Hyperreality—an installation concert - 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)

《超真實》裝置音樂會

HYPERREALITY— AN INSTALLATION CONCERT 2-4.03.2023

西九文化區自由空間—大盒 WKCD Freespace The Box

演出長約 50 分鐘，不設中場休息

Approximately 50 minutes with no interval

02-03 03 2023 / 8pm 04.03.2023 / 3pm, 8pm

* 遲到或中途離場的觀眾須待開場 8 分鐘後之適當 時候方可入場

Latecomers or audience members who leave the auditorium will only be admitted at the suitable interlude after 8 minutes of the performance

* 本 節目有強光、閃光、巨大聲響及煙霧效果

This production contains strong light, strobe light, loud sound and smoke effects

封面照片 Cover photograph

©Maximillian Cheng @ Moon 9 Image

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

所有作品內容均由主辦單位／創作團隊獨立製作，並不代表贊助機構之立場或意見。

藝術節加料節目

演後藝人談 Post-Performance Meet-the-Artist 03.03.2023

西九文化區自由空間—大盒

WKCD Freespace The Box

*《超真實》裝置音樂會為《混序維度》的延續演出 Hyperreality—an installation concert was a continued performance of Shuffle Dimensions

*《混序維度》表演式裝置音樂會為 2022 年「賽馬會

創藝科媒系列」作品

Shuffle Dimensions—A Performative Installation Concert was part of the 2022 Jockey Club InnoArts Series

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 at the admission point

The content of all works is independently produced by the organiser/creative team, and does not reflect the views or opinions of the Sponsor.

《超真實》裝置音樂會 Hyperreality—an installation concert

監製 Producer

香港藝術節 Hong Kong Arts Festival

導演、媒體藝術家及演出 Director, Media Artist and Performer

林欣傑 Keith Lam

《黑天使》電子弦樂四重奏 Black Angels for Electric String Quartet

作曲家 Composer

喬治‧克倫姆 George Crumb

Cong 四重奏（錄音演出） Cong Quartet (recorded performance)

小提琴 Violin

戚耀庭 Francis Chik

周業瑋 Chow Yip-wai

《四重維度》，為樂隊及電子音樂而作

Four Realities for Ensemble and Electronics

香港當代音樂團(現場演出)

音樂總監、作曲及演出 Music Director, Composer and Performer

林丰 Fung Lam

媒體藝術團隊 Media Arts Team

超維度 Dimension Plus

中提琴 Viola

Evan Robinson

Hong Kong Contemporary Music Group (live performance)

作曲家 Composer

林 丰 Fung Lam

燈光設計

Lighting Designer

麥國輝 Mak Kwok-fai

助理服裝設計

Assistant Costume Designer

莊鍵明 Allden Chong

助理舞台設計

Deputy Set Designer

衞潔盈 Timmy Wai

音響技師 Sound Technician

房嘉明 Kaming@Miso

李銘業 Yipsir@Miso

楊梓靖 Gary@Miso

謝皓聰 Chungtau@Miso

音響器材 Sound Equipment

Miso Tech Co Ltd

薩克斯管 Saxophone

吳漢紳 Charles Ng

孫穎麟 Timothy Sun

音響設計 Sound Designer

黃嘉俊 Kachun @ Miso

舞台設計、製作經理及執行舞台監督 Set Designer, Production Manager and Deputy Stage Manager

鄭慧瑩 Carmen Cheng

舞台監督 Stage Manager

蔡巧盈 Vienna Choi

舞台效果製作 Stage Effect Production

Stage Tech Limited

燈光器材 Lighting Equipment

C’est Bon Projectots Corporation Limited

大提琴 Cello

鄭恩浩 Cheng Yan-ho

大提琴、鋼琴 Cello, Piano

林 丰 Fung Lam

服裝設計 Costume Designer

盧聲前 Singchin Lo

助理製作經理 Deputy Production Manager

鄧藹琳 Michelle Tang

助理舞台監督 Assistant Stage Managers

劉子菁 Brandy Lau Tsz-ching

劉址朗 Yanki Tsz-long Lau

邱菀泓 Mia Qiu

陳詠斯 Wincy Chan

林鈺浠 Jessie Lam

劉俊銘 Alfred Lau

李佳琳 Nickole Li

曲目 Programme

林丰 Fung Lam

《四重維度》Four Realities

第一樂章：混序 Movement I: Shuffle

第二樂章：複製 Movement II: Replication

第三樂章：重塑 Movement III: Reshape

第四樂章：超真實 Movement IV: Hyperreality

喬治．克倫姆 George Crumb

《黑天使》Black Angels

第一樂章：離開 Movement I: Departure

第二樂章：缺席 Movement II: Absence

第三樂章：回歸 Movement III: Return

導演的話 Director ’ s Note

「在大部分影像背後，有一些事物消失。」布希亞

“Behind every image, something has disappeared.” Jean Baudrillard

2017 年，位於倫敦杜爾維治， 一家名叫杜爾維治小屋的餐 廳，菜單以心情為主題，提供 了六種「心情」供食客選擇， 分別為「色慾」（ Lust ）、「同 感」（ Empathetic ）、「沉思」

（ Contemplation ）、「愛」

（ Love ）、「舒適」（ Comfort ）與 「喜悅」（ Happy ）。

大量的五顆星評價令它登上了 貓途鷹 (Trip Advisor) 的首位。

這是一間虛構的餐廳，是由一 位名為巴特勒（ Oobah Butler ） 的媒體工作者策劃的惡作劇， 餐廳評論由他的朋友幫忙虛 構。杜爾維治小屋隨後登上了 網絡人氣餐廳，獲得了大量訂 位的查詢，還吸引了食評和媒 體採訪，甚至有食評「親述」 其美味和獨特之處。只限電話 預約的杜爾維治小屋，每次只 會回覆要等上六個月。

最後巴特勒決定真正接待客 人： 只用一英磅的即食食物， 以香草等裝飾成高級料理。一 半食客為預先安排好的假扮客 人，加上不停以微波爐的叮叮 聲營造出廚房繁忙的氣氛，有 客人竟在餐後於網上高度評價。

透過人工的影像和文字，我們 體驗的是被告知的世界面貌、 歷史與當下的真實——世人在以 缺席現場的方式旁觀和見證現 實的運行。

在虛擬和真實的維度邊界模糊 的時代，那些我們被告知的事 物也許甚至從來未曾存在過， 它們既是在場又是不在場，既 存在又不存在。在混亂的多重 維度之間，我們的意識被重新 塑造，並成為了下一場戰爭的 場所——一場意識操弄的混戰。

真實和超真實的混亂時代 克倫姆 1970 年寫的《黑天使》， 副題是「來自黑暗大地的十三個 景像」。黑天使的想像，是古代 畫家一種保守的設計，是墮落天 使的符號。最著名的黑天使， 是犯下七宗罪中傲慢之罪的路西 法，他因挑戰上帝的權威而被逐 出天堂，在地獄建立了一個模擬 天堂的世界，並且成為了魔王撒 旦。那十三個景像，描寫了靈魂 行走的過程，由從恩賜中失落的 〈離開〉、靈魂毀滅的〈缺席〉， 到重新獲得的〈回歸〉。克倫姆 曾說這是比喻紛擾重重的世界喻 ——當時正值越戰。

在戰爭還不斷的 2022 年，另 一個維度也華麗誕生。所謂的 元宇宙從真像的投射與偽裝、 曲解真像，到偽裝不存在的真 像、脫離真像與事實，成為一 個獨立的擬態 (simulation)。人 工生成的真實，通過機器學習 (machine learning)，複製甚至 產生自己的意識，把純粹擬仿 的宇宙，擲入人類以為的真實 當中，產生比真實還真實的超

真實 (hyperreality) 。

所謂的元宇宙一片美好光明， 卻使我們混亂於真實和虛擬之 間，我們所在的維度，會否終 被不具疆域性、沒有所指物、 沒有來源的超真實取代？ 黑天使的離開、缺席和回歸， 在超真實的維度中沒有結束， 反而不斷的輪迴繁殖，以另一 種更具滲透性的方式干擾我們 原有的真實。

迷失在真實和次元維度的超真 實邊界，在真實消失（ cause the effacement ）的擬仿城市 (city of simulacra) 中，我們無法 分辨電子媒介所提供的真實， 甚至電子媒介可以自行無中生 有一個超真實，就像杜爾維 治小屋。

如果下一步機器擁有自己的意 識，而人類分辦的能力逐漸被 干擾到衰退，杜爾維治小屋也 許不再是由一個真實的人所虛 構，而是由電子意識所虛構的 話，下一步我們將活在一個怎 麼樣的宇宙？

視自己宛如另一個自己

由 2013 年到 2023 年，由作品《雲 圖境像》、《 Shuffle Reality 》、 《人工真實》，到去年香港藝術 節的《混序維度》（因疫情取消 並變成網上影像作品），《超真 實》延續了我對布希亞的超真 實概念的自我闡述。

十年的過去，世界經歷了不可 思議的巨變，過去的三年在疫 情的催化下，真實邊界之間的 隔離，反而加速了虛擬邊界之 間的大解放。習慣了在家工作 和網上會議的我們，也習慣了 混序於真實與虛擬維度之間—— 你曾有一刻懷疑過網上會議前 的人是否一位機器人嗎？你如 何確定他或她不是一個 AI 的即 時對答？

真實和超真實，由一種維度， 被處理成另一種維度，最後成 為一個全新的真實。以中央 的樂器裝置為中心，把表演空 間分裂成兩份，沒有明確的邊 界，沒有固定且可變的維度， 觀眾遊走於之間，經歷和被經 歷兩種不同的維度。

《超真實》沒有意圖闡述布希亞 的相關概念，也許根本不用任 何人去闡述，可能我們已經在 超真實中生活。歡迎大家遊走 於啟發自超真實，並由我們所 創作的維度當中——哪一邊才是 真實？哪一邊才是超真實？

林欣傑

In 2017, The Shed at Dulwich, a restaurant in London, asked diners to choose meals from six mood-related categories: Lust, Empathetic, Contemplation, Love, Comfort and Happy.

The substantial number of fivestar ratings it received made it the No. 1 London restaurant on Trip Advisor.

But it was a fake restaurant, a hoax created by journalist Oobah Butler, and it was his friends who wrote the five-star reviews. Still, after the restaurant gained immense popularity online, it attracted numerous booking inquiries and interview requests from food critics and journalists, with some critics even praising the food in first-hand accounts. The Shed only accepted phone reservations and informed callers that they would have to wait six months for a table.

Eventually, Butler decided to actually serve customers—with instant food presented as haute cuisine and dressed up with herbs. Half of the diners in the restaurant were actors, and a busy kitchen was created with the constant ringing of microwave oven bells. Surprisingly, after eating, some customers left glowing reviews online, giving the food high praise.

We are all informed about the world through artificial images and text. And when it comes to examining reality, we also lack experience in personally witnessing reality in action.

In times such as these, when the boundaries between the virtual and real dimensions are blurred, the things we are told of may not even exist. They are both present and absent, existing and non-existing. Among these shuffled dimensions, our minds are reshaped, becoming a battlefield for an upcoming war—the manipulation of mass consciousness.

An era of merged realities and hyperrealities

Composed by George Crumb in 1970, Black Angels is subtitled “Thirteen Images from the Dark Land”. The concept of Black Angels revolves around the fallen angels. Among them, the most notable is Lucifer, who committed the Sin of Pride in the Seven Deadly Sins, challenging the authority of God, and being banished from heaven. Creating a world of heaven in hell, he becomes Satan, the prince of darkness. The 13 images depict the emotional journey of wandering souls: their “Departure” after losing gifts from the divine, their “Absence” due to the destruction of their souls, and their “Return” after redemption. Crumb saw this work as a metaphor for a world in turmoil, since it was composed during the Vietnam War.

The world in the year of 2022 is still afflicted by ongoing wars and another dimension is now being grandly presented. The metaverse is becoming an independent simulation, projecting real images; imitating

and distorting truths; faking reality; and deviating from truth and reality. Artificial intelligence is being self-built through machine learning, with the machine developing and duplicating its own consciousness. A purely simulated universe is laid over a reality that is not questioned by humans, creating a hyperreality—a “reality” more realistic than actual reality.

The bright future promised by the metaverse will in fact leave us disoriented in the blurred boundaries between the real and virtual words. Will the dimensions we are situated in eventually be replaced by hyperreality, which is boundless, unspecified and lacking any origins?

The cycle of the Black Angels their departure, absence, and return—never ends in the hyperreal dimension, reoccurring in reincarnation and pervadingly disturbing what was originally real.

When we become muddled in this hyperreality between the real and virtual dimensions in a city of simulacra, we can no longer distinguish truth from lies using the information we obtain through electronic media. This electronic media could even create a hyperreality out of nothing, as in the case of The Shed at Dulwich.

If, in the near future, robots gain self-awareness, if people further lose the ability to distinguish truth from falsehood, and if tricks

like The Shed at Dulwich are no longer man-made but created by conscious machines, what kind of universe will we be living in?

Keep yourself as an other

From 2013 to 2023, I have created Landscape of Cloud, Shuffle Reality, Artificial Reality, and Shuffle Dimensions, presented by the Hong Kong Arts Festival last year (released as an online video production after being cancelled due to the pandemic). Hyperreality is a continuation of my expression of Baudrillard’s concept of hyperreality.

During the past 10 years, the world has undergone unimaginable transformations. The past three years under the pandemic led to the severing of boundaries in the real world, in turn accelerating the liberation of the virtual world. People who have become used to working from home and having online meetings, have also become accustomed to the shuffled dimensions of reality and virtuality—have you ever questioned if you are actually having an online meeting with a robot? How can you be sure he or she isn’t a form of artificial intelligence giving you instant responses?

In this performance, reality and hyperreality are processed from one dimension into another, creating a new reality. The instrumental installation placed in the centre breaks the performing space into two halves, creating dimensions that

neither have clear boundaries nor are stable. The audience can wander across them, experiencing and becoming part of two different dimensions.

Hyperreality isn’t intended to explain Baudrillard’s concepts, which perhaps demand no explanations, because we are probably already living in hyperreality. We welcome everyone to explore this dimension we have created, inspired by hyperreality —which side is reality and which side is hyperreality?

Keith Lam

音樂總監兼作曲家的話 Music Director and Composer's Note

概略而言，藝術音樂可分為絕 對音樂和標題音樂兩種。絕對 音樂又稱為抽象音樂，樂曲不 受非音樂元素影響，亦不以樂 曲來描述事物。與此相對， 標題音樂由非音樂素材激發而 成，藉由樂章來表達音樂以外 的事物。我的音樂作品同時採 用了這兩種創作方法，但將非 音樂概念轉化為音樂素材，一 直是我創作中不可或缺的一部 分。例如，我絕大部分的作品 都以啟蒙之旅為主題，這些年 來，我一直試圖用不同方法去 描述這個概念，其中一些對於 聽眾而言比較明顯。

在這次《超真實》裝置音樂會 中，我緊扣超真實的其中一個 關鍵概念——「真實」與「虛擬」 的存在和並存——去構想我的 音樂作品。這種二元性啟發我 創作一系列的樂段，當中含有 一雙雙對立卻以不同方式共存 的音樂元素。從更大的層面來 說，整場音樂會皆為真實與虛 擬的碰撞，正如我所編寫的新 曲與喬治‧克倫姆的經典《黑 天使》相互呼應、虛實交錯。

林丰

Broadly speaking, there are two types of music: absolute music and programme music.  Absolute music, or abstract music, has no extramusical idea and is not explicitly “about” anything. This is in contrast to programme music, which is inspired by non-musical ideas and aims to represent them musically.  While my compositional output embraces both approaches, the process of deriving ways to translate nonmusical concepts into musical ideas has been an important part of my creative practice.  For example, a concept that has permeated a significant amount of my output is the depiction of the journey to enlightenment, which throughout the years I have tried to portray in different ways, some more apparent than others for the listeners.

For the Hyperreality installation concert, the design of my music corresponds to one of the key components of the concept of hyperreality: the existence and co-existence of the “real” and “fiction”.  The presence of this duality inspired the creation of a series of passages juxtaposing pairs of contrasting musical elements, which co-exist in different ways.  On a grander scale, the concept of duality is reflected by the overall structure of this concert, which alternates between my newly written music and George Crumb’s masterpiece Black Angels.

Fung Lam

專題文章 Feature Article

迷失於超真實異度空間

Lost in Hyper-Realistic Ambiguity

著名媒體藝術家林欣傑與作曲家林丰攜手帶來全新製作，以電子音樂、弦樂與薩克斯管，奏出林丰新 樂章《四重維度》，加上由 Cong 四重奏錄音演奏美國當代作曲家喬治．克倫姆的鉅作《黑天使》，配 以林欣傑設計的裝置藝術，營造超真實的異度空間。

Renowned media artist Keith Lam has partnered with composer Fung Lam to create a new programme that questions the nature and very meaning of reality. Hyperreality juxtaposes a live performance of Fung Lam’s new work, Four Realities for electronics, strings and saxophone, and a recording of American composer George Crumb’s monumental Black Angels played by the Cong Quartet with a kinetic installation designed by Keith Lam to create a hyper-realistic and ambiguous atmosphere.

哲學家布希亞於八十年代提出 「超真實」的概念，預視了現實 與虛擬世界的界線漸變模糊， 人人可以在元宇宙複製自我， 令人質疑眼前所見究竟是真 實，還是虛構。

林欣傑希望透過現場的光影與 煙霧，讓觀眾沉浸式體驗混合 虛擬與現實的超真實空間。

林丰更會現場演奏鋼琴與大提 琴，聯同香港當代音樂團樂手 吹奏薩克斯管，輔以預錄的電

子合成音樂，以《四重維度》 呼應克倫姆的《黑天使》電子 弦樂四重奏。兩首樂曲將梅花 間竹演奏，按《黑天使》三大 樂章分段，以多維度環迴音響 呈現。觀眾將遊走於西九文化 區自由空間，投入煙霧裊繞的 音樂與光影虛幻世界。

《超真實》裝置音樂會是兩林首 次合作，二人皆於藝術界成就 非凡。林欣傑的媒體藝術作品 於世界各地展出，榮獲有「新

媒體藝術奧斯卡」之稱的奧地 利媒體藝術節電子藝術大奬。 林丰乃英國廣播公司委約作曲 的首位香港作曲家，於 2022 年 9 月更與拍攝《花樣年華》的 知名攝影師夏永康合辦跨媒體 音樂會。不說不知，林欣傑 與林丰均喜歡日本作曲家坂本 龍一，坂本的新世紀氛圍音樂 風格，彷彿成為兩人的共同語 言，併發出藝術科技與當代音 樂的創作火花。

在戰火連綿、瘟疫蔓延的 二十一世紀，當真實遠比超 真實更荒誕離奇，或許短暫迷 失於音樂會中，也是一種另類 的避靜。

撰文：李芷晴 原文刊登於香港藝術節 2023 年之 《閱藝》雜誌

The concept of “hyperreality” was introduced by philosopher Jean Baudrillard in the 1980s. He foresaw a world where the boundaries between reality and virtual reality were blurred, where everyone could create a “network clone” in the metaverse, and where seeing did not necessarily mean believing.

Keith Lam manipulates light, shade and haze in the concert to immerse the audience in a hyper-realistic space where virtual reality and reality are indistinguishable. Fung Lam will perform Four Realities live on piano and cello, joined by a saxophonist from the Hong Kong Contemporary Music Group and a pre-recorded electronic soundscape, as a response to Crumb’s influential string quartet Black Angels. Parts of Four Realities will be performed after each of the three movements

of Black Angels, creating a multi-dimensional surround soundscape. The audience at Freespace, located at West Kowloon Cultural District, will be free to move around as they are transported into this hyperreal world created by music, light and shade.

Hyperreality represents the first collaboration between Keith Lam and Fung Lam, who are recognised as outstanding artists in their respective fields. Keith Lam was awarded an Honourary Mention in the category of Interactive Arts at Austria’s 2008 Prix Ars Electronica, a prestigious event described as “the Oscars of new multimedia art”, and his work has been exhibited around the world. Fung Lam was the first Hong Kong composer to receive a commission from the BBC. In September 2022, he partnered with the renowned

photographer/ videographer Wing Shya in a multimedia concert. Incidentally, Keith Lam and Fung Lam are both influenced by the work of Japanese composer Ryuichi Sakamoto, an electronica pioneer who has made great contributions to both newage and ambient music. Their love for Sakamoto has given them a common language that has helped this marriage of arts technology and contemporary music.

In this age of incessant warfare and a prolonged pandemic, many of us may feel the need to escape reality for a while. And Hyperreality offers an opportunity to visit the world envisioned by Baudrillard, one where the boundaries between the real and the virtual no longer exist.

Text: Rebecca Lee

Originally published in the HKAF's 2023 FestMag

©Maximillian Cheng @ Moon 9 Image

樂曲簡介：《黑天使》 Programme Notes: Black Angels

樂曲簡介 :《黑天使》

Programme Notes: Black Angels

有些樂曲是我第一次聽見就愛 上，但到第三次就開始不是味 兒； 有些卻是初聽之下會覺得 「甚麼嘛？」但到頭來變成狂粉 （我聽巴托的經歷就是這種)。

還有第三類音樂，它會引起本 能反應，每次重聽，音樂面貌 會逐漸顯露，《黑天使》便屬 於這類。

克倫姆先後在西維珍妮亞州、 伊利諾伊州和德國研習音樂， 之後才回到美國，入讀密西根 州大學， 1959 年獲頒音樂博士 學位。克倫姆與賓夕凡尼亞州 大學合作多年 ； 我現時則在該 校擔任室樂系總監 ； 雖然克倫 姆在我到任前已退休，但他對 學校影響深遠。此外，他獲獎 無數，包括普立茲獎、一項格 林美獎、傅爾布萊特獎學金、 洛克菲拉資助金、福特資助金 以及古根海姆獎學金等。

他創作《黑天使》時，美國正 面對巨大的社會動盪與越戰 的創傷，按他的構思，樂曲 是「一個關於紛亂當代世界的 寓言」。

克倫姆近年寫道:「樂曲已超 過四十歲了，但我還記得寫作 時舉步維艱。我想，那就是世 間的煩惱都找到這首樂曲裏來 了，這也很常見。音樂史上有 許多作品都是對政治事件的回 應，但這次卻好像悄悄走近我 似的。有一刻，我發現樂曲 像在反映時代，反映那年頭許 多的不安與不穩。那確實是苦

日子，而且蔓延全國的示威同 時發生，美國出現了全新的面 貌，也跟這一切有點關係。」

我十四歲時第一次聽見《黑天 使》，還是在參加音樂夏令營 的時候。晚上我們睡覺後， 老師還在工作 ； 可是我們聽見 可怕的聲音穿過森林而來 ； 直 到現在，我都認為那是聽過的 樂曲中最恐怖的一首。克倫 姆把樂手身心都推到極限。

有時，藝術需要探索未知的領 域——這些領域原本都寧可不 見天日。

「善」與「惡」的象徵是貫穿每 個小節的主線，有時甚至整個 樂章都清楚明白地代表「善」 與「惡」。

第六樂章〈淚水的帕凡那舞曲〉 (「帕凡那舞曲」是十六世紀一 種慢速舞曲)引用了舒伯特《死 亡與少女》中的一大段，但改 編成中世紀風格，帶有早期教 會音樂的遺風。這與樂曲裏裏 經常出現的「魔鬼的顫音」形 成鮮明對比。「魔鬼的顫音」本 身則是引用帕格尼尼： 他生 前就有許多人懷疑他與魔鬼有 約，令自己的技巧高超得前 無古人。

在「善」與「惡」的代理人戰 爭裏，數字 3、 7 和 13 帶有特 殊意義。《黑天使》以拱型曲 式寫成，靠著三大段「輓歌」 來支撐。

關於《黑天使》中的生命密

碼，克倫姆說道 ：「是的， 7 和 13 那些都在樂曲裏出現了。那 是比較技術性、結構性的。星 期五和十三日這個組合令我有 點忘形。我想，在所有樂曲裏 也同樣重要。貝多芬不會把心 中所想全都告訴我們。他的書 信裏提及莎士比亞，但樂譜上 沒有。馬勒《第三交響曲》原 本每個樂章都有描述式標題， 但後來也全部刪去。即使更抽 象的音樂，也可能與其他意念 息息相關——詩作、風景，至 於其他，就讓聽者自行領悟箇 中關聯。」

音樂史上沒有像《黑天使》一 樣的作品。聆聽時可能很揪 心，但也很深刻、很屬靈。樂 曲關於「善」與「惡」，說的不 是掙扎，因為兩者根本並存。

撰文 ： 大衛．楊 紐伯里波特室內樂音樂節 藝術總監

原刊於紐伯里波特室內樂音樂 節網頁，獲准轉載。

I love some music the first time I hear it, but then it starts to sour by the third time. Other music I hear and think “Huh?”, but eventually become a fanatical convert (Bartók was once like this for me).

There is a third category of music that causes a visceral reaction and continues to reveal itself every time you hear it. Black Angels fits in that last category for me.

George Crumb studied music in West Virginia, Illinois, and Germany before returning to study at the University of Michigan, from which he received his D.M.A. in 1959. He has a long association with the University of Pennsylvania, where I am Director of the Chamber Music Department, and casts a huge shadow despite retiring before I arrived. He received the Pulitzer Prize, a Grammy Award, a Fulbright Scholarship, Rockefeller and Ford grants, Guggenheim Fellowship, and numerous other awards.

Black Angels was written at a time when the USA was convulsed by tremendous social upheaval and the trauma of Vietnam. He conceived the work "as a kind of parable on our troubled contemporary world”.

Crumb wrote later in his life: “It’s more than 40 years old now, but I remember that it was a very difficult piece to write. I think that the upset in the world found its way into the music, which happens so frequently. There are many works throughout music history

that are reactions to political events, but in this case it kind of crept up on me. At a certain point, I realised that it was becoming a reflection of a lot of the anxiety and uncertainty of those days. It was a pretty bleak period. And that coincided with all of the protest movements around the country, which kind of led to a whole new kind of America.”

I first heard Black Angels when I was 14 at a summer music camp. The faculty worked at night after we were in our bunks and through the forest we heard horrifying sounds; it remains the most terrifying piece of music I know. Crumb pushes the musicians to their physical but also spiritual limits. Sometimes art needs to explore regions that prefer to remain beyond the light of day.

The symbolic presence of Good and Evil is a thread that runs through every measure, sometimes represented overtly in entire movements.

The sixth movement, Pavana Lachrymae (a pavana is a slow 16th century dance, lachrymae means “tears” in Latin) contains an extensive quote from Schubert’s Death and the Maiden rendered in a Medieval style reminiscent of early church music. This contrasts with the abundant use of the Devil’s Trill throughout the piece, a reference to Paganini, suspected by many of his compatriots to have made a pact with the devil in order to play at a level of virtuosity

the world had never witnessed.

The numbers 3, 7, and 13 take on a special significance in the proxy war for Good vs. Evil. Black Angels is arranged in an arch-like design of three large “Threnody” sections (a “threnody” is a lament).

Crumb himself had this to say about numerology in Black Angels: “Yes, this business of 7s and 13s came into the music. It was more technical, structural. I got carried away with the Friday the 13th thing. I think it is important in all music. Beethoven doesn't give us all of what's in his mind. There are references to Shakespeare in his letters, but not in the score. Mahler's Third originally had descriptive titles for all of the movements, but he dropped them. Even more abstract music is probably connected with other ideas—poetry, landscapes, and other things. [It's better to] let the listener make the connections.”

There is nothing like Black Angels in the history of music. The experience can be deeply harrowing yet profoundly spiritual. The piece is about Good and Evil; not the struggle so much as that they coexist.

Text: David Yang Artistic Director of Newburyport Chamber Music Festival

Originally published on the website of Newburyport Chamber Music Festival. Used by kind permission.

林欣傑 KEITH LAM

導演、媒體藝術家及演出 Director, Media Artist and Performer

林欣傑是香港台灣新媒體藝術 團隊 Dimension Plus 共同創辦 人及藝術總監，以及複合設計 空間 openground 創辦人。

其作品曾於日本文化廳媒體藝 術祭、有「新媒體藝術奧斯卡」 之稱的奧地利媒體藝術節電子 藝術大奬 ( Prix Ars Electronica) 等國際藝術節中獲獎。作品獲 邀至世界各地展出，並由多家 美術博物館收藏。

林欣傑熱衷於新媒體藝術教 育，經常出任各大專客席教 學、副教授及顧問工作，致 力推動將數位製作應用於藝術 創作中。

Keith Lam is the co-founder and Artistic Director of new media art studio Dimension Plus, and the founder of composite space “openground”.

His works have won several awards at international arts festivals, including the worldleading arts festival Prix Ars Electronica and the Japan Media Arts Festival. His works have been exhibited around the world and collected by museums. Also committed to new media art education, Lam teaches, consults and serves as an associate professor at various universities and institutions with the aim of promoting digital fabrication in art.

林丰 FUNG LAM

音樂總監、作曲及演出 Music Director, Composer and Performer

林丰，作曲家， 1979 年生於 香港。他的作品曾於 BBC 逍 遙音樂會、紐約卡內基音樂 廳、柏林音樂廳、悉尼歌劇 院、倫敦皇家艾伯特音樂廳、 倫敦南岸藝術中心等國際音樂 殿堂演出。他更是英國廣播 公司（ BBC ）委約的首位香港 作曲家。

他的作品甚豐，包括 2012 年 BBC 逍遙音樂會中首演的《無 盡藏》，以及為慶祝香港管弦 樂團成立四十週年而創作的 《蘊》。

除純音樂作品外，他亦曾為舞 蹈、戲劇、聲音裝置、多媒 體作品創作音樂。最近的主要 作品包括與跨界視覺藝術家又 一山人合作的作品專場音樂會 《丰．人．夢》（ 2021 ），與攝 影師暨導演夏永康合作的跨媒 體節目《夜曲》（ 2022 ）。

他持英國薩塞克斯大學作曲博 士學位，曾任香港管弦樂團駐 團作曲家及藝術策劃總監，並 獲香港藝術發展局頒發 2011 年 度藝術新秀獎。

Composer Fung Lam was born in Hong Kong in 1979. Lam’s music has been performed at the BBC Proms, and in some of the most prestigious venues in the world, such as Carnegie Hall in New York, Konzerthaus Berlin, the Sydney Opera House, Royal Albert Hall and the Southbank Centre in London. He holds the distinction of being the first Hong Kong composer to be commissioned by the BBC. His prolific output includes orchestral works Endless Forms, premiered at the BBC Proms in 2012, and Quintessence, written in celebration of the 40th anniversary of the Hong Kong Philharmonic Orchestra.

Apart from concert music, he has also composed for dance, theatre, sound installation and multi-media works. His major productions recently include Yet Another Dream (2021), his portrait concert in collaboration with visual communicator anothermountainman, and Nocturnes (2022), a music and film collaboration with photographer/director Wing Shya.

He holds a doctorate in Composition from the University of Sussex, and has served as the Hong Kong Philharmonic

Orchestra’s Composer-inResidence and Director of Artistic Planning. He was awarded the Young Artist Award from the Hong Kong Arts Development Council in 2011.

©Taikan Sekine

GEORGE CRUMB

作曲家 Composer

喬治‧克倫姆（ 1929– 2022 ） 是美國先鋒派當代古典音樂作 曲家，被全球公認為二十世紀 最具冒險精神及傑出的作曲家 之一，曾獲格林美獎和普利策 獎。他是「新技藝」運動的成 員，其豐富的音樂色彩以強調 擴展的器樂和聲樂技巧、豐富 多樣的音樂典故、縈繞的戲劇 性及有如詩人般鏗鏘有致的細 節而聞名。他曾在美國中西部 和柏林的多所學院進修，之後 於 1965 年加入賓夕法尼亞大學 任教，並在該校從事作曲及任 教達三十二年。他憑直覺觀感 的作曲模式強調質感、音色及 章節，而他在 60 年代便取得 了豐碩成果，其作品包括《牧

歌》（ 1966- 1969 ）、《秋天的 十一個回聲》（ 1965 ）及靈感 源自太陽神 11 號登陸月球的 《四個月亮之夜》（ 1965 ）。他 其中一首家傳戶曉的作品《黑 天使》於 1970 年問世，以猶如 繚亂炮火的擴展手法來喚起越 戰時的超現實音景。喬治·克 倫姆一直堅持創作至晚年，於 2022 年 2 月 6 日在賓夕法尼亞 州的家中逝世。

George Crumb (1929–2022) was an American composer of avantgarde contemporary classical music. He is recognised the world over as one of the 20th century's most adventurous and exceptional composers, and was the winner of a Grammy Award and the Pulitzer Prize. A member of the "New Virtuosity" movement, Crumb developed an expansive musical palette noted for its emphasis on extended instrumental and vocal techniques, its rich and sophisticated musical allusions, an evocative theatricality, and a poet's sense of sonorous detail. After studying at various schools in the American Midwest and Berlin, in 1965 he joined the faculty at the University of Pennsylvania, where he composed and taught for 32 years. His highly intuitive approach to composition, with its emphasis on texture, timbre, and line, bore substantial fruit during the '60s, including the Madrigals (1966-1969), Eleven Echoes of Autumn (1965), and, inspired by the Apollo 11 lunar landing, Night of the Four Moons (1969). One of his best-known pieces, Black Angels, came in 1970 and uses a dizzying arsenal of extended techniques to evoke a surreal soundscape of the Vietnam War. Crumb continued composing until very late in life and he died at his home in Pennsylvania on 6 February 2022.

© Steven Pisano

樂手簡介 Musicians' Profiles

吳漢紳被譽爲香港其中一位傑出 的薩克斯管演奏家，也是香港演 藝學院及香港教育大學的薩克斯 管教師。他曾在紐約伊薩查學 院、西維珍尼亞大學、中國上 海音樂學院、法國卡普費雷音 樂節、波蘭 JAV 音樂節開設大師 班，並定期受邀參加深圳國際薩 克斯管夏令營。

薩克斯管 Saxophone

吳漢紳是非常活躍的薩克斯管 演奏家。僅在第 2018-19 年的季 度，就舉辦了 60 多場國際音樂 會。 他是世界著名的維也納薩 克斯管五重奏樂隊 Five Sax 的成 員。他也是「亞洲曙光薩克斯 管項目」(DASP) 的聯合總監， 這是一個由汎亞地區薩克斯管精 英演奏家組成的國際薩克斯管 樂團。他還與友人在香港共同 創立了一個藝術組織 Exordium Collective，旨在匯聚不同領域的 藝術家合力演出。

他是香港管弦樂團、香港小交響 樂團的客席薩克斯管手，也是香 港創樂團的聯席樂手。

Charles Ng is regarded as one of the most prominent saxophonists in Hong Kong. He serves as a faculty member at The Hong Kong Academy for Performing Arts and the Educational University of Hong Kong. He has presented masterclasses at New York’s Ithacha College, West Virginia University, the Shanghai Conservatory of Music, the Cap Ferret Music Festival in France and the JAV Music Festival in Poland, and has been regularly invited to take part in the Shenzhen International Saxophone Camp.

Ng is one of the city’s most active saxophonists, performing more than 60 concerts internationally during the 2018-19 season alone. He is a member of the world-renowned saxophone quintet Five Sax, a professional Vienna-based ensemble, and is the co-director of the Dawn of Asia Saxophone Project, an international saxophone ensemble made up of elite saxophonists from Asia. He is also a co-founder of the Exordium Collective, a Hong Kong-based arts organisation which aims to bring together artists from different disciplines.

He has appeared as a guest saxophonist with the Hong Kong Philharmonic Orchestra and the Hong Kong Sinfonietta, and as an associate musician with the Hong Kong New Music Ensemble.

薩克斯管

孫穎麟是現時港澳最活躍的其中 一位薩克斯管青年演奏家。他 七歲開始接受音樂訓練，1997 年 負笈英國衛甘遜藝術中學，師從 喬治‧高威學習薩克斯管和單 簧管。2001 年獲全額獎學金入

讀倫敦市政廳音樂及戲劇學院， 是該校首位華人薩克斯管及單簧 管學生。在校期間，他跟隨朱 利安‧法里奧學習單簧管，並 於 2006 年在該校完成碩士課程。

孫穎麟畢業回港後，活躍於本地 樂壇，並曾於紐約卡內基音樂

廳、倫敦威格摩爾音樂廳、倫 敦巴比肯中心、上海音樂廳等地 參與室樂演奏。他又曾以獨奏 身分，與澳門中樂團、香港小 交響樂團、浙江交響樂團、貴 陽交響樂團等合作，並為多個本 地青年樂團及音樂團體獻藝。

孫穎麟熱衷於教學，現時在澳門 演藝學院、香港大學、香港浸 會大學教授薩克斯管。

One of the most prominent musicians in Hong Kong and Macau, Timothy Sun began his music studies at the age of seven. A student of George Galway in saxophone and clarinet at the Ellen Wilkinson High School of Art in England from 1997, Sun became the first Chinese saxophone and clarinet student at the Guildhall School of Music and Drama to be awarded a full scholarship for his Bachelor’s degree in 2001. He also studied with clarinettist Julian Farrell, and completed his Master’s degree in 2006. Since completing his studies, Sun has gone on to become a fixture of the Hong Kong music scene as one of its internationally recognised musical talents. He has performed at Carnegie Hall, Wigmore Hall, the Barbican Centre and the Shanghai Concert Hall as a chamber musician. As a soloist he has performed with the Macau Chinese Orchestra, the Hong Kong Sinfonietta, the Zhejiang Symphony Orchestra and the Guiyang Symphony Orchestra, and has collaborated as a principal soloist with numerous other regional and youth orchestras and musical establishments.

Today, Sun works as saxophone lecturer coach at the Macau Conservatory, The University of Hong Kong and the Hong Kong Baptist University.

©Ricky Lo

編創人員簡介 Creative Team Profiles

shopping malls, buildings and performance venues. His work on Shenren Chang’s Harmony Between Gods and Men and the Hong Kong Ballet’s Rite of Spring were nominated for the Best Visual Effects awards at the Hong Kong Dance Awards in 2017 and 2020. His recent work includes Tri Ka Tsai at the Huayi—Chinese Festival of Arts in Singapore and Hyperreality at the Hong Kong Arts Festival.

Kachun is a graduate of the Hong Kong Institute of Vocational Education, majoring in Digital Music and Sound Technology. He is now the sound operator of Miso Tech Ltd.

麥國輝先後畢業於香港演藝學院 和澳洲昆士蘭科技大學。2000 至 2018 年間回母校香港演藝學 院任職舞台燈光講師。多年來和 各地商業及文化演藝單位合作， 並參與商場丶商廈和表演場地的 燈光系統設計和顧問工作。憑 香港芭蕾舞團《神人暢》和《春 之祭》分別入圍 2017 年和 2020 年香港舞蹈年奬「最佳視覺效 果」。近作有新加坡華文藝術節 《 Tri 家仔》及香港藝術節《超 真實》。

Mak Kwok-fai is a graduate of The Hong Kong Academy for Performing Arts and the Queensland University of Technology, Australia. He worked at his alma mater the HKAPA as lighting lecturer from 2000-18, and has also collaborated with various performing arts organisations in the commercial and cultural fields in various cities for many years. Mak has participated in lighting design and consultancy work for various

黄嘉俊畢業於香港專業教育學 院，主修數碼音樂及聲效科藝， 現為 Miso Tech 的音響工程師。

他曾為本港及海外多個表演團體 作音響設計及現場混音；亦曾參 與多個本地音樂節及演唱會，包 括本地薑音樂節、Meanwhile 戶 外音樂會、覓音樂香港音樂節、 陳凱詠 unbordered live 演唱會、 達明一派 Re:play 演唱會、香港 管弦樂團及香港芭蕾舞團聯合呈 獻的《布蘭詩歌》等之製作。

He has worked with Hong Kong and overseas performing groups, music festivals and concerts in the area of audio design and live mixing. Events he has worked on include the Wow and Flutter Music Festival, the Meanwhile music festival, Make Music Hong Kong music festival, Jace Chan “Unbordered Live”, Tat Ming Pair “Re:play” live, and the Hong Kong Philharmonic Orchestra and Hong Kong Ballet co-production Carmina Burana.

盧聲前生於 1981 年，自幼對富 有複雜細節的創作感興趣。他 在香港中文大學主修工程學一個 學年後，便轉到香港理工大學 修讀服裝設計。他的設計理念 是透過細緻剪裁和大膽的布料拼 湊，展現女性身形輪廓的美態。

Born in 1981, Singchin Lo developed an interest in complicated details at a young age. After spending an academic year as an engineering major at the Chinese University of Hong Kong, he transferred to the Hong Kong Polytechnic University and, ever since, has focused on fashion design. His design philosophy is to convey understandings of the female body through detailed patchwork and contour silhouettes.

鄭慧瑩

Carmen Cheng

舞台設計、製作經理及執行舞台 監督

Set Designer, Production Manager and Deputy Stage Manager

鄭慧瑩曾與不同範疇的藝術家及 跨媒體創意團體合作，穿梭於舞 台及商業製作。她有逾廿年的美 術指導、設計及創意製作經驗， 歷年參與逾百齣製作，當中包括 舞蹈、戲劇、音樂劇、裝置藝 術、展覽、MTV、電影、廣告、 演唱會、主題公園及音樂節等。

Carmen Cheng has collaborated with many artists and creative multimedia talents on theatre and commercial productions. She specialises in art direction, design and creative production, and has more than 20 years’ experience working around the globe. Cheng has managed more than 100 productions including dance, drama, musicals, installations, exhibitions, music videos, films, advertising, concerts, theme parks and music festivals.

盧聲前 Singchin Lo 服裝設計 Costume Designer

劉子菁畢業於加拿大約克大學戲 劇製作系，現就讀香港演藝學院 空間設計專修碩士。這是她首 次與香港藝術節合作，對這次演 出，正躍躍欲試！

Brandy Lau is a Theatre Production graduate of York University in Canada, and is now studying for her Master's degree in Spatial Design at The Hong Kong Academy for Performing Arts. This is her first production with the Hong Kong Arts Festival.

劉址朗

劉址朗現正於香港演藝學院修讀 舞台及製作藝術碩士，主修當代 設計與科技（空間設計專修）。

她熱衷於探索佈景、服裝設計、 影像設計，以及人文與藝術方面 的可能性。她的作品涵蓋戲劇、 舞蹈、裝置藝術和展覽等範疇。

她畢業於香港理工大學，主修紡 織及服裝學系（內衣及運動服裝 專業）。

她熱愛人文、藝術、自然及 講故事。

Yanki Lau Tsz-long is currently studying an MFA in Theatre and Entertainment Arts at The Hong Kong Academy for Performing Arts, majoring in Contemporary Design and Technologies (spatial design specialisation). She is passionate about exploring the possibilities of set and costume design, video design, and the humanities and the arts. Her work covers theatre, dance, installation art and exhibitions. She graduated from the Hong Kong Polytechnic University, majoring in Fashion and Textiles (intimate apparel specialism). She loves the humanities, the arts, nature and storytelling.

劉子菁 Brandy Tsz-ching Lau

助理舞台監督 Assistant Stage Manager

Yanki Tsz-long Lau

助理舞台監督 Assistant Stage Manager

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

Mr Gary Ma

Mrs Lily Ma

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

More than Great Performances!

2023 FESTIVAL PLUS PROGRAMME 藝術節加料節目

3/2

五 Fri

5/2

日 Sun

12/2

日 Sun

13/2 Mon

18/2 六 Sat

19/2 日 Sun

跨越界限——陳詠燊談劇本創作

Sunny Chan on Screenwriting and Playwriting

說說管風琴•說說巴赫

Tracing the Organ Music of Bach

廣陵情長——粵劇編寫竹林七賢傳奇

Writing Cantonese Opera for the Legendary Seven Sages of the Bamboo Grove

「禹•見」鋼琴大師

Masterclasses and Meet Bruce Liu

「短篇粵劇──戲說八德」演後藝人談

Virtues and Morality—Four Cantonese Operas

Post-Performance Meet-the-Artist

杜國威經典作品選映——《虎度門》

Hu Du Men

Collection of Raymond To’s Classics

杜國威經典作品選映——《劍雪浮生》

A Sentimental Journey Collection of Raymond To’s Classics

22/2 三 Wed 杜國威經典作品選映——《南海十三郎》

24/2 五 Fri

The Mad Phoenix Collection of Raymond To’s Classics

米歇爾．梵德阿《水之書》演後藝人談

The Book of Water Post-Performance Meet-the-Artist

香港藝術節加料節目 X 大館對談：

古董鋼琴與現代鋼琴

27/2 Mon

28/2

二 Tue

1 - 19/3

三 - 日 Wed - Sun

3/3

五 Fri

5/3

日 Sun

HKAF PLUS x Tai Kwun Conversations: Early Piano Vs. Modern Piano 盛原——古董鋼琴獨奏會

Antique Piano Recital by Yuan Sheng 韓德兩地的音樂旅途

A Music Journey between Two Cultures –Esme Quartet in Korea and in Germany

《名畫詐騙師》演後藝人談

True Copy Post-Performance Meet-the-Artist

歌劇《尤利西斯歸鄉記》製作解碼展覽

The Making before The Return Exhibition

《超真實》裝置音樂會演後藝人談 Hyperreality—an installation concert

Post-Performance Meet-the-Artist

《名畫詐騙師》演後藝人談

True Copy Post-Performance Meet-the-Artist

「笙世界 音樂會」演後藝人談

Sheng World Music— Kevin Cheng & Friends

Post-Performance Meet-the-Artist

長笛的進化史──從巴羅克到現代時期 Evolution of Flute from the Baroque to Modern Periods

8/3 三 Wed 古鋼琴大師班

Fortepiano Masterclass 10/3 五 Fri

沉浸式歌劇《小狐狸》舞台參觀及公開彩排 Into the World of Silent Opera - Vixen Stage Tour & Open Rehearsal 「毛俊輝•粵劇情」演後藝人談

Cantonese Opera Classics Circa 2023

Post-Performance Meet-the-Artist

「長笛三次方——曾逸豪在繆思的庭院」 演後藝人談 Triptych for Flute—Tsang Yat-ho in Le jardin des muses

Post-Performance Meet-the-Artist

演唱蒙特威爾第 About Singing Monteverdi 「毛俊輝•粵劇情」演後藝人談 Cantonese Opera Classics Circa 2023

Post-Performance Meet-the-Artist

呼吸，讓木偶栩栩如生 Breathing brings Puppet to Life 「毛俊輝•粵劇情」演後藝人談 Cantonese Opera Classics Circa 2023

Post-Performance Meet-the-Artist

巴赫與我 All I Need is Bach

《末戀•無愛合約》演後藝人談 Loveless Romance Post-Performance Meet-the-Artist

以樂器之王為經典默片配樂 Writing Music for Silent Film – Tips from the Organist

傑出文化領袖講座系列（10） 與班貝格交響樂團行政總裁暨 藝術總監馬庫斯•魯道夫•阿克斯對談 Distinguished Cultural Leadership Series (10)

In Conversation with Marcus Rudolf Axt Chief Executive and Artistic Director, Bamberg Symphony 《狂人派對》演後藝人談 Dance Me to the End of Night Post-Performance Meet-the-Artist

傑出文化領袖講座系列（10） 與金像獎最佳編劇杜國威對談—戲畫人生 Distinguished Cultural Leadership Series (10)

From Stage to Ink: In Conversation with Award-winning Playwright and Screenwriter Raymond To Kwok-wai

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

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Members

電話 TEL 2824 3555

傳真 FAX 2824 3798 / 2824 3722

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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

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Ms Joanna Hotung

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Ms Miriam Yao

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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

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Members

DEVELOPMENT COMMITTEE

Chairperson

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Members

Mr Colin Farrell

Ms Margaret Cheng

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Ms Jane Yong

Mr Michael Fung

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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

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AUDITOR

Ms Gabriela Kennedy, Mayer Brown

PricewaterhouseCoopers

職員

行政總監 余潔儀

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節目

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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

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物流及接待經理 金學忠 *

技術

製作經理 梁雅芝 *

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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 *

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外展助理 馬曉瑩 *

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市場推廣

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票務

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行政事務

財務總監 鄺敬婷

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人力資源及行政

人力資源及行政經理 楊美君 *

接待員/初級秘書 李美娟

助理 黃國愛

資訊科技

資訊科技經理 陳啟明 *

無限亮

項目總監 錢 佑 *

節目及外展經理 鍾美琼 * 何敏凝 * 節目及外展統籌 何敬堯 * 潘詠汶 *

市場經理 黃嘉欣 *

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

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ADMINISTRATION

Programme Manager (Admin)

Flora Yu

Connie Ho

Grace Lang So Kwok-wan

Ian Leung

Kristen Chan* Cathy Cheng*

Sophie Liao* Katie Ma*

Samantha Szeto*

Janet Yau*

Tobe To*

Lilian Lam*

Ryan Yung*

Shirley So

Programme Officer (Admin) Michelle Lam*

LOGISTICS

Logistics Manager

TECHNICAL

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Elvis King*

Shirley Leung*

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NO LIMITS

Project Director

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HKARTSFESTIVAL@TAIKWUN

Project Manager

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

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*

Carly Wong*

Kaitlyn Liu*

Jess Cheung*

Catherine Chung*

Kwong Wai Lap*

PR and Marketing Coordinator Wind Yeung*

Coordinators

Production Officer Pang Ka Tat*

Technical Coordinators Rachel Au*, Tony Choi*, Cherry Fung*, Mandy Lai*, Martin Lai*, Lawrence Lee*, Joyi Tsang*