Jockey Club Local Creative Talents Series - Journey to the West Rewind/Women Like Us - 49th HKAF

賽馬會本地菁英創作系列 Jockey Club Local Creative Talents Series

獨家贊助 Solely sponsored by

行政長官的話

MESSAGE FROM THE CHIEF EXECUTIVE

大部分節目，當中許多節目更開放 予世界各地愛好藝術的觀眾 。

衷心祝賀香港藝術節今年踏入第 49 屆 。這一年一度的藝術盛事在新冠 肺炎疫情的挑戰下，仍然辦得有聲 有色，精采可期。

今年藝術節帶來一連串繽紛多彩的 網 上 及 現 場 節 目， 涵 蓋 音 樂、 歌 劇、戲劇、舞蹈、電影等多個藝術 範疇 。總體來說，藝術節會在「遠 在咫尺」的主題下，呈獻合共約三百 場節目、活動及表演。 藝術節的亮點，包括捷克布爾諾國 家歌劇院及其兩年一度「布爾諾楊 納傑克節」的多場精選數碼版歌劇 及音樂會 。同樣引人注目的，還有 兩部取材自英國劇作家尼爾 ．巴奈 特改編劇作《鼠疫》的發人深省作 品，一部為英語版，另一部為粵語 版。粵語版為香港本地製作，英語 版則由身處六個地區的六名演員作 網上實時演出。來自蘇格蘭鄉村的 魔術師史葛．蕭凡亦會在網上實時 演出，他的互動作品《心靈旅程》每 場只限三十位觀眾參與 。此外，亦 有十六部慶祝香港賽馬會當代舞蹈 平台十周年的製作，包括與中國內 地及英國藝術家合力創作的作品 。 在藝術節開幕演出中，香港中樂團 會進行兩首曲目的世界首演，而廣 獲讚譽的莫斯科莫伊謝耶夫舞團， 則會為這國際藝壇盛會作閉幕演出。 我很高興市民可於登記後免費觀賞

藝術節一如以往，在學校推廣藝術 教育，並透過幕後花絮影片、藝術 家對談、演前及演後講座等「加料 節目」，讓觀眾與藝術家互動交流 。

衷心感謝香港藝術節團隊努力不 懈， 悉 心 籌 辦 以 上 各 項 節 目 及 活 動 。我亦感謝贊助商和捐款者大力 支持藝術文化，與藝術文化界共渡 時艱 。 謹祝香港藝術節圓滿成功，為大家 帶來一趟精采難忘的藝術之旅 。

It gives me great pleasure to congratulate the Hong Kong Arts Festival on the staging of its 49th annual celebration of the arts, and doing so in splendid fashion despite the daunting challenges of the COVID-19 pandemic.

This year’s Festival features a cheering range of online and in-venue programmes showcasing music, opera, theatre, dance, film and more.

In all, the Festival presents some 300 events, activities and performances under the theme “Separate Together”.

Festival highlights include a dazzling digital selection of operas and concerts from the Czech Republic’s National Theatre Brno and its biennial Janá ek Brno Festival. Equally notable are two piercing productions of British playwright Neil Bartlett’s adaptation of The Plague, one in English, the other in Cantonese. The Cantonese version is produced in Hong Kong, while the English version is a live

香港特別行政區行政長官

林鄭月娥

online performance starring six actors in six time zones. Illusionist Scott Silven also performs online and live, from rural Scotland. His interactive production, The Journey, is limited to 30 participants per show. The Hong Kong Jockey Club Contemporary Dance Series celebrates its 10th anniversary with 16 productions, including collaborations with artists from the Chinese mainland and the United Kingdom. The Festival opens with the Hong Kong Chinese Orchestra performing two world premieres and concludes its international slate with the acclaimed Igor Moiseyev Ballet from Moscow.

I find it particularly gratifying to note that the vast majority of events are available free of charge, upon registration, with many of them open to arts lovers from all over the world.

The Arts Festival’s promotion of arts education in schools continues. And PLUS programmes bring together audiences and artists through behindthe-scenes videos, artist dialogues and pre- and post-performance talks.

For all that, and much more, I am grateful to the inspired diligence and dedication of the Hong Kong Arts Festival team. My thanks, too, to the sponsors and donors for their generous support of the arts and culture, particularly in these trying times.

I wish you all an enjoyable and memorable Hong Kong Arts Festival.

Mrs Carrie Lam

Chief Executive Hong Kong Special Administrative Region

主席的話

MESSAGE FROM THE CHAIRMAN

第 49 屆香港藝術節思考「距離」及 「聯繫」的意義，我亦希望藉此機會 感謝一眾促成今天表演的支持者， 這場表演為我們提供難得的機會， 探索與他人聯繫的方法 。 我衷心感謝香港特別行政區政府透

過康樂及文化事務署提供年度撥 款，以及香港賽馬會慈善信託基金 持續並堅定地支持我們，也感謝眾 多企業贊助商、慈善基金會以至個 人捐助者，在這前所未有的挑戰中 給予我們莫大的幫助，與我們並肩 同行 。 亦要感謝一眾富有才華的藝術家傾 力演出，令今天的表演生色不少 。 同時也感謝觀眾的參與，令演出能 圓滿成功 。 希望你會在今天的演出中找到屬於 自己的聯繫，並像我一樣珍視這些 連結 。

As we reflect on distance and connection in the 49th Hong Kong Arts Festival, I would like to thank everyone who has made this performance possible, giving us an invaluable opportunity to explore ways of connecting with others.

I am grateful to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention; and to The Hong Kong Jockey Club Charities Trust for its staunch and ongoing support. Thanks are also due to our corporate sponsors, charitable foundations and individual donors, who continue to stand by us in these unprecedented circumstances.

Sincere thanks also go to all of the participating artists, whose talent and dedication have gone into today’s performance; and to you, the audience, without whom the show would not be complete.

I hope you will find your own connection to today’s performance and will treasure it as much as I do.

香港藝術節主席

查懋成

Victor Cha

Chairman Hong Kong Arts Festival

行政總監的話

MESSAGE FROM THE EXECUTIVE DIRECTOR

我連同藝術節團隊，很高興歡迎閣 下觀賞第 49 屆香港藝術節的演出 。

過去一年，香港以至世界情勢面臨 前所未有的變化，使我們都體會到 分離和孤獨的滋味 。「遠在咫尺」所 指的，正是我們這種共同經歷的感

With all my colleagues, I am thrilled to welcome you to this performance in the 49th Hong Kong Arts Festival.

Over the past year, we have shared the isolation resulting from unprecedented circumstances both in Hong Kong and around the world. 受 。今屆藝術節的不少節目亦與之 “Separate Together” acknowledges 呼應，身處各地的藝術家及觀眾， what we have all been going through, 因為藝術節的演出及活動而拉近彼 and is referenced in a number 此距離 。另一方面，「遠在咫尺」亦 of productions this year. It also 點出所有優秀藝術作品擁有的奇妙 alludes to all the separate artists 力量：既能喚起最獨特、深刻的個 and audiences brought together for 人感受和回應，但同時又能讓觀者 performances and events. At the 一 同 分 享 種 種 奧 妙、 感 動、 啟 迪 same time, “Separate Together” 和鼓舞 。今屆藝術節將呈獻眾多演 describes one of the most magical 出，我衷心希望我們會一起體會藝 aspects of great art: its capacity to elicit uniquely and deeply personal 術的奇妙力量 。 responses while paradoxically giving 此外，敬請留意一連串「加料節目」 us a shared moment of wonder, to be 活動，為你在演出以外打開新的觀 moved, inspired and uplifted. I hope 賞角度，令觀賞體驗更豐富 。請盡 very much that we will experience this together in many performances in the 情投入 ！ course of the Festival.

Please also look out for ancillary PLUS programmes and events, which are curated to provide additional dimensions to the work presented, and enrich your Festival experience. Enjoy!

香港藝術節行政總監

何嘉坤

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

Tisa Ho

Executive Director Hong Kong Arts Festival

香港藝術節 HONG KONG ARTS FESTIVAL

扎根香港的國際藝壇盛事 A major international arts festival in, of and for Hong Kong

「藝術的創作與演出給世界帶來美麗，給人類引起鼓舞，給生命充實活力，

給社會增添光輝……這是舉辦香港藝術節的崇高意義 。」

“Creative

and representational arts have a common mission.

They bring beauty to the world, courage to mankind, vigour to life, and brilliance to society…

Therein lies the noble significance of the Festival.” 香港藝術節協會永遠名譽會長邵逸夫爵士 (1907–2014) Sir Run Run Shaw, CBE, HKAF Honourary Life President (1907–2014)

香港藝術節於 1973 年正式揭幕，是國際藝壇中 重要的文化盛事，於每年 2、3 月期間呈獻眾多優 秀本地及國際藝術家的演出，致力豐富香港的文 化生活 。 藝術節的節目精采多元，涉獵音樂、歌劇、戲 曲、實驗劇場、芭蕾舞以至街舞等林林總總的類 型 。過往曾獲邀在藝術節舞台表演的國際演藝名 家及團體包括一流的國家歌劇院、劇團、管弦樂 團，以及眾多具代表性的表演者等 。我們亦經常 與傑出的國際藝術家及團體攜手製作演出 。

我們亦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 200 套本地全新創作，包括戲劇、室內歌 劇、音樂和舞蹈作品，不少更已在香港及海外多 次重演 。

為使香港的文化生活更豐富，我們每年於藝術 節前及期間主辦一系列多元化並深入社區的「加 料節目」，例如電影放映、大師班、展覽、藝人 談、後台參觀及文化導賞團等，鼓勵觀眾與藝術 家互動接觸 。

我們亦銳意將共融藝術理念拓展到社區每一角 落 。由藝術節與香港賽馬會慈善信託基金聯合 呈獻的「無限亮」計劃於 2019 年正式開展，透 過一系列的演出及多元的教育及社區外展節目， 「無限亮」致力創造共融空間，讓不同能力人士 均可以一同欣賞、參與及擁抱藝術 。

The Hong Kong Arts Festival (HKAF) 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 in February and March each year.

Since its launch in 1973, the HKAF has presented top international artists and ensembles across multiple genres—from music, opera, Chinese opera and ballet to break dance and experimental theatre. International guests have included major state operas, established theatres, top orchestras and stars of the day. We also frequently partner with renowned international artists and institutions to produce exceptional new works.

We have also collaborated with Hong Kong’s own creative talent to produce work which is now part of the local canon and to showcase emerging local artists. Over the years, the HKAF has commissioned and produced over 200 local productions across genres including theatre, chamber opera, music and contemporary dance—many with successful subsequent performances in Hong Kong and overseas.

As part of our enduring commitment to enriching the cultural life of the city, we organise a diverse range of Festival PLUS activities for the community before and during the Festival to enhance engagement between artists and audiences. These include film screenings, masterclasses, exhibitions,

為了培養未來的藝術家和觀眾，我們大力投資下 一代的藝術教育 。「青少年之友」成立 29 年來， 已為逾 782,000 位本地中學生及大專生提供藝術 體驗活動 。會員可參加由國際及本地藝術家主持 的示範講座及工作坊、學生展演、演前講座、公 開彩排，以及欣賞藝術節演出等 。通過「學生票 捐助計劃」，藝術節每年亦提供約 10,000 張半價 學生票 。

香港藝術節是一所非牟利機構，其主要收入除了 政府的恆常資助及票房外，極大一部分來自各大 企業、熱心人士和慈善基金會的贊助和捐款，以 及政府針對捐款和贊助收入而提供的配對資助 。

*2021 年 1 月更新 Updated January 2021

過往節目一覽

Visit our programme archive

meet-the-artist sessions and guided backstage and cultural tours.

Beyond the main Festival, the HKAF also promotes inclusivity and understanding through the arts. Its “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, strives to create an inclusive space for people with different abilities to share the joy of the arts together.

To nurture the next generation of artists and audiences, the HKAF also invests heavily in yearround arts education for young people. Over the past 29 years, our “Young Friends” scheme has reached over 782,000 local secondary and tertiary school students; members can enjoy showcases, pre-performance talks, open rehearsals, Festival performances and in-school workshops led by international and local artists. Donations to the Student Ticket Scheme also make approximately 10,000 half-price student tickets available each year.

The HKAF is a non-profit organisation. Its principal income sources are: recurrent funding from the government, box office revenues, and sponsorship and donations made by corporations, individuals and charitable foundations which form a significant portion of total income and also enables the HKAF to receive support from the Government’s matching scheme that matches income generated through private sector sponsorship and donations.

香港藝術節 HONG KONG ARTS FESTIVAL 感謝 would like to thank

獨家贊助 for being the Sole Sponsor of 「賽馬會本地菁英創作系列」 《後話西遊》/《兩個女子》

JOCKEY CLUB LOCAL CREATIVE TALENTS SERIES: JOURNEY TO THE WEST REWIND / WOMEN LIKE US

《後話西遊》 Journey to the West Rewind

故事大鋼、角色及分場

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編劇、演出及音樂 Playwright, Performer and Music

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導演、錄像導演、空間及造型概念 Director,

Video Director, Spatial and Styling Concept

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演員、創作及製作團隊簡介 Performer,

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Synopsis, Characters and Scenes

賽馬會本地菁英創作系列

Jockey Club Local Creative Talents Series

《後話西遊》/《 兩個女子》

JOURNEY TO THE WEST REWIND / WOMEN LIKE US 14–31.05.2021

江駿傑 Kong Chun-kit 黃俊達 Ata Wong

Creative and Production Team Profiles

《兩個女子》Women Like Us

故事大鋼、角色及分場

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作曲 Composer

46

文本 Librettist

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導演 Director

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演員、創作及製作團隊簡介 Performer,

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Synopsis, Characters and Scenes

網上演出

Online Performance

《 後話西遊》Journey to the West Rewind 演出長約 50 分鐘 Approx 50 minutes

《兩個女子》Women Like Us 演出長約 1 小時 Approx 1 hour 粵語演出，附中、英文字幕

Performed in Cantonese with Chinese and English surtitles

盧定彰 Daniel Lo 黃怡 Wong Yi 甄詠蓓 Olivia Yan

Creative and Production Team Profiles

香港藝術節委約及製作 Commissioned and produced by the Hong Kong Arts Festival 封面照片 Cover Photograph 《後話西遊》Journey to the West Rewind © Fung Wai-san 《兩個女子》Women Like Us © Asia Chow

香港藝術節感謝邵氏影城為《後話西遊》及 《兩個女子》節目提供影視及錄音支持 The Hong Kong Arts Festival thanks Shaw Studios for supporting the filming and sound recording for Journey to the West Rewind and Women Like Us

請勿在網上演出途中錄影、錄音、攝影或轉播 Photography, streaming or recording of any kind is strictly prohibited 通訊、流量狀況及其他外部因素可能影響影片畫質及音質，敬請見諒 Picture stability and quality are subject to home internet speeds and bandwidth, and other external factors

《後話西遊》

Journey to the West Rewind

監製 Producer

香港藝術節

Hong Kong Arts Festival 編劇及音樂 Playwright and Music

江駿傑 Kong Chun-kit

導演、空間及造型概念 Director, Spatial and Styling Concept

黃俊達 Ata Wong

錄像導演 Video Directors

岑軍諺 Sham Kwan-yin 黃俊達 Ata Wong

錄像剪接 Video Editor

許寶琪 Hui Po-ki

演出及演奏團隊 Cast and Ensemble

江駿傑 Kong Chun-kit

飾 – 孫悟空 演奏 – 揚琴、秦琴、小木魚、碰鈴 as Suen Ng-hung plays yangqin, qinqin, small temple block, handbell

陳志江 Chan Chi-kong

飾 – 天神、聲音 演奏 – 板、梆笛、二弦、文鑼、洞 簫、笛子、戰鼓 as Deity, The Voice plays clappers, bangdi, erxian, wenluo, bamboo pipe, Chinese flute, zhangu

吳國華 Ng Kwok-wa

飾 – 豬八戒 演奏 – 小鑼、小木魚、水琴 as Chu Bat-kai plays small gong, small temple block, waterphone

李國墇 Lee Kwok-cheung 飾 – 唐三藏 演奏 – 二胡、木魚 as Tong Sam-zong plays erhu, temple block

盧銘章 Kenji Lo

飾 – 沙悟淨 演奏 – 果實、大鈸 as Sha Ng-zing plays gourd, large cymbals

陳志偉 Chen Zhiwei

飾 – 白龍馬 演奏 – 板、嗩吶、喉管、小木魚、虎 鑼、短筒、揚琴、小鑼 as Bak Lung-ma plays clappers, suona, houguan, small temple block, tiger gong, guan, yangqin, small gong

陳蘊 Chen Yun

飾 – 佛祖、聲音 演奏 – 大鼓、空靈鼓、竹提琴、雷聲 筒、果皮、鈸、罄 as Buddha, The Voice plays bass drum, steel tongue drum, zhutiqin, thunder drum, gourd, cymbals, temple bowl Acknowledgements 鳴謝 Théâtre de la Feuille 綠葉劇團

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舞台創作及製作人員 Stage Creative and Production Team

燈光設計 Lighting Designer

陳焯華 Billy Chan

音樂顧問 Music Consultant

陳慶恩 Chan Hing-yan

製作經理 Production Manager

魏婉意 Gloria Ngai

舞台監督 Stage Manager

梁雅慈 Natalie Leung

執行舞台監督 Deputy Stage Manager

李玟蓉 Oliva Li

助理舞台監督 Assistant Stage Manager

黃韋樂 Ray Wong

舞台助理 Stage Crew

黃世榛

Christopher Wong Sai-tsun 陳德舜 Chan Tak-shun 服裝主任 Wardrobe Supervisor

林曉燕 Lam Hiu-yin

髮妝 Makeup and Hair Stylists

李永雄 Lee Wing-hung 李淑明 Lee Shuk-ming 李淑貞 Mep Lee Shuk-ching 周慧瑜 Chow Wai-yu

服裝助理 Dresser

黃曉欣 Wong Hiu-yan

電機師 Production Electrician

伍穎雯 Ng Wing-man

製作助理 Production Assistant

梁嘉倩 Kasin Leung

英文字幕 English Surtitles

余攸英 Grace S.Y Yee

燈光助理 Best Boys

馮卓庭 Fung Cheuk-ting 林濼晴 Coco Lam Lok-ching 蘇煒楗 So Wai-kin 何政熹 Ho Ching-hei 戴子汧 Tai Tsz-hin

場記 Continuity

關月英 Kwan Yuet-ying

錄像製作 Video Production

製片 Unit Production Manager

梁可瑜 Leung Ho-yu

錄像副導演 Assistant Video Director

梁國城 Leung Kwok-shing

攝影師 Directors of Photography

吳星宇 Ng Sing-yu 李潔映 Audrey Lee Kit-ying 樊凱輝 Fan Hoi-fai

助理製片 Production Assistant

唐兆禮 Leo Tong

機工 Key Grips

周少君 Maneejan Atsadawuth 馮家煒 Fung Ka-wai 王英杰 Wong Ying-ki 李銘華 Li Minghua 容培驊 Yung Pui-wa

燈光指導 Gaffer

莫若暉 Mok Yeuk-fai

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故事大鋼、角色及分場

故事大綱

SYNOPSIS

Synopsis, Characters and Scenes

唐三藏五師徒，千辛萬苦往西天取經，終於抵達靈山 。

一本無字經書，揭開了一場騙局 。向天朝呼叫 ？ 下凡間傳

揚 ？ 邊界之間，有人憤然抵抗，有人委曲求全，有人互相 廝殺 。如果時光可倒流，燈蛾不撲火，一趟大話西遊也從 沒發生⋯⋯剩下殘喘，可願自強不息，逆路前奔嗎 ？

Tong Sam-zong and his five disciples have endured numerous trials on their journey to the Western Heaven to retrieve the sutras. At last they have arrived at Spirit Mountain.

The wordless sutras reveal that the whole thing was a sham.

What can be done? Curse the heavens? Or return to the mortal world and spread the word? In these circumstances, some will angrily resist, others will bargain and comprise and others will fight. If they could rewind to the beginning and pull the moth from the flame, so that the great big lie of a journey to the west had never been taken…with their mission on its last legs, would they be willing to continue growth, to leave the chosen path and press forward?

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角色

CHARACTERS

唐三藏 Tong Sam- zong

性格窩囊，缺乏人情味，象徵「制度體系」。

A vapid helpless personality lacking in human empathy. Symbolises “the system”. 孫悟空 Suen Ng- hung

本性衝動急燥，容易鬧出事端，象徵「反抗」。

An impulsive and irritable character, prone to causing disturbances.

Symbolises “resistance”. 豬八戒 Chu Bat- kai

本性滑頭，機警靈動，象徵「妥協」。

Slippery, sharp, agile. Symbolises “compromise”. 沙悟淨 Sha Ng- zing

本性陰暗，行事謹慎，象徵「支配」。

Dark and calculated in his actions. Symbolises “domination”. 白龍馬 Bak Lung- ma

默默守護取經團隊，象徵「大愛與大義」。

Silently guards the disciples on their journey. Symbolises “love and righteousness”. 佛祖 Buddha

充滿野心及慾望，享受權力帶來的快感，象徵「制度內的操縱者」 。

Driven by ambition and desire. Enjoys the pleasure of having controlling power. Symbolises “manipulation in the system”. 聲音 The Voice

多變的角色，不斷流變轉換，遊走於不同時空 。

Many characters, constantly evolving and shifting between time-spaces.

16

故事大鋼、角色及分場

分場

SCENES

Synopsis, Characters and Scenes

序場 説唱 Prologue: The Story

取經西天關過關，千辛萬苦到靈山 。

第一場 靈山 Scene 1:

十四年歷盡艱辛，唐三藏五師徒登上九重天，終抵靈山 。帶着雪白 的靈魂，滿懷熱情與希望，朝拜西方極樂 。

第二場 邊界 Scene 2:

天界外，地界外，上無淵下無根的懸浮邊緣 。沒了身份，沒了國 度，看不見來路去路，回不了遙遙歸途 。

第三場 困局 Scene 3:

A Difficult Situation

真相揭露，十四年努力，換來白經一卷，一切可堪承受 ？ 唐三藏 為維護制度，開展一場權力挪移的遊戲，徒兒們各懷鬼胎，看誰終 不倒下 。

第四場 心靈對話 Scene 4:

曾經動了真情，曾經誠心唸佛，可惜身不由己 。放下權威，脱去袈 裟，彼此相望……到頭來甚麼也不是 。

第五場 白茫茫世界 Scene 5:

被困於騙局中心，萬劫不復之地 。大限將至，僅餘最後一息，誓尋 出路 。

終章 馬 Finale: The Horse

牠帶着這本經書，一直向前衝 。衝出九重天，衝出大千世界，衝出 宇宙邊緣……

Spirit Mountain

The Edge

Heart to Heart

A World of Whiteness

Journey to the west to retrieve the sacred texts; after thousands of trials to arrive at Spirit Mountain.

After 14 years of hardship, Tong Sam-zong and his five disciples ascend the nine heavenly mountains and arrive at Spirit Mountain. With clear souls and hearts full of passion and hope, they praise the Western Paradise.

Outside the realms of earth and sky; rootless, floating fringe. Without identity, without nationality, the road ahead or behind is not clear; there is no turning back home, which is now far away.

The truth is revealed: 14 years of hard work, all for a blank sutra. How could one bear it? To protect the system, Tong Sam-zong starts a game of shifting power; each of the disciples hides his own plot and watches to see who doesn’t fall.

Once they felt real commitment; once they practiced Buddhism with sincerity. Now they cannot go on. They put aside their authority, take off their monk robes (kasaya)…In the end, nothing is.

Caught in the centre of this fraud, a place doomed to damnation. The end is near; with a final breath, they vow to find the way out.

Carrying the sutras, he runs forward, out of the nine heavenly mountains, out of the human world, out of the bounds of this universe.

17

編劇的話

PLAYWRIGHT’S NOTE

© Asia Chow

近 年「傳 統 與 創 新」， 開 始 變 得老生常談 。粵劇本身是泥土 與草根氣息濃厚的地方文化， 但當進入西方劇場，似乎沒解 決其錯置與相衝問題：交響化 的粵劇音樂撞擊了即興拍和、 鑼鼓不能打太響、寫實佈景與 虛擬動作相衝⋯⋯甚麼是一桌 兩椅？甚麼是棚面和兜搭？ 甚麼是開放式空間 ？ 甚麼是即 興與在場 ？ 整套戲曲傳統美學 價值在哪 ？

2019 年 3 月， 我 們 以 牛 棚 作 基 地， 展 開 這 探 索 旅 程 。 當 時 以戲曲新文本為主，西方作曲 為定調，弦樂四重奏與戲曲敲 擊、女高音與粵劇演員的聲音 互 動， 其 碰 撞 眼 前 一 亮， 擦 出火花，可惜核心問題並沒解 決， 呈 現 了 中 西 並 置 的 不 協 調 。 牛 棚 經 驗 對 我 很 重 要， 「做 實 驗」的 大 部 分 時 間 不 在 演 出 排 練， 而 在 把「題 目 與 目標」問得對 。感謝牛棚團隊 們 的 經 營 與 栽 種， 引 導 我 從 「西」回東土，向「反璞歸真」 方向走 。 18

Nowadays, the phrase “tradition meets innovation” has become something of a cliché. Cantonese opera is, at its core, an organic, grassroots local culture. But when Cantonese opera enters the Western theatre, it seems that issues of displacement and dissonance have yet to be resolved. A symphonic arrangement of Cantonese opera music clashes with the tradition of improvised accompaniment.

The volume of the luogu must be controlled. Realistic set designs are out of place next to abstract movements. In this context, what is the versatile, abstract stage prop of “one table, two chairs”?

What is pengmian, the location of the accompanying ensemble, or douda, the improvised resonance between singer and lead musician? What is open space? What is improvisation and present-ness? Where are the traditional aesthetics of Chinese opera?

編劇的話

Playwright’s Note

© Fung Wai-san

感 謝 香 港 藝 術 節， 讓 我 有 機 會將「當代戲曲」化成音樂劇 場， 從 構 想 中 呈 現 到 舞 台 。 希望能豐富本土戲曲的多重想 像，多一種演繹方式 。感謝導 演、演員合奏、團隊們並行挑 戰，同繪一幅當代戲曲的行動 圖譜 。 取西經，幾多難關都向着前， 即 使 身 陷 困 局， 剩 下 最 後 殘 喘，都能自強不息向着出口逆 路前奔。《後話西遊》是探問， 是起點 。

In March 2019, we began this exploratory journey at Cattle Depot Artist Village. We mingled xiqu texts with Western musical compositions, a string quartet with Chinese opera percussion and a soprano with the voices of Cantonese opera performers.

These collisions sparked fireworks for us. Unfortunately, we had yet to resolve the core problem: the discordance of juxtaposing Eastern and Western traditions. Our experience at Cattle Depot was crucial. The majority of the time spent “experimenting” was not in rehearsing, but in finding the right topic and direction. Thank you to the Cattle Depot team for their management and counsel, guiding us to return to East from West, leading us in the direction of pared-down simplicity.

Thank you also to the Hong Kong Arts Festival for allowing me the opportunity to turn “contemporary Chinese opera” into musical theatre and take this concept to the stage. I hope that having one more interpretive method can enrich the imagination of the local Chinese opera scene. I’d also like to thank the director, actors, musicians and creative team for facing these challenges together and, in the process, creating an animated portrait of contemporary Chinese opera.

To retrieve the sacred texts, we press on, no matter the obstacles. Even if we find ourselves in dire straits, there may still be a path for growth if we head for the exit. Journey to the West Rewind is an inquiry, a starting point.

江駿傑 Kong Chun- kit

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導演的話

DIRECTOR’S NOTE

© Fung Wai-san

苦果要經歷苦難，才能得道 。

也許今天……我們所看到的， 也是不能避免 。 現在的我們還相信有因果嗎 ？

佛經裏的因果： 「因」是能造作、產生一定後果 的原因；「果」就是由一定原因 產生的結果 。佛學裏説的緣起 論，產生了因果理論，它是佛 教輪迴解脫理論的基礎：種瓜 得瓜，種豆得豆 。佛教認為任 何事物都可能成為因，也可能 成為果，沒有絕對的因，也沒 有絕對的果 。

聖經裏的因果： 亞當和夏娃被蛇所引誘，吃了 能分辨善惡的樹上果實 。它是 神吩咐絕對不可吃的禁果 。因 為吃了禁果，他們被神趕出伊 甸園 。這是「因果」嗎 ？ 耶穌 在 聖 經 裏 所 說：「人 種 的 是 甚 麼，收的也是甚麼」。 我相信因果，從因果裏我看見 一 個 不 停 循 環 的 空 間。 空 間 外，我們心如明鏡；空間內，

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Bitter ordeals yield bitter fruit.

Perhaps today…

What we witness could not have been avoided.

Do we still believe in karma?

Karma in Buddhism: Karma—yinguo in Chinese— can be broken down thus: yin is a cause that can produce a certain effect; guo is the effect produced by a certain cause.

The theory of karma derives from Buddhism’s doctrine of dependent origination. It is the basis of breaking the cycle of samsara: one reaps what one sows. Buddhism believes that anything can be yin; anything can become guo. There is no absolute cause, nor any absolute effect.

Karma in the Bible: Adam and Eve were seduced by the snake to eat the fruits of the tree of wisdom—a fruit that God had forbidden them to eat.

Because they ate this forbidden fruit, they were banished from the Garden of Eden. Is this

導演的話

Director’s Note

© Fung Wai-san

我們互相角力 。因果往往只能 經歷，不能阻止 。 期望尋回混沌之初 。

註：感謝所有台前幕後的創作 團隊，祝願大家身體健康 。

karma? In the Bible, Jesus says: “Give and it shall be given to you.”

I believe in karma. Within karma, I see space for a never-ending cycle. Outside of that space, our hearts are as clear as day; inside it, we wrestle amongst ourselves. Karma can often only be experienced; it cannot be stopped.

I hope to find the origins of chaos.

P.S. Thank you to all of our creative team both onstage and offstage and I wish them all good health.

黃俊達

Ata Wong

21

編劇、演出及音樂 – 江駿傑

©Cas Lau@FlareStudioHK

江駿傑 Kong Chun- kit

編劇、演出及音樂

Playwright, Performer and Music

江駿傑是戲曲表演藝術創作 人，專注劇本及音樂創作，兼 涉表演及多種樂器演奏 。2020 年創辦「水馬人 。文化藝術工 作舍」。 他九歲起接受全面傳統戲曲訓 練，師承蔣艷紅習古腔，隨韓 燕明習北派，獲高潤權、駱慶 兒、司徒紹及王廣宇指導鑼鼓 及音樂編作，並得呂洪廣和林 錦堂等習表演技巧，後於八和 粵劇學院進修 。戲劇方面，曾 跟隨杜國威學習編劇，隨毛俊 輝學習中西戲劇創作，以及隨 榮念曾及何應豐學習跨文化思 考及策劃模式 。 他 是 2012 年 香 港 藝 術 發 展 獎 的藝術新秀獎（戲曲）得主； 2014 年赴上海戲劇學院修讀首 屆中國戲劇家協會「全國青年 音 樂 家 研 修 班」；2018 年 畢 業 於香港演藝學院戲曲學院 。

他的劇場創作以傳統東方美學 為起點，回溯戲曲本源，發掘 身心訓練的新路向，並嘗試開 拓觀眾戲曲實驗劇場的創作， 22

探索戲曲於當代社會的新可 能 。 主 要 作 品 包 括：《血 海 迷 航》、《女兒國 ．無明愛》、《暗 箭 記》、《生 死 判》、《百 花 亭 贈劍》（與毛俊輝聯合改編）、 《 尋 人 啟 事 》、《 搬 家 》、《 夜 奔》、《煤山上的老槐樹》等 。

他近年於不同院校與機構擔任 戲曲指導及項目設計，包括香 港演藝學院、香港中文大學、 嶺南大學、明愛社區書院、進 念 ．二十面體、香港話劇團及 中英劇團等 。

Kong Chun-kit is a multidisciplinary Chinese opera artist who works as a playwright, composer, performer and musician. He founded Aphros Cultural Arts Studio in 2020.

Kong began his traditional Chinese opera training at the age of nine. He learned the Cantonese operatic song in classical singing style from Cheung Yim-hung; Northern School of Peking opera from Hon Yin-ming; gong and drum, and music arrangement and composition from Ko Yun-kuen, Luo Qing'er, Szeto Siu and Wong Kwong-yu; performing technique from Lui Hung-kwong and Lam Kam-tong. He then continued his studies at the Cantonese Opera Academy of Hong Kong.

He studied playwriting with Raymond To and Fredric Mao and experimented with ways of cross-cultural thinking and curation under the instructions of Danny Yung and Ho Ying-fung.

Playwright, Performer and Music – Kong Chun-kit

In 2012, he was the recipient of the Hong Kong Arts Development Council Award for Young Artists (Xiqu). He completed the inaugural Chinese Theatre Association National Youth Opera Musicians Programme at the Shanghai Theatre Academy in 2014. He graduated from the Hong Kong Academy for Performing Arts School of Chinese Opera in 2018.

With a focus on Oriental aesthetics and Chinese opera traditions, Kong is dedicated to exploring new ways of mind and body training, and opening up new possibilities of Chinese opera in modern times. His major works include The Count, The Ladies Kingdom, The Sin of Hero (II), The Gate of Hell, Pavilion of a Hundred Flowers (co-adapted with Fredric Mao), Wanted, To Make a Move, Flee

by Night, The Last Day of Ming Dynasty, among others.

Recently, he has worked as Chinese opera instructor and production curator in various schools and organisations such as the Hong Kong Academy for Performing Arts, the Chinese University of Hong Kong and Chung Ying Theatre Company.

導演、錄像導演、空間及造型概念 – 黃俊達

整體演出及香港藝評人獎年度 導 演 獎 。 其 導 演 作 品 包 括： 《十 四》、《鄭 和》 和《狂 人》 等。

黃俊達 Ata Wong

導演、錄像導演、空間及造型概 念 Director, Video Director, Spatial

and Styling Concept

黃俊達身兼香港導演、編舞、 演員、電影肢體演技指導及戲 劇 導 師， 是 2017 年 香 港 藝 術 發展獎——藝術新秀獎（戲劇） 得主 。2019 年獲香港民政事務 局頒發年度推動文化藝術發展 傑出人士嘉許獎 。

2005 年畢業於香港演藝學院舞 蹈學院；2008 年赴賈克 ．樂寇 國際戲劇學校，成為完成該校 兩年課程及動作研究所課程的 華人，後於 2018 年完成第三年 師資課程 。

於歐洲期間，他曾參演的製作 包括：國際戲劇大師彼得 ．布 祿克及西蒙 ．布祿克聯合導演 的劇場紀錄片《走隱形鋼線的 人》、 艾 雲 娜 ． 布 祿 克 導 演 的 《小飛俠》、菲比斯製作《亞馬 遜公主》等 。

2010 年 他 創 立 綠 葉 劇 團， 兼 任藝術總監及創作導演，2018 年憑《爸爸》提名香港舞台劇 獎 最 佳 導 演（喜 劇 ／ 鬧 劇）； 2020 年憑《孤兒》獲第 12 屆香 港 小 劇 場 獎 最 佳 導 演、 最 佳

黃俊達為不同學院和機構主持 肢體演技訓練、工作坊及公開 課堂，合作夥伴包括香港演藝 學院、香港藝術節、城市當代 舞 蹈 團、 中 英 劇 團、 演 戲 家 族、 上 海 戲 劇 學 院、 北 京 大 學、 清 華 大 學、 天 津 音 樂 學 院、廣州大劇院、克羅地亞普 拉國際戲劇節、法國亞維儂藝 穗節、英國愛丁堡藝穗節、烏 鎮戲劇節等 。

Ata Wong is a director, choreographer, actor, movement coach and theatre instructor.

He was the recipient of the Hong Kong Arts Development Council Award for Young Artist (Drama) in 2017. In 2019, he was presented with a commendation certificate by the Home Affairs Bureau in recognition of his contributions to the promotion of culture and arts.

He graduated from the School of Dance in Hong Kong Academy for Performing Arts. Later he was the first Chinese national to study at the École Internationale de Théâtre Jacques Lecoq in Paris, France in 2008, where he also completed the third-year teacher education programme in 2018.

Director, Video Director, Spatial and Styling Concept – Ata Wong

documentary named Sur un fil/ The Tightrope (Brook Production) co-directed by the world-famous Peter Brook and Simon Brook, PAN (Compagnie Irina Brook) and Princess Amazonia (Phoebus Productions).

Wong formed Théâtre de la Feuille in 2010 and has served as director and artistic director.

In 2018, Papa won Best Director (Comedy/Farce) at the Hong Kong Drama Awards. L’Orphelin was awarded Best Director and Best Overall Performance of the Hong Kong Theatre Libre, and the Annual Director of Hong Kong Art Critics Award. His directorial works include Sonnets, Zheng He and Madman.

Wong often conducts movement training, workshops and courses for various institutions and organisations. Previous partners include the Hong Kong Academy of Performing Arts, the Hong Kong Arts Festival, City Contemporary Dance Company, Chung Ying Theatre Company, Actors’ Family, Shanghai Theatre Academy, Peking University, Tsinghua University, Tianjin Conservatory of Music, Guangzhou Opera House, International Theatre Festival (Croatia), Festival d’Avignon (France), Edinburgh Festival Fringe (UK) and Wu Zhen Theatre Festival, among others.

During his time in Europe, Wong was involved in performances by various theatre groups and directors, including a theatre 23

陳志江

©Cas Lau@FlareStudioHK

Chan Chi- kong

飾—天神、聲音 as Deity, The Voice 演奏團隊 Ensemble

陳志江自小習粵曲、笛子和胡 琴， 畢 業 於 香 港 演 藝 學 院， 主 修 戲 曲 伴 奏， 曾 任 粵 劇 樂 師 。2012 年成立藝團「一才鑼 鼓」， 積 極 創 作、 重 構、 重 編 各種戲曲作品，如 2017 年戲曲 獨 腳 戲《俺， 武 松》、2019 年 與非物質文化遺產辦事處合作 進行「南音遊記—行到邊 ．唱 到邊」展演計劃，以及 2021 年 藝術數碼平台計劃「香港微音 樂」。

2014 至 2017 年 間， 他 為 香 港 中文大學戲曲資料中心主辦之 「民 初 粵 樂 探 微」講 座 音 樂 會 系列擔任領奏樂師，重構早期 樂譜 。近年涉獵即興演奏、劇 場及各類跨界合作，如 2018 年 新視野藝術節及 2019 年衛武營 TIFA 當代音樂平台上演之《南 ；2019 年參與由「何 音味自慢》 必 。 館」 製 作 之「觀 。 聲 。 陣——參與式劇場在地研究計 劃」。

24

Chan Chi-kong studied Cantonese opera singing, Chinese flute and huqin from an early age. He graduated from the Hong Kong Academy for Performing Arts, majoring in Cantonese operatic music accompaniment, after which he worked as a Cantonese opera accompanist. In 2012, he founded the ensemble The Gong Strikes One. In 2017, the group presented its first theatrical work, I, Wu Song, a one-man Chinese opera. In 2019, the group collaborated with the Intangible Cultural Heritage Office on the project, “Singing Nanyin as We Go”. The group will join the Hong Kong Music Miniatures of The Arts Go Digital project in 2021.

From 2014 to 2017, Chan reconstructed early music scores and was the music leader for the lecture-concert series, “Interpreting Early Cantonese Music”, presented by the Chinese Opera Information Centre of the Chinese University of Hong Kong. Recently, he has been exploring improvised music and multidisciplinary performances, such as The Modern-Day Flavours of Nanyin and Naamyam presented at the New Vision Arts Festival (2018) and Weiwuying TIFA Contemporary Music Platform (2019) in Taiwan. In 2019, he took part in the participatory theatre project “To Behold! To Voice! To Remap!”, produced by Hobitgoon.

吳國華

Ng Kwok- wa

飾—豬八戒 as Chu Bat-kai 演奏團隊 Ensemble

吳國華為粵劇演員，工武生， 拜關世振老師為師，曾隨何家 耀、蔡之崴、黃綺雯及楊明等 老師學藝 。2004 年開始於雯藝 軒青少年粵劇團學藝，2011 年 畢業於香港演藝學院中國戲曲 證書課程 。曾演出粵劇《三氣 周 瑜》、《攔 江 截 斗》、《八 大 錘》； 京劇《挑滑車》及舞台劇 《蘭陵王 · 高長恭》等作品 。 吳國華現為自由身粵劇舞台演 員，並在不同團體及學校擔任 戲曲導師 。

演員簡介

Ng Kwok-wa is a Cantonese opera performer specialising in the wusheng (military male) role.

He has apprenticed under Guan Shizhen and later studied with Ho Ka-yiu, Tsai Chi-wei, Wong Yee-man, Yeung Ming and others.

In 2004 he joined the Emily Music Forum Youth Cantonese Opera Troupe. In 2011 he graduated from the Hong Kong Academy for Performing Arts with a diploma in Chinese opera.

His past performance credits include, in Cantonese opera Fooling Chow Yu, Interception on the River to Rescue O Dou, The Eight Mallets; in Peking opera, Lifting the Chariot, and in theatre Warrior LanLing — In Battle, among others.

Ng is currently a freelance Cantonese opera performer and teaches Chinese opera at various schools and organisations.

李國墇

Performer Profiles

©Cas Lau@FlareStudioHK

Lee Kwok- cheung

飾—唐三藏 as Tong Sam-zong 演奏團隊 Ensemble

李國墇是 17Hz Music Studio 的 創辦人 。他五歲時習鋼琴，小 學參加合唱團，九歲習二胡 。 曾獲校際音樂節二胡獨奏高級 組冠軍、深造組季軍、粵曲平 喉獨唱大專組冠軍 。

2015 年入讀香港演藝學院戲曲 學院，主修大提琴，亦學習作 曲 。2016 年他隨香港青年中樂 團到上海交流演出，擔任曲目 《迴》之男聲獨唱，獲著名指揮 家夏飛雲先生讚賞 。2019 年， 為其學士畢業獨奏會創作胡琴 協 奏 曲《粵 ． 巔 瘋》； 同 年 作 品《火浴》入選「音樂遇上韓 志勳」公開徵集活動 。 曾 合 作 組 織 包 括： 香 港 中 樂 團、 香 港 弦 樂 團、 西 九 文 化 區、任白慈善基金及香港藝術 節等 。

Lee Kwok-cheung is the founder of 17Hz Music Studio. He began learning piano at the age of five, receiving choir training in primary school and learning erhu when he was nine. He was awarded first prize for Erhu Solo (Senior) and Man’s Vocal Solo of Cantonese Operatic Singing (Tertiary), and third prize for the Advanced section in the Hong Kong Schools Music Festival.

Lee entered the School of Chinese Opera at the Hong Kong Academy for Performing Arts in 2015, majoring in cello and also studying composition. In 2016, he was a male vocalist in Spiralling Voice in the Mountains with the Hong Kong Youth Chinese Orchestra in Shanghai, which was praised by renowned conductor Xia Feiyun. In 2019, he created a huqing concerto for his Bachelor Graduation Recital.

Another work of his, Bath of Fire, was selected for the Music X Hon Chi-fun Showcase.

He has collaborated with several organisations, including the Hong Kong Chinese Orchestra, the Hong Kong String Orchestra, the West Kowloon Cultural District, Yam Kim Fai & Pak Suet Sin Charitable Foundation and the Hong Kong Arts Festival, among others.

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©Cas Lau@FlareStudioHK

盧銘章

陳志偉

飾—沙悟淨 as Sha Ng-zing 演奏團隊 Ensemble

飾—白龍馬 as Bak Lung-ma 演奏團隊 Ensemble

Kenji Lo

盧銘章生於粵劇世家，爺爺盧 啟光是內地著名粵劇表演藝術 家，母親郭碧是粵劇揚琴伴奏 家 。他於 2005 年開始參與不同 類型的粵曲演唱會，並先後在 2012 年 和 2014 年 舉 行 兩 次 大 型個人粵曲演唱會 。他其後於 香港演藝學院深造粵劇知識， 習 生 角 。2016 年 起 參 與 多 個 粵劇團的演出，亦曾到訪新加 坡、加拿大、澳門及台灣等地 演出 。

Kenji Lo was born into a Cantonese opera family. His grandfather Lo Qiguang is a famous Cantonese opera performer and his mother Kwok Pik is a yangqin performer.

He has performed in many Cantonese operatic concerts since 2005 and held his two personal concerts in 2012 and 2014. Lo further studied Cantonese opera at the Hong Kong Academy for Performing Arts and specialised in sheng (leading male) roles. Since 2016, he has appeared in many performances of Cantonese opera troupes and has also performed in Singapore, Canada, Macau, Taiwan and elsewhere.

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Chan Zhiwei

陳 志 偉 五 歲 隨 父 學 藝 。2000 年考入廣東粵劇學校，曾跟隨 廖盟書、徐鴻偉等老師學習嗩 吶、喉管及色士風 。同年加入 廣東粵劇院青年團，任嗩吶及 喉管演奏樂手，並於 2008 年正 式拜廣東粵劇院著名嗩吶及喉 管演奏家高升為師 。

由他擔任嗩吶及喉管演奏的 獲 獎 劇 目 包 括《大 明 悲 歌》、 《山鄉風雲》及《青春作伴》。 2007 年 他 參 加 了《山 鄉 風 雲》 的五十多場中國及海外巡迴演 出；2013 年參加中國民族器樂 民間樂種組合展演職業賽，獲 演奏獎；2015 年取得廣東省藝 術專業三級演奏員資格證 。

2015 年 入 讀 香 港 演 藝 戲 曲 學 院學士學位課程，並獲得香港 政府非本地生全額獎學金，其 間師隨香港中樂團嗩吶演奏家 劉海學習北方嗩吶，及師隨香 港色士風演奏家孫穎麟和張光 明 。2016 年隨學院赴加拿大、 北京等地作交流演出 。

Chan Zhiwei started studying Cantonese opera with his father aged five. In 2000, he was admitted to the Guangdong Cantonese Opera School, where he studied suona, houguan and saxophone under the instruction Liu Mang-syu and Cheui Hungwai. He then joined the Youth Cantonese Opera Troupe of the Cantonese Opera Academy of Guangdong where he worked as suona and houguan player, and saxophonist. In 2008, he became the apprentice of Gao Sheng, a renowned suona and houguan player of the Guangdong Cantonese Opera Institute.

He played suona and houguan for several award-winning pieces, including A Ming Dynasty Lament, Youth Partners and Storm of the Countryside, which has been performed more than 50 times in China and abroad in 2007. He was the recipient of the Best Performer Award at the Chinese Musical Ensemble Showcase in 2013 and the thirdtier performer certificate of the Guangdong province in 2015.

In 2015, he began his studies in Chinese opera at the Hong Kong Academy for Performing Arts, where he has studied northern suona under the instruction of Liu Hai (Hong Kong Chinese Orchestra) and saxophone under Timothy Sun and Cheung Gwong-ming. In 2016, he went to Canada and Beijing for exchange performances along with the school.

演員簡介

陳蘊

©Cas Lau@FlareStudioHK

Chen Yun

飾—佛祖、聲音

as Buddha, The Voice

演奏團隊 Ensemble

陳蘊，蒙古族，自幼師隨宋飛 及趙奇學習二胡，曾在內蒙古 科爾沁藝術職業學院進修進二 胡 及 馬 頭 琴 。2012 年 服 役 中 國人民解放軍駐香港部隊，後 被選入駐香港部隊政治部文工 隊，曾多次代表駐軍參加各項 大型文藝演出 。 她 2017 年 入 讀 香 港 演 藝 學 院 戲曲學院高級文憑課程，並獲 得香港政府非本地生全額獎學 金，在校期間師隨粵樂著名音 樂領導及音樂創作家駱慶兒學 習高胡、戲曲伴奏及理論 。

Performer Profiles

Chen Yun studied erhu from an early age under the instruction of Song Fei and Zhao Qi. She furthered her study of the erhu and morin khuur (horsehead fiddle) at the Horqin Vocational College of Art in Mongolia. In 2012, she served in the People’s Liberation Army Hong Kong Garrison, and was selected for the Art Troupe of the Political Department of Hong Kong Garrison. During her service, she performed in several large-scale performances.

She graduated from the Hong Kong Academy for Performing Arts in 2017 with an advanced diploma in Cantonese Opera. There she studied gaohu, Cantonese opera accompaniment and theory under Luo Qing’er.

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創作及製作團隊簡介

Creative and Production Team Profiles

創作及 製作團隊簡介

Creative and Production Team Profiles

岑軍諺畢業於香港浸會大學傳 理 學 院， 主 修 電 影 及 電 視 專 業 。現為製作公司擔任導演， 主 要 執 導 獨 立 短 片、 劇 場 錄 音、廣告等，亦為本地獨立製 作擔任編劇、剪接等崗位 。

岑軍諺

Sham Kwan- yin

錄像導演 Video Director

Sham Kwan-yin is a graduate of Hong Kong Baptist University School of Communication, majoring in Film and Television Concentration. Currently as a director of a production company, his direction credits include independent short films, theatre recordings and commercials. He also acts as scriptwriter and video editor for local independent productions.

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陳焯華

Billy Chan

燈光設計 Lighting Designer

陳焯華畢業於香港演藝學院科 藝學院，主修劇場燈光設計 。 2017 年 憑 非 常 林 奕 華《紅 樓 夢》獲上海靜安現代戲劇谷壹 戲劇大賞年度最佳舞台美術類 （燈 光 設 計）獎 。2019 年 憑 中 英劇團《羅生門》獲第 28 屆香 港舞台劇獎最佳燈光設計，又 憑香港舞蹈團《紫玉成煙》獲 香港舞蹈年獎 2019 傑出燈光設 計 。近期作品包括：一鋪清唱 《三生三世愛情餘味》、上海染 空間音樂劇《白夜行》及香港 芭蕾舞團《大亨小傳》。

Billy Chan graduated from the School of Technical Arts at the Hong Kong Academy for Performing Arts, majoring in lighting design. In 2017, he won the Best Stage Art Award (Lighting Design) at Shanghai Jing’an Modern Drama Valley One Drama Awards for Edward Lam Dance Theatre’s What Is Sex? In 2019, he won the Hong Kong Drama Award for Best Lighting Design with Chung Ying Theatre Company’s Rashomon and the Hong Kong Dance Award for Outstanding Lighting Design for Waiting Heart. Recent works include the Yat Po Singers’ Love, Death and Everything InBetween, Ranspace’s musical Into the White Night, and the Hong Kong Ballet’s The Great Gatsby.

魏婉意

Gloria Ngai

製作經理 Production Manager

魏婉意畢業於香港演藝學院， 主修舞台及技術管理，並獲得 藝術學士（榮譽）學位 。畢業 後曾與多個藝術團體合作，包 括香港歌劇院、香港藝術節、 鄧樹榮戲劇工作室、法國五月 節及 ABA 製作有限公司 。近年 她為多個海外團體任本地的製 作經理，包括英國莎士比亞環 球劇團、英國曲線劇院及英國 Selladoor 劇團 。

Gloria Ngai graduated from the Hong Kong Academy for Performing Arts, majoring in stage and technical management. She has collaborated with many arts organisations including Opera Hong Kong, the Hong Kong Arts Festival, Tang Shu-wing Theatre Studio, Le French May and ABA Productions. She also works as a production manager for overseas groups performing in Hong Kong, recently including Shakespeare’s Globe, the Curve Theatre and Selladoor Theatre Company (UK). 梁雅慈

Natalie Leung

舞台監督 Stage Manager

梁雅慈畢業於香港演藝學院， 主修藝術、項目及舞台管理 。 畢業後參與不同劇團的製作， 現為自由身舞台管理工作者 。

Natalie Leung graduated from the Hong Kong Academy for Performing Arts, majoring in arts, events and stage management.

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She has worked with numerous performing arts companies in Hong Kong. She is currently a freelancer in the field of stage management. 李玟蓉

Oliva Li

執行舞台監督 Deputy Stage Manager

李玟蓉畢業於香港演藝學院， 主修藝術、項目及舞台管理 。 她積極參與各類型製作，包括 中 國 戲 曲、 西 洋 歌 劇、 音 樂 劇、戲劇、舞蹈、廣告及微電 影等 。

她 與 友 人 於 2016 年 成 立 劇 團 「演員的自我搔癢」，並擔任製 作總監至今 。現為自由身舞台 工作者 。

Oliva Li graduated from the Hong Kong Academy for Performing Arts, majoring in arts, events and stage management. She works on productions of various genres including xiqu, opera, musical, theatre, dance, advertising and short film, among others.

Li founded Plume Theatre with friends in 2016 and she has been its production director ever since.

She is now currently a freelance stage practitioner. 黃韋樂

Ray Wong

助理舞台監督 Assistant Stage Manager

黃 韋 樂 曾 參 與 的 製 作 有 C5 Projects Ltd 室 內 歌 劇《美 麗 與 哀愁》；香港歌劇院《弄臣》、 《唐 ．喬望尼》及《杜蘭朵》； 西九文化區小劇場粵劇《霸皇 別姫》（新編）（泉州站、北京

演員、創作及製作團隊簡介

Performer, Creative and Production Team Profiles

站、 天 津 站）及《文 廣 探 谷》 （北京站）；黃子華舞台劇《前 度》；天台製作《不是女僕》及 《行為倫喪》；香港話劇團《五 月的梅子》及《一飛沖天去》； 同流《野豬》（重演）、《山羊》 （首演及重演）及《聖訴》。他 現為自由身舞台工作者 。

Ray Wong has held various positions in stage productions such as C5 Projects’ chamber opera Beauty and Sadness; Opera Hong Kong’s Rigoletto, Don Giovanni and Turandot; West Kowloon District Authority’s Experimental Cantonese Opera Farewell My Concubine (Quanzhou Tour, Beijing Tour, Tianjin Tour) and Wenguang Explores the Valley (Beijing Tour); Dayo Wong Tze-wah’s Skylight; Rooftop Productions Not the Maids and The Beautiful Ones; Hong Kong Repertory Theatre’s May and Way Up to the Sky; We Draman Group’s Wild Boar (re-run), The Goat, or Who Is Sylvia? (premiere and re-run) and Doubt.

Wong currently works as a freelance stage practitioner.

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《兩個女子》

Women Like Us

監製 Producer

香港藝術節

Hong Kong Arts Festival 原著故事 Original Stories

西西 Xi Xi

作曲 Composer

盧定彰 Daniel Lo

文本 Librettist

黃怡 Wong Yi

導演 Director

甄詠蓓 Olivia Yan

指揮 Conductor

蘇柏軒 Perry So

鋼琴及練唱指導 Piano and Répétiteur

葉亦詩 Nina Yip

錄像導演 Video Director

丁裕軒 domting

錄像剪接 Video Editor

許寶琪 Hui Po-ki

演出及角色 Cast

曾麗婷（女高音） Kenix Tsang (Soprano) 飾 – 女子 as Girl

樂隊 Ensemble

長笛及短笛 Flute and Piccolo

李一葦 Angus Lee*

張吟晶（女中音） Samantha Chong (MezzoSoprano)

單簧管 Clarinet

廖匡（男高音） Frankie Liu (Tenor)

巴松管 Bassoon

飾 – 魚 as Fish

飾 – 楚、社會聲音、內心聲音 as Chu, Voice of Society and Voice of Heart

胡永正（男中音） Caleb Woo (Baritone)

飾 – 醫生、社會聲音、內心聲音 as Doctor, Voice of Society and Voice of Heart

林國浩 #（男低音） Lam Kwok-ho# (Bass)

飾 – 親友、社會聲音、內心聲音 as Family and Friends, Voice of Society and Voice of Heart

羅芷盈（女高音） Joyce Law Tsz-ying (Soprano)

飾 – 親友、社會聲音、內心聲音 as Family and Friends, Voice of Society and Voice of Heart

馮逸山 Linus Fung Yat-shan** 梁德穎 Leung Tak-wing*

小提琴 Violin

嚴天成 Patrick Yim*

中提琴 Viola

凌藝廉 William Lane*

大提琴 Cello

潘澤然 Pun Chak-yin+

敲擊 Percussion

余林橞 Karen Yu*

陳皓琬（女中音） Dominique Chan (MezzoSoprano)

飾 – 親友、社會聲音、內心聲音 as Family and Friends, Voice of Society and Voice of Heart

陳健豪（特邀演出） Angus Chan (Special Appearance)

飾 – 親友、社會聲音、內心聲音、夏 as Family and Friends, Voice of Society, Voice of Heart and Hsia

* 香港創樂團樂師 Hong Kong New Music Ensemble musicians ** 香港創樂團第六屆人才培育樂手 。「藝術人才培育計劃」是由香港藝術發展局資助 HKNME 6th Music Intern. The Artistic Internship Scheme is supported by the Hong Kong Arts Development Council

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舞台創作及製作人員 Stage Creative and Production Team

舞台設計 Set Designer

葉卓棠 Moon Yip

燈光設計 Lighting Designer

陳焯華 Billy Chan

服裝設計 Costume Designer

黃琪 Kay Wong

錄音 Sound Recording

夏恩蓓 Ha Yan-pui

髮妝 Makeup and Hair Stylists

李永雄 Lee Wing-hung 李淑明 Lee Shuk-ming 李淑貞 Mep Lee Shuk-ching 周慧瑜 Chow Wai-yu

製作經理 Production Manager

魏婉意 Gloria Ngai

舞台監督 Stage Manager

梁雅慈 Natalie Leung

執行舞台監督 Deputy Stage Manager

黎錦珊 Kathryn Lai

助理舞台監督 Assistant Stage Manager

何焯旗 Ho Cheuk-kei

舞台助理 Stage Crew

陳寶華 Chan Po-wa 邱振軒 Yau Chun-hin

服裝主任 Wardrobe Supervisor

林曉燕 Lam Hiu-yin

服裝助理 Dresser

黃曉欣 Wong Hiu-yan

燈光效果控制 Lighting Effect Programmer

黃子健 Billy Wong Tsz-kin

電機師 Production Electrician

李嘉雯 Lee Ka-man

製作助理 Production Assistant

梁嘉倩 Kasin Leung

英文字幕 English Surtitles

費正華 Jennifer Feeley

錄像製作 Video Production

製片 Unit Production Manager

助理製片 Production Assistants

張名慧

Jessie Cheung Ming-wai 林潤坤 Benny Lam Yun-kwan 姜 Peter Keung Chun-yu 攝影師 Cameramen

提子 Lazzi 周德江 Voda Chau 鄧 Christopher Tang 堅仔 Kin

攝影助理 Camera Assistants

家煒 Fung Kai-wai 大衛 David Tai

燈光指導 Gaffer

添 Tim

燈光助理 Best Boys

堅叔 Kin 亨仔 Hang 祖 Cho

場記 Continuity

李銘華 Li Minghua SoSad

阿柴 Eliza Lee

錄像副導演 Assistant Video Director

千凡 Zeva Wong

攝影指導 Director of Photography

鍾卓帆 Barry Chung

# 承蒙「賽馬會香港歌劇院青年演唱家發展及教育計劃」允許參與演出 With kind permission of the Jockey Club Opera Hong Kong Young Artist Development and Education Programme + 客席樂師 Guest Musician

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故事大鋼、角色及分場

故事大綱

SYNOPSIS

Synopsis, Characters and Scenes

兩個背景不同的女子，帶着各自的愛情困境相遇 。魚因為 世俗期望與自己不愛的丈夫結婚，婚後感冒久治不癒，終

於決定尋找女子的弟弟、魚的前男友楚，以求解開心結； 女子身為殮容師，因為世人對她職業的恐懼而失去朋友， 她準備向男友夏坦白自己的職業，卻又害怕夏會被嚇跑 。

兩個女子觀照彼此的困局，面對來自社會的壓力，她們會 怎樣在愛情的舞台上勇敢活出真我 ？

Two women from different backgrounds; two encounters with love. Fish marries a man she doesn’t love to please society. But after her marriage, her persistent cold refuses to get better. At last, she determines to reunite with her ex-boyfriend Chu to find happiness.

Girl, Chu’s older sister, is an undertaker’s cosmetologist.

Because others fear her occupation, she has lost many friends.

She is preparing to reveal her profession to her boyfriend, Hsia, but is afraid he will flee in fear. Girl and Fish bear witness to each other’s predicaments. Facing the pressures of society, how will they live their true selves on the stage of love?

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角色

CHARACTERS

魚 Fish

出身小康之家，因為世俗的期望，和自己不愛的丈夫結婚 。

Born into a middle-class family, Fish marries a man she doesn’t love to meet social expectations. 楚 Chu

對魚一片癡心，就算魚婚後也沒有改變心意 。

Madly in love with Fish, even after her marriage to another man. 女子 Girl

死人化妝師，害怕會因為工作而失去男友夏 。

A mortuary cosmetologist who is afraid that revealing her profession might lose her her boyfriend. 醫生 Doctor

親切但愛說教的家庭醫生，看着魚長大和出嫁 。

A friendly but didactic family doctor, who has seen Fish grow up and get married. 夏 Hsia

性格溫暖如夏，並不知道女子是死人化妝師 。

With a personality as warm as summer, Hsia is unaware that Girl is a beautician for the dead. 親友、社會聲音 Family and Friends, and Voice of Society

既代表魚及女子的內心聲音，也反映社會及親友等外在力量對兩 位主角的影響 。

Represents at various times Fish and Woman’s inner monologues and voices of society, family and friends.

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故事大鋼、角色及分場

分場

SCENES

第一幕 像我這樣的一個女子 Scene 1:

A Woman Like Me

第二幕 無藥可治的感冒 Scene 2:

An Untreatable Cold

第三幕 永結同心 ？ Scene 3:

Two Hearts Intertwined Forever?

Synopsis, Characters and Scenes

女子於殮容室內，等待戀人夏來參觀她工作的地方 。 世人對她的工作充滿恐懼，女子擔心自揭真相後的命 運……

At the mortuary, Girl awaits her lover Hsia, who is coming to visit her workplace for the first time. Others are fearful of her work; Girl worries about the fate of her relationship if she reveals the truth…

家庭醫生教魚怎樣治理久久未癒的感冒，但不知道魚 的不適源自內心鬱結 。魚請醫生帶她去見女子，有事 相求 。

The family doctor lectures Fish on how to treat an unshakeable cold, but doesn’t know that Fish’s discomfort comes from her repressed feelings. Fish asks the doctor to take her to meet Girl to ask her a favour. 魚請女子帶她去見楚 。女子質問魚當年為甚麼和自己 的弟弟楚分手 。魚說出她決定和丈夫結婚的經過，以 及社會怎樣使她向命運低頭 。

Fish asks Girl to take her to see Chu. Girl questions Fish as to why she broke it off with her brother Chu so long ago. Fish explains her decision to marry her husband as well as how society brought her to submit to her fate.

第四幕 至死不渝 ？ Scene 4: Until Death Do Us Part?

女子訴說自己和姑母因職業而被戀人和朋友離棄的往 事，害怕夏也會在知道真相以後離她而去：在死者面 前，他的勇氣會留下嗎 ？

第五幕 重遇 Scene 5:

女 子 帶 魚 去 見 楚 。 久 別 重 遇 的 二 人， 細 說 最 真 摯 的 感情 。

第六場 活魚 Scene 6:

魚決定鼓起勇氣，追求真正使她快樂的生活 。和魚道 別後，女子反思自己的處境，迎接到訪的夏 。

The Reunion

Into the Wild

Girl recounts how she and her aunt have been abandoned by past friends and lovers over their shared profession, and how she fears that Hsia will also leave her after knowing the truth. In the face of the dead, will he keep his courage?

Girl takes Fish to see Chu. Reunited after so long, they let each other know their true feelings for one another.

Fish musters up her courage to pursue a truly happy life. After bidding Fish farewell, Girl reflects on her circumstances and welcomes Hsia for his visit.

39

詞作者的話

LIBRETTIST’S NOTE

40

© Asia Chow

西西的經典短篇小說〈像我這 樣 的 一 個 女 子〉和〈感 冒〉， 以細膩的內心呈現女子因他人 的 期 望 而 要 面 對 的 壓 力， 以 及在愛情裏堅持自我所須的勇 氣 。這些議題在廿一世紀仍然 重 要， 而 對 我 來 說， 西 西 作 品的魅力正正在於這種超越時 代的感染力，能感動來自不同 時代、國族和性別的讀者，亦 為改編者提供了絕佳的發揮空 間 。《兩 個 女 子》是 我 的 第 一 套歌劇作品，感謝西西對我的 信任，讓我有幸把兩個小說女 主角帶到全新的故事裏，以創 新的粵語歌劇形式重現原著的 主題 。

Xi Xi’s classic stories A Girl Like Me and The Cold use the minutiae of the heart to explore the pressures women must face as a result of societal expectations and the courage required to stay true to oneself in love. These topics are still important in the 21st century.

For me, the charm of Xi Xi’s work lies precisely in this power to spill over into different eras, this ability to touch readers of different generations, nationalities and genders. For someone who is adapting her work, this provides an ideal space for further development. Women Like Us is my first libretto, and I thank Xi Xi for putting her trust in me to bring these two protagonists together in a brandnew story, using an innovative Cantonese-language chamber opera format to re-present the original works’ themes.

詞作者的話

Librettist’s Note

© Asia Chow

我一直把這次創作視為各種可 能性的探索和實驗 。香港文學 可以怎樣改編成為歌劇呢 ？ 粵 語的特性和西方歌劇的美聲唱 腔結合後，會變化出何種獨特 的聲音？於八十年代寫成的 小說人物，能為 2021 年的觀眾 帶來怎樣的感動和反思？和 香港的年輕作曲家、歌唱家等 合作，可以交出怎樣的創作成 果 ？ 謹將這次演出，獻給香港 和西西 。

From start to finish, I have seen this creation as an exploration and an experiment filled with possibilities. How can Hong Kong literature be adapted into opera? What novel sounds will develop from combining the special characteristics of Cantonese with the bel canto style of Western opera? What kind of feelings and reflections can characters written for the 1980s bring to audiences of 2021? What kind of creative fruits can be reaped from this collaboration with Hong Kong’s young composers and musicians? I dedicate this performance to Hong Kong and to Xi Xi.

黃怡

Wong Yi

41

作曲家的話

COMPOSER’S NOTE

© Cas Lau@FlareStudioHK

2017 年 有 幸 參 與 香 港 藝 術 節 委約創作的音樂會《世紀 ．香 港》， 自 此 我 便 致 力 創 作 糅 合 香港文學和音樂的演出，特別 是以華語或廣東話演唱的聲樂 作品 。以粵語演唱的作品為數 不 少， 包 括 流 行 曲、 音 樂 劇 和合唱作品，但用傳統西方美 聲唱法演出的粵語作品卻絕無 僅有，更遑論以粵語演唱的歌 劇 。 用 香 港 人 的 母 語（粵 語） 寫一套以本地文學為靈感的歌 劇，是我近年的一個夢想 。 這套歌劇是先有劇本，再寫音 樂 。我與黃怡一起擬定了劇本 的結構和分場 。改編後的故事 加強了戲劇效果，也有很多不 同的情緒表達，包括甜蜜的戀 愛回憶、面對未來的擔憂和掙 扎、興高采烈的婚宴場合、渴 望被諒解的心情等 。為了更有 效地演繹不同情節，音樂上我 嘗試採取「兼收並蓄」的作曲 方法，例如把較前衛的無調性 音樂語言和玩味十足的仿古典 音樂片段共冶一爐 。博採眾家

42

In 2017, I had the pleasure of taking part in the HKAFcommissioned work, Hong Kong Odyssey. Since then, I have dedicated myself to mixing Hong Kong literature with musical performance, especially using Chinese—or Cantonese— in performing vocal works.

Cantonese-language vocal works are numerous, if we include pop songs, musicals and choral works. But Cantonese works using the traditional bel canto style are exceedingly rare, not to mention Cantonese chamber opera. Using the mother tongue of Hong Kong to write an opera inspired by local literature has been a dream of mine in recent years.

This opera began from the libretto; all musical composition followed. Wong Yi and I drafted the structure and scene divisions of the libretto together. The story, post-adaptation, intensifies the stories’ dramatic effects and diversity of emotional expression: sweet reminiscences

作曲家的話

Composer’s Note

© Shaw Studios

之餘，我希望整套歌劇仍是一 個有機的音樂作品，能夠結合 不同風格而不顯突兀 。

粵語是有聲調的語言，共有九 聲 。要為本身已有聲調的字詞 配上恰當的音樂，困難遠比想 像的巨大 。由於粵語的特性， 傳統西樂常用於合唱的一些作 曲 技 巧（例 如 對 位 法）， 並 不 能直接移植使用 。我要絞盡腦 汁，另闢蹊徑，才可以為唱詞 譜上合適的音樂 。同時，歌者 在演繹粵語聲樂作品上也面對 很大挑戰 。如何運用美聲唱法 演出粵語歌曲 ？ 如何可讓觀眾 把歌詞聽得更加清楚 ？ 這都有 賴整個製作團隊的不斷嘗試和 討論 。 衷心感謝香港藝術節願意委約 創作這齣極具實驗性的粵語歌 劇，也希望更多同業有興趣創 作和演唱粵語或華語的聲樂作 品，一起探索屬於香港獨有的 聲音 。

of love, anxieties expressed over future struggles, a highspirited wedding banquet, the experience of having one’s aspirations understood. To more effectively interpret different emotions, I attempted to use an all-embracing composition method for the music. I cooked together a somewhat avantgarde, atonal musical language and deeply contemplative passages resembling classical music. Bringing together so many disparate sources, I hope that the opera as a whole is still an organic composition without seeming abrupt.

Cantonese is a tonal language; in total, there are nine tones.

Finding suitable music for words that already have tones was far more difficult than I had ever imagined. Due to Cantonese’s characteristics, certain commonplace traditional Western musical techniques (such as counterpoint) could not be directly transplanted for use here. I have expended all

my mental energies and opened up new territories to compose suitable music for the sung text.

At the same time, the vocalists interpreting Cantonese-language music face a huge challenge.

How does one use the bel canto style to sing a Cantonese song? How does one allow the audience to understand clearly the words being sung? I have relied on the whole production team to experiment with and discuss these questions.

I sincerely thank the Hong Kong Arts Festival for its willingness to commission this extremely experimental Cantonese opera.

I hope also that others in the industry interested in creating or performing Cantonese or Chinese-language vocal works will come together to explore the unique sounds of Hong Kong.

盧定彰 Daniel Lo

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導演的話

DIRECTOR’S NOTE

© Cas Lau@FlareStudioHK

每個作品都有自己的命 。

這一年世界在翻天覆地，她竟 然沒有夭折，這是她的命，是 她的福氣 。能夠不死，在紛亂 中一息尚存，必有其中使命， 我信 。

最初藝術節告訴我要做一齣 「廣東話的歌劇」這個想法時， 我就喜歡它夠離經叛道，但凡 要打破常規，要求的是藝高人 膽 大， 年 青 作 曲 家 盧 定 彰 和 文本作者黃怡的藝術觸覺和決 心，加上指揮蘇柏軒豐富的音 樂涵養和高度，孕育了這個獨 特孩子的誕生 。不錯，要把廣 東話帶進歌劇這個匪夷所思的 創舉，這只是一個起點，重點 不在於成功與否，而是把屬於 香港文化和廣東話的優美音色 傳承下去，並且見證這個地方 的藝術家和人才所具備的實力 和膽色，在香港歷史中任何的 一個時刻，我覺得更為珍貴 。

44

Whatever will be, will be.

The world has turned upside down this year, the opera was not stillborn—it was blessed.

With one last breath in chaos, it strikes/fights to its death.

When the Hong Kong Arts Festival proposed an idea of producing a “Cantonese Opera”, I like the way it discards the classics and rebels against orthodoxy. To break the rules, we need actors who are brave enough to play unusual roles and nail them. The artistic sense and determination of a young composer Daniel Lo, librettist Wong Yi and Perry So’s extensive experience as a conductor to make it happen. Well, using Cantonese in an opera is a new attempt to achieve the impossible, this is just the beginning. I believe that success isn’t defined by the opera, more importantly to defend the Cantonese dialect and pass it down to future generations.

Being able to witness a group

導演的話

Director’s Note

© Asia Chow

在已知和未知裏尋索，在危機 和理想中打滾翻騰，似是我們 今天的寫照，我們都像故事中 的小魚兒奮力游出大海一看究 竟，希望這回我們都能暢泳， 而不是溺斃 。 這個故事的命題是關於自由， 如 歌 詞 中 所 說：「在 眾 聲 紛 擾 的世界裏／你聽從雜音還是自 己 的 內 心」， 如 何 不 因 為 社 會 聲音而自我囚禁，今時今日或 許 已 成 了 敏 感 的 課 題， 來 看 的觀眾們，也各自有其詮釋和 答 案 。 而 我 期 望 的 是， 像 西 西小說中的兩個女子，最後我 們能把悲劇變為喜劇，擺脫枷 鎖，漂亮地大步走，光明地活 下去 。

of talented and courageous artists at this critical moment in our history, it is the most precious part.

Seeking the duality of the known and unknown, diving into hustle and flow (risk and dream?), as through the sea we go, we all want to survive like a fish that glides afar.

This is a story about freedom, “In a world full of noise/Will you listen to all the racket/ Or your own heart?” as described in the lyrics, don’t let the noise of society drown out your inner voice, it has become the most sensitive at this moment and you know the answer. I am looking forward to transforming tragedy into triumph like the two protagonists in Xi Xi’s novel, get rid of shackles, live my life to the fullest and brightest.

甄詠蓓

Olivia Yan

45

作曲 – 盧定彰

子》， 以 及 2020 年 以 也 斯 的 短 篇小說《艾布爾的夜宴》為藍 本的音樂劇場 。

盧定彰

Daniel Lo

作曲 Composer

盧 定 彰 2009 年 以 一 級 榮 譽 畢 業於香港大學文學院音樂系， 2012 年 取 得 作 曲 哲 學 碩 士 學 位，師隨陳慶恩教授 。同年獲 香港賽馬會音樂及舞蹈信託基 金全額贊助，前赴英國深造 。 2017 年於約克大學完成作曲博 士課程，師隨威廉 ．布魯克斯 教授 。 他於本地及國際作曲比賽屢獲 獎 項， 包 括 2010 至 2011 年 美 國 芝 加 哥 Migratory Journeys 國 際作曲比賽，以及 2012 年意大 利 Musica e Arte 作曲比賽的第 一名 。 他曾與多位世界知名的音樂家 合作，其作品曾被美國、捷克 及意大利的樂團演奏 。

他亦致力創作糅合香港文學和 音樂的演出，包括 2017 年香港 藝術節委約創作的《世紀 ．香 港》， 以 及 同 年 為 香 港 和 聲 室 樂合唱團創作的《瑪麗個案》； 2018 年於捷克 New Opera Days Ostrava 新 歌 劇 節 首 演 的 首 套 室內歌劇《像我這樣的一個女 46

其 他 作 品 包 括： 由 香 港 小 交 響樂團委約的《夢憶之城》及 《綻 —— 仿 樂 隊 協 奏 曲》； 小 提 琴 協 奏 曲《幽 篁 II 》； 以 及 分 別為香港創樂團和香港小交響 樂團的亞洲巡演創作《重若鴻 毛》和《秋色若舞》。

Daniel Lo completed his PhD (Composition) at the University of York in 2017 under the supervision of Professor William Brooks with full support from the Hong Kong Jockey Club Music and Dance Fund. Previously, he had studied composition with Dr Chan Hing-yan at the University of Hong Kong, where he graduated with first-class honours in 2009, followed by an MPhil (Music Composition) in 2012.

Lo has won various prizes in international contests, including first place in the 7th Musica e Arte Composition Contest (Rome, 2012) and in the Migratory Journeys International Music Composition Competition (Chicago, 2010/2011).

His has collaborated with worldrenowned musicians and his works have been performed by players from orchestras from the USA, Czech Republic and Italy.

His current compositional interest is to integrate music with Hong Kong literature. Recent works inspired by contemporary

Composer – Daniel Lo

local writers include two pieces written for Hong Kong Odyssey, commissioned by the 45th Hong Kong Arts Festival; Mary’s Chalk Circle for narration, unaccompanied choir and video, presented by Hong Kong Voices; and the chamber opera A Woman Such as Myself (based on Xi Xi’s short novel A Girl Like Me), which premiered at New Opera Days Ostrava (Czech Republic) in 2018. His latest major work is a staged cantata based upon Ye Si’s short story The Banquet at El Bulli, which was presented in 2020.

Lo’s other compositions include Home City Dream City and Efflorescence – Quasi-Concerto for Orchestra—both commissioned by the Hong Kong Sinfonietta— as well as the violin concerto YouHuang (II). In 2019, he composed Poids and Autumn Rhythm for the Asia tours of the Hong Kong New Music Ensemble and Hong Kong Sinfonietta.

文本 – 黃怡

黃怡

Wong Yi

文本 Librettist

©Angie Ching

黃 怡 是 香 港 作 家， 畢 業 於 香 港大學心理學及比較文學一級 榮 譽 社 會 科 學 學 士、 英 國 倫 敦大學國王學院英語文學碩 士，是現任《字花》編輯、香 港電台節目《開卷樂》主持， 並曾擔任香港青年文學獎等 評 審 。 曾 任《明 報 周 刊》、 明 報《星 期 日 生 活》、《字 花》、 《 Linepaper 》、《香 港 中 學 生 文 藝 月 刊》、《大 頭 菜 文 藝 月 刊》 專欄作家 。

黃怡是香港藝術發展獎 2018 藝 術新秀獎（文學藝術）得主， 並曾獲青年文學獎、大學文學 獎、 中 文 文 學 創 作 獎 等 小 說 獎 項 。 著 有 小 說 集《林 葉 的 四 季》（ 2019 ）、《補 丁 之 家》 （ 2015 ）、《據 報 有 人 寫 小 說》 （ 2010 ）。2019 年， 黃 怡 獲 邀 參與新加坡作家節，以及為香 港建築師學會主辦的洛杉磯建 築展覽「島與半島」撰寫文學 作品 。

2020 年，黃怡入選台灣《聯合 文 學》「 20 位 最 受 期 待 的 青 壯 世代華文小說家」之一 。

Librettist – Wong Yi

Wong Yi is a Hong Kong writer and editor-at-large for the literary journal Fleurs des lettres. She graduated from the University of Hong Kong with a Bachelor of Arts in Psychology and Comparative Literature and holds a Master of Arts in English Literature from King’s College London. She has won several literary awards, including the 2018 Hong Kong Arts Development Award for Young Artist (Literary Arts). She has been a judge at local literary competitions and a columnist at various local newspapers and magazines, including Ming Pao Weekly, Sunday Ming Pao, Fleurs des lettres, Linepaper, Hong Kong Pupil Literary Monthly Magazine and Tai Tau Choi Literary Monthly Magazine.

She is the author of three short story collections—The Four Seasons of Lam Yip (2019), Patched Up (2015) and News Stories (2010)—and her work have been anthologised and translated into English. She recently participated in the Los Angeles architecture exhibition “Island__Peninsula”, organised

by The Hong Kong Institute of Architects in 2019, and currently hosts RTHK’s radio show Book Review.

In 2020, Wong was selected as one of “the 20 most anticipated Chinese young novelists” by the Taiwanese magazine Unitas Lifestyle.

47

導演 – 甄詠蓓

甄詠蓓

Olivia Yan

導演 Director

甄 詠 蓓 於 劇 場 界 集 編、 導、 演、 教 學、 寫 作 人 身 分 於 一 身，擁有超過二十年的舞台創 作、演出及劇團營運經驗，創 作了超過三十多部舞台作品 。 她擅於為經典注入當代脈搏， 經常被邀到海外及本地藝術節 中演出 。主要獎項包括：2014 年香港藝術發展獎──年度藝 術 家 獎（戲 劇）、2003 年 香 港 藝 術 發 展 獎 ── 藝 術 新 秀 獎 （戲劇）、1999 年亞洲文化協會 獎 學 金 。 她 亦 曾 於 2000 年 及 2005 年奪得香港舞台劇獎最佳 女主角，以及於 1993 年獲最佳 女配角獎 。

她於 1993 年參與創辦「劇場組 合」，及後轉型為「 PIP 文化產 業」；2011 年 成 立「甄 詠 蓓 戲 ；2013 年成立「神戲 劇工作室」 劇 場」， 與 黃 秋 生 一 起 擔 任 聯 合藝術總監，兩次獲邀參與新 加坡華藝節演出 。2020 年，她 與歐洲形體劇場大師大衛 ．格 拉斯及大館合作，共同策劃了 「動戲 ．童迷香港藝術計劃」， 進入年青人的生命，以創意藝 術應對困難和未來挑戰 。

Olivia Yan is a playwright, director, actress, teacher and writer with more than 20 years of experience in theatre production, performance and theatre company operation. With over 30 theatre productions to her name, she is committed to reinventing drama classics with contemporary aesthetics. Most of her works have been invited to be performed in overseas and 48

Director – Olivia Yan

local arts festivals. Yan has been awarded numerous industry prizes, including the Hong Kong Arts Development Awards for Artist of the Year (Drama) in 2014 and Young Artist (Drama) in 2013, the Asian Cultural Council Fellowship (1999), and the Hong Kong Drama Awards for Best Actress (2000, 2005) and Best Supporting Actress (1993).

In 1993, Yan co-founded Theatre Ensemble (later transformed to PIP Cultural Industries), where she produced numerous influential local drama productions. In 2011, she established O Theatre Workshop, and in 2013, she teamed up with Anthony Wong Chau-sang to found Dionysus Contemporary Theatre, where they worked together as co-artistic directors.

Their theatre attracted invitations to perform at the Chinese Festival of Arts in Singapore. She even further develops the power of culture to different living aspects.

In 2020, she has collaborated with the theatre maestro David Glass and Tai Kwun in creating ÉLAN Lost Child Project HK, which hopes to enter youngsters’ lives and confront difficulties and challenges using creative arts.

指揮 – 蘇柏軒

合作錄製的巴伯及康戈爾德小 提琴協奏曲唱片則榮獲 2012 年 法國金音叉獎 。

蘇柏軒

Perry So

指揮 Conductor

蘇柏軒最近分別在丹麥皇家歌 劇院首次指揮《魔笛》及首次 與耶魯歌劇團合作柴可夫斯基 的《尤 金 ． 奧 尼 金》， 也 以 藝 術夥伴身份再與阿斯圖里亞斯 交 響 樂 團 合 作。 其 他 首 演 包 括 在 波 蘭、 德 國 及 西 班 牙 的 演 出， 指 揮 波 蘭 斯 塞 新 愛 樂 樂 團、 德 國 紐 倫 堡 交 響 樂 團 和西班牙潘普羅納那瓦勒交響 樂團 。

曾合作的樂團包括克里夫蘭管 弦樂團、明尼蘇達管弦樂團、 侯 斯 頓、 底 特 律、 新 澤 西、 以色列及上海交響樂團、中國 愛樂樂團及海牙愛樂樂團 。他 自成為洛杉磯愛樂首屆杜達美 駐團指揮計劃的指揮之一後， 亦常於迪士尼音樂廳及荷里活 露 天 劇 場 亮 相。 他 多 次 與 威 爾斯英國廣播電台樂團及英國 廣播公司演奏會管弦樂團錄製 唱片 。

他是聖彼得堡第 5屆國際普羅 科菲耶夫指揮大賽的冠軍及特 別獎得主，與小提琴家阿歷山 大 ．吉爾曼及開普敦愛樂樂團

蘇柏軒指揮過《女人心》、《碧 盧 冤 孽》、《凱 撒 大 帝》、《佳 尼 ．斯基基》及《蝙蝠》等劇 目。 他 亦 曾 任 艾 度． 戴 華 爾 德、埃薩－貝卡 ．沙羅倫、杜 達美、羅連 ．馬捷爾及約翰 ． 亞當斯的助理指揮 。

Perry So recently made his European opera debut at the Royal Danish Opera with Mozart’s The Magic Flute and his North American debut at Yale Opera with Tchaikovsky’s Eugene Onegin. He made a grand return to Spain’s Orquesta Sinfónica del Principado de Asturias as the orchestra’s artistic collaborator and made debut performances with the Szczecin Philharmonic in Poland, the Nürnberger Symphoniker in Germany and the Orquesta Sinfónica de Navarra in Spain.

Conductor – Perry So

BBC National Orchestra of Wales and the BBC Concert Orchestra.

He received first place and special prizes at the Fifth International Prokofiev Conducting Competition in St Petersburg, as well as a Diapason d’Or in January 2012 for his recording of Barber and Korngold’s Violin Concertos with violinist Alexander Gilman and the Cape Town Philharmonic Orchestra.

In addition to assisting renowned conductors such as Edo de Waart, Esa Pekka Salonen, Gustavo Dudamel, Lorin Maazel and John Adams, So has also conducted productions of Così fan tutte, The Turn of the Screw, Giulio Cesare, Gianni Schicchi and Die Fledermaus.

So has previously collaborated with the Cleveland and Minnesota Orchestras; the Houston, Detroit, New Jersey, Israel and Shanghai Symphony Orchestras; the China Philharmonic Orchestra; and the Residentie Orkest in the Hague. Additionally, he has been a frequent guest at both the Walt Disney Hall and the Hollywood Bowl following his stint as an inaugural Dudamel Fellow leading the Los Angeles Philharmonic Orchestra and has recorded extensively with the 49

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鋼琴及練唱指導 – 葉亦詩

葉亦詩 Nina Yip

鋼琴及練唱指導

Piano and Répétiteur

葉亦詩畢業於美國印地安納大 學音樂學院，獲音樂系鋼琴演 奏 學 士 和 碩 士 學 位。 畢 業 至 今， 她 曾 為 一 百 五 十 多 齣 歌 劇、 輕 歌 劇 和 音 樂 劇 擔 任 鋼 琴 排 練 和 指 導， 並 與 多 間 知 名歌劇院及團體合作，包括芝 加哥輕歌劇工作坊、芝加哥歌 劇院、威斯康辛州彭美露歌劇 團、加州太平洋歌劇院、洛杉 磯歌劇院、香港非凡美樂及香 港歌劇院 。曾合作的音樂節包 括香港藝術節、北京國際音樂 節及意大利羅馬歌劇節 。 她彈奏的曲目包括大型歌劇、 輕歌劇及音樂劇，以及各歐洲 語言的藝術歌曲 。現時為香港 歌劇院首席練唱指導及副排練 指揮 。

Piano and Répétiteur – Nina Yip

Nina Yip received her Bachelor and Master of Music in Piano Performance from the Indiana University Jacobs School of Music. Yip has throughout her career been a rehearsal pianist and coach for more than 150 operas, operettas and musical theatre productions. Among the many opera companies and music festivals she has worked with, the most notable include Light Opera Works and the Lyric Opera (Chicago); Pamiro Opera (Wisconsin); Opera Pacific (California); the Los Angeles Opera; Musica Viva, Opera Hong Kong and the Hong Kong Arts Festival; the Beijing Music Festival and the Opera Festival di Roma.

Yip’s repertoire spans a wide range of theatre genres, from grand operas, operettas to musical theatre, German lieder and French and Italian art songs.

Yip now serves as Principal Répétiteur and Assistant Rehearsal Conductor at Opera Hong Kong.

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曾麗婷（女高音） Kenix Tsang ( Soprano)

飾—女子 as Girl

曾麗婷畢業於香港中文大學 及 荷 蘭 鹿 特 丹 音 樂 學 院， 師 承 陳 少 君、 法 蘭 士 ． 許 茨、 羅 伯 塔． 亞 歷 山 大 及 龔 冬 健 等。 她 曾 多 次 參 演 香 港 藝 術 節的室內歌劇及清唱劇製作； 亦 分 別 在 香 港 室 樂 合 唱 團 Die Konzertisten 的 杜 魯 夫《安 魂 曲》、 香 港 聖 樂 團 的 浦 朗 克 《榮 耀 頌》中 擔 任 獨 唱 。 2016 年， 她 獲 第 17 屆 大 阪 國 際 音 樂大賽聲樂演奏會組第二名； 2017 年，她與香港新青年合唱 團合作，在作曲家約翰 ．盧特 的指揮下擔任其作品《兒童彌 撒曲》及《榮耀頌》的獨唱 。

近年演出包括香港歌劇院《瘋 狂的愛》內地巡演；舒曼藝術 歌 曲 音 樂 會《離 別》， 以 及 在 非 凡 美 樂 製 作 之《風 流 寡 婦》 中飾演普拉斯克薇雅等 。2020 年初，她與聲蜚合唱節合作， 首次創作並演出德語藝術歌曲 劇場《照無眠》。 她現任教於香港大學及香港教 育大學，並為聲蜚合唱學院擔 任聲樂指導 。

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Kenix Tsang received her undergraduate degree from the Music Department of the Chinese University of Hong Kong and received her master’s degree from the Codarts Rotterdam Conservatory in the Netherlands. She had previously received lessons from Chan Siukwan, Frans Huijts, Roberta Alexander and Gong Dongjian.

Her performance credits include chamber operas and cantatas at the Hong Kong Arts Festival, as concert soloist in Duruflé’s Requiem with Die Konzertisten and Poulenc’s Gloria with the Hong Kong Oratorio Society.

In 2016, she won second place in the 17th Osaka International Music Competition (Vocal Recital Course), and in 2017 she performed as a soloist for John Rutter’s Mass for the Children and Gloria with the Hong Kong Youth Choir under the composer’s baton.

Her recent credits include: Opera Hong Kong’s Crazy in Love (China tour); Robert Schumann Lieder Recital’s Separation; played as Praskowia in Musica Viva’s production of The Merry Widow. In 2020, she collaborated with SingFest in the creation and performance of the German Lied Gute Nacht Mondlicht.

Currently, she serves as a tutor in the University of Hong Kong and the Education University of Hong Kong, and a vocal coach at SingFest.

張吟晶（女中音）

Samantha Chong ( Mezzo- soprano)

飾—魚 as Fish

張吟晶生於馬來西亞，現為香 港的青年女中音歌唱家之一 。 她在香港演藝學院先後以優異 成績完成音樂學士及碩士學位 課程；2011 至 2012 年獲凱達公 司贊助前往澳洲交流，於墨爾 本歌劇工作室深造 。

2015 年 她 獲 馬 來 西 亞 全 國 聲 樂比賽女生組冠軍及全場總冠 軍， 翌 年 獲 第 1 屆 新 加 坡 歌 劇 院－東盟聲樂比賽專業組冠 軍 。2019 年首次受邀於意大利 巴里皮特魯切利劇院演出《塞 爾維亞理髮師》的羅西娜 。近 年 更 受 香 港 歌 劇 院、 非 凡 美 樂、 意 大 利 Erasmus 管 弦 樂 團、吉隆坡城市歌劇團、維港 音 樂 節、 馬 來 西 亞 Virama 樂 團、新加坡歌劇院、四川音樂 學院及深圳莫扎特音樂節等邀 請擔任獨唱 。

曾演出的歌劇角色包括《費加 羅的婚禮》的凱魯比諾、《女人 心》的朵拉貝拉、《羅密歐與茱 麗 葉》的 史 提 凡 諾、《灰 姑 娘》 的安潔莉卡、《卡門》的梅賽蒂 絲、《魔 笛》的 第 二 侍 女、《蝴 蝶夫人》的鈴木、以及室內歌劇 《張保仔傳奇》的鄭一嫂等等 。

演員簡介

Malaysian-born mezzo-soprano Samantha Chong graduated from the Hong Kong Academy for Performing Arts (HKAPA) with a Bachelor and Master of Music. She was fully supported by the Aedas Scholarship for her exchange to Australia for the Melbourne Opera Workshop during her time at the HKAPA. Chong is the champion of the 41st National Singing Competition of Malaysia in 2015 and the first prize winner of the Singapore Lyric Opera – ASEAN Vocal Competition in 2016. In 2019, she was invited to Teatro Petruzzelli, Italy for the first time to play as Rosina in The Barber of Seville. Recently, she has been the solo singer in the performances with Opera Hong Kong, Musica Viva, the Erasmus Orchestra, Kuala Lumpur City Opera, the Hong Kong Vienna Music Festival, the Virama Ensemble, Singapore Lyric Opera, the Sichuan Conservatory of Music and the Shenzhen Music Festival.

Her previous operatic roles have included Cherubino in Mozart’s Le nozze di Figaro, Dorabella in Così fan tutte, Stephano in Romeo et Juliette, Angelina in Rossini’s La Cenerentola, Mercédès in Carmen, Zweite Dame in The Magic Flute, Suzuki in Madama Butterfly, and Zheng Yisao in The Legend of Zhang Bao-Zai.

廖匡（男高音） Frankie Liu ( Tenor)

飾—楚、社會聲音、內心聲音

as Chu, Voice of Society and Voice of Heart

廖匡畢業於香港演藝學院，主 修 聲 樂。 其 後 於 三 藩 市 音 樂 學院學主修聲樂表演並考獲榮 譽音樂碩士，其間曾獲得多個 獎 學 金， 包 括 三 藩 市 音 樂 學 院學院獎學金、湯比達伉儷學 金和香港威爾遜男聲歌詠團獎 學金 。

廖匡為賽馬會香港歌劇院青年 演唱家發展計劃畢業生之一 。 曾參與本地及國際歌劇與音樂 會之演出，包括唐尼采蒂《帕 老爺的婚事》的埃內斯托、比 才《卡門》中的唐荷西、古諾 《羅 密 歐 與 朱 麗 葉》中 的 羅 密 歐、普契尼《蝴蝶夫人》中的 五郎、威爾第《奧賽羅》中的 洛 特 利 哥、 普 契 尼《杜 蘭 朵》 中的敖覃皇帝 。他亦積極參與 聲樂教學及合唱指揮等音樂教 育工作 。

Performer Profiles

Frankie Liu graduated from the Hong Kong Academy for Performing Arts with a Bachelor of Music, majoring in vocal music, and later obtained a master’s degree at the San Francisco Conservatory of Music, specialising in vocal music performance. During his studies, he was awarded several scholarships, including the San Francisco Conservatory of Music scholarship, the Peter and Nancy Thompson Scholarship, and the Hong Kong Welsh Male Voice Choir Scholarship.

Since his participation in the Jockey Club Opera Hong Kong Young Artist Development Programme, Liu has performed in Hong Kong and overseas.

His past operatic roles include: Ernesto in Donizetti’s Don Pasquale, Don Jose in Bizet’s Carmen, Romeo in Gounod’s Roméo et Juliette, Goro in Puccini’s Madame Butterfly, Roderigo in Verdi’s Otello and Altoum in Puccini’s Turandot. He is currently focusing on music education, serving as a vocal teacher and choir conductor.

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胡永正（男中音） Caleb Woo ( Baritone)

飾—醫生、社會聲音、內心聲音

as Doctor, Voice of Society and Voice of Heart

胡永正畢業於紐約伊士曼音樂 學院、香港浸會大學及香港中 文大學，先後師承劉永生、陳 晃相、麥克斐爾教授 。

胡永正多演唱巴赫的作品，亦 常參與神曲的獨唱，包括韓德 爾《彌賽亞》、《以色列人在埃 及》、海頓《創世記》及莫扎特 《安 魂 曲》等 。 曾 合 作 的 指 揮 包括克里斯多夫 ．施文、海慕 特 ．瑞霖、保羅 ．古特文、威 廉 ．維勒、高恩、林望傑等 。 他 2018 年參演新視野藝術節主 辦 的《天 使 之 骨》；2015 年 及 2013 年分別參與由香港藝術節 委約作品、陳慶恩創作之《大 同》及《蕭紅》，亦曾與香港歌 劇院、香港都會歌劇院、非凡 美 樂、Pop Up Production 合 作 演出劇目《茶花女》、《天堂與 地獄》、《波希米亞人》等 。 他現為美國聲樂教師協會 會員 。

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Having graduated from the Eastman School of Music, Hong Kong Baptist University and the Chinese University of Hong Kong, Caleb Woo has studied under vocal experts such as Professor Robert McIver, Jimmy Chan and Sanson Lau. Woo’s performance credits include: Handel’s Messiah and Israel in Egypt; Haydn’s The Creation; Mozart’s Requiem, and numerous vocal works by Bach, amongst others. These performances then led to collaborations with esteemed conductors such as Christopher Seaman, Helmuth Rilling, Paul Goodwin, William Weinert and Jahja Ling, among others.

He has also had extensive experience working on opera performances. In 2013 and 2015, he participated in Heart of Coral and Datong, both commissioned by the Hong Kong Arts Festival and composed by Chan Hingyan. In 2018, he also participated in the production of the awardwinning opera Angel’s Bone, produced by the New Vision Arts Festival. He has also collaborated with Opera Hong Kong, City Opera Hong Kong, Musica Viva and Pop Up Productions to put on La Traviata, Orphée aux enfers and La Bohème, to name a few.

Currently, Woo is a member of the National Association of Teachers of Singing (NATS).

林國浩（男低音） Lam Kwok- ho ( Bass)

飾—親友、社會聲音、內心聲音

as Family and Friends, Voice of Society and Voice of Heart

林國浩曾於香港歌劇院和香港 演藝學院參與多個大型歌劇製 作，曾演唱的角色包括《塞墨 勒》的 松 拿 士、《賈 尼 ． 斯 基 基》的馬可、《托斯卡》的斯亞 朗尼、《荷夫曼的故事》的林道 夫、高佩利斯、僕人米拉克萊 博士、達貝多托，以及《女人 心》的古烈摩，並於多部巴赫 清唱劇中擔任獨唱 。

他先後獲香港科技大學財務學 系學士及香港演藝學院聲樂系 音樂碩士學位，師承著名女高 音阮妙芬，其間多次獲得獎學 金 。曾參與多位著名歌唱家的 大 師 班， 包 括 內 莉 ． 美 莉 蒴 虞、蕾妮 ．弗雷明、艾力 ．哈 夫維森、湯瑪士 ．夸斯托夫及 丹尼斯 ．奧尼爾等 。現為香港 演藝學院青少年音樂課程聲樂 導師 。

演員簡介

Lam Kwok-ho has performed in many large-scale opera productions by Opera Hong Kong and the Hong Kong Academy for Performing Arts.

His operatic credits include: Sciarrone in Tosca; Somnus in Semele; Marco in Gianni Schicchi; Lindorf, Coppélius, Dr Miracle and Daperdutto in Les contes d’Hoffmann; and Guglielmo in Così fan tutte. As a concert soloist, he has performed several of Bach’s oratorios.

Lam obtained his Bachelor of Business Administration from the Hong Kong University of Science and Technology. With support from a number of scholarships, he received his Advanced Diploma and Master of Music from the Hong Kong Academy for Performing Arts (HKAPA) under the tutelage of renowned soprano Nancy Yuen.

He has also participated in masterclasses by Nelly Miricioiu, Renée Fleming, Eric Halfvarson, Thomas Quasthoff and Dennis O’Neill, among others. He is currently a vocal teacher at the HKAPA’s Junior Music Programme.

羅芷盈（女高音） Joyce Law Tsz- ying ( Soprano)

飾—親友、社會聲音、內心聲音

as Family and Friends, Voice of Society and Voice of Heart

羅芷盈以一級榮譽先後獲得香 港浸會大學音樂系學士及英國 倫敦大學皇家霍洛威學院音樂 （演 唱）碩 士， 師 承 陳 少 君 及 伊萊恩 ．庇雅絲 。曾於英國白 金漢宮及皇家亞爾伯特音樂廳 等地方演出，並於大憲章頒佈 八百週年紀念慶典中在英女皇 及其他皇室成員前演唱 。

羅芷盈參演的現代歌劇及其 他 新 作 包 括《安 妮 與 瑟 夫》、 《天 使 之 骨》、《蕭 紅》及《世 紀 ．香港》等 。近年活躍於形 體合唱劇場演出，包括巴赫劇 場《聖馬可受難曲》、《分岔路 上 ． 大 力 神》、 蒙 台 威 爾 第 牧 歌 音 樂 會、《仲 夏 之 牧 歌》、 《我 心 滿 足》、《咖 啡 清 唱 劇》 等 。她亦致力演繹早期音樂、 巴赫清唱劇、經文曲及神劇 。

Performer Profiles

Joyce Law Tsz-ying earned a Bachelor of Music from Hong Kong Baptist University with first-class honours, and further achieved a Master of Music (Vocal Performance) from Royal Holloway, University of London under the instruction of Chan Siu-kwan and Elaine Pearce. She has also performed with the Choir of Royal Holloway for Her Majesty the Queen and other British royal family members at Buckingham Palace, the Royal Albert Hall, and for the 800th anniversary celebration of Magna Carta.

Law has appeared in various new chamber operas and contemporary works, including Anne & Zef, Angel’s Bone, Heart of Coral and Hong Kong Odyssey. She has also appeared in numerous choral theatre performances, including Bach im Theater’s Markus Passion, Hercules, I sentimenti di Monteverdi, Midsummer Madrigals, Ich habe genug and Coffee Cantata. She has also performed as a soloist in various early music concerts, and Bach’s cantatas, motets and oratorios.

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陳皓琬（女中音）

Dominique Chan ( Mezzo- soprano)

飾—親友、社會聲音、內心聲音

as Family and Friends, Voice of Society and Voice of Heart

陳皓琬畢業於英國利茲音樂學 院，留英期間獲得多個音樂比 賽大獎，包括洛富維音樂節中 的榮華獎座及最高榮譽之玫瑰 碗及英國修打蘭夫人音樂節中 的赫道斯菲歌劇協會大獎等 。 2015 年至 2018 年，她獲挑選為 賽馬會香港歌劇院青年演唱家 發展計劃十位學員之一 。

曾參演的歌劇角色包括《鄉村 騎士》的聖陶沙、《賈尼．斯基 基》的齊塔、《修女安潔莉卡》 中的修女班長、《糖果屋》的韓 賽、《毒 吻》的 女 皇、《魔 笛》 的第三侍女、《奧賽羅》的愛美 莉亞、《羅密歐與茱麗葉》的葛 楚 特 及《沙 皇 拍 了 一 張 照 片》 的領袖等 。除歌劇演出外，她 亦曾與一舖清唱、香港聲蜚合 唱節及香港和聲合作等 。2021 年 5 月， 她 將 在 香 港 歌 劇 院 製 作之《卡門》中飾演梅賽蒂斯 一角 。

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Dominique Chan received her Postgraduate Diploma in Performance (Voice) from the Leeds College of Music.

During her stay in the UK, Chan was an active competitor in several music festivals, winning multiple awards, including the Huddersfield Operatic Society Trophy at the Mrs Sunderland Music Festival, the Rothwell in Bloom Trophy and the Kirkwood Rosebowl from Rothwell Music Festival. From 2015 to 2018, she was selected to be one of ten young singers admitted to the Jockey Club Opera Hong Kong Young Artist Development Programme.

Her operatic roles have included Santuzza in Cavalleria Rusticana, Zita in Gianni Schicchi, Zerlatrice in Suor Angelica, Hansel in Hansel & Gretel, Empress in The Poisoned Kiss, Third Lady in The Magic Flute, Emilia in Otello; Gertrude in Roméo et Juliette and Leader in The Tsar Has His Photograph Taken. Besides opera, she has also performed with the Yat Po Singers, Hong Kong SingFest and Hong Kong Voices.

In May 2021, Chan will play the role of Mercédès in Opera Hong Kong’s production Carmen.

陳健豪

Angus Chan

特邀演出 Special Appearance 飾—親友、社會聲音、內心聲音 及夏 as Family and Friends, Voice

of Society, Voice of Heart and Hsia

陳健豪畢業於香港演藝學院戲 劇學院（榮譽）學士，主修表 演 。 曾 經 憑《哈 姆 雷 特》 獲 2007 年 香 港 舞 台 劇 獎 最 佳 男 主角（悲／正劇）提名，以及 憑《心靈病房》獲 2017 年香港 舞台劇獎最佳男配角（悲／正 劇）提名 。過往演出及執導作 品包括：演戲家族及香港舞蹈 團 的 音 樂 劇《一 水 南 天》， 以 及演戲家族及香港青年協會的 音樂劇《拾光盛宴》。

Angus Chan graduated from the School of Drama of the Hong Kong Academy for Performing Arts, majoring in performance.

He has twice been nominated at the Hong Kong Drama Awards, for Best Leading Actor (Tragedy/ Drama) for his performance in Hamlet in 2007, and for Best Supporting Actor (Tragedy/ Drama) for Wit in 2017. His other theatre credits include Actors’ Family and Hong Kong Dance Company’s musical A Tale of the Southern Sky; Actors’ Family and the Hong Kong Federation of Youth Groups’ musical Memorable Banquet.

演員、創作及製作團隊簡介

Performer, Creative and Production Team Profiles

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李一葦

© Tsang Yat-ho

Angus Lee

長笛及短笛 Flute and Piccolo

李一葦是長笛演奏者、指揮及 作曲家，曾參與北京國際音樂 節、上海新音樂周、西班牙奧 維耶多新音樂節、冰島 CYCLE 音樂及藝術節、法國斯特拉堡 音樂節、瑞士提契諾音樂節， 以及在琉森音樂節為 2015 年皮 埃爾 ．布列茲九十歲生日音樂 會系列擔任獨奏者 。 身為作曲家，他曾在多間學院 學 習， 包 括 ARCO 作 曲 學 院、 希臘提洛國際現代音樂學院、 奧地利國際現代音樂重奏及作 曲家學院、瑞士提契諾國際音 樂學院的年輕作曲家課程，並 接受多位作曲家的指導，例如 馬 克 ． 安 德 烈、 細 川 俊 夫、 俄 羅 斯 作 曲 家 德 米 特 里． 庫 蘭 斯 基、 菲 利 普 ． 馬 諾 裡 及 揚． 羅 賓。 他 的 作 品 也 被 不 同樂團演奏，例如德國現代室 樂 團、 法 國 室 樂 團 Ensemble Multilatérale、香港創樂團及德 國阿坎托三重奏 。

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Angus Lee is a flautist, composer and conductor who has appeared and performed at some of the world’s most prestigious music festivals, including the Beijing Music Festival, Shanghai New Music Week, Ciclo de Música Contemporánea de Oviedo in Spain, CYCLE Music and Arts Festival in Iceland, Festival Musica Strasbourg, Ticino Musica Festival and Lucerne Festival, where he performed as a soloist at Pierre Boulez’s 90th birthday celebration concert series in 2015.

As a composer, Lee has studied with Mark Andre, Toshio Hosokawa, Dimitri Kourliandski, Philippe Manoury, Yann Robin and at the ARCO Composers Academy, Delian Academy for New Music, IMPULS Academy and Ticino Musica International Academy for Young Composers.

His works have been performed by the likes of Ensemble Modern, Ensemble Multilatérale, the Hong Kong New Music Ensemble and Trio Accanto.

馮逸山

Linus Fung Yat- shan

單簧管 Clarinet

馮逸山是活躍於香港的單簧管 樂手，也是古典室樂團「時 ． 刻室樂」的單簧管樂手及策劃 人。 他 常 與 香 港 創 樂 團 及 無 極 樂 團 合 作， 亦 曾 為 香 港 醫 學會管弦樂團及香港中文大學 祟基管弦樂團擔任音樂會獨奏 者 。他畢業於香港中文大學音 樂系，主修單簧管，師承蔡國 田 。其後於英國皇家北方音樂 學院進修並獲音樂碩士學位， 師承約翰 ．布萊伯利、林賽 ． 馬胥及尼古拉斯 ．考克斯 。

Linus Fung Yat-shan is a Hong Kong-based clarinettist. He is the resident clarinettist and curator for local classical chamber group TimeCrafters. He frequently plays for the Hong Kong New Music and Wuji Ensembles and was a concerto soloist with the Hong Kong Medical and Chung Chi Wind Orchestras.

Fung began his musical pursuits in the Department of Music at the Chinese University of Hong Kong, learning clarinet with Martin Choy. He then completed a Master of Music in clarinet performance at the Royal Northern College of Music in Manchester, mentored by clarinettists John Bradbury, Lynsey Marsh and Nicholas Cox.

演奏

梁德穎

嚴天成

巴松管 Bassoon

小提琴 Violin

Leung Tak- wing

梁德穎現於香港從事巴松管演 奏及教學，經常獲邀參與香港 管弦樂團及澳門樂團的演出 。 她現為城市室樂團及香港創樂 團之樂手，並於 2018 年 11 月城 市室樂團的音樂會《揭開韋華 第的神秘面紗》擔任獨奏 。她 於 2015 年起成為非凡管樂派之 成員，於各本地和國際學校的 音樂會表演 。

Bassoonist and teacher Leung Tak-wing is frequently invited to collaborate with orchestras such as the Hong Kong Philharmonic and the Macao Orchestra. She is now a member of the Hong Kong New Music Ensemble and the City Chamber Orchestra of Hong Kong, for which she was a guest soloist at the Vivaldi Unmasked concert in 2018. Since joining the woodwind quintet Viva Pipers in 2015, she has given live performances as a bassoonist at various local and international schools across Hong Kong.

Patrick Yim

嚴天成受委約的新作接近二十 四首，曾於世界各地演出，包 括 卡 內 基 音 樂 廳、 香 港 大 會 堂、雷克雅未克哈帕音樂廳、 克里夫蘭塞弗倫斯音樂廳、芝 加哥交響樂中心、米蘭史卡拉 歌劇院及維也納金色大廳等 。

他以獨奏家身份與檀香山交響 樂團進行首演，亦曾與茱莉亞 弦樂四重奏、艾默森弦樂四重 奏、克里夫蘭管弦樂團及紐約 愛 樂 樂 團 等 演 奏 室 樂。 他 亦 有參與不同音樂節的演出，例 如 首 爾 國 際 電 腦 音 樂 節、 紐 約電子聲響音樂節、美國波德 Flatirons 室 樂 節 等 。 多 首 作 品 收 錄 於 他 2019 年 發 行 的 專 輯 《思念》。

Performing Ensemble

Patrick Yim has commissioned nearly two dozen new works and has performed at landmark venues across the world, including Carnegie Hall (New York), Hong Kong City Hall, Harpa Concert Hall (Reykjavík), Severance Hall (Cleveland), Symphony Center Orchestra Hall (Chicago), Teatro alla Scala (Milan) and the Musikverein (Vienna), among others.

He made his solo debut with the Honolulu Symphony and has performed chamber music with numerous illustrious artists, including members of the Juilliard and Emerson String Quartets as well as musicians from the Cleveland Orchestra and the New York Philharmonic.

He has also performed at festivals worldwide, including the Seoul International Computer Music Festival, the New York City Electroacoustic Music Festival, and the Flatirons Chamber Music Festival, among others.

Several of the works appear on his solo CD, Memory, which was released in 2019.

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凌藝廉

William Lane

中提琴 Viola

凌藝廉是獨奏手、管弦樂樂手 及室樂樂手，曾於世界各地演 出 。他跟隨小提琴家揚 ．舍迪 夫卡、中提琴家布魯諾 ．朱蘭 納及加斯 ．納克斯學習，曾入 讀德國國際現代合奏音樂學院 及瑞士琉森音樂節學院（師承 皮 埃 爾 ． 布 列 茲）。2005 年， 他於羅馬的華倫天奴 ．布基音 樂比賽中獲獎 。 他曾是德國鳴聲弦樂團的首席 中提琴及香港管弦樂團的成 員，並於德國現代室樂團及瑞 士琉森音樂節弦樂團作客席演 出 。2008 年 起 定 居 香 港， 是 香港創樂團的創辦人、藝術總 監及中提琴手，並為多間院校 擔任客席講師及表演者 。2013 年，他獲頒香港藝術發展局的 藝術新秀獎（音樂）。

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William Lane performs as a soloist, orchestral and chamber musician at international venues.

He has studied under Jan Sedivka, Bruno Giuranna and Garth Knox, as well as at the International Ensemble Modern Academy (Germany) and the Lucerne Festival Academy (Switzerland) under Pierre Boulez. In 2005, he won the Valentino Bucchi Competition in Rome.

He was formerly principal viola of Ensemble Resonanz, a member of the Hong Kong Philharmonic, and a guest violist at Ensemble Modern and the Lucerne Festival Strings. Since relocating to Hong Kong in 2008, Lane has become founder, artistic director and violist of the Hong Kong New Music Ensemble. In 2013, he received the Hong Kong Arts Development Council Award for Young Artist (Music), and he continues to make a mark on the new music scene by serving as guest lecturer and performer at various tertiary education institutions.

潘澤然

Pun Chak- yin

大提琴 Cello

潘澤然 2015 年畢業於香港演藝 學院，師承大提琴手何國芝， 獲音樂學士（榮譽）學位；及 後 獲 瑪 麗． 斯 圖 亞 特． 哈 丁 入學獎赴英國皇家音樂學院深 造， 師 承 大 提 琴 手 大 衛 ． 史 特 朗， 並 於 2017 年 取 得 大 提 琴 演 奏 碩 士 學 位。 他 活 躍 於 室樂演奏，曾參與香港棱室樂 音樂節，現時為香港弦樂團首 席大提琴手及路樺室樂大提琴 樂手 。

Pun Chak-Yin received his Bachelor of Music degree from the Hong Kong Academy for Performing Arts in 2015, under the tutelage of cellist Karey Ho Kwok-Chee. In 2017, Pun completed his Master of Arts Degree in cello performance at the Royal Academy of Music, where he was awarded the Mary Stuart Harding entrance award, under the tutelage of Professor David Strange. He is currently the principle cellist of the Hong Kong String Orchestra and the cellist of NOVA ensemble. Active in chamber music, Pun has participated in PRISM Chamber Music Festival.

演奏

余林橞

Karen Yu

敲擊 Percussion

余林橞是敲擊樂手、表演藝術 家及跨界藝術研究者，畢業於 加拿大蒙特利爾麥基爾大學音 樂學士和碩士學位 。她是室內 敲 擊 樂 團 The Up:Strike Project 及 實 驗 性 室 內 樂 團 Exordium Collective 的創辦人之一 。

除活躍於當代古典敲擊樂演 出， 演 奏 傳 統 樂 器 如 印 度 塔 布 拉 鼓 的 經 驗 亦 豐 富， 曾 於「聲形」多聲道聲音藝術節 作 獨 奏 演 出， 並 擔 任 加 拿 大 班夫創意藝術中心駐場藝術 家， 參 與 過 各 地 藝 術 節 如 香 港藝術節、蒙特利爾雙年展、 意 大 利 馬 卡 尼 奧 SoundSCAPE New Music Festival。 她致力探索結合聲音與表演藝 術的可能性，例如融合敲擊樂 演奏裏的視覺和聽覺元素，或 運用現成物件及電子方式去尋 求新聲音，並熱衷發掘改變現 有演奏會文化的新方向 。

Performing Ensemble

A percussionist, interdisciplinary performing artist and arts researcher, Karen Yu graduated from Canada McGill University with Bachelor and Master of Music. She is the co-founder of chamber percussion group The Up:Strike Project and Exordium Collective.

She was featured at the opening of Contemporary Musiking Hong Kong’s 2019 Sound Forms Festival, and co-presented a lecture-recital. She has recently performed at the Banff Centre for Arts and Creativity in Canada, the Tai Kwun Lunch Time Series, Blackbird Creative Lab, IRCAM’s ManiFeste Academy, and with the Hong Kong Sinfonietta at ArtisTree.

She enjoys exploring the limitless possibilities of combining the sonic and performing arts.

Dedicated to the performance of contemporary music, she frequently collaborates with composers to premiere new solo and chamber compositions.

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創作及製作團隊簡介

Creative and Production Team Profiles

創作及 製作團隊簡介

Creative and Production Team Profiles

丁裕軒

domting

錄像導演 Video Director

丁 裕 軒 2001 年 畢 業 於 美 國 加 州 藝 術 學 院 電 影 系， 此 前 曾 獲「香 港 獨 立 短 片 及 錄 像 比 賽」青少年組優異獎及公開組 銅獎 。他畢業後曾任職電影宣 傳公司、電台創作部、廣告公 司以及擔任廣告、音樂錄像導 演等。他並於 2007 年至 2014 年 間任職天比高創作伙伴錄像部 主 管 。 他 其 後 成 立 Hobbyhub Entertainment， 主 要 業 務 為 創 作及製作多媒體廣告及音樂錄 像，以及為短片或演唱會擔任 視覺美術設計等 。另外，他亦 以「 Shelf-Index 」的 名 義 進 行 聲響創作 。

After winning the Bronze Award (open category, 2001) and a distinguished award (youth category, 1997) at the Hong Kong Independent Short Film and Video Awards, domting graduated from the California Institute of the Arts in 2001.

Since then he has worked in various roles in the media industry such as film promotion, radio broadcasting, and music video production. He was the video production supervisor for Skyhigh Creative Partners from 2007 to 2014. Since the launch of Hobbyhub Entertainment in 2014, he has mainly focused on a handful of categories including television commercial, music video and visual design for performances and concerts.

He occasionally creates sonic manipulation material under the alias Shelf-Index.

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陳焯華

Billy Chan

燈光設計 Lighting Designer

個人簡歷請參閱第 30 頁

Please see p.30 for biography 葉卓棠

Moon Yip

舞台設計 Set Designer

葉卓棠以一級榮譽畢業於香港 演藝學院藝術學士學位，主修 舞台佈景及服裝設計 。他是位 跨媒體創作人，從事劇場及項 目製作設計、影像美術指導、 視覺藝術創作、遊戲概念美術 及音樂創作 。

Moon Yip graduated from the Hong Kong Academy for Performing Arts (HKAPA) with a Bachelor of Fine Arts in Theatre and Entertainment Arts, specialising in set and costume design. From stage and programme design, visual arts production and artistic direction to game concept art creation and music production, he is a creative powerhouse whose brilliance shines through in his artistry. 黃琪

Kay Wong

服裝設計 Costume Designer

黃琪畢業於倫敦中央聖馬丁藝 術與設計學院的紡織品設計學 士學位，後獲皇家藝術學院構 建紡織碩士學位 。其服裝設計 作 品 包 括： 艾 甘 ． 漢 舞 蹈 團 《相聚》；雙妹嘜舞蹈劇場《人 在旅途灑淚匙》；PIP 劇場《家 家 春 秋》、《笑 林 十 八 窮 人》； 風 車 草 劇 團《新 聞 小 花 的 告 64

白》、《攬炒愛情狂》及《公路 死 亡 事 件》， 以 名 香 港 戲 劇 協 會《色相》等 。她曾為南豐紗 廠的歌舞劇《香草織》擔任視 覺及形象設計 。 她 現 為 時 裝 品 牌 Tomorrow by Daydream Nation 及 Fashion Clinic 的創作總監 。

Kay Wong graduated from Central Saint Martins in London with a Bachelor of Arts in Printed Textiles and obtained a Master of Arts in Constructed Textiles from the Royal College of Art. She has worked on numerous theatre productions as a costume designer, including the Akram Khan Company’s Bahok; McMuimui Dansemble’s Key to the Strange Realm; PIP Theatre’s Coming Home and Xiao Lin Shi Ba Qiong Ren; Windmill Grass Theatre’s No News Is True News, Boy Gets Girl, and Death on a Road Trip, and the Hong Kong Federation of Drama’s The Shape of Things, among others. She has also served as visual designer for the factory-style cabaret The Memory of Herbs at The Mills.

Wong is currently the creative director of international fashion label Tomorrow Daydream Nation and Fashion Clinic. 夏恩蓓

Ha Yan- pui

錄音 Sound Recording

夏恩蓓畢業於香港演藝學院舞 台音響及音樂錄音系，現為音 響設計師及工程師，作品涵蓋 劇場、舞蹈、音樂會、音樂劇 及 多 媒 體 演 出 。 她 從 2014 至 2017 年連續三年為澳門國際音 樂節擔任音響顧問 。

近 作 包 括《奮 青 樂 與 路》（第 27 屆 香 港 舞 台 劇 獎 最 佳 音 響 設計獎）；一舖清唱《大殉情》 （重 演、 第 26 屆 香 港 舞 台 劇 獎 最 佳 音 響 設 計 獎）； 進 念 ． 二 十 面 體《維 根 斯 坦》； 城 市 當代舞蹈團及一舖清唱《香 ． 夭》等 。 其他作品包括香港話劇團《一 頁 飛 鴻》、 任 白 慈 善 基 金《再 世 紅 梅 記》、W 創 作 社《小 人 國》系列及香港藝術節香港賽 馬 會 當 代 舞 蹈 平 台（ 2013 至 2018 ）等 。

Ha Yan-pui is a graduate of the Hong Kong Academy for Performing Arts. She is a sound designer and engineer in drama, dance, concert music and multi-media productions. She worked as sound consultant at the Macao International Music Festival from 2014 to 2017.

Her recent design works include Sing Out (Best Sound Design at the 27th Hong Kong Drama Awards), Our Immortal Cantata for Yat Po Singers (Best Sound Design at the 26th Hong Kong Drama Awards), Wittgenstein for Zuni Icosahedron and Requiem HK for City Contemporary Dance Company and Yat Po Singers.

Other works include: Footprints in the Snow (Hong Kong Repertory Theatre), The Reincarnation of Red Plum (Yam Kim Fai & Pak Suet Sin Charitable Foundation), the Little Hong Kong series (W Theatre), and the Hong Kong Jockey Club Contemporary Dance Series (2013–2018).

創作及製作團隊簡介

魏婉意

Gloria Ngai

製作經理 Production Manager

個人簡歷請參閱第 30 頁

Please see p.30 for biography 梁雅慈

Natalie Leung

舞台監督 Stage Manager

個人簡歷請參閱第 30 頁

Please see p.30 for biography 黎錦珊

Creative and Production Team Profiles

突》；愛麗絲劇場實驗室《六月 飄雪竇娥冤》等 。

A graduate of the Hong Kong Institute of Vocational Education, Ho Cheuk-kei is currently a freelancer in theatre. His theatre credits include Alumni Associations of the Chinese University of Hong Kong’s My Love (Shenzhen); Trinity Theatre’s GoodTimes, BestFriend and Home/Sick 2.0; Theatre Ronin’s A Better Tomorrow; Pure Box Theatre; Alice Theatre Laboratory’s Midsummer Snow over the Injustice to Dou Ngor.

Kathryn Lai

執行舞台監督 Deputy Stage Manager

黎錦珊畢業於香港演藝學院， 主修藝術、項目及舞台管理， 畢業後曾參與不同劇團製作， 現為自由身舞台管理工作者 。

Kathryn Lai graduated from the Hong Kong Academy for Performing Arts (HKAPA) with a Bachelor of Arts in Theatre and Entertainment Arts, specialising in stage and event management.

Upon graduation, she worked on productions fort several theatre companies. She currently is a freelancer in stage management. 何焯旗

Ho Cheuk- kei

助理舞台監督 Assistant Stage Manager

何焯旗畢業於香港專業教育學 院， 現 為 自 由 劇 場 工 作 者 。 其製作包括：香港中文大學校 友會《摯愛》（深圳站）；三角 關係《最好的時光》及《你有 無 見 過 我 ？》； 浪 人 劇 場《大 熱 幻 景》； 童 真 小 盒《黑 菇 甩 65

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香港創樂團簡介

About Hong Kong New Music Ensemble

香港創樂團

HONG KONG NEW MUSIC ENSEMBLE 香 港 創 樂 團 由 凌 藝 廉 於 2008 年 成 立， 獲 美 國 有 線 電 視 新 聞 網 譽 為「香 港 最 前 衛 樂 團 之 一」， 以 舉 辦 創 新 的 演 出 節 目、音樂會、教育外展活動及 研究計劃為主，多年來備受讚 賞 。樂團多年來演出多首當代 音樂經典名作，包括不少由香 港創樂團委約的首演作品 。 樂團曾參與香港多項藝術節的 表演，包括新視野藝術節、南 韓 統 營 國 際 音 樂 祭 的 ISCM 世 界 音 樂 日、 西 九 文 化 區 自 由 野、 法 國 五 月 及 香 港 藝 術 節 等 。近年的海外演出包括冰島 Cycle 音 樂 及 藝 術 節、 上 海 當 代音樂周、北京國際音樂節及 亞洲協會美國紐約及三藩市巡 演等 。 香港創樂團自 2012 年起成為香 港藝術發展局資助團體，並兩 度獲香港特區政府的「藝能發 展資助計劃」資助 。

Founded in 2008 by William Lane, the Hong Kong New Music Ensemble (HKNME) has been hailed by CNN as “one of Hong Kong’s most progressive groups of musicians”. Widely praised for its innovative programming, the Ensemble’s productions include concerts, educational outreach events, and interdisciplinary collaborations and research projects with artists from different artistic fields.

The HKNME has been featured in prominent showcases for the New Vision Arts Festival, ISCM World Music Days at the Tongyeong International Music Festival/ ISCM, Freespace Fest, Le French May, the Hong Kong Arts Festival. Recent overseas performances include Cycle Music & Art Festival (Iceland, 2017), Shanghai New Music Week (China, 2018), Beijing Music Festival (2019) and Asia Society in New York and San Francisco (2019).

The HKNME has been funded annually by the Hong Kong Arts Development Council since 2012, and twice received project grants from the Arts Capacity Development Funding Scheme of the HKSAR Government.

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鳴謝 ACKNOWLEDGEMENTS

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

贊助舍計劃會員 Patron’s Club Members

鉑金會員 Platinum Member 嘉里控股有限公司 Kerry Holdings Limited

黃金會員 Gold Member 怡和集團

The Jardine Matheson Group

純銀會員 Silver Member 太古集團慈善信託基金

The Swire Group Charitable Trust

青銅會員 Bronze Members 鷹君集團 Great Eagle Group

上海商業銀行有限公司

Shanghai Commercial Bank Limited

實物支持機構 In-kind Supporters

嘉頓有限公司 The Garden Company Limited

學生票捐助計劃 Student Ticket Scheme

鉑金捐款者

PLATINUM DONORS

HK$140,000 或以上 AND ABOVE

無名氏 (2) Anonymous (2) Burger Collection

鑽石捐款者

DIAMOND DONORS HK$70,000 – HK$139,999

Rusy and Purviz Shroff Charitable Foundation

田家炳基金會

Tin Ka Ping Foundation

芝蘭基金會 Zhilan Foundation 黃金捐款者 GOLD DONORS HK$12,000 – HK$29,999

Dr Chung See Yuen Peter and Nancy Thompson Mr William To

純銀捐款者 SILVER DONORS HK$6,000 – HK$11,999

無名氏 Anonymous

Initial Fashion

Mr Iain Bruce Yvonne Cheng & Kelvin Koo 馮兆林先生夫人 Mr & Mrs Fung Shiu Lam Dr Mak Lai Wo

黃乃正及陳頴儀

Ms Wong Pie Yue Cleresa

青銅捐款者 BRONZE DONORS HK$3,000 – HK$5,999

無名氏 (6) Anonymous (6) Ms Anna CY Chan

網上藝術教育捐助計劃 Digital Arts Education Scheme

鑽石捐款者

黃金捐款者 GOLD DONORS

HK$70,000 – HK$139,999

Dr & Mrs Samuel and Ellen Lam Stefan & Caroline Kracht

DIAMOND DONORS

法國巴黎銀行 BNP Paribas Lincoln & Yu-San Leong Sino Group

HK$12,000 – HK$29,999

純銀捐款者 SILVER DONORS HK$6,000 – HK$11,999

無名氏 Anonymous

藝術節捐助計劃 Festival Donation Scheme

翡翠捐款者 JADE DONORS HK$30,000 – HK$69,999

無名氏 Anonymous

Nathaniel Foundation Limited Nine Queens Investment Limited Shun Hing Group

黃金捐款者 GOLD DONORS HK$12,000 – HK$29,999

Mr & Mrs Jeffrey & Helen Chan Mr SHN Cheng Ms Jenny Hodgson

Mr Stephen Tan Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao Samuel & Amy Wang Mr Andric Yew

純銀捐款者 SILVER DONORS HK$6,000 – HK$11,999

無名氏 (5) Anonymous (5) Mr & Mrs David S L Lin Dr Michael Mak Dr Ronald Paul Ng

新作捐助計劃 New Works Scheme

翡翠捐款者 JADE DONOR HK$30,000 – HK$69,999

Nine Queens Investment Limited

黃金捐款者 GOLD DONOR HK$12,000 – HK$29,999

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劉仰澤先生 Mr Lau Yeung Chak 純銀捐款者 SILVER DONOR HK$6,000 – HK$11,999

無名氏 Anonymous

Yvonne Cheng & Kelvin Koo Mrs Germaine Tso Ms Wu Tseng Helen

青銅捐款者 BRONZE DONORS HK$3,000 – HK$5,999

無名氏 (4) Anonymous (4) Star B Chan & MDB

Mrs A.M. Peyer Leland & Helen Sun Mr Wong Yick Kam Ms Isabel Yiu

青銅捐款者 BRONZE DONORS HK$3,000 – HK$5,999

無名氏 (9) Anonymous (9) Mrs Veryan E. Bradshaw Ms Grace Chiang Ms Fung Man Yee

青銅捐款者 BRONZE DONORS HK$3,000 – HK$5,999

無名氏 Anonymous Ms Grace Chiang Mr S C Tong Ling

Ms Chan Wan Tung Mr D Chang Ms Christine Lam Ms Savita Leung Mrs A.M. Peyer Ms Janice Ritchie Mr Alex So Mrs Teresa Pong Tam Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao

殷和順先生劉善萍女士

Mr Lee King Fung Mrs A.M. Peyer Mr Alex So Mrs Teresa Pong Tam Dr & Mrs Tsao Yen Chow and Dr Sabrina Tsao

Dr Alfred Lau Ms Khoo Li Lian Flavia & Gary Ma Mr & Mrs Gary Ma Mr Jose Manuel Sevilla Sora.C Mr & Mrs Ian Stone Mrs Teresa Pong Tam Yeung’s family Dr Jason Yeung

Mauretania Co. Ltd. Mrs A.M. Peyer Mrs Teresa Pong Tam

支持及協助 SUPPORT AND COOPERATION Acorn Design Alfie Leung Design

教育局藝術教育組

Arts Education Section, Education Bureau 香港展能藝術會

Arts with the Disabled Association Hong Kong 香港愉景灣酒店

Auberge Discovery Bay Hong Kong 奧地利駐香港總領事館

Austrian Consulate General Hong Kong 樺利廣告有限公司

Avanny Advertising Co Ltd

香港小交響樂團

Hong Kong Sinfonietta 宜必思香港中上環

ibis Hong Kong Central and Sheung Wan 工銀亞洲 ICBC (Asia)

香港以外地區經濟事務辦事處新聞及公共關係組

Information and Public Relations Units in Offices Outside Hong Kong

牛棚藝術村

Cattle Depot Artist Village

周生生集團國際有限公司

Chow Sang Sang Jewellery Co. Ltd

中信國際電訊（信息技術）有限公司

CITIC Telecom International CPC Limited 城市當代舞蹈團

City Contemporary Dance Company 城巿花園酒店

Théâtre de la Feuille

Ko Shan Theatre

Kwang Hwa Information & Culture Center

中央人民政府駐香港特別行政區聯絡辦公室

Consulate General of the Russian Federation in Hong Kong SAR, PRC 香港城市大學中文及歷史學系

Department of Chinese and History, The City University of Hong Kong 香港教育大學文化與創意藝術學系

Department of Cultural and Creative Arts, Education University of Hong Kong 嶺南大學文化研究系

中華人民共和國文化和旅遊部

Ministry of Culture and Tourism, PRC Mission Production Company Ltd MOViE MOViE 太古城中心 MOViE MOViE Cityplaza

李鏡輝先生

前進進戲劇工作坊 On & On Theatre Workshop

One Minden Tapas Kitchen 柏斯琴行

Sha Tin Town Hall

Hong Kong Arts Administrators Association

上環文娛中心

Sheung Wan Civic Centre

Hong Kong Arts Centre

Shun Hing Electronic Trading Co., Ltd.

•音樂系 Department of Music •拉闊文化 Cultural Literacy Programme

香港中樂團

Hong Kong Chinese Orchestra 香港大會堂

Hong Kong City Hall 香港文化中心

Hong Kong Cultural Centre 香港黃金海岸酒店

West Kowloon Cultural District Authority 粵海華美灣際酒店

Wharney Hotel wine etc

元朗劇院

Yuen Long Theatre 赤豚事務所

Zhu Graphizs

Southgate Design

事必達推廣有限公司

Speedy Promotion Limited 台灣蘇富比國際房地產

Taiwan Sotheby's International Realty 道風山基督教叢林

Tao Fong Shan Christian Centre 藝林文具印刷有限公司

The Artland Co Ltd 香港八和會館

The Chinese Artists Association of Hong Kong 香港中文大學

• 文化及宗教研究系 Department of Cultural and Religious Studies • 音樂系 Department of Music

Hong Kong Tourism Board

西九文化區管理局

信興電器貿易有限公司

Hong Kong Philharmonic Orchestra 香港旅遊發展局

Wealthy Step Printing Co.

Primasia Corporate Services Limited

Hong Kong Gold Coast Hotel 香港管弦樂團

進富印刷公司

Pixellent

沙田大會堂

Hong Kong Baptist University

WeDraman Black Box Theatre

Piano Arts Service Limited

Gloucester Luk Kwok Hong Kong

香港浸會大學

同流黑盒劇場

PCCW

Royal Pacific Hotel

香港藝術中心

URBTIX

電訊盈科

皇家太平洋酒店

香港藝術行政人員協會

Tuen Mun Town Hall

Patsville Company Ltd

Fringe Club 六國酒店

Trinity Theatre

卓滙達有限公司

犇華企業服務有限公司

藝穗會

三角關係

Parsons Music Limited

Die Konzertisten

Department of Cultural Studies, Lingnan University

Tom Lee Music Company Ltd

城市售票網

Maxibit HK/China

Mr Alpha Li

俄羅斯駐香港總領事館

通利琴行

Marco Polo Hongkong Hotel

Consulate General of Canada in Hong Kong and Macau Consulate General of the Czech Republic in Hong Kong

THEDO

屯門大會堂

馬哥孛羅香港酒店

City Garden Hotel

捷克共和國駐香港領事館

綠葉劇團

Liaison Office of the Central People's Government in the HKSAR

MOViE MOViE 太古廣場 MOViE MOViE Pacific Place

加拿大駐香港總領事館

The Pottinger Hong Kong

JellyBin Limited

光華新聞文化中心

CAMPSITE

中環石板街酒店

港青 - 香港基督教青年會 The Salisbury – YMCA of Hong Kong

British Consulate General Hong Kong 百老匯院線 Broadway Circuit

The Hong Kong Academy for Performing Arts

• 戲曲學院 School of Chinese Opera • 戲劇學院 School of Drama • 音樂學院 School of Music

Island Pacific Hotel Hong Kong 高山劇場

Broadway Cinema

香港演藝學院

港島太平洋酒店

BRICK LANE

英國駐香港總領事館

• 文學院 Faculty of Arts

The Chinese University of Hong Kong

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節目一覽 FESTIVAL PROGRAMME 新冒險舞蹈團及 Illuminations 製作 馬修．伯恩舞蹈電影 《仙履奇緣》

A New Adventures and Illuminations Production Matthew Bourne's Dance Film Cinderella 幕後花絮 Behind-the-scenes

新冒險舞蹈團及 Illuminations 製作 馬修．伯恩舞蹈電影 《羅密歐與茱麗葉》

A New Adventures and Illuminations Production Matthew Bourne's Dance Film Romeo & Juliet 幕後花絮 Behind-the-scenes

新冒險舞蹈團及 Illuminations 製作 馬修．伯恩舞蹈電影 《天鵝湖》

A New Adventures and Illuminations Production Matthew Bourne's Dance Film Swan Lake 幕後花絮 Behind-the-scenes

新冒險舞蹈團及 Illuminations 製作 馬修．伯恩舞蹈電影 《紅舞鞋》

A New Adventures and Illuminations Production Matthew Bourne's Dance Film The Red Shoes 荀伯格合唱團

Arnold Schoenberg Choir 《節目構想》

Curating the Programme

《後浪漫主義時期的歐洲合唱音樂 傳統》

The European Choral Tradition of the Late Romantic Period

粵劇《挪亞方舟》

Cantonese Opera Noah’s Ark

幕後花絮 Behind-the-scenes

70

《當彩瓷遇上戲曲》

Telling Images of Xiqu on Porcelain

查爾斯 ．理察－哈梅林音樂會 Charles Richard-Hamelin

Concerts

《面對鋼琴大賽的焦慮》

Conquering Performance Anxiety in Piano Competition

中國國家京劇院 《龍鳳呈祥》

China National Peking Opera Company A Perfect Matrimony 多瑪倉庫劇院《盲流感》

Donmar Warehouse Blindness

陳以琳與安特衛普交響樂團

Elim Chan and the Antwerp Symphony Orchestra 香港中樂團 — 樂旅中國

Hong Kong Chinese Orchestra Music About China 香港小交響樂團 莫扎特交響協奏曲

Hong Kong Sinfonietta & Adrien La Marca 俄羅斯莫伊謝耶夫舞團 「特備節目」

Igor Moiseyev State Academic Ensemble of Popular Dance Igor Moiseyev Ballet Special

《繼續演出》─ 伊蓮娜．莎巴科娃 從藝五十年 Without Intermission – 50 Years of Artistic Life of Elena Shcherbakova

香港小交響樂團 英雄 · 貝多芬

Inspired by Beethoven – Hong Kong Sinfonietta•Eroica

賽馬會本地菁英創作系列 《後話西遊》/《兩個女子》

Jockey Club Local Creative Talent Series Journey to the West Rewind / Women Like Us

《〈兩個女子〉 ：追求漫長幸福路的 艱辛》

Women Like Us On the Arduous Path to Happiness 《〈後話西遊〉 ：如何在新常態下繼 續取經》

The New Normal of Journey to the West Rewind

賽馬會本地菁英創作系列 音樂劇《日新》（暫名） 工作坊展演

Jockey Club Local Creative Talent Series Yat-sen (tentative title) Work-inProgress Preview 《〈日新〉創作團隊訪問》

Creative team sharing on Musical Yat-sen

捷克布爾諾國家歌劇院 《耶奴法》

National Theatre Brno Jen fa

幕後花絮 Behind-the-scenes

《追尋楊納傑克的足跡》

In the Footsteps of Leoš Janá ek 《樂遊捷地》

Into the Czech Lands

捷克布爾諾國家歌劇院 《狡猾的小狐狸》

National Theatre Brno The Cunning Little Vixen

幕後花絮 Behind-the-scenes

捷克布爾諾國家歌劇院 《失蹤者的日記》

National Theatre Brno The Diary of One Who Disappeared 《演繹楊納傑克》

Performing Janá ek

《楊納傑克的戀戀情思》

Janá ek's Unrequited Love

巴維．哈斯四重奏

Pavel Haas Quartet

《楊納傑克與馬天奈弦樂四重奏： 親暱與著迷》

Janá ek and Martin : Intimacy and Obsessions in String Quartets 《追尋楊納傑克》

Finding Your Own Janá ek

揚．巴托斯鋼琴獨奏會

Piano Recital by Jan Bartoš

《楊納傑克鋼琴作品分析》 Revealing Janá ek and His Piano Works

史葛 · 蕭凡《心靈旅程》

Scott Silven’s The Journey

演後藝人談 Meet-the-Artist

快刀劇場《無晴情天氣報告》

The Chop Pathetic Fallacy

香港賽馬會當代舞蹈平台 《當代十年》

The Hong Kong Jockey Club Contemporary Dance Series Dance On and Off

《疫情下舞蹈家如何發展身體潛能》

Dancers at Home 《在不明確的世界中尋找眾聲起舞 的意義》

Voice Out Mokita in An Uncertain World

香港賽馬會當代舞蹈平台 《沒有大象》/《得體》

The Hong Kong Jockey Club Contemporary Dance Series Elephant in the Room / Dirty

香港賽馬會當代舞蹈平台 《在不明確的世界中尋找意義》

The Hong Kong Jockey Club Contemporary Dance Series Finding Meaning in an Uncertain World

香港賽馬會當代舞蹈平台 《 Mokita 》/《眾聲起舞》

The Hong Kong Jockey Club Contemporary Dance Series Mokita / Voice Out

香港賽馬會當代舞蹈平台 《火滅》/《煉金》

The Hong Kong Jockey Club Contemporary Dance Series Put Out the Flame / Hermetic Diode

《鼠疫》（粵語版） The Plague (Cantonese version)

音樂 Music

舞蹈 Dance

戲劇 Theatre

歌劇 / 戲曲 Opera/Chinese Opera

加料節目

藝術家分享 Artist Sharing

幕後花絮 Behind-the-scenes

紀錄片放映 Documentary Screening 講座 Talks

網上展覽 Online Exhibition 請瀏覽香港藝術節網站，查看最新節目資訊 Please visit the HKAF website for latest programme information

www.hk.artsfestival.org

《為鼠疫作證》

The Witnesses of The Plague

《鼠疫》（英語版） The Plague (English version)

《此時此刻，重讀卡繆〈瘟疫〉》

Seeing your own plague in Albert Camus’s The Plague

維也納交響樂團音樂會

Wiener Symphoniker’s Concerts 導賞講座 Guided Talk

吳懷世與首爾愛樂樂團

Wilson Ng and the Seoul Philharmonic Orchestra 葉氏兒童合唱團 兒童歌劇《愛麗絲夢遊仙境》

Yip’s Children’s Choir Children’s Opera Alice in Wonderland

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電話 Tel 傳真 Fax 電郵 Email 節目查詢

Programme Enquiry

2824 3555 2824 3798 / 2824 3722 afgen@hkaf.org 2824 2430

香港灣仔港灣道 2 號 12 樓 1205 室

Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong

贊助人

林鄭月娥女士

PATRON

The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS

永遠名譽會長

邵逸夫爵士

HONORARY LIFE PRESIDENT

Sir Run Run Shaw, CBE (1907-2014)

執行委員會

EXECUTIVE COMMITTEE

主席

查懋成先生

義務司庫

李錦榮先生

副主席 委員

節目委員會 主席 委員

盧景文教授 鄭維新先生 鄭惠貞女士 梁靳羽珊女士 梁卓偉教授 文肇偉先生 孫大倫博士 姚潔莉女士 楊 光先生

委員

盧景文教授

白諾信教授 紀大衛教授 羅志力先生 毛俊輝先生 李 義法官 約瑟 ．施力先生 * 譚榮邦先生 姚 珏女士 李錦榮先生

鄭惠貞女士 梁國輝先生

發展委員會 主席

副主席 委員

顧問

名譽法律顧問 核數師

Mr Victor Cha

Vice Chairman

Prof Lo King-man, MBE, JP, SBS

Honorary Treasurer

Mr William Li

Members

Mr Edward Cheng, GBS JP Ms Margaret Cheng Mrs Yu-san Leong Prof Gabriel Leung, GBS JP Mr Sebastian Shiu-wai Man Dr Dennis T L Sun, BBS JP Ms Miriam Yao Mr Sunny Yeung

PROGRAMME COMMITTEE

財務委員會 主席

Chairman

梁靳羽珊女士 雍景欣女士

鄭阮培恩女士 龐建貽先生 孫林宣雅女士 姚祖輝先生 夏佳理先生 鮑 磊先生 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

甘乃迪女士（孖士打） 羅兵咸永道 會計師事務所

* 榮譽節目顧問 Honorary Programme Advisor 72

Chairman

Prof Lo King-man, MBE, JP, SBS

Members

Prof Giorgio Biancorosso Prof David Gwilt, MBE Mr Peter C L Lo Mr Fredric Mao, BBS The Hon Mr Justice Ribeiro Mr Joseph Seelig * Mr Wing-pong Tam, SBS JP Ms Jue Yao, JP

FINANCE COMMITTEE Chairman

Mr William Li

Members

Ms Margaret Cheng Mr Nelson Leong

DEVELOPMENT COMMITTEE Chairman

Mrs Yu-san Leong

Vice Chairman

Ms Jane Yong

Members

Mrs Betty Yuen Cheng Mr Paulo Kin-yee Pong Mrs Helen Lin Sun Mr Andrew Yao

ADVISORS

The Hon Ronald Arculli, GBM CVO GBS OBE JP Mr Martin Barrow, GBS CBE JP Dr John C C Chan, GBS CBE LVO JP Dr Darwin Chen, SBS ISO Mr Angus H Forsyth The Hon Charles Y K Lee, GBM GBS OBE JP Mrs Mona Leong, SBS BBS MBE JP Dr The Hon Sir David K P Li, GBM GBS OBE JP

HONORARY SOLICITOR

Ms Gabriela Kennedy, Mayer Brown

AUDITOR PricewaterhouseCoopers

職員

STAFF

行政總監 行政總監助理

何嘉坤 ** 何丹蓉

助理節目經理 節目統籌 物流及接待經理

梁掌瑋 ** 蘇國雲 司徒頌欣 * 游慧姿 * 譚小敏 * 陳柏琦 * 金學忠 *

節目 節目總監 副節目總監 節目經理

行政 節目經理 ( 行政 ) 節目主任 ( 行政 ) 技術 製作經理 助理製作經理 出版 英文編輯 助理編輯

外展 高級外展經理 副外展經理 助理外展經理 外展主任 市場推廣 市場總監 副市場總監 市場經理 副市場經理 助理市場經理 數碼營銷專員 市場主任 藝術行政見習員

票務 市場經理 ( 票務 ) 票務主任

發展 發展總監 發展經理

助理發展經理 藝術行政見習員 會計 財務主管 會計經理 會計主任

人力資源及行政 行政經理 接待員 / 初級秘書 助理

無限亮 項目主管 項目統籌 節目及外展經理 助理節目及外展經理 市場經理 助理市場經理 外展統籌 助理技術及製作經理 高級會計主任

Executive Director Assistant to Executive Director

丁裕軒 * 葉健鈴 黃傲軒 *

蘇雪凌 程鶩誼 * 梁雅芝 * 莫賦斌 *

Oliver Farry* 鄭豐榮 * 黎家欣 * 李冠輝 ** 鄧冠恆 * 林嘉敏 * 張翠騫 * 李萬祺 * 鄭尚榮 ** 胡銘堯 ** 陳志雄 * 楊 璞 * 郭駿成 * 陳閏霖 * 劉萍 * 張予心 * 梁彩雲 陳偲穎 * 余潔儀 ** 張慧芝 * 譚樂瑤 蘇寶蓮 * 吳樂怡 *

李玨熙 *

周 怡

鍾卓祐 * 麥紫琴 *

鄺敬婷 ** 杜詩麗 * 蘇永恆 * 譚智盈 * 李美娟 黃國愛 鍾雅妍 * 陸凱盈 * 林淦鈞 * 陳慧晶 * 雷淑雯 * 汪盈 * 馮顯峰 * 陳梓衡 * 彭健欣 *

* 合約職員 Contract Staff ** 無限亮指導委員會成員 No Limits Steering Committee Members

PROGRAMME Programme Director Associate Programme Director Programme Managers Assistant Programme Managers Programme Coordinator Logistics Manager

Tisa Ho** Connie Ho Grace Lang** So Kwok-wan Samantha Szeto* Janet Yau* Tracy Tam* Pecky Chan* Elvis King*

ADMINISTRATION Programme Manager (Administration) Programme Officer (Administration)

Shirley So Spaky Ching*

TECHNICAL Production Manager Assistant Production Manager

Shirley Leung* Benny Mok*

PUBLICATIONS English Editor Assistant Editors

Oliver Farry* Rain Cheng*

OUTREACH Senior Outreach Manager Deputy Outreach Manager Assistant Outreach Manager Outreach Officers MARKETING Marketing Director Associate Marketing Director Marketing Managers Deputy Marketing Manager Assistant Marketing Manager Digital Marketing Specialist Marketing Officer Arts Administrator Trainee TICKETING Marketing Manager (Ticketing) Ticketing Officers DEVELOPMENT Development Director Development Managers

Kenneth Lee** Joe Tang* Carman Lam* Tracy Cheung* Kelvin Li*

Dominie Ting* Linda Yip Joseph Wong*

Melody Lai*

Michael Lee*

Katy Cheng** Dennis Wu** Dennis Chan* Alexia Chow Michelle Yeung* Joel Kwok* Ben Chan* Erica Lau* Stephanie Cheung* Eppie Leung Stephanie Chan*

Assistant Development Manager Arts Administrator Trainee

Flora Yu** Anna Cheung* Lorna Tam Conny Souw* Lois Ng*

ACCOUNTS Head of Finance Accounting Manager Accounting Officer

Teresa Kwong** Connie To* Peter So*

HR & ADMINISTRATION Office Manager Receptionist/Junior Secretary General Assistant

Judy Tam* Virginia Li Bonia Wong

NO LIMITS Project Administrator Project Coordinator Programme and Outreach Manager Assistant Programme and Outreach Manager Marketing Manager Assistant Marketing Manager Outreach Coordinator Assistant Technical and Production Manager Senior Accounting Officer

Fiona Chung* Helen Luk* Lam Kam-kwan* Ainslee Chan* Germaine Lui* Tiffany Wong* Wilson Fung* Jacob Chan* Janice Pang*

Chung Cheuk-yau*

Mak Tsz Kam*

按英文姓氏首字母排列 In alphabetical order 2021 年 5 月更新 Updated May 2021

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