2018 Hong Kong Arts Festival - FestMag by Hong Kong Arts Festival

《閱藝》詳盡介紹 2018 年香港藝術節的焦點節目，呈現藝術家看待現實、啟發創作的「真．我角度」。 A highly personal view of reality informs many of the works presented at the 2018 Hong Kong Arts Festival. This magazine showcases the numerous Festival highlights and explores “what’s real to me”.

言前 d r o Forew 第 46 屆香港藝術節以「真．我角度」為主題。它闡述了今年呈獻的多個節目背後，各有特色的個人觀點。當中有些可以解讀為回應混淆意見與事實的「後真相」時代；有些則探索人類意識的更深層次，觸及潛意識；其他帶我們進入幻想出來的現實深處。不論創作動機，每部作品均由觀眾在腦海和心靈共同完成，藉此讓另一層個人真實成形。透過一方的創作動機和藝術造詣，和另一方的共鳴和領會，由此而生的交流和對話，是表演藝術的神奇之處。今年藝術節的主題歌頌的正是表演的這個面向。本地藝術家中最年長的粵劇大師尤聲普說：「舞台上演繹的感情有真有假，真的一面是台下觀眾看到的，假的一面是演員自己知道的。」我很高興今年有許多參節藝術家分享了他們的「真．我角度」。希望這期《閱藝》雜誌的文章會啟發您構思您的角度。這本刊物是藝術節豐富和深化藝術節體驗的重要一環；同樣以此為宗旨的「加料節目」，見於雜誌的尾部。感謝所有《閱藝》文章的作者、翻譯和編輯和所有參與藝術節的藝術家、為我們工作賦予意義的觀眾，以及支持香港藝術節發展的每一位。謝謝！我和藝術節團隊期待與您在藝術節的演出和活動見面。在此之前，請開懷閱讀！

The 46th Hong Kong Arts Festival takes as its theme: “What’s real to me”, shining a light on the uniquely personal perspectives that propel and inform many of the works presented this year. Some of them can be read as responses to what has been called the “post-truth” era of confusion between opinion and fact. Other work explores deeper levels of the human consciousness, reaching into the subconscious mind; and yet others take us into the farther reaches of a reality of the imagination. Whatever the creative impulse, each work is ultimately completed when the audience co-creates it in their minds and hearts, thereby giving shape to another dimension of personal reality. This interchange or communication, made possible by intention and artistry on the one side, and empathy and appreciation on the other, is one of the most magical characteristics of the performing arts. This year’s theme celebrates this dimension of performance. The Cantonese opera master Yau Sing-po, the most senior of the Hong Kong artists performing at this Festival has said, “The real side is what the audiences sees, the other side is what the artist has within them”. I am delighted that so many participating artists have shared their take on this year’s theme. I hope that you will be inspired to formulate your own as you read the articles in this edition of FestMag. The publication is an important part of what the Festival offers to enrich and deepen the Festival experience, along with the extensive array of PLUS activities listed at the back of this publication. I am grateful to all the writers, translators and editors who have contributed to this publication, to all the artists participating in the Festival, to the audience who give meaning to our work, and to all who sustain and nurture the Hong Kong Arts Festival. Thank you! Together with the Festival team, I look forward to seeing you at many performances and events. In the meantime, happy reading!

香港藝術節行政總監何嘉坤

Tisa Ho, Executive Director Hong Kong Arts Festival

FestMag

Contents

音樂 MUSIC

歌劇．戲曲 OPERA

11 《芭蕾小忌廉》的魔法

The Magic of Whipped Cream: American Ballet Theatre's sweet treat

蘇黎世芭蕾舞團：《安娜．卡列妮娜》的凄美悲劇 Ballett Zürich: The beauty and tragedy of Anna Karenina

身份面面觀：亞太舞蹈平台（第十屆） On Identity: Asia Pacific Dance Platform X

波羅的海之傳統與創新發掘愛沙尼亞音樂寶藏 Baltic Tradition and Innovation: Vox Clamantis, the Estonian National Symphony Orchestra and Estonian National Male Choir

俄國大師馬祖耶夫與俄羅斯樂團 Russian Masters: State Academic Symphony Orchestra of Russia "Evgeny Svetlanov"

前言 Foreword

舞蹈 DANCE

打開粵劇之門：《百花亭贈劍》的當代精神 Pavilion of a Hundred Flowers: A doorway to Cantonese opera

突破想像的鋼琴音樂「跨越意象」音樂會 Beyond Impressionism: Piano music with diverse inspiration

鋼琴多面手潘尼迪爾 Jean-Claude Pennetier A pianist of the highest order

神秘又美麗：德布西《佩利亞斯與梅麗桑德》 Mystery and Beauty: Welsh National Opera presents Debussy's Pelléas et Mélisande

交響大師：法比奧．雷西與丹麥國家交響樂團 Symphonic Masters: Fabio Luisi and the Danish National Symphony Orchestra

O is for Opera! 歌劇同樂 Opera for all with WNO

《霸王別姬》霸氣回歸 Farewell My Concubine: The return of the Hegemon King

45 《帝女花》之京粵因緣

更上一層樓：第七屆香港賽馬會當代舞蹈平台 Reaching The Next Level: The Hong Kong Jockey Club Contemporary Dance Series 舞蹈界的指揮家 Multi-layered Master: Saburo Teshigawara's Tristan and Isolde

Princess Changping: A Cantonese opera classic recreated as a Beijing opera

佛蘭明高大師：伊斯雷爾．加凡之頌 FLA.CO.MEN: In praise of Israel Galván

芭蕾弦樂雙星匯：《足尖情弦》 A Duo of Ballet and Music: Pas de deux for Toes and Fingers

編輯 Editor

爵士新潮：開拓音樂新世界 Nouveau Jazz Weekend New worlds of sound across four celebratory concerts

Fortuna Plays Szymborska Polish poetry and experimental jazz

何嘉坤 Tisa Ho 蘇國雲 So Kwok-wan 林尚諾 Sherlock Lam 鍾佩妝 Eunice Chung 林惠賢 Grace Lam

美國聲音：爵士一刻 American Vision: Jazz in the moment Chris Botti and Cécile McLorin Salvant

81 《詩樂對話》當爵士小號遇上諾貝爾獎詩人

黃迪明 Timothy Wong 〈閱藝〉編輯團隊 FestMag Editorial Team

年青新星演繹不朽經典瑞士韋爾比亞音樂節室樂團煥發青春活力 Young Artists, Timeless Music: Verbier Festival Chamber Orchestra

85 87

戲劇 Theatre 93 《深夜小狗神秘習題》如何跳上舞台？ Adapting The Curious Incident of the Dog in the Night-Time An insight into the creation of the smash-hit play

98 《夢與狂妄》：導演克勞德．雷吉訪談 Dream and Derangement: An interview with director Claude Régy

101 甚麼是青春？從《論語》到《大學》與《中庸》 A Decade of Shattered Ideals: The path from Chinese Lesson to The Great Learning and Doctrine of Happiness

106 難民與公投：《祈願女之歌》 Refugees and Referendums: The Suppliant Women

109 生命禮讚：《非洲少年流浪記》 A Song of Survival in A Man of Good Hope An epic quest across Africa

霍圖納爵士四重奏：瀟灑型格東歐爵士樂 Maciej Fortuna Special Quartet: Effortlessly cool Euro-jazz

113 與舒克辛同看《俄羅斯平民風景》

Vila Navio 非一般的傳統 A twist on tradition

116 歡迎進入《博希的奇幻旅程》

Shukshin's Stories: Tales from a Russian village

世界音樂週末營：環球音樂之旅 World Music Weekend: A sonic journey across the world

Welcome to Bosch Dreams A journey in surrealism

香港藝術節資助來自 The Hong Kong Arts Festival is made possible with the funding support of 本刊內容，未經許可，不得轉載。Reproduction in whole or in part without written permission is strictly prohibited. 網上追蹤香港藝術節 Follow HKAF on

出版：香港藝術節協會有限公司︱承印：嘉昱有限公司︱設計：TomSenga Design Published by Hong Kong Arts Festival Society Limited ︱ Printed by Cheer Shine Enterprise Co., Ltd ︱ Designed by TomSenga Design

FestMag

舞蹈

D ANCE

「『真．我角度』對我來說，就是舞蹈的世界語言，舞蹈讓我們打破語言及文化障礙，使我們能藉舞蹈說故事、感動及啟發他人。」 —克里斯蒂安．施普克 | 蘇黎世芭蕾舞團藝術總監

舞台上舞者的舞蹈動作，以不同方式打動我們；我們也透過各自的角度去詮釋眼前所見的「真實」。不過，身體語言具有普遍的共通性，台上的演出者和台下觀眾之間，互相傳遞能量，可以視作一場對話，由觀眾主動參與建構一個既個人又集體的現實。不論是大型芭蕾舞劇《芭蕾小忌廉》裏如糖霜甜美的超現實風格，抑或香港賽馬會當代舞蹈平台為本地舞蹈界把脈，今屆藝術節的舞蹈節目充滿靈感和藝術能量，表演者和觀眾均會樂在其中。

“‘Real’ to me is the universal language of dance. It enables us to tell stories, move and inspire people in spite of any language barriers and cultural differences” — Christian Spuck | Artistic Director, Ballett Zürich

The spectacle of dancers and human movement on a stage affects us all in different ways, with our own personal take on “what’s real” in the spectacle unfolding in front of us. But there remains a physicality that is universal in its quality. The energy that crackles between the stage and those watching can manifest itself as a dialogue, passed back and forth, with the audience active participants in creating a reality that is simultaneously personal but also collective. Whether it is the large-scale sugar-sweet surrealism of American Ballet Theatre’s Whipped Cream or the Hong Kong Jockey Club Contemporary Dance Series’ on-the-pulse showcase of the HK dance scene, there is a huge range of inspiration and artistic energy in the 46th HKAF’s dance programme for both performers and audiences alike to savour.

舞蹈

Dance

《芭蕾小忌廉》的魔法美國芭蕾舞劇院跳出史特勞斯新變奏在 2018 年香港藝術節芸芸遊走現實和幻想邊界的節目中，《芭蕾小忌廉》這齣芭蕾舞劇呈現了甜美的糖果異想世界。故事講述一個小男孩在魔法糖果店中盡情享用鮮忌廉，店舖關門後，杏仁軟糖、甜梅和薑餅人忽然活了起來，徹夜共舞。小男孩卻因攝取過量糖分而變得神志不清，被人以擔架送進噩夢般的醫院。護士揮舞着超大號針筒，駐院醫生居然是個大頭酒鬼。最後，可憐的男孩夢見糖果王國的果仁糖公主營救了自己，迷人的超現實故事在一片歡慶中落幕。《芭蕾小忌廉》是阿列克塞．羅曼斯基在 2017 年創作的作品。羅曼斯基被譽為世界最優秀的芭蕾編舞家之一，他熱衷於研究芭蕾舞史，並曾改編《天鵝湖》和《睡公主》等多部經典芭蕾舞劇。羅曼斯基所編的芭蕾舞兼具傳統與創新，保留經典舞步之餘，亦深諳如何展現舞者的美感，他認為「（那）就是舞步的本意。摒棄這些舞步是不智的做法」。與此同時，羅曼斯基帶領舞者以超越固有舞蹈動作的框架而舞動，比如作品中動人的平衡動作，以及高速演繹的精妙步法。羅曼斯基熱愛敘事芭蕾舞劇，他看中故事的獨特感染力，能夠取悅及打動觀眾。因此，羅曼斯基巧妙地結合經典的舞步及故事，賦予二十一世紀的芭蕾舞活力與生命。

羅曼斯基 1968 年生於聖彼得堡，青年時期受訓於享負盛名的莫斯科大劇院芭蕾舞團。雖然他不是最傑出的芭蕾舞者，但他的編舞天分，早見於他將音樂旋律轉化成芭蕾舞步的才能。二十世紀最有影響力的編舞家喬治．巴蘭欽常說，芭蕾是「看得見的音樂」，而羅曼斯基的天賦，在於他能把音樂化作觀眾「看得見」的藝術。觀賞羅曼斯基的芭蕾舞，關鍵是體會舞者的步法，如何與音樂渾然一體，相得益彰。《芭蕾小忌廉》於 2017 年 5 月在紐約舉行世界首演後，將於 2018 年的香港藝術節舉行亞洲首演。這部作品是羅曼斯基的新版，也是向理察．史特勞斯原作《Schlagobers》（《芭蕾小忌廉》德文原名）的致敬。原作為雙幕劇，劇本及配樂均出自華爾茲大師史特勞斯手筆，是他在 1924 年為維也納國家歌劇院創作的作品。第一次世界大戰結束後，維也納國家歌劇院的芭蕾舞團舉步維艱，史特勞斯旨在憑此劇重振輝煌。原作用上二百八十七套精緻的服裝，曾被譏諷為「億萬富翁的芭蕾舞」，再加上當時維也納正飽受糧食短缺、惡性通貨膨脹之苦，因此奢華的排場引起不少維也納觀眾的反感。事實上，史特勞斯不僅深明社會疾苦，更以此為創作《Schlagobers》的初衷。他對作品的慘淡反響大失所望，並為自己辯護道：「我無法忍受當今的悲劇，我想創造喜悅。」

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舞蹈

Dance

The Magic of Whipped Cream

of Vienna’s famous ballet company, which was struggling mightily in the wake of World War I. The original production was so extravagant with its 287 elaborate costumes that it was sarcastically dubbed the “billionaire’s ballet”, and its lushness had the unintended effect of prejudicing much of the Viennese audience against it given that it premiered at a time when Vienna was reeling from food shortages and hyper-inflation. However Strauss was not only keenly aware of those hardships; they were, in fact, the reason he created the ballet. He was terribly affected by its chilly reception and tried to explain himself by saying: “I cannot bear the tragedy of the present time. I want to create joy.”

American Ballet Theatre’s sweet new twist on Richard Strauss

Joy is certainly what Hong Kong audiences will be able to derive from Ratmansky’s Whipped Cream, a ballet he considered reinventing more than 20 years ago when he choreographed a portion of it for a workshop performance. But it was not until 15 years later, when Ratmansky became enchanted by the work of the brilliant Pop Surrealist artist Mark Ryden that he became determined to create the ballet, with Ryden enlisted to produce the sets and costumes. Ryden’s contributions proved so original and captivating that Ratmansky has come to regard him as his Whipped Cream co-creator; this Ryden surely is, for his unique style informs every aspect and moment of the ballet, including the choreography itself. © Gene Schiavone

羅曼斯基版本的《芭蕾小忌廉》定會為香港觀眾帶來喜悅。二十多年前，羅曼斯基為一個工作坊的表演改編過部分原作，由此萌生了重編全舞的想法。然而直到十五年後，他迷上普普超現實主義大師馬克．雷登的畫作，才下定決心重新創作，並邀請雷登設計舞台佈景及服裝。因為雷登的設計極具原創性，並十分引人入勝，所以羅曼斯基將他視為《芭蕾小忌廉》的聯合創作人；這身份雷登確實當之無愧，因為他的設計影響了此劇的方方面面，包括編舞本身。雷登的獨特之處，在於他以出人意表的方式糅合流行文化和傳統大師畫家的繪畫技法。因而他的作品是一場繽紛色彩的視覺盛宴，抹掉高雅與低俗藝術之間的傳統界綫。其豐富想像力更是層出不窮，時而甜美可愛，時而詭異黑暗。《芭蕾小忌廉》的第一幕中，糖果店呈層次分明的粉紅色和奶油黃色，白馬馬車更是異想天開；第二幕的佈景轉變為超現實風格，空蕩蕩的醫院病房飾以空洞的眼珠及咧嘴而笑的動物頭顱。果仁糖公主的幻境裏有一頭微笑的巨型雪氂牛，左右有五彩繽紛的紙杯蛋糕隨行，同樣叫人難忘。芭蕾舞的最高境界是為觀眾提供精神上的棲身之所。《芭蕾小忌廉》恰恰做到了這一點，這部作品將我們帶入一個奇幻的世界――棉花糖造的窗簾，拉着鮮花裝飾馬車的白馬，其鬃毛上插着玫瑰花。在這個幻想世界，咖啡王子一邊向茶花公主獻殷勤，我們一邊沉醉於果仁糖公主的魅力，更親身體會到芭蕾舞無言而非凡的感染力。

Among the diverse reality-bending programmes at the 2018 HKAF, Whipped Cream is a divinely confectionery ballet that tells the tale of a young boy who gorges on whipped cream in a magical sweets shop where, after hours, marzipan, sugar plums and gingerbread men come to life and dance the night away. However, having eaten so much that he falls into a fantastical sugar-induced delirium, the boy is carted away on a stretcher to a nightmarish hospital dream-world where nurses wield over-sized syringes and the resident doctor is a tippler with an enormous head. The hapless boy dreams of rescue by Princess Praline in the land of bonbons, before this charmingly surreal tale concludes with a festive celebration.

striking off-centre balances, and delicate footwork performed at warp speed. Ratmansky also holds a deep love for story ballets, with their unique ability to delight and move audiences. So by taking two conservatisms – classic steps and classic stories – Ratmansky cleverly utilises them in ways that make 21st century ballet both new and alive.

Whipped Cream was created in 2017 by Alexei Ratmansky, a critically acclaimed choreographer who is widely regarded as one of the world’s best. Ratmansky is also an avid student of ballet history and has created his own versions of many classical ballets, among them Swan Lake and Sleeping Beauty.

Ratmansky was born in St. Petersburg in 1968 and trained at the storied Bolshoi Ballet in his youth. While never a truly great dancer, there were signs early on that he was a born choreographer, apparent in his ability to visualise the way in which music could translate into ballet steps. George Balanchine, the 20th century’s leading choreographer, often said that ballet is “music made visible” and Ratmansky certainly possesses that gift for making music something an audience can actually see. Indeed, while watching a Ratmansky ballet, a key thing to look for is the way the dancer’s steps and the music blend together seamlessly, each element enhancing the other.

Simultaneously inventive but also traditionalist, Ratmansky’s ballets are contained within classical steps, with the choreographer rightly noting their ability to make the dancers look beautiful: “The steps were created to do that. You’d be a fool to throw them away.” At the same time, Ratmansky pushes dancers to move in ways that go beyond usual notions of what dance and movement should be. For instance, his work contains

With Whipped Cream’s world premiere in New York in May 2017 now followed by the Asian premiere at the 2018 HKAF, this production is Ratmansky’s updated version and tribute to Richard Strauss’s Schlagobers, itself the German for “whipped cream”. Strauss, the master of the waltz, composed the original two-act work with both a libretto and score for the Vienna State Opera in 1924; in presenting it Strauss was seeking to revive the fortunes

Ryden’s artistic signature is a surprising blend of pop culture joined with painterly techniques that echo those of the old masters. Thus his work is a vividly coloured feast for the eyes that erases traditional boundaries between high and low art, while his all-encompassing imagination ranges from pretty and cute, to dark and menacing. In Whipped Cream, Act I’s multipleshades-of-pink and cream-coloured candy shop with its fanciful white carriage horse give way to Act II’s sparse hospital bed set, containing a surrealist backdrop emblazoned with disembodied eyes and grinning animal heads. Memorable too is Ryden’s rendering of the fanciful realm of Princess Praline, which includes a giant, smiling Snow Yak flanked by a procession of colourful cupcakes. At its best, ballet provides a haven for its audience. Whipped Cream does exactly that as it transports us to a fantastical realm, complete with a cotton candy curtain and a flower-festooned carriage drawn by a white horse with roses adorning its mane. There, as Prince Coffee courts Princess Tea-Flower, and we are dazzled by Princess Praline, we see the extraordinary eloquence of the wordless art of ballet. By Elizabeth Kaye

美國芭蕾舞劇院 American Ballet Theatre 《芭蕾小忌廉》Whipped Cream 22-25.3.2018 香港文化中心大劇院 Grand Theatre, HK Cultural Centre

文：伊利莎伯．凱伊

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舞蹈

Dance

蘇黎世芭蕾舞團《安娜．卡列妮娜》的淒美悲劇蘇黎世芭蕾舞團以《安娜．卡列妮娜》為 2018 年香港藝術節掀開序幕，這部圍繞性愛、失敗的戀愛與死亡的芭蕾舞劇，改編自托爾斯泰的俄國文學鉅著《安娜．卡列妮娜》，而克里斯蒂安．施普克編排的芭蕾舞版本，不僅是一場視覺盛宴，更於 2016 年獲邀在莫斯科搬演，成為首個在當地上演的非俄裔編舞版本。施普克擅長挑戰尖銳、複雜的主題，過往作品包括韋德坎德的《露露》、畢希納的《伍采克》，以及喬伊斯的《尤利西斯》。《安娜．卡列妮娜》是他典型具野心的創作，表現了他慣常的風格，強調戲劇性，著重感情刻畫，以及他將古典與現代風格共冶一爐、營造強烈效果的本領。施普克可謂當今芭蕾舞壇最矚目的編舞之一，他受訓於史圖加芭蕾舞團，並於 2001 年成為駐團編舞，這在編舞大師輩出的史圖加絕非易事。他於 2012 年獲委任為蘇黎世芭蕾舞團藝術總監，兩年後創作了《安娜．卡列妮娜》。《安娜．卡列妮娜》常被譽為文學史上最偉大的小說，恢宏的故事探討多重主題，既有愛情、慾望、不忠與嫉妒，也有虛偽和道德，此外還涉及宗教信仰、政治及社會議題。但歸根結底，它講述的是一個女子為了愛情失去所有的故事。托爾斯泰受現實中的一個悲劇事件啟發：他有一位長期當別人情婦的鄰居，名叫安娜，當她發現自己的情人準備與別人結婚時，毅然臥軌自盡。這部小說因其女主角獨一無二的性格和蘊含的雙人舞潛質，曾多次被搬上舞台和銀幕，同時也有過不少芭蕾舞的改編版本。許多傑出編舞家都編過自己的《安娜．卡列妮娜》，包括波里斯．艾庫曼（曾於 2013 年在香港上演）、瑪雅．普麗瑟斯卡雅、阿列克塞．羅曼斯基（美國芭蕾舞劇院於今屆香港藝術節上演由他編舞的《芭蕾小忌廉》，見第 1 1 頁），以及約翰．紐邁亞近期版本。

蘇黎世芭蕾舞團 Ballett Zürich 《安娜．卡列妮娜》Anna Karenina 23-25.2.2018 香港文化中心大劇院 Grand Theatre, HK Cultural Centre

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舞蹈

Dance

Ballett Zürich The beauty and tragedy of Anna Karenina

Sex, doomed love and death take centre stage when Ballett Zürich opens the 2018 Hong Kong Arts Festival with Christian Spuck’s visually stunning production of Tolstoy’s Anna Karenina. It’s a tribute to Spuck’s success in adapting this seminal work of Russian literature that he was invited to re-stage it in Moscow in 2016 – the first version by a non-Russian choreographer seen there. Spuck is known for taking on edgy, complex subjects like Wedekind’s Lulu, Büchner’s Woyzeck and Joyce’s Ulysses. Anna Karenina is a characteristically ambitious creation which shows Spuck’s trademark emphasis on emotion and theatre, along with his ability to combine classical and modern styles to powerful effect. One of the world’s most sought-after choreographers, Spuck trained at Stuttgart Ballet and in 2001 became resident choreographer there – no mean feat in a company famous for nurturing outstanding choreographic talent – and in 2012 was appointed Artistic Director of Ballett Zürich where he created Anna Karenina in 2014. Often called the greatest novel ever written, Anna Karenina is an epic work which explores a multitude of themes – love, lust, infidelity and jealousy; hypocrisy and morality; spiritual, political and social issues. Above all it’s the story of a woman who loses everything for love. The seed of the book was planted in Tolstoy’s mind by a real-life tragedy – his neighbour’s long-time mistress, a woman named Anna, threw herself under a train when she found out that her lover planned to marry someone else. Adapted numerous times for stage and screen, the story, with its tremendous female lead and opportunities for pas de deux, lends itself naturally to ballet. Choreographers who’ve tackled it include such illustrious names as Boris Eifman (whose version was seen in Hong Kong in 2013), Maya Plisetskaya, Alexei Ratmansky (who brings Whipped Cream to this year’s HKAF with American Ballet Theatre, see p12), and most recently John Neumeier.

大多數《安娜．卡列妮娜》的改編版本，都只著墨於女主角與其夫卡列寧及情人佛倫斯基的三角戀，而將其他主要人物淡化為可有可無的配角，且對該作的哲學層面略過不談。當然，要將長達千頁的大作化為區區兩小時的電影或舞劇，這種處理手法無可厚非，但對於如此深刻、廣博的原作，卻是一種不公。施普克躊躇滿志，盡可能貼近托翁的構想。除了將安娜保留為芭蕾舞的重心，他更加入故事支線，重點介紹另外兩對代表愛情與婚姻不同面向的情侶。其中一對是安娜的兄長奧布朗斯基和他的妻子多莉─ 這本是一段成熟、世故的婚姻，卻因奧布朗斯基的不忠而受到威脅。多莉的妹妹凱蒂則代表天真、青春與純潔，她的追求者和日後的丈夫列文，是個理想主義者，也是托爾斯泰本人的化身（就連他的名字也是源於托翁之名「列夫」）。一如他的作者，列文放棄了自己的貴族身份，前往鄉村，想要改善農民的生活。凱蒂和列文充滿新鮮感和柔情的關係，對比安娜及佛倫斯基帶罪咎感的激情，以及多莉和奧布朗斯基倦怠的婚姻，一切都在一系列精采的雙人舞中表達得淋漓盡致。文：羅佳娜

音樂和設計

Music and Design

另外的《安娜．卡列妮娜》芭蕾舞劇常用兩個版本的配樂，一是俄國作曲家蕭卓倫 1 9 7 1 年的譜曲（普麗瑟斯卡雅、羅曼斯基版本），一是柴可夫斯基樂曲選段（艾庫曼、紐邁亞版本）。施普克另闢蹊徑，為「浪漫」場景配以拉赫曼尼諾夫的音樂，而更為陰鬱的部分則選用魯杜斯華夫斯基、巴丹拿殊維里及京沙茲創作的現代樂曲。其中最精采的部分包括拉赫曼尼諾夫的淒美歌曲，由女高音現場演出。

Other ballet versions of Anna Karenina have used either the score composed by Rodion Shchedrin in 1971 (Plisetskaya, Ratmansky) or selections from Tchaikovsky (Eifman, Neumeier). Spuck has taken a different path, with a score made up of Rachmaninov for the more “romantic” sequences, contrasted with modern music from Lutosławski, Bardanashvili and Tsintsadze for darker moments. Highlights include haunting songs by Rachmaninov, performed live by a soprano.

正如編舞和配樂，《安娜．卡列妮娜》在設計方面也融合了現代與傳統。極簡的舞台設計，配合巧妙地運用的錄像，營造出充滿電影感的畫面。艾瑪．雷奧特的瑰麗服飾則高度還原十九世紀的華貴布料及精緻細節，難怪有評論說單是欣賞服裝便已值回票價。

Like the choreography and music, Anna Karenina’s designs offer a dazzling combination of modernity and tradition. Minimalist, stylised sets complemented by ingenious use of video give a cinematic feel, while Emma Ryott’s gorgeous costumes (which have been described as worth the price of admission on their own) are authentically 19th century in their sumptuous fabrics and exquisite detail.

Most adaptations focus on the love triangle between Anna, her husband Karenin and her lover Vronsky, reducing other major characters to cameos and omitting the philosophical content. Although understandable when turning a 1,000 page book into two hours of film or dance, it’s an approach which fails to do justice to the novel’s depth and scope. With admirable boldness, Spuck has set out to stay closer to Tolstoy’s vision. While keeping Anna at the heart of the ballet, he brings in the broader aspects of the story and highlights two couples who represent different aspects of love and marriage in the book. Anna’s brother Stiva Oblonsky and his wife Dolly are a mature, sophisticated pair whose union is threatened by Stiva’s infidelity. Dolly’s sister Kitty embodies innocence, youth and purity while her idealistic suitor and eventual husband Levin is based on Tolstoy himself (even his name comes from Tolstoy’s first name, Lev) and, like his creator, abandons high society to live in the country and work to improve the life of the peasants. The freshness and tenderness of Kitty and Levin’s relationship is contrasted with the turbulent, guilty passion of Anna and Vronsky and the Oblonskys’ jaded marriage, all expressed through a range of spectacular pas de deux. By Natasha Rogai

FestMag

舞蹈

Dance

左：馬丁．赫辛《身身相印》右：松根充和《舞得入境》 (l) if it's all in my veins by Martin Hansen, (r) Dance, if you want to enter my country! by Michikazu Matsune

身份面面觀亞太舞蹈平台（第十屆）

On Identity Asia Pacific Dance Platform X

2009 年首辦的亞太舞蹈平台，終於迎來別具意義的第十屆。常言道，十年人事幾番新。平台從起步到成熟，歷經轉變，但對當代舞的探索從未間斷。過去九屆，亞太舞蹈平台以一點一線，逐漸勾畫出一幅舞蹈新思潮的地圖。除了為觀眾引介中國、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、澳洲及土耳其等地的當代舞，在香港賽馬會當代舞蹈平台於 2012 年成立以前，更為本地與亞太區新銳編舞提供演出機會。平台展示亞太地區編舞的特色作品及首演作品，從純粹的肢體表達、傳統民族舞與現代舞的融合、身體與聲音的互動，到實驗性的概念舞蹈，每次都在挑戰、擴闊我們對當代舞的定義。今屆四個舞碼分成三套節目演出，命題都和「身份」有關。創作人來自亞太地區，他們的舞作融入個人背景與遊歐經歷，及從中衍生對身份的看法，為觀眾帶來深刻的文化反思。

Launched in 2009, the Asia Pacific Dance Platform (APDP) reaches its landmark 10th edition at the 2018 HKAF.

亞太舞蹈平台（第十屆）Asia Pacific Dance Platform X 《舞得入境》Dance, if you want to enter my country! 23-24.2.2018 藝穗會樓上劇場 Fringe Upstairs, Fringe Club

《身身相印》if it’s all in my veins 13-14.3.2018 葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre

《萬有引力》/《蚊型城市間》 Gravitas / Between Tiny Cities 16-17.3.2018 葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre

Over the past decade, APDP has been on a journey of constant exploration into the world of contemporary dance, while also evolving from a creative initiative into a mature performance platform in its own right. Over the previous nine editions, APDP delineated a map of new concepts in dance. Besides introducing contemporary dance works from mainland China, Indonesia, Korea, Japan, Singapore, Taiwan, India, Israel, Cambodia, Malaysia, New Zealand, Australia and Turkey to audiences, the platform also presented local dance works prior to the launch of the Hong Kong Jockey Club Contemporary Dance Series in 2012, offering opportunities for emerging local and Asia Pacific choreographers to perform their latest works and premieres. These diverse, innovative dance works have ranged from shows of pure physical expression, combinations of traditional folk and contemporary dance, interactions between the body and sound, to experimental conceptual dance; each work has challenged and expanded definitions of contemporary dance. This edition presents four works which explore the theme of identity across three different programmes. The works reflect the artists’ Asia Pacific backgrounds but also their experiences of relocating to Europe, opening up profound cultural reflections for audiences.

FestMag

舞蹈

Dance

《舞得入境》由旅居奧地利的日本舞者松根充和創作，靈感源自美國非洲裔舞者在以色列本．古里安國際機場被扣查的真實經歷。松根充和以肢體語言、裝置藝術和紀錄影像，呈現全球化帶來的監控與身份問題。在《身身相印》中，於柏林和墨爾本兩地工作的澳洲編舞馬丁．赫辛透過拆解、重構當代舞歷史，重新設想未來。在簡約的舞台上，熒幕閃動着當代舞大師的 GIF 動畫，三個不同世代的舞者一遍遍演繹大師的經典瞬間。過去、現在、未來同時進行，打破觀眾對歷史和時間的固有觀念。最後一套節目將呈上兩個雙人舞舞碼，有曾習巴西戰舞及雜技的以色列編舞奧菲爾．約迪拉維治的《萬有引力》，和澳洲著名嘻哈舞者尼克．鮑華的《蚊型城市間》。兩對男舞者透過舞蹈對話：前者在打破重力限制的氣墊上離地起「武」，帶領觀眾回到無懼跌倒的孩童時代；後者在開放的圓形舞區中，以嘻哈舞鬥的方式著地較量。狂野的舞鬥與率性的即興演出，呈現柬埔寨金邊與澳洲達爾文兩個小城獨特的文化。二人不需言語，以舞蹈溝通，展示當代舞無限的潛力。

奧菲爾．約迪拉維治《萬有引力》 Gravitas by Ofir Yudilevitch © Vojtech Brtnický

尼克．鮑華《蚊型城市間》 Between Tiny Cities by Nick Power

Dance, if you want to enter my country! by Austria-based Japanese artist Michikazu Matsune is inspired by the real story of an African-American dancer who was detained at Ben Gurion International Airport in Israel. Through dance movement, installation art and video documentation, Matsune examines questions of surveillance and identity brought on by globalisation. In if it’s all in my veins, Berlin and Melbourne-based Australian choreographer Martin Hansen deconstructs and reconstructs the history of contemporary dance and re-envisions its future. On a minimalist stage, three intergenerational dancers reframe key moments in dance history, re-embodied in animated GIFs of dance iconology excerpts. The past, the present and the future are illuminated on stage simultaneously, defying the audience's existing concepts of history and time. The last programme presents two duets: Gravitas by Israeli choreographer Ofir Yudilevitch, who is trained in Capoeira and acrobatics, and Between Tiny Cities by renowned Australian choreographer Nick Power. The works see two pairs of male dancers engage in a dialogue in dance. In Gravitas, the dancers collide in a gravity-defying “fight” on an air-floor mattress, taking the audience back to childhood days with no fear of falling. In Between Tiny Cities, the dancers take each other on in hip-hop battle within an open, circular dance zone. The thrilling dance battle and improvisation cast light on the unique cultures of two cities, Phnom Penh in Cambodia and Darwin in Australia, as the duet encapsulates the boundless potential of contemporary dance.

FestMag

舞蹈

Dance

更上一層樓第七屆香港賽馬會當代舞蹈平台

Reaching The Next Level The Hong Kong Jockey Club Contemporary Dance Series © Pazu@ 萬象鏡社

2012 年開始，香港藝術節獲得香港賽馬會的全力支持，打造了一個獨一無二的當代舞蹈平台。這個舞蹈平台的獨特之處，是從藝術創作出發，延伸至教育普及、觀眾拓展、文化交流等各個層面，全方位建立一個適合香港舞蹈生態及規律，又能提高製作及創作水平，爭取更多觀眾的當代藝術綜合計劃。過去六年，我們委約了不下幾十位年青獨立編舞，委約製作了幾十個中小型以至長篇的作品。這些作品，從創作概念到排練製作，均經過製作人與編舞及製作團隊的反覆商討，其中不少編舞的作品獲得本地嘉獎及國際認可，有些作品除了在香港重演，更得到國內及國際的邀約重演，或代表香港舞蹈界到海外展演。這些令人鼓舞的成績，證明只有具備藝術視野，能與藝術家及持份者一起用心經營，努力探索新的方法，邊實行邊改進，立足香港放眼國際，才是藝術發展的路。第七屆香港賽馬會當代舞蹈平台，從藝術方向、教育計劃、宣傳推廣、製作方法及文化交流上，均引入了新思維、新方法，期望在原來的基礎上更上一層樓，為以後開展更精采的未來。蘇國雲（香港藝術節副節目總監）

香港賽馬會當代舞蹈平台 The Hong Kong Jockey Club Contemporary Dance Series 《舞．聲》The Battle Zone | Vortex 24-25.2.2018

《兩地書》Dance Exchange 3-4.3.2018 香港文化中心劇場 Studio Theatre, HK Cultural Centre

《舞鬥》Dance Off 22-25.3.2018 葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre

Since 2012, HKAF has established a unique contemporary dance platform, fully funded and supported by the Hong Kong Jockey Club. The distinctive nature of The Hong Kong Jockey Club Contemporary Dance Series (CDS) starts from artistic creation and encompasses further dimensions including educational outreach, audience development and cultural exchange. Its aim is to build an integrated contemporary arts platform that corresponds to the ecology and patterns of Hong Kong dance, and to enhance the standards of production and artistic creation in order to reach a broader audience. Over the past six years, HKAF has commissioned many young and independent choreographers to create new dance works for CDS, resulting in dozens of productions, ranging from short to mid-length and full-length. From original creative concept to final technical execution, each production has involved extensive work from producers, choreographers and a wider production team, with many of the choreographers featured in CDS going on to win local and international awards for their work. A number of the dance works have been re-run in Hong Kong, mainland China and overseas at the invitation of arts festivals and markets. They have also received invitations from festivals and competitions around the globe to represent Hong Kong’s dance scene. These achievements demonstrate that in fostering the future development of the arts, the Festival plays a key role in working with artists and stakeholders to expand and elevate Hong Kong’s artistic vision. Such vision can only be realised through constant exploration, implementation and refinement of new methods, while also enriching local productions with international perspectives. From artistic direction to production methods, educational programmes, cultural exchange and marketing, the seventh edition of CDS shines a light on new ideas and methods. The series is now aiming to take its accomplishments to the next level, turning the page to an even brighter future. So Kwok-wan (HKAF Associate Programme Director)

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舞蹈

Dance

Visible sound

繼上年《西西利亞狂想曲》以文本為引子後，今屆藝術節嘗試以聲音出發，邀請來自比利時的聲音藝術家彼得．萊納來港，與本地編舞盤彥燊、梁儉豐和陳頴業合作創作《舞．聲》，共同探索和創作屬於他們各自舞蹈作品的音樂和聲音，亦讓香港的當代舞有機會跟各種不同媒介合作。

The 2017 CDS featured Cecilia’s Rhapsody, inspired by a literary work; this time HKAF presents a new artistic experiment for The Battle Zone | Vortex with sound as the starting point. Belgian sound artist Peter Lenaerts has been invited to collaborate with local choreographers Wayson Poon, Kenny Leung and Yip Chan in creating music and sound for their respective dance works; thus the collaboration also marks a crossover between Hong Kong contemporary dance and different media.

盤彥燊的《渦》透過身體的反射能量帶動與觀眾感官的連接；而梁儉豐和陳頴業的《The Battle Zone》則將從當代舞與街舞舞者的競技過程中提煉出一場精采的演出。

中港兩地舞者以信共舞今年 3 月於第 45 屆藝術節期間，內地編舞謝欣、李超和楊暢曾來港與一眾本地編舞進行交流，並各自組成小組即興創作，建立起異地的共生聯繫，啟發今年《兩地書》的展開。

七位新進編舞舞出真我《舞鬥》一如以往由多元化的短篇匯集而成，可以說是近年最受歡迎的本地當代舞節目，亦成為海外多個舞蹈節、比賽、藝術市場的熱門之選。今年黃翠絲將會重回這個舞台，與女歌唱家思考被填滿的感覺；廖月敏第二年踏足，觸摸超現實的舞蹈空間；舞團成員柯志輝從小說《白噪音》探討人對死亡的恐懼；程偉彬將會「舞蹈化」戲曲的形體動作（做功）及武打和翻跌的技藝（打功），表達新舊的交替；曾於李德的作品中亮相、並於內地多個霹靂舞比賽中獲獎的街舞舞者張喜龍，渴望在接受生活上需要妥協的同時，抓住時間發一場夢；首次以編舞身份亮相這個舞台的馬師雅和呂沅蔚，則分別探索都市中人與人之間的信任，以及我們生活中呼吸的形態。

巡演詳情 Tour Details

In Poon’s Vortex, the reflexive energy of the body drives the sensory connection between the dancer and the audience. The Battle Zone by Leung and Chan brings contemporary dance and street dance battles together in a thrilling performance.

In March 2017, mainland choreographers Xie Xin, Li Chao and Yang Chang visited Hong Kong to engage in a creative exchange with local choreographers during the 45th HKAF. Group improvisation sessions sparked off connections that transcended borders, as well as leading to the start of 2018’s CDS Dance Exchange. Local choreographers Yang Hao, Judy Yiu, Ming Pak and Poon Chun-ho each selected an object of personal significance, and conveyed its meaning through text or visuals to their mainland counterparts; these cross-border “letters” between the choreographers became the impetus for artistic creation Through this communication and fermentation of ideas, they have developed the concepts into physical dance works in Dance Exchange. Seven emerging choreographers and dance personalities

A showcase of diverse short pieces, CDS Dance Off has been one of the most popular Hong Kong contemporary dance programmes in recent years, with works from the series catching the eye of overseas dance festivals, competitions and arts markets.

《地圖》Mapping（2016）/ 黃翠絲、毛維 Tracy Wong, Mao Wei 日本福岡舞蹈藝穗節（二月 Feb）Fukuoka Dance Fringe Festival, Japan 香港比舞（一月 Jan）Hong Kong Dance Exchange (HDX) 《順》Along（2017）/ 曹德寶 Hugh Cho 香港比舞（一月 Jan）Hong Kong Dance Exchange (HDX) 《900’》900’（2017）/ 白濰銘 Ming Pak 香港比舞（一月 Jan）Hong Kong Dance Exchange (HDX) 《輕飄飄》Très léger（2017）/ 黃俊達 Ata Wong Chun-tat

A dance exchange between Hong Kong and mainland Chinese choreographers

The 2018 showcase sees the return of Tracy Wong, who is joined by an accompanying soprano for a piece that reflects on the state of self-fulfilment. Sudhee Liao, who is featured in the series for a second consecutive year, probes a hyper-real dance space with her work. Dance troupe member Felix Ke examines a fear of death by drawing inspiration from the novel White Noise. In a work illuminating the intersection between old and new, Rex Cheng revamps the stage movement and martial artistry of Chinese opera through contemporary dance. Solong Zhang, who has won multiple break dance awards in mainland China and featured in a past work by Li De, has created a dance inspired by both his dreams and acceptance of the need for real life compromise. First-time featured choreographers Alice Ma and Evains Lui explore the trust that exists between city-dwellers, as well as the state of breathing in everyday life in their respective works. 24

作品 Dance Piece（香港藝術節首演年份 Premiere Year at HKAF）/ 編舞家 Choreographer

香港比舞（一月 Jan）Hong Kong Dance Exchange (HDX)

2017

本地編舞楊浩、姚潔琪、白濰銘、潘振濠將在香港各自選取一件對自身富代表性的事物，用文字或影像向在內地的編舞表達其意義，以身處兩地的編舞之間交流的「書信」作為創作的原點。雙方互相溝通，讓想法發酵，並用身體把概念發展為作品，成就《兩地書》計劃。

2017-2018 年重演及海外演出 Re-run & Touring 2017-2018

2018

看得見的聲音

《順》Along（2017）/ 曹德寶 Hugh Cho 新加坡第九屆 Xposition「O」當代舞蹈節（十一月 Nov） The 9th Xposition ‘O’ Contemporary Dance Fiesta, Singapore 《太平山街 71 號》Nook（2017）/ 黃碧琪 Rebecca Wong Pik-kei 香港城市當代舞蹈團東亞舞蹈平台節目展演（十一月 Nov） City Contemporary Dance Festival － HOTPOT East Asia Dance Platform, HK 《第十六天》The 16th Day（2016）/ 陳曉玲 Gabbie Chan 香港城市當代舞蹈團東亞舞蹈平台節目展演（十一月 Nov） City Contemporary Dance Festival － HOTPOT East Asia Dance Platform, HK 《Here it is》Here is it（2015）/ 李德 Li De 香港城市當代舞蹈團東亞舞蹈平台節目展演（十一月 Nov） City Contemporary Dance Festival － HOTPOT East Asia Dance Platform, HK 香港賽馬會藝壇新勢力—現代舞事劇場節目一（九月 Sep） Jockey Club New Arts Power - Dance On: Contemporary Dance Theatre Programme 1, HK 《原》Pardon（2015）/ 黃翠絲 Tracy Wong 西班牙 22 MASDANZA 加那利群島國際現代舞蹈節—編舞比賽決賽（十月 Oct） 22MASDANZA International Contemporary Dance Festival of the Canary Islands, Spain 韓國 NDA 國際舞蹈節—第二屆 MASDANZA 亞洲獨舞及雙人舞比賽決賽（八月 Aug） New Dance for Asia International Festival － 2nd Asian Solo & Duo Challenge for MASDANZA finalist, Korea 《從頭開始》From the Top（2015）/ 馮樂恆 Victor Fung 香港賽馬會藝壇新勢力—現代舞事劇場節目一（九月 Sep） Jockey Club New Arts Power － Dance On: Contemporary Dance Theatre Programme 1, HK 美國三藩市國際藝術節（六月 Jun）San Francisco International Arts Festival, USA 《人間．獨．白 II》Heaven behind the door II（2014）/ 黃靜婷 Chloe Wong 香港賽馬會藝壇新勢力—現代舞事劇場節目二（九月 Sep） Jockey Club New Arts Power － Dance On: Contemporary Dance Theatre Programme 2, HK 《直言不諱》Outspoken（2014）/ 楊浩 Yang Hao 香港賽馬會藝壇新勢力—現代舞事劇場節目二（九月 Sep） Jockey Club New Arts Power － Dance On: Contemporary Dance Theatre Programme 2, HK 《時差》Time Lag（2016）/ 藍嘉穎 Blue Ka-wing 韓國 NDA 國際舞蹈節—第二屆 MASDANZA 亞洲獨舞及雙人舞比賽決賽（八月 Aug） New Dance for Asia International Festival － 2nd Asian Solo & Duo Challenge for MASDANZA finalist, Korea 日本福岡舞蹈藝穗節（二月 Feb）Fukuoka Dance Fringe Festival, Japan

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Multi-layered Master

舞蹈界的指揮家

Saburo Teshigawara’s Tristan and Isolde 有些藝術家之所以能攀上藝術高峰，成為箇中翹楚，全靠對這種藝術的絕對掌握。他們不僅一生訓練不懈，而且有幸進入名校接受系統教育，不管是紐約的茱莉亞學院、倫敦的皇家戲劇藝術學院，還是某間歷史悠久的藝術學院。

Some artists reach the pinnacle of their field through sheer mastery of their art, having trained their whole lives for it and been lucky enough to receive an establishment education from one of the finest schools, perhaps a Juilliard, a RADA, or one of the great historic conservatoires.

但有些藝術家卻能另闢蹊徑，靠截然不同的方法為觀眾所認識，並被尊為大師。他們沒有受過最正統的訓練，卻也不受傳統規條的束縛。他們特立獨行，是藝術界的「異見人士」，並往往憑藉創新的作品，帶來革命性影響。

Others achieve masterly status by taking a different route entirely, arriving in the gaze of wider audiences without having followed the same formal training route of their peers, but also not bound by the same rules – they are mavericks, often experimental in their approach and sometimes even revolutionary in their impact.

日本當代舞蹈先鋒勅使川原三郎無疑是後者。他年輕時曾學習芭蕾舞，卻認為傳統芭蕾的形式過於拘謹，對其藝術追求是一種束縛。不過，這並不妨礙他吸收芭蕾舞的技巧，為此後的藝術生涯打下基礎。除了芭蕾舞，勅使川原三郎還在藝術院校修讀過造型藝術和雕塑。敏銳的藝術觸覺造就了他結構性極強、充滿雕塑感的個人舞蹈風格，也確立了他在當代舞壇獨一無二的地位。

Saburo Teshigawara belongs firmly in the latter group. Having studied ballet in his youth, the Japanese dance pioneer found its traditional dance forms to be too constrictive for his artistic interests, but absorbed the technical skills that would form a foundation for his subsequent career. Teshigawara also studied plastic arts and sculpture as part of his formative artistic education, playing a significant role in forming the compositional and sculptural sensibilities that define his unique position in today’s contemporary dance world.

1985 年，勅使川原三郎與宮田佳在東京共同創辦了渡烏舞團。舞團創辦僅一年，他就成功入圍 1 9 8 6 年法國「巴尼奧雷國際編舞大賽」，引起世界舞壇關注。一場重新定義舞蹈疆界的探索之旅由此展開，並且至今仍在繼續。勅使川原三郎和宮田佳當年的參賽作品《風之尖端》，以表面看似簡單的跌倒在地—這個在舞蹈界一向象徵「失敗」的動作—出人意表地創作出一種全新的舞蹈風格。

After founding his company KARAS together with creative partner Kei Miyata in 1985 in Tokyo, a stunning entry into the 1986 Bagnolet International Choreography Competition

attracted attention from the world over, starting a journey of acclaimed boundary-pushing that still continues today. Kaze no sentan (La Pointe du vent) was based around the apparently simple motif of falling or crumbling down to the floor, but by taking a movement that the dance world intrinsically associated only with failure, Teshigawara and Miyata had conceived a new means of dance expression in the most unassuming way. Teshigawara’s multi-faceted approach to performance over the subsequent decades means that his creations should not be seen as simply dance pieces, and that he cannot be defined only as a choreographer; HKAF audiences may remember Teshigawara bringing Kazahana to the 2005 Festival, but he has also created installation pieces, films, and devised captivating dance pieces for opera, as he does with Wagner’s Tristan and Isolde at the 2018 HKAF. Featuring musical excerpts from the opera, Teshigawara appears himself as a performer alongside longtime KARAS member Rihoko Sato, managing to convey the deep tragedy, emptiness and loss of the two lovers with a stark focus that larger productions of this story cannot achieve. This may still be a dance duet which he has choreographed and danced himself, but in keeping with the elusive nature of his artistry, Teshigawara’s approach to Tristan and Isolde is perhaps more that of a “total” artist who has used not just dance, but also innovative lighting and set design to craft a multi-sensorial experience.

隨後數十年裏，勅使川原三郎一直用多元化的方式創作、演出。他絕不僅是一位編舞家，而單從舞蹈角度來看待他的作品也是不足夠的。香港藝術節的觀眾也許還記得他在 2 0 0 5 年帶來的《風花》，但事實上，他的創作包括裝置、影像，以及為歌劇編排迷人舞蹈。《崔斯坦與伊索德》即將在 2018 年香港藝術節上演，勅使川原三郎將在華格納歌劇的音樂選段中親自登場，連同渡烏舞團資深成員佐東利子，將一對戀人的悲慟、無力與失落演繹得淋漓盡致。這種赤裸裸的呈現，對特定主題的專注，是較大型製作渴望而不可及的。也許我們仍可以將《崔斯坦與伊索德》定義為一部舞蹈作品，但向來風格難以捉摸的他，不僅在本作中運用了舞蹈，還使用了創新的燈光及舞台設計，構成一個融合視覺設計及豐富舞台效果的舞蹈藝術作品。

勅使川原三郎 | 渡烏舞團 Saburo Teshigawara | KARAS 《崔斯坦與伊索德》Tristan and Isolde 8-11.3.2018 香港大會堂劇院 Theatre, HK City Hall

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佛蘭明高大師伊斯雷爾．加凡之頌

一提到佛蘭明高，就會想到這個傳統藝術形式的繽紛畫面和聲音。雖然佛蘭明高有着幾百年的傳統，但先驅諸如伊斯雷爾．加凡，卻能進一步突破其界限。第 46 屆藝術節的《佛蘭明高大師加凡》，就是要改變人們對佛蘭明高的看法。加凡的藝術拍檔在以下的短文裏分享加凡的創新之處。當舞蹈仍處於陳腐與革新的鬥爭之中，伊斯雷爾．加凡來了，他拒絕偏袒任何一方。安立奎．莫倫第 1 稱他為「新一代年青舞者中最成熟的」。安立奎說得很對。因為對加凡而言，他在日本舞踏中所觀察到的佛蘭明高舞步，比他對佛蘭明高古老的經典「特里亞納的提提」風格瞭如指掌更重要。面對這個落在繩規與當代新風氣之間的雙重景觀中，加凡重溫舊有的舞蹈方式。面對着堅守規條、維持傳統的旁觀者，他顛覆規則，展示自己的「概念式」及巴羅克佛蘭明高。當面對着那種將現代爵士及民族舞融入佛蘭明高的愚蠢嘗試，他提出重構現代佛蘭明高舞蹈，只用佛蘭明高獨有的素材。加凡由認清過去出發：馬力歐．馬雅的《歡愉調》、法盧高的《孤調》、他的舞步和他彎曲身體的技巧，這些都是他賴以體現新佛蘭明高的根源。毫無疑問，於加凡而言，一齣寇比力克的電影比一個納曹．杜亞陶的舞步更重要。加凡跟他已故的朋友，佛蘭明高舞蹈大師曼紐爾．蘇拉看球賽學到的，比在當代舞蹈學院學到的更多。我可以說明，加凡非常尊祟薩爾瓦多．達利，他通曉批判性偏執狂手法的奧秘：他演出卡夫卡《變形記》中格里高爾·薩姆莎之死的時候，在最後的「斷續調 - 打鐵調」中，決定加插巴甫洛娃所編舞的《天鵝之死》段落。然而他並不知道，維辛迪．埃斯古德羅 2 早在八十年前首演「斷續調」時，也曾經有過相同的構思。加凡了解菲力斯．費南迪斯．加西亞3 的生平故事，受他啟發編了《紅鞋》，而他跳的「法魯卡」，便是從梅辛的創作中去除所有非佛蘭明高的元素。觀摩加凡演出的佛蘭明高舞者多不勝數，可見伊斯雷爾．加凡無容置疑是佛蘭明高舞者所推崇的佛蘭明高舞者。亦無容置疑，他深得歌手們的歡心，他們都喜愛加凡的節奏，並要求他把佛蘭明高的傳統曲式「喧戲調」融入他的實驗中。更無容置疑的是，要不是有伊斯雷爾．加凡，現代佛蘭明高將會截然不同。文：皮德羅．G．羅美路（藝術家和佛蘭明高歷史學者） 1 已故創新佛蘭明高歌手，他的實驗擴展了佛蘭明高的界限，同時招來傳統主義者不滿（1942-2010）。 2 已故佛蘭明高舞者，其舞蹈理論至今仍甚具影響力（1888-1980）。 3 別名「瘋子」，1893 年生於塞維爾，極有佛蘭明高天份，曾與戴亞吉列夫和梅辛合作，後來在英格蘭被送進精神病院，直至 1941 年去世。

伊斯雷爾．加凡 Israel Galván 《佛蘭明高大師加凡》FLA.CO.MEN 5-6.3.2018 香港文化中心大劇院 Grand Theatre, HK Cultural Centre

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FLA.CO.MEN In praise of Israel Galván When one thinks of flamenco, both the vividly colourful imagery and sounds of this traditional artform fill the mind. But though based on centuries of tradition, pioneers like Israel Galván are pushing the boundaries of flamenco further and further, and with his FLA.CO.MEN show at the 46th HKAF, Galván is changing perceptions of what flamenco is today. Here, one of his artistic collaborators shares an insight into Galván's revolutionary approach.

When dance was still struggling between the rancid and the new, Israel Galván came along, refusing to take either of these sides. Enrique Morente1 called him “the oldest of the young dancers”. And rightly so. This is because Galván’s knowledge of the old El Titi de Triana’s tangos style is second only to his insight when it comes to spotting a flamenco gesture in Japanese butô dance. Facing a twofold panorama, ranging between invented canon and modern affectation, Galván reconsiders the worn-out, overwalked path. When facing proponents of the classical status quo, he turns the canon upside down to offer his own “conceptist” and baroque flamenco. When faced by those who introduce modern and contemporary jazz and folklore idiotisms, he proposes the reconstruction of modern flamenco dance, using only materials which used to be exclusive to flamenco. Recognition is Israel’s start-point. Mario Maya’s alegrías, El Farruco’s soleá, his steps, his quiebros (body inflexions): these are the roots he uses to shape a new kind of flamenco. To Israel Galván, a Stanley Kubrick movie can hold more significance than a Nacho Duato step. Galván once learnt more

watching a football game with his flamenco dance master and friend, the late Manuel Soler, than he would have done in a modern dance academy. I can account for the fact that Galván, a keen admirer of Salvador Dalí, knows the secrets of the critical paranoiac method: when staging the death of Gregor Samsa in Kakfa’s Metamorphosis, he decided to incorporate Pavlova’s Dying Swan choreography into the final seguiriya-martinete, yet he did not know that, 80 years earlier, Vicente Escudero2 had had the exact same inspiration when he staged the first danced seguiriya. Galván has read the life of Félix “El Loco” (The Madman) Fernández García 3 , which inspired his Los Zapatos Rojos choreography, and he dances a farruca which removes all the non-flamenco elements from Massine’s creation. Nobody doubts that Israel Galván is the flamenco dancer of flamenco dancers, given the number of other flamenco dancers who attend his performances. Nobody doubts that he’s a favourite with singers, who admire his compás (rhythm) as they commend him to integrate bulerías into his modern experiments. Nobody doubts that modern flamenco would look entirely different, if it weren’t for Israel Galván. By Pedro G. Romero, an artist and flamenco historian 1 Innovative flamenco singer whose experimentation pushed the borders of flamenco but also drew the ire of traditionalists (1942-2010) 2 An influential flamenco dancer whose theory of dance remains important today (1888-1980) 3 Born in Seville in 1893, the intensely talented “El Loco” worked with Diaghilev and Massine, but was later committed to a mental institution in England where he died in 1941.

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芭蕾弦樂雙星匯《足尖情弦》成功婚姻的永恒藝術，在於與伴侶互相了解並共同成長。有時候，成功的婚姻亦會造就非凡的藝術。在《足尖情弦》中，莫斯科大劇院芭蕾舞團首席舞者薩卡洛娃，將與丈夫列賓—國際知名小提琴家—同台演出，夫婦二人將芭蕾舞表演和動人心靈的音樂合而為一，帶來華麗的演出。在芭蕾舞和古典音樂界，列賓和薩卡洛娃無疑是同代人之中最出色的藝術家之一。列賓年僅 1 7 歲已在比利時伊利莎伯皇后大賽嶄露頭角，成為大賽最年輕的優勝者。此後，他與世界頂尖樂團合作演出，更致力推廣音樂教育，因而在 2010 年獲頒法國最重要的音樂榮譽獎。憑藉對音樂的熱情及無瑕的演奏技巧，列賓更獲已故音樂大師曼奴軒譽為他聽過「最出色和最完美的小提琴家」。薩卡洛娃是莫斯科大劇院芭蕾舞團及史卡拉歌劇院芭蕾舞團的芭蕾舞星，一位天生的舞者。她的舞步自然流麗，充滿詩意情感。最重要的是，她在舞台上充分展現出追求完美的自信，使她與眾不同。薩卡洛娃獲授予俄羅斯表演藝術家的最高榮譽「俄羅斯人民藝術家」，亦被公認與一眾俄國芭蕾舞先驅並列。她不但演活《吉賽爾》、《天鵝湖》及《舞姬》等經典芭蕾舞劇裏的主角，更探索當代芭蕾舞的界限，把現代風格融入古典芭蕾舞技巧中。《足尖情弦》的構想最先誕生於 2 0 1 4 年西伯利亞藝術節，列賓當時出任該節的藝術總監，促成了夫婦首度同台演出，是既新穎、又具挑戰性的經驗；今次加上香港馬勒樂團助陣合奏，香港藝術節觀眾必會享受其藝術成果。在《天鵝之死》中，列賓獨奏聖桑名曲《天鵝》，呼應薩卡洛娃的芭蕾舞演繹；典雅的音樂和夢幻的舞步，刻畫出天鵝生命最後一刻的美麗與痛苦。《加減零》表現激昂，幾乎是音樂和當代舞蹈之間的競賽：配樂是帕特節奏強烈的《兄弟》，由列賓獨奏，薩卡洛娃和拍檔舞者則以舞步表現出曲中情感的高低起伏，帶來扣人心弦的結尾。薩卡洛娃及列賓是次演出將跨越經典與當代藝術的界限，向香港藝術節觀眾呈現芭蕾的典雅，以及小提琴的弦樂之美。

薩卡洛娃及列賓 Svetlana Zakharova and Vadim Repin 《足尖情弦》Pas de deux for Toes and Fingers 27-28.2.2018 香港文化中心大劇院 Grand Theatre, HK Cultural Centre

A Duo of Ballet and Music Pas de deux for Toes and Fingers The ability to understand and develop with one’s partner is one of the eternal arts of a successful marriage; on the other hand a successful marriage can sometimes become the fuel for exceptional art. In Pas de deux for Toes and Fingers, the Bolshoi Ballet’s prima ballerina Svetlana Zakharova and her internationally-acclaimed violinist husband Vadim Repin blend exquisite ballet and soaring music in a night of splendid performance. In their respective fields, Repin and Zakharova are undoubtedly two of the finest artists of their generation. Repin became the youngest ever winner of the Queen Elisabeth Competition at the age of 17, and distinguished subsequent performances with the world’s greatest orchestras and a dedication to music education earned him the prestigious Victoire d’Honneur in 2010. With passion and impeccable technique, Repin was acclaimed by the late maestro Yehudi Menuhin as "the best and most perfect violinist I've ever heard". Zakharova, the prima ballerina of the Bolshoi Theatre and étoile of La Scala, is a born dancer. Her effortless grace, poetic emotion and most importantly a drive for self-perfection set her apart from the crowd. Awarded the People’s Artist of Russia, Zakharova is widely considered one of the great ballerinas in a long line of illustrious Russian ballet precursors. Alongside her vivid interpretations of classical ballet roles including in Giselle, Swan Lake and La Bayadère, she also explores the boundaries of contemporary ballet and offers fresh takes on classical technique. The idea of Toes and Fingers was spawned at the 2014 TransSiberian Festival of the Arts at which Repin was the Artistic Director. Performing together on stage for the first time was a challenging experience for the couple, but the result was one of tremendous artistry which the HKAF audience will savour, especially with Hong Kong's Gustav Mahler Orchestra also bringing their lively ensemble musicianship to a number of pieces. Repin’s solo rendition of Saint-Saëns’ Le Cygne echoes the solace of Zakharova as a dying swan, with elegantly paced music and dreamy movement portraying the animal's beauty and pain. Plus Minus Zero presents an intense, almost competing duo of music and dance, with Zakharova and a partner dancer following the emotional peaks and troughs of Repin’s interpretation of Arvo Pärt’s Fratres, dancing their way towards a stirring conclusion. Straddling the border between classical and contemporary, this beautiful pas de deux of music and dance brings both glamour and electric artistic collaboration to the 2018 HKAF.

FestMag

歌劇．戲曲

O PERA

「童話和神話故事以幻想的框架保存了人類最深層的現實和真理。要理解甚麼是真正的現實，沒有比由『從前⋯⋯』開始更好的方法。」 —大衛．普尼 | 威爾斯國家歌劇院藝術總監

當我們去理解現實真相的時候，往往依賴我們的感官去塑造周遭的世界。歌劇和戲曲視、聽並重，是名符其實的感官盛宴。觀眾從現實的日常生活中，被帶到遙遠的奇妙世界。第 46 屆藝術節的歌劇和戲曲節目各有特色，故事引人入勝。這些製作更重新審視「真實」，在作品詮釋上有所創新，寫下大膽的藝術宣言；無論是中國國家京劇院首次創作排演粵劇經典《帝女花》的京劇版本，到威爾斯國家歌劇院和大衛．普尼扣人心弦的德布西歌劇《佩利亞斯與梅麗桑德》，以至毛俊輝以嶄新手法演繹粵劇《百花亭贈劍》，均力求以新角度呈現這些廣受歡迎劇目的「真實」面貌。

“Fairy stories and myths encapsulate the deepest human realities and truths in a fantastical framework. To understand what is really real, you can do no better than to begin with: ‘Once upon a time…’” –David Pountney | Artistic Director, Welsh National Opera

When we decide “what’s real to me”, we depend on our senses to shape the world around us. The visual and sonic richness of opera is a veritable feast for these senses, with audiences transported from the theatre into wonderful worlds far removed from the reality of their everyday lives. This is no different at the 46th HKAF, where opera productions from the Cantonese, Beijing and Western classical traditions are featured, all with gorgeous colour and vivid storytelling. This year’s productions also create fresh takes on “what’s real”, bringing real innovation of interpretation and featuring exciting new artistic statements; whether it is the China National Peking Opera Company presenting the first-ever Beijing opera version of Cantonese classic Princess Changping, Welsh National Opera and David Pountney’s intense staging of Debussy’s Pelléas et Mélisande, or director Fredric Mao’s inventive revamp of Cantonese opera Pavilion of a Hundred Flowers, all are fresh takes on “what’s real” in well-loved repertoire.

Opera

歌劇．戲曲

《百花亭贈劍》的當代精神打開粵劇之門

「大家都覺得我對中國戲曲有着某種程度的熟悉和很深的感情，但不知道，其實中國戲曲是我的 first love（初戀）！我小時候第一種接觸的表演藝術就是中國戲曲，而且是廣東大戲！」《百花亭贈劍》改編及導演毛俊輝（毛 sir）說，自己一直看戲、愛戲，雖然不是梨園中人，但不論是音樂劇場《情話紫釵》（2010）、粵劇《李後主》（2011），還是改編自話劇的京劇《慈禧與德齡》（2013），都在嘗試用他所理解的現代劇場去呈現中國戲曲的美學。這次，他與一班年青人重新翻開唐滌生的名作《百花亭贈劍》，並非只是想在內容上進行簡單的「新編」，而是想更進一步，嘗試用現代劇場的方式來創作、排練、製作和演繹戲曲。這想法與香港藝術節的看法不謀而合。副節目總監蘇國雲認為，近十年來粵劇雖有發展，但藉着這次賽馬會本地菁英創作系列提供的專業粵劇創作平台，以及毛俊輝對戲曲的深厚理解和對現代劇場的精熟掌握，正好從藝術、演出、製作各方面，對粵劇製作進行一次全面深入的探索，為未來粵劇的發展探新路。但是戲曲新編近十年來層出不窮，真正能成功留下的作品有多少？如果只是流於表面的元素拼貼，或是簡單粗暴地將其中內容「現代化」，不僅會摧毀原作的美感，也找不到任何深刻的當代意義。在這一點上，《百花亭贈劍》想要走得更遠，用毛俊輝的話說，是嘗試「用現代劇場的架構」去創作戲曲。現代劇場的架構裏最核心的是「導演制」─台前幕後分工完整細緻，按照嚴格的組織去運作，配合導演去演繹。「其實我們明白，為甚麼傳統的戲曲沒有導演制。原來的主角、大老倌就是『導演』，所有的東西都是他們創造出來，帶着一班人去做。但是劇場要發展，就不能像舊時那樣簡單。歌劇的發展就是例子，舊時也不重視導演，而是指揮和歌唱家最重要。但是歌劇發展到現在，很重要的，是要有 interpretation ─要看導演怎麼演繹。」毛俊輝回憶，曾有美國的導演朋友對他說，在外國看中國戲曲，「只有 show off（技巧），看不到戲」。於是對他而言，改編《百花亭贈劍》，首先就要「找戲」，從劇本中找到講故事的方式，和可供發展的主題。「粵劇雖然一般都有主題，但有時主題只是擱在一邊，不處理的。」他笑說：「但是現代觀眾看戲，不是熱熱鬧鬧地聽你唱兩句說兩句就行了。我們希望更多觀眾去認識戲曲，就要以他們的審美眼光來看。現代劇場要做的，是探討怎麼敘述故事、怎麼去發展主題，以及怎麼與演員磨合。除了表演上的掌握，他們對戲和人物也要有深入的理解。這裏頭有很多步驟，等於說，我是在導演一個現代的 drama（戲劇），只是採取了傳統戲曲的形式。」用現代眼光來重新看唐滌生筆下百花公主與江六雲贈劍訂姻緣的愛恨瓜葛，去掉其中與現代過於脫節的封建化的僵硬細節，毛俊輝看到了甚麼？「我想強調年輕人的追求，他們想要找的是甚麼？《百花亭贈劍》對他們有甚麼意義？這是一個藝術上很新鮮的探索。江駿傑（聯合改編）很認同，我們商量了很多選擇，甚至包括改動結局。」

以現代劇場的詮釋方式去重新「攪動」唐滌生的劇本，是為現代觀眾（特別是年輕觀眾）找到那扇通往戲曲世界的門。蘇國雲笑說：「現代觀眾看戲時要看整體的藝術，他們不是從小浸淫在戲曲中，很難一聽就品味到其中竅門。對於這群觀眾，或者本身不看戲曲的觀眾，他們始終想看一種他們能理解、能感受到的作品。所謂用現代美學的觀點來做粵劇，就是給觀眾打開這世界的門。他們進去以後，可以再去慢慢發掘程式的豐富和美好。」除了創作上用劇場的方式來重新解構劇本，《百花亭贈劍》也按照現代劇場的體系排練和製作，要求佈景、燈光、音響、服裝團隊緊密合作。一班年青演員，也要按照嚴格編好的時間表來排練、參與圍讀、聽導演講戲，在演繹的過程中不斷去找更好的處理方式，而不是「拉班做戲」，一個角色一個模板，僅僅停留在熟練角色的戲曲程式上。「我之前在演藝學院和同學們排《無情寶劍有情天》（2 0 1 5）時，就發現他們會做整套的戲曲表演，但是不算很認識這個戲，於是容易流於形式。」毛俊輝說：「於是我在排練的時候就盯着他們，他們覺得很有趣：『哦，原來是這樣的，我之前都沒想過。』」哪怕表演程式足夠豐富，對劇本和角色理解不深，仍會導致表演「臉譜化」，因此「找戲」也許是現代劇場的思維方式，但對傳統戲曲卻是有益的補充。對蘇國雲來說，傳統戲曲想要在當代繼續傳承、往下發展，除了探索新作品的創作，尋找更為有效率、當代的製作方式亦是重中之重。他說，內地的戲曲多有國家或地方院團支持，大多已經在實行導演制：「尤其在做新劇時，找到新的觀眾，要引起年輕觀眾或者不是看慣大戲的人的共鳴，導演的視角和演繹很重要。」他認為，香港之所以在這方面走得較慢，是因為仍是戲班制，而且沒有院團的支持。「我們也沒有所謂的『香港粵劇團』嘛，沒有幾十個演員任你調度。比如毛 sir 排戲，要和這些演員去講戲和花時間磨合，我們現有的體制始終不是很規範，較難去做到。」所以，作為賽馬會本地菁英創作系列的第一個專業粵劇製作，《百花亭贈劍》除了藝術創作上的創新實驗外，還有着更大的期許，那就是在探索戲曲的現代製作方式上走出第一步。「怎麼去生產這樣的制度出來呢？這才是最大的挑戰。」蘇國雲說。而正如毛俊輝所說：「不知道這次的成績會怎樣，但我覺得很值得去做。」文：草草

賽馬會本地菁英創作系列：粵劇《百花亭贈劍》 Jockey Club Local Creative Talents Series: Cantonese Opera Pavilion of a Hundred Flowers 2-4.3.2018 香港演藝學院歌劇院 Lyric Theatre, HKAPA

FestMag

Opera

歌劇．戲曲

Pavilion of a Hundred Flowers A doorway to Cantonese opera Be it the multi-disciplinary production The Liaisons (2010), the Cantonese opera The Last Emperor of Southern Tang (2011) or Empress Dowager Cixi and Princess Deling (2013), a Beijing opera adapted from a play, veteran director Fredric Mao has always sought to express the aesthetics of Chinese opera through modern theatre. With Pavilion of a Hundred Flowers, an adaptation of Tong Tik-sang’s Cantonese opera classic, Mao and a team of young performers have set out to create and produce a Cantonese opera in a modern theatre format. HKAF’s Associate Programme Director So Kwok-wan believes that with the professional creative platform provided by the Hong Kong Jockey Club Local Creative Talents Series, and Mao’s profound grasp of both Chinese opera and modern theatre, the new production marks an exploration into Cantonese opera in terms of artistry, performance and production. It is set to light up new directions for the future development of the art form in Hong Kong. While the past decade has seen many fresh renditions of the traditional Cantonese opera repertoire, there is a fine line between a successful revamp and a superficial attempt at “modernising” the art, running the risk of neither capturing the beauty of the original work nor embodying true contemporary relevance. Pavilion of a Hundred Flowers seeks to go further in this regard. In Mao’s words, it is an attempt to create Cantonese opera with the “structure of modern theatre” which puts the director at the helm – all onstage and backstage tasks are meticulously organised and executed according to the director’s design: “In traditional Chinese opera productions, the lead actor was also the ‘director’, leading the creative and production teams. Yet theatre must go beyond these dated practices to develop. Let’s take Western opera production as an example: in the past, it was centred around the conductor and the singers rather than the director. Nowadays, the emphasis is on the director’s interpretation.”

For his adaptation of Pavilion of a Hundred Flowers, Mao started by looking for potential storytelling approaches and a distinct theme in the script. “Contemporary Chinese opera audiences are looking for more than just vocals. If we want to introduce Chinese opera to wider audiences, we have to look at it from their aesthetic perspective,” Mao notes. “What modern theatre demands is the exploration of different ways of story-telling, thematic development, and creating connections between the actors and the director. Besides performance, the actors need to have a real understanding of the play and the characters. That is to say, I’m directing a modern drama in the format of a traditional Chinese opera.” What does Mao see in the tale of romantic entanglement between Princess Baihua and Jiang Liuyun (an army general), when he looks beyond the feudalistic facets of the story and interprets it from a contemporary perspective? “I want to emphasise what young people are looking for. What does Pavilion of a Hundred Flowers mean to them? This is a novel experiment on an artistic level. Kong Chun-kit (co-adaptor) and I discussed many possibilities, including altering the ending.” Thus this modern theatrical interpretation of Tong Tik-sang’s script is intended to open a door for contemporary audiences (especially younger audience members) into the world of Cantonese opera. “When contemporary audiences go to a Chinese opera show, they look at its overall artistry. It’s hard for them to grasp the essence of the art if they weren’t immersed in it from a young age,” says So Kwok-wan. “For these audiences, and others who aren’t usually Cantonese opera-goers, they’re hoping to see works that they can comprehend and feel. In staging Cantonese opera using a contemporary aesthetic, we’re opening a door for these new audiences into this world. Once they’ve entered into it, they can explore the richness and beauty of the art form.” Pavilion of a Hundred Flowers is also very much a modern theatre production in terms of rehearsal, performance and production practice, where the creative team, performers and technical team work closely together. The young cast has a rigorous schedule

of readings, rehearsals, and discussion sessions absorbing the director’s exploration of the play; they are constantly looking for more insightful ways to interpret their roles, rather than resorting to familiar Cantonese opera formulas. “When I was doing rehearsals for Merciless Sword, Merciful Heaven (2015) with the students at the Hong Kong Academy for Performing Arts, I saw they were able to perform the entire opera. But they didn’t truly know the work, and their performance lacked substance.” Mao recalls. “I guided them to understand their roles in a new light, and they were inspired.” In this sense, a modern theatre director’s search for storytelling approaches, alongside a distinct theme in the script and characters, can be seen as an apt ingredient to supplement traditional Chinese opera. Beyond the creation of new works, So Kwok-wan believes the search for more efficient and modern production modes is crucial for the development of traditional Chinese opera. In mainland China, many Chinese opera productions retain the director at the helm, and are backed by national and regional companies. “In creating a new Cantonese opera production, the director’s interpretation is key to attracting new audiences, or inspiring resonance in young audiences or audiences who aren’t usually Cantonese opera-goers.” In Hong Kong, however, most Cantonese opera shows are still produced by and centred around troupes. “There isn’t a full-time ‘Hong Kong Cantonese Opera Company’ with a few dozen actors the director can work with constantly,” So says. “With Mao’s rehearsal practice, for example, it involves a great deal of time spent on explaining the play and connecting with the actors. That’s not easily workable under our current system, as it isn’t standard practice.” As the first Cantonese opera produced under the professional creative platform of the Hong Kong Jockey Club Local Creative Talents Series, Pavilion of a Hundred Flowers is more than an innovative artistic experiment – it is the first step in an exploration of how to modernise Cantonese opera production. “How do we create such a system? That’s the biggest challenge,” says So Kwok-wan. As Fredric Mao contends: “I think it’s a worthy endeavour.” By Cao Cao

FestMag

Opera

歌劇．戲曲

霸氣回歸

時不利兮騅不逝力拔山兮氣蓋世

《霸王別姬》

「舞台上演繹的感情有真有假，真的一面是台下觀眾看到的，假的一面是演員自己知道的。」尤聲普「西楚霸王」項羽之名家傳戶曉，有關項羽的故事，諸如楚漢相爭的連場激戰、鴻門宴會的陰險計謀、烏江自刎的走投無路，都是香港觀眾耳熟能詳的傳奇，其中《霸王別姬》是當中最叫人動容的情節。

當年的全新長編從韓信投楚開始，把一代霸王的盛衰榮辱娓娓道來。睽違二十多載，第 46 屆香港藝術節再度邀請普哥，夥同大部分當年班底演出《霸王別姬》，重現這個經典原創劇目。

在中國戲曲之中，《霸王別姬》是常見的題材，除了梅蘭芳的京劇版本，也見於崑劇（《千金記．別姬》）、滇劇（《九里山》）、徽劇（《別姬》）、粵劇（《亡烏江》）等，但多以折子戲的形式演出。《霸王別姬》的故事歷年來也啟發了其他出色的創作，不論是李碧華撰寫的同名小說、張國榮主演的同名電影，還是呂良偉主演的《西楚霸王》，都吸引了廣大的觀眾和讀者。

是次演出的特別之處，在於一個舞台上輪流出現兩位霸王。兩位曾在訪問中提到，早在此劇首演之時，行哥原演項羽一角，卻因為認為普哥更適合而易角，由擅演淨角的普哥出演霸王，自己則飾演韓信一角。這次則相反，由普哥邀請行哥共同擔綱演出霸王一角，不論從演員角度，還是於觀眾來說，都可謂一件美事。而實際上，這樣的安排讓二人分別集中演出文戲及武打場面，在演繹上定必更精益求精。雖然二人同以小武的表現方式，但行哥演出的第二場〈鴻門宴〉及第四場〈項羽入陣〉，更著重功架，要求動作俐落，聲音需要尖而拔高，呈現出項羽在戰場上的王者氣概。而普哥演出的第五場〈別姬〉，演繹難度則在於感情深度，需要傳達一代霸王在情場上的細膩感情。兩人一武一文，一剛一柔，把這個蓋世英雄的形象刻畫得更有血有肉。

香港藝術節於 1995 年，首演粵劇版本的《霸王別姬》，由葉紹德先生編撰劇本，邀得尤聲普（普哥）、尹飛燕、羅家英（行哥）、阮兆輝、任冰兒、廖國森和敖龍等參與演出。根據當年的場刊上「編劇的話」所載，劇本並非以最廣為人知的京劇為藍本，反而參照當時搜集到的廣東牌子和古老粵曲，像《蕭何月下追韓信》及《別姬》等，加入新場口作補充，將之連貫而成。

FestMag

Opera

歌劇．戲曲

Farewell My Concubine

“There are both real and unreal feelings a Cantonese opera actor faces when they are performing on stage. The real side is what the audiences sees, the other side is what the artist has within them"

The return of the Hegemon King

–Yau Sing-po

Xiang Yu, the “Hegemon-King of Western Chu”, has long been a legendary figure in popular imagination. Stories of his exploits, like the battles during the Han-Chu contention, the intrigue of the Banquet at Hang Gate, and his suicide by the Wu River are familiar tales for Hong Kong audiences, with Farewell My Concubine being the most heart-rending of them all. Farewell My Concubine is a popular story across Chinese opera; as well as the Beijing opera version performed by Mei Lanfang, it has also featured in Kun (A Thousand Pieces of Gold: Farewell My Concubine), Yunan (Jiulishan) and Cantonese opera (Death by the Wu River), though it is usually performed as an excerpt. Over the years, the story has captivated countless audiences and inspired other adaptations too, whether as a Beijing opera, the novel by Lilian Lee, or the film adaptation featuring Lesley Cheung. In 1995, Hong Kong Arts Festival presented the first full Cantonese opera version of Farewell My Concubine, written by Yip Siu-tak and featuring performances by Yau Sing-po, Wan Fei-yin, Law Kar-ying, Yuen Siu-fai, Yam Bing-yee, Liu Kwok-sum and Ngou Lung. Rather than using the widely known Beijing opera as a blueprint, the playwright drew references from other existing Cantonese opera pieces for the new script, such as from Xiao He Chasing Han Xin Under the Moon and other Farewell My Concubine excerpts, while also adding new segments to the script for dramatic continuity. More than two decades later, the 46th HKAF has invited Yau Sing-po and many of the original cast to perform in a restaging of Farewell My Concubine, in what is a much-anticipated revival of this classic original opera. The full-length opera opens with Han Xin joining the Chu state, before depicting the rise and fall of the hegemon king.

The highlight of this performance is two hegemon kings sharing the stage in alternate scenes. In the original production, Law Kar-ying was initially cast as Xiang Yu, but offered the role to Yau Sing-po who he believed was a better fit for the imposing character. A renowned actor of jin (painted face) characters, Yau played the hegemon king, while Law took the role of Han Xin. In this new production, Yau invited Law to perform the hegemon king in parallel with him, casting a new light on the character for both the cast and the audience. This arrangement allows the actors to focus on performing the civil and martial scenes respectively, and refining their interpretations of the warrior king. While both actors perform in the xiaowu (young martial) style, Act Two – Banquet at Hang Gate and Act Four – Xiang Yu Joins the Battle performed by Law are highly demanding on the actor’s skills. With sharp physical movement and high-pitched, soaring vocals, Law encapsulates Xiang Yu’s formidable presence on the battlefield. Act Five – Farewell My Concubine, which is performed by Yau, presents a challenging interpretation for the actor because of the depth of emotion it contains. In a resonant performance, Yau conveys the intricate feelings of the hegemon king in love. The two veteran actors embody the vigour and tenderness of Xiang Yu, bringing the legendary hero to life in this stirring opera.

1995 年香港藝術節節目及訂票指南封面 1995 HKAF Programme Brochure

《霸王別姬》為 1995 年香港藝術節的焦點節目 Farewell My Concubine was a landmark production at the 1995 HKAF

《霸王別姬》Farewell My Concubine 9-11.3.2018 香港大會堂音樂廳 Concert Hall, HK City Hall （左起）羅家英和尤聲普 (l-r) Law Kar-ying and Yau Sing-po © Lawrence Ng@WorkHouse

FestMag

Opera

歌劇．戲曲

千年合抱未曾休雙樹含樟傍玉樓「落花滿天蔽月光……」粵劇《帝女花》名曲膾炙人口，換上了京腔，會是怎樣一番光景？粵劇《帝女花》多年來深入民心，珠玉在前，這次以此為藍本重新創作京劇版本，要給予觀眾耳目一新的感覺，不失原來的韻味，殊不容易。於 1957 年由唐滌生編撰的任白（任劍輝、白雪仙）戲寶《帝女花》，源自清代黃韻珊的《倚晴樓七種曲．帝女花》，原著平平無奇，阮兆輝甚至將之評為「自娛」的案頭文學，故歷來甚少登上舞台。唐滌生的繡筆，卻把它變成標誌着粵劇藝術巔峰的瑰寶。不少專家前輩早已詳論粵劇《帝女花》的成就，以下僅就人物塑造略作簡介。原著中，明朝遺裔長平公主和駙馬周世顯消極被動─滿清入主中原後，公主向清帝求准削髮不果，隨後奉詔成親，全無抗爭意圖；世顯得以完婚，更是感激不已，表現窩囊。粵劇版本卻大異其趣，兩人誓死不事二朝，待清帝答應條件，始肯完婚。最後，原著講述公主婚後鬱鬱寡歡，被庸醫醫死；粵劇中，二人在花燭之夜服毒，捨身成仁，愛情的背後，更重要的是忠孝節義。唐氏突破了一般生旦戲才子佳人、兒女私情的格局，光是這一點，便足見其創作視野。

《帝女花》之京粵因緣

中國國家京劇院為 2018 年藝術節帶來的五個戲碼，展示了京劇的各個面向。其中包括：由京劇大師、中國國家京劇院前院長梅蘭芳改編的《鳳還巢》；花臉經典《牛皋下書．挑滑車》；講求生旦默契的骨子老戲《打漁殺家》；講述薜平貴與王寶釧曲折綿延的愛情故事，以老生、青衣為主的《紅鬃烈馬》；及取材自粵劇經典的京劇版本《帝女花》。

京劇院的《帝女花》創作團隊，在結構上力求尊重原劇，保留〈樹盟〉、〈香劫〉、〈庵遇〉、〈寫表〉、〈上表〉、〈香夭〉等精華場次，把兩位主角的情感變化和內心抉擇表露無遺；又盡量保持粵劇文辭的華美細膩，把著名唱段融入京劇，並保留象徵長平公主及周世顯之間愛情的含樟樹意象。除了兼顧粵劇觀眾外，在多方面亦考慮到京劇觀眾的要求，例如適當剪裁篇幅以適應當代京劇的演出長度慣例，並因應京劇的行當設置加強其他人物如周氏一家、兩朝帝王等的描寫，另創新猷。京劇版《帝女花》在選角方面亦非常講究。扮演長平公主的是梅派青衣李勝素；京劇旦角藝術當中，梅（蘭芳）派集各家大成，不賣弄花巧，講求圓融大氣，由梅派演員擔演氣度恢宏的長平公主，至為合適。李勝素是當今梅派傳人的佼佼者，她擅演的穆桂英、王寶釧，跟長平公主同樣是堅毅果敢的女性。中國著名老生于魁智演唱醇厚，名劇《打金磚》盡顯撲跌翻騰的精湛做工。《帝女花》的周世顯雖是一介書生，卻氣宇軒昂一身傲骨。粵劇《帝女花》裏，小武出身的任姐（任劍輝）在〈上表〉等折，文戲武做，「火」喉十足。今趟京劇版本裏，于魁智以文武老生應工，與這位非一般的書生，會擦出什麼火花？京劇作為「國劇」，其他地方戲種包括粵劇，在發展過程中紛紛向它取經。今回由國家京劇院操刀，搬演經典粵劇作品，以新方式呈現唐滌生的戲寶《帝女花》，兩個戲種互相取經，讓這個已經面世六十年的劇本展開新的一頁。文：願良

FestMag

Opera

歌劇．戲曲

The artistic achievements of the Princess Changping Cantonese opera have been discussed at length by many experts. A brief characterisation of the protagonists in the original opera sees Princess Changping of the Ming dynasty and her husband Zhou Shixian as passive in their actions. After the capital falls to Manchu rebels, the princess asks the Qing emperor for permission to become a nun; when her request is denied, the princess marries Zhou Shixian by royal decree and does not express any rebellious intentions. Zhou Shixian even expresses gratitude for finally being able to marry the princess, and comes across as a cowardly character. In contrast, the Cantonese opera version sees the couple refuse to pledge their loyalty to the new dynasty, and they only proceed with the wedding after the Qing emperor agrees to fulfil the conditions they propose. Tong’s adaptation goes beyond the conventional romance between the sheng (male) and dan (female) role actors, testament to the playwright’s distinctive creative vision. In this version, the couple commit suicide by taking poison on their wedding night in a final act of loyalty to the Ming dynasty. In the original opera however, the princess falls into depression following the wedding and dies of illness from her treatment at the hands of an incompetent doctor.

《打漁殺家》 The Fisherman’s Revenge

Princess Changping A Cantonese opera classic recreated as a Beijing opera

"As Peking opera actors, we face every character, all our audiences and every touching story that has been passed down through history in a truthful way” —Yu Kuizhi and Li Shengsu

The 2018 Hong Kong Arts Festival presents five productions by the China National Peking Opera Company, including The Phoenix Returns to Its Nest, a classic adapted by Beijing opera master Mei Lanfang; Lifting the Chariots/Breaking the Siege, with a demanding role for the hualian (paintedface character); another Beijing opera classic The Fisherman’s Revenge; the timeless love story of Rekindling a Life-Long Romance; and the legendary Cantonese opera Princess Changping.

“Falling petals fill the night sky, obscuring the moon…” What kind of resonance will the famous songs from Princess Changping carry, when this Cantonese opera is performed in the form of a Beijing opera? At the 46th HKAF, China National Peking Opera Company presents their Beijing opera version of Princess Changping. With the original’s status as both a much-loved classic and the blueprint for the adaptation, it has been no easy task for the creators and performers of this Beijing opera version to present a fresh, surprising rendition whilst retaining the original nuance of the opera. Written by legendary playwright Tong Tik-sang and first performed by Yam Kim-fai and Pak Suet-sin in 1957, Princess Changping was adapted from the Kun opera Seven Songs of Yiqing Mansion: Princess Changping by Huang Yunshan of the Qing dynasty. The original opera was considered to be lacking in dramatic finesse; it was even described by Yuen Siu-fai as a closet play written for “self-entertainment” and was rarely staged after. Tong, however, transformed the work into a paragon of the art of Cantonese opera with his inimitable artistry.

In creating the Beijing opera version presented at HKAF, the China National Peking Opera Company creative team have strived to adhere closely to the structure of the Cantonese opera. Their rendition retains essential scenes including "Vows Under the Tree", "The Princess's Suffering", "Reunion at the Nunnery", "Writing the Petition", "Negotiation at the Qing Court", and "Death of the Lovers", which delineate the fluctuations in the protagonists’ emotions and the choices they make. To preserve the exquisite nature of the language that the Cantonese opera is known for, the best-known passages have been incorporated into the new Beijing opera version, while the camphor tree as a metaphor of the love between Princess Changping and Zhou Shixian is also preserved. While respecting these Cantonese opera elements, the rendition also includes recognition of the expectations of Beijing opera audiences. For example, the script fits the typical performance duration of a contemporary Beijing opera, while the portrayal of other characters such as the Zhou family and the emperors of the two dynasties is expanded, in accordance with the conventions of roles, props and sets in Beijing opera. This Beijing opera adaptation of Princess Changping also features a finely balanced cast. Li Shengsu, a Mei School actor of qingyi (young and middle-aged lady) roles, plays the title role. In the art of Beijing opera dan roles, the Mei (Lanfang) School embodies the combined strengths of all schools, shying away from gimmicks and prioritising performances of resonance and grace. Thus a Mei School actor is a most appropriate choice for the role of Princess Changping, a character of noble and magnificent presence. Furthermore, Li Shengsu is the Mei School’s leading artist; her most famous roles such as Mu Guiying and Wang Baochuan have also been resilient, courageous women in the same mould as Princess Changping.

Hailed as the finest exponent of laosheng (old male) roles, Yu Kuizhi is renowned for his rich vocals, while the actor also exhibited impeccable skills in leaping and somersaulting as part of his performance in the famous opera Beating with a Gold Brick. In this Princess Changping adaptation, his character Zhou Shixian is a scholar, and yet he possesses an imposing and dignified presence. In contrast, the Cantonese opera saw Yam Kim-fai, who was originally trained as a xiaowu (young military male) actor, performing civil scenes like “Negotiation at the Qing Court” with a touch of vigour. In this new production, Yu Kuzhi showcases his artistry as laosheng in both civil and military styles; what kind of sparks will Yu’s interpretation bring to his characterisation of Zhou Shixian’s unconventional scholar? Considered to be the “national opera” of China, Beijing opera has influenced the development of various regional opera forms, Cantonese opera included. By recreating this Cantonese opera classic and Tong Tik-sang’s signature work Princess Changping as a Beijing opera adaptation, China National Peking Opera Company’s production takes some of the finest aspects of the two opera forms and marks a new chapter for this celebrated opera, some 60 years after its premiere. By Elbe Lau

《紅鬃烈馬》 Rekindling a Life-Long Romance

中國國家京劇院 China National Peking Opera Company 《鳳還巢》The Phoenix Returns to Its Nest 27.2.2018

《牛皋下書．挑滑車》及《打漁殺家》 Lifting the Chariots/Breaking the Siege and The Fisherman’s Revenge 28.2.2018 香港大會堂音樂廳 Concert Hall, HK City Hall

《帝女花》Princess Changping 2.3.2018

《紅鬃烈馬》Rekindling a Life-Long Romance 3.3.2018 香港文化中心大劇院 Grand Theatre, HK Cultural Centre

FestMag

Opera

歌劇．戲曲

神秘又美麗德布西《佩利亞斯與梅麗桑德》

由大衛．普尼執導、威爾斯國家歌劇院製作的德布西歌劇《佩利亞斯與梅麗桑德》，於 2015 年在卡迪夫首演，廣受樂評人及觀眾好評。2018 年香港藝術節即將迎來此製作的亞洲首演。普尼在本身已是撲朔迷離的原作之上，加入自己的理解，將梅麗桑德視為紅顏禍水，而在同時期其他作品當中，這類女性人物常有出現─人們可能立刻想到王爾德的《莎樂美》（由理察．史特勞斯於 1905 年改編為歌劇），和弗蘭克．韋德坎德筆下的《露露》（由貝爾格改編為歌劇，他於 1935 年逝世時尚未完成）。普尼與已故的設計師約翰．英格斯為歌劇設計了宏大的實體佈景：舞台的一部分是籠子，一部分是猶如 DNA 形狀的螺旋式階梯，加上骷髏遺骸的死亡暗示，以及此劇的核心神秘象徵─水池。瑪麗 - 珍妮．莉卡的中世紀服飾設計，和馬克．喬納森渲染氣氛的燈光設計，也呼應這些視覺元素。普尼本人曾形容，《佩利亞斯與梅麗桑德》發生在某個魔幻島上：「昏暗的森林與陰沉的城堡散發着成人的激情。德布西以動人心魄的旋律喚起梅麗桑德的性感魅惑─她的身世是個謎，並擁有擴散毀滅與混亂的可怕能力。」無論梅麗桑德的本性是好是壞，這位由莫里斯．梅特林克原創的人物，在德布西的歌劇中得到了完美重生─而德布西的這部作品堪稱歌劇形式裏最偉大的成就之一。這部德布西唯一的歌劇，被公認為法國十九「世紀末時期」的傑作。歌劇改編自當時著名比利時作家梅特林克所著的法語劇本《佩利亞斯與梅麗桑德》。梅特林克 1862 年出生於比利時根特城；德布西同年出生於巴黎市郊。後來梅特林克結識多位象徵主義運動成員，促成了他與德布西的合作。梅特林克的首幾齣劇作已經使他名聲大噪。這些戲劇中的情節相對次要，反而更注重通過仿中世紀

及童話風格的背景，營造微妙的、宿命難逃的氛圍。當德布西讀到《佩利亞斯與梅麗桑德》（1 8 9 2）時，他覺得這部戲劇非常切合自己理想中的歌劇文本。他曾解釋道：「最理想的表現形式是兩個相互關聯的夢境。沒有時間，沒有地點，沒有大場景……音樂在歌劇中過於強勢了。太多的唱段以及音樂橋段，都令戲劇顯得冗長……我的想法則是採用簡短的文本與靈活的場景。人物之間無需對談或爭執，在我看來，他們的一切都在生命或命運的掌控之中。」彷彿德布西在讀到梅特林克的這部作品之前，早已不謀而合地在腦海中構想了這部作品一般。梅特林克同意由德布西為他這部廣受讚賞的劇作配樂，於是德布西從 1893 年 9 月開始創作。除管弦樂以外的樂章在 1895 年之前就已全部完成，但是這部作品前衛得與巴黎喜歌劇院的觀眾口味大相徑庭，因此經過漫長與艱難的抉擇之後，歌劇院最終才同意演出。儘管如此，歌劇在 1902 年的首演，成為了法國音樂史上的重要里程碑。作品中的華格納元素頗具矛盾性，因為當中既體現了華格納對德布西作品的直接影響，也反映了德布西對這位德國前輩的刻意回應。德布西曾寫道，他不得不刪掉愛情二重唱的初稿，因為「裏面滿是華格納的不散陰魂」。但是，德布西依然運用了華格納主旋律的簡易系統；劇中的某些交響元素，亦毋庸置疑具後華格納風格。毫無疑義，《佩利亞斯與梅麗桑德》是同時代最具原創性及影響力的歌劇之一。這部劇的意境非常特別，故事的人物生活在一個封閉的世界中，他們常常口是心非、意在言外。德布西採用複雜而又微妙的和聲，匠心獨運地融入管弦樂色彩，來渲染故事中曖昧模糊的感覺。文：喬治．賀爾

FestMag

Opera

歌劇．戲曲

Mystery and Beauty

親子音樂會

O is for Opera!

Welsh National Opera presents Debussy’s Pelléas et Mélisande Originally premiered by Welsh National Opera (WNO) in Cardiff in 2015, David Pountney’s production of Debussy’s opera was instantly much admired by critics as well as audiences, and now receives its Asian premiere here at the 46th HKAF in 2018. In a work that already contains plenty of mystery and ambiguity, the director has added further layers of his own, while clearly viewing Mélisande as a kind of femme fatale figure of the type so frequently met with in other works of the period – amongst which one could immediately cite Oscar Wilde’s Salomé (turned into an opera by Richard Strauss in 1905) and Frank Wedekind’s Lulu (turned into an opera which Alban Berg left incomplete at his death in 1935).

first plays, in which action is secondary to a kind of subtle and fatalistic atmosphere often conveyed through a quasimedieval, fairy-tale-like setting. When the composer discovered Pelléas et Mélisande (1892), it seemed to respond directly to his notions of what an operatic text should be. “The ideal”, he explained, “would be two associated dreams. No time, no place. No big scene [...] Music in opera is far too predominant. Too much singing and the musical settings are too cumbersome [...] My idea is of a short libretto with mobile scenes. No discussion or arguments between the characters, whom I see at the mercy of life or destiny”. It is almost as if Debussy had imagined Maeterlinck’s play before actually encountering it.

Pountney and his designer, the late Johan Engels, have created a monumental physical environment for the opera to play out in: part cage, part DNA-helix inspired spiral staircase, and with skeletal remains providing a memento mori and a pool of water as a numinous central symbol. Marie-Jeanne Lecca’s evocative medieval costumes and Mark Jonathan’s atmospheric lighting offer further resonances.

Maeterlinck agreed to Debussy making a musical setting of his much admired drama and the composer set to work in September 1893. Apart from the orchestration, the score was complete by 1895, but the Opéra-Comique in Paris thought long and hard before finally accepting such a novel departure from anything their regular audiences were accustomed to; nevertheless the opera’s first performance in 1902 would prove to be a landmark in French music.

Pountney himself has described Pelléas et Mélisande as inhabiting a kind of magical Neverland, “whose sombre forests and shrouded castles are touched with adult passion. Debussy’s astonishingly melting tapestry of sound evokes the deeply erotic fascination of Mélisande, whose origins are a mystery and who possesses uncanny abilities to spread destruction and chaos”. Whatever Mélisande’s true nature, it is obvious that despite being the original creation of Maurice Maeterlinck she achieved her perfect incarnation in Debussy’s opera – one of the greatest achievements of the entire art form.

Paradoxically, Wagner is present in the opera both as a direct influence and in terms of Debussy’s conscious reaction against his German predecessor: early drafts of the love duet had to be scrapped because, as he wrote, “the ghost of old Klingsor, alias R. Wagner, kept appearing in them” – yet Debussy does use a simple system of Wagnerian leitmotifs and some of the orchestral fabric has an undeniably postWagnerian quality. Nevertheless Pelléas incontestably remains one of the most original as well as one of the most influential operas of its period. Its atmosphere is unique – a self-enclosed world where the characters often say one thing when they mean quite another, its sense of ambiguity highlighted both by Debussy’s complex and subtle harmony and his delicate use of orchestral colour.

But Debussy’s sole completed opera is also widely recognised as one of the masterpieces of its specific place and period: France during the closing years of the nineteenth century – known as the fin de siècle. It was based on a famous French play of that era, Pelléas et Mélisande by the Belgian Maeterlinck.

歌劇同樂對入門者來說，歌劇的魅力有時顯得遙不可及，甚至令人卻步。但現時不少歌劇團努力為所有人敞開歌劇的大門，值記一功。在威爾斯國家歌劇院《O is for Opera!》親子音樂會裏，不論是入門或資深樂迷，都會樂意欣賞廣受歡迎的歌劇選段，例如《卡門》和《杜蘭朵》等等。觀眾的參與同樣重要。這場音樂會著重互動，小朋友將有機會上台參與演出，亦可以在演出前的一系列活動中接觸樂器、道具、歌劇化妝等。音樂會翌日下午更有歌劇探秘同樂日，一家大小可以繼續玩樂。 Opera for all with WNO

For newcomers, the magic of opera can sometimes seem slightly mysterious, even intimidating. But to their credit, many opera companies are doing their best to open their doors to all. With Welsh National Opera’s O is for Opera! Family Concert, complete newcomers and opera veterans alike can enjoy a selection of opera favourites including excerpts from Carmen, Turandot and more. Participation is also the name of the game, and this interactive family concert gives children the opportunity to get on stage and involved with the music-making, alongside pre-concert activities with musical instruments, stage-props and opera make-up. More family-friendly fun follows the next afternoon with WNO's Opera Adventure Day.

By George Hall

Maeterlinck was born in the city of Ghent in the same year (1862) that Debussy saw the light of day in the suburbs of Paris, but it was his subsequent acquaintance with members of the symbolist movement that brought him into alignment with Debussy. He made his reputation with his

威爾斯國家歌劇院 Welsh National Opera

德布西《佩利亞斯與梅麗桑德》 Debussy’s Pelléas et Mélisande

親子音樂會 O is for Opera!

15, 17.3.2018 香港文化中心大劇院 Grand Theatre, HK Cultural Centre

16.3.2018 香港文化中心音樂廳 Concert Hall, HK Cultural Centre

歌劇探秘同樂日 Opera Adventure Day 17.3.2018 香港文化中心大堂 Foyer, HK Cultural Centre

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「我想確保觀眾能明白他們是在見證樂手的互動⋯⋯ 觀眾置身其中欣賞當下的演出，因為明天的演出將不一樣。」 — 傑思．博迪

我們如何比較不同音樂表演裏的「真」？世界上首屈一指的音樂家們就有如煉金術士，他們很多時候利用最基本的材料—樂譜上的音符、簡單的和弦序列—創造截然不同的演繹。第 46 屆香港藝術節呈獻的音樂家，從不同音樂形式擷取靈感，有現代爵士樂，也有中世紀素歌。藝術家和觀眾均透過這些精采演出的感染力和互動交流，體驗一個超乎想像、跨越樂種，並把音樂帶到超凡領域的「真實」。

“I want to make sure audiences understand they’re witnessing interaction between musicians... We’re letting them ‘in on it’ to see something that they’re not gonna see tomorrow night” – Chris Botti

How do we compare “what’s real” about one musical performance from another? Many of the world’s greatest musicians are alchemists – taking sometimes the most basic of ingredients and creating something completely transformed from the basic reality of notes on a page, or a simple chord sequence. The musicians at the 46th HKAF take their artistic inspiration from diverse genres ranging from modern jazz to medieval plainsong – but through the electricity and interaction of truly great performances, both artists and audiences can experience a reality that confounds expectations, pushing music beyond the boundaries of genre and into another world entirely.

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波羅的海之傳統與創新發掘愛沙尼亞音樂寶藏四十六年來，香港藝術節把世界各地頂尖表演藝術家帶到香港，當中一些造詣高深而享負盛名，卻未必為鄰近地區聽眾所熟悉，藝術節由此拓闊了本地樂迷的眼界，是其一大貢獻。今年鎂光燈下的主角是北歐國家愛沙尼亞。三個來自愛沙尼亞的重量級樂團在香港首演，這個波羅的海國家的優秀音樂家在 2018 年藝術節逐一登場，讓聽眾一窺愛沙尼亞深厚而豐富的音樂傳統。

愛沙尼亞之聲愛沙尼亞合唱團愛沙尼亞之聲是一個很當代的聲樂團，僅於二十年前由杜爾夫創團，不少團員有各自的職業和專長，輪流更替，卻仍合作無間，確實是十分現代的組織體制。合唱團擅長演唱的中世紀葛利果聖詠，是奠定西方藝術音樂基礎的宗教素歌；這好像讓人感覺離「當代」有點遠，但他們安排節目的取態則絕對前衛，透過不同的合作對象及其音樂─ 例如突尼西亞音樂家達佛．約賽夫的蘇菲音樂元素、同胞古蘭貝格的電子合成樂思─打破常規的音樂邊界；而藝術節聽眾熟悉的愛沙尼亞作曲家帕特，也是他們的緊密拍檔。

「時間是具體的，但音樂更自由。一千五百年於音樂而言根本不是甚麼。」 — 約翰－艾克．杜爾夫合唱團的音樂源自一種開放和情感自然的口述歌唱傳統，容易與其他種類的音樂協和，眼前的例子是他們和法國鋼琴家潘尼迪爾的另外一場藝術節音樂會（潘尼迪爾於 2018 藝術節的表演介紹，詳見第 65 頁）；曲目有李斯特的《十架之路》，及法國現代作曲家浦朗克和梅湘的作品，明顯地，選曲的核心主題是宗教；這是嚴肅樸素的音樂，卻絕非沒有歡樂可言，相反，愛沙尼亞之聲清亮的歌聲定會為聽眾帶來欣喜。

愛沙尼亞之聲 Vox Clamantis 3-4.3.2018 香港大會堂音樂廳 Concert Hall, HK City Hall

愛沙尼亞之聲 Vox Clamantis © Kitfox Valentiné

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藝術節閉幕節目愛沙尼亞國家交響樂團及愛沙尼亞國家男聲合唱團

愛沙尼亞國家男聲合唱團 Estonian National Male Choir

愛沙尼亞國家男聲合唱團與愛沙尼亞之聲同樣源自愛沙尼亞優良的歌唱傳統，二十世紀初成立的男聲合唱團歷史較長，他們將與老拍檔愛沙尼亞國家交響樂團聯手，為 2 0 1 8 年藝術節作精采的閉幕演出。他們起初是無伴奏合唱團，發展到今天，成為演出大型交響曲目的世界級合唱團；在首席指揮及藝術總監米克．尤利奧雅領導下，選曲橫跨文藝復興時期到現代作品，把合唱藝術這種愛沙尼亞的文化精粹帶到世界各地。

Vox Clamantis, the Estonian National Symphony Orchestra and Estonian National Male Choir The Hong Kong Arts Festival has been bringing some of the world’s greatest performers to Hong Kong for 46 years now. Indeed, one of the Festival’s greatest strengths has been to introduce local audiences to artists who have already carved out great success and acclaim, but not necessarily in this part of the world.

若說愛沙尼亞建國是唱出來的也不為過，滴血不流的「歌唱革命」，促使了跟前蘇聯的切割；在爭取獨立的時期，大型公開歌唱節慶和集會（部分是即興的），成為鼓動獨立運動的舞台，一些政治會議更以大合唱聚會為幌子。

This year, the spotlight falls on the northern European country of Estonia. With a triumvirate of Estonian ensembles performing at HKAF 2018, all making their Hong Kong debuts, the Festival boasts a line-up of the Baltic nation’s finest musicians, giving HKAF audiences an insight into the deep and varied musicmaking traditions of Estonia.

在愛沙尼亞的歷史中，音樂傳統比蘇維埃更久遠，大型歌唱音樂節源遠流長，往往吸引數以千計的參與者。愛沙尼亞國家交響樂團成立於 1926 年 12 月，與祖國的古典音樂發展同步成長，為當代愛沙尼亞首屈一指的作曲家如帕特和圖賓等的作品作過多次首演。

Vox Clamantis

在 1960 及 1970 年代，愛沙尼亞古典音樂泰斗尼米．約菲為樂團的發展作了重大貢獻，到 2 0 1 0 年回歸樂團擔當藝術總監。約菲亦建立了自己的音樂世家，他的小兒子克利斯蒂安在本屆藝術節中就與俄羅斯史維特蘭諾夫國家交響樂團演出（見第 59 頁）。

Estonian choir Vox Clamantis are very much a contemporary vocal ensemble. Founded barely 20 years ago by Jaan-Eik Tulve, the group have gone through a revolving cast of singers, many with other occupations and talents of their own, but all “kindred spirits”, befitting this most modern of collectives. Their speciality is Gregorian chant, the sacred plainsongs that form the foundation of Western art music. But if this might not sound particularly contemporary, then Vox Clamantis’ attitude to programming certainly is, pushing the music beyond its normal boundaries with collaborations that have ranged from the Sufi infusions of the Tunisian Dhafer Youssef, to the synthesizer musings of compatriot Sven Grünberg. They also have a close collaborative relationship with another Estonian icon who is wellknown to HKAF audiences, the composer Arvo Pärt.

芬蘭藝術家薩格士譚將在香港藝術節中與這兩個愛沙尼亞樂團同台，無論是他的人生觀或是音樂創作，以至作為指揮家、作曲家、演奏家都別樹一格；叫人驚嘆的還有他創作之豐富（超過 3 0 0 部交響樂作品）和台上的狂放功架。薩格士譚將以他銳不可擋的風格，為鮮有在香港演奏的愛沙尼亞和芬蘭音樂，作非一般的演繹。帕特的《紀念布列頓之歌》漂亮地表現了他獨有的鐘鳴風格，與圖賓的愛沙尼亞民族風舞曲形成清新的對比；華格納和古諾的歌劇式合唱曲，還有西貝流士大型交響樂合唱作品《庫勒沃》，讓合唱團淋漓發揮，宏偉地為 2018 年藝術節作結。

“Time is something concrete, but music is freer. 1,500 years in music is nothing at all” —Jaan-Eik Tulve

The oral tradition from which Vox Clamantis’ music stems gives a freedom and natural sympathy to collaboration with other suitable types of music, and this is certainly true of their HKAF concert with French pianist Jean-Claude Pennetier (see p67 for a preview of Pennetier’s own HKAF 2018 performances). Featuring Liszt’s Via Crucis and works by modern French composers including Poulenc and Messiaen, there is a clear religiosity at the core of their programme. This is serious, austere music, but it should not be mistaken for joylessness; instead, the shimmering sound that Vox Clamantis create is sure to bring delight to all in attendance.

愛沙尼亞國家交響樂團及愛沙尼亞國家男聲合唱團 Estonian National Symphony Orchestra and Estonian National Male Choir 24.3.2018 香港文化中心音樂廳 Concert Hall, HK Cultural Centre 25.3.2018 香港大會堂音樂廳 Concert Hall, HK City Hall

Baltic tradition and innovation

Festival Finale Estonian National Symphony Orchestra and Estonian National Male Choir

Sharing the same strong Estonian vocal tradition as Vox Clamantis, but formed in the early years of the 20th century rather than at its end, the Estonian National Male Choir will combine with regular collaborators, the Estonian National Symphony Orchestra, to provide a rousing finale to the 2018 HKAF. The choir began first as an a cappella group, but have since grown into a world-renowned choir that gives regular performances of large symphonic repertoire. Led by Chief Conductor and Artistic Director Mikk Üleoja and with a repertoire that spans the Renaissance to the modern day, they have toured worldwide, sharing the choral tradition that is so intrinsic to Estonia’s culture. It is not an exaggeration to say that Estonia sang itself into existence as an independent nation, splitting from the Soviet Union following the bloodless “Singing Revolution”. Huge public singing festivals and meetings, some spontaneous, formed the backdrop to much of the fervour for independence, while some organised political meetings even took place under the pretence of large group singing sessions. Estonia’s musical tradition stretches much further back than the Soviet era however, with a longstanding tradition of massive song festivals attracting thousands. Founded in December 1926, the Estonian National Symphony Orchestra or Eesti Riiklik Sümfooniaorkester (ENSO) has similarly been able to trace its history along much of the same path with which classical music has grown in its home country, and has given numerous premiere performances of works by the most important modern Estonian composers including Arvo Pärt and Eduard Tubin. The internationally-respected Neeme Järvi, elder statesman of Estonian classical music, played a crucial role in the development of the orchestra in the 60s and 70s before returning as artistic director in 2010; Järvi is also the head of his own musical dynasty, with his youngest son Kristjan appearing at this year’s HKAF with the State Academic Symphony Orchestra of Russia “Evgeny Svetlanov” (p60). On the podium for the ENSO and ENMC’s performances at HKAF will be the Finn Leif Segerstam, a huge personality and truly unique artist in his approach to both life and music-making, whether as a conductor, composer or instrumentalist. Whether it is his astoundingly prolific output (over 300 symphonies composed), or his exuberant, larger-than-life presence on the stage, Segerstam will bring his irrepressible style to some of the finest music from Estonia and Finland, rarely performed in Hong Kong. Arvo Pärt’s Cantus is a beautiful example of the composer’s signature "tintinnabuli" style, while Eduard Tubin’s Estonian folkinfluenced dance suite is a delightful contrast. Operatic choruses by Wagner and Gounod will showcase the power of ENMC, as will a massed performance of Sibelius's grand symphonic choral work Kullervo – a truly majestic way to bring the 2018 HKAF to a close.

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俄國大師馬祖耶夫與俄羅斯樂團

拉赫曼尼諾夫 Sergei Rachmaninov

俄羅斯史維特蘭諾夫國家交響樂團成立於 1936 年，經歷不少二十世紀的動蕩和自身的改變，這些變遷包括樂團的名稱――樂團為向出任樂團音樂總監達三十五年、塑造樂團的名指揮史維特蘭諾夫致敬，冠上了他的名字；樂團現任藝術總監是弗拉基米爾．尤洛夫斯基。

鋼琴是表現拉赫曼尼諾夫藝術成就的必要元素。即使拉赫曼尼諾夫沒有寫成半首樂曲，一樣會在上世紀憑鋼琴家的成就名垂青史。著名鋼琴家同儕亞瑟．魯賓斯稱，拉赫曼尼諾夫擁有「彈奏發自內心、有如黃金般、栩栩如生且無可比擬的音色的竅門」。

樂團雖然來自莫斯科，但他們透過廣泛巡迴演出，在國際樂壇上享負盛名，幾十年來灌錄了無數唱片，對廣大樂迷來說，他們代表着俄羅斯音樂。

亦因此，拉赫曼尼諾夫的首部出版作品─升 F 小調第一鋼琴協奏曲─是他在莫斯科音樂學院當學生時開始寫的。創作第二鋼琴協奏曲的過程，則具治療作用，讓作曲家走出第一交響曲首演失敗的陰霾。拉赫曼尼諾夫於 1909 年在美國巡迴演出時，構思和譜寫了著名的第三鋼琴協奏曲，用以展示自己的鋼琴演奏風格。

樂團與客席指揮克利斯蒂安．約菲將為 2018 年香港藝術節的聽眾帶來三個節目，獻上俄羅斯大師拉赫曼尼諾夫、史達拉汶斯基和柴可夫斯基的作品：史達拉汶斯基的《火鳥》和柴可夫斯基的《天鵝湖》兩首芭蕾組曲（後者由指揮克利斯蒂安．約菲改編）本身已是極精采的作品，但藝術節的節目中，它們將連同拉赫曼尼諾夫的鋼琴鉅著一同演出，樂團更邀得傑出鋼琴家馬祖耶夫演奏拉氏鋼琴協奏曲全集。拉赫曼尼諾夫（1873-1943）雖然在二十世紀俄羅斯作曲家之列中廣受近代觀眾歡迎，但這位身型高挑、外表嚴肅，被同胞作曲家史達拉汶斯基形容為「六呎半高的臌氣袋」的音樂巨匠，曾經有一段長時間缺乏自信，罹患抑鬱症。他的第一交響曲在 1897 年首演時，反應慘淡，在音樂史上人盡皆知。這並不是作曲家的錯，問題主要歸咎於當時醉酒的指揮，可是年輕的拉赫曼尼諾夫因此大受打擊，幾乎要放棄作曲。

除了以上作品，還有拉赫曼尼諾夫最後的第四鋼琴協奏曲，以及實際上等同協奏曲的《帕格尼尼主題狂想曲》（兩首皆是作曲家後來離開俄國後的作品），將會由現時備受讚賞的拉赫曼尼諾夫專家馬祖耶夫，以正統俄羅斯風格演出。單單是拉赫曼尼諾夫的第三鋼琴協奏曲，馬祖耶夫已經演出過超過三百次。他是拉赫曼尼諾夫基金會藝術總監，拉赫曼尼諾夫的孫兒曾經邀請他用作曲家在瑞士琉森別墅的史坦威鋼琴來錄音。雖然拉赫曼尼諾夫已於七十五年前逝世，觀眾欣賞馬祖耶夫與俄羅斯史維特蘭諾夫國家交響樂團及指揮克利斯蒂安．約菲演出作曲家的作品時，彷彿會看到兩位俄羅斯鋼琴大師穿越時空，坐在一起交流他們對鋼琴的看法，討論俄羅斯音樂的獨特之處一樣。文：湯馬士．梅

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Russian Masters State Academic Symphony Orchestra of Russia “Evgeny Svetlanov” and Denis Matsuev showcase the legacy of Rachmaninov

The ensemble now known as the State Academic Symphony Orchestra of Russia "Evgeny Svetlanov” weathered some of the most tumultuous events of the 20th century and has seen many changes – including of its name – since it was founded in 1936. Evgeny Svetlanov, the legendary conductor, is now inscribed into that name in homage to his formative role as Music Director for some 35 years; Vladimir Jurowski currently serves as Artistic Director.

Stravinsky described him – struggled through long periods of selfdoubt and depression. The world premiere of his First Symphony in 1897 ranks among the great fiascos of music history – not the composer’s fault, but mostly the result of a drunken conductor – and the young Rachmaninov was so traumatised, he nearly abandoned composition.

Though based in Moscow, the Orchestra developed its international reputation through extensive touring and, for listeners around the world, has also been a well-known voice of Russian music thanks to its immense discography, built up over the decades.

The piano was an essential component of Rachmaninov’s artistic identity. Even if he had never published a single composition, he would still be discussed in music history because of his achievements as one of the legendary pianists of the last century. According to fellow piano lion Arthur Rubinstein, Rachmaninov possessed “the secret of the golden, living tone which comes from the heart and which is inimitable.”

Guest conductor Kristjan Järvi and the orchestra bring three programmes to HKAF 2018, each comprising giants of the Russian repertoire: Rachmaninov, Stravinsky and Tchaikovsky. Stravinsky’s Firebird and Tchaikovsky’s Swan Lake ballet suites (the latter a special arrangement by conductor Kristjan Järvi) would be highlights enough on their own, but at HKAF they appear alongside a focus on Rachmaninov’s keyboard masterpieces, with the extraordinary pianist Denis Matsuev as the soloist in a full piano concerto cycle.

So it’s fitting that his very first published work was the Piano Concerto No 1 in F-sharp minor, which dates from his years as a student at the Moscow Conservatory. The experience of writing the Piano Concerto No 2 actually had a therapeutic effect that enabled the composer to work his way out of the depression caused by the disastrous premiere of his first First Symphony. Like these works, Rachmaninov conceived and wrote the famous Piano Concerto No 3 to showcase his own keyboard style when he was touring America in 1909.

In more recent years, Sergei Rachmaninov (1873-1943) has come to be cherished as one of the best-loved treasures among 20thcentury Russian composers. Yet the tall, lanky, severe-looking artist – “a six-and-a-half-foot scowl,” as his fellow Russian Igor

All of these works, along with Rachmaninov’s fourth and last concerto, as well as the concerto-in-all-but-name, Rhapsody on a Theme of Paganini (both products of the composer’s long period of exile later in life) are performed in authentic Russian style by

one of today’s most acclaimed Rachmaninov interpreters: Denis Matsuev. Matsuev has performed the composer’s third piano concerto alone more than 300 times and serves as artistic director of the Sergei Rachmaninov Foundation; he was even asked by Rachmaninov’s grandson to record on the very Steinway owned by the composer at his villa in Lucerne, Switzerland. Such is this link between great Russian pianism of the past and present, that one almost imagines watching Matsuev and Rachmaninov conversing together, discussing their ideas of the piano, of what makes Russian music so unique. Yet even though the composer died 75 years ago, that just might be the impression to take away when audiences hear Matsuev perform with the State Academic Symphony Orchestra of Russia "Evgeny Svetlanov” and conductor Kristjan Järvi. By Thomas May

俄羅斯史維特蘭諾夫國家交響樂團 State Academic Symphony Orchestra of Russia “Evgeny Svetlanov” 8-10.3.2018 香港文化中心音樂廳 Concert Hall, HK Cultural Centre

克利斯蒂安．約菲（指揮） Kristjan Järvi, conductor

丹尼斯．馬祖耶夫（鋼琴） Denis Matsuev, piano

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Beyond Impressionism Piano music with diverse inspiration A great source of excitement for organisers, audiences and performers alike at the Hong Kong Arts Festival is the ability of the whole event to be simultaneously both international and local, a celebration of the world's finest performances rooted not just in Hong Kong but also China and even Asia. Beyond Impressionism is an excellent example of this duality, presenting a collection of piano works performed by Chinese artists and in which most of the repertoire is very much Chinese in origin, but with a common thread of French impressionism as a musical influence. When placed next to the participation of acclaimed French pianist Jean-Claude Pennetier in other performances at this year's HKAF (p67), the links within this year's music programme become even clearer.

突破想像的鋼琴音樂「跨越意象」音樂會

香港藝術節糅合國際和本地元素，在世界級的優秀演出之中，蘊含源於香港、甚或中國和亞洲的養分，是為主辦方、觀眾和表演者所樂見。說到中西互動，「跨越意象」就是絕佳例子。節目的鋼琴曲目將由華人藝術家演奏；大部分作品以中國音樂為本，卻都可以追溯到法國印象主義風格。並觀法國鋼琴家潘尼迪爾在此屆藝術節中幾場演出（見第 6 5 頁），今年音樂節目的脈絡就更加清晰。音樂會前將放映紀錄片《唯我一人》，敘述法國作曲大師瓦雷茲的生平，是為二十世紀初開始，中、法兩國鋼琴音樂互有來往，展開妙趣連繫的背景；音樂會的曲目就有他的門生周文中的作品，和周文中的學生──周龍、陳怡和譚盾的創作。對此世代的音樂家來說，中國民族音樂亦是一重要影響。節目也呈獻鄧慧中和劉曉江兩位新一代香港聲音；音樂會後段有陳其鋼的《京劇瞬間》，他是梅湘的關門弟子，風格遊走於中西之間；壓軸是德布西著名的《牧神午後前奏曲》，由雙鋼琴演出。演出陣容均為年青華裔鋼琴家：黃蔚然和黃蔚園兩姊妹、台灣出生的張郁苓，以及周氏姊妹娉婷鋼琴二重奏。是次放映暨音樂會，說明了藝術節有其本地中國根源之餘，亦能夠連結和呈現從世界各地而來的藝術影響。

「在聽到音樂前，當想像化為聲音的瞬間。」 — 張郁苓

「『真．我角度』就是把自己內心深處的靈魂和情緒以聲音在舞台上揭露給眾人的時刻。」 — 黃蔚然

“What’s real to me is the moment before one pre-hears music, before the imagination transforms to sounds” — Evelyn Chang

“What’s real to me is the moment on stage when my soul is exposed and all my emotions are revealed” — Wong Wai-yin

A pre-concert screening of documentary The One All Alone explores the life of influential French composer Edgard Varèse, giving context to the relationship and fascinating connections between French and Chinese piano music from the beginning of the 20th century; the subsequent concert features works by his protégé Chou Wenchung and Chou's own students in turn: Zhou Long, Chen Yi and Tan Dun. For this generation, Chinese folk music was another important influence. The concert also features new Hong Kong voices Joyce Tang and Lawrence Lau, before aptly concluding with Chen Qigang's Instant d’un opéra de Pékin (Chen having been the final pupil of Oliver Messiaen, with a style straddling both Chinese and Western musical traditions) and Debussy's famous Prélude à l'après-midi d'un faune arranged for two pianos. A line-up of young Chinese pianists will perform this rich and varied repertoire: Sisters Wong Wai-yin and Wong Wai-yuen, Taiwan-born Evelyn Chang and another pair of siblings in the form of piano duo Chau Lok-ping and Chau Lok-ting, also known as Duo Ping & Ting. Together, this film screening and concert provide an intriguing snapshot of the Festival’s ability to connect and showcase artistic influences from all over the world while remaining rooted in its local Chinese roots.

音樂會前將放映關於瓦雷茲的紀錄片《唯我一人》 A screening of the Edgard Varèse documentary The One All Alone precedes the concert

「跨越意象」鋼琴音樂會及電影放映 Beyond Impressionism: Piano Concert and Film Screening 17.3.2018 香港大會堂音樂廳 Concert Hall, HK City Hall

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（右起）潘尼迪爾（鋼琴）與其餘三重奏成員：巴斯基耶（小提琴）及皮杜（大提琴） Jean-Claude Pennetier, piano (r) with fellow trio members Régis Pasquier, violin (c) and Roland Pidoux, cello (l)

鋼琴多面手潘尼迪爾

法國古典音樂殿堂級旗手潘尼迪爾，是一位多面的藝術家，無論在獨奏、室樂或作育後輩方面，其音樂成就都豐滿多元。他涉獵廣泛，所灌錄的德布西、舒曼和貝多芬作品專輯都獲好評之餘，對當代曲目也有獨到的演繹，在今屆藝術節的不同演出，可見證他音樂興趣之廣。事實上，他的表演亦與幾個藝術節音樂節目相映成趣。

「身為一名基督徒，對我來說，終極的『現實』在於跟循基督的生命和教誨而活出豐盛人生。音樂作為語言和美的呈現，或許能讓我們瞥見及渴望人性的痛苦喜樂和這永恆上主之間的和諧。」 — 鋼琴家潘尼迪爾

作為虔誠的教徒，潘尼迪爾在藝術節中與愛沙尼亞之聲合演李斯特的《十架之路》，展示出他的信仰如何滲透其藝術中（詳見第 55 頁）；而他的獨奏會，則延續藝術節「跨越意象」鋼琴音樂會的主題（詳見第 62 頁），探索富麗的法國浪漫主義：佛瑞和入籍法國的蕭邦的前奏曲相互交錯，並在德布西逝世一百週年之際向他致敬。潘尼迪爾在演繹佛瑞作品方面尤為出色，他灌錄過佛瑞鋼琴作品全集，2 0 0 9 年的佛瑞專輯更勇奪備受尊崇的金音叉唱片獎。在潘尼迪爾數十年的音樂事業中，個人殊榮從來不缺，同時他也著重在室樂上多面發揮，這是他藝術家身份的重要一環；他與小提琴手巴斯基耶和大提琴手皮杜組成三重奏，三人是巴黎音樂學院的同窗，在藝術節中將演出海頓和貝多芬的三重奏，兩首之間加插佛瑞 D 小調三重奏作品 1 2 0；此樂曲是佛瑞對老年的哭訴，淒美動人，定當為藝術節的聽眾帶來另一番感受。

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Jean-Claude Pennetier A soloist and chamber musician of the highest order An elder statesman of French classical music, Jean-Claude Pennetier is a multi-faceted artist. Whether as a soloist, chamber musician or teacher, his musical career has truly been rich and varied. Acclaimed recordings of Debussy, Schumann and Beethoven sit alongside interpretations of contemporary repertoire, and Pennetier's wide range of interests is clear to see across his multiple appearances at HKAF 2018. In fact, Pennetier's performances run parallel with a number of the music programmes at this year's Festival. A deeply religious individual, his HKAF performance with Estonian choir Vox Clamantis of Liszt's Via Crucis is testament to the way his faith has informed elements of his artistry (p57). The Frenchman's solo recital is a continuation of some of the themes explored in HKAF's Beyond Impressionism piano concert (p63); Pennetier explores sumptuous French romanticism in intertwined preludes by Gabriel Fauré and the naturalised Frenchman Frédéric Chopin, followed by a homage to Claude Debussy in the centenary year of the composer's death. Pennetier is a particularly outstanding Fauré interpreter, having recorded the composer's complete piano works, and received recognition for his 2009 Fauré recording with a coveted Diapason d'Or award. Individual recognition is all well and good, and plenty has come Pennetier's way over a career spanning multiple decades. Nonetheless, his versatility in collaboration as a chamber artist has remained important to his artistic identity, especially with the piano trio that he formed together with violinist Régis Pasquier and cellist Roland Pidoux, all of whom met as students at the Paris Conservatoire. Trios by Haydn and Beethoven sandwich Fauré's Op 120 trio in D minor at the trio's HKAF recital, with the latter composer's lamentation of old age expressed in a beautiful elegiac work that is sure to bring particular joy to Festival audiences.

潘尼迪爾鋼琴獨奏會 Jean-Claude Pennetier Piano Recital 2.3.2018

鋼琴三重奏 – 潘尼迪爾．巴斯基耶．皮杜 Trio Pennetier Pasquier Pidoux 5.3.2018 香港大會堂音樂廳 Concert Hall, HK City Hall

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Symphonic Masters Fabio Luisi and the Danish National Symphony Orchestra In September 2014 conductor Fabio Luisi made headlines when he turned down the opportunity to succeed James Levine as music director of the Metropolitan Opera in New York. Up to that time, audiences and critics had been getting to know Luisi well; his courtship with New York included not only his regular conducting work at the Met but also visits with the Vienna Symphony Orchestra in 2011, along with other ensembles and a wide range of concert and operatic music. Luisi clearly seeks out new challenges; he has held numerous prestigious positions (they currently include directorships of the main opera companies of Zürich and Florence), and there seem to be few places where he has not demonstrated his formidable talents as a guest conductor.

交響大師法比奧．雷西與丹麥國家交響樂團 © Per Morten Abrahamsen

2014 年 9 月，指揮家法比奧．雷西因為拒絕接替詹姆士．利雲出任紐約大都會歌劇院音樂總監，登上了報章頭條。其實一直以來，觀眾和樂評人都已經對雷西相當熟悉。雷西與紐約甚有淵源，除了定期在大都會歌劇院指揮，2 0 1 1 年又與維也納交響樂團在紐約演出，還有與其他樂團合作，在紐約演出形形色色的音樂會曲目及歌劇選段。雷西顯然志在尋找新挑戰：他曾在許多著名藝團出任過要職，現時為蘇黎世和佛羅倫斯的主要歌劇團擔任總監，而且即使在任何地方擔任客席指揮，也無不表現出卓越的才華。再說說 2014 年那些報章頭條吧。令雷西捨大都會歌劇院而去的，正是丹麥國家交響樂團。2 0 1 6 年，雷西接替偉大指揮家拉菲爾．佛魯貝克．德．布爾戈斯，成為這個優秀的北歐樂團的掌舵人；但其實雷西早已對丹麥國家交響樂團十分熟悉：因為早在他應聘之前，已經多次在哥本哈根擔任該團的客席指揮。這次委任令樂團團員和雷西本人都大為振奮；2 0 1 7 年春季在美國巡迴演出時也大獲好評，足見兩者合作無間。雷西加盟丹麥國家交響樂團後，就與丹麥國寶級作曲家卡爾．尼爾森結下不解之緣。他形容尼爾森無論音樂與為人都「妙趣橫生，既獨特又錯綜複雜」。香港藝術節的觀眾將有機會一飽耳福，現場欣賞尼爾森的傑作第五交響曲。第五交響曲

Returning to those 2014 headlines, it was the Danish National Symphony Orchestra that had seduced Luisi away from the Met. He took the helm of this fine Nordic ensemble in 2016, succeeding its previous music director, the great Rafael Frühbeck de Burgos, but he already knew the orchestra well, having made a number of guest appearances in Copenhagen before being offered the post. Both he and the orchestra members were thrilled by the appointment, with a highly successful tour of the US in the spring of 2017 celebrating their partnership . Since joining the DNSO, Luisi has bonded with the music of the Danish national composer, Carl Nielsen, whose music and personality he has described as “incredibly interesting, original, and complex.” HKAF audience members will have the opportunity to hear Nielsen’s Symphony No 5, a masterpiece from the early 1920s that is rarely heard in Hong Kong, played by the musicians who know it best. German romanticism is also on the programme in the form of the overture to Wagner’s Der Fliegende Holländer, and Richard Strauss’s Don Juan. We will also hear the DNSO’s interpretation of Chinese composer Guo Wenjing’s The Rite of Mountains: Concerto for Percussion and Orchestra, performed by soloist Li Biao.

是 1920 年代初的作品，過去鮮有在香港演出，更遑論由最了解尼爾森的樂師演繹。其他曲目包括德國浪漫主義作品，如華格納《漂泊的荷蘭人》序曲和理察．史特勞斯《唐璜》，以及中國作曲家郭文景的《山之祭》：為敲擊樂器與管弦樂團而作的協奏曲，由李飈擔任獨奏。本港樂迷如果希望在香港藝術節之前，感受一下丹麥交響樂團的魅力，可以從該團為 C ha nd o s 唱片公司及其他品牌灌錄的多張專輯入手。要欣賞雷西的演繹，可以從他於 2011 － 2 0 1 2 年度指揮的華格納《尼伯龍根的指環》下半部開始。這個演出由大都會歌劇院製作，羅伯特．利柏殊執導，不但是該院的重要製作，更榮獲格林美獎。文：湯柏恩 © Per Morten Abrahamsen

法比奧．雷西（指揮） Fabio Luisi, conductor

李飈（敲擊樂） Li Biao, percussion

Hong Kong music lovers wanting to get a taste of the DNSO prior to their Festival appearance might sample some of their many recordings for Chandos and other labels. For Fabio Luisi, a good place to start is his Grammy Award-winning performances of the second half of Wagner’s Ring cycle between 2011 and 2012, available in Robert Lapage’s landmark production for the Met. By Brian C. Thompson

丹麥國家交響樂團 Danish National Symphony Orchestra 20.3.2018 香港文化中心音樂廳 Concert Hall, HK Cultural Centre

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年青新星演繹不朽經典瑞士韋爾比亞音樂節室樂團煥發青春活力「青春總是浪費在年輕人身上，真可惜。」這句風趣的話本來可謂雋語，可是談到音樂史卻說不通了─因為許多作曲家和演奏家年紀輕輕已經很了不起，獲得的成就也甚有啟發性。在 2 0 1 8 年香港藝術節，瑞士韋爾比亞音樂節室樂團將來港獻藝，所選曲目正好證明年輕音樂家在今日的古典樂壇擔當重要角色。韋爾比亞音樂節室樂團成立於 2 0 0 5 年，成員來自世界各地，都是韋爾比亞音樂節管弦樂團的前樂手（後者成員年齡介乎十八至二十八歲）。室樂團名稱來自瑞士山區一個恬靜的渡假勝地；室樂團除了在當地每年夏季的韋爾比亞音樂節演出外，也經常巡迴演出。在音樂總監、匈牙利指揮家暨小提琴家加博爾．塔卡奇 - 納吉領導下，室樂團將演繹音樂史上兩位曠世奇才的作品：莫扎特的第三十五交響曲和聖桑的第一大提琴協奏曲。前者是音樂會的第一首樂曲；後者由戈蒂埃．卡普森擔任獨奏。卡普森現年三十六歲，生於法國一個音樂世家，是家中幼子。這位魅力四射的樂手五歲開始學習大提琴，曾在多個國際頂尖青年樂團擔任樂手，同時也在樂壇上迅速走紅。另一首選曲是舒伯特的第五交響曲，樂曲既充滿青春又迷人。舒伯特三十一歲就英年早逝，享年比莫扎特還要短。選曲中還有貝多芬的第四鋼琴協奏曲；他在音樂事業起步時，是位年青鋼琴大師，而其鋼琴協奏曲總會令人記起他的演奏家個性：第四鋼琴協奏曲是貝多芬最後一首為觀眾演奏的曲目，之後他的聽力日益惡化，連演奏也應付不來了。

張緯晴 Rachel Cheung

Young Artists, Timeless Music Verbier Festival Chamber Orchestra and a pair of inspiring stars “What a pity youth is wasted on the young,” some wit is supposed to have declared. But the joke doesn’t really work when considering music history, which is rich with lore of the inspiring accomplishments of composers and performers at a young age. The Verbier Festival Chamber Orchestra (VFCO)’s 2018 HKAF programme is a testament to the vital role young musicians play in today’s classical music scene. Founded in 2005, this internationally diverse orchestra comprises former members of the Verbier Festival Orchestra (the symphonic orchestra for musicians aged between 18 and 28) and performs during the summer festival in the idyllic Swiss mountain resort which gives the ensemble its name, while also touring extensively. Together with Music Director Gábor Takács-Nagy, the Hungarian conductor and violinist, these musicians will play a programme including works by two of the greatest prodigies music has ever produced: Mozart, whose Symphony No 35 opens the concert, and Saint-Saëns. The soloist in the latter’s Cello Concerto No 1 will be Gautier Capuçon, 36, who is the youngest sibling in a family of French musicians. This charismatic musician started learning cello at age 5 and played in some of the leading international youth orchestras during his meteoric rise to fame.

Schubert, who was even younger than Mozart when he died at 31, is also represented on the programme with his youthfully charming Fifth Symphony. Also included on the Verbier programme is Beethoven’s Piano Concerto No 4; the composer himself began his career as a young keyboard virtuoso, and his piano concertos are the living memories of his personality as a performer: No 4 was the last one he himself played for audiences, before increasing deafness made performance impossible. Hong Kong’s own Rachel Cheung, 26, will be the soloist for this most poetic of the Beethoven concertos. Having started out as a remarkable prodigy, in 2017 she was Finalist and Audience Award winner at the 15th Van Cliburn International Piano Competition. Featuring youthful energy, freshness of vision, and classics that have stood the test of time: this concert promises to be rejuvenating for music lovers, no matter what their age. By Thomas May

瑞士韋爾比亞音樂節室樂團 Verbier Festival Chamber Orchestra 23.3.2018 香港大會堂音樂廳 Concert Hall, HK City Hall

香港鋼琴家張緯晴將擔任貝多芬的協奏曲中最富詩意的第四鋼琴協奏曲獨奏。現年二十六歲的張緯晴也曾是矚目的神童；2 0 1 7 年，她參加四年一度的范．克萊本國際鋼琴比賽，除晉身第十五屆決賽之外，更獲頒觀眾特別獎。這場音樂會充滿青春活力、新穎願景，以及歷久常新的經典作品，保證任何年齡的樂迷都會感到活力充沛。文：湯瑪士．梅

加博爾．塔卡奇 - 納吉 GÁBOR Takács-Nagy © Nicolas Brodard

戈蒂埃．卡普森 Gautier Capuçon

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扎根香港的國際藝壇盛事

• 戲劇：彼得．布祿克、羅柏特．威爾遜、柏林劇團、中國

香港藝術節於 1973 年正式揭幕，是國際藝壇中重要的文化盛事，於每年 2、3 月期間呈獻眾多優秀本地及國際藝術家的演出，以及舉辦多元化的「加料」和教育活動，致力豐富香港的文化生活。香港藝術節是一所非牟利機構，2 0 1 8 年第 4 6 屆藝術節的年度預算約港幣一億二千五百萬，當中香港特區政府的基本撥款約佔總收入的 14%，另外約 32% 需來自票房收入，約 36% 則需依賴來自各大企業、熱心人士和慈善基金會的贊助和捐款。預計餘下的大約 1 8 % 則來自其他收入，包括政府針對捐款和贊助收入而提供的配對資助。香港藝術節每年呈獻眾多國際演藝名家精采多元的演出，例如 *：

• 歌劇：巴伐利亞國立歌劇院、莫斯科大劇院、聖彼得堡馬林斯基劇院

• 中國戲曲：中國國家京劇院、河北梆子劇院、上海張軍崑曲藝術中心、江蘇省蘇州崑劇院、浙江小百花越劇團

•古典音樂：塞西莉亞．芭托莉、列卡杜．沙爾、古斯塔沃．杜達美、菲力普．格拉斯、馬友友、安娜．涅翠柯、詹安德列亞．諾斯達、甘拿迪．羅傑斯特汶斯基、克里斯蒂安．泰利曼、倫敦交響樂團、皇家阿姆斯特丹音樂廳樂團、柏林廣播電台合唱團、萊比錫聖多馬合唱團、維也納愛樂樂團

• 爵士樂及世界音樂：波比．麥非年、尤蘇．恩多爾、艾斯佩蘭薩．斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼

• 舞蹈：米高．巴里殊尼哥夫、蕭菲．紀蓮、艾甘．漢、約翰．紐邁亞、美國芭蕾舞劇院、雲門舞集、漢堡芭蕾舞團、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

2018 年藝術節預計收入來源（約港幣一億二千五百萬） Estimated Income Sources for the 2018 HKAF (Approximately HK$125 Million)

Hong Kong Arts Festival

節

Sponsorship & Donations 贊助及捐款

國家話劇院、皇家莎士比亞劇團

•大型特別節目：《藝裳奇幻世界》、星躍馬術奇藝坊 •戶外節目：《聲光園》、《幻光動感池》、《聲光頌》香港藝術節積極與本地演藝人才合作，並致力為新晉藝術家提供展示才華的平台。藝術節至今委約及製作逾 2 00 套本地全新創作，包括戲劇、室內歌劇、音樂和舞蹈作品，近年開始同步出版新作劇本，不少製作更已在香港及海外多度重演。近年的藝術節新製作包括《香港家族》三部曲、《世紀．香港》音樂會、《論語》、《炫舞場》、《大同》、《金蘭姊妹》、《爆蛹》、《野豬》、《聖荷西謀殺案》等。香港藝術節多年來與知名海外藝術家及團體聯合製作不少優秀作品，當中包括由香港藝術節、香港歌德學院及翩娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹窗人》、由倫敦老域劇院、布魯克林音樂學院與尼爾街製作公司製作、香港藝術節為聯合委約機構之一的「橫貫計劃」之《暴風雨》及《李察三世》、由香港藝術節及上海國際藝術節聯合委約的《青蛇》、三藩市歌劇院與香港藝術節聯合製作的《紅樓夢》等。香港藝術節大力投資下一代的藝術教育。「青少年之友」成立 2 6 年來，已為逾 7 3 0 , 0 0 0 位本地中學生及大專生提供藝術體驗活動。藝術節近年亦開展多項針對大、中、小學生的藝術教育活動，包括由國際及本地藝術家主持的示範講座及工作坊、學生展演、演前講座、公開彩排、以及欣賞藝術節演出。同時，通過「學生票捐助計劃」，藝術節每年提供約 10,000 張半價學生票。香港藝術節每年主辦一系列多元化並深入社區的「加料節目」，例如電影放映、示範講座、大師班、工作坊、座談會、後台參觀、展覽、藝人談、文化導賞團等，鼓勵觀眾與藝術家互動接觸。

18%

36% Box Office 票房收入

32%

Other Income (Including Possible Matching Grant for Sponsorship and Donation Income) 其他收入（包括按捐款和贊助收入可望獲得的配對資助 )

14% Government Baseline Funding 政府的基本撥款（Updated August 2017 2017 年 8 月更新）

A Major International Arts Festival – In, Of and For Hong Kong HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year. HKAF is a non-profit organisation. Secured government baseline funding for the Festival in 2018 represents roughly 14% of its HK$125 million budget. Around 32% of the Festival’s income needs to come from the box office, and another 36% from sponsorship and donations made by corporations, individuals, and charitable foundations. It is anticipated that the remaining 18% will come from other revenue sources including the Government’s matching scheme, which matches income generated through private sector sponsorship and donations. HKAF has presented top international artists and ensembles across multiple genres, such as*: • Western opera: Bavarian State Opera, The Bolshoi Theatre, The Mariinsky Theatre • Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe • Classical music: Cecilia Bartoli, Riccardo Chailly, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Anna Netrebko, Gianandrea Noseda, Gennady Rozhdestvensky, Christian Thielemann, London Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra • Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini • Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, John Neumeier, American Ballet Theatre, Cloud Gate Dance Theatre, Hamburg Ballet, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch

• Theatre: Peter Brook, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company • Large-scale special events: World of WearableArt, Zingaro • Outdoor events: Power Plant, Super Pool, Chorus HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 200 local productions across genres including theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include A Floating Family, Hong Kong Odyssey, Chinese Lesson, Danz Up, Datong – The Chinese Utopia, The Amahs, Blast, Wild Boar and Murder in San Jose, to name a few. HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by HKAF, GoetheInstitut Hong Kong and Tanztheater Wuppertal Pina Bausch, Richard III and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with HKAF as a co-commissioning institution, Green Snake co-commissioned with Shanghai International Arts Festival, and Dream of the Red Chamber coproduced with San Francisco Opera. HKAF invests heavily in arts education for young people. Over the past 26 years, our “Young Friends” scheme has reached over 730,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year. HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided cultural tours.

* 有關香港藝術節的過往節目，可參考以下網頁 Details of past HKAF programmes can be found at www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2017.html

誠邀贊助或捐助第 46 屆香港藝術節；詳情請與藝術節發展部聯絡。 To find out more about sponsorship opportunities and donation details for the 46th Hong Kong Arts Festival, please contact the HKAF 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

FestMag

音樂

SIC MU

傑思．博迪

美國聲音：爵士一刻

爵士樂與流行音樂對不少人來說是截然不同的音樂類型，然而美國爵士樂小號手傑思．博迪卻認為兩者密不可分。他的音樂介乎於爵士樂與流行音樂之間。博迪自九歲起吹奏小號，有次聽到邁爾士．戴維斯演奏經典名曲《My Funny Valentine》，自此與小號結下不解之緣。成為專業樂手後，他開始被流行音樂的氛圍吸引，特別是彼得．加比奧和 Sting 的樂曲。博迪把流行曲的元素融入爵士樂中，精湛的技巧、流暢的演奏及豐富的音色，讓他備受讚譽。博迪的專輯銷量超過四百萬張，包括四張冠軍專輯、多張金唱片，以及兩項格林美獎。

American Vision Jazz in the moment

多年來，博迪曾與不少殿堂級藝術家合作灌錄大碟及到世界各地演出，包括法蘭克．仙納杜拉、芭芭拉．史翠珊、馬友友、東尼．班尼特和保羅．西門。這位迷人的小號手與他的八人樂隊，將會為藝術節觀眾帶來極富浪漫情調的爵士樂之夜。 Chris Botti

For some, jazz and popular music are two distinct music genres, but for American jazz trumpeter Chris Botti they belong in the same world – where his music lives. Botti started playing trumpet at the age of nine and dedicated himself to the instrument after hearing Miles Davis playing My Funny Valentine. Later in his career, Botti would come to appreciate the rich atmosphere in the pop music of Peter Gabriel and Sting. A blend of jazz and pop, trumpet virtuosity, smooth phrasing and a rich sound have earned him critical acclaim and sales of over four million albums, including four number ones and multiple gold records, not to mention two Grammy Awards.

瑟西兒．麥克羅恩．莎芳 2016 年格林美獎頒獎台上，一位戴着招牌白框眼鏡的年輕爵士樂女歌手獲頒「最佳爵士演唱專輯獎」。五年前，正是同一人贏得著名的塞隆尼斯．蒙克國際爵士樂大賽冠軍。她叫瑟西兒．麥克羅恩．莎芳，是當代最傑出的爵士歌手之一。她才華洋溢，廣闊的音域、富感染力的美聲及在舞台上的幽默風範，讓人聯想起比莉．哈樂黛、莎拉．沃恩及艾拉．費茲傑羅等爵士樂巨匠。

Over the years, Botti has recorded and performed worldwide with the world’s greatest artists including Frank Sinatra, Barbra Streisand, Yo-Yo Ma, Tony Bennett and Paul Simon. This charismatic trumpeter, together with his eight-piece band, will bring an atmospheric and romantic performance to the 2018 Hong Kong Arts Festival stage.

莎芳與眾不同的原因，或許在於她的視野：她「對歷史感興趣─事物如何轉變，以及事物如何不變」。莎芳對爵士樂史上成功的女歌手深感興趣，吸收她們的影響，轉化為獨一無二的個人宣言，而又能讓每位聽眾感到親密和切身。她選取的曲目包括爵士與藍調標準曲目、較少人認識的早期爵士、當代以及原創樂曲，每一首均具故事性。 Cécile McLorin Salvant

It is the 2016 Grammy Awards, and a young jazz vocalist with distinctive white glasses ascends the stage, accepting the award for Best Jazz Vocal Album. It is five years since the same artist's triumph at the prestigious Thelonious Monk International Jazz Competition. She is Cécile McLorin Salvant, one of the finest vocalists in today’s jazz world. Her wide vocal range, velvety and expressive tone, pure musical talent and a touch of humour on stage remind the audience of legendary artists including Billie Holiday, Sarah Vaughan and Ella Fitzgerald.

傑思．博迪 Chris Botti 23-24.2.2018 香港文化中心音樂廳 Concert Hall, HK Cultural Centre

But above all else, it is arguably Salvant’s vision that marks her out. She is “interested in history – how things differ, how they’re still the same.” Deeply inspired by the powerful women in the history of jazz, she assimilates their influence into her own original statements and brings an intimate, personal experience to her audience. Her repertoire combines jazz and blues standards with lesser-known early jazz, contemporary and original tunes, all of them with strong stories.

瑟西兒．麥克羅恩．莎芳與艾倫．迪爾三重奏 Cécile McLorin Salvant and the Aaron Diehl Trio 21-22.3.2018 香港文化中心音樂廳 Concert Hall, HK Cultural Centre

FestMag

音樂

SIC MU

爵士新潮

N o u v e a u

W e e k e n d 開拓音樂新世界

New worlds of sound across four celebratory concerts

今屆藝術節除了兩個美國頂尖爵士樂手的大型音樂會（見第 76 頁），還另外開闢了一個「爵士新潮」系列，這是藝術節繼近年推出而觀眾受落的「世界音樂週末營」（見第 87 頁）之後又一精心策劃，目標當然是為樂迷帶來更多樣化的音樂選擇，更多元的音樂品味，更世界性的音樂文化。

The 2018 Hong Kong Arts Festival introduces its Nouveau Jazz Weekend, a meticulously curated series that takes its place in this year’s programme alongside performances by two eminent jazz musicians from the US (p76), and also follows the established HKAF World Music Weekend (p87), which has garnered wide acclaim from the Festival’s audience in recent years. This new series aims to introduce music lovers to an even more diverse range of musical choices and tastes, and a more globalised musical culture.

眾所周知，世界各地皆有源於本身文化的音樂，但在音樂文化無遠弗屆的二十一世紀，音樂已是人人共享的文化。例如美國爵士樂的影響力，自上世紀中已滲透至每一種音樂文化中，並經過各地音樂家的再創造，變出更多姿多采的音樂風格，大大豐富了世界的音樂文化。「爵士新潮」只是嘗試將這些世界各地不同樂手的精采創新展示出來，讓樂迷自己去品味、去發現「爵士」的無限可能性。這一次小試牛刀，先介紹一支波蘭跨界爵士勁旅（霍圖納與辛波絲卡《詩樂對話》：第 81 頁；霍圖納爵士四重奏：第 83 頁），和一隊葡萄牙的 fusion fado 組合（Vila Navio 三重奏：第 85 頁）。相信在以後的藝術節，更多的「爵士新潮」陸續有來。文：蘇國雲

In every part of the world there are musical genres that stem from the native culture of each region. In the 21st century music has become a shared experience, where musical genres transcend borders. Since the middle of last century, the influence of American jazz has permeated almost every musical culture. Re-interpreted by musicians worldwide, jazz has evolved into a range of eclectic styles, greatly enriching the world’s musical landscape. Nouveau Jazz Weekend sets out to showcase these exciting innovations featuring musicians from across the world, for audiences to discern and discover the endless possibilities in what they know as “jazz”. This inaugural edition presents acclaimed Polish cross-over jazz projects (Fortuna Plays Symborska, p81 and Maciej Fortuna Special Quartet, p83) and a fusion fado group (Vila Navio, p85) from Portugal. The stage is set for Nouveau Jazz Weekend to create a new direction at HKAF, both now and in the future. By So Kwok-wan

FestMag

音樂

SIC MU

《詩樂對話》當爵士小號遇上諾貝爾獎詩人

Fortuna Plays Szymborska 波蘭詩人維斯拉瓦．辛波絲卡，在家鄉赫赫有名、備受愛戴，於 1996 年榮獲諾貝爾文學獎後，更深得國際文壇認可。她於二戰後、正值冷戰高峰期的時候，在鐵幕後的克拉科夫開始創作詩歌。晚年成為諾貝爾獎得主後，她的讀者群進一步擴大。她於 2012 年與世長辭，六年後的今天，隨着《詩樂對話》到港演出，將會有更多人認識辛波絲卡。《詩樂對話》由來自波蘭的爵士小號手馬切．霍圖納創作。他以跨界別的演繹方式見稱，常以各種藝術形式演出，並用耳目一新的方法探索小號的音色。霍圖納與安祖伊．岡力治尼（擊鼓、電子音樂）和保羅．威朋次（視覺藝術）合作演出的《詩樂對話》，由辛波絲卡朗讀個人詩作的片段，以及動畫和聲音相互交織而成。辛波絲卡的文字是演出的核心，霍圖納及岡力治尼的音樂是絲線，把詩作和威朋次的視像串連起來，而小號主導的音樂則突出並襯托着朗誦辛波絲卡的文字的旋律。辛波絲卡的寫作生涯跨越半個世紀，在波蘭的文化史中佔一重要席位。然而，《詩樂對話》透過結合詩歌、音樂、視像及錄像藝術這種迷人又現代的方式，把她的作品帶到當下。

霍圖納與辛波絲卡《詩樂對話》Fortuna Plays Szymborska 3-4.3.2018 香港藝術中心壽臣劇院 Shouson Theatre, HK Arts Centre

Both well-known and acclaimed in her native Poland, poet Wisława Szymborska gained further international recognition on winning the Nobel Prize for Literature in 1996. Having written her first pieces of poetry following WWII and at the height of the Cold War from behind the Iron Curtain in Kraków, the Nobel Prize brought Szymborska a wider audience much later in her life. Now, some six years after her death in 2012, this process continues with Fortuna Plays Szymborska coming to Hong Kong. Created by Polish jazz trumpeter Maciej Fortuna, the show is reflective of Fortuna’s multi-disciplinary approach to performance, with his shows notable for experimentation with different art-forms alongside a refreshing approach to expanding the sound of his own instrument, the trumpet. Joined by collaborators Andrzej Konieczny (drums, electronics) and Paweł Wypych (visuals), Fortuna Plays Szymborska integrates footage of Symborska reading her own poetry together with a tapestry of animation and sound. While Symborska’s words form the root material, Fortuna and Konieczny’s music is the thread holding the poetry together with Wypych’s visuals, with the leading sound of the trumpet in particular emphasising and matching the melody of Szymborska’s words in recitative. With an artistic career spanning over half a century, Wisława Symborska occupies a unique position in Polish cultural history, and with Fortuna Plays Szymborska her work has been brought very much into the here and now through this entrancing and contemporary blend of poetry, music, visuals, and video art.

FestMag

音樂

SIC MU

霍圖納爵士四重奏瀟灑型格東歐爵士樂

Maciej Fortuna Special Quartet Effortlessly cool Euro-jazz

進入霍圖納的網站（maciejfor tuna.pl），馬上可以看見這位波蘭裔小號手、作曲家和音樂製作人矚目的黑白照片。照片上還印着他突出的標誌─充滿現代主義風格的名字縮寫「MF」，市面上甚至還有霍圖納的應用程式可供下載。霍圖納予人的第一印象不但勇於創新、滿腔音樂熱誠，更是個「型格」藝術家。霍圖納爵士四重奏也予人同樣的感覺：他們演繹的即興爵士樂銳意讓人耳目一新，彈奏出強硬節拍，以無懼的態度擴闊現代爵士樂的音色。除了小號、低音結他、鼓這些傳統爵士樂陣容外，霍圖納四重奏亦加入了電子音樂元素，而且選用了兩位鼓手，有別於傳統爵士樂團常見的一位鼓手，注入新鮮感之餘，更以成員高超技術挑戰音樂極限。樂團對革新音樂的認真態度不僅非常「有型」，亦正好適合香港藝術節今年首次加入節目陣容的「爵士新潮」。

霍圖納爵士四重奏 Maciej Fortuna Special Quartet 4.3.2018 香港藝術中心壽臣劇院 Shouson Theatre, HK Arts Centre

Visitors to Maciej Fortuna’s website maciejfortuna.pl are greeted by striking black and white images of the Polish trumpeter, composer and music producer, overlaid by a rather striking logo that spells out his initials “MF” in a wonderfully modernist style. There is even a Maciej Fortuna app available for download. The immediate impression is of an innovator, a musician who is serious about his work, but also an artist who is really rather cool. This also sums up the Maciej Fortuna Special Quartet neatly, with the group’s refreshing approach to jazz improvisation and their muscular rhythms complemented by a fearless attitude towards expanding the sound palette of modern jazz. By integrating electronic elements into their performances alongside a more traditional jazz line-up of trumpet, bass, and drums – although tradition is definitely eschewed with two drummers rather than just one – the Quartet possess a freshness and desire to push the envelope that is matched by each member’s fearless technical ability. This is a group of musicians serious about doing something fresh, and it is this quality that makes them both a perfect choice for HKAF’s inaugural Nouveau Jazz Weekend, and also effortlessly cool.

www.

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音樂

SIC MU

Vila Navio 非一般的傳統 A twist on tradition 用「傳統」二字來形容音樂，通常予人一種直接、自然而然卻又不怎麼平易近人的感覺。然而，對於像 Vila Navio 三重奏般的藝術家來說，傳統既是他們音樂的基礎又是其對照。傳統非但沒有阻礙他們革新，更是他們靈感的泉源。三重奏的根基是法朵（fado）傳統，他們糅合了當代爵士樂以及電子音樂元素，兼備原創特色及現代風格。 Vila Navio 是年輕歌手及結他手安德烈．哥希．羅迪傑斯的綽號，但羅迪傑斯和這次計劃均著重合作的重要性。本着向國家音樂傳統致敬的精神，Vila Navio 三重奏跟著名葡萄牙作曲家暨流行音樂人法斯圖．博達路．迪亞斯聯合製作第二張專輯《Ancoradouro》。他們的音樂結合傳統和創新，保留影響他們作品至深的懷舊音樂之餘又不失前衛。正因如此，他們作為「爵士新潮」節目之一，最合適不過。

When music is described as “traditional”, the associations that flood into the mind are often immediate, involuntary, and not always kind. And yet for artists like Vila Navio, “traditional” is paradoxically both the foundation of their sound and the antithesis of it. Rather than being a barrier to innovation and experimentation, their traditional fado roots give the group the inspiration to craft an original and modern sound that incorporates elements of contemporary jazz and even electronic samples. Vila Navio is the moniker used by the young singer and guitarist André Coelho Rodrigues, but collaboration is key to Rodrigues and this project. In another nod to the national musical tradition that came before, Vila Navio collaborated with Fausto Bordalo Dias, the seminal Portuguese composer and pop musician in the creation of their second album Ancoradouro. It is this combination of tradition and experimentation that make Vila Navio a fitting addition to the Nouveau Jazz weekend, looking simultaneously forward but not forgetting the past musical influences that have informed their sound.

Vila Navio 三重奏 3.3.2018 香港藝術中心壽臣劇院 Shouson Theatre, HK Arts Centre

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音樂

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世界音樂週末營環球音樂之旅

World Music Weekend A sonic journey across the world

安娜 ‧ 瑪麗亞 ‧ 悠珮克及 Kroke 三重奏 Anna Maria Jopek and Kroke © Jacek Dylag

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音樂

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Hong Kong Arts Festival’s established World Music Weekend series is a sonic journey around the globe. In 2018, the programme bridges between people of distinct cultures and backgrounds, featuring Eastern European klezmer music, Korea’s pansori tradition and Buryat-Mongol music across four different concerts. Polish music group Kroke’s innovative approach to klezmer and ethnic Eastern European music has brought them numerous fans, including world famous director Steven Spielberg, and has also seen them make a name for themselves with appearances at WOMAD Festival and in David Lynch’s movie Inland Empire. Together with the equally talented singer Anna Maria Jopek, an award-winning folk-classical artist with over a million record sales to her name, the group will take the HKAF stage by storm with a feast of enchanting, jazzy but traditional music, with a distinctive Polish twist. While much of the world craves K-Pop, Songhee Pansori LAB is sure proof that Korean traditional music, especially pansori, should not be overlooked. Featuring Kwon Songhee herself, together with Kim Si-youl on piri and Choi Hyewon on percussion, their “lab” experiments with different types of sound and will carry their unique approach to this UNESCO-recognised art-form to Hong Kong, with a modern perspective and touch that ranges from ambient sounds to trip-hop.

白雲樂隊 Namgar

Namgar hail from Siberia, where the band’s name literally means “white cloud” in Tibetan. Through their music, they tell the life stories of Mongolian and Buryatian nomads living under the bottomless blue sky, combining old folk tunes with contemporary compositions and arrangements. The ensemble is formed of Namgar Lhasaranova, Evgeny Zolotarev and Timur Zolotarev, a group who will rock the stage with their fusion of Buryat-Mongolian shaman traditions together with a mixture of modern rock, electronic and jazz elements.

松熙韓國清唱實驗室 Songhee Pansori LAB

自 2015 年起，「世界音樂週末營」一直為觀眾帶來一趟又一趟環球音樂旅程。2018 年也不例外，節目將呈獻一共四場音樂會，表演東歐克萊茲默音樂、傳統韓國清唱及布里亞特和蒙古音樂，繼續連繫各種文化背景的藝術家與觀眾。波蘭音樂組合 Kroke 三重奏擅以創新手法演繹克萊茲默音樂及東歐民族音樂，深受觀眾歡迎，當中包括世界知名導演史提芬．史匹堡。他們於 WO M A D 藝術節的演出，以及為大衛．連治的電影《內陸帝國》創作配樂一舉成名。他們將夥同同樣出色、大碟銷量過百萬的得獎古典民謠歌手安娜．瑪麗亞．悠珮克，在香港藝術節的舞台上，獻上一場具爵士樂風格，又帶有獨特波蘭色彩的傳統音樂盛宴。當世界都在追捧韓國流行曲之際，松熙韓國清唱實驗室卻證明了韓國傳統音樂是不容忽視的，特別是韓國清唱。「實驗室」由權松熙、金詩（觱篥）和崔惠媛（擊樂）組成，他們進行各類聲音實驗，以獨特的方式來演繹這種獲聯合國教科文組織認可的藝術形式，結合環境聲效和 trip hop 音樂等現代曲式，並將之帶到香港。來自西伯利亞的白雲樂隊（樂團名稱「Namgar」在藏語中解作「白雲」），結合古老民謠和當代音樂編曲，細說蒙古和布里亞特的遊牧民族，在無邊無際的藍天下的生活日常。樂隊成員包括南迦．拉莎拉諾娃、葉夫根尼．佐洛塔列夫及添姆．佐洛塔列夫，他們融合布里亞特、蒙古及薩滿傳統音樂，並加入現代搖滾、電音及爵士樂元素，為觀眾帶來精采的演出。

安娜．瑪麗亞．悠珮克及 Kroke 三重奏 Anna Maria Jopek and Kroke 17-18.3.2018

松熙韓國清唱實驗室 Songhee Pansori LAB 18.3.2018

白雲樂隊 Namgar 18.3.2018 香港演藝學院香港賽馬會演藝劇院 The Hong Kong Jockey Club Amphitheatre, HKAPA

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「『真實』對我而言是藝術本身、舞台及我自己扮演的角色，我們越是身處一個瘋狂、荒誕及恐怖的世界，我們所創作及所幻想的真實就越顯得重要。」 — 葉夫根尼 ‧ 米羅諾夫 | 俄羅斯國家劇院藝術總監

各式各樣的人生經歷，讓我們找到人生的真善美和各自的「真相」。我們看待周遭世界以及表達各自的真實的方式，造就了每個人的不同個性。第 46 屆香港藝術節的戲劇節目各有特色，觀眾從中得以一窺地球上不同角落的人，怎樣看待並身處於他們所居住的世界。這些作品包括西伯利亞鄉村日常生活（《俄羅斯平民風景》）、與當今世界共鳴的古希臘經典（《祈願女之歌》），以及描寫有學習障礙的少年如何逐步了解身邊人事的離奇故事（《深夜小狗神秘習題》）。

“For me the reality is first and foremost the art itself, and the stage, and my roles. The more insane, absurd and terrifying the world we live in gets – the more significant the reality of creation and fantasy becomes” – Evgeny Mironov | Artistic Director, Theatre of Nations

The beauty of human experience and our personal perception of “what’s real” is to be found in its startling diversity. The way each person perceives the world around them and expresses their own reality is what defines our individuality. The theatre programmes featured at the 46th HKAF all have a distinct character of their own, shining a light on the myriad ways that people around the globe see and interact with the world they live in. These include stories of rural Siberian village life (Shukshin’s Stories), an ancient Greek classic with remarkable resonance for today’s world (The Suppliant Women) and the extraordinary way in which a young boy with learning difficulties reveals new layers in the people and events around him (The Curious Incident of the Dog in the Night-Time).

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《深夜小狗神秘習題》如何跳上舞台？編劇西門．史提芬斯訪談

《深夜小狗神秘習題》是編劇西門．史提芬斯撰寫的舞台劇，改編自馬克．海登的同名暢銷小說，並將於 2018 年香港藝術節上演世界巡演版本。此劇在英國國家劇院首演，及後在倫敦西區及紐約百老匯巡演，並囊括多個獎項。史提芬斯將與我們細說劇作與原著小說之間的關係。馬克．海登的小說最初怎樣吸引你？有甚麼啟發你將故事改編成舞台劇？我是在 2005 年第一次讀到這本小說。那時候，我正在創作另一齣話劇《摩托鎮》。直覺告訴我，《摩托鎮》的核心是一個男孩和他患自閉症的哥哥之間的關係。於是我開始搜集資料，希望了解自閉症的現象，過程中讀了馬克的小說。［雖然小說從未指明基斯杜化有神經系統疾病，但他的腦袋的確與眾不同，日常生活也有困難。］小說最吸引我之處，正是作者用富同情心和清楚易明的手法，寫作主角基斯杜化的心聲。作者能夠寫出故事的真實感和細節，描述主角簡單、直接，又與常人有別的內心。我們透過主角的觀點，真正認識小說裏的各個角色，令我著迷。雖然我覺得他們的形象有點模糊，這卻沒有令我感到氣餒，反而引人入勝。 2006 年，我成為了英國國家劇院的駐院編劇。馬克也參與了劇院的一個計劃，我們認識了對方，很談得來，有很多相同之處。我們成為了好友。大約一年後，他給我發電郵，問我會否考慮把小說改編成舞台劇。雖然當時已有來自數個團體的人聯絡他，但他是我的好友，並對我過去的作品大方地予以肯定，因此他希望在把作品交給其他人之前，讓我試試看。

改編的任務令人望而生畏，同時無比豐富。我要把這本基本上深受英國人喜愛的小說搬上舞台，少不免有點戰兢，尤其是我從未試過把小說改編為舞台劇。你認為舞台劇與小說的最大分別在於哪裏？最大的衝突和最明顯的分別是，小說全然以基斯杜化的角度出發，而馬克沒有描述過基斯杜化。他從沒描述過基斯杜化的外表，在整部小說裏從沒具體描述過基斯杜化外型的任何方面。然而，劇場必然是三維的媒介。最明顯不過是我們會看得到基斯杜化：我們看到有血有肉的他。他有血肉之軀。不僅如此，我認為更深刻的不同，其實是他身邊的人也有血肉之軀。因為舞台劇是以三維空間呈現故事，書頁上的小說則單純以主觀角度出發。我們需要透過客觀表徵來呈現主觀形態。如同小說一樣，舞台劇把敘事的基斯杜化和經歷故事的基斯杜化之間的關係模糊化。是甚麼原因使你保留這個故事結構，並讓兩個角色一直對話？答案是因為這是可行的。如果事情可行的話，你就無需再特別處理。我認為閱讀小說的樂趣之一在於你可以盡情幻想，幻想基斯杜化的現實。因為基斯杜化這個人物並不十分理想。因為他並不擅長勾畫或接受個體性，讀者需要運用想像力來詮釋他。正是這個原因，大家都喜歡幻想的空間。我想，在閱讀這本小說時，大家都會在基斯杜化身上找到自己。馬克將許多關於基斯杜化的資訊留白，讓你切身處地想像和思考，認出自我。每個人都總有時候希望自己像基斯杜化般：尤其當應付個人經歷變得混亂和複雜時，令人無所適從，我們總希望不用面對和處理，純粹地活在當下。

節錄自湯姆．約依與西門．史提芬斯的訪談內容。

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Adapting The Curious Incident of the Dog in the Night-Time An interview with playwright Simon Stephens Based on the acclaimed novel by Mark Haddon, The Curious Incident of the Dog in the Night-Time was adapted for the stage by Simon Stephens and comes to the 2018 HKAF with a special touring version.

What, in your view, distinctly separates the play from the novel?

The most clashing and obvious thing is that the novel is told entirely through Christopher’s perspective and Mark never describes Christopher. He never says how Christopher looks, never gives any physical description whatsoever of Christopher in the whole novel. And theatre is necessarily a medium in three dimensions. So the most obvious thing is that we see Christopher: we see his corporality. He has a physical form. Not only does he have a physical form, but I think an even more profound difference is actually the people he is surrounded with have physical forms. The theatre is in three dimensions and the novel is in pages entirely subjective. We need to filter the subjective through the objective form.

Originally premiered at the National Theatre in London and with multi-award winning runs in the West End and on Broadway, Stephens discusses the relationship between the play and the novel it is based on. What attracted you initially to Mark Haddon’s novel and what inspired you to adapt it?

Well, I read the novel for the first time in 2005 when I was writing a play called Motortown and I had an instinctive sense that at the heart of Motortown there would be a relationship between a boy and his autistic brother. So as a general research process to investigate the phenomena of autism, I read Mark’s novel. [Although the novel never specifies that Christopher has a neurological condition, he does have an extraordinary brain and struggles with aspects of everyday life.] What really arrested me were the extraordinary compassion and clarity with which he had written Christopher’s voice. This was a character with a palpable and extraordinary heart, written with a real sense of truthfulness and detail. I was fascinated by how we really experience the people in the novel through Christopher’s perspective. I found them in some way elusive but was fascinated by that elision rather than frustrated by it. Then, in 2006, I had a residency at the National Theatre and Mark had an attachment there: we met one another and got on. We’ve got a huge amount in common. We’re mates. About a year or so after that, he emailed me to ask me if I would consider adapting it for the stage. He had been approached by several groups of people but, because he was a friend and he had been very generous about my work in the past, he said he wanted me to have a try at it before he turned to anybody else. It was something that was extraordinarily daunting and generous. Clearly, you approach that novel with a sense that it is effectively the nation’s favourite novel and that was slightly frightening – I had never adapted a novel for the stage before.

Like the novel, the play makes porous the relationship between the narrating and the experiencing Christophers. What led you to retain this structure and to place the two characters continuously and consistently in dialogue?

The answer to that is because it works and, if something works, there’s no reason to fix it. I think one of the joys of reading the novel is you are put in the rather beautiful position of imagination, of imagining the reality of Christopher. Because Christopher is not very good as a character. Because he is not very good at delineating or accepting individuality, one is put into a position where one has to interpret and that’s what we love about it. I think what you do when you read the novel is you recognise yourself within Christopher. Mark withholds so much information about Christopher that you are put into a position where you find yourself recognising yourself. All of us have moments when we wish we could behave like Christopher: the complicated mess of negotiating between individual experience becomes overwhelming and we wish we didn’t have to, and that we can just be in the moment. © Brinkhoff/Moegenburg 2017/18 International Touring Company

This is an excerpt from an interview with Simon Stephens, by Tom Ue.

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《深夜小狗》科技舞台解密舞台設計師賓尼．基斯蒂訪談 Designer Bunny Christie on Curious Incident's distinctive set

談設計靈感

On her inspiration for the set:

我去買了一大堆考試卷，因為主角基斯杜化將要考高考數學科，於是（舞台設計的）靈感是從這些等式和圖表而來的。我們決定置身科技世界之後，一下子就聯想到運用錄像投影。我已經在劇本上寫下筆記，數字從一個人影身上滾下並圍繞他旋轉，但我們的錄像設計師芬．羅斯將這個意念發揮得更淋漓盡致，讓觀眾真正體驗基斯杜化的感受。

I went out and bought a whole load of exam papers because the main character, Christopher, is about to do his Maths A level, and so the idea came from looking at all these equations and graphs. And once we knew we wanted to be in the world of technology, it was a quick jump to using the video projections. I'd already made notes in the script of a figure with numbers pouring out of him and swirling around – but Finn Ross, our video designer, developed the idea beautifully to give the audience that real sense of what Christopher is feeling.

談建構佈景的嚴謹創作過程我們像電影導演般處理故事，將舞台佈景縮成模型，逐個時刻拍下來。這些開頭的功夫全無白費，因為這樣做讓我們在繼續創作時具有了統一性，這也可說是一種預設了的品質控制。這代表我們走進排練室時，已經做好功課，對故事情節發展和鋪墊有一套看法。待團隊的其餘成員─負責燈光、投影、音響、音樂的工作人員加入時，我們可以交給他們一個已建構的世界。

談《深》劇大受歡迎故事很有趣，但我認為亦有某些方面能打動所有人。它的主題是關係、家庭和家庭的破碎，令我們可以產生共鳴。舞台劇跟原著有頗大分別，小說由基斯杜化的觀點敘述，顯得有點冷漠和冷淡，但舞台劇的版本則感情豐富。我每一次看也會哭起來，雖然我已經看過許多遍了！節錄自拜夫．希斯祿訪問賓尼．基斯蒂

英國國家劇院 National Theatre of Great Britain 《深夜小狗神秘習題》 The Curious Incident of the Dog in the Night-Time 8-11, 13-18.3.2018 香港演藝學院歌劇院 Lyric Theatre, HKAPA

On the rigorous creative process of putting the set together:

We treated the story as a filmmaker would – using a model of the set and photographing it moment by moment. All that work in the beginning pays off because it helps to keep a consistency moving forward – it's an in-built quality control. It means that when you go into the rehearsal room you've done your homework and have a view of the trajectory of the story and how it's worked through. And when the rest of the team come on board – lighting, projection, sound, music – we have a world to hand over to them. On the show’s huge success:

It's a sweet story, but I think there are aspects that touch everybody – it's about relationships and family and the breakup of family, so we can all empathise. The show is quite different from the book – the novel is in Christopher's voice, which is quite cool and unemotional, whereas the play is very emotional. I cry every single time I see it and I've seen it a lot! Excerpted from an interview with Bunny Christie by Bev Hislop © Delfont Mackintosh Theatres/Dewynters

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Dream and Derangement An interview with director Claude Régy

The violence in Trakl’s life came in crossing all the forbidden lines. What interested me in particular was the crossing of the line of clear comprehension, this very French divide that puts reason to one side, “whatever is well conceived is clearly said”, and dismisses the rest as madness and nonsense. For me, following this line is not about crafting darkness or adding to it, but revealing what is expressed beyond the intelligible. Trakl went beyond the limits of what a human being can bear. It’s a territory that always attracted me and that I’ve tried getting as close to as I could through the writers I’ve brought to the stage. In the case of Trakl, work and life cannot be separated. What works of his are you going to use to tackle these two inextricable dimensions?

I think Trakl’s life can be found entirely in his texts, particularly Rêve et folie (Dream and Derangement) which he described as a prose poem. One of the aspects in his writing that fascinates me is its violence. Extremely tricky areas are tackled and these words take us there. In German, the word that he uses and which is translated as “derangement” contains something very dark in it that the French word “folie” doesn’t convey.

《夢與狂妄》 © Pascal Victor

法國傳奇導演克勞德．雷吉，以其創新的戲劇意念，在他的每部戲劇作品裏挑戰觀眾對文本現實的感知。在以下的訪問中，雷吉詳述他改編奧地利詩人特拉克爾的黑暗詩歌的戲劇作品《夢與狂妄》。問：你這套劇作的重心在於特拉克爾，在於其詩作，但同時也在詩人本身。他與阿瑟．蘭波（法國天才詩人）有點相像，作品簡潔而糾結。你也曾引用德語詩人萊納．瑪利亞．里爾克的提問：「他其實可以是誰？」答：要回答這個問題不容易，因為特拉克爾很大程度受放縱影響，但這正是他吸引我的地方：放縱。他確實打破了所有規條和禁忌。他染上毒癮、酗酒、亂倫、受精神失常之苦、沉淪自毀，但同時深受基督教影響；因為他母親是天主教徒，而父親是新教徒，實為雙軌的基督宗教。從他的文本中，我們能感受到變態和扭曲的主題，但同時卻是非常基督教式的。特拉克爾生命中的暴力越過了一切禁忌的界線。讓我特別感興趣的，是他越過了那條清晰的理性的界線。這種典型的法國思維方式把理性置於一端，認為「構想到的都能表達清楚」，其餘的都被拒絕為瘋狂或非理性。對我來說，跟隨這條思路，並非為了製造或是加添人性的黑暗，而是為了揭露那些在我們理解之外的東西。特拉克爾的經歷，超越了人類所能承受的痛苦。那境界總是吸引着我，我透過把那些作家帶到舞台上，盡可能接近那種境界。問：以特拉克爾為例，他的作品和人生是不能分割的。你會選用他哪部作品，來處理這兩個密不可分的層面？答：我認為特拉克爾的人生，可以完整的在他的文本裏找到，特別是他形容為散文詩的《夢與狂妄》。他作品最讓我著迷的，就是它的暴力。這些文字試圖處理非常艱深的領域，並把我們帶到那裏。英語把德語的 u m n a c h t u ng 譯為 derangement（精神錯亂），原文包含「非常黑暗」的意思，這也是法語的「瘋狂」（folie）無法表達的。

導演克勞德．雷吉訪談問：對，作品的德文題目是《Traum und Umnachtung》，當中包含了 nacht（夜晚）這個詞。直覺告訴我，德語形容的像是蒙上陰影，被黑夜入侵的這件事實。

Yes, the German title is Traum und Umnachtung. You can hear the word Nacht in it, for night. Intuitively I’d say that the German word describes like the casting of a shadow, the fact of being “invaded by night”.

答：精神錯亂當中必然有什麼東西把我們拉進黑暗和夜晚，因此才跟夢的國度如此接近。法語的「瘋狂」（folie）自然也不是令人愉悅的事，卻沒有黑暗和恐懼的含意。問：「看我們孤獨的小船，被星空／沉默的黑夜淹沒。」特拉克爾的詩句融合了不同主題，當中包括船的意象。答：對，沉默、黑夜、恐懼：這些都是他作品的永恆主題…… 另一方面，特拉克爾的小船象徵亂倫。戀人經常在黑船上，航行於黑暗之中。亂倫這種揮之不去的存在，在他其餘作品中亦有跡可尋，還有他妹妹的形象─他偶爾會把她形容為少女。特拉克爾對他妹妹的影響肯定很深。是他帶她接觸毒品。在特拉克爾死後三年，她就在一個奇怪的情況下自殺。這對兄妹之間的關係是絕對的暴力，是一段極為親密且具毀滅性的關係。從兩人的童年照片能看出他們的相似之處─他們的臉上也表露出一種暴力…… 問：你會選用獨白的方式，讓人聽到聲音，去呈現文字嗎？答：會，我只跟一位演員―恩．布度―合作。閱讀特拉克爾時，有一種難以言喻的東西在裏面，它向我們傳達一些東西，與我們溝通，穿透我們。其實我們並非不能接近無法理解的東西。如果你依附它、面對它，你就像是被那條界線的意識侵襲，那是個開端，而下一秒就是那跨越界線的慾望。文：吉勒斯．阿瑪菲

克勞德．雷吉 Claude Régy 《夢與狂妄》Dream and Derangement 9-11.3.2018 香港文化中心劇場 Studio Theatre, HK Cultural Centre

There’s definitely something in this derangement that draws us towards darkness and night – hence this closeness with the realm of dreams. Certainly, the word “folie” in French is not cheerful, but it doesn’t have the same nuance of darkness and fear. “See our lonely skiff sunk down by starry skies / the silent face of night”. These lines by Trakl combine these different themes and you also find the image of a boat in it.

The legendary French director Claude Régy is famed for his innovative approach to stagecraft, challenging how audiences perceive the reality of the text in each of his plays. In this interview excerpt Régy discusses Dream and Derangement, his play based on the dark poetry of Austrian poet Georg Trakl. In this work, you’ve focused on Georg Trakl: on his poetry, but also on the figure of the poet, the man who, a little like Arthur Rimbaud, wrote a body of work that was as brief as it was tortured. You also quoted Rainer Maria Rilke who asked: “Who might he have been?”

It’s hard to answer this question because Trakl’s life was shaped by excess to such a great extent. That’s what drew me to him: excess. He really broke every rule and taboo. He was a drug addict and alcoholic, he committed incest, suffered bouts of insanity, was obsessed with self-destruction, and yet was imbued with Christianity; a double-track Christianity since his mother was Catholic and his father Protestant. We sense perverted and twisted themes in his texts, but very present Christian ones.

Yes, silence, night, fear: all these themes are very present in his work… In other respects, with Trakl the boat is an image that conveys incest. The lovers are often in a black boat, making a dark crossing. This obsessive presence of incest returns in all his work, and with it the image of the sister – whom he sometimes describes as an adolescent. He definitely had a huge influence on her. He introduced her to drugs, and three years after his death she committed suicide in strange circumstances. The relationship between this brother and sister is one of absolute violence; it is an intensely close and destructive relationship. In their childhood photos you can see a resemblance between them – in the violence expressed in their faces… Are you going to pursue a monologue form – where a voice can be heard, revealing the text?

Yes, I’m working with just one actor, Yann Boudaud. Reading Trakl, something is conveyed, something reaches us, something penetrates us from the unspeakable. It’s not true that you can’t approach the incomprehensible. If you’re attached to it, if you’re confronted by it, you can be invaded by an awareness of this line - this threshold, and just as soon by the desire to cross it. By Gilles Amalvi

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甚麼是青春？－從《論語》到《大學》與《中庸》 2016 年，我們委約製作了一齣講述中學生學習中國語文的年青人戲劇《論語》，圍繞青少年面對社會矛盾，面對人生、學業，面對未知的將來大造文章，當年取名《論語》，並非只是宣傳上的考慮。事實上，看青少年如何面對中國文化，如何想像中國幾千年的文化傳統，是《論語》背後的動機。這齣由幾個年青演員挑大樑的戲，被英文《南華早報》挑選為 2016 年最佳戲劇之一，因為它以真誠的態度，寫出青少年的所思所想、所作所為。在 2018 年一口氣推出可說是《論語》續篇的《大學之烈火青春》與《中庸之幸福學堂》，繼續與導演兼編劇的鄧智堅合作，延續《論語》中各位主角的青春求學歲月，以至踏入社會生兒育女為未來下一代打拚的故事，是一種新的戲劇嘗試。以戲劇來想像香港這一代年青人的成長經歷，剖視他們面對未來時表現出的忐忑不安，是戲如人生，還是人生如戲？文：蘇國雲

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A Decade of Shattered Ideals: The path from Chinese Lesson to The Great Learning and Doctrine of Happiness

《中庸之幸福學堂》演員（左起）：歐芷菲、黎樂恆、張惠雅、溫子樑、王靜文 The cast of Doctrine of Happiness (l-r) Au Tsz-fei, Lai Lok-hang, Regen Cheung, Wan Tsz-leung, Wong Ching-man

宋代著名理學家朱熹將《論語》、《大學》、《中庸》，加上《孟子》合編注釋成《四書》，作為儒學的基本思想體系，也代表現今儒家的經典著述。那麼，是次帶來的兩部劇作，是直接繼承儒家的傳統思想嗎？在筆者看來，是別有用意的。下文將闡述本屆兩部新作，如何從首部的香港社會脈絡下發展，由第一部時間設定在大約 2 0 1 4 年至第三部的 2 0 2 2 年，三部作品既有所連接亦獨立成章，探索劇中各個人物隨着社會、時代、人生歷程的轉變所作的不同抉擇，從而探討生而為人的種種問題與可能。

視的個人修養，但更重要的是，大學此一場景─《大學之烈火青春》描繪的主要是同學們進入大專院校後所發生的事。在大學裏面孕育理想主義的種子和浪漫的氛圍，以及外面社會亂世的情境下，劇中對世界和社會滿腔熱誠，想要構建美好將來的同學一賢，他的所追所尋為他帶來怎樣的回報？他如何面對長輩形象的崩散，權威於他的陷落？《大學之烈火青春》所要探問的，或許是世代之間視域的分野，現實與理想之間存在的一道深深鴻溝，為年輕一代帶來怎樣的衝擊與轉變，以及他們該如何自處。

看過《論語》這部劇作的觀眾，或許對劇中老師與學生之間非單向、開放的溝通與互動留有印象。學生在求學時期探尋自我，初生之犢如何面對與社會的關係，老師透過語文及歷史課導引學子們做人處事等等，乃是三部曲的肇始。教育、社會以及人生的命題由此展開，貫徹至本屆的《大學之烈火青春》和《中庸之幸福學堂》。

第三部《中庸之幸福學堂》，若果要以《中庸》一書的意思來解讀，可能會捉錯用神。劇作《中庸之幸福學堂》所談的，比較接近現代價值的「中庸」，即中庸之道和處世之道。各個劇中人物，經過兩部作品的時間深度，社會變遷的厚度，現實上步入所謂「適婚年齡」及誕下新生，如何面對並反思現實處境為他們帶來的新變化？在昔日的理想破滅，以及由新生帶來的希望復燃之間，讓逐漸步入中年的他們開始反思，在高度競爭的環境下該如何教育未來一代，以及教育制度的種種問題。劇中亦加插追溯與回顧過去的情節，在過去現在未來各個時空來回穿梭，除了為這座城市的觀者帶來另一番體會，和引發觀眾的情感共振，這裏更重要的是要追問，對世界抱持信念的初心與面對現實之間，會否存有灰色的中間地帶？中庸會否是立身處世之道？

三部劇作的主要場景轉換─由中學課室，到大學，及至後來步入社會，是三種空間或曰場域的轉移，也象徵着時間，它正指向人生循序漸進的過程，反映不同的人生階段。敘事方式是經典的直線走向，有過去、現在、將來。這樣的時間模式暗示着冀望未來的特性，以時間的深度脈絡化劇中幾個主要人物的不同選擇與轉變，當中充滿對生命的熱情、激情、懷疑、衝突、失望、怨懟、愉悅、愛慾等人皆有之的情感。問題是，如何直面各個人生階段，命運予你的處境。《大學》開篇便是「大學之道，在明明德，在親民，在止於至善……先致其知，致知在格物。」，不必把三綱八目全背誦下來，大概也記得《大學》所言及的個人修養，所謂「齊家」要先「修身」矣。是次劇作借用此名，似乎繼承了當中所重

In 2016, HKAF commissioned the production of Chinese Lesson, a play about a group of secondary school students studying the Chinese language. The drama revolved around how these youths dealt with social conflicts, their lives and studies, and the unknown future. While the Chinese title of the play was borrowed from The Analects, the name was far more than a marketing gimmick. The creative impetus behind Chinese Lesson was an inquiry into how young Hong Kong people relate to Chinese culture, and how they relate to the many thousand year old cultural traditions of China. Featuring a young cast in the lead roles, the play was selected by the South China Morning Post as one of 2016’s best productions for its authentic portrayal of the thoughts and actions of young people. In 2018, the Festival once again teams up with director and playwright Tang Chi-kin to present The Great Learning and Doctrine of Happiness, which can be regarded as sequels to Chinese Lesson. The two plays expand on the stories of the Chinese Lesson protagonists, tracing their lives through college, early careers, parenthood and their striving for the future of the next generation. These new works represent a new theatrical experiment, envisaging a coming of age for this generation of Hong Kong youths and illustrating their anxiety in the face of an uncertain future. Is life like theatre, or theatre like life? By So Kwok-wan

本屆的兩部新劇作《大學之烈火青春》和《中庸之幸福學堂》，承接首部對現實社會問題的反思，延伸對教育等領域之討論，也因為三部劇作呈現了人生的不同歷程，所以更深化了思考的維度，也許能在當今社會的紛呈狀態下，帶來一點啟發，一點共鳴。文：林凱敏

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The famous Song dynasty neo-Confucianist scholar Zhu Xi annotated and codified The Analects, The Great Learning, The Doctrine of the Mean and The Mencius as the Four Books, which laid out the fundamental ideology of Confucianism. Today, the works are still upheld as the canonical Confucian texts.

NEW ROUTE TO HAVANA

Beyond this reference to Confucian thought, these two new plays can be seen as pointers towards other directorial intentions, and also provoke discussion as to how the two new works have developed from the Hong Kong social context featured in Chinese Lesson. With a time span from 2014 in the first instalment to 2022 by the third, the trilogy unfolds as a series of connected yet standalone works. They examine the choices the characters make in reaction to changes in society, the times and the different phases of their lives, and explore the many questions and possibilities of personhood.

T H E N O R D I C WAY

For audiences who saw Chinese Lesson in 2016, the mutual, open communication and interaction between the teacher and students in the play may still resonate. This first part of the trilogy begins with student self-exploration during their school years, reviewing their relationships with wider society, and their teacher offering guidance on how to relate to oneself and the world through language and history lessons. These themes of education, society and life are unveiled in this first play, and they run through The Great Learning and Doctrine of Happiness at the 2018 Festival.

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The changes of setting – from high school classroom, university to society at large – represent the shifts in space or sphere in the trilogy. They also symbolise time – the process of life progressing through its different phases. The plays are structured as linear narratives that move from the past to the present, and on to the future. The linearity of time hints at anticipation for the future, while the depth of time contextualises the different choices and changes among the protagonists. These choices and changes are essential human emotions, including enthusiasm, passion, doubt, conflict, disappointment, resentment, pleasure and lust. The question comes down to how one faces the circumstances one is dealt with in different phases of life. The opening of The Great Learning reads: “What the Great Learning teaches is: to illustrate illustrious virtue; to renovate the people; and to rest in the highest excellence. The point where to rest being known, the object of pursuit is then determined; and, that being determined, a calm unperturbedness may be attained to.” The formula for self-cultivation in The Great Learning is familiar to many: those who wish to “regulate their families” must first “cultivate their persons.” In borrowing its title from the Confucian text, the play seems to embody this emphasis on self-cultivation. Yet what’s more important here is the setting of university – The Great Learning mainly depicts what happens to the characters after they start tertiary education. Between the seeds of idealism sprouting in the romantic atmosphere on the university campus and the upheavals taking place in Hong Kong society, central character Yat Yin is filled with enthusiasm for social change and dreams of building a better future. What kind of reward awaits him at the end of his quest? How does he deal

with the crumbling of his mentor’s image and the disintegration of authority? Perhaps what The Great Learning investigates is the divergent visions of different generations, the impact and changes the younger generation experiences because of the gulf between reality and ideal, and how they should conduct themselves. In The Doctrine of the Mean, the aim of the “mean” is to maintain balance and harmony, derived from directing the mind to a state of constant equilibrium – the person who follows the mean is on a path of duty and must remain steadfast to it. The values explored in Doctrine of Happiness are more in line with the modern value of “moderation”, or more specifically how to act with moderation in relation to the world. Following the passage of time and the social changes depicted in the first two plays, the characters enter the so-called “prime marriageable age” and become parents in the third play. How do they deal with and reflect on the changes brought into their lives by reality? Between the shattering of past ideals, and a re-ignition of hope through the birth of their children, these characters approach middle age and start to reflect on the future from a different point of view – the question of how to educate the future generation in a highly competitive environment, and the many systemic education issues that underline this question. The past re-emerges in flashbacks and reflection, as the drama shuffles between what went before, to the present and the future. Beyond inspiring a different kind of understanding in the observers of this city and emotional resonance in the audience, the play poses some important questions: Is there a grey area between keeping one’s faith in the world and facing reality? Is treading a path of moderation the best way to relate to the world? These two new plays presented at the 2018 Festival, The Great Learning and Doctrine of Happiness, expand on the social reflection and education debates of Chinese Lesson. In depicting different stages of the protagonists’ lives, the three plays mark a deeper contemplation of the subject matter. Perhaps the trilogy will inspire and create a certain resonance amidst the maelstrom of today’s society. By Evangeline Lam

《大學之烈火青春》The Great Learning 24-25, 28.2.2018 1-4.3.2018 香港大會堂劇院 Theatre, HK City Hall

《中庸之幸福學堂》Doctrine of Happiness 16-18, 22-25.3.2018 香港文化中心劇場 Studio Theatre, HK Cultural Centre

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難民與公投《祈願女之歌》導演談希臘悲劇的當代意義

是次巡演版本的《祈願女之歌》是特別的劇場盛事，招募了香港本地社區成員與演員同台演出。倫敦巡迴劇團藝術總監拉文．格雷在下文反思有二千五百年歷史的古希臘戲劇的當代意義。我坐在曼徹斯特的一個排練室，正為倫敦巡迴劇團的演出─ 埃斯庫羅斯的《祈願女之歌》的全新版本作準備，聽着一群女士高聲唱頌「難以馴服的阿耳忒彌斯」。她是象徵貞潔的女神。在劇中她與代表婚姻、愛情和性慾的女神阿芙羅黛蒂對立。這場鬥爭的意義複雜：保留貞操意味着選擇權、控制權、自主權。然而，在莎士比亞的《無事生非》中，當培尼狄克提到「人類是不能讓它絕種的」，又當你知道這些女性跨越地中海，逃離埃及的逼婚，到希臘尋求庇護，那麼阿芙羅黛蒂提出的主張相當貼切：到底這些新移民會融入、參與並組成新的聯盟？還是會堅持獨立、堅守她們的貞操？我從未處理過古典希臘戲劇，這部被公認為現存第二古老的戲劇，可追溯至公元前 4 6 3 年。這代表我不但需要進行大量研究工作，更需要下定決心，才足以刮去過百年的文化表層，找到埃斯庫羅斯的基石。叫人著迷的是，我們可以了解到希臘人從前建立的種種，是如何建構成我們今天的政治、文化及戲劇。例如，在阿耳忒彌斯與阿芙羅黛蒂的辯證之中，我們可以看到反映當代性別政治及圍繞能動性、充權及選擇權的辯論。原著三部曲記錄着激進的童貞女變成謀殺犯，最終成為新娘的追求自主權的過程。女性自主這個主題，在任何時候都能引起共鳴，而難民（祈援者、尋求庇護者）這第二重主題，卻每天都引來更多迴響。大衛．葛利格竭盡全力寫出一個接近埃斯庫羅斯原著的文本，然而這齣戲劇像海綿一樣，吸收現今時事。在這個已有二千五百年歷史的文本的第四行，提到敘利亞這個名字：當人們祈求神佑，呼喚能穿越邊界的赫耳墨斯或讓人安全通過地中海的海神普塞頓之名，你會感覺這本來就是個現代作品。國界。文化。庇護。移民。神祇。男人。女人。禱告。游說。暴力。然後：民主。因為這個詞語，或者這個詞語的引用，最初就是出現在《祈願女之歌》中的世界舞台上。面對着在他的神殿裏暫住的五十名女難民，國王珀拉斯戈斯需要作出一個艱難的決定。要是他唾棄這群女子，必會招致祈援之神宙斯的憤怒。但要是他容許她們進城，之後或會兵臨城下，因為她們在埃及的未婚夫將前來要求交還這群屬於他們的女人。

相比德國總理默克爾單方面容許一百五十萬名難民進入德國的決定，珀拉斯戈斯的決定較為恰當，他採用當時新發明、如今卻聲名狼藉的一種政治工具─公民投票，跟市民一起磋商決定。這一場精心策劃的政治運動，結果一致通過讓這些女人進城。即使是這群祈願女，都對結果及整個投票機制感到驚訝。這個結局讓人對現今真實的過程重拾信心，整套戲劇充滿着希望和可能性。一如我們要求大衛．葛利格要盡量忠於原文，作曲約翰．布朗、編舞莎莎．米拉域．戴維斯和我本人都試圖重現埃斯庫羅斯創作此劇作時的環境。我們請來了兩位專業演員，其中一人更短暫飾演第二個角色。第三位表演者擔當合唱團領唱的角色，負責指導、啟發及提示我們從巡演城市招募的年輕女子所組成的合唱團。當然，在埃斯庫羅斯的時代，合唱團成員都是年輕男子，但我認為關鍵的是展現出社區合唱團和專業演員的交織合作。我要求約翰和莎莎讓歌曲及舞蹈同步演出。然後約翰為奧羅斯直笛譜曲，這種雙簧管樂器常見於古代所有重要場合，像戲劇、獨奏會、儀式、聚會、比賽等。我們相信這次製作是現代首次以奧羅斯直笛伴奏的古典戲劇。隨着我們進一步深入此製作，我們也越來越沉迷於歷史，把我們的深入研究加諸排練所做的東西上。我們對過去的了解越深，當下的感覺便越變得強烈。我們見證了古代世界在現今劇場創造的可能性和迴響，在這個過程裏獲益匪淺。本文原載於 2017 年 3 月 theartsdesk.com

倫敦巡迴劇團及愛丁堡皇家蘭心劇院 Actors Touring Company and Royal Lyceum Theatre Edinburgh 《祈願女之歌》The Suppliant Women 22-25.3.2018 香港大會堂劇院 Theatre, HK City Hall

Refugees and referendums Ramin Gray on staging Aeschylus’s The Suppliant Women This touring production of The Suppliant Women is an extraordinary theatrical event, recruiting members of the local HK community to perform alongside the cast. Here, Ramin Gray, Artistic Director of Actors Touring Company, reflects on the contemporary resonance of this 2,500 year old play.

I’m sitting in a rehearsal room in Manchester preparing Actors Touring Company’s new version of Aeschylus’ The Suppliant Women, listening to a group of young women raise their voices in praise of “untameable Artemis”. She’s the goddess of virginity among many other things. In this play she’s pitted against Aphrodite, the goddess of union, love and sex. The competing claims are complex: retaining one’s virginity implies choice, control, autonomy. But, as Benedick notes in Much Ado About Nothing, “the world must be peopled”, and when we understand that these women have travelled across the Mediterranean, fleeing forced marriage in Egypt and now seek asylum in Greece, then the claims of Aphrodite become pertinent: are these new arrivals to our city going to join in, participate and forge new unions? Or will they hold to their stark, separatist commitment to virginity? I’ve never tackled a classical Greek play and this is thought to be the second oldest extant play, dating from 463 BC. It has meant a great deal of research plus a determined effort to scrape away centuries of cultural overlay in order to uncover the Aeschylean bedrock. The fascination has then been to discover how much of what the Greeks laid down informs our culture today – political, cultural and theatrical. For example, in the dialectic between Artemis and Aphrodite we see reflected contemporary sexual politics, debates around agency, empowerment and choice. The trilogy charts the movement of our radical virgins to murderesses and ultimately brides in their quest for autonomy. The theme of female autonomy is always resonant but the twin theme of the refugee – the suppliant, the asylum seeker – is acquiring even more resonance with each passing day. David Greig worked diligently from the literal to provide a version that is as close to Aeschylus as he could make it and yet the play seems to soak up current affairs like a sponge. In the fourth line of the 2,500 year old text, Syria is namechecked; when gods like Hermes who crosses borders or Poseidon who provides safe passage across the Mediterranean are invoked, then you feel this play was written today.

Because this word, or rather a reference to this word makes its first appearance on the world stage in The Suppliant Women. Faced with 50 female refugees camped out in his temple, the local king Pelasgus has a tough choice. If he spurns the women he will bring down the wrath of Zeus, god of the suppliant. But if he lets them in he may bring war to his city as the Egyptian men they were betrothed to stake their claim. Besting Angela Merkel’s unilateral decision to let 1.5 million refugees into Germany, Pelasgus wields a newfangled political instrument currently held in some disrepute, the referendum, to consult and implicate his citizens in the decision. A careful political campaign leads to a unanimous vote to allow the women in. Even the suppliants themselves are amazed at the result and the whole mechanism of voting itself. This theatrical sequence restores one’s faith in a real, current process and the play vibrates with hope and possibility. In the same way that we challenged David Greig to remain as faithful to the literal as possible, so John Browne the composer, Sasha Milavic Davies the choreographer and myself have attempted to recreate the conditions in which Aeschylus might have created the play. We have given ourselves two professional actors, one of whom has a swift doubling. A third performer has been employed as chorus leader or choryphaeus, an absolute necessity to guide, inspire and cue the amateur chorus of young women we recruit in every town we tour to. Of course in Aeschylus’ time they would have been young men but I think the key thing is seeing the knitting together of the community chorus and professionals. I asked John and Sasha to make everything as simultaneously sung and danced as legibility will allow. Oh, and John has composed music for the aulos, the twin reed pipes that would have accompanied every important occasion in the ancient world – plays, recitals, ceremonies, parties, games. We think this production marks the first time a classical play will have been heard accompanied on the aulos in the modern era. As we have gone further into the process of making this play, so have we become more obsessed with the history, with bringing detailed research to bear on what we make in rehearsal. And the more we go back to the past, the more powerful the present moment seems to become. It’s a rich process, seeing the ancient world creating a resonant range of possible futures in the theatre today. This piece originally appeared on theartsdesk.com in March 2017.

Borders. Cultures. Asylum. Migration. Gods. Men. Women. Prayer. Persuasion. Violence. And then: Democracy.

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生命禮讚《非洲少年流浪記》

《非洲少年流浪記》改編自莊尼．斯坦貝格的一部紀實文學作品，敘述圍繞阿薩．阿卜杜拉希的生命故事。這位索馬里難民自小流離失所，他的遷徙之旅，帶他橫跨非洲，最後抵達南非開普敦的貧民區。阿薩的冒險故事始於他八歲時目擊母親被民兵殺害，逼不得已離開家鄉索馬里的首都摩加迪沙。然而，這一切都只是命途多舛的開端。他後來在非洲之角尋找尚在人間的親人及謀生過活，遭到更殘酷醜陋的現實磨難。他在路途中所依靠的，往往僅是道聽途說及他所抱持的希望。南非開普敦港口劇團的藝術總監馬克．登福 - 梅深受這本小說啟發，並決定將之搬上舞台。他所帶領的這個南非劇團擅於將文藝作品改編成音樂劇場，過往便曾把西方歌劇經典《波希米亞生涯》及《魔笛》代入當地背景。劇團成員均來自好望角鎮的鄰近貧民區，他們以歌曲和身體敲擊，表現傳統音樂風格，簡約的舞台設計放置了馬林巴琴和非洲鼓。正如樂團的聯合創辦人寶蓮．瑪尼凡所見他們另一部製作，劇團成員在全劇中都沒有退場，一直都在台上奏樂唱歌或旁觀劇情，一起營造出一種「在演出中源源不絕的能量」。在《非洲少年流浪記》中，這種能量把木製舞台轉化成阿薩的多個臨時目的地：索馬里、肯亞、埃塞俄比亞及南非。阿薩在旅途上遇上陌生人的時候，除了介紹自己的名字，更會以簡單的民族歌曲，背誦出跨越 35 代人的姓氏。這個錯綜複雜的索馬里氏族系統，決定了他晚上會否有落腳的地方，甚至是其他難民同伴會否向他伸出援手。這個片段不斷重複，營造阿薩一生遭遇的強烈宿命感。正如阿薩沒有權利選擇自己的姓氏一樣，他亦無法控制他所遭到的一連串不幸事件。阿薩在充斥着貧窮、罪案和仇外情緒的地方流浪，默默地捱過一次又一次阻撓他求生的危機。儘管如此，每次經歷都讓他變得聰慧、學懂堅持，並永遠心存希望。

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A Song of Survival in A Man of Good Hope A Man of Good Hope is adapted from Jonny Steinberg’s real-life account of Asad Abdullahi’s life, a Somali refugee whose journey of displacement across Africa eventually leads him to South Africa and a Cape Town township. Asad’s saga begins with his forced flight from home in Somalia’s capital Mogadishu, where he, then only eight years old, witnesses his mother’s murder at the hands of a militia. However, this only prefaces many more nasty and brutal encounters as his search for surviving relatives and a livelihood lead him around the Horn of Africa, often guided only by word of mouth and his good hope. Mark Dornford-May, Artistic Director of Isango Ensemble, read Steinberg’s book and was inspired to adapt it for the stage. The South African group he leads is well-versed in adapting and staging musical theatre; their previous productions include pieces from the western opera canon transposed to a local setting, for example La Bohème and The Magic Flute. The ensemble members, themselves from townships near Cape Town, recreate traditional musical styles with song and body percussion as marimbas and drums surround an almost-bare stage. As co-founder Pauline Malefane has observed in another of Isango's productions, the ensemble is on stage at all times, making music or observing from the sidelines, collectively resonating with an “energy that is pumped throughout the performance”. In A Man of Good Hope, a wooden platform is transformed into Asad’s numerous but temporary destinations, such as Somalia (his starting point), Kenya, Ethiopia and South Africa. Upon greeting strangers throughout his journey, Asad identifies himself not only by declaring his name, but also by reciting names spanning the past 35 generations of his family, singing a clan song with a simple tune. The intricate web of the Somali clan system in turn then determines whether Asad will receive shelter for the night, and whether or not his fellow refugees extend a kind hand of friendship. This recurring fragment injects a strong sense of destiny into Isango Ensemble’s portrayal of Asad: just as he had no say in choosing his family name, Asad subsequently has no control over the series of unfortunate events he finds himself in. In the poverty-stricken, crime-ridden and xenophobic land he roams, Asad quietly survives assault after assault on his quest for survival, but nevertheless picks up wisdom and resilience each time, never losing hope.

南非開普敦港口劇團 Isango Ensemble 《非洲少年流浪記》A Man of Good Hope 23-25.2.2018 香港演藝學院歌劇院 Lyric Theatre, HKAPA

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與舒克辛同看《俄羅斯平民風景》著名的莫斯科俄羅斯國家劇院，以一齣《俄羅斯平民風景》，將俄國不同時代的兩位藝術家─瓦西里．舒克辛和葉夫根尼．米羅諾夫─串連一起；他們各自的故事，反映出俄國動蕩不安的近代史。瓦西里．舒克辛（1929 － 1974）是當時文化界的代表人物，在近二十年間，不但演出、導演了多套獲獎電影，還撰寫不少電影劇本及小說。他繼承托爾斯泰、契訶夫和高爾基的衣缽，使短篇小說重回俄國文壇主流。他衝勁無窮，卻不幸英年早逝。舒克辛出生在兩次世界大戰之間，在西伯利亞的平民社區長大。他的童年經歷了集體農場的艱苦，其父在史太林的大清洗中被視為「全民公敵」及遭處決。那一年，舒克辛才四歲。青年時期的舒克辛被強徵入伍，但四年後就因健康欠佳而退伍，也算因禍得福。他回到西伯利亞後成為教師，隨後開始寫作。他在 1963 年出版第一本著作《鄉村居民》，在文壇嶄露頭角。翌年創作並導演電影《年輕若此》，該片隨即在 1964 年威尼斯電影節獲獎。舒克辛的文字溫暖、詼諧，帶有敏銳的洞察力。他的小說描寫勞動人民從傳統農村生活，過渡至現代城市生活的困境。這些人是革命、集體化和戰爭的生還者，在蘇維埃的「美麗新世界」裏，對生與死、信仰與理性提出質問。他們受制度壓迫，仍然努力奮鬥，力求活得更好，也從未失去最核心的人性。舒克辛從個人經歷出發，以知識與同理心來寫作。

演員葉夫根尼．米羅諾夫（1966—）同樣出生在前蘇聯時期，但他成名之時蘇聯已經解體。米羅諾夫先是在家鄉接受演員訓練，隨後入讀莫斯科藝術劇院學校深造。他在 1988 年開始電影生涯，逐漸在俄羅斯家喻戶曉。冷戰結束後，大批外國劇壇名人受邀導演俄國製作。九十年代中起，米羅諾夫參演了多齣國際劇作，如彼得．史坦的《俄瑞斯忒斯》和《哈姆雷特》，以及尼高斯厄斯的《櫻桃園》。 2006 年，米羅諾夫擔任俄羅斯國家劇院藝術總監，領導俄國最具國際視野的劇院。劇院的使命：為年輕創作人提供實驗場地；維繫與前蘇聯國家的文化紐帶；以及通過製作、呈獻國際頂尖戲劇及舞蹈作品，打開通往廣闊世界的窗口。即將在 2018 年香港藝術節上演的《俄羅斯平民風景》，2008 年於莫斯科首演即獲得俄國水晶杜蘭朵獎及金面具獎，隨後到世界各地巡演。本製作不僅是拉脫維亞獲獎導演艾維斯．赫曼尼斯在俄羅斯的首部製作，其演員陣容也星光熠熠，除了米羅諾夫本人，還有憑大熱德國電影《再見列寧！》為西方觀眾熟知的翠萍．克瑪朵娃。《俄羅斯平民風景》的演出簡單卻引人入勝，每位演員都分飾至少十個角色。背景的巨幅照片是舒克辛家鄉的景色和村民百態，將觀眾帶入真實時間、地點、設定，投入一幕幕精采的戲劇小品當中。文：約瑟．施力（製作人，現居倫敦，1989-1995 年間曾任香港藝術節國際節目總監）

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Shukshin’s Stories Tales from a Russian village Shukshin’s Stories links two great Russian artistic figures from different generations, Vasily Shukshin and Evgeny Mironov, with the celebrated Russian theatre institution, Moscow’s Theatre of Nations. Their individual stories reflect a country’s tumultuous recent history.

Success first came at the start of the 1960s when Shukshin’s stories were published in several journals, followed by his first book, Village Inhabitants, in 1963. A year later he wrote and directed There Is Such A Lad, a film which became a prize winner at the 1964 Venice Film Festival.

Vasily Shukshin (1929-1974) was a cultural phenomenon in his day. A character with relentless drive who died young, Shukshin was for almost two decades an award-winning film actor and director who also wrote screenplays and novels. He is credited with re-inventing the short story as a major genre in Russian literature, taking on the mantle of Tolstoy, Chekhov and Gorki.

Warm, witty and shrewdly observed, Shukshin’s stories depict ordinary working people, trapped in transition between rural tradition and modern, urban life. Survivors of revolution, collectivisation and war, they struggle with questions of life and death, faith and reason in the “brave new” Soviet world. While there is struggle to rise above their humdrum lives in an oppressive system, his characters never lose their essential humanity. Shukshin wrote from personal experience, with empathy and knowledge.

Growing up in a remote, interwar peasant community in Siberia, he experienced the hardships of life on a “kolkhoz” – a collective farm. In one of Stalin’s tyrannical purges, his father was executed as “an enemy of the state”. Shukshin was just four years old. As a young man, Shukshin was enlisted for compulsory military service, but discharged four years later on grounds of ill health. Perhaps this was a blessing in disguise; Shukshin then returned to Siberia to become a teacher before turning his hand to writing.

Like Shukshin, the actor Evgeny Mironov (1966-) was born in the Soviet era. But success and fame came after the breakup of the old regime. His start in life was certainly more auspicious than Shukshin’s, training as an actor in his hometown of Saratov, then at the prestigious Moscow Art Theatre School. His film career started in 1988, since when he has starred in countless movie and television productions, becoming a household name in

Russia. On stage, his name on the play bill guarantees full houses. As the end of the Cold War brought change to Russia’s political climate, numerous foreign theatre celebrities were regularly invited to direct Russian theatre productions, and from the mid1990s onward, Mironov starred in many international projects such as Peter Stein’s Oresteia and Hamlet, Declan Donnellan’s Boris Godunov, and Eimuntas Nekrosius’ The Cherry Orchard. In 2006 Mironov became artistic director of his country’s most outward-looking theatre institution, Moscow’s Theatre of Nations. Housed in what was one of Russia’s first privately owned theatres in the 19th century, it has no permanent company, but an ambitious, wide-ranging mission: to be a place of experimentation for young Russian creatives; to preserve cultural ties with countries of the former Soviet Union; and to be a window on the wider world by producing and presenting the best of international theatre and dance. The Theatre’s own production of Shukshin’s Stories arrives at the 2018 HKAF having first appeared in Moscow in 2008 before going on to win some of Russia’s most important theatre prizes – the Crystal Turandot and Golden Mask awards – and touring worldwide. The influential and multi-award winning Latvian director Alvis Hermanis made his Russian debut with this production, and is one of numerous stellar names involved, alongside some of Russia's most famous actors including Mironov himself and Chulpan Khamatova – known to Western audiences from the 2003 hit German movie, Good Bye, Lenin! Simply but arrestingly staged, each actor plays ten or more roles. Photographed back-drops of Shukshin’s native village and its inhabitants give real authenticity to the time, place and setting of these perfectly crafted miniature dramas. Joseph Seelig is a London-based producer. He was HKAF International Programme Director between 1989 and 1995.

莫斯科俄羅斯國家劇院 Theatre of Nations, Moscow 《俄羅斯平民風景》（舒克辛小品） Shukshin’s Stories © Sergei Petrov

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24-25.2.2018 香港演藝學院戲劇院 Drama Theatre, HKAPA

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eatre Th 戲劇

歡迎進入《博希的奇幻旅程》

Welcome to Bosch Dreams

荷蘭南部城市斯海爾托亨博希，不單孕育出一位世界知名超現實主義畫家，更是這名藝壇奇才的名字，他就是耶羅尼米斯．博希。

Den Bosch, a city in the southern Netherlands, not only nurtured one of the world’s greatest surrealist painters, but also shares its name with that very same legendary artist: Hieronymus Bosch.

丹麥哥本哈根共和國劇團及蒙特利爾七指雜技團呈獻的《博希的奇幻旅程》，透過當代馬戲表演把這位天才畫家的故事帶到第 4 6 屆香港藝術節，讓觀眾一睹他的獨特風格如何影響四個世紀後的超現實主義藝術家及迷幻搖滾樂手。

Presented by Theatre Republique Kopenhagen and the Montreal circus collective Les 7 Doigts, Bosch Dreams is a contemporary circus show that brings the story of this remarkable painter to the 46th Hong Kong Arts Festival, showcasing the distinctive style that everyone from surrealists to psychedelic rock artists four centuries later.

《人間樂園》是博希最著名的作品之一，自 1 9 3 9 年起於馬德里普拉多博物館展出，它描繪的奇想世界裏有爆炸畫面、虛構動物、巨型士多啤梨、臀部上的音符、吃人的雀鳥、後面插着長笛的音樂家等。這些看似不真實的元素─反映博希作品中常見的主題─死亡、最後審判和地獄。一如七指雜技團的藝術總監塞繆爾．迪圖奧所言，博希的畫作挑戰當時的信仰體系，提倡以人為本的個人獨立思考模式。他的作品不單是純粹的畫作，更是一面鏡子，讓我們和觀眾借鑑，思考我們應當如何活出人生。他敢於描繪當時的邪惡誘惑，同時又帶出神聖希望，並質疑我們所謂的道德、信仰及宗教。博希這種獨特的繪畫風格，對歐陸絕大部分現代藝術形式的發展影響深遠。他所描繪的幻想世界、醜陋怪物和飛行生物，啟發了數百年後的現代藝術家，當中包括著名超現實主義畫家薩爾瓦多．達利。雖然達利很有可能認為自己是個反博希者，但藝術史學家─還有普羅大眾─很難否認兩位畫家各自的超現實世界確實有相似之處。另一位深受啟發的藝術家要數占．摩利臣，他是迷幻搖滾音樂家，同時也是美國搖滾樂團 The Doors 的主音。他不但曾於求學時期撰寫有關博希的論文，而且曾以博希的畫作為題製作歌曲及影片。漢斯．克里斯蒂安．金寶帶領的經驗豐富的丹麥哥本哈根共和國劇團，及由不同馬戲藝術家組成的七指雜技團，將帶來這場引人入勝的馬戲演出。透過二十五個不同角色（包括達利及占．摩利臣！）、迷人的佈景、奇異的服裝及充滿活力的舞台動作，為博希的作品注入生命力。觀眾不再僅僅欣賞台上節目，而是在博希的畫作中進出，自己也成為這個舞台體驗的一部分。

耶羅尼米斯．博希作品《人間樂園》（1490-1500） The Garden of Earthly Delights (1490-1500) by Hieronymus Bosch

七指雜技團及哥本哈根共和國劇團 Les 7 Doigts de la Main and Theatre Republique 《博希的奇幻旅程》Bosch Dreams

The Garden of Earthly Delights, one of Bosch’s most famous paintings, has been displayed at the Prado Museum since 1939 and depicts an imaginative world filled with explosions, fable animals, oversized strawberries, notes on bums, man-eating birds and musicians with flutes up their backsides. All these seemingly unreal elements reflect the recurring themes in his paintings – death, doomsday and hell. As Samuel Tétreault, artistic director of Les 7 Doigts has said, Bosch’s paintings challenged the existing belief systems of his time and pushed forward a more individualistic way of thinking, with the human as the central focus. His works are more than pure paintings, but a mirror we can borrow to learn about how we go about living our lives. He dared to portray the evil temptations of his time as well as divine hope, while also raising questions on morality, belief and religion. Bosch’s remarkable painting style left a very distinct mark on the European development of practically every modern art form. His paintings of fantastical worlds, obscene monsters and flying creatures have inspired modern artists several hundred years on, including the renowned surrealist painter Salvador Dalí. Though Dalí may very well have determined himself as anti-Bosch, it is difficult for art historians – and the general public – not to acknowledge some sort of kinship in the surreal worlds of both painters. Another artist to have been influenced by Bosch was Jim Morrison, a psychedelic rock musician and lead singer of American band The Doors, who not only wrote a paper on Bosch while a student, but also produced songs and videos based on his paintings. In creating this fascinating circus show, the experienced team from Theatre Republique Kopenhagen led by Hans Christian Gimbel and the diverse circus artists collective from Les 7 Doigts have brought Bosch’s paintings to life using 25 different characters (including Dalí and Jim Morrison!), enchanting set designs, wondrous costumes and dynamic stage movement. With this distinctive production, the audience are no longer simply watching the show, but become part of the experience themselves, moving in and out of Bosch’s paintings.

9-11.3.2018 香港文化中心大劇院 Grand Theatre, HK Cultural Centre

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