Generations

IMPORTANT NOTICE 重要通知 To follow COVID-19 preventive and social distancing measures, we have taken the following protocols: 爲了跟從2019冠狀病毒病預防感染，以及社交距離措施，我們採取了以下的 預防措施：

1. The performance will be live streamed. There will be no public audience. 演出將會以網絡直播形式進行，並沒有現場觀衆。 2. Permission from parents has been pre-approved for mask less performance for artistic reasons. 爲了满足藝術表演效果，演員演出時不會配戴口罩。相關安排已事先 得到有關家長們的同意。 3. Performers will be expected to be masked at all points during their offstage time. 除了台上的演出時間，其餘時間所有演員們都需要一直配戴口罩。 4. There will only be a limited number of masked technicians present at the live stream. 網絡直播進行時只會容許有少數技術員在場，所有在現場的技術員都 會全程配戴口罩。 5. Performers are encouraged to complete a Covid test before the performance and report results back to the production team. 我們鼓勵演員們在演出前完成冠狀病毒病檢測，並通知製作團隊有關 檢測結果。

DIRECTOR’S NOTES 導演的話 Alexandra Campion 海明德老師 Verbatim Theatre uses the words of real people to create performance around a theme, concept or event. Sometimes these words are only used loosely, or heavily edited, in performance, but most commonly the words of real people are used as they are spoken, verbatim. In 2007 I saw a Verbatim Theatre performance Miracle in Rwanda performed by Leslie Lewis Sword, at the Edinburgh Fringe Festival. The performance was incredible and stayed with me, as I have questions about the ethics of testimonial or Verbatim Performance and how it’s created.

What ethical obligations do we carry as artists when we use other people’s stories or words?

What artistic license can you take with the events of other people’s lives?

Dr Alison Forsyth, professor in the Department of Theatre at Aberystwyth University, attributes interest in Verbatim Theatre to modern society’s need ‘to gain a deeper personal, even more intimate, insight into the world we inhabit’ versus the onslaught of 24-hour news, the bottomless information available on the internet and social media. She goes on to state that ‘There is a difference between facts and truth; the truth is a synthesis of the facts’ and that Verbatim Theatre ‘can create the potential for us to know differently’ through our exposure to different accounts of an event or around a theme. (Forsyth 2014) During last academic year’s Elearning it felt like our relationships were all conducted in the digital sphere, the idea that Verbatim Theatre could be placed in contrast or opposition to that was swirling in my mind when I went to view the IBDP Visual Arts Exhibition and saw this piece of art by Christina Chiu (逝去的時間 - Unveil).

引錄劇場 (Verbatim Theatre) 是一個圍繞著 某主題，概念或事件，並引用相關人士的話 語錄音的戲劇表演。雖然這些話語錄音在表 演裡偶然會被隱晦地使用，或會經過多番修 改，但大多數情況下，它們都會一字不改。 我2007年時在愛丁堡藝穗節觀看了Leslie Lewis Sword的引錄劇場演出，《Miracle in Rwanda》。這場演出讓人拍案叫絕，也使 我印象深刻，因為它勾起了我對引錄劇場的 各種疑問：例如演出引用他人證言時所存在 的道德爭議，或是表演的創作過程。作為藝 術家，當我們在創作裡使用別人的故事或文 字時，會存在什麼樣的道德義務呢？當我們 把別人生活裡的酸甜苦辣作為創作題材時， 需要尋求什麼樣的藝術許可協議呢？ 亞伯大學戲劇學院教授Alison Forsyth 解釋 道，現代社會對引錄劇場的興趣是源自於社 會「需要對世界尋求一個更深層和親密的見 解」，這是因為我們經常被24小時新聞播 報，無盡的網絡資訊和社交媒體信息淹沒。 她接著說，「事實與真相是截然不同的; 真相 是諸多事實的結晶品」，而引錄劇場能通過 不同人士對某事件或某主題的陳述而「深化 我們的認知想法。」（Forsyth 2014) 前年，網上授課令我們覺得生活裏的所有聯 繫都是透過電子途徑去建立的。這種現象觸 發了我的靈感。我想到，對於現今這個「機 不離手」的時代，不同人士可能產生完全不 同或者對立的想法。如何展示這些不同的對 立呢？引錄劇場是一個恰當的方法。當我前 年在IBDP視覺藝術展覽裡看到趙芷儀同學的 作品（逝去的時間 - Unveil)時，這靈感瞬間 變成了創作的火花。

An idea began to take shape in my mind for a piece of Verbatim Theatre that allowed IBDP Theatre students to reconnect with their Grandparents, who they may have been separated from for a significant amount of time during the Covid-19 pandemic. A performance that not only allowed them to reconnect with their elders, but also explore where they were in their own lives, fast approaching adulthood or “grown-up-ness”. After all “ 薑還是老的 辣 ” (Aged ginger is more pungent).

In preparation for such a performance students embarked on the journey of collecting testimonies and interviews, reconnecting with friends and family, in particular those from their Grandparents generation. They brought back voice recordings and transcriptions to create a script using the words of real people to tell the story of childhood, adolescence and young adulthood. They were keen for their elders to express themselves in any language and to have real conversations that were not just for the purpose of creating our performance, but a real chance for them to ask interviewees about their lives and to understand more of the stories that in one way or another they have inherited.

We were quickly overwhelmed by the information, stories, languages and details that were shared by a generation now reflective about their lives. The diversity of multiple languages and richness of the reflection was stunningly beautiful. One of the hardest things during the project has been the script editing process. It is hard to work with the words of people you love and respect. This only made students and myself more careful, more aware of the ethical implications of our work, wanting to preserve the intentions of what was said and create a performance around them that showcases the stories of those interviewed.

Unveil by Christina Chiu 逝去的時間, 趙芷儀畫

這火花就是創作一場能夠讓IBDP學生們重新 與祖父母聯繫的戲劇表演。由於新冠病毒疫 情的關係，他們可能與祖父母長期地相隔兩 地。我希望這場演出不僅能讓雙方互相聯 繫，也能讓學生反思一下他們即將邁向成人 的人生階段。正如古人所說，「薑還是老的 辣」。 為了這次演出作準備，學生們與家人或朋友 們重新聯繫，尤其是他們的祖父母，並收集 了各方的陳詞和採訪。他們之後把這些採訪 錄音和副本編成劇本。劇本講述了受訪者由 童年，青年到成年的成長故事。在這次創作 過程中，學生們渴望長輩們能自由地用任何 語言表達自己。這些真實的對話不只是為了 這次的演出，也是給予學生一個機會去了解 受訪者們的人生百態和來龍去脈。 看到長輩們這麼踴躍地分享生活的種種細 節，故事和語言，以及他們世代對人生的反 思，我們真是感激不盡。他們的反思不僅豐 富多彩，還體現了語言的多樣性。這次製作 最大的挑戰是劇本編輯。在劇本裏引用受訪 者的話語絕不是一件輕而易舉的事，尤其受 訪者是你喜愛敬重的人的時候。這令我和學 生們在創作過程中更加慎重小心。通過了解 創作裏所蘊含的道德意義，以及保留受訪者 原有的文字，我們希望塑造一場能夠真實地 反應受訪者故事的表演。

As such we found that we did indeed ‘gain a deeper personal, even more intimate, insight into the world we inhabit’ (Forsyth 2014). My aim has been to give students the experience of devising and creating new and original theatre through Verbatim Performance, as part of their learning and explorations as creators and performers on the IBDP course. But, we hope that as young people approaching adulthood or as adults thinking about what that really means you may consider the lessons we can learn from our elders about life. We hope it inspires you to reflect on your own life and what it means to be “grown-up” and how you get there, giving you new insight into how you might move forwards with your life at this point in time.

在這次的戲劇製作裏，我們確實對世界得到了 「一個更深層和親密的見解。」(Forsyth 2014) 。我的目標由始至終都是讓學生們通過引錄劇 場的形式去編作新劇目，從而深化他們在IBDP 課程裏的創意和演藝技能。當這班年輕人逐漸 踏入成年階段，或思考着成長的意義時，我希 望他們可以在長輩身上吸取生活中的大智慧與 教訓。我也在此希望這部戲劇可以發人深省， 令你重新思考「成長」的定義；或者為你指點 迷津，重新思考如何繼續走你人生的道路。

Alexandra Campion 海明德老師

DESIGNER’S NOTES 設計師的話 Carl Mok 莫家浩老師

One of the things that I love about designing the IBDP performance as a stage designer is it always gives me unique challenges to solve. Because the production involves students devising a performance together, it requires a higher level of collaboration between the actors and the creative team. Rather than the director solely providing an artistic vision, the students are also responsible for articulating and contributing to that vision.

Therefore, it is fair to say that they are the directors as well.

Because of such sheer responsibility, Ms Campion and I spent an entire lesson sitting down with the G11 theatre students and listened to their interview recordings with their grandparents. Given that the production is performed in a verbatim theatre style, it is crucial to incorporate some of the grandparents’ stories into my designs. I believe this is a sincere way to pay tribute to the interviewees who allowed us to use their words in a performance. Throughout the performance, you will be able to witness different costumes and music styles that are reminiscent of the grandparents’ generation.

When Ms Campion first introduced the concept of Generations to me, it immediately reminded me of Ninety - Nine, the senior production that the school did back in 2012 as students were asked to interview their grandparents as well. However, I try not to take inspiration from it because existing productions like such often cloud my thoughts while I am brainstorming my designs.

作爲一名舞台設計師，我喜歡設計IBDP戲劇製 作的原因是因爲每部製作都有著它獨特的挑戰。 由於製作需要學生們自行編作表演，演員們與創 作團隊因此需要更加緊密地合作。這部製作與普 通製作有所不同：在大部分的戲劇製作裏，導演 的藝術願景往往被視爲製作的基石。相反，這次 製作除了導演之外，還需要演員們設立自己的願 景。由此可見，演員們也需要擔當著導演的角 色。 由於學生在製作過程中的責任重大，我與海明德 老師花了整堂的時間去聆聽11年級的戲劇學生分 享他們祖父母的訪問錄音。因爲製作采用了引錄 劇場的表演形式，所以我覺得我需要把祖父母真 實的故事融入我的舞台設計裏。既然受訪者同意 我們在創作裡使用他們的錄音，我們也應在創作 裡誠懇地把他們故事的韻味反映出來，以示敬 意。在這次演出中，你會體驗到不同風格的服裝 和音樂，讓你聯想起祖父母們的風光回憶。 當初海明德老師給我講解《世代》的概念時，我 聯想到學校2012年度的高中戲劇製作《玖拾 玖》。當年的學生們也要訪問他們的祖父母。不 過，我盡量避免從過往的製作裏吸取靈感，因爲 這樣會影響到我的設計思維的獨立性。

Ninety-Nine production photo (2012) 《玖拾玖》劇照 (2012年)

Fortunately, Generations takes on an entirely different approach. Rather than a melancholic depiction of age like Ninety-Nine, Generations sheds a more positive light on the idea of growing up. During our first production design meeting, Ms Campion had already expressed that she wanted the stage to be a playground. A place of fun for all generations. I decided to research how playgrounds’ designs have changed over the years . It is interesting to notice that there is numerous scientific research being put into designing playgrounds nowadays whereas many playgrounds were built with abandoned construction items (e.g concrete water pipes/ tires) back in the days. Although the facilities have changed overtime, the playground is still a place of endless imagination for children.

There are two unique challenges while designing for Generations. First is to create a set that is realistic, but slightly abstract so students can approach the play more creatively while devising.

Although the set playground does resemble an actual playground, with toys such as swings, a see-saw and a sand pit, I try to avoid replicating an actual playground on the stage. Because the play is a retelling of grandparents’ stories, I want the stage to be a magical world where audiences can experience intimate moments of generations communicating with one another.

幸好，《世代》的取向跟《玖拾玖》的顯然不 同。在《世代》裏，人物對成長是抱著積極的 態度。相反，《玖拾玖》是悲觀的 。在我們首 次的製作設計會議裏，海明德老師表示，她希 望舞台是一個遊樂場。因爲對世世代代而言， 遊樂場是一個充滿快樂的地方，因此我決定翻 查了解遊樂場設計的演變史。有趣的是，我發 現現今的遊樂場在設計上引進了無數的科學研 究。這與往時的遊樂場不大一樣。舊式的遊樂 場經常就地取材，比如采用廢棄的建築物件 （例如混凝土排水管/輪胎）。雖然現今某些遊 樂場設施已經改變了不少，但遊樂場由始至終 都是孩子們的「夢幻樂園」。 在設計《世代》時，我遇到了兩個獨特的挑 戰。其一是要設計一個既真實，又略微抽象的 佈景。這可讓演員們更有創意地編作戲劇。雖 然佈景的遊樂場與現實的遊樂場極爲相似：有 鞦韆、蹺蹺板和沙池等玩具，但我盡可能避免 把現實的遊樂場複製於舞台上。由於這是一個 講述祖父母們的回憶故事，我想把舞台變成一 個「夢幻樂園」，讓觀衆們可以體驗不同世代 的相互交流。

Shek Lei Playground in the 1960s Generations stage design rendering

60年代的石籬遊樂場

《世代》舞台設計效果圖

Photo 相片: Information Services Department

Therefore, I decided to make the playground an abandoned one, with ivy growing over it and fallen leaves scattered on the ground. This realism is then intersected by a pathway covered in green lawn, which is illuminated with several bedside lamps. I want to create a magical image where the colours of spring and fall blend into one. I find it to be a gentle reminder that one generation has to pass on the torch to a new generation. As the poet Bai Juyi once said, “No prairie fire can destroy the grass, it shoots up again with the spring breeze blows.”

The second challenge is to design a set that is suitable for live streaming. Although theatre is always created for live audiences, the restrictions of the Covid pandemic have forced many of us to adapt in new ways. After recording Journey to the West in April this year, we have gained numerous experiences in how to operate a theatre performance live stream. Because this production will be recorded, audience members are likely to be watching it like a film. Therefore, I need to put that into consideration while designing. Because video footage is captured selectively on camera during a live stream, I need to make sure the camera is able to capture the set at a nice angle. To achieve that, I have added festoon lights in the background.

Besides capturing the warmth of childhood, they are used as a light source (backlight) for the camera to reduce image noises.

所以，我決定把舞台變成一個荒廢的遊樂場， 長滿春藤，佈滿落葉。這真實感卻被一條鋪滿 綠草坪的小路給打斷。小路還被幾盞床頭燈照 亮著。我想從中營造一幅春秋交接的畫面，彷 佛提醒我們上一代必須將智慧的火炬傳給下一 代。正如詩人白居易所説,「野火燒不盡，春風 吹又生。」 其二是設計一個適合網絡直播的舞台。雖然戲 劇的核心是圍繞著現場觀眾，但是新冠病毒疫 情的限制逼使我們尋找新的演出模式，例如我 們今年三月決定以網絡直播的方式上演《西遊 記》。我們也從中吸取了寶貴的直播經驗。由 於這次的戲作也是採用網絡直播的方式上演， 觀眾們看戲劇就如同看電影一樣，所以我需在 設計上考慮這一點。在錄影的過程中，每個分 鏡都是經過精心挑選的。為了能夠更好地配合 分鏡角度，我在設計中把彩燈用作背景。彩燈 除了給人一種童年溫馨的感覺之外，也是用作 為錄影機的光源（背光），減低雜點 (image noises)。 當我們即將踏入疫情的第三年時，也漸漸看見 隧道盡頭的曙光。沒有現場觀眾的劇場永遠是 不一樣的。雖然疫情改變了大眾觀看表演的模 式，不過我們學會了變通。正如《世代》裏所 說，當我們在人生遇到高低起伏時，我們不禁 懷念年輕時的單純。但正正是這些高低起伏， 才能讓人生變得更精彩。

As we are now approaching the third year of the pandemic, we are gradually seeing a light at the end of a tunnel. Theatre is not the same without live audience members. Although the pandemic has changed the way we view performances, we have learnt to adapt, just like the stories in Generations.

Although we may yearn for the simpler times of our youths, it’s the ups and downs of growing up that makes life more flavourful.

Carl Mok 莫家浩老師

Ingrid Yeung found her passion for theatre and the arts when her mom blasted the musical soundtrack of The Phantom of the Opera in the living room, which has since become her favourite story. She starred in several musical productions both in and out of school, including Pinocchio Jr, Seussical Jr, and Catch Me If You Can. Rather introverted as a young child, theatre has helped her become more confident over the years and allowed her to achieve things she never dared dream of. As a HL theatre student, she continues to pursue her passion for the arts and enjoys the creative liberty that it offers. She hopes the audience will enjoy her work as much as she enjoyed creating it.

Ingrid Yeung 楊子柔

楊子柔六歲時，她媽媽不停在客廳播放《歌劇魅影》 的音樂配樂。從此，她發現了她對戲劇和藝術的熱 情。她在校內外出演了幾部音樂作品，包括《小匹諾 曹》、《小蘇西卡》和《逍遙法外》。一向比較內向 的她，在戲劇中找到自己的自信。這一份自信讓她實 現了她從未夢想過的事情。作為戲劇科HL的學生，她 繼續在追求她對藝術的熱情，並享受藝術帶來的創作 自由。她希望觀眾能夠享受她的作品。

Darryl Yung is an eleventh grade student studying at the Independent School Foundation, in Hong Kong.

He is currently studying theatre at a higher level as part of the IB diploma program. The project that he is most fond of would likely be the Greek theatre performance that he and a few of his peers put together back in grade 9. They performed to the other students in their grade. He does not have much filming or performance art experience outside of school, and hopes to perhaps develop this aspect of himself further in the future. With this DP course, he wants to learn to be a better performer, to learn how to properly entertain, and to be able to tell his stories through art.

Darryl Yung 翁正珩

翁正珩是一名弘立書院的十一年級學生。作為 IB 文憑 課程的一部分，他目前正在修讀 HL 戲劇。他最喜歡的 作品是他和他同學在九年級時一起表演的古希臘戲 劇。他在校外沒有太多的電影或演藝經驗，希望未來 或許能進一步發展自己的這方面。通過這個 DP 課程， 他想成為一個更好的表演者，學習如何適當地娛樂， 並能希望夠通過藝術講述他的故事。

Jula Lin has been acting melodramatically off stage for ever since she could remember and calls theatre class her safe space. Though not involved in any prior academy productions, she performed and directed a Commedia Dell’Arte piece in the Winter Concert and is looking forward to being a part of more.

連旭瑩從小就以「戲如人生」作為她的人生格言。每天 都具有戲劇性，而身為人生演員的她需要參與其中。 戲劇課也變成了她的一個安全空間。雖然她沒有參與 任何學校過往的戲劇製作，但是她在冬季音樂會的義 大利即興喜劇演出中擔當了導演和演員的角色。她希 望日後可以參與更多演藝活動。

Jula Lin 連旭瑩

Charlotte Wong 黃千洛

Charlotte Wong started her theatrical journey in Primary School, where she experienced and learned about theatre both in and out of school. She had been part of several Academy Productions at ISF. The most memorable being Seussical Jr. where she played one of the Bird Girls. Outside of school, Charlotte had taken part in the Hong Kong Academy of Performing Arts summer musical productions Broadway Here I come and Seven Brides for Seven Brothers. Charlotte is an HL IBDP Theatre student and other than being part of PROLOGUE 起承轉合 Theatre Company, she is most excited for the chance to implement her filmmaking skills in the Director’s Notebook task next year. She is very interested in the field of filmmaking and her plans post-ISF are to pursue this passion of hers at a film university. 黃千洛在小學開始了她的戲劇之旅，在校內和校外體 驗和學習戲劇。她曾在弘立書院參與過幾個學院製 作。 最令人難忘的是 Seussical Jr. 在那裡她扮演了其 中一個Bird Girl。在校外，黃千洛曾參與過香港演藝學 院夏季音樂劇《Broadway Here I come》和 《Seven Brides for Seven Brothers》。黃千洛是 HL IBDP 戲劇科的學生，除了是 PROLOGUE 起承轉合劇 團的一員之外，她很期待明年有機會在戲劇評估項目「導演筆記」中發揮她的電影製作技能。她對電影製作 非常感興趣，在弘立書院畢業後的計劃就是在一間大 學修讀電影，追求她的愛好。

Elizabeth Gausden found her passion for performing from a young age, starting from primary school she would participate in weekly dance classes and have annual dance performances. During secondary school, she would participate in house glee where she helped her peers choreograph and perform dance performances. On top of this she would also perform in numerous singing competitions within ISF. Her most memorable experience was when she helped with costume design during the Phantom of the Tollbooth where she designed a newspaper dress and some newspaper sashes. Elizabeth is an SL IBDP Theatre student and other than being part of PROLOGUE 起承轉合 Theatre Company, and is very excited to develop the Directors Notebook.

Elizabeth Gausden 高怡姿

從小學開始，高怡姿每週都會參加舞蹈課，每年都會 有舞蹈表演。在中學期間，她參加了House Glee。除 了負責幫同學們編舞外，她還參與了舞蹈演出。她參 加了弘立書院眾多的歌唱比賽。她最難忘的經歷是在 戲劇製作 Phantom of the Tollbooth 裏擔當服裝設 計，設計了一件報紙連衣裙和一些報紙腰帶。高怡姿 是 SL IBDP 戲劇科的學生，也是 PROLOGUE 起承轉合 劇團的成員，她很高興開發導演筆記本。

Jasmine Yang found her passion for arts and theatre at a young age when her parents brought her to the annual Nutcracker ballet. Jasmine has been part of several Academy Productions at ISF, most recently in Hairspray. Her most memorable experience was The Phantom of the Tolbooth where she assisted as a costume creator and created a dress using newspaper. Jasmine is an SL IBDP Theatre student and other than being part of PROLOGUE 起承轉合 Theatre Company, she is most excited for the chance to implement her love for design in the Director’s Notebook task next year.

Jasmine Yang 楊卓瑩

楊卓瑩的父母從小帶她參加一年一度的胡桃夾子芭蕾 舞，從而激發了她對藝術和戲劇的熱情。 楊卓瑩從小 就參加弘立書院的戲劇表演，最近的一次是 Hairspray。 她最難忘的經歷是在《托爾布斯的幽靈》 做為助理服裝設計師，並用報紙製作了一件連衣裙。 楊卓瑩是 SL IBDP 的戲劇科學生，除了是 PROLOGUE 起承轉合劇團的成員，她更期待在明年的導演筆記本 中，有機會實現她對設計的熱愛。

Luna Zhang started her theatrical journey in Kids’ Gallery where she joined the theater group, where she discovered her love for the performing arts.

During primary school, Luna was a part of the the production of Seussical at ISF. In her MYP years, one of Luna’s favorite curriculum performances was Commedia Dell'Arte. Luna is an SL IBDP Theater student and other than being part of PROLOGUE 起 承轉合 Theatre Company she is most excited for the chance to study different world theatre traditions through the Research Presentation task next year as well as the coming performance.

Luna Zhang 張照臨

張照臨小時候加入了戲劇戲班Kids’ Gallery，並開始 了她的戲劇之旅。她在戲班裏發掘了自己對表演藝術 的熱愛。在小學期間，張照臨參與弘立製作 《Seussical》。 在她的 MYP 歲月中，張照臨最喜歡 的戲劇課程表演之一是義大利即興喜劇。 張照臨是 SL IBDP 戲劇科學生，除了是PROLOGUE 起承轉合劇團 的成員，她對明年的戲劇評估項目「研究演講」感到興 奮。她希望借此機會來研究不同的戲劇傳統。

CREATIVE TEAM 製作團隊 Director & Playwright 導演及編劇 ALEXANDRA CAMPION 海明德老師 PROLOGUE THEATRE COMPANY 起承轉合劇團 (G11 Theatre Class / 十一年級戲劇班) Scenic & Costume Design 佈景及服裝設計 CARL MOK 莫家浩老師 Sound 音響 ADAM WALKER 老師 Lighting 燈光 CARL MOK 莫家浩老師 Makeup 化妝 FELICITY DONNOLI 杜祺安老師 Live Stream 直播 SEAN MORAN, JUN HWAN JO 趙俊桓, YIU WAI POON 潘燿威, Ching Yan Tong 湯靜恩 Production Photography 劇照攝影 ADRIAN LEE 李子健

We’d like to thank our family, friends and loved ones whose words and stories made this performance possible. 我們想在此感謝我們的家人，朋友和親人。全靠他們的文字和故事，今次製作才能夠成功上演。

Prologue 起承轉合 Theatre Company was founded by the IBDP Theatre class of 2023 with a commitment to telling authentic and interesting stories using powerful aesthetics. At the start of their collaboration the company wanted their name and artistic goals to reflect the start of their own lives as theatre artists. Their main principles are:

起 Beginning the rest of our lives - devising and creating new work that explores where we are in our lives right now

成 Carrying on past stories - paying homage to those around us and those that came before us, whilst learning from other artists, practitioners and theorists to inform our work

轉 Conflict of the old and new - not shying away from delving into conflicts between ideas, theories or narratives, but rather using them to inform and extend our work

合 Ending this chapter - understanding that our time together is limited, but also that as one story ends, another begins. As we embark on this journey together as artists, we hope to conclude our current adventure with a collection of memories that we can proudly take forward with us

SPECIAL ACKNOWLEDGEMENT 特別鳴謝 Mr. & Mrs. Eddie Wang 王定一伉儷 Mr. & Mrs. Kevin Zhang 張奕伉儷 Dr. Malcolm Pritchard 查永茂博士 Mr. Nicholas Forde 先生 Mrs. Jenny Craig 女士 Finance Office 財務處 Victor Siu 蕭駿傑 Richard Chow 周達仁 Michael Ma 馬兆龍 Wing Pui Leung 梁詠佩 Secondary Office 中學辦公室 Deborah Yip 葉荻 Educational Technology Center 教學科技中心 Project & Facilities Management Office 項目設施管理處 Communications & Community Office 傳遞及社群處 ISF Development Office 基金發展部 Information & Technology Office 資訊科技處

BEHIND THE SCENES 幕後花絮

PAST PRODUCTIONS 過往製作

2011

2012

2012

2013

2013

2014

2014

2015

2015

2016

2016

2017

2017

2018

2018

2019

2019

2021

2021

2020 (CANCELLED)