The Will to Build 《樓城》2015

verbatim theatre

8-17.05

香港藝術中心 壽臣劇院

Shouson Theatre, Hong Kong Arts Centre

《CAT·拾肆》獲香港特別行政區政府 「藝能發展資助計劃」的資助 CAT·14 is financially supported by the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region

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立夏版

樓城 The Will to Build 2015 引錄劇場

主辦

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The Will to Build 樓 《樓城》探討香港在連綿不斷的興建與粉碎 城 中○ ，○ 香八 港年 人新 與視 空野 間藝 和術 節節 奏首 的演 關， 係其 及後 故應 事邀 。在 於二 二○ 一○年於香港及上海世界博覽會重演。二○一 五年進劇場再度出發，走訪建築及城市規劃界 人士及生活於不同居住環境的香港居民，從政 府官員、保育人士、商人、學者、建築工人、 農夫、旅居香港人士以至劏房戶等，將他們的 說話化為舞台上的對白及意象，讓觀眾重新連 接一個也許在壓縮生活中被遺忘的香港故事。 在二○○八年的《樓城》訪問中，保育人 士朱凱迪曾形容在保衛皇后碼頭的運動中， 香港人意外地發現和打開了一些「寶箱」，並 被當中蘊含著不同形式的「過去」所撼動， 這些「過去」容讓我們創造一個新的身份 以抗衡主流價值。七年後的今日，更多的 「寶箱」被打開，它們已不再局限於「過去」或 「回憶」，更多的是關於未來不同的「可能性」。 上年底的雨傘運動完結後，社會再次運作 「如常」，但曾經的牽引和騷動、感受和思考，又 會轉化成怎樣的力量、把我們的城市帶到哪裡？ 劇場，一個讓我們停駐的地方，期待與 你在這裡一起稍停下來，重新感受、思 索，這塊「南中國海上的石頭」對我們 的意義。

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The Will to Build examines the past, present and future of the city’s relentless cycle of construction and destruction, and its effects on the bodies, hearts and minds of the city’s inhabitants. The original version in 2008 was co-presented by British Council and New Vision Arts Festival, and in 2010, The Will to Build was restaged in Hong Kong and at the Shanghai Expo 2010.

This new version in 2015 continues to stimulate debate about the value of Hong Kong’s built heritage.

This drama weaves together verbatim transcripts of Theatre du Pif ’s interviews with people who are involved in and affected by our city’s obstinate will to build: construction workers, architects, city planners, academics, farmers, politicians, cage-dwellers and a variety of people who live in different areas of the city…

In 2008, activist Chu Hoi-dik mentioned during the Queen’s Pier movement, “a small group of HK people have newly discovered some ‘treasure boxes’ and accidentally opened them. They were shocked and amazed to discover that they have another ‘history’ or past, which helps them to develop their own identity; a new identity in order to fight against the mainstream one.” Seven years later, more boxes are opened. They are no longer only connected to “the past” or “memory”, but are more about the different “possibilities” for the future. After the Umbrella Movement at the end of last year, things seem like they are “back to normal”, but what kind of energy has the commotion and feeling aroused transformed into? In which direction will our city move towards?

What does this “Rock in the South China Sea” mean to us?

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Route Sequence 行 城市的聲音Voices of the city 程 歷史隧道－「向上攀吧！」 History tunnel –“let them climb!” 表 心理地圖Psychological 行李箱內的空間Space in a suitcase 切斷Cut off 欺凌Bullying 香港的平水墨線Ink line of Hong Kong 被壓縮的生活Compressed living 一封給自己的信A letter to yourself 明陣Labyrinth 嘉咸街市場Graham street market 從紅花嶺遠望A view from the Robin’s Nest 留下的意志The will to stay 帳篷Tents 他和他Leo and Steve 聖雅各的啟示和回家路上 St Jacob’s message and homecoming 對話Dialogue 牆At the wall 信Letters 節目全長約1小時40分鐘，不設中場休息 Running time is about 1 hour and 40 minutes with no interval

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From the Voices of the City 「傳播開去，改變就會出現。我不期望見到急速的改變。 城 那種更深層，可轉化人的改變，需要長久的時間。」 －道風山基督教叢林李嘉恩牧師 市 “Just spread out and change takes place…and I don’t necessarily want to see rapid change... the change that goes deeper and changes … people, that takes a long time...we live in a hurry world, everybody 的 has to be doing this, everybody should be doing that, no… oh no.” John G. LeMond, Minister of Tao Fong Shan Christian Centre 聲 「唔使講咁多啦！淨係搭地鐵你已經覺得瀨嘢啦！點解香 港人學咗咁多年，都唔識俾人落車先？即係讓座嗰啲都已 音 經算啦！唔識俾人落車先至係……痴架！」－梁仲恆，居 住在愛民邨的學生 “You can see how rotten it is when you get onto the MTR ! How come after so many years, Hong Kong people still cannot learn to let other passengers get off the train first? Let alone offering seats to the needed. This is... madness!” - Steve Leung, student living in Oi Man Estate 在《樓城》的訪問過程中，我經歷過很多聲音和想法的美 妙相遇，若是細心聆聽，我想我們可以通往……任何。 …throughout the interviewing process of The Will to Build, there were amazing meetings of voices and thoughts which I think if listened to deeply, can move... anything. 演出結束後，請在此連結導演的話，分享樓城的建築過 程。 Please connect to the link after the show.

http://youtu.be/J3R7U5xtf DI 你亦可以在演出結束後，向前台工作人員索取導演的話 You can also ask our front of house staff to get the note

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Verbatim Theatre 引 「引錄劇場」是「紀錄劇場」的其中一個分支， 錄 一般來說，後者是指把現實的紀錄和資料，運用 到舞台演出中，藉此反映社會狀態或歷史事件。 劇 「引錄劇場」雖然也是以真人真事作為創作基 礎，但通常是由一件特定的社會事件出發，訪問 場 和事件有關的人，受訪者的對話會原原本本地成 為演出的文本。為了如實反映受訪者的狀態，有

些作品會要求演員徹底模仿受訪者的神態語氣， 甚至連說話的聲調和停頓也要演繹得一模一樣。 但也有些作品會讓演員參照傳統的劇場手法，在 受訪者提供的資料上，創作出舞台上的人物形 象。 “Verbatim Theatre” emerged within the UK as an innovative and socially-aware theatrical form which utilises original interview or spoken material in the creation of new performance work, often with the intention of making a specific social or political statement. “Verbatim Theatre” is a form of “Documentary Theatre” which uses research material and data to generate the script. This type of approach seeks to be very faithful to the source interview material, prompting interesting questions for the creative process. Do the performers create their own characters from the interview material as they would if they were acting in a conventionally scripted piece? Or do they attempt to mimic the speaker, even right down to speech patterns and pauses for breath, in an attempt at a kind of absolute “truthfulness”. The results of such an approach can be very powerful, if done well. 參考Reference 「引錄劇場」簡介， 英國國家劇院 An introduction to Verbatim Theatre, National Theatre Discover

http://goo.gl/o7gKa9

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Interviewees 受 2015受訪者Interviewees ・丁雷桓Leo Ding (法籍華人，駐港財務顧問French-born- 訪 Chinese, Finance consultant living in HK) ・王晴Nikki Wang (內地來港工作人士Mainland Chinese 者 woman working in HK)

・王維仁Wang Wei-jen (香港大學建築系系主任及教授 Head of Department and Professor, Department of Architecture, The University of Hong Kong) ・何滿義Ho Moon-yee/ 張貴財Cheung Kwai-choi (坪輋 村居民Residents in Ping Che Village) ・馬瑞雄Ma Shui-hung (釘板工人Nailing board worker) ・梁仲恆Steve Leung/ 黎樂恆 Luke Lai (學生Students) ・張偉文Bobby Cheung/ 梁啟富Leung Kai-fu/ 劉炳華 James Lau (前海員Retired sailors) ・區晞旻Becky Au (馬寶寶社區農場成員Member of Mapopo Community Farm)

・黃漢樑Wilfred Wong (設計師，工廈單位住戶Designer, factory unit tenant)

・楊子傑Kit Yeung/ 羅雅寧Katty Law (磅巷關注組召集人 Conveners of Pound Lane Concern Group)

・廖月敏Sudhee Liao (舞者，劏房住戶Dancer, illegal unit

tenant)

・Eugen Koenitz (旅遊家及長洲居民Traveller and longtime Cheung Chau resident)

・Pat (裝修師傅Interior decorator) ・Peter Lloyd (跨宗教牧師及心理治療師Interfaith minister

and psychotherapist) ・李嘉恩John G. LeMond (道風山基督教叢林牧師Minister of Tao Fong Shan Christian Centre)

其中五位2008年的受訪者Transcription content used in this production from five of the interviewees in 2008 ・杜葉錫恩Elsie Tu (前立法會議員Former member of Legislative Council)

・陶傑Chip Tsao (時事評論人及作家Social critic and writer) ・施永青Shih Wing-ching (中原地產創辦人Founder of

Centaline Property Agency)

・鍾逸傑爵士Sir David Akers-Jones (前香港輔政司Former Chief Secretary of HK)

・嚴迅奇Rocco Yim (建築師Architect) 排名以中文筆劃序listed in alphabetical order

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Theatre du Pif 進 一九九二年由陳麗珠及紀文舜於蘇格蘭 劇 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 場 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。 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 crosscultural 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 thtdupif@netvigator.com

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進劇場主要作品： 魚戰役溫柔(1995,2000) -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) - 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) -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(2003,2006,2011)-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) -演繹戴維．夏洛瓦的首個劇作 樓城(2010續建版) -透過嶄新的多媒體劇場方式演出，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辰，重新演繹劇作家的永恆經典 撕殺之神(2011) -演繹法國劇作家雅絲曼娜．雷沙的作品，觀看文明底 下的野蠻 小島芸香(2011,2013,2014) -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 狂情(2012) -與風車草劇團聯合演繹，隨薩拉凱恩的千隻眼睛，遊歷黑 暗與光明 玩偶之家(2012) -重新展演易卜生經典劇作，故事背景從挪威轉移至香港 白屋(2013) -以舞蹈劇場形式展現西班牙詩人洛爾卡的作品《白納德之屋》 演員運動(2014) -以契訶夫文本為基礎，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 等待果陀(2015) -貝克特經典劇作

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The company’s major productions include: Fish Heads and Tales (1995, 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 The 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, 2006, 2011), 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.

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 that examined the past, present and future of Hong Kong’s relentless cycle of construction and destruction, commissioned by the New Vision Arts Festival.

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), a highlight of the HKSAR cultural programme for Shanghai Expo.

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

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

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

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

A Doll’s House (2012), a bilingual (Cantonese and English) version of Ibsen’s great play set in Hong Kong.

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

The Actors Lab (2014), a one-of-a-kind performance-based collaborative training and research programme for experienced and emerging theatre professionals based on Chekhov’s short stories and his play The Seagull.

Waiting for Godot (2015), by Samuel Beckett. twtb hp 2.indd 10

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鄭綺釵 紀文舜 胡智健 吳紹熙 周詠恩 施卓然 周可凡 陳麗珠

施卓然 Kenneth Sze

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Cast 演 員

Cheng Yee-chai Sean Curran Rico Wu Larry Ng Chow Wing-yan Kenneth Sze Hofan Chau Bonni Chan

陳麗珠 Bonni Chan

鄭綺釵 Cheng Yee-chai

紀文舜 Sean Curran

胡智健 Rico Wu

吳紹熙 Larry Ng

周詠恩 Chow Wing-yan

周可凡 Hofan Chau

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Production Team 製 導演Director 文本Text 作 文學指導Literary adviser designer 人 視覺設計Visual 影像設計Video designer designer 員 燈光設計Lighting 服裝設計Costume designer 音樂及音響設計 Music and sound designer 聲音Voice

監製Producers

計劃統籌Project coordinator 製作經理Production manager 執行舞台監督Deputy stage manager 助理舞台監督Assistant stage manager 導演助理Assistant to director 電機司Electrician 服裝統籌Wardrobe supervisor 字幕翻譯Surtitle translator 字幕操作Surtitle operator 舞台助理Stage assistants

陳麗珠Bonni Chan 陳麗珠Bonni Chan 鄧菲爾Fayer Deng 潘惠森Paul Poon* 張惠淳Terrenz Chang 楊振業Adrian Yeung 劉銘鏗Lau Ming-hang 鄭文榮Cheng Man-wing 彭俊傑Vincent Pang 陳結榮Wingo Chan 李宛虹Lei Yuen-hung 胡家欣Jamie Wu 陳偉基Felix Chan 李浩賢Lawrence Lee 范文恩Fan Man-yan 曹安然Julie Tso 周可凡Hofan Chau 李子軒Lee Chi-hin 關慧虹Kwan Wai-hung 伍綺琪Kiki Ng 陳安琪Onki Chan 廖令基Liu Ling-kei 嚴志聰Yim Chi-chung

攝影Photographer 張志偉Cheung Chi-wai 宣傳品設計Graphic designer 張惠淳Terrenz Chang 宣傳片設計Promotional video designer Npool.net 進劇場Theatre du Pif 聯合藝術總監Co-artistic directors

劇團經理Company manager

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

*蒙香港演藝學院允准參與製作 With the kind permission of The Hong Kong Academy for Performing Arts

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陳麗珠Bonni Chan 導演、文本及演員Director, text & performer 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。她亦為專業的魁根斯方法導師。 Bonni graduated from the Hong Kong Academy of Ballet and went on to study acting at The Hong Kong Academy for Performing Arts (HKAPA), 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 directed all of Theatre du Pif ’s original productions. She was voted the 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.

鄧菲爾Fayer Deng

文本Text

香港演藝學院二○一四年碩士畢業，主修編劇。近期作品包括： 進劇場《演員運動》、香港演藝學院《魚玄機的派對》、編劇工 場《櫻桃無樹》、香港新域劇團「劇場裡的臥虎藏龍」及北京國 際青年戲劇節等。 Fayer graduated from the School of Drama, HKAPA with a Master of Fine Arts Degree in playwriting. Her recent works include Theatre du pif ‘s The Actors LAB; HKAPA’s Yu Xuanji’s Wild Party; Playwright’s studio’s Of Cherry or Dust; Prospects Theatre’s Playwright Scheme and Beijing Fringe Festival.

潘惠森Paul Poon

文學指導Literary adviser

香港市民，現職教書，業餘寫劇。 A Hong Kong citizen, and a teacher who composes script after hours.

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鄭綺釵Cheng Yee-chai

演員Performer

主要是在前進進劇場工作坊工作，做行政、監製。曾負責的計 劃包括：前進進劇場工作坊「i-D兒女」系列、「劇場與教育會議 2000」、「女兒戲2003」、「導演創作室」、「牛棚劇季」、 「超連結牛棚實驗劇場節」、「文本的魅力」及「新文本運動」 等 。 有 時 也 會 做 演 員 ， 曾 參 與 演 出 包 括 ： 《飛吧！臨流鳥， 飛吧！》、《(魚)夫王N不(手)女》、《奧利安娜的迷惑》、 《N.S.A.D.無異常發現》、《十七個可能與不可能發生在2012 的戲劇場景》、《如果在末日，一個旅人》、《金龍》、 《城市一切如常》等。 Chai is working in On & On Theatre Workshop as an administrator, curated projects include: On & On Theatre Workshop’s iD Generation multi-media workshop series, Girl Play, Hong Kong Theatre and Education Conference, Directors’ Lab, Catte Depot Theatre Season, Sidekick Theatre Festival, Between Text & Performance and New Writing Theatre Festival. She has also performed in the following productions: Fly! Fly! Fly! Archaeology Bird, Fisher King ‘N Handless Maiden, Oleanna, No Significant Abnormality Detected, 17 Scenarios Likely and Unlikely to Happen in 2012, The Missing Case of a Doomsday Traveller, The Golden Dragon, The City.

紀文舜Sean Curran

演員Performer

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。2013年，他成為首批獲香港藝術發展局 「本地藝團領袖人才海外考察及培訓計劃」資助到海外交流的藝 術家。2014年，他擔任新視野藝術節節目、由諾布爾執導的《海 達．珈珼珞》的聯合監製，及由米高．墨非執導《等待果陀》的 聯合監製及演員。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。 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 Director of Theatre du Pif and he has devised and performed in most of the company productions. In 2010 he won the Outstanding Leading Actor award at the Hong Kong Theatre Libre Awards for his role in David Harrower’s play Knives in Hens. He was the co-producer of the New Vision Art Festival’s 2014 production of Hedda Gabler directed by Adrian Noble and in January 2015 he produced and performed in Waiting for Godot directed by Mikel Murfi. Sean is also a certified Feldenkrais Practitioner and he has led many workshops and classes for groups in Asia, Europe, Canada and South America. He teaches voice, movement, and the Feldenkrais Method at HKAPA. 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. Sean was one of the first recipients of the Hong Kong Arts Development Council’s Overseas Training Programme for Leaders from Local Arts Groups.

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胡智健 Rico Wu

演員Performer

演員、導演及戲劇導師，基督徒，第六屆香港小劇場獎優秀男 演員獎得主。現為凝動劇場藝術總監，Duende Physical Theatre藝 術家及香港兆基創意書院多媒體表演藝術課程導師。近年積極 參與新文本運動，近期讀劇及演出包括：《後殖民食神之歌》、 《Love and Information》、《I Treamble》、《耳搖搖》及《誰殺了大 象》。現正於哈德斯菲爾德大學修讀碩士Ensemble Physical Theatre 課程。致力研究Pre-expressive Training和有關表演的專業訓練。 Rico is an actor, director and drama instructor. He was awarded the Outstanding Actor at the 6th Hong Kong Theatre Libre. He is currently the artistic director of Ricochet Ensemble, associate artist of Duende Physical Theatre, and the instructor of HKICC Lee Shau Kee School of Creativity’s Multi-Media Performing Art programme. He has actively participated in “New Writing Theatre Festival” in the recent years, performances include: Postcolonial God of Food, Love and Information, I Tremble, My Trembling Ears and Shooting an Elephant. Rico is now studying a master degree programme in Ensemble Physical Theatre at the University of Huddersfield. He devoted to Pre-expressive Training and related professional performing training.

吳紹熙Larry Ng

演員Performer

於 倫 敦 完 成 L I S PA 的 兩 年 制 的 L e c o q 形 體 劇 場 訓 練 和 International School of Corporeal Mime一年制的Decroux默劇訓 練，亦是完成美國一人一故事劇場中心四階段訓練的畢業生、 北美戲劇治療協會註冊實習戲劇治療師(NADTA, US)和註冊催眠 治療師(IMDHA, US)。鑽研面具劇場多年，曾跟隨德國的Familie Floez學習面具設計與製作，亦獲選參加今年由Donato Sartori在 意大利Centro Maschere e Strutture Gestuali執教、為期一個月的系統 專業訓練。多年來在不同國家提供形體劇場和一人一故事劇場的 訓練，包括英國、葡萄牙、瑞士、波蘭、俄羅斯、意大利、匈牙 利、比利時、奧地利、巴勒斯坦、中國內地和香港。今年，受邀 於暑期前往波蘭，擔任華沙默劇中心「第八屆現代默劇學校」的 三任主要導師之一。 Larry finished the two-year full-time training in physical and devising theatre at LISPA(Lecoq approach) and the one-year full-time certificate training(Decroux technique) at the International School of Corporeal Mime in London. In addition, he graduated from the Centre for Playback Theatre(New York). He is a registered drama therapy trainee in North America drama Therapy Association and registered hypnotherapist in IMDHA(US).

He learnt mask making from German-based theatre company, Familie Floez and is selected to take part in the one-month systematic professional training led by Donato Sartori this summer in Centro Maschere e Strutture Gestuali in Italy. He has been internationally delivering trainings of physical theatre, mask theatre and playback theatre internationally, including UK, Portugal, Israel/Palestine, Russia, Switzerland, Poland, Italy, Austria, Hungary, Belgium, various cities in Mainland China and Hong Kong. This summer, he is invited to be one of the major teachers in the 8th School of Modern Mime in Warsaw Mime Center in Poland.

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周詠恩Chow Wing Yan

演員Performer

畢業於香港演藝學院戲劇學院，獲藝術學士（榮譽）學位，主 修表演。現為自由身戲劇工作者。在校曾獲「葛量洪獎學基 金」、「毛俊輝獎學金」、香港演藝學院「傑出學生獎」。 在校參與作品《李逵的藍與黑》獲得第二十二屆香港舞台劇 獎最佳整體演出、十大最受歡迎話劇製作。二○一三年與好 友成立快樂村創作，作品包括《尋找快樂村》、《尋找快樂村 2》及《星空飛行遊》。其他演出包括前進進《而你們所知道 的中國式魔幻》、天邊外劇團《漁港夢百年─第一部曲》、 《盧亭》及《禁葬─安蒂岡妮(東北村落版)》。 Yan graduated from the HKAPA with a Bachelor (Hons) degree in Acting.

She is currently working as a freelance theatre practitioner. During her study, she was awarded Grantham Scholarships Fund, Fredric Mao Scholarship, and the Outstanding Student Award. The Black and the Blue of a Man, the school production she participated was awarded the Best Overall Performance and Top Ten Most Popular Productions at the 22nd Hong Kong Drama Awards. In 2013, she established The Village of Happiness with her friend, and devised Searching for the Village of Happiness, Searching for the Village of Happiness 2, and Flying in the Stars.

Other participated productions including On and On Theatre Workshop’s Magic in Chinese Style (that you all know about); Theatre Horizon’s Centuryold Dreams of a Fishing Harbour, The Lu-Tings and Antigone - North East Village Edition.

施卓然Kenneth Sze

演員Performer

施卓然畢業於香港演藝學院，修畢舞蹈學院藝術學士(榮譽) 學士學位，主修當代舞。在校期間獲獎學金赴上海世博作交 流及演出。曾參與演出作品包括：不加鎖舞踊館《蕭邦VS Ca 幫》、新約舞流《界限．街道圖》(重演)、黎海寧及馬才 和《Friday/Suddenly》、黃靜婷《人間．獨．白》、進劇場 《演員運動2014》等。創作方面，於二○一三年獲邀為香港巴 塞爾藝術展開幕儀式中擔任編舞工作。曾於東邊舞蹈團節目 《熱血》中發表個人作品《頂X住》，並獲邀於北京舞蹈雙周 公演；首個長篇作品《漆黑的芬芳》於CCDC舞蹈中心及香港舞 蹈聯盟主辦的《真演出》新系列發表。施氏現為自由身藝術工 作者。 Kenneth graduated from the School of Dance, HKAPA with a Bachelor of Fine Arts (Honors) Degree in Contemporary Dance. During his studies, he received a scholarship to visit and perform at the Shanghai Expo. His work as a performer includes Unlock Dancing Plaza’s Chopin VS Ca; Passoverdance‘s Maze(re-run); Helen Lai and Victor Ma ‘s Friday/Suddenly; Chloe Wong ‘s Heaven Behind the Door; Theatre Du Pif ‘s The Actors’ Lab 2014. He was the choreographer for the opening ceremony of Art Basel (HK) in 2013. His choreography includes a short piece Hold On, which was invited to perform in the Beijing Dance Festival. And a fulllength work Dark Aroma was created for REAL showcase New Series. He is currently a freelance practitioner.

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周可凡HofanChau 導演助理及演員Assistant to director & performer 現為 Burnt Mango Dance Theatre 的藝術總監。於二○ ○ 四至○六 年期間修業於倫敦國際演藝學院和巴黎雅克．勒科國際戲劇 學院，現為自由身導演、表演者和教師。曾參與不同製 作，包括去年為香港大學「十分鐘戲劇節」導演，進劇 場《演員運動》演員，和《第二個巴別塔：舞踏城寨》編 作演員；前年為上海歌劇《諾亞的洪水》助理編舞，「台 北藝術節」一人一故事劇場演員及「香港藝穗民化節」 《三千此身》舞作舞者。平日修練與教太極拳。 Hofan is the Artistic Director of The Burnt Mango Dance Theatre. From 2004-2006 she studied in L’Ecole Internationale Jacques Lecoq and the London International School of Performing Arts (LISPA) and currently freelances as a director, performer and teacher. Last year she directed the opening play for HK’s first 10-minute play festival in the Fringe Club, performed in Theatre du Pif ’s The Actors’ Lab, and was a devising actor for The Second Tower of Babel: Butoh in the Kowloon Walled City. The year before she was an assistant choreographer for the opera Noyes Fludde in Shanghai, performed some playback theatre performances in the Taipei Fringe, and a dancer-deviser in the piece Three Thousand and One, which premiered in the HK People’s Fringe festival. She currently teaches and practices Tai Chi.

張惠淳Terrenz Chang

視覺設計Visual designer

視覺傳達設計師，平面設計作品包括：進劇場《等待果陀》、 《玩偶之家》和《小島芸香》；愛麗絲劇場實驗室《十方一 念》、《伽俐略傳》和《終局》；前進進戲劇工作坊《醜男 子》；香港戲劇創作室《一念間》；浪人劇場《縫身》及《十 年。寒。笑》；一條褲製作《同志少年虐殺事件》；新域劇團 《Happy to Gather》；劇場工作室《夜鷹姊魅》；及百老匯音 樂劇《吉屋出租》10周年世界巡迴香港站等。張氏的舞台設計 作品包括：進劇場《玩偶之家》、《小島芸香》及《母雞身上 的刀子》；不加鎖舞踊館《牆四十四》三部曲；及一張紙劇場 《新生活》。 Visual communication designer, her graphic works include: Theatre du Pif ’s Waiting for Godot, A Doll’s House and The Isle; Alice Theatre Laboratory’s Once the Muse Speaks, Life of Galileo and Endgame; On & On Theatre Workshop’s The Ugly One; Hong Kong Dramatists’ In a Breath; Theatre Ronin’s Sew & Soul and Memorandum: 10 years. Han. Xiao; Pants Theatre Production’s Laramie Project; Prospects Theatre’s Happy to Gather; Drama Gallery’s Nitehawk; and Broadway musical RENT 10th Anniversary World Tour Hong Kong stop. Chang’s set design includes: Theatre du Pif ’s A Doll’s House, The Isle and Knives in Hens; Unlock Dancing Plaza’s Walls 44 Trilogy; and Piece by Piece’s The Dawn.

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楊振業Adrian Yeung

影像設計Video designer

楊振業畢業於香港大學電腦工程系，現為多媒體設計師。從 二○○七年起參與超過四十個舞台製作，作品涵蓋劇場、舞 蹈、音樂之演出。合作過的團體包括進劇場、香港城市當代 舞蹈團、前進進戲劇工作坊、楊春江、楊嘉輝、多空間等。 一○年憑城市當代舞蹈團《那一年．這一天》的錄像設計獲 提名香港舞蹈年獎。他的作品結合新媒體技術，與舞台美學 融為一體。楊氏自一○年開始執導劇場作品，包括 《小津風 景》、《安東尼奧尼猜想》、《基督與史提芬尼》及《挪威 沒有森林》。他曾參與演出進劇場《暖大衣》和《日出》。 Adrian is a multi-media designer for theatre and dance performances.

He graduated from the The University of Hong Kong in computer engineering. Since 2007 he has contributed artistically to more than 40 theatre or dance productions. He collaborates with artists of a broad spectrum of theatre, dance and music. His collaborators include Theatre du Pif, City Contemporary Dance Company (CCDC), On & On Theatre Workshop, Daniel Yeung, Samson Young, Y-space, etc. His video work in CCDC’s As If To Nothing was nominated for the 2010 Hong Kong Dance Awards. His works usually combine performance with new media technology, working tightly with scenography. He started to direct theatre productions from 2010, his works include Landscape of Ozu, Antonioni Conjecture, Chris Stephanie and (No) rwegian Wood. He also performed as an actor in Theatre du Pif ’s The Overcoat and Sunrise.

劉銘鏗Lau Ming-hang

燈光設計Lighting designer

人稱「神父」。自由身舞台燈光及立體紙藝設計師。 曾 創 作 立 體 書 講 古 劇 場 《北風先生逸事》、《一眼思 淚》、《善水怪婆婆》及《日常生活》，《一》劇 更 為 新加坡「華文小劇場節」表演劇目之一。憑《樓城》（首演）、 《法吻》、《龍頭》及《四川好人》獲提名香港舞台劇獎最佳 燈光設計，並曾為香港及海外多個表演團體設計燈光，包括進 劇場、前進進戲劇工作坊、新域劇團、香港話劇團、演戲家 族、城市當代舞蹈團、澳門演藝學院戲劇學校及新加坡實踐劇 場等。 Also known as “Sun Fool”, Lau is a freelance theatre lighting designer and pop-up art designer. Lau directed and created his own theatre productions, including Mr. Windy NoBody, Am I Crying, Just Do It, Lady Eccentric and Ordinary Living, which are fusions of Chinese storytelling, paper-cutting, music and the crafting of pop-up storybooks. Am I Crying was invited to perform at the Chinese Theatre Festival in Singapore. His works The Will to Build (1st Run), The French Kiss, Dragon Head and The Good Person of Szechwan 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, On & On Theatre Workshop, Prospects Theatre, Hong Kong Repertory Theatre, Actors’ Family, City Contemporary Dance Company, School of Theatre of Macao Conservatory and The Theatre Practice (Singapore).

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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，開始設立設計自己的工作室。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《日出》、演戲 家族《一屋寶貝》、第三十八屆香港藝術節《香港式離婚》、 城市當代舞蹈團《別有洞天》及《雙城記》、天邊外劇場《法 吻》、新域劇團《Happy To Gether》、多空間《昏迷II-尋找失 去的感覺》及香港話劇團《潛水中》。 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 Sunrise; Actors’ Family’s The Passage Beyond; The Truth About Lying (38th Hong Kong Arts Festival); City Contemporary Dance Company’s Blind Chance and Tales of Two Cities; Theatre Horizon’s The French Kiss; Prospects Theatre’s Happy To Gether; Y-Space’s Unconscious II-In Search of the Forgotten Senses and Hong Kong Repertory Theatre’s Diving in the Moment.

彭俊傑Vincent Pang 音樂及音響設計Music and sound designer 彭俊傑生於香港。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。 Born in Hong Kong, Vincent graduated from HKAPA. Receiving CASH overseas scholarships, Pang continued his study in composition at New England Conservatory of Music, Boston. He is currently a parttime teacher of the School of Music at The Hong Kong Academy for Performing Arts. He writes music for the theatre and works as a sound designer. He was awarded the Best Sound Design Award at Hong Kong Drama Awards twice.

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Acknowledgment 鳴 謝

《CAT·拾肆》獲香港特別行政區政府 「藝能發展資助計劃」的資助 CAT·14 is financially supported by the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region 通達伙伴Accessibility Partner 16 May, 4pm 通達專場，附設粵語口述影像及通達字幕（中文及英文） Accessible Performance with Audio Description (Cantonese) and Accessible Captions (Chinese and English)

進劇場感謝所有被訪者的分享和支持。 Theatre du Pif would like to give a big thank you to all the interviewees for sharing their time and thoughts with us. 《樓城》2008首演由英國文化協會聯合主辦，2010續建版亦 獲英國文化協會力支持英國藝術家BURST TV及Liam Hurley， 特此致謝。 The premiere of The Will to Build in 2008 was co-presented by the British Council and the participation of UK artists – BURST TV and Liam Hurley for the 2010 version is made possible with the generous support of the British Council. 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 people for their assistance in this production: 香港藝術中心Hong Kong Arts Centre Kubrick 前進進戲劇工作坊On & On Theatre Workshop 風車草劇團Windmill Grass Theatre 中大藝術行政主任辨公室The Office of the Arts Administrator, CUHK Maggie Law

節目內容並不反映香港特別行政區政府的意見 The content of this programme does not reflect the views of the Government of the Hong Kong Special Administrative Region

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《CAT•拾肆》獲香港特別行政區政府「藝能發展資助計劃」的資助。 CAT•14 is financially supported by the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region.

Coming NEXT

魁根斯方法工作坊【適合藝術行政人員、策展人】 Feldenkrais Workshop for Arts Administrators and Arts Curators 「我追求的不只是靈巧的身體，而是靈巧的腦袋。我渴望的是重拾 每個人的人性尊嚴。」梅瑞．魁根斯 “What I’m after isn’t flexible bodies, but flexible brains. What I’m after is to restore each person to their human dignity.” Moshe Feldenkrais

藉著身體調節及探索誘發自我意識的提昇，協助藝術行政人員、策 展人發掘新的思維、行動與創作方式，無論在充滿壓力的工作環 境、抑或長時間面對電腦工作，都能保持一定的身體意識，並舒緩 相關的痛症。〈魁根斯方法〉以獨特的方法，讓參與者更瞭解自身 的潛能。始創人梅瑞．魁根斯 (Moshe Feldenkrais, 1904-1984) 是一 位工程師、物理學家和柔道大師。通過「由動作引發身體的自覺」 (Awareness through Movement®)的練習方法進行，從各種巧妙的肢體動 作實驗中，參與者可以體驗一種輕省而有機的活動方式，重新連接 我們原始的活動、思考和感受本能。課程由進劇場藝術總監陳麗珠 與紀文舜教授，二人皆為魁根斯方法的註冊導師。 This intensive body awareness training workshop is an excellent chance for Arts Administrators and Arts Curators to explore new ways of thinking, moving and creating. The workshop will also explore ways in which participants can increase their body awareness and comfort in the office environment and in front of a computer. The Feldenkrais Method is named after its founder Moshe Feldenkrais and uses movement and the cultivation of deep self-awareness to assist people in living fuller, more satisfying lives. One of the key ideas that underpin The Feldenkrais Method is that learning to move with less effort makes daily life easier and that we will improve our well-being when we learn to fully use ourselves. The workshop will be taught by Bonni Chan and Sean Curran the Artistic Directors of Theatre du Pif. Both of them are Certified Feldenkrais Practitioners.

1-2 Aug 2015 (sat-sun), 12:30pm - 6:30pm 胡胡溫習室 Wu Wu Theatre Hub $900（成人 adults） ＄500（學生或需要學費減免人士, 如有需要請與我們聯絡 for students and concessions, please contact us for details） 粵語及英語授課 Conducted in Cantonese and English

活動內容並不反映香港特別行政區政府的意見 The content of this activity does not reflect the views of the Government of the Hong Kong Special Administrative Region

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