香港國際黑盒劇場節《五段小品》場刊 Five Easy Pieces House Programme

香港國際黑盒劇場節 Hong Kong International Black Box Festival

製作 Production

Supported by The Flemish Government, The Province of East Flanders & The City of Ghent

概念 / 文本 / 導演 Concept / Text / Direction

Milo Rau

文本 / 演出 Text / Cast

Aimone De Zordo, Fons Dumont, Arno John Keys, Blanche Ghyssaert, Lucia Redondo, Pepijn Siddiki, Eva Luna Van Hijfte, Peter Seynaeve 演出拍攝 Performance Film

Sara De Bosschere, Pieter-Jan De Wyngaert, Johan Leysen, Peter Seynaeve, Jan Steen, Ans Van den Eede, Hendrik Van Doorn, Annabelle Van Nieuwenhuyse 劇場構作 Dramaturgy

Stefan Bläske

導演助理 / 表演指導 Direction Assistant / Performance Coach

Peter Seynaeve

製作助理 Production Assistant

Ted Oonk

保姆 Child Care

Valentine Galeyn 研究員 Research

Mirjam Knapp Dries Douibi

佈景及服裝設計 Set & Costume Design

Anton Lukas

Funded by Senatsverwaltung für Kultur und Europa Berlin, Pro Helvetia, GGG Basel, Ernst Göhner Stiftung and Fachausschuss Tanz und Theater BS_BL (Basel)

聯合製作 Co-produced by

Kunstenfestivaldesarts Brussels 2016 Münchner Kammerspiele La Bâtie – Festival de Genève Kaserne Basel Gessnerallee Zürich Singapore International Festival of Arts (SIFA) SICK! Festival UK Sophiensaele Berlin Le phénix scène nationale Valenciennes pôle européen de création

香港藝術中心壽臣劇院 Hong Kong Arts Centre Shouson Theatre 31.10-2.11.2018

8pm

3.11.2018 3pm 全劇長約1小時30分鐘，不設中場休息 Approximately 1 hour 30 minutes without intermission 本劇含暴力意識場面 This programme contains scenes of violence 遲到或中途離場觀眾將不可進場 No admission for latecomers

各位觀眾： 為求令表演者及觀眾不致受到騷擾，請關掉手提電話、其他響鬧 及發光裝置。同時請勿在場內飲食或擅自攝影、錄音或錄影。多 謝合作。 To avoid undue disturbance to the performers and other members of the audience, please switch off your mobile phones and any other sound and light emitting devices before the performance. We also forbid eating and drinking, as well as unauthorized photography, audio or video recording in the auditorium.

媒體贊助 Media Sponsor

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讓香港成為 「戲劇盛事之都」!

這是香港話劇團繼2014和16年後，第三度舉辦「國際黑盒劇場節」。在上屆，本團 與西九文化區已啟動對話表達合作意向。就今屆落實與西九文化區攜手聯合主辦，更 重新命名為「香港國際黑盒劇場節」，身為藝術總監除感到榮幸外，也視為外界對話 劇團國際黑盒劇場節成績的一種肯定。

好戲連場的香港國際黑盒劇場節，一如以往，一票難求！促使其成功的一大要素，在 於能為觀眾開拓眼界，不論是題材、製作手法或在劇場裡的體驗，均能刺激觀眾反思 自身和社會的議題。話劇團的黑盒劇場是一個難得的開放平台，讓藝術家大膽嘗試各 種創作手法和題材。

今次為大家介紹的四齣劇目中，話劇團將參與製作其中兩齣的香港版本，包括來自北 京的《美好的一天》和澳洲的《伊狄帕斯˙豬亦拍屍》，話劇團團員亦有機會參演或 協助製作，對本地和海外劇場人的藝術交流大有裨益。另外兩齣劇作《中性》（意大 利）和《五段小品》（瑞士 / 德國 / 比利時），均屬寰宇劇壇震撼之作，是次作為中 介引入好戲，亦與有榮焉。

最後，再次感謝西九文化區主動提出合作邀請，也感謝多個國家和地區的劇場人抽空 來港演出，讓香港國際黑盒劇場節成為本地劇壇年度盛事。作為本團的重點項目，我 當然希望國際黑盒劇場節可持續舉辦，既為香港觀眾介紹更多海外好戲，同時更進一 步推動劇藝交流，讓香港成為「戲劇盛事之都」。 陳敢權 香港話劇團藝術總監

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Hong Kong International Black Box Festival: The Real Deal!

West Kowloon Cultural District is thrilled to partner with Hong Kong Repertory Theatre to launch our first collaborative “Hong Kong International Black Box Festival”. Our partnership demonstrates our shared commitment to deliver world class, daring performances to more Hong Kong audiences and artists.

West Kowloon and HKRep invested years of planning to reach this moment of fruition. To borrow this year’s theme, we can finally see all the careful planning Becoming Real in this year’s festival. West Kowloon’s long-awaited venues, which start to open at the end of this year, also are Becoming Real, and we look forward to welcoming you all to our district for the next festival in 2020!

Theatre uses imagined, unreal, sometimes surreal creative experiences to help us touch the most true, most real aspects of being human. We welcome you on this journey of exploration through the imaginations of four brilliant minds of modern theatre to discover what is real for you.

Alison M Friedman Artistic Director, Performing Arts West Kowloon Cultural District

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聯合策劃的話 兩年一度的國際黑盒劇場節，重新命名為「香港國際黑盒劇場

來自澳洲，是次聯同香港的演員和編劇一起打造香港版本。香

節」，標誌著香港話劇團與西九文化區的合作正式開始！雙方

港和澳洲曾為殖民地，白人教育底下對西方經典的膜拜深深影

充滿期待，為香港觀眾帶來更多當代劇場出色的作品。

響著我們。Zoë和Mish以幽默風趣的現場藝術模式探討和檢視 植根已深的「死亡」概念，同時為觀眾帶來一次真亦假時假亦

無可否認，這年代我們被權力和資訊無孔不入地誘導著，真相

真的獨特體驗。對她們來說，「死亡」屬於每個人，在此前提

與假象模糊不清，更漸漸習以為常，放棄思考，隨意附和，紛

下，她們每日請來二十五位普通人，玩轉經典中的場面，朗讀

爭不絕，價值觀亦同時受到極大的衝擊。在劇場上，真與假同

當中關於死亡的記載，即席示範在舞台上「死俾你睇」是多麼

樣是一直糾結的難題，在呈現和重現真實的同時，也許藝術家

有趣的樂事！

應藉劇場去詰問，讓觀眾在參與的過程當中，深刻觀照自己的 行為及思想，拾回作為人的力量和信念。

瑞士頂尖導演Milo Rau創作的《五段小品》，成功征服世界各 地的劇場節，成為近年劇場最重要的演出之一。尖銳、深入而

今屆以全新角度將「尋常見」到的真實放諸舞台，四個獨特的

全面地探索扮演的意義，在舞台上重現及呈現特定人選的情

演出邀請你重啟不一樣的動力。節目內容會引起你對自身經

感，帶來的是不安還是覺醒？起用七位十三歲以下的兒童演繹

歷、閱讀方式、思考角度、道德標準以至情感觸覺的反應，現

轟動比利時殺童案中的關鍵人物，是Milo Rau一次顛覆常理卻

場看見和感受到的將挑戰你的底線、日常的認知和習性，激發

又極度嚴肅的實驗，他讓我們擴闊對兒童感知的認識，亦催促

你也一同詰問「真 / 實」究竟是怎樣一回事。

我們審視沉睡已久的倫理思維。假若成年人能夠克服恐懼，悲 劇也許不會在我們身邊一直重演。

率先登場是北京李建軍導演的《美好的一天》。演出會起用當 地約十九位來自不同背景、階層、種族的「市民」在舞台上攜

此外，今年國際黑盒劇場節還有同樣精彩的講座、工作坊、延

手演出，現身說法。觀眾可以透過耳機，自由選擇聆聽他們生

伸活動和電影放映，不容錯過！

活的片段，選擇權在你手，即時吸收眼前人的面貌和聲音，當 中必定找到共鳴。此劇目已在北京、杭州、上海和深圳巡演，

最後非常感謝你的光臨，參與這場感官的冒險，期望你踏出劇

來到香港，公開招募第五批市民，並標誌著第一百位的參與，

場的時候，會有不一樣的動力！

為觀眾娓娓道來關於香港的故事。 香港國際黑盒劇場節聯合策劃 《中性》是意大利Silvia Calderoni與前衛劇場Motus合作，極 具震撼力的爭議性演出，帶領大家超越性別認知的框架。在強 烈的搖滾樂、零碎的影像和耀目的燈光下，Silvia以最大膽的肢 體語言和美妙的獨白，譜出雌雄同體的激昂樂章。演出徘徊在 實和虛之間，直面觀眾對各種性別標籤的常識和身份認同的概 念。 《伊狄帕斯．豬亦拍屍》的創作人Zoë Coombs Marr和Mish Grigor

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馮蔚衡 及 劉祺豐

Curatorial Statement

The biannual International Black Box Festival will now be renamed the Hong Kong International Black Box Festival and it marks the first of many collaborations between the Hong Kong Repertory Theatre and West Kowloon Cultural District.

Together, we believe in curating the best and brightest of the contemporary theatre scene from around the world for Hong Kong’s audiences.

This edition is an invitation for you to spend a moment of disruption with us as a response to the world we live in today.

Our world today is one of war and hatred, ruled by fear and misinformation. A scenario that ironically conditions us to absolve our agency by simply clicking a like, a share on Facebook or Twitter.

This situation also blurs the lines between what is real and what is fiction. But then, what is real? The presentation and representation of the real in theatre is always a problematic one as Walter Benjamin discusses in his essay The Work of Art in the Age of Mechanical Reproduction. Perhaps the consumption of such absolutes is less important than the need to specifically address the returning of agency to audiences in the theatre.

The projects that we have curated for this festival invite us, the audience, to be aware of our agency. Your life experiences, your intellectual, moral and emotional compasses that you imbue with these performances will complete them. Hence, they encourage you to question the process of Becoming Real. This encounter, however, is not about what is and what is not, but rather, it tests our limits of what we think we know and questions our reading of the everyday.

We begin the festival with a special performance called One Fine Day by Beijing director Li Jianjun. Working with 19 individuals of varied cultural, social and ethnic backgrounds from Hong Kong, the audience will encounter their stories as told by the subjects themselves. Almost like a voyeur, you listen in on their stories told ”live” through selecting the appropriate channel on your radio set. You are instantly made aware of your role as you engage in this deliberate act of consuming these ”real” stories, real lives.

In week two, we invite you to enter the world of Silvia

Calderoni in a piece titled MDLSX by critically acclaimed Italian company Motus. Beyond the currency of labels such as transgender, cisgender, gender fluid, etc. The experience of meeting Calderoni blurs the lines between fact and fiction, one that pushes the limitations of identity structures transcending into actual living. MDLSX is a post-punk rollercoaster ride that explodes our conceptions of gender identities and difficulties in going beyond such labels.

The third piece by Australian performance company post, will introduce their unique brand of humour, live art and theatre in collaboration with artists from Hong Kong for the first time. The Cantonese version of their riotous Oedipus Schmoedipus will have its world premiere this autumn.

In this piece, they challenge our conceptions of death as told by the Great White Man so pervasive in our theatrical canon. For them, “death belongs to everyone” and hence, 25 volunteer are invited for each performance date to playact their best dying sequences through a hysterical journey of “sly postmodern commentary” on the coloniser and the colonised.

We close the festival with Five Easy Pieces by Milo Rau/ International Institute of Political Murder/CAMPO. A theatrical triumph at festivals the world over, the piece is a sharp investigation on being someone else on stage. Working with children under 13 years old, they perform the life of child killer Marc Dutroux using testimonies, trial documents, and interviews. This (re)presentation by these young performers probes the limits of the possibility of what children know, feel and do. This experience brings to the fore our own fears, taboos and morality, an intervention that wakes us from our ethical slumber conditioned by the everyday of our today.

So we invite you to come and be a little uncomfortable with us, to take a moment and engage in this disruption of your everyday. Hopefully, you will leave the theatre transformed, energized with a renewed sense of agency and know that you can and must do something about it. See you at the festival!

Fung Wai Hang & Low Kee Hong Co-curators, Hong Kong International Black Box Festival

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HKIBBF HKREP PRODUCTION TEAM

香 港 國 際 黑 盒 劇 場 節 香 港 話 劇 團 製 作 人 員

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藝術總監 Artistic Director

陳敢權 Anthony Chan

聯合策劃 / 助理藝術總監 Co-curator, Assistant Artistic Director

馮蔚衡 Fung Wai Hang

監製 Producer

彭婉怡 Yvonne Pang

戲劇顧問 Dramaturg

賴閃芳 Lai Sim Fong

製作統籌 Production Coordinators

鄺天恩 Matthew Kwong

王雪燕 Suki Wong

李晶慈 Crystal Li

李寶琪 Pauly Lee

市務推廣 Marketing

黃詩韻 Anita Wong

張泳欣 Yansi Cheung

何嘉泳 Karen Ho

陳嘉玲 Karen Chan

技術統籌 Technical Coordinators

溫大為 David Wan

馮國彬 Lawrence Fung

顏尊歷 Johnny Yien

技術 Technical

陳國達 Chan Kwok Tat

羅美琦 Katy Law

曾靖嵐 Tammy Tsang

關凱明 Kwan Hoi Ming

盧琪茵 Ruth Lo

趙浩錀 Chio Ho Lun

朱 峰 Chu Fung

祁景賢 Kee King Yin

場刊設計 House Programme Design

Doxa Graphix

場刊印刷 House Programme Printing

恒星印刷設計公司 Hang Sing Printing & Design Co., Ltd.

方美昂 Alison M Friedman

聯合策劃 / 表演藝術主管（戲劇） Co-curator, Head of Theatre, Performing Arts

劉祺豐 Low Kee Hong

製作人 Producer

李筱怡 Bobo Lee

製作統籌 Production Coordinators

邱浩朗 Franco Yau

袁潔敏 Loui Yuen

傳訊及公共事務 Communications and Public Affairs

許雅麗 Cindy Hui

張靄敏 Man Cheung

巫凱宜 Mo Hoi Yi

市場推廣 Marketing

黃嘉欣 Carly Wong

趙芷潁 Felicity Chao

實習生 Interns

余承智 John Yu

宣傳平面設計 Promotional Graphic Design

sunnysunshine

演出攝影 Performance Photo Shooting

Winnie Yeung@iMAGE28

HKIBBF WEST KOWLOON PRODUCTION TEAM

表演藝術總監 Artistic Director, Performing Arts

香 港 國 際 黑 盒 劇 場 節 西 九 文 化 區 製 作 人 員

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CAMPO簡介 About CAMPO 位於比利時根特的CAMPO藝術中心邀約Milo Rau與國際政治謀殺學院進行創作，以回應CAMPO一系列以兒童為演員的作品， 並創作了《五段小品》。這一系列作品從上世紀九十年代Alain Platel 和Arne Sierens的Moeder & Kind 、Bernadetje與Allemaal Indiaan開始；以至近年Josse De Pauw的üBUNG、Tim Etchells的That Night Follows Day與Gob Squad的Before Your Very Eyes；還有Jan Martens與Peter Seynaeve的VICTOR和Philippe Quesne的Next Day。 除了以上作品，CAMPO亦與不同藝術家長期合作，包括：Sarah Vanhee、Pieter Ampe、Florentina Holzinger、Julian Hetzel、 Jaha Koo、Robbert&Frank Frank&Robbert和Louis Vanhaverbeke，銳意安排年輕藝術家與資深藝術家共同創作，並將他們的 作品從布魯塞爾至新加坡帶到世界各地巡演。除此以外，CAMPO亦為需要排練場地、技術專業知識或製作支援的藝術家提供協 助。 CAMPO藝術中心主辦多種類型的節目 ― 包括國內及國際團隊所帶來的話劇及舞蹈演出，以至特備節目、藝術節與即興藝術， 如Mayday Mayday Festival、CAMPO passeert與Neighborhood Kitchen，為觀衆與藝術家的交流打開大門。

In response to the invitation of arts centre CAMPO (Ghent, Belgium) to create a new play in the series of theatrical works with children, Milo Rau and IIPM create Five Easy Pieces. Remember the 90’s with Moeder en Kind, Bernadetje en Allemaal Indiaan

by Alain Platel and Arne Sierens, the more recent trilogy üBUNG by Josse De Pauw, That Night Follows Day by Tim Etchells and Before Your Very Eyes by Gob Squad, or the duet VICTOR by Jan Martens and Peter Seynaeve, and Next Day by Philippe Quesne.

Alongside this tradition of performances with children on stage, CAMPO sets up long term trajectories with different artists, such as Sarah Vanhee, Pieter Ampe, Florentina Holzinger, Julian Hetzel, Jaha Koo, Robbert&Frank Frank&Robbert, or Louis Vanhaverbeke, always with a focus on young artists, next to renowned names. The arts centre tours the world with their creations, from Brussels to Singapore. Besides that, artists in search of a rehearsal studio, technical expertise or productional support are equally welcome.

In Ghent, CAMPO presents a varied programme, from theatre, performance and dance from (inter)national companies, to events, festivals and happenings as Mayday Mayday Festival, CAMPO passeert or the Neighbourhood Kitchen, thus opening their doors for unexpected encounters between audience and artists.

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國際政治謀殺學院簡介 About International Institute of Political Murder 國際政治謀殺學院（IIPM）由瑞士劇場與電影導演Milo Rau於2007年創辦，以獨特的紀錄文獻形式，配合多媒體的表現手法，創 作政治劇場，呈現歷史或社會衝突，在國際劇壇廣受注目及讚譽。劇場 / 電影作品The Last Days of the Ceausescus（2009/10） 重現羅馬尼亞獨裁者壽西斯古與他夫人的審訊；Hate Radio（2011）深入探討1994年盧旺達種族滅絕期間，RTLM電台所扮演的 角色；The Civil Wars（2014）反映造反與政治參與這些大前提，並緊扣演員各自的身世。13年製作的The Moscow Trials與The Zurich Trials奠定了Milo Rau的劇場審訊模式：在The Moscow Trials中，藝術家與策展人反對法庭的裁判，堅持為藝術爭取自由； 在The Zurich Trials中，右翼組織被控種族歧視。15年，IIPM繼續這個方向，在《剛果裁決》中處理三宗大屠殺與大迫遷的歷史。 近期作品Compassion. The History of the Machine Gun以兩段獨白探討非政府組織在歐洲難民政策與非洲中部種族滅絕背景下的 工作，在柏林Schaubühne劇院首演。 過去幾年，IIPM主力研究與開展三種不同演繹模式，全都呈現在《五段小品》中。 The International Institute of Political Murder (IIPM) was founded by the Swiss theatre and film director Milo Rau in 2007 and got soon internationally acclaimed for its unique, dense documentary form of political theatre with a special focus on multimedia adaptation of historical or social conflicts. The theatre-/film project The Last Days of the Ceausescus (2009/10) re-enacted the show trial against the Romanian dictator couple Ceausescu while the theatre project Hate Radio (2011) focussed on the role of the broadcasting station RTLM in the genocide in Ruanda 1994 and The Civil Wars (2014) reflected on the premises of revolt and political engagement along the personal biographies of the actors. With The Moscow Trials and The Zurich Trials (both 2013) Milo Rau developed the model of theatrical trials: While in Moscow artists and curators fought for the freedom of art that was refused by the real courts, in Zurich a right-wing was accused of racial discrimination. In 2015 the IIPM continued with this approach by processing three cases of mass murder and displacement with The Congo Tribunal. The latest work of IIPM is Compassion. The History of the Machine Gun, a double monologue on the work of NGOs, related to European refugee politics and the genocides in central Africa, which premiered at Schaubühne Berlin.

Over the past few years, IIPM has primarily researched and developed three formats which will be referred on in Five Easy Pieces.

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導演訪問 An interview with Milo Rau by dramaturgy Stefan Bläske CAMPO起用兒童演員的製作在國際間備受讚賞，多年來到各地巡演。這一次，是CAMPO繼Tim Etchells、Gob Squad與 Philippe Quesne後邀請你攜手合作，是什麽令你起用兒童演員？ Rau： CAMPO刻意地邀請不慣常起用兒童演員的藝術家合作。我必須承認，在這一系列作品之中，我肯定是最奇怪的選擇。我們

曾經在不同國家和領域與業餘以及著名的職業演員合作，當中亦包括連環殺手與身份非常敏感的人物，並在戰場上的臨時

場地及政府資助的劇院演出。我們曾經改編過經典作品、創作敍事劇場、以劇場方式重現著名審訊，但從未試過跟兒童合

作。就像其他項目一樣，我們為有新的挑戰而感到興奮，所以決定接受這個新嘗試。

俗語說「兒童與愚人都不撒謊」，所以當提到「兒童劇場」，我們會自然地聯想到簡單及真實的表演手法。 Rau： 你說得對。在我們的前期研究之中，明顯地發現兒童參與的劇作都遵循著相同的模式，題材涉及對未來的憧憬、成人世界

的荒謬、真實性，還有童話式詩句。它們或會講述某些奇異的生活故事，並加添排練好的音樂，在舞台上表現出童真。可

是我們的宗旨很清晰，我們希望有一個截然不同的嘗試。我們要展現一些觀衆不願意從兒童身上看得到的事物。《五段小

品》這個由兒童演出的劇場作品需要有冒險精神，並且是史無前例，令人看似是不可能完成的。

作品的靈感源自Dutroux事件。Dutroux猥褻兒童，被視為罪惡的象徵，他應該是比利時人最憎恨的人物。你在研究過程中還發 現到什麽，在舞台又如何塑造他？有否考慮過讓他為自己發聲？ Rau： 2013年，我在比利時研究The Civil Wars一劇的時候，認識了Dutroux這個傳奇人物。排練期間，我曾詢問演員，他們心目

中的比利時是怎樣的，大家在何時開始對比利時產生歸屬感。然而，比利時是一個文化分裂的國家，是為了成為法國與德

國兩地的緩衝區而於十九世紀立國，國家的分歧一直都沒有修補過來。那些演員的答案是1996年發生的「白色遊行」，也

就是比利時人針對Dutroux事件集體反對政府，上街示威的時候。

Dutroux真的是比利時唯一的「集體傳奇」嗎？ Rau： 這雖然令人憂慮，但看起來卻是真的。如果你深入一點看，肯定會發現很多兩者之間可對讀之處：Dutroux在前比利時

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殖民地剛果長大，他犯罪的地方是位於Charleroi附近一個現已荒廢的採礦區。他的審訊引起比利時崩裂、民衆群起反對腐

敗的精英，這些都是西方殖民主義與工業霸權衰落的寓言。人們可以透過Dutroux的事件勾畫出比利時的歷史。還有，每

一個比利時人對他都有個人的意見，連小孩子都知道他的事。因此，我們沒有將他呈現在舞台上為「自己」發聲。正如我

的作品Breivik’s Statement，我們著重的不是殺人犯與他的想法。因此，對Dutroux本身的描述並不實在，他的作用只是在

幫助推進事件。

你如何與八至十三歲的兒童探討這個主題？對於兒童來說，這個主題恐怕太陰森、太荒誕、太駭人聽聞了。 Rau： 我們的團隊有兩位顧問及一位兒童心理學家，家長在排練期間也會密切地參與，而我們也曾接觸與Dutroux事件有關的人

物。但是，說真的，這個製作並不刻意強調事件有多麽恐怖，我們要顯示的是反映在這個具體的、極之糟糕的Dutroux事

件內的重要議題：一個國家的衰落和這宗事件所帶來的不安、哀痛和憤怒。這個作品以剛果宣佈獨立為故事開端，以

Dutroux事件中的受害者喪禮為終結。在這背後，你可以經歷到過去幾十年來比利時人逐一破滅的幻想：安全感、信任、自

由與未來。《五段小品》帶著消極的心態，劇中五段重構的獨白與標題相輔相成。比如說，其中一段描述父親面對兒子是

個殺人兇手的困惑；另一段的主題明顯和直接地集中於暴力與虐待；而有一段藉由父母哀悼孩子帶出最深最幽暗的情感。

一切都是（自由地）根據原有文件或有關人士的訪問而來。

亞里士多德說過，模仿是人的本能。兒童也是依靠模仿來學習。當一名兒童要面對成人世界的暴行，又有什麽意義？ Rau： 在開始排練時，我們跟兒童演員排演英瑪‧褒曼《婚姻生活》中幾個場景。這個經驗很特別，兒童在知性上明白褒

曼那些錯綜複雜和反映人性的場景。他們都把戲演出來，但卻辨認不到當中真實的情感，和潛在其中關於存在的困

惑。他們在舞台上表現得很自然，很直接，都是我們在現實生活中遇不到的。我作為導演覺得很有趣：場景中的角色

和人物由沒有相關生活與專業經驗、沒有受過訓練的人來演繹會怎樣？跟一班跑來跑去，嘻嘻哈哈的孩子們工作，怎

樣才可以令他們專注或精確地演出？所以我借用了一本鋼琴教材的書名 — 《五段[簡易]小品》，寓意有系統的學習過程，

探索兒童怎樣領會敍事、同理心、服從、失望和對社會的憤怒與反叛。還有，當我們觀看他們在台上時，會發生什麽？

你的作品以精準，甚至完美而廣為人知。兒童演員如何適應你的工作方式？你花了多少工夫「訓練」及「指導」他們？ Rau： 正如褒曼在他的自傳裡提到，導演方法有兩大類：一開始塑造縝密的場景，然後讓演員體現最大的自由而創作；你也可以

反過來，利用即興手法，直至首場演出前的最後一週排練才把一切敲定。其實，我喜歡把框架定下來以後，讓演員各自承

擔責任。排練《五段小品》時，這兩類手法對於兒童演員都沒有成效。或從演出成果來說，你會察覺到訓練與指導的痕

跡，儘管排練過程經已完結。我從來沒有看過一個兒童製作沒有實質主題，並由導演為兒童演員設置框架。所以無論是主

題還是形式，這一切都很有趣。

為什麽？ Rau： 對於成人觀衆來說，兒童劇場的審美層次和隱喻，某程度上藏著戀童癖的關係。這不是一種愛的相互關係，而是傾側的權

力關係，而兒童作為較弱的一方只能接受。換言之，為成年人而設的兒童劇場把後現代媒體評論的重心回歸至原本目標。

媒體評論再次成為批判現實的工具。跟兒童一起在舞台上工作，你必須反問自己很多有關存在概念的意義，例如：「人

物」、「現實主義」、「幻想」，還有最明顯的「權力」。隨著這些小段的難度逐漸增加，我們也想藉《五段小品》把這

些進程精確地展示出來。由角色扮演開始（即Cindy Sherman的經典議題，怎樣把Patrice Lumumba或Dutroux的父親呈現

在舞台上），然後轉為導演主導的暴力這個基本問題。從自然地扮演，到強烈的模仿慾望，慢慢又肯定地，墮入表演藝術

的綜合研究，探索當中的變化、服從與反抗。

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所以，《五段小品》不只是關於Marc Dutroux以及向兒童反映人類醜惡的作品，也包含了對劇場創作的基本反思。 Rau： 我們在過去十五年來一直創作劇場與電影作品。我們從簡約演出、政治運動到反諷劇場，創作廣播劇、錄像、電影、書籍

和舉辦會議等，什麼類別都做過。本年春季[2016年]，國際戲劇協會頒發世界戲劇大獎給我們。某程度上，這是一項終身

成就獎。然後你會想：下一步應該怎樣呢？要再創作五十齣話劇、電影或書籍嗎？簡單來說，這是最好的時候去探究最基

本的問題 — 在舞台上扮演另一個人有著什麽意義？「模仿」、「同情」或「聯繫」又是什麼？你如何應付被觀衆看著

你？你會怎樣解釋劇場，又會怎樣創作劇場？以上對劇場的詰問並不屬於知性的決定：這些對於成年演員明顯的東西，相

對於兒童來說，在道德上與技巧上都無法做到。你可以完全擺脫那些史坦尼斯拉夫斯基的表演方法與那些強大的表演傳統

迷思。到頭來，將真實呈現在舞台是更可怕的。

CAMPO’s theatre productions with children enjoy international renown and they’ve been going on tour for years. Now, CAMPO has asked you to work with them, after Tim Etchells, Gob Squad, and Philippe Quesne. What persuaded you to work with children?

Rau： CAMPO deliberately approaches artists who don’t normally work with children. I must admit that I’m surely the weirdest

choice in the series. We’ve certainly worked in many different countries and fields, with both amateur and famous

professional actors, with both mass murderers and highly sensitive performers, both in improvised locations in war

zones and in government-subsidised theatres. We’ve adapted classics, created narrative theatre, and organised popular

trials, but we’ve never worked with children. I think that in the final analysis, as with all our projects, it was the thrill of the

challenge which won us over; we wanted to try something completely new.

With ‘children’s theatre’ you actually think automatically of an idea spread mainly in performance art of simplicity and authenticity, with the motto that children and fools tell the truth.

Rau： That’s right. Obviously, we did some preparatory research and noticed that productions with children always follow

the same patterns. They cover visions for the future, the absurdity of the adult world, authenticity, fairy tale-style poetry.

They tell bizarre life stories, adorned with rehearsed music, a performance of innocence. For us it was clear: We

wanted to try something completely different. We wanted to show something which people don’t want to see from

children. Five Easy Pieces had to be a children’s theatre performance which was risky, unprecedented and virtually impossible.

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The work is inspired by the Dutroux affair. Dutroux is seen as the essence of evil, the child molester, probably the most hated figure in Belgium. What else did you learn from your research, how do you want to portray him? And did you consider letting him speak for himself?

Rau： I encountered the figure of Dutroux as a national myth in 2013 during my research for The Civil Wars in Brussels.

During the rehearsals, I asked the actors what Belgium was for them, and when they really felt Belgian. Because

Belgium is a culturally divided and, actually, an impossible nation formed in the nineteenth century as a buffer

between France and Germany, and it never really grew together. Those actors replied: during the White March in

1996, the major demonstration against its own government as part of the Dutroux affair.

Is Dutroux really the only collective myth in Belgium?

Rau： Disturbing, but that’s what it looks like. If you look a little deeper, you certainly recognise a lot of parallels: Dutroux,

who grew up in the former Belgian colony of Congo, who entered into his crimes in the now waste mining region

around Charleroi, whose trial almost led to the implosion of Belgium and a rebellion of society against its own corrupt

elites – that’s almost an allegory of the decline of the western colonial and industrial powers. With him and through him

you could narrate a history of Belgium. Then, obviously, there’s the fact that everyone in Belgium has their own opinion

about him, even children know something about him. That’s why he’s not on the stage to speak for ‘himself’: As in Breivik’s

Statement, the fact is that it’s not the murderer and his psyche that we’re interested in, Dutroux himself is still a void, a

field of gravity.

How can you approach such a theme with children between 8 and 13 years of age? Isn’t that too gruesome, too incredible, too shocking for children?

Rau： Our team includes two advisers and also a child psychologist. The parents were also closely involved in the rehearsals.

And we contacted those most closely involved in the real Dutroux affair. But, actually, this production isn’t about the

horror in itself. It’s about the big issues which lurk behind this very specific and utterly wretched Dutroux affair: the

decline of a country, the national paranoia, the mourning, and the anger which followed the crimes. The production

begins with Congo’s declaration of independence and ends with the funerals of Dutroux’s victims; in the background

you perceive the disappearance of just about all the illusions which you might have lived under as a Belgian in recent

decades: the illusion of safety, trust, freedom, and a future. These Five Easy Pieces bear a negative mindset and the titles

of the five brief monological re-enactments correspond appropriately. One piece, for instance, covers the doubts of a

father, whose adult son becomes a murderer. In another piece, the subject is clearly and directly violence and abuse.

And a third one covers the deepest, darkest of all emotions, the grieving of parents for their child. Everything is (freely)

based on original documents or interviews which we conducted with those involved in the Dutroux affair.

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As Aristotle wrote, man is a creature of imitation. Children learn by imitation. What does it mean for a child to be confronted with the atrocity of the adult world?

Rau： At the start of rehearsals, we acted out some fragments with the children from Scenes from a Marriage by Ingmar

Bergman. That was a special experience: The children understood intellectually what was happening in those highly

intricate human scenes of Bergman and they acted them out, but without recognising the actual emotions, the

underlying existential doubts. There is something quite natural and obvious on the stage, which doesn’t exist like this

in real life. That was absolutely fascinating for me as director: How does the part designed to portray a person operate

with unskilled actors who don’t have the daily and professional experience which is the subject of the scenes? How do

you create concentration or precision in a group which is interested only in running around and playing games

everywhere? Hence the title, the title of a book on learning to play the piano, which indicates a systematic learning

process: Five Easy Pieces. How can children grasp the meaning of narrative, empathy, loss, subjection,

disappointment, anger against society, and rebellion? And how do we react when we watch them learning on stage?

You’re well known for your very precise, even perfectionist production. How do children fit in with that method and to what extent do you have to ‘drill’ and ‘train’ them?

Rau： There are certainly two contrasting ways of directing, as Bergman says in his autobiography. Either you sketch the scenes

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very precisely right at the beginning and you give the actors all the freedom in the world. Or you do it the other way

round, you improvise until shortly before the first showing and then, in the final week, you set everything in stone.

Actually, I like to set out the framework and then let actors accept responsibility. However, for Five Easy Pieces, I’ve tried

both ways, but I concluded that neither of these rehearsing methods works with children. Or, talking about the results,

the drill and the trainer are always visible, however the working process passes off. I’ve never seen a production with

children where the actual and tangible subject wasn’t right that there was a ‘director’ who had given the children a

framework. And here it gets interesting in terms of both subject and form.

How come?

Rau： Children’s theatre for adults corresponds - on an aesthetic level and of course in a metaphorical sense - to what

paedophilia is in a human relationship. It isn’t a mutually responsible love relationship, but a one-sided power

relationship, where the weaker partner, namely the child, simply has to put up with it. In other words, with children’s

theatre for adults the postmodern penchant for media criticism returns to its original target. And so, media criticism

once again become criticism of reality. Doing productions with children means that you have to question existentially

concepts such as ‘figure’, ‘realism’, ‘illusion’, and, obviously, ‘power’. We also want to show this process with Five Easy

Pieces, precisely because the ‘pieces’ get more and more difficult. What starts as a role play (namely the good

old Cindy Sherman question as to how we can portray Patrice Lumumba or Dutroux’s father on the stage) leads to

basic questions about the violence of directing. From a naturalist guise, from a gruesome desire to mimic, slowly but

surely, you drift into a meta-study on performance art and its practice of change, subjection, and rebellion.

And so, Five Easy Pieces isn’t just a production about Marc Dutroux and how you approach the depravities of mankind with children, but also a fundamental reflection on what it means to create theatre.

Rau： We’ve been making theatre plays and films for 15 years now. We’ve done everything, from minimalist performance and

political action to ironic show, including radio plays, video clips, films, books, and congresses. This spring [2016], we

receive the ‘World Theatre Prize’ from the International Theatre Institute, a kind of lifetime achievement award. Then,

you sometimes wonder: what next? Just another fifty plays, films, and books? In short, it’s the right time for a project

covering absolutely basic issues. What does it mean to be ‘someone else’ on stage? What does it mean to ‘mimic’,

‘empathise’, and ‘relate’? How do you cope with being looked at? How do you explain it and how do you do it? And,

for that matter, this basic questioning of theatre isn’t an intellectual decision: Things which are completely obvious for

adult performers are morally and technically impossible with children. You can get rid of all those parochial Stanislavski

tricks, the entire intensity myth of the performance tradition. And in the end, that’s a pretty frightening thought.

訪問英文版本由CAMPO提供 The English version of the interview is provided by CAMPO

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有關《五段小品》 About Five Easy Pieces 《五段小品》是一次極具挑戰又有趣的經歷，既真實亦殘暴，嘗試探討兒童的感受、知性和行動的極限，企圖讓他們理解成人世 界荒謬絕倫的行為，從而達到真正的教育目的。社會學家及導演Milo Rau大膽起用七位十三歲以下的兒童，重構比利時九十年代 連環殺童案的相關史實。 通過簡單直接的練習，場景與獨白，兒童演員與成人演員一同排練後，兒童演員將重現案中相關的角色：兇手的父親、警員、 遇害者以及受害人父母等。演出時而幽默，時而不安，一方面重現比利時1998年「白色三月」反貪腐行動觸發三十萬人上街， 控訴司法制度敗壞的重要歷史，另一方面，則深入研究兒童如何透過現身說法去理解與他們息息相關的社會及道德問題。當觀 眾見到兒童飾演被指派的身份時，又會有怎樣的體驗？會怎樣回應當下產生的恐懼、渴望，甚至是忌諱呢？真實和扮演之間， 我們會否重新檢視自己和下一代生活的角度，從而避免悲劇繼續發生？ Five Easy Pieces is a profound, funny and confrontational experience that blends realism and brutality, probing the limits of what children know, feel, and do and initiating them in the emotional and political absurdities of the adult world. Using performers aged under 13, and the biography of the country’s most notorious criminal, child killer Marc Dutroux, the performance sketches a brief history of Belgium and reflects on the (re)presentation of human feelings on stage.

In five simple exercises, short scenes and monologues, the young actors sneak into different roles – a police officer, Dutroux’s father, one of the victims, the parents of a dead girl – in re-enactments they’ve rehearsed with adult actors: a visit to the scene of the crime, a funeral, a moment in the life of Dutroux’s father. At times funny, at times deeply disturbing, these scenes unfold against a projected backdrop of moments from Belgium’s history, from Congo’s declaration of independence to the 1998 “White March” against corruption. Aesthetic and theatrical questions blend with moral issues: How can children understand the real significance of empathy, loss, old age, disappointment, or rebellion? What does it mean for adults to observe them in these scenes? And what does it say about our own fears, desires and taboos?

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Milo Rau

文本 / 演出 Text / Cast

Aimone De Zordo, Fons Dumont, Arno John Keys,

Blanche Ghyssaert, Lucia Redondo, Pepijn Siddiki,

Eva Luna Van Hijfte, Peter Seynaeve

演出拍攝 Performance Film

Sara De Bosschere, Pieter-Jan De Wyngaert,

Johan Leysen, Peter Seynaeve,

Jan Steen, Ans Van den Eede,

Hendrik Van Doorn, Annabelle Van Nieuwenhuyse

劇場構作 Dramaturgy

Stefan Bläske

導演助理 / 表演指導 Direction Assistant / Performance Coach

Peter Seynaeve

研究員 Research

Mirjam Knapp

Dries Douibi

佈景及服裝設計 Set & Costume Design

Anton Lukas

錄影及音響設計 Video & Sound Design

Sam Verhaert

製作助理 Production Assistant

Ted Oonk

保姆 Child Care

Valentine Galeyn

音樂指導 Music Coach

Herlinde Ghekiere

聲線指導 Voice Articulation Coach

Françoise Vanhecke

舞台設計 Realisation Scenography

Ian Kesteleyn

技術 Technical

Bram Geldhof

Jonas Castelijns

第二攝影 Second Camera

Alexander Van Waes

聲音錄像 Sound Video

Henk Rabau

製作管理 Production Management

Wim Clapdorp

Mascha Euchner-Martinez

Eva-Karen Tittmann

巡演管理 Tour Management

Leen De Broe

行銷管理 Sales Management

Marijke Vandersmissen

執行製作 Executive Production

CAMPO

製作統籌（香港）Production Coordinators (HK)

邱浩朗 Franco Yau

李寶琪 Pauly Lee

FIVE EASY PIECES PRODUCTION TEAM

概念 / 文本 / 導演 Concept / Text / Direction

︽ 五 段 小 品 ︾ 製 作 人 員

特別鳴謝Elle Liza Tayou及所有曾經協助籌備這個演出的每一位 Special thanks to Elle Liza Tayou and everyone who helped us during the preparations of the performance.

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概念 / 文本 / 導演 Concept / Text / Direction

Milo Rau

瑞士劇場及電影導演，身兼記者、散文作家及大學講師。於巴黎、蘇黎世及柏林修讀 心理學、德國及羅馬研究，師隨Tzvetan Todorov及Pierre Bourdieu。2007年成立國

際政治謀殺學院（International Institute of Political Murder），以獨特的紀錄文獻形 式，配合多媒體的表現手法，創作了多個政治劇場作品，呈現歷史及社會的矛盾，在 國際舞台上廣受注目及讚譽。《五段小品》是Milo Rau首次與兒童演員合作的作品， 由比利時藝術中心CAMPO委約創作。此劇曾於十多個國家巡迴演出，備受好評。 IIPM的多個創作、演出計劃及電影曾受邀到多個國家及國際藝術節演出，包括 Montana、The Last Days of the Ceausescus、Hate Radio、City of Change、The

Moscow Trials、The Zurich Trials、The Civil Wars及The Dark Ages。他的作品曾於

亞維儂藝術節、柏林戲劇節及布魯塞爾藝術節演出。《自由比利時報》形容他為「歐 洲最炙手可熱的導演之一」；德國周報《星期五周報》形容他為「在同世代之中最具 爭議的劇場導演」。他的作品屢獲殊榮，14年獲得首個瑞士劇場獎項，之後憑Hate Radio獲得德國Hörspielpreis der Kriegsblinden 最重要的廣播劇大獎；The Civil Wars獲得德國政治劇場節評審大獎；The Moscow Trials獲得德國電影節特別獎。

Milo Rau is a Swiss theatre and film director, journalist, essayist and lecturer.

Rau studied sociology, German and Romance studies in Paris, Zurich and Berlin under Tzvetan Todorov and Pierre Bourdieu, among others. In 2007, Rau founded

the theatre and film production company International Institute of Political

Murder (IIPM), which quickly attained international acclaim for its unique, dense documentary form of political theatre and special focus on multimedia adaptations of historical or social conflicts. Five Easy Pieces was created in response to a

request from the Belgian arts centre CAMPO, and marks Rau’s first time working

with children on stage. The production has toured internationally to much critical acclaim.

His IIPM productions, campaigns and films (Montana, The Last Days of the Ceausescus, Hate Radio, City of Change, The Moscow Trials, The Zurich Trials, The Civil Wars, The Dark Ages) have been invited to major national and international

festivals, including the Festival d’Avignon, the Berliner Theatertreffen, and the Kunstenfestival Brussels. The Belgian newspaper La Libre Belgique recently named

Rau one of Europe’s “most sought-after directors”. The German weekly Der Freitag described him as “the most controversial theatre director of his generation”. As well

as receiving the first Swiss Theatre Award (2014) and the prestigious Hörspielpreis der Kriegsblinden (for Hate Radio), Rau was awarded the Jury Prize at the Festival

Politik im Freien Theater (for The Civil Wars), and the Special Prize at the German Film Festival (for The Moscow Trials).

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劇場構作 Dramaturgy

Stefan Bläske

劇場指導及講師，研習劇場及媒體，哲學及公共治理。畢業後於愛爾朗根 ― 紐倫堡 大學擔任副研究員，亦於維也納大學任職助教，完成《當代劇場的自我及媒體反思》 博士研究。2011至13年擔任德國Residenztheater的劇場指導。14年起為慕尼黑Otto Falckenberg Schule任教舞台導演及戲劇構作。現為國際政治謀殺學院的劇場指導， 曾與瑞士導演Milo Rau創作The Dark Ages。 Dr Stefan Bläske is a dramaturg and lecturer. After studying Theatre and Media Studies, Philosophy, Public Management and Governance, he worked as a research associate at the University of Erlangen-Nuremberg and as a graduate assistant at the University of Vienna, and completed a PhD study on “Self-reflection and media reflection in contemporary theatre”. Between 2011 and 2013 he worked as a dramaturg at the Residenztheater in Munich, and in 2014 he was mentor for direction and dramaturgy at the Otto Falckenberg School of Performing Arts. Bläske has worked with the International Institute of Political Murder (IIPM) since 2015, when he joined director Milo Rau for the production The Dark Ages (Residenztheater, Munich).

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HONG KONG REPERTORY THEATRE

香 港 話 劇 團

藝 術 總 監 : 陳 敢 權

背景 • 香港話劇團是香港歷史最悠久及規模最大的專業劇團。1977年創團，2001年公司化，受香港特別行政區政府資助，由理事會 領導及監察運作，聘有藝術總監、助理藝術總監、演員、舞台技術及行政人員等七十多位全職專才。 • 四十一年來，劇團積極發展，製作劇目超過三百個，為本地劇壇創造不少經典劇場作品。 使命 • 製作和發展優質、具創意兼多元化的中外古今經典劇目及本地原創戲劇作品。 • 提升觀眾的戲劇鑑賞力，豐富市民文化生活，及發揮旗艦劇團的領導地位。 業務 • 平衡劇季 — 選演本地原創劇，翻譯、改編外國及內地經典或現代戲劇作品。匯集劇團內外的編、導、演與舞美人才，創造主

流劇場藝術精品。 • 黑盒劇場 — 以靈活的運作手法，探索、發展和製研新素材及表演模式，拓展戲劇藝術的新領域。 • 戲劇教育 — 開設課程及工作坊，把戲劇融入生活，利用劇藝多元空間為成人及學童提供戲劇教育及能培訓。也透過學生專場

及社區巡迴演出，加強觀眾對劇藝的認知。 • 對外交流 — 加強國際及內地交流，進行外訪演出，向外推廣本土戲劇文化，並發展雙向合作，拓展境外市場。 • 戲劇文學 — 透過劇本創作、讀戲劇場、研討會、戲劇評論及戲劇文學叢書出版等平台，記錄、保存及深化戲劇藝術研究。 香港話劇團由香港特別行政區政府資助 香港話劇團為香港大會堂場地夥伴 BACKGROUND • Hong Kong Repertory Theatre is the longest standing and largest professional theatre company in the city, established in 1977 and incorporated in 2001. Financially supported by the Government of the Hong Kong Special Administrative Region, Hong Kong Repertory Theatre operates under the guidance of its Governing Council, and employs a team of over 70 full-time professionals including the artistic director, assistant artistic director, actors, technical and stage management staff as well as administrators.

• Since its establishment 41 years ago, it has presented more than 300 productions, many of which have become classics of the local theatre canon.

MISSIONS • To produce and develop a high quality, innovative and diverse repertoire, encompassing Chinese, international, classic, and contemporary theatre, as well as original new works by local artists.

• To develop the audiences’ interest and appreciation of theatre and to enrich the city’s cultural life, through its leadership position as the city’s flagship theatre company.

ARTISTIC DIRECTOR: ANTHONY CHAN

AREAS OF ACTIVITY • A Balanced Repertoire – A selected programme of local original works, translations and adaptations of classic and contemporary plays from the Mainland and internationally. The company collaborates with playwrights, directors, actors, designers and other talent within and outside of the company, to create new mainstream theatre productions of artistic excellence.

• Black Box Theatre – Flexible in approach, the Black Box Theatre provides a space where writers and practitioners can explore, take risks and experiment to create new material and modes of performances, in order to cultivate and stretch the boundaries of theatre arts.

• Theatre Education – Bringing theatre to life through courses and workshops, the company aims to provide theatre education and skills development for adults and children via the many facets of theatre. It also works to increase the audiences’ awareness towards theatre arts through dedicated performances for students as well as the wider community.

• International Exchange – Through the strengthening of exchanges with the Mainland and internationally, the company tours regularly in order to promote Hong Kong’s local theatre culture, and to develop opportunities for collaborations and performances across the border and overseas.

• Theatre Literature – Through a varied programme of new writing development, Reader’s Theatre, seminars, reviews and publication of theatre literature, the company aims to encourage, document, preserve and consolidate creative activities in theatre.

Hong Kong Repertory Theatre is financially supported by the Government of the Hong Kong Special Administrative Region Hong Kong Repertory Theatre is the Venue Partner of the Hong Kong City Hall

追蹤香港話劇團 FOLLOW THE HKREP

www.hkrep.com

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背景 • 座落維港旁邊的西九文化區，是全球規模最大的文化項目之一，集藝術、教育及公共空間於一身。 • 西九文化區的願景是為香港創造一個多姿多彩的文化地帶。當中佔地二十三公頃的公共空間包括藝術公園和長達兩公里的海濱 長廊，同時設有多個表演場地和博物館，製作及上演世界級展覽、演藝節目，以及其他文化藝術活動。

BACKGROUND • Located on Hong Kong’s Victoria Harbour, the West Kowloon Cultural District is one of the world’s largest cultural developments. Its vision is to create a vibrant new cultural quarter for Hong Kong.

• With a complex of theatres, performance spaces and museums, the district will produce and host world-class exhibitions, performances and cultural events, as well as provide 23 hectares of public open space, including an art park and a two-kilometre waterfront promenade.

www.westkowloon.hk

westkowloon

@wkcda

西九文化區

香港話劇團及西九文化區謹向下列人士對香港國際黑盒劇場節《五段小品》的協助致謝 Special Acknowledgements: 香港歌德學院 Goethe-Institut Hong Kong 香港舞蹈團 Hong Kong Dance Company 學界宣傳媒體 www.growsmart.hk 各大傳媒機構 Mass Media

表 演 藝 術 總 監 : 方 美 昂

ARTISTIC DIRECTOR, PERFORMING ARTS: ALISON M FRIEDMAN

OBJECTIVES • To facilitate the long-term development of Hong Kong as an international arts and cultural metropolis; • To uphold and encourage freedom of artistic expression and creativity; • To enhance and promote excellence, innovation, creativity and diversity in arts and culture; • To enhance the appreciation of a diverse and pluralistic range of the arts; • To develop new and experimental works in arts and culture; • To cultivate and nurture local artistic talent, arts groups and others working in the cultural sector; • To encourage wider participation by the local community in arts and culture; • To promote and provide arts education to the local community; • To facilitate the development of cultural and creative industries; • To facilitate and enhance cultural exchange and cooperation between Hong Kong, Mainland China and beyond; • To facilitate and enhance cooperation between government or non-government bodies and organisations with arts providers, locally and internationally; • To encourage community, commercial and corporate support and sponsorship of arts and culture; • To provide or facilitate the provision of free and accessible open space within the West Kowloon Cultural District to the general public; and • To strengthen the position of Hong Kong as a tourist destination.

WEST KOWLOON CULTURAL DISTRICT

目標 • 促進香港長遠發展為國際藝術文化大都會； • 維護及鼓勵藝術表達自由及創作自由； • 提升及推展在各類藝術及文化方面的卓越表現、創新、創造力及多元； • 提升對種類廣泛而多元化的藝術的欣賞； • 發展各類藝術及文化的新作品及實驗作品； • 發掘及培育本地藝術人才（包括本地藝術工作者）、本地藝術團體及與藝術相關的本地從業員； • 鼓勵本地社會更廣泛地參與各類藝術及文化活動； • 向本地社會推廣及提供藝術教育； • 促進文化及創意產業的發展； • 促進並加強香港、中國內地與其他地方之間的文化交流及合作； • 促進並加強不同政府或非政府的團體或組織與香港及國際的藝術工作者之間的合作； • 鼓勵社會、商界及企業支持及贊助各類藝術及文化活動； • 於西九文化區內協助或向公眾提供便利和免費的休憩用地；及 • 強化香港作為國際旅遊城市的地位。

西 九 文 化 區

（排名不分先後 In no particular order）

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