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，2023/24財政年度預 計收入（包括第52屆香港藝術節及2024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12%，另外約25%需來自票房收入，約48% 則須依賴來自各大企業、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、劉曉 禹、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、班貝格交響樂團、倫敦交響樂 團、NHK交響樂團、皇家阿姆斯特丹音樂廳樂團、 柏林廣播電台合唱團、萊比錫聖多馬合唱團、維也 納愛樂樂團
•爵士樂及世界音樂：波比麥非年、尤蘇恩多爾、 艾斯佩蘭薩斯伯丁、OrquestaBuenaVistaSocial Club、粉紅馬天尼
•舞蹈：米高巴里殊尼哥夫、蕭菲紀蓮、艾甘漢、 娜塔麗亞奧斯波娃、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《飯戲攻心》踏台 版、《末戀無愛合約》、《我們最快樂》、《鼠疫》、 《陪着你走》、《百花亭贈劍》、《香港家族》三部曲、
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 FY2023/24 (including the 52nd Hong Kong Arts Festival and 2024 “No Limits” programme) is approximately HK$150 million. Current Government annual funding accounts for around 12% of the Festival’s total income. Around 25% of the Festival’s income needs to come from the box office, and around 48% from sponsorship and donations by corporations, individuals and charitable foundations. The remaining 15% is expected to come from other revenue sources including the Government’s matching grant 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: Bayerische Staatsoper, 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, Bruce Liu, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, Bamberg Symphony, 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, Natalia Osipova, 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 WearableArt, 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 more than 250 local productions across various 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 Table for Six on Stage, Loveless Romance, We Are Gay, 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.
《世紀． 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》、香港 藝術節與三藩市歌劇院聯合製作的《紅樓夢》、香港 藝術節與芬蘭國家歌劇院及芭蕾舞團聯合製作的《拉 娜》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31年來，已為逾820,000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「無限亮」計劃於2019年正式開展，透過一系列的 演出及多元的教育及社區外展節目，「無限亮」致力 創造共融空間，讓不同能力人士均可以一同欣賞、參 與、擁抱藝術。
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， 香港藝術節基金會 於2022年成立，旨在讓藝術 節在未來進行年度預算以外的大型特別項目。
（2023年12月更新 Updated December 2023）
*有關香港藝術節的過往節目，可參考以下網頁
The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer), co-produced by the HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch; Richard III and The Tempest, produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with the HKAF as a co-commissioning institution; Green Snake, co-commissioned with the Shanghai International Arts Festival; Dream of the Red Chamber, co-produced with the San Francisco Opera; and Laila, a co-production of the HKAF and the Finnish National Opera and Ballet.
The HKAF invests heavily in arts education for young people. During the past 31 years, our “Young Friends” scheme has reached more than 820,000 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 halfprice 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 inclusion 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.
To provide greater financial security and long-term sustainability for the Festival, the Hong Kong Arts Festival Foundation was officially launched in 2022. Donations to the Foundation will be used towards enabling the Festival to present in the future large-scale projects which its annual budget cannot cater for.
Details of past HKAF programmes can be found at https://www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2023.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.
電郵 Email: dev@hkaf.org
直綫 Direct Lines: (852) 2828 4911/12
網頁 Website: www.hk.artsfestival.org/en/support-us
羅伯特．利柏殊 x 機器神《庫維爾1975：青春浪潮》
Robert Lepage x Ex Machina— Courville
編劇、設計、導演 羅伯特．利柏殊
英文翻譯 露意莎．貝理雅
創作總監、
設計
史提夫．白蘭芝
助理導演
法蘭西斯．博利厄
副佈景設計 阿麗安．舒芙
木偶設計、製作
尚-基爾．韋特 雪蓮．韋特
作曲、音響設計 馬修．杜翰
影像設計
菲力斯．法蘭德-法佳
燈光設計
尼古拉斯．德斯科托
服裝設計
維珍妮．勒克萊爾
道具設計
尚恩．勒皮埃
中文字幕 戴小涵
字幕編訂
蘇國雲
字幕控制 廖芍然
Playwright, Designer, Director
Robert Lepage
English Translator
Louisa Blair
Creative Director, Designer
Steve Blanchet
Assistant Director
Francis Beaulieu
Associate Set Designer
Ariane Sauvé
Puppet Designers, Builders
Jean-Guy White
Céline White
Composer, Sound Designer
Mathieu Doyon
Image Designer
Félix Fradet-Faguy
Lighting Designer
Nicolas Descôteaux
Costume Designer
Virginie Leclerc
Props Designer
Jeanne Lapierre
Chinese Surtitles
Tai Hsiao-han
Surtitles Editor
So Kwok-wan
Surtitles Operator
Liu Cheuk-yin
演出 奧利維亞．諾曼
木偶師
威爾斯利．羅伯遜三世 卡露蓮．唐圭 馬田．瓦揚古
Performer
Olivier Normand
Puppeteers
Wellesley Robertson III
Caroline Tanguay
Martin Vaillancourt
10
製作監督
瑪麗-皮埃．加尼
技術總監
奧利維亞．瓦列里 凱瑟琳．佳
製作助理
維羅尼克． 聖-雅克
舞台監督
克里斯蒂安．加隆
舞台技工主管
尚-菲力斯．勒貝爾
燈光監督
班諾．布魯力-普瓦利
錄像監督
麥禪．彭索
音響監督
史丹尼斯勒斯．伊利
木偶、服裝、 道具監督
艾米利．樸凡
卡羅爾．安．夏雷特
木偶藝術顧問
馬田．傑內斯特
特殊化妝
伊蓮．皮爾遜
巡演經理
嘉露-安妮．羅貝格
佈景製作
雅思貼士設計
雅蘭景彌設計
融相舞台設計
佈景畫師
艾蜜莉．特雷柏尼爾
Production Manager
Marie-Pierre Gagné
Technical Directors
Olivier Bourque
Catherine Guay
Production Assistant
Véronique St-Jacques
Stage Manager
Christian Garon
Head Stagehand
Jean-Félix Labrie
Lighting Manager
Benoît Brunet-Poirier
Video Manager
Maxime Painchaud
Sound Manager
Stanislas Élie
Puppets, Costume and Props Managers
Emilie Potvin
Carol Ann Charette
Artistic Consultant (Puppeteers)
Martin Genest
Special Effects Make-up
Élène Pearson
Tour Manager
Carole-Anne Roberge
Set Builders
Astuce Décors
Conception Alain Gagné
Unisson
Scenic Painter
Amélie Trépanier
佈景製作協力 珍娜維弗．伯恩瓦爾 安妮．瑪麗．比羅 卡蘿．安．查萊特 瑪麗安娜．費蘭．杜蒂爾 莫德．格羅洛 西西爾．列斐伏爾 瑪麗亞納．曼薩諾 瑪麗．麥尼高 盧斯．彭利傑 諾米．理查 艾美莉．沃爾曼
服裝製作 雅袍女性創意服裝
木偶製作協力 嘉露．韋特 卡米爾．麥克米蘭 海倫．雷諾 安娜貝爾．羅伊 伊莎貝．弗雷尼特 導演經理人
蓮黛．博利厄 額外影像設計 馬田．帕里 麥辛．布瓦索
音樂版權洽談 黛芬．聖-馬可 尼戈
鳴謝
嘉麗兒．波克 弗雷德里克．德斯羅切斯 米高．拉布雷克博士 理查．盧斯爾
Set Building Collaborators
Geneviève Bournival
Anne Marie Bureau
Carol Ann Charette
Marianne Ferland Dutil
Maude Groleau
Cécile Lefebvre
Mariana Manzano
Marie McNicoll
Luce Pelletier
Noémie Richard
Émily Wahlman
Costumes
Par Apparat confection créative
Puppet Building Collaborators
Carole White
Camille McMillan
Hélène Renaud
Annabelle Roy
Isabelle Frenette
Director’s Agent
Lynda Beaulieu
Additional Image Designers
Martin Paré
Maxim Boisseau
Music Copyright Clearance
Delphine Saint-Marcoux
La Négo
Acknowledgments
Claire Bourque
Frédéric Desroches
Dr Michel Labrecque
Richard Loiselle
11
Additional Music
Aspirations (Gentle Giant) (Kerry Churchill Minnear, Derek Victor Shulman, Raymond Shulman) © Alucard Pubg Ltd ℗ WWA Records, 1974
Child in Time (Deep Purple) (Richard Blackmore, Ian Gillan, Roger Glover, Jon Lord, Ian Anderson Paice) © Henrees Music Co, EMI Blackwood Music Canada LTD ℗ Parlophone Records, 1970
Ste Mélanie Blues (Georges Hébert Germain, Robert Lachapelle, Yves Laferrière, Garnier Poulin) © EMI Blackwood Music Canada LTD ℗
Musique ProgresSon Inc., 1972
Starless (King Crimson) (William Scott Bruford, David Francis Cross, Robert Fripp, John Kenneth Wetton) © EMI United Partnership Ltd, Unart Music Ltd, EMI Backwood Music Canada, Universal Music MGB Limited, Universal Music Publishing Canada, Warner Bros Inc, Warner-Chappell Music Canada Ltd ℗ Island Records Ltd, 1974
The Joker (Steve Miller Band) (Steven Haworth Miller, Eddie Curtis, Ahmet Ertegun) © Rooster Jim Music Co, Sailor-Music, Casablanca
Media Publishing, Cotillon Music Inc., Canadiana Music ℗ Capitol Records, 1973
Sonar (Scott) Performed by Jools Scott © Publishing by Strung Out Songs ℗ Long Tale Recordings
Oui Parait-Il (Pierre Létourneau, Yves Martin) © Les éditions Iohann ℗ Les Disques Campus, 1974
Corrente francese in G Minor ℗ ATMA Classique, 2015 (Le livre de luth de Gioseppe Antonio Doni) Performed by Sylvain Bergeron
Corrente francese in C Minor ℗ ATMA Classique, 2015 (Le livre de luth de Gioseppe Antonio Doni) Performed by Sylvain Bergeron
N’oublie jamais, Raymond Berthiaume (1954)
The Lazy Game (Louis Delacourt, Pierre Porte) © Kapagama, Canpub APM, Creasound ℗ Mondiophone, 1973
Demain nous appartient (Stéphane Venne) © Les éditions Musicobec ℗ Les disques Mérite
Additional Images
La Chute Montmorency, Québec (1833), The Lower City of Quebec from the Parapet of Upper City (1833), Le Pont de glace entre Québec et la pointe De Lévy (1831), L'Hôpital général de Québec vu de la rivière Saint-Charles gelée (1830), La Place du marché, Québec (1829 or 1830), L'Anse au Foulon, Sillery (possibly 1830), Québec vu de Beauport en hiver (possibly 1830), James Pattison Cockburn
Ice Birds, a film by Marc Hébert (1978), National Film Board of Canada
Ce soir, with Bernard Derome, 1976, October 18th (excerpts), Archives Radio-Canada Soirée électorale du 15 novembre 1976 (excerpts), Archives Radio-Canada
Election Advertising, Parti Québécois (1976)
Election Advertising, Quebec Liberal Party (1976)
An Ex Machina Production
In co-production with (English version) Hong Kong Arts Festival, (French version) Le Diamant, Quebec City; Le Volcan—Scène Nationale du Havre; La Comète—scène nationale de Châlons-en-Champagne; Taichung Theater, Taiwan; Kaohsiung Center for the Arts (Weiwuying), Taiwan; and Théâtre du Nouveau Monde, Montreal
Producer for Ex Machina: Michel Bernatchez
Associate producer for Ex Machina: Hélène Paradis
Associate Production - Europe, Japan: Epidemic (Richard Castelli, assisted by Florence Berthaud); The Americas, Asia (except Japan), Australia, New Zealand: Menno Plukker Theatre Agent (Menno Plukker, assisted by Magdalena Marszalek and Isaïe Richard)
12
© Francois Latulippe/Ex Machina
對於長期居住於這個地區的人來說，「庫維 爾」會讓他們想起另一年代，一個位於加拿 大魁北克郊區的小鎮。
這個小鎮的名字從此消失，庫維爾成為 了一個郊區，並與魁北克市合併。但有些人 仍然記得這個地方的獨特之處——它鄰近北 美最高的蒙莫朗西瀑布，以及在其凹凸不平 的地表下，有很多由奧陶紀石灰岩形成的洞 穴。
庫維爾亦讓人憶起最平凡不過的現實： 上世紀七十年代的魁北克郊區與當地現已荒 廢的平房，繼而讓人聯想起那時代的憂慮。
冷戰時期，人們從加拿大與蘇聯對決的精采 冰上曲棍球賽事，或帶點迷幻的前衛搖滾音 樂中宣洩情緒；而法語和英語群體愈趨嚴重 的衝突，則好比一齣無間斷的民族心理劇。 當時，所謂「核心家庭」的社會泡沫爆破，揭 露了暗藏在消費幻象中的貪婪關係。
For those who have lived in the area for a long time, the word Courville evokes a village from another era that was located on the outskirts of Quebec City, Canada.
The name has since disappeared and Courville became a suburb that later merged with Quebec City. But some remember what was distinctive about the place: its immediate vicinity to Montmorency Falls, the highest in North America, and its Ordovician limestone subsoil that created a multitude of caves beneath an uncertain surface.
Courville also recalls a more ordinary reality: the Quebec suburbs of the 1970s and their now obsolete bungalows. And, by extension, the concerns of the time. The Cold War, which finds an outlet in exciting hockey tournaments between Canada and Soviet Russia. The sometimes trippy pop of progressive rock. The eternal national psychodrama where French and English speakers clash, and which will soon be exacerbated. And the beginning of the end of what was called, at that time, the “nuclear family”—this sociological bubble where the mirages of consumption sometimes hide sordid relationships.
故事大綱 Synopsis
14
故事發生於1975年11月15日，十七歲的 西蒙居住在庫維爾一所單層平房的地下室， 擁有自己的房間。一位與他寡婦母親關係親 密的無賴叔叔、一個被迫紋在他胸前並永久 為他帶來痛苦的刺青、一位追求他但不成功 的女性朋友、一個沒甚麼教養的男性運動員 朋友。新的一年即將到來，正在發生的社會 動盪注定會對這名少年的生活帶來戲劇性和 決定性的影響。
《庫維爾1975：青春浪潮》描繪了一個 複雜的少年肖像。當中集體狂歡也無法掩蓋 慾望的煎熬、他人注視所帶來的壓力或對外 表的痴迷。在這場演出中，日本古老的文樂 （人形淨琉璃）技藝，為人偶注入靈魂，展現 西蒙與他遇見的人的故事。
It’s November 15, 1975. Simon is 17 years old, has his own room in the basement of a bungalow in Courville, a widowed mother mixed up with a shifty uncle, an involuntary and painfully permanent tattoo on his chest, a female friend who woos him without much success and a poorly educated athletic male friend. The coming year will precipitate things; the social unrest gradually taking place will find dramatic and decisive echoes in the young man’s life.
Courville sketches a portrait of a complex adolescence, one in which the backdrop of collective euphoria cannot hide the torments of sexual awakenings, the burden of people’s judgemental gaze or the obsession with appearance. Throughout the show, the ancestral Japanese techniques of bunraku are used to bring life to puppets of all sizes that embody Simon and his entourage.
15
© Yves Renaud
導演的話 Director’s Note
人們都說青春期是不知感恩的年紀。我好奇 這是對誰而言。
我想這應該是對青少年說的，他們覺得無 法再找到理解其痛苦的大人。這不知感恩的態 度也影響了家長，他們還留戀着孩子童年時期 的模樣，對於孩子突然的改變感到錯愕。
或許青春期就是複雜，充滿了困惑與絕 望的溫柔，夾雜着突如其來而刺人的暴力。 也帶着人生中無法避免的傷口。
如今，世界上的逆風正彼此激盪碰撞。善 意的願望與製造分化的憤怒情緒並行並進。我
們彷彿正集體見證着一個全球化青春期。
希望在這條路的盡頭，混亂之後會迎來 某種形式的和解。至少，希望一切騷動最終 不會只是徒勞的宣洩。
撰文：羅伯特．利柏殊
They say adolescence is the ungrateful age. I wonder for whom.
For the teens, I suppose, who no longer find that adults understand their torments. The feeling of ingratitude must also affect the parents, still attached to the childhood years of their offspring, and are stunned to see them suddenly so different.
Perhaps adolescence is simply complex, made of confusion, of a tender yet desperate intensity, of spontaneous and fulgurating violence, of wounds—as life inevitably imposes.
Today, the headwinds of the world are stirring and bumping into each other. The impulses of benevolence and polarising rage run alongside. It is as if we are witnessing a collective moment of generalised, planetary adolescence.
At the end of the road, there will hopefully be some form of resolution after the chaos. Or, at least, the hope that all this turmoil will not have been unleashed in vain.
Text: Robert Lepage
17
© Francois Latulippe/Ex Machina
專訪羅伯特．利柏殊 慘綠少年印記
An Interview with Director Robert Lepage on His Teenage Doldrums
有劇場魔法師之稱的導演羅伯特．利柏殊 於2019年參與香港藝術節，演出獨腳戲 《887》時指出，「劇場或是最能承載集體 回憶的表達方式」。2024年，他採用日本文 樂（人形淨琉璃）與神乎其技的舞台設計， 帶來另一齣私密記憶之作《庫維爾1975： 青春浪潮》。在本文中，他接受了台灣戲劇 學者耿一偉的專訪，透露了那些無法磨滅 的少年成長印記，如何在他的人生中產生 共鳴。
獨腳戲《捕月》是關於你的哥哥，獨腳戲《887》 是關於你的父親，那麼《庫維爾1975：青春 浪潮》是否同樣反映你跟你家庭的某些面向？ 在創作這齣戲時，我有意識地與自己的家庭 抽離。這齣戲更多聚焦在角色間的愛與信 任，以及年輕的自我：不只是關於我們的父 母或家庭，而是更關注於青少年成長過程中 對外在世界的關注，如初戀、失戀和性別認 同等。相較於兒童時期，青少年活得更為黑 暗，所以我會說，這齣戲實際上是關於家庭 之間的愛與信任。
整齣戲的舞台設計看來相當複雜，創作過程 是怎樣的？
這齣戲的舞台設計確實非常複雜。在早期的 排練階段，我們先利用簡單的材料做了一個 原型，然後從不同的角度進行實驗，嘗試不 同的可能性。儘管《庫維爾1975：青春浪 潮》視覺上模仿了一個木偶劇場，這個空間 同時呈現出上世紀七十年代的典型魁北克郊 區公寓。這是個很複雜的概念，但這一切都 始於一堆紙箱。經過我們團隊的努力，這些 紙箱才逐漸發展成後來的大型木質佈景。舞 台設計在我的作品中往往扮演很重要的角 色。
Acclaimed as a “master of the stage”, director Robert Lepage last came to the Hong Kong Arts Festival in 2019 with his solo show 887, in which he pointed out: “Theatre is probably a form of expression that best embodies collective memory.” Ahead of his return to the HKAF in 2024 with his intimate work Courville, which features Japanese bunraku puppetry performed on a one-of-a-kind stage, he tells Keng Yi-wei, a theatre scholar from Taiwan, how his teenage doldrums left an indelible mark that has resonated throughout his entire life.
Your solo show The Far Side of the Moon was related to your elder brother, and 887 to your father. Is Courville yet another solo show about some aspects of you and your family?
Not necessarily. It's more distant from my family. This piece is more about love and trust among the characters, as well as our memories of the past. It’s not only about our parentage or family upbringing, but more of the underlying and extrinsic realms of teenage growth, like the complexities of our first love, unrequited love and gender identity. Our teenage years are more or less gloomy compared to our childhoods, and that’s why I’d rather say that the piece is about family love and trust.
This work seems to feature a very sophisticated stage design. How was it created?
That’s true. It’s really sophisticated. We made a prototype with some basic materials at the very beginning, and then explored various possibilities and perspectives of presentation. But while the theatre space in Courville visually mimics a puppet theatre, it also depicts a typical suburban apartment from 1970s Quebec. It’s a complicated idea, but everything started with just paper cartons. And it was the hard work of our team that eventually transformed these paper cartons into a huge wooden set. Stage design always plays a key role in my theatre productions.
18
19
© Christophe Raynaud de Lage/Ex Machina
在你其他的作品中，像是《捕月》或《太田川 的七條支流》都曾運用偶戲元素。不過《庫 維爾1975：青春浪潮》的表演主要採用了日 本文樂（人形淨琉璃）所啟發的偶戲技巧。
你為何會挑選偶戲呢？ 《庫維爾1975：青春浪潮》不僅採用了文 樂，也挪用了讓三個黑衣人（操偶師）來操 縱人偶的表演模式。偶戲在這齣戲中扮演重 要的角色，原因有兩個：首先，獨腳戲是非 常私密的，我希望角色身邊可以有其他人圍 繞；其次，要演員在舞台上演出青少年的慾 望有一定的難度，尤其要他們在舞台上彼此 碰觸或是自慰等。但是偶戲可以做很多事， 可以輕鬆地呈現青少年對自己身體或他人身 體的探索。在一部關於青少年的戲劇中，偶 戲是一個比較合適的工具。
© Christophe Raynaud de Lage / Ex Machina
You also employed elements of puppet theatre in other works such as The Far Side of the Moon and The Seven Streams of River Ota. But this time, Courville centres on the craft that took inspiration from Japanese bunraku. What interests you about puppet theatre?
Courville not only features bunraku, but it also appropriates the form of expression where the puppeteers wear black. Critical to this work, the ethos of puppet theatre corresponds with the intimacy of a solo show, and I prefer the characters to be surrounded by others. Besides, it would be quite difficult to stage the show live if I were acting as a teenager with flowering desires. It would be difficult for teenage actors to act out physical contact or even masturbation onstage. In contrast, puppet theatre contains a wide range of possibilities for expression. For example, we can be at ease when presenting a scene involving several youths exploring their bodies using puppets, and this is a more appropriate device in a piece about adolescence.
20
你的獨腳戲總是以「記憶」為主題。你覺得 「記憶」對當代社會有何重要？
記憶確實對我非常重要。在這個世界上，無 論是在國際間還是在某個國家內部，最大 的問題之一就是記憶的缺失。我們的世界充 滿戰爭與貧窮，而類似的事件不久之前才發 生，但我們卻忘記了那些可怕的後果。這些 事件雖然發生在上一代，但都在二十、三十 或四十年前發生。歷史沒有給我們帶來任何 教訓，所以記憶的重要功能之一是提醒人 們：過去發生了甚麼事？過去的樣貌是怎樣 的？結局是好還是壞？年輕世代對歷史不感 興趣，他們沒有任何記憶。因此，我認為藝 術家必須成為歷史的提醒者。
相較於電影或書本，劇場在處理記憶的議題 時，有任何優勢嗎？ 許多媒體都可以作為良好的溝通工具。但是 劇場提供的是一種交融（Communion）的 體驗，讓大家共享同一個空間。當你坐在電 影院中，觀眾的多寡並不會改變電影本身， 同時觀眾也無法影響熒幕上的演出。但在劇 場中，觀眾的存在能夠影響舞台上發生的事 情。因此，每場表演都是獨一無二的。當下 你是誰、你是甚麼時候、處於怎樣的空間都 會帶來影響。當我站在舞台上時，我已跟兩 三年前開始創作這齣戲的那個我不一樣。同 樣地，台下看我的人也有所不同。劇場的重 要性在於故事是在此刻、在現在這個特殊時 刻被傳達。相較於其他講故事的形式，劇場 的溝通是非常獨特的，它帶來一種交融的體 驗。
在《庫維爾1975：青春浪潮》中，舞台上不 只有一位演員，還有木偶師。你覺得這樣的 表演還可以叫獨腳戲嗎？還是改變了獨腳戲 的定義呢？
我認為即使台上有木偶師或人偶，這齣戲 還是可以被稱為獨腳戲（Solo Show），因 為Solo意味着孤獨（Solitude），而這齣戲描 述的正是孤獨的狀態，儘管舞台上還有其他 木偶師與技術人員，但演員還是孤單的。這 齣戲要傳達的是與眾不同的感受，讓觀眾感 受到自己是獨一無二的。對我來說，這才是 獨腳戲的真正涵義。
撰文：耿一偉 (對談內容原載於2023年3月2日www.elle.com/tw，並 經2024年香港藝術節《閱藝》編輯及刊登)
Your oeuvre of solo shows is anchored on the theme of “memory”. Why is memory so important to contemporary society?
Memory is very dear to me. At home and abroad, the most aching issue today is a lack of memory. Today’s world is full of war and poverty, a reflection of our near past. But many grave consequences have somehow been forgotten after three or four decades, or a generation has passed. History may not teach us any lessons, but the memory rings a bell about what happened, how the past looked, and draws a conclusion on whether the ending was good or bad. The younger generation seems to feel indifferent about history and has no connection with memory. So, I think artists should remind people about history.
Compared to films and publications, what advantages does the theatre have in dealing with issues about memory?
While various media are good at communication, the theatre is an arena of communion where we come across many people. A film does not deviate according to the size of its audience, and the audience is unable to impact what is being shown on the screen. In contrast, a theatre audience can affect what’s happening on stage and every performance is unique based on who you are at that moment, and where you are in both a temporal and spatial sense. When I stand onstage, I am not the same person I was two or three years ago when I started creating the piece, and the spectators are likewise different. In the theatre, that story is being told here and now, at this special moment. Communication in the theatre is a world away from other forms of storytelling, and it is a kind of communion.
There are other puppeteers onstage in Courville. Can this still be defined as a solo show or are you redefining the meaning of the term?
It can still be regarded as a solo show despite the other puppeteers and puppets onstage. “Solo” refers to solitude, the lingering state of mind in this work. Regardless of whether there are other puppeteers or technicians nearby, the actor is still solitary. This piece provokes a strong sense of personal uniqueness and a consciousness about this. To me, this squarely aligns with the virtues of a solo show.
Text: Keng Yi-wei
(The content of this conversation was originally published on 2 March 2023 by www.elle.com/tw and edited by and published in the 2024 HKAF’s FestMag)
21
編劇、設計、導演 羅伯特．利柏殊
跨領域藝術家羅伯特．利柏殊身兼演員、導演、 劇作家及劇場導演，其作品涵蓋了近代歷史，以 其原創性、當代性和獨特性聞名。他利用新科技 突破傳統劇場的界限，並挑戰了書寫劇作的標 準，深受國際藝評界讚譽。
1994年是利柏殊創作生涯的一個重要階 段，他在這一年成立了跨領域創作團隊「機器 神」，並擔任藝術總監。在他的領導下，名為La Caserne的跨領域製作中心於1997年6月在魁北 克市成立。截至2019年，幾乎所有機器神的創 作均在此誕生。
他的主要作品包括：舞台劇《太田川的七 條支流》、《巨龍三部曲》；獨角戲《捕月》、 《887》；歌劇《浮士德的沉淪》、華格納的《尼 伯龍根的指環》；多媒體作品《影像磨坊》、《夜 間圖書館》。他也曾與太陽馬戲團合作《KÀ》 及《圖騰》。
Playwright, Designer, Director
Robert Lepage
The multidisciplinary artist Robert Lepage is all at once an actor, a director, a playwright and a stage director. Hailed by international critics, his original, contemporary and unusual works, inspired by recent history, transcend borders and challenge the standards of scenic writing, particularly through new technologies.
The year 1994 marked an important step in his career: he founded Ex Machina, a multidisciplinary creation company where he became its artistic director. Also under his leadership, the multidisciplinary production centre La Caserne was created in June 1997, in Quebec City. This last creative space saw the birth of almost all of Ex Machina’s productions until 2019.
His most significant works include the plays The Seven Streams of the River Ota and The Dragons’ Trilogy; his solos The Far Side of the Moon and 887; the operas La Damnation de Faust and Wagner’s Der Ring des Nibelungen; his multimedia works The Image Mill and The Library at Night, and with Cirque du Soleil KÀ and TOTEM.
24
© Hélène Bouffard
機器神 Ex Machina
在藝術總監羅伯特．利柏殊的帶領之下，機器神 創作、製作並傳播跨領域的藝術作品，其中又以 戲劇作品為主。
機器神匯集了來自不同領域的創作者，碰撞 出多元的藝術創作。他們以單獨或集體方式撰寫 並演出原創劇本，或以現有文本發展戲劇作品， 並將其他多種領域（如舞蹈、音樂、博物館學 等）結合戲劇製作。此外，他們也善於運用科技 創作歌劇及多媒體作品。機器神主要在魁北克市 創作，並經常於加拿大魁北克、美洲、歐洲、亞 洲、大洋洲等地區演出。
多語言的運用、大量圖像、視角顛倒、規 模變化、電影敘事手法的借用，以及科技工具的 使用，以上種種都是為了激發觀眾情緒並啟發意 義，同時也反映出機器神渴望為戲劇表演賦予詩 意。
Led by Artistic Director Robert Lepage, Ex Machina creates, produces and disseminates multidisciplinary artistic works, most often theatrical.
The company brings together creators from various fields and offers a broad range of artistic productions: original plays written and performed solo or collectively, plays based on existing texts, productions that encompass various disciplines (dance, music, museology) mingle with theatre, operas and multimedia productions featuring a predominantly technological dimension. Ex Machina mainly develops its shows in the city of Quebec, and presents them abundantly in Quebec, Canada and elsewhere in the Americas, Europe, Asia and Oceania.
The multilingualism, the massive use of images, the reversal of perspective, the variations in scale, the use of narrative codes borrowed from the cinema and the use of technological tools aim to spark meaning and emotion, reflecting a desire to poeticise theatrical expression.
25
創作總監、設計 史提夫．白蘭芝
史提夫．白蘭芝為機器神的創作指導，從事藝術 及文化工作二十五年。1996至2013年間，白蘭 芝擔任加拿大歌瑟廣告公司的藝術總監和創作總 監，其主理的項目曾獲國家及國際獎項。他亦曾 參與多項出版及短片項目。
他在2005年首次與機器神合作，籌備作品 《影像磨坊》，並擔任聯合創作和聯合影像設計， 直至2013年。其後，他繼續與利柏殊合作，擔任 《887》和沉浸式展覽《夜間圖書館》的創作總監 及設計。
近年，他亦擔任多部作品的創作總監，其中 包括利柏殊的獨腳戲《庫維爾1975：青春浪潮》 及《里奧佩爾計劃》。
Creative Director, Designer Steve Blanchet Steve Blanchet is the Creative Director at Ex Machina. He has been working in the arts and culture field for 25 years. From 1996 to 2013, he served successively as Artistic Director and Creative Director of the Cossette Agency. Several of his social campaigns have received both national and international acclaim. He has also contributed to various publications and short films.
He began his collaboration with Ex Machina in 2005 with The Image Mill and was co-creator and image co-designer until the final edition in 2013. This was followed by working on the creation of 887 and the immersive exhibition The Library at Night, for which Blanchet directed the creation and co-signed the design with Robert Lepage.
Most recently he has worked as Creative Director for various productions, including Lepage’s one-manshow Courville and The Riopelle Project.
助理導演 法蘭西斯．博利厄
2015年，法蘭西斯．博利厄從加拿大萊昂內爾格 魯學院畢業後，在機器神找到工作機會──擔當 杜．萊特劇作《羽毛筆》的經理。及後，他在具 爭議性的劇目《斯拉夫》中，開展了他的助理導 演生涯。這個起伏不定的開端，讓他與導演羅伯 特．利柏殊建立了合作關係。
與這個加拿大劇團共事了八年後，博利厄加 入《庫維爾1975：青春浪潮》的製作。他尤其喜 歡這齣劇，因他正正住在這個蒙莫朗西瀑布上游 的小鎮，更重要的是雖然此劇的主角是木偶，卻 流露着濃厚的人道主義精神。
Assistant Director Francis Beaulieu
After graduating from Lionel-Groulx College in Canada in 2015, Francis Beaulieu found a niche with Ex Machina as Manager of Doug Wright's Quills. Afterwards, with the controversial show Slav, he began his career as an assistant director. This turbulent beginning allowed him to forge a relationship with the director Robert Lepage.
After eight years with the Canadian company, Beaulieu found himself collaborating on Courville, a show that he particularly likes as he also lived in the small town upstream of Montmorency Falls, but above all for the humanism that springs from this work, whose protagonists are puppets.
27
© Elias Djemil
副佈景設計 阿麗安．舒芙
自2010年在魁北克戲劇藝術學院畢業後，阿麗 安．舒芙開始為戲劇、馬戲團及歌劇表演設計 佈景和道具。近年，她在加拿大博迪劇院為《費 莉絲蒂》、《史嘉本的詭計》及《費多》設計佈 景和道具，並在魁北克三叉戟劇院為《再生》、 《真實世界？》和《不戴手套千萬不能抹眼淚》 設計佈景。
舒芙在2015年首次與機器神合作，為羅伯 特．利柏殊的《887》設計道具。2018年，她為 斯特拉特福戲劇節共同製作的《科利奧蘭納斯》 及太陽劇場製作的《卡納塔》設計佈景。2019 年，她為《太田川的七條支流》的重演，改編了 卡爾．菲利安的佈景設計。在2021年，她繼續 與利柏殊合作，為《庫維爾1975：青春浪潮》及 2023年的《里奧佩爾計劃》聯合設計佈景。
Associate Set Designer Ariane Sauvé
Since graduating from the Conservatoire d'art dramatique de Québec in 2010, Ariane Sauvé has been designing sets and props for theatre, circus and opera performances. In recent seasons at Théâtre La Bordée, she has created sets and props for Félicité, Les fourberies de Scapin and Feydeau, and at Théâtre du Trident, she designed the sets for Venir au Monde, Le vrai monde? and N'essuie jamais de larmes sans gants.
She made her debut with Ex Machina in 2015 when she designed props for Robert Lepage’s 887. Then in 2018, she co-created the set design for Coriolanus, in co-production with the Stratford Festival, and Kanata, produced by the Théâtre du Soleil. In 2019, she adapted Carl Fillion’s set design for the revival of The Seven Branches of the Ota River. Her collaboration with Lepage continued in 2021 when she co-designed the set for Courville, and in 2023, on The Riopelle Project.
木偶設計、製作 尚-基爾．韋特
尚-基爾．韋特擔任木偶設計師超過四十年，在 二十年前與他的妹妹雪蓮組成雙人藝術家組合 「韋特與韋特」，擔任雕塑家。他的藝術生涯始於 在家族企業中擔任木雕師，但藝術呼喚他加入亞 伯達班夫藝術中心，學習製作道具、化妝、製作 假髮和女性頭飾。
在班夫藝術中心的藝術總監激勵下，他開始 與《布公仔即興秀》的創作者吉姆．韓森的團隊 合作。他曾於1985至1996年間，在多倫多、紐 約和洛杉磯參與多套電視劇及電影製作。
在1996年，他離開紐約，並在蒙特利爾成 立獅鷲工作室，為加拿大、美國的電視台及舞台 製作木偶和道具。自2006年起，他於魁北克市定 居，並從事青銅雕塑和木偶製作的工作。他的近 期作品包括電視節目《萬能匙》的最新版本。
Puppet Designer, Builder Jean-Guy White
Jean-Guy White has worked as a puppet designer for more than 40 years and as a sculptor in the duo White and White with his sister Céline for over 20 years. He began his artistic career as a woodcarver in the family business, but the call of the arts brought him to the Banff Centre for Arts and Creativity in Alberta, where he interned in props making, make-up, wig making and millinery.
Encouraged by the artistic director of the Banff Centre to work with Jim Henson’s team, the creator of The Muppets, he took part in numerous television and film productions from 1985-96 in Toronto, New York and Los Angeles.
In 1996, he left New York and settled in Montreal, where his company, L’Atelier Des Griffons, has created puppets and props for both Canadian and American television and stage productions. Since 2006, he has lived in Quebec City, where he has divided his time between making bronze sculptures and creating puppets, including for the latest version of the television series Passe-Partout.
28
© Karine Dufour
木偶設計、製作 雪蓮．韋特
雪蓮．韋特是一名來自魁北克市的跨領域藝術 家，主要創作雕塑及繪畫。她曾修讀文學、電影 與視覺藝術，並在家族企業製作雕塑長達六年。
在1986至1993年間，她成為一家公司的合夥 人，專門為兒童電視節目製作木偶，並提供創作 概念。
自1995年起，韋特發表多個繪畫作品，並於 2001至2006年多次在加拿大舉辦個展和聯展。
2000年代，她進一步涉足雕塑領域，與哥哥尚基爾組成雙人藝術家組合「韋特與韋特」。他們 的作品曾於多個博物館和藝術中心展出，並獲得 多項獎項，包括加拿大文化遺產獎。
近年來，她除了從事雕塑創作、繪畫和文學 項目外，還擔任雕塑講師、視覺藝術評審員，以 及拜聖保羅當代藝術博物館的董事會成員。
Puppet Designer, Builder Céline White
A multidisciplinary artist from Quebec City, Céline White works mainly in the sculptural and pictorial fields. She studied literature, cinema and visual arts and experimented with sculpture for six years in her family business. From 1986-93, she was the co-owner of a company specialising in making puppets and creating concepts for children’s television series.
From 1995, she embarked on the expression of her pictorial work, carrying out several solo and group exhibitions in Canada from 2001-06. Since the 2000s, she has been involved in sculpture and founded the White and White duo with her brother, Jean-Guy. Their works have been displayed in various museums and art centres, and received several distinctions, including a Canadian Heritage Award.
In recent years, she has been a lecturer on sculpture, a member of visual arts juries and served on the Board of Directors of the Musée d’art contemporain de Baie-Saint-Paul. She continues to create sculptures and pictorial and literary projects.
作曲、音響設計 馬修．杜翰
馬修．杜翰為一名跨領域藝術家，擅長音響及影 像領域的工作。他是一位自學成才、洞察力強的 音樂家及音響設計師，經常為多個戲劇及舞蹈 作品設計音響。他曾為克里絲汀．寶琳的《我愛 海德魯》設計音響。其作品也展示於多個劇團及 劇院，如末等物種劇團、K與K舞蹈中心、艾哲 倫．丹斯之子舞蹈中心、桑楊劇院、烏布斯劇院 及褲子雲創意劇場等。近年來，他加入跨領域創 作工作室「美拉利」，擔任多媒體設計師。
自2000年起，杜翰一直擔任當代藝術家團 體杜翰-李維斯特的聯合藝術總監，其作品曾在 加拿大、歐洲及墨西哥的機構和活動中展出。
Composer, Sound Designer Mathieu Doyon
Mathieu Doyon is a multidisciplinary artist working in the fields of sound and image. He is a self-taught and intuitive musician and sound designer. He has produced sound designs for many theatrical and choreographic productions. He created the musical environment for J’aime Hydro by Christine Beaulieu. His work has also been heard in works by Théâtre de la Pire Espèce, Danse K par K, Le Fils d’Adrien Danse, Théâtre Pupulus Mordicus, Ubus Theatre and Nuages en pantalon. He recently joined the multidisciplinary creation studio Mirari as a multimedia designer.
Since 2000, Doyon has served as the Co-Artistic Director of the contemporary artist collective Doyon-Rivest, whose works have been presented in institutions and events in Canada, Europe and Mexico.
© Carole White
29
© Catherine Lepage
影像設計 菲力斯．法蘭德-法佳
菲力斯．法蘭德-法佳是一名影像設計師、創作 及多媒體總監。他擅長使用現場表演、永久性裝 置和尖端科技體驗，創作沉浸式視覺環境。
透過與羅伯特．利柏殊和機器神合作，他曾 參與製作建築投映作品《影像磨坊》，並為口碑 載道的戲劇作品《887》、《庫維爾1975：青春浪 潮》和《里奧佩爾計劃》設計影像。
他曾與平常工作室合作，參與了多個項目， 如太陽劇團根據詹姆士．卡梅隆《阿凡達》所製 作的大型競技表演《托魯克》；在二十五個戶外 場地演出，展示蒙特利爾歷史的建築投映作品 《城市記憶》；於冰島歌劇院呈獻的歌劇《茶花 女》，並在太陽劇團向迪士尼動畫致敬的《夢幻 人生》中設計影像。
Image Designer Félix Fradet-Faguy
Félix Fradet-Faguy is a video designer, and creative and multimedia director who creates immersive and visual environments for live performances, permanent installations and cutting-edge technological experiences.
With Robert Lepage and Ex Machina, he crafted images for the architectural projection The Image Mill and created the video design of the acclaimed theatre productions 887, Courville and The Riopelle Project.
With Normal Studio, he collaborated on experiences such as the massive arena show Toruk by Cirque du Soleil, based on James Cameron’s Avatar, the architectural projections for CitéMémoire, revealing Montreal’s history on 25 different outdoor locations, the opera La Traviata presented at the Icelandic Opera, and the video design for the Cirque du Soleil show that pays tribute to the Disney animation Drawn to Life
燈光設計 尼古拉斯．德斯科托
尼古拉斯．德斯科托為一名加拿大燈光設計師， 他自1992年起為不同歌劇、戲劇、馬戲藝術、音 樂和活動設計燈光。他曾與蒙特利爾及國外多所 著名劇院和設計師合作，創作超過二百件作品。 德斯科托以光線作媒介，以舞台為依託，通過呈 現美感、張力、殘酷、真實與神秘，激發潛藏於 觀眾幻想與無意識間的意念、感知和感受。
近年，德斯科托為多個劇場設計燈光，其中 包括蒙特利爾歌劇院的《世界之美》、魁北克歌 劇院的《浮士德》、貢比涅皇家劇場和巴黎雅典 娜劇院的《恐怖浴場》、聖艾蒂安歌劇院的《凡 多與莉絲》，以及於波爾多國家歌劇院、日本金 澤和東京演出的《佩利亞斯與梅麗桑德》。
Lighting Designer Nicolas Descôteaux
Nicolas Descôteaux is a Canadian lighting designer who has worked on various opera, theatre, circus art and music productions and events since 1992. He has collaborated with renowned theatre houses and designers on more than 200 creations in Montreal and abroad. Through the medium of light and relying on staging, he creates beauty, tension, cruelty, reality and mystery, and attempts to bring out impressions, perceptions and feelings in the imagination and unconscious of the spectator.
He recently designed the lighting for La Beauté du Monde at the Opéra de Montréal, Faust at the Opéra de Québec; Les Bains Macabres at the Théâtre Impérial de Compiègne and Théâtre de l’Athénée in Paris; Fando et Lis at the Opéra of Saint-Etienne; and Pelléas et Mélisande at the Opéra National of Bordeaux in Kanazawa and Tokyo.
31
服裝設計 維珍妮．勒克萊爾
維珍妮．勒克萊爾在加拿大拉瓦爾大學取得戲劇 及電影學位後，繼續在魁北克戲劇藝術學院修讀 佈景設計。她為《大鼻子情聖》、《活在幸福共和 國》、《真實世界？》、《吞噬》和《庫維爾1975： 青春浪潮》設計的服裝曾獲��北克古城劇院基金 會獎提名。
除《庫維爾1975：青春浪潮》外，她曾為 機器神的《太田川的七條支流》及《里奧佩爾計 劃》設計服裝。
Costume Designer Virginie Leclerc
After obtaining a Bachelor’s degree in Theatre and Cinema at Laval University in Canada, Virginie Leclerc continued her studies in scenography at the Conservatoire d’art dramatique de Québec. Her costume designs for Cyrano de Bergerac, Dans la République du Bonheur, Le vrai monde?, Dévoré(s) and Courville were nominated for the Fonds du Théâtre du Vieux-Québec prize.
Apart from Courville, she has also designed the costumes for the plays The Seven Branches of the Ota River and The Riopelle Project for Ex Machina.
道具設計 尚恩．勒皮埃
自2004年畢業於魁北克戲劇藝術學院以來，尚 恩．勒皮埃開始在蒙特利爾和魁北克地區從事 服裝和道具設計工作。她曾多次與機器神劇團 合作，包括擔任《藍色的龍》的道具設計師和 《887》的服裝設計師。
Props Designer Jeanne Lapierre
Since graduating from the Conservatoire d’art dramatique de Québec in 2004, Jeanne Lapierre has worked as a costume and props designer on many shows in Montreal and Quebec City. She has collaborated on several productions with Ex Machina, including serving as the props designer for The Blue Dragon and as the costume designer for 887
33
演出 奧利維亞．諾曼
奧利維亞．諾曼畢業於魁北克戲劇藝術中心，曾 參演多部著名作品，包括米歇爾-馬克．保沙爾 的《男情難了》、莫里哀的《太太學堂》和《憤 世者》、莎士比亞的《第十二夜》，以及讓．拉辛 的《布利達尼可斯》。他曾於羅伯特．利柏殊和 機器神的《撲克牌：葵扇》中擔任主角，並參加 利柏殊於2015年重演的《芬奇》。
諾曼為四錢幣戲院的共同創辦人，他們的首 場演出《坎特維爾的幽靈》榮獲2006年評論家選 擇獎。另外，他亦於魁北克馬戲團學校教授形體 課程。
作為舞台導演，諾曼於2013至2014年為魁 北克家樂福國際戲劇節創作了《失眠者》，亦為 馬戲團顛倒工廠設計了他們的首場表演及馬戲 演出《黃昏》。此外，他還為羅伯特．利柏殊及 機器神的多部製作擔任顧問，包括《抨擊！》和 《丹麥王子哈姆雷特》。
Performer Olivier Normand
A graduate of the Conservatoire d’art dramatique de Québec, Olivier Normand has performed in various notable productions, including Les Feluettes by Michel-Marc Bouchard, L’école des Femmes and Le Misanthrope by Molière, Twelfth Night by Shakespeare, and Britannicus by Jean Racine. He played the lead role in Robert Lepage and Ex Machina’s Playing Cards: Spades and joined Lepage’s 2015 revival of Vinci.
Normand co-founded the Théâtre des 4 Coins, whose first show, Le fantôme de Canterville, won the 2006 Critics Choice Award. He also teaches movement at the École de cirque de Québec.
As stage director, Normand created Insomnia for the 2013-2014 Carrefour international de théâtre de Québec, designed FLIP Fabrique’s first circus show, and staged another circus production entitled Crépuscule. Additionally, he consults for numerous productions within Robert Lepage/Ex Machina, including SLAM! and Hamlet, Prince of Denmark.
木偶師 威爾斯利．羅伯遜三世
威爾斯利．羅伯遜三世於多倫多出生及長大，自 童年初次接觸表演藝術後，便一直投入至今。羅 伯遜曾參與雜技、形體戲劇、霹靂舞和馬戲藝 術。他曾在世界各地演出，從三藩市到倫敦，從 巴林到紐西蘭，足跡遍佈眾多國家和地區。
作為一個傑出的表演者，羅伯遜亦曾接受即 興表演、形體戲劇和馬戲藝術等培訓。《庫維爾 1975：青春浪潮》是他與羅伯特．利柏殊和機器 神合作的第五部作品。
Puppeteer Wellesley Robertson III
Born and raised in Toronto, Wellesley Robertson III was first bitten by the performance bug as a child and has been performing ever since. Robertson has a background in acrobatics, physical theatre, breakdance and circus arts. He has performed globally, from San Francisco to London, from Bahrain to New Zealand and everywhere in between.
As an accomplished performer in his own right, he has also trained in everything from improvisation to physical theatre and the circus arts. Courville marks the fifth production he has worked on with Robert Lepage and Ex Machina.
35
木偶師 卡露蓮．唐圭
2001年，卡露蓮．唐圭從魁北克戲劇藝術學院表 演系畢業後，在魁北克的多所劇團（包括褲子雲 創意劇場、桑楊劇院、機器神等）參與創作超過 二十年。她以演員、木偶師、歌手、作家、助理 編舞和導師等多重身份活躍於舞台界。與機器神 的合作中，她為歌劇《夜鶯及其他短篇寓言》擔 任雜技木偶師和助理編舞，表現優秀。
Puppeteer Caroline Tanguay
After graduating in acting from the Conservatoire d’art dramatique de Québec in 2001, Caroline Tanguay has worked as a creator for more than 20 years within various Quebec theatre companies (Nuages en pantalons, Théâtre Pupulus Mordicus and Ex Machina, among others) as an actress, puppeteer, singer, author, assistant choreographer and trainer. With Ex Machina, she distinguished herself as an acrobat-puppeteer and an assistant choreographer in the opera The Nightingale and Other Short Fables
木偶師 馬田．瓦揚古
馬田．瓦揚古在修讀表演後，成為一名多才多藝 的藝術家，專注於形體戲劇、動作、雜技和木偶 表演。他擁有二十多年演出經驗，並曾與綜合劇 院、迪納摩劇院、紅心女士劇院、戴夫．聖皮 埃爾公司、幻光奇藝坊、太陽劇團和機器神等合 作。
《庫維爾1975：青春浪潮》是他與羅伯特． 利柏殊的第八次合作，他於2009年首次擔任歌劇 《夜鶯及其他短篇寓言》的雜技演員及木偶師。
Puppeteer Martin Vaillancourt
Martin Vaillancourt studied acting but has since become a versatile artist and a teacher specialised in physical acting, movement, acrobatics and puppetry. He has 20 years of creative experience with the Omnibus Theatre, Dynamo Théâtre, Théâtre de la Dame de Coeur, Compagnie Dave St-Pierre, Cirque Éloize, Cirque du Soleil and Ex Machina.
Courville is his eighth collaboration with Robert Lepage. He was first recruited as an acrobat/ puppeteer for the opera The Nightingale and Other Short Fables in 2009.
© Patrick Chessé
37
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:
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
黃金會員Gold Members
怡和集團
純銀會員Silver Member
太古地產
Kerry Holdings Limited The Jardine Matheson Group Swire Properties 上海商業銀行有限公司
Shanghai Commercial Bank Limited
其他支持機構Other Supporters
澳洲總領事館香港
Australian Consulate-General Hong Kong
荷蘭駐港總領事館
Consulate General of the Kingdom of the Netherlands in Hong Kong and Macau 荷蘭表演藝術基金
Performing Arts Fund NL
藝術人才見習配對計劃2023/24由香港藝術發展局資助
2023/24 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council
實物支持機構In-kind Supporters
信興集團 Shun Hing Group
通利琴行 Tom Lee Music
藝術節捐助計劃 Festival Donation Scheme
鉑金捐款者PLATINUM DONORS
HK$140,000或以上OR ABOVE
無名氏 Anonymous
Man Sebastian Shiu Wai
翡翠捐款者JADE DONORS
HK$30,000 - HK$69,999
陳瑤華小姐 Ms EVA CHAN
Leung Wai Yee Candice
Dr Stephen Suen
黃金捐款者GOLD DONORS
HK$12,000 - HK$29,999
無名氏 Anonymous
何子建夫婦 Mr & Mrs Ho Che Kin
Ms Wendy Nam
Dr Sabrina TSAO
曹延洲医生夫婦 Dr & Mrs Tsao Yen-Chow
Mr & Mrs YS Wong
Vernon Zhang
純銀捐款者SILVER DONORS
HK$6,000 - HK$11,999
無名氏 Anonymous
Richard & Ruth Herbst
Ho Man Fung Edith
練紹良先生夫人 Mr & Mrs David S L Lin
Michael Mak
Mrs Schmitt Ling Jane
Mr Wong Yick Kam
姚昱小姐 Ms ISABEL YIU
姚曼儀女士 Ms Enoch Yiu
青銅捐款者BRONZE DONORS
HK$3,000 - HK$5,999 無名氏（4）Anonymous（4）
億京慈善基金有限公司 Billion Charity Fund Limited
José Manuel Sevilla and Julie Bisaillon
Veryan Bradshaw
Mrs Anson CHAN
Dr Chan Wan Tung
Mary Chen
CHIANG Lily Flavia
BETHAN AND TIM CLARK
李芸輝博士 Dr LEE Wan Fai Walter
Winnie Leong
Wendy leung wing shan
MA Shu Ting, Gary
Ms Teresa Pong
Christine TONG
Willow Yang
Ms Cecilia Yeung
朱玉迎小姐 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（3）Anonymous（3）
馬振玉慈善基金會有限公司 CYMA Charity Fund Limited
陳廷驊基金會 The D. H. Chen Foundation
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
Dr Stephen Suen
Vernon Zhang
天智合規顧問有限公司
CompliancePlus Consulting Limited
黃金捐款者GOLD DONORS
HK$12,000 - HK$29,999
See Yuen CHUNG
C H Mak
Mr & Mrs Kenneth & Susana Quinn
純銀捐款者SILVER DONORS
HK$6,000 - HK$11,999
無名氏 (2) Anonymous (2)
Mr and Mrs Herbert Au-Yeung
徐伯鳴先生黃碧如女士 Mr Norman Chui Pak Ming and Ms Cleresa Wong Pie Yue
Mrs Margaret Hamilton
新作捐助計劃 New Works Scheme
鉑金捐款者PLATINUM DONOR
HK$140,000或以上OR ABOVE 無名氏 Anonymous
黃金捐款者GOLD DONORS
HK$12,000 - HK$29,999
劉仰澤先生 Mr Lau Yeung Chak
凌霄志醫生 Dr Tony Ling
Vernon Zhang
Richard & Ruth Herbst
麥禮和醫生 Dr Mak Lai Wo
Karen and Vernon Moore
曹延洲医生夫婦 Dr & Mrs Tsao Yen-Chow
Ms Wu Tseng Helen
陳穎儀與黃乃正
青銅捐款者BRONZE DONORS
HK$3,000 - HK$5,999
無名氏（4）Anonymous（4）
區燊耀先生 Mr Au Son Yiu
Biz Office Limited
Carthy Limited
Ms Cynthia Cheng & Mr Aaron Chan
MDB&StarCHAN
D. Chang
CHEUNG KIT FUNG
趙頴雅小姐 Ms WINNIE CHIU WING NGAR
Community Partner Foundation Limited
馮兆林先生，太平紳仕 Mr Fung Shiu Lam, J.P.
Mr Anthony Hardy
S Hon
Savita Leung
Ms Teresa Pong
Mr and Mrs Rato
Ms Janice RITCHIE
蘇健文先生 Mr So Kin Man
Dr Tam Oi Wo Joyce
Christopher K. L. Wong
Desmond Yu
陳皓宜博士
殷和順先生劉善萍女仕
青銅捐款者BRONZE DONORS
HK$3,000 - HK$5,999
無名氏（2）Anonymous（2）
Tabitha Chiu
Jason Chung
Dr Alfred Lau
Lian Crystal Rhinestone
Ms Teresa Pong
網上藝術教育捐助計劃 Digital Arts Education Scheme
鉑金捐款者PLATINUM DONOR
HK$140,000或以上OR ABOVE
Dr and Prof. Anna and Helmut Sohmen
鑽石捐款者DIAMOND DONOR
HK$70,000 - HK$139,999 無名氏 Anonymous
青銅捐款者BRONZE DONORS
HK$3,000 - HK$5,999 無名氏 Anonymous
HK CT ABRSM Alumni Association
Ms Teresa Pong
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 Patron 高盛回饋慈善基金 (James Houghton 先生推薦)
Goldman Sachs Gives Annual Giving Fund (Recommended by Mr James Houghton)
支持及協助 Support and Co-operation
Acorn Design
教育局藝術教育組 Arts Education Section, Education Bureau
網上售票平台 Art-mate
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
樺利廣告有限公司 Avanny Advertising Co Ltd
華大盛品酒店 Best Western Plus Hotel Hong Kong
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
CAMPSITE
牛棚藝術村 Cattle Depot Artist Village
城市當代舞蹈團 City Contemporary Dance Company
比利時駐港澳總領事館 Consulate General of Belgium in Hong Kong and Macau
法國駐港澳總領事館 Consulate General of France in Hong Kong and Macau
以色列駐香港總領事館 Consulate General of Israel in Hong Kong & 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
埃及駐港澳總領事館 Consulate General of the Arab Republic of Egypt in Hong Kong and Macau
伊朗駐香港總領事館 Consulate General of the Islamic Republic of Iran 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
義大利駐香港總領事館 Consulate General of Italy in Hong Kong
愉景灣服務管理有限公司 Discovery Bay Services Management Limited
李敬恒博士 Dr Roger Lee
香港逸東酒店 Eaton HK
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
教與學發展中心（服務學習部）Service-Learning Section, Centre for Teaching and Learning 香港兆基創意書院 HKICC Lee Shau Kee School Of Creativity 香港兆基創意書院文化藝術中心 HKSC Arts and Culture Centre 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
電影學院 Academy of Film
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
宗教及哲學系 Department of Religion and Philosophy
香港聖經公會 Hong Kong Bible Society
香港中樂團 Hong Kong Chinese Orchestra
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 香港都會大學 Hong Kong Metropolitan University
何陳婉珍粵劇研藝中心 Ina Ho Cantonese Opera Research Centre
香港藝術館 Hong Kong Museum of Art 香港管弦樂團 Hong Kong Philharmonic Orchestra
香港話劇團 Hong Kong Repertory Theatre
香港小交響樂團 Hong Kong Sinfonietta 香港旅遊發展局 Hong Kong Tourism Board
摩納哥駐香港名譽領事館 Honorary Consulate of Monaco in Hong Kong 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 王仁曼芭蕾舞學校 Jean M. Wong School of Ballet 賽馬會創意藝術中心 Jockey Club Creative Arts Centre Kind of Brew
高山劇場 Ko Shan Theatre
Kubrick 葵青劇院 Kwai Tsing Theatre
駐香港韓國文化院 Korean Cultural Center in Hong Kong 拉脫維亞駐香港名譽領事館 Latvian Honorary Consulate 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 學生事務處 Office of Student Affairs
鄺森活圖書館 Fong Sum Wood Library
藝術科技與商業理學碩士課程 MSc in Arts Technology and Business 樂茶軒 LockCha Tea House
木的地.R Madera Residences Maxibit HK/China
循道衛理聯合教會國際禮拜堂 Methodist International Church Hong Kong
Mini Central 中環迷你酒店
Moetown Serviced Apartments
MOViE MOViE Pacific Place
Mr Alpha Li
陳朗丰先生 Mr Lazarus Chan
南蓮園池 Nan Lian Garden
荃灣西如心酒店 Nina Hotel Tsuen Wan West
北區大會堂 North District Town Hall
一桌兩椅慈善基金 One Table Two Chairs Charitable Foundation
柏斯琴行 Parsons Music Limited
卓滙達有限公司 Patsville Company Ltd
Performing Arts Fund NL
犇華企業服務有限公司 Primasia Coporate Services Limited
鄭新文教授 Prof Tseng Sun-man
RED ZHU
富豪酒店國際 Regal Hotels International
富豪東方酒店 Regal Oriental Hotel
皇家太平洋酒店 Royal Pacific Hotel
泰國駐香港總領事館 Royal Thai Consulate General Hong Kong
沙田大會堂 Sha Tin Town Hall
上環文娛中心 Sheung Wan Civic Centre
Southgate Design
事必達推廣有限公司 Speedy Promotion Limited
聖公會聖約翰座堂 St John's Cathedral
中山紀念公園 Sun Yat Sen Memorial Park
大館—古蹟及藝術館 Tai Kwun—Centre for Heritage and Arts
香港中文大學 The Chinese University of Hong Kong
音樂系 Department of Music
聯合書院 United College
文學院 Faculty of Arts
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
邵逸夫堂 Sir Run Run Shaw Hall
香港城市大學 The City University of Hong Kong
中文及歷史學系 Department of Chinese and History
城大創意媒體學院 School of Creative Media
文化薈 Cultural Exchange Oasis
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
圖書館 Library
芬名酒店 The Fleming 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
香港理工大學 The Hong Kong Polytechnic University
文化及設施推廣處 Cultural Promotion and Events Office
香港復康會 The Hong Kong Society of Rehabilitation
香港科技大學 The Hong Kong University of Science and Technology
藝術中心 Center for the Arts
理學院學務輔導辦公室 Office of Academic Advising and Support, School of Science
香港朗廷酒店 The Langham, Hong Kong
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
學生發展及資源中心 Centre of Development and Resources for Students
Cultural Management Office
志新學院 Chi Sun College
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
荃灣大會堂 Tsuen Wan Town Hall
屯門大會堂 Tuen Mun Town Hall
東蒲 Tung Po
城市售票網 URBTIX
西九文化區管理局 West Kowloon Cultural District Authority
Wewow House
粵海華美灣際酒店 Wharney Hotel
艾希妮控股有限公司 X Social Group Holdings Limited
油麻地戲院 Yau Ma Tei Theatre
英華書院 Ying Wa College
青年廣場 Youth Square
元朗劇院 Yuen Long Theatre
地址 ADDRESS 香港灣仔港灣道二號十二字樓1205室 Room 1205, 12/F,2 Harbour Road, Wan Chai, Hong Kong
電話 TEL （852）2824 3555
傳真 FAX （852）2824 3798、（852）2824 3722
電子郵箱 Email afgen@hkaf.org
節目查詢熱線 （852）2824 2430
贊助人 李家超先生, PATRON
The Hon. John KC Lee, GBM SBS PDSM PMSM 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
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
HONORARY LIFE PRESIDENT The Hon. Sir Run Run Shaw, GBM CBE（1907-2014）
EXECUTIVE COMMITTEE
Chairman
Honorary Treasurer
Members
Programme Enquiry Hotline + 榮譽節目顧問 Honorary Programme Advisor
Mr Victor Cha
Vice-Chairman 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
FINANCE COMMITTEE
Chairman
Members
DEVELOPMENT COMMITTEE
Chairperson
Vice-Chairperson
Members
ADVISORS
HONORARY SOLICITOR
AUDITOR
Prof. Lo King-man, SBS MBE JP
Prof. Giorgio Biancorosso
Mr Peter C L Lo
Prof. Fredric Mao, BBS
Mr Joseph Seelig, OBE +
Mr Wing-pong Tam, SBS JP
Ms Jue Yao, SBS JP
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
The Hon. Ronald Arculli, GBM CVO GBS OBE JP
Mr Martin Barrow, GBS CBE
Dr John CC Chan, GBS 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
Ms Gabriela Kennedy, Mayer Brown
PricewaterhouseCoopers
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、蘇雪凌、游慧姿*
節目經理 鄭佩群*、趙蔚霖*、廖國穎*、 馬筠婷*、伍美衡*
節目統籌 林穎茵*
藝術行政見習員 容諾行*
節目助理 鍾曉晴*
製作助理 陳娟瑜#
物流
物流及接待經理 金學忠*
技術
製作經理 梁雅芝* 副製作經理 陳梓衡*
出版
編輯經理 陳詠恩*
英文編輯 Adam Wright*
副編輯 陳劭儀*、楊紫媛*
外展
外展經理 林嘉敏*
助理外展經理 余穎彤*
外展統籌 羅凱盈*、連凱嵐*
外展主任 陳沅渟*、張凱柔*、馬曉瑩*
藝術行政見習員 吳勵宜*
市場推廣
市場總監 鄭尚榮 副市場總監 盧伯全
市場經理 陳靄婷*、張予心*
副市場經理 黃頴儀* 副市場項目經理 譚懿諾*
助理項目經理 李穎軒*
助理市場經理 許樂欣*、曾諾怡* 市場主任 梁喬正* 市場助理 陳慧琳#
票務 高級市場經理（票務） 梁彩雲 助理市場經理（票務） 陳偲穎*
發展
發展總監 黃美儀 特別發展協理 蘇啟泰* 高級發展經理 譚樂瑤 發展經理 陳世敏*、吳綺菁* 發展主任 呂詠琪*、譚尹晴* 藝術行政見習員 周翹*
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 雷晴*、潘詠汶* 市場經理 黃嘉欣* 副市場經理 陳婉怡* 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*
藝術家統籌經理 朱芷慧*
STAFF
Executive Director Flora Yu
Assistant to Executive Director Connie Ho
PROGRAMME
Programme Directors Grace Lang, So Kwok-wan
Senior Programme Managers Ian Leung, Shirley So, Janet Yau*
Programme Managers Cathy Cheng*, Crystal Chiu*, Sophie Liao*, Katie Ma*, Janet Ng*
Programme Coordinator Lilian Lam*
Arts Administrator Trainee Ryan Yung*
Programme Assistant Dorothy Chung*
Production Assistant Alice Chan#
LOGISTICS
Logistics Manager Elvis King*
TECHNICAL
Production Manager Shirley Leung*
Deputy Production Manager Jacob Chan*
PUBLICATIONS
Editorial Manager Eugene Chan*
English Editor Adam Wright*
Associate Editors Shao yi Chan*, Trista Yeung*
OUTREACH
Outreach Manager Carman Lam*
Assistant Outreach Manager Enid Yu*
Outreach Coordinators Vicgina Law*, Jade Lin*
Outreach Officers Olivia Chan*, Hazel Cheung*, Queena Ma*
Arts Administrator Trainee Nicky Ng*
MARKETING
Marketing Director Katy Cheng
Associate Marketing Director Eugene Lo
Marketing Managers Tobie Chan*, Stephanie Cheung*
Deputy Marketing Manager Joey Wong*
Deputy Project Manager Hades Tam*
Assistant Project Manager Hill Li*
Assistant Marketing Managers Sally Hui*, Margaret Tsang*
Marketing Officer Isaac Leung*
Marketing Assistant Kelly Chan#
TICKETING
Senior Marketing Manager (Ticketing) Eppie Leung
Assistant Marketing Manager (Ticketing) Stephanie Chan*
DEVELOPMENT
Development Director Angela Wong
Special Development Associate Alex So*
Senior Development Manager Lorna Tam
Development Managers Cindy Chan*, Joey Ng*
Development Officers Kate Lui*, Linda Tam*
Arts Administrator Trainee Nicole Chow*
CORPORATE SERVICES
Finance Director Teresa Kwong
ACCOUNTS
Account Manager Connie To*
Accounting Officer Stephany Ngan*
HR & ADMINISTRATION
HR and Admin Manager Janet Yeung*
Receptionist/Junior Secretary Virginia Li
General Assistant Bonia Wong
INFORMATION TECHNOLOGY
Information Technology Manager Derek Chan*
NO LIMITS
Project Director Eddy Zee*
Programme and Outreach Managers Becky Chung*, Christy Ho*
Programme and Outreach Coordinators Jade Lui*, Jasmine Poon*
Marketing Manager Carly Wong*
Deputy Marketing Manager Tiffany Chan*
Assistant Production Manager Jess Cheung*
Senior Accounting Officer Catherine Chung*
HKARTSFESTIVAL@TAIKWUN
Project Manager Kwong Wai Lap*
藝術家統籌 張素真*、張凱婷*、向怡君*、何敬堯*、黎善涵*、劉欣彤*、梁頌怡*、吳麗文*、彭慧雯*、胡肇婷*、翁蒨懃* 製作主任 黃詠詩*
技術統籌 李浩賢*、曾以德*、范文恩*、林仁健*、莊曉庭*、許肇麟*
Head of Artist Coordinators Eleanor Chu*
Artist Coordinators Susan Chang Hayden*, Becca Cheung*, Cassandra Heung*, Kelvin Ho*, Christa Lai*, Venice Lau*, Kitty Leung*, Stephenie Ng*, Jan Pang*, Blanche Wu*, Bonnie Yung*
Production Officer Bonnie Wong*
Technical Coordinators Lawrence Lee*, Joyi Tsang*, Yan Fan*, Hoi Lam*, Sai Chong*, Boolu Hui* *合約職員 *Contract Staff 按英文姓氏首字母排列 In alphabetical order # 藝術人才見習配對計劃2023/24由香港藝術發展局資助
# 2023/24 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2024年2月更新 Updated February 2024
職員
is
amongst the world's
Our home base most promising.
我們位於世界最具潛力的城市之一
( 99 ) 北市經證字第 01583 號 蔡吉政 Each Office Is Independently Owned And Operated
1899.Childe Hassam - New England Headlands
John KC LEE Chief Executive Hong Kong Special Administrative Region
Victor Cha Chairman Hong Kong Arts Festival
Flora Yu Executive Director Hong Kong Arts Festival
