香港藝術節
Hong Kong ArTS Fe STivAL ( HKAF)
於 1973 年正式揭幕，是國 際藝壇中重要的文化盛事，於每年 2 、 月期間呈獻約 150 場演出及約 250 項「加料」和教育節目，致力豐富香港 的文化生活。
是一所 非牟利機構，約三成 經費來自香港特區政府的撥款，約四成 來自票房收入，而餘下約三成則有賴各 大企業、熱心人士和慈善基金會的贊助
每年呈獻眾多 國際演藝名 的演出，例如：芭托莉、卡里拉斯、 馬友友、格拉斯、馬素爾、沙爾、巴里 殊尼哥夫、紀蓮、史柏西、皇家阿姆斯 特丹音樂廳樂團、聖彼得堡馬林斯基劇 院基洛夫樂團及合唱團、巴伐利亞國立 歌劇院、紐約市芭蕾舞團、巴黎歌劇院 芭蕾舞團、翩娜．包殊烏珀塔爾舞蹈劇 場、雲門舞集、星躍馬術奇藝坊、皇家 莎士比亞劇團、莫斯科藝術劇院及北京 人民藝術劇院等。
積極推介 本地演藝人才和 ，並 委約及製作 多套全新 戲劇、室內歌劇和當代舞蹈作品，甚 或出版新作劇本，不少作品已在香港 及海外多度重演。
大力投資下一代的藝術教 育。 「青少年之友」 外展計劃成立 23 年來，已為約 700,000 位本地中學生 及大專生提供藝術體驗活動。藝術節每 年亦通過 「學生票捐助計劃」 提供近 9,000 張半價學生票。
HKAF, launched in 1973, is a major international arts festival committed to enriching the life of the city by presenting about 150 performances and 250 PLUS and educational events in February and March every year.
HKAF is a non-profit organisation, with about 30% of annual revenue from government funding, around 40% from the box office, and the remaining 30% from sponsorships and donations from corporations, individuals, and charitable foundations.
HKAF presents top international artists and ensembles, such as Bartoli, Carreras, Yo-Yo Ma, Glass, Masur, Chailly, Baryshnikov, Guillem, Spacey, the Royal Concertgebouw Orchestra, the Mariinsky Theatre and Valery Gergiev, Bavarian State Opera, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch, Cloud Gate Dance Theatre, Zingaro, Royal Shakespeare Company, Moscow Art Theatre, and the People’s Art Theatre of Beijing.
HKAF actively promotes Hong Kong’s own creative talents and emerging artists , and commissions , produces and publishes new works in theatre, chamber opera and contemporary dance, many with successful subsequent runs in Hong Kong and overseas.
HKAF invests in arts education for young people. In the past 23 years, our Young Friends has reached about 700,000 secondary and tertiary school students in Hong Kong. Donations to the Student Ticket Scheme make available close to 9,000 half-price student tickets each year.
香港藝術節 每年主辦逾百項深入社區的 「加料節目」，例如示範講座、大師班、 工作坊、座談會、後台參觀、展覽、藝 人談、導賞團等，鼓勵觀眾與藝術家互 動接觸。
HKAF organises over 100 Festival PLUS activities in community locations each year to enhance the engagement between artists and audiences. These include lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meetthe-artist sessions, and guided tours.
1-2.3.2014 |
香港演藝學院戲劇院 Drama Theatre, HKAPA
節目長約 1 小時 20 分鐘，不設中場休息
Running time: Approximately 1 hour 20 minutes, no interval
遲到者不得進場
Latecomers will not be admitted
波斯語演出，附中、英文字幕
Performed in Farsi with Chinese and English surtitles
封面照片 Cover photograph © Shokoofeh Hashemian
敬請關掉所有響鬧及發光裝置，請勿擅自攝影、錄音或錄影，多謝合作。
Please switch off all sound-making and light-emitting devices. Unauthorised photography or recording of any kind is strictly prohibited. Thank you for your co-operation.
www.hk.artsfestival.org
網上追蹤香港藝術節 Follow the HKArtsFestival on
We Teach
All levels of ballet of
• Royal Academy of Dance (RAD)
• The Commonwealth Society of Teachers of Dancing (CSTD)
• Imperial Society of Teachers of Dancing (ISTD)
• The Australian Conservatoire of Ballet (ACB)
• Beijing Dance Academy (BDA)
* Competitions
* Performances
Headquarter : Room 1201, 12/F, Star House, Tsim Sha Tsui, Kowloon, Hong Kong Tel: 2736 6118, 2736 6666
Branch : Room 1308, 13/F, Tower 1, Grand Central Plaza, Shatin, New Territories, Hong Kong Tel: 2688 0360
Location : Tsim Sha Tsui, Kwun Tong, Hung Hom, Causeway Bay, Pok Fu Lam, North Point, Shatin, Tai Po, Tuen Mun, Yuen Long, Kwai Tsing
Website : www.christineliaoballet.com.hk Email: cliao@biznetvi gator.com
編劇、導演及舞台設計
庫埃斯塔
演員 Cast
母親/女孩
芭蘭．科沙里
伊穆
哈桑．馬祖尼
創作人員 Creative Team
音樂
亞里•巴哈米
燈光設計
法什特•穆沙特古
製作人員 Production Team
製作經理、導演助理及舞台經理
穆罕默德•列沙•何塞沙特
導演助理
馬恩•沙德里
英語翻譯
華里•馬盧茲
中文字幕
曾逸林
Text, Director & Stage Amir Reza Koohestani
The Mother / The Girl Baran Kosari
Imour
Hassan Madjooni
Music Ali Bahrami
Lighting Design Farshid Mosadequ
Production Manager, Director’s Assistant & Stage Manager
Mohammad Reza Hosseinzadeh
Director’s Assistant Mahin Sadri
Translation from Farsi to English Vali Mahlouji
Chinese Surtitles Zeng Yilin
製作
梅爾劇團
聯合製作
維也納藝術節及
比利時布魯塞爾藝術節
劇團及巡演經理
皮埃爾•利斯
Production
Mehr Theatre Group
Co-production
Wiener Festwochen, Kunstenfestivaldesarts
Company and Tour Manager Pierre Reis
《亂世浮雲》的劇本撰寫於 2004 年倫敦皇家宮廷劇院的「國際新進編劇駐場計劃」期間，並在 2005 年 5 月首演於比利時布魯塞爾藝術節。
Amid the Clouds was written in 2004 during a residency at the Royal Court Theatre in London in the frame of “The 2004 International Residency for Emerging Playwrights” and created at the Kunstenfestivaldesarts in May 2005.
有種聲音能刺破寂靜的黑夜。
這聲音聽起來很原始，彷彿發自肺腑，自古已然存在。
這聲音滿載異鄉客的記憶，他們被逼離鄉背井，流落到言語不通的地方。這聲音就是《亂 世浮雲》發出的呼聲。
編劇兼導演庫埃斯塔嘗試以波斯的傳統 敍 事節奏，道出了難民營的殘酷現實。他採用地 道、不加修飾、濃縮的手法表達現代處境，留下思想的空間，讓核心的敍事呈現。
台上放置了一個注滿水的大水缸，伊穆和辛娜就在此相遇，前往他們的「應許之地」。
辛娜懷有身孕，希望前往英倫海峽的彼岸，在當地產子並尋求庇護。
伊穆極力擺脫殘暴回憶，身心俱疲。
一次旅程，迫使二人面對自己的本相。
There exist voices that can pierce the still night.
They seem visceral and primitive; resonating from the dawn of time.
These voices are laden with the memories of people forced off the land on which they live; forced to continue in a place unknown to them, in a language strange to them. These are the voices that speak in Amid the Clouds
In this piece, author and director Amir Reza Koohestani blends the rhythms of Persian narrative tradition and the stark reality of a refugee camp. He does so in an attempt to convey the contemporary situation in his native, unadorned and concentrated way; giving space for that which is central: the birth of narrative.
On stage stands a large water-filled tank and it is here that Imour and Zina meet, both on their way to the Promised Land.
Zina is pregnant, hoping to give birth and seek asylum on the opposite side of the English Channel. Imour is consumed by his attempt to silence the atrocious memories that haunt him.
Their flight forces them both to confront who they really are.
伊朗戲劇－傳說的隱喻
Iranian Theatre as a Metaphor of Legends
導演庫埃斯塔受訪於 2005 年布魯塞爾藝術節期間
Interview of Koohestani conducted in 2005 for the Kunstenfestivaldesarts in Brussels, Belgium
在國際伊朗戲劇節期間，人們對戲劇 興致勃勃，票房前大排人龍，觀眾蜂 擁入場，究竟戲劇在伊朗社會中意味 甚麼？它發揮了公開演說的功能嗎？ 還是其功能正在於戲劇藝術本身？ 這種盛況均見於伊朗的電影及音樂 節。對觀眾而言，人龍是該演出受歡 迎程度的首個驗證，即使對戲劇、音 樂及短片界新晉的業餘演出亦是一 樣。我認為這情況在伊朗尤甚，伊朗 在當今世界的處境，促成了藝術的政 治和社會功能。戲劇作為其身處時代 的特色，非但能反映當下的社會，還 較其他藝術形式更能在相關的社會中 觸發行動及增強思想。其他視聽媒介， 例如音樂、電影、電台和電視均須迎 合大眾，受投資回報的利潤鞭策，因 此不能對社會深切剖析。至於代表性 的藝術如繪畫和雕塑，它們受制於其 抽象和精英化的語言，難以表達當今 伊朗社會發生的事。戲劇說着一種符 號式的語言，帶着傳說的隱喻，具有 與觀眾現場互動而產生對人類理想化 的形象。當作品創作時觀眾就在那裏 並親身參與其中。正因如此，戲劇對 其背景能容許更宏大和深刻的分析， 觀眾不會陷進常見於抽象藝術的詮釋
During the Fadjr festival one can see that people have enormous interest in theatre. People queue up for tickets; audiences flock to the shows. Can one describe what theatre means to the Iranian society? Has it the function of public speech or does its function lie in the art itself?
This also happens with Fadjr’s film and music festivals. For visitors, lengthy queues are the first hallmark of a show’s popularity. It applies to even amateur performances by young newcomers of theatre, music or short film. I think in Iran more than anywhere else, because of the country’s situation in today’s world, art accomplishes a greater political and social function. Particularly theatre, which is a distinctive feature of its own epoch and cannot only mirror the society of its time but also, more than any other art form, be motion-triggering and thought-enhancing inside the related society. Other audio-visual media like music, cinema, radio and TV appeal to mass audiences and are anguishdriven over profit on capital investment; therefore they cannot be deeply analytical about society. Unlike representational art such as painting and sculpture whose abstract, elitist language makes them stutter when it comes to expressing and showing what is really happening in today’s Iranian society. Theatre has a semiotic language, a metaphor of legends, with an idealistic
和評論的巨網中。當今伊朗戲劇的其
中一項最大成就便是和公眾建立了共 同語言。
你的作品《亂世浮雲》充滿神秘主義
元素，青年男子的牧民母親在水中誕 下兒子一幕尤甚，與此同時，兩年青 人前往英國卻是現實的處境。你是從
哪裏得到靈感的呢？是從神話還是現 代？你如何把兩者融合？
一切開始猶如一場天真幻想裏的遊 戲。自小我便喜歡幻想那些英雄角色 從故事裏走出來，披上盔甲、頭盔和
所有用具後騎上馬匹，進入德黑蘭其
中一條車水馬龍的大街之後會發生甚 麼事情。如果我當時把這個故事寫下
來，它可能會是一齣糟透的情景喜劇。
然而時間強調了它悲劇的那一面。在 現今這個世界，神話傾向把自身和其 目標改革、消滅。我最初把這個意念
運用於《玻璃上起舞》，隨之而來的 效果是苦澀和尖刻的。到了《亂世浮 雲》，一切都不同了。我想說出我的 國家發生甚麼事，因此我採用我們歷 史中那些陳舊的角色，同時謹記主旨 是有關移民，最後我到了為著尋找溫 暖氣候而不斷遷徙的遊牧部落，而這 就是我的角色的故事，他們同樣要越 過歐洲的綠草原、高山和河谷才能抵 達應許之地。這演出是關於現今的人 在尋找快樂的過程中，面對自己的身 分和過去。
你的劇場極端簡樸和集中，這是很原 創的一種劇場，帶着黑暗的一面。你
能夠描述你是如何做到這種如此特別 的劇場形式嗎？
image of human beings because of the live relationship with its audiences. The audience are present and participating at the very moment the work is created. Because of this, theatre allows a greater and deeper analytical view of its background, without entrapping the audience in a web of interpretations and commentaries common to abstract art. One of the greatest successes of today’s theatre in Iran has been the gain of a lingua franca with audiences.
Your play, Amid the Clouds , is rich in mystical elements – especially in the character of the nomad mother of the young man who gave birth to his son in the water. At the same time, it is a realistic situation – two young people on their way to England. Where did you get the inspiration for the play? From the myths, or from modern times? How do you “mix” both elements?
Everything started out like a game in a childish fantasy. Since my childhood, I’ve liked to imagine what could happen if the characters of epic stories I was reading stepped out, rode their horses in armour suits, helmets and all the paraphernalia, into one of those traffic jammed avenues of Tehran?! If I had written this project at that time, it could have been a wrecked comedy of circumstances. But time emphasised the tragic side of it. In today’s world, myths are inclined to reform, annihilate themselves and their own goals. I first used this idea in Dance on Glasses and the ensuing effect was bitter and caustic. With Amid the Clouds, everything was different. I wanted to tell what happened to my country, so I tried to use old dusty characters of our own history, while keeping in mind that the main project was about migration; thus I got to the nomadic tribes, always on the move in search of a warmer climate and that was the
我必須承認我是逼不得已的。在伊朗 設拉子的初期，當我決定要成為專業 劇作家的時候，我除了有寫奇怪故事 的能力和一班準備就緒的演員外便一 無所有。我們既沒有資金也沒有排演 場地，沒辦法下只得以最少的道具和 配飾工作，因此話劇基本上建立在演 員和戲劇本身，強調它們過於其他舞 台元素。《玻璃上起舞》亦然，然而 考慮到觀眾會排拒這種形式，我嘗試 加入現實的調節來詮釋劇中的寂靜和 敍 事風格，例如：整個故事是以某年 輕男子和他的醫生在電話談話的語氣 演繹，儘管我喜歡以直接的方式說故 事，但我仍不得不改用發生在兩個角 色之間的文字遊戲，好讓觀眾能接受 那寂靜。在接着的《前世今生》中我 走得更遠，該劇除了貫徹《玻璃上起 舞》的寂靜外，演員更是直接向觀眾 敍 事。然而我在重寫劇本時儘管保留 該劇的結構，最終還是把對話寫得更 吸引和實在些。到了《亂世浮雲》一 切都不同了，我想它非常接近我心目 中最理想的戲劇形式，那寂靜（雖然 它是關於移民，關於一群人從一處地 方搬到另一處地方）、直接，以及演 員面對大眾時長篇獨白的運用完全保 留了。對白並沒有任何修飾，因此故 事的開展成了唯一的焦點。
你是設拉子梅爾劇團的導演，請描述 梅爾劇團的緣起、架構、成員以及你 的計劃。你的作品和其他劇院和劇團 有何不同？
成立劇團的決心和它的核心萌芽於同 名的演出工作坊，在那裏，我們不單
story of my characters. They too had to travel through the green pastures of Europe, over mountains, valleys and flowing rivers to reach the Promised Land. It’s a show about today’s human beings facing their identity and their past in their search of happiness.
Your theatre is one of extreme bareness and concentration. It is a very original form of drama, with a dark side. Can you describe how you achieve this very specific theatrical form?
I must confess that I have been forced into this form rather than choose it. At the beginning in Shiraz, when I decided to become professional, I had nothing but my ability to write strange stories and a group of well-prepared actors. We had neither money nor a rehearsal space, so we were obliged to work with a minimum of props and accessories; thus the play was built basically on the actors and the drama itself, emphasising them all the more from other stage elements. Ditto in Dance on Glasses But fearing rejection of this form by the audience I tried to make sense of the stillness and the narration style by giving it a realistic modulation. For instance, the whole story is narrated in a conversational tone over the phone, between a young man and his physician. Though I preferred to tell the story in a direct manner, I was obliged to use word games occurring between two characters in order to make the stillness bearable for the audience. In my following show, Recent Experiences, I have tried to go further on and despite the same stillness of Dance on Glasses prevailing here too, this time, actors are narrating directly to the audience. Despite this, in rewriting the text I have tried to make the dialogue more attractive and more tangible while keeping the basic structure of the play. But everything has been different with Amid the Clouds. I think that here, I got
嘗試戲劇演出的新方式，也嘗試尋找 導演和編劇的新風格。初時劇團很明 顯受演員影響，他們對不同種類的劇 場表演如何賦予角色和人們真實感各 有不同意見。過了不久，正如我之前 所述的，劇團在導演和編劇範疇碰上 新的體驗，演員得以檢討和改變其個 人風格。當下我們着力表達現今不同 國界和國籍的人的狀況，把他們的慾 望的瞬間和無路可走時的悔疚呈現在
pretty close to my own idealistic form of theatre. In this play, the stillness (though it is about migration, about a group moving from one place to another), the directness and the use of lengthy monologue, with narrators facing the public, remain intact. The dialogue is stripped of any decoration; thus, the unfolding of the story becomes the exclusive focus.
You are the director of the Mehr Theatre Group of Shiraz. Please describe the Mehr Theatre Group – its origin, its structure, its members and also your plans. How is your work different from the work of other theatrical institutions or companies?
The will of being a group and the core of it was drawn out of an acting workshop of an identical name. There, while experimenting new ways in theatrics, we tried to find a new style of directing and dramaturgy as well. At the beginning, everything was clearly under the influence of the group’s performers who had various views over different types of theatrical performances; basically it was about giving verisimilitude to the characters and the people in the show. After a while and as I elaborated on the previous question, the group came upon new experiences in the field of directing and dramaturgy, which ensued in the review and the evolution of the actors’ personal style. For now, we are centred on expressing and showing the situation of today’s human being, notwithstanding borders and nationalities, to stage brief moments of his desires and his regrets while coming to a dead end.
Source: theatre-contemporain.net
Translated from French into English by Flora Yeghoumians
庫埃斯塔 Amir Reza Koohestani
編劇、導演、舞台設計 Text, Director & Stage
庫埃斯塔於 1978 年 6 月 8 日生於伊朗
設拉子，16 歲開始在當地報章發表短
篇故事。他於 1995 年修讀導演及電影
學課程，並創作了兩部未完成的電影。
短暫從事表演後，他專注創作戲劇作
品《那天不會來》（1999 年）及《低
訴的故事》（2000 年），後者於德黑
蘭第 18 屆國際伊朗戲劇節演出，廣獲
好評。
隨着第三部作品《玻璃上起舞》（2001
年）巡迴演出了四年，庫埃斯塔開始
在國際間建立起聲譽，得到多位歐洲
劇場總監及多個藝術節支持。接連多
部戲劇作品，包括《前世今生》（2003
年，原作者是加拿大作家娜迪婭•洛 斯和雅各•雲）、《亂世浮雲》（2005
年）、《乾涸的血與新鮮蔬菜》（2007
年），以及《四重奏：北方之旅》（2008
年）等，均在歐洲獲得好評。
庫埃斯塔曾受多間劇院委約創作，包 括德國科隆劇院委約編寫及演出《單
人房》（2006 年），以及法國貝桑松
劇院委約，與日本導演平田織佐及法 國導演西拉維•莫利斯聯合創作的《烏 托邦？》，於法國、日本表演。
Koohestani was born on June 8 1978 in Shiraz, Iran. At 16 he began to publish short stories in local newspapers. He studied directing and cinematography in 1995 and created two unfinished films.
After a brief stint as a performer, he devoted his time to writing his first plays: And the day never came (1999), which was never performed and The Murmuring Tales (2000), which received critical acclaim at the 18th International Fadjr Theatre Festival in Tehran.
His third play, Dance on Glasses (2001), was in tour for four years. It earned Koohestani both international notoriety as well as support from several European theatrical artistic directors and festivals. In the following years he created Recent Experiences (adapted from the original text by Canadian writers Nadia Ross and Jacob Wren, 2003) ; Amid the Clouds (2005) ; Dry Blood and Fresh Vegetables (2007) and Quartet: A Journey North (2008), all of which receiving critical acclaim in Europe.
Koohestani was commissioned by the Schauspielhaus in Koln to write and stage Einzelzimmer (2006), and by the Nouveau Théâtre de Besançon, with Japanese director Oriza Hirata and French director Sylvain Maurice, to create Des Utopies? (2009) which was on tour in France and Japan.
留學曼徹斯特數年後，庫埃斯克於 2009 年 7 月返回德黑蘭，創作《一 月八日你在何處？》，在歐洲、巴西、 日本等地公演。 2011 年 10 月，庫埃 斯克改編了契訶夫的《伊萬諾夫》， 在德黑蘭公演多個星期，獲伊朗劇作 家及評論家協會 2011 年最佳劇場製 作獎。
2012 年 2 月，庫埃斯塔與曼尼•夏希 希聯合創作《受之有道》，憑此劇本 奪得 2012 年柏林國際電影節 NETPAC 獎。2012 年 9 月，他將添．高治的《英 格蘭》改編成《第四牆》，於德黑蘭 上演逾百場。
2013 年，庫埃斯塔受法國馬賽國際 戲劇節委約，創作最新劇作《時間 錯失》。
庫埃斯塔是首位連續兩年獲得伊朗最 佳劇場製作獎的導演（《伊萬諾夫》
2011 年及《第四牆》2012 年）。
After several years of studying in Manchester, Koohestani returned to Tehran in July 2009 and created the play Where were you on January 8th?, which went on tour in Europe Brazil, Japan, and other countries.
In October 2011, Koohestani created the adaptation of Ivanov by Anton Chekhov, which was performed in Tehran for several weeks. The play was awarded Best Theatre Production of the Year 2011/2012 by the Society of Theatre Authors & Critics of Iran.
In February 2012, Modest Reception, co-written by Koohestani and actor and film director Mani Haghighi, won the Netpac Award at the 2012 Berlin International Film Festival. In September 2012, he created The Fourth Wall, adapted from the play England by Tim Crouch. The production was staged over 100 times in an art gallery in Tehran.
In 2013, Festival actOral in Marseille (France) commissioned Koohestani to write and stage a new play, Timeloss.
Koohestani is the first director who received two awards for the Best Theatre Production of the Year in Iran ( Ivanov , 2011 and The Fourth Wall, 2012).
芭蘭．科沙里
Baran Kosari
母親/女孩
The Mother / The Girl
科沙里 1985 年生於伊朗德黑蘭，父母是導演 洛珊•班尼蒂瑪及製片人亞哈傑爾•科沙里。
科沙里畢業於 Soureh Academy，首部作品為 《世上最好的爸爸》（ 1991 年）。她曾多次參演 母親執導的電影，包括《 Narges》（ 1991 年）、 《藍領巾》（ 1994 年）、《五月小姐》（ 1997 年）、《爛心城市》（ 2000 年），以及記錄片《我 們的時代》（ 2001 年）。她曾獲德黑蘭 Fajr 電 影節 Crystal Simorgh 獎， 2007 年憑藉電影《靜 脈注射》獲提名亞太影展最佳女演員。
劇場方面，科沙里曾參演阿茲達•哈傑恩執導 的《鏡後》（ 1997 年），並多次參演庫埃斯塔 的作品，包括《亂世浮雲》及《四重奏：北方 之旅》，在歐洲獲得好評。
Kosari was born on 17 October 1985 in Tehran, Iran. She is the daughter of director Rakhshan Bani Etemad, and film producer Jahangir Kosari.
Kosari graduated from Soureh Academy and made her acting debut in The Best Papa of the World (1991). She has appeared in a number of her mother's films including Narges (1991), The Blue Scarf (1994), The May Lady (1997), Rain and Landsman episode (from Kish Stories episode, 1998), Under The Skin Of The City (2000) and Our Times (documentary, 2001). For her performance in Mainline , she was nominated for the Best Performance by an Actress at the 2007 Asia Pacific Screen Award.
As a theatre actress she has performed in Over the Mirror (1997), directed by Azita Hajian; Amid the Clouds (2006) and Quartet: A Journey North (2007), both directed by Amir Reza Koohestani and successfully staged in Europe.
哈桑．馬祖尼
Hassan Madjooni
伊穆
Imour
馬祖尼身兼導演、演員、舞台設計及大學講師， 並為里夫劇場的創辦人。除了契訶夫及莎士比 亞的作品，他亦曾製作多位伊朗劇作家的作 品，執導作品屢獲殊榮。
馬祖尼曾與庫埃斯塔多次合作，包括《亂世浮 雲》、《四重奏：北方之旅》、《伊萬諾夫》及 《時間錯失》。 2005 年憑《亂世浮雲》獲蘇黎 世戲劇節演出獎。馬祖尼除了在德黑蘭藝術大 學任教，亦帶領伊朗多個演戲及導演工作坊。 2010 年憑《一抓盧布》獲評伊朗劇評人協會最 佳劇場導演獎。
Madjooni is a theatre director, actor, stage designer, university professor and founder of the Leev Theater Group. He has staged many classics by Anton Chekov and Shakespeare, along with works by renowned Iranian playwrights. As a director, he has won various awards for his productions.
As an actor, Madjooni frequently collaborates with theatre director Amir Reza Koohestani (Amid the Clouds, 2006; Quartet: A Journey North, 2007; Ivanov, 2011; Timeloss, 2013). For his performance in Amid the Clouds , Madjooni won the acting award at the 2005 Zürcher Theater Spektakel Festival. In addition to teaching at the Art University of Tehran, he has conducted various acting and directing workshops in Iran. In 2010, Madjooni was named Best Theatre Director of the Year by the Critics Association of Iran’s Theatre House awarded him as the Best Theatre Director of the Year for his play For a Fistful of Rubles. 簡歷中譯：王翠屏
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Gregory Porter CCCH 28/2, 1/3 ◤ 8pm
柯迪凡托合奏團
Ensemble Cordevento
森姆．李與好友音樂會
十七世紀的流行音樂 Popular Music from the 17th Century APAA 1/3 ◤ 8:15pm
Sam Lee & Friends APAA 3, 4/3 8:15pm
費沙爾與布達佩斯節日樂團
Iván Fischer & the Budapest Festival Orchestra
魔法鋼琴與蕭邦短篇 Magic Piano & The Chopin Shorts
倫敦交響樂團
London Symphony Orchestra
匿名四人組 Anonymous 4
瑪德琳．碧露 Madeleine Peyroux
卡華高斯、佩斯與貝多芬 Kavakos, Pace & Beethoven
麥克勞克林與第四空間樂隊 John McLaughlin & The 4th Dimension
赫克托．奧利維拉管風琴獨奏會
Hector Olivera Organ Recital
和諧花園古樂團 Il Giardino Armonico
琉森節日弦樂團 Lucerne Festival Strings
羅伯特．豐塞卡 YO 音樂會
Roberto Fonseca 'YO'
《形象香港》
Images of Hong Kong
薩翁林納歌劇節
米蘭史卡拉歌劇院芭蕾舞團《吉賽爾》
Teatro alla Scala Ballet Company (La Scala Ballet) Giselle
崔莎．布朗舞蹈團
Choreographer: Jean Coralli - Jules Perrot
Trisha Brown Dance Company 編舞：崔莎 •布朗 Choreographer: Trisha Brown
蘇格蘭芭蕾舞團《仙凡之戀 搖滾激情篇》
Scottish Ballet - Highland Fling
季利安作品 Kylworks
俄羅斯莫伊謝耶夫舞團
導演/編舞：馬修•伯恩
Director and Choreographer: Matthew Bourne
編舞：尤里•季利安、米高•舒馬卡
Choreographer: Ji í Kylián, Michael Schumacher
Igor Moiseyev State Academic Ensemble of Popular Dance (Russia)
艾甘．漢舞蹈團《思想伊戈：百年春之祭》
Akram Khan Company - iTMOi (in the mind of igor)
翩娜．包殊烏珀塔爾舞蹈劇場 《死而復生的伊菲格尼》
Tanztheater Wuppertal Pina Bausch Iphigenia in Tauris
香港賽馬會當代舞蹈平台系列
The Hong Kong Jockey Club Contemporary Dance Series
亞太舞蹈平台（第六屆）
Asia Pacific Dance Platform VI
北歐舞新風 Nordic Waves
《茱莉小姐》
Mies Julie
布利斯托爾老域劇團暨
南非木偶劇團《仲夏夜之夢》
Bristol Old Vic in association with Handspring Puppet Company - A Midsummer Night's Dream
《森林海中的紅樓》
Red Chamber in the Concrete Forest
藝術總監及編舞：艾甘•漢
Artistic Director and Choreographer: Akram Khan
導演/編舞：翩娜•包殊
Director and Choreographer: Pina Bausch
節目一編舞：邢亮、黃靜婷、楊浩
Programme 1 by Xing Liang, Chole Huang, Yang Hao 節目二編舞：黃磊、楊浩、林俊浩 Programme 2 by Huang Lei, Yang Hao, Ivanhoe Lam
編舞：李仁秀、蘇亞塔•戈爾、謝欣 by Insoo Lee, Sujata Goel, Xie Xin
編舞：古尼拉．海爾布隆、伊蓮娜．皮里恩 by Gunilla Heilborn, Elina Pirinen
編劇/導演 : 艾瑤•花柏
Written and Directed by Yaël Farber
原著：威廉•莎士比亞 導演：湯•莫里斯 by William Shakespeare Directed by Tom Morris CHT 21-23, 25-28/2 22, 23/2 8pm 3pm
編劇：王昊然 導演：陳曙曦
Written by Wang Haoran Directed by Chan Chu-hei CCST 28/2, 1-3/3 1 2/3 8:15pm 3:15pm 中國國家話劇院《羅密歐與朱麗葉》
National Theatre of China - Romeo and Juliet
梅爾劇團 《亂世浮雲》（伊朗篇）
導演 : 田沁鑫 編劇：雷婷
Directed by Tian Qinxin Adapted by Lei Ting APAL 1 2/3 1/3 8pm 3pm
文本/導演：庫埃斯塔
小提琴：雷諾德．卡普森 with Renaud Capuçon, violin CCCH 6, 7/3 ◤ 8pm
鋼琴：李嘉齡、黃蔚園 with Colleen Lee & Wong Wai-yuen, piano
指揮：丹尼爾．哈丁
Conductor: Daniel Harding CCCH 8/3 ◤ 8pm
恩典與榮耀 Grace & Glory CHCH 11/3 8pm
CCCH 12/3 ◤ 8pm
小提琴：卡華高斯 鋼琴：佩斯 Leonidas Kavakos, violin; Enrico Pace, piano
CCCH 13/3 8pm
CCCH 14/3 8pm
CCCH 15/3 3pm
音樂總監、笛及蕭姆管：喬凡尼．安東尼尼 Music Director, Flute and Chalumeau: Giovanni Antonini CHCH 14, 15/3 8:15pm
藝術總監：丹尼爾．多特思
Artistic Director: Daniel Dodds CHCH 20, 21/3 8:15pm
CCCH 21/3 8pm
也斯詩作命題音樂會 A concert of new works inspired by Ya Si's Poetry CHT 21, 22/3 ◤ 8pm
Savonlinna Opera Festival - Gala Concert 指揮：亞理．海邁萊伊寧 Conductor: Jari Hämäläinen
22/3 8pm
Mehr Theatre Group - Amid the Clouds
《子彈捕手》 Bullet Catch
女戲 1+1 Girl Talk
《水滸 108 之終極英雄 蕩寇誌》 108 Heroes III
《末族》 FILTH
華沙新劇團《莎士比亞 非洲故事》
Nowy Theatre - African Tales by Shakespeare
《鐵馬》
Iron Horse
Text/ Stage: Amir Reza Koohestani APAD 1 2/3 7:45pm
導演/演出：羅布•德拉蒙德
Directed & performed by Rob Drummond
編劇：韋羅莎、李穎蕾 導演：李鎮洲
Written & performed by Rosa Maria Velasco and Santayana Li Directed by Lee Chun-chow
改編：張大春 導演/主演：吳興國
Adapted by Chang Ta-chuan
Directed & performed by Wu Hsing-kuo
編劇：楊靜安 導演：莊培德
Written by Young Jingan Directed by Peter Jordan
藝術總監及導演：瓦里科夫斯基
Artistic Director/ Director: Krzystof Warlikowski
導演：田戈兵 戲劇文本：馮程程
3pm
Director: Tian Gebing Dramaturg: Vee Leong CCST 22, 23/3 23/3 8:15pm 3:15pm
◤ 香港賽馬會藝粹系列 The Hong Kong Jockey Club Series
◤ 信和集團藝萃系列 Sino Group Arts Celebration Series
CCGT 香港文化中心大劇院 Grand Theatre, HK Cultural Centre
CCCH 香港文化中心音樂廳 Concert Hall, HK Cultural Centre
CCST 香港文化中心劇場 Studio Theatre, HK Cultural Centre
CHCH 香港大會堂音樂廳 Concert Hall, HK City Hall
CHT 香港大會堂劇院 Theatre, HK City Hall
APAL 香港演藝學院歌劇院 Lyric Theatre, HKAPA
APAA 香港演藝學院香港賽馬會演藝劇院
The Hong Kong Jockey Club Amphitheatre, HKAPA
APAD
Drama Theatre, HKAPA
◤ 埃克森美孚新視野 ExxonMobil Vision
◤ 瑞信新晉藝術家系列 Credit Suisse Emerging Artists Series
YMTT 油麻地劇院 Yau Ma Tei Theatre
STA 沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall
KTTA 葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre
KTTB 葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre
CWDP 中西區海濱長廊（近金鐘添馬公園）
Central and Western District Promenade, Tamar Park, Admiralty
TWTA 荃灣大會堂演奏廳 Auditorium, Tsuen Wan Town Hall
TMTA 屯門大會堂演奏廳 Auditorium, Tuen Mun Town Hall
資料截至 Information
