第五十一屆香港藝術節隆重舉行，可 喜可賀。
逾半個世紀以來，藝術節每年均呈獻 多姿多彩的文藝節目，由古典音樂、 歌劇、戲劇，以至舞蹈、多媒體項 目等，包羅萬有，令觀眾大飽眼福。
今屆藝術節以《收音機與茱麗葉》及 《春之祭》芭蕾舞表演揭開序幕，兩 齣經典作品經由著名編舞家愛德華· 克魯格重新編排，加上斯洛文尼亞 國家歌劇院馬里博爾芭蕾舞團傾力演 出，萬眾矚目；約五星期後，歐洲頂 尖交響樂團—德國班貝格交響樂團將 登台獻技，為今年藝術節畫上圓滿句 號。其間上演的焦點節目還有： 國 際星級女高音安娜·涅翠柯與丈夫男 高音尤西夫·伊瓦佐夫聯袂表演的音 樂會；由藝術家威廉·肯特里奇精心 製作、南非木偶劇團和比利時里切卡 爾古樂團奇妙演繹的蒙特威爾第歌劇 《尤利西斯歸鄉記》；由芭蕾天后娜塔 麗亞·奧斯波娃領銜主演的芭蕾巨 星之《「世」不可擋》及傳奇舞姬之 《趾尖》；以及國際鋼琴大賽冠軍劉曉 禹的演奏會。
藝術節向來十分重視本地演藝人才， 致力讓他們一展才華。今屆藝術節亦 會上演多個粵劇節目，包括《竹林愛 傳奇》、「毛俊輝．粵劇情」、《畫皮》 (精新版)，以及「短篇粵劇—戲說 八德」； 並帶來其他本地作品，包括 《飯戲攻心》踏台版、《末戀．無愛合 約》、舞蹈歌劇《兩生花》等等，定 必精彩萬分，不容錯過。
大眾還可通過藝術節，體驗繽紛的藝 術魅力。法國食蟻獸沉浸式藝術工作 室創作的《第一步》，會邀請觀眾互 動共舞；在大館舉行的一系列免費藝 術科技節目，以及「無限亮」計劃， 亦會讓公眾參與其中。「無限亮」計 劃由本地和海外不同能力的藝術家擔 綱演出，鼓勵青少年衝破界限，探索
行政長官的話 MESSAGE FROM THE CHIEF EXECUTIVE
I would like to congratulate the Hong Kong Arts Festival on the organisation of its 51st edition.
For more than half a century now, the Arts Festival has enthralled audiences with a superb annual programme of arts and culture performances embracing classical music and opera, theatre, dance, multimedia and a great deal more.
This year’s Arts Festival programme opens with the Slovene National Theatre Maribor’s ballet performances of Radio and Juliet and Le Sacre du Printemps, two classics re-imagined by celebrated choreographer Edward Clug. It closes, nearly five weeks later, with a concert by Germany’s Bamberg Symphony, one of Europe’s greatest orchestras. Other highlights include Anna Netrebko, one of the world’s great sopranos, performing with her husband, tenor Yusif Eyvazov; artist William Kentridge’s remarkable production of Monteverdi’s opera, Il Ritorno d’Ulisse, brought to life by South Africa’s Handspring Puppet Company and Belgium’s Ricercar Consort periodinstrument ensemble; Ballet Superstars’ Force of Nature and Legendary Ballerina
新知。「香港藝術節青少年之友」計 劃同樣以豐富年輕人的體驗為目標， 籌備了多場學校巡演、演前工作坊和 特備節目。「加料節目」的創意活動 則把全港觀眾與藝術家連繫起來，讓 藝術文化遍及社區。
我感謝香港藝術節盡心竭力推廣藝術 文化，協助推動香港發展為中外文 化藝術交流中心。我亦感謝一眾贊 助商和捐款人慷慨襄助，令藝術節精 彩紛呈。
今年的藝術盛宴每場表演均可貴可 喜，大家定能盡情享受，樂在其中。
in Two Feet featuring supreme ballerina Natalia Osipova; and concerts by the international award-winning piano virtuoso Bruce Liu.
As always, the Festival shines a spotlight on standout artists from Hong Kong. This year’s Cantonese opera offerings include Love in the Bamboo Grove, Cantonese Opera Classics Circa 2023, The Painted Skin (Refined Edition) and Virtues and Morality—Four Cantonese Operas. Local productions including Table For Six on Stage, Loveless Romance and Love Streams are sure to be among this year’s Festival highlights.
Several programmes invite public participation as well, including the First Steps participatory dance performances staged by France’s Tamanoir Immersive Studio, as well as Tai Kwun’s free series of arts tech productions and the Festival’s No Limits programme, led by local and international artists of varying abilities. No Limits’ offerings emphasise youth exploration, as does the Young Friends of the Hong Kong Arts Festival with its school tours, preperformance workshops and special programming. And then there is the Festival PLUS creative activities that bring artists and audiences together in communities throughout Hong Kong.
I am grateful to the Hong Kong Arts Festival for its inspired commitment to the arts and to Hong Kong’s continuing rise as an East-meets-West centre for international cultural exchange. My thanks, as well, to the Festival’s many generous sponsors and donors.
I know you will treasure every performance, every moment, of this year’s Hong Kong Arts Festival.
John KC Lee Chief Executive Hong Kong Special Administrative Region
香港特別行政區行政長官 李家超
歡迎閣下蒞臨第 51 屆香港藝術 節。隨着香港走出疫情的陰霾，藝 術節再度匯聚本地及世界各地的頂 尖藝術家，呈獻一連串精采的現場 表演。儘管網絡世界無遠弗屆， 親身觀賞演出的體驗依然是無可取 替。今日，我很高興能夠與大家 聚首一堂，共同體驗現場表演的 震撼力。
藝術節得以順利舉辦，有賴社會各 界的慷慨支持。我在此感謝香港 特別行政區政府透過康樂及文化事 務署的年度恆常撥款，為藝術節的 長遠工作奠下根基。我亦非常感 激香港賽馬會慈善信託基金的持續 支持，以及一眾企業贊助、慈善基 金會和個人捐助者的貢獻。我更要 向參與藝術節的藝術家表達由衷謝 意，尤其是早前因疫情而無奈取消 演出、但於今屆願意再度與我們合 作的藝術家。
另外，過去三年，藝術節團隊在充 滿不確定因素的環境下努力不懈， 克服種種難關，繼續為觀眾送上線 上線下的精采節目。我在此向團隊 的每一位成員致謝。
觀眾的支持及參與對藝術節至關重 要。感謝您前來欣賞今日的演出， 希望藝術節的節目能夠為您帶來喜 悅與希望。
主席的話 MESSAGE FROM THE CHAIRMAN
I am delighted to welcome you to the 51st edition of the Hong Kong Arts Festival. As the city recovers from the disruption of the pandemic, the Festival is returning with an array of live performances featuring top-notch artists from Hong Kong and across the world. Despite the boundless possibilities offered by the internet, attending performances in person remains an irreplaceable experience. It gives me great pleasure to share this collective experience with you today.
The Festival is made possible by the generosity of our supporters.
I wish to thank the HKSAR Government, via the Leisure and Cultural Services Department, for the annual subvention which underpins our long-standing work. I am also grateful for the ongoing contributions from The Hong Kong Jockey Club Charities Trust, as well as corporate sponsors, charitable foundations and individual donors. My sincere thanks go
to the participating artists for their dedication to bringing the best to our audiences, especially those returning after previous cancellations due to the pandemic.
I also want to thank the dedicated staff of the Festival who have worked extremely hard to overcome numerous challenges during the uncertainties of the past three years. Last but not least, the Festival counts on the support and participation of each member of the audience. Thank you for joining us at today’s performance. I hope that our programmes will bring you much joy and hope for the future.
Victor Cha Chairman Hong Kong Arts Festival
香港藝術節主席 查懋成
行政總監的話
我謹代表藝術節團隊，歡迎閣下蒞 臨第 51 屆香港藝術節。
經歷了過去幾年疫情的影響，今年 藝術節以「回賞．前行」為題，表 達了我們隆重回歸舞台的決心。憑 着五十年來的努力，香港藝術節成 為了地區首屈一指的文化盛事，確 立了在國際間的重要地位。我們很 榮幸能夠繼往開來，並繼續在多方 面力求進步，與時俱進。在第 51 屆藝術節中，我們全新演繹大師傑 作、建立跨界合作、委約原創作 品，進一步發掘新的創作視野。這 些嘗試都展現了表演藝術的維度和 無限可能性，讓我們在探索的旅途 中向前邁進。
除了出色的表演，藝術節亦舉辦 了一系列「加料節目」，令觀眾對 演出作品有更深入的認識，豐富觀 賞體驗。我們亦繼續大力投資於 藝術教育，希望透過多元的外展活 動，以高質素的表演啟發香港的年 輕一代。
藝術節正式踏入第二個五十年，我 們將抱持樂觀的態度和更大的勇氣 面對未來的各種挑戰。希望您能夠 與我們同行，並喜歡藝術節為您準 備的節目。
On behalf of the Festival team, I would like to extend to you a heartfelt welcome to the 51st Hong Kong Arts Festival.
Our theme this year, “Coming Back, Moving Forward”, represents our determination to come back in full force after several years of uncertainties caused by the pandemic. After five decades of hard work and dedication, the Festival has established itself as a premier arts event in the region and an important international arts festival. We are honoured to carry this legacy forward, while advancing our multifaceted work to stay relevant in the present. In the 51st edition, we discover creative voices through new renditions of masterpieces, cross-disciplinary collaborations and commissioned productions— all of which showcase the breadth and endless possibilities of the performing arts, taking us one step
forward in this journey of exploration. Beyond exceptional performances, we are also offering a series of auxiliary PLUS programmes to enhance audience engagement and provide deeper insights into our programmes. Our strong commitment to arts education is seen in the extensive outreach activities aimed at inspiring the younger generation of Hong Kong through promoting quality arts.
The Festival steps into the second half of its first centenary with both optimism and renewed courage to bravely face the great challenges ahead. I hope you will stay close with us and be inspired by what the Festival has to offer.
香港藝術節資助來自：
The Hong Kong Arts Festival is made possible with the funding support of:
香港藝術節行政總監 余潔儀
Flora Yu
Executive Director
Hong Kong Arts Festival
MESSAGE FROM THE EXECUTIVE DIRECTOR
香港藝術節 HONG KONG ARTS FESTIVAL
扎根香港的國際藝壇盛事 聯繫中國與世界
An International Arts Festival in Hong Kong Connecting China and the World
香港藝術節於 1973 年正式揭幕，是國際藝壇中重要的文化 盛事，於每年 2、 3 月期間呈獻眾多優秀本地及國際藝術家 的演出，以及舉辦多元化的「加料」和教育活動，致力豐 富香港的文化生活。
香港藝術節 是一所非牟利機構，2022/ 23 財政年度預計收
入（包括第 51 屆香港藝術節及 2023 年「無限亮」）約港 幣一億五千萬，當中香港特區政府的年度撥款佔總收入約 18%，另外約 24%需來自票房收入，約 43%則需依賴來自 各大企業、熱心人士和慈善基金會的贊助和捐款。預計餘 下的約 15%則來自其他收入，包括政府針對捐款和贊助收 入而提供的配對資助。
香港藝術節每年呈獻眾多國際演藝名家精采多元的演出，
例如* ：
• 歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、莫斯科大 劇院、聖彼得堡馬林斯基劇院
• 中國戲曲：中國國家京劇院、河北梆子劇院、上海張軍 崑曲藝術中心、江蘇省蘇州崑劇院、浙江小百花越劇團
• 古典音樂：塞西莉亞 • 芭托莉、列卡杜 • 沙爾、趙成 珍、古斯塔沃 • 杜達美、菲力普 • 格拉斯、馬友友、 丹尼斯 • 馬祖耶夫、安娜 • 涅翠柯、詹安德列亞 • 諾 斯達、小澤征爾、湯瑪士．夸斯托夫、甘拿迪 • 羅傑 斯特汶斯基、譚盾、湯沐海、克里斯蒂安 泰利曼、倫 敦交響樂團、NHK交響樂團、皇家阿姆斯特丹音樂廳樂 團、柏林廣播電台合唱團、萊比錫聖多馬合唱團、維也
• 爵士樂及世界音樂：波比 麥非年、尤蘇 恩多爾、 艾斯佩蘭薩 • 斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼
• 舞蹈：米高 巴里殊尼哥夫、蕭菲 紀蓮、艾甘 漢、美國芭蕾舞劇院、雲門舞集、漢堡芭蕾舞團—約 翰．紐邁亞、紐約市芭蕾舞團、巴黎歌劇院芭蕾舞團、 翩娜 包殊烏珀塔爾舞蹈劇場
• 戲劇：彼得 • 布祿克、羅伯特．利柏殊、蜷川幸雄、羅 柏特 • 威爾遜、柏林劇團、中國國家話劇院、皇家莎士 比亞劇團
• 大型特備節目：《藝裳奇幻世界》、星躍馬術奇藝坊
• 戶外節目：《聲光園》、《幻光動感池》、《聲光頌》
香港藝術節積極與本地演藝人才合作，並致力為新進藝術 家提供展示才華的平台。藝術節至今委約及製作逾 250 套 本地全新創作，包括粵劇、戲劇、室內歌劇、音樂和舞蹈 作品，不少製作更已在香港及海外多度重演。近年的藝術 節新製作包括《鼠疫》、《陪着你走》、《百花亭贈劍》、《香 港家族》三部曲、《世紀
The HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year.
The HKAF is a non-profit organisation. The total estimated income for FY2022/23 (including the 51st Hong Kong Arts Festival and 2023 “No Limits”) is approximately HK$150 million. Current Government annual funding accounts for around 18% of the Festival's total income. Around 24% of the Festival’s income needs to come from the box office, and around 43% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 15% is expected to come from other revenue sources including the Government’s matching scheme, which matches income generated through private sector sponsorship and donations. The HKAF has presented top international artists and ensembles across multiple genres, such as*:
• Western opera: Bavarian State Opera, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre
• Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe
Classical music: Cecilia Bartoli, Riccardo Chailly, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra
• Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini
Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet – John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch
• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company
• Large-scale special events: World of Wearable Art, Zingaro
• Outdoor events: Power Plant, Super Pool, Chorus
The HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include The Plague, Always by Your Side, Pavilion of a Hundred Flowers, A Floating Family – A Trilogy, Hong Kong Odyssey, Danz Up, Datong – The Chinese Utopia, The Amahs and Murder in San Jose, to name a few.
The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina
納愛樂樂團
香港》、《炫舞場》、《大同》、 《金蘭姊妹》、《聖荷西謀殺案》等。
香港藝術節多年來與知名海外藝術家及團體聯合製作不少 優秀作品，當中包括由香港藝術節、香港歌德學院及翩 娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹窗人》、由倫 敦老域劇院、布魯克林音樂學院與尼爾街製作公司製作、 香港藝術節為聯合委約機構之一的「橫貫計劃」之《暴風 雨》及《李察三世》、由香港藝術節及上海國際藝術節聯 合委約的《青蛇》、三藩市歌劇院與香港藝術節聯合製作 的《紅樓夢》等。
香港藝術節 大力投資下一代的藝術教育。「青少年之友」
成立 30 年來，已為逾 810, 000 位本地中學生及大專生提供 藝術體驗活動。藝術節近年亦開展多項針對大、中、小學 生的藝術教育活動，包括由國際及本地藝術家主持的示範 講座及工作坊、學生展演、演前講座、公開彩排、以及欣 賞藝術節演出。同時，通過「學生票捐助計劃」，藝術節 每年提供約 10, 000 張半價學生票。
香港藝術節每年主辦一系列多元化並深入社區的「加料節 目」，例如電影放映、示範講座、大師班、工作坊、座談 會、後台參觀、展覽、藝人談、文化導賞團等，鼓勵觀眾 與藝術家互動接觸。
香港藝術節亦銳意將共融藝術理念拓展到社區每一角落。 由藝術節與香港賽馬會慈善信託基金聯合呈獻的「無限
2019 年正式開展，透過一系列的演出及多元的 教育及社區外展節目，「無限亮」致力創造共融空間，讓不 同能力人士均可以一同欣賞、參與、擁抱藝術。
Bausch, Richard III and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with HKAF as a co-commissioning institution, Green Snake co-commissioned with Shanghai International Arts Festival, and Dream of the Red Chamber co-produced with San Francisco Opera.
The HKAF invests heavily in arts education for young people. Over the past 30 years, our “Young Friends” scheme has reached over 810,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year.
The HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided cultural tours.
The HKAF actively promotes inclusiveness and understanding via the arts to every corner of the community. The “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, was launched in 2019. Through a series of performances and diverse arts experiences for students and the community, “No Limits” strives to create an inclusive space for people with different abilities to share the joy of the arts together.
The HKAF officially launched the Hong Kong Arts Festival Foundation in 2022 to provide greater financial security and longterm sustainability for the Festival. Donations to the Foundation will help the Festival to present large-scale projects which its annual budget cannot cater for. (2023
香港藝術節為創造更穩健的財政環境以及確保藝術節的長期 可持續性，於 2022 年成立香港藝術節基金會，旨在讓藝術 節得以在未來進行年度預算以外的大型特別項目。
*有關香港藝術節的過往節目，可參考以下網頁 Details of past HKAF programmes can be found at https://w2.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2021.html
誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。
To find out more about sponsorship opportunities and donation details for the Hong Kong Arts Festival, please contact the HKAF Development Department.
香港藝術節協會 2022 ／ 23 年度預計收入來源（約港幣一億五千萬）
電郵 Email: dev@hkaf.org
直綫 Direct Lines: (852) 2828 4910/11/12
網頁 Website: www.hk.artsfestival.org/en/support-us
Estimated Income Sources for Hong Kong Arts Festival Society in FY 2022/ 23 (Approximately HK$150 Million)
亮」計劃於
年 1 月更新
Jan
Updated
2023)
粵劇《畫皮》（精新版） CANTONESE OPERA —THE PAINTED SKIN
(REFINED EDITION)
15-16.2.2023
屯門大會堂演奏廳
Auditorium, Tuen Mun Town Hall
演出長約 3 小時，包括一節中場休息
Approximately three hours including one interval * 粵語演出，附中、英文字幕
Performed in Cantonese with Chinese and English surtitles
封面照片 Cover Photograph
© Lawrence Ng @ Workhouse
敬請關掉所有響鬧及發光裝置
Please switch off all sound-making and light-emitting devices
本場刊採用環保紙張印刷
國家藝術基金 2022 年度資助項目
彩票公益金資助——中國福利彩票和中國體育彩票 Annual Sponsorship Programme of China National Arts Fund in 2022 Lottery Public Welfare Fund China Welfware Lottery and China Sports Lottery
請勿擅自攝影、錄音或錄影 Unauthorised photography or recording of any kind is strictly prohibited
如不欲保留本場刊，請於完場後放入場地的回收箱
If you don't wish to keep this booklet, please return it to the admission point 所有作品內容均由創作團隊獨立製作，並不代表香港藝術節及贊助機構之立場或意見。
This programme is printed on environmentally friendly paper
All the content of works are independently produced by the relevant creative teams, and does not reflect the views or opinions of HKAF nor the Sponsors.
編劇的話 Playwright’s Note 專訪 Interview 安能辨我是正邪？ A Classic Brought Back to Life in Cantonese Opera 靈宵劇團簡介 About Hong Kong Xiqu Troupe 編創人員簡介 Creative Team Profiles 演員簡介 Cast Profiles 製作人員簡介 Production Team Profiles 14 18 25 26 29 33
(五) (六)
主創人員講座 ��.�� 杜國威經典作品選映 ��.�� & ��.��
More than Great Performances!
2023 FESTIVAL PLUS PROGRAMME 藝術節加料節目
3/2
五 Fri
5/2
日 Sun
12/2
日 Sun
13/2 Mon
18/2 六 Sat
19/2 日 Sun
跨越界限——陳詠燊談劇本創作
Sunny Chan on Screenwriting and Playwriting
說說管風琴•說說巴赫
Tracing the Organ Music of Bach
廣陵情長——粵劇編寫竹林七賢傳奇
Writing Cantonese Opera for the Legendary Seven Sages of the Bamboo Grove
「禹•見」鋼琴大師
Masterclasses and Meet Bruce Liu
「短篇粵劇──戲說八德」演後藝人談
Virtues and Morality—Four Cantonese Operas
Post-Performance Meet-the-Artist
杜國威經典作品選映——《虎度門》
Hu Du Men
Collection of Raymond To’s Classics 杜國威經典作品選映——《劍雪浮生》
A Sentimental Journey Collection of Raymond To’s Classics
22/2 三 Wed 杜國威經典作品選映——《南海十三郎》
24/2 五 Fri
The Mad Phoenix Collection of Raymond To’s Classics
米歇爾．梵德阿《水之書》演後藝人談
The Book of Water Post-Performance Meet-the-Artist
香港藝術節加料節目 X 大館對談：
古董鋼琴與現代鋼琴
27/2 Mon
28/2
二 Tue
1 - 19/3
三 - 日 Wed - Sun
3/3
五 Fri
5/3
日 Sun
HKAF PLUS x Tai Kwun Conversations: Early Piano Vs. Modern Piano 盛原——古董鋼琴獨奏會
Antique Piano Recital by Yuan Sheng 韓德兩地的音樂旅途
A Music Journey between Two Cultures –Esme Quartet in Korea and in Germany
《名畫詐騙師》演後藝人談
True Copy Post-Performance Meet-the-Artist
歌劇《尤利西斯歸鄉記》製作解碼展覽
The Making before The Return Exhibition
《超真實》裝置音樂會演後藝人談 Hyperreality—an installation concert
Post-Performance Meet-the-Artist
《名畫詐騙師》演後藝人談
True Copy Post-Performance Meet-the-Artist
「笙世界 音樂會」演後藝人談
Sheng World Music— Kevin Cheng & Friends
Post-Performance Meet-the-Artist
長笛的進化史──從巴羅克到現代時期 Evolution of Flute from the Baroque to Modern Periods
8/3 三 Wed 古鋼琴大師班
Fortepiano Masterclass 10/3 五 Fri
沉浸式歌劇《小狐狸》舞台參觀及公開彩排 Into the World of Silent Opera - Vixen Stage Tour & Open Rehearsal 「毛俊輝•粵劇情」演後藝人談
Cantonese Opera Classics Circa 2023
Post-Performance Meet-the-Artist
「長笛三次方——曾逸豪在繆思的庭院」 演後藝人談 Triptych for Flute—Tsang Yat-ho in Le jardin des muses
Post-Performance Meet-the-Artist
演唱蒙特威爾第 About Singing Monteverdi 「毛俊輝•粵劇情」演後藝人談 Cantonese Opera Classics Circa 2023
Post-Performance Meet-the-Artist
呼吸，讓木偶栩栩如生 Breathing brings Puppet to Life 「毛俊輝•粵劇情」演後藝人談 Cantonese Opera Classics Circa 2023
Post-Performance Meet-the-Artist
巴赫與我 All I Need is Bach
《末戀•無愛合約》演後藝人談 Loveless Romance Post-Performance Meet-the-Artist
以樂器之王為經典默片配樂 Writing Music for Silent Film – Tips from the Organist
傑出文化領袖講座系列（10） 與班貝格交響樂團行政總裁暨 藝術總監馬庫斯•魯道夫•阿克斯對談 Distinguished Cultural Leadership Series (10)
In Conversation with Marcus Rudolf Axt Chief Executive and Artistic Director, Bamberg Symphony 《狂人派對》演後藝人談 Dance Me to the End of Night Post-Performance Meet-the-Artist
傑出文化領袖講座系列（10） 與金像獎最佳編劇杜國威對談—戲畫人生 Distinguished Cultural Leadership Series (10)
From Stage to Ink: In Conversation with Award-winning Playwright and Screenwriter Raymond To Kwok-wai
6/3
Mon
11/3 六 Sat
12/3 日 Sun
14/3 二 Tue
15/3 三 Wed
16/3 四 Thu
17/3 五 Fri
25/3 六 Sat
了解更多 More Details
*The latest information and arrangement are
to the
on PLUS webpage.
*最新節目資料及安排以「加料節目」網頁公佈作准。
subject
announcement
《畫皮》（精新版)
The Painted Skin (Refined Edition)
演出單位 Performing Troupe
香港靈宵劇團
Hong Kong Xiqu Troupe
藝術總監、音樂設計及領導
Artistic Director, Music Designer and Leader
高潤鴻 Ko Yun-hung
武術指導 Martial Arts Instructor
韓燕明 Han Yanming
佈景 Set
廣興舞台佈景製作公司
Kwong Hing Stage Scene Production Company
本事 Synopsis
編劇 Playwright
謝曉瑩 Tse Hue-ying
擊樂領導 Percussion Leader
高永熙 Ko Wing-hei
舞蹈設計 Choreographer
鍾潔心 Chung Kit-sum
服裝道具 Costume and Props
藝聲服裝公司
Ngai Sing Company
書生王崇文路遇女子媚娘，憐其身世，將她帶回 家中暫住，卻抵不住媚娘百般誘惑，與其共度春 宵。不曾想，這美艷娘子乃是畫上人皮的狐妖 所扮，崇文慘被挖心。崇文之妻陳蓉為救夫君， 得丹霄道人指引，前往尋求狂僧相助……
A fickle married man named Wang has a dalliance with a beautiful young woman who is actually a fox spirit wearing a mask made of human skin The casual dalliance soon takes a grisly turn as Wang finds out the horrible truth. After the spirit devours the man’s heart, his faithful wife pleads with a lunatic monk for help Wang miraculously comes back to life in the end and begs for his wife’s forgiveness
導演 Directors
史濟華、王蕾
Shi Jihua, Wang Lei
燈光設計 Lighting Designer
鍾寳儀 Coco Chung
舞台監督 Stage Manager
丁日月 Ding Yat-yuet
英文字幕 English Surtitles
楊為信 Harold Yeo
演員及角色 Cast and Characters
梁兆明 Liang Zhaoming
飾 – 王崇文 as Wang Chongwen
謝曉瑩 Tse Hue-ying
飾 – 陳蓉、媚娘/狐妖 as Chen Rong (Wang Chongwen’s wife)/Lady Mei (fox demon)
阮兆輝 Yuen Siu-fai
飾 – 狂僧（濟公化身）as the mad monk (Jigong)
廖國森 Liu Kwok-sum
飾 – 媚娘（真身）as Lady Mei (real body)
吳立熙 Ng Lap-hei
飾 – 丹霄道人 as the Taoist
黃成彬 Vong Seng-pen
飾 – 王崇武（王二郎）as Wang Chongwu (Wang Erlang)
梁心怡 Leung Sum-yee
飾 – 張氏 as Madam Zhang (Wang Chongwu’s wife)
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序幕
知人口面不知心。狐妖看中陳蓉美貌，畫皮換臉。 Prelude
The face is not a mirror of the heart. Deeply fascinated by Chen Rong’s beauty, the fox demon disguises itself as Chen by painting her face on its skin.
第一場 遇鬼
崇文遇可憐女子媚娘，弟弟崇武着他閒事勿理，但崇 文見她貌似其妻，同情心起，遂帶返家中。
第二場 艷情
媚娘以報恩為由服待崇文，使其意亂情迷，終在書房 聯床共宿
第三場 疑鬼
崇文惱陳蓉冰冷，疑她心儀崇武，負氣離家。路上遇 丹霄道人說他家中有妖，崇文不信，回家後看到媚娘 在畫臉皮
第四場 挖心
丹霄道人本欲警示妖狐，誰料打草驚蛇，媚娘把崇 文之心挖出。陳蓉發現丈夫死去，立即與崇武找道 人幫忙。
第五場 除妖
丹霄道人把妖狐除掉後，陳蓉哀求復活崇文，道人教 她找狂僧幫忙
第六場 羞辱
狂僧搓了一顆老泥丸給陳蓉，說吞下便能救夫
第七場 復活
陳蓉忍辱吞下老泥丸，竟吐出一個跳動的心臟
Scene 1: A Foxy Encounter
Chancing on a wretched woman who is the spitting image of his wife, Chongwen takes pity on her and agrees to bring her to his home, despite the opposition of his brother, Chongwu.
Scene 2: Enchantment
Pretending to serve Chongwen to repay his kindness, Lady Mei intoxicates him and the two make love in the study room.
Scene 3: Incredulity
Annoyed with Chen Rong’s indifference while suspecting her infatuation with Chongwu, Chongwen decides to leave home. He meets a Taoist priest on the way who warns him there is a demon in his house. He goes home full of doubt only to see Lady Mei painting her face.
Scene 4: Heart Ripped out of Chest
The Taoist priest wants to ward off the demon, but inadvertently antagonises it. Enraged, the fox demon rips out Chongwen’s heart. After discovering her husband dead, Chen Rong seeks help from the Taoist priest.
Scene 5: Defeating the Demon
After the Taoist priest defeats the fox demon, Chen Rong begs him to revive her husband. The Taoist priest sends her to find the mad monk.
Scene 6: Humiliation
The mad monk rubs grime off his body and gives it to Chen Rong, saying she must swallow it to revive her husband.
Scene 7: Resuscitation
Feeling ashamed, Chen Rong swallows the pill and disgorges a throbbing heart.
分場 Scenes 15
在靈宵近三十多個作品中，《畫 皮》是特別的，她的首演誕生 於危難之秋——2020 年，即新 冠疫情初爆發的一年，我們在 閉館的夾縫中，竟幸運地、倉 促地上演了兩場。
《畫皮》是《聊齋誌異》中的 經典，可故事裏卻出現了一個 奪目而危險的角色 ——勾人吃 人的狐妖媚娘。狐妖勾引書生
是故事中的主線，又正如王崇 文的夫人陳蓉要為丈夫所犯的 錯善後，凸出因果，都太重要 了，均必須由正主去演，最 後決定由正印花旦一人分飾兩 角。面對狐妖部份，筆者要自 己寫自己演，寫傳神了怕被評 過火； 不傳神，在編劇角度就 是不專業，壓力巨大。最後， 筆者把自己抽離了，要用專業
編劇的心態把媚娘寫出來。
媚娘的主戲份只出現在頭兩 場。初演時，學者張敏慧老師 對「她」有此評價：「『鬼魅』 的表現上，戲份落在男女主角 身上，謝曉瑩扮演媚娘，色相 作餌，誘惑書生王崇文 …… 本 來作為第三者的狐妖角色不討 好，但以她眼神、妝容的青春 皮相，增添幾分風情媚態，『勾 引』得來並不討人厭，於是書 生心神出軌變得合理。」張老 師的評價，反映此角形象達到 了較理想的藝術目標； 再強烈 對比起王夫人那典型「笑不露 齒、行不擺裙」的大家閨秀， 就好玩極了。其實就傳統戲曲 文學而言，書寫兩性情致風韻 之事，從來都不困難； 像洪昇 《長生殿》中討論楊貴妃的玉體 極致綺膩而不帶半點猥褻，反 顯文字美得不可方物。同樣地 各種戲曲身段，生旦也許沒有 像電影演員般真正肢體接觸， 卻優美含蓄地令觀眾動情，程 式化在梏桎內，反生出別樣的 情思，撩撥得觀眾心癢癢，恰 與現代劇場的「畫公仔畫出腸」 大相逕庭。
疫情的第三年上旬（ 2022 年） 迎來甘露，國家藝術基金首開 放予港澳地區，靈宵作品《畫 皮》榮幸中選為資助劇目，促 使了與香港藝術節的合作，讓 我們有了高質素的支援後盾， 把作品優化、精新。
「知人口面不知心」是《畫皮》 的中心思想，在疫情中體驗尤 深——人性的醜惡，在疫情苦 難之下揭露得千瘡百孔，這廂
© Lawrence Ng @ Workhouse
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編劇的話 Playwright' s Note
對你舒展笑臉，那廂為了利益 矛盾將你置諸死地，這使筆者 有把握對「精新版」《畫皮》更 深入詮釋。借助現代劇場之 便，藉嶄新的舞台燈光設計、 高潤鴻大師頂尖的音樂創作配 合、抽象而形象化的場景，望 能為觀眾帶來對狐妖形象有更 具深度的想像空間和感受。 「精新版」自然該去蕪存菁，在
表演技巧層面上，把多餘的身 段唱段裁走； 人物要更精準， 王夫人要更端莊，媚娘才會更 媚； 王崇文愈被動，劇情就愈
人性化； 劇本剪裁上也須更緊 湊，迎合新人類對演時較濃縮 的需要。
又換句話說，人們都在「偽 裝」。媚娘的「偽裝」，道士的 道破「偽裝」，狂僧似「偽裝」 卻非「偽裝」。前輩阮兆輝將 會在「精新版」裏轉演狂僧一 角，以舊為新，他會用富戲曲 規範的模式，偏偏嬉笑怒罵，
去道破狐妖的偽裝，諷刺王 崇文相信偽裝的以奸為忠之惡 果，道破「天道好還，但愚而 迷者不悟耳」的主題道理。
值得一提，是陳蓉這以大青衣行 當演繹的角色，她很穩重，沒 有媚娘般起彩，卻是劇中最大的 苦主——《畫皮》在某個程度上 的隱性寓意，表面是談善惡因 果，但骨子裏卻道出男人犯錯、 女人善後，在男權社會裡的紅顏 皆禍水。筆者不欲改變這經典 故事結局，但在女性思想自主獨 立的現代來說，這種明顯的「偽 裝」式結論，真正做錯事的人， 不言而喻，不道而破。
謝曉瑩
The Painted Skin is considered a rather unique play among the approximately 30 works by the Hong Kong Xiqu Troupe because it made its premiere in 2020, a year that took a heavy toll on live performances in the city. Fortunately, we managed to hold two performances of the show before everything was brought to a halt.
“The Painted Skin” is one of the classic short stories from Strange Tales from a Chinese Studio by Pu Songling, featuring a salient but perilous character—the fox demon Lady Mei—who seduces and devours people. The story revolves around her seduction of scholar Wang Chongwen and is known for the scene in which Wang’s wife, Chen Rong, has to make amends for her husband's mistake, as it highlights the themes of karma and destiny. Lady Mei and Chen are significant roles and it was decided that the main actress would play both characters. Indeed, as the author of this version of The Painted Skin, I had to both write and act in the production, placing myself under great pressure. On the one hand, making Lady Mei too lifelike might be criticised as an exaggeration; but on the other hand, it would be unprofessional from a scriptwriter's point of view if the character was not vividly depicted. In the end, I separated myself from the role and decided to write Lady Mei from the perspective of a professional scriptwriter.
Lady Mei only appears in the first two scenes as a main character. After the premiere, scholar Cheung Man-wai remarked: “As for the ‘ghostly’ performance, the male and female protagonists have a critical part to play. Tse Hue-ying plays Lady Mei, who beguiles the scholar Wang Chongwen with her beauty... As a mistress, the fox demon is definitely not pleasing, but her eyes and youthful makeup all simply add an extra layer of coquetry, making her ‘seduction’ not too obnoxious while the scholar’s emotional cheating seems reasonable.” This is an ideal artistic goal for the character, and it is fun to compare it to the virtues expected of respectable women upheld by Mrs. Wang: smile without showing teeth and walk without rotating the skirt. In fact, as far as traditional opera literature is concerned, it has never been difficult to write about the eroticism of both sexes. For example, in Hong Sheng's The Palace of Eternal Youth, the discussion of Yang Guifei's voluptuous body is extremely exquisite without becoming obscene, which makes the text gracefully eloquent. Likewise, in various operas, the male and female leads may not have the same physical contact as movie actors and actresses, but they are graceful and subtle enough to move the audience with their reservedness. It is this restraint that gives rise to a different range of emotions, tantalising
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the audience instead of offering the overtly expressed romance seen in modern dramas.
In the first half of 2022, the third year of the pandemic, the China National Arts Fund opened its doors to Hong Kong and Macau for the first time. The Painted Skin, produced by the Hong Kong Xiqu Troupe, was honoured to be selected as a funded project, prompting this collaboration with the Hong Kong Arts Festival and subsequently providing us with high-quality support to optimise and refine the work.
“Beneath its graceful exterior lies a sinister purpose” is the central idea of The Painted Skin, a painfully heartfelt truth particularly highlighted by the COVID-19 period. It was the ugliness of humanity exposed during the past three years that inspired the author to give this new version of The Painted Skin a more profound interpretation. Thanks to the advancements of modern theatres, the new stage lighting design, Maestro Ko Yun-hung's top-notch musical composition, and the abstract and figurative setting, it is hoped that a greater depth has been given to the story, and that the audience’s imagination will be inspired by the image of the fox demon. The new edition has also been streamlined with the removal of unnecessary movements and singing. In addition, characters are now more precise: Mrs. Wang has become more dignified to
highlight Lady Mei’s coquetry; and Wang Chongwen has been made more passive to further humanise the plot. Overall, the story was more tightly scripted and edited to meet the expectations of contemporary theatregoers.
Throughout The Painted Skin, people are “pretending”: the “disguise” of Lady Mei, the “disguise” revealed by the Taoist priest, and the “disguise” of the mad monk who ends up being forthright. Veteran Yuen Siu-fai will play the role of the mad monk in a theatrical fashion—teasing and cursing to unveil the fox demon's disguise, satirising the consequences of Wang Chongwen's belief in using treachery as loyalty in disguise, ultimately highlighting the theme of the story: “Karma will prevail but the foolish shall never wake up to it.”
Despite being a prudent character performed as a virtuous female role (da qingyi), and outdone by Lady Mei’s gaudiness, it is worth noting that Chen Rong is the greatest victim in The Painted Skin. This is also the implicit moral of the story: on the surface the story seems to centre on karma, but at its core it reveals that even though women always have to deal with the aftermath of men’s mistakes, they are still regarded as the root of all trouble in a patriarchal society. I don’t want to change the ending of this classic story, but this obviously “pretentious” conclusion is
untenable. After all, the real wrongdoer is always exposed in due course.
Tse Hue-ying
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安能辨我是正邪？
A Classic Brought Back to Life in Cantonese Opera
清朝蒲松齡所撰的奇聞軼事小說《聊齋》故事〈畫皮〉，曾被多次拍成電影、電視，但搬上粵劇舞台 卻絕無僅有，本地粵劇花旦兼編劇謝曉瑩以此為藍本，創作原創粵劇。
“The Painted Skin”, a story from the classic story collection Strange Tales from a Chinese Studio by Qing dynasty writer Pu Songling, has regularly been adapted for film and television series, but rarely as a Cantonese opera. This alone makes the original Cantonese opera based on the story written by Tse Hue-ying, a local performer and playwright, unique enough, but she has gone even further.
她在劇中一人分飾兩角，時 而是由狐妖化身的妖艷外遇媚 娘，時而是賢淑矜持卻冷若冰 霜的髮妻陳蓉，兩角各走極端。 現代舞台效果加乘
此劇在 2020 年首演，2023 年獲 邀在香港藝術節重演，不過今 次屬精新版，劇本去蕪存菁， 以現代舞台效果為傳統粵劇錦 上添花。事隔四年重演，謝曉 瑩受訪強調今次情節更緊湊， 加強電影感，但「身段上保留 粵劇傳統」。為了帶給觀眾新衝 擊，她趁疫情表演停頓期間進 修，報讀了八和會館開設的燈 光設計課程，啟發了她在新版 本增加現代舞台燈光效果，營 造陰森而瑰麗的神話氣氛。例 如序幕一眾飾演狐妖的舞蹈員 戴上象徵人皮的面具舞動，她 預告會把場景燈光盡量調暗， 減少使用實景，狐妖如鬼魅出 沒，疑幻疑真，更加令觀眾 感受劇中所說的「知人口面不 知心」。
而現代舞的表現手法亦大派用
© Lawrence Ng @ Workhouse
專訪 Interview 20
場，其中一幕講述媚娘被男 主角王崇文發現真目面後，向 他亮爪挖心，女主角彷似拳握 一物作開合狀，象徵心臟在跳 動，謝曉瑩說：「我們不會用道 具心臟，血淋淋地拿出來…… 現在採用現代舞的方法表達， 完全沒有違背粵劇傳統的抽象 演繹，戲曲講求美感，觀眾能 意會就可，我們用『面口』（面 部表情)、肢體語言及音樂來 表達。」
越、崑、京劇元素添粵劇戲味 雖然採用現代舞台表達手法， 但一看此劇班底，則發現集傳 統多家之大成。導演是著名上 海越劇表演者史濟華，以及知 名崑劇表演藝術家王芝泉之女 兼京劇演員王蕾。謝曉瑩 2014 年拜史濟華和王芝泉為師，《畫 皮》也不經意地融入越、崑、 京三大劇種優點。
而師父史濟華與謝曉瑩商量劇 本時，亦強調要保留粵劇味， 謝曉瑩說：「由於上海越劇的演 繹很生活化，動作表情都非常 細膩」。為塑造媚娘與陳蓉兩個 對比鮮明的女角，謝曉瑩不斷 請教身處內地的王蕾，對方以 視像遙距指導角色的坐姿、站 姿、表情和說話語調等，例如 媚娘頭總是微側，斜眼望向王 生，而陳蓉則永遠正襟危坐， 目不斜視，即使由謝曉瑩一人 飾演，觀眾也不會混淆。而 京劇元素也為角色情緒增添層 次，謝曉瑩借用京劇程派的水 袖表演，來呈現平時極認真的
In her opera version of The Painted Skin, Tse takes on two main roles: the fox spirit who turns into a young woman and seduces a married man named Wang, and his faithful yet indifferent wife, Chen. The acting challenge facing Tse is significant, given that the two characters are going to different extremes.
A spooky classic seen in a new light
The opera made its premiere in 2020 and is making a return to the 51st Hong Kong Arts Festival in 2023. With its script updated, this “refined edition” incorporates modern stage effects into a traditional Cantonese opera, which is simply the icing on the cake. Returning with The Painted Skin after almost four years, Tse emphasises in an interview with FestMag that the plot is now more tightly knit and cinematic, while preserving the stylised movements and postures of Cantonese opera tradition. To bolster the experience for the audience, Tse enrolled in a stage lighting course with the Chinese Artists Association of Hong Kong (Barwo) when performances were suspended due to the pandemic. She was inspired to incorporate modern stage lighting effects in a bid to create a gloomy and mystical atmosphere. In the prologue, for example, when the dancers playing fox spirits put on masks representing human faces,
the stage lighting is dimmed, making the emergence of the fox spirits uncanny and hallucinatory, highlighting the message of the story: that appearances can be deceptive. Modern dance is also incorporated into the performance. In one scene, the protagonist Wang finds out the true identity of Mei, the fox spirit, and she reveals her claws and attempts to tear out his heart. Mei relaxes and tightens her fist as if holding Wang’s beating heart. Tse says: “We are not using a prop of a bloody heart … We are adopting the techniques of modern dance, without betraying the tradition of abstract expression in Cantonese opera. Opera is all about aesthetics. As long as the audience understands, we can communicate using facial expressions, body language and music.”
Elements of Yue opera, Kun opera and Peking opera enrich Cantonese opera
Despite adopting forms of expression from modern theatre, the opera performance fuses together influences from various schools of traditional Chinese opera. The co-directors are a renowned Yue opera performer from Shanghai, Shi Jihua, and Wang Lei, a Peking opera performer and the daughter of notable Kun opera artist Wang Zhiquan. Tse became a student of Shi and Wang in 2014, so
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陳蓉，面對丈夫失去心臟時的 焦急狂態。
《畫皮》以京、崑身段配上廣東 粵劇的音樂，渲染溫柔鄉的意 境。謝曉瑩的丈夫高潤鴻身兼 藝術總監、音樂設計兼音樂領 導。自小從事粵劇音樂創作的 他表示，取材江蘇民間小調的 《秦淮景》一曲在劇中不斷重 複演奏，用意勾起觀眾情緒。
當媚娘勾引王生時，出場正是 演奏此曲，而到後來陳蓉為救 丈夫，被狂僧調戲時，同樣奏 起此曲。高潤鴻指，以音樂 帶出因果報應，只是無奈又諷 刺地，丈夫的因卻要由妻子來 承受果。
謝曉瑩以前曾在訪問中說過， 創作原創粵劇是想為自己度身 訂造角色，惟今次是例外，媚 娘和陳蓉都跟她不像，但她要 給自己下戰書，挑戰演技。謝 曉瑩笑言，丈夫高潤鴻以前不 想她演媚娘這類角色。高潤鴻 說：「我們會稱這類角色是『花 衫姣婆戲』，容易攞采（令人 難忘），但一易攞采就會被定 型」。這對年輕演員來說不是好 事，但他認為現在的謝曉瑩早 已身經百戰，演活過女將穆桂 英，也演過慈禧的御前女官德 齡等無數角色，無須再憂慮。
謝、高兩人都認為，必須創作 原創粵劇，才能吸引新觀眾， 儘管《畫皮》曾多次被改編， 但原著只有短短千多字，大有 創作空間，謝曉瑩說舉例指 《帝女花》在 1957 年時也是新作
品，「粵劇排場是前人留給我們 的瑰寶，新創作是要有，但不 要濫」，三代在粵劇行業打滾的 高潤鴻認同道：「要有老行尊把 關很重要。」
The Painted Skin subtly takes inspiration from Yue opera, Kun opera and Peking opera. While revising the script with Tse, Master Shi reinforced the importance of maintaining the taste of Cantonese opera. Tse says: “The performance style of Shanghai Yue opera very much resembles everyday life, rendering every detail of the gestures and facial expressions.” To construct the characters of the two contrasting female protagonists, Mei and Chen, Tse frequently sought guidance from Wang. Though Wang was in mainland China, she gave advice on the characters’ postures when sitting and standing, their facial expressions and vocal tones. For example, Mei usually tilts her head, glancing at Wang, while Chen is always sitting
©Carol Lau
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撰文：陳詠恩，香港藝術節編輯 原文刊登於香港藝術節 2023 年之 《閱藝》雜誌
upright, looking straight ahead. These details help the audience differentiate between the two characters, despite them being played by the same performer. Elements of Peking opera also enrich the diversity of emotional expressions, such as how Tse employs the “sleeve movement” from the Cheng school of Peking opera in expressing the hysteric anxiety of the normally serious Chen when learning her husband had lost his heart. These stylised movements from Peking and Kun opera are combined with the music of Cantonese opera.
Meanwhile, Tse’s husband, Ko Yun-hung, serves as artistic director, music designer and music lead. Ko, who has been composing music for Cantonese opera since a young age, arranged repeated playing of The Scenes of Qinhuai, taken from a Jiangsu folk ditty, to arouse emotions among audience members. The piece is played when Mei enters and seduces Wang, and again when Chen is harassed by a wild monk as she attempts to save her husband. Ko says this repetition hints at the cycle of karma initiated by Wang, which unfortunately is inflicted on his wife.
Tse mentioned during a previous interview that her intention when writing original Cantonese opera scripts was to create characters for herself, which may be surprising considering how different she
is from Mei and Chen. She remembers that her husband was originally not in favour of her taking on such characters, with Ko saying: “It’s easy to impress the audience with these types of seductive and flirtatious characters. But once they are easily impressed, you may become stereotyped.” This may be a concern for young actors, but now that Tse has gained experience playing a diverse range of characters, such as Mu Guiying, the female general, and Der Ling, the lady in waiting of Empress Dowager Cixi, this is no longer a concern.
Both Tse and Ko agree that to attract new audiences, it is important that new original Cantonese opera works are created. Although “The Painted Skin” has been widely adapted, the original text is quite short, just more than 1,000 characters long, and still contains great potential for further creative writing. Tse mentions the adaptation of Floral Princess in 1957 as an example. She says: “The performance aspects of Cantonese opera are a form of heritage passed down to us by our predecessors. We need creative works as well, but they should not be shoddily produced.” And Ko, who comes from a family engaged in Cantonese opera for three generations, agrees: “Advice from experienced masters is crucial.”
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Text: Eugene Chan, HKAF Editor Originally published in the HKAF's 2023 FestMag
Hong Kong Xiqu Troupe
香港靈宵劇團 由阮兆輝、廖國森等前輩參演 及指導； 高潤鴻任藝術總監、 音樂領導、設計及統籌； 謝曉 瑩任劇團主席、正印花旦、編 劇及服裝設計，製作班底實力 極雄厚。
2017 年獲衞奕信勳爵文物信託 資助，把研究古本進行修復。
2020 年本團原創的《宋徽宗． 李師師．周邦彥》代表香港於 全國基層戲曲院團網絡會演 上直播，觀賞人次達 260 萬。
2021 年推出首個粵劇跨媒介仿 「角色扮演遊戲」新劇《重生趙 飛燕》網絡互動版，同年獲頒 發第十五屆香港藝術發展獎—— 藝術推廣獎。2022 年創立「靈 宵藝舘直播室」，積極為戲曲 尋求新的生存形式。同年又組 建讓青年演員實踐理想的夢工 場——青靈宵。
The Hong Kong Xiqu Troupe production team is comprised of top-notch talent. The Troupe stars and is instructed by Yuen Siu-fai, Liu Kwok-sum and other veterans, with Ko Yun-hung as Artistic Director, musical leader, designer and co-ordinator, and Tse Hue-ying as Chairwoman of the Troupe, the leading female actress, scriptwriter and costume designer.
Having received a grant from the Lord Wilson Heritage Trust in 2017, the Troupe has restored several traditional Cantonese opera scripts. In 2020, an original play by the Troupe, Emperor Song Huizong - Li Shi Shi - Zhou Bangyan, was streamed on the National Grassroots Xiqu Performance Network show with 2.6 million views. In 2021, the Troupe launched the first crossmedia online interactive version of a new play Reincarnation of Zhao Feiyan; in the same year the Troupe received the Arts Promotion Award at the 15th Hong Kong Arts Development Awards. In 2022, the Xiqu Live Studio was established on YouTube to explore new channels for performances; Young Xiqu was founded in the same year to help young actors and actresses to realise their dreams.
香港靈宵劇團
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編創人員簡介 Creative Team Profiles
as Chen Rong
(Wang Chongwen’s wife)/
Lady Mei (fox demon)
Tse Hue-ying
編劇及演員
Playwright and Performer
謝曉瑩是粵劇正印花旦及編劇。
香港大學中文學院哲學碩士畢 業，研究戲曲劇本文學。她為 香港靈宵劇團、金靈宵、青靈宵 劇團主席；香港戲曲總會有限公
司創立董事；廣東省青年聯合會
委員；香港青年聯會會員。她亦
是上海越、崑名家國家一級演員 史濟華、王芝泉入室弟子。依 次隨許君漢、陳小華、劉國色、 賀夢梨、梁素琴、元武、蘭天 瑛、王惠玲、蔣豔紅、周鎮邦、 京劇老師王蕾、和志莉、越劇老 師洪瑛等進修。廣東南派方面， 隨劉家榮習南拳；蔡豔香習古老 排場、「穆桂英大架」、《西河救 夫》等；亦得到蔡翠紅、羅家英 授南派劇目《搜宮》，代表「粵
劇青年演員交流之旅」在重慶市 川劇院示範演出。她至今已編 寫三十多個劇本。2022 年度國 家藝術基金資助首次開放予港澳 地區申請，香港獲資助的九項申 請中，《畫皮》及《馬湘蘭》均 為曉瑩編寫的作品。2015 香港 藝術發展獎藝術新秀獎（戲曲） 得主。2001 年度香港學校粵曲 推廣計劃粵曲歌唱比賽—公開獨 唱組冠軍。
Graduating with an MPhil with a focus on Chinese opera literature from the Department of Chinese Language and Literature of the University of Hong Kong, Tse Hue-ying is a zhengyin huadan (principal female) in Cantonese opera as well as a playwright. She is the Chairwoman of the Hong Kong Xiqu Troupe, Grand Xiqu and Young Xiqu. She is also the Director of the Hong Kong Xiqu Association and a committee member of the Guangdong Youth Federation and the Hong Kong United Youth Association. She is a disciple of Shi Jihua and Wang Zhiquan, two firstclass performers of Yue and Kun opera in Shanghai. She has also followed Xu Junhan, Chen Xiaohua, Liu Guoshe, He Mengli, Liang Suqin, Yuan Wu, Lan Tianying, Wang Huiling, Jiang Yanhong, Zhou Zhenbang, Peking opera masters Wang Lei and He Zhili, and Yue opera master Hong Ying to practice singing. As for southern Chinese kung fu, Tse learned nanquan (Southern Fist) with Lau Karwing and formulaic plays, known
as Patterned Performance Segments, with Choy Hinheong, such as Mu Guiying Dajia (acrobatic skills on stage) and Saving Her Husband at the West River. She also studied the southern repertoire Searching the Palace under the instruction of Choy Tsui-hung and Law Kar-ying, subsequently taking part in the Cantonese Opera Young Performers Exchange Tour in a performance at the Chongqing Chuanju Theatre. She has written more than 30 plays so far. The China National Arts Fund accepted applications from Macau and Hong Kong in 2022 for the first time, and among the nine approved projects from Hong Kong, The Painted Skin and Orchid of the River Xiang were both written by Tse. In 2015, Tse received the Award for Young Artist (Xiqu) at the Hong Kong Arts Development Awards. Early in 2001, Tse was the champion of the Open Solo Singing Group in the Hong Kong Schools
Cantonese Opera Promotion Scheme–Cantonese Opera Singing Competition.
謝曉瑩 飾 –陳蓉、媚娘/狐妖
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於上海越劇院實驗劇團任主要演員，先承徐派，後師范派。曾任上 海戲劇家協會主席團委員，上海市第二至四屆文代會代表。曾獲上 海市首屆青年匯演演員獎、上海市首屆戲劇節演員獎、上海市第三 屆戲劇節優秀配角獎及花冠獎、上海市「三新杯」演員獎、上海市首 屆白玉蘭戲劇表演主角獎等。
A leading actor in the Experimental Troupe of the Shanghai Yue Opera Group, Shi Jihua is a student and follower of the School of Xu and School of Fan respectively. He was a member of the Shanghai Theatre Association chairman’s committee, and the representative of Shanghai in the second, third and fourth China Federation of Literary and Art Circles. Over the years, Shi has received the Actor Award at the first Shanghai Young Talents Festival, the Actor Award at the first Shanghai Drama Festival, the Outstanding Supporting Actor Award and the Corolla Award at the third Shanghai Drama Festival, the Actor Award at the Triple Innovation Awards in Shanghai, and the Lead Actor Award at the Shanghai White Magnolia Awards for Theatrical Art.
知名京劇人及製片人。畢業於上海戲曲學院，專攻青衣、刀馬。出 生藝術世家，母親為有「武旦皇后」美譽的國家非遺傳承人王芝泉 女士。曾隨梅蘭芳劇團赴港演出，和梅葆玖老師結下深厚情緣。曾 在阿姆斯特丹創作演出舞台劇，是荷蘭女王特批的中國藝術人才； 世界巡迴演出《霸王別姬》；在上海青年京崑劇團擔任教學和演出策 劃總監。
The renowned Peking opera performer and producer graduated from the Shanghai Theatre Academy and specialises in playing qingyi (virtuous female) and daoma (female warrior) roles. Born into a family of artists, her mother, Wang Zhiquan, acquired the title of “Queen of Wudan” (a female military role). She performed in Hong Kong with the Mei Lanfang Peking Opera Troupe, subsequently forging a close relationship with master Mei Baojiu. Recognised as a Chinese talent by the Queen of the Netherlands, Wang Lei created and performed a play in Amsterdam. Wang also toured the world in Farewell My Concubine. She is the teacher and director of performance and planning at the Shanghai Youth Jing-kun Opera Troupe.
演員簡介 Cast Profiles
史濟華 Shi Jihua 導演 Director 王蕾 Wang Lei 導演 Director
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高潤鴻來自粤劇世家，三代皆為粤樂名家，乃已故著名粤劇擊樂領 導高根先生之孻子。1993 年拜入「簫王」廖森先生門下。八歲入 行、十二歲於美加登台獨奏嗩吶，赢「神童樂師」美譽，並於十四 之齡當上擊樂領導。及後為避免與兄長高潤權同一路子發展，改任 「頭架」，精通多種樂器、作曲、編曲，現任靈宵藝術總監及多個具 規模劇團的音樂領導。香港電台 2016「戲曲天地梨園之最—音樂領 導獎」及 2014「年度藝術家年獎（戲曲）」得主。
Born into a three-generation family of Cantonese opera artists, Ko Yun-hung is the youngest son of the late Cantonese opera percussion master Ko Kun. He became the apprentice of famous xiao (Chinese flute) maestro Liu Sum in 1993. Starting his career at the age of eight, Ko played suona (Chinese double-reed aerophone) as a soloist at the age of 12 in the US and Canada, being recognised as a musical prodigy. He later became a percussion leader at the age of 14. To avoid following the same path as his brother Ko Yun-kuen, he chose to become an ensemble leader of melodic groups with expertise in multiple instruments, composing and arrangement. Ko is now Artistic Director and Musical Leader of the Hong Kong Xiqu Troupe and other well-established troupes in the city. He was the winner of the Musical Leader Award at the Best of Pear Garden of Cantonese Opera by RTHK in 2016 and was named Artist of the Year at the Hong Kong Arts Development Awards 2014.
高永熙出身粵劇擊樂世家，師承父親高潤權、叔父高潤鴻，及廣東 粵劇學校粵劇科科長蘇學成。畢業於廣東粵劇學校（現廣東舞蹈戲 曲藝術職業學院）。2005 年赴廣東粤劇學校學習粤劇，2010 年回港 接受父親的教導，曾為香港靈宵劇團、紫迎楓劇團、東昇劇團及香 港八和會館「粤劇新秀演出系列」等擔任掌板（擊樂領導）。
Born into a family of Cantonese opera percussionists, Ko Winghei was apprenticed to his father, Ko Yun-kuen, and uncle Ko Yunhung, as well as Su Xuesheng, the head of the Cantonese Opera Department of the Guangdong Cantonese Opera School. In 2005, he began studying Cantonese opera at the Guangdong Cantonese Opera School (now the Guangdong Dance and Drama College), and returned to Hong Kong in 2010 upon graduation to advance his skills under his father. Ko has been appointed Percussion Leader for the Hong Kong Xiqu Troupe, the Purple Maple Chinese Opera Troupe, East Sing Cantonese Opera Troupe, and the Chinese Artists Association of Hong Kong, participating in the Cantonese Opera Young Talent Showcase series.
高潤鴻 Ko Yun-hung 藝術總監、音樂設計及領導
Artistic Director, Musical Designer and Leader
高永熙 Ko Wing-hei
擊樂領導 Percussion Leader
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演員簡介 Cast Profiles
梁兆明是國家一級演員。十三歲入湛江小孔雀粵劇培訓班，獲表演 藝術家孔雀屏的薰陶和培養，又得到林家聲的賞識，1997 年得林錦 堂收為入室弟子。2010 年以一折《風雪山神廟》參加上海世界博覽 會演出，曾獲廣東省戲劇演藝大賽金獎、廣東省第 11 屆藝術節優秀 演員獎，及「廣東省十佳中青年演員」。2012 年獲批「優秀人才入 境計劃」來港發展。
A national first-class artist, Liang Zhaoming was admitted to the Xiao Kong Que Cantonese Opera training course at the age of 13, where he was trained and nurtured as a Cantonese opera actor under performance artist Kong Queping. Liang's talent was subsequently acknowledged by Cantonese opera maestro Lam Ka-sing. In 1997, he was apprenticed to the prominent Cantonese opera master Lam Kam-tong. In 2010, Liang performed Snowstorm in the Mountain Spirit Temple at the 2010 Shanghai Expo. Having received the Gold Award at the Guangdong Drama and Performing Arts Competition, the Outstanding Artist Award at the 11th Guangdong Arts Festival, and included among the Top 10 Young Performers of Guangdong province, Liang relocated to Hong Kong through the Quality Migrant Admission Scheme in 2012.
阮兆輝是資深粵劇表演藝術家，七歲從藝，師承丁香耀、麥炳榮、 袁小田等。現為香港中文大學音樂系客座副教授、一桌兩椅慈善 基金有限公司藝術總監、香港作曲家及作詞家協會會員、香港康樂 及文化事務署博物館專家顧問、香港教育大學粵劇傳承研究中心顧 問、「粵曲考級試」首席考官以及香港靈宵粵劇團藝術顧問，致力 粵劇教育及承傳。
Yuen Siu-fai is a veteran Cantonese opera performer. Dedicated to the preservation of and education about Cantonese opera, Yuen started his career at the age of seven and studied under Ting Heung-yiu, Mak Ping-wing and Yuen Siu-tin. He is currently Visiting Associate Professor at the Department of Music of the Chinese University of Hong Kong, the Artistic Director of One Table Two Chairs Charitable Foundation Limited, a member of the Hong Kong Composers and Authors Society, an expert museum advisor to the Hong Kong Leisure and Cultural Services Department, an advisor to the Research Centre for Transmission of Cantonese Opera at the Education University of Hong Kong and the Chief Examiner of the Cantonese Operatic Singing Examinations.
梁兆明 飾 王崇文 Liang Zhaoming–Wang Chongwen 阮兆輝 飾 狂僧 (濟公化身) Yuen Siu-fai–the mad monk (Jigong)
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廖國森是八和粤劇學院第一屆學員，隨任大勳老師學習北派及王粤 生老師學習唱腔，並於結業演出甚獲好評，隨後受雛鳳鳴劇團邀請， 擔演《辭郎州》雷俊一角，以及演出《李後主》、《英烈劍中劍》、《蝶 影紅梨記》多個劇目。其唱功和舞台功架有突出表現，成為各班政 家及各劇團邀請參演之紅伶。
A student of the first cohort at the Cantonese Opera Academy of Hong Kong, Liu Kwok-sum followed master Yam Dai-fan to study northern-style kung fu and master Wang Yuesheng to undertake singing training. His graduation performance received acclaim, subsequently being invited by the Chor Fung Ming Opera Troupe to play the role Lei Jun in Farewell to a Warrior, and perform in The Last Emperor of Southern Tang, The Sword of the Valiant and Romance of the Red Pear Blossoms. Liu’s impressive singing and stage techniques have made him a sought-after artist for various troupe management and theatre companies.
吳立熙工小武，兼演老生及丑生。早年參加雯藝軒兒童粤劇培訓， 師承黃綺雯、楊明、何家耀、關世振等。完成八和粤劇學院課程後， 投身專業演員。2012 年起參與八和會館「粤劇新秀演出系列」，曾主 演《長坂坡》、《三氣周瑜》、《三帥困崤山》等。2020 年獲第十四屆 香港藝術發展獎——藝術新秀獎（戲曲）。現為青靈宵及靈宵藝舘直 播室主要成員。
Ng Lap-hei is a specialist in siumou (young military male roles) who also plays lousang (bearded male roles) and chousang (comic roles). He attended the Emily Music Forum for Cantonese opera training in his early years, having been apprenticed to Wong Yee-man, Yeung Ming, Ho Jiayao and Guan Shizhen. After graduating from the Cantonese Opera Academy of Hong Kong, Ng became a professional performer. Since 2012, Ng has taken part in the Cantonese Opera Young Talent Showcase series of the Chinese Artists Association of Hong Kong, starring in On the Slopes of Charngbaan, Insulting Zhou Yu Thrice and Three Generals Besieged at Mount Yao. In 2020, he received the Award for Young Artist (Xiqu) at the Hong Kong Arts Development Awards. Ng is a key member of Young Xiqu and Xiqu Live Studio.
廖國森 飾 媚娘 (真身) Liu Kwok-sum–Lady Mei (real body) 吳立熙 飾 丹霄道人 Ng Lap-hei–Taoist priest
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Vong Seng-pen–Wang
Chongwu (Wang Erlang)
黃成彬師承趙興華、張春圓。幼年於澳門藝術節擔演《雙槍陸文 龍》及《周瑜》，後於廣州演出《雙槍陸文龍》，得紅線女老師指 導。現於香港發展，投身粤劇專業演員，為香港八和會館「粵劇新 秀演出系列」演員。
Apprenticed under Chiu Hing-wah and Cheung Chun-yuen, Vong Seng-pen starred in The Double-Speared Lu Wenlong and Zhou Yu in the Macau Arts Festival at a young age. While performing The Double-Speared Lu Wenlong in Guangzhou, he was lauded and guided by Cantonese opera maestro Hung Sin-nui. Now a professional Cantonese opera artist in Hong Kong, Vong is a performing artist in the Cantonese Opera Young Talent Showcase series of the Chinese Artists Association of Hong Kong.
梁心怡
Leung Sum-yee–Madam
Zhang (Wang Chongwu’s wife)
梁心怡十歲加入兒童粵劇團，師承尹飛燕，啟蒙老師呂洪廣、張寶 華，並隨林錦堂習唱。八和粵劇學院青少年粵劇演員訓練班第一屆 畢業學員，現為香港八和會館理事會理事及油麻地戲院粵劇新秀演出 系列之演員。2017 年於港大法律系畢業，2020 年取得律師執業資格， 為提升粵劇造詣，同年報讀香港演藝學院兩年制粵劇高等文憑課程。
Attending the Children's Cantonese Opera Association since the age of 10, Leung Sum-yee was apprenticed to Wan Fai-yin. She is also a protégé of Lui Hung-kwong and Flora Cheung, while learning singing under Lam Kam-tong. Leung was a graduate of the first batch of the Young Cantonese Opera Performers course at the Cantonese Opera Academy of Hong Kong and is now a member of the Board of Directors of the Chinese Artists Association of Hong Kong. She also participated in the Cantonese Opera Young Talent Showcase series at Yau Ma Tei Theatre. A graduate of the Faculty of Law at the University of Hong Kong in 2017, Leung was qualified as a solicitor in 2020. In order to hone her skills in Cantonese opera, she enrolled in the two-year Higher Diploma Programme in Cantonese Opera at the Hong Kong Academy for Performing Arts in the same year.
黃成彬 飾 王崇武 （王二郎）
飾 張氏 （王崇武妻）
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製作人員簡介 Production Team Profiles
鍾寳儀
鍾寳儀為香港演藝學院藝術學士學位（舞台燈光設計），畢業後與香 港話劇團、香港靈宵劇團等不同藝術團體，及拔萃女書院、香港仔 聖伯多祿中學等等學校團體合作，擔任燈光設計師和客席舞台燈光設 計講師。
The holder of a Bachelor of Fine Arts (Stage Lighting Design) degree from the Hong Kong Academy for Performing Arts, Coco Chung Poyee has worked with arts groups including the Hong Kong Repertory Theatre and the Hong Kong Xiqu Troupe, as well as different schools such as the Diocesan Girls' School and St. Peter's Secondary School as a lighting designer and guest lecturer on stage lighting design.
韓燕明出身梨園世家，師承蓋叫天之子張二鵬，於浙江京劇團擔任 武生。曾獲全省戲曲匯演一等獎、全國優秀演員獎及全國戲曲電視 大獎賽影評獎等。移居香港後在各大劇團任武術指導，現於香港八 和粵劇學院擔任基本功及排戲導師。
Born into a family of renowned Peking opera artists, Han Yanming studied under Zhang Erpeng, the son of xiqu maestro Gai Jiaotian. Later, he joined the Zhejiang Peking Opera Troupe to play martial roles. He has won awards such as the Class One Award at the Provincial Chinese Opera Showcase, the Excellent Actor Award at the National Chinese Opera Showcase, and the Critics’ Choice Award at the All China Traditional Theatre Television Grand Prix. After relocating to Hong Kong, Han has been working as a martial arts advisor for major Cantonese opera troupes for nearly three decades. He is now an instructor teaching Cantonese opera basics and performance at the Cantonese Opera Academy of Hong Kong.
Chung Kit-sum
舞蹈設計 Choreographer
鍾潔心是香港演藝學院舞蹈學院藝術學士，獲北京舞蹈學院教師資 格證書及澳洲聯邦舞蹈教師協會現代爵士舞考級證書。曾獲全國第 三屆少數民族文藝大匯演表演金獎、國際爵士舞蹈節評委獎及觀眾 獎等。2009 年為何鴻毅家族基金擔任首批導師並赴台受訓。
After majoring in Chinese dance, Chung Kit-sum obtained a Bachelor of Fine Arts Degree from the Hong Kong Academy for Performing Arts. She has attained the Beijing Dance Academy Teacher's Certificate and C.S.T.D. Certificate of Modern Jazz (Australia). She received the Gold Award at the third Minorities Art Festival of China, and the Jury Prize and Audience Award at the International Festival Jazz Dance Open in 2013. She served as one of the first mentors for the Robert H.N. Ho Family Foundation and went to Taiwan for advanced training in 2009.
Coco Chung 燈光設計 Lighting Design
韓燕明 Han Yanming 武術指導 Martial Arts Instructor
鍾潔心
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鳴謝
ACKNOWLEDGEMENTS
香港藝術節衷心感謝下列機構及人士的慷慨支持：
The Hong Kong Arts Festival would like to thank the following for their generous support:
香港藝術節基金會贊助人
Hong Kong Arts Festival Foundation Patrons
首席創始贊助人 Lead Founding Patrons
陳俊豪先生 Mr Thomas Chan
黃廷方慈善基金 Ng Teng Fong Charitable Foundation
電訊盈科 PCCW
九龍倉集團 The Wharf Group
主要創始贊助人 Major Founding Patrons
萬通保險國際有限公司 YF Life Insurance International Ltd
眾安銀行 ZA BANK
創始贊助人 Founding Patrons
陳煒文博士, JP Dr Raymond Chan, JP
丹斯里拿督邱達昌 Tan Sri Dato’ David Chiu
曹其鋒先生 Mr Silas Chou
霍建寧先生及霍何綺華女士 Mr and Mrs Canning and Eliza Fok
馮氏基金有限公司 E.M. Fung Foundation Limited
何超瓊女士, SBS , JP Ms Pansy Ho, SBS, JP
科勁國際（控股）有限公司 King’s Flair International (Holdings) Limited
梁婉玲博士 Dr Elina Leung
孫漢明博士 Dr Stephen Suen
包陪麗女士, BBS 及渡伸一郎先生 Ms Cissy Pao, BBS and Mr Shinichiro Watari
其他贊助人 Other Patrons
羅嘉瑞基金 KS & Feili Lo Foundation
孫大倫博士, BBS , JP Dr Dennis T L Sun, BBS, JP
慶祝香港藝術節五十周年晚宴之贊助人
Sponsors of the Hong Kong Arts Festival 50th Anniversary Gala Dinner
鑽石席 – 宴桌 Diamond Table Sponsors 香港上海匯豐銀行有限公司 上海商業銀行
洪祖杭博士, GBM , GBS , JP
鄭慕智博士, GBM , GBS , JP James Houghton 先生, 黃穎灝先生及梅慶堯先生 雍景欣女士
The Hongkong and Shanghai Banking Corporation Limited
Shanghai Commercial Bank
Dr the Hon Albert Hung Chao-hong, GBM, GBS, JP
Dr the Hon Moses Mo-chi Cheng, GBM, GBS, JP
Mr James Houghton, Mr Isaac Wong & Mr Arthur Mui
Ms Jingxin Yong
鑽石席 – 宴位 Diamond Seat Sponsors 呂元祥博士及夫人
譚允芝女士, SBS , SC , JP 龐維新先生及夫人 崇光(香港)百貨有限公司
黃金席 – 宴桌 Gold Table Sponsors 鄭阮培恩女士, 吳來盛先生及夫人 中美國際集團有限公司
華國強先生夫人 太古地產有限公司 卡地亞
黃金席 – 宴位 Gold Seat Sponsors 何苗春暉女士
林梅若梅女士
鄭馮亮琪女士
Janana Suleymanli Pasha 女士 鄭惠貞女士
張利平先生
Dr and Mrs Ronald Lu
Ms Winnie Tam Wan-chi, SBS, SC, JP
Mr and Mrs Wilson Pong
Sogo Hong Kong Company Limited
Mrs Betty Cheng, Mr and Mrs Emil Ng
Chung Mei International Holdings Limited
Mr Granger and Mrs Miriam Hwa
Swire Properties Limited
Cartier
Ms Joanna Hotung
Mrs Lavina Lim
Mrs Fina Cheng
Ms Janana Suleymanli Pasha
Ms Margaret Cheng
Mr Zhang Liping
鳴謝 ACKNOWLEDGEMENTS (續 con' t)
香港藝術節衷心感謝下列機構及人士的慷慨支持：
The Hong Kong Arts Festival would like to thank the following for their generous support:
贊助舍計劃會員 Patron’s Club Members
鉑金會員 Platinum Member
嘉里控股有限公司
Kerry Holdings Limited
黃金會員 Gold Member 怡和集團
The Jardine Matheson Group
其他支持機構 Other Supporters
加拿大駐香港及澳門總領事館
Consulate General of Canada in Hong Kong and Macao
實物支持機構 In - kind Supporters
大亞國際集團 Altaya Group
香港愉景灣酒店 Auberge Discovery Bay Hong Kong
香港君悦酒店 Grand Hyatt Hong Kong
虎豹樂圃 Haw Par Music
藝術節捐助計劃 Festival Donation Scheme
鉑金捐款者 PLATINUM DONOR
HK$140,000 或以上 OR ABOVE
孫大倫博士, BBS , JP Dr Dennis T L Sun , BBS , JP
鑽石捐款者 DIAMOND DONORS
HK$70,000 – HK$139,999
瑞安集團 Shui On Group
Dr Patrick Tong
文藝女士 Ms Wen Yi
翡翠捐款者 JADE DONORS
HK$30,000 – HK$69,999
無名氏 Anonymous
陳求德醫生及夫人 Dr & Mrs KT Chan
Ms Leung Wai Yee Candice
馬美域女士 Ms Yvette Therese Ma
Dr Stephen Suen
楊傳亮先生, BBS , JP Mr Charles Yang , BBS , JP
黃金捐款者 GOLD DONORS
HK$12,000 – HK$29,999
無名氏 ( 2 ) Anonymous ( 2 )
Mr & Mrs Jeffrey & Helen Chan
Mr Edmond Huang
Dr Peter and Nancy Thompson
Dr Sabrina Tsao
曹延洲醫生夫人 Dr & Mrs Tsao Yen - Chow
Mrs Linda Wang
Mr & Mrs YS Wong
純銀會員 Silver Members 太古集團慈善信託基金
The Swire Group Charitable Trust
上海商業銀行有限公司
Shanghai Commercial Bank Limited
荷蘭駐港總領事館
Consulate of the Kingdom of the Netherlands in Hong Kong and Macau
香港故宮文化博物館 Hong Kong Palace Museum
文陳妙蘭女士 Mrs Christina Man
信興集團 Shun Hing Group
純銀捐款者 SILVER DONORS
HK$6,000 – HK$11,999
無名氏( 3 ) Anonymous ( 3 )
Dr Gillian Choa
Ms Ho Man Fung Edith
Mrs Schmitt Ling Jane
文娛慈善基金 The Elementary Charitable Foundation
Ms Isabel Yiu
Mr Vernon Zhang
青銅捐款者 BRONZE DONORS
HK$3,000 – HK$5,999
無名氏( 2 ) Anonymous ( 2 ) AWORKS . DESIGN
Jose Manuel Sevilla and Julie Bisaillon
Mrs Anson Chan
鍾雅妍博士 Dr Fiona Chung
Ms Zoe Ho
Ms Li Lian Khoo
Dr Alfred Lau
Apple Lee
李芸輝博士 Dr Lee Wan Fai Walter
Savita Leung
Dr Michael Mak
Dr & Mrs Joseph Pang
San Miguel Brewery Hong Kong Ltd .
Mr A . Smith
The Brandon Centre Limited
Mr Wong Yick Kam
姚曼儀女士 Ms Enoch Yiu
朱玉迎女士 Ms Zhu Yuying
學生票捐助計劃 Student Ticket Scheme
鉑金捐款者 PLATINUM DONORS
HK$140,000 或以上 OR ABOVE
無名氏( 2 ) Anonymous ( 2 )
馬振玉慈善基金會有限公司
CYMA Charity Fund Ltd
鑽石捐款者 DIAMOND DONORS
HK$70,000 – HK$139,999
Mrs Purviz R Shroff , MH and
Late Mr Rusy M Shroff , BBS , MBE
田家炳基金會 Tin Ka Ping Foundation
芝蘭基金會 Zhilan Foundation
翡翠捐款者 JADE DONORS
HK$30,000 – HK$69,999
Mr Roger and Mrs Lina Lui
Dr Stephen Suen
黃金捐款者 GOLD DONORS
HK$12,000 – HK$29,999
Dr Chung See Yuen
天智合規顧問 CompliancePlus Consulting
Mr & Mrs Kenneth & Nelly Fung
C H Mak
Mr & Mrs Kenneth Quinn
曹延洲醫生夫人 Dr & Mrs Tsao Yen - Chow
純銀捐款者 SILVER DONORS
HK$6,000 – HK$11,999
無名氏 ( 2 ) Anonymous ( 2 )
新作捐助計劃 New Works Scheme
黃金捐款者 GOLD DONORS
HK$12,000 – HK$29,999
無名氏 Anonymous
劉仰澤先生 Mr Lau Yeung Chak
純銀捐款者 SILVER DONORS
HK$6,000 – HK$11,999
凌霄志醫生 Dr Tony Ling
區燊耀先生 Mr Au Son Yiu
Mr & Mrs Jeffrey & Helen Chan
Dr Chan Wan Tung
Mr & Mrs Norman Chui
Mrs Margaret Hamilton
Miss Jenny Hodgson
Mr Iain Bruce
麥禮和醫生 Dr Mak Lai Wo
Mr Vernon Zhang
陳穎儀與黃乃正
青銅捐款者 BRONZE DONORS
HK$3,000 – HK$5,999
無名氏 ( 3 ) Anonymous ( 3 )
Mr & Mrs Herbert Au - Yeung
Cynthia Cheng & Aaron Chan
Ms Kit Fung Cheung
Dr Alan Chiang
馮兆林先生太太 Mr & Mrs Fung Shiu Lam
Ms Maureen Leung
Ms Regina Lo
Ms Janice Ritchie
Mrs Anna Chan Sheh
Mr So Kin Man
文娛慈善基金 The Elementary Charitable Foundation
余德銘先生 Mr Desmond Yu
殷和順先生劉善萍夫人
Mr Vernon Zhang
青銅捐款者 BRONZE DONORS
HK$3,000 – HK$5,999
無名氏 Anonymous
Ms Judith Ling
Ms So Wing Yin
網上藝術教育捐助計劃 Digital Arts Education Scheme
青銅捐款者 BRONZE DONORS
HK$3,000 – HK$5,999
無名氏 Anonymous
HK CT Alumni Association
支持及協助 SUPPORT AND COOPERATION
教育局藝術教育組
Arts Education Section, Education Bureau
香港展能藝術會
Arts with the Disabled Association Hong Kong
香港愉景灣酒店
Auberge Discovery Bay Hong Kong
澳洲駐香港及澳門總領事館 Australian Consulate-General Hong Kong and Macau
奧地利駐香港總領事館 Austrian Consulate General
Hong Kong
樺利廣告有限公司 Avanny Advertising Co Ltd
宏基國際賓館 Bishop Lei International House
BRICK LANE
英國文化協會 British Council
英國駐香港總領事館 British Consulate General Hong Kong
百老匯院線 Broadway Circuit burgundy etc
CAMPSITE
粵劇發展基金 Cantonese Opera Development Fund
牛棚藝術村 Cattle Depot Artist Village
周生生集團國際有限公司
Chow Sang Sang Jewellery Co. Ltd
中信國際電訊(信息技術)有限公司
CITIC Telecom International CPC Limited
城市當代舞蹈團 City Contemporary Dance Company
城巿花園酒店 City Garden Hotel
思聯設計有限公司 CL3 Architects Ltd
比利時駐港澳總領事館
Consulate General of Belgium in Hong Kong and Macau 加拿大駐香港及澳門總領事館
Consulate General of Canada in Hong Kong and Macao
法國駐港澳總領事館
Consulate General of France in Hong Kong and Macau
西班牙駐香港總領事館
Consulate General of Spain in Hong Kong 瑞士駐香港總領事館
Consulate General of Switzerland in Hong Kong
荷蘭駐港總領事館
Consulate General of the Kingdom of Netherlands in Hong Kong and Macau
大韓民國駐香港總領事館
Consulate General of the Republic of Korea in Hong Kong
俄羅斯駐香港總領事館
Consulate General of the Russian Federation in the Hong Kong SAR, PRC
Die Konzertisten
拔萃女書院 Diocesan Girls' School
愛普生香港有限公司 Epson Hong Kong Limited
香港港威酒店 Gateway Hotel, Hong Kong
德國駐香港總領事館
German Consulate General Hong Kong
六國酒店 Gloucester Luk Kwok Hong Kong
香港歌德學院 Goethe-Institut Hong Kong
香港君悅酒店 Grand Hyatt Hong Kong
青苗琴行 Greenery Music
香港恒生大學
Hang Seng University of Hong Kong
學生事務處 Student Affairs Office
8 度海逸酒店 Harbour Plaza 8 Degrees
快達票香港有限公司 HK Ticketing
香港文聯 HKL&A
香港藝術行政人員協會 Hong Kong Arts Administrators Association
香港藝術中心 Hong Kong Arts Centre
香港浸會大學 Hong Kong Baptist University
音樂學院 Academy of Music
拉闊文化 Cultural Literacy Programme
英國語言文學系 Department of English Language and Literature
香港大會堂 Hong Kong City Hall
香港文化中心 Hong Kong Cultural Centre
香港電影資料館 Hong Kong Film Archive
香港黃金海岸酒店 Hong Kong Gold Coast Hotel
香港管弦樂團 Hong Kong Philharmonic Orchestra
香港公共圖書館 Hong Kong Public Libraries
香港旅遊發展局 Hong Kong Tourism Board
斯洛文尼亞駐港總領事館 Honorary Consulate of Slovenia in Hong Kong
香港都會大學
Hong Kong Metropolitan University
學生事務處 Student Affairs Office
登臺 Hotel Stage
宜必思香港中上環
ibis Hong Kong Central and Sheung Wan
工銀亞洲 ICBC (Asia)
入境事務處 Immigration Department
香港以外地區經濟事務辦事處新聞及公共關係組
Information and Public Relations Units in Offices
Outside Hong Kong
海景嘉福洲際酒店
InterContinental Grand Stanford Hong Kong
高山劇場 Ko Shan Theatre
九龍木球會 Kowloon Cricket Club
Kubrick
葵青劇院 Kwai Tsing Theatre
駐香港韓國文化院
Korean Cultural Center in Hong Kong
康樂及文化事務署
Leisure and Cultural Services Department
牧羊少年與他的浮萍 Lemna of the alchemist
中央人民政府駐香港特別行政區聯絡辦公室 Liaison Office of the Central People's Government in the HKSAR
嶺南大學 Lingnan University
黃炳禮音樂及演藝部
Wong Bing Lai Music and Performing Arts Unit
馬哥孛羅香港酒店 Marco Polo Hongkong Hotel
Maxibit HK/China
MCL K11 Art House
中華人民共和國文化和旅遊部
Ministry of Culture and Tourism, PRC 循道衛理聯合教會國際禮拜堂
Methodist International Church Hong Kong Mission Production Company Ltd
李鏡輝先生 Mr Alpha Li
黃月妙小姐 Ms Kitty Wong
黃宇軒先生 Mr Sampson Wong
音樂事務處 Music Office
北區大會堂 North District Town Hall
One Minden Tapas Kitchen
橙天嘉禾娛樂集團 Orange Sky Golden Harvest
Entertainment Group
柏斯琴行 Parsons Music Limited
奧華酒店 中環 Ovolo Central
卓滙達有限公司 Patsville Company Ltd
Performing Arts Fund NL
電訊盈科 PCCW Pixellent
犇華企業服務有限公司 Primasia Corporate Services Limited
鄭新文教授 Prof Tseng Sun-man
富豪酒店國際 Regal Hotels International
香港瑰麗酒店 Rosewood Hong Kong
皇家太平洋酒店 Royal Pacific Hotel
Russian Club in Hong Kong
沙田大會堂 Sha Tin Town Hall
上環文娛中心 Sheung Wan Civic Centre
聖公會鄧肇堅中學 Sheng Kung Hui Tang Shiu Kin
Secondary School
南非駐香港總領事館
South African Consulate General Hong Kong SAR & Macao SAR, PRC
Southgate Design
香港西班牙商會
Spanish Chamber of Commerce in Hong Kong
事必達推廣有限公司 Speedy Promotion Limited
春天舞台劇製作有限公司 Spring-Time Stage Productions Limited
辰衝圖書有限公司 Swindon Book Co. Ltd.
香港瑞士商會有限公司 Swiss Chamber of Commerce in Hong Kong Limited
大館 Tai Kwun
台灣蘇富比國際房地產
Taiwan Sotheby's International Realty
藝林文具印刷有限公司 The Artland Co Ltd
香港八和會館 The Chinese Artists Association of Hong Kong
香港中文大學 The Chinese University of Hong Kong
聯合書院 United College
藝術行政主任辦公室 The Office of the Arts Administrator
文化及宗教研究系 Department of Cultural and Religious Studies
香港城市大學 The City University of Hong Kong
文化薈 Cultural Exchange Oasis
商務印書館（香港）有限公司 The Commercial Press (Hong Kong) Limited
香港教育大學 The Education University of Hong Kong
文化與創意藝術學系 Department of Cultural and Creative Arts
灣景國際 The Harbourview
梅夫人婦女會 The Helena May
香港演藝學院 The Hong Kong Academy for Performing Arts
戲曲學院 School of Chinese Opera 戲劇學院 School of Drama
音樂學院 School of Music
舞蹈學院 School of Dance
電影電視學院 School of Film and Television
學生事務處 Student Affairs Office
表演場地管理部 Venue Performance Unit
場地技術部 Venue Technical Unit
香港兒童合唱團 The Hong Kong Children’s Choir
香港理工大學 The Hong Kong Polytechnic Universit
文化及設施推廣處 Culture Promotion and Events Office
香港科技大學 The Hong Kong University of Science and Technology
藝術中心 Center for the Arts
The Swiss Chamber of Commerce in Hong Kong Limited
香港大學 The University of Hong Kong
音樂系 Department of Music
香港大學美術博物館 University Museum and Art Gallery Cultural Management Office
學生發展及資源中心 Centre of Development and Resources for Students
港青 - 香港基督教青年會
The Salisbury – YMCA of Hong Kong
通利琴行 Tom Lee Music Company Ltd
三角關係 Trinity Theatre
荃灣大會堂 Tsuen Wan Town Hall
屯門大會堂 Tuen Mun Town Hall
城市售票網 URBTIX
市區重建局 Urban Renewal Authority
同流黑盒劇場 WeDraman Black Box Theatre
進富印刷公司 Wealthy Step Printing Co.
西九文化區管理局
West Kowloon Cultural District Authority
粵海華美灣際酒店 Wharney Hotel
艾希妮網絡公關有限公司 X Social Group Limited
油麻地戲院 Yau Ma Tei Theatre
元朗劇院 Yuen Long Theatre
赤豚事務所 Zhu Graphizs
贊助人 李家超先生, GBM SBS PDSM PMSM
永遠名譽會長 邵逸夫爵士 (1907-2014)
執行委員會
主席 查懋成先生
副主席 盧景文教授
義務司庫 范高廉先生
委員 鄭阮培恩女士 鄭惠貞女士 馮愉敏先生 何苗春暉女士 文肇偉先生 孫大倫博士 姚潔莉女士 楊 光先生
節目委員會
主席 盧景文教授
委員 白諾信教授 紀大衛教授 羅志力先生 毛俊輝教授 約瑟．施力先生+ 譚榮邦先生 姚 珏女士
財務委員會
主席 范高廉先生 委員 鄭惠貞女士 梁國輝先生 發展委員會
主席 鄭阮培恩女士
副主席 雍景欣女士 委員 馮愉敏先生 龐心怡女士 孫林宣雅女士 文藝女士 姚祖輝先生
顧問 夏佳理先生 鮑 磊先生 陳祖澤博士 陳達文博士 霍 璽先生 李業廣先生 梁紹榮夫人 李國寶博士 名譽法律顧問 甘乃迪女士（孖士打）
核數師 羅兵咸永道 會計師事務所
PATRON
HONORARY LIFE PRESIDENT
EXECUTIVE COMMITTEE
Chairman
Vice-Chairman
Honorary Treasurer
Members
電話 TEL 2824 3555
傳真 FAX 2824 3798 / 2824 3722
電子郵箱 Email afgen@hkaf.org
節目查詢熱線 2824 2430
Programme
Enquiry Hotline
地址 ADDRESS 香港灣仔港灣道 2 號 12 樓 1205 室 Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong
The Hon. John KC Lee, GBM SBS PDSM PMSM
The Hon. Sir Run Run Shaw, GBM CBE (1907-2014)
Mr Victor Cha
Prof. Lo King-man, SBS MBE JP
Mr Colin Farrell
Mrs Betty Yuen Cheng
Ms Margaret Cheng
Mr Michael Fung
Ms Joanna Hotung
Mr Sebastian Shiu-wai Man
Dr Dennis T L Sun, BBS JP
Ms Miriam Yao
Mr Sunny Yeung
PROGRAMME COMMITTEE
Chairman
Members
Prof. Lo King-man, SBS MBE JP
Prof. Giorgio Biancorosso
Prof. David Gwilt, MBE
Mr Peter C L Lo
Prof. Fredric Mao, BBS
Mr Joseph Seelig +
Mr Wing-pong Tam, SBS JP
Ms Jue Yao, JP
FINANCE COMMITTEE
Chairman
Members
DEVELOPMENT COMMITTEE
Chairperson
Vice-Chairperson
Members
Mr Colin Farrell
Ms Margaret Cheng
Mr Nelson Leong
Mrs Betty Yuen Cheng
Ms Jane Yong
Mr Michael Fung
Ms Samanta Sum-yee Pong
Mrs Helen Lin Sun
Ms Yi Wen
Mr Andrew Yao
ADVISORS
The Hon. Ronald Arculli, GBM GBS
Mr Martin Barrow, GBS CBE JP
Dr John C C Chan, GBS CBE LVO JP
Dr Darwin Chen, SBS ISO
Mr Angus H Forsyth
The Hon. Charles YK Lee, GBM GBS OBE JP
Mrs Mona Leong, SBS BBS MBE JP
Dr The Hon Sir David KP Li, GBM GBS OBE JP
HONORARY SOLICITOR
AUDITOR
Ms Gabriela Kennedy, Mayer Brown
PricewaterhouseCoopers
+ 榮譽節目顧問 Honorary Programme Advisor
職員
行政總監 余潔儀
行政總監助理 何丹蓉
節目
節目總監 梁掌瑋 蘇國雲
高級節目經理 梁偉然 *
節目經理 陳曉彤 * 鄭佩群 * 廖國穎 * 馬筠婷 * 司徒頌欣 *
短期節目經理 游慧姿 *
副節目經理 杜以樂 *
節目統籌 林穎茵 *
藝術行政見習員 容諾行 *
行政
節目經理 (行政) 蘇雪凌
節目主任 (行政) 林穎妍 *
物流
物流及接待經理 金學忠 *
技術
製作經理 梁雅芝 *
助理製作經理 陳梓衡 *
出版
編輯 陳詠恩 * Adam Wright*
助理編輯 陳劭儀 * 李芷晴 *
外展
外展經理 林嘉敏 *
助理外展經理 李萬祺 * 潘穎詩 *
外展主任 張凱柔 *
外展助理 馬曉瑩 *
藝術行政見習員 馮樂程 *
市場推廣
市場總監 鄭尚榮
副市場總監 盧伯全
副市場經理 陳靄婷 * 張予心 * 黃頴儀 *
助理項目經理 李穎軒 * 譚懿諾 *
助理市場經理 許樂欣 * 曾諾怡 *
市場主任 林培生 *
票務
市場經理(票務) 梁彩雲
票務主任 殷嘉駿 *
發展
發展總監 黃美儀
特別發展協理 蘇啟泰 *
發展經理 林思穎 * 吳綺菁 * 譚樂瑤 發展經理（大額捐獻） 鍾雅妍 * 發展主任 鄒穎妮 * 譚尹晴 *
藝術行政見習員 梁詠熙 *
短期發展助理 潘藹怡 *
行政事務
財務總監 鄺敬婷
會計
會計經理 杜詩麗 *
會計主任 顏悅恩 *
人力資源及行政
人力資源及行政經理 楊美君 *
接待員/初級秘書 李美娟
助理 黃國愛
資訊科技
資訊科技經理 陳啟明 *
無限亮
項目總監 錢 佑 * 節目及外展經理 鍾美琼 * 何敏凝 * 節目及外展統籌 何敬堯 * 潘詠汶 *
市場經理 何詩慧 *
副市場經理 廖愷瀅 * 助理製作經理 張詠宜 * 高級會計主任 鍾巧明 *
香港藝術節@大館
項目經理 鄺為立 * 公關及宣傳統籌 楊佩雯 *
STAFF
Executive Director
Assistant to Executive Director
PROGRAMME
Programme Directors
Senior Programme Manager
Programme Managers
Temporary Programme Manager
Deputy Programme Manager
Programme Coordinator
Arts Administrator Trainee
ADMINISTRATION
Programme Manager (Admin)
Programme Officer (Admin)
LOGISTICS
Logistics Manager
TECHNICAL
Production Manager
Assistant Production Manager
PUBLICATIONS
Editors
Assistant Editors
OUTREACH
Outreach Manager
Assistant Outreach Managers
Outreach Officer
Outreach Assistant
Arts Administrator Trainee
MARKETING
Marketing Director
Associate Marketing Director
Deputy Marketing Managers
Assistant Project Managers
Assistant Marketing Managers
Marketing Officer
TICKETING
Marketing Manager (Ticketing)
Ticketing Officer
DEVELOPMENT
Development Director
Special Development Associate
Development Managers
Development Manager (Major Gifts)
Development Officers
Arts Administrator Trainee
Temporary Development Assistant
CORPORATE SERVICES
Finance Director
ACCOUNTS
Account Manager
Accounting Officer
HR & ADMINISTRATION
HR and Admin Manager
Receptionist/Junior Secretary
General Assistant
INFORMATION TECHNOLOGY
Flora Yu
Connie Ho
Grace Lang So Kwok-wan
Ian Leung*
Kristen Chan* Cathy Cheng*
Sophie Liao* Katie Ma*
Samantha Szeto*
Janet Yau*
Tobe To*
Lilian Lam*
Ryan Yung*
Shirley So
Michelle Lam*
Elvis King*
Shirley Leung*
Jacob Chan*
Eugene Chan* Adam Wright*
Shao yi Chan* Rebecca Lee*
Carman Lam*
Kelvin Li* Renee Poon*
Hazel Cheung*
Queena Ma*
Crystal Fung*
Katy Cheng
Eugene Lo
Tobie Chan* Stephanie Cheung*
Joey Wong*
Hill Li* Hades Tam*
Sally Hui* Margaret Tsang*
Billy Lin
Eppie Leung
Cyrus Yan*
Angela Wong
Alex So*
Sharon Lam* Joey Ng*
Lorna Tam
Fiona Chung*
Chau Wing-ni* Linda Tam*
Kirstie Leung*
Carol Pun*
Teresa Kwong
Connie To*
Stephany Ngan*
Janet Yeung*
Virginia Li
Bonia Wong
Information Technology Manager Derek Chan*
NO LIMITS
Project Director
Programme and Outreach Manager
Programme and Outreach Coordinators
Marketing Manager
Deputy Marketing Manager
Assistant Production Manager
Senior Accounting Officer
HKARTSFESTIVAL@TAIKWUN
Project Manager
PR and Marketing Coordinator
Eddy Zee*
Becky Chung* Christy Ho*
Kelvin Ho* Jasmine Poon*
Ho Sze-wai*
Kaitlyn Liu*
Jess Cheung*
Catherine Chung*
Kwong Wai Lap*
Wind Yeung*
Production Officer Pang Ka Tat*
Technical Coordinators Rachel Au*, Tony Choi*, Cherry Fung*, Mandy Lai*, Martin Lai*, Lawrence Lee*, Joyi Tsang*
* 合約職員 *Contract Staff 按英文姓氏首字母排列 In alphabetical order 2023 年 2 月更新 Updated February 2023
藝術家統籌 蔡兆欣 *、朱芷慧 * 、張素真 * 、向怡君 * 、劉依靈 * 、劉明月 *、伍美衡 * 製作主任 彭家達 * 技術統籌 歐慧瑜 *、蔡敬堯 *、馮舒凝 *、黎敏兒 *、黎智勇 *、李浩賢 *、曾以德 *
Artist Coordinators Jacqueline Choi*, Eleanor Chu*, Susan Hayden*, Cassandra Heung*, Joannie Lau*, Veronica Liu*, Janet Ng*
