The Bee - 40th Hong Kong Arts Festival

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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

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.

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:

This programme is printed on environmentally friendly paper .

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

有一天,東京一名平凡小職員井戶回 家時,發現他的太太及兒子已被一位 名叫小古呂的逃犯挾持。

警察向井戶解釋,小古呂之所以挾持 人質,全因為他的妻兒拒絕跟他見 面。

當整樁事件火速成為傳媒焦點,井戶 洞悉到警察不只幫不上忙,而且還對 他家人的安危構成威脅,於是他決定 親自向小古呂的妻子求助。

然而,當井戶的請求被拒之後,他決 定利用小古呂的妻兒作為跟小古呂談

判的籌碼。現在,井戶和小古呂這兩 家住戶各自在其住所被對方的戶主所 挾持。

往後的發展實在匪夷所思……

An ordinary Japanese businessman named Ido returns home one day to find that his wife and son have been taken hostage by an escaped convict named Ogoro.

The police explain to Ido that while Ogoro’s main demand is to see his own wife and son, his wife refuses the request.

As the situation turns into a media circus, realising that the police are completely useless and scared for his family’s safety, Ido decides to take matters into his own hands and goes to beg Ogoro’s wife for help.

However, when his plea is also rejected, a desperate Ido seizes Ogoro’s wife and son as a negotiation tool against Ogoro. Now there are two families being held hostage in two houses at the same time.

What happens next is unthinkable…

當我們不斷地重犯同一個錯誤時,我 們只會笑一笑,然後說:「嗯,或許 這就是我的作風罷。」但當其他人都

這麼重蹈覆轍時,我們就會很生氣地 問:「為何他們要一錯再錯呢?」

我們人類是一種多麼愛惜自我的生物

啊,或者反過來說,在我們的人生旅 途上,我們對他人是何等不寬容啊。

我可以確定,全世界的小學生都經常 聽到老師說:「多為他人設想和寄予 同情」。我深信當時這群小孩必然不 斷狂打呵欠,心裏只嘀咕着:「放 過我們吧!我們懂的,我們懂的。」

然而當小孩子長大了,只本着「待己 寬,律人嚴」的原則處世,委實看不 出他們懂得老師當初的教誨。

如果你數一數在全世界的小學之中, 「對別人好」這句話(或比如「不要 打人﹗」等意思類近的話)一年共說

Give Us a Break, We Know, We Know”

野田秀樹 Hideki Noda

Whenever the same mistake is made by us over and over again, we laugh it off and say, “Oh well, I guess it’s just the way I am.” But when someone else does it, we get all hot and bothered, “Why on earth do they keep doing that again and again?”

What nice creatures we humans are to ourselves… or conversely, how unforgiving we are to others as we go through life.

I’m quite sure that primary school pupils all over the world are constantly told by their teachers to “relate to others with consideration and compassion.” And I’m just as sure that, at such times, all children around the world just yawn, thinking, “Give us a break, we know, we know.” But when those children grow up, it becomes apparent that they actually don’t know, and that they are living out their lives according

© Masahiko Yakou

了多少遍,再把相同數量的煙盒頭尾 相連地排列,合計的距離也許能達到

月球那麼遠(暫且不要考慮把煙盒帶 入這篇文章是否合適吧)。

或者,想像一下全世界的夫妻到底每 天吵架多少遍,大概就會知道「對別 人好」這個概念不易實踐。然而,連

夫妻都對彼此不好時,我們的世界裏 就會充斥着更多令人生氣的說話,比 如:「你為什麼不去死?」,或者語 氣稍微含糊一點:「你為什麼不回答 我!?」假使兩夫妻每次爆發類似的 晦氣說話時,我們都用一個煙盒來計 算,當你還沒有反應過來時,也許已

身處在月球了(煙盒這個比喻在此處 亦不是相當合適)。

現今,我們人類這種「愛己不及人」

to the principle, “Nice to oneself, not nice to others.”

If you counted the times in a year that “Be nice to others” (or similar phrases such as, “Don’t hit!”) is said in the world’s primary schools and if you calculated each time as being the size of a pack of cigarettes and laid them end to end, they’d probably reach to the Moon (putting aside for a moment the question of the appropriateness of a pack of cigarettes being brought in here).

Alternatively, take the number of marital spats that occur in the world every day. They hardly represent the putting into practice of the notion of being kind to others.

It’s this not being nice to “others” such as husbands and wives that gives rise to such expressions used around the world as “Why don’t you drop dead?” or, vaguely in that vein, “Why don’t you answer me?!” Count one cigarette pack for each time something like this passes between a married couple and, before you know it, you’re at the Moon (not that the cigarette pack metaphor helps much here either).

Now, this habitual human trait of ours — of being nice to ourselves and being incapable of the same to others — has, I believe, not altered since the time that religions appeared in this world. You see, if it really was so easy to be nice to others, we wouldn’t need religions in the first place. And this goes for philosophy, laws, counseling, and NPOs as well. I mean, it’s probably a lot better for us to live our lives on

© Keith Pattison

的特性,相信並沒有因為宗教信仰

而有所改變。試想想,如果愛人如己 真是那麼容易做到的話,我們起初 就根本不需要有宗教信仰。這也適用

於哲學、法律、心理諮詢及非謀利的 組織。我的意思是,如果我們做人的 前提是意識到先天缺乏「愛人如己」

的本能,並接受了這是人類的基本天 性,也許我們反而能夠待別人好一 點。至少我們不會做一個只待自己好 的人。

說了半天關於人類向善的命題,我推 測你也許會想像《蜂》— 這一齣你將

欣賞的戲劇,到底能待人有多和善。

可惜我要告訴你,《蜂》是一齣關於 人類暴力的戲劇,似乎跟「向善」完 全無關。

我寫這齣劇的靈感源自十年前震驚全 球的恐怖事件,以及所觸發的連串

the premise that we have an innate inability to treat other people as we do ourselves. We might actually be able to show a little kindness to other people if we live our lives following this premise and accept this as our true nature. At the very least this might lead to us ceasing to be people who are nice only to ourselves.

Having said this about human kindness, I suppose you might be imagining how kind

THE BEE, which you are about to see, is to people. But this is a play about violence in humans. It is seemingly unrelated to human kindness.

It was the event that shook the world some 10 years ago, and the chain of ceaseless violence it engendered, that prompted me to write this play. Violence and being kind to the self are intimately tied up with one

暴力衝突。暴力及「愛己」其實是息

息相關。當一個人嘗試了解為何要被 捲入沉痛的深淵之中,倘若這種痛苦 激烈到無法承受的地步,就會阻止自 己去諒解他人的立場,這種對別人的 不能容忍會逐步轉化成暴力傾向。因 此,當人陷入痛苦之中,「愛己」的 意念就會完全演化成暴力行為,一股 腦兒從內而外激發出來。

我引入煙盒和月球的比喻正是為了表 達這個意思。當代藝術就是這樣形成 的,對別人不好的心理也是這樣形成 的。但我沒有真的去堆砌煙盒,而是 寫了這部劇。以上的心聲,都是屬於 這部劇的創作靈感。

當你看過《蜂》之後,相信你不會 感到自在,也不會急切想「待人和 善」。可是,我猜想,你亦不至於要 急切想對人施行暴力呢。

中譯:葛欣

another. The kindness to oneself that comes from trying to understand why one has been cast into a deep pool of grief transforms itself into an intolerance that prevents one from understanding others; and this, in turn, is transformed into violence. What was kindness to self, when plunged into grief, changes its form completely into a violence that rears its head before us.

It is to express this that I introduced the metaphor of the cigarette packs stretching to the Moon. That’s what constitutes contemporary art; that’s what constitutes being unkind to others. But rather than pile up packs of cigarettes, I wrote this play. That’s how it came about. I give you my word on this.

After you have seen THE BEE , you will in no way feel comforted. Nor will you feel the urge to be kind. But, I suspect, you won’t feel the urge to be violent either.

野田秀樹 Hideki Noda

導演及聯合編劇 Director and Co-writer

演出 (小古呂之妻、記者) Cast (Ogoro's Wife, Reporter)

野田秀樹是編導演皆能的劇場達人。2009年7月他成立了自己 的第一個劇團「夢之游眠社」,創作了許多備受讚譽的作品。

1992年劇團解散後,他前往倫敦學習。

1993年他學成歸來,

建立了名為「野田地圖」的製作公司,一系列主打作品包括 《殺》、《潘多拉的鐘》、《油》、《赤鬼》、《蜂》、《潛 水者》、《角色》及《南方》等。

野田與歌舞伎演員中村堪三郎合作,改編傳統歌舞伎作品,創 作並執導「野田版歌舞伎」,作品包括《Togitatsu之復仇》 及《鼠小僧》等。野田也常參與國際性的戲劇作品,與泰國 和英國演員合作。他曾贏取多個日本主要話劇大獎,並榮獲2009年朝日戲劇獎。2009 年10月野田榮獲英國皇室授予英國榮譽勳章,2011年6月獲得日本政府授予「紫綬褒 章」以感謝其對教育和文化的貢獻。

Noda is a playwright, director, and actor, and became the artistic director of Tokyo Metropolitan Theatre as of July 2009. Noda launched his first theatre company, Yume no Yuminsha (Dreaming Bohemian) that has created many highly acclaimed works. After disbanding the company in 1992, he went to study in London. In 1993, he established a theatre production company called NODA MAP. Since then, he has presented a succession of major hits, including Kill, Pandora no kane (Pandora’s Bell), Oil, Akaoni (Red Demon), THE BEE, The Diver, The Character, and South He has collaborated with the Kabuki actor Nakamura Kanzaburo XVIII, and has adapted Kabuki plays directing productions such as Tragedy of Togitatsu , and Nezumikozo, his original versions of the classical Kabuki pieces at Kabuki Theatre. Noda is also actively involved in international productions, working with Thai and British actors. He has won most of the major drama awards in Japan, and was awarded the 2009 Asahi Prize. He was appointed an Honorary Officer of the British Empire (OBE) in October 2009 and the Medal with Purple Ribbon (for contributions to education and culture) in June 2011.

林.蒂凡

Colin Teevan

蒂凡近年的舞台作品有:《大競賽》系列中的《喀布爾的獅 子》 (倫敦三輪劇場)、勇奪2007年度Clarion Award 最佳新劇 獎的《到巴斯拉有幾里路?》、與野田秀樹共同創作的《潛 水者》和《蜂》、《失蹤人口:四大悲劇與羅伊‧基恩》、 《猴子》 (倫敦新域劇團)以及《牆》(倫敦國家劇團)。改編作 品包括:《卡夫卡的猴子》 (倫敦新域劇團)、《皮爾金》 (蘇 格蘭國家劇院及巴比肯劇院) 、聯同帕布魯‧里創作的《唐吉 柯德》以及《帥克》(倫敦蓋特劇團 / 紐約新觀眾劇院)。 翻譯 作品包括:由彼得霍爾爵士執導的歐里庇得斯作品《酒神的女 信徒》(倫敦國家劇團) 和曼弗里迪作品《狂熱》 (倫敦巴比肯劇院)、愛德華多‧艾爾 巴的《馬拉松》 (倫敦蓋特劇團) 以及改編自歐里庇得斯作品的《伊菲…》 (貝爾法斯 特Lyric劇院)。 電視作品包括: 為愛爾蘭電視台 RTE 以及英國獨立電視台 ITV製作的 《單手》、由布蘭達‧布萊斯主演的 ITV電視節目《薇拉》 以及由RTE及Touchpaper TV製作,快將開播的三部曲劇集《公民查理》。此外,科林又為英國廣播公司電台, 創作出超過二十部劇作,現時在倫敦大學的柏克貝克學院擔任創意寫作的資深講師。 他的所有作品已由奧伯朗出版社負責出版。

Teevan's recent stage work includes: The Lion of Kabul part of The Great Game (Tricycle Theatre, London); How Many Miles to Basra? (winner of 2007 Clarion Award for Best New Play); The Diver and THE BEE, both co-written with Hideki Noda; Missing Persons, Four Tragedies and Roy Keane, Monkey! (The Young Vic); and The Walls, (National Theatre, London). Adaptations include: Kafka’s Monkey (Young Vic); Peer Gynt (National Theatre Scotland and Barbican Theatre): Don Quixote with Pablo Ley and Svejk (Gate Theatre/TFANA, NY). Translations include: Euripides’ Bacchai (National Theatre, London) and Manfridi’s Cuckoos (Barbican, London) both directed by Sir Peter Hall; Marathon by Edoardo Erba (Gate London); and Iph. . .after Euripide (Lyric, Belfast). Television includes: Single Handed (RTE and ITV); Vera starring Brenda Blethyn (ITV), and forthcoming trilogy Citizen Charlie (RTE and Touchpaper TV). Teevan has written over 20 plays for BBC Radio and is currently senior lecturer in Creative Writing at Birkbeck College, University of London. All his work is published by Oberon Books.

筒井康隆 Yasutaka Tsutsui

《互相拔毛》(《蜂》原著小說 ) 作者

Author of Mushiriai (Original story of THE BEE)

筒井是小說家、劇作家及演員。筒井是日本「超小說」大師, 他於六十年代中期開始寫科幻小說,七十年代突破了純文學和 娛樂文學的界限,九十年代初獲得眾多科幻和主流文學大獎。

筒井深受達爾文、佛洛依德和諧星馬克思兄弟的影響,持續以 「後情境主義」的超幻想風格揭示日本資本主義高度發達時代 的表像與黑幕。

筒井的早期作品包括六十年代中期的《東海道戰爭》 (1964)、《越南觀光公社》(1967)及《亡命者與追逐者 的森巴舞》(1972 ),描述高速增長的超媒體如何將虛構變 成現實、將戰場變成兒童樂園、將人的個性轉化為電腦程式。而他最新的雙連作《晨 間小精靈》(1992)和《帕普利卡》(1993)激進地將現實世界當成超小說的一種模 式、把我們的日常生活當成無意識政治所引伸的效應、把越界的人當成物競天擇的終 極生還者。

筒井的得獎作品包括:《虛人》獲1981年泉鏡花文學獎、《夢之木坂分岐点》獲1987 年谷崎潤一郎大獎、《下降到約帕山谷》獲1989年川端康成大獎、《晨間小精靈》獲 1992年日本SF大獎。

Tsutsui is a novelist, playwright and actor. The Japanese guru of Metafiction, Tsutsui started his career as a science fiction writer in the mid-60s, came to break-up in the 70s the generic boundary between serious and popular fiction, and won numerous prestigious awards of science fiction and mainstream literature by the early 90s. Deeply influenced by Darwin, Freud, and the Marx Brothers, his own post-Situationist poetics of hyper-fictionality has persistently disclosed the conspiracy between reality and fiction in the hyper-capitalist age haunted by a variety of "spectacles" and "pseudoevents."

While his earliest works in the mid-60s such as Tokaido Senso (The Tokyo-Osaka War, 1964) and Vietnam Kanko Kosha (The Vietnam Tourist Bureau, 1967) and Dasso to Tsuiseki no Samba (The Samba for Runaways and Chasers, 1972) prophesised the acceleration of hypermedia that would transform fictions into realities, the battlefield into an amusement park, and one’s identity into a computer program. His latest diptych of Gaspard of the Morning (1992) and Paprika (1993) radically reconsidered our own reality as a version of hyper-fictionality, our everyday life as the effect of the political unconscious, and the boundary-transgressor as the greatest survivor of natural selection.

Awards include: The Izumi Kyoka award, 1981; The Tanizaki Jun'ichiro award, 1987; The Kawabata Yasunari award, 1989 and The Japan SF award, 1992.

堀尾幸男 Yukio Horio 佈景設計 Set Design

幸男畢業於日本東京武藏野美術大學。他在大學求學時期,曾於 1969年至1971年期間到德國法蘭克福國立造型藝術學院學習舞台 藝術。他參與的戲劇作品包括:《錦繡》(約翰.凱爾德兼任編劇 及導演)及《隱形人蒸汽》(野田秀樹編導)。音樂劇作品包括: 《艾麗莎白》及《莫扎特!》。歌劇作品包括:《馬克白》(野田 秀樹執導)及《漂泊的荷蘭人》(新國立劇場)。獎項:他曾獲讀 賣新聞戲劇獎最佳演職員獎(1969及1999)、Kisaku Ito大獎傑出 戲劇藝術成就獎(1991)、紀伊國屋戲劇獎(2000),以及第七屆朝日表演藝術大獎 最佳演職員獎(2007)。

Horio graduated from Musashino Art University, Tokyo, Japan. While he studied at Musashino Art University, Horio went to Germany, and studied stage art at the Staatliche Hochschule für Bildende Künste, Berlin, from 1969 to 1971. His previous theatre productions include: Kinshuu (written and directed by John Caird), and Steam from an Invisible man (Written and directed by Hideki Noda). Musicals include: Elisabeth, and Mozart!. Opera productions include: Macbeth (Directed by Hideki Noda), and Der fliegende Holländer (New National Theatre).

Awards: he won the Yomiuri Theater Award for the Best Staff in 1969 and 1999, the Kisaku Ito Award for Outstanding Achievement in Theatre Arts in 1991, the Kinokuniya Theatre Award in 2000, and the seventh Asahi Performing Arts Award for the Best Staff in 2007.

米麗安.布達 Miriam Buether

服裝及道具設計 Costume and Props Design

戲劇/舞蹈/歌劇設計的代表作包括:《欽差大臣》、《四川優靈》、《世代》(新域 劇團)、《十年》、《倫敦的地震》、《六個尋找作者的劇中人》(黑德朗劇團)、 《殺客同盟》、《公雞》(皇家宮廷劇院)、《灰姑娘》(哥特堡芭蕾舞團)、 Tenderhooks (加拿大國家芭蕾舞團)、《關塔那摩的榮耀一定會守衛自由》(倫敦 西區三輪劇場,之後到紐約和三藩市演出)、《安娜.妮可》、《三聯劇》(皇家歌 劇院)及《圖蘭朵》(英國國家歌劇院)。

布達曾榮獲1999年林伯利大獎,並憑《倫敦的地震》及《殺客同盟》獲得2010年倫敦 標準晚報獎最佳設計獎。

Design Credits for Theatre/Dance/Opera include: The Government Inspector, The Good Soul Of Szechuan, Generations (Young Vic); Decade, Earthquakes in London, Six Characters in Search of an Author (Headlong Theatre); Sucker Punch, Cock (Royal Court Theatre); Cinderella (Göteborg Ballet); Tenderhooks (Canadian National Ballet); Guantanamo Honor Bound to Defend Freedom (Tricycle Theatre, West End and transfers in New York and San Francisco); Anna Nicole, Il Trittico (Royal Opera House) and Turandot (English National Opera). 創作人員 Creative Team

Awards: She was the overall winner of the 1999 Linbury Prize and she won the Evening Standard Award 2010 for Best Design for Earthquakes in London and Sucker Punch

克里斯多夫.華格納 Christoph Wagner 燈光設計 Lighting Design 華格納畢業於愛丁堡瑪格麗特女皇大學學院。

近期設計代表作包括《蒼穹》(積遜道劇院,巡迴演出)、《維羅 納的路》(幕間劇院)、《莉莉小姐被剔骨》(費波洛劇院)及 《傳教士體位》(霍克斯頓大廳,巡迴演出)。

他曾與蘇活劇院任多年燈光師,設計作品包括:《一無所有》、

《司機》、《虎百合 七宗罪》、《在中國城月球漫步》、《湯 姆.潘》、《在差人面前如何表現自己》、《如何眾叛親離》及多齣歌舞和喜劇表 演。

Wagner trained at Queen Margaret University College, Edinburgh.

Recent design credits include: Etherdome (Jackson's Lane Theatre, touring); Verona Road (Intermission Theatre); Miss Lily Gets Boned (Finborough Theatre); and The Missionary's Position (Hoxton Hall, touring).

Designs for Soho Theatre, where he was Head of Lighting for many years, include: Everything Must Go, The Diver (also at Setagaya Theatre Tram); The Tiger LilliesSeven Deadly Sins, Moonwalking in Chinatown, Thom Pain (based on nothing), How to Act Around Cops, How To Lose Friends And Alienate People and numerous cabaret and comedy shows.

保羅.阿爾迪提 Paul Arditti

音響設計 Sound Design

近期作品包括達蒙.阿爾班在曼城國際戲劇節的最新歌劇《迪博 士》;在倫敦國家大劇院演出的《面紗》、《合作者》、 《分身乏 術》及《倫敦路》;倫敦新莎拉.惠斯歌劇團的芭蕾舞《最神奇的 事》及謝菲爾德克魯西伯劇團的《公司》。

阿爾迪提曾榮獲托尼獎、奧利花獎、戲劇編輯人獎及憑《舞動人

生》音樂劇榮獲百老匯世界網影迷最喜愛的音響獎;憑百老匯上演 的《枕頭人》榮獲戲劇編輯人獎;以及憑西區劇場上演的《那一個晚上》榮獲倫敦標 準晚報獎。

Recent work includes: Damon Albarn’s new opera Dr Dee at Manchester International Festival; The Veil, Collaborators, One Man Two Guvnors, London Road (all at the National Theatre, London); Jumpy (Royal Court, London); The Pet Shop Boys’ ballet The Most Incredible Thing (Sadler’s Wells, London); Company (the Crucible, Sheffield).

Awards for sound design include: a Tony Award, Olivier Award, Drama Desk Award and BroadwayWorld.com Fans’ Choice Award for the sound design of Billy Elliot the Musical; Olivier Award for Saint Joan at the National Theatre; Drama Desk Award for The Pillowman on Broadway; Evening Standard Award for Festen in the West End.

奧秀太郎 Shutaro Oku

視覺策劃 Visual Planner

秀太郎憑他的處女作《壞音KAI-ON》,在2002年首爾電影節獲得

特別提名獎。之後他製作了一系列電影,包括《勞動警察》、《日 本赤裸部落》及《赤線》。2006年他憑藉作品《該隱的後裔》受邀 參加柏林國際電影節,之後亦不斷陸續獲邀參加各大國際電影節。

作為舞台視覺效果設計師,秀太郎曾監督東寶歌劇院的《伊利莎 白》,「野田地圖」的《角色》及千田代劇院的《卡薩布蘭卡》。

他在《敲擊人x 鋼琴人x 電影人》及《吉田兄弟的生活》中擔任視像效果,表現出色。 此外,秀太郎憑藉在《黑貓》中出色的原創視覺技術,榮獲2008年Yomiuri戲劇獎最佳 演職員獎。自此之後,他創作了《宗茂》、《神經病人》和《天堂之南三部作品》, 而且一直監督多項極富原創性的戲劇作品。

Oku was awarded Special Mention at the Seoul Film Festival in 2002 with his maiden work KAI-ON. Since then he has produced a series of films, such as Labor Cop, Japanese Naked Tribe and Aka-sen. He has been invited to film festivals worldwide ever since his first invitation from the Berlin International Film Festival in 2006 with his work Cain's Descendant.

As a stage visual planner, Oku has directed Elizabeth for Toho Musicals, The Character for NODA • MAP and Casablanca for Takarazuka. He received the Excellent Staff Award at the Yomiuri Theater Awards in 2008 and has directed many original and inventive theatre works including Kimidori, Freaks and South of Heaven.

心理》及《山谷的人們》。參演的電影作品包括:《最佳》、《蝴蝶》、《週末夜狂 歡》、《兒子之死》、《最後一分鐘》及《獅子》。

Pritchard trained at the Webber Douglas Academy, London. Theatre credits include: The Dark Philosophers (National Theatre Wales / Told by an Idiot); The Black Album, Fuente Ovehuna , Ghetto (Royal National Theatre); Othello (Royal Shakespeare Company), THE BEE, The Diver (NODA • MAP / Soho Theatre); A Family Affair (Arcola Theatre), Under Milk Wood (Tricycle Theatre); Accidental Death of an Anarchist, Hard Times (Theatre Clwyd); A Christmas Carol (Dukes Theatre) and Body Talk (Royal Court Theatre). Television credits include: Brookside, The Indian Doctor, Coronation Street, A Mind To Kill and Pobol Y Cwm. Film credits include: Hunky Dori, Butterflies, Weekenders, Death of a Son, The Last Minute and Lion

馬賽洛.麥堅尼 Marcello Magni

百百山探長、廚神、記者 Dodoyama, King of Chefs, Reporter

麥堅尼身兼三重身份:演員、導演及動作導演。他畢業於巴黎賈克 樂寇國際戲劇學校,常於世界各地率領多個工作坊。1983 年他與 人合夥創立「合拍劇團」,對其傾注逾二十五年心血。參演劇目包 括:《一分鐘之差》、《救命啊》、《貴妃還鄉》、《冬天的故 事》、《鱷魚街》及《一隻狗的心》。麥堅尼曾參演的舞台劇作 品包括:在倫敦莎士比亞環球劇場上演的《威尼斯商人》、《錯中錯》及《培里克里 斯》、野田秀樹作品《赤鬼》、《李爾王》、《玫瑰紋身》、《沙膽大娘》、《愛情 與偶然狂想曲》及《雀鳥》等。在2006年他參演了由彼得.布魯克執導、於世界巡演 及巴黎北方滑稽劇場上演的《片段》,並於2010 年參演彼得.布魯克執導的另一套 歌劇《魔笛》。近期馬塞洛於倫敦阿可拉劇院執導並參演《告訴他們我年輕貌美》, 以及演出由倫敦巴特西藝術中心原創的獨腳戲《一僕二主》。他曾參演的電影作品包 括:《華麗年代》、《新木偶奇遇記》及《異世奇人》等。

Magni is an actor, director, movement director from Bergamo, Italy. He graduated from Ecole Jacques Lecoq, leads workshops internationally, has studied with Pierre Byland, Philippe Gaulier and Monica Pagneux, and is co-Founder of Complicite in London in 1983. He worked with the company for over twenty-five years and performed in A Minute Too Late, Help I’m Alive, The Visit, The Winter’s Tale, Street of Crocodiles and the opera A Dog’s Heart. Magni also appeared in The Merchant of Venice, Comedy of Errors and Pericles (Shakespeare's Globe); Red Demon (Hideki Noda); as well as King Lear, The Rose Tattoo, Mother Courage, The Game of Love and Chance and The Birds. In 2006 he performed in Fragments, directed by Peter Brook at Theatre des Bouffes du Nord, Paris and in a world tour of A Magic Flute by Peter Brook in 2010. Recently he directed and performed in Tell Them That I am Young and Beautiful at the Arcola Theatre, London and performed his solo show Arlecchino in Italy, which was originally created at BAC London. Films include: Nine, The Adventures of Pinocchio and Doctor Who. Marcello is the voice of Pingu.

Tokyo Metropolitan Theatre

Tokyo Metropolitan Theatre (TMT) opened in October 1990, with the objective of providing a venue for the further development of art and culture, for the citizens of Tokyo, and to provide a platform for international exchange opportunities. TMT is an arts and culture complex, with multiple facilities that can be rented by the public.

As a unique facility for the performing arts that is operated by the Tokyo Metropolitan Foundation for History and Culture, and supported by the city of Tokyo, TMT is in the process of drastically transforming itself. In July 2009, Hideki Noda, a prominent playwright, director, and actor, was appointed as the first artistic director of Tokyo Metropolitan Theatre to enhance its programmes mainly in the field of theatre. Recently TMT is becoming more involved in planning and producing performances on its own. TMT productions include: The Diver, written and directed by Hideki Noda, 2009; Nogyo Shoujo (Girl of the Soil), directed by Suzuki Matsuo, 2010; Chekov?!, directed by Kuro Tanino, 2011; Red Demon Thai Likay version, a Japan-Thai collaboration project; and a Thai adaptation of Girl of Soil, written by Hideki Noda, 2009. TMT also presents the series “Geigeki Eyes”, which introduces the productions of emerging playwrights and theatre companies of the younger generation, such as Hideto Iwai (hi-bye). Fai Fai, and Kaki-Kuu-Kyaku.

http://www.geigeki.jp

藝術監督 Artistic Director

館長 Director

副館長 Vice Director

Soho Theatre

野田秀樹 Hideki Noda

福地茂雄 Shigeo Fukuchi

高萩宏 Hiroshi Takahagi

Soho Theatre aims to bring the most entertaining, brave and theatrical new works to audiences with programmes including comedy, cabaret and theatre; with three spaces, a late night bar, innovative education projects and a world famous writers centre, Soho Theatre is one of the most vibrant venues on London’s cultural scene.

www.sohotheatre.com

NODA•MAP

NODA • MAP was founded in 1993 and is based in Tokyo, Japan. This production is managed by Hideki Noda, acclaimed director, writer and actor. Since 1994, NODA • MAP has been producing both large and small scale theatre works with a new creative team and actors each time. Its productions include Kill, Pandra’s bell, Oil, Red Demon (UK/Japan/Thailand/Korea), THE BEE (UK/Japan/US/Hong Kong), The Diver (UK/Japan), The Character, South and more. The name NODA • MAP was inspired by the idea of how we use maps to guide us from our everyday world through to the land of theatre which is both poetic and physical.

Tokyo Culture Creation Project

Tokyo Culture Creation Project, organised by the Tokyo Metropolitan Government and the Tokyo Metropolitan Foundation for History and Culture in cooperation with arts organisations and NPOs, aims to establish “a global culture creation city Tokyo.” The project facilitates involvement of a larger number of people in the creation of new culture, by building regional bases for culture creation across the city and by offering creative experiences to children and young people. Moreover, it creates and globally disseminates new Tokyo culture through organising international festivals and other diverse events.

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

陳寶愉 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

Studio Theatre, HK Cultural Centre

Concert Hall, HK City Hall

漢堡芭蕾舞團 《馬勒第三交響曲》

The Hamburg BalletThird Symphony of Gustav Mahler

Theatre, HK City Hall 香港演藝學院戲劇院 Drama Theatre, HKAPA

Star Hall, KITEC

Auditorium, Kwai Tsing 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

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

Black Box Theatre, Kwai Tsing Theatre

Auditorium, Yuen Long Theatre

Hong Kong

《野豬》 The Wild Boar

《藝裳奇幻世界》 World of WearableArt

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

琶音古樂團 L'Arpeggiata Christina Pluhar

京劇—馬連良紀念系列 Beijing OperaA Tribute to Laosheng Master Ma Lianliang

香港藝術節委約及製作 Commissioned and produced by the HKAF

《示範單位》

《蜂》 The Bee

粵劇《搜書院》 Cantonese OperaSearching the Academy

Show Flat

香港藝術節委約及製作 Commissioned and produced by the HKAF

粵劇 — 折子戲精選 Cantonese OperaExcerpts of selected repertoires

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

香港小交響樂團

《如夢逝水年華》 Hong Kong SinfoniettaLa Valse Remembered

《示範單位》

Show Flat

《機器人幻想曲》 Sans Objet by Aurelien Bory

《野豬》 The Wild Boar

藝子與舞子 The Geisha of Gion

新民謠.中國風 China Folk Rock

瑞信新晉藝術家系列 CREDIT SUISSE EMERGING ARTISTS SERIES

《4.48精神崩潰》 TR Warszawa Theatre 4.48 Psychosis

《山海經傳》 Of Mountains and Seas

香港藝術節委約及製作 Commissioned and produced by the HKAF

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

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

Symposium 大師班 Masterclasses 17/2 卡麗塔.馬蒂娜歌唱大師班 Karita Mattila Voice Masterclass 23/2 巴維.哈斯四重奏大師班 Pavel Haas Quartet Masterclass 25/2 《彌賽亞》工作坊 Messiah — Workshop 2/3 多米拿堤合唱團大師班

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

《布利斯托爾》

老域劇團

Bristol Old Vic Faith Healer

亞太舞蹈平台 Asia Pacific Dance Platform

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

法國北方布夫劇場彼得.布祿克的《魔笛》 Theatre des Bouffes du Nord - A Magic Flute

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 the Hong Kong Arts Festival

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The Bee - 40th Hong Kong Arts Festival by Hong Kong Arts Festival - Issuu