2
關於「賽馬會藝壇新勢力」
About JOCKEY CLUB New Arts Power 4
關於香港藝術發展局
About Hong Kong Arts Development Council 6 「風平草動」系列簡介
About“Wild is the Grass”Series
8
策劃人語
Curator's Note 10
浩浩傳奇 Legend of Hao Hao
22
樂園（終章） Paradise: Epilogue
34
報告 1 Report i - Which I am I
46
恨鐵不成鋼 Fe + C... ➡ Steel?
56
製作團隊
楊浩 Yang Hao // 胡境陽 Wu King-yeung
Jabin Law // 陳冠而 Chan Kwun-fee
林俊浩 Ivanhoe Lam // 李穎蕾 Santayana Li
黃俊達 @ 綠葉劇團 Ata Wong@Théâtre de la Feuille
About Production Team
2
關於「賽馬會藝壇新勢力」
About JOCKEY CLUB New Arts Power 4
關於香港藝術發展局
About Hong Kong Arts Development Council 6 「風平草動」系列簡介
About“Wild is the Grass”Series
8
策劃人語
Curator's Note 10
浩浩傳奇 Legend of Hao Hao
22
樂園（終章） Paradise: Epilogue
34
報告 1 Report i - Which I am I
46
恨鐵不成鋼 Fe + C... ➡ Steel?
56
製作團隊
楊浩 Yang Hao // 胡境陽 Wu King-yeung
Jabin Law // 陳冠而 Chan Kwun-fee
林俊浩 Ivanhoe Lam // 李穎蕾 Santayana Li
黃俊達 @ 綠葉劇團 Ata Wong@Théâtre de la Feuille
About Production Team
賽馬會藝壇新勢力 香港藝術發展局（藝發局）珍視本地藝術，不遺餘力地培育創意人才，近年積極向
國際藝壇引介優秀的香港藝術家，展出作品媒介及風格多樣，於海外各大藝術節 及展演平台綻放異彩。
過去數年在藝發局的推動下，香港藝術家足跡踏遍韓國首爾表演藝術博覽會、釜
山國際舞蹈博覽會、光州雙年展、德國杜塞爾多夫國際舞蹈博覽會、澳洲阿德萊
德澳亞藝術節、中國深圳當代戲劇雙年展、台北關渡藝術節、英國倫敦「香港音 樂系列」等，讓海外同業以至普羅觀眾有機會欣賞到香港引以為傲的藝術精萃。
有賴香港賽馬會慈善信託基金的捐助支持，這些踏足國際藝壇的藝術節目本年度
載譽歸來，回饋本地觀眾。第二屆「賽馬會藝壇新勢力」將呈獻共十個節目，形
式涵蓋音樂、劇場演出、戲曲、多媒體藝術展覽及當代舞，皆是生於斯長於斯的
藝術家為我城譜下的情書。
此外，為了與不同社群分享藝術所帶來的喜悅，藝術團體將與社福、學界及商界
合作，額外籌劃超過一百五十多節形式多元的社區和學校活動。藝術與生活由此 融匯。
由 2018 年 9 月至 2019 年 1 月，十二個完成海外旅程的精英創作單位回航我城，
接力呈獻本地藝術創作。參與是次豐盛多元的活動，投入你的藝術時刻，飽覽不 一樣的城市風景！
JOCKEY CLUB NEW ARTS POWER Hong Kong Arts Development Council (HKADC) cherishes the unique beauty of local arts and is devoted to the cultivation of creative talents. In recent years, HKADC has taken an active role in introducing outstanding local artists to the global art scene. With their diversified media and styles, the artists’ works shone at overseas arts festivals and are well-received across different platforms. With the support of HKADC over the past few years, Hong Kong artists have showcased their works in the Performing Arts Market in Seoul (PAMS), Busan International Dance Market (BIDAM), Gwangju Biennale in Korea, internationale tanzmesse nrw in Düsseldorf, Germany, OzAsia Festival in Adelaide, Australia, Shenzhen Contemporary Theatre Biennale in China, Kuandu Arts Festival in Taipei and Hong Kong Music Series in London, United Kingdom. These international events allow overseas audience practitioners as well as the general public to enjoy the finest works of art that are proudly created in Hong Kong. Funded by The Hong Kong Jockey Club Charities Trust, these critically acclaimed works are returning to their birthplace, where they will be presented to the local audience at the second JOCKEY CLUB New Arts Power. The upcoming arts festival consists of 10 programmes, including music, theatre, xiqu, multimedia arts and contemporary dance. The artists, born and raised in Hong Kong, see their works as a means to communicate and correspond with their hometown. Apart from the original shows, the art groups in collaboration with the social welfare, academic and commercial sectors, will also put together over 150 community and school programmes, spreading the joy of art to people from different communities, and allowing art and life to enrich one another. Returning from their overseas tours, 12 local creative units will take turns to present their best works from September 2018 to January 2019. Engage in your artistic moments by joining the Festival, and indulge in this extraordinary cityscape!
2
3
賽馬會藝壇新勢力 香港藝術發展局（藝發局）珍視本地藝術，不遺餘力地培育創意人才，近年積極向
國際藝壇引介優秀的香港藝術家，展出作品媒介及風格多樣，於海外各大藝術節 及展演平台綻放異彩。
過去數年在藝發局的推動下，香港藝術家足跡踏遍韓國首爾表演藝術博覽會、釜
山國際舞蹈博覽會、光州雙年展、德國杜塞爾多夫國際舞蹈博覽會、澳洲阿德萊
德澳亞藝術節、中國深圳當代戲劇雙年展、台北關渡藝術節、英國倫敦「香港音 樂系列」等，讓海外同業以至普羅觀眾有機會欣賞到香港引以為傲的藝術精萃。
有賴香港賽馬會慈善信託基金的捐助支持，這些踏足國際藝壇的藝術節目本年度
載譽歸來，回饋本地觀眾。第二屆「賽馬會藝壇新勢力」將呈獻共十個節目，形
式涵蓋音樂、劇場演出、戲曲、多媒體藝術展覽及當代舞，皆是生於斯長於斯的
藝術家為我城譜下的情書。
此外，為了與不同社群分享藝術所帶來的喜悅，藝術團體將與社福、學界及商界
合作，額外籌劃超過一百五十多節形式多元的社區和學校活動。藝術與生活由此 融匯。
由 2018 年 9 月至 2019 年 1 月，十二個完成海外旅程的精英創作單位回航我城，
接力呈獻本地藝術創作。參與是次豐盛多元的活動，投入你的藝術時刻，飽覽不 一樣的城市風景！
JOCKEY CLUB NEW ARTS POWER Hong Kong Arts Development Council (HKADC) cherishes the unique beauty of local arts and is devoted to the cultivation of creative talents. In recent years, HKADC has taken an active role in introducing outstanding local artists to the global art scene. With their diversified media and styles, the artists’ works shone at overseas arts festivals and are well-received across different platforms. With the support of HKADC over the past few years, Hong Kong artists have showcased their works in the Performing Arts Market in Seoul (PAMS), Busan International Dance Market (BIDAM), Gwangju Biennale in Korea, internationale tanzmesse nrw in Düsseldorf, Germany, OzAsia Festival in Adelaide, Australia, Shenzhen Contemporary Theatre Biennale in China, Kuandu Arts Festival in Taipei and Hong Kong Music Series in London, United Kingdom. These international events allow overseas audience practitioners as well as the general public to enjoy the finest works of art that are proudly created in Hong Kong. Funded by The Hong Kong Jockey Club Charities Trust, these critically acclaimed works are returning to their birthplace, where they will be presented to the local audience at the second JOCKEY CLUB New Arts Power. The upcoming arts festival consists of 10 programmes, including music, theatre, xiqu, multimedia arts and contemporary dance. The artists, born and raised in Hong Kong, see their works as a means to communicate and correspond with their hometown. Apart from the original shows, the art groups in collaboration with the social welfare, academic and commercial sectors, will also put together over 150 community and school programmes, spreading the joy of art to people from different communities, and allowing art and life to enrich one another. Returning from their overseas tours, 12 local creative units will take turns to present their best works from September 2018 to January 2019. Engage in your artistic moments by joining the Festival, and indulge in this extraordinary cityscape!
2
3
關於香港藝術發展局 香港藝術發展局（藝發局）於 1995 年成立，是政府指定全方位發展香港藝術的 法定機構。藝發局的角色包括資助、政策及策劃、倡議、推廣及發展、策劃活
動等。
藝發局的使命為策劃、推廣及支持包括文學、表演藝術、視覺藝術、電影及媒體
藝術之發展，促進和改善藝術的參與和教育、鼓勵藝術評論、提升藝術行政之水 平及加強政策研究工作，務求藉藝術發展提高社會的生活質素。
為可達至推動藝團發展、提升藝術水平、開拓藝術家的發展空間之三大目標，本 屆將採取以下的發展策略：
扶植具潛質的藝術家 / 藝團，培育卓越發展 推動藝術行政，提升藝團的管理能力 關注藝術環境，提出政策建議 擴闊參與群眾，開拓藝術空間 締結策略伙伴，凝聚藝術資源
ABOUT HONG KONG ARTS DEVELOPMENT COUNCIL Established in 1995, the Hong Kong Arts Development Council (HKADC) is a statutory body set up by the Government to support the broad development of the arts in Hong Kong. Its major roles include grant allocation, policy and planning, advocacy, promotion and development, and programme planning. The mission of HKADC is to plan, promote and support the broad development of the arts including literary arts, performing arts, visual arts as well as film and media arts in Hong Kong. Aiming to foster a thriving arts environment and enhancing the quality of life of the public, HKADC is also committed to facilitating community-wide participation in the arts and arts education, encouraging arts criticism, raising the standard of arts administration and strengthening the work on policy research. To achieve the three major goals of fostering the development of arts groups, raising the level of artistic standards and exploring development opportunities for artists, the following development strategies will be formulated: Supporting promising artists and arts groups for artistic pursuits Promoting arts administration to improve the management of arts groups Focusing on the arts environment and proposing policy recommendations Enhancing public participation and exploring arts space Fostering strategic partnerships and bringing arts resources together
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5
關於香港藝術發展局 香港藝術發展局（藝發局）於 1995 年成立，是政府指定全方位發展香港藝術的 法定機構。藝發局的角色包括資助、政策及策劃、倡議、推廣及發展、策劃活
動等。
藝發局的使命為策劃、推廣及支持包括文學、表演藝術、視覺藝術、電影及媒體
藝術之發展，促進和改善藝術的參與和教育、鼓勵藝術評論、提升藝術行政之水 平及加強政策研究工作，務求藉藝術發展提高社會的生活質素。
為可達至推動藝團發展、提升藝術水平、開拓藝術家的發展空間之三大目標，本 屆將採取以下的發展策略：
扶植具潛質的藝術家 / 藝團，培育卓越發展 推動藝術行政，提升藝團的管理能力 關注藝術環境，提出政策建議 擴闊參與群眾，開拓藝術空間 締結策略伙伴，凝聚藝術資源
ABOUT HONG KONG ARTS DEVELOPMENT COUNCIL Established in 1995, the Hong Kong Arts Development Council (HKADC) is a statutory body set up by the Government to support the broad development of the arts in Hong Kong. Its major roles include grant allocation, policy and planning, advocacy, promotion and development, and programme planning. The mission of HKADC is to plan, promote and support the broad development of the arts including literary arts, performing arts, visual arts as well as film and media arts in Hong Kong. Aiming to foster a thriving arts environment and enhancing the quality of life of the public, HKADC is also committed to facilitating community-wide participation in the arts and arts education, encouraging arts criticism, raising the standard of arts administration and strengthening the work on policy research. To achieve the three major goals of fostering the development of arts groups, raising the level of artistic standards and exploring development opportunities for artists, the following development strategies will be formulated: Supporting promising artists and arts groups for artistic pursuits Promoting arts administration to improve the management of arts groups Focusing on the arts environment and proposing policy recommendations Enhancing public participation and exploring arts space Fostering strategic partnerships and bringing arts resources together
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5
翻越語言身體音樂界限 高牆下醞釀的四種躁動 野草，在自由曠野、在石屎隙縫之間、在不以為然之際，總會驟然成長。 野草，作為一種喻象，總在規範之中找到空間。
Across the boundaries between language, body and music Four forces spin up the high brick ward Wild grass, over the boundless wasteland, in between the concrete’s fissures, through the obscure moments, grows all in a sudden. Wild grass, as a metaphor, reaches out to its own space regardless of physical constraints.
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7
翻越語言身體音樂界限 高牆下醞釀的四種躁動 野草，在自由曠野、在石屎隙縫之間、在不以為然之際，總會驟然成長。 野草，作為一種喻象，總在規範之中找到空間。
Across the boundaries between language, body and music Four forces spin up the high brick ward Wild grass, over the boundless wasteland, in between the concrete’s fissures, through the obscure moments, grows all in a sudden. Wild grass, as a metaphor, reaches out to its own space regardless of physical constraints.
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策劃人語 Curator’s Note 黎蘊賢 Orlean Lai
嚴格來說，「風平草動」並不是「前題」。
個人而言，並不習慣命題式聯展，卻喜歡就不同創作人的質地，體察他們在關心 的、在思考的，從這些基礎上找試點。因應各自的創作質感與方向，尋找協作的
可能，偶爾嘗試做媒。
這次在籌備之初，找來閒談的創作人無獨有偶地，都在思考一些相類近的問題：
作為創作人、作為一個人，可以在這個地方、這個環境、這個氣候、這個地球，
如何自處？繼續走下去？一切看似平靜安好，卻沒有完全感到欣欣向榮的喜悅，
隱隱地感受到自身像是處於一個極巨大的暴風眼之中。這個高氣壓的狀況，引發 的躁動，要如何適應、回應？然後呢？
楊浩，從自身出發，在搞笑自嘲中述說自己在香港甚或海外，被識別出來的種種
標籤：「來自中國 / 內地」、「當代舞」、「獨立舞者」還有他真實面對著關於生活
與生存空間的困難。加入聯合創作人胡境陽，令本來看似事不關己的別人故事， 奇幻地貼地呈現在你與我之中。出路，有嗎？
林俊浩，借來卡夫卡的短篇《為某科學院寫的一份報告》發揮：猿人如何學習、
改變、適應、相信自己已成為人的過程是怎樣的？現今，可能不再需要特定機關
或制度去訓練塑造，自我在日常的扮演，或許比舞台上的表演，更具表演性。最
後，何謂選擇與自由？
Jabin Law 的音樂靈感，本身就是來自受壓抑的人群，來到一個前監獄的場所，
自然成了一種喻象。這次加入了劇場導演陳冠而，共同放下說唱、語言等敘事演
繹，選擇更基本的形體與音樂去表達一種狀態，面對末世已然緩緩到來當中的想 像。從噩夢中醒來，就會是現實嗎？
黃俊達與綠葉劇團，一貫地表達社會性的關注，對香港不同狀況的觀察，都教他 有一種「恨鐵不成鋼」的感慨。沒有選擇悲觀憤世，對未來繼續保持盼望，要如 何才能夠鍊成？
似是無力卻又隱含著一股能量，是絕望又同時祈望的複雜情感，形成四種強度不 一的躁動。四組完全不同路向的創作，非常形體，又不止於此。衍生四種不同界
限的翻越，是內容亦是形式上的試探。
最後，感謝香港藝術發展局給予的信任及支持，讓這些嘗試可以在此分享。亦多 謝製作團隊各人施展三頭六臂，分身照顧了幾個製作。
direction, my aim is to open up possible ways of collaboration, and to connect creative people like being a matchmaker. It was all about coincidence. At the very beginning, it came to my surprise that all the artists invited to take part in this project were thinking about some very similar questions on our own, that asked, as a creativity driver and a human being, how do we find our positions at this very moment, with respect to environment, atmosphere and all the urgent matters in Hong Kong and on the earth? Should we just keep moving forward? Everything looks peaceful from the surface, yet nobody feels joyful nor enlivened, just like being in the temporary calmness inside the eye of the storm. How is such incitement going to be adjusted and responded? And so, what will happen next? Through comedic and satirical expression from a personal perspective, Yang Hao tackles multiple identifies as mainland Chinese, contemporary dancer and independent artist labeled by people he met in local and overseas occasions, and touches on the pragmatic issues such as challenges and ambiguities of daily life and survival tactics. Co-created by Wu King-yeung, an odd story of a stranger magically converts to a domestic business with every essential relevance to you and I. Is there a way out from such situation at all? Inspired by Franz Kafka’s short story A Report to an Academy, Ivanhoe Lam accordingly explores the evolution of apes in terms of learning, changing, adapting and believing. While institutional training and systematic molding may soon be considered unnecessary, today’s performance in daily life perhaps yields higher level of performativity than those executed in theatre. In the end, how will choices and freedom matter? The musical inspiration of Jabin Law originates from the suppressed minority. Delivering a work in the territory of prison further emphasizes on the metaphorical condition of his music. Collaborating with theatre director Chan Kwun-fee, the duo reduces narrative elements such as lyric and speech and return to the minimal state of body and music as the primary language of the performance, as a response to the imagination promoted at the gradual arrival of the end of the world. Once we woke up from the nightmare, can we really define the real and the surreal? Diligent social observers Ata Wong and Theâtre de la Feuille often carry the mixed feelings of ‘hate iron for not becoming steel’, a Chinese proverb that describes someone being disappointed but not hopeless over one’s underperformance, towards almost every situation of nowadays Hong Kong. They prefer keeping faith to losing hope, but how is it possible to even conjure such spirit? Apparently powerless yet subtly potent, the contradicting consciousness of hope and despair progress into four solitary incitements of different intensity. Although the four pieces may seem isolated from each other, they all heavily focus on body movement, and a lot more to be explained. Crossing over and beyond the four distinct boundaries, this is an experimental caravan of content and form.
Technically speaking, Wild is the Grass is not a ‘precondition’ of the topic. I am not used to the propositional approach to curate a project, but rather interested in exploring a genuine starting point that is based on the characters, thoughts and concerns of major collaborating artist involved. Traversing the aesthetic journey guided naturally by everyone’s unique material and
8
Last but not least, I must thank Hong Kong Arts Development Council for their trust and support in making this creative collision possible. I also want to thank all the production team members for their continuous devotion, passion and professionalism in taking care of these multiple productions at the same time.
9
策劃人語 Curator’s Note 黎蘊賢 Orlean Lai
嚴格來說，「風平草動」並不是「前題」。
個人而言，並不習慣命題式聯展，卻喜歡就不同創作人的質地，體察他們在關心 的、在思考的，從這些基礎上找試點。因應各自的創作質感與方向，尋找協作的
可能，偶爾嘗試做媒。
這次在籌備之初，找來閒談的創作人無獨有偶地，都在思考一些相類近的問題：
作為創作人、作為一個人，可以在這個地方、這個環境、這個氣候、這個地球，
如何自處？繼續走下去？一切看似平靜安好，卻沒有完全感到欣欣向榮的喜悅，
隱隱地感受到自身像是處於一個極巨大的暴風眼之中。這個高氣壓的狀況，引發 的躁動，要如何適應、回應？然後呢？
楊浩，從自身出發，在搞笑自嘲中述說自己在香港甚或海外，被識別出來的種種
標籤：「來自中國 / 內地」、「當代舞」、「獨立舞者」還有他真實面對著關於生活
與生存空間的困難。加入聯合創作人胡境陽，令本來看似事不關己的別人故事， 奇幻地貼地呈現在你與我之中。出路，有嗎？
林俊浩，借來卡夫卡的短篇《為某科學院寫的一份報告》發揮：猿人如何學習、
改變、適應、相信自己已成為人的過程是怎樣的？現今，可能不再需要特定機關
或制度去訓練塑造，自我在日常的扮演，或許比舞台上的表演，更具表演性。最
後，何謂選擇與自由？
Jabin Law 的音樂靈感，本身就是來自受壓抑的人群，來到一個前監獄的場所，
自然成了一種喻象。這次加入了劇場導演陳冠而，共同放下說唱、語言等敘事演
繹，選擇更基本的形體與音樂去表達一種狀態，面對末世已然緩緩到來當中的想 像。從噩夢中醒來，就會是現實嗎？
黃俊達與綠葉劇團，一貫地表達社會性的關注，對香港不同狀況的觀察，都教他 有一種「恨鐵不成鋼」的感慨。沒有選擇悲觀憤世，對未來繼續保持盼望，要如 何才能夠鍊成？
似是無力卻又隱含著一股能量，是絕望又同時祈望的複雜情感，形成四種強度不 一的躁動。四組完全不同路向的創作，非常形體，又不止於此。衍生四種不同界
限的翻越，是內容亦是形式上的試探。
最後，感謝香港藝術發展局給予的信任及支持，讓這些嘗試可以在此分享。亦多 謝製作團隊各人施展三頭六臂，分身照顧了幾個製作。
direction, my aim is to open up possible ways of collaboration, and to connect creative people like being a matchmaker. It was all about coincidence. At the very beginning, it came to my surprise that all the artists invited to take part in this project were thinking about some very similar questions on our own, that asked, as a creativity driver and a human being, how do we find our positions at this very moment, with respect to environment, atmosphere and all the urgent matters in Hong Kong and on the earth? Should we just keep moving forward? Everything looks peaceful from the surface, yet nobody feels joyful nor enlivened, just like being in the temporary calmness inside the eye of the storm. How is such incitement going to be adjusted and responded? And so, what will happen next? Through comedic and satirical expression from a personal perspective, Yang Hao tackles multiple identifies as mainland Chinese, contemporary dancer and independent artist labeled by people he met in local and overseas occasions, and touches on the pragmatic issues such as challenges and ambiguities of daily life and survival tactics. Co-created by Wu King-yeung, an odd story of a stranger magically converts to a domestic business with every essential relevance to you and I. Is there a way out from such situation at all? Inspired by Franz Kafka’s short story A Report to an Academy, Ivanhoe Lam accordingly explores the evolution of apes in terms of learning, changing, adapting and believing. While institutional training and systematic molding may soon be considered unnecessary, today’s performance in daily life perhaps yields higher level of performativity than those executed in theatre. In the end, how will choices and freedom matter? The musical inspiration of Jabin Law originates from the suppressed minority. Delivering a work in the territory of prison further emphasizes on the metaphorical condition of his music. Collaborating with theatre director Chan Kwun-fee, the duo reduces narrative elements such as lyric and speech and return to the minimal state of body and music as the primary language of the performance, as a response to the imagination promoted at the gradual arrival of the end of the world. Once we woke up from the nightmare, can we really define the real and the surreal? Diligent social observers Ata Wong and Theâtre de la Feuille often carry the mixed feelings of ‘hate iron for not becoming steel’, a Chinese proverb that describes someone being disappointed but not hopeless over one’s underperformance, towards almost every situation of nowadays Hong Kong. They prefer keeping faith to losing hope, but how is it possible to even conjure such spirit? Apparently powerless yet subtly potent, the contradicting consciousness of hope and despair progress into four solitary incitements of different intensity. Although the four pieces may seem isolated from each other, they all heavily focus on body movement, and a lot more to be explained. Crossing over and beyond the four distinct boundaries, this is an experimental caravan of content and form.
Technically speaking, Wild is the Grass is not a ‘precondition’ of the topic. I am not used to the propositional approach to curate a project, but rather interested in exploring a genuine starting point that is based on the characters, thoughts and concerns of major collaborating artist involved. Traversing the aesthetic journey guided naturally by everyone’s unique material and
8
Last but not least, I must thank Hong Kong Arts Development Council for their trust and support in making this creative collision possible. I also want to thank all the production team members for their continuous devotion, passion and professionalism in taking care of these multiple productions at the same time.
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11
當代舞 x 棟篤笑 ！
昨有星爺少林功夫加足球
今有楊浩當代舞乘棟篤笑！ 楊 浩 與 Alice Rensy 在 2018 年 展 開 的 新 方 向， 將「 棟 篤 笑 」（Stand-up Comedy）融入當代舞蹈劇場，泡製出全新品種 — Dance-up comedy ！
《浩浩傳奇》關於楊浩對自己作為藝術家這身分的批判思考，及他平時無聊時候的 忽發奇想，加上無業遊民胡境陽協力，共同創作了一個不切實際、悲喜交雜的角 色 — 浩浩。
浩浩身處歷史洪流之中，身心受中西文化所衝擊，靈魂被藝術理想與低收入現實 撕裂，無計可施，唯有放手一搏，實行替裂開兩半的自己黐膠紙，黏連舞與笑
話，對抗下流氣候，舞出理想人生！
* 同場加映攞命短片，識笑好好笑，唔好笑唔准叫。
25/1 27/1
五
FRI
7:30pm
SUN
6:00pm
日
廣東話演出，不設字幕 Performed in Cantonese with NO subtitles.
概念 / 編舞 / 演出 Concept:
楊浩 Yang Hao 概念 Concept:
Alice Rensy
聯合創作 Co-writer:
胡境陽 Wu King-yeung
編舞及演出 Choreography & Performance:
李拓坤 Li Tuo-kun
影片客串演出 Special Appearance in video:
Jonathan G Spigner 彭俊傑 Christopher Pang Bryan Bentley Luis Cabrera
Before, there was Stephen Chow’s Shaolin Soccer. Today, here’s Yang Hao and his contemporary dance-up comedy!
錄像攝影 Cinematographer:
Yang Hao and Alice Rensy blazed a new trail in 2018, fusing stand up comedy with contemporary dance theatre to create a new breed of theatre— dance-up comedy!
作曲 Composer:
Legend of Hao Hao combines Yang Hao’s critique of his own identity as an artist and sudden inspirations that come of boredom life. In collaboration with a free-spirited theatre playwright - Wu King-yeung, a new character full of Quixotic pathos is born: Hao Hao. Hao Hao finds himself in the tide of history, caught in the midst of clashing Eastern and Western cultures. His soul is torn apart by artistic ideals and the reality of a low-income life, and with nothing left to lose, he takes a risk and attempts to duct-tape his split selves back together. In a fusion of dance and laughs, he rebels against the common crowd, and lets loose his truest ideals!
Andreas Guzman（美國 US） Christopher Ross Ewart （加拿大 Canada）
形象設計 Image Designer:
馬嘉裕 Trista Ma
舞台監督 Stage Manager:
盧子晴 Zita Lo
助理舞台監督 Assistant Stage Manager:
黃子晉 Zac Wong 何沅穎 Jaime Ho
* Together with awfully hilarious short videos. 100% satisfaction guaranteed. No refund though.
12
13
當代舞 x 棟篤笑 ！
昨有星爺少林功夫加足球
今有楊浩當代舞乘棟篤笑！ 楊 浩 與 Alice Rensy 在 2018 年 展 開 的 新 方 向， 將「 棟 篤 笑 」（Stand-up Comedy）融入當代舞蹈劇場，泡製出全新品種 — Dance-up comedy ！
《浩浩傳奇》關於楊浩對自己作為藝術家這身分的批判思考，及他平時無聊時候的 忽發奇想，加上無業遊民胡境陽協力，共同創作了一個不切實際、悲喜交雜的角 色 — 浩浩。
浩浩身處歷史洪流之中，身心受中西文化所衝擊，靈魂被藝術理想與低收入現實 撕裂，無計可施，唯有放手一搏，實行替裂開兩半的自己黐膠紙，黏連舞與笑
話，對抗下流氣候，舞出理想人生！
* 同場加映攞命短片，識笑好好笑，唔好笑唔准叫。
25/1 27/1
五
FRI
7:30pm
SUN
6:00pm
日
廣東話演出，不設字幕 Performed in Cantonese with NO subtitles.
概念 / 編舞 / 演出 Concept:
楊浩 Yang Hao 概念 Concept:
Alice Rensy
聯合創作 Co-writer:
胡境陽 Wu King-yeung
編舞及演出 Choreography & Performance:
李拓坤 Li Tuo-kun
影片客串演出 Special Appearance in video:
Jonathan G Spigner 彭俊傑 Christopher Pang Bryan Bentley Luis Cabrera
Before, there was Stephen Chow’s Shaolin Soccer. Today, here’s Yang Hao and his contemporary dance-up comedy!
錄像攝影 Cinematographer:
Yang Hao and Alice Rensy blazed a new trail in 2018, fusing stand up comedy with contemporary dance theatre to create a new breed of theatre— dance-up comedy!
作曲 Composer:
Legend of Hao Hao combines Yang Hao’s critique of his own identity as an artist and sudden inspirations that come of boredom life. In collaboration with a free-spirited theatre playwright - Wu King-yeung, a new character full of Quixotic pathos is born: Hao Hao. Hao Hao finds himself in the tide of history, caught in the midst of clashing Eastern and Western cultures. His soul is torn apart by artistic ideals and the reality of a low-income life, and with nothing left to lose, he takes a risk and attempts to duct-tape his split selves back together. In a fusion of dance and laughs, he rebels against the common crowd, and lets loose his truest ideals!
Andreas Guzman（美國 US） Christopher Ross Ewart （加拿大 Canada）
形象設計 Image Designer:
馬嘉裕 Trista Ma
舞台監督 Stage Manager:
盧子晴 Zita Lo
助理舞台監督 Assistant Stage Manager:
黃子晉 Zac Wong 何沅穎 Jaime Ho
* Together with awfully hilarious short videos. 100% satisfaction guaranteed. No refund though.
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15
創作人語
楊浩 Yang Hao
Creators’ notes
2018年5月，在太太Alice Rensy 的鼓勵下，我開始嘗試將喜劇融入到舞蹈中， 和友人李偉明的聊天中他說不如就叫 Dance-up Comedy 吧。
跟製作人 Orlean Lai 討論過作品的形式及主題後，她便介紹了劇作人胡境陽參
與這次創作，我們之間便開始了搞笑又幽默的交流（也可以說是我向胡生學習的 過程）。總之，在跟他的互動中，我們有很多笑點，很多笑點還蘊藏哲理的意義。
這次合作的團隊給我一種「人民解放軍」精神：嚴肅、認真、活潑、富創造力，原 本一個劇場 crew 在我們天真想像力的推動下變成了微電影的 crew（還要是戰爭 電影），不得不說團隊的每個人都有一顆勇敢的心，以及對藝術創作的理解。
作為藝術工作者，我感到非常幸福可以享有合理工資同時探索新的藝術方向。各
位觀眾，我們整個團隊全副武裝，就是為了能呈現給您一個有質量，又走心的作 品，如果當中的情節感動了你，我們會倍感榮幸。
胡境陽 Wu King-yeung
昆滿足了我拍電影的願望，謝謝所有參與我這部微電影拍攝的演員和製作團隊，
形 式 的 棟 篤 笑。 這 是 一 個 青 年 舞 者 楊 浩 的 自 傳 式 故
謝謝跟我一起演出的李拓坤，你不光勇敢還會飛簷走壁。謝謝 Andreas 及吳子
我對舞蹈可謂毫無認識，也從沒有買票入場看過任何
每一個畫面都是大家共同努力的成果。
事，內容與形式對我都是陌生的。然而，我們此時此 刻共同生活在這城市，我們都為各自的生活方式而努
力，我們都喜歡自嘲，我們都懂得笑。「不求高深，但 In May 2018, driven by the encouragement of my wife Alice Rensy, I started to merge comedy into dance. And then, during a causal chat with my friend Maurice Lee, he suggested to give this assemblage a title: Dance-up Comedy. Producer Orlean Lai invited playwright Wu King-yeung to participate in this project after our discussion of the work’s form and theme. Hilariously and humorously, we have ever since exchanged our ideas with each other (or, I would say, my journey of learning under Mr. Wu). This interactive process is filled with a lot of laughters, some of which are full of philosophical meaning. The team I collaborated with this time carries the spirit akin to the People’s Liberation Army: austere, serious, lively and creative. Shifting from theatre, micro cinema to war film, this magical crew is made up of courageous people with great understanding of the arts. As an art practitioner, I am extremely blessed to have discovered new artistic directions while receiving a reasonable pay cheque. Our dear audience, we are all fueled and armed, for nothing but a devotion to deliver to you a fervent work of high quality. If you are touched by any of the scenes, we will be tremendously proud.
求傳真」，無論這演出對你來說是好笑、低俗、浮誇或 無聊也好，嬉笑背後，其實藏著珍珠級的真。
I know absolutely nothing about dance, and have never purchased a ticket to enter a stand-up comedy of any kinds. This is an autobiography of the young dancer Yang Hao, of which its content and form are both distant to me. Right now at this particular moment, in the same city, we all work very hard for the sake of living in our own way. We enjoy selfmockery. We know how to laugh. ‘Be factual, not pretentious’, it may seem fun, shallow, exaggerating or boring to you, but remember there is always an utmost authenticity behind the laughters.
I would like to thank Li Tuo-kun for his fearless and versatile performance, Andreas and Ng Tsz-kwan for fulfilling my dream of film making, as well as all actors and crew members who have worked so hard to make every single scene possible in the production.
16
17
創作人語
楊浩 Yang Hao
Creators’ notes
2018年5月，在太太Alice Rensy 的鼓勵下，我開始嘗試將喜劇融入到舞蹈中， 和友人李偉明的聊天中他說不如就叫 Dance-up Comedy 吧。
跟製作人 Orlean Lai 討論過作品的形式及主題後，她便介紹了劇作人胡境陽參
與這次創作，我們之間便開始了搞笑又幽默的交流（也可以說是我向胡生學習的 過程）。總之，在跟他的互動中，我們有很多笑點，很多笑點還蘊藏哲理的意義。
這次合作的團隊給我一種「人民解放軍」精神：嚴肅、認真、活潑、富創造力，原 本一個劇場 crew 在我們天真想像力的推動下變成了微電影的 crew（還要是戰爭 電影），不得不說團隊的每個人都有一顆勇敢的心，以及對藝術創作的理解。
作為藝術工作者，我感到非常幸福可以享有合理工資同時探索新的藝術方向。各
位觀眾，我們整個團隊全副武裝，就是為了能呈現給您一個有質量，又走心的作 品，如果當中的情節感動了你，我們會倍感榮幸。
胡境陽 Wu King-yeung
昆滿足了我拍電影的願望，謝謝所有參與我這部微電影拍攝的演員和製作團隊，
形 式 的 棟 篤 笑。 這 是 一 個 青 年 舞 者 楊 浩 的 自 傳 式 故
謝謝跟我一起演出的李拓坤，你不光勇敢還會飛簷走壁。謝謝 Andreas 及吳子
我對舞蹈可謂毫無認識，也從沒有買票入場看過任何
每一個畫面都是大家共同努力的成果。
事，內容與形式對我都是陌生的。然而，我們此時此 刻共同生活在這城市，我們都為各自的生活方式而努
力，我們都喜歡自嘲，我們都懂得笑。「不求高深，但 In May 2018, driven by the encouragement of my wife Alice Rensy, I started to merge comedy into dance. And then, during a causal chat with my friend Maurice Lee, he suggested to give this assemblage a title: Dance-up Comedy. Producer Orlean Lai invited playwright Wu King-yeung to participate in this project after our discussion of the work’s form and theme. Hilariously and humorously, we have ever since exchanged our ideas with each other (or, I would say, my journey of learning under Mr. Wu). This interactive process is filled with a lot of laughters, some of which are full of philosophical meaning. The team I collaborated with this time carries the spirit akin to the People’s Liberation Army: austere, serious, lively and creative. Shifting from theatre, micro cinema to war film, this magical crew is made up of courageous people with great understanding of the arts. As an art practitioner, I am extremely blessed to have discovered new artistic directions while receiving a reasonable pay cheque. Our dear audience, we are all fueled and armed, for nothing but a devotion to deliver to you a fervent work of high quality. If you are touched by any of the scenes, we will be tremendously proud.
求傳真」，無論這演出對你來說是好笑、低俗、浮誇或 無聊也好，嬉笑背後，其實藏著珍珠級的真。
I know absolutely nothing about dance, and have never purchased a ticket to enter a stand-up comedy of any kinds. This is an autobiography of the young dancer Yang Hao, of which its content and form are both distant to me. Right now at this particular moment, in the same city, we all work very hard for the sake of living in our own way. We enjoy selfmockery. We know how to laugh. ‘Be factual, not pretentious’, it may seem fun, shallow, exaggerating or boring to you, but remember there is always an utmost authenticity behind the laughters.
I would like to thank Li Tuo-kun for his fearless and versatile performance, Andreas and Ng Tsz-kwan for fulfilling my dream of film making, as well as all actors and crew members who have worked so hard to make every single scene possible in the production.
16
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18
19
創作人簡介
楊浩 Yang Hao
生於重慶，現居香港。早年於北京中國歌舞團藝術學校學習舞蹈，先後加入中國
Creators’ Bio
歌劇舞劇院、廣州歌舞團及廣東現代舞團。2007 年，楊氏取得全額獎學金就讀
於香港演藝學院，並於 2009–12 年加入香港城市當代舞蹈團。
楊氏曾獲邀參與多項海外計劃，包括首爾國際舞蹈節、新加坡 M1 觸・現代舞
蹈 節、 馬 來 西 亞 d’MOTION 國 際 舞 蹈 節 等， 並 曾 獲 香 港 藝 術 發 展 局 資 助 參 加 ImPulsTanz 維也納國際舞蹈節。他更透過香港駐紐約經貿處——雅禮協會藝術
研究員計劃資助，前往耶魯大學擔任駐地藝術研究員。楊氏多次獲香港藝術節委
約創作，發表作品包括《Outspoken》、《Pied A Terre》等，其作品多次獲邀於
海外演出包括 International Festival Arts & Ideas、Tanzmesse 國際表演藝
術博覽會等。他與 Alice Rensy 的新作《多重協奏》，獲香港藝術發展局資助及成 都 A4 美術館邀約創作。
為超越舞者身份以及尋求新的表演方式，楊氏於近年開始了新的研究方向：單口 相聲 + 當代舞。目前他為香港大學黑盒劇場駐地藝術家。
Born in Chongqing, China and now based in Hong Kong, Yang studied dancing at the Arts School under the Chinese National Song and Dance Troupe. After graduation, he joined several dance companies such as Chinese National Opera and Dance Troupe, Guangzhou Singing & Dancing Trope and Guangdong Modern Dance Company. In 2007, Yang received a full scholarship to study at Hong Kong Academy for Performing Arts and joined Hong Kong City Contemporary Dance Company as a dancer from 2009 to 2012. Yang has received several funding and scholarships to participate in different festivals overseas, including Seoul International Dance Festival 2013, M1 CONTACT Contemporary Dance Festival in Singapore, d’MOTION International Dance Festival in Malaysia, ImPulsTranz Vienna International Dance Festival. He also received the support from HKETONY Arts Fellows of the Yale-China Arts Fellowship to join the residency program at Yale University in Connecticut. Yang was commissioned to show his work, Outspoken and Pied A Terre at Hong Kong Arts Festival. His works have also staged at the Festival of Arts and Ideas in New Haven, USA and the Internationale Tanzmesse NRW in Germany. Commissioned by A4 Art Museum in Chengdu, he has collaborated with Alice Rensy for the piece, variations on lights and people with the support from Hong Kong Arts Development Council.
胡境陽 Wu King-yeung
2005 年畢業於香港浸會大學傳理學院電影電視系，曾
任職電視台及電影幕後工作，現為自由身創作人，主
力劇本寫作。作品《白色極樂商場漫遊》及《荒幕行人： OS1》，分別於 2011 及 2017 年獲香港小劇場獎最佳劇 本提名，《白》劇收錄於國際演藝評論家協會（香港分
會）出版之《十年城事——香港劇本選 2003-2012》，
另一作品《聽搖滾的北京猿人》 （2017）則獲得國際演藝 評論家協會（香港分會）劇評人獎、2017 年年度劇本/
編劇獎及 2018 年香港小劇場獎最佳劇本。
A Hong Kong playwright. Wu graduated from School of Communication, Hong Kong Baptist University. His works, A Hong Kong Shopping Mall Odyssey: Searching for the Happy Man and Reflector: OS1 were nominated for the Best Script at The Hong Kong Theatre Libre in 2011 and 2017 respectively. And, The Phenomenon of Man: REVOLVER (2017) was awarded Script of the Year/ Screenwriter Award in 2017 by The International Association of Theatre Critics (Hong Kong) and Best Script at The Hong Kong Theatre Libre 2018.
Yang has been researching on a new form of performance to strive for a breakthrough in his creation by intertwining contemporary dance and stand-up comedy in recent years. He is currently the artist-in-residence at HKU Black Box.
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創作人簡介
楊浩 Yang Hao
生於重慶，現居香港。早年於北京中國歌舞團藝術學校學習舞蹈，先後加入中國
Creators’ Bio
歌劇舞劇院、廣州歌舞團及廣東現代舞團。2007 年，楊氏取得全額獎學金就讀
於香港演藝學院，並於 2009–12 年加入香港城市當代舞蹈團。
楊氏曾獲邀參與多項海外計劃，包括首爾國際舞蹈節、新加坡 M1 觸・現代舞
蹈 節、 馬 來 西 亞 d’MOTION 國 際 舞 蹈 節 等， 並 曾 獲 香 港 藝 術 發 展 局 資 助 參 加 ImPulsTanz 維也納國際舞蹈節。他更透過香港駐紐約經貿處——雅禮協會藝術
研究員計劃資助，前往耶魯大學擔任駐地藝術研究員。楊氏多次獲香港藝術節委
約創作，發表作品包括《Outspoken》、《Pied A Terre》等，其作品多次獲邀於
海外演出包括 International Festival Arts & Ideas、Tanzmesse 國際表演藝
術博覽會等。他與 Alice Rensy 的新作《多重協奏》，獲香港藝術發展局資助及成 都 A4 美術館邀約創作。
為超越舞者身份以及尋求新的表演方式，楊氏於近年開始了新的研究方向：單口 相聲 + 當代舞。目前他為香港大學黑盒劇場駐地藝術家。
Born in Chongqing, China and now based in Hong Kong, Yang studied dancing at the Arts School under the Chinese National Song and Dance Troupe. After graduation, he joined several dance companies such as Chinese National Opera and Dance Troupe, Guangzhou Singing & Dancing Trope and Guangdong Modern Dance Company. In 2007, Yang received a full scholarship to study at Hong Kong Academy for Performing Arts and joined Hong Kong City Contemporary Dance Company as a dancer from 2009 to 2012. Yang has received several funding and scholarships to participate in different festivals overseas, including Seoul International Dance Festival 2013, M1 CONTACT Contemporary Dance Festival in Singapore, d’MOTION International Dance Festival in Malaysia, ImPulsTranz Vienna International Dance Festival. He also received the support from HKETONY Arts Fellows of the Yale-China Arts Fellowship to join the residency program at Yale University in Connecticut. Yang was commissioned to show his work, Outspoken and Pied A Terre at Hong Kong Arts Festival. His works have also staged at the Festival of Arts and Ideas in New Haven, USA and the Internationale Tanzmesse NRW in Germany. Commissioned by A4 Art Museum in Chengdu, he has collaborated with Alice Rensy for the piece, variations on lights and people with the support from Hong Kong Arts Development Council.
胡境陽 Wu King-yeung
2005 年畢業於香港浸會大學傳理學院電影電視系，曾
任職電視台及電影幕後工作，現為自由身創作人，主
力劇本寫作。作品《白色極樂商場漫遊》及《荒幕行人： OS1》，分別於 2011 及 2017 年獲香港小劇場獎最佳劇 本提名，《白》劇收錄於國際演藝評論家協會（香港分
會）出版之《十年城事——香港劇本選 2003-2012》，
另一作品《聽搖滾的北京猿人》 （2017）則獲得國際演藝 評論家協會（香港分會）劇評人獎、2017 年年度劇本/
編劇獎及 2018 年香港小劇場獎最佳劇本。
A Hong Kong playwright. Wu graduated from School of Communication, Hong Kong Baptist University. His works, A Hong Kong Shopping Mall Odyssey: Searching for the Happy Man and Reflector: OS1 were nominated for the Best Script at The Hong Kong Theatre Libre in 2011 and 2017 respectively. And, The Phenomenon of Man: REVOLVER (2017) was awarded Script of the Year/ Screenwriter Award in 2017 by The International Association of Theatre Critics (Hong Kong) and Best Script at The Hong Kong Theatre Libre 2018.
Yang has been researching on a new form of performance to strive for a breakthrough in his creation by intertwining contemporary dance and stand-up comedy in recent years. He is currently the artist-in-residence at HKU Black Box.
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目睹浮華盛世，決心頹靡，
於世界終結前三十分鐘開一場音樂會，
以音樂作為販賣的藥品，同時販賣自己。 現實完結之時，我們也將成為贋品；
假的太陽將在明日升起，而我們歡呼。 It’s too late for reality, farewell.
Jabin Law 將聯同陳冠而攜手創作一個音樂與身體 的碰撞習作，在監獄操場裡仰望外面更華麗的現實樂
園，於泥土與雜草上以原創樂曲直面污穢，娓娓關於
現實即將終結的靡幻，一開始便已經是終章。樂隊現
場演奏與表演者以身體協奏。
Gazing at the kaleidoscopic world, we dare to despair, Let’s open a concert thirty minutes before the doomsday, Trading music as drug, trading off ourselves meanwhile. When the day ends, we too become forgeries; The pseudo-sun rises tomorrow, and we celebrate. It’s too late for reality, farewell. Jabin Law and Chan Kwun-fee collaborate to initiate a creative piece combining music and body work. Looking up the fantasyland of the outside world from the prison, the duo brings out original scores to converse with the filth on the loose mud and sprawling weeds, and illustrates the decadence and mirage for a soon-approaching downfall of the real world. The prelude comes as the epilogue. Live music corresponds with body movements.
24
25/1 27/1
五
FRI
9:00pm
SUN
8:00pm
日
少量廣東話演出，不設字幕 Performed with some Cantonese, with NO subtitles.
概念 / 作曲 / 演奏 Concept / Composer / Musician:
Jabin Law（結他 guitar） 概念 / 導演 Concept / Director:
陳冠而 Chan Kwun-fee 演奏 Musicians:
徐正威 Vic Tsui（敲擊 percussion） 蘇諾臨 Isaac So（結他 guitar） 呂奡元 Lui Ngao-yuen（低音結他 bass） 演出 Performers:
梁曉端 Melissa Leung* 伍美宜 Emily Ng
排練助理 Rehearsal Assistant：
陳旻禧 Maze Chan
服裝設計 Costume Designer:
梁子蔚 Leung Tsz-wai
舞台監督 Stage Manager:
陳樂詩 Chan Lok-sze
助理舞台監督 Assistant Stage Manager:
黃子晉 Zac Wong 何沅穎 Jaime Ho
* 承蒙城市當代舞蹈團批准參與演出 Participating in the project with the support of CCDC
25
目睹浮華盛世，決心頹靡，
於世界終結前三十分鐘開一場音樂會，
以音樂作為販賣的藥品，同時販賣自己。 現實完結之時，我們也將成為贋品；
假的太陽將在明日升起，而我們歡呼。 It’s too late for reality, farewell.
Jabin Law 將聯同陳冠而攜手創作一個音樂與身體 的碰撞習作，在監獄操場裡仰望外面更華麗的現實樂
園，於泥土與雜草上以原創樂曲直面污穢，娓娓關於
現實即將終結的靡幻，一開始便已經是終章。樂隊現
場演奏與表演者以身體協奏。
Gazing at the kaleidoscopic world, we dare to despair, Let’s open a concert thirty minutes before the doomsday, Trading music as drug, trading off ourselves meanwhile. When the day ends, we too become forgeries; The pseudo-sun rises tomorrow, and we celebrate. It’s too late for reality, farewell. Jabin Law and Chan Kwun-fee collaborate to initiate a creative piece combining music and body work. Looking up the fantasyland of the outside world from the prison, the duo brings out original scores to converse with the filth on the loose mud and sprawling weeds, and illustrates the decadence and mirage for a soon-approaching downfall of the real world. The prelude comes as the epilogue. Live music corresponds with body movements.
24
25/1 27/1
五
FRI
9:00pm
SUN
8:00pm
日
少量廣東話演出，不設字幕 Performed with some Cantonese, with NO subtitles.
概念 / 作曲 / 演奏 Concept / Composer / Musician:
Jabin Law（結他 guitar） 概念 / 導演 Concept / Director:
陳冠而 Chan Kwun-fee 演奏 Musicians:
徐正威 Vic Tsui（敲擊 percussion） 蘇諾臨 Isaac So（結他 guitar） 呂奡元 Lui Ngao-yuen（低音結他 bass） 演出 Performers:
梁曉端 Melissa Leung* 伍美宜 Emily Ng
排練助理 Rehearsal Assistant：
陳旻禧 Maze Chan
服裝設計 Costume Designer:
梁子蔚 Leung Tsz-wai
舞台監督 Stage Manager:
陳樂詩 Chan Lok-sze
助理舞台監督 Assistant Stage Manager:
黃子晉 Zac Wong 何沅穎 Jaime Ho
* 承蒙城市當代舞蹈團批准參與演出 Participating in the project with the support of CCDC
25
創作人語
Jabin Law
Creators’ notes
我一直做的都是音樂。這個演出是第一次糅合舞蹈和
肢體動作，算是在探索新嘗試。
陳冠而與我比較相似的地方可能是我們都偏向以較抽
象的模式表達意念，我們都會在過程中不斷互相透過 喜歡的文字和音樂刺激大家思考。
在綵排過程中，我們偶有討論，我提起大館這個地方
太過限制想像，多少個有血有肉的小故事都被粉飾至 有點像主題公園。而我們身處的現實社會，也是處於 這種慢性麻醉中。
I have been making music all the time. Adding dance and movement as never before, this piece also means to be a new discovery in the aesthetic sense. One similar character I share with Chan Kwun-fee, is perhaps we both tend to express our ideas through relatively abstract models, and that we enjoy inspiring audience by our favourite text and music along the way. In one of the constant discussions we had during the rehearsals, I said that Tai Kwun is a killer of imagination. It twists countless stories of people’s hard life to ornate the theme-park atmosphere, which is also a reflection of the mass illusion we observe in today’s society.
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27
創作人語
Jabin Law
Creators’ notes
我一直做的都是音樂。這個演出是第一次糅合舞蹈和
肢體動作，算是在探索新嘗試。
陳冠而與我比較相似的地方可能是我們都偏向以較抽
象的模式表達意念，我們都會在過程中不斷互相透過 喜歡的文字和音樂刺激大家思考。
在綵排過程中，我們偶有討論，我提起大館這個地方
太過限制想像，多少個有血有肉的小故事都被粉飾至 有點像主題公園。而我們身處的現實社會，也是處於 這種慢性麻醉中。
I have been making music all the time. Adding dance and movement as never before, this piece also means to be a new discovery in the aesthetic sense. One similar character I share with Chan Kwun-fee, is perhaps we both tend to express our ideas through relatively abstract models, and that we enjoy inspiring audience by our favourite text and music along the way. In one of the constant discussions we had during the rehearsals, I said that Tai Kwun is a killer of imagination. It twists countless stories of people’s hard life to ornate the theme-park atmosphere, which is also a reflection of the mass illusion we observe in today’s society.
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27
創作人語
陳冠而 Chan Kwun-fee
Creators’ notes
而所以後面就沒有人了。
1 而所以後面就沒有人了。
搖晃燈光與音樂，雞尾酒與烈酒倘佯，過去與未來都不太重要。機械人學習喝 酒，如青蛇學習流淚。
（酒吧音樂無抑揚頓挫
我們都是贋品）
監獄裡的歌者、監獄的牆被打通、監獄本身成為電影、監獄衣香鬢影、監獄的高 牆顯得很矮、監獄比外面華美精緻、監獄很好。無法閱讀。種種原因，它成了現
在的樣式，一件贋品，擱於原處的優良贋品。複製年代消費年代壓平年代，贋品
或真貨，靈光或本真，污泥穢物，無人光顧。人有我有便是最好，極好。人無而 我有的定義不了，太獨特的我承受不了。
2 末日將臨，或已臨，我可不可以邀請你，喝一杯酒？我們從來沒有看過啟始與序 章，一抬頭已是終結。
3 （我們讀過奕含與秀華）如果我們是鏡像，我們是如何的鏡像了？面對面的，還是 背對背的？相似的，還是逆反的？甚麼是鏡像？鏡像自己怎麼確認誰是鏡像？在
問題之中旋轉，總是沒有出口。在很篤定的純真之後，我們進入問題的世界，並
且逃避回答。問問題顯得比答答案聰明，而且高尚。誰要答案？我們要一個又一
個漩渦，好藏身其中。我們學會游泳。但從不聆聽海豚歌唱。
4 現在沒有人 behind bars 了。所有 bars 都拆掉了，變成虛擬線條。雷射光束劃 過樹面。腦袋裡的警察歌唱，像 SM 女皇，俗艷而媚惑，歌者說：我看見的自己
並不是這個模樣。觀者說：不要緊，我喜歡你這樣。歌者無法離開泥盆，唯有接 受從外而來加諸的身份。歌者拾起一個頭髗，把它吃掉，說：我會替它歌唱。舞
者遁入黑暗。
5 迴旋是狂歡，狂喜，迷醉。沒有人需要被允許，所有人都被邀請，世界末日前最
後三十分鐘，我們終於被允許，無需思考，專心頹靡，擁抱邪惡的懶惰，無需逃 避良心的責備，縱然我們從來不回應它。
6 在泥濘中終於窺見真實的陽光，陽光有黑斑，總是伴隨著。
* 我們讀林奕含的小說與余秀華的文字，也讀兩人的報導。我們從這兩位女子的自 主書寫與外間媒體渲染喧鬧中閱讀及沉思，有關她們與我們的牢獄。但我們沒有
把兩人放在作品中。
And therefore nobody is left.
1 And therefore nobody is left. Light and music swing, cocktail and hard liquor wander, past and present scatter. Robot learns to drink, just like green snake learns to cry.
(The bar music goes hard and soft We are all forgeries)
In the prison - people sing, walls collapse, movie scenes misplace, ballroom backdrops relay, high walls cut short, inside outshines. Prison is great. Fail to read (or to be read). For many reasons, it becomes what it has become; a forgery, a top forgery hanging in its original place. An era of reproduction or consumerism. Fake or genuine. Epiphany or authenticity. Dirty and cheap. No one cares to buy. It is wonderful if I have everything they have. Wonderful. So wonderful. What if I have things they don’t have. I can’t quite define it. I can’t manage being special. 2 The end of the world is coming, or has already come. May I invite you for a drink? Never comes the prelude nor epilogue, the story ends as we raise our heads. 3 (We have read Yi-han and Xiuhua) If we are our mirror images, how would they appear? Face to face or back to back? Identical or opposite? What is a mirror image? How does oneself confirm who is in the mirror image? Whirling in the question, there is no way out. Determined and purified, we enter the world of questions and quit to answer. The questions look wiser and more noble than the answers. Who need answers? We look for swirl after swirl, so that we can hide ourselves within it. We take swimming classes, but never listen to the dolphins sing. 4 No one is behind bars now. Bars disappear, virtual lines remain. The laser beam passes across the tree. The police in my head sings, like the SM queen. Vulgar and charming. The singer says, ‘I don’t see myself in this way’. The viewer says, ‘It doesn't matter, I just like the way you are’. Stuck in a clay pot, the singer can do nothing but accept the identity given by the outside world. The singer picks up a skull, eats it, and says, ‘I will sing for it’. The dancer breaks into darkness. 5 Maneuver is rapture, ecstasy, intoxication. No one requires permission. All are invited. In the last thirty minutes before the end of the world, we are finally permitted. Refrain from thinking, focus on the decadence, embrace the evil laziness, forget about the blame of the conscience. We never respond to it anyway. 6 Finally, there is a glimpse of genuine sunshine penetrating through the dirty mud. The dark spots attach to the sun, they always do. * We read the works of Lin Yi-han and Yu Xiu-hua, as well as their stories on newspaper. Through their independent, personal writing and the noisy, sensational media coverage, we read, contemplate, and think about the prison of theirs and ours. We did not include them in the work.
息，那樣感覺霸道。或者我們是要從觀眾身上偷走一些東西。一月之冷、夜的黑
* Jabin and I were talking and writing to each other in a quiet, gloomy rhythm. He said I do not have the so-called message for our audience. That is overbearing. Perhaps we are going to steal something from them instead. The coldness of January, the darkness of night, the tree and the mud, the wall and the people, the four and the two, the remake and the full stop. Resonance.
並感謝在極有限時間內盡力的梁曉端與伍美宜。
* Jabin 和我以韻律幽黯地溝通著，書寫著。他說，我沒有要帶給觀眾的所謂訊 暗，大樹與泥土，牆與人，四個和兩個，重拍與句號，共振。
28
Many thanks to Melissa Leung and Emily Ng for their professional work in the challenging time frame.
29
創作人語
陳冠而 Chan Kwun-fee
Creators’ notes
而所以後面就沒有人了。
1 而所以後面就沒有人了。
搖晃燈光與音樂，雞尾酒與烈酒倘佯，過去與未來都不太重要。機械人學習喝 酒，如青蛇學習流淚。
（酒吧音樂無抑揚頓挫
我們都是贋品）
監獄裡的歌者、監獄的牆被打通、監獄本身成為電影、監獄衣香鬢影、監獄的高 牆顯得很矮、監獄比外面華美精緻、監獄很好。無法閱讀。種種原因，它成了現
在的樣式，一件贋品，擱於原處的優良贋品。複製年代消費年代壓平年代，贋品
或真貨，靈光或本真，污泥穢物，無人光顧。人有我有便是最好，極好。人無而 我有的定義不了，太獨特的我承受不了。
2 末日將臨，或已臨，我可不可以邀請你，喝一杯酒？我們從來沒有看過啟始與序 章，一抬頭已是終結。
3 （我們讀過奕含與秀華）如果我們是鏡像，我們是如何的鏡像了？面對面的，還是 背對背的？相似的，還是逆反的？甚麼是鏡像？鏡像自己怎麼確認誰是鏡像？在
問題之中旋轉，總是沒有出口。在很篤定的純真之後，我們進入問題的世界，並
且逃避回答。問問題顯得比答答案聰明，而且高尚。誰要答案？我們要一個又一
個漩渦，好藏身其中。我們學會游泳。但從不聆聽海豚歌唱。
4 現在沒有人 behind bars 了。所有 bars 都拆掉了，變成虛擬線條。雷射光束劃 過樹面。腦袋裡的警察歌唱，像 SM 女皇，俗艷而媚惑，歌者說：我看見的自己
並不是這個模樣。觀者說：不要緊，我喜歡你這樣。歌者無法離開泥盆，唯有接 受從外而來加諸的身份。歌者拾起一個頭髗，把它吃掉，說：我會替它歌唱。舞
者遁入黑暗。
5 迴旋是狂歡，狂喜，迷醉。沒有人需要被允許，所有人都被邀請，世界末日前最
後三十分鐘，我們終於被允許，無需思考，專心頹靡，擁抱邪惡的懶惰，無需逃 避良心的責備，縱然我們從來不回應它。
6 在泥濘中終於窺見真實的陽光，陽光有黑斑，總是伴隨著。
* 我們讀林奕含的小說與余秀華的文字，也讀兩人的報導。我們從這兩位女子的自 主書寫與外間媒體渲染喧鬧中閱讀及沉思，有關她們與我們的牢獄。但我們沒有
把兩人放在作品中。
And therefore nobody is left.
1 And therefore nobody is left. Light and music swing, cocktail and hard liquor wander, past and present scatter. Robot learns to drink, just like green snake learns to cry.
(The bar music goes hard and soft We are all forgeries)
In the prison - people sing, walls collapse, movie scenes misplace, ballroom backdrops relay, high walls cut short, inside outshines. Prison is great. Fail to read (or to be read). For many reasons, it becomes what it has become; a forgery, a top forgery hanging in its original place. An era of reproduction or consumerism. Fake or genuine. Epiphany or authenticity. Dirty and cheap. No one cares to buy. It is wonderful if I have everything they have. Wonderful. So wonderful. What if I have things they don’t have. I can’t quite define it. I can’t manage being special. 2 The end of the world is coming, or has already come. May I invite you for a drink? Never comes the prelude nor epilogue, the story ends as we raise our heads. 3 (We have read Yi-han and Xiuhua) If we are our mirror images, how would they appear? Face to face or back to back? Identical or opposite? What is a mirror image? How does oneself confirm who is in the mirror image? Whirling in the question, there is no way out. Determined and purified, we enter the world of questions and quit to answer. The questions look wiser and more noble than the answers. Who need answers? We look for swirl after swirl, so that we can hide ourselves within it. We take swimming classes, but never listen to the dolphins sing. 4 No one is behind bars now. Bars disappear, virtual lines remain. The laser beam passes across the tree. The police in my head sings, like the SM queen. Vulgar and charming. The singer says, ‘I don’t see myself in this way’. The viewer says, ‘It doesn't matter, I just like the way you are’. Stuck in a clay pot, the singer can do nothing but accept the identity given by the outside world. The singer picks up a skull, eats it, and says, ‘I will sing for it’. The dancer breaks into darkness. 5 Maneuver is rapture, ecstasy, intoxication. No one requires permission. All are invited. In the last thirty minutes before the end of the world, we are finally permitted. Refrain from thinking, focus on the decadence, embrace the evil laziness, forget about the blame of the conscience. We never respond to it anyway. 6 Finally, there is a glimpse of genuine sunshine penetrating through the dirty mud. The dark spots attach to the sun, they always do. * We read the works of Lin Yi-han and Yu Xiu-hua, as well as their stories on newspaper. Through their independent, personal writing and the noisy, sensational media coverage, we read, contemplate, and think about the prison of theirs and ours. We did not include them in the work.
息，那樣感覺霸道。或者我們是要從觀眾身上偷走一些東西。一月之冷、夜的黑
* Jabin and I were talking and writing to each other in a quiet, gloomy rhythm. He said I do not have the so-called message for our audience. That is overbearing. Perhaps we are going to steal something from them instead. The coldness of January, the darkness of night, the tree and the mud, the wall and the people, the four and the two, the remake and the full stop. Resonance.
並感謝在極有限時間內盡力的梁曉端與伍美宜。
* Jabin 和我以韻律幽黯地溝通著，書寫著。他說，我沒有要帶給觀眾的所謂訊 暗，大樹與泥土，牆與人，四個和兩個，重拍與句號，共振。
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Many thanks to Melissa Leung and Emily Ng for their professional work in the challenging time frame.
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創作人簡介
Jabin Law 香港民謠唱作人，歌曲承載現代城市的荒涼和壓抑。
Creators’ Bio
受巴布迪倫（Bob Dylan）的音樂哲學和九十年代另類搖滾薰陶，Jabin 自 2012
年開始創作超過百首作品。2014 年出版 Demo 雙專輯《Day》與《Night》，簡 單直接的流行民謠曲風展現青春情懷和惆悵。2016 年，自資發佈第一張民謠專
輯《The Suns》，轉向探討死亡、存在主義哲學和潛意識的掙扎，曲風也明顯受
Nick Drake式的複雜指法和脆弱的低吟影響。Jabin 在製作過程為了保持自我，
一手包辦專輯的作曲、作詞、編曲、監製和混音。兩年後，Jabin 把多年來吸收 的鬱悶和搖滾情緒，呈現在《But Tonight, The Boulevard Is Mine》（2018）。
這張專輯精磨早年民謠結他彈奏技法，更重視音樂的起承轉合、整體節奏和溫 度，從而醞釀出沉重的城市疏離感。
Jabin’s performance reminds you of a sculptor, his works are crafted with details in their structure and expressions. His guitar plays the sound of solidarity of modern cities – where souls wander around to seek for stability. The further one goes, the more you realise we are all but lonely neighbors. Jabin started participating in different live performances in 2012, and published his double disc demo album Day and Night in 2014. He published his first selffunded folk album The Suns in 2016, with which not only written all songs, but also arranged, produced and mixed all of them by himself. In 2018, he released his second studio album But Tonight, The Boulevard Is Mine. Jabin focuses on melody and lyrics. You could tell his thoughts from his words, and surprised by his husky voice mixed with the tiniest taste of gentleness. You probably cannot help but to ask this slender guy, “How old is your soul?” once you see his live performance. He never talks much about his works, and if you ask for the stories behind his music, he would reply cunningly with a poker face.
陳冠而 Chan Kwun-fee
畢業於香港城市大學創意媒體學院，現為小息跨媒介創作室藝術總監。陳氏以表
演身體為主要創作媒介，常任劇場導演、文本創作、演員、形體創作等，亦參與 藝術策劃及教育工作。
主要作品包括「邊境系列」三部曲，為三個不同角度的遊走式劇場作品，於牛棚
12 號屋探究戰爭與暴力 -《卡桑德拉／表象終結之世界》(2018)，獲提名香港小
劇場獎最佳導演、最佳舞台美學及最佳整體演出 ;《 靜默邊境》（2015）；《靜默・ 邊境族》 （2014），獲提名香港小劇場獎最佳整體演出。社區文化大使《我們的海－ 島嶼幻想曲》（2018）及與社區文化發展中心合作策劃的《七天七夜－一缺城市誦 曲》 （2015），以城市地景中發生的表演旅程，回應我城的發展、現在與未來。
其他作品，香港藝術節《論語》 （2016，助理編劇）、 《女身饗宴》 （2011）、及前進
進戲劇工作坊「超連結牛棚實驗劇場節」《旋轉，三途川》（2009）等。近期演出
包括影話戲《我的 50 呎豪華生活》（香港首演及三度重演、賽馬會藝壇新勢力社 區巡演、愛丁堡藝穗節、台北藝穗節）、《摩登時代》、香港藝術館 x 鄭得恩《往
迴之旅》、東邊舞蹈團《炫創者》之《一句》、油街實現《像是動物園》、油街實現
自主映室《你在哪兒？》、進劇場《樓城》、前進進戲劇工作坊《七個猶太小孩》、
《A 貨革命》及《耳搖搖》、不加鎖舞踊館《英雄 @ 過期》、眾聲喧嘩《眾聲喧嘩
（ ）》及《夢幻劇》、許雅舒舞蹈錄像《哀溺文》及電影《風景》等。
Graduated from School of Creative Media, The City University of Hong Kong, Chan is now an interdisciplinary artist who mainly works as a writer-director and performer. She is also the founder of Littlebreath Creative Workshop. Her recent work Kassandra or the World as the End of Representation is nominated for Best Director in the Hong Kong Theatre Libre 2018. Major projects Chan has involved include Where is Our Sea? – A Rhapsody of an Isle (2018), Kassandra or the World as the End of Representation (2018), Heptahedron, A Surrealist’s City Odyssey (Interdisciplinary Project, 2015), Absent Presentee (Immersive theatre project, 2015), Present Absentee (Dance theatre, 2014), Woman.appetities (Interdisciplinary project, 2012), Tides In Limbo (Theatre, 2009). Her recent performances include: Imagination Boom (E-side Dance Company), Modern Times, The Feast and My 50sq ft Luxurious Life (Cinematic Theatre), A Good Revolution, Trembling Ears and Seven Jewish Children (On and On Theatre Workshop), Antigone and The Will to Build (Theatre du Pif), I Hope You Don’t Mind (Video by Enoch Cheng), Pseudo Landscape (Film by Rita Hui), Elegy (Dance video by Rita Hui).
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創作人簡介
Jabin Law 香港民謠唱作人，歌曲承載現代城市的荒涼和壓抑。
Creators’ Bio
受巴布迪倫（Bob Dylan）的音樂哲學和九十年代另類搖滾薰陶，Jabin 自 2012
年開始創作超過百首作品。2014 年出版 Demo 雙專輯《Day》與《Night》，簡 單直接的流行民謠曲風展現青春情懷和惆悵。2016 年，自資發佈第一張民謠專
輯《The Suns》，轉向探討死亡、存在主義哲學和潛意識的掙扎，曲風也明顯受
Nick Drake式的複雜指法和脆弱的低吟影響。Jabin 在製作過程為了保持自我，
一手包辦專輯的作曲、作詞、編曲、監製和混音。兩年後，Jabin 把多年來吸收 的鬱悶和搖滾情緒，呈現在《But Tonight, The Boulevard Is Mine》（2018）。
這張專輯精磨早年民謠結他彈奏技法，更重視音樂的起承轉合、整體節奏和溫 度，從而醞釀出沉重的城市疏離感。
Jabin’s performance reminds you of a sculptor, his works are crafted with details in their structure and expressions. His guitar plays the sound of solidarity of modern cities – where souls wander around to seek for stability. The further one goes, the more you realise we are all but lonely neighbors. Jabin started participating in different live performances in 2012, and published his double disc demo album Day and Night in 2014. He published his first selffunded folk album The Suns in 2016, with which not only written all songs, but also arranged, produced and mixed all of them by himself. In 2018, he released his second studio album But Tonight, The Boulevard Is Mine. Jabin focuses on melody and lyrics. You could tell his thoughts from his words, and surprised by his husky voice mixed with the tiniest taste of gentleness. You probably cannot help but to ask this slender guy, “How old is your soul?” once you see his live performance. He never talks much about his works, and if you ask for the stories behind his music, he would reply cunningly with a poker face.
陳冠而 Chan Kwun-fee
畢業於香港城市大學創意媒體學院，現為小息跨媒介創作室藝術總監。陳氏以表
演身體為主要創作媒介，常任劇場導演、文本創作、演員、形體創作等，亦參與 藝術策劃及教育工作。
主要作品包括「邊境系列」三部曲，為三個不同角度的遊走式劇場作品，於牛棚
12 號屋探究戰爭與暴力 -《卡桑德拉／表象終結之世界》(2018)，獲提名香港小
劇場獎最佳導演、最佳舞台美學及最佳整體演出 ;《 靜默邊境》（2015）；《靜默・ 邊境族》 （2014），獲提名香港小劇場獎最佳整體演出。社區文化大使《我們的海－ 島嶼幻想曲》（2018）及與社區文化發展中心合作策劃的《七天七夜－一缺城市誦 曲》 （2015），以城市地景中發生的表演旅程，回應我城的發展、現在與未來。
其他作品，香港藝術節《論語》 （2016，助理編劇）、 《女身饗宴》 （2011）、及前進
進戲劇工作坊「超連結牛棚實驗劇場節」《旋轉，三途川》（2009）等。近期演出
包括影話戲《我的 50 呎豪華生活》（香港首演及三度重演、賽馬會藝壇新勢力社 區巡演、愛丁堡藝穗節、台北藝穗節）、《摩登時代》、香港藝術館 x 鄭得恩《往
迴之旅》、東邊舞蹈團《炫創者》之《一句》、油街實現《像是動物園》、油街實現
自主映室《你在哪兒？》、進劇場《樓城》、前進進戲劇工作坊《七個猶太小孩》、
《A 貨革命》及《耳搖搖》、不加鎖舞踊館《英雄 @ 過期》、眾聲喧嘩《眾聲喧嘩
（ ）》及《夢幻劇》、許雅舒舞蹈錄像《哀溺文》及電影《風景》等。
Graduated from School of Creative Media, The City University of Hong Kong, Chan is now an interdisciplinary artist who mainly works as a writer-director and performer. She is also the founder of Littlebreath Creative Workshop. Her recent work Kassandra or the World as the End of Representation is nominated for Best Director in the Hong Kong Theatre Libre 2018. Major projects Chan has involved include Where is Our Sea? – A Rhapsody of an Isle (2018), Kassandra or the World as the End of Representation (2018), Heptahedron, A Surrealist’s City Odyssey (Interdisciplinary Project, 2015), Absent Presentee (Immersive theatre project, 2015), Present Absentee (Dance theatre, 2014), Woman.appetities (Interdisciplinary project, 2012), Tides In Limbo (Theatre, 2009). Her recent performances include: Imagination Boom (E-side Dance Company), Modern Times, The Feast and My 50sq ft Luxurious Life (Cinematic Theatre), A Good Revolution, Trembling Ears and Seven Jewish Children (On and On Theatre Workshop), Antigone and The Will to Build (Theatre du Pif), I Hope You Don’t Mind (Video by Enoch Cheng), Pseudo Landscape (Film by Rita Hui), Elegy (Dance video by Rita Hui).
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報告中的那個我
是你所塑造的哪個？
靈感來自卡夫卡的短篇小說《為某科學院寫的一份報告》 以肢體、音樂、文字編作的劇場作品，
與大館監獄操場展開一段平衡時空對話。 這裡是一個培育牠們的地方。 當牠正被塑造成他，
他的語言逐步衝擊牠的思緒： 「目目忘我相隨，
是否你可見的唯一？
我的那個我是你所揀選 或是我心有所藏？ 制度界定對錯
已然表演自我？」 A report on one side of me Am I the I you decide I will be? A Movement Theatre Piece inspired by F. Kafka’s A Report to an Academy in dialogue with the Prison Yard in Tai Kwun.
26/1 28/1
六
SAT
6:00pm
MON
7:30pm
一
廣東話及英語演出，附英文字幕 Performed in Cantonese and English, with English subtitles
概念 / 導演 Concept / Director:
林俊浩 Ivanhoe Lam 文字創作 Creative Text:
李穎蕾 Santayana Li Kent Foran 作曲 / 演出 Composer / Performer:
Shane Aspegren
創作 / 演出 Creator / Performer:
黃譜誠 Chester Wong Aaron Martin
形象設計 Image Designer:
郭家賜 Kary Kwok
形象設計助理 Image Design Assistant:
Brian Hin
舞台監督 Stage Manager:
陸和平 Luk Wo-ping
助理舞台監督 Assistant Stage Manager:
黃子晉 Zac Wong 何沅穎 Jaime Ho
字幕控制員 Surtitle Operator:
曾念慈 Tsang Nim-chi
This is the place where the new ones are nurtured to run the world. When a non-human transforms into a human, Something like language starts to flash across the animal’s mind: “My eyes follow your eyes follow me Is it the only side you can see? Am I the I you decide Or the side I conceal? Rules dividing right from wrong Could I perform myself as I want?”
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報告中的那個我
是你所塑造的哪個？
靈感來自卡夫卡的短篇小說《為某科學院寫的一份報告》 以肢體、音樂、文字編作的劇場作品，
與大館監獄操場展開一段平衡時空對話。 這裡是一個培育牠們的地方。 當牠正被塑造成他，
他的語言逐步衝擊牠的思緒： 「目目忘我相隨，
是否你可見的唯一？
我的那個我是你所揀選 或是我心有所藏？ 制度界定對錯
已然表演自我？」 A report on one side of me Am I the I you decide I will be? A Movement Theatre Piece inspired by F. Kafka’s A Report to an Academy in dialogue with the Prison Yard in Tai Kwun.
26/1 28/1
六
SAT
6:00pm
MON
7:30pm
一
廣東話及英語演出，附英文字幕 Performed in Cantonese and English, with English subtitles
概念 / 導演 Concept / Director:
林俊浩 Ivanhoe Lam 文字創作 Creative Text:
李穎蕾 Santayana Li Kent Foran 作曲 / 演出 Composer / Performer:
Shane Aspegren
創作 / 演出 Creator / Performer:
黃譜誠 Chester Wong Aaron Martin
形象設計 Image Designer:
郭家賜 Kary Kwok
形象設計助理 Image Design Assistant:
Brian Hin
舞台監督 Stage Manager:
陸和平 Luk Wo-ping
助理舞台監督 Assistant Stage Manager:
黃子晉 Zac Wong 何沅穎 Jaime Ho
字幕控制員 Surtitle Operator:
曾念慈 Tsang Nim-chi
This is the place where the new ones are nurtured to run the world. When a non-human transforms into a human, Something like language starts to flash across the animal’s mind: “My eyes follow your eyes follow me Is it the only side you can see? Am I the I you decide Or the side I conceal? Rules dividing right from wrong Could I perform myself as I want?”
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photo by Darwin Ng
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photo by Darwin Ng
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創作人語
林俊浩 Ivanhoe Lam
Creators’ notes
「多謝出席，我榮幸。寫自己報告，機會難得，實在難得。」
這句是《Report i》其中一段台詞的開始，亦是創作《Report i》的動力。有幸可 以在這個時候分享這個作品。無論天時、地利或是人和，包括自己，都有一種合
適、順其自然發生的感覺，實在難得，感謝這一躺遇上的一切。
要令一個關於「自己」的作品聯繫到大家心目中的「自己」，真是一件不容易的事。
each other, transforming some banal monologues into series of heartfelt dialogues. Those profound stories led to the birth of Report i, which would be impossible under any sole effort and single vision; it is the collective power of a gifted team, that brings to you such dedicated exchange of ideas today. I would also like to thank all of you for opening each of your senses and jumping right through to this mirror. No matter what you can or cannot see, I sincerely hope that you can liberate yourself in the ultimate ‘i’ of your choice.
要為它賦予向外跟觀眾溝通的力量，同時盛載向內探索「自己」的深度，當中要
嘗試從不同面向的「自己」發掘：從回眸過去的、從觀察別人眼中的、從投射想 像中的、從與身俱來的、從塑造理想中的、從檢視已被教化的、從發掘未被發展
的、從揣測上一世的、從聆聽當下的、從想像將來的、從扮演一個人見人愛的、
從選擇做一個會不被喜歡的、從厭惡到愛某一個真正的、從可以活得自在的，還 有……還有很多意想不到的面向……彷彿一個無盡的黑洞……然而確實如此。
雖然這個過程不是完全賞心樂事，當中總會出現願意接受的和不想面對的，但有 幸在劇場創作當中，能遇上一群知己知彼的創作團隊，願意將「自己」成為對方
的鏡子，一起互相照著一起探索，讓一堆自圓其說發展成一段段撫心的對話，然 後各人發揮所長將那些身同感受到的轉化成這個創作，最後《Report i》能跟在
場的你交流， 非單靠個人的力量和想法完成的。
感謝你們願意打開感官系統跟我們一起照這面鏡子。無論各位從中看得見或是看 不見甚麼，衷心希望大家都能自由自在地活於你的「 i 」的任何一面。
創作初期我便陷入兩難之中。一方面是改編的命題人性而複雜，另一方面是表
演的語言。不單止有文字，更重要的是形體與音樂也「有話要說」。即便我專注 於寫自己的部份，但每當拼湊起來，也難免有「不對勁」的感想湧現。
“Thank you for coming, I am very honoured. It is rare to be able to write a report about oneself.”
我想起去年年頭參與了 Tim Crouch 的創意寫作工作坊。第一日，他在每一張
This is the opening of a script in Report i, also the motto of keeping myself motivated when I was writing the piece. Sharing Report i at this particular moment is a bless. The time, place, people and myself all find themselves in the right place, in a rarely natural and appropriate manner. I am grateful for everything I have encountered during this journey.
作形式上可以很廣泛，但要運用「得宜」就絕對是一種修煉。我想，「得宜」是
Connecting a work of my ‘self’ to the whole of our ‘selves’ has never been an easy thing to do. Using an outward power to communicate with the audience, while at the same time juggling it inward to fathom my ‘self’, calls for multifaceted turns of one ‘self’, that says, from the perspectives of: Looking back; observing others’ points of view; reflecting the imagined; feeling the inborn; sculpting the ideal; examining the educated; discovering the undiscovered; postulating the past life; listening to the moment; imagining the future; being a beloved; being a never-been-loved; growing love from hate for the right one; breaking free, and furthermore... There are many more directions that one could ever think of... Bottomless and vicious... Things are indeed like this. Life was not all roses when it comes to the making of this piece, where the good and the icky intertwined. I am blissful, and fortunate enough, to have set a life in the world of theatre art, and to have met a group of great people along the way. Being a ‘mirror’ of one and all, we reflect on and dive deep for
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李穎蕾 Santayana Li
A4 上印上一個英文字母，然後拼成一個名詞 -Simplicity。這個名詞運用於寫
一種心境。在修煉路上，面對著社會實況的各種滿目瘡痍，如何在複雜的情緒 底下，抱持簡樸、澄明之心。生活如是、做人如是、創作亦如是。共勉。
I was caught in a dilemma right at the beginning, challenged by the complicated adaptation of a theme so rich in humanity, and the issue of language. Not only do words speak, body movement and music also have ‘something to say’. Even though I focus on writing my own parts, the idea of ‘misfit’ keeps prompting when I try to put everything together. I remember participating in Tim Crouch's creative writing workshop in the beginning of last year. On the first day, he compiled a handful of A4 paper each printed an English letter that eventually spelled the noun ‘simplicity’. The word can be applied to so many types of writing, however, dropping it at the ‘right place’ certainly requires fine practice. Such condition also refers to the state of mind, a matter of keeping up with a simple mentality and a pure heart against all emotional turbulences driven by the cruel reality in our deteriorating society. This is an inevitable topic, whether for living a day, writing a life, or creating a thing. Let’s go.
41
創作人語
林俊浩 Ivanhoe Lam
Creators’ notes
「多謝出席，我榮幸。寫自己報告，機會難得，實在難得。」
這句是《Report i》其中一段台詞的開始，亦是創作《Report i》的動力。有幸可 以在這個時候分享這個作品。無論天時、地利或是人和，包括自己，都有一種合
適、順其自然發生的感覺，實在難得，感謝這一躺遇上的一切。
要令一個關於「自己」的作品聯繫到大家心目中的「自己」，真是一件不容易的事。
each other, transforming some banal monologues into series of heartfelt dialogues. Those profound stories led to the birth of Report i, which would be impossible under any sole effort and single vision; it is the collective power of a gifted team, that brings to you such dedicated exchange of ideas today. I would also like to thank all of you for opening each of your senses and jumping right through to this mirror. No matter what you can or cannot see, I sincerely hope that you can liberate yourself in the ultimate ‘i’ of your choice.
要為它賦予向外跟觀眾溝通的力量，同時盛載向內探索「自己」的深度，當中要
嘗試從不同面向的「自己」發掘：從回眸過去的、從觀察別人眼中的、從投射想 像中的、從與身俱來的、從塑造理想中的、從檢視已被教化的、從發掘未被發展
的、從揣測上一世的、從聆聽當下的、從想像將來的、從扮演一個人見人愛的、
從選擇做一個會不被喜歡的、從厭惡到愛某一個真正的、從可以活得自在的，還 有……還有很多意想不到的面向……彷彿一個無盡的黑洞……然而確實如此。
雖然這個過程不是完全賞心樂事，當中總會出現願意接受的和不想面對的，但有 幸在劇場創作當中，能遇上一群知己知彼的創作團隊，願意將「自己」成為對方
的鏡子，一起互相照著一起探索，讓一堆自圓其說發展成一段段撫心的對話，然 後各人發揮所長將那些身同感受到的轉化成這個創作，最後《Report i》能跟在
場的你交流， 非單靠個人的力量和想法完成的。
感謝你們願意打開感官系統跟我們一起照這面鏡子。無論各位從中看得見或是看 不見甚麼，衷心希望大家都能自由自在地活於你的「 i 」的任何一面。
創作初期我便陷入兩難之中。一方面是改編的命題人性而複雜，另一方面是表
演的語言。不單止有文字，更重要的是形體與音樂也「有話要說」。即便我專注 於寫自己的部份，但每當拼湊起來，也難免有「不對勁」的感想湧現。
“Thank you for coming, I am very honoured. It is rare to be able to write a report about oneself.”
我想起去年年頭參與了 Tim Crouch 的創意寫作工作坊。第一日，他在每一張
This is the opening of a script in Report i, also the motto of keeping myself motivated when I was writing the piece. Sharing Report i at this particular moment is a bless. The time, place, people and myself all find themselves in the right place, in a rarely natural and appropriate manner. I am grateful for everything I have encountered during this journey.
作形式上可以很廣泛，但要運用「得宜」就絕對是一種修煉。我想，「得宜」是
Connecting a work of my ‘self’ to the whole of our ‘selves’ has never been an easy thing to do. Using an outward power to communicate with the audience, while at the same time juggling it inward to fathom my ‘self’, calls for multifaceted turns of one ‘self’, that says, from the perspectives of: Looking back; observing others’ points of view; reflecting the imagined; feeling the inborn; sculpting the ideal; examining the educated; discovering the undiscovered; postulating the past life; listening to the moment; imagining the future; being a beloved; being a never-been-loved; growing love from hate for the right one; breaking free, and furthermore... There are many more directions that one could ever think of... Bottomless and vicious... Things are indeed like this. Life was not all roses when it comes to the making of this piece, where the good and the icky intertwined. I am blissful, and fortunate enough, to have set a life in the world of theatre art, and to have met a group of great people along the way. Being a ‘mirror’ of one and all, we reflect on and dive deep for
40
李穎蕾 Santayana Li
A4 上印上一個英文字母，然後拼成一個名詞 -Simplicity。這個名詞運用於寫
一種心境。在修煉路上，面對著社會實況的各種滿目瘡痍，如何在複雜的情緒 底下，抱持簡樸、澄明之心。生活如是、做人如是、創作亦如是。共勉。
I was caught in a dilemma right at the beginning, challenged by the complicated adaptation of a theme so rich in humanity, and the issue of language. Not only do words speak, body movement and music also have ‘something to say’. Even though I focus on writing my own parts, the idea of ‘misfit’ keeps prompting when I try to put everything together. I remember participating in Tim Crouch's creative writing workshop in the beginning of last year. On the first day, he compiled a handful of A4 paper each printed an English letter that eventually spelled the noun ‘simplicity’. The word can be applied to so many types of writing, however, dropping it at the ‘right place’ certainly requires fine practice. Such condition also refers to the state of mind, a matter of keeping up with a simple mentality and a pure heart against all emotional turbulences driven by the cruel reality in our deteriorating society. This is an inevitable topic, whether for living a day, writing a life, or creating a thing. Let’s go.
41
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創作人簡介 Creators’ Bio
林俊浩 Ivanhoe Lam
李穎蕾 Santayana Li
舞蹈學院進修當代編舞，獲編舞藝術學士學位。
於 加 拿 大 東 部 巡 演 作 品《The Extinction of Hong
畢業於香港演藝學院戲劇學院及舞蹈學院現代舞系文憑課程，其後赴荷蘭鹿特丹 個人編舞作品曾於上海、杜塞爾多夫、蘇黎世、廣州、北京、鹿特丹、海牙、烏
特勒支及阿姆斯特丹發表。近期編舞作品有新視野藝術節 2016 - Artsnap《候
話。四重奏》、《ODDs》 （2015）、i- 舞蹈節 2014「中港台新舞蹈平台」 《候 ‧ 話》
（言濁篇）、第四十二屆香港藝術節香港賽馬會當代舞台平台系列《單・雙》、長 篇作品《27》、短篇作品《27 Scenes》等。
2015 年 春 季， 獲 Connecting Spaces 邀 請 到 瑞 士 蘇 黎 世 藝 術 大 學 ZHdK 作
駐場藝術家，期間帶領當地十位來自不同範疇的藝術家創作跨媒介作品《Odd
Couplings》。
林氏亦為不同類型演出擔任編排導演、編舞及形體設計，包括非常林奕華《聊
齋》、《機場無真愛》；劉美君演唱劇場《千色》；陳輝陽 ×女聲合唱《上一次流 淚》、《少女的祈禱》；一舖清唱《時代狂唱》; 香港話劇團《太平山之疫》等。
Received a Diploma in Drama and Dance (Contemporary Dance) from Hong Kong Academy for Performing Arts, Lam then obtained a Bachelor of Fine Arts degree, majoring in Choreography from Codarts, Rotterdam.
香港演員及編劇。去年與 Theatre du Poulet 合作， Kongers》 ，並在多倫多Summer Works Performace
Festival 獲得 Emerging Artist Award。李 氏 第 一 部
編寫作品《愛之初體驗》，獲邀於第四十屆香港藝術節 公演，並獲南華早報評為「2012 年最印象深刻的本地 原創新作」。
Hong Kong actress and playwright. Last year Li collaborated with Theatre du Poulet to tour The Extinction of Hong Kongers throughout the east Canada, which has received the Emerging Artist Award from SummerWorks Performance Festival 2018 in Toronto. Li’s first written play, Journey to Home, was chosen and premiered in the 40th Hong Kong Arts Festival and credited as “the most memorable local new original script 2012” by South China Morning Post.
Lam’s works have toured to Shanghai, Dusseldorf, Zurich, Guangzhou, Beijing, Rotterdam, The Hague, Utrecht and Amsterdam. His recent works include Pretext Quartet - New Vision Festival 2016 ArtSnap, ODDs (2015), Pretext (Trio version) in New Dance Platform: New Dance from Beijing, HK & Taipei of i-Dance Festival 2014, Even • Odd commissioned by the 42nd Hong Kong Arts Festival’s Hong Kong Jockey Club Contemporary Dance Series, 27 commissioned by Leisure and Cultural Services Department and more. In Spring 2015, invited by Connecting Spaces, he curated and created a multidisciplinary performance, Odd Couplings with ten Swiss artists during his three-month artist-in-residence at Zürcher Hochschule der Künste (ZHdK) in Zurich. He also does staging direction and movement design for different productions like Why We Chat by Edward Lam Dance Theatre, Karma Chameleon by Prudence Liew, Girls in Tears & The Girl’s Prayer by Chan Fai-young x Women’s Choir, Sing While You Can by Yat Po Singers, 1894 Hong Kong Plague - a musical by Hong Kong Repertory Theatre, etc.
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創作人簡介 Creators’ Bio
林俊浩 Ivanhoe Lam
李穎蕾 Santayana Li
舞蹈學院進修當代編舞，獲編舞藝術學士學位。
於 加 拿 大 東 部 巡 演 作 品《The Extinction of Hong
畢業於香港演藝學院戲劇學院及舞蹈學院現代舞系文憑課程，其後赴荷蘭鹿特丹 個人編舞作品曾於上海、杜塞爾多夫、蘇黎世、廣州、北京、鹿特丹、海牙、烏
特勒支及阿姆斯特丹發表。近期編舞作品有新視野藝術節 2016 - Artsnap《候
話。四重奏》、《ODDs》 （2015）、i- 舞蹈節 2014「中港台新舞蹈平台」 《候 ‧ 話》
（言濁篇）、第四十二屆香港藝術節香港賽馬會當代舞台平台系列《單・雙》、長 篇作品《27》、短篇作品《27 Scenes》等。
2015 年 春 季， 獲 Connecting Spaces 邀 請 到 瑞 士 蘇 黎 世 藝 術 大 學 ZHdK 作
駐場藝術家，期間帶領當地十位來自不同範疇的藝術家創作跨媒介作品《Odd
Couplings》。
林氏亦為不同類型演出擔任編排導演、編舞及形體設計，包括非常林奕華《聊
齋》、《機場無真愛》；劉美君演唱劇場《千色》；陳輝陽 ×女聲合唱《上一次流 淚》、《少女的祈禱》；一舖清唱《時代狂唱》; 香港話劇團《太平山之疫》等。
Received a Diploma in Drama and Dance (Contemporary Dance) from Hong Kong Academy for Performing Arts, Lam then obtained a Bachelor of Fine Arts degree, majoring in Choreography from Codarts, Rotterdam.
香港演員及編劇。去年與 Theatre du Poulet 合作， Kongers》 ，並在多倫多Summer Works Performace
Festival 獲得 Emerging Artist Award。李 氏 第 一 部
編寫作品《愛之初體驗》，獲邀於第四十屆香港藝術節 公演，並獲南華早報評為「2012 年最印象深刻的本地 原創新作」。
Hong Kong actress and playwright. Last year Li collaborated with Theatre du Poulet to tour The Extinction of Hong Kongers throughout the east Canada, which has received the Emerging Artist Award from SummerWorks Performance Festival 2018 in Toronto. Li’s first written play, Journey to Home, was chosen and premiered in the 40th Hong Kong Arts Festival and credited as “the most memorable local new original script 2012” by South China Morning Post.
Lam’s works have toured to Shanghai, Dusseldorf, Zurich, Guangzhou, Beijing, Rotterdam, The Hague, Utrecht and Amsterdam. His recent works include Pretext Quartet - New Vision Festival 2016 ArtSnap, ODDs (2015), Pretext (Trio version) in New Dance Platform: New Dance from Beijing, HK & Taipei of i-Dance Festival 2014, Even • Odd commissioned by the 42nd Hong Kong Arts Festival’s Hong Kong Jockey Club Contemporary Dance Series, 27 commissioned by Leisure and Cultural Services Department and more. In Spring 2015, invited by Connecting Spaces, he curated and created a multidisciplinary performance, Odd Couplings with ten Swiss artists during his three-month artist-in-residence at Zürcher Hochschule der Künste (ZHdK) in Zurich. He also does staging direction and movement design for different productions like Why We Chat by Edward Lam Dance Theatre, Karma Chameleon by Prudence Liew, Girls in Tears & The Girl’s Prayer by Chan Fai-young x Women’s Choir, Sing While You Can by Yat Po Singers, 1894 Hong Kong Plague - a musical by Hong Kong Repertory Theatre, etc.
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47
鋼，是鐵與其他元素，如碳，結合而成的合金。
鋼的優點是 — 硬度比鐵高，抗腐蝕性比鐵強，甚至比 純鐵更硬更強。但若果轉化過程中碳的成份不足或缺 乏了其它物質，它就變成生銹的鐵。 即是廢鐵。
廢鐵沒有價值，只能被無情丟棄或重新回收。沒有人
需要廢鐵，大家都恐懼成為廢鐵。
因此，恐懼成為廢鐵的它們，抱著必須成鋼的決心， 在一重又一重頑固的牆壁內拼命掙扎。
它 們 有 多 少 是 自 願 經 歷 千 錘 百 鍊， 又 有 多 少 最 後 能 成鋼？
Steel is a composite of iron and other elements such as carbon; an alloy. Acclaimed for high density and anti-corrosion power, steel surpasses iron, and out-performs pure iron. But if carbon or other substances are missing during the conversion process, it ends in rust. Which is, a piece of scrap. Obviously lack of value, scrap iron can only be dumped or recycled. No one wants a dysfunctional metal. We all fear to have a life like that. Therefore, those who want to survive in the opposite, must be absolutely determined to get through the way just like the making of steel, beating each game. How many of them do voluntarily undergo the harsh refinement, and how many of them can eventually succeed to be steel?
48
26/1 28/1
六
SAT
8:00pm
MON
9:00pm
一
** 於奥卑利街 16 號集合 Gathering Point at No. 16 Old Bailey Street 此乃語言無障礙節目 Language is not a barrier in this programme
導演 Director:
黃俊達 Ata Wong 監製 Producer:
李宛虹 Lei Yuen-hung
服裝設計 Costume Designers:
范進鵬 Stephen Fan 冼俊傑 Sin Chun-kit
作曲及演出 Composer & performer:
羅鎧欣 Heidi Law 演出 Performers:
張䕒文 Cheung Ka-man 莊芍琳 Chong Cheuk-lam 鍾楚瑜 Chung Cho-yu 方迦南 Fong Ka-nam 何靖文 Ho Ching-man 何宛珊 Ho Yuen-shan 郭凱盈 Helen Kwok 林嘉婷 Lam Ka-ting 林樂兒 Lam Lok-yee 羅鈺賢 Law Yuk-yin 李澄昕 Lee Ching-yan 蕭芷芊 Jovita Siu 戴天晴 Summer Tai 鄧曉晴 Adrianna Tang 謝美鳳 Tse Mei-fung 余蔚誼 Lorraine Yu 排練助理 Rehearsal Assistant:
戴天晴 Summer Tai
製作助理 Production Assistant:
蕭芷芊 Jovita Siu
49
鋼，是鐵與其他元素，如碳，結合而成的合金。
鋼的優點是 — 硬度比鐵高，抗腐蝕性比鐵強，甚至比 純鐵更硬更強。但若果轉化過程中碳的成份不足或缺 乏了其它物質，它就變成生銹的鐵。 即是廢鐵。
廢鐵沒有價值，只能被無情丟棄或重新回收。沒有人
需要廢鐵，大家都恐懼成為廢鐵。
因此，恐懼成為廢鐵的它們，抱著必須成鋼的決心， 在一重又一重頑固的牆壁內拼命掙扎。
它 們 有 多 少 是 自 願 經 歷 千 錘 百 鍊， 又 有 多 少 最 後 能 成鋼？
Steel is a composite of iron and other elements such as carbon; an alloy. Acclaimed for high density and anti-corrosion power, steel surpasses iron, and out-performs pure iron. But if carbon or other substances are missing during the conversion process, it ends in rust. Which is, a piece of scrap. Obviously lack of value, scrap iron can only be dumped or recycled. No one wants a dysfunctional metal. We all fear to have a life like that. Therefore, those who want to survive in the opposite, must be absolutely determined to get through the way just like the making of steel, beating each game. How many of them do voluntarily undergo the harsh refinement, and how many of them can eventually succeed to be steel?
48
26/1 28/1
六
SAT
8:00pm
MON
9:00pm
一
** 於奥卑利街 16 號集合 Gathering Point at No. 16 Old Bailey Street 此乃語言無障礙節目 Language is not a barrier in this programme
導演 Director:
黃俊達 Ata Wong 監製 Producer:
李宛虹 Lei Yuen-hung
服裝設計 Costume Designers:
范進鵬 Stephen Fan 冼俊傑 Sin Chun-kit
作曲及演出 Composer & performer:
羅鎧欣 Heidi Law 演出 Performers:
張䕒文 Cheung Ka-man 莊芍琳 Chong Cheuk-lam 鍾楚瑜 Chung Cho-yu 方迦南 Fong Ka-nam 何靖文 Ho Ching-man 何宛珊 Ho Yuen-shan 郭凱盈 Helen Kwok 林嘉婷 Lam Ka-ting 林樂兒 Lam Lok-yee 羅鈺賢 Law Yuk-yin 李澄昕 Lee Ching-yan 蕭芷芊 Jovita Siu 戴天晴 Summer Tai 鄧曉晴 Adrianna Tang 謝美鳳 Tse Mei-fung 余蔚誼 Lorraine Yu 排練助理 Rehearsal Assistant:
戴天晴 Summer Tai
製作助理 Production Assistant:
蕭芷芊 Jovita Siu
49
望 的 人 不 争 气 不 上 进 感 到 不 满， 急 切 希
望他变好。语出清·曹雪芹《红楼梦》第 : 只为宝玉不上进，所以时常恨 九十六回 “ 他，也不过是‘恨铁不成钢’的意思。” 人人都希望化繁為簡，則事半功倍。
Creators’ notes
恨铁不成钢是一个汉语成语，形容对所期
創作人語
黃俊達 Ata Wong Chun-tat
人人都希望化繁為簡，則把鐵換成鋼。 ‘Hate iron for not becoming steel’ is a Chinese proverb that describes the disappointment over one’s underperformance and failure to accomplish the expected goal, as well as the urge for seeing the person’s soonest achievement. It comes from chapter 96 of the Chinese literature classic Dream of the Red Chamber, written by Cao Xueqin in Qing dynasty. Everyone wants to simplify the complicated, so that half contribution will bring a double result; everyone wants to simplify the complicated, so that iron is replaced by steel.
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51
望 的 人 不 争 气 不 上 进 感 到 不 满， 急 切 希
望他变好。语出清·曹雪芹《红楼梦》第 : 只为宝玉不上进，所以时常恨 九十六回 “ 他，也不过是‘恨铁不成钢’的意思。” 人人都希望化繁為簡，則事半功倍。
Creators’ notes
恨铁不成钢是一个汉语成语，形容对所期
創作人語
黃俊達 Ata Wong Chun-tat
人人都希望化繁為簡，則把鐵換成鋼。 ‘Hate iron for not becoming steel’ is a Chinese proverb that describes the disappointment over one’s underperformance and failure to accomplish the expected goal, as well as the urge for seeing the person’s soonest achievement. It comes from chapter 96 of the Chinese literature classic Dream of the Red Chamber, written by Cao Xueqin in Qing dynasty. Everyone wants to simplify the complicated, so that half contribution will bring a double result; everyone wants to simplify the complicated, so that iron is replaced by steel.
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創作人簡介 Creators’ Bio
黃俊達 Ata Wong Chun-tat
綠葉劇團 Theâtre de la Feuille
團，兼任藝術總監及創作導演；2017 年香港藝術發展獎－藝術新秀獎（戲劇）得
訓 練， 發 展 成 具 身 體 表 演 力 和 創 作 力 的 團 隊。 劇 團 糅 合 賈 克． 樂 寇（Jacques
香港 導演、 編舞、 演員、電影 肢體演 技指導 及戲劇導師。2010 年創立綠葉劇 主；2018 年完成賈克．樂寇國際戲劇學校第三年師資課程，為首位港人獲該校 教師資格。
黃氏經常為不同機構及個人單位合作，包括電影導演杜琪峰、香港演藝學院、香 港藝術節、城市當代舞蹈團、鄧樹榮戲劇工作室、克羅地亞普拉國際戲劇節、法
國亞維儂藝穗節、愛丁堡藝穗節等等。
Hong Kong director, choreographer, actor, movement coach and instructor. Wong formed Theâtre de la Feuille in 2010. He was awarded Young Artist (Drama) of Hong Kong Arts Development Awards 2017. In 2018, he completed his studies at Jacques Lecoq International School of Theatre for the third year of the teaching course. He is the first Hong Kong performer awarded with the professional license for teaching at this school. Wong has been working with different institutions and creative practitioners including Johnnie To the film director, Hong Kong Academy of Performing Arts, Hong Kong Arts Festival, City Contemporary Dance Company, Tang Shu Wing Theatre Studio, International Theatre Festival (Croatia), Festival d'Avignon (France), Edinburgh Festival Fringe (UK), etc.
於 2010 年由黃俊達成立。現時有約二十位不同背景的創作演員，持續接受系統 Lecoq）的西方表演方法及東方傳統藝術，創作多元化及高質素的作品，包括《狂
人》、《爸爸》、《十四》、《鄭和》、《莊姬》、《孤兒 2.0》及《我要安樂死》等。劇團積
極累積巡演經驗，至今已超過六十站、一百三十場巡演，足跡遍佈兩岸三地、法 國、意大利、克羅地亞、日本、韓國等。
Founded in 2010 by Ata Wong Chun-tat in Paris, Theâtre de la Feuille is a physical theatre group deeply influenced by the western methodology of Jacques Lecoq and interweaved with Eastern artistic traditions. Theâtre de la Feuille is now based in Hong Kong and eager to perform overseas for more touring experiences. Its productions have staged in the Great China region, France, Italy, Croatia, Japan and Korea. With a group of twenty creative actors from a plethora of different cultures and backgrounds, Theâtre de la Feuille provides them with custom-made trainings of Jacques Lecoq and traditional Chinese martial arts, nurturing them to become a strong and unique ensemble of Hong Kong. 網頁Website: https://www.facebook.com/theatre.feuille IG: theatredelafeuille
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55
創作人簡介 Creators’ Bio
黃俊達 Ata Wong Chun-tat
綠葉劇團 Theâtre de la Feuille
團，兼任藝術總監及創作導演；2017 年香港藝術發展獎－藝術新秀獎（戲劇）得
訓 練， 發 展 成 具 身 體 表 演 力 和 創 作 力 的 團 隊。 劇 團 糅 合 賈 克． 樂 寇（Jacques
香港 導演、 編舞、 演員、電影 肢體演 技指導 及戲劇導師。2010 年創立綠葉劇 主；2018 年完成賈克．樂寇國際戲劇學校第三年師資課程，為首位港人獲該校 教師資格。
黃氏經常為不同機構及個人單位合作，包括電影導演杜琪峰、香港演藝學院、香 港藝術節、城市當代舞蹈團、鄧樹榮戲劇工作室、克羅地亞普拉國際戲劇節、法
國亞維儂藝穗節、愛丁堡藝穗節等等。
Hong Kong director, choreographer, actor, movement coach and instructor. Wong formed Theâtre de la Feuille in 2010. He was awarded Young Artist (Drama) of Hong Kong Arts Development Awards 2017. In 2018, he completed his studies at Jacques Lecoq International School of Theatre for the third year of the teaching course. He is the first Hong Kong performer awarded with the professional license for teaching at this school. Wong has been working with different institutions and creative practitioners including Johnnie To the film director, Hong Kong Academy of Performing Arts, Hong Kong Arts Festival, City Contemporary Dance Company, Tang Shu Wing Theatre Studio, International Theatre Festival (Croatia), Festival d'Avignon (France), Edinburgh Festival Fringe (UK), etc.
於 2010 年由黃俊達成立。現時有約二十位不同背景的創作演員，持續接受系統 Lecoq）的西方表演方法及東方傳統藝術，創作多元化及高質素的作品，包括《狂
人》、《爸爸》、《十四》、《鄭和》、《莊姬》、《孤兒 2.0》及《我要安樂死》等。劇團積
極累積巡演經驗，至今已超過六十站、一百三十場巡演，足跡遍佈兩岸三地、法 國、意大利、克羅地亞、日本、韓國等。
Founded in 2010 by Ata Wong Chun-tat in Paris, Theâtre de la Feuille is a physical theatre group deeply influenced by the western methodology of Jacques Lecoq and interweaved with Eastern artistic traditions. Theâtre de la Feuille is now based in Hong Kong and eager to perform overseas for more touring experiences. Its productions have staged in the Great China region, France, Italy, Croatia, Japan and Korea. With a group of twenty creative actors from a plethora of different cultures and backgrounds, Theâtre de la Feuille provides them with custom-made trainings of Jacques Lecoq and traditional Chinese martial arts, nurturing them to become a strong and unique ensemble of Hong Kong. 網頁Website: https://www.facebook.com/theatre.feuille IG: theatredelafeuille
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製作團隊 Production Team
黎蘊賢 Orlean Lai
吳子昆 Ng Tsz-kwan
成立 orleanlaiproject，以強調「混雜協作」 （hybridity in collaboration）作為
2006 年成立 yU+co.[lab}，擔任共同創辦人及執行創意總監，此為其個人創立
策劃及監製 Curator & Producer
策動跨域合作計劃的核心。探索不同展現方式的混種可能，拓寬藝術類型框框、 媒界的分野。
2014 年獲邀於「油街實現」策劃了《像是動物園》展覽，嘗試以展場作為歷程、
敘述、跨越展覽與表演的實驗場域。2018 年策劃的新版《像是動物園（二）》於新
視野藝術節 2018「上演」，於香港醫學博物館重新打開「珍奇屋」奇觀之旅。以跨 界協作班底－區華欣、許敖山、馮程程、伍韶勁、吳子昆、文美桃、洪忠傑及黃
鴻飛等，為觀眾帶來一趟跨越演與展的社會實驗歷程，從上回的藏品展示，今回 把焦點放在「人」的展示上，尋找現代處境底下的「奇人」。
此外，2017 年策動了多頻道演出《親密 Claustrophobia》與創作人馮程程、譚
偉平及袁卓華共同實驗了一次裝置聲域平行敘事演出。2018 年初完成另一跨域
合作《肖像曲》，串連 Nerve 與卓翔將「紀錄」從影片延伸到劇場，化為混種歌劇， 從中探視崑曲、能劇與西方歌劇表演者的創作生平。
2017 至 2018 年亦獲委約策劃了兩個戶外項目，分別於尖沙咀梳士巴利花園舉行
的「大觀圓」－洪強 × 張藝生的歷驗式裝置與演出；及於中上環街道發生的「游山
行」系列。
2016 年為亞洲文化協會年度獎助金得主。 Orlean has founded her production unit – orleanlaiproject to focus on curating hybrid collaborations that explore new possibility of presentation formats and fuse the boundary of art forms and mediums.
創作及製作伙伴 Creative & Production Partner
的 N.T. Lab 公司與荷里活設計巨頭 yU+co. 合組而成。香港中文大學藝術學士，
英國中央聖馬丁藝術設計學院碩士，曾出任多間本地大專院校的講師，專研當代
媒體藝術和電子多媒體應用領域。持續創作互動媒體裝置，嘗試把人類的活動與 觸覺融入數碼媒體中，並把互動媒體帶入商業應用，及不同層面的應用上。其作 品曾獲多個國家邀請展出。2007 年被香港《透視》雜誌推選為「大中華地區四十
位四十歲以下最傑出設計師」之一。
Graduated from The Chinese University of Hong Kong in 1997 with a bachelor’s degree in Fine Arts; and completed a master’s degree at Central Saint Martins College of Art and Design, London in 2000. Kwan continues to lecture in multimedia and electronic arts at design related departments of various Universities and Institutions in Hong Kong. He has long been devoted to making electronic arts and video work, which have been exhibited in London, Berlin, New York, Helsinki, Japan and Korea, in addition to numerous local exhibitions. He has successfully applied interactive media design to the art, commercial and exhibition sectors and continues to explore the use of different media for integrated design solutions for clients. In 2007, Perspective Magazine commented him as one of the “40 outstanding design professionals under the age of 40 in Greater China”. Kwan remains the Co-founder and Executive Director of yU+co.[lab}, since 2006 when he partnered his interactive multi-media design company, N.T. Lab, with award-winning Hollywood-based creative design firm yU+co., giving rise to yU+co.[lab}.
In 2014, Orlean was invited to curate an exhibition – Zoo as Metaphor at Oi! (Oil Street Art Space). The project was an attempt to adopt an exhibition space for an experiential journey of narrative and performance. This year, in the New Vision Arts Festival 2018, she has collaborated with the creative team (of Au Wah-yan, Steve Hui, Vee Leong, Kingsley Ng, Man Mei-to, Kensa Hung, Wong hung-fei and more) and has undertaken another expedition at the Hong Kong Museum of Medical Sciences with Zoo as Metaphor (2). Moved on from the objects and collectables on display in the first edition, the new expedition focused on PEOPLE, embarking on the “bizzare” in contemporary situations... The production has evolved from a crossed form of exhibition and performance into an experiential journey of social experiment. In 2017, she curated an Intermedia collaborative performance, Claustrophobia with Vee Leong, Tam Wai-ping and Yuen Cheuk-wa, which experimented with integrating installation, sonic writing, and soundscape into a parallel narrative performance. In another recent collaborative project - Songs of Portrait (2018) with Nerve and Cheuk Cheung, which documentary expanded from the screen to live performance on stage, to something beyond opera, illustrating performers’ lives and practices from traditions of Kunqu, Noh, and Opera. In 2017-18, Orlean was also commissioned to curate two outdoor projects: Circular Reflection (at Salisbury Garden) of participatory installation and experiential performance by Hung Keung and Alex Cheung; and Swim Walking, a series of art journeys in the Central / Sheung Wan district. Orlean was Asian Cultural Council Fellowship recipient of 2016.
www.orleanlaiproject.net 56
57
製作團隊 Production Team
黎蘊賢 Orlean Lai
吳子昆 Ng Tsz-kwan
成立 orleanlaiproject，以強調「混雜協作」 （hybridity in collaboration）作為
2006 年成立 yU+co.[lab}，擔任共同創辦人及執行創意總監，此為其個人創立
策劃及監製 Curator & Producer
策動跨域合作計劃的核心。探索不同展現方式的混種可能，拓寬藝術類型框框、 媒界的分野。
2014 年獲邀於「油街實現」策劃了《像是動物園》展覽，嘗試以展場作為歷程、
敘述、跨越展覽與表演的實驗場域。2018 年策劃的新版《像是動物園（二）》於新
視野藝術節 2018「上演」，於香港醫學博物館重新打開「珍奇屋」奇觀之旅。以跨 界協作班底－區華欣、許敖山、馮程程、伍韶勁、吳子昆、文美桃、洪忠傑及黃
鴻飛等，為觀眾帶來一趟跨越演與展的社會實驗歷程，從上回的藏品展示，今回 把焦點放在「人」的展示上，尋找現代處境底下的「奇人」。
此外，2017 年策動了多頻道演出《親密 Claustrophobia》與創作人馮程程、譚
偉平及袁卓華共同實驗了一次裝置聲域平行敘事演出。2018 年初完成另一跨域
合作《肖像曲》，串連 Nerve 與卓翔將「紀錄」從影片延伸到劇場，化為混種歌劇， 從中探視崑曲、能劇與西方歌劇表演者的創作生平。
2017 至 2018 年亦獲委約策劃了兩個戶外項目，分別於尖沙咀梳士巴利花園舉行
的「大觀圓」－洪強 × 張藝生的歷驗式裝置與演出；及於中上環街道發生的「游山
行」系列。
2016 年為亞洲文化協會年度獎助金得主。 Orlean has founded her production unit – orleanlaiproject to focus on curating hybrid collaborations that explore new possibility of presentation formats and fuse the boundary of art forms and mediums.
創作及製作伙伴 Creative & Production Partner
的 N.T. Lab 公司與荷里活設計巨頭 yU+co. 合組而成。香港中文大學藝術學士，
英國中央聖馬丁藝術設計學院碩士，曾出任多間本地大專院校的講師，專研當代
媒體藝術和電子多媒體應用領域。持續創作互動媒體裝置，嘗試把人類的活動與 觸覺融入數碼媒體中，並把互動媒體帶入商業應用，及不同層面的應用上。其作 品曾獲多個國家邀請展出。2007 年被香港《透視》雜誌推選為「大中華地區四十
位四十歲以下最傑出設計師」之一。
Graduated from The Chinese University of Hong Kong in 1997 with a bachelor’s degree in Fine Arts; and completed a master’s degree at Central Saint Martins College of Art and Design, London in 2000. Kwan continues to lecture in multimedia and electronic arts at design related departments of various Universities and Institutions in Hong Kong. He has long been devoted to making electronic arts and video work, which have been exhibited in London, Berlin, New York, Helsinki, Japan and Korea, in addition to numerous local exhibitions. He has successfully applied interactive media design to the art, commercial and exhibition sectors and continues to explore the use of different media for integrated design solutions for clients. In 2007, Perspective Magazine commented him as one of the “40 outstanding design professionals under the age of 40 in Greater China”. Kwan remains the Co-founder and Executive Director of yU+co.[lab}, since 2006 when he partnered his interactive multi-media design company, N.T. Lab, with award-winning Hollywood-based creative design firm yU+co., giving rise to yU+co.[lab}.
In 2014, Orlean was invited to curate an exhibition – Zoo as Metaphor at Oi! (Oil Street Art Space). The project was an attempt to adopt an exhibition space for an experiential journey of narrative and performance. This year, in the New Vision Arts Festival 2018, she has collaborated with the creative team (of Au Wah-yan, Steve Hui, Vee Leong, Kingsley Ng, Man Mei-to, Kensa Hung, Wong hung-fei and more) and has undertaken another expedition at the Hong Kong Museum of Medical Sciences with Zoo as Metaphor (2). Moved on from the objects and collectables on display in the first edition, the new expedition focused on PEOPLE, embarking on the “bizzare” in contemporary situations... The production has evolved from a crossed form of exhibition and performance into an experiential journey of social experiment. In 2017, she curated an Intermedia collaborative performance, Claustrophobia with Vee Leong, Tam Wai-ping and Yuen Cheuk-wa, which experimented with integrating installation, sonic writing, and soundscape into a parallel narrative performance. In another recent collaborative project - Songs of Portrait (2018) with Nerve and Cheuk Cheung, which documentary expanded from the screen to live performance on stage, to something beyond opera, illustrating performers’ lives and practices from traditions of Kunqu, Noh, and Opera. In 2017-18, Orlean was also commissioned to curate two outdoor projects: Circular Reflection (at Salisbury Garden) of participatory installation and experiential performance by Hung Keung and Alex Cheung; and Swim Walking, a series of art journeys in the Central / Sheung Wan district. Orlean was Asian Cultural Council Fellowship recipient of 2016.
www.orleanlaiproject.net 56
57
製作團隊 Production Team
謝徵燊 Mousey Tse
張素宜 Zoe Cheung
眾聲喧嘩成員。畢業於香港浸會大學，獲頒文學士 ( 榮譽 ) 學位，主修人文學，其
畢業於香港演藝學院，獲頒藝術學士（榮譽）學位，主修舞台燈光設計。
製作經理 Production Manager
後於香港演藝學院取得藝術學士 ( 榮譽 ) 學位，主修燈光設計。
曾為不同藝術團體擔任燈光設計及製作經理，包括 : 香港藝術節、香港話劇團、
香港舞蹈團、香港藝術中心、前進進戲劇工作坊、鄧樹榮戲劇工作室、華意堂、 orleanlaiproject、凝動劇場、何必館、團劇團、灣仔劇團、一條褲製作、浪人 劇場、7A 班戲劇組、一張紙劇場等。
現為自由身燈光設計師、製作經理及香港演藝學院兼職講師。 A member of Heteroglossia, Tse majored in Humanities and received his Bachelor of Arts (Honours) from Hong Kong Baptist University. Later he gained Bachelor of Fine Arts (Honours) from Hong Kong Academy for Performing Arts, majoring in Theatre Lighting Design. He worked as lighting designer and production manager for Hong Kong Arts Festival, HKRep, Hong Kong Arts Centre, On and On Theatre Workshop, Tang Shu-wing Theatre Studio, RhapsoArts, orleanlaiproject, Richochet Ensemble, Ho Bit Goon, Radix Troupe, Whole Theatre Limited, Wanchai Theatre, Pants Theatre Production, Theatre Ronin, Class 7A Drama Group and Piece by Piece Theatre among others. Currently he is a freelance theatre lighting designer and production manager while serving as part-time lecturer in the Hong Kong Academy for Performing Arts.
燈光設計 Lighting Designer
近年參與作品有：香港舞蹈團《觀自在》、進念・二十面體《春之祭》、浪人劇場
《心林》（香港及台北關渡藝術節演出）等。今年隨作品《無耳琴師》赴阿維農參與
藝術節演出，亦曾參與波蘭 Zawirowania 舞蹈節、馬來西亞詩巫國際舞蹈節、 阿得萊德藝穗節等，為本地音樂或舞蹈作品擔任燈光設計。
劇 場 以 外 之 創 作 包 括 於 2012 年 舉 辦 曼 陀 羅 觀 賞 展 覽， 並 於 2018 年 出 版 畫 冊
《Travelling Mandala》。
Cheung graduated from Hong Kong Academy for Performing Arts majoring in Theatre Lighting Design. Recent productions she engaged in including Hong Kong Dance Company’s Vipassana, Zuni Icosahedron’s The Rite of Spring, and Theatre Ronin’s Nature (Hong Kong and Taipei). As a lighting designer for music and dance performances, Cheng participated in productions staged in Zawirowania Dance Theater Festival in Poland, Siba International Dance Festival in Malaysia, Adelaide Fringe Festival Australia and The Avignon Festival Off 2018. In addition to theatrical productions, Cheung held a Mandala drawings exhibition, Sacred Geometry Journey Mandala Exhibition in 2012. She also published her first drawings album Travelling Mandala in 2018.
何詠心 Bonita Ho
助理製作經理 Assistant Production Manager
畢業於香港演藝學院，獲藝術學士（榮譽）學位，主修藝術、項目及舞台管理。
近 期 參 與 製 作 包 括： 澳 門 國 際 音 樂 節《 愛 情 靈 藥 》、《 安 德 烈． 謝 尼 爾》； 澳 門
國際默劇節 ; 香港歌劇院《蝙蝠》、《百年歌劇巡禮》、《半舞台式歌劇：修女安
潔莉卡及賈尼．斯基基》; 澳門藝術節《叢前黑夜》; 聚聲喧嘩《牠和牠和牠的森
林》; 香港話劇團《迂迴曲》；ABA Production Ltd.‘Kids Fest Hong Kong’ 2017&2018；鄧樹榮戲劇工作室《泰特斯 2.0》 （歐洲巡演）等。
現為自由身舞台工作者。
Bonita is graduated from The Hong Kong Academy for Performing Arts with Bachelor of Fine Arts (Honours) Degree in Theatre and Entertainment Arts, majoring in Arts, Event and Stage Management. Recent productions include: L’Elisir d’Amore, Andrea Chénier by Macao International Music Festival; Macau International Mime Festival 2018; Die Fledermaus, Opera Carnival in Shenzhen, Semi-staged Opera: Suor Angelica & Gianni Schicchi by Opera Hong Kong; Night Just Before the Forests by Macao Arts Festival; Three of Us by Heteroglossia; Twists & Turns by Hong Kong Repertory; Kids Fest Hong Kong 2017 & 2018 by ABA Production Ltd.; Titus 2.0 Europe Tour by Tang Shu-wing Theatre Studio, etc. She is now a freelance practitioner in theatre and event industry.
58
59
製作團隊 Production Team
謝徵燊 Mousey Tse
張素宜 Zoe Cheung
眾聲喧嘩成員。畢業於香港浸會大學，獲頒文學士 ( 榮譽 ) 學位，主修人文學，其
畢業於香港演藝學院，獲頒藝術學士（榮譽）學位，主修舞台燈光設計。
製作經理 Production Manager
後於香港演藝學院取得藝術學士 ( 榮譽 ) 學位，主修燈光設計。
曾為不同藝術團體擔任燈光設計及製作經理，包括 : 香港藝術節、香港話劇團、
香港舞蹈團、香港藝術中心、前進進戲劇工作坊、鄧樹榮戲劇工作室、華意堂、 orleanlaiproject、凝動劇場、何必館、團劇團、灣仔劇團、一條褲製作、浪人 劇場、7A 班戲劇組、一張紙劇場等。
現為自由身燈光設計師、製作經理及香港演藝學院兼職講師。 A member of Heteroglossia, Tse majored in Humanities and received his Bachelor of Arts (Honours) from Hong Kong Baptist University. Later he gained Bachelor of Fine Arts (Honours) from Hong Kong Academy for Performing Arts, majoring in Theatre Lighting Design. He worked as lighting designer and production manager for Hong Kong Arts Festival, HKRep, Hong Kong Arts Centre, On and On Theatre Workshop, Tang Shu-wing Theatre Studio, RhapsoArts, orleanlaiproject, Richochet Ensemble, Ho Bit Goon, Radix Troupe, Whole Theatre Limited, Wanchai Theatre, Pants Theatre Production, Theatre Ronin, Class 7A Drama Group and Piece by Piece Theatre among others. Currently he is a freelance theatre lighting designer and production manager while serving as part-time lecturer in the Hong Kong Academy for Performing Arts.
燈光設計 Lighting Designer
近年參與作品有：香港舞蹈團《觀自在》、進念・二十面體《春之祭》、浪人劇場
《心林》（香港及台北關渡藝術節演出）等。今年隨作品《無耳琴師》赴阿維農參與
藝術節演出，亦曾參與波蘭 Zawirowania 舞蹈節、馬來西亞詩巫國際舞蹈節、 阿得萊德藝穗節等，為本地音樂或舞蹈作品擔任燈光設計。
劇 場 以 外 之 創 作 包 括 於 2012 年 舉 辦 曼 陀 羅 觀 賞 展 覽， 並 於 2018 年 出 版 畫 冊
《Travelling Mandala》。
Cheung graduated from Hong Kong Academy for Performing Arts majoring in Theatre Lighting Design. Recent productions she engaged in including Hong Kong Dance Company’s Vipassana, Zuni Icosahedron’s The Rite of Spring, and Theatre Ronin’s Nature (Hong Kong and Taipei). As a lighting designer for music and dance performances, Cheng participated in productions staged in Zawirowania Dance Theater Festival in Poland, Siba International Dance Festival in Malaysia, Adelaide Fringe Festival Australia and The Avignon Festival Off 2018. In addition to theatrical productions, Cheung held a Mandala drawings exhibition, Sacred Geometry Journey Mandala Exhibition in 2012. She also published her first drawings album Travelling Mandala in 2018.
何詠心 Bonita Ho
助理製作經理 Assistant Production Manager
畢業於香港演藝學院，獲藝術學士（榮譽）學位，主修藝術、項目及舞台管理。
近 期 參 與 製 作 包 括： 澳 門 國 際 音 樂 節《 愛 情 靈 藥 》、《 安 德 烈． 謝 尼 爾》； 澳 門
國際默劇節 ; 香港歌劇院《蝙蝠》、《百年歌劇巡禮》、《半舞台式歌劇：修女安
潔莉卡及賈尼．斯基基》; 澳門藝術節《叢前黑夜》; 聚聲喧嘩《牠和牠和牠的森
林》; 香港話劇團《迂迴曲》；ABA Production Ltd.‘Kids Fest Hong Kong’ 2017&2018；鄧樹榮戲劇工作室《泰特斯 2.0》 （歐洲巡演）等。
現為自由身舞台工作者。
Bonita is graduated from The Hong Kong Academy for Performing Arts with Bachelor of Fine Arts (Honours) Degree in Theatre and Entertainment Arts, majoring in Arts, Event and Stage Management. Recent productions include: L’Elisir d’Amore, Andrea Chénier by Macao International Music Festival; Macau International Mime Festival 2018; Die Fledermaus, Opera Carnival in Shenzhen, Semi-staged Opera: Suor Angelica & Gianni Schicchi by Opera Hong Kong; Night Just Before the Forests by Macao Arts Festival; Three of Us by Heteroglossia; Twists & Turns by Hong Kong Repertory; Kids Fest Hong Kong 2017 & 2018 by ABA Production Ltd.; Titus 2.0 Europe Tour by Tang Shu-wing Theatre Studio, etc. She is now a freelance practitioner in theatre and event industry.
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策劃及製作團隊 Curatorial & Production Team 策劃及監製 Curator & Producer
黎蘊賢 Orlean Lai / orleanlaiproject
創作及製作伙伴 Creative & Production Partner
吳子昆 Ng Tsz-kwan / yU+Co.[lab} 製作經理 Production Manager
謝徵燊 Mousey Tse
助理製作經理 Assistant Production Manager
何詠心 Bonita Ho
計劃統籌 Project Coordinators
鄭惠森 Haze Cheng 何比 Kobe Ho
燈光設計 Lighting Designer
張素宜 Zoe Cheung
助理燈光設計及燈光程式 Assistant Lighting Designer & Lighting Programmer
吳家慧 Dikky Ng
製作電機師 Production Electricians
羅兆鏵 Adonic Lo 邱雅玉 Yau Ngar-yuk
音響統籌 Sound Coordinator
李文俊 Neville Li
舞台技術 Stage Technicians
陳永健 Chan Wing-kin 戚俊豪 Chik Chun-ho 向卓輝 Heung Cheuk-fai 廖詩韋 Liu Sze-wai
主題攝影 Key Art Photographer
沈嘉豪 Bobby Sham
視覺設計 Graphic Design
郭健超 Pollux Kwok
鳴謝 Acknowledgements
3200K Productions CCDC Dance Centre MISO Tech Co Ltd On & On Theatre Workshop SharedSpace WING Platform 光・引擎 Leslie van Eyck Fung Wing-lam Clare Lim Darwin Ng Zheng Bo
香港藝術發展局工作小組 Hong Kong Arts Development Council Project Team 行政總裁 Chief Executive
周蕙心 Winsome Chow
企業發展高級經理 Corporate Development Senior Manager
梁詠詩 Lorenex Leung
企業發展項目經理 Corporate Development Programme Manager
吳詠彤 Wendy Ng 邱德雯 Sasha Yau
企業發展項目主任 Corporate Development Programme Officer
梁雅烯 Hayley Leung 吳詠芯 Chesna Ng 葉燕君 Sandy Yip 企業發展項目助理 Corporate Development Programme Assistant
陳靄瑜 Jacintha Chan 朱衍維 Henry Chu 梁爾倩 Attie Leung 60
策劃及製作團隊 Curatorial & Production Team 策劃及監製 Curator & Producer
黎蘊賢 Orlean Lai / orleanlaiproject
創作及製作伙伴 Creative & Production Partner
吳子昆 Ng Tsz-kwan / yU+Co.[lab} 製作經理 Production Manager
謝徵燊 Mousey Tse
助理製作經理 Assistant Production Manager
何詠心 Bonita Ho
計劃統籌 Project Coordinators
鄭惠森 Haze Cheng 何比 Kobe Ho
燈光設計 Lighting Designer
張素宜 Zoe Cheung
助理燈光設計及燈光程式 Assistant Lighting Designer & Lighting Programmer
吳家慧 Dikky Ng
製作電機師 Production Electricians
羅兆鏵 Adonic Lo 邱雅玉 Yau Ngar-yuk
音響統籌 Sound Coordinator
李文俊 Neville Li
舞台技術 Stage Technicians
陳永健 Chan Wing-kin 戚俊豪 Chik Chun-ho 向卓輝 Heung Cheuk-fai 廖詩韋 Liu Sze-wai
主題攝影 Key Art Photographer
沈嘉豪 Bobby Sham
視覺設計 Graphic Design
郭健超 Pollux Kwok
鳴謝 Acknowledgements
3200K Productions CCDC Dance Centre MISO Tech Co Ltd On & On Theatre Workshop SharedSpace WING Platform 光・引擎 Leslie van Eyck Fung Wing-lam Clare Lim Darwin Ng Zheng Bo
香港藝術發展局工作小組 Hong Kong Arts Development Council Project Team 行政總裁 Chief Executive
周蕙心 Winsome Chow
企業發展高級經理 Corporate Development Senior Manager
梁詠詩 Lorenex Leung
企業發展項目經理 Corporate Development Programme Manager
吳詠彤 Wendy Ng 邱德雯 Sasha Yau
企業發展項目主任 Corporate Development Programme Officer
梁雅烯 Hayley Leung 吳詠芯 Chesna Ng 葉燕君 Sandy Yip 企業發展項目助理 Corporate Development Programme Assistant
陳靄瑜 Jacintha Chan 朱衍維 Henry Chu 梁爾倩 Attie Leung 60