短篇粵劇變陣 重現傳統美德

Revitalising Deep-Rooted Virtues Through Concise Cantonese Opera

標準的粵劇表演一般長達三小時，為了讓粵劇令人易入口，有創作者突破形式框架，把四則故事各濃 縮至半小時至一小時的短劇，繼 2022 年「短篇粵劇——民間三孝義故事」，香港藝術節再接再厲，延 續精悍形式，推出「短篇粵劇——戲說八德」，同時令故事更符合現代道德價值。

A Cantonese opera performance traditionally lasts for about three hours. But in recent years, more condensed performances lasting an hour or less have become something of a trend in the opera world. In this series of four classical Chinese tales being presented at the 51st Hong Kong Arts Festival, each is cut back to a short play of 30 minutes to one hour. The programme Virtues and Morality—Four Cantonese Operas follows on from the similar 2022 programme Faith, Family, Fealty—Three Cantonese Operas, and showcases opera classics in ways that speak to the moral values of modern times.

深入考證歷史再創作 「戲說八德」的四則故事包括 《千里送嫂》、《臥薪嘗膽》、《孟 母訓兒》、《蘇武牧羊》，製作總 監周嘉儀說，故事雖被濃縮， 卻仍有不少分場，把忠、禮、 義、恥等主題充分顯現，她認 為短劇形式較易吸引非傳統粵 劇觀眾，有助拓展觀眾群。 至於為甚麼選擇「八德」為主 題，編劇李廷��道：「粵劇最初 就是讓人從這個表演藝術中， 了解忠孝節義等思想，隨着現 在粵劇觀眾層面多了，知識水 平提升了，我們也希望能在 粵劇作品中重新表達一些深層 意義。」

以有限篇幅說故事當然有其挑 戰，「義」篇《千里送嫂》編劇 劍麟認為，挑戰在於以精簡篇 幅，把故事重點表達清楚。《千 里送嫂》是《三國演義》中， 關羽面對曹操百般拉攏利誘，

千里護送劉備兩位夫人的著名 故事，劍麟指，在傳統戲曲 裏，紅生是一個特別的行當， 是演關公等紅臉、勇武剛強的 鬚生角色，有特定的穿戴和表 演方式，即所謂關公戲、老爺 戲，這次《千里送嫂》的關羽 一角，由曾演關戲的演員吳國 華飾演，讓其他年輕演員有所 參照，處理也一絲不苟。

雖然是粵劇創作，但由於故事人 物仍有歷史根據，加上製作團 隊希望此次演出兼具教育推廣 意味，故團隊深入考究史實。

譬如《蘇武牧羊》其中一個角 色李陵，實際年齡比蘇武還要 大，但在崑曲中常見其俊美形 象，蘇武則是蒼髯滿面，周嘉 儀說：「為了呈現史實，既然李 陵已為駙馬，養尊處優，就讓

他長黑鬚吧。」

劍麟補充，歷史人物的既定性 格、事蹟、故事發展，不能扭

曲，「但在故事框架上，我們 可以有發揮空間。」上述《蘇 武牧羊》便是好例子。為「戲 說八德」擔任學術顧問的胡國 賢說認同戲劇中，創作是必須 的，「歷史流傳下來的故事，本 來就有創作成分，未必都忠於 史實，在舞台上稍加創作，令 故事變得更合情合理，觀眾是 接受的。」

編劇劍麟覺得短篇粵劇這種演 出模式值得探索，不過當中涉 及成本問題，即使演出時間縮 短，但人工、場租等所有開 支，跟長篇演出無異，然而 票價卻可能需要下調，一想到 能否自負盈虧、是否有生存空 間，他心存疑問，如要繼續發 展，必須有主辦者、資助等支 持，才有機會繼續發生。

撰文：黃子翔 原文刊登於香港藝術節 2023 年之 《閱藝》雜誌

Diving deep into history and reinterpreting classics

The four stories presented this time are Guan Yu Escorts his Sisters-in-law Home on a Thousand-mile Journey, Gou Jian Prepares to Avenge the Nation, Mencius’ Mother Admonishes Her Son and Su Wu Tends the Sheep. Producer Annie Chow says: “The plots are trimmed, but key scenes that bring out the themes of loyalty, etiquette, righteousness and shame are nonetheless vividly depicted." She believes that short plays are more likely to appeal to those new to Cantonese opera, hopefully widening the audience base.

It’s not easy to present such long-established stories in a reduced format, but Kim Lun, playwright of Story of Righteousness— Guan Yu Escorts his Sisters-in-law Home on a Thousand-mile Journey, believes the essence of each story can be conveyed in a concise manner. The part of the programme he wrote is based on a renowned story from Romance of the Three Kingdoms, in which Guan Yu insists on escorting the wives of

Liu Bei home on a long journey despite the various enticements offered for him to stay at his camp. Kim Lun states that in traditional Chinese opera, the hongsheng role (a scholar with a red face) belongs to a unique division, and is used to play redfaced characters such as Guan Yu or xusheng (an elderly male character) with strong fighting skills. Actors playing this role have to wear a specific costume and perform a certain way, which is referred to as guan gong xi (play of Guan Yu) or lao ye xi (play of Master Guan). For this play, the role of Guan Yu is performed by Ng Kwok-wa, who has also previously played guan gong xi roles, allowing younger actors to witness how he meticulously handles the character.

All four plays have strong roots in Chinese history, with educational undertones, so the team looked deeply into the contextual background among the characters. For instance, in Su Wu Tends the Sheep, Li Ling is older than the protagonist Su Wu, but is often portrayed as a handsome young man in Kun opera, while Su is dishevelled and unkempt. “History says Li Ling became a husband of a princess, living a comfortable, well-fed life. To honour the truth, we should just let him grow a black beard,” says Chow.

Kim Lun added that the official personality, events and stories of historical figures should not be distorted, “but we have room to be creative with the narrative framework”. A good example is Su Wu Tends the Sheep. Woo Kwok-yin, academic advisor to all four plays, agrees that creativity is essential in drama. “Stories that have survived from ancient times have inevitably been mixed with fictional elements and are not necessarily faithful to the historical facts. To that end, refurbishing the narrative artistically can perfect the storyline, and this is widely accepted by our audience.”

Kim Lun acknowledges that short Cantonese operas are a format worth exploring, but they still face cost constraints— despite a shorter running time, the expenditure on wages, fees and venue rental are the same as for longer plays, while ticket prices are cheaper. He doubts whether the Cantonese operas industry can survive through self-financing, believing that development of the industry can only be achieved with the support of organisers and sponsors.

Text: Jan Wong

Originally published in the HKAF's 2023 FestMag

專題文章 Feature Article

Historical and Fictional Elements in Virtues and Morality—Four Cantonese Operas

去屆藝術節首次推出三齣以「孝」為主題的短篇粵劇，反應奇佳。本屆藝術節再接再厲，為大家呈獻 《戲說八德》四齣新編短篇粵劇，好讓觀眾一面欣賞粵劇曲藝，一面領會中國傳統美德。

During last year’s Hong Kong Arts Festival, three short Cantonese operas themed around filial piety were presented for the first time, receiving critical acclaim and impressing audiences. This year’s Festival builds on that success and presents four newly written short Cantonese operas in the programme Virtues and Morality—Four Cantonese Operas. It is hoped that the programme will allow audiences to appreciate the artistry of Cantonese opera and provide a better understanding of traditional Chinese virtues at the same time.

四齣新劇，分別以八德中的 「忠」、「恥」、「禮」、「義」為 主題。故事也許早已家喻戶 曉，但這次新編仍經多番琢 磨，務求於史實與虛構間，既 能闡述相關主題，也可引發觀 眾思考而有所得着。

現試概述四劇中的歷史與非歷 史元素如下 ：

先說忠篇《蘇武牧羊》。這是 中國戲曲常見的劇目之一，而 可供參考的典籍更有不少，尤 其《漢書》。如何化繁為簡， 於突顯「忠」的主題以外，還 能給予觀眾一些新鮮感？本劇 只聚焦於蘇武和李陵兩次不同 時地的會面，借二人「不降」 與「已降」的身份，帶出「忠」 與「不忠」之別。不過，創新 之處卻是，天馬行空地加入 「天神」一角，作為蘇武考驗的 見證，為這個現實的感人故事 增添一絲神話色彩。

至於恥篇《卧薪嘗膽》，故事

更是耳熟能詳，也不乏大量正 史與野史參考，如《左傳》、 《史記》、《吳越春秋》等。本 劇出現的人物亦有不少，除夫 差、伯嚭、伍員，以及句踐、 越后、范蠡、文種等吳越君臣 外，更加入句踐兩名兒女 ； 而 二人願當人質讓父親得以回國 一節，不正是上屆「孝義」主 題的延伸？

說到禮篇《孟母訓兒》，應是 最不為人熟悉的劇目，更似乎 不曾見於其他戲曲。故事取材 自漢代的《韓詩外傳》及《列 女傳》等非正規史書，加以情 節簡單，戲劇性不濃，難怪未 受垂青呢！因此，這次新編 特為此加插了一些人物，如孟 子弟子萬章，以及一些細節， 如孟妻踞坐原因等，既豐富內 容，也較近情理，令「禮」的 精神更能深化，也更貼近生活。

相對來說，義篇《千里送嫂》， 當是四劇中最常見於中國戲曲

的劇目 ； 行內甚至把「關戲」 稱為「老爺戲」，以示尊重， 更把擅演「關羽」的演員稱為 「紅生」，成為一獨特行當，可 見其普及與地位。本劇自然也 是以「紅生」為重心，由「困 土山」到「過關斬將」，過程錯 綜複雜、人物眾多，關係更千 絲萬縷，着實不易取捨。本劇 同樣盡量化繁就簡，卻仍有清 晰的闡述 ； 其中「賜劍貂蟬」

一節，更為「貂蟬」這個虛 構人物的「忠孝節烈」另訂註 腳，並從另一角度彰顯關羽的 「大義」，可說是神來之筆！ 人生如戲，而戲中人生，無論 有史可稽，還是憑空擬想，始 終是劇作者，以至製作者苦心 孤詣的成果。《中庸》云 ：「君 子無入而不自得。」相信， 《戲說八德》既可以滿足觀眾 的視聽之娛，也能藉着欣賞 粵劇藝術，各有其自「得」之 「德」吧！

These four new operas are based on four of the traditional eight virtues: loyalty, shame, etiquette and righteousness. The stories told in these operas may be well-known to many, but they have been newly interpreted and carefully thought out in an attempt to balance historical facts and fiction so as to explain the relevant themes. It is hoped that audiences will be inspired and enriched by the process.

Here we present an overview of the historical and fictional elements in the four operas.

First up is the opera based on the theme of loyalty, Su Wu Tends the Sheep. Su Wu is a popular figure in Chinese opera and his story has been told in many classics, especially The Book of Han. In this re-telling of the tale, the question was how to simplify the complex story while highlighting the theme of loyalty, and presenting the audience with a fresh take. This opera focuses on the two meetings between Su Wu and Li Ling at different times and places, using their identities as one who has “not surrendered” and one who has “surrendered” to bring out the contrast between loyalty and disloyalty. The innovation in this re-telling is the addition of the role of a “heavenly god” who bears witness to Su Wu's test of loyalty, giving this realistic and moving tale a touch of fantasy.

The story Gou Jian Prepares to

Avenge the Nation centres on the theme of shame and is even more familiar to audiences. The tale is recounted in many official and unofficial histories, and can be found in works such as The Commentaries of Zuo, The Historical Records, The Histories of the Southern States of Wu and Yue, and so on. There are many characters in this opera: in addition to Fu Chai, Bo Pi, Wu Yuan, and the nobles and ministers of the Wu and Yue states such as Gou Jian, the Empress of Yue, Fan Li and Wen Zhong, the roles of Gou Jian’s son and daughter have been added. These two children are willing to surrender themselves as hostages in exchange for their father’s freedom and return home, which is an extension of the theme of filial piety from last year’s season.

The opera focused on etiquette Mencius’ Mother Admonishes Her Son, is likely the least familiar and it seems that this tale has never been performed in other opera genres. The story is based on informal Han dynasty history books such as The Outer Commentary to the Book of Songs by Master Han and Biographies of Exemplary Women. The plot is simple and lacks drama, which is probably why the story has not found favour as an opera. This new interpretation adds some characters, such as Wan Zhang, a disciple of Mencius, and some new details, such as the reason why Mencius’ wife was sitting in the position that so offended the philosopher. The additions were made not only to enrich the content, but also to highlight the idea of etiquette and make the story more realistic.

The story revolving around righteousness, Guan Yu Escorts his Sisters-in-Law Home on a Thousand-Mile Journey, is the most popular tale of these four operas. Within opera circles, operas featuring Guan Yu are referred to as “Old Master Operas” as a sign of respect, and actors who excel at playing Guan Yu on stage are called hongsheng (male with a red face), which is a reference to Guan Yu’s red face paint. The role of Guan Yu is in a category all of its own, highlighting its popularity and status. Naturally, this opera draws from a number of Guan Yu operas. The process of editing was tangled and complicated, as there are many characters, with intricate relationships between them. This opera strives to simplify the complexity as much as possible, while still retaining a clear narrative. In a stroke of genius, the scene titled “Presenting Diao Chan a Sword”, focuses on the fictional Diao Chan’s loyalty, filial piety and integrity, while presenting Guan Yu's “great righteousness” from an entirely different angle.

Life is like a play, and the way the lives of characters are presented in a play, regardless of whether they were real people or imaginary, is not only the job of the playwright, but also the producer. The Doctrine of the Mean states: “The superior man can find himself in no situation in which he is not himself.” Virtues and Morality— Four Cantonese Operas will not only satisfy the audience's desire to be entertained through sight and sound, but also allow everyone to examine their own virtues by appreciating the artistry of Cantonese opera.

七歲起參演電影，後拜名伶麥 炳榮為師學戲，從事演藝工作 七十年。他擅演文武生及小 生，演丑生、鬚生甚至花臉戲 亦非常出色，素有「神童」、 「萬能泰斗」之美譽。1991 年獲 「香港藝術家」年獎、2003 年及 2016 年獲香港藝術發展局先後 頒發「藝術成就獎」及「傑出 藝術貢獻獎 」。演藝造詣高超 之餘，他亦一直致力推動粵劇 發展，進行大量教育及傳承的 工作，2012 年更獲香港教育學 院頒發榮譽院士。曾於 1992 年 及 2014 年獲頒授「 BH 榮譽獎 章」及「銅紫荊星章」，以表揚 他對社會的貢獻。曾親自撰寫 《阮兆輝棄學學戲： 弟子不為 為子弟》、《生生不息薪火傳： 粵劇生行基礎知識》及《此生 無悔此生》。阮兆輝現為香港 中文大學音樂系教授、香港康 樂及文化事務署博物館專家顧 問（粵劇）、一桌兩椅慈善基金 藝術總監、香港教育大學榮譽 院士，以及「粵曲考級試（演 唱）」首席考官。

Yuen Siu-fai made his start as an actor in films at the age of seven, and he studied Cantonese opera with renowned artist Mak Bing-wing. He has now been acting for 70 years. He specialises in wenwusheng (civil and military male) and xiaosheng (young male) roles, and also chousheng (clown), xusheng (senior male) and even hualian (painted face) roles. He was awarded Artist of the Year by the Hong Kong Arts Development Awards in 1991. He received the Award for Arts Achievement in 2003 and the Award for Outstanding Contribution in Arts in 2016 from the Hong Kong Arts Development Council. He was conferred with an Honorary Fellowship from the Hong Kong Institute of Education in 2012 for his contribution to Cantonese opera development and education in Hong Kong. He was awarded the Badge of Honour in 1992 and the Bronze Bauhinia Star in 2014 in recognition of his contribution to society. He is the author of two memoirs recounting his career in Cantonese opera, and a book about the fundamentals of performing the sheng role. He is currently Professor of Music at the Chinese University of Hong Kong, a museum adviser to the Hong Kong Leisure and Cultural Services Department (Cantonese Opera), artistic director of the One Table Two Chairs Charitable Foundation, Honourary Fellow of the Education University of Hong Kong, and chief examiner of the Cantonese Operatic Singing Examination (Singing).

中國戲曲愛好者、資深活動培 訓策劃行政人員。近年以自由 工作人身分，投放大量時間參 與有關戲曲的藝術評論、藝術 行政、劇本整理、舞台監督等 工作。2010 年修畢由香港八和 會館主辦、香港大學教育學院 中文教育研究中心協辦之《粵 劇編劇班》，其後為少年兒童粵 劇培訓編撰以「孝經」為題之 《王祥臥冰求鯉》、《緹縈陳情救 父》、《趙咨迎盜》、《雲英繼父 守城》及神話劇《八仙過海》。 現為香港藝術發展局戲曲界別 審批員、香港粵劇發展基金演 出資助計劃評核小組成員、春 暉粵藝工作坊秘書。2020 年成 立「戲裏乾坤」，擔任主席， 全方位推動前輩名伶以「傳、 幫、帶」的方式宏揚中國戲曲 表演藝術。

Chow Ka-yee is an avid lover of Chinese opera and an experienced administrator in project management and training in the field. In recent years, she has worked extensively in Chinese operarelated arts criticism, arts administration, script revision and stage management as a freelancer. In 2010, she completed the Cantonese Opera Script Writing course organised by the Chinese Artists Association of Hong Kong and supported by the Centre for Advancement of Chinese Language Education and Research at the University of Hong Kong. As the playwright for a Cantonese opera training programme for children and young people, Chow wrote several plays under the theme “Classics of Filial Piety”, namely A Dutiful Son Fishing in Ice for His Mother, A Daughter’s Appeal to Save Her Father, Zhao Zi Greets the Bulgars, and The Warrior Daughter Yunying Takes Her Father’s Place, as well as The Eight Immortals’ Adventures in the Eastern Sea, an adaptation of the Chinese mythical tale. She is currently an examiner (Xiqu) for the Hong Kong Arts Development Council, a member of the Assessment Panel for Subvented Performance Projects of the Cantonese Opera Development Fund and secretary of the Spring Glory Cantonese Opera Workshop. In 2020, she founded the Cantonese opera society Arte of Xiqu. As chairwoman of the society, she supports veteran artists in passing on their knowledge, skills and experience to young performers, to promote the art of Chinese opera.

筆名羈魂，香港知名新詩作 者、詩刊編輯，出版詩集、文 集、評論集等近二十種。作 品曾入選中港台及世界各地選 集，並為香港大學駐校作家基 金會創會主席、1997 年香港 臨時市政局特聘作家，歷任香 港中文文學雙年獎、中文文學 創作獎詩組評判。近年則轉向 古典文學創作，包括粵劇、粵 曲。其粵曲作品《少陵秋興》 榮獲第二屆全球粵曲創作比賽 金獎，並曾為香港教育局《粵 劇合士上·梆黃篇》粵曲教材 兩名編撰者之一。其編撰粵劇 《孔子之周遊列國》，更曾五度 公演，包括 2013 年為中文大 學 50 周年校慶之演出； 而另一 齣新劇《桃谿雪》亦於 2021 年 6 月首演。1999 年至 2007 年曾 任孔教學院大成何郭佩珍中學 校長，現任孔教學院教務長。 現為粵劇發展基金會評審小組 成員及香港八和會館粵劇新秀 演出系列之專家評審。

Known by the pen name “Kei Wan”, Woo Kwok-yin is a renowned Hong Kong author and literary editor. He has published nearly 20 works of poetry, prose and literary criticism, with his works selected for literary collections in mainland China, Hong Kong, Taiwan and other places in the world. He is the Founding Chairman of the Writer-inResidence Foundation at the University of Hong Kong, and was a Writer-in-Residence of the Provisional Urban Council in Hong Kong in 1997. He has served as a member of the judging panel for the Hong Kong Biennial Awards for Chinese Literature and Awards for Creative Writing in Chinese (Poetry category). In recent years, he began writing classically influenced literature including Cantonese opera pieces. His work Autumn Meditations of Shaoling won the Gold Prize at the second Global Cantonese Opera Writing Competition. He was one of the two playwrights of the Banghuang teaching package for Cantonese opera under the Education Bureau of Hong Kong, while his work The Peregrinations of Confucius has been performed five times, including a performance at the celebrations for the 50th anniversary of the Chinese University of Hong Kong in 2013. His more recent work Snow in Taoxi premiered in June 2021 to critical acclaim. He served as the Principal of Confucian Tai Shing Ho Kwok Pui Chun College from 1999 to 2007. He is now Registrar of the Confucian Academy, and a member of the assessment panel of the Cantonese Opera Development Fund and the expert assessment panel of the Barwo Cantonese Opera Young Talent Showcase.

劍麟

Kim Lun

戲曲統籌 / 劇本編撰 Xiqu Co-ordinator / Playwright

見演員簡介

Refer to cast profile

李廷��

Lee Ting-fung

劇本編撰 Playwright

師承林錦堂，太太是粵劇新秀 陳紀婷。自幼對粵劇興趣濃 厚，中小學時曾在朗暉粵劇團 習藝，為後來投身粵劇打下基 礎。及後負笈海外，回港後因 太太的關係重返梨園，參與台 前幕後多項不同範疇的工作， 如演員、編劇、舞台監督等。 近年為本地各粵劇團編寫多部 劇本，能力備受肯定。作品計 有《官門家事》、《夜光杯》、 《棋盤山》、《梨園流金歲月》、 《蝴蝶記之緣夢》、《香江號》、 《紅孩兒》、《文成公主》、《反斗 奇英》等。立志將粵劇藝術薪 火相傳。

Lee Ting-fung was an apprentice of Cantonese opera veteran Lam Kam-tong and is married to opera performer Chan Keiting. He has been passionate about Cantonese opera since a young age. During his primary and secondary school years, he began his apprenticeship at Love and Faith Cantonese Opera Laboratory, which set the foundation for his later career. He pursued his studies overseas and, after returning to Hong Kong, re-joined the Cantonese opera troupe under the influence of his wife, taking on roles and working behind the scenes as an actor, playwright and stage manager. In recent years, he has written scripts for many Cantonese opera troupes, winning wide acclaim. His works include Family Affairs, The Magic Cup, The Chessboard Mountain, The Golden Age of Cantonese Opera, A Butterfly Series: Faithful Dream, Spirit of Hong Kong, Red Boy, Princess Wencheng and The Story of Playful Ying. He is devoted to passing on the art of Cantonese opera.

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出身粵劇擊樂世家，師承父親 高潤權，以及廣東粵劇學校粵 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 粵劇學校學習粵劇，2010 年 回港接受父親的教導，曾在艷 陽天粵劇坊、紫迎楓粵劇團、 東昇劇團、頌先聲粵劇團、御 玲瓏粵劇團、劍麟粵劇團及香 港八和會館「粵劇新秀演出系 列」等擔任掌板。2021 年為康 樂及文化事務署主辦之大型粵 劇「重演優秀粤劇作品《乾坤 鏡》（五代同台版）」擔任擊 樂領導。

Ko Wing-hei was born into a family of Cantonese opera percussionists. He was mentored by his father Ko Yunkuen, and Su Xuecheng, head of Cantonese opera at the Guangdong Yueju School (now Guangdong Dance and Drama College). He is a graduate of the Guangdong Yueju School, where he enrolled to study Cantonese opera in 2005. He received further training under his father after returning to Hong Kong in 2010. He has worked as the zhangban (principal percussionist) for Sunny Cantonese Opera Troupe, Purple Maple Chinese Opera, East Sing Cantonese Opera Troupe, Chung Sin Sing Cantonese Opera Troupe, Yue Ling Loong Cantonese Opera, Kim Lun Cantonese Opera Troupe, and the Cantonese Opera Young Talent Showcase by the Chinese Artists Association of Hong Kong. In 2021, he served as the percussion leader for the programme Revisiting a Fine Selection of Cantonese Opera The Cosmic Mirror, presented by the Leisure and Cultural Services Department.

受父親孫國良啟蒙學習西樂， 並跟隨宋向民學習中樂。曾於 千歲粵劇研究院學習，後來入 讀香港演藝學院修讀演員及戲 曲伴奏課程。在學生時期得蒙 游龍師傅指導，一邊學習一邊 實踐，並追隨師傅於各大小劇 團演出。現為全職粵劇樂師， 自 2018 年擔任劍麟粵劇團之 音樂領導，排演新劇《霸王別 姬》、《鍾馗嫁妹》、《決戰黃天 蕩》、《鍾無艷》、《打焦贊》、 《戰馬超》等。

Suen Tik-fei studied Western music with the encouragement of his father Suen Kwok-leung, and he was inspired to study Chinese music by Sung Heungman. He received training at the Chin Sui Cantonese Opera Research Institute, and he later studied acting and musical accompaniment at the Hong Kong Academy for Performing Arts. During his school years he was coached by Leo Wong, and he performed with various opera troupes under the guidance of his mentor. He is currently a full-time Cantonese opera musician. Since 2018, he has been the music leader of Kim Lun Cantonese Opera Troupe, where he has arranged the music for productions such as Farewell My Concubine, Zhong Kui Marrying His Younger Sister Off, The Battle of Huangtiandang, Queen Chung Wu-yen, Beating Jiao Zan and Battle with Ma Chiu.

生於粵劇世家，約十一歲開始 學戲，隨任大勳學習基本功， 1999 年首踏台板演折子戲，後 與「廣州紅豆粵劇團」及「順 德市粵劇團」在香港及國內作 交流演出。2006 年首次紮腳演 出《紮腳穆桂英大破天門陣》，

2010 年底自組「御玲瓏青春劇 團」，2005 至 2009 年參與蒲台 島神功粵劇演出，曾合作名伶 有龍貫天、南鳳、李鳳、尤聲 普、廖國森、阮兆輝、賽麒麟 及呂洪廣等。2007 年憑《紮 腳劉金定斬四門》獲香港電台

「 2007 年最受觀眾欣賞的粵劇 演出劇目選舉」銀獎。2010 年 獲香港藝術發展局頒發「 2009 藝術新秀獎」及香港電台及香 港八和會館頒發「粵劇青年演 員飛躍進步獎」優異獎。

Born into a family with a long tradition in Cantonese opera, Yue Ling-loong began training at the age of 11, learning the basics under the tutelage of Yam Tai-fan. After her stage debut in a performance of operatic excerpts in 1999, she collaborated with Guangzhou Hongdou Cantonese Opera Troupe and Shunde Opera Troupe in Hong Kong and mainland China. In 2006, she performed wearing a pair of lotus shoes for bound feet for the first time in The Boundfeet Muk Kwai-ying Breaks the Heavenly Gate Formation She founded Yue Ling Loong Cantonese Opera in 2010. From 2005 to 2009, she took part in the ritual performances of Cantonese opera on Po Toi Island. She has performed with Lung Koon-tin, Nam Fung, Lee Fung, Yau Sing-po, Liu Kwoksum, Yuen Siu-fai, Choi Keileun, Lui Hung-kwong and other opera stars. For The Bound- Feet Liu Jinding Crashes Four Gates, she won the 2007 Audience Choice Award for Cantonese Opera Performance – Silver Award by Radio Television Hong Kong. In 2010, she was recognised with the Award for Young Artist in Hong Kong Arts Development Awards 2009, and the Most Promising Actor Merit Award by Radio Television Hong Kong and the Chinese Artists Association of Hong Kong.

八歲起隨廖儒安及文禮星學習 粵劇，十四歲入行，工生、丑 行，兼習花臉，曾隨多位京劇 名演員學藝，集南北京粵表演 特色，武打勇猛，唱唸宏亮。 曾參與大型粵劇演出，包括每 年的「香港八和會館慶祝華光 先師寶誕」《香花山大賀壽》、 香港藝術節 2010《香港粵劇經 典》上海世博會演出、中國戲 曲節 2017《粵劇經典慶回歸》 等。2010 年獲香港電台及香港 八和會館頒發「粵劇青年演員 飛躍進步獎」（生角）優異獎， 自 2012 年起參與香港八和會館 「粵劇新秀演出系列」，2016 年 獲選為「西九戲曲中心粵劇新 星」。在「粵劇新秀演出系列」 的六年演出中，被重點培訓主 演以丑角和淨角擔綱的角色： 知府胡進、捉鬼大臣鍾馗、楚 霸王項羽等。

Kim Lun began learning Cantonese opera under Liu Yuon and Man Lai-sing from the age of eight, and he started his career as a performer at 14. He specialises in sheng (male) and chou (clown) roles, and he also performs the hualian (painted face) role. He has studied with a number of famous Peking opera actors. The southern and northern features of Cantonese and Peking opera are evident in his performance, which is characterised by strong martial arts skills and a sonorous singing and reciting voice. He has taken part in various Cantonese opera showcases including the annual performance of Grand Birthday Celebration at Mount Heung Fa at the birthday celebration of Master Wa Gwong by the Chinese Artists Association of Hong Kong, Hong Kong Cantonese Opera Treasures presented by the Hong Kong Arts Festival at Expo 2010 Shanghai China, and Cantonese Opera Classics to Celebrate the HKSAR Anniversary in the Chinese Opera Festival 2017. In 2010, he was recognised with the Most Promising Actor Merit Award for a young male opera role by the Chinese Artists Association of Hong Kong and RTHK. Since 2012, he has taken part in the Cantonese Opera Young Talent Showcase presented by the Chinese Artists Association of Hong Kong. In 2016, he was named one of the “Rising Stars of Cantonese Opera” presented by the Xiqu Centre. He has performed in six editions of the Cantonese Opera Young Talent Showcase. He was coached for performing lead roles as chou (clown) and jing (a role known for painted faces such as heroes, generals, villains, gods, or demons) characters, including Hu Jin the magistrate, Zhong Kui the demon hunter, and Xiang Yu the Hegemon-King of Western Chu.

工小武，兼演老生及丑生。早 年參加雯藝軒的少年兒童粵劇 培訓，師承黃綺雯、楊明、何 家耀、關世振等，後考入八和 粵劇學院，完成四年的課程，畢 業後投身粵劇作專業演員，現活 躍於香港各大小劇團。自 2012 年起參與香港八和會館「粵劇 新秀演出系列」，曾主演《長坂 坡》、《甘露寺．三氣周瑜》、 《三帥困崤山》、《大鬧廣昌隆》 等劇目。2019 年參加西九戲曲 中心製作的小劇場粵劇《文廣 探谷》擔演楊文廣，於北京首演 榮獲第四屆北京新文藝團體優 秀戲劇展演選為戲曲類「最佳 劇目」。2020 年獲香港藝術發展 局頒發「第十四屆香港藝術發 展獎——藝術新秀獎（戲曲）」。

Ng Lap-hei specialises in the xiaowu (supporting military male) role, and he also performs laosheng (old male) and chou (clown) roles. As a child, he took part in Emily Music Forum’s Cantonese opera training programme for children and young people. He studied with a number of mentors, including Wong Yeeman, Yeung Ming, Ho Ka-yiu and Guan Shizhen. He later enrolled in the Cantonese Opera Academy of Hong Kong’s fouryear training programme. A professional Cantonese opera actor since his graduation, he performs with various opera troupes in Hong Kong. Since 2012, he has taken part in the Cantonese Opera Young Talent Showcase organised by the Chinese Artists Association of Hong Kong, playing lead roles in The Long Slope Hill, At the Sweet Dew Monastery –Three Angers of Chow Yu, Three Generals Trapped at Mount Xiao and Havoc at Guang Chang Long. In 2019, he was cast in the Xiqu Centre’s original production of the experimental Cantonese opera, Wenguang Explores the Valley, playing the titular role of Yang Wenguang. The production was awarded Best Play in the Contemporary Small Theatre (Xiqu category) at the 2019 Beijing New Arts and Culture Outstanding Theatre Showcase series. He received the Award for Young Artist (Xiqu) in the 14th Hong Kong Arts Development Awards in 2020.

粵劇演員，工武生。拜京劇關 世振老師為師。2004 年開始於 「雯藝軒青少年粵劇團」習藝。

曾隨黃綺雯、何家耀、蔡之 崴、楊明等老師學習。2011 年 畢業於香港演藝學院中國戲曲 課程，自 2012 年起參與香港八

和會館油麻地戲院場地伙伴計 劃之「粵劇新秀演出系列」，現 為全職粵劇演員，活躍於香港

各大小劇團擔任二線演員，並 在多個團體、學校擔任戲曲導 師。曾演出粵劇《三氣周瑜》、 《攔江截斗》、《八大錘》、《單刀 會》、《曹操．關羽．貂蟬》、

； 京劇《挑滑車》、 《小商河》、《截江奪斗》； 舞台 劇《蘭陵王•高長恭》、《耶穌 傳》、《卿本佳人》等。

Ng Kwok-wa is a Cantonese opera performer, specialising in the wusheng (military male) role. In 2004, he began his apprenticeship at the Emily Music Forum Youth Cantonese Opera Troupe. He has also received training under Cantonese opera masters such as Wong Yee-man, Ho Kayiu, Tsai Win-wei and Yeung Ming. He graduated from the Hong Kong Academy for Performing Arts’ Chinese Opera Programme in 2011, and has worked with Barwo, the venue partner of Yau Ma Tai Theatre in the Cantonese Opera Young Talent Showcase, since 2012. He is now a full-time Cantonese opera performer, working in many theatres in Hong Kong, and teaching Chinese opera at different organisations and institutions. He has performed in Cantonese opera productions including Insulting Zhou Yu Thrice, Intercepting O’Dou, Eight Big Hammers, Lord Guan Goes to the Feast, Towering Legends of the Three Kingdoms and Meeting in Gucheng. His Peking opera productions include The Pulley, Xiao Shang He and Interception on the River to Save the Young Prince. And his theatre productions include Warrior LanLing–In Battle, The Mission of Christ and Pretty Women.

專工生角，師承張寶華、關世 振、史濟華。2009 年以九歲之 齡參加 TVB 粵曲精英大賽獲得 青少年綵唱（初級組）亞軍及最 具人氣獎，並多次在香港學校 音樂節粵曲比賽中獲獎，後修 畢香港八和粵劇學院的四年制 課程。現參與香港八和會館油 麻地戲院場地伙伴計劃之「粵 劇新秀演出系列」。

Cheung specialises in the sheng (male) role. He studied under Cheung Po-wah, Guan Shizhen and Shi Jihua. In 2009, at the age of 9, he was awarded second place in the junior category of Youth Operatic Performance and received the Most Popular Performer Award at the Cantonese Opera Elite Competition held by TVB. He was also a frequent prize-winner at the Hong Kong Schools Music Festival's Chinese Opera Competition. Having completed the four-year programme at the Cantonese Opera Academy of Hong Kong, he is now performing in the Cantonese

鄺紫煌

工生行，曾參加小紅船青年粵 劇團、鑫韻青年粵劇團的培 訓，續完成八和粵劇學院第一 屆青少年演員訓練班的四年課 程。2014 年畢業後，參與過慶 鳳鳴粵劇團、任白慈善基金、 朝暉粵劇團、長青粵劇團、艷 陽天粵劇團等演出，現為香港 八和會館「粵劇新秀演出系列」 及香港青苗粵劇團成員。

Kwong Tsz-wong specialises in the sheng (male) role. He trained with Little Red Boat Youth Cantonese Opera Troupe and the youth section of Melody Cantonese Opera Laboratory. He was in the first cohort of the Cantonese Opera Academy of Hong Kong’s four-year Cantonese opera youth training programme. Since graduating in 2014 he has performed in productions by Hing Fung Ming Opera Troupe, Yam Kim Fai and Pak Suet Sin Charitable Foundation, Chiu Fai Cantonese Opera Troupe, Evergreen Opera Troupe and Sunny Cantonese Opera Troupe. He has taken part in the Cantonese Opera Young Talent Showcase organised by the Chinese Artists Association of Hong Kong and the Hong Kong Young Talent Cantonese Opera Troupe. local opera troupes. Chu has also travelled to Guangzhou, Macau, Taiwan, Korea, Japan and Canada for exchanges and performances. He won second prize in the Vocal Solo category of Cantonese Operatic Singing Competition (20162017). In 2018, he played Prince Anxi in Pavilion of a Hundred Flowers, an original Cantonese production directed by Fredric Mao, at the 46th HKAF.

工生行，香港演藝學院戲曲藝 術學士。修讀期間除了參與本 地各大劇團的演出，也曾到廣 州、澳門、台灣、韓國、日本 和加拿大交流和演出。曾獲全 港青年粵曲比賽（ 2016-2017 ） 青年獨唱組亞軍。2018 年參與 第 46 屆香港藝術節毛俊輝策劃 及創作全新粵劇經典《百花亭 贈劍》，擔演安西王。

Chu Siu-yat specialises in the sheng (male) role, obtained his Bachelor of Fine Arts in Chinese Opera from Hong Kong Academy for Performing Arts. He also took part in performances by various

Jackie Leung

梁芷萁曾連續四年獲得香港學 校音樂節粵曲組別冠軍，為首 屆「深珠港澳粵劇粵曲交流展 演」香港區優勝者、「領匯全港 十八區粵曲精英大賽」恆基盃 得獎者，以及首屆「林百欣盃 全港社團粵劇粵曲比賽」子喉 獨唱組亞軍。現為香港八和會 館油麻地戲院場地伙伴計劃之 「粵劇新秀演出系列」演員。

Jackie Leung was the winner in the Cantonese Operatic Song category of the Hong Kong Schools Music Festival four years running and was the Hong Kong winner at the inaugural Shenzhen-ZhuhaiHong Kong-Macau Cantonese Opera Exchange. She was the winner of the Henderson Land Cup in the Link Cantonese Opera Elite Competition, and the first runner-up in the solo zihou (falsetto) category of the Lim Por Yen Cantonese Opera Competition. She has taken part in the Cantonese Opera Young Talent Showcase organised by the Chinese Artists Association of Hong Kong.

Since 2003, Ng Sin-hang has been learning the sheng role under the mentorship of Leung Sum-yee, and she has taken part in performances with the Kim Sum Cantonese Opera Association. In 2013, she graduated from the Cantonese Opera Academy of Hong Kong’s four-year youth training programme. She is currently continuing her studies under Tsai Chih-wei, and she is a skilled performer of wawasheng (young boy) and wusheng (military male) roles. In addition to taking part in the Cantonese Opera Young Talent Showcase, she plays secondary roles in performances by various opera troupes.

值自我，同為香港八和會館油

Lam specialised in the sheng (male) role during her youth, and was an apprentice to celebrated Cantonese opera artist Lau Wai-ming. After completing the Course for Young Cantonese Opera Performers at the Chinese Artists Association of Hong Kong in 2015, she furthered her studies at the Hong Kong Academy for Performing Arts, specialising in the dan (female) role. She graduated in 2021 and obtained a Bachelor of Fine Arts (Honours) Degree in Chinese Opera. In recent years, she has actively performed in many theatres, and is now performing in the Cantonese Opera Young Talent Showcase of Barwo, the venue partner of Yau Ma Tei Theatre.

自 2003 年至今，跟隨梁森兒老 師學習生角行當，並參與劍心 粵劇團各項演出。 2013 年畢 業於八和粵劇學院青少年演員 訓練班的四年課程。現隨蔡之 崴老師習藝，專工生角，擅演 娃娃生及武生。除參與香港八 和會館「粵劇新秀演出系列」， 亦經常在各大劇團擔任次要演 員，汲取實習經驗。

少年時初習生角，隨粵劇紅伶 劉惠鳴學藝，並在 2015 年畢業 於香港八和會館青少年粵劇演 員訓練班，後在香港演藝學院 改攻旦角，2021 年畢業，獲戲 曲榮譽藝術學士學位。近年積 極參與各大小劇團的演出，增

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