2019 Hong Kong Arts Festival - FestMag《閱藝》 by Hong Kong Arts Festival

FESTMAG

www.hk.artsfestival.org 01

Career Stages

All the World’s a Stage

Stages of Interpretation

At Every Stage

舞台生涯

世界即舞台

經典啟發發揮演繹

舞台處處

d r o w e r 前言 Fo 親愛的讀者：《閱藝》是香港藝術節與觀眾的重要溝通橋樑，這本雜誌載有豐富的節目資訊及藝術家介紹，並分享了我們在創作、挑選和編排第47屆藝術節節目背後的巧思。在此我非常感謝參與籌備雜誌的每位藝術家、作者和編輯，希望大家閱讀過後，能夠增添對今屆節目和活動的興趣。今年藝術節以「一步一舞台」為主題。舞台不僅是表演場地，也是孕育藝術創作的歷程；不論是藝術家還是作品本身，在每一個舞台的時空裏，他們都會經歷不同程度的轉化，互相產生連結，繼而燃點創意，令作品更趨成熟。《閱藝》的文章將探索各位藝術家在藝術生涯中不同階段的成就，除了回顧大師一生的傑作，也有後起之秀交出原創和向前輩致敬之作。與此同時，我們將會發掘各地別具特色的表演藝術，它們散落在世界舞台上令人意想不到的角落並紮根成長；不少經典作品亦將會重新演繹，我們會聚焦在它們怎樣以嶄新的手法，為日新月異的全球社會闡述潛在而切身的主題。舞台是個直接實在的空間，台上的演出能夠激發觀眾的所思所想，並將他們的個人和集體經歷投射在作品之上，引發共鳴。今年，我們比以往走前一步，打破觀眾和舞台之間無形的界限：演員和製作團隊或在您耳邊細語，或在您眼前搭建佈景，邀請觀眾一同見證和參與他們的故事。希望透過今期雜誌，您能夠深入了解本屆藝術節的節目之餘，也能從中獲得啟發，反思自己每一個成長階段。一如既往，我與藝術節團隊十分感謝在過去47年一直支持我們的每一位，期待在2019年的演出節目及活動與您相遇，並希望您喜歡《閱藝》。香港藝術節行政總監

何嘉坤

Dear Reader, I hope you will join me in thanking all the artists, writers and editors who have contributed towards producing the publication which is now in your hands. This is an important publication because it is a channel of communication between those responsible for the HKAF and those for whom it is intended. Therefore, in the following pages, you will find information about programmes and artists featured in the 47th Hong Kong Arts Festival, and some of the thinking behind the creation, selection and curation that has gone into the making of this Festival. With the team, I hope that your perusal will add to your enjoyment of what is to be experienced in the course of the performances and events. As you see, we have taken ‘At Every Stage’ as a unifying motif this year. It is as much process as it is site; each stage is a point in time or space in which transformation and connection conspire to ignite creativity and spur growth. In these pages, we explore the achievements of artists at different stages of their careers, celebrating the life’s work of distinguished masters and welcoming the next generation of stellar artists who produce both original works and brave homages to their predecessors. At the same time, we rediscover regional art forms that have scattered to the winds and sprouted at surprising locations on the world stage and take an inside look at innovative re-interpretations of classic works, whose renewed approaches draw out latent yet pertinent themes for a shifting global society. For audiences, the stage is also an immediate physical space on which we project our personal and collective experiences, stimulated by the performance experienced across the proscenium. This year, we take this one step further by transgressing the invisible boundary between audience and stage: cast and crew whisper in our ears, build sets before our eyes, and invite us to become both witness and participant in what transpire as stories unfold. As you peruse these pages, I hope that you will come away with a deeper understanding of our programmes and feel inspired to reflect on your own stages of personal growth. As ever, I am grateful to all who have supported and sustained the Festival at every stage of development these past 47 years. Along with the rest of the team, I look forward to seeing you at many performances and activities in 2019. In the meantime, enjoy reading! Tisa Ho, Executive Director Hong Kong Arts Festival

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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，

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

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

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

舉辦多元化的「加料」和教育活動，致力豐富香港的文化生活。

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

香港藝術節是一所非牟利機構，2019年第47屆藝術節的年度預算約港幣一億三千六百萬，當中香港特區政府的基本撥款佔總收入的近13%，接近6%來自政府新增加的五年限期額外撥款，另外約 28%需來自票房收入，逾33%則需依賴來自各大企業、熱心人士和

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。

慈善基金會的贊助和捐款。預計餘下的大約20%則來自其他收入，

香港藝術節大力投資下一代的藝術教育。「青少年之友」成立27

包括政府針對捐款和贊助收入而提供的配對資助。

年來，已為逾750,000位本地中學生及大專生提供藝術體驗活動。

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*：

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

• 歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、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、趙成珍、古斯塔

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。

沃．杜達美、菲力普．格拉斯、馬友友、丹尼斯．馬祖耶夫、安娜．涅翠柯、詹安德列亞．諾斯達、小澤征爾、甘拿迪．羅傑斯特汶斯六

基、克里斯蒂安．泰利曼、倫敦交響樂團、NHK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、美國芭蕾舞劇院、雲門舞集、漢堡芭蕾舞團–約翰．紐邁亞、紐約市芭蕾舞

33%

團、巴黎歌劇院芭蕾舞團、翩娜．包殊烏珀塔爾舞蹈劇場

28%

• 戲劇：彼得．布祿克、蜷川幸雄、羅柏特．威爾遜、柏林劇團、中

13%

國國家話劇院、皇家莎士比亞劇團 (updated July 2018 2018年7月更新)

• 大型特備節目：《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粵劇《百花亭贈劍》、《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。

誠邀贊助或捐助第47屆香港藝術節；詳情請與藝術節發展部聯絡。 To find out more about sponsorship opportunities and donation details for the 47th Hong Kong Arts Festival, please contact the HKAF Development Department. 電郵 Email: 直綫 Direct Lines: 網頁 Website:

dev@hkaf.org (852) 2828 4910/11/12 www.hk.artsfestival.org/en/support-us

扎根香港的國際藝壇盛事

香港藝術節

H O N G K O N G A R T S F E S T I VA L

A Major International Arts Festival In , Of and For Hong Kong

HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year. HKAF is a non-profit organisation. Secured government baseline funding represents about 13% of the 2019 Festival’s HK$136 million budget, with another nearly 6% specially provided by the Government as time-limited additional funding for five years. Around 28% of the Festival’s income needs to come from the box office, and over 33% from sponsorship and donations made by corporations, individuals, and charitable foundations. It is anticipated that the remaining 20% 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, Oper Leipzig, 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, SeongJin Cho, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Gennady Rozhdestvensky, Christian Thielemann, London Symphony Orchestra, NHK 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, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet – John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch

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 Cantonese Opera– Pavilion of a Hundred Flowers, A Floating Family–A Trilogy, 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 co-commissioned 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 27 years, our “Young Friends” scheme has reached over 750,000 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.

• Theatre: Peter Brook, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company • Large-scale special events: World of WearableArt, Zingaro • Outdoor events: Power Plant, Super Pool, Chorus

* 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-2018.html

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s t n e t n o 目錄C

前言 Foreword

舞台生涯 Career Stages 藝術巨匠的作品、成就與生涯 A closer look at the work, achievements and directions of seminal artists

舞蹈大師：約翰．紐邁亞和林懷民 Masters of Dance: John Neumeier & Lin Hwai Min

劇場魔法師：羅伯特．利柏殊和皮普．德爾邦諾 Masters of the Stage: Robert Lepage & Pippo Delbono

艾爾梭和約菲的音樂使命 Maestros on a Mission: Marin Alsop & Paavo Järvi

回到爵士樂根源：馬祖耶夫和夸斯托夫 Jazz Roots: Denis Matsuev & Thomas Quasthoff

世界即舞台 All the World's a Stage 藝術及藝術家如何從本土走向世界 Insight into artists and art forms grounded in the local, with a global reach

停不了的敲擊樂：李飈 Unstoppable Percussion: Li Biao

巴塞隆拿魅力之聲：「爵士新潮」和「世界音樂週末營」 Barcelona Beats: Nouveau Jazz and World Music Weekends

與希薇亞．佩瑞茲．克露絲暢談音樂 In Conversation with Sílvia Pérez Cruz

西班牙統治世界的年代：時光之音和洪儷僖 When Spain Ran the World: Quondam & Riyehee Hong

彩排室裏的約斯．貝克：《雙篇雙人舞》 In the Rehearsal Room with Jos Baker: Double Bubble

香港粵劇花開遍地：「粵劇越洋半世紀」 Flourishing Far and Wide: Global Traces, Local Stages

香港藝術節資助來自 The Hong Kong Arts Festival is made possible with the funding support of

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經典啟發發揮演繹 Stages of Interpretation 經典作品的嶄新演繹 An inside look into exciting re-presentations of classic works

《白蛇傳》的蛻變 A Transformation Story: Madame White Snake

癲狂時代的明鏡：《唐懷瑟》 Wagner, Meet Regietheatre: Tannhäuser

白遼士的反叛與創新：法國世紀樂團 Celebrating Berlioz: Les Siècles

攀登戲劇的珠穆朗瑪峰：李六乙的《哈姆雷特》 Scaling the Stage's Mount Everest: Li Liuyi's Hamlet

深入絕境：《攀越冰峰》 Into the Abyss: Touching the Void

舞台處處 At Every Stage 探索舞台作為創新試驗及連繫的平台 An exploration of the stage as a physical site for experimentation and connection

在劇場重構記憶：《887》和《家》 Theatre as a Site of Memory: 887 & HOME

不再緬懷寫新香港：《九江》 No Longer Nostalgic: Gangsters of Hong Kong

聽聽少年心底話：《陪着你走》 Transformative Tunes: Always by Your Side

歪斜之鏡：《泰坦—諸神之舞》 A Skewed Mirror: TITANS

人／物連續體：太舞蹈平台 The Human-Object Continuum: Asia Pacific Dance Platform

無聲的面具樂園：瑞士默劇團 Sounds Off, Masks On: Mummenschanz

新舞台：香港藝術節@大館及香港藝術節@牛棚—共生創造社 New Stages: HKAF@Tai Kwun and HKAF@Cattle Depot Creative Hub

探索新形式：《三個女人搞革命》《契訶夫處女作》《金錢世界》《蛙人》 New Formats: Burning bright..., Chekhov's First Play, £¥€$ & FROGMAN

網上追蹤香港藝術節 Follow HKAF on

本刊特稿中觀點及見解乃作者個人意見，並不代表香港藝術節協會立場。 The views and opinions expressed or implied the feature articles in this magazine are those of the authors and do not necessarily reflect those of the Hong Kong Arts Festival Society. 〈閱藝〉編輯團隊 FestMag Editorial Team 何嘉坤、蘇國雲、林秋美、林尚諾、林惠賢、黎家欣 Tisa Ho, So Kwok-wan, Gloria Furness, Sherlock Lam, Grace Lam, Melody Lai 出版：香港藝術節協會有限公司︱承印：嘉昱有限公司︱設計：alonglongtime Published by Hong Kong Arts Festival Society Limited ︱ Printed by Cheer Shine Enterprise Co., Ltd ︱ Designed by alonglongtime 本刊內容，未經許可，不得轉載。Reproduction in whole or in part without written permission is strictly prohibited.

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Career Stages

舞台生涯

舞蹈大師

Masters of Dance 香港藝術節於1973年正式揭幕；同年，約翰．紐邁亞開始任職漢堡芭蕾舞團藝術總監及首席編舞；林懷民則在台灣創辦了華語社會的第一個職業當代舞團「雲門舞集」。藝術節一直見證着這兩位舞蹈巨人的藝術創作之路；他們透過風格獨到的編舞，帶領各自的舞團在當地和海外舞台上大放異彩。 The inception of HKAF in 1973 coincided with that of two eminent dance companies performing in the coming Festival. That year, John Neumeier took up the reins of the Hamburg Ballet as Director and Chief Choreographer, while Lin Hwai-min founded the Cloud Gate Dance Theatre of Taiwan, the first professional company of its kind in the greater Chinese-speaking region. These two figures exhibit highly stylised artistry in ballet and contemporary dance, as well as profound leadership in their respective companies.

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約翰．紐邁亞的無邊舞蹈世界

The Limitless World of John Neumeier

閱藝 FestMag © Kiran West

美國威斯康辛州的密爾沃基不似是國際芭蕾舞者——更遑論世界

《胡桃夾子》展示出紐邁亞天賦的純熟敘事手法，以及他編創純

知名編舞家的生涯起步點。然而，芭蕾舞界的傳奇約翰．紐邁亞，

古典舞的才能。此外，作品亦以獨特的方式，去探索紐邁亞對芭蕾

正是在1939年2月24日，出生於這個城市。

的熱愛：故事並非如慣常一般以聖誕節作背景，而是以主人翁瑪麗

紐邁亞自1973年起，一直擔任漢堡芭蕾舞團的首席編舞與藝術總監，任期至今橫跨四十五載。如此令人意外的漫長任期，令紐邁亞成為芭蕾歷史上任期最長的總監，超越了其他知名的舞團總監和

在生日派對上，收到一對足尖鞋開始。而她被帶往的魔幻國度，也不是糖果王國，而是芭蕾舞蹈室，紐邁亞的大師級前輩佩蒂巴更是其中一位主要角色。

編舞前輩，例如：馬利斯．佩蒂巴（在聖彼得堡皇家芭蕾舞團三十

2018年的《貝多芬計劃》既現代又抽象，是紐邁亞繼巴赫和馬勒後

二年）及喬治．巴蘭欽（在紐約市芭蕾舞團三十五年）。

再向其中一位他最愛的作曲家的致敬之作。舞蹈配上了貝多芬的

紐邁亞在他漫長的舞蹈生涯中，一共創作了一百六十支結合舞蹈技巧與劇場元素，而且題材極多元化的芭蕾舞，從宗教與哲學，到

《英雄變奏曲》等偉大樂章。而《貝多芬計劃》及《胡桃夾子》的演出皆會由香港管弦樂團現場伴奏。

歷史及文學，以至喜劇到悲劇主題皆有涉獵。他亦以改編經典文

第三個節目《約翰．紐邁亞的世界》，則讓觀眾一窺紐邁亞自己的

學作品聞名，作品原著包括莎士比亞、契訶夫與田納西．威廉斯的

人生、作品及舞蹈理念。跟傳統的精選節目不一樣，這個自傳式作

劇作，以及托爾斯泰的《安娜．卡列妮娜》和小仲馬的《茶花女》

品由紐邁亞親自敘述，透過一些最具代表性的作品選段，講述一個

等。

編舞家的故事，並且回溯他作為藝術家的成長之路。

純粹以動作來說故事這個想法，在很久以前已經萌芽。紐邁亞於

對紐邁亞而言，只要聚焦於描畫人性與人類情感，舞蹈可以用來表

2015年獲得著名的京都大獎時，就曾經在得獎致辭中提到他愛上

達任何東西，絕無限制。至於技巧，無論是多優美或是多刺激，也

舞蹈，其實源於他小時候看過1940年代的精彩荷里活音樂劇。他

只不過是一種表達手段。就如他在京都的得獎致辭中提到：「動作

指出，每當「動作停止，然後舞者開始說話」就令他感到煩厭；他

的主要來源是人的情感；劇場舞蹈的主要目的，就是通過動作去感

還記得初次觀賞芭蕾舞時，整段演出也沒人會說半句話，他就「舒

動他人。」

一口氣且非常愉悅」。漢堡芭蕾舞團將於2019年3月，緊接紐邁亞慶祝其八十大壽之後，第四度亮相香港藝術節。舞團將帶來三個長篇作品，呈現紐邁亞多變之編舞風格，以及各式各樣靈感泉源。

羅佳娜

Milwaukee, Wisconsin seems an unlikely starting point for an international career in ballet, let alone for becoming one of the world’s most renowned choreographers. Yet that’s where ballet legend John Neumeier was born, on 24 February 1939.

During his long career, Neumeier has created 160 ballets which combine a mastery of technical and theatrical skills with an exceptional range of subject matter, tackling themes which range from the religious and philosophical to the historical and literary, from the comic to the tragic. He’s especially famed for his adaptations of literary classics, which range from plays by Shakespeare, Chekhov and Tennessee Williams to Tolstoy’s Anna Karenina and Dumas’ Lady of the Camellias. This concern with telling stories solely through movement goes back a long way. In his acceptance speech for the prestigious Kyoto Prize in 2015, Neumeier recalled how he fell in love with dance as a child watching the great Hollywood musicals of the 1940s. Tellingly, he hated it whenever “…the movement stopped and the dancers started to talk” and remembers when seeing ballet for the first time, his “great relief and pure pleasure” that no-one said a word throughout the performance.

The 2018 Beethoven Project is a modern, abstract piece which pays tribute to one of Neumeier’s most beloved composers. Set to some of Beethoven’s greatest music, including the Eroica Variations, the ballet will be accompanied by the Hong Kong Philharmonic Orchestra, as will The Nutcracker.

舞台生涯

Career Stages

Neumeier has been chief choreographer and artistic director of the Hamburg Ballet since 1973. At an astonishing 45 years and counting, this is surely the longest such tenure in the history of ballet, overtaking other iconic director-choreographers in whose footsteps he’s followed, like Marius Petipa (32 years at the Imperial Ballet in St. Petersburg) and George Balanchine (35 years at New York City Ballet).

The Nutcracker showcases Neumeier’s flair for narrative and ability to create pure classical choreography. It also explores his profound love of ballet through a unique approach—instead of the usual Christmas setting, the story opens at a birthday party where the protagonist, Marie, is given a pair of pointe shoes. The magical land to which she is transported is not the Kingdom of Sweets, but a ballet studio where Neumeier’s illustrious forerunner Petipa is one of the main characters.

The third programme, The World of John Neumeier, provides a fascinating insight into Neumeier’s own life, work and dance philosophy. Unlike a conventional gala programme, this autobiographical production, narrated by Neumeier himself, tells the choreographer’s story and traces his development as an artist through a series of excerpts from some of his most seminal works. For Neumeier, there is no limit to what can be expressed in dance as long as the focus is on portraying humanity and human emotions. Technique, however beautiful or thrilling, is only a means to that end. As he said in his Kyoto speech, “The primary source of movement is human emotion. The primary purpose of theatre dance is, by means of movement, to move others.” Natasha Rogai

When Hamburg Ballet makes its fourth appearance at the Hong Kong Arts Festival in March 2019—just after Neumeier celebrates his 80th birthday—it will perform three full-length works which illustrate his versatility as a choreographer and the variety of sources which inspire him.

漢堡芭蕾舞團–約翰．紐邁亞 The Hamburg Ballet - John Neumeier 《胡桃夾子》 The Nutcracker 13-15.3.2019

《貝多芬計劃》 Beethoven Project 19-20.3.2019

《約翰．紐邁亞的世界》 The World of John Neumeier 23-24.3.2019 © Kiran West

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

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林懷民—人民藝術家 Lin Hwai-min, A People’s Artist

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雲門舞集的創辦人林懷民起初的心願，只是想跳舞給台灣人看。他曾經在家鄉台灣嘉義和美國學過跳舞，但創團前從未正式擔任過舞團的舞者。雲門舞集從一開始，就主力演出華人編排的現代舞，之後林懷民帶着台灣第一個職業舞團走上的舞台越來越多：台灣的城鄉、香港、北京、上海、廣州等中國城市，更在歐美舞壇代表台灣贏得讚譽。像林懷民般能在本土和海外均備受讚揚的藝術家和舞團，在華語地區甚至亞洲來說寥寥可數。

由台灣到世界關懷社會文化氛圍雲門舞集1975年第一次來香港，在利舞台演出，無論對舞蹈界和觀眾，均帶來啟發；1981年已經到歐洲演出。後來甚至獲得翩娜．包殊三度邀請到德國參加舞蹈節。有外國舞評讚許雲門的舞蹈獨一無二，舞者渾身表達的力量，與西方傳統的截然不同。例如《水月》的舞蹈詞彙就是取自太極導引，舞者透過丹田運氣，牽動身體的一發一收。舞團在華語地區備受好評，並躋身世界頂尖

為台灣人跳舞編舞美學見功夫

當代舞團之列，每年固定到海外巡演。

雲門一開始就決心為台灣的民眾和學生表演，至今每年巡迴當地

林懷民創作和領導舞團的成績有目共睹，而他時時反思世界各地

不同城市作免費戶外演出。這些演出的舞碼規格和舞者陣容與他

的文化政策和理念，不止關心藝團面對募捐和資助的切身難處，更

們賣票的正式公演無異，感動平常較少有機會接觸現代舞的尋常

推及梳理社會整體文化氛圍，難能可貴。來港出席座談會時，也會

百姓。林懷民對他們最念念不忘，稱之為「最好的觀眾」。2013年

殷切地關心西九文化區。另一邊廂，淡水雲門劇場於2015年開幕，

在台東池上一次戶外演出時下大雨，舞者臨時更改舞碼，為穿着雨

取代因火災燒毀的排練場作為創作基地，符合專業規格的大劇場

衣坐在地上觀賞的鄉民觀眾，表演適合在雨中跳的舞作，成為一時

表演區更開放予其他表演團體排練，促使藝團改進作品。林懷民

佳話。

樂於為新生代編舞和舞者提供演出和發表作品的機會，芸芸後輩

林懷民的創作貼緊台灣人的生活，見諸《稻禾》、《白水》的大自然風貌、行草三部曲的中國書法、《家族合唱》的台灣近代史和

包括即將接任雲門舞集藝術總監的鄭宗龍；曾為雲門２編過舞的黃翊也將亮相今屆藝術節亞太舞蹈平台。（見第89頁）

《如果沒有你》的流行曲。作品與舞者的訓練息息相關：除了現代

林懷民四十多年來一直堅持做好每個作品、每件小事：讓台灣人享

舞和芭蕾舞的基本訓練，例如瑪莎．葛蘭姆的呼吸及伸展技巧，

受舞蹈的純粹，讓海外舞壇認識台灣的藝術土壤，香港藝術節以

還加入與其他舞團不一樣的東方元素：內家拳、太極導引、靜坐，

《林懷民舞作精選》，在林懷民行將卸任雲門舞集藝術總監之際，

甚至是京劇表演，長時間鍛煉舞者的身體。林懷民一再說過，「功

回顧這個人民舞蹈家走過的藝術足跡。

夫」在武術的第一層含意之外，更指長時間浸淫。舞者正是經過這種浸淫，演繹的舞作才不會流於表面和符號式的東西方元素拼湊。

林尚諾

Since its inception, Cloud Gate has been dedicated to presenting modern works by regional choreographers, and Lin has since led Taiwan’s first professional dance company to perform on an impressive array of stages—in urban and rural Taiwan, Hong Kong, Beijing, Shanghai, Guangzhou and beyond—while winning great acclaim for Taiwanese dance in European and North American dance circles. Few dance troupes from Asia and the Chinese-speaking world have achieved as much renown both at home and abroad as Lin Hwai-min and his company.

Exceptional aesthetics, local audiences From the start, Cloud Gate has been devoted to performing for the Taiwanese public and its students. Each year, the company tours domestically to present free outdoor performances that match the standards of the company’s ticketed performances, motivated by a desire to move a general public who rarely comes into contact with modern dance. To Lin, they are “the best audience”: when one such outdoor performance in Chishang, Taitung was interrupted by heavy rains in 2013, the dancers adapted the programme on the spot to pieces suited to the rainy setting. The raincoat-clad rural audiences seated on the ground before them were mesmerised by what came to be a much celebrated performance. Lin’s life’s work draws inspiration from the daily life of his beloved Taiwanese audiences, as reflected in the portrayal of nature in Rice (2013) and White Water (2014), elements of Chinese calligraphy in Cursive: A Trilogy (2001, 2003, 2005), and references to modern Taiwanese history and pop songs in Portrait of the Families (1997) and How Can I Live on Without You (2011). But Lin’s style is also intimately connected to his dancers’ training. While Cloud Gate dancers learn foundational training in modern dance and ballet—including breathing and stretching methods from the Martha Graham Technique—their training in ‘Eastern’ practices like internal martial arts, qigong, meditation, and Beijing opera movements dis-

From Taiwan to the world stage That singularity of vision has allowed Cloud Gate to reach an increasingly wide on the world stage. The company first performed in Hong Kong at the Lee Theatre in 1975; its European debut was in 1981. It went on to receive three subsequent invitations to dance festivals in Germany by the dance pioneer Pina Bausch. In the decades since its inception, Cloud Gate has continued to garner extensive acclaim, establishing itself as one of the world’s top dance companies.

舞台生涯

Career Stages

At the outset, Cloud Gate Dance Theatre of Taiwan founder-director Lin Hwai-min only wanted to dance for Taiwanese audiences. Though he had studied dance in both the US and his hometown of Chiayi County, Taiwan, he had no experience dancing with a professional company prior to founding his own.

While Lin’s achievements as a creative artist and leader have been widely recognised, he is also a critical thinker on the region’s cultural policies and ideologies. He is not only concerned about the difficulties that arts organisations encounter in fundraising and sponsorship, but works to promote and refine the socio-cultural atmosphere. That critical concern extends even to Hong Kong, where he has shown keen interest in the West Kowloon Cultural District at local seminars in 2017 and 2018. But for Lin, community cultural concern always hits close to home. When Cloud Gate's warehouse studio was destroyed by fire in 2008, the company erected a new base in Tamsui, Taiwan. The professional theatre’s performance area is open to other performing arts groups as a rehearsal space, providing opportunities for the next generation of dancers and choreographers to refine and showcase their works. Young artists Lin has supported include Cheng Tsung-lung, who will succeed him as Cloud Gate Dance Theater of Taiwan's Artistic Director and Huang Yi, a former choreographer for Cloud Gate 2 and performer in this Festival’s Asia Pacific Dance Platform programme (for more information, visit pg. 89). For more than four decades, Lin has strived for excellence in every dance work and endeavour he has undertaken—to foster the Taiwanese people’s enjoyment of dance and an understanding of Taiwan’s artistic heritage in the overseas dance world. To celebrate the conclusion of Lin’s distinguished career, Retrospectives of Lin Hwai-min’s Works retraces the footsteps of his outstanding dance troupe. Sherlock Lam

tinguishes Cloud Gate from other dance troupes. ‘Kung Fu’, Lin has been known to say, is more than just a martial art; it is the time one spends immersed in dedicated work. It is precisely because of this 'kung fu' that Lin's dance works transcend a superficial collage of Eastern and Western elements.

雲門舞集 Cloud Gate Dance Theatre of Taiwan

雲門舞集45週年林懷民舞作精選 The 45th Anniversary Gala Programme Retrospectives of Lin Hwai-min’s Works 21-24.2.2019 香港文化中心大劇院 Grand Theatre, HK Cultural Centre

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劇場魔法師

Masters of the Stage

羅伯特．利柏殊和皮普．德爾邦諾兩位跨界戲劇家，分別帶來《887》和《快樂大本營》。兩部大師作品，相映成趣：前者以多媒體舞台裝置呈現在魁北克歷史夾縫中的個人回憶；後者在以花藝佈置的舞台上與劇團成員歌頌生命。 The genre-crossing theatre practitioners Robert Lepage and Pippo Delbono bring 887 and La Gioia to the 47th HKAF. The former explores personal memories against the backdrop of Québec history through multimedia stage devices, while the latter celebrates life with his fellow troupe members on a flower-adorned stage. 科技劇場先驅—羅伯特．利柏殊

A pioneer of digital theatre

燈光暗了，帷幕徐徐展開，興奮的竊竊私語聲也戛然而止。對於不

Lights dim, curtain parts, and excited whispers are abruptly hushed. To the unenlightened, the premise may not sound particularly exciting: it is a one-man show set against the backdrop of the Soviet-American moon-race. The protagonists are two brothers in Quebec—an academic with a thesis on space exploration and a gay weatherman—united by their mother’s death.

了解它的人來說，故事的設定似乎平淡無奇：一齣以蘇美兩國太空競賽為背景的獨腳戲。主人公是來自加拿大魁北克的兩兄弟：

一

個寫太空探索論文的學者和一個同性戀的天氣預報員，兩人因母親的離世而相聚。戲迷則再清楚不過：這可是羅伯特．利柏殊的作品。場景中有地球衛星圖、黑板、傳送門中如幽靈般說話的人頭像、一個人在映有樹木鬼影的路上騎電單車。兩個半小時後，當觀眾回到現實世界，個個驚訝不已。2018年在新西蘭奧克蘭的一場表演結束後，一位觀眾驚嘆道：「我被表演帶入完全不同的地方，無時無刻都沉浸其中。」《捕月》是這位加拿大劇場導演備受讚譽的作品，於2000年首演，之後在四十五個城市巡迴演出，2003年曾在香港藝術節上演。距首演近二十年後，該劇於2018年在澳洲、新西蘭以及韓國重演，仍然備受喜愛。《衛報》評論家布麗姬．迪蘭尼曾稱讚說：「難以相信這竟是一場獨腳戲」。

But theatre fanatics know better: after all, it’s Robert Lepage. There are satellite images of the earth, chalkboards, spectral talking heads in portals, a man riding a motorbike through a path lined with ghostly negatives of trees. Two and a half hours later, audience members emerge stunned: “It felt like you were transported to completely different places the whole time,” one said after a show in Auckland in 2018. This is The Far Side of the Moon, a critically acclaimed work by the Canadian theatre auteur first unveiled in 2000. It proceeded to tour 45 cities, with a stop at the Hong Kong Arts Festival in 2003. Nearly two decades after its initial run, it was restaged in Australia, New Zealand and Korea for a revival in 2018, rapturing critics still: "It’s hard to believe The Far Side of the Moon is a oneman show,” writes Guardian critic Brigid Delaney.

Career Stages

舞台生涯

利柏殊被譽為「現代意象劇場的煉金術師」。他1957年出生於魁北克，十七歲入讀戲劇藝術學院修讀戲劇，畢業後擔任過演員、作家及導演。他的作品不斷為他贏得獎譽及國際名聲。1994年他創辦「機器神」劇團。翌年，他首度把作品帶到香港藝術節上演，這部名為《測謊儀》的黑色戲劇，講述了一個「抽象的偵探故事」，由指標劇團製作。 2019年，這位劇場大師將重臨本港，並親自登台演出。在第47屆香港藝術節中，利柏殊將為觀眾帶來《887》。該作品取名自他童年時在魁北克住址的門牌號，以作者個人經歷為主要題材，探討了當地法語社群和英語社群間的緊張關係。利柏殊說，這是對加拿大及其語言鴻溝的一種隱喻。這並非利柏殊第一次將個人經歷融入作品中。加拿大的劇評家李察．佐尼安曾敏銳地指出：「羅伯特．利柏殊的每一部作品最終都在講同一件事——羅伯特．利柏殊自己。」佐尼安並非指作者自戀或自我中心。相反，評價正正道出了利柏殊如何透過劇場直面他的性取向（《安徒生計劃》，20 05），吸毒的經歷（《針與鴉片》，1991），甚至「他生活在有兩對分別說英語和法語的小孩的家庭所經歷的溝通問題」（長達九小時的多國語言鉅作《眾聲喧嘩》，2008）。

Robert Lepage—hailed an “alchemist of modern imagistic theatre”—was born in 1957 in Quebec City. He entered the Conservatoire d’art dramatique to study theatre when he was 17, and worked as an actor, author and director upon graduation. His works would go on to win him numerous awards and international recognition, and in 1994 he founded Ex Machina, his own theatre company. The following year, his work was brought to the Hong Kong Arts Festival for the first time with Polygraph, a "metaphysical detective story” and play noir presented by Théâtre Repère. Now, the theatre visionary is returning to the city, and this time, he will be onstage as an actor himself. For the 2019 edition of the Festival, Lepage will be performing 887, named after the street number on which his childhood home resides in Quebec. Drawing largely from autobiographical material, the play explores tension between the city's Francophone and Anglophone worlds—a metaphor, according to Lepage, for Canada and its linguistic divide. This is not the first time that Lepage has incorporated personal history into his work. Canadian critic Richard Ouzounian once astutely commented: "Every show that Robert Lepage creates is ultimately about one thing—Robert Lepage.” But Ouzounian was not implying narcissism or egocentrism; rather, it was a reference to how Lepage has, through theatre, confronted his sexuality ( The Andersen Project, 2005), experiences with drugs (Needles and Opium, 1991), and even “problems of communication he lived through in a home with two Anglophone and two Francophone children” (in the nine-hour multilingual epic, Lipsynch, 2008).

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在即將於本港上演的作品中，利柏殊將再次直面他經歷的語言溝

德爾邦諾在亞洲成為了一名虔誠的佛教徒，他的創作中不乏社會

通問題。在利柏殊出生前，他的父母收養了一對子女，他們在加拿

邊緣人物，他們不僅是戲劇的靈感來源，也是劇團中不可或缺的

大說英語的諾華斯高沙長大，而利柏殊和他的妹妹卻在說法語的

一份子。一位叫做波波的演員在戲劇中經常出現，他天生患有聽

魁北克市長大。其中的矛盾，對於長期在兩文三語的政治及文化分

力障礙和小頭畸形，曾在精神病院住了四十五年。雖然有人質疑這

歧間尋求妥協的香港觀眾來說，並不陌生。

個具有爭議的舉動，德爾邦諾則對這些「僞善」的評價不予理睬。

現在，人們足不出戶便可收看任何內容，連戲院也懶得去，利柏殊卻很清楚如何用作品吸引觀眾。他曾說：「必須是只有在劇場才能

對於他來說：「戲劇是一種愛的行為，而非為了讓人震驚。我也覺得自己需要與傳統對抗，才能讓大家回復清醒。」

看到而且值得看的作品。」利柏殊不斷為觀眾帶來全新的劇場體

或許這種信念最强而有力的證明，就是德爾邦諾首次在香港亮相，

驗，創作銀幕無法複製的故事情節，證明了這種藝術形式在當下仍

帶來的演出《快樂大本營》。他自己曾與愛滋病抗爭，又經歷了母

然魅力無窮。

親離世的哀痛：現在，他開始主動追求幸福。在鮮花盛開的舞台

前衛主義的表現形式千變萬化。當大眾對劇場中熟讀台詞的美麗面孔已經習以為常的時候，一個更開放、包容的演員陣容便足夠令

上，曾幫助德爾邦諾走過低谷的演員一個接一個出場，包括前述的波波、患有唐氏綜合症的吉安盧卡．巴拉爾。德爾邦諾稱他們為

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的作品。

最近，德爾邦諾作品《蘭花》（2014年）有一篇劇評寫道：「作品讓

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「家人」，若非親眼目睹德爾邦諾與波波兩人重演《等待果陀》中

人耳目一新。另一位在本屆藝術節上推陳出新的劇場大師，是來自

德爾邦諾的邊緣社會群像

戲劇回歸本色：拼命尋找生命的意義。不惜一切代價，繼續探討愛

意大利的演員兼導演皮普．德爾邦諾。這也是藝術節首次呈獻他

的主題」。像利柏殊、德爾邦諾這些戲劇界的非凡人物從未停止大德爾邦諾1959年出生於意大利的瓦拉澤，他早期投身傳統戲劇，並

膽嘗試，誰還敢說戲劇沒有出路了呢？

曾在亞洲學習東方舞蹈。他師從多位大師級人物，包括著名編舞家翩娜．包殊，之後在八十年代創辦皮普．德爾邦諾劇團。從那時起，他獲得熱烈追捧，贏得驕人獎項，例如憑藉《流浪漢》奪得意大利戲劇界最高榮譽「烏布獎」。他還導演了一部完全用手機拍攝的影片（《恐懼》，2009年）。德爾邦諾的藝術創作繁多，涵蓋戲劇、表演、電影和裝置藝術，稱得上是現代的「文藝復興人」。2018年更獲巴黎龐畢度中心舉辦一整個月的作品回顧展。

對話的動人場面，大家會以為「家人」的稱謂不過是個公關技倆。

張嘉倫

In a time when everything can be streamed from the comfort of one’s home and even going to the cinema feels like an effort, Lepage understands what it takes to lure audiences to a production: "It has to be something you can only see in the theatre, and it has to be worth it,” Lepage has said. By continuously reinventing the theatre-going experience and creating stories that cannot be replicated on the screen, Lepage has proven why the art form remains compelling in this day and age.

Portraits from society's margins But avant-gardism can manifest itself in many forms; when the masses have become so accustomed to seeing beautiful faces dictating perfectly-memorised lines in the theatre, even the involvement of a more inclusive cast could be groundbreaking. Another master of theatre that will be transcending boundaries in this Festival is Italian actor and director Pippo Delbono, whose works will be showcased at the festival for the first time. Born in Varazze, Italy in 1959, Delbono spent the early years of his career working in traditional theatre and studying Oriental Dance during a stint in Asia. After working with different masters, including celebrated choreographer Pina Bausch, he created his own company, Compagnia Pippo Delbono, in the 1980s. Since then, he has amassed a cult following, won coveted accolades such as the Ubu prize for Barboni, and even directed a film shot entirely with a cell phone (La Paura, 2009). A true “Renaissance Man” of the modern age, Delbono is the creator of a prolific stream of works spanning theatre, performances, films and art installations. These were celebrated in 2018 at a month-long retrospective at the Centre Pompidou, Paris.

Career Stages

舞台生涯

In his upcoming production in the city, Lepage will be tackling this last issue head-on. Lepage’s adopted elder siblings had grown up in English-speaking Nova Scotia, but Lepage and his younger sister were raised in Francophone Québec City. This would be a conflict familiar to Hong Kong’s bi- and trilingual audiences, which have long struggled to reconcile the political and cultural divides between three languages.

A devout Buddhist since his days in Asia, Delbono has engaged members of marginalised communities in his creative processes; not only do they serve as muses, but they are also an integral part of his company. One recurring actor in his plays is Bobò, who was born with a hearing impairment and microcephaly, and was previously kept in an asylum for 45 years. While some have questioned the controversial move, Delbono brushed off the criticisms as stemming from a sense of “false morality”. For him, “Theatre is an act of love; it is not there to shock. But, I also think that I have a sense of the need to revolt, to bring us back to a sense of lucidity.” Perhaps the strongest testament to this belief can be found in La Gioia (Joy), which Delbono will be bringing to Hong Kong for his debut appearance in the city. The director has battled AIDs and grappled with the death of his mother: now, he is embarking on a quest for happiness. On a stage strewn with flowers furiously in bloom, Delbono presents, one by one, the members of his cast who have been instrumental in helping him get through his darker days, such as the aforementioned Bobò and Gianluca Ballaré, who has Down Syndrome. Delbono has referred to them as his “family”, a comment easily dismissed as a public relations stunt until one witnesses a moving scene with Bobò in which the pair reenacts dialogue from Waiting for Godot. A recent review of Delbono's show, Orchids (2014), reads: "Here the theater returns to its original role: to desperately find meaning in life. To continue, despite everything, to talk about love.” With theatre extraordinaires like Lepage and Delbono still around taking bold risks every day, who’d dare say theatre is dead? Karen Cheung

機器神製作 Ex Machina 《887》羅伯特．利柏殊創作及演出 887, created and performed by Robert Lepage 27.2-2.3.2019 香港演藝學院歌劇院 Lyric Theatre, HKAPA

皮普．德爾邦諾劇團 Compagnia Pippo Delbono 《快樂大本營》La Gioia (Joy) 22-23.3.2019 香港演藝學院歌劇院 Lyric Theatre, HKAPA © Luca Del Pia

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Career Stages

舞台生涯

艾爾梭和約菲的音樂使命

Maestros on a Mission

聖保羅交響樂團和NHK交響樂團是享譽國際的頂尖樂團，但考慮到他們均由傑出的音樂總監帶領——分別是瑪琳．艾爾梭和帕佛．約菲——這也不足為奇了。瑪琳．艾爾梭曾與聖保羅交響樂團到倫敦的英國廣播公司逍遙音樂會和巴黎的皮勒耶音樂廳演出；而帕佛．約菲則在2015年為慶祝NHK交響樂團成立九十週年，率領樂團到歐洲舉行盛大的巡迴演出。在2019年香港藝術節中，兩隊樂團除了為我們送上精彩的熱門古典音樂，如普羅科菲耶夫、拉威爾和伯恩斯坦等作曲家的作品外，還挑選了一些具地方色彩的音樂，如巴西著名作曲家海爾托．魏拉-羅伯斯的作品和武滿徹閃耀的日本音景。艾爾梭和約菲將帶領他們的樂團再創藝術高峰，讓他們的音樂傳送到世界更多地方。 The São Paulo and NHK Symphony Orchestras are internationally acclaimed as leading players on the global stage. This is hardly surprising, as both ensembles are in the capable hands of exceptional music directors: Marin Alsop and Paavo Järvi, respectively. Alsop has taken the São Paulo Symphony Orchestra (OSESP) to the BBC Proms in London and the Salle Pleyel in Paris, and to celebrate the NHK’s 90th birthday in 2015, Järvi took the orchestra on a grand European tour. Their 2019 HKAF programmes embrace a healthy mix of classical favourites, including, among others, music by Prokofiev, Ravel, and Bernstein. However, there is plenty of local colour as well, ranging from Brazil’s most celebrated composer, Heitor Villa-Lobos, to the shimmering Japanese soundscapes of Toru Takemitsu. Alsop and Järvi have taken their respective orchestras to new and exciting artistic heights and helped them to reach a wider world audience.

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2007年，巴爾的摩交響樂團委任瑪琳．艾爾梭為樂團音樂總監，令

令我喜出望外。他對所有學生都很慷慨，而且關懷備至，我覺得他

人議論紛紛，緣於當時的美國大型樂團從未試過以女性出任如此

對我份外好，但可能他所有學生都有這種感覺──他就是有這種

要職。這個里程碑同時標誌着音樂、文化和社會風氣的轉變，並非

天賦（…）我從他身上學到最寶貴的東西之一，就是透過音樂講故

巧合。艾爾梭稱：「指揮的路是一個漫長堅持的旅程。如果你經常

事。他經常創作故事，因為他知道人類都需要故事……而我們也需

舉棋不定是不可能成功的……指揮需要各種技巧、紀律，還需要很

要一些寓意。」

多靈感。」艾爾梭的父母皆為專業音樂家，但她認為自己的成功除了因為得

指揮時從不會冷漠、目中無人、或過份挑剔，只清楚地把音樂的情

到父母的啟發外，還因為她九歲的時候，看過伯恩斯坦著名的《青

感傳達出來。約菲在2017年的一個訪問中提到：「伯恩斯坦曾告訴

年音樂會》。艾爾梭憶述：「他一踏上舞台向觀眾講話，就散發出非

我說：『你必須做好功課，作好準備，但走到指揮台上，你要把這

凡的魅力，可以看得出，他十分享受自己的工作。從那天起，我就知

些東西拋諸腦後，用心感受就好了。』他這個忠告很好，令人感到

道自己想當指揮。」

非常自在。」艾爾梭和約菲兩位指揮都不約而同的認為，伯恩斯坦

約菲跟艾爾梭一樣，當初也是在家裏獲得啟發。他的父親是愛沙

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這位前輩總是非常渴望要把他對音樂的熱情與世界分享。

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尼亞著名指揮尼姆．約菲，他為兩位同是指揮的兒子帕佛和克利

艾爾梭和約菲在事業上都嘗試過多種備受矚目的工作和職位，與

斯蒂安，還有長笛家女兒瑪莉卡，都給了不少鼓勵。由於爸爸是歌

此同時亦不忘在當地或世界舞台與聽眾分享音樂的樂趣。從為巴

劇和交響樂指揮的關係，帕佛小時候經常觀看樂團彩排。他早年

爾的摩弱勢青少年推廣音樂教育的「兒童樂團」計劃，和把愛沙尼

接受《洛杉磯時報》克里斯．巴斯樂的訪問時曾說：「我沒有誇

亞的音樂家及其家人與歐洲著名樂團的獨奏家聯繫起來的帕爾努

大，《茶花女》和《波希米亞人》我都看過四、五百遍了。」受到父

音樂節裏，都可見他們於國際樂壇既有啟發性，也有影響力。他們

親的影響，帕佛早已認定自己將來要當指揮，直至1983年和1984年

致力把音樂振奮人心的強大力量，送到意想不到的地方。

的夏天，他在洛杉磯愛樂學院遇到伯恩斯坦，為志向添上了第二重影響。該次會面讓帕佛認識伯恩斯坦真正的國際視野，對他影響深遠。帕佛稱：「我與伯恩斯坦相處的時間不多，但他對我的影響至今尚存。」

艾爾梭自2012年開始出任聖保羅交響樂團的首席指揮。樂團歷史雖然不長，但卻決意成為世界級的交響樂團。自1954年成立以來，聖保羅交響樂團經歷了一些重大變化，成為聖保羅和巴西文化的重要部分。這些循序漸進而意味深長的社會文化轉變，都記錄在樂團超

2018年是伯恩斯坦誕辰一百週年。他是美國歷史上最具天份和最

過八十張的唱片裏，並因瑪琳．艾爾梭的加入而獲得更多衝擊。由於

成功的音樂家之一，對音樂盡情投入和熱情無限的態度，在美國文

聖保羅的聽眾可能仍在學習欣賞古典音樂，因此，對艾爾梭來說，要

化產生很大迴響；其個人和專業發展的各個階段和各種轉變，更

讓他們感到耳目一新別具意義。2012年，她剛接受樂團委任時曾向

成為二十世紀美國演變的象徵。

《衛報》的史提芬．摩斯說：「除了那華麗的音樂廳外，令我更感驚

艾爾梭一直認為能跟伯恩斯坦學藝，是她一生最美好的經歷。她於2016年紐約卡內基音樂廳《夢斷城西》的演出前憶述：「他簡直

2017年3月，帕佛．約菲與NHK交響樂團在倫敦的音樂會。 Paavo Järvi with the NHK Symphony Orchestra in London, March 2017.

約菲認為，伯恩斯坦是一位肩負社會責任、包容和慷慨的大師。他

訝的是，樂團在幾天之內已有大幅進步，他們渴望刻苦練習，而且極具潛力。這種精力充沛的態度，在歐美已很難找到。」

Alsop credits much of her success to the inspiration she received not only from her parents—both professional musicians—but also from Leonard Bernstein, having seen one of his famed Young People’s Concerts at the age of nine. “From the moment he came out on stage and began speaking to the audience,” she recalls, “he shared his charisma and his obvious joy for what he was doing. And from that day on, I knew I wanted to be a conductor.” For Paavo Järvi, like Alsop, inspiration naturally began at home. His father, the eminent Estonian conductor Neeme Järvi, provided encouragement to young Paavo and his brother, fellow conductor Kristjan, and sister, flautist Maarika. As his father was an opera and symphony director, Järvi spent much of his childhood in rehearsals. “I've seen La Traviata and La Bohème— and I am not exaggerating—400 or 500 times,” he shared in an early interview with LA Times correspondent Chris Pasles. Under the influence of his father, Järvi instinctively knew that he wanted to be a conductor, but while spending the summers of 1983 and 1984 at the Los Angeles Philharmonic Institute, this strand of influence converged with another—while there, Järvi met Leonard Bernstein. The impact of that meeting had long lasting implications, as it provided a truly global perspective. “I did not have much contact with Bernstein other than a brief encounter,” he recalls, “but it has influenced me up to this day.” As we celebrate the centenary of Leonard Bernstein’s birth in 2018, we remember one of the most prodigiously talented and successful musicians in American history. His boundless energy and all-encompassing, contagious attitude towards music resonated deeply in American culture, where the distinct periods and shifts in his personal and professional development became a metaphor for the evolution of 20th century America.

For Järvi, Bernstein was the model for the socially responsible, inclusive, and generous maestro. Never remote, preoccupied or needlessly professional, the work was about clearly communicating the emotional aspects of music. “Bernstein once told me, ‘You have to do your homework and be very prepared, but when you stand on the podium throw it all out of your head and feel.’ And I think that’s a great piece of advice, very liberating,” Järvi recalled in a 2017 interview. But what really focused the respective Bernstein influences for both conductors was the fact that the elder musical statesman had an overriding desire to share his excitement about music with the world.

舞台生涯

Career Stages

Much had been made of Marin Alsop’s appointment as Music Director of the Baltimore Symphony Orchestra in 2007—and rightfully so, as she was the first woman to hold this position with a major American orchestra. A musical, cultural and social milestone so significant certainly doesn’t happen by accident. “Conducting,” Alsop has suggested, “is a long journey of perseverance, and if you’re going to waver at every corner, you’re never going to make it… It takes all kinds of skills and discipline, and plenty of inspiration.”

Throughout their respective careers, both Alsop and Järvi have taken on a variety of high-profile engagements and appointments, but they have never stopped sharing the excitement of music on local and global stages. From the ‘OrchKids’ programme designed to promote music education for under-privileged youth in Baltimore, to the Pärnu Music Festival, which brings together Estonian musicians and their families with soloist from Europe’s top orchestras, they have become inspirational and powerful voices on the international music scene. And they have brought that excitement, that universally powerful force of music, to seemingly unlikely corners of the globe. Since 2012, Alsop has been chief conductor of the São Paulo Symphony Orchestra (OSESP), an organization with a decidedly short history but the burning ambition to become one of the great orchestras of the world. Founded in 1954, OSESP has undergone major developments and become an integral part of the culture of São Paulo and Brazil. This gradual but significant sociocultural transformation has been documented in the release of over 80 CDs, and accelerated with the appointment of Marin Aslop. And while São Paulo audiences may still be learning to appreciate classical music, for Alsop the experience of challenging them is a meaningful one. “Besides the gorgeous concert hall,” she explained to Guardian correspondent Stephen Moss at the start of her appointment in 2012, “I was so impressed with the exponential growth in the orchestra over just a couple of days. They were hungry for hard work and have enormous potential. And they bring a fresh attitude to the orchestral pit that is no longer found in Europe and America.”

Alsop still considers her apprenticeship with Bernstein one of her life’s greatest experiences. “He exceeded all of my expectations—he was so generous, so loving, and so caring of all of his students, but I felt especially of me. Maybe each of his students felt that way—that was his gift,” she recalled ahead of a 2016 production of Bernstein’s West Side Story at Carnegie Hall. “One of the most valuable things I learned from him was this idea of telling stories through music. He was always inventing stories because he understood that we, as human beings, needed a story… and we need a moral to the story.”

鋼琴前的伯恩斯坦，攝於1955年。美國國會圖書館收藏 Leonard Bernstein seated at piano, 1955. Courtesy Library of Congress.

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聖保羅交響樂團 São Paulo Symphony Orchestra

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這種要邁向國際舞台的決心，同樣推動着NHK交響樂團。今年是

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帕佛．約菲第三年在該團出任指揮，他在2016年向《Bachtrack》雜誌解釋：「他們（NHK）令我十分驚喜。大部份歐美聽眾都不知道NHK有多好，而我的目標就是要讓更多人認識這個樂團。」NHK 交響樂團成立於1926年，接受羅森斯托克和卡拉揚的德奧傳統訓練，現在已成長到能每年在日本舉辦約一百二十場音樂會。NHK著名的訂票音樂會系列亦同步直播至日本全國；樂團的理念是透過音樂教育和慈善活動，貢獻和促進社會和諧。約菲的目標是在欣賞他們的聽眾支持下，拓展樂團的音樂領域、擴充他們的演奏曲目。「除了尊重之外，聽眾還會投入情緒在聽到的音樂裏。要知道他們是否喜愛你的演出並不困難──起立鼓掌並不常見，但如果他們真的喜歡，他們鼓掌時會把雙手高舉頭上，這就是他們的起立鼓掌。」約菲在短短數年間把NHK變成世界舞台上的頂尖樂團；看來聖保羅和東京這兩個地方都對古典音樂變得狂熱起來。不論在聖保羅還是東京、紐約還是柏林，音樂在任何地方都擁有強大的凝聚力量。約菲說：「雖然音樂不能解決實際紛爭，也不能送走煩惱，但音樂有助處理問題，可讓人們更團結、更和諧、更親密。」又正如艾爾梭經常提到的：「音樂能改變生命。」兩位指揮都致力發展教育，希望吸引不同年齡的聽眾，把他們的影響力和精神傳遞到全球每個角落。正如伯恩斯坦當年對年青的他們影響深遠一樣，他們也把伯恩斯坦的精神宣揚給全世界。

裴德龍

瑪琳．艾爾梭與聖保羅交響樂團 Marin Alsop with the São Paulo Symphony Orchestra 21-22.2.2019

帕佛．約菲與NHK交響樂團 Paavo Järvi with the NHK Symphony Orchestra 28.2.2019 香港文化中心音樂廳 Concert Hall, HK Cultural Centre

The desire to command a global stage is also driving the NHK Symphony Orchestra, now in its third year under the baton of Paavo Järvi. “It’s an amazing orchestra,” he explained to Bachtrack in 2016. “A lot of people in Europe and America don’t realize how good the NHK is and my goal is to make the orchestra less of a secret.” Established in 1926, the orchestra was trained in the Austro-German tradition of Joseph Rosenstock and Herbert von Karajan, and it has continually grown to present approximately 120 concerts nationwide annually. The celebrated subscription concert series is broadcast live nationwide, and the orchestra’s contribution and involvement with fostering social harmony through music education and charitable events have always been part of its core philosophy. Järvi’s mission has been to musically expand the orchestra’s horizons and repertoire, with the support of a highly attentive audience. “Underneath a layer of respect there is actually total commitment, an emotional connection to what they hear. You can always tell if they really like something—standing ovations are very rare, but if they really like something they will applaud high above their heads; this is their standing ovation.” In a couple of short years, Järvi has managed to turn the NHK into a versatile major player on the world stage; the fires of excitement about classical music, it seems, burn equally hot in São Paulo and Tokyo. Whether São Paulo or Tokyo, New York or Berlin, music is a universally powerful force that has the ability to unite. “Although music,” according to Järvi “will never solve actual conflict and never really make a problem go away, it helps to deal with issues and can create unity, more harmony and more togetherness.” And rightfully, as Alsop ubiquitously suggests, “Music has the power to change lives.” Both conductors are passing on their respective influences and legacies via a deep commitment to education and the development of audiences of all ages across the globe. Just as Bernstein influenced them in their youth, they have taken his model to the world. Georg Predota

Career Stages

舞台生涯

公司简介浦银国际控股有限公司（简称“浦银国际”）是浦发银行全资拥有的金融服務機構，2015年3月在香港开业，是浦发银行实施国际化、集團化战略的重要平台。浦銀國際設立了多家香港持牌子公司、多個離岸和在岸基金架構。圍繞集團總體戰略部署，抓住行業發展機遇，浦銀國際重點發展企業融資業務、環球資本市場業務和資產管理與直投業務，並打造一站式全流程金融服務。

业务范围及定位浦银国际旗下子公司获得了香港证监会颁发的第一类（证券交易）、第四类（就证券提供意见）、第六类（就机构融资提供意见）以及第九类（资产管

海外投融资

理）牌照，作為集團的國際投融資服務平台、資產管理服務平台和國際化戰

业务平台

略的重要組成部分，浦銀國際致力發展多元化金融服務，旨在通過為客戶提供更為領先、協同、多層次、全方位的金融服務，滿足客戶新的多元化需求。全球资产管理

国际企业投融

直投平台

资服务平台

浦发银行介绍上海浦東發展銀行股份有限公司（浦發銀行，股票交易代碼：600000）是一家全國性股份制商業銀行，總行設在上海。目前，註冊資本金293.52億元。良好的業績、誠信的聲譽，使浦發銀行成為中國證券市場中備受關注和尊敬的上市公司。秉承“篤守誠信，創造卓越”的核心價值觀，浦發銀行積極探索金融創新，資產規模持續擴大，經營實力不斷增強。上市以來，浦發銀行連續多年被《亞洲週刊》評為“中國上市公司100強”。 2018年7月，英國《銀行家》雜誌發佈“全球銀行1000強”排名，根據核心資本，浦發銀行位列全球第25位，居上榜中資銀行第8位；同月，美國《財富》雜誌發佈“財富世界500強”排名，浦發銀行位列第227位，居上榜中資企業第48位，中資銀行第7位，表現出良好的綜合競爭優勢。

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回到爵士樂根源

Jazz Roots 古典音樂與爵士音樂的交匯

Brackish waters between classical and jazz

每當談到古典與爵士樂手時，我們自然會把他們分為兩種不同音

When we think of classical and jazz musicians, it is easy to visualize the two occupying different musical worlds, as different as day from night, ebony from ivory, uncompromising control from unchecked spontaneity.

樂世界的人。他們之間的分別，就好像日與夜一樣分明、黑與白一樣對立，前者一絲不苟，後者無拘無束。咆哮的二十年代時，情況可大不同：那時爵士樂象徵着巴黎和美國的大都會社會，沒有哪位古典作曲家可完全不受這種「叢林聲音」、充滿生命力和大膽解放感覺的新類型音樂影響。米堯的《世界的創造》、庫爾特．魏爾的《三毛錢歌劇》、史達拉汶斯基的《士兵的故事》和蕭斯達高維契的《大溪地狐步舞》都在古典音樂中融入爵士樂的元素。拉威爾的G大調鋼琴協奏曲散發的異國情調、尖刺的切分音和性感的藍調音符，更可追溯到他為之著迷的美國爵士樂和歌舒詠獨一無二的風格。這種欣賞其實是雙向的。歌舒詠也渴望當個嚴肅的交響樂作曲家，甚至曾大膽向拉威爾提出要跟他上課，卻得到拉威爾這樣的回答：「你已經是一等的歌舒詠，何必去當個二等的拉威爾？」歌舒詠廣受歡迎的《藍色狂想曲》、《一個美國人在巴黎》、F大調鋼琴協奏曲和《波吉與貝絲》，全都證明了他有能力在古典音樂領域上佔一席位。即使到了1960年代，這樣的例子仍屢見不鮮：「文藝復興人」式的全能音樂家開始受歡迎，他們遊走古典音樂、爵士樂和流行樂之間，當中最著名的音樂家有鋼琴家兼作曲家伯恩斯坦和戴夫．布魯貝克。近年，樂壇又出現了兩位同時通曉古典音樂和爵士樂的精英：技驚四座的鋼琴家馬祖耶夫和享譽國際的低男中音夸斯托夫。

Career Stages

舞台生涯

It was quite a different story back in the Roaring Twenties, when jazz became the byword in cosmopolitan Paris and American societies. Few classical composers were left untouched by the influence of the ‘jungle sound’ and the sense of great vitality and audacious liberty underlining this new genre. Milhaud’s La Creation du Monde, Kurt Weill’s Threepenny Opera, Stravinsky’s L’histoire du soldat and Shostakovich’s Tahiti Trot blended classical forms with the sounds of jazz. Ravel’s Piano Concerto in G, brimming with exotic sounds, biting syncopations and sensual blue notes, was rooted in the composer’s fascination with American jazz and the inimitable George Gershwin. That admiration was mutual—Gershwin aspired to be a serious composer of symphonic music. He ventured so far as to ask for lessons from Ravel, only to be told, “Why become a second-rate Ravel when you're already a first-rate Gershwin?” Gershwin’s wildly popular Rhapsody in Blue, An American in Paris, Piano Concerto in F and Porgy and Bess proved that he was capable of holding his ground in the classical realm. The examples do not stop there: around the 1960s, there was a surge in popularity of the ‘Renaissance man’ of music, who traverses easily across the borders of classical, jazz and pop—including, most notably, the pianist-composers Leonard Bernstein and Dave Brubeck. In recent years, two more names could be added to this list of musical polyglots proficient in the idioms of both classical and jazz: piano virtuoso Denis Matsuev and the world-renowned baritone Thomas Quasthoff.

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同時征服兩個世界馬祖耶夫經常被視為拉赫曼尼諾夫、霍洛維茲和里克特以降的俄羅斯系大師，其實他也是跨越古典音樂和爵士樂的鋼琴家。馬祖耶夫年幼時經常聽爵士樂，喜歡在鋼琴上彈奏從電視聽到的旋律。1990年首次在莫斯科電視節目《晨星》上與觀眾見面時，就是演奏自己創作的爵士樂《巴黎的回憶》。馬祖耶夫在2017年接受塔斯社訪問時說：「我爸爸從前喜歡收藏著名爵士樂手的唱片。記憶中我一直都在聽這些作品，還常常嘗試即興創作。（…）我喜歡即興創作，也想不到為何要放棄。有時我也想輕鬆一下，在舞台上搞搞氣氛，為人帶來歡笑。」除了在世界各地演出其拿手的常奏曲目外，馬祖耶夫即興創作的才能亦越來越廣為人知。二十五歲那年，馬祖耶夫以生日歌即興創

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作，令觀眾拍案叫絕，指揮史畢華柯夫和在場的莫斯科演奏家樂團

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的熟悉。由他即興改編的葛利格《皮爾金特》組曲、令人毛骨悚然

樂手笑逐顏開。他自然的反應、豐富的大幅度左手伴奏詞彙、「走路」低音旋律和散拍節奏的運用，充分反映了他對鍵盤爵士樂語言

的〈山大王的宮殿〉和艾靈頓公爵的標準曲《乘搭A號列車》，在獨奏會上亦平分秋色。馬祖耶夫演奏歌舒詠《藍色狂想曲》時的手法有別於傳統（雖然其實是鑑古演奏），他把華彩段延長，成為一段由爵士三重奏演奏的即興樂段，表演贏得樂界肯定他作為當代頂尖鋼琴家的地位，並成功擴闊古典音樂的聽眾層面。

The best of both worlds While Denis Matsuev is often viewed as heir to the Russian lineage of Rachmaninoff, Horowitz and Richter, it makes equal sense to view him as a pianist straddling the classical and jazz divide. In fact, Matsuev grew up listening to jazz and playing TV jingles on the piano at an early age. At his very first TV appearance in 1990 on Moscow’s Morning Star, Matsuev played a jazz piece of his own: Paris Memories. “My father used to collect recordings of outstanding jazz musicians. I listened to them all my life as far as I can remember myself, and I always tried to improvise,” Matsuev recalled in an interview with TASS in 2017. “I like it, and I do not see any reason why I should renounce this pleasure. And sometimes, I feel like taking it easy and making fun on stage to put smiles on people’s faces.” Apart from carrying his ‘trunk-concertos’ with him to stages across the world, Matseuv has become increasingly known for his ingenuity in improvisation. At age 25, he won over the audience with an improvisation of “Happy Birthday” to the knowing winks and chuckles of the conductor Vladimir Spivakov and members of the Moscow Virtuosi. His sheer spontaneity and rich vocabulary of the stride, walking bass and rag-time showed Matsuev’s mastery of the jazz keyboard idiom. Improvisation on the macabre “Hall of the Mountain King” from Grieg’s Peer Gynt Suite and Duke Ellington’s Take the ‘A’ Train share equal billing on his recital programme. Matsuev’s unconventional (though, in fact, historically-informed) approach to Gershwin’s Rhapsody in Blue, extending the cadenza into an improvisation by a jazz trio, has not only won him recognition as one of the leading virtuoso pianists of our time, but has also brought classical music to the attention of a wider audience.

馬祖耶夫將為本年度香港藝術節帶來三場精彩的鋼琴演出，全方位展現其音樂才華。除了爵士樂音樂會外，他更帶來一場柴可夫斯基鋼琴獨奏會，精湛演繹作曲家情感磅礡之作，盡顯其古典音樂技巧。馬祖耶夫致力培育及發掘新一代年輕鋼琴家，在莫斯科創立了青少年國際鋼琴大賽。是次將邀請年屆十至十七歲的得獎者於「得獎新晉鋼琴家匯演」中與他同台演出。同時，馬祖耶夫爵士樂隊的成員更有少年薩克斯管手索菲亞．杜琳娜及鼓手丹尼爾．古洛維奇。 Denis Matsuev joins the 47th HKAF with three scintillating piano performances that showcase the full range of his musical undertakings. In addition to his jazz programme, Matsuev’s all-Tchaikovsky solo piano recital demonstrates his classical prowess through his masterful interpretations of the composer’s intimate and emotional works. Matsuev also shares his passion for nurturing the next generation of performers with Matsuev and Young Laureates Piano Gala, where he appears onstage alongside wunderkinds aged 10 to 17, discovered at the Moscow-based Grand Piano Competition founded by Matsuev himself. That passion for collaborating with artists young and old extends even to his jazz performance, where teenagers Sofia Tyurina (saxophone) and Daniil Gulevich (drums) play alongside Matsuev and his ace jazz band.

馬祖耶夫 Denis Matsuev 鋼琴獨奏會 Piano Recital 7.3.2019 香港大會堂音樂廳 Concert Hall, HK City Hall

馬祖耶夫與得獎新晉鋼琴家匯演 Matsuev and Young Laureates Piano Gala 8.3.2019 香港大會堂音樂廳 Concert Hall, HK City Hall

馬祖耶夫爵士樂隊 Matsuev and Friends Play Jazz 9.3.2019 香港文化中心音樂廳 Concert Hall, HK Cultural Centre

A second life in jazz

在爵士樂找到第二生命德國低男中音夸斯托夫獲前倫敦皇家愛樂協會主席謝卓飛讚譽為「古典音樂界中最有智慧、最迷人的聲音之一」。他結束橫跨四十年的古典音樂生涯後，轉投向爵士樂。跟馬祖耶夫一樣，夸斯托夫年輕時已愛上爵士樂。他的兄長米高向夸斯托夫介紹爵士樂，而奧斯卡．彼得遜的一張專輯就是令他走進爵士樂世界的關鍵。夸斯托夫被即興創作的自由和複雜性深深吸引，他首先迷上傳奇薩克斯管高手查理．帕克、約翰．柯川和歐涅．柯曼，在修讀法律的學生時代，還唱起爵士樂來。不少古典音樂訓練出身的歌唱家，對爵士樂的聲樂風格都不大適應，但夸斯托夫卻沒有這個煩惱。2012年他接受《德國之聲》訪問時說，當他唱爵士樂時，他會調整樂句劃分，減少使用顫音，並充分利用麥克風。2007年他對《衛報》說，麥克風「能增添色彩和立體感，即使我只是喃喃低聲唱，觀眾也能聽見。」在夸斯托夫眼中，歌舒詠、李葛蘭、羅傑斯和哈特、艾靈頓、萊納和羅伊，甚至史提夫．旺達的作品，與他喜愛的如舒伯特、舒曼、布拉姆斯的藝術歌曲分別不大，兩種類型皆有「民間」精神，在和聲、情感和意境方面同樣細緻。夸斯托夫指，唱爵士樂同樣需要超

Career Stages

German baritone Thomas Quasthoff, hailed by Graham Sheffield, former Chairman of the Royal Philharmonic Society in London, as “one of the most intelligent and captivating voices in classical music”, made the excursion to jazz after retiring from a four-decade career on the classical concert stage. Like Matsuev, Quasthoff’s love of jazz began at a young age. His older brother, Michael, introduced him to the genre, and an album by Oscar Peterson became Quasthoff’s key to the world of jazz. He was immediately taken with the freedom and the complexity of improvisation, first becoming fascinated with the legendary saxophonists—Parker, Coltrane and Coleman—and eventually venturing to sing jazz during his days as a law student.

舞台生涯

While it is not uncommon for classically-trained singers to find themselves at odds with jazz vocal styles, Quasthoff had little trouble finding his jazz voice. In an interview with Deutsche Welle in 2012, Quasthoff explained that when singing jazz, he adjusts the phrasing, uses vibrato sparingly and makes good use of the microphone as a tool. Speaking with the Guardian in 2007, Quasthoff remarked that the microphone “opens up so many colours and textures. You can whisper and it can be heard.” In the eyes of Quasthoff, the tunes by Gershwin, Legrand, Rodgers and Hart, Ellington, Lerner and Loewe, Arlen and Mercer, and even Stevie Wonder, are no different from his beloved lieder by Schubert, Schumann, Brahms and others—both genres embrace the ‘folk’ spirit and are harmonically, emotionally and lyrically sophisticated in composition. Quasthoff also points out that there is no lack of virtuosity and technique from jazz singers, citing the astonishing multi-octave range of Sarah Vaughan. Putting the past glories of opera and lieder behind him, Quasthoff’s new repertoire and recent album Nice ‘N’ Easy covers jazz standards and torch songs such as Stardust and Willow Weep for Me, which showcase his sensuous, laid-back bass-baritone voice. Listen to him in a live rendition of Hallelujah, I Love Her So at Jazzfest Bonn 2016, and the absolutely spot-on rhythm, growling and hints of yodelling prove his solid grasp of jazz vocalism. Hear him scat while singing along with Bobby McFerrin, and one would think Quasthoff was a natural-born jazz singer. Perhaps rather than seeing Matseuv and Quasthoff as ‘crossover’ artists, they are simply returning to their first love after all.

凡的技巧和方法，例如莎拉．沃恩的音域橫跨多個八度，令人難以置信。

Jennifer To

夸斯托夫從前以唱歌劇和藝術歌曲備受讚譽，他現在的曲目和最新唱片《Nice 'N' Easy》收錄的，卻是爵士樂標準曲目和情歌如《星塵》及《柳樹為我低泣》，一顯他性感、懶洋洋的低男中音聲線。他在2016年波恩爵士音樂節現場演繹《哈利路亞，我很愛她》時使用精準的節奏精準的節奏、哮叫聲和類似約德爾唱腔，都證明他充分掌握爵士樂的聲樂法。夸斯托夫與波比．麥非林合作時使用擬聲唱腔，簡直令聽眾以為他是天生的爵士樂歌手。與其把馬祖耶夫和夸斯托夫視為跨界別藝術家，不如說二人最後

湯瑪士．夸斯托夫四重奏 Thomas Quasthoff Quartet Nice ‘N’ Easy

還是不忘初心。

杜淑芝

14.3.2019 香港文化中心音樂廳 Concert Hall, HK Cultural Centre

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Unstoppable Percussion 一張板凳、一對琴槌，炙熱的南京巷子裏傳來清脆的敲打聲音。五歲的李飈偶然被老師調到樂團裏當敲擊樂手，這一敲就是四十年。從南京開始，響遍世界。回

All the World’s A Stage

停不了的敲擊樂

世界即舞台

看李飈這些年的音樂生涯，除了扎實嚴謹的古典音樂訓練，似乎還有些許叛逆的因子，鼓動着把他推往世界舞台。 A wooden stool, a pair of percussion mallets—a string of crisp drum strokes cuts through the searing heat of a Nanjing alley. At just five years old, Li Biao’s unstoppable percussive energy is channelled, fortuitously, into a music ensemble by his teacher. In the four decades that have since passed, Li’s rigorous training and classical music foundations have been marked by something of a rebellious streak—one that has amplified his hammering strokes from Nanjing to echo across the world stage.

©www.malzkornfoto.de

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Following these early percussion studies, Li went on to receive classical music training at the Central Conservatory of Music Affiliated Middle School in Beijing, the Moscow State Tchaikovsky Conservatory and the Munich Conservatory of Music. During those formative years in Russia and Germany, his immersion in European classical and jazz music brought him in contact with a variety of percussion instruments and percussionists, too— some of his German and Danish classmates became future collaborators in the Li Biao Percussion Group.

李飈出生於南京，五歲開始學習敲擊樂，曾在北京中央音樂學院附中、莫斯科柴可夫斯基國立音樂學院及慕尼黑國立音樂學院接受古典音樂訓練。在俄羅斯及德國留學期間，他受歐洲古典音樂及爵

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士樂薰陶，接觸到不同種類的敲擊樂器，更有來自德國及丹麥的同學日後成為李飈打擊樂團的合作拍擋。不少演奏家畢業後以加入樂團為目標，李飈卻把目光投放到更長

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遠更艱鉅的道路──成為一名敲擊樂獨奏演奏家。敲擊樂在西方古典音樂史上一直未得到重視，直到十八、十九世紀海頓、貝多芬、白遼士等作曲家把敲擊樂器納入配器，貝多芬更在第九交響曲中，特別為定音鼓寫下獨奏段落，才讓敲擊樂器逐漸成為管弦樂團的常規配置。儘管如此，首個職業敲擊樂團要到二十世紀後期才成立，而全職敲擊樂獨奏家更是寥寥無幾。這條獨奏之路，是李飈自己闖出來的。 2005年，李飈打擊樂團成立不久就有機會到布達佩斯首演。李飈駕駛貨車，載着各種敲擊樂器，從慕尼黑一直開抵布達佩斯。當時沒有人料到，這隊新成立的樂團會在音樂會上一鳴驚人。琴槌在幾十種樂器上快速敲打出精準的節奏，讓現場氣氛熱烈如搖滾樂演唱會。此後，李飈打擊樂團受邀到世界各地演出過百場音樂會，所到之處均座無虛席。指揮基斯托夫．艾遜巴赫曾形容，李飈能夠演奏多種敲擊樂器，營造從強烈到柔和的一系列豐富音色。這種對節奏和音色的純熟掌控，來自四十年持之以恆的刻苦練習。更難得的是，李飈縱有深厚的古典音樂內涵，卻沒有局限自己的音樂風格。敲擊樂曲數量少，他就親自改編古典音樂，加入現代演奏方式，讓古典音樂「活」起來。 2010年，他首次指揮李斯特室內樂團的南京音樂會，迄今已為三十多個交響樂團擔任指揮。如今，李飈已是世界知名的敲擊樂獨奏家，他卻沒有停下腳步，繼續尋找下一個富挑戰性的舞台。

林惠賢

李飈打擊樂團 Li Biao Percussion Group 《巴羅克．探戈》From Baroque to Tango 15.3.2019

《好！擊！動！》親子音樂會 P is for PERCUSSION! Family Concert 16.3.2019 香港文化中心音樂廳 Concert Hall, HK Cultural Centre

While many musicians aspire to join an orchestra after graduation, Li set his sights on a more circuitous route: to become a percussion soloist. In Western classical music, percussion did not historically play a prominent role until the 18th and 19th centuries, when composers such as Haydn, Beethoven and Berlioz introduced percussion instruments into their orchestral compositions. It was not until Beethoven’s deliberate highlight of the timpani in his ninth symphony that percussion instruments began to gradually gain a permanent foothold in the orchestra. Even so, the world’s first professional percussion ensemble did not emerge until the late 20th century. In a field where percussion soloists were few and far between, Li Biao determined to carve out his own path. Shortly after its founding in 2005, the Li Biao Percussion Group performed its debut concert in Budapest; Li himself drove the truckload of percussion instruments on the long journey from Munich to the venue. There, the newly formed ensemble took the music world by storm: their precise rhythms produced by fast, dazzling strokes against dozens of instruments sent the audience into a rock-and-roll-style frenzy. Since that first performance, the Li Biao Percussion Group has received invitations to perform at sold-out shows around the world. German conductor Christoph Eschenbach describes Li Biao as masterful in playing various percussion instruments “to create a wide range of dynamic sounds from harsh to very tender and soft”. This exceptional command of rhythm and sound is grounded in four decades of dedicated practice. Despite his profound grasp of classical music, Li does not confine himself to any musical style. In a field where the existing repertoire of percussion music is exceedingly small, Li himself rearranges classical pieces with a contemporary flair, breathing new life into classical music for audiences worldwide. In 2010, Li took up the baton for the first time at a Franz Liszt Chamber Orchestra concert in Nanjing, and, to date, has conducted more than 30 symphonic orchestras. Today, Li Biao is a world-renowned percussion soloist, educator, bandleader and conductor, yet he never stops in his quest to reach the next challenging stage. Grace Lam

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巴塞隆拿魅力之聲

Barcelona Beats 閱藝 FestMag

西班牙位處歐洲大陸的邊陲，於歷史、社會、經濟、文化上是一個別具個性的國家，鬥牛勇士的英姿，佛蘭明高舞者的激情澎湃，配合音樂的律動和節奏，帶出西班牙的熱情奔放，音樂是當地人生活的一部分，他們樂於藉着音樂分享人生中的甜酸苦辣。2019年香港藝術節邀請了多位來自巴塞隆拿的音樂家，他們於創作上各有專長，既保留加泰隆尼亞的音樂特色，更會因應時代創造獨有的音樂詮釋。 Spain—a country whose unique socio-economic and cultural character conjures images of valiant bullfighters and expressive flamenco dancers, swirling architecture and lush panoramas; a country whose music transmits the manifold passions, joys and sorrows of its diverse population. The 2019 Festival zooms in on the exceptional region of Catalonia, showcasing a range of musicians active in the Barcelona music scene whose creative expertise and innovative interpretations both preserve and update local music traditions.

A cradle of music

西班牙加泰隆尼亞的音樂歷史源遠流長，由於位處地中海，接壤

The music of Catalonia has a long history. Its borders with the Mediterranean Sea to the east and southern France to the north contribute much to the traditional European and North African folk influences found in its early music. In comparison with the wild rhythms of Andalusian flamenco, the sounds of Catalonia’s classical guitars, pianos and violins possess an elegant ethos that, with the passage of time, has developed into an abundant menagerie of styles—an evolution in which jazz has played an indispensable role.

法國南部，所以他們早期的音樂深受歐洲及北非傳統民謠影響，主要運用西班牙結他、鋼琴、小提琴等樂器。相較於安達魯西亞的佛蘭明高狂野節奏，加泰隆尼亞的音樂卻散發一份典雅格調。當地音樂百花齊放，其中爵士樂更與加泰隆尼亞密不可分。加泰隆尼亞的爵士樂歷史，可追溯至1920年代；當時美國的爵士樂風潮由小眾走向主流，1960年代前，不少美國著名的爵士音樂人都會定期到訪當地，將搖擺樂、實驗音樂等帶入西班牙樂壇。可是，西班牙內戰（1936 – 1939）爆發後，爵士樂在弗朗西斯科．佛朗哥的獨裁統治下發展遲緩。但幸得著名失明爵士鋼琴手提提．蒙圖里奧與多位美國爵士樂手於1940至1950年代堅持不懈地交流，奠定了加泰隆尼亞自由爵士樂往後的發展。爵士樂自1918年進入巴塞隆拿後，至今已融入當地文化，多間著名音樂學府，例如加泰隆尼亞音樂學院、李世奧高等音樂學院等均設有爵士樂課程，配合當地表演場地和音樂節如巴塞隆拿國際爵士音樂節和特拉薩爵士音樂節，讓本地及海外的爵士樂手能夠聚首一堂，他們之間的交流、觀摩令爵士樂演變得更為豐盛，曲風比從前更千變萬化。

巴塞隆拿音樂之旅藝術節這次邀來活躍於巴塞隆拿的音樂單位，他們繼承樂手前輩的傳統，均選擇以音樂作為溝通橋樑：向聽眾傳遞喜怒哀樂，與各式各樣的音樂人互相合作，於舞台上、創作中激盪出更多源自個人感受和集體回憶的創意火花，令音樂更能觸動人心。希薇雅．佩瑞茲．克露絲是自小接受古典音樂及爵士樂訓練的歌手，除了自行創作歌曲，還會向其他歌手取經。這次她為香港樂迷帶來將舊曲目重新演繹的專輯《夜妝》，音樂會將由弦樂五重奏伴奏，糅合爵士、古典、佛蘭明高、南美民歌等風格，加上其獨特的嗓音，令演唱更具感染力，試圖跳出原作的框架。 2019年「爵士新潮」和「世界音樂週末營」將呈獻多位出色音樂人的演出。來自地中海梅諾卡的爵士鋼琴手馬可．梅斯基達，音樂造詣高超，年僅三十一歲就閃耀歐洲樂壇。梅斯基達為「爵士新潮」帶來他的個人爵士鋼琴獨奏會和三重奏音樂會《拉威爾的夢》：這是他將法國著名印象派作曲家莫里斯．拉威爾作品重新編曲的力作，結合現代及古典元素，饒富當代色彩。

To understand Catalan jazz history, we must look back to the 1920s, when the American genre shifted from a minority art form into mainstream entertainment. Up until the 1960s, many celebrated American jazz musicians regularly visited Spain, introducing swing and experimental music to local music circles. Although the development of Catalan jazz slowed with the outbreak of the Spanish Civil War (1936-1939) under the suppression of General Franco’s dictatorship, free jazz continued to develop in the 1940s and 50s thanks to the efforts to collaborate with American jazz musicians by the blind jazz pianist, Tete Montoliu.

世界即舞台

All the World’s A Stage

孕育音樂之搖籃

Since its introduction to Barcelona in 1918, jazz has become intertwined with local life and culture. The genre is a regular discipline in well-known higher education institutions, such as the Catalonia College of Music (Escola Superior de Música de Catalunya) and Conservatori Superior de Música del Liceu, matched by a growing number of live performance venues, such as the Barcelona International Jazz Festival and Festival de Jazz Terrassa. These platforms allow local and overseas musicians to gather and learn together, bringing richness and diversity into the ever-changing Catalan jazz scene.

A musical journey to Barcelona Much like their predecessors, many of the Barcelona-based musicians visiting the 2019 Festival use music as a communicative bridge: to transmit emotions to listeners, to collaborate with a range of musicians, and to fan the flames of creative passion on stage, allowing music to touch people’s hearts through drawing on the wellsprings of personal experience and collective memory. Trained from an early age in both classical and jazz technique, singer Sílvia Pérez Cruz creates original music while paying homage to classic works. Hong Kong music fans will be treated to Vestida de Nit (Dressed by the Night), an album that re-imagines classic repertoire by breaking through its original structures. A string quintet accompaniment and a blend of styles ranging from jazz and classical to flamenco and South American folk amplify the affecting power of Pérez Cruz’s crooning vocals. Among the outstanding musicians brought together for the 2019 Nouveau Jazz and World Music Weekends is the Menorcan jazz pianist Marco Mezquida, whose superb musical talents light up European music circles even at the ripe young age of 31. His jazz programme, Ravel’s Dreams, infuses contemporary elements into masterpieces by the French impressionist composer.

提提．蒙圖里奧及美國顫音琴手波比．哈卻森，攝於1984年 Tete Montoliu and American vibraphonist Bobby Hutcherson in 1984

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左至右(順時鐘): 希薇雅．佩瑞茲．克露絲; 馬可．梅斯基達; 佐治．達洛查; Belda & Sanjosex 的卡勒斯．聖荷西(左)與卡勒斯．貝爾達(右); Criatures手風琴手馬修．拉蒙與加泰隆尼亞格拉管能手伊沃．荷達; 易莎．拉娜 Left to right (clock-wise): Sílvia Pérez Cruz; Marco Mezquida; Jorge da Rocha; Carles Sanjosé (left) and Carles Belda (right) of Belda & Sanjosex; Criatures accordionist Marçal Ramon and grallaire Ivó Jordà; Yexza Lara

來自葡萄牙的佐治．達洛查擅長彈奏低音大提琴，自彈自唱揮灑自如，如想親身感受他的音樂魅力，便不能錯過他在「爵士新潮」名為《我最喜愛的歌》的低音大提琴獨奏會。而他一鳴驚人的大碟《放下，放開》則只用低音大提琴、人聲和樂句循環效果器（loop station）錄製所有原創曲目。在「世界音樂週末營」的現場版本中，他將與易莎．拉娜同台演繹專輯；拉娜出生於委內瑞拉，是演奏長笛的唱作人，涉獵多種音樂。她的第三張錄音專輯《路》的創作靈感源自玻利維亞和特內里費島的壯麗景致。在另一場「世界音樂週末營」中，她又將與三重奏現場演繹《路》。「世界音樂週末營」還有Criatures和Belda & Sanjosex兩隊獨立音樂組合。Criatures於加泰隆尼亞語中意指「小小朋友」，他們透過手風琴及加泰隆尼亞傳統樂器格拉管，奏出純樸清新的地中海民族音樂；後者將由樂隊伴奏，演繹收錄加泰隆尼亞北部居民口耳相傳的遠古民謠的專輯《我唱》；這些作品經他們以現代手法包裝及演繹，吸引年輕一代重新欣賞及認識當地的傳統音樂。各場音樂會都充分展示加泰隆尼亞的音樂文化和特色，帶領樂迷展開多姿多采的西班牙音樂之旅。

黎家欣

Originally from Portugal, double-bassist Jorge da Rocha accompanies his strumming and thumping with his own rich vocals and the help of a loop station. His solo command of the stage is best experienced in the live performance of his 2016 cover album, These Are a Few of My Favourite Songs, at the Nouveau Jazz Weekend. Da Rocha will also perform original songs from his pivotal album To Drop and Let Go (2017) at the World Music Weekend, joined onstage by a cellist and a regular collaborator, Venezuelan-born flautist, singer and songwriter Yexza Lara. Extensively well-versed in multiple genres, Lara will grace the stage with a separate performance of her third studio album, Camino, inspired by the magnificent landscapes of Bolivia and Tenerife, Spain. Two indie-folk duos also make their way to the World Music Weekend: Criatures and Belda & Sanjosex. The former—whose name means ‘little children’ in Catalan—capture the earthy sounds of the Mediterranean with the diatonic button accordion and the gralla, a traditional Catalan double reed instrument. The latter will be joined by two musical collaborators to perform their album Càntut, entirely composed of orally transmitted, ancient Catalonian folksongs that have been re-packaged with modern means to introduce a younger generation to Catalonia’s local music traditions. Each concert dives into a unique aspect of the region’s musical culture, taking listeners on a colourful musical journey. Melody Lai

爵士新潮 Nouveau Jazz Weekend 22-23.2.2019 香港演藝學院戲劇院 Drama Theatre, HKAPA

世界音樂週末營 World Music Weekend 2-3.3.2019 香港藝術中心壽臣劇院 Shouson Theatre, HK Arts Centre

希薇雅．佩瑞茲．克露絲 Sílvia Pérez Cruz 《夜妝》Dressed by the Night 22.3.2019 香港文化中心音樂廳 Concert Hall, HK Cultural Centre

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與希薇亞．佩瑞茲．克露絲

暢談音樂 In Conversation

with Sílvia Pérez Cruz 加泰隆尼亞唱作人希薇雅．佩瑞茲．克露絲，音樂造詣之優越使其詮釋的歐陸曲風更加豐富獨特。為此，我們訪問了克露絲，讓她親自闡述對音樂的看法，以及《夜妝》背後的創作故事。閱藝 FestMag

The soulful crooning of accomplished Catalonian singer Sílvia Pérez Cruz brings richly layered interpretations of European singing traditions to her latest album, Vestida de Nit . In the lead-up to her performance of the album at the 2019 HKAF, Pérez Cruz shares the creative stories behind her music. 這張專輯的同名歌曲《夜妝》背後有什麼故事？《夜妝》（意指以夜色作妝扮）是我父母的作品——由媽媽格羅瑞亞．克露絲寫詞，爸爸卡斯托爾．佩瑞茲譜曲。這首歌和我年紀

你現在常與不同音樂人合作，包括這次香港藝術節的另一位表演者，爵士鋼琴手馬可．梅斯基達。與其他樂手合作為你的音樂帶來甚麼啟發？

相約，差不多有三十五歲了。歌詞圍繞我出生的地方，講述那片土

我非常喜歡和不同的音樂人合作，並相信我從他們身上學習到的

地、那些人、那裏的海、松樹、水手、愛、渴求、顏色……這首歌是

和他們給我的，遠遠不止是音樂上的啟發與影響。

我生命的一部分，猶如我童年不可或缺的配樂，但我卻從來沒有注意到它。

［梅斯基達和我］選擇了我們都喜歡的曲目，這次合作演出的出發點簡單而重要：我們表演音樂就是因為喜歡音樂，喜歡透過歌曲

直至2010年，我和父親辦了一場音樂會，我們一起唱了這首歌。之

建立溝通。我們不擔心出錯，只著重享受表演音樂的當下。馬可是

後觀眾紛紛要求我在自己演唱會的安可部分表演這首歌，甚至有

一個才華洋溢、感染力強的音樂人，他的音樂詞彙豐富，歌曲具有

人以為這是加泰隆尼亞的傳統民歌。我母親說過她最喜歡大提琴

靈魂，並蘊含天馬行空的想像力。他同時也是一個很好的聆聽者，

手瓊．安東尼．皮茲為這弦樂五重奏編曲的版本，於是我就選了這

會聆聽其他人的音樂並相應做出非常出色的演奏，而且對於世界

個版本收錄在專輯裏。

和自己相信的價值都抱有美好明亮的看法。

弦樂五重奏是沒有樂譜下做伴奏的。為何會有這個想法？

你如何透過音樂與觀眾交流，尤其是當他們聽不懂你歌曲的語言

這張專輯只有人聲和弦樂五重奏，而且只用了兩天錄製。我們開

的時候？

始在演唱會上演出後，我清楚知道，背下樂譜會把你的表演帶到

雖說音樂是世界語言，但我覺得世界語言應是情感，而音樂則是傳

另一個層面，因為你不用被那些音符、樂譜、譜架等形式所束縛，

達這些情感的理想媒介。當你到了一個沒有人聽得懂你語言的地

你就能專注於自己的感受和聆聽其他樂手的音樂，全神貫注地演

方演出，卻看到觀眾仍會對你想要傳達的情感產生共鳴時，就會

奏音樂。

知道這超越了文字和語言交流，是一件絕妙的事。音樂就有這種

最初提出這個想法時，不是每個樂手都同意，但最後我還是說服了他們去嘗試，而結果是有目共睹的。整個演出無論在感情上、音色上，還是即興部分，都明顯地比之前更好。不管是個人還是作為一個團隊，我們都更忠於自我，更自由自在地表演。因為每一次演出的節奏都不一樣，而我們是一體的，呼吸也是一起的，所以不管是現場演出還是錄製唱片都不可能獨立完成。總而言之，這是一個

魔力，就像愛一樣，它的感染力不局限於語言、地域。未來你會帶給我們什麼風格的音樂？我相信自己是一個不偏頗的女人，而且為人比較隨心（即使我在準備一個新項目時，內心已有方向）。我喜歡音樂和藝術，而且當我愛上某樣事物的時候，不管它是甚麼風格或類型我都會喜歡。所以……一切都有可能，都有可能。

挑戰，但也是我為這張專輯作出最正確的決定之一。黎家欣

All the World’s A Stage

世界即舞台

What is the story behind the album’s title song, Vestida de Nit?

Vestida de Nit (‘Dressed by the Night’, in the sense of putting on the night as a dress) is a song that was composed by my parents: the lyrics are from my mother, Glòria Cruz, and the music is from my father, Càstor Pérez. The song might be my age, around 35 years old. The lyrics talk about the landscape where I am from, my territory, the people, sea, pine trees, sailors, love, yearning, colours…and it is a song that was part of my life, a kind of a soundtrack to my childhood, but I never paid attention to it. That changed in 2010, when I did a concert with my father and we sang this song. People started to ask me for it as an encore at my concerts…to the point that there’re people who think that it is a traditional Catalonian folk song. My mother told me that her favourite arrangement was the one that Joan Antoni Pich (the cello player) had done for this string quintet line-up, and that was the reason why I recorded it on this album. The string accompaniment was done without sheet music. What motivated that choice? This album was recorded with string quintet and voice only, in only two days. When we started to do concerts, it was clear to me that playing by memory gets everything into another dimension, because you forget the codes of the image, of the paper, of the music stand, and you focus more on what you feel and on listening to the other musicians—on the fact of transmitting. Not all the musicians were very happy at the beginning, but once I convinced them, the step forward in quality was very noticeable. The project got better in emotion, sound, and improvisation. We were more ourselves, individually and as a collective. Because the tempo was different every time, we breathed together, we were one person, and it didn’t make sense to play and record it individually. All in all, it was not easy, but it was one of the best decisions I took on this project.

You regularly collaborate with other artists, recently including another HKAF guest, jazz pianist Marco Mezquida. What inspiration does collaboration bring to your work? I like collaborating with other musicians very much. I believe I have learnt more from the people than from the music; my influences are the musicians more than the genres. [Mezquida and I] have put together a repertoire of songs that we like with the objective of performing together from a simple and essential point of departure: making music because we love music, establishing a conversation through songs with respect for one another, without fear of mistakes, just enjoying the fact of making music. Marco is a big musician, very talented, with a lot of soul and language and a huge imagination; but he is also a good listener and plays along very well. He has a beautiful and bright way of looking at the world and values what he lives. How does music help you in communicating with different audiences, especially for those that may not understand the languages in which you sing? It is said that music is a universal language, but I believe it is emotion that is the universal language, and that music is a great transmitter of these emotions. This is why it is marvellous when you travel abroad and know that almost nobody is understanding your language, but you can still see the audience connecting with the emotion that you are transmitting, something that’s beyond words. Music has this gift: it means more than words, it can reach far places. It is like love, somehow. What types of music can we expect from you in the future? I believe I am a woman with no prejudices, and that I conduct myself from the stomach and the heart (even though I have a very mental approach once I am preparing a project). I am mainly a person that loves music and art, and when I fall in love with something, I don’t really care about the style or genre, so… everything is possible…everything is possible. Melody Lai

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西班牙統治世界的年代

莫雷里士跪下向教宗保祿三世獻上他的著作 (1544年) Morales, kneeling, presenting his book to Pope Paul III (1544)

When Spain Ran the World

若論及今時今日人們所重視的音樂史，十六至十八世紀的西班牙確實比不上文藝復興時期的意大利，或巴羅克時期的日耳曼地區；但西班牙當時可一直是音樂重鎮，更培育出許多超卓的作曲家。第 47 屆香港藝術節將有三個節目，把這個時期的作品活靈活現地呈現在各位眼前：早期音樂合唱團「時光之音」將在兩場節目中演唱四位文藝復興時期西班牙作曲家的作品；另外，活躍於西班牙的管風琴家及音樂學者洪儷僖，則會演出巴羅克和浪漫時期、西班牙和歐洲各地作曲家的作品。西班牙與歐洲其他國家不一樣：本土作曲家無法効力皇家宮廷。雖然神聖羅馬帝國皇帝暨西班牙帝國統治者查理五世、還有他兒子腓力二世也有皇家樂團及合唱團，但兩人卻完全不會起用西班牙樂師。查理五世生於比利時，因此喜歡聘用法蘭德斯人來當西班牙的宮廷作曲家。文藝復興時期的西班牙作曲家於是散落全國各地，更多甚至乾脆離開西班牙，到羅馬和拿坡里工作（拿玻里直至十八世紀都是西班牙領土）。莫雷里士、格雷羅，還有維多利亞──這三位偉大的西班牙文藝復興聖樂合唱音樂作曲家，每位都為西班牙音樂帶來全新面貌。克里斯托保．德莫雷里士在羅馬西斯汀教堂唱詩班事奉，他的《彌撒曲曲集》第二冊裏有幅木刻畫，描繪他向教宗保祿三世呈上《彌撒曲曲集》的情境。莫雷里士回到西班牙後，先後在托萊多、馬切納和馬拉加的大教堂擔任樂長。他深知自己的作曲才華在西班牙無人

All the World’s A Stage

世界即舞台

Although today it doesn’t garner the attention of Renaissance Italy or Baroque Germany, 16th to 18th century Spain was always a musical centre with exceptional composers. At the 47th Festival, the era’s music will come to life again with three programmes: the Early Music choral ensemble Quondam—meaning ‘in another time’ in Latin—will present the works of four Renaissance Spanish composers in two performances, and the Spain-based organist and musicologist Riyehee Hong will present a programme of Baroque and Romantic-era composers from Spain and across Europe. Unlike the other countries in Europe, there was no place for Spanish composers to work in royal employment. The Holy Roman Emperor and ruler of the Spanish Empire, Charles V and, later, his son, Philip II, did have a royal chapel, but they didn’t employ Spanish musicians. Charles V was born in Belgium and, so, hired Flemish composers for his Spanish court. Spanish composers in the Renaissance thus were scattered all over the country or, more frequently, left Spain to work in Rome and Naples (Naples was a Spanish possession until the early 18th century). The three great Spanish Renaissance sacred choral music composers—Morales, Guerrero, and Victoria—each brought a new aspect to the music of Spain. Cristóbal de Morales served in Rome in the Sistine Chapel choir; his second book of masses includes a woodcut of him presenting his book to Pope Paul III. When Morales returned to Spain, he served as the maestro de capilla of the cathedrals of Toledo, Marchena and Malaga. His knowledge that, as a composer, he had no equal in Spain led to these frequent changes of employment, as he was someone who did not deal well with the less-talented.

能及，而且他與天份不高的人根本合不來，所以經常另謀高就。

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弗朗西斯．格雷羅則是莫雷里士的學生，從對方身上學到要以極為

同一節目包括荷西．利頓和海頓的作品，其實暗指兩位作曲家的微

虔誠而認真的態度對待聖樂作品。不過格雷羅只限在西班牙半島

妙關聯：利頓當過貝納維媞公爵夫人的古鍵琴老師；1783年，海頓

（西班牙和葡萄牙）發展，這一點卻不像莫雷里士。格雷羅曾到多

與貝納維媞公爵夫人簽訂了合約，答應將他日後的作品賣給公爵夫

國遊覽，1588年更到訪聖城耶路撒冷，造訪過大馬士革等城市。返

人，讓她的私人樂團演出；無獨有偶，1780至1792年間，公爵夫人私

回西班牙後，格雷羅出任西維爾大教堂樂長，阿洛素．羅布則是他

人樂團的指揮正是利頓。

的下屬。格雷羅年事已高，羅布就協助指導唱詩班的男童，並在格雷羅缺席時擔任唱詩班指揮。由於拉丁美洲和南美洲都有西班牙語言和殖民關係，因此格雷羅和羅布的作品在兩地都很受歡迎。

荷西．拉拿那加是管風琴家和方濟會神父，在阿蘭薩蘇朝聖所擔任樂長。在阿蘭薩蘇朝聖所，偉大的西班牙文藝復興作曲家──德莫雷里士、格雷羅和維多利亞的音樂仍然舉足輕重。不過由於拉拿那

托馬斯．路易斯．德維多利亞則是最後一位西班牙文藝復興時期

加生活在十八世紀中期，所以也認識韓德爾和杜明尼高．史格拉第

的偉大作曲家，作品無論作法還是風格，都足以與意大利同期作

的作品，可見西班牙作曲家持續受各國音樂影響。

曲家帕勒斯堤納平分秋色。雖然他認為羅布與自己不相伯仲，但與

這幾場音樂會的選曲涵蓋了二百年的西班牙音樂，從中可見這群身

前輩德莫雷里士和格雷羅相比，維多利亞的作品更富激情、強烈得

處重要創作搖籃的作曲家如何發揮創造力。西班牙由神聖羅馬帝國

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多，在二十及二十一世紀也有更多人演出。他為反宗教改革西班牙

皇帝直接統治，因此與歐洲其他地方有獨特的關聯；西班牙在世界

教會譜寫的作品，為教會音樂帶來活力與生命力，將數十年的悶局

各地的殖民地，也令西班牙音樂傳播到拉丁美洲及南美洲的西班牙

打破。隨着維多利亞的作品在二十世紀復興，這些音樂現在又多了

語區；西班牙的財富和宗教為管風琴作品提供全新的創作空間。

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一批新的知音。慕蓮．布哈巴羅克時期的西班牙帝國稱得上是個日不落帝國，殖民地遍佈南北美洲、非洲、菲律賓以及菲律賓東面的許多島嶼。黃金從美洲源源不絕地流入西班牙，新玩意、新發明、不可思議的東西、巧妙的機關，以及壯觀的場面，在當時簡直司空見慣。洪儷僖演出的西班牙

洪儷僖 Riyehee Hong

管風琴獨奏會，包括一首非常奇特的巴羅克作品──作曲家安東尼奧．索萊爾的《雙管風琴協奏曲》，經改編後將用一座管風琴獨奏。

管風琴獨奏會 Organ Recital

大家也不妨想像一下，單是一座管風琴的體積已經甚大──足見這

18.3.2019 香港文化中心音樂廳 Concert Hall, HK Cultural Centre

首樂曲實在非比尋常。

洪儷僖 Riyehee Hong

All the World’s A Stage

世界即舞台

Francisco Guerrero studied with Morales and took from him a serious and extensive devotion to sacred music. Unlike Morales, he worked only on the Spanish peninsula, taking jobs in both Spain and Portugal. He travelled widely and, in 1588, took a trip to the Holy Land, visiting Damascus and other cities. Guerrero returned to be maestro de capilla at Seville Cathedral, with Alonso Lobo serving under him. Lobo assisted the aged Guerrero in the instruction of choirboys and directed the choir in Guerrero’s absence. Both Guerrero’s and Lobo’s music were popular in Latin and South America, made easier by the language and colony links between Spain and the New World. Tomás Luis de Victoria remains the last great Spanish Renaissance composer—his works can be compared to his Italian contemporary, Palestrina, for their craft and style. Though he regarded Lobo as an equal, Victoria’s works are far more passionate and intense than those of his predecessors Morales and Guerrero and, in the 20th and 21st centuries, are far more often performed. His music for the Counter-Reformation Spanish Church gave it a vigour and life that it had lacked for decades. With the resurgence of Victoria’s music in the 20th century, it has found a new and appreciative audience. The Baroque-era Spanish Empire was truly an empire upon which the sun never set, with colonies stretching everywhere from North and South America, Africa, and the Philippines and many islands to the east of the Philippines. Gold poured into Spain from the Americas and novelty, invention, enigma, artifice, and magnificent spectacle were the rule of the day. The Spanish organ music presented by Riyehee Hong includes a truly novel Baroque work in Antonio Soler’s concerto set for two organs— particularly when one considers the size of even one organ— that has been rearranged to be performed by a solo organist.

The inclusion of José Lidón and Joseph Haydn on the same programme is a subtle bow to Lidón’s position as harpsichord teacher to the Duchess of Benavente. From 1783, Haydn had a contract from the Duchess to sell his compositions to her for her private orchestra, which was conducted by Lidón from 1780 to 1792. José de Larrañaga, an organist and Franciscan friar, was maestro de capilla of the Sanctuary of Arantzazu, where the music by the great composers of the Spanish Renaissance—Morales, Guerrero and Victoria—still held sway. But, as this was now the mid-18th century, the music of Handel and Domenico Scarlatti were also known by Larrañga, evidence of the continued international influence on Spanish composers. Over this set of concerts covering 200 years of Spanish music, we see the ingenuity of Spanish composers in what was an important cradle of creativity. Spain had unique links with the rest of Europe in having the Holy Roman Emperor as its own ruler. Its international colonies ensured the spread of Spanish music to Spanish-speaking Latin and South America, and its wealth and religion gave a new home to innovative organ compositions. Maureen Buja

時光之音 Quondam 《西班牙文藝復興合唱代表作》 Spanish Renaissance Choral Masterpieces 9-10.3.2019 香港大會堂音樂廳 Concert Hall, HK City Hall

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彩排室裏的

In the Rehearsal Room © Albert Vidal 約斯．貝克 Jos Baker

八月中的一個傍晚，新界一間清涼的舞蹈室裏，幾位舞者共同跳出充滿生命力的節拍。房間遠離樓下城市的喧囂，播放着波提斯黑樂隊脈動的旋律和空靈的低吟，四位舞者輪流展示這一天辛苦創作的藝術成果。英國出生、現常駐比利時的舞蹈兼編舞家約斯．貝克在一旁靜靜地帶領排列成半圓形的眾位舞者。這次，他在香港停留數日，以完成《雙篇雙人舞》的舞者遴選和工作坊。這支包含了兩節長30分鐘的原創當代雙人舞，是2019年香港藝術節香港賽馬會當代舞蹈平台系列（CDS）的節目之一。四位舞者休息的時候，貝克踏進舞池熱身，隨着雷鬼樂扭動身體，臉上掛着男孩子氣笑容。他的風格透露了過去包含芭蕾舞和巴西戰舞的學舞經歷，以及探究「physicology」（一種集物理學、心理學、解剖學和進化生物學於一體的方法論）的技術實踐。不過，他認為真正的喜悅是透過合作和實驗尋求他所說的「嶄新的動作詞彙」。在他短暫的訪港之行期間，這些詞彙已逐漸成型。貝克在工作坊後說到：「我們開始找到各自的興趣及舞蹈語言間的一些聯繫……不過，用身體說話和用聲音說話同樣複雜。」他還講：「有一些語言，我們已經達到幼兒/幼稚園程度，但我們只一起練習了幾個小時，所以這畢竟只是初步階段，我們已經懂得表達『媽媽』、『爸爸』、『貓咪』。」

All the World’s A Stage

約斯．貝克

世界即舞台

with Jos Baker It’s late afternoon in the still heart of August, and in the cool refuge of a New Territories dance studio, the first steps of a collaborative dance work are beating to life. Far removed from the gritty bustle of the city outside, four dancers take the floor in turns to showcase the fruits of a long day of artwork development, to the pulsing down-beats and ghostly crooning of Portishead. Presiding quietly over the semi-circle of dancers is UK-born, Belgium-based dancer-choreographer Jos Baker, here for a few days’ stop-over of auditions and workshops. The outcome of this exercise will be Double Bubble, two original 30-minute contemporary dance duets to be performed as part of the Hong Kong Jockey Club Contemporary Dance Series (CDS) during the 2019 Hong Kong Arts Festival. As the four local dancers take a much-deserved rest, Baker warms up the floor, pivoting to reggae with a boyish grin. His style betrays past studies ranging from ballet to capoeira and a technical practice that delves into physicology—a methodology that integrates physics, psychology, anatomy and evolutionary biology—but his real joy is seeking what he calls “novel movement vocabularies” through collaboration and experimentation. In his whirlwind visit to Hong Kong, those vocabularies have begun to take shape. “We’re starting to find some connection in what we’re interested in and what language we’re speaking…but still, speaking with one’s body is as complex as speaking with one’s voice,” says Baker, post-workshop. “We’ve reached the toddler/kindergarten level on some languages, but we’ve only worked a few hours together, so that’s just the beginning. We know how to say ‘mommy’, ‘daddy’ and ‘cat’.”

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今次將會與貝克合作的黃翠絲和毛維已經是第三次參與CDS，雖

隨着作品在2019年初進入下一個發展階段，這種特質將變得更加

然大家的共同語言還在發展階段，但他們已建立起充滿默契的合

重要。屆時，貝克將與幾位舞者在牛棚藝術村重聚，開始長約六星

作方式。兩位舞者均畢業自香港演藝學院，擁有豐富的國際合作經

期的創作。他期待舞者在創作過程中發揮主要作用。「導演這個頭

驗。貝克微妙的指導令他們獲益良多：「要更加的不自然，好似嘗

銜比編舞更加適合我。因『編舞』意指編排舞蹈動作，但在這部作

試向對方說些甚麽。」兩人站立得極接近，共同演繹細碎又獨立的

品中，舞蹈動作將由大家共同創造。」他還表示：「在真正開始創作

動作，從指尖的細小顫動到輕輕頷首。一個上前一步，另一個便後

之前，我們會嘗試不同的方法，以剛才的語言類推說法，就是探索

退一步，就好似兩個互相排斥的磁極，暗示了人類關係充滿矛盾的

句法、語法和措辭。」

本質。

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貝克繼續指出：「隨着創作展開，我會愈加介入成為導演。事實上，

貝克表示：「一直以來，我們透過舞蹈尋求以更加複雜的方式來表

我希望盡可能長時間停留在研發［舞蹈］語言，但時機一到，就必

達普世的觀點——動作就是語言，但這並非唯一主題。」他又笑

須將成果集合。」他希望這個成果是一部人人都能理解，但未必人

說：「動作能夠更加清楚地表達某些話題，但在另一些話題上則稍

人都能複製的作品。

有欠缺。這種動人的語言適合表達親密、孤獨、權力、地位、憤怒、愛、性以及妒嫉，卻不適合表達汽車修理或者宏觀經濟學。」

辛勞的一天結束，熱衷旅行、常與人交談、口齒伶俐的約斯．貝克也有表達困難的時候。他笑道：「我知道自己想說甚麽，卻不知

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團隊還有兩位CDS新人，朱心韵和孫楠。孫楠的街頭風格與朱心韵

道如何說出口；這是時差反應。語言需要說個不停，所以我選擇

的當代舞和中國民族舞結合，產生令人意想不到的魅力：兩人一觸

跳舞。」

碰，就好像會產生出強大電流，令他們一致地扭動起來，並瘋狂地不停旋轉。

這也是創辦CDS的初衷：學習說出身體所知的東西，跨越界限，用身體創造新的詞彙。雖然在進入下一個創作階段前，工作將暫告一

遴選階段的數十位舞者中，貝克被這四位舞者嫻熟的技巧、表現

段落，但舞者和製作人員離開彩排室時，仍然興奮地期待着醞釀中

力、創造力以及好奇心所吸引。面對兩支對技巧和體力都有高要求

的、聯繫他人的嶄新可能。

的作品，每一位表演者都需要具備旺盛的精力。「他們從不自滿。」林秋美

貝克讚揚道：「而且與我一樣，對潛力和可能性感到興奮。」

香港賽馬會當代舞蹈平台系列於2012年成立，為年青編舞者提供一個展示新作的平台。CDS提供專業的製作支援，並積極促進國際交流機會，旨在促進本地舞蹈界生態發展，同時讓香港當代舞有更多機會在本地及海外舞台上一展獨特風采。 2019年的節目還包括北京編舞家常肖妮的長篇作品《沒有大象》，由來自香港和甘肅的戲劇及舞蹈演員演繹；以及《舞鬥》中六部由香港編舞馬師雅、招詠彤、黎貴諾、程偉彬、韓嘉政和藍嘉穎創作的短篇作品。這些作品探索獨特的舞蹈語言，為香港賽馬會當代舞蹈平台帶來別開生面的開幕演出。 Since 2012, the Hong Kong Jockey Club Contemporary Dance Series has served as a springboard for emerging choreographers to present new works. By providing professional production support and fostering international exchange opportunities, CDS aims to enhance the local dance ecology while opening up opportunities to showcase the unique qualities of Hong Kong contemporary dance on stages at home and abroad.

The 2019 edition also includes The Elephant in the Room, a feature-length work investigating personal stories onstage, composed by Beijing-based choreographer Chang Xiaoni with theatre and dance performers from Hong Kong and Gansu. Dance Off, a presentation of six short dance works by Hong Kong choreographers Alice Ma, Chiu Wing-tung, Jasper Lai, Rex Cheng, Flora Hon and Blue Ka-wing will kick off the CDS programmes, with snapshot explorations of topics ranging from formal rhythms to emotional landscapes.

That quality will prove essential as the work enters into the next stages of development in early 2019, when Baker will reunite with the dancers for six weeks’ development in Cattle Depot Artist Village. He expects the dancers to play a pivotal role in the creative process. “I prefer the title of director to choreographer—the reason being because, in its current meaning, ‘choreographer’ implies the writing of movement, but actually the writing of the movement [here] is going to be very collaborative,” he says. “We will start by trying out many different approaches before really developing—to continue with the language analogy—syntax and grammar and diction.

As three-time CDS veterans Tracy Wong and Mao Wei join him on the floor, it’s clear that while the group’s shared language may be in its developmental stages, a fruitful collaborative approach has already been established. The pair, both HKAPA graduates with an extensive record of international collaboration, benefit from Baker’s subtle guidance: “More awkward, like you’re trying to say something to each other.” Standing in unbearably close proximity, the duo moves in reactive fragments—‘isolations’—of minute twitching in the fingers and tiny ticks of the head. When one dancer moves in, the other pulls away—a magnetic-repulsive tension that hints at the push-pull nature of human connection. “What we’ve been searching for with dance [are] very sophisticated ways of speaking about things that still hold something universal—where movement is the language, but it’s not the only subject,” says Baker. “Movement speaks very eloquently about some subjects and less eloquently about others. It’s a very beautiful language for speaking about intimacy, loneliness, power, status, anger, love, sex and jealousy. It’s not a great language for speaking about car mechanics or macroeconomics,” he laughs. The group is also joined by two CDS newcomers, Zhu Xinyun and Jimmy Suen. Suen’s street style combined with Zhu’s contemporary and Chinese folk dance training create an unexpected alchemy: when they touch, it’s as if volts of electricity shoot between them, sending them into mirrored convulsions and unbridled rotations.

All the World’s A Stage

Of the numerous dancers who auditioned for the work, Baker was drawn to these four dancers for their technical ability, expressiveness, creativity and curiosity. Each artist needed to possess a playful spirit in the face of a technically and physically demanding work. “They’re not complacent,” Baker says. “They get as excited as I do about potential and possibilities.”

世界即舞台

“As the process goes on, my touch gets a little heavier. The reality is that I like to stay in research and development [working on] the language for as long as possible, which means that there comes a crunch time where it has to be brought together,” continues Baker. The outcome, he hopes, will be a production that can be universally understood, but not necessarily universally replicated. As their arduous day of workshops comes to a close, Jos Baker— avid traveller, encourager of exchange and exceptionally articulate to this point—succumbs to the difficulty of communication. “I know what I’m trying to say, but I don’t know how to say it; that’s the jet lag setting in. Language is blah, blah, blah—that’s why I’m a dancer,” he laughs. And that’s why CDS is here to begin with: learning to speak what the body knows, to reach beyond borders and create new vocabularies with the body. Though the work will be on hold until its next stage of production, as dancers and production crew make their exit from the rehearsal studio, there is lingering excitement of something brewing—a novel possibility of connection. Gloria Furness

香港賽馬會當代舞蹈平台 The Hong Kong Jockey Club Contemporary Dance Series 《舞鬥》Dance Off 28.2-2.3.2019

《雙篇雙人舞》Double Bubble 15-16.3.2019

《沒有大象》Elephant in the Room 20-21.3.2019 香港文化中心劇場 Studio Theatre, HK Cultural Centre

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香港粵劇花開遍地

Hong Kong Cantonese Opera 粵劇於上世紀陪伴了幾代香港人成長，曾經去到人人懂得哼一兩句的普及，不過很少人知道香港粵劇在上世紀中葉風靡海外五十餘年，不止唱紅東南亞，鑼鼓聲更響徹北美，甚至遠達南美。香港藝術節透過請益資深伶人，幸運地尋回香港粵劇這一頁輝煌的歷史。基於傳承可貴，並希望對研究粵劇發展、社會變遷及華僑文化有所裨益，香港藝術節特邀粵劇界前輩李奇峰和羅家英擔任藝術總監，策劃「粵劇越洋半世紀」演出，重現當年香港伶人在海外登台具代表性的劇目，又舉辦「名伶花旦展演話當年」座談，請來「古巴花旦」何秋蘭和黃美玉、馬來西亞「粵劇女武狀元」蔡艷香，以及繼承父親粵劇班政身份的李奇峰，分享粵劇在海外盛極一時的親身體驗。

During the past century, Cantonese opera was part of the landscape for generations of Hong Kong people, once so popular that almost everyone was able to sing a few lines. However, few people know that from the mid- to late 20th century, Hong Kong Cantonese opera was wildly popular overseas, finding acclaim not only in Southeast Asia, but also in North and even South America. To preserve this heritage, and to study the development of Cantonese opera and its positive effects on societal change and the culture of overseas Chinese, the Festival has invited Cantonese opera veterans Danny Li Chi-kei and Law Karying to serve as artistic directors on Global Traces, Local Stages, a programme that will bring to the stage representative operas once performed overseas by Hong Kong artists. These will be presented alongside A Long Passion – Talk, Demonstration and Performance, in which overseas Cantonese opera stars share their first-hand experiences of the golden age of Cantonese opera. These include ‘Havana Divas’ Caridad Amaran and Georgina Wong Guitierrez; Malaysian opera star Choy Yim-heong, known for her martial roles; and Danny Li himself, heir to his father’s line of work as opera troupe manager.

何秋蘭、黃美玉 Caridad Amaran and Georgina Wong Guitierrez

Stages of Interpretation

Flourishing Far and Wide:

發揮演繹

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清末華工到遠洋謀生，因而帶動粵劇傳播海外，人稱奇哥的李奇峰希望大家記取十九世紀末至二十世紀初，華工被「賣豬仔」去美國建造鐵路的血淚史。李奇峰說﹕ 「很多是台山人，因為台山近外洋，他們懷念廣東的一切，合資聘請香港伶人演出。那時未有飛機，老倌去舊金山要坐船，一坐幾個月。」這次藝術節演出的其中一個劇目《紅了櫻桃碎了心》，是任白六十年代走埠最受歡迎的戲寶之一，講飄零女子賣唱為生，經歷結婚與離異，苦學成才自立門戶，再經橫逆，堅持自強直至生命終結，完全對應華人孤身在外的掙扎。人在異鄉偶或有

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寃難訴，粵劇中的忠孝公義能撫慰心靈，白玉堂拿手的官袍戲三齣大審戲折子是藝術節演出的另一劇目。

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二十世紀中葉，粵劇在新加坡、馬來西亞、泰國和印尼等南洋地方興旺起來，因為華人中以廣東人居多，他們喜看粵劇，愛邀請香港劇團演出。因為香港的粵劇自成一格，自二戰開始到解放初期，廣州最好的粵劇人才都來了，令香港繼承最優良的粵劇文化和傳統，同時大老倌輩出，包括任劍輝、新馬仔和麥炳榮等，各有風格。此外，由於政治環境，惟有香港劇團可出外，一些海外華人又有鄉歸不得，惟有把鄉愁寄托香港伶人。奇哥說南洋戲迷「特別覺得我們親切，好似見到親人。」奇哥曾走埠星馬兩年，演過街頭神功戲。他說﹕ 「本來說好演五日，我們有心理準備演足一個月，因為經常這間店舖捐錢要求加演，那間又 © Danny Li 年青時穿上戲服的李奇峰 Young Danny Li in costume

捐。」還有是五十年代香港開始輸出戲曲電影和唱片，伶人每多兩棲，對培育海外觀眾功不可沒，更衍生伶人隨片登台的風氣。越南是另一個粵劇曾經興盛的南洋地區，四十年代到六十年代是伶人走埠熱點。奇哥曾於越南渡過童年與青少年歲月，緬懷舊日越南戲迷眾多﹕ 「一個城市可以同時有四間戲院做大戲，而且間間爆滿。」奇哥說﹕ 「有時一間任劍輝擔綱，另一間有新馬仔，不怕打對台。」藝術節演出的另一劇目《胡不歸》是薛覺先與上海妹的名劇，其中〈慰妻〉折子會由童男童女合演，重現奇哥九歲在越南登台的美事。話說二戰時奇哥一家從香港輾轉逃難到越南，當時越南局勢不穩，但民生如常，仍有伶人演出，當中包括香港大老倌馮俠魂和楚岫雲夫婦。這兩位奇哥的開山師傅想到找他與小女孩合演〈慰妻〉，結果觀眾受落，開創先河。香港粵劇一如香港人，從來多作嘗試，靈活變通。「粵劇越洋半世紀」不止於懷舊，而是從海外這一頁再發現大家以為熟悉的粵劇，重尋習以為常的香港。粵劇誕生於兩廣，傳到香港、再進入馬來西亞、甚至古巴，繁花盛放，熱鬧又奇情，真是出處不如聚處。

麥慰宗

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Stages of Interpretation

發揮演繹

蔡艷香 Choy Yim-heong

At the end of the Qing dynasty, Chinese labourers leaving China to make a living acted as an impetus for the spread of Cantonese opera overseas. Danny Li hopes that people will not forget that painful episode of history from the late 19th to early 20th century, when many Chinese labourers were lured to the United States to work on the railroads. According to Li, “Many were from Taishan, Guangdong province, because Taishan was near the coast. Once they left, they missed everything from home and pooled their resources to hire opera troupes from Hong Kong to perform for them. In the days before airplanes, it would take a troupe months to reach San Francisco by sea.” The opera Red Cherries and a Broken Heart, performed in this season’s Festival, was one of the most popular productions of Yam Pak’s overseas repertoire. The opera tells the story of a wandering songstress. She experiences marriage and separation, but is able to establish herself through hard work. When she once again encounters a reversal of fortune, she insists on self-reliance until her dying breath. Such themes found resonance with the Chinese who struggled alone to make a living overseas. As labourers in foreign lands, they had few avenues of redress, and were able to seek solace in the themes of loyalty, filial piety and justice found in Cantonese opera. Excerpts of three operas focusing on justice in the courtroom are performed in Vignettes from Pak Yuk-tong’s “Three Big Trials”, another presentation at this Festival.

During the mid-20th century, Cantonese opera flourished in Singapore, Malaysia, Thailand, Indonesia and other Southeast Asian countries, where Cantonese opera-lovers in Chinese communities there were happy to engage troupes from Hong Kong to perform for them. Because Hong Kong’s Cantonese opera had developed its own unique character, it attracted the best opera talent from Guangzhou to the territory in the period between the Second World War and the early establishment of the People’s Republic of China. As such, Hong Kong inherited the finest of Cantonese opera culture and tradition. At the same time, opera greats such as Yam Kim-fai, Sun Ma Sze-tsang and Mak Bing-wing emerged. Because of the political situation at that time, only Hong Kong troupes were permitted to travel overseas. Many overseas Chinese were also unable to return to their homeland, and as such, relied on Hong Kong opera troupes to alleviate their homesickness. Li says of Southeast Asian fans, “They were especially close to us, treating us like family.” He spent two years in Singapore and Malaysia traveling from town to town performing at temple celebrations. “If we originally agreed to perform for five days, we would be mentally prepared to perform for a month, because local businesses frequently made donations requesting additional performances,” recalls Li. In the 1950s, Hong Kong began to produce opera films and records. In addition to providing further opportunities for opera actors to earn a living, these media also became indispensable tools for reaching overseas audiences, evolving into the practice of live performances accompanying Cantonese opera film screenings.

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Cantonese opera also once flourished in Vietnam: from the 1940s to the 1960s, it was a popular touring destination for Hong Kong troupes. Li spent his youth in Vietnam, and fondly remembers the old days when Vietnamese opera fans were numerous: “In those days a city could have four theatres all staging operas at the same time, and every one would play to a full house. Yam Kim-fai would be the headliner at one theatre, and Sun Ma Szetsang would go head-to-head with her at another.”

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As a throwback to Li’s early stage appearance in Vietnam at the age of nine, children perform the male and female parts of the “Consoling Wife” segment in this Festival’s staging of Sit Kok-sin and Sheung Hoi-mui’s signature opera, Why Don’t You Return. During the Second World War, Li’s family had fled from Hong Kong to Vietnam, and although the political situation there was unstable, daily life went on as usual and operas continued to be staged. Among these were performances by the Hong Kong stars Fung Hap-wan and Chor Zau-wan, a husband-and-wife duo under whom Li began his training. It was their idea to have him perform opposite a little girl in “Consoling Wife”; their rendition was so well-received by the audience that it created a precedent of having children play these two classic roles. Hong Kong Cantonese opera, like the people of Hong Kong, has always been open to try new things and adapt. Global Traces, Local Stages is not only about nostalgia, but about rediscovering a once familiar Cantonese opera through the eyes of overseas Chinese, thereby redefining what we know about Hong Kong. From its origins in Guangdong and Guangxi, to its spread to Hong Kong, Malaysia and even Cuba, Cantonese opera has been blossoming, vigorously and astonishingly, along the way. Truly, Cantonese opera has spread far and wide. Percy Mak

何秋蘭、黃美玉 Caridad Amaran and Georgina Wong Guitierrez

粵劇越洋半世紀 Global Traces, Local Stages 9-11, 15-17.3.2019 油麻地劇院 Yau Ma Tei Theatre

高仲奇鏡頭下的蔡艷香 Choy Yim-heong photographed by Winston Kao

名伶花旦展演話當年 A Long Passion – Talk, Demonstration and Performance 這次展演話當年的嘉賓遠道而來，無獨有偶在上世紀四、五十年代踏足粵劇界為喜歡戲曲的海外華僑一解鄉愁。何秋蘭和黃美玉均在古巴出生，年輕時在何秋蘭的養父方標的粵劇團裏演出，分別演花旦和武生。蔡艷香生於馬來西亞粵劇世家，父母和親人都是戲行人。她擅演武旦，除了熟悉古老排場戲和擅長「踩砂煲」傳統腳下轎功，更創辦譽滿馬來西亞的艷陽天粵劇團。 Guest speakers at this talk and demonstration travel from countries afar, but in the 1940s and 1950s, they unknowingly shared budding careers as Cantonese opera performers in overseas Chinese communities. Cuban-born Caridad Amaran and Georgina Wong Guitierrez played dan and wusheng roles in Amaran’s stepfather’s theatre troupe; Choy Yim-heong was born into a family of veteran performers. Not only is she an expert on traditional opera pieces and a master of footwork showcased in ‘clay pot-hopping’, she also founded the widely acclaimed Yim Yeong Tin Cantonese Opera Troupe.

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《百花亭》蓄勢再發

Pavilion of a Hundred Flowers Poised for Rediscovery

《百花亭贈劍》於2018年香港藝術節首演，觀眾反應熱烈。該毛俊輝 Fredric Mao

劇的藝術總監、導演及改編者毛俊輝（毛Sir）說，相信是因為創作和製作團隊在重新審視現今

粵劇的創作模式中尋求改進的手法，增添了新的欣賞角度。但毛 Sir也反思過當中遇到的挑戰：「首先，傳統戲行人對革新的想法多數抱有懷疑的態度，新舊合作起來要打破許多框框。其次，傳統的粵劇觀眾也有部分會抗拒，未必完全接受。因為革新的過程往往涉及到要勇於嘗試、有成功亦有失敗，以及要挑戰自己的觀點，談何容易。」毛Sir總結首演後的迴響，發現不少觀眾都是第一次看粵劇，不但能夠接受，甚至讚好，還表示有興趣繼續觀賞粵劇。「我和年青編劇江駿傑曾深入研究唐滌生的劇本，敢於刪去多餘的枝節，集中表現人物的發展，並擺脫臉譜式的演繹；再加上大膽嘗試反傳統手法，例如容許部分唸白不跟鑼鼓等，無論看戲資歷深或淺的觀眾都能理解和懂得欣賞。」他又提到：「革新最大難處在於怎樣作出選擇。例如在演繹經典文本中需展現傳統戲曲的美之外，欲與新一代觀眾的欣賞品味接軌的話，往往在故事編排、人物塑造、節奏感、邏輯性等都需要調整。」經過2018年三場首演，《百花亭贈劍》將會精益求精、再度加工，由原班菁英演員和創作班底於2019年香港藝術節以「更新版」的面貌重演。

粵劇《百花亭贈劍》毛俊輝導演作品（更新版） Pavilion of a Hundred Flowers (Reboot) 1-2.3.2019 沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall

Pavilion of a Hundred Flowers premiered during the 2018 Hong Kong Arts Festival to an enthusiastic audience. Fredric Mao, the programme’s adaptor and artistic and stage director, believes that this was because of the way the creative and production teams reconceived the creative processes of contemporary Cantonese opera. In their bid for improvement, they brought forth a whole new perspective to this traditional art form. There were however, challenges along the way. Reflecting back, Mao says, “First and foremost, traditional artists tend to view innovation with suspicion, and the old and new collaborating required breaking out of many boxes. During the initial performances, some devotees of traditional Cantonese opera were resistant and unable to completely embrace the innovations. Being innovative requires courage. You have to be ready to accept success and failure, and to have your points of view challenged, which is much easier said than done.”

Stages of Interpretation

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In analysing the response to the premiere, Mao discovered that for many in the audience, it was the first time they had ever seen a Cantonese opera. Not only were they able to accept this new breakthrough performance, but they were full of praise for it, saying that it had sparked their interest in watching future operas. “Young writer Kong Chun-kit and I delved deeply into the analysis of Tong Tik-sang’s script, daring to delete portions that dragged, focusing on character development and eliminating deductions about characters based on their facial makeup. On top of that, we boldly tried techniques that went against tradition, such as allowing portions of spoken dialogue to be performed without the accompaniment of percussion instruments. Such techniques could be easily understood and appreciated by audiences no matter their level of familiarity with Cantonese opera.” He continues, “Having to make choices is the most difficult part of being innovative. For example, when reinterpreting the classic scripts, not only is it necessary to show the beauty of traditional opera, but you also have to modify the storylines, character shaping, rhythm, logic, and so on if you want to be in tune with the tastes and aesthetics of a new generation of audiences.” Following three performances in 2018, Pavilion of a Hundred Flowers continues to be enhanced, and a reboot will be presented at the 2019 HKAF by the original outstanding cast and creative team.

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《白蛇傳》的蛻變

A Transformation Story

2011年獲普立茲獎的歌劇《白蛇傳》，由周龍作曲，而歌詞雖由林曉英撰寫，但她仍歸功於已故丈夫查爾斯．雅各斯，說:「他是標準的歌劇迷。」她承認自己從事法律工作二十五年後回歸寫作，最先想到的文學類型並不是歌劇劇本。寫歌劇也不是林曉英最初的選擇，因為當時她只是想寫一套聯篇歌曲，慶祝丈夫七十五歲生日。「他已不在乎物質享受，所以我想送給他一些特別的東西。」她在尋找合適的題材時，憶起年輕時看過的《白蛇傳》，很快便敲定了初稿。她笑着回憶道：「他看到我在寫作，問我『這是什麼？』我告訴他：『這是你的生日禮物。』」但她丈夫是波士頓一位猶太裔律師，對白蛇一無所知。對丈夫來說，這個故事的疑問多於答案。「查爾斯一直在問我，為什麼白蛇要這樣說，許仙又為什麼要這樣做。問到最後，我只好以他能理解的方式把故事鋪陳開來。」大概是因為這個原因，林曉英的《白蛇傳》蛻掉了傳統外皮，披上了現代外衣，變得具有真正的國際色彩。她說：「故事不再認定女性是潛在的蛇妖。白蛇深知自己冒着多大風險進入一個新世界，卻下定決心，為夢想而奮鬥。」

Although Cerise Lim Jacobs penned the text that would eventually become Zhou Long’s 2011 Pulitzer Prize-winning opera Madame White Snake, she still gives credit to her late husband Charles. “He was the opera fan,” she says, admitting that when she returned to writing after a 25-year legal career, an opera libretto was not the most obvious genre selection. Nor was it her initial choice, having originally conceived the piece as a song cycle for her husband’s 75th birthday. “He was past material things, and I wanted to give him something special,” she says. Searching for a suitable subject, she recalled the White Snake legend from her youth and quickly banged out an initial draft. “He saw me working and asked, ‘What’s this?’ I told him, ‘That’s your birthday present,’” she recalls, laughing. But for her husband, a Boston-based Jewish attorney who did not know from White Snakes, the story raised more questions than it answered. “Charles kept asking ‘Why would she say this?’, ‘Why would he do that?’ to the point that all I could do was flesh out the story in a way he would understand.” Which is more or less how Jacobs’s Madame White Snake became genuinely international, shedding its traditional skin and taking on modern trappings. “It was no longer about women being potential snake demons,” she says. “This woman fully understands the risks of venturing into a new world and is determined to fight for her dream.”

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事實上，女主角開始跟編劇的經歷契合——林曉英是來自殖民時代新加坡的傳統華裔女孩，她一路走向西方，先去澳洲，然後英國，最後美國，還得面對一個不贊成異族通婚的父權社會。她的獨幕劇本雖然簡潔，卻已具備歌劇風貌，作曲家周龍也與之共鳴。周龍也是歌劇新手，在1980年代中從北京移居紐約。周龍說：「要把一個古老傳說向今天的觀眾重述一遍，像『中國』和『西方』這樣的標籤是派不上用場的。你必須巧妙運用各種音樂傳統，令故事充滿意義。」當林曉英的劇本擴展為連同序幕和尾聲的四幕劇時，歌劇的規模足以包含周龍為他首部歌劇所構想的音樂對比。他說：「我的室樂作品幾乎是無調性的，而我的管弦樂作品則更溫和、更傳統。」同樣，他的合唱作品也遠不如他譜寫的獨唱聲樂那麼複雜。他說：「《白蛇傳》結合了所有這些要素，幾乎是我當時職業

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生涯的一次總結。」歌劇由序幕開始，已綜合不同文化的音樂，就像京劇式唸白與荀伯

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格歌劇式誦唱（Sprechstimme）的獨特混合體。歌劇大體上使用西方的配器，主要由幾件中國樂器來代表某些人物：白蛇用竹笛襯托；許仙以二胡代表；青蛇則以塤表示。青蛇（小青）一角起用了男聲女高音，是靈機一觸的決定，既向西方歌劇的閹伶傳統致敬，也體現了中國戲曲的男旦特色。若說《白蛇傳》的四幕結構為周龍提供了交響樂規模的發揮空間，那麼它也為林曉英呈現整個人生的春夏秋冬。隨着故事發展，她發現此劇與西方歌劇經典有許多相通之處。 © James Matthew Daniel 龔冬健飾法海 Gong Dong-jian as Abbot

她說：「首先，這是個有關蛻變的故事，就像《小美人魚》或《露莎卡》（編按：德伏扎克童話歌劇中的水精靈）裏，其他生物變成人類。還有像華格納歌劇《羅恩格林》那樣的故事傳統，其中戀人絕不能透露自己的真實身份。」此劇也有歌劇慣見的魔藥，林曉英指出它要不是真的具有神奇力量（這時候華格納的「崔斯坦和弦」就會出現），就僅僅是一劑自欺欺人的假藥（如唐尼采第的《愛情靈藥》）。她說：「在《白蛇傳》裏，你其實不知道白蛇所服的『揭露真相』魔藥是否真的會令她打回原形。許仙告訴白蛇：『我特別調製了這些草藥，可幫助你分娩。』（順便一提，原來的神話沒有這句），她馬上看出許仙在撒謊，因此對許仙的信任和愛情都隨之消逝。她沒有活下去的理由，於是變回蛇身，代表她已心如死灰。」「你也可以當真來看，認為那藥水確實有效，可逼使白蛇現形。」林曉英半帶淘氣地繼續說：「這種模棱兩可的表現手法，可能會讓傳統的中國觀眾感到非常不安。」不過，林曉英認為更具威脅性的，是意識到白蛇竟是一種情感易受傷害的生物：「她成為人類後，便被人的價值觀、為他們能夠愛和同情所感動。雖然曾經是蛇妖，她卻是個擁有強大力量、能堅決反對專制父權的女人。我想捕捉她那種反叛精神，那種站起來捍衛自己的能力，好證明女性不必有蛇蝎心腸而依然力量強大。」

周龍 Zhou Long

司馬勤

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Stages of Interpretation

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The title character, in fact, rather began to resemble its author, a traditional Chinese girl from colonial Singapore who made her way westward—first to Australia, then England, and finally the United States—confronting, one might add, a patriarchal society disapproving of mixed marriages. Her one-act libretto—concise, yet already operatic—also resonated with the composer Zhou Long, another operatic neophyte who’d relocated from Beijing to New York in the mid-1980s. “For an ancient legend being retold for today’s audiences, labels like ‘Chinese’ and ‘Western’ no longer apply,” Zhou says. “You have to use musical influences in a way that makes sense for the story.” As Jacobs’s libretto expanded into four acts, with an additional prologue and epilogue, its span proved large enough to contain the musical contrasts Zhou envisioned for his first opera. “My chamber works are almost atonal, while my orchestral writing is more mild and traditional,” he says. Likewise, his choral works are much less complex than his writing for solo voice. “Combining all these elements, Madame White Snake became almost a summary of my career at that time.” The musical synthesis of cultures begins right in the prologue, a singular blend of Peking opera-style recitation with Schoenberg-like Sprechstimme. Amidst otherwise Western orchestration, key Chinese instruments represent certain characters: White Snake is coloured by a bamboo flute; the scholar (her love interest) is represented by an erhu; her less sophisticated sister Green Snake is musically echoed by a xun. Particularly inspired is casting Green Snake as a countertenor—a tribute both to Western opera’s castrati heritage and falsetto cross-dressing on the traditional Chinese stage. If Madame White Snake’s four-act structure offered Zhou the fullness of a symphony, it presented Jacobs with the four seasons of a complete life. As the story developed, she found many similarities with the Western operatic canon.

“First of all, it's a transformation story, much like the Little Mermaid or Rusalka, where other creatures become human,” she says. “There’s also a tradition of stories, like Lohengrin, where lovers never reveal their true identity.” It also fits with opera’s catalogue of potions, which as Jacobs points out, can either be genuinely magical (cue Wagner’s Tristan chord) or merely a placebo (see Donizetti’s Elixir of Love). “In Madame White Snake, you don’t really know whether the truth potion she takes is real,” she explains. “When the scholar tells her, ‘I mixed these special herbs to help your childbirth’—which is not in the original myth, by the way—she can tell he’s lying, and both her trust and love die. With nothing to live for, her transforming back into a snake marks her spiritual death. “Or if you want to be literal, maybe the truth potion was real and she was forced to reveal herself against her will,” Jacobs continues, a bit mischievously. “This kind of ambiguity can be very disconcerting to traditional Chinese audiences.” More threatening, though, is the very idea of White Snake as an emotionally vulnerable creature, she claims. “Having become human, she’s touched by human values, the ability to love and empathise,” Jacobs says. “She’s a powerful woman—okay, she used to be a demon—but a woman able to hold her own against an authoritarian patriarchy. I wanted to capture that rebellious spirit, the ability to stand up for yourself, to prove that women can be powerful without being demons.” Ken Smith

《白蛇傳》Madame White Snake 8-9.3.2019 香港演藝學院歌劇院 Lyric Theatre, HKAPA

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癲狂時代的明鏡

Wagner, Meet Regietheater 是他第二部展露成熟藝術風格的早期作品。《唐懷瑟》是華格納年輕風格最輝煌的代表作，同時展望他後期更為複雜而多層次的大作。此歌劇1845年於德累斯頓首演，其後逐漸成為十九世紀歌劇迷的心頭好，縱然當中也不無爭議：1861年法國巴黎的首演，即釀成了作曲家有名的災難（但也不能完全歸咎於作品的藝術水平）。華格納於其後數十年間，為這齣劇做過大大小小不同改動，要是他當時未去世，說不定會多修改一個版本。而今次在港演出的製作，將會是當年於德累斯頓初演的版本，並由著名指揮家伍爾夫．舒爾瑪帶領德國萊比錫歌劇院和萊比錫布業大廳管弦樂團，攜手呈獻。德累斯頓版《唐懷瑟》裏的配樂，常被視為最純正的版本。華格納1813年於萊比錫出生，而舉世聞名的布業大廳管弦樂團，過去一百五十年一直坐陣德國萊比錫歌劇院，華格納的音樂早已深入樂團的骨髓：《唐懷瑟》首演，正於1853年在華格納的故鄉上演。

Never previously produced in Hong Kong, Tannhäuser was the fourth of Richard Wagner’s operas to reach the stage and the second work of his early artistic maturity. The opera represents Wagner’s youthful style at its most refulgent, while looking forward to his later and even more complex achievements. Premiered in Dresden in 1845, it would gradually become a favourite with nineteenth-century operagoers, though not without some controversy: its reception in Paris at its French premiere in 1861 was a famous disaster for the composer— though not for artistic reasons alone. Over the decades, Wagner made revisions large and small, and had he lived longer he might well have produced yet another edition of the piece. The version performed in Hong Kong by the forces of Oper Leipzig and the Gewandhausorchester Leipzig under the distinguished Ulf Schirmer will be the original Dresden version— often considered the purest edition of the score.

Stages of Interpretation

從未於香港上演的《唐懷瑟》，是華格納第四部上演的歌劇，更

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Wagner was himself born in Leipzig in 1813, and the world-renowned Gewandhausorchester’s constant presence in the pit at the Oper Leipzig means that his music has been in its blood for the last 150 years and more: Tannhäuser was first performed in Wagner’s native city in 1853.

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左至右︰伊莉莎白(伊莉莎白．斯特飾)及唐懷瑟(伯克哈德．弗利茲飾)；維納斯(嘉芙蓮．歌靈飾) Left to right: Elisabeth (Elisabet Strid) and Tannhäuser (Burkhard Fritz); Venus (Kathrin Göring)

《唐懷瑟與華特堡的歌唱大賽》是華格納一直對日耳曼民族神話

困於舞台上的鐵籠中奏樂；其作品出人意表手法之廣，數量之多，

和傳奇感興趣的明證——這種偏好於《漂泊的荷蘭人》（1843）

無疑讓彼耶多擠身當今歌劇界最著名的導演地位。

早有跡可尋，其後在《羅恩格林》（1850）、四部曲史詩式作品《尼伯龍根的指環》（1869—1876）和《帕西法爾》（1882）中相繼出現。華格納的歌劇劇本把兩個中世紀的傳奇故事合而為一：也就是劇目《唐懷瑟》這位騎士和詩人，還有相傳在華特堡舉行的歌唱大賽。這座城堡建於德國圖林根州，艾森納哈村莊的陡峭山脈

總括來說，彼耶多所屬於的這個歐洲藝術家群體，旗下的作品通稱為Regietheater，也就是「導演劇場」的意思；代表導演作為核心創作者，相比傳統製作，對劇本的干預更大。自二戰後，這些導演經常會把原作中的時間、地點，改為當今之世；抽象設計取代了特定的場景；連故事本身也時有更改。

之上。從沒接觸過彼耶多作品的觀眾，該先明白他絕對不是一名傳統導歌劇首演後，華格納的《唐懷瑟》一如他其他作品，多年來被廣泛詮釋。卡歷圖．彼耶多是在歐洲享譽盛名同時備受爭議的歌劇導演，他所執導的《唐懷瑟》，跟華格納的作品相似，同樣引起了不少爭論。彼耶多1963年多出生於西班牙布哥斯省的埃布羅河畔的米蘭達

演。《唐懷瑟》常被理解為述說不同愛情經驗的歌劇：有著魔般的肉慾，也有最無私和貞潔的愛——但彼耶多的版本不像一般傳統製作，他不以基督教信仰和性之間的衝突為軸心。一反觀眾的期望（又或是故意不管），彼耶多選擇以頗為不一樣的角度處理這部劇本。

城，其後在巴塞隆拿修讀西班牙和加泰隆尼亞文學。八十年代末，他在戲劇劇場中當導演，1996年才首次執導歌劇，此後便一直於歌劇界中忙碌打滾。他的美學雖然難以一概而論，但他對強烈戲劇性的追求、劇場演出的大膽突破和出奇不意地偏離劇本，更能令人意外地帶出經典名作和當下社會現狀彼此之間的關連。其執導的比才《卡門》（1999），刻劃出當代社會的性政治而備受讚賞；威爾第《假面舞會》（2002）開場時，用一排列開的座廁，把倫敦觀眾嚇呆；還有貝多芬《費德里奧》（2013)裏，安排弦樂四重奏被

卡歷圖．彼耶多 Calixto Bieito

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Stages of Interpretation

發揮演繹

Tannhäuser und der Sängerkrieg auf Wartburg (Tannhäuser and the Singing Competition on the Wartburg) is evidence of Wagner’s continuing interest in Germanic myth and legend— something already evidenced in Der fliegende Holländer (The Flying Dutchman, 1843) and subsequently taken up again in Lohengrin (1850), the four-part epic Der Ring des Nibelungen (The Nibelung’s Ring, 1869-1876) and Parsifal (1882). Wagner’s own libretto conflates two medieval legends: that of the crusading knight and poet of the main title with that of a singing competition supposedly held at the Wartburg, a precipitously positioned castle that rises high above the village of Eisenach in the German province of Thuringia. Since its premiere, Wagner’s opera—like his other works—has been widely and variously interpreted. Rather like Wagner’s own work, therefore, the present interpretation by one of Europe’s most celebrated and controversial opera directors— Calixto Bieito—has itself been much debated. Born in the city of Miranda de Ebro in the Spanish province of Burgos in 1963, Bieito studied Spanish and Catalan literature in Barcelona. He worked as a director in spoken theatre in the late 1980s, staged his first opera in 1996, and has been busily engaged in the craft ever since. While his aesthetics are difficult to pin down, his penchant for dramatic intensity, theatrical boldness and unexpected deviations from the libretto are able to draw out unexpected links between classic masterpieces and the state of present-day society. From his widely acclaimed portrayal of contemporary sexual politics in Bizet’s

Carmen (1999) to the infamous row of toilets that shocked London audiences at the opening of Verdi’s Masked Ball (2002), and an onstage string quartet playing in a cage in Beethoven’s Fidelio (2013), the often unexpected gestural range and sheer quantity of his work undoubtedly places him among the most famous opera directors of the present day. In broad terms, Bieito belongs to a group of European artists whose work has acquired the generic German title of ‘Regietheater’—literally ‘director’s theatre’—in which the role of the leading creative figure is far more interventionist than in traditional productions. Within this post-war tradition, periods and locales specified in the original libretto are frequently altered to the present day, abstract designs may replace particular settings, and alterations to the narrative are permitted. Those coming anew to Bieto’s work should be advised that he is not in any sense a traditional director. His approach to Tannhäuser— a work regularly interpreted as addressing different experiences of love, from the obsessively erotic to the most selfless and chaste—is not concerned with the conflict between the Christian religion and sexuality that underpins most traditional productions. Contrary to expectations—or perhaps in spite of them—Bieito comes at the piece from a quite different angle.

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2015年，他曾於比利時根特的演出前，在錄影訪問中表示，「我對愛與性之間的角力不感興趣，救贖亦然。對我來說，今天這齣歌劇要說的是抑鬱、求助、不安、精神錯亂、瘋狂，因為你找不到快樂——但這能作為我們這癲狂時代的一種反照。」「劇中有兩位女角［維納斯和伊莉莎白］，一位男角［唐懷瑟］，可他就是振作不起來，無論是在社會和社區中也找不到平衡點，因為他周遭的群體只講究膚淺的規條，他與這一切為敵。可是最後，他是在跟自己鬥爭……我想像成某種自然跟非常理性的東西鬥爭，因而激起了某種神經錯亂……要將所有東西安置好，找到平衡點是非常困難的一件事。」事實上，他的答案指出了幾種解讀這部歌劇的方式，因為《唐懷瑟》跟華格納所有作品一樣，勾起當代觀眾共鳴之處，是那些於

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1845年、在德累斯頓觀看首演的人幾乎無法想像的，但儘管如此，卻依然令人為之動容。

喬治．賀爾

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As he admitted in an interview filmed before the production’s initial realisation in Ghent in 2015, “I was not interested in the fight between sex and love, nor redemption. For me the piece today is about depression, people asking for help, anxiety, mental disorders, craziness, because you cannot find happiness—but it could be a reflection of our neurotic times. “There are two women [Venus and Elisabeth], one man [Tannhäuser], and he cannot put it all together. He cannot find a balance with his society, with the community, which is just supporting superficial rules, and he’s in a fight with everything. But the fight is with himself, finally… I would imagine a kind of fight between the natural and something very rational, provoking a kind of neurosis… It’s very difficult to put everything together and to arrive at a balance.” In fact, his words point to some of the many possible interpretations of the piece, because like all of Wagner’s works, Tannhäuser speaks to today’s audiences in ways scarcely imaginable to those who originally experienced it back in Dresden in 1845, but which are nevertheless just as valid in their own terms.

George Hall

萊比錫歌劇院 Oper Leipzig 華格納《唐懷瑟》Wagner's Tannhäuser 1-2.3.2019 香港文化中心大劇院 Grand Theatre, HK Cultural Centre

萊比錫歌劇院合唱團 Chor der Oper Leipzig 《歌劇合唱盛會》Opera Chorus Concert 3.3.2019 香港文化中心音樂廳 Concert Hall, HK Cultural Centre

萊比錫歌劇院近七十人的龐大專業合唱團經常巡迴世界各地演出，是次將由來自維也納的合唱指導埃徹拿-德．林特帶領，聯同鋼琴家斯蒂辛，為香港觀眾呈獻選自多齣經典歌劇的精采合唱段落。 After their Festival performance in Tannäuser, around 70 singers from Chor der Oper Leipzig will be showcased in a concert led by acclaimed Austrian chorus master Thomas Eitler-de Lint with acommpaniment by pianist Alexander Stessin. © Kirsten Nijhof

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白遼士的反叛與創新

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法國畫家艾米爾．西諾《白遼士畫像》，1831年（局部） Detail of Emile Signol, Portrait of Hector Berlioz, 1831

《震怒之日》合唱段 Dies irae chant

白遼士1869年與世長辭；即使在一百五十年後，他仍是世人眼中典

《幻想交響曲》1830年首演過後，白遼士還寫了樂曲的續集──抒

型的浪漫派作曲家。在那個高舉原創性的年代，白遼士每個音符都

情獨腳戲《雷里奧，或重拾人生》，作品14b。雷里奧一角由演員擔

在挑戰傳統，既在同期作曲家裏找到華格納和李斯特等同道中人，

任，作曲家還用上獨唱、合唱團和藏身觀眾視線範圍以外的大型

又在英國文學尋得靈感。

樂團。《雷里奧》部分段落來自舊作；樂曲首尾兩段都採用了《幻

有了貝多芬作榜樣，白遼士也得以擺脫束縛，勇於挑戰曲式的極限，在交響樂的範疇裏構思出一片新天地，讓交響樂來說故事。他認為當時的標準樂團未能滿足自己的需要，於是自創聞所未聞的新音色，此外更切切實實地寫了一部關於配器藝術的著作──於 1844年出版的《論現代配器法與管弦樂法》，至今仍再版不輟。

想交響曲》的固定樂思。作曲家在回憶錄寫道：「我作了首新曲，規模宏大，節奏也很有創意；所用的等音和聲聽來莊嚴肅穆，旋律在漫長的漸強中發展，非常戲劇化。」戲劇化的時刻在《雷里奧》一點不缺。白遼士原意是將《幻想交響曲》和《雷里奧》緊接順序演出，然而樂曲按這個安排演出的機會卻少之又少；《雷里奧》將由 Die Konzertisten加入合唱。

法國世紀樂團2019年蒞臨香港藝術節演出時，觀眾將有機會以嶄新的形式欣賞白遼士的音樂。

第二場音樂會則演出白遼士四首偉大的管弦樂曲，包括兩首來自歌劇《班維努托．切利尼》的序曲。《班維努托．切利尼》寫於

第一場音樂會以白遼士最著名的作品《幻想交響曲》，作品14掀開

1838年，但鮮有演出。故事發生在十六世紀的羅馬，內容圍繞一

序幕。《幻想交響曲》單靠樂音將一個年青人的單戀故事娓娓道

個虛構的意大利藝術家；當中的序曲也與白遼士的其他作品一

來，可謂前無古人：他在服用鴉片後產生幻覺，在夢中目睹謀殺和

脈相承，採用了大量木管樂。隨後兩首作品的靈感分別來自莎士

一片混亂。樂曲其實帶有自傳性質：主人翁執迷地愛慕一個女子，

比亞和拜倫：先是偉大的合唱交響曲《羅密歐與茱麗葉》，作品17

全曲五個樂章一直追蹤着他這段感情。作曲家以一段旋律代表主

（1839）選段，然後是《哈洛德在意大利》，作品16（1834）全曲。

人翁的心上人；這段旋律的張力不但不斷增強，還會在樂曲中反覆

《哈洛德在意大利》一方面較接近傳統器樂交響曲的四段結構，

出現，稱為「固定樂思」。情緒化的主人翁每次遇見心上人，固定

另一方面卻以器樂獨奏代表旅人哈洛德，令樂曲聽來像首中提琴

樂思都會響起：無論兩人是在舞會相見（以華爾茲為主題的第二樂

協奏曲似的。

章），還是後來夢見自己親手殺死心上人──他嘗試忘記對方，失敗後服用鴉片，因此產生幻覺。既然殺了人，很自然要填命──他發現自己身處自己的葬禮，但主持葬禮的竟是一眾巫婆和惡魔。固定樂思在此完全變了樣，還結合了古老素歌《震怒之日》的段落，充滿脅迫之感 ──大導演寇比力克電影《閃靈》的開端，也同樣採用了《震怒之日》。

《哈洛德在意大利》首演當晚已經大受歡迎，觀眾甚至要求將第二樂章多奏一遍；這種待遇與白遼士好些作品很不一樣。通常，作曲家都比聽眾走前太多，白遼士的音樂就像艾菲爾鐵塔和羅浮宮玻璃金字塔一樣，敢於挑戰大眾對美感和形式的固有想法。現在，就在白遼士逝世一百五十年之後，法國世紀樂團為演繹手法注入新動力，混合使用當代及十九世紀的古樂器演出，讓大家能以嶄新角度來欣賞這些作品。

湯柏恩

One hundred and fifty years after his death in 1869, Hector Berlioz remains the quintessential Romantic composer. In an era that placed a premium on originality, he defied convention with every note, finding allies in his contemporaries Richard Wagner and Franz Liszt and inspiration in English literature.

With the performances of France’s Les Siècles orchestra, 2019 Hong Kong Arts Festival audiences will have an opportunity to hear Berlioz’s music as it has never been heard in Hong Kong. The first programme will feature Berlioz’s most famous work, the Symphonie fantastique, Op 14. This was a symphony like none before it, telling in sound alone the story of a young man’s opium-induced dream of murder and mayhem. The five movements of Berlioz’s somewhat autobiographical symphony track the main character’s obsessive love for a woman, represented through a recurrent melody of rising intensity termed the idée-fixe. The melody recurs each time the moody protagonist meets his object of desire—whether face-to-face on the dance floor in the waltz-themed second movement or murdering her in an opium-driven dream after he tries, unsuccessfully, to forget her. The consequence of his sin is death, and finally, he finds himself at his own funeral presided over by witches and demons. Here, the idée-fixe is wildly transformed in combination with a menacing quotation of the ancient Dies irae chant—music heard in the opening of Stanley Kubrick’s The Shining.

法國世紀樂團 Les Siècles 《白遼士150》 BERLIOZ 150

The second Les Siècles programme offers four of Berlioz’s other great orchestral works, including two overtures drawn from the composer’s rarely performed 1838 opera Benvenuto Cellini. Set in 16th-century Rome, the opera tells an imagined story of the Italian artist, and its overture, like much of the composer’s music, features an array of wind instruments. Then, moving from Shakespeare to Lord Byron, selections from Berlioz’s great choral symphony Roméo et

古樂器，是音樂家在十九世紀創作曲目時所用的樂

發揮演繹

Juliette, Op 17 (1839) will precede the complete Harold en Italie, Op 16 (1834). Here, Berlioz is on one hand, more conventional in creating a four-part instrumental symphony, and at the same time, through his use of a solo instrument to represent the traveller Harold, he created something resembling a concerto for the viola. Unlike some of the composer’s works, Harold en Italie was immediately appreciated (the opening-night audience demanded to hear the second movement again). Often, the composer was just too far ahead of listeners’ expectations. Like the Eiffel Tower and the Louvre Pyramid, the music of Berlioz challenged the public’s preconceptions of beauty and form. Now, 150 years after Berlioz's death, Les Siècles' reinvigorated interpretations on a mix of contemporary and period nineteenth century instruments will allow us to hear these works with new ears.

2-3.3.2019 香港文化中心音樂廳 Concert Hall, HK Cultural Centre

法國世紀樂團演奏時使用的樂器古今兼備。其中的

經典啟發

Stages of Interpretation

Liberated by the example of Ludwig van Beethoven, Berlioz pushed boundaries of form, envisioning a new world of symphonic composition that told stories. Not satisfied with the standard orchestra of his time, he discovered timbres never before heard—and he literally wrote the book on the art of orchestration (his 1844 Orchestral Treatise has never been out of print).

After the Symphonie fantastique’s first performance in 1830, the composer created a sequel: the lyric monodrama Lélio, or, The Return to Life, Op 14b. Employing an actor as the title character, as well as solo vocalists, a chorus and a large orchestra hidden from view, Lélio relies in part on music composed earlier, opening and closing with the idée-fixe melody of its predecessor. Writing in his memoirs, Berlioz recounts, “I composed a piece, large in treatment, with rhythm of striking originality, with enharmonic harmony of a solemn sonority, and a melody dramatically developed in a long-drawn crescendo.” Lélio has many such moments of drama, and yet audiences rarely have the opportunity to hear it as Berlioz intended—performed immediately after the Symphonie fantastique, with vocals supplied by Hong Kong's Die Konzertiersten.

Brian C. Thompson

法國世紀樂團 Les Siécles

器。它們包括奧菲克萊德號（即《幻想交響曲》中所用的軍號族直立銅管樂器），以及現已被淘汰的有鍵短號（由今次在《雷里奧》所用的現代短號接替）。 Les Siècles will perform on a mix of contemporary and period instruments—those that would have been used at the time of the works’ original composition in the 19th century. Among these are the ophicléide, an upright brass instrument from the bugle family used in the Symphonie fantastique and the cornet à pistons, a now obsolete early ancestor of the modern cornet used in Lélio.

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攀登戲劇的珠穆朗瑪峰：李六乙的《哈姆雷特》

Li Liuyi's Hamlet 談到近二十年具爭議性的中國話劇先鋒導演，不少人會浮現李六

發揮演繹

Stages of Interpretation

Scaling the Stage's Mount Everest:

經典啟發

乙的名字，多少與他的創作較專注於藝術的探索與未來性，而非迎合觀眾的欣賞慣性有關係。這位被譽為最懂戲曲的話劇導演，創作種類與產量豐富，並且風格多變，至今已有超過五十個舞台作品。這代表要概括他的風格並非易事，他有抽象、拼貼、無法歸類的實驗作品，也有寫實風格的創作，更擅於營造中國式的空靈美學與意境。在這些百變風格下，他的創作核心是九十年代以來發展的「純粹戲劇」概念，簡言之是專注於人的本質與精神性的探求。此一探求直接導引出他作品中的幾個重要特徵：追求人的多重意識的表演方式、創造既純粹且無限的劇場空間想像、寂緩沉靜的舞台節奏等。這些特性都與當前高度物質化、科技化傾向的劇場相悖。 When speaking of China’s controversial, avant-garde directors over the past 20 years, Li Liuyi’s name springs to mind for many. This is perhaps because Li has devoted his work to exploring art and its futurity rather than attempting to cater to the conventional tastes of theatre-goers. Reputedly the drama director who best understands Chinese opera, Li is known for the volume, variety and stylistic diversity of his theatrical works, which now number over fifty. Li’s style is difficult to generalise: his productions range from abstract, collage-like or plainly unclassifiable experimental works to realist creations and those with the ethereal aesthetics of Chinese culture, at which he excels. Underpinning these manifold styles is the unifying concept of ‘Pure Drama’, an ideal that Li has been developing in his works since the 1990s. Put simply, the concept focusses on exploring the very nature and spirituality of humankind, a pursuit that has given rise to some major features of Li’s works: a quest for modes of representing humanity’s multi-layer consciousness, the creation of a pure yet unbound theatrical spatial imagination, and a rhythm of acting that is quiet, calm and composed. These characteristics run counter to the trends in theatres today towards materialisation and technological dependency.

李六乙 Li Liuyi

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閱藝 FestMag 左至右：濮存昕飾克勞狄斯；盧芳飾格特魯德及奧菲利亞；胡軍飾哈姆雷特 Left to Right: Pu Cunxin as Claudius; Lu Fang as Gertrude & Ophelia; Hu Jun as Hamlet

2017年，李六乙與英國皇家莎士比亞劇團「莎劇舞臺本翻譯計畫」

乙表演觀的女演員盧芳，同時演出這兩個女性角色。李六乙表示，

合作上演的《李爾王》，票房極為成功，並被多篇評論盛讚該劇舞

這種表演將不是一人分飾二角的簡單變換，而是「似是而非」、「在

台「所有元素都能說話」、精準的表演、具哲學深度的當代詮釋等，

與不在」的多重共存和綜合狀態。他將藉由盧芳扮演的角色，綜合

李六乙也因該劇獲得2018年上海靜安「壹戲劇大賞」的最佳導演。

狀態折射出眾多人物的精神現象，而哈姆雷特的愛、瘋狂與扭曲的

一方面顯示當代話劇觀眾對這種沉靜的戲劇表現接受度漸增，另

生命狀態，也將直接體現在這兩個女性角色上，因此當她們合二為

一方面或許也意味着李六乙追求的純粹精神性，某種程度反映當

一，可看到哈姆雷特經歷了從正常、瘋狂、到癲狂、至變態的情感

代中國人的內在渴求。《李爾王》的成功與合作愉快，帶來了他與

旅程的本質。

皇莎的第二個莎劇《哈姆雷特》（2018年11月首演）。李六乙認為對世界導演而言，《哈姆雷特》就如同珠穆朗瑪峰般，是一生必須攻克的高山，而要真正達到頂峰，甚至要付出「生命的代價」。

雖然李六乙勇於嘗試前衛多變的戲劇形式，但和其他擅於運用舞美和多媒體等的前沿技術來創造新形式的先鋒導演相比，他對藉由演員的表演來完成戲劇形式創新更感興趣，使他作品中的先鋒

1990年林兆華執導的《哈姆雷特》在中國話劇界締造傳奇般的地

性，總帶有質樸的手作感，並意味着演員表演的難度甚高，但這也

位，他以「人人都是哈姆雷特」的導演主題帶來了角色換位的特殊

說明了為何這位導演合作的演員均為當今一流。此次李六乙版《哈

形式，有時觀眾分不清誰是哈姆雷特、國王、波洛涅斯，使人物的

姆雷特》中的主演包括胡軍、濮存昕、盧芳、荊浩等都是他多年合

生存處境普遍化了，劇中掘墓人亦被提升為冷峻諷刺的時代評論

作的演員，從另一方面來看，這些名演員多次與李六乙這般勇於藝

人，此一詮釋呼應了當時的時代氛圍和人們的生存處境。藝術創作

術探索和冒險的導演合作，顯示他們同樣是擁有攀登戲劇高峰意

上深受林兆華影響、但又極有獨立意識的李六乙，自然是「走自己

志的藝術家。

的路」的意志甚強。李六乙版《哈姆雷特》少見的以王后格特魯德和奧菲利亞作為導演的重點，並由近年合作最多、最能體現李六

林偉瑜

In 1990, an earlier version of Hamlet directed by Lin Zhaohua attained legendary status in China’s theatrical circles. Lin’s directorial concept— ‘Everyone is Hamlet’—led to a peculiar role-swapping technique, at times making it difficult for the audience to differentiate between Hamlet, Claudius and Polonius onstage. The plights of individual characters were thus made to fit people in general, with the Gravediggers in Hamlet upgraded to sarcastic critics of the times. Such a rendering by Lin did well to represent the milieu of that epoch. Now, despite a strong influence from Lin, Li Liuyi remains naturally independent-minded in “going his own way”. In a rare fashion, Li’s own version of Hamlet features a roleswap between Gertrude and Ophelia, with both female roles played simultaneously by actress Lu Fang. A frequent collaborator with Li in recent years, Lu is best suited to embody the director’s concept of acting. Such acting means more than a

simple trick of one person playing two roles, Li explains. The actress will assume a seemingly real-yet-fake identity with the presence and absence of the two characters mixed into coexistence. Through the double roles played by Lu, the director attempts to provide a holistic picture of the mental states of many characters; in particular, Hamlet’s love, madness, and warped reality will be directly reflected in the performances of Gertrude and Ophelia. As the two female roles merge into one, the audience can witness the essence of Hamlet’s emotional journey from normalcy to madness, derangement and, ultimately, utter perversity. Compared with his avant-garde peers skilled at creating new formats through stage design and multimedia technology, Li is more interested in innovating through the players’ acting, although he is ever brave to try on various avant-garde ideas and forms. This lends a plain, hand-crafted feel to his works and suggests a tough prerequisite for quality acting, explaining why all those working under Li’s directorship are first-class actors and actresses in China today. Leading roles in Li’s forthcoming version of Hamlet will be played by Hu Jun, Pu Cunxin, Lu Fang and Jing Hao, among others, all of whom have worked for years with the director. This demonstrates that the entire cast is made up of like-minded devotees of art, inspired to scale new heights in theatrical performance.

經典啟發發揮演繹

Stages of Interpretation

In 2017, Li worked with the Royal Shakespeare Company (RSC) as part of its Shakespeare Folio Translation Project on a production of King Lear. A huge box-office hit, the play was praised by critics for its precise acting, philosophical depth, contemporary rendering and a stage design in which “all elements could speak”. For his part in the success, Li earned the Best Director Award at Shanghai’s Jing'an Modern Drama Valley One Drama Awards in 2018. On one hand, this shows that the audience of modern drama [in China] is becoming more receptive to Li’s quiet manner of stage presentation; on the other, it signifies that Li’s pursuit of pure spirituality to some extent reflects the inner yearnings of Chinese people today. With the success of King Lear and his happy part in that joint effort, Li soon began work with the RSC on a second Shakespearean classic— Hamlet—which premiered in November 2018. To Li, Hamlet is to stage directors worldwide what Mount Everest is to ambitious mountaineers—the summit to be scaled in one’s lifetime, a goal to be attained even “at the cost of one’s life”.

Lin Weiyu

北京李六乙戲劇工作室 Beijing Li Liuyi Theatre Studio 《哈姆雷特》 The Tragedy of Hamlet, Prince of Denmark 7-9.3.2019 香港文化中心大劇院 Grand Theatre, HK Cultural Centre

One letter away from greatness

一字之差莎士比亞有一名兒子，名為哈姆尼特。他十一歲去世，當時他父親在外為劇場事業奔波，沒來得及見他最後一面。三年後，莎士比亞寫下《哈姆雷特》。偉大的丹麥王子長留青史，名字相差一字的哈姆尼特卻只有零星記載。我們無從得知，沒有父親陪伴的

Shakespeare’s only son, Hamnet, died at age 11. At the time, his father was pursuing his theatre career in London; he didn’t make it back to Stratford in time to bid farewell to his son. Three years later, Shakespeare penned Hamlet . The name of the Danish prince has since been emblazoned in the annals of history, but all records of Hamnet—one letter away from greatness—are piecemeal. What was the boy’s fatherless youth like? How did he survive, and how did he die? If the spirit of Hamnet were still here, what would he say to his father? These questions are the springboard for Dead Centre’s Hamnet , a one-hour, multimedia monodrama. Through the affecting performance of an 11-yearold actor, we view life’s paramount themes—growing up, parenthood and death—through the eyes of a child.

童年是怎樣渡過？他如何生存，如何死去？倘若哈姆尼特的鬼魂仍在，會怎樣面對他的父親？這一切疑問，正是正點劇團《哈姆尼特─莎士比亞之子》一劇的開瑞。劇中主角哈姆尼特由一名十一歲男童飾演，在長達一小時的多媒體獨腳戲中，從孩子的角度看成長、父子關係、死亡等生命中最重要的命題，帶來動人心弦的演繹。

正點劇團 Dead Centre 《哈姆尼特─莎士比亞之子》Hamnet 4-5.3.2019 香港文化中心劇場Studio Theatre, HK Cultural Centre

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深入絕境：《攀越冰峰》編劇訪談

Into the Abyss

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In Conversation with David Greig

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1985 年春天，秘魯安第斯山脈，一場嚴酷

的暴風雪中，二十五歲的喬．辛普森無助地懸吊在半空，身下是咧着大嘴的冰縫，而他已凍傷，失去知覺，視死如歸。當辛普森和搭檔西蒙．葉慈出發，要從西面攀登高達4,500英呎的秀拉格蘭德山脈時，他們打算挑戰前人未行之路：不藉助任何輔助，以阿爾卑斯式攀登法攀上這座頂峰。但是下山途中，辛普森摔斷了膝蓋。茫茫雪暴中，葉慈雖不怕艱辛地以繞繩下降的方式幫助受傷的搭檔下山，卻不得不面對一個兩難的抉擇：要麼割斷二人間的繩索，要麼一同死於雪山中。霎時間，辛普森猛然墜落，跌進了雪山深處，等待他的，是同樣難以承受的真相：有時候，逃離虛空的唯一出路，就是爬進更深的虛空。辛普森花了三天爬回營地，又先後經歷了六次重建手術，他歷盡折磨的極地求生經歷，成為了神話般的存在。但他從未想到，當自己在1988年第一次動筆記錄自己的故事時，竟會引起廣泛大眾強烈的反響。《攀越冰峰》這本書催生了二十多個譯本、一齣奪得2004年英國電影學院獎的電影，更被收錄在英國全國英文科閱讀考試中，令英國莘莘學子懊惱不已又敬佩有加。原著出版三十年後，導演湯．莫里斯（《戰馬》，2011），找到編劇大衛．葛利格（《祈願女之歌》，2016）。二人決定組隊，一起踏上令人望而生畏的征途，首次將冷峻無情的秀拉格蘭德山搬上舞台。他們的改編善用劇場的素材，以嶙峋交錯的金屬結構為佈景，配樂選了尖銳呼嘯的八十年代音樂，風格有點龐克，壯志凌雲。在英國首演前夕，得獎編劇大衛．葛利格暢談他改編這部當代傳奇故事的過程。

Spring, 1985. In a glacial snowstorm on the Peruvian Andes, 25-year-old Joe Simpson dangles helpless over a yawning crevasse—frostbitten, numb, ready to die. When Simpson and his climbing partner Simon Yates set out to ascend the 4,500-ft. West Face of the Siula Grande mountain range, they expected to accomplish what none before them had: reach the top unaided, alpine style . But mid-way through their descent, Simpson falls and shatters his knee, and Yates, heroically abseiling his injured partner down the mountain in a snowstorm white-out, is faced with the impossible decision to cut the rope between them, or die. In an instant, Simpson is hurtled into the icy black bowels of the mountain, faced with his own equally impossible truth: sometimes, the only way out of the void is to descend deeper inside it. Three days of crawling back to base camp and six reconstructive surgeries later, Joe Simpson’s harrowing tale of survival has become the stuff of legend. But when he first penned his chronicle Touching the Void in 1988, he would have never predicted that his story would strike a reverberating chord in the wider public, inspiring over 20 translations, a 2004 BAFTA-winning film adaptation and—to the mixed chagrin and admiration of millions of British youth—an inclusion on the UK’s national English reading exams. Thirty years after the book’s original release, director Tom Morris ( Warhorse, 2011) and playwright David Greig ( The Suppliant Women, 2016) have teamed up on their own daunting trek to bring the unforgiving heights of the Siula Grande to the stage for the first time. Set on a jagged metal structure to the sharp tunes of the 80s, their adaptation is a little bit punk, highly resourceful and immensely ambitious. On the eve of the play’s UK premiere, award-winning playwright David Greig explains his adaptation process for this contemporary legend.

What drove you to take on this story? Does Joe Simpson’s quest have any personal resonance for you?

愛德華．希特飾西蒙．葉慈 Edward Hayter as Simon Yates

Can you tell us a bit about this adaptation’s thematic direction and how you were inspired by the concept of ‘the void’?

是甚麼促使你改編這個故事？你個人對喬．辛普森的事跡是否有

One of the brilliant things about Joe Simpson’s book is that he recognizes the many ‘voids’ that he was in contact with during this adventure. On the one hand, ‘the void’ is simply the abyss at his back as he climbs. The void is the cold dark crevasse he’s stuck inside. The void is death. The void is the emptiness of life without climbing. It struck me that somehow it is always the presence of the void which, strangely, makes life worth living. The void is our friend. The void climbs beside us.

所共鳴？還記得十六歲時，我年輕的弟弟告訴我他讀了一本書，說的是一位登山者被迫切斷綁着自己朋友的繩索。即使是三十年後的今天，我仍記得這故事給我內心帶來的觸動：一種令人無法自拔的恐懼感，一種想看又不敢看的渴望。我想，這也許是一種將自己置於絕境，將生命化繁為簡的渴望…… 可否分享本劇的主題，以及「虛空」/「裂縫」（void）這個概念給你的啟發？喬．辛普森書中很精彩的一點，就是他清楚地認識到這次冒險中遇到的各種「虛空」。「虛空」是他登山時背後的空無一物的深淵，是他被困在內的黑暗陰冷的冰縫，是死亡，也是無法登山的人生之空虛。我有種很強烈的感覺，雖然聽上去很奇怪，但一直以來，是虛空的存在才讓我們活得有價值。虛空是我們的朋友，它就在我們身後，與我們並肩向上攀援。創作這個劇本的研究和發展過程是怎樣的？辛普森有沒有親身參與？其實很久以來我都是個「神遊登山者」，閱讀登山回憶錄和相關雜誌是家常便飯。我也很喜歡在蘇格蘭行山。當然，這與阿爾卑斯式登山運動大相徑庭，但也有一些共同特點，譬如相似的冰雪環境、雪崩、技術等等。早在湯．莫里斯找我談《攀越冰峰》之前，我就已經是喬．辛普森的忠實讀者，看過他所有作品。

發揮演繹

Stages of Interpretation

When I was around 16 years old, I remember my young brother telling me about this book he had read about ‘a climber who is forced to cut the rope on his friend’. Even thirty years later, I can remember the feeling in my stomach that the story brought to me: a fascinated horror, a desire to look and at the same time a desire to turn away. I think perhaps it’s to do with the desire to put oneself in a place of extremes, to reduce life to its simplest questions…

經典啟發

What was your research and development process for this script—were you able to receive input from Simpson personally? I have, for a long time, been an armchair climber. I consume climbing memoirs and magazines for breakfast. I also like to walk in the mountains in Scotland. Although that is not like Alpine mountaineering, there are areas of connection: snow conditions, avalanches, techniques. Before Tom [Morris] approached me about Touching the Void, I was already a fan of Joe Simpson’s work and had read all his books. With the help of [co-producer] Fuel, I was able to speak to scientists about the mental and physical effects of extreme survival conditions. I read all of Simon Yates’ work. I spoke to climbers and poets who knew Joe and Simon in their Sheffield days, and I watched as much YouTube footage as I could about big mountains. Despite all this, I would say my writing method is not, really, research-based. I tried, as much as I could, to stick to the book. Once I felt I had absorbed the story, I tried to tell it in my own way. It was only then that I talked to Joe and Simon.

在［聯合製作方］燃料劇團的幫助下，我得以與相關領域的科學家交談，了解極端生存環境對人類心理和生理的影響。我讀過西蒙．葉慈的所有作品，與喬和西蒙還在雪菲爾時就認識的登山者和詩人聊過天，也盡可能地觀看了YouTube上大部份關於高山峻嶺的影片。即使經過如此種種準備，我仍然覺得，我的寫作方式並不完全是基於研究的。我所做的是盡可能地忠於原著，試圖完全地理解、內化故事，然後再以自己的方式講述出來。直到那時，我才開始和喬與西蒙對話。 © Aly Wight 喬希．威廉斯飾喬．辛普森 Josh Williams as Joe Simpson

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What are some of the challenges you’ve faced while adapting this story?

你在改編這個故事時，遇到過哪些困難和挑戰？

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第一個挑戰就是如何處理一個我們都知道結局的故事。這本書既然是喬．辛普森所寫，那麼無疑他倖存了下來，所以如何保持戲劇張力是一個難題。另一個問題是如何搬演一個幾乎從頭到尾都在

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極端環境下發生的故事，譬如山崖、暴風雪。劇場是一個如子宮般安全、溫暖的空間，在這樣的環境下，很難讓觀眾體驗到絕境帶來的危險。最後，故事中有很大一段是喬獨自一人，沒有可以說話的對象，這讓對話設計極其困難！為了解決這些問題，我換了一種思維方式，逆向思考劇場擅長的是甚麼，然後向這方面靠攏，譬如詩意、劇場性，以及意象的交疊並置。在書中，喬提到了一把激勵他不斷前行、爬向安全的「聲音」。這似乎暗示了我們可以創造一個角色來陪伴他的旅程……是湯提議我們參考喬的另一本書《幽靈的遊戲》中，講述他的姐姐莎拉的段落。那一段寫得活靈活現，非常精彩，講述了他與莎拉典型的姐弟關係──她既愛他，又喜歡欺負他。這正是我們在尋找的線索。對於和湯．莫里斯的首次合作，以及重回香港藝術節，你有何感想？能夠延續與香港藝術節的關係，我非常高興。《祈願女之歌》是我相當自豪的作品，對於它在香港演出成功更感到十分欣慰。這次重回香港的並不只有我一個，《祈願女之歌》的編舞莎莎．米拉域-戴

One of the first is how to deal with a story to which we already know the ending. Given that the book is advertised as written by Joe Simpson, then we know that he survives, so it’s a challenge to keep tension alive. Another issue is how to deal with a story which largely happens in an extreme environment—mountain cliff, storm, snow. A theatre is a safe, warm, womb-like space. It’s difficult for an audience to feel the sense of peril that extremity brings. Lastly, for a long section of the story, Joe is on his own; he has no one to talk to. This makes dialogue difficult! To answer these questions, I turned them on their head. I asked, what is theatre good at, and I drove in those directions: poetry, theatricality, juxtapositions of imagery. In the book, Joe describes a ‘voice’ who spurred him on as he crawled to safety. That seemed to offer permission to invent a character who could accompany him on his journey… It was Tom’s idea to look at the section in Joe’s book This Game of Ghosts where he talks about his sister Sarah. It’s a gorgeously written, vivid chapter that describes a typical little brother/big sister relationship in which she both loves and teases him. This was the clue we needed. Any thoughts on your first collaboration with Tom Morris and returning to the Hong Kong Arts Festival? I’m thrilled to be continuing a connection to the Hong Kong Arts Festival. The Suppliant Women was a show I was very proud of, and I was so pleased by its reception. It’s not just a re-connection for me. The choreographer of that show, Sasha Milavic-Davies, is also working with us on Touching the Void. So it’s a double return! Working with Tom has been really brilliant. He has such a level of experience, and he is an extremely rigorous dramaturg, but at heart he is a very playful child who just loves the rehearsal room. He, like me, is drawn to the impossible. He loves silliness, strangeness and theatricality. It’s been great fun. I told him: you and me are roped together on this project. I belay him. He belays me. I just hope neither of us has to cut the rope!

維斯也參與了《攀越冰峰》的製作，所以算是一次雙重回歸！

Gloria Furness

我與湯的合作非常愉快，他不僅經驗極其豐富，還是位非常嚴謹的戲劇指導。不過骨子裏，他其實是一名愛玩、熱愛排練室的孩子。和我一樣，他也對不可能之事有着特別的興趣。他喜歡傻裏傻氣、稀奇古怪又充滿劇場性的故事。與他共事是十分有趣的經歷。我對他說：你我現在就像故事中的兩位主角。一條繩索連着我也連着你。我只希望我倆誰也不需要割斷那條繩索！

林秋美

倫敦燃料劇團、布里斯托爾老域劇團、愛丁堡皇家蘭心劇院與北安普敦皇家及德蓋特劇院聯合製作 A Fuel, Bristol Old Vic, Royal Lyceum Theater Edinburgh, and Royal & Derngate Northampton co-production 《攀越冰峰》Touching the Void 21-24, 26.2-2.3.2019 香港大會堂劇院 Theatre, HK City Hall

經典啟發

Stages of Interpretation

發揮演繹

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在劇場重構記憶

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Theatre as a Site of Memory

利柏殊演出《887》Robert Lepage in 887

博物館和紀念碑是實在的「記憶場所」，亦是共同回憶和文化承傳的象徵。它們正如傳統和語言一樣，起了為特定群體下定義的作用。劇場以類似的方式凝聚我們。不論是正式建築還是非正式空間，它們都是共同經驗和記憶的有形載體。在劇場的同一個空間和時空裏，我們熟悉和接納自己的文化，其他人又志同道合，就會有「在家」的感覺。用加拿大導演羅伯特．利柏殊的話來說：「一直以來，記憶這個主題與戲劇的關係都極為密切，因為戲劇大概是最能夠體現集體回憶的表現形式。」在今年藝術節的劇目之中，利柏殊的《8 87》及傑夫．索貝爾的《家》正是圍繞著這些主題的出色作品。兩套劇目均探討「記憶」及「家」的意義，同樣運用令人眼前一亮的舞台設計及調度分別去說故事。但兩者所探討及呈現主題的方式卻截然不同。從一個層面而言，《887》不過是一齣敘事出色的自傳式劇作。劇名取自利柏殊於1960年代在加拿大魁北克市的第一個住址—— 默里大道887號。利柏殊在作品裏結合了當地歷史和自己身為法裔加拿大人的童年和青少年回憶，特別是當年加拿大法語社群（主要為勞工階層）及英語社群之間的政治局勢及緊張氛圍下的成長經歷。

Museums and monuments are tangible ‘sites of memory’—symbols of a shared past and common heritage. Like tradition and language, they fulfil a function in defining particular groups of people. Theatre brings us together in similar ways. Whether formal buildings or informal spaces, they are physical repositories of shared experiences and memories. Familiar and at ease with our culture, we feel ‘at home’ there, with like-minded others, in the same space and time. In the words of Canadian auteur, Robert Lepage, “Themes of memory and theatre have always been closely connected, because theatre is probably the form of expression that best embodies collective memory.” Lepage’s 887 and Geoff Sobelle’s HOME are two standout productions at this year’s Festival that touch on these themes. Both explore the meanings of ‘memory’ and ‘home’; both use remarkable design and staging to tell their respective stories. But their approaches are strikingly different. On one level, 887 is just fascinating autobiography, exquisitely related. With a title referencing his first address, 887 Murray Avenue in 1960s Quebec City, Lepage weaves a tale of history and memory about his French-Canadian childhood and adolescence, growing up in a period of political change and tension between the (mainly working class) French and English-speaking communities.

故事濃縮了魁北克的歷史：不但觸及殖民時期，更提及法國前總

歲！》演說，並涵蓋時至今天的轉變。如是者，《887》由個人回憶引伸至更重大的文化記憶問題。然而，《887》的創作動機並不止於重訪過去及家居。利柏殊真正關心的是記憶的根本性概念：有一次，他需要在一個重要的公開活動中背誦詩歌，卻無法記起詩句。由這件驚險小事啟發的《887》，引伸出不同問題：為甚麼我們只記得某些事情、其他卻記不起？甚麼是記憶？它怎樣運作？又有甚麼機制？利柏殊是位說故事能手，擅長令觀眾傾聽他的每字每句。透過高科技的旋轉裝置，他把兒時居住的社區完美地縮小、複製到舞台上，而這個如同建築模型和巨型娃娃屋的迷你社區裏，更有鄰居、朋友及家人的微型人偶。這個模型會轉動；牆壁可以打開和滑動，展示不同的房間，以及透過螢幕及投影播放出的回憶片段。利柏殊最近接受訪問時表示：「戲劇是最能考驗記憶力的一回事。人們常常問：『你怎樣記下這麼多的對白？』」《887》不單純是記憶的考驗。在這部精彩的製作中，利柏殊起初呈現了他的家居和回憶，但透過表演和神乎其技的舞台效果，也成為了我們的家居和回憶。傑夫．索貝爾的《家》則以更為別開生面的方式探討這些複雜的主題。這位美國戲劇家、演員及魔術師在翻新其布魯克林公寓期間，移除了一層又一層的亞麻地板。他意識到自己的居所曾經是別人的家，如此類推上溯還有很多人住過。這個家居見證了不同的經歷及歷史。索貝爾的妹妹是一名研究「建築作為敘事形式」（或是「房屋在美國小說中所擔當的角色」）的學者。索貝爾在跟她談話時有所啟發，創作了這齣基本上沒有對白的形體劇場，探討一間房屋如何變成我們的家、成為我們人生故事成型的場所。

But the motivation for making 887 was far more than a desire to revisit the past and home. Lepage’s real concern is with the concept of memory itself, provoked by a frightening occasion when he found himself unable to remember the words of a well-known poem he was due to recite at an important public event. 887 asks, why do we remember some things but not others? What is memory, how does it work, and what are its mechanisms?

At Every Stage

統戴高樂於1967年到訪時所發表、引發爭議的《自由魁北克萬

Personal recall broadens into larger questions of cultural memory, as we get a potted history of Quebec from colonial times to the controversial 1967 ‘Vive le Quebec libre!’ speech by then visiting French President Charles de Gaulle, up to the present day.

舞台處處

Lepage is a superb storyteller; we hang on every word. He illustrates his narrative with a hi-tech, rotating set that is a perfect, scaled-down replica of his old neighbourhood, like an architect’s model or huge doll’s house populated with miniature neighbours, friends and family members. It turns and spins; walls swing and slide open to reveal rooms and memories that come alive with video screens and projections. “Theatre is the grand sport of memory,” Lepage stated in a recent interview. “People ask, ‘How did you remember all those lines?’” But 887 is much more than a test of recall. In this extraordinary production, Lepage’s home and memories start as his own, but through his performance and magical stagecraft, they become ours too. Geoff Sobelle’s HOME explores these complex themes through an even more unconventional approach. In the process of renovating his Brooklyn apartment, the American theatre-maker, actor and magician found himself removing layer after layer of floor linoleum. He realised that his home had previously been someone else’s, and many others down the line. It had been filled with different experiences and histories. Inspired by conversations with his sister, an academic who studies ‘architecture as a form of narrative’ (or the role of the house in American fiction), he set out to convey, through an essentially wordless spectacle, just how a house becomes a home—that place where the stories of our lives take shape.

傑夫．索貝爾的《家》 Geoff Sobelle's HOME

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傑夫．索貝爾《家》 Geoff Sobelle’s HOME

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與《887》一樣，《家》的舞台設計是作品成功的關鍵因素。索貝爾在觀眾的眼前，奇蹟般在舞台上搭建面向觀眾的兩層高房子。住客遷入、遷出，或被趕走；房子也會被燒毀、洗劫、出租或改建；住客在裏面度過成長歲月、悲歡離合，甚至是生老病死。你想得出的大小生活事情都會在舞台上發生，同時，現任住客的生活更會與過去和未來住客的生活互相交疊。透過與觀眾的大型互動及舞台技術，索貝爾的舞台變成一本活生生的故事書，一邊裝載、一邊創造回憶。房子裏的氣氛更由配樂帶動：艾維斯．柏金斯如同鬼魅般，在偌大的房子裏演奏他創作的帶哀愁的民歌配樂。在英語裏，劇院如小型劇院和歌劇院又稱為「house」［亦指房子］。當劇院燈光調暗時，演員或會問：「今晚劇場裏一共有多少人？」在近作中，英國劇作家及導演克里斯．古德表示，戲劇不只是一種藝術形式，更可能是一種完整的生活方式。索貝爾的《家》正能體現這個說法。在演出的某個時刻，它從一齣單純的戲劇作品，變成一場派對——人們即興飲酒、跳舞和穿起華麗衣服等。索貝爾的房子因而也成了一個家。這兩套作品成功引起觀眾回首過去，反思記憶的方式，並思考是甚麼構成「家」，帶來唯有劇場裏才有的體驗。

As with 887, Sobelle’s set design is a revelation integral to the show’s success. Built on stage in front of our eyes, a cutaway, two-story house miraculously appears. Residents move in, move out, get evicted, burn it down, loot it, rent it, remodel it; they grow up in it, get married and divorced in it, die in it. Everything and anything you can imagine happens there, and all the while, the present occupants live in the traces of residents past and future. With large-scale audience interaction and technical know-how, Sobelle’s stage becomes a living storybook, both holding and creating memories. Its atmosphere is enriched by the plaintive, live folksongs of Elvis Perkins, who seems an almost haunting presence in this astonishing house. Theatres are also known as ‘houses’: we talk of playhouses and opera houses. “How many in the house tonight?” the actors might ask, as the house lights start to dim. In a recent book, British writer-director Chris Goode describes theatre as something you can live in, not only an art form but also potentially a whole way of life. Sobelle’s show proves this point. At a certain moment, HOME stops being a play and becomes a real party with impromptu drinking, dancing and fancy dress. Sobelle’s house has become a home. In so successfully compelling their audiences to think about the past, about how we remember it, and about what constitutes a home, both these productions create experiences that only theatre can provide.

約瑟．施力 Joseph Seelig

《887》詳情請參閱第21頁 For more details on 887, please refer to pg 21

傑夫．索貝爾 Geoff Sobelle 《家》HOME 14-16.3.2019 香港演藝學院歌劇院 Lyric Theatre, HKAPA

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舞台處處

記得．記不得 Remembering and Forgetting 談論到「記憶」，我們會聯想到「回憶」的瞬間，那些留存在腦海中的片段，卻往往忽略了「記憶」的另一面——「遺忘」。《追憶消逝的人生》由倫敦重新劇團製作，故事圍繞五十五歲、患有早期認知障礙症的主角湯姆（導演紀欽．皮格飾）。劇團與倫敦大學神經學科教授凱特．傑夫瑞合作，並以英國阿茲海默症協會等組織的訪問及工作坊作為劇本參考。在一個多小時以內，劇團以巧妙的方式，向觀眾呈現湯姆的讀書時期及家庭生活，讓觀眾踏進他日漸衰弱的精神世界。導演皮格評論此劇時提到：「《追憶消逝的人生》最後其實不是關於認知障礙症。它是關於生命的脆弱，以及記憶消逝後所剩下的某些不會磨滅的『事物』」。湯姆凌亂的記憶片段中時而快速，時而淒美的節奏感，來自演員精確的動作與樂手的音樂完美的配合。亞歷斯．賈德創作的現場音樂更與故事內容和默劇的肢體演出相輔相成。《追憶消逝的人生》用最低限度的對白，讚頌那些苦樂參半、甚至令人氣餒、時而記起又忘記的回憶暗湧。

重新劇團 Theatre Re 《追憶消逝的人生》The Nature of Forgetting

When we speak of ‘memory’, we associate it with the act of remembering, of preserving something in our minds. It is easy to ignore the other side of ‘memory’—that is, to forget.

The Nature of Forgetting by London-based Theatre Re follows the story of Tom, the 55-year-old protagonist who is living with early onset dementia (played by director Guillaume Pigé). Created in collaboration with UCL Neuroscience Professor Kate Jeffery, the work is informed by interviews and workshops with organisations such as the Alzheimer’s Society. In the span of a little more than an hour, the audience is invited into Tom’s weakening mind through ingenious re-enactments of his schoolboy days and family life cycle. Pigé notes, “Ultimately, [ The Nature of Forgetting] is not about dementia. It is about the fragility of life and that eternal ‘something’ we all share that is left when memory is gone.” At times fast-paced and others poignant, Tom’s snippets of memory are conjured up by the ensemble of actors and musicians—the clockwork-precise movements and soundscape working in synchrony. Live music composed by Alex Judd complements both the narrative and the physicality of the mime performance. With minimal use of words, The Nature of Forgetting celebrates the bittersweet, even frustrating, undercurrents of subjectively remembered and forgotten memories.

21-24.2.2019 香港文化中心劇場 Studio Theatre, HK Cultural Centre

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不再緬懷寫新香港

No Longer Nostalgic 閱藝 FestMag 《九江》演員，左至右：彭鎮南飾徐世凱、導演李鎮洲飾梁港福、陳永泉飾文永發 Cast of Gangsters of Hong Kong, left to right: Victor Pang Chun-nam as Tsui Sai-hoi, director Lee Chun-chow as Leung Kong-fuk, Chan Wing-chuen as Man Wing-fat

Lawrence Ng © WorkHouse

「黑社會？我無興趣寫黑社會噃。」香港藝術節於2016年委約了龍文康寫迷你史詩《香港家族》，在翌年上演後的慶功宴上，藝術節副節目總監蘇國雲跟他聊起下一部作品，建議以黑社會為題材，「本來我認為黑社會已經沒甚麼好寫，直至他說了一句說話：『黑社會是一種文化啊。』我說你讓我想想，我開始構思，看了好多昔日江湖大佬的錄影訪問，特別是有了宗教信仰的，都會談到往日的江湖事跡。」龍文康認為香港黑社會文化相當獨特，但如今這個江湖，已經轉型，它不再腥風血雨。有些大佬北上做生意，開桑拿浴室，或開夜場，請三四線歌手登台。龍文康寫過一些回頭歎息的劇目，例如

“Triads? I’m not interested in writing about triads.” In 2016, the Hong Kong Arts Festival commissioned Loong Man-hong to write the mini-epic, A Floating Family—A Trilogy which was produced the following year. At the post-performance celebratory meal, So Kwok-wan, Associate Programme Director of the Hong Kong Arts Festival, broached the subject of the next play with Loong, suggesting the subject of triads. “At first I didn’t think there was much to write about triads until So said ‘The triads are a form of culture.’ I asked him to let me think about it. I started conceptualising the story, watching many documentary interviews with former gangsters, particularly those who had converted to Christianity, as they talked about their former deeds in the underworld.”

At Every Stage

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《維港乾了》、《香港家族》，但他不想再緬懷往日，「夠了吧！我覺得今日香港已不再一樣。我不想再說維港快乾了，我們快去『望吓』，或再說我們的家庭瓦解了（…）已經寫過了。」所謂「黑社會是種文化」這句話，指的是一種消逝中的意識形態，「例如開口埋口『兄弟』、『大佬喺度，你唔好同我爭畀錢呀』，又或如『做人唔可以咁無江湖道義！』」劇名《九江》指的是深水埗九江街，傳說這裏專出惡人，「他們屬國民黨後人，1949年後流落在香港。因為不想被人欺負，而組成社團。這或多或少跟政治有很大關係。我的創作原意，是往日的黑社會消失了，但另一個大佬好像已經來到了。為甚麼我們叫大佬做『阿公』，叫中央做『阿爺』？其實，這是一種想像上的相通。」

Loong thinks that while Hong Kong’s triad culture is fairly unique, the underworld has changed and no longer reeks of blood and gore. Some gangsters have started businesses on the mainland, such as saunas and nightclubs with third and fourth rate singers. Loong has written a few nostalgic plays such as The Abandoned Harbour and A Floating Family — A Trilogy, but he no longer wants to indulge in nostalgia. “Enough! Today’s Hong Kong is no longer the same. I don’t want to urge people to go ‘view’ Victoria Harbour because it’s about to dry up. I don’t want to talk about the dissolution of our families.” ‘Triads as culture’ refers to an ephemeral way of life, says Loong. "For example, the way they always call each other 'brothers' and say, 'Daai lou (big brother) is here, let me get the bill!' or 'You can't live a life so bereft of the underworld code of honour!'" The play’s Chinese title, ‘Kiu Kiang’ (Gangsters of Hong Kong in English), alludes to a street of the same name in Sham Shui Po. Legend has it that this street bred delinquents and undesirables. “This street was the cradle of one triad society. They were descended from the Kuomintang and had fled to Hong Kong after 1949. To avoid mistreatment, they banded together. Of course, this was largely related to the politics of the time," says Loong. "My play explores what sort of daai lou has replaced the triads of the past. Why do some people call both senior gangsters and high-ranking politicians 'grandad'? There is some sort of imagined connection."

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消失的文化消失的道義

Vanishing culture, vanishing code of honour

這幾年香港藝術節一直想以委約作品做出「香港群像」。龍文康

In the past few years, the Hong Kong Arts Festival has endeavoured to create a series of portraits of Hong Kongers through its commissions. In Loong’s Gangsters of Hong Kong, the three middle-aged main characters all used to be involved with the underworld. Later, one became a policeman, another a journalist and the last remained a gangster. Time flies, they are all past fifty, and their lines of work have turned into sunset industries. “Just think, nowadays even policing is a sunset industry. ‘Hallo, Sir. How have you been lately?’ ‘Hey, keep your voice down!’ Policemen just don't have the same status in the eyes of the city's residents as before.”

的《九江》中，三個中年主角，昔日是小混混，一個後來當差、一個記者、一個繼續做小混混，到了今天已年過五十，時光飛逝，這些都變成了夕陽行業，「你想想，今天連做警察都變成了夕陽行業。『喂，阿Sir近來點呀？』、『噓，唔好咁大聲！』今天當差，在市民心中的地位已今非昔比。」他心目中的群像，最想寫的一個其實不是小混混，而是劇中來港讀書，研究昔日香港黑社會文化的大陸學生（陸生），「我是由女學生的觀點去講香港男人，她會覺得：『你哋點解可以咁有情義？』對在一孩政策下出生的九十後中國學生來說，他們的世界從不需要分享。來港的學生又比較富有，人人都是小寶寶，他們根本沒有

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道義這概念，但多少也有嚮往。」部分人成長時迷上了香港文化，「我認識一些陸生，看鄭伊健的古惑仔大，好喜歡看港片港劇。」他們迷上了的香港流行文化正在消逝，道義是否也在消逝？

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龍文康早前在中大讀碩士，留意到班上同學八成都是國內留學生，他從中觀察，「其實留港陸生大都不會住滿七年，他們很清楚中央政策怎變，香港生活費貴，經濟又『唔好景』，跟十年前已不一樣。有些很喜歡香港的留下來就變成了新移民。」他的住處鄰近大學，學生很多，講普通話的越來越多，「留下來的也是一個群像，這是新香港面貌。」創作人從來都是問問題，而非解答。龍文康不知道，也想不通這現象是好是壞，「劇場一般只演八場、十場，完了就沒有。但這次能跟我半個偶像李鎮洲合作，已經好滿足！」

何兆彬

Of Loong’s portraits, the character he’s most interested in is not a gangster, but a mainland student who has come to Hong Kong to investigate the triad culture of the past. “I want to talk about Hong Kong men from the perspective of this female student. She wonders, ‘Why is fraternal love so important to you?’ Those Chinese students born after 1990 under the one-child policy have never had to share. Those who come to Hong Kong are relatively wealthy and relatively spoilt. They simply do not understand the concept of honour.” Some of them were great fans of Hong Kong culture growing up. “I know some Chinese students who grew up watching Ekin Cheng’s Young and Dangerous and who love Hong Kong films,” says Loong. “They are fans of a Hong Kong popular culture which is disappearing. Is honour also disappearing?” When Loong was studying for a Master’s degree at the Chinese University of Hong Kong, he observed that 80% of the students in his classes were from mainland China. He further observes, “Actually, most of these mainland Chinese students will not stay as long as seven years. They are very aware of how central Chinese policy is changing. Moreover, the costs of living in Hong Kong are very high, and the economy isn’t doing great. Things are different from 10 years ago. But those that do stay become new immigrants.” Loong now lives near a university, an area with a high student population in which the number of Putonghua-speaking students is increasing. “Those who stay behind are also part of the city’s portrait. This is the face of the new Hong Kong.” Creative artists have always posed questions but not answered them. Loong does not know whether this phenomenon is good or bad. “Plays generally are performed eight, ten times. Once they're gone, they’re gone. But since this time I get to work together with my revered director Lee Chun-chow, I am already very happy!” Ho Siu-bun

《九江》Gangsters of Hong Kong 8-10, 13-17, 20-24.3.2019 香港大會堂劇院 Theatre, HK City Hall 龍文康 Loong Man-hong

At Every Stage

舞台處處

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聽聽少年心底話

Transformative Tunes 閱藝

李恩霖善於在日常生活的吉光片羽中挖掘細膩與溫情，在前作如

在另一位編劇郭翠怡眼中，《陪着你走》觸碰到社會缺乏長期關注

《桃姐》和《金蘭姐妹》中可見一斑。今次賽馬會本地菁英創作

的特殊教育需要議題，這種關懷難能可貴。她以李恩霖筆觸細膩的

系列的音樂劇場《陪着你走》，他把目光轉向患有自閉症、讀寫障

故事大綱為基礎，深化人物對白、劇情和校園背景。兩人合力把沉

礙與過度活躍症的年青人，書寫他們如何藉着音樂與藝術，與世

重的教育話題講得清新生動、不落窠臼。作品聚焦香港教育與家

界建立溫暖的聯繫。

庭關係，部分原因是他們在資料搜集的過程中，對老師與家長所面

李恩霖說，《陪着你走》的創作靈感來自香港唱作歌手盧冠廷在一次訪問裏，談起自己成長時因有讀寫障礙而面對的困難。「他的故事讓我很感動。」於是花了很長時間蒐集資料，與有特殊教

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育需要的青少年會談，發現這個題材既豐富又具戲劇性。李恩霖

臨有關特殊教育的困難、學校資源的匱乏，了解更深。他們不約而同地說，《陪着你走》除了想說年輕人的故事，也想給機會父母和師長發聲，「不僅是年輕人怎麼被誤解，還有他們的父母如何被誤解。希望［學生］來看完後，會有感對父母要多體諒和明白。」

自言在過程中「哭了很多次」；這些年輕人因與別不同而遭受旁

《陪着你走》的音樂，並非如音樂劇中推動劇情，而是幫助不懂得

人異樣的眼光，在學習、社交及家庭關係中都面對困難，但他們

表達自己的角色訴說心聲。「這次是將音樂治療的元素放入戲劇

的創作力旺盛，每每展現出敏感的特質，令這位編劇相信，這是

裏。」郭翠怡說，「音樂大多時候是在主角上音樂課的時候出現，或

「上天關上一扇門，必定會打開另一扇窗」的寫照。

者接觸到音樂、開始創作音樂時，用歌曲來表達心聲。我們希望音

在《陪着你走》中，李恩霖把觸動他的點滴匯集在分別患有讀寫障礙和自閉症的男女主角——阿恩（游學修飾）和阿敏（章尾而飾）身上。音樂老師周Sir（周國賢飾）藉着音樂，啟發了他們用不

樂在劇中的融合是合情合理，充滿日常生活的感覺。」屆時，來自電影圈、流行樂壇和舞台劇界的演員將同台演出，加上導演鄧偉傑和音樂總監李端嫻，跨界交流造就一齣不一樣的音樂劇場。

同方式與同學和家人溝通，表達自我。草草、林尚諾《陪着你走》演員，左至右：章尾而飾吳聰敏、周國賢飾周Sir、游學修飾黃雨恩 Cast of Always By Your Side, left to right: jamie zhang as Ng Chung-man, Endy Chow as Mr Chow (Endy Chow), Yau Hawk-sau as Wong Yu-yan

At Every Stage

舞台處處

As evidenced in his previous film and playwriting credits for A Simple Life and The Amahs, Roger Lee is skilled at exploring the subtle details of daily emotions and interactions. In his latest music theatre production for the Jockey Club Local Creative Talents Series, Always By Your Side, Lee focuses on young people on the special educational needs (SEN) spectrum—those with autism, dyslexia and hyperactivity disorder—and depicts how they connect with the world through art and music. Lee was inspired by an interview with local singer-songwriter Lowell Lo, who recounted difficulties due to dyslexia in his childhood. “His story deeply touched me,” Lee admits, prompting him to further research this issue. By interviewing youngsters with special educational needs, he found the experiences of SEN teenagers rich in dramatic potential and was moved to shed tears many times. In many ways, these youngsters are not easily accepted by their peers, and so face obstacles in learning, social interactions and family relationships. Yet, they often possess a rich form of creativity that showcases their special sensitivities. Lee is adamant that they are living proof of the saying, “When one door closes, another opens.” Drawing on details collected from these moving stories, Lee created two main characters, Ah Yan (Yau Hawk-sau) and Ah Min (jamie zhang), who suffer from dyslexia and autism, respectively. Through music, their teacher Chow Sir (Endy Chow) inspires them to find unorthodox means of communicating with their families and schoolmates, leading to acceptance and mutual respect.

Kwok Chui-yi, co-playwright of Always By Your Side, feels that this production touches compassionately upon the longignored issue of SEN. Kwok’s role was to further develop the story’s dialogue, plot and secondary school setting based on Lee’s detailed synopsis and storyboards; together, the two playwrights present a serious educational issue through an unconventional approach. Their focus on the local education system and family relationships was partly informed by their in-depth research into the lack of SEN school resources as well as the difficulties faced by both parents and teachers. Both playwrights wanted Always By Your Side not only to depict young students, but also the voices of parents and teachers. “We hope that [students] can better understand their parents after seeing the show.” Unlike most musicals, the music in the play does not purport to drive the plot; rather, it enables the characters to voice out their feelings. “This is the first time we incorporate elements of music therapy into a play,” says Kwok. “In most cases, music appears when the main characters join music lessons, become connected to music or start to compose songs to express their feelings. We hope that music appears as naturally in the play as in our daily lives.” With Tang Wai-kit as director, Veronica Lee as music director, and a cast that encompasses film actors, pop singers and theatre performers, this crossdisciplinary collaboration invites us to look a little more closely at those who might otherwise escape our attention. Caocao & Sherlock Lam

《陪着你走》Always by Your Side 2-3, 6-10.3.2019 葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre

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歪斜之鏡

A Skewed Mirror 唐勞．胡德拉訪問了《泰坦—諸神之舞》的創作者－－多才多藝的希臘藝術家歐里庇

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德斯．拉斯卡里迪斯。

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Donald Hutera meets Euripides Laskaridis, a multitalented Greek artist responsible for the remarkable production , TITANS .

「對我來說，藝術除了幫助我們思考自身脆弱的存在外，並沒有其他使命。」創作出長約一小時舞台表演《泰坦—諸神之舞》的希臘劇場創作人歐里庇德斯．拉斯卡里迪斯，開宗明義說道。這是一句清晰的立論，其目的之嚴肅性，透過作品介紹一再強調：「在暗黑的天上馬戲團內之兩隻孤獨生物」，並向「每一次個人或是集體的失敗嘗試，為了體現完美無瑕的原型、完整的自我，和潔淨無瑕的世界」所作的致敬。在這段簡介中，不單有宇宙詩歌的暗示，亦淡化了導演對荒誕性的強大掌握能力，以及怪異中的喜劇潛力。拉斯卡里迪斯了解到，活著就是要不斷保持活動的狀態，他在每一場演出中也會以風格化的形式，把這些不固定但有著深刻體現的變化，自信滿滿、伴隨著尖銳而深邃的幽默感搬上舞台。「轉化在我們的基因裏，」拉斯卡里迪斯說：「我們每秒鐘都在轉變。只不過它發生得很慢，而且有機，所以我們沒多加注意。可是當這些轉變以庸俗、幾乎非有機的狀態呈現，我們會感到驚訝，而且對我來說，打開一扇扭曲的大門後，有一面歪斜的鏡子。望著鏡子，我們都被逼正視有關生與死、愛與接納，以及人類真正本質等的普遍性問題。」拉斯卡里迪斯乃透過現場表演，去呈現他怪異、時而美麗、令人驚愕的風格：他自1995年開始當演員，自2000年起擔任導演，然後自2008年成為短片製作人。值得注意的是，他的藝術活動一直都是在名為遊離表演工作坊（Osmosis）的綜合表演組織旗下進行。Osmosis這個詞語解作「漸次或無意識地同化思想與知識的過程」，源自希臘語中ōsmos一詞，意指「推動力」。

“To me, it doesn't seem that art has any other mission than to help us contemplate our fragile existence,” declares Euripides Laskaridis, the Greek theatre-maker behind the sixty-minute stage performance, TITANS. It’s a sober statement, its seriousness of purpose reinforced by the work’s description as “two lonely creatures in a dark celestial circus”, paying tribute to “every failed attempt—be it personal or collective—to embody a flawless archetype, an unbroken self, a world immaculate”. There’s more than a hint of cosmic poetry in this précis, but it downplays the director’s strong grasp of absurdity and the comic potential of the grotesque. Laskaridis knows that to be alive is to be in a constant state of physical flux, and he’s mastered a stylised version of these unfixed but deeply embodied transformations, bringing them to the stage—confidently, and often with a sharp and profound sense of humour—at every performance. “Transformation is in our DNA, ”Laskaridis says. “We transform every second. It just happens so slowly, so organically, that we don’t really notice. But when these changes are presented to us in a vulgar and almost non-organic way, we’re shocked, and to me, right there, a twisted door opens to a skewed mirror. By looking into it, we’re forced to face universal questions about life and death, love and acceptance, and the true nature of humankind.” Laskiridis administers his strange and sometimes beautiful brand of shocks via live performance: he’s been an actor since 1995, a director since 2000 and a short film-maker since 2008. Significantly, his artistic activity occurs under

毫不意外地，拉斯卡里迪斯一直都在探索現場表演的可能性與功能極限，無所不用其極去「說」他認為要有創意地說出來的事情。他發展了一套獨特的個人舞台語彙，把文化界的主流拋諸腦後，擁

且有趣，危險又好玩，並且離經叛道，正是在奇怪的悲傷與極度怪異之間的界線上取得平衡。「家庭、學校及社會的安穩架構，皆是文明所需，但也可以是個障礙。」拉斯卡里迪斯指出。「人們需要培養出一個天生的反叛者，一個在潛藏於意識深處的意念開始浮現並成形以前，絕不會罷休或妥協的自我。」自2009年創立遊離表演工作坊以來，拉斯卡里迪斯多元化的作品中，有某些源自本能的創作意念是一脈相承的。「通常最先出現的是角色。他們會在我背後埋伏，然後很快就會把我擒獲，直至我把他們具體呈現。」拉斯卡里迪斯說。「而這些生物所身處的舞台宇宙，就會接着出現。物件、聲音、燈光，以至最重要的時間感，都通通會在我和各個合作伙伴前現身。我們都學會了相信直覺，過程就像整個作品早已成形，而我們只需要撥開雲霧去讓它顯現出來。」拉斯卡里迪斯指出，自己於《泰坦—諸神之舞》的台上身份幾乎一開始就清晰明確。「我從一開始就知道會有一隻高而瘦，有著闊大前額和肚皮隆起的生物。我最初不太肯定鼻子的模樣，但當我找到尖頭鞋子，鼻的外形就出現了。」所有肢體上的變化，除了歸功於拉斯卡里迪斯的形體技巧，也要多得服裝設計師安傑洛斯．文迪斯利用特技化妝及特製服裝去完成。他還說，這一切就像在發揮面具的功能：「每當我望着鏡子，然後見到一隻不是自己的生物，我就能天馬行空地開始導演這一個『他者』。」在《泰坦—諸神之舞》中，還有另一個「他者」同台演出：街舞舞者迪米特里．馬蘇卡斯。「當我的生物在腦海中浮現，我就知道還要另一個人物在四周漫遊，一個慢慢被揭示為宇宙真正力量的纖瘦黑影。」拉斯卡里迪斯解釋。「迪米特里精彩的動作源自街舞，特別是機械舞，為我們的作品帶來一種非比尋常的元素。除此之外，他這個人物也能夠根據每一個觀眾的想像，詮釋成不同角色。」拉斯卡里迪斯認為透過如此公開進行的轉化過程，最終到底揭示了甚麼呢？「有時候這個經驗是超然的，不單是對觀眾而言，對我自己亦然。當它發生的時候，你會感到全身的分子都充滿生命力。我所扮演的生物不只有外在的改變，而是完全的轉化。那一刻不單只有我，而是包含了觀眾，甚至是整個世界的痛苦、愛與願望。」

唐勞．胡德拉

歐里庇德斯 · 拉斯卡里迪斯及遊離表演工作坊 Euripides Laskaridis & Osmosis

Unsurprisingly, Laskaridis is pushing the envelope of what live performance can be and do, using whatever it takes to ‘say’ what he needs to say creatively. He has developed a unique form of personalised stage vocabulary, leaving behind the cultural mainstream in favour of a “roller-coaster of unorthodox creative processes”. Vivid, bold and funny, risky yet playful and far from the norm, his work is balanced on the border between the peculiarly poignant and the utterly bizarre.

舞台處處

At Every Stage

抱「過山車般高低跌宕的非正統創作過程」。他的作品生動、大膽

an umbrella company named Osmosis—a word defined as ‘the process of gradual or unconscious assimilation of ideas and knowledge’—derived from the Greek osmos, meaning ‘a push’.

“The safe structures of family, school and society—while much needed for our civilisation—can be an obstacle,” says Laskaridis. “One needs to cultivate an inherent rebel, a self that will not rest or compromise until the most subconscious ideas start to ascend and take form.” Since founding Osmosis in 2009, Laskaridis’ diverse body of work has maintained some instinctual creative threads. “The characters always come first. They creep up on me, and soon enough hunt me down until I embody them,” says Laskaridis. “The stage universe these creatures inhabit comes second. Objects, sounds, lights and, most importantly, a sense of time all reveal themselves to me and my collaborators. We’ve learnt to trust our intuition. It’s as if the work is already there, and we just need to clear the fog to see it emerge.” With TITANS, Laskaridis says, his onstage identity was almost immediately clear. “I knew from the beginning there’d be a tall, thin creature with a big forehead and a swollen belly. I wasn’t sure about the nose, but as soon as I found the pointy shoes, the nose outline followed.” Any physical transformations are accomplished using prosthetics and costuming—with the help of costume designer Angelos Mendis—alongside Laskaridis’ corporeal skills. All of this, he says, functions like a mask. “Once I look into the mirror and see a creature other than myself, then my imagination is free to start directing this ‘other’.” There is another ‘other’ sharing the stage in TITANS: street dancer Dimitris Matsoukas. “When my creature came to mind I knew there was one more figure roaming around,” Laskaridis explains, “a thin, airy and dark shadow that would gradually come to be revealed as the true force of the universe. Dimitris’ fantastic movement [derived from street dance, particularly popping] gives our work an outlandish element. On top of that, his character can assume different roles, depending upon the imagination of each spectator.” What, ultimately, does Laskaridis think is being revealed via the transformations he so publicly undergoes? “Some days the experience is transcending, not only for the audience but for me as well. Whenever this happens you can feel the molecules in your body full of life. The creature I’m playing truly transforms, and not just externally. It’s not only me at that moment, but also contains the pain, love and aspirations of the audience—and perhaps the whole world.” Donald Hutera

《泰坦–諸神之舞》TITANS 26-27.2-2019 香港演藝學院戲劇院 Drama Theatre, HKAPA

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舞台處處

人／物連續體

At Every Stage

The human-object continuum 「我正在思索這種轉變：這是機器開始取代身體動作的歷史時刻；一個創造出新節奏，同時人情味開始消失的時刻。數碼世界的節奏會是怎樣呢？」 “I am thinking of the shift, this moment in history when machines started to replace body movements. When a new rhythm was created and human touch started to disappear. What is the rhythm of the digital world?”

如是者，駐印尼編舞家凱蒂亞．恩格提出了2019年亞太舞蹈平台兩個節目的核心問題。這個平台由香港藝術節於2009年創立、旨在推廣亞太地區當代舞蹈作品，今年踏入第十一個年頭，將恩格探討當地傳統面具製作工藝消失的作品《由削木開始》，與台灣編舞家黃翊跟工業機械人的親密對話《黃翊與庫卡》並置。這個罕見的配搭打開了對人與物、工作與技術、自我與他人之二元性的深刻哲學探究。黃翊的憂鬱雙人舞以兩條孤獨光束從黑暗中拯救人和機械人；這兩個生命（和非生命）在疏落的古典音樂襯托下，同步尋找伴侶。這個長篇作品對黃翊來說非常個人：他出生後不久，家庭遇上金融風暴，從小就學會從強烈情感中抽離，以表現完美表相，並會模仿喜歡的日本卡通機械人的特質：忠誠、無私、聽話。「《黃翊與庫卡》對我來說，是一種美化成長過程中遺憾的方式。」他在編舞的話中反思道。但是，成年的黃翊在舞台上消化壓抑的情感時，發現線條流暢、真人大小的庫卡不僅是一個伴侶：由他精心編寫程式的機械人也是編舞自己的延伸。

Thus, Indonesia-based choreographer Katia Engel lays out the core question of the 2019 Asia Pacific Dance Platform (APDP) programmes. Founded by the Festival in 2009 to promote regional contemporary dance works, APDP’s eleventh anniversary programme juxtaposes Engel’s exposition on the disappearing craft of traditional mask-making, From starting to cut the wood, with Taiwanese choreographer Huang Yi’s intimate conversation with an industrial-grade robot, HUANG YI & KUKA. The unlikely pairing opens up a deeply philosophical inquiry into the duality of man and object, work and technology, self and other. Huang’s melancholic duet rescues both man and robot from the darkness in two lonely streams of light, two beings searching in unison for companionship to a sparse classical score. This feature-length work is deeply personal: raised by a family in financial turmoil, Huang learned from an early age to exude a veneer of perfection by detaching from strong emotions, emulating, instead, the qualities of his favourite Japanese cartoon robot—loyal, selfless, obedient. “For me, HUANG YI & KUKA is a process of beautifying the sorrow and sadness I grew up with,” Huang reflects in his artist statement. But as an adult working through his compressed emotions onstage, Huang finds more than a companion in the sleek, lifesized KUKA: painstakingly programmed by Huang himself, the robot is an extension of the choreographer.

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「面具不是它所代表的，而是它所轉化的及選擇不代表的。」－克勞德 · 李維史陀，見於《由削木開始》

“A mask is not what it represents, but what it transforms and what it chooses not to represent.” —Claude Lévi-Strauss, as quoted in From starting to cut the wood

閱藝 FestMag © Katia Engel

究竟是機械人令男孩活起來，抑或是男孩為機械人注入生命？

Does the robot animate the boy, or does the boy animate the robot?

恩格在舞作中也探討這種矛盾，營造出溫暖柔軟的木質紋理，有別於黃翎作品中的冷酷鋼材曲線。舞者阿里．艾珊迪以傳統印尼面具製作技師工作室的錄音為基礎，隨着木雕師把一塊大木頭切割、刮擦和打磨，逐漸塑造成面具雛形，他將人手工藝的不平均、切分節奏翻譯成動作，充滿生命力地在地上蠕動。舞者的緩慢模仿過程中加入了錄像和文字，他慢慢褪變成為刻成面具的木塊，瘋狂、像鋸聲的氣喘越來越強，最終碎裂成一個男人：戴面具的角色——戰士因陀羅耆特。是面具為艾珊迪注入生命，還是他為面具賦予生命呢？在與死物他者的沉思對話中，艾珊迪和黃翊都專注於莊嚴的轉化過程，分別將聲音翻譯為舞步、舞步翻譯為代碼。兩個作品各以自

Does the mask animate Ersandi, or does he animate the mask?

己的方式模糊了人與物之間的界限，它們定當引發觀眾對數碼世

In their contemplative conversations with an inanimate other, both Ersandi and Huang are locked in a solemn process of becoming. Blurring boundaries between man and object— each, in its own way, a mask—both APDP works are sure to provoke intriguing lines of inquiry into the rhythms and textures of existence in a digital world.

界中，生命存在的節奏及特質作出有趣的詰問。

林秋美

亞太舞蹈平台 Asia Pacific Dance Platform 《黃翊與庫卡》HUANG YI & KUKA 1-2.3.2019 香港演藝學院戲劇院 Drama Theatre, HKAPA

《由削木開始》From starting to cut the wood 12-13.3.2019 葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre

This is a paradox also taken up by Engels, whose choreography trades in the cool curves of steel for the warm, supple textures of wood. Drawing on recordings from a traditional Indonesian mask-maker’s workshop, dancer Ari Ersandi interprets the uneven, syncopated rhythms of the human touch into movement, squirming to life on the floor as the woodcarver cuts, scrapes, and sands the beginnings of a mask from a chunk of wood. In a slow process of mimesis accompanied by video and text, the dancer becomes the wood becoming the mask, building to a crescendo of frenzied saw-like panting in which Ersandi splinters, at last, into a man: the warrior Indrajit, the character in the mask.

Gloria Furness

舞台處處

無聲的面具樂園

At Every Stage

Sounds Off, Masks On

瑞士默劇團的作品強調視覺美學，從而把非語言戲劇帶到另一個層次。雖然遮掩了面部表情及身體，這班「沉默的音樂家」也可以在沒有台詞、音樂或佈景的情況下把「角色」演的活靈活現，深受觀眾的愛戴和歡迎。傳統默劇藝術依靠面部表情及手勢演繹；相反，瑞士默劇團則探索面具的藝術。他們用來製造面具的材料都是日常生活中找到的平凡物品，如塑料、紙張、或衛生紙卷等。這些面具服裝一方面最直接地遮掩表演者的臉部，例如利用衛生紙卷扮成角色的眼睛、鼻子和嘴巴；它們同時也可以是更複雜和龐大、覆蓋着表演者整個身體的「面具物體」。劇團把抽象的畫面一一呈現在台上，在沒有任何音樂或聲音的騷擾下，啟發觀眾完全投入於與這些「物體」的交流。表演者運用最簡樸的道具觸發觀眾無窮的想像力，並在黑漆漆的台上「畫」出無限可能。瑞士默劇團將在最新作品《百變樂園》中，重演廣受愛戴的舊作精選片段。劇團創辦人之一弗洛里安娜．弗拉斯托希望跟觀眾分享他們「充滿詩意而普世的藝術視野」，並不論老少帶領觀眾踏上一個充滿笑聲及幻想的旅程。這次是瑞士默劇團第三次蒞臨香港藝術節，並再次帶給觀眾一個體現了後現代藝術的精髓，又滿懷創意及幽默感的獨特體驗。

The Swiss ‘musicians of silence’, Mummenschanz bring nonverbal theatre to a whole new level by solely highlighting visual aesthetics. Hiding their faces and bodies, performers portray fantastic and life-like characters that captivate the audience without the aid of dialogue, music, or stage settings. Unlike traditional mime artistry, which relies on gesture and facial expressions, Mummenschanz explores the art of masking. At first glance, the everyday materials utilised to create their masks may seem mundane, with paper, plastic or toilet roll functioning as a character’s eyes, nose or mouth. But these materials can also become ‘mask-objects’ that are so grand and complex that they cover the artists’ bodies. Abstraction is visualised on stage and encourages the audience to fully engage with the ‘object’ without the distraction of music and sounds. Mummenschanz entices the audience to tap into the power of imagination, as performers paint the blank canvas of the stage with the simplest of props and unleash endless possibilities. In Reloaded, their latest work showcasing beloved moments from past creations, the troupe’s co-founder Floriana Frassetto hopes to share their “poetic visions that are worldwide understood”, as they fill the theatre with laughter and bring audiences young and old on an imaginative adventure. Mummenschanz’s third visit to the HKAF marks the return of a oneof-a-kind experience that is original, creative and playful, embodying the essence of the postmodern arts.

鍾芷婷 Katie Chung

瑞士默劇團 Mummenschanz 《百變樂園》Reloaded 21-22.2.2019 香港演藝學院歌劇院 Lyric Theatre, HKAPA 24.2.2019 元朗劇院演藝廳 Auditorium, Yuen Long Theatre

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新舞台

New Stages 閱藝 FestMag 性姿態為主題的舞蹈表演《Everything that rises must dance》；本地表演者及現場樂手在檢閱廣場上投入於日落黃昏與柔和的弦樂律動中，演繹西班牙編舞家莎朗．佛利文的作品《Rizoma》；法 2019年香港藝術節獲香港賽馬會慈善信託基金的贊助，善用大館

國編舞家霍雅德．保素夫將會帶同法國年青嘻哈和當代舞舞者，

不同空間的特性，提供嶄新的平台給藝術家及表演者，甚至市民大

與本地街舞舞者創作全新實驗作，為監獄操場添上當代嘻哈的活

眾的參與，以不同的舞蹈及表演形式發揮創意，讓觀眾遊走於新

力節奏。

舊建築物的同時，既可感受古蹟的歷史氛圍，亦可欣賞多元的當代舞蹈，體現今屆香港藝術節「一步一舞台」的主題！

與此同時，檢閱廣場更會變成發掘本地街舞好手的競技場，歡迎各界舞者前來比拼，爭奪殊榮。由海外舞蹈大師擔任評審及工作

香港雖然擁有不少戶外公共空間，但只有極少場地可供藝術表演

坊導師的街舞擂台，歡迎本地街舞舞者在檢閱廣場上施展渾身解

使用，為了讓更多人能欣賞免費而又高質素的當代舞蹈，大館的公

數，展現香港人的街舞熱情。編舞家曹德寶將與TS Crew為觀眾帶

共空間化成一眾舞蹈家的炫舞場。由2016年香港藝術節街舞劇場

來精彩絕倫、取材自極限武術、飛躍道和彈床舞蹈的舞蹈表演。

《炫舞場》的演出班底演出精選舞蹈段落，為為期兩週的香港藝術節＠大館揭開序幕。

同時，廣場週邊亦會不定時演出沉浸式舞蹈劇場，也會在洗衣場石階播放錄像，回顧形形色色的舞蹈發展。香港藝術節@大館的

來自英國、西班牙和法國的舞蹈藝術家，將聯同本地公開招募的

表演節目不只局限於戶外空間，觀眾亦可在F倉展室重溫藝術節過

表演者，創作和演繹大型環境舞蹈。英國編舞家莎莎．米拉域．戴

往製作的優秀當代舞演出，包括廖月敏、黃俊達、張喜龍、藍嘉穎、

維斯把過百名不同年齡和背景的女性，聚集在檢閱廣場，上演以女

黃翠絲、馬師雅、盤彥燊和黃碧琪等編舞家的作品。

黎家欣

黃翠絲《慢煮》 Tracy Wong's Sous Vide

At Every Stage

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張喜龍《跳，跳上後青春巴士》 Solong Zhang's Most Things Haven't Worked Out

黃碧琪《隅》 Rebecca Wong's Nook

In 2019, the Festival will turn Tai Kwun’s sprawling, state-ofthe-art facilities into a site for performing artists to unleash their creative energies, with the support of the Hong Kong Jockey Club Charities Trust. Wandering amongst buildings old and new, audiences are invited to experience the joys of contemporary performing arts within the historic walls of Hong Kong’s heritage, truly fulfilling the 2019 Festival theme of ‘At Every Stage’! Despite the availability of open air public spaces in Hong Kong, for decades few could adequately support public arts performances—until now. To enable the public greater access to free, high-quality contemporary dance, the HKAF will turn Tai Kwun’s open spaces into dazzling dance floors. Core dancers of the 2016 HKAF production Danz Up will perform excerpts of the work in the sprawling Parade Ground as part of the Opening Gala of HKAF@TaiKwun’s two-weekend dance party. Overseas dance artists from the UK, Spain and France will team up with locally recruited dancers to re-present works and develop large-scale, site-specific contemporary dance performances. British choreographer Sasha Milavic Davies will fill the Parade Ground with more than a hundred local women of diverse backgrounds to perform Everything that rises must dance, a celebration of female movement. Under the glow of sunset and

to the gentle sounds of strings, local dancers and live musicians join Spanish choreographer Sharon Fridman’s work, Rizoma. Meanwhile, French choreographer Fouad Boussouf, accompanied by young French and local street dancers, will energize the Prison Yard with pulsing hip-hop beats in their brand-new experimental work, Deviation. During this dance extravaganza, the Parade Ground will also become a battle zone for discovering local street dance talents, inviting dancers from all backgrounds to compete for glory, with overseas dance masters as jurors and workshop instructors. Choreographer Hugh Cho and the energetic TS Crew will bring dance to show-stopping heights at the Parade Ground with their combination of tricking, parkour and trampolining. Nearby will be simultaneous immersive dance performances and screenings of films that trace the multifaceted evolution of dance at the Laundry Steps. But HKAF@TaiKwun’s performances are not only limited to outdoor spaces: in Tai Kwun’s F Hall, audiences can revisit past HKAF productions of outstanding, original contemporary dance works, with reboots of performances by Sudhee Liao, Ata Wong, Solong Zhang, Blue Kawing, Alice Ma, Tracy Wong, Wayson Poon and Wong Pik-kei. Melody Lai

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共生創造社 HKAF@Cattle Depot Creative Hub 香港藝術節多年來不斷開發新創作的平台，策劃及委約新作品，與

• 《像她們這樣的兩個女子》是本地作曲家盧定彰嘗試創作的歌

香港以至海外及國內的藝術家合作，並負責製作管理，甚至擔起

劇，取材自香港作家西西的短篇小說《像我這樣的一個女子》和

巡演的任務。

《感冒》。盧定彰於2018年6月在捷克首演的《像我這樣的一個

藝術作品的產生，是日積月累的勞動，需要時間、空間的配合，加上多方面的設計構思，才能踏出創作的第一步。我們2019年推出的全新計劃「藝術共生創造社」，是一個將藝術創作過程優化的嘗試，讓藝術家在發展作品的起始階段，投入精力、時間。他們在三個月的時間裏，將利用牛棚藝術村的空間，有

女子意外相遇，對照彼此的愛情故事。 • 一路西行，取得真經，代價可堪承受？江駿傑、甘聖希與鍾肇熙開展創新《西遊記》之旅，加入當代西方音樂與戲劇元素，揭示唐僧五師徒心靈境界，探索粵劇的藝術形態與當代意識。

計劃地將創作意念或初步構想，通過討論、研究、工作坊、彩排、與

• 周偉泉嘗試以穆勒劇作《哈姆雷特機器》（1977）的戰後創傷主

海外藝術家觀摩和對話等方式，尋找切合不同創作方案的藝術方

題為起點，對照及發掘香港人經歷社運後的創傷和轉變。北京

向、發展方式及製作模式。

戲劇家田戈兵（《鐵馬》，2014）擔任戲劇構作指導。

在2019年1月至3月期間，多個新作品計劃將在這個「共生創造社」

• 孫日新是誰？一個與革命拉上關係的名字，一位時至今日仍可見

同時進行實驗創作，讓藝術家自我檢驗，改良作品。這三個月期

到的年青人？「他」的出現是時勢或是性格使然？編劇何應權嘗

間，我們將舉辦公開活動及工作坊展演，使公眾及業內人士從不同

試以他的少年事跡，發展音樂劇文本，塑造舞台上的「孫逸仙」。

角度了解作品的發生過程，與眾多藝術家互動及討論。

• Banana Effect探討在成長時缺席的父親，如何影響我們的人生

經多輪挑選及討論敲定的藝術家和團體，他們的作品類型包括室

和未來。劇團以此為基礎構作潛入式遊戲劇場，鼓勵觀眾與主

內歌劇、創新粵劇劇場、各種戲劇計劃等新構思。來自不同領域、

角交朋友，同時邀請他們反思在自己生活中的缺失。製作將由英

背景、學派的藝術家將聚首牛棚藝術村，讓此處成為創意思潮的

國離奇作業劇團藝術總監傑克．盧爾（《蛙人》）擔任顧問。

集中地。

蘇國雲（香港藝術節副節目總監）

女子》英語版廣獲好評；新作中更將試驗以粵語入詞，描寫兩個

At Every Stage

舞台處處

For many years, the Hong Kong Arts Festival has served as a platform for developing, planning and commissioning new works in collaboration with local, overseas and mainland artists, at times taking on the duty of production and even touring management. The production of an artwork is a labour of accumulated days and months. One needs time and space, as well as a multi-faceted conceptual approach, to take the first step towards creation. Our brand-new 2019 ‘Creative Hub’ project is an endeavour to optimise the creative process by enabling artists to invest their time and energy at the earliest stages of artwork development. Over the course of three months, they will use the space at Cattle Depot Artist Village to strategically explore artistic directions, presentation formats and production models for a variety of creative proposals through discussions, research, workshops, rehearsals and exchange with overseas artists. From January to March 2019, several new works will begin experimental development at this Creative Hub, giving artists space to self-reflect and improve their works. During that time, we will organise public activities, workshops and demonstrations to invite audiences and industry professionals alike to understand the artwork development process from a variety of angles while engaging with a multitude of artists. After many rounds of discussions and selection, the works of the chosen artists and artist groups will range from chamber opera and innovative Cantonese opera to a variety of plays. Artists from different fields, backgrounds and schools of thought will come together at Cattle Depot, turning the site into a meeting point of creative minds.

• Composer Daniel Lo adapts Xi Xi’s short stories A Girl Like Me and The Cold into Two Ladies (working title), a Cantonese chamber opera that delves deep into the female protagonists’ emotions. Having premiered an English adaptation of A Girl Like Me in the Czech Republic in 2018, this reworking of the script in Cantonese returns the material to its roots in Hong Kong. • Playwright Kong Chun-kit, composer Kam Shing-hei and director Donald Chung explore the versatility of Cantonese opera with their adaptation of Journey to the West. Marrying this Cantonese tradition with Western aesthetics, the project retells the famous tale from the perspective of each character. • Taking inspiration from Heiner Müller’s Hamletmachine (1977) and its dense themes of post-war trauma, Chow Wai-chuen deconstructs the creative intent and psychology behind Tian Gebing’s 2014 work Iron Horse, in search of a new version of Hamletmachine worthy of contemporary Hong Kong will emerge. • Who was Sun Yat-sen? Were his accomplishments a product of his times or his character? Playwright Ho Ying-kuen will start development workshops for a biographical musical which vivifies Sun’s youth onstage, exploring the tales which might otherwise escape our attention. • Banana Effect’s research project will explore how the absence of a father in the course of growing up can affect us. Through their signature Immersive Game Theatre, they will lead audiences to become friends with the protagonist, encouraging participants to reflect on the impact of what’s missing in their own lives. curious directive’s Artistic Director Jack Lowe (Frogman) will serve as advisor for this project.

So Kwok-wan (HKAF Associate Programme Director)

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創作是無止境的探尋。部分人敢於走進未知道路，開拓一方天地。2019年藝術節從世界各地帶來四部表現形式獨樹一幟的作品，有些致力發揮傳統劇場的可塑性，有些為劇場引進新元素，拓寬戲劇邊界。不管以哪種面貌出現，不變的是追尋未知的氣魄。

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These four global acts navigate novel presentation formats: some mould the malleable edges of traditional theatre; others expand its bounds by introducing unfamiliar elements to the show. All share a boldness of vision that explores the vast potentialities of the stage. © Loderndes Leucht

《三個女人搞革命》 Burning Bright in the Forest of the Night 2017年俄羅斯十月革命一百週年前夕，阿根廷導演馬里安諾．潘恩索迪以一齣《三個女人搞革命》探討十月革命的政治及藝術思潮如何影響當今社會。作品採用「戲中戲」的手法，分別用木偶戲、演員的對手戲和電影三個互有關聯的部分，講述三位深受十月革命影響的當代女性故事。這種手法早見於莎士比亞戲劇，當代劇場也時有應用，目的是混淆劇場中觀眾、演員和編劇的角色。潘恩索迪深受十月革命後俄羅斯先鋒派藝術家啟發，著重使用多重媒介，展現人的「身體」如何受到不同權力操控，與「戲中戲」手法不謀而合。演員在劇中透過藝術作品窺見他人生活，影響自身選擇，正如觀眾觀劇後進行自我省思。一百年前引發十月革命的社會問題，包括女性權益、貧富懸殊、工人權益等等，時至今日，似乎仍未找到解決方法。《三個女人搞革命》向觀眾提出一個疑問：在從未停歇的歷史浪潮中，你選擇成為旁觀者，慨嘆身不由己，還是成為點燃黑夜森林的火光、改變社會的助力？

馬里安諾 · 潘恩索廸及瑪利亞劇團 Mariano Pensotti & Grupo Marea 《三個女人搞革命》 Burning Bright in the Forest of the Night 23-24.3.2019 香港文化中心劇場 Studio Theatre, HK Cultural Centre

In 2017 on the occasion of the 100th anniversary of the October Revolution, Argentinian director Mariano Pensotti determined to trace the undercurrents of revolutionary politics and artistic ideologies that continue to pulse through society today. The culmination of his work, Burning bright in the forest of the night, interweaves stories of three modern South American women still coping with the reverberations of the Russian Revolution, in a format the Soviet avant-garde would have admired: a self-referential ‘play-within-a-play-within-aplay’ produced with wooden puppetry, live actors and a film. The goal of this approach—used as early as Shakespearean times—is to blur the boundaries between audience, actor and playwright. Inspired in equal measure by revolutionary art and the inimitable lines of William Blake, Pensotti uses the multiple mediums to reveal the socio-political forces that manipulate our bodies. In the fiction-within-a-fiction, characters glimpse the lives of others through art, which in turn influences their own life-changing decisions; while Burning bright… itself pushes live audiences towards self-reflection. As the stories unfold, it becomes clear that the social problems that ignited the Russian Revolution more than a hundred years ago— women’s rights, wealth inequality and labour rights—are just as relevant and unresolved today. Burning bright… implores us to ask: in the unceasing tide of history, will we choose to become spectators lamenting our own helplessness, or will we become forces for social change?

At Every Stage

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《契訶夫處女作》 Chekhov’s First Play 說起俄羅斯劇作家契訶夫，浮現腦海的首先是《海鷗》、《櫻桃園》等經典寫實主義劇目，他從未完成的處女劇怕是少為人知。這齣劇作的手稿直到契訶夫去世後才被發現。由於契訶夫並沒有為作品起名，故後多以主角名字為題，稱《普托諾夫》。原作長達六小時，包含二十個角色、四幕八十三場。長久以來公認「難以搬演」的《普托諾夫》吸引了愛爾蘭正點劇團創作《契訶夫處女作》，讓他們有機會實驗不尋常的戲劇手法。《契訶夫處女作》一開首出場的不是演員而是導演：「你們好，請把耳機戴上。這齣戲劇非常複雜，我將為你們現場解說台上發生什麼事。」觀眾如在雲霧之中，紛紛戴上耳機之際，布幕打開，是典型的契訶夫場景：豪宅裏的悠閒下午、精緻的餐桌、一把手槍、喋喋不休的富翁，同樣喋喋不休的還有耳邊的導演解說。解說取材自契訶夫書信集以及製作秘聞，將黑色幽默融入契訶夫的悲喜劇氛圍。隨著劇情發展，主角普托諾夫與眾人關係變得撲索迷離，導演解說也漸漸變得不受控制，甚至隱隱有取締主角之嫌。

正點劇團 Dead Centre 《契訶夫處女作》Chekhov's First Play 8-10.3.2019 香港文化中心劇場 Studio Theatre, HK Cultural Centre

When one thinks of Russian playwright Anton Chekhov (19601904), realist bourgeoisie classics like The Seagull and The Cherry Orchard spring to mind. But few are familiar with young Chekhov’s first unfinished and untitled play, the draft of which was not discovered by Soviet scholars until more than a decade after his death. Known simply as Platonov after its title character, the text is widely considered to be ‘unstageable’ for its six-hour length, 20-odd characters and 83 scenes. It was precisely this challenge—and the joyous fun of experimenting with a more idiosyncratic approach—that attracted Ireland’s Dead Centre to hazard an hour-long abridged interpretation of Chekhov’s First Play. At the outset of Chekhov’s First Play, it is not an actor but the director who takes the stage to politely instruct audiences to put on their headphones. “Chekhov’s first play is really complicated and messy, so I thought I’d set up a director’s commentary to help explain what’s going on, what it’s about, and why you should like it.” As audience members don their headphones, the curtain opens to a classic Chekhovian scene: a lazy afternoon in a luxurious apartment, an exquisite dining room table, wealthy guests chattering away, a gun. All the while, the director prattles on through the headphones, explaining the tragic play with seething dissatisfaction and black humour—a commentary based on extensive research on Chekhov’s personality through his personal letters. As the play unfolds, life comingles with art, Platonov’s relationships with other characters become blurred, and the director’s marginalia spirals increasingly out of control—to the point that it is difficult to distinguish director from protagonist.

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《金錢世界》 £¥€$ (LIES) 「搶劫銀行最好的方法就是擁有它。」這句話來自美國經濟學者威廉．布萊克，為比利時Ontroerend Goed劇團作品《金錢世界》作一個完美注解。Ontroerend Goed向來著重互動和個人劇場體驗，致力「尋找最適合的形式說故事」，新作《金錢世界》自然不例外。大館F倉化身地下賭場，黑衣荷官正襟危坐賭桌前，觀眾是演員亦是玩家，在「桌上遊戲」劇場扮演銀行家等最富有的百分之一人口，在制度內體驗經濟體系的運作。作品靈感來自2008年全球金融危機，當時社會對金融市場怨聲載道，卻對經濟體系及其操控者一無所知，缺乏改善現有體制的具體建議。有見及此，導演亞歷山大．戴夫連特創作以金錢為軸心的《金錢世界》，以桌上遊戲方式為觀眾解構龐大而複雜的金融系統，及其賴以運作的「信任」機制。

Ontroerend Goed 《金錢世界》£¥€$ (LIES) 12-17.3.2019 (英文版 English version) 20-24.3.2019 (粵語版 Cantonese version) 大館F倉展室 Tai Kwun F Hall Studio

“The best way to rob a bank is to own one.” This timely observation by American economics scholar William K. Black is the perfect annotation to Belgian theatre company Ontroerend Goed’s latest immersive performance, £¥€$. Long a champion of interactive, personalised theatre experiences, the company is known for its tailor-made formats and original stories. £¥€$ naturally is no exception—its Hong Kong adaptation will turn Tai Kwun’s F Hall into a faux underground gambling den, where locally recruited actor-croupiers perform before the card table. In the game of £¥€$, audiences are both players and actors, experiencing high-stakes finance first-hand by taking on the roles of bankers and the wealthiest 1%. The work’s inspiration comes from the 2008 global financial crisis, when society raised an outcry against the financial sector, yet hardly understood its inner workings and struggled to raise concrete suggestions for its improvement. Observing this, director Alexander Devriendt created this money-driven ‘play’ to explain the world’s enormously complicated financial system and its over-reliance on a mechanism of ‘trust’ through the raucous conniving of the table-game format.

At Every Stage

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《蛙人》 Frogman 數十年前，虛擬實境技術尚在開發階段，沒想到五十年後已經應用在醫學、生物科技、電影及遊戲行業，以至舞台表演。英國諾列治離奇作業劇團的核心在於探究在劇場應用科技，去年面世的《蛙人》，是劇團首個使用虛擬實境的沉浸式劇場，帶領觀眾潛入澳洲大堡礁深處，解開一椿二十年前的女童謀殺案。故事由一場法庭審訊展開，三十一歲主角米拉上庭作供，她的父親被控謀殺；而觀眾作為陪審團，將以虛擬實境裝置審視二十年前的證據。層層推進的懸案下掩藏的卻是一個關於家庭、童年和海洋的故事。導演兼美術指導傑克．盧爾認為，離奇作業劇團的起點在於科技，可是作品核心始終在於敘述故事和探問人性。《蛙人》故事裏有科學、法證元素，配合虛擬實境技術可謂恰到好處。科技同時在戲劇中扮演「連繫」的角色：虛擬實境是全面的視聽體驗，讓人彷彿置身二十年前的時空，把過去與現在、人與自然、戲劇與觀眾連繫起來。

林惠賢

離奇作業劇團 curious directive 《蛙人》Frogman

When virtual reality (VR) technology was in its early stages of development, few could have predicted that in fifty years’ time it would find broad use in medicine, biotechnology, film productions, gaming and even stage performances. “Theatre through the lens of science”, the rallying cry of Norwich, England’s curious directive, inspired the company’s first immersive performance with the medium— Frogman. The theatre experience submerges audiences in the depths of Australia’s Great Barrier Reef and the foggy reminisces of 1990s adolescence— clues in the case of a local teenage girl’s disappearance some 20 years ago. As ‘jury members’ reviewing ‘evidence’ through their goggles, audiences come up for air only to hear the real-time courtroom interrogation of 31-year-old Meera, whose father has been accused of the girl’s murder. The suspenseful tale dives into tangled currents of family, childhood and underwater conservation. According to director-cinematographer Jack Lowe, curious directive’s springboard may be technology, but its heart is telling stories that interrogate humanity. Frogman’s emphasis on science, forensic evidence and multi-layered storytelling thus makes VR technology the perfect theatre aide. In the complete audio-visual immersion of the VR goggles, audiences are transported to another time-space, connecting past with present, humanity with nature, and performer with audience.

12-17.3.2019 牛棚藝術村N2實驗室 Cattle Depot Artist Village Unit N2

Grace Lam

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

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瑪琳．艾爾梭與聖保羅交響樂團 Marin Alsop with the São Paulo Symphony Orchestra

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雲門舞集45週年林懷民舞作精選 Cloud Gate Dance Theatre of Taiwan The 45th Anniversary Gala Programme Retrospectives of 8:15pm Lin Hwai-min's Works

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重新劇團《追憶消逝的人生》 Theatre Re The Nature of Forgetting

香港中樂團《九千年的邂逅》 A Fuel, Bristol Old Vic, 8:00pm Hong Kong Chinese Orchestra 8:00pm Royal Lyceum Theatre Edinburgh, Meeting Across Nine Millennia of Time and Royal & Derngate Northampton 3:00pm co-production 鮮于睿權鋼琴獨奏會 8:00pm 8:00pm 《攀越冰峰》Touching the Void Yekwon Sunwoo Piano Recital 3:00pm 8:00pm

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8:00pm 帕佛．約菲與NHK交響樂團 8:00pm Paavo Järvi with the NHK Symphony Orchestra

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4:30pm

Sun

萊比錫歌劇院合唱團《歌劇合唱盛會》 8:15pm Chor der Oper Leipzig Opera Chorus Concert

六

一 Mon

Tue

Wed

Thu

8:00pm

法國世紀樂團：白遼士150 Les Siècles: BERLIOZ 150

A Fuel, Bristol Old Vic, Royal Lyceum Theatre Edinburgh, 8:00pm and Royal & Derngate Northampton co-production 《攀越冰峰》Touching the Void

8:15pm

7:00pm

Fri

6:00pm

8:15pm

萊比錫歌劇院華格納《唐懷瑟》 Oper Leipzig Wagner's Tannhäuser

3:00pm

8:15pm

二

8:15pm

香港賽馬會當代舞蹈平台《舞鬥》 The Hong Kong Jockey Club Contemporary Dance Series Dance Off

8:00pm 3:00pm 8:00pm

正點劇團《哈姆尼特─莎士比亞之子》 Dead Centre Hamnet

三四五 Fri

六

Sat

Sun

Mon

Tue

Wed

8:00pm 馬祖耶夫爵士樂隊 Matsuev and Friends Play Jazz

8:00pm 馬祖耶夫鋼琴獨奏會 Denis Matsuev Piano Recital

7:30pm 中國光大控股有限公司冠名贊助北京李六乙戲劇工作室《哈姆雷特》 7:30pm Title Sponsor: China Everbright Limited Beijing Li Liuyi Theatre Studio The Tragedy of Hamlet, 2:30pm Prince of Denmark

8:15pm 正點劇團《契訶夫處女作》 3:00pm Dead Centre 8:15pm Chekhov's First Play

日

3:00pm

馬祖耶夫與得獎新晉鋼琴家匯演 8:00pm Matsuev and Young Laureates Piano Gala 8:00pm 時光之音《西班牙文藝復興合唱代表作》 Quondam Spanish Renaissance 4:00pm Choral Masterpieces

8:00pm 8:00pm 《九江》 Gangsters of Hong Kong 3:00pm

一二三四 Thu

五 Fri

六

Sat

Sun

Mon

Tue

Wed

Thu

104

香港小交響樂團小號巨星納卡里亞科夫 8:00pm Hong Kong Sinfonietta - Sergei Nakariakov · The Art of the Trumpet

二

六

香港大會堂劇院 Theatre, HK City Hall

一

五

香港大會堂音樂廳 Concert Hall, HK City Hall

日

香港文化中心劇場 Studio Theatre, HK Cultural Centre

六

二月

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

日一

湯瑪士．夸斯托夫四重奏 8:00pm Nice 'N' Easy Thomas Quasthoff Quartet 李飈打擊樂團《巴羅克．探戈》 8:00pm Li Biao Percussion Group From Baroque to Tango

7:30pm

8:00pm

漢堡芭蕾舞團–約翰．紐邁亞《胡桃夾子》 7:30pm The Hamburg Ballet - John Neumeier The Nutcracker

8:00pm 8:15pm 香港賽馬會當代舞蹈平台《雙篇雙人舞》 The Hong Kong Jockey Club Contemporary Dance Series 2:45pm Double Bubble

7:30pm

李飈打擊樂團 8:00pm《好！擊！動！》親子音樂會 P is for PERCUSSION! Family Concert by Li Biao Percussion Group

8:00pm

四

Sat

Sun

8:15pm 香港賽馬會當代舞蹈平台《沒有大象》 The Hong Kong Jockey Club Contemporary Dance Series 8:15pm Elephant in the Room

希薇雅．佩瑞茲．克露絲《夜妝》 8:00pm Sílvia Pérez Cruz Dressed by the Night

六

8:00pm

3:00pm

7:30pm 漢堡芭蕾舞團–約翰．紐邁亞《貝多芬計劃》 The Hamburg Ballet - John Neumeier 7:30pm Beethoven Project

三

Fri

《九江》 Gangsters of Hong Kong

洪儷僖管風琴獨奏會 Riyehee Hong Organ Recital

二

五

8:00pm

歌劇．戲曲 OPERA

8:00pm

8:00pm 克雷莫納弦樂四重奏 Quartetto di Cremona 8:00pm

7:30pm 漢堡芭蕾舞團–約翰．紐邁亞《約翰．紐邁亞的世界》 The Hamburg Ballet - John Neumeier 2:30pm The World of John Neumeier

日

8:00pm

8:15pm 馬里安諾．潘恩索廸及瑪利亞劇團《三個女人搞革命》 Mariano Pensotti / Grupo Marea Burning bright in the forest of 5:00pm the night

音樂 MUSIC

8:00pm 《九江》 Gangsters of Hong Kong 8:00pm

3:00pm 舞蹈 DANCE

香港演藝學院歌劇院 Lyric Theatre, HKAPA

香港演藝學院戲劇院 Drama Theatre, HKAPA

元朗劇院演藝廳 Auditorium, Yuen Long Theatre

香港藝術中心壽臣劇院 Shouson Theatre, HK Arts Centre

葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre

日 Sun

一 Mon

二 Tue

三

7:30pm

瑞士默劇團《百變樂園》 MUMMENSCHANZ Reloaded

Wed

2-10.3.2019 免費入場 Free 8:00pm

Marco 4:00pm Mezquida 7:30pm 9:30pm

四 Thu

五

Trio

Fri

爵士新潮 Nouveau Jazz Weekend

Piano Solo Trio

Jorge da Rocha Solo

六 Sat 1:00pm 瑞士默劇團《百變樂園》 5:00pm MUMMENSCHANZ Reloaded

日 Sun

一 Mon 8:15pm 歐里庇德斯．拉斯卡里迪斯及遊離表演工作坊《泰坦–諸神之舞》 Euripides Laskaridis & Osmosis 8:15pm Titans

8:00pm

8:15pm

《黃翊與庫卡》 HUANG YI & KUKA

亞太舞蹈平台 Asia Pacific Dance Platform

三

沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall 8:00pm 粵劇《百花亭贈劍》毛俊輝導演作品（更新版） Cantonese Opera Pavilion of a Hundred Flowers 8:00pm (Reboot)

Wed

四 Thu

五 Fri 4:30pm Criatures / Belda & 8:00pm Sanjosex 8:00pm Yexza Lara- Camino Criatures / Belda & 4:30pm Sanjosex 8:00pm Jorge da Rocha To Drop and Let Go

8:00pm 世界音樂週末營 World Music 3:00pm Weekend

賽馬會本地菁英創作系列《陪着你走》 Jockey Club Local Creative Talents Series Always by Your Side

六 Sat

日 Sun

一 Mon

二 Tue

三

8:00pm

7:30pm

《白蛇傳》作曲：周龍 | 編劇：林曉英 Madame White Snake by Zhou Long and Cerise Lim Jacobs

8:00pm

《胡不歸》 7:30pm Why Don't You Return?

粵劇越洋半世紀 Cantonese Opera Global Traces, Local Stages

3:00pm 8:00pm

大館F倉展室 F Hall Studio, Tai Kwun

8:00pm 傑夫．索貝爾《家》 Geoff Sobelle - HOME

7:30pm

6:00pm 9:00pm

7:00pm 9:00pm

8:00pm

3:00pm 8:00pm

名伶花旦展演話當年 7:30pm A Long Passion – Talk, Demonstration and Performance 7:30pm

7:00pm 9:00pm 7:00pm 9:00pm

Thu

五 Fri

六 Sat

日 Sun

葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre 8:00pm

Ontroerend Goed 《金錢世界》LIES (英語版 English Version)

賽馬會本地菁英創作系列《陪着你走》 Jockey Club Local Creative Talents Series Always by Your Side

3:00pm

7:00pm 9:00pm

6:00pm 9:00pm 粵劇越洋半世紀 Cantonese Opera Global Traces, Local Stages

牛棚藝術村N2實驗室 Unit N2, Cattle Depot Artist Village

6:00pm 9:00pm

8:00pm

四

8:00pm

油麻地戲院 Yau Ma Tei Theatre 《紅了櫻桃碎了心》 7:30pm Red Cherries and a Broken Heart 白玉堂折子戲 2:30pm Vignettes of Pak Yuktong's "Three Big Trials"

Wed

一 Mon

二《由削木開始》 From Starting to Cut the Wood

亞太舞蹈平台 Asia Pacific Dance Platform

Tue

三 Wed

四

《蛙人》概念：離奇作業劇團 Frogman Devised by curious directive

Thu

五 Fri

3:00pm 6:00pm

3:00pm 5:00pm

Sat

3:00pm 6:00pm

3:00pm 5:00pm

Sun

六日一 Mon

二 Tue

8:00pm

皮普．德爾邦諾劇團《快樂大本營》 Compagnia Pippo Delbono 8:00pm La Gioia (Joy)

戲劇 THEATRE

6:00pm 9:00pm

Wed

6:00pm 9:00pm

Thu

6:00pm 9:00pm

三四 Ontroerend Goed 《金錢世界》LIES (粵語版 Cantonese Version)

五 Fri

3:00pm 6:00pm

Sat

3:00pm 6:00pm

Sun

六日

音樂劇場 MUSIC THEATRE

FestMag

閱藝

二月

17 18 19 20 21 22 23 24 25 26 27 28 1

三月

March

機器神製作羅伯特．利柏殊創作及演出 8:00pm 《887》 Ex Machina Created and performed by 8:00pm Robert Lepage 887 3:00pm 8:00pm

二 Tue

February

六 Sat

3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

105

2019藝術節加料節目一覽日期 Date

一月

January

二月

February

活動類型 Activity Type

地點 Venue

費用 Fee

7:30 - 8:30pm

樂與畫音樂會︰《歌雅之畫》- 葛拉納多斯的音樂意境 Music and Art Concert: Goya's World through Granados' Goyescas

加料演出 Performance

香港演藝學院音樂廳 Concert Hall, HKAPA

免費 Free

10:30am - 2:00pm 1:00 - 4:30pm

風琴遊蹤– 香港管風琴的歷史與文化（一）及（二） Organ Tour - Hong Kong Organ History & Culture (1) & (2)

特別節目 Special

聖公會鄧肇堅中學小禮堂、中華基督教會公理堂、香港聖公會聖保羅堂 SKH Tang Shiu Kin Secondary School Chapel; China Congregational Church and SKH St Paul’s Church

HK$250

Sat

二

7:00 - 9:00pm

雲門舞集工作坊 Cloud Gate Dance Theatre of Taiwan Workshop

工作坊 Workshop

香港文化中心GR2排練室 GR2, HK Cultural Centre

HK$500

4:15 - 6:00pm

公開彩排︰瑪琳．艾爾梭、聖保羅交響樂團與本地學生樂團 Open Rehearsal: Marin Alsop, São Paulo Symphony Orchestra and Local Student Orchestras

教育計劃 Education Project

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

免費 Free

8:00 - 9:00pm

聖保羅交響樂團四重奏 SPSO String Quartet

加料演出 Performance

聖安德烈堂 St Andrew's Church

HK$200

9:15 - 9:35pm

瑞士默劇團《百變樂園》 Mummenschanz Reloaded

藝人談 Meet-the-Artist

香港演藝學院歌劇院 Lyric Theatre, HKAPA

免費 Free

10:35 - 10:55pm

倫敦燃料劇團、布里斯托爾老域劇團、愛丁堡皇家蘭心劇院與北安普敦皇家及德蓋特劇院聯合製作《攀越冰峰》 A Fuel, Bristol Old Vic, Royal Lyceum Theatre, and Royal & Derngate Northampton co-production: Touching the Void

藝人談 Meet-the-Artist

香港大會堂劇院 Theatre, HK City Hall

免費 Free

2:30 - 4:00pm

香港藝術節傑出文化領袖講座系列講者︰葉芠芠（雲門文化藝術基金會執行總監） HKAF Distinguished Cultural Leader Series Speaker: Yeh Wen-wen (Executive Director of Cloud Gate Culture and Arts Foundation)

藝術家沙龍 Artist Salon

香港君悅酒店寓中堂 The Lounge, The Residence, Mezzanine Floor, Grand Hyatt Hong Kong

HK$100

《舞城遊蹤》Choreography Walk

加料演出 Performance

中西區 Central and Western District

HK$200

雲門舞集工作坊 Cloud Gate Dance Theatre of Taiwan Workshop

工作坊 Workshop

香港文化中心GR2排練室 GR2, HK Cultural Centre

HK$500

《聲動童樂》兒童合唱團工作坊 Children's Choir Workshop: Sing, Move and Have Fun

工作坊 Workshop

香港文化中心 HK Cultural Centre

HK$600 (每位 Individual) HK$500 (團體 Group)

6:30 - 8:00pm

藝術家沙龍：與劇場大師羅伯特．利柏殊對話 Artist Salon: In conversation with stage director Robert Lepage

藝術家沙龍 Artist Salon

香港演藝學院演藝劇院 Amphitheatre, HKAPA

免費 Free

7:00pm - 9:00pm

《家常便飯》 Family Dinner

加料演出 Performance

藍屋「時間關係」甜品店 Dessert House, Blue House

HK$250

9:20 - 9:40pm

歐里庇德斯．拉斯卡里迪斯及遊離表演工作坊《泰坦–諸神之舞》 Euripides Laskaridis & Osmosis: TITANS

藝人談 Meet-the-Artist

香港演藝學院戲劇院 Drama Theatre, HKAPA

免費 Free

「萊比錫樂韻之路」展覽 Leipzip Music Trail Exhibition

展覽 Exhibition

香港文化中心大堂 HK Cultural Centre

免費 Free

7:15 - 7:45pm

帕佛．約菲與NHK交響樂團 Paavo Järvi with the NHK Symphony Orchestra

演前講座 Pre-Performance Talk

香港文化中心平台工作室 Podium Workshop, HK Cultural Centre

持票觀眾免費入場 Free and open to all ticket holders

3:30 - 5:00pm

公開彩排︰香港賽馬會當代舞蹈平台《雙篇雙人舞》 Open Rehearsal: The Hong Kong Jockey Club Contemporary Dance Series Double Bubble

公開彩排 Open Rehearsal

牛棚藝術村 Cattle Depot Artist Village

免費 Free

6:00- 6:30pm

萊比錫歌劇院華格納《唐懷瑟》 Oper Leipzig: Wagner's Tannhäuser

演前講座 Pre-Performance Talk

香港文化中心平台工作室 Podium Workshop, HK Cultural Centre

持票觀眾免費入場 Free and open to all ticket holders

9:50 - 10:10pm

香港賽馬會當代舞蹈平台《舞鬥》 The Hong Kong Jockey Club Contemporary Dance Series: Dance Off

藝人談 Meet-the-Artist

香港文化中心劇場 Studio Theatre, HK Cultural Centre

免費 Free

10:05 - 10:25pm

機器神製作創作及演出︰羅伯特．利柏殊《887》 Ex Machina, created and performed by Robert Lepage: 887

藝人談 Meet-the-Artist

香港演藝學院歌劇院 Lyric Theatre, HKAPA

免費 Free

12:00 - 1:00pm

藝術家沙龍北京李六乙戲劇工作室《哈姆雷特》 Beijing LiLiuyi Theatre Studio The Tragedy of Hamlet, Prince of Denmark Artist Salon

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

HK$100

12:00 - 1:00pm

萊比錫歌劇院《一齊玩》戲劇工作坊 Oper Leipzig: "We PLAY" Theatre Workshop

工作坊 Workshop

香港文化中心平台工作室 Podium Workshop, HK Cultural Centre

HK$250

2:00 - 6:00pm

歌劇同樂日 Oper Adventure Day

特別節目 Special

香港文化中心大堂 Foyer, HK Cultural Centre

免費 Free

3:00 - 4:15pm

PLUS 兒童合唱團大堂音樂會 Festival PLUS Children's Choir Foyer Performance

演出 Performance

香港文化中心大堂 Foyer, HK Cultural Centre

免費 Free

4:45 - 5:15pm

萊比錫歌劇院《唐懷瑟》後台參觀 Oper Leipzig: Wagner's Tannhäuser Backstage Tour

後台參觀 Backstage Tour

香港文化中心大劇院後台 Backstage, Grand Theatre, HK Cultural Centre

HK$50

5:00 - 5:30pm

萊比錫歌劇院華格納《唐懷瑟》 Oper Leipzig: Wagner's Tannhäuser

演前講座 Pre-Performance Talk

香港文化中心平台工作室 Podium Workshop, HK Cultural Centre

持票觀眾免費入場 Free and open to all ticket holders

5:35 - 5:55pm

藝人談 Meet-the-Artist

香港大會堂劇院 Theatre, HK City Hall

免費 Free

7:15 - 7:45pm

法國世紀樂團：白遼士150 指揮：麥森．帕斯高 Les Siècles: BERLIOZ 150 Conductor: Maxime Pascal

演前講座 Pre-Performance Talk

香港文化中心平台工作室 Podium Workshop, HK Cultural Centre

持票觀眾免費入場 Free and open to all ticket holders

3:45 - 4:15pm

法國世紀樂團：白遼士150 指揮：麥森．帕斯高 Les Siècles: BERLIOZ 150 Conductor: Maxime Pascal

演前講座 Pre-Performance Talk

香港文化中心平台工作室 Podium Workshop, HK Cultural Centre

持票觀眾免費入場 Free and open to all ticket holders

7:15 - 7:45pm

萊比錫歌劇院合唱團《歌劇合唱盛會》 Chor der Oper Leipzig Opera Chorus Concert

演前講座 Pre-Performance Talk

香港文化中心平台工作室 Podium Workshop, HK Cultural Centre

持票觀眾免費入場 Free and open to all ticket holders

五 Fri

六

Tue

三 Wed

四 Thu

五

22/2

五

24/2 23 24/2 |

2/3 25 26/2 |

3/3 27

Fri

日 Sun

六 Sat

12:00 - 2:00pm

日 Sun

六 Sat

一 Mon

二 Tue

日 Sun

三 Wed

三 28/2 Wed |

3/3 28 三月

日 Sun

四 Thu

五 Fri

March 2

六 Sat

3:00 - 4:00pm

106

Programme

節目 Programme

Festival

時間 Time

日 Sun

香港藝術節保留更節目的權利。The Hong Kong Arts Festival reserves the right to make changes to these programmes.

日期 Date

三月

March

6 9

17 19 20

22 23 24

二 Tue

三 Wed

六 Sat

一 Mon

二 Tue

三

時間 Time

節目 Programme

9:20 - 9:40pm

正點劇團《哈姆尼特─莎士比亞之子》 Dead Centre: Hamnet

藝人談 Meet-the-Artist

香港文化中心劇場 Studio Theatre, HK Cultural Centre

免費 Free

10:25 - 10:45pm

賽馬會本地菁英創作系列《陪着你走》 Jockey Club Local Creative Talents Series: Always by Your Side

藝人談 Meet-the-Artist

葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre

免費 Free

2:30 - 5:00pm

時光之音合唱指揮工作坊 Choral Conducting with Rupert Damerell

工作坊 Workshop

循道衛理聯合教會 Methodist International Church

旁聽Observers HK$50

7:15 - 7:45pm

馬祖耶夫爵士樂隊 Matsuev and Friends Play Jazz

演前講座 Pre-Performance Talk

香港文化中心平台工作室 Podium Workshop, HK Cultural Centre

持票觀眾免費入場 Free and open to all ticket holders

9:35 - 9:55pm

正點劇團《契訶夫處女作》 Dead Centre: Chekhov's First Play

藝人談 Meet-the-Artist

香港文化中心劇場 Studio Theatre, HK Cultural Centre

免費 Free

4:00 - 6:30pm

時光之音合唱工作坊 Choral Singing Techniques with Quondam

工作坊 Workshop

循道衛理聯合教會 Methodist International Church

HK$250

8:00 - 9:30pm

藝術家沙龍︰凱蒂亞．恩格 Artist Salon: Katia Engel

藝術家沙龍 Artist Salon

香港歌德學院 Goethe-Institut Hong Kong

免費 Free

9:05 - 9:25pm

亞太舞蹈平台《由削木開始》 Asia Pacific Dance Platform XI From starting to cut the wood

藝人談 Meet-the-Artist

葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre

免費 Free

2:00 - 5:00pm

蔡艷香粵劇南派大師班 Masterclass with Choy Yim-heong

大師班 Masterclass

油麻地戲院 Yau Ma Tei Theatre

憑邀請入場 By Invitation

7:00 - 9:00pm

湯瑪士 · 夸斯托夫聲樂大師班 Thomas Quasthoff Vocal Masterclass

大師班 Masterclass

香港文化中心CR2排練室 CR2, HK Cultural Centre

旁聽Observers HK$50

6:45 - 7:15pm

漢堡芭蕾舞團–約翰 · 紐邁亞《胡桃夾子》 The Hamburg Ballet – John Neumeier The Nutcracker

演前講座 Pre-Performance Talk

香港文化中心平台工作室 Podium Workshop, HK Cultural Centre

持票觀眾免費入場 Free and open to all ticket holders

10:05 - 10:25pm

香港藝術節委約及製作《九江》 Commissioned and produced by the Hong Kong Arts Festival: Gangsters of Hong Kong

藝人談 Meet-the-Artist

香港大會堂劇院 Theatre, HK City Hall

免費 Free

7:00 - 9:00pm

李飈打擊樂團敲擊樂大師班 Percussion ensemble masterclass by Li Biao Percussion Group

大師班 Masterclass

香港文化中心GR2排練室 GR2, HK Cultural Centre

免費 Free

7:15 - 7:45pm

湯瑪士 · 夸斯托夫四重奏《Nice 'N' Easy》 Thomas Quasthoff Quartet Nice 'N' Easy

演前講座 Pre-Performance Talk

香港文化中心平台工作室 Podium Workshop, HK Cultural Centre

持票觀眾免費入場 Free and open to all ticket holders

10:00 - 11:15am

漢堡芭蕾舞團彩排參觀 Observing The Hamburg Ballet

公開彩排 Open Rehearsal

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

HK$50

5:00 - 5:30pm

漢堡芭蕾舞團 – 約翰．紐邁亞《胡桃夾子》後台參觀 The Hamburg Ballet – John Neumeier The Nutcracker: Backstage Tour

後台參觀 Backstage Tour

香港文化中心大劇院後台 Backstage, Grand Theatre, HK Cultural Centre

HK$50

7:15 - 7:45pm

李飈打擊樂團《巴羅克 · 探戈》 Li Biao Percussion Group From Baroque to Tango

演前講座 Pre-Performance Talk

香港文化中心平台工作室 Podium Workshop, HK Cultural Centre

持票觀眾免費入場 Free and open to all ticket holders

9:35 - 9:55pm

香港賽馬會當代舞蹈平台《雙篇雙人舞》 The Hong Kong Jockey Club Contemporary Dance Series: Double Bubble

藝人談 Meet-the-Artist

香港文化中心劇場 Studio Theatre, HK Cultural Centre

免費 Free

9:50 - 10:10pm

傑夫 · 索貝爾《家》 Goeff Sobele: HOME

藝人談 Meet-the-Artist

香港演藝學院歌劇院 Lyric Theatre, HKAPA

免費 Free

10:00 - 11:30am

漢堡芭蕾舞團 – 約翰．紐邁亞大師班（中級程度） The Hamburg Ballet – John Neumeier Masterclass (Intermediate Level)

大師班 Masterclass

香港文化中心GR2排練室 GR2, HK Cultural Centre

HK$500

10:00am - 12:00pm 洪儷僖管風琴大師班 Riyeehee Hong Organ Masterclass 2:00 - 4:00pm

大師班 Masterclass

香港聖公會 Hong Kong Sheng Kung Hui

旁聽Observers HK$50

11:00am - 1:00pm

拇指琴工作坊 Thumbiano Workshop

工作坊 Workshop

香港文化中心平台工作室 Podium Workshop, HK Cultural Centre

HK$300 (家庭Family) HK$250 (個人Individual)

2:00 - 3:00pm 3:30 - 4:30pm

「升」樂樽工作坊 Musical Bottle Workshop

工作坊 Workshop

香港文化中心平台工作室 Podium Workshop, HK Cultural Centre

HK$300 (家庭Family) HK$250 (個人Individual)

2:00 - 6:00pm

《好！擊！動！》同樂日 P is for Percussion! Family Day

特別節目 Special

香港文化中心大堂 Foyer, HK Cultural Centre

免費 Free

2:00 - 6:00pm

《好！擊！動！》互動敲擊展覽 P is for Percussion! Interactive Percussion Exhibition

展覽 Exhibition

香港文化中心大堂 Foyer, HK Cultural Centre

免費 Free

3:30 - 4:30pm

「升」樂樽工作坊 Musical Bottle Workshop

工作坊 Workshop

香港文化中心平台工作室 Podium Workshop, HK Cultural Centre

HK$300 (家庭Family) HK$250 (個人Individual)

4:30 - 5:30pm

《律！動！啦！》大堂音樂會 Feel the Pulse NOW!!! Foyer Performance

加料演出 Performance

香港文化中心大堂 Foyer, HK Cultural Centre

免費 Free

工作坊 Workshop

香港文化中心GR2排練室 GR2, HK Cultural Centre

HK$250

Wed

四 Thu

五 Fri

六 Sat

日

活動類型 Activity Type

地點 Venue

費用 Fee

Sun

11:30am - 12:45pm 漢堡芭蕾舞團 – 約翰．紐邁亞《胡桃夾子》兒童工作坊 The Hamburg Ballet – John Neumeier 2:15 - 4:00pm

二

6:45 - 7:15pm

漢堡芭蕾舞團–約翰 · 紐邁亞《貝多芬計劃》 The Hamburg Ballet – John Neumeier Beethoven Project

演前講座 Pre-Performance Talk

香港文化中心平台工作室 Podium Workshop, HK Cultural Centre

持票觀眾免費入場 Free and open to all ticket holders

4:30 - 5:30pm

克雷莫納弦樂四重奏示範講座 Lecture Demonstration: Quartetto di Cremona

藝術家沙龍 Artist Salon

香港科技大學 HKUST

免費 Free

9:10 - 9:30pm

香港賽馬會當代舞蹈平台《沒有大象》 The Hong Kong Jockey Club Contemporary Dance Series: Elephant in the Room

藝人談 Meet-the-Artist

香港文化中心劇場 Studio Theatre, HK Cultural Centre

免費 Free

6:00 - 9:30pm

藝術家沙龍︰約翰．紐邁亞及Nijinsky放映會 Artist Salon: John Neumeier & Nijinsky Screening

藝術家沙龍 Artist Salon

香港逸蘭精品酒店 Lanson Place Hotel, Hong Kong

HK$400

9:35 - 9:55pm

克雷莫納弦樂四重奏 Quartetto di Cremona

藝人談 Meet-the-Artist

香港大會堂音樂廳 Concert Hall, HK City Hall

免費 Free

7:15 - 7:45pm

希薇雅．佩瑞茲．克露絲《夜妝》 Sílvia Pérez Cruz: Dressed by the Night (Vestida de Nit)

演前講座 Pre-Performance Talk

香港文化中心平台工作室 Podium Workshop, HK Cultural Centre

持票觀眾免費入場 Free and open to all ticket holders

6:45 - 7:15pm

漢堡芭蕾舞團 - 約翰．紐邁亞《約翰．紐邁亞的世界》 The Hamburg Ballet – John Neumeier The World of John Neumeier

演前講座 Pre-Performance Talk

香港文化中心平台工作室 Podium Workshop, HK Cultural Centre

持票觀眾免費入場 Free and open to all ticket holders

10:00 - 11:30am

漢堡芭蕾舞團 - 約翰．紐邁亞大師班（高級程度） The Hamburg Ballet – John Neumeier Masterclass (Advanced Level)

大師班 Masterclass

香港文化中心GR2排練室 GR2, HK Cultural Centre

HK$500

Tue

三

The Nutcracker: Ballet Introductory Class for Kids

Wed

四 Thu

五 Fri

六 Sat

日 Sun

FestMag

閱藝

107

香港藝術節Hong Kong Arts Festival

香港藝術節

H O N G K O N G A R T S F E S T I VA L 贊助人主席

林鄭月娥女士查懋成先生

PATRON CHAIRMAN

The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS Mr Victor Cha

職員行政總監行政總監助理

何嘉坤何丹蓉

STAFF Executive Director Assistant to Executive Director

Tisa Ho Connie Ho

節目節目總監副節目總監節目經理

助理節目經理節目統籌節目主任物流及接待經理 • 技術製作經理助理製作經理 • 外展高級外展經理助理外展經理外展統籌藝術行政見習員外展助理 • 出版編輯英文編輯助理編輯

梁掌瑋蘇國雲葉健鈴蘇雪凌林淦鈞* 黃傲軒* 譚小敏* 張翠騫* 金學忠*

陳韻妍余瑞婷*

胡鎮華*

梁雅芝* 李穎蘭* 李冠輝張鼎丞* 譚曉峯* 鍾玉如* 李萬祺* 李玨熙* 林尚諾* 林秋美* 林惠賢*

林嘉敏*

PROGRAMME Programme Director Associate Programme Director Programme Managers

Assistant Programme Manager Programme Coordinators Programme Officer Logistics Manager • Technical Production Manager Assistant Production Manager • Outreach Senior Outreach Manager Assistant Outreach Manager Outreach Coordinators Arts Administrator Trainee Outreach Assistant • Publications Editor English Editor Assistant Editors

黎家欣*

Grace Lang So Kwok-wan Linda Yip Shirley So Lam Kam-kwan* Joseph Wong* Tracy Tam* Tracy Cheung* Elvis King*

Kenneth Lee Bell Cheung* Mitch Tam* Joey Chung* Kelvin Li* Michael Lee* Sherlock Lam* Gloria Furness* Grace Lam*

Katy Cheng Dennis Wu Alexia Chow Michelle Yeung* Tiffany Ng* Ben Chan* Bonnie Cheng* Jeff Cheng* Eppie Leung Benny Wong*

余潔儀張慧芝* 譚樂瑤蘇寶蓮* 莫穎哲* 袁愷晴*

DEVELOPMENT Development Director Development Manager Deputy Development Manager Assistant Development Manager Development Coordinator Development Assistant

Flora Yu Anna Cheung* Lorna Tam Conny Souw* Esther Mok* Antonia Yuen*

會計會計主管助理會計經理會計主任

鄺敬婷杜詩麗* 蘇永恆*

ACCOUNTS Head of Accounts Department Assistant Accounting Manager Accounting Officer

Teresa Kwong Connie To* 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接待員 / 初級秘書助理

馮紹昌簡凱彤* 李美娟黃國愛

HR & ADMINISTRATION HR & Administration Manager HR & Administration Officer Receptionist/Junior Secretary General Assistant

Calvin Fung Vivian Kan* Virginia Li Bonia Wong

鄭尚榮胡銘堯周怡楊璞* 吳嘉沛* 陳閏霖* 鄭佩欣* 鄭鈞澤* 梁彩雲黃煒城*

發展發展總監發展經理副發展經理助理發展經理發展統籌發展助理

張嘉麟*

金佩茹*

Angus Wu*

Shirley Leung* Virginia Lee*

MARKETING Marketing Director Associate Marketing Director Marketing Managers Deputy Marketing Manager Assistant Marketing Manager Digital Marketing Specialist Marketing Officer Arts Administrator Trainee Marketing Manager (Ticketing) Customer Service Officers

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藝術行政見習員市場經理（票務）客戶服務主任

Vanessa Chan Susanna Yu*

Carman Lam*

Melody Lai*

Louis Cheung*

Kristy Kam*

*合約職員 Contract Staff 地址 Address 電話 Telephone 網站 Website

香港灣仔港灣道2 號12 樓1205 室 (852) 2824 3555 https://www.hk.artsfestival.org

Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong 傳真 Fax (852) 2824 3798, 2824 3722 電子郵箱 Email afgen@hkaf.org

香港藝術節由香港藝術節協會有限公司主辦。藝術節協會根據香港《公司條例》註冊為公共慈善團體。 The Festival is presented by the Hong Kong Arts Festival Society Limited incorporated as a charitable institution of a public character under the Companies Ordinance of Hong Kong.