2021 Hong Kong Arts Festival - FestMag《閱藝》 by Hong Kong Arts Festival

HK.ARTSFESTIVAL.ORG DANCE . MUSIC . OPERA . THEATRE

閱藝

FESTMAG

Message from The Executive Director 行政總監的話 Dear Reader, The Festival team and I hope you will enjoy this edition of FestMag, whether you are holding a copy in your hands or reading it digitally. Our purpose in publishing this magazine is to share the thoughts and processes that have shaped the Festival and so, hopefully, enhance your experience of the programmes and events presented. This year, responding to the environment that we share, each in our own way, the 49th HK AF also straddles online and off line spaces, as this magazine does. In the following pages, you will find articles about two new HK AF productions based on Albert Camus’s The Plague. Together with Blindness and Pathetic Fallacy, they have special resonance with contemporary global events. One remarkable artistic response to current prevailing conditions is The Journey—an online, interactive performance that the HK AF is proud to have co-commissioned. Meriting special mention is the 10th edition of the HKJC Contemporary Dance Series, which is also featured in the following pages, along with other new work created with local talent. The 49th HK AF is also packed with great opera, music and dance from our international partners and guests, and we hope you will find much to enjoy—both by reading about them here and in the performances offered. Please also check out our ancillary PLUS programmes and events, which are curated to give extra context and depth to the work presented. In this hybrid Festival, the box office is somewhat different from what we are used to, so we have included some information which we hope you will find helpful in purchasing tickets and registering for free shows. You will also find this information and the latest updates on the HK AF website. With thanks for your continued interest and support,

TISA HO Executive Director, Hong Kong Arts Festival

致《閱藝》讀者：

無論你正在閱讀的是印刷品抑或網上雜誌，我與藝術節團隊都希望你會喜歡今期《閱

藝》。每期《閱藝》均着墨於每屆藝術節的節目主題及策劃理念，務求深化觀眾於演出

及活動的體驗。過去一年至今，外在環境急劇變化，第 49 屆香港藝術節以兼容並蓄的

態度回應時代，正如這本雜誌一樣，同時立足於網上與現實空間。

以下文章，嘗試捕捉今屆藝術節在策劃節目方面的巧思，例如兩部取材自卡繆小說的全

新劇場製作《鼠疫》、與當下世界狀況息息

相關的《盲流感》及《無晴情天氣報告》，以及由香港藝術節共同委約製作、精準地回

應當下處境的網上互動演出《心靈旅程》。值得一提的，還有香港賽馬會當代舞蹈平台

的十周年連串演出，以及其他本地藝壇精英創作的新作。

第 49 屆香港藝術節繼續與海外藝術團體及演藝名家合作，帶來高質素的歌劇、音樂及舞蹈表演。與節目相關的種種，都在這本雜

誌中靜待發掘，希望你不單止會讀出趣味，更會盡情投入其中。另外，請別錯過我們精

心安排的「加料節目」，在演出之外為你帶來更多精采。

今屆藝術節的節目涵蓋網上及現場演出，票務安排與以往略有不同，敬請參閱雜誌內的購票及免費節目登記注意事項，並隨時瀏覽香港藝術節的網站獲取最新消息。

感謝你一直以來對香港藝術節的關注及支持。

香港藝術節行政總監

何嘉坤

FEATURE

The Plague of Our Times: Contemporary Meaning in Camus’s The Plague 我們時代的疫症 —— 看《鼠疫》的當代意義

FEATURE

Each Spoken Word Has a Piece of Life Attached to It 一聲一句皆有靈

39 ANALYSIS

Towards a New Language of Theatre 醞釀戲劇新語言

ANALYSIS

Mediating Arts and Life: Matthew Bourne and The Red Shoes 調和藝術與生命：馬修．伯恩及《紅舞鞋》

JOURNAL

In the Steps of Moiseyev

ANALYSIS

Towards Full Flowering: Looking back at a decade of the Hong Kong Jockey Club Contemporary Dance Series 厚積薄發 —— 香港賽馬會當代舞蹈平台十周年

INTERVIEW

The Four Bandits Musical 音樂劇「四大寇」

莫伊謝耶夫的舞動軌跡 JOURNAL

The Power of Music and Resonance: Striking a Chord in the New Normal 新常態下，繼續奏樂

Women Like Us and Journey to the West Rewind: Attempts at Writing New Life

INTERVIEW

串連心的距離

INTERVIEW

書寫新生命：《兩個女子》及《後話西遊》

Bridging the Divide

FEATURE

Reconstructing Noah’s Ark

重建《挪亞方舟》

JOURNAL

The Centre Stage: Art Documentaries to Watch 藝術紀實搜映

Editorial Foreword 編者的話

Publisher Hong Kong Arts Festival Society Limited Advisors Tisa Ho, So Kwok-wan Editor

Over the past year, countless arts festival and cultural events around the world have faced cancellations or postponements. As we enter and adapt to the new normal, this year’s HK AF has taken three different routes when it comes to curating. We have commissioned or presented a number of theatre productions pertinent to our times. We are also screening a selection of pre-recorded opera, dance and music performances on our online platform, which allows audiences to enjoy them at their convenience, with a series of additional videos to add to the experience. And we continue to stage live invenue performances of local talents, circumstances permitting. Centred on these three curatorial endeavours, this edition of FestMag takes a look at highlights of the productions and speaks to the artists, gleaning their views and insights on working during a pandemic. Analytical essays draw out the peculiarities of some of the important pieces. Regardless of how, when and where you participate in this year’s Festival, we hope you will find what you read in these pages inspiring. The programme information listed is up to date at the time of going to press in February 2021. Please visit the HKAF website for latest updates. 過去一年，世界各地大部分藝術節、文藝演出及活動被迫取消或延期。為了靈活應對新常態，今屆藝術節採取了三方面的節目策劃方向，其一

是委約或呈獻一系列與時代息息相關的戲劇節目；其二是在藝術節的網

上平台放映預先錄製、精心挑選的歌劇、舞蹈及音樂演出，讓觀眾有彈性地在舒適安全的地方欣賞，並附以連串增潤影片深化觀賞體驗；最後

James Liu English Editor Oliver Farry Assistant Editors Rain Cheng, Melody Lai, Grace Lam Designer pengguin.hk Printer Cheer Shine Enterprise Co., Ltd 出版

香港藝術節有限公司顧問

何嘉坤蘇國雲編輯

廖健邦

英文編輯

Oliver Farry 助理編輯

鄭豐榮黎家欣林惠賢設計

pengguin.hk 承印

嘉昱有限公司

是在可行情況下繼續為觀眾帶來本地演藝精英的現場表演。

本年度的《閱藝》即圍繞以上三個方向而編排，以專題特稿深入介紹重點節目、與藝術家訪談疫情下創作的心路歷程和新衝擊，又以賞析文章

剖析藝術作品的獨特之處，提供新的觀賞角度。不論你將以哪種形式、於何時何地參與今屆藝術節的演出及活動，希望這本雜誌也能為你帶來一點啟迪。

雜誌所載之節目資訊以印刷日期 2021 年 2 月為準，請瀏覽香港藝術節的網站獲取最新消息。

The views and opinions expressed or implied in this magazine are those of the authors and do not necessarily reflect those of the Hong Kong Arts Festival Reproduction in whole or in part without written permission is strictly prohibited 本雜誌文章所載的觀點及見解乃作者的個人意見，並不反映香港藝術節的立場

本刊內容未經許可，不得翻印或轉載

h k.ar t s fes t i val .o r g af g en @ h kaf.o r g faceb o o k.com / h kar t s fes t iva l i n s t ag ram .com / h kar s t fe s t iva l

HONG KONG ARTS FESTIVAL 香港藝術節

A MAJOR INTERNATIONAL ARTS FESTIVAL IN, OF AND FOR HONG KONG 扎根香港的國際藝壇盛事

“ Creative and representational arts have a common mission. They bring beauty to the world, courage to mankind, vigour to life, and brilliance to society… Therein lies the noble significance of the Festival.” 「藝術的創作與演出給世界帶來美麗，給人類引起鼓舞，

給生命充實活力，給社會增添光輝 …… 這是舉辦香港藝術節的崇高意義。」

── SIR RUN RUN SHAW 邵逸夫爵士

CBE, HKAF HONOURARY LIFE PRESIDENT

香港藝術節協會永遠名譽會長 (1907–2014)

Hong Kong Arts Festival

The Hong Kong Arts Festival (HK AF) 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 in February and March each year. Since its launch in 1973, the HKAF has presented top international artists and ensembles across multiple genres—from music, opera, and ballet to breakdance and experimental theatre. International guests have included major state operas, established theatres, top orchestras and stars of the day. We also frequently partner with renowned international artists and institutions to produce exceptional new works. We have also collaborated with Hong Kong’s own creative talent to produce work which is now part of the local canon, and to showcase emerging local artists. Over the years, the HKAF has commissioned and produced over 200 local productions across genres including theatre, opera, music and contemporary dance—many with successful subsequent performances in Hong Kong and overseas. As part of our enduring commitment to enriching the cultural life of the city, we organise a diverse range of Festival PLUS activities for the community before and during the Festival to enhance engagement bet ween ar t ists and aud iences. These include f i lm screenings , masterclasses, exhibitions, meet-the-artist sessions and guided backstage and cultural tours. Beyond the main Festival, the HK AF also promotes inclusivity and understanding through the arts. Its “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, strives to create an inclusive space for people with different abilities to share the joy of the arts together. To nurture the next generation of artists and audiences, the HK AF also invests heavily in year-round arts education for young people. Over the past 29 years, our “Young Friends” scheme has reached over 782,000 local secondary and tertiary school students; members c a n enjoy showc ases , pre-per for ma nce t a l k s , open rehea rsa ls , Festival performances and in-school workshops led by international and local ar tists. Donations to the Student Ticket Scheme also make approx imately 10,0 0 0 half-price student tickets available each year.

香港藝術節於 1973 年正式揭幕，是國際藝壇中重要的文化盛

事，於每年 2、 3 月期間呈獻眾多優秀本地及國際藝術家的演出，致力豐富香港的文化生活。

藝術節的節目精采多元，涉獵音樂、歌劇、戲曲、實驗劇

場、芭蕾舞以至街舞等林林總總的類型。過往曾獲邀在藝術

節舞台表演的國際演藝名家及團體包括一流的國家歌劇院、劇團、管弦樂團，以及眾多具代表性的表演者等。我們亦經常與傑出的國際藝術家及團體攜手製作演出。

我們亦積極與本地演藝人才合作，並致力為新進藝術家提供

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、歌劇、音樂和舞蹈作品，不少更已在香港及海外多次重演。

為使香港的文化生活更豐富，我們每年於藝術節前及期間主

辦一系列多元化並深入社區的「加料節目」，例如電影放映、大師班、展覽、藝人談、後台參觀及文化導賞團等，鼓勵觀眾與藝術家互動接觸。

我們亦銳意將共融藝術理念拓展到社區每一角落。由藝術節

與香港賽馬會慈善信託基金聯合呈獻的「無限亮」計劃於 2019 年正式開展，透過一系列的演出及多元的教育及社區外展節目，「無限亮」致力創造共融空間，讓不同能力人士均可以一同欣賞、參與及擁抱藝術。

為了培養未來的藝術家和觀眾，我們大力投資下一代的藝術

教育。「青少年之友」成立 29 年來，已為逾 782,000 位本地中學生及大專生提供藝術體驗活動。會員可參加由國際及本

地藝術家主持的示範講座及工作坊、學生展演、演前講座、公開彩排，以及欣賞藝術節演出等。通過「學生票捐助計劃」，藝術節每年亦提供約 10,000 張半價學生票。

香港藝術節是一所非牟利機構，其主要收入除了政府的恆常

資助及票房外，極大一部分來自各大企業、熱心人士和慈善基金會的贊助和捐款，以及政府針對捐款和贊助收入而提供的配對資助。

The HK AF is a non-profit organisation. Its principal income sources are: recurrent funding from the government, box office revenues, and sponsorship and donations made by corporations, individuals and charitable foundations which form a significant portion of total income and also enables HK AF to receive support from the Government’s matching scheme that matches income generated through private sector sponsorship and donations.

VISIT OUR PROGR AMME ARCHIVE 過往節目一覽 * Updated January 2021 2021 年 1 月更新

THE PLAGUE OF OUR TIMES CONTEMPORARY MEANING IN CAMUS’S THE PLAGUE 我們時代的疫症 —— 看《鼠疫》的當代意義

In 1947, two years after the end of World War II, Albert Camus’s second novel, La Peste (The Plague), was published in France. The story describes the devastation wrought by a fictional plague on the Algerian city of Oran. Its insights into humanity’s will to survive and the choices people make in the face of fear and death resonated with post-war readers. Before COVID-19 began to wreak havoc across the globe in late 2019, the Hong Kong Arts Festival was already looking into the possibility of adapting British playwright Neil Bartlett’s 2017 stage version of The Plague. The Festival subsequently commissioned a Cantonese translation from Hong Kong director James Chan Tai-yin and it enlisted Beijing director Wang Chong to stage a production in English. The two versions follow Bartlett’s adaptation, using the format of a public inquiry to recount the city’s response to the virus. For the two directors and their own respective cities, the unusual circumstances during a pandemic have given Camus’s decades-old text a more personal and contemporary significance. TEXT 撰文

GRACE LAM 林惠賢 Grace Lam is an Assistant Editor at the Hong Kong Arts Festival 林惠賢是香港藝術節的助理編輯

1947 年，第二次世界大戰結束後

兩年，卡繆在法國出版他的第二本小說《鼠疫》，描述一個叫奧蘭的

阿爾及利亞城市遭受鼠疫侵襲。小說呈現人在面對恐懼與死亡時的抉擇，以及強烈的生存意志，引起戰後讀者的共鳴。

早在新冠肺炎於 2019 年底肆虐全球

之前，香港藝術節便籌備搬演英國劇作家尼爾．巴奈特改編卡繆小說的

同名劇作。藝術節其後分別委約香港導演陳泰然翻譯並執導粵語版

《鼠疫》，以及委約北京導演王翀

搬演英語版。兩個版本均沿用巴奈特原劇本中獨立調查聽證會的形式，還原整個對抗疫症的過程。對兩位

導演及他們的城市來說，疫症賦予了

《鼠疫》一種切身的當代意義。 R The Plague (Cantonese version) will feature a full female cast including Annie Cheung (middle), Wan Yuk-yu, Luk Ka-ki, Birdy Wong and Ceci Chan (clockwise from top left) 《鼠疫》粵語版將由五位本地女演員出演，分別為張雅麗（中），以及

（左上起順時針）溫玉茹、陸嘉琪、黃呈欣及陳秄沁

Feature

Â© R Workshop

“ I think this act of enumeration or reflecting on what has happened might be precisely the thing that our society is lacking.”

「我覺得這個去列舉或反映事情的舉動，對我們的社會來說，正正可能是我們欠缺了的東西。」

── JAMES CHAN TAI-YIN 陳泰然

James Chan Tai-yin: “What is it exactly that humanity is going through?” When Hong Kong director James Chan Tai-yin began translating the play into Cantonese in November 2019, he intended to use it as a vehicle to address the social movement in Hong Kong; it was only with the virus explosion into a pandemic that COVID-19 began to inf luence his translation of the play. His interest in The Plague stemmed from its treatment of universal human questions and its capacity to ref lect the contradictions between the individual and society in recent years. “In unpacking these contradictions, Camus sets off from a humanising perspective; some people even say that he is a humanist. He’ll write from the proposition of: ‘Under these great contradictions, what is it exactly that humanity is going through? What are they learning through personal experience?’ In Camus’s philosophy, ref lection isn’t really necessary; we only need to enumerate what we’ve experienced. I think this act of enumeration or reflecting on what has happened might be precisely the thing that our society is lacking.” Following the widespread outbreak of COVID-19, how did his work on The Plague change? For Chan, the most direct inf luence was in the play’s use of terminology. Phrases that were previously less familiar to the general public—such as “human-to-human transmission” or “confirmed cases”—have now entered into everyday use and will resonate more deeply with audiences.

陳泰然：「究竟人類在經歷甚麼？」

香港導演陳泰然自 2019 年 11 月開始翻譯粵

語版劇本，他坦言香港的社會運動，以及後來疫症的爆發對他翻譯劇本均有影響。他認為《鼠疫》處理的是普及的人性議題：「這

個劇本沒太大文化障礙，因為它本身說的是關於普及人性的東西。」在選材方面，陳泰

然認為《鼠疫》能夠反映近年社會和個人之間的矛盾：「在描述這些矛盾時，卡繆會以

人性化的角度出發。有人甚至說卡繆是一個人性主義者，他會從一個『在這些大矛盾之下，究竟人類在經歷甚麼？體驗甚麼？』的

角度去描寫。以卡繆的哲學來說，反思其實是不需要的，我們只需要列舉我們經歷了甚

麼。我覺得這個去列舉或反映事情的舉動，對我們的社會來說，正正可能是我們欠缺了的東西。」

後來疫症爆發，對《鼠疫》的創作帶來甚麼影響？陳泰然認為最直接的影響在於詞語在

劇場的運用，一些大眾原本不常用的字詞，例如「人傳人」、「確診」等，透過疫症為人熟悉，在劇場中與觀眾產生共鳴。

L Director James Chan Tai-yin maintains a collaborative relationship with the actresses, with whom he discusses frequently the interpretation of the text to fine-tune the acting 雖然作為劇本翻譯及導演，但陳泰

然認為他和演員處於平等、建設性的關係，在工作坊亦經常與她們討

論對字眼的解讀，以完善對劇本的詮釋

R The Cantonese and English productions commissioned by the HK AF are based on British playwright Neil Bartlett’s 2017 adaptation of Albert Camus’s La Peste 是次香港藝術節委約創作的粵語版

及英語版演出，是根據英國編劇尼爾．巴奈特於 2017 年就卡繆原著改編及搬演的版本

呈現戲劇火花

是次製作選擇以女性演繹卡繆原著小說的五

個男角色。陳泰然認為，卡繆在描述社會個體在面對災難時的感受，往往會用一種分離的手法去描寫。「我認為這種分離的感覺可

以比喻性地放在以女演員身體去演繹男角色

這點。其中一些場面，例如一個女演員說她思念太太，產生了一種難以言喻、隔離般的戲劇效果。我在尋找一些劇場效果，去探索對於分離的不同表現方法。」

劇中有幾場是群戲的場次，五位演員會像希臘吟唱一樣共同營造氣氛。2020 年 10 月舉行的劇本工作坊是導演與演員首次對外呈現

完整劇本，故事隨着各人的證詞徐徐展開，從個人的證供，到關鍵時刻五人聚合直面

觀眾，述說供詞中未能表露的想法和情感。

陳泰然認為演員帶給作品一種團結的力量：

「排練時她們表現到一種『人存在一起』的

力量。她們本身是很不同的演員，我覺得這

種『不同但又能放在一起』，是一種美感。那種美感是她們自己的火花，不需要我刻意呈現。」

對於陳泰然來說，劇場就是有這樣的力量。特別是小說經常提及的人類的團結，在台上

由有血有肉的人演出時，會帶來甚麼效果？這是劇場帶給觀眾的獨特體驗。

The Power of Chemistry This production casts women in the five lead roles where the original protagonists of Camus’s story were all men. In depicting the impact of disaster on society and the individual, Chan thinks that Camus would often adopt an approach of “dislocation” in his writing. Chan explains: “I think this feeling of dislocation can be used metaphorically with women performing the roles of male characters. Some moments in the play, such as when a female actor says she’s missing her wife, create an almost indescribable dramatic effect that is also a form of alienation. I’m searching for some theatrical effects with which to explore various representations of ‘dislocation’.” In the play, there are several ensemble scenes, in which the five performers collectively create the atmosphere of a Greek chorus. At the first script workshop of the complete script in October 2020, the gradual unfolding of the stor y through individual testimony was punctuated by key moments at which the five actors came together to confront the audience and reveal thoughts and feelings that their oral statements could not express. Chan believes that the actors bring a solidarity to the work: “In rehearsal, they express a power that is about ‘surviving together’. They are fundamentally very different actors; I think this state of being ‘different but together’ is beautiful. That beauty comes from their own chemistry; I don’t need to deliberately bring that out.” For Chan, this is the power of theatre. With the novel ’s frequent references to the solidarity of humanity, what kinds of effects will the flesh-and-blood performance of actors onstage have? This is the unique, personal experience that theatre offers audiences.

Wang Chong: “We need a new language to talk about this moment” Beijing-based director Wang Chong has previously directed several experimental adaptations of classic works, such as Thunderstorm 2.0 and Teahouse 2.0—updates of 20th-century Chinese classics by Cao Yu and Lao She. Directing the English version of The Plague is another experimental, ambitious endeavour for Wang, due in part to the special format he has adopted—this is an online play in which six actors from six different locations will perform via Zoom. Wang started reading the script in November 2019, and was instantly captivated: “In the beginning, I chose The Plague because of the anger that arose from the news and the spread of the virus. But afterwards, when the virus became a global pandemic, this anger gave way to anxiety, which was then transformed into a desire to express it. We need a new language, a new format to talk about this moment, this war we are living through. I hope that by using The Plague to closely examine the present, we can manifest a 21st century world.”

王翀：「我們需要新的語言來訴說當下。」北京導演王翀過往曾多次以實驗性的手法導

演經典作品如《雷雨 2 . 0》、《茶館 2 . 0》等。這次執導英語版《鼠疫》，對王翀而言也是

一次實驗性、具野心的嘗試，原因之一在於它將透過獨特的形式呈現：這是一套網上戲

劇，六個演員在六個不同地方，通過通訊軟件 ZOOM 演出。

王翀在 2 0 19 年 11 月收到藝術節發來的《鼠

疫》劇本，對作品非常感興趣。「選擇《鼠

疫》最初是因為憤怒，來自於新聞和疫情的

發展。但是後來疫情變成全世界的大流行，這種憤怒變成焦慮，然後變成一種訴說它的欲望。我們需要一種新的語言、新的方式

來訴說當下正在經歷的這場戰爭。我希望借

《鼠疫》來審視當下，表現二十一世紀的世界。」

“ Why does theatre exist? This is my answer: that it should respond to the times.”

「戲劇存在的理由是甚麼？這個就是我的答案，就是它是要關於時代的，它表現的就是當下。」 ── WANG CHONG 王翀

From previous remakes of the classics to The Plague, Wang has enlivened the works with his sensitivity to and observation of contemporary society 從過往的經典改編到這次執導

《鼠疫》，王翀均加入他對當代社會的敏銳觀察

Feature

The Social and Contemporary Nature of Theatre Wang’s core reason for directing the play is that Neil Bartlett’s adaptation contains profound descriptions of social realities: “Much of the play is situated within the ensemble which contains and presents a variety of viewpoints, including those of officials, a front-line doctor, a journalist, and a businessman. Every level of society makes its appearance; it’s a panorama of society.” © Courtesy of Théâtre du Rêve Expérimental 薪傳實驗劇團提供 Based on the renowned Chinese modern repertoire Thunderstorm, Wang Chong’s past directing credit Thunderstorm 2.0 uses video recording, projection and other multimedia means of expression for a contemporary storytelling 王翀的《雷雨 2.0》以中國現代經典

劇目《雷雨》為藍本，作品活用錄像、投影等多媒體表現手法，探索當代敘事形式

劇場的社會性及當代性

王翀執導這個劇本的根本原因，是尼爾．巴奈特的改編對社會現實有深刻的描述：

「它把很多篇幅放到群像上，展示了各種不

同的立場，包括官員、醫生、記者、商人，

The online format of the play is yet another ref lection of reality. Wang hopes that through his adaptation of The Plague, he can allow viewers to see how the virus has affected multiple cities and their residents. However, the biggest difficulty is coordinating between the multiple time zones. For the actors, the director and his Hong Kong team, it is a challenge, but for Wang “this form of mutual accommodation in terms of timing is a reality of our society in 2020.” He also sees contemporaneity is an indispensable part of today’s theatre: “Why does theatre exist? This is my answer: that it should respond to the times. Especially when we attempt, present, adapt or direct classic works, we should always keep our eye on the present and let the work be about today. There are many works that—despite being new 2020 productions—adopt an aesthetic or a direction which lacks in the flavour of our time, which is without efforts and marks of our era. I am afraid of theatre becoming like that.” This sort of indefatigable pursuit of the contemporary moment is what allows Wang to create a direct link between classic works and contemporary audiences.

各個層面都有所呈現，是一個全景式的社會。」

同時網上戲劇也是現實的一種反映。王翀希望透過《鼠疫》，讓觀眾看到不同城市的疫

情的狀況，看到疫情中人的生活狀態。他認為網上戲劇最大的困難在於時區的協調，對演員、導演和香港團隊來說都是挑戰，但

這也是「一種時間上的相互遷就，是我們 2020 年的社會現實。」

對王翀而言，當代性是現代戲劇不可或缺

的：「戲劇存在的理由是甚麼？這個就是我

的答案，就是它是要關於時代的，尤其是當

我們嘗試、呈現、改編、導演經典的時候，永遠應該把目光放在當下，讓作品是關於

二十一世紀的，因為有很多作品，雖然它可能是 2020 年的新製作，但是它的美學和指

向，沒有我們這個時代的味道，這個時代的努力和印記。我害怕戲劇變成那樣。我理想中的戲劇應該是關於我們這個時代的。」這

種對當代性孜孜不倦的追求，讓王翀得以穿透經典文本，直接與當代觀眾產生聯繫。

THE PLAGUE (Cantonese and English version)

《鼠疫》（粵語版及英語版）

Please visit the HKAF website for latest programme information.

請瀏覽香港藝術節網站以獲取最新節目資訊。

BRIDGING THE DIVIDE 串連心的距離

As the pandemic continues to define our everyday lives and force social distancing on us, emotional proximity has become more important than ever. In response, mentalist Scott Silven has been bridging distance, creating worlds within worlds that are intimate, intriguing and immersive. Revisiting his childhood memories of the Scottish countryside, Silven’s latest theatre production The Journey is online, in real time, and brings audience members from all over the world on a timely journey that explores ways of connecting with other souls. Before performances at the Festival, the HK AF spoke to Silven about his own journey of connection and wonderment. 疫情打亂了我們的日常生活，社交距離隔得愈遠，拉近心靈距離就顯得愈為重要。來自英國的讀心師史葛．蕭凡在這方面別有心得，過去專注創作跨越距離的戲劇作品，築構引人入勝、疑幻似真的另類世界。他的新作《心靈旅程》以實時網上形式進行，帶領世界各地觀眾重回他的故鄉蘇格蘭鄉

郊，探入最真切的個人回憶，並啟迪觀眾如何與他人建立

心靈連結。《心靈旅程》即將在第 49 屆香港藝術節上演，香港藝術節趁機會與蕭凡進行簡單訪談，分享他踏過的奧妙旅程。

INTERVIEWEE 被訪者

SCOTT SILVEN 史葛．蕭凡 Scott Silven is a mentalist with more than 15 years’ experience of theatre performance. He has toured extensively in the UK and US and has featured at international festivals such as the Melbourne International Arts Festival 史葛．蕭凡是位讀心師，

有超過十五年劇場演出的經驗。

他的作品常巡演英美兩國及其他國際藝術節，包括墨爾本國際藝術節

As told to James Liu, HK AF Editor, and Melody Lai, Assistant Editor 與香港藝術節編輯廖健邦及助理編輯黎家欣對談

Interview

When did you become interested in human connection and what is it that fascinates you the most? I think I’ve been fascinated with it since I started studying illusion—it’s intrinsic to the type of work I do. I believe that being a mentalist grants you one of the closest connections possible between performer and audience. We live in such fragmented times, and through the work that I create, I have come to realise we all have a desire to connect on a deeper level. How did your childhood encounters influence your perception of mystery? A couple of defining moments of wonder from my childhood stand out for me, and they usually echo back to my grandfather. He was a great storyteller and had the ability to capture my imagination. He also taught me my first illusion: he took a piece of candy that I’d signed my name on, vanished it and made it appear in a sealed matchbox on the table. He then immediately shared the secret with me. It was embarrassingly simple, but I was instantly captivated by him taking something ordinary and creating something extraordinary from it. How has your knowledge of hypnosis, psychology and theatre helped to create and shape your works? I secretly went to Milan to do a hypnosis course when I was 15 and didn’t tell my mom. I told her I was going on a school trip for the week, and came back with a hypnotic and psychological technique that I still use to this day. My shows use a variety of methods—storytelling, suggestion, psychological and traditional theatrical methods—the weaving together of these techniques hopefully creates a richer experience that goes beyond just a magic show. What power or influence do you think The Journey has on its viewers, especially in a time of a global pandemic? My primary objectives for the show are to delight, to astonish and, ultimately, to inspire connection. It’s always about so much more than simple escapism. Audiences have told me that the show has created whole new forms of connection as they find themselves, family or friends taking part in the extraordinary together. The Journey also asks the audience to consider what makes them who they are as the show explores the uniqueness of each and every person who takes part in the show. We’re all driven by memories, decisions, relationships, and dreams, and The Journey should make you look closely at your own life and consider what motivates you and what you’re capable of when you open yourself to new forms of connection.

你甚麼時候開始對心靈連結感興趣？它最為吸引你之處是甚麼？

當我開始研究幻覺現象時，便著迷於心靈連

結，它是我創作時的根本元素。我相信，一個讀心師能夠使自己與表演者和觀眾建立最

緊密的聯繫。我們現正身處於破碎的時代，從以往的創作中，我發現所有人的內心深處都渴望某種連結。

你的童年經歷如何影響你對神秘事物的看法？

小時候，有幾個驚嘆的時刻令我印象深刻，而且它們全都與我的祖父相關。祖父是個說

故事的能手，能夠喚起我的想像力，他是第一個教我把玩幻覺現象的人：他變走了一顆我簽了名的糖果，然後將它變在桌上一個密

封的火柴盒內。他隨即與我分享箇中奧秘，原理簡單得令人尷尬，但已立即引起我的興趣，因為他能夠將平凡的事物變得不平凡。催眠、心理學和劇場知識如何幫助你創作和形塑作品？

十五歲時，我靜悄悄地到米蘭修讀催眠課

程，當時我沒有告訴媽媽實情，只說要跟隨學校到米蘭一星期，回來後，我已學會催眠和心理學的知識，當年所學的至今仍然活

用。我的作品融入了各色各樣的技藝，包括敘事、暗示、心理學和傳統劇場的技法，希

望能夠編織成一個體驗豐富、超越一般魔術表演的演出。

你覺得《心靈旅程》會為觀眾帶來怎樣的力量或影響？尤其在疫症肆虐全球這段期間？

我最希望這個演出能夠令觀眾快樂、驚喜，更重要的是啟發他們連結彼此，而不只是純粹逃離現實。

有觀眾跟我說，演出創造了一種全新形式的

心靈聯繫，因為他們自己、家人和朋友都參與在這場奇幻的表演之中。

《心靈旅程》亦要觀眾思考是甚麼東西塑造

了現在的自己，因為作品正是要發掘每個參與者的獨特性。我們全部人都受回憶、選擇、關係和夢境影響，而《心靈旅程》就能

夠讓你深入了解自己人生，當你打開自己的

內心世界，進入這種全新形式的心靈連繫，便會發現你的推動力是甚麼，或者你擁有哪些潛在力量。

How different to live performances is creating and performing for online shows? The challenges of the online format have allowed unique opportunities to connect with the audience on a deeper level that I wouldn’t otherwise be able to do in a live environment. For The Journey, we send the audience exclusive advance content that they can interact with before they engage with the experience. As well as this, there’s something very powerful about audience members sitting in the comfort of their own homes. They are asked to bring objects that have meaning and purpose for them to the performance itself, which I hope makes it a far more personal and powerful experience than sitting in the usual darkened space of a theatre.

網上演出與現場表演有甚麼分別？

網上演出的難處，讓我能夠有獨一無二的機會與觀眾建立一種深層次的連繫，而這種連繫是不能在現場表演中做到的。在《心靈

旅程》表演開始前，我們會事先給予參與者一些特別製作的互動短片，好讓他們準備心情。除此之外，參與者只須安坐家中，並帶

上一件對他們來說別具意義和價值的物件，如此安排是希望能夠令演出模式更加個人

化，可以讓參與者的體驗比起坐在漆黑的劇場之中更加深刻。

© David Wilkinson, Empirical Photography Audiences will take part in a real-time interaction with Soctt Silven in The Journey; they will have a chance to share personal stories and also hear the reminiscences of other audience members 在《心靈旅程》中，觀眾將會與史葛．蕭凡進行實時互動，並有機會分享個人故事及聆聽其他參加者的回憶

THE JOURNEY 《心靈旅程》 Please visit the HKAF website for latest programme information.

請瀏覽香港藝術節網站以獲取最新節目資訊。

Â© Peter Pokorny

Analysis

TOWARDS A NEW LANGUAGE OF THEATRE 醞釀戲劇新語言

TEXT 撰文

OLIVER FARRY Oliver Farry is an English Editor at the HK AF Oliver Farry 是香港藝術節的英文編輯

In a year when a previously unknown virus spread like wildfire across the globe, theatre was forced to swiftly adapt to a new reality, branching out into new formats and production means. The result has been an enrichment of theatrical language by a raft of new insights and emotional responses. The 49th HKAF presents two overseas theatre productions—Blindness and Pathetic Fallacy—that have particular resonance in the present circumstances not only in content, but also in their modes of delivery. From their theatre seats, audiences are brought on inner journeys—into a land beset by a mysterious disease and the fascinating world of weather and its effects on humanity. 面對一種前所未聞的病毒如野火般蔓延全球，劇場唯有迅速適應新現實，開拓新的形式和製作手法。這些層出

不窮的新視野和情感也令戲劇語言更為豐富。第 49 屆香港藝術節為觀眾帶來兩部海外戲劇作品 ――《盲流感》和《無晴情天氣報告》，其演出模式及主題尤為契合當下的社會狀況。身處劇院的觀眾將隨着劇情開展一段心靈之旅，分別進入一個被神秘疾病困擾的國度，以及關於氣候的迷人世界，見證它對人類的影響。

Hearing the Echoes in Blindness In a time of pandemic, this adaptation by Simon Stephens of Nobel laureate José Saramago’s dystopian novel has particular resonance. Blindness tells the story of an epidemic where people are blinded by a highly contagious mystery disease, forcing sufferers into a quarantine where power struggles among the desperate lead to atrocities and a grim replication of the outer world. Saramago’s novel, with its harrowing depiction of a world whose social order deteriorates when confronted with unprecedented challenges, rings particularly true during the coronavirus pandemic, which has highlighted social fissures and forced people worldwide to devise responses to a new formidable threat. The metaphorical charge of Blindness also intimates that one of the first casualties of pandemics is lucidity, and an ability to see dangers ahead until it is too late. The production by London’s Donmar Warehouse, is unique in being a stage show without actors, the sole human protagonist being the narrator, voiced by Juliet Stevenson, whose eerily modulated monologue is based on Giovanni Pontiero’s translation of Saramago’s original text. Blindness was premiered when the Donmar Warehouse reopened in July 2020 after being closed for four months due to the pandemic. It won plaudits from critics in the UK for its innovative take on literary adaptation and the tense claustrophobia of the production. In a configuration tailor-made for social distancing, audience members are seated in pairs or individually throughout the auditorium and listen to the narration through headphones. The viewers are plunged into an immersive experience as the light begins to fade, an ominous soundscape engulfs the room and they too are left vulnerable to the very handicap the narrator speaks of. The feeling of helplessness echoes with the beleaguered nature of life in many parts of the world since COVID-19 first surfaced. The production offers a rethinking of theatre, bringing the audience out of the conventional observational experience and throwing them into a completely new one, where they are witnesses to a story unfolding yet at unusually close quarters to it.

聆聽《盲流感》的迴響

在疫情肆虐之際，這部由西蒙．史提芬斯

改編、出自諾貝爾獎得主荷西．薩拉馬哥的

反烏托邦小說的劇作，尤其令人產生共鳴。故事中，人類因感染了一種傳染性極高的神

秘疾病而失明，患者被逼隔離。人們陷入絕望之中，權力鬥爭釀成各種暴行，也令社會大環境墮進絕望境地。

面對前所未有的挑戰，薩拉馬哥小說中的世界不堪一擊，社會秩序嚴重惡化，令人痛

心。在新冠疫情蔓延的當下，故事中的情景重現 ―― 社會分裂，各地民眾不得不想盡

辦法應付這個恐怖的新威脅。《盲流感》的

隱喻還暗示了在流行病之下，首先犧牲的是人類的理智，以及及時感知危機的能力。

由倫敦多瑪倉庫劇場製作的演出毋須演員，整場表演唯一的主角是擔任旁白的英國演員

茱麗葉．史提芬森，其獨白令人毛骨悚然，由專研葡文的英國學者喬瓦尼．龐蒂埃羅取

材自薩拉馬哥的原文翻譯而成。《盲流感》是多瑪倉庫劇場於 2020 年 7 月重新開放後

上演的首部作品，此前劇場因疫情而關閉了

四個月。作品憑藉對文學改編作品的新意，以及幽閉恐懼式的強烈視聽效果，贏得英國評論家的好評。

製作的空間結構設計考慮到社交距離的要

求，觀眾成對或單獨坐於劇場內，透過耳機收聽旁白。當燈光變暗，觀眾沉浸於故事之中，猶如身臨其境，令人不安的聲音吞沒整個空間。面對旁白口中因失明而來的重重困

難，觀眾陷入絕望的氣氛。自從新冠肺炎出現，各地民眾在生活上都飽受困擾，對這種無助感都相當有共鳴。

作品令觀者重新思考戲劇，他們面對的不再是傳統的觀賞體驗，而是一個全新的演繹模式，異常近距離地見證故事的發展。

BLINDNESS

《盲流感》

Details of the programme to be announced later. © Helen Maybanks

節目詳情容後公佈。

Analysis

《無晴情天氣報告》：反思人與自然的關係

《無晴情天氣報告》中同樣也有一把女聲貫

穿其中。與《盲流感》一樣，這部作品也極

具當代意義。溫哥華快刀劇場藝術總監、加拿大籍導演安妮塔．羅尚決心要減少自己的碳足跡，構思了這部關於氣候變化的多媒體戲劇作品。羅尚毋須搭乘飛機參與作品的巡

演，只會遙距與現場演員合作演出。演員將

在綠幕前表演，屏幕上投映出一幅幅圖像、片段和圖表，這些畫面審視了從遠古時代到生態危機迫在眉睫的今時今日，人類與氣候之間不斷變化的關係。羅尚本人也不時在屏幕中出現，與演員互動。

《無晴情天氣報告》有着嚴肅的中心思想，但演出卻不會嚇怕觀眾或過於沉重，反而

充滿機智和幽默感。透過作品，羅尚和表演者 ―― 香港藝術節的本地演員林澤群和黃龍

斌，為觀眾講解氣候資訊和趣聞，例如人們為颶風命名，以便民眾更留意他們的移動路

徑，或天氣預報是怎麼產生的，以及人們如何錯誤地將人類的感情和動機套用於天氣上

――「情感誤置」（即劇作英文名稱之意）。

《無晴情天氣報告》雖然並非採用傳統戲劇的敘事手法，但依然為觀眾帶來豐富多采的體驗，涉及人類對日常以至極端天氣現象的

反應。羅尚一本正經的講解不乏幽默的題

外話，她風趣地剖析美國女子組合「天氣孖妹」的的士高舞曲《 It's Raining Men 》，便是一例。

作品同時令人思考科技如何影響我們對氣候

的反應。如今，我們只需幾個按鍵，就可以透過手機獲取過往和當下的天氣預報及數據。同樣的科技令這部不受地域限制的演

出變得可能 ―― 遙距製作，然而親身出演。

《無晴情天氣報告》於 2018 年首演，而在新冠疫情依舊嚴峻、大眾保持社交距離的今時今日，其演出方式更凸顯出創作者的先見

Pathetic Fallacy: Rethinking the Human-Nature Relationship A disembodied female voice also presides over much of Pathetic Fallacy. Like Blindness, it has a particular contemporary relevance. Canadian director Anita Rochon, co-artistic director of Vancouver’s The Chop, conceived this multimedia theatre work about climate change with the intention of reducing her own carbon footprint. Instead of flying around the world touring with the show, she would stage it remotely, with the help of local actors on site. The chosen actor performs in front of a green screen, on which is projected an array of images, films and charts that examine our changing relationship with the weather, from ancient times down to the present day of impending ecological crisis. Rochon herself also appears from time to time, interacting with the actor in virtual form. Pathetic Fallacy has a serious subject at its core but the show is far from daunting or heav y, and is delivered with humour and wit. Rochon and her performer—in the case of the HK AF, local actors Pichead Amornsomboon and Tony Wong—regale the audience with facts and anecdotes about the weather, including how hurricanes are given human names to try to make populations more aware of their advance, how weather forecasts are produced, and how people mistakenly attribute human feelings and motives to weather (the “pathetic fallacy” of the title). Though not a conventional piece of theatrical storytelling, Pathetic Fallacy nonetheless provides an enthralling and eclectic experience that touches on the human responses to weather phenomena, be they everyday or extreme. Rochon’s earnestly deadpan narration contains plenty in the way of humorous asides, such as in her analysis of The Weather Girls’ disco hit It’s Raining Men. It is also a rumination on how technolog y informs our responses to weather, now that access to forecasts and data, both historical and contemporary, is at our fingertips, in the very phones we carry everywhere. That same technology has made the “delocalised” show possible, produced at a distance, yet in person, something that, though Pathetic Fallacy premiered in 2018 and predates the pandemic, has had a strange prescience in a year of global social distancing. Both experimental and playful, this is a show that will leave audiences nourished, thoughtful and entertained.

之明。

這部充滿實驗意義和趣味的演出，相信能讓觀眾獲益良多，令他們反思更多。

PATHETIC FALLACY

《無晴情天氣報告》

Please visit the HKAF website for latest programme information.

請瀏覽香港藝術節網站以獲取最新節目資訊。

Journal

THE POWER OF MUSIC AND RESONANCE: STRIKING A CHORD IN THE NEW NORMAL 新常態下，繼續奏樂

As the saying goes, “music knows no boundaries”—but how powerful is music? How far can it reach? Since the outbreak of the COVID-19 pandemic, humanity’s vulnerability and mortality have been more apparent than ever. Despite the clear impediments, musicians worldwide have not let up in their creative pursuits but have rather seized the opportunity to bring their audiences new kinds of musical experiences in these trying times. In the face of adversity, music is more than mere notes on a stave or the materialisation of a composer’s opus; it is also a silver lining and a balm that soothes the hearts of those it reaches. When a composer’s unique experiences and feelings are infused in their work, especially during an event as ubiquitous as this pandemic has been, music transcends geographical boundaries and becomes a collective memory for all generations. The Hong Kong Arts Festival has invited several musicians taking part in the coming Festival to share their thoughts on the power of music and how the shift to a new norm brought about by COVID-19 has changed their perception and the way they work. 常言道：「音樂無邊界」，可是，它的力量有多大？它的界限有多廣？ 2020

年，疫情來襲，人類在這場疫症的陰霾下變得渺小和脆弱。幸而，世界各地的音樂家並沒有因此而停止創作，反而趁此機會為大眾帶來不一樣的音樂體驗。那些在五線譜上的音符，不僅是音樂家的所思所想，更是我們面對逆境的靈丹妙藥，為人帶來曙光。

香港藝術節特意與幾位參與來屆藝術節的本地和國際音樂家進行簡單訪談，分享在這特別時期，音樂對他們的意義，並如何透過音樂向大眾傳遞正面力量。當個人經驗和感受化成樂曲時，音樂便會與外界連接，成為各個世代的共同記憶。

As told to Melody Lai, HK AF Assistant Editor 與香港藝術節助理編輯黎家欣對談

ANDRÉS OROZCO-ESTRADA MUSIC DIRECTOR OF THE WIENER SYMPHONIKER 維也納交響樂團音樂總監奧羅斯科 – 埃斯特拉 How has this pandemic changed the way you work with the orchestra? In forcing us to become even more creative and spontaneous, the crisis opened up many new possibilities. The cancellation of my international performances cleared the path for numerous newly planned concerts in Vienna—so the orchestra and I had the chance to get to know each other even quicker and more intensively. During the current lockdown, for example, we were able to launch a new streaming format focusing on Joseph Haydn, where we present our fabulous musicians as soloists. Finally, yet importantly, we get a lot of appreciation from our audience for the work we are doing under those challenging circumstances. In what way do you think the programme performed at the Festival echoes with our times? There are numerous connections in the programme with our present day. Richard Strauss’s Ein Heldenleben (A Hero’s Life) for example tells the story of a man’s life with all its vicissitudes and struggles. As with all timeless art, it speaks powerfully to us today—both as individuals and as a society. The stunning beauty of the songs of Erich Wolfgang Korngold, too, inspires us just as they did others in the past. For beauty is, and has always been, at the centre of human motivation.

THE WIENER SYMPHONIKER’S CONCERTS

維也納交響樂團音樂會

NIU NIU’S CONCERTS 牛牛音樂會

這次疫情對你與樂團的合作模式有甚麼影響？疫情迫使我們變得更加有創意，反應亦要更

快，這次危機開啟了許多新的可能性。我的國外演出雖然取消，卻讓我們可以在維也納

規劃及舉辦更多音樂會，我和樂團因而有機會更快、更深入地認識彼此。封城期間，我們以網上串流形式舉辦了一個以海頓為題

的音樂會，向觀眾介紹樂團出色的獨奏音樂

家。更為慶幸的是，在這種挑戰重重的環境下，能夠得到觀眾對我們演出的讚賞。

這次在香港藝術節演奏的曲目如何呼應當代？

我們揀選的曲目與當代有多個呼應之處。史特勞斯的《英雄的一生》講述一個英雄一

生經歷了眾多波折和掙扎的故事，與所有歷久常新的藝術一樣，樂曲之於今天的社會和

每位聽眾都有着重要意義。此外，康戈爾德的歌曲美得令人驚艷，從過往到現在一直無

間斷地為聽者帶來啟發。美麗的事物對人類總是重要的推動力。

The screenings are sponsored by The Hong Kong Jockey Club Charities Trust as part of The Hong Kong Jockey Club Series. Please visit the HKAF website for latest programme information.

放映節目為香港賽馬會藝粹系列之一，由香港賽馬會慈善信託基金贊助。請瀏覽香港藝術節網站以獲取最新節目資訊。

Please visit the HKAF website for latest programme information. 請瀏覽香港藝術節網站以獲取最新節目資訊。

Journal

ERWIN ORTHNER ARTISTIC DIRECTOR OF THE ARNOLD SCHOENBERG CHOIR 荀伯格合唱團藝術總監奧特納 What is the meaning of music to you during Covid-19 lockdown? The first few weeks, I was in shock. Music has a high priority in my life. The impossibility of engaging in music with others is painful. Music means the joy of life to me, accompanying all its highs and lows, but it also gives me comfort. What have been some of your favourite pieces of music when working from home/in isolation during this period? I basically love expressive music. I have many favourite pieces, to give just some examples: Bach’s Mass in B minor, Schubert’s works for male choir, Mendelssohn’s Elias, Schumann’s Paradise and the Peri, Bruckner’s 7th Symphony, Webern’s Entf lieht auf leichten Kähnen, Schönberg’s Peace on Earth, Ligeti’s Lux aeterna and many more. This time has enabled a very intensive study of music.

THE ARNOLD SCHOENBERG CHOIR’S CONCERT 荀伯格合唱團音樂會

在封城期間，音樂對你有甚麼意義？

起初幾週，我是震驚的。音樂在我的人生中佔有很重要的地位，未能與其他人在音樂上互動交流是一件痛苦的事；音樂是我的快樂

泉源，伴隨着生活的高低起伏，同時也給予我心靈上的慰藉。

在封城或在家工作期間，你喜歡聽哪些樂曲？我一般喜歡感情色彩濃厚的音樂，我喜歡的

樂曲有很多，例如巴赫的 B 小調彌撒曲、舒伯特寫給男聲合唱團的作品、孟德爾頌神劇

《以利亞》、舒曼神劇《天堂與仙子》、布

魯克納的第七交響曲、韋伯恩《乘着光明之船》、荀伯格《和平之歌》及利蓋蒂《永恆

之光》等，這段時間讓我能夠深入鑽研音樂。

Please visit the HKAF website for latest programme information. 請瀏覽香港藝術節網站以獲取最新節目資訊。

NIU NIU PIANIST 鋼琴家牛牛 How do you feel not being able to give a live performance? I truly miss being on stage. Even if we can give livestream concerts, I think it’s totally different from when there is a live audience. There’s a kind of communication and energy you definitely cannot feel in online concerts. So what did you do to make use of the time?

During this period, I wrote my debut composition—a f ive-minute impromptu piece called Hope. It’s partly inspired by this pandemic but I also wanted to express my true wish that everybody can have a strong will and believe that we will have a better tomorrow. I hope this piece, in its short running time, will show the various states we experience in life, such as calmness, serenity, struggles, chaos and fulfilment. I have already recorded it and will include it on my forthcoming album in April 2021. It feels really magical to hear my own music coming out of it.

對於未能現場演出，你感覺如何？

我很想念在舞台上演奏的日子，即使我們有網上直播音樂會，但我認為與現場演出的感覺完全不同，因為現場音樂會的交流和力量是網上感受不到的。

你如何善用這段時間？

在這段時間，我首次嘗試作曲，創作了作品

《希望》，這是一首五分鐘的即興曲，靈感有部分來自這次疫情，但我衷心希望每個人

都能夠堅信明天會更好。我希望這首短短幾分鐘的作品能夠反映我們在生命中的種種感受及狀態，包括沉着、平靜、掙扎、紛亂及

圓滿。《希望》已經灌錄完成，並將會收錄在我於 2021 年 4 月推出的專輯之中，能夠見證自己的音樂面世，感覺十分奇妙。

CHARLES RICHARD-HAMELIN PIANIST 鋼琴家查爾斯．理察 – 哈梅林 What are some of your favourite pieces of music when you work from home/in isolation during this period? It is very rare for touring musicians to have free time to read and learn music just for fun, with no actual performance in mind. I took that opportunity and worked on works by Bach, Ravel, Kapustin, Brahms, Granados, Medtner and others. Since the International Chopin Piano Competition, I’ve never stopped playing Chopin’s music, so taking a break from it gave me the opportunity to fall in love with it all over again. In what way do you think the music that will be performed at the HK AF echoes with our times? We’ve all been through so many different wide-ranging emotions since the beginning of the pandemic, and I feel that all of them are represented in some way in the 24 Chopin Preludes. The uncertainty (No 2), the despair (No 8), the anger (No 12), the resignation (No 15)… Amid this darkness, there is still a lot of light (Nos. 3, 11, 19, 23) and people will find joy and humour even in the worst of times. Chopin was very sensitive to the human condition and that is partly why his music is so universal. How has this pandemic changed the way you work or think as a pianist? I’ve have been lucky to perform for a few live-streaming concerts, and while I’m so grateful to be able to work during this pandemic, it makes me very nostalgic for the days when I could perform for an audience in person. It takes a lot of energy to give a performance, and a lot of energy is gained back from the attention and enthusiasm of the public. This synergy between performer and listener is essential to me and I’m really looking forward to the return of live performances. I also miss the rituals around the actual concert: everything from meeting and talking with the audience to the celebratory drinks after the show!

在封城或在家工作期間，你喜歡聽哪些樂曲？對於慣於巡演的音樂家來說，毋須記掛演出的事宜，能夠擁有閒暇為興趣研讀及學習自己喜歡的音樂是非常罕有的，我因而藉此

機會彈奏巴赫、拉威爾、卡普斯京、布拉姆

斯、葛拉納多斯、梅特納等作曲家的作品，自蕭邦國際鋼琴比賽後，我從未停止彈奏蕭邦的音樂，這段時間正好可以讓我可以稍作休息，重新愛上他的作品。

這次在香港藝術節演奏的作品如何呼應當代？疫症發生至今，我們經歷了很多不同的情

感，我覺得這些情感某程度上也能反映在蕭邦二十四首前奏曲之中，例如未知（第二

首）、絕望（第八首）、憤怒（第十二首）、順從（第十五首），但在這黑暗時期，我們仍然能夠望見曙光（第三、十一、十九及二十三首），即使在最壞的時刻，人們仍能

找到快樂和幽默之處。蕭邦對於人類狀況非常敏感，這就是其音樂能夠如此普及的原因之一。

作為鋼琴家，疫症為你的工作和想法帶來甚麼影響？

我很幸運能夠演出多個網上直播音樂會，與此同時，亦很感恩在疫情期間仍有機會演奏，但我亦懷念那些為觀眾現場演奏的時

光。每次演出都要花很大的氣力去完成，但觀眾的熱情和注目卻能令我恢復力量。演奏者和聽眾之間相輔相成的關係對我而言是非

常重要的，我很期待重返舞台作現場演出，我也很懷念音樂會周邊的種種活動，包括與

觀眾見面和聊天的時刻，以至表演後去喝一杯慶祝。

CHARLES RICHARD – HAMELIN’S CONCERTS

查爾斯．理察 – 哈梅林音樂會

Please visit the HKAF website for latest programme information. 請瀏覽香港藝術節網站以獲取最新節目資訊。

Journal

YAN HUICHANG ARTISTIC DIRECTOR AND PRINCIPAL CONDUCTOR FOR LIFE OF THE HONG KONG CHINESE ORCHESTRA 香港中樂團藝術總監兼終身指揮閻惠昌 How did you maintain your creative energy throughout these months? During this period, we were unable to gather for rehearsals, so the Chinese Orchestra’s members and management all dedicated time and effort to combing through and consolidating the past 40 years of performance pieces. From about 3,000 pieces we selected around a hundred songs either commissioned or arranged by the orchestra and added some familiar tunes to compile a song library—“One Hundred Chinese Music Classics Select”. We have performed the first two concerts, and the opening one was broadcast live to an international audience. When the pandemic abated for a short time we tried to host smallensemble-style practice sessions, though we couldn’t rehearse as a full orchestra. Throughout this time, we’ve also been continually pondering how we might attract a larger audience to our Chinese music pieces. One of the solutions we came up with was collaborating with media production teams to create a series of music videos promoting festive Chinese music. For example, for Mid-Autumn Festival this year, the orchestra released a music video called Moon Chaser, filmed with macro lenses to capture the quaint, elegant and contemporary qualities of plucked Chinese instruments. Additionally, during the pandemic, we established the HKCO Net Festival, which invited local Chinese music composers, conductors, music instructors and drum ensembles to submit videos of their performances to our online platform. We hope that the surging rhythms and drumbeats of the musicians bring cheer to the people of Hong Kong.

HONG KONG CHINESE ORCHESTRA MUSIC ABOUT CHINA 香港中樂團 ― 樂旅中國

你們在疫情期間如何保持創作力？

在不能聚集排練的那段日子，樂團的管理層和團員一起對樂團四十多年來的藝術作品進行回顧和疏理，從演奏過的三千多首的作品中，篩選出百多首樂團委約

或委編首演，加上耳熟能詳的名曲，形成「中樂百首精選」曲目庫，首兩場音樂會已圓滿舉行，其中開季音樂會更以

網上直播方式分享予世界各地的觀眾收

看。疫情一度好轉時，我們雖不能以大樂

團的形式一起排練，但仍堅持以小組形式練習。

疫情期間，我們經常思考怎樣才能吸引更多觀眾觀看我們的中樂作品，其中一個方向便是與從事媒體製作的團隊合作，推出了中

國節慶音樂錄像系列。例如樂團在中秋節推出了《追月》音樂錄像，運用微距鏡頭拍

攝，展示了中國彈撥樂器時既古雅又現代的特色。

另外，疫情期間，我們創辦了「香港網上

中樂節」，邀請本地中樂作曲家、指揮、老

師、鼓隊等參加，在網上遞交音樂作品及鼓樂演奏片段，在樂團的網上平台以澎湃鼓樂激勵港人，傳遞正能量。

The Festival Opening on 27 February is sponsored by The Hong Kong Jockey Club Charities Trust. Please visit the HKAF website for latest programme information. 二月二十七日之藝術節開幕演出由香港賽馬會慈善信託基金贊助。請瀏覽香港藝術節網站以獲取最新節目資訊。

EACH SPOKEN WORD HAS A PIECE OF LIFE ATTACHED TO IT 一聲一句皆有靈

Sound, language and speech are the primary sources of communication for human beings. Each and every word contains the wish to understand and be understood, shaping the invisible connection between humans in different situations. Czech composer Leoš Janáček was interested in human speech and animal sounds, and collected sounds from surrounding environment, fusing the musicality of these sounds into his music and opera works. Patricie Částková, dramaturg of the National Theatre Brno in the Czech Republic, traces Janáček’s rise in Brno and examines two of his most iconic opera works—Jenůfa and The Cunning Little Vixen.

聲音、語言、談話，構成人類溝通的基本途徑，一字一句，都盛載理解與被理解的希望，為我們在不同處境下建立無形連繫。捷克作曲家楊納傑克對人類語言和動物聲音深感興趣，除採集日常生活中的各種聲音，更把聲音和語言的音樂特質融入其音樂及歌劇作品。捷克布爾諾國家歌劇院的戲劇構作帕翠絲．卡斯高娃，深明楊納傑克對各類聲音的愛好，在下文追溯作曲家在布爾諾大放異彩的經歷，以

及他其中兩部標誌性歌劇 ――《耶奴法》及《狡猾的小狐狸》中各種聲音素材的重要性。

TEXT 撰文

PATRICIE ČÁSTKOVÁ 帕翠絲．卡斯高娃

Patricie Částková is the dramaturg of the the Janáček Opera at National Theatre Brno. She has taken part in more than 70 of the company's opera productions, and works as a lecturer in a number of educational projects 帕翠絲．卡斯高娃是捷克布爾諾國家

歌劇院楊納傑克歌劇團的戲劇構作，

她曾參與歌劇院超過七十部歌劇製作，並為不少教育項目擔任講師

Feature

Â© Marek Olbrzymek

Leoš Janáček, one of the greatest composers of the 20th century, was born in Hukvaldy in North Moravia, but it was the South Moravian city of Brno that would become inextricably linked to his life’s destiny. He first arrived in Brno as an 11-year-old in August 1865, having enrolled at the foundation at the Augustinian monastery of St Thomas, because his father, a teacher in a small school, could not afford to support 13 children. Janáček was already showing musical talent and, thanks to composer Pavel Křížkovský, was able to enter the foundation. Although Janáček would later remember his arrival in Brno as gloomy, it would be the start of a journey that took him to the summit of the world of art. His environment in Brno played an indisputable part in that rise. The “Bluebirds”, as the choral scholars were called because of their uniforms, were in contact with a number of prominent figures among the monastery’s monks, including Křížkovský himself, Johann Gregor Mendel and the enlightened abbot Cyril Napp. The boys were given a thorough musical education, part of which involved performing at masses in the Basilica of the Assumption of Our Lady, in the monastery’s own musical performances and also in concerts and theatre productions in the city. Nearly 50 years later, Janáček reminisced about his life in the monastery in his composition March of the Bluebird, which later inspired his wind sextet Youth. Janáček would soon start repaying his city; after his studies at the Slavonic Teachers’ Institute, he stayed on as a teacher and also threw himself into organising Czech cultural life in the Moravian city. He also conducted the choir at the Svatopluk Artisan’s Association and the Brno Philharmonic Society’s choir, Beseda brněnská. His desire to further his musical education took him to Prague and brief ly to Leipzig and Vienna. After returning to Brno, he quickly became a major figure in the city’s cultural life. He organised chamber and symphonic concerts and established the tradition of large vocal-orchestral concerts in Brno. He was a co-founder of the city’s Russian Circle and the Friends of Art Club, and was also devoted to music journalism—he published the magazine Hudební listy (“Musical Papers”), was music editor of Moravské listy (“Moravian Papers”), and he contributed to the Lidové noviny daily newspaper and published theoretical studies and articles. In 1881, he established an organ school, which he directed till the end of his life and which became the basis for today’s Brno Conservatory. Janáček became interested in opera during his studies in Vienna, but it was the foundation of the Czech National Theatre in 1884 that led him to compose in the medium, which would later make him world-famous. Br no was a n i nspi rat ion to hi m, as , du r i ng his l i fe , he saw it s transformation from a cluster of urban settlements to the formation of Greater Br no a nd it s f lou r ishi ng a f ter t he est ablishment of Czechoslovakia in 1918. It was his city, a city he devoted a unique work to—the Sinfonietta.

二十世紀其中一位最偉大的作曲家楊納傑

克，生於北摩爾維亞的胡克瓦爾迪村，可是跟他一生結下不解緣的，卻是南摩拉維亞州的布爾諾。1865 年 8 月，由於他擔任教師

的父親，未能負擔養育十三名小孩的重責，只有十一歲的楊納傑克便來到布爾諾，到奧古斯丁聖湯瑪士修道院上學。楊納傑克當時已展現出音樂天賦，加上作曲家克里茲柯夫

斯基的關係，他順利入讀修道院。雖然這位小男孩在布爾諾最初的日子暗淡而沉重，這座城市卻是他音樂旅程的起步點，一路引領他走向藝術的巔峰。他在布爾諾的生活環境在他的事業中扮演着毋庸置疑的角色。修道院的合唱學生因制服的顏色而被稱為「藍

鳥」，他們跟修道院一些有名的修道士相

處，例如克里茲柯夫斯基、孟德爾，還有開

明的修道院院長納伯。一眾男學生接受全面

的音樂教育，更在聖母升天聖殿的彌撒、修道院的音樂製作，以及市內舉行的音樂會和

戲劇等場合演唱。近半世紀後，楊納傑克便藉其《藍鳥進行曲》（後來成為其管樂六重奏

《青春》的創作材料）中，緬懷他在修道院的日子。

楊納傑克很快就開始回饋其城市；從斯拉夫

教師學院畢業後，他留校就任，還投身推動摩爾維亞市的捷克文化生活，又指揮切赫工匠協會和布爾諾智者愛樂協會的合唱團。他

極欲增進音樂知識，到過布拉格，以及短暫

到過萊比錫和維也納進修。回到布爾諾後，他迅速成為當地文化界的重要人物，籌辦室樂和交響樂音樂會，開創布爾諾舉辦大型聲樂及管弦樂音樂會的傳統。他同時是俄羅斯同好會和藝術好友俱樂部的聯合創辦人，更委身音樂新聞業，出版雜誌《音樂報》，擔任《摩爾維亞報》的音樂編輯，還向《人民

日報》投稿，並出版不同理論研究和文章。 1881 年，他創辦了一所管風琴學校，終其

一生管理及領導學校，而學校正是今日布爾諾音樂學院的前身。楊納傑克在維也納學習時，開始對歌劇感興趣，可是直至 1884 年

捷克國家劇院成立後，才驅使他開始以這一媒介創作，其後更讓他揚名國際。

布爾諾是他的靈感泉源，他一生見證了當地

的轉化，親歷城鎮升格為大布爾諾區，還有於 1918 年捷克斯洛伐克立國後迎來興旺年

代。那是他的家之所在，使得他獻奉上獨樹一幟的作品《小交響曲》。

Feature

Janáček once dedicated his Sinfonietta to the Czechoslovak armed forces, showing his love for the country. Pictured here is the score of its opening movement, a fanfare 楊納傑克曾將《小交響曲》題獻給捷克斯洛伐克軍隊，可見他對國家的熱愛。圖為作品開場號曲的樂譜

Though by age Janáček (1854–1928) belongs more to the generation of Antonín Dvořák (1841–1904), his compositions were among the most progressive works of music created during the 20th century. Taken in 1904 雖然論年齡，楊納傑克與德伏扎克

屬於同一世代，不過他的音樂在二十世紀算得上最先鋒的一批。攝於 1904 年

Inaugurated in 1882, Brno’s Mahen Theatre hosted a number of premiere of Janáček’s operas, including The Cunning Little Vixen and The Makropulos Case 建於 1882 年的布爾諾馬亨劇院見證了楊納傑克不少歌劇作品的首演，

例如《狡猾的小狐狸》及《馬克普洛斯檔案》等

Foraging for Sounds Director Robert Carsen has called Janáček “a school of music all by himself ”, which captures perfectly the composer’s personality, whose foundations we can find in the numerous inf luences Janáček absorbed throughout his life. Moravian folk music became one of the cornerstones. His interest in folklore was primarily related to the search for inspiration for his own musical work, but at the same time, it grew into a great love of his life. It brought a nearly 40-year period of systematic work focused on collecting (folk songs and instrumental music as well as folk dances) and theory. He recorded, collected and harmonised folk songs and dances and in the years from 1888 to 1893, there was no composition of his that did not have a connection to folk music. He also listened to and recorded folk speech—he studied speech melodies, not only for their musical qualities, but for everything that could affect a person’s speech: their environment, their age, their life experience and situation. His first score of human speech dates to 1897 and Janáček’s interest in the melodies lasted until his death. He wrote about them in 1905: “The melody of a speech is a true momentary musical expression of a person; it is the photograph of their soul and the whole of their being.” He did not confine himself to melodies of speech; in more than 4,000 recordings, there are melodies of dogs barking, mosquitoes buzzing or floorboards creaking.

採集聲音

歌劇導演羅伯特．卡遜曾說楊納傑克的音樂自成一派，完美地道出了這個作曲家的個

性。我們可以在其音樂根基中，找到楊納傑克一生中所融匯的不同影響。摩爾維亞民俗

音樂正是其中一座基石。他對民間傳說感興

趣，是由於他要為音樂作品尋找靈感，但與此同時，這逐漸成為了他的一生摯愛，伴隨接近四十載有系統的工作，集中於採風（採

集民謠、器樂以及民族舞曲）和整合理論。從 1888 至 1893 年間，他致力收錄、採集民

謠和民俗舞曲，並為樂曲編寫和聲，其間筆下所有樂曲，都與民謠有關。

他同時聆聽和記錄方言。他研究人類語音旋

律，不僅是為了探索其音樂性，而是找出能

影響一個人說話的一切因素：環境、年紀、生活體驗和處境。 1897 年，楊納傑克首次

收錄人類語音為樂曲，而他對旋律的興趣終其一生也未休止。他於 1905 年寫道：「語

音旋律是一個人片刻間真正的音樂表述；是其靈魂和整個存在的一幀攝像。」他的興

趣不限於語音旋律，在其四千多段錄音中，也收錄了狗吠聲、蚊子嗡鳴聲或地板的嘎吱聲。

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Set in a small tightly knit community, Jenůfa tells the endeavours of Jenůfa (middle) searching for a true love, and the stigma and sacrifices that ensue 《耶奴法》故事設定於一個封閉的

小村莊，講述主角耶奴法（中）在追尋愛情的路上的遭遇及種種犧牲

These sources gave birth to the opera that became the foundation of Janáček’s operatic works—Jenůfa. His early works were affected by late Romanticism and folklorism; Jenůfa stood at the beginning of a new journey. Inspired by verismo, composed expressly with a prose libretto, and modified by a composer showing himself to be a true dramatist and brilliant dramaturge, Jenůfa is an interesting study of the development of Janáček’s musical language and his view of theatricality in opera, and a ref lection of modern streams of music and drama in his work. Jenůfa took nearly 10 years to compose, and there is a significant shift between the first act, which is predominantly a traditional numbered opera with ensembles, influenced by folklore, and the second and third, written after a gap of several years, where we hear Janáček as we would come to know him in his peak works—in sketchy dialogues with a deep insight into the characters’ mentality. It might have been the feeling he was yet not able to find the right musical language to truthfully express the mental states of his characters that forced him to put the opera aside for a number of years. There is one more source of Janáček’s inspiration that we should not ignore—his works are often autobiographical, which is also true about for Jenůfa. Janáček’s wife Zdenka Janáčková remembered that their daughter Olga was the model for Jenůfa and he imbued the character with her sorrows (such as Olga’s experience of unrequited love) as well as his “tough love” in the form of the strictness of Kostelnička, Jenůfa’s guardian. In a terrible twist of fate, the composer completed his work about love, self-sacrifice and hope at his beloved daughter’s deathbed.

這些素材促成了歌劇《耶奴法》的誕生，作

品亦為楊納傑克的歌劇式作品奠下基礎。他早期的作品受浪漫主義晚期和民俗素材的影響，但《耶奴法》則佇立於新創作旅程的開端，受寫實主義啟發，並刻意以散文入

詞，再經楊納傑克這位兼具劇作家和戲劇家才華的作曲家模塑。透過這部趣味盎然的作

品，可以看到楊納傑克音樂語言的發展、他對歌劇戲劇性的看法，以及窺探其作品中的現代音樂和戲劇思潮。楊納傑克花了接近十年時間完成《耶奴法》，幕與幕之間變化極大。第一幕主要是傳統號碼歌劇，當中可

見民謠的影響，而第二和第三幕的創作時間跟第一幕隔了好幾年，當中呈現的楊納傑克形象，是我們後來在其巔峰作品中所認識的

風格 ―― 以簡單對話剖開人物角色的心理。也許是有感未能找到適切的音樂語言，來表

達人物角色的心理狀態，楊納傑克被逼把歌劇擱筆一段時間。楊納傑克還有一個靈感來源是我們不該忽略的 ―― 其作品往往是自傳式的，而《耶奴法》正正如此。楊納傑克

的妻子依拉高娃曾憶述他們的女兒奧嘉是耶

奴法的原型，楊納傑克把奧嘉無法開花結果的戀愛經歷投射到角色中，還透過監護人郭

坦妮卡對耶奴法的嚴格規管，來訴說自己對

女兒的嚴厲愛意。而天意弄人，作曲家最後完成這部關於愛、自我犧牲和希望的作品時，亦是其愛女逝世之時。

Tunes of Nature, Life and Death There was nearly a 20-year gap between the start of work on Jenůfa and The Cunning Little Vixen, yet even in the latter work, we still see the roots of his journey to modern opera—inspiration from speech melodies, here particularly in the use of the charming Líšeň dialect that Janáček loved hearing from the old women selling poultry at Zelný trh (the Green Market) in Brno. The Cunning Little Vixen is a work from the last ten years of Janáček’s life, his most prolific period, abounding in extraordinary dynamics and energy. In a letter to his muse Kamila Stösslová, Janáček said of it: “It is a happy piece with a sad ending; and I put myself in the sad ending.” The Cunning Little Vixen is not sad though; on the contrary, it is a marvellous combination of the philosophical musings of a composer entering his eighth decade, a colourful image of life in the young Czechoslovak Republic, and the charm of the forests around Bílovice in near Brno.

編寫生死幽鳴

《狡猾的小狐狸》開始創作的時間比《耶奴

法》晚了接近二十年，但後作中仍能看到作曲家走向現代歌劇的開端，其啟發自語音旋律的創作靈感，在此以迷人的麗山方言呈

現，是楊納傑克從布爾諾素麗廣場賣家禽的老婆婆處收錄回來的。《狡猾的小狐狸》是楊納傑克人生最後十年的作品，那也是他最多產的時期，洋溢着超凡的創作活力和能量。他在寫給其靈感繆斯卡米拉．戴娜蘇娃的信中道：「那是一個悲劇收場的歡樂故事，而我把自己放在悲傷的結局裏。」但

《狡猾的小狐狸》並不悲傷，相反，作品結

合了一位作曲家進入杖朝之年的哲學沉思、捷克斯洛伐克第一共和國早期的繽紛生活景

象，以及環繞鄰近布爾諾的比諾維沙的迷人森林景致。

Both romantic and tragic, the love story of the vixen (right) and the fox (left) reminds us the nature and eternal cycle of life 狐女（右）與狐狸（左）的愛情故事悲喜交集，是生命常態，結局亦讓人反思生命不息的循環

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Like all of Janáček ’s opera, The Cunning Little Vixen stands alone, unprecedented in the genre. On the stage, the world of humans is intertwined with that of animals and, where Rudolf Těsnohlídek and Stanislav Lolek’s comic strip novella, which it is based on, ends with a wedding, Janáček continues and makes the opera a reflection of his view of the world and the eternal cycle of life, and so Bystrouška the vixen dies at the hands of Harašta the poacher. But her offspring, another young vixen, lives on, and so life continues. Everything is how it is supposed to be, and expressed by Janáček ’s music—lyrical, melodic, with the orchestra revelling in the colours of the forest and all that lives there. The language of the libretto is a mix of standard Czech and the Líšeň dialect the composer had gleaned from the poultry-sellers years before, as well as the sophisticated speech of Brno high society, as seen in the diction of the fox, who woos the vixen with a cigarette and a rabbit. The drama sparkles with humour, at times spiky but generally good-hearted, seen through the eyes of the Forester in the opera, who is looking back at his own life as the curtain closes.

一如楊納傑克其他歌劇，《狡猾的小狐狸》別具特色，作品體裁史無前例。舞台上，人

類世界跟動物世界纏繞在一起，在原作者依羅李德和羅列克的短篇小說中，故事以婚禮

告終，但楊納傑克則讓故事繼續，以歌劇來反映他的世界觀和生命的永恆循環，所以讓狐女死在盜獵者夏拉斯達的手上。但她的孩子繼續活着，生命仍然如常。一切恰如其

分，透過楊納傑克的音樂中也得以呈現出來 ―― 熱情奔放、音調優美，管弦樂隊在

森林和當中所有生命的色彩中狂歡奏樂。歌劇唱詞的語言混合了標準捷克語和作曲家多

年前從家禽販子搜集回來的麗山方言，在狐

狸以香煙和兔子向狐女求愛一幕，也巧妙混合了當時布爾諾上流人士的時髦語言。在劇

終那位回首自己一生的林務員眼中，整部歌劇閃耀着幽默感，有時尖刻，但總是充滿善意。

JENŮFA AND THE CUNNING LITTLE VIXEN

《耶奴法》及《狡猾的小狐狸》

The screenings are sponsored by The Hong Kong Jockey Club Charities Trust as part of The Hong Kong Jockey Club Series. Please visit the HKAF website for latest programme information.

放映節目為香港賽馬會藝粹系列之一，由香港賽馬會慈善信託基金贊助。請瀏覽香港藝術節網站以獲取最新節目資訊。

Analysis

MEDIATING ARTS AND LIFE: MATTHEW BOURNE & THE RED SHOES 調和藝術與生命：

馬修．伯恩及《紅舞鞋》

TEXT 撰文

SANJOY ROY 桑喬．羅伊 Sanjoy Roy is based in London. He writes on dance for the Guardian and other publications, and is editor of Springback Magazine, covering new contemporary dance in Europe 桑喬．羅伊是倫敦舞評家，作品散見《衛報》及其他刊物。

他是《 Springback Magazine 》的編輯，負責報導歐洲當代舞

While the coronavirus pandemic has caused so many cancellations of live performance, it has also given film a far more prominent role in connecting dance with audiences, and indeed in reaching new viewers around the world. Yet the two art forms meet more as friends reunited than as new acquaintances, for they share a long and deep common interest: movement. After all, we call films “movies” or “motion pictures”. 新冠病毒疫情令不少現場表演被迫取消，但同時也令電影在連繫舞蹈與觀者，以及開拓世界各地的潛在觀眾

方面，擔當更重要的角色。然而，電影與舞蹈這兩個藝術範疇的相遇，像兩位故友重逢，多於一對新朋友邂逅彼此，事關兩者一直有着深厚的共同興趣：動態。畢竟，我們也會稱電影為「動態影像」。

Once upon a time, too, a young Londoner called Matthew Bourne formed a dance company that he called Adventures in Motion Pictures. His career path would itself resemble something out of the movies: the little outsider who makes it big. Today, aged 60, Bourne is arguably the world’s most popular living choreographer, garlanded with awards. Starting out in 1987, he was fresh out of dance school, to which he had been admitted at the relatively late age of 22, having never before taken a dance class. Yet he was already a seasoned stage artist. All through his childhood and adolescence he had been putting on his own shows, pressing schoolmates and friends into performing roles. And from a very young age he had been watching and drawing inspiration from plays, musicals, operas, ballets—and movies. Lots of movies. “I used to do productions of films I’d seen,” he told the BBC in 2002, on the launch of his reformed company, New Adventures. “Disney films like Lady and the Tramp, or Mary Poppins.” Once, he did a version of Cinderella where “all the men played women and all the women played men. I must have been about eight!” Bourne is, of course, best known for his phenomenally successful version of Swan Lake, in which he f lipped the traditionally female swans into male roles, discovering fresh dimensions to the story—and a vast new audience. Premiered in 1995 and still going strong, it catapulted him onto the world stage. Though he is not a ballet choreographer, he has ever since been associated with his “remakes” of classical ballets, each giving a new spin to the traditional stories—a Dickensian Nutcracker! (1992), Highland Fling* (1994, based on La Sylphide), Cinderella (1997, set in London during the Second World War), Sleeping Beauty (2012, complete with vampires) and Romeo and Juliet (2019, set in an institution for young people).

曾幾何時，一位名叫馬修．伯恩的年青倫敦人成立了「動態影像歷險舞團」。他的職業

生涯仿如電影中的情節：小小局外人成就了

大事。時至今日，年屆六十的伯恩早已獲獎無數，甚至可能是世界上最受歡迎的在世編舞家。他於 1987 年自舞蹈學院畢業後便踏

入舞壇，雖然以相對較遲的二十二歲之齡入

讀學校，之前更從未上過任何舞蹈課，但其實當時他已有豐富的舞台製作經驗。在整個童年及青少年時期，他一直有製作個人演

出，大力遊說他的同學及朋友來參演。而且他自小已經會去看各類不同演出，並從中獲

取靈感，包括：戲劇、音樂劇、歌劇、芭蕾 …… 還有大量電影。

「我以往常常將看過的電影變成製作」， 2002 年，他將原有舞團重整成「新冒險舞蹈團」時，曾於英國廣播公司的訪問如此說。「例如迪士尼電影《小姐與流氓》，又

或者《歡樂滿人間》。」有一次，他製作了一部別開生面的《仙履奇緣》：「所有女人

角色由男人扮演，而所有男人角色就由女人扮演。當時我應該大約八歲！」

當然，伯恩最為人熟悉的是他極為成功的改編舞劇《天鵝湖》。他把傳統由女性擔演的

天鵝反轉成男性角色，為原來的故事帶來新鮮的角度，吸引一大群全新觀眾。此劇自

1995 年首演後一直大受歡迎，令他躍升全

球舞台。儘管他並非芭蕾編舞家，但自此他就與這些由傳統芭蕾「再造」的作品有着密

不可分的關係，而每一次他也會為這些傳統

故事帶來新變化，例如：極具狄更斯風格的

《胡桃夾子！》（ 1992 年）、《仙凡之戀 ―

搖滾激情篇》*（ 1994 年，改編自《仙女》）、

《仙履奇緣》（ 1997 年，以時值第二次世界

大戰的倫敦作背景）、《睡美人》（ 2012 年，公主與吸血殭屍談情），以及《羅密歐與茱

麗葉》（ 2019 年，以精神病院作故事場景）。

Hailed as “The Entertainer” by the BBC, Matthew Bourne has long been known for his dazzling remakes of classics, both entertaining and artistic

* Presented by the HKAF in 2014,

英國廣播公司曾讚譽馬修．伯恩為

「大娛樂家」，他對經典劇目的改編手法廣受好評，其作品娛樂及藝術性兼備

featuring Scottish Ballet

* 曾於 2014 年香港藝術節上演，由蘇格蘭芭蕾舞團演出

Analysis

As a result, Bourne has gained a reputation for being both “balletic”— in subject, if not in style—and “stagey”, in that very British sense of being driven by plot and character, somewhat mannered in performance, attracted to interior settings and costume drama, and more interested in popular appeal than highbrow pretension. But it would be equally true to call his work cinematic. Even his ballet-based works are studded with film references that cinephiles will enjoy spotting. Sleeping Beauty nods to the Twilight films. Romeo and Juliet has overtones of One Flew Over the Cuckoo’s Nest, as well as quotes from Grease. Highland Fling was once dubbed “Trainspotting: The Ballet”, while Swan Lake has echoes of Hitchcock’s The Birds. Bourne’s debt to cinema goes further than quotes and references: he has made several pieces explicitly drawn from movies, such as The Car Man (2000), Play Without Words (2002), which drew on British films of the 1960s, and Edward Scissorhands (2005). Another of Bourne’s productions with direct cinematic antecedents is The Red Shoes (2016). It is based on Powell and Pressburger’s classic 1948 British film about stage-struck and love-struck young artists, eager to make their names in the theatre, and about the dance company for which they create a new ballet, based on a bittersweet fable. So many of the elements resonate with Bourne’s own career and work, it could almost have been tailor-made for him.

故此，伯恩的作品常被譽為既有「芭蕾

性」，亦甚「舞台化」。前者若非在形式上，也是體現在主題之中；後者就與其十分英國式的表演模式相關，往往由情節及角色去推

進劇情、對場景佈置及服裝費盡心思，並且較著重娛樂大眾多於自命高深。不過，以電影感來形容他的作品也同樣正確，即使是他根據芭蕾舞作改編的舞作，影迷們都樂此

不疲去發掘當中之電影蹤跡。《睡美人》向

《吸血新世紀》系列電影致意；《羅密歐與

茱麗葉》有着《飛越瘋人院》的弦外之音，亦有引自《油脂》的元素；《仙凡之戀 ―

搖滾激情篇》曾被稱作「芭蕾版迷幻列車」；

《天鵝湖》亦帶有希治閣的《鳥》的迴響。

伯恩從電影裏借來的，不單是對白等呼應元素，他還創作過好幾齣明顯由電影發展

出來的舞作，好像《汽車人》（ 2000 年）、源自 1960 年代多齣英國電影的《無言遊戲》（ 2002 年），以及《幻海奇緣》（ 2005 年）。

伯恩另一齣直接改編自電影的作品就是《紅舞鞋》（ 2016 年），根據 1948 年鮑華與柏斯

保格的經典英國電影而創作。電影描繪一群

對舞台及戀愛同樣充滿激情的年青藝術家，努力在劇場內爭取名聲，以及講述舞團根據一個悲喜參半的寓言去創作全新芭蕾舞作的

故事。電影中很多元素都與伯恩自己的舞蹈 In The Red Shoes, the ballerina Victoria Page (left, played by Ashley Shaw) is constantly torn between the worlds of love, art and career. 《紅舞鞋》講述芭蕾舞伶維多利亞．佩琪（左，由雅莎莉．蕭飾演）面對愛情、藝術與事業之間的衝突

生涯及作品有所呼應，差不多可說是為他度身訂做。

For music, Bourne’s collaborator Terry Davies adapted a range of film scores by the legendary Bernard Herrmann, best known for his work with Alfred Hitchcock, but who also worked with Orson Welles, François Truffaut and Martin Scorsese. The result is a curiously recognisable but intriguing atmosphere of fleeting motifs and drifting harmonies. Lez Brotherston, Bourne’s most frequent collaborator, has once again created a skilfully mobile set that can flip effortlessly between on-stage and backstage worlds, as well to a more delocalised realm of fantasy. Bourne relishes light comedy as well as drama, and for those who know some British ballet history, there are plenty of in-jokes. But as ever, Bourne excludes no one, playing to a larger audience, always careful to let the story unfold and emotions flow, with no need for insider knowledge. As with all Bourne’s works, it is the story that matters: dance may be his medium, but its meaning comes from character, plot, theme and setting. The story here lets Bourne have lots of fun with the choreography, mounting pastiches of early 20th-century ballets—and ballet dancers— but as so often, he also finds a core of emotional disturbance in the characters. In The Red Shoes, that disturbance is dance itself, and in the character of aspiring dancer Victoria Page—in the dreaming lilt of her first entrance, in the impetuous suspensions and headlong rush of her limelight moments—Bourne captures the strange siren call that dance has for its devotees. The Red Shoes is a very particular love story, replete with competing kinds of love—not only between people, but love for dancing, for achievement, for recognition. The story’s ultimate theme is the incompatibility of the loves of art and life. That makes for a powerful plot, but happily, Bourne’s life story turned out very differently. He is still doing what he has loved doing ever since he was a boy. “I like making big shows for big audiences,” he told the Guardian in 2016. “I always have.” Not for him the doomed artistry of The Red Shoes: he’s more likely to be seen on the red carpet, which is itself a story worth telling.

音樂方面，乃由伯恩的合作夥伴泰利．戴維

斯改編傳奇音樂家伯納德．赫爾曼所創作的一系列電影配樂。赫爾曼最著名的是他與

希治閣合作的作品，但他也曾與奧遜．威爾

斯、杜魯福及馬田．史高西斯合作。最終舞

劇的配樂帶有瞬息萬變的樂思與流暢和聲，營造出一種熟悉又耐人尋味的奇妙氛圍。

與伯恩合作經驗最多的佈景及服裝設計師雷斯．布萊特斯頓則再一次創作了一個巧奪天工的靈活場景，可以輕易地在舞台及後台之間轉換，並帶觀眾進入一個遠離現實的幻想

世界。伯恩喜歡正劇之餘，也愛輕喜劇，那些對英國芭蕾歷史有所認識的觀眾，自會在作品中發現不少圈內人才懂的幽默之處。不

過由始至終，伯恩都沒有把任何人拒諸門外，而是盡量把演出帶給更多觀眾，總是細心地述說故事並讓情感流露，毋須任何圈內知識也能理解作品。

正如伯恩所有的作品一樣，故事這一環才是

至關重要：舞蹈也許是他的表達媒介，但當

中的意義乃來自角色、情節、主題及背景。

《紅舞鞋》的故事讓伯恩可以在編舞上盡情嬉戲創作，他不單重構了二十世紀初的芭蕾以及舞者，而且也一如以往找到角色情感

困擾的核心。在《紅舞鞋》中，那種困擾正是舞蹈本身，也體現在力爭上游的舞者維多

利亞．佩琪這個角色之內，不論是她登場時如夢似幻的輕快跳動，或是在幾個矚目時刻

裏，她橫衝直撞式的舞步所迸發的張力，凡此種種，都可見伯恩準確捕捉了舞蹈對觀者

有着的迷人魔力。《紅舞鞋》是一個非常特

別的愛情故事，充滿了各色各樣相互競爭的愛 ── 不單是人與人之間的愛，也有對舞

蹈、對成就、對認同的愛。故事的終極主題則是對藝術及生命的愛之間的互不相容。

這造就了力量澎湃的舞劇情節，幸而，伯恩的人生故事與之並不一樣。他依舊做着自小

已經熱愛的事情。「我喜歡為廣大的觀眾製

作大型表演，」他於 2016 年向《衛報》道：

THE RED SHOES

《紅舞鞋》

The screening is sponsored by The Hong Kong Jockey Club Charities Trust as part of The Hong Kong Jockey Club Series. Please visit the HKAF website for latest programme information. 放映節目為香港賽馬會藝粹系列之一，由香港賽馬會慈善信託基金贊助。請瀏覽香港藝術節網站以獲取最新節目資訊。

「我一直都是這樣。」《紅舞鞋》裏主角的

藝術追求最終以悲劇收場，但伯恩的人生走出另一條路：他更常邁步於紅地毯之上領

受掌聲，而那本身就是另一個值得傳頌的故事。

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Journal

IN THE STEPS OF MOISEYEV 莫伊謝耶夫的舞動軌跡

There’s not a place in the world that does not have its own rare and traditional arts, dance and music included. In some cultures, dancing is not just entertainment, but also part and parcel of traditional rites such as celebrations, worship and mourning. Founder of the Igor Moiseyev State Academic Ensemble of Popular Dance, Igor Moiseyev (1906-2007) worked tirelessly to preserve and keep alive traditional dance. Trained as a classical ballet dancer, performing with the world-renowned Bolshoi, he had an interest in dance that extended far beyond academia. He combined features of ballet and traditional dance to create a brand-new choreographic language. Moiseyev added theatrical elements to the dance pieces, with dramatic results. His choreography was deeply humanistic, depicting people’s daily lives and reflecting the unique culture of every place. In 2014, the Ensemble was invited to the HK AF and staged a fabulous performance for Hong Kong audiences. They planned to visit the Festival again in 2020 but the pandemic caused the trip to be cancelled. Fortunately, we have the opportunity to broadcast several of Moiseyev’s masterpieces online in the coming Festival. Don’t miss this chance to see the unique work of one of the 20th century’s greatest choreographers.

© Archive of Igor Moiseyev State Academic Ensemble of Popular Dance Moiseyev performing The Old City Quadrille, a piece inspired by a popular form of square dance for four couples from the 18th–19th century Europe. Taken in 1970 莫伊謝耶夫（左）表演《老城區方陣

舞》，創作靈感源自十八至十九世紀流行於歐洲的一種八人男女舞蹈，攝於 1970 年

打開世界地圖，每個地方的地理位置清晰可見，而在這些國土之上，其實還有很多地圖上看不見的珍貴傳統藝術，例如舞蹈和音樂。富有民族色彩的音樂以及整齊有致的舞蹈，除

了是娛樂表演，更多的是與生活息息相關的事情，如慶祝、祭祀、哀悼等。

為了保存並延續各地的傳統舞蹈藝術，俄羅斯莫伊謝耶夫舞團的創辦人莫伊謝耶夫一直不遺餘力。他自小接受傳統芭蕾

舞訓練，但卻不甘於樣版式的芭蕾，於是結合芭蕾舞和民俗舞的特色，發展成全新的舞蹈語言，創作出更有戲劇張力的作品。莫伊謝耶夫的編舞主題離不開人文，透過舞蹈描繪老百姓的日常生活，展現每個地方的文化內涵。

2014 年，舞團曾經到訪香港藝術節，為香港觀眾帶來精采演出。他們原定於 2020 年再次訪港，但因疫情無奈取消。幸

好，今屆藝術節將會在網上放映多支經典舞作，讓我們能夠再次欣賞大師之作。透過以下四支精選作品，可以一窺莫伊 TEXT 撰文

MELODY LAI 黎家欣 Melody Lai is an Assistant Editor at the Hong Kong Arts Festival 黎家欣是香港藝術節的助理編輯

謝耶夫舞作的豐富面向以及意涵。

SUMMER RUSSIAN DANCE 俄羅斯舞蹈《夏》 Summer is adapted from the suite of The Seasons. It is set during a harvest festival, where villagers of all ages have gathered to cheer on a young couple. It depicts the humour, mischief, romance and lyricism of country people. Summer’s first rehearsal took place on 10 February 1937, which is regarded as the date Moiseyev’s Ensemble came into being. 《夏》改編至《四季》組曲，是舞團的經典舞碼之一。在豐收的節日場景中，男女老少村民齊集起來為一對年輕夫婦打

氣。舞作刻畫了鄉村人常見的幽默、嬉鬧和浪漫奔放。1937

年 2 月 10 日是《夏》首次彩排的日子，也是莫伊謝耶夫舞團正式展開他們舞蹈之路的里程碑。 © E.Masalkov

THE SHEPHERDS AZERBAIJANI DANCE 阿塞拜疆舞蹈《牧羊人》 In the mountains of Azerbaijan, high above the Caspian Sea, Caucasian shepherds protect their flocks from wolves and other menaces. The Shepherds was choreographed in 1959 and it is danced by three male soloists, who convey the shepherd’s vigour and spirit with their virtuoso steps. 位於中亞裏海以西的阿塞拜疆高原上，一群

高加索牧羊人在放牧的同時，亦致力保護

羊群，避免牠們遭受狼群襲擊或遭遇危險。

《牧羊人》於 1959 年編成，並由三位男獨

舞者擔演牧羊人的角色，精湛的舞技展現了牧羊人的充沛活力和勇敢精神。

Journal

GAUCHO ARGENTINEAN COWBOYS’ DANCE 阿根廷牛仔舞《高卓》 Three male soloists form a group of Argentinian cowboys kitted out in boots and spurs, and who carry knives to show off their skills in competition. “Gaucho” means skilled horseman, and the gaucho is k nown for his braver y and unruly nature. In Argentina, the Gaucho is a national symbol and an important part of the country’s traditional culture. Gaucho was inspired by the Ensemble’s first South American tour and was choreographed in 1967. 三個身穿馬靴、帶着刀劍的阿根廷牛仔在

比試中各展武藝，一較高下。在西班牙語中，「 Gaucho 」意指騎術精湛的人，性情叛逆，充滿勇氣，是阿根廷重要的傳統文化之

一。《高卓》的編舞靈感來自舞團首次的南美巡演，其後於 1967 年編成完整舞蹈。

FOOTBALL CHOREOGRAPHIC PICTURE 舞蹈小品《足球》 At the referee’s whistle, the match begins. However, during the game one player commits a foul, resulting in a brawl. After the brouhaha, the players bury the hatchet and both teams come together for a commemorative photo. Though the match had descended into farce, friendship wins out in the end. Football is a mixture of mime, acrobatics and folk dance and was choreographed in 1948. 裁判哨子聲響，比賽立刻開始。雙方賽至中段，一名球員犯規，觸發球員衝突。幸好，在一輪鬧劇之後，所有球員都放

下芥蒂，一同拍下紀念照片。雖然輸了比賽，中途亦鬧得不愉快，但最後還是友誼萬歲。《足球》結合默劇、體操及民

族舞的元素，是一齣富有戲劇色彩的舞蹈小品，由莫伊謝耶夫於 1948 年編創。

IGOR MOISEYEV BALLET BALLET SPECIAL 莫伊謝耶夫舞團特備節目

The Festival Finale screening on 26 March is sponsored by ICBC (Asia). Please visit the HKAF website for latest programme information.

三月二十六日之藝術節閉幕放映節目由

工銀亞洲贊助。請瀏覽香港藝術節網站以獲取最新節目資訊。

RECONSTRUCTING NOAH’S ARK 重建《挪亞方舟》

In 2010, just before they emigrated to the United States, Cantonese opera stars Man Chin-sui and Leung Siu-sum bid farewell to their Hong Kong fans with a production of Noah’s Ark. As both playwright and performer, Man drew from the biblical tale of the patriarch Noah and his construction of an ark to survive the great f lood. In the world of Cantonese opera, where source materials are primarily drawn from Chinese history and traditional folktales, this production was undoubtedly an exception to the rule. Now, ten years after its first performance, the HKAF takes the initiative in reviving and reproducing this Cantonese opera. This will be an opportunity to consider how a biblical story like Noah’s Ark can open up new possibilities for Cantonese opera. 2010 年，大老倌文千歲及梁少芯以《挪亞方舟》一劇告別香港戲迷，其後移居

美國。《挪亞方舟》是文千歲自編自演的作品，以聖經裏挪亞建造方舟渡過大洪水的故事為藍本，對於大多取材自中國歷史及民間故事的粵劇而言，無疑是破格

之舉。闊別十年，香港藝術節推動復排及重新製作這部粵劇，正好藉此機會再思考

《挪亞方舟》為粵劇開拓的可能性。

TEXT 撰文

JAMES LIU 廖健邦 James Liu is an Editor of the Hong Kong Arts Festival 廖健邦是香港藝術節的編輯

Feature

Jesus Calms the Storm, gospel hand-painted porcelain plate. Image provided through the courtesy of Tao Fong Shan Christian Centre 福音瓷碟《耶穌平靜風浪》。

圖片由道風山基督教叢林提供

In recent years, the young Cantonese opera performer Lai Yiu-wai has worked tirelessly to promote the genre to a wider audience. In doing so, he has taken on multiple roles such as playwright, director and music arranger 八十後粵劇演員黎耀威近年努力將

粵劇推廣至更廣闊的觀眾群，身分遍及編劇、導演及編曲

Reflecting on the Tides of Cantonese Opera Aside from the lead roles of Noah and his wife—performed by Man Chin-sui and Leung Siu-sum, respectively—all cast members of the original version of Noah's Ark came from the Guangzhou Hongdou Cantonese Opera Troupe. Ten years on, the challenge of producing has fallen to Man’s apprentice, Lai Yiu-wai. Although Lai himself will not appear onstage, he will team up with the veteran actor Leung Wai-hong, who participated in the original version as stage manager, and take up the work of coordinating the entire production—from smaller tasks like organising rehearsals to larger challenges like rewriting the script and assembling a cast. The duo might be considered the behind-the-scenes craftsmen of this “ark”. “I’m very impressed by the Hong Kong Arts Festival’s proposal to restage this work. It’s quite courageous, as it certainly would have been much safer to produce a classic opera,” Lai says. The story of Noah’s Ark in any theatre programme would be a niche topic, but it creates great opportunity for experimentation with Cantonese opera’s aesthetic traditions. Lai recalls that when he first saw the production, his initial sense was of richness. In terms of plot, emotional range and stage effects, he noticed how the work was teeming with potential and clearly demonstrated the many possible faces of Cantonese opera. His impression of the production’s portrayal of the cataclysmic, earth-encompassing flood was especially deep: “There wasn’t a single drop of water onstage, but through the use of water flags and the performers’ gestures and movements, the audience could really believe that flood waters were rushing forth. This moment brought out the virtual nature of Cantonese opera.” Cantonese opera’s quintessential skills of singing, acting, delivery of spoken lines and martial arts were also fully demonstrated in the original work. On the subject of singing, Lai thinks his mentor showed outstanding expertise in arranging and selecting songs: “For the reprisal of the sheng and dan scene in the second half, my master chose the siukuk “Waxing Moon on the Xunyang River” to express the anxiety and restlessness felt by Noah and his wife on the ark. Those two arias are both graceful and finely composed; it’s clear that a lot of mental effort went into the planning. Throughout the show, different singing styles— such as siukuk (small tune), bongwong (melodies with fixed rhythmic structures involving the use of wooden clappers and reed instruments) and syutcheung (speaking and singing)—provide the actors with many opportunities to show off their singing prowess.”

思粵劇之變

《挪亞方舟》當年首演時，除了由文千歲及

梁少芯飾演挪亞及挪亞太太外，其他班底皆

為紅豆粵劇團人馬。十年後，製作這項挑戰落到文千歲的徒弟黎耀威身上。黎雖不會親

身登台，但會身兼統籌及導演一職，夥拍資

深粵劇演員梁煒康（曾為十年前的製作任舞台監督），負責重新編排劇本、組班、排練等大小事項，兩人可算是這艘「方舟」的幕後工匠。

「好欣賞藝術節提出重新搬演呢個作品，幾

大膽，因為做一套經典戲寶一定會更安全。」黎耀威說。《挪亞方舟》在各種傳統戲碼中或許是個小眾題材，但這個故事其實為粵劇的一貫美學觀念提供了很大的發揮空間。

黎形容，初看這部劇時，第一個感覺是 ―― 豐富。他看出作品在情節、情感或舞台效果等方面，都有豐富潛質，突顯粵劇的多面向及可

能性。例如他對劇中洪水滅世場面的印象便尤

其深刻：「台上一滴水都沒有，但透過舞水旗、演員的身段功架，令觀眾真的相信洪水要湧來了，這點就帶出了粵劇的虛擬性。」

粵劇一向重視的唱、做、唸、打元素，在原

製作中亦得到充分展現。唱段方面，黎認為其師傅在編曲選曲上非常出色：「師傅特別

提過下半場的重頭生旦戲選了小曲《潯陽江上月》，藉此表達挪亞夫妻在方舟上的憂心

及徬徨，那兩段唱段非常優美工整，是很花心思的安排。整部劇在曲風上用了小曲、梆黃、說唱等不同粵曲種類，有很多機會讓演員大顯唱功。」

劇本擁有這些先天優勢，故這次重新編排，他特別着重其他方面，主力發掘角色的人性

特質，加強描寫情感狀態，希望令觀眾更易找到共鳴。「聖經其實沒提及在方舟裏發生

了甚麼事，好處是反而有空間構思。」他着

手提升幾對夫婦的對唱以及動物練武場面，例如為挪亞大兒子和媳婦（今次將由夫婦

檔藍天佑及鄭雅琪飾演）加添生旦對唱戲。

Feature

With these innate strengths already in the script, Lai is turning his attention elsewhere for this restaging. He is particularly interested in uncovering the characters’ personality traits and strengthening the portrayal of their emotional states, in the hope that it will help the audience more easily identify with the story. “The Bible actually never says what happens on the ark, but the advantage of that is we have room to imagine,” says Lai. He set about elevating the quality of the animals’ martial arts performances as well as the couples’ duets on the ark, such as adding a sheng and dan duet for Noah’s eldest son and daughter-inlaw (performed in this staging by real-life husband and wife Lam Tin-yau and Cheng Nga-ki). “They are worried that the ark will soon be running out of food, there’s no land in sight and they’re in the heart of a storm. They think they’re on the verge of death, and their duet fully expresses that frailty, terror and helplessness; it’s an interesting contrast with the duet sung by Noah and his wife earlier in the opera.” Lai trusts that even regular, non-religious Cantonese opera audiences will have a gratif ying experience, while the novelty of the source material may even attract those who have never seen a Cantonese opera performance before. As part of the younger generation of local Cantonese opera performers, he’s always ref lected on how Cantonese opera can better respond to contemporary society and audiences—in the past, he’s attempted to walk a new path by adapting Shakespeare for the Cantonese opera stage. But he admits that in restaging a ten-year-old work, there is a very practical question that needs answering: for audiences today, will the original presentation format seem old-fashioned? For this reason, he’s emphasised multiple times that the overall style of the work must be unified and no effort should be spared in redesigning and producing new costumes and set designs, so that everything reflects contemporary tastes. For Lai, restaging Noah’s Ark is “a great opportunity to reflect the nature of the present moment in Cantonese opera”. He hopes that what he’s building will become a work that can withstand the test of time and establish itself within the repertoire of contemporary Cantonese opera productions.

Man Chin-sui (right) and Leung Siu-sum (left) will take the role of artistic directors to oversee this revamped production of Noah’s Ark (Pictured: 2010 production at the Cultural Centre Grand Theatre) 文千歲（右）及梁少芯（左）將為是次

製作擔任藝術總監，務求帶出《挪亞方舟》的精髓（圖為 2010 年於香港文化中心大劇院演出劇照）

「兩人在方舟上擔心糧食快盡，不知何時可

上岸，又遇到風浪，以為快要死了，對唱盡

訴那種懦弱、恐慌、無力感，與挪亞夫婦早前的對唱會形成有趣的對比。」

黎相信，即使沒宗教信仰的一般粵劇觀眾都

會有滿意的體驗，而取材上的新鮮感，也可吸引未看過粵劇的新觀眾入場。作為本地粵劇界年輕的一代，他一直思考如何讓粵劇更

能回應當代社會及觀眾，過去他曾將莎士比

亞劇改編為粵劇，嘗試走出一條新路線。他坦承，重新搬演十年前的製作，有道現實的

問題一定要直面：對今時今日的觀眾來說，以往的呈現方式會否顯得老套？故此他多番

強調作品的整體風格要統一，不惜工本重新設計及製作服裝、佈景，以呈現當代品味。

如黎耀威所言，重新搬演《挪亞方舟》「是很好的機會去反映粵劇的時代特質」。希望

他建造的，也是一部能經歷考驗、立足於當代粵劇舞台的製作。

The Tao Fong Shan Christian Centre has produced many types of gospel hand-painted porcelain plates, all with biblical references. Images provided through the courtesy of Tao Fong Shan Christian Centre 道風山基督教叢林出產多款福音瓷碟，皆取材自《聖經》相關事蹟。圖片由道風山基督教叢林提供

Peter’s Confessions

《彼得認耶穌為主》

Borrowing the Beauty of Guangcai The cast and crew for this production are all local, and in developing some of the set and promotional designs, they’ve referenced another special art form with close ties to Hong Kong—gospel Cantonese porcelain, or guangcai. The Tao Fong Shan Christian Centre in Sha Tin was founded in 1930 by a Christian missionary as a base for spreading the gospel and a space for worship. After World War II, the centre’s first ethnically Chinese minister advocated the founding of a porcelain studio, which would use guangcai hand-painting techniques to produce decorative housewares such as china plates, tea services and table lamps. This traditional Lingnan art could then be used to spread the Christian gospel, while providing its students with a means of making a living and cultivating the spirit. All of the studio’s porcelain plates are illustrated with biblical scenes and, as with the Cantonese opera Noah’s Ark, their depictions of landscape and characters set off a pleasing contrast with the source material: here, willows bend low by a river, a double happiness scroll hangs behind a dining table; there, the Virgin Mary, modelled on the plain image of a Chinese peasant woman, greets baby Jesus at the manger. In another, a whiskered Jesus in a wide-sleeved traditional Han garment, hair tied up in a bun, performs the miracle of stilling the stormy Sea of Galilee for his disciples; the composition of the scene and manner of its protagonists evoke the Chinese folktale “Eight Immortals Crossing the Sea”, and the magnificent colours and exquisite brushwork so valued in guangcai are expressed with full maturity.

The Sermon on the Mount 《登山寶訓》

借廣彩之美

今次參與重排及演出的台前幕後人員皆是本地班底，在部分佈景及宣傳設計上，更參

考了另一種與香港關係密切的獨特藝術風格 ―― 福音廣彩。

位於沙田的道風山基督教叢林於 1930 年由

來華傳教士成立，主力傳教及為信者提供靈

修空間。二戰後，叢林的第一任華人牧師推動成立繪瓷部，以廣彩技法，製作瓷碟、茶

器及枱燈等瓷器飾品，以這種傳統嶺南藝術

傳揚福音，而學員也可透過繪瓷維持生計，並實踐修道精神。

繪瓷部出產的瓷碟均以聖經故事為主題，在場景描畫或人物造型上，與《挪亞方舟》所

建構的相映成趣：江邊低拂的是柳樹，掛於餐桌後的是雙囍卷軸；聖母瑪利亞以中國民

婦的簡樸造型，在馬槽喜迎耶穌；耶穌穿闊袖漢服，盤髻蓄鬍，在信徒面前展現衪平定風浪的大能，構圖、氣勢竟有中國民間故事

「八仙過海」的味道，而廣彩着重的絢麗紋色和精細筆工，也在此表露無遺。

透過聖經題材，廣彩或粵劇展現了中式藝術的可能性，從中亦啟發了不一樣的角度欣賞這些傳統藝術之美。

Through biblical subjects, Cantonese porcelain and Cantonese opera have demonstrated the potential of the quintessential Chinese art form, inspiring an unconventional perspective from which to appreciate the beauty of these traditional arts.

NOAH’S ARK 《挪亞方舟》 Please visit the HKAF website for latest programme information.

請瀏覽香港藝術節網站以獲取最新節目資訊。

Interview

WOMEN LIKE US AND JOURNEY TO THE WEST REWIND:

ATTEMPTS AT WRITING NEW LIFE 書寫新生命 —

《兩個女子》及《後話西遊》 When representing literature in the performing arts, artists demonstrate different interpretations and expressions, while the meanings of works change with time. When the Covid-19 pandemic hit, Women Like Us and Journey to the West Rewind were deferred until the 49th Hong Kong Arts Festival. But it fortuitously gave the creators and directors more time to review the works, and they shared with FestMag their experience of the creative process throughout the production. 當文學重現在表演藝術中，藝術家會有不同的解讀和表達，

而作品的意義亦會因時代而有所改變。2020 年疫情來襲，

《兩個女子》及《後話西遊》延期至第 49 屆藝術節上演，創作人和導演意外地有更多時間審視作品，並與《閱藝》分享至今的創作感受。

TEXT 撰文

MELODY LAI 黎家欣 Melody Lai is an Assistant Editor at the Hong Kong Arts Festival 黎家欣是香港藝術節的助理編輯

Dialogues between songs and lyrics in chamber opera A chamber opera by scriptwriters Eva Wong and Daniel Lo and director Olivia Yan, Women Like Us merges Xi Xi’s works “The Cold” and “A Girl Like Me”, creating a world that brings together two women. Eva Wong gets to the heart of the original work, and also harnesses imagery such as water and f lowers, which accentuate the narrative and lyrical nature of the opera. For her achieving a balance is necessary when adapting Xi Xi’s texts into operatic language. “Take, for example, the novel “The Cold”,” she says. “Numerous classical Chinese poems and lyrics recur throughout, and this is what echoes Fish’s inner world. So the literary language has to be turned into imagery, because slavishly parroting the original language will just make it sound rigid and weird.” Daniel Lo says he found it surprising that the generally intense emotions in traditional operas are out of sync with the women’s life experiences. So he found himself having to make adjustments to the music to take that into account, “To show mild emotional changes, I incorporated many musical styles and techniques referencing Eva’s lyrics and Xi Xi’s texts, which generates a natural interaction between the text and music,” he says. Although some people find creating Cantonese music difficult, for Lo, it’s fascinating. “The text itself already has a specific rhythm and musicality,” he says, “so I turned the phonetic characteristics of Cantonese into raw material for the music. For this production, we decided to go with the lyrics first and then the music. It gives Eva more room to create, and more importantly still, it preserves the literary nature of the lyrics.” This is Olivia Yan’s first attempt at directing chamber opera, opening new ground for her. “Opera tells stories through music while lyrics are more poetic than prose drama,” she says, “so the entire stage language and scene-setting are replete with imagery. Focusing on the chorus we even add a ghostly voice to convey the two women’s inner demons, representing their interior struggles while ref lecting women’s identity and value in contemporary society.” To further perfect the structure of the musical and the story, Yan and Lo modified the two women’s solos in Scene Six after discussion. They amended the accompaniment for the two solos and added a chorus in between. This approach interweaves the changing inner landscapes of Fish, as well as adding extra emotional layers of the music. Together, the music, lyrics and theatrical performance show how the two female characters constantly seek the freedom so often denied to women, to cast off social shackles, and rediscover their true selves.

室內歌劇的曲詞互鑑

由黃怡與盧定彰（ Daniel）編寫、甄詠蓓

（ Olivia）執導的室內歌劇《兩個女子》結合西西的短篇小說〈感冒〉和〈像我這樣的一個女子〉，讓兩位女主角在他們創造出來的世界相遇。

黃怡在編寫文本上不但能夠掌握原著的

文學特性，還能抓緊相關意象如「水」和

「花」，加強了歌劇的敘事和抒情效果。她

表示，在處理西西的文字和歌劇的語言時，

她須要在彼此之間取得平衡，「以〈感冒〉為例，小說中穿插了不少中國古典詩詞，正是呼應魚的內心世界。在這種情況之下，我不能夠搬字過紙，否則效果會變得突兀和生硬，所以便將這些詩詞轉換成意象。」

此外，傳統歌劇情緒呈現一般較激昂，但兩個女子的心路歷程卻恰巧相反，Daniel 在音樂上便作了相應調整：「為了呈現她們淡然

的情感變化，我根據黃怡的詞和西西的文字加入了許多音樂風格和技巧，讓文字和音樂之間產生有機的互動。」有人認為創作廣東

話音樂難度很高，Daniel 卻覺得異常有趣，

「文字本身已有既定節奏和音樂性，所以廣

東話的語音特色反而成為我的音樂素材。這次我們選用『先詞後曲』的方式創作，除了

讓黃怡有更多空間創作外，更重要的是可以保留詞的文學性。」

而對於首次執導室內歌劇的劇場導演 Olivia

來說，這也是一次嶄新的嘗試，「歌劇是透過音樂說故事，歌詞比劇場劇本詩化，所

以整個舞台語言和情境處理都充斥着不同意

象。今次我們將重心放於合唱部份，更加新

增一把鬼魅的聲音，作為兩個女子的心魔，代表她們的內心掙扎，同時也反映了女性在當代社會的身分和價值。」為了更加完善音

樂和故事結構，第六場原本只有兩個女子的獨唱，但經 Olivia 與 Daniel 商討後，最終修

改了獨唱的伴奏，更在兩首獨唱之間加插合

唱部份，既承接了魚的內心變化，也豐富了音樂的情感層次。

曲詞結合加上劇場演繹，帶出了兩個女子如何不斷追求屬於女性的自由，擺脫社會枷鎖，重新尋回真正的自己。

Interview

When Cantonese opera formats meet physical performance Journey to the West Rewind is an experimental Cantonese opera by Jason Kong. He explores the development of Chinese opera, in the hope of retaining the art form’s traditional core values. By casting Cantonese opera in a contemporary context, he reinvents the medium for the 21st century. In defining identity, Kong attempts to bend and break the orthodox for mat s a nd r u les of Ch i nese oper a . E sche w i ng convent iona l “protagonists” in the performance, he has seven actor-musicians play instruments while acting, to give additional contours to the characters' moods. Jason collaborated with director Ata Wong, a specialist in physical theatre, to incorporate physical movement into the opera format. “The actors are trained in two completely distinct systems,” he says. “Some know acting but not music; some are musicians but are unused to acting—so their theatrical antennae are different. Fortunately, Ata’s physical training gets them to attune themselves more easily to the connection between their bodies, the space and the story.” Ata and Jason both emphasise the association between body and space in their collaboration. “I find that the hand gestures and stylised movements in Chinese opera are similar to those in physical theatre,” he says, “and in both art forms, the story is driven by the body. Still, in traditional Chinese opera, format and technique weigh more heavily while connections with everyday realism is rare. Therefore, in the play, we hope to make the physical movements symbolic and morph into a poetic state, so as to embody the characters’ humanity through simple dramatic scenes,” Wong says. Though coming from different disciplines, each attempts to break the traditional mould of Chinese opera. “I hope the actors’ pace, the performance and movements all take shape in a natural way rather than artificially,” Wong says. “All these elements are carefully conceived performance vocabularies that deconstruct and reconstruct Chinese opera, rather than being simply lines and blocking plans to be memorised.” The achievements and merits of Journey to the West Rewind are another discussion, but there is no doubt that the scriptwriters, directors and actors are all brave enough to step outside their comfort zones. They have ventured to explore how traditional art can move with the times, attempting to write a new chapter in the history of Cantonese opera.

It is a big challenge for the performers in Journey to the West Rewind to simultaneously attend to acting, playing their instruments and physical movement 同時兼顧演戲、奏樂及形體演繹，

對《後話西遊》的一眾演員是項重大挑戰

當粵劇程式遇上形體演繹

《後話西遊》是江駿傑（ Jason）的粵劇實

驗。他過去一直決意重新探索戲曲發展，希望保留當中最傳統的核心價值，並配合當下背景，創作屬於廿一世紀的粵劇作品。

在身份定義上，Jason 嘗試打破戲曲的固有

程式和規範。劇中沒有所謂的「主角」，安

排七位演員同時兼任樂師，既演亦奏，更立體地塑造角色情緒。在演繹方法上，他更與形體劇場導演黃俊達（阿達）合作，在戲曲程式中加入形體動作。「演員出身自兩套截

然不同的訓練系統，有人懂演戲，但不懂音樂；有人玩音樂，但不懂演戲，所以各自對

舞台的敏感度都不同。幸好，透過阿達的形體訓練，令演員更容易理解自己的身體與空間和故事的連繫。」

阿達與 Jason 一同踏上這條「取西經」之路，兩人同樣強調身體與空間的關連：「這次的

合作讓我發現戲曲的做手和身段與形體劇場

相似，彼此都是透過身體帶動劇情發展，但傳統戲曲較注重程式和技巧，少與當下社會拉上關係，所以我們希望劇中的形體動作帶

有象徵意味，將之演化成詩化的狀態，以簡單戲劇情境，體現角色的人性表現。」

兩人雖然來自不同藝術界別，但都有意打破戲曲的傳統程式，阿達說：「我希望演員的

節奏、表演和動作都不是刻意營造，而是自然而生，經過思考後去分解及重組戲曲的表演語彙，不再是單純記熟台詞和走位。」

《後話西遊》的成果有待下回分解，但可以

肯定的是，編劇、導演以至演員，都勇於離

開舒適區去開探傳統藝術如何能與時並進，嘗試寫下新章。

JOCKEY CLUB LOCAL CREATIVE TALENTS SERIES JOURNEY TO THE WEST REWIND / WOMEN LIKE US

賽馬會本地菁英創作系列《後話西遊》/《兩個女子》

The programme is solely sponsored by The Hong Kong Jockey Club Charities Trust. Please visit the HKAF website for latest programme information. 演出由香港賽馬會慈善信託基金獨家

贊助。請瀏覽香港藝術節網站以獲取最新節目資訊。

Analysis

TOWARDS FULL FLOWERING: LOOKING BACK AT A DECADE OF THE HONG KONG JOCKEY CLUB CONTEMPORARY DANCE SERIES 厚積薄發

香港賽馬會當代舞蹈平台十周年

TEXT 撰文

JAMES LIU 廖健邦 James Liu is an Editor of the Hong Kong Arts Festival 廖健邦是香港藝術節的編輯

Mature works of art go through a long process of nurturing: absorbing and accumulating nutrients over time, gradually developing before coming into full bloom. The first edition of the Hong Kong Jockey Club Contemporary Dance Series (CDS) was presented at the 40th Hong Kong Arts Festival in 2012, and this year marks its tenth edition. Over the past decade, the series has undergone a natural process of development, as it gathered and created experiences, triggering waves of energy for contemporary dance in Hong Kong and its ecosystem. The tenth year offers a perfect opportunity to examine its journey of growth, after all these years of careful nurturing. 成熟的藝術作品，都必須經歷這樣的醞釀過程：長時間吸收及積累養分，然後慢慢從容地展現成果，厚積薄發。香港賽馬會當代舞蹈平台（ CDS）從 2012 年第 40 屆香港藝術節首辦，將於 2021 年邁向第十屆。十年時間，平

台自身自然也經歷了一個積發收放的進程，也為香港當代舞壇及其生態掀起了一陣波瀾。藉着踏入第十個年頭這個機會，值得我們好好審視在過去多年的磨練中，平台寫下了哪些關鍵字？

“ When we began to conceive the dance series years ago, our question was one of direction—what should we do to help propel contemporary dance into an age of artistic diversity, where choreographers, dancers and artists from different generations create, innovate and unearth their unique creativity in a healthily competitive environment, and present their works to audiences with passion and perspectives that are their own? ”

「當年開始策劃這個舞蹈平台的時候，我們問的是一個方向的問題 —— 我們應該做甚麼，才能讓當代舞蹈進入百花齊放的時代，不同年代的編舞、舞者和藝術家在一個良性競爭的環境中努力創作，推陳出新，發掘他們各自獨有的創意，然後與有熱誠有觀點的觀眾分享創作成果 ……」 ── SO KWOK-WAN 蘇國雲

HKAF ASSOCIATE PROGRAMME DIRECTOR

香港藝術節副節目總監 2017

Analysis

When the CDS reached its sixth edition, the Festival reviewed its original intention: to let contemporary dance come into full bloom into an age of artistic diversity. So, if it is full bloom we want, what needs to happen after the seeds are sown? Compared with other regions, the development of contemporary dance in Hong Kong has been relatively slow. Even though there is an academy that trains new choreographers and dancers every year, and long-established contemporary dance companies that provide more systematic training, opportunities for new generations of independent choreographers to develop their creations and receive continual exposure remain limited.

Releasing Creative Ideas Choreographer Chloe Wong, who previously took part in the dance series, recalls that in the early 2010s, change was brewing on the city’s contemporary dance scene: “When I was studying, the talk was more on how to be a good dancer and less about how to be a good creator. After graduation, there started to be more discussion about how there were not too many choreographers or creators in Hong Kong. That’s when some platforms emerged with the desire to foster new creators.” Before she participated in the dance series for the first time in 2014, Wong had had experience choreographing and performing her own work, but the time frame allowed for the creative process was usually tight. “The CDS approached me a year ahead for the performance, so I had nearly nine months to concentrate on creating, meeting with dancers at least twice a week, and constantly adjusting the direction. It was a great experience.” The series provides choreographers with a full range of production and promotional support, which offers more opportunities to present, on a greater scale, the creative ideas of the choreographer. “I wasn’t weighed down by administrative matters and the CDS also arranged regular meetings with stage design and production teams,” Wong says. That resulted in the poetic Heaven Behind the Door, which was a mixed theatre piece with projection elements, and Diffusion of the Silence, which limited the dancer to a dangerous space with candles dotted around the stage—both works brimming with profound thoughts of her care for and explorations of the city. Among them, Heaven Behind the Door has continued to grow and evolve, touring to larger and more distant stages.

在平台第六屆時，藝術節曾這樣回望當年成立平台的初衷 ―― 讓當代舞蹈進入百花齊放的時代。若要百花齊放，該從何栽花？香

港當代舞發展與外國相比一直較為遲緩，縱然每年有學院培訓新的編舞及舞者，亦有成立多年的當代舞團提供較系統化的訓練，然而在此之外，能讓新生代獨立編舞持續發表及發展創作的機會仍未成主流。

釋放創作意念

早期便參與平台的編舞黃靜婷回憶 2010 年代初期，當代舞壇正在醞釀轉變：「讀書

時，多講如何成為好舞者，少講如何成為好創作人。畢業後，開始有些討論說香港的編舞或創作者不是太多，便出現一些平台想催生新的創作人。」

她 2014 年首次參與平台前，已有幾次編創及發表個人作品的經驗，但創作節奏通常比較

緊湊。「 CDS 一年前已經找我演出，令我有接

近九個月時間專心創作，與舞者每星期見面

至少兩次，不斷調整方向，是很好的經驗。」

平台向編舞提供全方位的製作及宣傳支援，因而有更多機會和能更大程度呈現編舞的創作意念。「不用花心力處理行政事項，平台也

會安排舞台設計及製作團隊定時定候討論。」不論是混合劇場、投影元素的詩意作品《人

間 · 獨 · 白》、還是在舞台上以蠟燭點陣，將舞者框限於一個危險空間之內的《默染》，兩部作品都盛載她對城市的關懷和探

問。當中《人間 · 獨 · 白》更一直演化成長，巡演至更大更遠的舞台。

Heaven Behind the Door

《人間·獨·白》

Diverse Collaborations for a Stronger Circle In addition to giving choreographers ample time and space, the CDS has also expanded the creative circle from choreographers and dancers to writers, musicians and multimedia artists, to build a more organic creative ecosystem. As a result, works often glow with cross-disciplinary creativity, with literature, music, video projection, and installation art offering new entry points. Many works throughout the dance series have also benefited from original music. As early as the first edition, the CDS was commissioning local composers to create music for the dance pieces, examples of which include Silence Box, choreographed and performed by Max Lee and scored by Alain Chiu. In 2018, the programme The Battle Zone/Vortex even used sound as its theme, inviting Belgian sound artist Peter Lenaerts to create soundtracks for two groups of local choreographers and dancers. “The role of the sound artist was to enable the entire soundscape in the theatre to move the audience as much as possible, and take the performance to another, imaginative space,” says Wayson Poon, a choreographer who collaborated with Peter on Vortex. “Later, on a tour to Yokohama in February 2020, Peter made a special trip to the local area to re-adjust his soundtrack according to the environment of the performance venue,” Wayson adds. “He even took the breathing of the dancers into account. The audience said the effect gave them goosebumps. Peter’s punctilious pursuit of detail in the aural experience is really worth learning from.” Wayson believes this experience has strengthened his sensitivity to the aural elements of contemporary dance, allowing him to focus more on how sounds can help him in the creative process and in performances themselves.

L A number of sonic elements used in

R Alain Chiu (left) and Max Lee (right)

Vortex were first recorded by Wayson

reflect on their collaboration in one

(left) and then modified and arranged by

episode of the documentary series,

Peter Lenaerts. The delicateness of the

which consists of interviews with past

soundtrack ably complements the slow,

participating choreographers, dancers,

whirling movement choreographed by

advisors, students, teachers, and more

Wayson

趙朗天（左）及李健偉（右）將於

《渦》所選用的聲音素材，不少

是由 Wayson（左）錄製，再交由 Peter 編輯及創作出微妙聲效，

與 Wayson 所編如旋渦緩慢迴移的舞步有異曲同工之妙

十周年紀念特輯中分享合作的感受。紀念特輯亦收錄過往曾參與平台的編舞、舞者、顧問、學生及老師的訪問片段

跨界合作壯大力量

除了給予編舞充裕的時間和空間，平台也將創作圈由編舞與舞者，拓闊至作家、音樂

家、多媒體藝術家等，築構更有機的創作生

態。作品因而往往帶有跨界別創作的色彩，常見文學、音樂、投影、裝置藝術等元素提

供新的切入點。而原創音樂，則幾乎是貫穿多屆作品的骨幹之一。

早於首屆，平台便委約本地作曲家為舞作創作相應音樂，如 2012 年趙朗天（作曲）及李健偉（編舞及演出）的《無聲盒》。2018

年的節目《舞· 聲》更開宗名義以聲音為題，邀請比利時聲音藝術家 Peter Lenaerts 為兩組本地編舞及舞者編創音樂。「聲音藝

術家的角色，是讓劇場裏整個 soundscape 能盡量觸動觀眾，將表演帶到另一個想像空間。」與 Peter 於《渦》合作的編舞盤彥燊

（ Wayson）說。

「後來在 2020 年 2 月到橫濱巡演時，Peter

特地到當地因應表演場地的環境重新調整聲

音，連舞者的呼吸聲也考慮在內，觀眾都說效果令他們毛管戙，Peter 那種對聲音細緻

度的追求很值得學習。」Wayson 認為這次經

驗增強了他對聲音在當代舞作的敏感度，令他在以後更着重思考聽覺如何幫助自己進入創作或表演的狀態。

Analysis

After its premiere at the 2019 HKAF, Put Out the Flame was

Two of the tenth edition programmes are the fruit of the cultural exchange between

developed into a full-length piece and presented at the On Site

local and international dancers and choreographers—Elephant in the Room (pictured

Festival in Macau, co-curated by Tracy Wong and Mao Wei. This

left), co-choreographed by Chang Xiaoni (Beijing) and local dancers, and Mokita, by

full-length version will be part of the coming CDS programme

popping dancer Dickson Mbi (UK) and local street and contemporary dancers

在 2019 年藝術節首演後，毛維、黃翠絲與 Jos Baker

進一步將《火滅》發展成長篇作品，於毛、黃在澳門策劃的在地舞蹈節上演。是次十周年節目將上演這長篇完整版本

十周年兩個節目均見證海外與本地編舞及舞者的交流成果 ――《沒有大象》

（左圖）由北京編舞常肖妮與本地舞者編作的，而《 Mokita 》則由英國 popping 舞者迪克森．姆比與本地街舞與當代舞者創作

International Exchanges Cast Visions Afar In terms of creative methods and levels, 2017 was an important year. Italian choreographer Sciarroni collaborated with local choreographer Mao Wei to integrate two traditional folk dances—the German/Tyrolean Schuhplattler (shoe) dance and the Teochew Yingge—in Will You Still Love Me Tomorrow? (Hong Kong Remix), showcasing the choreographic collaboration between both regions. The same year, the CDS established a collaborative creative model with overseas choreographers, dancers and creative consultants to stimulate creative thinking and inject new vision and vitality into the series. In the next three years, collaborators included mainland choreographers from Young Artists Platform of Dance (Beijing), including Xie Xin, Li Chao, Yang Chang, Zhang Yixiang, Chang Xiaoni and Gong Zhonghui, as well as British dancers Dickson Mbi and Jos Baker. The work Put Out the Flame, created under the direction of Jos Baker by local choreographers Mao Wei and Tracy Wong, will grace the stage once again for the tenth edition. That exchange had quite an impact on Tracy Wong. “Jos is good at highlighting the idiosyncrasies of each character,” she says, “and in the creative process, as we were trying to mould the characters, we discussed the similarities and differences between western and eastern couples. During this time, he gave us a whole new space for imagination and opened up our understanding and use of dance theatre.” After about five years, works presented by the CDS had increasing opportunities to tour overseas, indicative of the maturity of works in the series. Local choreographers have been able to encounter overseas creators at international dance festivals, which has proven beneficial for their creative thinking. “For example, Pardon, and this premiered at the CDS in 2015, is my most frequently toured short work, and has gone as far as dance festivals in Spain. Each tour is also a great opportunity to see where I stand as a Hong Kong artist and choreographer, when compared to other international choreographers, and for me to seize the chance to deepen my work,” says Tracy.

國際交流看得更遠

在創作模式及層面上，2017 年是重要的一年。這年意大利編舞沙朗尼與本地編舞毛維合作，將歐洲擊鞋舞與香港英歌舞兩種傳統

民俗舞蹈融會貫通成《明天你還愛我嗎？》

（香港篇），盡顯兩地編舞合作的火花。

這年開始，平台確立與海外編舞、舞者或創作顧問攜手創作的模式，刺激創作思維，為平台注入新視野及活力。緊隨三年的合作藝

術家有青年藝術家平台（北京）的內地編舞及舞者謝欣、李超、楊暢、張翼翔、鞏中

輝及常肖妮，以及英國舞者 Dickson Mbi 及

Jos Baker，而 Jos 指導本地編舞毛維與黃翠絲（ Tracy）創作的《火滅》，更將於十周年舞台重演。

這次的交流經驗為 Tracy 帶來不少衝擊：

「 Jos 擅長刻劃角色特點，創作過程中我們一同拿捏角色，討論東西方夫妻生活及溝通

方式的異同，他從中提供了新的想像空間，打開了我們對舞蹈劇場的理解及運用。」

此外，踏入平台的中期，以往於平台發表的作品，也得到愈來愈多海外巡演的機會，可見平台的作品更為成熟。本地編舞得以在國際舞蹈節上與外國編舞的作品互相參照，對

創作思維大有益處。「像 2015 年於平台首演

的《原》，是我巡演次數最多的短篇作品，甚至遠至西班牙的國際現代舞蹈節。每次巡

演也是大好機會看看自己作為香港藝術家，與其他國際編舞相比處於哪個水平，所以要把握機會深化作品。」

Giving Roots to Contemporary Dance One of the main aspects of the CDS is something that might not be immediately apparent to audiences during performances, yet it is of great significance to the series’ continuity. From the outset, a key aim has been to develop an educational outreach programme, to bring contemporary dance from the theatre into schools, and allow students to learn about, experience and try to create contemporary dance in a relaxed and collaborative way. Alice Ma, who won the 2020 Tom Brown Emerging Choreographer Award, has taken part in the CDS educational outreach programme since 2016, giving more than ten introductory talks and demonstrations each year. She describes how the team turned school auditoriums into a theatre in the round, with the aim of letting the dancers be among the students to demonstrate and communicate. “Because of the close proximity, the students feel really involved. Each tour also has interactive sessions and a Q&A, and the students have been active in asking questions. Young people are in fact the future audience of contemporary dance.” In addition to fostering future audiences, the programme may also inspire more performers. Alice led a choreography workshop this year, which showed students how to extract words from concepts and develop them into actions, so as to create short dance pieces. In the student performance workshop, she worked with several secondary school students to develop her solo dance Over-master, presented at the CDS in 2018, into a group piece, allowing students to take part in the choreographic process as well as performance. All these key aspects are evident in the performances, outreach activities, commemorative specials, special publications and website releases of the tenth edition programme, echoing the original intention of the CDS: to cultivate new creators, open up creative horizons, and allow new audiences to experience contemporary dance. The CDS's years of achievement would not have been possible without the participation of audiences, artists and partners, and, of course, trust and support from the Hong Kong Jockey Club Charities Trust. As the series reaches its ten-year milestone, the HKAF will continue to nourish Hong Kong’s contemporary dance scene in ways which aim to impact its future development.

讓當代舞植根

然而，平台其中一個主要面向，未必是觀眾在劇場欣賞表演時能即時意會到，卻對平台

的延續性有莫大意義。自一開始，平台便銳意發展外展教育計劃，將當代舞從劇場帶進

學校，讓學生以輕鬆互動的方式認識、體驗並嘗試創作當代舞。

剛獲 2020 年白朗唐新晉編舞獎的馬師雅自

2016 年起連續四屆參與平台外展教育計劃，每年參與十多場示範講座演出，她形容團隊特意把禮堂變成「四面台」，是希望讓舞者真正走進學生當中示範和交流。「因為距離

近，學生的參與感很強，每次巡演也有互動環節及 Q&A，學生們也踴躍發問。年青人其實便是當代舞的未來觀眾。」

除了培育未來觀眾，或許也可以啟發更多表

演者。例如她今年便領導編舞工作坊，向學生示範如個從概念抽取詞語，從詞語演變為

動作，創作一個舞蹈小段落。在學生展演工作坊中，更聯同幾位中學生將 2018 年在平

台發表的獨舞作品《點指》發展成群舞作品，讓學生能參與編演的過程。

十周年慶祝計劃的一系列演出、外展活動、紀念特輯、特刊及網站的發佈，正正是以上關鍵面向的一種呈現，呼應平台的初衷 ――

培育新創作人，打開創作視野、讓更多層面的觀眾能體驗當代舞。

十年里程碑得以達成，觀眾、藝術家及合作單位的參與不可或缺，當然還有賴香港賽馬

會慈善信託基金的信任和支持。在未來，相信藝術節仍會繼續為香港當代舞壇的土壤帶來更多養分，栽種更深遠的影響。

Analysis

As part of the CDS’s outreach programme, Alice Ma performed Wu at introductory lecture demonstrations for student audiences, in which she explored symbolism in contemporary dance 馬師雅曾參與多屆外展計劃，圖為她於示範講座表演《烏》，與學生觀眾探討

當代舞蹈如何運用象徵意象創作及演出

Bridging multiple cultures and generations, Will You Still Love Me Tomorrow? (Hong Kong Remix) is unprecedented in bringing to the stage 10 student dancers, who took part along with local professional dancers 2017 年的《明天你還愛我嗎？》（香港篇）破格地邀請十位中學生與專業舞者一同編創，是一次跨文化、跨年代的當代舞蹈嘗試

THE HONG KONG JOCKEY CLUB CONTEMPORARY DANCE SERIES 香港賽馬會當代舞蹈平台

The programme is solely sponsored by The Hong Kong Jockey Club Charities Trust. Please visit the HKAF website for latest programme information. 演出由香港賽馬會慈善信託基金獨家

贊助。請瀏覽香港藝術節網站以獲取最新節目資訊。

THE FOUR BANDITS MUSICAL 音樂劇「四大寇」

Two years ago, the Hong Kong Arts Festival began commissioning local artists to create a musical about the young Sun Yat-sen. First, they brought composer Peter Kam on board, then director Eugene Ma, playwright Sunny Chan and lyricist Chris Shum joined the team, and the Yat-sen creative quartet began to take shape. Shum, who has 20 years of experience creating musicals, says that it would usually be the playwright who makes the first drafts before bringing in musicians and lyricists. But this time, everyone was involved from the beginning, taking part in a journey that he described as “building something and then smashing it, by writing and then polishing; it’s a very healthy creative process”. 兩年多前，香港藝術節打算委約香港藝術家，創作一個關於年輕孫中山的音樂劇，先找上作曲家金培達。由他開始，到 2020 年加入導演馬嘉晉，再找來編劇陳詠燊及作詞人岑偉

宗，《日新》的四人創作團隊成形。有二十年音樂劇創作經驗的岑偉宗說，過去都是編劇先寫了一些內容，才找音樂 /

作詞人，但這次大家由頭談起，「將東西建立再打碎，寫好再修正，是很健康的創作過程。」

TEXT 撰文

HO SIU-BUN 何兆彬 Ho Siu-bun is a journalist and editor. His regularly writes movie reviews for press such as the Hong Kong Economic Journal and am730 何兆彬是記者、編輯及傳媒人。

影評作品散見《信報》、《 am730》等香港報章雜誌

Interview

Finding One’s Calling How does one write a musical about a young Sun Yat-sen? “In this era, talk of action can easily be reduced to shouting slogans,” Chan says. “I really enjoy writing motivational stories, but they’re not easy to write.” He thought long and hard, and decided the show would avoid singing Sun’s praises. Chan says that Sun felt familiar and yet distant at first, but after starting his research and the creative process, he understood that Sun was also just another human being, with many flaws. “From chanting slogans to making the decision to change the world, what resources were needed and how much action? This is the story of a young man growing up as he prepares to change the world. I am less in awe of him now than I was, but I admire his ability to continue on his path, despite the failures and challenges he faced. In recent years, every piece I’ve written has been about finding one’s calling, which means the protagonist has to take responsibility for his/her good and bad qualities.” Kam says that, in creating the musical, the team used the iconic figure to inspire others to look inside themselves. “Everyone needs time to find their own position and calling.” Ma was interested in how Sun studied in the USA, earning stellar grades from a young age and then struggled to reintegrate into society when he returned to Guangzhou. “He came back as an outsider. How did his failures and his experiences mould him into the person he envisioned for himself?”

Moving the Story with Song In the creative team of four, director Eugene Ma is by far the youngest. But in terms of experience in musical theatre, it’s Chan who’s the newcomer. “I love musical films, such as Chicago and La La Land, and I’ve always wanted to work on one,” the veteran screenwriter says. “I’ve talked to film company bosses about this, but they told me to forget it. This is such a precious opportunity, I’m so excited.”

(Clockwise from top left) Perhaps aptly named as the modern Four Bandits, the four creatives—composer Peter Kam, lyricist Chris Shum, director Eugene Ma and playwright Sunny Chan—work closely together in Yat-sen to produce a worthy piece of art, which will be delivered as a workin-progress preview in the 49th HKAF （左上順時針起）四位創作人或許正是現代版的「四大寇」──

作曲金培達、作詞岑偉宗、導演馬嘉晉及編劇陳詠燊，緊密合作，方有佳作。在是次工作坊展演中，他們將讓觀眾率先預覽成果

找到自己的呼喚

用音樂劇去寫年輕孫中山，可以怎寫？陳詠燊說：「在這年代談奮鬥很容易流於口

號式，我喜歡寫勵志片，但勵志片不容易寫。」他深思熟慮，決定作品要避免歌頌孫中山。

他說孫中山對自己而言，又熟悉又遙遠，開始做資料搜集及創作後，他明白孫中山也只是一個人，有很多缺點，「他由叫口號，到

下定決心改變世界，到底要動用多少資源，做多少行動？這是一個年輕人準備改變世界

的成長故事。現在我沒從前那麼佩服他，但欣賞他在挫敗和矛盾中的遊走能力。近年我寫的每一個作品，命題都是〔關於主角〕做自己，角色的優缺點都要自己承受。」

金培達說在創作上，團隊是藉大人物讓平凡人看自己：「每個人都要一點時間去找到自己位置和使命。」

馬嘉晉說，孫中山最初在美國讀書，從小成績優異，畢業後回到廣州，一開始無法融入

社會，「以外來者的身分回來，他的挫敗、經歷，怎樣令他蛻變成自己想成為的人？」

以歌曲推進劇情

談年紀，導演比其他三人小一截，但若講到音樂劇上的經驗，反而是從事電影編劇多年的陳詠燊是新人，他說：「我很喜歡音樂劇

電影，例如《芝加哥》、《星聲夢裡人》，一直想做音樂劇電影，我曾跟電影公司老闆

談過，他們叫我不用再想了。難得這次遇上機會，我很興奮。」

© Worldwide Dance Project (From left to right) Yat-sen features a young cast including Ng Siu-hin, Andrew Chan, Ling Man-lung, Terrence Leung and Ronald Wong, who play the roles of the young Chan Siu-pak, Yau Lit, Sun Yat-sen, Luk Hotung and Yeung Hok-ling respectively （左起）《日新》邀請一群年輕演員出演，包括吳肇軒、陳熙鏞、凌文龍、梁景堯以及黃慶堯，分別飾演年輕的陳少白、尢列、孫日新、陸皓東及楊鶴齡

The artistic language in musical theatre is very different from f ilm. What is usually expressed through dialogue is entrusted to the lyricist, while the expression of emotion is the work of the music rather than the camera. The creative process involved a lot of interaction, according to Chan. “I had to learn to determine when to use dialogue, when to begin the song,” he says. “For plot progression and the expression of deep emotion, that’s when you hand it over to the songs.” Kam says he has worked on a lot of film soundtracks, where things are different: “In film, emotions can be expressed using close-ups, without dialogue, which gives the audience space to interpret the moment themselves. But in musicals, there’s no blank space— the point of the songs is to move the plot forward.”

音樂劇的藝術語言跟電影有別，平常角色透過對白表達，《日新》必須把部份台詞交予作詞人，部份情緒表達，由鏡頭交予音樂。

陳詠燊提及創作過程中有很多互動：「我要

學習分析甚麼時候用台詞，甚麼時候交給歌

曲。戲劇推進和深刻的情緒表達，就交給歌曲。」金培達說：「我做很多電影配樂，電

影表達情緒會用特寫鏡頭，不用對白，觀眾有自己的演繹空間。但音樂劇不留白，唱的意圖是推進劇情。」

那歌詞的作用又是怎樣？岑偉宗說：「我認為歌詞要講到動作，例如平常對白寫『我好恨你』，在音樂劇上要寫成『我要殺死你』。」他解釋，前者只流於純粹情緒表達，若加上了動作即可推動劇情。

Interview

And the lyrics? “I believe the lyrics have to express action,” Shum says. “For example, where the dialogue might say ‘I hate you’, in musicals, it has to be, ‘I will kill you’.” He explains that the former needs only to convey emotion, but by adding an element of action, it is possible to move the plot forward. Shum understands the special characteristics of Cantonese and has deep knowledge about writing lyrics in this dialect. He agrees with composer Leon Ko, who says Cantonese has a huge and intricate range of ex pressive possibilities which can be used when speaking with different people. “There are five registers of expressiveness in Cantonese,” Shum says, “elegance, ingenuity, wit, earthiness, cantankerousness. The pop songs we heard growing up were mostly written to show grace. If a creator does not take this into account when writing for a musical, every character might end up being the same.” Working in his mother tongue Cantonese, after living in North America for more than a decade and mostly directing in English, Ma has noted a difference and finds working in Cantonese more emotional. He has more than ten years’ experience acting in and directing musicals, and would be teaching at three American universities, but the pandemic has kept him in Hong Kong for the moment. “In traditional theatre, there’s usually just one visual focus,” he says, “but with musicals there are three authors; and as director, I have to combine everyone’s perspective.” He reveals that productions in Hong Kong are often limited by time and resources, leaving them operating more like a factory line, with no time to workshop anything. But in this production the team is running workshops with the actors, which allows them to try out the songs and bring the bare bones of the musical to life. “The point of workshopping is to magnify the shortcomings, so we can immediately fix any problems that emerge,” he says. From initial ideas to forming a team, much of the work was done via online conferencing during the pandemic, with everyone working together on all the material until the musical began to take shape. “I hope that after seeing this work-in-progress, audiences will view Hong Kong musicals in a new ways," Kam says.

岑了解廣東話語韻，對以廣東話入詞素有研

究。他認同作曲家高世章所說，跟不同人談

話，廣東話在使用上語感的精緻程度極大，

「廣東話有五個語感層次：雅、妙、趣、俗、鄙。我們聽流行曲長大，多用雅言入

詞，如果創作人沒有留意，寫音樂劇，每個角色都用上雅，就人人都一樣。」

對於以母語廣東話創作，在北美生活十多

年、以往多執導英文作品的導演認為感受不

同，更易觸動。馬嘉晉有十多年演出及執導音樂劇的經驗，本來正在美國三間大學教導戲劇，因應美國疫情下工作停頓，暫時回

港。他說：「傳統戲劇通常只有一個視點，但音樂劇有三個作者，作為導演我要綜合大家的視點。」

他透露，香港的製作因時間資源所限，一般較流水作業，通常沒有時間做工作坊，但這次以工作坊形式由演員把歌曲試唱，將基本戲劇結構呈現，「工作坊的作用是放大缺點，有問題可馬上調整。」

由零星想法到組成團隊，將材料創作整合，一再打磨，在疫情下這一年，大家透過網

絡開會，作品漸漸成型，正如金培達所言：

「希望觀眾看過這個 work-in-progress（階

段性創作）的音樂劇作品後，會用新的角度去看今後的香港音樂劇。」

JOCKEY CLUB LOCAL CREATIVE TALENTS SERIES YAT-SEN (tentative title) WORK-IN PROGRESS PREVIEW 賽馬會本地菁英創作系列音樂劇《日新》（暫名）工作坊展演

The programme is solely sponsored by The Hong Kong Jockey Club Charities Trust. Please visit the HKAF website for latest programme information. 演出由香港賽馬會慈善信託基金獨家贊助。請瀏覽香港藝術節網站以獲取最新節目資訊。

THE CENTRE STAGE: ART DOCUMENTARIES TO WATCH 藝術紀實搜映

Even as the pandemic continues to sweep over our cities, limiting our opportunities to experience the magic of the performing arts, our passion for them never once wavers. As a tribute to the dedication of artists, the HKAF presents a series of documentaries that offer a behind-the-scenes look at some of our favourite creative minds. In these documentaries, we see what drives each featured artist and learn about their oeuvre, their craft and their philosophies. 疫情雖限制了我們進入劇場的機會，但卻無阻我們對表演藝術的熱愛。

香港藝術節精選了多套以藝術家為主角的紀錄片，帶領觀眾由表演舞台進入藝術家的內心世界，深入認識他們對藝術、創作，乃至人生的所思所想。 1

《繼續演出》伊蓮娜．莎巴科娃從藝五十年

Hilary Hahn – Evolution of an Artist (2020)

《希拉里．哈恩：藝術人生．進化前行》

In the Footsteps of Leoš Janáček (2021)

《追尋楊納傑克的足跡》

塞基．普隆尼《黑天鵝王子》

A Year in the Life of Choreographer Jiří Kylián (2019)

《編舞家季利安人生中的一年》

Piazzolla: The Years of the Shark (2018)

《皮亞蘇拉：鯊之歲月》

Journal

The Birth of a Legend

Dancing to the Climax of Life 舞出巔峰人生

一個傳奇的誕生

Retracing the Footprints of a Musical Prodigy 重踏音樂足印

The greatest musicians draw on more than pure ta lent and ar t ist ic ef for t to create masterpieces; oftentimes they take inspiration from their locales and their daily lives. The Czech Republic’s second-largest city Brno served as such a muse for composer Leoš Janáček, being the place where he lived most of his life, where he started his musical career, and premiered many of his pieces. In this film, we retrace the composer’s footsteps and traverse the city’s landscape in pursuit of the untold stories and buried memories behind Janáček’s music.

字。在他眾多門生之中，現任舞團藝

This documentary relates the life and career of another monumental figure in the global dance scene—the Czech born choreographer Jiří Kylián. The film focuses on two significant milestones in Kylián’s career that occurred in 2018 and 2019. The first was the Prague National Theatre Ballet’s performance of Bridges of Time, a retrospective production of his work, for the 100th anniversary of the establishment of the Czechoslovak Republic. The second milestone was becoming the f i rst choreog rapher a nd on ly t he t h i rd Czech to be invested as a member of the Institute of France’s Académie des BeauxArts. The film also offers a rare glimpse into the world-renowned choreographer’s off-stage life.

紀錄片追溯伊蓮娜由舞者躍身成為領

季利安是國際舞壇上另一位重要人

家楊納傑克種種創作養分，他長居當

的訪問，梳理出她的成長故事和舞蹈

2019 舞季中的兩個重要時刻，其一，

T he Igor Moise yev Ba l let wa s fou nded in 1937 and has since established itself as the pride of Russia’s performing arts and a household name in international dance. Among Igor Moiseyev’s many protégés, Elena Shcherbakova shines the brightest and is the current artistic director of the company. This documentary is Shcherbakova’s growth a nd c a r e e r s t or y c h r on ic l e d ; t h r ou g h reminiscences, archive footage, and interviews with those around her, we relive Elena’s most arduous trials and euphoric memories. 1937 年，俄羅斯莫伊謝耶夫舞團創立。自此，莫伊謝耶夫成為俄國人民，以至國際舞壇上家傳戶曉的名

術總監伊蓮娜．莎巴科娃最為耀眼。導者的過程，透過她的自述及身邊人生涯，讓觀眾感受當中一切的辛酸與快樂。

物。紀錄片聚焦季利安在 2018 至在捷克斯洛伐克共和國成立一百週年的紀念活動上，由布拉格國家芭蕾舞團演繹《時間之橋》，回顧其過往重

點作品；其二，他作為史上首個編舞家及第三位捷克人成為法蘭西藝術學院的成員。紀錄片不但收錄了這兩件

大事，更深入故事背後，窺探這位生於捷克的編舞家在舞台下最真實的面貌。

DOCUMENTARY PICKS 紀錄片精選

Please visit the HKAF website for latest programme information. 請瀏覽香港藝術節網站以獲取最新節目資訊。

偉大的音樂家之所以能夠創作出悅耳動聽的作品，除了因為天賦和努力外，還有來自城市及日常生活的感

悟。捷克第二大城市布爾諾給予作曲地，曾任教各間音樂學校，其多首樂

曲亦在當地首演。在這些音樂背後，究竟醞藏了多少故事？與我們一同跟隨作曲家的腳步，走訪布爾諾的大小

建築物和標誌地點，細聽昔日的美妙樂思。

Festival Programme 藝術節節目一覽 PLUS 加料節目

Arnold Schoenberg Choir 荀伯格合唱團

Artist Sharing 藝術家分享

Pre-Performance Talk 演前講座 The European Choral Tradition of the Late Romantic Period

《後浪漫主義時期的歐洲合唱音樂傳統》

Cantonese Opera Noah’s Ark

粵劇《挪亞方舟》

Behind-the-scenes 幕後花絮

Documentary Short 紀錄短片 Telling Images of Xiqu on Porcelain

《當彩瓷遇上戲曲》

Charles Richard-Hamelin Concerts

查爾斯．理察－哈梅林音樂會 Artist Sharing 藝術家分享 Conquering Performance Anxiety in Piano Competition

《面對鋼琴大賽的焦慮》

Donmar Warehouse Blindness

多瑪倉庫劇院《盲流感》

Hong Kong Chinese Orchestra Music About China 香港中樂團 — 樂旅中國

Igor Moiseyev State Academic Ensemble of Popular Dance Igor Moiseyev Ballet Special

Please visit the HK AF website for latest information on ticketing and registration for free screenings. 請瀏覽香港藝術節網站，查看最新票務資訊及免費放映節目之登記詳情。

俄羅斯莫伊謝耶夫舞團「特備節目」

Documentary Screening 紀錄片放映 Without Intermission – 50 Years of Artistic Life of Elena Shcherbakova

《繼續演出》─

www.hk.artsfestival.org

伊蓮娜．莎巴科娃從藝五十年

Inspired by Beethoven – Hong Kong Sinfonietta•Eroica 香港小交響樂團英雄·貝多芬

Jockey Club Local Creative Talent Series Journey to the West Rewind / Women Like Us

賽馬會本地菁英創作系列《後話西遊》／《兩個女子》

Artist Sharing 藝術家分享 Women Like Us On the Arduous Path to Happiness

《〈兩個女子〉：追求漫長幸福路的艱辛》

Artist Sharing 藝術家分享 The New Normal of Journey to the West Rewind

《〈後話西遊〉：如何在新常態下繼續取經》

Jockey Club Local Creative Talent Series Yat-sen (tentative title) Work-in-Progress Preview

賽馬會本地菁英創作系列音樂劇《日新》（暫名）工作坊展演 Artist Sharing 藝術家分享 Creative team sharing on Musical Yat-sen

《〈日新〉創作團隊訪問》

Matthew Bourne’s Ballet Film Series Cinderella

馬修·伯恩芭蕾電影系列《仙履奇緣》 Behind-the-scenes 幕後花絮

Matthew Bourne’s Ballet Film Series Romeo & Juliet

馬修·伯恩芭蕾電影系列《羅密歐與茱麗葉》 Behind-the-scenes 幕後花絮

Matthew Bourne’s Ballet Film Series Ballet Film: Swan Lake

馬修·伯恩芭蕾電影系列《天鵝湖》 Behind-the-scenes 幕後花絮

A Matthew Bourne’s New Adventures production Ballet Film: The Red Shoes 馬修·伯恩新冒險舞蹈團芭蕾電影《紅舞鞋》

Festival Programme

National Theatre Brno Jenůfa

捷克布爾諾國家歌劇院《耶奴法》

Behind-the-scenes 幕後花絮

Documentary Short 紀錄短片 In the Footsteps of Leoš Janáček

《追尋楊納傑克的足跡》

Online Exhibition 網上展覽 Into the Czech Lands《樂遊捷地》

National Theatre Brno The Cunning Little Vixen

捷克布爾諾國家歌劇院《狡猾的小狐狸》

Behind-the-scenes 幕後花絮

National Theatre Brno The Diary of One Who Disappeared

捷克布爾諾國家歌劇院《失蹤者的日記》 Artist Sharing 藝術家分享 Performing Janáček

《演繹楊納傑克》

Pre-Performance Talk 演前講座 Janáček's Unrequited Love

《楊納傑克的戀戀情思》

Niu Niu Plays Chopin with Romer String Quartet

牛牛與羅曼四重奏 ―― 蕭邦之夜

Niu Niu Plays the Virtuosic Romantics

牛牛鋼琴獨奏會 ―― 浪漫炫技

Pavel Haas Quartet 巴維．哈斯四重奏

Lecture Demonstration 示範講座 Janáček and Martinů: Intimacy and Obsessions in String Quartets

《楊納傑克與馬天奈弦樂四重奏：親暱與著迷》

Artist Sharing 藝術家分享

Finding Your Own Janáček

《追尋楊納傑克》

Piano Recital by Jan Bartoš 揚．巴托斯鋼琴獨奏會

Artist Sharing 藝術家分享 Revealing Janáček and His Piano Works

《楊納傑克鋼琴作品分析》

Scott Silven’s The Journey

史葛·蕭凡《心靈旅程》 Meet-the-Artist 演後藝人談

The Chop Pathetic Fallacy

快刀劇場《無晴情天氣報告》

The Hong Kong Jockey Club Contemporary Dance Series Dance On and Off

香港賽馬會當代舞蹈平台《當代十年》 Artist Sharing 藝術家分享 Dancers at Home

《疫情下舞蹈家如何發展身體潛能》

Artist Sharing 藝術家分享 Voice Out Mokita in An Uncertain World

《在不明確的世界中尋找眾聲起舞的意義》

The Hong Kong Jockey Club Contemporary Dance Series Elephant in the Room / Dirty

香港賽馬會當代舞蹈平台《沒有大象》／《得體》

The Hong Kong Jockey Club Contemporary Dance Series Finding Meaning in an Uncertain World

香港賽馬會當代舞蹈平台《在不明確的世界中尋找意義》

The Hong Kong Jockey Club Contemporary Dance Series Mokita / Voice Out

香港賽馬會當代舞蹈平台《 Mokita 》／《眾聲起舞》

The Hong Kong Jockey Club Contemporary Dance Series Put Out the Flame / Hermetic Diode

香港賽馬會當代舞蹈平台《火滅》／《煉金》

The Plague (Cantonese version)

《鼠疫》（粵語版）

Artist Sharing 藝術家分享 The Witnesses of The Plague

《為鼠疫作證》

The Plague

(English version)

《鼠疫》（英語版）

Artist Sharing 藝術家分享 Seeing your own plague in Albert Camus’s The Plague

《此時此刻，重讀卡繆〈瘟疫〉》

Wiener Symphoniker’s Concerts 維也納交響樂團音樂會 Guided Talk 導賞講座

Yip’s Children’s Choir Children’s Opera Alice in Wonderland

葉氏兒童合唱團兒童歌劇《愛麗絲夢遊仙境》

About Booking and Registration 購票及登記注意事項

IN-VENUE PROGR AMMES From 10:00am on 2 February 2021, HK AF tickets are available for purchase at all URBTIX outlets and through the URBTIX Internet Ticketing Service, www.urbtix.hk. Local full-time students and people with disabilities can enjoy a 50% discount with limited quota on a first-come, first-served basis. Children younger than 6 years of age will not be admitted unless stated otherwise. Please visit the HK AF website for latest information on in-venue programmes.

ONLINE PROGR AMMES and PLUS PROGR AMMES In addition to in-venue performances, a notable innovation of the 49th HK AF is online live shows. A r t ist s f rom across t he world use ou r onli ne performance platform to connect with audiences in live settings. You can also enjoy a number of free performances from world-class troupes through our online video platform.

For free-of-charge programmes—“Register Now” 1 Enter your email address for online registration from February 2 2021 onwards. 2 You will receive a confirmation email once your registration is successful. 3 Log in to the HK A F website or the online performance platform, and enter your registered email to watch the performance within the available period.

For ticketed performances—“Book Now”

PROGRAMME INFORMATION AND BOOKING 節目資訊及登記

www.hk.artsfestival.org

Follow the instructions to purchase your ticket via credit card from Februar y 2 2021 onwards. A conf irmation email will be sent to you upon successful payment. Please log in to the online performance platform to watch the show.

現場節目

由 2021 年 2 月 2 日上午 10 時起，所有藝術

節節目門票可在城市售票網售票處或經城市

售票網網上訂票服務 ( www.urbtix.hk) 訂購。本地全日制學生及殘疾人士可獲半價優惠。數量有限，先到先得。除特別註明外，所有節目恕不招待六歲以下觀眾。請瀏覽香港藝術節網站，以獲取現場節目的最新資訊。

網上及加料節目

除現場節目外，第 49 屆香港藝術節將為觀

眾帶來兩個網上現場直播演出，身處世界各地的藝術家將利用藝術節的網上平台，以現

場表演的配置為觀眾帶來與別不同的體驗。除此之外，觀眾亦可於限定期間內免費欣賞世界級藝團的多場網上演出。

免費節目 ――「網上登記」 1

由 2021 年 2 月 2 日起，可於藝術節網站

成功登記後，你將收到確認電郵。

輸入你的電郵地址以進行網上登記。

請於觀賞期限內，登入藝術節網站或播

放平台，輸入已登記的電郵地址以欣賞演出。

收費節目 ――「立即訂票」

由 2021 年 2 月 2 日起，可於藝術節網站以

信用卡支付門票款項，完成付款後你將收到

確認電郵。請於節目開始前，登入演出頁面以欣賞演出。

Festival Programme

For PLUS programmes The Festival also features a wide range of free online PLUS programmes, which will be available, on an unlimited basis, on the Festival website and Facebook page before the related main programmes show. Please select your PLUS programme to watch on the Festival website and register with your email to watch programmes for an unlimited time after their ﬁrst performances. For more information on online performances, please visit individual performance webpages. You may also direct queries to enquiry@hkaf.org.

加料節目

本屆藝術節將於網上舉行多場加料節目，觀賞連結將在相關網上演出首演前於藝術節網

站及 Facebook 專頁發放，收看及重溫次數

不限。歡迎於藝術節網站選擇有意欣賞的加料節目，登記電郵後即可於節目首播後無限次觀賞。

有關網上演出之更多資訊，請瀏覽相關節目網頁，或電郵至 enquiry@hkaf.org 查詢。

SPECIAL NOTES IN RESPONSE TO COVID-19 因應新型冠狀病毒病之特別注意事項

FOR THE SAFETY OF AUDIENCES AND ARTISTS, PLEASE NOTE THE FOLLOWING HEALTH PRECAUTIONS WHEN ATTENDING AN IN-VENUE PERFORMANCE: • To comply w ith the reduced capacit y and social distancing regulations of the performance venue, special seating arrangements are in place. •

Audience members are advised to arrive punctually and will need to go through temperature checks upon entering the venue. Audience members showing a temperature of 37.5°C or higher will not be admitted and their ticket will not be refunded.

為確保觀眾及表演團隊安全，觀賞現場表演時請留意以下防疫措施： •

• The Hong Kong Arts Festival Society Limited is closely monitoring the COVID-19 situation and will announce any changes to our performances on HK A F website follow ing the latest ofﬁcial pandemic recommendations, including the release of additional seats for sale to the public should social distancing rules be relaxed prior to the performances.

社交距離，觀眾席現正實施特別座位安排及人數管制措施。

•

觀眾務請準時入場，在進入場地前須接受體溫檢測，如結果顯示為攝氏

37.5 度或以上，將不獲進場及退票，敬請見諒。 •

觀眾於場地內須佩戴自備的口罩及保

•

因應嚴控疫情的需要，表演場地或會

• All audience members are required to wear their own masks and maintain appropriate social distance in the venue. • The performance venue may adjust the admission rules and/or seating capacity/arrangement etc., as necessary for health reasons. Ticket holders may thus be denied admission. Please note the latest announcement for the event.

為配合表演場地使用人數上限及保持

持適當的社交距離。

調整入場人數、規則及座位安排等，持票人可能因此未能獲安排進場，請留意有關節目的最新公佈。

•

因應疫情的最新情況，演出或會於稍

後加開座位。我們會密切留意疫情發

展，並配合政府的最新措施，在有需要時採取相應的票務及演出安排，以及於藝術節網站公佈細節。

Behind The Scenes

Executive Director Assistant to Executive Director

Tisa Ho Connie Ho

Grace Lang So Kwok-wan Janet Yau * Linda Yip Tracy Tam * Loui Yuen * Stephanie Kuo* Elvis King *

Administriation Programme Manager (Administration) Programme Officer (Administration)

Shirley So Spaky Ching *

Technical Production Manager Assistant Production Manager

Shirley Leung * Benny Mok *

Publications Editor Assistant Editors

James Liu * Rain Cheng *

Outreach Senior Outreach Manager Deputy Outreach Manager Assistant Outreach Manager Outreach Officers

Kenneth Lee Joe Tang * Carman Lam * Tracy Cheung * Kelvin Li*

Susanna Yu * Joseph Wong *

Marketing Manager (Ticketing) Ticketing Officers

Melody Lai *

Michael Lee *

Katy Cheng Dennis Wu Dennis Chan * Alexia Chow Michelle Yeung * Joel Kwok * Ben Chan * Stephanie Cheung* Eppie Leung Stephanie Chan * Chung Cheuk-yau *

Flora Yu Anna Cheung * Lorna Tam Conny Souw * Alana Wan * Lois Ng *

Mak Tsz-kam *

ACCOUNTS Head of Finance Accounting Manager Accounting Officer

Teresa Kwong Connie To * Peter So *

HR & ADMINISTRATION Office Manager Receptionist/Junior Secretary General Assistant

助理節目經理節目統籌藝術行政見習員物流及接待經理

出版編輯助理編輯

外展高級外展經理副外展經理助理外展經理外展主任

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藝術行政見習員

票務

市場經理（票務）票務主任

發展

DEVELOPMENT Development Director Development Managers Assistant Development Manager Development Officer Arts Administrator Trainee

梁掌瑋蘇國雲游慧姿 * 葉健鈴譚小敏 * 袁潔敏 * 郭笑* 金學忠 *

技術製作經理助理製作經理

TICKETING

節目總監副節目總監節目經理

行政節目經理（行政）節目主任（行政）

MARKETING Marketing Director Associate Marketing Director Marketing Managers Deputy Marketing Manager Assistant Marketing Manager Digital Marketing Specialist Arts Administrator Trainee

何嘉坤何丹蓉

節目

PROGRAMME Programme Director Associate Programme Director Programme Managers Assistant Programme Managers Programme Coordinator Arts Administrator Trainee Logistics Manager

行政總監行政總監助理

Judy Tam * Virginia Li Bonia Wong

NO LIMITS Project Administrator Project Coordinator Programme and Outreach Manager Assistant Programme and Outreach Manager Assistant Marketing Managers Outreach Coordinator Assistant Technical and Production Manager Senior Accounting Officer

Fiona Chung * Helen Luk * Lam Kam-kwan * Ainslee Chan * Wendy Chu * Tiffany Wong * Wilson Fung * Jacob Chan * Janice Pang *

* Contract Staff 合約職員

In alphabetical order 按英文姓氏首字母排列

發展總監發展經理

廖健邦 * 鄭豐榮 * 李冠輝鄧冠恒 * 林嘉敏 * 張翠騫 * 李萬祺 * 鄭尚榮胡銘堯陳志雄 * 楊璞* 郭駿成 * 陳閏霖 * 張予心 * 梁彩雲陳偲穎 *

財務主管會計經理會計主任

鄺敬婷杜詩麗 * 蘇永恆 *

行政經理接待員／初級秘書助理

譚智盈 * 李美娟黃國愛

項目主管項目統籌節目及外展經理助理節目及外展經理助理市場經理外展統籌助理技術及製作經理高級會計主任

鍾雅妍 * 陸凱盈 * 林淦鈞 * 陳慧晶 * 朱穎欣 * 馮顯峰 * 陳梓衡 * 彭健欣 *

無限亮

余瑞婷 * 黃傲軒 *

梁雅芝 * 莫賦斌 *

助理發展經理發展主任藝術行政見習員

人力資源及行政

香港藝術節

蘇雪凌程鶩誼 *

余潔儀張慧芝 * 譚樂瑤蘇寶蓮 * 雲希朗 * 吳樂怡 *

會計

Hong Kong Arts Festival

黎家欣 *

李玨熙 *

周

怡

鍾卓祐 *

麥紫琴 *

ADDRESS 地址 Room 1205, 12/F, 2 Harbour Road, Wanchai, Hong Kong 香港灣仔港灣道二號十二字樓 1205 室

汪

盈*

PHONE 電話 (852) 2824 3555 FAX 傳真 (852) 2824 3798 (852) 2824 3722 Updated January 2021 2021 年 1 月更新