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
納愛樂樂團
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)
亮」計劃於
年 1 月更新
Jan
Updated
2023)
《趾尖》TWO FEET
編舞：梅莉．坦卡德
Choreographer: Meryl Tankard
演出：娜塔麗亞 · 奧斯波娃
Performer: Natalia Osipova
17-18.03.2023 7:30pm
香港文化中心大劇院
Grand Theatre, Hong Kong Cultural Centre
演出長約 1 小時 50 分鐘，包括一節中場休息
Approximately one hour and 50 minutes including one interval
封面照片 Cover Photograph
© Regis Lansac
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。
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
《趾尖》創作靈感 The Muse of Two Feet 序 Introduction 編舞的話 Choreographer’s Note 節目介紹 Programme Notes 編舞 Choreographer 梅莉．坦卡德 Meryl Tankard 表演者 Performer 娜塔麗亞 奧斯波娃 Natalia Osipova 編創人員簡介 Creative Team Profiles 台詞 Spoken Text 13 15 17 18 27 28 31 33
© Regis Lansac
《趾尖》
Two Feet
編舞 Choreographer
梅莉．坦卡德 Meryl Tankard
視覺設計 Visual Designer
利捷斯．蘭錫 Regis Lansac
製作總監 Production Manager
亞歷士．費夫 Alex Firth
服裝總監 Costume Manager 蘇珊．霍格 Suzanne Hogg
第一部分
1 音樂盒
2. 娜塔麗亞的童年投影
表演者 Performer 娜塔麗亞．奧斯波娃 Natalia Osipova
燈光設計 Lighting Designer 班．曉士 Ben Hughes
舞台總監 Stage Manager 蘿拉．哈蒙德 Laura Hammond
錄像及音效操作 Video and Sound Operator 米高．霍士 Michael Fox
3 梅普絲的摸蝦舞（或梅普絲的罌粟花之舞）
4 奧麗嘉之徐行
5. 奧麗嘉的舞杆
6 梅普絲的探戈
7 奧麗嘉的舞杆
8 奧麗嘉之徐行
9 奧麗嘉的芭蕾舞裙
10 奧麗嘉失心瘋
11 梅普絲的批評者/ 藝術節
12 梅普絲的酷刑把杆
13. 神聖
第二部分
1 藍色插舞
2 梅普絲的聖誕晚餐
3 巴甫洛娃之蜻蜓舞
4 奧麗嘉之徐行（大衣）
5 奧麗嘉之徐行（芭蕾舞裙）
助理導演 Assistant Director 青山真里子 Mariko Aoyama
PART ONE
1. Music Box
2. Natalia’s Childhood Projections
3. Mepsie’s Shrimping Dance (or Mepsie’s Poppies Dance)
4. Olga’s Walk
5. Olga’s Barre
6. Mepsie’s Tango
7. Olga’s Barre
8. Olga’s Walk
9. Olga’s Tutu
10. Olga’s Mad Scene
11. Mepsie’s Critics/Eisteddfod
12. Mepsie’s Torture Barre
13. Sacre
中場休息 Interval
PART TWO
1. Blue Divertissement
2. Mepsie’s Christmas Dinner
3. Pavlova Dragonfly
4. Olga’s walk (coat)
5. Olga’s walk (tutu)
6. Olga’s Finale
奧麗嘉之終幕
6.
11
《趾尖》創作靈感
The Muse of Two Feet
絲貝斯柴娃在帝俄芭蕾學院習 舞。她很快一躍成為史上最傳 奇的舞者之一，在 1916 至 1934 年，她為俄羅斯芭蕾舞團及巴 黎歌劇院芭蕾舞團擔綱演出。
絲貝斯柴娃演繹的角色中，最 著名的莫過於吉賽爾。被愛人 背叛而失心瘋的吉賽爾，死後 成為怨靈。在 1932 年，她的演 繹已經成為《吉賽爾》史上的 經典。後來所有的《吉賽爾》， 都是建基於她的演繹。
然而，吉賽爾這個角色亦蠱惑 了絲貝斯柴娃。她多次到精神 病院探望病人，觀察他們的動 態。當時她不知道往後日子， 她亦會這樣活在迷夢之中，遠 離世界。
在 1934 年絲貝斯柴娃離開歐 洲，到澳洲巡迴演出。在布 里斯班和悉尼數個成功的舞季 後，她被人發現在荒廢的馬 路上遊蕩。這是她第一次精 神崩潰。
這個悲劇故事啟發了梅莉．坦 卡德創作《趾尖》。
節錄自《沉睡的芭蕾舞姬》，安東．多林
Olga Spessivtzeva studied dance at Russia’s Imperial Ballet School. She quickly rose to become one of the most legendary artists in ballet, performing lead roles with Sergei Diaghilev’s Ballet Russes and the Paris Opera Ballet between 1916 and 1934.
Spessivtzeva was perhaps best known for the role of Giselle. When betrayed by her lover she is driven into madness and dies, destined to become a haunted spirit forever. In 1932 her performances became a landmark in the history of Giselle. Her interpretation was to remain the foundation on which all subsequent productions were built.
The role of Giselle haunted Spessivtzeva. On several occasions, she visited patients in a mental home to observe their movements and gestures. Little did she know that years later she would become afflicted by mental illness herself, living in a clouded dream and shut away from the world.
In 1934, Spessivtzeva left Europe to tour Australia. After a series of successful performances in Brisbane and Sydney, she was found wandering a deserted road. This was the first in a series of mental breakdowns she suffered.
It was this tragic story that inspired Meryl Tankard to create Two Feet.
Excerpts from The Sleeping Ballerina, Anton Dolin
13
奧麗嘉．絲貝斯柴娃 Olga Spessivtzeva (1895–1991)
Introduction
著名澳洲編舞家梅莉‧坦卡德 在 1988 年創作出她的獨舞傑作 《趾尖》。劇作由兩條相互交織 的敘事線組成，分別敘述俄羅 斯舞者絲貝斯柴娃，以及某位 年輕當代舞者的故事，而後者 則取材自坦卡德自身經歷。絲 貝斯柴娃以演繹著名芭蕾舞劇 《吉賽爾》的同名角色馳名，是 一位不懈追求完美的舞者，也 是一名充滿悲劇色彩的人物。 她於三十年代與俄羅斯芭蕾舞 團巡迴澳洲時，首次精神崩 潰，晚年於美國的精神病院終 老。她的故事與另一位不惜代 價，想要成功的年輕當代舞者 相互輝映。
在 2019 年阿德萊德藝術節，坦 卡德為俄羅斯芭蕾天后、英國 皇家芭蕾舞團首席娜塔麗亞 · 奧斯波娃重編了這齣作品。奧 斯波娃正是當代公認飾演吉賽 爾最傑出的舞姬。
撰文： 瑪姬．東堅博士
Acclaimed Australian choreographer Meryl Tankard created her tour de force solo work Two Feet in 1988. It was composed of two intertwined narratives: one about the great Russian ballerina Olga Spessivtzeva, the other about a young contemporary dancer inspired by Tankard’s experiences. Spessivtzeva, renowned for her portrayal of Giselle, was herself a tragic figure. An obsessively perfectionist practitioner of her art, she had her first breakdown while touring Australia with the Ballets Russes in the 1930s and spent the last decades of her life in a mental hospital in the USA. Her story is told in parallel with the young contemporary dancer’s touching mission to become a ballerina, no matter the cost.
For the 2019 Adelaide Festival, Tankard re-created this work for the virtuoso Russian ballerina and Royal Ballet Principal dancer, Natalia Osipova— widely acclaimed as the greatest contemporary Giselle.
序
Text: Dr Maggie Tonkin
15
絲貝斯柴娃 Olga Spessivtzeva
編舞的話 Choreographer’s Note
我 18 歲時讀到安東・多林的 《沉睡的芭蕾舞者》，因而知道 絲貝斯柴娃這位非凡舞者的事 跡。讀到她的悲劇故事，令我 深受打擊。
絲貝斯柴娃和安娜・巴甫洛娃 同期，一些評論家認為她比其 他著名的俄國芭蕾舞者，更為 纖細、更為空靈。
絲貝斯柴娃在 1934 年來澳洲 巡迴表演，就在那個劇季的一 天，她被發現迷失於悉尼郊外 的泥路上。幸而有位前一晚欣 賞過她表演的司機認出了她， 可是她在澳洲往後的表演全都 取消了。
絲貝斯柴娃迷失在那條孤單的 路上的影像，震撼了我很多 年。這是她墮入「瘋狂」的先 兆。在更多精神不穩的狀況 下，絲貝斯柴娃在 1940 年被送 到紐約波基普西的精神病院， 一住便是二十三年。或許她對 舞蹈、芭蕾舞技藝，以及她馳 名世界的吉賽爾一角的執着， 最後壓垮了她。
我想起不少在我工作生涯中合 作過的舞者，他們是如何的對 芭蕾舞、他們的身體和對完美 的奮力追求懷有執念。
在 1988 年，我創作了一齣女性 獨舞的作品。在作品之中，我 藉兩個角色描繪出那份執着： 正在學習舞蹈的年輕女子，和 成熟的絲貝斯柴娃的孤單身影。
當我在 YouTube 看到娜塔麗 亞·奧斯波娃演繹的吉賽爾 時，我覺得她就是當代的絲貝
斯柴娃。奧斯波娃在舞台上看 似脆弱至極、弱不禁風，但又 極為強壯有力。她跳躍騰空 之高，使她幾近成為一個飛天 的精靈。
奧斯波娃確是《趾尖》中演繹 絲貝斯柴娃的最佳舞者。 梅莉．坦卡德
I learned about the incredible dancer Olga Spessivtzeva at the age of 18 when I read Anton Dolin’s book The Sleeping Ballerina. I was shocked to hear her tragic story.
Spessivtzeva danced at the same time as Anna Pavlova, and was considered by some to be more sensitive, more ethereal than the other famous Russian ballerina.
Spessivtzeva came to Australia in 1934 for a series of performances and it was during that season that she was found wandering, lost on a dirt road, outside of Sydney. Fortunately she was recognised by a driver who had seen her dancing on stage the night before. Her future performances in Australia were cancelled.
This image of Spessivtzeva lost on that lonely road haunted me for years. This was the first sign of her descent into “madness”. After more psychotic episodes, Spessivtzeva was committed to a sanitorium in Poughkeepsie, New York, in 1940 for 23 years. It seemed that her obsessions— with dance, her ballet technique
and especially with the role of Giselle which she was renowned for—had overwhelmed her.
I thought of the many dancers I had worked with during my career and how they had also become obsessed by ballet, their bodies and their struggles for perfection.
In 1988 I created a one-woman show in which I portrayed that obsession through two characters: a young girl learning how to dance and the solitary figure of the mature Spessivtzeva.
When I saw Natalia Osipova’s interpretation of Giselle (via YouTube), she appeared to me as a contemporary Spessivtzeva. Osipova has an incredible fragility and vulnerability on stage, but she is also extremely strong and powerful. She jumps so high she really does become a flying spirit.
Osipova seemed the perfect dancer to take on the role of Spessivzteva in Two Feet.
Meryl Tankard
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節目介紹 Programme Notes
雙星灼灼：傳奇舞姬之《趾尖》
兩后相遇
一位是芭蕾舞天后，一位是享 負盛名的舞蹈劇場編舞家，娜 塔麗亞．奧斯波娃與梅莉． 坦卡德同屬舞界傳奇，在藝術 風格上志同道合。二人擦出的 神奇火花，將由矚目重編作品 《趾尖》呈獻。《趾尖》是坦卡 德在 1988 年創作的著名獨舞， 如今為奧斯波娃重新改編，聚 焦一代巨星的精湛舞藝。作品 蘊藏澎湃的戲劇張力，糅合涵 蓋喜劇、獨白及大量舞蹈的一 系列小品，濃縮奧斯波娃包羅 萬象的舞蹈生涯。《趾尖》雖以 古典芭蕾舞為基礎，但有別於 典型的純芭蕾舞表演，是一齣 妙趣橫生的當代舞蹈劇場精品。
奧斯波娃是當今首屈一指的古 典芭蕾舞者，以《吉賽爾》、 《海盜》等經典演出確立形象。 然而，這位英國皇家芭蕾舞團 台柱，不受傳統訓練羈絆，是 力求革新的當代舞常客。來 自俄羅斯的奧斯波娃自小在家 鄉學習體操，對形體動作萌生 興趣，隨後在莫斯科國家舞蹈 學院接受古典芭蕾舞密集式訓 練，至 2004 年學有所成，加 入著名的莫斯科大劇院芭蕾舞 團伴舞隊，受當地資深觀眾注 目。奧斯波娃在俄羅斯公演無 數，所參與的大劇院佳作口碑 載道。這位舞壇新星亦開始涉 足國際舞台，擔任各地知名舞 團的巡演嘉賓，後來獲邀成爲 舞壇聖殿——英國皇家芭蕾舞團 的首席舞者。
奧斯波娃在英國一鳴驚人，演
出場場爆滿，同時享譽國際， 獲普羅觀衆、舞評家一致好 評。除了紥實的舞蹈根基、 靈動的藝術語言，奧斯波娃的 演出驚喜處處，滲雜舞蹈層面 以外的複雜元素。有人說那是 天才魅力，亦有人說是真摯情 感，或與生俱來的爆炸力量。
《趾尖》不但呈現奧斯波娃的 表演天賦，更會揭示其内心世 界，剖析傳奇舞姬的心路歷程。
坦卡德是著名的舞蹈劇場編舞 家，原以古典芭蕾舞起家，跟 奧斯波娃背景相若。坦卡德生 於澳洲，在 1973 年赴悉尼入讀 澳洲國家芭蕾舞學院，兩年晉 身其附屬舞團。及至 1977 年， 她的編舞才華已在小型演出界 中備受肯定，例如好評如潮的 《獄中鳥》。
坦卡德在1993至1999年間出 任澳洲舞蹈劇院藝術總監，破 天荒地把舞團推向國際。她其 後另闢蹊徑，自立門戶，進行 風格多樣的舞蹈實驗。國際觀 衆所認識的坦卡德，則要數她 自1978年起成爲舞蹈劇場先驅 翩娜．包殊旗下一員的德國時 期。當時包殊剛成立烏珀塔爾 舞蹈劇場，為其後改寫現代舞 歷史的神話埋下伏筆。坦卡德 在整個1980年代都是包殊的 得力舞者，參與多部膾炙人口 的曠世名作，親手締造烏珀塔 爾舞蹈劇場的驚世奇蹟。有着 德國時期的寶貴經驗，加上本 身長期涉獵古典舞蹈與當代形 體，這位資深的編舞家手到拿 來，為奧斯波娃度身設計一部
曲盡其妙的舞蹈劇場處女作。
舞蹈劇場
舞蹈劇場不就是舞蹈加上劇場 嗎？看似昭然若揭的答案， 各個時代的理解會有所不同， 流派相異的藝術家也會意見不 一。值得留意的是，「舞蹈劇 場」以「舞蹈」一詞先行，當 中自有玄機。事實上，舞蹈劇 場被歸類為舞蹈範疇，借用戲 劇與其他藝術媒介建立混合模 式。它並非附加舞蹈環節的戲 劇，更不是混合虛構故事與歌 舞形式的音樂劇。
舞蹈劇場的歷史可追溯至 1920 至 1930 年代，源於當時在德 國及中歐冒起的表現主義舞 蹈。烽煙四起的戰爭時期激發 各式各樣的藝術創作，成就諸 多影響深遠的偉大人物，例如 瑪麗．魏格曼、魯道夫．拉 班和科特．尤斯。他們相信身 體本是表達情感的特殊工具， 惟受約定俗成的舞蹈傳統阻礙 發揮。戲劇元素是這種新興舞 蹈的一大特色。華麗鋪張的面 具、有如雕塑的戲服、各式 各樣的道具以至前衛另類的佈 景，一律是它的時代標記。有 學者認爲德文「 tanztheater 」 （舞蹈及戲劇）可能早於 1927 年 便已出現。
及至 1970 至 1980 年間，舞蹈 劇場的概念重見天日，師承上 述表現主義大師的新生代編舞 家作品，正是當時的佼佼者。 翩娜．包殊（ 1940
2009 ）在 德國埃森拜尤斯爲師，其後把
–
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舞蹈劇場發揚光大。她的長篇 舞劇經常穿插戲劇小品，透過 喜劇、悲劇元素探索變幻莫測 的人性面貌。她為烏珀塔爾 舞蹈劇場創作的經典名作，常 以精簡對白刺激想像、召喚記 憶，至今仍在世界各地巡迴演 出。舞蹈滲透使勁呼吸、聲嘶 吶喊或開懷大笑等搶眼動作， 製造戲劇效果，同時刻意運用 意象豐富、緊扣題旨的物件及 佈景，在舞蹈劇場運動中一 枝獨秀。
舞蹈劇場中的舞蹈框架，仿如 一座雕刻時間和空間的塑像， 同時反映編舞的獨特氣質。至 於劇場元素方面，則指通過戲 劇場境和/或與舞台設計的空 間互動，來表達人物角色的立 體性格。因此，表演者分飾兩 角，既是演員，也是舞者。雖 然有説任何舞步或多或少都是 戲劇，但舞蹈種類五花八門， 並非一概像舞蹈劇場般沿用戲 劇手法及視覺語言。
為奧斯波娃塑造的舊酒新瓶
奧斯波娃版的《趾尖》浮現全 新的視覺元素。台上安放芭蕾 舞杆等實物，也有四聯畫式的 數碼投影裝置。熒幕反射奧斯 波娃少女時代的照片及錄像， 回顧明日之星的童年志願。台 上的奧斯波娃化身説書人，娓
娓道來血汗凝聚的艱辛歲月， 追憶深夜秘密練功等青春往 事。詼諧趣事與求學苦修相互 交錯，讓觀眾猶如置身另一時 空，窺見判若兩人的奧斯波娃。
坦卡德把奧斯波娃的生涯與另
一俄國舞蹈家——二十世紀初的 芭蕾舞巨人絲貝斯柴娃（ 1895–1991 ）平衡並置。絲貝斯柴娃 以浪漫主義芭蕾舞劇《吉賽爾》
聞名於世，和奧斯波娃不謀而 合。兩人雖活在不同世紀，但 同被女主角的宿命悲歌深深感 動，在台上台下都大受啓發。
舞者經年演繹同一角色，長期 代入故事情節，虛實之間是否 早被模糊？《趾尖》結合奧斯 波娃的精采舞蹈和罕有獨白， 拼凑萬花筒般的舞台視覺，引 領觀衆思考這個問題。奧斯波 娃穿着紅色尖頭鞋，與經典電 影《紅鞋》遙相呼應，乍現那 位以死亡告終的悲劇舞者。
精妙絕倫的視覺元素固然是吸 引觀衆的一大竅門，但舞蹈劇 場作品成功與否，還是取決於 舞者功夫。這點在《趾尖》中 可見一斑，若非奧斯波娃神乎 其技的身體語言，其他的舞台 裝置不過是浮光掠影。盡善盡 美的奧斯波娃，不斷改良舞蹈 技術，揣摩史上不同流派，
模仿諸如絲貝斯柴娃的獨有風 格，同時鑽研荒誕情景的處理 手法。奧斯波娃雖推陳出新， 亦注重傳統功夫，以軼類超群 的速度、完美無瑕的旋轉，展 示淬鍊多年的精湛造詣。令人 嘆爲觀止的精采舞步，包括鶴 立旋轉，以及在古典芭蕾舞中 有非人動作之稱的揮鞭轉和刺 步轉身，以支撐腿瘋狂旋轉， 另一腿執行各類高難度動作。 與此同時，奧斯波娃身心抽 離，急速變換面部表情，一時 瘋狂失笑，一時洋溢稚氣。這 些誇張哭笑，皆是不容於古典 芭蕾舞的怪異行爲，對一位以 精緻古韻見稱的芭蕾舞天后來 説，絕對是一次脫胎換骨的大 膽嘗試。《趾尖》透視舞蹈劇 場的情感維度，盡顯奧斯波娃 海納百川、奔放自如的超然造 詣，細訴傳奇天后對舞台藝術 的不渝之情。
撰文：瑪麗莎．海斯
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A Confluence of Pioneering Talent: Natalia Osipova in Two Feet
Two feet, two talents
What happens when a worldclass ballerina and an equally renowned choreographer of the dance theatre genre come together? In the case of Natalia Osipova and Merryl Tankard, incredible artistry and a shared sense of adventure are merged to create Natalia Osipova in Two Feet In this production,
Tankard revives her acclaimed one-woman performance from 1988, especially redesigned in this version to display the talents of the legendary Osipova Drawing on the dancer’s dedicated theatricality, the show features a series of vignettes that integrate comedy, spoken word and myriad dances
to take a colourful look at Osipova’s life as a ballerina And although classical ballet is a central motif in the performance, Two Feet is not a ballet performance, but rather a contemporary masterpiece of dance theatre
This may come as a surprise given Osipova’s reputation as a celebrated ballerina in classics such as Giselle and Le Corsaire, but The Royal Ballet star is no stranger to experimentation, regularly taking part in contemporary collaborations The dancer first began her exploration of movement as a child in gymnastics classes in her native Russia, followed by intensive classical training at Moscow’s State Academy of Choreography In 2004, Osipova’s hard work was rewarded when she joined the corps de ballet of the celebrated Bolshoi Ballet On stage, her talent immediately impressed Moscow’s seasoned dance public Mastering the company’s classical repertoire, Osipova also performed on international tours as a guest star before accepting The Royal Ballet’s invitation to join the prestigious London-based company as a principal dancer Since then, her sold-out performances have dazzled the English and international public alike. Audiences and
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critics praise the dancer’s dual mastery of technique and artistry Particularly appreciated for her acting abilities, Osipova brings that extra something to that stage that can be challenging to articulate Some might call it charisma, others cite the emotional investment or the intensity her presence is infused with In Two Feet, not only do we witness these performance qualities, we begin to dig deeper into their psychology, uncovering how Osipova became the Ospiova of today, so beloved the world over.
While closely associated with dance theatre, Tankard, like Osipova, has a background in classical dance The Australian joined Sydney’s Australian Ballet School in 1973 and entered its affiliated company two years later By 1977, her choreographic talent had already begun to emerge in workshop performances, such as Birds Behind Bars
While Tankard’s compatriots may remember her as the Artistic Director of the Australian Dance Theatre from 1993-1999, a company she successfully put on the international dance map, the choreographer has also founded her own ensembles to mount diverse choreographic projects Audiences outside Australia, however, will best
recognise 1978 as the decisive year in which a young Tankard began collaborating with Pina Bausch’s recently formed Tanztheater Wuppertal in Germany. At that time, the fledgling company had just started to make its mark on dance history, becoming the foremost example of dance theatre worldwide Performing with the late Bausch’s ensemble throughout the 1980s, Tankard became an integral part of dance theatre’s legacy This heritage, alongside her understanding of both classical and contemporary movement vocabularies, enabled her to craft an intimate portrait of Osipova for the Russian dancer’s first foray into dance theatre
The dance theatre genre Isn’t dance theatre merely the combination of two performing arts? It’s a deceptively simple term and the response is a little more nuanced depending upon the era and artists concerned It should be noted, however, that in all cases the placement of the word “dance”, which appears first in the genre’s name, is significant. Indeed, this performance art identifies itself primarily as belonging to the world of dance, while borrowing elements from theatre and other art forms As a result, dance theatre is not a theatre play featuring
a moment of dance, nor is it musical theatre, a genre dedicated to fictional narratives interwoven with song and dance routines
Dance theatre traces its history to the expressionist dance that emerged in Germany and Central Europe during the 1920s and 1930s. These interwar years were rich in creative experimentation and witnessed the emergence of important figures such as Mary Wigman, Rudolf Laban and Kurt Jooss. They believed in the body’s unique capacity to express emotions, which they contended was impeded by codified historic dance forms Theatrical elements, including elaborate masks and sculptural costumes, as well as props and avant-garde set design, were hallmarks of the period Scholars believe that the German term tanztheater (a combination of the words for dance and theatre) may have appeared as early as 1927
Fast forward to the 1970s and 1980s, decades that saw the concept of dance theatre resurface and used to describe the work of a new generation of choreographers who had studied with the aforementioned expressionist masters. Pina Bausch (19402009), who trained in Essen under the leadership of
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Jooss, became the foremost proponent of dance theatre Her evening-length productions were often structured around theatrical vignettes in both comedic and tragic explorations of human relationships. Her revered performances for Tanztheater Wuppertal, still touring today, typically integrate short spoken-word passages to evoke impressions and memories. The vocal sounds of dancers breathing laboriously, screaming or laughing may also be used for theatrical effect Choreography intimately connected to objects and set pieces features prominently in the dance theatre genre
The dance in dance theatre seems to sculpt time and space, while reflecting the distinct traits of the individual choreographer As for the theatre aspect of dance theatre, it refers to personalities who express themselves through dramatic situations and/or interactions with the environment of the stage décor As a result, the performers undertake the fusional work of both actors and dancers While one might argue that all dancers act to a certain extent, not all forms of dance borrow the devices and visual language of dramatic theatre as does the genre of dance theatre
New dance theatre for Natalia Osipova
In the version of Two Feet made for Osipova, the audience views both physical objects, including a ballet barre, and complex digital projections, which often form a quadriptych of four panels. Archival images of a young Osipova are seen in video footage and photographs, while the dancer revisits diverse episodes from her childhood as an aspiring ballerina Sharing inside details, including the strange nightly ritual she underwent to increase her flexibility, the Russian dancer becomes a storyteller. She merges humour and deadpan
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recollections, transporting the audience to another time and place to meet another Natalia Tankard also blends Osipova’s personal and professional history with that of another Russian dancer, the early 20th-century ballerina Olga Spessivtzeva (18951991). Like Osipova, the latter was celebrated for her interpretation of the Romantic ballet Giselle, whose tragic heroine has left a mark on the psyches of both ballerinas on and off stage What delineates reality and fiction when dancers spend much of their lives embodying a character? Two Feet asks this question through visual references finely intertwined with Osipova’s dancing and spoken dialogue The red pointe shoes she wears, for example, immediately recall the tragic fate witnessed in the classic film The Red Shoes about a young woman whose passion for dance ends in death
If a dancer’s triumphs and desires are alluded to in the impressive visual design of Two Feet, it is through Osipova’s moving body that they truly become palpable Pushing her technical excellence for maximum effect, the ballerina also adapts her movements during the performance to emulate historic styles (when performing as Spessivtzeva,
for example) or to draw on the absurdity of a situation Nonetheless, her technical mastery remains on full display through her use of unparalleled speed and accomplished turns These include spins in attitude and classical dance’s notoriously difficult fouetté and piqué turns, in which the supporting leg carries the dancer around like a whirling top, while the other limb performs challenging motions. Osipova is equally adept at shifting her facial expressions, transmitting
silly grins or obstinate childish pouts when called for These are typically foreign to the classical ballet idiom and represent a brave endeavour for a dancer whose grace is world-renowned Osipova’s versatile and expressive performance in Two Feet reflects the emotional range of the dance theatre genre, while highlighting its star’s inimitable commitment to the art of dance
Text: Marisa C. Hayes
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梅莉．坦卡德以大膽的編舞馳 譽國際，是澳洲其中一位最傑 出的當代藝術家。
作為導演、編舞和作家，她 的作品在世界各地公演，其中 包括她與悉尼歌劇院和澳洲芭 蕾舞團的聯合創作，以及迪士 尼和安德魯‧羅伊‧韋伯的 音樂劇。
坦卡德早年為澳洲芭蕾舞團舞 者，往後成為翩娜‧包殊烏帕 塔舞蹈劇場的首席獨舞。
在 1989 年，她在坎培拉創立舞 團，融匯不同元素，創作出獨 樹一幟的舞蹈劇場風格。
坦卡德在 1993 至 1999 年擔任 澳洲舞蹈劇團的藝術總監，以 其豐富的長篇作品，使劇團一 躍成為國際先驅。
她於 2019 年阿德萊德藝術節創 作了兩部作品： 為俄羅斯芭蕾 舞姬娜塔麗亞 奧斯波娃改編 的長篇獨舞作品《趾尖》，以及 為傷健共融的不息舞蹈劇團創 作的《不協和》。坦卡德最近獲 頒澳洲官佐勳章，以表揚她對 表演藝術的貢獻。
坦卡德正在為 2023 年悉尼藝術 節創作新作《良辰》。
Internationally acclaimed for her bold choreography, Meryl
Tankard is one of Australia's finest contemporary artists
As a director, choreographer and writer, her work has been staged worldwide, and includes co-productions with the Sydney Opera House and The Australian Ballet, musicals
for Disney and Andrew Lloyd Webber
Beginning her career as a dancer with The Australian Ballet, Meryl went on to become one of Pina Bausch's principal soloists with Tanztheater Wuppertal
In 1989 she founded her own dance company in Canberra, synthesising a range of influences and styles to create her own unique dance theatre style
As Artistic Director of the Adelaide-based Australian Dance Theatre (1993-99) Tankard transformed the company into a leading international company with her diverse range of full-length works
For the Adelaide Festival in 2019, Tankard created two works : Two Feet, a full-length solo work for acclaimed Russian ballerina Natalia Osipova, and Zizanie for Restless Dance Theatre (for performers with and without disability). Tankard was recently awarded with the Officer of the Order of Australia for her distinguished services to the performing arts.
Tankard is currently developing a new work, Kairos, for the Sydney Festival 2023
梅莉．坦卡德 Meryl Tankard
編舞 Choreographer
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編舞簡介 Choreographer's Profile
娜塔麗亞．奧斯波娃
NATALIA OSIPOVA
英國皇家芭蕾舞團首席舞者、美國芭蕾舞劇院及史卡
拉歌劇院芭蕾舞團等客席首席舞者
Principal Dancer of The Royal Ballet and Guest Principal Dancer of American Ballet Theatre, Teatro alla Scala and many other theatres
英國俄裔芭蕾舞家娜塔麗亞． 奧斯波娃以其非凡造詣、高瞻 視野及獨有風采見稱，同時駕 馭古典與當代舞，她更被《泰 晤士報》形容為「猶如來自天 堂的迅雷」。
2013 年，奧斯波娃出任英國皇 家芭蕾舞團首席舞者，所演出 的劇目及角色包括《吉賽爾》 （衛報評為「神乎其技、超然物 外的傑作」）、琪蒂（《唐吉訶 德》）、糖梅仙子（《胡桃夾 子》）、晨曦公主（《睡美人》)
、麗絲（《女大不中留》）、緹 坦妮雅（《夢》）、瑪格麗特 （《瑪格麗特與阿曼》）、茱麗 葉、塔蒂亞娜（《奧涅金》）、 曼儂、西維亞、瑪麗．韋策拉 （《梅耶林》）、娜塔莉亞．彼 得羅芙娜（《鄉間一月》）、阿 納斯塔西婭、甘扎蒂、尼基亞 （《舞姬》），以及《狂想曲》、 《小夜曲》、《里文達》第三幕、 《 DGV： 生命之夢》、柴可夫斯 基《雙人舞》内的諸多角色。 其他演出包括《水中女》、《 X 夫人肖像》、《吳爾芙作品》、 《四聯作》、《連接體》、《美杜 莎》以及尤里．波索霍夫、阿 力士．萊曼斯基等編舞家作品。 奧斯波娃曾為米蘭史卡拉大劇 院、紐約美國芭蕾舞劇院等世 界各地舞團擔任表演嘉賓。她 獲倫敦薩德勒之井劇院邀約創 作《娜塔麗亞．奧斯波娃》 （ 2016 ）、《淨土》（ 2018 ）， 由萊曼斯基、艾甘．漢、徹卡 奧維、阿瑟．皮塔、伊凡． 佩雷斯、大衛．賀伯格及 傑森．傑德貝格編舞。
30
奧斯波娃獲俄羅斯戲劇聯盟 頒發黃金面具大獎（ 2008、
2009 ）、英國藝術評論學會頒 發英國舞蹈大獎（最佳女舞 者， 2007 、 2010 、 2014 )、意 大利波西塔諾舞蹈大獎（最佳 女舞者，2008、2011 ）、國際 舞蹈聯盟頒發貝諾瓦舞蹈大獎 （最佳女舞者，2008)。
她曾在倫敦南岸中心上演個人 製作《母親》（阿瑟．皮塔編 舞，2018 ）及《卡門》（迪蒂． 維曼編舞，2022 ）。
2019 年阿德萊德藝術節，澳洲 編舞家梅莉．坦卡德為奧斯波 娃重新編製 1988 年舞劇名作 《趾尖》。
2019 年，英國電影電視藝術學 院大獎得獎導演嘉里．霍士執 導紀錄片《自然力量》，探討奧 斯波娃的傳奇一生。2021 年， 奧斯波娃創製首個非同質化代 幣（ NFT ）芭蕾舞集。
「舞蹈萌芽」是奧斯波娃及傑 森．傑德貝格創立的獨立舞 團，為要展示奧斯波娃舞蹈生 涯中的作品，並且匯合各界舞 者及藝術家創作嶄新舞作，巡 迴演出向全球推廣舞蹈藝術。
Russian-British prima ballerina Natalia Osipova is renowned for her unique technique and charismatic interpretations in classical and contemporary dance She has been described as “a bolt from dance heaven” (The Times).
In 2013, Osipova joined The Royal Ballet as Principal
Her roles with the Company have included the title role in Giselle ( “truly astonishing, a supernatural tour de force’ –The Guardian), Kitri (Don Quixote), Sugar Plum Fairy (The Nutcracker), Princess Aurora (The Sleeping Beauty), Lise (La Fille mal gardée), Titania (The Dream), Marguerite (Marguerite and Armand), Juliet, Tatiana (Onegin), Manon, Sylvia, Mary Vetsera (Mayerling), Natalia Petrovna (A Month in the Country), Anastasia, Gamzatti and Nikiya (La Bayadère) and roles in Rhapsody, Serenade, Raymonda Act III, DGV: Danse à grande vitesse and Tchaikovsky Pas de Deux She has created roles in Woman with Water, Strapless, Woolf Works, Tetractys, Connectome, Medusa and in works by Possokhov and Ratmansky, among others
She regularly appears as guest artist with companies around the world such as Teatro alla Scala and American Ballet Theatre, and conceived Natalia Osipova (2016) and Pure Dance (2018,) commissioned by Sadlers Wells Theatre choreographed by Alexei Ratmansky, Akram Khan, Sidi Larbi Cherkaoui, Arthur Pita, Iván Pérez, David Hallberg and Jason Kittelberger
Osipova has received Golden Masks for her performances in In the Upper Room (2008) La Sylphide (2009), Best Female Dancer at the Critics’ Circle
National Dance Awards (2007, 2010 and 2014), Best Female Dancer at the Positano Dance Awards (2008 and 2011) and Best Female Dancer at the Benois de la Danse Award (2008).
Osipova produced and presented two of her own shows, Mother (2018), choreographed by Arthur Pita; and Carmen (2022), choreographed by Didy Veldman
In 2019, Australian choreographer Meryl Tankard and the Adelaide Festival recreated the dance/drama Two Feet (1988) especially for her In 2019 Osipova starred in the documentary film Force of Nature, directed by BAFTA winner Gerry Fox In 2021, she produced the first-ever collection of ballet NFTs.
Osipova is the co-founder of the independent dance company Blooms Dance Project with Jason Kittelberger The project started with the idea of sharing dance works from Osipova’s career Its long-term goal is to create new works with a strong mix of dancers and creatives and to promote the art of dance to a wider audience by touring worldwide
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編創人員簡介
Creative Team Profiles
班．曉士
Ben Hughes 燈光設計 Lighting Designer
利捷斯．蘭錫
Regis Lansac
視覺設計 Visual Designer
利捷斯．蘭錫生於法國里昂， 在 1972 年遷居澳洲。蘭錫以舞 蹈及劇場攝影聞名。1988 年的 原版《趾尖》，是他與梅莉‧ 坦卡德創意協作的轉捩點，兩 人自此合作無間。他的攝影作 品獲澳洲國立美術館及坎培拉 國立圖書館收藏。
Born in Lyon, France, Regis Lansac migrated to Australia in 1972. Lansac is well-known for his dance and theatre photography. The original production of Two Feet in 1988 marked a major turning point in his creative collaboration with Tankard, and they have worked together ever since. His photographic works are held in the Australian National Gallery and National Library of Australia.
班．曉士的燈光設計橫跨劇 場、舞蹈和歌劇。他是危險劇 團的副藝術總監，曾為眾多劇 團設計燈光，其中包括： 昆士 蘭劇院、悉尼劇團、墨爾本劇 團等。曉士現於昆士蘭科技大 學教授燈光設計，他是燈光設 計師協會的專業會員，亦是澳 洲劇場設計工會認證會員。
Ben Hughes’ lighting design practice spans theatre, dance and opera. He is the Associate Artistic Director of The Danger Ensemble. He has designed for companies including: the Queensland Theatre, the Sydney Theatre Company, the Melbourne Theatre Company, Hughes lectures in Lighting Design at the Queensland University of Technology. He is a Professional Member of the Association of Lighting Designers and holds accredited membership of the Australian Production Design Guild.
青山真理子
青山真理子
Mariko Aoyama
Mariko Aoyama
助理導演 Assistant Director
助理導演 Assistant Director
青山真理子早年師從西内敏子 學習古典芭蕾舞，後於七十年 代初赴歐洲進修。在嘉莉絲王 妃古典舞蹈學院精進舞藝後， 青山真理子在歐洲各地以獨舞 身份表演。自 1995 年起，她獲 邀成為烏帕塔舞蹈劇場的客席 舞者，後來成為翩娜‧包殊的 個人助理，為包殊在巴黎歌劇 院的《春之祭》和《奧菲歐和 尤麗迪絲》擔任彩排總監。
Mariko Aoyama studied classic ballet with Toshiko Nishiuchi before moving to Europe in the early 1970s. After perfecting her technique at l’Académie de Danse Classique Princesse Grace, Aoyama performed as soloist. In 1995, she was invited to be a guest dancer with Tanztheater Wuppertal and later became Pina Bausch's personal assistant and rehearsal director for Le Sacre du Printemps and Orphée et Euridice for Opéra National de Paris.
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Spoken Lines
Scene 3—Mepsie’s Shrimping Dance 第三場 – 梅普絲的摸蝦舞
Shrimping
A dance for a young child
This dance is delightfully easy to learn. Here is a simple diagram to show the various directions you will face during the dance.
Properties: a shrimping net and a bucket. Start centre front facing No. 6, shrimping net over right shoulder, right foot pointed in front, bucket in left hand.
Photo No. 1
Pause for the first four notes of the music.
Music
Travelling across front, round past No. 2 and three to centre back, then diagonally forward to No. 1: Two forward Polka steps, starting onto right foot, and a retiré skip forward.
Repeat. And
Music
A little "push-up' relevé in first position, looking down into the edge of the sea.
Photo No. 2
Music
Point right toe into the water; find it very cold, and pull it out again quickly.
Photo No. 3
Music
Four retiré skips backwards starting onto right foot and travelling diagonally up stage to centre.
Music
Turning to face No. 1, three little runs forward onto right. Left. Right kicking the legs up behind and bending slightly forward.
Music
And two big jumps in the first position.
Music
Step sideways onto left foot, bending down to put the bucket on the floor beside you.
Music
Transfer weight onto right foot, and point left foot in front facing front and take the net in both hands.
Photo No. 4
Music
Photo No. 4
摸蝦
適合兒童學習的舞蹈
此舞易學而有趣。可參考圖中顯示的舞步方位。
道具：捕蝦網、水桶。
中前方開始，面向 6 號，右肩扛捕蝦網，尖右腳向 前，左手拿水桶。
照片 1
頭四個音符奏起時不動。
音樂
走至前方，繞過 2 號和 3 號到中後方，對角線斜走 前，至第一腳位：
兩個波爾卡舞步向前，右腳抽起前跳。
重複。 然後
音樂
第一腳位稍作「掌上壓」式上升，向下看海邊。
照片 2
音樂
右腳尖入水中；感覺極冷，迅速收腳。
照片 3
音樂
右腳來四個抽起後跳，對角線斜走至台中。
音樂
轉身面向 1 號，向前三小跑，至右、左、右踢腿，稍 向前彎腰。
音樂
兩個大跳，至第一腳位。
音樂
左腳側馬步，彎腰把水桶放在身旁地上。
音樂
重心轉移至右腳，左腳尖向前，雙手拿網。
照片 4
音樂
照片 4
台詞
35
Music
Four retiré skips backwards, starting onto left foot. 音樂
Music
Four sideways gallops to the left inclining head left.
Music
And four big jumps into first position.
Music
Four sideways gallops to the right, with head inclined right, taking you back across the stage behind your bucket.
Music
Eight retiré skips round the bucket in an anticlockwise direction starting on to either right foot or left foot, still keeping the net in both hands.
Music
Three little runs towards No. 1, kicking legs up behind.
Music
One big jump in first position, and one relevé in first position, looking down into the edge of the sea.
Pause
Music
Two very big steps forward into the water onto right and left.
Music
Stand in a wide second position, all ready to shrimp.
Music
Mime
Scoop the net forward into the sea twice.
Music
Look into the net.
Photo No. 5
Music
Because you have caught nothing, look rather sad and shake your head.
左腳來四個抽起後跳。
音樂
四個側馬步向左，頭左傾。
音樂 四個大跳，至第一腳位。
音樂
四個側馬步向右，頭右傾，回到水桶後。
音樂
右腳或左腳循逆時針方向圍繞水桶八個抽起跳，雙手 仍拿着網。
音樂
三個小跑向 1 號，往後踢腿。
音樂
一個大跳至第一腳位，一個上升至第一腳位，往下看 海邊。
停頓
音樂 向右、向左，兩大步走至水中。
音樂 寬闊的第二腳位，摸蝦環節準備就緒。
音樂
默劇 把網撒往海裏撈兩次。
音樂 凝視網。
照片 5
音樂
一無所獲，悲傷搖頭。
Music Scoop the net into the sea twice again. 音樂 再把網撒往海裏撈兩次。
Music
This time you find you’ve picked up a lot of messy seaweed. So you take out of the net with your left hand and throw it away, looking rather disgusted.
Photo No. 6
Music Scoop the net twice more into the sea.
音樂
撿到亂七八糟的海藻，左手從網裏拿出扔掉，感覺噁 心。
照片 6
音樂
再把網撒往海裏打撈兩次。
37
Music
Look into the net, and this time you have caught a big fat shrimp, so look very surprised and pleased.
Music
Make a quick little run back to the side of your bucket.
Music
Pick the shrimp up in your left hand and hold it high up, standing up on your toes and leaning on the net, and look up at the shrimp, feeling very proud at having caught it.
Photo No. 7
Music
Drop the shrimp into the bucket.
Music
Put the net behind your back, and stand in the first position, bending forward and looking into the bucket.
Photo No. 8
Music
Dance & Mime
Four jumps in the first, still looking down into the bucket.
Music
Two springing points with right foot then two with left foot.
Music
Let go of the net with your left hand, bend forward and pick up the bucket, then carry the net round to the front and up over your right shoulder as shown in Photo No. 1. Point the left foot in front facing No. 6.
Music
Three walks forward onto left. Right. Left and point the right foot in front, looking straight in front of you all the time.
Music
Now you begin to wonder whether it’s kind to take the shrimp home with you, and you let the top of the net fall to the floor in front of you, while you look into the bucket which you hold forward in your left hand.
Photo No. 9.
音樂
凝視網，這次捉到一隻大肥蝦，驚喜而雀躍。
音樂 迅速跑回水桶旁邊。
音樂
左手拿起蝦，高舉，尖腳站，倚網，抬頭望蝦，深感 自豪。
照片 7
音樂 把蝦扔進桶裏。
音樂
把網放在背後，第一腳位站立，向前彎腰，凝視水 桶。
照片 8
音樂 舞蹈、默劇 第一腳位跳四次，繼續低頭凝視水桶。
音樂
右腳兩個點步，左腳兩個點步。
音樂
左手放開網，向前彎腰，拿起水桶，把網繞到前面， 高舉過右肩（如照片 1 ）。左腳尖向前，面向 6 號。
音樂
左、右、左向前走三步，尖右腳向前，保持直視前 方。
音樂
懷疑帶蝦回家是否好事，讓網頂落在前方地上，看看 左手拿著的桶。
照片 9
Now look back over your right shoulder at the sea. 音樂 頭往右肩轉，看海。
Music
Music
Then look back into the bucket at the shrimp, and shake your head.
音樂
回頭看桶裏的蝦，搖頭。
38
Music
Let go the net so that it falls to the floor, and run towards No. 5 to the edge of the sea. Stand in first position holding the bucket in both hands ready to throw the shrimp back into the sea.
Music
Pause
Photo No. 10
Music
Throw the shrimp back into the water.
Music
Stand up on your toes and wave it good-bye.
Photo No. 11
Music
Run back to where you dropped your net, pick it up in your right hand and put it back over your right shoulder; point right foot in front as in Photo No. 1
音樂
放開網，讓它落地，跑向 5 號到海邊。第一腳位，雙 手握水桶，準備把蝦扔回海中。
音樂
停頓
照片 10
音樂 把蝦扔回水中。
音樂
尖腳站，揮手告別蝦。
照片 11
音樂
跑回丟掉網的位置，右手撿起網，放回右肩；右腳尖 向前(如照片 1)。
Music Pause 音樂 停頓
Music
Four walks or two walks and a run straight off the stage without looking back.
Music
It may be helpful to note the handle end of the net is always in the right hand, whether the net is over the shoulder, in front
Scene 6—Mepsie’s Tango
音樂
四步走或二步走，直跑離台，頭也不回。
音樂
請注意，無論捕蝦網是在肩上、前方或其他位置，網 柄總是由右手拿着。
第 6 場– 梅普絲的探戈
Music 音樂
The tango as it is known today originated in Argentina; the lovely plaintive tones of the tango and the strongly accented base in the music
Since the tango is done moderately slowly, you will not find it too difficult. Long smooth steps should be taken that look so characteristic of the Argentine tango. By following these simple diagrams in the manual and carefully listening to the record, you will find yourself dancing almost immediately.
今天眾所周知的探戈起源於阿根廷；探戈的曲調哀怨而 可愛，音樂具有強烈的重低音節拍……
探戈速度適中，練習起來不會覺得太難，應是長而平穩 的舞步，這樣……看起來很有阿根廷探戈的特色。遵照 手冊内的這些簡單圖表，仔細聆聽唱片，幾乎可以馬上 學會。
Music: 音樂：
Now let us do the step for the man (listens for a bit then fast forwards to…)
現在讓我們來跳男士的舞步—— （聽一下，然後快進到……）
女士的後仰舞步
The “Dip Step for the woman”
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1. Step forward on the right foot, bending at the knee, left leg extended, toe remaining in place, slow.
2. Step back on the left foot, slow.
3. Step backward on the right foot, quick.
4.Follow through with the left foot and step to the left side, quick.
5.Draw the right foot slowly to the arch of the left foot, weight remaining on the left foot, slow. (Go through to try and do it to the music keeping to the rhythm)
The cuddle is one of the most popular figures in the chacha-cha
The Cuddle consists of the man holding the woman’s right hand in his right hand and coiling her into the curve of his right arm, the woman taking a half turn to the left, followed by the man uncoiling the woman as she takes a half turn to the right.
Before attempting the Cuddle, please study the manual carefully.
Stand apart from partner with weight on left foot with your right hand in man's right hand.
1. Turning left, step right, left, right into the curve of man's right arm (cuddle position)
2. Step back on left foot.
3. Step forward in place on right foot.
4. Turning right, step left, right, left uncoiling from the man's right arm, away from him.
5. Step back on right foot.
6. Step forward in place on left foot.
Ready
Turn to the left back forward.
Turn to the right back forward.
(Repeat)
Then try it to the music without the directional call.
Now we are going to play a good cha-cha rhythm so you can practise the figure you have already learned.
1. 右腳向前邁步，膝蓋彎曲，左腿伸展，腳趾保持原 位，緩慢。
2. 左腳向後慢退一步。
3. 右腳向後快退一步。
4. 左腳跟進並快速向左側邁步。
5. 將右腳慢慢拉到左腳的足弓處，重心留在左腳，緩慢。 （再試一次，按照音樂節奏）
環抱是查查查中最受歡迎的舞步之一……
環抱是男士用右手握住女士的右手，將她盤繞在右臂彎 中，而女士向左轉半圈，接着男士在女士向右轉半圈時 鬆開，讓女士繞出來。
練習這舞步前，請仔細閱讀手冊。
與舞伴離開站立，重心放在左腳上，右手握着男士的右 手。
1. 左轉，右步，左步，右步，繞進男士的右臂彎（環抱 位置）。
2. 左腳向後退一步，
3. 右腳原地向前邁步，
4. 向右轉，向左，向右，向左，從男士的右臂彎繞出 來，離開男士。
5. 右腳向後退一步，
6. 左腳原地向前邁一步。
預備
向左轉後向前。
向右轉後向前。
（重複）
試試不用方向提示，跟着音樂跳。
現在播一段動聽的查查查節奏，可以跟着練習學過的舞 步。
41
Scene 11—Eisteddfod 第 11 場–藝術節
Natasha – this is not a discotheque
It is a sacred place
娜塔莎——這不是的士高舞廳
這是個神聖的地方
It is a monastery 這是座修道院
I can’t work with you
我不能和你一起工作
Music 音樂
She looks like a prostitute 她看起來像妓女
Music 音樂
That’s not ballet 那不是芭蕾舞
She thinks it’s a circus 她以為這是馬戲團
She should dance in a tent or on the trampoline 她該在帳篷裏或彈床上跳舞
Music 音樂
Love you darling… mwah mwah
愛你，親愛的……啫啫
Beautiful darling 美麗的寶貝
She is dancing like a deer
她像鹿一樣跳舞
She thinks she’s Bambi 她以為自己是小鹿斑比
Music
You are a girl…
not a woman
Get that mascara off
Scene 12 Mepsie’s Torture Barre
I suppose you’re wondering why my leg is so high?
It’s so high because when I went to bed at night…
I would tie my leg to the back of the bed….
See …. like this…
My mother used to come in while I was sleeping
And she would undo it!
But it didn’t hurt me… never …
你是女孩……
不是女人
第 12 場–梅普絲的酷刑把杆
你大概很想知道我的腿怎會踢得那麼高？
那是因為我晚上睡覺時......
會把腿綁在床背......
看 ......
像這樣......
我媽媽常在我睡覺時走進來
她會把我的腿解下來！
但我沒有覺得痛......
從來沒有......
我從未有甚麽感覺 because I’m used to pain.
I never felt anything
因為我習慣了痛楚。
音樂
抹掉睫毛膏
42
See!
Calm down!
I’m ready!
看！
冷靜下來！
我準備好了！
43
© Regis Lansac
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
無名氏 ( 2 ) Anonymous ( 2 )
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
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
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
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
28/2
二 Tue
1 - 19/3
三 - 日 Wed - Sun
3/3
五 Fri
5/3
日 Sun
《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
Post-Performance Meet-the-Artist
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
6/3
Mon
三
11/3 六 Sat
12/3 日 Sun
14/3 二 Tue
15/3 三 Wed
16/3 四 Thu
17/3 五 Fri
25/3 六 Sat
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*最新節目資料及安排以「加料節目」網頁公佈作准。 *The latest information and arrangement are subject to the announcement on PLUS webpage.
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
+ 榮譽節目顧問 Honorary Programme Advisor
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*
* 合約職員 *Contract Staff 按英文姓氏首字母排列 In alphabetical order 2023 年 2 月更新 Updated February 2023
藝術家統籌 蔡兆欣 *、朱芷慧 * 、張素真 * 、向怡君 * 、劉依靈 * 、劉明月 *、伍美衡 * 製作主任 彭家達 * 技術統籌 歐慧瑜 *、蔡敬堯 *、馮舒凝 *、黎敏兒 *、黎智勇 *、李浩賢 *、曾以德 *
Artist
Jacqueline Choi*, Eleanor Chu*, Susan Hayden*, Cassandra Heung*, Joannie Lau*, Veronica Liu*, Janet Ng*
