觀眾的喜好，多變莫測。影響觀眾數字的因素複雜 多元，這裡只談劇種和場㆞兩點。 「嚴肅」的戲，推銷費力，卻正是本團要負責的戲 種。我們的策略是平衡全年節目的藝術性和市場性，以 「高雅藝術」的作品培育藝術素質，加入㊜量「普及兼 娛樂」的作品去爭取觀眾。為㈿助藝術總㈼追求這個微 妙的平衡，理事會設立了藝術委員會，由幾位㈵別熟悉 表演藝術的理事為委員，理事會副主席為主席，扮演藝 術智囊的角色，不時與藝術總㈼作理念㆖的較量。 不可不信，同㆒齣戲在不同㆞區的同樣劇院演出， 觀眾的數量會㈲明顯的差距。新劇要等到開演後，觀眾 反應才慢慢㆖㈫。當反應㈫紅準備購票時，演出期已屆 尾聲，這情況也屢試不爽。旺場因需求大而難訂，長檔 期尤其罕㈲。縱㈲長檔期，不是㆒齣緊握勝算的戲，話 劇團也怕觀眾填不滿。解決這個兩難局面，讓話劇團進 駐場㆞可能是良策。這樣，話劇團得以充分㉂主其節目 編排，也可以靈活應付票房意外。 話劇團駐場這個倡議，非話劇團本身可以㊧㊨。討 論已久，仍未見行動。但最近卻㈲曙光漸露之勢。政府 成立了表演藝術委員會，主席及成員均為表演藝術界的 ㈾深㆟士。據我們與委員面談的理解，他們正在認真研 究「藝團駐場」的理念和部署，可能不久將㈲具體決定 出爐。 對這些正面發展寄予厚望的同時，我們無奈要承受
an appropriate dash of popular entertainment to make up the audience figure. Accordingly, the Council has formed an Artistic Committee to assist the Artistic Director in his quest for such a balance. Chaired by the Vice-Chairman of the Council, it comprises members of the Council most versed with theatre arts; their role is to brain-storm with the Artistic Director, and play devil’s advocate if need be. It is strange but true that the same play mounted in venues different mainly in their geographical location can result in very dissimilar audience sizes. It is also true that often times a play needs to have started before audience warm up to it, by which time the run might well already be close to its end. Popular venues are in high demand, and longer bookings are not easy to come by. When a longer run can be booked, a theatre company may be wary to use it unless the production is a tried-and-true one. A possible solution to this conundrum is to give a company “residency rights” to a venue, so that a company can have better control over its programme scheduling, and have more flexibility in dealing with box-office contingencies. This solution is not one that can be effected by the theatre company itself. It has been bandied about for a long time without any steps being taken, but now we seem to be seeing the light at the end of the tunnel. The government has set up the Performing Arts Committee, whose chairman and members are some of the most seasoned practitioners and administrators of performing arts. From discussions with members of the Committee we gathered that they are give serious considerations to “residency rights” and we feel that some definitive actions may well be forthcoming.
Hanging our hope on these positive developments, we
nonetheless have to cope with dwindling subventions. For the year 2005/06, it has been cut yet again by 4.3%. We are gratified, however, that we are making some headway in garnering private sector sponsorships. I wish to take this opportunity to thank our fans and our audience, our sponsors Shun Hing Education and Charity Fund, Simatelex Charitable Foundation, Universal International Investment Ltd., Sino Group, OOCL, Fancl House, Goldwell, as well as other partners and donors for their generous support and encouragement. I salute each and everyone of our Company for their unflagging spirit.
助，已略見成績。本㆟謹借此篇幅，感謝話劇團之友、 廣大觀眾和我們的贊助㆟，如信興教育及慈善基㈮、新 瑪德慈善基㈮、香港環球集團、信和集團、東方海外貨 櫃航運、Fancl House、歌薇及㆒眾伙伴公司及個別捐助 ㆟，多謝他們的慷慨支持和鼓勵。本團同㆟對工作的熱 誠和投入，我必須給予表揚。
Vincent WS Chow Council Chairman Hong Kong Repertory Theatre