展 演談 知識與表演 跨領域交流
Exhibition & Lecture Performances from knowledge to performativity exchange
策劃及製作 Curated & Produced by
捐助機構 Funded by
主辦機構 Presented by
01
因應政府最新公布收緊防疫措施，
原 訂 於 2022 年 1 月 8 日 至 29 日 於
Soho Yard 舉行之壓軸節目《搭枱》 的展覽及「演談」改為網上播放。
To comply with the latest government disease prevention, the exhibition and lecture performances will be broadcasted online.
演談 Lecture–Performance 網上播放頻道 Online Broadcast Channel：
JCNAP Facebook/YouTube
15/1/2022（六 Sat）
23/1/2022（日 Sun）
20:00
20:00
時．間．流 Flow to unfold （粵語演出ﾠIn Cantonese）
潘詩韻 Janice Poon
（編劇及劇場構作 Playwright & Theatre Dramaturg）
×
黃詩懿 Wong Sze-yi
（韻律泳泳手及導師 Artistic Swimmer & Instructor）
21:00
仿鴨與掩蓋 Duck and Cover （粵語演出ﾠIn Cantonese）
黃俊達 Ata Wong
（劇場導演 Theatre Director）
×
黃麗茵 Cam Wong
（廚師及視覺藝術家 Chef & Visual Artist） 場地伙伴 Venue Partner
明鏡止水 Clear Mirror, Still Water （粵語演出，附少量日語ﾠ In Cantonese, with some Japanese）
林沛濂 Lam Pui-lim Anson
（劇場演員 Theatre Performer）
×
梁偉怡 Verdy Leung
（花道及媒體藝術家 Ikebana and Multimedia Artist ）
21:00
情緒處理中 Emotions, Processing （英語演出ﾠIn English）
黃裕邦 Nicholas Wong
（詩人 Poet）
×
趙朗天 Alain Chiu
（作曲及聲音藝術家 Composer & Sound Artist）
每場演談長約 40 分鐘 Each lecture–performance for 40mins
• 活動將嚴格遵守健康及衛生防護指引，並採取有效的社交距離措施。
• 香港藝術發展局全力支持藝術表達自由，本節目內容並不反映本局及捐助機構之立場或意見。
• All events will adhere to the health and safety regulations and enforce social distancing measures. • Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this programme do not represent the stand of the Council nor the Funder.
01
Table of contents 中文解作「目錄」，
表演性並非劇場創作獨有，在不同領
四組創作人就他們不同界別的特質、
容架構。
著。通過這趟「搭枱」的過程，最後契
式，構作出不同的「枱」，把內容置放
是大部份書藉的開首頁，用於闡述內
合成四組交融的展覽作品，以及四組
三人策劃團隊以混合而跳躍的聯想，
「演談」。
實體的枱，作為知識交流的聚腳點、
「演談」為近年國際流行的跨領域表演
(lecture–performance) 的講台/舞台。
議題的同時；又是演出：按講者或創
將「table of contents」化 成 一 張 張 盛 載 意 念 內 容 的 器 皿， 以 至「 演 談 」 八 位 創 作 人 分 組「 搭 枱 」跨 域 交 流，
從各自專業界別的構作出發，就不同
議題的關注，探索意想不到的共鳴； 從對方的故事，對照自己的歷程。當
中，亦看見不同界別既共通又各異的
「表演性」。
形式。既是演說：分享知識、觀點、
共同關心的題目、卻又不同的思考方 和融合於其中，成為不同的「Table(s)
of Contents」。
在這裡，枱，既是載體，又與內容相 連。
作人的構思而加入表演元素，例如身 體、聲音、影像等等。
一 系 列 的 演 談 在 1 月 14 至 23 日 的 兩
個週末舉行，而於日間的展覽，幾組 枱，也就是幾組創作人的展覽作品， 呈現他 / 她們較為抽象的概念的面向。
“Table of contents” generally refers to the opening pages for books where readers are provided with a brief description of the structured materials.
similar and contrasting experiences. In such context, “performativity” can be observed as something common yet different across different disciplines.
Juxtaposing thoughts and perspectives, the three-member curatorial team are trying to connect the “table of contents” to a physical table which will serve as a rendezvous for knowledge exchange, a vessel for ideas and a podium/stage for “lecture– performance”.
Performativity is not unique to theatre production; it manifests itself in distinct forms among sectors and media. Through “table sharing”, four sets of intertwined works and conversations are expected to be reached.
The project provides opportunity in connecting and pairing of the eight creators for dialogues, and generating interaction with each other based on their respective professions. In the process, unexpected resonance sparked, on social or personal issues. They also drew reflections upon
02
域、 媒 界， 其 實 都 以 不 同 形 態 展 現
“Lecture–performance” has gained much international attention as a cross-disciplinary performance form in recent years. It is both a speech: sharing of knowledge, ideas and issues, and a performance: a performance with elements such as body, sound, images, etc., conceived by the speaker or creator.
Apart from the “lecture–performance” on two weekends of Jan 14, 15 and Jan 21, 23, there is daytime exhibition showcasing the creators’ concepts through “several tables”. The tables integrate with the creators’ unique disciplines, common concerns and unique ways of thinking. The table here is a carrier and a wire to the content.
03
策劃人語 Curatorial Note 黎蘊賢ﾠOrlean Lai | 黃大徽ﾠDick Wong | 賴閃芳ﾠLai Sim-fong
怎樣才看見「表演性」？
我反思的能力因人而異，大概跟看藝
Dick：
述的了解等都有關。說穿了，觀眾其
看見「表演性」也就是說把我自己放到
觀看的位置去。對於我來說，很多時 候「表演性」來自身體的狀態，可以是
術、演出的經驗、想像力、對相關論 實同時是在參與塑造自己正在看的「演 出」，解讀自己的一套「表演性」。
會好奇，究竟空間是否也可以有「表演
在劇場與表演以外，不少職業及身份
大自然，我記起某些空間確實曾經啟
表現什麼？
性」？不論是室內還是室外，人工還是 動了我的感官、想像和思維。
Orlean：
無容置疑「表演性」有一定的客觀性。
劇場演出，創作人有意識地塑造情景
（situation），又涉及表演者，這比較 容易讓人覺得表演真實存在、發生。 但若然沒有容易被判別的「表演者」、
沒有明確指定的時間、空間、場域， 表演或表演性有沒有出現？
「 表 演 性 」亦 要 一 定 的 主 觀 性。 這 主
觀 性 是 從 觀 眾 而 來 的。 可 又 不 只 是 一 句：「 你 覺 得 有 就 有 啦 」、「in the
eyes of the beholder」 說 了 算。
具 體 地 說， 可 需 要 一 種「 自 我 參 照
（self-referential）及 自 我 反 思（self-
reflective）」的 建 構。 主 動 地 將 自 己 所看到、感知到的，加上一個（或多
個不同的）框架去觀賞、解讀，讓「表 演」化現出來，不管是否在舞台、美術 館、或日常 / 尋常情景。自我參照與自
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否只限於自編自講的「獨腳戲」 （ one-
man show ）？ Orlean：
跟 Dick 之前討論到一個「舞蹈」作品，
於我看來，形態及內容上都恰如一個
有意識的表達和溝通，也可以是沒有 意識的一種集中和專注。但我有時也
「 演 談 」（ lecture–performance ）是
也充滿表演性。那些「表演」，其實在 閃：
律師、老師，及今回邀請的韻律泳泳 手與日本花道藝術家，其職業於我而 言充滿表演性。工作當中牽涉編排、
敍事、表演策略，有觀看與被看、時
間的掌控、經驗的建構，還有就是身
自 傳 式 lecture–performance。 但
Dick 提了一個觀點，作品可不是舞者
為自己編講的，而是由一個編舞家導 引、編排出來的「演出」。儘管，形式
上， 看 似 是 lecture–performance。 這確實叫我深思……
創作的意圖、導與演的主次，可以讓 形 式 與 內 容 之 間， 出 現 距 離。 框 架
（context）及解讀就都不一樣了。
體的呈現。他們的舞台可以小至一張
Dick：
的東西有知識，也有論據與技藝；但
Beuys 及 John Cage ， 但 lecture–
枱，大至班房、法院甚或泳池。表現
雖然有學者把早期影響追溯到 Joseph
更多是文化、意識型態與身份認同。
performance 在 國 際 間 開 始 普 遍 是
表演性不限於劇場內出現，我期望有 更多作品由人類學或社會學的觀點討 論表演性及表演。
近 十 年 的 事， 如 果 它 屬 於 一 種 類 型
（genre）的 話， 歷 史 還 是 很 短。 不 過，根據今次為《搭枱》而做的資料搜
集顯示，其格式（format）上的擴展其
實已經相當多樣化，有單人匹馬也有
一整隊 ensemble 的，有大袍大甲製 作精美的，有混合多媒體兼唱頌及 DJ 的，甚至有人摒棄言語只用聲音，著
實是五花八門豐儉由人，大家好像都 正在摸索這種混成（hybrid）的形式， 邊界到底在哪兒？
策劃跨界別的嘗試為我們打開了哪些 討論 / 想像？ 閃：
每回跨界別的嘗試，我得出的感受都 差不多：要謙遜，因自己對世界的所 知太少； 要有耐性，因每個個體都擁 有不一樣的思考方式。
與跨界別跨領域的人對話，其出發點 是……？ 閃：
以表演作為策展的媒介，我比較傾向
形容我在策劃一個場景，讓參與者（不 論表演者還是觀眾）藉碰撞而彼此了
解，甚至讓雙方製造新的知識。我很 享 受 2016 年 台 北 藝 術 節 的《 島 嶼 酒 吧》，讓我跟不同界別的藝術家面對面
聊 天 喝 酒； 也 影 響 了 我 在 2018 年 策 劃《表演美味》，讓廚師走出廚房與觀
吸收知識有多重要／不重要？
為何用表演來傳遞知識？
閃：
閃：
較簡單，純粹學習到新知識讓人很快
個故事，在還未出現車輪的時代，墨
我認為吸收知識很重要，但出發點比 樂，不一定是為了工作或事業。前人 經過幾十年幾百年的研究與經驗累積
成知識，以口耳相傳、以文字或影像 的方式來到我的手上。一想到那時間
的維度，就不禁讓我覺得知識的流轉 是很浪漫的。
Dick：
吸收知識是重要的，但在一切變得碎 片化和垂手可得的時代，如何把知識
梳理、整合以至轉化去建立自身的體 系才更重要。
知識，知道和認識，從知道到認識， 是個怎樣的過程？
眾們面對面，由食物的製作入手，探
Orlean:
化與散落的世代，能靜靜傾聽與己不
Han ）的 一 篇 文 章， 提 及 我 們 這 個
討氣候變化。我相信在這個愈加個人 同的聲音，能在平等而安全的情景下 進行思想碰撞，擴闊我們的視野和想 像，是何其珍貴。
Orlean:
當策劃人有一種好處，可以將自己好
奇的事情，找個藉口 / 機會找來一班人 跟你來個實驗。
每次策劃跨界創作，都有一些不同前
設、 想 像， 當 中 一 定 包 括 一 些 個 人
前 陣 子 讀 到 韓 炳 哲（ Byung-Chul
電 子 世 代， 不 斷 渴 求 資 訊， 可 是 資 訊（ information ）沒 有 成 為 學 識
（ knowledge ），很多人沒有從中獲得
智 慧 與 見 解（ insight ）。 讀 著， 覺 得 有點傷感。
給自己孩子製造了有輪子的玩具，卻
沒有想過要應用在其工作上。玩具在 他們眼中只是消磨時間而已。劇場與 表演被很多人認為只是「玩具」，忽略
了 它 能 夠 改 變 世 界 的 能 力。Florian
Malzacher 於《邁向操演時代：展演作 為策展策略》重提這故事，再次肯定表 演的潛力。
Dick：
我的問題則是－傳遞知識的形式還有
什麼可能性？搞表演的人不時會問自
己，究竟想建構一次什麼的經驗讓觀 眾去參與。授課或做講座的人大概比 較少會這樣想，但一想之下，則發現
可能性其實還有許多，不只是對着教 科書或 powerpoint 我講你聽的例行
運作。再者，授課或做講座，作為一 種處境，跟表演有許多相近之處，特 別是表演在當代藝術中的定義已不斷
被擴延，標準不如過往般僵硬，提供 了更寬廣的進入點。
重拾、思考、再鑽研，之後成為屬於
遞知識，這樣好像有點「應用性」，是
子，會在適當的際遇時，提醒自己要 自己的知識。
對邀來的不同創作人的背景、創作形
在而已。而認識，則是明白自己和他
奇位（出發點）對策劃人很重要。
山，建造房子。但有趣是，他們早已
Orlean:
偏 執， 然 後 加 上 對 某 種 媒 介 的 包 容 態、思考模式的好奇。認清自己的好
西哥的奴隸要逐件大石徒手搬運上
資訊都太水過鴨背，但願有一些是種
Dick：
性（capacity）的想像與疑問，再加上
Peter Brook 在《 空 的 空 間 》提 到 一
以人去作比喻，知道就只是知道其存 ／ 她 之 間 的 關 係。 那 種 關 係 也 不 一 定需要有實際接觸的，也可以是透過 觀察和分析得來的看法和觀點。換言
之，從知道到認識，可能就是個思考
對於我來說，沒有所謂「用」表演去傳
應用科學（applied science）的想法？ 我較為傾向於將「載體與內容」構想成
一體，不是要為載體找內容，又不是
為內容找載體，它們的連繫應該是緊 扣 的， 構 成 一 種「intermedia」的 呈 現。可能出發點有先後，發展下來，
應該是沒有主次的。載體與內容同樣 重要，並且合一。
的過程吧。
05
Curatorial Note
Orlean Lai | Dick Wong | Lai Sim-fong
How do you see “performativity”? Dick: Seeing “performativity” means assuming the role of an observer. To me, “performativity” comes from physical conditions – conscious expression and communication, or even subconscious focus and concentration. But from time to time I wonder if even space may possess “performativity”, such as indoor space and outdoor space, artificial or natural. I remember certain spaces did turn on my perception, imagination, and cogitation.
Apart from theater and performance, many occupations and identities come with performativity What do such “performances” actually express?
Orlean:
Sim:
No doubt there is certain objectivity to “performativity”. In a theatre performance, the creator formulates the situation consciously. Also, there are performers, who induce a sense of existence and happening in the audience. But if there is no such easily identifiable “performer” or specified time, space, and field, is there still performance or performativity?
Attorneys, teachers, and the artistic swimmer and ikebana artist invited this time, participate in occupations that come with performativity to me. The work processes involve organising, narrating, and performance strategies, and there are times when there is audience watching and the practitioners being watched, when the practitioner has to control time, construct experience, and present his/her body. Their stage is as small as a tiny desk, as big as a classroom, courtroom and even swimming pool. What they perform includes knowledge, argument, and skill, but on top there are culture, ideology, and identity. Performativity is not confined to the theater. I look forward to works based on anthropological and sociological grounds in discussing performance and performativity.
There is also subjectivity to “performativity”. It comes from the audience. But it’s not simply “If you feel it, it’s there”, or “in the eyes of the beholder”. More specifically, it requires a self-referential and self-reflective construction. That is, proactivity in realising the “performance” seen or perceived, on the stage, in an art gallery, or everyday scenario, using one or more appreciative and interpretive frames. The ability to formulate such a
06
construction varies from one person to another and is probably related to experience in art and performance appreciation, imagination, and understanding of relevant discourse. In other words, the audience participates in shaping the “performance” they are watching and interpreting “performativity” on their own.
Is “lecture–performance” restricted to a self-directed and self-performed “one-man show”? Orlean: There was once when me and Dick talked about a dance piece. I regarded that dance piece as an autobiographical lecture–performance based on its form and content. But Dick argued that the work was not directed by the dancer, but was a “performance” directed and choreographed by the choreographer, even though it looked like lecture-performance based on the form. That led me into deep reflection. The priority given to the intention of creation, positioning between directing and performing, may also lead to distance between the form and content. That would result in different contexts of interpretations. Dick: Although some scholars traced its early influence back to Joseph Beuys and John Cage, lecture–performance became popular only in the last ten years. As a genre, its history is very short. Having said that, research for this project - Table(s) of Contents shows its format has expanded into a good range of variety – solo, ensemble, delicate costumes, multimedia, chanting and DJ. Some even relied only on sounds without language. Everyone has his or her own way in exploring such a hybrid form, asking where the border is.
What room for discussion and imagination has such a crossdisciplinary initiative opened up for us? Sim: My feeling in every encounter like this is that I have to humble myself, because I know too little about this world. I also need patience, because every individual has a different way of thinking. What is the starting point for starting cross-sector and cross-disciplinary dialogue? Sim: Using performance as a medium for curation, I tend to describe myself as curating a situation for participants (performers and audiences) to know each other, and even for them to create new knowledge. I enjoyed IsLand Bar at Taipei Arts Festival back in 2016, which allowed me to talk face-to-face and drink with artists from various disciplines. That also inspired me in curating An Edible Performance in 2018, which encouraged chiefs to come out from their kitchen and get face to face with the audience, with cooking as a starting point and climate change as the topic of discussion. In this era of individualism and dispersion, it’s a treasure to have been able to listen to other different voices, to engage in discussion in an equal and safe space, and to widen our horizons and imagination. Orlean: The benefit of being a curator is to get an excuse or opportunity to experiment with something of your interest with a group of people. In every cross-disciplinary curation I do, there are certain presumption and imagination. There’s got to be certain personal preference, plus imagination and query about the capacity of a particular medium, plus curiosity about the background, creative practices, and mode of thinking of creators invited. Being able to identify one’s source of curiosity is important for a curator.
Is acquiring knowledge important?
Why choose performance as a means for transmission of knowledge?
Sim: I think that’s very important. My reason is simple – it makes me contented, not just for work or career. A wealth of knowledge based on years of studies and experiences is handed down to me orally, verbally, or visually. Only the idea of the relevant time dimension already makes me feel the transmission of knowledge to be romantic. Dick: Acquiring knowledge is important. But it’s even more important to be able to establish one’s own value system by organising, synthesizing and transforming the knowledge that is so fragmented and easily accessible in this era. Knowledge, knowing and understanding. From knowing to understanding, what happens in between? Orlean: Just the other day I read an article by Byung-Chul Han on the electronic era, where everyone craves for information but very few gain wisdom and insight through transforming information into knowledge. That’s saddening. Information is just half of the story. I hope information obtained becomes a seed that would, with good timing, remind me of its existence, rethinking about it, and studying it, and eventually transforming it into my own knowledge. Dick: To put it in a social context, knowing someone might merely mean an awareness of his/her existence, while understanding refers to figuring out the relationship between oneself and him/her. Such a relationship doesn’t necessarily entail actual contact, but could be views and viewpoints obtained from observation and analysis. In other words, from knowing to understanding is a process of thinking.
Sim: Peter Brook presented a story in The Empty Space, where in a time before the invention of wheel, Mexican slaves had to move large rocks one by one up hill with bare hands to build houses. But interestingly, they made toys with wheels for their kids, they never thought of applying the technology to their work. Toys were to them just for leisure. The theater and performance are regarded by many as “toys”, while their potential to change the world is largely ignored. The same story is retold in Empty stages, crowded flats: performativity as curatorial strategy by Florian Malzacher, reaffirming such a potential. Dick: My question is – what are other possibilities in terms of form of knowledge transmission? Performance workers often ask themselves what kind of experience they want to construct for the audience to participate in. Such reflection may occur less to lecturers or presenters. But coming to think of it, there are actually also many possibilities other than textbook and PowerPoint. In addition, the definition of performance has been expanded and extended in the contemporary arts sector. It’s become much looser and inclusive with wider entry points. Orlean: To me, there is no such thing as “using” performance for knowledge transmission. Sounds a bit too “pragmatic” to me – an applied science thing? I tend to think about “form and content” as one. I’m not looking for content for certain form, or looking for a form for certain content. The two are closely knitted in the form of “intermedia”. There may be a sequence between the two at the beginning, but as things develop, there should be no priority. The form and content are equally important and unified.
07
仿鴨與掩蓋 Duck and Cover
黃麗茵
Cam Wong
08
×
黃俊達
Ata Wong
假如災難來臨，而你只能躲藏家中，家中 食物能維持一家人生存多久？
「Duck and Cover」模仿鴨子般縮下身子
去掩蓋自己，是源於 50 年代冷戰時期，美 國政府教導民眾應對原子彈襲擊的民防社
會指導影片。以「Duck and Cover」方式
抵抗核武當然成疑。到 70 年代英國政府 製作了一段怪異但實用的影片教導民眾從
核災難中求生，建議躲藏時間最少 14 天。
恰巧在新型肺炎爆發期間，政府有隔離 14
天的抗疫措施。這個情景大家似乎已經不 再陌生，但可有想到香港家庭 14 天的糧食 儲備會有什麼？
吃，在災難發生時普遍成為首要關注。疫
症期間，香港人對吃的需求亦絕不停留在 生 存 層 次 上。 街 上 突 然 開 滿 了 進 口 食 品
店，賣的貨品叫人大開眼界。新開的高級
餐廳如雨後春筍，二三千元一餐仍一席難
求，付款預約後仍需等三個月以上才能入 席。相信這都是香港特有現象。
在這次演談中，黃麗茵與黃俊達在回應這 個主題時，會一起示範一道「鴨和蓋」的
菜式；亦會介紹求生食品，讓各觀眾面對 災難來臨時，也有不同層次的選擇。
Imagine you are struck by a disaster having nowhere to flee but stranded at home, how long do you think your pantry supplies can keep the family alive? Imitating a duck to hunch down and elude a pursuer, ‘Duck and Cover’ is a safety drill and civil defense social guidance film introduced by the US government during the cold war in the 1950s. Such approach to nuclear resistance was indeed questionable. By the 1970s, the British government revamped a bizarre yet practical video about surviving the scenario by a minimum of 14 days in hiding. Coincidentally, during the recent pandemic outbreak, local government introduced a 14day quarantine ordinance as an effort to contain the disease. By now the two-week confinement is no longer a provocative concept, but rather an outspread practice. While we are so accustomed to the new norm, have we thought about the stockpile content among Hong Kong families? In times of crisis, food is nonetheless the main concern. Hong Kong people’s need for food way exceeds survival consumption. Streets are overflown with imported groceries with mind-blowing price tags. High-end restaurants emerged. A meal for HK$2,000-3,000 is in demand, and a paid reservation means only to put you on waitlist for over three months. In response to this unique phenomenon, Cam Wong and Ata Wong will collaborate on a ‘duck and cover’ dish in their lecture-performance. They will also explore eating options during mishaps by introducing unconventional emergency food.
09
創作人語 Creator’s Note
黃俊達 Ata Wong 我的爸爸出入廚房超過五十年，他是個廣 東菜廚師，想當年，他從打雜開始，最後
差 不 多 所 有 崗 位 都 做 過， 最 擅 長 炆 燉 焗 蒸，炮製老火湯也很拿手，飲過後總會感
到暖意。我由細到大都被他所烹調的美食 薰 陶， 而 回 想 我 中 學 時 代 剛 遇 上 藝 術 之
時， 多 得 爸 爸 的 支 持， 我 才 可 每 天 放 學
後，花上不少車資由屯門的家乘車到中環 學戲，成就了現在的我。
我 總 覺 得， 廚 藝 和 表 演 藝 術 絕 對 有 着 微 妙 的 關 係。 適 逢 今 次 有 幸 遇 上 黃 麗 茵 小 姐——充滿創造力的藝術廚師，在創作與
研究的過程中，我們好像要把廚藝和演藝 兩個媒介，來一個 fusion，建構一道有故
事的菜式，讓各位食客品嚐。食物吃了，
我們感到溫飽；而藝術品呢，則豐富了我 們的心靈。
010
My dad has been a cook for 50 years, specializing in Cantonese cuisine. He started off as a busboy and trained at almost all positions in the kitchen. He’s best at steamed dishes and double boiled soup, the latter always warms up the body. I’ve been spoiled by his delicious dishes. I still remember when I began my artistic practice as a secondary school student, and how my father sponsored my commuting expenses so that I was able to travel from Tuen Mun to Central for drama class. If not because of my dad, I wouldn’t have gone this far. I always have the feeling that cooking skills are mysteriously related to performing arts. It’s a blessing collaborating with such a creative artistic chef as Ms Wong Lai Yan. In the creative and research process, we’re like making a fusion of cooking art and performing art, constructing a dish with stories for diners to taste. Food makes us contented physically, while artworks psychologically and spiritually.
黃麗茵 Cam Wong 作為視覺藝術家 / 廚師，別人都問我是否 一 個 藝 術 廚 師， 把 藝 術 展 現 在 我 的 菜 式
上，我經常給予一個否定的答案，讓問者
失望，不好意思。我認為西餐擺盤存在美 感是正常不過的事，但好吃更為重要。而 藝 術 除 了 美 感 以 外， 意 念 的 傳 達 更 為 重 要。所以兩者似乎只在美感表達上相通。
我有思考過把藝術意念放入菜式中這件
事，但作為一個商業廚房的廚師，我是那
種就算要為朱元璋做月餅，我也要把月餅 蓮蓉打得滑，包裹着油份飽滿的蛋黃，才 把紙條小心翼翼地藏在雙黃之間。我會關
注紙條的信息有否被油份化開，也會希望 收月餅的人有細心品嘗味道。我完全明白
這個希望是錯了重點，所以之前還沒有找 到合適的形式把兩者融合。
適逢收到這次 lecture–performance 的邀
請，同枱還有劇場導演黃俊達 crossover, 既可以清楚傳達意念，以藝術 x 劇場 x 演
講的形式挑戰大家對緊急糧食的概念，也 可以教大家如何做鴨（並不是月餅），我滿 心期待！
As a visual artist and chef, I often come across the question on my latter role – am I a chef who presents art on dishes? My answer is no, much to the disappointment of the inquirer. Conveying a sense of beauty from plating is nothing new. It is the taste that matters. Art, concurrently, weighs higher in the expression of idea than its physical appearance. In terms of aesthetic manifestation, the two looks alike, but both have a deeper core. I have thought about blending art into cooking. Venturing into a commercial kitchen chef, even if I were to make a mooncake for Zhu Yuanzhang (who hid notes in mooncakes during revolt against the Mongols and founded the Ming dynasty), I would whisk the lotus seed paste to the finest and meticulously wrap it on rich, oily egg yolks before carefully slipping in a paper strip. I would pay attention to whether or not the writings had melted away, and if the eater might thoroughly taste the cake. Does it not sound like something an artist-turned-chef would fantasise, yet I am still looking for an ideal bond between art and cookery. Being invited to deliver a lecture–performance with theatre director Ata Wong, I am thrilled to challenge our conventional thinking of emergency food in the triad of art-theatre-lecture. Simultaneously presenting ideas on the topic and ways of cooking duck (not mooncakes), I very much look forward to this long-awaited moment!
011
時．間．流 Flow to unfold
黃詩懿
Wong Sze-yi
012
×
潘詩韻
Janice Poon
塑 造 一 個 表 演， 不 論 是 親 身 落 水 的 韻 律 泳 運 動 員， 或 是 思 考 性 的 編 劇 / 劇 場 構 作， 都 同 樣 關 注 如 何 掌 握 時 間 的「 流
動」。如何在水中展現節奏與力量，有如 在 問 如 何 在 劇 情 中 展 現 張 力。 兩 個 不 同
的演出場域 - 泳池與劇場，兩個南轅北轍
的 專 業 - 韻 律 泳 與 劇 作， 在 考 慮 角 色 扮
演、 節 奏、 力 量、 形 式、 敍 事 及 結 構 等 領域卻遙相呼應。
她 擅 長 的， 她 都 缺 乏； 透 過 對 方， 她 們 看 見 自 己。 兩 位 創 作 人 黃 詩 懿、 潘 詩 韻
將 一 同 重 新 審 視 過 往 經 驗， 在 無 形 的 時
間及空間的流動中，找到彼此的聚合點；
When it comes to sculpting a performance, whether for rhythmic swimming or reflective theatre dramaturgy, the ‘flow’ of time is the essence. Showing rhythm and power in the water is comparable with projecting tension in a play. The pool crashes the theatre; rhythmic swimming collides with dramaturgy. The distinct spaces and varying professions seclude yet converge in terms of role-play, rhythm, power, form, narrative and structure. What she is good at, she lacks; through each other, they see themselves. The previously unconnected ‘shes’, Szeyi Wong and Janice Poon, will intertwin in the invisible flow of time and space by re-examining past experiences. Using images, words, dialogues and demonstrations, they will embark on an overlapped journey of personal discovery and refinement, together with the audience.
以 影 像、 文 字、 對 話 及 示 範， 與 觀 眾 一 同內聚外放，凝練自身。
鳴謝 Acknowledgment:
影像 Video | 岩井 remu Remu IWAI
013
創作人語 Creator’s Note
潘詩韻 Janice Poon 很喜歡「搭枱」這個概念。
搭枱是很地道的香港文化，時間和空 間都充滿香港味 －在有限中創造無
限。彼此互不相識的陌生人，在同一
枱上用餐。兒時上茶樓，侍應會在圓 枱上鋪上半邊新枱布，以示搭枱客人 之間的界線；茶餐廳會在卡位貼上「四 人座位，兩位請坐一邊」的提示；繁
忙時間，一張四方枱，搭上四個陌生 人，每人一客碟頭飯，食完就走，另 一位陌生人搭上，再來一客碟頭飯，
客如輪轉，不言而喻的默契，香港的 流動風景。
這次當「演」和「談」搭上對方，讓我 喜歡的兩個活動－表演和傳播知識同
枱相遇，創造了一個迎向未知的無限 可能。平日授課或聽課，最怕自說自
話，總喜歡互動交流，刺激思考。演
談（Lecture–performance）這 個 表 演 形式容讓知識跟表演同台發生，對我
來說，是一次在常規以外探索跨領域 劇場構作的香港味。
014
一起搭枱的是一位年輕的韻律泳運動
員，我們可以是同枱食飯各自修行，
也可以是一搭如故一搭即合，而我們
選擇了在這張演談桌上，展開一場跨 界、跨代、跨越自我的對話。
大約一年前，我開始做運動。運動從
來不是我生活的一部分。少時體弱多 病，最怕上體育課，總想借故逃課，
卻一直拿不出勇氣。年前體弱的訊號 又再響起，加上跟好友的約定，決定
展開每週體能訓練，也重新認識了這 個陌生的身體。
她說，在運動上只要堅持鍛煉，必定 有回報。
我想是的。在運動那段日子，身體頓
時 活 躍 起 來， 所 有 五 感 神 經 都 被 喚 醒，愈做愈起勁，深信一天我會好起 來，老師更常給我頒最佳進步獎。
可是兩個月前，手指頭受傷了，被迫 停下來，運動的節奏被打斷。為安撫 心神，我開始泡茶，中國茶，普洱、
白茶、紅茶、青茶都一一細嚐。然後 一天，我讀到以下一段文字：
雲消失之後，會化為雨、雪，或 成為我們杯中的茶。只要條件具
足，它仍會凝結，再次以雲的形 態呈現。帶着正念喝茶，雲就在 茶裏。
—— 一行禪師
我想，從事創作也一樣，輕重緩急，
所有心思、意念、行為，都在時間和 空 間 的 維 度 之 間 流 動 不 息， 適 時 展 現，適時隱沒，構作屬於當下的作品。 我們每天都身處於極具戲劇性的表演
之中，此刻，我只希望，在這次演談 中，好好講一個充滿香港味的故事。
I so much love the concept of “sharing table”. Sharing table is a very local Hong Kong culture, so “Hong Kong” temporally and spatially – creating infinity within finiteness, strangers seated at the same table having meal together. When I was a kid, at the Chinese restaurant, the waiter would lay a new cloth over half of the table to draw the border between the diners sharing the table. In Hong Kong-style cafes, there are notices at the booth seats saying “For 4 persons. Customers of two, please be seated on the same side.” In peak hours, at a square table is seated four strangers with four dishes. As one of them finishes and leaves, another stranger sits down. One after another, in unspoken mutual agreement. A flowing scene of Hong Kong. Sharing table this time is “performance” and “lecture”, my two most favourite activities – performance making and knowledge transfer, creating infinite possibilities in facing the future. I hate feeling like doing self-talk when teaching or attending a lesson. I love interaction and exchanging ideas for stimulating thinking. Lecture– performance allows knowledge transfer to co-occur with performing on stage. To me, this is an unconventional interdisciplinary dramaturgy in a Hong Kong style.
Sharing the table with me is an artistic swimmer. We might as well share the same table but do our own spiritual practice separately. Or we might connect as we share and as if we have known each other for long. But we chose this table of lecture– performance for a cross-disciplinary, cross-generation, and cross-self identity dialogue. About a year ago, I began to do exercise, which had ever been part of my life. When I was young I got sick easily. And I hated physical education lessons and kept looking for excuse to skip such lessons but never had the courage. Last year when my bodily alarm set off again, plus a promise made with close friends, I decided to start weekly physical training. During the training, I had a renewed understanding of this strange body. She said perseverance in physical exercise yields benefits. I guess she’s right. In that period of exercise, my body warms up instantly, and my five senses were fully awake. The more exercise I did, the more energetic I became, believing that I’d become healthier. My mentor often gave me best progress awards.
For my peace of mind, I began to brew tea. Chinese tea – Pu Er, white tea, black tea, and Oolong, I taste them one after another. Then one day I came across this by Zen Master Thich Nhat Hanh: After the clouds disperse, the rain and snow comes, becoming the tea in our cups. As long as conditions allow, it will solidify and reappear in the form of clouds. Drink the tea with mindfulness, and the clouds will be in the tea. I suppose the same goes for the creative process. The creator should be mindful of the tempo, weight, priority and urgency. Thinking, perceiving and acting keep on going between the temporal and spatial dimensions, showing up and disappearing in the right time. This is manifested in creating original work here and now. We are situated in extremely dramatic performances every day. At this moment, in this lecture–performance, I just hope to properly tell a very Hong Kong story.
But two months ago, my thumb got injured, and I was forced to stop doing exercise. I’ve lost my exercise tempo.
015
創作人語 Creator’s Note
黃詩懿 Wong Sze-yi 一次茶聚，
兩個陌生人，
三小時的傾談，
四目交投互相了解。 節拍，是我在運動練習常用的工具， 節拍，是她寫作打字常有的想像。 她用文字，我用身體；
在各自愛好的範疇裡沉溺着…… 十年的歷程，數月的傾談， 就像一次又一次重新經歷，
為我這些年的堅持有一個新的詮釋。 對話中我看見大家的流動， 有時在渾濁的水；
有時在澎湃的大海； 有時在恬靜的湖。 謝謝……
我看得見自己的形態， 接納這些轉化和前行。
016
A tea gathering. Two strangers. Three hours of dialogue. Four eyes interact. Rhythm, a tool I use in sports. Rhythm, a sign she uses in writing and typing. She for words, I for body. Indulgence in our passions. Ten years of experience; a few months of conversation. Rewind and revive. A new interpretation of my persistence all these years. I see the flow of us as we converse. Sometimes in the murky water. Sometimes the surging sea. And sometimes the tranquil lake. Thank you...... I see my own form. Embrace transformations, and move forward.
017
明鏡止水 Clear Mirror, Still Water 花道．劇場．修行 Ikebana, theatre and spiritual practices
梁偉怡
Verdy Leung
018
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林沛濂
Lam Pui-lim Anson
花 道 家 在 花 器 中 修 整 枝 葉， 演 員 在 劇 場 中 進 行 探 索。 花 道 與 劇 場， 雖 然 是 不 同
的 藝 術 形 式， 但 是 演 員 與 花 道 家 透 過 游 走 於 舞 台 與 人 生、 穿 梭 於 花 器 與 大 自 然， 從 而 觀 察 人 間 之 情、 思 考 世 間 之
理， 並 藉 著 刻 苦 訓 練 自 身 技 藝， 來 修 練
心性。花道與劇場的原點，與「修行」有 莫大的關係。
日本古時的能劇論著《風姿花伝》以「花」 論 能 劇。 劇 場 與 花， 在 日 本 早 有 宿 世 因
緣。 當 透 過 花 道 反 映 自 身 的 劇 場 演 員，
遇 上 以 花 器 作 為 舞 台 的 花 道 家 時， 會 如
何將兩種截然不同的藝術形式合二為一 呢？
本 演 談 將 帶 領 觀 眾 穿 越 兩 個 藝 術 家： 林 沛 濂 與 梁 偉 怡 的 生 命 與 工 作， 分 享 他 們 透過各自的藝術形式修行的體悟。
Ikebana artists prune branches and leaves in a container. Performers explore the theatre. Despite differences in art forms, theatre performers and ikebana artists share similar practices and characteristics. Both observe human feelings and contemplate the world by roaming between the stage and life, vases and nature; they foster spirituality through rigorous training of distinctive skills. The origins of ikebana and theatre are very much related to spiritual practices. Fūshikaden (The Flowering Spirit), the ancient Noh theatre treatise, discussed the traditional Japanese performing art by referring to the image of flower. Theatre and flowers have long been related in Japan. When a theatre performer who reflects himself through ikebana meets an ikebana artist who uses a container as the stage, how will they fuse the two aesthetic forms into one? The lecture–performance will invite audience to the lives and work of two artists: Anson Lam and Verdy Leung, who will share insights on the topic through respective artistic practices.
演出助理ﾠIkebana demonstration assistant： 吳婉薇 Mei Ng 花道助理ﾠIkebana assistant：
李詠寶 Elsa Li
鳴謝 Special thanks：
華道家元池坊 Ikenobo Society of Floral Art
展品製作助理ﾠExhibit production assistants： 關詠雯 Kinny Kwan | 梁頴儀 Sally Leung | 李詠寶 Elsa Li | 吳婉薇 Mei Ng 京都花市商店 Hanaichi Shouten, Kyoto
019
創作人語 Creator’s Note
林沛濂 Lam Pui-lim Anson 搭枱與我
搭枱和藝術
本來在搭枱這個行為上，我不會跟不
家人去飲茶的時候，一張圓形飯桌上
經相識了十三年有多，緣自一個劇場
但今次的搭枱卻要打破很多固有的想
回憶第一次搭枱應該是還很年幼時跟 被伙計用兩張枱布或三張枱布分成兩
至三組互不相識的客人的區域，各自 有一壺茶，各自飲茶，各自叫點心，
各自的區域也放得滿滿的碗筷及食 物，好不熱鬧。
人大了，自己去吃飯，也少不免要被 搭枱，或搭枱。基本上如非必要，我 也不太想搭枱。
對我來說，搭枱的好處是可以快點有 得吃，因為不太喜歡等位。壞處當然 是關於私人空間的問題。
我本身是個很重視私人空間的人，包
括精神上及環境上的空間。吃飯時不
喜歡搭枱，坐吊車或摩天輪時不喜歡 要「搭車」。
但搭枱有個好處，就是有機會碰上不 相識的人。你有可能跟他在搭枱或搭 車時認識，又或只是僅僅同枱或同車 而已，最後從沒認真看過對方的臉。
020
跟是次策展人之一的 Orlean 原來已 製作。
她說有個嘗試，建議我跟一位花道家 共同創作。
聽來很有意思，我也很想做些沒做過 的事。
後來計劃的中文名稱被定為《搭枱》。
在日本生活多年也沒機會接觸過任何 有關花道的活動。
想一想，花道跟自己有些共通之處 -
花道在日本發揚光大，我以前在日本 留學及生活，從中吸收了很多養分， 影響著我的生命。
這些年跟不同人有不同形式的合作機
會， 這 次 除 了 是 自 己 久 違 了 的 演 出 外，也感受到尤其在這個年代的每次 演出也份外珍貴。特別是在自己成長
的地方，希望可以把過去經歷過的事 物跟不同人分享。
認識的人說話。 法。
這個其實也是一直想做的事。 感謝每一位。
A note on table sharing
The table and the art
I still remember the first time I shared a dining table with strangers. I was a kid in one of those family ‘yum cha’ mornings. Hastily placed two to three tablecloths, the round top was divided into sections, for parties completely unknown to each other. Every division is given a pot of tea, drinking; placing dim sum orders, in a barricaded territory so full of food and utensils. What a jolly scene.
Tracing back to a theatre production, I and curator Orlean have known each other for more than 13 years.
As a grown-up, I inevitably share tables with others when I eat out alone. I basically don’t want to do so unless it is absolutely necessary. The good thing of table sharing is that I can skip the line and start my meal sooner. The downside, of course, is the privacy issue. I am the kind of person who demands personal space, mentally and physically. Be it dining, riding a cable car or the Ferris wheel, I rather not sit side by side with an unfamiliar single or group. But there is an advantage of table sharing. You are given the good chance of meeting someone you don’t know. You may make a new friend from a random table or casual car ride. Or you may not even see his or her face during the entire encounter.
She suggested that I work with an ikebana artist.
I don’t normally talk in the act of table sharing. But this time I am going to break my many stereotypes. It’s something I’ve always wanted to do. Thank you to everyone.
Such a fun idea. I do enjoy trying new things. The Chinese name of the project was later decided as ‘daap toi’ (table sharing). I have never had the opportunity to do anything related to flower arrangement even after living in Japan for many years. When I think further, there is indeed something common between ikebana and myself. Ikebana flourished in Japan while my life was nourished and shaped there. Over the years, I have had the opportunity to collaborate with different people, in different ways. Not only is this performance a long comeback for me, but also a very precious occasion, so does every single chance to deliver a work, especially in such era. In this special place where I grew up, sharing stories of my own is a true pleasure.
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創作人語 Creator’s Note
梁偉怡 Verdy Leung 川端康成在諾貝爾文學獎得獎演講
自我，以求看到事物的本相。因此川
「以小水尺樹，表現江山數程之壯麗景
插花是修行，演戲也是修行。兩者都
中， 引 用 了《 專 應 口 傳 》中 的 一 句： 觀、於暫時頃刻之間展現千變萬化之 佳興，恰如仙家之妙術也。」《專應口
傳》是池坊專應流傳下來的傳書，亦即
插花秘笈。池坊專應是花道的根源「池
坊」戰國時代的家元（即是我們所說的 掌門人）。《專應口傳》記載了池坊花
道的根本精神，亦標誌著插花由單純 的美學行為走向了精神層面的修行，
昇 華 成「 花 道 」。 川 端 康 成 引 用 的 那 句話的意思，大致是說花道作品以點 滴之水，咫尺之樹，展現出大自然的
壯麗景觀，在有限的時間空間中展現 出自然的無窮變化。花道家長年觀察 自然，除了發掘出草木之美外，還藉
此感悟生命之無常，世間萬物變與不
變的道理，將自身所悟展現於花瓶之 中。花道家不止看到花草表面的美，
還要放下自我與花草對話，了解花草 的本質，將花草生命本質的美，以少
量的材料展現出來。花道家學習捨棄
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端康成說：「古人皆由插花而悟道。」
透過反複鍛鍊技藝來磨練心性，透過 作品來觀照自身。花道家觀察自然，
了解草木性情，以花器作舞台，以花
作 為 演 員 導 演 一 齣 戲； 演 員 察 看 世 情，探討人性，自身投入舞台演一齣 戲。日本最古老的能劇理論著作《風 姿 花 伝 》亦 以 花 來 比 喻 演 員， 以「 開
花」來形容演員感動到觀眾的時刻。演
出能感動觀眾，才能在人心中開花。
花道作品將草木展現人前，但與其在 作品中只用盛放的花朵，不如插上花
蕾，讓觀眾看後想像到明天花開的景 象。花終會枯萎，花道作品只能存在 於頃刻之間，唯有讓作品感動觀眾，
留下深刻印象，在人心中開花，方能 成為永恆。
在當今世代，作為修行者，能為人帶
來怎樣的感動呢？修行是探索和了解 自己和外界的過程，了解到世間的變
化，在變幻莫測的世界中穩住自己的 心；認識到萬事萬物間不變的運行法 則，在絕境中看到出路。難怪在日本
長年戰亂期間，花道和能劇等藝術仍 能蓬勃發展，因為這些藝術能為人在 紛亂的社會中帶來內心的平靜，在黑
暗的環境中燃亮人心中的光。我們這 刻同樣活在天災人禍不斷的時代，我
相信花道和戲劇仍能發揮這樣的功
能。我期望透過展現生命的美來讓大 家心中的希望之花綻放。
In his speech at the Nobel Prize for Literature awarding ceremony, Yasunari Kawabata quoted from Senno Kuden, “Represent the splendid landscape of nature by using little water and small twigs, and show the variations of nature in a short period of time. It can be called magic.” Senno Kuden is a secret teaching on flower arrangement, while Senno Ikenobo was the Iemoto (the headmaster) of Ikenobo, which is the origin of ikebana, back in the Sengoku period in Japan. Senno Kuden has recorded the basic principles of Ikenobo ikebana and marked the transformation of flower arrangement in Japan from an art practice into a spiritual practice, that is, “the way of flower”. The quotation means that ikebana can represent the magnificent nature with drops of water and miniature plants, and to showcase the infinite changes in mother nature with limited time and space. Through spending years observing the nature, ikebana masters not only discover the beauty in plants, but also understand uncertainties in life, the law of changes and unchange in everything, and be able to display such inspirations in a vase. The masters not only see the outer beauty of flowers and grass, but also have to lose themselves into
dialogues with plants, understand their nature, and represent their inner beauty with minimal materials. They learn to give up the self in order to see things from within. That is why Kawabata said, “People in the past got enlightened through arranging flowers.” Ikebana is a spiritual practice. So is acting. Both sharpen the mind through continuous skill training and allow selfreflection through the works. Ikebana masters observe the nature, understand the temperament of different plants, and use the plants as actors and the vase as a stage to direct a drama. Similarly, actors observe lives of people, study human nature, and throw themselves into their roles to act on stage. Such comparison is also seen in The Flowering Spirit: Classic Teachings on the Art of Noh, the oldest book on Noh, which describes successful actors as flowers and compares “blossoming” to the moment when an actor’s performance moves the audience. The flower of Noh blossoms in the audience’s heart when an actor’s performance moves the audience.
blossoms on the next day. Flowers are short-lived, as are Ikebana works. For the works to last forever, they have to be able to move the observers, leave a deep impression in their mind, and blossom in their heart. How can a spiritual practitioner move others in our time? Spiritual practice is a process of self exploration and understanding, and of understanding changes in life, to find peace of mind in an ever-changing world. It also facilitates the understanding of the eternal law of how all things work and seeing a way out in adversity. No wonder why during the warring periods in Japan, arts like ikebana and Noh still flourished. They brought people peace of mind among social chaos and lighted up hopes in the darkness. At this very moment when we are similarly faced with natural and man-made disasters, I believe ikebana and drama can still work in this old way. Through showcasing the beauty of life in my works, I hope the flowers of hope blossom in people’s hearts.
In ikebana works, we like to use a flower bud rather than a flourishing flower, to let observers imagine it
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情緒處理中 Emotions, Processing
黃裕邦
Nicholas Wong
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×
趙朗天
Alain Chiu
情 緒， 我 們 既 熟 悉， 又 陌 生。 趙 朗 天 與 黃 裕 邦， 前 者 以 聲 音， 後 者 以 詩 歌 作 媒 介； 但 不 約 而 同 地， 情 緒 作 為 題 旨 不 斷
影 響 其 美 學 與 生 活。 兩 位 藝 術 家 經 過 個 多 月 的 搜 集 及 整 理， 轉 化 日 常 所 見 之 物 品， 成 為 其 情 緒 的 載 體。 每 種 情 緒 都 以
隱 喻 或 擬 人 方 式 呈 現， 嘗 試 擴 闊 大 眾 對 各 種 情 緒 的 理 解 及 想 像。 兩 位 在 演 談 期 間， 將 在 觀 眾 面 前 逐 一 解 封 物 件， 解 釋
如 何 用 音 樂 及 詩 歌 去 記 錄， 赤 裸 地 示 範
Emotions, familiar or estranged, haunt. Sound artist Alain Chiu and poet Nicholas Wong attempt to use their medium to confront their lived emotions that constantly influence their aesthetics and ways of living. After more than a month of collecting and sorting artifacts, Chiu and Wong reveal the emotional landscape of what they have collected. Each emotion is rendered either musically or poetically. In their lecture–performance session, the artists will unravel their intricate and ambiguous relationship between their chosen objects and the emotions behind them.
怎樣「處理」情緒。
展覽作品 Exhibition Work
情緒處理 Process of Emotion
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創作人語 Creator’s Note
趙朗天 Alain Chiu
「我把創作活動當成是『靈魂垂釣』 （ soul-
fishing ），而『捕獲』 （ catch ）的那一刻是 對人類的孤獨最好的解藥。」
維托爾德 · 盧托斯拉夫斯基
“I regard creative activity as a kind of soulfishing, and the ‘catch’ is the best medicine for loneliness, that most human of sufferings.” Witold Lutosławski
（Witold Lutos awski）
誘餌被裝袋，真空封存，每一片都是「情 緒」彙集。集匯成輯，我數月來收集「難 以名狀」的碎片，慢慢有了形廓，所有本 來 的 動 靜 與 嬗 變， 定 格 於 空 間， 凝 住 於 時間。
我以錄音記錄着我聽過的聲音或歌。引皮
埃爾 · 亨利（Pierre Henry）的話，他將輯 整聲音比擬「塑化」（plastify）音樂，有如
捏形之於雕塑。就當我取了他字面的義， 我 所 收 集 的 聲 音 和 歌， 就 是 一 個 個 被 塑 化、固形於密封袋子裡的迷你雕塑。
收集到的聲音無序無列，聲音在千迴百轉 的重新處理中，轉化成新的這些和某些， 而你可以在耳機裡收聽。
我不諳文字表達，只能隨聽隨儲。
你的所見和所聽，是我集腋的種種情緒。
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The baits are in the bags, vacuum sealed, each containing a slice of complexed “emotions.” Together they form a glimpse of a wider picture, a transformative, dynamic fabric of ‘inexplicables” that I have collected over months and fixated in space and time. Sometimes I record sound or songs that I have listened to. Pierre Henry said, manipulating sound is like “‘plastifying’ music, of rendering it plastic like sculpture.” Perhaps I am taking this too literally, the sounds and songs I collected are now shaped and transfixed in sealed bags, like mini sculptures. The collected sounds are now shuffled, they twist and turn then reconstruct itself, morphing into this or that or something else. You may listen to them through the headphones. I am not good with words, but better at collecting. These are the emotions I have collected.
黃裕邦 Nicholas Wong
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No Discipline Limited
「冇規矩、不設限、跨領域」是創作的
重要心態：敢於探索、拉闊表達與呈 現的方式、可能。
No Discipline Limited (NDL) 由獨立 策劃人黎蘊賢於 2019 年成立，目的是
要打開跨領域創作及合作的想像。嘗 試邀請不同文化藝術工作者參與，聯 合策劃不同項目，以更寬闊視點、模
式及討論，去探索對當代藝術 / 演出的
理解與實驗。2020 年，邀請了黃大徽
( 編舞、導演、表演者 )、賴閃芳 ( 戲劇
構作及劇場工作者 ) 一同策劃了「演代 演義」– 對話系列；現正與方韻芝 ( 視
覺及社區藝術策展人 ) 聯合策劃「見山 不是山」- 為期一年的社區藝術計劃。 又正在籌備國際藝術家留駐交流計劃
「Something Foreign」， 但 礙 於 疫 情 而暫緩推展。
剛 於 2021 年 初 完 成 與 趙 朗 天 合 作 的
導聽演出《耳蝸裡有隻象 Truth within
Earshot?》及馬琼珠與吳子昆聯合創
作的景象｜意狀演出《躺在桌上的物 件》。
“No Discipline” is a creative initiative with a playful heart and free spirit. Defying conventional boundaries, it is a catalyst promoting new methods of expression and presentation. No Discipline Limited (NDL) was founded by independent curator – Orlean Lai, in 2019. NDL serves to unleash imagination and creativity through broader cross-disciplinary collaboration. One of its initiatives is to assemble a creative laboratory where intermedia experiment and crosscultural collaboration can generate synergy. As a modern convener of encounters among cultural/ arts practitioners, NDL continuously push the limits of curatorial visionary, with a primary focus on contemporary arts/ performance. Its past and current projects include dialogue series Performance Matters, cocurated by Orlean Lai, Dick Wong (choreographer/ director/ performer) and Lai Sim-fong (dramaturge/ theatre practitioner) in 2020; commissioned community art project series
Mountain No Mountain (2021-2022), collaborated with Vangi Fong (visual and community art curator). NDL is also planning an international artistsin-residence programme Something Foreign, which was temporarily obstructed due to the pandemic situation. NDL has recently curated and produced an auditory performance – Truth within Earshot? with composer/ sound artist Alain Chiu, and a land|scape performance - Objects Lie on A Table with visual artists Ivy Ma and Ng Tsz-kwan in 2021.
www.nodisciplinelimited.hk FB / IG: nodisciplinelimited
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策劃團隊 Curatorial Team
黎蘊賢 Orlean Lai 黎 蘊 賢 成 立 orleanlaiproject（www.
2019 年成立另一機構 No Discipline
作」的跨域合作，探索不同展現方式的
計劃及文化交流。
orleanlaiproject.net），強調「混雜協 混種可能，模糊藝術類型框框、媒界 的分野。
曾獲邀於「油街實現」策劃了「像是動
物園」（2014）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。又策劃了新版《像是動物園 2》 於 新 視 野 藝 術 節 2018 上 演， 在 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、洪忠傑等，從第一回的藏品展 示，到第二回把焦點放在「人」的展示 上，尋找現代處境底下的「奇人」。
此外，曾製作《肖像曲》（2018），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。又策動了多頻道演出《親密
Claustrophobia》 （2017）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 及 2019 年，獲香港藝術發展局
委約，為賽馬會藝壇新勢力策劃了兩 個跨媒介演出系列，分別為《風平草 動》——於中環大館的監獄操場內進
行的場域回應式演出系列，及《游山
行》系列——於中上環一帶的古蹟歷驗 演出之旅。
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Limited，希望發展更多跨領域的合作
Orlean 為 2016 年為亞洲文化協會年 度獎助金得主。
Orlean Lai founded her production unit – orleanlaiproject (www. orleanlaiproject.net), focuses on curating hybrid collaborations across performing art and visual art, in exploring new possibility of presentation formats and fuse the boundary of art forms and mediums. Orlean has curated Zoo as Metaphor (2014 at Oi!), which has attempted to adopt exhibition space for an experiential journey of narrative and performance; while the new edition of Zoo as Metaphor 2 (2018 at New Vision Arts Festival) has evolved from a crossed form of exhibition and performance into an experiential journey of social experiment. Other collaborative projects include: Songs of Portrait (2018) with Nerve and Cheuk Cheung expanded the medium of documentary beyond the screen to live performance on stage, illustrating the lives and practices of performers from the traditions of Kunqu, Noh and Italian opera. In 2017, orleanlaiproject also featured the 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 2018 & 2019, orleanlaiproject was commissioned by the Hong Kong Arts Development Council to curate the Finale programme series for the OCKEY CLUB New Arts Power. The projects were: Swim Walking (2018) – a series of art journeys held in the Central / Sheung Wan district; and Wild is the Grass (2019) – a series of site-responsive performances held at the heritage site of Tai Kwun. In 2019, she founded another organisation – No Discipline Limited, aims to foster more cross disciplinary experiment and cross-cultural collaboration. Orlean was Asia Cultural Council Fellowship recipient of 2016.
黃大徽 Dick Wong
�閃� Lai Sim-fong, Zoe
於 出 � 界 變 � 的 � � � � � 生， �
��於�國�賽�大學�台實踐��
《B.O.B.*》(2006)、《1+1》(2009) �
Zarrilli 學習。亦取得香港中文大學現
� 且 演 亦 � 亦 �。 自 06 年 開 �， �
《Tri_K》(2010) �演�亞�個城市。�
作包括《春之�》(2016)、《六種�動》
(2019)、《 我 見 》(2019) �《 我 和 你 》 (2021)。2018 年⾹港��發展局��
家年�（�蹈）得主。除�台作品�，
碩士，跟�當代��訓練大使 Phillip 代語言及文化研究學士學位。賴氏為 獨立戲劇顧問 , 涉足戲劇及當代舞蹈。 作品包括天台製作《不是女僕》及《山
下 的 證 詞 》；Rimini Protokoll 於 大
�《��城市》。�合�場 x Artistree
亦�力於工作坊��作研�計劃，曾
《Stay/Away》。 � 氏 為 大 � 古 蹟 � �
�二十面�、⾹港�蹈�盟�不加鎖
味》 �得於 2020 日本�設計大�。
合作的團�包括城市當代�蹈團、� �踊���。
A graduate of Journalism, Dick Wong left the publishing industry to pursue a career in contemporary dance and theatre. Since 2006, he toured extensively in Europe and Asia with B.O.B.* (2006), 1+1 (2009) and Tri_ K (2010). Recent works include The Rite of Spring (2016), We Are Now Six (2019), I See (2019) and U & I (2021).
Named Artist of the Year (Dance) in the Hong Kong Arts Development Awards 2018, Wong is also an avid practitioner in devising creative research projects and has collaborated with City Contemporary Dance Company, Hong Kong Dance Alliance, Unlock Dancing Plaza and Zuni Icosahedron etc.
� � � 展 的 � 眾 � � 計 劃 -《 表 演 �
Zoe graduated with the Master of Fine Arts in Theatre Practice at University of Exeter (UK), learning from master Phillip Zarrilli in psycho-physical approach. She also got BA in Cultural studies at the Chinese University of Hong Kong. Ms. Lai works as an independent dramaturg in theatre and contemporary dance. Recent works include Remote Hong Kong by Rimini Protokoll, Testimony by Rooftop Productions and Stay/Away by Hook Dance Theatre x Artistree. Her public education project for Tai Kwun: Edible Performance won the Good Design Award Japan 2020.
031
跨領域創作人 Cross-disciplinary Creators
黃麗茵 Cam Wong 黃麗茵畢業於香港中文大學藝術系。
她曾獲日本「都々会展」的京都市長 獎（2010）。 黃 氏 的 作 品 曾 在 香 港、 澳門、日本、台灣及澳洲展出。她曾
獲澳門文化局贊助，於澳洲雪梨中華
文化中心舉辦個人展覽《不完整的瞬 間》（2012）。2013 年，黃氏在安全 口畫廊舉辦的她於香港的首個個人展
覽《斷章》。她的作品被台北關渡美術 館及澳門文化局永久收藏。於 2006-
2007 年 間， 黃 氏 為 香 港 版 畫 工 作 室
的 駐 留 藝 術 家， 同 年 於 安 全 口 畫 廊
舉 辦 個 人 展 覽《#Risseldy, rosseldy,
mow, mow, mow》。
����是一位專�廚師。�於 2015
年到��學院西���校�讀廚�， 完成課���於⾹港知�西����
Catalunya ， � � 到 � � � � A side/
B side， � � 谷 � � � � � Bo.Lan 工 作。 於 2016 年， � 氏 被 � 為 音
� � �《Feeding Frenzy》的 廚 師，
《 Feeding Frenzy》是由現居�約的作
曲家 Fast Forward �作，�音掏�包 �現在音���構合辦。�來�受�
為 PMQ Taste Kitchen � � 孵 � 器 首 位合作廚師，自訂題目為本�魚��
��對。�年，�氏�更�的�會�
作 � 的 � 單， � 在 � � Test Kitchen
HK � MOTD 為 客 人 推 出 � 的 � 單。 於西式烹�技巧的基礎上，���繼
續�索本�作物，亞�⾹料�⻝材， �找各�⻝文�融合的可�性。
032
Cam Wong graduated from The Chinese University of Hong Kong in Fine Arts and is the recipient of the Kyoto Mayor Award, Tsuzurakai Exhibition, Japan (2010). Her works have been exhibited in Hong Kong, Macao, Japan, Taiwan with a solo exhibition Incomplete Moments at the Chinese Cultural Centre, Sydney (2012) with the sponsorship from the Instituto Cultural do Governo da R. A.E.de Macau. In 2013, Cam had her first Hong Kong solo exhibition at Gallery Exit, an isolated Chapter. Her works have become permanent collections of Kandu Museum of Fine arts Taipei and Instituto Cultural do Governo da R.A.E.de Macau. Cam was in the artist-in-residency program 2016-17 at Hong Kong Open Printshop, the same year she has her solo exhibition #Risseldy, rosseldy, mow, mow, mow at Gallery Exit. While being a professional fine arts artist, Cam found her passion in culinary arts. She started her food journey studying Spanish culinary at Le Cordon Bleu Madrid. After she came back to Hong Kong, she worked in restaurant Catalunya, A side/ B side, a farm to table restaurant in Hong Kong, and Bo.Lan a Michelin Star Thai restaurant in Bangkok. In 2016, Cam was one of the four chosen chefs in an art event, Feeding Frenzy. Feeding Frenzy is a culinary concert originally conceived by New York-based composer Fast Forward, curated by Soundpocket and CMHK. With all
these experiences under her belt, Cam kick-started the Chef-Incubator program at PMQ Taste Kitchen as their first chef doing market fish and drinks pairing. Recent years Cam started to create her own menu, which she collaborated with Test Kitchen HK and MOTD. Cam continues to explore the local farm produces, Asian spices and ingredients that feed into her western culinary journey.
黃俊達 Ata Wong 導演、編舞、演員、電影形體演技指 導及戲劇講師。 2008 年負笈法國巴黎 賈克樂寇國際戲劇學校完成該校兩年
專業訓練課程、動作研究室（LEM）以 及第三年教學課程，並獲教師資格，
成為少數完成該校兩年課程、動作研 究所課程及老師資格的華人，隨後跟 隨意大利面具製作大師斯特凡諾．佩 羅科於阿爾巴特羅斯劇場工作室研習
皮革製面具製作與運用。 2017 年香
港 藝 術 發 展 獎 － 藝 術 新 秀 獎（ 戲 劇 ） 得 主。2019 年 獲 香 港 民 政 事 務 局 頒 發 2019 年 度 推 動 文 化 藝 術 發 展 傑 出
人 士 嘉 許 獎。2021 年 獲 亞 洲 文 化 協 會 -Altius 獎助金，作為期六個月的個
人獎助計畫。前往日本研究傳統與當 代的藝術形式，探索港日文化交流的
可能性。現為香港演藝學院戲劇學院 駐院藝術家。
黃 氏 於 2010 年 創 立 綠 葉 劇 團， 兼 任
藝術總監及創作導演。以揉合東西方 的身體訓練為基礎，創作多元化的巡
演作品。2018 年憑《爸爸》提名香港 舞 台 劇 獎 最 佳 導 演（ 喜 劇 ／ 鬧 劇 ）。
2020 年 憑《 孤 兒 》獲 第 12 屆 香 港 小
劇場獎最佳導演、最佳整體演出及香 港藝評人獎年度導演獎。其他巡演作
品 包 括：《 鄭 和 》、《 狂 人 》、《 十 四 》 和《 小 飛 俠 》等。 巡 演 至 今 已 進 行 超
過 70 站、170 場巡演，足跡遍佈兩岸 三地、法國、意大利、克羅地亞、日 本、韓國、美國等不同城市。
Ata Wong is a director, choreographer, actor, physical acting coach and theatre instructor. He was the recipient of the Hong Kong Arts Development Council Award for Young Artist (Drama) in 2017. In 2019, he was presented with a commendation certificate by the Home Affairs Bureau in recognition of his contributions to the promotion of culture and arts. In 2012, he was the recipient of Asian Cultural Council-Altius Fellowship. He graduated from the School of Dance in Hong Kong Academy for Performing Arts. Later he was the first Chinese national to study at the École Internationale de Théâtre Jacques Lecoq in Paris, France in 2008, where he also completed the third-year teacher education programme in 2018. During his time in Europe, Wong was involved in performances by various theatre groups and directors, including a theatre documentary named Sur un fil/ The Tightrope (Brook Production) co-directed by the world-famous Peter Brook and Simon Brook, PAN (Compagnie Irina Brook) and Princess Amazonia (Phoebus Productions). Wong formed Théâtre de la Feuille in 2010 and has served as director and artistic director. In 2018, Papa won Best Director (Comedy/Farce) at the Hong Kong Drama Awards. L’Orphelin was awarded Best Director and Best Overall Performance of the Hong Kong Theatre Libre, and the Annual Director of Hong Kong Art Critics Award. His directorial works include Sonnets,
Zheng He and Madman. Wong often conducts movement training, workshops and courses for various institutions and organisations. Previous partners include the Hong Kong Academy of Performing Arts, the Hong Kong Arts Festival, City Contemporary Dance Company, Chung Ying Theatre Company, Actors’ Family, Shanghai Theatre Academy, Peking University, Tsinghua University, Tianjin Conservatory of Music, Guangzhou Opera House, International Theatre Festival (Croatia), Festival d’Avignon (France), Edinburgh Festival Fringe (UK) and Wu Zhen Theatre Festival, among others.
033
跨領域創作人 Cross-disciplinary Creators
��� Wong Sze-yi 簡稱 C2。
熱愛表演、享受在舞台的感覺，同時 喜愛聆聽別人故事，進入內心世界。
現職社工，兼任香港青少年韻律泳推 廣計劃教練。
年幼時開始練習中國舞，曾學體操數 年，喜愛有美感及表演力的運動，從 小渴望接觸韻律泳，但因不懂游泳， 一直未能報讀。直至高考公開試後，
整個暑假苦練游泳，以十八歲之齡水
試成功，參加香港業餘游泳總會韻律 泳推廣班，從此一試愛上。
轉眼練習十年，成為全港唯一一位不 在韻律泳港隊訓練的泳員，單純熱愛 這項運動、挑戰和突破自我。同時， 近年開始參與香港韻律泳裁判及教練
工作，協助推動香港韻律泳運動發展。
Also known as ‘C2’. An avid performer who enjoys being on stage, she is at the same time a keen listener who travels deep into people’s untold stories. C2 currently works as a social worker and coach of the Hong Kong Youth Artistic Swimming Promotion Scheme. C2 practised Chinese dance as a child and studied gymnastics for a few years. She was intrigued by sports with a sense of beauty and those resemble the form of performance. She desired to attend artistic swimming classes since childhood but her lack of swimming skills forbade the enrollment. She spent the summer practising swimming after completing the Hong Kong Advanced Level Examination and passed the swimming test at the age of 18. She eventually participated in the Youth Artistic Swimming Promotion Scheme organized by Hong Kong Amateur Swimming Association. C2 is the only swimmer in Hong Kong who is not trained by the Hong Kong Artistic Swimming Squad. Her sheer passion about the sport and embrace of challenges enable her continuous advancement all along. In recent years, she has involved in services relating to judging and coaching artistic swimming, helping to promote the development of the sport in Hong Kong.
034
潘詩韻 Janice Poon* 香港演藝學院戲劇學院高級講師（編劇 及劇場構作）及學術項目主任，並任香 港戲劇創作室藝術總監。以編劇、導
演、劇場構作及文化項目策劃等崗位 介入不同媒體創作，專研劇本精煉、
跨媒體和跨文化創作，以社會議題下 的人文狀況為創作核心。常應邀於國 際文化交流會議及戲劇節演講及主持
工作坊，作品曾於歐美及亞洲主要城 市巡演。憑《漂流》獲第六屆香港小劇
場獎四項大獎及提名最佳劇本獎；英 語劇本《Small Waisted》獲聯合國教
科文組織屬下國際戲劇協會（ITI）多元
文化短劇比賽獎，憑網上劇場《禁色》 獲 IATC（HK）劇 評 人 獎「 年 度 關 注 作 品」。
* 蒙香港演藝學院允准參與是次製作
Hong Kong-based theatre artist and cultural practitioner Janice Poon is Senior Lecturer (Playwriting and Dramaturgy) and Academic Project Officer in the School of Drama at The Hong Kong Academy for Performing Arts. She is also the Artistic Director of Hong Kong Dramatists. She engages in interdisciplinary and intercultural creative work through playwriting, directing, dramaturgy and curating. She is a frequent speaker and workshop master at international theatre conferences and festivals, and her works have been presented in major cities in Europe, the U.S., China and other Asian countries. And Then, I Float won four major awards and was nominated best play at the Hong Kong Theatre Libre (2014), while Small Waisted won the Multicultural Short Plays Competition organised by UNESCO/International Theatre Institute in 2016. Online theatre Pornography was awarded “Featured Works of 2020” at the IATC(HK) Critics Award. *By kind permission of The Hong Kong Academy for Performing Arts
035
跨領域創作人 Cross-disciplinary Creators
梁偉怡 Verdy Leung 梁偉怡是池坊花道教授、華道家元池
坊香港支部長、多媒體藝術家，並為
「花道館」的創作總監。他師承華道家 元池坊香港支部創辦人謝玉華教授， 並畢業於日本花道最高學府日本池坊
中央研修學院。在學院中，他跟從花 道界殿堂級人物柴田英雄及古川守彦
學習深造，並曾於學院東京校以第一 名的成績畢業。
他的插花及藝術作品曾獲邀於各地（如 德 國、 日 本、 加 拿 大、 韓 國、 土 耳
其、台灣等地）展出，在海內外屢獲獎 項，錄像作品曾入圍台北金馬影展。 他可算是本地獲獎最多的花道家，並
屢創紀錄。他連續四年獲得日本池坊 中央研修學院頒發「橘獎」（最佳成績
獎 ）， 創 香 港 紀 錄。 於 2016 及 2017 年更在有數百年歷史的日本京都「旧
七夕會池國華道展」中獲「秀作獎」及
「努力獎」，破天荒成為首位獲獎的外
國人。他亦是首位入選 International
Floral Art 雙年刊的花道家。
036
Verdy Leung is a Professor of Ikebana, chairperson of the Ikenobo Hong Kong Chapter, and a renowned floral and multimedia artist bases in Hong Kong. He started his training in Ikenobo ikebana with the founder the Ikenobo Hong Kong Chapter, Prof. Annie Tse. He also studied ikebana in Japan and was graduated from the highest training institution in ikebana The Ikenobo Central Training Institute of Ikebana in Kyoto, Japan. He studies under grand masters of ikebana, Hideo Shibata and Morihiko Furugawa, at the Institute. Starting as a multimedia artist, Verdy’s creative works have been awarded and exhibited widely, e.g. Germany, Japan, Canada, Korea, Turkey, Taiwan, etc. His video work was selected as a finalist in Golden Horse Film Festival and Awards “Short Video Competition” section. He has got the “Tachibana Award” (best performance award) from The Ikenobo Central Institute in four consecutive years. He is also the first foreigner to be awarded prizes in the largest ikebana exhibiton, “Kyuutanabata Ikebana Exhibition”, competition section. Furthermore, he is the first Ikebana artist to be select in “International Floral Art” bi-annual anthology.
林沛濂 Lam Pui-lim, Anson 2021 年第十五屆香港藝術發展獎「藝 術家年獎（戲劇）」得主。
「役者和戲」藝術總監、演員、形體導 師。日本大學藝術學部戲劇學院首席
畢業，主修表演。畢業後加入東京演
劇 集 團 風 及 TPT( 東 京 ) 任 全 職 演 員； 日本第 31 屆 PIA 電影節得獎電影《私 の叙情的な時代》之主角。回港後主
要演出包括：《脫皮爸爸》、《胎內》、
《白夜行》、《白房間》、《馬克白》( 歐 洲巡演 / 香港 )、《屋根裏》( 兼導演 )、 歌劇《美麗與哀愁》世界首演。以《高
野山遇見前偶像》( 日本 ) 獲劇王——
亞洲大會最優秀演員賞；憑《坂本龍 馬の背叛！》獲提名國際演藝評論家
協會 ( 香港分會 ) 劇評人獎 2019 年度 演員獎。
Artist of the Year (Drama) of the 15th Hong Kong Arts Development Awards 2021. Lam Pui-lim is Artistic Director of “Yakusha Theatre” as well as an actor and body movement instructor. He graduated as valedictorian from the Nihon University College of Art with a major in theatre acting. He then joined Tokyo Theatre Company Kaze and Theatre Project Tokyo as resident actor. He also played the lead in My Lyrical Age, an award-winning Japanese film in the 31st Pia Film Festival of Japan. Upon his return to Hong Kong, Lam played in Shed Skin, In the Womb, White Night, White Room, Macbeth (Europe tour and Hong Kong), The Attic (also director) and the world premiere of the Beauty and Sadness opera. He won the Best Actor in the Gekiou Asian for his outstanding performance in Met My Ex-idol on Mount Kōya and was nominated for Performer of the Year for his performance in Uragiri Gomen! in the International Association of Theatre Critics (Hong Kong) Critics Awards 2019.
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跨領域創作人 Cross-disciplinary Creators
黃裕邦 Nicholas Wong 黃裕邦，以英文寫作的香港詩人。憑 藉 英 文 詩 集《Crevasse》(2015 年，
Kaya Press 出 版。 中 譯 版 名 為《 天
裂》，水煮魚文化出版），作品獲得美
國 LGBTQ 文 學 獎 Lambda Literary
Awards 男同志詩歌組別首獎。文字 創作曾於英國曼徹斯特國際藝術節及
紐約古根漢美術館展覽《單手拍掌》中
發 表。 最 新 英 詩 集 為《Besiege Me》
（Noemi Press, 2021)
038
Nicholas Wong is a poet writing in English from Hong Kong. His collections include Crevasse (Kaya Press, 2015), the winner of the Lambda Literary Award for Gay Poetry, and Besiege Me (Noemi Press, 2021). He has also contributed writings to Manchester International Festival and One Hand Clapping for Solomon R. Guggenheim Museum in New York City.
趙朗天 Alain Chiu 作曲家兼聲音藝術家，作品遊走於當
代音樂、聲音藝術和多媒體藝術的交 匯處。創作範圍從傳統音樂、聲音裝 置、實驗性音樂劇場到虛擬現實等， 跨越不同領域。
趙氏曾獲香港藝術推廣辦事處、西九
文化區、香港創樂團、香港小交響樂 團、香港藝術節，香港蘇富比等委約 創作。作品曾於香港藝術節、西九文
化區「自由野」、「跳格」意大利巡展、 康城電影節等地演出。
趙 氏 創 立 實 驗 藝 術 團 體 Trilateral
Lab，致力挑戰表演藝術的現有形式，
旨在整合新技術，以激發和培養新思 維。 其 首 個 創 作《Never Seen》於
2017 年阿德萊德藝穗節首演，好評如 潮。
趙氏於三藩市音樂學院取得作曲學士
學位。曾獲 Samuel Clarke 獎學金。
他的近期創作包括：電話程式多媒體 展覽《昨夜，我又夢見我》（2021) 、 導聽演出《耳蝸裡有隻象》 （2021)。曾 任《現在音樂》教學藝術家，期間著有
《聲音窩：聲音，音樂與藝術的跨界探 索》。
Composer and sound artist Alain Chiu’s body-of-works sits firmly at the juncture of contemporary music, sound art, and multimedia art. It ranges from music, theatre, sound installations, to VR videos and digital art. Alain Chiu has received commissions from Arts Promotion Office, West Kowloon Cultural District, Hong Kong New Music Ensemble, Hong Kong Sinfonietta, Hong Kong Arts Festival, Sotheby’s Hong Kong, among others. His works were performed at Hong Kong Arts Festival, Freespace, Jumping Frames Italy Tour, and Cannes Film Festival. Chiu is the founder of the Trilateral Lab, an experimental performance collective. The Lab is dedicated to challenge existing forms of performing arts; it also aims at incorporating new technologies as a way to stimulate and cultivate new ideas. Its inaugural performance, Never Seen (2017), was premiered at the Adelaide Fringe Festival with rave reviews. Chiu received his Bachelor of Music in composition at the San Francisco Conservatory of Music with Samuel Clarke Scholarship. His latest creations include: multimedia exhibition in a mobile app, Dream Sequence (2021), and auditory performance, Truth Within Earshot? (2021). He was the teaching artist of Contemporary Musicking and is the author of Sound Brood: an interdisciplinary Approach in Sound and Music.
039
「枱」設計 Tables Design
KaCaMa Design Lab
莫偉強 Christopher Mok
專長於永續設計，尋求仔細考量過社
建築及戲劇燈光設計師莫偉強，畢業
包括產品設計及開發、品牌包裝、活
計碩士學位。莫氏在 1990 年展開職業
區與環境因素的設計方案。工作範疇 動策劃等多元化項目。近年亦積極參 與社區合作及改善公共空間的計劃，
希望透過設計帶動社區互動及關注環 境保護議題。
KaCaMa Design Lab excels in sustainable design and exploration of new design strategies that foster positive community and environmental values. They carry out novel product and service design through community driven intervention, brand building, event curation and projects for enabling cultural development. In recent years, they established certain numbers of community cooperation programs and projects for the enhancement of local public space in which meaningful interaction between diversified communities and environmental issues are addressed.
040
燈光設計 Lighting Design
於紐約帕森設計學院，獲建築燈光設
生涯，作品遍佈亞洲、美國及英國， 曾獲北美燈光工程協會頒發國際燈光 設計獎及英國 LIT 燈光設計獎。本地
作品見於太古地產 ArtisTree、慈山寺 佛教藝術博物館及香港大學百周年校
園大會堂等。燈光藝術裝置在香港立 法會大樓及 D2 廣場永久展出。莫氏
曾在臺北工業技術研究院及香港大學
專業進修學院教授燈光設計與技術， 並在香港大學建築系擔任兼職助理教 授。莫氏曾擔任專業燈光設計師協會
舉辦印度「Light in Goa」主要講者及
2016 年倫敦 DARC 燈光設計獎國際 評委。莫氏為 Spectrum Design &
Associates（亞洲）的首席設計師，是
美國國際燈光設計師協會（IALD）專業 會員、英國燈光學會（SLL）會員，以 及香港設計師協會（HKDA）會員。
Christopher Mok is an architectural and theatrical lighting designer. Graduated in Parsons School of Design with an MFA in Architectural Lighting and started a professional career in 1990, Mok’s works can be seen in Asia, the UK and the USA. Notable awards include International Illumination Design Award by Illuminating Engineering Society of North America and LIT Lighting Design Awards (UK). Local projects are featured in ArtisTree for Swire Properties, Tsz Shan Monastery Buddhist Arts Museum and the University of Hong Kong (HKU)’s Centenary Campus Grand Hall, etc. Mok’s light art installations are on permanent display at the Hong Kong Legislative Council and D2 Place. He has taught lighting design and technology in Industrial Technology Research Institute in Taipei and HKU SPACE, and was part-time Assistant Professor in the Department of Architecture, HKU. He was the key speaker and workshop head for Light in Goa, India by Professional Lighting Designers Association, and an international judging panel for the DARC Awards 2016 in London. Mok is the design principal for Spectrum Design & Associates (Asia), a Hong Kong-based lighting design company. He is Professional Member of International Association of Lighting Designers USA (IALD) and Full Member of The Society of Light and Lighting, UK (SLL), and Full Member of Hong Kong Designer Association (HKDA).
製作經理 Production Manager
舞台監督 Stage Manager
2002 年起參與劇場後台及演出製作工
劇場自由人，舞台後的修行是為了遇
林慶麟 Lam Hing-lun
作，2007-09 年間於香港舞蹈團任職 助理舞台監督，及後以自由身舞台工
作者參與不同類型舞台演出及項目製
作，亦合組公司 QGO Production， 分別出任監製、技術監督、製作經理
吳紫靈 Kami Ng 見真正的自己。
As a nomad of the theatre, I believe that the practice in theatre is the way to find our true self.
及舞台監督等職位，亦為康樂及文化
事務署文化節目組及社區節目辦事處
的節目擔任技術統籌。2014 年起開始 參與商業及大型活動製作，分別於不
同公司出任全職或兼職技術監督或製 作經理。
Lun has been working in the theatre backstage since 2002, mainly as technical director, production manager and stage manager. From 2007-2009, Lun worked as full-time assistant stage manager in Hong Kong Dance Company. He is co-founder of the QGO Production. From 2014, Lun started to work in the event management field. He mainly works as technical manager or production manager, for different projects, including commercial events, outdoor concerts and races, and more.
041
製作團隊 Production Team 策劃團隊 Curatorial Team 黎蘊賢 Orlean Lai
黃大徽 Dick Wong
監製 Producer
黎蘊賢 Orlean Lai
賴閃芳 Lai Sim-fong 創作人 Creators
「枱」設計 Tables Design
潘詩韻 × 黃詩懿
（陳少華 Match Chen、
趙朗天 × 黃裕邦
朱衛進 Thomas Chu）
黃俊達 × 黃麗茵 林沛濂 × 梁偉怡
Ata Wong × Cam Wong Janice Poon × Wong Szeyi Lam Pui-lim Anson × Verdy Leung Alain Chiu × Nicholas Wong
KaCaMa Design Lab 易子傑 Jacky Yick、
燈光設計 Lighting Design 莫偉強 Christopher Mok
聲景設計 Soundscape Design 馮俊彥 Jasper Fung
製作經理 Production Manager
宣傳品設計 Graphic Design
舞台監督 Stage Manager
宣傳品攝影 Promotional Photo
林慶麟 Lam Hing-lun 吳紫靈 Kami Ng
行政統籌 Administration Coordinator
郭健超 Pollux Kwok
何東盛 Thomson Ho
鄺曉恩 Grace Kwong
鳴謝 Acknowledgement: 3200K Productions 策劃及製作 Curated & Produced by
No Discipline Limited
Littleurbanmountain Design Ltd
前進進戲劇工作坊 On & On Theatre
Workshop
Ernest Chan Hilda Chan Aster Ng Raymond Ng
042
• 本刊內所用之相片，部分於非疫情時間拍攝，當中於新冠肺炎疫情期間拍攝之相片， 在場人士均有嚴格遵從當時實行之防疫措施。
• 本書刊由創作團隊製作，並不代表本機構及捐助機構之立場或意見。 • For images used in this publication, some were taken prior to the pandemic. For those taken during the pandemic, crew members and all participants have strictly complied with the anti-epidemic regulations. • This publication is solely produced by the creative team. The views and opinions expressed do not represent the stand of the Council nor the Funder.