4.48 Psychosis《莎拉‧肯恩在4.48上書寫》

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莎拉‧肯恩 Sarah Kane (1971-1999) 英國當代最富爭議的編劇之一，只留下了五部劇作、一 部短片《皮膚》及兩篇刊於《衛報》的文章。每部作品 皆呈現極具爆炸性的戲劇張力，她善於以極度殘酷和血 腥的意象，以救贖、扭曲的愛情、性慾、傷痛、暴力、 死亡等為主題。以詩意和抽象的語言，挑戰傳統的戲劇 結構，對當代戲劇形式作出不同層面的探索。英國泰晤 士報評她：「極富原創性、以奇異的美和令人驚恐的真 率、表達極致情感的劇作家。」她的作品並非如外界一 般認為只呈現是一個受憂鬱症影響的扭曲心靈，更多的 是反映現代社會中人類的普遍狀態，展示 人類文 明的 真實一面。她對人類的悲憫情懷和觀察入微，亦被稱為 「唯一具備古典藝術氣度的當代作家」。 肯恩被抑鬱症纏繞多年，並曾兩次自願到倫敦的醫院接受治療。一九九九年，她完 成《莎拉‧肯恩在 4.48 上書寫》的幾個月後，便自殺身亡，終年廿八歲。 One of the most controversial English dramatists in contemporary theatre.

Kane’s published work consists of five plays, one short film, Skin, and two newspaper articles for The Guardian. Her plays deal with themes of redemptive love, sexual desire, pain, torture - both physical and psychological - and death. They are characterised by a poetic intensity, pared-down language, exploration of theatrical form and, in her earlier work, the use of extreme and violent stage action.

The Times commented, “Kane’s fractured poetry, lacerating in its anguish and devil-driven dark humour”. Her writing does not simply reproduce the fears and confusions of mental illness. It is more a reflection of the social context. Kane was also described as “the only contemporary writer who has the classical sensibility”.

Kane struggled with severe depression for many years and was twice voluntarily admitted to hospital . Her last play, 4.48 Psychosis, was completed a few months before she committed suicide in 1999 at the age of 28.

「我寫劇的目的只有一個：為了逃避地獄，可是都沒有用。不過從 事情的另一端來看，當你們坐在席間一邊看一邊覺得這是對地獄最 完美的表述時，我又感到也許這一切都是值得的。」 莎拉．肯恩 “I’ve only ever written to escape from hell - and it’s never worked - but at the other end of it when you sit there and watch something that’s the most perfect expression of the hell that I felt then maybe it was worth it.＂Sarah Kane

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4.48 劇名的由來，據說是肯恩患病時，經常在凌晨 4 時 48 分醒來。有統計指出，在此 時的自殺率較高，這亦是異常清晰的時刻 －「在 4.48 的歡樂時光，一片澄明清 透」。《莎拉‧肯恩在 4.48 上書寫》延續肯恩在《狂情》所探索的主題和想法。擺 脫了角色身分和場景等設定，只有如詩篇的精煉對白、斷斷續續的絮語吟唱，時而 呼應對答，時而互不相關，亦沒有在劇本上寫上任何註釋。 The title of Kane’s 4.48 refers to a specific time before dawn when she (victim of chronic insomnia and depression) used to wake up. Statistically these early morning hours are supposed to be the time in which a larger number of suicides are committed; a time recorded as an instant of extreme clear-sightedness－ “At 4.48 the happy hour when clarity visits” － although, paradoxically, to those observing from outside, it may be considered as a moment of radical madness. The play has no explicit characters or stage directions, continuing the themes and ideas she explored in her previous production Crave. 「美與痛苦……質樸真誠與精湛構思的結合，一如既往地令人震撼。肯恩以她出眾 的駕馭能力與戲劇才華使它優美、光彩、令人讚嘆。」《蘇格蘭人報》 “Is it possible, asks the text, for a person to be born in the wrong body, at the wrong time?

Yes, is the answer. But sometimes, from that agony, a great soul can wrestle something as beautiful and true as this remarkable play.” Scotsman

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進劇場 Theatre du Pif 一九九二年由陳麗珠及紀文舜於蘇格蘭成立，其後三年內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。九五年，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。劇團經常邀請其他戲劇工作者及 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 和視像的各種元素，作品獲讚譽為深具舞台力量亦同時充滿詩意。 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. In 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. 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. www.thtdupif.com 作品 Productions  演員運動 (2015, 2014) — 回歸文本分析、肢體、聲音、演技的訓練，共同探索、 延展，更新對劇場的好奇和想像，煥發新一輪的創作和實踐。  4.48 精神崩潰 (2015) — 以讀劇形式展現當代重要劇作家莎拉・肯恩壓卷之作。  樓城 (2015 立夏版) — 引錄劇場作品，探討一個關於建築、空間與節奏，關於 香港人之故事。  等待果陀 (2015) — 演繹貝克特經典作品。  小島芸香 (2014, 2013, 2012, 2011) — 演繹本土劇作家潘惠森的早年作品，關於 花朵的意志和一孤島的永恆愛情。  白屋 (2013) — 以舞蹈劇場的形式展現西班牙詩人洛爾卡的最後作品《白納德之 屋》。  玩偶之家 (2012) — 重新演繹易卜生經典劇作，背景從挪威轉移至香港，女主角 羅拉的出走，那曾震撼劇壇的故事終局，更呈本土意義。  狂情 (2012) — 與風車草劇團聯合演繹，跟隨薩拉凱恩的千隻眼睛，遊歷黑暗與 光明。  撕殺之神 (2011) — 演繹劇作家雅絲曼娜・雷沙的作品，觀看文明底下的野蠻。  日出 (2010) — 紀念曹禺先生一百周年誕辰，重新演繹於 26 歲時寫成的永恆經 典。  樓城 (2010 續建版) — 多媒體引錄劇場作品，香港特區政府參與上海世博會的 亮點節目。  母雞身上的刀子 (2010) — 演繹戴維・夏洛瓦的首個劇作。  乙城的四季 (2010) — 改編自卡爾維諾的短篇小說《馬可瓦多》。  安蒂崗妮 (2009) — 演繹劇作家尚・阿努爾改編自同名的古希臘戲劇的現代版本。  日出 (2009) — 改編自曹禺經典劇作，澳門文化中心委約作品。  樓城 (2008) — 新視野藝術節委約之閉幕演出；多媒體引錄劇場作品，探討一個 關於建築、空間與節奏，關於香港人之故事。 4

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花魂 (2008) — 靈感來自搜集得來有關對武士及女巫的資料、日本經典鬼故事 《怪談》及日本能劇《邯鄲》等。 黑鳥 (2007) — 演繹大衛．夏洛瓦 2005 年英國奧利花最佳新劇得獎作品。 亮夜 (2006) — 靈感來自卡夫卡的短篇故事及生平。 灰飛煙滅 (2006) — 哈洛．品特的劇作。 第三盒．卷五 (2005) — 演繹貝克特四個短篇劇作。 屯門‧暫‧借‧問 (2005) — 從一群屯門區婦女的家庭歷史出發的演出。 暖大衣 (2004) — 改編自果戈理的同名短篇小說。 象從不遺忘 (2004) — 新視野藝術節委約創作；靈感來自米蘭．昆德拉及村上春 樹的作品，以及現今社會對時間與速度的迷戀。 舞至愛之終結 (2011, 2006, 2003) — 靈感來自赫曼．赫塞作品《流浪者之歌》和 連納．高雲的生平及歌曲。 在城市列車上的她 (2003) — 與一群屯門區婦女的共同創作，探討各自在家庭及 社區內所扮演的身份和角色。 他和她和他…的屋 (2002) — 香港藝術節委約作品，改編自劇作家洛爾卡的《白 納德之屋》。 蘇拉德的秘密 (2002) — 靈感來自喬斯坦．賈德的同名小說。 克雷布最後錄音帶 (2000) — 貝克特經典劇作。 故事飄洋 (2000) — 一個結合不同兒童故事及傳說的演出。 魚戰役溫柔 (2000, 1995) — 靈感來自比利時音樂人積．貝爾的歌曲。 五千薔薇 (1999) — 改編自法國小說《小王子》。 迷失在彼得堡街上的暖大衣 (1998) — 靈感來自果戈理及杜斯妥也夫斯基的作品。 蛻變 (1997) — 改編自卡夫卡同名短篇小說。 聖誕 (三小鬼）故事 (1997) — 狄更斯的《聖誕頌歌》的改編。 闖進一棵橡樹的年輪 (1996) — 由吳爾芙的小說作品《奧蘭度》為創作起點。 The Actors Lab (2015, 2014), a one-of-a-kind performance-based collaborative training and research programme for experienced and emerging theatre professionals.

4.48 Psychosis (2015), a staged reading of Sarah Kane’s modern classic portrays a mind in acute despair, where fragments of pain and anger are interspersed with shafts of piercing humour.

The Will to Build (2015), a new devised version, continue to stimulating debate about the value of Hong Kong’s building heritage internationally.

Waiting for Godot (2015), by Samuel Beckett.

The Isle (2014, 2013, 2012, 2011), a new interpretation of leading HK playwright Paul Poon’s acclaimed play.

La Casa (2013), inspired by Federico Garcia Lorca’s final play The House of Bernarda Alba.

A Doll’s House (2012), a new bilingual adaptation of Ibsen’s great play.

Crave (2012), by Sarah Kane and in collaboration with Windmill Grass Theatre Company.

God of Carnage (2011), the award winning comedy by Yasmina Reza.

Sunrise (2010), one of the programmes for the Cao Yu Centenary Drama Festival.

The Will to Build (2010 Revival Version), a highlight of the HKSAR cultural programme for Shanghai Expo.

Knives in Hens (2010), by David Harrower.

Marcovaldo (2010), an adaptation of the book of short stories by Italo Calvino.

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Antigone (2009), by Jean Anouilh.

Sunrise (2009), an adaptation of Cao Yu’s classic play, commissioned by the Macau Cultural Centre.

The Will to Build (2008), a multi-media verbatim project that examined the past, present and future of Hong Kong’s relentless cycle of construction and destruction, commissioned by the New Vision Arts Festival 2008.

Hanako’s Pillow (2008), devised from research of warriors, witches, and the stories and images from the Japanese film Kwaidan.

Blackbird (2007), an award winning British play by David Harrower.

Nocturnal Vista (2006), inspired by the life and short stories of Franz Kafka.

Ashes to Ashes (2006), by Harold Pinter.

Spooool (2005), inspired by the writings of Samuel Beckett.

Gateways (2005), based on the family histories of a group of Tuen Mun women.

The Overcoat (2004), an adaptation of Gogol’s short story.

E Never Forgets (2004), based on the writings of Milan Kundera, Haruki Murakami and the notion of the cult of speed in modern society, commissioned by the New Vision Arts Festival 2004.

Dance Me to the End of Love (2011, 2006, 2003), based on Hermann Hesse’s novel Siddhartha and Leonard Cohen’s songs.

On the City Train She Stands (2003), devised with a group of Tuen Mun women. It explored their identity within their family and society.

La Casa de… (2002), after Lorca’s House of Bernarda Alba, commissioned by the Hong Kong Arts Festival.

The Solitaire Mystery (2002), inspired by Jostein Gaardner’s novel.

Krapp’s Last Tape (2000), by Samuel Beckett.

The Ocean of Stories (2000), an eclectic mix of children’s stories and folktales.

Fish Heads and Tales – A Tender War (2000, 1995), inspired by the songs of Belgian balladeer Jacques Brel.

5000 Roses (1999), based on The Little Prince by Antoine de Saint-Exupery.

The Overcoat (1998), inspired by the works of Gogol and Dostoevsky.

The Metamorphosis (1997), an adaptation of Franz Kafka’s famous story.

A Christmas Carol (1997), by Charles Dickens.

The Oak Tree – An Odyssey (1996), based on Virginia Woolf’s novel Orlando.

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導演的話 Director’s note

陳麗珠 Bonni Chan

文本展示的是二十多個斷章，每段／章以一根位於正中的少少虛線分隔，內容、形 式和氣度結合得不客氣的絕妙完美。非傳統的首尾呼應、伏筆、回溯、對演員頑皮 的引領以及在似是散亂如崩潰般的架構中帶我們經歷她的地獄與天堂。一層層似是 謎語的意象和話語，如她設計的一個交友儀式，從不同的視點以各種力度或暴烈或 溫柔地去向你坦誠。 肯恩一直相信劇場，嚴肅地在她所創作的五個劇本內翻天覆地的做著實驗，緝拿著 真、渴求著愛，從一個酒店房間內的一場爆炸直至黑雪飄落，城市、礦野、河流、 火焰、黑夜與光明退去後，迫令我們換一雙新的眼睛，以洗滌過後的靈魂重回日光 下直視生活。 衷心感謝您的到來，英語演出是助我探索的終極源頭，廣東話版是令我興奮的任務， 在這相間的排練中它們擬似一雙酷似的夢** ----美而自由

（......當沒有從鋼線翻下來的時候）

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**偷自三島由紀夫形容金閣寺之建築

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Sarah Kane asks for the impossible in staging an explosion of the stage set a character’s eye being sucked out

everything that can be imagined can be done she believes coming into her fourth play CRAVE her mind was on how a poem can be dramatic this emerged as a beautifully carved quartet of B,M,C,A an unique form containing the raging fire and ashes of her continuous inquisition on love

4.48 is the sequel sublimed

“I am what I am --- not what other people want me to be” Yoko Ashikawa dances on if one can return again and again from where one had gone if one can know the route of going and returning, one can be reborn at will from the edge of darkness “Do with it what you will, just remember --- writing it killed me”

into the darkness she knows she shows she lives she leaps so we might wake

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團隊 The Team 編劇 Playwright 導演／演出 Director/ Performer 現場演奏 Musicians

莎拉‧肯恩 Sarah Kane 陳麗珠 Bonni Chan 陳偉發 Chan Wai Fat 劉子斌 Lau Chi Bun 馮國基 Fung Kwok Kee Gabriel 視覺設計 Visual Designer 李侖洙 Lee Yunsoo 音響設計 Sound Designer 陳偉發 Chan Wai Fat 服裝設計 Costume Designer 鄭文榮 Cheng Man Wing 燈光設計 Lighting Designer 馮國基 Fung Kwok Kee Gabriel 助理燈光設計 Assistant Lighting Designer 郭佩欣 Kwok Pui Yan 監製 Producer 胡家欣 Jamie Wu 製作經理 Production Manager 李浩賢 Lawrence Lee 執行舞台監督 Deputy Stage Manager 范文恩 Fan Man Yan 助理舞台監督 Assistant Stage Manager 羅艷君 Law Yim Kwan 語言指導 Language Consultant 王鈺豪 Aaron Wong 舞台助理 Stage Assistant 陳健恒 Kenneth Chan 廖令基 Liu Ling Kei 平面設計 Graphic Designer 張惠淳 Terrenz Chang Photographer 攝影 張志偉 Cheung Chi Wai 進劇場 Theatre du Pif 聯合藝術總監 Co-artistic Director 劇團經理 Company Manager 劇團行政主任 Administrative Officer 劇團助理 Company Assistants

紀文舜 Sean Curran 陳麗珠 Bonni Chan 胡家欣 Jamie Wu 李慧君 Phoenix Lee 馮德君 Winnie Fung 伍綺琪 Kiki Ng

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陳麗珠 Bonni Chan 導演／演出 Director/ Performer 進劇場聯合藝術總監。畢業於香港芭蕾舞學院，隨後於香港演藝學院攻讀戲劇，連 續三年獲校內最傑出女演員獎。畢業後，加入香港話劇團。一九九一年赴倫敦深造， 九二年與紀文舜成立進劇場，在英國及歐洲等地進行創作及教學。九五年回港，繼 續創作及導演所有進劇場的原創劇目，並分別憑《魚戰役溫柔》及《闖進一棵橡樹 的年輪》獲香港舞台劇獎最佳女主角。二○一五年，憑諾布爾執導的《海達•珈珼 珞》獲提名香港舞台劇獎最佳女主角。她亦為專業的魁根斯方法導師。 Bonni is the Co-Artistic Director of Theatre du Pif. She graduated from the Hong Kong Academy of Ballet and went on to study acting at The Hong Kong Academy for Performing Arts, winning the Best Actress of the Year award for three consecutive years.

After graduating, Chan joined the Hong Kong Repertory Theatre and performed in a number of productions. In 1991 she moved to London to study with various teachers, and in 1992 founded Theatre du Pif with Sean Curran. Since returning to Hong Kong in 1995, she has continued to devise and direct all of Theatre du Pif's original productions. She was voted Best Actress at the Hong Kong Drama Awards for her roles in Fish Heads and Tales - A Tender War and The Oak Tree - An Odyssey. In 2015 she was again nominated for the Best Actress Award for her portrayal of Hedda Gabler in Adrian Nobles production of Ibsen’s classic play. She is also a professional Feldenkrais practitioner. 陳偉發 Chan Wai Fat 噪音製造及愛好者。 Noise maker and enthusiast.

現場演奏／音響設計 Musician/ Sound Designer

劉子斌 Lau Chi Bun 擬音作樂人。 Souloaksqueezer.

現場演奏 Musician

馮國基 Fung Kwok Kee Gabriel 現場演奏／燈光設計 Musician/ Lighting Designer 先後畢業於香港演藝學院及香港浸會大學傳理系電影藝術碩士課程，主修導演。製 作領域包括舞蹈、戲劇、歌劇、戲曲等。曾多次為香港及海外藝術節和機構擔任設 計工作，同時從事導演、演員及敲擊樂手。現時積極創作獨立電影及思考劇場和電 影跨界的可能性，並活躍於各地舞台及文化創作工作。二○○三年獲香港舞蹈聯盟 舞蹈年獎及香港舞台劇獎頒授「最佳燈光設計」。 Fung graduated from The Hong Kong Academy for Performing Arts, and holds a Master of Fine Arts degree in Film Directing from the Hong Kong Baptist University. He has lit many theatre productions over the years, collaborated with many theatre companies, both local and overseas, and taken part in many arts festivals. He is currently exploring the possibilities of cross-overing theatre and moving images. In 2003, Fung was awarded the Best Lighting Design at both the Hong Kong Dance Awards of the Hong Kong Dance Alliance and the Hong Kong Drama Awards.

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李侖洙 Lee Yunsoo 視覺設計 Visual Designer 韓國舞台設計師，畢業於倫敦藝術大學中央聖馬丁藝術及設計學院，獲表演設計與 實踐碩士學位。過去十五年一直擔任舞台設計師，曾在備受讚譽的韓國旅行者劇團 擔任視覺總監及舞台設計。曾多次和香港進劇場合作，參與《花魂》、《亮夜》、 《等待果陀》等作品的舞台設計。現為韓國京畿大學講師。 Lee is a renowned Korean stage designer. He graduated from the Central Saint Martins College of Arts and Design of the University of the Arts London, gaining a Master Degree in Performance Design and Practice Course. He has been working as stage designer for the past 15 years. Lee worked for the acclaimed Yohangza Theatre Company as visual director and stage designer, and also collaborated with Theatre du Pif as stage designer, for Hanako’s Pillow, Nocturnal Vista and Waiting for Godot. Lee is currently a lecturer at Kyung-Gi University in Korea. 鄭文榮 Cheng Man Wing 服裝設計 Costume Designer 主修純藝術織物及布料印花技術。曾先後畢業於巴黎 L’Ecole Supérieure des Arts Appliqués Duperré，法國 L’Université de la Sorbonne 及英國 The Somerset College of Arts and Technology。回港後，開始設立自己的設計工作室。同時熱衷於探索時裝 與劇場，亦定期於巴黎展出其個人時裝系列。為劇場演出設計服裝的近作包括進劇 場《樓城》及《白屋》；前進進戲劇工作坊《後殖民食物與愛情》；香港藝術節 《金蘭姊妹》；香港戲劇創作室《一念間》；城市當代舞蹈團《孤寂》；后花園 《夜車》及綠葉劇團《孤兒 2.0》等。 Cheng graduated from L’Ecole Supérieure des Arts Appliqués Duperré in Paris, L’Université de la Sorbonne in France, and The Somerset College of Arts and Technology in the UK, majoring in fine art textile and fabric printing technology. He set up his design workshop after returning to Hong Kong. Cheng explores in the realms of fashion and theatre. He periodically presents his fashion collections in Paris. His recent theatre works include Theatre du Pif’s The Will to Build and La Casa; On and On Theatre Workshop’s Postcolonial God of Food; Hong Kong Arts Festival’s The Amahs; Hong Kong Dramatists’ In a Breath; City Contemporary Dance Company’s Soledad; Haverland’s Light Change and Théâtre de la Feuille’s L'Orphelin 2.0. 郭佩欣 Kwok Pui Yan 助理燈光設計 Assistant Lighting Designer 香港演藝學院科藝學院藝術（榮譽）學士，主修燈光設計。在學期間獲 Strand Lighting (Asia) Ltd.獎學金前赴捷克及德國作藝術交流。近期燈光設計包括后花園 《夜車》；小息跨媒介創作室《靜默邊境》；目乙劇場《 牛一》及第二屆烏鎮戲劇 節青年競演入圍作品《都市夢遊者的沉默》。曾參與多項海外製作，包括二○一三 年為亞洲民眾戲劇節協會《江河匯粹》世界巡迴演出及劇場交流擔任技術總監，一 四年參與愛丁堡國際藝穗節並為 C Theatre 出任舞台監督。郭氏亦積極參與製作環 境劇場節目，一五年擔任社區文化發展中心《七天七夜》策劃及監製。今年年初參 與製作目乙劇場《Papillon 2030+》（第二屆空城藝術節節目）。現為自由身舞台工 作者，遊走各地，體驗劇場。

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Graduated from The Hong Kong Academy for Performing Arts with a Bachelor of Fine Arts (Hons) degree, majoring in theatre lighting. She was awarded a scholarship from Strand Lighting (Asia) Limited to Czech Republic and Germany for cultural exchange.

Recent lighting design works include Haverland’s Light Change; Littlebreath Creative’s Absent Presentee; Free Will Theatre’s EFIL and 2014 Wuzhen Theatre Festival Young Theatre Artist’s Competition selected performance’s The Silence of Dreaming City Sleepwalkers. She has participated in various overseas productions, including being as Technical Director for Asian People’s Theatre Festival Society’s Ashes Blood Rivers in 2013, and being as Stage Manager for C Theatre in Edinburgh Fringe Festival in 2014.

Kwok also contributes in site-specific projects. She collaborated with Centre for Community Cultural Development as Curator and Producer for Heptahedron in 2015, and recently she has participated in Free Will Theatre’s Papillon 2030+ of the 2nd Emptyscape Art Festival. She is currently working as a freelance theatre practitioner. 胡家欣 Jamie Wu 監製 Producer 畢業於香港城市大學媒體文化研究碩士課程。現為進劇場劇團經理及獨立製作人。 獲香港藝術發展局「2015 藝術行政人員海外培訓」資助，於今年四月赴美國作文化 考察。 Graduated from the City University of Hong Kong with a master degree in Media Cultures, Wu is currently working as Company Manager for Theatre du Pif and independent producer. In 2015 she received Hong Kong Arts Development Council’s Overseas Training for Arts Administrators to the United States for cultural exchange. 李浩賢 Lawrence Lee 製作經理 Production Manager 畢業於香港演藝學院科藝學院，獲舞台管理榮譽學位。曾為多個本地表演團體擔任 製作經理、舞台監督及執行舞台監督，包括香港戲劇協會、劇場空間、劇場工作室 、演戲家族、香港合唱團、香港小交響樂團、進念．二十面體、非常林奕華、香港 芭蕾舞學會、YURI and company danciNG 及雛鳳鳴劇團（任白慈善基金製作）等多 個藝術團體。現為自由身舞台工作者。 Graduated from The Hong Kong Academy for Performing Arts with a BFA (Hons) degree in Stage Management. He has worked for numerous local performing groups as production manager, stage manager and deputy stage manager, including Hong Kong Federation of Drama Societies, Theatre Space, Drama Gallery, Actors’ Family, Hong Kong Chorus, Hong Kong Sinfonietta, Zuni Icosahedron, Edward Lam Dance Theatre, Hong Kong Ballet Group, YURI and company danciNG, and Chor Fung Ming Cantonese Opera Company (Yam Pak Charitable Foundation’s production). He is currently working as a freelancer. 范文恩 Fan Man Yan 執行舞台監督 Deputy Stage Manager 畢業於香港演藝學院，主修藝術、項目及舞台管理。現為自由身舞台工作者。 Graduated from The Hong Kong Academy for Performing Arts, major in Arts, Events and Stage Management. She is currently working as a freelancer.

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羅艷君 Law Yim Kwan 助理舞台監督

Assistant Stage Manager

畢業於香港演藝學院舞台及製作藝術學院繪景系，現為自由身舞台後台工作者。 Graduated from Scenic Art Department of the School of Theatre and Entertainment Arts, The Hong Kong Academy for Performing Arts. She is currently working as a freelancer for backstage.

鳴謝 Acknowledgements 進劇場謹此鳴謝以下機構及人士對是次製作的協助： Theatre du Pif would like to thank the following organizations and individual for their assistance in this production: 前進進戲劇工作坊 On & On Theatre Workshop 天邊外劇場 Theatre Horizon 香港英國文化協會 Hong Kong British Council 風車草劇團 Windmill Grass Theatre 陳惠儀 Lotus Chan

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