹先生譚榮邦先生閻蘭博士楊光先生譚榮邦先生白諾信教授黃翔先生羅志力先生毛俊輝教授約瑟•施力先生 + 姚珏教授

范高廉先生鄭惠貞女士梁國輝先生

閻蘭博士梁嘉彰女士張詩樂先生馮穎詩女士龐心怡女士孫林宣雅女士文藝女士

EXECUTIVE COMMITTEE Chairman Vice-Chairman Honourary Treasurer Members

PROGRAMME COMMITTEE Chairman Members

FINANCE COMMITTEE Chairman Members DEVELOPMENT COMMITTEE Chairperson Vice-Chairperson Members

Prof. Lo Kingman, SBS MBE JP Mr Sebastian Shiu-wai Man Mr Colin Farrell Ms Joanna Hotung Ms Leonie Ki, GBS SBS JP Sir Lam Kin Chung, KCR Ms Kristine Li Mr Ma Ching Cheng Mr Hugh Simon Mr Tam Wingpong, SBS Dr Yan Lan Mr Sunny Yeung Mr Tam Wingpong, SBS Prof. Giorgio Biancorosso Mr Edmond Huang Mr Peter C L Lo Prof. Fredric Mao, BBS Mr Joseph Seelig, OBE + Prof. Jue Yao, SBS JP Mr Colin Farrell Ms Margaret Cheng, JP Mr Nelson Leong Dr Yan Lan Ms Catherine Leung Mr Carey Cheung Ms Ophelia Fung Ms Samanta Sum-yee Pong Mrs Helen Lin Sun Ms Yi Wen

顧問

夏佳理先生鮑磊先生查懋成先生陳祖澤博士陳達文博士霍璽先生李業廣先生梁紹榮夫人李國寶博士

ADVISORS

The Hon. Ronald Arculli, GBM CVO GBS OBE JP Mr Martin Barrow, GBS CBE Mr Victor Cha Dr John CC Chan, GBS JP Dr Darwin Chen, SBS ISO Mr Angus H Forsyth The Hon. Charles YK Lee, GBM GBS OBE JP Mrs Mona Leong, SBS BBS MBE JP Dr The Hon. Sir David KP Li, GBM GBS OBE JP

名譽法律顧問

甘乃迪女士（美博香港律師事務所）

HONOURARY SOLICITOR

Ms Gabriela Kennedy Mayer Brown Hong Kong LLP

核數師

羅兵咸永道會計師事務所

AUDITOR

PricewaterhouseCoopers

+ 榮譽節目顧問 Honorary Programme Advisor

職員行政總監行政總監助理節目節目總監副節目總監高級節目經理節目經理項目經理節目統籌節目主任

余潔儀何丹蓉

梁掌瑋、蘇國雲李冠輝蘇雪凌、游慧姿 * 鄭佩群 *、廖國穎 *、馬筠婷 *、黃黃嵐 * 李朗軒 * 陳娟瑜 *、周黃翹 *、鍾曉晴 *、容諾行 * 黃明儀 #

STAFF Executive Director Assistant to Executive Director PROGRAMME Programme Directors Associate Programme Director Senior Programme Managers Programme Managers Project Manager Programme Coordinators Programme Officer

Flora Yu Connie Ho Grace Lang, So Kwok-wan Kenneth Lee Shirley So, Janet Yau* Cathy Cheng*, Sophie Liao*, Katie Ma*, Neva Wong* Li Long-hin* Alice Chan*, Nicole Chow*, Dorothy Chung*, Ryan Yung* Melissa Wong#

物流物流及接待經理

金學忠 *

LOGISTICS Logistics Manager

Elvis King*

技術高級製作經理製作經理

梁雅芝 * 陳梓衡 *

TECHNICAL Senior Production Manager Production Manager

Shirley Leung* Jacob Chan*

出版編輯經理英文編輯副編輯助理編輯

陳詠恩 * Adam Wright* 陳劭儀 * 干霖*

PUBLICATIONS Editorial Manager English Editor Associate Editor Assistant Editor

Eugene Chan* Adam Wright* Shao yi Chan* Lindsey Gan*

外展外展經理外展統籌外展主任外展助理市場推廣市場總監副市場總監市場經理市場項目經理副市場項目經理助理市場經理市場統籌市場主任票務高級市場經理（票務）票務主任

林嘉敏 * 陳沅渟 *、李幸凝 *、鄧芷蔚 *、黃思婷 * 趙家琳 *、郭曉潼 * 陳美鳳 * 鄭尚榮盧伯全鄭曉恩 *、張予心 *、黃芷賢 * 譚懿諾 * 李穎軒 * 朱凱潼 * 梁喬正 * 王舒萱

梁彩雲蔡嘉熹 *

OUTREACH Outreach Manager Outreach Coordinators Outreach Officers Outreach Assistant MARKETING Marketing Director Associate Marketing Director Marketing Managers Project Manager – Marketing Deputy Project Manager – Marketing Assistant Marketing Manager Marketing Coordinator Marketing Officer TICKETING Senior Marketing Manager (Ticketing) Ticketing Officer

Carman Lam* Olivia Chan*, Giselle Li*, Tina Tang*, Ariel Wong* Raven Chiu*, Angel Kwok* Christine Chan* Katy Cheng Eugene Lo Vicki Cheng*, Stephanie Cheung*, Effie Wong* Hades Tam* Hill Li* Jessica Chu* Isaac Leung* Nancy Wong* Eppie Leung Heidi Choi*

發展發展總監特別發展協理發展經理助理發展經理發展主任短期發展助理

簡潤如蘇啟泰 * 陳寶齋 *、葉巧儀 *、黃珮茵 * 郭倩珩 * 葉涴喬 * 陳芍穎 *

DEVELOPMENT Development Director Special Development Associate Development Managers Assistant Development Manager Development Officer Temporary Development Assistant

Brenda Kan Alex So* Leroy Chan*, Evelyn Ip*, Janice Wong* Evelyn Kwok* Jeria Yip* Cherry Chan*

行政事務財務總監

鄺敬婷

CORPORATE SERVICES Finance Director

Teresa Kwong

會計會計經理會計及行政主任

杜詩麗 * 麥婕妤 *

ACCOUNTS Account Manager Accounting & Administrative Officer

Connie To* Charmaine Mak*

人力資源及行政人力資源及行政經理接待員 / 初級秘書

楊美君 * 李美娟

HR & ADMINISTRATION HR and Admin Manager Receptionist/Junior Secretary

Janet Yeung* Virginia Li

資訊科技資訊科技經理

陳啟明 *

INFORMATION TECHNOLOGY Information Technology Manager

Derek Chan*

無限亮項目總監節目及外展經理助理節目及外展經理節目及外展統籌市場經理副市場經理助理製作經理高級會計主任

錢佑* 鍾美琼 *、高君 *、吳卓恩 * 潘詠汶 * 張沚鈴 * 黃嘉欣 * 陳佩鈴 *、吳雪琼 * 鄭家裕 * 鍾巧明 *

NO LIMITS Project Director Programme and Outreach Managers Assistant Programme and Outreach Manager Programme and Outreach Coordinator Marketing Manager Deputy Marketing Managers Assistant Production Manager Senior Accounting Officer

Eddy Zee* Becky Chung*, Tiffany Ko*, Frieda Ng* Jasmine Poon* Cheung Chi-ling* Carly Wong* Gina Chan*, King Ng* Dick Cheng* Catherine Chung*

* 合約職員 Contract Staff 按英文姓氏首字母排列 In alphabetical order # 藝術人才見習配對計劃 2024/25 由香港藝術發展局資助 # 2024/25 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2025 年 12 月更新 Updated December 2025

今期《閱藝》雜誌除了編輯部撰文，更邀請了多位資深藝

SUPPORT US

術傳媒人、重量級名家，為讀者提供精采內容。版面有限，

部分文章為精簡版，歡迎瀏覽香港藝術節線上雜誌，閱讀完整文章。

Analysis

美國當代音樂中的傷痕 Scars in American Contemporary Music

鑂䶺䧏䖻氳諡轱疒  尋根追源戲曲承傳

Legacy

Chinese Opera: Tracing its Roots, Become a Supporter Continuing its Legacy of Your Festival! 88 Column

坂本龍一混合實境譜出永生 Ryuichi Sakamoto: Eternal Life in Mixed Reality

껻度谁遯眏僽♧䨾ꬌ暑ⵄ堥圓㋲䤊牱䨼佐Ⰵ⿻佟䏎㛇劥须⸔黇黇劢駈

Column 90 ⟃䥰➰ツ桐⿻䲀䑞⚆歲ぐ㖒갥㼺邍怵谁遯涸䧭劥谁遯眏⛓䨾⟃腋䭰糵莊

鳵䯪⸔罏涸䣗䢹佅䭰㻜㖈⸆♶〳尝铇䠑鼝锞䝡䯪⸔谁遯眏䯪⸔鎙ⷔ 韓式「青春火花」燃亮古典樂壇⼿⸔䧮⦛糒糵䌟⢵넞颶稇㕜ꥹ⿻劥㖒谁遯㹻礶ꅷ涸怵ⴀ⟃⿻莊鳵㢵⯋⻋ The Korean Style Revitalising the 涸㢫㾝⿻來肬崞⹛ Classical Scene 껻度谁遯眏僽껻度暶⼦佟䏎涸չ谁遯涮㾝ꂂ㼩须⸔鎙ⷔպ「䟃堥圓鿈⟨

After The Show 94 硁䖤涸䯪妵⿻飬⸔佐Ⰵ㼟栽♧⯋㼩♧⯋涸ꂂ㼩须⸔

編輯部精選搂锸䯪飨侸겙㢵㼱䧮⦛㖳邪䗱䠮闒䝡涸佅䭰 完場後續

夜美食巡禮

The Hong Kong Arts Festival is a non-profit organisation. Editors' Picks: Income from ticket sales and government baseline funding Late-Night Bites After the Show can only partially cover the Festival’s costs for presenting and promoting the best performing arts from around the world. The Festival can only continue its work thanks to the generous 香港藝術節的資助來自 support of Arts its Festival donors. Please the Festival The Hong Kong is made possiblesupport with the funding support of Donation Scheme so we can continue to present world-class international and local artists as well as offering diverse outreach and education activities.

私┕䩋堑 News & Features news.artsfestival.org Website

ONLINE Email DONATION

h t t p ://g oFacebook . h ka f. o r g/g i v e

Instagram

Ⱖ➮䯪妵倰岁锞⿮ꠗⴚ倴劥 ⱁ㶩㽵鿈⛓䯪妵邍呔

hk.artsfestival.org afgen@hkaf.org @HKArtsFestival @hkartsfestival

For other donation methods, please refer to the Donation Form near the end of this booklet

The Hong Kong Arts Festival is a recipient of the HKSAR Government’s Art Development Matching Grants Scheme. Part of the Festival’s sponsorship and donation income will benefit from a dollar-for-

dollar match by the Government.* 所有作品內容均由創作團隊獨立製作，並不代表香港藝術節及贊助機構之立場或意見。 The content of all works is independently produced by the relevant creative teams anddoes not necessarily reflect the views or opinions of the HKAF or its sponsors. Donations of any amount will make a difference, and are

greatly appreciated! 香港賽馬會慈善信託基金、香港賽馬會、其各自關聯公司或任何參與彙編此載內容或與彙編此載內容有關的第三方（統稱「馬會各方」）皆無就內容是否準確、適時或完整或使用刨鍪 Enquiries: 內容所得之結果作任何明示或隱含的保證或聲明。任何情況下，馬會各方皆不會對任何人或法律實體因此載內容而作出或沒有作出的任何行為負上任何法律責任。 None of The Hong Kong Jockey Club Charities Trust, The Hong Kong Jockey Club, their respective affiliates or any other person involved in or related to the compilation of the contents herein (collectively, “the HKJC Parties”) makes any express or implied warranties or representations with respect to the accuracy, timeliness or completeness of the contents or as to the results that may be obtained by the ր諡轱氪㵴鞳 Ⲃshall 銷 ⱁ any ց ╯ HKJC 卋堑 ⹖Party 碸⯞硝兠any Subject to of conditions ofany theperson Government’s Art Development *use ꯄ ⹨thereof. In㷤no鿦event have liability any kind to or entity arising from or related to any actions taken or not taken as a result of any of the contents herein. Matching Grants Scheme.

dev@hkaf.org 2828 4911/12