半生緣 場刊 (2013重演) Eighteen Springs House Programme (2013 Re-run)

場刊回收 若您不欲保留此場刊，請把場刊留在座位或交回入口處，以便循環再用。

備註 本刊內容，未經許可，不得轉載。 演出長約 180 分鐘，包括 15 分鐘中場休息。 普通話演出，附中、英文字幕。

場地規則 各位觀眾： 為了令大家對今次演出留下美好印象，我們希望各位切勿在場內攝影、錄音或錄影，亦請勿 吸煙或飲食。 在節目進行前，請關掉手提電話、其他響鬧及發光的裝置。 多謝各位合作。

Recycling of House Programme

If you do not wish to keep the house programme, please leave it on your seat or return it to the admission point.

Note

Reproduction in whole or in part without written permission is strictly prohibited Running time approximately 180 minutes including a 15-minute intermission Performed in Putonghua, with Chinese & English surtitles

House Rules

Dear Patrons, In order to make this performance a pleasant experience for the artists and other members of the audience, please refrain from recording, filming, taking photographs, and also from smoking, eating or drinking in the auditorium.

Please ensure that your mobile phones and any other sound and light emitting devices are switched off before the performance.

Thank you for your kind co-operation.

進念．二十面體為香港文化中心場地伙伴 Zuni Icosahedron is a Venue Partner of the Hong Kong Cultural Centre 進念．二十面體由香港特別行政區政府資助 Zuni Icosahedron is financially supported by the Government of the Hong Kong Special Administrative Region

演出歷程 Performance Journey

首演 Premiere 14 – 22/9/2012

香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre

濱海藝術中心劇院 ( 新加坡 )

( 濱海藝術中心主辦，「華藝節 2013」節目 )

23 – 24/2/2013

27 – 29/9/2013

5/2014

Esplanade Theatre, Singapore

(Presented by Esplanade, programme of Huayi Chinese Festival of Arts 2013)

香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre

「澳門藝術節 2014」邀約演出 Invited by Macao Arts Festival 2014

導演的話 導演的話 2012 年 9 月 2日

020912 胡恩威 胡恩威

《半生緣》這個演出是獻給楊德昌導演的。 楊導離開這個世界已經五年了，這五年間世界變成了一個對時間麻木的年 代。一年好像已經是十年了，不是時間變得太慢，而是事情發生得過多太 快，時間好像很快的流走了。時間可能真的是相對的，相對於心情相對於 年紀。所以我特別喜歡《半生緣》的第一段。 他和曼楨認識， 已經是多年前的事了。 算起來倒已經有十四年了 ─ 真嚇人一跳！ 馬上使他連帶地覺得自己老了許多。 日子過得真快， 尤其對於中年以後的人， 十年八年都好像是指顧間的事。 可是對於年輕人， 三年五載就可以是一生一世。 他和曼楨從認識到分手， 不過幾年的工夫， 這幾年裏面卻經過這麼許多事情， 彷彿把生老病死一切的哀樂都經歷到了。 我十六歲那年開始看楊導的電影，於八十年代我們可以慢慢的去看書去看 電影；慢慢的去看《牯嶺街少年殺人事件》看《恐怖分子》，一個影像的 分秒，在那個沒有手機和上網的年代，時間都是慢慢在走。慢慢讓我們去 等待。等待和期待時間的流逝。影像慢慢的在變化或者沒有變化。等待著。 是的。我們是回不去那個年代了。 我第一次看見楊導是二十多年前，地點是東京涉谷的 Parco 百貨公司外面。 我和榮念曾老師和沈聖德三個人在那裏等一個人，等待的時候遇上了楊 導。楊導和榮老師是好朋友，他們兩個人在東京的街頭便談起話來了。後 來我和榮老師到台北也有和楊導和他的朋友見面，我也開始和楊導相熟起 來，那時候剛剛開始流行電郵，楊導、榮老師和我三人組成了一個電郵交 流平台。

資本主義和民主制度如何把人類劣質化，人類文明被巿場自由和民粹民主 消滅，這些都是楊導的觀察，也是今天我們身處的年代。我們回不去那個 人文的年代了。我們回不去那個人的年代了。 今天正是一個人人都要成為超人的年代，當一秒的超人。每個人都要感覺 自己是超人。人要多要更多，人多最重要。群眾運動帶來的快感，就是人 要成為群眾，群眾就是人了。我們回到了那個「人不是人」的黑暗時期。 愛情回不去了，生活回不去了，家庭回不去了。什麼也回不去了。好像很 絕望的。 「一切的音樂都是悲哀的。」 — 《談音樂》，張愛玲。 我們已經活在劇場裏面；真正的劇場已經不是劇場了。 我們已經活在中國裏面；真正的中國已經不是中國了。 當一切都只可以是低俗娛樂，劇場和電影和藝術還可以是什麼呢？ 什麼都不需要了。一切都只可以是笑，笑和被笑。好笑。 人生是好笑的。是可笑的。不可以悲哀，悲哀是悲觀。悲觀便不會消費了。 樂觀是消費主義的教條。盲目樂觀更好。樂觀便會去消費。消更多的費。 中國人喜歡消費，所以中國人是樂觀的。費消得越大越好！ 張愛玲那個悲哀中國已經消失了，思想越多悲哀越多。 不思想不去思想便可以沒有悲哀了。 今天創作還有什麼意義？問這個問題已經沒有意義了。創作可能也沒有什 麼意義了。創作已經開始了，是回不去了。是嗎？在創作裏面說教，在創 作裏面講道理。是不可以原諒的嗎？ 楊導的《獨立時代》是完全地在講道理在批評社會的，評論和觀眾都受不了； 《恐怖分子》和《牯嶺街少年殺人事件》的影像風格和《獨立時代》的文 本主導好像是兩個方向，後者對這個時代更有意思，我們這個時代就是可 以更直接去評論和批判這個太平盛世。後來的《一一》以小孩角度「批評」 世界，以家庭角度批評家庭的意義。這個個人自我主義社會需要家庭嗎？ 今天張愛玲的作品還有什麼意義？張愛玲的作品在批評人，人的弱點人的 黑暗面。今天我們要批評的也是人。可怕的人。可怕的香港人上海人台北 人。不同的可怕。張愛玲都看透和明白的。 一切張愛玲的作品都是悲哀的。

Director’s Note

Sep 2, 2012

Mathias Woo

This performance of Eighteen Springs is dedicated to Edward Yang, the director.

It has been five years since Director Yang departed from this world, and meanwhile, the world has become numb or indifferent towards time. One year seems like a decade, not that time has become slow, but that too many things are happening too fast, at a manic pace, and time seems to slip through our hands without our noticing it. Time may really be relative, relative to our mood and our age. That’s why I like the first paragraph of Eighteen Springs so much.

It has been many years, Since he and Manzhen became friends.

Come to think of it, it has been 14 years – How frightening!

This immediately makes him feel much older.

Time flies, Especially for people who have passed their prime, A decade feels like only a fleeting moment.

But for young people, A few years might seem a lifetime.

It had only been a few years, From the day he met Manzhen till the day they parted, So many things had happened over those few years, That it seems like a journey from the cradle to the grave, Full of joy and pain, with all the ups and downs in between.

I began watching the movies of Edward Yang when I was sixteen. In the days of the 80’s, we could enjoy books and movies slowly. Savouring every image and every second of A Brighter Summer Day and The Terrorizers, an age without smart phones and the internet.

Those days were slow, real slow. And we could afford to wait, waiting for and looking forward to the passage of time. Images were changing slowly or they didn’t change at all.

We all waited.

No, we could never go back to that age.

It was more than 20 years ago when I first met Director Yang, and it was just outside Parco department store in Shibuya, Tokyo. I was with Danny Yung and Jim Shum, waiting for someone. While we were waiting, we bumped into Director Yang. Danny Yung and Director Yang were old friends, and they started to talk standing on the street. Later, when Danny Yung and I visited Taipei, we paid a visit to Director Yang and his friends.

Gradually, Director Yang and I became familiar with each other. It was a time when emailing just turned popular, and it became a platform of communication and exchange among the three of us, Director Yang, Danny Yung and me.

Capitalism and democratic system have corrupted the quality of man, and human civilisation is being destroyed by the free market and populist democracy. These are the observations by Director Yang, our present situation, as well as the era we live in. We cannot go back to that era of humanities. No, we could never go back to that age.

This is an age when everybody wants to become a superhero, even for just one second.

Everyone wants to feel like a superhero. There has to be plenty of people, a lot more. It is vital to have a lot of people. People would become the mass, and the mass is the people.

Mass movements can bring pleasure and ecstasy. We have gone back to the dark ages when men were not humans.

In love, we cannot go back; in life, we cannot go back; our home, we cannot go back. There is nowhere to go back to, there is nothing to go back to, there is no one to go back to.

Everything seems so desperate, so hopeless.

“All music is sad.” ~ On Music, Eileen Chang We are already living in the theatre; the real theatre is no longer a theatre now.

We are already living in China; the real China is no longer China now.

When everything is vulgar entertainment, what else could the theatre, movies and the arts offer you?

There is no need for anything else. Everything is a joke, to laugh and to be laughed at. Real funny.

Life is funny. Life is ridiculous. Life cannot be sad, sad is pessimistic. Pessimism will not lead to consumerism.

Optimism is the doctrine of consumerism. Blind optimism is even better. When we feel optimistic, we’ll go spend money, or we spend more money.

Chinese people like to consume, so the Chinese are optimistic. The more we spend, the better!

The sad China portrayed by Eileen Chang no longer exists. The more we think, the sadder we become.

If we don’t think or don’t try to think, then we won’t be sad.

What’s the point of creating in this age? It is pointless to ask this question. Perhaps, there is no point in creating at all. Creation has begun, and there is no going back. Right? Is it an unpardonable act to preach in your creation or to reason in your creation? Is that really that unpardonable?

In Edward Yang’s movie A Confucian Confusion, the director is trying to reason and give some social criticism. The public, including the film critics and the audience, could not accept that. The style and images of A Confucian Confusion and A Brighter Summer Day and the text-oriented The Terrorizers seem to be going in two different directions. The latter is more relevant to our present age. In this age, we can comment on and criticise our world of peace and prosperity more directly. In his later work, Yi Yi (A One and a Two), Director Yang tries to “criticise” the world from the angle of a child, to criticise the concept of “family” from the perspective of a family. Do we still need family in this society of personal egoism?

What is the significance of Eileen Chang’s works these days? Eileen Chang criticises people in her works, criticizes the weaknesses and the dark side of human nature. Today, we are also criticising people, the horrible people. The horrible Hong Kong people, Shanghai people and Taipei people. They are all horrible in their own different ways. Eileen Chang sees all this, and understands all this.

All Eileen Chang’s works are sad.

(English translation by Vicky Leong)

《談音樂》( 節錄 )

張愛玲

我不大喜歡音樂。不知為什麼，顏色與氣味常常使我快樂，而一切的音樂 都是悲哀的。 … 我第一次和音樂接觸，是八九歲時候，母親和姑姑剛回中國來，姑姑每天 練習鋼琴，伸出很小的手，手腕緊匝著絨線衫的窄袖子，大紅絨線裡絞著 細銀絲。琴上的玻璃瓶裡常常有花開著。琴彈出來的，另有一個世界， 可是並不是另一個世界，不過是牆上是掛著一面大鏡子，使這房間看上去 更大一點，然而還是同樣的斯文雅致的，裝著熱水汀的一個房間。 … 我最喜歡的古典音樂家不是浪漫派的貝多芬或蕭邦，卻是較早的巴赫， 巴赫的曲子並沒有宮樣的纖巧，沒有廟堂氣也沒有英雄氣，那裡面的世界 是笨重的，卻又得心應手；小木屋裡，牆上的掛鐘滴搭搖擺；從木碗裡喝 羊奶；女人牽著裙子請安；綠草原上有思想著的牛羊與沒有思想的白雲彩； 沉甸甸的喜悅大聲敲動像金色的結婚的鐘。如同勃郎寧的詩裡所說的： 「上帝在他的天庭裡，世間一切都好了。」 一般的爵士樂，聽多了使人覺得昏昏沉沉，像是起來得太晚了，太陽黃 黃的，也不知是什麼時候，沒有氣力，也沒有胃口，沒頭沒腦。那顯著 的搖擺的節拍，像給人捶腿似的，卻是非常舒服的。我最喜歡的一支歌是 《本埠新聞裡的姑娘》，在中國不甚流行，大約因為立意新穎了一點，沒 有通常的「六月」，「月亮」，「藍天」，「你」— 「因為我想她，想那本埠新聞裡的姑娘 想那粉紅紙張的 本埠新聞裡的 年輕美麗的黑頭髮女人。」 完全是大城市的小市民。 … 比較還是申曲最為老實懇切。申曲裡表現「急急忙忙向前奔」，有一種特 殊的音樂，的確像是慌慌張張，腳不點地，耳際風生。最奇怪的是，表現 死亡，也用類似的調子，氣氛卻不同了。唱的是：「三魂渺渺，三魂渺渺， 七魄悠悠，七魄悠悠；閻王叫人三更死，並不留人，並不留人到五更！」 忒楞楞急雨式的，平平的，重複又重複，倉皇，嘈雜，彷彿大事臨頭，旁 邊的人都很緊張，自己反倒不知道心裡有什麼感覺 — 那樣的小戶人家的 死，至死也還是有人間味的。

Excerpts from On Music

Eileen Chang

I don’t really like music that much. Colours and smells often make me happy, but all music is sad. …

I came into contact with music for the first time when I was eight or nine years old. My mother and my aunt had just come back to China. My aunt practiced piano every day, extending her tiny hands toward the keyboard, her wrists tightly encircled by the narrow sleeves of her knitted blouse, its bright red fabric was interwoven with silver threads. Flowers were usually blooming in the glass vase atop the piano. What emerged from the piano was another world, and yet it wasn’t exactly another world, but one that was made to look larger by the mirror hanging on the wall across from the piano, reflecting the same civilised and elegant apartment equipped with hot running water. …

My favorite classical composer isn’t a romantic like Beethoven or Chopin but Bach, who came a little earlier. Bach’s compositions are not as finely woven as courtly music. They have neither churchly airs nor heroic gestures. The world in Bach’s music is heavy, even cumbersome, but it goes so naturally, smoothly and easily: a clock hanging on the wall in a small wooden house, ticking as its pendulum sways back and forth; people drinking sheep milk from wooden bowls; women curtsying as they take their leave; pensive cows and sheep moving across green fields under unthinking white clouds; ponderous joy setting gilded bells to chime as in a wedding.

Just like it is in Robert Browning’s poem (Pippa’s Song): “God’s in His heaven— All’s right with the world.” …

Listening too much to most jazz music makes you feel groggy, like when you sleep in for too long, the sunlight is bright and yellow, but you don’t know what time it is, and you have no energy, no appetite, and nothing in your head. That rocking rhythm sounds like Chinese hammering massage, pounding and yet it makes you quite comfortable at the same time. My favorite song is The Girl on the Police Gazette (by Irving Berlin). It wasn’t really very popular in China, perhaps because it was a little too innovative and avoided the usual words of “June,” “moon,” “blue sky,” and “you” in the lyrics: “I saw the girl that I can’t forget On the cover of a police gazette …

Oh, my search will never cease for the girl on the police gazette For the pretty young brunette On the pink police gazette” This is the very image of the little people in a big city. …

Relatively speaking, shenqu (Shanghai Traditional Local Opera) is more honest and down to earth.

These Shanghainese songs express a kind of “hurry up and get along” mentality that is matched by a special sort of music that sounds really rushed, like walking so fast your feet don’t touch the ground and the wind whistles in your ears. The strangest thing is that when they sing about death, they use music of a similar tempo, but the atmosphere seems completely different. When they sing, “Bodies and souls wandering in limbo, bodies and souls wandering in limbo, when Pluto summons them to the underworld at the third watch, he won’t delay, and death waits for nobody!” the notes fall like a hard, steady rain, repeating over and over again, in a noisy flurry of sound. It’s as if some great event is about to happen, and the audience feels nervous, even a little panicky, but the musicians seem unaffected by this sense of anticipation. For these common folks, even death comes with a distinctly worldly and human touch.

(Revised from the online English text by Vicky Leong)

原創歌曲 Original Songs

《你也在這裏？》 曲：于逸堯@人山人海 詞：魏紹恩 唱：金燕玲

“You’re Here, Too?” Music: Yu Yat-yiu@PMPS Lyrics: Jimmy Ngai Vocal: Elaine Jin Dedicated to Eileen Chang

謹獻張愛玲 億萬年，來復去；時間無涯荒野裏 晨宿列張，不知人間風雨 千萬人，來又去；歲月無垠天地裏 鼓瑟吹笙，你簪紅她掛綠 魚龍舞罷星如雨 行行覓覓，玄黃大宇 忽凝眸，我你赫然相遇 沒有早一步，沒有晚一步 碰上了，心歡舒，執手輕輕問一句 你在這裏？你真也在這裏？ 月為媒，風作証，執手輕輕再問一句 你在這裏？你真也在這裏？

Billions of years come and go Upon this boundless wasteland of time The constellation of stars It knows not the turbulence on earth Millions of people come and go Between heaven and earth, years roll A music is gleefully played Here a red hairpin drifts, there a green sash goes A dragon dance floats by, raining stars We keep walking, looking Mysterious is the sky, yellow is the soil Without warning, your glance meets mine Not a moment early, not a moment late To be able to meet is a blessing Holding hands, I lightly ask You’re here? You’re really here too?

Let the moon and wind be witness Holding hands, I lightly ask again You’re here? You’re really here too?

《重逢 / 你也在這裏？》 曲：于逸堯 @人山人海 詞：魏紹恩 唱：金燕玲 生死兩茫，舊歡難寄 幾回重遇夢中見 笑語暗香盈，酥甜勝蜜 清夢不留痕，去無跡 夢過留痕，淚迹難印 去年去月，如歌如詞 湮波海闊傷別離 星如雨，還聽幾聲噓唏 揮不去，忘不了；重逢還想再問一句 你在這裏？你也在這裏？

“Reunion / You’re Here, Too?” Music: Yu Yat-yiu@PMPS Lyrics: Jimmy Ngai Vocal: Elaine Jin Between life and death we drift An old flame has nowhere to lodge So many times have we met again in dreams!

Smiling murmurs lit in secret scent More silky and sweet than honey Alas, dreams do not leave a trail, trackless they’re Dreams leave their trail, tears can’t be easily dried Bygone years and bygone months They linger like songs and poems An ocean floats vast, saddened by separation Stars like raindrops Exhaling few gasps of regret A past that wouldn’t be left alone, nor forgotten When we meet again, I’d still be asking You’re here? You’re here too?

原創歌曲 Original Songs

《半生緣》 曲：于逸堯@人山人海 詞：魏紹恩 唱：金燕玲 光陰飛奔轉，花草難記 只留下幾聲噓唏 光陰飛奔轉，山水為記 記你我離合悲喜 光陰飄忽轉，星淡雲急 如是白了少年頭 光陰轉，白了當年頭 回頭看半生如戲 一場揮不去的戲 今生今世，莫失莫忘 不離不棄，欲斷難斷 任天荒地老，穹蒼嘆息 光陰滄桑轉，天閑影寂 笑一句天心難釋 天心難釋，空留思憶 半生幾點風月跡 光陰戚戚，身同影寂 明月照半生思憶 風吹風滅任人來人去 抱擁幾點風月跡

“Eighteen Springs” Music: Yu Yat-yiu@PMPS Lyrics: Jimmy Ngai Vocal: Elaine Jin Time galloped away Vines flourished and withered Leaving behind few gasps of regret Time galloped away Mountains and waters bore witness Witnessing our paths met, and then crossed Time swayed ahead Stars pale and clouds fled pass Hence a youth’s head turned white How time has turned a youth’s head white Yesteryear now looks like a drama once saw A drama that wouldn’t be left alone To remain for life; not to be lost nor forgotten Not to be abandoned, nor to be cut off Till heaven and earth age, the firmament sighs Time touches and changes Heaven idles and lonely is the shadow For the inexplicable heavenly will, I grin Heavenly will is inexplicable All’s left is a recollection Few romantic tints of yesteryear Time distresses Body and shadow share a loneliness A moon shines over a recollection of yesteryear A wind blows Let people come and go I embrace the few romantic tints (English translation by Jimmy Ngai)

關於蘇州評彈 About Suzhou Pingtan

蘇州評彈為評話與彈詞的合稱，她是以蘇州方言為第一特徵的說唱藝術。 蘇州彈詞多以兩人雙檔 ( 也有一人單檔或三個檔 ) 彈唱為其演出形式，兩位演 員分為上下手，上手用三弦，下手用琵琶，有說有唱，說唱相間；內容上多 以社會生活和男女愛情為演繹的載體，如《珍珠塔》、《玉蜻蜓》、《三笑》、 《白蛇傳》、《楊乃武》等。 蘇州彈詞以「說、噱、彈、唱、演」為最基本的說書藝術的表演手段，又以「理、 味、趣、細、奇」為最重要的說書藝術的表演要領；長篇說唱是蘇州彈詞最 基本的演出形式，此外還有開篇、短篇、中篇等。 作為中華民族非物質文化遺產瑰寶的蘇州彈詞，歷史悠久，源遠流長。約於 明代中、晚期先後流行於江南；至清代中期，尤其是清乾隆以後，說噱彈唱， 自成體系；表演藝術，日臻豐滿；人才輩出，流派紛呈；勝友如雲，知音滿堂； 以其雅俗共賞、文野並存的藝術魅力，深受歡迎，有著廣泛的群眾基礎。 Suzhou Pingtan is a collective term of Pinghua and Tanci, folk story-telling and ballad singing, in Suzhou dialect originated from the southern part of China.

Suzhou Tanci is usually performed in duet (solo or trio as well) that one plays Sanxian (lute in three strings) while the other plays Pipa (lute in four strings), and delivered by storytelling and singing alternately. The content is usually developed around everyday life and love stories, for instance, The Pearl Pagoda, The Jade Dragonfly, The Three Charming Smiles, The White Snake, Yang Naiwu, etc.

The performance of Suzhou Tanci is carried out in five ways, Story-telling, Gags, Ballad singing, Instruments playing and Performing (finger movements, facial expressions and characters building by imitation) while its art is characterized in five aspects, namely, Realistic Story, Subtlety, Fun, Delicacy and Intriguing Plot. Suzhou Tanci performance usually carries out the full-length story, sometimes, it will only deliver the prologue, or condensed version of a full story performed within an hour, or only one episode of the full story, etc.

Suzhou Tanci is one of the Intangible Cultural Heritages, getting popular around mid- or late-Ming Dynasty in Jiangnan area, and later got matured in Qing Dynasty. Suzhou Tanci is famous for being able to reach out to all walks of life by its inclusive characteristic as its stories come from simple everyday life as well as from poetic literature.

音樂目錄 Music Credits

Tara’s Theme – Original soundtrack from Gone with the Wind (《亂世佳人》原聲主題曲 ) 音樂 Music: Max Steiner 錄音演奏 Recording Performance: The Selznick International Orchestra

你也在這裏？(You’re Here, Too?) 音樂 Music: 于逸堯@ 人山人海 Yu Yat-yiu@PMPS 歌詞 Lyrics: 魏紹恩 Jimmy Ngai 現場演唱 Live Vocal: 金燕玲 Elaine Jin

彈詞：回首往事 (Tanci: Remembrance of Things Past) 創作 Created by: 華覺平、金麗生 Hua Jueping, Jin Lisheng 現場演出 Live Performance: 金麗生、郁群 Jin Lisheng, Yu Qun

Summertime 音樂 Music: George Gershwin 歌詞 Lyrics: DuBose Heywar 現場演唱 Live Vocal: 金燕玲 Elaine Jin

Somewhere Over the Rainbow 音樂 Music: Harold Arlen 歌詞 Lyrics: E.Y. Harburg 現場演唱 Live Vocal: 金燕玲 Elaine Jin

玫瑰玫瑰我愛你 (Rose, Rose I Love You) 音樂 Music: 陳歌辛 Chen Gexin 歌詞 Lyrics: 吳村 Wu Cun 原聲錄音 Original Vocal Recording: 姚莉 Yao Lee

Every Time We Say Goodbye 音樂 / 歌詞 Music / Lyrics: Cole Porter 現場演唱 Live Vocal: 金燕玲 Elaine Jin

送別 (Farewell) 音樂 Music: John Pond Ordway 歌詞 Lyrics: 李叔同 Li Shutong 現場演唱 Live Vocal: 張鐘儀、賀彬 Zhang Zhongyi, He Bin

期待星期日 (Sunday Will Come Next) 音樂 Music: Manos Hadjidakis 中文歌詞 Chinese Lyrics: 魏紹恩 Jimmy Ngai 現場演唱 Live Vocal: 金燕玲 Elaine Jin

彈詞：勞燕紛飛 (Tanci: Parting is Such Sweet Sorrow) 創作 Created by: 華覺平、金麗生 Hua Jueping, Jin Lisheng 現場演出 Live Performance: 金麗生、郁群 Jin Lisheng, Yu Qun

Let’s Do It 音樂 / 歌詞 Music / Lyrics: Cole Porter 現場演唱 Live Vocal: 金燕玲 Elaine Jin

As Time Goes By 音樂 / 歌詞 Music / Lyrics: Herman Hupfeld 現場演唱 Live Vocal: 金燕玲 Elaine Jin

重逢 / 你也在這裏？(Reunion / You’re Here, Too?) 音樂 Music: 于逸堯@ 人山人海 Yu Yat-yiu@PMPS 歌詞 Lyrics: 魏紹恩 Jimmy Ngai 現場演唱 Live Vocal: 金燕玲 Elaine Jin

半生緣 (Eighteen Springs) 音樂 Music: 于逸堯@ 人山人海 Yu Yat-yiu@PMPS 歌詞 Lyrics: 魏紹恩 Jimmy Ngai 現場演唱 Live Vocal: 金燕玲 Elaine Jin

彈詞：尋訪曼楨 (Tanci: Looking for Manzhen) 創作 Created by: 華覺平、金麗生 Hua Jueping, Jin Lisheng 現場演出 Live Performance: 金麗生、郁群 Jin Lisheng, Yu Qun

La Vie En Rose ( 玫瑰人生 ) 音樂 Music: Louis Guglielmi 英文歌詞 English Lyrics: Mack David 中文歌詞 Chinese Lyrics: 魏紹恩 Jimmy Ngai 現場演唱 Live Vocal: 金燕玲 Elaine Jin

導演、聯合編劇、設計：胡恩威

Director, Scriptwriter, Designer: Mathias Woo 進念聯合藝術總監暨行政總裁，從事編劇、導演、監製和策劃等多方面的 工作，劇場作品逾六十齣，作品曾應邀於北京、南京、上海、蘇州、東京、 新加坡、台北、柏林、布魯塞爾、波蘭等世界各地演出，主題涵蓋文學、 歷史、時政、建築、宗教。胡氏尤擅於運用多媒體科技從事舞台創作，其 創作的多媒體建築音樂劇場系列《路易簡的時代和生活》及《Looking for Mies》等，開創香港劇場界的先河。近年舞台作品包括《半生緣》、《萬 曆十五年》、《華嚴經》、《東宮西宮》系列，崑劇《臨川四夢湯顯祖》 及《紫禁城遊記》等。2009 年，胡氏策劃了香港首個以建築為題的「建築 是藝術節」，透過劇場演出、展覽、研討會等藝術形式，向大眾市民展示不 同層面的知識、美學方法和思辨討論，探索建築的各種藝術可能。2011 年 於亞洲電視監製並主持《我要做特首》，及監製、編導《東宮西宮 TV》；並 於 2012 至 13 年間監製及主持《亞洲政策組》。 Co-Artistic Director cum Executive Director of Zuni Icosahedron, Mathias Woo leads a career as a scriptwriter, director, producer as well as curator, and is recognized for a portfolio of more than 60 original theatre works, which have been invited to cities around the globe including Beijing, Nanjing, Shanghai, Suzhou, Tokyo, Singapore, Taipei, Berlin, Brussels and Krakow of Poland. Mathias’ theatre works explore subjects as wide-range as literature, history, architecture, religion, current political affairs. Woo is renowned for incorporating multimedia into theatre creation. The multimedia architectural musical series The Life and Times of Louis I. Kahn and Looking for Mies became the hallmark in the scene of Hong Kong theatre. His recent productions include Eighteen Springs, 1587, A Year of No Significance (an adaptation from historian Ray Huang’s book of the same title), Hua-Yen Sūtra, East Wing West Wing Series, and Kunqu opera Tang Xianzhu’s Dream on Dreams and A Tale of the Forbidden City. In 2009, Woo initiated and curated “Architecture is Art Festival”, the first of its kind themed on architecture in Hong Kong, which re-examines architecture from an artistic point of view, manifesting various artistic possibilities of architecture with different forms. In 2011, Mathias made himself the producer of TV talk shows I Want to Be Chief Executive and East Wing West Wing (TV version), and anchored for the former. He is currently the producer and host of the TV programme Asia Policy Unit.

聯合編劇、歌詞、字幕翻譯：魏紹恩

Scriptwriter, Lyrics, English Surtitles: Jimmy Ngai 編劇、書 / 影評人、專欄作者，也翻譯字幕等等等等……撰寫電影劇本包 括《越快樂越墮落》、《有時跳舞》、《藍宇》、《用心跳》；舞台劇本《中 國建築 100 年》及《漂亮朋友》( 預計 2014 年登場 )。出版單行本《四齣王 家衛。洛杉磯》、《劇本簿》，及同志情色小說《我愛鳩鳥群》。 Scriptwriter, book/ film reviewer, columnist, and occasional subtitles translator. His works include original theatre script One Hundred Years of Chinese Architecture; film scripts include Hold You Tight, Island Tales, Lan Yu and Showtime. Currently working on the stage adaptation of Bel Ami.

音樂總監、作曲：于逸堯@人山人海

Music Director, Composer: Yu Yat-yiu@PMPS 1992 年開始參與演藝創作。多次為進念．二十面體設計音樂，除了為黃耀 明及楊千嬅等流行歌手創作並監製歌曲，亦涉足電影電視及不同舞台演出 的配樂工作。1999 年與黃耀明等人聯手成立人山人海音樂製作公司，為主 流歌手製作歌曲外，更替非主流樂手 / 組合出版碟片。近年開始寫作，專 欄見於《壹周刊》及《Milk X 月刊》。 Ever since his graduation from the Chinese University of Hong Kong in 1992, Yu Yat-yiu has been active in performing arts, working with The Nonsensemakers as director, Edward Lam Dance Theatre as dramaturg and Zuni Icosahedron as composer and sound designer.

Yu also composes music for many Hong Kong pop singers, such as Anthony Wong and Miriam Yeung. Apart from that, he also participates in film scorings, and has recently become a columnist of Next Magazine and Milk X Magazine.

特邀演出：金燕玲

Special Appearance: Elaine Jin 電影、電視演員。原是歌手出身，1970 年參加台北市「今日世界音樂中心 演唱比賽」獲冠軍後，活躍於台灣歌壇。1973 年赴香港從影，八十年代至 今一直活躍於港台電影界，先後於 1986 年及 1987 年獲得香港電影金像獎 最佳女配角獎，1994 年獲得台灣電影金馬獎的最佳女配角，並多次獲得香 港電影金像獎及台灣電影金馬獎提名。曾參演電影《地下情》、《人民英 雄》、《女人心》、《宋家皇朝》、《心動》等；電視劇《畢打自己人》、 《天與地》等；舞台劇《跑路天使》及《七重天》。 Movie and television actress. She first became a singer in Taiwan after she won the championship at “Today World Music Centre Singing Competition” in 1970; and moved to Hong Kong in 1973 to begin her acting career. She has been very active in the Hong Kong and Taiwan movie scenes from the 1980s up to the present. She has been nominated many times at the Hong Kong Film Awards and the Taiwan Golden Horse Awards; and was awarded the Best Supporting Actress in the Hong Kong Film Awards in 1986 and 1987, and the Best Supporting Actress in the Taiwan Golden Horse Awards in 1994. Her works include the movies Love Unto Wastes, People’s Hero, Women, The Soong Sisters, Tempting Heart, etc., and TV series like Off Pedder and Heaven And Earth, and stage drama Running Angel and The Seventh Drawer.

彈詞演出：金麗生

Suzhou Tanci: Jin Lisheng 湖北沔陽人，回族，國家一級演員，國家級非物質文化遺產「蘇州評彈」 代表性傳承人，著名蘇州彈詞表演藝術家，享受國務院特殊津貼。師承彈 詞名家李仲康，擅說長篇彈詞《楊乃武》、《秦宮月》等；他嗓音明亮， 音質醇厚，高亢有力，極具藝術感染力的獨特表演深沉且有激情。曾獲第 六屆中國藝術節優秀表演獎；首屆中國曲藝牡丹 ( 表演 ) 獎；中國文聯、中 國曲協授予新中國六十年「突出貢獻曲藝家」稱號；「江蘇省五一勞動獎 章」；他多次出訪歐美及港、澳、台等國家和地區，深受讚譽。 Born of Hui nationality in Mian Yang, Hu Bei Province; National Class One Performer; and representative successor of the state level intangible cultural heritage Suzhou Pingtan, a famous Suzhou Tanci performing artist, all these entitled him to receive State Council Special Allowance. He inherits the skills of Tanci from the famous master Li Zhongkang, and specialises in voluminous works like Yang Naiwu, The Moon Of Qin Palace, etc. His bright, mellow, high-pitched, and powerful voice delivers some unique deep and passionate performances. He received the Outstanding Performance Award at the 6th China Arts Festival, as well as the 1st Chinese Quyi (Folk Arts) Peony Award; and was also conferred the “60 Years of New China Outstanding Contribution Ballad Artist” title by the China Federation of Literary and Art Circles and the Chinese Ballad Singers Association, as well as “May lst Labour Medal” of Jiangsu Province. He has been highly praised for his previous international tours, with stops including Hong Kong, Macau, Taiwan, and some other countries in America and Europe.

彈詞演出：郁群

Suzhou Tanci: Yu Qun 國家二級演員， 95 年蘇州評彈學校畢業，師從彈詞名家金麗生和徐淑娟， 演出長篇彈詞《楊乃武》、《飛龍仇》擅唱「俞調」，音色婉轉甜潤。曾 多次參加重大藝術演出活動，在第二屆江蘇省曲藝節上獲優秀節目獎。 2001 年江、浙、滬青年評彈電視展演獲表演二等獎。2002 年第四屆江蘇省 曲藝節獲表演獎。曾獲蘇州市舞台藝術新人獎、新星獎。2012 年獲第五屆 中國蘇州評彈藝術節優秀表演獎。曾多次赴台灣、香港及日本、意大利等 國演出，廣受好評。 National Class Two Performer. Graduated from Suzhou Pingtan Academy in 1995. She learnt her skills from the famous Tanci actors artists Jin Lisheng and Xu Shujuan. Her mildly sweet voice is particularly good in Yu Diao style in voluminous works like Yang Naiwu and Fei Long Chou. She has participated in a lot of major arts performance events, and received Outstanding Performance Programme Awards at the 2nd & 3rd Jiangsu Province Quyi Festivals for her performance in The Suzhou Water Alleys. Her other awards include Second Prize at Jiangsu Zhejiang & Shanghai Youth Pingtan TV Showcase in 2001; Performance Award at the 4th Jiangsu Province Quyi Festival in 2002; the 1st Suzhou Stage Arts Newcomer Award in 2004; Outstanding Performance Award at the 5th Suzhou Pingtan Arts Festival in 2012. Her Tanci performance of Yang Guifei has been released on VCD; and she has toured overseas to Hong Kong, Taiwan, Japan, Italy etc, to give highly acclaimed performances.

張琦 飾 祝鴻才

Zhang Qi as Hongcai 1996 年從部隊文工團轉業進上海滑稽劇團 ，2001 年進入上海話劇藝術中心任演員至今。曾於 內地參演話劇《生日謀殺案》、《雪茄．玫瑰．斯諾克》、《今夜請將我遺忘》、《天堂 — 打左燈向右拐》、《尋找幸福的感覺》、《松子的愛》、《人面桃花》和《萬尼亞舅舅》； 另曾參演影視劇的角色有《都是天使惹的禍》的竇天地、《我的淘氣天使》的張子謀、《商 道》的陳浩良、《粉蝶》的陸雨曦、《浴火鳳凰》的王滔、《媽媽無罪》的楊湖、《A 計劃》 的大口九等。

Left The Art Troupe in the Army in 1996 to join Shanghai Farce Troupe; and subsequently joined Shanghai Dramatic Arts Centre in 2001. Stage performances in mainland China include Birthday Murder, Cigar. Rose. Snooker, Leave Me Alone Tonight, Turn Right With Left Lights On In Heaven, Searching For The Feeling Of Happiness, Memories Of Matsuko, Peach Blossom Face, Uncle Vanya. The characters he played in various TV dramas and movies include Dou Tiandi in Misfortune Caused by Angel, Zhang Zimou in My Mischievous Angel, Chen Haoliang in Uprising, Lu Yuxi in Pink Butterfly, Wang Tao in Red Phoenix, Yang Hu in Innocent Mother, Big Mouth 9 in Project A, etc.

沈磊 飾 張豫瑾

Shen Lei as Yujin 國家一級演員，1995 年畢業於上海戲劇學院表演系，同年進入上海話劇藝術中心，任職演員 至今。曾於內地參演話劇《釣鷹》、《歌星與猩猩》、《www.com》、《我和春天有個約會》、 《皮臉》、《金大班的最後一夜》、《蛋白質女孩》、《比密尼的春天》、《亂套了》、《浮 生記》、《仲夏夜之夢》、《女性生活》、《39 級臺階》、《馴悍記》、《天堂隔壁是瘋人院》、 《懷疑》、《殺戮之神》、《奧里安娜》、《步步驚心》和《大神布朗》等。曾獲第二十屆 上海白玉蘭戲劇表演藝術配角獎（《三十九級臺階》）、2001 年和 2010 年佐臨話劇藝術獎最 佳男配角獎。

National Class One Performer. Graduated from the Performing Arts Department of Shanghai Theatre Academy in 1995; and joined Shanghai Dramatic Arts Centre the same year. Stage performances in mainland China include Fishing Eagle, Singers And Orangutan, www.com, I Have A Date With Spring, Leatherface, The Last Night Of King Tai Pan, The Protein Girl, Romance In D, Out Of Order, Dust To Dust, A Midsummer Night’s Dream, Women’s Life, 39 Steps, The Taming Of The Shrew, Madhouse Next Door To Heaven, Doubt, God Of Carnage, Oleanna, Startling By Each Step, The Great God Brown, etc. He won the Best Supporting Actor Award (for 39 Steps) in the 20th Shanghai Magnolia Performing Acts Awards; and the Best Supporting Actor of Zuolin Drama Awards 2001 and 2010.

徐漫蔓 飾 顧曼楨

Xu Manman as Manzhen 2004 年畢業於上海戲劇學院表演系，同年進入上海話劇藝術中心，任職演員至今。曾於內地 參演話劇《我和春天有個約會》、《電話方程式》、《金大班的最後一夜》、《李亞子》、《蛋 白質女孩》、《亂套了》、《甲申記》、《大哥》、《單身公寓》、《人面桃花》和《鋼的琴》、 《光榮日》、《浮生記》和《推拿》等。

Graduated from the Performing Arts Department of Shanghai Theatre Academy in 2004; and joined Shanghai Dramatic Arts Centre the same year. Stage performances in mainland China include I Have A Date With Spring, Telephone Equation, The Last Night Of King Tai Pan, Li Yazi, The Protein Girl, Out Of Order, The Year Of Jia Shen, Big Brother, Singles Apartment, Peach Blossom Face, The Piano In A Factory, The Day of Glory, A Room With Dust for Life, MASSAGE, etc.

謝承穎 飾 顧曼璐

Xie Changying as Manlu 2004 年畢業於上海戲劇學院表演系，同年進入上海話劇藝術中心任演員至今。曾於內地參演話劇 《金大班的最後一夜》、《良辰美景》、《終極同謀》、《亂套了》、《紅與黑》、《萬聖節遊 戲》、《無人生還》、《偷心》、《39 級臺階》、《意外來客》、《錢多多嫁人記》、《大哥》、 《殺戮之神》、《守歲》、《錢多多備嫁記》、《諭命》、《一部話劇的誕生》和《大神布朗》， 2003 年與進念合作《戀人論語》，2007 年與英國黃土地劇團合作《李爾王》。曾獲得第十五屆佐 臨話劇藝術獎最佳女主角獎（《錢多多嫁人記》飾演錢多多）。

Graduated from the Performing Arts Department of Shanghai Theatre Academy in 2004; and joined Shanghai Dramatic Arts Centre the same year. Stage performances in mainland China include The Last Night Of King Tai Pan, A Time For Us, Ultimate Accomplice, Out Of Order, The Red And The Black, Halloween Games, And Then There Were None, Closer, 39 Steps, The Unexpected Guest, Qian Duoduo Getting Married, Big Brother, God Of Carnage, Staying-up, Qian Duoduo Marriage Preparation, The Apocalypse, A Drama Is Born, The Great God Brown, Zuni Icosahedron’s Lover’s Discourse (2003) and British theatre group Yellow Earth’s King Lear.

She won the Best Actress Award of the 15th Zuolin Drama Awards (as Qian Duoduo in Qian Duoduo Getting Married).

張鐘儀 飾 石翠芝

Zhang Zhongyi as Cuizhi 2007 年畢業於上海音樂學院音樂劇系，現為上海話劇藝術中心演員。曾赴新加坡、馬來西亞、美 國進行音樂劇的學術交流，參演音樂劇《旋轉木馬》、《I LOVE YOU》、《馬路天使》、《誹聞 緋聞》。曾於內地參演話劇《八美千嬌》、《鹿鼎記》、《甲申記》、《杜拉拉》、《撒嬌女王》、《混 蛋攻略》、《英俊與美麗》和《霧都孤兒》等，曾獲第十四屆佐臨話劇藝術大獎最具潛質新人獎。

Graduated from the Shanghai Conservatory of Music, department of musical in 2007, Zhang is now Shanghai Dramatic Arts Centre actress. She has been to Singapore, Malaysia, USA for academic exchange and performed in musical: Carousel, I Love You, Street Angel, SPIN. Her performances in mainland China include Eight Beauties, The Deer and the Cauldron, The Year Of Jia Shen, Du Lala, Queen of Coquetry, Lend Me A Tenor, Handsome & Beautiful, Oliver Twist, etc. She won Best New Artist of the 14th Zuolin Drama Arts Awards.

賀彬 飾 許叔惠

He Bin as Shuhui 2008 年畢業於上海戲劇學院表演系，同年進入上海話劇藝術中心任演員至今。曾於內地參演話劇 《玩偶之家》、《馬克白》、《皮爾金特》、《商鞅》、《馬路天使》、《仲夏夜之夢》、《亂套了》、 《甲申記》、《我和春天有個約會》、《杜拉拉》、《步步驚心》和《原告證人》；另曾參演影 視劇角色有《回家的誘惑》的林添一，《我的燦爛人生》的高振軒及《偏偏愛上你》等。

Graduated from the Performing Arts Department of Shanghai Theatre Academy in 2008; and joined Shanghai Dramatic Arts Centre the same year. Stage performances in mainland China include A Doll’s House, Macbeth, Peer Gynt, Shang Yang, Street Angel, A Midsummer Night’s Dream, Out Of Order, The Year Of Jia Shen, I Have A Date With Spring, Du Lala, Startling By Each Step and Witness For The Prosecution. The characters he played in various TV dramas include Lin Tianyi in Home Temptations, Gao Zhenxuan in My Splendid Life, and Destined To Love You, etc.

崔台鎬 飾 沈世鈞

Tsuei Tai-hao as Shijun 畢業於台北藝術大學戲劇學系主修表演，劇場表演作品包括：莎士比亞的妹妹們的劇團《SMAP x SMAP》、TIFA 國際劇場藝術節《落葉 傾城 張愛玲》、周先生舞團「下一個編舞計畫：創造 — 下一個風景」《小小小事》，人力飛行劇團《安德烈的妹妹們》、《向左走向右走》、《台北爸 爸紐約媽媽》、《星之暗湧 2011》、《噢！美麗的日子》，金枝演社劇團《大國民進行曲》、《浮 浪貢開花》、《可愛冤仇人》，阮劇團《Proof》、《2011 民主夫妻 fuqi》，台北藝術大學戲劇學 系學期製作《Kalpa — 時光之劫》。

Graduated from the Department of Theatre Arts at Taipei Naitonal University of the Arts, major acting. His works in theatre include: Shakespeare’s Wild Sisters Groups SMAP x SMAP, Festival of Arts (TIFA) Fall for Eileen Chang (2013), Shu-Yi&(Dancers) Project – Making the Next Landscape Les Petites Choses (2012), Mr. Wing Theatre Company’s Get on the Trio to Chekhov, Turn Left Turn Right Love or Regret, Taipei Dad New York Mom, Fleeting Stars 2011, Oh! Beautiful Days, 2010 Taipei National University of Arts School of Theatre Arts’s production – Kalpa. Our Theatre’s 2011 production FUQI , Proof.

團隊 The Team 導演、聯合編劇、設計 胡恩威 聯合編劇、作詞、字幕翻譯 魏紹恩 音樂總監、作曲 于逸堯@ 人山人海 特邀演出 金燕玲 彈詞演出 金麗生、郁群 彈詞創作 華覺平、金麗生 演出 張琦 *、沈磊 *、徐漫蔓 * 謝承穎 *、張鐘儀 *、賀彬 *、崔台鎬 * 上海話劇藝術中心演員

造型 / 服裝設計

Director, Scriptwriter, Designer Mathias Woo Scriptwriter, Lyrics, English Surtitles Jimmy Ngai Music Director, Composer Yu Yat-yiu@PMPS Special Appearance Elaine Jin Suzhou Tanci Jin Lisheng, Yu Qun Suzhou Tanci Lyrics Hua Jueping, Jin Lisheng Performers Zhang Qi*, Shen Lei*, Xu Manman* Xie Changying*, Zhang Zhongyi*, He Bin*, Tsuei Tai-hao * Members of Shanghai Dramatic Arts Centre

張叔平 ( 金燕玲 ) 戴美玲、陳明鑽 Kim Robinson ( 金燕玲 ) 髮型 創作統籌 陳浩峰 製作監督 李浩賢 燈光設計 鄺雅麗 音響設計 夏恩蓓 舞台監督 周俊彥 執行舞台監督 魏婉意 錄像 方曉丹 執行舞台設計及排練統籌 劉思 錄影統籌 李上珩 創作助理 徐沛筠 音響控制 李善思 錄像控制 麥翠薇、李銘 字幕控制 陳安琪 助理舞台設計 王梓駿 化妝 劉德偉 ( 金燕玲 ) Lam Alex Workshop 服裝助理 張凱盈、林曉燕、倫嬈君 舞台助理 張展恆、廖令基 鄧偉傑、黃俊逸 舞台實習生 ^ 何沅霖、李政威 葉志凌、徐芷筠、李蕙寧

Stylist / Costume Designer

平面設計 英文翻譯 ( 印刷品 )

Graphic Design Translation (Printed Matters)

^ 香港專業教育學院 ( 李惠利 ) 多媒體及 互聯網科技系視聽娛樂科藝 高級文憑 學生

藝團經理 ( 節目 ) 藝團經理 ( 行政及財務 ) 製作人 / 項目經理 經理 ( 節目及場地伙伴 ) 經理 ( 公關及伙伴發展 ) 經理 ( 宣傳及節目發展 ) 節目及行政助理 藝術行政見習

LOL Design Ltd. 梁惠琪 簡溢雅 陳世明 黃裕偉 周寶儀 黃偉國 李嘉祺 何彥羲 張禮浩

William Chang (Elaine Jin) Jessie Dai, Joey Chan Hair Styling Kim Robinson (Elaine Jin) Creative Coordinator Cedric Chan Production Manager Lawrence Lee Lighting Designer Alice Kwong Sound Designer Candog Ha Stage Manager Chow Chun Yin Deputy Stage Manager Gloria Ngai Video Dan Fong Executive Set Designer, Rehearsal Master: Liu Si Video Documentation Coordinator Vanessa Lee Creative Assistant Pamela Tsui Sound Operator Sincere Li Video Opeartor May Mak, Li Ming Surtitle Operator Chan On Ki Assistant Set Designer Isaac Wong Make-up Stephen Lau (Elaine Jin), Lam Alex Workshop Costume Assistant Cheung Hoi Ying, Lam Hiu Yin Vanessa Lun Stage Crew Cheung Chin Hang, Liu Ling Kei Tang Wai Kit, Wong Chun Yat Stage Interns^ Ho Yuen Lam, Lee Ching Wai Yip Chi Ling, Tsui Tsz Kwan, Lee Wai Ning

^ Students from Higher Diploma in Audio-Visual Entertainment Technology, Department of Multimedia and Internet Technology, Hong Kong Institute of Vocational Education (Lee Wai Lee)

LOL Design Ltd. Vicky Leong

Company Manager (Programme) Doris Kan Company Manager (Administration and Finance) Jacky Chan Producer / Project Manager Wong Yue Wai Manager (Programme and Venue Partner) Bowie Chow Manager (PR and Partnership Development) Luka Wong Manager (Marketing and Programme Development) Kaki Li Programme and Administration Assistant Ho Yin Hei Art Administration Trainee Leo Cheung

進念．二十面體 Zuni Icosahedron

聯合藝術總監：榮念曾、胡恩威

Co-Artistic Directors: Danny Yung, Mathias Woo 進念．二十面體，1982 年成立，為非牟利慈善文化團體，以香港為基，面向世界的實 驗藝術團體。專注於多元戲劇藝術創作，原創劇場作品超過二百齣，曾獲邀前往演出 及交流的城市遍及歐、亞、美等地六十多個城市。多年來一直致力拓展香港文化藝術 新領域，積極推動國際文化交流，主催藝術評論及文化政策研究等工作，並活躍於藝 術教育和發展電子媒體及跨媒體等新類型的藝術模式，近年亦致力促進非物質文化遺產 ( 表演藝術 ) 的傳承和發展。現為香港九個主要專業表演藝術團體之一，也是香港最具 代表性的國際實驗劇團。2009 年始，成為香港文化中心的場地伙伴，開展系列創作及 外展教育計劃。 Zuni Icosahedron, founded in 1982, a Hong Kong based international experimental theatre company. Zuni has produced over 200 original productions of alternative theatre and multimedia performances, and has been active in video, sound experimentation and installation arts, as well as in the area of arts education, arts criticism, cultural policy research and international cultural exchange. In the past decade, Zuni has been undertaking the mission of preserving and developing Intangible Cultural Heritage (Performing Arts). Over the years, Zuni has been invited to more than 60 cities in Europe, Asia, and America for cultural exchange and performances.

Zuni is one of the nine major professional performing arts companies in Hong Kong, and has established itself as a premier experimental theatre locally, regionally and internationally. Since 2009, Zuni has become a venue partner of the Hong Kong Cultural Centre and produces a series of theatre works and outreach education programmes. 地址 Address: 香港上環永樂街 60-66 號昌泰商業大廈 2 字樓 203-4 室

Room 203-4, 2/F., Cheong Tai Commercial Building, 60-66 Wing Lok Street, Sheung Wan, Hong Kong 電話 Tel: +852 2893 8704 傳真 Fax: +852 2838 7527 電郵 Email: info@zuni.org.hk 網址 Website: www.zuni.org.hk 社聯機構會員

Member of the Hong Kong Council of Social Service 請於 Facebook 內搜尋「進念．二十面體 Zuni Icosahedron」，加入我們的專頁！

Let’s befriend “Zuni Icosahedron” on Facebook!

進念．二十面體董事會 Zuni Icosahedron Board of Directors 主席

Chairperson

靳埭強 靳與劉設計顧問創辦人

Kan Tai Keung Founder, Kan and Lau Design Consultants

副主席

Vice-chair

賴錦璋 聖雅各福群會行政顧問

Michael Lai Executive Advisor, St. James’ Settlement

秘書

Secretary

王瑞華

Mersey Manufacturers Limited, Timex Group B.V. 手錶設計總監

Glenis Wong Watch Design Director, Mersey Manufacturers Limited, Timex Group B.V.

司庫

Treasurer

譚卓玲 Yorkshire Capital Limited 高級副總裁

成員 區子強 廣告導演

Jackie Tam Senior Vice President, Yorkshire Capital Limited

Members Johnny Au Director

林永君 Anyplex 數碼點播有限公司 創辦人、行政總裁

Ringo Lam Founder and CEO, Anyplex Hong Kong Limited

張世耀 香港賽馬會資訊科技組合經理

Leo Cheung Senior Manager (IT Portfolio Management), The Hong Kong Jockey Club

辜懷群 新舞臺表演廳館長 ( 台北 )

Vivien Ku Managing Director, Novel Hall for Performing Arts (Taipei)

潘楚穎 溢達楊元龍教育基金董事會成員

Dee Poon Board Member, Esquel - Y.L. Yang Education Foundation

胡紅玉 律師

Anna Wu Solicitor

楊偉新 花旗銀行環球企業及金融交易副總裁

Terence Yeung Vice President, Global Transaction Services, Citibank, N.A.

葉國華 香港政策研究所主席

Paul Yip Chairman, Hong Kong Policy Research Institute

榮譽法律顧問

Honorary Legal Advisor

陳韻雲律師行

Vivien Chan & Co.

伙伴及贊助 Partners & Sponsors 金燕玲髮型贊助 Hair Styling Sponsor for Elaine Jin

指定酒店 Official Hotel

伙伴書店 Bookstore Partner

製作支援及教育伙伴 Production Support & Educational Partner

多媒體器材贊助 Multimedia Equipment Sponsor

指定印刷 Official Printing

媒體伙伴 Media Partners

視聽娛樂科藝高級文憑 Higher Diploma in Audio-Visual Entertainment Technology

全力支持 Support From

鳴謝 Acknowledgements 中國星演藝管理有限公司 China Star Management Limited Club Monaco 皇冠出版社 ( 香港 ) 有限公司 Crown Publishing (H.K.) Ltd. 舞蹈空間 Dance Forum 派 PYE 上海話劇藝術中心 Shanghai Dramatic Arts Centre

蘇州評彈團 Suzhou Pingtan Opera Troupe 宋以朗先生 Mr Roland Soong 石小梅女士 Ms Shi Xiaomei 林二汶小姐 Miss Eman Lam 高若珊小姐 Miss Kao Jo-shan

票尾優惠 Ticket Stub Benefits 憑演出門票票尾 85 折成為百老匯電影中心會員 憑演出門票票尾於 9 月 28 日至 12 月 31 日期間享有以下 9 折優惠： / 於誠品銅鑼灣店購買正價書籍 ( 每張正本票尾只限使用一次 ) / 惠顧 Caffè HABITU 與 The Academics / 於三聯書店購買指定書籍 Enjoy 15% discount in applying for Broadway Cinematheque membership Enjoy the following 10% discount, from the period of 28/9 to 31/12: / On regular-priced books at eslite bookstore in Causeway Bay (one ticket stub could be used for each purchased item) / At Caffè HABITU and The Academics / On selected books at Joint Publishing bookstores

進念學生藝術教育活動捐助計劃

ZUNI LIBERAL STUDIES AND ARTS-IN-EDUCATION PROGRAMME DONATION SCHEME

請支持進念．二十面體，讓年青人多一個接觸藝術的機會！ Supp or t

Zuni L i b e r a l Stu d i e s and Ar ts - in- E duc at i on Programme, to give yo u n g p eople more chance to learn AR T S ! 進念通識及藝術教育活動是一個藝術教育平台，藉舉辦學生導賞專場、展覽、工作坊及座談會，提供學生 多元化的劇場經驗。您的捐助，可使這個計劃延續及發展，使更多學生得益，成就我們的下一代！

Zuni Liberal Studies and Arts-in-Education Programme is a platform providing diverse experiences in arts for students through activities such as performances, exhibitions, workshops & lectures. Your donation will help promote arts and nurture our younger generations.

捐助表格

DONATION FORM

姓名 Name

( 先生 Mr. / 小姐 Ms. / 女士 Mrs. )

聯絡電話 Contact Number

電郵 E-mail

郵寄地址 Postal Address

我 / 我們樂意捐助 I / We would like to donate HK$ 500

HK$ 1,000

或其他金額 Other Amount HK$

HK$ 3,000

捐款 HK$100或以上者，可獲發收據作申請扣稅之用。

An official receipt will be issued for donation of HK$100 or above for tax deduction purpose.

進念．二十面體將於2013/14年度報告中，向捐款HK$1,000或以上者以捐款金額分組列名鳴謝。 For donations of HK$1,000 or more, an acknowledgement will be made in Zuni’s Annual Report 2013/14 in categories according to the amounts donated.

鳴謝為 Acknowledged as 本人無須公開鳴謝 Not to be acknowledged

付款方法 Payment Method 劃線支票：抬頭請填寫「進念．二十面體有限公司」，請在支票背後填上閣下之姓名及聯絡電話 Crossed Cheque: Payable to “Zuni Icosahedron Limited”. Please write down your name and contact number at the back of the cheque

信用卡 Credit Card:

匯財卡 Visa

萬事達卡 MasterCard

信用卡號碼 Credit Card Number

到期日 Expiry Date

( 月MM /年YY )

持卡人姓名 Name of Cardholder 持卡人簽署 Signature of Cardholder

日期 Date

(請用信用卡上之簽名式樣 Please use authorised signature as on your credit card)

本人 I

同意 /

agree /

不同意 個人資料被用作接收有關進念．二十面體的推廣資訊。

object to the proposed use of my personal data for receiving promotions about Zuni Icosahedron.

註： ．請將表格連同劃線支票寄回「進念．二十面體 香港上環永樂街60-66號昌泰商業大廈2字樓203-4室」、電郵至info@zuni.org.hk 或傳真至+852 2838 7527。 ．我們將於收到表格後7天內致電或以電郵方式與閣下聯絡。 ．閣下提供之個人資料只供捐助跟進及通訊用途。根據個人資料（私隱）條例，你有權查閱或更改個人資料，請致電進念．二十面體 +852 2893 8704 或電郵至 info@zuni.org.hk 查詢。 Remarks: ．Please mail this form together with the cheque to “Zuni Icosahedron, Room 203-4, 2/F., Cheong Tai Commercial Building, 60-66 Wing Lok Street, Sheung Wan, Hong Kong”, or email to info@zuni.org.hk, or fax to +852 2838 7527. ．Upon receipt of this form, our staff will contact you within 7 days. ．Information provided will be treated as strictly confidential for handling and corresponding use only. According to Personal Data (Privacy) Ordinance, you have the right to request access to and correct the personal data provided, please contact us at +852 2839 8704 or email to info@zuni.org.hk

根據《稅務條例》第88條獲豁免繳稅的慈善機構 A charitable institution is exempt from tax under section 88 of the Inland Revenue Ordinance.