the isle《小島芸香》

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聯合藝術總監 Co-artistic Directors

陳麗珠 Bonni Chan 紀文舜 Sean Curran

潘惠森 劇作 Poon

A play by Paul

潘惠森在劇場發瘋前最後一部作品 ― 原來他曾經正常過！

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導演 Co-directors

陳麗珠 Bonni Chan 潘詩韻 Janice Poon

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graphics terrenzchang@designvintage | photography cheung chi wai

粵語演出，附英文字幕 Performed in Cantonese with English surtitles

香港話劇團黑盒劇場 HKRep Black Box

09-11, 16-18.12.2011

合辦 Co-presented by

香港話劇團由香港特別行政區政府資助 HKRep is financially supported by the Government of the Hong Kong Special Administrative Region

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大海懷抱著陸地，自此，風有了家園。 等待的人，不再如海水拍打崖岸，來來回回...... 在白夜之後，蓓蕾之間，終於尋回她那缺席的愛人。

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給蘇青的信

letter to Su Qing

謝謝妳讓我探訪妳的小島，住進妳的熱情、妳的盲和妳的孤獨。 與其他排練和創作過程相比，我和自己的關係是和諧的，是因為妳這小島給我一 個寬闊的承載。島是約束，也是釋放，我們 24 小時頭上都有天空無限，提示作 為渺小，作為短暫的輕省與自由。 它的藍、它的白，它派出在北斗星最近地球那粒離我們也有 79 光年的星星告訴 我們，無限實在很關照我們。 拿得起這種輕嗎？還沒有，但我開始不太那麼害怕那些被黑洞包圍的日子。我的 心裏有了妳在孤島家前曬衫的身影。 bonni 11 年 12 月 2 日早晨，秋風呼呼在長洲山畔的家中。

給 P. P. 的信 letter to P. P.

12 月 1 日，天晴。 天氣開始轉涼，走在街上，途人都穿着大衣，乘着涼風，迎接 2011 年的最後 三十天。 每個月的第一日，都是做決定的好日。 晚上，踏入茶餐廳，一陣煲仔飯香撲鼻，即決定點了兩煲，和芥蘭一碟，跟演員 同享。煲仔飯，是這小島寒冷天獨有的溫暖味，每次經過茶餐廳，總抵不過它的 香，又或者，可能是，伴隨着飯香而來的回憶、暖意、快樂與滿足。它提示着， 我曾經快樂過。其他味道休想輕易取替。 曾經嘗試自行複製煲仔飯：在瓦煲內壁塗一層油，加入米與適量的水，放在爐上 猛燒，水滾，米動，放入臘腸與潤腸各一孖，蓋上煲蓋，轉慢火烹煮，就成了一 煲有飯焦的煲仔飯。燒的時候要小心，一不小心就會過火，那就浪費了兩孖，與 米飯。 以上這些，都可自己控制；但有一事，卻沒辦法，譬如說．．． 我沒辦法告訴你，因為你入你出，或去或留，堅持還是執迷，猛火還是文火，我 只能說一句：自己小心啲。 Be well. 潘詩韻

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潘惠森 「忘言少愛憎」 Paul’s note

人類。所有人類的優點他都有，缺點亦不例外。他嚮往勤快，但擺脫不了懶惰，無 聊更是他的強項。每當無聊時，他便跑去喝咖啡，心裡默誦著沈從文說過的一番 話： 「……我記得迭更司的冰雪因緣、滑稽外史、賊史這三部書……我喜歡這種書，因 為他告給我的正是我所要明白的。他不如別的書說道理，他只記下一些現象。即或 他說的還是一種很陳腐的道理，但他卻有本領把道理包含在現象中。我就是個不想 明白道理卻永遠為現象所傾心的人。我看一切，卻並不把那個社會價值攙加進去， 估定我的愛憎。我不願意向價錢上的多少來為百物作一個好壞批評，卻願意考查他 在我官覺上使我愉快不愉快的分量。我永遠不厭倦的是『看』一切。」 最近他讀到魯迅的金句：「哪裡有天才？我是把別人喝咖啡的工夫都用在工作上 的。」 簡直是五雷轟頂。他終於獲得人生的第一個自我發現 — 為甚麼他不是天才！本月 份（今天是 2011 年 10 月 31 日）的人生目標是，少喝咖啡多喝茶，不慌不忙活到下 個月。

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Theatre du Pif 進劇場 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。 一 九 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 港重要的劇團之一。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、文本和視象的各種元素， 作品獲讚譽為深具舞台力量亦同時充滿 詩意。 進劇場上演及改編過多個世界性劇作家 的 文 本 包 括 尚． 阿 諾 依、 貝 克 特、 戴 維．黑爾、大衛．夏洛瓦、洛爾卡、曹 禺和雅絲曼娜．雷莎，並多次於海外上 演，包括北京、柏林、新加坡、上海、 澳門及英國等地，亦於蘇格蘭帶領社區 工作坊。二○○一年獲愛丁堡鯨藝劇團 委約編演《暖大衣》，同年更於愛丁堡 藝術節中演出，作品不但獲《蘇格蘭人

Theatre du Pif was formed in Scotland in 1992

by Bonni Chan and Sean Curran. 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 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 original productions acclaimed for their power and their poetry.

The company has staged/adapted plays by a variety of world dramatists including Jean Anouilh, Samuel Beckett, Harold Pinter, David Harrower, Federico Garcia Lorca, Cao Yu and Yasmina Reza and has been invited to tour its own original productions to Berlin, Bogota, Manizales, Macau, Singapore, Shanghai and the UK. They have also conducted series of community theatre projects including productions with a group of women from Hong Kong and Diversity 2001 commissioned by the Scottish Arts council to celebrate cultural diversity in Scotland.

Theatre du Pif has been financially supported by the Hong Kong Arts Development Council since 1997.

報》評為五星級，亦獲提名為藝術節劇 評人之選。翌年獲蘇格蘭藝術局委約創 作《Diversity》，以表揚蘇格蘭的多元文 化。一九九七年起獲香港藝術發展局資 助。

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進劇場主要作品： 魚戰役溫柔 (1995) — 靈感來自比利時音樂人積 ‧ 貝爾的歌曲。 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。 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。 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。 五千薔薇 (1999) — 改編自法國小說《小王子》。 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。 他和她和他……的屋 (2002) — 香港藝術節委約作品，改編自西班牙劇作家洛爾卡的《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。 舞至愛之終結 (2003, 2006) — 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。 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。 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。 灰飛煙滅 (2006) — 哈洛 ‧ 品特的劇作。 亮夜 (2006) — 靈感來自卡夫卡的短篇故事及生平。 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。 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。 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，探討一個個關於建築，空間與節 奏，關於香港人之故事。 日出 (2009) — 改編自曹禺經典劇作，澳門文化中心委約作品。 安蒂崗妮 (2009) — 演繹法國劇作家尚 ‧ 阿努爾改編自同名的古希臘戲劇的現代版本。 乙城的四季 (2010) — 改編自卡爾維諾的短篇小說《馬可瓦多》。 母雞身上的刀子 (2010) — 演繹大衛 ‧ 夏洛瓦的首個劇作。 樓城 (2010 續建版 ) — 透過嶄新的多媒體劇作方式演出，是香港特區參與上海世博會的亮點節目。 日出 (2010) — 紀念曹禺先生一百周年誕生，重新演繹劇作家於 26 歲時寫成的永恆經典。。 撕殺之神 (2011) — 演繹作家雅絲曼娜．雷莎的得獎作品。 舞至愛之終結 (2011) — 哥倫比亞交流演出前四度公演。 白屋 (2011) — 聯同廣東現代舞團，演繹西班牙詩人洛爾卡的最後作品《白納德之屋》

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Theatre du Pif’s major productions have included: Fish Heads and Tales (1995 and 2000), inspired by the songs of Belgian balladeer Jacques Brel.

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

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

A Christmas Carol (1997) by Charles Dickens.

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

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

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

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

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.

Dance Me to the End of Love (2003 and 2006), 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.

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.

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

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

Ashes to Ashes (2006) by Harold Pinter.

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

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

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

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

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

Antigone (2009), by Jean Anouilh.

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

Knives in Hens (2010), by David Harrower.

The Will to Build (2010 Revival Version), this provocative verbatim theatre was a cross-media production and a highlight of the HKSAR cultural programme for the Shanghai Expo.

Sunrise (2010) – commissioned for the Cao Yu Centenary Drama Festival.

God of Carnage (2011) - The award winning comedy by Yasmina Reza.

Dance Me to the End of Love (2011), Latin America opening at the Manizales International Theatre Festival, Colombia.

La Casa (2011) a dance theatre project in collaboration with the Guangzhou Modern Dance Company and inspired by Federico Garcia Lorca’s final play The House of Bernarda Alba.

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潘詩韻 Janice Poon 導演 / 字幕翻譯 Co-director / Surtitle Translator

陳麗珠 Bonni Chan 導演 / 演出 Co-director / Performer

進劇場創辦人及聯合藝術總監。香港芭蕾舞學院 畢業，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。 九五年回港後，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。亦為 專業的魁根斯方法導師。 Bonni is the Founder and 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, she 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.

She is also a professional Feldenkrais practitioner.

潘 詩 韻 多 年 從 事 媒 體、 文 字 及 戲 劇 工 作， 獲 2010-11 年度亞洲文化協會獎助金赴美國研究戲 劇文學及新文本發展，是倫敦當代文化中心創作 室首位華人編劇。潘氏曾任電視台及廣告公司文 案、《明報》「世紀版」記者，後加入 PIP 劇場並 創立香港戲劇史上首個戲劇文學部；編著有關香 港戲劇及文化之書籍六部；曾編演兩台獨腳戲， 並跟香港多個主要的實驗劇團創作演出。其原創 文本曾三度於「劇場裏的臥虎與藏龍計劃」發表， 並於紐約百靈鳥文本發展中心及紐約城市大學劇 院展演。 Janice Sze Wan Poon is a writer and theatre professional from Hong Kong who researches dramaturgy and new play development in the United States through a 20102011 Asian Cultural Council fellowship. Poon is the first Chinese playwright in the Creative Lab of the Institute of Contemporary Arts in London. She began as a creative writer in television and advertising, and then developed as an arts journalist at Ming Pao Daily. She created Hong Kong’s first literary department as a member of PIP Theatre Limited. Poon has edited six publications on Hong Kong theatre and culture; created and performed original solo works and collaborated on major productions with some of the most important experimental theatre companies in Hong Kong. Three of her plays received staged readings in the Hong Kong Playwright Scheme, the Lark Play Development Center and Martin E. Segal Theatre in New York.

李志文 Man Lee 演出 / Performer

默劇藝人、師承霍達昭。 Fringe Mime and Movement Laboratory member.

“Light is inside your blood.” Man Lee

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張惠淳 Terrenz Chang 服裝及舞台 / 宣傳品設計 Costume & Set / Graphic Designer

資深視覺傳達設計師，去年為進劇場《母雞身上 的刀子》擔任舞台設計。平面設計作品包括：進 劇場《撕殺之神》、《日出》、《安蒂崗妮》、《花魂》 和《黑鳥》；愛麗絲劇場實驗室《百年孤寂》；中 英劇團《雪夜頌》和《點解手牽狗》；劇場工作 室《山村老師》經典重現；百老匯音樂劇《吉屋 出租》10 周年世界巡迴香港站等。 As an experienced visual communications designer, Terrenz started to work on set design from Theatre du Pif’s Knives in Hens. Her graphic works includes: Theatre du Pif’s God of Carnage, Sunrise, Antigone, Hanako’s Pillow and Blackbird; Alice Theatre Laboratory’s One Hundred Years of Solitude; Chung Ying Theatre Company’s When Snow Falls... and Sylvia; Drama Gallery’s The Country Teacher (classic rerun); and Broadway musical RENT 10th Anniversary World Tour Hong Kong stop.

劉銘鏗 Lau Ming-hang 燈光設計 Lighting Designer

人稱「神父」。自由身劇場燈光及立體書設計師， 憑《樓城》、《法吻》、《龍頭》及《四川好人》獲 提名香港舞台劇獎最佳燈光設計。曾為香港及海 外多個表演團體設計燈光，包括進劇場、香港話 劇團、香港管弦樂團、中英劇團、前進進戲劇工 作坊、新域劇團、演戲家族、東邊現代舞蹈團、 澳門演藝學院校及戲劇農莊等。曾創作立體書講 故劇場《火童》、《北風先生逸事》及《一眼思淚》， 將立體書與說書表演融為一體。「神父」現致力 於立體書的創作，未來將製作更多此類型演出。 Also Known as “Sun Fool”, Lau is a freelance theatre lighting designer and pop-up art designer. His works The Will to Build (1st Run), The French Kiss, Dragon Head and The Good Person of Szechuan were nominated for Best Lighting Design at the Hong Kong Drama Awards. He has designed lighting for many local and overseas groups, including Theatre du Pif, Hong Kong Repertory Theatre, Hong Kong Philharmonic Orchestra, Chung Ying Theatre Company, On and On Theatre Workshop, Prospects Theatre, Actors’ Family, E-Side Dance Company, Macao Conservatory, Theatre Farmers, etc. Lau directed and created his own theatre productions FireKid, Mr. Windy NoBody and Am I Crying, which are fusion of Chinese storytelling, paper-cutting, music and the crafting of pop-up storybooks.

彭俊傑 Pang Chun-kit, Vincent 音響設計 Sound Designer

畢業於香港演藝學院音樂學院作曲系，並獲得香 港作曲家及作詞家協會之海外獎學金，往美國波 士頓紐英倫音樂學院主修作曲。彭氏現任香港演 藝學院音樂學院作曲系兼職講師。他經常跟香港 及海外的藝術家合作，為不同類型的舞台作品編 寫原創音樂及擔任音響設計。彭氏曾兩度獲香港 舞台劇獎最佳音響設計。

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Pang graduated from the Hong Kong Academy for Performing Arts. Receiving CASH overseas scholarships, Pang continued his studies in composition at New England Conservatory of Music, Boston. He is currently a part-time teacher of the School of Music at the Hong Kong Academy for Performing Art. Mr. Pang wrote music for the theatre and worked as a sound designer. He was awarded the Best Sound Design Award at Hong Kong Drama Awards twice.

陳惠儀 Lotus Chan 監製 Producer

嶺南大學文化研究碩士。一九九八年參加前進進 戲劇工作坊《i-D 兒女：藝術新人類》後開始涉 足本地劇場。曾擔任多個劇場崗位包括演員、 編導、戲劇教育導師、文化書刊編輯及劇場監製 等，近期為進劇場監製《日出》和《撕殺之神》。 Lotus received a Master of Cultural Studies degree from Lingnan University. She started to get involved in local theatre scene after taking part in a workshop, “i-D Generation”, held by On and On Theatre Workshop in 1998.

Apart from acting, Lotus has also produced a number of performances that were staged locally and overseas. Last year, she produced Sunrise & God of carnage of Theatre du pif.

李浩賢 Lawrence Lee 製作經理 / 舞台監督 Production Manager / Stage Manager

畢業於香港演藝學院科藝學院，獲舞台管理榮譽 學位。一九九七年獲獎學金前赴紐約在 American Opera Inc. 實習舞台監督。二○○一年榮獲第十屆 香港舞台劇之「優秀青年舞台管理獎」。曾任本 港多個表演團體製作經理、舞台監督及執行舞台 監督。曾參與之海外製作包括為《香港柏林當代 文化節》( 德國 ) 擔任執行舞台監督及為非常林 奕華《快樂王子》（台北）、《潘迪華 ‧ 半世紀 ‧ 音樂情緣》演唱會（澳門）及香港戲劇協會《金 池塘》（澳門、昆明、神戶巡迥演出）擔任製作 經理。李氏現為自由身舞台工作者。 Lawrence Lee graduated from the Hong Kong Academy for Performing Arts with a Bachelor of Arts (Hons) degree in Stage Management, and received the Jackie Chan Charitable Foundation Scholarship (Overseas training) in 1997, that enabled him to go to New York for an internship as a Stage Manager for America Opera Projects, Inc. In 2001, he won the Best Youth Stage Management Award at the 10th Hong Kong Theatre Awards. Lawrence has worked for numerous local performing groups as Production Manager, Stage Manager and Deputy Stage Manager. He has also worked overseas as Deputy Stage Manager for Festival of Vision – HK in Berlin, as Production Manager for Happy Prince (Taipei tour, Edward Lam Dance Theatre), The One and Only Rebecca Pan & Big Band Concert (Macau), and On Golden Pond, (Macau, Kunming and Kobe tour, Hong Kong Federation of Drama Societies). Lawrence is currently working as a freelancer.

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進劇

陳珮茜 Keiko Chan

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執行舞台監督 Deputy Stage Manager

畢業於香港演藝學院，曾參與多個不同演出及電 影製作。鍾情表演藝術，所以從電影回歸舞台， 繼續在台上尋覓理想。 Keiko graduated from the Hong Kong Academy for Performing Arts, she’s active on stage performance production and film production in this several years. She believes she can find the dream on the back stage.

Follow acclai comp Chi W vitality at the life on

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製作成員 Production Team 導演及演員 Co-director & Performer

進劇場 同行的 程中的 西班牙 眾分享

陳麗珠 Bonni Chan 導演及字幕翻譯 Co-director & Surtitle Translator

潘詩韻 Janice Poon 演員 Performer

李志文 Lee Chi Man 服裝及舞台及平面設計 Costume & Set & Graphic Designer

張惠淳 Terrenz Chang

C

燈光設計 Lighting Designer

劉銘鏗 Lau Ming-hang

展覽融 們所思

M

音響設計 Sound Designer

彭俊傑 Pang Chun-kit

Y

CM

監製 Producer

陳惠儀 Lotus Chan

MY

製作經理 Production Manager

CY

李浩賢 Lawrence Lee 執行舞台監督 Deputy Stage Manager

CMY

陳珮茜 Keiko Chan

K

助理舞台監督 Assistant Stage Manager

范文恩 Fan Man Yan 羅艷君 Law Yim Kwan 字幕操作 Surtitle Operator

戴 穎 Tai Wing 劇團及票務助理 Company & Ticketing Assistant

伍綺琪 Kiki Ng 前台助理 Front Desk Assistant

馮德君 Winnie Fung 攝影 Photographer

張志偉 Cheung Chi-wai

為求令表演者及觀眾不致受到騷擾，請關掉手提電話、其他響鬧 及發光裝置。同時請勿在場內飲食或擅自攝影、錄音或錄影。 多謝合作。 To avoid undue disturbance to the performers and other members of the audience, please switch your mobile phones and any other sound and light emitting devices before the performance. We also forbid eating and drinking, as well as unauthorized photography, audio or video recording in the auditorium. Thank you for your co-operation.

鳴謝 Acknowledgements 進劇場謹此鳴謝香港話劇團對是次製作的支持。 Theatre du Pif would like to thank Hong Kong Repertory Theatre for the support in this production.

節目全長約90分鐘，不設中場休息，遲到者不准進場。 Approx 90 minutes without intermission. Audiences are strongly advised to arrive punctually. No admission for latecomers.

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La 白屋

April/ 2012 四/五

www.thtdupif.com

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