賽馬會藝壇新勢力2021 爵式無極之《一任逍遙》節目場刊 JCNAP2021 "Boundless Groove: A Sonic Journey in Nature" House Programme by JOCKEY CLUB New Arts Power (JCNAP)

2O21/2O22

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。過去四屆「賽馬會藝壇新勢力」共有43個藝術單位參與，製作超過 90場不同類型演出及多個重點展覽，並策劃超過550場社區及校園活動，總參與人次高達46萬。

「賽馬會藝壇新勢力 2021 / 2022 」於2021年9月開展，呈獻共6個精選節目，涵蓋舞蹈、戲劇以及音樂，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. In the last four editions, 43 arts groups have participated in the Festival. Together they produced 90 live performances and a remarkable number of major exhibitions. Uniting art groups and various organisations from the social welfare, academic and commercial sectors, the festival held over 550 community and school events, reaching some 460,000 participants. JOCKEY CLUB New Arts Power 2021 / 2022 has been launched in September 2021, featuring a total of 6 selected programmes that include dance, theatre and music, as well as presenting more than 100 community and school activities.

爵式無極之《一任逍遙》 Boundless Groove: A Sonic Journey in Nature

15.1O.2O21 (FRI) 2O:OO 16.1O.2O21 (SAT) 2O:OO 西九文化區藝術公園自由空間大盒

The Box, Freespace, Art Park, West Kowloon Cultural District 節目全長約70分鐘，不設中場休息。適合6歲或以上人士觀看。

This programme is approximately 70 minutes without intermission. Suitable for ages 6 or above.

支持機構 Supporting Organisation:

填寫網上問卷

Online Survey

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.

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.

藝術總監的話

無極精神 (2O21) 撰文：羅永暉

一、培養心性心靈奏樂

無極樂團成立於2003年，迄今轉眼接近廿載，其中最主要的理念就是「培養心性，心靈奏樂」。早期團員都

以靜坐、太極及書法等活動讓身心安靜，當時的樂器只包括琵琶及阮琴。從第二階段開始，樂團逐步轉化為室內樂的規模，即是以中國彈撥樂聲部為基礎，因應樂曲性質，加入不同的獨奏樂器音色。這種音響構思，自成一格，有別於一般的音樂組合形式。

隨之而來，就是發揮音樂創意、鼓勵新作，以及多元跨界合作的蛻變時期。樂團演出過的曲目十分廣泛，深

具實驗意味，並根據不同的樂曲氣氛，配合變化多端的現代舞台效果，在香港眾多的音樂團隊中獨樹一幟，塑造出創新的藝團形象，最重要是散發出心靈化的東方情調和色彩。

二、多元面向嶄新語彙

「意境音樂／歌樂劇場」系列，是這些年來由本人獨創的藝術創作意念與演出方向。簡單言之，就是以中西樂器現場演奏為主軸，通過現代劇場的表現手法，結合包括詩、歌、舞，及燈光、錄像、裝置等多元視覺媒

體，營造耐人思酌的無窮韻味，及屬於神秘東方的空靈感受，其中藉着陰柔內斂、沉潛與凝聚的氛圍，加上劇場的調度與變化，引發聽者的冥想與遐思。

與此同時，由音樂總監王梓靜開發及主持的「心靈雅集」系列，同樣是樂團理念發揮的重要依據。她在雅集

中邊彈邊説，輕敲聽者的心靈，影響深遠。曾獲邀對談的嘉賓包括花道、茶禪、陶藝、舞蹈等藝術家。除了發表藝術心得外，嘉賓們對生命情懷都有獨特的感知，如何影響其個人志趣及身心調和等等話題，常令聽者覺察自省，身心有如抖落雜念，揮去塵埃。

另一項中西樂器結合的「爵式無極」系列，由團長林灒桐積極開展之中。她積累了與不同藝術家合作的經驗，引領團隊開發嶄新的表演語彙，在舞台上不斷發掘創意與演出潛能，表現超卓，值得樂迷的關注、期待與

鼓勵。至於由香港演藝學院張珮珊博士選拔及領軍的「無極小子」系列，經訓練後也將投入日後演出。這是由最年輕的演奏家組成的小團隊。小子們靈活多變，活力十足，樂器組合極富彈性，將會令聽衆耳目一新、印象深刻。

三、從心而發自然流露

一直以來，無極樂團認為音樂是心靈活動，在作曲家與演奏家「合力創

造」的基礎上，才産生不可預期的美感。而樂譜只是溝通的其中之一的媒介，不是凝固不可改變的載體，如何恰當運用或自由發揮，乃是最高的藝

術智慧。因此，無極樂團的舞台上從來不設樂譜。「樂譜原本是溝通的媒

介，卻經常妨礙溝通」。我們嘗試放下慣性，以心靈契合，臨場舒展，脫離規範，只想令手指更順暢、耳朵更靈敏，令娓娓樂音直指人心。

在東方，具有生命力的音樂向來都是「從心而發，自然流露」，既充滿可能

性、可變性，又具即興性，這與「苦心經營，精雕細琢」的西方創作觀念不同，兩方文化值得相互探索和參考。我們為了重新發掘與承傳祖先的智

慧，在音樂創作上，除了形態寫得寬鬆、富於彈性之外，常加入偶發的樂思，令作品産生不可預期的效果，也借此引發音樂家的自由心態和音樂潛

能，好讓臨場參予者全面感受演奏家的品味、個性、音樂張力、想像力和創造力。

無極樂團是香港極少數的音樂組合，其獨特的藝術精神值得珍惜和支持，

所呈現的風格歸屬於「東方藝術」，或從另一角度觀察，乃「多元文化聚集」，即是從東方傳統文化為開端，再加上現代藝術創作意識及西方劇場

思維的綜合體，其範圍既寬且闊，至今團隊運作都得心應手，創作從不受障礙。無極樂團既為現代文化造景，也是傳統人文精神得以借景延蔓的媒介。團員在互動對顯之間充分發揮藝術天份，也徹底呈現出音樂家們長久靜慮潛修的無窮力量。

Message from Artistic Director

The Wuji Spirit (2O21) Written by: Law Wing-fai

1) Nurturing one’s natural temperament to perform from the heart Founded in 2003 with a history of almost 20 years, Wuji Ensemble remains steadfast in its central philosophy of nurturing musicians’ natural temperament in order to perform from hearts. Training of the early Ensemble (which comprised of pipas and ruans only) included meditation, taichi and calligraphy to cultivate the tranquility of the mind. From the second stage onwards, the Ensemble has evolved into the form of a chamber music group. Using Chinese plucked-string instruments as a base, the group has started to integrate with various solo instruments to enrich the musical timbre as required by the works. This musical conception remains a distinctive characteristic of Wuji Ensemble, which distinguishes it from other music groups. What follows is the metamorphic stage of exploration into music creativity, championing new works and interdisciplinary collaborations. Wuji boasts a diverse and experimental repertoire and incorporates contemporary stage elements to complement its performances, distinguishing itself in the local music scene with a stylised artistic image that emanates a taste of oriental aesthetics and colour.

2) Multi-directional with an original music vocabulary The series of “Atmospheric Music/Vocal Music Theatre” is a unique artistic concept that I created, which is also the direction of Wuji Ensemble. Simply put, it utilises a mixture of Chinese and Western music instruments as the main artistic expression. Through additional expressive manifestation of contemporary theatre with poetry, song, dance, lighting, video projection and installation, I strive to create an imagery that is ethereal while at the same time entirely oriental. Hopefully, such expressions can stimulate the listeners to meditate and reflect, and eventually create an environment where they can shed their random thoughts and be led to a state of meditation. Similarly, Wuji Ensemble’s “Salon Concerts” series is another channel to exemplify Wuji’s artistic concept. Hosted by Wuji’s music director Ms. Wong Chi-ching in an intimate setting, the performance and inspiring words have won many an audience’s heart. Wuji’s Salon Concerts involve interactive dialogues with guest artists who have come from the fields of ikebana, tea and zen, pottery and dance. In addition to sharing their insights in the arts, artists also possess a distinctive perception on life. Discussions on sentiments affecting them as a person and their practices in balancing their lives are often enlightening, creating an occasion for reflection for the audience, leading to an inner calm.

The series “Boundless Groove”, spearheaded by Wuji’s music leader Lam Tsan-tong, experiments on the amalgamation of Chinese and western instruments. Tsan-tong has collaborated with many artists in different disciplines, and has built a new set of music vocabulary within the ensemble, trying to explore various potential on stage. She is a distinguished artist that one should pay attention to, anticipate and encourage. We are also looking forward to the launch of “Wuji Dynamics” whose members are selected and led by Dr. Cheung Pui-shan of the Hong Kong Academy for Performing Arts. When their training is completed, these young members will also join the stage as an ensemble. With their adaptability and energy, I am sure these young people will endow the ensemble with a versatility and freshness that would make an impression on the audience.

3) Music from the heart, a natural spontaneity It is Wuji’s belief that music is a spiritual activity based on the combined creativity of the composer and performer, resulting in a serendipitous kind of aesthetics. Music score is only one of the means of communications, and is by no means a rigid medium. When to read from score and when to create freely is the highest attainment in artistic wisdom. As such, Wuji Ensemble never performs with a score on stage. Music score is supposed to be a medium for communication, and yet a lot of times it is in the way of communication. We should try to leave our comfort zone and rely on our senses, to relax and liberate ourselves in order to free up the fingers and train our ears to be more sensitive, so that the music can shoot directly to one’s heart. In the east, music that breathes of life often comes from the heart as a natural spontaneity. It is full of possibility and versatility, as well as improvisatory. This strikes a stark contrast with the laboriously crafted and well sculptured concept in western creations. Both cultures are worthy of cross exploration and learning from each other. In order to rediscover and pass on the wisdom of our ancestors, we need to loosen up our musical writings to allow room for flexibility and improvisation, thus leading to unexpected outcome which will in turn kindle the musicians’ free spirit and creative potential, and ultimately envelope the audience with their taste, characteristics, music tension, imagination and creativity. With its distinctive artistic ideals, Wuji is a one-of-a-kind ensemble in Hong Kong that deserves acknowledgement and support. While its performances possess an “oriental aesthetics”, from another angle it represents a convergence of multiple cultures, meaning that it uses traditional oriental culture as a start, and morphs with contemporary artistic concepts and western theatrical thinking. Wuji’s creative realm is boundless and well supported by its team. It is a contemporary cultural phenomenon while at the same time a medium to pass on the traditional humanistic spirit. Wuji members are able to fully develop their creative talents in their interaction with each other, and thrive to display their boundless strength through the continuous practice of meditation.

無極樂團無極樂團追求創新，以風格領路。樂團以委約創作或重新編配中西多類型的音樂曲目為主軸，同時引入變化多端的劇場元素。2012年起策動「意象敦煌」計劃，舉辦了專題音樂會、講座及文化考察團等活動，更於

台灣、北京及上海三地成立分團，其後更製作了《落花無言》、《一色一香》、《一漠大千》、《空塵》及《人淡如菊》等多個音樂意境劇場，先後獲邀於台北、英國倫敦及深圳演出。

2019年樂團首次夥拍爵士樂隊製作及演出《舞極爵躍》音樂會，結合中國器樂及西方爵士音樂。同年11月，此組合於「自由爵士音樂節」舉行專場音樂會。2021年「爵式無極」之《縈迴一念》影音製作成網上展演項目。

“Innovation” and “a strong stylistic identity” are the credo of Wuji Ensemble. Founded in 2003, the group is committed to creating a performing platform for local musicians, cultivating cultural insights, and nurturing artistic accomplishments. Wuji Ensemble regularly commissions new works as well as rearrangements of Chinese and Western classical music, putting together innovative, cross-disciplinary, multimedia theatrical productions. Wuji Ensemble has organised and presented many large-scale multimedia performances and activities. Its 2012 “Images of Dunhuang” project presented themed concerts, lectures, cultural workshops, and masterclasses. Wuji has also established Taiwan, Beijing and Shanghai subgroups to further its musical exchanges and reach out to wider audience. In 2019, Wuji Ensemble presented Boundless Groove, its first foray into jazz, using a fusion of Chinese and Western instruments and styles. It was staged again at the inaugural Freespace Jazz Fest the same year. Its latest project, Boundless Groove — Recurrence was streamed online in January 2021.

創作團隊

Production Team 藝術總監

Artistic Director

音樂總監

Music Director

羅永暉王梓靜

音樂會設計

呂奡元、林灒桐舞台設計

阮漢威

Programme Concept

Lui Ngao-yuen & Lam Tsan-tong Set Design

Gabriel Fung

音響設計

Anthony Yeung

服裝設計

梁子蔚

Costume Design

IZEN

梁皓然

Stage Manager

Jade Leung

錄像設計

化妝

Aico Cheung Kwok Pui-yan

蘇詠茵

Make up

Kenny Lee

陳延晋

Production Assistant

Miso Tech Co., Ltd.

舞台助理

Ashley So Stage Assistant

Johnny Chan Audio Equipment

合作機構

Projection Design

舞台監督

Production Electrician

音響器材

Sound Design

楊我華

製作電機師

製作助理

Lighting Design

馮國基

Lighting Programmer

郭佩欣

Wong Chi-ching

Yuen Hon-wai

燈光設計

燈光控制員

張詠彤

Law Wing-fai

In Collaboration With 策劃

Steive Leung

Organised by

表演者

Performers 琵琶

Pipa

低音大提琴

古箏

Guzheng

單簧管

揚琴

Yangqin

林灒桐 Lam Tsan-tong 萬幸

Wan Xing

賴應斌 Bryan Lai

呂奡元

馮逸山鍵盤

李梓禾

Double Bass

Lui Ngao-yuen Clarinet

Linus Fung Keyboard

Bowen Li

敲擊

Percussion

靈悟音樂

Enlightenment Music

李駿銚葉破

琵琶╱阮琴合奏

Dean Li Paul Yip Pipa/ Ruan Ensemble

區婉瑩、蘇沛宜、唐鳴鶴 Au Yuen-ying, So Pui-yi & Tong Ming-hok

爵式無極之《一任逍遙》

Boundless Groove: A Sonic Journey in Nature 無極樂團與西方爵士樂元素結合的意象音樂會。音樂創作意念猶如一幅卷軸山水畫，伴隨音樂律動徐徐展開，山川水岸逐一呈現，盡示眼前。奇峰異嶺高低遠近交叠橫陳，看似出世獨佇卻又憑藉一水相連，與兩種音樂語言的碰撞、交接、融合，一脈相承。

The acclaimed Wuji Ensemble invites audiences to an innovative sonic odyssey, complete with set, lighting and video projection design. Combining Chinese and western instruments, the concert takes its inspiration from nature, creating an undulating soundscape that unscrolls like a Chinese landscape painting before one’s eyes. Just as steep mountains and rocky peaks are formidable in their own right and yet connected at their base, so too are the two genres of music as they contrast and complement each other throughout the performance.

節目

Programme

引子：行 Prologue: Seek

呂奡元 Lui Ngao-yuen

川（世界首演） Trane (world premiere)

呂奡元 Lui Ngao-yuen

過渡樂段：彼岸 Transition: Landscape on Canvas

呂奡元 Lui Ngao-yuen

砂海（世界首演） Sea of Rocks (world premiere)

黃旨穎 Cynthia Wong

過渡樂段：山鳴 Transition: Sound Scroll

即興 Improvisation

百轉千迴（世界首演） Impromptu (world premiere)

羅永暉 Law Wing-fai 節目長約70分鐘，不設中場休息 Programme around 70 minutes without intermission

節目介紹 Programme Notes

川 Trane

文：呂奡元* 英文翻譯：卓嘉堯

Original Text: Lui Ngao-yuen* Translation: Polly Cheuk

一顧探凡塵一念觀三千一笑忘年月一川空自流〈觀〉、〈異〉、〈靈〉，三段結構迴異的樂章道出生命不同時期的心靈感悟。靜佇於了無窮盡的時空中，瞻望一水河川繞山而行，流過多少悠悠歲月，道盡幾許物轉星移。

One look to explore this mortal world, one thought to perceive all existences, one laugh to forget the months and years, one river to remember one’s insignificance. Comprising three structurally-distinct movements – 'Acknowledgement', 'Flux' and 'Liberation'. Trane is a reflection on the various sentiments in different stages in life. In the vastness of time one witnesses in silence as the river makes its way through the land of mountains, testifying the passage of time as celestial bodies re-arrange themselves.

*作曲家簡介詳列於第19頁。 Composer's bio please refer to P19.

砂海 Sea of Rocks 文：黃旨穎英文翻譯：卓嘉堯

Original Text: Cynthia Wong Translation: Polly Cheuk 日式庭園藝術「枯山水」充滿神秘的吸引力，以石頭和砂石鋪設河流，漩渦等型態，藉由從肉眼可見的庭園景觀引申到了視覺以外的宇宙精髓，以小觀大，以靜觀動，檢視個人的心靈狀態，正是「枯山水」的魅力所在。

樂曲共分六段，第一段〈踏進庭園〉，由鋼琴做引子，緊接著三件中樂彈奏的主題，樂段描述綠林園景的景

緻，彷彿聽到微風吹着沙沙的樹葉聲。第二段〈畫框內的世界〉由低音大提琴的節奏開始，加上鋼琴和琵琶，奏出跳脫有活力的樂段，表達出觀看者看到靜止的石頭就像水流一般，到處流動，色彩繽紛。第三段〈石頭立地〉以單簧管和古箏表達石頭沈穩孤寂的感覺；第四段〈石下水源〉和之後的〈支流之舞〉以揚琴和鋼琴建

立像流水般的節奏，讓單簧管，古箏和琵琶在這節奏上自由發揮，模仿河水流動的隨機性，最後一段〈漩渦〉所有樂器齊奏，表現出河流融合的氣勢。

Karensansui, or dry landscape garden, is known for its simple and mysterious charm. Rocks are arranged and gravel is raked into patterns to represent rivers and ripples. The intention is to help the onlooker perceive the invisible essence of the universe through the visible. It shifts the contemplative soul from the micro to macro and from the static to the dynamic in order to examine oneself deeply. Sea of Rocks is divided into six parts. An introduction from the piano opens the first part 'Entering the garden' and proceeds into a theme played by three Chinese instruments that develops into a picturesque depiction of the garden and rustling trees on a breezy day. The second part 'World in a frame', begins with a rhythmic statement on the double bass that is soon joined by the piano and pipa, which then flourishes into a lively passage of vigour. This is a portrayal of the viewer’s perception of inanimate rocks as water that flows vibrantly through the garden. In the third part 'The grounded rock' quality of solitariness is imparted by the clarinet and guzheng. In the fourth part 'Water under the rocks' and the subsequent 'Dance of the tributaries', the yangqin and piano establish a rhythmic figure that emulates flowing water over which free-spirited performances by the clarinet, guzheng and pipa evoke a river’s erratic course. Finally in 'Whirlpool', in the manner of an epic convergence of rivers, the whole ensemble join together in full majestic glory.

黃旨穎 Cynthia Wong 作曲 Composer 黃旨穎畢業於香港演藝學院音樂學院，主修作曲，後於美國紐約大學 Tisch School of the Arts 完成藝術碩士課程，主修音樂劇寫作。

黃氏的長篇音樂劇《Jennifer the Unspecial: Time Travel, Love Potion & 8th Grade》獲美國佛蒙特州 Weston’s New Musical Award 提名，並在 Ronald M. Ruble New Play Festival 中奪得「最

出色新音樂劇獎」，此劇更於2010-13年間先後在美國多個州公開

演出。黃氏亦是少數被美國 BMI Lehman Engel Musical Theatre Workshop取錄的亞洲作曲學員，在美期間， 經常擔任外百老匯兒童劇場 The 52nd Street Project 的作曲及音樂指導，跟多位著名百老匯的導演及演員合作。

黃氏憑粵語音樂劇《美麗的一天》獲第二十三屆香港舞台劇獎最佳

原創曲詞，而其音樂劇《仲夏夜之夢》亦獲得第二十六屆香港舞台劇獎年度優秀製作。黃氏曾先後為不同劇

團創作音樂劇，包括演戲家族、普劇場、香港兒童音樂劇團、英華女書院、廣州大劇院及香港話劇團等，並獲得第二十八屆香港舞台劇獎最佳原創音樂（音樂劇）提名。

Cynthia Chi-Wing Wong obtained her Master of Fine Arts degree in Musical Theatre Writing at the New York University and Bachelor of Music degree (Composition) at the Hong Kong Academy for Performing Arts. Her full-length musical Jennifer the Unspecial: Time Travel, Love Potion & 8th Grade was nominated for the Weston’s New Musical Award and won the Outstanding Musical Award at the 2011 Ronald M. Ruble New Play Festival. Wong was also one of the few Asian composers admitted to the prestigious BMI Lehman Engel Musical Theatre Workshop in New York. While in the States, she frequently worked as music director and composer at the children theatre The 52nd Street Project. Wong’s adaptation of the American play Our Town into the Cantonese musical A Beautiful Day, her first full-length musical in Hong Kong, won her the Best Original Score for the 23rd Hong Kong Drama Awards. Later on, her other full-length musical A Midsummer Night’s Dream was awarded as one of the Best Productions of the Year in 2016. She has written musicals for various companies, including Actors’ Family, Guangzhou Opera House, Hong Kong Repertory Theatre and Hong Kong Children’s Musical Theatre. Her original music can also be heard in various Hong Kong TV dramas including The Exorcist’s Meter. Wong is currently teaching musical theatre writing as a part-time teacher at the Hong Kong Academy for Performing Arts.

百轉千迴 Impromptu 文：羅永暉英文翻譯：卓嘉堯

Original Text: Law Wing-fai Translation: Polly Cheuk

一、時間的延伸（心靈）二、空間的滲透（自在）

三、對立的關係（張力）

四、疊合的色彩（圓滿）〈百轉千迴〉共分四個段落，全曲借用即興形式及多樣組合的變化作延綿開展，對演奏家來説極富挑戰性，但音樂結構清晰，脈絡分明，張力彌滿。曲中引用琵琶古曲〈陽春白雪〉的片段以增添中西樂器之間的對立或融和，音樂的偶發力帶來奇特的樂意和效果。

1. The propagation of time (Soul) 2. The penetration of space (Ease) 3. Antagonistic relationship (Tension) 4. Converging colours (Fulfillment) Divided into four sections, Impromptu unfolds through an improvisatory format and various combinations of instruments, which poses an interesting challenge for the performers. However, the musical structure stays clear, the narrative progresses unambiguously and the power of tension never wanes. Materials are taken from White Snow in Early Spring（〈陽春白雪〉）, a classic pipa work, to either establish contrast or harmony between Chinese and western instruments. The idea is to let serendipity work its magic.

羅永暉 Law Wing-fai 作曲／藝術總監 Composer / Artistic Director 羅永暉教授是本港少數跨越藝術與商業領域的資深作曲家。曾任香

港演藝學院駐校作曲家，現任無極樂團藝術總監。他早年畢業於美國加州大學，主修作曲，獲碩士學位。回港後與新浪潮導演合作創寫超過二十部電影音樂。期間創立香港演藝學院作曲系，並擔任該系

系主任多年。1995年以訪問學人身份在美國史丹福大學從事講學及

音樂創作，回港後以嶄新的寫作風格，發表多首大型中西樂器混合的作品，並創立風格獨特的無極樂團。

羅氏寫作多元化，除藝術音樂外還有流行音樂、廣告、電視劇、話

劇、歌劇及十多齣舞劇音樂。嬴得的重要獎項中，包括亞洲作曲家同

盟會議頒贈的入野義朗紀念大獎、香港電影金像獎最佳配樂獎、香港藝術家聯盟頒贈的藝術家年獎以及作品被北京中華民族文化促進會選為「二十世紀華人音樂經典」之一。2001年至2008年期間，他以

《桃花扇》獲得香港戲劇協會頒贈的最佳戲劇音樂獎，並以不同類

型作品連獲五次香港作曲家及作詞家協會頒贈的金帆音樂獎。2013年更憑《千章掃》獲中國文化部藝術司及中國民族管弦樂學會於北京頒發第二屆華樂論壇暨「新繹杯」經典民族管弦樂（協奏曲）作品評獎。2014年

創作意境音樂劇場《落花無言》獲好評如潮，為其藝術創作再闖高峰，近年更積極推動無極樂團的「意境音樂劇場」計劃，創作了意境音樂劇場《一色一香》、《一漠大千》、《空塵》及結局篇《人淡如菊》。

Law Wing-fai is a leading composer, and one of the few to have crossed over the boundary between commercial music and the arts. He was Composer-in-Residence at the Hong Kong Academy for Performing Arts, and currently Artistic Director of Wuji Ensemble. Law graduated from the University of California with a Master’s degree in Music (Composition and Electronic Music). He worked closely with Hong Kong’s New Wave directors in films during the 1980’s, having scored for more than 20 films. He was the founding Head of Composition of the Hong Kong Academy for Performing Arts, a position which he subsequently held for many years. During the 1990’s, he was a Visiting Scholar at Stanford University where he gave lectures and wrote music.  On returning to Hong Kong, he found a new angle in music composition, which resulted in many important works using Chinese-Western mixed instrumentation. He also founded Wuji Ensemble, a group that is known for its unique character.    With a diverse oeuvre spanning serious and commercial music, Law has written for pop music, commercials, drama, opera and in particular, for over a dozen dance dramas.  His long list of accolades include the Irino Memorial Award presented at the Asian Composers’ League, the Hong Kong Film Award for Best Original Score, “Composer of the Year” by the Hong Kong Artists’ Guild, and being selected as one of the “Twentieth Century Masterpieces by Chinese Composers” by the Chinese Culture Promotion Society in Beijing.  Law’s score for the drama production The Peach Blossom Fan was awarded “Best Original Music” by the Hong Kong Federation of Drama Societies.  He was also a five-time winner of the CASH Golden Sail Music Award between 2001 and 2008 with various compositions. In 2013, Law was awarded the Xinyi Cup granted by the Chinese Nationalities Orchestra Society in Beijing for his pipa concerto A Thousand Sweeps. In 2014, his "Atmospheric Music Theatre" When Petals Fall in Serenity was premiered to raving reviews, and was testimonial to his creative achievements. Recently, Law is actively involved in"Atmospheric Music Theatre" productions, and has successfully staged Beyond the Senses, Sands and Beyond, Śūnyatā and the concluding piece Tranquil as the Chrysanthemum. 17

王梓靜 Wong Chi-ching 音樂總監 Music Director 王梓靜於1976年加入中國廣播民族樂團，1987年至2013年為香港中樂團演奏家，曾任彈撥聲部長及琵琶首席。王氏以獨奏

家的身份活躍於兩岸三地，2003年分別創辦無極樂團及無形樂軒，現為無極樂團的音樂總監。

多年來，王氏曾以琵琶獨奏家身份與世界多個知名樂團合作演出。2009年，王氏與無極樂團為雨果唱片公司灌錄《無極印

象》唱片。2011年香港中樂團為王氏主辦個人專場「逸筆草草 ─ 琵琶與書法的對話」。同年雨果唱片公司再為她灌錄《琵琶

文曲》及《琵琶武曲》兩張個人專輯。2013年在北京良友劇場

舉辦每月一次的心靈音樂雅集「一念之間」系列，推動中國音樂文化走向意境劇場創意空間。同年於香港舉行兩場琵琶獨

奏會《落花無言》，均獲好評。2016年4月獲邀任香港中樂團

〈南北大師薈經典〉音樂會的獨奏，演出備受推崇。

王氏現積極與無極樂團的藝術總監羅永暉推動無極樂團的「意境音樂劇場」及「心靈雅集」音樂會，透過不同的主題及互動，以藝術啟迪觀眾對生命的感悟。

Wong Chi-ching joined the China Broadcast Chinese Orchestra in 1976 and was the Section Leader of Plucked-strings and Pipa Principal of the Hong Kong Chinese Orchestra (HKCO) from 1987 to 2013. An active soloist in the Greater China region, she founded Wuji Ensemble and Wuxin Ensemble in 2003, and is currently Music Director of Wuji Ensemble. Wong has performed as pipa soloist and with various renowned international orchestras on different occasions. In 2009, Wong recorded the CD The Impression of Wuji Ensemble with Hugo Records. In 2011, HKCO presented Wong in the solo concert Flowing Fancies, featuring dialogues between the pipa and calligraphy. The same year, Hugo Records released two solo albums by Wong – Pipa Wuqu and Pipa Wenqu. 2013 saw Wong involved in a series of monthly concerts of music for the soul in Beijing, as well as performed in two solo recitals, When Petals Fall in Serenity, presented by the Leisure and Cultural Services Department, to raving reviews. In 2016, Wong was invited back as soloist to perform with Hong Kong Chinese Orchestra in the concert Music Styles of Virtuosi North and South. Wong is actively involved in Wuji Ensemble’s “Atmospheric Music Theatre”. Her interactive and soulsearching "Salon Concerts" series with artists from various disciplines are also highly acclaimed and popular.

呂奡元 Lui Ngao-yuen 作曲／低音大提琴 Composer / Double Bass 呂奡元畢業英國利茲音樂學院，修讀爵士樂演奏及作曲，師隨萊利

（低音大提琴）、赫恩（作曲）及挪威小號演奏家英瓦爾森（即興演奏及作曲）。

呂氏與其五人樂隊 Mo-Men-T 分別推出了兩張專輯 Composition & Improvisation (2012) 和 Infinite Lines (2013)，並於不同爵士音樂節中演出。呂氏亦與各方位的音樂人、藝術家和藝團合作，包括香港小

交響樂團、香港巴哈合唱團、中英劇團、無極樂團、瘋祭舞台、美聲匯等。

呂氏是2013年及2016年「樂遊墟」音樂節的製作人，亦是許多不同

種類音樂計劃的策劃人。2019年創立香港青年爵士樂團，積極發展爵士音樂教育工作。2020年創作多媒體劇場作品《致最相似的人》。現於香港教育大學和香港知專設計學院擔任兼職講師。

Lui Ngao-yuen is a double bassist, composer and jazz educator. He studied Jazz Performance and Composition at the Leeds College of Music under the tutelage of Stuart Riley in double bass, Graham Hearn in composition, and Didrik Ingvaldsen in improvisation and composition. Lui has released two albums with Mo-Men-T, Composition & Improvisation (2012) and Infinite Lines (2013), and performed at numerous jazz festivals. He has also collaborated with musicians, artists and arts organisations in various art forms, such as Hong Kong Sinfonietta, Hong Kong Bach Choirs, Chung Ying Theatre Company, Wuji Ensemble, Theatre Fanatico and Bel Canto Singers. Lui was the producer of Music Fairground (2013, 2016), and curator of numerous musical projects. Lui leads a jazz educational programme and established the Hong Kong Youth Jazz Collective in 2019. He produced and composed music for the multi-media theatre work To Someone Alike in 2020. He currently teaches at the Education University of Hong Kong and the Hong Kong Design Institute as a part-time lecturer and ensemble coach in jazz and modern music.

林灒桐 Lam Tsan-tong 音樂會團長／琵琶 Concert Leader / Pipa 林灒桐2003年參與成立無極樂團，現為團長。她畢業於香港演藝學

院中樂系，常以琵琶及阮琴演奏家身份與編舞家、劇場導演及不同

藝術團體合作，擔任現場演奏及即興音樂創作。近期參與的演出包括芬蘭Kuhmo夏季音樂節2016、香港舞蹈團《紅樓．夢三闋》及《觀

自在》、江蘇省演藝集團歌劇舞劇院《香君．夢》、無極樂團「無極爵

躍」音樂會、多媒體音樂劇場《致最相似的人》等。除表演以外，她

一直從事音樂教育工作，經常為電影及劇集配樂作琵琶錄音，近年亦積極參與音樂靜心活動，希望用由心而發的樂聲引領大家重覓內心的逸靜。

Lam Tsan-tong helped founded Wuji Ensemble in 2003 and is currently its concert leader. Lam graduated from the Hong Kong Academy for Performing Arts, majoring in Chinese Music. She is a seasoned pipa and ruan soloist, having collaborated with choreographers, theatre directors and various arts groups, providing live performances as well as improvisation music. Recent performances included Finland’s Kuhmo Chamber Music Festival 2016, Hong Kong Dance Company’s Reveries of the Red Chamber and Vipassana, Jiangsu Province Performing Arts Company Opera and Dance Theatre’s Xiangjun-Dream, Wuji Ensemble’s "Boundless Groove", and the multi-media music theatre performance To Someone Alike. Apart from performing, Lam is also a music educator as well as a frequent pipa recording artist for TV. Recently, she is active in music meditation activities, hoping to use music from the heart to help audiences find their inner peace.

萬幸 Wan Xing │ 古箏 Guzheng

古箏演奏家萬幸為中央音樂學院音樂學士、香港演藝學院音樂碩士及香港中文大學文化管理碩士，曾獲中國文化部民族樂器大賽「優秀表演獎」、第二屆國際古箏比賽「金獎」及第三屆國際古箏比賽「最佳指導老師」等獎項。

2020年，萬氏為香港太空館創作《塵源》，另一作品《初心》獲邀為香港藝

術館敏求精舍60週年展覽《聚道傳承》現場音樂。2019年獲意大利Arpe

del Mondo 國際豎琴節邀請參與演出，2017年舉行音樂會「漫步 –萬幸的古箏音樂世界」。曾與香港舞蹈團合作《山水》及《觀自在》等實驗音樂舞蹈

劇場，亦與無極樂團合作多齣「意境音樂劇場」，並世界首演了羅永暉教授的古箏獨奏曲〈雪落茫茫〉及〈水月相忘〉。

萬氏現於香港教育大學擔任古箏導師，曾參與錄製中央音樂學院全國考級示範光碟，及獲澳門文化局邀請擔任音樂比賽評委。

Wan Xing graduated with a Bachelor degree in Music from the Central Conservatory of Music in China. She continued her studies at the Hong Kong Academy for Performing Arts for her master’s degree, and also obtained a master’s degree in Cultural Management from the Chinese University of Hong Kong. She won the Best Performance Award 2002 in the First Chinese Folk Instruments Competition organized by the Ministry of Culture, Gold Award (Young Performers Category) in the Second International Guzheng Competition 2011 and the Best Instructor Award 2013 in the Third International Zheng Contest. In 2020, Wan was invited to create a promotional clip titled Origins for Hong Kong Space Museum under the series “Tour de force – Museum x Performing Art”. Her piece Aspiration was showcased at the Hong Kong Museum of Art for “Honouring Tradition and Heritage: Min Qiu Society at Sixty”. In 2019, she was invited by Arpe del Mondo in Italy to perform in the Festival, and LCSD presented her solo recital “Wan Xing Guzheng Recital” in 2017. She has also collaborated with Hong Kong Dance Company in Shan Shui and Vipassana, and in several of Wuji Ensemble’s "Atmospheric Music Theatre" productions. Wan has world premiered two solo zheng works – La Blancheur and In Oneness by renowned composer Prof. Law Wing-fai. Wan is currently a zheng instructor at the Hong Kong Education University. She has also recorded a demonstration DVD for the Central Conservatory of Music examination pieces, and adjudicated at the 32th Macao Young Musicians Competition.

賴應斌 Bryan Lai │ 揚琴 Yangqin

揚琴演奏家賴應斌九歲隨張汝珠老師習琴。2001-2008年於北京中央音樂學院接受嚴格而系統的揚琴專業本科及碩士教育，師從劉月寧，亦受教於桂習禮，獲「港澳及華僑學生獎學金」。2008年與中國廣播民族樂團合作，於北京音樂廳舉辦了碩士畢業音樂會，成為中央音樂學院首位獲揚琴演奏碩士學位的香港本土音樂家。

賴氏演奏經驗豐富，曾參演亞洲青年音樂家系列、克拉科夫國際現代音樂節、第九

屆世界揚琴大會（德國）、墨西哥國際揚琴藝術節等，舉辦專場演奏會。出版有《中外經典揚琴名曲集》（合著）及《廣東揚琴音樂專場》DVD等。其名字被列入《中國藝術豐碑與著名藝術家》及《影響中國的100位藝術家》中。

Bryan Lai started his formal training in Chinese music and yangqin at the age of six. He has been winning numerous awards and scholarships since his secondary school years, and has been invited to represent Hong Kong in various Chinese musical instrument series as a young artist, performing alongside prestigious yangqin masters from China and Taiwan. In 2008, Lai became the first-ever Hong Kong student to receive a Master's degree in yangqin performance from the Beijing Central Conservatory of Music, and has since established himself as an active yangqin performer both locally and internationally. His performance highlights include recital performances in Beijing and Hangzhou, most notably the Chinese-French Diplomat Establishment Celebration Concert hosted by Chinese President Hu Jintao to perform for the French President in 2007. In addition, Lai has also participated in the Krakow International Contemporary Music Festival and performed in recitals in both Poland and Moscow in 2006. He also participated in dulcimer festivals in Germany and Mexico in 2007. Lai's performance has won him many accolades, and his name is mentioned in “China’s 100 Most Influential Artists” and “The Art of China – Chinese Art Monuments and Famous Artists Overview”. 21

馮逸山 Linus Fung │ 單簧管 Clarinet

馮逸山畢業於香港中文大學音樂系，主修單簧管，師承蔡國田老師，後於英國皇家北方音樂學院進修並獲得音樂碩士學位。馮氏致力推動室樂，為「時。刻室樂」及「小簧子」之策劃及單簧管手，現為香港創樂團單簧管手。

馮氏曾於汕頭、澳門及香港各個場所舉辦個人獨奏會並曾為香港醫學會管弦樂團及崇基管樂團作協奏曲獨奏演出，及為「本地樂團」擔任首席單簧管手。他經常受

邀與香港作曲家聯會、香港小交響樂團、香港歌劇院及無極樂團等合作，並曾於上海新音樂周、首爾電子音樂節、香港藝術節及新視野藝術節等演出。

Linus Fung graduated from the Chinese University of Hong Kong majoring in clarinet, studying under Martin Choy. He furthered his studies at the in Royal Northern College of Music and obtained his Master of Music degree. An ardent chamber musician, Fung is the clarinetist and curator of the chamber group The TimeCrafters as well as the clarinet ensemble Reed A Bit. He is currently the clarinetist of Hong Kong New Music Ensemble. Fung has given solo recitals in Shantou, Macau and Hong Kong, and has performed as concerto soloist with the Hong Kong Medical Association Orchestra and Chung Chi Wind Orchestra, and as Principal Clarinet with the Ponte Orchestra of Hong Kong. He has collaborated with the Hong Kong Composers’ Guild, Hong Kong Sinfonietta, Opera Hong Kong and Wuji Ensemble, and has performed in Shanghai New Music Week, Seoul International Computer Music Festival, Hong Kong Arts Festival and Hong Kong New Vision Arts Festival.

李梓禾 Bowen Li │ 鍵盤 Keyboard

鋼琴家及作曲家李梓禾畢業於聖三一拉邦音樂舞蹈學院。自2018年起，李氏積極

參與不同香港音樂家和藝術團體的合作演出，其中包括中英劇團、無極樂團、張駿豪與瞬．樂團，以及導演蔡明亮等。除出演之外，李氏亦是一位作曲家，他的作

品曾收錄在西九龍文化區的Freespace Mixtape Vol. 3，亦曾為南豐紗廠《慢一天流浪團》創作及錄製三首鋼琴獨奏音樂。此外，他亦曾為多媒體劇場《致最相似的人》編寫音樂。

Pianist and composer Bowen Li graduated from Trinity Laban Conservatoire of Music and Dance. Since 2018, Li has been actively performing and collaborating with musicians and art groups in Hong Kong, including Chung Ying Theatre, Wuji Ensemble, Teriver Cheung and film director Tsai Ming-liang. He has also performed in music festivals such as Jazz Gala “The Legends and Beyond 2019”, Freespace Jazz Festival 2019 and Festival Hong Kong 2019 – A Cultural Extravaganza in Shanghai.

李駿姚 Dean Li │ 敲擊樂 Percussion

李駿姚十五歲開始學習鼓樂節奏，由最初的香港流行曲到大學一年級首次觀看樂隊

音樂會，自此打開了音樂廣闊的大門。經過多年涉獵不同的音樂語言，李氏已不限於演奏單一樂種，此所以觀眾會於不同種類及形式的音樂場合發現他的樂影。

A rather late start for a musician, Dean Li learnt his first drum groove at the age of 15. Starting his drumming journey from playing Cantopop, Li was exposed to the vast music world after his friend brought him to his first band show when he was a Year One student in the university. After years of exploration in different music genres, Dean is unsatisfied to focus on playing one kind of music and keeps trying to extend his playing to different genres. That is why you will see him playing in the urban folk band Stranded Whale, improvising in a cozy jazz bar, or sometimes backing up a pop singer behind the dazzling stage lighting. 22

葉破 Paul Yip │ 靈悟音樂 Enlightenment Music

葉破於2008年從蒙特利爾回流，擁有超過十年表演藝術、劇場、舞蹈、電影錄像及聲音設計配樂經驗，致力追求聲音美學極致之道，曾於十多個國家的藝術節、音

樂節及舞蹈節演出，擅長演奏富電影感聲域、靈性音樂、簡約鋼琴、抽像電子、DJ 以及虛幻氛圍等多元樂器及 Nada Yoga 靜觀聲音治療。曾受邀作TEDx音療工作

坊導師及演出嘉賓，以及上海同濟大學朱哲琴聲音實驗室駐留藝術家。葉氏亦曾任VIDEOTAGE 技術總監及連卡佛音樂顧問，亦為澳洲奔馳時裝週、作家素黑、香港演藝學院、著名編舞家邢亮及楊雲濤、設計總監又一山人及導演陳木勝等製作配樂。

Paul Yip has over ten years of experience on sound design for performing arts, theatre, dance and film, pursuing the aesthetics of sound. He collaborates and improvises frequently with dancers, musicians, directors and artists in festivals in over ten countries, in areas including spiritual sound, cinematic soundscape, ambient noise, minimal piano, abstract electronics, DJ-ing and multi-instruments.

區婉瑩 Au Yuen-ying │ 琵琶、阮 Pipa, Ruan

區婉瑩畢業於香港浸會大學及香港中文大學音樂系，修畢榮譽學士、音樂教學文憑課程及碩士學位。區氏自幼學習古箏及琵琶，曾獲校際音樂節古箏及琵琶獨奏冠軍、中華國際音樂藝術大賽古箏獨奏銀獎、天主教教區學校聯會頒發之學生藝術成就表揚獎項、廣東古箏音樂節古箏獨奏（專業組）銀獎和香港國際青少年表演藝

術節傑出教師獎等。曾以獨奏者身份被邀前往德國、奧地利、捷克、美國、日本、中國和台灣等地演出；任無極樂團團員多年，曾參與「意象敦煌」及「意境音樂劇場」系列演出，亦隨樂團前往多個歐洲國家作巡演；參與國際藝術節及中西樂文化交流演出等以推廣中國音樂。

Au Yuen-ying holds a Bachelor’s degree in Music from Hong Kong Baptist University, a Postgraduate Diploma in Education (Music) and a Master’s degree at the Chinese University of Hong Kong. She was accustomed to Chinese music at a young age. Au was champion and winner of several prizes in the Hong Kong Schools Music Festival. She was awarded the Silver Award in the guzheng solo section of the International Chinese Music and Arts Competition, presented with the “Student Performing Art Prize Award” by the Hong Kong Catholic Diocesan Education Council, and was first runner-up at the regional Guangdong Guzheng Competition in the guzheng solo section (professional youth groups). As an active ensemble performer and a soloist, Au has performed in various countries in Europe, the U.S., Japan, Taiwan, as well as several cities in China, at international arts festivals and cultural exchange events to promote and raise interest in Chinese music in the West.

香港當代音樂團

hong kong contemporary music group

27.11.2O21 (SAT) 2O:OO 28.11.2O21 (SUN) 15:OO, 2O:OO

$25O

西九文化區藝術公園自由空間大盒

更多精彩節目 More to come!

The Box, Freespace, Art Park, West Kowloon Cultural District

香港藝術發展局保留按情況需要安排觀眾座位之權利。節目如有更改，恕不另行通知。如有任何爭議，香港藝術發展局保留最終之決定。 Hong Kong Arts Development Council reserves the right to assign seats. Programmes are subject to change without prior notice. Hong Kong Arts Development Council reserves the right to make the ﬁnal decision regarding the arrangements.

不設劃位 Free Seating 不設劃位 Free Seating

有關優惠詳情請參閲網站。 Please refer to JCNAP website for details of discounts.

www.newartspower.hk 網上購票及詳情 Tickets and more info

實幻音樂旅程

a journey into the dream of music-scape

林丰

作曲音 / 樂總監

fung lam

composer / music director

又一山人

視覺藝術導 /演

visual artist / director

anothermountainman

yet another dream

蘇沛宜 So Pui-yi │ 琵琶、阮 Pipa, Ruan

蘇沛宜畢業於香港中文大學及香港教育大學，分別獲取音樂文學碩士學位及音樂教育學士學位。蘇氏曾入讀香港演藝學院初級生課程，以優秀成績完成課程。曾

獲香港校際音樂節琵琶中級組及中阮高級組比賽冠軍；琵琶高級組比賽成績優異奬、中阮深造組亞軍、繆思室樂獎合奏冠軍等獎項。蘇氏曾為音樂交流生，遠赴奧地利作音樂交流，並到奧地利、西班牙等歐洲國家作公開表演。

So Pui-yi obtained her Master of Music degree from the Chinese University of Hong Kong and her Bachelor's degree from the Education University of Hong Kong. She joined the Junior School of the Hong Kong Academy for Performing Arts and completed the course with good results. So has participated in the Hong Kong Schools Music Festival competitions, and awarded champion in pipa (intermediate group) and zhongruan (senior group), a second prize in zhongruan (advanced group) and a merit award in pipa (senior group). She was also champion of MUSES Chamber Award. She has attended a music exchange programme in Austia, and has performed in several western countries, including Austria, Spain and many other cities in Europe.

唐鳴鶴 Tong Ming-hok │ 琵琶、阮 Pipa, Ruan

唐鳴鶴於香港中文大學修畢法律博士學位。自幼喜愛音樂和舞蹈，四歲起學習芭蕾舞並考獲英國皇家芭蕾舞專業級，小學開始接觸琵琶。為了提高對音樂及文學

藝術的修養，更學習國畫和油畫，並參加中、英文詩歌朗誦等文學藝術活動，多次獲獎。中學起開始接觸柳琴和阮，多次參加校際音樂節比賽，曾獲琵琶深造組冠軍、中阮高級組冠軍及柳琴深造組亞軍，並考獲中央音樂學院海外考級試琵琶及中阮演奏級。

Tong Ming-hok graduated with a Juris Doctor from the Chinese University of Hong Kong. Since her childhood, Ming-hok has been very fond of music and dance. Her ballet training began at the age of four and she attained the Royal Ballet Grade 8 examination. From elementary school years onwards, she has been taking lessons for the pipa, Chinese paintings, Western oil paintings and English verse speaking in order to enhance her cultural and literary training, from which she has also won numerous awards. Tong also studied liuqin and ruan in secondary school, and has participated in the Hong Kong Schools Music Festival competitions. She came first in pipa solo (advanced group), first in zhongruan solo (senior group) and was the first runner up in liuqin solo (advanced group). She also obtained diplomas of pipa and ruan of the overseas examination of the Central Conservatory of Music.

阮漢威 Yuen Hon-wai │ 舞台設計 Stage Design

香港演藝學院科藝學院藝術學士（主修佈景及服裝設計），曾獲香港賽馬會獎學金及成龍海外獎學金赴英國Stephen Joseph Theatre實習。舞台設計作品達二百個，並多次獲獎，包括憑演戲家族《四川好人》獲第十三屆香港舞台劇獎「最佳服

裝設計獎」，憑前進進戲劇工作坊《金龍》獲第二十六屆香港舞台劇獎「最佳舞台設計獎」，憑前進進戲劇工作坊《對倒．時光》獲IATC（HK）劇評人獎頒發年度舞

台科藝／美術獎。憑藝君子劇團《夏娃》獲第二十九屆香港舞台劇獎最佳舞台設計等，並曾六度獲香港小劇場奬及香港舞蹈年奬之提名「最佳舞台效果獎」。

A graduate of the Hong Kong Academy for Performing Arts (HKAPA) with a degree in Set and Costume Design, Yuen Hon-wai is an accomplished theatre professional who has created set designs for over 200 productions, ranging from dance and drama to musical theatre. He was a three-time recipient of a Hong Kong Drama Award, winning Best Costume Design for The Good Person of Szechwan (2004) and Best Set Design for The Golden Dragon (2017) and Eve (2020). He also won Best Art Direction/Technical Arts of the Year at the 2018 IATC (HK) Critics Awards for his work for On & On Theatre Workshop’s Tête-bêche. In addition, Yuen is a freelance theatre artist and theatre photographer, and works as a part-time lecturer and an Artist-in-Residence (Design) at the HKAPA.

馮國基 Gabriel Fung Kwok-kee 燈光設計 Lighting Design

馮國基畢業於香港演藝學院。從事舞台工作至今，作品超過二百多個，包括舞蹈、戲劇、歌劇、戲曲及多媒體表演等。自1998年開始，馮氏與台灣優劇場合作，足跡

遍及歐美各大藝術節。他亦替香港本地多個團體、香港藝術節及海外機構擔任設計工作。馮氏的作品獲多次提名，於2003年同時獲香港舞蹈聯盟「舞蹈年獎」及香港舞台劇協會頒發「最佳燈光設計」獎項。

自2012年開始，馮氏替楊麗萍老師大型舞劇《孔雀》任燈光設計，並多次與廣

州現代舞團、廣東省芭蕾舞團、澳門藝術節及藝團合作舞台劇、環境劇場、工作坊及教學。最近獲加拿大多倫多

Canadian Stage 及 Music Picnic 邀請擔任燈光及投影設計。馮氏於2009年修畢香港浸會大學傳理系電影藝術碩士課程，主修電影導演，並獲頒發優異學術成績奬學金。其作品《無風……詠》被挑選於亞洲獨立電影節中放映及

於2010年澳門國際電影及錄像展獲「評審特别推介奬」。他應香港聲蜚合唱節邀請參與「觀影察聲」微電影計劃，創作「合唱微電影」《兩。生》。

Gabriel Fung graduated from the Hong Kong Academy for Performing Arts. As a lighting designer, spatial designer, director and frame drum percussionist, Fung has worked with many local arts groups. His collabration with U-Theatre Taiwan as lighting designer has taken him to festivals in Europe and Brazil. In 2003, he won a Hong Kong Dance Award from the Hong Kong Dance Alliance, as well as the Hong Kong Drama Award for Best Lighting Design. In 2009, he completed a master’s degree at the Hong Kong Baptist University majoring in film directing. His work Chants within Doldrums was screened at the Hong Kong Asian Independent Film Festival 2009 and received a Special Jury Award at the Macao International Film and Video Festival and Awards 2010. Currently, Fung focuses on investigating on the “cross-over” between theatre and moving images.

楊我華 Anthony Yeung │ 音響設計 Sound Design

楊我華畢業於香港演藝學院。2003年曾獲第12屆香港舞台劇獎之「最佳音響

設計」，於2004年起在香港演藝學院任教，2008年至今在聲音藝術組織「聲音掏腰包」擔任顧問。

2010年成為杜比實驗室音響顧問。2017年於第十九屆香港舞蹈年獎獲得頒「傑出聲音設計」。

最近參與的舞台製作有《致最相似的人》、《山水》、《弦舞》、《甩隙咔》、《茫然先生》、《兩夫妻》、《初見》、《人生原是一首辛歌》等。

Anthony Yeung graduated from the Hong Kong Academy fo Performing Arts (HKAPA). In 2003, he won the Best Sound Design at the 12th Hong Kong Drama Award and started teaching at the HKAPA from 2004 onward. Since 2008, he has been an advisor at Soundpocket. In 2010, his company was appointed as Sound Consultant for Dolby Laboratories. He won the Outstanding Sound Design at the 19th Hong Kong Dance Awards in 2017. Yeung’s recent theatre productions include To Someone Alike, Shan Shui: An Ode to Nature, Dance of Strings, Luck Quacka, Mr Blank (re-run), Scenes from a Marriage, and Pride and Prejudice and All My Life I Shall Remember.

梁子蔚 Jade Leung │ 服裝設計 Costume Design

畢業於香港演藝學院，獲藝術學士榮譽學位，主修舞台及服裝設計。在校期間，於進念・二十面體聯合製作的《看不見的城市》擔任舞台及服裝設計。亦在《舞蹈三部曲・慶典》為編舞家桑吉加創作的《我們笑着舞蹈》進行服裝設計。

畢業後投身劇場，並與舞台單位、機構和中小學合作，擔任助理服裝設計師和服

裝主管。近期作品：為「風平草動」系列的《樂園(終章)》設計服裝。亦曾為香港藝術節中的《炫舞場》、《馬克白》、《鬼戀》、《奮青樂與路》擔任為服裝主管。

除舞台外，曾為多間中學和教育機構擔任時裝設計導師，教授工作坊。因熱愛服飾，亦曾在品牌niin 實習，擔任助理珠寶設計師。後到不同品牌協助活動或時裝表演。現為自由身創作人。

Jade Leung graduated from the Hong Kong Academy for Performing Arts, majoring in Set and Costume Design. She has been involved in set and costume design for Invisible Cities. She designed the costumes for dance production Pathos. Her latest costume design work was Paradise: Epilogue, and in the “Wild is the Grass” series held at Tai Kwun. Apart from theatre, Jade is also devoted in design education, events and fashion. She is now a freelancer.

易辰 IZEN │ 錄像設計 Projection Design

易辰為一群由設計師與聲域及視覺藝術家組成的多媒體藝術策劃製作團隊。以道為綱，用科技作媒介，成就藝術。探索藝術的文化與哲學，鑽研科技於藝術上的應用，研究當今藝術創作的多元性，並透過藝術修行，尋找覺悟之

道。易辰認為所有藝術形式也是一個道路途徑，通過藝術產生靈性上、能量上、磁場上、物理上的種種奇點，讓當下與無盡無限的時間、空間及維度產生共鳴。

IZEN is a multi-media artist group which creates unique visual, audio and performing arts production. Based on the “Spirit of All” concept in the Ancient Eastern and Western wisdom, IZEN explores dialogues, discussions and experiments to bring up to the possibilities of neo ritual and performing arts. 27

香港藝術發展局

HONG KONG ARTS DEVELOPMENT COUNCIL

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、視覺術、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。 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.

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賽馬會藝壇新勢力工作團隊 JOCKEY CLUB New Arts Power Project Team

香港藝術發展局 Hong Kong Arts Development Council

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