The Mysterious Lai Teck 神秘莱特

THE MYSTERIOUS LAI TECK 神秘莱特

Image courtesy of artist

Ho Tzu Nyen 何子彦 (Singapore)

17 - 19 May Fri & Sat, 8pm Sun, 5pm & 8pm SOTA Drama Theatre Approximately 1h, no intermission

MESSAGE FROM THE FESTIVAL DIRECTOR When I was appointed as the new Festival Director for Singapore International Festival of Arts (SIFA) last year, one of the central tenets of the curation process we put in place was to present work by game-changing artists.

From the outset of my three-year tenure, it was important to me that SIFA challenges audiences intellectually, emotionally and artistically, allowing them to experience works they would not normally have a chance to see in Singapore.

Last year, I found myself huddled amid the sand dunes and pine forests of Terschelling Island off the north coast of The Netherlands, to watch Bedtime Stories, a brilliant one-man show which we are bringing to SIFA this year.

It reminds us that powerful stories can be told with the simplest of tools - in this case, the actor’s voice. Or through elaborate work such as the cross-cultural, multi-faceted Dionysus

by Tadashi Suzuki. Game-changing artists and work exist everywhere – it is our mission to find them and bring them to you.

This season, SIFA 2019 is proud to present provocative and challenging works by artists from Singapore and abroad. Our local Festival commissions explore contemporary issues and daringly bring to the spotlight lesser-known facets of Asian history and culture. Toy Factory will realise its innovative re-interpretation of a beloved Ming play. Checkpoint Theatre delves into the realities of the humanitarian aid industry, while Singaporean artist Ho Tzu Nyen investigates some of Southeast Asia’s most shadowy historical figures.

On the international front, SIFA is delighted to welcome to our shores works by worldrenowned theatre directors Tadashi Suzuki and Simon McBurney, legendary musicians Ryuichi Sakamoto and Bill Frisell, and groundbreaking choreographers Gisèle Vienne and Sasha Waltz.

SIFA 2019 audiences can also expect to see a greater range of multidisciplinary work that defies easy classification, from pushing boundaries between theatre and dance in ST/LL by Japanese artist Shiro Takatani, to the use of virtual reality and binaural sound in Frogman by UK company curious directive.

SIFA will also present Silo Theatre’s Peter and the Wolf for families, as well as free outdoor performances in non-traditional venues for audiences of all ages.

Festival House will be back this year, as the epicentre of SIFA 2019. Here, audiences and artistes can extend their engagement with the Festival beyond the performance, as well as engage with each other, through a range of talks, workshops and master-classes to delve deeper into the themes and perspectives of each show.

SIFA 2019 would not have been possible without the support of CEO Sarah Martin; our three extraordinary producers – Junmin, Rydwan and Sara; and the phenomenal team at Arts House Limited. I would like to thank each of them for their dedication and passion.

Finally, I would like to warmly welcome you, our audience, to SIFA 2019. We look forward to taking you on this exciting journey with us.

Gaurav Kripalani Festival Director

艺术节总监的话 在我去年被委为新加坡国际艺术节（SIFA）的总监 时，我们团队就定下策划的核心原则，其一就是要 呈献勇于突破常规艺术家的作品。在我的三年任期 内，SIFA要能在无论是在知性、感性或艺术上都能 挑战观众，推动观众去体验去欣赏他们通常无法在 新加坡看到的作品。

去年，我到荷兰北岸泰尔斯海灵岛的沙丘和松林中 观赏《睡前故事》——这也是我们今年带来的一台精 彩的独角戏。它提醒了我们，强大的故事，是可以透 过最简单的工具——在这台戏里是人声；也可以透过 精心制作的作品，如日本现代戏剧大师铃木忠志的 跨界跨文化的《酒神狄俄尼索斯》。艺术家的颠覆性 作品无处不在，找寻它们并把它们给带到新加坡的 舞台上，是我们的使命。

今年，我们很高兴能够带来国内外艺术家振奋人心 和极具挑战性的作品。在SIFA的委约下，我国艺术 家的新作，除了探讨当代课题外，也包括大胆的把鲜 为人知的亚洲历史文化带到舞台上：TOY肥料厂将 继续重新诠释明代剧作家的史诗之作；Checkpoint 剧团深入研究人道主义援助的实际状况；而我国艺 术家何子彦则调查研究东南亚其中一位最神秘隐晦 的历史人物。 在国际方面，SIFA很高兴能够邀请到世界知名的艺 术家前来本地呈献精彩的演出，他们包括剧场导演 包括铃木忠志和赛门‧麦克伯尼、传奇音乐家坂本龙 一和比尔‧弗力索、开拓性编舞家吉赛尔‧韦安和莎 夏‧瓦兹。

SIFA的观众也可预期看到更多无法轻易归类的跨 界作品，包括高谷史郎竭力拓展剧场与舞蹈疆界的 ST/LL、英国探‧向剧团运用虚拟现实和双耳声的《 蛙人》。 此外，SIFA还将呈献老少皆宜的《彼得与狼》 （新西 兰希罗剧团），并在多个非传统演出场地安排多不胜 数的阖府统请免费户外表演。

艺术节举行期间，我们将再次把艺术之家装点成“节 日之家”，让它重新肩负艺术节焦点中心的重任。届 时，观众和艺术家可以在这里自由分享交流，并利用 在这个平台上所举行的讲座、工作坊或是大师班等 等，更多更深的了解各项演出节目的主旨与观点。 我要感谢艺苑公司总裁莎拉马丁的支持，感谢三位 制作人：Jun Min、Rydwan和Sara的精心策划，以及 艺术节工作团队成员的倾情投入。是他们的热情与 能耐，使SIFA 2019能够成功举行。

最后，我要热烈的欢迎您来到今年的SIFA！欢迎您同 我们一起搭上2019班次的艺术列车！ 戈拉夫 • 克里帕拉尼 艺术节总监

MESSAGE FROM THE CEO What does the Singapore International Festival of Arts (SIFA) mean to you? A doorway to the world’s performances out there? An escape from the routine of everyday life?

An opportunity to indulge your curiosity? Or something more?

It would not be unusual for each of you to take away something different from the Festival.

When I look back at my years attending the Festival, what stands out in my memory are thrilling moments of discovering a work or artist that slowly built my own love for festival making.

In everything we do, SIFA brings audiences and artists on a personal journey, creating a shared experience across different touch-points with a wider community of art lovers, international and local artists.

Every edition of the Festival is also unique and contributes to the development of Singapore’s cultural landscape. 2018 was an encouraging year, with SIFA seeing heartening growth in the number of new – and especially – younger audiences. I believe this is a testament to the success of Festival Director Gaurav Kripalani’s balanced curatorial approach, emphasising diverse works with multiple levels of accessibility.

In 2019, the 42nd Singapore International Festival of the Arts will continue to enrich the spectrum of audience experiences with a diversity of artistic genres and innovative platforms. Over 17 days, SIFA will showcase a spectrum of world-class performances by game-changing artists, alongside a range of distinctive multi-disciplinary works.

As one of the cultural peaks of Singapore’s arts calendar, the Festival will allow audiences to engage with a fascinating range of contemporary issues and create avenues for critical dialogue. The Arts House will once again transform into our Festival House, a unique gathering point to share ideas and viewpoints and to engage with the artists on a more intimate level.

Working behind the scenes at SIFA are many passionate individuals who have been critical to the Festival’s success over the years. I would like to take this opportunity to thank everyone who has played their part in shaping SIFA, and to Gaurav for leading the Festival to new artistic heights.

I hope you leave this year with a fresh perspective of what the Festival means to you, and with wonderful memories of your own personal discoveries.

Sarah Martin CEO, Arts House Limited

总裁的话 新加坡国际艺术节（SIFA）对您有什么意义？是通往 世界表演大门之路？是离开常规生活的避难所？还是 一个满足您好奇心的机会？或者是有其他的意涵？

每个人都能从艺术节汲取可以各为己用的东西。就 我而言，当我回看自己参加艺术节的那些年，记住的 往往就是当我发现一个叫人激动的作品或艺术家的 时候，心灵被触动的那一瞬间/那一刻，也使我慢慢 建立起对艺术节制作的热爱/热情。 在SIFA所做的每件事中，我们立意带领观众和艺术 家经历一趟个人的艺术旅程，跟海内外的艺术家和 艺术爱好者，共享不同触点的艺术体验。

每一届的艺术节对我们新加坡文化景观的发展来说 都是独一无二的。2018年是令人鼓舞的一年。我们 看到艺术节叫人振奋的成长——尤其是在年轻观众 的层面上。我相信这是我们的艺术节总监戈拉夫• 克里帕拉尼成功领导策划了一个让更多人得以接触 多元作品的艺术节的明证。 今年第42届新加坡国际艺术节，将继续以多元的艺 术类别和创新的演出，丰富观众的艺术体验。艺术节 前后举行17天，我们将给观众献上一系列的世界级 表演项目，在观赏创意独具的跨界作品之际，也见证 一些艺术家颠覆己身风格的全新作品风貌。

作为新加坡文化艺术界的盛典集会之一，SIFA将为 观众提供一个可以/有机会参与当代课题和进行关 键对话的平台；借着艺术之家再次变身为非一般的“ 节日之家”，让艺术家和观众可以交流聊天，分享想 法和意见，激起思维的火花！ 每一届的新加坡国际艺术节，都是幕后工作团队每 一个人倾情投入的成果，是他们成就了艺术节这些 年来的成功举行。谨此，我要感谢大家落力扮演好各 自的角色、扛起各自的责任，造就了今天的SIFA国 际艺术节。对艺术节总监戈拉夫，我要说的是，谢谢 你再次带领大家奔向又一个全新的艺术高度。 对我们的观众来说，我期待您能从一个崭新的视角 来看待和感受今年的艺术节对您的意义，也希望您 能从中因为有所自我发现而留下美好回忆。 莎拉马丁 艺苑公司总裁

CREATIVE TEAM 演创人员 Concept, Direction, Text, Edit 构想 、导演 、文字 、剪辑 Performer, Voice, Translation 演员、声音、翻译 Research Consultant 研究顾问 Light Design, Set, Technical Manager 灯光设计、舞台、技术经理 Sound Design 音响设计 Musician 音乐 Animatronics 电子动画技术 Director of Photography 摄影指导 Digital Visual Effects & CG Supervisor 数码视觉效果暨电脑制图主管 Show Control Engineer 演出技术操控工程师 Animatronics Specialist 电子动画技术专家 Animatronic Technician 电子动画技术人员 Compositor 合成师 CG Animation 电脑生成动画制作 Video Edit 视频编辑 Video Programmer 视频编程 Video Mapping Consultant 视频映像顾问 Subtitles 字幕 Production Stage Manager 制作及舞台监督 Administrative Producer 行政监制 Producers 制作

Ho Tzu Nyen 何子彦

Tay Kong Hui 郑光辉 Marc Opper Andy Lim 林忠杰

Jeffrey Yue 余思行 Black to Comm Creature NFX Workshop Amandi Wong 王俊发 Graham Lamb Stev.e Kwek 郭修文 Paul Trefry Dan Carlisle, Gregory McKee Jeffrey Zauhari See Zhi Jie, Chow Shi Kai, Pamela Lai Li Xin, Goh Si Ying, Yusuf bin Adnan Syasya Nur Nasriyah Yushin Suzuki Gaël Abegg Gauthey Lai Simin, Stephanie Goh Mirabel Neo 梁桂馨 Yap Seok Hui 叶淑慧 Tzu + ARTFACTORY

Co-Production 联合制作

Acknowledgements 鸣谢

Singapore International Festival of Arts 新加坡国际艺术节 International Summerfestival Kampnagel (Hamburg) 汉堡国际夏日节, National Museum of Modern & Contemporary Art (Korea) 韩国国立现代美术馆, Arts Centre Melbourne and Asia TOPA (Melbourne) 墨尔本艺术中心亚太表演艺术三年展, Holland Festival (Amsterdam) 荷兰艺术节, Kunstenfestivaldesarts (Brussels) 布鲁塞尔艺术节, TPAM – Performing Arts Meeting in Yokohama (Japan) 日本横滨国际表演艺术会议, Red Brick Art Museum (Beijing) 北京红砖美术馆 Tomoyuki Arai Stephen Armstrong Max-Philip Aschenbrenner Kevin Chua Tarek Abou El Fetouh E-Tec Visualize Lab Stephanie Goh Annemieke Keurentjes Seonghee Kim Shinu Kim Lena Kollender Gaurav Kripalani Frie Leysen Hiromi Maruoka Henning Mues Muse Pte Ltd András Siebold Christophe Slagmuylder Jobina Tan Han van Poucke Ye Junmin Technical Team of Kampnagel & Kanagawa Arts Theatre

Photo by Park Suhwan

Commissioned by 委托制作

Image courtesy of artist

ABOUT THE PRODUCTION 关于制作 The Mysterious Lai Teck centres around the man known as Lai Teck, the leader of the Malayan Communist Party from 1939 to 1947. He was revealed to be a triple agent who worked with the French, British and Japanese secret police. He was said to have been killed in 1947.

What little we know about Lai Teck today comes from other agents, spies and traitors, whose stories are edited, selected and re-narrated by the Police, before passing into histories. From this mesh of fact and fiction emerges a story full of ghosts and gaps.

What begins as autobiography gradually proliferates into a polylogue about the ruthlessness of becoming and a snapshot of the shifting face of Southeast Asia in the Age of Treason. 《神秘莱特》以一个名叫莱特的人为中心，他是1939年至1947年的马共领袖； 他被揭示为法国、英国和日本的三重间谍；据说他是在1947年被杀的。

关于莱特的资料，我们今天所知甚少，所得的有限资料是来自于其他特工、间谍 和叛徒，警方根据他们所提供的故事进行编修、删选、重新叙述后，再收归历史 纪录。舞台上，事实和虚构的交错，编织出一个充满幻影、矛盾和分歧的故事。 故事以自述的方式开始，逐渐扩展成一个多元对话，透视残酷无情的变化，反映 出东南亚在叛国时代的变迁。

CREATOR’S MESSAGE 创作者的讯息 neither physical violence nor psychological pressure “isBut the unavoidable lot of the captured spy. It is still possible for him to cause much confusion to the enemy by supplying false information under the guise of collaboration. To do this, however, requires certain prerequisites, of which the most important is your own memory. To work the deception properly he must also be able to judge from the way his interrogators frame their questions just how much they know and what they do not know.”

Ronald Seth The Anatomy of Spying: A history of espionage and betrayal

The traitor is the human manifestation of a political “landscape marked by obscurity, abstraction, and lack of transparency, a crisis of both community and enmity. This situation evokes a whole range of political figures whose common denominator is their irregularity.”

Eva Horn The Secret War: Treason, Espionage and Modern Fiction

History did not guarantee the identity of reason and reality.

“Rather, history unfolded in the spaces between subjects and objects, men and nature, whose very nonidentity was history’s motor force.”

Susan Buck Morss The Origin of Negative Dialectics: Theodor W. Adorno, Walter Benjamin and the Frankfurt Institute

Laozi, thus, advises us to behave as water which effortlessly “and without any interference flows from higher to lower grounds and in the same way, effortlessly and without interference, takes the shape of its containers.”

Truong Buu Lam A Story of Vietnam

Treason doth never prosper: what’s the reason?

“Why, if it prosper, none dare call it treason.”

John Harington Epigrams

但肉体酷刑和心理压力都不是被捕间谍不可避免的命运。他还是 “ 有可能佯装合作，提供虚假信息，给敌人造成极大的混乱。然而，要做

到这一点是需要一些先决条件的，其中最重要的是间谍自己的记忆。 他必须能够从审问者的提问中推测和判断审问者知道多少，或不知道 什么，才能实行周全的欺骗行为，”

隆纳·西斯

《对秘密特工的剖析：叛变和间谍活动的历史》

叛徒彰显了一个隐秘、抽象、缺乏透明度的政治面貌，是友好和敌 “ 意的共同危机。这个情况让人想起许多政治人物，他们的无常是他们 的共同点。”

伊娃·霍恩

《秘密战争：叛国，间谍和现代小说》

历史并没有保证理性和现实的同一性。相反的，历史是在主体与 “ 客体之间以及人类与自然之间的空间铺陈开来，而这个空间的非同 一性即是历史的动力。”

苏珊·巴克-摩尔斯

《“否定的辩证法”的起源：阿多诺、本雅明和法兰克福研究所》

因此，老子说，做人要像水一样，轻松不受干扰的从高处往低处 “ 流去，也要像水一样无论装在什么样的容器里都能取其容器的形状，

常布朗（译音）

《越南的故事》

“ 叛变从未蔚然成风。因为一旦成风，没人再敢叫它为叛变。”

约翰·哈灵顿

《警句》

Photo by Image Centre, Red Brick Art Museum

自在无碍。”

TIMELINE 时间表 <1,000,000 BCE 公元前 100 万年

<60,000 BCE 公元前 6 万年 The first Homo sapiens arrive in Southeast Asia. 第一个智人来到东南亚。

During the driest period of the Ice Age, when sea levels were 150m below what they are today, much of Southeast Asia was a single landmass known as the Sunda Shelf. 在冰河时代最干旱的时期，当时的海平面是在 今天的150米之下，东南亚大部分地区是一个 被称为“巽他陆棚”的单一陆地。

1819 CE 公元 1819 年 1867 CE 公元 1867 年 The Straits Settlements, which include Malacca, Dinding, Penang, and Singapore come under direct British control as a Crown colony. 由马六甲、天定、槟城和新加坡组成的 海峡殖民地，直接由英国政府接管， 并划入皇家殖民地之列。

>1900 CE 公元 1900 年 The man known as ‘Lai Teck’ is born in Vietnam. “莱特”在越南出生。

Sir Stamford Raffles of the British East India Company arrives in Singapore to establish a trading post. 英国东印度公司的史丹福•莱佛士爵士抵达 新加坡设立贸易站。

>1887 CE 公元 1887 年 Under the pretext of protecting the work of Catholic missionaries in the country, France progressively carves for itself a huge colony, leading to the formation of French Indochina in 1887. 法国以保护国内传教士为借口，逐步为自己开辟 了一个巨大的殖民地，导致1887年法国印度支 那的形成。

1934 CE 公元 1934 年 ‘Lai Teck’ arrives in Singapore from Vietnam. He is known by more than 30 known aliases.

1939 CE 公元 1939 年

“莱特”从越南到新加坡。他有30多个化名。

‘Lai Teck’ becomes the Secretary-General of the Malayan Communist Party (MCP). “莱特”出任马共总书记。

1941 CE 公元 1941 年 The first usage of the term ‘Southeast Asia’ (in its fully modern sense) appears in the book Welfare and Progress in Southeast Asia, by British-born colonial public servant and writer, John Sydenham Furnivall.

1943 CE 公元 1943 年 The idea of Southeast Asia as a single region is born with the establishment of the allied Southeast Asia Command (SEAC) under Lord Mountbatten to coordinate Allied operations in the region. 东南亚作为一个单一地区的理念是在蒙巴登勋 爵领导下建立东南亚司令部时诞生的, 司令部是 为协调盟军在该地区的行动而设立。

The military forces of the Empire of Japan invade Singapore and Malaysia (known together as Malaya). The Malayan People’s Anti-Japanese Army (MPAJA) is formed out of a combined effort by the Malayan Communist Party, British colonial government, and various anti-Japanese groups to resist the Japanese occupation of Malayan territory. “东南亚”一词的第一个用法（完全现代意义上 的）出现在约翰•福尼瓦的著作《东南亚的福利与 进步》中。福尼瓦是英国殖民公务员。 日本帝国挥军入侵新加坡和马来西亚 （当时合称“马来亚”）。由马共、英国殖民地政 府和多个抗日组织联手，马来亚人民抗日军以对 抗日军占马来亚的领土。

1945 CE 公元 1945 年

1947 CE 公元 1947 年 ‘Lai Teck’ is exposed as a triple agent, working for the French, British, and the Japanese secret police. He escapes to Thailand, where he is believed to have been killed. “莱特”为法国、英国和日本效力的三重特 工身份被揭发。他逃到泰国，相信那里也 是他的被杀之地。

The Japanese surrender. Radical factions in the MCP propose to take advantage of the power vacuum in Malaya and the weapons gathered through the MPAJA to begin an armed takeover of Malaya.

Lai Teck dissuades the Party from this strategy. The British Military administration re-occupies Malaya. 日军投降。马共的激进分子提议利用马来亚的 权力真空，以及通过马来亚人民抗日军收集武 器，开始武装接管马来亚。莱特劝阻党不要采取 这一战略。英国军事政府重新占领了马来亚。 1948 CE 公元 1948 年 Under the new leadership of Lai Teck’s former protégé, Chin Peng, the Malayan Communist Party launches an armed struggle and The Malayan Emergency is declared. But the strategic initiative is lost, and the MCP retreat to the forests, where they gradually recede from memory. 马共在陈平（莱特的徒弟，后接替莱特的总书记 职位）的领导下，随即展开武装斗争, 马来亚宣布 进入紧急状态。但是因为战略计划失败，马共渐 渐撤退到森林里，也逐渐被人们淡忘。

Photo by Park Suhwan

BIOGRAPHIES 简历 AMANDI WONG 王俊发 Director of Photograpy 摄影指导

Amandi Wong is a cinematographer and photographer.

He speaks through his camera. 王俊发是一位摄影师，也是位电影摄影师。他透过镜头说故事。 amandiwong.com

ANDY LIM 林忠杰 Light Design, Set, Technical Manager 灯光设计、舞台、技术经理

Andy Lim is a designer and technical director who has been involved in projects in and outside of Singapore. His work spans across drama, dance, music and film: from intimate black box performances to large-scale theatre; from site-specific installations to unconventional outdoor productions.

His work has been seen in major international performing arts festivals, including Esplanade – Theatres on the Bay, Singapore International Festival of Arts, Kunstenfestivaldesarts (Belgium), Wiener Festwochen (Vienna), Theater der Welt (Germany), 54th Venice Biennale (Italy) and Festival/Tokyo (Japan). His creations have been nominated and awarded Best Light and Set Design honours in Singapore and Malaysia. 林忠杰是一位设计师，也是一位技术总监，曾先后参与诸多在国内外 的项目制作。他的作品跨越戏剧、舞蹈、音乐和电影——从在黑箱剧场 的演出到大型剧场的演出，从特定场地装置到非传统的户外场地 制作等。

此外，他的作品还多次亮相主要的国际表演艺术节和表演场所，如滨 海艺术中心、新加坡国际艺术节、比利时布鲁塞尔艺术节、维也纳艺术 节、德国世界戏剧节、第54届威尼斯双年展和日本东京艺术节。他曾先 后获得提名并获颁新加坡和马来西亚最佳灯光与舞台设计奖。 ARTFACTORY Producer 制作

ARTFACTORY is a conduit working with artists, curators and designers to fuse technology with art, exploring and developing new methodologies and strategies to produce, design and construct progressive artworks. Consisting of technicians and designers who recognise the importance of the work of an artist and are dedicated to artistic rigour, technical craftsmanship and digital mediation, ARTFACTORY follows the process of collaboration and research, and is a translator for artists to create technically challenging arts and visually dynamic works.

ARTFACTORY，透过同艺术家、策展人和设计师的合作，将艺术与科 技相互融合、深入探索、深入探索并开拓新方法与策略，以制作、设计 和建构出累进作品来。由技术人员和设计师组成的 ARTFACTORY，深 知作品对于艺术家的重要性，因此他们尤其专注于艺术的严谨，技术 的精确，还有数码的调解，并遵循协作和研究的进程，为艺术家在创造 具挑战性的艺术作品和视觉动态作品时提供必要的支援服务。 @artfactorysg BLACK TO COMM Musician 音乐

Black To Comm is the solo project of German sound artist Marc Richter. Through his output as an artist and through his eclectic Dekorder label, Richter has established himself as a singular voice of new music. Operating at the fringes of drone and ambient genres, his music is darkly magical and deeply atmospheric, underpinned by a signature surrealism.

A relentless sonic explorer, Richter approaches the studio as his instrument, using sampling, analogue production and digital manipulation to offer an almost infinite choice of tones and textures. Audio fragments are liberated from their original context and sculpted into surprising new shapes, creating work that transcends time or genre. His new album Seven Horses For Seven Kings (Thrill Jockey) sees Richter reaching out again into the limitless field of sound, summoning forth his darkest and most visceral work to date.

Black To Comm 是德国声音艺术家马克•利兹特的个人项目。借由他 个人的 Dekorder 唱片品牌，确立了自己作为新音乐的独特声音。他的 音乐以标志性的超现实主义为基础，徘徊在嗡鸣音乐和极简氛围音乐 的边缘，有一种晦暗的神奇魔力和简约却深刻的大气。作为努力不懈 在声学上进行探索的音乐人，利兹特接洽录音室，通过采样、模拟生产 和数码的操控，为音色和音质提供几乎无穷尽的可能选项。音频片段 从其原始语境中解放出来后，即雕成叫人人意外的崭新状态，创造出 可以超越时间或类别的作品来。他的新专辑《七王的七匹马》 （惊险骑 师），可以见到他再次伸向无限的声音领域，召唤出他至今为止最黑暗 和最内心的作品。 thrilljockey.com/press/black-to-comm

CREATURE NFX WORKSHOP Creature NFX Workshop was started in 1986 by Paul Trefry, Animatronics specialising in animatronics, models, props, costumes, puppets and hyper-realistic art. Founded on a passion for 电子动画技术 model making and animatronics, Creature NFX Workshop’s dedication to the film and television industry and experience shows in the quality workmanship and undeniable reliability of the end result. 于1986年由Paul Trefry设立的Creature NFX Workshop，专攻动 画、模型、道具、服装、木偶和超现实主义艺术。建立在对模型制作和动 画的热情基础上，这些年来，它致力于影视制作，积累了丰富的经验， 其专业和优质与精确技术都在最后的制作成品上显而易见。 GRAHAM LAMB Digital Visual Effects & CG Supervisor 数码视觉效果暨电脑制图主管

Graham Lamb is a Visual Effects Artist & Lecturer based in Singapore. He began his career in print publishing before moving into multimedia and transforming into the Visual Effects domain. He has many years experience in all aspects of CG production, from 3D modelling, character sculpting & animation, effects dynamics and matte paining. An avid futurist in digital platform delivery, he enjoys the technical challenges and innovation of new ways of communication and expressing digital content.

Graham Lamb 是一位以新加坡为基地的视觉效果艺术家，也是一位 讲师。他一开始是从事印刷出版，之后转为多媒体，继而进入视觉效果 领域。他在电脑生成图像制作的各个方面都有多年的经验，包括3D模 型、角色造型及动画、动态效果与彩绘。他对未来主义的数字平台作品 的呈现充满热情，喜欢挑战展现数字内容所面对的技术革新和创意沟 通寻求解决方案。

HO TZU NYEN 何子彦 Concept, Direction, Text, Edit 构想、导演、文字、剪辑

Ho Tzu Nyen makes films, installations and theatrical performances that often begin as engagements with historical and philosophical texts and artifacts.

His one-person exhibitions include: Kunstverein in Hamburg (2018), Ming Contemporary Art Museum (Shanghai, 2018); Guggenheim Bilbao (2015), DAAD Galerie (2015), Mori Art Museum, Tokyo (2012). He represented the Singapore Pavilion at the 54th Venice Biennale (2011).

His theatrical works have been presented at The Kampnagel, Hamburg (2018), TPAM (2018); Asian Arts Theatre, Gwangju (2015); Wiener Festwochen (2014); Theater der Welt (2010); the KunstenFestivaldesArts (2006, 2008, 2018); the Singapore Arts Festival (2006, 2008).

Tzu Nyen was awarded a DAAD Scholarship in Berlin (2014– 2015) and the Grand Prize of the Asia Pacific Breweries Foundation Signature Art Prize (2015). 何子彦创作的电影、装置艺术和剧场表演，通常始于与历史和哲学文本 和文物的接触。

这些年来，他在多个著名艺术节上举行过的个展，包括德国汉堡艺术节 （2018）、上海明当代美术馆（2018）、毕尔巴鄂古根汉美术馆（2015）、 德意志学术交流中心画廊（2015）、东京森美术馆（2012）。他也是第54 届威尼斯双年展（2011）新加坡展馆的代表艺术家之一。 至于他的剧场作品则曾在多个艺术节和国际舞台上呈献，如汉堡康普 纳德剧场（2018）、横滨国际舞台芸術（2018）、韩国光州亚洲艺术剧院 （2015）、维也纳艺术节（2014）、世界艺术节（2010）、布鲁塞尔艺术节 （2006，2008，2018）、新加坡艺术节（2006，2008）。

何子彦曾获得德意志学术交流中心奖学金（2014-2015）和亚太酿酒基 金会当代艺术奖的大奖（2015）。

JEFFREY YUE 余思行 Sound Design 音响设计

Jeffrey Yue was awarded the Glaxo-Welcome/EDB scholarship to pursue a degree in technical theatre at the prestigious Guildhall School of Music and Drama in London. With his focus on theatrical sound design, production engineering and programming, Yue has worked extensively in Singapore and all over the world.

He has participated in international festival such as Theaterformen & Theater der Welt (Germany), Asian Arts Theatre Opening Gwangju (Korea), Wiener Festwochen (Austria), MAM Projects at Mori Art Musum (Japan), Sundance Film Festival (Utah), and forum international de dança in Rio de Janerio (Brazil), iDANs Istanbul (Turkey), Internacional de Música de Macau.

Jeffrey is one of the founders of Ctrl Fre@k Pte. Ltd., a show design company specialising in creative and system design for performing arts, themed entertainment, art installations, venues and festivals. 余思行获颁葛兰素威康/EDB奖学金到英国伦敦著名的吉尔德霍尔音 乐与戏剧学院攻读剧场技术课程，该课程聚焦于剧场声音设计、制作 工程与策划。多年来，他在新加坡和海外多个国家地区参与过众多的 制作。 这些年来，他曾参与各大国际艺术节的演出，包括德国剧场艺术节和 世界戏剧节、韩国光州的开幕演出、日本东京森美术馆的MAM的新秀 精品展、美国犹他州圣丹斯电影节（也称日舞影展）、奥地利的维也纳 艺术节、巴西里约热内卢国际电影节、土耳其的伊斯坦堡当代舞蹈表 演国际艺术节，以及澳门国际音乐节。

余思行也是Ctrl Fre@k Pte Ltd的创始人之一。该舞台设计公司专为 表演艺术、主题娱乐活动、艺术装置、场地和艺术节日提供创意与系统 设计服务。

MARC OPPER Research Consultant 研究顾问

Marc Opper is an independent researcher based out of Mechanicsville, Virginia, USA. His research focuses on interactions between civilians and armed groups in wartime in East and Southeast Asia and the history of the Malayan Communist Party. He holds a PhD from the University of Virginia and was a postdoctoral associate at Yale’s Council on East Asian Studies. His work has appeared in peer-reviewed journals such as the Journal of the Malaysian Branch of the Royal Asiatic Society and Twentieth-Century China. He has a forthcoming book titled People’s Wars in China, Malaya, and Vietnam, and is currently working on a book-length biography of Lai Teck.

Marc Opper 是一位独立研究员，他以美国弗吉尼亚州为基地。其研究 聚焦于东亚和东南亚战争时期老百姓与武装部队间的互动，还有马共 的历史。他获弗吉尼亚大学博士学位，也曾经是耶鲁大学东亚研究理 事会博士后研究员。马克•库珀的研究论文曾发表在同行评审的期刊， 如《皇家亚洲学会马来西亚分会学报》和《二十世纪中国》学术期刊。他 即将出版一本题为《中国，马来亚和越南的人民战争》的书，目前正在 撰写莱特生平的新作。 marcopper.net

MIRABEL NEO 梁桂馨 Production Stage Manager 制作及舞台监督

Mirabel Neo is a production and stage manager based in Singapore. She is well-versed in different art forms, namely, drama, musical theatre, classical opera, theatre for the young as well as commercial events. Throughout her tenure in various management roles, she has had the pleasure of working with some of the industry’s great talents and creative minds.

Her recent stage managing credits include The Disappearing Number (2019), ChildAid (2017-2018), HomeTeamNS (2017), Becoming Graphic (2017) and Richard Wagner’s The Flying Dutchman (2016). She has also served as Production Manager for The Nutcracker – Chinese Version (2019) and Theatre for the Young, 100 & 100 More Festival (2018). 梁桂馨是一位制作与舞台监督。她熟悉不同的艺术形式，即戏剧、音乐 剧、古典歌剧、年轻人剧场，以及商业活动。在各种管理职位的任期内， 她有机会同业界既有创意思维又才华横溢的人才共事。

她近期负责的舞台管理演出有： 《消失的数字》 （2019）、儿童慈善 音乐会（2017与2018）、内政团队战备人员协会嘉年华（2017）、 “Becoming Graphic” （2017）、华格纳歌剧《漂逸的荷兰人》 （2016） 等。此外，她也是《胡桃夹子》 （2019），以及年轻人剧场“100与比100 更多的”艺术节（2018）的制作经理。

STEV.E KWEK 郭修文 Show Control Engineer 演出技术操控工程师

Stev.e Kwek majored in Lighting Design as a Technical Theatre student at the LASALLE College of the Arts. Currently a part of ARTFACTORY Kwek is passionate about working towards technical precision and professionalism of the projects he undertakes, as well as how lighting and shadows influences the mood and receptiveness of audiences to a work. His recent credits include Golden Record 2.0, Pallavi In Time, Being Haresh Sharma and Litany of Broken Prayers and Promises.

He was nominated for a Life! Theatre Award for Running with Strippers (CAKE) in 2017. 郭修文在新加坡拉萨尔艺术学院作为剧场技术系学生时，就是以灯光 设计为主修。作为 ARTFACTORY 的一份子，他对自己的要求很高：要 在担负任何项目时必须专业，在任何的技术要求上也必须精确；另外， 对于舞台上光影的设计如何影响观众的情绪和接受度等方面，他也都 会照顾周全。近期的佳作有：依迪•朴德斯塔执导的“Golden Record 2.0”、CHOWK 的“Pallavi In Time”、CAKE 剧场的《作为哈里斯 · 沙玛》和《破碎的祈祷与承诺》 ，以及仍然是 CAKE的作品“Running with Strippers” ，此剧获提名2017年的“海峡时报‘生活版’戏剧奖”。

TAY KONG HUI 郑光辉 Performer, Voice, Translation 演员、声音、翻译

Tay Kong Hui holds a Master of Arts from Central Saint Martins College of Art and Design in London, and a Bachelors Degree majoring in cinema and television from the Hong Kong Baptist University School of Media. Kong Hui learnt the performing arts from the late Mr Thia Mong Teck, a respectable and legendary theatre veteran in Singapore’s history. A media and theatre practitioner, Kong Hui has worked in journalism, radio broadcasting, television, filmmaking and theatre. Many of the theatre productions he was involved in have received several awards and nominations. Kong Hui was supported by Singapore’s National Arts Council in 2014 to undergo intensive theatre training in New York. 郑光辉考获伦敦中央圣马丁艺术与设计学院的艺术硕士学位，以及香 港浸会大学传理学院（主修的是电影和电视）的学士学位；他曾师从我 国已故戏剧前辈程茂德。作为媒体和戏剧从业人员，光辉在过去数年 来，举凡新闻、电台广播、电视、电影制作与剧场都有所涉猎。他所参与 的剧场制作中多有得奖和获得提名。2014年他还获得国家艺术理事会 的赞助，远赴美国纽约接受一项剧场密集训练课程。

YAP SEOK HUI 叶淑慧 Administrative Producer 行政监制

Yap Seok Hui has toured extensively with performances to Asia and Europe, undertaking various production and technical roles. Her selected credits include Ten Thousand Tigers (Ho Tzu Nyen), Macho Dancer (Eisa Jocson), The Gay Romeo (Daniel Kok), SoftMachine (Choy Ka Fai) and Solar: A Meltdown (Ho Rui An).

In the process of collaboration with independent artists, institutions and curators in the creation and production of media art and performance works, she has also worked on the technical installations for various exhibitions internationally, notably, at the 56th Venice Biennale (Italy), 21-39 exhibition (Saudi Arabia), Sunshower exhibition (Japan), Gwangju Biennale (Korea) and the 2nd Kochi-Muziris Biennale (India). 叶淑慧曾以制作人和技术人员的身份，同表演团体到亚欧等地演出。 她所参与的演出和展览包括： 《卍虎》 （何子彦）、 《猛男之舞》 （艾萨 • 霍克森）、 “The Gay Romeo” （郭奕麟）、 “SoftMachine” （徐家辉） 和“Solar: A Meltdown” （何锐安）。

在与独立艺术家、机构和策展人合作创作和制作媒体艺术及表演作品 的过程中，她也同时参与国际上多项展览的技术装置工作，尤其著名 的有第56届威尼斯双年展（意大利）、21-39展（沙地阿拉伯）、太阳雨展 （日本）、光州双年展（韩国）和第二届科钦穆吉里斯双年展 （印度）。

INTERVIEW WITH HO TZU NYEN Creator, The Mysterious Lai Teck

Tzu Nyen, your films, installations and performances often begin with an engagement with history. Why do you think it’s important to understand the past?

For me, history is a material I work with. I sometimes think it is not so different from how some other artists might work with clay, or marble. The only way we can build a different future for ourselves is if we re-think how our past has been constructed or communicated to us. But I am interested in history, not just for what it says, and leaves unsaid, but also how it says.

Who is Lai Teck? Isn’t his life shrouded in mystery?

Till today, nobody knows Lai Teck’s real name. Lai Teck is one of his thirty or so known aliases. He is believed to be born in Vietnam, although we can’t be sure exactly where. He became the leader of the Communists of the Malayan area between 1939 and 1947 as its Secretary-General.

His life is indeed shrouded in secrecy. Everything we know about him seems to be based on guess-work, hearsay, and virtually all existing accounts of his life contain contradiction.

But I wonder if what we consider to be “official” history is any less arbitrary, just better “worked over” and concealed.

Lai Teck was discovered to have been a triple agent in 1947, working for first the French, then the British and finally the Japanese secret police. Do you believe Lai Teck was a product of his time?

The twentieth century is known as the century of treachery because no other century has produced as many traitors.

It was also an era where many nation states were born. By producing nation states, you also produce the conditions for traitors to betray these states.

So in this sense, the traitor is something like the unsonscious, or the shadow of the nation state So, you believe treachery is not merely personal?

The personal is only on aspect of treachery, and perhaps not the most interesting one. Rather, I think it is more interesting to understand how treachery is produced historically and structurally.

This way of thinking may lead us to understand that very often, only a fine line separates the kings from the traitors, who might also be recast as the victors and the losers in a political contest, or the writer and the written in a historical account.

The Mysterious Lai Teck looks at this very contested figure in order to re-understand or re-think our moral and ethical judgments about past events.

A video excerpt of this interview can be found at sifa.sg

专访

何子彦 《神秘莱特》创作者 子彦，您的电影、装置艺术和表演通常是以接触历史为出发点。为什么 您认为理解过去很重要？

对我而言，历史是我的素材。我有时候会认为，这和其他艺术家可能 会使用粘土或是大理石一样，没什么不同。我们能够为自己建设 一个不同的未来的唯一途径, 就是重新思考我们的过去是如何构建 或传达给我们的。至于我，我对历史很感兴趣，不仅仅是历史说了些 什么，或是什么没说，也对历史的如何说感兴趣。

谁是莱特？他的生命不是笼罩在神秘和隐晦之中吗？

至今，没有人知道莱特的真实姓名。 “莱特”是他已知的30多个化名 之一。据知他是在越南出生的，尽管我们不能确切知道在哪里。他后 来在1939至1947年间担任马共总书记。 他的生命确实笼罩在秘密之中。关于所知道的他仅仅是基于猜测或 是传闻，几乎所有他生活中的现有叙述与资料都存在着矛盾。 然而，对于我们知道的所谓“官方”历史，会不会是一种被人刻意修 饰的，实则是被掩盖的真相。

莱特在1947年被发现是三重特工，先后效忠于法国、英国和日本。 你相信莱特是那个时代下的产物吗？

20世纪是公认的背叛世纪，因为没有其他世纪出现过那么多的 叛徒，是许多民族国家诞生的时代。在国家建立的过程中，也为叛徒 创造了背叛国家的条件。 所以从这个意义上来说，叛徒就有点像是失去知觉或民族国家的 影子。

所以，你认为背叛不仅仅是出自个人原因？

出自个人原因的背叛只是叛变的一个层面，它不是最有意思的。 相反的，我认为更有意思的是背信弃义是如何在历史和结构上形 成的。

这种思维方式，也许能带领我们去了解，在很多时候，也能被重塑 为政治斗争重的赢家和输家，或者是作家和历史故事重的文字。

《神秘莱特》讲述的这个极具争议性的人物故事，为了让我们重新 理解或重新思考我们对历史的道德和伦理判断。 此次采访的视频节选可浏览 sifa.sg

TICKET HOLDER PRIVILEGES

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TO ENJOY SPECIAL DEALS AT OUR PARTNER OUTLETS Empress

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10% off dine-in ala carte food and drinks purchased at EMPRESS.

Enjoy 15% off total food bill.

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Esplanade – Theatre on the Bay, 8 Raffles Avenue, S039802 Beware of Pity, ST/LL, Körper and Ryuichi Sakamoto ticket holders are entitled up to 15% savings on dining and shopping at Esplanade Mall on the day of performance. Visit www. esplanade.com for details.

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3C River Valley Road The Cannery, #02-02, S179022 Enjoy free entry into Capital Zouk before midnight.

For more Festival deals, visit sifa.sg.

Unless otherwise stated, all promotions are valid till 2 June, Sunday. Not applicable with other promotions, discounts, vouchers and offers by credit or privilege cards. Ticket stubs presented must be in its original condition and e-tickets must be shown via electronic devices clearly. Management reserves the right to amend any promotional terms and conditions without prior notice. Merchants’ terms and conditions apply.

ABOUT SINGAPORE INTERNATIONAL FESTIVAL OF ARTS As Singapore’s annual pinnacle arts festival, the Singapore International Festival of Arts (SIFA) presents captivating and diverse works across theatre, music, dance, film and visual arts. First launched as the Singapore Festival of Arts in 1977, the festival has gone through several evolutions and inspired generations of arts lovers and practitioners.

Today, the highly-anticipated festival is a high-point on Singapore’s arts and cultural calendar.

Under the helm of Festival Director Gaurav Kripalani from 2018–2020, SIFA continues its festival mission to champion the creation and presentation of Singaporean and international works.

ARTS HOUSE LIMITED BOARD Chairperson Christine Ong Members Chong Yuan Chien Deborah Ho Eduardo Ramos-Gómez Kelvin Ang Kenneth Kwok Lynette Pang Madeleine Lee Maniza Jumabhoy Mok Wei Wei Ong Chao Choon Ong Choon Fah Sarah Martin (Ex-Officio)

SINGAPORE INTERNATIONAL FESTIVAL OF ARTS THE SIFA TEAM

Chief Executive Officer Sarah Martin Festival Director Gaurav Kripalani Chief Financial Officer Ng Soon Lee Head, Production Cindy Yeong Head, Marketing Jasmine Gan Assistant Head, Event Services Management Emma Izzabella Tagoe

PROGRAMMING Producers Sara Joan Fang Rydwan Anwar Ye Junmin Senior Manager Lisa Lip Manager Shridar Mani Assistant Manager Alicia Chong Festival Assistant Chong Xinyi

PRODUCTION

Production Manager Chan Silei Yo Shao Ann Production Co-ordinators Celestine Wong Melissa Chin Technical Co-ordinators Huang Xiangbin Ian Tan

Assistant Technical Co-ordinator Muhammed Muzzamier Bin Abu Bakar Production Assistants Chong Wee Nee Alexis Ho

MARKETING & TICKETING Senior Managers Elizabeth Wong Winnie Chan Managers Allison Lai Fiona Chua Senior Designers Hakim bin Rahim Md Firdaus bin Wari Executives Juliana Tan Shariffah Natasha Dinah Eriqah Azman Intern Chew Ying Ying

COMMUNICATIONS Manager Khairi Johann Jasmin Intern Jamie Buitelaar

PARTNERSHIP DEVELOPMENT Manager Norita Senin Executive Tan Yanru

EVENT SERVICES MANAGEMENT

Managers, Artist Logistics Carine Lee Syafiq Zulkepli Managers, Front-of-House Nura Osman Germaine Leow Manager, Back-of-House Hospitality Esther Goh Manager, Event Services Johnson Kee Manager, Special Projects and Operations Zalikha Mis’ari Executive, Front-of-House Kitty Kwan

FINANCE

Managers Vivian Gan Executives Aileen Ong Izyan Nooraini Bte Ramlee

HUMAN RESOURCE Manager Noraliza Ramli Senior Executive Elaine Neo

ADMINISTRATION

Centre Manager Lucas Chiew Executive Nor Limah Binte Ja’ffa

DON’T MISS

THESE OTHER PRODUCTIONS IN THE FESTIVAL ST/LL

KÖRPER

24 & 25 May, Fri & Sat Esplanade Theatre

31 May & 1 Jun, Fri & Sat Esplanade Theatre

Photo by Yoshikazu Inoue

Photo by Bernd Uhlig

DIONYSUS

BILL FRISELL TRIO

by Shiro Takatani, Dumb Type (Japan)

by Sasha Waltz & Hans Peter Kuhn (Germany)

by Suzuki Company of Toga & Purnati Indonesia (Japan & Indonesia)

featuring Rudy Royston & Thomas Morgan (USA)

17 & 18 May, Fri & Sat Victoria Theatre

29 May, Wed Victoria Theatre

Performed in various languages with English surtitles.

Photo courtesy of Purnati Indonesia (2018). Photo by Dian P. Susilaradeya

Photo by Monica Frisell

PETER AND THE WOLF

CROWD

by Gisèle Vienne (France)

Silo Theatre (New Zealand)

1 & 2 Jun, Sat & Sun Victoria Theatre

18 - 20 May, Sat - Mon KC Arts Centre Home of SRT

Photo by Barbara Braun/MuTphoto

DISPLACED PERSONS’ WELCOME DINNER

A DREAM UNDER THE SOUTHERN BOUGH: REVERIE

24 - 26 May, Fri - Sun Victoria Theatre

31 May - 2 Jun, Fri - Sun Drama Centre Theatre

Photo by Joel Lim @ Calibre Pictures

Performed in Mandarin with English and Chinese surtitles.

南柯一梦 之 如梦

by Checkpoint Theatre (Singapore)

by Toy Factory Productions Ltd (Singapore)

FREE PROGRAMMES AND MORE WE CAN DANCE

DE RELAXERETTE

Daily tous les jours, featuring ScRach MarcS (Canada/Singapore)

Arjan Kruidhof and Explore-the-North (The Netherlands) 12 – 20 May & 22 May – 2 Jun, Daily, Various timings The Plaza, National Library Building

10 May - 2 Jun Daily, Various Timings The Plaza, National Library Building

FOR FULL FESTIVAL LINE-UP, VISIT SIFA.SG Organised By

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