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.
Everyone’s presence could become someone else’s inspiration. Suggesting new meanings or making interpretations to things that matter to us is an important part of one’s creative process, it’s also a process of transforming 100% of our sensations into one creation. Through 100 to 1 , Costume Designers Sinsley So and Shybil Yuen would give participants an experience of transforming their visual impressions of their present moments into one unique piece of work.
Graduated from Royal Central School of Speech and Drama. Her recent set and costume design credits include: Chung Ying Theatre Company’s Alive in the Mortuary ; Tang Shu-wing Theatre Studio’s Nothing is Known and Shakespeare in Our Time: The Rape of Lucrece ; Trinity Theatre’s Still You and SingFest’s The Thunder Bay . Her recent costume design credits include Hong Kong Repertory Theatre’s Scapin in Jiānghú, Chap. 2023, Hong Kong Dance Company’s Womanhood; Chung Ying Theatre Company’s Man of La Mancha , The Miracles of The Namiya General Store and Baskerville: A Sherlock Holmes Mystery; Trinity Theatre’s Sweet Dreams, Table for Two and Dustykid on Stage , West Kowloon Cultural District’s The Battle; and New Vision Arts Festival’s The experimental multimedia production: Guan Yu’s Ride of 1,000 Miles.
Slade School of Fine Art 取得碩士學位，更是首位 香港設計師取得 Leslie Hurry Prize。2007、2013 及 2018 年三度獲香港舞台劇獎最佳服裝設計獎， 曾參予國際舞台展覽包括：2003 及 2007 年布拉格 四年展，2005 及 2009 年加拿大國際舞台展。
Between 1990 and 1993, Shybil studied at The Hong Kong Academy for Performing Arts, where she was already active in theatre design and received numerous awards, including the Jackie Chan Overseas Scholarship and the Best Student Design Award from The Hong Kong Academy for Performing Arts in 1993. In 1993 to 1994, she undertook an exchange internship at a youth theatre in Antwerp, Belgium. In 1998, she obtained a master’s degree from the Slade School of Fine Art at University College London, becoming the first Hong Kong designer to receive the Leslie Hurry Prize. She was awarded the Best Costume Design Award at the Hong Kong Drama Awards in 2007, 2013, and 2018. She has also participated in international stage exhibitions, including the Prague Quadrennial in 2003 and 2007, as well as the World Stage Design in 2005 and 2009.
The era is traversing a chasm, this city has been filled with a turbulent and restless atmosphere. We are currently in the rift of this era. Thus, some have decided to leave, to make a clean break from it.
Some choose to shut down their emotions, continuing to work hard, striving to eat, drink, and be merry. Some wish to rediscover this place, contemplating the future path ahead.
Created by multimedia artist Chan Ka Ho, Gary and visual artist and graphic designer Hung Man Po, Fracture/Seam allows the audience to experience the fragments and changes in the “stage” setting of Hong Kong over the past decade, as well as the artist’s impromptu performance in response to audience reactions.
Can we possibly mend this fracture here?
創作 Creators
陳家濠 Chan Ka Ho, Gary
Hung Man Po
陳家濠
Chan Ka Ho, Gary
Designer
畢業於專業教育學院，修讀創意媒體。現為自由 身劇場工作者，以擔任錄像設計師為主。
劇場影像設計合作團體包括：樹寧‧現在式單位、 香港影視劇團、DGhouse、中英劇團、影話戲、
Banana Effect、前進進戲劇工作坊、芳芳劇藝、
iStage、大細路劇團、普劇場及城市當代舞蹈團。
一直嘗試於劇場上使用影像創作，運用劇場的語
言和技術發展不同的影像作品，亦有參與各種場 合的錄像創作，為各類演唱會，活動擔任各錄像 處理或設計。 錄像設計師 Video
Gary is a Freelance Video Designer, graduated from Hong Kong Institute of Vocational Education in Creative Media. Theatre Projection and video designs including Jumbo Kids Theatre’s A Journey of CAR’s Life , iStage’s Waiting for the Match 2 , Fong Fong Project d’ Art’s DingDing: Our Friending Tram , On & On Theatre Workshop’s Tit Hong Lane, Banana Effect’s Game of Life 2 , Cinematic Theatre’s
Waiting on the Wind , My luxurious 50 sqft life , Informer , The Feast , Watching You , The Night when You Come to Repossess the Flat, Lightening and Model Answer, Chung Ying Theatre’s Chapters of Sunbeam Theatre, Bye Bye Land, Savouring the Fragrance of Sham Shui Po , Kwun Tong District: The People, the Story and the Memory and Go For It!, and Shu Ning Presentation Unit’s Übermensch.
Gary has worked on Video in theatre production, using the language and technique of theatre to develop video content. He has created and designed videos for various concerts, performances and programmes.
其設計和插畫作品亦為他帶來一些獎項，包括： 德國 IF 設計獎、台灣金點設計獎和台灣國際平面 設計獎等。
Hung Man Po has been involved in commercial graphic design for many years, always aspiring to express personal feelings and respond to society through art, seeking to rediscover the passion for life.
About a decade ago, he started carrying a “pointand-shoot” camera with him, wandering through the streets and alleys of Hong Kong for street photography, discovering interesting people, events, and objects. This process reconnected him with the neighborhood where he had lived for decades, leading him to realize the importance of connecting with the community and society. During this time, he also picked up the paintbrush that had been dormant for many years, incorporating his artwork into his art and design projects, developing his personal style of “Hong Kong Ukiyo-e,” depicting the myriad human facets within the Hong Kong community.
In recent years, he has been developing personal works and organizing illustration exhibitions, including showcasing stories of Hong Kong artisans in Hong Kong Story , narrating the vanishing brands in Hong Kong in Listen, Hong Kong, focusing on the Sham Shui Po community in Age of Wonders, and contrasting Hong Kong with Kuala Lumpur in Omi Cities . He has collaborated with local young artisans to create handmade art books and risograph art prints.
His design and illustration works have earned him several awards, including the German IF Design Award, Taiwan Golden Pin Design Award, and Taiwan International Graphic Design Award, etc.
節目介紹 Programme Introduction
Wave Party
“Life is a party, so always dress like you’re attending one.”
“Life is a party, so always dress like you’re attending one.”
Wave Party is an experimental sound exploration ritual that brings together sound creative talents from different fields. Sound artists Kristopher Chan, Chan Kwun Wang and Stoa Lau invite the audience to participate in the party, to immerse themselves in the ocean of sound, interact with the works, and lead everyone to discover the charm of sound.
創作
Creators
陳翔 Chan Cheung, Kristopher
陳冠宏 Chan Kwun Wang
劉穎途 Lau Wing Tao, Stao
音響設計師
Sound Designer
陳翔 Chan Cheung, Kristopher
畢業於香港演藝學院，獲藝術（榮譽）學士，主 修音響設計。在學期間獲學院頒「最佳音響設計
師獎」及多個獎學金，包括「成龍海外培訓獎學金」 往英國倫敦深造音樂劇製作，參與倫敦製作包括：
《Ghost The Musical》、《Phantom of The Opera》、 《Lion King》、《Singin’ in The Rain》等多個著名 劇目。陳氏活躍於舞台劇作曲及音響設計，兩度 獲提名香港舞台劇獎，包括：憑《秀才與劊子手》
陳氏為跳樂劇團創辦人之一，熱衷推動「STEAM」 及「Arts+Tech」跨媒介藝術方針，最近製作 2022 社區文化大使節目 Arts+Tech x 沉浸式劇場 x 展覽
《上天下海‧玩轉奇妙顛倒世界》獲觀眾及傳媒好 評。
Kristopher graduated from the Hong Kong Academy for Performing Arts with a Bachelor of Arts (Hons) degree in Design, majoring in Sound Design. During his studies, he was awarded the “Best Sound Designer” and several scholarships, including the “Jackie Chan Overseas Training Scholarship” to study musical theatre production in London, England.
He is active in theatre music composition and sound design, and has been nominated for the Hong Kong Drama Awards twice, including the “Best Original Music and Lyrics” and ”Best Sound Design”. He won the “Excellent Music Award” in the domestic TV series in 2016.
Kristopher is currently a member of the Composers and Authors Society of Hong Kong (CASH). He is involved in the field of soundtracks, including film and television production, animation, mobile game, and advertisement.
Beside the work of sound design, Kristopher is one of the founders of JAM Island Theatre which is keen to promote the “STEAM” and “Arts+Tech” cross-media arts production.
在校期間曾考獲奬學金到 London West End 多 間音樂劇劇場作實習，演出包括《Phantom of
The Opera 》、《 Singin’ in The Rain 》、《 Jersey
Boy 》、《 Ghost The Musical 》、《 Sweeney Todd:
The Demon Barber of Fleet Street》及《The Lion King》等。
近年擔任音響設計作品包括：香港文化節《大樂 之道》音樂會；有骨戲《哈比魔法師》、《誰是 K 星人》、《薯仔忍者》、《超人放暑假》；澳門卓劇 場《懸空一念：五章遊走於裝置的表演》、《Night
Just Before the Forest》、《Holy Crab》；進劇場 《斗和靜兒》；鄧樹榮戲劇工作室《泰特斯 2.0》；
Point View Art Association 於台灣夏日藝術節、葡
萄牙巡迴、愛丁堡藝穗節參演節目《Picnic in the Cemetery》；演戲家族《二度心寒》。
陳氏也在聖保祿男女中小學、天主教培盛中學等
教授聲音設計及製作課程，並在香港演藝學院暑 期課程主持音頻工作坊。除教育機構外，還在本 地教會（如 The Vine 教會）提供不同級別的音響工 程培訓。
Chan graduated from The Hong Kong Academy for Performing Arts with a Bachelor of Arts (Hons) degree in Design, majoring in Sound System Design. He is now d&b soundscape certified Engineer.
During his study, he won scholarships for internship at London West End’s multiple musical theatres. The performances included Phantom of the Opera, Singin’ in the Rain , Jersey Boy , Ghost , Sweeney Todd: The Demon Barber of Fleet Street, The Lion King etc.
As audio design works including The Great Way Music Concert by HK Culture Festival, Boney
Show’s The Happy Wizard , Finding Mr. K , Ninja Potato , We Wa Summer , Dirks Theatre’s Live
on Suspension: a Performative Installation in 5 Chapters, Night Just Before the Forest, Holy Crab, Theatre du pif’s Two , Tang Shu-wing Theatre Studio’s Titus 2.0 , Point View Art Association’s Picnic in the Cemetery in Taiwan Summer Festival, Portuguese Tour, Edinburgh Art Festival, Actor’s Family’s Shiver.
Chan also teaches sound design, audio production course in St. Paul’s Co-educational College Primary School, Pui Shing Catholic Secondary School, and hosts audio workshop in The Hong Kong Academy for Performing Arts summer course. Beside the educational institution, Chan has provided different levels of sound engineering training in local churches, such as The Vine Church.
地》、《一水南天》之作曲、編曲及音樂總監，除 了為劇團創作配樂，亦為廣告、電視台及電台擔 任作曲及編曲等工作，亦為電影《大話西遊三》、 《父施》、《小 Q Little Q》創作電影配樂。
2019 年憑《坂本龍馬之背叛》獲第二十九屆香港 舞台劇獎最佳原創音樂。
Lau graduated from The Hong Kong Academy for Performing Arts with Bachelor of Performing Arts (Honor) degree, majoring in Stage Sound Design and Music Recording. He won the Best Sound Designer by Mariso in the 9 th Hong Kong Drama Awards in 2000.
Through HKATTS, one of his stage works called Under Construction was selected and was exhibited at the PQ 2003 (which was held in Prague), in the Hall of Stage Music Composition. Lau was one of the nominees for the Best Music Composition by Da in the 14th Hong Kong Drama Awards in 2005. Lau is an active Composer in a number of local productions including a standup comedy Free Man Show 2 ; James Mak’s Production’s Glass Menagerie; Prospects Theatre’s Since 1972, The Hong Kong Federation of Drama Societies’ The New Thunderstorm, Theatre Space’s
Twelfth Angry Men and Da ; Actors’ Family’s Let’s Cherkov, Under Construction. In October 2005, he
worked with the Hong Kong Ballet and its invited Choreographer Ms. Natalie Weir as the Music Coordinator of the Ballet Madama Butterfly.
In 2020, Lau won The Best Music Composition with the play Uragiri Gomen! in the 19th Hong Kong Drama Awards. His latest musical work The Tale of the Southern Sky got 11 nominations in Hong Kong Drama Awards in 2021.
表演者 Performers
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.
