I am pleased to congratulate the Hong Kong Arts Festival on its special production of the Cantonese opera Love in the Bamboo Grove
The opera, written by celebrated Hong Kong playwright Raymond To and directed by virtuoso Sun Kim-long, premiered to critical acclaim at the 2023 Arts Festival. This October the opera returns to the stage, first in Hong Kong, then in Guangdong Province. The opera, a brilliant fusion of Cantonese opera, drama and film, is among the highlights of the first Hong Kong Performing Arts Expo, as well as the fourth Guangdong-Hong KongMacao Greater Bay Area Culture and Arts Festival. The production then moves on to the Greater Bay Area cities of Guangzhou, Foshan and Zhuhai. The groundbreaking performances in Guangdong are supported by the China National Arts Fund and mark the first time a Hong Kong Arts Festival production will tour the Greater Bay Area.
In extending its creative reach into other cities of the Greater Bay Area, the Arts Festival showcases Hong Kong’s world-class arts and culture, while promoting exchanges among arts organisations across the Greater Bay Area and throughout the mainland. It also underlines Hong Kong’s glowing status as a region-wide hub for arts and culture.
My thanks to the Hong Kong Arts Festival for reprising Love in the Bamboo Grove and for returning it to an even larger stage. I wish the Cantonese opera, and everyone associated with it, full houses and standing ovations.
John KC LEE Chief Executive Hong Kong Special Administrative Region
It is with great pleasure that I welcome you to this Hong Kong Arts Festival production of Love in the Bamboo Grove. This production received great acclaim when it premiered at the 2023 Hong Kong Arts Festival, and we are delighted that the programme is now returning as part of the 53rd Hong Kong Arts Festival, allowing fans to relive this remarkable work.
I would like to thank the China National Arts Fund for sponsoring the tour in Guangzhou, Foshan and Zhuhai after the Hong Kong leg. Additionally, I would like to express gratitude to the Leisure and Cultural Services Department of the Hong Kong Special Administrative Region Government and the Hong Kong Arts Festival Foundation for their funding and support, so that we can present this programme once again to audiences in mainland China and Hong Kong.
This production is being featured in the 4th GuangdongHong Kong-Macao Greater Bay Area Culture and Arts Festival, and one of the Hong Kong performances is presented in the first-ever Hong Kong Performing Arts Expo. I wish to take this opportunity to thank all the artists of Love in the Bamboo Grove, whose efforts and hard work breathed life into this production, showcasing Cantonese opera to a wider audience.
Finally, I would like to thank you all for joining us today. Your support not only motivates us, but also sustains the vitality of our Festival and its programmes. We hope that fond memories of this performance will stay with you for a long time!
Victor Cha Chairman Hong Kong Arts Festival
前言 FOREWORD
本地原創粵劇《竹林愛傳奇》繼 2023 年在
第 51 屆香港藝術節首演後，今年載譽重演，
於香港打響頭炮，再赴廣州、佛山及珠海演 出，我們感到非常鼓舞。
《竹林愛傳奇》於 2023 年由香港藝術節委約創
作，在杜國威杜 Sir 妙筆和大老倌新劍郎 領導下，加上藍天佑、鄭雅琪等一眾台前幕後 精英，共同成就這齣有情有義的全新原創粵劇 故事。
After its premiere at the 51st Hong Kong Arts Festival in 2023, we are delighted to bring the exquisite Cantonese opera Love in the Bamboo Grove back to the Hong Kong Arts Festival this year, with performances starting in Hong Kong, then in Guangzhou, Foshan and Zhuhai.
Love in the Bamboo Grove was commissioned by the HKAF and written by award-winning playwright and screenwriter Raymond To Kwok-wai. Together with virtuoso director Sun Kim-long, along with elite artists such as Lam Tin-yau and Cheng Nga-ki, he created this original Cantonese opera full of emotion and meaning. On behalf of the Festival, I would like to express our heartfelt gratitude to the China National Arts Fund, the Leisure and Cultural Services Department of the HKSAR Government, the Hong Kong Arts Festival Foundation, as well as various institutions from Mainland China and Hong Kong for making this possible. It is only with their support that we are able to present this wonderful Cantonese opera production again.
This performance is a special project of the 53rd Hong Kong Arts Festival and the rest of the 53rd HKAF programmes will be staged from February to March 2025. We look forward to welcoming you again in 2025.
香港藝術節行政總監 余潔儀
香港藝術節資助來源：
The Hong Kong Arts Festival is made possible with the funding support of:
Flora Yu Executive Director Hong
Kong Arts Festival
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
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 FY2024/25 (including the 53rd Hong Kong Arts Festival and 2025 “No Limits”) is approximately HK$150 million. Current Government annual baseline funding accounts for around 12% of the Festival's total income. Around 23% of the Festival’s income needs to come from the box office, and around 45% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 20% is expected to come from other revenue sources including the Government’s matching grant 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: Bayerische Staatsoper, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre
• Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Kunqu 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, Bruce Liu, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, Bamberg Symphony, 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, Natalia Osipova, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet – John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch, Teatro alla Scala Ballet Company
• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company
• Large-scale special events: World of WearableArt, 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 Miss Julie, Table for Six on stage, Loveless Romance, We Are Gay, 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 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 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, Dream of the Red Chamber co-produced with San Francisco Opera, and Laila, a coproduction of HKAF and Finnish National Opera and Ballet.
The HKAF invests heavily in arts education for young people. Over the past 32 years, our “Young Friends” scheme has reached around 836,000 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 inclusion 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.
To provide greater financial security and long-term sustainability for the Festival, the Hong Kong Arts Festival Foundation was officially launched in 2022. Donations to the Foundation will be used towards enabling the Festival to present in the future largescale or special projects which its annual budget cannot cater for.
*有關香港藝術節的過往節目 Details of past HKAF programmes https://www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2024.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.
電郵 Email: dev@hkaf.org
直線 Direct Lines: (852) 2828 4911/12
網頁 Website: www.hk.artsfestival.org/en/support-us
新編粵劇
《竹林愛傳奇》（載譽重演）
Cantonese Opera—
Love in the Bamboo Grove (Re-run)
12.10.2024 / 7:30pm
13.10.2024 / 2:30pm
14.10.2024 / 8:00pm
10 月 14 日場次為香港演藝博覽「演博節目」之一
The 14 October performance is one of the "Expo Programmes" of the Hong Kong Performing Arts Expo 沙田大會堂演奏廳
Auditorium, Sha Tin Town Hall
演出長約 2 小時 45 分鐘，包括一節中場休息
Approximately two hours and 45 minutes including one interval 粵語演出，附中、英文字幕
Performed in Cantonese with Chinese and English surtitles
※ 演出期間敬請關掉手提電話及其他電子產品，以免發出聲響 或產生光線，影響表演者及其他觀眾
Please switch off mobile phones and all electronic devices so they will not emit sound or light during the performance, disturbing the performers and other audience members
※ 請勿擅自攝影、錄音或錄影
Unauthorised photography or recording of any kind is strictly prohibited
※ 演出期間請保持安靜
Please keep noise to a minimum during the performance
※ 本場刊採用環保紙張印刷
This programme is printed on environmentally friendly paper
※ 如不欲保留本場刊，請於完場後放回演出場地入口
If you don't wish to keep this booklet, please return it to the admission point
This production will tour the three Greater Bay Area cities of Guangzhou, Foshan and Zhuhai from 17-22 October. The tour is sponsored by the China National Arts Fund, while the Foshan and Zhuhai performances are also sponsored by the Leisure and Cultural Services Department of the Hong Kong Special Administrative Region Government as part of the 4th GuangdongHong Kong-Macao Greater Bay Area Culture and Arts Festival
《竹林愛傳奇》由香港藝術節協會委約，於 2023 年 香港藝術節首演
Love in the Bamboo Grove was commissioned by the Hong Kong Arts Festival Society and premiered at the 2023 Hong Kong Arts Festival
The content of this programme and the opinions featured in this publication are solely those of the artists/guest writers and do not represent the views or opinions of the Hong Kong Arts Festival ( “HKAF”).
Ticket holders are strongly advised to arrive punctually. HKAF reserves the right to refuse the (a) admission of latecomers (whether at the beginning of the performance or after the intermission) and (b) re-admission of audience members who leave the auditorium during the performance.
本會保留全權決定觀眾（包括遲到和中途離場的觀眾）入場和重新入場的可能性及方式。
The HKAF also reserves the sole discretion to determine the possibility of admission and readmission of the audience (which includes latecomers and audience members who have left the auditorium and are seeking re-admission), as well as the manner in which they are admitted.
In any case, should the HKAF permit the admission of latecomers, such latecomers shall only be admitted at designated latecomer point(s). No refunds or changes will be offered if ticket holders are refused admission due to late arrival. In the event of any dispute, the HKAF reserves all rights to make the final decision.
All donations to the Student Ticket Scheme are used for subsidising full-time local students to attend the Festival’s performances at half price. We need your support to encourage more young people to enjoy and be inspired by the Festival’s high-quality performances.
Hong Kong Arts Festival is a recipient of the HKSAR Government’s Art Development Matching Grants Scheme. Part of the Festival’s sponsorship and donation income will benefit from a dollar-for-dollar match by the Government.* Donations of any amount will make a difference, and are greatly appreciated!
* 須受「藝術發展配對資助計劃」之條款及細則約束。 Subject to conditions of the Government’s Art Development Matching Grants Scheme.
網上捐款
ONLINE DONATION http://go.hkaf.org/give
其他捐款方法，請參閱刊於 本冊子尾部之捐款表格 For other donation methods, please refer to the Donation Form near the end of this booklet
查詢 Enquiries: dev@hkaf.org 2828 4911/12
The
Seven Sages of the Bamboo Grove and The Song of Guangling
Political instability erupted in the late Wei era when Sima Zhao plotted against the House of Wei and sought to replace it with the House of Jin. At that time, seven scholars became disillusioned with the political situation and chose to live as recluses. They often gathered in a bamboo grove in Shanyang county (now in Henan province), where they drank and played music, and indulged in discussions about xuanxue (mystic learning) and the philosophies of Laozi and Zhuangzi. Later, people referred to them as the Seven Sages of the Bamboo Grove. It was only when Sima Zhao executed one of the Seven, Ji Kang, that the remaining members parted ways. The legend goes that before Ji Kang died, he played the piece The Song of Guangling , which tells the historical story of Nie Zheng assassinating the King of Han. While a musician would normally seek to be neutral and calm when playing the qin , this tune has a fervent, impassioned melody, which is a rarity for such pieces.
The Song of Guangling: painting by Raymond To
人物關係圖 Character Map
Gereral Zhong Hui
Sima Shi
兄終弟及 Passed the throne to (Son) Sima Yan
(Younger brother) Sima Zhao
（弟）司馬昭
監斬官 Execution supervisor
Wang Rong
Xiang Xiu
處斬 Executed
（子）司馬炎
Empress Dowagar
表姐弟 Cousins
Liu Ling Ji Kang Ruan Xian Ruan Ji Shan Tao
(Son) Xiang Chong (Daughter) Ji Dan
盟誓早訂 Lovers (Son) Ruan Fu
(Daughter) Ruan Yueqing
司馬昭多番提親被父阮籍拒絕
Sima Zhao proposed marriage for his son, Sima Yan, but was turned down by Yueqing's father, Ruan Ji
This is a story about the descendants of the Seven Sages of the Bamboo Grove in the Eastern Jin dynasty. Xiang Chong, son of Xiang Xiu, has mastered the sword. He finds childhood friend Ji Dan, the daughter of Ji Kang, in the Bamboo Grove and marries and protects her, fulfilling his promise. Commander-in-chief Zhong Hui, who sees the Seven Sages as enemies, persuades Emperor Yan to wear a disguise and visit the Bamboo Grove, so as to spy on the sages in the Bamboo Grove and kill any remaining members. Emperor Yan meets Ji Dan and becomes fascinated with her, falling in love at first sight. He even issues an imperial decree summoning her to the palace, hoping to redress her father’s grievances and grant him a posthumous title. Before she enters the palace, Ji Dan tells Xiang Chong of her wish to retrieve her father’s jade guqin , left behind when he was executed.
The first sight you see when walking into Raymond To’s humble home is a shelf full of trophies he received at the Golden Horse Awards and Hong Kong Film Awards. Just a few steps away, there’s a small, quaint enclave full of Chinese paintings and calligraphy. The multifaceted space reveals the many hats that To has been wearing over the years—playwright, screenwriter, painter and now, with his latest work, Love in the Bamboo Grove , the newly added role of Cantonese opera librettist. To enjoys walking the roads less travelled, and this time he’s been on a romantic journey of blood and tears to the abstruse cosmos of Taoism.
A film and TV virtuoso returns to his Cantonese opera origin
To’s writing career has always been connected to Cantonese opera. As a rising playwright nearly 30 years ago, To’s popularity was built on his fine scripts for films and stage plays based on Cantonese opera. His notable Hu Du Men tells the story of a woman who professionally plays the “civil and martial” male leading role in Cantonese opera, while blockbuster The Mad Phoenix chronicles the epic life of legendary Cantonese opera playwright Kong Yu-Kau (often referred to by the stage name “the 13th son of Nanhai”). Cantonese opera has been To’s calling, not just as a source of inspiration but an art form he ultimately yearns for, all dating back to his childhood years. While working as a junior broadcaster for Rediffusion Television, To sat alongside Cantonese opera celebrities Sin Kim-lai, Tang Kee-chan and other big names in the radio station. Frequenting Cantonese opera theatre as a little boy, To recounts: “For my generation, going to the theatre was as common as kids listening to rap music nowadays. Kids often got free entry. They simply sat on their mothers' laps during the night-long play.”
Four decades of writing have passed at the click of a finger. Over the course of a vast but focused career, To did attempt to create Cantonese opera using a different approach, such as what was described as the “Chinese opera-musical” The Pearl Shirt (a Cantonese opera version was made afterwards), in which To sought to defy the conventions of the traditional performing art. And after flirting with experimentation, To’s greatest wish now is to write a “genuine” Cantonese opera script. Faithfully equipped with gongs and drums, a prescriptive singing system, hand movements and everything else inherited from tradition, Love in the Bamboo Grove is a fresh take on the classic art form.
From ruins and debris to Taoist utopia
Backed by an in-depth historical analysis, the early Jin dynasty-set Love in the Bamboo Grove illustrates the quest for love and selfhood by
two descendants of the Seven Sages of the Bamboo Grove against social unrest and a feud between warring families. Although the subject of romantic love between a handsome scholar and a pretty girl is regularly seen in classical Chinese literature, the work is not a plain ode to the stereotype. Set in the lesserknown context of the Western Jin dynasty and using the form of Cantonese opera to retell the unique tale of the Seven Sages, the work has a lot to offer modern audiences.
So who were the titular Seven Sages? They were a group of idiosyncratic intellectuals devoted to nature and leisure. Rejecting urban life and politics, the group indulged in play and alcohol, influenced by the Taoist philosophies of Laozi and Zhuangzi. To elaborates: “The hidden motive behind the play is to raise people’s awareness of Taoism, a fundamental discipline embedded in our cultural DNA that’s been overshadowed by mainstream Confucianism and Buddhism. The Three Teachings of Confucianism, Buddhism and Taoism have been a harmonious aggregate
in Chinese philosophy since the Jin dynasty, but most of us have neglected the importance of Taoism in the history of thought. I hope to construct a world that is pure and true to Taoism through this play.”
While the teachings of Laozi and Zhuangzi are often seen as vague and difficult to grasp, To decided to deal with this enormously complicated topic using a simple love story. “Taoism is not a monotonous set of values; it is about adjusting controversies and finding ‘oneness’ across heterogeneous matters. The social-political world is ever-changing, people’s conflicts are never-ending, but there is always a universal substance that connects everything.” The story depicts an array of characters with divergent standpoints; some are loyal to their vow of living as a recluse and some—such as Shan Tao—decide to resume political duties. The script makes no judgement and is completely neutral on each character. “What matters the most in a play is still the entertainment aspect. When an audience is asked to think continually, there is no room to enjoy the art. After the show, if there is a particular role that intrigues you, or even represents you, that will be your personal answer to all the questions.”
The PLUS programmes are aimed at broadening the Arts Festival experience, providing audiences with different angles and options every year to learn more about the artists and their works.
In addition to exhibitions, masterclasses, workshops, backstage tours, post-performance meet-the-artist sessions and pre-performance talks, this year’s highlights include: a series of film screenings that pay tribute to masters and classics, live performances with audience interaction, and local tours that address environmental issues, bringing art closer to the public.
賽馬會創藝科媒系列：《真・幻境界》 藝術科技工作坊
Jockey Club InnoArts Series: No reality now – Arts Technology Workshop
Join us for a coastal walk into Hong Kong’s mangrove forests. Take part in a DIY workshop and bring home a souvenir while gaining knowledge about the city’s vibrant marine ecology.
發掘更多 Discover More
This three-day workshop led by the key creative personnel behind No reality now from France will provide engagement with innovative art forms.
芭蕾大師雷里耶夫 The Legacy of Rudolf Nureyev 參加展覽、芭蕾舞大師班及藝術家分享等活動， 探索雷里耶夫從舞者到編舞的非凡成就。
Explore the extraordinary achievements of Rudolf Nureyev from dancer to choreographer through an exhibition, a ballet masterclass and artist talks.
Raymond To is a renowned playwright and the creator of many popular works. He has won numerous accolades, including two Hong Kong Film Awards, Golden Horse Awards in Taiwan, three Hong Kong Drama Awards, Artist of the Year Award, Award for Outstanding Contribution in Arts and the Louis Cartier Award of Excellence. He is also a recipient of the Bronze Bauhinia Star from the HKSAR Government, and has been awarded honourary fellowships by the University of Hong Kong and Hong Kong Metropolitan University. In 2022, he received the Honourary Award from the Hong Kong Screenwriters’ Guild for his achievements and contributions to the film industry. To has created more than 100 works. Theatre productions he has worked on include I Have a Date with Spring, The Umbrella Story and Love à la Zen . Many of his works have been influenced by Cantonese opera, including Hu Du Men, The Mad Phoenix and A Sentimental Journey His musicals and dance dramas include Tales of the Walled City and Ricky . His film scripts include Shanghai Blues, Peking Opera Blues and Perhaps Love . He has also adapted films from plays, such as I Have a Date with Spring and The Mad Phoenix . His Cantonese opera theatre works include Pearl Shirt and Love in the Bamboo Grove
Beyond playwriting and screenwriting, To is also an avid painter. Having studied under a renowned Lingnan School master in his youth, he returned to painting in 2017 and has since created more than 200 ink-wash paintings. He has held solo exhibitions in Hong Kong and Singapore, and published an ink-wash painting collection.
Sun Kim-long is a veteran performer, producer and playwright dedicated to acting, and promotion and production of Cantonese opera. He has contributed to works including Seven Filial Kin, The Emperor of Yuan—Kublai Khan, Madame Butterfly, The Wife and the Concubine and Eighteen Arhats Taming the Golden Condor . He wrote his first play, Reflection of Beauties in Lotus Pond , in 2001, with many more following in subsequent years, including The Jade Hairpin in 2004. His recent works include Investigation to Redress a Wrong, Romantic Dreams of Sudi, A Love Poem Stained with Blood and The Phoenix Hairpin . Sun currently serves as Vice-Chairman of the Chinese Artists Association of Hong Kong and Artistic Director of the association’s Cantonese Opera Young Talent Showcase held in Yau Ma Tei Theatre. He was a member of the Cantonese Opera Advisory Committee and Cantonese Opera Development Fund. In 2018, he was awarded Artist of the Year Award (Xiqu) by the Hong Kong Arts Development Council, and in 2019 he received the Medal of Honour from the HKSAR Government.
Lam Tin-yau is a Cantonese opera artist, specialising in the role of wenwusheng (male scholar and warrior). He graduated from the Guangdong Yueju School and The Hong Kong Academy for Performing Arts. From 2010 to 2015, he was under the tutelage of famous Cantonese opera artist Lam Kar-sing to learn the “Lam School” of Cantonese opera, which allowed him to considerably improve his performing skills. In 2014, thanks to his performances in Wu Song the Tiger Killer and The Gilded Fan at the 42nd Hong Kong Arts Festival, he was acclaimed as a star of the new generation of wenwusheng performers. In 2011, he established the Nan Art Workshop, and later formed the Chung Sin Sing Cantonese Opera Troupe, the Tin Ngai Wang Cantonese Opera Troupe and the Hei Tin Sing Cantonese Opera Troupe. He was subsequently involved in a variety of major new Cantonese opera productions, including The Women’s Kingdom and the Delusive Love, A Hidden Arrow, Surfing the Sea of Blood and Three Dreams to Prosperity . In 2022, he was the lead actor of Cantonese operas The Sword of Loyalty and The Golden Bracelet for the Tribute to Cantonese Opera Legend Sun Ma Sze Tsang at the 50th Hong Kong Arts Festival. He has worked hard to pass on and promote the art of Cantonese opera.
Jason Kong started receiving training in Chinese opera at the age of nine, and now focuses on scriptwriting and music creation. He is also an actor and multi-instrumentalist. In 2021, he created his YouTube channel Aphros to promote Cantonese opera. He apprenticed under Jiang Yanhong to learn guqiang (ancient tunes) and under Han Yanming to learn martial arts. He later pursued further studies at the Cantonese Opera Academy of Hong Kong. He also studied playwriting under Raymond To, and theatre production under Fredric Mao and Danny Yung. He graduated from the School of Chinese Opera at The Hong Kong Academy for Performing Arts in 2018. In 2012, he won the award for Young Artist (Xiqu) at the Hong Kong Arts Development Awards. His works include Moving House, Pavilion of a Hundred Flowers (co-adaptation) and J ourney to the West Rewind . His works in nanyin (a Cantonese music narrative) include The Story of Sun City, Gone with the Chocolate and Zoetrope—Farewell, Autumn.
舞台設計 張正和
張正和，畢業於香港演藝學院，獲藝術學士學位， 主修舞台及服裝設計。舞台作品包括香港藝術節 《挪亞方舟》（粵劇）；任白慈善基金《蝶影紅梨 記》助理舞台設計；桃花源粵劇工作舍《帝女花》、 《拜將臺》；香港話劇團《大狀王》；香港中樂團 x 香港話劇團《封神外傳》；香港舞蹈團 x 結界達人 《 Electric Girl 》；澳門舞蹈學院《海上花》; 澳門藝 術節《例外與常規》等。
Set Designer
Cheung Ching-wo
Cheung Ching-wo graduated from The Hong Kong Academy for Performing Arts with a Bachelor of Fine Arts Degree, majoring in Set and Costume Design. His theatrical works include Cantonese Opera— Noah’s Ark by the Hong Kong Arts Festival, The Butterfly and Red Pear Blossoms by the Yam Pak Charitable Foundation (in which he served as Assistant Set Designer), Floral Princess and Arena by the Utopia Cantonese Opera Workshop, The Impossible Trial by the Hong Kong Repertory Theatre, Fantastic Gods and Spirits of China by the Hong Kong Chinese Orchestra and the Hong Kong Repertory Theatre, Electric Girl by the Hong Kong Dance Company and The Autistic Genius , Flor do Mar by the Macao Conservatory Dance School, and The Exception and the Rule by the Macao Arts Festival.
Ko Wing-hei comes from a family of Cantonese opera percussionists and received training from his father, Ko Yun-kuen, and Su Xuecheng, Head of Cantonese Opera at the Guangdong Cantonese Opera School. He graduated from the former Guangdong Cantonese Opera School (now the Guangdong Dance and Drama College). He has served as percussion leader at the Nan Art Workshop, the Chung Sin Sing Cantonese Opera Troupe, the Tin Ngai Wang Cantonese Opera Troupe, the Yue Ling Loong Cantonese Opera, the Kim Lun Opera, the Sensational Sprouts Cantonese Opera Association and the Cantonese Opera Young Talent Showcase under the Yau Ma Tei Theatre Venue Partnership Scheme, presented by the Chinese Artists Association of Hong Kong. He also served as percussion leader for performances of Her Majesty Wu Zetian at the Chinese Opera Festival 2015 and large-scale Cantonese opera Revisiting a Fine Selection of Cantonese Opera: The Cosmic Mirror (Five Generations on Stage) in 2021.
Share Ka-lok is a young Hong Kong-born Cantonese opera musician. He studied for a Bachelor of Fine Arts Degree in Cantonese Opera at The Hong Kong Academy for Performing Arts, learning gaohu , theories of accompaniment and music design, and playing the gongs and drums. In December 2013, under the coaching of Ng Lut-kwong, he participated in the music arrangement of The Monkey King Thrice Beats the Bony Ghost . He also performed in Hong Kong, Macau, Mainland China and Canada as music designer to critical acclaim. In 2017, he was recruited as a guest musician at the Young Academy Cantonese Opera Troupe, and served as Music Designer and Music Leader at many theatres in Hong Kong. In 2020, he founded the Diligent Voices Workshop to celebrate and preserve Cantonese opera. Apart from traditional Cantonese opera, he has also studied Western music theories, hoping to leverage the best of Chinese and Western music in his playing.
Cheng Nga-ki has had a passion for Cantonese opera since she was a child. At the age of 14, she learned opera skills from veteran artist Pei Yanling, specialising in the role of dan (female). In 2008, she graduated from The Hong Kong Academy for Performing Arts with a Bachelor of Fine Arts Degree in Cantonese Opera. In 2013 and 2014, she co-starred with her senior Yuen Siu-fai and Lam Tin-yau in performances of The Moon Pavilion and The Gilded Fan at the Hong Kong Arts Festival. In 2014, she was honoured to perform with her distinguished senior Loong Kin-sang for 25 shows of Excerpts of Cantonese Operas, and later five performances of The Legend of the Purple Hairpin, The Peony Pavilion, The Butterfly and Red Pear Blossom and Floral Princess . In 2011, she established the Nan Art Workshop and the Chung Sin Sing Cantonese Opera Troupe to create more opera productions and pass on Cantonese opera skills. She has created several large-scale new Cantonese opera productions including The Women’s Kingdom and the Delusive Love, A Hidden Arrow, Surfing the Sea of Blood and Three Dreams to Prosperity . In 2020, she founded the Lan Livestream Studio, promoting the art of Cantonese opera and stimulating development in the field during the pandemic.
Lighting Designer, Performer Wyborn Leung Wai-hong as Shan Tao Wyborn Leung Wai-hong started studying at his father Leung Hon-wai’s Hong Fung Cantonese Opera Institute as a youngster, and apprenticed under Guo Jinhua for the basics, Jia Junxiang for jing (a role known for painted faces) movement, Ko Yun-kun for gongs and drums, and Yuen Siu-fai for the essence of traditional formulaic plays. He now specialises in chousheng (comic male) roles. In 2011, he established Canto Op with Keith Lai, Thomas Law and Lau Tsz-yan and staged a variety of shows, including comical series Lunar New Year’s Chatty Women as well as The Arrant Revenge and Kublai the Great . Having worked as a guest lecturer at The Hong Kong Academy for Performing Arts’ Chinese Opera programme, Leung is now a member of the Consultation Panel of the West Kowloon Cultural District Authority. He also wrote, directed and starred in the 2024 The Oracle for the Hong Kong Arts Festival.
Johnson Yuen comes from a family of Cantonese opera veterans. At the age of seven, he accepted an invitation from RTHK to perform on stage for the first time in the Cantonese opera Battle with Ma Chao at Night , playing Ma Chao. During his adolescence, he apprenticed under Hu Xueli, learning to play the roles of changkao wusheng (male warrior wearing long armour), hualian (painted face) and xusheng (older male). Upon returning to Hong Kong, he also studied under Cheung Sai-ping and Ko Yun-kuen for vocal and percussion techniques respectively. In 2014, he received the Best Performance Award at the Rising Stars of Cantonese Opera presented by the West Kowloon Cultural District Authority. In 2015, he served as executive director of the production of Her Majesty Wu Zetian at the Chinese Opera Festival. He is now one of the programme hosts of The World of Chinese Opera on RTHK Radio 5.
Wang Kit-ching graduated from the Hong Kong Polytechnic University with a Bachelor degree in Social Work and The Hong Kong Academy for Performing Arts with an Advanced Diploma in Cantonese Opera, after which she joined the Hong Kong Young Talent Cantonese Opera Troupe. In 2006, she founded Karen's Meadow Cantonese Opera Studio, where she produced Murder of Passion and The Immortal Zhang Yuqiao . She also wrote and starred in Diao Chan, Under the Victoria Peak, Love in the Western Regions , and Hua Dan Ying Founded an Academy . Wang received the Young Cantonese Opera Outstanding Artist Award (for the role of dan) in 2010, and the Award for Young Artist (Xiqu) in 2011 from the Hong Kong Arts Development Council. She was also awarded the RTHK award for Best Opera Newcomer in 2016 and the Outstanding Young Actor Award at the Cantonese Opera Golden Bauhinia Awards in 2019. She now performs actively with various troupes.
Jim Ho-fung specialises in wusheng (male warrior) and xiaosheng (young male) roles. He graduated from the Zhanjiang Xiukongque Cantonese Opera School and was an apprentice of the late artist Kong Queping. In 2010, he was admitted into The Hong Kong Academy for Performing Arts for further studies. After graduation, his talent was recognised by Yuen Siu-fai and his wife, and they took him on as an apprentice and godson. In 2021, he was named Best Young Artist at the second Cantonese Opera Golden Bauhinia Awards. He has performed in productions including Dream of the Red Chamber, The Story of Horse Selling and Nezha
Lo Lai-see specialises in dan (female) roles. She was a member of the second batch of students who graduated from the Cantonese Opera Academy of Hong Kong, and has apprenticed under Yam Tai-fan and Chan Min. She is now performing in the Cantonese Opera Young Talent Showcase under the Yau Ma Tei Theatre Venue Partnership Scheme, presented by the Chinese Artists Association of Hong Kong. She has performed in productions including The Moon Pavilion, The Summer Snow, The Returned Armour and The Double-pearl Phoenix .
Premium Jiny So specialises in wuchou (military comedian male) and sheng (male) roles. He graduated from the Cantonese Opera Academy of Hong Kong, and has, since a young age, received training in basic techniques from his father, veteran acrobatic Cantonese opera artist So Wing-ci. He later apprenticed under Wang Huxing and Peking opera master Guan Shizhen, as well as Han Yanming and Tsai Chihwei. He has participated in Cantonese opera productions including Stop the Horse, White Water Beach and Uproar in Dragon Palace . He has also performed in Peking operas such as Monkey King Borrows the Magic Fan and Wu Song Fighting in the Tavern.
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
創新向前 共拓新景 請支持 新作捐助計劃
Support the New Works Scheme and join hands with us to promote original new works!
The Festival is committed to promoting original works, and has commissioned and produced many critically acclaimed productions in the past. Your donation to the New Works Scheme will help us produce more innovative performances and nurture local talent.
Hong Kong Arts Festival is a recipient of the HKSAR Government’s Art Development Matching Grants Scheme. Part of the Festival’s sponsorship and donation income will benefit from a dollar-for-dollar match by the Government.*
Donations of any amount will make a difference, and are greatly appreciated! 網上捐款 ONLINE DONATION http://go.hkaf.org/give
* 須受「藝術發展配對資助計劃」之條款及細則約束。 Subject to conditions of the Government’s Art Development Matching Grants Scheme.
其他捐款方法，請參閱刊於 本冊子尾部之捐款表格 For other donation methods, please refer to the Donation Form near the end of this booklet
查詢 Enquiries: dev@hkaf.org 2828 4911/12
贊助人 李家超先生 , PATRON
地址 Address
香港灣仔港灣道二號十二字樓 1205
Room 1205, 12/F, 2 Harbour Road, Wan Chai, Hong Kong
電話 Tel （852）2824 3555
傳真 Fax （852）2824 3798、（852）2824 3722
電子郵箱 Email afgen@hkaf.org
節目查詢熱線 （852）2824 2430
Programme Enquiry Hotline
The Hon. John KC Lee, GBM SBS PDSM PMSM GBM SBS PDSM PMSM
Programme and Outreach Managers Becky Chung*, Tiffany Ko*, Frieda Ng*
Assistant Programme and Outreach Manager Jasmine Poon*
Programme and Outreach Coordinator Cheung Chi-ling*
Marketing Manager
Carly Wong*
Deputy Marketing Manager Gina Chan*
Assistant Production Manager Dick Cheng*
Senior Accounting Officer Catherine Chung*
The Hong Kong Arts Festival Foundation
Development Director Anson Wong* (International Major Gifts)
捐款表格 Donation Form
選擇您想支持的計劃
藝術節捐助計劃 Festival Donation Scheme
Designate Your Support
學生票捐助計劃 Student Ticket Scheme
新作捐助計劃 New Works Scheme
網上藝術教育捐助計劃 Digital Arts Education Scheme
給予香港藝術節的捐款 Donation to HKAF + + + =
*捐款可憑收據申請扣稅。（為節省行政開支，港幣 100元以下之捐款將不會獲發收據）。
Donations are tax-deductible with official receipt. (To minimise administration costs, official receipts will not be issued for donations below HK$100)
Donations of HK$3,000 or above to any single donation scheme will be acknowledged in the 2025 Festival house programmes** , website and in the “Thank You” ads in major newspapers published after the Festival Finale.
**適用於 2024年12月31日前之捐款。
Applicable to donations made before 31 December 2024.
鳴謝 Acknowledgement
我/ 我們的名字 My/Our Name(s) 公司名稱 Company Name 無名氏 Anonymous
中文名稱 Chinese Name
捐款者資料 Donor’s Information
鉑金捐款者
Platinum Donor
鑽石捐款者
Diamond Donor
翡翠捐款者
Jade Donor
黃金捐款者
Gold Donor
純銀捐款者
Silver Donor
青銅捐款者
Bronze Donor
HK$140,000
或以上 or above
HK$70,000
或以上 or above
HK$30,000
或以上 or above
HK$12,000
或以上 or above
HK$6,000
或以上 or above
HK$3,000
或以上 or above
英文名稱 English Name 先生 Mr / 太太 Mrs / 小姐 Ms / 博士 Dr
*請刪去不適用者 Please delete as appropriate
姓 Surname 名 Given Name 先生 Mr / 太太 Mrs / 小姐 Ms / 博士 Dr
*請刪去不適用者 Please delete as appropriate
公司名稱 Company Name
公司聯絡人 Company Contact Person
職位 Title (如適用 If applicable) (如適用 If applicable) (如適用 If applicable)
您/您的僱主有否提供配對捐款計劃，為員工的捐款作配對捐贈？ 是 Yes Do you/Does your employer offer a charitable giving programme for employees that matches employee donations? 否 No
收據名稱 Name on Official Receipt (如與上列不同 If different from above)
聯絡電話 Telephone
聯絡地址 Correspondence Address
捐款方法 Donation Methods
信用卡 Credit Card
電郵 Email
匯財卡 Visa 萬事達卡 Mastercard 美國運通卡 American Express
持有人姓名 Cardholder’s Name:
信用卡號碼 Card No.:
信用卡有效期至 Expiry Date: 月Month/ 年Year
信用卡持有人簽名 Cardholder’s Signature:
劃線支票 Crossed Cheque
抬頭請寫「香港藝術節協會有限公司」/ Made payable to “Hong Kong Arts Festival Society Limited”
本人不需要收據 I do not need an official receipt
傳真 Fax
網上捐款 Online Donation http://go.hkaf.org/give
請把表格連同支票寄回香港灣仔港灣道二號 12 字樓 1205 室香港 藝術節協會發展部。如以信用卡捐款，可將此捐款表格傳真至 (852) 2824 3722，或電郵至 dev@hkaf.org，以代替郵寄方式。 Please send the completed form and cheque to Development Department, Hong Kong Arts Festival Society Ltd. Room 1205, 12/F, 2 Harbour Road, Wanchai, Hong Kong. Credit card donation can be faxed to (852) 2824 3722, or emailed to dev@hkaf.org.
• 在此所收集的個人資料將保密處理，只作為寄發收據及與您通訊的用途。The personal data collected here will be treated as strictly confidential and will be used only for issuing receipt and other communications with you.
• 如不希望以下列方式收到藝術節的資訊（《節目及訂票指南》除外），請加 號。If you do not wish to receive Festival information (except Programme and Booking Guide) via the following channel(s), please tick: 郵寄 By post 電郵 By Email
• 當您交回此表格，即表示您同意讓香港政府透過「藝術發展配對資助計劃」就您的捐款為香港藝術節作配對資助。By returning this form, you agree to allow your donation to be matched by the HKSAR Government via the “Art Development Matching Grants Scheme” to help provide funding for Hong Kong Arts Festival.
The Hong Kong Arts Festival is a non-profit organisation. Income from ticket sales and government baseline funding can only partially cover the Festival’s costs for presenting and promoting the best performing arts from around the world. The Festival can only continue its work thanks to the generous support of its donors. Please support the Festival Donation Scheme so we can continue to present world-class international and local artists as well as offering diverse outreach and education activities.
Hong Kong Arts Festival is a recipient of the HKSAR Government’s Art Development Matching Grants Scheme. Part of the Festival’s sponsorship and donation income will benefit from a dollar-for-dollar match by the Government.*
Donations of any amount will make a difference, and are greatly appreciated!
* 須受「藝術發展配對資助計劃」之條款及細則約束。 Subject to conditions of the Government’s Art Development Matching Grants Scheme.
網上捐款 ONLINE DONATION http://go.hkaf.org/give
其他捐款方法，請參閱刊於 本冊子尾部之捐款表格 For other donation methods, please refer to the Donation Form near the end of this booklet
