Israel Galván
FLA.CO.MEN 佛蘭明高大師加凡
三月五日演出贊助 5 Mar performance sponsored by
香港藝術節今年踏入第4 6屆，再度為來自世 界各地的觀眾獻上精彩紛呈的藝術盛宴，讓 香港這個文化大都會更添生色。 今年藝術節預備了各式各樣的表演節目， 古典及當代藝術元素俱全，凸顯本港豐富 多元的文化特色。短短一個月內將有約1 3 0 場音樂、舞蹈、戲劇、歌劇等表演舉行， 讓一眾藝術愛好者目不暇給。 一如以往，本屆藝術節除了請來本地和海 外藝術家演繹引人入勝的代表作品，亦悉 心安排各項外展活動。為培養青少年對藝 術的興趣，「香港藝術節青少年之友」計 劃讓本地學生有機會欣賞藝術節節目和參 與全方位藝術活動。此外，藝術節又透過 工作坊、後台參觀和大師班等「加料節 目」，讓觀眾一睹藝術節重點節目的幕後 創作過程，大開眼界。 政府致力推動本地文化藝術發展，亦樂見贊 助商和捐款者鼎力支持，攜手把香港藝術 節打造成為享譽國際的藝壇盛事。我衷心感 謝藝術節團隊多年來盡心盡力，為我們帶來 這項高質素的文化活動，令本港藝壇百花齊 放，蓬勃發展。 謹祝第4 6屆香港藝術節圓滿成功，各位表演 嘉賓和觀眾朋友共享一段精彩難忘的藝術旅 程。
林鄭月娥 香港特別行政區行政長官
Now in its 46th year, the Hong Kong Arts Festival continues to contribute to the cultural life of Hong Kong, delighting audiences from near and far. This year, the Festival puts on a wide variety of performances that showcase a mix of classic and contemporary genres, spotlighting Hong Kong’s rich and diverse cultural landscape. Featuring some 130 performances in a packed month of music, dance, theatre, opera and more, the Festival has much to offer to arts lovers of all kinds. Alongside dazzling performances by an array of local and international artists, the Festival continues to place great emphasis on its outreach activities. To develop youngsters’ appreciation of the arts, the Young Friends of the Hong Kong Arts Festival offers local students the opportunity to enjoy the Festival’s performances and participate in multi-arts activities. Similarly, the PLUS programme gives audiences an inspirational glimpse into the creative process behind the core Festival performances through a combination of workshops, backstage tours and masterclasses. The Government is committed to promoting the development of arts and culture in the city, and we are blessed to have the support of devoted sponsors and donors who join us in making the Hong Kong Arts Festival an international success. I am also thankful to the Festival team for their years of hard work to deliver a top-class cultural event and their invaluable contribution to the city’s thriving arts scene. I wish the 46th Hong Kong Arts Festival a resounding success and all the participants, performers and audiences alike, an enjoyable and memorable experience.
Mrs Carrie Lam Chief Executive, Hong Kong Special Administrative Region
歡迎閣下蒞臨欣賞第4 6屆香港藝術節，與 我們一起分享、感受這一場精彩的表演藝 術節目。 我們要感謝香港特別行政區政府透過康樂 及文化事務署的年度恆常撥款，使香港藝 術節能每年成功舉辦。我們同時亦非常感 謝香港賽馬會慈善信託基金多年以來積極 而持續的鼓勵和贊助，以及其他眾多的商 業機構、企業、慈善團體以至社會各界人 仕，他們的慷慨捐助，讓我們能夠呈獻世 界一流藝術家的演出，為本地人才提供一 展才華的機會，委約及製作新作品，培養 年青一代的觀眾。 更重要的，是要感謝到來欣賞節目的各位 觀眾。沒有廣大觀眾的熱情參與，就不會 有香港藝術節。期望您喜歡這場演出。
查懋成 香港藝術節主席
I am very pleased to welcome you to this performance at the 46th Hong Kong Arts Festival. Thank you for being here with us and sharing in our celebration of the performing arts. I would like to thank the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention which is crucial to the Festival’s continuing success. I am also most grateful to The Hong Kong Jockey Club Charities Trust for their continued support and encouragement over many years, enabling us to enrich the cultural calendar of the city. Thanks are also due to the many corporate sponsors, charitable foundations as well as individual donors whose generous support enables us to feature many of the world’s best artists, promote local talent, produce new works, and nurture young audiences in Hong Kong. Most importantly, my warm thanks to you for joining us tonight. Without the passion, participation and engagement of our audiences there would be no Hong Kong Arts Festival. I very much hope you will enjoy the performance.
Victor Cha Chairman, Hong Kong Arts Festival
衷心感謝閣下蒞臨欣賞第4 6屆香港藝術節 的演出。 今屆藝術節的主題是「真．我角度」，我 們從此角度出發，欣賞藝術家透過他們的 技藝、創意和心思所創作和呈現的多重現 實。今年的節目當中，無論是對應某種人 生經驗、藝術動機或敘事手法，都往往帶 着對「真」的各種個人省思。整體而言， 我期望今屆藝術節可以啟發大家思考，甚 至懷疑我們所理解的「真實」。 希望您能開放自我，投入到舞台上呈現的 世界，與藝術家共同經驗各種現實。也誠 邀您參加「加料節目」的各項活動，豐富 您的藝術節體驗。 感謝您參與香港藝術節，支持我們的使 命，為香港打造一個既屬於香港，也代表 香港的世界級藝術節。
何嘉坤 香港藝術節行政總監
It is a pleasure and privilege to welcome you to this performance at the 46th HKAF. This year, we take the notion of "what’s real to me" to celebrate the realities created through the artistry, creativity and thoughtfulness of our participating artists. Many works are informed by highly personal views, whether responding to some aspect of human experience as a matter of artistic motivation, or as a narrative device. Taken as a whole, I hope this Festival will provoke us to think about – and perhaps to question – our own understanding of what’s real. I hope that you will allow yourself to be immersed in the realities presented on stage at this and many other performances at the 46th HKAF, and enjoy the resulting co-created experience. I would also recommend the many PLUS performances and events that have been designed to enrich your Festival experience. Together with the entire team, I would like to thank you for your participation and support which sustains us in the mission to present a world class Arts Festival in, of and for Hong Kong.
Tisa Ho Executive Director, Hong Kong Arts Festival
香港藝術節 扎根香港的國際藝壇盛事 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，2018 年第 46 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 3 6 % 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 18% 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)
Sponsorship & Donations 贊助及捐款
•戲劇：彼得．布祿克、羅伯特．威爾遜、柏林劇團、 中國國家話劇院、皇家莎士比亞劇團 •大型特別節目：《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 200 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 26 年來，已為逾 730,000 位本地中學生及大 專生提供藝術體驗活動。藝術節近年亦開展多項針對 大、中、小學生的藝術教育活動，包括由國際及本地 藝術家主持的示範講座及工作坊、學生展演、演前講 座、公開彩排、以及欣賞藝術節演出。同時，通過「學 生票捐助計劃」，藝術節每年提供約 10,000 張半價學 生票。 香港藝術節每年主辦一系列多元化並深入社區的「加 料節目」，例如電影放映、示範講座、大師班、工作坊、 座談會、後台參觀、展覽、藝人談、文化導賞團等， 鼓勵觀眾與藝術家互動接觸。
18%
36% Box Office 票房收入
32%
14%
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 ) Government Baseline Funding 政府的基本撥款 （Updated August 2017 2017 年 8 月更新）
Hong Kong Arts Festival A Major International Arts Festival In, Of and For Hong Kong
• Theatre: Peter Brook, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company
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.
• Large-scale special events: World of WearableArt, Zingaro
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
• 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, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch, Richard III and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with HKAF as a co-commissioning institution, Green Snake cocommissioned with Shanghai International Arts Festival, and Dream of the Red Chamber co-produced 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 of 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
Presents
Israel Galván
FLA.CO.MEN 伊斯雷爾．加凡
佛蘭明高大師加凡 3 月 Mar
5-6
香港文化中心大劇院 Grand Theatre, Hong Kong Cultural Centre 演出長約 1 小時 30 分鐘，不設中場休息 Running time: approximately 1 hour and 30 minutes with no interval
封面照片 Cover Photograph: © Luis Castilla Fotografia 樂手簡歷照片 Musician Portraits: © Javier Andrada
敬請關掉所有響鬧及發光裝置。 Please switch off all sound-making and light-emitting devices. 網上追蹤香港藝術節 Follow the HKArtsFestival on
請勿擅自攝影、錄音或錄影。 Unauthorised photography or recording of any kind is strictly prohibited.
HKartsfestival
本場刊採用環保紙張印刷。This programme is printed on environmentally friendly paper.
www.hk.artsfestival.org
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導演、編舞及舞者 伊斯雷爾．加凡
Direction, Choreography and Dance
Israel Galván
樂手 Musicians 大衛．拉戈斯、湯馬士．迪帕拉提、 David Lagos, Tomás de Perrate, 艾露意莎．卡東、卡拉卡夫、洛卡計劃 Eloísa Cantón, Caracafé, Proyecto Lorca （璜．M．希萬尼、安東尼奧．摩連努） (Juan M. Jiménez and Antonio Moreno) 《西維爾調》藝術指導及編舞 Artistic Direction and Choreography of Sevillanas 皮德羅．G．羅美路 Pedro G. Romero 《歡愉調》導演及編舞 帕翠西亞．卡巴尼羅 燈光設計 魯本．甘馬曹
Stage Direction and Choreography of Alegrías
Patricia Caballero Lighting Design
Rubén Camacho
音效 Sound 皮德羅．利昂 Pedro León 技術總監 曼紐爾．赫蘇斯．皮雅圖 舞台監督 巴比．帕拉
Technical Direction
Manuel Jesús Prieto Stage Manager
Balbi Parra
服裝 Costumes 孔查．洛迪古斯 Concha Rodríguez 巡演經理 馬可斯．艾維里斯
Tour Manager
Marcos Avilés
Premiered on 14th September 2014 at XVIII Bienal de Flamenco de Sevilla, Teatro Lope de Vega A Negro Producciones (Cisco Casado, Chema Blanco & Amapola López) Co-production: Théâtre de la Ville de Paris; Théâtre de Nîmes – Scène conventionée pour la danse contemporaine With the support of Instituto Andaluz del Flamenco; Consejería de Educación, Cultura y Deporte de la Junta de Andalucía; Fondo Europeo de Desarrollo Regional (FEDER) Israel Galván is an Associate Artist of Théâtre de la Ville de París Acknowledgements to Teatro Central de Sevilla
藝術節加料節目
佛蘭明高俱樂部 Flamenco Club Offstage
5.3（一 Mon）晚上 9:30-10:30pm（演出後 Post-performance）
演出後請參加由 Sentido Flamenco Hong Kong 舞 蹈老師及樂手帶領的佛蘭明高俱樂部高歌起舞。
Straight after the performance, join us and relive the vibes at a flamenco club led by professional dancers and musicians from Sentido Flamenco Hong Kong.
香港文化中心大堂 免費參加
Foyer, Hong Kong Cultural Centre Free admission
贊助 Sponsored by
更多加料節目詳情及網上報名 More Festival PLUS and online registration: www.hk.artsfestivalplus.org
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© Oscar Romero
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伊斯雷爾．加凡 伊斯雷爾．加凡 1973 年出生於西維爾，父母是佛蘭明高舞者荷西．加凡和尤荷尼婭．迪洛斯雷耶斯。 他隨同父親到處演出，自然地在小酒館、節慶和舞蹈學校的佛蘭明高氛圍下長大。但他直至 1990 年 才真正立志成為舞者。 1994 年，他加入馬力歐．馬雅的安達魯西亞佛蘭明高舞團，從此開展為他贏得顯赫佛蘭明高和舞蹈 獎項的職業舞者生涯。 加凡曾與多位古典和當代佛蘭明高藝術家合作，包括晏力奇 ‧ 莫倫第、曼紐爾．索拉、索爾．比克、 派特．麥席尼、維辛迪．阿米高、阿爾弗多．拉戈斯、曼紐爾拿．卡拉思高、拉格蒂夏．尼克、費 南多．泰利摩多、米高．普維達、地亞哥．卡拉思高、謝拉度．努尼茲、巴蘭．瑪雅、戚古雅路、鍾． 阿爾伯特．阿瑪戈、地亞哥．阿瑪多、厄安祖、伊尼．巴卡安和愛斯崔娜 ‧ 莫倫第。 1998 年，加凡首演他的出道作《看哪》/《紅鞋》，獲舞評家一致贊譽為神來之筆，並掀起一場佛蘭 明高演出的革命。 之後作品計有《變形記》、《加凡尼卡》、《鬥牛場》、《黃金時代》、《白板》、《獨舞》、《現 況之終結－終極版》、《伊斯雷爾對決「三千」》、《弧度》、《真實》、《公牛》、《佛蘭明高 大師加凡》及《節慶》。 西班牙政府文化部於 200 5 年頒發了國家舞蹈獎（創作組）予伊斯雷爾．加凡，表揚他「為佛蘭明 高創新的造詣，沒有遺忘發展至今時今日的佛蘭明高的真正根源，並將它發揚光大成為普世的表演 藝術」。2012 年，他獲頒紐約貝絲舞蹈表演獎的傑出製作獎表揚他的作品「拓展特定文化形式的疆 界」，以及西班牙政府部長藝術勳章。 加凡其他獎項包括安達魯西亞勳章（2 0 1 6）、法國文化藝術勳章（2 0 1 6）、英國國家傑出藝術獎 （2015）、西班牙藝術金勳章（2012）、法國舞蹈大獎（2009）及西班牙作家及出版協會麥斯獎（2011、 2012、2014、2015）。
15
Israel Galván Israel Galván was born in Seville in 1973. The son of Sevillian bailaores José Galván and Eugenia de Los Reyes, he naturally grew up within the atmosphere of tablaos, fiestas and flamenco dance academies, where he used to accompany his father. However, he didn’t find his vocation for dance until 1990. In 1994, he joined the Compa a Andaluza de Danza directed by Mario Maya, and over the next decade won just about every top flamenco prize possible. He has worked with many classic and contemporary flamenco artists, such as Enrique Morente, Manuel Soler and Mario Maya, but also Sol Picó, Pat Metheny, Vicente Amigo, Alfredo Lagos, Manuela Carrasco, Lagartija Nick, Fernando Terremoto, Miguel Poveda, Diego Carrasco, Gerardo Nuñez, Belen Maya, Chicuelo, Joan Albert Amargós, Diego Amador, Arcángel, Inés Bacán and Estrella Morente. In 1998 Galván premiered ¡Mira! / Los Zapatos Rojos, his first creation. Praised by all the critics as a stroke of genius, it was effectively a revolution in the entire concept of flamenco shows. Since then he has presented productions such as La metamorfosis, Galvánicas, Arena, La Edad de Oro, Tábula Rasa, Solo, El Final de este Estado de Cosas - Redux, Israel vs Los 3000, La Curva, Lo Real/Le Réel/The Real, Torobaka, FLA.CO.MEN and La Fiesta. Galván was a prize winner in the “Creation” category of the 2005 National Dance Prize, organised by the Culture Department of the Spanish Government, for “his capacity to generate a new creation in an art such as flamenco without forgetting the real roots that have sustained it to the present day and that make it a universal genre". In 2012 he was honoured with the New York Bessie Performance Award for an Outstanding Production (“of a work that stretches the boundaries of a culturally specific form”) and the Fine Arts Medal awarded by the Council of Ministers of the Spanish Government. Galván’s other numerous awards include the Medal of Andalusia 2016, Officier dans l'Orde des arts et des lettres 2016, National Award for Exceptional Artistry (UK) 2015, Golden Medal of Fine Arts (Spain) 2012, Grand Prix de la Danse (France) 2009 and the Spanish Authors Rights Society Max awards in 2011, 2012, 2014 and 2015.
16
佛蘭明高大師：伊斯雷爾．加凡禮贊 當舞蹈仍處於陳腐與革新的鬥爭之中，伊斯雷
加凡了解菲力斯．費南迪斯．加西亞 3 的生平故
爾．加凡來了，他拒絕偏袒任何一方。晏力奇 ‧
事，受他啟發編了《紅鞋》，而他跳的「法魯
莫倫第 1 稱他為「新一代年青舞者中最成熟的」。
卡」，便是從梅辛的創作中去除所有非佛蘭明高
安立奎說得很對。
的元素。
因為對加凡而言，他在日本舞踏中所觀察到的佛
觀摩加凡演出的佛蘭明高舞者多不勝數，可見伊
蘭明高舞步，比他對佛蘭明高古老的經典「特里
斯雷爾．加凡無容置疑是佛蘭明高舞者所推崇的
亞納的提提」風格瞭如指掌更重要。
佛蘭明高舞者。亦無容置疑，他深得歌手們的歡
面對這個落在成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
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。 皮德羅．G．羅美路 藝術家和佛蘭明高歷史學者
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《垂死的天鵝》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。 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（18881980）。 3 別名「瘋子」，1893 年生於西維爾，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。
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FLA.CO.MEN: In praise of Israel Galván 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 butoh dance. Facing a twofold panorama, ranging between invented canon and modern affectation, Galván reconsiders the worn-out, over-walked 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 starting 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 García3, 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. Pedro G. Romero Artist and flamenco historian
1. Innovative flamenco singer whose experimentation pushed the borders of flamenco but also drew the ire of traditionalists (19422010) 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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伊斯雷爾．加凡訪談 你跳的佛蘭明高和傳統佛蘭明高有什麼分別？ 我一直說，我跳的僅僅是佛蘭明高而已，不分傳 統和當代，不帶標籤，因為佛蘭明高幾乎是一
有些觀察者說，新佛蘭明高在傳統基礎上發展出 新內容，是真正來自西班牙的當代舞。你同意這 種觀點嗎？
種態度，一種能量，甚至可以說是一種個性的展
我覺得現在有太多陳腔濫調。何必一定要分門別
現。你跳的要麼是佛蘭明高，要麼不是。當然，
類呢？也許外界比原來更關注，更想了解這種藝
每個人對它的感受和演繹都不盡相同。很顯然，
術形式，因此想將它歸類，甚至合併、吸收到特
我的佛蘭明高受我接觸過的其他舞蹈形式啟發，
定舞蹈類型中去。對我來說，佛蘭明高和其他舞
如日本舞踏和印度卡塔克舞，都是看起來比較有
蹈地位相同：它們都是舞蹈。也許佛蘭明高如今
當代感的舞蹈。但從本質上說，我做的一切都是
在世上反響較大，又有不少大規模製作出現，所
沒有標籤的佛蘭明高。其實，只要從佛蘭明高的
以會有人這樣來描述它。在我看來─我根據我
視角出發，所有節奏、韻律可以很「佛蘭明高」。
在舞台上所做來講─我對傳統佛蘭明高的了解 和尊重，正是為了能自由地演繹它；解除它的武
有些人將你定義為新佛蘭明高或概念佛蘭明高的
裝，再重新武裝；解構傳統，引入新的觀念，讓
代表人物，你對此是否認同？你是否如他們所
它更加豐富。而這一切都在舞台上呈現，你看到
說，是在借用不同的媒介，從全新角度演繹古老
的將是純粹的佛蘭明高舞蹈與表達，不管其形式
的舞蹈形式？
看起來多麼當代。
我還是要說，標籤並不太適合我。我並不對它們 反感；我是我，我不會給自己貼標籤、下定義。 當人們說我是「新佛蘭明高」代表之類，我會問
你為何將作品命名為《FLA.CO.MEN》？你所說 的「解構」指什麼，用新的形式重新建構嗎？
自己：這其實是什麼意思？就像我說的，我全心
我有位朋友皮德羅．G．羅美路，他是藝術家，
全意創作佛蘭明高，而我在生活中處處都能看
也是我大部分作品的「觀念學家」，正如他所說，
到、聽到佛蘭明高。就像一切中皆有舞蹈，我從
這部作品名稱的「音節順序也許變了，但仍是佛
我的孩子、街上行人，甚至紅綠燈的小人身上都
蘭明高」。（按：《FLA.CO.MEN》係將「佛蘭明
能看到舞蹈。對我來說，舞蹈和佛蘭明高無處不
高」一詞西班牙語「flamenco」的第二、三音節
在！
互換。）我希望透過它，回顧自己的藝術歷程， 但更希望它能成為未來的新起點。我的初衷是借
這恰恰就是我想在舞台上表達的，我對佛蘭明高
它承前啟後，既為上一階段畫上句號，也為我正
的認識和解讀。當然，我的作品從形式上來說
在醞釀的新作做鋪墊。與此同時，我也不知道它
觀念性比較強，往往視覺影像比敘事更重要，或
會將我帶向何處。這部作品的「解構」意味是我
者說根本不存在敘事性。比如《黃金時代》，表
所有作品中最明顯、最極端的，我在其中仔細剖
面看來不明顯，卻是一部觀念性很強的作品，同
析了佛蘭明高這種藝術形式，從過往作品中提取
時也是地道的佛蘭明高。我的上一部作品《FL A .
出一些影像和片段，賦予其新的形態，再呈現給
CO.MEN》是這樣，以及正在籌備的新作也是一
觀眾。本作還探討藝術家、靈感、靈感來源，以
樣……
及更重要的─靈感把我們帶到哪裏去。與前作
20
© Oscar Romero
© Hugo Gumiel
21
《真實》相比，在《FLA.CO.MEN》中，我會跟台
然是不折不扣的佛蘭明高。這就是我們為何打亂
上的藝術家互動更多，而不是像過去那樣跟物件
了佛蘭明高（flamenco）一詞的音節，將它重組
互動。我會在藝術家間移動，會妨礙他們，也會
為《FLA.CO.MEN》。
跟他們一起笑，用特別「佛蘭明高」的態度，共 同構建一部非常自由的作品。這部作品會讓人惋 惜、歎息，同時也應讓人唇齒留香，因為我們應 當享受佛蘭明高。 一起來享受佛蘭明高吧！
相比前幾部作品，你在這部舞作中引入了什麼新 元素？ 其中一個新元素是編舞方面的。《FLA.CO.MEN》 更多地把與我同台的藝術家囊括在表演之中：以 往我在舞台上總有很多佈景道具，而我會和它們
你認為佛蘭明高演出會為海外觀眾帶來什麼樣的
互動，但在這部作品中，我會更多地和藝術家互
情緒？
動……這也暗示了我下一步作品的方向。同時， 這部作品有更多感官上，甚至精神上的嘗試。比
佛蘭明高很靈活。它是自由的，可以任由觀眾做
如其中一段，我在水底跳舞，但台上卻沒有水
出不同解釋。每位佛蘭明高藝術家都有自己的
─我想通過這種方式刺激觀眾的感官。再比如
演繹方法，此外，佛蘭明高也善於適應藝術家引
另一段中，我在不出聲的「啞」舞台上跳舞。總
入的變化，可以說，它就像一間不可思議的實驗
的來說，我用身體和精神喚起不同的舞步，反而
室。所有這些特性，都是海外觀眾格外欣賞的。
沒有給固定姿勢或生命中的悲劇色彩留太多空
我也聽觀眾說過：對佛蘭明高的接觸越多，不管
間。而我在每時每刻感受到的形式上的自由，就
是「cante」（歌曲）還是「toque」（結他），
促成了一種更加幽默、諷刺的表達。我把整場表
他們的視野就越寬闊，也就越想進一步接觸、體
演看成一個巨型銀幕，上面投影了各種栩栩如生
驗。觀眾在欣賞演出時，常常會把現實中的煩惱
的畫面。
完全拋諸腦後，徹底沉浸在演出的視覺效果、節 奏韻律，以及有千年根基的「jo n da」（深厚）
是什麼讓這部作品不同以往，而你又從前作中吸
力量之中。他們彷彿和大地有了心靈感應，感受
取了什麼？
到了萬物起源，那是極旺盛的生命力……甚至有
在 我 過 去 的 作 品 中， 一 向 有 死 亡 和 鮮 血 的 意
種療癒的效果。實際上，在世界任何角落，都能
象……但《FL A. C O. M EN》中卻有很多歡樂。我
找到「peña」（佛蘭明高擁躉），以及「tablao」
的自由度更大，可以用不一樣的方式存在於舞台
（佛蘭明高舞池）。
之上，可以更放鬆、隨意地運用自己的身體和動
你想通過《FLA.CO.MEN》傳遞什麼訊息？
作。簡而言之，在這部舞作中，我開始不再獨自 跳大段舞蹈，而這曾是我的慣常做法。我開始更
我每創作一部作品，都是為了繼續享受舞蹈。一
多地考慮觀眾和其他藝術家，與他們互動，把他
般來說，我也希望每部新作能給我自己帶來一
們納入我的舞蹈之中。
點改變，帶我去一個新的地方，探索一個新的領 域。在《FLA.CO.MEN》中，我和觀眾之間的距離 比以前近了很多，我可以直視他們的眼睛，所以 我盡可能利用了這一點。比如熄滅整個舞台的燈 光，這樣我就可以悄悄溜到任何位置，沒人知道 我會從哪裡冒出來。簡而言之，這是一趟感官之 旅，而且一如其名，玩的是打亂、拆解，同時依
24
An Interview with Israel Galván How is your way of dancing flamenco different from the traditional way?
FLA.CO.MEN, also the new work that I am preparing…
I always say I simply dance flamenco, neither traditional nor contemporary, without labels, because flamenco is almost an attitude, an energy, it shows character in a manner of speaking. Or you dance flamenco or you don’t. After that there is the matter of how you feel it and interpret it. Obviously my dancing of flamenco is enriched by other forms that I have come to know, such as more physical dance like butoh and kathak, which appear to resemble a more contemporary language. In essence, everything that I do is flamenco, without labels. We can talk of the same rhythm, the same measure: there is not so much difference if your perception is also “flamenco”.
According to some observers, new flamenco is the real Spanish contemporary dance: a traditional base with new content. Do you agree with this?
Do you agree with those who define you as the most important representative of new flamenco, of conceptual flamenco? Is it true that it is a matter of interpreting an ancient dance from a new perspective thanks to unusual media? Well, I keep saying that labels don’t really fit me totally. They don’t annoy me but I am me, and I don’t apply them to myself. When people say that I am the representative of “new flamenco” or some such thing, I ask myself what this means in reality. As I say, I devote myself to making flamenco, which I feel anywhere, which I hear anywhere, just as I see dance in everything that surrounds me, from my children to any person in the street, even the little figures in the traffic lights. Everything seems to me to be dance or flamenco! And this is precisely what I bring to the stage, my way of understanding and interpreting it. It is true that the form in which I create my productions is conceptual. In most cases the visual images dominate the narrative, of above all, the absence of narrative. And so El Edad de Oro, although it might not seem so, is very conceptual and very flamenco at the same time. And so is
I think there are too many clichés and ways of cataloguing everything. Perhaps outside there is greater concern and a desire to get to know this art form and therefore to classify it, and even to incorporate and assimilate it into this category of dance. For me most certainly flamenco and other dance forms are on the same level: they are dance. Perhaps the repercussion that flamenco is having today, and the fact that this has been presented in grand settings and formats, has contributed to the fact that it is spoken of in these terms. In my opinion, and I speak of what I do on stage, I dance from a knowledge and respect for traditional flamenco, precisely to be able to dance it with liberty, to disarm it and rearm it, deconstructing the tradition and bringing new ways of looking that enrich it, and all this is expressed on the stage. What can be found there is pure flamenco dance and energy, beyond the forms that can be more or less contemporary. Why did you choose the name FLA.CO.MEN? What is a deconstruction, a reconstruction of its structures in a new form? As the artist and "ideologue" of most of my productions, Pedro G. Romero, has said, with FLA.CO.MEN “perhaps the order of the syllables has changed, but it is still flamenco”. And so, this piece was born out of my desire to revise my artistic path, but above all, to open doors to the future. The idea was to look back, to close a phase, but to have it act as a point of union with the next productions that I am preparing. At the same time I am not too sure where they are leading me. It is the piece that most clearly and in the most extreme manner incorporates the idea of deconstruction, where I
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dissect flamenco and relive moments and images from earlier works, to give them a new form and present this to the public. It also has to do with the artist and inspiration, and where this comes from, but above all, where this leads to. On stage, and from my work called Lo Real/Le Réel/The Real, in FLA.CO.MEN there are more artists with whom to interact, rather than with things, which was a past characteristic of my work. I move among these artists; I get in their way; I laugh with them, and construct a very free piece with a very “flamenco” attitude. It is meant to leave a good taste in the mouth as well as the laments and groans, as we should enjoy ourselves with flamenco as well. Let’s enjoy flamenco! What emotions do you think the overseas public takes away from a flamenco performance? Flamenco is very versatile, in the sense that it is free and open to the different interpretations that the public might make. Each flamenco artist interprets it in his or her own way, and moreover, it is flexible to any changes that the artist might introduce. Let’s say it is a fantastic laboratory. All of this in relation to flamenco is greatly valued overseas. The flamenco public also transmits to me the sensation that the more they experience this art, both the cante [singing] and the toque [guitar], the wider their universe is expanded, and the more they want to experience it. The spectators usually disconnect while watching and enjoying the performance, forgetting daily problems. They are carried away by the visual, rhythmic, jonda [deep] force of flamenco, by its deeply-rooted millenary sense, as if they were connecting with the earth and its origins, something very vital… and almost curative. In fact, in every corner of the world today you can find a peña [group of followers] or a flamenco tablao [dance floor]. What do you want to transmit with FLA.CO.MEN? What I am looking to do with each new work is to continue to enjoy dancing, and in general, what I also want is that each new work changes me a little, that it takes me to a new place, it lets me explore new territories. With FLA.CO.MEN there
is a greater proximity to the public. I look them in the eye, and I play with this. For example, I make the whole stage become dark so that I can slip away and they don’t know where I will next appear from. In short, it is a voyage of sensations and, as the name of the work suggests, it plays with disarranging and deconstructing flamenco, while still being definitely flamenco. That is reason why we have changed the order of the syllables and call it FLA.CO.MEN. What new elements have you introduced with regards to your previous production? Among the new elements to note in FLA.CO.MEN is the choreographic sense, which takes the artists who accompany me more into consideration: I interact with them more than with the objects that I have always had on stage with me. This is a clue to where my next projects will be heading. It is also a more sensorial, even mental proposal, as, for example, there is a moment when I am dancing under water without there actually being water on the stage: the idea is to provoke the sensation. At another moment I dance on a “deaf” tablao, a surface with no sound. To sum up, my body and my mind bring about a different dance, without giving so much room to fixed postures or to the tragic sense of life. In this way, the formal liberty that I feel at the moment is translated into a greater use of irony and even humour. I consider the whole exercise as an enormous cinema screen where different, very visual images are projected. What is it that differentiates this from other productions of yours and what have you used from those? Death and blood have always been present in my productions… But in FLA.CO.MEN there is a great deal of joy, there is much greater freedom that allows me to be on stage in a different way, using the body and gestures in a more relaxed, casual tone. In this piece, in short, I come close to not dancing so much alone, something I have always done. And therefore I move closer to taking the rest of the artists and the public more into account, to interact with them and incorporate them into what I dance.
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大衛．拉戈斯
樂手
大衛．拉戈斯 1973 年生於赫雷斯 - 德拉弗龍特拉並定居該市至今。赫雷斯是在佛 蘭明高歷史上重要的安達魯西亞城市。拉戈斯的家庭對此藝術傳統充滿熱情，他 十歲時初試啼聲登台演出。多年後，拉戈斯成為了佛蘭明高歌唱的王者，並與多 位頂尖佛蘭明高舞者合作，例如：姬絲汀娜．荷佑斯、伊娃．葉爾芭波娜、 喬奎． 基利奧、 梅塞德斯·魯伊斯及伊斯雷爾．加凡（《鬥牛場》、《黃金時代》、《真實》 及《佛蘭明高大師加凡》）。同時，他除了成為掌握所有傳統佛蘭明高的風格和 形式的領歌者，更加入自己真摯的原創元素。拉戈斯在 2 0 1 4 年第 5 4 屆採礦工人 音樂節國際歌唱比賽中獲頒「採礦燈」獎。他錄製了兩張專輯《自觀之鏡》（2009） 和《赫里斯歌曲之我見》（2014）並自行發行。
David Lagos
Musician
David Lagos was born in Jerez de la Frontera in 1973, an Andalusian city with a rich flamenco history, and has been living there ever since. Born into a family passionate about flamenco, he made his debut on stage aged 10. Since then he has become the uncrowned king of flamenco singing, performing with leading bailaores such as Cristina Hoyos, Eva "La Yerbabuena", Joaquin Grilo, Mercedes Ruiz and Israel Galván (appearing in Galván’s Arena, La Golden Age, Lo Real/Le Réel/The Reel and FLA.CO.MEN). Lagos has established himself as a master cantaor de alante of traditional flamenco styles and forms, adding his authentic and original touch. Lagos received the "Mining Lamp" award of the LIV International Competition of Cante de las Minas de La Union in 2014. His discography includes the self-released The Mirror In Which I Look at Myself (2009) and Jerez Cante with My Touch (2014).
湯馬士．迪帕拉提
樂手
湯馬士．迪帕拉提（湯馬士．費爾南迪茲．蘇圖）生於烏特雷拉並定居該市至今。 該市是在佛蘭明高歷史上重要的安達魯西亞城市。他是吉卜賽迪帕拉提家族後人， 不過他最初的愛好是搖滾樂，而並非佛蘭明高。他在 1999 年偶然在家庭聚會中演 唱後、展開佛蘭明高音樂生涯。許多佛蘭明高舞者都邀請他為演出擔任歌手，包 括巴蘭．馬雅和伊斯雷爾．加凡，其中參與後者的演出有《真實》和《佛蘭明高 大師加凡》。迪帕拉提演唱的曲目廣泛，演唱卡洛．加爾迪的探戈曲和路易斯． 阿姆斯壯的美國爵士標準曲目同樣自如，也能演唱佛蘭明高正典曲目。他的音樂 專輯包括家族合作的《烏特雷拉佛蘭明高》（2 0 0 3）、《鬥牛》（2 0 0 5）和《注 入感情》（2010）。
Tomás de Perrate
Musician
Tomás de Perrate (Tomás Fernández Soto) was born and lives in Utrera, one of the Andalusian cities known for its history of flamenco. He is descended from a great gypsy dynasty of flamenco singing, the Perrate de Utrera. De Perrate was initially drawn to rock and not flamenco, before singing at family occasions in 1999 and launching his flamenco music career. Dancers such as Belén Maya and Israél Galván feature him as a musician in their performances (those of the latter including Lo Real/Le Réel/The Reel and FLA.CO.MEN). De Perrate sings both tangos like those by Carlos Gardel and American jazz standards like Louis Armstrong with ease, but he also sings flamenco as the canon commands. His discography includes Utrera Flamenca (2003), Perraterías (2005) and Infundio (2010).
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艾露意莎．卡東
樂手
艾露意莎．卡東 1981 年生於西維爾。她是一名多才多藝的藝人，職業生涯開始時 是學習小提琴的音樂表演者，並曾組成流行搖滾、傳統愛爾蘭音樂和卡巴萊歌舞 表演等組合。她曾參與的舞台製作包羅萬有（包括馬戲團、垂吊舞蹈、詩歌、戲劇、 小丑表演和當代舞），在她作為演員和舞者的訓練上均有裨益。卡東已經參與了 伊斯雷爾．加凡的製作數年時間，曾演出《現況之終結－終極版》、《佛蘭明高 大師加凡》和《節慶》。
Eloísa Cantón
Musician
Eloísa Cantón was born in Seville in 1981. A versatile artist, Cantón began her career as a musical performer studying the violin and forming a part of groups with varied styles such as pop-rock, traditional Irish music and musical cabaret. She has participated in the creation of very diverse stage shows (circus, vertical dance, poetry, theatre, clown and contemporary dance), which have also allowed her to expand and complete her training and abilities as an actress and dancer. For several years she has participated in the works of Israel Galván, including El Final de este Estado de Cosas - Redux, FLA.CO.MEN and La Fiesta.
卡拉卡夫
樂手
卡拉卡夫（艾密利奧．費爾南迪茲．迪羅山度士）於 1 9 6 0 年生於西維爾。他是 精通佛蘭明高、搖滾、藍調的吉卜賽結他手。他在西維爾的「三千屋」社區街頭 彈結他出身，並在 1990 年代組成「戰爭喊聲」組合，憑「Arrincónamela」等歌曲 在流行樂壇走紅。他又參與電影配樂工作，作品包括東尼．葛里夫的《復仇者》 （2000）和多米尼克．阿貝爾的《塞維爾之南》（2003）。卡拉卡夫與伊斯雷爾． 加凡合作無間，參演作品包括《伊斯雷爾對決「三千」》、《真實》、《佛蘭明 高大師加凡》和《節慶》。
Caracafé
Musician
Caracafé (Emilio Fernández de los Santos) was born in Seville in 1960. He is one of the representatives of the flamenco-rock-blues gypsy guitar. Trained as a guitarist in the streets of Seville’s marginal neighbourhood of Las Tres Mil Viviendas, he formed his own group Gritos de Guerra in the 1990s, with which he had some commercial success, such as the song Arrincónamela. In 2000 he participated in the film Vengo by Tony Gatlif and in Polígono Sur by Dominique Abel in 2003. He collaborates with Israel Galván frequently, and has featured in Israel vs Los 3000, Lo Real/Le Réel/The Reel, FLA.CO.MEN and La Fiesta.
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璜．M．希萬尼
樂手
璜．M．希萬尼 1976 年生於埃斯普盧加斯。他在烏特雷拉長大和定居，又加入該 市的聖週樂團玩音樂。他在西維爾的曼紐爾．卡斯特羅音樂學院任教，也是一位 出色的色士風手。他特別關心西班牙音樂和當代音樂創作，尤其是它們與佛蘭明 高的關係。希萬尼透過參與二人組合「洛卡計劃」的不同計劃將這些意念發揚光 大。他亦以這個身份參演伊斯雷爾．加凡的製作：《真實》（擔任音樂統籌）、《現 況之終結－終極版》及《佛蘭明高大師加凡》。希萬尼有份演出的音樂專輯包括 結合佛蘭明高爵士樂先驅大師皮德羅．伊圖萊德的色士風和鋼琴作品的《皮德羅． 伊圖萊德色士風和鋼琴作品全集》（2 0 1 6 年）及佛蘭明高歌者羅西奧．馬奎斯的 《蒼穹》（2017）。
Juan M. Jiménez
Musician
Juan M. Jiménez was born in Esplugues de Llobregat in 1976. He grew up and lives in Utrera, where he began playing music with the bands of the Holy Week. He teaches at the Manuel Castillo Conservatory in Seville and is also an outstanding saxophonist with a special interest in creating contemporary Spanish music in relation to flamenco. He pursues this idea by participating with the duo Project Lorca on different projects. These include several shows by Israel Galván: Lo Real/Le Réel/The Reel (as musical coordinator), El Final de este Estado de Cosas - Redux and FLA.CO.MEN. Jiménez’s discography includes Pedro Iturralde: Complete Music for Saxophone & Piano (2016) which incorporated the work of maestro and flamenco jazz pionner Pedro Iturralde for saxophone and piano, as well as Firmamento by cantaora Rocío Marquez (2017).
安東尼奧．摩連努
樂手
安東尼奧．摩連努 1978 年生於烏特雷拉。他在西維爾音樂學院任教，並受家鄉烏 特雷拉的傳統和當代佛蘭明高文化影響下，成為不拘一格的音樂家。摩連努將傳 統佛蘭明高結合歐洲學院派音樂的紮實經驗，發明了演繹佛蘭明高的新概念。他 自 2005 年起與伊斯雷爾．加凡合作，參與了以下製作：《鬥牛場》、《現況之終 結－終極版》及《佛蘭明高大師加凡》。摩連努於 2 0 1 4 年第 5 4 屆採礦工人音樂 節國際歌唱比賽中獲頒 Filón 最佳佛蘭明高樂手獎。他在自己的節目《一擊即中》 裏，表現了佛蘭明高和實驗音樂交織的藝術意念。他的演出收錄於佛蘭明高歌者 羅西奧．馬奎斯的專輯《蒼穹》（2017）。
Antonio Moreno
Musician
Antonio Moreno was born in Utrera in 1978. He is a professor at the Seville Conservatory and an eclectic musician influenced by the traditional and contemporary flamenco cultures of his native city. Moreno’s new interpretation style fuses the flamenco tradition with a solid experience in European academic music. Since 2005, he has been collaborating with Israel Galván and has performed in Arena, El Final de este Estado de Cosas - Redux, Lo Real/Le Réel/ The Reel and FLA.CO.MEN. Moreno received the "Filón" prize for best flamenco player in the LIV International Competition of Cante de las Minas de La Unión in 2014. His own show Al golpe (2016) showcases his special vision of the world between flamenco and experimental music. His performances have been recorded and released on Firmamento by cantaora Rocío Marquez (2017).
香港藝術節衷心感謝下列機構及人士的慷慨支持： The Hong Kong Arts Festival would like to thank the following for their generous support:
贊助舍計劃會員 Patron’s Club Members 鉑金會員 Platinum Member
嘉里控股有限公司 Kerry Holdings Limited
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怡和集團 The Jardine Matheson Group
純銀會員 Silver Members
鷹君集團有限公司 Great Eagle Holdings Limited 太古集團慈善信託基金 The Swire Group Charitable Trust
青銅會員 Bronze Members
上海商業銀行 Shanghai Commercial Bank Limited Vontobel Wealth Management (Hong Kong) Limited
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•Pro Helvetia •Spanish Ministry of Culture
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支持及協助 Support and Co-operation •Academy of Jazz •Acorn Design •Adsmart Hong Kong Limited •Alfie Leung Design •Alliance Française •AMC Pacific Place •巴塞爾藝術展 Art Basel •樺利廣告有限公司 Avanny Advertising Co Ltd •龍堡國際 B P International •BRICK LANE •英國文化協會 British Council •Broadway Cinema •百老匯院線 Broadway Circuit •Broadway The One •明愛白英奇賓館 Caritas Bianchi Lodge •牛棚藝術村 Cattle Depot Artist Village •CCDC 舞蹈中心 CCDC Dance Centre •周俊輝先生 Mr Chow Chun Fai •周生生集團國際有限公司 Chow Sang Sang Jewellery Co. Ltd •毛妹芭蕾舞學校 Christine Liao School of Ballet •中信國際電訊 ( 信息技術 ) 有限公司 CITIC Telecom International CPC Limited •城市當代舞蹈團 City Contemporary Dance Company •城巿花園酒店 City Garden Hotel •購票通 ( 香港 ) 有限公司 Cityline (Hong Kong) Limited •比利時駐港澳總領事館 Consulate General of Belgium in Hong Kong and Macau •澳洲駐港總領事館 Australian Consulate-General Hong Kong •加拿大駐香港總領事館 Consulate General of Canada in Hong Kong and Macao •愛沙尼亞共和國駐香港名譽領事館 Honorary Consulate of the Republic of Estonia in Hong Kong •法國駐港澳總領事館 Consulate General of France in Hong Kong and Macau •以色列駐港澳總領事館 Consulate General of Israel in Hong Kong & Macau •大韓民國駐香港總領事館 Consulate General of the Republic of Korea in Hong Kong •葡萄牙駐香港領事館 Consulate of Portugal in Hong Kong •波蘭駐香港總領事館 Consulate General of the Republic of Poland in Hong Kong •俄羅斯駐香港總領事館 Consulate General of the Russian Federation in Hong Kong SAR, PRC •南非駐港澳總領事館 Consulte General of the Republic of South Africa, Hong Kong SAR and Macao SAR •西班牙駐港澳總領事館 Consulate General of Spain in Hong Kong and Macao •瑞士駐香港總領事館 Consulate General of Switzerland in Hong Kong •美國駐港澳總領事館 U.S. Consulate General in Hong Kong & Macau •澳門特別行政區政府文化局 Cultural Affairs Bureau of the Macao S.A.R. Government •德勤企業管理咨詢（香港）有限公司 Deloitte Consulting (Hong Kong) Limited •dreamoffish Limited •風采中學 Elegantia College •埃克森美孚香港有限公司 ExxonMobil Hong Kong Limited •粉嶺禮賢會中學 Fanling Rhenish Church Secondary School •藝穗會 Fringe Club •鳳溪廖萬石堂中學 Fung Kai Liu Man Shek Tong Secondary School
•港威酒店 Gateway Hotel •六國酒店 Gloucester Luk Kwok Hong Kong •香港歌德學院 Goethe-Institut Hong Kong •香港君悅酒店 Grand Hyatt Hong Kong •青苗琴行 Greenery Music •港島海逸君綽酒店 Harbour Grand Hong Kong •快達票香港有限公司 HK Ticketing •香港藝術行政人員協會 Hong Kong Arts Administrators Association •香港藝術中心 Hong Kong Arts Centre •香港浸會大學 Hong Kong Baptist University 電影學院 Academy of Film 音樂系 Department of Music 拉闊文化 Cultural Literacy Programme •香港大會堂 Hong Kong City Hall •香港文化中心 Hong Kong Cultural Centre •香港知專設計學院 Hong Kong Design Institute •香港經濟貿易辦事處 Hong Kong Economic and Trade Office •香港黃金海岸酒店 Hong Kong Gold Coast Hotel •香港管弦樂團 Hong Kong Philharmonic Orchestra •香港唱片 Hong Kong Records •香港旅遊發展局 Hong Kong Tourism Board •宜必思香港中上環 ibis Hong Kong Central and Sheung Wan •工銀亞洲 ICBC (Asia) •海景嘉福洲際酒店 InterContinental Grand Stanford Hong Kong •香港洲際酒店 InterContinental Hong Kong •Intox Design & Communication Co. Ltd. •The Italian Cultural Institute in Hong Kong •港島太平洋酒店 Island Pacific Hotel Hong Kong •鍾詠賢芭蕾舞學校 Ivy Chung School of Ballet •王仁曼芭蕾舞學校 Jean M. Wong School of Ballet •JellyBin Limited •Ms Anastassia Katafygiotis •高山劇場 Ko Shan Theatre •九龍木球會 Kowloon Cricket Club •Kubrick •葵青劇院 Kwai Tsing Theatre •光華新聞文化中心 Kwang Hwa Information & Culture Centre •Lanson Place Hotel, Hong Kong •梁震宇先生 Mr Mark Leung •李鏡輝先生 Mr Alpha Li •李慧中博士 Dr Li Wai Chung •立方國際青年公寓 M3 International Youth Apartment •MANA! •馬哥孛羅香港酒店 Marco Polo Hongkong Hotel •Maxibit HK/China •Wavemaker Hong Kong Limited •酩悅軒尼詩帝亞吉歐洋酒香港有限公司 Moët-Hennessy Diageo Hong Kong Limited •MOViEMOViE •北區大會堂 North District Town Hall •One Minden Tapas Kitchen •PALACE ifc •柏斯琴行 Parsons Music Limited •卓滙達有限公司 Patsville Company Ltd •Pause Rewind n FastForward •電訊盈科 PCCW •Pixellent •犇華企業服務有限公司 Primasia Corporate Services Limited •香港太子酒店 Prince Hotel, Hong Kong •Red Square Gallery •麗豪酒店 Regal Riverside Hotel •RFI Asia Limited •帝都酒店 Royal Park Hotel
•香港帝景酒店 Royal View Hotel •Russian Club in Hong Kong •沙田大會堂 Sha Tin Town Hall •信興廚藝中心 Shun Hing Cooking Centre •上環文娛中心 Sheung Wan Civic Centre •岑智頤先生 Mr Henry Shum •信興電器貿易有限公司 Shun Hing Electronic Trading Co., Ltd. •先鋒廣告製作有限公司 Sin Fung Advertising Production Co., Ltd. •Southgate Design •事必達推廣有限公司 Speedy Promotion Limited •Steam Studio •辰衝圖書有限公司 Swindon Book Co. Ltd. •台灣蘇富比國際房地產 Taiwan Sotheby's International Realty •藝林文具印刷有限公司 The Artland Co Ltd •香港中文大學 The Chinese University of Hong Kong 音樂系 Department of Music 和聲書院 Lee Woo Sing College •香港城市大學 The City University of Hong Kong 英文系 Department of English •香港教育大學 The Education University of Hong Kong 文化與創意藝術學系 Department of Cultural and Creative Arts •香港演藝學院 The Hong Kong Academy for Performing Arts 中國戲曲學院 School of Chinese Opera 戲劇學院 School of Drama 音樂學院 School of Music •香港理工大學 The Hong Kong Polytechnic University •香港科技大學 The Hong Kong University of Science and Technology 人文學部 Division of Humanities 藝術中心 Center for the Arts 學生住宿及舍堂生活事務處 Student Housing and Residential Life Office •中環石板街酒店 The Pottinger Hong Kong •皇家太平洋酒店 The Royal Pacific Hotel and Towers •香港大學 The University of Hong Kong 音樂系 Department of Music 通識教育部 General Education Unit 香港大學美術博物館 University Museum and Art Gallery Cultural Management Office 圖書館 Library 香港大學博物館學會 The University of Hong Kong Museum Society 國際事務處 International Affairs Office •譚縉謙先生 Mr Tam Chun-him •通利琴行 Tom Lee Music Company Ltd •中環荷李活道彩鴻酒店 Travelodge Central, Hollywood Road •Trickstation •三角關係 Trinity Theatre •荃灣大會堂 Tsuen Wan Town Hall •UA CINEHUB •城市售票網 URBTIX •香港華美粵海酒店 The Wharney Guang Dong Hotel Hong Kong •進富印刷公司 Wealthy Step Printing Co. •wine etc •香港基督教青年會（港青） YMCA of Hong Kong •青年廣場 Youth Square •赤豚事務所 Zhu Graphizs
贊助人
林鄭月娥女士
PATRON
永遠名譽會長 執行委員會 主席 副主席 義務司庫 委員
邵逸夫爵士
HONORARY LIFE PRESIDENT EXECUTIVE COMMITTEE Chairman Vice Chairman Honorary Treasurer Members
節目委員會 主席 委員
財務委員會 主席 委員 發展委員會 主席 副主席 委員
顧問
名譽法律顧問 核數師
查懋成先生 盧景文教授 李錦榮先生 鄭維新先生 鄭惠貞女士 劉鎮漢先生 梁靳羽珊女士 梁卓偉教授 姚潔莉女士 楊 光先生 盧景文教授 白諾信先生 紀大衛教授 羅志力先生 毛俊輝先生 李 義法官 約瑟．施力先生 + 譚榮邦先生 姚 珏女士 李錦榮先生 鄭惠貞女士 梁國輝先生 梁靳羽珊女士 雍景欣女士 鄭阮培恩女士 邱詠筠女士 龐建貽先生 孫林宣雅女士 姚祖輝先生 楊海燕女士 夏佳理先生 鮑 磊先生 李業廣先生 梁紹榮夫人 李國寶博士 孖士打律師行 羅兵咸永道 會計師事務所
香港藝術節基金會 主席 霍 璽先生 管理人 陳達文先生 梁紹榮夫人 陳祖澤博士
地址 : 香港灣仔港灣道 2 號 12 樓 1205 室 電話 : 2824 3555 傳真 : 2824 3798, 2824 3722 節目查詢熱線 : 2824 2430 出版：香港藝術節協會有限公司 承印：香港嘉昱有限公司 本刊內容，未經許可，不得轉載。
PROGRAMME COMMITTEE Chairman Members
FINANCE COMMITTEE Chairman Members
HONORARY SOLICITOR AUDITOR
Mr Victor Cha Prof. Lo King-man, MBE, JP, SBS Mr William Li Mr Edward Cheng, SBS JP Ms Margaret Cheng Mr Anthony Lau Mrs Yu-san Leong Prof. Gabriel Leung, GBS JP Ms Miriam Yao Mr Sunny Yeung Prof. Lo King-man, MBE, JP, SBS Mr Giorgio Biancorosso Prof. David Gwilt, MBE Mr Peter C L Lo Mr Fredric Mao, BBS The Hon Mr Justice Ribeiro Mr Joseph Seelig + Mr Wing-pong Tam, SBS JP Ms Jue Yao, JP Mr William Li Ms Margaret Cheng Mr Nelson Leong
DEVELOPMENT COMMITTEE Chairman Vice Chairman Members
ADVISORS
The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS Sir Run Run Shaw, CBE (1907-2014)
Mrs Yu-san Leong Ms Jane Yong Mrs Betty Yuen Cheng Ms Winnie Chiu Mr Paulo Kin-yee Pong Mrs Helen Lin Sun Mr Andrew Yao Ms Hoi-yin Yeung The Hon Ronald Arculli, GBM CVO GBS OBE JP Mr Martin Barrow, GBS CBE JP Mr Charles Y K Lee, GBM GBS JP Mrs Mona Leong, SBS BBS MBE JP Dr The Hon David K P Li, GBM GBS JP Mayer Brown JSM PricewaterhouseCoopers
HONG KONG ARTS FESTIVAL TRUST Chairman Mr Angus H Forsyth Trustees Mr Darwin Chen, SBS ISO Mrs Mona Leong, SBS BBS MBE JP Dr John C C Chan, GBS JP
電子郵箱 : afgen@hkaf.org
Address: Room 1205, 12th Floor, 2 Harbour Road,Wanchai, Hong Kong Tel: 2824 3555 Fax: 2824 3798, 2824 3722 Email: afgen@hkaf.org Programme Enquiry Hotline: 2824 2430 Published by: Hong Kong Arts Festival Society Limited Printed by Cheer Shine Enterprise Co., Ltd Reproduction in whole or in part without written permission is strictly prohibited.
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職員 行政總監 節目 節目總監 副節目總監 節目經理
榮譽節目顧問 Honorary Programme Advisor * 合約職員 Contract Staff
STAFF 何嘉坤
Executive Director
節目經理（行政） 助理節目經理 節目統籌 節目行政主任 物流及接待經理
梁掌瑋 蘇國雲 葉健鈴 陳韻妍 蘇雪凌 林淦鈞 * 黃傲軒 * 曹愷怡 * 金學忠 *
•技術 製作經理 視聽統籌
Programme Programme Director Associate Programme Director Programme Managers
Tisa Ho
Programme Manager (Administration) Assistant Programme Managers Programme Coordinators Programme Administration Officer Logistics Manager
Grace Lang So Kwok-wan Linda Yip Susanna Yu* Vanessa Chan Shirley So Lam Kam-kwan* Jacqueline Li* Joseph Wong* Patricia Lee* Sabrina Cho* Elvis King*
徐子宜 * 許肇麟 *
• Technical Production Manager Audiovisual Coordinator
Tsui Tsz-yee* Boolu Hui*
•出版 高級編輯 編輯 助理編輯
黃迪明 * 林尚諾 * 鍾佩妝 *
• Publications Senior Editor Editor Assistant Editors
Timothy Wong* Sherlock Lam* Eunice Chung*
•外展 高級外展經理 助理外展經理 外展統籌 外展主任 藝術行政見習員 外展助理
李冠輝 張鼎丞 * 林嘉敏 * 譚曉峯 * 李萬祺 * 李玨熙 *
• Outreach Senior Outreach Manager Assistant Outreach Managers Outreach Coordinator Outreach Officer Arts Administrator Trainee Outreach Assistant
Kenneth Lee Bell Cheung* Carman Lam* Mitch Tam* Kelvin Li* Michael Lee*
市場推廣 市場總監 副市場總監 市場經理 副市場經理 助理市場經理 數碼營銷專員 市場主任 市場經理（票務） 票務主任 客戶服務主任
鄭尚榮 胡銘堯 周 怡 楊 璞* 吳嘉沛 * 陳閏霖 * 莫文軒 * 梁彩雲 李 彤* 鄭佩欣 *
MARKETING Marketing Director Associate Marketing Director Marketing Managers Deputy Marketing Manager Assistant Marketing Manager Digital Marketing Specialist Marketing Officer Marketing Manager (Ticketing) Ticketing Officer Customer Service Officers
Katy Cheng Dennis Wu Alexia Chow Michelle Yeung* Tiffany Ng* Ben Chan* Tony Mok* Eppie Leung Lee Tung* Bonnie Cheng*
DEVELOPMENT Development Director Development Manager Deputy Development Manager Assistant Development Managers Arts Administrator Trainee Development Officer
Flora Yu Chingmi Chow* Anna Cheung* Lorna Tam Esther Mok* Mandie Choy*
余瑞婷 * 李詠芝 * 李芷銦 *
林惠賢 *
鄧冠恒 *
張嘉麟 *
李俊偉 *
發展 發展總監 發展經理 副發展經理 助理發展經理 藝術行政見習員 發展主任
余潔儀 周美清 * 張慧芝 * 譚樂瑤 莫穎哲 * 蔡杏村 *
會計 會計部主管 助理會計經理 會計主任
鄺敬婷 林英光 * 蘇永恆 *
ACCOUNTS Head of Accounts Department Assistant Accounting Manager Accounting Officer
Teresa Kwong Sunny Lam* Peter So*
人力資源及行政 人力資源及行政經理 人力資源及行政主任 行政秘書 接待員／初級秘書 助理
馮紹昌 簡凱彤 * 謝凱婷 李美娟 黃國愛
HR & ADMINISTRATION HR & Administration Manager HR & Administration Officer Executive Secretary Receptionist/Junior Secretary General Assistant
Calvin Fung Vivian Kan* Heidi Tse Virginia Li Bonia Wong
蘇寶蓮 *
Grace Lam*
Joe Tang*
Louis Cheung*
Michael Lie Ken Jie*
Conny Souw*
技術統籌 * Technical Coordinators* 歐慧瑜 Rachel Au、陳焯華 Billy Chan、陳寶愉 Bobo Chan、陳佩儀 Claudia Chan、陳詠杰 Chan Wing-kit、 陳家彤 Doris Chen、鄺嘉欣 Karen Kwong、黎智勇 Martin Lai、林環 Nancy Lam、 羅瑞麟 Lo Shui-lun、 曾家慧 Joanne Tsang、黃靜文 Ivy Wong 藝術家統籌 * Artist Coordinators*
鄭瑋菁 Virginia Cheng、馮顯峰 Fung Hin-fung、張素真 Susan Hayden、何嘉露 Carrol Ho、彭慧雯 Jan Pang、 黃婉媚 Becky Wong、游慧姿 Janet Yau
節目時間表 Programme Calendar 歌劇 戲 /曲 OPERA / CHINESE OPERA
中國國家京劇院 主演：于魁智、李勝素 -《鳳還巢》 -《牛皋下書 ‧ 挑滑車》、《打漁殺家》 -《帝女花》 -《紅鬃烈馬》
China National Peking Opera Company Featuring: Yu Kuizhi, Li Shengsu - The Phoenix Returns to Its Nest - Breaking the Siege/Lifting the Chariots and The Fisherman's Revenge - Princess Changping - Rekindling a Life-Long Romance
賽馬會本地菁英創作系列： 粵劇《百花亭贈劍》毛俊輝導演作品 改編及導演：毛俊輝
Jockey Club Local Creative Talents Series: Cantonese Opera - Pavilion of a Hundred Flowers Adaptation and Director: Fredric Mao
粵劇《霸王別姬》 藝術總監：尤聲普
Cantonese Opera - Farewell My Concubine Artistic Director: Yau Sing-po
CHCH
27/2 28/2
7:30pm 7:30pm
CCGT
2/3 3/3
7:30pm 7:30pm
APAL
2-4/3
8pm
CHCH
9-11/3
7:30pm
CCGT
15, 17/3
7:30pm
Maxim Rysanov and Hong Kong Sinfonietta Music Director and Conductor: Yip Wing-sie
CHCH
25/2
8pm
巴．羅克樂團《聲音之旅》 藝術領導及小提琴獨奏：德米特里．辛柯夫斯基
B’Rock Orchestra - Sounding Stories Artistic leader and Solo Violin: Dmitry Sinkovsky
CHCH
1/3
8pm
潘尼迪爾鋼琴獨奏會
Jean-Claude Pennetier Piano Recital
CHCH
2/3
8pm
香港中樂團《劉邦．項羽．兵馬俑》 指揮：閻惠昌
Hong Kong Chinese Orchestra Liu Bang, Xiang Yu and the Terra Cotta Warriors Conductor: Yan Huichang
CCCH
3/3
8pm
愛沙尼亞之聲 指揮：約翰 - 艾克．杜爾夫
Vox Clamantis Conductor: Jaan-Eik Tulve
CHCH
3/3
8pm
愛沙尼亞之聲與潘尼迪爾
Vox Clamantis and Jean-Claude Pennetier
CHCH
4/3
4pm
鋼琴三重奏 - 潘尼迪爾．巴斯基耶．皮杜 鋼琴：潘尼迪爾 小提琴：巴斯基耶 大提琴：皮杜
Trio Pennetier Pasquier Pidoux Piano: Jean-Claude Pennetier Violin: Regis Pasquier Cello: Roland Pidoux
CHCH
5/3
8pm
俄羅斯史維特蘭諾夫國家交響樂團 指揮：克利斯蒂安．約菲
State Academic Symphony Orchestra of Russia "Evgeny Svetlanov" Conductor: Kristjan Järvi
CCCH
8-10/3
8pm
威爾斯國家歌劇院．親子音樂會
O is for OPERA! Family Concert by Welsh National Opera
CCCH
16/3
8pm
CHCH
16/3
8pm
Beyond Impressionism - Piano Concert and Film Screening 《跨越意象》鋼琴音樂會及電影放映 CHCH 鋼琴：張郁苓、黃蔚然、黃蔚園、娉婷鋼琴二重奏 Piano: Evelyn Chang, Wong Wai-yin, Wong Wai-yuen, Duo Ping & Ting
17/3
6pm
威爾斯國家歌劇院 - 德布西《佩利亞斯與梅麗桑德》 Welsh National Opera - Debussy’s Pelléas et Mélisande Conductor: Lothar Koenigs 指揮：洛德．古尼斯
音樂
MUSIC
《最愛中提琴》：賴沙諾夫與香港小交響樂團 音樂總監及指揮：葉詠詩
西班牙之風古樂團 《重拾失落在美洲的西班牙瑰寶》 指揮及古鍵琴：愛德華度．盧比斯．班素
Al Ayre Español - Spanish Treasures in the Americas Conductor and Harpsichord: Eduardo López Banzo
爵士樂 世 / 界音樂 Jazz / WorlD MUSIC
丹麥國家交響樂團 指揮：法比奧．雷西
Danish National Symphony Orchestra Conductor: Fabio Luisi
CCCH
20/3
8pm
瑞士韋爾比亞音樂節室樂團 指揮：加博爾．塔卡奇 - 納吉 鋼琴：張緯晴 大提琴：戈蒂埃．卡普森
Verbier Festival Chamber Orchestra Conductor: Gábor Takács-Nagy Piano: Rachel Cheung Cello: Gautier Capuçon
CHCH
23/3
8pm
愛沙尼亞國家交響樂團及 愛沙尼亞國家男聲合唱團 指揮：萊夫．薩格士譚
Estonian National Symphony Orchestra and Estonian National Male Choir Conductor: Leif Segerstam
CCCH CHCH
24/3 25/3
8pm 5pm
傑思．博迪
Chris Botti
CCCH
23-24/2
8pm
爵士新潮 - 霍圖納與辛波絲卡《詩樂對話》 - Vila Navio 三重奏 - 霍圖納爵士四重奏
Nouveau Jazz Weekend - Fortuna Plays Szymborska - Vila Navio - Maciej Fortuna Special Quartet
HKAC-ST 3-4/3 3/3 4/3
3pm 9pm 8pm
世界音樂週末營 - 安娜．瑪麗亞．悠珮克及 Kroke 三重奏 - Songhee 韓國清唱研究所 - 白雲
World Music Weekend - Anna Maria Jopek and Kroke - Songhee Pansori LAB - Namgar
APAA
17-18/3 18/3 18/3
8pm 3pm 5pm
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
CCCH
21-22/3
8pm
CCGT CCCH CCST
香港文化中心大劇院 Grand Theatre, HK Cultural Centre 香港文化中心音樂廳 Concert Hall, HK Cultural Centre 香港文化中心劇場 Studio Theatre, HK Cultural Centre
CHCH CHTH APAL
香港大會堂音樂廳 Concert Hall, HK City Hall 香港大會堂劇院 Theatre, HK City Hall 香港演藝學院歌劇院 Lyric Theatre, HKAPA
Ballett Zürich - Anna Karenina Choreographer: Christian Spuck
CCGT
23-24/2 24-25/2
7:30pm 2:30pm
亞太舞蹈平台（第十屆）
Asia Pacific Dance Platform X
- 松根充和《舞得入境》
- Michikazu Matsune: Dance, if you want to enter my country! FC-FU
- 馬丁．赫辛《身身相印》 - 奧菲爾．約迪拉維治《萬有引力》及 尼克．鮑華《蚊型城市間》
- Martin Hansen: if it’s all in my veins - Ofir Yudilevitch: Gravitas and Nick Power: Between Tiny Cities
23/2 24/2 13-14/3 16/3 17/3
8pm 3pm 8pm 8pm 3pm
香港賽馬會當代舞蹈平台
The Hong Kong Jockey Club Contemporary Dance Series
-《舞．聲》 編舞：陳穎業、梁儉豐、盤彥燊 聲音藝術家：彼得．萊納
- The Battle Zone | Vortex Choreographers: Yip Chan, Kenny Leung, Wayson Poon Sound Artist: Peter Lenaerts
24/2 25/2
8:15pm 3pm
-《兩地書》 編舞：李超、白濰銘、潘振濠、謝欣、 楊暢、楊浩、姚潔琪、張翼翔
CCST - Dance Exchange Choreographers: Li Chao, Ming Pak, Poon Chun-ho, Xie Xin, Yang Chang, Yang Hao, Judy Yiu, Zhang Yixiang
3/3 4/3
8:15pm 3pm
-《舞鬥》 編舞：程偉彬、柯志輝、廖月敏、呂沅蔚、 馬師雅、黃翠絲、張喜龍
- Dance Off Choreographers: Rex Cheng, Felix Ke, Sudhee Liao, Evains Lui, Alice Ma, Tracy Wong, Solong Zhang
KTT-BBT
22-25/3 24-25/3
8pm 3pm
薩卡洛娃及列賓《足尖情弦》 舞者：斯文蘭娜．薩卡洛娃 小提琴 : 瓦汀．列賓
Svetlana Zakharova and Vadim Repin Pas de deux for Toes and Fingers Dancer: Svetlana Zakharova Violin: Vadim Repin
CCGT
27-28/2
7:30pm
PPS 舞團《反斗校園》 藝術總監及編舞：皮埃 - 保羅．薩瓦
PPS Danse - Playing Hooky Artistic Director and Choreographer: Pierre-Paul Savoie
SWCC-TH 3-4/3 4/3
KTT-BBT KTT-BBT
CCST
8pm 3pm
TheaTre
戲劇
佛蘭明高大師加凡
Israel Galván - FLA.CO.MEN
CCGT
5-6/3
7:30pm
勅使川原三郎 | 渡烏舞團《崔斯坦與伊索德》
Saburo Teshigawara | KARAS - Tristan and Isolde
CHTH
8-11/3
8pm
美國芭蕾舞劇院《芭蕾小忌廉》 編舞：阿列克塞．羅曼斯基 藝術總監：凱文．麥肯齊
American Ballet Theatre - Whipped Cream Choreographer: Alexei Ratmansky Artistic Director: Kevin McKenzie
CCGT
22-25/3 25/3
7:30pm 2:30pm
南非開普敦港口劇團《非洲少年流浪記》 改編自莊尼．斯坦貝格小說 導演：馬克．當福 - 梅
Isango Ensemble - A Man of Good Hope Based on the book by Jonny Steinberg Director: Mark Dornford-May
APAL
23-24/2 24-25/2
7:30pm 2:30pm
APA-DT
24/2 25/2
7pm 2:30pm
The Great Learning Playwright and Director: Tang Chi-kin
CHTH
24-25, 28/2, 8pm 1-3/3 3pm 25/2, 4/3
National Theatre of Great Britain The Curious Incident of the Dog in the Night-Time Original: Mark Haddon Adaptation: Simon Stephens Director: Marianne Elliott
APAL
8-11, 13-18/3 10-11, 17-18/3
7:30pm
Les 7 Doigts de la Main and Theatre Republique Bosch Dreams Idea and Concept: Samuel Tétreault, Martin Tulinius, Ange Potier
CCGT
9-10/3 11/3
7:30pm 2:30pm
Claude Régy - Dream and Derangement Director: Claude Régy
CCST
9-10/3 10-11/3
8:15pm 4:30pm
奧克拉荷馬自然劇團及 EnKnap 舞團 《美國獨立宣言之幸福大作戰》 編劇及導演：柏維爾．利斯卡、嘉莉．古柏
Nature Theater of Oklahoma & EnKnapGroup Pursuit of Happiness Playwright and Director: Pavol Liska, Kelly Copper
CHTH
14-16/3
8pm
《中庸之幸福學堂》 編劇及導演：鄧智堅
Doctrine of Happiness Playwright and Director: Tang Chi-kin
CCST
16-17, 22-24/3 18, 24-25/3
8:15pm
倫敦巡迴劇團及愛丁堡皇家蘭心劇院 《祈願女之歌》 編劇：埃斯庫羅斯 新版本：大衛．葛利格 導演：拉文．格雷
Actors Touring Company and Royal Lyceum Theatre Edinburgh - The Suppliant Women Original: Aeschylus Adaptation: David Greig Director: Ramin Gray
CHTH
22-24/3 24-25/3
8pm 3pm
俄羅斯國家劇院《俄羅斯平民風景》 （舒克辛小品） Theatre of Nations (Russia) - Shukshin's Stories Director: Alvis Hermanis 導演：艾維斯．赫曼尼斯 《大學之烈火青春》 編劇及導演：鄧智堅 英國國家劇院《深夜小狗神秘習題》 原著：馬克．海登 改編：西門．史提芬斯 導演：瑪麗安．艾莉特 七指雜技團及哥本哈根共和國劇團 《博希的奇幻旅程》 概念：薩穆爾．特塞雷、馬 丁．迪尼路斯、安殊．博田 克勞德．雷吉《夢與狂妄》 導演：克勞德．雷吉
APAA APADT HKAC
香港演藝學院香港賽馬會演藝劇院 The Hong Kong Jockey Club Amphitheatre, HKAPA 香港演藝學院戲劇院 Drama Theatre, HKAPA 香港藝術中心壽臣劇院 Shouson Theatre, Hong Kong Arts Centre
2:30pm
3pm
FC-FU 藝穗會樓上劇場 Fringe Upstairs, Fringe Club SWCC-T 上環文娛中心劇院 Theatre, Sheung Wan Civic Centre KTT-BBT 葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre
資料截至 Information as of: Oct 2017
DaNCe
舞蹈
蘇黎世芭蕾舞團《安娜．卡列妮娜》 編舞：克里斯蒂安．施普克
藝術節加料節目 Festival 節目詳情及網上報名 For more details and online registration: www.hk.artsfestivalplus.org 特 備 節 目 SpecialS 舞 蹈 DaNce 音 樂
17/3/2018 23/2-25/3/18 24-25/3/2018
聲．色愛沙尼亞 Sound and Colour from Estonia 香港藝術節傑出文化領袖講座系列（五）威爾斯國家歌劇院藝術總監大衛·普尼 HKAF Distinguished Cultural Leader Series (V) In Conversation with David Pountney, Artistic Director of Welsh National Opera 歌劇探秘同樂日 Opera Adventure Day 《十二面體 - 精粹 132》- 馬克 ‧ 雷登作品 Dodecahedron - Quintessence 132 by Mark Ryden 美國芭蕾舞劇院全接觸 ABT Recipe
24, 25/2/2018 24/2/2018 5/3/2018 5/3/2018 24, 25/3/2018 24, 25/3/2018 24/3/2018 24/3/2018 25/3/2018 24,25/3/2018 25/3/2018
後台參觀 - 走進托爾斯泰的芭蕾世界 Backstage Tour: Tolstoy’s Ballet World 《安娜．卡列尼娜》演前講座 Pre-Performance Talk: Anna Karenina PPS 舞團《反斗校園》駐節藝術家計劃展演 Artist-in-Residence Project: PPS Danse Showcase 佛蘭明高魅力俱樂部 Flamenco Club Off-stage 美國芭蕾舞劇院彩排參觀 Observing ABT Company Class 《芭蕾小忌廉》兒童工作坊 ABT Kids - Whipped Cream Children Workshop 美國芭蕾舞劇院大師班（中級程度）ABT Masterclass (Intermediate level) 樂韻芭蕾藝術教育音樂會 From Music to Ballet Education Concert 美國芭蕾舞劇院大師班（高級程度）ABT Masterclass (Advance level) 後台參觀：雷登的超現實甜美國度 Backstage Tour: A Pop Surrealist's Delirium 《芭蕾小忌廉》演前講座 Pre-Performance Talk: Whipped Cream
2,5/3/2018 15/3/2018
MUSic
2/2/2018 2, 5/3/2018 3/3/2018 5/3/2018 7/3/2018 8/3/2018 9/3/2018 10/3/2018 18/3/2018 19/3/2018 19/3/2018 20/3/2018 21/3/2018 24/3/2018
歌 劇 ／ 戲 曲 OpeRa 戲 劇 THeaTRe 電 影
4/2/2018 26/2/2018 15-17/3/2018 15, 17/3/2018 16, 17/3/2018 16, 17/3/2018 17/3/2018 17/3/2018 17/3/2018 25/2/2018 10, 11/3/2018 10/3/2018 11/3/2018
FilM
24/1, 10/3/2018 27/1, 3/2/2018 8/2/2018 10/3/2018 22-25/3/2018
加料講座及演出：拉赫曼尼諾夫的樂與畫 PLUS Artist Talk & Performance: Rachmaninov: Music and Art 李希特及帕特：愛沙尼亞之聲展覽音樂會 Richter Meets Pärt: Vox Clamantis - Concert at an Exhibition 潘尼迪爾雙鋼琴大師班 Jean-Claude Pennetier Piano Duo Masterclass 葛利果聖歌合唱工作坊 Gregorian Chant Workshop 香港演藝學院音樂學院座談會系列：國際指揮家之路 HKAPA School of Music Assembly Series: A Conductor's Journey 演前講座：與俄羅斯樂團巡演經驗談 Pre-Performance Talk: Touring with Russian Orchestras 演前講座：俄羅斯史維特蘭諾夫國家交響樂團 Pre-Performance Talk : State Academic Symphony Orchestra of Russia "Evgeny Svetlanov" 演前講座：拉赫曼尼諾夫之鋼琴音樂 Pre-Performance Talk: Rachmaninov's Piano Music 演前講座：韓國清唱與蒙古民謠 Pre-Performance Talk: Pansori & Mongolian Songs 李飈敲擊樂大師班 Percussion Masterclass with Li Biao 聲樂大師班及藝術家沙龍：法比奧．雷西 Vocal Masterclass and Artist Salon: Fabio Luisi 演前講座：作曲家尼爾森與丹麥 Pre-Performance Talk: Carl Nielsen and the Danes (DNSO) 演前講座：爵士女伶 Pre-Performance Talk: Matriarchs of Jazz 演前講座：與米克．烏列奧同唱 Pre-Performance Talk: Let's sing along with Mikk Üleoja 賽馬會本地菁英創作系列：《百花亭贈劍》公開彩排 Jockey Club Local Creative Talent Series: Pavilion of a Hundred Flowers Open Rehearsal 藝術家沙龍 : 京劇與梅派 Artist Salon: Peking Opera and the School of Mui 魔法蝴蝶虛擬實境 Magic Butterfly VR Experience 《佩利亞斯與梅麗桑德》演前講座 Pre-Performance Talk: Pelléas et Mélisande 《卡門》歌劇兒童入門工作坊 Whistle Stop Tour of Carmen Opera Workshop 兒童敲擊樂 Percussion Workshops for Kids 道具及戲服展覽 Props and Costumes Display 歌劇探秘加料演出 LIVE@Opera Adventure 後台參觀：德布西的迷霧秘境 Backstage Tour: Enter the World of Allemonde 舞蹈工作坊：玩轉南非舞蹈大熱身 Dance Workshop: Dance in the Isizhosa Tradition 後台參觀：《博希的奇幻旅程》Backstage Tour: The Fantastic World of Hieronymus Bosch 雜技樂園 Circus Funtasia 藝術家沙龍及紀錄片放映 : 法國戲劇大師雷吉的心路歷程 Artist Salon and Documentary Screening: The Art & Vision of Claude Régy 《葛哈．李希特 – 作畫》Gerhard Richter – Painting 《Bosch：地獄圖繪》Hieronymus Bosch: Touched by the Devil 《卡雅利沙的卡門》Isango Ensemble U-Carmen eKhayelitsha 《博希的奇幻世界》The Curious World of Hieronymus Bosch 《美國芭蕾舞劇院歷史回顧》電影放映 Documentary screening: American Ballet Theatre: A History