2016 Hong Kong Arts Festival - FestMag by Hong Kong Arts Festival

前言

Foreword 致《閱藝》讀者：

Dear Reader,

四十多載，香港藝術節依然精采無限！

Four decades on and going strong!

1 9 7 3 年，首屆香港藝術節開鑼，當年的創辦人可

Is this something the founders of the Hong Kong Arts Festival could have foreseen when they launched the annual Festival in 1973? How will the choices made today play out in the future? To what extent will we be held responsible for these outcomes? Is this something we need to think about?

曾想過藝術節有朝一日會發展成如此規模？今日種下的因，他日會結成怎樣的果？其中得失，我們是否需要承擔？箇中道理是否值得我們思考？「其後」是第 4 4 屆香港藝術節的主題。世界正值多事之秋，香港亦處非常時期，個人或政治的抉擇有何影響？巧言巧語為何能收攬人心？妥協和抗爭帶來甚麼不一樣的後果？這些都是今屆藝術節許多節目所企求探討的。「其後」亦體現於藝術傳承和創新：香港藝術節節目琳琅滿目、各適其適，經典不朽之作固然不缺，也有破舊立新的大膽之作，以及糅合傳統與創新之作。今期《閱藝》刊載涵蓋本屆藝術節多個節目的文

“What comes after” is an overarching theme for our 44th Season, at a time when so much is happening in the world around us, and here at home in Hong Kong. Many of the works presented in this Festival reflect upon the consequences of personal and political choice, the seductive powers of rationalisation and of rhetoric, and the possible outcomes of collusion and of resistance. “What comes after” is apposite also in the context of artistic heritage and innovation: abiding values for the HKAF which celebrates both well-loved classical work, all-new artistic adventures, and many gradations in between.

章，力求探索以上問題，冀望讀者於二、三月觀賞演出時更添樂趣。此外，「加料節目」亦不容錯過，我們為您準備了多項精彩活動，必定令您於今屆藝術節盡興而歸。在此感謝為《閱藝》撰文的作者、感謝編輯小組以及所有藝術節同仁和支持者，他們自 1 9 7 3 年起直至現在，一直默默耕耘，令香港藝術節愈見精采！

The following pages contain essays and articles which discuss these and other dimensions of the programmes to be presented in the Spring of 2016. I hope you will find them interesting and that they will add to your enjoyment of the performances you have chosen. In addition to perusing FestMag, I would also recommend the extensive list of PLUS events to further enhance and complete your Festival experience. As always, I am immensely grateful to all the thinkers, writers and contributors whose words are in this publication, to the editorial team and to all who have contributed towards making this Festival possible – from 1973 and in all the years that came after.

香港藝術節行政總監何嘉坤

Tisa Ho, Executive Director Hong Kong Arts Festival FestMag

香港藝術節

Hong Kong Arts Festival 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的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，2 0 1 6 年藝術節的年度預算約港幣 1 億 1 千萬，當中約 30% 來自香港特區政府的撥款，約 3 7 % 來自票房收入，而接近 3 2 % 則有賴各大企業、熱心人士和慈善基金會的贊助和捐款。香港藝術節每年呈獻眾多國際演藝名家的演出，例如塞西莉亞．芭托莉、馬友友、菲力普．格拉斯、譚盾、列卡杜．沙爾、克里斯蒂安．泰利曼、古斯塔沃．杜達美、米高．巴里殊尼哥夫、蕭菲．紀蓮、奇雲．史柏西、羅柏特．威爾遜、彼得．布祿克、皇家阿姆斯特丹音樂廳樂團、聖彼得堡馬林斯基劇院、巴伐利亞國立歌劇院、莫斯科大劇院歌劇團、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、雲門舞集、星躍馬術奇藝坊、皇家莎士比亞劇團、柏林劇團及中國國家話劇院等。香港藝術節積極與本地演藝人才和新晉藝術家合作，過去十年共委約及製作逾 100 套本地全新創作，包括戲劇、室內歌劇、音樂和舞蹈作品，並同步出版新作劇本，不少作品更已在香港及海外多度重演。香港藝術節大力投資下一代的藝術教育。「青少年之友」成立 24 年來，已為逾 700,000 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、小學學生的藝術教育活動，並通過「學生票捐助計劃」每年提供約 8,000 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」，例如示範講座、大師班、工作坊、座談會、後台參觀、展覽、藝人談、導賞團等，鼓勵觀眾與藝術家互動接觸。

第 44 屆香港藝術節預計收入來源 Projected 44th HKAF Income Sources 票房 Box Office

政府資助 Government Funding

37% 其他 Others

30%

1% 32% 贊助及捐款 Sponsorships and Donations

HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting annually in February and March leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events. HKAF is a non-profit organisation. The estimated budget for the 2016 Festival is around HK$110 million. About 30% of its annual income comes from government funding, about 37% from the box office, and close to 32% from sponsorships and donations from corporations, individuals, and charitable foundations. HKAF presents top international artists and ensembles, such as Cecilia Bartoli, Yo-Yo Ma, Philip Glass, Tan Dun, Riccardo Chailly, Christian Thielemann, Gustavo Dudamel, Mikhail Baryshnikov, Sylvie Guillem, Kevin Spacey, Robert Wilson, Peter Brook, the Royal Concertgebouw Orchestra, the Mariinsky Theatre, Bavarian State Opera, the Bolshoi Opera, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch, Cloud Gate Dance Theatre, Zingaro, Royal Shakespeare Company, Berliner Ensemble and National Theatre of China. HKAF actively promotes Hong Kong’s own creative talents and emerging artists, and has commissioned and produced over 100 new local productions in the past decade, including theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. HKAF invests in arts education for young people. In the past 24 years, our “Young Friends” has reached over 700,000 secondary and tertiary school students in Hong Kong. A variety of arts education projects targeted at primary, secondary, and tertiary school students has been launched in recent years. Donations to the “Student Ticket Scheme” also make available about 8,000 half-price student tickets each year. HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance the engagement between artists and audiences. These include lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided tours.

誠邀贊助或捐助第 44 屆香港藝術節；詳情請與藝術節發展部聯絡。 For sponsorship opportunities and donation details of the 44th Hong Kong Arts Festival, please contact the Development Department. 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

CONTENTS

Legacy

世之光

第 44 屆香港藝術節呈現兩種藝術傳承之路：變革和創新。 Two major artistic approaches are celebrated in the 44th HKAF: evolution and innovation.

前言 Foreword

尤聲普「正生」演李白

張派京劇藝術

前衛編舞家與經典童話《睡美人》

彼得•布祿克的最後戰役？

Liupai in Beijing Opera

Peter Brook’s Last Battlefield? 從卡拉絲到溫萊特：一把聲音的傳奇

絕代名伶與隱身歌后

閱藝

The Legacy of a Voice: From Callas to Wainwright

The Enduring Songstress and the Diva behind the Stars 《愛人》：東西方的深情對話 LOVER : A Multi-cultural Dialogue of Love

《真相奇幻坊》─ 快樂的達利 La Verità: Dalí in His Happier Days 建設當代舞創作生態圈：從第五屆香港賽馬會當代舞蹈平台說起 Fostering the Creative Ecology of Contemporary Dance: The 5th Hong Kong Jockey Club Contemporary

Avant-garde Choreographer and Classic Fairy Tale

33 36

Li Bai in Cantonese Opera

Dance Series

延續亞太舞蹈平台

從傳承到解構：傳統舞蹈新演繹

Asia Pacific Dance Platform VIII

From Continuation to Deconstruction: Reinterpreting Traditional Dance

當巴赫遇上爵士 Bach Meets Jazz

©Aglae Bory

Loves

慾之念

©Nikolay Krusser

Life

生之歌

人生的難題往往由愛慾衍生：我們怎樣釐清真正的渴求？個人與家國孰輕孰重？

偉大的藝術感動人，因為它觸動人心深藏的情感，叫我們面對人生最根本的問題。

Questions of desire pose difficult choices: How do we know what we truly want? What are our priorities?

Great art stirs the deepest emotions and brings us face to face with the fundamental questions of human life.

不朽的巴赫《聖馬太受難曲》

英魂墓誌銘

人的安魂曲：穿越聲音的旅程

亂世中的戰爭與榮耀 : 莎翁的「王與國」 Battle and Honour in Turbulent Reigns: Shakespeare’s King & Country

鄧樹榮談改編莎士比亞的《馬克白》 Tang Shu-wing on Adapting Shakespeare’s Macbeth

威爾第刻苦創作《父女情深》

尋找《簡愛》

從宏大演說到理想幻滅 : 華倫天．達恩斯談戰火的悲劇

佛蘭明高新一章

Verdi’s Epic Simon Boccanegra

Discovering Jane Eyre

BigMouth / SmallWaR: from Oratory to Disillusion

Verdi’s Requiem for National Heroes

human requiem: A Journey through the Landscapes of the Voice

自由與侷限：蕭斯達高維契的前奏曲與賦格曲 Freedom and Constraint: Cycle of Preludes & Fugues for Piano

水樂無窮：摩頓臣與哥本哈根協奏團 The Joy of Water: Lars Ulrik Mortensen & Concerto Copenhagen

A New Flamenco Story 《論語》之多元論述

The Enduring Greatness of J S Bach’s St Matthew Passion

涅翠柯的變與不變

雲雀大樂隊 ─ 狂野吉卜賽派對

街舞青春物語 : 專訪編舞麥秋成

Manifold Discourse of Chinese Lesson

The Changing and Unchanging Anna Netrebko

Fanfare Ciocarlia: The Wild Gypsy Ride

Coming of Age in Street Dance FestMag

APS-0399/1512/113

世之光

Legacy 第 44 屆香港藝術節呈現兩種藝術傳承之路：變革和創新。年輕一代的藝術家重新詮釋傳統藝術形式，回頭探討其延續、變遷的可能性和與現代社會的深切關聯；有一些藝術家則在傳統的既定框架中破繭而出，以創新與跨界創作，活化與豐富傳統。 Two major artistic approaches are celebrated in the 44th HKAF: evolution and innovation. In perpetuation of cultural and artistic legacy, some young artists re-interpret the form to shed light on its development and its contemporary relevance; others advance the tradition by creating innovative and crossgenre works, breaking with established practices to revitalise and enrich it. Both are celebrated in the 44th HKAF.

FestMag

閱藝

Legacy 為甚麼由丑生扮演李白？李白詩仙放蕩不羈、浪漫飄逸的形象一直深入人心，這次扮演李白的是當今粵劇藝壇元老級丑行藝術名家尤聲普，而粵劇對角色行當的劃分曾經非常嚴格，把詩仙的形象在舞台上丑角化實在有點匪夷所思。李白才情橫溢，曾受唐玄宗賞識，但他對政治並不敏感，安史之亂後竟然投靠密謀叛變的永王粦，幾惹殺身之禍，苟存性命，被流放夜郎，大赦天下之後方能重回唐土，據說醉後為要水中撈月而墜江身亡。李白詩文流傳豐富，但他生平的史料不多，他跟唐明皇和楊貴妃的關係相信也非野史傳聞那麼曖昧。李白在戲曲舞台上出現的次數也不多，京劇有《太白醉寫》（或名《進蠻詩》）一劇，但絕跡舞台已久。崑曲則有〈太白醉寫〉一折，由前崑曲大師俞振飛演繹，成為經典名劇，直到今天仍會經常上演。而在粵劇舞台上，以李白擔綱的劇碼可謂絕無僅有。聞說以前曾有〈太白寫蠻書〉一折，有高力士脫靴、楊貴妃捧硯、李白大唱古腔的場面，但至今仍未找到完整的劇本或詳細的文獻記載。李白只有偶然在「唐宮艷史」一類的劇中出現，邂逅楊貴妃，戲弄高力士，但也不過是陪襯角色。直到 1997 年，尤聲普推出全套新編粵劇《李太白》，把這位唐代大詩人推到台前，以粵劇傳統唱、唸、做、舞，為李白創造一個嶄新的舞台形象，一新觀眾耳目。可惜在 2001 年重演過後，《李太白》一劇便沒有再公演，觀眾沒有機會觀賞尤氏演出的李白。李白一生可以搬上舞台的事蹟，多發生在中年以後。但受到今天戲班六柱制的侷限，一般不掛鬚的文武生不適合扮演李白，專演老人家的武生也不能擔任。尤氏演李白，基本屬於早期廣東大戲戲班十大行當中「正生」一行，主要扮演具有一定身份的正派中年男性，例如《辨才釋妖》的蘇東坡、《玉皇登殿》的玉皇大帝、《六國封相》的魏梁王和蘇秦、《三帥困崤山》的弦高、《二堂放子》的劉彥昌等。後來因為戲班演變為六柱制，正生的戲份便逐漸被文武生、小生和武生所瓜分取代。粵班最後一位以正生行當出現的老倌應該是後期的馬師曾，他扮演《搜書院》中的謝寶、關漢卿均屬正生行當，最近尤氏和阮兆輝在新編的《大明烈女傳》中分飾的王承恩和崇禎皇帝也是這個戲路。尤氏以丑行揚名，卻是生行出身，他演的李白，有正生的莊嚴儒雅，也帶有一絲丑生的狂態，非常符合一代詩仙才華橫

溢、輕狂傲世的性格。加上他為劇中人設計的身段、做手和唱腔，不僅讓觀眾有好戲可看，也希望能藉這次重演再次引起觀眾和行內的興趣，繼往開來，恢復正生行當在粵班中的地位，把粵劇從六柱制中解放出來，循多元化的方向傳承和發展。文 | 譚榮邦

FestMag

世之光

2016 年藝術節首輪宣傳資料一出，粵劇觀眾馬上提出疑問：

In this intriguing Cantonese opera programme Li Bai: The Immortal Poet, veteran Cantonese opera artist Yau Singpo takes up the artistically challenging task of re-creating the image of Tang Dynasty poet Li Bai on stage. This Festival production marks the second revival of the opera since its acclaimed debut in 1997. One of the prominent figures of Chinese poetry, Li Bai (701-762) is hailed as the “Immortal Poet” for his massive poetic output, and the story of his life is filled with political intrigue and personal eccentricities. The poet mingled with royalty and dedicated verses to the Emperor's beloved, the royal concubine and legendary beauty Yang Guifei. Despite winning the favour of Emperor Xuanzong, Li Bai made a near fatal mistake by serving as an advisor to a princeling who was involved in the foiled coup d'état, An Lushan Rebellion (755-763). Li Bai was forced to go on exile until an imperial pardon allowed him to return home. Apart from the roller coaster that marked his life in politics, Li Bai was known for his inspired drunkenness that allegedly fueled the creation of some of his poems. Legend has it that on a clear and serene night, the drunken poet drowned after falling from his boat when he tried to embrace the reflection of the moon in the Yangtze River.

Legacy

In encapsulating the presence of Li Bai on stage, Yau uses old paintings and sculptures of the poet as the basis for re-creating his persona. The veteran artist enlivens it with graceful movement and gestures, and conveys the poet’s thoughts and feelings through rhymed speeches and singing. Renowned for his chou (clown) roles on the Cantonese opera stage, Yau spent the early days of his career playing sheng (male) roles. Yau’s portrayal of Li Bai embodies both the sense of humour he instills into his chou roles, and the formal, restrained delivery he practices in his sheng roles. It highlights the intellectual and scholarly aspects of the otherwise madcap poet, as well as his arrogance, naïveté, frustration and cynicism. Yau’s Li Bai is a larger-than-life, highly stylised Dionysian figure that comes to life before the audience. The Hong Kong audience can savour the achievement of a consummate artist who has spent more than 60 years on stage, continuously refining his singing and acting skills and extending the frontier of Cantonese opera through his efforts. A personal tribute to the great poet, Yau’s portrayal of Li Bai marks another zenith of his career. Text | Tam Wing Pong

The fanciful tradition in Chinese culture regarding Li Bai’s death is just one of the colourful tales surrounding the life of the poet, who makes a mercurial character in theatre better served by daring rendition than realistic portrayal. Li Bai: The Immortal Poet is an expressionistic presentation of a vibrant, poetic spirit against a historical backdrop of the once great and powerful but declining Tang regime.

FestMag

世之光

Li Bai in Cantonese Opera

張派京劇藝術上世紀 30 年代是民國建立以來一段較為安定的時期，經濟民生俱有很大改善，社會繁榮，娛樂事業因而興旺，京劇作為當時主要的文娛和社交活動，演出頻繁，人才輩出，京劇藝術發展進入另一黃金時代，一直維持到中日戰爭爆發方結束。 1 9 3 5 年北平《立言報》別開生面地以一人一票的方式，由讀者投票選出「四大名旦」，奠定梅、程、荀、尚在旦行的領導地位。次年又以同樣方式在新晉藝人中選出「四小名旦」，入選者為李世芳、毛世來、宋德珠和張君秋。李為梅蘭芳首徒，可惜遇上空難，英年早逝；毛和宋屬花旦和武旦行當，雖有過人技藝，也深受觀眾歡迎，但始終未被視為正統，難以自立流派。抗戰期間，京劇活動頓沉谷底，毛、宋在戰後均難以恢復當年風采。只有張君秋以正統青衣身份，繼承四大名旦遺風，在他們的藝術基礎上加以發揚，並利用本身天賦條件，建立獨特的演唱風格，終為觀眾認可，被封為「張派」，成為京劇黃金時代後期最後一個公認的旦行流派。除了文化大革命期間曾因政治理由禁演外，張氏一直享譽大江南北的京劇舞台，對近代京劇藝術傳承起了極大影響。張派特點是以唱為主，並不特別講究做、唸、打。京劇發展到當時的階段，觀眾對演出已有嚴格要求，四大名旦尚且需要不斷在做、唸方面有所革新和加工，張氏能夠單憑唱功脫穎而出，贏取觀眾支持，殊不簡單。張氏個人天賦極佳，雖是男旦，卻嗓音甜美，高低自如，音域寬越兩個八度而絕無尖酸之感，發聲方法近乎西洋美聲唱法。天賦和技巧之外，張氏更注重以聲敘事、辯理、傳情，並以「情」字貫穿於淋漓盡致的唱腔中，或而低迴婉轉，或而慷慨激昂。在傳統劇碼，例如坐宮、玉堂春、二進宮、祭塔、教子中，他對西皮、二黃各種板式掌握法度嚴謹，集各家之大成，有時恪守傳統，有時奇峰突出。在張派獨門劇碼裏，在皮、黃之外，他更在四平調、南梆子兩個本來平平無奇的板式中鑽研，創出纏綿委婉的新腔新調，豐富京劇板式的抒情性，特別適合為他創造的人物個性和處境，成為《望江亭》、《西廂記》等劇中的主要唱段，深受觀眾喜愛。更令人詫異的是在傳統演唱藝術屢越高峰之際，張氏毅然參與創作新派京劇，在《蘆蕩火種》一劇中創造了阿慶嫂一角，成為日後樣板戲《沙家浜》的濫觴，他為該劇編創的唱腔至今仍然家傳戶曉，誦唱不衰。張派不乏追隨者，但真正成功的張派傳人並不多。有人誤認為擁有一把好嗓子便是張派，其實懂得以最精簡的身段做手配合歌聲來敘事傳情，方能把握張派的神髓，王蓉蓉就是佼佼者。她是張氏的少數親傳弟子，嗓音甜美不在話下，加上基本功扎實，能夠在不喧賓奪主的情況下加強做功，使人物更引人入勝，提高張派藝術的整體水準。這次北京京劇院帶來的四個主要劇碼，展示了張派青衣的獨特風格。《狀元媒》中的柴郡主和《西廂記》中的崔鶯鶯同是熱切追求自由戀愛和幸福婚姻的窈窕淑女。前者允文允武，雍容華貴，熱情奔放；後者端莊委婉，含蓄低迴，深藏不露，二人不同的唱腔處理充分表現她們迥然不同的人物性格。《望江亭》中的譚記兒則是剛柔並濟，設法救助遭遇危難的丈夫。在戲弄楊衙內一場富花衫行當的特色，尾場則有大段罵奸的唱段，大快人心；再加上張氏有份參與創作的《沙家浜》，觀眾能一窺這在京劇發展史上最後形成的旦行流派的風采。往後即使要超越前人，另創流派，相信也非一朝一夕可能實現。文 | 譚榮邦

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Legacy

Liupai ( 流派 ), in Chinese, means distinctive schools of singing and acting created by distinguished operatic artists with a large number of disciples who followed the traditions on stage. Each pai has its own way of singing a phrase, decorating the tunes, moving on stage, waving the long flowing sleeves of the gown, down to the movement of a small finger. It is a special feature of Chinese operas, in particular Beijing opera. Each pai is named after its creator; for instance, Mei pai is named after the great artist Mei Lanfang. The disciples of each pai would perform the standards in their own distinct manner, while each pai would also keep a repertoire of new works specially commissioned to show off the unique characteristics of the pai. The 44th Hong Kong Arts Festival spotlights the artistry of Zhang pai, which was created by the renowned artist, Zhang Junqiu (1920-1997), and performed by one of his most successful disciples, Wang Rongrong.

《沙家浜》Underground Liaison

《狀元媒》Top Scholar as Matchmaker

《沙家浜》Underground Liaison

Amid undercurrents of political turbulence, the 1930s was a relatively stable period in China since the fall of the Manchurian regime in 1911. Beijing opera, like many other forms of social and entertainment activities, rode on the tailwind of the thriving economy to enter the Golden Age. There was great demand for opera performances, while artists competed fiercely to gain and maintain their popularity among audiences. The Golden Age was brought to an abrupt end by the outbreak of the Sino-Japanese War in 1937. In 1935, a popular newspaper in Beijing, Liyan Bao, ran a reader’s poll of the “Four Best Dans” (female roles) of Beijing Opera. The consummate artists Mei Lanfang, Cheng Yanqiu, Xun Weisheng and Shang Xiaoyun topped the poll, confirming their supreme positions in the operatic world and establishing their own pais which are still popular today. Two years later, the newspaper ran a reader’s poll of “Four Best Junior Dans.” Young artists Li Shifang, Song Dezhu, Mao Shilai and Zhang Junqiu won the honour. However, the promising Li died prematurely in an air crash, while Song and Mao, playing mainly the soubrette and martial roles, were slighted by orthodox critics and audiences. Only Zhang, who followed the grand tradition of the “Four Best Dans” and took on mainly serious roles, was generally accepted as a true bearer of the flame of Beijing opera. His style of singing and acting was given the status of pai. To this day, Zhang pai is probably the last liupai to have been established and recognised as such since the “Four Best Dans. ” FestMag

世之光

Liupai in Beijing Opera

Zhang's deceptively simple artistry has attracted a large number of followers over the years, some wrongly assuming that a good voice alone would make them a disciple of Zhang pai. Wang Rongrong is one of the few

Legacy

who have received personal instructions from Zhang; she is endowed with a fine voice, as well as the intelligence to blend her natural gift with Zhang's refined artistry. She also showcases her acting skills without distracting the audience from her singing, which is of primary importance to Zhang pai. Wang brings to the Hong Kong audience four major works from the special repertoire of Zhang pai, including the Top Scholar as Matchmaker, Romance of the West Chamber, Riverside Pavilion and Underground Liaison, the last of which is a revolutionary opera which Zhang helped to create before his fall from grace at the start of the Cultural Revolution. He was later vindicated and allowed to return to the operatic stage. Zhang spent the last two decades of his life to further develop and refine the artistry of the liupai he had created, which now shines through the performance of Wang Rongrong. Text | Tam Wing Pong

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Zhang concentrated on the art of singing rather than acting or acrobatic display, as was the wont of his contemporary artists. His singing had to be exceptionally good for him to win great popularity from his followers. Zhang possessed a grand male soprano voice covering over two octaves that resonated with warmth and evenness. He developed his own singing technique, taking special care in voice production and breath control, which is close to the bel canto style in western opera. Once on firm technical ground, he placed his emphasis on feelings and articulation, and on the use of vocal colours to enliven the different characters he played on stage.

西班牙編舞家納曹•杜亞陶在觀眾印象中一直善於演繹描繪

新形象。舞團所駐劇院建於 1 8 3 3 年，是俄羅斯歷史最悠久

人性陰喑面、具爭議題材的現代非敘事作品。這次有別於一

的歌劇和芭蕾舞劇院之一，在 2007 年商界鉅子弗拉基米爾•

貫的創作，聯同聖彼得堡米克洛夫斯基芭蕾舞團於第 44 屆香

海科曼成為董事前一直不算著名。靠水果貿易致富、人稱「香

港藝術節帶來柴可夫斯基的經典鉅著《睡美人》。舞者在杜

蕉大皇」的海科曼熱愛藝術，尤其對芭蕾舞團充滿雄心壯志，

亞陶的舞台上穿起足尖鞋和短裙，故事最後大團圓結局，幾

就像某些俄羅斯富翁對麾下足球隊寄予厚望一樣。據說海科

乎難以置信。除了少量改動，例如把邪惡仙子卡拉波斯描繪

曼在接手後投資了超過三億港元，回復劇院 19 世紀時的輝煌

成迷人的易服癖者外，是次演出以傳統手法，將這個童話故

外觀、上演大型製作、到國外巡迴演出、聘請舞蹈界巨星加

事呈獻觀眾眼前。

入（猶如人們聘請球星一樣）。而海科曼把杜亞陶請來擔任

執著傳統的前衛編舞家杜亞陶的編舞以動作快速、自由流暢見稱，特別是男子雙人舞對舞者的默契有相當要求。他的作品多以探討人性幽暗面為主題，情感強烈、具戲劇感。當代編舞家季里安和貝沙對他的影響尤深。

吸引其他頂尖藝術家加入，與著名編舞家合作。海科曼給杜亞陶的首項任務之一，就是製作全新的《睡美人》。杜亞陶後來憶述說：「我想也不想就答應了。」杜亞陶對童話故事題材感興趣，令不少人驚訝。杜亞陶解釋道，童話故事表達愛恨、光明與黑暗之間的矛盾，這些東西是「所

這位前衛的當代編舞巨星，著手製作這部經典，或讓人感訝

有藝術的基礎，不論是芭蕾、音樂，還是文學。」他說《睡

異。雖然杜亞陶的作品堅守現代風格，但他經常稱自己的作

美人》吸引他的，在於作品說明了痛苦是獲得愛的必要經歷，

品為「芭蕾」，並指出他所編的舞只能由曾接受古典芭蕾訓

人生中「一切都要付出代價。」

練的舞者演出，可見他對傳統訓練與風格的執著非朝夕之事。了解俄羅斯以傳統芭蕾聞名、米克洛夫斯基芭蕾舞團的常規節目以傳統作品為主的話，杜亞陶在 2 0 1 1 年決定離開西班牙到該芭蕾舞團擔任藝術總監的原因不言而喻。商界鉅子誠邀加入舞團然而，米克洛夫斯基芭蕾舞團亦藉著請來前衛編舞家建立嶄 20

藝術總監可謂神算妙計，此舉讓舞團建立起一個前衛的形象，

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就如其他優秀編舞家一樣，杜亞陶有極佳的音樂感。據說杜亞陶曾說，他能夠想像一個世界沒有舞蹈，但不能想像一個世界沒有音樂。有說他花了 18 個月聆聽巴赫的作品，才配合其古典音樂創作出好評如潮的《多元／靜寂與空虛》。另外，杜亞陶是繼毛利斯•佩蒂巴後首位帶領俄羅斯舞團的外國人，讓他繼著名的佩蒂巴後製作屬於自己的《睡美人》，

Legacies 今日，米克洛夫斯基芭蕾舞團已成為國際舞蹈界的重要舞團，曾到倫敦、紐約等地表演，獲得業界和觀眾一致好評。舞團的主要舞者包括伊蓮娜•佩倫、波麗娜•塞米諾娃、里奧尼德•薩拉方諾夫和伊萬•瓦西列夫。舞團的另一位靈魂人物是首席芭蕾大師米哈伊爾•梅塞勒，這位著名的老師和排舞導師是俄羅斯傑出芭蕾世家的成員之一。納曹•杜亞陶杜亞陶於 1957 年生於西班牙的華倫西亞，曾在倫敦蘭貝爾芭蕾舞團學校、布魯塞爾莫里斯•貝佳的手印舞蹈學校和紐約艾文•艾利舞團受訓。作為舞者，他一開始已在兩所世界知名的現代舞蹈團當舞者：1 9 8 0 年，加入瑞典的卡爾伯格芭蕾舞團，一年後加入荷蘭舞蹈劇場，跟現代大師尤里•季利安共事，並成為一位優秀的表演者。 1 9 8 3 年，他的編舞作品《封閉的樂園》在科隆國際編舞工作坊上贏得首獎。

甚有象徵意義。當然，對這位精通音樂的編舞家來說，柴可夫斯基出色的音樂也非常吸引。在正式開始製作《睡美人》前一天，杜亞陶到佩蒂巴和柴可夫斯基的墓前憑弔。他發現佩蒂巴的墳墓只有簡單的小墓碑，但後人卻為柴可夫斯基立了雕塑和紀念碑。「我跟自己說，對，這就是舞蹈—而這就是音樂。」不拘泥於傳統與前衛之分野 2 0 1 1 年 1 2 月，杜亞陶的《睡美人》在米克洛夫斯基劇院首演。杜亞陶的改編手法相對傳統，叫那些以為他會像麥斯•艾克或馬修•伯恩一樣徹底改寫作品的人大為失望（或鬆一口氣）。雖然作品在還原佩蒂巴經典之作和反傳統之間兩面不討好，但演出本身的確盛大壯觀，觀眾們都十分喜愛。杜亞陶把作品剪裁至合適篇幅，故事仍然保持完整，老少咸宜，不同元素的增添也令人目不暇給。首先，他的新古典主義編舞風格，把難度極高的技巧與非常自由的上半身動作糅合起來。另外，仙子卡拉波斯的革新形象令人驚喜，可見杜亞陶試圖將不同元素結合。雖然傳統上這個角色都由男性擔任，但杜亞陶把「她」包裝成一個穿起華麗服飾的易服癖者，嬌艷如花，取代以往男扮女裝的醜老太婆，其洶湧的舞步帶有一點西班牙熱情。而安祖蓮娜• 阿拉吉奇的璨爛奪目的佈景和精緻的手工服裝，更讓人喜出望外。在色彩絢爛和場面迷人的魔幻國度裏，很容易令人相信童話故事有一天將會成真。

1 9 8 8 年，杜亞陶與季利安和漢斯•馮•曼恩一同擔任荷蘭舞蹈劇場的駐團編舞。1 9 9 0 年，西班牙政府委任他為西班牙國家舞蹈團的藝術總監，他一直擔任此職達 2 0 年之久。杜亞陶獲獎無數、屢獲殊榮，如西班牙的藝術成就金獎及法國的藝術與文學騎士級勳章。杜亞陶的作品常獲世界各地主要舞蹈團體演出，如美國芭蕾舞劇院、史圖加特芭蕾舞團、英國皇家芭蕾舞團、三藩市芭蕾舞團和巴黎歌劇院芭蕾舞團。而香港觀眾最熟悉的，就是香港芭蕾舞團大受讚賞的演出《卡薩迪》，該製作獲香港舞蹈年獎，在美國和日本的海外演出還獲觀眾站立鼓掌。《睡美人》的不同版本《睡美人》於 1890 年在聖彼得堡馬林斯基劇院首演，是佩蒂巴登峰造極之作，他的《睡美人》被視為是所有古典芭蕾舞劇中最偉大最純正的作品。1 9 2 1 年尼古拉•謝爾蓋耶夫帶領狄亞吉列夫的俄羅斯芭蕾舞團把《睡美人》第三幕送到倫敦上演，教西方觀眾首次認識到此作。謝爾蓋耶夫又把大部分原本的編舞記錄下來，讓佩蒂巴的版本得以保存。1 9 3 9 年，謝爾蓋耶夫的記錄就成為《睡美人》在俄羅斯外首次足本製作的參照，演出的是當時的維克威爾斯芭蕾舞團，主演是瑪歌•芳婷。自此，《睡美人》就成為了世界各地芭蕾舞團的熱門作品，不少著名編舞還製作自己的版本，如費列德力克•阿什頓、魯道夫• 紐瑞耶夫和阿歷斯• 羅曼斯基，其中羅曼斯基 2015 年把佩蒂巴的版本重新製作，一絲不苟，好評如潮。也有些編舞家放棄佩蒂巴的版本和傳統的情節，改為探討複雜的內心世界，加入現代的角色。如馬茲•艾克就把奧蘿拉描繪成癮君子，卡拉波斯就成為毒販；馬修• 伯恩則編織出哥德式的浪漫故事，當中的奧蘿拉性格反叛，而仙子都是吸血鬼。

文 | 羅佳娜中譯 | 張婉麗

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世之光

米克洛夫斯基芭蕾舞團

Legacy © Stas Levshin

Famous for his modern, plotless work and dark, controversial themes, Spanish choreographer Nacho Duato has surprised audiences and critics with his production of The Sleeping Beauty, complete with pointe shoes, tutus and a happy ever after ending that is a departure from his usual artistic approach. Duato’s version of the Tchaikovsky classic, which St Petersburg’s Mikhailovsky Ballet performs at the 44th Hong Kong Arts Festival, offers the traditional fairy tale – albeit with a few new twists, like the Wicked Fairy Carabosse as a glamorous transvestite. Avant-garde Artist of Classical Roots Duato’s choreography is characterised by fast, freeflowing movement and complex partnering, notably in all-male duets. His works typically explore the dark side of human experience and are distinguished by their emotional intensity and strong sense of theatre. His key influences include Ji í Kylián and Maurice Béjart. So what led Duato, a leading figure in cutting edge contemporary ballet, to tackle the most classical of classics? While his works are resolutely modern in style, Duato has always referred to them as “ballets” and has said that his choreography can only be performed by dancers with classical training. In spite of this, the dance world was stunned when in 2011 he left Spain to become Artistic Director of the Mikhailovsky Ballet, a troupe with a conventional repertoire in a country known for its traditionalism in ballet.

Revigorating the Mikhailovsky The Mikhailovsky made a shrewd move in hiring Duato to redefine its brand. Founded in 1833, the Mikhailovsky is one of Russia’s oldest opera and ballet theatres, yet it remained relatively little-known until 2007 when business tycoon Vladimir Kekhman became General Director. Known as “the Banana King” (his fortune was made importing bananas to Russia), Kekhman’s passion is the arts and he was as ambitious for his ballet company as other Russian billionaires are for the football teams they own. After taking over, Kekhman reportedly sunk over HK$300 million into the Mikhailovsky, restoring the theatre to its 19th century splendour, staging lavish productions and international tours and hiring star dancers in much the same way as his peers acquire top footballers for their clubs. Duato’s appointment as Artistic Director was regarded as a particular coup for Kekhman, giving the company a cutting edge image and attracting leading artists who wanted the chance to work with this renowned choreographer. One of Kekhman’s first commissions to Duato was to create a new production of The Sleeping Beauty. “I said yes without even thinking,” the choreographer later commented. In response to those surprised that such material should interest him, Duato points out that fairy tales represent the same struggle between love and hate,

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Avant-garde Choreographer and Classic Fairy Tale

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Moreover, it was symbolic for Duato, the first foreigner since Marius Petipa to head a Russian company, to create his own version of his legendary predecessor’s masterpiece. And of course, for a choreographer so steeped in music, there was the attraction of Tchaikovsky’s glorious score. The day before starting work on the production, Duato visited the cemetery where both Petipa and Tchaikovsky are buried. He found that Petipa had a small, simple headstone, Tchaikovsky a huge, elaborate monument. “So I said to myself, yes, that’s dance – and that’s music!”. Fusion of the Classical and the Avant-garde The Sleeping Beauty premiered at the Mikhailovsky in December 2011. Those expecting a radical re-working like those of Mats Ek and Matthew Bourne were disappointed – or relieved, depending on their point of view – by Duato’s relatively conventional approach. While it may not please either Petipa purists or iconoclasts, this is a spectacular show and audiences have loved it. Duato has trimmed down the ballet to a manageable length while keeping the story intact, making the production enjoyable for children as well as adults. Neoclassical in style, his choreography combines virtuoso technique with a distinctive freedom of movement in the upper body. The innovative treatment of the Fairy Carabosse is a high point. Although the role is traditionally danced by a man, rather than the usual hag in drag Duato presents a gorgeous transvestite in a stunning evening gown whose tempestuous dancing has a touch of Spanish passion. Above all, The Sleeping Beauty is a feast for the eyes. There has been universal praise for designer Angelica Atlagic’s ravishing sets and exquisite hand-finished costumes. In this magical realm of delicate colours and dreamy landscapes it’s easy to believe that fairy tales can indeed come true. Text | Natasha Rogai

Legacy

Today the Mikhailovsky has established itself as a major company on the international scene, winning critical and audience acclaim for its appearances in cities such as London and New York. Its roster of principals includes such top stars as Irina Perren, Polina Semionova, Leonid Sarafanov and Ivan Vasiliev. Another key asset is Ballet Master in Chief Mikhail Messerer, a renowned teacher and répétiteur who is a member of one of Russia’s most distinguished ballet families. Nacho Duato Born in Valencia in 1957, Duato trained at the Rambert School in London, Maurice Béjart’s Mudra School in Brussels and the Alvin Ailey Dance Theater in New York. He began his career as a dancer with two of the world’s most respected modern dance companies, starting with Sweden’s Cullberg Ballet in 1980. A year later he moved to Nederlands Dans Theater where he worked with modern master Jirí Kylián and established himself as an outstanding performer. In 1983 Duato’s first choreographic work, Jardí Tancat, won the top prize at the International Choreographic Workshop in Cologne. ˆ

Above all, he is known for his exceptional musicality, a hallmark common to all great choreographers. Duato has been quoted as saying that he could imagine a world without dance, but not a world without music. In order to create his much-praised Multiplicity. Forms of Silence and Emptiness to music by Bach, he reportedly spent 18 months listening to the composer’s work.

Mikhailovsky Ballet

In 1988 he became Resident Choreographer of Nederlands Dans Theater alongside Kylián and Hans van Manen. In 1990 the Spanish Government appointed him Artistic Director of the National Dance Company of Spain (Compañía Nacional de Danza de España), a post he held for 20 years. His numerous awards and honours include Spain’s Gold Medal of Merit in the Arts and being made a Chevalier de l’Ordre des Arts et des Lettres by France. Duato’s works have been performed worldwide by such major companies as American Ballet Theatre, Stuttgart Ballet, Britain’s Royal Ballet, San Francisco Ballet and the Paris Opera Ballet. Local audiences will be familiar with Hong Kong Ballet’s acclaimed production of his Castrati, which received the Hong Kong Dance Award and has drawn standing ovations on overseas tours to the US and Japan. The Sleeping Beauty versions Premiered at the Mariinsky Theatre in St Petersburg in 1890, The Sleeping Beauty was the crowning achievement of Marius Petipa’s career and his version is regarded as the greatest and purest of all classical ballets. It is also arguably the best preserved, due to the extensive notation of the original choreography by Nikolai Sergeyev, who staged Act III for Diaghilev’s Ballets Russes in 1921 in London, giving audiences in the West their first glimpse of the ballet. In 1939, Sergeyev’s notation formed the basis for the first fulllength production outside Russia, starring Margot Fonteyn, for what was then the Vic-Wells Ballet. Since then it has become a staple of the ballet repertoire worldwide with many notable choreographers staging their own productions, among them Frederick Ashton, Rudolph Nureyev and Alexei Ratmansky, whose meticulous 2015 recreation of Petipa’s own version has been widely acclaimed. Other choreographers have abandoned both Petipa and the traditional plot to seek psychologically complex interpretations and more contemporary characters. Mats Ek made Aurora a junkie and Carabosse her drug dealer; Matthew Bourne wove a gothic romance where Aurora is a rebel and the fairies are vampires.

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世之光

darkness and light, which is “the basis of all art, be it ballet, music or literature”. He has also said he is drawn to how The Sleeping Beauty shows that love cannot be won without suffering and how in life “nothing is free”.

彼得•布祿克的最後戰役？

《戰場》上的靈魂詰問「對靈性文學傳統所知不深，是我們現世的迷惘之一。」已

羅多》（1 9 8 5）至《哈姆雷特的悲劇》（2 0 0 0）不斷追尋

故美國神話學家約瑟•坎伯如是說。神話為世人揭示的，是

的永恆迷思：「能否殺人而不被鮮血玷污，保持心念純潔無

人在生命的迷宮裏探索途中所遇到的種種倫理和道德困惑。

瑕？」

繼 30 年前長達 9 小時的首度改編，古印度宏大梵文史詩《摩訶婆羅多》再次成為戲壇泰斗彼得•布祿克的繆思，煥發其

才藝雙絕重構史詩

歷久常新的藝術華采。布祿克聯同老拍檔瑪麗．伊蓮•艾斯

七十年代，布祿克首次從一位印度劇作家的吟誦中聽到史詩

蒂安編導的新作《戰場》，將在第 44 屆香港藝術節上演。

散闕。其後他與尚 - 克勞德•卡利耶得到法國梵文學者菲臘•

上古戰役現代回聲

拉法斯丁的臂助，得以口述傳統聞讀通篇史詩。在花了 10 年時間對其深入研究和實地考察後，布祿克與劇團於 1985 年編

演出時間僅超過 1 小時的《戰場》，其內容和演繹方式與布

導及演出被稱為世紀傳奇﹑每部各長 3 小時的《摩訶婆羅多》

祿克同為改編《摩訶婆羅多》的前作迥然不同。《戰場》創

史詩三部曲。劇場集中述說戰爭與衝突，但布祿克卻懷抱世

作者以史詩記載婆羅多宗族兩大派系交鋒廝殺的俱盧之野會

界大同的多元文化哲學，起用了來自 16 個國家的 21 位演員，

戰為主要場景，詰問戰爭的殘酷。無獨有偶，這正與莎士比

也邀得音樂家彈奏琳瑯滿目的東方及非洲樂器。演出前，劇

亞的亨利四部曲裏對皇位爭奪與戰爭殺戮的省思不謀而合。

團經歷一絲不苟的準備和排練過程，包括靈修訓練及多次前

《戰場》以小見大，聚焦君主對連場屠殺深感難辭其咎，由

往印度實地探訪，觀摩《摩訶婆羅多》傳統的吟唱演繹。

此而生的憂傷和悔疚之情。

《摩訶婆羅多》在 1985 年第 39 屆亞維儂藝術節首演，舞台

藉着《戰場》，布祿克試圖將《摩訶婆羅多》帶入現代語境

搭建自真實石灘，設置明火﹑運河及池塘，成為當時實景佈

之中，他自言，這由他選擇的劇名可見一斑。然而劇團追求

置的破天荒劇場製作之一。該作囊括和實踐了布祿克很多關

的並非只是徒具形式的創新，就如緊貼現代人「一機在手」，

於戲劇準備﹑排練﹑表演和觀眾的理論，特別是他在國際劇

簡單改用手機短訊演出哈姆雷特的獨白一樣—這不過是舊酒

場研究中心探求的跨文化實踐和總體劇場創作理論。劇評家

新瓶的演繹。《戰場》創作班底着重傳達的，乃是劇作與現

米高•標靈頓形容《摩訶婆羅多》為「由日暮到日出的曠世

代社會的深切關聯。且看今日的敘利亞、阿富汗、利比亞和

史詩，述說英雄和神話的誕生﹑一場驚天動地的家族糾紛，

美國：由坦克到無人駕駛轟炸機，現代戰爭和衝突的模式已

和暴烈過後一切歸零的平靜。」

經歷重大轉變。儘管政權更替、山河變色，但關乎人性深處的千古叩問猶在耳邊：我們如何面對生靈塗炭？何謂勝利、何謂失敗？在暴力肆虐，當權者視軍隊和人民為芻狗的國度，這些問題變得無比切身和重要。而這也是布祿克由《摩訶婆

布祿克這次對史詩的全新演繹，必是震撼人心的另一劇場體驗，提醒觀眾戰場永遠離我們既遠且近。在混和血、汗與淚的死寂之後，一把微弱聲音在君王耳邊問道：然後呢？文 | 林葵中譯 | 李凱琪

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Legacy

“One of our problems today is that we are not well acquainted with the literature of the spirit,” said the late American mythologist Joseph Campbell. Myths illuminate the ethical and moral dilemmas of the human life as we navigate its maze. A Sanskrit epic of ancient India, The Mahabharata has its latest reincarnation in the work of theatre legend Peter Brook, who is once again drawn to the Hindu tale 30 years after his first adaptation in a ninehour production. Along with long time collaborator MarieHélène Estienne, Brook presents his new work Battlefield at the 44th Hong Kong Arts Festival. Contemporary Immediacy Running just over an hour, Battlefield represents a completely different approach to The Mahabharata than Brook’s previous rendition. The creators of Battlefield calls into question the cruelty of war by drawing on the story of the Kurukshetra War between two clans of the Bharata family in The Mahabharata (which uncannily harks back to the issue of kingship and the consequences of war in Shakespeare’s Henriad). Battlefield dilates on the moment of the Kings’ distress and remorse over the massacres for which they deem themselves responsible. Brook seeks to make The Mahabharata contemporary through Battlefield (the choice of title, he claims, reflects that) – and that is not as simple as presenting Hamlet’s soliloquy via text “with a cell phone in hand.” The creative minds behind Battlefield stress the production’s contemporary immediacy: from tanks to drones, there have been significant changes in modern warfare and conflicts, as seen in Syria, Afghanistan, Libya and the US today. Yet the crucial questions of humanity remain the same: How do we deal with destruction? What is victory or defeat? These questions are as relevant as ever where violence prevails, and killings ripple like a commonplace occurrence in the mind of world leaders, among the armed forces and everyone within their reach. It is an eternal conundrum that Brook has reflected on in his works from The Mahabharata (1985) to The Tragedy of Hamlet (2000): “Is it possible both to keep an untainted mind and be a killer?”

his company created a trio of three-hour plays in 1985. While the play centered on the universal themes of war and conflict, Brook sought to celebrate multiculturalism by engaging a company of 21 actors from 16 countries, as well as musicians playing dozens of Oriental and African instruments. The company went through meticulous preparation and rehearsals, which included spiritual practices and multiple visits to India to observe the Mahabharata in its traditional forms.

Theatrical Valour

In 1985, The Mahabharata premiered at the 39th Avignon Festival on a stage adapted from a stone quarry, incorporating flames, a canal and a pond, making it one of the pioneering site-specific productions of its time. It encompassed and realised many of Brook’s theories on preparation, rehearsal, performance and audience, particularly his intercultural practices and ensemble theatre-making within the International Centre for Theatre Research. Theatre critic Michael Billington described The Mahabharata in its ideal form as “a dusk-to-dawn epic dealing with the birth of heroes and legends, a worldshaking family quarrel and a final exhausted calm.”

Brook first heard a snippet of the Hindu epic from an Indian playwright in the 1970s. Brook and Jean-Claude Carrière later received the entire epic in oral tradition from Philippe Lavastine, a French Sanskrit scholar. After ten years of studies and field research on the epic, Brook and

Brook’s new work brings another staggering theatrical experience, reminding the audience that the battlefield is never far away. In the bleak and silent aftermath of blood, sweat and tears, a small voice rings in the Kings’ ears: What comes after? Text | Klaus Lam

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Peter Brook’s Last Battlefield ?

《戰場》節錄堅陣

貧窮可哀可嘆，悲傷和孤獨也沒有甚麼值得矜誇。數百萬人死在我手上，現在我只有隱居山林。

孔悌

不，我兒，請不要走。我求求你不要走。你還記得曾問黑天：

堅陣

甚麼能拯救世界？

黑天

你能。你是唯一能成就此事之人。地球亟須一個冷靜且公道的王者。我對王者駕臨翹首以待！沒有他，我便迷失。

堅陣

我是真命天子嗎？

黑天

是 — 毀滅總在意料之外發生。它悄無聲息，攻人不避，讓人吉中見凶，凶中見吉。無論如何，你不會在戰爭與和平之間有所選擇。

堅陣

那我可以選甚麼？

黑天

打仗或打另一場仗。

堅陣

另一場仗 — 它會在哪裏爆發？在戰場或是在我的心中？

黑天

我不覺得兩者有真正分別。

《摩訶婆羅多》— 印度的書中之書《摩訶婆羅多》是古印度神話和故事結集，內容圍繞婆羅多王族兩大氏族，般度族和俱盧族及其祖先神明的事跡。史詩最早的梵文抄本可追溯至四世紀，全書共十八卷，篇幅約為希臘史詩《伊利亞特》和《奧德賽》加起來的十倍，自古以來即為印度文明文化和社會價值的濫觴。《薄伽梵歌》記載般度族王子有修與神明化身黑天在戰場上的對話，至今被奉為眾多印度宗教及哲學傳統的經典文獻，地位崇高﹑影響深遠。

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Legacy

Yudishtira Poverty is not glorious. Nor is sadness. Nor is solitude. I killed millions of men. I must now go to the woods. Kunti

No, don’t go, my son. I’m begging you. Remember - you asked Krishna:

Yudishtira What can save the world? Krishna

You. You are the only one. The earth needs a king who will be calm and just. I want this king! Without him, I am lost.

Yudishtira Am I this king? Krishna

Yes - Destruction never approaches weapon in hand. It comes slyly, on tiptoe, making you see bad in good and good in bad. Anyway, you won’t have the choice between peace and war.

Yudishtira What will be my choice then? Krishna

Between a war and another war.

Yudishtira The other war – where will it take place? In the battlefield or in my heart? Krishna

I don’t see a real difference.

The Mahabharata – More than a Hindu Bible The Mahabharata is a collection of ancient Hindu myths and stories surrounding the two clans of the Bharata family, the Pandavas and the Kauravas, and their divine ancestry. The epic poem took its earliest recognisable form in Sanskrit in 4th century CE. Divided into 18 volumes, it is approximately ten times the length of the Greek epics Iliad and Odyssey combined. Through the ages, the Mahabharata has been deeply ingrained in the culture and social values of the Hindu civilisation. Bhagavad Gita, Pandava prince Arjuna’s battlefield discussion with his guide Krishna, remains a revered text in various Hindu religious and philosophical traditions.

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Excerpt from Battlefield

Legacy © Matthias Clamer

第 44 屆香港藝術節邀得加拿大籍美國創作歌手魯弗斯．溫萊特首次來港，帶來萬眾期待的星級表演《首席女聲》：交響樂視聽音樂會。音樂會改編自溫萊特的第一部歌劇《首席女聲》，講述一位過氣的歌劇演唱家嘗試重登舞台的故事，並結合現場交響樂伴奏以及特別製作的電影放映。首席女聲的超卓才華

絢麗多姿的女性溫萊特的成長環境不乏女性親戚。在他眼中，這些女性讓他著迷並且成為他作品的題材。他把大量歌曲獻給離世的母親 —民謠歌手凱蒂．麥加里格，以及同樣是歌手的妹妹瑪莎．溫萊特。溫萊特表示，歌劇的主角蕾珍．聖羅蘭便是他身邊的女性、自己以及卡拉絲的縮影。首席女聲的角色由著名攝影師仙迪．雪曼演繹，電影則由意大利藝術家法蘭西斯

溫萊特創作《首席女聲》的靈感源於六十年代末瑪麗亞．卡

科．弗素里拍攝。在電影中，仙迪．雪曼更會穿上租借自蒂

拉絲接受哈爾伍德勳爵的訪問。被譽為二十世紀歌劇女神的

萊利戲服藏館、卡拉絲本人曾經穿過的服裝粉墨登場。

卡拉絲說到：「首席女聲的意義就是要化身為交響樂的主要樂器。首席女聲就如同第一女主角。」這位著名的女高音於

音樂會下半場曲目主要是溫萊特歷年創作的歌曲，由香港管

美聲唱法造詣深厚，獲得著名指揮家賽拉芬的指導，四十年

弦樂團伴奏。如此隆重的交響樂表演是溫萊特演出的特色。

代末在意大利成名，之後迅速享譽國際。卡拉絲具備高超的

2 0 0 6 年，他與一整隊 3 6 人樂團將茱迪．嘉蘭享負盛名的

演唱技巧以及豐富的戲劇表演才華，她演繹過的角色包括威

1961 年卡內基廳音樂會重新搬上舞台。今次，絢麗的風格、

爾第歌劇裏的阿依達、浦契尼的杜蘭朵以及羅西尼的羅西娜。

厚重的管弦樂以及壯觀的舞台將再現首席女聲的黃金時代，

她明亮婉轉的歌喉能俘獲在場每一位聽眾的心。

為觀眾帶來無限驚喜。

「然後你嘗試成為一位真正的音樂家。你不單是一位歌手，

透過《首席女聲》：交響樂視聽音樂會，溫萊特將為你帶來

還要用聲音來配合音樂，而非僅僅表演美聲唱法或者完成樂

一場歌劇與演藝完美結合的視聽盛宴。

譜的旋律。這樣你才可以成為一位音樂家，換句話說，就是成為交響樂的主要樂器。」( 瑪麗亞．卡拉絲 )

文 | 林葵中譯 | 裴倍

說到現今歌劇界面臨的「危機」，溫萊特表示儘管劇院、管弦樂隊以及演員水準均屬一流，「入場的觀眾卻愈來愈少」。現在，電腦可以自動調音，透過智能手機也能觀看歌星表演。在這樣一個高科技時代，溫萊特轉向這位經典歌劇女王尋求指引和靈感。這種集超凡音色、高雅及魅力於一身的藝術是否已經成為過去？《首席女聲》以卡拉絲出色的歌喉和演技為創作泉源，以及緬懷她對現代歌劇、流行樂歌手的深遠影響。溫萊特通常親自演繹自己的作品，而《首席女聲》卻由其他藝術家表演。其實，歌劇對於溫萊特來說並不陌生，他 13 歲便開始聽歌劇。在紀錄片《首席女聲 — 一部歌劇的故事》中，還有少年溫萊特自拍自演的片段。他回憶說：「我總是扮演壞蛋，《托斯卡》的斯卡皮亞當然非我莫屬。」 Cindy Sherman in costume © Francesco Vezzoli

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世之光

從卡拉絲到溫萊特：

music, not only to the bel canto, to the duty and the line of music. Then on, you really become, or you strive to become, a musician. In other words, the main instrument of the orchestra.” (Maria Callas) When describing the “crisis” going on in opera today, Wainwright maintains that, despite the “incredible” theatres, orchestras and performers, “people aren’t really showing up any more.” In an age where computers make auto-tunes and stars perform on stage as well as on smart phone screens, Wainwright turns to the classic divas for guidance and inspiration. Is the combination of vocal prowess, elegance and glamour a lost art? Prima Donna celebrates Callas’s exceptional voice and stage presence and, ultimately, her stardom which is an integral part of her legacy inspiring today’s opera and pop singers alike.

The Legacy of a Voice:

From Callas to Wainwright

The 44th Hong Kong Arts Festival presents the longawaited Hong Kong debut of Canadian-American singersongwriter Rufus Wainwright and the superstar event Prima Donna: A Symphonic Visual Concert. Combining live orchestral accompaniment and a specially created film, the concert is derived from Wainwright’s debut opera, Prima Donna, which tells the story of an aged opera singer’s attempt to reclaim the stage. Prowess of the First Woman Wainwright’s starting point for writing Prima Donna was seeing an interview of Maria Callas with Lord Harewood in the late 1960s. “[T]he main instrument of the orchestra… is exactly… the meaning of prima donna. Prima donna would be ‘First Woman‘,” said Callas, La Divina of 20th century opera. The iconic soprano was trained intensively in bel canto and rose to fame in Italy in the late 1940s, with prominent conductor Tullio Serafin launching her career. International fame soon followed. Callas displayed great vocal and dramatic versatility in roles ranging from Verdi’s Aida, Puccini’s Turandot to Rossini’s Rosina. There is something uniquely mesmerising about Callas capturing the whole of the auditorium’s attention with her bright and agile voice. “Then you learn to really become a musician. As a singer you have to put your instrument to the service of 34

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For Wainwright, Prima Donna is one of the rare occasions in which he invites other artists to take the stage and perform his music. Yet he isn’t just dipping his toes into uncharted waters — he knows his operas. Wainwright started listening to operas at 13. In the documentary Prima Donna - The Story Of An Opera, Wainwright is seen acting in a home-made video. “I always played the villain… of course I was Scarpia [in Tosca],” he recalls. Splendoured Heroines Wainwright, who grew up around female relatives, finds them fascinating and says they have left a mark on his body of works. Many of his songs are dedicated to his late mother, the folk-singer Kate McGarrigle, and his sister Martha Wainwright (who is also a singer). Wainwright says the protagonist of Prima Donna, Régine Saint Laurent, is a composite of these heroines, himself and Maria Callas. This Prima Donna is portrayed by photographer extraordinaire Cindy Sherman, who wore some of Callas’s original costumes borrowed from the Tirelli costume archives in the film shot by Italian artist Francesco Vezzoli. The programme of the second half of the concert features predominantly music from Wainwright’s albums, accompanied by the Hong Kong Philharmonic Orchestra. Such symphonic grandeur has been part of Wainwright’s oeuvre, as seen in his re-enactment of Judy Garland’s famous 1961 Carnegie Hall Concert with a 36-piece ensemble in 2006. The lush style, thick strings and brass, and the grandeur of the staging all recall the golden age of divas and prima donnas, and the pure joy of seeing them on stage. Prima Donna: A Symphonic Visual Concert brings an exquisite combination of the opera and showbiz traditions, created and presented by the one and only Rufus Wainwright. Text | Klaus Lam

Legacy

The Enduring Songstress and the Diva behind the Stars 第 44 屆香港藝術節亦邀得另外兩位歌后，奧瑪拉．波圖翁多與麗莎．費雪來港演出。Orquesta Buena Vista Social Club® 的女主音奧瑪拉．波圖翁多聯同樂隊其他成員，舉行世界巡迴告別音樂會；麗莎．費雪則為眾星伴唱無數金曲後，走上舞台中央獨當一面。兩位歌后同是「首席女聲」、音樂會的主要靈魂。

古巴之花奧瑪拉．波圖翁多 Cuba’s Enduring Songstress Omara Portuondo

The 44th HKAF welcomes two other Prima Donnas: Omara Portuondo and the Orquesta Buena Vista Social Club® return to Hong Kong for their world farewell “Adiós tour”, while Lisa Fischer steps up front and centre from the backing row. The souls of both Prima Donnas shine through the HKAF concerts.

隱身歌后麗莎．費雪 The Diva behind the Stars Lisa Fischer

到了從心所欲之紀年，古巴國寶

擁有渾厚嗓音、天賦唱功、天

級歌后奧瑪拉．波圖翁多，無

籟美聲的麗莎．費雪，即使作

疑也是 Prima donna，Orquesta

為 Diva 或 Prima donna，也是

Buena Vista Social Club® 唯一

極其低調的一位。麗莎．費雪由

女主音，說是樂隊靈魂也當之無

和唱歌手起家，在眾星背後以她

愧。無惑、赤裸、活力、深情、

音域極廣的和音伴唱，襯托如

真摯，吟唱出優美歌曲，「愁

Tina Turner 及她的伯樂 Luther

苦別讓花兒知悉而萎」，靜靜

Vandross 等的歌曲。習慣在鎂光

落下兩行淚，被老拍檔 Ibrahim © Alejandro Gonzalez

Ferrer 溫柔拭去眼淚的畫面仍扣

燈背後、黑影底下歌唱的她，3 0 © Djeneba Aduayom

歲才初次以主唱身份踏上舞台，

人心弦。由 15 歲羞澀得差點無法上台獻舞的她，爾後在古巴

1991 年（33 歲時）推出第一張（亦是現時唯一一張）專輯《So

的歌舞廳、美國等不同地方演出，到古巴封鎖，選擇留下，

Intense》，翌年更憑單曲〈How Can I Ease The Pain〉奪下

及至被發現，帶到國際舞台，一路走來，糅合了熱情洋溢的

格林美最佳節奏藍調女歌手大獎，惟自此以後，回到幕後默默

音樂與非洲音樂節拍的精華，她說，以愛去唱，堅實的唱，

付出，繼而為 Sting 及滾石樂隊等眾星伴唱。此舉也許無所謂

帶出生活本質。愁緒都灑脫抹去，憂傷中開花，如斯美。

退或進，彷彿在燈光明滅間，都是她對音樂熱愛的純粹。在第

Omara Portuondo is a Cuban national treasure – a revered diva, the only female soloist of the Orquesta Buena Vista Social Club® and the soul of the band. From deep within her come stirring melodies full of raw energy and naked sincerity; no one can forget the moving moment her long time duet partner Ibrahim Ferrer gently wiped the tears from her cheeks, as she sang her heart out about hiding life's sufferings from the beautiful flowers, lest they wither from the pain. From the 15-year-old who was almost too shy to dance on the stage, Portuondo flourished into a performer who moved audiences across music clubs in Cuba and the US. She stayed in Cuba when the country became isolated, until she was discovered and taken onto the international stage. Once described as an inimitable flower of Caribbean song, Portuondo says she sings with love and she sings with life. With soulful tears, she nurtured the flowers; now they bloom exquisitely in the face of the pains of life. 文 | 文海林 Text | Man Hoi Lam Translation | D T

44 屆的香港藝術節，她再次走上舞台中心，讓觀眾大飽耳福。

Despite the rich timbre of her stunning voice and her exceptional singing skills, Lisa Fischer may well be the most low-key of divas and prima donnas. She began her career as a back-up singer, lending her expansive range of harmonies to prominent musicians such as Tina Turner and Luther Vandross. More comfortable singing behind the spotlight, Fischer only stepped up to the front of the stage at age 30. In 1991, when she was 33, Fischer rolled out her first – and only – album to date, So Intense, and won in 1992 a Grammy for Best Female R&B Performance with her single How Can I Ease the Pain. She retreated to the back of the stage and continued harmonising in the shadows for stars such as Sting and The Rolling Stones. The move was neither a step back nor forward for Fischer – it was simply the space between the bright lights, where she could unleash the purity of her passion for music. For the 44th HKAF, she steps out onto centre stage as the headliner. With all the chops and more. FestMag

世之光

絕代名伶與隱身歌后

LOVER

: A Multi-cultural Dialogue of Love

2 0 1 4 年，《愛人》由柏林廣播電台合唱團和台灣優人神鼓共同委約，為現居柏林的德國作曲家佑斯特又一力作。這部作品長約一小時，將中國古典情詩和美國現代詩人康明斯（1 8 9 4 1962）的詩作同時展現觀眾眼前。佑斯特固然嫻於西樂，亦深受優人神鼓禪意翩躚的鼓聲和力量沛然的舞蹈啟迪。東西文化相互影響下，《愛人》油然而生。《愛人》共有六個部分，風格獨特，從中觀眾將會經歷種種「邂逅」：中國古典情詩邂逅美國現代情詩；來自歐洲的專業合唱團邂逅打出禪機、動中見靜的鼓手；西方紛繁的複音聲樂風格邂逅東方樸實無華、注重身心合一的鼓聲，以及脫胎自太極散手的一系列動作。太極散手是優人神鼓表演者對「愛」最具東方色彩的回應。散手體現人受大自然感召的哲學精神，並展示陰陽相諧及如何在防衛中融合呼吸，是中華武術的精髓。鑼鼓則是最原始的發聲工具，就如人聲一樣，已有上千年的歷史。優人神鼓的一舉一動皆因禪而起，觀眾可以「聽到」合唱團和鑼鼓兩種聲音渾然形成一體，「看到」人如何追求精神和肉身合一。柏林廣播電台合唱團純美的歌聲與台灣優人神鼓絕妙的鑼鼓聲相結合，這就是《愛人》的精髓所在。佑斯特和優人神鼓藝術總監劉若瑀從未試圖掩蓋東西音樂傳統的差異：柏林廣播電台合唱團不會以生硬的異腔異調表演，優人神鼓亦不會盲目跟從西方交響樂團的風格。《愛人》的結尾部分，東西兩個音樂世界分隔明顯，第四部分只為柏林廣播電台合唱團而作，第五部分則為優人神鼓而作。這安排旨在尊重東西方的傳統文化，雙方得以施展絕活之餘，亦能夠互相切磋，這正是新猷所在。除了尊重各自的傳統文化外，優人神鼓和柏林廣播電台合唱團亦互相交流影響，從對方的傳統中取長補短，讓雙方能在各自的傳統上開拓新的領域。優人神鼓認為身體動作應體現身心合一的禪意，此哲學思想糾正了柏林廣播電台合唱團的演唱慣例，讓合唱團在演唱中達到身心合一的境界；而柏林廣播電台合唱團則為優人神鼓開啟通往歐洲美學之門。這次演出是優人神鼓首次演奏外國作曲家的作品，也是佑斯特首次為非西方樂器創作，因此《愛人》可說是開闢了文化交流的新途徑，雙方除了傳承各自的傳統文化外，亦將各自的文化帶到海外。文 | 波里斯．科赫爾曼中譯 | 錢景亮

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Legacy Jost’s approach is reflected in the structure and idiosyncratic staging of the six-movement work. LOVER embodies a number of different encounters: between ancient Chinese love songs and modern American love poems; between a professional chorus trained in Europe and a Zeninspired ensemble of drummers and performers, whose understanding of art is based on the idea of attaining the state of total calmness while in motion; and between the Western principle of complex vocal polyphony and Far Eastern drum rhythms, earthy tonal colours, physicalmental balance and a vocabulary of movements derived from Tai-chi San Shou (Tai-chi Unbound Hands, or Free Fighting). Tai-chi San Shou could be the perfect oriental expression of U-performers responding to the concept of LOVER. San Shou is the quintessence of Wushu (Chinese martial arts). Tai-chi San Shou embodies the philosophy of accepting nature’s calling, exhibits the harmony between Yin and Yang, and integrates the strategic use of breathing and defense. For the drums, they have been used for millennia and represent, like the human voice, the most primal sound-producing instruments. Through the Zen-inspired physical movement of U-performers, you “hear” the synergy of choral voice and the deep foundation of Chinese drum and gong. You see the fundamental quest for spiritual and physical intimacy in the human world. LOVER is about the purity, beauty and full volume that Rundfunkchor Berlin can produce and their connection with U-Theatre’s incredible sound and the depth generated by its drums and gongs. Jost and Liu do not seek to conceal differences within this cultural dialogue. Rundfunkchor Berlin is not mimicking exoticism but rather singing in its own tradition, while U-Theatre is not imitating a Western orchestra but rather presenting its own style. Towards the end of LOVER, Orient and Occident drift apart. The fourth movement is composed for Rundfunkchor Berlin alone; the fifth for the drummers. It’s about respecting the independence of both cultures, and bringing the best of different cultural heritage into dialogue with one another. That’s what is new. The musical synthesis takes U-Theatre and Rundfunkchor Berlin beyond the boundaries of their musical traditions. For U-Theatre, physical action conveys the Zen-philosophy of bodymind oneness. U-Theatre fructifies Rundfunkchor Berlin’s practice with this self-conception, while Rundfunkchor Berlin enriches U-Theatre’s future practice by placing its aesthetics in a framework of European character. In addition, this is the first time U-Theatre is facing the challenge of playing music by a non-Chinese composer and the first time Jost is writing a work for non-European instruments. LOVER presents new approaches to cultural dialogue while deepening existing experiences, as a new realm emerges from this encounter between Oriental and Occidental musical traditions. Text | Boris Kehrmann

FestMag

世之光

LOVER is an hour-long work by the Berlin based composer Christian Jost co-commissioned by the Rundfunkchor Berlin and U-Theatre Taiwan in 2014. It is based on ancient love songs from Chinese classic poetry and poems by the American writer E.E. Cummings (1894-1962). Exemplifying the idea of cultural dialogue, the piece emerged from the composer’s close collaboration with Rundfunkchor Berlin, and with the U-Theatre in Taiwan, where Jost was inspired by its spiritual drumming and strong physicality.

La Verità :

Dalí in His Happier Days

「我們所夢見過、所經歷過，以及所創造的都會成為記憶的一部分，這便是真相。」對於丹尼爾．芬茲．帕斯卡來說，真相源於那些疑幻似真的夢境以及幻化成真的逸想。如此看來，這位意大利裔瑞士導演與西班牙超現實主義大師薩爾瓦多．達利的思想不謀而合，兩者都創造出令人震撼的夢幻世界，充滿了各種符號、奇獸以及雌雄同體的角色。芬茲．帕斯卡劇團將以鉅製《真相奇幻坊》— —部充滿精采雜技的動人故事帶領觀眾進入這個奇幻世界。來自一幅背景幕布的靈感《真相奇幻坊》的創作靈感源自薩爾瓦多．達利於 1 9 4 4 年為他的芭蕾舞劇《瘋狂崔斯坦》所畫的一幅巨型背景幕布。這幅面積達 1200 平方呎（8 × 14 m2）的幕布自舞劇於紐約大都會歌劇院演出後就不見天日，6 0 年後才由瑞士一個當代藝術基金會修復並借予劇團。畫作描繪了暴風雨下一對瘦弱的情侶，身上裹着爛布，呼應了這位超現實派畫家的傷痕標誌。達利的畫布上充滿了各種符號。而這位意大利裔瑞士導演則創造出迷離飄渺的夢境，帶領大家進入另一個國度。誰又能夠調和這兩個分東離西的世界？帕斯卡認為：「這是另一個世界，幕布上有許多意象吸引我們走入這個世界，例如崔斯坦的面紗。達利從噩夢中取得靈感，我們也因這些夢境而着迷。這些『真相』不是達利眼中的真相，但的確由他啟發。」對達利的如此解讀正好配合演出的場景，例如其中一幕是穿着羽毛裝的舞者跳西班牙風的肯肯舞，使觀眾猶似身處上世紀 4 0 年代紐約的卡巴萊表演；而另一幕就是演員們拄着拐杖跳鬥牛舞。芬茲．帕斯卡劇團的聯合創辦人及《真相奇幻坊》的創作人之一茱莉．赫密連指出：「在過去幾個月中，

劇團還會在《真相奇幻坊》的下半場運用一個特別的雜耍器材，為觀眾展現創意的奇妙。它是一個巨型的斯爾滾圈，比普通滾圈還要重十倍，滾動的軌跡呈月牙形，必須靠幾位演員同時協調操作、平衡重量—這也象徵《真相奇幻坊》演員之間的緊密聯繫。

我們和這幅幕布展開對話，並追溯至達利在紐約創作這幅畫

赫密連表示：「演員們在瑞士盧加諾接受滾團設計者的訓練。

的年代。達利與嘉拉的愛情故事也給我們帶來靈感。」

雖然操作困難，但演員們只用了 10 天便掌握到當中的技巧。」

迷上達利

丹尼爾．芬玆．帕斯卡擔起總指揮的角色，為巨型滾圈上的雜技演員計時間。幾分鐘後，兩名戴着大型面具的小丑便會

達利的新形象由 1 2 位雜技演員塑造出來。這 1 2 位擁有芬

進場，為觀眾帶來意大利傳統即興喜劇風格的戲劇表演。他

茲．帕斯卡劇團特質的演員是整個戲團的核心。赫密連表示：

們身穿輕歌劇兵將服飾，手持火槍，輪流扮演丑角、拍賣商

「我們招攬了新演員，他們全都是芬茲．帕斯卡劇團大家庭

以及崔斯坦和伊索德這對戀人。戲裏的達利悲傷嗎？至少在

的成員。」對達利的全新闡釋也體現在極其華麗的服飾上。

帕斯卡的表演中不會。

服裝設計由劇團長期合作人喬瓦娜．畢玆負責，她曾為劇團在俄羅斯聖彼得堡馬林斯基劇院上演的威爾第作品《安魂彌撒曲》及《阿依達》設計服裝。

此劇的其他地方先賣個關子，但是芬茲．帕斯卡劇團所描繪的真相將讓達利大放光芒，並為觀眾展現這位畫家更開心但又鮮為人知的一面。文 | 依莎貝．帕麗中譯 | 裴倍

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Legacy The Gift of a Backdrop The starting point of La Verità is this huge backdrop scrim painted by Salvador Dalí in 1944 for his ballet Mad Tristan, which was performed at the Metropolitan Opera in New York. Hidden for the following 60 years, this spectacular 8m x 14m (1200 sq. ft) backdrop was later restored and lent to the troupe by a Swiss foundation for contemporary arts. It depicts a stormy landscape with an emaciated couple dressed in cracked veils, displaying the surrealist painter’s trademark stigmata. With Dalí, symbols abound on the canvas. We are sailing far away from the Italian Swiss circus’ own ethereal beauty. How could one reconcile such diverging worlds? “It is not our world, but so many of its images, like the veil hiding Tristan’s face, attracted us into it. Dalí is inspired by nightmare, while our gaze is always charmed, inspired by dreams. This will not be the truth according to Dalí, but the truth inspired by Dalí,” the director insists. And this reading of Dalí makes for earthy scenes, like the one where feathered dancers, in the 1940s New York cabaret fashion, offer a colourful Adalusian rendition of the cancan, or this other scene of a corrida-like dance where performers are on crutches. “Over the months, a dialogue began with this backdrop and took us back to the period when Dalí created it in New York. Other episodes from Dalí’s life, like his love story with Gala, also inspired

us,” explains Julie Hamelin, co-founder of CFP and cocreator of this production. Crazy about Dalí This new outlook on Dalí is embodied by the 11 acrobats who comprise the core of the troupe and have been sharing the same DNA from the outset. “We brought in new artists, but all are part of the extended Compagnia Finzi Pasca family,” indicates Hamelin. This new perspective on Dalí is also reflected in the sumptuous costumes designed by long-time collaborator Giovanna Buzzi, who also created the costumes for Verdi’s Requiem and Aida, presented by the company at the Mariinsky Theatre in St Petersburg, Russia. The troupe also unveils in La Verità wonders of innovation, which come to life in the second act of the production, with a new acrobatic device. The monumental sculpturelike object is a Cyr Wheel increased tenfold. It rolls about in crescents, and cannot be moved without the sharply calculated counterweight of several artists at a time. A metaphor recalling the tight bonds uniting the cast of La Verità. “Despite its complexity, the artists quickly mastered the device, about ten days into their training with the machine’s creator in Lugano, Switzerland,” Hamelin indicates. Acting like a conductor, Daniele Finzi Pasca marks time to the acrobats performing in this giant top. Some minutes later, the clowns, Bitti and Rolando enter stage, wearing large headgears, for a commedia dell’arte number in typical Pasca fashion. Dressed as operetta generals and armed with arquebuses, the two clowns in turn play buffoons, auctioneer and lovers of Tristan and Isolde. Was Dalí sad? Well not with Pasca. Some things are better left unsaid, but the truth uttered by Finzi Pasca’s troupe will make Dalí shine in bright daylight, and reveal a happier, less familiar side of the painter. Text | Isabelle Paré

Excerpted from La Verità: Dalí on His Happier Days by Isabelle Paré. Originally published in Le Devoir, 5 January 2013.

FestMag

世之光

“The truth is all that we have dreamt, all that we have experienced, all that we have created – all that forms a part of our memory.” For Daniele Finzi Pasca, the truth feeds off dreams pretending to be real life and fantasies that become reality. In a way, the world of the Italian Swiss director isn’t so foreign from that of Salvador Dalí, as both men draw on a powerful oneiric vocabulary, filled with symbols, strange beasts and androgynous beings. This, at least, is what one can expect from La Verità, a circus-infused tale by Compagnia Finzi Pasca (CFP).

建設當代舞創作生態圈從第五屆香港賽馬會當代舞蹈平台說起屈指一算，在香港賽馬會的支持下，「香港賽馬會當代舞蹈平台」（下稱 CDS）已來到第五屆。雖說十年樹木，百年樹人，

沒有先天的高低和優劣之別。今年徐奕婕的選擇便是例子。

五年的時間不算長，但是否也可以作一個階段的小結？香港

「她想繼續去年《雞蛋花》的意念，以花為題材，於是有《牽

藝術節副節目總監蘇國雲表示 CDS 漸見成績，並以創作、演

牛花》的出現。」（編按：《牽牛花》是本屆節目三的作品

出及教育三環緊扣為目標，以期推動香港舞蹈走向一個積極

之一。）他說，去年同於節目三出現的黃翠絲與毛維則會創

及穩健的發展。

作一個中篇《地圖》。

製造話題聚焦演出

而出現在今屆編舞名單有前城市當代舞蹈團團員、資深舞者

當代舞蹈的觀眾數目或許是香港表演藝術中較少的，但香港藝術節在過去幾年持續不懈地舉辦 C D S，展示香港編舞以及舞蹈人才的創作成果，去年節目更由兩個增至三個，展演了 1 2 位編舞共 1 1 個作品。蘇國雲表示，節後檢討，覺得這方向是對的。於是，今年繼續，但也非一成不變。雖然編舞及作品數量相同，但中篇（20 至 30 分鐘）的作品將有五個，而節目三「舞鬥」則有六個，較去年少一個。編舞名單中，有去屆出現的

林波，從事舞蹈教學工作的黃銘熙、身兼中國舞及現代舞訓練的舞者蔡穎，以及一直以自由身創作和演出的舞界中人藍嘉穎、陳曉玲、丘展誠及黃美玉等，背景及訓練出身，以至創作題材等，依然多元。以創作意圖為大前提，讓創作人專心創作，是 CDS 為編舞提供的空間。而香港賽馬會每年提供的全力贊助，則讓香港藝術節可以組織製作團隊去支援編舞，讓他們沒有行政、財政管理、製作或市場宣傳的後顧之憂。

黃翠絲及毛維、徐奕婕及身份由舞者轉為編舞的黃銘熙及梁

在幾天之內，梅花間竹地上演三個節目，對負責製作的香港

儉豐，此外，之前出現過的楊浩，也在名單之上。這也是

藝術節也是一個挑戰 —在節目編排上，得與創作人緊密聯

CDS 的宗旨，鼓勵及延續創作。

繫，令各個節目的演出暢順，而這種簡約的舞台運用，也有

而系列構思的背後原因之一，是引起觀眾注意，蘇國雲表示一連提供十多位編舞的作品，在觀眾間製造話題，令他們對本地舞蹈創作更加關注。原來，這同時也引起了外地藝術機構的注目，過去幾年，慢慢吸引了一些海外或內地的演藝人士來港觀賞演出，多位編舞及作品因而獲邀參與不同的藝術節或舞蹈展演（詳見 P.41 附表）。創作先行製作支援蘇國雲去年曾指出，作品的長短與編舞者所花的心思或精神不一定成正比，1 小時、30 分鐘、10 分鐘，都是心血結晶， 40

篇幅僅是編舞的創作框架，無論是節目一、二還是節目三，

閱藝

助作品走出香港到外地演出。推動發展教育承傳為編舞提供全心投入的創作機會，吸引觀眾注視本地舞蹈創作固然是香港藝術節製作這系列的目標，但為本地舞蹈持續發展，承傳下去，向未來的「編舞」和「觀眾」推廣也同樣重要。蘇國雲表示，自第二屆 CDS 開始，香港藝術節便著力向中學生推廣當代舞的賞析。這幾屆參與的導師包括資深編舞家、「舞鬥」的指導之一楊春江、黃俊達、林俊浩、郭曉靈等。

Legacy 海外演出資訊 Re-run & Touring Details

一屆的編舞之一黃銘熙。另外兩位編舞黃翠

作品 Dance Piece /

絲及梁儉豐也會參與當中的舞蹈示範，透過

編舞家 Choreographer

示範講座、舞蹈工作坊及公開綵排，親身向

巡演詳情 Tour Details

日本福岡藝穗舞蹈節 ( 二月 Feb 2016) Fukuoka Dance Fringe Festival

學生講解當代舞創作過程的種種。參與的學

首演 Première

第 43 屆香港藝術節 43rd HKAF

生更可通過欣賞演出及與編舞對話交流、體驗創作的過程，加深對舞蹈藝術及創作過程的認識。蘇國雲表示，香港藝術節並非期望以這個計

《19841012》19841012 / 黃碧琪 Rebecca Wong Pik-Kei

《Here is it》Here is it / 李德 Li De

首爾國際舞蹈節 ( 十月 Oct 2015) Seoul International Dance Festival 2015 (SIDance)

第 43 屆香港藝術節 43rd HKAF

劃即時增加入場觀眾，而是希望通過活潑生

動、貼身的教育計劃，為青少年打開舞蹈欣

PAMS 首爾表演藝術市集 ( 十月 Oct 2015) Performing Arts Market in Seoul (PAMS)

賞之門，讓他們從中發掘興趣，並在若干年後，成為本地舞蹈創意的實踐者或支持者。的確，十年樹木，百年樹人，藝術這門課，是要透過深耕細作，以長遠發展為目標，才能看到成績。文 | 朱琼愛

參與編舞家 No. of Choreographers

展演舞作 No. of Works

2012 - 2016

《原》Pardon / 黃翠絲 Tracy Wong 陳綺婷舞蹈學院週年匯演 ( 八月 Aug 2015) Les Danseurs Dance Academy Annual Performance 2014-2015

澳門演藝學院舞蹈學校《Lights Up》─ 校友舞匯．點聚光芒

第 43 屆香港藝術節 43rd HKAF

年份 Year

第 43 屆香港藝術節 43rd HKAF

2015

小統計 Statistic

《從頭開始》From the Top / 馮樂恆 Victor Fung

( 八月 Aug 2015)

Macao Conservatory - Lights Up at Macau

《直言不諱》Outspoken / 楊浩 Yang Hao

紐約春日舞動節 ( 四月 Apr 2015) Spring Movement Festival, New York

日本橫濱舞蹈節 ( 二月 Feb 2015) Finalist of Yokohama Dance Collection EX

上海 D.Lab 舞蹈實驗室：《看不見的城市》( 九月 Sept 2014) Invisible Cities by D.LAB, Shanghai

巴黎國立舞蹈中心 ( 六月 June 2014) Centre National de la Danse, Paris (CND)

第 42 屆香港藝術節 42nd HKAF

2014

（圖由左至右為編舞家黃銘熙、林波、徐奕婕、黃美玉、黃翠絲和楊浩 From left to right: Ronny Wong, Lam Po, Ivy Tsui, Rebecca Wong Mei-yuk, Tracy Wong and Yang Hao) © Lawrence Ng @ Work House

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今屆教育計劃的示範講座及工作坊導師為這

Fostering the Creative Ecology of Contemporary Dance

The 5th Hong Kong Jockey Club Contemporary Dance Series Set up under the auspices of The Hong Kong Jockey Club, the Hong Kong Jockey Club Contemporary Dance Series (CDS) is approaching its fifth edition. So Kwokwan, Associate Programme Director of HKAF, offers an interim review of the accomplishments of the series. In his view the growth of CDS over the past five years has been remarkable. Its objectives remain constant: to incentivise artists to create and perform new works and to engage audiences on such works, in order to create a more robust local dance scene. Talk of the Town Against the odds of the comparatively meagre size of audience for contemporary dance programmes, HKAF has continued to organise the CDS to showcase the creative talent of local choreographers and dancers. Last year the CDS grew from two to three programmes, featuring 11 works by 12 choreographers. So believes this was the right direction. T h i s y e a r ’s C D S f e a t u r e s t h e s a m e n u m b e r o f choreographers and their works as the previous year. The difference is that there will be five medium-length (running between 20 and 30 minutes) works. In the “Dance-off” programme, six works will be presented, one fewer compared to last year. We are again seeing some familiar faces: choreographers Tracy Wong, Mao Wei, Ivy Tsui and Yang Hao are presenting their works. On the roster are also dancers-turned-choreographers Ronny Wong and Kenny Leung. CDS is clearly living up to its mission of encouraging and supporting artists to create new works. The CDS has also attracted contemporary dance presenters outside Hong Kong: not only have they come to Hong Kong to see the performances, some have also invited the CDS’s choreographers and their works to take part in overseas festivals (see table on P.41).

While the CDS enables artists to focus on choreographing new works, The Hong Kong Jockey Club’s annual funding enables HKAF to fully support those artists by providing production support and shouldering administrative, financial and promotional matters. Staging the three programmes of the CDS within a space of a few days poses a great challenge to HKAF. Communication with the artists is crucial to ensure the best possible performances are presented to audiences. The minimalist stage design, on the other hand, helps bring these productions out of Hong Kong to be performed around the globe. Passing on to the Next Generation It has always been CDS’s objective to support local artists in creating new works and to deepen the community’s understanding of the local dance scene. For the longterm development of the local dance scene, it is equally important to spread the love of dance to future potential choreographers and audiences. According to So, since the second edition of CDS, HKAF has been bringing contemporary dance into secondary schools. Participating instructors included seasoned choreographers, advisors to “Dance-off” Daniel Yeung, Ata Wong, Ivanhoe Lam, Elaine Kwok, among others.

The effort devoted is not always proportionate to a work’s length. A 10-minute piece requires as much toil to create and produce as a 30-minute or one-hour piece. A work’s length indicates the artist’s creative approach, So said. All three programmes of the CDS carry equal weight. “Ivy Tsui will bring us Morning Glory this year, echoing her floral Frangipani in last year’s CDS.” Tracy Wong and Mao Wei, both featured in Programme 3 last year, present a new medium-length work, Mapping.

Ta k i n g r e s p o n s i b i l i t y f o r i n t r o d u c t o r y t a l k s a n d demonstrations, and facilitator of the dance workshops of this year’s education programme is Ronny Wong, one of the choreographers of this edition of the CDS. Tracy Wong and Kenny Leung, choreographing for the CDS this year, will also take part in the demonstration. The trio will illuminate the intricate process of creating a contemporary dance work through demonstrations, workshops and open rehearsals. The students, as a result, will get to know more about dance and its creative process. By introducing a range of interesting and engaging educational programmes, HKAF aspires to foster a passion for contemporary dance among students.

閱藝

Text | Daisy Chu Translation | Anthony Chin

Supporting Artists to Promote Creativity

This year’s line-up of choreographers also includes veteran dancer Lam Po, formerly with City Contemporary Dance Company; Ronny Wong who teaches dance classes; Cai Ying who trained in Chinese dance and contemporary dance and freelance choreographers and dancers Blue Ka Wing, Gabbie Chan, James Yau and Rebecca Wong. This varied group makes the CDS as vibrant and manifold as ever.

Legacy 圖由左至右為編舞家及舞者古佳妮和舞者李楠 From left to right: Gu Jiani and Li Nan

香港藝術節有兩個當代舞蹈平台，香港賽馬會當代舞蹈平台以外，還有歷史更久，於 2 0 1 6 年踏入第八屆的「亞太舞蹈平台」（APDP）。兩個舞蹈平台，各有功能，一橫一縱：前者聚焦本土創作人才，後者則為香港觀眾引介亞太地區的舞蹈潮流。過去七屆，APDP 已前後推介內地、印尼、韓國、日本、新加坡、台灣、印度、以色列、柬埔寨、馬來西亞、紐西蘭及澳洲等地的編舞及舞者，當中更帶來超過二十位首度來港演出的編舞家／舞團，以及數個世界首演。在推動本地舞蹈發展，呈獻當代舉足輕重的編舞／舞團作品以外，讓藝術節觀眾看到亞太區內一些別出心裁的節目，加強與地區的舞蹈界交流，其中在展現內地獨立舞蹈發展的面貌上，尤見凸出，先後已呈獻過四位內地編舞的作品。第八屆的 APDP 中，亦將有內地代表。在北京發展的古佳妮來自上海，這位獨立舞者曾接受古典芭蕾舞與中國古典舞訓練，但決意投身現代舞，曾於北京現代舞團工作。這次來港演出《右一左一》也可看到由古到今、匯合東西的痕跡：由中國戲曲傳統的一桌兩椅出發，至一枱兩凳的現代演繹，透過身體和光影表達在社會上被規範的個人如何處世，希望藉此讓觀眾思考，認識到生活中種種經歷，許多時答案並非單一、絕對。至於另一個演出《力的重量》，編舞羅斯．麥克科馬克則來自我們較少機會接觸的紐西蘭。香港藝術節節目部表示，由開始商討到演出已達約兩年之久，起初因一些演出者未能參與而造就編舞為此平台創作了一個新舞作，探討藝術家汲汲追求完美的精神與激情，鍥而不捨、堅持不懈

The HKAF also hosts the Asia Pacific Dance Platform (APDP), which reaches its eighth edition in 2016. These CDS and APDP each offer a different, complementary function. The former puts the spotlight on local talent, while the latter brings dance trends from around Asia Pacific to Hong Kong. In the past seven editions of APDP, choreographers and dancers from the mainland, Indonesia, Korea, Japan, Singapore, Taiwan, India, Israel, Cambodia, Malaysia, New Zealand and Australia were introduced, of which more than 20 choreographers were introduced for the first time in Hong Kong and there were a few world premieres. On top of promoting the development of the local dance scene and presenting pieces from influential modern choreographers and dance troupes, the platform brings the Festival's audiences alternative programmes from around Asia Pacific, which boosts exchange and extends cultural legacies in regional dance circles. Efforts in presenting the development of mainland independent dance have been particularly stellar, with works from four mainland Chinese choreographers previously showcased. In the eighth edition of APDP, mainland artists will once again grace the stage. Hailing from Shanghai, independent dancer Gu Jiani was trained in classical ballet and classical Chinese dance, before she found her path in modern dance and worked with the Beijing Modern Dance Company for a time. She brings to Hong Kong Right & Left, in which contemplations span from East to West, traditional to contemporary.

身體操控的力量，相信必有深刻體會。

As for the other performance, The Weight of Force (Exercises in Perfection), its choreographer, Ross McCormack, hails from New Zealand. The HKAF had asked McCormack to bring another work to APDP two years ago, but some dancers were unable to take part that time, and he proposed a new work instead. That is where the idea for the choreographer The Weight of Force came from, and now ADPD is the host for its world premiere!

文 | 朱琼愛

Text | Daisy Chu Translation | D T

的心態，意志力驚人的嘗試，以及背後鞭策着藝術家力圖向前的推動力；而那份對藝術的熱愛與執着，將每一場演出做到最好，且心懷總有更好的可能，將會是此演出的重點。而 APDP 更是《力的重量》的世界首演舞台！另外，麥克科馬克曾跟隨比利時「芭蕾 C 之 B」演出逾 1 0 年，該團對舞者身體的要求極高，麥克科馬克對舞者

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世之光

Asia Pacific Dance Platform VIII

Legacy

傳統舞蹈新演繹

今屆藝術節的兩齣舞蹈表演，各自以精湛的藝術手法，糅合傳統和創新，扣人心弦。韓國國家劇院的《墨香》融入現代美學，給傳統藝術賦予新面貌；而意大利編舞和劇場導演阿歷山度．沙朗尼創作的《FOLK-S，明天你還愛我嗎？》，則為古老的民族舞提供了解構式的演繹。

去語境化的民間舞蹈《FOLK-S，明天你還愛我嗎？》以時間為主題，思考民間舞蹈的當代性。作品的靈感取自巴伐利亞和蒂羅爾民族用作求愛的「擊鞋舞」。舞者一邊以掌心拍打大腿、小腿和鞋子，一邊創作出敲擊聲和節奏，他們不斷重複動作，嘗試在變換

傳統重生

步伐和模式中彼此協作。

由前韓國國家劇院藝術總監尹星珠編舞的《墨香》，重新演

《FOLK-S》的舞者隨節奏無休止地跳出舞步，井然有序地發

繹已故舞者和編舞崔鉉於 1993 年首演的作品《君子之舞》。

展成獨舞和雙人舞，變化多端的模式藉着體力消耗來改變舞

《墨香》表達朝鮮王朝時代士人的雅氣，以韓國靜物畫中的

者的身體。馬勒的交響樂選段、英國電子流行樂、嘻哈音樂

「四君子」梅、蘭、菊、竹，象徵高尚品格和四季更迭。

等增添作品的懸念。演出把舞蹈轉化成原始思維模式—舞蹈是一種規律，一種絕對的服

從舞台設計以至編舞、音樂和服裝，《墨香》展現了傳統感

從，一組流動的意象，依附

性與當代美學天衣無縫的結合。舞者在簡約純白的佈景前，

於節奏和形式，而非內容。

配合因應舞蹈意境而微妙變化的燈光，以行雲流水的舞姿舞

對《FOLK-S》的表演者來說，

出獨特的空間構想。尹星珠的編舞突顯傳統韓國舞蹈對個人

「當下」以外時間概不存在。

內在情感的精密表達，透過穩定的舞步強調線條之美。傳統

只有如此抽離地理和文化語

的韓國散調配以西方的打擊樂，為作品帶來令人著迷的現代

境，重複舞步，才能還原真

感。詩意的情感狀態在作品結尾時達至頂峰，此時伽倻琴和

正的民俗。

小提琴共同譜出東西方的相遇，以及天人合一的中心思想。《F O L K - S》曾於維也納《墨香》的創新並不止於配樂，也見於舞服的設計。著名時

I m P u l s Ta n z 2 0 1 3 作壓軸演

裝設計師鄭求昊所設計的服裝，風格有別於傳統韓服舞衣的

出，並曾獲邀參加 2015 年巴

飄逸，只保留韓服的輪廓，創作出既現代又飽滿的舞衣。這

黎秋季藝術節及紐約 Crossing

些新穎的舞衣摒棄了韓服的外套帶，採用簡約的線條和鐘形

the Line 藝術節等歐美舞蹈盛

裙子，以及在韓服中罕見的深色衣料，在白色的主調中，偶

事。阿歷山度．沙朗尼是歐

爾點綴黑、灰、粉紅、黃和綠色，製作清新雅緻。

洲的舞壇新星，曾贏得意大利《Danza & Danza》雜誌的最佳新藝術家獎。文 | 黃進之中譯 | 吳智欣 © Matteo Maffesanti

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世之光

從傳承到解構

Legacy

Reinterpreting Traditional Dance The melding of tradition with innovation shines in different artistic approaches, as showcased in two dance programmes at the 44th Hong Kong Arts Festival. Scent of Ink by the National Dance Company of Korea (NDCK) exemplifies the revamping of traditional art with modern aesthetics, while FOLK-S, will you still love me tomorrow? offers a deconstructed interpretation of an ancient folk dance by Italian choreographer and theatre director Alessandro Sciarroni.

fluidly around the dancer’s bodies, Jung’s designs retain only the silhouette of hanbok to create something modern and voluminous. Stripped of the hanbok’s coat-strings, the dresses feature simple lines and more bell-shaped skirts than the traditional design. The use of dark colours is also unusual in hanbok design, where the costumes for the production feature white as the main colour with minimal splashes of black, grey, pink, yellow and green, bringing a fresh touch of elegance to Korean finesse.

Tradition Revivified

Folk Dance Decontextualised

Choreographed by former NDCK artistic director Yun Sung-joo, Scent of Ink is a reinterpretation on the Gunjam (Dance of the Gentleman, premiered in 1993) by late dancer and choreographer Choi Hyeon. In expressing the refined spirit of Joseon Kingdom-era (1392-1910) scholars, Scent of Ink takes the “Four Noble Plants” featured in Korean still-life artworks – plum blossom, orchid, chrysanthemum and bamboo – as thematic symbols of noble virtues as well as the four seasons.

A performative and choreographic practice focusing on time, FOLK-S, will you still love me tomorrow? springs from the reflection on folk dances as popular phenomena that have survived contemporaneity. The work takes its inspiration from the Schuhplatter, a folk dance from Bavaria and Tyrol that was traditionally a courting dance. It involves striking palms against thighs, legs and shoes, creating percussive sounds and rhythms, where the dancers constantly repeat their actions in an attempt to co-ordinate with each other in varying paces and patterns.

From stage design and choreography to music and costume, Scent of Ink presents a remarkable blending of traditional sensibility and contemporary aesthetics. Against a minimalist pure white backdrop, the dancers create spatial designs with their flowing movement to subtly changing lighting that accentuates the mood of the dance. Yun’s choreography spotlights the essence of traditional Korean dance as a sophisticated expression of one’s inner emotions, which emphasises the beauty of curves through steady movement of the dancers. The selection of traditional Sanjo and Jeonga music, as well as Western instrumental percussion, brings an enticingly modern vibe to the production. Where the poetry of dance reaches a heightened state of emotions in the finale, the meeting of gayageum and violin denotes the encounter between the East and the West, and the harmony between man and nature that is at the heart of the work. Scent of Ink also incorporates new elements into the staging of traditional Korean dance with its costume design by celebrated fashion designer Jung Ku-ho. Unlike conventional hanbok Korean dance costumes that wrap

As the dancers of FOLK-S perform the unceasing rhythmic sequence, solos and duos emerge following their own logic, and the variations in the patterns transform the bodies through physical exertion. Fragments of Mahler, British synthpop, Hip Hop and other musical genres heighten the suspense. The performance transforms dance into a primitive form of thought – dance as a rule, a dictatorship, a flux of images that follow the rhythm and the form, not the content. For the performers of FOLK-S, there is no time except the present. It is in this repetition, geographically and culturally decontextualised, that the folk material finds its clearest revelation. Receiving star billing at Vienna’s ImPulsTanz Festival in 2013, FOLK-S has been invited to many leading European dance events including Festival d’Automne in Paris and Crossing the Line Festival in 2015. A rising star who is quickly becoming one of Europe’s most acclaimed dance artists, Alessandro Sciarroni is the winner of Italy’s Danza & Danza magazine Best New Artist award. Text | Nicolette Wong

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世之光

From Continuation to Deconstruction

當巴赫遇上爵士 Bach meets Jazz 對爵士樂隊來說能跟弦樂四重奏合作是很吸引的事，但如何

我們表現的是對聲音的「消化」，以尊敬的態度對音符間隱

不把弦樂四重奏侷限在襯托的角色─只為古典樂演出帶點華

含的意義作推敲研究。即興演奏揭示了一種新的弦外之音，

麗氣息的引子，或只作為爵士樂隊可有可無的背景音樂？

使存在及不存於的樂譜上的音樂變得難以區分。

爵士樂隊和弦樂四重奏的相遇及合作，確實需要時間磨合交

我創作這些經典的新版本，同時也加插了自己的作品。演出

流。而德布西弦樂四重奏、尚 - 路易．雷森福和我自 2012 年

展示了優美且引人入勝的爵士式室樂，讓不喜歡爵士樂的你

6 月初次會面後，便開始交流了一段長時間。透過多次的排

愛上爵士樂，也讓以為只會聽爵士樂的樂迷側耳細聽古典音

練、討論及音樂會演出，很明顯看出雙方的角色除了沒有互

樂。

相抵觸外，彼此的合作更創造了一個新組合和新的聲音。由此可看出要交流切磋並不一定要改變自己才可與對方溝通，相反，我們必須要完全地做自己，才能令交流變得豐富及有意義。

小調古鍵琴協奏曲。我重申我們並不是想把古典曲目爵士化，

It is very tempting for a jazz band to work with a string quartet. But how not to confine the quartet to the role of a nice little classical ornament which would only serve as luxurious introduction or as musical background for the jazz band which would play exactly the same music if it was on its own? For a genuine encounter to take place, you need time. And the Debussy String Quartet, Jean-Louis Rassinfosse and I have spent a lot of time together since June 2012 when we first met. Through rehearsals, discussions and concerts it became obvious that both groups were not overlapping each other. What came out of it had more to do with the creation of a new group and of a new sound. Their repertoire ventures into new versions of Ravel and Debussy quartets as well as of Harpsichord Concerto in F minor by J S Bach. Once again the musicians are not trying to jazzify the classical repertoire. What is 閱藝

作無間的低音大提琴手，以及令人耳目一新、遊走於不同樂種的鋼琴家，找到一個符合他們理念的交流平台。真正的悅於耳，歡於心。

演出曲目涵蓋拉威爾和德布西的弦樂四重奏，以及巴赫的 F

當代最優秀的法國弦樂四重奏之一、出色且與查特．貝克合

文 | 尚 - 菲臘．柯拉德 - 尼芬 (《巴赫至爵士》鋼琴及作曲 ) 中譯 | 陳楚珊

offered is a kind of “digestion” of sound, a respectful extrapolation of the musical text to be read between the lines. Improvisation reveals a new subtext which creates confusion between what is written and what is not. I cosigned these new versions of classics and also added compositions of my own. They display a fine and appealing jazzy-chamber music quality which will make you love jazz even if you thought you did not like it and which will make you listen to classical music even if you thought you only liked jazz. One of the greatest French string quartets of our time, a great double bass player, faithful consort of Chet Baker and an unpredictable multi-musical pianist have found a playground to match their inspiration, taking what is known and loved in new directions. Text | Jean-Philippe Collard-Neven (Bach to Jazz pianist and composer)

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慾之念

Loves 人生的難題往往由愛慾衍生：我們怎樣釐清真正的渴求？個人與家國孰輕孰重？如何解決滿足自己的慾望和對他人肩負的責任之間的矛盾？不論是改編文學名著的戲劇或近乎演講的獨腳戲，第 4 4 屆香港藝術節這系列節目均藉着古往今來、或虛或實的故事為這些問題提出新見解。 Questions of desire pose difficult choices: How do we know what we truly want? What are our priorities? How do we reconcile our desires with our obligations to those around us? From adaptations of literary classics to powerful solo voices, this year’s HKAF programmes offer fresh perspectives on love, desire and ambition, while telling timeless tales.

Ramella & Giannese © Teatro Regio Torino

FestMag

亂世中的戰爭與榮耀─莎翁的「王與國」 Battle and Honour in Turbulent Reigns Shakespeare’s King & Country 為紀念莎翁逝世四百周年，皇家莎士比亞劇團推出莎士比亞歷史劇系列。第 4 4 屆香港藝術節搬演的「王與國」系列包括《亨利四世》上、下集和《亨利五世》，用三部劇敘述兩代英格蘭國王父子的統治。劇團首先在倫敦巴比肯中心完整上演此系列，之後在北京、上海、香港和紐約巡迴演出。三部「亨利劇」聚焦歷史長河中的兩位君王。十五世紀的英格蘭，國王握有實權，而王位除了代代傳承，也會在刀光劍影間被吞併。亨利四世的王位靠篡奪而來，他在位時飽受困擾。雖然他終身稱王，並將王位傳給兒子，但其過往行徑遺患無窮，令國家不得安寧。不出所料，國家最大的威脅正來自他曾經的盟友。他們圖謀奪權，將王冠據為己有。正當亨利四世為國土東征西討之時，亨利王子在外吃喝玩樂、偷雞摸狗、惹是生非。在他與聲名狼藉的福斯塔夫為友的日子裏，混噩度日，似乎在浪費自己，稱不上是個優秀的王位繼承人。但整個「王與國」系列正正由亨利王子— 也就是未來的亨利五世—的事蹟構成。王子聲稱其放蕩只是表象，未來一旦登基，榮譽會因他曾經自暴自棄而更顯輝煌。亨利王子最後果然踐行諾言，也不留情面地拋棄過去的損友。年輕的亨利五世以曾祖父的名義出征法國，在阿金庫爾戰役中盡顯英武，而在英語世界中，最著名的戰爭演說由此而來。但莎士比亞同時提醒我們戰爭造成的混亂。暴力一經釋放，便如脫韁野馬。在哈弗婁，亨利警告全城說：「那些士兵，就只有又狠又硬的心，／只有雙毫無顧忌、到處劫掠的血手」。莎士比亞的話語擲地有聲：戰爭一旦開始，就不再受將帥甚至國王的控制。文 | 高捷思中譯 | 佟小鈴

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Shakespeare’s Great Cycle of Kings is presented by the Royal Shakespeare Company (RSC), an epic cycle to mark 400 years since the Bard’s death. Encompassing both parts of Henry IV and Henry V, King and Country chronicles the reigns of two English Kings, father and son. The RSC presents the cycle at the Barbican, and in Beijing, Shanghai, Hong Kong and finally New York. Each of these Henry plays focuses our attention on individual leaders in the grand sweep of history. In 15th century England, we witness Kings in power, the passing of the crown from one generation to the next, and the conquering of entire nations by the sword. Henry IV’s reign is plagued by the legacy of his path to power. Though he is King to the end of his days, and passes the crown to his son, his kingdom is disturbed by the reverberations of his past choices. Perhaps unsurprisingly, it is his former allies who pose the greatest threat, attempting to unseat him and claim the throne for themselves. As Henry fights for his kingdom, his son Hal is out drinking, stealing and causing trouble. Hardly an impressive heir, the prince seems to waste his potential in the company of the infamous Falstaff. And yet it is Hal, the future King Henry V, whose story spans the full arc of this cycle. Hal claims that his debauchery is a façade, and his future glory will seem even greater because of the wastrel he is. Hal makes good on his promise; but he also pointedly abandons those who shared his past debauchery. The younger Henry’s audacious campaign to conquer France, in the name of his great-grandfather, climaxes at the battle of Agincourt. There is no better-known battle speech in the English language. But Shakespeare also warns us about the chaos of war, and the unstoppable trajectory of violence once unleashed. At Harfleur, Henry warns the town: “And the flesh'd soldier, rough and hard of heart, / In liberty of bloody hand shall range.” Shakespeare’s point is powerfully made: once begun, war is beyond the control of generals or even kings. Text | Thomas Gregory

Loves FestMag

慾之念

Loves 皇家莎士比亞劇團一口氣以「王與國」系列搬演莎士比亞歷史劇。三套劇獨立成篇又環環相扣、一氣呵成。劇團藝術總監及導演格雷格里．多蘭和兩位主角演員分別談到三劇的主題和角色特點。 The Royal Shakespeare Company (RSC) presents the Bard’s history plays in their King and Country Cycle. The three individual plays form a narrative arching over the reigns of two kings. RSC’s Artistic Director and the plays’ director, Gregory Doran, discusses the dramatic themes, while the two lead actors talk about the charisma of Shakespeare’s characters.

導演格雷格里．多蘭

Gregory Doran, director

「《亨利四世》上集有種完整的感覺。曾如惡棍終日

“Henry IV Part I has a sense of completion to it. Prince Hal, the scoundrel Prince Hal, learns to live up to his responsibilities as Prince of Wales, goes to the battle, fights alongside his father and proves that he has the mettle to be the next King.”

生事的亨利王子學着去承擔身為威爾斯親王的責任，去打仗、與父親並肩作戰，證明自己有繼承王位的魄力。」「《亨利四世》下集則充滿一片病懨懨的愁雲慘霧，無論是像大主教所形容的那樣感染惡症的羸弱國家、國王自己對抗體內疾病和它所象徵國家內的衝突，還是滿身疹子的妓女桃兒．貼席 …… 似乎亨利五世新政伊始要改過自新，也要清除國家傷風敗俗或腐敗之氣。」「《亨利五世》正如我講的，並不主張反戰也不鼓吹戰爭，而是一部關於上戰場的戲。講的是戰爭予人甚麼感覺、有甚麼代價。它不是政治宣傳、不是宣言，而是關於戰爭的一場雄辯。」阿歷克斯．哈索飾演亨利王子「與大多數莎劇相比，我認為這幾部劇的優秀之處在於跨越兩個世界，即宮廷與日常生活—市井酒館裏的生活。與其他角色相比，亨利王子在兩個世界之間更是穿梭自如。亨利王子的經歷……大概是最複雜的。」安東尼．舍爾飾演約翰．福斯塔夫爵士「人們在戰場上兇殘地為生死存亡而戰的同時，福斯

“[Henry IV Part II] is infected with a sort of sense of disease, whether that is the country itself that the Archbishop describes as being infected with this disease that is crippling the country, whether it’s the King himself whose own internal intestine battles reflect the conflict within the country, or whether it’s the prostitute Doll Tearsheet who’s got terrible pox (…) It’s as if Henry V, at the start of his new regime, is purging himself and purging the land of all immorality or corruption.” “[Henry V] is a play, as I say, not about anti-war or pro-war, it’s a play about going to war. It’s a play about what it feels like and what the costs are. It’s not a piece of propaganda, it’s not a manifesto. It’s an extraordinary debate about war.” Alex Hassell, actor, on Prince Hal: “What’s so good about these plays is that they straddle, more than I think most other Shakespeare plays, the two worlds of the court and everyday life – the tavern life. And Hal more than any other characters straddles the two worlds. Hal’s journey is (…) possibly the most complex.” Antony Sher, actor, on Falstaff:

來源 | 皇家莎士比亞劇團

“Famously, on battlefield where you see men really fighting for their lives and in a very savage way, he has a speech about how meaningless “honour” is (…) that’s an extraordinary thing for Shakespeare to do, to make the audience think whether “honour” is something worth dying for or not.”

中譯 | 佟小鈴

Source | Royal Shakespeare Company

塔夫有一段著名的獨白談論『榮譽』是如何無意義…… 這是莎士比亞傑出之處，讓觀眾思考究竟值不值得為『榮譽』而犧牲。」

Design: RSC Visual Communications; ©Paul Stuart

FestMag

慾之念

從亨利四世到亨利五世 From Henry IV to Henry V

由倫敦莎士比亞環球劇場及香港藝術節聯合委約製作﹑鄧樹榮戲劇工作室出品的《馬克白》，繼 2015 年 8 月的倫敦首演後，將於第 44 屆香港藝術節首度與香港觀眾見面。鄧樹榮素有「簡約劇場煉金術師」之稱，他將馬克白的悲劇由蘇格蘭搬到中國，叫觀眾看見人性醜惡的無遠弗屆。訪問來源 | 莎士比亞環球劇場中譯 | 李凱琪

Loves

你如何看待此劇的超自然元素？女巫可被看成是專業巫師，亞洲文化便充滿巫覡宗教的色彩。我認為應把女巫塑造成實在的角色，而不只是馬克白內心的魔鬼。所以關鍵是要為她們創造怎樣的戲劇形象，才能恰切表達其存在的意義。你導演過《哈姆雷特》和《泰特斯》，今次輪到《馬克白》— 是甚麼使你屢次回到莎士比亞的作品？導演莎士比亞是一趟通往未知的旅程。和其他作家相比，他

製作莎士比亞翻譯劇有甚麼挑戰和得着？

的作品潛力渾厚，能讓導演和演員不斷發掘新事物，實驗不

最大挑戰是要超越另一語言在文化語境上的限制，精準傳達

同的表演形式。上演他的劇就如運動員苦練爭勝：念茲在茲

原文神髓。多年來編導莎劇，我慶幸身旁有一位好翻譯，他

如何對戲劇的肌理作更深刻的挖掘，看到表面以外的事情。

對台詞語氣和風格的掌握恰到好處，語句既不會流於古僻，也不會過份通俗。在他的襄助下，我所有執導過的莎士比亞

你認為你對莎士比亞的改編反映到香港文化的面貌嗎？

劇場都有跌宕鮮活的戲劇語言，引發觀眾的好奇，使他們投

這是我構思表演和改編此劇時縈繫於心的事情，那時香港正

入專注。

經歷她的歷史上其中一段最艱困的時刻。我現行的改編就在

你以簡約美學著稱，也常把形體劇場的元素加入作品中。如此簡約的劇場設計，如何營造原劇中蘇格蘭魑魅魍魎的氣氛？

這陰鬱的語境下開展：一對現代夫婦夢回遠古中國的湮遠年月，進入馬克白的陰冷世界。他們成為馬克白和馬克白夫人，邂逅劇中不同角色。受到女巫們的登基預言蠱惑，馬克白沾手連番殺戮，他與夫人同受沉痛後果……當兩夫妻自夢中醒

我不太在乎原劇裏蘇格蘭的場景設定，反而較著重劇情肌理所允許的表演時空，以及透過演員在台上的存在感和演出，我最終想為觀眾帶來一種怎樣的感覺。作為亞洲人，我的簡

來，他們開始思考在現實的昏亂世局中自身所處的位置。這是否對香港現下境況的隱喻？我也問自己這個問題。

約和形體藝術風格部分承傳自本身的文化底蘊，部分則源於我對西方簡約運動的共感和鍾情。我相信任何空間一旦被定義，便會擁有自己的生命。演員必須在這空間內紮根，發展自己的靈性與藝術生命，同時超越它，以臻更細膩的精神境界。《泰特斯》與《馬克白》都有陰險狠辣的女性角色。你有意將塔摩拉與馬克白夫人作一比對嗎？如果我們相信每個人本身具備男性和女性特質，便不難明白人性的黑暗面同樣無分男女。塔摩拉與馬克白夫人擁有強大的男性能量，強大得只能讓她們落入自我毀滅的下場。相反，馬克白當初不忍弒君便反映他人格的陰柔一面。故此對我來說，馬克白和夫人分別代表生命源頭的陰和陽，像塔摩拉和艾倫一樣。

FestMag

慾之念

鄧樹榮談改編莎士比亞的《馬克白》

Co-commissioned by London’s Shakespeare's Globe and the Hong Kong Arts Festival, Macbeth from Tang Shu-wing Theatre Studio premiered in London in August 2015 and makes its Hong Kong debut at the 44th HKAF. Tang Shuwing, who has been hailed as “the alchemist of minimalist theatre”, transposes the Scottish hero and his tragedy to China, and challenges the audience to see the ubiquity of malice in human nature. Source | Shakespeare’s Globe

What are some of the challenges and rewards of working with Shakespeare in translation? The major challenge is how to communicate the spirit of the original text through a different language by jumping out of the literary constraints of the latter. My experience and the resulting reward so far is my fortune to collaborate with a translator who is able to grasp the level of language to be spoken by the actors without sounding too old-fashioned or too colloquial. As a result, the translated language of the plays of Shakespeare which I have directed becomes a theatrically heightened one, serving as a catalyst to arouse the curiosity and attention of the audience. You are known for your minimalist aesthetics, and for incorporating elements of physical theatre into your work. How does your preference for a simple, minimal design evoke the atmospheric Scottish location of the play? I have been thinking not so much about the atmospheric Scottish location of the play, but rather the possible time and space inherent in its dramaturgy, and also the ultimate feeling I want to convey to the audience through the actual presence of the actors on stage. My minimal design and physical approach partly come from my cultural heritage as an Asian and partly from my fondness for the minimalist artistic movement in the West. I believe that any space, once defined, has a life of its own. Actors must be able to ground their own life on this space and to simultaneously transcend it to arrive at a more subtle spiritual level. Both Titus Andronicus and Macbeth feature strong female characters in villainous roles. Are you interested in the parallels between Tamora and Lady Macbeth? If we believe that every human being embraces both

Loves

masculine and feminine qualities, we should be able to agree that the dark side of humanity dwells both in men and women. Both Tamora and Lady Macbeth possess strong masculine energy, so much so that self-destruction is inevitably their destiny. On the contrary, the initial reluctance of Macbeth to commit the murder reveals his feminine side. So, for me, Macbeth and Lady Macbeth are yin and yang of the source, similar to Tamora and Aaron. What is your view on the supernatural elements in the play? Witches can be regarded as professional shamans. Asian culture has a lot of shamanism as well. I think that the witches should be portrayed as characters rather than reflection of the inner devils within the mind of Macbeth. The question is therefore how to present them in a theatrical way which best serves the purpose of their existence. You have directed Hamlet and Titus Andronicus, and now Macbeth – what is it that draws you back to Shakespeare’s work? Shakespeare is a journey to the unknown. Compared to other writers, he has got incredibly strong potential for directors and actors to discover things, and to experiment with forms. Staging a play of his is like a sportsman working hard to win: how to make deeper investigation on the dramaturgy by seeing beyond the superfice. Do you think that your take on Shakespeare reflects aspects of Hong-Kong’s culture? This is something in my mind when I conceive my staging and adaptation work, at a time when Hong Kong lives through one of the hardest times in her history. My current version unfolds itself under this context: A modern couple makes a dream in which they enter into the universe of Macbeth in a buried past of ancient China. They assume the roles of Macbeth and Lady Macbeth and encounter the different characters in the play; triggered by the words of the witches that Macbeth will become the King, Macbeth commits a series of murders and the couple suffers the consequences… When they come out of the dream, the couple begins to contemplate their place in this turbulent world. Is this having any reference to the current situation in Hong Kong? I also ask myself this question. FestMag

慾之念

Tang Shu-wing on Adapting Shakespeare’s Macbeth

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威爾第刻苦創作《父女情深》威爾第在 1 8 5 5 年寫《父女情深》時正值他創作生涯的高峰

華麗的齊唱場面令人留下深刻印象，成為全劇的高峰。在這

期。在作曲家調侃自稱為「刻苦如廚奴」的時期，他不斷琢

場戲中，威爾第的「晚期」抒情風格不單在波卡涅拉從內心

磨技巧，創作了 2 0 套歌劇，把所學的融會到三部經典鉅著

迸發「百姓！貴族！」的真誠澎湃唱段中發揮得淋漓盡致，

中，分別是《弄臣》、《遊吟詩人》及《茶花女》。在《遊

他的抒情風格亦同時為艾美莉雅祈求和平的獨唱部分增添動

吟詩人》中，威爾第仍然沿用一貫的歌劇創作風格，用簡單

人的音樂輪廓。最後保羅被迫咒詛自己，這場戲以毛骨悚然、

的伴奏襯托以「宏大」旋律寫成的獨唱詠嘆調及合唱，但在

震懾的齊唱樂旨結束，成了後來《奧賽羅》（於 1886 年創作）

《茶花女》( 1853) 他開始以貫穿式的手法創作，利用宣敘調

伊阿古詠嘆調「我相信一位殘酷的上帝」前身。

及齊唱段落推進情節。到了《父女情深》，威爾第更進一步，獨唱、二重唱、較大型的齊唱段落都是由戲劇情節衍生出來。

威爾第為樂團部分創作了精采的音樂，這早在初版時已可見一斑，修訂版本更突顯出他超卓的技巧。以各器樂部分對比

1857 年《父女情深》的首演並不成功，威爾第擔心他的音樂

鮮明的音色來營造各種情緒氣氛，包括聲音和悅的木管、響

「沒有被充份理解」。在經典的研究著作《威爾第著名歌劇》

亮的高音弦組、嚴肅的低音銅管、如來自天國般的豎琴，或

中，音樂家兼作家史柏克．休斯認為作品「對當時的觀眾過

是邪惡的低音單簧管。樂團細緻地描繪氣氛細節—如海上波

於實驗性。這不是他們所認識的威爾第，甚至作曲家自己也

光瀲灩的陽光、慢慢蠶食波卡涅拉身體的毒藥，以及在他死

不認識這個威爾第。有些段落更具有驚人的前瞻精神。」

時表達痛失之情的葬禮鐘聲等。

威爾第執意認為《父女情深》該留存下來，在超過 20 年後，

威爾第的《父女情深》別具前瞻精神，尤其後來的修訂版本

威爾第在 1 8 8 0 年重新把作品修正，這次作曲家（再次引用史

更是他在音樂理念上提昇的象徵。這套作品亦使他駕輕就熟

柏克．休斯）「把他後期歌劇作品中極具個性的華麗風格完

地創作出最後兩套歌劇大作—《奧賽羅》和《法斯塔夫》。

美地演繹出來，這種風格給予作品獨特的力度及流暢度。」

《父女情深》是威爾第最優秀的作品之一，凶險兼具爆炸力，

他把生硬的宣敘調段落換成自由但具戲劇效果的交談；歌唱

鮮明的角色刻劃加上細緻的音色令這套作品成為不朽的經典

旋律亦變得更切合角色，使人物性格更鮮明；威爾第也重寫

大作。

了西蒙與親女兒動聽的「相認二重唱」，音樂更細緻動人；而壯觀的議會廳一幕更是修訂版文本創作人阿里高．博伊托在第一幕完結前加插的，威爾第為這場戲創作全新的音樂，

第 44 屆藝術節帶來由指揮家羅拔圖．阿巴度，與意大利都靈皇家劇院攜手合作的威爾第《父女情深》演出。文 | 喬納森．布頓中譯 | 陳楚姍

FestMag

慾之念

Ramella & Giannese © Teatro Regio Torino

When Verdi composed Simon Boccanegra in 1855 he was at the height of his powers; having learned his craft during what he called his “years in the galleys”, he had written 20 operas, culminating in three great masterpieces – Rigoletto, Il Trovatore and La Traviata. For Il Trovatore Verdi was still largely following the familiar operatic convention of solo arias and choruses with “big” tunes and simple accompaniment, but in La Traviata (1853) he had begun to move towards a pattern of throughcomposed scenes in which recitative and ensemble passages advance the action. He took this process still further in Simon Boccanegra, with solos, duets and larger ensembles emerging from the dramatic situations. The first performance of Simon Boccanegra in 1857 was a flop; Verdi feared that his music “was not fully understood”. In his classic study, Famous Verdi Operas, Spike Hughes suggests that it was “a little too experimental for the public of its time. It was not the Verdi they knew; it was sometimes not even the Verdi the composer himself knew. There are passages... which look ahead in an astonishing manner.” Verdi remained convinced that Boccanegra was worth saving. When he came to revise it more than two decades later, in 1880, Verdi had (to quote Spike Hughes again) “perfected that highly personal declamatory idiom which gives his later operas their peculiar strength and fluency”. He replaced stilted passages of recitative with freely flowing but dramatically pointed conversational exchanges; vocal lines were adapted to give the characters more clearly defined personalities; the beautiful “recognition duet” between Simon and his new-found daughter was rewritten to become even more tender

Ramella & Giannese © Tentro Regio Torino

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and moving; and for the magnificent Council Chamber scene added by Verdi’s new librettist Arrigo Boito at the end of Act One, Verdi composed entirely new music for an impressive grand ensemble which became the high point of the drama. In it, Verdi’s “late” lyrical style found expression not only in a heartfelt outburst for Boccanegra himself – “Plebe! Patrizi!” – but also in a lovely arching solo line for Amelia as she prays for peace. And the scene ends with a bloodcurdling, thunderous unison theme as Paolo is forced to curse himself, prefiguring Iago’s “Credo” in Otello (composed in 1886). Verdi’s skilful handling of the orchestra, already notable in the earlier version, becomes even more remarkable in the revised score; moods are conveyed by the contrasting colours of delicately voiced woodwind, radiant upper strings, sombre low brass, angelic harp or a sinister bass clarinet. Atmospheric details are masterfully portrayed by orchestral means: the glitter of sunlight on the sea, the slow poison invading Boccanegra’s veins, the tolling of funeral bells at his death. The forward-looking nature of Verdi’s music for Simon Boccanegra – particularly in its later revision – is a sign of the evolution of his musical thinking; it also points the way to his effortless mastery of voices and orchestra in his last operas, Otello and Falstaff. Boccanegra is one of Verdi’s finest achievements, a powerful, brooding masterpiece of musical characterisation and subtle colours. At the 44th HKAF, conductor Roberto Abbado leads the Teatro Regio Torino in their production of Verdi's masterpiece. Text | Jonathan Burton

FestMag

慾之念

Verdi’s Epic Simon Boccanegra

尋找《簡愛》Discovering Jane Eyre 布里斯托老域劇團與英國國家劇院聯合改編創作的夏洛蒂．勃朗特的作品《簡愛》即將登陸香港。在國家劇院

指導下，又能夠獲得很有塑造空間的角色，可以有自己的表演。

彩排時，眾演員向艾瑪．高斯登娓娓道來他們在重現這

克萊格．愛德華茲：故事人物的舉止受到時代的侷限，因為

部經典時的編作過程，以及與導演莎莉．庫克森合作的

他們受其歷史時空的束縛。但劇中有當代音樂、當代舞台的

經歷。

動作，如翩娜．包殊舞蹈團的風格一般。舞台背景非常開放，極具現代風格，沒有橡木傢俬或者鑲護牆板的墻。

關於原作小說及其舞台搬演

西蒙．山德士（貝茜／白蘭琪．英格朗姆／戴安娜．里弗斯）：

瑪姬．塔格尼（里德太太／費爾法克斯太太）：初讀這部小說是多年前的事情了，當時只是當做愛情故事來讀。而這次我更為作品中女性爭取平等的力量所震撼，在作者的年代，

2014 年的原製作分為兩部分，我們花了七週半的時間彩排，但在預覽的時候我們仍然在刪減內容，並且進行技術設備的彩排。

這思想是多麼超前。如今，我們仍在爭取女權，但在 1847 年，

菲利克斯．海斯：重新演繹一部你之前已經創作過的作品，

這則是非凡之事。

很容易讓你不再認真去思考如何重新切入或重新塑造。

菲利克斯．海斯（羅切斯特）：作為劇團，我們很早就決定

西蒙．山德士：把原有製作的框架再次打破感覺很奇怪，但

了不以古典風格改編《簡愛》，而是要作非常現代且具戲劇

又是非常妙的做法。其實有些地方大家之前都覺得不太對，

元素的改編。誠如莎莉．庫克森所言，這部小說講述生命的

比如有些對話和動作不太流暢。重新改造原有的作品是一種

故事，而不是愛情故事。原作的題目是《簡愛—一部自傳》，

別樣的挑戰，也是一個學習的過程。

這是關於一個人一生的故事，而非兩人相愛的故事。文 | 艾瑪．高斯登中譯 | 王明宇

麥德林．沃羅爾（簡愛）：人們對《簡愛》有着很深的感情。把這樣一部影響深遠的作品搬上舞台，你要是希望取悅所有人，那麼註定會慘遭失敗。你要用劇團的眼光去看，創作一個感覺屬於自己的版本……我們通過與夏洛蒂．勃朗特所創造的世界保持一致，把作品塑造成我們眼中豐富多彩的世界。菲利克斯．海斯：在小說中，簡和羅切斯特的每次會面都標誌着他們關係的逐步形成，人物的性格隨之漸漸浮現。但在舞台上我們沒有時間演繹所有細節，因此我們只擷取最關鍵的時刻，用形體、音樂和動作來表達。小說中，兩人有一段對話長達 30 頁，我們精簡為片刻的場景，輔之以一把梯子、一束燈光、一個眼神和一段漸強的音樂。與莎莉．庫克森合作重新呈現《簡愛》梅蘭妮．馬沙爾（伯莎．羅切斯特）：每次彩排，我們都要討論「今天我們要做甚麼？我們如何把這部劇整合起來？」克萊格．愛德華茲（波洛克赫斯特先生／派樂／梅森）：莎莉很倚重演員、樂師、設計師以及舞台管理人員來提供新的想法。她就如編輯一般，建議我們去嘗試哪些想法。她允許每個人有想法，在她眼中沒有不成立的想法，也就是說當我們排一部作品的時候，大家都覺得作品的成果有自己的一份在其中。麥德林．沃羅爾：莎莉有着犀利的鷹眼和廣闊的視野，她非常清楚自己想要的作品是如何的。但作為演員，我們在她的

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On the Novel and Adapting it for the Stage Maggie Tagney (Mrs Reed/Mrs Fairfax): I first read the novel a long time ago. The first time I just read it as a love story. This time I was much more struck by the strength of the woman's fight to be equal, how ahead of her time she was. We’re still fighting but in 1847, it was extraordinary. Felix Hayes (Rochester): As a company we decided very early on that we aren’t doing a classic adaptation of Jane Eyre. We’re creating a very modern and theatrical adaptation. The novel is a life story, not a love story, as Sally Cookson said to us. The original title was Jane Eyre – an Autobiography. It is a story about someone’s life, not about two people falling love. Madeleine Worrall (Jane Eyre): People have strong feelings about [Jane Eyre], and if you set out to make a piece of theatre from such a seminal book and hope to please them all, you’re going to fall flat on your face. You have to make the version that you as a company feel is yours… We’ve shaped it into what we think is a very rich

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world, entirely in keeping with the one Charlotte Brontë created. Felix Hayes: In the book, every meeting between Jane and Rochester gives absolutely crucial signs of their relationship beginning to form, and the characters beginning to show themselves. We don’t have the stage time to be able to play all that so we find the crucial moments and express them physically, in the music and the movement. One of the conversations they have in the book is something like 30 pages long, so we boil that down to a moment with a ladder, a light, a look and a swell of music. You have to find theatrical ways to tell the story. On Restaging Jane Eyre with Sally Cookson Melanie Marshall (Bertha Rochester): Every single rehearsal was a matter of saying, “What are we going to do today? How are we going to put this together?” Craig Edwards (Mr Brocklehurst/Pilot/Mason): Sally relies a lot on the actors, the musicians, designers and stage management to constantly come up with new ideas. The bigger the cast, the more ideas are floating around. Like an editor, she’ll suggest which ideas to try out. She’ll allow anyone to have an idea and all are valid, which means that when we produce a piece of work, we all have a sense of ownership. Madeleine Worrall: Sally has an eagle-eye and vision – she has a very clear idea of the shape she wants. But as an actor, you genuinely get a very shaping role in the direction of the play, and your own performance. Craig Edwards: The characters behave within the confines of the period. They are trapped historically where they are. But there is contemporary music, contemporary movement, in a kind of Pina Bausch ensemble way. The set has a very open, modernist look to it: there is no oak furniture or panelled walls. Simone Saunders (Bessie/Blanche Ingram/Diana Rivers): The original production in 2014 was in two parts, and we made it over seven-and-a-half weeks of rehearsal. We were still cutting and snipping things in previews, and still rehearsing in the tech. Felix Hayes: There’s something about revisiting a piece of work you’ve done previously that allows you to be very unprecious about how you reapproach it or rebuild it. Simone Saunders: It feels strange to be breaking it down again, but it’s also brilliant. There were bits we all felt weren’t quite right, where the dialogue or the action didn’t flow fluidly. It’s a different challenge to rehash something. It’s a learning process. Text | Emma Gosden

FestMag

慾之念

Charlotte Brontë’s Jane Eyre comes to Hong Kong as an adaptation by Bristol Old Vic and National Theatre of Great Britain. During rehearsals at the National, the actors talked to Emma Gosden about the devising process and working with director Sally Cookson in this restaging of the classic.

香港藝術節今年帶來比利時藝術組合 SKaGeN 創辦人之一華倫天．達恩斯創作及演繹的兩個獨腳戲 ─《大嘴巴》與《小戰爭》，此兩部獨立成篇卻又精神貫通的作品，雙雙導引我們進入探究人類的慾望、語言與權力，及戰爭與苦難的旅程。《大嘴巴》展現跨越二千多年，歷史上著名的公開演說之神奇力量。達恩斯在舞台上一人分演多角，呈現煽動人心的歷史演說，讓觀者看到演說家背後的妙訣，如何使用語言藝術以致聽者深被影響及觸動。從雄辯滔滔的將軍到獨裁者，《小戰爭》則把場景移師至更內在的小論述中，演繹受戰火牽連的平凡人物，揭示他們的內心世界。此劇把士兵、護士和平民的日記、信件及證詞編織起來，從另一角度點滴細說有關戰爭與殺戮的故事。當《大嘴巴》在闡述人們何以被激昂的演詞動搖，轉向支持戰爭並被激勵至奔赴戰場，《小戰爭》則從隙縫間窺探那些身處戰爭前線的小人物，窺視他們由起初對戰爭的熱切，到之後對戰爭的宏大願景的失望與幻滅。惟此終局經常在歷史大論述中被略去。《大嘴巴》與《小戰爭》，讓我們見證人性中光明與黑暗之盡處，及明瞭人類如何做出理性所不容之事。文 | 高捷思中譯 | 林凱敏

華倫天．達恩斯談戰火的悲劇

BigMouth/ SmallWaR : from Oratory to Disillusion A showcase of the breakout talent of Valentijn Dhaenens, founder of the Belgian theatre collective SKaGeN, the dual productions BigMouth / SmallWaR take us on a spellbinding journey into passion, language and consequence. BigMouth leads us through two and a half millennia of oratory, using speeches across the centuries to demonstrate the power of the spoken word. Speaking in the voices of historical figures, Dhaenens invites us to see the art on the benchtop, to deconstruct it and understand why it affects us as it does. SmallWaR takes the journals, letters and testimonies of soldiers, nurses and civilians, and weaves them together to tell the stories of those who do the fighting and dying. Where BigMouth sheds light on how men and women are swayed to support the war, SmallWar presents glimpses into the days of those who are in the trenches – their private passions, their expectations of war and the disillusionments that come after, which are omitted from the grand narrative of history. BigMouth / SmallWaR allows us to witness humanity’s capacity for good and evil, and how man may be prompted to act against reason. Text | Thomas Gregory

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Loves

斯認為路易斯．法拉堪是「當今在世最煽動人心的演說家之一」。他解釋道：「法拉堪講話、吶喊與唱歌的風采皆與其他牧師如馬丁路德金等一脈相承，而他更為強勢尖銳，敵我分明，毫不留情。」他接着說：「約瑟．哥布斯的總動員戰爭演說為道德所不容，但卻寫得精采絕倫，富有文采的長句比比皆是，令人心動神搖。至於最戲劇性的演說便非伯里克利的〈國殤講詞〉莫屬了，他發表該演說時腳下躺滿死傷枕藉的將士，面前是剛失去孩子的父母。」在宏大演說的另一邊廂，隱藏着平民百姓的渴求、希冀與絕望。達恩斯談及到創作《小戰爭》時回想道：「在演出《大嘴巴》的時候，我才有《小戰爭》的構想。」他接着說：「作為演員，你很容易便感受到觀眾對好演說的動容和投入……我希望讓人們見識這些演說的強大力量，我也想藉此誌念這些演說家的受害者。這些演說家皆凡人，他們渴望奪取人心，操縱歷史。」以第一次大戰作為背景下，《小戰爭》映照出在戰火中的卑微生命，他們當時的生活與悲喜。達恩斯說：「我對戰爭中護士們的事跡深感興趣……美國直至後期才加入戰爭，但當年有很多年輕護士從美國遠道而來，在法國醫院照顧傷兵和民眾。假如你有機會閱讀她們的日記，你會驚覺在短短數星期間，他們竟從滿懷理想變得怨憤不平……就像親眼目睹一個天真漂亮的、矢志救助傷兵的『白衣天使』在短短數星期如白駒過隙的時光中，墮落成為恐怖毒舌老婦。這種戰爭衝突暴露的人性教我深思。」此劇還描寫了後來的戰事，如越戰與巴勒斯坦戰爭等。達恩斯更談及到他選材與構想主題的過程：「把現代阿富汗戰爭與一次大戰甚或更早時期的士兵書信對讀，內裏有深刻的含義……我希望關注戰爭中的受害者、士兵和護士，並帶出人類情感不變的本質：就如 1 6 世紀一封士兵寫給未來孩子的信，與今日的可以是並無二致，雖古今隔閡，情感始終如一。」「總言之，這場表演希望帶出的訊息有二：其一，我們探討歷史上的政治家是如何將士兵一次又一次送上戰場；其二，互相殺戮是人性的一部分，這是戰爭揭示的可怕現實。」

Of all the orators included in BigMouth, Dhaenens considers Louis Farrakhan “one of the most sensational orators still alive”. “He shouts and sings in the tradition of other preachers such as Martin Luther King, but with a more aggressive and enemy-directed approach,” he explains. “The total war speech by Joseph Goebbels is morally condemnable, but stylistically so well-written and composed with long literary sentences. It gives me the chills. The most theatrical goes to the Funeral Oration of Pericles with hundreds of dead soldiers at his feet, and their parents in front of him.” On the other side of the grand speeches are the impulses, hopes and despair of the ordinary people. “It was while performing BigMouth that the idea for SmallWaR came to me,” the director says about the creation of SmallWaR. “As an actor, you can feel the audience getting enthusiastic about good oratory; it just works… I felt the urge to show people where these speeches can lead and I wanted to make something that was about the victims of those speech-makers. All those speakers were aiming to be something bigger than just an individual; desperate to have power over the masses and to have power over history.” Set against the backdrop of WWI, SmallWaR illuminates the lives of those whose selves became entrenched in the war. “I was very attracted to the stories of the nurses,” Dhaenens says. “The US wasn’t involved in The War until the very end, but a lot of young nurses came over from the US to help in the French hospitals. If you read their diaries you can see them change, in a period of a few weeks, from being very idealistic to being very cynical… To see how one naive, beautiful person – who thinks of herself as kind of an angel who is going to help the soldiers – can turn into a terrible, cynical old woman in just a matter of weeks. And I think this human side of the conflict is the thing that affected me the most." The play also features contemporary events like the wars in Vietnam and Palestine, bringing to light that war is a recurrent tragedy of human error. “It was very important to have letters from soldiers in Afghanistan next to [letters from] soldiers of The War, and even earlier… I wanted to talk about the victims, the soldiers, the nurses, and to stress the point that a letter written by a soldier to his unborn child – that could be the same letter today as it was in the 16th century,” Dhaenens says about his choice of materials and motifs. “On one level, we look at the politicians who send soldiers or the world into war, time and time again. On the other level you see that it’s also in human beings to kill each other.”

資料整理 | 黃進之中譯 | 李凱琪、林凱敏 Compiled by | Nicolette Wong Interview excerpts taken from Love, Words, Power & Louis Farrakhan: An Interview with Valentijn Dhaenens by Richard Aslan (miniaturelion.co.uk), first published on the website of Mayfest, Bristol UK (mayfestbristol.co.uk) 2013; and from SmallWar: A Gripping Exploration of the Tragedy of War – Adelaide Festival Interview by David Robinson, originally published on The Clothesline, 25 January 2015.

FestMag

慾之念

在《大嘴巴》裏演繹的許多名演說家中，達恩

雷里恩．博里描繪了史蒂芬尼．菲斯特的佛蘭明高舞者肖像。菲斯特分別與有自己思想的舞裙對抗共舞、在狹小的排練室裏和幽暗的四方淺水池上傾情獨舞，她把生命和造詣濃縮在一支作品裏，述說外在和內在空間的關係、佛蘭明高那孤獨的熱情，以及我們對於存在的掙扎。導演奧雷里恩．博里談《舞轉人生》的創作源起

Loves

史蒂芬尼．菲斯特談《舞轉人生》的佛蘭明高舞蹈「即興、重複和佛蘭明高的去語境化令我在動作和藝術詮釋上獲得更大的自由，並擴闊了我對佛蘭明高的視野。佛蘭明高毋須敘述便能說話；無論我們有否意識到，它都會向我們講話。」「觀看佛蘭明高時，你所追尋的真實時刻就是你看見藝術背後那個男人或女人的瞬間。我個人並不覺得《舞轉人生》是一齣獨舞。儘管它滿足和依從舞蹈的寫照本質，但作品也有舞台調

「我希望與史蒂芬尼合作，利用舞蹈和空間去刻劃她的肖

度、燈光和結他手荷西．山卓士和歌手亞爾拔多．加西亞的音

像……因為舞蹈是走向一個人內在的路徑。我希望作品的

樂。」

戲劇指導元素側重她的經歷和她所作的特別抉擇 ─放下原有生活的所有、到西維爾投身佛蘭明高─這個重大的決

文 | 約翰．雅靈斯窩夫中譯 | 徐詠殷

定。」「第一部分史蒂芬尼把玩的裙子不是真的裙子；第三部分則是她在水中跳舞。那並非乾淨水，而是闇暗、骯髒的水，但它亦有美麗的地方……另外裙子不是真的，所以才有對它的掙扎。我希望把困阻呈置於她的舞蹈，看看有甚麼能跑出來。」

佛蘭明高新一章

©Aglae Bory

A New Flamenco Story In Questcequetudeviens? (What’s Become of You?) by Compagnie 111, French director and architect of theatrical space Aurélien Bory creates a portrait of flamenco dancer Stephanie Fuster. Dancing against a dress with a mind of its own, from within the confines of a tiny studio, and through a dark square of shallow water, Fuster’s life and art are transfigured in a piece that speaks of the relationship between the outside and the inside space, the lonely passion of flamenco, and our struggle to exist. Aurélien Bory, director, on the creative impetus behind Questcequetudeviens? “I wanted to take Stephanie and make a portrait using dance and space… as dance is a kind of path into the interior of a person. I wanted to lean some of the dramaturgy on [the story of her life] and on this very special choice she made – to leave everything [to go to Seville] and dedicate herself to flamenco.” “In the first part [of the show] Stephanie is playing with a dress, which is not a real dress, and in the third

part she’s dancing in water. It’s not clean water; it is dark water, dirty water, but it also has a kind of beauty… And the dress is not real so it is a struggle with the dress. I wanted to present obstacles to Stephanie’s dance to see what emerged.” Stéphanie Fuster on flamenco in Questcequetudeviens? “The use of improvisation, the repetition, and the decontextualisation of flamenco has given me a greater freedom in my movement and my interpretation of the art, and has expanded my own vision of flamenco… Flamenco can speak without a narrative; it speaks to us whether we know it or not.” “[When] you go to see flamenco this is the moment of truth that you look for: the moment when you see the man or woman behind the art… Personally I don’t see Questcequetudeviens? as a solo. Even if it is a portrait that serves and follows the dance itself, there is also the staging, the lighting, and the music of the guitarist José Sanchez and the singer Alberto Garcia.” Text | John Ellingsworth

Excerpted from an interview with Stéphanie Fuster at 2014 London International Mime Festival and an interview with Aurélien Bory at 2013 Festival Circa in Auch, France, both by John Ellingsworth.

FestMag

慾之念

111 藝團的《舞轉人生》中，法國導演及劇場空間建築師奧

Manifold Discourse ofChinese Lesson 大家對以記錄孔子與其學子對話及言行集結而成的匯編─ 《論語》，該不感到陌生，「三人行必有我師」、「己所不欲勿施於人」等金句無論在日常話語或生活中比比皆是。今年香港藝術節委約創作的戲劇《論語》亦以此為題，然而，此劇探討的不是曾為莘莘學子金科玉律之儒家學說。承接以往藝術節委約新銳舞台系列的劇作方向，《論語》一劇亦以社會議題為起點，透過一連串主要為中國語文、歷史的課堂，以接近呈現真實的方式展示劇中幾位學生與老師之間的互動，當中也探討對社會影響深遠的教育制度此重要一環。本文略述編劇與導演鄧智堅及助理編劇陳冠而創作的《論語》，如何在這動盪的社會下，以獨特且開放性高的劇場方式，展示個人在這眾說紛紜的大時代下處理各種自身，以至社會的問題。以紀錄式的創作，走向疑幻似真的劇場空間《論語》的創作方式別開生面，是「非傳統敘事式」的劇場。創作人通過多場工作坊、學生訪問等，汲取現今大中學生在討論爭議性的議題上所運用的語彙，創造出一個疑幻似真的劇場空間。這種方式使展現在舞台上的每幕如鏡子般，開放地讓觀眾觀照自身，藉此尋找各人對人生及社會議題的答案，並延伸討論。

因高度的開放性與「去中心化」，此平台與劇場空間製造出一種「眾聲喧嘩」的場域，超越平常權威話語的向心力，並透過老師與學生的互動或朋輩間的對話，碰撞出一種表述後的回聲，彼此雖有連接性卻沒有緊扣的束縛，且兼容多種不同話語的存在，是一種自由與多元的形式，此為其一維度。除了不同世代交流後碰撞的「喧嘩」（劇外的創作人與學生間、劇內的老師與學生間、朋輩間），陳冠而亦言，編劇的時候也因各種緣由，意想不到地擦出不少火花。這種不同層次劇外劇內的「眾聲」，以至現實課室內不同學生「眾聲喧嘩」之場景（當然劇內亦如是）、各人的表述重複往來的回音，讓劇作更多元、更整全。真正的獨立思考？英國哲學家羅素曾道：「教育就是要使獨立思考成為習慣。」若說學子皆為「百年樹人」，劇中的老師雖為長輩，卻沒有以一種高姿態的父權式教學灌溉林木，反之打破了二元的對立，以涉及中國語文、歷史的問題，引導並鼓勵學生獨立思考，一反「填鴨式」的傳統教學模式、著重背誦、一種狹隘的「精英主義」。而反映及指涉的真實狀況是如何，學子是否能做到「格物致知」、通識教育有否貫徹初衷、培養學生

有云「學校是社會的縮影」，如是說學校此場域也扮演重要

的獨立思考，就有待觀眾自我反思、詰問。更長遠及宏大的

角色，而並非只作背景，如陳冠而所說，劇作的時空故意設

是，使學生成為「全人」，整體地了解人類的來龍去脈與未

為現時的香港，探討學生面對 D S E、在將離開校園與面對社

來的發展，關心所處社會以至更宏觀地看世界，這不應囿於

會之間的「門檻期」，年青人如何思考各種校內、個人以至

獨立專科，而應更全面的連繫各個領域，如當代哲學家哈巴

社會的問題。而此劇的不同角色（主要為幾位中學生與由朱

馬斯所言─去掉不同領域的絕對區分，才有建立理性溝通的

栢謙飾演的朱 s i r）各自又恰巧代表着社會上某種聲音；然

可能，真正的「全人教育」理應如此。

而，這種如真實存在的人物並非透過抽象化或普遍化等處理所「製造」出來的平面人物，而是基於各種研究與考察，確確實實的在「原型」的基礎上推進，從而創造出更真實的存在及空間，與「外在」社會文化的脈絡進行對話，相生、交織，希望帶出非單一、雙軌，甚至是千姿百態的音調。 70

「眾聲喧嘩」與開放多元性

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這種個人面向群體、小我與大我間交接的維度，涵蘊着儒家坦蕩面對群體、關懷社會的道德修養。所以《論語》之謂《論語》，有正面繼承也有反向的意義，非展示「獨尊一家」的

規範式思想，而是更開放的以此為「端」，所謂「有教無類」，

Loves

引領學子走向更自由、成為「全人」之路。亦如導演及編劇鄧智堅所言：「這些課堂不是說教式，而是跳脫式的，希望

Straddling between Reality and Drama

帶出更深遠的寓意」。而延伸可思考的也許是，當下的通識

Chinese Lesson is ground-breaking in that it breaks the traditional narrative. From workshops and interviews the two writers grasped the vocabulary used by university students and pupils when they debate controversial social issues. This vocabulary has been used in the play to simulate the real situation. In a way, Chinese Lesson is like a mirror, allowing the audience to reflect on themselves, and to seek answers and to discuss the many issues about life and society.

教學有否做到發展全人教育，還是打着獨立思考的旗號隱含灌輸式教育的暗渡陳倉，有待進一步的討論。身份認同多向度思考在當今社會討論「本土」的大氛圍下，文化身份是較個人的觀念還是絕對的切割式觀念？也許沒有特定答案。此劇加入來自內地學生一角，在現今「身份認同」再次進入社會論述之時，帶領觀眾探索各人對文化源流、身份認同的問題。而在 21 世紀當下，歷史洪流、後現代的失序與混雜的文化中，我們也許可從多向的角度思考，開放無限的想像力，超越有根與無根之間的定性想像去思考身份的問題，不囿於停留「非此即彼」的概念，跳出有礙討論的封閉式思考。結語劇中人物所探索的各種問題，非由處理社會群體之大事起始，往往由個人迫切面對自身的問題上出發，引用經典名言：「個人即政治」也許能點出。然而，每個人的想法和動機或有異，不能以單一的行動作普遍化的定型或標籤。觀賞此劇的同時或可細看，在「眾聲喧嘩」中各人行動背後之相異處，以及心理變化的不同。在如碎片狀的真理中，主體須獨自拾起各塊碎片，來拼湊一幅圖像，如是者，此劇打開了不同表象可能性，開放地以鏡像般的舞台來映照自身，從而延伸出理性和開放的對話與討論之可能。文 | 文海林

School is a small-scale simulacrum of society at large. The setting of Chinese Lesson therefore is significant. According to Chan, with the play set in the present Hong Kong, he intends to delve into how young people, as the prospect of the Hong Kong Diploma of Secondary Education Examination (HKDSE) and school-leaving is imminent, perceive their personal, school and social problems. The main characters – a few pupils and their teacher played by Chu Pak-him – represent certain voices in society. They feel so real and immediate because they are carved from research and observation, rather than from some abstract thinking or generalisation. They converse and interact with the “external” world, presenting diverse voices that exist in our multifaceted society expressing thoughts and feelings as the drama unfolds. The Presence of Manifold Voices Because of theatre’s highly liberal and autonomous nature, Chinese Lesson can embrace and exhibit different types of voices and vocabularies (heteroglossia), and shift the usual centripetal forces of the discourse of FestMag

慾之念

The Analects, a collection of sayings and ideas attributed to Confucius and his disciples, is firmly established in the canon of Chinese literature. Bon mots such as “When I walk along with two others, they may serve as my teachers.” and “What you do not want done to yourself, do not do to others.” still boast currency to this day. Chinese Lesson, an HKAF commission, is a modern interpretation of this classic. What the play attempts to address, however, is not the Confucian teachings upheld by Chinese pupils across millennia. It is instead a response to current social issues, continuing the approach of the New Stage Series. In a number of Chinese language and history lessons, a veristic interaction between pupils and teacher unfolds, issues of the day emerge and, needless to say, the city’s education system is strongly present. How should one deal with one’s own problems and those of society in this boisterous age? In an open and unique theatre space, Chinese Lesson, jointly written by Tang Chi-kin and Chan Kwun-fee, may offer a glimpse into this profound question.

What is Independent Thinking?

Last Word

The English philosopher Bertrand Russell said that education needs to offer “training in judicial habits of thought”. In Chinese Lesson, the teacher does not cut an aloof figure who indoctrinates his students in highhanded manner. Rather he guides and encourages his students to think independently by asking a host of questions about Chinese language and history. The teacher is a stark contrast to the long-established elitist teaching method which essentially consists in learning by rote. Does our liberal education really enable students to think independently? The audience is invited to mull over this question. The grand vision of education is to nurture students to the full: such students will be curious about what happens in society and in the world, in the past and future courses of humanity. Such a grand pursuit of knowledge belittles the demarcation of disciplines. The German philosopher Jürgen Habermas suggests that only do we demolish the absolute differentiation of disciplines can we establish rational communication. This is the true meaning of education.

The personal is political. What prompts the characters in Chinese Lesson to enquire into all these questions has more to do with the urgency of their own personal issues than with the community. That said, as there are voices galore, there are minds galore. It would be foolish to attribute a singular motive to one seemingly identical act. When you look closer, deeper, you will notice the differences and similarities between the characters and how they change over the course of the play.

Loves

from mainland China. The character seeks to invite the audience to question their own cultural roots and identities. In a postmodern age characterised by disorder, there is probably a greater urgency to think openly and imaginatively, and to go beyond the narrow dichotomy between “rootedness” and “rootlessness”. One example would be the French philosopher Gilles Deleuze who trod myriad paths in pursuit of his identity. He was no prey to the fallacious line of thinking which allows only two polar opposites.

What a man holds is a fragment of truth, what men possess is a panorama of truth. Chinese Lesson is a mirror in which we see our own reflections often unbeknown to ourselves. Such an awakening will eventually lead to a rational and open dialogue. Text | Man Hoi Lam

Translation | Anthony Chin

This negotiation between the self and the mass, the individual and the community speaks to Confucianism’s moral standards and concern over society. Chinese Lesson, making reference to The Analects, actually repudiates the bien pensant way of thinking – it embraces an inclusive style of education, irrespective of class, it paves the path towards a “free” and “full” person. “We don’t lecture in these lessons. We hope to bring about a deeper meaning of education,” says Tang. What we should ask ourselves is: does our liberal education help our students achieve “whole-person development” or does it serve to proselytise? Searching One’s Identity from Different Directions With the debate over localism getting hotter by the day, one person’s “localism” may have different roots from another person’s “localism”. Is one’s cultural identity a fluid personal conception or a rigid social conception? Perhaps there are no definitive answers. In Chinese Lesson, there is a character who is a student

FestMag

慾之念

power. Through the interaction between the teacher and pupils and the conversations between peers, the varied and loosely related voices of the characters emerge and are placed on an equal footing. In addition to the voices consequent on the interactions across generations, such as those between the writers and students, between the teacher and his students and among student themselves, the two writers’ voices have also been elicited, says Chan. The existence of these disparate voices, on stage and off stage, adds depth to the play.

生之歌

Life

偉大的藝術感動人，因為它觸動人心深藏的情感，叫我們面對人生最根本的問題。今屆香港藝術節將透過聖樂、安魂彌撒曲、吉卜賽舞曲和現代舞等節目反思生命與其後…… Great art stirs our deepest emotions and brings us face to face with the fundamental questions of human life. From sacred music and requiems to gypsy tunes and contemporary dance, an array of thought-provoking works at this year’s HKAF tackle the big questions, speaking to us about our lives – and what comes after…

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神聖三部曲─ 受難曲與安魂曲

巴赫、威爾第和布拉姆斯的聖樂以三種不同的方向探討上帝、生命和死亡的議題，組成一套壯麗的三部曲。巴赫以《聖馬太受難曲》講故事，威爾第以安魂曲作為禱告獻予上帝，布拉姆斯則用安魂曲安慰哀悼者。

A Sacred Trio Passion and Requiems

第 44 屆香港藝術節邀得萊比錫聖多馬合唱團為香港觀眾呈獻最正宗的《聖馬太受難曲》。由施瓦茨擔任指揮率領萊比錫布業大廳樂團和六位優秀獨唱家，細緻演繹定必為觀眾帶來一個難得的經驗。

不朽的巴赫《聖馬太受難曲》 The Enduring Greatness of J S Bach’s St Matthew Passion 巴赫的《聖馬太受難曲》跟古希臘劇作家的悲劇一樣，它們

巴赫繼承的受難曲傳統以德語而非拉丁語為語言，以福音書

之所以是偉大鉅著，是因為這些作品，到今天仍極具意義。

的敘述為骨幹，另加上詠嘆調和合唱音樂，用意是把耶穌及

早期音樂權威兼指揮家約翰．艾略特．加德納在《巴赫：天

其受難的事蹟，聯同相關的深思和宗教意義獻給會眾。

堂城堡裏的音樂》（Knopf, 2013）裏探討了巴赫的音樂與當代的關係，他對巴赫這位德國作曲家的描述發人深省。加德納提到該作品演出時的震撼感受：「《聖馬太受難曲》製造了一個時空，讓人遠離長久以來遭受聲音刺激的困擾和不斷的短促尖銳的噪音轟炸。」現代人資訊太多、隨讀隨忘，電子媒體即時滿足人類需要，像《聖馬太受難曲》這樣的作品，對現今社會來說更顯得不可或缺。在萊比錫欣賞聖多馬大教堂合唱團（很可能是 1727 年 4 月 11 日的受難節）首演《聖馬太受難曲》的聽眾，即使對冗長的崇拜（包括禱告、講道和音樂）習以為常，該次演出對他們

巴赫與萊比錫詩人克里斯蒂安．菲德烈．亨里奇（筆名彼康德）合作，由後者把馬丁．路德的德文版福音故事加上當地教徒熟悉的傳統聖歌（又稱為讚美詩），以及彼康德本人的詩作，寫成長達十五場的歌詞。彼康德的詩句安排在獨唱者連串的詠嘆調之間，對耶穌的受難事蹟作出現世的深思。《聖馬太受難曲》分為兩大部分：第一部分描述最後晚餐和耶穌，在客西馬尼園被出賣的情況；第二部分記述了耶穌被該亞法和彼拉多輪流審判，然後被釘十字架，最後被葬。根據當時慣例，牧者會在兩部分之間講道。

而言，相信仍是一趟空前的體驗。早於 1 7 2 4 年，巴赫於萊

巴赫把作品的重點從哲學論述，轉移到戲劇性的敘述，最後

比錫教堂任職音樂總監滿一年，他已經為萊比錫社區創作了

以音樂造成天崩地裂的效果。除了每首詠嘆調都富有坦率的

篇幅較短、但極具戲劇性的第一部受難曲—也就是《聖約翰

情感、精緻的音色外，作曲家在音樂架構上亦有超凡的設計，

受難曲》。《聖馬太受難曲》在規模和野心方面皆再進一步，

他以合唱團的聲音作為作品的支柱，開首結尾都由合唱團負

把馬太福音所敍述的耶穌基督受難配上音樂。

責，就好像大教堂的拱頂一樣支撐着作品。

受難曲是基督教每年受難節用以紀念耶穌受難的敘事聖樂作

不論聽眾的宗教信仰，《聖馬太受難曲》的現場演出，都能為

品，記述耶穌死前的事蹟，包括耶穌被出賣、審判，及被耶路

聽眾留下獨一無二的深刻印象。約翰．艾略特．加德納指出：

撒冷的羅馬政權釘十字架。巴赫的前輩和同儕同屬德國新教，

「巴赫的受難曲極具戲劇性，想像力非常豐富……就像偉大的

在當其時已發展了在受難節當日頌唱耶穌受難故事的做法。

戲劇一樣，那些不可言說的地方就是作品的力量所在。」文 | 湯馬士．梅中譯 | 張婉麗

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Life At the 44th HKAF, Thomanerchor Leipzig brings its powerful interpretation of St Matthew Passion to the Hong Kong audience. Featuring six exceptional soloists and accompanied by the renowned Gewandhausorchester Leipzig under the baton of Gotthold Schwarz, this concert offers a unique experience into Bach’s masterpiece performed by its most authentic exponents. © Matthias Knoch

Like the tragic cycles of the ancient Greek playwrights, J S Bach’s St Matthew Passion is a masterpiece because of what it means to us today. The early music authority and conductor John Eliot Gardiner points to this contemporary relevance in Bach: Music in the Castle of Heaven (Knopf, 2013), his thought-provoking portrait of the German composer, when he describes the overwhelming experience a performance of the St Matthew Passion offers: an experience “that creates space and time away from the fidget of perpetual sound bites and being constantly bombarded by noise coming in short sharp stabs.” In our era of continual bombardment with data that is immediately forgotten, with the instant gratification of electronic media, creations like the St Matthew Passion are more necessary than ever. Even for those listeners in Leipzig who heard the singers of the Thomaskirche perform the St Matthew Passion for the very first time (most likely on 11 April 1727, Good Friday) – listeners who were accustomed to lengthy worship services complete with prayers, sermons, and music – the experience must have seemed without precedent. Already in 1724, at the end of his first complete year as music director of the city’s churches, Bach had introduced the first of his great Passion settings for that community with his shorter but powerfully dramatic and involving St John Passion. Yet the St Matthew Passion went even further in terms of scope and ambition in setting to music the account of the Passion found in The Gospel According to St Matthew. The Passion is the narrative of the final hours of Jesus, commemorated in the Christian liturgical calendar on each Good Friday: Jesus’s betrayal and his trial and Crucifixion by the Roman political authority in control of Jerusalem. Bach’s predecessors and contemporaries in the German Protestant tradition had developed a more extended approach to the singing of the Passion story on Good Friday. The model Bach inherited from them used the vernacular German rather than Latin, with the Gospel narrative as

a backbone to which were added a series of arias and choral numbers. The result was to juxtapose the events of the drama involving Jesus and his suffering with added poetic meditations on their meaning and spiritual significance for the congregation in the present. Bach partnered with a Leipzig-based poet named Christian Friedrich Henrici (known by his pseudonym Picander), who crafted a libretto in 15 scenes mixing Luther’s German translation of the Gospel story with additional material: texts from traditional hymns well known to the Leipzig worshippers (these are also known as chorales) and his original poetry, which comes into the spotlight during the succession of arias for the soloists and which reflect on each of the Passion events just narrated, now from a present-tense perspective. The St Matthew Passion organises this material into two large parts: Part One covers the Last Supper and Jesus in the garden, ending with a dramatic account of his betrayal; Part Two recounts the trial of Jesus (first before Caiaphas and then before Pilate) and his Crucifixion, ending with his burial. Originally a sermon would have been delivered between the two parts. Overall, Bach shifts the focus from a philosophical perspective to a dramatic one, complete with a musical evocation of an earthquake. The emotional directness and exquisite tone painting of each of the arias approach represent merely one level of this vast structure. Bach’s genius here is also architectural, with the chorus playing the role of structural supports – like the grand arches in a cathedral – as in the framing first and final choruses. Regardless of the listener’s personal religious beliefs, the St Matthew Passion has an effect in live performance that is like no other. “It is the intense concentration of drama within the music and the colossal imaginative force that Bach brings to bear in his Passions,” writes John Eliot Gardiner, “that make them the equal of the greatest staged dramas: their power lies in what they leave unspoken.” Text | Thomas May

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生之歌

The sacred works of Bach, Verdi and Brahms form a sublime trio, exploring three very different approaches to God, life and death. Bach’s St Matthew Passion tells a story while Verdi’s requiem offers a prayer to God, and Brahms’s requiem promises solace to the grieving.

Life 家劇院的龐大陣容演繹最合適不過。劇院自 2 0 0 7 年由詹安德列亞．諾斯達出任音樂總監起，已經走出意大利，贏盡全球讚譽。他們於第 4 4 屆香港藝術節除了演奏《安魂彌撒曲》之外，還會呈獻一系列威爾第作品。

One could not imagine a more apt ensemble to present such a dramatic work as Verdi’s Requiem than an Italian opera orchestra. The orchestra of Teatro Regio Torino has been propelled to ever greater international attention since coming under the direction of Gianandrea Noseda in 2007. At the 44th HKAF, the orchestra presents a rich array of Verdi’s works in addition to the Requiem. © Christodoulou Ramella&Giannese © Teatro Regio Torino

Verdi’s Requiem for National Heroes

威爾第的《安魂彌撒曲》從一開始便為音樂會演出而構思，這也是此作具有歌劇性質的原因。威爾第撰寫此作的原因有二：一是 1 8 6 9 年為羅西尼的喪禮而寫的安魂曲《拯救我》；第二個讓作曲家動筆譜曲的原因，是 1 8 7 3 年詩人兼小說家亞歷山度．曼佐尼之死。曼佐尼是《婚約夫婦》的作者，這部作品對意大利文發展有舉足輕重的作用。在羅西尼逝世時，威爾第寫道：「羅西尼是意大利之光。假如另一個讓我們引以為榮的人物曼佐尼都離開人世，我們還有甚麼可持？」當時威爾第仍未想寫安魂曲，因為他認為現成的作品已有不少，實在沒有需要再增加一部，直到曼佐尼去世，威爾第才有深刻的感受動起筆來。在安魂曲中人類請求上帝憐憫，威爾第把音樂寫得令人動容，在著名的繼抒詠《神怒之日》裏，浩大的鼓聲代表了驚惶，而《死亡降臨》等段落則利用了轟鳴聲，全都教人難忘。「從前應許給亞伯拉罕及其後裔」的場面有如一幅圖畫，令人拍案叫絕。《羔羊經》以女高音和女中音八度同唱展開，非常精采，合唱團齊聲同唱加入，音樂的和聲逐漸變得豐富，最後又回到齊唱，閃閃生光的弦樂代表「願永恆的光照耀他們」。《拯救我，主》中的合唱部分是活潑的賦格，可見作曲家的技術精湛，女高音在高潮加入，她們以慢一半的速度唱出，教人驚喜。最後音樂回到開始時虔誠的氣氛。文 | 紀大衛中譯 | 張婉麗

From the beginning, Verdi’s Requiem was intended as a concert work, which to some extent explains the operatic nature of the music. The impetus for the work came from two directions, the first being to supply a Libera me for a requiem for the funeral of Rossini in 1869. The second spur was the death in 1873 of the poet and novelist Alessandro Manzoni, author of I promessi sposi (The Betrothed) a work of seminal importance to the Italian language. When Rossini had died Verdi wrote, “Rossini’s reputation was the glory of Italy. When our other glory, Manzoni, is no more, what will be left to us?” Up to this point Verdi had shied away from composing a Requiem, saying that there were already too many around, and he did not see why should there be one more. His feelings for Manzoni showed him why there should. Verdi’s music is at its most impressive in all the sections where man pleads for mercy, and in the famous Dies irae sequence, in which powerful drums underline the terror of the situation, and growl in sections such as Mors stupebit. Picture painting is evident in the splendid setting of Quam olim Abrahae promisisti et semine ejus. The Agnus dei begins wonderfully with the solo soprano and mezzo-soprano in octaves. The choir joins in in unison, and then the music broadens into harmony, before ending back in unison for the final phrase. Shimmering strings depict the aura for Lux aeterna luceat eis. The sprightly fugal writing for the chorus in Libera me, Domine is masterful, and at the climax the soprano joins in, but, magically, at half speed. The final moments bring back the prayerful atmosphere with which the Mass began. Text | David Gwilt

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生之歌

威爾第的《安魂彌撒曲》浩瀚澎湃，以意大利都靈皇

人的安魂曲：穿越聲音的旅程 human requiem

A Journey through the Landscapes of the Voice

Rundfunkchor Berlin_Matthias Heyde

這是一部表達布拉姆斯內心世界的作品，柏林廣播合唱團已經將其標準版本演繹過無數次。2 0 0 3 年，合唱團在長野健的帶領下演出了一個不同的版本—由沃爾夫岡．里姆在各樂章之間加插了冥想曲。最近又經常唱一個鋼琴四手聯彈的版本，在該版本中，布拉姆斯加以闡明了音樂的材料。這個四手聯彈版本在作曲家生前已得到他的允許，在倫敦作為合唱團演出的音樂。而柏林廣播電台合唱團是次在第 4 4 屆香港藝術節的演出，則採用菲力．摩爾改編的版本。《德意志安魂曲》鋼琴版的特別之處在於其強調作品的人性一面。在沒有樂團的支援下，音樂成為無伴奏合唱配上鋼琴合奏。然而，作品的真正目的，是突出合唱團的音色和情感，讓聽眾穿越聲音領域的旅程，探索人聲表達感情的能力。無論如何演繹這鋼琴版本，都會讓人聯想起巴赫的經文歌及韓德爾的大型合唱賦格曲。對於尤亨．桑迪和 Sasha Waltz & Guests 舞蹈團來說，鋼琴版本中的人性面是他們的研究起點。「人性面」在這裏指人聲和呼吸聲在純淨無額外修飾的情況下，除了是傳遞訊息的工具外，也是訊息本身。訊息核心是人類一直面對的基本問題—那些面對死亡時，產生的種種關乎生命的重要問題。尤亨．桑迪請柏林廣播電台合唱團的團員在彩排時認真推敲，好使他們以嶄新的角度了解布拉姆斯的音樂。聽眾在表演中也起着關鍵作用：一方面，他們身處聲音中央，以自己的感官感受雄亮的呼吸聲及溫熱的體溫；另一方面透過整個過程的取向和焦點，精確地了解當中的涵意。文 | 波里斯．科赫爾曼中譯 | 張婉麗

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Rundfunkchor Berlin sang Brahms’s confessionary work countless times in its standard form. In 2003 it also performed it under Kent Nagano with the instrumental meditations Wolfgang Rihm inserted between the individual movements. And it recently often sang it in the Four Hand Piano-version, with which Brahms himself sought to shed new light on the material. Already during Brahms’s lifetime and with his endorsement, in London this piano version was used as the basis for performances with choir. Rundfunkchor Berlin sings it in an adaptation Phillip Moll specifically revised and adapted for this purpose. The piano version of A German Requiem has the advantage that it highlights its humanity in a notable way. Without orchestra the score is transformed into an a cappella piece with the piano. The real purpose of the work, however, is the choir in all its tonal and expressive facets. It takes us on a journey through the landscapes of the human voice and everything it is capable of expressing. No matter how the piano version is interpreted, it reminds the listener of the music’s close proximity to Bach’s motets or Handel’s big choral fugues. For Jochen Sandig and his team at the company Sasha Waltz & Guests, the piano version’s humane quality is the starting point for their examination. “Humaneness” in this context means that the human voice and the human breath in their bareness and unadulteratedness are the medium as well as the message of the work. At its centre is man in his elementary confrontation with the first and the last things: the fundamental questions of life which the confrontation with death entails. Jochen Sandig asked the singers of Rundfunkchor Berlin to see this examination as pivotal during rehearsals, in order to give their encounter with the music of Brahms a new dimension. This striking performance offers the audience unusual ways of experiencing a familiar work: on one hand, through the fact that the listeners are situated right in the tonal centre, where they can absorb with all their own senses the breath which produces the sonority as well as the warmth of the bodies; on the other hand through the orientation and focusing of the overall experience towards a precise content. Text | Boris Kehrmann Translation | English from German by Michael Raab

Life 布拉姆斯的作品與這場神樂三部曲其餘兩位作曲家形成天衣無縫的對比。巴赫把神聖的耶穌視為創作中心，布拉姆斯則把焦點放在我們不完美的人性上；威爾第為逝者在上帝面前開脫，布拉姆斯則為在世者而寫。然而，他們也有極相似的地方：跟巴赫一樣，布拉姆斯也是用通俗德文來創作；受他的母親及摯友舒曼之死的影響，跟威爾第一樣，死亡的陰影驅使布拉姆斯創作。布拉姆斯的安魂曲於 1869 年首演，威爾第的作品則於 1874 年首演。布拉姆斯的這首作品多次用上形容詞「德文的」，那是由於通俗德文是非常明確的語言。雖然如此，布拉姆斯創作時依然視之為普世的作品。在寫給指揮不來梅首演的卡爾．馬丁．萊特哈勒的書信中，對於作品名稱《德意志安魂曲》（德意志在此是指德文及新教兩重意思，亦即非羅馬天主教式的安魂曲），布拉姆斯表示，「至於用詞，我承認我傾向摒除『德意志』而只用『人的』。」柏林廣播電台合唱團將在這次演出把作曲家的想法「具體化」地表現出來，打破觀眾及演出者的隔閡，像天下眾人一樣，一同分享、思考這套大師級合唱作品中關於生與死的課題。對柏林廣播電台合唱團的女高音朱迪斯．安格爾來說，布拉姆斯的《德意志安魂曲》是一部能充份顯示其合唱團能力的佳作。音樂中的人性和所需的深情演繹對合唱團的自身概念起了關鍵作用，因為了解布拉姆斯是個自我發現的過程。文 | 高捷思中譯 | 陳楚珊

Brahms’s work is a fitting counterpoint to the two other parts of the sacred trio. Where Bach places the divine Jesus at the centre of the work, Brahms shifts our focus to our own imperfect humanity. Where Verdi seeks the intercession of God on behalf of the departed, Brahms addresses the living. However, there are striking similarities at the same time: Brahms composed in vernacular German, just like Bach. And like Verdi, Brahms was moved to compose the work in the shadow of death – of both his mother and his friend Robert Schumann. Brahms’s requiem premiered in 1869; Verdi’s premiered in 1874. Brahms’s work frequently takes the adjective German, because its vernacular language is so defining. But even Brahms, at the time of composition, saw it as a more universal work. In a letter to the conductor of the Bremen world premiere, Carl Martin Reinthaler, with regard to the title A German Requiem (which referred to a German-language and Protestant, i.e. not Roman Catholic requiem), Brahms wrote that “concerning the wording, I confess that I would very much prefer to leave out the ‘German‘ and simply say ‘human‘ instead.” Rundfunkchor Berlin focuses on that idea for this performance of the requiem and presents a “physicalisation” of the work, merging the audience and the performers who share, as humans do, meditations on life and death in this choral masterpiece. Text | Thomas Gregory

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生之歌

Life

蕭斯達高維契的前奏曲與賦格曲

Freedom and Constraint © Library of Congress

Shostakovich’s Cycle of Preludes & Fugues for Piano

蕭斯達高維契最為人所知的樂曲，與他身處動盪時代密不可分。面對蘇聯當局無情的壓迫，在蘇聯式烏托邦務求塑造「新人」的崇高目標下，蕭斯達高維契到底是屈從於黨的權威去創作的一位共產主義信徒，還是一位諷刺時弊、於樂曲下隱藏反抗聲音，讓演奏家及音樂家至今仍孜孜不倦試圖解碼的作曲家？蕭斯達高維契於 1948-49 年間創作的 24 首前奏曲與賦格曲中，使用了西方音樂論述中的一個模式，即以 2 4 個大小調、半音階分域的音調系統。明顯地，他採用的是 1 8 世紀巴赫以前奏曲接引賦格曲的模式組合─ 《十二平均律鋼琴曲集》。從前奏曲與賦格曲的二元性，可看到音樂被塑造定型：從自由的幻想曲甚至即興演奏，前奏曲傾向模仿

The best-known compositions by Dmitri Shostakovich (1906-1975) are inseparable from the tumultuous times in which he lived. In the face of unrelenting pressure from Soviet authorities, was Shostakovich indeed a dedicated Communist who created music meant for the ennoblement of the Soviet Union’s utopian ideal of the “New Man”? Or was he a profoundly ironic artist who threaded a dissident commentary of secret protest into his scores, burying messages that performers and musicologists are still attempting to decode? With the 24 Preludes & Fugues of 1948-49, Shostakovich took up another model from the past that had affirmed the very bedrock of Western musical discourse: the tonal system of 24 major and minor keys encompassed by the divisions of the chromatic scale. The model in question was of course JS Bach’s Well-Tempered Clavier from the 18th century, with its pairing of preludes and fugues to represent each of these keys. The duality of the prelude and fugue further encompasses a spectrum of how music can be shaped: from the freedom of fantasia and even improvisation that the preludes tend to mimic to the strict (authoritarian?) discipline of the fugue.

格律嚴謹的賦格曲。

And yet, for all the “timeless” abstraction of the harmonic system which Shostakovich’s cycle traverses, the mysteries and enigmas we associate with this composer enter into this music through characteristic touches of his style, such as ironic contrasts and references to popular musical idioms. Gestures in which the music suddenly stops and then starts again are another example, as the scholar Mark Mazullo points out.

然而，貫穿此 2 4 首樂曲的超越時態的抽象和聲系統，在這作品中以他特有的風格，如反諷對比與民間樂的引用，帶領我們進入他們的神秘隱密的世界。另外，如學者馬克．馬蘇略所言，他的音樂時停時啟、斷裂重複的姿態，也是其一例子。於第 4 4 屆香港藝術節演繹此作品的鋼琴家亞歷山大．梅尼可夫認為，蕭斯達高維契在他較成熟的晚期譜寫 2 4 首前奏曲與賦格曲。他選擇堅持標準，取「學院派」的賦格曲而達之。「只要所有可預想的侷限明確，他的精湛技藝與天賦即時變得一目了然。」梅尼可夫如是說。譬如，即使表面看來他的調子是嚴謹的，但在各方面，作曲家嘗試顛覆日常甚至質疑基調，為此梅尼可夫解說道：「蕭斯達高維契已發展出他個人獨特的音調與複雜多變的模式。」由此可見，他們無垠的創造與想像力使我們欣賞到整套精采鉅著之宏大。文 | 湯馬士．梅中譯 | 林凱敏

The pianist Alexander Melnikov, who performs the full cycle at the 44th HKAF, views Shostakovich’s decision at a mature stage in his career to write this cycle as highly significant. For one thing, his choice to stick to standard, “academic” fugues was deliberate. “Once those constraints are known and understood, the sheer amount of virtuosity and genius required becomes immediately apparent,” Melnikov writes. For example, even while seeming to remain within the confines of the strictly tonal, in various ways the composer subverts and brings into question the tonal bedrock “because Shostakovich had developed his own original and complex tonal and modal system.” As a result of their inexhaustible invention and imagination, the cycle as a whole leaves us “filled with the greatest admiration and appreciation.” Text | Thomas May

FestMag

生之歌

自由與侷限

Life

摩頓臣與哥本哈根協奏團

The Joy of Water

Lars Ulrik Mortensen & Concerto Copenhagen Harpsichord virtuoso, conductor and scholar Lars Ulrik Mortensen and Danish Baroque orchestra Concerto Copenhagen present the ephemeral programme Watermusic, a special concert devoted to the pleasures, perils and splendours of the 18th century aqueous life.

知名古鍵琴家、指揮家及學者摩頓臣，將帶領丹麥巴羅克室樂團哥本哈根協奏團以一場特別的音樂會 ─《水之樂章》，呈現 18 世紀絢麗多姿、樂趣繽紛又驚險的水上生活。古鍵琴家大師摩頓臣曾與英國巴羅克獨奏家樂團等不同古樂團合作，亦與瑞典和丹麥的現代樂團合作。他自 2003 年專注與擅長早期音樂曲目的前者合作，並早於 1999 年成為哥本哈根協奏團首席藝術總監。摩頓臣於歐洲、美國、墨西哥、南美和日本常作獨奏和室樂演奏，演奏夥伴包括約翰．霍洛威和賈普．特．林登。摩頓臣獲頒多個獎項，包括：憑巴赫的《戈爾德堡變奏曲》錄音專輯獲得法國唱片「金音叉」獎、憑布克斯特胡德錄音專輯獲頒丹麥格林美獎和康城古典音樂大獎。2 0 0 7 年獲頒丹麥古典音樂界最高榮譽的桑尼音樂獎。自 1991 年首演以來，哥本哈根協奏團以創新演繹巴羅克音樂而廣受讚賞。除積極演繹耳熟能詳的歐洲音樂外，也向世界各地觀眾帶來較少人熟悉、源自北歐的作品。樂團曾為德意志留聲機以及迪卡唱片公司錄製唱片及影碟專輯。除了吸引世界各地的關注，樂團也獲邀到歐洲多個重要表演場地和音樂節演出，曾與他們合作的國際知名藝術家包括：愛瑪．柯克比、安德烈亞斯．修爾，以及丹麥皇家劇院等。是次《水之樂章》音樂會曲目包括泰利曼的《水上音樂：漢堡的潮起與潮落》和 D 大調協奏曲 TWV 54:D3；韋華第小提琴協奏曲《海上風暴》；以及韓德爾的《水上音樂組曲》選段。音樂會將帶領聽眾揚帆水上，體驗海上的靜謐和潮起潮落。資料整理 | 黃進之中譯 | 林尚諾

A master of the Baroque keyboard, Mortensen has worked with an array of early music ensembles such as London Baroque, as well as orchestras performing modern music in Sweden and Denmark. Since 2003 he has worked exclusively with ensembles specialising in the early music repertoire, and he became the chief artistic director of Concerto Copenhagen in 1999. Mortensen works extensively as soloist and chamber musician in Europe, US, Mexico, South America, Japan and Australia, performing regularly with such distinguished artists as John Holloway and Jaap ter Linden. He has won numerous awards for his recordings, including the French Diapason d’Or for his recording of Bach’s Goldberg Variations, Danish Grammy awards and the Cannes Classical Music Award for his Buxtehude recordings. In 2007 he received Denmark’s most prestigious music award, the Léonie Sonning Music Prize. Since its debut in 1991, Concerto Copenhagen has developed into one of the world’s most innovative Baroque orchestras. Bringing a repertoire of well-known European music and less familiar works of Scandinavian origin to worldwide audiences, the ensemble has an extensive discography of award-winning recordings and DVDs for labels as Deutsche Grammophon and Decca. In addition to international tours and frequent appearances at Europe’s leading festivals, Concerto Copenhagen has collaborated with many renowned artists and groups ranging from Emma Kirkby, Andreas Scholl to The Royal Danish Theatre. Illuminating the joy of life on the water, Watermusic features the great Wassermusic suite and Concerto TWV 54:D3 in D major by George Philipp Telemann; the violin concerto La Tempeste di Mare (The Storm Over The Sea) by Vivaldi; and selection of movements from the Water Music suite by Handel. From the calm of the sea to its stirring ebb and flow, the concert promises to be a vibrant musical adventure. Compiled by | Nicolette Wong

FestMag

生之歌

水樂無窮

涅翠柯的變與不變從 22 歲登上馬林斯基劇院開始，俄國女高音安娜．涅翠柯一直是話題人物。她在舞台上下皆精采，說不完的故事和不斷推陳出新的歌路，讓她 20 年來始終是票房保證，歌劇界的耀眼明星。涅翠柯在俄國以抒情花腔和美聲唱腔起家。在歌劇講究全面舞台藝術的今日，涅翠柯敢穿能演，出了俄國仍是大受歡迎。薩爾茲堡為她和男高音維拉松量身打造的《茶花女》，一上演就成為音樂節焦點，錄影發行後更令萬千觀眾傾倒。這也足以作為涅翠柯此時藝術生涯的註腳：對「聽」眾而言，她的唱功毀譽參半；可是對「觀」眾來說，涅翠柯演得淋漓盡致，舞台魅力光芒萬丈，蓋過聲樂表現的瑕玷。這檔演出也絕對足列經典。然而她一直在變。我到現在都還記得，2009 年初當她產後首次現身倫敦皇家歌劇院，她的嗓音竟變得溫暖豐厚，樂句線條更圓潤悠揚，連花腔技巧都照顧更好，這真是不可思議。多少人因能力不足而早早唱壞嗓子，但涅翠柯不僅撐過頻繁吃重的演唱，撐過美聲抒情寫實歌劇混雜的考驗，聲音居然還能愈來愈美，唱起俄文更是美到無法想像。2013 年她在紐約大都會歌劇院演唱柴可夫斯基《尤金．奧涅金》，那色彩飽足又滿溢奶油質感的歌聲，從第一個音就讓全場迷醉。和她數年前錄製的俄語歌劇專輯相比，差距宛如雲泥之別。我也喜愛她不時展露出的詮釋靈思：她在威爾第專輯中的《西西里晚禱》波麗露舞曲，不炫花腔反而流露宿命哀愁，預示歌劇結尾的教堂婚禮大屠殺，意味深長令人難忘。於是，涅翠柯終究沒變 ─ 十餘年過去，她仍然是媒體寵兒，聲望還愈來愈高。她沒忘記自家俄文劇碼，更努力拿下《馬克白》和《遊吟詩人》，頗有當今首席威爾第女高音的架式。近年來她美聲歌劇唱得少了，卻逐漸拓展德語聲樂作品。從目前已發行的李察．史特勞斯藝術歌曲錄音聽來，雖然咬字語韻還有進步空間，但確已顯現她將演唱華格納《羅恩格林》的艾爾莎的跡象。日後涅翠柯是否還能挑戰華格納其他歌劇，甚至探索史特勞斯《納克索斯島上的阿麗雅德妮》或《阿拉貝拉》？她的溫暖豐美嗓音能為這些德語歌劇帶來何等化學變化？這一切一切，實在令人期待。這次涅翠柯首次訪港，和男高音尤西夫．伊瓦佐夫合作帶來諸多經典獨唱和二重唱曲目，雙人演出想必也會有舞台互動，愛樂者可得好好記得她現在的優美嗓音，以及舉手投足間的明星風采 ─ 無論未來變或不變，至少，我們能擁有現在的絕艷。文 | 焦元溥

閱藝

Life Ever since her debut at the Mariinsky Theatre at the age of 22, Russian soprano Anna Netrebko has been much talked about. Her brilliance both on and off the stage, radiating as much from the multiple vocal styles she mastered as from the endless stories told about her life, has for 20 years ensured great drawing power for this dazzling opera star. Netrebko started out in Russia with lyric coloratura and bel canto repertoire. With opera today exploiting all the arts of the theatre, this variously clad and multifaceted actress is just as popular abroad. The Salzburg Festival production of La Traviata tailor-made for her and tenor Rolando Villazón was an instant hit, and audiences went on to swoon over the video release. These performances might be a fitting commentary on Netrebko’s career so far: she elicited a mixed reaction from her listeners, whereas, for her “viewers”, the beaming charisma and stage presence that shone through her vivid portrayals quite rose above her vocal blemishes — a real class act. But she is always changing. I still remember my bewilderment at her first stage appearance after childbirth, in early 2009, at London’s Royal Opera House, where her voice had become warmer and richer, her phrasing suaver and mellower,

her coloratura nimbler. While many lesser singers have had their voices damaged early in their careers, Netrebko has not only ridden out frequent and demanding bel canto, lyric and verismo performances, but her voice has grown more and more beautiful, almost unimaginably so when singing in Russian. In 2013, at New York's Metropolitan Opera, in Tchaikovsky’s Eugene Onegin, her colourful and creamy singing held the audience spellbound from the very first note, poles asunder from the Russian opera album she recorded several years ago. I also like the interpretive insight Netrebko evinces now and again: on her Verdi album, the bolero from I vespri siciliani is no coloratura parade, but an emanation of ominous grief, unforgettable for being so pregnant, foreshadowing as it does the massacre at the wedding at the end of the opera. Netrebko has not changed, after all: over a decade has passed, and she remains a media darling, whose renown has only increased. Without dropping her Russian repertoire, she took on Macbeth and Il Trovatore as with the verve of the leading Verdi soprano of the day. She has been singing less bel canto opera in recent years, but is gradually delving into vocal works in the German language. The recordings of Richard Strauss art songs are a sure sign that, while her diction could still be improved, she is to sing Elsa in Wagner’s Lohengrin. Will Netrebko later on tackle other Wagner dramas, or even venture into Strauss’s Ariadne auf Naxos, or Arabella? What sort of changes will her warm and lush voice bring on to the chemistry of these German operas? The world is only too eager to find out. On her first visit to Hong Kong, Netrebko is joined by tenor Yusif Eyvazov in presenting many classic solos and duets, and between the two there is certain to be much interplay onstage. Music lovers must then treasure up her celebrity charm as well as her beautiful voice, for, however she might change in the future, we can at least be able to bask in her matchless splendour in the present. Text | Yuanpu Chiao Translation | Ernest Wan

©Dario Acosta

FestMag

生之歌

The Changing and Unchanging Anna Netrebko

Life

Fanfare Ciocarlia: The Wild Gypsy Ride

©Arne Reinhardt

雲雀大樂隊以吹奏吉卜賽銅管樂，成為世界音樂勁旅，將於 2 0 1 6 年慶祝成立 2 0 週年。樂隊自從在羅馬尼亞東北部偏僻的「十田村」被發掘後，演奏的曲目層出不窮、舉起樂器無不玩得出神入化，造就了自成一家的巴爾幹韻味。德國音樂學家和音響工程師亨利．厄恩斯特於 1 9 9 6 年發掘了雲雀大樂隊，並一直擔當他們的經理人。樂隊首張專輯《帕斯卡尼電台》成為銷量冠軍後，他們就開始巡迴世界演出。自此，樂隊經常為電影配樂（包括獲獎偽紀錄片喜劇電影《波叔出城》），並製作影碟及一系列暢銷唱片。樂隊的前領班於 2 0 0 6 年去世，為紀念他推出了《皇后與國王》專輯和舉行巡迴演出，此為他們音樂生涯立下里程碑。樂隊的色士風和單簧管樂手奧卜力卡．伊凡齊亞相信雲雀大樂隊受歡迎的其中一個原因，是他們每每帶來驚喜。樂隊不僅演繹傳統曲目，更改編電影《鐵金剛》主題曲和搖滾樂隊荒原狼的《天生狂野》。「少數民族在羅馬尼亞已經紮根數百年。無論是德國、奧地利、塞爾維亞、俄羅斯和鄂圖曼土耳其帝國，各地音樂文化都影響了我們的銅管樂。它就像一個又大又美味的蛋糕一樣，咬下去滋味無窮。」伊凡齊亞解釋說。樂隊狂放快速而流暢的演奏風格看起來易如反掌，對伊凡齊亞來說這是自然而來：「十田村的祖先這樣奏樂，我們也跟着做。我們自幼就習慣飛快地吹奏音樂，對我們來說與生俱來。」雲雀大樂隊在香港藝術節的演出，將觀眾帶到羅馬尼亞的狂熱派對裏去。「我們會一一獻上精選曲目，當中除了家鄉摩爾多瓦的傳統舞蹈音樂，還有我們吉卜賽人平日派對上悠揚、具東方色彩的歌曲和舞曲。」文 | 羅賓•利納姆中譯 | 林尚諾、裴倍

Fanfare Ciocarlia, the Gypsy brass band that has become one of the legends of world music, celebrates its 20th anniversary this year. Known for their varied repertoire and instrumental virtuosity, the musicians in the band developed a unique Balkan brass sound in the remote village of Zece Prajini in northeastern Romania. They were discovered there in 1996 by the musicologist and sound engineer Henry Ernst, who still manages them. The band’s first album, Radio Pascani, became a best seller and the band toured extensively internationally. Since then the band has contributed music to many movies – including the internationally successful spoof documentary Borat – and have made their own acclaimed DVDs as well as a string of best-selling CDs. While the band’s former leader Ioan Ivancea passed away in 2006, the project dedicated to his memory, the Queens and Kings CD and concert tour became their biggest success to date. One reason for their popularity, saxophonist and clarinetist Oprica Ivancea believes, is the element of surprise. As well as traditional tunes their repertoire includes such unlikely pieces as the James Bond theme and the rock band Steppenwolf’s Born To Be Wild. “Romanian brass music has had a lot of influence from the cultural input of the minorities who have been living there for hundreds of years. Romanian brass music got influenced by Germans, Austrians, Serbs, Russians and last but not least by the Ottoman Empire. It’s a big and tasty cake with many flavours inside,” he explains. The breakneck speed at which the band performs, with such fluency and apparent ease, according to Ivancea simply comes naturally. “Our forefathers [from Zece Prajini] did it and we do it. We are used from childhood on to performing at a fast speed. It’s a natural thing for us,” says Ivancea. Those in the audience for Fanfare Ciocarlia’s Hong Kong Arts Festival performance can look forward to being transported. “We will present the very best of our repertoire, including traditional dances from our region – Moldova – but also oriental sounding songs and dances we Gypsies prefer to listen to at our own parties,” Ivancea says. Text | Robin Lynam

FestMag

生之歌

雲雀大樂隊─狂野吉卜賽派對

專訪編舞麥秋成本屆香港藝術節委約製作的賽馬會本地菁英創作系列：《炫舞場》，以創新的跨界形式及本土文化為背景，在舞台上以律動感十足的街舞串連各個年輕人追夢的故事，包含劇場及街舞元素，把視作為「次文化」的街頭舞蹈放上舞台，創造出非一般的劇場空間，打破高低文化之分野。

與編劇鄭國偉及導演鄧偉傑共同創作此劇的編舞麥秋成，曾

兩種截然不同的身體節奏碰撞在一起，呈現出新奇有趣的畫

參加《中國好舞蹈》，及為不少歌星的演唱會編舞。在最為

面之餘，也側寫舞蹈身體語彙之豐富和表現力之驚人。在

人熟悉的電影《狂舞派》（2 0 1 3）中，他用精心編排的街舞

《炫舞場》中，他希望再尋突破，作更廣的嘗試。除了通過

來表現年輕人面對現實敲打時的倔強與反叛，令觀眾欣賞舞

街舞來表現年輕人在我城的生活文化與夢想追求，也將加入

蹈的同時熱血沸騰。這次，他將劇場幻作「炫舞場」，把追

jazz、urban dance 和現代舞的元素，呈現故事中的各種場

夢的故事講得更立體，形式上更顯創新。

景和意境。「街舞中的 popping、locking、breaking 自不會少，但未必會有 battle。我想要更多生活化的東西，會多了

生活在此處，不在他方的追夢故事大學時期才開始投身舞蹈，捱過窮、忍過累，麥秋成深明在香港成為舞者，其背後難以為外人道的艱辛。沒有真正的熱愛與執著，不可能在這條追逐夢想的道路上走那麼久。然而，

jazz、現代舞和 urban dance。其中，urban dance 是很『舞台』的，因循音樂和創作人自己的概念來呈現，有很多視覺效果在其中，可以表現很多意識層面的東西—比如怎樣表現人物在幻想中。」

一路拼搏實現夢想固然鼓舞人心，但夢想其實還有不同的面

麥秋成說，相比起電影，劇場是現場演出，難度更高。「表

相。「有些人覺得夢想是豁出去，堅持住就可以往下走了。

達一個場景，電影可以很細膩，一個特寫、一個角度、一個

這裏的夢想包含更多細膩的東西。現實中，有些夢想也許沒

眼神去表達，但劇場就好像全部都是 w i d e s h o t，怎麼做才

有完成，但過程令人享受。整個演出中用不同支線講述人的

能用舞蹈去呈現整個場景呢？」配合劇本，哪些場景該用哪

不同夢想，範圍會更廣。」麥秋成說。這種現實的曲折與多

種舞蹈、怎麼用─是邊說邊跳交代劇情，還是抽象地呈現情

樣也許更貼近普通年輕人的生活—曾經一心想要到達的遠方

境，都需要準確的設計。「最困難的是，這次的舞蹈要表達

原來不是自己的最佳位置，屬於自己的角落別有他處。學會

很多的 meaning，上次的電影已經有，這次則要更深入，加

接受生活的錯置，懂得尋找真正適合自己的生活，這種成長，

上我希望與《狂舞派》不同，給了自己一個更高的標準。舞

同樣勵志。

蹈要推動劇情，那麼怎樣設計才能突出信息？一直跳？我這

事實上，香港有很多舞者以跳不同風格的街舞為職業，在體能和技巧上各有要求，但要呈現每種舞蹈的特色又配合推動故事情節發展，並非易事。《炫舞場》試圖把戲劇和街舞共

麼喜歡看跳舞看兩個小時也會悶啊！希望要在展現舞蹈的同時也娛樂觀眾。」 “You may say I’m a dreamer, but I’m not the only one”

冶一爐，創造出香港少有的「街舞劇場」，這種表現形式正是此劇的特點及難度之一。

另外，挑選適合劇場形式和有關舞種的舞者也是一大挑戰。「今次在大型的遴選過程中，我們見過百多位舞者，當中包

與電影《狂舞派》不同，嘗試超越自己對麥秋成來說，舞蹈可以表現的空間可以很寬大。在《狂舞派》中，他讓街舞遇上了太極，「搏盡無悔」和「有容乃大」

括跳唱女子組合的藝人、演藝學院修讀芭蕾舞及現代舞的舞者、年資超過 1 5 年的街舞老師、演唱會的舞蹈員，以及大專院校的舞蹈學會的會員等。」麥秋成說，他除了看重舞藝外，也聆聽他們的個人故事；了解推動他們跳舞背後的原因，是很好的啟發過程。例如其中一位少時被逼學習芭蕾舞，在考試中因過度慌張而失禁，長大後不經意在 Yo u Tu b e 上發現街舞而深被吸引，最後自學成才。可見除劇中的角色在追夢，在另一層次，現實生活中的舞者也是熱血的追夢者。「我會說這次的演出團隊集合各種舞藝人才，絕對值得觀賞。」一直以來，香港喜愛街舞的年輕人不在少數，亦不缺箇中好手，且不說歐美，比起鄰近的日本與韓國，街舞文化在香港不只「邊緣化」，幾乎可以用「隱秘」來形容。《炫舞場》正好讓觀眾一窺這種蓬勃的青年文化，亦在一個充滿本土特色的尋夢故事中重新認識甚至想像香港的新一代和未來。文 | 草草

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The Hong Kong Arts Festival commission Danz Up, the featured programme of the 2016 Jockey Club Local Creative Talents Series, is a cross-genre, alternative street dance piece, set against a local backdrop to showcase a dynamic string of stories about young people chasing their dreams. It combines elements of theatre and street dance to bring what is seen as a subculture on to the stage for a unique theatrical experience, in an attempt to defy the boundaries of what is considered high and low culture.

Choreographer Shing Mak, who created Danz Up along with playwright Matthew Cheng and director Tang Waikit, took part in the dance competition TV show, So You Think You Can Dance (China), and has choreographed concert dances for many singers. In the hit film The Way We Dance (2013), Mak uses choreographed street dance to showcase the strength and rebellious spirit of young people in the face of harsh realities, allowing the audience to enjoy some wonderful dance moves while feeling a passion boil up from within. This time, his theatrical piece Danz Up spins a three-dimensional dream-chasing story with an innovative streak. Chasing Dreams where the Roots Are Mak only began dancing in earnest in his college days. Strapped for cash and often exhausted, he knew pursuing a career in dance in Hong Kong is harder than words can tell. Without a genuine passion and stubbornness, there is simply no way for one to stick to this path for a long time. It is, of course, heart-warming to hear stories of those who fight their way up and reach their dreams, but there is more to dreams than one path of hard work. “Some people think to go for your dream is just to let all constraints go, and as long as you keep persevering, you will get there. In reality, some dreams are never achieved, but the journey along it is enjoyable. This piece follows a number of plot lines that tell the stories of different people's dreams, to offer a broader view on the issue,“ says Mak. These bumpy, diverse paths along the way of real life are perhaps closer to the lives of normal youths: the place you were once determined to get to turns out to be an illusion, so you look for another destination where you belong. Learning to accept the incongruities of life, figuring out what truly suits oneself – this kind of growing up is just as heartening.

Life

Reaching beyond Oneself Compared with film, Mak believes the live setting of theatre poses an even bigger challenge for story-telling. “To show a particular scene, a film can offer plenty of details with a close up, a special angle, the look of an eye; theatre is essentially a wide shot the entire time. How can a scene be presented through dance?“ In working with a script, what dance should be used for which scene and how, whether the narrative should be told through dialogue and dance or in a more abstract way, every aspect requires careful designing. “The hardest part is that this dance needs to present a lot of meanings. In the last film, this was already a challenge; this time we're taking it even further, and I want this to be different from The Way We Dance, so I've set the bar even higher for myself. The dance has to push the plot forward; how can it also bring out the message? Keep dancing? I love dance, but two hours of that would bore even me! I hope to entertain my audience while putting on a dance.“ “You may say I’m a dreamer, but I’m not the only one“ All that aside, choosing the dancers who would suit both the dance and theatrical styles was also a tough task. “We saw more than 100 dancers in the audition for this piece, including pop stars from singer/dancer girl groups, ballet and modern dancers studying at the Hong Kong Academy for Performing Arts, street dance teachers with more than 15 years' experience, concert dancers and dance club members of tertiary institutions.“ Mak says apart from gauging their dance skills, he also took time to listen to their personal stories, to learn of what fuels their passion for dance, which was an inspirational process for him. He cites the example of a dancer who was forced to learn ballet at a young age, and was so nervous during an exam that she wet herself; it was not until she discovered street dance on YouTube and was so captivated by it that she taught herself the style. While the characters in this piece are chasing dreams, on another level, in real life, they are all impassioned dream chasers. “I would say our team of performers has gathered all sorts of dance talent this time; it's absolutely worth watching.“ All along, there have been countless local youngsters who have fallen in love with street dance, and there are even skilled dancers among them. Yet street dance in Hong Kong, when compared with Japan and Korea – not to mention Europe and the US – is not only marginalised, but is practically underground. Danz Up hopes to give the audience a peek into this thriving youth culture, and through it, offer a dream chasers' story full of local flavours that introduces, or even imagines, a new generation and future for Hong Kong. Text | Chaochao

Translation | D T

FestMag

生之歌

Coming of Age in Street Dance

香港文化中心音樂廳 Concert Hall, HK Cultural Centre

二月

February

17 18 19 20 21 22 23

三月

2:30

芬茲．帕斯卡劇團《真相奇幻坊》 Compagnia Finzi Pasca La Verità (The Truth)

7:30

8:00

法圖瑪他．迪亞華拉與羅伯特．豐塞卡 Fatoumata Diawara and Roberto Fonseca

8:00

都靈皇家劇院威爾第與華格納歌劇盛宴 Teatro Regio Torino Verdi and Wagner Opera Gala

Sat 六

March

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Tue 二

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7:30

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8:00 8:00 7:00

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魯弗斯．溫萊特《首席女聲》交響樂視聽音樂會 Rufus Wainwright Prima Donna A Symphonic Visual Concert

都靈皇家劇院《父女情深》 Teatro Regio Torino Simon Boccanegra

7:30

8:15

2:30 新銳舞台系列：《論語》 New Stage Series: Chinese Lesson

8:00

北京京劇院《秦瓊觀陣》、《西廂記》 Jingju Theater Company of Beijing Qin Qiong Inspecting the Army Formation , Romance of the West Chamber 北京京劇院《擋馬》、《狀元媒》 Jingju Theater Company of Beijing Stop the Horse , Top Scholar as Matchmaker 北京京劇院《望江亭》 Jingju Theater Company of Beijing Riverside Pavilion 樂旅中國 X 中樂無疆界 Music About China X Chinese Music Without Bounds

3:00 8:15

8:15 8:15

《大嘴巴》BigMouth

8:15

都靈皇家劇院諾斯達的威爾第、蕭斯達高維契及普羅科菲夫 Teatro Regio Torino Noseda conducts Verdi, Shostakovich and Prokofiev 萊比錫聖多馬合唱團與萊比錫布業大廳樂團《聖馬太受難曲》 Thomanerchor Leipzig & Gewandhausorchester Leipzig St Matthew Passion

8:15

3:00 8:15 2:30

Sun 日

8:15

《小戰爭》SmallWaR

2:30 優人神鼓與柏林廣播電台合唱團 6:00 《愛人》 U-Theatre & Rundfunkchor Berlin LOVER

《小戰爭》SmallWaR 《大嘴巴》BigMouth

Mon 一 8:00 Tue 二

安娜．涅翠柯與尤西夫．伊瓦佐夫演唱會 Anna Netrebkoand Yusif Eyvazov in Concert

Wed 三 Thu 四 Fri 五 Sat 六

8:00 8:00

Orquesta Buena Vista Social Club ® “Adiós Tour”

8:00

7:30 7:30 2:30

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無界限雜技團《大動作》音樂形體劇場 Circa Opus A physical theatre with music

8:15

節目 Programme 1

7:30

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節目 Programme 2 香港賽馬會當代舞蹈平台 The Hong Kong 節目 Programme 1 Jockey Club 節目 Programme 3 Contemporary Dance Series 節目 Programme 3 節目 Programme 2

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粵劇《李太白》 Cantonese Opera Li Bai : The Immortal Poet