Loveless Romance - 51st Hong Kong Arts Festival

第五十一屆香港藝術節隆重舉行，可 喜可賀。

逾半個世紀以來，藝術節每年均呈獻 多姿多彩的文藝節目，由古典音樂、 歌劇、戲劇，以至舞蹈、多媒體項 目等，包羅萬有，令觀眾大飽眼福。

今屆藝術節以《收音機與茱麗葉》及 《春之祭》芭蕾舞表演揭開序幕，兩 齣經典作品經由著名編舞家愛德華· 克魯格重新編排，加上斯洛文尼亞 國家歌劇院馬里博爾芭蕾舞團傾力演 出，萬眾矚目；約五星期後，歐洲頂 尖交響樂團—德國班貝格交響樂團將 登台獻技，為今年藝術節畫上圓滿句 號。其間上演的焦點節目還有： 國 際星級女高音安娜·涅翠柯與丈夫男 高音尤西夫·伊瓦佐夫聯袂表演的音 樂會；由藝術家威廉·肯特里奇精心 製作、南非木偶劇團和比利時里切卡 爾古樂團奇妙演繹的蒙特威爾第歌劇 《尤利西斯歸鄉記》；由芭蕾天后娜塔 麗亞·奧斯波娃領銜主演的芭蕾巨 星之《「世」不可擋》及傳奇舞姬之 《趾尖》；以及國際鋼琴大賽冠軍劉曉 禹的演奏會。

藝術節向來十分重視本地演藝人才， 致力讓他們一展才華。今屆藝術節亦 會上演多個粵劇節目，包括《竹林愛 傳奇》、「毛俊輝．粵劇情」、《畫皮》 (精新版)，以及「短篇粵劇—戲說 八德」； 並帶來其他本地作品，包括 《飯戲攻心》踏台版、《末戀．無愛合 約》、舞蹈歌劇《兩生花》等等，定 必精彩萬分，不容錯過。

大眾還可通過藝術節，體驗繽紛的藝 術魅力。法國食蟻獸沉浸式藝術工作 室創作的《第一步》，會邀請觀眾互 動共舞；在大館舉行的一系列免費藝 術科技節目，以及「無限亮」計劃， 亦會讓公眾參與其中。「無限亮」計 劃由本地和海外不同能力的藝術家擔 綱演出，鼓勵青少年衝破界限，探索

行政長官的話 MESSAGE FROM THE CHIEF EXECUTIVE

I would like to congratulate the Hong Kong Arts Festival on the organisation of its 51st edition.

For more than half a century now, the Arts Festival has enthralled audiences with a superb annual programme of arts and culture performances embracing classical music and opera, theatre, dance, multimedia and a great deal more.

This year’s Arts Festival programme opens with the Slovene National Theatre Maribor’s ballet performances of Radio and Juliet and Le Sacre du Printemps, two classics re-imagined by celebrated choreographer Edward Clug. It closes, nearly five weeks later, with a concert by Germany’s Bamberg Symphony, one of Europe’s greatest orchestras. Other highlights include Anna Netrebko, one of the world’s great sopranos, performing with her husband, tenor Yusif Eyvazov; artist William Kentridge’s remarkable production of Monteverdi’s opera, Il Ritorno d’Ulisse, brought to life by South Africa’s Handspring Puppet Company and Belgium’s Ricercar Consort periodinstrument ensemble; Ballet Superstars’ Force of Nature and Legendary Ballerina

新知。「香港藝術節青少年之友」計 劃同樣以豐富年輕人的體驗為目標， 籌備了多場學校巡演、演前工作坊和 特備節目。「加料節目」的創意活動 則把全港觀眾與藝術家連繫起來，讓 藝術文化遍及社區。

我感謝香港藝術節盡心竭力推廣藝術 文化，協助推動香港發展為中外文 化藝術交流中心。我亦感謝一眾贊 助商和捐款人慷慨襄助，令藝術節精 彩紛呈。

今年的藝術盛宴每場表演均可貴可 喜，大家定能盡情享受，樂在其中。

in Two Feet featuring supreme ballerina Natalia Osipova; and concerts by the international award-winning piano virtuoso Bruce Liu.

As always, the Festival shines a spotlight on standout artists from Hong Kong. This year’s Cantonese opera offerings include Love in the Bamboo Grove, Cantonese Opera Classics Circa 2023, The Painted Skin (Refined Edition) and Virtues and Morality—Four Cantonese Operas. Local productions including Table For Six on Stage, Loveless Romance and Love Streams are sure to be among this year’s Festival highlights.

Several programmes invite public participation as well, including the First Steps participatory dance performances staged by France’s Tamanoir Immersive Studio, as well as Tai Kwun’s free series of arts tech productions and the Festival’s No Limits programme, led by local and international artists of varying abilities. No Limits’ offerings emphasise youth exploration, as does the Young Friends of the Hong Kong Arts Festival with its school tours, preperformance workshops and special programming. And then there is the Festival PLUS creative activities that bring artists and audiences together in communities throughout Hong Kong.

I am grateful to the Hong Kong Arts Festival for its inspired commitment to the arts and to Hong Kong’s continuing rise as an East-meets-West centre for international cultural exchange. My thanks, as well, to the Festival’s many generous sponsors and donors.

I know you will treasure every performance, every moment, of this year’s Hong Kong Arts Festival.

John KC Lee Chief Executive Hong Kong Special Administrative Region

歡迎閣下蒞臨第 51 屆香港藝術 節。隨着香港走出疫情的陰霾，藝 術節再度匯聚本地及世界各地的頂 尖藝術家，呈獻一連串精采的現場 表演。儘管網絡世界無遠弗屆， 親身觀賞演出的體驗依然是無可取 替。今日，我很高興能夠與大家 聚首一堂，共同體驗現場表演的 震撼力。

藝術節得以順利舉辦，有賴社會各 界的慷慨支持。我在此感謝香港 特別行政區政府透過康樂及文化事 務署的年度恆常撥款，為藝術節的 長遠工作奠下根基。我亦非常感 激香港賽馬會慈善信託基金的持續 支持，以及一眾企業贊助、慈善基 金會和個人捐助者的貢獻。我更要 向參與藝術節的藝術家表達由衷謝 意，尤其是早前因疫情而無奈取消 演出、但於今屆願意再度與我們合 作的藝術家。

另外，過去三年，藝術節團隊在充 滿不確定因素的環境下努力不懈， 克服種種難關，繼續為觀眾送上線 上線下的精采節目。我在此向團隊 的每一位成員致謝。

觀眾的支持及參與對藝術節至關重 要。感謝您前來欣賞今日的演出， 希望藝術節的節目能夠為您帶來喜 悅與希望。

主席的話 MESSAGE FROM THE CHAIRMAN

I am delighted to welcome you to the 51st edition of the Hong Kong Arts Festival. As the city recovers from the disruption of the pandemic, the Festival is returning with an array of live performances featuring top-notch artists from Hong Kong and across the world. Despite the boundless possibilities offered by the internet, attending performances in person remains an irreplaceable experience. It gives me great pleasure to share this collective experience with you today.

The Festival is made possible by the generosity of our supporters.

I wish to thank the HKSAR Government, via the Leisure and Cultural Services Department, for the annual subvention which underpins our long-standing work. I am also grateful for the ongoing contributions from The Hong Kong Jockey Club Charities Trust, as well as corporate sponsors, charitable foundations and individual donors. My sincere thanks go

to the participating artists for their dedication to bringing the best to our audiences, especially those returning after previous cancellations due to the pandemic.

I also want to thank the dedicated staff of the Festival who have worked extremely hard to overcome numerous challenges during the uncertainties of the past three years. Last but not least, the Festival counts on the support and participation of each member of the audience. Thank you for joining us at today’s performance. I hope that our programmes will bring you much joy and hope for the future.

Victor Cha Chairman Hong Kong Arts Festival

香港藝術節主席 查懋成

我謹代表藝術節團隊，歡迎閣下蒞 臨第 51 屆香港藝術節。

經歷了過去幾年疫情的影響，今年 藝術節以「回賞．前行」為題，表 達了我們隆重回歸舞台的決心。憑 着五十年來的努力，香港藝術節成 為了地區首屈一指的文化盛事，確 立了在國際間的重要地位。我們很 榮幸能夠繼往開來，並繼續在多方 面力求進步，與時俱進。在第 51 屆藝術節中，我們全新演繹大師傑 作、建立跨界合作、委約原創作 品，進一步發掘新的創作視野。這 些嘗試都展現了表演藝術的維度和 無限可能性，讓我們在探索的旅途 中向前邁進。

除了出色的表演，藝術節亦舉辦 了一系列「加料節目」，令觀眾對 演出作品有更深入的認識，豐富觀 賞體驗。我們亦繼續大力投資於 藝術教育，希望透過多元的外展活 動，以高質素的表演啟發香港的年 輕一代。

藝術節正式踏入第二個五十年，我 們將抱持樂觀的態度和更大的勇氣 面對未來的各種挑戰。希望您能夠 與我們同行，並喜歡藝術節為您準 備的節目。

行政總監的話

On behalf of the Festival team, I would like to extend to you a heartfelt welcome to the 51st Hong Kong Arts Festival.

Our theme this year, “Coming Back, Moving Forward”, represents our determination to come back in full force after several years of uncertainties caused by the pandemic. After five decades of hard work and dedication, the Festival has established itself as a premier arts event in the region and an important international arts festival. We are honoured to carry this legacy forward, while advancing our multifaceted work to stay relevant in the present. In the 51st edition, we discover creative voices through new renditions of masterpieces, cross-disciplinary collaborations and commissioned productions— all of which showcase the breadth and endless possibilities of the performing arts, taking us one step

forward in this journey of exploration. Beyond exceptional performances, we are also offering a series of auxiliary PLUS programmes to enhance audience engagement and provide deeper insights into our programmes. Our strong commitment to arts education is seen in the extensive outreach activities aimed at inspiring the younger generation of Hong Kong through promoting quality arts.

The Festival steps into the second half of its first centenary with both optimism and renewed courage to bravely face the great challenges ahead. I hope you will stay close with us and be inspired by what the Festival has to offer.

香港藝術節資助來自：

The Hong Kong Arts Festival is made possible with the funding support of:

Flora Yu

Executive Director

Hong Kong Arts Festival

MESSAGE FROM THE EXECUTIVE DIRECTOR

香港藝術節 HONG KONG ARTS FESTIVAL

扎根香港的國際藝壇盛事 聯繫中國與世界

An International Arts Festival in Hong Kong Connecting China and the World

香港藝術節於 1973 年正式揭幕，是國際藝壇中重要的文化 盛事，於每年 2、 3 月期間呈獻眾多優秀本地及國際藝術家 的演出，以及舉辦多元化的「加料」和教育活動，致力豐 富香港的文化生活。

香港藝術節 是一所非牟利機構，2022/ 23 財政年度預計收

入（包括第 51 屆香港藝術節及 2023 年「無限亮」）約港 幣一億五千萬，當中香港特區政府的年度撥款佔總收入約 18%，另外約 24%需來自票房收入，約 43%則需依賴來自 各大企業、熱心人士和慈善基金會的贊助和捐款。預計餘 下的約 15%則來自其他收入，包括政府針對捐款和贊助收 入而提供的配對資助。

香港藝術節每年呈獻眾多國際演藝名家精采多元的演出，

例如* ：

• 歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、莫斯科大 劇院、聖彼得堡馬林斯基劇院

• 中國戲曲：中國國家京劇院、河北梆子劇院、上海張軍 崑曲藝術中心、江蘇省蘇州崑劇院、浙江小百花越劇團

• 古典音樂：塞西莉亞 • 芭托莉、列卡杜 • 沙爾、趙成 珍、古斯塔沃 • 杜達美、菲力普 • 格拉斯、馬友友、 丹尼斯 • 馬祖耶夫、安娜 • 涅翠柯、詹安德列亞 • 諾 斯達、小澤征爾、湯瑪士．夸斯托夫、甘拿迪 • 羅傑 斯特汶斯基、譚盾、湯沐海、克里斯蒂安 泰利曼、倫 敦交響樂團、NHK交響樂團、皇家阿姆斯特丹音樂廳樂 團、柏林廣播電台合唱團、萊比錫聖多馬合唱團、維也

• 爵士樂及世界音樂：波比 麥非年、尤蘇 恩多爾、 艾斯佩蘭薩 • 斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼

• 舞蹈：米高 巴里殊尼哥夫、蕭菲 紀蓮、艾甘 漢、美國芭蕾舞劇院、雲門舞集、漢堡芭蕾舞團—約 翰．紐邁亞、紐約市芭蕾舞團、巴黎歌劇院芭蕾舞團、 翩娜 包殊烏珀塔爾舞蹈劇場

• 戲劇：彼得 • 布祿克、羅伯特．利柏殊、蜷川幸雄、羅 柏特 • 威爾遜、柏林劇團、中國國家話劇院、皇家莎士 比亞劇團

• 大型特備節目：《藝裳奇幻世界》、星躍馬術奇藝坊

• 戶外節目：《聲光園》、《幻光動感池》、《聲光頌》

香港藝術節積極與本地演藝人才合作，並致力為新進藝術 家提供展示才華的平台。藝術節至今委約及製作逾 250 套 本地全新創作，包括粵劇、戲劇、室內歌劇、音樂和舞蹈 作品，不少製作更已在香港及海外多度重演。近年的藝術 節新製作包括《鼠疫》、《陪着你走》、《百花亭贈劍》、《香 港家族》三部曲、《世紀

The HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year.

The HKAF is a non-profit organisation. The total estimated income for FY2022/23 (including the 51st Hong Kong Arts Festival and 2023 “No Limits”) is approximately HK$150 million. Current Government annual funding accounts for around 18% of the Festival's total income. Around 24% of the Festival’s income needs to come from the box office, and around 43% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 15% is expected to come from other revenue sources including the Government’s matching scheme, which matches income generated through private sector sponsorship and donations. The HKAF has presented top international artists and ensembles across multiple genres, such as*:

• Western opera: Bavarian State Opera, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre

• Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe

Classical music: Cecilia Bartoli, Riccardo Chailly, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra

• Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini

Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet – John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch

• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company

• Large-scale special events: World of Wearable Art, Zingaro

• Outdoor events: Power Plant, Super Pool, Chorus

The HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include The Plague, Always by Your Side, Pavilion of a Hundred Flowers, A Floating Family – A Trilogy, Hong Kong Odyssey, Danz Up, Datong – The Chinese Utopia, The Amahs and Murder in San Jose, to name a few.

The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina

香港》、《炫舞場》、《大同》、 《金蘭姊妹》、《聖荷西謀殺案》等。

香港藝術節多年來與知名海外藝術家及團體聯合製作不少 優秀作品，當中包括由香港藝術節、香港歌德學院及翩 娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹窗人》、由倫 敦老域劇院、布魯克林音樂學院與尼爾街製作公司製作、 香港藝術節為聯合委約機構之一的「橫貫計劃」之《暴風 雨》及《李察三世》、由香港藝術節及上海國際藝術節聯 合委約的《青蛇》、三藩市歌劇院與香港藝術節聯合製作 的《紅樓夢》等。

香港藝術節 大力投資下一代的藝術教育。「青少年之友」

成立 30 年來，已為逾 810, 000 位本地中學生及大專生提供 藝術體驗活動。藝術節近年亦開展多項針對大、中、小學 生的藝術教育活動，包括由國際及本地藝術家主持的示範 講座及工作坊、學生展演、演前講座、公開彩排、以及欣 賞藝術節演出。同時，通過「學生票捐助計劃」，藝術節 每年提供約 10, 000 張半價學生票。

香港藝術節每年主辦一系列多元化並深入社區的「加料節 目」，例如電影放映、示範講座、大師班、工作坊、座談 會、後台參觀、展覽、藝人談、文化導賞團等，鼓勵觀眾 與藝術家互動接觸。

香港藝術節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

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、擁抱藝術。

Bausch, Richard III and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with HKAF as a co-commissioning institution, Green Snake co-commissioned with Shanghai International Arts Festival, and Dream of the Red Chamber co-produced with San Francisco Opera.

The HKAF invests heavily in arts education for young people. Over the past 30 years, our “Young Friends” scheme has reached over 810,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year.

The HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided cultural tours.

The HKAF actively promotes inclusiveness and understanding via the arts to every corner of the community. The “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, was launched in 2019. Through a series of performances and diverse arts experiences for students and the community, “No Limits” strives to create an inclusive space for people with different abilities to share the joy of the arts together.

The HKAF officially launched the Hong Kong Arts Festival Foundation in 2022 to provide greater financial security and longterm sustainability for the Festival. Donations to the Foundation will help the Festival to present large-scale projects which its annual budget cannot cater for. (2023

香港藝術節為創造更穩健的財政環境以及確保藝術節的長期 可持續性，於 2022 年成立香港藝術節基金會，旨在讓藝術 節得以在未來進行年度預算以外的大型特別項目。

*有關香港藝術節的過往節目，可參考以下網頁 Details of past HKAF programmes can be found at https://w2.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2021.html

誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。

To find out more about sponsorship opportunities and donation details for the Hong Kong Arts Festival, please contact the HKAF Development Department.

香港藝術節協會 2022 ／ 23 年度預計收入來源（約港幣一億五千萬）

電郵 Email: dev@hkaf.org

直綫 Direct Lines: (852) 2828 4910/11/12

網頁 Website: www.hk.artsfestival.org/en/support-us

Estimated Income Sources for Hong Kong Arts Festival Society in FY 2022/ 23 (Approximately HK$150 Million)

張達明「離別三部曲」之二 The Second Instalment of Cheung Tat- ming’s“Separation Trilogy”

《末戀‧無愛合約》

LOVELESS ROMANCE

10-12, 14-19.03.2023

10-12, 14-18.03.2023 / 8:15PM

11,18,19.03.2023 / 3:15PM

香港大會堂劇院

Theatre, Hong Kong City Hall

演出長約 2 小時，不設中場休息

Approximately two hours with no interval

粵語演出，附中、英文字幕

Performed in Cantonese with Chinese and English surtitles

* 本節目有裸露、粗俗語言、吸煙場面、性愛 場面及成人內容

This production contains nudity, strong language, smoking scenes, sex scenes and adult content

* 適合 18 歲或以上觀眾欣賞

Recommended for ages 18 and above

封面照片 Cover Photograph

©Lawrence Ng @ Workhouse

敬請關掉所有響鬧及發光裝置

Please switch off all sound-making and light-emitting devices

本場刊採用環保紙張印刷

This programme is printed on environmentally friendly paper

所有作品內容均由主辦單位／創作團隊獨立製作，並不代表贊助機構之立場或意見。

藝術節加料節目

演後藝人談 Post-Performance Meet-the-Artist

15.03.2023 / 8:15pm Performance 演出後 香港大會堂劇院

Theatre, Hong Kong City Hall

請勿擅自攝影、錄音或錄影 Unauthorised photography or recording of any kind is strictly prohibited

如不欲保留本場刊，請於完場後放入場地的回收箱

If you don't wish to keep this booklet, please return it at the admission point

The content of all works is independently produced by the organiser/creative team, and does not reflect the views or opinions of the Sponsor.

©Lawrence Ng @ Workhouse

《末戀‧無愛合約》

Loveless Romance

監製 Producer

香港藝術節 Hong Kong Arts Festival

主演 Main Cast

王維 Wang Wei

張雅麗 * Annie Cheung *

楊淇 Kate Yeung

舞台及服裝設計 Set and Costume Designer

李峯 Bacchus Lee

錄像設計 Video Designer

盧榮 Lo Wing

助理舞台及服裝設計 Assistant Set and Costume Designer

任韻然 Ruby Yam

製作經理 Production Manager

陳寶愉 Bobo Chan

助理舞台監督 Assistant Stage Managers

陳祖儀 Chan Cho-yee

陳樂詩 Chan Lok-sze

燈光編程員 Lighting Programmers

翁焯綸 Denzel Yung

葉俊霖 Rachel Ip

中文字幕翻譯

Chinese Surtitles Translation

江佳蒨 Chiang Chia-Chien

編劇及導演 Playwright and Director

張達明 Cheung Tat-ming

演員 Cast

黎濟銘 Lai Chai-ming

何浩源 Mill Ho

馬沛詩 Cissy Ma

燈光設計 Lighting Designer

馮國基 Gabriel Fung Kwok-kee

音響設計 Sound Designer

郭宇傑 Jaycee Kwok

副製作經理及舞台監督 Associate Production and Stage Manager

余慧琳 Muijai Yu

總舞台技師 Stage Chief

陳家彤 Doris Chen

總電機師 Chief Production Electrician

梁景欣 Leung King-yan

英文字幕翻譯

English Surtitles Translation

李正欣 Joanna C. Lee

*承蒙香港浸會大學批准參與演出

*With the kind permission of Hong Kong Baptist University

特別演出 Special Appearances

羅冠蘭 Lo Koon-lan

呂志剛 Lui Chi-kong

助理導演 Assistant Director

黃朗然 Gordon Wong

作曲 Composer

林鈞暉 Lam Kwan-fai

執行舞台監督 Deputy Stage Manager

李泳蓮 Bee Li

舞台技師 Stage Crew

李瀚天 Karson Li

林耀洪 Eric Lam

燈光技師 Lighting Crew

黃冠綸 Larry Wong

姚文妃 Ceci Yiu

馮晞彤 Daisy Fung

林琬頤 Lam Yuen -yee

音樂監製 Music Producers

林鈞暉 Lam Kwan-fai

陳玉彬 Julian Chan

色士風演奏 Saxophonist

黃德釗 Wong Tak-chiu

服裝主管 Wardrobe Supervisor

甄泳然 Renee Yan

髮型 Hairstylist

Ray Hui

音響器材提供 Audio Equipment

J-REAMY SOUND

現場混音師 Sound Mixing Engineer

林冠江 Lionel Lam

音樂混音 Music Mixing

陳玉彬 Julian Chan

結他演奏 Guitarist

吳欣圖 Billy Ng

服裝助理 Dresser

楊宇力 Connie Yeung

佈景製作 Set Production

迪高美術製作公司 Dick Ko Arts Production Co.

空中吊環導師

Aerial ring trainer

Crystal Kam @ Aerial Arts Academy

音響技師 Sound Crew

陳美玲 Chan Mei-ling

音樂錄音師 Music Recording Engineer

陳沁怡 Tsam Chan

音樂製作錄音室 Music Recording Studio

Freelancer Studio

化妝 Makeup Tricia Siu

燈光器材提供 Lighting Equipment

CestBon

這齣劇是關於一個「不尋常感 情」的故事。

兩位一起生活、年過五十的男 女——浩天和夢雨，基本上生活 愉快，但面對日常生活的種種 問題，兩人各有取捨。影響他 們抉擇的，是一份雙方都同意 簽訂的「無愛合約」。

這合約甚麼時候簽訂的呢？又 造成甚麼影響呢？三十幾歲的 獨身女士 Kitty 很想知道。因為 這些問題的答案是患有抑鬱症 的她很需要知道的。

即使是正常的家庭，亦會出現 許多「家庭問題」，浩天和夢雨 這一對各有困難背景的「無愛 同居者」，又遇到甚麼「無愛同 居問題」？

當雙方開始慢慢接納這段無愛 之戀，而慾望又有所突破的時 候，竟然成為「末戀」！而且 有人違反無愛合約，盡力培養 兩人真愛！

最後如何行到結局？而結局有 愛還是無愛？是「末戀」還是 「疊戀」？

This is a story about an “unusual romance”.

Cohabiting friends Ho Tin and Hui Mung Yu are a man and woman in their 50s who are living a simple, happy life. But when faced with various issues in life, the two have their own choices to make. And their mutually agreed “loveless contract” will affect their choices

When was this contract signed? What impact has it had? There are questions Kitty, a single woman in her 30s, desperately wants answered Because, in dealing with her depression, she really needs them

Even a normal family regularly faces a range of issues, so what kind of “loveless cohabitation problems” might arise for a couple such as Ho

Tin and Hui Mung Yu, who each carry the weight of their own difficult backgrounds?

As each of them slowly begins to accept this loveless romance, and experience some breakthroughs in their desires, suddenly the end is nigh! Adding to the drama, someone violates the contract and begins nurturing true feelings of love!

What happens as they near the end? Will there be love or lovelessness? Will it be a “love in the end times”, or even a “three-way love”?

©Maximillian Cheng

分場及角色 Scenes and Characters

第一幕

緣份相聚，在無愛合約裏塑造優質生活。

第二幕

被界定為末戀，破約培育愛和追逐小夢想之間 的困局。

演員及角色 Cast and Characters

王維 飾–浩天 Wang Wai as Ho Tin

馬沛詩 飾– Michelle Cissy Ma as Michelle

特別演出 Special Appearances

羅冠蘭飾–羅醫生 Lo Koon-lan as Dr Law

呂志剛飾–呂醫生 Lui Chi-kong as Dr Lui

張雅麗 飾–許夢雨

何浩源 飾– Marco Mill Ho as Marco

The start of a momentous relationship, where two people discover a quality life within a loveless romance

Act One Act Two

A portrait of love in the end times, with the couple facing a quandary: violate the agreement in pursuit of love or chase after a dream?

Annie Cheung as Hui Mung Yu

楊淇 飾–Kitty Kate Yeung as Kitty

黎濟銘 飾– Sam Lai Chai-ming as Sam

©Maximillian Cheng

編劇及導演的話 Playwright and Director’s Note

恭喜停辦三年的香港藝術節， 再次隆重舉辦，亦多謝給我戲 劇創作的機會。

好想寫一個劇本： 能夠適合不 同時代、不同文化的人觀賞， 能夠感動今天、明天、將來的 現場觀眾。這是我編寫劇本的 最大力量。

幾百年來，戀愛故事千千萬 萬，初戀、錯愛、熱戀、暗 戀、恨愛、忘年戀、失愛、三 性戀、異地戀……

我選擇了寫這個「末戀」。不是 大時代大事件，並沒有大喜大 悲，是一段中年的緣份感情，

極細緻地去探索他們解決困境 的努力同辛酸。末戀的吸引 力，在於他們是平凡的現代城 市人，但要面對自己好大戲劇 性的一段人生。

這戀不是普通最終之戀， 而是雙方答應一份「無愛合 約」之戀。

這個故事三位主角的同類人越 來越多，「家庭問題」、「精神問 題」、「獨身族」，角色是悲傷 小人物、社會普通階層。面對 危難亦不戲劇性，亦不代表某 種社會現象，但有一個重點， 他們接近生命的尾段。他們的 關係和戀情錯綜複雜，結局難

以預料。

戲劇歷史裏，用好大力去示 愛、求愛、熱愛都好多。而 劇中人用好大力將愛包藏、抹 去、躲避，造成無愛空間，比 較少見。也許是近年多人選擇 的一種長期生活方式。不婚， 不育，不愛。

愛是不會無的。只是收藏、抓 緊不放、以謊話隱瞞。表示無 愛，因為真的很少，接近無， 也不能用，因為不夠力氣提供。 意想不到的是，原本答應無愛 合約共處的一方，卻要盡力令 對方愛上自己！為甚麼？大家

©Maximillian Cheng

立刻要面對努力堅持和盡心放 棄的極大矛盾。

末戀未必是末，也不一定是戀。

觀眾可能會擔憂或流淚，但 《末戀‧無愛合約》不是悲 劇，是小品正劇。

這個劇的演出方式，由四面 牆開始，然後三面牆，劇場 主義，型體表達，多媒體現 代劇場。

這是我喜歡劇場的發展路程。 我努力保持作為一個有創意的 劇場工作者，這次也嘗試彩排 幾樣沒有和極少在香港戲劇演 出的表演方式，以幫助更佳表 達劇情和劇場效果，不知到時 在大會堂劇院能有幾項成功見 觀眾了。

多謝王維、張雅麗、楊淇，很 努力演出極之難演，而並不討 好的角色。

我希望有觀衆觀看後會感到一 點正能量： 發現我算是個幸運 兒，無近似痛，無近似悲。這 是台上演出接近完結的一句說 話，我借演員的聲音，向觀眾 表達我的一點心聲。

最後，對能抽時間友情客串 的、我兩位最早的戲劇導師 羅冠蘭老師和呂志光老師講謝 謝，希望未來有機會深度合作。

張達明

Congratulations to the Hong Kong Arts Festival, which was forced to take a three-year hiatus, for making a grand re-entry, and many thanks for giving me the opportunity to create theatre.

I really wanted to write a play for a wider range of people across different eras and cultures, and one which would move an audience today, tomorrow and in the future. This is the biggest motivator behind my scriptwriting.

Over the hundreds of years in the past, there have been millions of love stories: first loves, failed loves, true loves, unrequited loves, passionate romances, age-gap romances, forbidden romances, love triangles, longdistance loves…

I chose to write this story about a “love in the end times”. The times I refer to are not of any significant societal event, or major sensational moment, but the times in the lives and relationships of two middle-aged people, exploring in extreme detail the blood, sweat and tears they put into overcoming life’s challenges. The allure of a love in the end times comes from watching these everyday city folk face a dramatic moment in their own lives.

This romance is not your average everlasting love, but a mutually agreed upon “loveless romance”.

An increasing number of people share traits with our three protagonists: family problems,

mental health problems, singledom—the characters are sad nobodies from a very ordinary class in society. The way they face a crisis is not theatrical. Nor do they represent any particular social phenomenon. But there is one critical point: they are nearing the end of life. Their relationships and romances are complex and complicated, and the ending is hard to predict.

In the history of drama, there are many examples of powerful acts of love, from confessions to courtships, to passion. In this drama, the protagonists use all their might to conceal love, to shove it aside, to hide from it, in order to create a loveless space. This is an uncommon story in theatre, but perhaps a long-term life choice for a growing number of people: no marriage, no children, no love.

There’s no such thing as lovelessness. There is only concealment, chokeholds and lies. Anyway it would be pointless to confess to lovelessness, because if there really was so little love, one would lack the energy to do so.

The surprising part comes when one party, who had agreed to the loveless contract, starts trying hard to make the other fall in love with them. Why? Both are suddenly thrust into a major contradiction that pits persistence against simply giving up.

Love in the end times is not

necessarily the end, or not even love.

The audience may worry, or shed tears, but Loveless Romance is not a tragedy; it is a low-key drama about everyday life.

The performance begins with four walls, and then three walls: theatricalism, physicality and modern multimedia drama.

This is my preferred developmental journey in the theatre. I make a lot of effort to remain a creative theatre worker and for this piece I also tried to rehearse a few performance approaches that are not found or extremely rare in Hong Kong theatre, to better express the plot and theatrical effects. I wonder how many of these attempts will make it through to the final performance for the audience at City Hall.

Many thanks to Wang Wei, Annie Cheung and Kate Yeung, for their hard work in performing this extremely difficult piece and for portraying these unloveable characters.

I hope the audience will draw some positive energy from this work: A self-discovery that I am perhaps a lucky duckling after all. What is pain? What is tragedy?

This is a line near the end of the play that I would like to borrow to express some of my feelings to the audience.

Finally, I would like to convey my gratitude to my two earliest drama coaches, May Lo Koon-

lan and Lui Chi-kong, for finding the time to guest star in this piece. I only hope we will have the opportunity to collaborate in greater depth in the future.

Cheung Tat-ming

©Maximillian Cheng

初心。末戀

The Eternal Optimist

訪問時間到，張達明徐徐步進約好的樓上書店，他瞄一瞄手上的錶，確保分秒無誤。手上那隻陀飛 輪，是病後重生的他親自設計，恰似半輩子的人生宣言。

As the time approaches for our scheduled interview, Cheung Tat-ming slowly walks up to the indie bookstore, glancing at his watch. Not one second early, or late, Cheung was precisely on time. The tourbillon watch on Cheung’s wrist, which he designed after combating a fatal illness, has served a sort of personal manifesto ever since.

©Carol Lau

訪問時間到，張達明徐徐步進 約好的樓上書店，他瞄一瞄手 上的錶，確保分秒無誤。手上 那隻陀飛輪，是病後重生的他 親自設計，恰似半輩子的人 生宣言。

錶面的浮雕是位戴着紳士帽的 戲劇男主角，時針與分針分別 是「笑臉」及「哭臉」面具。

每當指針走過 12 時位置，面具

正好遮蓋男主角的臉。悲喜夾 雜、哭笑交替，不正正是人生 的總和？

「一天 24 小時，有廿二次喜， 兩次悲，最終是以笑面覆蓋， 所以人生笑多於悲。逆境與 困難係多，但重點是你會選擇 『笑着』還是『哭着』面對？」 達明侃侃解釋創作意念，流露 出「笑看風雲」的表情。

2011 年，達明在事業如日方 中之時發現了鼻咽癌。人生舞 台上，他保持了演員的自我修 養，與病魔開展了七年沒有硝 煙的戰爭，身軀變得瘦弱， 但腦袋卻蘊藏巨大能量，他 說自己的創作慾望是前所未有 的澎湃。

慢工出細貨

2023 年，張達明與香港藝術節

合作，創作舞台劇《末戀·無 愛合約》，他為此在疫下閉關三 年。「我是不能趕工做靚劇本的 人，需要時間沉澱。我不喜歡 寫故事，我喜歡寫戲，因為我 是演戲出身，我沉醉於寫不同 場景去挑戰演員。」

《末戀· 無愛合約》是達明「離 別三部曲」的第二部，寫的是

Last Love。第一部是 2017 年他 獲香港話劇團委約編寫及執導 的《塵上不囂》，寫廣受讀者 喜愛的情色小説作家周海蓉， 突然要出家，當中關乎一個生 死的秘密。面對人生，各人有 其執念、有其難解的結，《塵 上不囂》明顯是一個玉石俱焚 的悲劇。

《末戀· 無愛合約》寫一個有關 病、死和愛情的感人故事。兩 個處於五十歲知天命的人幸福 平靜地共同生活了半年，直到 女的得知自己患有晚期子宮頸 癌。隨着死亡臨近，她發現伴 侶也曾想過結束自己的生命。

「末戀與無愛是兩個特定的概 念。末戀就是初戀的相反，末 日與末路你知道，『末戀』你 可以想像是一個人最後一段 戀愛？至於『無愛』，是怎樣 的合約？有無人履行？最後 是否真沒有愛呢？觀眾自行 判斷。」

身病不及心病難醫

張達明創作的劇本，多達二十 多部，多是現實主義題材，也 曾出版多本劇本集，希望作品 可以流傳更廣。「我鍾意寫劇 本，因為過程會令我思考、推 敲、破解生命中的不解。年紀 漸長、經歷多了，我更想寫鼓 勵大眾的作品。」人類最渴望的 基本需求是愛，但在俗世被物 化的關係中，病與逆境能否成 為心靈 X 光機，快測出「愛得 熾熱後愛比死更冷」，還是「愛 到分離仍是愛」？這是他最希 望透過作品去帶出的視點。

2011 年發現患上鼻咽癌，達明 從天堂跌落地獄，一直用「活 一天賺一天」的心態醫病，堅 持創作。訪問開始前，他示意 筆者提問時盡量要大聲，因為 聽覺不靈正是重病後遺症。

2019 年，他憑電影《麥路人》 中的出色表演，獲得了第 39 屆

©Carol Lau

香港電影金像獎最佳男配角 獎。病人角色貼合現實，連他 本尊也笑言「無添加、實屬本 色出演」。

記得當時看過報導，達明病 後最瘦的時候曾跌至 100 磅， 當年死頂參演電影《家和萬事 驚》，拍攝時連拿筷子也有困 難，他甚至連自己的骨灰甕都

已選好。突如其來的重病對達 明打擊極大，除了身體的後遺 症還有醫不好的心病。

接受無常。所以，達明能夠 把悲情轉化為動力，大病初癒 便在新光劇院搞棟篤笑，食着 藥、吊威也都要演出，抱怨不 如說笑。「其實住在香港如此壓 逼的城市，居住環境也會令人 有病，與病同在或許是積極的 行動。」

抱怨不如說笑

達明呷着咖啡，把昔日治療日 常說得像笑話一樣。例如他形

容當時有神醫約他某個時間站 在某個方位，「他說要發射氣 功俾我醫病，仲問我電話收唔 收到？後面那句是我作的，哈

哈。」如今雲淡風輕的每一句 笑話，當時應該都撕心裂肺。

我想起了一代笑匠差利卓別靈， 他的娛樂總是笑中帶淚。面 對命運無常，凡人唯有樂觀面 對，幽默感能將坎坷人生的苦 味冲淡，猶如他的名言，「近看 人生是一齣悲劇，遠觀人生則 成了喜劇。」

分針搭正 12 時位置，達明手錶 上的男主角戴上了笑臉面具。 他動身離開，我看着他的背影

蹣跚消失。在如此紛亂的大時 代，香港人很需要苦中作樂， 很需要張達明。

鳴謝 字字研究所提供訪問場地

撰文: 鄭天儀

原文刊登於香港藝術節 2023 年之 《閱藝》雜誌

©Carol Lau

The dial of the watch is carved in relief with a drama protagonist wearing a fedora, while the hour and minute hands respectively are decorated with the theatre’s classic comedy and tragedy masks. When the hands hit the 12 o’clock position, the character’s face is covered by one of the masks. Sadness and joy, tears and laughter, what’s more is needed to formulate the sum of life?

“In a day of 24 hours, there are 22 times with a happy face and two times with a sad face. To me, this means that life involves more joy than sorrow. Adversity and hardship are inevitable, but it is up to us to choose whether to face this with laugher or tears.”

As Cheung eagerly recounts the thoughts behind his earliest play, I see the face of a seasoned, unflappable man.

In 2011, at the peak of a promising career, Cheng was diagnosed with nasopharyngeal cancer. Assiduous as ever, he extended his strict ethical standards from theatre into his life itself, waging a sevenyear battle against the disease. Although physically frail, mentally he was not only undefeated, but even empowered. Now, his desire to create has never been stronger.

Devoted to his work

In 2023, Cheung is collaborating with the Hong Kong Arts Festival on a new play, Loveless Romance, which took three years to write during the pandemic. “I am

not the kind of person who can rush a fine script. I need time to let it all sink in. I don’t like writing pure stories, but due to my background in acting, I enjoy composing different scenes that can challenge the actors.”

Loveless Romance is the second work in Cheung’s “Separation” trilogy and it is about “last love”. For the first work, Forever Silence, Cheung was commissioned by the Hong Kong Repertory Theatre in 2017 to write the script and direct the play. It tells the story of erotica writer Elis’ sudden resolution to become a nun as secrets about life and death are revealed. In the secular life, everyone has their own obsessions and unsolvable problems. Forever Silence appears to be a fatal tragedy.

Loveless Romance is a heartwarming rendering of illness, death and love. A couple in their 50s live happily and peacefully together, until the woman is diagnosed with terminal cervical cancer. As death draws near, she coincidentally discovers her other half is having suicidal thoughts.

“Last love and lovelessness are two distinct concepts. Last love is the opposite of first love. Just like the last day and a dead end, last love can be understood as the final romantic relationship in one’s life. So how about lovelessness? What kind of commitment should it be and is there anyone to fulfill it? Does love really vanish at the end?

The audience can find their own answers.”

In sickness and mental health

Cheung has scripted nearly 20 plays, most of which are rooted in realism. He has also published his repertoire so that the literature can be passed down and reach to more people. “I enjoy writing scripts because it allows me to contemplate, fathom and decode the puzzles in my life. As I become older and more experienced, I turn my pen into an uplifting one.” All humans are looking for love, but in a world of materialised relationships, can it survive when confronted with crisis and ill health? What if we invent a machine that can detect real, genuine love, and with a quick scan can determine whether two lovers will stay together forever, or fall apart after a fervent romance? This are the question Cheung hopes to ask with his new work.

The diagnosis of nasopharyngeal cancer in 2011 dragged Cheung down from heaven to hell.

Believing that “every single day is a bonus”, Cheung strived to undergo medical treatments and live well, while persisting with his creativity. Before our interview started, Cheung told the author to speak as loudly as possible, as his hearing remains impaired after the cancer treatment.

In 2019, Cheung won the award for Best Supporting Actor at the 39th Hong Kong Film Awards for his performance in I’m Living

It. “I wasn’t acting, but rather just being myself,” Cheung says with a self-congratulatory smile of his portrayal of a sick man in the film.

I remember the news reports saying Cheung’s weight had dropped to 100 pounds (45 kg) at the height of his illness, that he had trouble holding chopsticks while filming A Home With A View due to severe pain, and that he had even chosen a funerary urn. This sudden health crisis almost crushed Cheung, not only physically but also mentally.

By accepting the impermanence of life. Cheung has been able to turn tragedies into motivation. Despite being on medication, he performed stand-up comedy at the Sunbeam Theatre and was even wire-flying. It is better laugh than to complain, he believes. “In fact, living in a distressing city like Hong Kong can make any of us sick. Living with sickness is perhaps the new normal.”

Better to laugh than cry

Sipping his coffee, the gentleman sitting across from me describes a supposedly agonising medical routine while completely at ease, almost in a joking manner. He recalls a doctor instructing him to stand in a certain position at a specific time. “He said to try to attract power so that I was cured by qigong, and asked if there was a phone signal at my location. No, the last line was madeup,” Cheung says with a giggle. What seems like a lighthearted moment now must have been

painfully miserable at the time. I think of Charlie Chaplin, the timeless comedian whose slapstick routines were imbued with pathos. While facing the vagaries of fate, we ordinary mortals can do nothing but live with optimism. A sense of humour can do much to dilute the bitterness of life, as suggested by Chaplin’s famous words: “Life is a tragedy when seen in close-up, but a comedy in long-shot.”

The minute hand is at 12 o’clock and the protagonist on Cheung’s watch is wearing a smiling mask. As Cheung leaves the bookstore, I watch him totter away until he vanishes from sight. In such turbulent times, Hong Kong people need to remain optimistic no matter how hard life is. The spirit of Cheung Tat-ming is much needed.

Acknowledgements

Thank you Word by Word Collective Limited for providing the venue

Text: Tinny Cheng

Originally published in the HKAF's 2023

FestMag

張達明 CHEUNG TAT-MING

編劇及導演

Playwright and Director

香港演藝學院戲劇學院表演系 首屆畢業生。

1992 年，憑《客鄉途情遠》獲 得香港戲劇協會（劇協）第一 屆香港舞台劇獎最佳導演和最 佳劇本，並獲香港演藝發展局 （藝發局）頒發傑出創作劇本大 獎。翌年憑《亞 Dum 一家看 海的日子》再度獲藝發局頒發 冠軍劇本大獎，近年拍成電影 《家和萬事驚》。

1988 年與同學聯合創辦沙磚 上實驗劇團，多次擔任編導工 作。1993 年獲亞洲文化協會獎 學金赴美國紐約作戲劇交流， 獲劇團工作坊邀請將《說書人 柳敬亭》翻譯成英文劇本，在 美國舞台作選段演出。

1996 年憑《長河之末》獲第

五屆香港舞台劇獎最佳劇本；

1997 年更得劇協頒發香港舞台 劇獎風雲人物獎，以表揚其在 劇場上的傑出成就；2005 年達 明自編自導《旋轉 270 度》奪得

香港舞台劇獎最佳導演。

1995 年與黃子華合作《楝篤笑 雙打之玩無可玩》，進軍棟篤 笑。其後聯同吳鎮宇三人共同 創作《鬚根 Show 》，五十三場 均滿坐，是香港演藝學院歌劇 院當年最高場次紀錄。憑超群 （速龍）演出深入民心，「形體 動作大師」之譽不脛而走。

達明全情投入跨媒體創作／表 演，演出電影逾一百部，曾經 憑《人間色相》及《買兇拍人》 分別獲提名第二屆及第七屆香 港電影金紫荊獎最佳男配角。 擔綱主演之電視劇《狀王宋世 傑》是 1998 年香港全年收視最 高的電視劇！

2001 與吳君如合作《兩篤笑》 和 2004 年香港藝術節節目《張 達明一咀 Show 》，追求 talk show 及戲劇揉合的方法，推出 「棟篤演」。

2008 年演出《人仔無敵》，是

首個成功在内地演棟篤笑的香 港藝人。

2011 年更憑《一於做壞蛋》進 軍紅館，演出萬人棟篤笑。

2020 年，以電影《麥路人》榮 獲香港電影金像獎最佳男配角。

©Lawrence Ng @ Workhouse

Cheung Tat-ming was one of the first students who graduated in Acting for Drama from The Hong Kong Academy for Performing Arts’ School of Drama.

In 1992, he was named Best Director and Best Playwright at the first Hong Kong Drama Awards, and won the award for Outstanding Script at Hong Kong Arts Development Awards for Far Way Home. The following year, he again received the Best Playwright award at the Hong Kong Arts Development Awards for A Home with A View, which has been adapted for film in recent years.

Cheung co-founded the experimental theatre group Sand & Bricks in 1988 and worked as a writer and director. He was a recipient of an Asian Cultural Council scholarship to visit New York for exchange and was invited to translate The Legend of a Storyteller into English, which was subsequently performed as an excerpt on stage in the USA. He was named Best Playwright at the fifth Hong Kong Drama Awards in 1996 for The End of Long River; in 1997, he was named Person of the Year by the Hong Kong Federation of Drama Societies for his outstanding achievements in theatre; in 2005, Cheung was named Best Director at the Hong Kong Drama Awards for Rotate 270°, written and directed by himself.

He collaborated with Dayo Wong on Play Till You Fall Dead in

1995 and started his own standup comedy shows. Later with Francis Ng, the trio produced Men’s Show together. A total of 53 performances all played to full houses and set a Hong Kong APA theatre record that year. His remarkable acting as a velociraptor has won the hearts of many and his reputation as the “Master of Physical Movement” spread like wildfire.

Cheung has devoted himself to multimedia productions and performances, and he has acted in more than 100 films. He was nominated as Best Supporting Actor at the second and seventh Golden Bauhinia Awards for his performances in Love and Sex Among the Ruins and You Shoot, I Shoot respectively. Justice Sung, which starred Cheung and Amy Kwok, was the top TV series in Hong Kong in 1998.

A Man and A Woman in 2001 was a co-ed comedy with Sandra Ng and Cheung Tat-ming on Stage Solo was commissioned by Hong Kong Arts Festival in 2004. With his method of blending talk shows and theatrical effects, he formed a one-of-a-kind “stand-up act”.

His talk show Ren Zi Wu Di in 2008 made him the first standup comic from Hong Kong to shoot to fame in mainland China.

Tat Ming Talk Show: Be a Bad Guy was staged at the Hong Kong Coliseum in summer 2011, after the show was held at Queen Elizabeth Stadium earlier that year, bringing his jokes and

stand-up routine to an audience of thousands.

In 2020, he was named Best Supporting Actor at the Hong Kong Film Awards for his performance in I’m Livin' It.

演員簡介 Cast Profiles

王維 WANG WEI

浩天

Ho Tin

香港粵國語雙語專業話劇、影 視演員。國家二級演員、中國 戲劇家協會會員、世界文學與 比較文學碩士，國家語委普通 話評核一級水平。曾任香港話 劇團全職演員廿二載，五度獲 香港舞台劇頒獎典禮提名並四 次獲獎，包括於 2020 年榮獲 舞台劇頒獎典禮最佳男主角、

IATC（ HK ）「國際演藝家協會」

頒授年度最佳演員獎。2020 年 憑《 Big Meal 》榮獲中國第四 屆華語戲劇盛典提名年度最佳 男主角。

王維也是香港著名影視配音聲 優及配音導演、導師，是全港 唯一的國、粵雙語配音演員兼 領班，聲演能力千變萬化。他 更是香港四大出版社中小學散 文、詩詞聆聽教材的有聲教材 指定普通話、粵語旁白，香港 都會大學普通話教材指定旁白。

Wang Wei is a drama and film actor in Hong Kong, bilingual in Cantonese and Mandarin. A national second-class actor, he’s a member of the Chinese Dramatists Association, holding a MA in Literary and Comparative Studies and the National Putonghua Proficiency Test Level 1. Wang was a fulltime actor with the Hong Kong Repertory Theatre for 22 years and was nominated five times at the Hong Kong Drama Awards, winning four times, including Best Actor in 2020, and was named Performer of the Year at the  International Association  of Theatre Critics (Hong Kong) (IATC) awards in 2019. He was nominated as Best Actor at the fourth Chinese Theatre Awards in 2020 for his performance in Big Meal.

Well-known as a film and television voice actor, dubbing director and instructor in Hong Kong, Wang is the only dubbing

artist in Hong Kong bilingual in both Cantonese and Mandarin. He has also lent his versatile yet signature voice acting ability to the Mandarin and Cantonese narration assigned by the four major publishing houses in Hong Kong for primary and secondary school prose and poetry listening textbooks. He is the official narrator of the Putonghua teaching materials of the Hong Kong Metropolitan University.

©Lawrence Ng @ Workhouse

More than Great Performances!

2023 FESTIVAL PLUS PROGRAMME 藝術節加料節目

3/2

五 Fri

5/2

日 Sun

12/2

日 Sun

13/2 Mon

18/2 六 Sat

19/2 日 Sun

跨越界限——陳詠燊談劇本創作

Sunny Chan on Screenwriting and Playwriting

說說管風琴•說說巴赫

Tracing the Organ Music of Bach

廣陵情長——粵劇編寫竹林七賢傳奇

Writing Cantonese Opera for the Legendary Seven Sages of the Bamboo Grove

「禹•見」鋼琴大師

Masterclasses and Meet Bruce Liu

「短篇粵劇──戲說八德」演後藝人談

Virtues and Morality—Four Cantonese Operas

Post-Performance Meet-the-Artist

杜國威經典作品選映——《虎度門》

Hu Du Men

Collection of Raymond To’s Classics 杜國威經典作品選映——《劍雪浮生》

A Sentimental Journey Collection of Raymond To’s Classics

22/2 三 Wed 杜國威經典作品選映——《南海十三郎》

The Mad Phoenix Collection of Raymond To’s Classics

24/2 五 Fri 米歇爾．梵德阿《水之書》演後藝人談

The Book of Water Post-Performance Meet-the-Artist

香港藝術節加料節目 X 大館對談：

古董鋼琴與現代鋼琴

27/2 Mon

28/2

二 Tue

1 - 19/3

三 - 日 Wed - Sun

3/3

五 Fri

5/3

日 Sun

HKAF PLUS x Tai Kwun Conversations: Early Piano Vs. Modern Piano 盛原——古董鋼琴獨奏會

Antique Piano Recital by Yuan Sheng 韓德兩地的音樂旅途

A Music Journey between Two Cultures –Esme Quartet in Korea and in Germany

《名畫詐騙師》演後藝人談

True Copy Post-Performance Meet-the-Artist

歌劇《尤利西斯歸鄉記》製作解碼展覽

The Making before The Return Exhibition

《超真實》裝置音樂會演後藝人談 Hyperreality—an installation concert

Post-Performance Meet-the-Artist

《名畫詐騙師》演後藝人談

True Copy Post-Performance Meet-the-Artist

「笙世界 音樂會」演後藝人談

Sheng World Music— Kevin Cheng & Friends

Post-Performance Meet-the-Artist

長笛的進化史──從巴羅克到現代時期 Evolution of Flute from the Baroque to Modern Periods 8/3

Wed 古鋼琴大師班

Fortepiano Masterclass 10/3 五 Fri

沉浸式歌劇《小狐狸》舞台參觀及公開彩排 Into the World of Silent Opera - Vixen Stage Tour & Open Rehearsal 「毛俊輝•粵劇情」演後藝人談

Cantonese Opera Classics Circa 2023

Post-Performance Meet-the-Artist

「長笛三次方——曾逸豪在繆思的庭院」 演後藝人談 Triptych for Flute—Tsang Yat-ho in Le jardin des muses

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演唱蒙特威爾第 About Singing Monteverdi 「毛俊輝•粵劇情」演後藝人談 Cantonese Opera Classics Circa 2023

Post-Performance Meet-the-Artist

呼吸，讓木偶栩栩如生 Breathing brings Puppet to Life 「毛俊輝•粵劇情」演後藝人談 Cantonese Opera Classics Circa 2023

Post-Performance Meet-the-Artist

巴赫與我 All I Need is Bach

《末戀•無愛合約》演後藝人談 Loveless Romance Post-Performance Meet-the-Artist

以樂器之王為經典默片配樂 Writing Music for Silent Film – Tips from the Organist

傑出文化領袖講座系列（10） 與班貝格交響樂團行政總裁暨 藝術總監馬庫斯•魯道夫•阿克斯對談 Distinguished Cultural Leadership Series (10)

In Conversation with Marcus Rudolf Axt Chief Executive and Artistic Director, Bamberg Symphony 《狂人派對》演後藝人談 Dance Me to the End of Night Post-Performance Meet-the-Artist

傑出文化領袖講座系列（10） 與金像獎最佳編劇杜國威對談—戲畫人生 Distinguished Cultural Leadership Series (10)

From Stage to Ink: In Conversation with Award-winning Playwright and Screenwriter Raymond To Kwok-wai

張雅麗 ANNIE CHEUNG

許夢雨 Hui Mung Yu

香港女演員。現任香港浸會大 學電影學院專業應用副教授。

前香港話劇團全職演員及前香港 電視藝員。曾參與超過四十個 劇場及影視製作。憑《聖訴》獲 提名第二十二屆香港舞台劇獎最 佳女配角。

2018 年，她首個自編自導自演 的獨腳戲《想· 點》於倫敦首 演，其後獲新加坡戲劇教育工 作者協會及紐約外百老匯劇團 邀請，於線上演出，修訂版本 更曾於温哥華及香港公演，口 碑載道。

張雅麗早年於香港大學法律系畢 業，其後於香港演藝學院就讀戲 劇，曾獲多個傑出學生/演員獎 及獎學金，包括張國榮紀念獎學 金（傑出獎項）。2017 至 2018 年 間獲柏立基爵士信託基金研究生 課程獎學金，於蒙特威爾戲劇學 校以優異成績修畢表演（演技） 碩士課程。

自出道以來，張雅麗曾演繹許 多本地及海外劇作家著作中的主 要角色，展現演員的可塑性，

如《盛宴》中擔任女主角，一人 分飾媽媽、女兒、孫女，《一頁 飛鴻》中飾演年輕粵劇花旦等。 演而優則唱，她亦參與音樂劇 製作，曾出演百老滙經典音樂 劇《俏紅娘》。2021 年獲香港藝 術節邀請，在舞台劇《鼠疫》中 擔綱飾演醫生一角。

Annie Cheung is a Hong Kong actress and currently the Associate Professor of Practice at the Hong Kong Baptist University’s Academy of Film. She’s a former full-time actress at the Hong Kong Repertory Theatre and a former artiste at HKTV with more than 40 credits in theatre and screen productions. Cheung was nominated as Best Supporting Actress at the 22nd Hong Kong Drama Awards for her performance in Doubt: A Parable.

In 2018, Cheung’s first solo performance, DOTS, was premiered in London. After receiving rave reviews, she was invited by the Singapore Drama

Educators Association and an off-Broadway theatre company in New York to share the performance online. An edited version of DOTS was also staged in Vancouver and Hong Kong.

Over the years, Cheung has played numerous leading or major supporting roles, showcasing her versatility as an actress, such as the lead female role in The Big Meal and the young Cantonese opera singer in Footprints in the Snow. As a singer-actress, Cheung has performed in musicals as well, such as the classic Broadway musical Hello, Dolly! In 2021, she played the lead role of Dr. Rieux in The Plague, a play adapted from the novel by Nobel Prize for Literature winner Albert Camus and produced by the Hong Kong Arts Festival.

©Lawrence Ng @ Workhouse

楊淇 KATY YEUNG

Kitty

楊淇出身廣告界，2002 年憑電 影《魂魄唔齊》獲提名香港電影 金像最佳新人獎；2004 年憑電 影《 20 · 30 · 40 》獲台灣電影 金馬獎香港電影金像獎及香港 電影金紫荆獎最佳女配角提名。

舞台劇演出包括進念二十面體 《 2004： 香港漫遊》、W 創作社 《梁祝下世傳奇》、非常林奕華 《華麗上班族之生活與生存》巡 迴演出、Loft Stage《我不要被 你記住》、綠光製作《談判》、 香港藝術節《愛之初體驗》、 詩人黑盒劇場《香港式離婚》 第三度重演、團劇團《 Gap

Life 人生罅隙》、舞台聯盟《蒲 2 0 》、神戲劇場《仲夏夜之 夢》、香港藝術節《香港家族— 香港太空人》、《久天長地》等。

電影作品包括《絕世好 B 》、 《魂魄唔齊》、《 20 · 30 · 40 》、 《見鬼 10 》、《盛夏光年》、《咖 啡，或茶》、《導火新聞線》等。

電視劇作品包括香港電視《童

話戀曲 201314 》、《導火新聞 線》、《三面形醫》、 ViuTV《三 一如三》、《陽關道》、《野人老 師》等。

Kate Yeung comes from a background in advertising. She was nominated as Best New Performer at the 2002 Hong Kong Film Awards for her role in Demi-Haunted, as well as Best Supporting Actress for her role in 20 30 40 at Taiwan’s Golden Horse Awards, the Hong Kong Film Awards and the Golden Bauhinia Awards in 2004.

Her stage performances include Zuni Icosahedron’s 2004: A Hong Kong Odyssey, W Theatre’s Butterfly Lovers, the Edward Lam Dance Theatre tour of Design for Living, Loft Stage’s 5 is Such a Lonely Number, Greenray Theatre Company’s Negotiations, the Hong Kong Arts Festival production of Journey to Home, Princess Black Box’s third run

of The Truth About Lying, Whole Theatre Limited’s Gap Life, The Theatre Union’s Pole Drama

2.0, Dionysus Contemporary Theatre’s A Midsummer Night's Dream, the Hong Kong Arts Festival’s A Floating Family— Hong Kong Astronauts, A Kind of Eternity, and more.

Yeung has appeared in films including Might Baby, DemiHaunted, 20 30 40, The Eye 10, Eternal Summer, Coffee or Tea and The Menu.

And she has appeared in TV series including HKTV’s Once Upon a Song, The Menu, Hidden Faces, and ViuTV’s 3x1, Demon’s Path and Into the Wild.

©Lawrence Ng @ Workhouse

黎濟銘於 2016 年畢業於香港演 藝學院戲劇學院，主修表演。 現為自由身演員。

最近參與的演出作品包括： 白 夜、香港藝術節《我們最快 樂》、英皇娛樂《最後禮物》、 imacollab《無動物戲劇》、歷 歷在目《牆邊練習曲》、天邊外 劇場《假音隻姝》、《 2042 世界 望鄉之旅》、風車草劇團《哈雷 彗星的眼淚》、香港話劇團《灼 眼的白晨》。劇場編作作品則有 《博拉者》等。

黎濟銘最近亦參與不同類型 的拍攝製作，包括電影、劇 集、廣告、MV。主演 MV 包括 《俄羅斯套娃》《致明日的舞》 《時光邊緣的人》、《 Bounce Back 》。主演劇集有《大誠 實家》。

Lai Chai-ming graduated from The Hong Kong Academy

for Performing Arts’ School of Drama in 2016, majoring in Acting, and is currently a freelance actor.

His recent performances include White Night, the Hong Kong Arts Festival’s We Are Gay, Emperor Entertainment’s One Last Gift, imacollab’s Théâtre sans animaux, The Inner Etudes by Spotlight, Theatre Horizon’s The Falsetto Girls and 2042 Journey to World Nostalgia, Windmill Grass Theatre’s No Place Like Home, the Hong Kong Repertory Theatre production of White Blaze of the Morning. His credits as a playwright include Prison Holiday.

Lai also recently participated in different types of productions, from movies and drama series to commercials and music videos. He starred in several pop music videos, including Ng Lam Fung’s Russian Doll, Eason Chan’s A Dance for Tomorrow, MC’s How To Stop Time and SoulJase’s Bounce Back. He also starred in the TV series No One Lies.

Mill Ho Marco

2015 年於香港演藝學院戲劇及 劇場教育碩士（ MFA ）畢業。 1990 年於香港演藝學院戲劇學 院主修演技以優異成績畢業， 1989 年及 1990 年連續兩年獲學 院傑出男演員獎及獎學金。

1990 年至 1996 年為香港電視 廣播有限公司（ TVB ）合約藝 員。多年來在舞台、電影、電 視及配音曾參演的主要角色演 出超過二百多個。導演作品超 過一百多個，包括 2018 年在 澳門導演舞台劇《畀唔起咪鬼 畀》。

現為香港劇場體育聯盟及即興 競技喜劇創辦人及藝術總監。 香港都會大學戲劇教育講師。 自由身導演、編劇、演員及戲 劇與戲劇教育導師。

Mill Ho graduated in 2015 from The Hong Kong Academy for Performing Arts with a Master’s

何浩源

黎濟銘 Lai Chai-ming Sam

degree in Drama and Theatre Education after graduating with honours in 1990 from the HKAPA’s School of Drama, majoring in Acting. In 1989 and 1990, he won the Academy’s Outstanding Actor Award and a scholarship two years in a row.

From 1990 to 1996, Ho was a contract artist with Hong Kong Television Broadcasting (TVB). Over the years, he has played more than 200 major roles in stage, film, television and dubbing productions. He has directed more than 100 works, including the stage play Can't pay? Won’t pay! in Macau in 2018.

Ho is the founder and artistic director of Hong Kong Theatresports United and Comedy Battle, and a lecturer in Drama Education at the Hong Kong Metropolitan University. He’s also a freelance director, playwright and actor, as well as theatre and drama education instructor.

香港演藝學院戲劇學院（榮譽） 學士，主修表演。

演出包括：中英劇團《穿 Kenzo 的女人》、香港音樂劇藝術學院 《會社人間》、香港話劇團《未忘 之書》、新視野藝術節《殺那的 烏托邦》、英皇娛樂《杜老誌》 、Pleroma Theatre Production 《伊甸禁章》、7A 班戲劇組《學 會呼吸》、《抱歉，我正忙着失 戀》、Loft Stage 製作《我不要被 你記住》、毛俊輝戲劇計劃《情 話紫釵》（香港、北京、深圳和 上海）、Actors' Square A2 創作社 《波音情人》、東亞娛樂製作《我 們的華星時代 》、香港戲劇協 會《小城風光》、劇場空間《點 點隔世情》、《三個女人唱出一 個噓》、春天實驗劇團《 A Muil Live 獨唱戲》（首演）等。

2021 年憑「穿 Kenzo 的女人」

提名 IATC(HK)年度演員獎。

2008 年度獲香港戲劇協會「傑 出年青演員獎」及憑「點點隔

Cissy Ma received her Bachelor’s degree (honours) in Drama from The Hong Kong Academy for Performing Arts, majoring in Acting.

Her work includes The Woman in Kenzo by the Chung Ying Theatre Company, The White Collar Principle: A Musical Fable by the HK 3 Arts Musical Institute, The Unforgettable Chapter by the Hong Kong Repertory Theatre, Utopia, Momentarily by the New Vision Arts Festival, Tonnochy by the Emperor Entertainment Group, The Gnostic Eden by Pleroma Theatre Production, Ya can Breathe!! and Love to Forget, Christmas Musical by Class 7A Drama Group Limited, 5 Is Such A Lonely Number by Loft Stage, The Liaisons by Fredric Mao (Hong Kong, Beijing, Shenzhen and Shanghai), Boeing Boeing by Actors' Square, Our Memorable Era by East Asia Entertainment, Our Town by the Hong Kong Federation of Drama Societies, Sunday in the Park with George and Three Postcards by Theatre Space, A.Muil Live (first run) by Spring-Time Stage Production, and many more.

She was nominated as Performer of the Year by the IATC (HK) for her performance in The Woman in Kenzo in 2021, awarded Outstanding Young Actor by the Hong Kong Federation of Drama Societies in 2008 and was nominated as Best Actress for her performance in Sunday in the Park with George.

IG: cissymaps

世情」提名最佳女主角（悲／ 正劇）。

編創人員簡介

Creative Team Profiles

李峯 Bacchus Lee 佈景及服裝設計

Set and Costume Designer

1993 年畢業於香港演藝學院， 主修佈景及服裝設計。畢業後 曾任亞洲電視佈景設計師。於 1994 年 4 月加入中英劇團擔任 駐團設計師。1996 年離開中英 劇團，赴英國倫敦中央聖馬丁 藝術與設計學院深造，主修舞 台美學並獲碩士學位。回港後 再加入中英劇團擔任駐團設計 師，於 2003 年離開中英劇團 後，加入香港演藝學院。

演藝學院舞台及製作藝術學 院，出任駐校藝術家一職，於 2005 於香港演藝學院舞台及製 作藝術學院，出任舞台設計講 師一職。於 2009 他獲得在香 港中文大學的視覺文化研究碩 士學位。李峯多年來與多個表 演團體合作，包括日本流山兒 事務所、香港芭蕾舞團、香港 舞蹈團、中英劇團、香港舞蹈 總會、香港話劇團、澳門演藝 學院等。

Bacchus Lee graduated from The Hong Kong Academy for Performing Arts in 1993, majoring in Theatre, Set and Costume Design. After graduation, he worked as a set designer for Asia Television Ltd. He joined Chung Ying Theatre Company in 1994 as Resident Designer. He furthered his studies in the UK in 1996 and obtained a Master’s degree in Scenography from Central Saint Martins in 1997. Returning to Hong Kong, he rejoined Chung Ying Theatre Company. He was awarded an M.A. in Visual Culture Study from the Chinese University of Hong Kong in 2009. In 2003 he left Chung Ying Theatre Company and joined The Hong Kong Academy for Performance Arts as Artist in Residence.

In 2005 he became Design Lecturer of the HKAPA Design Department. He now actively works with various theatre companies, the Hong Kong Ballet, the Hong Kong Dance Company, Chung Ying Theatre Company, the Hong Kong Dance Federation, the Hong Kong Repertory Theatre, the Macao Conservatory and AsiAn Rib in Japan.

馮國基

Gabriel Fung Kwok-kee

燈光設計

Lighting Designer

畢業於香港演藝學院、香港浸 會大學傳理系電影藝術碩士課 程，主修電影導演。舞台作品 超過二百多個，其作品獲多次 提名，於 2003 年獲香港舞蹈聯 盟頒發「香港舞蹈年獎——最 佳燈光設計」、同年再獲香港 舞台劇協會頒發「最佳燈光設 計」獎項。

馮國基活躍於各地舞台及文化 創作工作，2018 年獲加拿大多 倫多 Canadian Stage 及 Music Picnic 邀請擔任《 I Swallowed a Moon Made of Iron 》以及 《 Picnic in the Cemetery 》擔任 舞台、燈光、投影設計。

馮國基首部電影作品《無風… 詠》被挑選為香港亞洲獨立電 影節中放映，及於 2010 年澳門 國際電影錄及像節獲評審特别 推介奬。2020 年應香港聲蜚合 唱節邀請參與「觀影察聲」微 電影計劃，創作「合唱微電 影」《兩。生》計劃獲香港特別 行政區政府「藝能發展資助計 劃」資助。

黃朗然是香港演藝學院戲劇學 院 2021 年畢業生，主修導演。

近期導演作品包括想不到戲劇 節《放屁蟲》、探討以巴專題演 出《七個猶太小孩》、讀劇《致 不在場的你》及編劇工場讀劇 演出《後香港的賦格》。他亦曾 為香港話劇團製作《往大馬士 革之路》、紅辣椒工作室製作 《所有記憶都是潮濕的》擔任導 演助理。

黃朗然於戲劇學院製作導演系 畢業作品《殺死她十七次》，於 《加數機》、《禁色》製作中擔任 導演助理，於《德齡與慈禧》 製作中擔任實習導演助理。在 學期間曾在國立臺北藝術大學 交流一個學期。

Gordon Wong is a 2021 graduate of The Hong Kong Academy for Performing Arts, majoring in Directing. His recent directorial works include Hemispherical Red and Black, which was shown

at the Unthinkable Drama Festival; Seven Jewish Children, exploring Israeli-Palestinian issues; the read-through piece For the absent you; and Playwright’s Studio readthrough performance of Fugue of Post-Hong Kong. He also served as director’s assistant on the productions of The Road to Damascus by the Hong Kong Repertory Theatre and All Memories Are Watery by Paprika Studio.

Wong directed Attempts on Her Life as his graduation production at the HKAPA’s School of Drama. He served as director’s assistant in the Academy’s productions of The Adding Machine and Pornography, and as a trainee director's assistant in Emperor Dowager Cixi and Princess Deling. During his studies, he visited the Taipei National University of the Arts for a onesemester exchange.

盧榮

Lo Wing

錄像設計 Video Designer

城大媒體設計及科技藝術碩士畢 業。他是多媒體製作公司 OHLO （ www ohlo hk ）的創辦人，兼任 香港演藝學院客席講師。

盧榮獲獎甚豐，曾憑錄像作品 《我－媽媽－嬤嬤－爸爸－ DV 》 獲第十四屆北京大學生電影節 評委會大獎；《雞、魚與豬肉》

獲第十屆 ifva 獨立短片及影像 媒體比賽公開組特別表揚；《她 是女子，我也是女子》為 2005 年「亞洲拉子影展」播映作品。

現為香港多媒體創作人，參與 香港舞台及演唱會映像創作。 從事廣告、劇場、電影及剪接 工作多年。

Lo Wing graduated from the City University of Hong Kong with a Master of Fine Arts in Media Design and Technology. He is the founder of OHLO (www.ohlo.hk), a multimedia production company, and serves as a guest lecturer at The Hong Kong Academy for

Performing Arts.

He has received numerous awards, including the Grand Adjudicator Award at the 14th Beijing Student Film Festival for his documentary Me, Mother, Grandmother, Father, DV and a Special Mention in the Open Category of the 10th ifva for Meat. She's a Woman, I'm also a Woman was screened at the 2005 Asian Lesbian Film and Video Festival.

After working in advertising, theatre, film and editing for many years, he is now a multimedia creator, involved in stage and concert video creation in Hong Kong.

郭宇傑

Jaycee Kwok

音響設計

Sound Designer

畢業於香港演藝學院舞台及製 作藝術學院，主修音響設計。 2020 年憑藉香港話劇團《如夢 之夢》，榮獲香港戲劇協會第 29 屆香港舞台劇獎最佳音響設 計。曾與多個藝術團體合作。

近年曾參與音響設計的作品 有： 試當真《一個舞台上不能 接受的吻》； 香港藝術節 2021 《 MOKITA / VOICE OUT 》、 《沒有大象》；Kearen Pang Production《月球下的人》； 英 皇娛樂《奪命証人》； 一路青空 《細路桃園》、《擦擦奇俠》； 香 港話劇團《往大馬士革之路》、 《病房》、《埋藏的秘密》、《回 歸》、《頂頭鎚》2017 Live+（香 港及北京巡演）。

聲域設計

作品有：orleanlaiproject 《親密 Claustrophobia 》。

心意作品：曾浩賢

《 I Sick Leave Tomorrow 》、

《 I Sick Leave Tomorrow Season

1-3 》。

Jaycee Kwok, who majored in Sound Design at The Hong Kong Academy for Performing Arts' School of Theatre and Production Arts, has worked with various arts organisations over the years. For his work on A Dream Like a Dream with the Hong Kong Repertory Theatre, he won the Best Sound Design award at the 29th Hong Kong Drama Awards in 2020.

His recent work on sound design includes An Unacceptable Kiss on Stage by Trial & Error, Mokita / Voice Out and Elephant in the Room at the 2021 Hong Kong Arts Festival, Laugh me to the Moon by Kearen Pang Production, Witness for the Prosecution by the Emperor Entertainment Group, Finding Wonderland and Rubber Man by The Radiant Theatre, and To Damascus, Part 1, The Ward, Buried Child, The Homecoming and Field of Dreams 2017 Live+ (Hong Kong and Beijing tour) by the Hong Kong Repertory Theatre.

His soundscape design works include Claustrophobia by orleanlaiproject.

Recommended with love: I Sick Leave Tomorrow Season 1-3, by Tsang Ho-yin.

碩士課程。完成學業後，移居 紐約。重要個人配樂作品包括 劇 目《海鷗》(2012) 及 音 樂劇 《高加索灰闌記》(2013)

林鈞暉於 2014 年起回港發展， 任 InterMusic Production (I M P.)的創作總監。負責影視 作品超過十五部，包括劉國瑞 執導的《白日青春》(2022)、 黃國輝執導的《一級指控》 (2020)、周冠威執導的《幻愛》 (2019)。本地舞台作品包括香 港話劇團監製的《大馬士革之 路》(2021)及《埋藏的祕密》 (2017)。他亦憑《火鳳燎原》 (2019)獲得第 28 屆香港舞台劇 獎的「最佳原創音樂獎項」。

現為香港演藝學院和浸會大學 的客席講師。

Lam Kwan-fai graduated from The Hong Kong Academy for Performing Arts with a degree in Composition, and received a full scholarship from the Hong Kong Jockey Club to complete his Master's degree at the California Institute of the Arts in the United States. After completing his studies, he moved to New York to further his career. Among his major works are his solo compositions for the play The Seagull (2012) and the musical The Caucasian Chalk Circle (2013).

In 2014, Lam returned to Hong Kong as the Creative Director of InterMusic Production and has since worked on more than 15 films and TV productions, including The Sunny Side of the Street (2022) directed by Lau Kok-rui, The Attorney (2020) directed by Wong Kwok-fai, and Beyond the Dream (2019) directed by Chow Koon-wai. His local stage productions include To Damascus, Part One (2021) and Buried Child (2017) produced by the Hong Kong Repertory Theatre. He also won the award for Best Original Music at the 28th Hong Kong Drama Awards for The Ravages of Time (2019).

He is currently a guest lecturer at The Hong Kong Academy for Performing Arts and the Hong Kong Baptist University.

林鈞暉 Lam Kwan-fai 作曲 Composer

畢業於香港演藝學院作曲系。 及後獲⾹港賽 馬 馬會全額獎學

金，赴美國加州藝術學院完成

畢業於香港演藝學院藝術學士 （榮譽）學位課程，主修舞台及 服裝設計。

曾於校內任副服裝設計師參與 製作音樂劇《幸運疆途》，亦曾 聯合佈景設計師參與製作《群 盲》，並憑《群盲》榮獲第 13 屆香港小劇場獎最佳舞台美 學設計。

Ruby Yam graduated from The Hong Kong Academy for Performing Arts with a Bachelor’s degree (honours) in Stage and Costume Design. She worked as an associate costume designer on the musical production Lucky Stiff and collaborated with the set designer of The Blind, for which she received the Award for Best Stage Aesthetic Design at the 13th Hong Kong Theatre Libre.

畢業於香港演藝學院，主修舞 台及技術管理。

畢業後以自由工作者身份參與 不同劇團和文化機構的舞台演 出，擔任製作及技術管理工 作。近年亦為多個本地作品 的國內及外地巡演出任製作總 監一職。

近期參與的舞台製作包括《短 暫的婚姻》、《我們最快樂》、 《最後禮物》、《求證》、《大初戀 日》； 亦為裝置藝術展覧《 THE MISSING SOMETHING ——會 唱歌的畫布》擔任項目經理 。

Bobo Chan is a graduate of The Hong Kong Academy for Performing Arts, majoring in Stage and Technical Management. She worked as a freelancer in production management and technical supervision after graduating. She has also served as a production supervisor for numerous foreign and domestic performances in recent years.

Recent stage productions with Chan’s participation include My Very Short Marriage, We Are Gay, One Last Gift, Proof and Big First Love Day. She also worked as project manager for an exhibition of installation art, The Missing Something—The Singing Canvases.

任韻然 Ruby Yam 助理舞台及服裝設計 Assistant Set and Costume Designer

陳寶愉 Bobo Chan 製作經理 Production Manager

余慧琳

Muijai Yu

助理製作經理及舞台監督 Associate Production Manager and Stage Manager

余慧琳畢業於香港演藝學院舞 台及製作藝術學院，主修技術 指導。她主要擔任舞台管理工 作，現為自由身舞台工作者。

Muijai Yu graduated from The Hong Kong Academy for Performing Arts’ School of Theatre and Entertainment Arts, majoring in Technical Direction. She mainly focuses on stage management and is currently a freelance stage practitioner.

陳樂詩 Chan Lok Sze (LokC)

助理舞台監督 Assistant Stage Manager

香港 自 由 身 舞台管理及項 目 製 作工作者。

近期合作之創作 人 及團體包

括： 風車草劇團《騙局喜劇》、 美聲匯《瘋流派對》、神戲劇 場《 2022 ART 》、No Discipline Limited《桑莉吟》、《躺在桌上 的物件》及《耳蝸裏有隻象》、 Ivana Music Limited《求證》、 yucolab 吳子昆《物化》(香港故 宮專題展覽) 等等。她亦曾參 與 2018 年愛丁堡國際藝穗節， 以及 2019 年台北藝穗節。

毋忘呼吸。

Chan Lok-sze is currently working as a freelance stage and event manager. Her recent collaborations include The Comedy of Terrors! by Windmill Grass Theatre, The Merry Party by Bel Canto Singers, 2022 ART by DCTheatre, Somnium, Objects Lie on A Table and Truth within Earshot? by No Discipline Limited, Proof by Ivana Music Limited, Objectification (thematic exhibition at Hong Kong Palace Museum) by Ng Tsz-kwan's Yucolab. Chan also took part in the 2018 Edinburgh Festival Fringe and the 2019 Taipei Fringe Festival.

鳴謝

ACKNOWLEDGEMENTS

香港藝術節衷心感謝下列機構及人士的慷慨支持：

The Hong Kong Arts Festival would like to thank the following for their generous support:

香港藝術節基金會贊助人

Hong Kong Arts Festival Foundation Patrons

首席創始贊助人 Lead Founding Patrons

陳俊豪先生 Mr Thomas Chan

黃廷方慈善基金 Ng Teng Fong Charitable Foundation

電訊盈科 PCCW

九龍倉集團 The Wharf Group

主要創始贊助人 Major Founding Patrons

萬通保險國際有限公司 YF Life Insurance International Ltd

眾安銀行 ZA BANK

創始贊助人 Founding Patrons

陳煒文博士, JP Dr Raymond Chan, JP

丹斯里拿督邱達昌 Tan Sri Dato’ David Chiu

曹其鋒先生 Mr Silas Chou

霍建寧先生及霍何綺華女士 Mr and Mrs Canning and Eliza Fok

馮氏基金有限公司 E.M. Fung Foundation Limited

何超瓊女士, SBS , JP Ms Pansy Ho, SBS, JP

科勁國際（控股）有限公司 King’s Flair International (Holdings) Limited

梁婉玲博士 Dr Elina Leung

孫漢明博士 Dr Stephen Suen

包陪麗女士, BBS 及渡伸一郎先生 Ms Cissy Pao, BBS and Mr Shinichiro Watari

其他贊助人 Other Patrons

羅嘉瑞基金 KS & Feili Lo Foundation

孫大倫博士, BBS , JP Dr Dennis T L Sun, BBS, JP

慶祝香港藝術節五十周年晚宴之贊助人

Sponsors of the Hong Kong Arts Festival 50th Anniversary Gala Dinner

鑽石席 – 宴桌 Diamond Table Sponsors 香港上海匯豐銀行有限公司 上海商業銀行

洪祖杭博士, GBM , GBS , JP

鄭慕智博士, GBM , GBS , JP James Houghton 先生, 黃穎灝先生及梅慶堯先生 雍景欣女士

The Hongkong and Shanghai Banking Corporation Limited

Shanghai Commercial Bank

Dr the Hon Albert Hung Chao-hong, GBM, GBS, JP

Dr the Hon Moses Mo-chi Cheng, GBM, GBS, JP

Mr James Houghton, Mr Isaac Wong & Mr Arthur Mui

Ms Jingxin Yong

鑽石席 – 宴位 Diamond Seat Sponsors 呂元祥博士及夫人

譚允芝女士, SBS , SC , JP 龐維新先生及夫人 崇光(香港)百貨有限公司

黃金席 – 宴桌 Gold Table Sponsors 鄭阮培恩女士, 吳來盛先生及夫人 中美國際集團有限公司

華國強先生夫人 太古地產有限公司 卡地亞

黃金席 – 宴位 Gold Seat Sponsors 何苗春暉女士

林梅若梅女士

鄭馮亮琪女士

Janana Suleymanli Pasha 女士 鄭惠貞女士

張利平先生

Dr and Mrs Ronald Lu

Ms Winnie Tam Wan-chi, SBS, SC, JP

Mr and Mrs Wilson Pong

Sogo Hong Kong Company Limited

Mrs Betty Cheng, Mr and Mrs Emil Ng

Chung Mei International Holdings Limited

Mr Granger and Mrs Miriam Hwa

Swire Properties Limited

Cartier

Ms Joanna Hotung

Mrs Lavina Lim

Mrs Fina Cheng

Ms Janana Suleymanli Pasha

Ms Margaret Cheng

Mr Zhang Liping

鳴謝 ACKNOWLEDGEMENTS (續 con' t)

香港藝術節衷心感謝下列機構及人士的慷慨支持：

The Hong Kong Arts Festival would like to thank the following for their generous support:

贊助舍計劃會員 Patron’s Club Members

鉑金會員 Platinum Member

嘉里控股有限公司

Kerry Holdings Limited

黃金會員 Gold Member 怡和集團

The Jardine Matheson Group

其他支持機構 Other Supporters

加拿大駐香港及澳門總領事館

Consulate General of Canada in Hong Kong and Macao

實物支持機構 In - kind Supporters

大亞國際集團 Altaya Group

香港愉景灣酒店 Auberge Discovery Bay Hong Kong

香港君悦酒店 Grand Hyatt Hong Kong

虎豹樂圃 Haw Par Music

藝術節捐助計劃 Festival Donation Scheme

鉑金捐款者 PLATINUM DONOR

HK$140,000 或以上 OR ABOVE

孫大倫博士, BBS , JP Dr Dennis T L Sun , BBS , JP

鑽石捐款者 DIAMOND DONORS

HK$70,000 – HK$139,999

瑞安集團 Shui On Group

Dr Patrick Tong

文藝女士 Ms Wen Yi

翡翠捐款者 JADE DONORS

HK$30,000 – HK$69,999

無名氏 Anonymous

陳求德醫生及夫人 Dr & Mrs KT Chan

Ms Leung Wai Yee Candice

馬美域女士 Ms Yvette Therese Ma

Dr Stephen Suen

楊傳亮先生, BBS , JP Mr Charles Yang , BBS , JP

黃金捐款者 GOLD DONORS

HK$12,000 – HK$29,999

無名氏 ( 2 ) Anonymous ( 2 )

Mr & Mrs Jeffrey & Helen Chan

Mr Edmond Huang

Dr Peter and Nancy Thompson

Dr Sabrina Tsao

曹延洲醫生夫人 Dr & Mrs Tsao Yen - Chow

Mrs Linda Wang

Mr & Mrs YS Wong

純銀會員 Silver Members 太古集團慈善信託基金

The Swire Group Charitable Trust

上海商業銀行有限公司

Shanghai Commercial Bank Limited

荷蘭駐港總領事館

Consulate of the Kingdom of the Netherlands in Hong Kong and Macau

香港故宮文化博物館 Hong Kong Palace Museum

文陳妙蘭女士 Mrs Christina Man

信興集團 Shun Hing Group

純銀捐款者 SILVER DONORS

HK$6,000 – HK$11,999

無名氏( 3 ) Anonymous ( 3 )

Dr Gillian Choa

Ms Ho Man Fung Edith

Mrs Schmitt Ling Jane

文娛慈善基金 The Elementary Charitable Foundation

Ms Isabel Yiu

Mr Vernon Zhang

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏( 2 ) Anonymous ( 2 )

AWORKS DESIGN

Jose Manuel Sevilla and Julie Bisaillon

Mrs Anson Chan

鍾雅妍博士 Dr Fiona Chung

Ms Zoe Ho

Ms Li Lian Khoo

Dr Alfred Lau

Apple Lee

李芸輝博士 Dr Lee Wan Fai Walter

Savita Leung

Mr Gary Ma

Mrs Lily Ma

Dr Michael Mak

Dr & Mrs Joseph Pang

San Miguel Brewery Hong Kong Ltd .

Mr A . Smith

The Brandon Centre Limited

Mr Wong Yick Kam

姚曼儀女士 Ms Enoch Yiu

朱玉迎女士 Ms Zhu Yuying

學生票捐助計劃 Student Ticket Scheme

鉑金捐款者 PLATINUM DONORS

HK$140,000 或以上 OR ABOVE

無名氏( 2 ) Anonymous ( 2 )

馬振玉慈善基金會有限公司

CYMA Charity Fund Ltd

鑽石捐款者 DIAMOND DONORS

HK$70,000 – HK$139,999

Mrs Purviz R Shroff , MH and

Late Mr Rusy M Shroff , BBS , MBE

田家炳基金會 Tin Ka Ping Foundation

芝蘭基金會 Zhilan Foundation

翡翠捐款者 JADE DONORS

HK$30,000 – HK$69,999

Mr Roger and Mrs Lina Lui

Dr Stephen Suen

黃金捐款者 GOLD DONORS

HK$12,000 – HK$29,999

Ms Cheng Wai Ching Margaret

Dr Chung See Yuen

天智合規顧問 CompliancePlus Consulting

Mr & Mrs Kenneth & Nelly Fung

C H Mak

Mr & Mrs Kenneth Quinn

曹延洲醫生夫人 Dr & Mrs Tsao Yen - Chow

純銀捐款者 SILVER DONORS

HK$6,000 – HK$11,999

新作捐助計劃 New Works Scheme

黃金捐款者 GOLD DONORS

HK$12,000 – HK$29,999

無名氏 Anonymous

劉仰澤先生 Mr Lau Yeung Chak

純銀捐款者 SILVER DONORS

HK$6,000 – HK$11,999

凌霄志醫生 Dr Tony Ling

無名氏 ( 2 ) Anonymous ( 2 )

區燊耀先生 Mr Au Son Yiu

Mr & Mrs Jeffrey & Helen Chan

Dr Chan Wan Tung

Mr & Mrs Norman Chui

Mrs Margaret Hamilton

Miss Jenny Hodgson

Mr Iain Bruce

麥禮和醫生 Dr Mak Lai Wo

Mr Vernon Zhang

陳穎儀與黃乃正

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏 ( 3 ) Anonymous ( 3 )

Mr & Mrs Herbert Au - Yeung

Cynthia Cheng & Aaron Chan

Ms Kit Fung Cheung

Dr Alan Chiang

馮兆林先生太太 Mr & Mrs Fung Shiu Lam

Ms Maureen Leung

Ms Regina Lo

Ms Janice Ritchie

Mrs Anna Chan Sheh

Mr So Kin Man

文娛慈善基金 The Elementary Charitable Foundation

余德銘先生 Mr Desmond Yu

殷和順先生劉善萍夫人

Mr Vernon Zhang

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏 Anonymous

Ms Judith Ling

Ms So Wing Yin

網上藝術教育捐助計劃 Digital Arts Education Scheme

青銅捐款者 BRONZE DONORS

HK$3,000 – HK$5,999

無名氏 Anonymous

HK CT Alumni Association

支持及協助 SUPPORT AND COOPERATION

教育局藝術教育組

Arts Education Section, Education Bureau

香港展能藝術會

Arts with the Disabled Association Hong Kong

香港愉景灣酒店

Auberge Discovery Bay Hong Kong

澳洲駐香港及澳門總領事館 Australian Consulate-General Hong Kong and Macau

奧地利駐香港總領事館 Austrian Consulate General

Hong Kong

樺利廣告有限公司 Avanny Advertising Co Ltd

宏基國際賓館 Bishop Lei International House

BRICK LANE

英國文化協會 British Council

英國駐香港總領事館 British Consulate General Hong Kong

百老匯院線 Broadway Circuit burgundy etc

CAMPSITE

粵劇發展基金 Cantonese Opera Development Fund

牛棚藝術村 Cattle Depot Artist Village

周生生集團國際有限公司

Chow Sang Sang Jewellery Co. Ltd

中信國際電訊(信息技術)有限公司

CITIC Telecom International CPC Limited

城市當代舞蹈團 City Contemporary Dance Company

城巿花園酒店 City Garden Hotel

思聯設計有限公司 CL3 Architects Ltd

比利時駐港澳總領事館

Consulate General of Belgium in Hong Kong and Macau 加拿大駐香港及澳門總領事館

Consulate General of Canada in Hong Kong and Macao

法國駐港澳總領事館

Consulate General of France in Hong Kong and Macau

西班牙駐香港總領事館

Consulate General of Spain in Hong Kong 瑞士駐香港總領事館

Consulate General of Switzerland in Hong Kong

荷蘭駐港總領事館

Consulate General of the Kingdom of Netherlands in Hong Kong and Macau

大韓民國駐香港總領事館

Consulate General of the Republic of Korea in Hong Kong

俄羅斯駐香港總領事館

Consulate General of the Russian Federation in the Hong Kong SAR, PRC

Die Konzertisten

拔萃女書院 Diocesan Girls' School

愛普生香港有限公司 Epson Hong Kong Limited

香港港威酒店 Gateway Hotel, Hong Kong

德國駐香港總領事館

German Consulate General Hong Kong

六國酒店 Gloucester Luk Kwok Hong Kong

香港歌德學院 Goethe-Institut Hong Kong

香港君悅酒店 Grand Hyatt Hong Kong

青苗琴行 Greenery Music

香港恒生大學

Hang Seng University of Hong Kong

學生事務處 Student Affairs Office

8 度海逸酒店 Harbour Plaza 8 Degrees

快達票香港有限公司 HK Ticketing

香港文聯 HKL&A

香港藝術行政人員協會 Hong Kong Arts Administrators Association

香港藝術中心 Hong Kong Arts Centre

香港浸會大學 Hong Kong Baptist University

音樂學院 Academy of Music

拉闊文化 Cultural Literacy Programme

英國語言文學系 Department of English Language and Literature

香港大會堂 Hong Kong City Hall

香港文化中心 Hong Kong Cultural Centre

香港電影資料館 Hong Kong Film Archive

香港黃金海岸酒店 Hong Kong Gold Coast Hotel

香港管弦樂團 Hong Kong Philharmonic Orchestra

香港公共圖書館 Hong Kong Public Libraries

香港旅遊發展局 Hong Kong Tourism Board

斯洛文尼亞駐港總領事館 Honorary Consulate of Slovenia in Hong Kong

香港都會大學

Hong Kong Metropolitan University

學生事務處 Student Affairs Office

登臺 Hotel Stage

宜必思香港中上環

ibis Hong Kong Central and Sheung Wan

工銀亞洲 ICBC (Asia)

入境事務處 Immigration Department

香港以外地區經濟事務辦事處新聞及公共關係組

Information and Public Relations Units in Offices

Outside Hong Kong

海景嘉福洲際酒店

InterContinental Grand Stanford Hong Kong

高山劇場 Ko Shan Theatre

九龍木球會 Kowloon Cricket Club

Kubrick

葵青劇院 Kwai Tsing Theatre

駐香港韓國文化院

Korean Cultural Center in Hong Kong

康樂及文化事務署

Leisure and Cultural Services Department

牧羊少年與他的浮萍 Lemna of the alchemist

中央人民政府駐香港特別行政區聯絡辦公室 Liaison Office of the Central People's Government in the HKSAR

嶺南大學 Lingnan University

黃炳禮音樂及演藝部

Wong Bing Lai Music and Performing Arts Unit

馬哥孛羅香港酒店 Marco Polo Hongkong Hotel

Maxibit HK/China

MCL K11 Art House

中華人民共和國文化和旅遊部

Ministry of Culture and Tourism, PRC 循道衛理聯合教會國際禮拜堂

Methodist International Church Hong Kong Mission Production Company Ltd

李鏡輝先生 Mr Alpha Li

黃月妙小姐 Ms Kitty Wong

黃宇軒先生 Mr Sampson Wong

音樂事務處 Music Office

北區大會堂 North District Town Hall

One Minden Tapas Kitchen

橙天嘉禾娛樂集團 Orange Sky Golden Harvest

Entertainment Group

柏斯琴行 Parsons Music Limited

奧華酒店 中環 Ovolo Central

卓滙達有限公司 Patsville Company Ltd

Performing Arts Fund NL

電訊盈科 PCCW Pixellent

犇華企業服務有限公司 Primasia Corporate Services Limited

鄭新文教授 Prof Tseng Sun-man

富豪酒店國際 Regal Hotels International

香港瑰麗酒店 Rosewood Hong Kong

皇家太平洋酒店 Royal Pacific Hotel

Russian Club in Hong Kong

沙田大會堂 Sha Tin Town Hall

上環文娛中心 Sheung Wan Civic Centre

聖公會鄧肇堅中學 Sheng Kung Hui Tang Shiu Kin

Secondary School

南非駐香港總領事館

South African Consulate General Hong Kong SAR & Macao SAR, PRC

Southgate Design

香港西班牙商會

Spanish Chamber of Commerce in Hong Kong

事必達推廣有限公司 Speedy Promotion Limited

春天舞台劇製作有限公司 Spring-Time Stage Productions Limited

辰衝圖書有限公司 Swindon Book Co. Ltd.

香港瑞士商會有限公司 Swiss Chamber of Commerce in Hong Kong Limited

大館 Tai Kwun

台灣蘇富比國際房地產

Taiwan Sotheby's International Realty

藝林文具印刷有限公司 The Artland Co Ltd

香港八和會館 The Chinese Artists Association of Hong Kong

香港中文大學 The Chinese University of Hong Kong

聯合書院 United College

藝術行政主任辦公室 The Office of the Arts Administrator

文化及宗教研究系 Department of Cultural and Religious Studies

香港城市大學 The City University of Hong Kong

文化薈 Cultural Exchange Oasis

商務印書館（香港）有限公司 The Commercial Press (Hong Kong) Limited

香港教育大學 The Education University of Hong Kong

文化與創意藝術學系 Department of Cultural and Creative Arts

灣景國際 The Harbourview

梅夫人婦女會 The Helena May

香港演藝學院 The Hong Kong Academy for Performing Arts

戲曲學院 School of Chinese Opera 戲劇學院 School of Drama

音樂學院 School of Music

舞蹈學院 School of Dance

電影電視學院 School of Film and Television

學生事務處 Student Affairs Office

表演場地管理部 Venue Performance Unit

場地技術部 Venue Technical Unit

香港兒童合唱團 The Hong Kong Children’s Choir

香港理工大學 The Hong Kong Polytechnic Universit

文化及設施推廣處 Culture Promotion and Events Office

香港科技大學 The Hong Kong University of Science and Technology

藝術中心 Center for the Arts

The Swiss Chamber of Commerce in Hong Kong Limited

香港大學 The University of Hong Kong

音樂系 Department of Music

香港大學美術博物館 University Museum and Art Gallery Cultural Management Office

學生發展及資源中心 Centre of Development and Resources for Students

港青 - 香港基督教青年會

The Salisbury – YMCA of Hong Kong

通利琴行 Tom Lee Music Company Ltd

三角關係 Trinity Theatre

荃灣大會堂 Tsuen Wan Town Hall

屯門大會堂 Tuen Mun Town Hall

城市售票網 URBTIX

市區重建局 Urban Renewal Authority

同流黑盒劇場 WeDraman Black Box Theatre

進富印刷公司 Wealthy Step Printing Co.

西九文化區管理局

West Kowloon Cultural District Authority

粵海華美灣際酒店 Wharney Hotel

艾希妮網絡公關有限公司 X Social Group Limited

油麻地戲院 Yau Ma Tei Theatre

元朗劇院 Yuen Long Theatre

赤豚事務所 Zhu Graphizs

贊助人 李家超先生, GBM SBS PDSM PMSM

永遠名譽會長 邵逸夫爵士 (1907-2014)

執行委員會

主席 查懋成先生

副主席 盧景文教授

義務司庫 范高廉先生

委員 鄭阮培恩女士 鄭惠貞女士 馮愉敏先生 何苗春暉女士 文肇偉先生 孫大倫博士 姚潔莉女士 楊　光先生

節目委員會

主席 盧景文教授

委員 白諾信教授 紀大衛教授 羅志力先生 毛俊輝教授 約瑟．施力先生+ 譚榮邦先生 姚　珏女士

財務委員會

主席 范高廉先生 委員 鄭惠貞女士 梁國輝先生 發展委員會

主席 鄭阮培恩女士

副主席 雍景欣女士 委員 馮愉敏先生 龐心怡女士 孫林宣雅女士 文藝女士 姚祖輝先生

顧問 夏佳理先生 鮑　磊先生 陳祖澤博士 陳達文博士 霍　璽先生 李業廣先生 梁紹榮夫人 李國寶博士 名譽法律顧問 甘乃迪女士（孖士打）

核數師 羅兵咸永道 會計師事務所

PATRON

HONORARY LIFE PRESIDENT

EXECUTIVE COMMITTEE

Chairman

Vice-Chairman

Honorary Treasurer

Members

電話 TEL 2824 3555

傳真 FAX 2824 3798 / 2824 3722

電子郵箱 Email afgen@hkaf.org

節目查詢熱線 2824 2430

Programme

Enquiry Hotline

地址 ADDRESS 香港灣仔港灣道 2 號 12 樓 1205 室 Room 1205, 12th Floor, 2 Harbour Road, Wanchai, Hong Kong

The Hon. John KC Lee, GBM SBS PDSM PMSM

The Hon. Sir Run Run Shaw, GBM CBE (1907-2014)

Mr Victor Cha

Prof. Lo King-man, SBS MBE JP

Mr Colin Farrell

Mrs Betty Yuen Cheng

Ms Margaret Cheng

Mr Michael Fung

Ms Joanna Hotung

Mr Sebastian Shiu-wai Man

Dr Dennis T L Sun, BBS JP

Ms Miriam Yao

Mr Sunny Yeung

PROGRAMME COMMITTEE

Chairman

Members

Prof. Lo King-man, SBS MBE JP

Prof. Giorgio Biancorosso

Prof. David Gwilt, MBE

Mr Peter C L Lo

Prof. Fredric Mao, BBS

Mr Joseph Seelig +

Mr Wing-pong Tam, SBS JP

Ms Jue Yao, JP

FINANCE COMMITTEE

Chairman

Members

DEVELOPMENT COMMITTEE

Chairperson

Vice-Chairperson

Members

Mr Colin Farrell

Ms Margaret Cheng

Mr Nelson Leong

Mrs Betty Yuen Cheng

Ms Jane Yong

Mr Michael Fung

Ms Samanta Sum-yee Pong

Mrs Helen Lin Sun

Ms Yi Wen

Mr Andrew Yao

ADVISORS

The Hon. Ronald Arculli, GBM GBS

Mr Martin Barrow, GBS CBE JP

Dr John C C Chan, GBS CBE LVO JP

Dr Darwin Chen, SBS ISO

Mr Angus H Forsyth

The Hon. Charles YK Lee, GBM GBS OBE JP

Mrs Mona Leong, SBS BBS MBE JP

Dr The Hon Sir David KP Li, GBM GBS OBE JP

HONORARY SOLICITOR

AUDITOR

Ms Gabriela Kennedy, Mayer Brown

PricewaterhouseCoopers

職員

行政總監 余潔儀

行政總監助理 何丹蓉

節目

節目總監 梁掌瑋 蘇國雲

高級節目經理 梁偉然

節目經理 陳曉彤 * 鄭佩群 * 廖國穎 * 馬筠婷 * 司徒頌欣 * 短期節目經理 游慧姿 *

副節目經理 杜以樂 *

節目統籌 林穎茵 *

藝術行政見習員 容諾行 *

行政

節目經理 (行政) 蘇雪凌

節目主任 (行政) 林穎妍 *

物流

物流及接待經理 金學忠 *

技術

製作經理 梁雅芝 *

助理製作經理 陳梓衡 *

出版

編輯 陳詠恩 * Adam Wright*

助理編輯 陳劭儀 * 李芷晴 *

外展

外展經理 林嘉敏 *

助理外展經理 李萬祺 * 潘穎詩 *

外展主任 張凱柔 *

外展助理 馬曉瑩 *

藝術行政見習員 馮樂程 *

市場推廣

市場總監 鄭尚榮

副市場總監 盧伯全

副市場經理 陳靄婷 * 張予心 * 黃頴儀 *

助理項目經理 李穎軒 * 譚懿諾 *

助理市場經理 許樂欣 * 曾諾怡 *

市場主任 林培生 *

票務

市場經理(票務) 梁彩雲

票務主任 殷嘉駿 *

發展

發展總監 黃美儀

特別發展協理 蘇啟泰 *

發展經理 林思穎 * 吳綺菁 * 譚樂瑤

發展主任 鄒穎妮 * 譚尹晴 *

藝術行政見習員 梁詠熙 *

短期發展助理 潘藹怡 *

行政事務

財務總監 鄺敬婷

會計

會計經理 杜詩麗 *

會計主任 顏悅恩 *

人力資源及行政

人力資源及行政經理 楊美君 *

接待員/初級秘書 李美娟

助理 黃國愛

資訊科技

資訊科技經理 陳啟明 *

無限亮

項目總監 錢 佑 *

節目及外展經理 鍾美琼 * 何敏凝 * 節目及外展統籌 何敬堯 * 潘詠汶 *

市場經理 黃嘉欣 *

副市場經理 廖愷瀅 *

助理製作經理 張詠宜 *

高級會計主任 鍾巧明 * 香港藝術節@大館

項目經理 鄺為立 * 公關及宣傳統籌 楊佩雯 *

STAFF

Executive Director

Assistant to Executive Director

PROGRAMME

Programme Directors

Senior Programme Manager

Programme Managers

Temporary Programme Manager

Deputy Programme Manager

Programme Coordinator

Arts Administrator Trainee

ADMINISTRATION

Programme Manager (Admin)

Flora Yu

Connie Ho

Grace Lang So Kwok-wan

Ian Leung

Kristen Chan* Cathy Cheng*

Sophie Liao* Katie Ma*

Samantha Szeto*

Janet Yau*

Tobe To*

Lilian Lam*

Ryan Yung*

Shirley So

Programme Officer (Admin) Michelle Lam*

LOGISTICS

Logistics Manager

TECHNICAL

Production Manager

Elvis King*

Shirley Leung*

Assistant Production Manager Jacob Chan*

PUBLICATIONS

Editors

Assistant Editors

OUTREACH

Outreach Manager

Assistant Outreach Managers

Outreach Officer

Outreach Assistant

Arts Administrator Trainee

MARKETING

Marketing Director

Associate Marketing Director

Deputy Marketing Managers

Assistant Project Managers

Assistant Marketing Managers

Marketing Officer

TICKETING

Marketing Manager (Ticketing)

Ticketing Officer

DEVELOPMENT

Development Director

Special Development Associate

Development Managers

Development Officers

Arts Administrator Trainee

Temporary Development Assistant

CORPORATE SERVICES

Finance Director

ACCOUNTS

Account Manager

Accounting Officer

HR & ADMINISTRATION

HR and Admin Manager

Receptionist/Junior Secretary

General Assistant

INFORMATION TECHNOLOGY

Information Technology Manager

NO LIMITS

Project Director

Programme and Outreach Manager

Programme and Outreach Coordinators

Marketing Manager

Deputy Marketing Manager

Assistant Production Manager

Senior Accounting Officer

HKARTSFESTIVAL@TAIKWUN

Project Manager

Eugene Chan* Adam Wright*

Shao yi Chan* Rebecca Lee*

Carman Lam*

Kelvin Li* Renee Poon*

Hazel Cheung*

Queena Ma*

Crystal Fung*

Katy Cheng

Eugene Lo

Tobie Chan* Stephanie Cheung*

Joey Wong*

Hill Li* Hades Tam*

Sally Hui* Margaret Tsang*

Billy Lin*

Eppie Leung

Cyrus Yan*

Angela Wong

Alex So*

Sharon Lam* Joey Ng*

Lorna Tam

Chau Wing-ni* Linda Tam*

Kirstie Leung*

Carol Pun*

Teresa Kwong

Connie To*

Stephany Ngan*

Janet Yeung*

Virginia Li

Bonia Wong

Derek Chan*

Eddy Zee*

Becky Chung* Christy Ho*

Kelvin Ho* Jasmine Poon*

Carly Wong*

Kaitlyn Liu*

Jess Cheung*

Catherine Chung*

Kwong Wai Lap*

PR and Marketing Coordinator Wind Yeung*

Coordinators

Production Officer Pang Ka Tat*

Technical Coordinators Rachel Au*, Tony Choi*, Cherry Fung*, Mandy Lai*, Martin Lai*, Lawrence Lee*, Joyi Tsang*