2O2O/2O21
關於 賽馬會藝壇新勢力 About JCNAP
由香港藝術發展局主辦，香港賽馬會慈善信託基金捐 助的「賽馬會藝壇新勢力」，自 2017 年起開始舉辦， 計劃齊集在國際發光發熱的本地藝術家，為社會各界 帶來創意、水準與本土色彩兼並的藝術體驗。過去 三屆共有 38 個藝術單位參與，製作 72 場演出及多 個重點展覽，並積極推動藝術單位與社福、學界及 商界合作，策劃超過 450 個社區及校園活動，總參與 人次高達 38 萬。2020 / 2021 賽馬會藝壇新勢力將於 2020 年 9 月開展，呈獻共 9 個精選節目，涵蓋舞蹈、 戲劇、音樂、戲曲、多媒體以及視覺藝術，並於 不同場域策動超過 100 個社區及學校活動，誠邀本地 觀眾參與其中，盡情體驗藝術的盎然妙趣。 JOCKEY CLUB New Arts Power, launched in 2017, is an annual Arts Festival presented by the Hong Kong Arts Development Council with the funding support from The Hong Kong Jockey Club Charities Trust. The Festival brings together established and emerging local artists to produce creative, approachable and engaging arts experiences for all. Over the past three years, 38 arts groups have participated in the Festival. Together they produced 72 live performances and a remarkable number of major exhibitions. Uniting arts groups and various organisations from the social welfare, academic and commercial sectors, the festival held over 450 community and school events, reaching some 380,000 participants. JOCKEY CLUB New Arts Power 2020 / 2021 will be held from September 2020 to January 2021, featuring a total of 9 selected programme that includes dance, theatre, music, xiqu, multimedia and visual arts exhibition, as well as presenting more than 100 community and school activities.
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《流徙之女》
Sweet Mandarin
O9.1O (FRI) 19:3O 1O.1O (SAT) 19:3O 1 1.1O (SUN) 14:3O
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上環文娛中心劇院 Theatre, Sheung Wan Civic Centre 設演後藝人談 With post-performance talk
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演後藝人談
Post-performance Talk 嘉賓 Guest： 胡海輝（導演）Wu Hoi-fai (Director)
鄭廸琪（編劇）Cheang Tik-ki (Playwright)
主持 Moderator： 鄭天儀（文藝平台「The Culturist 文化者」創辦人） Tinny Cheng (Founder of The Culturist )
節目長約2小時15分鐘，不設中場休息。本劇以粵語及英語演出，附有中英文字幕。 適合6歲或以上人士觀看。 This programme is approximately 2 hours 15 minutes without intermission. In Cantonese and English with bilingual surtitles. Suitable for ages 6 or above.
香港藝術發展局保留更改已公布的節目及演出者之權利。 Hong Kong Arts Development Council reserves the right to change the advertised programmes and artists. 香港藝術發展局全力支持藝術表達自由，本計劃內容並不反映本局意見。 Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council.
填寫網上問卷 Online Survey
入場守則 HOUSE RULE 遲到者須待節目適當時候方可進場。
Latecomers will only be admitted when there is a suitable break in the performance.
請關掉手提電話、其他響鬧及發光裝置。
Please switch off all mobile phones and any other sound and light emitting devices.
場內嚴禁飲食、未經許可之拍攝、錄音及錄影。
Eating, drinking, unauthorised photo taking, audio or video recording are strictly prohibited in the auditorium.
內容概要 Synopsis
華人流散異地，往往以食謀生，只求下一代出人頭 地，飛出廚房。英國長大的Helen已是執業律師，偏 偏逆其道而行，毅然放下高薪厚職，拿起鑊鏟，鑽研 祖傳珍味，原來餸菜背後不只百味紛陳，還有家族蜿 蜒曲折的流徙歷程，令Helen重新品味自己既中且英 的雙重身世，並且寫下回憶錄《Sweet Mandarin》。 原著作者Helen Tse於2014年獲頒大英勳章，表揚她 對英國飲食界的貢獻，同年出版的食譜《Dim Sum》 榮登《時代雜誌》暢銷榜。2006年，她把親身經歷與 家族歷史寫入《Sweet Mandarin》，風行三十多個國 家。《流徙之女》於2015年首演，並曾於2018年獲 邀到上海1862時尚藝術中心「香港演出月」演出。 「流徙」（Diaspora）意指脫離母體，流落他方，一 方面承傳祖輩血脈，另一方面周旋於異地文化。香港 無論歷史或地理位置均十分特殊，促成華洋雜處、中 西交融的特性早烙印我們身心，可是香港人此獨特身 份到底如何演化？
Catering is probably the most common business in the overseas Chinese community. The older Chinese generation labors day and night in order to free their younger generation of the chore of the kitchen. Helen, a British born Chinese, against all expectation leaves her lawyer job to set up her own restaurant. She discovers that her family cuisines are not only tasty but also full of dramatic stories, spanning almost a hundred years and crossing from Guangzhou via Hong Kong to England. Helen Tse was awarded MBE for her contribution to the food and catering industry in UK in 2014. Her latest cookbook Dim Sum became a Times bestseller. In 2006, she put the remarkable journey of her family and her own into Sweet Mandarin, which was published in 33 countries to great acclaim. Pants Theatre Production’s Sweet Mandarin premiered in 2015, and was featured in Hong Kong Theatre Month in Shanghai 1862 Theatre. Diaspora is derived from Greek, which means “I scatter”, a state of being torn between one’s roots and feeling alienated in a foreign culture. Hong Kong is unique in its geographical and historical background, being the point of contact between east and west for 150 years. Hong Kongers’ identity was shaped during the colonial period and continues to change in the post-colonial era. Where is our root? Where do we belong?
分場表
Scene List 序幕 1925 年，廣州往香港的小艇上； 2002 年，英國米德爾頓，謝家。
Prologue 1925, A boat from Guangzhou to Hong Kong; 2002, Middleton, UK; Tse’s House.
第一場 2003 年，英國米德爾頓，謝家。
Scene 1 2003, Middleton, UK; Tse’s House.
第二場 1930 年，廣州。
Scene 2 1930, Guangzhou.
第三場 2003 年，英國米德爾頓，謝家。
Scene 3 2003, Middleton, UK; Tse’s House.
第四場 1953 年，香港灣仔，瓊家。
Scene 4 1953, Wanchai, Hong Kong; Lily’s House.
第五場 2003 年；1959 年，英國米德爾頓；瓊家。
Scene 5 2003; 1959, Middleton, UK; Lily’s House.
第六場 1977 年，英國米德爾頓，龍鳳餐館。
Scene 6 1977, Middleton, UK; Lung Fung Restaurant.
第七場 2003 年，英國米德爾頓，謝家。
Scene 7 2003, Middleton, UK; Tse’s House.
第八場 2002 年，廣州； 1978 年，英國米德爾頓，新龍鳳外賣店。
Scene 8 2002, Guangzhou; 1978, Middleton, UK; New Lung Fung Takeaway.
尾聲
Epilogue 2005, Manchester, UK; Sweet Mandarin Restaurant.
2005年，英國曼徹斯特城， Sweet Mandarin餐館。
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創作團隊
Creative Team Original Author
原著
Helen Tse
Helen Tse Playwright
編劇
Cheang Tik-ki
鄭廸琪
Director
導演
Wu Hoi-fai
胡海輝
Producer
監製
Poon Oi-ting
潘藹婷
演員
Actors
王曉怡 高少敏 袁巧穎 羅正心 譚安婷 蘇育輝
Wong Hiu-yee
Assistant Producer
助理監製
Danver Chan
陳釘 編舞及形體指導
Ko Siu-man Yuen Hau-wing Law Ching-sum *
助理編舞及形體指導
The Artistic Internship Scheme is supported by the Hong Kong Arts Development Council
Choreographer and Movement Director Assistant Choreographer and Movement Director
Liu Heung-man
廖向民 佈景及服裝設計
Set & Costume Designer
Suen Wing-kwan
孫詠君 助理佈景及服裝設計
Assistant Set & Costume Designer
Giu Yuen-man
趙婉妏
Costume Supervisor
服裝主管
Wong Ching-man Jasmine
黃靖雯 服裝主管助理
Assistant Costume Supervisor
Wong Ting-hin
王廷軒
Lighting Designer
燈光設計
Ling Cheng
鄭可聆 作曲及音響設計
Composer & Sound Designer
Ho Tsz-yeung
何子洋
Stage Manager
舞台監督
David Tang
鄧榮國 執行舞台監督
Deputy Stage Manager
Rica Chan
陳雅媛 助理舞台監督
Assistant Stage Manager
Nicole Chan
陳積玉
Subtitle Operator
字幕控制員
Amy Tong
湯詠斯
Accent Advisor
口音指導
Edwin Wan
尹溥程
團隊鳴謝
Acknowledgment from the Company Helen Tse
Lisa Tse Janet Tse
Ben So
*「藝術人才培育計劃」是由香港藝術發展局資助
Lui Yuen-wai
呂沅蔚
Tam On-ting *
梁菲倚 陳允彤 Tank Leung Suki Luk
關於一條褲製作
About Pants Theatre Production 成立於1995年，現為香港藝術發展局三 年資助團體。藝術總監為胡海輝，一條褲 製作以「立足舞台，放眼社會」的精神， 以戲劇回應、回饋、改變社會，堅持以 「演出」、「應用戲劇」及「研究與保 存」作三線發展。近年劇團重點發展紀錄 劇場，原創作品包括《香港藝術的前世今 生》、《一個人的政治：長毛》、《回溯 重構︰1967》、《時代記錄者》及《中間 人》；亦引入外地重要的紀錄劇場作品， 包括《猥褻－三審王爾德》、《同志少年 虐殺事件》及《重見真相－同志虐殺現場 十年重訪》。
Founded in 1995, Pants Theatre Production defines itself as a “social witness on stage”. With Wu Hoi-fai as the artistic director, the Company believes that theatre is a way to relate to the society: to respond, reciprocate and reform. Pants Theatre Production has produced a number of inspiring and socially engaged theatre works, while taking three directions towards "theatre productions", "applied theatre" and "research & preservation". In recent years, the Company focuses more on documentary theatre. Recent critically acclaimed productions include What about Art in Hong Kong, A Hongkonger’s Political Journey: Long Hair, 1967 (premiere and rerun), On the Record, Estate Agents and translated documentary theatre such as Gross Indecency – The Three Trials of Oscar Wilde, The Laramie Project and its sequel. Pants Theatre Production is a recipient of the Three-Year Grant from the Hong Kong Arts Development Council.
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照片由一條褲製作提供 Provided by Pants Theatre Production
導演的話
Director’s Note 首次讀到《流徙之女》原著已經是十多年 前的事了。那時在英國進修，雖然沒有遇 上甚麼嚴重的種族歧視，不過始終語言與 生活習慣不同，實在懷念香港的生活，因 此被原著吸引，決定進行改編。首次演出 在2015年，想不到今年有機會重演，更想 不到不少香港人或許又要展開另一趟流徙 之旅。 當年九七移民潮，自己年紀尚輕，中學同 學之間也會論及移民，想不到今天又要面 對去或留的問題。活在全球化的年代，是 否留在原生地或許已並不重要，追尋心中 所愛，把有價值的東西保存、發揚，已經 是對自己、對世界最好的回報。我喜愛劇 場，難得身邊人有同樣的信念，我們相信 《流徙之女》正是有價值的東西，值得繼 續流傳。希望這次在香港重演後，它可以 流徙他方，繼續傳揚。
It’s been more than ten years since I first read the original book of
Sweet Mandarin during my study in London. I didn’t experience any serious racial discrimination but the differences in language and lifestyles recalled my reminiscence of Hong Kong. Thus, I was so
attracted by Sweet Mandarin that I decided to adapt it into a stage
play. It premiered in 2015. I didn’t expect that it would have a revival and neither did I imagine that Hong Kong would face another wave of emigration.
When I was still young, immigration due to the 1997 handover was
a hot topic of conversation among schoolmates. Now, in the age of globalization, it doesn’t matter anymore to live in a country that is
not one’s birthplace. To seek for what one loves and to preserve and spread what one values the most are already the best service one
can do to oneself and the world. I love theatre. Luckily, my partner shares the same passion with me. We both believe in the value of
Sweet Mandarin and it should be passed down to the future. I wish
that after this rerun in Hong Kong, it can travel far and wide to meet more audiences in more places.
胡海輝
Wu Hoi-fai
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© C. Production House
編劇的話
Playwright’s Note 我的幼稚園和小學是這樣的：每年開學都 要填學生資料，姓名呀、出生日期呀、出 生地點呀、父母姓名和職業等，而其中一 欄是籍貫。我問爸媽籍貫是什麼，鄉下是 也。那鄉下是在哪裡？「就是爸爸出生 的地方啊。」所以班上就出現不同爸爸的 鄉下：汕頭、汕尾、廣州、石岐、中山等 等，而我從來都不知道這些地方在哪裡， 總之，就是鄉下地方吧。
My lives in kindergarten and primary school were more or less the
問題兒童來了。既然爸爸是土生土長， 那籍貫是哪裡？「就爺爺出生的地方 啦。」然後，為甚麼不是媽媽出生的地 方……為甚麼不是婆婆……為甚麼籍貫就 是鄉下……為甚麼鄉下就是大陸……為甚 麼為甚麼……
My curiosity is piqued. My father was in fact born and raised in Hong
為甚麼我來讀書，你要知道我爸爸的鄉下 在哪？ 對我和一眾同學的父母來說，流徙多是從 鄉下來到城市，所以「鄉下」真的是鄉下 地方。家鄉，家和鄉，鄉下是他們的根， 家呢？哪裡是家？是出生的，是成長的， 是成家的，還是居住的？ 今天，流徙已是全球化，未必是從鄉到 城，但依然是為了更好的生活而流動。對 於我這一代，根在哪，家在哪？家鄉，是 出生的，是成長的，是成家的，是居住 的，還是給予你身份的？
same: every year when schools started, student information must be
provided, such as name, date and place of birth, parents' names and occupations, etc., and one of the columns was hometown. I asked
my parents what does “hometown” mean? The answer was the rural area. Then what does the “rural area” mean? “It's the place where I was born”, my father said. Thus, there were many rural areas of
fathers’ appearing in the class: Shantou, Shanwei, Guangzhou, Shiqi, Zhongshan, etc., and I had never known where these places exactly are. In short, it is just the rural area.
Kong. Where is his hometown then? “Well it must be the place where grandpa was born”, my father said. However, why it is not the place
where my mother was born...why not my grandma’s...why hometown refers to the rural area...why the rural area must be in Mainland China...why…why...
Why do my schools have to know my hometown anyway? For my parents and those of my classmates, migration always
denotes moving from the countryside to the city, hence the “rural
areas” is indeed rural. Hometown, home and town. If the countryside is their root, how about home? Where is home? Would it be the place you were born, grew up, married, or lived?
Today, migration has gone globalised in which people no longer
limit themselves from moving the countryside to the city, but still,
we are migrating for a better life. How about my generation? Where is the root and where is my home? Hometown, could it be the place you were born, grew up, married, lived, or the one which gave you an identity?
鄭廸琪
Cheang Tik-ki
編劇 Playwright
鄭廸琪 Cheang Tik-ki 於香港演藝學院取得藝術碩士（優異），主修編劇。作 品包括：《螢火》、《魚躍記》、《流徙之女》、《我 的父親．我的兒子》、《好人不義》、《未忘之書》及 《柒肆零貳》。
Cheang obtained the Master of Fine Arts in Drama (Distinction) from The Hong Kong Academy for Performing Arts, majoring in playwriting. Her plays include Angel’s Gift, The Story of Leaping Fish, Sweet Mandarin, An Unjust Good Fellow, Fantasia on Fathers and Sons, An Unforgettable Chapter and 7402.
導演 Director
胡海輝 Wu Hoi-fai 先後畢業於香港中文大學及香港演藝學院戲劇學院， 於2008年取得英國倫敦大學中央戲劇及語言學院碩 士，同年夏天獲頒亞洲文化協會基金獎學金，前往美 國進行考察研究。現為一條褲製作藝術總監，近年銳 意發展紀錄劇場。胡氏為康樂及文化事務署藝術節小 組委員、香港學校戲劇節首席評判及香港藝術發展局 審批員，亦為香港科技大學、香港演藝學院及香港恒 生大學的兼職講師。2017年胡氏獲民政事務局局長嘉 許，以表揚其對紀錄劇場的貢獻。 Wu graduated from The Chinese University of Hong Kong (BA in English) and The Hong Kong Academy for Performing Arts (BFA in Drama – Directing) respectively. He then received a Master's Degree in Advanced Theatre Practice – Dramaturgy at the University of London. Wu is currently the artistic director and co-founder of Pants Theatre Production. He is a recipient of the Hong Kong Arts Development Council Yearly Grant, the Art Form Panel (Festivals) Member of the Leisure and Cultural Services Department, an examiner of Hong Kong Arts Development Council, an assessor of Hong Kong Drama Award, and an adjudicator of Hong Kong School Drama Festival. Wu was also received the 2008 Yiqingzhai Foundation Arts Fellowship granted by the Asian Cultural Council and the Outstanding Young Director Award in 2001 Hong Kong Drama Award. In 2017, he was commended in The Secretary for Home Affairs’ Commendation Scheme for his advocacy of documentary theatre in Hong Kong.
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演員 Actor
王曉怡 Wong Hiu-yee 畢業於香港演藝學院戲劇學院，主修表演。 於 2008年 至 2 0 1 8年 為 中 英 劇 團 的 全 職 演 員，現為自由身演員。曾獲獎學金遠赴法國 École Philippe Gaulier深 造 一 年 。王氏憑 《波音情人》獲香港舞台劇獎最佳女配角 （喜劇／鬧劇）、《水滸嘍囉》獲香港舞 台劇獎最佳女主角（喜劇／鬧劇）及《冰鮮 校園》獲得香港舞台劇獎最佳女配角（悲 劇／正劇）。《叔．叔》為王氏最新的電影 作品。
Wong obtained a Bachelor of Arts (Honours), majoring in Acting, from The Hong Kong Academy for Performing Arts. She worked as a full-time residential actress in Chung Ying Theatre Company from 2008 to 2018, and is currently a freelance actress. She received a scholarship to study in École Philippe Gaulier in France, and has awarded Best Supporting Actress in Boeing Boeing and Freshly Frozen School, as well as Best Leading Actress in Water Margin’s Lou Luo. Wong is also acting in films. Her recent work is the local movie, Suk Suk.
高少敏 Ko Siu-man 畢 業 於 意 大 利 聯 合 世 界 書 院 、 美 國 Colby College戲劇及舞蹈系，後於香港演藝學院 戲劇學院取得戲劇藝術碩士，主修表演。在 美期間，曾獲獎學金到倫敦戲劇中心進修演 技。高氏現為自由身演員、戲劇導師及He She Play Drama Lab的創辦人。
袁巧穎 Yuen Hau-wing 香港製造，熱愛自由。 2014年香港演藝學院戲劇學士學位表演系 畢業，《窮人誌》創團成員。現職自由身演 員，戲劇、形體及聲線導師。2020年脫離了 社交媒體，擁抱無聊，喜愛踩滑板。
Ko graduated from the United World College of the Adriatic in Italy, and Colby College in the United States, majoring in Theatre and Dance, respectively. Later, she received her Master of Fine Arts in Drama from The Hong Kong Academy for Performing Arts, majoring in acting. She also participated in an exchange program in Drama Centre London. Ko is the founder and director of He She Play Drama Lab. She also works as a freelance actress and drama educator.
Made in Hong Kong, keen on freedom. Yuen graduated from the School of Drama of The Hong Kong Academy for Performing Arts in 2014 with a Bachelor of Fine Arts (Honours) Degree in Drama. Yuen is the founder of Poor Guy Diary, and he is currently a freelance performer. He is also a drama, movement and voice coach. He has been detoxed from social media since 2020, embracing serenity and being fond of the freedom of skateboarding.
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羅正心 Law Ching-sum 於2020年獲得香港演藝學院戲劇學院學 士，主修表演。曾於美國波士頓留學，主 修舞台表演。曾經多次擔任慈善活動及學 院活動司儀。近期參與的演出包括：音 樂劇作《形體．卡巴萊》、《備忘錄》、 《飛吧，臨流鳥，飛吧！》讀劇演出。 校內參與演出包括：《無言劇》、《青 春的覺醒》、《空活》、《Unknown進 行 中 》 及 音 樂 劇 《 Rent》 。 在 《 青 春 的 覺醒》一劇中，羅氏憑Ilse一角獲第十 一屆香港小戲場獎優秀女演員之提名。
譚安婷 Tam On-ting 2018年畢業於香港演藝學院戲劇學院， 獲藝術學士（榮譽）學位，主修表演。 憑《嚎叫》獲得「最傑出演員獎 （ 團 體 ） 」 。 現為一條褲製作駐團實習 演員、中學戲劇課導師及編劇。
蘇育輝 Ben So 畢業於香港演藝學院戲劇學院表演系。 現為一名演武者和劇場遊俠。
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Law graduated from The Hong Kong Academy for Performing Arts, majoring in Acting. She also received an Associate Degree at Bunker Hill Community College in Boston, majoring in Theatre Studies. She has emceed for many charity and school events. Law’s recent theatre credits include Come Out! a Physical Cabaret, Memorandum, Myth of Archaeology Bird. Her school production theatre credits include Acte Sans Parlos, Cabaret- Rent, and Spring Awakening for which she received a nomination for Best Supporting Actress by the Hong Kong Theatre Libre.
Tam graduated from The Hong Kong Academy for Performing Arts in Drama (Acting) in 2018. She was awarded the Outstanding Actor (ensemble) Award for her performance, Howl. She is currently a full-time actor trainee in Pants Theatre Production, a drama teacher, and a playwright.
So graduated from The Hong Kong Academy for Performing Arts in Drama in Acting. He is a theatre warrior and a theatre flaneur.
製作人員 Production Team
呂沅蔚 Lui Yuen-wai
編舞及形體指導 Choreographer and Movement Director
畢業於香港演藝學院，主修現代舞及編 舞。隨後加入城市當代舞蹈團成為全職舞 者。曾隨團到訪德國、意大利、廣州、北 京等地方演出。現為自由身舞者、編舞及 導師。除了舞蹈演出以外，亦曾參與多個 話劇演出。
Lui graduated from The Hong Kong Academy for Performing Arts, majoring in Contemporary Dance and Choreography. She has joined the City Contemporary Dance Company as a full-time dancer and has performed in Germany, Italy, Guangzhou, Beijing subsequently. Lui is currently a freelance dancer, choreographer, and tutor. She also took part in theatre performances.
廖向文 Liu Heung-man
助理編舞及形體指導 Assistant Choreographer and Movement Director
畢業於香港演藝學院當代舞系，於2006年 獲獎學金赴廣州參加廣東現代舞週。曾參 與之製作團體包括：動藝、香港舞蹈團、 不加鎖舞踊館、多空間、東邊舞蹈團等。 現為自由身舞者。
Liu graduated from The Hong Kong Academy for Performing Arts, majoring in Modern Dance. He has worked for various dance companies, including Hong Kong Dance Company, Unlock Dancing Plaza, Y-Space, E-side Dance Company, Hong Kong Federation of Drama Societies, Free Counter-point, etc. Liu currently works as a freelance dancer.
孫詠君 Suen Wing-kwan
佈景及服裝設計 Set & Costume Designer
畢業於香港演藝學院舞台及製作藝術學 院，主修舞台及服裝設計，在學期間獲頒 多個獎學金。自2016年起於香港演藝學 院舞台設計系擔任客席講師。2018年憑 《培爾．金特》獲得第二十七屆香港舞台 劇獎最佳舞台設計。
Suen is a Hong Kong theatre set and costume designer. She graduated from The Hong Kong Academy for Performing Arts, with a Bachelor of Fine Art (Honours), majoring in Set and Costume Design. She was awarded several scholarships during her studies. Suen won The Best Set Design in the 27th Hong Kong Drama Award for Peer Gynt in 2018. She has been teaching at the HKAPA Design School since 2016 and currently works as a freelancer
趙婉妏 Giu Yuen-man
助理佈景及服裝設計 Assistant Set & Costume Designer
畢業於香港演藝學院舞台及製作藝術學 院，主修佈景及服裝設計。設計作品包括 八樓平台《境Jing》、音樂劇作《形體． 卡巴萊》、天邊外劇場新導演計劃《傷 逝如她》等。趙氏現為自由身舞台工作 者。近年亦有參與電影美術及服裝設計的 工作。
Giu graduated with a Bachelor of Fine Arts (Honours) Degree in Theatre and Entertainment Arts from The Hong Kong Academy for Performing Arts, majoring in Set and Costume Design. She is currently a freelance designer, specialising in theatre set and costume design, as well as costume design and styling for film production. Giu’s recent works include Jing by 8/F platform, Come Out! a Physical Cabaret, Mourning Becomes Electra by Theatre Horizon, HKAPA School of Dance’s Spring Performances Osmosis by Jonathan Watkins, Breathe 2.0 by Rick Nodine, and the Opera Magic Flute, etc.
黃靖雯 Wong Ching-man Jasmine
服裝主管 Costume Supervisor
畢業於香港演藝學院，獲舞台製作藝術 （榮譽）學位，主修服裝技術。在學期間 曾參與製作包括《誤會》、《加數機》、 《青春的覺醒》、《記憶之書1.0》等。黃 氏近年亦與不同團體合作，現為自由身舞 台工作者。
Wong graduated from The Hong Kong Academy for Performing Arts, majoring in Costume Technology, and has been involved in various productions. She is now a freelance theatre practitioner.
王廷軒 Wong Ting-hin
服裝主管助理 Assistant Costume Supervisor
曾修讀香港設計學院時裝設計。 現就讀於香港演藝學院服裝技術部。
Wong graduated from Hong Kong Design Institute in Fashion Design. He is currently studying in The Hong Kong Academy for Performing Arts, majoring in Costume Technology.
鄭可聆 Ling Cheng
燈光設計 Lighting Designer
以一級榮譽的成績畢業於香港演藝學院科 藝學院，主修舞台燈光設計。其燈光設計 作品包括：第十屆華文戲劇節代表地區演 出《馬克白》、香港演藝學院《兒欺》、 演戲家族《老子駕到》、一條褲製作 《2047的上半場與下半場》、《捌次二〇 四七》等。
Cheng graduated with first-class honours at The Hong Kong Academy for Performing Arts, majoring in Lighting Design. Her works include Luna Gale and Macbeth, in the 10th Chinese Drama Festival. Cheng’s recent theatre works are Lo’s Here by the Actors’ Family, the First and Second Half of 2047, and 2047 x 8 by the Pants Theatre Production.
何子洋 Ho Tsz-yeung
作曲及音響設計 Composer & Sound Designer
畢業於香港演藝學院，主修音響設計。現 為聲音藝術家、音響設計師、混音工程 師。何氏曾參與不同音響創作，如舞台劇 音響設計，獨立電影音樂及混合，動畫音 效，音樂編曲等。
Ho is a sound artist, sound designer, and mixing engineer. He graduated from The Hong Kong Academy for Performing Arts in 2012, majoring in Sound Design. Ho has been involved in various productions such as sound design in theatre,music and sound mixing for independent films, animation's sound effects, and music arrangement.
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鄧榮國 David Tang
舞台監督 Stage Manager
畢業於香港演藝學院舞台管理系。曾出任 劇團製作經理，主理本地製作及帶團到國 內及外地作交流演出。每年均為本地劇團 及舞團擔任舞台監督或燈光設計工作，更 曾嘗試編劇及舞台設計等工作。現為劇場 助理經理。
Tang graduated from The Hong Kong Academy for Performing Arts, majoring in stage management. He served as the production manager of a theater company before and was in charge of local productions, and exchange performances in China and abroad. Tang also works as a stage supervisor, lighting designer with local drama and dance companies, screenwriter, and stage designer. He is currently an assistant manager of a theater.
陳雅媛 Rica Chan
執行舞台監督 Deputy Stage Manager
於2014獲得香港演藝學院舞台及製作藝術 證書，主修舞台藝術管理。畢業後投身後 台工作，現為自由工作者，主要擔任執行 舞台監督及助理舞台監督。曾參與不同類 型的舞台製作，包括話劇、戲曲、舞蹈及 音樂劇等。
Chan graduated from The Hong Kong Academy for Performing Arts with Fast Track Vocational Certificate in Theatre and Entertainment Arts, majoring in Arts, Event and Stage Management. She is currently a freelancer taking up stage management roles. Chan has been involved in various kinds of production such as drama, Cantonese opera, dance, and musical.
陳積玉 Nicole Chan
助理舞台監督 Assistant Stage Manager
擁有超過十年從事不同媒體的工作經驗， 主力於舞台製作、廣告、宣傳短片及各 類型典禮等。陳氏曾與不同團體及機構合 作，擔任節目統籌、舞台監督及行政總 監。近年曾參與的項目包括香港舞蹈聯會 的大型舞蹈劇等。
Chan has more than ten years of experience working in different media and she is now focusing on stage production, advertising, and commercial productions. She has worked with performing groups and organisations as programme coordinator, stage manager, and administrative director. She has recently participated in projects including Jockey Club Ti-I College’s English musical production, large-scale dance theatre productions presented by Association of Hong Kong Dance Organizations etc.
潘藹婷 Poon Oi-ting
監製 Producer
畢業於嶺南大學文化研究系。過往曾擔任 雜誌編輯、藝術活動統籌等，現為一條褲 製作行政經理。近年參與的製作包括：戲 劇與社會︰紀錄劇場節、《流徙之女》 （重演）、《金童子》（重演）、陳志樺 《其短》劇本集等。
Poon graduated from the Cultural Studies Department of Lingnan University. She worked as a magazine editor, project coordinator and currently, she is the administrative manager at Pants Theatre Production. The projects Poon has engaged in include Theatre and Society: Documentary Theatre Festival, Sweet Mandarin (Rerun), Gweilo (Re-run), and Hong Kong Playwright Mann Chan’s publication. 13
陳釘 Danver Chan
助理監製 Assistant Producer
現為劇場及人像攝影師。陳氏在藝術界的 邊緣徘徊，閒時喜歡閱讀、寫作、行山、 品酒、攝影及偶爾想踢足球。
Chan is currently working as a professional theatre and portrait photographer. He likes reading, hiking, tasting wine, photo-shooting and wants to play soccer outside of work.
湯詠斯 Amy Tong
字幕控制員 Subtitle Operator
現為香港中文大學文化管理文學士五年級 生，也是一位劇場愛好者。
Tong is a current year 5 student of the Cultural Management Programme at The Chinese University of Hong Kong and a theatre lover.
尹溥程 Edwin Wan
口音指導 Accent Advisor
香港演藝學院戲劇藝術（一級榮譽）學 士及倫敦大學皇家音樂學院音樂劇碩士 （優異）。
Wan has obtained the Bachelor of Fine Arts in Drama from The Hong Kong Academy for Performing Arts with first-class honours and the Master of Arts in Musical Theatre from the Royal Academy of Music, the University of London with Distinction.
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更多精彩節目 More to Come!
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工作小組
PROJECT TEAM 行政總裁 CHIEF EXECUTIVE 周蕙心 Winsome Chow
場刊編輯 HOUSE PROGRAMME EDITOR 賴閃芳 Lai Sim-fong
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場刊設計 HOUSE PROGRAMME DESIGN 汪佳樺 K. Wong Wong
BUSINESS DEVELOPMENT & INTERNATIONAL PROGRAMMES SENIOR MANAGER
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項目經理 PROGRAMME MANAGER 何文琪 Maggie Ho 邱德雯 Sasha Yau 項目主任 PROGRAMME OFFICER 朱詠怡 Anita Chu 吳詠芯 Chesna Ng 曾諾怡 Margaret Tsang
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Michael C.W. Chiu
藝術節主視覺設計 FESTIVAL IDENTITY Po Hung Design Lab
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Alfie Leung
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出版 PUBLISHED BY 香港藝術發展局 Hong Kong Arts Development Council