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:
原著 莎士比亞
Playwright William Shakespeare
劇本翻譯 陳鈞潤
Script Translator Rupert Chan
導演 / 改編 鄧樹榮
Director / Adaptor Tang Shu-wing
監製 祝雅妍
Producer Phoebe Chuk Nga-yin
演員（按出場序）︱ Cast (In order of appearance)
泰特斯．安特洛尼克斯 吳偉碩（梵谷）
Titus Andronicus Andy Ng Wai-shek
塔摩拉 彭珮嵐
Tamora Ivy Pang Ngan-ling
艾倫 朱柏康
Aaron Chu Pak-hong
狄米斯 葉榮煌
Demetrius Guthrie Yip Wing-wong
祈倫 鄧智堅
Chiron Eric Tang Chi-kin
路歇斯．安特洛尼克斯 張銘耀
Lucius Andronicus German Cheung Ming-yiu
昆塔斯．安特洛尼克斯 郭穎東
Quintus Andronicus Rex Kwok Wing-tung
馬歇斯．安特洛尼克斯 梁家維
Martius Andronicus Aska Leung Ka-wai
拉維妮婭 黎玉清
Lavinia Lai Yuk-ching
瑪格斯．安特洛尼克斯 邱頌偉
Marcus Andronicus Franky Mcnugget
薩特尼 黃兆輝
Saturninus Masu Wong Siu-fai
巴西安 陳健豪
Bassianus Angus Chan Kin-ho
音樂演奏
陳蔚怡
Musician Heidi Chan Wai-yee
創作人員 ︱ Creative Team
佈景及服裝設計
陳志權*
Set & Costume Designer Ricky Chan Chi-kuen
製作人員 ︱ Production Team
製作經理
楊苑澄
Production Manager Ebona Yeung Yuen-ching
舞台監督
阮詩敏*
Stage Manager Wendy Yuen Sze-man
助理舞台監督
邱浩朗
Assistant Stage Manager Franco Yau Hoo-ron
導演助理
賴曉珊
Assistant to Director Louie Lai Hiu-shan
服裝統籌
古志欣
Costume Coordinator Miko Ku
舞台助理
陳嘉英、林少德
Stage Crews Chan Ka-ying, Lam Siu-tak
* 蒙香港演藝學院允許參與是次製作 By kind permission of the Hong Kong Academy for Performing Arts
鳴謝 ︱ Acknowledgements
化妝及造形設計 Make-up and Hair Styling: Perfect Stage Professional Make Up Academy
排練場地：香港兆基創意書院
Rehearsal Venue: HKICC Lee Shau Kee School of Creativity
宣傳單張設計 Leaflet Design: JWT Hong Kong
香港演藝學院、香港藝術中心、香港攝影節、JWT Hong Kong、南華早報、文匯報、明報、楊福全、 林靄廷、秦紹良、符嘉晉、聯合作業有限公司、東方旅業有限公司、國際演藝評論家協會（香港分 會）、中英劇團
Hong Kong Academy for Performing Arts Hong Kong Arts Centre, Hong Kong Photo Festival, JWT Hong Kong, South China Morning Post, Wen Wei Po, Ming Pao, Frank Yeung, Bigi Lam, Ziv Chun Siu-leung Mon Fu Ka-chun, Unique Design Team Limited, Hong Kong Oriental Travel Limited, International Association of Theatre Critics (Hong Kong), Chung Ying Theatre Company
Titus Andronicus
It was 1983 when I first watched a theatre performance in London. I was so excited afterwards. I wondered if I would ever perform in this City of Drama and how fantastic it would be. Over a decade later, a one-man show which I directed was presented in London, but I could not attend due to my work schedule in Hong Kong. To my surprise, after another decade was passed, I have a chance to bring the Cantonese version of Shakespeare’s Titus to the Globe Theatre. We are the first Hong Kong theatre group to have our footprints on that world-class stage. If I had not been passionate and curious enough to explore the theatrical arts, this dream would never have been realised. I believe in cause
The mythical biblical story of Babel says that God was so furious at the construction of the tower of Babel that He set communication barriers for humans by creating several languages. Crosslingual communication has since triggered considerable misunderstanding, hatred and war. Language is not purely a means of communication, but a symbol of identity, an icon of culture and an emblem of authority. God was very cunning to use such tactics. Hong Kong is a rather typical multilingual city with many “chaotic” communication
不過，無論祂怎樣想，無論祂怎樣為
人類製造了語言上的障礙，但祂卻阻 止不了我們心靈上的溝通。而藝術， 恰好就是心靈的表達。若說上帝的存
在是自有而無盡，那打從人類出現的 一刻，藝術亦應運而生。
今天，環球劇場適逢倫敦奧運而推出
世界莎劇節，除英語外，還以37 種語 言演繹37 齣莎劇（華語系的只有普通 話及粵語），既是節慶，也是平台， 讓不同文化的藝術家以自己的母語在 世人面前去盡情表達。
在此機緣下，我三排《泰特斯》，我
稱之為《泰特斯》(2012 )，因為它將
會在2008年的版本*基礎上結合《泰特
斯2 .0 》的某些元素。形體劇場及簡約
美學始終是這兩個版本的風格。我相
信身體才是演員最原始的表達動力，
無論最後的結果是否有語言出現，我
的創作必以身體為出發點。簡約美學
可能最難為大眾所理解，但說穿了其
實卻很簡單：每一個人都會知道他/她
的生活中有什麼東西是不可或缺，這 是一種智慧，應用到藝術創作也是同
一個道理，因為它教曉了我們如何去 選擇。
一個劇作家的著作既可以成為不同文
化交流的跳板，又能夠為一代又一代
的藝術家提供實驗的場所，不可謂不 是一種奇蹟。
或許，人的存在本身已是奇蹟，而藝 術的出現更是奇蹟中的奇蹟。
Think about it. How much time do our Cantonese-speaking citizens spend mastering bi or tri-lingual skills before they secure a place in society? How many Cantonese-speaking citizens can make a truly insightful expression or take part in error-free discourse in Chinese or English? Recently, the daily application of fluent Chinese and English communication has been fading away. I wonder what God would think about this.
No matter how He thinks, no matter how He creates language barriers for human beings, He cannot stop us communicating spiritually. The arts are a channel for conveying thoughts on a spiritual level. If the existence of God is innate and eternal, then the arts have evolved naturally ever since the emergence of human beings.
At this moment, the Globe Theatre is hosting the World Shakespeare Festival as a way to celebrate the 2012 London Cultural Olympiad. Alongside the English language medium, a total of 37 Shakespeare works are performed in 37 languages (the Chinese language presentation includes Mandarin and Cantonese versions). Serving as both a festive event and a platform, the World Shakespeare Festival provides a space for artists from diverse cultures to express their artistry in their mother tongues.
This is my third run of Titus Andronicus. I coined this year’s work Titus Andronicus 2012 because it is a brand new version which integrates the 2008 version* and certain themes from Titus Andronicus 2.0 . Physical theatre and the aesthetics of minimalism are two different styles. I
但願沒有機會往環球劇場欣賞《泰特 斯》的觀眾，今天也能大致感受到當 地的演出氣氛。倫敦時間 5 月 3 日下午 2:30及4日晚上7:30，泰特斯的12位演 員將會以粵語唸出莎翁的台詞，響徹 倫敦南岸的上空，這，不獨是團隊的 驕傲，也是香港人的光榮。
我在此多謝香港藝術節、香港藝術發 展局、我的團隊及各方友好，他們的 支持及努力使香港人最終擁有這份光 榮。
2012年3月18日
*2008年之《泰特斯》於2008年之香港藝術節首演
The 2008 version of Titus Andronicus was premiered in the 2008 Hong Kong Arts Festival
believe that the human body is the most important facet of expression, no matter whether the final presentation includes language. My creation originates from the human body. The aesthetics of minimalism might be difficult to comprehend, but they are very simple when we explain them literally: everyone knows what the minimum indispensable things are in their life. This is a kind of wisdom. Artistic creation is no different, as it guides us in choosing what suits us.
The works of a playwright can be a springboard for multi-cultural interaction; they can also serve as an experimental space for artists across generations. This is a miracle which is the most marvellous of all. Perhaps, the existence of human beings is a miracle, and the emergence of the arts is another miracle.
I hope those who don’t have a chance to watch Titus Andronicus in the Globe Theatre can come today and enjoy the live experience as if they were there. On 3 May at 2:30pm and 4 May at 7:30pm (London time), the 12 performers of Titus Andronicus will be speaking Shakespeare’s dialogues in Cantonese, their voices resounding through the sky of South London. It is not only an honour for our team, but for all Hong Kong people.
I hereby express my thanks to the Hong Kong Arts Festival, the Hong Kong Arts Development Council, my team and my friends from all walks of life. Their enduring support and effort has helped us achieve this honour.
March 18, 2012
Translated by Cabbie Kwong
Part of the Globe Theatre is uncovered so no transformation of the stage lighting is needed. The installation of ordinary lights in the auditorium and the stage is enough. Titus Andronicus therefore employs general theatrical lights (no lighting designer is needed), and the sheltered plate on the ceiling is open, allowing natural light to pierce through, creating an outdoor feeling indoors. Due to this special design, the day-time shows and the night-time shows are totally different presentations. Since the Globe Theatre does not have electronic amplifiers, performers and the live musician communicate with the audience directly. This is a challenge for audience, and creative team alike.
Today, the Globe Theatre is both a partial simulated performance museum and a live theatre which stages Shakespeare’s plays. It is a modern venue standing out in London. It is also a piece of history, a landmark, a spirit of London.
關於莎士比亞環球劇場
說莎士比亞環球劇場是世界知名，絕不為過。現時位於倫敦泰晤士河岸的這座圓形劇
場，乃仿照1599年莎士比亞所屬之宮內大臣劇團建造的舊環球劇場所興建的，採用開 放式舞台，觀眾席三面環繞，以還原在1613年毀於火災的舊環球劇場為大前提。單是 劇場的建築本身，已令劇場與眾不同。對於觀眾而言，那原汁原味的莎劇觀賞經驗實 是難得。除了上演莎翁的作品之外，環球劇場每年的劇季還包含其他劇目。連接劇場 的展覽廳對於莎翁的生平、劇作及藝術成就更有詳盡介紹，在推廣及保存莎劇傳統上 發揮着舉足輕重的作用。
About Shakespeare’s Globe Theatre
It is not an overstatement to say that Shakespeare’s Globe Theatre is internationally renowned. Today, the circular-shaped theatre is located along the coastal front of the Thames in London. The design is an imitation of the old Globe Theatre constructed by Shakespeare’s Lord Chamberlain’s Men in 1599. The new Globe Theatre adopts an open stage design, and the auditorium is three-sided, so as to restore the original Globe Theatre destroyed by fire in 1613. The architectural design alone makes the theatre outstanding. For audiences in general, witnessing Shakespeare’s original works there is an unparalleled experience. There is also an annual showcase that includes other theatrical performances and the theatre has an exhibition hall which displays a bibliography, a detailed explanation of Shakespeare’s works and his artistic accomplishments. The Globe Theatre has done a great job in promoting and preserving the cultural excellence of Shakespeare’s plays.
文：祝雅妍 Text Phoebe Chuk Nga-yin
Translated by Cabbie Kwong
第一幕
第一場 羅馬
羅馬皇帝剛剛離世，羅馬大將軍泰特 斯．安特洛尼克斯耗盡了十年迎戰敵 軍，其21 名兒子在戰役中相繼失蹤， 最後只得四位活着回國、兩位已成屍 首。他帶回了戰敗國的俘虜，包括哥 特皇后塔摩拉及其三名兒子 阿拉拔 斯、祈倫、狄米斯及艾倫。泰特斯無 視塔摩拉的苦苦哀求，堅決殺了她的 長子作為祭品，以慰他那些在戰場上 喪生了的兒子亡靈。
泰特斯的女兒，貞潔的拉維妮婭，走 到父親跟前讚頌他。泰特斯的弟弟 瑪格斯．安特洛尼克斯乃由平民選出 的護民官，代表國民賜予泰特斯羅馬 的君權，但泰特斯基於他年事已高而
Act I
Scene 1 Rome
The Emperor of Rome has just died. Titus Andronicus, a great Roman general who has spent the last ten years and lost twenty-one sons vanquishing Rome's enemies, returns with four living sons and two in coffins; he brings with him the captives Tamora, Queen of the Goths, her three sons, Alarbus, Chiron, Demetrius, and Aaron the Moor. Despite a desperate plea from Tamora, Titus orders, following Roman custom, that Tamora's eldest son Alarbus be ritually sacrificed in exchange for Titus' own dead offspring.
Titus' daughter, the virtuous Lavinia, enters and praises her father. Marcus Andronicus,
拒絕了。他推舉了已故羅馬皇帝的長
子薩特尼繼承父親的皇位。薩特尼登 基之後為表答謝，把拉維妮婭娶為皇 后。薩特尼的弟弟巴西安極力反對，
提出拉維妮婭跟他有婚約在先。巴西 安在拉維妮婭的其餘手足，包括路歇 斯、穆歇斯、昆塔斯及馬歇斯的協助
下，偷偷帶走拉維妮婭。當穆歇斯代 表其姊向泰特斯調解時，泰特斯將他 殺死。
薩特斯失去了拉維妮婭，受到公然侮 辱，他宣佈再不想要娶她為皇后，也 不需要泰特斯的任何一位兒子，因為 他們全都是對他不忠的叛徒。他亦公 然嘲笑泰特斯的一家人為製造禍端的 人。薩特尼最後迎娶了塔摩拉，對彼 此的愛信誓旦旦。泰特斯落得聲名狼 藉。薩特尼譴責巴西安叛國及通姦， 後者抗議眾人對泰特斯的指責。但泰 特斯竟藐視巴西安的維護。塔摩拉賢 明地請求她的夫君原諒一眾犯錯的 人，以免引起公憤。塔摩拉向薩特尼
表示，人民紛紛為他們求情。於皇帝 大婚之日，巴西安與拉維妮婭也共諧 連理。剛登基的皇帝薩特尼答應並聲
明皇帝大婚之日為戀愛之日，邀請所 有人前來皇室共享盛宴。泰特斯提出 為薩特尼於翌日安排狩獵活動，後者 欣然接受。
當婚禮結束後，泰特斯最初不允許將 穆歇斯的遺體安葬於安特洛尼斯家族
的墳墓內，但瑪格斯及他的侄子請求 泰特斯要賢明通達，泰特斯最後亦勉 強同意。
the brother of Titus and also the Tribune of the People, offers Titus the sceptre of Rome on behalf of the people, but Titus refuses it on account of his age. Instead, he states that Saturninus, the elder son of the late Emperor, should succeed the throne; Saturninus returns the favour by taking Lavinia as his empress. Bassianus, the younger brother of Saturninus, revolts against this, claiming that Lavinia is betrothed to him. He spirits her away, with the aid of Lavinia's remaining brothers Lucius, Mutius, Quintus, and Martius. When Mutius intercedes with Titus on behalf of his fleeing sister, Titus strikes him down and kills him.
Publicly humiliated by the loss of Lavinia, Saturninus announces that he no longer needs her, nor any of the sons of Titus, since they have acted traitorously and dishonorably toward him. He also mocks Titus for having such a family of trouble makers. Saturninus finally chooses Tamora as his bride, and they swear their love. Titus is left dishonoured. Saturninus accuses Bassianus of treason and rape — the latter protests the ill treatment of Titus, but Titus spurns Bassianus' defense. Tamora sagely asks her new husband to pardon the men, to prevent turning the populace against them. Tamora asks that they all ask the pardon of the Emperor, and Bassanius and Lavinia will also wed that day along with the Emperor and Empress. The new Emperor consents and declares a love-day and inviting everyone to the court for a feast.
第二幕
第一場 — 羅馬，宮殿前
艾倫實是塔摩拉的情人，為着施計謀
打垮薩特尼而陷入苦思。祈倫和狄米
斯同時迷上了拉維妮婭，二人均爭着
要迎娶她，陷入了激烈的口角。艾倫
提出一項計劃，讓他倆在翌日的狩獵
活動中均可以滿足對拉維妮婭的欲 望。
第二場 森林
泰特斯聯同他的三位兒子及瑪格斯一 起為皇室成員展開一場狩獵。薩特尼
與塔摩拉、巴西安及拉維妮婭一起到
場；而塔摩拉的兒子 祈倫及狄米斯
向彼此再一次確認，決定在狩獵期間
帶走拉維妮婭。
第三場 森林寂靜的一隅
艾倫遠離了狩獵活動範圍，正在將一
袋由皇后胸前拿走的黃金埋藏於樹下
臨近坑洞的位置。塔摩拉走近艾倫身
邊挑逗他。艾倫並沒有心情跟她卿卿 我我，他向塔摩拉表示一早策劃好的 詭計 設局捕捉拉維妮婭和巴西安。
他託皇后將一封信交予給皇帝後便離 開。巴西安及拉維妮婭認出了艾倫和 皇后的姦情，遂譴責塔摩拉私下跟艾 倫幽會。這兩對情人互相侮辱還擊， 拉維妮婭暗諷塔摩拉的不忠。他們留 下了塔摩拉一人離去，並打算向皇帝 揭露皇后的私情。
狄米斯及祈倫到來。塔摩拉冤枉了巴
西安和拉維妮婭，指責他們作出傷
害她的意圖，還命兩位兒子為她報
Titus offers to organise a hunt for him the next day, and Saturninus accepts.
When the wedding party has gone, Titus initially refuses to allow Mutius to be buried in the Andronici family tomb, but Marcus and his nephews plead with Titus to be reasonable, to which he finally acquiesces.
Act II
Scene 1 Rome. Before the Palace.
Aaron the Moor contemplates rising to the heights of power as the lover of Tamora and plots the downfall of Saturninus. Chiron and Demetrius are quarreling over their attraction to the chaste and married Lavinia, and Aaron suggests a plan whereby both may satisfy their lust for her on the next day during the hunt.
Scene 2 A Forest.
Titus with his three sons and Marcus are planning the hunt for the royal party.
Saturninus arrives with Tamora, Bassianus, Lavinia and Tamora's sons, Chiron and Demetrius, who reaffirm their intention to take away Lavinia.
Scene 3 A Lonely Part of the Forest.
Away from the hunting party, Aaron plants a bag of gold, taken from the Empress' chest, under a tree near a pit. Tamora arrives and lusts for him. Aaron is not in the mood for love then, expressing his evil thoughts and his plan for trapping Lavinia and Bassanius. He gives her a letter for the Emperor, then
仇。他倆聽從母親的說話，殺死了巴 西安，並依照艾倫的指示，將他的屍 首拋入窪坑內。當塔摩拉欲殺死拉維 妮婭之際，她的兒子上前制止，並懇 求其母暫時放過她，直至他們兄弟二 人飽嚐淫慾為止。塔摩拉應允，即使 拉維妮婭傷心欲絕地請求她當場殺掉 她，不要任由她的兒子為所欲為，她 也完全置之不理。
艾倫帶領泰特斯的兒子昆塔斯及馬歇 斯到達了一個地方，有一隻黑豹正 在沉睡中。兄弟倆均墮入了艾倫設下 的坑洞，那兒正是祈倫和狄米斯棄掉 巴西安屍首的地方。艾倫繼而捉走了 皇帝，欲將他棄置於同一個坑洞內。
馬歇斯從坑洞內大聲呼叫巴西安已死 亡。塔摩拉與泰特斯及路歇斯到來， 並將艾倫早前給她的信交到了皇帝手 上。信中內容提及昆塔斯和馬歇斯為 殺死巴西安的兇手。艾倫早前埋藏在 樹下的黃金，也順勢揭示給皇帝，並 指明這是泰特斯兒子二人和殺手交 易的酬勞。薩特尼譴責在坑洞內的泰 特斯兒子之殺人惡行，計劃將他們判 處酷刑。泰特斯欲放走兒子卻無計可 施，他倆被薩特尼當場逮捕並等候處 決。塔摩拉向泰特斯假意保證，會為 他的兒子向皇上求情。
第四場 森林的另一角落 祈倫及狄米斯二人帶同令他們神魂癲 倒的拉維妮婭進場，他們將她的雙手 斬了下來，並割下了她的舌頭，以免 她供出作惡之人。二人將她棄置在荒 野之前，對她作出了多番侮辱。瑪格
leaves. The couple is spotted engaging in physical intimacy by Bassianus and Lavinia, who proceed to accuse Tamora of having a secret tryst with Aaron. They exchange insults, to which Lavinia adds her own insinuations about Tamora's infidelity. They leave Tamora to her lover, planning to inform the Emperor.
Demetrius and Chiron arrive. Tamora wrongfully accuses Bassanius and Lavinia of foul intent and demands they avenge her. Her sons stab and kill Bassanius and throw him in the pit, as Aaron had instructed them to do. When Tamora wants to stab Lavinia too, her sons stop her, wishing to keep her alive until they have satisfied their lust for her. Tamora assents, ignoring Lavinia's heartrending request that Tamora kill her immediately instead.
Aaron leads Titus' sons Quintus and Martius to where he claims a panther is asleep. They both fall into the pit where Chiron and Demetrius left Bassianus' body. Aaron goes to fetch the Emperor and leads him to the pit, Martius calls up from the pit saying Bassanius is dead. Tamora enters with Titus and Lucius, where Tamora hands the Emperor the letter Aaron had previously given her, and which incriminates Quintus and Martius as Bassianus' murderers. The bag of gold that Aaron buried is conveniently uncovered and taken as proof that Titus' sons were going to pay a hunter to do the deed. Saturninus blames Titus' sons in the
斯後來發現了身體殘缺的拉維妮婭，
看到她受虐的慘痛命運為之動容。拉 維妮婭面對着自己的叔父，感到萬分 羞愧，於是設法逃走。瑪格斯上前制
止她，即使他知道當泰特斯眼見女兒 受着如此殘酷的虐待，一定會萬分 心痛，但最終決定將她帶回到其父身 邊。
第三幕
第一場 羅馬，街道上
泰特斯向法官求情，懇求他看在兩名 兒子為國出征及年紀尚輕的份上從輕
法落，法官不予理會，泰特斯於是跪 拜一眾法官，說明他會將眼淚灑滿土 地，好讓土地拒絕飲下兒子的鮮血。
路歇斯手持利劍到來，他眼見父親對 着一塊石頭不斷說話懺悔，感到非常 驚訝。泰特斯回應兒子說，石頭比羅 馬的權柄還要柔軟。路歇斯欲釋放他 的兄弟，卻落得慘敗還被驅逐出國。
泰特斯稱他為幸運的人，因為他可以
逃離即將演變成老虎魔爪的羅馬。瑪 格斯帶着已成啞巴及肢體殘缺的拉維 妮婭進場，泰特斯目睹心愛的女兒受
到如此殘暴的虐待，頓時悲痛欲絕。
她不斷悲泣，無法當眾申訴其兄長為 無辜之人。
艾倫到來傳達一個訊息，倘若泰特 斯、瑪格斯或路歇斯任何一人願意砍 掉手臂，皇帝便會釋放泰特斯的兒 子。瑪格斯及路歇斯爭着要砍掉自己 的手，但泰特斯將他倆從斧頭旁拉 開，並向艾倫示意將他的手臂砍下
pit for the murder plan, and plans to have them tortured. Titus tries to free his sons to no avail; they are taken away by Saturninus to await execution. Tamora falsely reassures Titus that she will speak in his sons’ defense.
Scene 4 Another Part of the Forest.
Chiron and Demetrius enter with a ravished Lavinia, whose hands and tongue they have cut off in order to prevent her from revealing the perpetrators of the crime. They insult her before they leave her alone in the wilderness. The wretched girl is discovered by Marcus, who is moved by the sight of the suffering Lavinia. Lavinia tries to flee in shame from her uncle, but he stops her and decides to bring her to her father even though he is sure that such a sight will blind Titus.
Act III
Scene 1 Rome. A Street.
Titus entreats the judges who are leading his sons away to spare their lives for the sake of his war efforts and age. They ignore him, and he prostrates himself upon the ground, saying that he will rain tears on the earth so that it will refuse to drink the blood of his sons. Lucius enters with his sword drawn and is surprised to see that his father recounts his sorrows to a stone. Titus replies that stones are softer than the tribunes of Rome. Lucius unsuccessfully attempts to free his brothers, and is banished; Titus calls him a lucky man for escaping
來，他們發誓，除非那些背信棄義的 哥特人血債血償，否則他們並不會停
止復仇計劃。即便最初是採取秘密行 動也在所不持。泰特斯將武器透過瑪 格斯傳送給皇后作為禮物。
第二場 — 羅馬，皇宮內的一個房 間
在泰特斯命令下，瑪格斯將武器由他 的軍隊傳送給祈倫及狄米斯，連同一 份寫上賀拉斯名句的畫卷，顯示了： 「一位正直、清白的男人，是不需要 摩亞的標槍和箭。」雖然年輕的哥特 人對於前人戰敗的恥辱沒有太大感 覺，但艾倫向他們重申了這一點。一
會兒後，護士手抱着一個黑皮膚的嬰 兒，是屬於塔摩拉和艾倫的骨肉，她 請求艾倫殺了這個嬰兒，以免令皇后
free from crime, has no need of the Moor's javelins or arrows." The insult is lost on the young Goths, but Aaron notes it. Then a nurse enters with a blackamoor child, the bastard son of Tamora and Aaron, and asks that Aaron kill it before it brings shame to the Empress. Aaron roars to the defense of his son, and claims that black is the best colour because it does not deign to take on any other colours. He kills the nurse to keep the secret of the child safe, then arranges to exchange the infant for one with a lighter skin that has just been born to one of his countrymen. Finally he asks Chiron and Demetrius to call for the midwife so that he may also kill her. He then decides to return to the Goths so that he may protect his son, hoping to persuade the Goths to come to the aid of the Empress.
本人蒙羞。艾倫知道後甚為憤怒，他
堅決保護自己的骨肉，並聲明黑色才
是最好的膚色，因為只有這種顏色才
不會沾染其他雜色。他當場殺死了護
士，阻止她揭露嬰孩背後的秘密，讓
他的兒子可以保住性命，然後安排與
一位鄉下人所生、膚色較白皙的嬰兒
調包；最後他請祈倫和狄米斯找出接
生這嬰兒的助產士，欲殺人滅口。他
更決定跟哥特人混在一起，好讓他們
可保護自己的兒子，並說服哥特人前 去協助皇后。
第三場 — 羅馬，一個公共場所
泰特斯聯同瑪格斯、瑪格斯的兒子部
百流及其男親屬森普羅尼厄斯及凱厄
斯前往星群中射箭。他的行徑十分瘋
癲 收集一堆有標記的箭，每支箭的 箭頭均加上向公義之神請願的祈求。
瑪格斯還提議他們刻意投擲一些箭於
皇宮中，實行將皇帝嚇個半死。
第四場 羅馬，宮殿前
薩特尼發現了一堆有標記的箭，感到 異常憤怒，因為每支箭都揭示了他對 羅馬作出的種種惡行。他希望泰特斯
向他稟報所為何事，塔摩拉安慰他， 與此同時又悄悄地對泰特斯的失勢幸 災樂禍。其後，塔摩拉的兒子帶來了
一個訊息：路歇斯已發動一支由哥特 人組成的軍隊，正向着羅馬方向步步 進攻。薩特尼陷入一片恐慌，因為他
經常聽到傳聞：人民紛紛倒戈支持路 歇斯。塔摩拉安撫他，強調他的才能
好比一隻鷹，可以忍受小鳥在吱吱地
歌唱，也可隨時令鳥兒們瞬間回歸寂
Scene 3 Rome. A Public Place.
Titus brings Marcus, Marcus' son Publius and his kinsmen, Sempronius, and Caius to shoot arrows at the constellations. He is acting crazy and has gathered up arrows with labels on them. These arrows are tipped with petitions to the gods for justice.
Marcus adds a practical touch by advising the men to make certain their shafts fall into the court so as to scare the Emperor.
Scene 4 Rome. Before the Palace.
Saturninus is furious about the labeled arrows he has found, for they have advertised his crimes to all of Rome. He wants Titus brought to him. Tamora calms him, while secretly gloating in the further downfall of Titus. Then Tamora’s sons bring the news that Lucius has gathered an army of Goths and is already advancing on Rome. Saturninus flies into a panic; he has often heard rumours that the people would support Lucius over himself. Tamora calms him and assures him of his strength by comparing him to an eagle that tolerates the song of smaller birds because he can silence them at will. She also promises him that she can enchant old Titus with sweet words, hoping that he can entreat Lucius to desist in his war efforts. She requests that the Emperor send a message to the Goths saying they would like to have a parley with Lucius at Titus' house.
靜狀態。她向薩特尼承諾，可以向老 泰特斯盡說甜言蜜語，趁他變得飄飄 然的一刻，說服他懇求路歇斯打消進 攻羅馬的念頭。塔摩拉要求皇上向哥 特人發出一個訊息：他們欲與路歇斯 在泰特斯家中作一次談判。
第五幕
第一場 — 羅馬附近的平原 在哥特人的軍營內，路歇斯告訴哥特 人他接收到從羅馬發出的信函，內 裏詳盡說明羅馬人民對他們的皇帝有 多憎恨，並熱切期待路歇斯的來臨。
哥特人對於能夠跟原本是他們禍根的 路歇斯一起出征，感到非常榮幸，他 們承諾會在路歇斯的帶領下，向背叛 了哥特子民的塔摩拉報復。有一天， 其中一名哥特士兵在一間荒廢了的寺 院內發現了逃亡者艾倫及其嬰孩，並 將他們帶到軍營內。路歇斯一見到艾 倫及其小孩，已有衝動向他們施行絞 刑，還想將嬰兒先行上吊，好讓他的 父親目睹愛兒死亡。艾倫求路歇斯免 他兒子一死，遂向他提出一宗交易： 他可和盤托出恐怖事件背後的真相。
當路歇斯向神明發誓他會放過艾倫兒 子之時，艾倫向他逐一透露：嬰孩父 母的身份、拉維妮婭的強姦犯、殺害 巴西安的真兇、他對泰特斯佈下的詭 計……最後，艾倫陳述每一項惡行之 時，都把「功勞」歸於己。路歇斯聽 罷整個人也給嚇呆了，但停不了口的 艾倫繼續如數家珍般說出他畢生作惡 的「偉績」，並透露他唯一的遺憾是 不能再犯多一萬宗罪行。路歇斯對此
Act V
Scene 1 Plains near Rome.
In the Goth camp, Lucius tells the Goths that he has received news from Rome detailing how much the Romans hate their emperor, and how eagerly they await Lucius' coming. The Goths are proud to fight alongside the man who was once their bane, and promise to follow his lead into battle to have vengeance on Tamora who has betrayed her own people. A Goth soldier has discovered the fugitive Aaron, along with his baby, in an abandoned monastery, and brought him back to camp. Lucius' impulse is to hang the father and child, letting the child hang first so that the father will have to watch. Aaron makes a bargain with Lucius to preserve the child in exchange for Aaron's knowledge of all the horrors that have occurred. When Lucius swears by his gods that he will spare the child, Aaron reveals the parenthood of the child, the rapists of Lavinia, the murderers of Bassianus, his own trickery to get Titus' hand; finally, he takes credit for every act. Lucius is aghast, but the inveterate Moor goes on to list the other crimes he has committed in his life, claiming his sole regret is that he does not have the chance to commit ten thousand more. Lucius is so horrified that he has Aaron taken down, claiming hanging is too sweet a death for the Moor. Aaron is gagged so that he will stop speaking. Another Goth soldier arrives with a message from Saturninus for a meeting at Titus' home. Lucius agrees.
感到相當恐慌，他立刻命艾倫退下，
並提出用絞刑處決他，實是便宜了 他。路歇斯將艾倫的口部塞住了，以 免他繼續滔滔不絕。
第二場 — 羅馬，在泰特斯家門前 塔摩拉及她的兒子在泰特斯面前喬裝 成復仇女神，她的兒子則偽裝成強姦 犯和殺人兇手。正在用血寫字的泰特 斯，對她的詭計似乎沒有半點懷疑。
她認為泰特斯已陷入瘋癲狀態，於是 對他說如果他能夠說服路歇斯到泰特 斯家中出席一個宴會，她將會替他懲 罰曾傷害過他的所有敵人。她計劃正
當哥特人聯同他們的新領袖路歇斯一 起出席宴會時，刻意製造混亂狀況。
泰特斯同意塔摩拉的建議，並通知瑪
格斯向路歇斯發出一通訊息。泰特斯 希望塔摩拉離開時，可以留下強姦犯
和殺人犯，皇后並無異議。
當塔摩拉離開後，泰特斯命他的男親信 將兩人捆綁起來，然後泰特斯就像廚子
一樣將他們的喉嚨割破了，而拉維妮婭 則在旁拿着一個臉盆盛載他們的鮮血。
他按計劃繼續行動，將這兩人的骨頭
磨成粉末，並混入他們的鮮血製成糊狀 物，然後烹調成一塊餅皮。最後泰特斯 將塔摩拉兒子的肉碎與這團糊狀物煮成 一個批，打算在宴會上送給他們的母親 品嚐。
第三場 羅馬，泰特斯家中的庭院
路歇斯聯同瑪格斯和艾倫一起到達了 他父親的宅第。他請求瑪格斯拘留 艾倫，好讓他們一會兒後可收集到塔 摩拉的罪證。薩特尼跟他的皇后一
Scene 2 Rome. Before Titus’ House.
Tamora and her sons appear to Titus in disguise, masquerading as Revenge and her attendants Rape and Murder. He, while writing lines in blood, seems to be convinced of their appearance. She says to Titus, whom she believes to be mad, that she will punish all his enemies if he will convince Lucius to attend a banquet at Titus' house. Her plan is to wreak confusion among the Goths while their new leader, Lucius, is at the banquet. He agrees and calls Marcus to send the message to Lucius. Titus wants Rape and Murder to stay when the Queen leaves, she consents.
Upon Tamora's departure, Titus gets his kinsmen to bind the two young Goths. With Lavinia holding the basin to catch their blood, Titus plays the cook who will slit their throats. He elaborates on his plan to grind their bones to dust and to make a paste of it with their blood, which he will turn into a pie crust. He will then bake Tamora's sons in this pie crust and serve the dish to their mother at the banquet.
Scene 3 — Rome. Court of Titus’ House. Lucius arrives with Marcus and Aaron at his father's house; he asks Marcus to take custody of Aaron so that they might later get testimony of Tamora's crimes. Saturninus enters with his empress, and is heartily welcomed by Titus, who is dressed like a cook. Titus asks Saturninus if Virginius, a heroic centurion, should have slain his
起到來，熱烈地歡迎打扮成廚子的泰 特斯。泰特斯詢問薩特尼，要是一名 女子被姦污了，是否需要殺掉她；薩 特尼回應，一個女孩不應一輩子蒙受 屈辱，於是泰特斯親手殺死了拉維妮 婭。皇帝對此感到極度震驚，但泰特 斯聲明殺害他女兒的真兇其實是祈倫 和狄米斯。當薩特尼命令將他們二人 驅逐出國之際，泰特斯回答他，其實 他倆一早到達現場 塔摩拉現正品 嚐的肉批，就是由她親兒的肉醬所製 成。當真相大白之後，泰特斯當場將 皇后殺死了，皇上勃然大怒，殺死泰 特斯，路歇斯將皇帝殺掉。
瑪格斯向全國人民宣佈，如何將支離 破碎的城市再度團結起來。他請求路 歇斯向眾人說出敵人的連串惡行，導 致今日人民陷入如斯慘況。路歇斯提 及了祈倫和狄米斯的所為、艾倫施詭 計奪走了泰特斯的手臂及他自我放逐 的經過。瑪格斯請群眾審判，他跟路 歇斯殺滅羅馬皇帝薩特尼的行動是否 合理，如他們因此而受到譴責，他願 意跟路歇斯一起結束生命。群眾一致 認同他們的做法，並推舉路歇斯為他 們的新國皇。瑪格斯希望艾倫為自己 所種下的罪孽接受懲罰。路歇斯和瑪 格斯在泰特斯的身體上賜吻。路歇斯 下令將艾倫活埋於地底深處，直至他 饑餓至死。艾倫大無畏地懺悔他畢生 所做的「好事」。路歇斯下令要為其
他死者安排崇高的葬禮，而塔摩拉的 屍首則棄置於荒野，任由野獸和雀鳥 大快朵頤。
中譯：鄺潔冰
daughter because she had been raped; Saturninus responds that a girl should not survive her shame. At this, Titus kills Lavinia. The Emperor is horrified but Titus claims that her real killers are Chiron and Demetrius. When Saturninus calls for them to be brought out, Titus replies that they are already present, in the dishes from which Tamora has already eaten. With this revelation he stabs the Empress. The Emperor kills Titus. Lucius kills the Emperor. Marcus speaks to the citizens about how to knit their scattered community together again. He asks Lucius to tell the people about the evil deeds leading up to today's events. Lucius tells of Chiron and Demetrius' acts, Aaron's deception depriving Titus of his hand and his own banishment. Marcus asks the crowd to render judgment as to whether they have acted justly, offering for Lucius and himself to leap to their deaths if the people condemn their actions. But the crowd approves and declares Lucius to be the new emperor. Marcus wants the Moor to be punished for his wicked life. Lucius and Marcus kiss the body of Titus. Lucius orders Aaron to be buried breast-deep in earth to starve to death. Aaron defiantly repents any good deed he has ever done. Lucius orders the other bodies to receive noble burials, but Tamora is to be fed to the beasts and birds of prey.
劇團介紹 Company Profile
鄧樹榮戲劇工作室
About Tang Shu-wing Theatre Studio
「將最優質的劇場作品帶給最多的觀眾」
「鄧樹榮戲劇工作室」為一非牟利團體，由劇場導演鄧樹榮擔任藝術總監，其前身 是創立於1996 年的「無人地帶」。「無人地帶」創作的作品超過20項，當中較具代
表性的包括《生與死三部曲》 《三級女子殺人事件》( 1997 )、《解剖二千年》 (1999) 及《我的殺人故事》(1999)；《真面目》(1998) 、《我們互不相識的一小時》 (2000)、《生死界》(2002)、《死亡實驗室》(2002)、《代理阿媽教》(2003)、《日 落前後的兩三種做愛方式》(2003)、《人、椅、龜：一齣關於文化的冥想》(2004) 及 《泰特斯》(2008 )。「無人地帶」於2009 年易名為「鄧樹榮戲劇工作室」，以「將 最優質的劇場作品帶給最多的觀眾」作為願景，其定位為一所研究及創作中心，透過 對演員表演藝術的研究及創作，實踐其對形體劇場及簡約美學的理念，希望為香港戲 劇帶來新景象。工作室有兩大目標，一是創作具持久性的地標式演出，對本港的文化 產業作出貢獻；二是拓展本地及國際觀眾，促進文化交流。「鄧樹榮戲劇工作室」
的作品包括《打轉教室》（無語言形體喜劇）、《泰特斯 2 . 0 》( 2009 ) 及《後代》 （2010，與新加坡戲劇盒聯合製作），並於2009年為康樂文化事務署策劃東亞運動會 劇場系列《形．體．澎湃》。
「無人地帶」及「鄧樹榮戲劇工作室」的作品曾應邀參加紐約韓信國際木偶戲劇節、 三藩市鬼節、香港藝術節、澳門藝穗節及新加坡華藝節，並曾獲香港舞台劇獎多個獎 項。2012年5月，工作室的《泰特斯》在第40屆香港藝術節重演後，將參演倫敦環球 劇場的「世界莎士比亞戲劇節」，作為「奧運文化」的重點演出；其後《泰特斯2.0》 亦會於歐洲及中國多個地方巡演。
工作室由2012年4月開始獲香港民政事務局藝能發展資助計劃作兩年支持。
“To Bring Theatre Works of the Highest Quality to the Maximum Number of People” Tang Shu-wing Theatre Studio, with Tang Shu-wing as artistic director, is a registered charity organisation based in Hong Kong, China. It was formerly known as No Man’s Land, which was founded in 1996. No Man’s Land created over 20 works. The more renowned works include: The Life and Death Trilogy - Three Women in Pearl River Delta (1997), Millennium Autopsy (1999) and My Murder Story (1999); Face (1998); The Hour We Knew Nothing of Each Other (2000); Between Life and Death (2002); Deathwatch (2002); Miss Margarida’s Way (2003); The Two or Three Ways of Making Love around Sunset (2003); The Man, The Chair and The Turtle: A Meditation on Culture (2004); Titus Andronicus (2008). In 2009, No Man’s Land was renamed Tang Shu-wing Theatre Studio, whose mission is “To bring theatre works of the highest quality to the maximum number of people”. As a centre of theatrical research and creation, the Studio aims at bringing innovation to Hong Kong theatre through physical theatre and minimalist aesthetics. The Studio has two visions: 1. To create long-run landmark productions of our city, thus contributing to its creative industry; 2. To build up more local and international audience, as well as facilitating cultural exchange. The work of the Studio includes Beating the Classroom (2011, a non-verbal physical comedy) and Titus Andronicus 2.0 (2009). They produced The East Asian Games: Theatre series Passion of Body Art (2009) and Next Generations (2010, co-production with Drama Box, Singapore).
The works of No Man’s Land and Tang Shu-wing Theatre Studio have been presented in the New York Henson International Puppet Theatre Festival, San Francisco Ghost Festival, Hong Kong Arts Festival, Macau Fringe Festival and Singapore Huayi Festival and have received a number of awards in the Hong Kong Drama Awards.
The Studio has just received The Arts Capacity Development Fund from the Home Affairs Bureau for 2 years starting April 2012.
吳偉碩（梵谷） Andy Ng Wai-shek
泰特斯．安特洛尼克斯 Titus Andronicus
倫敦密德薩斯大學修畢東西方戲劇比較碩士課程，後往新加坡實踐 表演藝術學院就讀「劇場訓練與研究課程」，研習東西方當代和傳
統表演體系。多年來從事表演、導演、編劇、藝術教育和評論工
作。在2007年2月，創立「表演研究中心（香港）」，推行藝術表 演研究。目前為香港演藝學院表演系全職講師。
Ng gained his MA degree in East/West Theatre Studies at Middlesex University, UK. In 2001-2003, he joined the Theatre Training and Research Programme of the Practice Performing Arts School (in 2011 it was renamed the Intercultural Theatre Institute) in Singapore, where he received modern actor’s training, as well as training in classical Asian theatre forms. He lectures on movement at the Drama School, HKAPA and is carrying on his personal research on Taiji and acting.
彭珮嵐 Ivy Pang Ngan-ling
塔摩拉 Tamora
香港演藝學院戲劇學院畢業，獲藝術學士（榮譽）學位，主修表
演。近期演出包括鄧樹榮戲劇工作室《泰特斯2 0》（首演及新加波
重演）、《形．體．澎湃》、偶友街作木偶音樂劇《小雪人與太陽
花 I & II》、《最後一片葉子》; 亦參與7A班戲劇組、香港話劇團、
演戲家族及糊塗戲班等多個製作，包括第25屆澳門音樂節澳門文化 局歌劇《魔彈射手》等。
Pang graduated from HKAPA with a BA (Hons) in Acting. Her recent performances include Titus Andronicus 2.0 and Passion of Body Art with Tang Shu-wing Theatre Studio; The Snowman and the Sunflower I & II, The Iron scarecrow II and The Last Leaf with Make Friends With Puppet. She also joined productions with Class 7A Drama Group, Hong Kong Repertory Theatre, Actors’ Family and at the 25th Macao International Music Festival, an opera Freischutz with the Cultural Affairs Bureau of the Macao S.A.R. Government.
朱柏康Chu Pak-hong
艾倫 Aaron
香港演藝學院戲劇學院（榮譽）學士學位畢業生。2007 年獲香港 戲劇協會頒發「傑出年青演員獎」。近年作品包括：前進進《天 工開物‧栩栩如真》、《老鼠‧復仇‧劍》、《賣飛佛時代》、 《hamlet b.》和《十七個可能與不可能發生在2012的戲劇場景》、 演戲家族《四川好人》重演、黃子華舞台劇《咁愛咁做》、鄧樹榮 戲劇研究室《泰特斯2.0》。憑《hamlet b.》獲第三屆香港小劇場獎最佳男主角提名。
朱柏康於2005年組成「朱凌凌樂隊」，致力把音樂與劇場結合。
Chu graduated with honours from the School of Drama, HKAPA. He received two scholarships at the academy. He is now a freelance performer and takes part in various productions with theatre groups such as On and On Theatre Workshop and Actors Family. He was nominated for the best actor in the Hong Kong Experimental Theatre Awards in 2007. In 2005, he founded the band Juicy Ling with four friends with an aim to co-promote music and theatre.
葉榮煌 Guthrie Yip Wing-wong
狄米斯 Demetrius
畢業於香港演藝學院戲劇學院表演系，獲藝術（榮譽）學士。憑 畢業作品《賣花女》飾Henry Higgins獲傑出演員獎。2007年成 立「劇團工力二人」，創團作品《葉問傳 問手》。2009 年在 facebook 成立群組 「PLANET WATCHMEN 地球保衛者」，積極 關注地球及人類文明動向。現為自由身演員、戲劇及詠春拳導師。
Yip graduated from HKAPA, School of Drama with a Bachelor of Fine Arts (Hons) with a major in Acting, and received an outstanding actor award for his role in the graduation production Pygmalion. In 2007, Yip established a theatrical company, action3actors, to explore the possibility of theatre. The first production was Ip Man. In 2009, Yip also set up the group PLANET WATCHMAN on facebook which is actively concerned with the shift of the earth and human civilisation. He is currently a freelance actor, drama teacher and Wing Chun tutor.
鄧智堅 Eric Tang Chi-kin
祈倫 Chiron
香港演藝學院畢業生。2008 年獲香港戲劇協會頒發傑出年青演員
獎。近作包括I stage X 影話戲《獨坐婚姻介紹所》、W創作社《小
人國 3 之小人三國》、浪人劇場 X 鄧智堅《陳耀德與陳列室》、新
域劇團《白色極樂商場漫遊》、黑目鳥劇團《星期8 的逍遙遊》等
等。曾為PIP
劇場全職演員。憑劇本作品《陳耀德與陳列室》獲第
二屆小劇場頒獎禮提名最佳劇本。
A graduate of HKAPA, Tang received the Outstanding Youth Performer Award from the Hong Kong Federation of Drama Societies in 2008. His recent work includes Phera by HKAPA, Mircosex Office by PIP Productions and Planet of the Lang Mo and Aiyah! Superboy by comedian Jim Chim. Tang wrote the plays True Man Show in the Showroom (nominated for the Best Script at the 2nd Experimental Theatre Awards) and Travel on the Eighth Day of the Week
張銘耀 German Cheung Ming-yiu
路歇斯．安特洛尼克斯 Lucius Andronicus
香港演藝學院戲劇學院系學士（榮譽）學位畢業。曾與多個舞台單 位及教育機構合作，包括：香港話劇團、中英劇團、春天舞台、演 戲家族、三角關係等，擔任演員、導演及戲劇導師。2007至2009
年加入PIP文化產業為全職演員。2009年成立劇團「一路青空」， 發展教育和戲劇演出等工作。於2011年推行《我願意》年度運動， 推廣分享的重要，並執導和創作《一千零一夜One and the only night》。
A Bachelor of Fine Arts graduate with honours from the School of Drama, HKAPA in 2005, Cheung has served as director, actor and drama tutor for many different professional theatre companies and education institutes. He was a full time actor for PIP Cultural Industries from 2007 till 2009. After co-founding The Radiant Theatre in 2009, he has been focusing on education and drama development. In 2011, Cheung helped launch an annual campaign, I Will, in the hopes of spreading the importance of sharing.
郭穎東 Rex Kwok Wing-tung
昆塔斯．安特洛尼克斯 Quintus Andronicus
郭穎東於香港演藝學院畢業，曾參演衛生署及醫院管理局之短片、 音樂錄影帶、獨立短片、教育電視及廣告等演出。舞台演出包括： 香港話劇團《困獸》、《魔鬼契約》、《遍地芳菲》、ICAC 巡迴 劇《金童玉女》及《阿旺筆記》超過500 場、嗰個劇社《尋．龍． 傳說@臥底劇場》、禾地山《愛情少說》、《娛人飯局》、 A2 創 作社《作死》、俳優劇場《童年》（首演及澳門重演）及魯戲《看 更》等。
A graduate of HKAPA, Kwok has participated in several plays including: God of Love, A Devising Theatre's A Legend of Dragon, Dr. Faustus, Dinner Game, a Brecht Festival play — Bertolt Brecht Meets Constantin Stanislavsky (as co-playwright and actor), Phaedra, The Secret Garden of Red Hood-let, Hysteric Hit-man (as playwright and actor), Fools, Arcadia, Hedda Gabler, The New Apartment, Seagull, The Life and Death of Almost Everybody, Romeo & Juliet, Grimm Tales and Fiddler on the Roof
梁家維 Aska Leung Ka-wai
馬歇斯．安特洛尼克斯 Martius Andronicus
2009 年香港演藝學院戲劇學院藝術學士（榮譽）畢業，主修表 演。曾參演鄧樹榮戲劇工作室《打轉教室》；香港話劇團《遍地芳 飛》、《魔鬼契約》及《一年皇帝夢》；中英劇團《孤寒鬼》及 《威尼斯商人》；中英劇團與春天舞台合辦《Q 版老夫子》；春天 實驗劇團《伽里略傳》及《旭日》；春天戲曲發展及漢風戲曲新創念《72家房客》； 致群劇社《人啊，人！》、《佔領凸手辦》及劇場工作室《生活在他方》等。
Leung graduated from HKAPA School of Drama, with a Bachelor of Fine Arts (Hons) in Acting. He actively participates in drama education and school touring performances. He recently appeared in Beating the Classroom by Tang Shu-wing Theatre Studio; and Boundless Movement, Dr. Faustus and Reverie on an Empire by Hong Kong Repertory Theatre. He has performed in productions by Chung Ying Theatre Company, Spring Time Stage, Spring-Time Experimental Theatre, Amity Drama Club and Drama Gallery.
黎玉清 Lai Yuk-ching
拉維妮婭 Lavinia
香港演藝學院戲劇學院榮譽學士畢業生。近期演出包括《泰特斯
2 0 》、《後代》、《矯情》、《十七個可能與不可能發生在2012
的戲劇場景》等。獲第 18 、 20 屆香港舞台劇獎（悲/正劇）及第 一、二屆香港小劇場獎最佳女主角提名。同時活躍於一人一故事劇 場，現為言遇劇團核心成員及國際一人一故事劇場網絡專業會員。
Lai graduated from the School of Drama, HKAPA. Recent performances include Titus 2.0, The Next Generations, Pretense and 17 Scenarios Likely & Unlikely to Happen in 2012. She was nominated for the Best Actress Award (Tragedy / Drama) at the 18th and 20th Hong Kong Drama Awards and the 1st and 2nd Hong Kong Theatre Libre. She is also core member of Encounter Playback Theatre and a practitioner member of International Playback Theatre Network.
邱頌偉 Franky Mcnugget 瑪格斯．安特洛尼克斯 Marcus Andronicus
2008年畢業於香港演藝學院戲劇學院，獲藝術（榮譽）學士學位，
主修表演。近作有鄧樹榮戲劇工作室《打轉教室》、中英劇團《尼
古拉伯爵 吸血驚情》、春天實驗劇團《旭日》、李健偉舞蹈作 品《Room9 》（聯合導演及戲劇指導）、7A 班戲劇組《童謠追魂
曲》等。邱頌偉憑《39步》獲第二屆小劇場獎優秀男演員提名。現
為麥子劇場教育藝術總監、音樂組合《空氣清新機》成員及自由身
戲劇工作者。
Mcnugget graduated from HKAPA with a Bachelor of Fine Arts (Hons) with a major in Acting. He has recently worked with several theatre companies including Chung Ying Theatre Company, 7A Drama Group, Fringe Club, We Drama Group and Whole Theatre Company. In 2010, he was nominated for The Second Theatre Award. He is now the artistic director of Wheat Theatre Education, a member of the music group The Air-Refresher, and also a freelance actor.
黃兆輝 Masu Wong Siu-fai
薩特尼 Saturninus
2003年畢業於香港演藝學院戲劇學院，獲藝術學士（榮譽）學位， 主修表演。曾與多個專業團體合作，當中包括：鄧樹榮戲劇工作 室、影話戲、糊塗戲班、中英劇團、A班戲劇組、楚城 X iSTAGE、 新域劇團等，另曾演出過百場學校巡迴及為 PLAYHOUSE《陰道獨 話》執導（香港及澳門之演出）。黃兆輝亦積極參與司儀、配音及 廣告演出。
現為自由身演員，戲劇導師及戲遊舞台之藝術總監。
Wong graduated from HKAPA, with a Bachelor of Fine Arts (Hons) with a major in Acting. In recent years, he has taken major roles in many drama productions with various professional theatre groups. Wong also takes part in many TV commercial advertisements and works as a professional MC for many musical events. He is now a freelance performer and the artistic director of G.A.S. Theatre.
陳健豪 Angus Chan Kin-ho
巴西安 Bassianus
香港演藝學院戲劇學院（榮譽）學士，主修表演。憑校內演出作品 《帝女花》及《哈姆雷特》獲傑出演員獎。曾參與春天實驗劇團、 春天舞台、焦媛實驗劇團、7A班戲劇組等演出，以及參演香港藝術 節《黑天鵝》及電影《天水圍的夜與霧》。
2007年憑《哈姆雷特》 獲香港舞台劇獎最佳男主角（悲/正劇）提名。
2007至2009年為有 線電視合約藝人並主持音樂節目《線動真音樂》。
Chan graduated from HKAPA School of Drama with a major in Acting. He received the Outstanding Actor Award for his role in Hamlet and Di Nu Hua (Princess Changping) with the Academy. He has also participated in Spring-Time Experimental Theatre’s Shooting Star, Lolita is Mine, Let’s Rock The Musical, and productions by The Spring Group, Perry Chiu Experimental Theatre, Class 7A Drama Group and the Hong Kong Arts Festival. Chan was nominated for the Best Actor in the 2007 Hong Kong Drama Awards for his role in Hamlet
演員照片拍攝：賽普拉．木塔里甫
Actor Profile Picture Photo Credit: Sapuila Mutallip
阮詩敏 Wendy Yuen Sze-man 舞台監督 Stage Manager
畢業於香港演藝學院。曾參演的項目包括：音樂劇《80日環遊世界》；歌劇《蝴蝶夫 人》、《曼儂》、《軍團的女兒》及《愛情靈藥》；話劇《Oleanna》、《日出》、 《泰特斯2.0》、《安蒂崗妮》、《賣飛佛時代》及《hamlet b.》。曾於2010
博會文化交流演出《張保仔傳奇》、《樓城》、世博會香港周閉幕典禮及音樂會《士 兵的故事》等。
A graduate of HKAPA, Yuen has worked in production teams at operas Madama Butterfly, King Arthur, Manon, La Fille du Régiment, L’ Elisir d’Amore and The Legend of Zhang BaoZai; the musical Around the World in 80 Days; dance productions by Hong Kong Dance Company; drama productions Oleanna, Sunrise, Titus Andronicus 2.0, Antigone, My Favourite Time, hamlet b., The Will to Build (an HKSAR Programme for Expo 2010 Shanghai); and the closing programme of Hong Kong Week, A Soldier’s Story
邱浩朗 Franco Yau Hoo-ron 助理舞台監督 Assistant Stage Manager 以一級榮譽畢業於香港演藝學院，主修藝術、項目及舞台管理。曾參與策劃2011布拉 格舞台設計四年展（香港展區）及2008北京奧運聖火傳遞（香港站）。近期參與的舞 台製作包括：鄧樹榮戲劇工作室《打轉教室》、香港歌劇院《中山．逸仙》及澳門國 際音樂節《魔彈射手》。
賴曉珊 Louie Lai Hiu-shan
Yau is a graduate of HKAPA, with a major in Arts, and Event and Stage Management. He participated in the Prague Quadrennial 2011 (HKSAR Booth), The Torch Relay Beijing Olympic Games 2008 (HKSAR Station) and ELIA Leadership Symposium 2007. He has also worked with professional theatre companies such as TTang Shu-wing Theatre Studio, Opera Hong Kong, W Theatre Hong Kong, Opera Australia, Musica Viva and ABA Productions.
導演助理 Assistant to Director 畢業於香港演藝學院戲劇學院，獲藝術學士（榮譽）學位，主修表演。於2010至2012 年間為中英劇團全職演員。曾為 PIP 藝術學校幼兒部導師。 2008 年，憑劇場工作室 《反面情侶》獲提名第17屆舞台劇獎「最佳女配角（喜/鬧劇）」。現為自由身演員及 戲劇導師。
Lai graduated from HKAPA with an honours degree in Drama. She worked as a fulltime actor with Chung Ying Theatre from 2009 to 2012, a drama tutor at PIP and has appeared in many productions for various professional theatres. She was nominated for Best Supporting Actress (Comedy/Farce) at the 17th Hong Kong Drama Awards. She is currently a freelance theatre performer and drama tutor.
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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, Wong & 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
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
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
《愛之初體驗》 Journey to Home
香港藝術節委約及製作 Commissioned and produced by the HKAF
京劇—馬連良紀念系列 Beijing OperaA Tribute to Laosheng Master Ma Lianliang
Theatre, HK City Hall
《六月戀人》
June Lovers
香港藝術節委約及製作 Commissioned and produced by the HKAF
《示範單位》
Shouson Theatre
Star Hall, KITEC
Auditorium, Kwai Tsing Theatre
《藝裳奇幻世界》 World of WearableArt
Drama Theatre, HKAPA
Black Box Theatre, Kwai Tsing Theatre
Auditorium, Yuen Long Theatre
《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
新民謠．中國風 China Folk Rock
《野豬》 The Wild Boar
藝子與舞子 The Geisha of Gion
徹卡奧維《手塚》
Sidi Larbi Cherkaoui TeZukA
《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
香港賽馬會當代舞蹈平台系列 Hong Kong Jockey Club Contemporary Dance Series
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
蒙地卡羅芭蕾舞團 《仲夏夜之夢》
Monte-Carlo BalletLe Songe
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
粵劇 — 折子戲精選 Cantonese OperaExcerpts of selected repertoires 《機器人幻想曲》 Sans Objet by Aurelien Bory
《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
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
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
A Play Reading 座談會 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
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 《神醫》
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
法國北方布夫劇場彼得．布祿克的《魔笛》 Theatre des Bouffes du Nord - A Magic Flute
Chau Lok-ping and Chau Lok-ting Piano Duo Recital
布利斯托爾老域劇團 《神醫》
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