Ballet of Slovene National Theatre Maribor - 51st Hong Kong Arts Festival

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

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:

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

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)

香港藝術節

感謝 would like to thank

贊助 for sponsoring

HONG KONG ARTS FESTIVAL 二月十七日之

The 17 Feb Festival Opening Performance of Ballet of Slovene National Theatre Maribor Radio and Juliet & Le Sacre du Printemps (The Rite of Spring) as part of The Hong Kong Jockey Club Series

香港賽馬會藝粹系列

The Hong Kong Jockey Club Series

斯洛文尼亞國家歌劇院 馬里博爾芭蕾舞團

Ballet of Slovene National Theatre Maribor

香港文化中心大劇院

Grand Theatre, Hong Kong Cultural Centre

《收音機與茱麗葉》及 《春之祭》

RADIO AND JULIET & LE SACRE DU PRINTEMPS

16-17.02.2023

演出長約 1 小時 50 分鐘，包括一節中場休息

Approximately one hour and 50 minutes including one interval

* 此節目有強光及煙霧效果

This production contains strong light and smoke effects

《培爾‧金特》

PEER GYNT

18-19.02.2023

2 小時，包括一節中場休息

Approximately two hours including one interval

* 此節目有煙霧效果

This production contains smoke effects

封面照片

©Damjan Svarc

©Svetlana Tarlova

斯洛文尼亞國家歌劇院 馬里博爾芭蕾舞團成員乘坐 第 51 屆香港藝術節指定航空公司芬蘭航空來回香港

Members of Ballet of Slovene National Theatre Maribor flew to and from Hong Kong on Finnair, Official Airline of the 51st Hong Kong Arts Festival

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

This programme is printed on environmentally friendly paper

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「香港賽馬會藝粹系列」及贊助機構之立場或意見。 The entire content of the work is independently produced by the creative team, and does not reflect the views or opinions of the Hong Kong Jockey Club Series nor the Sponsor.

Cover Photograph

© Damjan Svarc © Vladimir Cherenkov

斯洛文尼亞國家歌劇院

斯洛文尼亞國家歌劇院馬里博 是斯洛文尼亞首屈 一指的舞團，以糅合古典、新 古典主義與當代風格的演出聞 名。這種充滿後現代色彩的美 學，奠定了舞團的藝術風格， 更讓馬里博爾芭蕾舞團成爲歐 洲和國際舞壇的寵兒。

舞團在羅馬尼亞舞蹈家兼編舞 愛德華‧克魯格帶領下，在過 去十年間，不斷從傳統中創造 嶄新、富有感染力的芭蕾舞表 演，讓馬里博爾芭蕾舞團躋身 國際一流舞團之列。

舞團曾參與多個國際大型戲劇 節，包括雅各皮洛舞蹈節（美 國）、新加坡藝術節、法國比 亞里茨藝術節及首爾世界舞蹈 節（韓國）。

The Ballet of Slovene National Theatre Maribor is a leading Slovene ballet ensemble producing balanced classical, neoclassical and contemporary performances. This new, rather postmodern aesthetic approach has contributed much to the ensemble’s artistic growth, helping to establish the Maribor Ballet on the larger European and international dance scene.

The ensemble, led by Romanian dancer and choreographer Edward Clug, hosts many guest dancers and choreographers from other countries. During the past decade, Clug has put Ballet Maribor on the international map of ballet companies with his stagings of innovative and highly expressive ballet performances,

which are nevertheless firmly rooted in ballet tradition.

The Ballet of Slovene National Theatre Maribor has participated in the largest theatre festivals throughout the world, including the Jacob's Pillow Dance Festival (USA), the Singapore Arts Festival, the Biarritz Festival in France and the Seoul International Dance Festival.

©Tiberiu Marta

1983 年，當年僅十歲的愛德 華‧克魯格被位於羅馬尼亞 國家芭蕾舞學院錄取時，他已 經看見一條擺脫獨裁者壽西斯 古政權的道路。 1989 年，壽西 斯古政權倒塌。兩年後，他修 畢課程並赴馬里博爾的斯洛文 尼亞國家歌劇院一試身手。

正值斯洛文尼亞脫離南斯拉夫 並成爲新生國家，克魯格亦在 馬里博爾初試啼聲、正式展開 職業生涯。在那裏，他遇上了 著名劇場導演湯瑪士‧彭朵 並在他的作品中擔任舞者。彭 朵發現了他的創意潛力後，便 請他為自己的作品《巴比倫》 ( 1996) 進行編舞。

在 1998 年，克魯格編排了首個 個人作品《探戈》。

2003 年，他獲任命為馬里博 爾芭蕾舞團的藝術總監，自 此帶領舞團走上全新方向。

2005 年，他用英國搖滾樂團電 台司令的音樂創作了《收音機 與茱麗葉》，旋即以別開生面 的編舞風格俘虜國際舞迷。隨 後，他開始跟世界各地的芭蕾

舞團展開合作，更成功讓馬里 博爾芭蕾舞團躋身國際一流舞 團之列。

2018 年 1 月，克魯格為維也納 國家歌劇院芭蕾舞團重排了他 的傑作《培爾‧金特》，並贏 得一致好評。

他的舞蹈作品在瓦爾納、莫斯 科、漢諾威、名古屋、貝爾格 萊德以及薩拉熱窩的多個舞蹈 比賽和舞蹈節榮獲各項國際獎 項，並在 2010 年在莫斯科被提 名「金面具獎」。 2014 年，他 又獲國際舞蹈雜誌《 Tanz 》評 為未來編舞界的希望。

克魯格的作品令他獲得斯洛文 尼亞境內的最高文化殊榮，包 括 2005 年的普列舍仁基金會大 獎以及 2008 年的格雷澤大獎。 2017 年，他亦被提名芭蕾舞界 權威大獎——貝諾瓦舞蹈獎。

愛德華‧克魯格 EDWARD CLUG

編舞 Choreographer

© Andrej Petelinsek

When enrolling at the National Ballet School in Cluj–Napoca, Romania, in 1983, a 10-year-old Edward Clug already saw a way out from Nicolae Ceausescu's repressive dictatorship. Two years after the Ceausescu regime collapsed in 1989, he completed his studies and took his chances at the Slovene National Theatre in Maribor.

He received his first engagement and started his career in Maribor as Slovenia made its first steps as a new-born country after exiting Yugoslavia. In Maribor, he met the famous Slovene theatre director Tomaž Pandur, with whom he started to collaborate as a dancer in his avant-garde productions. Noticing his creative potential, Pandur asked him to create the choreography for his staging of Babylon, which premiered in 1996.

In 1998, he created his first independent project, Tango

In 2003, the newly appointed general director of the Slovene National Theatre Maribor, Danilo Rošker, appointed him as Artistic Director of the Maribor Ballet and Clug started to lead the company towards new and distinctive directions. In 2005, he created Radio and Juliet to the music of Radiohead, which became an international sensation due to his distinct choreographic style. He then started to collaborate with other ballet companies around the world and succeeded in putting the Ballet Maribor ensemble on

the international dance map. In January 2018, Clug restaged his choreographic masterpiece Peer Gynt for the Vienna State Ballet and won critical acclaim. He has received international awards for his choreography at dance competitions and festivals in Varna, Moscow, Hanover, Nagoya, Belgrade and Sarajevo, and was nominated for the Golden Mask Award in Moscow in 2010. In 2014, international dance magazine Tanz acknowledged him as a future hope in the field of choreography.

Clug has received the highest Slovene cultural prizes for his work: the award of the Prešeren Foundation in 2005 and the Glazer Charter in 2008. In 2017, he was also a nominee for the prestigious international Benois de la Danse award.

《收音機與茱麗葉》Radio and Juliet

編舞 Choreographer

愛德華‧克魯格

Edward Clug

佈景設計 Set Designer

馬高‧賈佩 Marko Japelj

聲音設計 Sound Designers

戈勒‧菲費 及 格雷格‧門達

Gorazd Vever and Gregor Mendaš

音樂 Music

電台司令

Radiohead

錄像 Video

也妮雅‧格洛戈瓦

Janja Glogovac

服裝設計 Costume Designer

里奧‧古勒 Leo Kulaš

燈光設計 Lighting Designer

托馬‧普林

Tomaž Premzl

中場休息 Interval

《春之祭》Le Sacre du Printemps (The Rite of Spring)

編舞 Choreographer

愛德華‧克魯格

Edward Clug

舞台美術 Scenographer

馬高‧賈佩 Marko Japelj

音樂 Music

伊果‧史達拉汶斯基

Igor Stravinsky

燈光設計 Lighting Designer

托馬‧普林

Tomaž Premzl

服裝設計 Costume Designer

里奧‧古勒 Leo Kulaš

聲音設計 Sound Designers

戈勒‧菲費 及 格雷格‧門達

Gorazd Vever and Gregor Mendaš

舞者 Dancers

緹綰娜．桀曼．胡德力 Tijuana Križman Hudernik

塔瑪斯．達萊 Tamas Darai

大巻雄矢 Yuya Omaki

大衛．卜風 Davide Buffone

馬狄奧．瑪加洛迪

Matteo Magalotti

托馬兹．高笠 Tomaž Viktor Abram Golub

亞歷山德魯．彪卡 Alexandru Pilca

被選中之人 The chosen one

舞者 Dancers 中島麻美

女人 Women

男人 Men

Asami Nakashima

卡特麗娜．德．曼尼斯 Catarina De Meneses

米也娜．斯洛 Mirjana Šrot

門雅．奧布羅 Monja Obrul

蒂雅．巴織 Tea Bajc

碧翠絲．巴吐盧梅 Beatrice Bartolomei

塔瑪斯．達萊 Tamas Darai

薛兹．揚．路斯克 Sitze Jan Luske

大巻雄矢 Yuya Omaki

大衛．卜風 Davide Buffone

馬狄奧．瑪加洛迪 Matteo Magalotti

托馬兹．高笠 Tomaž Viktor Abram Golub

編舞的話 Choreographer’s Note

Radio and Juliet

和許多想法一樣，是這個想法 找到了我，而不是我找到它。 我一直是電台司令的粉絲， 當我第一次聽他們的專輯《失 憶》——尤其是專輯最後一首 《玻璃屋人生》時，就決定要用 他們的音樂了。

本作品的名字《收音機與茱麗 葉》，直接扣連了莎士比亞的 悲劇和電台司令的音樂。創作 過程中，我用不同方式聆聽他 們的音樂，尤其是歌詞。動作 和舞蹈平行發展，並以合適的

曲目來襯托構思好的舞蹈場景 和氛圍。

我會將這部作品描述為一段對 未果愛情的回顧。莎劇中有一 個時刻令我記憶深刻 ： 茱麗葉 在羅密歐的屍體旁蘇醒，如果 之後她沒有自殺會怎樣？這 個作品是這一時刻的延續，一 個孤獨的女人走向不歸路的幽 微旅程。

表演中夾雜了電影投射，是茱 麗葉式的心聲，也有故事情節 的「閃回」，藉以為表演帶來

音樂和舞蹈外的另一維度，也 讓觀眾得以對一個熟悉的故事 構建全新的詮釋。

愛德華‧克魯格

©Damjan Svarc

《收音機與茱麗葉》

Like many ideas, I get the feeling that this one also found me, and not the other way around. I have been a great fan of Radiohead since their beginnings and I decided to work on their music when I first listened to their album Amnesiac, more specifically the last song from the album, Life in a Glass House

I decided to entitle the piece Radio and Juliet, as a direct association with the Shakespeare tragedy and the music of Radiohead which was the main source of inspiration. Through the creative process I started to listen in a different way to their music and especially their lyrics.

The movement and dance were developed in parallel and I was looking for appropriate songs which would work more like a soundtrack to the atmosphere and state of mind in certain scenes we had already created.

I could describe Radio and Juliet as a retrospective of an unfulfilled love. One particular moment in Shakespeare’s story particularly caught my attention: the moment in the chapel when Juliet wakes up next to Romeo’s dead body. But what if she didn’t take her own life after that? I experience Radio and Juliet as a continuation of this moment, a delicate journey made by a lonely

woman to a point of no return. The movie finds its place in the performance as a reflection of Juliet’s intimacy or “flashbacks” from the performance itself developing back and forward. Through this, we add another dimension to the performance, aside from music and dance, and offer the viewer the possibility to develop their own interpretation of a “story” they already know.

Edward Clug

© Ivan Vinovrski

編舞的話 Choreographer’s Note

《春之祭》 La Sacre du Printemps

《春之祭》是二十世紀音樂作 品中毋庸置疑的非主流經典之 一，除了是史達拉汶斯基作曲 家生涯之轉折點，也是舞蹈史 上一重要里程碑。透過這部作 品，我們可以從尼金斯基創作 的 1913 年初版追溯二十世紀舞 蹈之演變，包括以創作華麗芭 蕾聞名的莫里斯·貝嘉，以及 將生命的宏大編織成舞蹈的翩 娜·包殊。我認爲這兩個藝術 「原則 」形成了二十世紀的標 竿，對新一代編舞影響深遠。

我的版本源於尼金斯基的最初 版本——它在當時以令人窒息和 不安的顛覆性聞名。因此，我 將自己的《春之祭》看作對尼 金斯基的致敬。雖然尼金斯基 的作品因爲在當時過於破格而 在巴黎的首演慘遭滑鐵盧，之

後此作反而成為了二十世紀現 代舞發展的重要養分。

我對《春之祭》的詮釋從本質 上仍然忠於音樂結構和敘事， 其故事源於俄羅斯前基督教時 期的傳說。據傳祭祀儀式需要 處女持續舞動至死，作爲對掌 管土壤的春天之神的禮讚。演 出採用了俄羅斯古老傳說中的 民族學符號——長辮子、赤紅臉 頰的女子和蓄鬍子的男人。我 將這兩個代表男人和女人的性 象徵放諸現代的時空中，將春 天的「獻禮」移至舞台上。

這次演出的音樂對所有表演者 而言都是很大挑戰——包括音樂 家、歌手和舞者——但對我來説 音樂卻是靈感的主要來源。表 演力求呈現出一種原始力量， 驅使劇中人物和社會進入一種

儀式——祭獻的儀式。最終的結 局無可避免，但同時又具有致 命的吸引力。我想邀請觀眾與 我們一起踏上這段旅程，探索 伊果·史達拉汶斯基音樂傑作 所營造的古老卻前衛的風景中。 愛德華‧克魯格

© Tiberiu Marta

La Sacre du Printemps (The Rite of Spring) is undoubtedly one of the great cult musical works of the 20th century. It represents a turning point in the musical language of Stravinsky himself as a composer, but it’s also a significant milestone in the history of dance art. We follow the evolution of dance in the 20th century through this work, from Nijinsky's first choreographed 1913 version in Paris to the present day. It was also taken on by Maurice Béjart, known for creating magnificent ballets, and Pina Bausch, an ingenious creator of life in all its grandeur. I believe that these two artistic “principles” became a pattern of the 20th century as they influenced later choreographic renditions. The initiation of my version can be traced back to Nijinsky's original dance creation, known for its hermeticity and “disturbing” progressiveness for its time. I, therefore, see my interpretation of the Rite of Spring as a tribute to Nijinsky and his (in)famous debacle at the Paris premiere, which, in turn, became a dynamic foundation for the development of modern dance in the 20th century.

In its essence, the interpretation of the Rite of Spring remains faithful to the musical structure and narrative, which stems from a legend dating back to pre-Christian (pagan) times in Russia. Legend has it that the ritual of sacrifice requires the dance of a virgin, who must dance to death to pay tribute to a spring deity who is then supposed to increase the earth's

fertility. In an iconographic sense, the performance is related to the ethnographic symbols of an ancient Russian legend— women with long knitted braids and red cheeks, and bearded men. These two iconic images are sexual symbols of men and women, isolated in modern times and space, in which I am to “consecrate” this spring.

Despite the demanding musical material, which poses a significant challenge to all performers—musicians, singers and dancers alike—music is the

primary source from which I have drawn inspiration. The substance that attracts the protagonists is a kind of primary force that, through its mechanism, drives society into a kind of ritual, the ritual of sacrifice. The ultimate step is inevitable, but at the same time also fatally attractive. Therefore, I would like to invite the audience to join us on a journey through the archaic yet avant-garde landscapes of this musical masterpiece by Igor Stravinsky.

Edward Clug

© Tiberiu Marta

節目介紹 Programme Notes

二十一世紀的舞蹈史回溯與想像

Reimagining Dance History’s Heritage in the 21st Century

傳統與蛻變

回顧兩大顛覆舞蹈史的芭蕾舞 劇絕非易事，必須洞鑒古今， 當中關乎審視歷史脈絡，同時 兼具當代視野。愛德華・克魯 格創作的《收音機與茱麗葉》 和《春之祭》，顧名思義是向 莎士比亞名劇《羅密歐與茱 麗葉》，以及俄羅斯芭蕾舞團 1913 年的驚世之作《春之祭》 致敬。兩部劇場經典可謂家喻 戶曉，各自為舞蹈史塑造翻天 覆地的時代面貌。克魯格認 爲，重現偉大藝術經典非要盲 目忠於原著，而是要糅合當中 的情感元素及其歷久彌新的潛 力，借二十一世紀的現代舞台 來推陳出新。兩部改編作品分 別於 2005 及 2012 年首演，巡迴

逾二十國，獲國際藝評界以至 普羅觀眾一致好評。

莎翁與舞蹈史

十八世紀時，莎翁的文學可謂 間接推動了編舞藝術的範式轉 移，取材自莎劇的舞蹈亦如雨 後春筍般出現。此前，舞蹈 僅附屬於法國宮廷歌劇，以 簡短、富娛樂性的插曲形式出 現。然而，主張芭蕾舞成為一

門獨立藝術的有志者相信，身 體律動足以敘事及傳情，毋需 依賴對白或歌唱。

其中一位舞蹈改革先驅尚．佐 治．諾威爾熱愛莎劇，稱其為 獨立芭蕾舞劇的完美載體。諾 威爾以莎翁著名悲劇《安東尼 與克麗奧佩托拉》為藍本，創 作出影響深遠的舞蹈版本，並 在 1761 年首演。此後，《羅密 歐與茱麗葉》——一部在當時已 達二百歲的文學經典——在法 國、意大利及丹麥陸續被編成 舞劇。《羅密歐與茱麗葉》芭蕾 舞劇大放異彩，風頭轉眼蓋過 《安東尼與克麗奧佩托拉》，開 啓了一個以故事為中心的芭蕾 舞劇的新時代。大眾對莎翁筆

下難逃宿命的悲劇戀人充滿想 像，對舞蹈形式呈現的這對戀 人更是百看不厭。

機械時代的愛情故事

有別於《羅密歐與茱麗葉》原 著的順時鋪展以及第三人稱敘 事，克魯格選擇從茱麗葉的回 憶探討這個著名悲劇。演出 一開始，觀眾的視點被引領 代入佇立台上的女主角，繼而 移至俯臥地上、奄奄一息的 羅密歐。克魯格棄用線性敘 事，並拼湊舞蹈電影片段，藉 茱麗葉之眼編織錯綜複雜的愛

© Tiberiu Marta

Tradition and transformation

Revisiting two ballets that revolutionised the history of dance is no small task. It requires both a respect for the past and a strong contemporary vision. Radio and Juliet and Le Sacre du Printemps are Edward Clug’s tributes to William Shakespeare’s Romeo and Juliet and the Ballets Russes’ 1913 production of Le Sacre du Printemps, both of which influenced distinctive turning points in the development of dance. Yet, the Romanian-born choreographer has understood that creating a homage to these monuments of

the art form merits more than a faithful recreation of the past. For Clug, honouring the emotional impact and inventiveness associated with the two means reimagining their choreography in the present and expanding them through 21st-century stagecraft. Premiering in 2005 and 2012 respectively, Clug’s adaptations have toured more than 20 countries, garnering praise from international critics and audiences alike.

Shakespeare’s historic significance on the dance stage

Documentation of choreography

based on Shakespeare’s plays can be traced to the 18th century, a period in which the bard’s writing helped generate a paradigm shift in how dance was crafted. Until that time, stage dance had been relegated to short and entertaining interludes within the operas of the French court. Proponents of ballet as an independent art form, however, held that movement could convey narratives and emotion without the use of spoken dialogue or singing.

One such reformer, Jean-Georges Noverre, admired Shakespeare’s vibrant storytelling and found

© Damjan Svarc

恨回憶。

克魯格告別耳熟能詳的古典樂 章，如普羅哥菲夫或柴可夫斯 基，而大膽採用流行樂隊電台 司令的電子及原聲音樂。樂隊 以隱喻方式細緻地捕捉故事的 迷離氣氛與跌宕情感，而非直 白明示。鬼魅的獨白貫穿曲 目，樂隊主音湯．約克在《玻

璃屋人生》中低聲吟唱 ：「不談 政治，不扔石頭」，宛如羅密 歐與茱麗葉兩大家族世仇的幽 怨回聲。

舞者四肢抽動，偶爾折肘、 拱背。在克魯格的藝術語言 中，身體是柔韌的摺紙，可折 可張，彎曲成銳角，躺直如平 鏡。舞步混合科技，穿插電台 司令配樂中重覆浮現的機械人 聲。機械式美學把故事放在變 幻莫測的反烏托邦時代，同時 令深入民心的莎劇橋段重現舞 台。熟諳劇目的觀眾，會對化 裝舞會的經典一幕瞭如指掌 ； 相遇主角所戴的外科口罩，則 是克魯格的暗黑符碼。簡單 動作勾勒教堂建築內的神聖儀 式，讓羅密歐與茱麗葉的秘密 婚禮躍然台上。雖是一場哀怨 纏綿的悲劇，但有了茱麗葉的 愛情記憶，令這冰冷的機器齒 輪稍稍滯緩。

循環不息的《春之祭》

十九世紀中葉，芭蕾舞劇在歐 洲的發展臻至高峰。適逢新舊 世紀交替，各類舞蹈家急於破 舊立新，極欲探索另類的表演 形式。由舞界大亨謝爾蓋． 達基列夫領導的俄羅斯芭蕾舞

團，空前絕後地開啓了這股藝 術實驗的潮流。舞團台柱瓦斯 拉夫．尼金斯基是傳奇舞者兼 編舞，以短篇芭蕾舞劇見稱， 名作《牧神的午後》及《春之 祭》聞名遐邇。他的編舞徹底 推翻古典芭蕾舞，讓女舞者脫 掉尖頭鞋，腳向內轉，刻意跟 傳統規範對立，驚世駭俗。他 受古希臘及羅馬藝術啟發，讓 古典建築簷壁上的人物圖案彌 漫舞作，使舞者以側身示人， 手腳彎曲流動。

原版《春之祭》描繪一個信奉 多神的原始農業社會。部落從 一群少女中挑選其中一位，讓 她舞至氣絕，成爲祭品，以求 春神保佑大地、五穀豐收。作 品在巴黎首演時即引發騷亂， 當中激烈的音樂、離經叛道的 舞步，令觀眾震怒。題材的 實驗性同樣產生極大回響，呈 現過往鮮有描繪的天地崇拜與 原始社會，如醍醐灌頂，激 蕩人心。

不朽傳奇

歷代不少史學家認爲《春之 祭》標誌著現代文化的誕生， 造就二十世紀包羅萬象的實驗 藝術運動。時至今日，重新 詮釋尼金斯基的傳奇舞劇已屬 家常便飯，早成各地編舞家生 涯上的必經儀式，從中表達對 舞作孕育現代主義的敬意。克 魯格拿捏新舊元素，在尼金斯 基的原作與自己的藝術風格之 間尋找平衡。舞者有如雕像的 姿態、屈曲彎踡的手勢，以至 女舞者的長辮及妝容，一概與 1913 年的製作遙相呼應，無疑

是向尼金斯基致敬。

簡約的舞台、俐落的舞步，全 是克魯格的招牌美學。層層 疊疊的天花板，埋藏原作中無 處不在的大地元素，轉化成一 道道使人目眩的瀑布，傾瀉台 上，蔚為奇觀。舞者在水上滑 行，映襯自身倒影，坐着反覆 旋轉，然後巧妙地站停駐在滑 溜溜的地上。他們伸出雙臂， 迎接甘露——象徵潔淨、載舟 覆舟的萬物之源——水。

瑪麗莎・海斯

it the perfect vehicle for his standalone ballets. Noverre’s influential choreographic interpretation of the bard’s Antony and Cleopatra premiered in 1761. Not long after, it was followed by Shakespeare’s timeless tragedy of Romeo and Juliet—a play already 200 years old at the time—in dance productions across France, Italy and Denmark. The popularity of

Romeo and Juliet ballets quickly surpassed that of Antony and Cleopatra, ushering in an era of full-length narrative ballets and growing choreographic fascination with Shakespeare’s star-crossed lovers.

Love in the time of machines

While the action in Shakespeare’s Romeo and Juliet was written chronologically and introduced

by an unnamed narrator, Clug invites audiences to consider the tragedy through Juliet’s flashbacks. Her perspective is evident at the outset when the public observes a dead Romeo prone on the floor not far from an upright Juliet. Clug boldly breaks with linear narrative format, integrating the use of dance film to draw on Juliet’s memories.

© Tiberiu Marta

No longer bound to Prokofiev or Tchaikovsky’s widely used classical scores, Clug’s Radio and Juliet features the electro-acoustic sounds of Radiohead. The British band soulfully captures the ambiance and emotions associated with the story rather than representing it literally. Uncanny correspondences can nonetheless be heard within the soundtrack. “Don’t talk politics and don’t throw stones,” croons frontman Thom Yorke in Glass House, an echo of the family feud that looms over Romeo and Juliet’s relationship.

The choreography of twitching

limbs throughout the production is punctuated by folding elbows and arched spines. In Clug’s choreography, bodies become pliable origami, bending and straightening at sharp angles. Movements are underscored by technology, including a recurring robotic vocal command heard in Radiohead’s score. This mechanical aesthetic places the story in an undetermined dystopian era in which the most familiar features of the bard’s tale remain intact. Audiences will recognise Shakespeare’s masquerade ball where the title characters meet, although the

synthetic surgical masks worn are another reminder of Clug’s sombre mechanics. Romeo and Juliet’s clandestine wedding is there too, transmitted through simple gestures that trace the architectural patterns of a church ceremony. Despite overarching tragedy, Juliet’s memories of love disrupt the cogs in the machine.

Recurring rites: Le Sacre du Printemps

Narrative ballet reached its apex on European stages in the mid 1800s and, as the new century dawned, various dance artists sought alternative modes of expression. The

© Tiberiu Marta

Ballets Russes company led by impresario Sergei Diaghilev was at the vanguard of this artistic experimentation. Vaslav Nijinsky, a legendary dancer and choreographer with the company, is celebrated for his short ballets, particularly L’aprèsmidi d’un faune (1912) and Le Sacre du Printemps (1913). His choreography radically broke with ballet’s traditions, removing the women’s pointe shoes and turning the feet inward, the antithesis of classical training. His frieze-style forms were inspired by Greco-Roman art, placing dancers in profile with flexed hands and feet.

The original version of Le Sacre du Printemps depicted a pagan agrarian society. By selecting a maiden who dances herself to death, ritual sacrifice ensured the cyclical return of spring and a bountiful harvest. The ballet’s debut in Paris has become the stuff of legend due to the alleged rioting that erupted in response to the production’s relentless score and unorthodox choreography. For all its experimentation, the ballet’s primordial themes of nature and community also struck a lasting chord.

An ongoing legacy

Numerous historians credit Le Sacre du Printemps with marking the birth of modernity, a legacy that fostered a rich period of artistic experimentation in the 20th century. Today, reinterpreting Nijinsky’s creation has become a rite of passage

for international choreographers who feel indebted to the modernist sensibilities the ballet incited. Clug has found a comfortable balance between referencing Nijinsky’s original choreography and honouring his own artistry. His sculptural poses, for instance, echo the 1913 production via flexed hands shown in profile. The women’s braided hair and makeup are also a throwback to Nijinsky.

The sleek production design and its resulting choreography are all Clug, though. Cascading from the ceiling, the natural elements omnipresent in the original ballet are pared down to a series of impressive waterfalls that descend upon the stage. Dancers glide across the reflecting pool they create, spinning spectacularly in seated positions before expertly rising onto the slippery surface. Their

arms outstretched, the dancers welcome the water, a universal symbol of purification, but an element that is both dangerous and essential to life.

Marisa C. Hayes

© Tiberiu Marta

《培爾‧金特》Peer Gynt

編舞及劇本（改編自易卜生原著話劇） Choreographer and Librettist (after the eponymous verse drama by Henrik Ibsen)

愛德華‧克魯格 Edward Clug

佈景設計 Set Designer

馬高‧賈佩 Marko Japelj

舞者 Dancers

安東‧費曼 飾 培爾‧金特

Antons Freimans as Peer Gynt

坦雅‧芭羅力 飾 奧莎，培爾之母

Tanja Baronik as Åse, Peer's mother

塞吉‧莫加 飾 阿斯拉克，鐵匠

Sergiu Moga as Aslak, the blacksmith

中島麻美 飾 安妮特拉，酋長的女兒

Asami Nakashima as Anitra, daughter of a Bedouin chief

音樂 Music

愛德華．葛利格 Edvard Grieg

燈光設計 Lighting Designer

托馬‧普林 Tomaž Premzl

緹綰娜‧桀曼‧胡德力 飾 索爾慧潔 Tijuana Križman Hudernik as Solveig

賽兹‧然‧盧斯克 飾 馴鹿 Sytze Jan Luske as Deer

緹蒂安娜‧斯維力拿 飾 綠衣女子

Tetiana Svetlicna as the Woman in green

艾瑪‧貝域 飾 海爾嘉

Ema Peric as Little Helga

緹蒂安娜‧斯維力拿、米也娜‧斯洛、大衛‧卜風、大巻雄矢 飾 四大瘋人 Tetiana Svetlicna, Mirjana Šrot, Davide Buffone, Yuya Omaki as the four lunatics

瑪蒂雅‧謝尼力、奧勒雅‧赫曼‧馬連、亞琳卡‧利碧 飾 牛奶姑娘

Mateja Železnik, Olesja Hartmann Marin, Alenka Ribic as the three dairymaids

塔瑪斯‧達萊 飾 山妖大王

Tamas Darai as the troll chief

服裝設計 Costume Designer

里奧‧古勒 Leo Kulaš

雕塑 Sculptures

伊沃‧尼墨 Ivo Nemec

米倫娜‧格里科拿 Milena Greifoner

賈兹‧朱瑪 飾 死神 Gaj Žmavc as Death

卡特麗娜‧德‧曼尼斯 飾 恩格麗，新娘

Catarina De Meneses as Ingrid, the bride

盧思奧‧莫東尼 飾 馬思莫恩，新郎

Lucio Mautone as Mads Moen, the groom

塞吉‧莫加 飾 貝梨芬非德，瘋人院院長 Sergiu Moga as Begriffenfeldt, a doctor

第一幕 Act I

婚禮 The Wedding

婚宴客人（女）: 中島麻美、米也娜．斯洛、門雅．奧布羅、蒂雅．巴織、米娜 拉達高域

Wedding guests (women) : Asami Nakashima, Mirjana Šrot, Monja Obrul, Tea Bajc, Mina Radakovic

婚宴客人（男）: 大巻雄矢、亞歷山德魯．彪卡、大衛．卜風、馬狄奧．瑪加洛迪、托馬兹．高笠 Wedding guests (men)

Yuya Omaki, Alexandru Pilca, Davide Buffone, Matteo Magalotti, Tomaž Viktor Abram Golub

女山妖: 中島麻美、祢津聡身、門雅．奧布羅、蒂雅．巴織、米也娜 斯洛、米娜 拉達高域、碧翠絲．巴吐盧 梅、努莎．厄諾

Troll women : Asami Nakashima, Satomi Netsu, Monja Obrul, Tea Bajc, Mirjana Šrot, Mina Radakovic, Beatrice Bartolomei, Nuša Urnaut

男山妖: 大巻雄矢、馬狄奧．瑪加洛迪、大衛．卜風、托馬兹．高笠、安迪亞．思化盧、盧思奧‧ 莫東尼 、亞歷 山德魯．彪卡、盧卡．奧斯錫

Troll men: Yuya Omaki, Matteo Magalotti, Davide Buffone, Tomaž Viktor Abram Golub, Andrea Schifano, Lucio Mautone, Alexandru Pilca, Luka Ostrež

第二幕

摩洛哥沙漠 Morocco Desert

女人: 卡特麗娜．德．曼尼斯、米也娜 斯洛、奧勒雅．赫曼．馬連、蒂雅．巴織、米娜 拉達高域、門雅．奧 布羅、艾瑪‧ 貝域、努莎．厄諾、瑪蒂雅‧ 謝尼力

Women: Catarina De Meneses, Mirjana Šrot, Olesja Hartmann Marin, Teja Bajc, Mina Radakovic, Monja Obrul, Ema Peric, Nuša Urnaut, Mateja Železnik

男人: 大衛．卜風、馬狄奧．瑪加洛迪、亞歷山德魯．彪卡、提貝魯．馬達、麥思．高力斯古、大巻雄 矢、托馬兹．高笠

Men: Davide Buffone, Matteo Magalloti, Alexandru Pilca, Tiberiu Marta, Mircea Golescu, Yuya Omaki, Tomaž Viktor Abram Golub

女人: 緹蒂安娜．斯維力拿、米也娜．斯洛、中島麻美、卡特麗娜．德．曼尼斯、瑪蒂雅‧ 謝尼力、奧勒雅．赫 曼．馬連、艾瑪．貝域、門雅．奧布羅、蒂雅．巴織、祢津聡身、米娜 拉達高域、努莎．厄諾

Women: Tetiana Svetlicna, Mirjana Šrot, Asami Nakashima, Catarina De Meneses, Mateja Železnik, Olesja Hartmann Marin, Ema Peric, Monja Obrul, Tea Bajc, Satomi Netsu, Mina Radakovic, Nuša Urnaut

男人: 大巻雄矢、大衛．卜風、提貝魯．馬達、亞歷山德魯．彪卡、麥思．高力斯古、馬狄奧．瑪加洛迪、托馬 兹．高笠、安迪亞．思化盧、盧思奧‧ 莫東尼 、盧卡．奧斯錫

Men: Yuya Omaki, Davide Buffone, Tiberiu Marta, Alexandru Pilca, Mircea Golescu, Matteo Magalotti, Tomaž Viktor Abram Golub, Andrea Schifano, Lucio Mautone, Luka Ostrež

村子 Village

婚宴客人（女）: 中島麻美、米也娜．斯洛、門雅．奧布羅、蒂雅．巴織、米娜 ‧ 拉達高域

Wedding guests (women): Asami Nakashima, Mirjana Šrot, Monja Obrul, Tea Bajc, Mina Radakovic

婚宴客人（男）: 大巻雄矢、大衛．卜風、馬狄奧．瑪加洛迪、托馬兹．高笠

Wedding guests (men): Yuya Omaki, Davide Buffone, Matteo Magalotti, Tomaž Viktor Abram Golub

女山妖: 祢津聡身、碧翠絲．巴吐盧梅、努莎．厄諾

Troll women: Satomi Netsu, Beatrice Bartolomei, Nuša Urnaut

男山妖: 安迪亞．思化盧、盧卡．奧斯錫、亞歷山德魯．彪卡

Troll men: Andrea Schifano, Luka Ostrež, Alexandru Pilca

培爾‧金特是個愛發白日夢的 農夫。有一天，他幻想自己在 追捕一隻白鹿，還告訴了母親 奧莎。眼看培爾的青梅竹馬—— 村中富農之女恩格麗馬上就要 和鑽石王老五結婚，奧莎深深 不忿他眼睜睜錯失了和富家女 結婚、讓母子倆脫離窮困生活 的機會。培爾來到婚禮，並憑 藉精湛的舞技吸引了眾多姑娘 的眼光。索爾慧潔偕妹妹海爾 嘉來到現場，和培爾短聚片刻 後即被妹妹拉走。培爾接着開 始和恩格麗共舞，惹來眾人側 目。鐵匠阿斯拉克看不過眼， 和培爾越吵越烈，竟動起斧頭 來，幸得死神干預。培爾乘 機帶着恩格麗私奔，但他很快 便厭倦了她。一名神秘的綠衣 女子來到培爾跟前，並指引他 前往山妖之國。培爾被山妖之 國的財富迷惑，答應了和綠衣 女子（實乃山妖大王之女）成 婚。培爾看到她的真面目後卻 被嚇壞了，還不承認她肚中的

孩子是自己的，激怒了一眾山 妖，又得死神解救。索爾慧 潔來看培爾，兩人終於互訂終 身。此時，一聲呦呦鹿鳴， 預示奧莎大限將至。培爾趕回 家，為彌留的母親講了一個美 麗的故事，兩人一起懷緬起培 爾的孩提時光。

Peer Gynt is daydreaming about hunting a white stag. He shares this story with his mother, Ase, who scolds him for not marrying Ingrid, Peer’s friend since childhood, so he could lift them out of poverty. Ingrid is getting married to Mads Moen, the wealthiest bachelor in the region. Peer attends the wedding and attracts the attention of women, who seem to be enchanted with his dancing. At one point, Solveig and Peer come together, making Ingrid jealous. After Solveig leaves, Peer approaches Ingrid, and they begin to dance, which causes a stir among the guests.

Aslak, the blacksmith, starts to quarrel with Peer. However, Peer does not quit and mortifies Aslak, who grabs his axe to avenge himself, but Death intervenes. Peer seizes the opportunity and elopes with Ingrid, but Peer grows tired of her. A mysterious girl in green, who is in fact the daughter of a troll chief, finds Peer and shows him the way to the troll kingdom. Peer, intrigued by its wealth, agrees to marry the girl. She slowly uncovers her true face, horrifying Peer, who denies paternity of her unborn child and provokes the troll chief. Death enters the scene and stops the angry trolls. Helga and Solveig then come to see Peer. When alone, Solveig and Peer promise each other eternal love. Their romance is interrupted by the cry of a stag announcing the death of Ase. Peer returns home and finds his dying mother. To alleviate her pain, Peer tells her a beautiful story which takes them back to his childhood.

第一幕 Act I

分場大綱 SCENE SYNOPSIS

© Vladimir Cherenkov

數年過去，培爾成爲了富人。

他旅行至摩洛哥時遇上了安妮 特拉，一名阿拉伯酋長的女 兒，並愛上了她。但她看上的 卻是培爾的財富，把他的錢騙 光後便扔下他離開了。禍不單 行，他接着遇上了神秘的貝梨 芬非德醫生，又被後者騙到了 一所瘋人院，被迫接受各種精 神測驗，飽受煎熬。瘋人院 的四個瘋子把培爾稱為國王， 令他的心情跌至谷底，恍惚之 中似乎看到了恩格麗的婚禮。

在良心譴責下，他急欲回到索 爾慧潔身邊，卻被一名神秘的 陌生人攔下，請他踏入棺材之 中。培爾一口拒絕，歷盡千辛 萬苦終於來到索爾慧潔面前， 但苦苦等候多年的索爾慧潔早 已年老目瞽。在生命接近盡 頭的時刻，培爾意識到自己抛 棄了真正重要的東西——索爾 慧潔的愛，但此情唯有留待來 生再續。

Several years have passed, and Peer has become rich. He travels to Morocco, where he meets Anitra, a daughter of a Bedouin leader. Peer is attracted to Anitra, but she only wants to steal his wealth. She takes everything he has and leaves him alone— well, almost alone, as Peer soon meets the mysterious Doctor Begriffenfeldt, who tricks him into going to a lunatic asylum. There he is introduced to four lunatics, who seem excited by Peer’s arrival. Begriffenfeldt runs psychological tests on Peer, leaving him exhausted and on a brink of a nervous breakdown. His dream of becoming someone else is fulfilled when his friends at the lunatic asylum crown him their king. Peer hits rock bottom and sees a vision of the wedding between Mads Moen and Ingrid. Peer is now on a trial by his own conscience,

which leads him back to Solveig. But Peer’s path is again crossed by a mysterious stranger, who begs him to step inside his coffin. Peer refuses and returns to Solveig, who has faithfully waited for Peer all these years but has grown old and blind. Peer realises he has thrown away everything that really matters— most of all Solveig’s love—as his life journey has come to an end. Perhaps they will find love and happiness in some other life, in some other time…

© Stas Levshin

音樂 Music Playlist 第一幕 Act I

1. 愛德華．葛利格：G 小調弦樂四重奏，作品 27，第一首

I. 稍快的行板─激烈而很快的快板

2.《培爾·金特》，作品 23

-婚禮

-哈林舞曲

-跳躍舞曲

3. 愛德華．葛利格：G 小調弦樂四重奏，作品 27

III. 間奏曲：非常突出的快板

I. 稍快的行板─激烈而很快的快板

4.《培爾·金特》，作品 23

- 拐帶新娘，恩格麗的悲嘆

- 培爾·金特和綠衣女子

山妖大王的宮殿

山妖公主之舞

大追殺

5. A 小調鋼琴協奏曲，作品 16

II. 慢板

6.《培爾·金特》，作品 23 奧莎之死

1.《培爾·金特》，作品 23 清晨 安妮特拉之舞

2.《抒情小品》，第五冊，作品 54 牧童

3. A 小調鋼琴協奏曲，作品 16

III. 非常突出而中庸的快板

4. G 大調霍爾堡組曲，作品 40

IV. 歌調：虔誠的行板

5.《培爾·金特》，作品 23 大追殺 哈林舞曲

6.《挪威舞曲》，作品 35 I. 突出的快板

7.《培爾·金特》，作品 23 拐帶新娘，恩格麗的悲嘆（前奏從略）

8.《抒情小品》，第四冊，作品 47 旋律

9. G 小調弦樂四重奏，作品 27，第一首

I. 稍快的行板─激烈而很快的快板

1. String Quartet No.1 in G minor, Op. 27:

I. Un poco andante - Allegro molto ed agitato

2. Peer Gynt, Op. 23

- At the Wedding

- Halling, men's dance

- Springar, couples' dance

3. String Quartet No.1 in G minor, Op. 27

III. Intermezzo – Allegro molto marcato

I. Un poco andante – Allegro molto ed agitato

4. Peer Gynt, Op. 23

- The Abduction of the Bride, Ingrid's Lament

- Peer Gynt and The Woman In Green

- In the Hall of the Mountain King

- Dance of the Mountain King's Daughter

- Peer Gynt hunted by the trolls, chorus

5. Piano concerto in A minor, Op. 16:

II. Adagio

6. Peer Gynt, Op. 23:   The Death of Åse

1. Peer Gynt, Op. 23: Morning Mood Anitra's Dance

2. Lyric Pieces, Book 5, Op. 54: Shepherd's Boy

3. Piano concerto in A minor, Op. 16: III. Allegro moderato molto e marcato

4. From Holberg's Time, suite in G Major, Op. 40: IV. Air: Andante religioso

5. Peer Gynt, Op. 23: Peer Gynt Hunted by the Trolls, chorus Halling, men's dance

6. Norwegian Dances, Op. 35: I. Allegro marcato

7. Peer Gynt, Op. 23: The Abduction of the Bride, Ingrid's Lament (without intro)

8. Lyric pieces, Book 4, Op. 47: Melody

9. String Quartet No. 1 in G minor, Op. 27: I. Un poco andante – Allegro molto ed agitato (fragment)

《培爾‧金特》——

踏上探索與詮釋易卜生和葛利格之旅

Peer Gynt —embarking on a voyage of discovering Ibsen, Grieg and my own interpretation of their art

培爾‧金特無疑是易卜生筆下 數一數二複雜的人物，此作亦 奠定了易卜生劃時代的文學地 位。愛德華‧葛利格同樣是關 鍵人物，系屬北方浪漫主義音 樂的代表人物。

這兩名神級藝術家在 1876 年爲 了製作於克里斯蒂安尼亞（今 奧斯陸）首演的《培爾‧金 特》而走在一起。葛利格為該 劇創作了數個音樂片斷，部 分經修改後成為了兩套管弦組 曲，至今仍廣泛流傳。

我曾仔細研究易卜生的文本與 葛利格的音樂，嘗試用芭蕾舞 將兩者二合爲一，但卻碰到了

不少問題。該劇的故事既包含 現實世界，也有虛構世界的幻 象，令這個史詩式戲劇充滿哲 學性的意趣和普遍性。與此同 時，葛利格的音樂卻是另一番 光景，令人聯想起印象派的風 景畫。換句話說，易卜生和 葛利格各自創作了屬於自己的 《培爾‧金特》。為了得出自 己的詮釋，我必須克服一些困 難，並找出劇作家和作曲家版 本之間的差異。

表演的最終版本是按照易卜生 筆下的時間順序進行。但在創 作新劇本時，我也曾仔細研究 葛利格的音樂，不止《培爾‧ 金特》組曲，還有他的其他作

品，當中一些片斷更成為了我 曲目中的重要部分。以此定案 是為了促進芭蕾舞動態，使編 舞更具活力，更為親民。

就這樣，易卜生與葛利格的藝 術世界融合為一個新的整體， 成就了一道擁有多條道路的風 景。我發現了一條地下通道， 此刻將為你、一眾親愛的觀眾 打開，希望你們和我們一起開 展一趟嶄新的芭蕾之旅。

愛德華‧克魯格

© Alex Pankov

編舞的話 Choreographer’s Note

Peer Gynt is undoubtedly one of the most complex characters created by Ibsen, and the play made the author a standout figure of his era. Edvard Grieg is also a key figure, a representative of fine northern romanticism in music.

The creative union of both artists was formed during the production of Peer Gynt in Christiania (now Oslo) in 1876. For the play, Grieg wrote several musical fragments, which were later partly modified, and created two orchestral suites which are still popular today.

I studied the text of Ibsen and the music of Grieg in detail in order to merge the two worlds in ballet, but I ran into a number of problems. The plot outline of the play, which includes both completed pictures of the real world and the phantasmagoria of the fictional world, predetermined the philosophical universality of this epic canvas. At the same time, the music of Grieg, taken separately from Ibsen’s creation, evokes associations with impressionistic landscapes. In other words, Ibsen and Grieg each invented their own version of Peer Gynt. To come up with my own interpretation, I had to overcome certain difficulties and find discrepancies in the versions of the playwright and the composer.

The resulting performance in chronological terms is based on Ibsen’s narrative. Nevertheless,

while creating a new libretto, I studied Grieg’s music in detail, not only that written for Peer Gynt, but also his other works, fragments of which became an integral part of my musical selection. The reason for this decision was the need to speed up the development of the ballet action, so that it became dynamic and accessible.

So the artistic worlds of Ibsen and Grieg have been merged into a new whole, into a landscape with many roads. I found an underground passage, which is now open for you, dear viewers, and I invite you to join us on a new ballet journey.

Edward Clug

節目介紹 Programme Notes

Peer Gynt

A Dramatic Poem in Motion

跳出文字　躍動舞台 究竟如何以舞蹈爲「語言」來 翻譯挪威最偉大劇作家的文 字？愛德華・克魯格是世上少 數完成了這個創舉的編舞家， 大膽將易卜生名劇《培爾・金 特》改造成芭蕾舞碼。克魯格 活用現代舞藝，描繪故事主角 踏遍挪威山脈到北非沙漠的冒 險，透過舞蹈邀請觀眾開展一 趟神祕又有趣的旅程。

易卜生的《培爾・金特》於 1876 年面世，故事以古老童 話及作者自己的家庭背景為藍 本。不久之後，這齣五幕劇於 奧斯陸上演，並被翻譯成多種 語言。直至今日，《培爾・金 特》仍是廣泛於世界各地上演 的劇目之一。此劇另一特點， 是由愛德華・葛利格譜出的管 弦樂組曲，同樣大受歡迎， 其起源可追溯至戲劇的首次公 演，而馬里博爾芭蕾舞團同樣 採用了這個樂章。組曲當中，

《清晨》與《山妖大王的宮殿》 是尤為知名的經典作品，至今 依然於各類媒體廣泛傳播。

《培爾・金特》情節具浪漫主 義色彩，並以韻文書寫，但同 時亦不畏跳出十九世紀舞台藝 術的桎梏，絕對是一齣現代戲 劇。就如克魯格的舞蹈改編一

© Svetlana Tarlova

《培爾・金特》： 舞蹈演繹如詩戲劇

樣，易卜生的原創劇本交織了 幻想與現實場景，甚至穿越時 空，但當時的觀眾和舞台工作 人員卻難以習慣這種情節。那 時電影尚未出現，相比起來， 戲劇難以呈現幻想世界與時 間、現實之間的模糊界線。從 綁架新娘到遇見山妖大王，培 爾・金特的冒險歷程可説是對 觀眾三觀的挑戰 ： 到底哪些是 真實、哪些是幻象？如某些事 物只存在於想像之中，那是否 就代表它不真實呢？

《培爾・金特》的編舞視野 克魯格創作的《培爾・金特》 芭蕾舞版本於 2015 年在斯洛文 尼亞首演，並大獲好評。這部 作品是克魯格初次編創的長篇 芭蕾舞劇，運用其擅長的現代 風格，將整個故事以動作形體 呈現，以貼近當代觀眾。改編 後的版本既忠於原著、捕捉了 易卜生的重要思想，亦通過嶄 新的動作和極簡的舞台佈景予 人耳目一新的感覺。

芭蕾舞劇以易卜生筆下著名的 「騎鹿」場景開始，描述一場失

敗的狩鹿行動。在馬里博爾芭 蕾舞團的版本中，由一名男舞 者頭戴鹿角飾演雄鹿，將特製 拐杖加入動作，而拐杖的外觀 則設計成帶有鹿蹄的前腿。母 親責罵培爾丟失了槍，認為這 是培爾憑空捏造的情節。馴鹿 一幕構建了作品的自然基調， 體現了整個故事中現實與幻想 對立的中心主題。

克魯格通過佈景設計和各種蟄 伏於地的動作，使故事中如

神話般的森林景象更顯活靈活 現。佈景設計包含山峰及樹 樁，不單强調開場與結幕的挪 威鄉郊風景，更巧妙地將之化 爲舞蹈的一部分。舞者單膝跪 在樹樁上作爲軸心，然後圍繞 着道具旋轉，令人目不暇給。 集體舞蹈更是充滿活力，利用 柔軟的雙腿，猶如彈簧一樣於 舞台地面和站立位置之間來回 擺動。在這些歡樂、明快的團 體舞蹈對比下，更反襯出培爾 在社羣中格格不入，唯有索爾 慧潔對他不離不棄，體現了她 的柔情和包容。

在馬里博爾芭蕾舞團的演出 中，可見到一條環形坡道佔據 了舞台中心，點出影響培爾一 生的重要箴言 ：「繞圈子。」這 句話促使培爾選擇了迂迴曲折 的生活方針，亦以意想不到的 方式經歷了人生。環形坡道還 有一個用途，就是遮掩舞者的 身體，包括山妖大王的女兒， 即「綠衣女子」。在她現身 前，只見一隻神秘的手臂從坡 道後出現，暗示了她的非人身 份。劇組也有效運用了一些簡 單的器物，如摩洛哥地毯和中 國風味的紅絲綢，來烘托出培 爾的異國遊歷。

為了彰顯故事中眾多迴異的角 色，克魯格善用了不同的外 型、體格來勾勒人物特色，如 粉紅衣衫凸顯了索爾慧潔的蕙 質蘭心，一眾山妖則顯得蹣跚 笨重，讓各個角色的內在本質 透過動作和服飾展現出來。編 舞亦利用別樹一格的姿勢與節 奏，成功轉化《培爾・金特》

中的各種超現實主義元素。 舉例說，除了主角以外的眾舞 者突然靜止不動，暗示時間停 止流動——就如馴鹿的幻象一 樣，培爾的幻想場景同時也扣 連了他的世界觀。

《培爾・金特》與世界各地的冒 險故事一樣，皆以「回家」作 為結局。從文字到舞蹈，不論 形態上如何千變萬化，《培爾・ 金特》的中心命題始終沒變， 就是叩問世人 ： 怎樣過活才稱 得上不枉此生？怎樣的人可 堪相伴？

瑪麗莎・海斯

From Page to Stage

How does the language of dance translate the words of Norway’s greatest playwright?

Edward Clug is one of the few choreographers worldwide to have done so, boldly revisiting Henrik Ibsen’s Peer Gynt for the Ballet of Slovene National Theatre Maribor. Drawing on contemporary techniques to depict the title character’s adventures that span Norway’s mountains to the North African desert, the Slovenian ensemble invites the audience to embark on an intriguing odyssey through movement.

Based on both traditional fairytales and the playwright’s own family, Ibsen’s Peer Gynt was published in 1876. Shortly after, the five-act play, written

in poetic verse, was staged in modern-day Oslo and translated into multiple languages. Today, Peer Gynt remains one of the most widely performed plays internationally. It boasts an equally popular orchestral score composed by Edvard Grieg that traces its origins to the play’s first staging, also used in Ballet Maribor’s production. Morning Mood and In the Hall of the Mountain King are particularly recognisable classics widely heard across a variety of contemporary media.

Despite its Romantic plot and use of verse, Peer Gynt was a resolutely modern play in its disregard for the limits of 19thcentury stagecraft. Like Clug’s dance adaptation, Ibsen’s original script interweaves

fantasy and realistic scenes that traverse time and space, but audiences and stagehands of the playwright’s era were unaccustomed to such plot devices. In contrast to cinema, which had not yet been invented, the theatre found it challenging to represent Peer’s forays into fantastic realms due to their ambiguous relationship with time and reality. The title character’s escapades—from kidnapping a bride to meeting the troll king—consistently leave the audience wondering: what is real and what is imagined? And if something exists only within the mind, does that make it any less true for the dreamer?

A choreographic vision of Peer Gynt

Clug’s Peer Gynt premiered in Slovenia to great acclaim in 2015. For the choreographer’s first full-length ballet, he set the entirety of the play’s narrative to movement with the goal of reaching modern audiences through his signature contemporary style. The result is a faithful adaptation of Peer Gynt, capturing Ibsen’s salient ideas, while providing fresh nuances through movement and minimalist scenography.

The ballet opens by revisiting Ibsen’s celebrated “buck ride” scene, a reindeer hunt gone wrong. In Ballet Maribor’s adaptation, the buck is performed by a male dancer adorned with antlers, whose movements are propelled by crutches designed to appear as forelegs with hooves. Peer’s mother scolds her son for

© Stas Levshin

losing his gun, a scenario she believes to be a figment of his imagination. The reindeer’s physical presence on stage immediately establishes the ballet’s natural setting and the central motif of truth versus fantasy that recurs throughout Peer Gynt

The story’s mythic forested landscape is further enhanced in Clug’s choreography through the dancers’ contact with the ground and set design. The latter includes a mountainside peak and wooden tree stumps, which serve not only to situate the opening and final events in rural Norway, but also to generate innovative movement patterns. Dancers anchor themselves by resting one knee on a tree stump to execute dazzling spins around the prop. Their lithe, bent legs oscillate like springs between the stage floor and standing positions in vibrant group choreography. These celebratory and quickpaced ensemble dances seal Peer’s status as an outcast in the community, save the pinkclad Solveig who epitomises acceptance and compassion in her tender partnering with him.

A circular ramp dominates the stage for much of Ballet Maribor’s performance, a visual reminder of an influential motto spoken in the play: “go around.” Those words inspire Peer to adopt a circuitous approach to life, passing the years in unexpected ways. The same set piece conceals bodies as well, including the troll king’s daughter, known as “the woman

in green”. Her lone dancing arm first mysteriously appears from behind the ramp before she fully reveals herself, a clue to her otherworldly origins. Other simple but effective objects and costumes relay Peer’s adventures far from home via displays of Moroccan carpets and red Chinese silk.

To illustrate the tale’s eclectic group of characters, Clug calls upon diverse physical qualities, contrasting the lyrical Solveig in pink with clunky absurd trolls. In this way, the inner nature of each character is displayed through their movements and costumes. The choreographer also successfully translates the surrealist elements of Peer Gynt through distinct gestural patterns and rhythms. Time, for instance, comes to a halt when dancers freeze midchoreography, while the titular character remains in action. Like the reindeer’s presence, these mysterious moments provide a glimpse of how Peer perceives the world through his inner imagination.

Peer Gynt, as with many epic tales across diverse cultures, is the universal story of a journey concluding with a return voyage home. In its many manifestations, from the printed page to choreography, Peer Gynt revisits age-old questions about what makes a life well lived, and with whom.

Marisa C. Hayes

作曲家簡介 Composer Profiles

愛德華·葛利格 Edvard Grieg 電台司令 Radiohead

挪威作曲家與鋼琴家愛德華· 葛利格（ 1843-1907 ）為浪漫時 期其中一位著名作曲家，尤以 改編挪威民謠著稱。其抒情的 語言和憂鬱的韻調充分體現在 他為易卜生劇作《培爾‧ 金 特》所譜寫的配樂。他最著名 的作品如《山妖大王的宮殿》 與《清晨》皆來自《培爾‧金 特》組曲，並對爵士樂、影視 等現代流行文化影響深遠。

Norwegian composer and pianist Edvard Grieg (1843–1907) is one of the main composers of the romantic era, known for his ingenious reworking of Norwegian folk music. Grieg’s unmistakable lyricism and discernible melancholic undertones can be heard in his incidental music for Ibsen’s play Peer Gynt Some of his best works, such as the excerpts In the Hall of the Mountain King and Morning Mood from the Peer Gynt suite, still strikingly resonate in popular culture, especially in jazz music, film and television.

電台司令是一支組建於 1985 年 的英國搖滾樂隊，成員包括湯 姆·約克、強尼‧格林伍德、 科林‧格林伍德、艾德‧歐 布萊恩與菲利浦‧塞爾韋。電 台司令的實驗性音樂被譽爲另 類搖滾的推動者。至 2011 年為 止，電台司令的全球唱片銷量 已超過三千萬張。樂隊多年來 獲獎無數，包括六個格林美獎 及四個艾佛‧諾韋洛獎。著名 音樂雜誌《滾石》點名電台司 令為一百名最具影響力藝術家 之一。

2019 年，樂隊獲選搖滾 名人堂。

Radiohead are an English rock band formed in 1985 by Thom Yorke, brothers Jonny Greenwood and Colin Greenwood, Ed O'Brien and Philip Selway. Radiohead's experimental approach is credited with advancing the sound of alternative rock. By 2011, Radiohead had sold more than 30 million albums worldwide. Their awards include six Grammy Awards and four Ivor Novello Awards. Rolling Stone named Radiohead one of the 100 greatest artists of all time. They were inducted into the Rock and Roll Hall of Fame in 2019.

伊戈爾·史特拉汶斯基

Igor Stravinsky

伊戈爾‧史特拉汶斯基（ 18821971 ）生於俄羅斯，後遷往法 國。他被視為二十世紀最傑出 及具影響力的作曲家之一，可 謂改革了當代芭蕾舞音樂。 他為謝爾‧蓋達基列夫的俄 羅斯芭蕾舞團譜了多首名曲， 包括在當時極具爭議的《春之 祭》。史特拉汶斯基獨特的節 奏與非常規的和聲運用，對 新古典主義芭蕾的發展有着重 大的影響，在與傳奇編舞喬 治‧巴蘭欽合作的作品裏尤 爲明顯。

Igor Stravinsky (1882–1971), a Russian émigré in France, is still considered one of the most prominent and celebrated composers of the 20th century who revolutionised ballet music. He wrote several of his most notable scores for Diaghilev’s company Ballets Russes, among them one of the most notorious scores of the modern time, The Rite of Spring (Le Sacre du Printemps). His specific use of rhythm and unconventional harmony greatly influenced the development of neoclassical ballet, which is reflected in ballets co-created with the legendary choreographer George Balanchine.

編創人員簡介

Creative Team Profiles

in Vienna. He has worked with numerous theatres in Slovenia and Europe, including the Vienna State Opera, the Nederlands Dans Theatre, the Ballet Vlaanderen in Antwerp, and many more. He created stage designs for Edward Clug’s works such as Radio and Juliet, Les noces and Peer Gynt

馬高‧賈佩 Marko Japelj

佈景設計   Set Designer

馬高‧賈佩在斯洛文尼亞盧 布爾雅那修讀建築。自 1986 年起，為二百多個劇場設計舞 台，歷年獲獎無數。他曾在 維亞納應用藝術大學開設電影 與舞台設計大師班，亦與多個 位於斯洛文尼亞及歐洲各地的 劇場合作，包括維也納國家歌 劇院、荷蘭舞蹈劇場、比利 時安特衛普的法蘭德斯芭蕾舞 蹈團等。他曾為愛德華·克 魯格設計多個舞台作品，例如 《收音機與茱麗葉》、《婚禮》、 《培爾‧金特》等。

Marko Japelj studied

architecture in Ljubljana, Slovenia. Since 1986, he has created approximately 200 stage designs for drama and music theatre, many of which have received awards. As a guest professor, he led master classes for film and stage design at the University of Applied Arts

里奧·古勒

Leo Kulaš

服裝設計

Costume Designer

里奧·古勒為劇場設計與服裝 設計師，曾就讀貝爾格萊德應 用藝術學院。他曾為超過 150 個前南斯拉夫的劇院、歌劇、 芭蕾舞、影視製作提供服裝設 計。古勒憑藉馬里博爾芭蕾 舞團《神曲》，榮獲馬里博戲 劇節獎，以及普列舍仁基金獎 等設計獎項。在斯洛文尼亞以 外，他亦活躍於多國劇場，如 德國多蒙特劇院、維也納國家 歌劇院、莫斯科大劇院等。古 勒為愛德華·克魯格的長期合 作夥伴。

Leo Kulaš is a set and costume designer. He studied at the Academy of Applied Arts in Belgrade. In the former Yugoslavia he created the costumes for more than 150 theatre, opera and ballet productions, and several film and TV productions. For La Divina Commedia at the Maribor Theatre, he received the Maribor Theatre Festival Award and the Prešeren Fundation Award. Outside of Slovenia, he also worked at the Dortmund Theatre, the Vienna State Opera, the Bolshoi Theatre in Moscow, and more. He created the costumes for almost all ballets by Edward Clug.

© Damjan Svarc

© Marijo Zupanov

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》

The Mad Phoenix Collection of Raymond To’s Classics

24/2 五 Fri 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

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

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

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

《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

Mater and Carmina Burana. As an ongoing artistic companion of Edward Clug, he has worked with many major theatres and festivals, including Singapore International Arts Festival, Tel Aviv International Dance Festival, Sintra Festival, Dance Open Festival in St. Petersburg, the State Opera in Prague, and more.

托馬‧普林

托馬‧普林於馬里博爾學院修 讀多媒體製作。自 1996 年起， 他在馬里博爾斯洛文尼亞國家 劇院擔任燈光設計師及工程 師。他的燈光設計作品涵蓋古 典與現代舞蹈，如《天鵝湖》、 《帕基塔》、《黃金時代》、《春之 祭》、《聖母悼歌》與《布蘭詩 歌》。普林與愛德華·克魯格曾 多次於各個重大的劇院與藝術 節合作，包括新加坡國際藝術 節、特拉維夫國際舞蹈節、辛 特拉節、聖彼得堡公開舞蹈節 以及布拉格國家歌劇院等。

Tomaž Premzl studied multimedia production at the Academia in Maribor and has been working as a lighting designer and technician at the Slovenian National Theatre in Maribor since 1996. As a lighting designer, he co-created numerous productions of classical and contemporary dance, including Swan Lake, Paquita, The Golden Age, Le Sacre du Printemps, Stabat

也妮雅・格洛戈瓦

Janja Glogovac

錄像   Video

也妮雅・格洛戈瓦於布拉格表 演藝術學院電影電視學院取得 視覺藝術碩士學位，並專攻電 影導演。她分別曾於克羅地亞 電視台、斯洛文尼亞電視台以 及捷克國營電視台擔任導演， 並在歐洲各地拍攝了超過七十 部紀錄片和新聞片段。她的首 部劇情片《像⋯愛》於 2008 年 鹿特丹電影節進行首映。

格洛戈瓦於 2010 年成立了「藝 術空間」平台，旨在聯繫世界 各地的藝術家。目前，她正 在籌備拍攝劇情片《流動時 間》。格洛戈瓦是歐洲電影學會 的成員。

Janja Glogovac obtained a master's degree at Prague's FAMU academy in Visual Arts and specialises in film directing. She worked as a film director for Croatian television (HTV), Slovenian television (RTV) and Czech national television (CTV). She has shot more than 70 documentaries and reportages across Europe. Her debut feature film L… Like Love premiered at the Rotterdam Film Festival in 2008.

In 2010, Glogovac launched the Space of Art platform that was created to connect artists around the world. At the moment she is working on a feature film called Liquid Time. She is a member of the European Film Academy.

Tomaž Premzl

燈光設計

Lighting Designer

© Žan Premzl

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

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 *

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

Information Technology Manager

NO LIMITS

Project Director

Programme and Outreach Manager

Programme and Outreach Coordinators

Flora Yu

Connie Ho

Grace Lang

Ian Leung*

So Kwok-wan

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

Derek Chan*

Eddy Zee*

Becky Chung* Christy Ho*

Kelvin Ho* Jasmine Poon*

Deputy Marketing Manager Kaitlyn Liu*

Assistant Production Manager Jess Cheung*

Senior Accounting Officer

HKARTSFESTIVAL@TAIKWUN

Project Manager

PR and Marketing Coordinator

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*