香港藝術節匯聚全城文化精髓， 是享譽亞洲的文化盛事。藝術節 絢麗多姿的節目，每年吸引無數 海內外藝術愛好者熱烈捧場。觀 眾無論以香港為家，還是慕名而 來，都不難感受箇中都會魅力。
香港藝術節雲集本地以至全球名 家傾力演出，盡展藝術才華。精 選節目包羅萬象，古今俱備，觀 眾既可欣賞當代新銳創作，更可 回味大師經典作品。
欣逢香港藝術節四十周年，可喜 可賀。謹祝各位有一個愉快難忘 的晚上。
獻辭 message
The Hong Kong Arts Festival is a highlight of our city’s cultural calendar and a widely celebrated arts event in Asia. Each year it presents a feast of exciting programmes that draw arts lovers from near and far, adding to Hong Kong’s attractiveness both as a home and a tourist destination.
The Festival is an important platform for showcasing local talent alongside the best artists from around the world. With a judicious mix of programmes, it champions new and contemporary works while celebrating great masterpieces, giving audiences much to savour.
I congratulate the Hong Kong Arts Festival on its 40th Anniversary and wish you all a truly memorable evening.
香港特別行政區行政長官
Chief Executive Hong Kong Special Administrative Region
歡迎蒞臨第40 屆香港藝術節。
作為重要的國際
文化盛會，香港
藝術節每年呈獻 世界頂尖及多元 化的表演節目。
今年榮幸再邀請
到世界各地及本
港藝術精英，帶
來舞蹈、音樂、
歌劇及戲劇等精采表演，讓觀眾可欣 賞振奮心靈的繽紛藝饌。
我藉此感謝香港特區政府、香港賽馬
會、各贊助企業及個人的慷慨資助。
踏入第40周年，香港藝術節除了雲
集世界各地的藝術界翹楚，帶來精采
演出，亦透過學生票贊助計劃及「青
少年之友」計劃，培養年青人的藝術
體驗；此舉有賴一群熱愛藝術的有心 人慷慨資助，鼓勵年青人參與藝術節
的精采演出，提升日後觀賞藝術的興 趣。
各位觀眾的支持和參與，乃驅動藝術
節向前邁進的力量。感謝您前來欣賞 本節目，希望本屆藝術節為您帶來美 好的觀賞時光。
I warmly welcome you to the 40th Hong Kong Arts Festival.
Recognised for the quality and variety of its programming, the annual Hong Kong Arts Festival is keenly anticipated as the premier event in Hong Kong’s cultural calendar. This year we again welcome top international and local talent in dance, music, opera and theatre, whose artistry will delight and inspire us.
I wish to acknowledge strong support of the Government of Hong Kong SAR, the Hong Kong Jockey Club, and sponsors and donors who make this Festival possible. At this 40 year mark, I am particularly delighted that in addition to presenting wonderful artists to a discerning public, we can also nurture young audiences through our Student Ticket Scheme and Young Friends Scheme, thanks to the contributions of donors and supporters who generously share their own love for the arts with audiences of the future.
Thank you very much for coming to this performance. Your presence is paramount to the success of the Festival, and I wish you a very enjoyable experience.
歡迎閣下蒞臨第 40屆香港藝術 節。
今年香港藝術節 呈獻的藝術名家 及精采節目，就 如香港大都會一 樣多元化又璀璨 奪目。延續四十 年的優良傳統， 我們繼續邀請
本地及國際知名的星級藝術家點亮香 港大小舞台，呈現世界豐碩的文化傳 統，豐富未來的文化面貌。
衷心感謝多年來熱心支持香港藝術節 的各界人士及團體。我們過去的成 功源自他們對藝術的熱忱，他們亦深 信豐盛多元的文化藝術生活，是香港 作為名副其實的國際大都會之重要支 柱。
感謝您與我們一起慶祝香港藝術節的 四十年。藝術節團隊向每一位支持香 港藝術節的觀眾衷心致謝，期望您盡 享連串多姿多采的節目。
It is a pleasure and privilege to welcome you to the 40th Hong Kong Arts Festival.
The array of artistic talent and programmatic content presented at this year’s Festival is as diverse and multi-faceted as the city which has hosted this annual event in the course of four decades. As we add to the roll call of local and international luminaries who grace our stages, we continue to draw upon the impressive traditions available to us, and work to augment a heritage for the future.
I am deeply grateful to many individuals and institutions for their contributions to the Festival’s success over the years, informed by a love for the arts and an appreciation of how important it is for a major city worthy of that description to have a rich cultural life.
Thank you for being here to celebrate forty years of the Hong Kong Arts Festival. The Festival would not happen without its audience. The entire Festival team appreciates your contribution to the 40th Hong Kong Arts Festival and hopes that you enjoy many wonderful performances.
Charles Lee, Chairman
Tisa Ho, Executive Director
香港藝術節資助來自： The Hong Kong Arts Festival is made possible with the funding support of:
演員 ︳Cast
巴拉克諾夫人 卡羅．羅伊
Lady Bracknell Carol Royle
亞吉能．孟克列夫
Algernon Moncrieff
傑克．沃辛
馬克．埃德-亨特
Mark Edel-Hunt
丹尼爾．布羅克班克
Jack Worthing Daniel Brocklebank
關多琳．費爾法
柯斯蒂．貝斯特曼
Gwendolen Fairfax Kirsty Besterman
西西麗．卡杜
費伊．卡斯特洛
Cecily Cardew Faye Castelow
查書伯牧師
理查．狄克遜
Canon Chasuble Richard Dixon
普禮慎小姐
艾莎．班尼森
Miss Prism Ishia Bennison
萊因 / 梅里曼
華特．范迪克
Lane / Merriman Walter Van Dyk
替角 Understudies
西西麗 / 關多琳 維琪．坎貝爾
Cecily / Gwendolen Vicki Campbell
傑克 / 亞吉能 / 萊因 / 梅里曼
尼古拉斯．泰勒
Jack / Algernon / Lane / Merriman Nicholas Taylor
巴拉克諾夫人 / 普禮慎小姐
Lady Bracknell / Miss Prism
查書伯
莎拉．辛普金斯
Sarah Simpkins
華特．范迪克
Chasuble Walter Van Dyk
The Importance of Being Earnest first premiered at the St James Theatre, London on 14 February, 1895
創作 ︳Creative Team
導演 史提芬．恩汶
Director Stephen Unwin
副導演
柯迪莉婭．孟茜
Associate Director Cordelia Monsey
佈景設計 海頓．格里芬
Set Designer Hayden Griffin
服裝設計
馬克．鮑曼
Costume Designer Mark Bouman
燈光設計
馬爾肯．里珀斯
Lighting Designer Malcom Rippeth
音響設計
阿德麗安．寇特麗
Sound Designer Adrienne Quartly
選角總監 珍尼．席勒
Casting Director Ginny Schiller
製作經理 馬克．凱里
Production Manager Mark Carey
服裝指導
特雷西．斯泰爾斯
Costume Supervisor Tracey Stiles
燈光程式及執行
馬特．布列頓
Lighting Programmer & Re-lighter Matt Britten
劇團舞台監督
傑森．班特曼
Company & Stage Manager Jason Benterman
執行舞台監督
薩莉．休斯
Deputy Stage Manager Sally Hughes
助理舞台監督
麗貝嘉．卡內爾
Assistant Stage Manager Rebecca Carnell
中文字幕翻譯 王明宇
Chinese Surtitles Martin Wang Mingyu
字幕控制
葛欣
Surtitles Operator Veronica Ge
製作 ︳Production Credits
佈景 Scenic Build Object Construction
服裝 Costumiers Cosprop, Bristol Costume Services
假髮 Wigs Linda Mcknight
帽飾 Milliner Laela Barnard
鳴謝 ︳Acknowledgments
Michael Cryne, Shakespeare’s Globe Theatre, English Touring Theatre, Kingsley Richard Hamilton
第二幕
另一邊廂，西西麗正跟她的家庭教師 普禮慎小姐待在家裏。她對亞吉能
的出現十分高興，因為亞吉能謊稱自
己正是那位她久聞其名、不見其人 的「誠懇」。這一對年輕人很快相愛 並訂了婚。西西麗承認，是「誠懇」
這個名字讓自己對亞吉能如癡如醉。
此時傑克突然回家，宣佈他弟弟「誠 懇」在巴黎猝死，不料卻發現「誠
懇」此時正在他家裏，不由得又驚又 怒。
正當傑克和亞吉能各自
安排教區牧師給自己
改名的時候，關多
琳也來到這裏，
並遇見了西西
麗。兩人發現
她們都與「誠
懇．沃辛」訂
了婚，局勢一下
子變得劍拔弩張。
隨後傑克和亞吉能出
現，澄清了兩位小
姐的疑團，但同
時也暴露了兩
個人都不叫 「誠懇」。
Act II
Cecily, alone in the country with her governess, Miss Prism, is agreeably surprised at the appearance of Algernon in the guise of the much-discussed “Ernest.”
The young couple lose no time in becoming engaged for, Cecily admits, the name “Ernest” has always fascinated her. When Jack returns unexpectedly to announce “Ernest’s” sudden death in Paris, he is disagreeably surprised to learn that “Ernest” is at the very moment in the house.
While Jack and Algernon are separately arranging with the rector for a rechristening, Gwendolyn arrives. The discovery of Gwendolyn and Cecily that they both seem to be engaged to “Ernest Worthing” results in a strained situation. The appearance of both young men clarifies the matter of engagements, but also reveals that neither is named “Ernest.”
第三幕
傑克和亞吉能表示願意為了兩位小姐 改名，西西麗和關多琳原諒了他們的 欺騙。但是巴夫人隨後到來，兩樁婚 事又遇阻力。巴夫人非常樂意侄兒亞 吉能與西西麗結婚，因為西西麗家產 豐厚。然而作為西西麗的監護人，傑 克提出如果巴夫人不同意自己與關多 琳成婚，就不會將西西麗許配給亞吉 能。就在這時，普禮慎小姐出現，被 巴夫人認出，使得傑克的身份水落石 出 原來他就是亞吉能失散已久的 哥哥 誠懇。眾人最後皆大歡喜。
原文刊載於：Minute History of the Drama. Alice B Fort & Herbert S Kates New York: Grosset & Dunlap, 1935. p. 99.
Act III
When the girls learn that their fiancés had been about to be rechristened for their sakes, they forgive the deception. With the arrival of Lady Bracknell the question of consent again comes up. Lady Bracknell is quite willing that Algernon shall marry Cecily and her fortune. Jack, however, as Cecily’s guardian, refuses his consent unless Lady Bracknell permits his marriage to Gwendolyn. The appearance of Miss Prism who is recognised by Lady Bracknell, results in the identification of Jack Worthing as Algernon’s lost elder brother, Ernest, thus settling matters to everyone’s satisfaction.
Originally published in Minute History of the Drama Alice B Fort & Herbert S Kates. New York: Grosset & Dunlap, 1935. p. 99.
多利亞時代的英格蘭，人們的日常生 活中卻充斥着禁慾、不切實際的道德 主義和偽善。這個國家曾經引以為傲 的基督教價值觀已經被剝削、偏見和
不平等的行為蠶食殆盡，這些行為在
當今來看都是非常不能接受的。《不 可兒戲》可以說是個諷刺上述現象的 作品：巴拉克諾夫人對婚姻的墨守陳 規，偽善的亞吉能和傑克，愚昧的西 西麗和關多琳，普禮慎小姐與查書伯
牧師隱密的私情，溫文爾雅的外表下 隱藏着的貪婪與欲望，對道德觀接二 連三的反諷，故意把瑣碎輕鬆的事情
嚴肅化等等，無不在嘲弄維多利亞時 代的某些狹隘的道德觀念。一些批 評家指出這部戲劇有大量的同性戀隱
喻，比如「誠懇（ Earnest ）」是同 性戀（ gay ）的代號，而「貝爵里活 動」（Bunburyism）則是與「雞奸」 （buggery）諧音的文字游戲。另一些
批評家則從第三幕傑克追根溯源的情 節中，體察出經典的「尋根」問題，
從而又把我們帶回戲劇學的老家。
不過在理解這部戲劇時我們要格外注 意：人們很容易通過作者本人的悲慘
經歷來解讀他的作品。首先，這是一 部妙語連珠的作品，它的首要目的是 娛樂，而且在這方面非常成功，並不 需要其他人對其強行賦予任何價值。
在這部戲劇首次公演後，一些批評家 因這部戲彷彿難以和任何主題扯上關
係而感到非常迷茫，原因並不是這部 戲太前衛，而是因為從中難以找到任 何偉大意義。在當時，絕大多數劇
作家都會以易卜生為榜樣，以社會問
was characterised by high levels of sexual repression, impossible moralism and widespread hypocrisy. A country that prided itself on its Christian values was marred by exploitation, prejudice and inequality in a way that we would find quite unacceptable today. The Importance of Being Earnest can be read as a satire on this state of affairs.
The high propriety of Lady Bracknell in all things marital; the hypocrisy of Algernon and Jack; the indelicacy of Cecily and Gwendolen; the hidden secrets of Prism and Chasuble; the voracious appetites lurking beneath the genteel surface; and the never-ending inversion of the moral and the serious with the trivial and the pleasurable, are all designed to mock a particular set of narrow-minded Victorian mores. Some critics have also argued that the play has a rich homosexual subtext with “Earnest” code for “gay” and “Bunburyism” a play on “buggery”; others have detected an almost classical meditation on origin and identity in Jack’s search for his parents in Act Three –returning us, of course, to Lady Bracknell’s unspeakable “handbag” of theatrical lore.
But in approaching The Importance we need to be careful. It’s all too easy to read it through the perspective of the catastrophe that was about to engulf its author. The play is, above all, a jeu d’esprit, which succeeds brilliantly in its primary purpose of entertaining, and hardly needs alien values imposed on it. Indeed, at its premiere, some critics were baffled by the feeling that it wasn’t about anything at all: not that it was too radical, but that it was empty of meaning of any kind. While most
題為題材來創作。然而王爾德卻毅然 決然、甚至帶有挑戰意味地在劇本中 大寫瑣碎事情。蕭伯納曾公開表示不 以為然：「我去劇院是想被感動得發 笑。」他還寫道：即使這部戲真的非 常風趣，但還是令人厭惡。蕭伯納的 朋友威廉姆．阿徹也是一位易卜生的 追隨者，他曾沮喪地寫道：「對於這 樣一部無論藝術或道德方面都沒有任 何『主義』，自成一家，充滿着不羈 作家天馬行空的俏皮話的劇作，我們 可憐的劇評家該如何是好啊！」
然而《不可兒戲》最奇妙的地方在 於：要確鑿地定位其內涵和意義，幾 乎是不可能的。王爾德給這部作品的 副標題是「一部瑣碎平常的喜劇，獻
dramatists were following Ibsen’s example and tackling social issues, Wilde was being resolutely, even provocatively trivial. Bernard Shaw declared (disapprovingly) that “I go to the theatre to be moved to laughter”, and later wrote that, although he found the play “extremely funny, it was essentially hateful”. Shaw’s fellow Ibsenite, William Archer, despaired: “What can a poor critic do with a play which raises no principle, whether of art or morals, creates its own canons and conventions, and is nothing but an absolutely willful expression of an irrepressibly witty personality?”
The miraculous thing about The Importance is that its meaning is almost impossible to pin down. Wilde’s subtitle is a “Trivial
給嚴肅認真的人」。他把這部戲誠摯
地獻給他的朋友「羅比」羅斯，並告
訴他這部作品的中心思想就是「我們
應該嚴肅認真地對待一切小事，同時
有意識地以真摯的輕鬆心情對待一切 嚴肅認真的事。」正如傑克全劇的最 後一句台詞所言：「這一輩子直到現
在，我才知道做人非做誠懇不可。」
的確，在《不可兒戲》中，我們時常 可以感覺到王爾德已經有一種早期現
代主義戲劇風格，一種挑戰所有傳統 藝術的風格。同時，這部戲也能讓觀 眾開懷一笑，滿意而歸。正如達達主
義在第一次世界大戰最為激烈的時期 崇尚無政府主義和荒謬主義一樣，愛
爾蘭才子王爾德早在二十年前就與高
度嚴肅的維多利亞時期的主流對抗。
他寫出如此傑作，以其機智銳利的文 才讓讀者覺得生命如此充滿意義。正
因如此，該作品當之無愧地與語言史 上最偉大的喜劇作品平起平坐，譬如
《皆大歡喜》、《無事生非》、《情
敵》、《造謠學堂》、《花粉熱》與 《私生活》等。它以奇妙的格調和輕
快的節奏告訴我們：幽默、荒誕、無
拘無束的精神意志正正蘊含在我們最 珍重的東西之中。
王爾德葬於巴黎拉雪茲神父公墓，墓
誌銘截取自他的《瑞丁監獄之歌》 （1897）：
後世的淚水將會注滿
他那遺憾的骨灰盒，
因為替他哀傷之人都會是不容於世者，
而不容於世者永遠哀傷。
Comedy for Serious People”. He told his friend Robbie Ross – to whom the play is affectionately dedicated – that its subject was “that we should treat all the trivial things of life very seriously, and all the serious things of life with a sincere and studied triviality.” As Jack’s curtain speech puts it: “I’ve now realised for the first time in my life the vital importance of being Earnest”.
Indeed, it sometimes feels that in The Importance of Being Earnest , Wilde has written an early piece of dramatic modernism, a work that challenges all the conventions of art, while also being entirely entertaining and satisfying. Just as Dadaism celebrated – at the height of the First World War – anarchism and nonsense, so the Irish genius Wilde, twenty years earlier, reacted against the high seriousness of Victorian England and offered us the most sublime drama, whose genius it is to take pleasure in the kind of silver-tongued wit that makes life worth living. As such, it takes its rightful place alongside the greatest comedies of the language – As You Like It and Much Ado About Nothing , The Rivals and The School for Scandal, Hay Fever and Private Lives – whose magical touch and lightness of foot has ensured that humour, absurdity and unbridled high spirits are at the heart of many of the things that we treasure most.
The epitaph on Wilde’s tomb in Père Lachaise Cemetery in Paris is drawn from his Ballad of Reading Gaol (1897): And alien tears will fill for him Pity’s long-broken urn, For his mourners will be outcast men, And outcasts always mourn.
這個墓誌銘是一個悖論。從多種角度 來看，王爾德離開這個世界時，就像 一個被徹底放逐的人：一個身敗名裂 的偉大作家，一個流放到法國而隕落 的英倫社交明星，一位勇敢的同性戀 天才 為了捍衛「難以啟齒之愛」 而飽受偏見和愚昧殘害的先驅。任 何人讀完理查．埃曼所著的王爾德傳 記之後，都會感歎他是一個悲劇的傳 奇。
但在王爾德最輝煌的時期，在昆斯貝 理侯爵蠻橫的攻擊之前，他像一個巨 人一樣信步倫敦社交舞台。法國作家 紀德（在 1891 年）曾說：「他曾經 是那麼的英俊、高大、富有、前途無 量，有些人把他比作酒神巴克斯、羅 馬帝王，甚至是太陽神阿波羅。他是 那麼的光芒四射。」他給我們帶來了 《不可兒戲》這部歷久不衰、幽默風 趣的戲劇，然而，最為重要的是 這是一部純粹的戲劇，與任何思想意 義無關。
直至1960年的安迪．華荷，沒有一位 藝術家像王爾德一樣，享受「為了藝 術而藝術」，享受細節和格調，更獨 到的是 同時改變了世界。
This presents us with a paradox. In many ways, Wilde ended his life as an absolute outcast: the great writer whose reputation had been destroyed; the social butterfly of Imperial London pinned down in exile in France; the brave gay genius – torchbearer of “the love that dare not speak its name”–crippled by bigotry and ignorance. It’s a tragic tale, as anyone who has read Richard Ellman’s biography can testify.
But at the height of his fame, on the eve of the Marquess of Queensberry’s illiterate challenge, Wilde strode the London stage like a colossus. André Gide said (in 1891) that “He was rich; he was tall; he was handsome; laden with good fortune and honours. Some compared him to an Asiatic Bacchus; others to some Roman emperor; others to Apollo himself – but the fact is that he was radiant”. With The Importance of Being Earnest , Wilde gave us his masterpiece: eternally popular, astoundingly funny, and yet – and yet! – about nothing other than itself.
Not till Andy Warhol in the 1960s did an artist take such pleasure in “art for art’s sake”, in the inconsequential and the stylish, but still, most peculiarly, in the process change the world.
王爾德 oscAr WIlde
王爾德1854年10月16日生於愛爾蘭都柏林，曾先後就讀都柏林三一學院和牛津大學。
在牛津唸書時，他開始參與唯美主義及頹廢主義運動。畢業後，他移居倫敦，展開其 文藝生涯。王爾德的作品類型豐富：1881年出版了第一本詩集，與此同時，他也為 佩爾美爾街報寫童話故事、散文以及評論，並且出版了小說《道林．格雷的畫像》 （1891）。而在他最擅長的戲劇領域，則創作了《溫夫人的扇子》（1892）、《微不 足道的女人》（1893）、《理想丈夫》（1895）、《不可兒戲》（1895）以及《莎樂 美》（1896）等。
王爾德 1884 年與康斯坦斯．勞埃德成婚，育有二子。然而， 1891 年他與阿爾弗萊 德．道格拉斯勳爵展開了一段關係。 1895 年 4
月，波西的父親昆斯貝理侯爵憤然斥 責王爾德的同性戀行為，王爾德以誹謗罪上訴侯爵，失敗後，以「有傷風化罪」被 判兩年苦役。他在獄中寫了一封長信給道格拉斯，這封信在他死後以《深淵書簡》 之名出版（1912）。1897年王爾德獲釋，健康嚴重受損，身敗名裂。同年下半年， 他和道格拉斯在意大利的那不勒斯同居，不過只有短短數月。後來道格拉斯回到英 國，王爾德則主要在巴黎度過餘生。他把在監獄中的體悟寫成《瑞丁監獄之歌》， 於1898年出版。1900年11月30日，王爾德於巴黎逝世。
Oscar Fingal O’Flahertie Wills Wilde was born in Dublin on 16 October 1854. He was educated at Trinity College, Dublin and Oxford. In Oxford, he became involved in the aesthetic and decadent movements, and then moved to London to pursue a literary career.
His output was diverse: a first volume of his poetry was published in 1881, he contributed to the Pall Mall Gazette, wrote fairy stories, essays and critical dialogues, and published a novel, The Picture of Dorian Gray (1891). His plays include Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895), his masterpiece, The Importance of Being Earnest (1895) and Salome (1896).
Wilde married Constance Lloyd in 1884 and they had two sons. In 1891, he started an affair with Lord Alfred Douglas and in April 1895 sued Douglas’ father, the Marquess of Queensberry, for libel, after being accused of homosexuality. Wilde lost and in the aftermath was sentenced to two years hard labour. In prison he composed a long and critical letter to Douglas, posthumously published under the title De Profundis (1912). Wilde was released in May 1897 with his health irrevocably damaged and his reputation ruined. He and Douglas lived together in Naples for a few months in 1897 before separating; Wilde lived the remainder of his life primarily in Paris. His great poem about his prison experience, The Ballad of Reading Gaol was published in 1898. He died in Paris on 30 November 1900.
艾莎．班尼森 Ishia Bennison
普禮慎小姐 Miss Prism
班尼森的劇場作品有：《私生活》（皇家宮廷劇院）；《坎特伯利故事 集》（京士頓玫瑰劇院及巡演）；《塞揚努斯》、《還璧記》（皇家莎 士比亞劇團）；《誰害怕吳爾芙？》（曼徹斯特圖書館劇團）; 《一千零 一夜》（英國新域劇團）；《仲夏夜之夢》、《溫莎的風流娘們》、《理 查三世》（北方大地劇院）、《美狄亞》（莉蓮．貝利斯劇場）及《教育麗塔》（牛津劇 院）。影視作品有：《發達師奶》、《加冕街》、《倫敦東區人》及《無事生非》。
Theatre includes: Our Private Life (Royal Court); The Canterbury Tales (tour and The Rose); A New Way To Please You, Sejanus, Speaking Like Magpies, Cymbeline (Royal Shakespeare Company); Who’s Afraid Of Virginia Woolf? (Manchester Library); Arabian Nights (Young Vic); Antony And Cleopatra, A Midsummer Night Dream, Merry Wives, Richard III (Northern Broadsides); Medea (Lilian Baylis); Educating Rita (Oxford Playhouse). Television and film includes: True Dare Kiss, At Home With The Braithwaites, Holby City, Emmerdale, Coronation Street, Burnside, Eastenders, Much Ado About Nothing, King David and Jesus Of Nazareth
柯斯蒂．貝斯特曼 Kirsty Besterman
關多琳．費爾法 Gwendolen Fairfax
貝斯特曼畢業於英國皇家戲劇藝術學院，演出的戲劇有《第十二夜》（拉 德洛戲劇節）、《艾米的觀點》（諾定咸劇團）、《艾德蒙》（威爾頓 音樂廳）、《無事生非》和《威尼斯商人》（倫敦莎士比亞環球劇團）、 《私生活》（日內瓦簡單劇團）、《情敵》（巴斯皇家劇院）、《奧賽 羅》（秤不離砣劇團）及《李爾王》（皇家莎士比亞劇團）。演出的電視劇有《戰地神 探》。
Besterman trained at RADA. Theatre includes: Twelfth Night (Ludlow Theatre Festival); Amy’s View (Nottingham Playhouse); Edmond (Wilton’s Music Hall); Liberty, Much Ado About Nothing, Holding Fire, The Merchant of Venice (Shakespeare’s Globe); Plunder (The Watermill); Private Lives (Simply Theatre Geneva); The Rivals (Theatre Royal Bath); Othello (Cheek by Jowl); King Lear (RSC). Television includes: Foyles War.
卡羅．羅伊 carol royle
巴拉克諾夫人 Lady Bracknell
羅伊的劇場作品有：《月光》（唐瑪倉庫劇院）、《誠實的男孩》（史篤 城新域劇院），《理想丈夫》（比爾．肯賴特製作）、《櫻桃園》（克盧
伊德劇院）、《仲夏夜之夢》（攝政公園露天劇場）、《家變》（倫敦藝
術劇院）、《喪約星期二》（阿爾伯里劇院）、《不可兒戲》（北安普敦 皇家劇院）、《舊日時光》（伯明翰劇團）、《哈姆雷特》（獲倫敦劇評人獎）及《微不 足道的女人》（皇家莎士比亞劇團）。影視作品有：《醫生》、《新把戲》、《心跳》、
《十字路口》及《伯杰拉神探》等。
Theatre includes: Moonlight (Donmar); Humble Boy (New Vic Stoke); Ideal Husband, Going Straight (Bill Kenwright); Cherry Orchard, Arcadia, Private Lives (Theatre Clwyd); Midsummer Night’s Dream (Regent’ s Park); Festen (Lyric); See You Next Tuesday (Albery); Importance of Being Earnest (Northampton); Old Times, Four Alice Bakers (Birmingham Rep’); Maid’s Tragedy, Hamlet (London Critics award); Love’s Labour’s Lost, Troilus and Cressida and Woman of No Importance (R S C.). Television and film includes: Doctors, New Tricks, Gill Mayo Murders, Heartbeat, Crossroads, Second Sight, Thief Takers, Blackeyes, Life Without George, Oxbridge Blues, Ladies In Charge, Hedgehog Wedding, Still Small Shout, Waxwork, Feet Foremost, Judgement Day, The Outsider, Bergerac, Girl Talk, Heartland, Blake’s Seven, Cedar Tree, Greek Tycoon, African Runner and When the Wall Comes Tumbling Down.
莎拉．辛普金斯 sarah simpkins
巴拉克諾夫人 / 普禮慎小姐（替角） Lady Bracknell / Miss Prism (U/S)
辛普金斯的劇場作品有：《未知之國》（新星劇團）；《日曆女郎》（大 衛．飄）；《漢娜與馬田》（奈弗利製作）；《馬克白》（班德利莎士 比亞節）；《深海變種》、《歡樂的精靈》（演員劇團）及《煤氣燈下》 （法蘭克福英國劇院）。電影作品包括《窗外的謊言》及《遊樂場》。配 音作品則有《虛擬導遊》。
Theatre includes: Undiscovered Country (The New Players Theatre); Calendar Girls (David Pugh); Bedroom Farce (Bill Kenwright/Sir Peter Hall); Hannah and Martin (Nefeli Productions); Macbeth (Pendley Festival Players); The Deep Blue Sea and Blithe Spirit (The Actors Company); Gaslight (The English Theatre, Frankfurt). Film includes: Call at Midnight, Through the Window, Playground, The Relay Project Voice over work includes: Virtual Tour Guide
尼古拉斯．泰勒 nicholas Taylor
傑克 / 亞吉能 /萊因 / 梅里曼（替角）Jack / Algernon / Lane / Merriman (U/S)
泰勒的劇場作品包括：《傲慢與偏見》（巴斯皇家劇院）及《請講明白 話》（切爾滕納姆人人劇院）。
Theatre includes: Pride And Prejudice (Theatre Royal Bath); and Talking Sense (Cheltenham Everyman).
華特．范迪克 Walter Van dyk
萊茵 / 梅里曼；查書伯（替角）Lane / Merriman; Chasuble (U/S)
范迪克演出的戲劇有：《橫衝直撞偷錯情》（老域劇院）；《阿拉巴馬的 月亮》（英國新域劇團）；《維羅納二紳士》、《仲夏夜之夢》、《上流 社會》（攝政公園露天劇場）；《太平洋序曲》（萊斯特海馬克劇院） 等。英國巡演有《士兵的故事》、《三毛錢歌劇》、《皆大歡喜》、 《苦海孤雛》、《玩偶之家》、《魔街理髮師》等。美國演出有：《羅密歐與茱麗葉》、 《屈身求愛》、《第十二夜》、《花粉熱》等。電視劇和電影作品：《老鷹》、《倫敦在 燃燒》、《偵探》、《一丘之貉》、《夢個不停》、《愛的傷害》等。
Theatre includes: A Flea in Her Ear (Old Vic); O Moon Of Alabama (Young Vic); Enter the Guardsman ( Donmar Warehouse ); Two Gentlemen Of Verona , A Midsummer Night’s Dream, High Society (Regents; Park; Open Air Theatre, London); Diary Of Albie Sachs (Salisbury Playhouse); Pacific Overtures (Leicester Haymarket); Send for Mr. Plim (BAC). UK Tours: A Soldier’s Tale, The Threepenny Opera, As You Like It, Oliver Twist, The Secret Diary Of Samuel Pepys, A Doll’s House, Sweeney Todd, Macbeth, Measure for Measure American Regional Theatre: A Midsummer Night’s Dream, Romeo and Juliet, She Stoops to Conquer, Twelfth Night, Hay Fever, Happy End. Television and film includes: The Eagle, London’s Burning, The Detectives, Birds Of A Feather, Can’t Stop Me Dreaming, Love Hurts, A Midsummer Night’s Dream, Framed, Incognito and The Basil Brush Show.
創作人員 Creative Team
史提芬．恩汶 stephen Unwin
導演 Director
恩汶自 2008 年 1 月英國京士頓玫瑰大劇院創立以來，就一直擔任其藝術總監。他 1982 年 畢業於劍橋大學，曾效力泰晤士話劇團及愛丁堡劇團，擔任副導演，又曾在英國國家大劇 院任駐場導演。1993 年，他創立了英國巡迴劇團。恩汶導演的專業戲劇及歌劇作品逾 50 齣，其中很多都已在倫敦各大劇院上演。除了執導，他還著有不少書籍，包括《莎士比亞 戲劇口袋指南》、《想不想成為戲劇導演？》及《布萊希特戲劇導讀》。
Unwin has been Artistic Director of the Rose Theatre, Kingston since it opened in January 2008. He graduated from Cambridge in 1982. He was the Associate Director at the Traverse Theatre, Edinburgh and the Resident Director at the National Theatre Studio before founding English Touring Theatre in 1993. He has directed more than 50 professional theatre and opera productions, many of which have been seen in leading London theatres. His many books include Pocket Guides to Shakespeare’s Plays, So You Want to be a Theatre Director? and A Guide to the Plays of Bertolt Brecht.
柯迪莉婭．孟茜 cordelia monsey
副導演 Associate Director
孟茜曾為彼得．賀爾的多齣作品擔任副導演，包括：《亨利四世》、《情敵》、《臥室鬧劇》、《愛 的徒勞》、《淑女本色》、《賣花女》、《凡尼亞舅舅》、《舊日時光》、《等待果陀》等。為崔佛． 納恩任副導演的有《暴風雨》（海馬克皇家劇院）。執導作品包括：《回家》、《勝利》、《臥室 鬧劇》、《賣花女》（2009 年香港藝術節）、《私生活》（英國國家劇院平台）及《馬克白》。早 期擔任副導演的作品有：《莫扎特傳》（老域劇院）、《理查三世》（英國國家劇院）、《馬克白》 （皇家莎士比亞劇團）、《仙后》（法國普羅旺斯藝術節）及《卡門》（格蘭特堡藝術節）。
Monsey has worked extensively as Associate Director to Peter Hall. Productions include Henry IV (summer 2011); The Rivals, Ayckbourn’s Bedroom Farce, Shaw’s The Apple Cart, Love’s Labour’s Lost, Portrait of a Lady, Pygmalion, Uncle Vanya, Old Times, Waiting for Godot; and with Trevor Nunn, The Tempest (Haymarket 2011). Director credits: Athol Fugard’s Coming Home and Victory (UK premieres); Bedroom Farce, Pygmalion for the 2009 Hong Kong Arts Festival; Home, Private Lives (NT Platforms); Ionesco’s Macbeth and Fielding’s Tom Thumb (RSC). Earlier Assistant Director credits: Amadeus (Old Vic); Richard III and King Lear (National Theatre); Macbeth, The Tempest, Restoration, Nicholas Nickleby (RSC); The Fairy Queen (Aix-en-Provence); Carmen (Glyndebourne). Drama School productions: A Midsummer Night’s Dream, Much Ado About Nothing,The Crucible, As You Like It and The Relapse.
海頓．格里芬 Hayden Griffin
佈景設計 Set Designer
格里芬曾為多個劇院擔任佈景設計，如英國國家劇院、皇家歌劇院、皇家莎士比亞劇院、 英國國家歌劇團、意大利熱那亞劇院、皇家宮廷劇院、三藩市芭蕾舞團、曼哈頓戲劇俱樂 部等大量英國本地及國際劇團。他也曾在意大利任多個作品的佈景設計。格里芬同時是倫 敦電影學院的製作設計高級講師。
Griffin’s designs have been seen on the stages of The Royal National Theatre of Great Britain, The Royal Opera House, The Royal Shakespeare Company, English National Opera, Teatro doi Genova, the Royal Court, The San Francisco Ballet, Manhattan Theatre Club and a variety of other companies both within the UK and internationally. He has also designed many productions in Italy. Griffin is the Senior Lecturer in Production Design at the London Film School.
馬克．鮑曼 mark Bouman
服裝設計 Costume Designer
鮑曼曾為以下劇作任服裝設計：《三個火槍手》、《朱莉小姐》、《金銀島》、《聖誕頌歌》（京 士頓玫瑰劇院）；《園生緣聚》（巴斯皇家劇院）；《哈姆雷特》（老域劇院，獲奧利花獎提名）； 《萬事成空》（英國國家劇院）；《波西米亞生涯》（格蘭特堡歌劇團）；《換命謊言》、《沙膽大 娘》、《哈姆雷特》、《李爾王》（英國巡迴劇團）等。除此他還參與過英國廣播公司、第四頻 道、獨立電影及商業廣告的製作。
Theatre includes: The Three Musketeers, Bedroom Farce, Miss Julie, Treasure Island, A Winslow Boy and A Christmas Carol (The Rose, Kingston); This Happy Breed, Born In the Gardens (Theatre Royal Bath); Bedroom Farce (Duke of York, and tour); Bent (Trafalgar Studios); Angels in America (Tour and Lyric Hammersmith); Aladdin (Old Vic); An Epitaph for George Dillon (Comedy Theatre); Hamlet (Old Vic- Olivier Nominated); Anything Goes (NT); Idomeneo, La Boheme (Glyndebourne); The Changeling, Mother Courage, Hamlet, King Lear, 12th Night, Romeo & Juliet, Ghost (English Touring Theatre). Screen credits include: BBC, Channel 4, independent films and commercials
馬爾肯．里珀斯 malcolm rippeth
燈光設計 Lighting Designer
里珀斯任燈光設計的劇作有：《秋水伊人》（倫敦西區）、《日曆女郎》（倫敦西區/澳洲/加 拿大）、《溫斯勞男孩》（京士頓玫瑰劇院）、《靈機一動》（皇家宮廷劇院）、《原野》（都柏林 劇院）、《黑暗元素三部曲》（伯明翰劇團）及《哈姆雷特》（英國巡迴劇團）。舞蹈及歌劇作 品包括：《費加羅的婚禮》（蓋辛頓歌劇院）、《卡門》（皇家節日音樂廳）、《七宗罪》（威爾 士國家歌劇院/舞團）和《設計師身體》（洛倫特芭蕾舞團）。
Theatre includes: The Umbrellas of Cherbourg, Six Characters in Search of an Author (West End); Brief Encounter (Kneehigh - West End & Broadway); Calendar Girls (West End/ Australia/Canada); The Wild Bride, The Red Shoes (Kneehigh); The Winslow Boy (The Rose, Kingston); HMS Pinafore (Minneapolis); Spur of the Moment (Royal Court); Decade
(Headlong ); The Field (Dublin ); The Devil Inside Him (NT Wales ); His Dark Materials (Birmingham Rep); Crash (West Yorkshire Playhouse); Hamlet (ETT) and Stones in his Pockets (Tricycle). Opera and dance includes: Le Nozze Di Figaro (Garsington); Carmen Jones (Royal Festival Hall); Seven Deadly Sins (WNO/Diversions Dance) and Designer Body (balletLORENT).
阿德麗安．寇特麗 Adrienne Quartly
音響設計 Sound Designer
寇特麗任音響設計的劇作有：《曲折的季節》（佩恩魄勞劇院）、《你不能帶走它》（愚人說劇 團）、《契科夫在地獄》（蘇活劇院）、《容器》（英國新域劇團）、《365》（蘇格蘭國家劇院）； 《雷克雅維克》（船室劇團）、《鋅床》（北安普敦皇家德恩蓋特劇院）、《93 . 2FM》（皇家宮廷 劇院）、《最快的鐘錶》（漢堡斯德劇院）；《鄉愁》（普利茅斯德拉姆劇院）、《綠山牆》（蓋特 劇團）等。作曲作品有：《湯瑪斯．霍布斯》（皇家莎士比亞劇團）；《馬爾菲公爵夫人》、《浮 士德》（倫敦銀幕戲劇公司）；《畫家》（阿可拉劇院）等。
Theatre includes: Roundabout Season (Paines Plough); You Can’t Take It With You/And the Horse You Rode on it (Told by an Idiot); Chekov in Hell (Soho Theatre); Fräuline Julie (Schaübuhne); Stockholm (Frantic Assembly/Sydney Theatre Co.); Thomas Hobbes/Mary Spindler (Royal Shakespeare Company); The Container (Young Vic); 365 (National Theatre of Scotland); Woyzeck (St. Anns Warehouse, New York); The Painter (Arcola); Reykjavik (Roundhouse); My Zinc Bed, Private Fears; Just between Ourselves (Royal and Derngate, Northampton); 93.2FM (Royal Court); Fastest Clock in the Universe (Hampstead); Grand Guignol, Nostalgia (Drum Plymouth); Tejas Verdes (Gate); Mrs Reynolds (Watford Palace). Composing credits include: Thomas Hobbes (RSC); Duchess of Malfi, Faustus, Volpone/ School for Scandal (Stage on Screen); The Painter (Arcola) and Circo Ridiculoso
珍尼．席勒 ginny schiller
選角總監 Casting Director
席勒是京士頓玫瑰劇院選角總監，參與製作有：《海上夫人》、《雪后》、《皆大歡喜》、《花粉 熱》、《仲夏夜之夢》和《溫斯勞男孩》。此前她先後效力皇家莎士比亞劇團、茨塞斯特節日 劇團、英國巡迴劇團和蘇活劇院，並為以下劇院選角：倫敦西區劇院、巴斯皇家劇院、伯 明翰劇團、格林尼治劇院、漢堡斯德劇院、利物浦劇院、牛津劇院、普利茅斯皇家劇院、 攝政公園露天劇場、英國新域劇團和英國西約克郡劇場。除了戲劇，她還參與過電視、電 影及廣播製作。
Casting Associate at the Rose Theatre: credits include The Lady from the Sea, The Snow Queen, As You Like It, Hay Fever, A Midsummer Night’s Dream and The Winslow Boy. Previously Schiller was Casting Director at the RSC, Chichester, ETT and Soho Theatre and has cast for the West End, Bath Theatre Royal, Birmingham Rep, Bolton Octagon, Frantic Assembly, Greenwich, Hampstead, Headlong, Liverpool Everyman and Playhouse, Lyric Theatre Belfast, Oxford Playhouse, Plymouth Theatre Royal, Regent’s Park, Shared Experience, the Young Vic and West Yorkshire Playhouse, as well as many television, film and radio productions.
場刊中譯：王明宇
贊助人 PATRON
曾蔭權先生
The Honourable Donald Tsang Yam-kuen
永遠名譽會長
HONORARY LIFE PRESIDENT
邵逸夫爵士 Sir Run Run Shaw
執行委員會 EXECUTIVE COMMITTEE
主席 Chairman
李業廣先生 Mr Charles Y K Lee, GBM GBS JP
副主席 Vice Chairman
許仕仁先生 Mr Rafael S Y Hui, GBM GBS JP
義務司庫 H onorary Treasurer
李思權先生 Mr Billy Li
委員 Members
夏佳理先生 The Hon Ronald Arculli, GBS JP
紀大衛教授 Professor David Gwilt, MBE
查懋成先生 Mr Victor Cha
周永健先生 Mr Anthony Chow SBS JP
黃敏華女士 Ms Nikki Ng
李 義法官 The Hon Mr Justice Ribeiro
詹偉理先生 Mr James Riley
黃鳳嫺女士 Ms Gilly Wong
任志剛先生 Mr Joseph Yam, GBM JP
節目委員會 PROGRAMME COMMITTEE
主席 Chairman
許仕仁先生 Mr Rafael S Y Hui, GBM GBS JP
副主席 Vice Chairman
紀大衛教授 Professor David Gwilt, MBE
委員 Members
盧景文教授 Professor Lo King-man, MBE JP
毛俊輝先生 Mr Fredric Mao, BBS
譚榮邦先生 Mr Tam Wing-pong, SBS JP
姚 珏 女士 Ms Jue Yao
伍日照先生 Mr Daniel Ng
羅志力先生 Mr Peter C L Lo
白諾信先生 Mr Giorgio Biancorosso
榮譽節目顧問 Honorary Programme Advisors
高德禮先生 Mr Douglas Gautier
Dr Peter Hagmann
約瑟．施力先生 Mr Joseph Seelig
財務及管理委員會 FINANCE AND MANAGEMENT COMMITTEE
主席 Chairman
李思權先生 Mr Billy Li
委員 Member
梁國輝先生 Mr Nelson Leong
發展委員會 DEVELOPMENT COMMITTEE
主席 Chairman
查懋成先生 Mr Victor Cha
副主席 Vice Chairman
梁靳羽珊女士 Mrs Leong Yu-san
委員 Members
杜安娜女士 Mrs Igna Dedeu
白碧儀女士 Ms Deborah Biber
廖碧欣女士 Ms Peggy Liao
黃慧玲女士 Ms Whang Hwee Leng
顧問 ADVISORS
鮑 磊先生 Mr Martin Barrow, GBS CBE JP
郭炳江先生 Mr Thomas Kwok, SBS JP
李國寶博士 Dr The Hon David K P Li, GBM GBS JP
梁紹榮夫人 Mrs Mona Leong, SBS BBS MBE JP
名譽法律顧問
HONORARY SOLICITOR
史蒂文生黃律師事務所 Stevenson, Wang & Co
核數師 AUDITOR
羅兵咸永道會計師樓 PricewaterhouseCoopers
香港藝術節基金會
HONG KONG ARTS FESTIVAL TRUST
主席 Chairman
霍 璽先生 Mr Angus H Forsyth
管理人 Trustees
陳達文先生 Mr Darwin Chen, SBS ISO
梁紹榮夫人 Mrs Mona Leong, SBS BBS MBE JP
陳祖澤博士 Dr John C C Chan, GBS JP
www.hk.artsfestival.org
網上追蹤香港藝術節 Follow the HKArtsFestival on
職員 Staff
行政總監 Executive Director
何嘉坤 Tisa Ho
節目 Programme
節目總監 Programme Director
梁掌瑋 Grace Lang
副節目總監 Associate Programme Director
蘇國雲 So Kwok-wan
節目經理 Programme Manager
葉健鈴 Linda Yip
外展經理 Outreach Manager
梁偉然 Ian Leung
助理節目經理 Assistant Programme Manager
汪文鈺 Joy Wang
助理製作經理 Assistant Production Manager
蘇雪凌 Shirley So
節目主任 Programme Officer
李家穎 Becky Lee
市場推廣 Marketing
市場總監 Marketing Director
鄭尚榮 Katy Cheng
市場經理 Marketing Managers
周 怡 Alexia Chow
梁頌怡 Kitty Leung
鍾穎茵 Wendy Chung
助理市場經理（票務）
Assistant Marketing Manager (Ticketing)
梁彩雲 Eppie Leung
發展 Development
發展總監 Development Director
余潔儀 Flora Yu
發展經理 Development Manager
嚴翠芳 Josephine Yim
助理發展經理 Assistant Development Manager
陳艷馨 Eunice Chan
會計 Accounts
會計經理 Accounting Manager
陳綺敏 Katharine Chan
助理會計經理 Assistant Accounting Manager
曾愛明 Ming Jung
會計文員 Accounts Clerk
黃國愛 Bonia Wong
行政 Administration
行政秘書 Executive Secretary
陳詠詩 Heidi Chan
地址 Address: 香港灣仔港灣道2號12樓1205室 Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong
電話Tel: 2824 3555 傳真Fax: 2824 3798, 2824 3722 電子郵箱Email: afgen@hkaf.org
節目查詢(辦公時間內) Programme Enquiries (during office hours): 2824 2430
接待員 / 初級秘書 Receptionist / Junior Secretary
李美娟 Virginia Li
辦公室助理 Office Assistant
鄭誠金 Tony Cheng
職員 Staff (合約 contract)
節目 Programme
物流及接待經理 Logistics Manager
金學忠 Elvis King
製作經理 Production Manager
廖卓良 Liu Cheuk-leung
節目經理 Programme Manager
何玉凝 Amy Ho
助理節目經理 Assistant Programme Manager
陳采琦 Kathy Chan
項目經理 Project Manager
林慧茵 Jess Lam
藝術家統籌及項目經理
Artist Coordination and Project Manager
陳韻妍 Vanessa Chan
外展統籌 Outreach Coordinator
陳韻婷 Alyson Chan
外展主任 Outreach Officer
蔡樂庭 Vanessa Tsoi
外展助理 Outreach Assistant
陳慧晶 Ainslee Chan
節目及出版主任 Programme & Publications Officer
曾逸林 Zeng Yilin
技術統籌 Technical Coordinators
黎春成 Anthony Lai
陳寶瑜 Bobo Chan
鄭潔儀 Catherine Cheng
陳詠杰 Chan Wing-kit
陳佩儀 Claudia Chan
何美蓮 Meilin Ho
出版 Publication
編輯 Editor
鄺潔冰 Cabbie Kwong
英文編輯 English Editor
魏卓華 Mikel Echevarría
助理編輯 Assistant Editor
陳楚珊 Sharon Chan
市場推廣 Marketing
助理市場經理 Assistant Marketing Manager
陳燕 Lilian Chan
市場主任 Marketing Officer
梁愷樺 Anthea Leung
票務主任 Ticketing Officer
關穎思 Catherine Kwan
客戶服務主任 Customer Services Officers
劉寶軒 Xanthe Lau
楊蘊楹 Flora Yeung
姜嘉敏 Joyce Keung
發展 Development
發展經理 Development Manager
譚穎敏 Myra Tam
Concert Hall, HK Cultural Centre
Grand Theatre, HK Cultural Centre
漢堡芭蕾舞團 《馬勒第三交響曲》
The Hamburg BalletThird Symphony of Gustav Mahler
Studio Theatre, HK Cultural Centre
Concert Hall, HK City Hall
Star Hall, KITEC
Theatre, HK City Hall 香港演藝學院戲劇院 Drama Theatre, HKAPA
Black Box Theatre, Kwai Tsing Theatre
Auditorium, Yuen Long Theatre
《藝裳奇幻世界》 World of WearableArt
琶音古樂團 L'Arpeggiata / Christina Pluhar
漢堡芭蕾舞團 《 慾望號街車》
The Hamburg BalletA Streetcar Named Desire
奈吉爾．甘迺迪演奏會 Nigel Kennedy Plays Bach
白建宇 - 拉威爾鋼琴獨奏
全集音樂會
Kun Woo Paik Plays Ravel
鄭明勳與皇家阿姆斯特丹
音樂廳樂團
Myung-whun Chung and the Royal Concertgebouw Orchestra
卡麗塔．馬蒂娜女高音獨唱會
Karita Mattila in Recital
約翰博士與Lower 911樂隊
Dr John & The Lower 911
里昂歌劇院芭蕾舞團 Lyon Opera Ballet
《六月戀人》
June Lovers
《愛之初體驗》 Journey to Home
香港藝術節委約及製作 Commissioned and produced by the HKAF
徹卡奧維《手塚》
Sidi Larbi Cherkaoui TeZukA
十六合唱團及古樂團 — 基斯杜化士
The SixteenHarry Christophers
巴伐利亞國立歌劇院 《女人心》
Bavarian State Opera Così Fan Tutte
《蜂》 The Bee
京劇—馬連良紀念系列 Beijing OperaA Tribute to Laosheng Master Ma Lianliang
《藝裳奇幻世界》 World of WearableArt
《野豬》 The Wild Boar
香港藝術節委約及製作 Commissioned and produced by the HKAF
《野豬》 The Wild Boar
京士頓玫瑰劇院 《不可兒戲》 Rose TheatreThe Importance of Being Earnest
香港賽馬會當代舞蹈平台系列 Hong Kong Jockey Club Contemporary Dance Series
節目1 Programme 1
香港藝術節委約及製作 Commissioned and produced by the HKAF
粵劇《搜書院》 Cantonese OperaSearching the Academy
《示範單位》
Show Flat
香港藝術節委約及製作 Commissioned and produced by the HKAF
《示範單位》
香港小交響樂團
《如夢逝水年華》 Hong Kong SinfoniettaLa Valse Remembered
Show Flat
粵劇 — 折子戲精選 Cantonese OperaExcerpts of selected repertoires
《野豬》 The Wild Boar
藝子與舞子 The Geisha of Gion
《4.48精神崩潰》 TR Warszawa Theatre 4.48 Psychosis
《機器人幻想曲》 Sans Objet by Aurelien Bory
香港藝術節委約及製作 Commissioned and produced by the HKAF 香港文化中心
蒙地卡羅芭蕾舞團 《仲夏夜之夢》
Monte-Carlo BalletLe Songe
沙漠搖滾塔里溫 Tinariwen
巴伐利亞電台交響樂團
Bavarian Radio Symphony Orchestra
蒙地卡羅芭蕾舞團 《仲夏夜之夢》
Monte-Carlo BalletLe Songe
香港賽馬會當代舞蹈平台系列 Hong Kong Jockey Club Contemporary Dance Series
節目2 Programme 2
香港藝術節委約及製作 Commissioned and produced by the HKAF
香港中樂團「樂旅中國VI」 Hong Kong Chinese OrchestraMusic About China VI
琶音古樂團 L'Arpeggiata / Christina Pluhar
新民謠．中國風 China Folk Rock
瑞信新晉藝術家系列 CREDIT SUISSE EMERGING ARTISTS SERIES
馬丁．史岱費爾德 鋼琴獨奏會 Martin Stadtfeld Piano Recital
巴維．哈斯四重奏 Pavel Haas Quartet
《山海經傳》 Of Mountains and Seas
石坂團十郎大提琴獨奏會 Danjulo Ishizaka Cello Recital
埃克森美孚新視野 EXXONMOBILE VISION
周樂娉與周樂婷鋼琴二重奏音樂會 Chau Lok-ping and Chau Lok-ting Piano Duo Recital
《布利斯托爾》
老域劇團
Bristol Old Vic Faith Healer
亞太舞蹈平台 Asia Pacific Dance Platform
法國北方布夫劇場彼得．布祿克的《魔笛》 Theatre des Bouffes du Nord - A Magic Flute
多米拿堤合唱團 Chamber Choir Dominante 周樂娉與周樂婷鋼琴二重奏音樂會 Chau Lok-ping and Chau Lok-ting Piano Duo Recital
《布利斯托爾》
老域劇團
Bristol Old Vic Faith Healer
《香港式離婚》（重演） The Truth About Lying (Re-run)
邵俊傑與友人敲擊音樂會 Louis Siu and Friends Percussion Recital
多米拿堤合唱團 Dominante 《泰特斯》(2012) Titus Andronicus (2012)
香港藝術節委約 Commissioned by
