Must I Cry 回憶吾愛

www.thtdupif.com thtdupif

17-18.1.2025 (Fri-Sat) 8pm 18-19.1.2025

(Sat-Sun) 4pm

Hong Kong Cultural Centre Studio Theatre 香港文化中心劇場

Welcome to the performance!

May it be a journey for us all where time is fluid space vast Like a child’s dream and we meet in it.

歡迎您的到來 願這成為我們所有人的一回旅程 時間柔軟 打開空間的遼闊 如同孩子的夢 我們在當中相逢

Director’s Note 導演的話 I often think of the ancient Greek stage, with its back to the sky and facing the sea, where stories of humanity are told.

My city has countless stories!

The small island in Xi Xi's writings is a piece of earth that fell from the sky, perhaps the back of a turtle surfacing from the deep sea; I love such stories.

I converse with my deceased father and the extinct rhinoceros, asking: What does non-existence feel like? Why is forgetting so heavy? I love such stories.

She possesses a memory palace where she places beautiful things inside to let them live forever; I love such stories.

We all love listening to stories, for they let our imagination fly where logic can sleep, inducing undeniable human emotions in our lives — those feelings and insights compressed within the busy, chaotic social life. Some call it childlike innocence, but I think it is actually our essence, severed from the demands of external life.

A piece of sky, a piece of sea, a story; the pioneering dance master Hijikata Tatsumi inspired his disciples: “Why continue to dance what people can already seen? If we are to dance, we are to dance those things people can’t see with their eyes”. Trying to weigh his disappeared rhino, the team began the creation. 常想起古希臘的舞台，背天、面海，在其中說人類的故事。 我城有千萬個故事！ 西西筆下的小島，是天跌下來的一角土、也許是海龜之背在深海浮上來而成，我喜 歡這樣的故事。 與已逝的父親和絕種了的犀牛對話，問：不存在的感覺是怎樣的？問：遺忘為什麼 這樣重？我喜歡這樣的故事。 她擁有一座記憶宮殿，將美好的東西放進去，讓它們永久存活，我喜歡這樣的故 事。 我們大家都喜歡聽故事，是當中包含那些邏輯沒有工作的想像、帶動生命中無可置 疑的人類情感，那些在繁忙、混亂的人際生活裏面被壓縮了的情感和洞察，有人 叫它做童真，我想其實是我們的本身，在外在生活的訴求中被隔斷了。 一片天一片海一個故事，先輩舞蹈家土方巽激勵弟子，人們已經看到的東西還跳來 幹麼？要跳就跳那些眼看不見的東西啊！迎著犀牛的重量，我們開始了這次的創 作！ Bonni Chan 陳麗珠

Playwright’s Note 編劇的話 Bonni first approached me in the winter of 2023 with the intention to create a piece together on memory and the city. She brought with her a text by Xi Xi titled “港島吾愛” and an image of the last northern white rhino named Sudan.

The former chronicles the writer’s grief at the loss of her late father, and the latter reflects the extinction of an entire species. These stories, though divided by geographical continents and generations in time, were brought together when Bonni placed them side-by-side on the table in her Sheung Wan studio, connected by losses equal in both weight and magnitude.

Must I Cry is a patchwork of timelines and stories driven by a desire to remember. In the process of writing about a woman returning home to find traces of her late father and the city, the work has come to embody a much more personal quest. Having lived abroad for some years, there is a sense of yearning in returning for both a place to belong to and for a time that is gone, perhaps even one that is before my own. So, I seek refuge in stories and archives of the past, trying to find signs and remnants that could be pieced together again.

There is a story we kept referring to when devising Must I Cry: Patricio Guzman’s film, Nostalgia for the Light, features a survivor of Chilean concentration camps under Pinochet’s regime. He was able to memorise and draw to scale an exact recreation of the camps he lived in, yet he had a wife who suffered from Alzheimer’s disease. It seems poetic that in our drive to remember, we must accept the inevitability of forgetting, and maybe there is something beautiful in that.

I hope you’ll enjoy a journey in a time tunnel we’ve crafted for you tonight.

Thank you Bonni, the Must I Cry Team, my family and friends, it has been a pleasure creating this performance together!

2023 年末，Bonni 提出一起創作關於記憶與城市的作品的想法。她帶來了西西的 《港島吾愛》 ，以及最後一隻北方白犀牛蘇丹的圖像。前者描繪了西西對父親的傷 痛，而後者則記錄了整個物種的滅絕。當 Bonni 將這些故事並排放在她上環工作室 的桌子上時，這些被大海大洲和時間世代分隔的故事，在那一刻相遇了——兩者都 已灰飛煙滅，卻又同時同樣的沉重。 《回憶吾愛》是一個由時間線和故事組成的拼湊體，被記憶的慾望驅動著。在寫一 個回鄉尋找已故父親和城市痕跡的女人的過程中，我發現它也反映了我個人的追 求。在國外生活了幾年之後，我對回鄉有一種嚮往--既嚮往回到一個屬於自己的地 方，更希望回到那個逝去的時代，甚至可以去到一個在我之前的年代。所以，我去 找尋過去的故事﹑電影﹑文字檔案，期望可以藉着影像﹑符碼，重新拼揍出那個時 代。 在設計《回憶吾愛》時，我們不斷提到一個故事：Patricio Guzman 的電影《星空 塵土》 ，其中一位受訪者是皮諾切特政權下智利集中營的倖存者。他能夠記住並按比 例繪製出他曾經生活過的集中營，但他的妻子卻罹患阿茲海默症。記憶的動力與遺 忘的無可避免結合在一起，構成一種隱喻，而且美麗就在其中。 感謝 Bonni、 《回憶吾愛》團隊、我的家人和朋友，一起創作了這個表演。 Pun Tsz Wai 潘子懷

Scenes List 行程表

The City That Floats 浮城 Memory Palace 記憶皇宮 Passport Photos 證件相片 Structures In Slumber 沉睡的結構 The Thing About A Rhino 關於犀牛 The Funeral 葬禮 Underwater Tunnel 海底隧道 Rhino Disappearance 犀牛消失了 Who Is This Person In The Photo 照片裡面那個人 To Weigh A Rhino 犀牛有多重 Floating Above 漂浮在上面

The Team 團隊 Director/ Devisor/ Performer

導演/ 創作/ 演出

Text/ Devisor/ Video Designer

文本/ 創作/ 錄像設計

Bonni Chan 陳麗珠

Pun Tsz Wai 潘子懷 Literary Advisor

文本顧問

Liam Hurley (UK) Liam Hurley（英國） Live Musician/ Music Designer

現場音樂/ 音樂設計

Lau Chi Bun 劉子斌 Stage Designer

舞台設計

Costume Designer

服裝設計

Lighting Designer

燈光設計

Sylvia Chan 陳鳳儀 Cheng Man Wing 鄭文榮 Lau Ming Hang 劉銘鏗 Video Program Designer

錄像程式設計

Gary Chan 陳家濠

Sound Designer

音響設計

Leung Chi Ying 梁梓楹 Assistant Stage Designer

助理舞台設計

Issac Wong 王梓駿

Assistant Lighting Designer/ Light Board Operator/ Production Electrician

助理燈光設計/ 燈光控制/ 總電機師

Hui Wing Yan 許穎恩 Voice Coach

聲音指導

Martin McKellen (UK) Martin McKellen（英國） Producer

監製

Jamie Wu 胡家欣 Production Manager

製作經理

Lawrence Lee 李浩賢 Stage Manager/ Deputy Stage Manager

舞台監督/ 執行舞台監督

Fan Man Yan 范文恩

Assistant Stage Manager

助理舞台監督

Leung Hei Wa 梁烯樺 Stage Assistants

舞台助理

Cheung Wa Kin, Roy Lam 張華健、林子騫 Director Assistant

導演助理

Lin JiaBao 林嘉寶 Make-up and Hair Styling

化妝及髪型

Ashley Yeung 楊詩維 Dresser

服裝助理

Surtitle Translation

字幕翻譯

Surtitle Operation

字幕控制

Lighting Assistant

燈光助理

Visual Designer

視覺設計

Jasmine Wong 黃靖雯 Pun Siu Fai 潘少輝

Ng Wing Ha 伍詠霞

Vanessa Chan 陳穎蕾 Terrenz Chang 張惠淳

Theatre du Pif was formed in Scotland in 1992 by Bonni Chan

Theatre and Sean Curran and for three years, they conducted daily classes, taught professional and community groups and du Pif 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. 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 2024

Faith Healer by Brain Friel

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).

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 Mur（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 2024 神醫 2023 三姊妹 愛在蔓延時

布萊恩 · 費爾作品 契訶夫作品，由陳麗珠執導 靈感來自馬奎斯經典小說《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作 品《老婦還鄉》，由陳麗珠執導

2021 時光 2020 「島物詩游」 也斯進劇場

英國戲劇大師哈洛 · 品特名作，由潘 惠森翻譯及執導 演繹香港詩人梁秉鈞（也斯）的文字深 情，由陳麗珠執導

Director/ Devisor/ Performer 導演/ 創作/ 演出

Bonni Chan 陳麗珠 Bonni 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, she joined the Hong Kong Repertory Theatre and performed in a number of productions. She moved to London to study with various teachers, and later on 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 won the Best Actress at the Hong Kong Drama Awards for her roles in Fish Heads and Tales – A Tender War as well as The Oak Tree – An Odyssey. In 2015 she was again nominated for the Best Actress Award for her portrayal of Hedda Gabler in Adrian Noble’s production of Ibsen’s classic play. In 2016, she received an honorary fellowship of The Hong Kong Academy for Performing Arts. The Hong Kong Theatre Libre voted her Best Actress of the Year for her performance in 4.48 Psychosis – A Staged Reading, she also won IATC(HK) Critics Awards’ Performance of the Year, Director of the Year, Performer of the Year and Scenography of the Year for the performance 4.48 Psychosis. In 2018, she was nominated for the Best Director in IATC(HK) Critics Awards and The Hong Kong Theatre Libre Award for her directorial work on The Three Sisters by Anton Chekhov. She has been a professional Feldenkrais practitioner since 2001. 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，後赴倫敦深造，並與紀文舜成立進劇場，在英國及歐洲等地進 行創作及教學。1995年回港，繼續創作及導演所有進劇場的原創劇目。 曾分別憑《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。2015 年，憑諾布爾執導的《海達 · 珈珼珞》獲提名香港舞台劇最佳女主角。2016年獲香港演藝 學院榮譽院士。同年憑《4.48精神崩潰》獲香港小劇場獎最佳女主角、IATC(HK) 劇評人 獎年度演出獎、年度導演獎、年度演員獎、年度舞台科藝／ 美術獎。2018年為香港演藝 學院執導的契訶夫《三姊妹》分別獲香港小劇場獎及IATC(HK) 劇評人獎提名最佳導演及 年度導演獎。 自2001年起隨美莉茵 · 費花接受魁根斯方法的訓練，為專業的魁根斯方法導師。

Text/ Devisor/ Video Designer 文本/ 創作/ 錄像設計

Pun Tsz Wai

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潘子懷 Tsz Wai Pun is an artist and filmmaker based in Hong Kong. She holds an MFA from the School of Creative Media, Hong Kong and a Bachelor’s Degree in Arts and Sciences from University College London. In her work, she explores the moving image, memory and the passing of time; playing with historical archives and narratives of speculative nature. Her short film, The Years Flow Like Water was awarded Best Work at the Floating Projects Video Zine D-Normal/V-Essay (Issue 3) and Cavity was shown as part of Hong Kong Film Culture Centre’s Arkitecture in Motion film festival. Her mixed media lecture performances were recently showcased at Tai Kwun Contemporary (2024) and Asia Art Archive (2024), including Missing Objects which was previously performed at Unlock Dancing Plaza (2024), WURE Area (2023) and Tomorrow Maybe, Eaton Hong Kong (2022). She was also awarded the Youth Category Special Mention Award at the 18th IFVA awards for her film, Symbiosis. 潘子懷，2022年畢業於現香港創意媒體學院藝術創作碩士課程。她的作品，試圖探索回 憶與時間等主題，在快速、聲影所滲透的時代，她思考靜態的意義，又質疑傳統上紀錄片 與虛構敘述的必然分割。她的作品《日落照》獲得「據點平地數碼第三期的錄像雜誌」最 佳作品獎項，她的短片 《Cavity》 並在香港電影文化中心舉辦的 Arkitecture in Motion 建築電影節放映。她的演講表演曾在 Tai Kwun Contemporary（2024）和 Asia Art Archive（2024）演出，《遺失聲明》並在不加鎖舞踊館（2024）、WURE Area（2023） 和 Tomorrow Maybe, Eaton Hong Kong（2022）演出。她也曾獲得第18屆IFVA獨立短 片及影像媒體比賽青年組別特別提名。

Live Musician/ Music Designer 現場音樂/ 音樂設計

Lau Chi Bun 劉子斌 Souloaksqueez. 擬音作樂人。

Stage Designer 舞台設計

Sylvia Chan 陳鳳儀 Independent art worker. 自由藝術工作者。

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Costume Designer 服裝設計

Cheng Man Wing

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鄭文榮 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.

Cheng explores in the realms of fashion and theatre. He has worked for numerous local performing groups as costume designer including: Theatre du Pif, On and On Theatre Workshops, Actors’ Family, Hong Kong Arts Festival, City Contemporary Dance Company, Theatre Horizon, Y-Space and Hong Kong Repertory, etc. 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，L'Université de la Sorbonne及英國The Somerset College of Arts and Technology。熱衷於探索時裝與劇場間的互動關係，而為劇場演出設計服裝的 藝團包括進劇場、前進進戲劇工作坊、演戲家族、香港藝術節、城市當代舞蹈團、天邊外 劇場、多空間及香港話劇團等。

Lighting Designer 燈光設計

Lau Ming Hang

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劉銘鏗 Lau Ming Hang is a creator of pop-up book story theaters, paper art artist, and seasoned theater lighting designer. For over two decades, Lau has created numerous “pop-up book story theaters,” seamlessly blending pop-up paper art, light and shadow, and the aesthetics of theater performance. Some notable works include Ordinary Living, The Good Old Days and Ashy is Everywhere. Lau has been nominated multiple times for Best Lighting Design at the Hong Kong Drama Awards. In 2024, Lau won the Best Lighting Design award at the 32nd Hong Kong Drama Awards for their work in the Hong Kong Repertory Theatre’s production of Moscow Express. His design works include productions such as Three Sisters by Theatre du Pif, Lumination of the Forgotten by the Hong Kong Repertory Theatre, Rebecca Wong dance piece Bird Watching (performed in Hong Kong and Taiwan), and We are for real by No Discipline Limited. He curated the Prague Quadrennial of Performance Design and Space (Hong Kong Pavillion) in 2019 and 2023, organizing exhibition events in Prague. His paper-cutting artworks have been showcased in exhibitions such as Nian Nian (Solo Exhibition) at the Hsinchu Railway Art Village in Taiwan, TST Story at YMCA The Dooor, Paper Cut Art Exhibition at Artspace K, The Village School Anthem Project: Exhibition Art x Heritage by CACHe, and “JCCAC 15th Anniversary Exhibition 2023 ‘Here I Am!’” at Jockey Club Creative Arts Centre. 立體書故事劇場創作人、紙藝藝術家及資深劇場燈光設計師。二十年來創作多個「立體書 故事劇場」作品，揉合立體藝紙、光影及劇場表演美學，包括《日常生活》、《回味舊時佮 佮冚》及《大家都係一粒塵》等。多次提名香港舞台劇獎最佳燈光設計，2024年憑香港 話劇團《從金鐘到莫斯科》獲第三十二屆香港舞台劇獎最佳燈光設計。設計作品包括進劇 場《三姊妹》、香港話劇團《白湖映像》、黃碧琪舞蹈作品《睇 · 女》（香港及台灣巡演） 及 No Discipline Limited《我們來真的》等。曾為香港舞台技術及設計人員協會HKATTS 董事會成員，先後於2019及2023年擔任《布拉格劇場設計四年展》策展人，遠赴布拉格 策劃展覽活動。剪紙作品曾參與台灣新竹鐵道藝術村剪紙個展《捏念》、YMCA The Dooor《此地是朵泥》、Artspace K《剪紙 · 特展》、長春社文化古蹟資源中心《香 · 校變 奏：時光藝術展》及《JCCAC十五週年展覽2023「我在！」》等。

Video Program Designer 錄像程式設計

Gary Chan 陳家濠 Graduated from Hong Kong Institute of Vocational Education in Creative Media, Gary currently is a freelance video designer. Projection and video designs for the companies including Shu Ning Presentation Unit, DGhouse, Chung Ying Theatre, Cinematic Theatre, Banana Effect, On & On Theatre Workshop, Fong Fron Projet d’ Art, istage, Jumbo Kids Theatre, POP Theatre and City Contemporary Dance Company. Gary has worked on video design in theatre production, using the language and technique of theatre to develop video content. He has also created and designed videos for various concerts, performances and programmes. 畢業於專業教育學院，修讀創意媒體。現為自由身劇場工作者，以擔任錄像設計師為主。 劇場影像設計合作團體包括樹寧現在式單位、DGhouse、中英劇團、影話戲、Banana Effect、前進進戲劇工作坊、芳芳劇藝、iStage、大細路劇團、普劇場和城市當代舞蹈 團。一直嘗試於劇場上使用影像創作，運用劇場的語言和技術發展不同的影像作品。亦有 參與各種場合的錄像創作，為各類演唱會、活動擔任各錄像處理/設計。

Sound Designer 音響設計

Leung Chi Ying 梁梓楹 Graduated from the Hong Kong Academy for Performing Arts (HKAPA), majoring in Sound Design, Leung recent design works include Cost of Living by Hong Kong Federation of Drama Societies; When Lonely Meets Lucky and Stardust Alley by FreeTo-Play; The Damn Technology co-presented by Chung Ying Theatre and HKAPA; The Seagull, Le Malentendu, What the Butler Saw, Meal Ticket 2.0, and Meal Ticket 3.0 by HKAPA; Reflector: OS1 by Theatre Ronin; Can’t pay? Won't pay! by Community Theatre; Forget by Theatrideo; Dig Your Own House by Ken Yip x DollLeLe; The Invincible Light of Hong Kong by AddOil Workshop; independent theatre work Sing Sang Sung, and other shows by Jam Island Theatre, Kwuntong Theatre, and the exhibition The Invalid Evidence of Love. Aside from design work, Leung has also been involved in different roles, including being a producer for Meal Ticket 2.0 by HKAPA, a live broadcast and recording engineer for Sunset Concert 2017, a composer for the short film by The Boys’ & Girls’ Association of Hong Kong, and a live musician in various productions. 畢業於香港演藝學院舞台及科藝製作系，主修音響設計。音響設計作品包括：香港戲劇協 會《我們所不知道的生活成本》；Free-To-Play 《孤伶伶遇上幸運星》、《露宿的愛》；中英 劇團、香港演藝學院合辦《他媽的科技》；香港演藝學院《海鷗》、《誤會》、《閉門一家 親》、《穗2.0》、《穗3.0》；跳樂劇團《跨越時空大冒險》、《神奇的秘密日記》；浪人劇場 《荒幕行人：OS1》；觀塘劇團《當我回來，你還會和我飛？》；社區劇場《俾唔起？咪鬼 俾！》；舞台戲《忘。記》；葉紹堅X獨樂樂工作室《攞命樓主》；獨立製作《聚散頌》、加 戲工作室《擋不住的光》；展覽《倘若時間也沒法為你的愛作證》等。音響設計以外，梁 氏亦曾擔任不同崗位，包括策劃及監製香港演藝學院《穗2.0》；日落音樂會2017現場轉 播及錄音工程師；小童群益會微電影《煙熄了應該斷尾》配樂，亦曾為多個演出擔任現場 演奏。

Producer 監製

Jamie Wu 胡家欣 Jamie Wu is the Company Manager and Producer for Theatre du Pif, she also works as an independent producer, collaborating with various local and international artists and cultural organizations across multiple art forms. In 2017, she was invited to work as an Assistant Producer for the OzAsia Festival at the Adelaide Festival Centre in Australia. As an active participant in international performing arts exchanges, Jamie was a recipient of the 2017 Fellowship from the International Society for the Performing Arts (ISPA), attending its 99th Congress, as well as the Emerging Leadership Institute and Conference organized by the Association of Performing Arts Presenters (APAP) in New York. She also took part in the Global Cultural Leadership Programme 2018 in Amsterdam, hosted by the Cultural Diplomacy Platform, and the Producer’s Academy in Brussels, organized

by On the Move. In recent years, Jamie has focused on exploring various professional tools to enhance personal development and performance. She holds certifications as Personal Fitness and Rehabilitation Trainer, NGH Hypnotist, master practitioner in Neuro-Linguistic Programming (NLP), registered life coach, an Inside Cards Certified Coach, and a Certified Professional Behavioral and Motivators (DISC & MOT) Analyst through TTI Success Insights. 進劇場劇團經理及製作人，同為獨立製作人，與不同本地及海外藝術家和藝術機構合作。 2007年亦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 參與國際交港，曾為2017國際表演藝術協會（ISPA）的獎助金得主，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 探索不同的專業工具來提高個人心身靈發展及表現，她現為一名認證私人健身及復康教 練、美國NGH催眠師、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 Success Insights 認證行為風格與激勵因子（DISC & MOT）分 析師。

Production Manager 製作經理

Lawrence Lee 李浩賢 Lawrence Lee graduated from The Chinese University of Hong Kong, Master of Arts in Cultural Management, and Hong Kong Academy for Performing Arts with BFA (Hons) Degree in Stage Management. Lee was awarded a scholarship by the Jackie Chan Charitable Foundation Scholarship for three consecutive years from 1995 to 1997, and in 1997 also awarded Jackie Chan Charitable Foundation Scholarship (Overseas), leading to an internship in New York as Stage Manager for American Opera Projects Inc. He also won Best Youth Stage Management Award at the Hong Kong Drama Awards in 2001. Lee has worked for 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. He was Artist-in-residence in the Hong Kong Academy for Performing Arts. Lee has also designed various exhibitions for the Hong Kong Film Archive, Concept Arranger for Eason Chan’s The Easy Ride Concert, and Assistant Director, Set and Costume Designer for Utopia, Momentarily. Lee is currently a freelancer, and chairman of The Hong Kong Association of Theatre Technicians & Scenographers (HKATTS). 李氏先後於香港中文大學取得文化管理文學碩士，以及香港演藝學院科藝學院榮譽學位， 主修舞台管理。1995 至 97 年連續三屆獲得校內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 榮獲第十屆香港舞台劇之「優秀青年舞台管理獎」。過去參與多個本地及海 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。並曾任香港演藝學院科藝學院駐院藝術 家。曾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，《剎那的烏托邦》擔任助理導演、佈景及服裝設計。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。

2, 9 Mar 2025

Pen Wave 第六回 筆浪

我們每個人都有故事要說 We all have stories to tell

進劇場 • 下回 Theatre du Pif • Coming Next

On The City Train They Stand

4-6.7.2025 HONG KONG CULTURAL CENTRE STUDIO THEATRE 香港文化中心劇場 A group of women from Tuen Mun, exploring their hopes, fears, dreams, and regrets, first performed in 2003, and they gathered together again to review the changes in their lives after 20 years. 來自屯門的婦女於2003年聚合首次演出，探索她們的希 望、恐懼、夢想和遺憾。20年後她們再次在一起，回顧她 們生活中的變化。

進劇場 • 下回 Theatre du Pif • Coming Next

The Actors’ Lab Presents

23-25.1.2026

演 員 運 動 呈 現

進劇場 • 下回 Theatre du Pif • Coming Next

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Hong Kong Arts Development Council supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council. 香港藝術發展局支持藝術表達自由，本計劃內容並不反映本局意見。

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