Aftec newsletter issue09

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The Absolutely Fabulous Theatre Connection

NEWSLETTER 專題 Feature 藝術·生活系列2012: 《聲感漫遊》 Living Arts Series 2012: The Urban/ Jungle Journey

最新消息 News 在西灣河尋找 《迷失世界》 The Lost World in Sai Wan Ho

封面故事 Cover Story 先鋒青年英語劇場 演繹十七世紀驚慄經典

A Pioneering Youth Theatre Production Greatest Example of the 17th Century Thriller

12 2012 •

人物誌 People 2012-2014年度 駐團藝術教育家:羅乃新女士 Artist in Education 2012 - 2014: Miss Nancy Loo


目錄 Contents 4


Cover Story 9


Feature 14



先鋒青年英語劇場《愛在黑暗蔓延時》 演繹十七世紀驚慄經典 A Pioneering Youth Theatre Production of: The Duchess of Malfi Greatest Example of the 17th Century Thriller

藝術 •生活系列《聲感漫遊》 反思劇場、生活與學習的關係 Living Arts Series The Urban/ Jungle Journey Reflecting upon Theatre, Life and Learning

Sm-ART青年計劃2012-13 透過藝術學習 • 服務社群 Sm-ART Youth Project 2012-13 Social Service through the Arts

走出課室,參觀藝團 了解藝壇現況 Step out of the Classrooms, To Know More about the Arts Field

特別消息: 恐龍未滅亡?在西灣河尋找《迷失世界》 Special news: Do Dinosaurs still exist? The Lost World in Sai Wan Ho 20



2012-2014年度駐團藝術教育家: 羅乃新女士 Artist in Education 2012-2014: Miss Nancy Loo

實習生在AFTEC的日子 A summer with AFTEC 25




A Share of Knowledge

誇啦啦青年劇場短片脫穎而出 獲2012倫敦國際藝術會議採用 AFTEC’s Video “Youth Theatre and Arts Learning” was screened in London!

「貪婪是好的?」 青年先鋒雙語劇場《胡妮晶傳》圓滿落幕 “Greed is Good?” The Youth Theatre in Chinese of Volpona is SuccessfullyStaged 29

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先鋒青年英語劇場《愛在黑暗蔓延時》 演繹十七世紀驚慄經典 A Pioneering Youth Theatre Production of: The Duchess of Malfi Greatest Example of the 17th Century Thriller


先鋒青年英語劇場 《愛在黑暗蔓延時》 演繹十七世紀驚慄經典 A Pioneering Youth Theatre Production of: The Duchess of Malfi Greatest Example of the 17th Century Thriller 誇啦啦藝術集匯先鋒青年劇場將於 2012年12月呈獻約翰 ·韋伯斯特 在1614年首次公演的黑暗悲劇 The Duchess of Malfi(本團譯作 《愛在黑暗蔓延時》)。 發生於意大利文藝復興時期,這是一 個關於愛恨、榮辱和權力鬥爭的故 事。緣於一段錯配的戀情,馬爾菲 公爵夫人在喪夫後,不顧社會、 宗教、階級身份及家庭的傳統枷鎖, 一意孤行地和她的管家秘密結婚, 最終令她自己、她的愛人和孩子受害 於其兄弟的連場報復之中。 今時不同往日,自由戀愛、締結婚盟 不會招惹兄弟謀財害命的殺身之禍, 但正因這凄美的下場卻做就了《愛》 這個經典悲劇!製作華麗,嘆為觀止, 齊來看看導演和演員對此劇有甚麼 評價?

AFTEC’s first foray into Jacobean drama happens on December 14th and runs for four performances, when its Pioneering Youth Theatre opens at the Sai Wan Ho Civic Theatre with The Duchess of Malfi. Set in Renaissance Italy, the story beginning with a simple case of misalliance between a widowed duchess and one of her household who, ignoring the claims of state, church, class, family and propriety, secretly marries him, bringing down the brutal vengeance of her brothers upon herself, her lover and her children. These days, marrying beneath yourself is not the sort of thing that would get you murdered by your brothers, even if they had got their eyes on your property....However it does in this instance, give rise to a tragedy of immense proportions. Let’s see how the Director and the youth actors say about the play!


導演詩柏細說《愛》劇的文學性 約翰·韋伯斯特僅以《白魔》及 《愛在黑暗蔓延時》 (本團譯名,又名 《馬爾菲公爵夫人》)兩部著作, 便足以令其名聲頌傳千古。成名背後, 其私人生活卻鮮有人提及。曾有人猜測 他由法律界轉職為劇作家,亦有人說 他是一位演員。 他的第二部作品《愛在黑暗蔓延時》 高潮迭起,尤其在於刻劃公爵夫人 內心折磨和受害的過程,令觀眾無不 驚訝。這亦被不少女演員視為對自我 演技的挑戰。長久以來,吸引了不少 知名的演員參演,包括:佩吉·阿什克 羅福特、海倫·米倫、茱迪·丹芝等。 曾參演的男演員亦十分有名,例如: 伊恩·麥凱倫、喬納森·海德、 鮑勃·霍斯金斯及約翰·吉爾古德, 陣容鼎盛。本年初,此經典更獲倫敦 劇團老維克劇院垂青,再次搬上舞台, 由Eve Best擔任主角。 早在1612至1623年間,馬爾菲公爵夫 人的一生已首演於倫敦莎士比亞環球 劇場及黑僧劇院。聯同Richard Burbage 飾演公爵夫人的孿生兄弟,公爵夫人 一角則由一名年輕男演員擔任。多年 來,約翰·韋伯斯特筆下的故事經過不 少轉變,以配合當時演出的情況及觀 眾的喜好。自從七十年代起,本劇目 在英國當地已進駐劇場,作定期公演, 更多次被選為英國高級程度會考英國 文學科的指定教材。 自凱德(Thomas Kyd)的《西班牙悲劇》起, 復仇悲劇向來廣受歡迎,其他經典包括 家傳戶曉的《馬克白》 ﹑ 《哈姆雷特》 。 繼莎士比亞將這劇種帶入主流,《愛》 一劇堪稱十七世紀的驚慄故事的經典。 本劇當然用詞優美,饒有文學性。在 韋伯斯特的筆下,平淡無奇的文字化成 一個個精彩絕倫的比喻,一幕幕牽動 人心的場面。這些將由先鋒青年劇場中 一班優秀的年青演員演出,萬勿錯過!

The Director, Mr. Stephan Spurr on The Duchess of Malfi’s Literary Values John Webster’s fame rests entirely on two plays: The White Devil and The Duchess of Malfi. Very little is known of his life, and it has been surmised that he came to play- writing via the law, and that he may also have been an actor. His second work: The Duchess of Malfi which has as its climatic moment the psychological torture and murder of a beautiful woman, has rarely failed to shock or startle audiences. The main attraction being, as it should, the portrayal of the Duchess herself which, over the years has proved to be a star vehicle for the likes of Peggy Ashcroft, Helen Mirren, Judi Dench and Janet Suzman. Its epic acting demands have also attracted such lions of the theatre as Ian McKellan, Paul Schofield, Jonathan Hyde, Bob Hoskins, and the incomparable John Gielgud. Most recently it was produced at the Old Vic in London’s West End earlier this year, with Eve Best in the title role. The Duchess from Malfi first lived and died on the stages of London’s Globe and Blackfriars theatres in the King’s Men’s productions between 1612 and 1623. The lead was taken by a boy actor, with the celebrated Richard Burbage performing the role of Ferdinand, the Duchess’ twin brother. Over the years the play which John Webster wrote underwent radical transformations in order to meet changing conditions of performance and changing taste. But by the 1970’s it had reestablished itself and earnt a permanent place in the English theatre repertory, reinforced by its inclusion in a number of A-Level English Literature syllabuses. The tragedy of Blood and Revenge was a favorite type of melodrama. It begins with Kyd’s Spanish Tragedy and includes Macbeth and Hamlet. Apart from Shakespeare, who transformed the type into something else, The Duchess of Malfi is the greatest example that we have of the 17th century thriller. The play is couched in rich and glittering language. Again and again characters giving utterance to some of the most dazzling, compressed imagery ever written, all to be underscored by the vigorous acting talents of AFTEC’s Youth Theatre.


< 陳子健 (飾演Antonio) Dominic Chan (as Antonio)

> Diana Dai (飾演the Duchess) Diana Dai (as the Duchess)


Amy Griffin (飾演 Julia) Amy Griffin (as Julia)


Sharing of the Youth Actors

愈是排練,我愈可預見這個演出的成功。儘管這個經典是多麼的 嚇人和黑暗,可肯定的是這華麗優秀的製作與一般肥皂劇不同, 時下的觀眾或多或少也能從故事中產生共鳴。 《愛》一劇融合了大眾的口味和文學的高深。當不少製作會為了 作品的娛樂性而犧牲藝術上的堅持, 《愛》反而保留了韋伯斯特筆下 文字的美和力量。當中的小改動不但沒有減低其表達, 更將能彰顯這些特色。 The more I rehearse, the more certain and expectant I am of the show’s success. Even though the play itself can be intimidating and obscure, this portrayal ought to find relevance with a modern audience, if not from soap operas, then definitely from sheer grandeur and fine execution. The Duchess is done in a way that does not place popular appeal and ‘scholarly merits’ at odds with each other. While many productions consider artistic merit as something to be sacrificed to make a production more entertaining, The Duchess manages to preserve the power and beauty of Webster’s language, even perhaps using edits to bring out said beauty and power, instead of diminishing it for an audience. 練致和(飾演The Cardinal) Joseph Lin (as The Cardinal)

《 愛在黑暗蔓延時》是我曾參演過其中一套 華麗的製作,也是一個對我演技的挑戰。 相對地,本地觀眾並不熟悉這劇作,所以我的 難處在於向觀眾表達出角色所經歷的 心路歷程,以及理解那些富有文學性的對白。 可是,這些都會被一一刻服的。 The Duchess of Malfi is one of the grandest plays that I have taken on the challenge to perform, and my role in the production certainly makes sure of that. The mental journey that I have to convey to the audience in addition to making sure that the language and intention are comprehensible is like no other role I have played. This is especially important as the play is reasonably unfamiliar to a Hong Kong audience. Max Percy(飾演Ferdinand) Max Percy (as Ferdinand)



Behind the Scenes of Promotion Video Shooting

還未到公演,三位演員提早換上戲服, 究竟所為何事?不就是為了《愛》劇的 宣傳短片!短片的設計概念簡約,演員 以豐富的面部表情,交代劇中三兄妹 之間的恩怨。 What is the reason behind our cast members getting their costumes on long before the show time? That is for shooting the promotion video of The Duchess of Malfi. With the design concept of ‘less is more’, their emotive facial expressions adequately portray the resentments between the three siblings.

宣傳短片 左至右起: Max Percy (飾演 Ferdinand), Diana Dai (飾演 the Duchess) 及練致和 (飾演 The Cardinal)。 From left to right: Max Percy (as Ferdinand), Diana Dai (as the Duchess) and Joseph Lin (as The Cardinal).

Promotion Video atch?v=Roks71RqmF4&featur

走進後台 了解製作背後的故事

Knowing the backstage story

想知道血袋在舞臺上是怎樣運用的嗎? 想了解特技化妝如何將一個演員改頭 換面?想窺探一下演員在後臺轉裝的 情景?

Do you know how blood-bags work on stage? Any idea how special make-up effects transform an actor? Want to see how actors do their quick change at backstage?

是次製作龐大,好讓觀眾能近距離欣賞 這些精美的佈景及戲服,在演出後將設 後臺導賞,名額有限,先到先得。

Come to join our Backstage Tours and you will even have a chance to explore our dazzling set and costumes. Quota limited!

日期及時間: 2012年12月14日(五) 晚上7時30分 2012年12月15日(六) 下午2時30分及 晚上7時30分 2012年12月16日(日) 下午2時30分 地點: 西灣河文娛中心劇院 英語演出,附粵語字幕 節目長約2小時, 另設15分鐘中場休息。 適合11歲或以上人士觀看 票價: $160, $100(不包括後臺導賞) $180演出連20分鐘後臺導賞 (15/12(六)下午場次除外)

Dates & Time: December 14, 2012 (Fri) 7:30pm December 15, 2012 (Sat) 2:30pm & 7:30pm December 16, 2012 (Sun) 2:30pm Venue: Sai Wan Ho Civic Centre Theatre In English with Chinese Surtitles. Approximately 2 hours with a 15-minute intermission. Suitable for aged 11 or above Ticket Price: $160, $100 (Backstage Tour not included) $180 Performance + One 20-minute Backstage Tour (Except show on 15/12 (Sat) 2:30pm)


藝術 •生活系列《聲感漫遊》 反思劇場、生活與學習的關係 Living Arts Series The Urban/Jungle Journey Reflecting upon Theatre, Life and Learning


藝術 • 生活系列《聲感漫遊》 反思劇場、生活與學習的關係 Living Arts Series The Urban/Jungle Journey Reflecting upon Theatre, Life and Learning 藝術.生活系列最讓人期待的莫過於 猜想每次的主題。究竟我們將怎樣把 生活中的種種與劇場聯繫起來? 以「劇場與學習」為題,《聲感漫遊》 已於11月15至18日順利舉行,更錄得 學校場次門票全部售罄的佳績。這活 動旨在打破香港人對學習著重視覺的 概念,以一次融合互動的新體驗,發掘 其他感官帶來的契機,反思現今的生 活模式。 在西灣河文娛中心文娛廳這劇場空間, 參加者首先進入一個「家」,穿過當 中的衣櫥,便可進入一個以「城市/ 森林」作創作概念的奇幻旅程。他們 沿途可看到平凡的日常用品用作不平 凡的用途,亦可聽到自以為熟悉到無 法更加了解的聲音,探索劇場無限可 能性。

It is always exciting to know each year’s theme of the Living Arts Series. One may always wonder how we connect the daily life to the arts. Focus on ‘Theatre and Learning’ this year, The Urban/ Jungle Journey was successfully held during 15 – 18 November at the Cultural Activities Hall of Sai Wan Ho Civic Centre. It aimed to break the conventional belief that learning merely relies on visual aid. It was an experiential learning opportunities which involves a lot of fun and sensory enjoyments. Within the space in the Cultural Activities Hall of the Sai Wan Ho Civic Centre, participants firstly entered into the section of ‘Home’. Stepping through the closet, this was a great experiential journey in which the participants saw unusual sights, heard sounds they thought they were familiar with. The potential of a theatre space was explored to its greatest throughout the journey.



A Chat with Marissa Fung Shaw and Lam Lai on the Journey

對本地觀眾來說, 《聲感漫遊》是一種很嶄新的藝術創作,融合 了不少觀眾的參與。為了讓您們了解更多,我們誠邀了其中幾 位藝術創作的靈魂人物,包括裝置藝術創作邵馮泳愛和音效創 作林儷,與我們談談當中的點滴。

No doubt, The Urban/ Jungle Journey is a new experience to the local audience, especially when there will be a lot of interaction with them. The Artist, Marissa Fung Shaw and the Composer, Lam Lai are interviewed to share with us the sparkles found behind the scene.

誇啦啦:無論在裝置藝術創作,還是音效創作上,《聲感漫 遊》都跟一般的展覽不同,請跟我們分享一下這些不同吧! 林:眾所周知,無論是在播放唱片,還是在音樂會中聽音樂, 我們必然知道歌曲播放的時序。因為這些樂章均有起首和終 結。假若音樂並不牽涉這兩點,那又會怎樣?你可視它們為一 首首不會完結的樂章。正正在《聲感漫遊》中,我設計了九段 這樣的音樂。它們將會在場館內不同的位置播放,而觀眾就可 隨意或順序欣賞這些音樂。 邵:無論在哪一類型的視覺藝術創作裡,坦白說,設計師都需 考慮作品的質感。這裡所說的質感並不局限於可讓觀賞者觸摸 到的,可以是作品的選材﹑景深等。這些特質在一些平面創作 中也找得到。攝影便是一個例子。當然在《聲感漫遊》中,這 些特質更需被強化。 誇啦啦:那兩位在設計上有甚麼需要特別的關注? 林:當中有三段音樂包含了與觀眾互動的元素。因此,早於創 作的初期,我已要想像參加者的反應,以便將他們的動作融入 設計中。相反,傳統音樂的作曲只需要在五線譜上進行。 邵:沒錯,參加者可在場館走動是一個很大的改變因素。因為 他們會觸碰到不同的裝置,我需要多加考慮一些實際的條件, 包括:裝置與參加者之間的比例﹑場內安全﹑場地的限制﹑人 們的參與度...... 為了令藝術獨特、完整地呈現於眼前,我必須 將創作融入實際環境中,不被環境限制而影響本身的概念。這 就取決於「如何選擇」。 誇啦啦:您認為這些音效會對參加者有甚麼影響?

AFTEC: With regards to the visual as well as the audio designs, The Urban/ Jungle Journey is apparently very different from the other exhibitions. Please share with us some of these differences! Lai: When we are listening to music in concert halls or our own mp3 players, we know exactly when the next track will start. It is because music has a start point and an end point. What if the music doesn’t involve these two points? You can imagine it as endless piece of music. In The Urban/ Jungle Journey, there are nine sets of music, which are placed in different locations of the Hall. The audience is allowed to experience each set of these endless music orderly or randomly. Marissa: Actually when creating any visual arts, one always considers elements such as the tactility of the piece whether it is through texture, depth of field, or alluding to these qualities. This is also found even in some seemingly flat mediums while photography is one of the examples. In tactile-scapes, these qualities are only heightened or emphasised. AFTEC: Are there any particular attentions paid? Lai: There are three sets of music involving interaction with audience. In a very early stage of the composition, I have imagined all the possibilities of audience reaction, in order to merge them well into the design of the whole Journey. How different it is from the traditional music writing, which only happens on a music sheet during the composition. Marissa: As people will be moving through and physically encountering the installations, further consideration has to be given to their journey and movement through the piece, as well as their interaction with the objects. As a result, it comes down to thinking about the interface functionality, such as proportion

林:參加者會有大約一小時去經歷整個旅程。我建議他們應 花足夠的時間停留在每個位置,因為有些音效需要較多的時間 去聆聽,感受旋律中的驟快驟慢。若只停留在一個位置五秒, 你必定會錯過當中的樂趣。同時,他們亦可以猜想音效與裝 置之間的關係,明白設計師們想向參加者表達的意念,了解 Marissa(邵馮詠愛為是次製作之裝置藝術創作)和我是怎樣 將生活上的體驗轉化成藝術作品。

音效創作林儷 Lam Lai, The Composer


in relation to the audience members, safety, physical constraints on the given environment, the range of audience participation and etc. However, one has to adapt the original artistic concept together with these practical issues. Ways to balance the two are requested, so that the very unique artistic encounter is not sacrificed for fitting back into the constraints. It is about making choices. AFTEC: What impact do you expect the tactile- or soundscapes in the Journey will have on the audience? Lai: As audience will have an hour to experience the Journey, I suggest that they could spend more time on each set, so as to experience the sounds and the sets, especially when time is needed to experience some of the sounds. The time pulse of the music sometimes could be very slow or very fast. If you just stop there for 5 seconds, you will definitely miss out the interesting experience of the differences in time pulsing. Besides, audience could think about the relationship between those music and installations. These are simply what the composer and visual artist wish to express to their audience and how they relate their own living experience with arts. 裝置藝術創作邵馮泳愛 Marissa Fung Shaw, The Artist

AFTEC: What do you think are the most exciting/ fun parts of the journey?


Marissa: The most exciting and fun parts of the journey is the playfulness – turning someone’s perception of everyday life upside down and showing them a new way of looking or feeling their surroundings.

邵:最有趣﹑驚喜的部分無疑是旅程中的「玩味」。「玩味」 來自於改變人們對日常生活已有的概念,令他們以一個嶄新的 角度去感受身邊慣常的事物。 林:除了旅程中各式其色的體驗外,最有趣的必定是去尋找帶 互動音效的分佈位置。若非細心留意,他們大多不會發現它們 的藏身之地。一旦發現後,他們能任意發揮創意,研究怎樣與 裝置互動。因此,人的感官在此旅程中極為重要,而最令人興 奮的無疑是「探索」的 過程。 邵:雖然最後的成效較難以量化,但仍可在完結時,參加者對 體驗的反思中有跡可尋。他們大概會說:「我從未想過可以跟 花兒一起用茶,但漸漸感受到當中的樂趣」、「我從未想過城 市的繁囂可頃刻關掉,靜靜細聽大自然中的美妙樂章」、「我 從未發現草地的感覺是如此美好」、「我從未察覺可以從這角 度看我們的城市」。 誇啦啦:您們期望能帶給參加者些甚麼?

Lai: Apart from those experiences on the different sets, one of the most exciting parts must be the process of discovering the interactive sets. Without any close attention, audience would easily miss out the interactive points. Once they are discovered, the fun lies in how the audience uses their creativity in reacting to the installations. That is the reason why human’s senses are so important in this Journey and the most exciting point is “to discover”. Marissa: The measure of this effect would be what the participant might say at the end of the experiences. All they’d need to come out saying: “I have never, never thought of having tea with a flower and getting to know it. I have never thought of what it would be like to turn the city sounds off and listen to the real and constant sound of nature. I have never thought of how wonderful real grass feels. I have never thought of discovering the urban jungle of a city in this way.” AFTEC: What will the participants be after the Journey?

林:旅程中的音效靈感來自日常生活,所以參加者不免會感到 耳熟能詳。從分辨出音效與真實聲音的不同,他們彷彿走進了 一個夢境,甚至一種虛擬的狀態。在這情況下,人的感官將變 得格外敏感,可切實地面對自己對這個旅程中一事一物的感受 和情感。希望他們可以有一個與別不同的全新體驗。

Lai: We are somehow familiar with the sound-scapes in the Journey. Audience could differentiate the differences from the real sound-scapes. It is like getting into a dreamland or even an abstract situation. In this condition, the senses of human beings are very sensitive. They could feel their own feelings or emotions in the entire Journey. Hope they could experience something which is very diverse from what they do in their daily life.

邵:對,我亦希望他們將會更留意他們的家和城市,甚至對身 邊微細的習慣有另一番看法。

Marissa: Hopefully once they leave, they start to look at their homes, their city and the everyday surroundings and routines differently.



Share of Thoughts by Participants

在學生專場中,學生分組進入場館,展開這次全新 的體驗。為了加深學生的體驗,除了進行導賞,當 日的活動亦包括參觀後討論、填寫體驗後工作紙。 以下感想節錄自學生填寫的體驗後工作紙,可見他 們對此旅程與現今社會的關連別具見解。

In the school experiential sessions, students were divided into groups for the journey. To deepen their experiences, a variety of activities, such as introductions, discussions and filling in the posttask worksheets, was included. Extracted from the students’ work, the followings showed their insights to the relationship between the journey and our society.

我覺得這個旅程十分奇特,但又給我十分熟悉的感覺,因為每天起床、食早餐、 洗臉、更衣、工作,再回家,就像永遠也重複著,就像那鳥籠裡的雞蛋般, 還未出生便被困住了。 To me, the journey is strange yet familiar, especially when the daily routine of getting up, having breakfasts, dressing up, going to work and returning home repeats days after days. Such mundane life is well-represented by the eggs trapped in the birds’ cage. We are all trapped before we are born. 中五學生陳海柔 Chan Hoi Yau, a S.5 student

人類不停浪費大自然的物資。在參與旅程後,我發現生活四周 也有很多大自然的東西,只是時常被忽略,讓人驚奇! Humans endlessly consume natural resources. After joining this journey, amazingly, I realised that we are indeed surrounded by things which are from the nature in our daily life. We just ignore them. 一名就讀中四的參加者 A S.4 participant


Sm-ART青年計劃2012-13 透過藝術學習 • 服務社群 Sm-ART Youth Project 2012-13 Social Service through the Arts

走出課室,參觀藝團 了解藝壇現況 Step out of the Classrooms, To Know More about the Arts Field

特別消息: 恐龍未滅亡?在西灣河尋找《迷失世界》 Special news: Do Dinosaurs still exist? The Lost World in Sai Wan Ho


Sm-ART青年計劃2012-13 透過藝術學習 • 服務社群 Sm-ART Youth Project 2012-13 Social Service through the Arts 「Sm-ART青年計劃」由何晶潔家族基金 贊助支持,旨在透過藝術的力量,改變 弱勢社群的生活。計劃的受惠對象是 十八名於鑽石山聖文德天主教小學就讀 的三、四年級生,專業導師在每週的課堂 上教授他們音樂及戲劇。我們已招募 超過四十名成人及Sm-ART青年領袖加 入這個歷時一年、跨代及可持續發展的 服務計劃,經過領袖及藝術的專業培訓 後,他們可運用其所學,於「文化日」 服務小學生。 計劃的研究報告將遞交 至聯合國教科文組織藝術教育觀測所, 作為發放至全球的參考案例。

The Sm-ART Youth Project is supported by the Jean C. K. Ho Family Foundation. The project aims to realise the potential of the arts in transforming the lives of disadvantaged young people. The beneficiaries are 18 underprivileged primary 3-4 children from St. Bonaventure Catholic Primary School in Diamond Hill. In addition to weekly classes taught by professional artists and educators, the project includes a very important volunteer segment. We have recruited more than 40 Adult Volunteers and Sm-ART Youth Leaders to join this meaningful inter-generational and sustainable programme throughout the year. After receiving leadership and arts training, volunteers will then apply their learning to work with children during Cultural Days. The research findings resulting from the project will be submitted to the UNESCO Arts in Education Observatory for global dissemination as a case study.

日期: 2012年10月至2013年5月 活動: 逢週五放學後,一個半小時的 戲劇及音樂課堂

Date: October 2012 - May 2013 Activity: 90-minute drama and music class every Friday after school

由著名音樂家羅乃新女士 (2012至2014 年度「駐團藝術教育家」)及朱曉芳擔任 導師,旨在增強小學生的自信心及表達 能力,培養創意,養成反思的習慣。

Taught by renowned musician/educator Miss Nancy Loo, AFTEC’s Artist in Education (2012-2014) and Prsicila Chu. Aims at increasing students’ confidence and expression, cultivating creativity and critical thinking habit.

邊聆聽由挪威作曲家葛利格創作的《早晨》,邊運用想像 力,畫出歌中意境。 While listening to Morning by Edvard Grieg, students used their imagination to draw the scene.

學生們與Miss Chu進行形體遊戲,一同創作班舞。 Students were having movement games and creating a class dance with Miss Chu.


日期: 2012年10月、2013年1月 活動: 週六舉行的全日藝術工作坊


於10月27日舉行的第一個全日藝術 工作坊,共18名來自不同背景的成人 義工及Sm-ART青年領袖參與,認識 四個藝術媒介:戲劇、音樂、形體動作 及視覺藝術。 Date: October, 2012 ; January, 2013 Activity: Full Day Workshop on Saturday



18 Adult Volunteers and Sm-ART Youth Leaders participated in the first Full Day Workshop on 27th October. They experienced 4 art forms, including drama, music, movement and visual arts. 1. 成人義工及Sm-ART青年領袖與Lynn Volunteers and Sm-ART Youth Leaders with Lynn 2. 在視覺藝術的環節,義工們運用禮堂內的椅子,共同創 作以「河流」為題的裝置。 Volunteers were using chairs to create a River Installation in the Visual Arts Session. 3. 在Priscila帶領的音樂環節中,義工們運用周邊的物件創 作聲音。 In the Music Session with Priscila, volunteers were designing sound with anything in hand. 4. 形體環節的導師Congo解釋熱身運動時關節的活動。 Congo Yu, instructor of the Movement Session, was explaining how our joints work in the warm-up exercises.

舉行文化日的前一個星期,義工及 Sm-ART青年領袖會參與培訓工作坊, 繼而擔任文化日工作坊的助教,並與 小學生一同參與文化活動。 Date: November, 2012 – April, 2013 Activity: Cultural Days and Refresher Training Workshops on Saturdays Each Cultural Day includes a cultural excursion to a performance or exhibition and a workshop related to the specific content of the excursion. Volunteers and Sm-ART Youth Leaders will be trained in the Refresher Training Workshop the week before the Cultural Day. They will then become Teaching Assistants and join the students in Cultural Days.


每個文化日將挑選不同藝術形式的文化 活動,如觀看演出或參觀展覽等,再根 據相關內容於同日安排工作坊。

在11月10日舉行的培訓工作坊,義工們運用活動室內不 同材質的物料,設計屬於他們的旅程。 In the Refresher Training Workshop on 10th November, volunteers made use of different texture materials to design their own journey.


日期: 2012年11月至2013年4月 活動: 週六舉行的文化日及培訓工作坊


在11月17日文化日早上的工作坊期間,小學生和義工們 發揮想像力,一同運用椅子創作裝置。 During the morning workshop of the Cultural Day on 17th November, students and volunteers used chairs to build an installation together.


走出課室,參觀藝團 了解藝壇現況 Step out of the Classrooms, To Know More about the Arts Field 由誇啦啦策劃、香港藝術發展局資助、與香港大學專業進修 學院主辦的「藝術評論證書」課程,繼藝術選修科 – 舞蹈、 音樂和電影單元後,第二期的藝術選修科(包括:粵曲、 視覺藝術及戲劇)已於九月初開課。 撰寫藝評往往以一個個表演或展覽作主題。其實,藝術團體 背後的理念作為整個創作的驅動力,不容忽視。為了讓學員 多加對幕後工作的認識,本團於九月安排了學員到「多空間」 (Y-Space)及西九文化管理局參觀。 「舞在圍村II-阿牛回來了!」表演綵排及導賞

學員在認真聆聽馬才和及嚴明然的 How focused the students were during

在欣賞綵排前,藝術總監馬才和及外展及教育統籌嚴明然特 意為學員講解創作背後的意念:怎樣將在本地圍村的簡樸在 故事情節的輔助下,融入較抽象的現代舞中。其中,亦提及 本地營運舞團的辛酸,但熱情不減,可見他倆對推動舞蹈的 決心。出色的藝評不只在記錄當日演出的重點,闡述作品內 容,更是剖析作品的深層意義,反映出藝術創作者背後的用 心和堅持。 日期:9/9/2012(日) 時間:5 - 8 pm 「西九文化區管理局運作簡介」 講者黃寶兒女士為西九文化區管理局行政總裁辦公室總監。她 百忙中抽空與學員分享西九的發展藍圖,交流對本地藝術的發 展及推廣的想法。身為藝術愛好者的各人均期望西九文化區的 成立能大力推動本地的文化藝術的發展,增其普及程度。

圖為「多空間」的靈魂人物 – 馬才 Victor (right) and Mandy (left) are the h

日期:18/9/2012 (二) 時間:7:30 – 9 pm 在此本團感謝以上兩個團體的鼎力支持,對培育新一代藝評 家不遺餘力,為藝壇作出貢獻。在未來的兩個月,藝術導賞 課亦快將展開。學員跟隨導師觀賞表演或展覽後,將一同作 演後討論,並就欣賞活動撰寫兩篇藝術評論。除欣賞本地知 名藝團的演出外,視覺藝術科的學員更有機會到廣州參觀展 覽。誠蒙星島日報的熱心支持,優秀的作品將刊登於報上。 敬請密切留意下期季度通訊!

座談會完結後,黃寶兒女士與各學 It is such a memorable experience for

的講解。 g the explanation of Victor and Mandy.

才和(右)及嚴明然(左)。 hearts and souls of Y-Space.

學員一同拍照留念。 the students, with Ms. Bonny Wong (at the centre).


Sponsored by Hong Kong Arts Development Council, AFTEC and HKU Space are now jointly offering a pioneering 1-year Certificate Course in Arts Criticism. Upon the completion of the elective modules of Music, Dance & Film, a new phrase of electives, covering Cantonese Opera, Visual Arts and Drama, has been started in the early September. A piece of critique is usually based on an individual performance or exhibition, yet the vision of the arts organisations is important in shaping the arts, which should not be overlooked. To know the works going on behind the scenes, visits to the Y-Space and the West Kowloon Cultural District Authority were organised in September, 2012. A Visit to the Y-Space – The Return of the Buffalo! Before the rehearsals, Victor Ma, the Artistic Director and Mandy Yim, the Director of Outreach and Education explained to the students their ideas and concepts of the choreography – how to portray, with the aid of storytelling, the serenity in local suburban through modern dance, which is rather abstract. Throughout the discussion, the difficulties in running a dance company in Hong Kong was mentioned, still they are very much passionate of dancing. An excellent critique is neither about recording the performance nor telling its content. It is always about revealing how the artists create their works with delicacy and perseverance, which are found in Victor and Mandy. Date: 9th September, 2012 (Sun) Time: 5-8 pm An Introduction to the West Kowloon Cultural District Authority We are glad to have Ms. Bonny Wong, the Director of Chief Executive Officer’s Office, West Kowloon Cultural District Authority (WKCDA) as the host of this talk on the development of this exciting cultural project. As the great lovers of arts, students had a dialogue with Ms. Wong on its local development, which shows their anticipation to the establishment of the world-leading cultural hub. Date: 18th September, 2012 (Tue) Time: 7:30-9 pm We would like to show our hearty appreciation to the two organisations mentioned above, for their help in nurturing the future arts critics. In the coming months, students will have chances to attend performances and exhibitions with their tutors, followed with a discussion. They will write critiques on these activities. With the generous support of Sing Tao Daily, excellent works will also be published publicly on the paper. Further information will be out in the next issue!


特別消息:恐龍未滅亡? 在西灣河尋找《迷失世界》 Special news: Do Dinosaurs still exist? The Lost World in Sai Wan Ho 由生物學家查教授、新聞記者馬毅華 和其他專家組成的遠征隊伍,前往南 美洲的一個神秘領域,經歷重重險 阻,只為向世界證明恐龍仍然存活。 他們能否成功找到恐龍?猿人的真正 身份是什麼?「藍色粘土」的線索是 否可以帶領他們到達夢想之地?最新 消息請留意下一期季度通訊。 賽馬會前瞻劇場教育計劃 ® 「從文本到舞臺 」 《福爾摩斯》作者柯南 • 道爾 《迷失世界》 經典科幻小說,曾改編成電影 《侏羅紀公園》 演前工作坊 日期: 二零一二年十二月至二零一二年三月 學校專場演出 日期: 二零一三年三月八日至二十八日 地點:西灣河文娛中心劇院 演後工作坊 日期: 二零一三年三月至二零一三年五月 適合中一至中六學生參與及欣賞

Edward Malone, a reporter for a newspaper, together with Professor George Challenger and other professionals formed a team to go on an expedition to South America. They want to prove that dinosaurs did exist. They want to show the world that the lost world really did exist. Did they find any dinosaurs? Who are the ape-men who captured two of their team members? Why did someone collect blue clay? Please pay attention to the next issue for updates.

Jockey Club “From Page to Stage ®” Programme 2013 From the Author of Sherlock Holmes Sir Arthur Conan Doyle’s The Lost World A Classic Sci-fi! The Original Jurassic Park! Pre-show School-based Workshop Weekdays in December 2012 – March 2013 Theatre Production Dates: March 8 – 28, 2013 Venue: Sai Wan Ho Civic Centre Theatre Post-show Workshop Weekdays in March – May 2013 Eligibility: S1-3 & S4-6 students


2012-2014年度 駐團藝術教育家:羅乃新女士 Artist in Education 2012-2014: Miss Nancy Loo

實習生在AFTEC的日子 A summer with AFTEC


2012-2014年度 駐團藝術教育家:羅乃新女士 Artist in Education 2012-2014: Miss Nancy Loo

誇啦啦藝術集匯將「駐團藝術教育家」的名銜贈予對藝術 教育充滿熱忱的藝術家。該藝術家可來自不同的藝術範 疇。在駐團的兩劇季期間,本團期望能透過駐團藝術教育 家的專業知識和經驗,與他作出對藝術和教育別具意義的 交流。 我們十分榮幸邀得本地知名鋼琴家及教育家 – 羅乃新女士 成為本團首名的藝術教育家。羅女士從事藝術教育多年, 致力培育本地年青音樂家,讓他們可以隨後負笈海外, 進修音樂。較鮮為人知的是,羅女士珍藏了不少令人心醉 神迷的唱片,並熱衷於監獄事工的義工服務多年,尤其是 與21歲以下的年青罪犯的合作。 早於本年七月,羅女士已參與本團的演出 – Karaoke Drama, Poetry, Songs with Live Music,與敲擊樂家龍向榮博士及本團 行政總裁 / 策劃邱歡智女士於西灣河文娛中心劇院聯手, 為6至16歲的觀眾打造了多場融入文字及音樂、別具互動性 的表演。


羅女士在 Sm-ART青年計劃中授課的情況,可見她深受同 學的愛戴。 From the situation in class of the SM-ART Youth Project, we can how popular Nancy is among her students.

The Absolutely Fabulous Theatre Connection’s “Artist in Education” title is bestowed upon an invited practising artist of high calibre who is involved in and very passionate about learning in and through the arts. The artist may be from any art form. Through his/her expertise and experience, an artistic and educational dialogue is engendered between AFTEC and the artist. Each residency is for two seasons. We are proud to present well known pianist and educator Nancy Loo as the first “Artist in Education”. Nancy has been instrumental in grooming many young musicians in Hong Kong who have gone abroad for their further studies. Lesser known is the fact that she has a very large and fascinating collection of music CDs that will delight any one. A well kept secret is that Nancy has been actively engaging in prison music ministry for many years, particularly with young offenders under 21. With AFTEC, she began her residency in July with Karaoke Drama, Poetry, Songs with Live Music. Together with percussionist Dr Lung Heung Wing and AFTEC CEO/facilitator Lynn Yau, participants from 6-16 were interactively engaged in words and music sessions over many shows at the Sai Wan Ho Civic Centre theatre. “Arts education is life education. Arts and life are simply inseparable,” says Miss Loo. “Arts education is often more than equipping our youngsters with skills. It is a learning process to deal with hardships.” She believes “the arts are our lifelong companions, which accompany us to get through the ups and downs in life.”

對羅女士而言,「藝術教育等同生活教育,因為藝術與生命 息息相關,不可分割」。學習藝術無疑能讓同學獲得一種 技能,更是一個學習面對逆境的過程。她深信「藝術是人 們生命中的好伙伴,能一同經歷風雨」。為了推廣藝術, 在未來的數月,羅女士將積極參與另外兩個獨特的計劃: 1. Sm-ART青年計劃: 一個以教育及研究為主、跨代的藝術教育計劃。計劃 的研究結果將遞交至聯合國教科文組織藝術教育觀測 所,作為發放全球的參考案例。本計劃由何晶潔家族 基金贊助支持。 2. 香港大學李嘉誠醫學院醫學人文科: 一個透過藝術,讓醫科生學習人文科學的計劃。誇啦啦 藝術集匯為計劃之社區學習伙伴。 就未來數月的計劃,羅女士期望藉此能「送給孩子一份 終身受用的禮物」。在此預祝各個課程能順利進行, 羅女士和同學們也能夠享受藝術的樂趣!

Upcoming, Nancy will also be instrumental in two other unique programmes: 1. the SM-ART Youth Project: an inter-generational arts transformation learning programme that has teaching and research as key components with the latter a Star Project for the UNESCO Arts in Education Observatory. This Project is supported by the Jean C K Ho Family Foundation. 2. Medical Humanities Programme of Li Ka Shing Faculty of Medicine, The University of Hong Kong: a humanities project working with medical students through the arts. AFTEC is a community learning partner of the Programme. Coaching in the above programmes, Nancy views herself as bearing “a gift which will last a lifetime, to the students”. We herewith wish the programmes a great success. More importantly, both Nancy and the students would enjoy their time with arts!


實習生在AFTEC的日子 A summer with AFTEC R - Raymond T- Tiffany

R - Raymond T- Tiffany


Before the internship began...

R: 完成了新高中中學文憑考試後, 很感謝Lynn給予自己在誇啦啦實習 三個月的機會!自己在誇啦啦從來都 是活動的參與者,但這次寶貴的實習 機會卻是製作團隊的一員。

R: Thank you Lynn for giving me the opportunity to have the 3-month internship, when I completed the New High School Diploma of Secondary Education Examination. I have been participating in AFTEC’s activities and productions. This internship experience enables me to become a member of the production team.

T: 由於較少接觸 劇場及藝術行政 工作,到誇啦啦 藝術集匯實習 前,我預想不到 自己會從中得到 些什麼,但這不 正如現實世界那 樣,充滿著無限 的可能?這也正 是劇場世界引人 入勝的特點 — 神秘而無法預料。

Raymond曾參與由誇啦啦主辦的不同製作和藝術培訓,於近期製作《胡妮晶傳》中飾演公證人。 Raymond has participated in different productions and activities organized by AFTEC. He played Notary in the recent production Volpona.

T: Having little experience in theatre and arts administration, I honestly had no idea of what I would get out of the internship. But is this not exactly like the real world out there, where we most often find ourselves stumbling upon random opportunities leading to the discovery of endless possibilities? And so this exactly mirrors the world of theatre – unpredictable, mysterious and often very spontaneous – yet the reason why it is so inviting, so charming.

Tiffany(左)和另一名實習生Vanessa於大堂的展覽,與合作成果拍照留念 。 Tiffany (Left) and another intern Vanessa took a photo with their work at the foyer exhibition.



Work and duties during the internship

R: 在實習的期間,我亦協助了數個項目計劃的製作,認識 並有機會嘗試到藝術行政的工作,包括聯絡學校媒體、訂 立宣傳策略、設計演出展覽等工作,這都是對自己十分難 得並新鮮的經驗,一方面是因為過往在學校難以有機會擔 當此得工作;另一方面,能夠將自己的所想的意念付諸實 行,皆確是充滿成功感。

R: During the internship, I learned and experienced the work of arts administration, including communicating with school and media, planning marketing strategy, designing exhibition content. These are rare opportunities that cannot be found in secondary schools. Also, it is satisfying to realize my own ideas.

T: 我最主要的工作是《胡妮晶傳》於西灣河文娛中心文娛 廳及大堂的展覽,在觀賞者的眼中,可能只是數塊展板, 但策劃展覽是一個漫長的過程。從中我學會了橫向思考, 以創新的方法解決問題。而策劃一個關於劇目的展覽,需 要深入了解主題、角色關係,更要考慮製作的物流。整個 過程讓我更欣賞劇場製作,尤其是相對其他藝術形式如舞 蹈、繪畫的複雜性。 從AFTEC同事及其他實習生身上學習 R: 在公司中,自己實是年紀最小的一個實習生,並且只是 擁有中學畢業的資歷。當與不同的實習生於不同計劃上合 作時,深深體會到他們做事的組織及條理,而相比起自己 中學生的思維,正好突顯到大學所訓練學生的批判邏輯。 其他實習生做事先有可行的計劃,更重要是每事設立好完 成的日期。他們有系統的做事方式使自己有學習的榜樣。 而在與同事相處上,自己亦感愉快,並且從他們身上都看 到做事一貫盡力的態度,但求令製作項目更成功。 T: AFTEC集合了擁有不同經驗的成員,或許我最大的得 著是從與他們的交流而來,尤其是Lynn與Ruby,他們對 於藝術均有獨特的見解,讓我反思自己的內在價值及對藝 術、生活的態度。現在我經常反問自己一些有關哲學及存 在的問題,我相信這些都能協助我探索生命的意義和自我 價值。 用一句話來總括這次實習的體驗 R: 整體而言,這是自己進大學前,在社會一次很寶貴的學 習體驗! T: 作為一個高中畢業生,有人會認為這個夏天是盡情玩樂 的假期,但對於我來說,卻是一個與眾不同而非常值得的 經驗。

T: One of the major projects I was involved in was the foyer and Cultural Activities Hall exhibitions for Volpona. From an outsider’s point of view, the exhibition merely consists of a few panels and displays, yet curating this exhibition has been a long process. But it certainly paid off – I have learnt to be organized, to think laterally, to come up with creative solutions – all these essential skills will undoubtedly come in useful. Curating an exhibition about the play inevitably involves gaining a more than superficial understanding of the play – its themes and characters and not least the production logistics. This has furthered my appreciation of theatrical work and its inherent complexity compared to other art forms, such as dance and painting. Learning from colleagues and other interns R: I am the youngest in the team. When cooperating with the other interns in different projects, I am deeply impressed by their organizational skills. They will first come up with a feasible plan, followed by setting deadlines for each task. Such critical judgment and logic are what the university can train. Also, I learned a lot from my colleagues. I see how they do their best to make a more successful production. T: I believe AFTEC truly brings in people with different mindsets and varying experiences in arts. Perhaps what I have gained the most from, has been interacting with my colleagues, understanding their unique approach to the arts, especially those of Lynn and Ruby. This has prompted me to reflect on my intrinsic values and reconsider my attitude towards the arts, and even to life. I now find myself constantly questioning my own beliefs and considering philosophical, bordering on existential questions which I believe is important to finding meaning and self worth in life. A sentence to summarize your internship experience R: In all, this is a valuable learning experience in the society before I start my university life. T: As a high school graduate, this summer – seen as a party-day-andnight honeymoon by some of my peers – has been an unconventionally spent but definitely worthwhile one for me.


承先啟後,分享學習成果 A Share of Knowledge

誇啦啦青年劇場短片脫穎而出 獲2012倫敦國際藝術會議採用 AFTEC’s Video “Youth Theatre and Arts Learning” was screened in London!

「貪婪是好的?」 青年先鋒雙語劇場《胡妮晶傳》圓滿落幕 “Greed is Good?” The Youth Theatre in Chinese of Volpona is SuccessfullyStaged


承先啟後,分享學習成果 A Share of Knowledge 時間過得真快!一年光景後,誇啦啦前年青演員陳泰然早前 返港度暑假時,為曾參演過誇啦啦先鋒青年劇場的演員義務 主持了一個演技工作坊。他率領一眾在學的年青演員,透過 不同的劇場遊戲,探索即興劇創作的樂趣。他亦樂於分享 他學習戲劇的趣事和點滴,鼓勵年輕同學要勇於追求夢想。 是次導師陳泰然曾於誇啦啦藝術集匯英語青年劇場《真假 大兜亂》(Rosencrantz and Guildenstern Are Dead) 中飾演魯慎格 (Rosencrantz)。2011年,他更撃敗4千多名學生獲著名的 倫敦大學招收修讀演藝課程,後獲私人企業資助,負笈海外。 Time passes swiftly! After a year’s time, James Chan, the previous actor, was back for his summer vacation. He voluntarily launched an acting workshop for the other youth actors in the other AFTEC’s productions. By playing a variety of theatre games, they explored the excitement in improvisational acting. Meanwhile, by sharing with us his precious and unforgettable moments during his studies of acting, James encouraged the younger fellows to boldly pursue their dreams. With a sponsor’s generous support, James Chan, a young but talented actor who played the leading role, Rosencrantz in Rosencrantz and Guildenstern Are Dead, beat more than 4000 candidates and won a place at the internationally prestigious Central School of Speech and Drama, University of London in 2011.



AFTEC’s Video “Youth Theatre and Arts Learning” was screened in London! 專誠為「誇啦啦青年劇場」籌備拍攝的短片(Youth Theatre and Arts Learning)在一眾國際短片中脫穎而出,已獲得倫 敦國際藝術會議採用及在9月份的會議上播出!

Our video, namely “Youth Theatre and Arts Learning” was selected to be screened during the Worlds Together Conference in September 2012. This is an international event in London where hundreds and thousands of people will know about the learning and achievements in the arts and culture of our youth.

YouTube短片(一): 誇啦啦青年演員 X「經典太美」

YouTube短片(二): 誇啦啦青年劇場和藝術學習體驗

YouTube Video 1: AFTEC We Love the Classics

YouTube Video 2: AFTEC Youth Theatre and Arts Learning


「貪婪是好的?」 青年先鋒雙語劇場《胡妮晶傳》圓滿落幕 “Greed is Good?” The Youth Theatre in Chinese of Volpona is Successfully Staged 改編自瓊森的經典喜劇 Volpone、由一 眾專業演員及年青演員合演的《胡妮 晶傳》公演四場後圓滿落幕。本劇雖 以粵語演出,並將舞臺背景設在現代 香港,但仍不改誇啦啦藝術集匯的堅 持:透過接觸大師級話劇,讓年青人在 劇場中獲得一次次難忘的經歷。 演後座談會發人深省 在8月26日的下午場後,本團榮幸邀得 資深藝評人、國際演藝評論家協會 (香港分會)董事鄭威鵬博士(小西)主持 演後座談會,與導演黃清霞博士和 翻譯黎翠珍教授對話,分享對戲劇 創作及《胡》劇主題的獨到見解, 內容充滿睿智,引起觀眾不少反思。

Adopted from Ben Jonson’s Volpone, Volpona was successfully staged by the groups of professional actors and the youth actors for 4 shows. Although the script is translated into Cantonese whilst the setting is changed into the modern Hong Kong, it never amends AFTEC’s persistence in breeding our youngster through performing the classics Post-show Discussion Inspiring the Audience It was truly our honour to have Dr. Damian Cheng, a veteran theatre critic and the Board Director of International Association of Theatre Critics (Hong Kong), as the moderator of the Post- show Discussion after the matinee on 26th August. In this fruitful Discussion, Dr. Vicki Ooi, the Director and Prof. Jane Lai, the Translator, were invited to share their thoughts on the production and the theme - ‘greed’, which fascinated the audience and arouse much reflection.

演出詳情 日期及時間: 2012年8月24日(五) 8pm; 2012年8月25日(六) 8pm; 2012年8月26日(日) 3pm 地點: 西灣河文娛中心劇院 Performance Details Dates and Time: August 24 (Fri), 2012 8pm; August 25 (Sat), 2012 8pm; August 26 (Sun), 2012 3pm Venue: San Wan Ho Civic Centre Theatre


1. 鄔婭 (譚家敏飾) 、杜雅 (周若楠飾) 和英就太太 (庾春鳳飾) 為爭奪「好友」胡妮晶的遺產 不擇手段,笑料百出。 Laughter was burst out when Miss Crow (played by Amy Tam), Mrs. Raven (played by Nancy Zhou) and Mrs. Vulture (played by Doris Yu) used all possible means for getting Volpona’s fortune. 2. 胡妮晶和她的手下倉影整天在盤算騙財的計謀。 Volpona and Mosca are planning for their wicked ploy. 3. 鄭威鵬博士 (左) 、黃清霞博士 (中) 和黎翠珍教授 (右) 在討論會中認真解答觀眾的提問。 Dr. Damian Cheng (Left), Dr. Vicki Ooi (In the middle) and Prof. Jane Lai were answering the audience’s questions on the stage. 4. 一眾年青演員投入地演出,享受在舞臺上的時光。 A group of future stars glows on stage. 1.

觀眾、年青演員好評如潮 演出後,觀眾踴躍發表感言,讓我們切實地了解到您們的 想法。以下是其中兩位觀眾對此劇的評語: Rave Reviews from the Audience and the Youth Actors The audience surveys collected after the performances enabled us to know more about your thoughts. Great acclaims from the audience:

製作認真、佈景吸引,譯本更別具水準! The production is taken seriously, the backdrop is stunning, and the script is up to standard. 誇啦啦藝術習匯,感謝您!請繼續致力製作更多 佳作,培育本地具潛質的年青演員。 Thank you, AFTEC! Please continue with the good work and nurturing the young talents.


從演員的反思,我們更確信戲劇能讓年青一代擴闊眼界, 使他們獲益良多。 Based on the reflections below, our belief on how drama productions broaden the youngsters’ horizon is once again confirmed! They did learn a lot from the participant in Volpona.



參與這製作後,我成長了不少, 因為誇啦啦的演出是專業的。作為其中一份子, 只是學生的我亦需要學習並表現出 專業的操守,認真地對待這個演出。 From joining this production, I did grow quite a lot because AFTEC’s productions are always the professional ones. Being one of the participants, I understand the importance of being professional in every matter, even though I am just a student. Attitudes prove your seriousness. 張灝源(飾演公證人) Raymond Cheung (as the Notary)


從面試、綵排、度身、試妝、技術綵排到 真正的演出,這製作豐富了我對戲劇的認識, 了解到臺前幕後各個單位的協作是何等複習, 充分體現到團隊精神的重要。 In between the audition to the actual performances, various preparations, including the rehearsals, costume measurements, make-up trials, technical rehearsals and etc., are needed. Throughout this experience, my knowledge of drama is highly deepened. I understand how complicated yet crucial the communication between the performers and the backstage are. Their cooperation fully resembles and emphasises the importance of team work. 潘國銘(飾演記者/僕人) Ronald Poon (as the Reporter/ Servant)



請予支持 Support AFTEC 誇啦啦藝術集匯是一慈善團體,依靠贊助和門票收益作營 運經費。目前康樂及文化事務署透過場地伙伴計劃給予誇 啦啦的資助僅屬補貼性質,經費不足令劇團未能全面開拓 劇目。誇啦啦主力製作中文及英文的大師級劇目,並為年 輕人提供不同層次的藝術培育訓練。劇團需要各位慷慨解 囊,繼續支持這些有意義的工作。 所有逾$100的捐款或贊助均可從應貨稅中扣除。 以支票捐款者,抬頭請寫 「誇啦啦藝術集匯有限公司」,並郵寄至 鰂魚涌英皇道1069-1073號華廈工業大廈9樓C室。 為答謝善長之慷慨捐獻,劇團將把捐贈者之名列入本年度 所有場刊的鳴謝列上,以示感激。 查詢請電: 2520 1716

AFTEC is a charity that depends on sponsorship and ticket sales for its operations. Current funding under the LCSD’s Venue Partnership Scheme is only a subsidy and insufficient for us to develop full programmes. We specialise in staging Chinese and English drama productions by the master playwrights. We are also arts educators who develop multi-layered training programmes for young people. Please support our work by donating generously. Any donation or sponsorship over HK$100 is tax deductible. Please make cheques payable to “The Absolutely Fabulous Theatre Connection Co Ltd” and send it to c/o Room C, 9/F, Wah Ha Factory Building, 1069-1073 King’s Road, Quarry Bay. Your donation will be gratefully acknowledged in all our house programmes for the year. Enquiries: 2520 1716


誇啦啦藝術集匯為西灣河文娛中心場地伙伴 The Absolutely Fabulous Theatre Connection Co. Ltd (AFTEC) is the Venue Partner of the Sai Wan Ho Civic Centre

如有任何意見或查詢,歡迎隨時與我們聯絡。 香港鰂魚涌英皇道1069-1073號華廈工業大廈9樓C室 電話:(852) 2520 1716 傳真:(852) 2529 5385 電郵

For any enquiries, please feel free to contact us: Room C, 9/F, Wah Ha Factory Building, 1069-1073 King’s Road, Quarry Bay, Hong Kong Tel: (852) 2520 1716 Fax: (852) 2529 5385 Email: