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
賽馬會本地菁英創作系列
《百花亭贈劍》 毛俊輝導演作品
Jockey Club Local Creative Talents Series
Pavilion of a Hundred Flowers Directed by Fredric Mao
香港藝術節委約及製作 Commissioned and produced by Hong Kong Arts Festival
粵劇新浪潮計劃 A Cantonese Opera New Wave Project
3 月 Mar
2-4
香港演藝學院歌劇院 Lyric Theatre, HKAPA 演出長約 2 小時 20 分鐘，包括一節中場休息 Running time: approximately 2 hours and 20 minutes including one interval 粵語演出，附中、英文字幕 Performed in Cantonese with Chinese and English surtitles
封面照片 Cover Photograph: © Y.S. Chung 彩排照片（除第 34 頁） Rehearsal Photographs (except p34): © Keith Hiro
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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監製 Producer 香港藝術節 Hong Kong Arts Festival 原著劇本 唐滌生
Original text by Tong Tik-sang
藝術總監、導演及改編 Artistic Director, Director and Adaptation 毛俊輝 Fredric Mao 聯合改編 Co-adaptation 江駿傑 * Kong Chun-kit* 音樂總監及頭架 李章明
Music Director and Lead Musician Li Cheung-ming
戲曲表演指導 洪 海 *
Chinese Opera Performance Advisor
文學顧問 陳守仁
Dramaturg Chan Sau-yan
舞台設計 陳志權 *
Set Designer
服裝及造型設計 譚嘉儀
Costume Designer and Stylist
燈光設計 陳焯華
Lighting Designer
音響設計 袁卓華 *
Sound Designer Yuen Cheuk-wa*
Hong Hai*
Ricky Chan* Mandy Tam Billy Chan
副音響設計及現場混音 Associate Sound Designer and Live Mixing 李善思 Sincere Li
賽馬會本地菁英創作系列
Jockey Club Local Creative Talents Series
香港藝術節於 2015 年得到香港賽馬會慈善
Launched at the 2015 HKAF, the Jockey Club Local Creative Talents Series is a unique partnership between HKAF and the Hong Kong Jockey Club Charities Trust. It is a platform that celebrates the creativity of local talent, with masters, mature artists and young emerging artists collaborating to create new works across different genres that are rarely produced in Hong Kong. These projects require resources, a bold artistic vision and dedicated creative and production expertise. Innovative new works have since premiered through this platform, including chamber opera Datong (2015), urban dance theatre show Danz Up (2016) and music extravaganza Hong Kong Odyssey (2017). Pavilion of a Hundred Flowers is another bold initiative within this series to promote Cantonese Opera in Hong Kong.
信託基金全力支持，展開了賽馬會本地菁英 創作系列這個嶄新創作平台，鼓勵本地藝術 家和人才一起發揮創意，促成大師、前輩 藝術家和年青新進藝術家攜手合作，創作 少有機會在香港演出的不同類型的新作品。 這些製作特別需要資源、大膽的藝術視野和 專業的創作及製作團隊支援。自 2 0 1 5 年， 本地菁英創作系列呈獻了室內歌劇《大同》 （2015）、街舞劇場《炫舞場》（2016）和 大型音樂會《世紀．香港》（2017）。《百 花亭贈劍》是此系列推動香港粵劇文化發展 的嶄新嘗試。
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角色及演員
Cast
江六雲 王志良 #
Wang Zhiliang#
百花公主 林穎施 #
Lin Yingshi#
鄒化龍 洪 海 *
Jiang Liuyun Princess Baihua Zou Hualong
Hong Hai*
八臘內侍 符樹旺 #
Fu Shuwang#
江花右 林芯菱 #
Shirley Lin#
安西王 朱兆壹 *
Prince Anxi Chu Siu-yat*
田翠雲 陳鎧汶 *
Tian Cuiyun Chan Hoi-man*
龍 彪 鄺紫煌
Long Biao
虎 豹 盧銘章 *
Fu Pao
太監及士兵 何希雯 * 梁振文 * 梁鈞賢 * 許家琪 # 黃可柔 *
Eunuchs and soldiers Ho Hei-man*
宮女及士兵 吳敏婷 * 吳穎霖 * 周洛童 * 林貝嘉 * 胡敏嘉 * 楊芷茵 *
Bala the Court Master Jiang Huayou
Kwong Tsz-wong Lo Ming-cheung*
Liang Zhenwen* Leung Kwan-yin* Hui Ka-ki# Wong Ho-yau* Palace maids and soldiers Ng Man-ting* Vina Ng Wing-lam* Chow Lok-tung* Kali Lam Pui-ka* Woo Man-ka*
Yang Zhiyin*
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樂師
Musicians
掌板 Zhangban 梁潤添 Leung Yun-tim 揚琴 Yangqin 賴紅梅 Lai Hongmei 南胡 Nanhu 佘嘉樂 # Share Ka-lok# 毛奕俊 * Mao Yijun* 中胡 Zhonghu 阮 強 Yuen Kung 中胡及南胡 巫文傑
Zhonghu and Nanhu Mo Man-kit
琵琶 Pipa 蕭穎芝 Pamela Siu Wing-chi 大笛、喉管、短筒 宋益民 吳泳霖
Dadi, Houguan and Duantung
Song Yimin Vanessa Ng Wing-lam
古箏 Guzheng 楊彥坤 Yeung Yin-kwan 大提琴 Cello 洪柏根 Hong Baigen 低音大提琴 文潤儀
Double Bass
Jacky Man
薩克斯管 Saxophone 楊贊庭 Yeung Tsan-ting 鑼鼓下手 Luogu 岑世彥（鑼） Cen Shiyan (Luo) 蔡龍川（鈸） Choi Lung-chuen (Bo) 白倩欣 * Bai Qianxin*
藝術節加料節目
賽馬會本地菁英創作系列 -《百花亭贈劍》粵劇公開彩排 Jockey Club Local Creative Talent Series Pavilion of a Hundred Flowers Open Rehearsal
（活動已舉行 past event）
高山劇場新翼一號排演室
New Wing Rehearsal Room 1, Ko Shan Theatre
4.2（日）下午 3:00 - 4:00
4.2 (Sun) 3:00 – 4:00 pm
獨家贊助 Solely 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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製作團隊
Production team
製作經理 陳寶愉
化妝設計 陳明朗 *
舞台監督 陳嘉儀
化妝師 梁碧君 溫筱敏 陳美華
執行舞台監督 李玟蓉
Production Manager
Makeup Designer
Bobo Chan
Chan Ming-long*
Stage Manager
Makeup Artists
Chan Ka-yee
Patsy Leung Betty Wan Jun Chan
Deputy Stage Manager Oliva Li Man-yung
舞台主管 助理舞台監督 Assistant Stage Managers 麥樹榮 盧子晴 Lo Tsz-ching 舞台助理 陳俊銘 Chan Chun-ming 蔡敬堯 演員統籌 Artist Coordinator 鍾嘉華 李祐宗 Jones Lee Yau-chung 陳俊賢 導演助理 Assistant to Director 燈光編程及控制 徐智麟 Chui Chi-lun 謝達誼 服裝主管 Wardrobe Supervisor 電機師 林曉燕 Lam Hiu-yin 伍穎雯 服裝助理 Dresser 燈光工作人員 黃曉欣 Wong Hiu-yan 李嘉雯 梳頭及衣箱 Wardrobe Assistants 陳煒樺 陳凌月桂 Chan Ling Yuet-kwan 馮晞彤 周麗鳳 Chau Lai-fung 羅兆鏵 廖玉燕 Lou Yuk-yin 蔡旻佑 黃月嬌 Wong Yuet-kiu 音響工作人員 黃佐祥 Wong Chor-cheung 任浣儀 張慶雲 Cheung Hing-wan 魏凱儀 英文字幕 余攸英
Stage Chief Mak Shu-wing Stage Crew Choi King-yiu Chung Ka-wah Chan Chun-yin Lighting Programmer and Operator Hsien Tat-yi Production Electrician Ng Wing-man Lighting Crew Lee Ka-man Chan Wai-wah Fung Hei-tung Lo Sio-wa Choi Man-yau Sound Crew
Candy Yam Yuen-yee Cato Ngai Hoi-yee English Surtitles
Grace S.Y. Yee
鳴謝 香港演藝學院戲曲學院、演藝青年粵劇團、桃花源粵劇工作舍、香港文化博物館、港澳非物質文化 遺產發展研究會、三角關係、高山劇場、王德明、白雪梅、李均豪、何梓銘、劉志浩、麥艷堃、魯 氏美術製作有限公司、J-reamy Sound Design and Rental、盛邦興業有限公司 Acknowledgments
The Hong Kong Academy for Performing Arts School of Chinese Opera, The Young Academy Cantonese Opera Troupe, Utopia Cantonese Opera Workshop, Hong Kong Heritage Museum, Hong Kong & Macau Intangible Cultural Heritage Research Centre, Trinity Space, Ko Shan Theatre, Wang Daming, Pak Suet-mui, Lee Kwan- ho, Ho Tsz- ming, Lau Chi- ho, Mak Yim- kwan, L's Fine Arts Production Limited, J-reamy Sound Design and Rental, C'est Bon Projects Corporation Limited * 承蒙香港演藝學院允准參與是次演出 By kind permission of The Hong Kong Academy for Performing Arts # 承蒙演藝青年粵劇團允准參與是次演出 By kind permission of the Young Academy Cantonese Opera Troupe
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分場大綱 序幕 元朝年間，安西王欲造反。元帝派遣鄒化龍兵駐衡山，江六雲潛入王宮探察軍情。 闖宮（上） 百花公主指望為父安西王一報去國之仇。寒梅冷艷，不求花開，耐得人間霜雪。 闖宮（下） 江六雲智闖王宮，竟然受到重用，王城內種種陰謀，看誰先偵破。 贈劍 八臘專權，欲借刀殺人。江六雲醉進百花亭，遇見公主，一場騙局，瞬間轉危為機。 過營 江六雲入贅王宮，招為駙馬，這夜，他暗訪衡山，尋求和解之道。鄒化龍與江花右夫妻重聚……
— 中場休息 —
盤夫 北風肅殺，梅花飄落，江六雲回返百花宮，向公主交心，估不到掀起了一場血色的風暴…… 決戰（上） 鄒化龍私自出兵，觸怒朝廷，是生是殺，是留是放？恐懼當前，盡顯人性的醜陋。 決戰 （下） 鄒化龍逼使江六雲出戰，勸公主撤走綠林軍。覆巢下，只有恩怨情仇四字。 尾聲 天涯海角，梅花盛開，衝破桎梏，逆風策馬奔馳，誰在聲聲呼喚？
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Scene Synopsis Prologue During the Yuan Dynasty, Prince Anxi is conspiring to lead a revolt against the Emperor. The Emperor sends Zou Hualong to Hengshan with an army, while he recruits Jiang Liuyun as an undercover agent to keep watch on Prince Anxi. Into the Palace (part one) Princess Baihua wants to avenge her father, the Prince Anxi, whose kingdom has been usurped from him. She is like a plum blossom which seeks not to bloom in winter, but only to withstand the frosty world. Into the Palace (part two) Jiang Liuyun enters Prince Anxi’s court undercover. Traps and conspiracies abound, and Jiang must watch his steps carefully. Gifting the Sword Bala, the manipulative master of the court, has murderous plans but does not want to get blood on his hands. An intoxicated Jiang Liuyun enters the forbidden Baihua (Hundred Flowers) Pavilion, as a trap turns from crisis into an opportunity. Visiting the Enemy's Camp Jiang Liuyun marries into Prince Anxi’s court as fuma (royal son-in-law). On the same night, he secretly goes to Hengshan to negotiate peace. Zou Hualong reunites with his wife Jiang Huayou.
— Intermission — Interrogating the Husband The fearsome north wind blows, and the plum blossoms fall. Jiang Liuyun returns to Baihua Pavilion, unaware of the bloody episode that is soon to unfold. The Battle (part one) Zou’s attack without prior permission has angered the royal court; Jiang Liuyun has a decision to make: to live or to die, to stay or go? The situation takes a drastic turn. The Battle (part two) Zou Hualong forces Jiang Liuyun to persuade the Princess to retreat. In these chaotic times, gratitude and regret, love and enmity become entangled. Epilogue At the edge of the world, the plum blossoms bloom, and bonds are broken. The young ride against the wind, but who is calling from afar?
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導演的話
毛俊輝
2018 年香港藝術節演出的粵劇《百花亭贈劍》
突顯出全劇「尋求解放」的主題。表演方面，通
屬於藝術節開拓的一個嶄新平台，並且是香港
過與這群有潛力的年青演員的合作，在尊重傳统
賽馬會慈善信託基金贊助的「本地菁英創作系
表演的基礎上，深化對角色的認知，增強本身「創
列」的首個粵劇新作品，以此探討粵劇探討粵
造力」（creativity）的意識。至於音樂，在李章明
劇的一些新方向。而我被邀請擔任今次粵劇創
老師的指揮下，亦同樣讓新舊結合起來，有意探
作的藝術總監兼導演，也非常樂意與一群年青
討戲曲的新面貌。
人去作出嘗試，特別挑選了一部講述年輕戀人 尋求解放及追逐夢想的戲。
在改編方面，特別值得一提的是我與江駿傑的分 工。我負責將原本三個多小時的戲濃縮至心目中
以往我曾多次在導演的作品中，融入戲曲的元
較為理想的長度，這牽涉到分析內容的輕重及保
素，近年來最為人熟悉的可能是 2 0 1 0 年香港
留結構的完整性。江駿傑可以自由地在新材料上
藝術節的《情話紫釵》。但今次我的重點是放
作不同的嘗試，而我就選擇怎樣與原創的故事核
在一個較為全面的版圖上，有意通過排演《百
心接軌。由於戲曲的劇本是為表演而設的，故此
花亭贈劍》去審視整個粵劇的創作過程。從劇
在改編中必須注意人物的處理，需要在不乏戲劇
本 改 編， 到 表 演 手 法、 音 樂 處 理、 製 作 設 計
性的情節中，確保角色都有最合適的表演機會。
等等，以至排練的方式和機制都嘗試作一番探 討。看看現代劇場的創作模式是否對傳統粵劇 有值得借鏡的地方？
希望《百花亭贈劍》的演出，作為整個藝術團隊 的誠意之作，能得到廣大觀眾的認同，並誘發更 多非戲曲的觀眾對我們為粵劇「探路」的演繹感
《百花亭贈劍》的演出，不是單純傳統粵劇的
興趣，給予鼓勵和支持。這次演出不但得到藝術
演繹，而更多是尋找戲曲與現代劇場的結合。
節在製作上的鼎力支持，令我尤其感動的是，在
我和青年編劇江駿傑一開始已有共識，根據原
藝術視野上的共通處，要求以兩個半小時之內的
劇的故事，提供較為新穎、具邏輯性的調度，
戲為演出長度的決策，便是其中一個典型例子。
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Director’s Note This Hong Kong Arts Festival presentation of the Cantonese opera Pavilion of a Hundred Flowers is the first time the Hong Kong Jockey Club Charities Trust is sponsoring a Cantonese opera as part of its Local Creative Talents Series. This presentation provides the Arts Festival with new platforms to push the development of Cantonese opera into new directions and fresh territory. Having been invited to assume the position of artistic director and director of this Cantonese opera production, I am extremely glad to have worked with a group of young people in this endeavour. I purposefully selected an opera where the storyline tells of young lovers seeking liberation and chasing their dreams. In many of my past directorial productions, I delved into the elements of traditional opera, the most familiar production in recent years being The Liaisons (2010). This time, however, I placed my focus on a more comprehensive overview, with the aim of using the process of rehearsing Pavilion of a Hundred Flowers to closely study the entire creative process of Cantonese opera. I attempted to analyse every aspect of the production process, including script editing, performance methods, the handling of the music, the planning, and the methods and mechanisms of rehearsals. The aim was to see if modern theatrical production methods could contribute anything towards sparking new developments in traditional opera. As such, this opera will not just be an interpretation of a traditional performance, but rather will seek to unite traditional opera and contemporary theatre. Right from the start, the young playwright Kong Chun-kit and I stood on common ground; beginning with the opera’s original arrangement, we made some new and logical adjustments which conspicuously highlighted the opera’s theme of “seeking liberation”. On the performance side, with the cooperation of these promising young actors,
Fredric Mao we were able to deepen our understanding of the roles and enhance our awareness of “creativity”, while respecting the foundations of traditional performance techniques. Under the conductorship of maestro Li Cheung-ming, the music was similarly a union between old and new, with the aim of giving a new face to traditional opera. It is worth mentioning how Kong Chun-kit and I shared the adaptation task. Since I was responsible for shortening the original three-and-a-half hour long play to an ideal length, I placed much emphasis in the core value of each scene as well as maintaining a cohesive structure of the whole play. While Kong might freely experiment with newly written materials, I would keep my eye on how to form links with the original story. And since the performance aspect is the essence of Chinese opera, I had to make sure that, within the dramatic development of the play, all parts are given an appropriate chance to excel. As a representation of the entire art team’s sincerity, I hope this performance of Pavilion of a Hundred Flowers will be able to win the audience's approval, move more non-opera audiences to take an interest in our efforts to find “new paths” for Cantonese opera, and gain their encouragement and support. This performance has already received the full production support of the Arts Festival, but what has especially moved me is the shared artistic vision, a typical example being the decision to keep the play confined in a two-and-a-half-hour long performance.
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舞台二字，廣闊無邊
The Boundless Stage
江駿傑
Kong Chun-kit
一代有一代的粵劇，唐滌生先生編寫《百
Cantonese operas reflect the sensibilities of the eras in which they were written. More than half a century has passed since Mr Tong Tik-sang wrote Pavilion of a Hundred Flowers; some of the views on love and power depicted in the opera resonate to this day, while others embody values from the past. I am grateful to Mr Frederic Mao for his trust in inviting me to join him in adapting Pavilion of a Hundred Flowers for the contemporary stage. This rendition draws from the essence of the original story and sets out to redefine contemporary aesthetic value: the shift from “the beauty of form” to the beauty of “genuine feelings”.
花亭贈劍》至今逾半世紀，劇中對愛情 與權力的看法，與今天有同有異，感謝 毛俊輝老師信任，帶領參與創作，同為 《百花亭贈劍》下一個當代註腳，在原 故事的基調上，重塑當代美學價值：從 「形式美」走到「真情實感」的美。 第五場至尾聲是重新編寫的，是在劇本 確立主題後，為每個人物增設面對抉擇 的「兩難處境」，以多面向思考人性碰 撞與內心變化，探討能否擺脫一個世俗 公認的基本面。過程中，省去大量功能 化表演的框架，將百花公主與江六雲的 愛恨情仇突顯出來。 至於尾聲，是創作的重點，也是呼喚當 代主題的關鍵。探討當代年青人面對各 種權力的綑綁時，該如何抉擇：死亡是 唯一出路嗎？這裏，彷彿聽到一種呼喚， 是最純真、最真摯、最赤裸的回歸：愛 情。一曲〈漢宮秋月〉寄意自我解放心 靈，呼應第二場主題曲，也向唐先生回 一份敬意。 人心非舊，舊戲新編，同時也梳理全劇 脈絡，減去原劇的次要角色，將主線集 中在兩位主角與眾涉事者身上。在毛老
Scene Five and the Epilogue were written especially for this adaptation. After establishing the theme of the script, we envisaged and portrayed in these two acts the “dilemma” that each character faces. They examine conflicts in human nature and the changes within the characters from different perspectives, as well as exploring whether it is impossible for one to break free from the façade of conventionality. In penning these two scenes, we removed the more straightforward drama of the original version, so as to highlight the entanglement between Princess Baihua and Jiang Liuyun. The Epilogue is the heart of this artistic and creative endeavour since it illuminates the contemporary theme of the work. It explores the choice faced by young people today when faced with the shackles of power: Is death the only way out? I could almost hear the cry that is the purest, most genuine, most naked reply possible: love. The song The Palace of the August Moon evokes a soul that liberates itself; it echoes the theme song of Act Two, and pays tribute to Mr Tong.
師指導下，改編劇本時為每場找戲劇重 點與動機，無論鋪排、增刪與意象運用， 都有全盤考量。且在排練過程裏不斷調 教與修改，原來改編不只是閉門的事， 而是與團隊共同經營、共同進退的，舞 台二字，廣闊無邊。
Times change, and we with them. In updating this classic opera, we intensified the plot and removed the original version’s secondary characters; instead the main plot revolves around the two protagonists and other characters who form part of the dramatic action. Under Mr Mao’s guidance, I sought to highlight the crux of the drama and the motives in each scene, giving a great deal of thought to the way the plot should unfold, the elaboration or elimination of dramatic details and the use of imagery. The script also went through repeated fine-tuning with numerous revisions during rehearsals. As it turns out, adaptation is not something one toils away at in solitude, but a team effort and an artistic pursuit on a boundless stage.
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《百花亭贈劍》與唐滌生精神
陳守仁
1958 年，香港著名編劇家唐滌生（1917-1959）
禍得福，與百花公主結成夫婦。第三場述江六雲
為吳君麗（生於 1930 年）、何非凡（1919-1980）
偷偷回到鄒化的軍營，懇請鄒化龍放公主一條生
等紅伶領導的「麗聲劇團」編寫《百花亭贈劍》，
路。在第四場，公主識破「海俊」的真正身份，
並於 10 月 20 日在九龍「新舞台戲院」首演。當
並誤會他騙婚騙情，六雲百辭莫辯；鄒化龍攻進
時參與「開山」的主要演員，除了吳君麗、何非
王宮，幸公主化身脫險。在尾場，公主率領江湖
凡分別扮演百花公主、江六雲外，還有「丑生
義士擬救父王，終棄劍投降；鄒化龍突然請安西
王」梁醒波（1908- 1981）飾演宦官八臘、麥炳
王上座，並坦言只要安西王放棄謀反，兩方便可
榮（1915- 1984）飾演征西元帥鄒化龍、鳳凰女
媾和。
（1925- 1992）飾演六雲的失散姐姐江花右，和 「武生王」靚次伯（1905- 1992）飾演蓄志謀反 的安西王。
今天回顧此劇，發覺它故事曲折緊張媲美荷李活 電影、生旦浪漫癡情不減「任白戲」、唱段動聽 彰顯「凡腔」的「靈性」、女主角能文能武突顯
據唐滌生在首演特刊中說，他編寫此劇，多少是
傳統戲曲對演員的嚴謹要求，但結尾草草，似乎
因緣巧合。一向鍾情古典戲曲的他，把任何宋、
當年有「趕工起貨」之嫌。
元、明、清曲目的曲本，常常視為瑰寶，即使是 斷簡殘篇，亦必緊密收藏。他說：「一年前偶過 荷李活道書肆之中，得見《百花亭》手抄二本， 即為今日錄下之《設計》、《贈劍》兩折，但已 毀於蟲鼠，失卻本來面目，費一月之時間，補句 填字，強能完整，並用以為改編《百花亭贈劍》 之藍本，雖橋段與佈局不同，此孤本實為啟發我 改編是劇之主要素材」；又說：「我曾費了近三 個月的時光把《百花亭贈劍》的故事編成完整， 除了保持了固有優美的傳統藝術以外，還加重了 劇中的矛盾力，和誇耀了這戲的主題力量。」 唐氏努力的成果，是一齣「美麗動人」的《百花 亭贈劍》。據現存於香港文化博物館的「麗聲 劇團」開山本，原劇以安西王招兵買馬、蓄志謀 反，朝廷派遣元帥鄒化龍統領江六雲等「十二路 御史」加以監視為背景，全劇分為五場。頭場除 介紹安西王宮內的主要人物外，敘述江六雲化名 「海俊」，成功混進王府。第二場敘述江六雲因
縱觀唐滌生的劇作一向重視創新、突破、隨演隨 改、精益求精，今晚大家看到的江駿傑和毛俊輝 全新的《百花亭贈劍》改編版本，企圖注入新時 代的新氣息，可以說是唐滌生精神的承傳。本人 有幸在因緣巧合下獲邀參與此中，提出了一些個 人對傳統劇本承傳的看法，總算是藉研究回饋了 創作。研究服務於創作，但若停滯不前，總會有 過時的一天；只有具突破性的改編和創作才是萬 古常新的。期盼是次《百花亭贈劍》的製作既能 鼓動更多突破性的改編，亦能啟發更多緊扣時代 的粵劇創作。
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The Pavilion of a Hundred Flowers and the Spirit of Tong Tik-sang In 1958, the well-known Hong Kong librettist Tong Tik-sang (1917-1959) wrote the opera Pavilion of a Hundred Flowers for the Lai Sing Opera Troupe led by opera stars Ng Kwan-lai (born 1930) and Ho Fei-fan (1919-1980). The opera premiered on 20th October at the Apollo Theatre in Kowloon. The stars who took part in this ground-breaking performance included not only Ng Kwan-lai and Ho Fei-fan, who played the roles of Princess Baihua and Jiang Liuyun respectively, but also “the king of the comic role” Leung Sing-por (1908-1981), who played the role of eunuch Bala, Mak Bing-wing (1915-1984) who played the role of marshal Zou Hualong, Fung Wong-nui (1925-1992) who played the role of Liuyun’s long lost sister Jiang Huayou, and “the king of the young martial role” Lan Chipat (1905-1992), who played the role of the ambitious rebel Prince Anxi. Tong Tik-sang wrote in the opening night programme that he was destined to write this opera. He had always loved ancient operas, and would collect and treasure any fragments of Song, Yuan, Ming and Qing dynasty opera libretto books that he came across. He said “a year ago while browsing in a book store on Hollywood Road I came across two hand written volumes of Pavilion of a Hundred Flowers, which eventually became the acts ‘The Scheme’ and ‘Presenting the Sword’ in my version of the opera. The two volumes were badly damaged by insects and rodents and I spent a month filling in missing words and phrases to make it as complete as possible. This formed the blue print for my version of Pavilion of a Hundred Flowers. Although the staging and arrangement are different, my adaptation is inspired by this important source.” Tong went on to say “I dedicated almost three months to completing my adaption of Pavilion of a Hundred Flowers. Apart from preserving the beauty of this traditional art form, I added to the dramatic tension and intensified the main themes.”
Chan Sau-yan
The fruit of Tong’s labour is the beautiful and moving opera, Pavilion of a Hundred Flowers. In the original script written for the Lai Sing Opera Troupe, now kept in the Hong Kong Heritage Museum, the opera uses the rebellious ambitions of Prince Anxi and the plan to infiltrate his plot as its backdrop, told in five acts. The first scene, apart from introducing the main characters in Prince Anxi’s palace, also tells how Jiang Liuyun assumes the name “Haijun” and gains access to Prince Anxi’s residence. In the second scene, we see how Jiang’s misfortune turns to good luck when he marries Princess Baihua. In the third scene, Jiang steals back to Zou Hualong’s camp to implore him to spare Princess Baihua’s life. The Princess discovers Jiang’s true identity in the fourth scene, and misconstrues his feelings for her as just a ploy to trick her. Jiang tries to explain but to no avail. Zou breaks into Prince Anxi’s palace, and the Princess hides her identity and manages to escape. In the final scene, The Princess leads a band of righteous followers to save her father, but ends up surrendering her sword and capitulating. Zou unexpectedly invites Prince Anxi to take a seat of honour, and tells him that if he is willing to give up his rebellious plans, they can make peace. In watching this performance again today, we find that its plot twists are comparable to any Hollywood movie, the romance between the leads does not lose out to the chemistry in the performances between Yam Kim-fai and Pak Suetsin, the singing is imbued with the spirit of Ho Feifan’s style, and the young female role’s display of grace and elegance on one hand, and martial skills on the other, speaks of the demands traditional opera puts on its performers. One criticism at the time, possibly due to time constraints, was the hasty ending. Since Tong Tik-sang’s works always looked towards innovation, breaking new ground, flexibility and the
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pursuit of excellence, presented here tonight is Kong Chun-kit and Fredric Mao’s brand-new adaptation of Pavilion of a Hundred Flowers. In a continuation of Tong Tik-sang’s spirit, this production aims to bring a new flavour to the story for our new times. It is my fate that I am fortunate enough to have been invited to contribute my views on the legacy of traditional opera scripts, with my research being fed back into the creation of this new work. If research in the service of creation were to cease, there would come a time when traditional opera would become passé. Only with ground breaking adaptations and creative innovation can ancient arts remain fresh and relevant. It is my hope that this presentation of Pavilion of a Hundred Flowers can encourage more ground-breaking adaptations and inspire the creation of more Cantonese operas with a contemporary flavour.
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打開粵劇之門：《百花亭贈劍》的當代精神
草草
「大家都覺得我對中國戲曲有着某種程度的熟悉
倌就是『導演』，所有的東西都是他們創造出來，
和很深的感情，但不知道，其實中國戲曲是我的
帶着一班人去做。但是劇場要發展，就不能像舊
first love（初戀）！我小時候第一種接觸的表演
時那樣簡單。歌劇的發展就是例子，舊時也不重
藝術就是中國戲曲，而且是廣東大戲！」《百花
視導演，而是指揮和歌唱家最重要。但是歌劇發
亭贈劍》改編及導演毛俊輝（毛 s i r）說，自己
展到現在，很重要的，是要有 interpretation ―要
一直看戲、愛戲，雖然不是梨園中人，但不論是
看導演怎麼演繹。」
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。
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
這想法與香港藝術節的看法不謀而合。香港藝術
戲曲，就要以他們的審美眼光來看。現代劇場要
節副節目總監蘇國雲認為，近十年來粵劇雖有
做的，是探討怎麼敘述故事、怎麼去發展主題，
發展，但藉着這次賽馬會本地菁英創作系列提供
以及怎麼與演員磨合。除了表演上的掌握，他們
的專業粵劇創作平台，以及毛俊輝對戲曲的深厚
對戲和人物也要有深入的理解。這裏頭有很多步
理解和對現代劇場的精熟掌握，正好從藝術、演
驟，等於說，我是在導演一個現代的 drama（戲
出、製作各方面，對粵劇製作進行一次全面深入
劇），只是採取了傳統戲曲的形式。」用現代眼
的探索，為未來粵劇的發展探新路。
光來重新看唐滌生筆下百花公主與江六雲贈劍訂
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
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
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一種他們能理解、能感受到的作品。所謂用現代
所以，作為賽馬會本地菁英創作系列的第一個專
美學的觀點來做粵劇，就是給觀眾打開這世界的
業粵劇製作，《百花亭贈劍》除了藝術創作上的
門。他們進去以後，可以再去慢慢發掘程式的豐
創新實驗外，還有着更大的期許，那就是在探索
富和美好。」
戲曲的現代製作方式上走出第一步。「怎麼去生
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》（2015）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。」
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。」
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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 Kwokwan 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:
Cao Cao
“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
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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.”
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唐滌生（1917-1959）
Tong Tik-sang
唐滌生，原名唐康年，廣東中山人，1 9 1 7 年生
Tong Tik-sang was born in Heilongjiang province in 1917, but his family hailed from Guangdong province. His parents died during the Japanese bombardment of Shanghai in 1937, and Tong Tiksang was forced to go first to Guangzhou and then to Hong Kong in 1938. In Hong Kong, Tong joined the Kok Sin Sing Opera Troupe led by Sit Koksin. He started as a transcriber, and later at the encouragement of the troupe’s leader and noted librettist Fung Chi-fun he took up writing libretti as a career.
於黑龍江。1937 年，日軍轟炸上海，旅居上海 的唐氏父母先後辭世，唐滌生被迫輟學，南下廣 州，翌年流徙香港。在港期間，唐滌生加入名伶 薛覺先領導的「覺先聲劇團」，負責抄曲，之後 轉為編劇，深得薛覺先和著名編劇家馮志芬賞 識，二人更積極鼓勵他從事編劇工作。 五十年代的唐滌生，已成為炙手可熱的編劇家， 幾乎所有粵劇紅伶均有演出他所編撰的劇本，其 中包括薛覺先、馬師曾、紅線女、鄧碧雲、何非 凡、麥炳榮、吳君麗、羅艷卿等。1 9 5 6 年，任 劍輝和白雪仙羅致著名「武生王」靚次伯及「丑 生王」梁醒波等人，成立「仙鳳鳴劇團」，聘用 唐滌生為駐團編劇，演出改編元、明、清三代的 劇本。 此時，唐滌生的編劇技巧已經完全成熟，主題深 刻有力，詞藻清麗傳情，場口緊扣，風靡萬千戲 迷，所撰名劇諸如《牡丹亭驚夢》、《蝶影紅梨 記》、《帝女花》、《紫釵記》、《紅樓夢》、 《再世紅梅記》等，更成為香港粵劇的經典瑰寶。 唐滌生為「麗聲劇團」所撰的《百花亭贈劍》， 則於 1958 年 10 月 20 日由吳君麗、何非凡、麥 炳榮、鳳凰女在九龍新舞台（今青山道）首演。 1959 年 9 月 14 日，唐滌生在利舞台欣賞新劇《再 世紅梅記》時，不幸腦溢血突發，昏倒席上，送
By the 1950s, Tong Tik-sang was already known for his popular operas. Most of the top Cantonese Opera stars, including Sit Kok-sin, Ma See-tsang, Hung Sin-nui, Tang Bik-wan, Ho Fei-fan, Mak Bingwing, Ng Kwan-lai and Law Yim-hing appeared in his works. In 1956, Yam Kim-fai and Bak Suet-sin established the Sin Fung Ming Opera Troupe with Leng Chibak and Leung Sing-bo. They engaged Tong as their resident librettist to rewrite the operas of the Yuan, Ming and Qing dynasties. By this time, Tong Tik-sang’s skills as a librettist had matured. His operas such as Dream of Peony Pavilion, Butterfly Shadowed Red Pear Chronicle, Princess Changping, Legend of Purple Hairpin, Dream of the Red Chamber and Reincarnation of Lady Plum Blossom have since then been regarded as the canon of Hong Kong Cantonese operas, winning him fans throughout the years.
往醫院搶救，延至翌日凌晨不治，享年四十二 歲。
Tong Tik-sang wrote the original Pavilion of a Hundred Flowers for the Lai Sing Opera Troupe. The production opened on 20th October 1958 at the Apollo Theatre, Kowloon (on Castle Peak Road, now demolished) with a cast featuring Ng Kwan-lai, Ho Fei-fan, Mak Bing-wing and Fung Wong Nui. During the premiere of Reincarnation of Lady Plum Blossom on 14 September 1959, Tong Tik-sang suffered a brain haemorrhage. He died the following day aged 42.
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毛俊輝
藝術總監、導演及改編
資深戲劇藝術家，著名舞台導演，早年赴美進修戲劇並長期在當地從事專業演與導工作，回港後出任香港演藝學 院戲劇學院表演系主任，為本地演藝界培育眾多出色的接班人。2001 至 2008 年擔任公司化後的香港話劇團首任 藝術總監，卸任時獲頒「桂冠導演」名銜。多年來執導不少具香港文化色彩，均叫好叫座的劇目，其中包括《酸 酸甜甜香港地》、《還魂香 / 梨花夢》、《新傾城之戀》、《情話紫釵》、《杜老誌》等等。曾為中國國家京劇 院執導改編自《德齡與慈禧》的京劇《曙色紫禁城》，又為康文署主辦的中國戲曲節導演粵劇《李後主》新繹本。 2014 至 2016 年被邀出任香港演藝學院戲曲學院創院院長。
Fredric Mao
Artistic Director, Director and Adaptation
Renowned theatre master and stage director Fredric Mao studied theatre and practiced professionally in the US, and later returned to Hong Kong as the Head of Acting of School of Drama of the Hong Kong Academy for Performing Arts, bringing up generations of local young talent. He became the first Artistic Director of the incorporated Hong Kong Repertory Theatre in 2001. He was bestowed the honourific title of “Director Laureate” of HKRT upon his departure in 2008. Mao has directed many distinguished stage productions with a Hong Kong cultural flair, such as Sweet & Sour Hong Kong, Secret of Resurrection, Love in a Fallen City, The Liaisons, Tonnochy. Mao directed Emperor Dowager and Princess Deling, a newly created Peking Opera for the National Peking Opera Company in Beijing, and adapted/directed a new Cantonese Opera production of The Last Emperor of Tang at the LCSD’s Chinese Opera Festival. At the invitation of HKAPA, Mao became the Founding Chair of its newly established School of Chinese Opera from 2014 to 2016.
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江駿傑
聯合改編
首屆中國戲劇家協會全國青年音樂家研修班學員、中國戲曲音樂學會會員、香港 藝術發展局 2012 年藝術新秀獎（戲曲）及專欄作者。編劇作品包括《英雄罪》、 《十二道金牌》、《搬家》，2013 年與著名編劇家杜國威先生合編戲曲《珍珠衫》。 早年於八和粵劇學院接受傳統訓練，現就讀於香港演藝學院。
Kong Chun-kit Co-adaptation Kong Chun-kit completed the inaugural Chinese Theatre Association National Youth Opera Musicians Programme (class A) and is a member of the Chinese Theatre Music Society. He was also the recipient of the HKADC Award for Young Artist (Chinese Opera) in 2012 and a columnist. Works written include The Sin of Hero, Without Reason and To Make a Move. In 2013, he co-wrote the Chinese opera The Pearl Shirt with renowned playwright To Kwok-wai. Kong trained in traditional Chinese opera at the Cantonese Opera Academy of Hong Kong before enrolling at HKAPA where he is currently a student.
李章明
音樂總監及頭架
李章明是深圳市粵劇團始創人之一，並是該團音樂首席，也負責該團編曲和指揮。 李氏也是香港作曲家及作詞家協會會員。他曾在香港多個專業劇團和戲曲演唱會 擔任音樂領導和參與編曲和音樂配器。 在 2 0 1 0 年代表香港參加中國上海世博會 演出，負責由毛俊輝導演的舞台劇《情話紫釵》之粵樂設計和統籌。現在是恆青 曲藝社社長。
Li Cheung-ming
Music Director and Lead Musician
Li Cheung-ming co-founded the Shenzhen Cantonese Opera Troupe, where he now serves as troupe master, arranger and conductor. Li is also member of the Composers and Authors Society of Hong Kong. He has directed and arranged music for various professional theatre and Chinese opera productions in Hong Kong. In 2010, Li was Cantonese Opera Music Designer for Fredric Mao’s The Liaisons, a production featured as HKSAR Programme for Shanghai World Expo 2010. He chairs the Evergreen Chinese Opera Musical Club.
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洪 海
戲曲表演指導
生於廣州。畢業於廣東粵劇學校及香港演藝學院戲曲學院。曾為紅豆粵劇團主要 演員，主攻文武小生。師承粵劇表演藝術家羅品超，深得劉洵、許堅信、鄺宏基、 胡芝風、麥惠文等名師指導。代表劇目有《三打白骨精》、《拜將台》、《馬上 良緣》、《五郎救弟》、《武松》等。作為演員及戲曲指導，曾多次參與香港話 劇團、香港演藝青年粵劇團、桃花源粵劇工作舍等團體的大型製作。演出足跡遍 佈美、加、韓國及歐洲等地。201 7 年創辦碧海粵劇團，致力於保存與宏揚中國傳 統文化。
Hong Hai
Chinese Opera Performance advisor
Hong Hai was born in Guangzhou. He graduated from the Guangdong Cantonese Opera School and the HKAPA School of Chinese Opera. Hong was a leading actor in the Guangzhou Hongdou Cantonese Opera Troupe, and mainly plays wenwusheng (male military and civil) and xiaosheng (young leading male) roles. He studied under Cantonese opera performer Lo Pan-chiu, and was mentored by veterans such as Liu Xun, Hui Kin-shun, Kuang Hongji, Hu Zhifeng and Mak Wai-man. His notable repertoire includes The Monkey King Thrice Beats the Bony Ghost, Arena, Warriors’ Romance, Yang Wulang Saving His Younger Brother and Wu Song. As an actor and Chinese opera acting coach, Hong has collaborated with the Hong Kong Repertory Theatre, Hong Kong Young Academy Cantonese Opera Troupe and Hong Kong Utopia Cantonese Opera Workshop in major productions. Hong has performed overseas in the US, Canada, Korea and Europe. He founded the Azure Seas Cantonese Traditional Theatre in 2017 with a vision to preserve and promote traditional Chinese culture.
陳守仁
文學顧問
陳守仁早年在香港中文大學及美國匹茲堡大學分別取得音樂學士及博士學位， 1987 年至 2007 年在香港中文大學音樂系任教，講授粵劇及香港音樂等課程。他 2008 年初移居英國威爾斯，2015 年回香港定居；現從事粵劇劇本研究和劇本整理 的工作。
Chan Sau-yan
Dramaturg
Chan Sau-yan read music at the Chinese University of Hong Kong before he attained his doctorate at University of Pittsburgh, USA. He taught at the music department of the Chinese University from 1987 to 2007. After spending seven years in Wales (UK), he returned to Hong Kong in 2015. He is now a researcher, writer and volunteer. His publications include over twenty books on Cantonese opera. Currently he is studying the popular repertory of contemporary Cantonese opera.
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王志良
江六雲
先後畢業於廣東粵劇學校及香港演藝學院，工文武生，唱做俱佳，尤以腰腿功及 長靠戲見長。學習粵劇十多年，在香港演藝學院學習期間，得到戴成焜、賈君祥、 邢金沙等老師的悉心教導及器重，亦得到崑劇名家林為林老師親身教導 。2 0 1 1 年加入香港演藝青年粵劇團。2 0 1 4 年獲西九戲曲中心粵劇新星展演「優秀表演 獎」。
Wang Zhiliang
Jiang Liuyun
Wang graduated from the Guangdong Cantonese Opera School and HKAPA, specialising in the wenwusheng (principal male) and xiaosheng (supporting male) roles and excelling in singing and acting. At HKAPA, he learned from teachers such as Tai Shing-kwan, Jia Junxiang and Ying Kam-sha. Wang also studied with veteran Kun opera performer Lin Weilin. Wang joined the Hong Kong Young Academy Cantonese Opera Troupe in 2011. In 2014, he won the Outstanding Performance Award at the Rising Stars in Cantonese Opera Showcase organised by the West Kowloon Cultural District.
林穎施
百花公主
獲廣州振興粵劇基金會全資獎學金畢業於廣東粵劇學校，2 0 0 7 年獲演藝學院友誼 舍全資獎學金入讀香港演藝學院，現在香港演藝青年粵劇團擔綱花旦。及擔任演 藝學院戲曲學院應用學習課程粵劇導師，師從著名粵劇表演藝術家鄭培英及倪惠 英，曾榮獲全國群星獎、全國明日之星稱號、省港澳四洲杯粵曲大賽冠軍、廣東 省曲協杯金獎、廣州市少兒粵劇大賽冠軍、南方電視台「敢拼才會影」歌影視大 賽冠軍等多個獎項及榮獲獎學金到北京中國戲曲學院深造。
Lin Yingshi
Princess Baihua
Lin Yingshi graduated from Guangdong Cantonese Opera School and HKAPA with full scholarships from the Guangzhou Zhenxing Cantonese Opera Foundation and the Society of the Academy for Performing Arts respectively. She is currently headline huadan (young female) at the Hong Kong Young Academy Cantonese Opera Troupe, and teaches the HKAPA School of Chinese Opera Applied Learning Course. Lin studied with renowned Cantonese opera performers Cheng Pui-ying and Ni Huiying. Lin’s numerous awards received include the National Qunxing Award, National Future Star title, champion of Guangdong-Hong Kong-Macao Four Seas Cup Cantonese Opera Contest, the Guangdong Provincial Musicians’ Association Cup Gold Prize, the Guangzhou City Young Performers Cantonese Opera Competition First Prize and the TVS Music-Television-Film Competition First Prize. She also attended the National Academy of Chinese Theatre Arts on scholarship.
洪 海
鄒化龍
個人簡歷請見第 39 頁。
Hong Hai Please see p.39 for biography.
Zou Hualong
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符樹旺
八臘
符樹旺十九歲進入粵劇培訓班學藝，2013 年就讀香港演藝學院，2015 年畢業後加 入香港演藝青年粵劇團。專攻文武丑生，功底扎實，唱、做、唸、打俱佳。多年 來演出名劇包括有《擋馬》、《十五貫》、《三岔口》、《活捉張三郎》等文武 丑生戲大並受觀眾好評。
Fu Shuwang
Bala
Fu Shuwang began learning the Cantonese opera arts in class aged 19, before studying at HKAPA. He joined the Hong Kong Young Academy Cantonese Opera Troupe after graduation. Fu specialises in the wenwusheng (principal male) and chou seng (male comic) roles. He possesses solid performing skills, excelling in the "four basic skills" of singing, acting, speech and martial arts. Fu’s repertoire includes Stop the Horse, Fifteen Strings of Cash, At the Crossroads and Catching Sanlang Alive. They received acclaim.
林芯菱
江花右
2003 年畢業於湛江藝術學校，工花旦、刀馬旦。曾效力佛山粵劇院。2011 年投考 香港演藝學院戲曲課程繼續深造，其間跟隨胡芝風、黃德正、黃綺雯、葉安怡、 邢金沙等老師學藝。現任香港演藝青年粵劇團花旦。獲邀美國、加拿大、澳洲、 新加坡、台灣等地演出獲好評。
Shirley Lin
Jiang Huayou
Lin graduated from the Art school of Zhanjiang in 2003, specialising in the dan (female) roles of huadan (young female) and daomadan (warrior female). She has previously worked at the Foshan Cantonese Opera House. Lin continued her study in the HKAPA Chinese opera programme, where she learned from teachers Hu Zhifeng, Wong Tak-ching, Wong Yee-man, Ye Anyi and Ying Kam-sha. She currently plays huadan in the Hong Kong Young Academy Cantonese Opera Troupe. Lin was invited to perform in the US, Canada, Australia, Singapore and Taiwan where she received acclaim.
朱兆壹
安西王
朱兆壹，工生行。香港演藝學院戲曲深造文憑畢業，現正修讀戲曲藝術學士學位 四年級，在進修及實踐中努力學習舞台表演藝術。曾獲全港青年粵曲比賽（20162017）青年獨唱組亞冠。演出劇目有《搶傘》、《鐵馬銀婚》、《脫穽救裴》、《千 里送京娘》、《泗水關》、《西河會妻》等。
Chu Siu-yat
Prince Anxi
Chu Siu-yat specialises in sheng (male) roles. He holds an Advanced Diploma from HKAPA and is currently in his fourth year pursuing a Bachelor of Fine Arts (Honours) Degree in Chinese Opera. Chu endeavours to learn the art of stage performance in both studies and practice. He won the second prize at the Hong Kong Youth Cantonese Songs Singing Competition (2016-2017). His repertoire includes "Snatching the Umbrella" from The Blessing of the Moon, Conspiracy behind the Marriage of Princess Yin Ping, Rescuing Pei from Trap, Accompany Jinniang for Thousands of Miles, Gate at Si River and Reunion with My Wife by West River.
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其他演員 Ensemble cast
陳鎧汶 飾 田翠雲 Chan Hoi-man as Tian Cuiyun
鄺紫煌 飾 龍 彪 Kwong Tsz-wong as Long Biao
盧銘章 飾 虎 豹 Lo Ming-cheung as Fu Pao
梁振文 Liang Zhenwen
楊芷茵 Yang Zhiyin
吳穎霖 Vina Ng Wing-lam
梁鈞賢 Leung Kwan-yin
何希雯 Ho Hei-man
許家琪 Hui Ka-ki
黃可柔 Wong Ho-yau
吳敏婷 Ng Man-ting
周洛童 Chow Lok-tung
林貝嘉 Kali Lam Pui-ka
胡敏嘉 Woo Man-ka
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陳志權
舞台設計
畢業於香港演藝學院，主修佈景及服裝設計，現為香港演藝學院舞台設計系主任，於 2008 至 2012 年擔任香港舞 台技術及設計人員協會主席。2009 年獲香港中文大學文化研究課程文學碩士學位。至今設計逾百齣舞台製作， 2011 年憑香港話劇團《浮士德》第三次獲得香港舞台劇獎最佳佈景設計。
Ricky Chan
Set Designer
Ricky Chan graduated from the Hong Kong Academy for Performing Arts (HKAPA) with an honours degree, majoring in Set and Costume Design. He is currently Head of the Theatre Design Department of the HKAPA. He was the Chairman of the Hong Kong Association of Theatre Technicians and Scenographers from 2008 to 2012. Chan also obtained a Master of Arts degree in Intercultural Studies at the Chinese University of Hong Kong in 2009. Chan has designed for over a 100 productions and won critical acclaim. His designs for Hong Kong Repertory Theatre's Dr Faustus won him his third Best Set Design award at the Hong Kong Drama Awards in 2011.
譚嘉儀
服裝及造型設計
香港演藝學院碩士，香港中文大學文化研究碩士。參與中港舞台及電視製作之服裝設計。 涉獵範圍包括歌劇、 中國戲曲、音樂劇、話劇和形體劇場。2004 及 2015 年獲香港戲劇協會頒發最佳服裝設計，2008 年獲亞洲文化協 會頒發利希慎獎助學金，到紐約探索服裝文化及保育。現為自由身舞台工作者及大專院校兼職講師。
Mandy Tam
Costume Designer and Stylist
Mandy Tam holds a Master of Arts degree from HKAPA and a Master of Philosophy in Cultural Studies from the Chinese University of Hong Kong. She designs costumes for stage and television productions in Hong Kong and mainland China. Her experience in costume design encompasses Chinese and Western operas, musicals, plays and physical theatre. She won the Best Costume Award from the Hong Kong Federation of Drama Societies in 2004 and 2015. In 2008, she went on a one-year study trip to New York funded by a scholarship from the Lee Hysan Foundation Fellowship of the Asian Cultural Council. She currently works freelance and teaches in tertiary institutions.
陳焯華
燈光設計
1996 年畢業於香港演藝學院科藝學院，主修劇場燈光設計。從 1997 年《愛的教育》開始了與非常林奕華的長期 合作關係，最近作品為《機場無真愛》、《心之偵探》、《紅樓夢》、《恨嫁家族》、《梁祝的繼承者們》及 2017 年香港藝術節之《紅樓夢》歌劇。
Billy Chan
Lighting Designer
Billy Chan graduated from the School of Technical Arts, HKAPA in 1996, majoring in Theatre Lighting Design. He started collaborating with Edward Lam Dance Theatre in 1997 with a production of Hong Kong is Not a Place for Love and went on to recent works like Finding Loveless Land, I am Not Sherlock Holmes and This Is Not a Pipe, What is Sex?, I Hate Therefore I Marry and Arts School Musical. HKAF credits include 2017 opera Dream of the Red Chamber.
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袁卓華
音響設計
聲音設計師，於加州藝術學院獲聲音設計碩士，又於美國藍斯里爾理工學院建築系獲建築聲學研究碩士。2 0 1 5 年加入西九文化區管理局， 擔任表演藝術經理（技術及製作），現為香港演藝學院舞台及製作藝術學院科藝製 作系主任。
Yuen Cheuk-wa
Sound Designer
Yuen Cheuk-wa is a sound designer. He holds a Master of Fine Arts in Sound Design from California Institute of the Arts and a Master of Science in Architectural Acoustics from Rensselaer Polytechnic Institute. Yuen joined the West Kowloon Cultural District Authority as Performing Arts Manager (Technical Development) in 2015, and is currently Head of Department of Media Design & Technology at HKAPA.
李善思
副音響設計 / 現場混音
畢業於香港演藝學院，主修音響設計及音樂錄音， 於 2006 至 2 0 0 9 年度連續三年獲得香港賽馬會獎學金，參與 於製作包括西九戲曲中心《粵劇新星展》 II、III 及 IV、《茶館劇場試演》和《小劇場粵劇 - 霸王別姬》，擔任音 響設計師；香港話劇團《頂頭鎚》（首演及重演）擔任助理及執行音響設計師、《如此長江》擔任助理音響設計 師；其他參與製作有英皇娛樂《杜老誌》、香港藝術節及毛俊輝作品 《情話紫釵》；曾任北京懷柔首部原創百 老滙音樂劇《何處尋愛》首席音響師 ，上海世博會加拿大館太陽劇團節目高級音響技師 。
Sincere Li
Associate Sound Designer and Live Mixing
Sincere Li graduated from HKAPA specialising in Sound Design and Music Production, receiving scholarships from the Hong Kong Jockey Club for three consecutive years (2006-2009). Production credits include Rising Stars in Cantonese Opera Showcase (II, III and IVth editions), Tea House Theatre Taster and Experimental Cantonese Opera Farewell My Concubine (New Adaptation) (West Kowloon Cultural District Xiqu Centre) as sound designer; Field of Dreams - A Musical (premiere and rerun) as assistant and executive sound designer, The Soongs: By Dreams Betrayed as assistant sound designer (Hong Kong Repertory Theatre); Tonnochy (Emperor Entertainment); The Liaisons (Fredric Mao and HKAF); Race for Love (original Broadway musical in Huairou district, Beijing) as principal sound engineer; and a Cirque du Soleil programme (Canadian Pavilion at the Shanghai World Expo 2010) as senior sound engineer.
陳寶愉
製作經理
1 9 9 6 年畢業於香港演藝學院，主修舞台及技術管理。為不同劇團和文化藝術機構的舞台演出擔任製作經理、技 術及舞台監督等職務。近年為多個本地作品的亞洲巡演劇目出任製作總監，包括《賈寶玉》、《恨嫁家族》、《梁 祝的繼承者們》、《情話紫釵》、《狂揪夫妻》等。多年來為香港藝術節的演出節目擔任技術統籌，2 0 1 7 年參 與香港藝術節之《紅樓夢》歌劇。
Bobo Chan
Production Manager
Bobo Chan graduated from HKAPA in 1996 majoring in Stage and Technical Management. She has been a production manager, technical and stage director for various companies and arts organisations. She was also the production director of several local productions’ Asia tours including Awakening, I Hate Therefore I Marry, Art School Musical, The Liaisons and Le Dieu du carnage. Chan has worked as a technical coordinator for Hong Kong Arts Festival for many years, most recently as production manager in the 2017 opera Dream of the Red Chamber.
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陳嘉儀
舞台監督
畢業於香港演藝學院藝術學士（榮譽）學位課程，主修藝術、項目及舞台管理。 她曾與多個不同的藝術團體及 機構合作，參與香港、中國內地及海外表演。近年合作的團體及機構包括香港歌劇院、 進念 ‧ 二十面體、風車 草劇團、愛麗絲劇場實驗室等。現為自由身工作者。
Chan Ka-yee
Stage Manager
Chan Ka-yee graduated from the HKAPA with a Bachelor’s Degree (Honours) in Arts, Event and Stage Management. She works with different performing arts companies for performances in Hong Kong, mainland China and overseas. Recent production credits include works by Opera Hong Kong, Zuni Icosahedron, Windmill Grass Theatre and Alice Theatre Laboratory. Chan currently works freelance.
李玟蓉
執行舞台監督
畢業於香港演藝學院，榮獲藝術學士（榮譽）學位，主修藝術、項目及舞台管理，於 2016 年與友人成立劇團「演 員的自我搔癢」。現為舞台及項目自由身工作者、「演員的自我搔癢」製作總監。
Oliva Li Man-yung
Deputy Stage Manager
Oliva Li Man-yung graduated from the HKAPA with a Bachelor’s Degree (Honours) in Arts, Event and Stage Management. She founded Plume Theatre with friends in 2016. Li currently works freelance for stage and theatre projects, and is production director at Plume Theatre.
李祐宗
演員統籌
李氏先後畢業於香港演藝學院藝術學士（榮譽）學位課程，主修藝術、項目及舞台管理，及香港教育大學藝術管 理及文化企業行政人員文學碩士學位課程。畢業後主力從事中國戲曲及傳統表演藝術的製作及推廣工作。現為製 作人、 碧海粵劇團聯合創辦人、青年廣場項目顧問及香港舞台技術及設計人員協會秘書。
Jones Lee Yau-chung
Artist Coordinator
Jones Lee Yau-chung graduated from the HKAPA with a Bachelor’s Degree (Honours) in Arts, Event and Stage Management, and the Education University of Hong Kong as an Executive Master of Arts in Arts Management and Entrepreneurship. Lee is a producer, holding positions as co-founder of Azure Seas Cantonese Traditional Theatre, project consultant at Youth Square and secretary of Hong Kong Association of Theatre Technicians and Scenographers.
香港藝術節衷心感謝下列機構及人士的慷慨支持： The Hong Kong Arts Festival would like to thank the following for their generous support:
贊助舍計劃會員 Patron’s Club Members 鉑金會員 Platinum Member
嘉里控股有限公司 Kerry Holdings Limited
黃金會員 Gold Member
怡和集團 The Jardine Matheson Group
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
其他支持機構 other Supporters •Adam Mickiewicz Institute •Australia Arts Council •Canada Arts Council
•Pro Helvetia •Spanish Ministry of Culture
實物支持機構 in-kind Supporters •愉景灣渡輪碼頭 Discovery Bay Ferry Pier •帝盛酒店集團 Dorsett Hospitality International •嘉頓有限公司 The Garden Company Limited •鷹君集團有限公司 Great Eagle Holdings Limited •香港國際機場 Hong Kong International Airport
•立信專業顧問 Lap Shun Professional Consultant •M．A．C Cosmetics •奧海城 Olympian City •信和集團 Sino Group •屯門市廣場 TMT Plaza
藝術節捐助計劃 Festival Donation Scheme 鉑金捐款者 PlATinuM DonorS HK$120,000 或以上 AnD ABoVE
純銀捐款者 SilVEr DonorS HK$5,000 - HK$9,999
•無名氏 Anonymous •林護紀念基金有限公司 Lam Woo Foundation Limited •Lincoln & Yu-San Leong •杜振源先生
•無名氏 (2) Anonymous (2) •Mrs Anson Chan •陳建球伉儷 Mr & Mrs E Chan •SHN Cheng •Mr & Mrs Ko Ying •Ms Ka Shi LAU •Mr & Mrs David S L Lin •Mr & Mrs Gilles Martin •Dr & Mrs Joseph Pang •Ms Poon Yee Ling Eligina •孫永輝施熙德伉儷 Edith Shih & Stephen Sun •Enoch Yiu •Ms Isabel Yiu
鑽石捐款者 DiAMonD Donor HK$60,000 - HK$119,999 •無名氏 Anonymous 黃金捐款者 GolD DonorS HK$10,000 - HK$59,999 •無名氏 (6) Anonymous (6) •Mr & Mrs Herbert Au-Yeung •Jeffrey & Helen Chan •陳元鉅夫人 Mrs Sabina Chen •Dr York Y N Chow •Consigliere Limited •Alex & Hanne Fung •Richard & Ruth Herbst •李葉耀珍 Jane Li •林聖竤 Chris Lin •Wing Kay Po •Martin Rogers •Jacqueline Shek 石悅玟 •Mr & Mrs Stephen Suen •孫天珍小姐 Ms Sun Tien Chen •Mr Stephen Tan •Tsang Wing Fun •曹延洲醫生 Dr Tsao Yen Chow •Samuel & Amy Wang •Mr Wong Yick Kam •黃逸思先生夫人 Mr & Mrs YS Wong
青銅捐款者 BronzE DonorS HK$2,500 - HK$4,999 •無名氏 (2) Anonymous (2) •Atkinson Lambert Limited •Mr Cheung Shu Tong Edmund •Bethan and Tim Clark •Dr David Fang •銀河娛樂集團 Galaxy Entertainment Group •Mr & Mrs Jaeger •Ms Khoo Li Lian •Heidi Lee •Miss Ruby Lee •Ms Lim Geck Chin Mavis •Stephen Long •Mr Gary Ma •Mr Christopher Wong & Dr Ivo Chen
學生票捐助計劃 Student Ticket Scheme 鉑金捐款者 PlATinuM DonorS HK$120,000 或以上 AnD ABoVE •無名氏 Anonymous •Burger Collection •馬振玉慈善基金會有限公司 CYMA Charity Fund Ltd •恒生銀行 Hang Seng Bank •芝蘭基金會 Zhilan Foundation 鑽石捐款者 DiAMonD DonorS HK$60,000 - HK$119,999 •Vina Cheng •梁家傑先生夫人 Mr & Mrs Leong Kah-Kit Alan •Mrs Purviz R Shroff and the late Mr Rusy M Shroff, BBS, MBE •Mr & Mrs Stephen Suen •田家炳基金會 Tin Ka Ping Foundation 黃金捐款者 GolD DonorS HK$10,000 - HK$59,999 •無名氏 (4) Anonymous (4) •St. Paul's College Alumni Choir •陳求德醫生 Dr Chan Kow Tak •招國利先生 Mr Chiu Kwok Lee •Dr Chung See Yuen •Consigliere Limited •Mr & Mrs Kenneth H C Fung •馮兆林先生 JP 及夫人 Mr & Mrs Fung Shiu Lam JP •Richard & Ruth Herbst •胡興正醫生慈善基金有限公司 Dr Wayne Hu Charitable Foundation Ltd •Mr & Mrs Stefan & Caroline Kracht •林聖竤 Chris Lin •Mr & Mrs Roger Lui •MAXSMART INV. LTD •Mrs Carol Murray •Mr Stephen Tan •Peter & Nancy Thompson •Mr William To •Tsang Wing Fun •曹延洲醫生 Dr Tsao Yen Chow •Ms Wong Yuen Mee Elsa •黃逸思先生夫人 Mr & Mrs YS Wong 純銀捐款者 SilVEr DonorS HK$5,000 - HK$9,999 •無名氏 (5) Anonymous (5) •Mr Iain Bruce •Winnie Chiu Wing Ngar •Chou's Foundation •Mr & Mrs Norman Chui •Mr & Mrs A R Hamilton •Ms Winnie W Y Ho •King Yuen-Fung Diana •Mr & Mrs Ko Ying •Yvonne Cheng & Kelvin Koo
•羅偉騫先生夫人 Mr Andy Law & Ms Wendy Chan •Lee Lai-Kuen Shelley •Craig Lindsay Family •Lok Yu Kim Ching Memorial Fund •C H Mak •Dr Mak Lai Wo •Karen & Vernon Moore •Ms Poon Yee Ling Eligina •孫永輝施熙德伉儷 Edith Shih & Stephen Sun •Alan and Penny Smith •Anna Stephenson & Alan Leigh •John and Anthea Strickland •Leland & Helen Sun •Dr Henry N C Wong •Mr Wong Yick Kam •Dr Adrian Wu •Mrs Wu Tseng Helen 青銅捐款者 BronzE DonorS HK$2,500 - HK$4,999 •無名氏 (9) Anonymous (9) •Ms Michaela Au •Ms Rebecca Austin •區燊耀先生 Mr Au Son Yiu •Biz Office Limited •Carthy Limited •Diana Tong Chan •Dr Chan Wan Tung •Cynthia Cheng & Aaron Chan •Cheung Kit Fung •Dr Chow Sze Fu Joseph •Cindy Chan Psychological Services •Community Partner Foundation Limited •Easy Living Limited •giliproduction •Susan Hayden •Betty Hung •Isla School of Dance •Dr Alfred Lau •Susan Lim & Neil Roberts •Ms Jackaline McPhie •Mr & Mrs Kenneth Quinn •陶國豪 Frederico Rato •Ms Janice Ritchie •Mr Siddique Salleh •So Ching •So Kin Man •Ms Yim Chui Chu •余德銘先生 Mr Desmond Yu •皮皮
新作捐助計劃 new Works Scheme 鉑金捐款者 PlATinuM DonorS HK$120,000 或以上 AnD ABoVE •Mrs Mona Leong •Permanent Success Limited 鑽石捐款者 DiAMonD Donor HK$60,000 - HK$119,999 •Winfull Group Holdings Limited 黃金捐款者 GolD DonorS HK$10,000 - HK$59,999 •無名氏 (2) Anonymous (2) •Mrs K L Chan •劉仰澤先生 Mr Lau Yeung Chak •林聖竤 Chris Lin •Mrs Diana & Mr Jay Parmanand •孫天珍小姐 Ms Sun Tien Chen
純銀捐款者 SilVEr DonorS HK$5,000 - HK$9,999 •無名氏 (2) Anonymous (2) •Lexandra Chan •Ms Winnie W Y Ho •Lok Yu Kim Ching Memorial Fund •Ms Poon Yee Ling Eligina •孫永輝施熙德伉儷 Edith Shih & Stephen Sun 青銅捐款者 BronzE DonorS HK$2,500 - HK$4,999 •Ms Michaela Au •Ms Chiu Shui Man Tabitha •Contempo Charity Foundation Limited •黃逸思先生夫人 Mr & Mrs YS Wong
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