Faith Healer

神醫 by Brian Friel 布萊恩・費爾

19-21.1.2024

HONG KONG Cultural Centre Studio Theatre 香港文化中心劇場

“But I can tell you this: there was one thing I did know, one thing I always knew right from the beginning I always knew, drunk or sober, I always knew when nothing was going to happen.”

Frank Hardy. Faith Healer.

Traveling through remote and lonely villages in Scotland and Wales, Frank works his magic, curing the sick and giving strength to the weak.

Frank has a gift. A gift of healing. His powers are real, are they?

Three central events dominate the story: an incident in the Welsh village of Llanblethian where Frank cures ten people; Grace having a baby in Kinlochbervie, Scotland; and Frank’s mysterious end in Ballybeg, Ireland. As the mystery deepens, where does the real truth lie? 以四個獨白呈現，由三位角色——神醫法蘭克、他的妻子蕾絲和經紀人泰迪輪流回憶起 他們多年來共同的生活，揭開了一堆支離破碎、矛盾的記憶。 四段獨白拼湊出三條故事主線：法蘭克在威爾斯蘭布利塞安村治癒了十人，蕾絲在蘇格 蘭金洛克伯威產下兒子，以及法蘭克在愛爾蘭巴利比格的事情。 在記憶、謊言及信仰之中，真相究竟是什麼？

Scenes list 分場表

1 2

Frank 法蘭克

Grace 蕾絲

Intermission 10mins 中場休息 10 分鐘

3 4 Teddy 泰迪

Frank 法蘭克

Brian Friel 布萊恩・費爾 (1929-2015)

Born in County Tyrone, Nothern Ireland, in 1929, Friel was an Irish dramatist and short story writer. He studied in seminary but did not become a priest. Instead, he became a math teacher and began writing plays in his spare time. Eventually, he decided to leave his teaching job and pursue playwriting full-time.

Brian Friel’s international status was founded on the profoundly local: the universal resonance of ‘Ballybeg’, which projected him as “the Irish Chekhov”, emphasising his extraordinary affinity with the Russian playwright. Friel addressed themes such as language and meaning, faith and authority, through the medium of the family and its search for the elusive quality of “home”. With Philadelphia, Here I Come! and Dancing at Lughnasa earned him accolades including the Laurence Olivier Award for Best New Play, the New York Drama Critics Circle Award for Best Play, and the Tony Award for Best Play. 布萊恩・費爾於一九二九年出生在北愛爾蘭一個小鎮，是著名的戲劇家和短篇小說家。 曾在神學院就讀，但沒有成為神父。後來轉而擔任數學老師，同時開展了編劇創作。最 終辭去教職，全職寫作。

其作品描寫的巴里貝鎮（來自愛爾蘭語「貝萊貝格」，意為「小城鎮」）具濃厚本土氣息，

同時富深刻的宇宙性，因此被譽為「愛爾蘭的契訶夫」。費爾擅長描寫家庭生活中千絲

萬縷的關係，從而探討語言與意義、信仰與權威等主題。《費城，我來了！》、《盧格納 薩之舞》等作品，先後獲得了奧利維爾年度戲劇獎、紐約圈內劇評人獎最佳劇本、東尼 獎最佳劇本。

Director’s Notes 導演的話

When I was asked to direct the Faith Healer in 2023 by Theatre du Pif, I leapt at the chance. Brian Friel is one of my favourite playwrights and Faith Healer, is amongst the best of his plays. Indeed, the British newspaper “The Independent” recently Boston with the late, great James Mason starring as Frank. It only survived for twenty named the play in its list of the best plays of all time. But the play got off to a bumpy start. Originally written in the late 1970’s, it opened on Broadway after a short run in performances due to poor reviews. Brian Friel was devastated and had to be persuaded by Joe Dowling, the Director of the world-famous Abbey Theatre in Ireland to do the play again. This time with the right cast it received rave reviews and the play has continued to delight, intrigue and entertain audiences around the world ever since. The play has an unusual construction being made up of four monologues by the three characters in the play. Frank, the faith healer of the title, Grace his lover and Teddy their cockney promoter, reflecting on their chaotic time on the road leading up to one dreadful event that throws a shadow over all their lives. Like the Japanese film director/writer Akira Kurosawa’s Rashomon its characters describe the same event from their own perspective. It is up to you, the audience, to decide who is telling the truth. Or are they all telling their own truth? The play is an examination and poetic exploration of the eternal struggle to discover the truth of our experiences and how we rationalise them in our mind. In a post truth world, I think the time is right to present a play that examines the very nature of what is truth, and what is belief. 去年當我被邀請執導進劇場《神醫》一劇時，我便立即答應。布萊恩·費爾是我最喜歡 的劇作家之一，《神醫》是他最為出色的作品。最近，英國報章《獨立報》甚至將此劇

列為時代最傑出劇作之一。但這齣戲的開始並不順利。劇作寫於 1970 年代末，在波士 頓短暫上演後在百老匯演出，由已故的詹姆士·梅遜（James Mason）飾演法蘭克。

由於評論欠佳，只演出了二十場。布萊恩·費爾為此而感到沮喪，但仍在世界著名的愛

爾蘭國立劇院導演喬·道林（Joe Dowling）的說服下再次演出此劇。合適的演員陣容 讓此劇好評如潮，及後一直為世界各地的觀眾帶來喜悅、困惑和娛樂。《神醫》的結構

並不常見，由三個角色四段獨白組成。法蘭克，劇目所言的神醫；蕾絲，他的愛人；和 泰迪，他們來自倫敦的經紀人，三人回憶起他們在路上那混亂的時光，而導致一場可怕 事件，讓他們的一生蒙上了陰影。像日本電影導演及編劇黑澤明的《羅生門》，其角色

分別從自身的角度敘述事件。這是取決於觀眾，由你去決定到底誰說的是真相，還是他 們在講述自己認為的真相？此劇是對永恆的鬥爭——於發現經歷中的真相和頭腦的合理

化之間——的一種檢視和詩意的探索。在一個後真相世界裡，我認為現在是最好的時間 去呈現一部戲，以審視真相及信仰的本質。 Michael Bray

Playwright 編劇

Guest Director 客席導演 Cast 演出 Stage Designer 舞台設計

Brian Friel Michael Bray

Lawrence Lee Isaac Wong

Assistant Lighting Designer 助理燈光設計

Hui Wing Yan Ainsley So

Producer 監製

Jamie Wu Lawrence Lee

Assistant Stage Manager 助理舞台監督

Jonathan Lee

Make-up and Hair Styling 化妝及髮型

Olivia Lau

Stage Manager / Deputy Stage Manager Fan Man Yan 舞台監督 / 執行舞台監督

Dresser 服裝助理

Surtitle Translator 字幕翻譯

蘇善誼 胡家欣 李浩賢 范文恩 李恩浩

劉碧玉

Jasmine Wong 黃靖雯 Kiki Ng Haha Ng

Marketing Assistant 宣傳助理

Karen Fung

​* With kind permission from Hong Kong Baptist University 承蒙香港浸會大學允准參與是次製作

許穎恩

Chim Man Lung 詹文龍 Simon Lau 劉世偉

Surtitle Operator 字幕控制 Visual Designer 視覺設計

王梓駿

Leung Sze Wah 梁思樺

Production Manager 製作經理

Stage Crews 舞台助理

李浩賢

Lau Ming Hang 劉銘鏗

Costume Designer 服裝設計 Sound Designer 音響設計

*

Sean Curran 紀文舜 Peter Jordan 莊培德 Candice Moore 簡迪文

Assistant Stage Designer 助理舞台設計 Lighting Designer 燈光設計

布萊恩．費爾

伍綺琪 伍詠霞

Terrenz Chang 張惠淳 馮家穎

^ The Arts Administration Internship Scheme is supported by the Hong Kong Arts Development Council 藝術行政人員實習計劃由香港藝術發展局資助

^

Theatre du Pif

Theatre du Pif was formed in Scotland in 1992 by Bonni Chan and Sean Curran and for three years, they conducted daily classes, taught professional and community groups and devised productions that toured around the UK and Europe.

I​n 1995, Theatre du Pif relocated to Hong Kong and became known for its cross-cultural heritage and bilingual productions performing in Cantonese, English or both.

Often using a workshop and devising process as well as collaborations with dramaturges and artists from other disciplines, the company orchestrates movement, text and visual images to create new productions acclaimed for their power and their poetry.

The company has staged plays by a variety of world dramatists including Jean Anouilh, Samuel Beckett, David Harrower, Henrik Ibsen, Sarah Kane, Federico Garcia Lorca, Harold Pinter, Yasmina Reza and Cao Yu. They have collaborated with a number of international theatre directors and artists including Robert Draffin (Australia), Mikel Murfi (Ireland), Adrian Noble (UK), Yang Jun-gung (Korea), Jovanni Sy (Canada) and more.

Theatre du Pif has been financially supported by the Hong Kong Arts Development Council.

“Theatre du Pif operates at the cutting edge of modern theatre.” – South China Morning Post “The most Innovative and cross-culturally aware theatre company in Hong Kong.” – Time Out Hong Kong “Theatre du Pif is one of the Hong Kong’s most innovative performing arts companies.” – Monocle Magazine Recent productions 2023 The Three Sisters by Chekhov (directed by Bonni Chan) Love in the Time of (insirpired by the novel Love in the Time of Cholera by Gabriel García Márquez, directed by Bonni Chan) 2022 Claire (inspired by Swiss dramatist Friedrich Dürrenmatt’s The Visit, directed by Bonni Chan) 2021 Old Times by Harold Pinter (directed by Paul Poon) 2020 Hong Kong Poetica (devised theatre based on Hong Kong literature to explore the world of local poet Leung Ping Kwan (Yasi), directed by Bonni Chan).

2019 Ghosts by Ibsen (directed by Paul Poon)

進劇場

進劇場於 1992 年由陳麗珠及紀文舜在蘇格蘭成立， 其後 3 年為不同的專業表演團體及社區團體擔任教學 工作，並以編作排練方式發展舞台創作，於英國及 歐洲作巡迴演出。 1995 年，進劇場移師香港作為基地，本著跨文化 的傳統、創作英語、粵語及英粵雙語的原創劇場作 品，成為香港重要劇團之一。劇團經常邀請戲劇工 作者及不同範疇的藝術家合作，透過工作坊及編作 排練的形式，使創作能糅合形體、文本和視象等各 種元素，作品獲讚譽為深具舞台力量亦同時充滿詩 意。 進劇場曾演繹多位著名劇作家的作品，包括讓 · 阿努 伊、塞繆爾 · 貝克特、大衛 · 哈羅爾、亨利克 · 約翰 · 易卜生、薩拉 · 凱恩、費德里科 · 加西亞 · 洛爾卡、 哈羅德 · 品特、雅絲米娜 · 雷沙和曹禺等。劇團亦 曾與羅伯特 · 德拉夫恩 Robert Draffin（澳洲）、Mikel Murfi（愛爾蘭）、艾德里安 · 諾布爾 Adrian Noble（英 國）、梁正雄 Yang Jungung（韓國）及施崇梵 Jovanni Sy（加拿大）等不同的海外戲劇導演合作。 進劇場為香港藝術發展局「三年資助」藝團。 「進劇場打磨着當代劇場的尖鋒」香港南華早報 「香港最創新、最具文化意識的劇團」Time Out Hong Kong 「香港最創新的劇團之一」Monocle Magazine 近年製作 2023 三姊妹

愛在蔓延時

契訶夫的跨時代不朽經典，由陳麗珠 執導 靈感來自諾貝爾文學獎得主馬奎斯經 典小說《愛在瘟疫蔓延時》，由陳麗珠 執導

2022 空海之迴

創作靈感湧現自瑞士劇作家迪倫馬特的 作品《老婦還鄉》，由陳麗珠執導

2021 時光

英國戲劇大師哈洛．品特的名作，由 潘惠森翻譯及執導

2020 「島物詩游」 也斯進劇場

演繹香港詩人梁秉鈞（也斯）的文字深 情，由陳麗珠執導

2019 群鬼

易卜生的代表作，由潘惠森翻譯及執導

Director 導演

Michael trained as an actor at the Royal Academy of Dramatic Art in

Michael London, where he won the Emile Littler Award for the Most Promising Actor. He then worked in repertory theatre all around Britain including Bray

six years at the National Theatre of Great Britain. He played leading parts in Neap Tide, Brother and Sisters, Postcards, The Cristian, The

Mother, American Clock, Measure for Measure, Romeo and Juliet, Macbeth, Whilst at the National Theatre Michael also wrote and directed his first two plays, The Rhythm of Love and The Back of the Bus Girls. He toured Asia with the Royal Shakespeare Company, in the award winning production of A Midsummer Night’s Dream.

Michael also worked extensively in television, including Children’s Ward, Soldier Soldier, Casualty, The Tomorrow People, World in Action, as well as leading parts in film, including For Queen and Country, Home, and the BAFTA winning film, Battered. He also directed many Television series, including UK Central Television’s Let’s Pretend and Channel Four’s Family Pride. He then formed Winchester Films and wrote and directed his first movie, The Sea Change, starring Ray Winstone and Maryam Darbo. The film was chosen for the Sundance Film Festival and went on to be screened around the world. Michael has written and directed many more films, including Black Powder, Maggie, A Matter of Life and Death, What’s a Girl Gotta Do, Rewind, and Emily. Most recently he was executive producer on Where the Skin Lies, Released in 2021 it has won many awards including best film at the Frightfest Festival.

Michael 於倫敦皇家戲劇藝術學院接受演員訓練，並獲得了埃米爾 · 利特爾獎「最有前途演員獎」。之後在英國多個城市的話劇團工作， 包括在英國國家劇院工作六年。他在《Neap Tide》、《Brother and Sisters》、《Postcards》、《The Cristian》、《The Mother》、《American Clock》、《 一 報 還 一 報 》、《 羅 密 歐 與 茱 麗 葉 》、《 馬 克 白 》 中 擔 任 主角。在國家劇院期間，Michael 亦編導兩部劇作《The Rhythm of Love》和《The Back of the Bus Girls》。他亦曾參與皇家莎士比亞劇 團的獲獎作品《仲夏夜之夢》之亞洲巡演。 Michael 也廣泛參與電視製作，包括：《Children’s Ward》、《士兵啊 士兵》、《急診室》、《異能行者》、《World in Action》，以及在電影包 括《女王與叛徒》、 《Home》和獲得英國影藝學院電影獎《Battered》 擔任主角。他也為多部電視劇執導，包括英國中央電視台《Let’s Pretend》和第四台《Family Pride》。其後成立了溫徹斯特電影公司， 並自編自導首部電影《The Sea Change》，由雷 · 溫斯頓和瑪瑞亞 · 達波主演。該片入選辛丹斯電影節，並在世界各地上映。其他編導 電影作品，包括《Black Powder》、《Maggie》、《A Matter of Life and Death》、《What’s a Girl Gotta Do》、《Rewind》和《Emily》。近年他為 電影《Where the Skin Lies》擔任執行製片人，於 2021 年上映，獲 得許多獎項，包括 Frightfest 藝術節「最佳電影」。

Cast 演員 Frank 法蘭克

Sean studied at the Central School of Speech and Drama in London and with Jacques Lecoq in Paris. He is the founder and Co-Artistic

Sean Director of Theatre du Pif and he has devised and performed in Curran most of the company productions. In 2010 he won the Outstanding 紀文舜 Leading Actor award at the Hong Kong Theatre Libre Awards for his role in David Harrower’s play Knives in Hens. He performed the

role of narrator in Samson Young’s new composition Such Sweet Thunder in collaboration with the Hong Kong Sinfonietta at the 2018 Hong Kong Arts Festival.

Sean is also a certified Feldenkrais Practitioner and he has led many workshops and classes for performers in Asia, Europe, Canada and South America. He also teaches voice and movement, and the Feldenkrais Method at the Hong Kong Academy for Performing Arts.

In recent years his work has extended beyond the theatre, including teaching voice and communication skills to business executives, and The Feldenkrais Method to teachers, social workers and people in recovery from cancer. In collaboration with the West Kowloon Cultural District Sean recently curated The Foundations of Performance - A series of workshops and conversations designed to bring together artists from different fields to exchange experience and inspiration. 紀文舜於倫敦中央戲劇學院接受演員訓練，後再往巴黎跟隨雅克． 勒科深造戲劇創作及表演。他是進劇場聯合藝術總監，參與劇團所 有的創作及演出。紀文舜憑《母雞身上的刀子》獲頒 2010 年香港小 劇場獎最佳男主角。2018 年，他與香港小交響樂團協作，參與香港 藝術節作品——楊嘉輝《鐘為誰鳴》，在演出中擔任敘述者。 紀氏為香港不同的專業及社區團體主持工作坊，他在香港演藝學院 教授聲音與形體，以及魁根斯方法（Feldenkrais Method）課程。 近年，紀氏更涉足劇場以外的工作，為企業管理層提供聲音及溝通 技巧訓練，又為老師、社工及癌症康復者提供魁根斯方法工作坊。 2018 年，紀氏與西九文化區協作，策劃「表演基本步」，藉著一系 列工作坊和對談，匯聚不同界別創作人，交流經驗，激發創意。

Cast 演員 Grace 蕾絲

Candice Moore 簡迪文

Candice is an actor and director from Edinburgh, Scotland. She has a BA in Dramatic Studies from The Royal Conservatoire of Scotland and an MA in Theatre Directing with Merit from Mountview Academy of Theatre Arts. Her recent acting roles including: Mrs Gobshka in Theatre du Pif’s The Overcoat; Annie Wilkes in Wordybird Theatre Company’s Misery; Helen in Hong Kong Players’s Orphans; Nurse Ratched in Naiad Productions’ One Flew Over The Cuckoo’s Nest; AFTEC’s The Wizard of Oz, Judy Garland in Sweet and Sour Productions Ltd.’s Lions, Typhoons and Judy, Oh My!; Empress Maria Theresa in City Chamber Orchestra of Hong Kong’s Haydn and The Prince; and Schwartz in Fire Exit/Traverse Theatre’s Horizontal Collaboration at Edinburgh Festival Fringe.

Directing credits including a stage reading of Theatre du Pif’s Faith Healer; Jay Christopher’s Hong Kong Love Stories; Mountview Academy of Theatre Arts/Karamel Club’s The Elephant Song; Studio Strada’s Four Assassins; Sweet and Sour Productions Ltd.’s Glorious; Secret Theatre Project’s Code 2024 at Tai Kwun, and serving as the Casting Director for Secret Theatre Project’s The Great Gatsby at The Peninsula. Candice won the Best Director and Best Production (NonMusical Category) for Doubt at the Hong Kong English Language Drama Awards. She is the Artistic Director of Sweet and Sour Productions Ltd. 來自蘇格蘭愛丁堡的導演及演員，畢業於倫敦蒙特紐舞台表演藝術 學院劇場導演碩士及蘇格蘭皇家音樂學院戲劇研究學士學位。最近 參與演員的作品包括：進劇場《暖大衣》戈布什卡夫人；Wordybird 劇團《危情十日》安妮 · 威爾克斯；Hong Kong Players《Orphans》 海倫；Naiad Productions《飛越瘋人院》護士瑞秋；誇啦啦藝術集 匯《綠野仙踪》西方女巫；Sweet and Sour Productions Ltd《Lions, Typhoons and Judy, Oh My!》朱迪；香港城市室樂團的《海頓與親 王》瑪麗亞 · 特蕾莎皇后；以及於愛丁堡國際藝穗節演出的 Fire Exit/ Traverse Theatre《Horizontal Collaboration》Schwartz。 簡氏的導演作品包括：進劇場《神醫》讀劇；Jay Christopher《Hong Kong Love Stories》； 蒙 特 紐 舞 台 表 演 藝 術 學 院 與 Karamel Club 《The Elephant Song》；Studio Strada《刺客連線》；Sweet and Sour ；大館上演的 Secret Theatre Project《Code Productions Ltd《Glorious》 2024》；另外亦為半島酒店上演的 Secret Theatre Project《大亨小傳》 擔任選角導演。她憑《Doubt》獲香港英語舞台劇獎「最佳導演獎」 及「最佳戲劇（非音樂類）獎」。現為 Sweet and Sour Productions Ltd 的藝術總監。

Cast 演員 Teddy 泰迪

Peter Jordan 莊培德

As an actor in Britain and Italy, Peter worked for several companies including Oxford Stage, Sheffield Crucible, Red Shift, Musica nel Chiostro, TAG Teatro of Venice and others. Productions include Diary of a Madman, The Bald Primadonna, The Venetian Twins, Hamlet, Romeo and Juliet, The Merchant of Venice, Les Misérables, Six Characters in Search of an Author, What About Leonardo?, Candide, The Madness of Isabella, La Moscheta, La Locandiera. Hong Kong acting credits include Theatre du Pif’s The Overcoat, Princess Black Box’s Our Best of Youth in Cambrian, Perry Chiu Experimental Theatre’s I Love Bill. He has also directed and composed music for award-winning versions of Chung Ying Theatre Company’s Les Misérables, and Cyrano de Bergerac; and Hong Kong Academy for Performing Arts (HKAPA)’s The Visit by Friedrich Dürrenmatt; the world premiere of Ho Chi Minh in Hong Kong; Artocrite Theatre’s The Birthday Party by Harold Pinter; Hong Kong Arts Festival’s FILTH; Hong Kong Repertory Theatre’s The Imaginary Invalid; and Phantom Genius Media’s Great Expectations. His short films: Hong Kong 1946 won numerous international awards and Singing Neanderthals is available on YouTube. He was the Head of Acting at HKAPA (20072013). Dr. Jordan is an acknowledged authority on early professional theatre. He is also the author of The Venetian Origins of the Commedia dell’Arte (Routledge, 2014). 於英國和意大利從事演員工作，莊氏曾在牛津舞台劇團、謝菲爾 德 坩 堝 劇 院、Red Shift、Musica nel Chiostro、TAG Teatro of Venice 等機構工作。其作品包括《狂人日記》、《禿頭歌女》、《威尼斯雙 胞案》、《哈姆雷特》、《羅密歐與茱麗葉》、《威尼斯商人》、《孤星 液》、《六個尋找作者的劇中人》、《What About Leonardo?》、《憨第 德 》、《The Madness of Isabella》、《La Moscheta》、《 女 店 主 》。 在 香港的演出作品包括：進劇場《暖大衣》；Princess Black Box《寒 武紀與威士忌》；焦媛實驗劇團《我愛比爾》。導演及音樂創作作品 包括：獲獎節目中英劇團《孤星淚》、《大鼻子情聖》；和香港演藝 學院弗里德里希 · 迪倫馬特《老婦還鄉記》；《胡志明在香港》全球 首演、藝君子劇團哈洛．品特《捉你生日快樂》、香港藝術節《末 族》、香港話劇團《蠢病還須蠱惑醫》和鬼才組合有限公司《大 好前途》。短片作品包括：獲得多個國際獎項《香港 1946》、以及 在 YouTube 放 映 中 的《Singing Neanderthals》。 他 曾 為 香 港 演 藝 學 院戲劇學院擔任表演系主任（2007-2013）。他是早期專業戲劇的 權 威， 為《 藝 術 喜 劇 的 威 尼 斯 起 源 》 的 作 者（2014，Routledge 出版）。

Stage Designer/ Production Manager 舞台設計／製作經理

Lawrence graduated from The Chinese University of Hong Kong with a Master of Arts in Cultural Management, and from the Hong Kong Academy for Performing Arts (HKAPA) with a BFA (Hons) Degree in

Lawrence Stage Management. Lee was honored with a scholarship from the Lee Jackie Chan Charitable Foundation Scholarship for three consecutive years from 1995 to 1997, and in 1997, he also awarded the 李浩賢 mickeyhoyin

Foundation Scholarship (Overseas), leading to an internship in New York as a Stage Manager for American Opera Projects Inc. In 2001, he won the Best Youth Stage Management Award at the Hong Kong Drama Awards.

Lee has worked with numerous local and overseas performing groups as Production Manager, Stage Manager and Deputy Stage Manager, including as Production Manager of various Yam Kim Fai and Pak Suet Sin Charitable Foundation productions Dream of the West Chamber, Princess Cheung Ping, The Reincarnation of Red

Plum and The Butterfly and the Red Pear Blossoms and more. He was also the Artist-in-residence in HKAPA. Additionally, Lee designed various exhibitions for the Hong Kong Film Archive, served as the concept arranger for Eason Chan’s The Easy Ride Concert, and assistant director, set and costume designer for New Vision Arts Festival’s Utopia, Momentarily by Susie Au, Vicky Fung & Chow Yiu Fai. Lee is currently a freelancer, and chairman of The Hong Kong Association of Theatre Technicians & Scenographers (HKATTS). 李氏先後畢業於香港中文大學文化管理文學碩士，以及香港演藝學 院科藝學院榮譽學士，主修舞台管理。1995 至 97 年連續三屆獲得演 藝學院成龍慈善基金獎學金。1997 年獲成龍慈善基金獎學金（海外 訓練），前往美國紐約實習，於 American Opera Projects, Inc. 任舞台 監督。2001 年榮獲第十屆香港舞台劇之「優秀青年舞台管理獎」。 過去擔任多個本地及海外表演團體之製作經理、舞台監督及執行舞 台監督，包括任白慈善基金之《西樓錯夢》、《帝女花》、《再世紅梅 記》及《蝶影紅梨記》等作品的製作經理。李氏曾任香港演藝學院 科藝學院駐院藝術家。另為香港電影資料館擔任多個展覽設計，陳 奕迅《The Easy Ride》演唱會擔任意念編排、區雪兒、馮穎琪、周 耀輝策劃新視野藝術節作品《剎那的烏托邦》擔任助理導演、佈景 及服裝設計等。 李氏現為自由工作者及香港舞台技術及設計人員協會主席。

Lighting Designer 燈光設計

Also known as SunFool, Lau is a paper-art and pop-up book artist and founded “Pop-up Book Theatre”. His works include Dance Me

Lau Ming to the Trees and The Good Old Days. Lau is also a theatre lighting Hang designer and has collaborated with many artists including Bonni 劉銘鏗 Chan, Adrian Yeung, Chan Ping Chiu, Paul Poon, Lee Chi Man, sunfool_lau

Rebecca Wong and Ong Yong Lock. His visual art work has also been exhibited in The Moment of Pinch by Hsin-Chu City Art Site of

Railway Warehouse, TST Stories by YMCA The Dooor arts space, and Paper Cut Art Exhibition by Artspace.

Lee is currently a freelancer, and chairman of The Hong Kong Association of Theatre Technicians & Scenographers (HKATTS). 人稱「神父」。最近較常從事紙藝及立體書的事，自家創作「立體書

故事劇場」，有《大樹舞舞舞》及《回味舊時 佮佮 冚》等製作。閒 來參與一些劇場燈光設計工作，最近跟陳麗珠、楊振業、陳炳釗、

潘惠森、李志文、黃碧琪、王榮祿等劇場藝術家共事，深感榮幸。 此外，近來有接觸視覺藝術，包括台灣新竹鐵道藝術村的剪紙個展 《捏念》、YMCA The Dooor arts space《此地是朵泥》及 Artspace K 《剪紙．特展》的展覽。

Costume Designer 服裝設計

Graduated from Royal Central School of Speech and Drama, majoring in stage and costume design. Nominated for the Best

Ainsley Costume Design for Chung Ying Theatre Company (Chung Ying)’s So Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery. 蘇善誼 Her recent set and costume design credits include: Chung Ying’s Alive in the Mortuary; Tang Shu-wing Theatre Studio’s Shakespeare in Our Time: The Rape of Lucrece; Trinity Theatre’s Still You and SingFest’s Bach in Black Box The Thunder Bay. Her recent costume design credits include SingFest’ Bach im Theater: St. John Passion; Hong Kong Repertory Theatre’s Scapin in Jiānghú, Chap. 2023; Hong Kong Dance Company’s Womanhood; Chung Ying’s Man of La Mancha, The Miracles of The Namiya General Store; Trinity Theatre’s Sweet Dreams, Table for Two and Dustykid on Stage; West Kowloon Cultural District Freespace’s The Battle; and the experimental multimedia production: Guan Yu’s Ride of 1,000 Miles at New Vision Arts Festival. 畢業於皇家中央演講和戲劇學院，主修舞台及服裝設計。 曾憑中英 劇團《福爾摩斯四圍騰之華生暴走大狗查》獲提名最佳服裝設計。 近期舞台及服裝設計作品包括：中英劇團《留守太平間》；鄧樹榮戲 劇工作室「現世代的莎士比亞」：《受辱記》；三角關係《無法誠實的 我們》及聲蜚合唱節巴赫黑盒劇場《婚岔路》。近期服裝設計作品包 括：聲蜚合唱節巴赫劇場《聖約翰受難曲》；香港話劇團《史家本第 二零二三回之伏虎降龍》；香港舞蹈團《如影》；中英劇團《唐吉訶 德》及《解憂雜貨店》；三角關係《晚安》，《二人餐》及三角關係 x Dustykid《小塵大事》；西九文化區 自由空間《戰鬥圖騰》；新視野 藝術節《千里走單騎》。

Sound Designer 音響設計

Leung graduated from the Hong Kong Academy for Performing Arts with a Bachelor (Hons) Degree in Stage and Production Arts, majoring in Sound Design. She is currently a freelance sound designer.

Leung Sze Wah Her sound design works include Hong Kong Repertory Theatre’s 梁思樺 The Isle, Spoon, and Female N°7; Chung Ying Theatre Company’s Flaws of Nature; Windmill Grass Youth Theatre’s The Handbook of Restoration We Lost, The Discontinuous Chapter, Copy Bully & Paste it and Cheating As Usual; and Windmill Grass Theatre Company’s Death on a Road Trip and more. 畢業於香港演藝學院舞台及製作藝術榮譽學士，主修音響設計。現 為自由身工作者。 音響設計作品包括香港話劇團《小島．餘香》、《匙羹》和《中女 7 號》 ； 中英劇團《錯 / 覺》 ；風車草青少年劇團《缺頁的小說》、《欺凌勿語》、 《作弊而已》；以及風車草劇團《死亡公路事件》等。 Producer 監製

Jamie Wu 胡家欣

Jamie is the Company Manager and Producer of Theatre du Pif, she also works as a producer / project manager with various artists, arts and cultural organizations across multi-art forms, locally and internationally, including Enoch Cheng, Gaybird Leung, Wiki Lo, Ivanhoe Lam, Theatre Aether, SingFest, Hong Kong Dance Alliance, 2022 Hong Kong Biennale of Urbanism\Archititecture, Hong Kong Association of Theatre Technicians and Scenographers Company, Inher Phil, Fotanian: Open Studio and so on. In 2017, she worked as an Assistant Producer for Adelaide Festival Centre’s OzAsia Festival in Australia. Jamie has been a delegate for several international performing arts markets and was selected to participate in the Global Cultural Leadership Programme 2018 by the Cultural Diplomacy Platform in Amsterdam. She received the 2017 Global Fellowship of the International Society for the Performing Arts (ISPA) to attend ISPA’s 99th Congress, The Association of Performing Arts Presenters (APAP) Emerging Leadership Institute and Conference in New York.

She was also selected to participate in the Producer’s Academy 2017 in Brussels, organized by On the Move.

In recent years, Jamie has explored different professional tools to enhance personal development. She is currently a certified personal fitness trainer, master Neuro-Linguistic Programming (NLP) practitioner, registered life coach, !nside Cards Certified Coach and TTI Certified Professional Behavioural and Motivators (DISC & MOT) Analyst. 製作人，進劇場劇團經理及製作人，並與不同領域的本地及海外藝 術家和藝術機構合作，包括鄭得恩、梁基爵、盧韻淇、林俊浩、 以太舞踏劇場、聲蜚合唱節、香港舞蹈聯盟、2022 港深城市 \ 建築 雙城雙年展以及香港舞台技術及設計人員協會、傅承愛樂、伙炭藝 術室開放計劃等。曾應邀赴澳洲阿得萊德藝術中心為澳亞藝術節 2017 擔任助理監製。胡氏亦積極參與國際表演藝術市場及會議，曾 為 2017 國際表演藝術協會（ISPA）的全球獎助金得主，出席其第 99 屆會議及美國表演藝術經紀人協會領袖課程。她亦被挑選參加由 Cultural Diplomacy Platform 於荷蘭舉行的全球文化領袖計劃 2018 及 由 The International Centre for Training in the Performing Arts 及 On the Move 主辦於布魯塞爾舉行的製作人學院 2017。 近年，胡氏持續進修不同的專業工具提升個人多元發展。她現為一 名認證私人健身教練，專注於復康運動、神經語言程式學 (NLP) 高 級執行師、註冊生命教練、!nside Cards 認證教練以及 TTI 認證行為 風格與激勵因子 (DISC & MOT) 分析師。

2024-25 花火 SPARK International Master Workshops 國際大師班 The Actors’ Labs 演員運動 The Actors’ Lab presents 演員運動呈現 Ten Wave gatherings 十浪進劇場 On the City Train They Stand, a new theatre project with a group of Tuen Mun women 《在城市列車上的她們》聯合一群屯門婦女的全新劇場作品

Audience Survey 觀眾問卷

Hong Kong Arts Development Council fully supports freedom of artistic expression.

The views and opinions expressed in this project do not represent the stand of the Council. 香港藝術發展局全力支持藝術表達自由，本計劃內容並不反映本局意見。