捨日譚

榮念曾

Danny Yung

我丘們 身維體 語間言的探 薄伽 及由 卡爾 諾之

9 0 後青年朋友 p o s t - 9 0 s yo u n g p e o p l e

討舞台語言

我們由 集辯體 創場作和 開 展問劇 創作 現況 論劇 有獎 答場 遊戲 分析自己聲音確立自己身分認同 聆聽他人聲音啟發我們包容視野

看不見的城市 劇場空間公共空間顛覆傳統重構傳統 建築師藝術家共同發展未來公共空間

拾日譚

科技和藝術相互啟發未來

Invisible Cities D ameron 發e c 展

借助應用新科技開拓辯證創作 文字語言空間時間的框框都是符號 社會政治歷史記憶的

A d i a l o g u e b e t we e n Gi ova n n i B o c c a c c i o a n d It a l o Ca l v i n o

框框也是符號 文章文字都是載體劇場舞台都是載體 載體也是內容載體內容互動也是內容 主辦 Presented by

13-14.1.2017 ｜五及六 Fri-Sat｜8pm 15.1.2017 ｜日 Sun｜3pm 西灣河文娛中心劇院 Sai Wan Ho Civic Centre Theatre

誇啦啦藝術集匯為西灣河文娛中心場地伙伴。 The Absolutely Fabulous Theatre Connection Co Ltd is the Venue Partner of the Sai Wan Ho Civic Centre.

贊助 Sponsor

器材贊助 Equipment Sponsor

FAQ

1. 請問我係邊個？ Who am I? 2. 請問呢度係邊度？ What is this place?

3. 請問我喺度做乜？ What am I doing?

4. 請問依家幾點？ What time is it?

5. 請問出面發生緊啲乜？ What is happening out there?

6. 請問有咩可以幫到你？ How can I help? 節目約長100分鐘，不設中場休息 Approx 100 min with no intermission 場地規則 House Rules 為求令表演者及觀眾不受騷擾，請關掉手提電話、其他響鬧及發光的裝置。請勿在場內飲食或擅自攝影、錄音或錄影。閣下若不欲保留本節目場刊，請於終場離去前把場刊留在座位， 或放進入口處的回收箱，以便循環使用。多謝合作。 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 Theatre. Please ensure that your mobile phones and any other sound and light emitting devices are switched off during the performance. If you do not wish to keep this house programme, please leave it on your seat or return it to the admission point after the performance for recycling. Thank you for your co-operation. 本場刊內列出之所有節目內容不反映康樂及文化事務署之意見。All programme contents listed here do not represent the views of the Leisure and Cultural Services Department.

誇啦啦藝術集匯 The Absolutely Fabulous Theatre Connection 贊助及伙伴 Sponsors & Partners 2016-17 - 按字母排列 In alphabetical order -

個人捐款者 Individual Donors 陳新民女士 Ms Janis Chan 陳家恩博士 Dr Ka Yan Chan 陳珊珊博士 Dr Sunshine Chan 華瑾小姐 Ms Jean Hua Mrs Athena Sze Ms Clare Williams 無名士 Anonymous

特別鳴謝 Special Thanks 進念．二十面體 Zuni Icosahedron 張志偉 Cheung Chi Wai 及各大傳媒及各界好友的支持 And all our friends and media for their support

感謝 Thank you 感謝以上機構及朋友於2016-17年度對我們的鼎力支持。 We would like to thank the above organisations and friends for their tremendous support in the 2016-17 season. ｜1 ｜

分場 Scenes 1. 失足城市 Crippled City 2. 失憶城市 City of No Memory 3. 失控城市 The Control Freak 4. 失眠城市 The Sleepless City 5. 失戀城市 City for Love Sickness 6. 失望城市 City of No Vision 7. 失焦城市 City Off Focus 8. 失蹤城市 City Without Map

文本 Text

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外面很亂，他們躲在教堂（不，應該 是在劇場）等待（不，應該是期待） 到了戲完了之後，內心會安靜些。上 面的故事會否像瘟疫似的慢慢蔓延 （不，應該是慢慢消失）。然後假裝 若無其事地寫情書、踱步、停頓，假 裝跘倒、失足，假裝失憶、失戀、失 焦，假裝失控、失眠、失蹤、失望， 假裝失望之後。假裝之後，然後再站 起來，繼續講述大家的故事（不，應 該是自己的故事）其實都是失望城市 裡的故事（不，應該是關於看不見城 市的故事）。

外面仍舊很亂，我躲在佛羅倫絲聖 堂裡（不，應該是在教壇後）發呆 （不，應該是發洩）彌撒完了之後， 內心會平和些。愛情會否像瘟疫似的 慢慢滲出（不，應該是慢慢滲入）假 裝若無其事地寫悔過書、踱步、停 頓，假裝跘倒、失足，假裝失憶、失 戀、失焦，假裝失控、失眠、失蹤、 失望，假裝失望之後，然後再站起 來，繼續講述你的笑話（不，應該是 大家的悲劇）其實都是關於這個城市 裡的笑話（不，應該是所有城市的悲 劇）。

外面很亂，我躲在城中瘋人院裡 （不，應該是文化中心）試圖解開 （不，應該是解讀）愚癡的咒語。講 完耶穌之後，會少些內疚。你的態度 本來就像瘟疫（不，應該也是鴉片） 我光明正大寫絕命書，假裝若無其事 談笑、踱步、回首、假裝假裝若無其 事地、迴避逃避、假裝假裝若無其事 地、道歉道情。假裝之後，然後重 新開始，繼續散播批判案件的法則 （不，應該是歷史的問題）其實都是 關於這些問題的城市（不，應該是所 有城市的問題）。

It’s very chaotic outside. They hide inside the church (no – the theatre) and wait (no – anticipate) for the play to end, so they will feel more peaceful.

Will the story above spread slowly (no – disappear) like a plague? And act as if nothing happened – write a love letter, pace up and down, pause. Pretend to trip and slip. Pretend to be forgetful, love sick and off focus. Pretend to be out of control, sleepless, lost and disappointed. After pretending to be disappointed. After pretending. Stand up again, and continue to tell a story about everyone (no – a story about oneself ), which in reality is a story about a city of no vision (no – a story about invisible cities).

It’s still very chaotic outside. I hide inside the chapel in Florence (no – behind the altar) to daydream (no – to vent). When the mass ends, more inner peace will be found. Will love spread out slowly (no – spread in) like a plague? And act as if nothing happened – write an apology letter, pace up and down, pause. Pretend to trip and slip. Pretend to be forgetful, love sick and off focus. Pretend to be out of control, sleepless, lost and disappointed. After pretending to be disappointed. Stand up again, and continue to tell your joke (no – our tragedy), which in reality is a joke about this city (no – a joke about all cities).

It’s very chaotic outside. I hide inside the madhouse in the city (no – the cultural centre) trying to break (no – to decipher) the spell of stupidity. After the spiritual babbling, any feelings of guilt will diminish. Your attitude has always been a plague (no – opium).

Without any feelings of shame, I write my suicide note. And act as if nothing happened – make a conversation, pace up and down, look back. Pretend to pretend that nothing happened – dodge and escape. Pretend to pretend that nothing happened – apologise and confess. After pretending. Begin anew. Continue to disseminate laws for judicial judgement (no – the problems of history), and these in reality are about problematic cities (no – the problems of all cities).

《看不見的城市》和《拾日譚》 Invisible Cities & Decameron 喬萬尼•薄伽丘在1351年完成《拾日譚》，文本裡的青年朋友為逃避瘟疫躲在城外，每晚在教堂裡輪流講故事。伊塔 羅•卡爾維諾於1972年出版《看不見的城市》，文本裡大汗和馬哥孛羅在大都對談，馬哥孛羅向大汗描述他所見過的城 市。兩本書整整相隔621年，為意大利文藝復興前後的兩部經典。 文藝復興是歐洲歷史裡14至17世紀的一段時間，被視為中世紀及現代史的文化橋樑。大元帝國於1276年征服了宋朝於 杭州的首都，鑄造新的文化，亦建造了區內見過最大的帝國。

Decameron (1351) by Giovanni Boccaccio and Invisible Cities (1972) by Italo Calvino are two masterpieces in Italian literature.

In the former, young men and women escape from a plagued city and take turn to tell tales at night, and in the latter, Marco Polo describes to Kublai Khan cities he has seen on his travels.

The Renaissance was a period in European history, from the 14th to the 17th century, regarded as the cultural bridge between the Middle Ages and modern history. The Yuan Empire captured the Song capital of Hangzhou in 1276, and they stamped a new culture into the region and created the biggest empire the region had ever seen.

與榮念曾談《看不見的城市 拾日譚》 A dialogue with Danny Yung on Invisible Cities / Decameron 《看不見的城市 拾日譚》是誇啦啦藝術集匯（誇啦啦） 與榮念曾首次合作。我們認為沒有一個藝團可憑一己之力 做到所有事情，大家分享資源和創意、找出共通處一起合 作，都非常重要。誇啦啦和榮念曾有很多相似的價值觀， 例如，我們相信很多事情都沒有既定答案、可由不同角度 去看和思考，年輕人應該學會發問。誇啦啦作為一個學習 劇場，希望透過是次合作，為年輕人開展思路。 以下是誇啦啦行政總監邱歡智與榮念曾有關是次合作的一 席話。

Invisible Cities / Decameron is the first collaboration between AFTEC and Danny Yung. AFTEC believes that no single performing arts group can do everything. It is very important to share resources and creative ideas, seek alignments and collaborate. AFTEC and Danny both believe that young people should learn the art of asking questions. There are no fixed answers to many questions and there can be myriad perspectives to things. As a Learning Theatre, AFTEC hopes that this collaboration can open new doors for our young minds.

Lynn Yau, CEO of AFTEC, speaks to Danny Yung about this collaboration.

唯物的探索

Materialism as an approach

邱：誇啦啦特意邀請你這次與我們合作，是因為我們並不 常作抽象與實驗性演出。我們希望年輕人有機會作探 索性（exploratory）和實驗性（experimental）的體 驗，這些都是非常有意義的學習過程。

L:

AFTEC doesn’t usually do abstract and experimental performances and that’s why we’ve invited you to collaborate with us. We hope that our young people can have the chance to get involved in exploratory and experimental experiences. These are very meaningful learning processes.

D:

It isn’t that AFTEC doesn’t do these types of

榮：你們並不是不作這類演出，只是方法與我們不同。 邱：應該說我們有做過即興創作和編作劇場這類探索性和

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實驗性的體驗，但較少由抽象概念入手。我們認為 在學的年輕人很少有機會去想抽象的概念，而這類型 的思考是很重要的。不知道是年齡的問題，還是學校 課程的關係。年輕人不是要等到上大學才思考抽象概 念，對吧？ 榮：我與這班年輕人所做的是比較唯物的。唯物就是不斷 分析，每事每物都有清晰的方法與邏輯。我和年輕朋 友們探討如何運用身體、聆聽聲音、處理空間，又探 討科技、符號、結構。例如科技如何影響我們聆聽、 觀察和運用空間？符號如何出現、代表甚麼？甚麼是 結構──例如做事的結構、說話的結構？這些都是唯 物的探索。

performances. It’s just that the approach is different.

L:

Let’s say we do exploratory and experimental activities like improvisation and devising theatre, but seldom work on abstract concepts. Students don’t often have the opportunity to think about abstract concepts and I am not sure whether we should attribute this to age or the school curriculum. Do young people really have to wait till they get into university to undertake abstract thinking?

D:

In this production, I try to apply a “materialism” approach (note: as in metaphysics) with our young people. This approach means to analyse, and apply a logical way of thought to all matters. We explore how we can use our body, listen to sounds and deal with space. We also talk about technology, symbols and structure. For example, how does technology influence the way we listen, observe and use space? How do signifiers appear and what do they mean? What is structure - for instance, structure of actions and speech?

These are all materialism-based explorations.

有朋友說「不是唯心就是唯物」。我們做的是，先由 唯物角度分析，再去處理個人及情感上的層面。

A friend said, “Materialism is when you don’t talk about the heart.” I think what we do this time is we made a choice to establish our foundation on a materialist ground before we traverse a more personal and emotional scope.

時地人的框架：把限制化成內容

When / where / who: Turning constraints into content

榮：每做一個製作之前，我會先分析那個製作的限制和框 架。以這次為例：

D:

第一個框架是時間。演出在一月中，演出後不久便過 農曆新年，踏入新的年份，香港特首選舉亦快將舉 行。我們離不開這些元素，因為演戲就是實時實地 （real time real space）的。 第二個框架是地點。地點在西灣河，在香港。我們研 究香港的歷史、香港的背景，這些是既定的環境。 第三個框架是人，即是和我合作的朋友。十多位同 學，每人的故事很重要，集體的故事更重要。我們要 處理的是，他們如何更清晰地表達自己的故事，再在 集體故事中為觀眾給予更多參考，去看香港或全世界 的故事。 框框不一定是限制，框框都可以是種能量。限制 ﹙constraint﹚可以變成內容﹙content﹚。大家合作 的化學作用可以去到多遠呢？這些都是挑戰。

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I usually begin each production by analysing the constraints of when, where and who. If we take the current production as an example: The constraint of “when”: The performances are in midJanuary. Shortly after the performances will be Chinese New Year and we will be moving on to a brand new year. The election of the new Chief Executive will also be around the corner. Live theatre happens in real time, real space, and we can’t separate ourselves from these events.

The constraint of “where”: The performances take place in Sai Wan Ho, in Hong Kong, so we look into the history of Hong Kong as well as the context of Hong Kong.

These are the pre-existing elements.

The constraint of “who”: This means the people I work with. The individual stories and collection stories of our 14 young people are very important. What we need to work at is how they can articulate their stories better,

and how they can provide more reference in their collective stories for our audience to think about Hong Kong and the world.

Constraints can be a form of energy. Constraints can be turned into content. How far can our chemistry go? This is where the challenge lies.

傾計

講故仔：兩種敘事形式

邱：那《看不見的城市》與《拾日譚》兩個文本如何切 入？ 榮：《看不見的城市》和《拾日譚》都是我借來用的框架。 《看不見的城市》是馬哥孛羅與大汗二人的「傾 計」。《拾日譚》是一班年輕人為了逃避去到一個空 間，彼此講故仔。 由結構層面來看，《看不見的城市》裡的兩人如何傾 計、各處何等位置、如何用字、如何發展對話，相對 於《拾日譚》裡他們如何講故仔──傾計和講故仔的 敘事結構（narrative structure）有甚麼分別呢？當然 我時常認為講故仔亦是傾計的一種，因為講和聽可以 有不同演繹。 《拾日譚》和《看不見的城市》敘事結構可以互換 嗎？《拾日譚》是一段段故事；講完一段故事後，可 以加入其他人的回應嗎？在《看不見的城市》裡，馬 哥孛羅不斷批評大汗的反應；可以不用對話，用敘述 方式寫作嗎？這些都是創作的選擇。 我們思考如何與兩位作者作深層次的對話，而不去 重複他們的說話。我們除了演繹內容，也演繹形式 （form），這是我比較感興趣的。

Chatting / Story telling: Two narrative forms L:

Where do Invisible Cities and Decameron come in?

D:

The two books form frameworks that I borrow from. In Invisible Cities , there is the chat between Marco Polo and Kublai Khan; in Decameron , a bunch of young people began telling stories after they’ve escaped from the city.

From a structural point of view, what is the difference in the narrative form of chatting and story telling? For instance, the structure of a chat isn’t only about how the two people chat, but also about their respective positions and status, choice of words and how the dialogue is developed. On the other hand, I always see story telling as a form of chatting since it involves one person conveying the story and another person taking in the story and adding an extra dimension to this is how this is subject to personal interpretation on both ends.

Are the narrative forms in Decameron and Invisible Cities interchangeable? While Decameron is a collection of stories, can we insert other people’s responses after each story? As for the dialogue between Marco Polo and Kublai Khan, can it be done in a plain narrative instead? These are all creative choices to make.

In this production, rather than to repeat what the two authors had already said, we try to engage in an indepth dialogue with them. We interpret “form” as well as “content”. This is what I am more interested in.

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逃避 vs Fail. Fail better.

Escaping vs Fail. Fail better.

榮：我認為薄伽丘與卡爾維諾兩位意大利作家都很有趣， 他們由不同角度去講生活中的問題。《看不見的城 市》說的是元朝中國，《拾日譚》說的是「逃避」。 離開，逃避，問題是否就會消失呢？我們不去處理外 面發生的事，事情是否就會自然消失呢？等待的概念 亦相當有趣。等待甚麼？等待，事情就會消失？這些 對現在的年輕朋友來說都是一種反面教材。等待，事 情真的就會消失嗎？

D:

等待，事情可能不會消失，但你一動身，別人可能就 立即把你標籤。失敗和跌倒並不要緊，如何講「跌 倒」卻很重要。

Waiting may not solve problems, but as soon as you take action, you may be stigmatised. It doesn’t matter if you fail and fall. What matters is how we look at failures.

邱：Samuel Beckett說：「Fail. Fail better.」。這概念真的 應該包括在教育制度內…… 榮：就讓我們試試放入演出內。

L:

Samuel Beckett said “Fail. Fail better.” We really should bring this concept into our education system.

D:

Well, let us try and include it in our performance.

學習過程：沒有所謂「好」與「不好」

The learning process: There is no “good” and “bad”

榮：我們試過請每位演員創作三分鐘獨腳戲，去表達與一 張桌子的關係。完成後我問同學對各人的看法。如果 他們說喜歡或不喜歡，我會問他們甚麼是「喜歡」、 「不喜歡」，甚麼是「好」。到最後，越講越清楚， 一些主觀的價值觀念就會浮現。

D:

有些同學的敘事架構可能比較不清晰，但並不要緊， 我認為全部人的分享都很重要，不清晰便反映其不清 晰，並不會因為這樣而扣分。沒有所謂「好」與「不 好」，最重要的是把意念表達出來。 我想我做到的，就是把他們的東西拼湊（compose） 出來，讓它們產生化學作用，再發展下去。我和他們 再傾，再發展，再傾，再發展……我認為我們應該協 助他們，而不是告訴他們要怎樣做。他們內在有很多 東西，若喜歡分享，可以分享。他們來參與創作，知 道沒有一個固定的劇本要跟隨，而他們的參與就是劇 本的一部分。我沒有規定他們要說甚麼，結果五花八 門，甚麼都有。 當然，這建基於他們對我的信任。對我有信任，分享 就真誠。如果沒有信任，就只會做些表面的。我沒有 把價值觀強行套在他們身上。我們只是培養他們的好 奇心，進一步發展下去。

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I find the two Italians Boccacio and Calvino, the books authors, quite interesting. They looked at problems in life through different perspectives. Invisible Cities is about China in the Yuan Dynasty. Decameron is about escaping. When you walk away and escape, will problems just vanish? If we don’t deal with what’s going on, will matters just pass? The idea of waiting is also quite interesting. What are you waiting for? If you wait long enough, will things just disappear? For young people nowadays, these are all things to think about.

As an exercise, we invited each performer to come up with a 3-minute solo work to express their relationship with a table. After that, I asked what they thought about each person’s work. If they replied that they liked it or did not like it, I would then ask them what is “like” and “not like”, and what is “good”. As they spoke further, subjective values will emerge.

The narrative structure of some of them may not be the clearest, but that doesn’t matter. I find everyone’s sharing equally important. Let the lack of clarity manifest itself in the lack of clarity; it shouldn’t be met with discouragement. There isn’t “good” and “bad”. The most important is to share.

What I do is put together and “compose” everyone’s contribution. We see chemistry along the way. We pick up ideas, discuss and develop them. In this process, I take up the role of the facilitator, instead of telling everyone what to do. They are all young people with thoughts and ideas. If they want to share, they can share. They have joined us in this project to be creators and knew that there isn’t a fixed script to follow. Their participation forms the script. I give them a lot of freedom and what we get in return is wonderful, diverse creativity.

學「問」

Learning to “ask”

邱：記得我20多歲時，有機會旁聽榮念曾和黃清霞博士 （誇啦啦藝術總監）傾談，當時我並不太明白他們的 對話內容。後來我慢慢發覺，要明白所有事情是不可 能的，重要的是懂得去發問。10個人可以有246個答 案。

L:

When I was twenty-something, I had the chance to listen to many conversations between Danny and Dr Vicki Ooi (AFTEC Artistic Director). I remember not being able to fully grasp what they were saying. However, I grew to understand that it is impossible to understand everything, and what’s more important is to learn how to ask questions. If there are 10 persons, there can be 246 answers to the same question.

D:

In this production, our young people and I constructed 6 questions (please refer to the FAQ on inside front cover). “Who am I? What is this place? What am I doing?

What is happening out there? How can I help?...” These questions are related to space, time, identity and happenings. These questions can in turn become: Who is Marco Polo? There are many names in the newspaper – Who are the nominees? When the young people keep asking these and dig deep, ideas for our script gradually emerge. These questions form a framework with which our young people develop their thoughts.

L:

I think that the post-90s generation actually has a lot inside them but they may not know how to relate them to others. What we are trying to do is to provide an environment as well as methods in which they can uncover what’s inside. This kind of free-flowing may not take place as easily in the typical school environment in Hong Kong. Theatre and the arts are indeed invaluable media for introspection and hugely important to our society.

榮：在這次製作裡，我和年輕人們建構了六個問題。（編 按：請見封面內頁之FAQ）「請問你，我是誰？請 問你，這是甚麼地方？請問你，我在做甚麼？請問 你，外面發生甚麼事？請問你，我可以如何幫助你？ ……」這些問題一個與空間有關係，一個與時間有關 係，一個與身份有關係，一個與發生的事物有關係。 這些問題可以變成：請問你馬哥孛羅是誰，請問你報 紙上出現很多名字提名人是誰。當他們不斷代入去 看，慢慢就參與在劇本過程當中，知道如何用這些結 構去發展自己的意識，所以我們由這些問題開始和大 家探究。 邱：我認為90後的年輕人其實內裡有很多東西，但未必懂 得如何表達。現在我們就是抽絲剝繭，將他們的想法 引領出來，這可能是學校裡較難發生的。因此，劇 場、文化藝術對當今社會是很重要，它們是引導我們 反省的工具。 之前榮念曾提過時間和空間。為何我們喜歡劇場這個 媒介呢？對我來說，特別是看榮念曾的製作，坐在一 個空間看劇，就像進入了自己的腦袋。我好像變成了 第三者在自己的腦袋裡看自己所思所想。我認為這是 令人很享受的經驗，相信對觀眾來說也是一樣。外面 是個繁雜的社會，忽然進入一個暗了燈的寧靜環境， 與外在世界有很大分別，我們就在這空間內省。我很 嚮往這種感受。不知道90後們是否也嚮往這種感受？

Danny Yung mentioned time and space earlier. Why do we like this medium called theatre? For me, especially when it comes to productions created by Danny, when I sit in a space to enjoy a play, it feels like I am entering my own mind. It is as if I am another person trying to observe my own thoughts in my mind. I find this tremendously enjoyable, and I believe other theatregoers would share similar feelings. Entering the quiet space of the theatre, you leave all the hustle and bustle of life behind, and this space is all yours to ruminate and think. I love this feeling, and wonder if post-90s young people feel the same?

｜7 ｜

創作及製作團隊 The Creative and Production Team

誇啦啦藝術集匯董事局 AFTEC Board of Directors

導演 Director

榮念曾 Danny Yung

主席 Chairperson

黎翠珍教授 Professor Jane Lai

導演助理 Assistant to Director

陳浩峰 Cedric Chan*

董事 Directors

作曲 Music Composer

許敖山 Nerve Hui

佈景及道具設計 Set and Props Designer

王梓駿 Isaac Wong

服裝設計 Costume Designer

鄭運蓮 Twinny Cheng

邵馮詠愛 Mrs Marissa Fung Shaw 洪宏道 Mr Anthony Hung 葉慶良醫生 Dr Thomas Ip 石禮謙太平紳士 Hon Abraham Shek Lai-him, GBS, JP

燈光設計 Lighting Designer

張素兒 Zoe Cheung

音響設計及控制 Sound Designer and Operator

羅國豪 Law Kwok Ho

錄像設計 Video Designer

林方芽 Wild Lin

行政總裁 Chief Executive Officer 邱歡智 Lynn Yau

製作經理 Production Manager

李浩賢 Lawrence Lee 賴旭輝 Clement Lai*

誇啦啦新晉導演 AFTEC Emerging Director

Michael Sharmon

排練統籌 Rehearsal Master

高級項目經理 Senior Project Manager

趙子珉 Chiu Tsz Man

誇啦啦藝術集匯團隊 AFTEC Team 藝術總監 Artistic Director

舞臺監督 / 執行舞臺監督 陳斯琹 Zeta Chan Stage Manager / Deputy Stage Manager 助理舞臺監督 Assistant Stage Manager

陳安琪 Chan On Ki

項目經理 Project Manager

方柏鈴 Tini Fong 丁美雲 Natalie Ting

服裝主管 Wardrobe Supervisor

陳偉兒 Bonnie Chan

卓嘉堯 Polly Cheuk

錄像控制 Video Operator

施棟梁 Johnny Sze

市場推廣經理 Marketing Manager

舞臺工作人員 Stage Crew

許智煬 Sam Hui 黃家麒 Jason Wong

戲劇學習及體驗策劃經理 Naomi Lawrence Learning & Participation Manager

攝影 Photographer

張志偉 Cheung Chi Wai

演出錄影 Show Videographer

Luster Angle

戲劇策劃主任及導師 Drama Practitioner & Tutor

Thomas Lawson Emrys Barnes

平面設計 Graphic Design

Deep Workshop

項目主任 Project Officer

趙曉燕 Zoe Chio 許世賢 Calvin Co 湯家晞 Hebe Tong

藝術行政見習生 Arts Administration Trainee

黃穎怡 Emma Wong

*承蒙進念．二十面體批准參與製作 With kind permission from Zuni Icosahedron

創作演出 Creation and Performance

｜8｜

黃清霞博士 Dr Vicki Ooi

陳悠山

Jasmine Chan

程朗

Tony Ching

蔡雨田

Martin Choy

許民杰

Matt Hui

許文壕

Hui Man Ho

許友權

Jack Hui

葉珮君

Stephanie Ip

江清蓉

Ellen Kong

郭凱盈

Helen Kwok

李炎鑫

Terence Lee

梅廷徽

Michael Mui

吳璟琳

Vanessa Ng

謝昊丹

Tse Ho Dan

王小燕

Emily Wong

市場推廣及宣傳見習生 汪筱程 Kathy Wong Marketing and Publicity Trainee 誇啦啦駐團詩人教育家 AFTEC Poet-in-Education 2016-17

Henrik Hoeg 羅樂敏 Louise Law

資深特邀教學藝術家 羅乃新 Nancy Loo 誇啦啦駐團藝術教育家 Senior Teaching Artist Associate / AFTEC Artist-in-Education 2012-14 特邀教學藝術家 Teaching Artist Associate 特邀演員 Artist Associate

朱曉芳 Priscila Chu 梁嘉能 David Leung Mike Brooks Barry O’Rorke Michael Sharmon

名譽法律顧問 Honorary Legal Advisor

Gabriela Kennedy

榮念曾 Danny Yung｜導演 Director 榮念曾是享譽國際的實驗藝術先驅，香港專業實驗藝團進念．二十面體創 團成員及聯合藝術總監，並擔任香港當代文化中心主席、中華創意產業論 壇召集人、香港設計委員會成員、嶺南大學文化研究諮詢委員會成員、香 港演藝學院戲劇學院顧問，及香港城市大學文化與文化產業管理榮譽文學 士課程顧問。投入劇場、漫畫、錄影及電影、視覺藝術及裝置藝術等創作 超過四十年，劇場作品受邀於三十多個亞洲及歐美城市演出，為「天天向 上」概念漫畫及塑像始創人。 2008年憑《荒山淚》於聯合國教科文組織國際劇協的Music Theatre NOW比 賽中奪得殊榮。2009年獲德國聯邦總統頒授聯邦十字絲帶勳章，以誌其於 推動港德兩地文化交流的貢獻和成就。2014年更成為福岡亞洲文化獎 — 藝術文化獎獲獎者。2016年獲香港藝術發展局頒予「2015香港藝術發展獎 藝術家年獎（戲劇）」。 An experimental art pioneer, Danny Yung is a founding member and CoArtistic Director of Zuni Icosahedron, an epitome of the professional experimental arts company in Hong Kong. He is also Chairperson of the Hong Kong Institute of Contemporary Culture, Convener of the Chinese Creative Industries Forum, Member of Design Council of Hong Kong, Member of Advisory Board on Cultural Studies of Lingnan University, Member of Advisory Committee for The Hong Kong Academy for Performing Arts School of Drama, and External Member of Advisory Board for City University of Hong Kong’s Bachelor of Arts (Honours) in Culture and Heritage Management. In the past 40 years, he involved extensively in multifarious fields of the arts, including theatre, cartoon, film and video, visual and installation art; and his works have been presented in over 30 cities across Europe, the US and Asia. Yung is also the artist of Tian Tian Xiang Shang conceptual comics, figurine and sculpture.

In 2008, with Tears of Barren Hill Yung garnered the Music Theatre NOW Award given by the UNESCO’s International Theatre Institute. He was bestowed the Merit Cross of the Order of Merit by the Federal Republic of Germany in 2009 in recognition of his contributions towards arts and cultural exchange between Germany and Hong Kong. He is also the laureate of the 2014 Fukuoka Prize – Arts and Cultural Prize. In 2016, Yung was awarded the Hong Kong Arts Development Awards 2015 Artist of the Year (Drama) presented by Hong Kong Arts Development Council.

誇啦啦藝術集匯 The Absolutely Fabulous Theatre Connection 學習劇場TM ─ 好問．好學．好奇 The Learning TheatreTM Re-discover Curiosity, Re-create the Mind, Re-do Meaning 藝術總監 Artistic Director ─ 黃清霞博士 Dr Vicki Ooi 誇啦啦藝術集匯（誇啦啦）是雙語學習劇場™及非牟利藝術組織，致力培育新一代年輕人。我們相信藝術帶來啟發、動 力及轉變，以藝術融入教育的方法鼓勵學習，令教育更加完備。我們是一個註冊慈善團體，節目多元化，2008年成立至 今觀眾及參加者超過141,000名，2009年起成為康樂及文化事務署轄下的西灣河文娛中心場地伙伴。 誇啦啦於2015年獲羅兵咸永道選為本地10間最具影響力的非政府機構，參與其社會影響評估指導計劃，2013-14年度獲 香港藝術發展局頒發藝術教育獎。誇啦啦獲得香港特別行政區政府「藝能發展資助計劃」的躍進資助。太古地產為誇啦 啦之創意空間贊助。 The Absolutely Fabulous Theatre Connection (AFTEC) is a bilingual Learning Theatre™ and non-profit arts organisation dedicated to nurturing the next generation of youth. We believe in the power of the arts to inspire, motivate and transform, and use an integrated arts-in-education approach to enhance education and encourage learning. Established in 2008 as a registered charity, we have reached over 141,000 audience members and participants through our diverse programmes to date, and have been the Venue Partner of the Sai Wan Ho Civic Centre under the LCSD Venue Partnership Scheme since 2009.

AFTEC was selected as a top 10 high impact NGO in the PwC Community Mentoring Programme on social impact assessment in 2015, recipient of HK Arts Development Council’s Arts Education Award 2013-14, and is financially supported by the Springboard Grant under the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region. Swire Properties is AFTEC’s Creative Space Sponsor.

｜9 ｜

｜ 1 0｜

｜1 1 ｜

90後演員問榮念曾 Questions to Danny Yung from post-90s performers

梅廷徽 Michael Mui 從1980年代到現在2010年代，你的創作有甚麼改變和發 展？

程朗 Tony Ching

From 1980s to 2010s, how have your creative works changed and developed?

你好。請問你貴庚？請問你退休後會留在香港嗎？

你認為80年代青年朋友跟現在的青年朋友有什麼分別？

你好。請問你喜歡莎士比亞嗎？請問你喜歡去茶樓飲茶 嗎？

What do you think is the difference between young people in the 1980s and now?

你好。請問你現在在想甚麼？ 你好。請問今天天氣好嗎？ 你好。請問你愉快嗎？ 你好嗎？ Hello. How old are you? Will you stay in Hong Kong after retirement?

Hello. Do you like Shakespeare? Do you like yum cha?

Hello. What are you thinking right now?

Hello. Is the weather nice today?

Hello. Are you happy?

How are you?

劇場能包含一切嗎？有什麼是你未曾放進去的？ 如果一切都是劇場，你是表演者之一嗎？ Can theatre be all-encompassing? What have you yet to include in theatre?

If all things are theatre, would you be one of the performers?

馬哥孛羅在馬上問他們十八羅漢暗渡陳倉藏 浪蠢愚癡降娛國誤港順民亂喪的手機爆亢狂 ｜ 1 2｜

吳璟琳 Vanessa Ng 我有咩缺點？ 我地有咩缺點？ 我地一齊work出來既野有咩缺點？ 劇場有咩缺點？ 聲音有咩缺點？ 身體有咩缺點？ …… 「缺點」有咩缺點？ What are the shortcomings of mine?

What are the shortcomings of ours?

江清蓉 Ellen Kong

What are the shortcomings of our work?

What are the shortcomings of theatre?

劇場對你來說「是甚麼？」

What are the shortcomings of sounds?

由甚麼時候愛上這個地方？

What are the shortcomings of the body?

What is theatre to you?

…

Since when did you fall in love with this place?

What are the shortcomings of “shortcomings”?

你有煩惱嗎？

有缺點是美好的嗎？

你鐘意咩顏色？

有缺點就是不完美嗎？

你鐘意聽咩歌？

有缺點就該除掉嗎？

Are you bothered by anything?

劇場有缺點是美好的嗎？

What colour do you like?

劇場有缺點就是不完美嗎？

What songs do you like?

劇場有缺點就該除掉嗎？ 我們有缺點是美好的嗎？ 我們有缺點就是不完美嗎？ 我們有缺點就該除掉嗎？ Is it good to have shortcomings?

Does having shortcomings make something imperfect?

Should we get rid of something if it has shortcomings?

Is it good that theatre has shortcomings?

Does having shortcomings make theatre imperfect?

Should we get rid of theatre if it has shortcomings?

Is it good that we have shortcomings?

Does having shortcomings make us imperfect?

Should we get rid of ourselves if we have shortcomings?

身火葬說四道三指馬為等待城邦的失心瘋 轟文藝何時復興為什麼大汗聽了滿頭大汗 ｜1 3 ｜

蔡雨田 Martin Choy 為甚麼用劇場問問題？ Why ask questions through theatre?

香港有你留戀的地方嗎?

Are there anything about Hong Kong that you couldn’t bear to part with?

葉珮君 Stephanie Ip 你最近在想甚麼問題？ 你的人生目標是甚麼？ 你在劇場中尋找甚麼？ What questions are you thinking about lately?

What are your life goals?

What are you searching for in theatre?

甚麼事情會令你最憤怒？ 假如你有一個願望可以達成，你會許甚麼願望？ What makes you angry?

If you were granted a wish, what wish would you make?

我們由身體語言探討舞台語言我們由集體 己身分認同聆聽他人聲音啟發我們包容視 ｜ 1 4｜

郭凱盈 Helen Kwok 創作時最難跨過的是甚麼？ What is the hardest thing to overcome in creative processes?

你生命中有沒有一些時刻放棄了創作？ Have there been moments in life when you have given up creating?

許民杰 Matt Hui Danny，為甚麼你這麼喜歡Coke Zero？ Danny, why do you like Coke Zero so much?

你怎樣看西九建故宮博物館？ 進念怎樣看西九建故宮博物館？ 知識份子怎樣看西九建故宮博物館？ 文化組織怎樣看西九建故宮博物館？ 我們應怎樣看西九建故宮博物館？ What do you think about the construction of Hong Kong Palace Museum at West Kowloon Cultural District?

What does Zuni Icosahedron think about it?

What do intellectuals think about it?

What do cultural organisations think about it?

What should we think about it?

創作開展劇場創作分析自己聲音確立自 野劇場空間公共空間顛覆傳統重構傳統 ｜1 5 ｜

李炎鑫 Terence Lee 看不見的城市真的是看不見？ 有沒有是看得見的城市？ 看得見的城市到底是怎樣？ Are invisible cities really invisible?

Are there any visible cities?

What are visible cities like?

香港的未來是否一片黑暗？ 怎樣可以令港人重視劇場？ 香港一切事物都會關聯到政治？

謝昊丹 Tse Ho Dan

藝術有冇一個既定答案？ 藝術到底有甚麼因素？

你一生中最喜歡哪一個意像？

創作是否要紀錄下來？

What is the one image you like most in your life?

Is Hong Kong doomed?

香港有沒有中國傳統？

How can we make Hong Kong people give more thoughts to theatre?

有沒有西方傳統？

Is everything in Hong Kong related to politics?

香港是否最好的跨文化創作基地？

Is there a definite answer in the arts?

Does Hong Kong have Chinese traditions?

What elements are there in the arts?

And western traditions?

Should creative works be documented?

Is Hong Kong a perfect place for cross-cultural creative work?

建築師藝術家共同發展未來公共空間科技 開拓辯證創作文字語言空間時間的框框都 ｜ 1 6｜

陳悠山 Jasmine Chan 戲劇對於社會有甚麼影響？ What is the impact of theatre on society?

甚麼驅使你以劇場

導演作為你的終生職業？

What made you want to pursue theatre / directing as your lifelong career?

許友權 Jack Hui 榮念曾你安於現狀嗎？ Danny, are you satisfied at where you are?

你理解青年人嗎？ Do you understand young people?

和藝術相互啟發未來發展借助應用新科技 是符號社會政治歷史記憶的框框也是符號 ｜1 7 ｜

許文壕 Hui Man Ho 如果你做solo，你會做尐乜？ 如果你係我地咁既年紀，你做既又會係乜？ 如果你係我地咁既年紀，你估您會同我地講乜？ If you have to do a solo piece, what would you do?

If you are at our age, what would you do?

If you are at our age, what would you say to us?

王小燕 Emily Wong

問問題本身其實冇問題，

你理想中的城市是怎樣的？

唔想問問題本身可能有尐問題，

What is your ideal city like?

你有冇試過追問問題既時候有人覺得你係麻煩友或者喺度玩野? 你點睇點應對?

你覺得香港可以怎樣救？

Asking questions is not a problem.

How do you think Hong Kong can be saved?

Not wanting to ask questions may be a bit of a problem.

Have you ever felt hostility from others when you try to pursue for an answer?

How do you deal with it?

文 章 文 字 都 是 載 體 劇 場 舞 台 都 是 載 體 載 體 也 是 內 容 載 體 內 容 互 動 也 是 內 容 ｜ 1 8｜

許敖山 Nerve Hui｜作曲 Music Composer 許敖山（代號 Nerve）生於香港，香港演藝學院作曲及電子音樂碩士，經常以多重身份遊走 於現代音樂、聲音藝術、多媒體劇場及地下文化之間，專注混合藝術形式、跨越界別及實 驗傳統。主要作品包括《1984》電影歌劇、與龔志成合作《家•春•秋》現場電影配樂、 邵逸夫創意媒體中心開幕節目《四象萬相》及多媒體歌劇《利瑪竇的記憶宮殿》。 Steve Hui (a.k.a. Nerve) is a multidisciplinary artist whose practice mines the boundaries between contemporary music, sound art, multimedia theatre and underground subcultures.

His main interests are crossing boundaries, experimenting tradition, remixing art forms, and connecting peoples. He received his master in composition and electronic music from the Hong Kong Academy for Performing Arts. His recent works included cinematic opera 1984, digital opera The Memory Palace of Matteo Ricci, live soundtrack of 1950s films Family, Spring, Autumn, and The Four Infinities for the opening of the Run Run Shaw Creative Media Centre.

王梓駿 Isaac Wong｜佈景及道具設計 Set and Props Designer 王梓駿畢業於香港演藝科藝學院（一級榮譽），主修舞台設計。現為自由身舞台設計師。 舞台設計包括︰2010年，劇場空間《喜靈州……分享夜》；2011年，香港話劇團《最後晚 餐》；2012年，香港話劇團《半天吊的流浪貓》，劇道場《想變成人的貓》，陳淑莊《講 女烈傳之戴錯嘢夫人》，心創作劇場《失身1234》；2013 年，香港話劇團《八樓半的密 室》和《危樓》，陳淑莊《講女烈傳貳之出得口黎環》，心創作劇場《伊甸》；2014年，劇 場空間《8美猜凶》，劇道場《聖女貞德》，藝君子劇團《捉你生日快樂》，一舖清唱《大 殉情》；2015年，藝君子劇團《恐怖罐頭》，香港話劇團《引狼入室》，靈火文化《救恩神 曲》，思定劇社《香江歲月情》，Metro-Holik Studio《康橋告別式》重演；2016年，劇道場 《我愛Meow星人》，風車草劇團《碧蓮與威潔》。此外，亦曾為香港電視《4年B班》中擔任 美術指導。 Isaac Wong graduated with First-class Honours from The Hong Kong Academy for Performing Arts, majoring in Theatre Design. He is currently working as a freelancer. His set design works include Fringe Club’s Ho Chi Minh In Hong Kong, Horror Estate & Tomb of Horror in Ocean Park Halloween, Augustine Drama’s St Augustine , Chivalry Creative Theatre’s Edo Legendaries , Theatre Space’s Nunsense and The Eight Femme , Hong Kong Repertory Theatre’s Last Supper, Desert the Dangling Cat and Secret of the 8 1/2 Floor , Theatre Dojo’s The Cat & The Solitary Man, St Joan , Bravo Theatre’s My First Time , Pleroma Theatre Production’s Eden , and Artocrite Theater’s The Birthday Party .

鄭運蓮 Twinny Cheng @ Favour Production｜服裝設計 Costume Designer Favour Production創立者。2006年畢業於香港演藝學院，主修舞台設計，並獲舞台設計藝術 學士（榮譽）學位。現為時裝指導，舞台及服裝設計師，曾擔任多個歌劇、話劇及歌舞劇 的服裝設計，如《再 起舞》、《橋王闖情關》、《天堂與地獄》、《巴黎人生》、《風流寡婦》、 《ASM造世界》、《森林王子》、《花木蘭》、《史諾比》、《履奇緣》、《小木偶》、《想做大個 仔》、《小魚仙》、《美女與野獸》、進念•二十面體製作的《東宮西宮》系列（2008-2015）、 《樓市怪談2010》、《唱K回憶錄》、《資本主義喜劇》、《如夢幻泡影》、《拍案驚奇》等、 《壹》舞台及服裝設計、《侯貝多•如戈》、《粵劇選段》（2005年5月）及《約瑟與神奇彩 衣》的舞台設計。 Founder of Favour Production. Graduated from Bachelor of Art (Hons) in Film and Theatre Design at Hong Kong Academy for Performing Arts in 2006. Fashion stylist, set and costume designer in theatre, advertising and event production. Theatrical experiences include set and costume design for modern dance Solo Act ; costume design for opera Serse, Orphee Aux Enfers, La Vie Parisienne, La Veuve Joyeuse , drama The Life and Death of Almost Everybody , Zuni Icosahedron’s production East Wing West Wing (series 2008-2015), The Agent 2010, Remembrance of Karaoke Past, The Divine Comedy of Capitalism, Dream Illusion Bubble Shadow, The Trial , musical Again．Dance, Jungle Book, Mulan, Snoopy, Cinderella, Pinocchio, Big , the musical, The Little Mermaid ; and set design for Cantonese Opera Experts (May 2005), Roberto Zucco and Joseph and the Amazing Technicolor Dreamcoat.

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張素兒 Zoe Cheung｜燈光設計 Lighting Designer 畢業於香港演藝學院科藝學院，獲頒藝術學士（榮譽）學位，主修舞台燈光設計。近期 參與製作包括；進念．二十面體《舞仕烈傳》、《春之祭》、浪人劇場《心林》（香港及關 渡藝術節）等。2015年赴波蘭參與Teatr Tańca Zawirowania舞蹈節為香港團隊之執行燈光 設計。曾獲邀赴馬來西亞為Dancetheatre Tostyle參與Sibu International Dance Festival，為 《Memento Mori》 、 《When Time Limps》等舞蹈作品任燈光設計。2008 年起與香港藝術家林 嵐合作，包括去年於台北當代藝術館 MOCA Taipei 《以藝術之名 香港當代藝術展》林嵐合 作社作品之燈光設計。亦曾於「末日牛棚異境」《寂靜之光之紫色火焰》作現場曼陀羅創 作。曾舉辦展覽 《尋找體內神聖幾何之曼陀羅觀賞展覽》，現繼續透過繪畫曼陀羅的方式 去探索存在的種種。 Graduated from Hong Kong Academy for Performing Arts in Theatre Lighting Design in 2010.

Participated in productions including Zuni Icosahedron’s The World According to Dance, The Rite of Spring & Theatre Ronin’s Nature (Hong Kong & Kuandu Arts Festival) etc. In 2015 June, Zoe was the re-light designer in Poland’s Teatr Tańca Zawirowania Dance Festival for the Hong Kong group. Besides theatre productions, Zoe held a Mandala drawings exhibition “Sacred Geometry Journey Mandala Exhibition” in 2012. She also collaborated with Hong Kong artist Jaffa Lam in installation lighting design in MOCA Taipei 2015.

林方芽 Wild Lin｜錄像設計 Video Designer 正在學習電影創作和探索劇場的年輕人。 A young person who is studying film creation and theatre exploring.

李浩賢 Lawrence Lee｜製作經理 Production Manager 李浩賢畢業於香港演藝學院科藝學院，獲舞台管理榮譽學位。1997年得成龍慈善基金獎學 金前赴紐約在America Opera Projects, Inc作舞台監督實習。2001年榮獲第十屆香港舞台劇 之「優秀青年舞台管理獎」。曾為多個本地表演團體擔任製作經理、舞台監督及執行舞台 監督。包括：香港戲劇協會、劇場空間、劇場工作室、演戲家族、海豹劇團、進劇場、前 進進劇場工作坊、香港小莎翁戲劇會、香港小交響樂團、進念．二十面體、非常林奕華、 香港芭蕾舞學會、YURIandcompanydanciNG、不加鎖舞踊館、多空間及雛鳳鳴劇團 (任白 慈善基金製作)。海外製作包括：德國《香港柏林當代文化節》、台北非常林奕華《快樂 王子》、《潘迪華•半世紀•音樂情緣》演唱會澳門演出、香港戲劇協會《金池塘》之澳 門、昆明、神戶巡迴演出。亦曾為香港電影資料館《邵氏星河圖》擔任展覽設計、陳奕迅 《The Easy Ride》演唱會意念編排、伍宇烈舞蹈作品《春之祭》及香港芭蕾舞團（外展部） 《仙履奇緣》任服裝設計。現為自由工作者。 Lawrence Lee graduated from the Hong Kong Academy for Performing Arts with a BFA (Hons) degree in Stage Management. As a recipient of the Jackie Chan Charitable Foundation Scholarship, he interned in New York for America Opera Projects, Inc as Stage Manager in 1997.

In 2001, he received 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, including: Hong Kong Federation of Drama Societies, Theatre Space, Drama Gallery, Actors’ Family, Seals Players Foundation, Theatre du Pif, On and On Theatre Workshop, Shakespeare4All, Hong Kong Sinfonietta, Zuni Icosahedron, Edward Lam Dance Theatre, Hong Kong Ballet Group, YURIandcompanydanciNG, Unlock Dancing Plaza, Y-Space, and Chor Fung Ming Cantonese Opera Company (Yam Pak Charitable Foundation’s production). Overseas projects include: Festival of Vision – HK in Berlin , Edward Lam’s Happy Prince Taipei tour, The One and Only Rebecca Pan & Big Band Concert Macau production and On Golden Pond overseas tour. Lawrence is currently working as a freelancer.

陳斯琹 Zeta Chan｜舞臺監督 / 執行舞臺監督 Stage Manager / Deputy Stage Manager 畢業於澳洲La Trobe University主修傳理系及電影系。於不同劇團擔任後台工作。 全職自由身工作者。 Graduated from La Trobe University in Australia, majoring in Media Studies & Cinema Studies.

Worked with different theatre companies in the backstage team. Freelancer. ｜ 2 0｜

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