失物招領 Lost N FoundTeam
一个自以为是侦探的男人在自己的卧室发现了一具女人的尸体，或许是爱 人，或许是他自以为是的幻想。这尸体经过层层伪装，带有某种荒谬的红 烧肉气味。他认定女人还没有死，便踏上「上海-旧金山大桥」，踏上了 寻找的旅途——
——故事或许是这样的。但在这个故事的另一个角度要从那些物品开始说 起。伪造尸体的猪肉们要说话；切割尸体的刀要说话；缝合尸体的订书机 要说话；大桥底下的砖头也要说话。男人的烟斗会替他推理，遥控器是个 记者总是在采访，甚至是男人放在女人身边的间谍和眼线。书报亭的书会 讲故事，鱼会讲水族店的故事，而车会爱上一阵台风。不见光的地方，物 品们寻找着自己的天堂。
A man who considers himself a detective discovers a woman's corpse in his bedroom. Perhaps she is his lover, or merely a figment of his imagination. This body is carefully disguised, exuding an absurd aroma of braised pork. Convinced that the woman is not truly dead, he sets off on the Shanghai-San Francisco Bridge,embarking on a journey of searching—
—The story might go like this. But another perspective on this tale begins with the objects. The forged corpse's pork has things to say; the knife that dismembered the body wants to speak; the stapler that stitched the body together has its own voice; even the bricks beneath the bridge must tell their story.
The man's pipe reasons on his behalf; a Remote Control acts as a journalist constantly conducting interviews, as a spy and a informant placed by the man beside the woman also hold secrets; Book at the newsstand recounts their tales; Fish narrates stories of the aquarium; Car falls in love with a passing typhoon. In the places untouched by light, the objects search for their own paradise.
導演Directors：侯禧元 劉一冉
製作人Producers：侯禧元 劉一冉
音樂Composer：鄭斯尹Cecilia森女
編劇Scriptwriters：侯禧元 王婉儒
肢體Choreographers：星怡 梁思航 梁容慈
戲劇構作Dramaturge：冉陳 Jessie
舞台監督Stage Manager：雷偉佳
執行舞台監督Deputy Stage Manager：陶欣怡
舞台設計Stage Designers：劉一冉 侯禧元
導演助理Assistant Directors：陳桐羽 施瀟然 鄒浣希
助理舞台監督Assistant Stage Managers：陳桐羽 葛佳航
燈光Lighting Technicians：雷偉佳 葉承起
音效Sound Technicians：朱潤琪 鄒浣希
道具Property Masters：劉一冉 陳柏言 朱潤澤
服裝Costume Designers：劉一冉 韓宜珊
化妝Makeup Artists：姜佳函 李可欣 萬智豪
字幕Titlists：施潇然 王婉儒
攝影Photographers：周易 侯禧元 譚穎萱
媒體Publicity：章璟菲 劉一冉 侯禧元
演員Cast：
陳宣妤 韓宜珊 何鳴皋 何思妤 李錦玥 李詠宵 梁容慈 梁思航
劉凱琳 施瀟然 譚敬文 陶欣怡 萬智豪 王梓潯 星怡 葉占明陽 朱潤澤
社內行政Administrative Team：王若珈 葛佳航 陳香寧
特別鳴謝Acknowledgement：毛海濤 李珮祯
Woman 女人 by 何思妤 我不是一个真正的 尸体，我是由许多 猪肉和各类杂骨头 重新制造出来的。 I am not a real corpse. I am made of various assorted animal
角色介绍Character
Dead
Body 尸体 by 星怡
我不是一个真正的 尸体，我是由许多 猪肉和各类杂骨头 重新制造出来的。 I' m not a real Dead-body. I am reconstructed from scraps of pork and assorted bones.
Book 书 by 陈宣妤 我是一本窈窕的低俗 小说，我不是课本上 的大文豪，我只写那 些最无聊的故事。 I am a sleek Pulp Fiction. I am not the grand literary masterpieces that could be found in textbooks. I only write the most boring stories.
. Man 男人 by 李咏宵 这不可能。为什么， 难道没有别的情况 了吗，我可是一个 伟大的侦探 This is impossible. Why? Is there no other possibility? I am a great detective, you know.
Braised Pork 红烧肉 by 叶占明阳
妈妈，我上电视了， 我上电视了，妈妈， 我上电视了！ Mom, I' m on TV! I' m on TV! Mom, I' m on TV!
Pork 2 猪肉二 by 施潇然
吃亏，亏好吃吗？ Take a loss? Does loss tasty?
Pork 1 猪肉一 by 叶占明阳
每块肉最开始来到 菜市场，都做过一 个美好无比的幻想。
Every piece of meat that comes to the market once had a delicate fantasy.
Chair 椅子 by 万智豪
我该让某个孩子在 我怀里安稳长大。 I should let a kid grow up safely in my arms.
Pipe 烟斗 by 何鸣皋
身体虽然廉价，头 脑还是一样的好。
无论如何，真相只 有一个！ Though my body may be cheap, my mind is still sharp. No matter what, Shinjitsu Wa Itsumo Hitotsu!
Phone手机 by 梁思航
未来就是海对面的 样子，未来就是， 每个人都会爱上我。
The future looks like the other side of the sea. The future is when everyone falls in love with me.
Television 电视 by 王梓浔
遥控器，如果你能 收到这个节目的信 号的话，请听我 说……
Remote Control, if you can pick up this program' s signal, please listen to me…
Remote Control
遥控器 by 谭敬文 我把我的电波成日 的广播，我一天吃 三板电池，我不关 机，但我就是找不 到她了。 I broadcast my signals all day long, I eat three batteries a day, I never turn off—but I still can' t find her.
Stapler 订书器 by 万智豪 汪！汪汪汪汪汪汪 汪汪汪！ Woof! Woof woof woof woof woof woof woof woof!
Brick 砖头 by 朱润泽 我距离你的距离大 于你距离天堂的距 离。 The distance between me and you is farther than the distance between you and the heaven.
Knife 刀 by 朱润泽
我是刀，我锋利无 比，我无坚不摧， 我是凶器，我是你 的刀哥。 I am a knife. I am razor-sharp, indomitable. I am the murder's weapon. I am your blade buddy.
Stage Manager 舞台监督 by 陶欣怡 我先来，生活就 是给剧场所有人 擦屁股。 I' ll go first—life is about cleaning up everyone' s mess in the theater.
爱情大傻宝 by 李锦玥 和我一起品尝我的 复仇，锁定晚上九 点半！ Join me in savoring my revenge—tune in at 9:30 PM!
Beaker烧杯 by 韩宜珊 这是世纪的礼炮， 这是新时代的开始， 欢迎收看今日的电 视购物。 These are the salutes of the century, the beginning of a new era. Welcome to today' s TV shopping show.
Fish鱼 by 刘凯琳 鱼测试麦克风。 麦克风发出刺耳 的嘲笑声。但鱼 很开心，很开心。 Fish is testing the microphone. The microphone lets out a screeching laugh. But the fish is happy, very happy.
Typhoon 台风 by 梁容慈 我是世界的破坏者， 我是柔软的金刚， 我喜怒无常。 I am the destroyer of worlds. I am a tender Vajra, unpredictable and wild.
Car 车 by 施潇然 谁的铁皮都会腐朽， 谁的一生都只是为 了产生价值。 Every piece of metal will rust, and every life is just about creating value.
Delulu Solulu
你做我的垃圾桶 我就做你的垃圾
讲我被生活揉成一团 讲你的怀抱很圆
你做我的电视 我做你的遥控器 黑夜漫长无人的缝隙 我们裸身孤单睡在一起
失物招领处好多灰尘 让我鼻子总是悲伤总是酸 让我找不到天堂模样 总是你弄丢了我
总是你弄丢了我
你做我的钥匙
我便勤勤恳做你的锁 你把正确的那面背向我 当你去爱，你弄丢了我
失物招领处好多垃圾 和我和你和她和他 都一样
我们没有死亡 我们没有目的地，没有天堂
Lost N Found
If you become my trash bin then I'll be your discarded waste Let's just tell how life crumples me and how it all ends in your boundless embrace
If you become my television then I'll be your remote control
The long night stretches on in its emptiness
We lay together, all naked and alone
The Lost and Found, dusted with the past filling up my senses with the sorrow and sour aftertaste
How could I ever catch a glimpse of Heaven
When you always leave me lost
If you become my key then I will diligently be your lock
You hold the wrong side towards me
In your attempt to love, you lose me
The Lost and Found is full of trash, Just like me, like you, like her, like him — we're all the same There is no Death for us
We drift aimlessly, with no Heaven to reach for
你留我这么晚
在这无烟时代
我们的爱点不着 火机都在停产 你留我这么晚
我们才不能相爱 因此不停落雨
本港饱餐了泪水 空调机在打鼾
In This Smokeless Age
In this smokeless age
Our love won't spark a flame
Lighters are no longer in production
And you keep me here, so late
We just can't be together
The rain keeps falling
HK Island has been fed with tears
While the air conditioner softly snoring
You keep me here so late
Even the convenience store is closed
你，留我这样晚 连，便利店都关门
这，路灯潮气深 洇透我，不透明衬衫
美丽的坏死发生 在那日日夜夜
唇齿粘连在我们
曾相爱的每一天
你，留我这样晚 连，便利店都关门
这，路灯潮气深 洇透我，不透明衬衫
你，留我这样晚
连，便利店都关门
这，路灯潮气深
洇透我，不透明衬衫
Streetlights shine through the dampness
Soaking into, my opaque shirt
Delicate cell death occurs
In those endless days and nights
We are as close as glued together, like lips and teeth
To each day we once loved
You keep me here so late
Even the convenience store is closed.
Streetlights shine through the dampness
Soaking into, my opaque shirt
You keep me here too late
Even the convenience store is closed
Streetlights shine through the dampness
Soaking into, my opaque shirt
去湿气
奶奶说要去湿气 下雨天回树洞里 让每只松鼠等待 让天下起黑雨
奶奶说要去湿气 明天潮湿的泥里 找不到果壳 希望和踪影
去湿气的要领 是拒绝死亡 拒绝某种强烈 的水，爬上树梢
去湿气的要领 是拒绝明媚照人的死亡 拒绝某种强烈的爱 让它轻轻带我回家
奶奶说要去湿气 下雨天回树洞里 带松鼠登上一株 松木晾衣杆
奶奶说着去湿气 她却轻轻地离去 晾衣杆空洞 漫长而美丽
去湿气的要领 是拒绝死亡 拒绝某种强烈 的爱，带我回家
去湿气的要领 让我的山洞从此空荡荡 盛开一朵那松木花 氤氲起伏登不上
Rid of Dampness
Grandma says we must rid ourselves of dampness
On rainy days, please return to the tree hollow
Letting each squirrel wait
Letting the sky pour down black rain
Grandma says we must rid ourselves of dampness
Tomorrow, in the moist ground
The nut shells are nowhere to be found
Nor hope, nor trace
The key to rid oneself of dampness
Is to reject the death
To refuse a relentless current creeping up the treetops
The key to rid oneself of dampness
Is to turn away from death draped in borrowed glamour
To refuse a fierce love
And let it gently take me home
Grandma says we must rid ourselves of dampness
On rainy days, please return to the tree hollow
Taking the squirrels up
To a pine clothesline pole
Grandma says we must rid ourselves of dampness
But she gently slips away
Clothesline stands empty
Unfolding in the quiet and timeless beauty
The key to rid oneself of dampness
Is to reject the death
To refuse a fierce love
Please take me home
The key to rid oneself of dampness leaves me an endless empty cave
A pine blossom blooms
Rippling with mist, forever out of reach that will never be touched
不同創作者對現代親密關係理解不同，但「失物招領」獨特在它剝開 了性別、階級、人格等種種特質，抽象出了對現代親密的全般絕望。
侯導在指導演員的時候反覆強調，所有角色都是在自說自話，要淡化 搭戲時的互動感，不能有太過投入的交流。但是，要注意到角色們都 受著強烈的困擾，它們都迫切渴望情緒出口與他人的傾聽（至少理應 是這樣），儘管如此，還是無人願意去投入感情建立真實交流。每個 人都大聲地瘋狂地在一個場景裡對自己說話，這種情緒的烈度為舞台 增添了張力。而只要男人繼續找一天，機械性個人性的（虛假）親密 就要多持續一天，而真實的親密仍會隱藏在歷史或夢幻的幕後，永遠 不會真正為每個平凡個體所感知，所切實擁有。
Diferent creators interpret modern intimate relationships in diverse ways, but Lost N Found is unique in its abstraction of total despair towards modern intimacy, stripping away characteristics such as gender, class, and personality. Director Hou repeatedly emphasized to the actors that all characters should be self-absorbed, minimizing the sense of interaction during performances, and avoiding overly engaged exchanges. However, it is crucial to note that the characters are intensely troubled, desperately seeking emotional outlets and someone to listen, yet no one is willing to invest emotionally to establish genuine connections. Each person is loudly and frantically speaking to themselves in a scene, adding tension to the stage with this emotional intensity.
另一個設計是平面化，割裂了時序的場景設計。我在設計與修改情節 时被要求角色不應有過於複雜的過去與背景，場景應該儘量簡單，大 多數只會出現一次。所有角色都是沒有過去的，不但在劇本裡沒有提 及，它們確實也沒有。這種設計的潛在邏輯就是警告觀眾：不要猜過去， 不要猜將來，你看到的是怎樣，就是怎樣。試舉一例：「金鐘動物園」 第二幕也是使用了一個更加傳統，更加「言之有物」的親密場景—— 儘管角色二人眼下處在緊張關係中，但其的緊張與爭吵也是親密關係 的一部分，二人在交流。而「失物招領」的設計就暗示了：一切就是 如此令人絕望，沒有迴旋的餘地，現在沒有，過去沒有，將來也沒有。 絕望就像一根時針，插進了未來的時間裡，時間不能倒流。
Another design choice is the flattening and disjointed temporal sequence in the scene design. When modifying the plot, I was instructed that the characters should not have overly complex pasts and backgrounds, and the scenes should be as simple as possible, with most appearing only once. All characters are devoid of pasts, not only unmentioned in the script but indeed nonexistent. The underlying logic of this design warns the audience: do not speculate about the past or future; what you see is what it is. In contrast, the design of Lost N Found suggests that everything is so despairing, with no room for maneuver—neither now, in the past, nor in the future. Despair is like a clock hand piercing into future time, and time cannot be reversed.
这是我的第一个作品，从写下第一个字到搬上舞台的今天正好是一年零三个月整。 感谢我所爱的人，感谢我最亲密的伙伴，感谢我的家人和朋友们。我爱你们。
This is my first play. It has been exactly one year and three months since I wrote the first line, and it is finally performed on stage today.
To the one I love, to my closest companions, to my family and friends. I love you all.
侯禧元
碎片化的叙事、超现实、拟人的物件，荒诞的幽默，
这一切真实、坦白，野心勃勃，过于天真甚至带着粗糙——但这份粗粝的质感， 是我们的选择。这是一部真诚的作品。
Fragmented narratives, surreal visuals, and personified objects, our twist humor and melancholy in a way that feels personal, raw, and a little unpolished — but intentionally so. This production is an experimental, ambitious, and admittedly quite naive attempt, but sincere.
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