25.06.2021（五 Fri）8pm 26.06.2021（六 Sat）4pm & 8pm 27.06.2021（日 Sun）4pm 香港大會堂劇院
Theatre, Hong Kong City Hall
由於演出的特別安排，遲到者將不予進場，敬請準時入場！ 演出長約 60 分鐘，不設中場休息 語言無障礙 Due to specific arrangement, NO latecomers will be admitted. Audiences are advised to arrive punctually! Running time of each performance is about 60 minutes without intermission. Language not a barrier
演後分享會 After Performance Sharing
03.07.2021（六 Sat）4:30pm 艺鵠 ACO
嘉賓 guest
14/F, Foo Tak Building, 365-367 Hennessy Road,
退休教授，現時主要從事繪畫活動
香港灣仔軒尼斯道 365-367 號 富德樓 14 樓 Wanchai, Hong Kong
免費參與ﾠFree Admission
廣東話進行ﾠConducted in Cantonese
陳育強 Kurt Chan
Retired professor and visual artist
分享會場地支持
Venue Support for Sharing Talk
如遇特殊情況，主辦機構保留更改節目及表演者的權利。 節目內容並不反映香港特別行政區政府的意見。 The presenter reserves the rig ht to change the programme and substitute artists should unavoidable circumstances make it necessary. The content of this programme does not reflect the views of the Government of the Hong Kong Special Administrative Region.
劇場可以是一幕幕風景畫， 劇場亦可能是一個電影院，
劇場是劇場的時候，可以扮演不同場域，
又可以作為「現場」，展現藝術家、表演者最當下與觀眾共感創 作的一刻。
鏡框式劇場，給予觀眾一個角度進入，
不經意間，從一種框遊走到另一種框…… 尋索的是一種「意狀」 （state of mind）。
《躺在桌上的物件》源自對 Gertrude Stein 提出有關「風景劇場」 （landscape theatre）以及她創作的同名劇本的觸動：視覺的、
非敘事式、意狀的。創作從桌上的物件出發，以物象、景象與 影像去構作，引發對於繪畫、影像、投映，以至舞台 / 劇場等
不同創作框架的思考。
Theatre can be the scenes of landscape paintings. It can also be a cinema. When a theatre is a theatre, it can create spaces of illusions. Theatre can simply be a ‘site of presence’, where artists, performers and audiences conceive a work synchronously. The proscenium stage provides the audiences with a perspective to enter, Inadvertently, from a frame to another; the frames transform, or we transcend… Realising that the ‘state of mind’ is what we are looking for. Originated from Gertrude Stein’s notion of ‘landscape theatre’ in which visual, non-narrative and state of mind were highlighted in theatre poetics, this work is inspired by the writer’s lesserknown play Objects Lie on A Table. Simulated by objects that lay on a table, the setting progresses from still lifes to sceneries and cinematic constructions. From there, the journey will go forth to a boundless realm of rethinking painting, moving images, projection, stage, theatre and so on.
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章節ﾠ|ﾠEpisodes
1.
桌上物件
勿靜之間
Objects Lie On A Table
The Room Is Not Still
桌， 是 空 間 裏 一 個 關 鍵 的 部 分。 桌 與 桌
房間裏，沒有敍事者身影，也沒有物件陳
面。靜物在水平線上面，才站得安穏。從
設。看似虚，看似空。但不知從哪裏來的
圖，也是物之身，人之心的扣連。
覺的空間、聲音的空間。房間，一直沒有
The table; a crucial component in the
No narrators are there in the room. No
space. The table and the tabletop.
objects are on display. Seemingly void,
Only when the still life lands above the
apparently empty. Then comes the light
horizon, it can stand firm. From the
and shadow from nowhere, sound of
object-filled picture to the intervention
water from elsewhere. Thence a visual
by hand; composition of the drawing
space; an audio space. The room, never
is the connection between the object’s
silences completely, ‘speaks’ faintly in
body and the human heart.
silence.
只 有 物 的 畫 面， 到 手 的 介 入； 是 畫 面 構
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2.
光影，不知從哪裡來的水聲。因而有了視 完全靜下來，含糊沉默地「說話」。
4.
3.
房子猶在
無為底地
The House Is Always There
This Land That Is Not
被攝的大廈景像，平面的。印刷的墨被工
舞台成為桌面，龐大而黑漆漆的靜物，徐
整地擦去。似乎是減 ( 寫實圖象 )，或許是
徐移動。這一切，都可能因為有了背面的
住的事物，微小如塵，巨大如樓宇，距離
如天上的雲在地成影，沿著山的形狀，在
加 ( 抽象痕跡 )。故此，無所謂缺席 。記
光，才有正面的影。而日照總是移動的，
如長街。記得的，猶在。
山 脈 之 間 遷 移， 時 顯 現 時 消 失。 離 留 前
The view of a photographed building;
The stage becomes a tabletop; a giant,
a flat image. The ink from the print,
black still life moving slowly. All these
neatly erased. As if a subtraction
that appeared, possibly caused by
(realistic image), perhaps an addition
the light from the back; the shadow
(abstract mark). Therefore, absence is
emerges in the front. The sunlight is
not what is called. Things to remember
always shifting, like the clouds shading
are small as dust, large as a building,
the ground. They trace the shape of the
and far as a long street. What is
mountains, move from ranges to ridges,
remembered is still there.
sometimes appears and sometimes
後，總帶著不確定的虛無。
vanishes. Before and after the stay and departure, the unpredictable void always drifts along.
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策劃人語
觀看自身在觀看 黎蘊賢
觀看的方式
「風景畫」自然而然是一種「way of seeing」。在本身沒有邊界的大自然中，放 一個取景器，選一個角度，然後將風景搬進畫框之內、畫布之上。 假使觀者看得投入，進入了風景，便會忘記畫框的存在。 不只是繪畫，其他媒介創作亦然，有的創作（人）會在有意或（更多是）無意之 中，將框隱沒 / 忘卻，引領觀眾投入當中內容。正如很多的劇情片、戲劇演
出，都在引領觀眾忘記框的存在，代入故事情節，感受當中要言說的內容。
而現時出現的很多沉潛式劇場與新媒體沉潛式裝置體驗，塑造內容的同時， 更是在探索框的極限。
擔任策劃人這角色，令我對媒介的框尤其敏感，也因此養成一種相對抽離地 專注看框的習性。框不一定有實體，它可以是一種前設、結構、體制、運
作，作為一個起點。有框，就有了一種觀看的視點角度、態度、喜好……
而它們其實都在暗暗指向某種「way of seeing」。
今次策劃的框，實體來說，有傳統鏡框式的舞台（劇場）的框架，但它其實只
是作為一種對照，從而顯見不同觀看媒介的方式；非實體的，是來自兩位視
覺藝術家的碰撞而產生：一位從繪畫、攝影到裝置，另一位從影像至多媒體 創作，她 / 他們本身對繪畫、攝影、影像等構作的思考方式、創作習性及素
質，當中對物象、空間及時間的看法、觸覺和感應，各有不同，邀請視覺藝
術家走進劇場的架構、現場時空，面對着在黑暗中凝視著的觀眾，固有的創 作方式如何延展？
感謝創作人的信任，參與了這次創作實驗。
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媒介的反思
《躺在桌上的物件》本身是一個劇場文本，但文本沒有套用在這個演出之中。
反而，創作人將物件赤裸裸地陳列開來，以「靜物」的身份參與演出。當劇場
演出離開文本的依據，強調物象、景象、意狀等純粹性展現，在與創作人討 論劇場構作（dramaturgy）的過程中，其實也要以另一種非文本主導式的構作
模式去思考、叩問。因為在這個製作，創作人要表達 / 展示的，不是「意義」 構作。即使討論語境（context），亦不必然是社會文化歷史性的參照，而是媒
介本身、類型本身。
在 這 個 製 作 的 過 程 中， 我 重 讀 了《 New Media Dramaturgy: Performance, Media and New-Materialism》一書。當中提到的「新媒體劇場構作」，雖然
討論的是「數碼媒體及技術」（digital media & technology）主導的劇場作品
的構作，但它卻提醒了我，「 media dramaturgy」作為討論這次劇場構作的 另一切入方向，不必然是「新媒體」 （new media），「媒體」可以包括繪畫、攝
影、流動影像及投映，放在劇場框架之內，卻有別於「服務」劇情文本的運 作，而是以觀看不同新舊媒介本身的法則（ rule）與文法（grammar）作切入， 去討論推進劇場構作的可能。
我們既投入地觀看一幕幕風景，亦同時在觀看媒介本身，不為意間，發現自 己正以不同模式在觀看著……
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Curator’s note
Seeing Yourself Seeing Orlean Lai
A way of seeing A ‘landscape painting’ is a quintessential ‘way of seeing’. A painter places a viewfinder in the unbounded nature, picks an angle, and then transfers the landscape into the frame and onto the canvas. If viewers are absorbed by the scene, they naturally enter the landscape and forget the presence of the frame. The chemistry isn’t only found in painting but also in other media. There are creators who, either intentionally or (more often) unintentionally, conceal or neglect the frame, and draw the audience into the content. As in most plays and movies, the viewers are led to be unaware of the frame, soaked in the story and infiltrated in the plot. The prevalent immersive theatre and new media immersive installation nowadays are striving to cast the content, while questing for the utmost extent of the frame. The curator role has fostered me to develop a peculiar sensitivity to the frames among different media. Over time I’ve become inclined to the habit of detaching and mesmerising the frame. The frame isn’t necessarily physical, but rather a precursor, a structure, an institution and a practice, as a starting point. With frames, we found perspectives, attitudes and preferences... They all subtly point to certain ‘way of seeing’. The frame of this project in terms of its physical form, comes with the framework derived from the traditional proscenium stage format, but indeed only provokes a contrast to reveal alternative ways of viewing the medium. On the other hand, its non-physical state is commanded by the collision of the two visual artists. One of them maneuvers from painting and photography to installation. Another juggles between moving image and multimedia art. They hold unique perspectives, customs and qualities in painting, photography, moving image and other creative approaches. How do they perceive, sense and echo with objects, space and time? Inviting visual artists into the time, space and structure of the theatre where audiences are intently gazing their subjects in the darkness, how are they going to open out the conventional way of art and performance making? Thank you to the team for your trust and involvement in this creative experiment.
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Reflection on media Objects Lie on A Table is a play, but its theatrical text is not employed in this performance. Instead, the artists lay the bare objects out, and let the ‘still lifes’ perform on the stage. When a theatre performance is segregated from its text and concentrates on the pure expression of imageries, forms, physicality and scenes, as I discussed our dramaturgy with the artist duo, we tend to think in a non-text-driven mode of construction. In this production, what we want to express or illustrate is not a construction of ‘literal meaning’. Even if we want to address on the context, it doesn’t necessarily need to reflect on social, cultural or historical aspects, but to focus on the medium and artform itself. I re-read the book New Media Dramaturgy: Performance, Media and NewMaterialism over the course of this production. The idea of ‘new media theatre construction’, although primarily relating to theatrical works driven by ‘digital, media and technology’, reminds me of ‘media dramaturgy’, as an alternative approach to analyse on the making of this work. It is possible not to weigh media dramaturgy merely on ‘new media’, but to consider ‘media’ in a broader sense, in adopting painting, photography, moving image and projection into the frame of theatre performance formation. Instead of ‘serving’ the textual plot, we aim to consider different rules and grammar of the old and new media as anchor or reference for the construction of work to move forward. As we attentively look at the scenes, we are also gazing at the media themselves. Inadvertently, we found ourselves adapting in multiple ways and modes of seeing...
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創作人語 馬琼珠
已記不起早在那個時候，當時同是島民的 Orlean 在往返坪洲的渡輪上，問我 想不想參與劇場創作。現在回想起來，從早年（2001 至 2007）自己的裝置藝術
創作開始，對於「空間」，總抱有以不同形式去親近的強烈欲望。後來，這個
「空間」，再輾轉地回歸到從平面的繪畫和攝影去構作，而電影，曾經是一個 重要的融合和過渡。以往（2010 至 2017），我曾經在一些電影裏，發現了與故
事情節並行的，是一種類似繪畫的質感和連續出現的攝影構圖。
我想我最早認知的美學，是從繪畫而來的。繪畫是平面美學，但它並非沒有
空間，它的空間屬於暗示性——經由畫的邊界，進出畫內外的想像。畫的內
容是一種凝固的圖象，看似沒有運動，但它並非沒有時間，例如它透過顔色
表現光暗變化，以缐條形狀經營流動。
把以上繪畫的特點，置於劇場的話，要如何伸延和互換，是這個作品的原 初思考據點。
✻ ✻ ✻ ✻ ✻ ✻
畫的「框」和劇場的「框」
法國精神分析學者彭塔利斯（J.-B. Pontalis）在《窗》（Windows）一書中題為
「框」的章節中說到「框，是一個必要條件，使得精神現實得以佔據整個空間。 而透過心理分析，讓思想、記憶、言語動起來。畫家需要畫布的邊界呈現無
限風景，所以一盞燈並非只是物件，而是那無限光源。正如劇場需要舞台，
場景也是另一種風景。而攝影，其藝術水平很大程度上取決於框架的質素。」 他說明了框不是一種限制。具意識的邊界，是為著無意識可在形式內被感 受、被體會。
✻ ✻ ✻ ✻ ✻ ✻
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已記不起在那一個階段，創作監製 Orlean 給我看了 Gertrude Stein 的一個
名為《Objects Lie on A Table》劇場文本。我最初拿著重覆唸讀，漸漸「聽到」 一片混沌的景象。意圖摒棄推進劇情的對白，也沒有人物角色的設計。所謂
「故事」，就如靜物畫作裏陳述的一事一物，不動聲色的被直接呼喚，事物以 其自身狀貌反映自己。
德勒茲（ Gilles Deleuze）在《 Francis Bacon: The Logic of Sensation》一書中
寫道，「畫家並非填滿一幅空白畫面；反之，是清空和使其潔淨。」沒錯，一 切已在藝術正式發生前，遭遇過了。我們要做的是放下身段，謙遜地重述物 與事最單純的狀況。我在創作今次的劇場作品時，常想起這句文字。 ✻ ✻ ✻ ✻ ✻ ✻ 這本在你們手上正在被閱讀的印制品，如果你們能保存下來，它將成為物
件，隨你們定義。畢竟，被記載的更能拒絕遺忘。所以我必然要寫下 : 感謝
Orlean 促成這件事的發生和給予很多藝術創作上具啟發性的意見，感謝昆、 Dick、Gabriel、Wingo 的耐心和信任，樂詩、和平、Grace、Wing 的機靈，
多謝 Phil 的出色攝影、Pollux 的設計。當然，還有遠方 Mark 的能量。
在我 7 月份離開香港，開始一年半載的旅居生活前，能夠遇上這個創作機會，
我視這作品為可收進我的行李的禮物，體積雖小，但意義重大。
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Artist’s Note Ivy Ma
I can’t remember when Orlean, who was also an islander at the time, asked me on the ferry traversing Peng Chau if I was interested in theatre production. Looking back, from the early years of my installation phase (2001-2007), I have always desired to approach ‘space’ through different forms. Later on, this ‘space’ was reverted to painting and photography. Film, on the other hand, once played a pivotal role as an important blender and carrier. In the past (2010-2017), I have discovered in some films that, alongside the storyline, a painting-like texture and a sequential photographic composition also coexist. The earliest aesthetics known to me originated from painting. Painting is a two-dimensional aesthetic, but has no lack of space; its space is suggestive — through the borders of the painting, an imaginary capacity passes through inside and out. The content of the painting is a frozen image, as if motionless, but not empty of time. For example, there are changes in light and darkness through colours, and fluidity and movements from lines. Putting the above characteristics of painting in theatre, with different degrees of extension and interchange, is the origin of this work.
The ‘frame’ of painting and the ‘frame’ of theatre French psychoanalyst J. B. Pontalis wrote in the chapter of ‘the frame’ in the book Windows, ‘The frame: definitely a necessary condition in order for psychic reality to take up the whole space, so that analysis can impart movement to thought, to memory, to speech. A painter needs the edges of a canvas for the infinity of the landscape to appear, so that a lamp is not only an object but also an infinite source of light; a theatre stage is necessary so that a scene is also another scene; the art of photography depends to a large extent on the quality of the framing.’ He explained that the frame does not serve the function to limit. Boundaries with consciousness are there so that the unconscious can be felt and experienced within the form.
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I can’t remember when did producer Orlean show me Gertrude Stein’s play Objects Lie on A Table. I read it multiple times and gradually ‘heard’ a scene of chaos. Dialogues that can advance the plot are discarded. No characterisation is found among the roles. The ‘story’, as it is called, is akin to a still life painting in which one thing is presented without being called upon directly, but reflects itself from its own state. In Francis Bacon: The Logic of Sensation , Gilles Deleuze wrote that ‘the painter does not have to cover a blank surface but rather would have to empty it out, clear it, clean it.’ He is right. Everything has happened before the art formally appeared. What we need to do is to humble ourselves and gently repeat things in their purest form. I often recalled these lines during this assignment. This printed matter, which is being read and held in your hands, if preserved, will become an object as you define it. After all, what is recorded is more likely to be exempt from being forgotten. So I must note: thank you Orlean for making this happen and her inspirational advice in the process. Thank you Kwan, Dick, Gabriel, Wingo for your patience and trust; LokC, Peace, Grace and Wing, for your generous support. Also, Phil’s photography and Pollux’s design. And of course, the energy of Mark from afar! I will leave Hong Kong in July for a year and a half of life elsewhere. This opportunity to create something new is a small but meaningful gift that I will pack along in the suitcase.
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創作人語
有關物件的看法 吳子昆
小時候看電視劇，得知一個神奇的事情，除了人及動物可以「成精」外，原來 物件也可以，甚至達到以人的形態出現。
本人並沒有任何研究，只是一個依稀的概念，印象中條件非常苛刻。第一，
必須有足夠時間，一般來說是一百年起跳，而且必須有特殊經歴，例如是遇
上佛祖，得到點化或遭遇到異常悲慘的事情，再加上自身努力修煉（也是以百 年計）。雖然是非常困難，但這個想法比「眾生皆有佛性」所要包含的東西多 更多，畢竟物件也可「升呢」，也總算是有出路。
但不同的物件成精後，仍然會帶著物件原本的特質。例如一顆樹成精後，他
仍然喜歡陽光，需要水和害怕火等等。如果是一個茶壺成精後，仍然喜歡暖 暖的熱水，也害怕掉到地上摔碎。
按照這想法，一些比較現代的物件，例如電器，能否透過這個出路成精成
妖？假如剛好有一個電視機或閉路電視，在一個可吸收日月精華，天地靈氣
的地方待久了，便可以化作人形。如果是閉路電視妖會有怎樣的特性呢？喜 歡終日看東西嗎 ? 如果喜歡看，應該看甚麼 ? 我認為他不太有所謂，反正只
是看，看一個人來人往的廣場也好、看著一個車站月台的局部也好、又或是 從來沒有人經過的幽暗的後樓梯出口也好，都是一樣。永遠從高處靜靜眺
望，可以在室內、也可以在室外，看著事情發生或完全沒有事情發生，都是 保持一樣的狀態。光線穿過鏡頭，聚焦在 CCD 上，化作影像訊號，每秒送出
25 幀。訊號發出後，他不會管是否能完完整整通過訊號線，訊號線有多長，
最終到達的是一個怎麼樣的地方，有否一台顯示器或錄影機接收，錄影機是
否正常操作，用 VHS 或硬盤，要換帶或硬盤空間夠不夠，有否保安一直盯
著看，或根本沒有人看……他都沒所謂。如果硬是要找他的特質，應該是冷 漠，所以他成精後，仍然是一隻冷漠的閉路電視妖。
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想到這裡，非常害怕一隻冷漠的閉路電視妖，比起貞子從電視裡爬出來還要
恐怖。在你發現他的存在以前，他已經忘了自己看了你多久，動也不動的在 牆角上，也許這是他的修煉方式。那顆亮著，像 HAL9000 的紅燈，你就知道
他在看。就是你忘了他在看的時候，他仍然在看。
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Artist’s note
Views on objects Ng Tsz-kwan
When I was watching television dramas as a child, I learned about something astonishing. Besides the fact that animals and human beings can be ‘immortalised as spirits’, in fact, objects can also rise to such conditions, and even appear in human form. Without doing any research, I had but a vague idea from the sketchy memory. I was under the impression that the conditions for such occasions to occur were very demanding. First, there must be sufficient time, usually 100 years to begin with. Second, it has to count on special experiences, for instance, enlightenment after meeting the Buddha, or suffering from an appalling tragedy. Third, one must strike very hard to achieve refinement, which is also measured by centuries. Although immensely challenging, this idea encompasses a lot more than the concept of ‘all sentiment beings have the Buddha nature’. After all, objects are capable of ‘elevation’. This can be considered as a way to succeed, too. However, even after different objects are immortalised as spirits, they still carry their innate characteristics. For example, a tree would continue to enjoy sunlight, need water and reject fire after turning into a spirit. Same for a teapot spirit which would cling to the warmth of hot water and worry of falling onto the ground. According to this idea, can some modern objects such as electrical appliances morph into spirits? Can a television or a CCTV set be personified in human forms after absorbing essence from the sun and the moon and sucking up spiritual energy of the heaven and the earth? What would be the personality of a CCTV spirit? Would it like to watch things all day long? If so, what should it watch? I don’t think what appears in the watchers’ eyes matter, as it’s just another standard process of gazing anyway, whether it is a square full of passers-by, a tiny patch of a station platform, or a long-abandoned dark back staircase exit... They are all the same. Always looking out from above, either indoors or out, for things happened or not, makes no difference to the watcher. The light passes through the lens, focused on the CCD and comes forth into an image signal, with a transmission rate of 25 frames per second. It doesn’t care whether the message completes through the signal line, how long the signal cable is, what kind of place it will eventually reach, whether a monitor or video recorder is available for reception, the VCR running is properly, VHS or hard disk is being used, retaping is needed or space is lacking in the hard disk, and there is security watching or no one is watching at all… Nothing really matters. If to reveal a trait from its nature, it would be indifference, which is why it remains to be an indifferent CCTV spirit.
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Thinking of this, I’m rather scared of meeting with the indifferent CCTV spirit, even more horrified than seeing Sadako crawling out from the cursed tape in the television set. Before you notice its presence, it has long been watching you, so long that it doesn’t even remember. Perhaps this is how it matures and refines itself. When the HAL 9000-like red lens is on, you know it’s watching. Even when you forget it’s watching, it’s still watching.
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四條邊 . 面對面 陳育強 退休教授，現時主要從事繪畫活動
四條邊，一對一
一幅畫介定了觀眾和作品相遇的方法，是面對面的訴説形式；舞台可以是一
幅畫的伸延，是一幅內容會動的畫。及後，藝術家擴展了繪畫而出現了裝置 藝術，而劇場也離開了單向舞台，發展了沉浸式多向度經驗。然而，畫框作 為窺視世界的窗戶的隱喻，並沒有因種種新的體驗世界的方式而變得不合時
宜，我們仍有窗、有門、有電視，有電腦屏幕……我們每天都碰到那令我們
感到熟悉安穩的，那四條互相垂直的邊。
繪畫是一種視覺藝術的體裁，也是一種態度，在新媒體多向度刺激的時代， 它的不合時宜會變得更合時宜，我們可以設想一幅畫只是面對一個畫家，一
幅畫也很多時只面對一個觀眾。一對一的關係是私密的，獨有的，也是在眾 聲喧嘩時代裏所必需的。
從一對一的看畫經驗，到一對眾多的劇場經驗，在昏暗的劇院燈光中可能得
到調解，劇場觀眾會有獨自一人的錯覺；但除了其他觀眾，其實也有台上台
下的溝通，演員知道你在看他，你的呼吸也許影響着他的步伐節奏。與新劇
場不同，如果不著意追求新鮮感和變化，傳統劇場所設定的，靜靜坐下面對 面的相處形式可能是最簡潔、最誠懇的溝通方式，就如同一幅畫的單純直 接，讓訊息自然流動，此消彼長，也讓觀眾變得主動積極。
靜物、空間
在室外看到的是風景，在室內看到的是靜物。 風景其實也是靜物，都是經過人工介入的「自然」—我們其實很難看到交通
工具去不到的地方—腳下的路，就是人對自然的介入。塞尚（Paul Cézanne） 的風景畫和靜物畫其實是相同的東西，他的蘋果和花瓶，其實是把立在地上
的風景，移置到桌上，成為可被任意移動的感情物件；而他的結論，卻是科 學地解構人如何「看亅，和物質世界的幾何構成。
塞尚的畫，是在解釋畫家如何看世界，他提供了一個框架，一個取景器。 莫蘭迪（Giorgio Morandi）的靜物畫讓我們看到物件的本質和關係。他用繪畫
的質感去體驗靜物物件的質感，繪畫於他是鍊金術，把看到的物件的世俗能
量轉換成精神能量；又把物件透過空間關係連結、凝固、提煉……靜物的實 與虛形成一體，空間也成為物件。
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畫室與舞台
畫室是畫家和自己對話的地方，他讓自己的作為包圍着自己，滋養着自己；
他建造與人隔絕的藩籬，移植他人的風景，來灌溉自己……畫室只容許燭 光，溫暖潮濕而安靜，畫室藏着不能被解釋的秘密。
舞台是公共空間，是把翻譯過的秘密公佈的場所，也是眾人交換秘密的地
方；它也是一個市集，一切看似明碼實價，但到處都是暗號，明眼人會會心 微笑，平常人就算不明所以，但各取所需。
畫家要到市集兜售他的作品，明眼人說：「先把畫框裝好再說。」畫框決定內 容的合理存在。
兩個導演一個劇場
馬琼珠是個畫家，她喜歡片斷，她切入世界的方式也是零碎的、片面的，世 界於她是事物片斷的總和，但貫穿各種零碎想法的是畫家獨有的修辭文法， 是時間、是空間、是光、是風。她的畫的整體感是來自黏貼片斷的技巧，她
關心的是物件與物件之間的縫隙，她的詩也是意義與意義之間的留白。
吳子昆的作品也重視時間空間，他把藝術看成是科學，而目光總投放在事物 的出現方式，喜歡故事但更喜歡殘篇斷章，喜歡圖文並茂的書籍喜歡集紙成 書的結構；喜歡知識但更喜歡由知識引伸出來的玄虛。他說步移景轉，不同 的角度會看到不同的風景，他關心看的方法，卻不太在乎看到什麽。
黎蘊賢是監製，是喜歡破框的人，這次她找來造框的人，打算共同繪製一幅 靜物畫。大家在曠野重新想像一個室內的格局，類似把風景搬到室內變成靜
物，把日常搬到舞台變成劇場。他們在野外中豎起一個畫架，畫框的位置不 變，風景就不變，面對面。
真的是這樣嗎？
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Face to Face – Paintings and Theatre Kurt Chan
Retired professor and visual artist
Four sides, face to face A painting defines the way in which the audience meets the artwork, a faceto-face narrative; the stage can be an extension of a painting, a painting whose content moves. Later on, artists expanded the dimension and definition of painting and so installation art emerged. Meanwhile, theatre pardoned the one-way communication and provided viewers with an immersive, multidirectional experience. However, the metaphor of the ‘canvas’ frame as a window into the world has not been rendered obsolete by all the new ways of how we participate in the world. We still have windows, doors, televisions, computer screens... What makes us feel secure and familiar are the four perpendicular sides that we encounter every day even now. Painting is a genre of visual art; an attitude. In our times of revolving stimulation by new media, its anachronism has become even more appropriate. The one-to-one relationship is intimate, exclusive and essential in an age of noise, a world of heteroglossia. From the one-to-one experience of reading a painting to the one-to-many experience of watching a theatre piece, where the latter can be mediated in the dim light of the black box, one may develop an illusion of being alone. But apart from the surrounding onlookers whom you can be consonant with, correspondence between the stage and the audience also exists. The performer knows that you are watching him, and your breath may affect the rhythm of his pace. Unlike the new theatre, if we aren’t looking for innovative formats, the traditional way of audiences sitting quietly and facing each other is probably the simplest and most sincere way of communication. It echoes with the innocence and straightforwardness of a painting, allowing the message to flow naturally, and enabling the audiences to react more actively.
Still life and space What you see outdoors is a landscape, what you see indoors is a still life. Landscapes are also still lifes - they are ‘nature’ with artificial interventions. It is difficult to picture a place where transportation cannot take us to - the path underfoot is human intervention in nature. Paul Cézanne’s landscapes and still lifes are indeed the same thing. His apples and vases are landscapes shifted from the ground to the table and morphed into movable objects of sentiment; his conclusion, however, is a scientific deconstruction of our way of ‘seeing’, and a geometrical composition of the material world. Cézanne’s paintings explain how the painter sees the world; he provides a frame, a viewfinder.
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Morandi’s still lifes allow us to see the nature of objects and the relationships between them. He employs the texture of painting to put up with the texture of still life objects. To him, painting is an alchemy that can transform the mundane energy of the objects into spiritual power; the process links, solidifies and refines the substances through their spatial relationships. The solidity and the void of the still life become one; the space is an object.
The studio and the stage The studio is a private setting where the painter talks to himself; where he allows his work to surround and nourish him; where he barricades to isolate himself from others, and fetches other people’s landscapes to irrigate his soil. The studio permits merely candlelight to pass through, so warm, humid and tranquil, and it hides secrets that cannot be explained. The stage is a public space, a locale where translated secrets are made public and where people exchange hidden stories. It is also a marketplace where everything seems to be clearly priced, but everywhere has a coded message. People with discerning eyes may smile, and the ordinary ones, even if puzzled, will take what they want. When a painter comes to sell his work in the market, the trained man says, ‘put the frame on before anything’. The frame proposes a reasonable existence of the content.
Two directors, one theatre Ivy Ma is a painter who likes fragmentation. Her approach to the world is fragmentary and flaky. To her, the world is an aggregation of valves and segments, but what cuts through the scraped ideas is the painter’s unique rhetorical grammar of time, space, light and wind. The sense of wholeness in her paintings comes from the technique of juxtaposing fragments. What concerns her are the flaws and fissures between objects, and her poetry is about the white space between words, the blank of the less interpreted. Ng Tsz-kwan’s work also focuses on time and space. He sees art as science. He observes how things appear, fond of stories but prefers incomplete segments and broken chapters, and enjoys reading books with illustrations as well as those constructed by a collection of paper. He likes knowledge but favours the metaphysics that comes from it. He says that the landscape changes with each step, that different perspectives reveal different landscapes, and that he cares about the way of seeing, but not so much about what he actually sees. Orlean Lai is a producer and a frame-breaker. This time she brings in framemakers to conceive a still life painting. The group reimagine an interior layout in the wilderness, something similar to bringing a landscape indoors as a still life, and relocating the everyday to the stage as a theatre. They set up an easel in the vast meadow, where the position of the frame remains the same, the landscape unchanged. All face to face. Is this really the case?
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仍是靜默 梁志和 視覺藝術家、香港城市大學創意媒體學院副教授
凝視
年輕時會跟室友互相理髮，好省錢又方便合意，是很功能的日常。後來，友
人說過理髮的意象其實很詩意，但我作為第一身的參與者，那是現實中的活
動，沒有什麽意象可言，大抵只是一個被看者。不過就觀看者來説，也許是 二人之間在利器之下所存在的某種親密和信任，那可是曖昧和反差的混合。
就是這些本來很功能性的情景，當我們能夠對它凝視而抽離一點現實，那就
成像。要在腦海中構成這個意象，可以是我們的幻想，去把現實間斷，攝影
機的使用則為這目的帶來方便。當時不在乎想像，日後卻可以透過影像來重 新審視；時間的差距配上模糊的記憶，更可以豐富了意象的質感。
那年因為佈展的緣故我要把偌大的牆壁塗上紅色，阿昆來幫忙，但記憶中已 欠缺來龍去脈，只留下可當凝視的片段——兩個人推動滾筒上下塗抹的動
作，和休息時抽煙的吞雲吐霧。那是什麼意義，不就是沒完沒了，定格抽取 下來的畫面？撇開活動的功能，可以看到身體肌肉和器官的如何和物件互
動，重複的動作並不機械化，似是展現出一種有機的節奏，跟環境和空間建 立關係。再把鏡頭放大，看到滾筒上的毛刷擠壓出油漆到牆上，又黏回一
點，一直往上下推，紅色的牆壁留下了毛線刮破氣泡的痕跡。
在畫幅前走來走去，即使有很多大動作，在接觸畫面的一刻，卻可以留下細 微而獨特的痕跡，為畫家 / 油漆工人建立和畫面必然的關係。今天用電腦修
補圖像，都不由自主地把影像極度放大，要超越肉眼局限；又或者是要局部
專注，就是要捉住眼前隨時溜走的光影。這一切看來都很單純，就是執着那 小小的一點要找出什麼破綻。但凝視也可以無目的打量嗎？就是看着那線條
的彎轉、光暗塊面交疊、細點的聚積…… 也可以感到滿足，近乎於着迷，是
認知的建立，還需要其他原因嗎？
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靜物
由凝視轉而成為沉思，是思緒交織情緒而沉澱的過程，由淨化視覺感知到心 竅放空也不定。剛剛看過 Ivy 的畫展，當中畫幅不大，但是看到對空間和造
型的專注；所描繪的靜物雖外觀簡約，卻是許多時光的反照，線條和色塊都 是通過眼光反射出來。那是甚麼靜物（still life）？多數是日常生活中可見的
東西，可以是花草可以是器物，有說是在生之物，也可以是已死之物（natura
morta）。西方靜物畫的傳統，就是描繪平常生活之中餐桌上擺放的東西，也
是畫家最平常練習的對象；日常可以是單純平凡，但也可以透過選材和背景 之安排，展現時令和階級之不凡。
靜物在平凡中載着不平凡，是透過凝視所達成的戲劇，也讓普通人也可扣上
自己的記憶和經驗。但它似生還死，被凝視的生活加上了距離，平易近人的
親切感卻平添一點傷愁。好不矛盾！日常的不斷往前就是難以按捺的現實， 只有影像好把它馴服下來，我們才可對生活感有所掌握。
舞台上的情景本來就是藝術家的意象，以靜物的實時影像置於舞台中央，我 們看到的是兩層次通過媒體的凝視，也可以說是對觀看方式的審視和對媒體
的實驗。除了技術上分工，我不太清楚阿昆和 Ivy 的合作方式，但兩人對「觀
看」的關心應該是很合拍的，由眼看、凝視、見解到選擇都是跟媒體展示息
息相關。實時播放是關於當下，就是當下的現實，但影像的現實卻不代表真
實，最多只展現真實的局部。
靜物畫是情景的建構，但以劇場的方式表現出來，除了可說是對類型藝術的
解構，也可算是具有時限序列的沉思。敘事內容沒大不了，但也小不了，即
使微不足道卻就是觀看和媒體本身。要看那平凡而能動人的細節，小心翼翼
取放物件的動作和不太專業地塗抹牆壁也會同樣可觀，在於那觀看的方式、 角度、氛圍和姿態。
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Still Silent Leung Chi-wo
Visual artist, Associate Professor, School of Creative Media, City University of Hong Kong
Gaze When I was young, my roommates and I would help each other with haircutting for economic purpose and convenience. It was a pretty functional activity in our daily life back then. Later on, a friend exclaimed that the imagery of a haircut was very poetic. But as a first-hand participant, it was a rather real-life activity with not much of an imagery to me at all. I was probably just the unmindful beheld. But for the beholder, there could be certain intimacy and trust between the two under the shears and razors; a moment when ambiguity and contrasts interlace. It is these otherwise functional scenarios that can emerge as an image when we are able to gaze at them and yet detach slightly from reality. To create this image in the mind, one can use fantasy to interrupt reality, and the use of cameras facilitates this purpose. Imagination isn’t crucial at the beginning. The subject matter can be re-examined through images in the future. Time lapse and obscure memories can even enrich the texture of an imagery. One year I had to paint a large wall red for an exhibition and Kwan came to help. But the sequence of the event is missing from my memory, leaving only fragments to gaze upon - the movement of the two men pushing the roller up and down, and the smoke dispersing from cigarettes during break time. What meaning does it convey? Isn’t it just an endless, freeze-frame extraction of a random scene? Leaving aside the function of movement, it is possible to see how the muscles and organs of the body interact with objects. The repetitive maneuvers are not mechanical, but instead display an organic rhythm that relates to the environment and space. Zoom in again and you can see the brush on the roller squeezing the paint out onto the wall and sticking it back in a bit, pushing back and forth, leaving traces of the bristles scraping through the blisters on the red wall. Walking around before the canvas, even though a lot of movement is involved, can leave a subtle but distinctive trace, establishing an inevitable relationship between the canvas wall painter and the picture. When retouching an image on the computer nowadays, one cannot help but zoom in to the maximum and go beyond the limits of the naked eye. Or to partially get down to a focal point is to catch the light that is ready to slip away in front of you. It all seems so simple, merely as a matter of holding on to that little bit to find out the misstep. But is it possible to gaze without a purpose? It’s about looking at the curving of lines, the interplay of light and shades, the piling of dots... It can be satisfying, almost fascinating. It is about building awareness. What else is needed?
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Still life The transformation of gazing to contemplation is a process in which thoughts are interwoven with emotions; it can also be the purification of visual perception or the cleansing of the mind. I have seen Ivy’s exhibition where the paintings are small but the focus on space and shape can be clearly spotted. The still life depicted, although simple in appearance, is a reflection of numerous hours of light, with lines and colours dwelled on from the eye. What is still life? Mostly things that can be seen in everyday life, either flowers, plants or objects, or in my interpretation, living things, together with dead nature (natura morta). The Western tradition of still life painting is to depict what is placed on the table, which is the most commonplace practice for a painter. The everyday can be simple and ordinary; through choices of material and setting, it can also be extraordinary in terms of seasonality and class. The still life is astounding in its routine, a drama conceived through gazing, and an object for commoners’ memories and experiences to resonate. It is alive yet dead. It is a distance added by the gaze of life, an approachable intimacy accompanied by a touch of sadness. What a paradox! The everyday passing of life is an unbearable reality. It is only by taming reality with images that we can get a grip on our sense of life. The scene and circumstance on the stage are supposed to be the artist’s imagery. With the live portrayal of a still life taking centre stage, we can see two levels of gaze projected by the media. It can also be understood as an examination of ways of seeing and an experimental play with media. Besides the technical division of labour, I’m not quite sure how exactly Kwan and Ivy collaborate, but their regard for ‘seeing’ should be very compatible. From looking to gazing, seeing and choosing, all are tied up with media presentation. Live play is about the present moment, the reality of the moment. But the reality of the image does not represent the truth, at best only the tip of an iceberg. Still life painting is the makeup of a scene. However, when performed in a theatrical way, it is not only a deconstruction of the genre, but also a contemplation within a time-restricted sequence. The narrative is not a big deal, but no smaller, even if it’s insignificant. To see the trite but affecting details, the movement of turning around objects and the amateur painting of walls can be equally impressive. It all depends on the way, angle, atmosphere and attitude of seeing.
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視覺藝術家做劇場 —— 遊內心一片風景 小東 《立場新聞》特約記者
「一提及躺在桌上的物件，就好像某某傳統靜物畫的名字，每個人腦海會立即
翻譯成畫面，自己的物件，自己的桌子。然後發生什麼，可以有很多想像。」
馬琼珠坐在吳子昆旁說。跟前兩位視覺藝術家從未合作，首次走入劇場，醞
釀一年多帶來作品《躺在桌上的物件》，挑戰相對陌生的創作媒介。有別於 慣性的劇場經驗，No Discipline Limited 籌備此「景象與意狀演出」，彷彿讓
人走入內心一幅靜物畫，一幀菲林，或一瞬間。那些微小，從中可以找到什 麼？
馬琼珠以繪畫創作為主，亦涉足攝影及裝置藝術；吳子昆則從事媒體藝術。
他們知悉對方多年卻未曾合作，今次拉線的人就是創作監製黎蘊賢。她一直 嘗試挑戰香港傾重文本的戲劇經驗，及觀眾習慣有故事線的敘事發展，實驗
不同的可能。今次邀請兩位視覺藝術家走入劇場界別，似乎便不難理解。
《躺在桌上的物件》啟發自 20 世紀初一位重要的作家及劇場創作人 Gertrude
Stein（1874-1946） ，其 1920 年代同名劇場作品，為意識流的寫作形式，文本
點出桌上鹽樽，點出屋內傢俬，點出花兒，邀請觀眾走入某個起居空間。吳
子昆說：「那很跳躍及細碎，沒有敘事，起初不知它在說什麼。」馬琼珠接道：
「讀吓讀吓，好像因為個句子韻律，令你想像到那桌子、房子、街道，好似在 zoom in，zoom out。」
「風景劇場」觀看自主
此作更著意探討 Gertrude Stein 提出「風景劇場」（landscape theatre）的概
念。風景劇場思考如何打破傳統劇場，提出故事起承轉合形成單一的線性經
驗，但觀眾產生的情緒未必可跟劇情推進同步，往往較為滯後。她提倡透過 劇場內的感官元素組成一個空間，讓觀眾根據個人想像及節奏，產生感受。 想像你在看一張地圖，能看到整個地形與山山水水，同時可以自行設計路
線，各人可以在不同的點出發，並在一些位置相遇，或者從同一個點出發， 最後四散，乃路徑的自主，亦即觀看的自主。然而，值得留意的是，馬琼珠
及吳子昆並無沿用 Gertrude Stein 的文本，而是由二人重新選取物件，配合 物象與影像，共創一片「風景」。
「我們一向的創作都有探研一種 stillness（ 靜止），對應的就是流動。應該說，
是如何看在靜止中發生的流動，或在流動中出現的靜止。」馬琼珠說。吳子
昆補充：「或者都係有『凝住』的狀態。」馬氏的「靜物系列」取小津安二郎電 影《東京物語》內一些植物及家居的畫面，以噴墨列印並在上面作畫，捕捉動
態光影之間，讓靜好的持續靜好，延伸點點時刻。吳氏前作 Solitude Cinema
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系列亦有類似思考，展出裝置投射一些城內寧靜或微觀的畫面，包括火種、
草叢、夜裡的路，觀者卻需坐上移動的電動座椅遊看，倒是動中有靜。兩者
以不同手法探索空間、時間、人的關係，從「物」的靜態或「人」的動態。他 們思考觀者觀看的方式，個體如何置身環境當中，如何由此表達情感等等。
走入意狀 由私密到共通 「今次作品則分幾個章節，透過視覺元素呈現一些狀態，讓觀眾走入種種意狀 （state of mind）」吳子昆表示。作品亦有著名表演藝術家⿈大徽參與，非以
傳統方式跳舞或演繹，而是一同與桌上物件出發，呈現人與物共構的有形世
界。他將共同塑造什麼光景？如果是「人」，在此光景將怎樣立身？作品恰恰 邀請觀者投射內心，可以以自身狀態、記憶、情感、關懷，甚至無以名狀的
東西，連繫其中。馬琼珠接著說：「意狀是很個人及內在的，現在很多事情都
不能說出口，根本用言語表達不到，或者總覺得只有自己才經歷，不必是很
具體的例子或回憶。而我跟阿昆就嘗試打開一些門，等大家行入去。即使如 此私密的，我們都可不可找到共通呢？」
來到 2021 年的初夏，社會及疫情令時間變得模糊，一切要不過份激烈，要不
匆匆地一去不返，讓人無力細閱。馬琼珠提及，⿈大徽曾說過一句話令她印 象深刻：「直到現今，我哋未必最需要一些 spectacle 的東西。」馬琼珠突然
想不起該字中文，吳子昆甚有默契地接道：「不一定要壯觀，不必很激動的。」
資訊量極大的世代，接通世界萬千影像，一個又一個無名無姓形成的奇觀垂 手可得，人們會失去從微小事情得到力量的彈性嗎？藝術家沒有答案，期待
跟觀眾一起試行，從最內在的風景，向自己愈走愈深，得有力氣跟世界愈走 愈近。
（轉載自《立場新聞》）
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Visual artists x theatre - a piece of the inner landscape Siu Tung
Featured writer of Stand News
‘Calling an object that lies on the table is like naming a traditional still life painting. Everyone immediately translates the situation into a scene which is composed of their own objects on their own table. And what comes out of it can provoke boundless imagination,’ Ivy Ma, sitting next to Ng Tsz-kwan, said. In front of me are two visual artists who never collaborated before. Both of them are making their first attempts to knit a piece in theatre art. After over a year of preparation, Objects Lie on A Table is born, as a challenge to test the artist duo in the uncharted waters. Unlike the standard theatre practice, No Discipline Limited endeavours to breed ‘a performance of scenes and states of mind’, a junction where multitudinous moods and senses meet, as if someone unconsciously stepping into a landscape, a film or a moment. Minuscule and secluded, what can be found from there? Ma specialises in painting, but also crafts her skills in photography and installation art, while Ng has established a prolific career in media art. They have known each other for years but this is the first time that they team up together. The teamwork wouldn’t be made possible without producer Orlean Lai’s vision. She’s been trying to challenge the text-driven theatre format which is still a de facto phenomenon in the local industry, as well as the narrative-friendly performances which audiences in our city are accustomed to. All she envisions to do is to play with different possibilities in progressing theatre art in Hong Kong. It thus seems easy to understand why the visual artist duo would be invited into the performing arts field. Objects Lie on A Table is inspired by Gertrude Stein (1874-1946), an important writer and playwright of the early 20th century. Her 1920s play of the same title employed the stream-of-consciousness writing style, in which the loose text noted the salt shaker on the table, furniture in the house, and flowers of some kind; a living space where the audiences were invited to enter. ‘It was very jumpy and fragmented, with no narrative, so I wasn’t sure what it was talking about at first,’ said Ng. ‘As you read along, probably because of the sentence rhythm, you feel like zooming in and out the table, the house and the street’, Ma continued.
Landscape theatre, an autonomous way of seeing This work also focuses on Gertrude Stein’s concept of ‘landscape theatre’. Landscape theatre stimulates viewers to think about how to break free from traditional theatre. It raises the notion that a single-direction, linear pattern of storytelling, may not be able to meet with the pace of emotions generated by the audience, as the latter often lags behind, resulting in the failure for the two to sync. Stein advocates the use of sensory elements in the theatre, so that a space that allows the audience to feel according to their own imagination and rhythm can be formed. Now imagine you are reading a map. You see the whole landscape, mountains and streams, while you can design your own route, you and the other hikers can start at different points and meet at some points, or to start from the same point and eventually disperse into everywhere. This is an autonomy of routing; an autonomy of looking. However, it is worth noting that instead of using Gertrude Stein’s text, the duo has selected a new set of objects and created a ‘landscape’, juxtaposing physicality and visuality, materials and images.
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‘We’ve always been looking for a kind of stillness in our work, whose contrast would be fluidity. I should say, it’s about how to observe the flow in the stillness, or the stillness in the flow,’ said Ma. ‘Or maybe it’s a state of “freezing”,’ Ng added. Ma’s Still Life Series employed images of plants and homes from Yasujiro Ozu’s film Tokyo Story, printed with inkjet and painted on top. They capture the movement between light and shadow, allow the stillness to continue and extend the moment even just for a little bit. Ng’s previous work, Solitude Cinema series, also reflects on similar ideas, showing installations that project quiet or microscopic images of the city, including fires, bushes, and roads at night, while the viewer is seated on an automatic-chair in motion. Both explore the relationship between space, time and human, from the stillness of ‘things’ to the dynamics of ‘human’. They examine the way in which the viewer sees, how the individual is placed in the environment, how emotions are expressed through it, and so on.
An entry to the state of mind, from intimacy to communion ‘Divided into several chapters, this work is going to illustrate some sort of conditions through visual elements, and let the audience enter into various ‘states of mind,’ Ng said. Featuring renowned performance artist Dick Wong without adopting the format of traditional dance or performance, performer and objects embark on the same journey and altogether project a tangible world of such. What scene and narrative will Wong and the objects on the table be shaping? If ‘human’ is the subject in this colligation, how will he position himself? Viewers are invited to reflect on themselves by connecting their own states, memories, emotions, compassion or even indescribable conditions as they traverse along the work. Ma said, ‘The state of mind is very personal and internal. It can be one of the many things that cannot be said or expressed in words nowadays. Or something one believes as his/her unique and privately-owned experience that cannot be defined by solid examples or concrete memories. Kwan and I are attempting to open some doors for people to walk in. Even if it’s so private, can we still try to pave a common ground?’ Coming into the early summer of 2021, as the social and pandemic influences have altered the habitual passing of time, everything has become either too intense or gone too quickly for one to even comprehend. Ma said she was struck by a remarkable expression by Wong, ‘To this day, the things we need the most are unlikely spectacles.’ Ng continued, ‘It doesn’t have to be spectacular, or very exciting.’ In the age of information overload with round-the-clock access to news and data, spectacles of big and small are just at our fingertips. Will we fail to derive power from the ultra-tiny things that spark no excitement? The artists give no answer, but look forward to trying it out with the audience. Altogether they will delve deeper into themselves from the innermost landscape, as they go farther to explore the world beyond. (Repost from Stand News)
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No Discipline Limited
「冇規矩、不設限、跨領域」是創作的重要心態：敢於探索、拉闊表達與呈現的方 式、可能。
No Discipline Limited（NDL）成立目的是要打開跨領域創作及合作的想像，包括建
立一個國際駐留計劃，讓其他國家的文化與創意與香港創作人交流實驗，以期促進 更跨界與跨文化地域的合作可能。
NDL 由獨立策劃人黎蘊賢於 2019 年成立。嘗試邀請不同文化藝術工作者參與，聯合
策劃不同項目，以更寬闊視點、模式及討論，去探索對當代藝術 / 演出的理解與實
驗。2020 年，邀請了黃大徽（編舞、導演、表演者）、賴閃芳（戲劇構作及劇場教育
工作者）一同策劃了「演代演義」– 對話系列；現正與方韻芝（視覺及社區藝術策展人） 聯合策劃「見山不是山」- 為期一年的社區藝術計劃。又正在籌備國際藝術家留駐交
流計劃「Something Foreign」，但礙於疫情而暫緩推展。
剛於 2021 年初完成與趙朗天合作的導聽演出《耳蝸裡有隻象》。
“No Discipline” is a state of playful heart and free-spirit in mind when engaging in creation. It dares to explore ways of expression and presentation without the burden of boundaries. No Discipline Limited (NDL) aims to open up imagination and creativity for wider variety of cross-disciplinary collaboration. One of its initiatives is to foster a laboratory to generate synergy for more intermedia experiment and cross-cultural collaboration. NDL was founded by independent curator – Orlean Lai, in 2019. NDL tries to invite other cultural/arts practitioners to share the curatorial, with widening the perspectives in mind, practices and discussion on contemporary arts/performance. It organized a dialogue series – Performance Matters, co-curated by Orlean Lai, Dick Wong (choreographer / director / performer) and Lai Sim-fong (dramaturge / theatre educator) in 2020; and is now developing a commissioned community art project series – Mountain No Mountain (2021-2022) with Vangi Fong (visual & community art curator). NDL is also planning an international artists-in-residence programme – Something Foreign, which was temporarily obstructed due to the pandemic situation. NDL has just finished an auditory performance – Truth within Earshot? with Alain Chiu in early 2021.
www.nodisciplinelimited.hk
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黎蘊賢ﾠOrlean Lai
創作監製ﾠCreative Producer
黎蘊賢成立 orleanlaiproject（www.orleanlaiproject.net），強調「混雜協作」的跨域合作，探
索不同展現方式的混種可能，模糊藝術類型框框、媒界的分野。
2014 年獲邀於「油街實現」策劃了「像是動物園」展覽，嘗試以展場作為歷程、敘述、跨越展
覽與表演的實驗場域。2018 年策劃的新版《像是動物園 2》於新視野藝術節 2018 上演，在香港
醫學博物館重新打開「珍奇屋」奇觀之旅。以跨界協作班底 －區華欣、許敖山、馮程程、伍韶
勁、吳子昆、文美桃、洪忠傑等，為觀眾帶來一趟跨越演與展的社會實驗歷程，從第一回的藏
品展示，到第二回把焦點放在「人」的展示上，尋找現代處境底下的「奇人」。
此外，2018 年初製作了《肖像曲》，串連 Nerve 與卓翔將「紀錄」從影片延伸到劇場，化為混
種歌劇，從中探視崑曲、能劇與西方歌劇表演者的創作生平。2017 年策動了多頻道演出《親密 Claustrophobia 》與創作人馮程程、譚偉平及袁卓華共同實驗了一次裝置聲域平行敘事演出。
2018 及 2019 年，獲香港藝術發展局委約，為賽馬會藝壇新勢力策劃了兩個跨媒介演出系列，
分別為「游山行」系列－ 於中上環一帶的古蹟歷驗演出之旅，及「風平草動」－ 於中環大館的 監獄操場內進行的場域回應式演出系列。
2019 年成立另一機構 No Discipline Limited ，希望發展更多跨領域的合作計劃及文化交流。 Orlean 為 2016 年為亞洲文化協會年度獎助金得主。
Orlean Lai founded her production unit – orleanlaiproject (www.orleanlaiproject.net), focuses on curating hybrid collaborations across performing art and visual art, in exploring new possibility of presentation formats and fuse the boundary of art forms and mediums. Orlean has curated Zoo as Metaphor (2014 at Oi!), which has attempted to adopt exhibition space for an experiential journey of narrative and performance; while the new edition of Zoo as Metaphor 2 (2018 at New Vision Arts Festival) has evolved from a crossed form of exhibition and performance into an experiential journey of social experiment. Other collaborative projects include: Songs of Portrait (2018) with Nerve and Cheuk Cheung expanded the medium of documentary beyond the screen to live performance on stage, illustrating the lives and practices of performers from the traditions of Kunqu, Noh and Italian opera. In 2017, orleanlaiproject also featured the intermedia collaborative performance, Claustrophobia with Vee Leong, Tam Wai-ping and Yuen Cheuk-wa, which experimented with integrating installation, sonic writing, and soundscape into a parallel narrative performance. In 2018 & 2019, orleanlaiproject was commissioned by the Hong Kong Arts Development Council to curate the Finale programme series for the Jockey Club New Arts Power. The projects were: Swim Walking (2018) – a series of art journeys held in the Central / Sheung Wan district; and Wild is the Grass (2019) – a series of site-responsive performances held at the heritage site of Tai Kwun. In 2019, she founded another organisation – No Discipline Limited, aims to foster more intermedia experiment and cross-cultural collaboration. Orlean was Asia Cultural Council Fellowship recipient of 2016.
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馬琼珠 Ivy Ma
聯合導演 Co-Director
馬琼珠從事繪畫、攝影及裝置藝術。她於 2001 年獲澳洲皇家墨爾本 理工大學 / 香港藝術中心藝術學院文學士（純藝術）學位。同年，她
獲香港藝術發展局頒發志奮領獎學金，前往英國列茲大學就讀，於
2002 年 取 得 Feminist Theories and Practice in Visual Art 碩 士 學
位。曾在香港舉辦多個個展。2007 年，取得亞洲文化協會利希慎基
金獎助金。2012 年，獲香港當代藝術獎青年藝術家獎。2015 年系列 作品《去年》於 2020 年為美國三藩市現代藝術博物館所收藏。
Ivy Ma is a Hong Kong artist working in drawings, paintings, photography and mixed-media installations. She received her MA Degree of Feminist Theory and Practice in Visual Art, University of Leeds in UK in 2002, BA of Fine Arts (Painting) at Royal Melbourne Institute of Technology (RMIT) / The Art School, Hong Kong Arts Centre in 2001. She has held a number of solo exhibitions in Hong Kong. She was an Asian Cultural Council grantee in 2007 and received Hong Kong Contemporary Art Awards, Young Artist Award in 2012. Her series of works Last Year (2015) was collected by San Francisco Museum of Modern Art (SFMOMA) in 2020.
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吳子昆 Ng Tsz-kwan 聯合導演 Co-Director
Yucolab 創辦人及行政創作總監，亦同時營運多媒體設計公司 N.T.
Lab。2000 年在英國中央聖馬丁藝術設計學院考獲碩士，其後曾出
任多間本地大專院校的講師。除本地展覽外，作品亦獲邀於英國、德
國、美國、芬蘭、日本、韓國等地展出。創作結合互動媒體技術，把 人類的活動與觸覺融入數碼媒體中，成功把互動媒體連結藝術與商
業領域之中。2007 年，獲香港《透視》雜誌推選為「大中華地區 40 位
四十歲以下最傑出設計師」之一。
他的藝術創作專注於沉浸式多感官體驗和空間為本裝置，結合非語
境零散流動影像構作，從而探究電影媒介以及觀眾接收流動影像之
間的關係。其中，他近年創作的「 Solitude Cinema 」系列，設置自
動移動的座椅，在展場空間以特定軌道導航，讓觀眾從特定角度、 距離及時間內觀看影像裝置。
Co-founder and Executive Creative Director of Yucolab and the multimedia design studio N.T. Lab. Kwan has long been devoted to electronic arts and video creations. With his Master Degree in Fine Art from the Central Saint Martins College of Art in London in 2000, he has been lecturing in multimedia, electronic arts, and design departments of certain universities in Hong Kong. In addition to numerous local exhibitions, Kwan’s works have been exhibited in UK, Germany, US, Finland, Japan and Korea. He has successfully infused interactive media application into the dimensions of art, commercial and exhibition. In 2007, he was awarded as one of the “40 outstanding design professionals under the age of 40 in Greater China” by Hong Kong Perspective Magazine.
In Kwan’s art practice, he has been consistently developing immersive, multisensory and space-oriented experiential installations on decontextualized, fragmented moving images. His works often question and explore the medium of the cinema and perception of viewing. In the Solitude Cinema (series) that he has developed in recent years, it provides a very cinematographic experience, in which viewer sits on an automated moving chair to navigate between the works in the space with specific angles and distances and for specific durations.
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黃大徽 Dick Wong 創作演出 Creative Performer
新聞系畢業生，九十年代中於出版界變節，轉投表演藝術，既舞且
演，亦導亦編。2004 年香港藝術節委約創作《B.O.B.*》以兩個不同 版本於巴黎，柏林及倫敦等地巡演。2010 年獲選為巴黎黑克雷國際
文化交流中心駐村藝術家，同年於卡地亞現代博物館上演《1 + 1》。 2011 年獲 IN TRANSIT 藝術節委約，於柏林世界文化中心首演《Be
Me》。近作包括與邢亮聯合創作及演出的《無 | 雙》（2014），為四代
香港當代舞者而編排的《舞士列傳》（2015）及廣受好評的《春之祭》
（2016）。2018 年香港藝術家年獎（舞蹈）得主。
A graduate of Journalism, Dick Wong left the publishing industry in the mid 90s to pursue a career in contemporary dance and theatre. In 2004, he was commissioned by the Hong Kong Arts Festival to create B.O.B.* which was later developed into two versions and toured extensively in Europe and Asia until 2012. He was laureate of the French International Residence Programme at Recollets in 2010 and presented 1+ 1 in Cartier Fondation during his stay in Paris. Commissioned by the In Transit Festival, he premiered Be Me in Berlin’s Haus der Kulturen der Welt in 2011. Recent works include 0|2 (2014), a collaboration with Xing Liang, The World According to Dance (2015), a dance/theatre work on four generations of contemporary dance makers in Hong Kong and The Rite of Spring (2016). Artist of the Year (Dance) in the Hong Kong Arts Development Awards 2018.
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Mark Fell 作曲及聲音藝術家 Composer and Sound Artist
來自英國洛達咸的跨媒體藝術家 Mark Fell，糅合電子音樂亞文化、實驗電影、當代哲學和
激進政治進行創作。過去三十年，Mark 的作品眾多，涉獵甚廣——從早期的電子聲音和錄 音作品，到裝置、批判文本、專題策展、教育系統和舞蹈表演，今自成一家。
2017 年，Mark 為 V-A-C Foundation（莫斯科）策劃了名為「The Geometry of Now」的大型
聲音藝術展覽。同年，帶領英國文化協會的一個研究項目，到印度研究卡納廸克音樂的構 作、及新興的電子藝術（與格拉斯哥 AC Projects 合作）。又於波圖 Serralves Foundation
的 一 個 聯 展 中， 展 演 了 新 作「Intermetamorphosis」。2018 年，Mark 完 成 兩 個 大 型 多
空 間 聲 音 作 品， 分 別 為：「Protomusic#1」作 為「Great Exhibition of the North」（Sage
Gateshead）展覽的旗艦作品；以及於威尼斯 Palazzo delle Zattere 展出的 「Frameworks」。
2019 年，Mark 發表了兩個展演作品，分別為：於海牙 Rewire 藝術節，及挪威卑爾根美
術館演出的「Hominin」、以及於米蘭 Pirelli Hanger Bicocca 展演的「Against Method」。 同 年， 於 濱 海 紹 森 德 Focal Point Gallery 發 表 個 人 展 覽「The Concept of Time is
Intrinsically Incoherent 」 。從神聖幾何到現代編程結構，近作反映了他對非線性系統和結
構，與人類複雜關係的扣連的熱衷。
從展出他的作品的機構的領域及規模之廣，遍及世界各地，足以反映其作品的多元和重要 性。Mark 現為德國卡爾斯魯厄國立藝術與設計大學（HfG）的媒體藝術客席教授。
A multidisciplinary artist based in Rotherham (UK). His practice draws upon electronic music subcultures, experimental film, contemporary philosophy and radical politics. Over the past 30 years Fell’s output has grown into a significant body of work - from early electronic sound works and recorded pieces, to installation, critical texts, curatorial projects, educational systems and choreographic performances. In 2017 Fell curated a major exhibition of sound art for V-A-C Foundation (Moscow), The Geometry of Now; he led a British Council research project to India to study Carnatic music composition and emergent electronic arts (with AC Projects Glasgow); and Serralves Foundation (Porto) premiered - Intermetamorphosis, featuring a collection of new commissions as well as retrospective pieces. In 2018 Fell completed two large scale multi-spatial sound works: Protomusic#1 for Sage Gateshead, forming their flagship contribution to the Great Exhibition of the North; and Frameworks at Palazzo delle Zattere (Venice). 2019 saw two new performative works: Hominin’ (Rewire, Den Haag/Bergen Kunsthall) and Against Method (Pirelli Hanger Bicocca, Milan); and the solo exhibition - The Concept of Time is Intrinsically Incoherent (Focal Point Gallery, South End on Sea). Drawing from sacred geometries to programming structures, these recent works underlined Fell’s particular interest in non-linear systems and structures, and our complex inter-relationships with them. The diversity and importance of Fell’s practice is reflected in the range and scale of institutions that have presented his work around the world. Fell is currently a guest professor of media art at Die Staatliche Hochschule für Gestaltung Karlsruhe (HfG).
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馮國基 Gabriel Fung 燈光設計 Lighting Designer
馮國基畢業於香港演藝學院，繼而從事舞台工作至今。作品超過二百
多個，領域包括舞蹈、戲劇、歌劇、戲曲及多媒體表演等。自 1998 年開始，馮國基與臺灣優劇場參加法國的 Festival d’Avignon，足跡
遍及歐美各大藝術節。並替香港本地各個團體，香港藝術節、及海外
機構擔任設計工作。馮國基的作品獲多次提名，於 2003 年同時獲香
港舞蹈聯盟「舞蹈年獎」及香港舞台劇協會頒發「最佳燈光設計」獎項。 近 年， 活 躍 於 各 地 舞 台 及 文 化 創 作 工 作， 於 2012 年 替 楊 麗 萍 老 師
大型舞劇《孔雀》任燈光設計。多次與廣州現代舞團，廣東省芭蕾
舞團，澳門藝術節及藝團合作舞台劇、環境劇場、工作坊及教學。
最近，獲加拿大多倫多 Canadian Stage 及 Music Picnic 邀請擔任
《I swallowed a Moon made of iron》及《墓所事事》的舞臺、燈光及 投影設計。
馮國基於 2009 年修畢香港浸會大學傳理系電影藝術碩士課程，主 修電影導演。亦於學校内被頒發優異學術成績奬學金。其作品《無
風 ... 詠》被挑選為亞洲獨立電影節中放映及於 2010 年澳門國際電影
錄像節獲「評審特别推介奬」。應香港聲蜚合唱節邀請參與《觀影察
聲》微電影計劃，創作「合唱微電影」《兩。生》（Double Lives）計劃
獲香港特別行政區政府「藝能發展資助計劃」的資助 。
A graduate of The Hong Kong Academy for Performing Arts. Gabriel has been working as a lighting designer, spatial designer, director, and frame drum percussionist. He has worked with many local art groups, such as Theatre du Pif, City Contemporary Dance Company, Asian Society, Hong Kong Repertory Theatre Company, Opera Hong Kong and Hong Kong Arts Festival. He has served U-Theatre Taiwan as lighting designer and toured around Europe in Festival d’Avignon, and also joined Festival International de Artes Cênicas in Brazil. In 2003, he received the Hong Kong Dance Award from the Hong Kong Dance Alliance, as well as the Hong Kong Drama Award for Best Lighting Design. In 2009, he completed a master’s degree at Hong Kong Baptist University majoring in film directing. His work - Chants within Doldrums was screened in Hong Kong Asian Independent Film Festival 2009 and received a Special Jury Award in Macao International Film and Video Festival and Awards 2010. Currently, he puts focus in investigating the crossover between theatre and moving images.
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陳結榮 Wingo Chan
製作經理 Production Manager
畢業於香港演藝學院，擁有豐富的舞台策劃及製作經驗。多年來以自由工作者身份 與多個藝團合作，包括風車草劇團、進劇場、天邊外劇場、浮士德青年劇場、無言
天地劇團、亞洲青年管弦樂團。陳氐亦參與不同社區藝術項目、私人及商業演出。
曾參與的演出遍佈百多個城市，涵蓋戲劇、音樂、表演藝術和大型企業項目。2010
年更遠赴巴西及拉丁美洲國際戲劇 / 劇場教育協會第七屆大會 (IDEA) 作為期一年為 的亞洲區統籌及學術節目總監。
Graduated from The Hong Kong Academy for Performing Arts, Wingo is experienced in stage production, management and touring. Over the years, he has worked as a freelancer and has collaborated with numerous art groups including Windmill Grass Theatre, Theatre du Pif, Theatre Horizon, Faust International Youth Theatre, Theatre of Silence and Asian Youth Orchestra. He also worked for community art projects, private and commercial events. Wingo has travelled to more than 100 cities and participated in corporate events, theatre productions, performing arts and music shows. In 2010, He was invited to join the 7th World Congress of International Drama/Theatre and Education Association as a Asia-Brazil Coordinator and Academic Program Producer to organise the local Brazilian production team and stay-in Latin America for one year.
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陸和平 Luk Wo-ping 舞台監督 Stage Manager
畢業於香港演藝學院藝術（榮譽）學士學位，主修舞台及項目管理。期間憑《模糊的
平行線》獲邀到加拿大參與世界舞蹈聯盟 2017 並擔任舞台監督。
現為製作經理及舞台監督，參與項目包括世界文化藝術節「Nordic & Hong Kong
Band Sound Gala」 、微辣文化《可能好笑》香港站、香港週．台灣室內歌劇《鬼戀》、
賽馬會藝壇新勢力「風平草動」系列以及香港展能藝術會「亮起來」展能藝術慈善匯 演。陸氏亦為不同展覽及娛樂節目擔任技術統籌，參與項目包括吉卜力工作室「吉
卜力的動畫世界」，以及 STUFISH《狂電派》。
Graduated in Bachelor of Fine Arts (Hons), the Hong Kong Academy for Performing Arts, majoring in stage and event management. With the performance Faint Parallel Lines, Luk worked as a stage manager and participated in the World Dance Alliance Global Summit 2017 during his studies. Luk is currently a production and stage manager. His participated projects include: Nordic & HK Band Sound Gala in World Cultural Festival, Maybe Funny – HK Station by Manner Culture, Chamber Opera - Ghost Love in Hong Kong Week in Taiwan, Wild is The Grass of Jockey Club New Arts Power and Light Up a Dream by Arts with the Disabled Association Hong Kong. Luk also works as a technical manager for exhibitions and events, recent works include The World of Studio Ghibli’s Animation by Studio Ghibli and ELĒKRŎN by STUFISH.
陳樂詩 Chan Lok-sze
執行舞台監督 Deputy Stage Manager
香港自由身舞台及製作工作者。近期合作之創作人及團體包括：同窗文化、一條褲
製作、No Discipline Limited、天邊外劇場、劉銘鏗「神父」製作，以及鄧樹榮戲劇 工作室《馬克白的悲劇》2019 年國內巡演等。陳氏亦曾於第 71 屆愛丁堡國際藝穗節
和第 12 屆台北藝穗節參與舞台管理工作。
毋忘呼吸。
Lok-sze, who possesses counterfactual thinking, is currently working as a stage and event freelancer. Recently she has collaborated with Schoolmates.cc, Pants Theatre Production, No Discipline Limited, Theatre Horizon, Lau Ming Hang (SunFool) Production, and The Tragedy of Macbeth (mainland touring 2019) by Tang Shu-wing Theatre Studio. She also participated in stage management at the Edinburgh Festival Fringe 2018 and the 2019 Taipei Fringe Festival.
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許傲群 Grace Hoop
計劃統籌 Project Coordinator
以 圓 穿 梭 不 同 媒 體 與 場 域， 遊 走 於 當 代 雜 耍、 多 媒 體 劇 場 和 藝 術 教 育， 並 主 力 推 動 Hoop Dance 文化，以呼拉圈為導體，開發身體意識與自由。
曾為本地藝團進念．二十面體和 orleanlaiproject 擔任編舞，及與中馬芳子聯合編舞於柏林
Dock 11 演出。疫情期間與多國藝術家聯合創作，並於 La MaMa Experimental Theatre Club
網上演出。其作品曾於 Croatian Hoop Convention、大館及香港兆基創意書院演出，包括結 合動態影像《Linear Circularity》、現代雜耍《旋轉大中小》，以及與 VJ 現場演出《膠．圈》。
A hoop artist who spans between morden juggling, multimedia theatre and arts education. Grace’s hoop dance is a form of free movement to discover the body’ consciousness and freedom. Grace collaborated with the art groups to work as a choreographer, including Zuni Icosahedron and orleanlaiproject. She also co-choreographed with Yoshiko Chuma and performed in Dock 11 Berlin. During the pandemic, Grace worked with artists around the globe and presented a series of Zoom performances presented by La MaMa Experimental Theatre Club New York. Grace’s works have been featured in Croatian Hoop Convention, Tai Kwun Centre for Heritage and Arts and HKICC Lee Shau Kee School of Creativity. Her works included motion graphic performance Linear Circularity, modern juggling show - Spin．S/M/L and VJ live performance - Plastic．Circle.
毛曄穎 Wing Moa
計劃統籌 Project Coordinator
畢業於香港演藝學院（戲劇表演）及香港大學（比較文學・德文・傳媒及文化研究），現為劇場
演員、主持、體驗設計及策劃人。曾憑《電子城市 director’s cut》於香港小劇場獎被提名最
佳女主角，以及在校時期憑《朱莉小姐》獲得戲劇學院傑出演員獎。至今參與超過 40 齣劇場 作品，曾到阿根廷、法國、台灣及內地作舞台演出。主要劇場作品︰前進進戲劇工作坊《會客
室》、《甜美生活》、《西邊碼頭》、《後殖民食神之歌》、天邊外劇團《漁港夢百年第三部曲︰大
夢初醒》、浪人劇場《湖水藍》、《棒球場上的亞熱帶少年》、《 BEAR MAN》、一條褲製作《流徒 之女》、香港演藝學院《朱莉小姐》、《電子城市》、《晚安，媽媽》等。
主持經驗豐富，曾獲 DJ 比賽冠軍，並於商業電台叱吒 903 主持節目。亦曾於無線娛樂新聞台、 有線電視娛樂新聞台、美麗華旅遊節目擔任主持、見習主播和記者。
Wing graduated with a Bachelor of Arts (Hons) in The University of Hong Kong, majoring in Comparative Literature, double minor in Media and Cultural Studies and German, and also with a Bachelor of Fine Arts (Hons) in Hong Kong Academy for Performing Arts, majoring in Acting. She was nominated Best Actress in the 8th Hong Kong Theatre Libre for her performance in The Electronic City (Director’s Cut) and awarded The Outstanding Actress for Miss Julie during her school years in Hong Kong Academy for Performing Arts. Her recent productions include: Aquamarine, Best Wishes, The Plot, Century-old Dreams of A Fishing Harbour Episode III: The Awakening, Quai Ouest, Postcolonial God of Food, Postcolonial Affairs of Food and the Heart, Landscape in the Mist (Argentina tour), school production include Miss Julie, The Electronic City and Night, Mother, and more. She is also a professional emcee and has worked in radio and TV broadcasting companies as reporter and host.
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創作及製作團隊
Creative and Production Team
創作監製 Creative Producer
黎蘊賢 Orlean Lai
聯合導演 Co-Directors
馬琼珠 Ivy Ma
吳子昆 Ng Tsz-kwan
創作演出 Creative Performer
作曲及聲音藝術家 Composer & Sound Artist
黃大徽 Dick Wong
Mark Fell（英國 UK）
燈光設計 Lighting Designer
馮國基 Gabriel Fung
舞台監督 Stage Manager
陸和平 Luk Wo-ping
製作經理 Production Manager
陳結榮 Wingo Chan
執行舞台監督 Deputy Stage Manager
陳樂詩 Chan Lok-sze
音響統籌 Sound Coordinator
夏恩蓓 Candog Ha
舞台助理 Stage Assistants
張凱泓 Ivan Cheung
麥建忠 Mak Kin-chung
計劃統籌 Project Coordinators
許傲群 Grace Hoop 毛曄穎 Wing Moa
平面設計 Graphic Design
郭健超 Pollux Kwok
宣傳品攝影 Promotional Photo
石明輝 Phil Shek
策劃及製作 Curated & produced by
No Discipline Limited
鳴謝 Special Thanks 香港展能藝術會 Arts with the Disabled Association Hong Kong
iLight production limited
前進進戲劇工作室 On&On Theatre Workshop 新約舞流 Passoverdance 立場新聞 Stand News
Alva Chan
Venus Lau
Aster Ng
Kurt Chan
Leung Chi-wo
Chapman Poon
Hirsk
Kitty Lin
Becky Wong
Kobe Ho
Franky Lung
Grace Lai
Kenny Luk
Zasu Rose LaBelle 貝宜