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
Actors Touring Company and Royal Lyceum Theatre Edinburgh featuring Cantoría Hong Kong and other local performers
The Suppliant Women 倫敦巡迴劇團及愛丁堡皇家蘭心劇院 聯合演出：香港浸會大學室內合唱團及本地表演者
《祈願女之歌》 3 月 Mar
22-25
香港大會堂劇院 Theatre, Hong Kong City Hall 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 英語演出，附英文歌詞及中文字幕 Performed in English, with English lyrics and Chinese surtitles 適合 12 歲或以上觀眾欣賞 Recommended for ages 12 and above
藝術節加料節目
3 月 24 日下午 3 時演出完畢後，請留步參與演後藝人談。 Following the 3pm peformance on 24 March afternoon, please stay behind and join us for a Meet-The-Artist session.
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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原著編劇 Playwright 埃斯庫羅斯 Aeschylus
創作及製作團隊
Creative and Production Team
作者 Writer 大衛．葛利格 David Greig 導演 Director 拉文．格雷 Ramin Gray 作曲及音樂總監 約翰．布朗
Composer and Musical Director
John Browne
編舞 Choreographer 莎莎．米拉域．戴維斯 Sasha Milavic Davies 助理導演 Assistant Director 愛麗絲．瑪琳 Alice Malin 舞台及服裝設計 莉茲．克拉勤
Set and Costume Designer
燈光設計 查爾斯．波福
Lighting Designer
劇團舞台監督 娜奧米．哈維
Company Stage Manager
執行舞台監督 凱特琳．奧萊利
Deputy Stage Manager
合唱指導 文盛伯
Chorus Master
Lizzie Clachan Charles Balfour Naomi Harvey Caitlin O’Reilly
John Winzenburg
排練指導 Rehearsal Master 黃靜婷 Chloe Wong 中文字幕 黃凱嵐 蘇國雲修訂
Chinese Surtitles
Sharon Wong edited by So Kwok-wan
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演出
Performers
祈願女歌隊領唱 珍瑪．梅
Gemma May
達納俄斯及埃及信使 馬克．洛也
Mark Lockyer
Chorus Leader of the Suppliants Danaus and The Egytian Herald
帕勒高國王 威爾．凱利
Will Kelly
祈願女 陳嘉穎 * 陳思嘉 * 陳穎欣 * 陳恩怡 * 周愷琍 * 張家僖 * 程曉敏 朱彥如 葛安延 * 黎楚琳 * 林悅祺 * 劉卓盈 * 梁采然 * 梁顯恩 * 梁慧賢 * 呂銓欣 盧慧敏 * 郭巧明 曾卓琳 * 曾昭妍 * 丁山曦 黃祖瀅 * 黃懿澄 * 胡詠珊 * 游佩珊 楊雅怡 葉浠彤 葉嘉卿 * 袁嘉慧
Karen Chan Ka-wing* Joyce Chan Wing-yan* Olivia Chau Hoi-lee* Renee Ching Hiu-man Odelia Got On-yin* Rachel Lam Yuet-kay* Christy Leung Choi-yin* Phoebe Leung Wai-in* Mandy Lo Wai-man* Chalene Tsang Cheuk-lam* Anna Ting Shan-hei Ariel Wong Yi-ching* Natalie Yau Pui-shan Yip Hei-tung Kelis Yuen Ka-wai
士兵及埃及水手 陳煜文 鄭希諾 鄭文偉 潘立恒 曾樂麒 謝迦密 王俊謙
Irwin Chan Yuk-man Michael Cheng Man-wai Tsang Lok-ki Samuel Wong Chun-him
阿歌斯市民 張凱琪 張潔珊 戚芷君 洪芷儀 Rinske Kuiper 關美鸞 梁淑嫻 梁寶培 李黃楚蘭 Fiona Steffensen Charlotte Toralde 楊雪筠
Heidi Cheung Candy Chik Rinske Kuiper Rita Leung Nancy Li Charlotte Toralde
敲擊樂 班．布頓
King Pelasgos
The Suppliant Women
The King’s Soldiers and Egyptian Sailors
Samuel Cheng Hei-nok Michael Poon Lap-hang Carmel Tse
Citizens of Argos
Percussionist
Ben Burton
奧羅斯直笛 Aulos Player 卡林．岩士唐 Callum Armstrong * 香港浸會大學室內合唱團團員
Jessica Chan Sze-ka* Crystal Chan Yan-yi* Sabrina Cheung Ka-hei* Agnes Chu Yen-yu Claudia Lai Cho-lam* Rainbow Lau Cheuk-ying* Grace Leung Hin-yan* Astrid Lui Chuen-yan Stephanie Kwok Hau-ming Jenny Tsang Chiu-in* Janelle Wong Cho-ying* Sandy Wu Wing-shan* Yemmi Yeung Nga-yi Janice Yip Ka-hing*
* Members of Cantoría Hong Kong
Veronica Cheung Kit-shan Valerie Kam Iris Kwan Noel Leung Fiona Steffensen Shirley Yeung
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特別鳴謝開場祭酒者（按主持場次次序）：梁靳羽珊女士、楊光先生、鄭惠貞女士、華姚潔莉女士、 譚榮邦先生
Special thanks to the Libation Givers ( in order of performance) : Mrs Yu- san Leong, Mr Sunny Yeung, Ms Margaret Cheng, Mrs Miriam Hwa, Mr Tam Wing-pong 特別鳴謝香港浸會大學音樂系支持排練
Special thanks to the Music Department, Hong Kong Baptist University for rehearsal support.
Acknowledgements
ATC would like to thank the following people for their support in the development of The Suppliant Women: Amy Ball, Polina Kalinina, Lisa Makin, Rosemary McKenna, Alex Raptotasios, Royal Central School of Speech and Drama, Stephanie Graeve, Kristina Wydra, Gerhard Meister, Romy Springsguth and the actors, musicians and chorus of Konzert Theater Bern and Sue Emmas. The creative team are grateful to the following classicists with whom they consulted: Armand D’Angour, Stephen Colvin, Edith Hall, Yana Sistovari-Zarifi and Ian Ruffell, who also prepared the literal translation.
藝術節加料節目
演後藝人談 Meet-the-artists
24.2 ( 六 Sat) 下午 4:35-4:55pm（演出後 Post-performance）
香港大會堂劇院
Theatre, HK City Hall
英語主講
In English
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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分場
Scenes
開場白及祭酒
Prologue and Libation Parados Parts One, Two and Three
進場歌之（一）（二）（三） 第一場 對唱之（一） 頌歌之（二） 第二場 頌歌之（三） 第三場 對唱之（二） 頌歌之（四） 對唱之（三） 第四場 退場歌
The First Episode First Amoibaion Ode Two The Second Episode Ode Three The Third Episode Second Amoibaion Ode Four Third Amoibaion The Fourth Episode Exodus
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古希臘神祇及人物 祈願者 祈願者向他人尋求幫助或接待，受宙斯的特別庇佑。 阿芙羅黛蒂 主宰愛、情慾、結合、慾望、生養的女神 阿里斯 戰神 阿特蜜斯 森林及狩獵女神，主宰貞潔、少女、生育及女性自主。 阿波羅 太陽、光明與知識之神 戴奧尼斯 酒神與歡樂之神，古希臘雅典以年度的戲劇節紀念祂。 赫娜 宙斯的妻子，大地及收割女神 伊娥 宙斯愛上的、來自阿歌斯的凡間少女，赫娜在妒嫉中將她變成一頭牛，並派遣牛虻折磨她，將她趕 離希臘。 埃帕弗斯 伊娥與宙斯所生的孩子，是達納俄斯和埃古托斯的祖先。 普塞頓 手持三叉戟的海神，地位僅次於宙斯。 宙斯 天空之神、眾神之王、赫娜之夫，垂憐求援者之神。
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故事 《祈願女之歌》是古希臘劇作家埃斯庫羅斯創作的《達納俄姐妹》三聯劇的第一部，講述埃及的 達納俄斯的五十個女兒的故事。三聯劇其餘兩部已經失傳。 第一幕
第二幕
《祈願女之歌》的開場是一首合唱頌歌：進場歌，
達納俄斯看見令人擔心的景象：遠處見到有埃及
伴奏祈願女進場。她們逃離埃及，來到阿歌斯城
船艦載着想來擄走他女兒的男人。他進城游說民
外的神殿。歌隊向宙斯禱告，說明她們祈願庇佑
眾保護他的女兒。 歌隊唱第四首頌歌，這次是
的因由：她們正逃避她們的表親，埃古托斯的眾
一首面對她們厄運的悼歌。埃古托斯的兒子進場
多兒子的逼婚。歌隊提及自己的祖先伊娥，她是
打斷祈願女的悼歌。他們由信使帶領，一邊吟
宙斯愛上的阿歌斯國王的女兒。進場歌後，眾女
唱，一邊威脅闖入神殿的神聖庇護所。帕勒高王
之父達納俄斯進場。他為歌隊做好準備，與代表
現身與信使對質，並驅走埃及人。祈願女與父親
阿歌斯城民眾的帕勒高國王見面 。
達納俄斯商量前路。他提醒她們在城中須小心至
帕勒高國王質問眾女，要她們解釋臨城的原因。 他為了不想冒犯宙斯，不能下逐客令；但收容她 們的話，又害怕她們惹來埃及方面宣戰。帕勒高 提議，讓市民投票決定，並邀請達納俄斯進城游 說城民。第二首頌歌是歌隊再度向宙斯祈禱。她 們詳細講述了伊娥的故事。她們祈求宙斯站在祈 願女一方，協助她們在伊娥家鄉之城得享安全。 達納俄斯再進場，告訴女兒投票結果。她們的祈 願獲一致通過。眾女兒以第三首頌歌讚美和祝福 阿歌斯城。
上，並保持清白聲譽。眾女兒請他不須擔心：她 們將至死不嫁。阿歌斯市民出來迎接祈願女，並 警告眾女愛神阿芙羅黛蒂不會喜歡她們的拒婚立 場，要求她們尊重愛情和婚姻。眾少女拒絕，並 一邊進城一邊慶祝，肯定自己應有的權利。
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Glossary of Ancient Greek Deities and Characters Suppliant A person in need who asks another for help or hospitality. Suppliants have the particular protection of Zeus. Aphrodite Goddess of Love, Lust, Union, Desire, Fecundity Ares God of Warfare Artemis Goddess of the Forest and the Hunt, particularly associated with virginity, young women, childbirth and female autonomy. Apollo God of the Sun, Light and Knowledge Dionysus God of Wine and Merriment, to whom tribute is paid in Athens’ annual festival of drama. Hera Wife of Zeus, Goddess of the Earth and the Harvest Io A mortal maiden from Argos whom Zeus fell in love with. Jealous Hera turned her into a cow, and then sent the gadfly, a biting fly, to torment her and drive her from Greece. Epaphos A bull calf, the child of Io and Zeus. Epaphos was the ancestor of Danaus and Aegyptos. Poseidon The God of the Sea carrying a trident, second only to Zeus in hierarchy. Zeus The Sky God, King of the Gods, Husband of Hera, the God who looks after those in need.
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Synopsis The Suppliant Women is part of Aeschylus’ Danaid Trilogy which tells the story of the fifty daughters of Danaos. The other two parts are lost. Act I
Act II
The play begins with a choral ode, Parodos (parade), which marks the entrance of the suppliant women. They have arrived at a temple outside Argos, having left Egypt. The chorus prays to Zeus and explains their claim to asylum: that they are fleeing forced marriage to their cousins, the sons of Aegyptos. They also claim descent from Io, Zeus’s mortal lover, who came from Argos. After the ode, Danaos, the girls’ father, enters. He prepares the chorus to meet the locals, who arrive in the form of Pelasgos, King of Argos.
Danaos sees a worrying sight: Egyptian ships on the horizon carrying the men who would take his daughters. He goes to the city to rally the citizens. The chorus sings a fourth ode, a lament of fear at their fate. The Danaids’ lament is broken by the arrival of the sons of Aegyptos. Led by the Herald, they chant and threaten the women and dare to break the sanctuary of the temple. King Pelasgos reappears to challenge the Herald. He drives the Egyptians away. The women discuss the future with their father, Danaos. He warns them to be careful in the city and to make sure to preserve their reputation. They tell him he needn’t worry; they will not marry until they are dead. The citizens of Argos come out to meet the suppliant women. They warn the daughters that Aphrodite, the goddess of love, won’t like their anti-marriage stance. They should pay due respect to love and union. The young women refuse. They enter the city, celebrating, confident and sure of their rights.
The King challenges the women to explain themselves. He feels unable to turn them away for fear of offending Zeus, but he is also afraid to take them into the city in case he brings war from Egypt. He proposes a citizens’ vote and invites Danaos into the city to plead his daughters’ case. The second choral ode sees the chorus pray again to Zeus. They tell the story of Io in detail. They ask that Zeus “take the woman’s part” and help Io’s daughters gain safety in her home city. Danaos returns to tell his daughters the result of the vote. It has been passed unanimously. The women respond with a great ode of praise and good wishes to the city of Argos.
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19
後記
Epilogue
達納俄姐妹的神話對希臘觀眾來說，就像現代觀
The myth of the Danaids would have been as familiar to a Greek audience as a folk tale like Little Red Riding Hood is to us today.
眾熟悉民間故事諸如《小紅帽》一樣。 他們曾聽過由說書人、編劇和表演者所詮釋的故 事的不同版本。遺憾地，埃斯庫羅斯的《達納俄 姐妹》三聯劇之中，只有第一部《祈願女》流傳 下來。第二部《埃及人》和第三部《達納俄姐妹》 都已經失傳。
They would have heard it in many different versions and interpretations from storytellers, playwrights and performers. Unfortunately, of Aeschylus’ three Danaid plays, only the first, The Suppliant Women survives. Play 2: The Egyptians, and Play 3: The Danaids are lost to us.
為完整起見，以下是餘下兩齣劇的故事撮要：在 第二部《埃及人》裏，埃古托斯的兒子攻陷阿歌 斯城，打敗了城中市民。他們強娶祈願女為妻。 祈願女訂下盟約反抗到底。新婚之夜，每位新娘 用婚宴上偷來的利刀殺死新郎。唯獨一位名叫海 柏涅絲塔的新娘，因為欣賞丈夫林科斯沒有強她 所難，所以沒有殺死他，更叫他到山上躲藏。 第三部則講述達納俄斯和其餘四十九位祈願女， 惱恨海柏涅絲塔沒有殺害丈夫而審判她。審判 的結果是女神阿芙羅黛蒂的介入，祂挺身維護愛 情、婚姻和慾望。海柏涅絲塔獲釋，並和丈夫兩 人確立了阿歌斯的皇室血統。 我們不知道埃斯庫羅斯從他所寫的故事中，總結 出甚麼教訓，但可以確定的，是在現存的第一部 和今晚所上演的戲劇裏，他強調國王容許一個城 市用民主方法決定怎樣對待難民。《祈願女》的 原文裏，「民主」這個字在歷史上首次出現，也 預示了隨後透過市民直接投票產生執政者的雅典 式民主。這齣戲劇在二千五百年前、於公元前五 世紀首演的幾年後，雅典城就實施了這種嶄新的 管治模式。
So to complete the tale, here is a summary of the remaining story: in Egyptians, the sons of Aegyptos invade Argos and defeat its citizens. They force the women to marry them. The women then make a pact to resist. On the night of their wedding, each new wife murders her husband with knives stolen from the wedding feast. One woman, however, does not murder her husband. Hypermnestra is impressed that her husband, Lynceus, doesn’t force himself on her. She doesn’t kill him and instead tells him to hide in the hills. In part three, Danaos and the other 49 women, furious with Hypermnestra, put her on trial for not murdering her husband. The trial ends with an intervention by the goddess Aphrodite, who defends the concept of love, union and desire. Hypermnestra is released and she and her husband found the royal line of Argos. We don’t know what lessons Aeschylus drew from his version of the Danaid story, but we do know that in the part that survived and is retold in The Suppliant Women, he emphasised the choice of the king to allow a democratic decision to be made on the city’s approach to refugees. The original text of The Suppliant Women contains the first recorded use of the word “democracy” and presages the birth of the first ever government by direct vote of the citizens – Athenian democracy. This brand-new form of governance was instituted in Athens just a few years after this play’s first performance in the city 2,500 years ago in the fifth century BC.
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導演的話
拉文．格雷
《祈願女之歌》由倫敦巡迴劇團和愛丁堡皇家蘭 心劇院聯合製作。埃斯庫羅斯二千五百年前所寫 的這齣戲劇的這個版本，由特別從演出的城市的 社區中招募而來的演出者擔任歌隊。 這種演出方法，刻意地呼應埃斯庫羅斯當時的做 法：演出團隊只有不多於三位專業演員和一位專 業樂師（通常是奧羅斯直笛手），並在製作所到 之處招募、訓練當地的歌隊，並跟他們彩排。一 如古希臘的做法，不問參加者過往演出經驗，公 開招募和遴選 。唯一的條件是他們要對彩排熱 情投入。整個過程在今天演出的幾個月前展開。 直至目前，這部製作已經在英國愛丁堡、貝爾法 斯特、紐卡素、曼徹斯特（與皇家交易所劇院聯 合製作）、倫敦（與新域劇團聯合製作）；都柏 林演出過，這一站來到了香港。 沒有本地合唱指導和排練指導的專業和投入，我 們無法在每個城市組成一隊新的歌隊。是次香 港演出中，我們要鳴謝文盛伯和黃靜婷的功勞。 更重要的是，我們要為所有不同社區的歌隊成員 喝采感激（至今累計參與人數逾 350 人）：他們 是整項計劃的靈感泉源，因有他們的參與，這齣 製作來到今天在你眼前生色不少，也顯得更為真 摯。
Director’s Note
Ramin Gray
The Suppliant Women is a co-production between Actors Touring Company and the Royal Lyceum Theatre, Edinburgh. This version of Aeschylus’s 2,500-year-old play was created specifically to be performed by a chorus drawn from the community in which the production is staged. This echoes very deliberately the practice of Aeschylus’ time – to have a small troupe of no more than three professional actors, a professional musician (usually an aulos player) and to recruit, train and rehearse a local chorus wherever the play goes. As with the ancient Greeks, there is an open call for anyone to take part, regardless of previous experience. The only requirement is a full-blooded commitment to rehearsal – the whole process takes two months prior to the performances you’re seeing today. So far, this production has created new choruses with communities in Edinburgh, Belfast, Newcastle, Manchester (in co-production with the Royal Exchange Theatre), and London (in co-production with the Young Vic) in the U.K., Dublin and now Hong Kong. We couldn’t create a new chorus in each city without the expertise and commitment of local trainers in voice and movement. For this Hong Kong production, we are indebted to the wonderful work of John Winzenburg and Chloe Wong. Above all, we would like to give a great cheer of thanks and appreciation to all of our community choruses – to date numbering over 350 people – who have been the guiding inspiration behind the entire project, and without whom it would not exist as vibrantly and as truthfully as you see it today.
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難民與公投 《祈願女之歌》導演談希臘悲劇的當代意義
拉文．格雷
我坐在曼徹斯特的一個排練室，正為倫敦巡迴劇
國界。文化。庇護。移民。神祇。男人。女人。
團的演出―埃斯庫羅斯的《祈願女之歌》的全
禱告。游說。暴力。
新版本作準備，聽着一群女士高聲唱頌「難以馴 服的阿特蜜斯」。她是象徵貞潔的女神。在劇中
然後：民主。
她與代表婚姻、愛情和性慾的女神阿芙羅黛蒂對
因為這個詞語，或者這個詞語的引用，最初出現
立。這場鬥爭的意義複雜：保留貞操意味着選擇
在世界舞台上，就是在《祈願女》的舞台上。面
權、控制權、自主權。
對着在他的神殿裏暫住的五十名女難民，帕勒高
然而，在莎士比亞的《無事生非》中，當培尼狄 克提到「人類是不能讓它絕種的」，又當你知 道這些女性橫越地中海，逃離埃及的逼婚，到希 臘尋求庇護，那麼阿芙羅黛蒂提出的主張相當貼 切：到底這些新移民會融入、參與並組成新的聯 盟？還是會堅持獨立、堅守她們的貞操？ 我從未處理過古典希臘戲劇，這部被公認為現存 第二古老的戲劇，可追溯至公元前 463 年。這代 表我不但需要進行大量研究工作，更需要下定決 心，才足以刮去過百年的文化表層，找到埃斯庫 羅斯的基石。叫人著迷的是，我們可以了解到希 臘人從前建立的種種，是如何建構成我們今天的 政治、文化及戲劇。 例如，在阿特蜜斯與阿芙羅黛蒂的辯證之中，我 們可以看到反映當代性別政治及圍繞能動性、充 權及選擇權的辯論。原著三聯劇記錄着激進的童 貞女變成謀殺犯，最終成為新娘的追求自主權的 過程。女性自主這個主題，在任何時候都能引起 共鳴，而難民（祈願者、尋求庇護者）這第二重 主題，卻每天都引來更多迴響。大衛．葛利格竭 盡全力寫出一個接近埃斯庫羅斯原著的文本，然 而這齣戲劇像海綿一樣，吸收現今時事。在這個 已有二千五百年歷史的文本的第四行，提到敘利 亞這個名字：當人們祈求神佑，呼喚能穿越邊界 的荷米斯或讓人安全通過地中海的海神普塞頓之 名，你會感覺這本來就是個現代作品。
國王需要作出一個艱難的決定。要是他唾棄這群 女子，必會招致祈援之神宙斯的憤怒。但要是他 容許她們進城，之後或會兵臨城下，因為她們在 埃及的未婚夫將前來要求交還這群屬於他們的女 人。 相比德國總理默克爾單方面容許一百五十萬名難 民進入德國的決定，帕勒高的決定較為恰當，他
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採用當時新發明、如今卻聲名狼藉的一種政治工
我要求約翰和莎莎讓歌曲及舞蹈同步演出。然後
具―公民投票，跟市民一起磋商決定。這一場精
約翰為奧羅斯直笛譜曲，這種雙簧管樂器常見於
心策劃的政治運動，結果一致通過讓這些女人進
古代所有重要場合，像戲劇、獨奏會、儀式、聚
城。即使是這群祈願女，都對結果及整個投票機
會、比賽等。我們相信這次製作是現代首次以奧
制感到驚訝。這個結局讓人對當下而真實的過程
羅斯直笛伴奏的古典戲劇。
重拾信心，整套戲劇充滿着希望和可能性。
隨着我們進一步深入此製作，我們也越來越沉迷
一如我們要求大衛．葛利格要盡量忠於原文，作
於歷史，把我們的深入研究加諸排練所做的東西
曲約翰．布朗、編舞莎莎．米拉域．戴維斯和
上。我們對過去的了解越深，當下的感覺便越變
我本人都試圖重現埃斯庫羅斯創作此劇作時的環
得強烈。我們見證了古代世界在現今劇場創造的
境。我們請來了兩位專業演員，其中一人更短暫
可能性和迴響，在這個過程裏獲益匪淺。
飾演第二個角色。第三位表演者擔當歌隊領唱的 角色，負責指導、啟發及提示我們從巡演城市招 募的年輕女子所組成的歌隊。當然，在埃斯庫羅 斯的時代，歌隊成員都是年輕男子，但我認為關 鍵的是展現出社區歌隊和專業演員的互相合作。
本文原載於 2017 年 3 月 theartsdesk.com
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Refugees and referendums: Ramin Gray on staging Aeschylus's The Suppliant Women
I’m sitting in a rehearsal room in Manchester preparing Actors Touring Company’s new version of Aeschylus’ The Suppliant Women, listening to a group of young women raise their voices in praise of “untameable Artemis”. She’s the goddess of virginity among many other things. In this play she’s pitted against Aphrodite, the goddess of union, love and sex. The competing claims are complex: retaining one’s virginity implies choice, control, autonomy. But, as Benedick notes in Much Ado About Nothing, “the world must be peopled”, and when we understand that these women have travelled across the Mediterranean, fleeing forced marriage in Egypt and now seek asylum in Greece, then the claims of Aphrodite become pertinent: are these new arrivals to our city going to join in, participate and forge new unions? Or will they hold to their stark, separatist commitment to virginity?
I’ve never tackled a classical Greek play and this is thought to be the second oldest extant play, dating from 463 BC. It has meant a great deal of research plus a determined effort to scrape away centuries of cultural overlay in order to uncover the Aeschylean bedrock. The fascination has then been to discover how much of what the Greeks laid down informs our culture today – political, cultural and theatrical. For example, in the dialectic between Artemis and Aphrodite we see reflected contemporary sexual politics, debates around agency, empowerment and choice. The trilogy charts the movement of our radical virgins to murderesses and ultimately brides in their quest for autonomy. The theme of female autonomy is always resonant but the twin theme of the refugee – the suppliant, the asylum seeker – is acquiring even more resonance with each passing day. David Greig worked diligently from the literal
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to provide a version that is as close to Aeschylus as he could make it and yet the play seems to soak up current affairs like a sponge. In the fourth line of the 2,500 year old text, Syria is namechecked; when gods like Hermes who crosses borders or Poseidon who provides safe passage across the Mediterranean are invoked, then you feel this play was written today. Borders. Cultures. Asylum. Migration. Gods. Men. Women. Prayer. Persuasion. Violence. And then: Democracy. Because this word, or rather a reference to this word makes its first appearance on the world stage in The Suppliant Women. Faced with 50 female refugees camped out in his temple, the local king Pelasgus has a tough choice. If he spurns the women he will bring down the wrath of Zeus, god of the suppliant. But if he lets them in he may bring war to his city as the Egyptian men they were betrothed to stake their claim. Besting Angela Merkel’s unilateral decision to let 1.5 million refugees into Germany, Pelasgus wields a newfangled political instrument currently held in some disrepute, the referendum, to consult and implicate his citizens in the decision. A careful political campaign leads to a unanimous vote to allow the women in. Even the suppliants themselves are amazed at the result and the whole mechanism of voting itself. This theatrical sequence restores one’s faith in a real, current process and the play vibrates with hope and possibility. In the same way that we challenged David Greig to remain as faithful to the literal as possible, so John Browne the composer, Sasha Milavic Davies the choreographer and myself have attempted to recreate the conditions in which Aeschylus might have created the play. We have given ourselves two professional actors, one of whom has a swift doubling. A third performer has been employed as
chorus leader or choryphaeus, an absolute necessity to guide, inspire and cue the amateur chorus of young women we recruit in every town we tour to. Of course in Aeschylus’ time they would have been young men but I think the key thing is seeing the knitting together of the community chorus and professionals. I asked John and Sasha to make everything as simultaneously sung and danced as legibility will allow. Oh, and John has composed music for the aulos, the twin reed pipes that would have accompanied every important occasion in the ancient world – plays, recitals, ceremonies, parties, games. We think this production marks the first time a classical play will have been heard accompanied on the aulos in the modern era. As we have gone further into the process of making this play, so have we become more obsessed with the history, with bringing detailed research to bear on what we make in rehearsal. And the more we go back to the past, the more powerful the present moment seems to become. It’s a rich process, seeing the ancient world creating a resonant range of possible futures in the theatre today. This piece originally appeared on theartsdesk.com in March 2017.
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學術萬歲
約翰．布朗
作曲及音樂總監約翰．布朗反思《祈願女之歌》
部綜合為一種形式。以上種種均須在音樂上呈現
之核心—音樂。
出來。要找個方法。
我愛流行音樂。不是另類、地下、罕有版本的
我憑直覺決定以吟誦風格為主：聖樂素歌、部落
流行音樂— 我是指很廉價那種：流行榜頭四十
歌謠、示威和打仗口號等等。我也厭倦了學術研
位。我還有另一類摯愛的音樂（地位僅次於流行
究，有點被大量古希臘研究書籍嚇倒了。於是，
樂），就是聖樂。我喜愛俄羅斯東正教音樂超脫
當導演拉文．格雷在創作階段早期硬拉我去與學
時間的平靜、伊斯蘭蘇菲卡華利紛紜雜沓的歌
者見面，我暗地裏換上了一副青少年臭臉。「不
唱，還有許多許多。單憑以上，我一開始就知道
要吧，我一定得去？拜託了！」可是，那次和往
《祈願女之歌》的音樂將會同時有流行樂和聖樂
後每次學術會議結束時，我都充滿幹勁。第一件
的味道— 但我也知道這是正確的，因為這部戲劇
使我印象深刻的事，是整件事原始的一面。原始
游走神聖儀式和流行娛樂之間。
是指它植根土地、風景和人類本質。原始也指它
在文本裏，你會聽得出人物藉着禱詞、崇拜、獻 祭和祈願提及很多神祇。你也會聽到一個充滿性
不加修飾，保留了自然的肌理。粗糙，同時完整 和令人振奮。這跟我的直覺完全相符。
和暴力的故事！古希臘劇場不僅兼具宗教性和戲
劇中希臘音樂的各方面，學者認識最深入的是節
劇性，它也有點像政治集會、一項公民活動、一
奏。詩歌中的韻律為此提供了豐富的材料。然後
個令人聯想到格拉斯登伯里音樂節的節慶—全
就是劇本的結構。這些戲劇的形式非常固定，每
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部分都有各自的作用和特色。《祈願女之歌》有
奧羅斯直笛之外，還有敲擊樂手演奏鐘鈴和獸皮
五首合唱頌歌，第一首是進場歌。它預示了整齣
鼓，這些聲音同樣在古代劇場裏聽得見。另外添
劇的步伐，還有一組人集體移動的重複性。最有
上的低音馬林巴琴則並非古希臘的做法。
用的是我們手頭上有二千五百年前真實伴奏歌隊 演唱的樂器—奧羅斯直笛。它的聲音真特別。 縈繞心頭的、動人的聲音，也可能是我心裏的塞 爾特人有感而發，我覺得它有點像愛爾蘭風笛。 奧羅斯直笛是一種雙簧、雙管樂器，以木、竹或 骨頭製成。感覺有點像把兩支雙簧管塞進嘴裏， 同時吹奏兩行不同的曲譜。 極其巧合地，一項歐洲音樂考古計劃最近將這件 古老樂器重構、重新配置和令它發聲，效果令人 興奮。他們的真正成就在於找到造簧片的方法。 在我們的演出裏，正正有樂手花了大量時間挑 選、燙熱、刮平、壓彎小小的竹片，讓它發出的 聲音恰到好處；然後，當這些脆弱的乾草崩裂， 樂手又得重頭來過。耐心、仔細、嚴謹，正是學 術精神！
「學術」 的英文詞源當然是希臘語。對古希臘 的學術興趣源遠流長，幾乎是自希臘劇場出現以 來就有，延伸到十六世紀佛羅倫斯的一眾人文學 家以歌劇復興這種古老戲劇形式，和今時今日樂 於媒體上現身的歷史學家。我們從他們身上得知 最重要的一件事，是過去是多麼的重要、多麼的 活生生和多麼的與時並進，以及我們與它的連結 是多麼的深厚。 我有專家襄助、有直覺和仿古樂器，但終究來 說，這次製作最動人是見證一群年青女子，將自 己浸淫在這齣非常古老的戲劇及其主題和謎團 裏，從中衍生有關集體生活的意義和大問題， 與之角力。她們恰似在原本的（我重複一次） 二千五百年前《祈願女》中的青年和社區歌隊一 樣。歷史萬歲。學術萬歲。
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Viva Academia Composer and Musical Director John Browne reflects on the music at the heart of The Suppliant Women. I love pop. Not leftfield, underground, rare-edition pop – but the really cheap stuff. Top 40. I have a second musical home too, a close second in fact, and that’s sacred music. I love the still timelessness of Russian Orthodox music, the noisy exuberance of Sufi qawwali singing and just about everything in between. For that reason alone I knew from the outset that the music for The Suppliant Women would have both pop and sacred flavours – but I also knew that would be right because this play is on the cusp between a sacred rite and a piece of popular entertainment. You’ll hear lots of references to the gods in the text – prayers, devotions, offerings and, indeed, supplication – and, it’s full of sex and violence!
© Aly Wight
John Browne Greek theatre was both religious and theatrical. It was also like a political rally, a civic event and a festival similar to Glastonbury, all collapsed into the one form. All of this needed to be represented in the music. Somehow. I decided to focus on chants – sacred plainchant, tribal chants, protest chant, war chants and so on, going with my instincts. I was wary of academia and a bit overwhelmed by the extraordinary volume of tomes on the ancient Greeks. And so when director Ramin Gray dragged me along to meet some academics early on in the process I secretly had my sullen teenager face on. “Oh no – do I have to? – please!” But I left that meeting and each subsequent meeting totally fired up. The first thing that struck me was the primitive dimension to it all. Primitive, as in rooted in the earth, in landscape, in the essence of the human. Primitive as in unrefined – where the grain is preserved in the raw natural
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state. Rough, but wholesome and invigorating. That totally chimed with my instincts. The aspect of the music that academics know most about is rhythm. The metre of the poetry is a richly varied source for this information. Then there’s the structural element. The plays were very formalised, each section with its own function and characteristics. In The Suppliant Women there are five choral odes, the first of which is the “Parodos” – a parade or entrance song. That’s a strong clue to the kind of pronounced pulse, the tempo, the repetitive quality of a group moving en masse. Most useful of all was having the actual instrument that accompanied choral singing 2,500 years ago: the aulos. What a sound. Haunting, evocative and, maybe it’s the Celt in me, I also found it truly moving as it sounds a bit like the uilleann pipes. The aulos is a double-reed double-pipe made of wood or cane or bone. It’s a bit like sticking two oboes into your mouth and playing them both at the same time, in two separate lines of music. By an extraordinary coincidence a Europe-wide project of music archaeology had just recently managed to reconstruct, reconfigure and resound this instrument to thrilling effect. Their real achievement was figuring out how to make the reed. And in our show we have the very man who spent a vast number of hours selecting, boiling, scraping, bending little bits of cane until they sounded just right – and then these delicate pieces of dried grass would crack or chip and he’d have to start all over again. Patient, detailed, rigorous research – the academic spirit!
Alongside the aulos player we have a percussionist playing a range of bells and skin drums as could have been heard in the theatre of that time, augmented with a bass marimba (not original practice!) Academia is of course a Greek word and there’s one very long line of academic interest from almost as soon as Greek theatre was invented, to a bunch of humanists in 16th-century Florence reviving this ancient theatre practice in the form of opera, right down to our present day batch of media-friendly historians. And the most valuable thing we get from them all is how vital, how alive and how present the past is, how deeply connected we are to it. I had expert help aplenty, I had my instincts, I had original instruments but ultimately what was most inspiring was to collaborate with a group of young women immersing themselves in this very old play, its themes, its mysteries – grappling with meaning and big questions about how we live together. Just like the youth, the community chorus, who performed in the original – I’ll say it again – 2,500 years ago. Long live the past. Viva academia.
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倫敦巡迴劇團 Actors Touring Company 倫敦巡迴劇團製作的國際當代戲劇不分地 域。 他 們 以 全 球 視 野 創 作 演 出： 一 邊 啟 發 和娛樂觀眾，一邊發問關於我們周遭世界的 問題。劇團把演員置於作品的核心，採用精 簡和推動環境可持續性的劇場美學。劇團自 1977 年創辦以來，在英國和海外巡迴演出， 廣泛接觸由遠至近的觀眾。
Actors Touring Company makes international, contemporary theatre that travels. We create plays with a global perspective: activating and entertaining the audience whilst asking questions of the world around us. Placing the performer at the heart of our work, and employing a lean aesthetic which promotes environmental sustainability, the company have toured the UK and internationally since we were founded in 1977, reaching audiences far and wide.
最近製作包括塔雷爾．埃爾文．麥卡尼編劇 的《賽氏兄弟》，這次與新域劇團聯合製作 的是倫敦巡迴劇團製作的十週年復排，由劇 團前任藝術總監比贊．西班尼執導；馬克． 洛也自編自演的《開着燈》，該作講述一個 演員的精神健康問題，現於英國及歐洲巡演； 羅蘭．希梅芬尼編劇、與橙樹劇團聯合製作 的《冬至》的英國首演，該作以新右翼在全 球抬頭為題，現於英國巡演。 其他近期製作包括羅蘭．希梅芬尼編劇的《金 龍》（穿越劇院 ）；伊凡．維里柏夫的《幻覺》 和莎拉．肯恩的《狂情》雙劇碼製作；大衛． 葛 利 格 編 劇、 約 翰． 布 朗 作 曲 的《 事 件 》 ──該劇在英國、美國及海外巡迴演出，並 在丹麥、法國和澳洲復排；馬利斯．馮．梅 焰堡的《殉難者》（獨角獸劇團聯合製作）。
Recent productions include: The Brothers Size by Tarell Alvin McCraney, in a tenth anniversary revival of ATC’s production, with the Young Vic, directed by ATC’s former Artistic Director Bijan Sheibani; Living with the Lights On, written and performed by Mark Lockyer, about the actor’s experience of mental ill-health, currently touring the UK and Europe; the UK premiere of Winter Solstice by Roland Schimmelpfennig in coproduction with the Orange Tree Theatre, about the rise of the new right across the globe. Winter Solstice is currently on tour in the UK. Other recent productions include: The Golden Dragon by Roland Schimmelpfennig (co-produced with Theatre Royal Plymouth); Illusions by Ivan Viripaev and Crave by Sarah Kane in a double-bill; Martyr by Marius von Mayenburg (co-produced with Unicorn Theatre) and The Events, which has toured extensively in the UK, the US and internationally, and has enjoyed revivals in Denmark, France and Australia.
Artistic Director: Ramin Gray Executive Director: Andrew Smaje General Manager: Jess Banks Associate Director: Alice Malin Press Representative: David Burns Chair: Professor Maria Delgado
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愛丁堡皇家蘭心劇團 Royal Lyceum Theatre Company 愛丁堡皇家蘭心劇團是蘇格蘭人才的熔爐， 在愛丁堡西區的宏偉幽靜的維多利亞時期劇 院建築，培訓蘇格蘭優秀的本地藝術家，呈 獻傑出的國際戲劇作品。 劇團在劇院對面有自己的排練室，服裝和佈 景則在露絲本的工作坊製作。 2 016 年， 稱 譽 國 際 的 編 劇 大 衛． 葛 利 格 上 任蘭心劇院第八任藝術總監，接替擔任該職 十三年的馬克．湯臣。劇團在葛利格的第一 個劇季（2016/17）上演了十部完整製作，是 為英國最大的製作劇團之一。在 2 0 1 7 / 1 8 劇 季的節目中，蘭心劇院將會呈獻五部世界首 演和三部蘇格蘭首演作品。 蘭心劇院近年聯合製作的伙伴包括「痴人妄 語」、愛丁堡國際藝術節、倫敦巡迴劇團、 巴庫皇家劇院、倫敦布什劇院、諾丁漢劇場、 蘇格蘭國家劇院、格拉斯哥市民劇院、丹迪 劇目劇院、利物浦劇院、奇切斯特戲劇節劇 院及利瑞克漢默史密斯劇院。 除此之外，蘭心劇院的獲獎創意學習計劃， 每年在蘇格蘭接觸逾 16,000 名年輕人。
The Royal Lyceum Theatre Company is a crucible of Scottish talent, developing Scotland’s considerable indigenous ar tists and presenting the best of international drama from its home in a magnificent, intimate Victorian building in Edinburgh’s West End. The Company rehearses in its own rooms opposite the theatre, and costumes and sets are designed and built at The Lyceum’s workshops in Roseburn. Internationally celebrated playwright David Greig became the eighth Artistic Director of The Lyceum in 2016, following Mark Thomson’s superb 13-year reign. As part of Greig’s premiere 2016/17 season, the company produced 10 full productions, making it one of the biggest producing companies in the United Kingdom. During its 2017/18 season, The Lyceum will present five world premieres and three Scottish premieres. In recent years, The Lyceum has staged co-productions with Told by an Idiot, Edinburgh International Festival, Actors Touring Company, Theatre Royal Bath, The Bush Theatre (London), Nottingham Playhouse Theatre Company, National Theatre of Scotland, Citizens Theatre, Dundee Rep, Liverpool Everyman & Playhouse, Chichester Festival Theatre and the Lyric Hammersmith. In addition, The Lyceum also runs an award-winning, ambitious and acclaimed creative learning programme which engages with over 16,000 young people across Scotland annually.
Artistic Director: David Greig Executive Director: Alex McGowan Chair: Shonaig MacPherson CBE, FRSE, DUniv
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埃斯庫羅斯
Aeschylus
埃斯庫羅斯一共創作了 70 至 90 部劇作，因為其
Aeschylus wrote 70 to 90 plays – there is debate over the exact number because so few survive: only seven exist in a more or less complete form. He was born near Athens, in 523 BC, dying 67 years later, in 456 BC. Apparently inspired to become a writer by a dream in which the god Dionysus instructed him to turn away from his work on a vineyard, Aeschylus was a founding voice in the new art of Greek tragedy – the first known form of theatre.
中倖存的作品甚少，確實數字時有爭議：當中只 有七部稱得上是完整作品。他在公元前 523 年出 生於雅典附近，於公元前 456 年六十七歲卒。埃 斯庫羅斯據說是做夢時獲酒神戴奧尼斯指示離開 酒莊的工作，受神喻當上作家。他廣被後世稱為 希臘悲劇—也是史上記載最初的戲劇形式—的 創始人。 他在 26 歲時寫下第一齣戲劇。他服兵役時曾參 加希臘波斯戰爭，啟發他撰寫《波斯人》。這是 他現存最早的劇本，於公元前 472 年上演。這齣 戲劇於著名的酒神戲劇節奪魁。 埃斯庫羅斯被稱為「悲劇之父」，他是首個創作 我們所認識的古希臘戲劇的編劇。 埃斯庫羅斯 的兒子們也當上了劇作家，與他的後輩索福克勒 斯和歐里庇得斯較量。埃斯庫羅斯最為人熟悉的 作品有《波斯人》、《七將攻忒拜》、《俄瑞斯 忒亞》和《被綁的普羅米修斯》。此外，埃斯 庫羅斯常常創作三聯劇，即三部曲加上一部山羊 劇。《祈願女之歌》的原著《祈願女》只是《達 納俄姐妹》三聯劇的第一部，其他兩部僅餘殘章 斷簡，已經散佚。
He wrote his first play aged 26. As a soldier, he had fought in the Persian Wars – inspiring his oldest surviving play, The Persians, performed in 472 BC. The play won first prize at the famous Dionysia, a competitive festival of theatrical performance. Known as the father of tragedy, Aeschylus was the first of the playwrights we now associate with ancient Greek theatre. His sons also became writers, competing against Aeschylus’s successors, Sophocles and Euripedes. The plays we know best are The Persians, Seven Against Thebes, The Oresteia trilogy and Prometheus Bound. Aeschylus often wrote in trilogy form: three chapters plus a comic satyr play. The Suppliant Women is only one chapter of the Danaid trilogy. Except for a few fragments, the other parts are lost.
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拉文．格雷
導演
拉文．格雷現時為倫敦巡迴劇團藝術總監。 近期參與倫敦巡迴劇團的劇作包括《金龍》、《狂情》、《幻覺》、《事件》、《失 明的哈姆雷特》、《殉難者》和《冬至》。 其他劇場作品包括《給心碎的人的信》（利物浦劇院 / 巴特西藝術中心）；《不 滿者》（拉克米爾劇院）；《哈珀．雷根》（薩爾斯堡藝術節／德意志劇院）； 《世界的海邊》（維也納大眾劇場）；《美國飛行員》（皇家莎士比亞劇團）；《這 邊》、《石頭》、《醜陋的人》、《給伊拉克女人的話》、《縱火者》、《摩托鎮》、 《無盡的景象》、《一名男子》、《女人和稻草人》、《天堂的路》、《甲蟲》、 《恐怖主義》、《掌上壓》（皇家宮廷劇院）；《小孩》、《貓捉老鼠》（羊）（蓋 德劇團）；《Urod》（莫斯科柏拉提卡劇院）；《星團》（維也納劇團／奧胡斯 劇院／屋子劇場）。 歌劇作品包括《不可兒戲》（英國皇家歌劇院／巴比肯中心／林肯中心）；《幸 福》、《白夜》（漢堡國家歌劇院）、《魂斷威尼斯》（漢堡國家歌劇院／維也 納河畔劇院）。
Ramin Gray Director Ramin Gray is Artistic Director of Actors Touring Company. His theatre credits for the ATC include The Golden Dragon, Crave, Illusions, The Events, Blind Hamlet, Martyr and Winter Solstice. Gray’s other theatre credits include A Message for the Broken-Hearted (Liverpool Playhouse/BAC);The Malcontent (Latchmere Theatre); Harper Regan (Salzburg Festival/ Deutsches Schauspielhaus, Hamburg); On the Shore of the Wide World (Volkstheater Wien);The American Pilot (RSC); Over There, The Stone, The Ugly One, Advice to Iraqi Women, The Arsonists, Motortown, Scenes from the Back of Beyond, Just a Bloke, Woman and Scarecrow, Way to Heaven, Ladybird, Terrorism, Push Up (Royal Court Theatre); The Child and Cat and Mouse (Sheep) (Gate Theatre); Urod (Praktika Theater, Moscow); Constellations (Schauspielhaus Wien/Aarhus Teater/Husets Teater). His opera productions include The Importance of Being Earnest (ROH/Barbican/Lincoln Center); Bliss, La Bianca Notte (Hamburg State Opera); Death in Venice (Hamburg State Opera/Theater an der Wien).
41
大衛．葛利格
作者
大衛．葛利格是著名得獎劇作家，於 2016 年上任皇家蘭心劇院藝術總監。 葛利格的矚目劇作包括《事件》（倫敦巡迴劇團）；《普魯登西亞．哈特的奇怪 毀滅》（蘇格蘭皇家劇院 / 創劇團）；《仲夏》（穿越劇院 / 蘇活劇院 / 三輪車劇場）； 《馬克白後傳》（皇家莎士比亞劇團在漢普斯特德劇場製作 / 蘇格蘭皇家劇院）； 《大馬士革》（穿越劇院 / 三輪車劇場）；《遙遠的島》（穿越劇院 / 皇家宮廷 劇院）；《美國飛行員》（皇家莎士比亞劇團）；《比利牛斯山》（培恩犁劇團）、 《宇航員給妻子的遺言》（唐瑪倉庫劇院 / 培恩犁劇團）；《建築師》及《歐洲》 （穿越劇院）。 改編劇目有：《債主》（唐瑪倉庫劇院）；《酒神》（愛丁堡國際藝術節）；《丁 丁在西藏》（倫敦巴比肯中心 / 劇場劇院 / 英國巡迴演出）；《當歌手停止歌唱》（穿 越劇院，曾獲國際特赦組織、愛丁堡國際藝穗節自來水獎、愛丁堡國際藝術節先 驅報天使獎）；《卡里古拉》（唐瑪倉庫劇院）及《小飛俠》（蘇格蘭皇家劇院 / 穿越劇院 / 巴比肯中心）。 葛利格是《朱古力獎門人》音樂劇故事作者，該劇 2013 年在倫敦西區演出後，最 近到紐約百老匯搬演。他的劇作《拉奈克》是 2015 年夏季愛丁堡國際藝術節的開 幕作品、改編作品《蘇斯博士的羅雷司》則於同年聖誕在老域劇院首演。
David Greig Writer David Greig is an acclaimed and multi award-winning playwright who became the Artistic Director of The Royal Lyceum Theatre Edinburgh in 2016. Greig’s most notable plays include The Events (Actors Touring Company), The Strange Undoing of Prudencia Hart (Tron, National Theatre of Scotland), Midsummer (Traverse, Soho and Tricycle), Dunsinane (RSC at Hampstead and National Theatre of Scotland), Damascus (Traverse and Tricycle), Outlying Islands (Traverse and Royal Court), The American Pilot (RSC), Pyrenees (Paines Plough), The Cosmonaut’s Last Message to the Woman he Once Loved in the Former Soviet Union (Donmar Warehouse and Paines Plough), The Architect and Europe (Traverse). Adaptations include Creditors (Donmar Warehouse), The Bacchae (Edinburgh International Festival and National Theatre of Scotland), Tintin in Tibet (Barbican, Playhouse and UK tour), When the Bulbul Stopped Singing (Traverse Theatre – Amnesty International Award, TapWater Award and Herald Angel), Caligula (Donmar Warehouse) and Peter Pan (National Theatre of Scotland, Traverse and Barbican). Greig wrote the book for Charlie and the Chocolate Factory, which opened in the West End in 2013 and recently transferred to Broadway. Lanark opened at the Edinburgh International Festival in Summer 2015 and his adaptation of Dr Seuss’ The Lorax opened at The Old Vic for Christmas 2015. Greig has recently opened Cover My Tracks (Old Vic), for which he wrote the book, with Noah and the Whale’s Charlie Fink.
43
約翰．布朗
作曲及音樂總監
布氏於科克大學受訓，師承謝諾爾．巴利及薩默斯．迪巴亞；並獲福布萊德獎入 讀紐約曼克頓音樂學院。近年他是倫敦國王學院 FNSNM 駐院作曲家。布朗是格拉 斯哥卡利多尼安大學的文化院士。他的作品被選為愛爾蘭在巴黎國際作曲家論壇 的代表，亦在都柏林二十世紀音樂節表演。近期劇場作品有《事件》（倫敦巡迴 劇團／穿越劇院／新域劇團）；《達納俄斯的女兒》（伯恩音樂劇院）。其他演 出包括：歌劇《巴比特盛宴》、《惡魔液》（英國皇家歌劇院）；《創世記歌劇》， 《午夜之子》（英國國家歌劇院）；《夜鶯在歌唱》（南岸藝術中心）；《小我》、 《源自痛苦》（西敏寺）。電影演出則有《金傻子之癢》。布氏亦有為樂隊 Elbow 編寫合唱歌曲。
John Browne
Composer and Musical Director
John Browne trained at University College Cork with Gerald Barry and at Manhattan School of Music in New York, on a Fulbright Award. His theatre credits include The Events (ATC) and Die Töchter Des Danaus (Konzert Theater Bern). Opera credits include Babette’s Feast, Demon Juice (ROH); Early Earth Operas, Midnight’s Children (English National Opera); A Nightingale Sang (Southbank Centre); Small Selves, Out of Suffering (Westminster Abbey). Film work includes The Itch of the Golden Nit. Browne’s other creative output includes choral arrangements for the band Elbow. Browne is composer-in-residence at FNSNM, Kings College London. His music has been chosen to represent Ireland at the International Rostrum of Composers in Paris and has been performed at the Dublin Festival of Twentieth Century Music. He is a Cultural Fellow at Glasgow Caledonian University.
莎莎．米拉域．戴維斯
編舞
戴氏是導演和編舞家。她在巴黎賈克樂寇國際戲劇學校接受教育，亦是倫敦院子 劇場的藝術夥伴和創辦人之一。近作包括：《星團》（塞爾維亞 Atelje 212）；《輪》 （Roundhouse ／艾甘．漢舞蹈團／沙特斯威爾斯劇院）；《白夜》（漢堡國立歌 劇院）；《另一面》（艾甘．漢舞蹈團／洛瑞劇場）；《租戶》（德累斯頓計劃 劇院／卡姆丹人民劇院）；《第五》（布達佩斯當代藝術節）；《裂痕》（英國 皇家歌劇院）及《黃蜂工廠》（布雷根茨／ H AU ／英國皇家歌劇院）。戴氏為英 國合拍劇團副導演，最近獲邀參與南法亞維農藝術節新興藝術家計劃。
Sasha Milavic Davies Choreographer Sasha Milavic Davies trained at Ecole Jacques Lecoq. Davies is a director and choreographer and was a founding member and artistic associate of The Yard Theatre in London. Her theatre credits include Everything That Rises Must Dance (Complicite/Dance Umbrella); 8 Minutes (Sadler's Wells); Moja Ti, Constellations (Atelje 212, Serbia); Until the Lions (Roundhouse/Akram Khan Company/Sadler’s Wells); La Bianca Notte (Hamburg Opera); One Side to the Other (Akram Khan Company/The Lowry); The Inquiline (Projekttheater Dresden/ Camden People’s Theatre); The Fifth (Budapest Contemporary Art Festival); The Crackle (Royal Opera House); The Wasp Factory (Bregenz/HAU/Royal Opera House). Davies has worked as an assistant director for Complicite and, recently, she was invited to be part of Festival d’Avignon’s Voyages de Kadmos programme for emerging artists.
44
莉茲．克拉勤
舞台及服裝設計
莉茲．克拉勤 1998 有份創辦 Shunt 劇團。她參與過的劇場製作包括《冬至》（倫敦巡迴劇團）；《伽利略傳》、 《耶爾瑪》（倫敦新域劇院）； 《歌莉亞》、《審判烏貝》、《老虎國》（漢普斯特德劇場）、《輕舔絲絨》（愛 丁堡皇家蘭心劇院 / 利瑞克漢默史密斯劇院）、《隱形之手》（三輪車劇院）、《真相》（米納爾巧克力工廠劇 團 / 巴斯皇家劇場）；《塞浦路斯大道》（都柏林艾比劇院 / 皇家宮廷劇院 ）；《地底精靈》（曼徹斯特國際藝 術節 / 皇家交易所劇院）；《打斷卡門》（倫敦艾爾美達劇院）；《提心吊膽》（皇家宮廷劇院 / 倫敦西區）；《皆 大歡喜》、《求婚者的計謀》、《金銀島》、《愛德華二世》、《港口》、《仁慈所害的女人》（英國國家劇院）；《煙 花》、《艾德勒與吉本》、《美食家》、《證人》（皇家宮廷劇院 ）；《都是我的孩子》（攝政公園露天劇場）; 《快 樂的日子》（謝菲爾德克魯西伯劇院）；《由我當魔鬼》、《重要日子》、《美國機師》（皇家莎士比亞劇團）。
Lizzie Clachan
Set and Costume Designer
Lizzie Clachan co-founded the theatre company Shunt in 1998. Her theatre credits include Winter Solstice (ATC);Life of Galileo, Yerma (Young Vic); Gloria, Longing, The Trial of Ubu, Tiger Country (Hampstead Theatre); Tipping the Velvet (Royal Lyceum Theatre Edinburgh/Lyric Hammersmith); The Invisible Hand (Tricycle Theatre); The Truth (Menier Chocolate Factory/ Theatre Royal, Bath); Cyprus Avenue (Abbey Theatre, Dublin/Royal Court); The Skriker (Manchester International Festival/Royal Exchange); Carmen Disruption (Almeida Theatre); Jumpy (Royal Court/West End); As You Like It, The Beaux’ Stratagem, Treasure Island, Edward II, Port, A Woman Killed With Kindess (National Theatre); Fireworks, Adler & Gibb, Gastronauts, The Witness (Royal Court); All My Sons (Regent’s Park Open Air Theatre); Happy Days (Sheffield Crucible); I’ll Be the Devil, Days of Significance, The American Pilot (Royal Shakespeare Company).
查爾斯．波福
燈光設計
查理．波福參與倫敦巡迴劇團的製作包括《狂情》、《幻覺》、《事件》； 《反對》（倫敦艾爾美達劇院）；《安 娜皇后》（海馬克皇家劇院）《羅密歐與茱麗葉》（莎士比亞環球劇場）;《誰害怕吳爾芙？》（哈洛．品特劇院）; 《追風箏的孩子》（雲咸劇院）;《仁慈七行》、《煉金術士》、《仲夏夜之夢：全國的戲劇》、《安娜皇后》、《赫 庫芭》、《聖誕停火協議》、《由我當魔鬼》（皇家莎士比亞劇團）；《雷尼大媽的黑臀舞曲》（英國國家劇院）； 《莫祖》、《紈絝子弟》、《樹葉之間》、《理察三世》（倫敦西區）； 《河流》（紐約百老匯）；《撕裂》、《河 流》、《合唱團男孩》、 《大麥送雞湯》《要麼現在、要麼以後》、《女友體驗》、《醜男子》、《鄉村音樂》 （皇家宮廷劇院）；《啊，野外！》、《骯髒蝴蝶》、《麗南小姐》（倫敦新域劇院）。參與的舞蹈及音樂製作 合作對象包括理察．柯斯頓舞團、蘭伯特舞蹈團、柯林斯舞蹈團、布差爾舞蹈團、蘇格蘭芭蕾舞團、三藩市芭蕾 舞團、史圖加芭蕾舞團、北京舞蹈學院、英國皇家歌劇院、漢堡芭蕾舞團、法蘭德斯堡歌劇團及英國北方歌劇團。
Charles Balfour
Lighting Designer
Charlie Balfour’s theatre credits for ATC include Crave, Illusions, The Events. Other theatre credits include Against (Almeida); Queen Anne (Theatre Royal Haymarket); Romeo and Juliet (Shakespeare’s Globe); Who’s Afraid of Virginia Woolf (Harold Pinter Theatre); The Kite Runner (Wyndham’s Theatre); The Seven Acts of Mercy, The Alchemist, A Midsummer Night’s Dream: Play for the Nation, Queen Anne, Hecuba, The Christmas Truce, I’ll be the Devil (Royal Shakespeare Company); Ma Rainey’s Black Bottom (National Theatre); Mojo, Posh, Through the Leaves, Richard III (West End); The River (Broadway); Torn, The River, Choir Boy, Chicken Soup with Barley, Now or Later, The Girlfriend Experience, The Ugly One, Country Music (Royal Court); Ah, Wilderness!, Dirty Butterfly, The Beauty Queen of Leenane (Young Vic). Balfour has also worked in dance and music productions with the Richard Alston Dance Company, Rambert, Aletta Collins, Rosemary Butcher, Scottish Ballet, San Francisco Ballet, Stuttgart Ballet, Beijing Dance Academy, Royal Opera House, Hamburg Opera, Opera Vlaanderen and Opera North.
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愛麗絲．瑪琳
助理導演
愛麗絲．瑪琳於倫敦巡迴劇團擔任副導演，於劍橋大學受訓。瑪琳導演作品包括《生日西裝》（老紅獅劇團）； 《爸爸的女兒》（地下室藝術節）；《春天暴風雨》、《安朵拉》（牛津戲劇學校）；《一萬粒聰明豆》、《發 燒》（老消防站劇院）；《寶藏》（芬斯堡劇院）；《Fluxorama》（503 劇院）；《斐濟地》（南華克劇院）；《自 由落體：兩齣新劇》（新溫布頓工作室）；《流星殺手》（白熊劇院）。她曾為巴斯皇家劇院《翡冷翠之戀》巡 演擔任副導演。其餘擔任助理的劇場製作包括《羅斯》（茨塞斯特節日劇團）；《量罪記》、《羅密歐與茱麗葉》 （莎士比亞環球劇院）；《斯特林堡狂想曲》（巴斯皇家劇院烏斯諾夫工作室）；《豐收月起舞》（諾夫咸頓皇 家劇院）；《紅樹林》（503 劇院）；《皆大歡喜》、《根》（古羅維劇院）。
Alice Malin
Assistant Director
Alice Malin is Associate Director for Actors Touring Company. She trained at Cambridge University. Her directing credits include Birthday Suit (Old Red Lion Theatre); Daddy’s Girl (Vault Festival); Spring Storm, Andorra (Oxford School of Drama); 10,000 Smarties, The Fever (Old Fire Station, Oxford); Treasure (Finsborough Theatre); Fluxorama (Theatre 503); fiji land (Southwark Playhouse); Freefall: A double bill of new plays (New Wimbledon Studio); The One Who Kill Shooting Stars (White Bear Theatre). Her associate directing credits include A Room With a View (Bath Theatre Royal tour). Assisting credits include Ross (Chichester Festival Theatre); Measure for Measure, Romeo and Juliet (Globe Theatre); Play Strindberg, Intimate Apparel (Theatre Royal Bath Ustinov Studio); Dancing at Lughnasa (Northampton Theatre Royal); Where the Mangrove Grows (Theatre 503); As You Like It, Roots (Theatr Clwyd).
馬克．洛也
達納俄斯及埃及信差
馬克．洛也於皇家戲劇藝術學院受訓。參與倫敦巡迴劇團之製作包括《開了燈的 生活》和《殉道者》。其他參與之劇場演出包括《奧塞羅》（煙草廠劇院）、《煉 金術士》（英國國家劇院）、《福利》（紙皮市民劇團）；《猶太妻子》（支撐 牆 / 巴特西藝術中心）、《猶大最後的日子》（倫敦艾爾美達劇院）、《醜男子》（皇 家宮廷劇院）、《灰姑娘》（倫敦老域劇院）、《威農．利圖》、《貝利巴聶茲》、 《第九區爆發上帝》（倫敦新域劇院）、《浮士德》（漢普斯特德劇場）、《復 辟》（衝鋒劇團）、《丁丁歷險記》（倫敦新域劇院 / 巴比肯中心）、《血劇場》 （英國國家劇院 / 未必可能）、《第十二夜》（布里斯托老域劇院）、奧塞羅（皇 家莎士比亞劇團）；《伊恩》（倫敦城門劇院）；《澳紐地區》、《哈姆雷特》（莎 士比亞環球劇場）；《羅密歐與茱麗葉》《李爾王》、《櫻桃園》、《馴悍記》、《暴 風雨》、《威尼斯商人》（皇家莎士比亞劇團）、《喬治三世的瘋狂》、《貧民區》、 《羊泉》、《巴塞羅姆市集》、《奪魄冤魂》（英國國家劇院）。影視作品包括《倫 敦路》、《哈利波特與混血王子的背叛》、《麥斯威爾》、《羅馬的衰落》和《偉 大的魔術師》。
Mark Lockyer
Danaus and The Egyptian Herald
Mark Lockyer trained at RADA. Theatre credits for the ATC include Living with the Lights on and Martyr. Other theatre credits include Othello (Tobacco Factory Theatres), The Alchemist (RSC), Benefit (Cardboard Citizens), The Jewish Wife (Supporting Wall/BAC), The Last Days of Judas Iscariot (Almeida Theatre), The Ugly One (Royal Court Theatre), Cinderella (Old Vic), Vernon God Little, Peribanez, Outbreak of God in Area 9 (Young Vic), Faustus (Hampstead Theatre), Restoration (Headlong), The Adventures of Tintin (Young Vic/Barbican), Theatre of Blood (National Theatre/Improbable), Twelfth Night (Bristol Old Vic), Othello (RSC), Ion (Gate), Antipodes, Hamlet (Globe), Romeo and Juliet, King Lear, The Cherry Orchard, The Taming of the Shrew, The Tempest, The Merchant of Venice (RSC), The Madness of George III, Ghetto, Fuente Ovejune, Bartholemew Fair, The Changeling (National Theatre). His film and television credits include London Road (Cuba Pictures Ltd), Harry Potter and the Half Blood Prince (Warner Brothers); Maxwell, The Fall of Rome, The Great Kandinsky.
46
威爾．凱利
帕勒高國王
威爾．凱利於布里斯托老域戲劇學校受訓。曾參演劇作包括《無足輕重的女人》 （輕歌舞劇院）；《被挑釁的老婆》（白熊劇院及伊斯靈頓希望劇院）；《糖果屋》、 《芭芭雅加女巫》（鳶尾劇團）；《羅密歐與茱麗葉》（莎士比亞青年劇團英國 巡演）。
Will Kelly
King Pelasgos
Will Kelly trained at Bristol Old Vic Theatre School. His theatre credits include A Woman of No Importance (Vaudeville Theatre), The Provoked Wife (White Bear Theatre and Hope Theatre, Islington), Hansel and Gretel, The Witch Baba Yaga (Iris Theatre) and Romeo and Juliet (Young Shakespeare Company UK tour).
珍瑪．梅
祈願女歌隊領唱
珍瑪．梅於倫敦音樂與戲劇藝術學院受訓。最近劇場演出包括《魔街理髮師》 （P OSK）； 《安 ‧ 非她命》（格林威治劇院）、《皇帝與加利利人》（英國國 家劇院）、《禁區 》（修華克劇院）。
Gemma May
Chorus Leader of the Suppliants
Gemma May trained at the London Academy of Music and Dramatic Art (LAMDA). Her recent theatre appearances include Sweeney Todd: Demon Barber of Fleet Street (POSK); Attempts On Her Life (Greenwich Theatre); Emperor and Galilean (National Theatre) and The Exclusion Zone (Southwark Playhouse).
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班．布頓
敲擊樂
班．布頓於皇家戲劇藝術學院受訓，隨國際聞名的音樂團體如倫敦愛樂樂團、英 國國家歌劇院及荷蘭皇家音樂廳管弦樂團的敲擊樂手學習。布頓曾亮相南岸中心 皇家節日音樂廳、愛德華親王劇院，最近與力克．域文在 O 2 場館演出。他曾在 天使錄音室和艾爾 - 伊德錄音室錄音，並曾參與英國廣播公司電台劇院的第四台 節目《達芙尼豪華之聲》錄音。布頓對音樂劇場興趣濃厚，曾參與《魔法黑森林》、 《紅男綠女》和《孤雛淚》等製作。他曾與馬克．艾爾達爵士、馬蓮．艾爾索普 及愛德華．嘉德納等著名指揮家合作。
Ben Burton Percussion Ben Burton trained at the Royal Academy of Music, where he learnt from percussionists of internationally renowned ensembles such as the London Philharmonic, English National Opera and the Royal Concertgebouw Orchestra. Burton has performed at the Royal Festival Hall, Prince Edward Theatre and, more recently, at the O2 Arena with Rick Wakeman. He has recorded in Angel Studios, Air-Edel and at the BBC Radio Theatre for Radio 4 show Daphne Sounds Expensive. Burton has a passion for musical theatre and has played in shows including Into the Woods, Guys and Dolls and Oliver! He has worked with many acclaimed conductors including Sir Mark Elder, Marin Alsop and Edward Gardner.
卡林．岩士唐
奧羅斯直笛
卡林．岩士唐畢業於倫敦聖三一音樂及舞蹈學院，在學期間連續三年主修木笛， 並贏得巴羅．瑪紀斯木笛獎及 2014 年之銀獎。岩士唐是一位敢於創新的吹奏者， 致力開發小風笛聲音的可能性，並把它推往前所未見的音樂境界。岩士唐近期項 目包括為雙行指孔小風笛研發複音技巧、與朱利安．古德艾克研發跨越三個八度 的笛管，以及為羅浮宮的古希臘奧羅斯直笛研發簧片及音樂。岩士唐曾在與倫敦 愛樂樂團的演出中擔任獨奏、並在史匹堡的電影《戰馬》中飾演風笛手。曾榮獲 持續之音音樂節 2014 年風笛獨奏比賽冠軍及 2015 年小型組合獎。
Callum Armstrong Aulos Callum Armstrong trained at Trinity Laban Conservatoire of Music and Dance, London, where he won the Beryl Maggs Prize for recorder, playing three years in a row as well as winning the Silver Medal in 2014. He is an innovative piper whose questing approach to the hitherto unexplored acoustic possibilities of the smallpipe is taking the instrument into new musical areas. Some of Callum’s recent projects have been to develop a polyphonic technique for double smallpipes, collaborating with pipe maker Julian Goodacre to develop a chanter with three octaves’ worth of range and developing reeds and music for the ancient Greek “Louvre” aulos. Armstrong has played as a soloist with the London Philharmonic Orchestra, as well as appearing in Steven Spielberg’s film Warhorse as the piper. Awards include solo piping competition winner (2014) and the Petite Formation prize (2015) at the Festival Le Son Continu.
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文盛伯
合唱指導
文盛伯博士現任香港浸會大學副教授，自 2008 年起擔任浸大室樂合唱團及浸大合 唱團指揮。文博士經常與香港創樂團演出聲樂和器樂作品。他曾與著名雙簧管演 奏家湯馬士．恩德梅利合作，指揮日本作曲家西村朗在美國首演作品《迦樓羅》。 他指揮的首演作品還包括鄧慧中的《極光》、龐樂思的清唱劇《復生》及由香港 大學嘉美蘭樂團演出的新作。在學術研究方面，文博士的音樂研究曾由新音樂視 角、Palgrave Macmillan、密西根大學出版社、二十世紀音樂、亞洲音樂、CHIME、 中央音樂學院學報等期刊出版。他是彼得版出版社之《半月昇：中國大陸、香港、 新加坡及台灣之合唱音樂》（2015）的編輯。
John Winzenburg
Chorus Master
John Winzenburg is an associate professor of music at Hong Kong Baptist University, where he has been conducting Cantoría Hong Kong and the HKBU Choir since 2008. Winzenburg also appears regularly in vocal and instrumental performances with the Hong Kong New Music Ensemble. Works Winzenburg has premiered include: the US premiere of Karura by Japanese composer Akira Nishimura with renowned oboist Thomas Indermühle, Aurora by Joyce Tang, Anesti by James Boznos and new compositions with the Hong Kong University Gamelan Ensemble. In academia, Winzenburg’s works have been published by Perspectives of New Music, Palgrave Macmillan, The University of Michigan Press, Twentieth-Century China, Asian Music, CHIME and the Journal of the Central Conservatory of Music. Winzenburg is editor of the new Edition Peters anthology Half Moon Rising: Choral Music from Mainland China, Hong Kong, Singapore and Taiwan.
黃靜婷
排練指導
香港演藝學院現代舞系（榮譽）學士，後獲香港賽馬會音樂及舞蹈信託基金之舞 蹈獎學金，修讀由霍林斯大學與美國舞蹈節所合辦的碩士學位課程。2 0 1 2 年赴捷 克布拉格深造戲劇及表演課程。其編舞作品曾於世界各地發表， 包括 2 0 1 4 年香 港藝術節 《人間．獨．白》獲選在德國國際舞蹈博覽會 2016 上演出、 《風惜惜》 曾於波蘭旋轉舞蹈劇場藝術節（2015）及廣東舞蹈節（2014）作交流演出 。2013 年開始了與日本藝術家的五年合作計劃《絕對飛行機》。黃氏現任教香港兆基創 意書院多媒體表演藝術課程及香港演藝學院應用學習課程，2 0 1 5 年起擔任《創意 操場—榮念曾實驗劇場》的創作指導及工作坊導師 。
Chloe Wong Ching-ting
Rehearsal Master
As a HKAPA graduate, Chloe Wong was awarded a Hong Kong Jockey Club Music and Dance Fund scholarship to pursue a master's degree programme jointly organised by Hollins University and the American Dance Festival in the US. In 2012 she completed an acting and performance course in Prague, Czech Republic. Her works staged abroad include Heaven Behind the Door (HKAF CDS 2014) which was selected and showcased at the 2016 Internationale Tanzmesse nrw in Dusseldorf, Germany; and Lifting Bones at the 2015 Zawirowania International Dance Theater Festival in Warsaw, Poland. In 2013 she started a five-year collaboration, Absolute Airplane, with a group of Japanese artists. She currently teaches at HKICC Lee Shau Kee School of Creativity and HKAPA (APL course). She was also rehearsal master and creative instructor for projects by Zuni Icosahedron, Invisible Cities (2015) and Creative Playground (2015 -2017).
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祈願女 The Suppliant Women
陳嘉穎 Karen Chan Ka-wing*
陳思嘉 Jessica Chan Sze-ka*
陳穎欣 Joyce Chan Wing-yan*
陳恩怡 Crystal Chan Yan-yi*
周愷琍 Olivia Chau Hoi-lee*
張家僖 Sabrina Cheung Ka-hei*
程曉敏 Renee Ching Hiu-man
朱彥如 Agnes Chu Yen-yu
葛安延 Odelia Got On-yin*
郭巧明 Stephanie Kwok Hau-ming
黎楚琳 Claudia Lai Cho-lam*
林悅祺 Rachel Lam Yuet-kay*
劉卓盈 Rainbow Lau Cheuk-ying*
梁采然 Christy Leung Choi-yin*
梁顯恩 Grace Leung Hin-yan*
梁慧賢 Phoebe Leung Wai-in*
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盧慧敏 Mandy Lo Wai-man*
呂銓欣 Astrid Lui Chuen-yan
丁山曦 Anna Ting Shan-hei
曾卓琳 Chalene Tsang Cheuk-lam*
曾昭妍 Jenny Tsang Chiu-in*
黃祖瀅 Janelle Wong Cho-ying*
黃懿澄 Ariel Wong Yi -ching*
胡詠珊 Sandy Wu Wing-shan*
游佩珊 Natalie Yau Pui-shan
楊雅怡 Yemmi Yeung Nga-yi
葉浠彤 Yip Hei-tung
葉嘉卿 Janice Yip Ka-hing*
袁嘉慧 Kellis Yuen Ka-wai
* 香港浸會大學室內合唱團團員 Members of Cantoría Hong Kong
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士兵及埃及水手 The King’s Soldiers and Egyptian Sailors
陳煜文 Irwin Chan Yuk-man
鄭希諾 Samuel Cheng Hei-nok
鄭文偉 Michael Cheng Man-wai
曾樂麒 Tsang Lok-ki
謝迦密 Carmel Tse
王俊謙 Samuel Wong Chun-him
潘立恒 Michael Poon Lap-hang
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阿歌斯市民 Citizens of Argos
張凱琪 Heidi Cheung
張潔珊 Veronica Cheung Kit-shan
戚芷君 Candy Chik
洪芷儀 Valerie Kam
Rinske Kuiper
關美鸞 Iris Kwan
梁寶培 Noel Leung
梁淑嫻 Rita Leung
李黃楚蘭 Nancy Li
Fiona Steffensen
Charlotte Toralde
楊雪筠 Shirley Yeung
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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
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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
MORE THAN GREAT PERFORMANCES!
演 出 以 外，更 多 精 采！
FAMILY FUN DAY 家庭同樂日
EDUCATION PROJECT 教育項目
BACKSTAGE TOUR 後台參觀
PRE-PERFORMANCE TALK 演前講座 WORKSHOP 工作坊
ARTIST SALON 藝術家沙龍
POST-PERFORMANCE MEET-THE-ARTIST 演後藝人談 MASTERCLASS 大師班
And many more...
及更多精采活動……
hk.artsfestivalplus.org
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