Technical Arts Festival aims to explore new sensory forms of “Technical-arts-initiated Performances,” by beginning with conception and themes, integrating various stage technologies to showcase diversity. This year the festival focuses on the theme of “Taste & Space,” evolving into various forms of space and performance, and inviting the audience to step into a sensory world by showcasing local technical arts self-initiated creations.
In theatre, “Taste” is a very interesting concept that originates from the history of ancient Greek theatre, starting with the wine god Dionysus. The term “Taste” encompasses multiple meanings, referring to “flavor,” “taste,” “preference,” “aesthetic sense”, “taste”, as well as “experience,”“appreciation,” “brief experience,” and more. The Technical Arts Festival this year will establish sensory connections between technical arts and the audience through different aspects of “Taste”.
In famous director Peter Brook’s renowned work “ The Empty Space ”, he presents four forms of theatre space: “The Deadly Theatre,” “The Holy Theatre,” “The Rough Theatre,” and “The Immediate Theatre.” These four forms are not independent yet collectively intertwined, offering vast exploration space. This year’s Technical Arts Festival will delve into the complex causal relationships between these four forms of theatre space and “Technical-arts-initiated Performances,” rekindling the innovative possibilities of technical arts theatre creation.
The Technical Arts Festival 2024 focuses on the theme of “Taste & Space,” emphasizing that this theme encompasses not only the experience of taste but also a broader range of sensory experiences. Through various artistic forms, audiences can re-examine their understanding of aesthetics and, in the process, stimulate deeper perceptions. This exploration is not limited to the visual; it also includes auditory, tactile, and even emotional resonance.
The multiple meanings of “taste” transcend mere material experience, becoming a connection between emotions and memories. The works can evoke feelings deep within the audience, prompting them to rethink their relationship with the artwork while savoring it. This depth of sensory interaction transforms the works from cold objects into vibrant experiences. The design of the festival aims to create an open dialogue platform, blurring the boundaries between artists and audiences. We encourage active participation from the audience to explore the diversity of creativity through interaction. This interaction not only deepens the audience’s understanding of the works but also sparks their imagination, allowing them to resonate sensorially
with the pieces. Audience participation will become part of the showcase, enabling everyone to find their voice in the artistic creation.
A deeper exploration of the relationship between space and performance will reveal many new possibilities. Each showcase can present unique effects in different spaces, making the audience’s experience personalized and distinctive. Through this approach, we hope to break the boundaries of traditional theatre, challenge existing notions, and allow each participant to find their place in the process. The diversity of space enables each performance to showcase a new aspect according to its environment, thereby enhancing the audience’s sense of participation and immersion.
This curatorial experience fills me with anticipation for future artistic creations. I hope to continue exploring and experimenting in upcoming events, bringing more surprises and inspiration to the audience. We believe that such explorations can not only advance the development of technical arts but also provoke deeper thoughts and dialogues within the public. These feelings reflect our contemplation and embody our passion for technical art and expectations for future creations, encouraging every participant to become a cocreator in this artistic journey.
Overall, our words convey a spirit of inclusivity and exploration, making the Technical Arts Festival a vibrant and innovative platform where everyone can find their own inspiration and emotional connection. Through this sense of participation, we offer not just a performance, but a sensory feast and a journey of the soul.
@lawrencelee.mickey
@mickeyhoyin
聯合策展人的話
Co-Curators’ Words
徐碩朋
Tsui Shek Pang, Allan
2022 年的第一屆科藝藝術節，我們的主題是「模 棱與並置」（Ambiguity and Juxtaposition），作為 第一次科藝創作嘗試，我們將不同崗位的設計師 和技術人員配對成不同組合，將相異的創作視點 並置，為首屆藝術節點起了科藝懸念的火花。
來到第二屆，幾經討論，與聯合策展人李浩賢構 思了一些既承先亦啟後的想法。我們希望將科藝 創作連繫感官體驗，嘗試「貼地一點」，從日常生 活的感觀出發，最後，我們將今屆的主題定為「嚐 味與空間」（Taste and Space）。「Taste」既指「嚐 味」，亦指「品味」和「體驗」，本屆藝術節期望 可帶給觀眾更直覺感知的空間體驗。
美國著名作家 Michael Pollan，在他的著作《烹︰ 人類如何透過烹飪轉化自然，自然又如何藉由烹 飪轉化人類》中說：「自己發酵食物，就是為了代 表感官和微生物，對抗現在在全球範圍內像一片 無差異的草坪一樣滾動的風味和食物體驗的同質 化，發出一聲小而有力的抗議。」
In 2022, the first Technical Arts Festival had the theme “Ambiguity and Juxtaposition.” As our initial attempt, we paired designers and technicians from different fields, juxtaposing diverse creative perspectives to spark the festival’s intrigue.
For the second edition, after much discussion with co-curator Lawrence, we conceived ideas that both build on the past and pave the way forward. We aim to connect technical arts with sensory experiences, making it more grounded in everyday life. Thus, we set this year’s theme as “Taste and Space.”
“Taste” refers to both flavor and appreciation, as well as experience. This year’s festival aspires to offer the audience a more intuitive spatial experience.
American author Michael Pollan, in his book “Cooked: A Natural History of Transformation,” states: “To ferment your own food is to lodge a small but eloquent protest - on behalf of the senses and the microbes - against the homogenization of flavors and food experiences now rolling like a great, undifferentiated lawn across the globe.”
Cooking involves both hot and cold fire. Hot fire is the external transformative force, while fermentation is the internal sublimation process.
The essence of art lies in “difference.” As we grow accustomed to an increasingly homogenized world, where all forms tend to converge, we need new forms of creation.
The Technical Arts Festival aims to explore new forms and attempts in performance creation through discussions and workshops, starting from a “technical arts point-of-view.”
We are like a batch of “technical art dough” waiting to ferment. Having endured years of external heat, it is time to let our technical arts thinking “ferment” from within, enhancing the creative experience and continuing to explore new spaces.
The second Technical Arts Festival needs your participation. Step into the “kitchen” of Freespace this September, experience it together, and let “technical arts” continue to ferment, uncovering more meanings.
A group of 14 seasoned technical arts artists from diverse backgrounds recently completed a series of innovative performance works as part of 6 creative collaborations. Under the guidance of curators Lawrence Lee, Allan Tsui, and artistic consultant Yuri Ng, these technical arts artists participated in a series of workshops and experimental exchanges, delving into the works of renowned technical arts artists from around the world to explore issues such as the adaptability of technical arts in Hong Kong, media repositioning, and construction.
Through these rich theatrical experiences and the support of the consulting team and the platform provided, the artists created a batch of new short works rooted in the technical arts field, showcasing their research and creative achievements during the arts festival.
What was the universe be like before there was light? At what point does the light you see is not light? In a theatre space, what kind of imagination can it bring you to when you see the images changed by light alone?
Using light, sound and Mandala as the subject matters of the performance, lighting designers Billy Chan and Zoe Cheung invite the audience to embark on a journey of exploration into light and space, opening up a new journey of imagination. Between Light and Space We Imagine
Billy graduated from The Hong Kong Academy for Performing Arts, majoring in theatre lighting design. He is currently the Senior Lecturer (Lighting Design) at HKAPA’s School of Theatre and Entertainment Arts, Media Design and Technology Department.
Since 1997, he has collaborated with Edward Lam Dance Theatre, Hong Kong Arts Festival, Dionysus Contemporary Theatre, Chung Ying Theatre, Théâtre dela Feuille, Trinity Theatre, Hong Kong Repertory Theatre and Hong Kong Dance Company, in addition to pop concerts and exhibitions.
He was recently awarded Outstanding Musical Lighting Design at the Beijing Tianqiao Musical Annual Ceremony 2023 for Into the White Night by Ran Space Shanghai, the Best Lighting Design at the 31 st Hong Kong Drama Awards for We Are Gay by Hong Kong Arts Festival in 2023. His other accolades include Best Stage Art (Lighting Design) at the 2017 Shanghai Jing’an Modern
Drama Valley One Drama Awards (What is Sex? by Edward Lam Dance Theatre), Best Lighting Design at the Hong Kong Drama Awards (2008) Secret of Resurrection by Hong Kong Repertory Theatre and 2019 Rashomon by Chung Ying Theatre) and Outstanding Lighting Design at the Hong Kong Dance Awards (Waiting Heart by Hong Kong Dance Company).
Recent works include Magnificent Culture Beijing The Coat of Rongyi, Ivana Music Limited Skylight, Hong Kong Ballet Coco Chanel: the Life of a Fashion Icon , Emperor Entertainment Group One Last Gift, Théâtre de la Feuille #1314 and Shanghai Ran Space original musical No Longer Human. www.maybeLXcanhelp.net
劇場以外曾出版畫冊《Travelling Mandala》2018 及以駐場藝術家在 V54 舉辦個人作品展《Blooming along a mandala journey》2022。
Zoe graduated from The Hong Kong Academy for Performing Arts, majoring in Theatre Lighting Design. Recently participated in productions including Tsang Man Tung Theatre work Cankramati , Ashtanga , Zuni Icosahedron HUAYEN CONCERT etc.
Zoe was also involved as lighting designer in music & dance exchange overseas projects including Teatr Tańca Zawirowania Dance Festival, Adelaide Fringe Festival, Avignon Off Festival, Edinburgh Festival etc.
Besides theatre productions, Zoe held a Mandala drawings exhibition “Blooming along a mandala journey” 2022 as artist in residence in V54 & selfpublished booklet “Travelling Mandala” 2018.
In the busy lives we lead, some people choose material satisfaction, while others choose spiritual fulfillment. The underlying meaning in both cases is the pursuit of “happiness” and the effort to bring more choices into our lives. In the process of this search, people gradually forget the reasons behind their pursuit of happiness, and the “choices” they make often deviate from the norm.
Under the same sky, can the scenery be different? As we embark on this Journey of Happiness created by Hair Stylist Charlie Luciano and Makeup Artist Kamen Wong, each person advances
towards happiness, hoping to rediscover the anticipation of happiness and recapture their original intent.
創作 Creators
許迪生 Charlie Luciano
黃嘉敏 Wong Ka Man, Kamen
多媒體設計 Multi-media Designer
王啟敏 Wong Kai Man, Teresa
道具製作 Props Making
趙宇齡 Chiu Yu Ling
髮型裝置製作助理（東灣莫羅瑞華學校）
Hair Styling Installation Production Assistant (Tung Wan Mok Law Shui Wah School)
張振鴻 Cheung Chun Hung
張俊傑 Cheung Chun Kit
許諾衡 Hui Nok Hang
李梓浩 Lee Tsz Ho
黃天賜 Wong Tin Chi, Felix
髮型創作人
Hair Creator
許迪生
Charlie Luciano
黑暗中的髮型師 @Salon Go Ahead，一位不折不 扣的舞台造型設計狂熱份子，現任香港美髮美容 業商會理事長及會董、 HKCAAVQ 主導學科專家、
Hair Stylist in the Dark @ Salon Go Ahead, an out‐and‐out enthusiast for Stage Hair and Imaging Designer. Charlie is now Incumbent Chairman of Director (Bureau Member) of The Hong Kong Hair and Beauty Merchant Association, Leading Subject Specialist of The Hong Kong Council for Accreditation of Academic and Vocational Qualifications (HKCAAVQ), accessor for the Vocational Training Council (VTC). He is also former Convener for the Publicity and Promotion Committees of the Hong Kong Education Bureau Industry Training Advisory Committees (ITACs).
For stage performance, Charlie was the Chief Hair Designer of the Commercial Radio ‐ Sammy & Kitty Musical from 2001 to 2010, and also the Hair Designer for Seven Boxes Possessed of Kafka , Once the Muse Speaks , Hamlet Machine , The Hong Kong Three Sisters, Tempest, The Rainbow Troops, The Windmill and Yokohama Mary.
He was the chief hair director for the Miss Asia Pageant, show director for the Estetica 70 th Hair Show (Shanghai), and also former Ambassador
for Olaplex Hong Kong, L’Oreal Matrix and L’Oreal Professionnel.
“I have no special talents. I am only passionately curious.” So said Albert Einstein. Design requires anything but talent. So long as I am full of curiosity, I can forge ahead with the soul of each character, letting the audience grasp these characters’ fully‐exposed personalities and idiosyncrasies. I love my role.
Kamen worked as a lingerie designer for several years after graduating from fashion design, because of her interest and enthusiasm for makeup, she decided to change her career as a makeup artist. Although the job nature is different, there are similarities in creation. From the computer
workspace to human’s face, there are more variations for creation. And the past experience of fashion and female aesthetics which helps her a lot in makeup and styling. Except for events, weddings, media, stage show makeup etc., Kamen is also a tutor at makeup school, providing grooming and training workshops with different airlines, hotels, club houses and colleges.
Land》 GuGuland
GuGuland 入境處恭喜你，你有一份移民申請已 獲接納。由於申請人數眾多，想快人一步成為第
1850000000 批菇菇市民，為 Guguland 理想國度 作出貢獻的話，機會嚟啦！請你出席哩次迎新活 動，於限時內揀選適合你自己嘅“特 ⾊ ”前來報 到，我哋嘅菇菇專員陳健新 x 洪榮賢 x 姜綺雯，將 帶領觀衆開展奇妙嘅種新菇之旅。機會難逢、逾 時不候，缺席者將被視作放棄居留權，敬請各位留 意！
The GuGuland Immigration Office congratulates you, your immigration application has been accepted. Due to the large number of applicants, if you want to get ahead and become the 1,850,000,000 th GuGu citizen to contribute to the ideal nation of GuGuland, the opportunity is here. You must attend this welcoming event, and within the time limit, select a suitable “specialty” to register. Our GuGu specialists Simpson Chan, Teresa Hung and Yumi Keung will guide you on an amazing new mushroom growing journey. This opportunity is rare and time-sensitive, those
who miss the deadline will be considered to have forfeited their right of residency. Please take note!
創作 Creators
陳健新 Chan Kin San, Simpson*
洪榮賢 Hung Wing Yin, Teresa
姜綺雯 Keung Yee Man, Yumi
道具設計師 Props Designer
陳健新
Chan Kin San, Simpson
早年習畫 ，興趣道具製作。中年接觸木偶表演，
大為熱愛，曾參與多個木偶戲演出及木偶製作。
近年專注於木偶製作及演出指導。現為自由身木 偶及道具製作員。
Simpson studied painting in his early years, interested in making props and models. In middle-aged, he came into contact with puppet performances and loved it a lot. He participated in many puppet shows and puppet productions. In recent years, he has focused on special props making, puppet making and puppet performance guidance. Now he is a freelance puppet and prop maker.
近年專注於香港發展，曾合作團體包括：神戲劇 場、香港藝術節、香港話劇團、香港歌劇團、藝 君子劇團及 Jing Wong Creations。
Graduated from the Hong Kong Polytechnic University and The Hong Kong Academy for Performing Arts, Siuhung was awarded a Higher Diploma in Fashion and Clothing and a Bachelor Degree in Theatre Costume Technology. She is now a freelance artist working on costume design, management and production at theatres. Besides costume work, Siuhung has been doing embroidery art and also sand art performances and workshops.
During her studies, she was awarded a scholarship for an internship at the Royal Opera House in London and represented the college to participate in the International Exhibition of Scenography and Theatre Architecture Prague Quadrennial and to take part in cultural exchanges. After her graduation, she further developed her professional
qualifications. Siuhung attended the École Lesage in France to study professional French embroidery and the London Fashion College of Art to study professional hat-making. She also studied traditional Japanese silk embroidery and craftsmanship in Japan and acquired her Kimono instructor license at Inspire Space, Tokyo.
Besides over ten years of freelance theatre work experience, Siuhung worked as a designer at Limelight Costume Services Ltd. for 5 years since 2015. During her tenure, she participated in a number of large-scale theme park and overseas productions including: Universal Studios (United States, Japan, Singapore and Beijing), Norwegian Cruise Line, Studio City (Macau), Disneyland (USA and Hong Kong), and Hong Kong Ocean Park. She also participated in various overseas Broadway musicals including: Joseph and the Amazing Technicolor Dreamcoat (Japan), The King and I (Malaysia and Singapore), Race for love/Reel to Real (Beijing) etc. as costume management.
In recent years, Siuhung has put her focus back in Hong Kong. She has worked with groups including: God Theatre, Hong Kong Arts Festival, Hong Kong Repertory Theatre, Hong Kong Opera Company, Gentleman Theatre Company and Jing Wong.
Yumi is a Hong Kong yarn weaving artist and freelance art educator. Currently, she is the artistic director of Y SAORI Creations and the chairman of the Collage DECO multimedia art group. She has been engaged in design and art education for over 20 years, and has extensive experience in performance and theatre productions. In 2001, she began to actively organise and participate in a number of art education programs, serving
as a drama instructor on stage and behind the scenes, a visual and comprehensive arts instructor, a special education art instructor, and a positive psychology course instructor for the “Life Skills Programme”. Currently, she is an audio designer, tactile art instructor and arts access guide for the Hong Kong Arts with Disabilities Association. In 2015, Yumi became the first yarn weaving instructor in Hong Kong recognized by SAORI International Volunteer College in Osaka, Japan. Over the years, they have actively planned weaving activities and exhibitions. In 2016 and 2018, they received funding from the HSBC Community Partnership Program to organize a year long large-scale community weaving project and stage performance. They recycled surplus fabrics and clothing accessories from the community and integrated them into their art, they lead community members to exert unlimited creativity within limited resource space, so that people of different ages, different characteristics, and different classes in the community can explore the possibilities of gauzeweaving art, and let their works be used in the local community. Beneficiaries include: the elderly, retired people, women, teenagers, children and people with disabilities, and the works have been exhibited in multiple performances and exhibitions.
In 2019, Yumi was diagnosed with acute severe rheumatoid arthritis during the fight against the epidemic. During the fight against the disease, she focused more on the development of her personal weave art, trying anti-traditional weaving techniques to find the balance between lightness and solidity, hardness and softness. Through contrast, she constantly explores the relationship with himself, the community and the natural world, and creates sparsely woven works with rich personal characteristics. Participate in art exhibitions of various sizes. In 2022, she collaborated with Hai Chao (Cai Jinchao), a sand painting artist with rich experience in stage production, to create Experiments 1 and 2 of Wind of the Five Feathers.
21.09.2024 3:15pm
開幕表演嘉賓
Opening Ceremony Guest Performer
馮逸山 Fung Yat Shan, Linus
（單簧管演奏 Clarinettist）
詹曉陽 Chim Hiu Yeung *
許嘉琳 Hui Ka Lam *
林彥亨 Lam Yin Heng, Winfred *
梁曦文 Leung Hei Man *
吳嘉欣 Ng Ka Yan, Lulu *
袁浚希 Yuen, Jethro *
創作及製作團隊 Creative and Production Team
藝術顧問 Artistic Consultant
聯合策展人 Co-curators
監製 Producers
財政 Treasurer
技術經理 Technical Manager
製作經理 Production Manager
佈景設計 Set Designer
燈光設計 Lighting Designer
音響設計 Sound Designer
助理音響設計 Assistant Sound Designer
影像設計 Video Designers
影像設計統籌 Video Design Coordinator
影像設計及編輯（存檔/錄製）
Video Designers and Editors (Archive/Recording)
平面設計 Graphic Designer
傳媒推廣 Media Marketing
製作助理 Production Assistants
燈光編程及控制
Light Programmer and Operator
Zactrack 編程 Programmer
伍宇烈 Ng Yue Lit, Yuri
李浩賢 Lee Ho Yin, Lawrence @L Square
徐碩朋 Tsui Shek Pang, Allan ＃
BIG SIS Production
陳珮茜 Chan Pui Sin, Keiko
甘玉儀 Kam Yuk Yee, Virginia
冼浩然 Sin Ho Yin, Glades ◎
陳力恒 Chan Lik Hang, Jacky @StageTech
李浩賢 Lee Ho Yin, Lawrence @L Square
王梓駿 Wong Tsz Chun, Isaac
羅兆鏵 Lo Sio Wa, Adonic
夏恩蓓 Ha Yan Pui, Can @Mad Music
梁思樺 Leung Sze Wah, Cfa@Mad Music
曾以德 Tsang Yee Tak, Joyi @Espectro
馬錦鋒 Ma Kam Fung @Espectro
羅穎禧 Law Wing Hei
招曉潼 Chiu Hiu Tung, Rita
顧嘉崙 Koo Jack Galen
張惠淳 Terrenz Chang
說好的創意 Sounds Good Creative Co. Ltd.
謝樂軒 Hsieh Lok Hin ⌘
温尹婷 Wan Wan Ting, Cathy ⌘
方祥輝 Fong Cheung Fai, Samson
林宛珊 Lam Yuen Shan, Sandy
總電機師
Production Electrician
電機師 Electricians
燈光助理 Light Crews
音響控制 Sound Operator
音響助理 Sound Crews
影像編程及控制
Video Programmer and Operator
影像助理 Video Crews
影像攝錄（存檔/錄製）
Videographers (Archive/Recording)
關超傑 Kwan Chiu Kit
何詠恒 Ho Wing Hang
賴君詠 Lai Kwan Wing, Katy
林琬頤 Lam Yuen Yee
謝惠棓 Tse Wai Pui, Jelly
黃冠綸 Wong Kwun Lun, Larry
林家輝 Lam Ka Fai ▲
梁倩雅 Leung Sin Nga. Sarah ▲
周德熹 Chow Tak Hei, Gagchow @Mad Music
梁軒持 Leung Hin Chi, Jeremy @Mad Music
黃擇儒 Wong Chak Yu, JTin @Mad Music
周韋言 Chow, Tristan ▲
冼富城 Sin Fu Shing, Jackie ▲
余沛豪 Yu Pui Ho
林雋為 Lam Chun Wai, Roy ▲
任天賜 Yam Tin Chi, Sky ▲
歐禮健 Au Lau Kin
陳世杰 Chan Sai Kit
關俊煒 Kwan Chun Wai
冼柏朗 Sin Pak Long, Gordon
攝影師 Photographers Carmen So @Righteyeball
馮偉新 Fung Wai Sun
項目經理 Project Manager
技術服務支援經理
Technical Services Support Manager
技術主任 Technical Supervisor
項目主任 Project Executive
技術員 Technician
Cyberhoist 程式員 Programmer
Cyberhoist 控制員 Operator
舞台監督 Stage Manager
執行舞台監督 Deputy Stage Manager
吳家寶 Ng Ka Po, Mikko @Stage Tech
龍賢浩 Lung Yin Ho, Dickson @Stage Tech
梅浩楊 Mui Ho Yeung, Leo @Stage Tech
黃湘頤 Wong Sheung Yi @Stage Tech
麥崇軒 Mak Sung Hin @Stage Tech
劉卓敏 Lau Cheuk Man @Stage Tech
古兆衡 Koo Siu Hang
李佩恩 Lee Pui Yan, Joanna @Espectro
陳斯琹 Chan Sze Kam, Zeta
助理舞台監督
Assistant Stage Managers
舞台助理 Stage Crews
鍾濠全 Chung Ho Chuen @Espectro
謝樂軒 Hsieh Lok Hin
魏俊瑩 Ngai Chun Ying, Rita
謝梓嵐 Tse Tsz Lan, Candace
温尹婷 Wan Wan Ting, Cathy
陳晏彰 Chan An Cheung
陳炳基 Chan Ping Kei @Espectro
蔣德進 Chiang Tak Chun, Dickson
詹文龍 Chim Man Lung
許文耀 Hui Man Yiu @Espectro
李健汶 Lee Kin Man, Kenny
李健偉 Lee Kin Wan, Max
施俊宇 Sze Chun Yue
杜泉生 To Chuen Sang, Sam ▲
尹智樂 Wan Chi Lok, Benny
余珮怡 Yu Pui Yee, Priscilla ▲
^ 承蒙城市當代舞蹈團允許參與是次製作 With kind permission of City Contemporary Dance Company
# 承蒙知專設計學院允許參與是次製作 With kind permission of Hong Kong Design Institute
◎ 承蒙西九文化區管理局允許參與會務工作 With kind permission of the West Kowloon Cultural District Authority
▲ 承蒙香港資訊科技學院允許參與是次製作 With kind permission of Hong Kong Institute of Information Technology
* 承蒙香港演藝學院允許參與是次製作 With kind permission of Hong Kong Academy for Performing Arts
⌘ 藝術人才見習配對計劃 2023/24 由香港藝術發展局資助 “2023/24 Arts Talents Internship Matching Programme” supported by the Hong Kong Arts Development Council
香港舞台技術及設計人員協會
The Hong Kong Association of Theatre Technicians & Scenographers
The Hong Kong Association of Theatre Technology and Design (HKATTS, [hey_cats]) was established in 1989 as a non-profit professional organization focused on theatre arts, design, and technology. Its members are primarily professional theatre practitioners, aiming to promote the development of technical arts and stage design while fostering cultural and technical exchanges within the global theatre community.
Since 1993, HKATTS has officially represented Hong Kong in the “Organization Internationale des Scénographes, Techniciens et Architectes de Théâtre” (OISTAT), an international organization for stage designers, technicians, and architects.
Since its inception, the association has voluntarily organized numerous activities related to Hong Kong's stage and design industry, striving to increase public awareness of stage technology and design, promote communication among industry professionals, enhance professional standards, and serve as a bridge for communication between Hong Kong stage technicians and the international theatre community.
