2017 Hong Kong Arts Festival - FestMag by Hong Kong Arts Festival

2017 年踏入第四十五屆的香港藝術節，將呈獻近一百五十場演出、超過二百五十項「加料節目」以及專為學生而設的活動。上述數字僅能讓人一窺藝術節之規模，至於其多元化及深度，本刊物將闡述之。今期《閱藝》雜誌，除了介紹節目策劃背後的主題和連繫外，也會回顧過去我們所開拓的一些重要計劃。

Celebrating its 45th Anniversary in 2017, HKAF presents close to 150 performances and over 250 PLUS events and special activities for students. These numbers provide an indication of the Festival’s scale, but do not tell the story of its diversity and depth. It is our hope that this publication will do that job. This issue of FestMag is designed to reveal some of the themes and connections contained in the programming, while also highlighting some of our major initiatives over the years.

自 1973 年首屆藝術節起，我們的節目策劃即涵蓋了多種表演類型，顧及不同觀眾口味，反映當下東、西方文化交融的思維。我們繼續為不同的觀眾服務。同時，我們致力使藝術節更臻完善，成為一個「一加一大於二」的整體。《閱藝》會聚焦它們如何互相配合，融而為一。

From the first HKAF in 1973, the Festival’s programming contained an eclectic range to cater to different tastes, and manifesting the East meets West mindset of the day. We continue to embrace the diversity of this city, and at the same time, we also aim to make the Festival a coherent whole, one that adds up to more than the sum of its parts. FestMag serves to bring into focus just how some of these parts work together.

2017 年的主題「此時此地」，正表達表演藝術的本質：表演者與觀眾間的完美交流，以及香港藝術節在邁向這個里程碑的旅途中數之不盡的經歷，也是我們多年來的努力結晶。「此時此地」同時代表香港藝術節的四十五周年紀念，我們將舉辦大型互動裝置《幻光動感池》（94 頁）予公眾參與，與全港市民同樂。這個主題也呼應香港特別行政區成立二十周年，為此我們獻上三個別具特色的節目：《聲光頌》（93 頁）、玻魯桑伊斯坦堡愛樂樂團的兩場音樂會（74 頁）及藝術節閉幕節目《紅樓夢》（20 頁）。

In 2017, the overarching idea of “in the moment” speaks to an essential aspect of live performance: the perfect communion between performer and audience, and the distillation of countless shared experiences that are given extra poignancy as HKAF reaches this milestone. “In the moment” also points to this special 45th anniversary year which we celebrate with Super Pool (p94), a large scale interactive event in which we open up the Festival and invite all of Hong Kong to play. It also references the 20th Anniversary of Hong Kong SAR, marked with three special programmes: Chorus (p93), concerts by Borusan Istanbul Philharmonic Orchestra (p74), and festival finale Dream of the Red Chamber (p20).

希望本雜誌介紹的有關節目與節目之間的連繫— 可以令您從中獲得更多樂趣。我與藝術節的編輯團隊和全體員工，感謝一路上曾幫助過我們的每一位朋友，讓藝術節多年來得以持續發展，帶來更豐富精采的演出。期待與您在藝術節相遇。

香港藝術節行政總監何嘉坤

We hope that the connections highlighted in the following pages will enrich your enjoyment of the programmes on offer. With the editorial team and all colleagues, I would like to thank everyone who has helped to sustain and enrich the Festival throughout its history. We look forward to seeing you at many performances.

Tisa Ho, Executive Director Hong Kong Arts Festival 1

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，2017 年第 45 屆藝術節的年度預算約港幣一億二千萬，當中香港特區政府的基本撥款約佔總收入的 14%，約 9% 來自政府慶祝特區成立 20 周年特別節目撥款，另外約 28% 來自票房收入，約 32% 依賴來自各大企業、熱心人士和慈善基金會的贊助和捐款。預計餘下的大約 17% 則來自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的演出，例如：安娜．涅翠柯、塞西莉亞．芭托莉、馬友友、菲力普．格拉斯、譚盾、列卡杜．沙爾、克里斯蒂安．泰利曼、古斯塔沃．杜達美、詹安德列亞．諾斯達、米高．巴里殊尼哥夫、蕭菲．紀蓮、奇雲．史柏西、羅柏特．威爾遜、彼得．布祿克、皇家阿姆斯特丹音樂廳樂團、柏林廣播電台合唱團、聖彼得堡馬林斯基劇院、巴伐利亞國立歌劇院、莫斯科大劇院、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、雲門舞集、星躍馬術奇藝坊、皇家莎士比亞劇團、柏林劇團及中國國家話劇院等。香港藝術節積極與本地演藝人才和新晉藝術家合作，過去十年共委約及製作逾 100 套本地全新創作，包括戲劇、室內歌劇、音樂和舞蹈作品，並同步出版新作劇本，不少作品更已在香港及海外多度重演。香港藝術節大力投資下一代的藝術教育。「青少年之友」成立 25 年來，已為逾 710,000 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、小學學生的藝術教育活動，並通過「學生票捐助計劃」每年提供超過 8,500 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」，例如示範講座、大師班、工作坊、座談會、後台參觀、展覽、藝人談、導賞團等，鼓勵觀眾與藝術家互動接觸。 2017 年藝術節預計收入來源：約港幣一億二千萬 Estimated Income Sources for 2017 HKAF: Approximately HK$120 Million

HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting annually in February and March leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events. HKAF is a non-profit organisation. Secured government baseline funding for the Festival in 2017 represents roughly 14% of the HK$120 million budget, with another 9% specially provided by the Government for programmes celebrating the 20th Anniversary of the HKSAR. Around 28% of the Festival’s income comes from the box office, and another 32% comes from sponsorship and donations from corporations, individuals, and charitable foundations. It is anticipated that the remaining 17% will come from the Government’s new matching scheme, which matches income generated through private sector sponsorship and donations. HKAF presents top international artists and ensembles, such as Anna Netrebko, Cecilia Bartoli, Yo-Yo Ma, Philip Glass, Tan Dun, Riccardo Chailly, Christian Thielemann, Gustavo Dudamel, Gianandrea Noseda, Mikhail Baryshnikov, Sylvie Guillem, Kevin Spacey, Robert Wilson, Peter Brook, the Royal Concertgebouw Orchestra, Rundfunkchor Berlin, the Mariinsky Theatre, Bavarian State Opera, the Bolshoi Theatre, New York City Ballet, Paris Opera Ballet, Hamburg Ballet, Tanztheater Wuppertal Pina Bausch, Cloud Gate Dance Theatre, Zingaro, Royal Shakespeare Company, Berliner Ensemble and National Theatre of China. HKAF actively promotes Hong Kong’s own creative talents and emerging artists, and has commissioned and produced over 100 new local productions in the past decade, including theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. HKAF invests in arts education for young people. In the past 25 years, our “Young Friends” has reached over 710,000 secondary and tertiary school students in Hong Kong. A variety of arts education projects serving primary, secondary, and tertiary school students has been launched in recent years. Donations to the “Student Ticket Scheme” also make available over 8,500 half-price student tickets each year. HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided tours.

誠邀贊助或捐助第 45 屆香港藝術節；詳情請與藝術節發展部聯絡。 For sponsorship opportunities and donation details of the 45 th Hong Kong Arts Festival, please contact the Development Department. 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

目錄 1

前言 Foreword

45 年香港藝術節 Hong Kong Arts Festival at 45: In the moment

歌劇 OPERA 經典重生 Renewal

承先啟後：全新崑劇《春江花月夜》 Kun Opera in A New Era: Blossoms on a Spring Moonlit Night

編織《紅樓夢》 Dreamweavers: Dream of the Red Chamber

《漢武東方》：君主與弄臣的意識交鋒 Brilliant Minds in Conflict: Emperor Wu of Han and his Jester Strategist

戲劇 THEATRE 大時代小家庭 Family Values, Changing Times 編輯 Editor

黃迪明 Timothy Wong

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〈閱藝〉編輯小組 FestMag Editorial Team

何嘉坤 Tisa Ho 蘇國雲 So Kwok-wan 陳妽宜 Chan Sun-yee 林尚諾 Sherlock Lam 鍾佩妝 Eunice Chung

城市、家庭與個人 City, Family and the Individual 舞台上的餐桌《香港家族》、《大選年的家庭》、《埃及式最後晚餐》

Put it All on the Table

A Floating Family, The Gabriels: Election Year in The Life of One Family, The Last Supper

家家有本難唸的經《都是我的孩子》、《麗南小姐》

The Dark Side of Two Families

All My Sons, The Beauty Queen of Leenane

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

網上追蹤香港藝術節 Follow HKAF on

本刊內容，未經許可，不得轉載。Reproduction in whole or in part without written permission is strictly prohibited. 出版：香港藝術節協會有限公司︱承印：嘉昱有限公司︱設計：TomSenga Design ︱封面設計：Acorn Design Ltd. Published by Hong Kong Arts Festival Society Limited ︱ Printed by Cheer Shine Enterprise Co., Ltd ︱ Designed by TomSenga Design ︱ Cover design by Acorn Design Ltd.

閱藝

舞蹈 DANCE

音樂 MUSIC

舊舞新步 New Steps and Old

聲音與土地 Defining Voices

「美在何處？」烏珀塔爾舞蹈劇場與翩娜．包殊 “Where’s the Beauty?” The Enduring Art of Pina Bausch

楊納傑克：布爾諾音樂偉人捷克布爾諾國家歌劇院 Janáček: Life, Love and the Nation National Theatre Brno

用形如神：《3．芭蕾》 Mastery of Form: The Triadic Ballet

蒙特威爾第演奏權威：意大利協奏團 Monteverdi Masters: Concerto Italiano

華麗古典芭蕾經典：《舞姬》 A Lavish Spectacle: La Bayadère

活力多變：蒙特利爾爵士芭蕾舞團 Vibrant and Versatile: Ballet Jazz de Montréal

土耳其新聲：玻魯桑伊斯坦堡愛樂樂團 A New Spirit: Borusan Istanbul Philharmonic Orchestra

踢躂新聲音：多蘭斯舞團 Clap and Tap to ETM: Dorrance Dance

與挪威之聲暢遊：奧斯陸愛樂樂團 Travelling with the Sounds of Norway: Oslo Philharmonic

美國故事：辛辛那提交響樂團 American Stories: Cincinnati Symphony Orchestra

獨立之精神：薇莎拉茲 An Independent Spirit: Elisso Virsaladze

魅力音樂天才：陳銳、安德塞斯基 Talent and Charisma

雙人舞新演繹：亞太舞蹈平台 Redefining the Duet Asia Pacific Dance Platform

本地製作 LOCAL PRODUCTIONS 香港：此時此地 Hong Kong: In The Moment

天籟之音：陳家保 An Extraordinary Voice: Chan Ka-bo

世界音樂之旅世界音樂週末營、海燕合奏團 Musical Journeys World Music Weekend, Ensemble Hirundo Maris

無煙狂歡：庫斯圖里卡與無煙大樂隊 No Smoking But No Less Fun No Smoking Orchestra

美國騷靈女爵士：泰莉．萊恩．卡榮頓 The Soul of American Popular Music: Terri Lyne Carrington

香港藝術節製造 Made by Hong Kong Arts Festival

《世紀．香港》作曲家訪談 Composing a Hong Kong Odyssey

香港舞蹈向前看香港賽馬會當代舞蹈平台系列 Dancing Forward Hong Kong Jockey Club Contemporary Dance Series

Ray Chen, Camerata Salzburg and Piotr Anderszewski

是他，也是你和我：《香港家族》 Changing Family, Changing Times A Floating Family

《交響情人》：向法國音樂巨星致敬 Gainsbourg Symphonic: Jane Birkin’s Tribute to a French icon

全城參與 Open to All

聲光頌 Chorus

幻光動感池 Super Pool 7

“This first festival is by way of a great experiment, and its success will guarantee future events making possible wider programme building and even greater variety” - Ian Hunter, on the 1973 HKAF

「第一屆香港藝術節是一項偉大的實驗，她的成功將能確保未來，使之更具規模、節目更多元化」— 伊恩．韓德爵士談 1973 年藝術節

HONG KONG ARTS 第

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此時此地 1973 年的香港，對一個剛從廿一世紀來到的時間旅人而言，此情此景並不陌生。這城市是聞名中外的國際金融中心和旅遊熱點，世界各地的訪客均慕名而來。剛在 1972 年通車的紅磡海底隧道川流不息，市民穿梭維港兩岸。一切看似熟悉。然而改變已在悄悄發生，1973 年揭幕的香港藝術節，便是一個新的開始。首屆迎來的演藝團體包括知名指揮家小澤征爾領軍的新日本愛樂交響樂團、演出莎士比亞的布里斯托老域劇團和丹麥皇家芭蕾舞團。這在當年可謂難得一見的國際陣容，相比之下本地製作仍未成氣候。事實上，在 1973 年的節目小冊子，藝術節首屆藝術總監伊恩．韓德爵士曾在歡迎辭談及本地與外國節目的比例，和對本地創作的期許：「藝術節成立後 ⋯⋯[ 本地參與 ] 將培養市民對藝術的興趣和提升香港的演藝水平。本地藝術家更多參與香港藝術節的主要節目，自是指日可待。」韓德接着形容首屆藝術節是「一項偉大實驗」：如果實驗成功，未來將衍生更多演藝盛事，引入更豐富和多元化的節目。香港藝術節於此正式誕生。

閱藝

FESTIVAL at 香

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節

IN THE MOMENT It is 1973 in Hong Kong, and for a time-traveller just arrived from the 21st century, the scene is not so hard to recognise. The city is famed both as an international financial centre and a tourist destination for visitors from all over the world. The Cross-Harbour Tunnel, newly opened in 1972, thrums with traffic as people go about their daily business. So far, so familiar. Change is afoot however, and in the inaugural 1973 Hong Kong Arts Festival there is the beginning of something new. Among the artists welcomed to the Festival’s first edition are the New Japan Philharmonic Orchestra with Seiji Ozawa, the Bristol Old Vic Company presenting Shakespeare, and the Royal Danish Ballet. An international cast then, but also one with a paucity of locally produced performances. In the 1973 programme booklet, the Festival’s inaugural artistic director Ian Hunter addresses the balance of the programme in his welcoming comments: “Once the Festival is established… [local participation] will build up local interest in the arts and improve the standard of the performing arts in Hong Kong. Then we can expect to see even greater involvement of Hong Kong artistes in the Hong Kong Arts Festival main programme”. Hunter goes on to describe this opening edition as “a great experiment”, one that if successful will guarantee further iterations in future years, together with larger and more varied programmes. The Hong Kong Arts Festival is born.

Fast forward over four decades to 2016, and a look back at the HKAF programme booklet from 1973 is striking for a number of reasons. Firstly, there is the confident prescience of the Festival founders – HKAF has indeed flourished and continues to attract the greatest international performing artists, while over the intervening years the character of the programme has been balanced with original Hong Kong productions and local performers. The HKAF “experiment” has fulfilled its brief, and then some.

1973 年香港藝術節紀念特刊 1973 HKAF Souvenir Programme

時間快速向前四十多年，回到 2016 年。重讀 1973 年藝術節的節目小冊子，有數件事情可堪細味。首先是創辦人的高瞻遠矚—如其所料，藝術節發榮滋長，成為本地藝術盛事，繼續吸引世界各地的頂尖演藝名家前來獻藝。而這些年來，不少本地原創作品和本土藝術家亮相藝術節，與外地作品及演藝家平分秋色。香港藝術節的「實驗」取得成功，更在藝術交流和教育上建樹良多。其次，今日的香港，部份地方仍存留七十年代的香江餘韻；然而那年頭藝術節的節目資料對香港以至其節目特色的描述，現在看來卻不合時宜。縱使它的行文風格熱切昂揚，但其筆下的香港只是過時的東方主義視角下的「殖民地」和「東方之珠」，而不是九七後自居的「亞洲國際都會」。踏入第四十五屆，藝術節精心挑選一系列節目，反思藝術節和其所在城市的文化身份：中國的、亞洲的和國際的身份。2017 年香港藝術節的揭幕和閉幕節目巧妙的展現這種思維：前者為光耀奪目的芭蕾經典《舞姬》，後者是由三藩市歌劇院與香港藝術節聯合製作的全新歌劇《紅樓夢》。開幕與壓軸兩齣作品皆有美侖美奐的佈景和服裝，保證觀眾如癡如醉。《舞姬》的背景設在古印度，《紅樓夢》則講述中國官宦世家的奢華生活。從更寬廣的角度看，兩作的東西元素對比更堪玩味：芭蕾經典《舞姬》描繪的東方帶有奇瑰的異國色彩，表達了歐洲對東方的理解和想像；《紅樓夢》取材自中國文學經典中的經典，由華人團隊操刀，將具中國精神的文學改編成以英語演唱的西方歌劇。將這兩齣風格迥異、中西並蓄的作品，分別置於 2017 年香港藝術節一首一尾，除了讓觀眾一窺節目安排的構思，同時也是過去四十五年藝術節與香港並肩成長奮發、脫胎換骨的寫照。此時此地，香港藝術節紮根香港，為香港而立，同時放眼世界，結合本土關懷和國際視野，為觀眾呈獻最精采的演藝佳作。往後四十五年，可以肯定藝術節仍會秉承藝術交流及傳播之責；但一如近半世紀的滄桑變幻，藝術節來日面貌，只待來日知曉。

Secondly, while parts of Hong Kong remain recognisable from the 70s, the HKAF programme notes from that time, describing the region and the Festival’s charms, have aged less well. Though the writing is enthusiastic and passionate, this is Hong Kong viewed through an outmoded Orientalist lens, still “the Colony” and “the Pearl of the Orient” rather than the proud post-1997 moniker of “Asia’s World City”. In this 45th anniversary year, the choice of Festival programmes invites reflection on the cultural identity of HKAF and the city to which it calls home; as Asian, as Chinese, and as international. HKAF in 2017 is bookended with two works that illustrate this beautifully; with a Festival-opening performance of the gorgeous ballet La Bayadère, and a finale production of the spectacular new opera Dream of the Red Chamber (a HKAF co-production with San Francisco Opera). Both will enrapture audiences with their lavish sets and costumes, the former set in a mythical India, the latter detailing the opulent lives of the Chinese aristocracy. But looking at them from a wider angle, the contrast is even more intriguing. On the one hand La Bayadère’s classical vision of the East is that of a stylised exoticism, observed and expressed from a European perspective through this most famous of ballets. On the other, Dream of the Red Chamber takes a Chinese literary classic (not just any classic, but the classic), and with a Chinese creative team presents this most Chinese of stories in the form of what is actually a Western-style opera with an English libretto. The symmetry of these two productions reflects on the wider HKAF 2017 programme, and also on the way in which the Festival has grown, endured, and developed alongside Hong Kong itself over 45 eventful years. A look back to the first HKAF in 1973 proves this. In this moment, HKAF is of, and for Hong Kong, while also looking outwards to the rest of the world, marrying the local with the international in continued effort to present the best and most interesting works possible. In another 45 years’ time, we can predict that the Festival will still be doing this. But as the past 45 years show, we just don’t know quite what this will look like. By Tim Wong, HKAF English Editor

文黃迪明（香港藝術節英文編輯）中譯李凱琪

Renewal

經典重生三個中國傳統故事，以嶄新手法或形式搬上舞台，啟發觀眾重新審視它們的當代意義。 Classic Chinese stories are renewed and brought to the stage in three sumptuous productions that reflect the contemporary significance of these historical tales.

閱藝

故事簡介

傳統中的反傳統

西元 706 年，詩人張若虛在揚州賞燈之時，對少女辛夷一見鍾情。惟未及傾訴情意，因地府鬼差錯拘而亡。心願未了的張若虛，魂墮幽冥，閻王多番誘使他早日投胎不果。他心知自己與辛夷並無姻緣之份，依舊日夜想念，感動了鬼仙曹娥，在其幫助下取得回生之藥。雖然得以重返人間，卻已經過了五十年，當年的辛夷已成白髮婦人。

崑劇《春江花月夜》是個原創新作，一方面堅守傳統框架，以古漢語創作文本，嚴遵曲牌格律，另一方面加入輕鬆有趣的情節，地府鬼差誤把「張若虎」讀成「張若虛」，又如閻王殿因需解決誤判之事而亂成一團等，讓流傳千年的愛情故事，更具現代戲劇韻味。

「春江潮水連海平，海上明月共潮生。」— 張若虛從唐詩到崑劇《春江花月夜》是唐代詩人張若虛所作七言樂府詩，既繼承齊梁明麗詩風，同時又收南朝樂府精髓，風格綺麗，技巧卓絕。雖然他傳世的詩作僅得兩首，卻有「以孤篇壓倒全唐」之美譽，在中國文學史上有相當地位。聞一多更奉之為「詩中的詩，頂峰上的頂峰」。「八十後」新進編劇羅周，從此詩中得到靈感，透過個人想像和創作力，經過嚴謹的歷史考證，借用真實存在的人物張若虛，以當代敘事手法，把這個載滿張若虛的自身際遇、感懷的故事，創作成精采崑劇劇本。國光劇團藝術總監王安祈認為，「羅周這部崑劇，是宇宙意識與人間情意一筆雙寫，其間未必只有對比，更多交相滲染。這樣的戲劇結構，其實正呼應着張若虛《春江花月夜》原詩本身的結構。」原來的詩成了戲中戲，兩者互相交織，引人入勝。

戲中各個場景活靈活現，令觀眾彷如置身真實場景，跟人物角色一同遊走於明月橋頭、陰曹地府、蓬萊仙島，橫跨天、地、人三界。正如主演張軍所言，「對於崑曲劇本的創作來說，古漢語是手銬，曲牌是腳鐐，戴上手銬、腳鐐之後還要翩翩起舞」，而《春江花月夜》在這個嚴格的規範下，設法加入創新元素，摻合現代化的表演方式，為傳統崑曲帶來新氣象。

「崑曲不能只是『寶貴遺產』，不能是『瀕危物種』，要讓它血脈貫通，切入這個時代的心理和審美」 —張軍給崑曲一個未來《春江花月夜》由台灣知名戲曲導演李小平執導，「梅花獎」得主張軍和李鴻良分別飾演張若虛及劉安、「白玉蘭」主角獎得主兼國家級非物質文化遺產項目代表傳承人（京劇）關棟天飾演張旭，兩位女角辛夷及曹娥則由曾榮獲中國崑劇藝術節優秀表演獎的余彬和「白玉蘭」新人主角獎得主張冉擔當演出。

「崑曲王子」— 張軍

The Prince of Kunqu — Zhang Jun

國家一級演員、「梅花獎」得主、上海張軍崑曲藝術中心藝術總監、聯合國教科文組織和平藝術家，素有中國「崑曲王子」美譽。工崑劇小生，師承著名表演藝術家蔡正仁、岳美緹、周志剛，是俞振飛大師的再傳弟子，主演過《牡丹亭》、《長生殿》、《玉簪記》、《白蛇傳》等多部大戲。曾獲上海白玉蘭戲劇表演主角獎、聯合國促進崑劇發展大獎、上海十大傑出青年等獎項和稱號。

Zhang Jun is a National Class One Performer and the art director of Shanghai Zhang Jun Kunqu Art Center, specialising in the xiaosheng (young male) role type. He is an UNESCO Artist for Peace and the winner of the Plum Blossom Award. He apprenticed under Cai Zhengren, Yue Meiti, Zhou Zhigang and Maestro Yu Zhenfei, and his repertoire includes Peony Pavilion, Palace of Eternal Youth, The Jade Hairpin and The Legend of the White Snake. Zhang has numerous prizes to his name, including a Shanghai Magnolia Stage Performance Award, the UNESCO Prize for Kunqu Promotion and a Shanghai Top Ten Outstanding Youth Award.

「我愛崑曲，所以不僅要做好崑曲的傳承人，而且一定要做一個好的傳播者。」張軍說道。崑曲文學性強、曲牌格律嚴謹，在很多人眼中是一門「夕陽藝術」。如何令這門藝術繼續走下去，是所有崑曲表演者共同面對的難題，「崑曲不能只是『寶貴遺產』，不能是『瀕危物種』，要讓它血脈貫通，切入這個時代的心理和審美。」在不失崑曲原有的核心價值之餘，注入現代全新表演方式，並加強教育和普及工作，才能開拓觀眾群，把崑曲傳揚開去，真正傳承這門表演藝術。資料整理鍾佩妝

“I love kun opera. Not only do I have to be a torch bearer for this art, I also aspire to promote kun opera”, says Zhang. Kun opera is viewed by many as a declining art; its future is a critical issue that faces every one of its performers. “Kun opera cannot exist just as ‘cultural heritage’; it cannot live on as an ‘endangered species’. We must make it relevant to our time’s psyche and aesthetics”. Compiled by Eunice Chung

Translated by Anthony Chin

THE PIONEER OF

INNOVATIVE LIVING SPACE

C i ty One

H K RI T ai k o o H u i

J I AX I NG

T he S ukhoth ai Residenc es

Di s c overy Bay

H O NG KO N G

BANGKOK

S H A N GH A I

T h e S u k h o t h ai B an g k o k

B A N G K OK

Kun Opera in a New Era Synopsis It is the year 706, and the poet Zhang Ruoxu catches sight of a maiden, Xin Yi, at the Yangzhou lantern festival, immediately falling in love with her. But before he can reveal his affections, he is inadvertently hauled to the realm of the dead by an underworld messenger. After resisting the lord of the underworld, Zhang obtains a magical potion which brings him back to the world of the living, only to find that 50 years have passed and that the young and fair Xin Yi is now a grey-haired old lady.

Born out of a poem Blossoms on a Spring Moonlit Night is based on a Tang dynasty poem by Zhang Ruoxu, and occupies a central position in Chinese literature. It has been lauded by the modern Chinese writer Wen Yiduo as “the poem of poems, zenith of zeniths”. The playwright Luo Zhou took inspiration from this timeless poem, and having conducted rigorous historical research decided to use the poet Zhang Ruoxu himself as the protagonist in the opera. So it was that Blossoms on a Spring Moonlit Night was reimagined and staged as a kun opera with a modern narrative.

A break from tradition Kun opera is known for its polished librettos, its delicacy, and its elegance. While staying true to this tradition, the production team have introduced new innovations, such as a chaotic scene in the temple of hell.

As the lead actor Zhang Jun says, “To those who try their hand at creating a new kun opera, the ancient Chinese language is a pair of handcuffs, the tune is a pair of fetters. We still have to dance with grace while wearing these handcuffs and fetters”. With the intricate traditions of kun opera still intact, Blossoms on a Spring Moonlit Night also introduces modern theatrical elements. In this fresh interpretation, the production will appeal to an audience that includes both afficionados as well as those new to kun opera.

A future for kun opera It is not an easy task for a new and modern kun opera to carve a niche out for itself amongst a trove of old classics. Nevertheless, Blossoms on a Spring Moonlit Night has won rave reviews from the press and the public, thanks not only to the unconventional production but also to the superlative cast and production team. For this star-studded production, the Shanghai Zhang Jun Kunqu Art Center invited renowned director Li Xiaoping and a stellar cast, many of whom are Plum Blossom Prize winners, with many members of the production team also hailing from the legendary Cloud Gate Dance Theatre.

上海張軍崑曲藝術中心 Shanghai Zhang Jun Kunqu Art Center

《春江花月夜》Blossoms on a Spring Moonlit Night 28.2-1.3.2017 香港文化中心大劇院 Grand Theatre, HK Cultural Centre

明尼蘇達州傳龍基金會最初打算製作一部《紅樓夢》英文歌劇時，知道難題不言而喻：小說篇幅太長，而且它對西方觀眾相對晦澀。然而，這個想法得到愈來愈多人支持。基金會首先找上明尼蘇達歌劇院、有製作新歌劇經驗的凱文．史密斯。後者接着聯絡上製作經驗更豐富的大衛．高克利。高克利曾為休斯頓歌劇院委約《尼克遜在中國》，又為三藩市歌劇院委約《接骨師之女》，對中國有一定認識。高克利然後聯絡生於上海、曾獲麥克亞瑟天才獎的作曲家盛宗亮。盛宗亮似乎自小就等待這個機會。盛宗亮憶述道：「我第一次讀小說《紅樓夢》的時候大概十二三歲，剛好是和書中寶玉差不多大的年紀。那時正值文化大革命時期，被寶玉佳人環繞的生活所吸引。」之後每隔十年左右，他都會重新翻上一遍，閱覽小說的細節。現在盛宗亮認為自己算得上是「半個紅學家」，可以和學者進行真正意義上的對話。盛宗亮甫被委約為三藩市歌劇院創作，即找來生於美國、曾獲東尼獎的劇作家黃哲倫撰寫文本。黃哲倫坦言：「我和小說沒有真正的關係。起初我明確表示拒絕。原著的長度是《戰爭與和平》的兩倍，其中的人物角色超過四百個。怎能在一齣兩個半小時的歌劇中講述清楚原著故事的脈絡？」

但盛宗亮沒有就此放棄。黃哲倫笑言：「起初，他說：『人生中去到某個時刻，你非讀這本書不可，而現在正是這麼一個機會。』但更重要的是，盛宗亮當時已經有一個如何展開故事的基礎構思。既然編劇有一半的工作是要敲定劇本的結構，我答應了。」盛宗亮在詳細的故事大綱中，把龐大的角色陣容減少到七位主唱和一位念白演員，讓黃哲倫有足夠空間塑造小說的家庭場面和簡略描繪每個人物。然後，在黃哲倫的建議下，歌劇院找來美國出生的台灣導演賴聲川，認為他的劇場作品本身與《紅樓夢》的史詩幅度也相似。賴聲川說：「我完全同意黃哲倫和盛宗亮所作的決定。我在大學第一次讀《紅樓夢》的時候，認為它包含一本通俗小說的所有元素，但又不僅是通俗兩字能概括的。兩位的文本顯然經過大量簡化，但並沒有令它的深度打折。」三人曾對「《紅樓夢》主題到底是什麼」有過多次討論 —盛宗亮更指出這個問題在紅學界亦無統一的看法—最後，作曲家和劇作家決定突出愛情故事，政治爭鬥僅作為故事背景。黃哲倫補充道：「我覺得愛情故事是普世的故事，選為主線也忠於原著。可是，富可敵國的賈府大戶人家走向沒落，有點像清朝版的《唐

頓莊園》。而故事中的政治民生層面，以及皇帝用貪腐操縱搞垮這個家族的情節，也是很好的戲劇素材，在熱門劇集《紙牌屋》中也能看到類似情節。」

事本身就包含了儒釋道三家的元素─也即是涵蓋了中國文化的各方面。即使我為它加上歐洲前衛戲劇特色（我肯定沒有這樣做），它依然是『中國』的。」

這樣對照電視劇集，並非無中生有，因為黃哲倫的首要任務是壓縮小說龐大的章回結構，用西方戲劇手法把劇情推到高潮。他認為挑戰來自角色婉轉的說話方式。他解釋道：「小說中沒有人會坦坦白白示愛。盛宗亮也經常抱怨我把某段劇本寫得太直白了。」

盛宗亮說這些問題正是他一開始找來黃哲倫的原因。「因為我在中國長大，非常熟悉中國人解讀這個故事的視角。而黃哲倫則大多基於純粹的西方戲劇觀點，因此我們的創作必須先達成共識才繼續。」

撮寫過程的留白，則由賴聲川和香港出生的奧斯卡金像獎得獎設計師葉錦添負責以視覺元素處理。賴聲川解釋道：「對我來說，我們要把小說中可能用上一整回來敘述的人事物，在舞台上用一個畫面或場景來呈現。例如在第二幕黛玉焚詩時，寶玉同時哀嘆他們永遠不能成親。我和葉錦添只是決定了安排他在園中出場，卻未選定位置。於是，我選擇了將寶玉安排在前段目睹黛玉葬花的站位出場。葬花的畫面在中國文化裏有着深遠意義，黛玉焚詩的時候，我們正是讓寶玉想起這幕。」這部歌劇面對兩個相關的問題：一）這樣一個中國故事能否在國際舞台上產生共鳴？二）它經過改編後，還夠「中國」嗎？對於創作者來說，答案是顯而易見的。賴聲川闡述：「故

文司馬勤文字整理陳妽宜

When the Minnesota-based Chinese Heritage Foundation first got the idea to turn Dream of the Red Chamber into an Englishlanguage opera, they knew the obvious problems: the novel’s length, and its relative obscurity in the West.

absolutely no. The book is twice as long as War and Peace, with more than 400 characters. How can you shape that into a twoand-a–half-hour show that has any relationship to the source material?”

Still, the idea never stopped gaining traction. The Foundation first called Kevin Smith, then head of their hometown opera company, who had experience producing new works. Smith then called David Gockley, who had even more experience and, having commissioned Nixon in China for Houston Grand Opera and The Bonesetter’s Daughter for San Francisco Opera, also knew something about China. Gockley then called the Shanghai-born, MacArthur-winning composer Bright Sheng, who seemed to have been waiting for the call since childhood.

But Sheng refused to budge. “First, he said, ‘At some point in your life you have to read this book, so here’s your chance’,” Hwang recalls, smiling. “But more importantly, he had a vision of how to tell the story. So I agreed, since half a librettist’s work is determining the structure”.

Once commissioned to write the piece for San Francisco Opera, the composer then called the Tony-winning Americanborn playwright David Henry Hwang, who was on the opposite side of the Red spectrum. “I had no real relationship with the novel”, Hwang admits. “And when Bright asked, I said 閱藝

黃哲倫補充說：「這個愛情故事與傳統的西方浪漫故事不同的，是前者的精神框架。仙界的『石頭』對三生石畔的『絳珠仙草』曾有幾千年灌溉之恩。絳珠仙草為報恩，向警幻仙子要求轉世為人，體驗凡間的情愛。這段抽象的故事提出了一個有趣的問題：在混沌的物質世界裏，真愛的力量有多大？這也是當代的普世煩惱。」

Dreamweavers

他們同意故事中的三角戀既有普世性，同時具備中國色彩。「我們的歌劇中，有一點交代得非常清楚─這一點幾乎被許多紅學家忽略─就是寶玉和黛玉是唯一一對命運早已被安排好的角色。他們命中注定會找到對方，成為彼此的靈魂伴侶。」盛宗亮說。

Sheng’s elaborate synopsis reduced a sprawling cast to seven principal singers and a spoken role, leaving Hwang room to shape the novel’s domestic scenes and broadly sketch each character. Then at Hwang’s suggestion, the opera company approached the American-born Taiwanese director Stan Lai, whose own theatre pieces rather reflect Red Chamber’s epic scope. “I immediately embraced the choices that David and Bright had made”, says Lai. “One of the things that registered with me when I first read Red Chamber in college is that it has all the elements of a popular novel, but transcends mere popularity. David and Bright’s text was obviously a gross simplification, but didn’t discount its profundity”. After long conversations about what the novel was really about – “something not even Redologists can agree on”, Sheng 21

他們同意故事中的三角戀既有普世性，同時具備中國色彩。「我們的歌劇中，有一點交代得非常清楚─這一點幾乎被許多紅學家忽略─就是寶玉和黛玉是唯一一對命運早已被安排好的角色。他們命中注定會找到對方，成為彼此的靈魂伴侶。」盛宗亮說。黃哲倫補充說：「這個愛情故事與傳統的西方浪漫故事不同的，是前者的精神框架。仙界的『石頭』對三生石畔的『絳珠仙草』曾有幾千年灌溉之恩。絳珠仙草為報恩，向警幻仙子要求轉世為人，體驗凡間的情愛。這段抽象的故事提出了一個有趣的問題：在混沌的物質世界裏，真愛的力量有多大？這也是當代的普世煩惱。」文司馬勤文字整理陳妽宜

Dreamweavers When the Minnesota-based Chinese Heritage Foundation first got the idea to turn Dream of the Red Chamber into an Englishlanguage opera, they knew the obvious problems: the novel’s length, and its relative obscurity in the West.

absolutely no. The book is twice as long as War and Peace, with more than 400 characters. How can you shape that into a twoand-a–half-hour show that has any relationship to the source material?”

“I first read Dream of the Red Chamber when I was 12 or 13, the same age as Bao Yu”, Sheng recalls. “I was living in the Cultural Revolution, and here was the main character surrounded by all these beautiful women”. Finer points he absorbed in subsequent readings every decade or so, and by now Sheng says he considers himself a “dilettante Redologist”, able to converse meaningfully with academics. Once commissioned to write the piece for San Francisco Opera, the composer then called the Tony-winning Americanborn playwright David Henry Hwang, who was on the opposite side of the Red spectrum. “I had no real relationship with the novel”, Hwang admits. “And when Bright asked, I said

claims – composer and librettist had decided to keep the love story prominent and the political intrigue in the background. “The love story, I think, is pretty universal, and true to the novel”, says Hwang. “But the Jia family, incredibly wealthy but in decline, is sort of like a Downton Abbey in the Qing Dynasty. And the socio-political angle, with the Emperor manipulating corruption to bring down the family, is good plot material in a sort of House of Cards fashion”. Such television references are hardly gratuitous, since Hwang’s first task was to compress the novel’s expansive episodic structure, steering the action toward a Western-style climax. A challenge in creating that momentum, Hwang says, came from characters speaking in such an indirect fashion. “No one just comes out and says they love someone”, he explains. “Bright would often complain that some of my lines were stated too directly”. Filling gaps in that compression was the purview of Lai and the production’s Hong Kong-born, Oscar-winning designer Tim Yip. “For me”, Lai explains, “it was about how to take something that might take up a whole chapter in the novel and translate it into a single image on stage. In Act II, for example, Dai Yu begins to burn her poetry at the same time Bao Yu is lamenting that they will never marry. Tim and I had set that scene in the garden, but we hadn’t been specific. So I decided to move Bao Yu to the same point where he’d seen Dai Yu burying her blossoms. This image resonates deeply in Chinese culture, and we have Bao Yu recalling it while Dai Yu is burning her poetry”. The opera faces two related queries: (1) Can such a Chinese story resonate on the international stage, and (2) Will it still be “Chinese” enough? For the creators, the answer is obvious. “The story already encapsulates elements of Buddhism,

Daoism and Confucianism – the full range of Chinese cultural experience,” says Lai. “Even if you bring an avant-garde European flavour to it – which I definitely don’t, by the way – the story will still come out Chinese”. Sheng says those questions were why he approached Hwang in the first place. “Because I grew up in China, I completely understand the way Chinese people see the story ”, he explains. “David comes from an almost purely Western point of view, so we both have to be happy with what we come up with before we move forward”. Focusing on this particular love triangle, they agree, makes the story both universal and distinctly Chinese. “One of the things that our version makes plain – and this point has been almost entirely neglected by Redologists – is that Bao Yu and Dai Yu are the only two characters whose lives were preordained”, says Sheng. “They were destined to find each other as soulmates”. “This love story differs from Western romantic conventions in its spiritual framework”, Hwang adds. “On some otherworldly plane, a stone has been watering a flower with morning dew for thousands of years, and in her gratitude the flower wants them to be incarnated as humans and express earthly love. This metaphysical element sets up an interesting thematic question: to what extent can true love exist in a corrupt material world? And that, too, is a very contemporary, universal concern”. By Ken Smith

《紅樓夢》Dream of the Red Chamber 17-18.3.2017 香港文化中心大劇院 Grand Theatre, HK Cultural Centre

表演戲服劉洵先生要求服裝有戲曲的感覺，穿著傳統粵劇戲服，以鮮亮的配色襯托人物性格，燈光佈景也要突出演員，不可喧賓奪主。 Artistic director Lau Shun has chosen costumes that exude an operatic air, with the bright colours of the traditional Cantonese opera costumes blending with the stage lighting to bring out the different personalities of the characters.

塑造東方朔東方朔一角運用丑生法度來演繹，這一行當處理是由人物出發的，既有傳統小花臉的幽默，又有小生的文才，展現滑稽與深沉兼備的性格特點。 Dongfang Shuo’s character is the archetypal Cantonese opera clown. With his sense of humour, typical of the painted-face clown, but also the literary flair of the traditional young male role, there is both playfulness and depth to this character.

圖由左至右為衛子夫（南鳳飾）、漢武帝（龍貫天飾）和東方朔（阮兆輝飾） From left to right: Wei Zifu (Nam Fung), Emperor Wu (Loong Koon-tin) and Dongfang Shuo (Yuen Siu-fai)

粵劇 Cantonese Opera

《漢武東方》Emperor Wu of Han and his Jester Strategist 4-5.3.2017 沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall

漢武帝和東方朔皆是絕世英才。劉徹聽取東方朔來自不同角度的觀點做參考，但是身為帝王，一旦獲得實權，便可以運用權威取勝，按照自己的主見推行政策，不再需要靈巧機變的計謀。統治者與文人謀士相互依賴，又彼此猜疑戒備，矛盾日益彰顯。對於劇中的漢武帝，演員龍貫天先生認為，他文韜武略，有政治抱負，同時也是調皮、自尊心重的年輕人，他問計於東方朔，卻又不甘對方比自己更強，對其又愛又恨。現有的粵劇劇目，往往側重於漢武帝與衛夫人的愛情故事，人物刻板。新戲有輝哥（阮兆輝，飾東方朔）做拍檔，又有劉洵先生、黎耀威一起合作，有信心令漢武帝的形象更立體。

東方朔一心輔佐漢武帝成為真正的統治者，犧牲了對衛子夫的愛，甚至拋下自身利益，到竇太后身邊周旋刺探。當他發覺漢武帝對待自己的真實態度後，會如何抉擇？是去？是留？還待觀眾到劇場尋找答案。兩大生角之外，對衛子夫、平陽公主、竇太后、陳亞嬌、敢夫將軍、竇丞相等配角，劉洵老師也強調要深入了解各自的性格、背後目的、處事角度、內心感受，全劇力求展現人物思想上的交鋒，並據此設計唱做唸打。黎耀威坦言，這套戲很好玩，但是很難寫。挑戰之一是人物眾多，皆由重量級前輩擔演，不僅要妥善分配戲份，還要透過三兩句對話帶出鮮明的人物性格。此外，意識上的交鋒落實到人物語言上，講求弦外之音，編寫過程中要將自己帶入人物，去習慣他們的說話方式。例如，漢武帝見到東方朔在竇太后身邊，便說「東方朔，你都幾識宮中的路」，一語雙關，暗指其背叛自己，另覓青雲之路。看戲時，觀眾自己揣摩這些言外之意，會很有趣。其二，用一台戲的時間，將複雜的故事交代清楚，是最大的難題。劉洵老師說，《漢武東方》的主題是突破困境。漢武帝面對重重阻力，沒有選擇妥協，從而創立漢朝最強盛的時代。當今大部分粵劇劇目內容較簡單，講故事多，深入刻畫少，這個習慣困住了粵劇的發展。「刻畫」是戲曲最好看的部分，留給觀眾理解的空間，從而產生啟發、觸動，那麼離開劇場後也會記得。今次創作要向這個方向努力。文何少華

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新編粵劇《漢武東方》藝術指導劉洵、主演龍貫天、編劇黎耀威應藝術節邀請接受採訪，細緻闡述該劇的創作理念與意圖。歷史記載中的漢武帝與東方朔，一個是雄才大略的聖主明君，開創漢武盛世；一個是博聞辯智的諷諫弄臣，被後人評為「滑稽之雄」。新編粵劇《漢武東方》，試圖突破以往粵劇中對於二人片面簡單的形象描繪，透過深刻立體的人物刻畫，展示兩人既相輔相成，又微妙複雜的君臣關係。戲甫開場，二人便面臨困局。漢武帝劉徹雖已登基，但朝中局勢卻被祖母竇太后掌控，實權旁落，難以施展抱負。漢朝自高祖劉邦定下「和親政策」，將公主嫁給匈奴單于，以求國邦安定。劉徹欲終止這項屈辱的祖制，被滿朝文武大臣反對。這時善於變通、遊戲於法理空隙的東方朔獻計，提出讓反對者的女兒去和親，破壞其核心利益，幫助漢武帝動搖對手壁壘。漢武帝和東方朔皆是絕世英才。劉徹聽取東方朔來自不同角度的觀點做參考，但是身為帝王，一旦獲得實權，便可以運用權威取勝，按照自己的主見推行政策，不再需要靈巧機變的計謀。統治者與文人謀士相互依賴，又彼此猜疑戒備，矛盾日益彰顯。對於劇中的漢武帝，演員龍貫天先生認為，他文韜武略，有政治抱負，同時也是調皮、自尊心重的年輕人，他問計於東方朔，卻又不甘對方比自己更強，對其又愛又恨。現有的粵劇劇目，往往側重於漢武帝與衛夫人的愛情故事，人物刻板。新戲有輝哥（阮兆輝，飾東方朔）做拍檔，又有劉洵先生、黎耀威一起合作，有信心令漢武帝的形象更立體。

Brilliant Minds in Conflict © Lawrence Ng @WorkHouse Artistic director Lau Shun, lead performer Loong Koon-tin and co-writer Lai Yiu-wai of Emperor Wu of Han and his Jester Strategist, recount the creative concepts and motives behind this brand new Cantonese opera.

According to history, Emperor Wu of Han was a wise emperor of ambition and vision who turned the Han Dynasty into a celestial empire; meanwhile his jester and strategist, Dongfang Shuo, was dubbed “the hero of humour” for his quick wit. While past productions have portrayed them as rather unremarkable characters, Emperor Wu of Han and his Jester Strategist attempts to imbue them with more rounded character traits, presenting the monarch and his courtier in a complementary, complex relationship. Emperor Wu and Dongfang Shuo possess two of the most brilliant minds in history. Although the emperor defers to the latter for a different perspective, he can rely on his authority as a ruler instead of artful strategies to pursue policies once he has secured his powers. Interdependent, but still wary of each other, the ruler and his strategist become increasingly at odds. Lead performer Loong Koon-tin sees Emperor Wu as a young man with military expertise and political ambitions, but who is also playful and self-confident. He has a love-hate attitude towards his strategist and feels unsettled by the courtier’s ability. The existing Cantonese opera canon often focuses on the love story between Emperor Wu and Wei Zifu, and gives a less nuanced view of the characters; Loong is confident that he will be able to present a greater depth in his portrayal of the Emperor in this new production, with Yuen Siu-fai playing Dongfang Shuo, and Lau Shun and Lai Yiu-wai also making up the creative team. The op era op ens with the two main characters in a predicament. Although Emperor Wu has already taken his place on the throne, his grandmother Empress Dowager Dou controls all court affairs and wields the real power, making it difficult for him to realise his ambitions. His plan to annul the humiliating “marital pacification policy” of the previous Emperor Gaozu (in which princesses are married off to the chiefs of the Xiongnu people in the interests of political

stability), meets with wide resistance from his courtiers. Dongfang Shuo, astute and well-versed in legal principles, helps Emperor Wu thwart his opponents’ scheme by proposing that they should give their daughters in marriage instead. Determined in his duty to assist Emperor Wu, Dongfang Shuo sacrifices his own love for Wei Zifu, and even gets closer to Empress Dowager Dou to gather intelligence at the expense of his own interests. How will he react when he discovers the emperor’s suspicious attitude towards him – will he leave or will he stay? Lai Yiu-wai confesses that while writing the opera has been enjoyable, it has also been challenging. It has been crucial for the playwright to stand in each character’s shoes and become intimately familiar with the speech style of each role, especially when the intellectual confrontations between the characters are loaded with hidden implications. For instance, when Emperor Wu sees his strategist at the side of Empress Dowager Dou, he says, “Dongfang Shuo, you know the ways of the palace well”. He uses the pun to hint at his strategist’s betrayal and pursuit of promotion; these hidden meanings are among many that will delight audiences throughout the play. However, for Lai Yiu-wai, the biggest challenge of them all has been to clearly recount a complex story in the course of a single play. Emperor Wu of Han and his Jester Strategist is about surviving predicaments, as Lau Shun explains. Emperor Wu overcame barrier after barrier in turning the Han Dynasty into a celestial empire, and he feels that simple plots and an emphasis on storytelling (rather than in-depth characterisation) in the existing repertoire have suppressed the development of Cantonese opera. This new production aims to encourage and promote “characterisation” as a central part of Chinese opera, inspiring and stoking emotions in the audience by leaving room for their own interpretations, even after the end of the performance. By Ho Siu-wah Translated by Heidi Chun

Seeing the Unseen www.poad.com

“The towns and cities from which we come – where we are born, grow up, go to school, take jobs, get married, pray and play, and get old and die – are truly our identity” - Benjamin Barber

「我們來自的那座城市，那個我們出生、成長、上學、工作、結婚、祈禱與玩耍、然後變老死去的地方，才是最真實的自我所在」— 班傑明．巴伯

Family Val es n

ChangingTimes 大時代小家庭

時代不停變遷，多齣戲劇以過去和當下的家庭、政治及社會經濟作主題，探討時代巨輪下的倫理關係。 These plays are underpinned by strong familial, political, and socio-economic themes across different moments in time, examining the interaction of family dynamics with the changing world around us.

城市、家庭與「一樣米食百樣人」。曾幾何時，中國人（廣東人）也許覺得世人都應該「食飯」，「為兩餐」是永恆的生存模式。在所謂上一代的思維裏，「齊家」的要義，體現在一家人開開心心「返屋企食飯」的儀式當中。一家人圍着圓桌吃飯，是一種和諧的共識。圓形沒有對立面，長幼有序，不容納衝突矛盾。家裏的矛盾不容易解決，一齊食飯的儀式，至少維持了最起碼的溫情。八、九十年代邊吃飯邊看電視公仔箱裏的家庭悲喜劇，其實是維持家庭和諧的人倫教育；有正面教材，也有反面教訓，造就了港式八卦通識教育。民主、自由、本土等等，從來不可能是家庭「食飯」的主菜。時代變了，電視台已不復昔日的輝煌。香港也進入了和諧不再、全民作戰的矛盾新世紀；政治，取代了電視與八卦周刊。圍繞着家庭、城市與人的三個主題，我們特別委約製作《香港家族》三部曲，邀請美國紐約公共劇院的《大選年的家庭》三部曲，和埃及開羅自主神殿劇團的《埃及式最後晚餐》。三個家庭湊成七齣戲，皆以家庭聚餐為戲劇處境，以劇中人物所在的國家及城市的政治環境為依托，展現這三個城市賦予她的市民的某種特有氣質，和人在政治時代遞變之下的某種微妙轉變。戲劇是人性的無限而有形的想像，人性卻離不開從個人到家庭、再到社會的人倫及政治制約。從一家人在飯桌上的互動觀天下，是現實主義的絕佳題材。《大選年的家庭》三部曲的編劇及導演理察．尼爾遜相信，家庭才是真正搞政治的場所。我也是看了尼爾遜先生之前的《大蘋果家庭》四部曲，深受觸動，才決定找龍文康寫《香港家族》三部曲，通過三個晚餐，為香港過去這二十年，寫一齣屬於這個時代的「家變」。

文蘇國雲（香港藝術節副節目總監）

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City, Family and the Individual 個人 “People from all walks of life feed on the same grains of rice”. There was probably a time when the Chinese (Cantonese) thought that everyone should work to get their fill, and that “putting food on the table” would always be of value in life. In the minds of the older generation, the idea of “establishing domestic order” is manifested in its members “coming home for dinner” in a happy union. A family sharing a meal at a round table symbolises consensus on harmony in the home. A circle has no opposing sides; it does not offer an environment for confrontation or conflict. Where family conflicts are difficult to resolve, the ritual of the family meal is at least a token of affection. In the 1980s and 1990s, sensational, family-themed soap operas on TV would be a regular dinner time accompaniment in many Hong Kong households, and would fulfil the didactic function of maintaining traditional family values. These soaps contained both positive and negative lessons that shaped the social discourse of the time. Democracy, freedom and localism could never be the main course of a family meal. Times have changed however, and terrestrial TV no longer has the reach it once did. Hong Kong has also entered an era of conflict, and of a contentious society; politics has taken the place of television and tabloid magazines. Revolving around the themes of city, family, and the individual, HKAF has brought together three special theatre

ensembles to feature in this year’s programme; an original commission of A Floating Family trilogy (Hong Kong), alongside invitations to The Gabriels: Election Year in the Life of One Family by The Public Theater (USA), and The Last Supper by Temple Independent Theatre (Egypt). The three families take the stage in seven plays, all featuring a family meal as their setting. The political environment of the country or city in which the characters are situated paints the backdrop of the drama, illuminating the unique temperaments that the three cities instil into their citizens, and the intricate changes in these people amidst shifting political currents. Drama is the boundless yet tangible imagination of human nature, and human nature is invariably shaped by the ethical and political conditioning underpinning the relationship between the individual, family and society. A family’s interaction at the dinner table offers a lens through which we see the world, and makes for an excellent study in realism. According to Richard Nelson, playwright and director of The Gabriels: Election Year in the Life of One Family, “the real place for politics is at home”. I saw Mr Nelson’s previous work The Apple Family tetralogy and was deeply moved by the plays; this in turn inspired my decision to invite Loong Man-hong to write the HKAF commission A Floating Family, a trilogy which encapsulates, through the scenes of three Hong Kong family dinners, the story of this shifting home over the past two decades. By So Kwok-wan, HKAF Associate Programme Director Translated by Nicolette Wong

Put it All On the Table 舞台上的餐桌 Come Home 返屋企食飯 for Dinner 香港。亞洲國際都會。人口 730 萬，主要信奉華人宗教（儒、道、佛）、基督教及其他宗教。開埠於 1842 年。

Hong Kong. Asia’s World City. Population 7.3 million, predominantly following Chinese religions (Buddhism, Taoism, Confucianism), as well as Christianity and others. Free port established in 1842.

《香港家族》三部曲由同一班底創作和演出，講述一個香港家庭分別於 1996 年、2004 年和 2017 年的故事，既是回顧過去，也是展望未來。三個年頭的故事均發生在黃氏一家的客飯廳裏，觀眾透過首兩齣劇重溫香港近年兩段重要歷史—1996 年回歸前夕和 2004 年沙士爆發之後—回看當年香港人如何面對挑戰。第三齣劇設於 2017 年，帶觀眾回到實時（香港第五任行政長官選舉日將在三部曲完場一星期後舉行）。舞台上的集體回憶與社會事件，無疑和香港人息息相關（在同一晚間新聞報導中看到、同一條街上發生、茶餘飯後傾談相類似內容），因為都是在同一座城中的親身經歷。

Featuring the same cast throughout, the three plays that make up A Floating Family take place in 1996, 2004 and 2017 respectively, while the trilogy viewed as a whole is simultaneously backward and forward looking. Through living-dining room dramas, the audience revisits two significant periods in recent Hong Kong history in the first two plays (immediately pre-reunification in 1996 and in the 2004 aftermath of the SARS outbreak), and how Hongkongers have faced these challenges. The third play then catches up with the present day, when the election for Hong Kong’s fifth Chief Executive is due to take place within a week of the trilogy’s run ending in March 2017. These public memories and events are “city-wide” in the true sense of the word, being experienced and relayed in the same nightly news reports, the same urban streets, and even sparking similar dinner table chitchats.

《香港家族》以社會大事為骨幹，透過不同年代的三次家庭晚飯，講述橫跨三代人的家庭故事。三部曲意在勾起家家戶戶「返屋企食飯」、進而引伸到我城的集體回憶。香港文化深深承襲中華文化及價值觀（94% 的香港人視自己為漢族華裔），尤其著重傳統家庭觀念和團聚的意涵。共通的家庭經歷，跨越彼此之間的政治分歧或階級差異，容易引起大家共鳴。過去，傳統香港核心家庭結構讓香港人建構身份有所根據；當前者逐漸褪色，為它留低記錄，尤為迫切。

《香港家旅》三部曲 A Floating Family - A Trilogy 節目資料請見 67 頁 For more on A Floating Family, see p67

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In A Floating Family, these “current” affairs form a backdrop to the central plot of underlying familial tensions, stretching over three generations, and played out over three dinners. What the ambitious trilogy attempts to remind us of are these shared dining memories in individual households, and by extension of the city itself. The city derives much from Chinese culture and values – 94% of its population identify themselves as Han-Chinese – in particular the Chinese conception of family and “togetherness”. Common family experiences are easily related to, even across divides of political opinion or class status. There is an urge to capture these impressions of the fading nuclear family unit, which for so long have provided an anchor to the meaning of being a Hongkonger.

The US

Election on the Kitchen Table

廚房裏的美國大選紐約市。大蘋果。人口 855 萬，基督徒占 60% 以上，無宗教人士占 20%。 1898 年，紐約縣與周邊城郡合併成為現在的紐約市。

New York City. The Big Apple. Population 8.55 million, of which Christians and non-religious make up over 60% and 20% of society respectively. Consolidated in 1898.

在《大選年的家庭》三部曲所描述的 2016 年的八個月裏，美國總統大選在加比奧一家、甚或其他美國家庭中一樣無孔不入（一共 8400 萬美國人觀看了第一次美國總統電視辯論）。本劇全名是《加比奧：大選年一個家庭的生活》，雖然副題中有「大選」字眼，但是導演兼編劇理察．尼爾遜避開了美國政治的堂皇敘述，不將這單一全國大事件作為本劇主題。他和筆下的角色沒有公告政治立場；在三部曲裏展現的，正如公共劇院藝術總監奧斯卡．歐斯蒂斯所說，是「在公眾場合不再能聽到的對話」。

The 2016 presidential election is omnipresent in the Gabriel household over the eight months depicted in this trilogy of plays, as for many other Americans (84 million people viewed the first presidential debate on live television). The full title of the trilogy is The Gabriels: Election Year in the Life of One Family, but despite including “Election” in the trilogy’s subtitle, director and playwright Richard Nelson avoids grand narratives in US politics, and refrains from making the election – “the same singular national event” – the main subject of the plays. Nelson’s concern is not to proclaim a political stance (nor is it for his characters); instead he is interested in, as The Public Theater’s Artistic Director Oskar Eustis puts it, “the conversations that do not happen in public anymore”.

這種對話是一家人在廚房裏隨意、閒散甚至私密的傾訴，家事與私事在言談中交錯，又令人想起家門外面的世界和使人氣憤之事。傳統家庭劇往往充斥着情感爆發，或者家庭秘密的揭發。而在加比奧這個中產家庭裏，「上了某個年紀」的家人之間則透過互相傾訴，嘗試解決焦慮。劇中演員演技自然，像要邀請你搬來椅子，坐下來一起談談。《大選年的家庭》取材自個人和家庭經歷，表現出另一種對政治更深切的理解和回應。面對越來越多無法控制的不確定因素，有同伴（夥伴「compaignon」一詞法語中意為「同分麵包的人」）總比孤身一人好。

紐約公共劇院 The Public Theater

《大選年的家庭》三部曲 The Gabriels: Election Year in the Life of One Family 22-26.2.2017 香港文化中心劇場 Studio Theatre, HK Cultural Centre

These are the casual, scattered and private exchanges one actually has with family members in the kitchen. They weave household and personal issues together, reminding us of the world outside and the frustration it entails. Unlike conventional family dramas involving emotional outbursts or the revelation of hidden family secrets, the Gabriels – middle class and “of a certain age” – come to terms with and express personal worries with their loved ones. The cast’s naturalistic acting invites you to pull up a chair next to them and join the conversation. The Gabriels belongs to a vein of playwriting which shows a deeper, alternative way of understanding and reacting to politics, and it draws strongly on the individual and family. Facing an ever-growing list of uncertainties beyond our control, the companionship (a word rooted in the Old French compaignon meaning those whom one breaks bread with) of other human beings is almost always preferable to being alone. 33

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與世隔絕的生活

Life in a Bubble 開羅。阿拉伯語為 Al- Qāhirah（意為「征服者」）。人口 950 萬，其中 90% 為穆斯林，餘下為基督徒及其他宗教信仰人士。建城於公元 969 年。

Cairo City. Al-Qāhirah (“The Vanquisher”). Population 9.5 million, of which about 90% are Muslim, and 10% are Christian, among others. Founded 969CE.

《埃及式最後晚餐》的編劇兼導演阿默特．艾雅塔描繪了一個住在開羅的富裕家庭的生活。這齣戲於 2014 年寫成及首演，此前於 2011 年發生過塔利爾廣場反政府示威，致使總統穆巴拉克下台，隨後上台的穆爾西又因政變被打倒。相比《大選年的家庭》中的加比奧一家對政治環境憂心忡忡，對劇中這個開羅家庭來說，政治完全事不關己。他們物質條件非常優越，無論政局如何動蕩，生活依舊波瀾不驚。他們彷彿在與世隔絕的氣泡裏生活，除了花錢投資就是出國購物，維持着嚴格的主僕階級關係，並經常彼此安慰：這個國家「可憐的狀況」遲早會自我修正。

In The Last Supper, writer and director Ahmed El Attar focuses on a wealthy Egyptian family in Cairo. The play was written and premiered in 2014 following the 2011 Tahrir Square uprising, which removed president Hosni Mubarak from office, and immediately after his successor Mohammed Morsi was overthrown by a coup d'état. While the Gabriels are worried about politics, the family from Cairo are simply oblivious to the fact that politics might impact them at all. They live a comfortable lifestyle and remain both unchanged and unreflective in the face of political unrest. They exist in a bubble of investment and shopping abroad, of maintaining a rigid master-servant hierarchy, and of assuring each other that it will only be a matter of time before the “sorry state” of their country rights itself again.

艾雅塔在劇本中特意加入連珠炮般的對話，戲中角色滔滔不絕地突出自己是超級尊貴消費者、生活過得非常「充實」。不過，艾雅塔在劇中並沒有批評這種價值觀，沒有外人出來挑戰這個家庭和其一家之主。親緣關係更使這種生活方式和心態得以跨代保存：家族的第二代成員自幼在大宅中由傭人服侍長大，到了他們聘請僕人，也懂得挑「勤奮且逆來順受」的外傭。據艾雅塔說，《埃及式最後晚餐》又是鏡子又是透鏡，能反映或折射出社會百態：來自不同社群的觀眾，會對這齣戲有不同反應。富裕階層從中看見自己；其餘人則難得一窺上流生活。《埃及式最後晚餐》雖然與另外兩齣三部曲一樣也見證了當代社會，但舞台上的這個家庭彷彿與外在世界完全脫節。就像劇名所引用的名畫，他們被困在畫框裏，成為埃及當代社會風貌中，一幀發人深省的即景。資料整理林尚諾中譯王明宇

自主神殿劇團 Temple Independent Theatre

《埃及式最後晚餐》The Last Supper 4-5.3.2017 香港文化中心劇場 Studio Theatre, HK Cultural Centre

El Attar has packed his script with deliberately excessive dialogue. Characters chatter about their over-privileged consumerist existences and “fulfilled” lives. That said, the play is judgment-free; nobody confronts the family or challenges the revered patriarch. Kinship also perpetuates their lifestyle and mindset: the second generation, having grown up in a house with servants, hire foreign domestic workers who are “hard workers and won't say no to a thing”. According to El Attar, the play has received mixed reactions depending on the audience’s demographic, and functions as both a mirror and a lens. The affluent class sees themselves; the rest are offered a rare glimpse into the former’s lives. Like the two trilogies, The Last Supper is written alongside contemporary events, but the family on stage remains out of touch with the world outside. As in the painting of the same name, they are trapped within the frame of this fascinating snapshot of contemporary Egyptian society. Compiled by Sherlock Lam

DARK SIDE of TWO FAMILIES The

家家有本難唸的經

阿瑟．米勒的美國夢自古至今，以家族為題的戲劇一直歷久不衰。無論是喜劇，或是更常見的悲劇，家庭一向是劇作家豐收的稻田。俄國文學泰斗托爾斯泰曾寫道：「幸福家庭的故事都是大同小異的，而不幸的家庭卻各有各不幸。」這句名言正好描述了兩部將於 2017 年香港藝術節上演的劇目：兩個南轅北轍的家庭、兩種差天共地的文化，但同樣扣人心弦。兩部劇中，「家庭」二字更像一種隱喻，超越一般人所理解的核心、緊密的關係，不只是社會的基本單位。英國劇作家大衛．哈爾形容阿瑟．米勒為「美國世紀三大劇場之聲的最後一位」，而另外兩位就是尤金．奧尼爾和田納西．威廉斯。米勒於 1947 年寫成的《都是我的孩子》正是其名作，更曾兩度改編成口碑載譽的電影。故事中的男主角一切以自己的家庭責任為首，甚至凌駕於託負在他誠信和職業道德上的其他人的性命，劇本要探問的正是一個人的道德價值觀。這個人就是白手興家的成功實業家祖．凱勒，他對家庭的愛比一切更甚，希望家族昌盛過好生活，實踐「美國夢」。然而盲目的愛驅使他作出自私的決定，最終令他賠上名譽、子女的敬重和年輕士兵的性命。劇名所指的孩子不單是男主角的孩子，更指二戰中美國的青年機師，他們的性命攸關主角工廠生產的飛機引擎質素。《都是我的孩子》揭示了快樂家

閱藝

庭和事業成功的黑暗面，首演時曾引起不少哄動。米勒劇中的隱諷，更是他於五十年代末被眾議院非美活動委員會傳召審問的原因之一。同時，劇中情節可追溯至古老和永恆的古希臘悲劇中，主角知情或不知情「犯罪」，最終因而受罰。那是天神懲罰違反自然法規（也就是祂旨意）的人。如米勒自己所言，「每個劇本的結構也是講述鳥兒如何回家棲息的故事。」

《麗南小姐》的美國夢過去兩個世紀，無數愛爾蘭的男女遷徙到新世界，為求擺脫貧窮和被父權社會、專制政權和宗教領袖強加在他們身上的價值。他們為了尋求機遇和自由而離鄉別井，來到這片美國夢的土地上。奧利花及多項東尼戲劇獎得獎戲劇《麗南小姐》所刻畫的，正是那個被移民離棄的乏味社會。劇作是馬丁．麥克唐納的黑色喜劇《麗南三部曲》其中一部（其餘兩部為《康尼馬拉的骷髏》和《孤獨西域》），故事背景設定在一個充斥着憤怒、無知和苦難的破敗愛爾蘭村莊，就連當地牧師也承認：「看來上帝在這裏並沒有管轄權。」四十多歲的處女莫琳，是她七十歲老母親瑪姬的非正式看護，隨傳隨到，全天候聽命。母女二人惡意相向、爭吵不休，關係建基於怨恨和厭惡之上。瑪姬懼怕被遺棄；莫琳則軟弱，一直離不開。因此當愛情和自立的機會找上莫琳時，她的母親用盡千方百計也要確保女兒美夢成空。

Arthur Miller’s All My Sons From earliest times to the present day, the popularity of plays about family relationships has never waned. Whether comedy, or more usually tragedy, the family tree has been ripe for plucking by dramatists. The great Russian novelist Leo Tolstoy wrote that “happy families resemble each other, each unhappy family is unhappy in its own way”, and his dictum certainly describes the very different families and cultures portrayed in two gripping dramas that will be seen at HKAF. And in both, the word “family” can be taken as a metaphor for something much bigger than the close-knit, nuclear group of which we normally think; the basic unit of our society. Arthur Miller was described by British playwright David Hare as “the last of the three great theatrical voices of the American century”; the other two being Eugene O’Neill and Tennessee Williams. His 1947 play, All My Sons, is an acclaimed masterpiece which has twice been turned into highly successful movies. © Stephen Cummiskey

1937 年愛爾蘭採用的新愛爾蘭憲法中，正式承認「家庭作為主要和基本的社會單位，以及具有不可剝奪及指定的、並比法律高層次的權利的倫理體制」。家庭在教會的嚴厲指導下被視為統一和安穩的重要象徵。當時也不容許離婚。可是愛爾蘭迎來了變化：都市化和全球化也見其效。1996 年首演的《麗南小姐》橫跨了過去和現在。家庭關係的崩解帶來了瘋狂和不堪的種種。《麗南小姐》一開始講述的是阻撓夢想故事，卻逐漸演變成一個關於離開（或不離開）家庭和故土的寓言故事。劇作家馬丁．麥克唐納生於英格蘭，雙親為愛爾蘭人，對於自身的文化認同也有着非常複雜的關係。有劇評的確把瑪姬看成英格蘭的隱喻，一個暴虐、疏忽的殖民主母親；而莫琳則是愛爾蘭，一位遭嚴厲對待的反叛孩子。跟《都是我的孩子》中的父親祖．凱勒不同，《麗南小姐》的主要角色不是因為犯罪或過失而受苦，他們只是艱苦成長和生活環境的受害者。家庭關係失衡正源自痛苦本身。到了最後，正義只是一種諷刺。來自美國和愛爾蘭的兩個劇目，分別展現兩種對何謂家庭—甚或是理想家庭—截然不同的態度。兩部劇作也是當地社會的獨特產物，深刻的觀察不僅啟迪人心，同時是一場豐富的娛樂，每一幕也令人緊張得如坐針氈。文約瑟．施力中譯蘇靈茵

It examines the morality of a man who sees responsibility to his immediate family as all-important, more important than a wider responsibility to the men whose lives depend on his honesty and integrity. This man is Joe Keller, a self-made and successful industrialist who loves his family above all else. He wants them to prosper, to have the good things in life, to live “the American Dream”. But that blinkered love leads him to make a selfish decision, one which will ultimately cost him his honour, the respect of his children and the lives of many brave young men. The sons referred to in the play’s title are not just his own, but his country’s young World War II pilots who depend on the worthiness of the aeroengines his factory manufactures. All My Sons showed the dark side of the idealised dream of happy family and business success, and caused quite a furore when first staged. Miller’s implicit criticisms were certainly one reason for his being called before the House Un-American Activities Committee later in the 1950s. At the same time the plot harks back to something much older, to ancient Greek tragedies in which the main character commits a “crime”, either knowingly or not, for which he is eventually punished. It was divine retribution for disobeying the laws of nature – the will of the gods. In Miller’s own words, “the structure of a play is always the story of how the birds came home to roost”. 37

The Beauty Queen of Leenane Over the past two centuries countless Irish men and women emigrated to the New World, seeking to escape poverty, and the values imposed by a patriarchal, authoritarian, religious hierarchy. They left to seek greater opportunity and freedom – not least in the land of the American dream. The Olivier and multiple Tony Award-winning The Beauty Queen of Leenane reminds us of the stultifying society that the emigrants left behind. It is one part of Martin McDonagh’s Leenane Trilogy, three black comedies (A Skull in Connemara and The Lonesome West being the others) set in a rural Ireland so blighted by anger, ignorance and misery that even the local priest admits “God himself seems to have no jurisdiction here”. Forty-something virgin, Maureen, is unofficial carer for her seventy year old mother, Meg; constantly at her beck and call. It’s a spiteful, bickering relationship, based on resentment and dislike. Meg is frightened of being left alone; Maureen is too weak to leave. When Maureen’s chance of romance and independence comes along, her mother makes sure it fails. In its 1937 Constitution the Irish State formally recognised the family as “the primary and fundamental unit group of Society, and as a moral institution possessing inalienable and prescriptive rights superior to the law”. It was an important symbol of unity and security, under the strict guidance of the Church. Divorce was not allowed. But change has come to Ireland. Urbanisation and globalisation have had their effect. The Beauty Queen of Leenane, first staged in 1996, straddles past and present. Family ties have disintegrated, leading to madness and worse.

京士頓玫瑰劇院 Rose Theatre Kingston

《都是我的孩子》All My Sons 3-5, 7-11.3.2017 都爾德劇團 Druid

《麗南小姐》The Beauty Queen of Leenane 16-19.3.2017 香港演藝學院歌劇院 Lyric Theatre, HKAPA

What begins as a story of thwarted dreams becomes a parable about leaving (or not leaving) family and native land. Playwright Martin McDonagh was born in England to Irish parents, and admits a complicated relationship with his own cultural identity. Indeed, some critics have seen Meg as a metaphor for England, the oppressive and neglectful colonial mother; Maureen as Ireland, the harshly treated and rebellious child. Unlike Joe Keller in All My Sons the main characters in The Beauty Queen of Leenane don’t suffer because of any crime or sin committed. They are simply victims of their harsh upbringing and environment. Their dysfunctional family relationship derives from suffering itself. In the end, justice proves to be ironic. These two contrasting plays from America and Ireland reveal very different attitudes to the idea, and indeed ideal, of “family”. Both are distinctive products of their own society, fascinating studies which enlighten, entertain and keep you on the edge of your seat from first to last. By Joseph Seelig

New Steps and Old 舊舞新步

匯聚現今舞壇最具份量的優秀舞者，呈獻創新與傳統並重的舞蹈節目。

Both innovation and tradition are celebrated in dance productions that feature some of the most important voices in the field today.

2009 年，六十八歲的翩娜．包殊驟然離世。僅僅一個月後，九十歲高齡的美國編舞簡寧漢也撒手人寰。兩位編舞大師的相繼謝世在舞蹈界引起震動，但他們的偉大名聲卻絲毫未變。對於熟悉舞蹈的人，僅僅「翩娜」二字便已足夠。除非你對這位二十世紀最具影響力、最受尊敬的編舞家留下的寶貴遺產一無所知，否則無需提起她的姓氏。作為著名的烏珀塔爾舞蹈劇場之頭腦（和心臟），她的興趣永遠是探索人為何而動，是人怎樣面對他人。她的作品─尤其是後期作品─都源於個人視角。一系列拼貼畫般驚為天人的舞作，全來自她的思考，內容不僅包括兩性關係，還有更深刻的關於人生美好與痛苦負擔的思考。包殊和其舞團在世界各大都市的駐團經歷，成為她許多作品的靈感源泉，其中包括香港。包殊是香港藝術節的老朋友，這段深厚友誼大概在 1996 年她和舞團駐港三周時便已埋下種子。包殊曾在日記中寫道：「我們在這裏吃了那麼多美食，我想有必要創作一部新作，專門講吃。」當然，他們所做的絕非只有品嚐美食而已。包殊和舞者們此行目的，是收集對香港的印象，然後在包殊謹慎、深入的指導下，進行深刻的內省，從自我內心尋找創作素材。此行的結果便是由香港藝術節聯合製作的《抹窗人》，1997 年於香港首演。這是一部典型的多層次拼貼風格舞作，肢體表達豐富，意象中滿是荒謬、溫柔，還有極度徒勞和大量浪漫元素，叫人印象深刻。過去二十年間屢次亮相香港藝術節後，烏珀塔爾舞蹈劇場重返香港藝術節，帶來令人激動的兩個作品。兩齣舞蹈都是包殊上世紀七十年代中期作品，其中《穆勒咖啡館》首演於 1978 年。在其後很長一段時間裏，這是唯一一部包殊會親自主演的舞團作品。她穿着一襲白色薄身長裙，以夢遊般的舞步在桌椅間穿梭，如鬼魂在台上飄蕩。其他幾位人物似是她臆造，又或是她過去的影子，在台上慢慢行走，或踏着碎步小跑，甚至橫衝直撞，將桌椅掀翻。他們間或嘗試接近彼此，彷彿這樣能讓他們從共有的憂傷中得到釋放。整部作品如夢境一般，昏暗冷寂，讓人難以忘懷。另一部則是包殊在 1975 年編舞的《春之祭》。這部由史達拉汶斯基寫的芭蕾舞 1913 年首演之後成為眾多編舞的試金石。包殊的版本是其中一個最優秀的表表者：原始，帶着名副其實的土腥味（整個舞台都由黝黑的泥土覆蓋），大量舞者用狂亂的舞步和全身爆發出的能量表現一場生育崇拜的獻祭。他們抖動身軀跳完全舞，在最後的高潮時精疲力竭地倒下，讓觀眾屏息凝神，激動不已。你不需要是熟悉包殊作品的追隨者，也能在其中感受到包殊作品中獨有的痛苦和狂喜。對我來說，任何觀看包殊作品的機會都是一種難得的榮幸，不管有時它們顯得多麼冗長與自我沉溺。但是對於包殊本人，每一次創作新作品，都是一個艱難且令人焦慮不堪的過程。包殊有次說道：「每一次，你都是初學者。」我曾見過包殊一次，就在她去世前一年，她監製的烏珀塔爾年度舞蹈藝術節上。此次近距離的接觸，讓我親眼目睹了她對身邊人有多麼關心，特別是對她的舞者和藝術節的嘉賓。在雲門舞集的演後餐會上，包殊正好坐在我旁邊，而我的另一側則是好友和同行，雲門舞集的藝術總監林懷民。包殊舉止優雅，但吃得不多，她看起來那麼腼腆，所以我首先開腔，展開了我們

簡短的對話。我告訴她，我靠寫舞蹈及藝術評論為生。她的回覆簡潔明了，而且時機拿捏得恰到好處。「我不喜歡評論家。」她低着頭，一邊切着盤中餐一邊說道。片刻之後，包殊抬起頭，親切地對我說：「當然，不包括你。」關於包殊，我還有過另一次令人難忘的偶遇，但不是與她本人，而是和她舞團美得令人窒息的舞者茱莉．安．斯坦扎克。那是 2012 年夏天，《世界城市》系列演出剛剛落幕。《世界城市》是 2012 倫敦藝術節的一個重要環節，連續上演了包殊十部大作（包括《抹窗人》），都是根據舞團在世界各地駐團經歷而作。該系列在莎德勒之井劇院和巴比肯藝術中心上演，前者不僅是蜚聲國際的倫敦舞蹈表演重地，更和烏珀塔爾舞蹈劇場有着長久而堅固的夥伴關係。那天，我正在莎德勒之井劇院門口等候巴士，看到斯坦扎克走近，就抓住機會，感謝她在整個系列中的精采演出。斯坦扎克很健談，坦言她和其他舞者都很疲憊，但也倍感欣慰，終於完成了這一馬拉松演出。她說，《世界城市》是包殊去世前正在策劃的眾多項目之一。這十齣舞劇的演出，帶有一種沉重的痛感，因為舞團數月後即將招募新舞者，而這將是首批未親身接觸過包殊的成員。然而這次偶遇對我意義最深刻的，是斯坦扎克對包殊構思新作時狀態的描述。據她說，這位舞蹈劇場的「女祭司」會在排練室外踱來踱去，一邊吞雲吐霧，一邊用英語，斯坦扎克強調，不是德語、法語或任何其他語言，不斷問自己：「Where’s the beauty ？」（美在何處？）這則珍聞在我腦中揮之不去，也讓我瞬間明白了自己在不同文化與藝術中尋找的事物─無論是為了工作，還是僅僅作為「另一位」觀眾。某種程度上，我一直在尋找美，而在包殊的作品中，我找到了。也正是因為如此，我和全世界的觀眾，都會一而再再而三地回來，渴求更多。文當奴．胡特拉中譯曾逸林

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‘Where’s the Beauty?’ The Enduring Art of Pina Bausch

「美在何處？」翩娜．包殊歷久不衰的藝術

Pina Bausch’s shockingly sudden death in 2009 at age 68 – just a month or so before the 90 year-old American choreographer Merce Cunningham’s less surprising demise – left the dance world reeling. But in both cases the colossal reputation of these great artists remains intact. To dance insiders she is still simply Pina, the surname only necessary when speaking to those who know little or nothing about the cultural legacy of one of the most influential and intensely revered choreographers of the 20th century. As the head (and heart) of the world-famous Tanztheater Wuppertal her abiding interest was in how human beings move and, no less importantly, behave towards each other. It was a personal vision realised – especially later in her career – as a series of patchwork epics built from Bausch’s preoccupation with the relations between the sexes and, beyond that, the sometimes beautiful yet often painful burden of being human. Many of these productions were inspired by residencies Bausch and company undertook in various world metropolises, including Hong Kong. Bausch was, in fact, a longstanding friend of the Hong Kong Arts Festival. That close relationship was perhaps most deeply rooted in the three-week sojourn she and her dancers made to Hong Kong in 1996. “We’ve eaten so much food here that I think we should do a piece just about eating”, Bausch wrote in a diary later made public. But of course they were all doing much more than dining. Their collective goal was to gather impressions of Hong Kong and, under Bausch’s careful and penetrating guidance, also look inside themselves for the raw material for a new work. The result was Der Fensterputzer (The Window Washer), a typically

layered, collage-style piece made up of physical expressions and indelible imagery of absurdity, tenderness, extreme futility and extravagant romance. Co-produced by the Festival, it premiered in Hong Kong in 1997. Having returned to HKAF on numerous occasions since then, Tanztheater Wuppertal now presents a sensational double-bill reaching back to the mid-1970s. Dating from 1978, Café Müller was for a long while after the sole work in the Wuppertal repertory in which Bausch herself appeared, as a wraith-like somnambulist drifting about in a flimsy white shift amongst a collection of tables and chairs. A handful of other characters – possibly figments of her imagination, or figures from her past – shuffle, trot or lunge around the set, scattering the furnishings and occasionally attempting to get close to each other and perhaps thereby liberate themselves from a shared melancholy. It’s dreamy, bleak and unforgettable. The latter could easily be applied to Bausch’s stunning 1975 take on The Rite of Spring. Stravinsky’s infamous music has since its 1913 premiere become a rite of passage for scores of choreographers. Bausch’s version is one of the best, a feral and literally earthy – the stage is covered in rich, dark soil – fertility ritual enacted with frenzied and full-bodied intensity by a huge cast. They shudder and shake their way through a performance that leaves them exhausted at the climax and their audience impressed and exhilarated. You needn’t be a ready-made acolyte of Bausch’s brand of agony and ecstasy to be rewarded by it. Certainly for me any opportunity to see her work, no matter how long-winded or self-indulgent it sometimes becomes, remains a privilege. For 43

Bausch herself, however, giving birth to a new work could be arduous and anxiety-ridden “Each time”, she once remarked, “you are a beginner”. I met Bausch once, the year before she died, in Wuppertal during the annual festival she oversaw. There I was able to observe first-hand how solicitous she was of the well-being of the people around her, especially the artists in her company and those she was hosting as part of the festival. We were at a post-performance buffet for Cloud Gate Dance Theatre. I sat at a table between her and a dear friend and colleague, Cloud Gate’s artistic director Lin Hwai-min. Bausch ate delicately and not a great deal and, because she seemed so shy, I initiated our brief conversation. I told her that I wrote about dance and the arts for a living. Her response was succinct and beautifully timed. “I don’t like critics”, she said, gazing down and cutting something on her plate. A moment later, however, she looked up and added, with genuine graciousness, “But not you, of course”. I had another memorable encounter, not with Bausch but rather the drop-dead-gorgeous dancer Julie Anne Stanzak. It was in London in the summer of 2012 just after the last show in the World Cities season. The latter was a series of ten Bausch blockbusters (including Der Fensterputzer) that all existed thanks to the company’s different creative residencies abroad. I spotted Stanzak approaching me as I waited at the bus stop

in front of Sadler’s Wells, London’s major international dance venue and one with which Tanztheater Wuppertal now enjoys a solid and ongoing association. Seizing the opportunity, I thanked Stanzak for the entire season. She was wonderfully chatty, admitting that she and the other dancers were all very tired but so glad to have completed this marathon of performances. World Cities, as Stanzak revealed, was among the many projects Bausch was plotting at the time of her death. There was an extra poignancy to these ten shows, given that in just a few months the company would be auditioning for new members – significantly, the first dancers to join who wouldn’t have had any direct contact with Bausch herself. But what meant the most to me was Stanzak’s description of Bausch in the process of devising a show. Apparently the high priestess of tanztheater would pace the hallway outside the rehearsal studio, chain-smoking as she asked herself in English and not, as Stanzak pointed out, German or French or any other language, “Where’s the beauty?” It’s a haunting tidbit, this, and one that instantly crystallised what it is that I seek – both professionally and as “just another” audience member – from just about all of the art and culture to which I’m exposed. On some level I always want beauty and, with Bausch’s work, I get it. It’s what keeps me – and audiences around the world – coming back for more. By Donald Hutera

翩娜．包殊烏珀塔爾舞蹈劇場 Tanztheater Wuppertal Pina Bausch

《穆勒咖啡館》及《春之祭》 Café Müller and The Rite of Spring 8-11.3.2017 香港文化中心大劇院 Grand Theatre, HK Cultural Centre © Bo Lahola

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奧斯卡．史萊莫的多才多藝，讓他在藝術史上穩佔一席之地。這位當之無愧的博學大師不僅是畫家，還是雕塑家、教師、戲劇理論家、設計師及舞蹈創作者。上世紀二十年代，史萊莫加入著名的德國包浩斯，成為這所設計、建築與工藝美術學院中最受歡迎的教員之一。在那裏，史萊莫潛心鑽研光、幾何、色彩、動態以及形態的組合，創造出一系列「結構舞蹈」，巧妙地展示了人體與抽象空間的關係。史萊莫最著名的舞蹈作品《3．芭蕾》迅速成為那個時代最常見諸舞台的前衛舞蹈，而且催生了不少改編作品，當中以 1977 年傑哈德．博納爾的重構版最廣為人知（博納爾與史萊莫一樣，是德國的舞蹈革新者）。舞作問世近百年，巴伐利亞國家芭蕾舞團二團重新將博納爾版本搬上舞台。他們這次到訪香港藝術節，不僅將上演巴蘭欽、納曹．杜亞陶及理察．斯寇的三部芭蕾精品，亦會獻上這部精彩的《3．芭蕾》。

在最初的包浩斯版中，《3．芭蕾》為設計者提供夢寐以求的機會，因為其中舞者的服裝遠比平實、重複的舞步引人注目。雖然部分服裝的靈感源自芭蕾女伶的蓬蓬裙，但《3．芭蕾》與古典芭蕾的聯繫僅此而已。這些別緻的服裝蘊含了螺旋、三角、圓錐、卵形等形狀，常常由厚重的填充木頭製成。當舞者套上它們起舞，看起來就像一組光怪陸離的廚房用具，或富未來感的彈珠玩具中的搞怪玩偶。儘管有人說在這部作品中，不是人穿衣，而是「衣穿人」，史萊莫本人卻從不認為這些奇裝異服泯滅了舞者人性。在他眼中，舞者並非機械人；相反，這些服裝解放了他們，將他們的動作放大，繼而彰顯其根本的人性。簡而言之，《3．芭蕾》依然是現代芭蕾史上最奇特、最不可思議的一個註腳。然而它從未失去活力，時至今日依然歷久彌新。文當奴．胡特拉中譯曾逸林

用形如神

Mastery of Form

《3．芭蕾》

Oskar Schlemmer’s place in art history is assured thanks to his many roles as painter, sculptor, teacher, theatre theorist, designer and dance-maker. In the 1920s this veritable polymath was one of the leading lights of the Bauhaus, the famous German school of design, architecture and crafts. There his explorations of light, geometry, colour, motion and, of course, form led him to devise a series of socalled “architectonic dances” that brilliantly illustrated the relationship between the human figure and abstract space. The Triadic Ballet is Schlemmer’s best-known dance, and went on to become the most widely performed avant-garde dance of its time. Now, nearly a century later, Bayerisches Staatsballett (Bavarian State Ballet) II has revived one of this seminal work’s earliest re-creations as lovingly staged in 1977 by Gerhard Bohner (who was, like Schlemmer, another German dance innovator). Audiences at the Hong Kong Arts Festival can see it in the company’s mixed bill that also includes notable dances by George Balanchine, Nacho Duato and Richard Siegal. The original Bauhaus production of The Triadic Ballet was, among other things, a designer’s dream. The work’s functional, sometimes repetitive movements were less

The Triadic Ballet

memorable than the costumes, some of which appear to have been based on the silhouette of a ballerina’s tutu (which was about as close to classical dance as Schlemmer wanted to get). Made up of spirals, triangles, cones and ovoids, and in many cases constructed from heavy, padded wood, they are – when animated by the dancers – rather like a gathering of weird, wonderful kitchen utensils or possibly malevolent nursery toys inside a futuristic pinball machine. Although it has been said that “the costumes wear the dancers”, Schlemmer himself never felt that such strangely appealing garb dehumanised them into mere mechanical robots. For him the costumes were actually a liberating force, magnifying the dancers’ movements and underlining their essential humanity. The Triadic Ballet remains, in short, a most curious and utterly fascinating footnote to modern dance history, but one that is still engagingly fresh and strikingly alive. By Donald Hutera 巴伐利亞國家芭蕾舞團二團 Bayerisches Staatsballett II

芭蕾精選 Mixed Bill 21-22.2.2017 香港演藝學院歌劇院 Lyric Theatre, HKAPA

古典芭蕾大師馬利斯．佩蒂巴的《舞姬》是十九世紀芭蕾舞劇的巔峰之作。作品誕生於 1877 年的聖彼得堡，以壯觀的場面、戲劇化的情節和華麗的舞姿聞名。《舞姬》著名的第三幕〈幽靈王國〉經常以獨立作品形式演出，當中首席舞者、獨舞員和群舞的舞步都美不勝收，是古典芭蕾舞的典範，也是佩蒂巴的代表作。路德維希．明庫斯的音樂生動，富戲劇性，感染力強，很適用於舞蹈。迷人的故事背景讓設計師放膽製作，呈現一場視覺盛宴。這部芭蕾名作的故事主角，是一位暗戀高貴戰士索羅的印度舞姬尼姬雅。雖然索羅也喜歡尼姬雅，但國王下令他與甘扎蒂公主結婚，教他無法拒絕。尼姬雅被安排在訂婚典禮上跳舞，嫉妒的甘扎蒂把一條蛇藏在花籃內，令舞姬被蛇咬死。為了忘記尼姬雅之死帶來的悲痛，索羅吸食鴉片，並因此產生幻覺，看見尼姬雅在一群女幽靈的襯托下起舞，於是與她跳最後一支舞。翌日，當索羅和甘扎蒂結婚之際，眾神靈為了替尼姬雅報復，毀滅神殿，殿內的人全部埋在瓦礫下。劇終時，尼姬雅與索羅於死後重聚，翩翩起舞。儘管《舞姬》的情節有點匪夷所思，但卻為佩蒂巴提供了豐富的芭蕾素材。

A Lavish Spectacle 華麗古典芭蕾經典《舞姬》

La Bayadère

雖然這個版本的《舞姬》早已在俄羅斯成為芭蕾舞劇的熱門作品，但此作到 1961 年才為西方世界所認識，當時基洛夫芭蕾舞團在巴黎表演《幽靈王國》，引起哄動。兩年後，在巴黎演出時變節的魯道夫．雷里耶夫為英國皇家芭蕾舞團重排此作，並由瑪歌．芳婷飾演尼姬雅。1980 年，另一位著名的基洛夫芭蕾舞團變節者娜塔莉亞．馬卡洛娃為美國芭蕾舞劇院製作足本的《舞姬》，把原有的第四幕放回在作品中。 1992 年，雷里耶夫已是巴黎歌劇院芭蕾舞團的藝術總監，製作他自己的足本《舞姬》。他緊貼基洛夫芭蕾舞團的版本，沒有演出第四幕。這成為了雷里耶夫最後一部傑作，當時他已身患愛滋病，作品首演三個月後即與世長辭。當年協助雷里耶夫製作《舞姬》的助手，是巴黎歌劇院芭蕾舞團的芭蕾大師帕翠斯．巴特。1998 年，巴特與巴伐利亞國家芭蕾舞團合作，創作屬於他的《舞姬》版本，將第四幕搬上舞台。演出大受好評，著名日本設計師毛利臣男設計的舞台服裝燦爛奪目。這次在香港的演出，觀眾將欣賞到這些美侖美奐的設計。享負盛名的舞蹈家伊戈．澤林斯基是巴伐利亞國家芭蕾舞團的新任藝術總監。他曾跟隨蘇聯芭蕾大師查布基亞尼學習，演出索羅一角蔚為經典。而今天我們看到的索羅，正是由他的老師於 1941 年創造，由澤林斯基繼續將俄國芭蕾傳統發揚光大。文羅佳娜中譯張婉麗 © Charles Tandy

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La Bayadère is one of the pinnacles of 19th century ballet. Created by Marius Petipa, the choreographer who shaped classical ballet, it offers lavish spectacle, high drama and magnificent dancing. The ballet’s renowned third act, often performed on its own as The Kingdom of the Shades, is a supreme example of Petipa’s work – a microcosm of classical ballet, with choreography of exceptional beauty for principals, soloists and corps de ballet. The music by Ludwig Minkus is lively, dramatic and infectiously danceable while the alluring setting gives designers the chance to run riot with gorgeous sets and costumes. The ballet tells the story of Nikiya, an Indian temple dancer (bayadère) secretly in love with Solor, a noble warrior. Although Solor loves her too, when the Rajah commands him to marry his daughter, the Princess Gamzatti, he has no choice but to accept. Forced to dance at the betrothal ceremony, Nikiya is bitten by a snake the jealous Gamzatti has concealed in a basket of flowers and dies. When Solor seeks to escape from his sorrows by smoking opium he has a vision of Nikiya, accompanied by a band of ghostly girls (the Shades) and dances with her one last time. The next day, as Solor and Gamzatti are being married, the gods avenge Nikiya by destroying the temple and everyone in it. The ballet ends on the image of Nikiya and Solor joyfully reunited in the afterlife. In the version to be presented in Hong Kong, Gamzatti joins them. Preposterous though the plot may be, it provided Petipa with the ingredients for a sumptuous feast of ballet. Although La Bayadère was a staple of the repertoire in Russia, the ballet was unknown in western Europe until 1961, when the Kirov performed The Kingdom of the Shades on tour

in Paris. It caused a sensation and two years later Rudolf Nureyev, who had defected from the Kirov on that very tour, staged it for the Royal Ballet with Margot Fonteyn as Nikiya. In 1980 came a full-length production for American Ballet Theatre by another famous Kirov defector, Natalia Makarova, who added an original Act 4. In 1992, Nureyev staged his own full-length La Bayadère for the Paris Opera Ballet, where he was artistic director. Closely based on the Kirov version, with no fourth act, this stunning production was an extraordinary final achievement by Nureyev. Already ill with AIDS, he died just three months after the premiere. His assistant on La Bayadère was Patrice Bart, Ballet Master of the Paris Opera Ballet, who in 1998 staged his own version, including a fourth act, for Bayerisches Staatsballett. This much-praised production, with lush, colourful sets and costumes by famed Japanese designer Tomio Mohri, is the one Hong Kong audiences will see. In an example of the remarkable continuity of Russian ballet tradition the Staatsballet’s new artistic director, Igor Zelensky, one of the greatest male dancers of his generation and himself a celebrated Solor, was a pupil of Chabukiani, who in 1941 created the role as we know it today. By Natasha Rogai 巴伐利亞國家芭蕾舞團 Bayerisches Staatsballett

《舞姬》La Bayadère 16-19.2.2017 香港文化中心大劇院 Grand Theatre, HK Cultural Centre

幽靈王國

The Kingdom of the Shades

《舞姬》第三幕以一場難度極高的群舞展開。無數幽靈一個一個慢慢走下一道彎曲的坡道，組成一道白色的絲帶，形如索羅鴉片煙斗上的白煙。她們每向前走一步，都要擺出講究平衡和控制的舞姿（舞者單腳站立，身體向前傾，支撐的腿蹲下，另一條腿則抬起在半空）。領舞者一共把這個驚人的動作重複了三十八遍。這個緩慢的動作需要舞者高度控制肌肉，加上她們必須與其他舞者保持一致的步伐，避免失去平衡破壞整體效果，演起來壓力不少。

Act 3 of La Bayadère opens with the most demanding sequence ever created for the corps de ballet. An endless parade of girls comes slowly down a winding ramp, forming a coiling ribbon of white which represents the smoke rising from Solor’s opium pipe. Each time they step forward, they perform an arabesque penchée en plié (standing on one leg and leaning forward with the supporting knee bent and free leg raised high behind them). The leading dancer does this step an astonishing total of 38 times. All the dancers must match each other exactly and if anybody loses their balance, the whole effect will be ruined, placing an even greater pressure on the dancers than the burden of the slow, controlled movements on their muscles.

巴伐利亞國家芭蕾舞團

Bayerisches Staatsballett (Bavarian State Ballet)

說到抒情藝術，慕尼黑以歌劇最為聞名，並與華格納有特別深厚的關係。1 98 8 年，巴伐利亞國家歌劇院的舞團從歌劇院中獨立出來，成為巴伐利亞國家芭蕾舞團。時至今日，該團現有六十八位舞者及見習舞者，演出舞蹈作品不計其數，而且非常多元化，包括約翰．紐邁、威廉．佛賽和麥斯．艾克等編舞的作品，以及十九世紀的經典芭蕾舞劇。2016 年 9 月，舞團在新藝術總監伊戈．澤林斯基的領導下，進入一個新階段。

When it comes to the lyric arts, Munich is known primarily for opera – the city is especially associated with Wagner. It wasn’t until 1988 that the ballet company at last won independence from the opera and took on its own identity as the Bavarian State Ballet. Today it has 68 dancers including apprentices and a rich, varied repertoire with work by the likes of John Neumeier, William Forsythe and Mats Ek alongside the 19th century classics. In September 2016 it began a new era under the leadership of Igor Zelensky.

《舞姬》是十九世紀芭蕾舞劇的代表；而巴伐利亞國家芭蕾舞團在香港藝術節上，還會演出一些當代芭蕾代表作，包括巴蘭欽精采的《輝煌的快板》、納曹．杜亞陶悲慘的《封閉花園》、理察．斯寇靈感來自歌舒詠的《三首前奏曲》，和傑哈德．博納重編的《3．芭蕾》─原本由包浩斯藝術名家奧斯卡．史萊莫於 1 92 2 年創作的前衛作品（詳情請見 45 頁）。

At HKAF the company also presents a mixed bil l of modern works representative of their respective eras: Balanchine’s scintillating Allegro Brillante, Nacho Duato’s poignant Jardí Tancat, Richard Siegal’s Gershwininspired 3 Preludes and a true rarity: The Triadic Ballet, Gerhard Bohner’s reconstruction of a landmark avant-garde piece created in 1922 by Oskar Schlemmer in the context of the Bauhaus movement (see p45).

熱情洋溢、性感迷人、富戲劇性……這些只是加拿大蒙特利爾爵士芭蕾舞團的部分特色。這舞團糅合芭蕾舞、當代舞及嘻哈舞等，是一個與別不同的舞蹈團體，雖然稱為芭蕾舞團，舞者卻不穿芭蕾舞裙；他們定必為香港觀眾帶來出乎意料的驚喜。蒙特利爾爵士芭蕾舞團一直走在舞蹈界的潮流尖端，與本屆藝術節的主題「此時此地」完美地吻合。舞團創立於 1972 年，顧名思義，他們致力為芭蕾舞加入爵士元素，增添生氣，不斷發掘新風格，融合出自己的特色。舞團的十四位舞者來自七個不同國家，各具不同特點、才華橫溢，是承傳舞團特色的關鍵。「舞者是舞團的核心，是舞團最重要的部分。」藝術總監羅比塔耶說：「他們既是非常團結的群體，也是在舞台上盡顯個人風格的舞者。」

在香港藝術節的演出中，觀眾將欣賞到舞團多元化的作品和舞者的超凡技藝。伊錫克．加里尼的《非凡麗莎》對體力的要求十分嚴格，是一部不受任何束縛的雙人舞，當中充滿曖昧，女的踮着腳跳。《似遠還近》也是一部非常浪漫的雙人舞，舞者充滿默契地演繹複雜的情感，抒情的音樂出自菲力普．格拉斯的手筆。《似遠還近》是班傑明．米爾派德的早期作品，充份表現編舞家以傳統技巧開拓新領域的風格。安東尼斯．方尼亞達基斯氣氛急速激烈的《都會即景》，充滿熾熱的能量，令人想起現代人生活的緊張步伐，教觀眾和舞者都喘不過氣來，燈光效果亦十分壯觀。節目以加里尼的《古巴戀曲》作結，用輕鬆調皮的手法，向節奏明快、令人難以抗拒的古巴音樂致敬。文羅佳娜中譯張婉麗

Les Ballets Jazz de Montréal 蒙特利爾爵士芭蕾舞團

Vibrant and Versatile 活力多變

蒙特利爾爵士芭蕾舞團 Les Ballets Jazz de Montréal 3-4.3.2017 香港文化中心大劇院 Grand Theatre, HK Cultural Centre © Ledas & St-Jacques

Vibrant, sensuous, theatrical – just some of the adjectives used to describe Canada’s Ballets Jazz de Montréal (BJM). Embracing everything from ballet and contemporary dance to hip-hop, BJM is a company unlike any other, and if there’s one thing the Hong Kong audience can expect it’s that, despite the name, there won’t be any tutus. BJM has always been at the cutting edge of new trends in dance, making it a perfect fit for the Festival’s “in the moment” theme. It was started in 1972 with the idea of “jazzing up” ballet – hence the name – and has never stopped exploring new styles and finding ways to make them its own. The troupe’s 14 dancers come from seven different countries and their individuality and versatility are key to continuing BJM’s heritage. “The dancers have always been the essence, the most important part of the company”, says artistic director Louis Robitaille. “They are strongly united as a group of people but each one of them has a strong personality that you can see onstage”.

The programme for HKAF showcases contrasting facets of the company’s repertoire and the dancers’ skills. Itzik Galili’s Mono Lisa is a ferociously athletic, no holds barred duet full of sexual tension with the woman dancing en pointe. Another duet, Closer, is a more romantic affair with much complex partnering, set to lyrical music by Philip Glass. An early work by Benjamin Millepied, Closer demonstrates his fascination with exploring new ways of using classical technique. Andonis Foniadakis’s fast and furious Kosmos evokes the frenetic pace of modern life with a blazing energy which promises to leave both audience and dancers breathless, and features spectacular lighting effects. The performance is completed by another work from Galili, O Balcão de Amor (The Balcony of Love), a playful, light-hearted tribute to the irresistible rhythms of Cuban music. By Natasha Rogai

踢躂舞源於十八世紀的美國，融合了愛爾蘭踢躂舞和非洲舞。踢躂舞不但在「咆哮的二十年代」影響爵士樂成型；時至今日，踢躂舞依然與時並進。多蘭斯舞團的《電音踢躂》，體現了踢躂舞與流行音樂相輔相成的關係。節目名稱中的「ETM」，代表「電子踢躂音樂」，暗指日漸普及的「EDM」（電子舞曲）。是次演出更會將這種曲風融入舞台音響和現場音樂。踢躂舞是一種以結合視覺和聽覺來創造出具強烈節奏感的表演藝術。米雪．多蘭斯和拍檔尼古拉斯．范楊早在《電音踢躂》的前身作品中探索全新表演方式。他們把木製鼓墊改造成微小觸發板，並安裝在地板上，把舞者的舞步即場轉為音樂。

今次，他們比上次製作使用多近一倍的舞板。又利用「側板」擴展主舞板，加入琴鍵般的大型觸發板。《電音踢躂》更加插了唱片騎師常用的循環及採樣混音技巧，完美結合電子音樂和爵士舞種，為踢躂舞注入新生命。米雪不但大膽採用創新科技，而且對踢躂舞的悠久歷史和深遠影響瞭如指掌，而踢躂舞對現代美國舞蹈的影響—尤其是嘻哈和霹靂舞等街頭表演文化—正是她邀請女霹靂舞者艾芙塔．「彈跳」．阿殊里參與演出的其中一個原因。多蘭斯舞團歡迎跨界合作演出，勇於創新。《電音踢躂》以舊作為基礎，加以改善，突破固有的藝術形式，正正表達了這種精神。這場踢躂舞表演令人耳目一新，觀眾沉醉在現場視、聽覺並重的表演，整晚正襟危坐想必定是件難事。文林葵中譯鍾佩妝

Clapand Tap to ETM

踢躂新聲音 © Matthew Murphy

Tracing its origins back to 18th century America, tap dance grew from a fusion of Irish step dance and African dance. While it later influenced and complemented the development of jazz music during the “Roaring Twenties”, tap remains significant today. Dorrance Dance’s ETM: Double Down is a perfect example of tap drawing inspiration from, and even contributing to, popular music. ETM in this production’s title stands for “electronic tap music”, and alludes to the now popularised EDM (electronic dance music) genre, while also incorporating it into the soundscape on stage. Tap dance has always been a performing art that combines the visual and aural to make its rhythms. In their earlier work, Michelle Dorrance and collaborator Nicholas Van Young brought tap dance into a new realm by experimenting with small trigger boards (essentially wooden drum pads) 多蘭斯舞團 Dorrance Dance

《電音踢躂》ETM: Double Down 24 & 25.2.2017 香港演藝學院歌劇院 Lyric Theatre, HKAPA

which were installed on tap floors for the dancers, and their movements converted into live music. Now they use nearly twice as many boards by extending the main board with “side boards” and adding large keyboard-like tap floor triggers. By adding looping and sampling, elements beloved of the modern DJ, ETM: Double Down renews tap dance as a brilliant blend of electronic music and the jazz dance vernacular. Groundbreaking technology aside, Michelle is also acutely aware of both the history and influence of tap dance. One of the reasons for recruiting “bgirl” (female break dancer) Ephrat “Bounce” Asherie was tap’s influence on modern American dance, particularly hip hop and break dance street cultures. Dorrance Dance demonstrates an embracing approach to collaboration and a constant desire to innovate the tap dance art form. ETM: Double Down represents both, by developing a previous work to push the boundaries of tap even further. Immersed in the live soundscape, the audience will struggle to keep their feet still in this fresh and sophisticated tap experience. By Klaus Lam

亞太舞蹈平台

Asia Pacific Dance Platform

Redefining the 雙人舞新演繹

duet

「亞太舞蹈平台」於 2009 年首次舉辦，歷年來曾展示不同國家的編舞作品，例如當代舞蹈發展得較迅速的日本、韓國和較少為人關注的柬埔寨、以色列等地，為觀眾帶來不分新舊、地域、演出媒體等界限的當代舞演出，介紹亞太地區的舞蹈潮流。踏入第九屆，來自澳洲及土耳其的團隊分別帶來《雙》和《櫃》—兩套別具特色的雙人舞。兩個南轅北轍的國度，創作出兩套相似又相異的雙人舞作品。兩個作品同樣由一男一女演出，卻又不止於兩個舞者的互動。《雙》由澳洲編舞史蒂芬妮．蕾克創作，透過伸展、扭動、抽搐、彈跳、爬行等動作，以身體出發，用肢體探索，把兩隻看似互不相干的獨舞，拼湊成互相呼應的雙人舞，為原來兩套舞蹈賦予全新意義，藉此提出對自我的疑問，讓觀眾重新審視追求自我的好壞，反思人際關係。相對《雙》的純肢體表現，土耳其 Taldans 舞蹈團帶來的《櫃》更著重演出概念。Taldans 舞蹈團致力於舞蹈和動作研究，在作品《櫃》中，雖然舞者同為一男一女，卻加入一個雪櫃，讓兩個人和一件物件共舞，雙人舞的定義變得混淆。隨著三者的互動增加，觀眾觀點與角度的改變，台上的演出既可看成一男一女的雙人舞、也可以是一男一女一物件的三人舞，甚至人與物的角力，由此探討人與物之間的關聯。文鍾佩妝

Since its launch in 2009, the Asia Pacific Dance Platform (APDP) has showcased an extensive array of choreographic works from countries such as Japan and Korea, to Cambodia and Israel. The platform introduces the latest trends in the Pacific Rim with diverse existing and newly produced works that cross regions and performance medium. The ninth edition features two distinctive dance duets, Dual and Dolap, from Australia and Turkey respectively. These two similar, yet different, duos are made up of more than just cooperation between a male and a female dancer. Australian choreographer Stephanie Lake brings us Dual, a creative exploration by means of body movements such as stretching, twisting, twitching, bouncing and crawling. The two seemingly unrelated solos piece together an interlocking duet, with the duet in return giving new meaning to the solos. This powerful work reflects on individuality and questions about human relationship. Unlike the portrayal of mere body movement in Dual, Dolap by Taldans, a Turkish dance company dedicated to movement-dance research, is a conceptual dance that involves not just a male and a female dancer, but also a refrigerator, with this unusual addition blurring the definition of a “duet”. With the growing interaction between the three and the changing perspective of the audience, the performance investigates the relationship between humans and objects; Dolap simultaneously morphs from a duet between a man and a woman, a trio featuring a man, woman and object, and a battle between humans and objects. By Eunice Chung

亞太舞蹈平台（第九屆）Asia Pacific Dance Platform IX 7.3.2017 香港文化中心劇場 Studio Theatre, HK Cultural Centre

《黃耀明人山人海演唱會》 Anthony Wong Sings People Mountain People Sea

跟住個妹氹氹轉（毛俊輝實驗創作） The Girl Who Turned the World Upside Down (Fredric Mao)

Hong Kong 香港：此時此地

《馬可波羅》（譚盾） Marco Polo (Tan Dun)

《抹窗人》（翩娜．包殊烏珀塔爾舞蹈劇場） Der Fensterputzer (Tanztheater Wuppertal Pina Bausch)

閱藝中國國家話劇院、香港藝術節及日本東京新國立劇場聯合委約及製作 Co-commissioned and co-produced by the National Theatre Company of China, the Hong Kong Arts Festival and the New National Theatre, Tokyo

香港藝術節製造

Made by Hong Kong Arts Festival

2017 年，香港藝術節四十五周年。作為最早成立的獨立藝術團體之一，從 1973 年至今，我們與本地的演藝文化一起經歷了從發展起飛到成長的階段。

2017 marks the 45th anniversary of the Hong Kong Arts Festival (HKAF). Since its founding in 1973 as one of the first independent arts organisations in the city, HKAF has developed and thrived through the decades alongside Hong Kong’s performing arts culture.

嚴格來說，香港藝術節是在九十年代中，開始委約新創作，邀請香港以至海外的藝術家或藝團，特別為藝術節創作新作品。1997 年第二十五屆的藝術節，既與國際夥伴聯合製作了譚盾的歌劇《馬可波羅》、舞蹈家翩娜．包殊為香港創作《抹窗人》；本地的作品，也有跨界委約本地歌手黃耀明首個舞台作品《人山人海演唱會》，以及毛俊輝的《跟住個妹氹氹轉》。這樣的國際視野，這種對本土創作所持的開放態度和靈活創意，二十年來不斷延續發展，並且從委約過渡至委約兼製作的整體發展模式。

Strictly speaking, HKAF began commissioning original productions in the mid-1990s, inviting local and overseas artists to create new works especially for the Festival. In 1997, the 25th HKAF produced multiple new works with international collaborators; Tan Dun’s opera Marco Polo, and Der Fensterputzer (The Window Washer), the latter created for Hong Kong by the dance artist and choreographer Pina Bausch. In local productions, there was a crossover commission Anthony Wong Sings People Mountain People Sea, the first stage work of local pop singer Anthony Wong, and Fredric Mao’s The Girl Who Turned the World Upside Down. For the past 20 years, the Festival has been extending this global vision, open attitude and creative ethos across local productions, in which it has transitioned from a purely commissioning-based role into a more holistic commission-production development model.

對委約作品的日益重視，其實與香港文化藝術走向多元及自主的發展道路不謀而合。從九十年代到現在，香港藝術節自主策劃、委約、製作或者參與製作了接近一百五十個新作品，包括粵劇、歌劇、音樂、當代舞蹈、戲劇、跨媒體及中國戲曲等多種表演類型。這些新作，雖然多數以香港本地的原創作品為主，但也有從本土走向國際的合作投資項目和直接的委約作品，其中尤其與中國內地、台灣以至亞洲國家如日本、新加坡、韓國等地的合作交流較為密切。香港藝術節與香港藝術發展之間的互動，顯示在我們的策劃取向和製作方法上。這種定位在香港可算獨一無二。作為獨立運作的製作團體，我們盡量整合資源，跳出香港既有的創作及製作框架，推進大膽創新的創意發展，讓藝術家與我們一起接受創作挑戰，建立長期發展策略。過去十年，我們在戲劇（包括出版新劇本選）、當代舞蹈、音樂（室內歌劇）和粵劇方面，均形成了我們的核心製作理念，並以國際視野策劃及製作節目。近年展開的香港賽馬會當代舞蹈平台和菁英創作系列，更是具有長遠發展目標的項目。在香港，我們樂見、並願意與大家攜手營造一個開放、具包容性及可持續的創作環境。文蘇國雲（香港藝術節副節目總監）

This increasing emphasis on originally commissioned works has coincided with the inclusive, autonomous development of Hong Kong’s arts and culture scene. Since the 1990s, HKAF has curated, commissioned, produced or participated in the production of close to 150 new works, across performing art forms spanning opera (whether Chinese, Cantonese or classical), music, contemporary dance, theatre, and multimedia shows. While the majority of these new works are original productions from Hong Kong, there are also international co-productions and direct commissions by HKAF. Collaboration and exchange with mainland China, Taiwan and other Asian countries such as Japan, Singapore and Korea feature prominently in the list of international co-productions. The interactive relationship between HKAF and the development of the arts in Hong Kong is reflected in our artistic planning and production work. Such positioning is unique in Hong Kong. As an independent producer, we strive to integrate resources in order to break away from Hong Kong’s existing frameworks of artistic creation and production, and to foster innovation and creativity. We invite artists to join us in meeting creative challenges, while we also focus on long-term strategic development. In the past decade, we have defined our core philosophy in the areas of theatre (including the publication of script books of selected new plays), contemporary dance, music (chamber opera) and Cantonese opera, as we curate and produce programmes with a global vision. Launched in recent years, The Hong Kong Jockey Club Contemporary Dance Series and Local Creative Talents Series are projects with long-term development objectives. We wish to see, and want to help cultivate an open, inclusive and sustainable creative environment in Hong Kong. By So Kwok-wan, HKAF Associate Programme Director

《世紀．香港》作曲家訪談

由香港藝術節委約創作的《世紀．香港》音樂會，是一場以香港文學、詩、電影、文化為出發點的音樂與舞台演出，以本地作曲家創作的音樂為主軸，統合文字、音樂、歌聲、朗讀，以及影像，娓娓道出香港百多年來的社會人文變遷。它不是長篇的歷史敘事，卻帶你坐上香港歷史悠久的古老電車，「叮叮、叮叮」的於車軌上來回躑躅，一站站上落恍如一幕幕香港歷史風景流轉眼前，是在吟唱，亦似訴說，以音樂承載箇中情感。賽馬會本地菁英創作系列的一大特色，是起用本地人才班底。是次音樂會由著名作曲家陳慶恩擔任音樂總監，率領三位優秀的年輕作曲家鄺展維、盧定彰及李家泰，四人分別作曲，著名編舞家黎海寧任導演，詩人廖偉棠作文學顧問，也有本地歌唱家鄺勵齡的演出等等。音樂會連同序曲和終曲共有十七章，亦穿插了客家山歌、南音、粵語流行曲等，使十九世紀末至今的各個年代—由香港島被割讓、英殖時期、九七主權移交，到當今的本土故事—均有對應樂章。

音樂與文字同樣重要三位年輕作曲家均表示這次結合文字與音樂的創作形式甚有啟發性與挑戰性。李家泰說：「文字與音樂是相輔相成的，詩詞賦予作曲家很大的想像空間。例如我其中創作的二十至三十年代部分，讓我想像香港當時的形象，一首給我的感覺是動盪、未被定型的香港，詩詞很倔強、很有氣勢；另一首像在醒與未醒間、充滿潛力的香港。嘗試以音樂去呈現這一切，可以說是其中吸引我參與這次製作的地方。」他亦說道：「本身以廣東話編曲很有難度。自己誦讀詩詞時有一種節奏感，如裏面有較奔跳、明快的，這比慢曲容易處理。」鄺展維也談及詩詞的音樂性，指出當中有音高變化：「這些詩是已存在的音樂元素，要在盡量不扭曲它們的結構下創作，是一大挑戰。」擁有豐富作曲經驗的陳慶恩亦坦言，這次結合文字與音樂的要求，對他們四人來說甚具挑戰性：「中文是聲調語言，入樂較西方語言困難，比方說，如果詩詞有很多入聲，尤其在末處的話，就倍加困難。李清照在宋朝已說過，若是押入聲的詞千萬別給她們唱。」雖然如此，陳慶恩強調：「這是一個與語言有密切關係，但作曲者不容易解決的問題。」

「現代音樂最重要是在於演出的現時性」不囿於一種風格雖然對應年代的樂曲編排有其連貫性，音樂風格卻不失豐富多樣，如李家泰所言：「我們四人各有風格，可說是百花齊放，但整個音樂會有實在的框架，以我們獨特的藝術觀點去呈現主題。」鄺展維強調這是不囿於一種特定風格的音樂會：「我們通常會被標籤為『現代音樂』或『現代古典』作曲家，嚴格來說現代音樂也有很多種不同風格。我想，現代音樂最重要是在於演出的現時性─在特定的時間、地方發生，現場的設計很重要。這是要求觀眾主動去鑑賞、進入其中去發掘東西的一種藝術形式。」盧定彰進一步說明：「現代音樂常予人一種錯覺，認為它必然是迷幻、沉重、歇斯底里，如國破家亡的氛圍，或如鬼片音樂般，但其實它有許多可能性，就像我創作的七十年代部分，我希望是繽紛、搞鬼、機智、得意的，像莫扎特的歌劇，甚至可說如以往一些輕喜劇般。這配合當時較積極、勵志，充滿拼搏精神的社會氛圍。現代音樂最有趣的地方，是當所有東西都可成為素材時，作曲家如何去選擇，創造自己獨特的聲音與風格。」

電車為錨譜出本土性《世紀．香港》音樂會上，電車有其重要的位置，陳慶恩解釋道：「電車是香港本土很特別的交通工具，有不少文學作品寫及電車的歷史與氛圍。以電車貫穿整個音樂會，作用就如錨，就如音樂上的副歌（refrain）。」鄺展維也說：「八十至九十年代香港經歷的事情，放在世界的版圖上亦非常獨特，我們不是在做歷史敘述，但如何以音樂去表達那種衝突與矛盾、舞台上與下呈現的辯證關係，是我這次創作的核心。」他也不忘解說，音樂上的表現不是一種教條、灌輸式的方法，而是引發觀眾在這開放的空間裏思考：「我認為，這是藝術最美麗的地方。」在當下社會沉重的氣氛下，盧定彰寄語觀眾：「在音樂會上能回顧以往，由此重新擁有一種向上的積極能量，並對未來有所憧憬。」一如終曲裏所引用黃燦然的詩作《患難》：「我突然感到我一直和你，／並將繼續和你患難與共。」文文海林

Composing a

Hong Kong Odyssey Commissioned by HKAF, Hong Kong Odyssey is a music and stage performance inspired by Hong Kong literature, poetry, films and culture. It revolves around local composers’ music, incorporates reading, singing and video, and tells of the social and cultural changes in Hong Kong over more than a century. Rather than chronicling history, it takes you on board a historical tram, where scene after scene of Hong Kong’s past unfolds before your eyes. Whether through song or narration, music is the vehicle for emotion. Part of the Jockey Club Local Creative Talents Series, this concert features, among others, composer Chan Hing-yan as music director, who leads three promising young composers, Charles Kwong, Daniel Lo and Phoebus Lee, in creating the music; choreographer Helen Lai as director; poet Liu Waitong as literary adviser; and vocalist Louise Kwong. The concert contains 17 numbers, including a Prologue and an Epilogue. It is interspersed with musical genres as diverse as Hakka folk songs, Naamyam and Cantopop, such that each period from the end of the 19th century to the present – from the cession of Hong Kong Island to British colonialism, to the 1997 reunification, to today’s local stories – has its own corresponding movement.

Words and Music All three young composers find composing with words and music both inspiring and challenging. Lee says, “Words and

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music complement each other, and poetry gives the composer much room for imagination. For example, I get to imagine Hong Kong in the 1920s and 30s, the period for which I compose. One piece feels like a Hong Kong that’s turbulent and indistinct, with poetry that is obstinate and imposing; another suggests a Hong Kong full of potential, as if halfawake. Using music to represent all this is what attracted me to the production.” He adds, “It’s very difficult to set Cantonese to music. When I recite poetry, there’s a certain rhythm to it. Something bouncy and brisk is easier to do than slow music”. Charles Kwong also mentions the musicality of poetry, and points to relative pitch changes. “These poems already contain musical elements, and it’s a challenge to compose without distorting their structure”.

“What I consider most important is the ‘presentness’ in a performance” Chan also admits that this need to combine words and music is challenging for the four of them. “Chinese is a tonal language and is harder to set than Western languages. It’s even harder if the poetry contains many checked tones, especially at the endings. Li Qingzhao in the Song Dynasty once complained that poetry containing rhymes of checked tones should never be sung.” Chan stresses that “this is a problem closely related to language, and has no easy solution.”

Performing in the moment

The tram: A touch of the local

Despite the clear thread linking the Hong Kong Odyssey’s music with different historical periods, there are numerous musical styles to be heard. As Lee says, “We each have our own style, and the concert sets up a framework in which to present the themes from our own artistic viewpoint”. Kwong also stresses that the concert is not confined to one style, “We’re usually labelled as ‘contemporary music’ or ‘contemporary classical’ composers, but contemporary music has many styles. What I consider most important is the ‘presentness’ in a performance – it’s happening at a specific time and place – so the design of the setting is also important. This is an art form that demands the audience takes the initiative to discover what’s within”.

The tram has an important place in the Hong Kong Odyssey concert. Chan explains, “The tram is a very special means of transport in Hong Kong. Many literary works allude to its ambience and its history. A tram running through the entire concert functions like an anchor, like a musical refrain”. Kwong says, “What Hong Kong went through in the 80s and 90s is unique, but we’re not narrating history here. The thing that’s at the heart of my work is the question of how to use music to express that conflict and dialectic, both on and off stage”. He adds that musical representation is not dogmatic or indoctrinatory, but induces the audience to think openly. “I think this is where arts greatest beauty lies”.

Lo further explains, “There’s the common misconception that contemporary music must be hysterical and sound like the end of the world or horror film music, but actually there are many possibilities. For example, the music I write for the 1970s part of the Odyssey is meant to be colourful and witty, like a Mozart opera or a comic operetta, which suits the positive drive and spirit of the time. What’s most interesting about contemporary music is how the composer makes clear choices to create his own unique sound and style, when there is the possibility to use almost anything as material”.

In the weighty current social climate, Lo has these words for the audience: “At the concert, one may look back on the past and, in doing so, regain an uplifting, positive energy, and a vision for the future”. As Huang Canran writes in his poem Tribulation, quoted in the Epilogue: “I suddenly felt I have always been with you, / And shall with you still hold out together”. By Man Hoi Lam Translated by Ernest Wan

賽馬會本地菁英創作系列：《世紀．香港》音樂會 Jockey Club Local Creative Talents Series: Hong Kong Odyssey 25-27.2.2017 香港大會堂音樂廳 Concert Hall, HK City Hall

香港舞蹈向前看

「香港賽馬會當代舞蹈平台系列」，2017 年迎來了第六屆。總結過去五年的經驗，以及為了維持這系列的活力和延續性，香港藝術節副節目總監蘇國雲指出，除繼續不限新知舊雨的原則外，今屆亦作出了不少內容及形式上的變動—一如當代舞的本質，在固有的基礎上不斷求新求變，積極向前。以往兩屆中的三個節目，除了演出時間的長短，並無明顯分野。第六屆雖然同為三個節目，卻在內容及形式上都有全新的構思。「將一班人放在一起做一次展演，慢慢很多機構都舉辦相類的活動，但這樣只令編舞的位置變得模糊，突出不到每個人的性格和特色。我們的希望是藉着香港賽馬會當代舞蹈平台系列，推動整體舞蹈發展，因此會按整體情況調整」，蘇國雲說，2017 年的新方向包括與海外編舞合作，設定一個貫串作品的主線，以及提高排練及製作的支援及規劃。

創作教育環環相扣今屆的「節目一」是一個長篇作品，名為「《明天你還愛我嗎？》香港篇」。去年由意大利編舞沙朗尼編排的傑作《明天你還愛我嗎？》叫人印象難忘，這次香港篇，便邀請了他與本地新進編舞，也是上一屆香港舞蹈平台一員的毛維合作，與本地中學生及專業舞者，共同創作一支帶有西方及中國民族舞元素的香港新編。沙朗尼對舞蹈有一套清晰的看法，從上一屆的演出《明天你還愛我嗎？》，也可見他背後有自己一套完整的美學。蘇國雲希望透過今次大家共同經歷創作的過程，拓開參與者對舞蹈和創作的領悟。而且，節目將有中學生參與，也是結合香港舞蹈平台這系列創作、演出及教育三環目標的一次嘗試。香港藝術節作為一個展示國際藝術潮流，推動本地演藝創作的機構，推出一個演出好像是必然的，但不僅因為藝術節要有「節目」可演，而是純粹教育交流難以發揮到很大的作用，經過摸索後，應該要透過創作到演出的過程，才得見交流的雙向意義，並對本地藝術家產生真正影響。

小說出發突破想像節目二則是以香港作家董啟章小說《西西利亞》為引線的《西西利亞狂想曲》，三位編舞藍嘉穎、黃俊達及黃碧琪，各自擷取小說內觸動自己的元素來創作。這三位都曾在以往的系列中亮相，風格各異。這次雖然有《西西利亞》這框架，但無礙他們天馬行空，各抒己懷。即使這一次由董啟章小說出發，並不表示以後都是以小說為引子，也可以是一首音樂、歌曲、燈光、甚至佈景。當代藝術的包容性很強，當代舞可以跟不同媒介合作，像舞蹈與視藝的合作在香港雖然才剛起步，但在外國已蔚然成風。

新進編舞全新場地節目三《舞鬥》跟往年同樣是幾個十分鐘的短篇，除了曹德寶外，莫嫣、廖月敏、肖呈泳、白濰銘、李偉能與曾景輝全都是舞蹈平台上的新名字。作品有的是主題的探討和呈現，有的是探索技巧和形式的各樣可能。觀眾可以在一個節目中看到多種舞蹈風格。節目內容再推進一步之餘，技術層面上也因應改變。首先是擴展演出場地，節目一和二將留守香港文化中心劇場，節目三將於葵青劇院黑盒劇場上演，而演期亦分開三個周末。讓觀眾聚焦這系列之餘，亦有充份時間去分別欣賞這三個迥然不同的節目。此外，也為參與的編舞安排了固定的排練場地，讓他們專心致志地在同一場地內試驗。過去幾年，香港藝術節一步步地調整香港舞蹈平台的內容，以其為編舞提供最佳的創作環境，未來更要注重的工作，或許就是要將創作人與觀眾連成一線，讓觀眾對他們的創作產生更大的好奇和興趣。文朱琼愛

DANCING FORWARD The Hong Kong Jockey Club Contemporary Dance Series (CDS) steps into its sixth edition in 2017, and with five years of the series completed, attention turns towards maintaining its future vitality and longevity. While the scheme will continue to welcome both new and veteran dancer-choreographers, there are a number of changes in content and format for 2017, where, much like contemporary dance itself, the process of moving the series forward has utilised a set of varied techniques on top of a firm foundation. The sixth edition of CDS will continue to present a trio of programmes – as it has done over the past two editions – but it is also embracing new form and content. HKAF Associate Programme Director So Kwok-wan explains: “The format of bringing a group of people together for a showcase has begun to be embraced by many more organisations. But this makes the role of a choreographer more ambiguous, since individual characteristics and features are not highlighted. Since we had hoped all along to use CDS to push the development of dance overall, we decided to adjust according to the overall situation”. This now includes collaborations with overseas choreographers, and the creation of storylines that connect the performances within each piece, and enhancing the planning and support of rehearsals and productions.

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Creativity, Performance and Education The first programme, Will You Still Love Me Tomorrow? Hong Kong Remix is inspired by Italian choreographer Alessandro Sciarroni’s breathtaking piece of the same name. Sciarroni’s dance ideology is clear, and in the original Will You Still Love Me Tomorrow? one can see his complete aesthetic approach. Following last year’s Festival, Sciarroni was invited to collaborate with Hong Kong choreographer Mao Wei for this “Hong Kong Remix”; Mao also took part in the 2016 CDS. In this edition he will work with Sciarroni to create a piece for local dancers as well as students, combining western and Chinese folk dance elements. This collaborative process will allow participants to gain a deeper understanding of dance and the creative process. And with the programme also involving secondary school students, it represents a new attempt to combine the three goals of this dance platform: to create, perform and educate. As an organisation that aims to present the international arts trends as well as promoting the local creation of art, it only seems natural for the Hong Kong Arts Festival to commission these performances. But HKAF stages these performances not only because of its inherent identity as an arts festival, but also because it is only through an emphasis on the creative process

2016-17 海外演出 Re-run & Touring 2016-17 and on-stage performances that the actual result of educational artistic collaborations, the real impact on local artists, can be reflected.

P rogramme Two is Cecilia’s Rhapsody, bas ed on Hong Kong author Dung Kai-cheung’s short story Cecilia. The choreographers, Blue Ka-wing, Ata Wong and Rebecca Wong Pik-kei, have each taken elements of the story that particularly move them, and use them as inspiration for their work. The three have all made their mark as part of CDS previously, each with their own distinctive style. Although they are working within the framework of the same story, there are no limits to the imagination or emotion they utilise in their choreography. Despite the use of Dung’s work as inspiration this time round, the dance platform will not necessarily have a literary inspiration going forward. In the future, it may be a song or a piece of music, or it could be lighting or the set that serves as the starting point. Mixed media collaborations are common in contemporary art; while dance and the visual art have only just begun to “tango” together in Hong Kong, this is already a major trend overseas.

New Faces, New Venues Dance Off, the third CDS programme, follows a similar format to previous years and brings a selection of ten minute shorts to stage. Apart from Hugh Cho, all the other choreographers – Jennifer Mok, Sudhee Liao, Sarah Xiao, Ming Pak, Joseph Lee and Terry Tsang – are new faces. Their pieces explore all possibilities of skill and form, with the audience witnessing a myriad of dance styles in just one programme. There are further innovations for 2017, with an expanded range of venues; programmes one and two will continue to be staged at the Hong Kong Cultural Centre Studio Theatre, while programme three will be staged at the Kwai Tsing Theatre Black Box Theatre. This arrangement also provides the choreographers with stable rehearsal spaces in order for them to concentrate on experimentation within each venue. The performances will be held separately across three weekends, thus allowing audiences to focus on the dance series as a whole, while also giving them sufficient time to appreciate these three diverse programmes on their individual merits. With the support of the Hong Kong Jockey Club, Hong Kong Arts Festival has been evolving its dance platform each year, step by step, so as to offer choreographers the best creative environment possible in which to do their work. And what of the future? Perhaps with closer links between creatives and the audience, it will stir up further curiosity and interest in the work that these choreographers produce. By Daisy Chu Translated by D T

《時差》Time Lag (2016) / 藍嘉穎 Blue Ka Wing

2016 2017

Breaking the Mould

作品 Dance Piece ( 香港藝術節首演年份 Premiere Year at HKAF) / 編舞家 Choreographer 巡演詳情 Tour Details

日本福岡舞蹈藝穗節 ( 二月 Feb) Fukuoka Dance Fringe Festival, Japan

《19841012》19841012 (2015) / 黃碧琪 Rebecca Wong Pik-kei 韓國釜山國際舞蹈市場 ( 十月 Oct) Busan International Dance Market, Korea 上海國際現代舞日 ( 七至八月 Jul-Aug) Shanghai International Contemporary Dance Festival 日本福岡舞蹈藝穗節 ( 二月 Feb) Fukuoka Dance Fringe Festival, Japan 《從頭開始》From the Top (2015) / 馮樂恆 Victor Fung 德國國際舞蹈博覽會 ( 九月 Sep) Internationale Tanzmesse NRW, Germany 紐西蘭 UDS 舞蹈研討會 ( 七至八月 Jul-Aug) Undisciplining Dance Symposium (UDS), New Zealand

《直言不諱》Outspoken (2014) / 楊浩 Yang Hao 德國國際舞蹈博覽會 ( 九月 Sep) Internationale Tanzmesse NRW, Germany 《人間．獨．白》Heaven Behind the Door (2014) / 黃靜婷 Chloe Wong 德國國際舞蹈博覽會 ( 九月 Sep) Internationale Tanzmesse NRW, Germany 《牽牛花》Morning Glory (2016) / 徐奕婕 Ivy Tsui 南港島藝術日 ( 九月 Sep) South Island Art Day, Hong Kong 《夜•奔 2》Fleeing By Night2 (2015) / 盤偉信 Wayson Poon 上海國際現代舞日 ( 七至八月 Jul-Aug) Shanghai International Contemporary Dance Festival 《雞蛋花》Frangipani (2015) / 徐奕婕 Ivy Tsui 荷蘭當代舞蹈平台 ( 七至八月 Jul-Aug) Contemporary Dance Platform, Netherlands 《自弦自語》Monologue (2016) / 黃美玉 Rebecca Wong Mei-yuk 香港賽馬會音樂及舞蹈信託基金得獎者協會首演 ( 八月 Aug) Inaugural Performance of Hong Kong Jockey Club Music and Dance Fund Awardees Association, Hong Kong 《Pied à terre》Pied à terre (2016) / 楊浩 Yang Hao 美國國際藝術與思想節 ( 六月 Jun) International Festival of Arts and Ideas, USA

香港賽馬會當代舞蹈平台系列 The Hong Kong Jockey Club Contemporary Dance Series

《明天你還愛我嗎？》香港篇 Will you still love me tomorrow? Hong Kong Remix 11-12.3.2017

《西西利亞狂想曲》Cecilia’s Rhapsody 18-19.3.2017 香港文化中心劇場 Studio Theatre, HK Cultural Centre

《舞鬥》Dance Off 24-26.2.2017 葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre

是他，也是你和我

2017 年，香港將迎來回歸二十周年。二十年的時光，這座城市經歷了回歸時的徬徨焦慮、沙士肆虐後的低迷頹喪，又即將迎來特首選舉年。生活在城中的你我他，在大時代跌宕起伏的洪流中，又留下了什麼樣的足跡，做出了怎樣的選擇？「那是一種回憶錄，是那個年代的眾生相，很有味道。」導演方俊杰說起《香港家族》三部曲，這樣慨嘆道。這部描繪一個香港家庭命運變遷的作品，用香港舞台上少有的三部曲形式，將目光聚焦在影響香港命運的三個時間節點上 —1996 年，面對回歸時的移民潮；2004 年，沙士過後的社會一片低迷； 2017 年，香港的未來何去何從？三個時代既獨立成篇，又互相串連，勾勒出一個普通香港家庭的生活變化與情感迴旋。

大時代下尋常百家：「返屋企食飯」從家庭著手，對編劇龍文康來說自然不過，「才剛開始創作時，在我腦中整家人似乎已經齊了。」他選擇以這三個對香港尤其關鍵的時代來刻畫黃歡一家的生活，卻並非意在為時代作註腳，「時代是沒法寫的，時代是滲出來的。我不是要用史詩式去講，反而是要透過時代來寫家庭的故事。」對他來說，個人的成長、家庭的變化，以及那些隨着時間的流逝偶然回望時揮不去的淡淡惆悵，才是歷史佈景板上活的故事。想要描寫家庭，亦是來自對社會的慨嘆。「我很感慨，我們跟着的 family 已經不會是以前家庭的樣子了。」龍文康說：「不會再有中秋節要吃團圓飯，或是做冬，因為家庭的結構 66

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開始轉型。」越來越多人選擇只生一個小孩或者乾脆不生，兄弟姊妹成群的大家庭快將成為歷史，「這個時候如果我有機會去講一個故事，仍然想去記錄香港曾經普遍的家庭樣子。」

二十年聚散起跌我們到底經歷了什麼？「這二十年香港的變化太大了，生活的狀態也好，家庭的結構也好。」方俊杰說，香港人看這個故事會有很大感觸，那是大家難以忘懷的集體回憶。而社會漸漸變化，帶來了方方面面的影響，人的行為也隨之改變，「比如為什麼香港人現在對內地人的耐心低到這樣的地步，什麼事情都未清楚都罵了先？這些也是積累出來的，不是一朝一夕的事情。這是怎麼形成的呢？這二十年，我們到底經歷了什麼？」但忙碌的我們總沒有時間停下來回想，我們總是善於遺忘，遑論反思。「以前香港人很拚搏，但所謂拚搏不是做到像現在這樣連劏房都買不起。以前香港人也拚搏，也 OT，但不論怎樣忙碌，一家人過節一定要一起吃飯。」二十年的歲月，我們得到了什麼，又失去了什麼？時代的變遷推着人們不斷蹣跚前行，每個人終會做出自己的選擇，而這些選擇很難有對錯的評斷。正如方俊杰所說，創作者不想藉由三部曲去評斷是非，而是希望觀眾藉此回望二十年的歲月，重新找回每個人心目中的香港家園。「人有時要檢視自己的過往，而不是一味向前衝。這條路到底未來通向何方？沒有對錯之分，大家都有自己的答案。」文草草

Changing Family, Changing City 2017 marks the 20th anniversary of Hong Kong’s reunification with China. In the two preceding decades, the region faced angst and worry during the period in which sovereignty was transferred, gloom and despair after SARS, and now further uncertainty as attention turns towards the election of a new Chief Executive. Residents of the city float in the changing currents of the times, waves throwing them up and down, provoking questions about the choices they have made and their impact. “It’s a kind of memoir about the people of this era. It's a human story”, muses Fong Chun-kit, the director of A Floating Family. The changes in fate of one Hong Kong family are staged through a trilogy of plays – a form rarely seen in Hong Kong theatre performances. The focus is placed on three moments in time, all pivotal in shaping the future of Hong Kong: 1996, when a deluge of émigrés left for new shores as the handover neared; 2004, after SARS ravaged the city; and 2017, with the city facing questions of “what now?” These three moments in time, each with a separate story, connect with each other to illustrate the lives and feelings of an ordinary Hong Kong family as they live their lives in the face of change.

The disappearing Hong Kong family The idea of the family came naturally to playwright Loong Man-hong. “When I first started writing, I already had the whole family almost fully pictured”. He chose a trio of key moments to depict the Wong’s lives, yet the intention was not to write footnotes in history. “We cannot write history; we can only live it. I’m not trying to write an epic tale, only telling a story about a family living through this era”. For him, personal growth and family changes are the living stories that form a backdrop to the history we read in books or watch on TV. The desire to write about family comes from a lament on society. “It’s sad that families in the future will not be like families before them”, Loong says. “There won’t be the same Mid-Autumn Festival family dinners, or Winter Solstice family dinners, because family structures are changing”. With a growing number of people choosing to have just one child or not even any, big families with a large group of siblings may become a thing of the past. “If I had a chance to tell a story at this moment, I would like to record what typical Hong Kong families were once like”.

What have we gone through? “In the past 20 years, Hong Kong has changed too much, be it in terms of lifestyle or family structures”, Fong says. His belief is that Hong Kong people will be moved by this story because it is a precious piece of collective memory. With society gradually changing, bringing about impacts of all sorts, people’s behaviour is also changing. “For example, how have Hong Kong people become so incredibly impatient towards mainlanders, to the point that they will lash out before finding out what’s really happening? These things are cumulative; they don’t come about overnight. What have we gone through in these two decades?” The pace of modern Hong Kong life means that people are often so busy that they cannot even spare the time to stop and think. There is a tendency to forget, rather than reflect. “Hong Kong people in the old days were indeed very hard-working, but what’s called hard-working is a different thing today, where no matter how hard we work, we can’t even afford a subdivided flat. Back then, Hong Kong people worked hard, they worked overtime too, but no matter how busy they were, the family would always get together for festival dinners”. A Floating Family raises numerous questions. In 20 years, what has been gained, and what has been lost? The changing times keep pushing people to stagger forward and make their own choices; often it’s difficult to judge whether these choices are right or wrong. As Fong says, this trilogy is not to pass judgement, but he hopes the audience can use it as an opportunity to look back over two decades and reflect on what they want as a home in Hong Kong. “People need to look back occasionally, instead of just pushing forward non-stop. In what direction does this path take us? There is no right or wrong; everyone has their own answer”. By Chaochao Translated by D T

《香港家族》三部曲 A Floating Family: A Trilogy

第一部曲《香港太空人》Play One: Hong Kong Astronaut 24-26.2.2017 8, 11, 15, 18-19.3.2017

第二部曲《留住香港》Play Two: All Out of Love 1-3, 9, 11, 16, 18-19.3.2017

第三部曲《香港人太空》Play Three: Vacant in the City 4-5,10-11,17-19.3.2017

香港大會堂劇院 Theatre, HK City Hall

Defining Voices 聲音與土地

來自世界各地的頂尖藝術家聚首一堂，帶來多首古典和當代音樂作品，無論是耳熟能詳或陌生的曲目，同樣精采。 A stellar cast of artists from around the world share classical and contemporary works; some that are familiar, and others less so.

楊納傑克：布爾諾音樂偉人歌劇布爾諾有輝煌的歷史，楊納傑克乃其核心人物。十九世紀中，捷克人的民族主義興起，歌劇成了國家民族感情產生的重要推動力。諸如斯美塔那的《交易新娘》和《莉布舍》，以及德伏扎克的《水仙女》等作品，對建立國族身分認同感大有幫助。隨歌劇創作而來的是對劇院的需求；首間劇院在 1862 年於布拉格開幕，接着是 1881 年，位於伏爾他河岸，雄偉的國家劇院。

儘管德伏扎克和楊納傑克關係密切，他們在作曲事業上走了全然不同的路。楊納傑克在生命的最後十年，深深愛上一個比他年輕很多的女人，又因捷克當時已獨立於奧地利而熱情滿腔，且最終功成名立於海內外，他這時的音樂打破常規，無可預測。《永恆的褔音》、《格拉高利彌撒曲》、《小交響曲》和《馬克普洛斯檔案》，均呈現了激發其創意而偶有爆發力的萬丈豪情。

在摩拉維亞首都布爾諾，操德語人口比例較布拉格的大，歌劇院的發展就沒那麼迅速。楊納傑克早期歌劇《愛情之始》（1894 年）和《耶奴法》（1904 年）的首演，都在一間改建的舞廳舉行。第一次世界大戰後情況改善了，劇作可在現已堂皇易名國家劇院的舊城鎮劇院上演。但直到 1965 年，布爾諾才有專為歌劇而建的劇院，名為楊納傑克歌劇院，並不教人意外。這建築內有開揚的大堂和優良的音樂廳，座落於迷人的公共花園，使人心曠神怡。

《永恆的褔音》以捷克大詩人雅羅斯拉夫．富赫列茨基的文字譜曲，在 1914 年楊納傑克事業低潮時寫成，當時他不獲布拉格的音樂主流理會，常常病倒，一次大戰前的政局更是不穩。在這困厄的情況下，楊納傑克還是寫出了他對人性之善與人類終得解脫的信念，熱切感人。

與楊納傑克歌劇院相隨的是布爾諾的超卓表演傳統。從多方面看，此傳統的奠基者為指揮法蘭堤舍克．奈曼：楊納傑克最偉大的其中三部歌劇，《卡堤亞．卡芭諾娃》（1921 年）、《狡猾的小狐狸》（1924 年）與《馬克普洛斯檔案》（1926 年），皆由他作首演。後來的指揮如法蘭堤舍克．伊歷克在這卓越的基礎上繼續發展，製作了不少重要錄音。布爾諾的樂團，以及歌劇合唱團的演出，譽滿歐洲，英聲茂實。其淵源深遠如此，無怪乎楊納傑克的歌劇乃布爾諾國家劇院劇目重心所在。楊納傑克整個職業生涯都在摩拉維亞生活和工作，被布拉格的「輿論階層」視作鄉野外人，但他亦有其支持者，包括德伏扎克。後者與斯美塔那並列捷克民族復興運動中最偉大的作曲家，在國際上成功連連。他亦與楊納傑克同樣來自窮鄉僻壤，兩人於十九世紀七十年代初在布拉格首次見面時結交，於藝術上很是投契。楊納傑克在其大量評論寫作中總是擁護德伏扎克；他於布爾諾當指揮並籌辦音樂活動，也常奏其作品，如在 1882 年 4 月 2 日於布拉格以外首演《聖母悼歌》。德伏扎克的《聖母悼歌》，其情意之誠摯及想像之豐富，於十九世紀捷克音樂前所未見。譜寫此曲有各種誘因，但幾可肯定德伏扎克三名子女夭亡促使他寫下初稿，並在 1877 年完成作品。跟《斯拉夫舞曲》一樣，《聖母悼歌》為他早年帶來成功，讓他享譽歐洲以至更遠處，也為其往後在英國的赫赫威名打好了基礎。此曲以十個樂章沉思基督受難，盡用合唱團和獨唱者。它既有戲劇性，又富於感情抒發；在終章，靈魂將進天堂去，得以迸發喜樂。

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完成於 1927 年的《格拉高利彌撒曲》，斯拉夫特徵顯著：其唱詞並非拉丁語，而是古教會斯拉夫語，由把基督信仰帶到摩拉維亞的聖西里爾和聖美多德所建立。此彌撒效果不凡，有時幾乎像歌劇般直接，與慣常的虔敬大相逕庭。楊納傑克去崇拜的教堂位於其出生地摩拉維亞的樹林處，它的鐘聲以羊群敲響；整部曲子亦有親近大自然之感，首尾皆響起歡騰的號角聲。楊納傑克的基本樂觀態度及其對人性之善的信念，顯露於《小交響曲》的五個樂章。一如《彌撒曲》，它亦以動人的號角聲開始和結束，表達對家鄉布爾諾之頌揚：作曲家認為他的城市已走出黑暗的奧地利統治，變成光明自由之地。楊納傑克對生命的熱愛，在上述作品中表露無遺，這也許亦是他創作奇特的歌劇《馬克普洛斯檔案》的主要動力。他最後三部歌劇的取材看來並不精采：《狡猾的小狐狸》來自俏皮的漫畫，《死之屋》來自杜斯妥也夫斯基最陰鬱的作品之一。《馬克普洛斯檔案》則改編自一齣懸疑喜劇，其作者卡雷爾．茶佩克曾嘗試阻止楊納傑克以該文本譜曲，說它「配不上」作曲家之才。然而，楊納傑克的才華正正讓他看出其轉化為歌劇的潛力，終寫下意味深長之作。他看穿喜劇的核心實為悲劇，因為主角的異常高壽令任何生存之樂變得了無意義：秘藥使她活到三百三十七歲。他對角色艾米利亞．馬蒂的描繪，如楊納傑克所有晚期作品一樣，無疑充滿了他對比他年輕三十五歲的卡蜜拉．史朵斯洛娃的愛。在寫給她的書信中，顯見他對馬蒂的窘境深感同情。這歌劇減省了茶佩克的哲學探討，而著重明快的戲劇對白與深刻的人物性格刻畫。劇終筆力萬鈞，馬蒂陷入奇特處境的一切痛苦都得到抒解，深切肯定生命的價值。文揚．斯默尼中譯尹莫違

Janáček

Life, Love, and the Nation Opera in Brno has a proud history and Leoš Janáček is very much its central figure. As nationalism stirred among the Czechs in the 19th century, opera became a key driving force in developing a feeling of nationhood. Works such as Smetana’s The Bartered Bride and Libuše, and Dvořák’s Rusalka did much to fix a sense of national identity. But along with the composition of opera, there was a need for buildings to house them. The first opened in Prague in 1862 followed by the great National Theatre on the banks of the river Vltava in 1881. Things were not quite as speedy in the Moravian capital, Brno, where there was a larger proportion of German speakers than in Prague. Janáček’s early operas, The Beginning of a Romance (1894) and Jenůfa (1904) were premiered in a converted dance hall. Things improved after World War I with productions in the old town theatre, now proudly named the National Theatre. But it was not until 1965 that Brno acquired a purpose-built opera house, unsurprisingly called the Janáček Theatre, an inspiring building with airy foyers and a fine auditorium set in attractive public gardens. Alongside the Janáček Theatre exists a performing tradition in Brno of high distinction. In many ways the founding father of this tradition was the conductor František Neumann, who premiered three of Janáček’s greatest operas: Káťa Kabanová (1921), The Cunning Little Vixen (1924) and The Makropulos Case (1926). Later conductors such as František Jílek built on these remarkable beginnings, producing many landmark recordings. Orchestral playing in Brno and, in particular the singing of the opera chorus are justly celebrated throughout Europe. With this impressive pedigree, it is hardly surprising that Janáček’s operas are at the heart of the National Theatre Brno’s repertoire.

supported Dvořák, and as a conductor and musical organiser in Brno he often performed his music including giving the first performance of the Stabat Mater outside Prague, on 2 April 1882. Dvořák’s Stabat Mater is a work of great sincerity and imagination, unprecedented in the Czech repertoire in the 19th century. The stimuli for this work were various, but the death of three of Dvořák’s children almost certainly prompted the initial sketches and the work’s completion in 1877. Along with the Slavonic Dances, the early success of the Stabat Mater took his name across Europe and beyond; it also paved the way for his huge popularity in Britain. This meditation on the passion of Christ unfolds over ten movements making full use of chorus and soloists. There is both drama and abundant lyricism, while the final movement is an eruption of joy at the prospect of the soul entering paradise. Despite the close relationship between Dvořák and Janáček, the professional trajectories of both composers were quite different. Nothing is conventional or predictable about the music of Janáček’s last decade, when he was deeply in love with a much younger woman, enthused by the fact that the Czech nation was now independent of Austria, and at last enjoying national and international success on a personal level. The Eternal Gospel, Glagolitic Mass, the Sinfonietta and The Makropulos Case all embody the intense, occasionally explosive passion that underpinned his creativity. The Eternal Gospel, to words by the great Czech poet Jaroslav Vrchlický, was composed in 1914 at a low point in Janáček’s

Living and working in Moravia for the whole of his professional life, Janáček was seen as something of a wild and woolly outsider by the critics of the “chattering classes” in Prague, but he had his supporters. Among them was Antonín Dvořák, who along with Smetana, was the greatest composer of the Czech national revival, and one with a record of sustained international success. Like Janáček, Dvořák came from a poor rural background. From their first meeting in Prague in the early 1870s, the two composers became friends and enjoyed a strong artistic rapport. As a prolific critic, Janáček always

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career when, ignored by the musical establishment in Prague, he often succumbed to illness; it was also a time of political uncertainty on the eve of World War I. But for all the vicissitudes Janáček was experiencing, he produced a passionate and affecting profession of faith in the goodness of humanity and its ultimate freedom.

He saw through the comedy to the core of a tragedy, in which an unnaturally long life for the central character – three hundred and thirty seven years procured by a secret potion – renders any joy in existence meaningless. Janáček’s depiction of this character Emilia Marty was undoubtedly informed (as were all his late works) by his love for Kamila Stösslová, thirty five years his junior. In letters to Kamila, Janáček’s overwhelming sympathy for Marty’s predicament is clear. Cutting Čapek’s philosophising in favour of rapid dramatic exchange and depth of characterisation, the music releases all the pain of Marty’s unique situation in a finale of astonishing power, providing a remarkable affirmation of life. By Jan Smaczny

捷克布爾諾國家歌劇院 National Theatre Brno 23 & 25.2.2017 香港文化中心大劇院 Grand Theatre, HK Cultural Centre 26 & 28.2.2017

除了楊納傑克的《永恆的福音》、《格拉高利彌撒曲》和德伏扎克的《聖母悼歌》三個具有濃厚宗教色彩的節目以外，香港藝術節邀得演繹蒙特威爾第的權威—意大利協奏團演出他於 1610 年出版的首本名作，優美的巴羅克聖樂《晚禱》。 20 1 7 年為蒙特威爾第誕辰四百五十周年，他的作品極富張力，經過時光的淘洗，長久流傳。他象徵着由文藝復興到巴羅克音樂的演變，將古老的經文與現代作曲技巧融會貫通。《晚禱》被譽為當時最具感染力、最豐富而華麗的宗教聲樂作品，今時今日鮮有足本演出。協奏團的創團團長里納爾多．亞歷山德里尼率領樂團三十餘年，對《晚禱》素有研究，這次的演出不容錯過。

Monteverdi Masters In Janácek’s works (The Eternal Gospel, Glagolitic Mass) and Dvorák’s Stabat Mater, HKAF presents works that draw strongly on religious experience and the Catholic faith. It is also fitting therefore that the 2017 HKAF programme will feature Claudio Monteverdi’s iconic Vespers for the Blessed Virgin of 1610, with this beautiful Baroque sacred music performed by leading Monteverdi interpreters Concerto Italiano. ˆ

Janáček’s evident passion for life is expressed in these works, and is also a powerful impulse in perhaps his most curious opera, The Makropulos Case. His last three operas grow from astonishingly unpromising material: jokey cartoons in The Cunning Little Vixen and one of Dostoyevsky’s darkest works in From the House of the Dead. The Makropulos Case is based on a wordy comedy-thriller whose author, Karel Čapek, tried to deter the composer from setting the text by describing it as “unworthy” of his genius. And yet, Janáček’s brilliance allowed him to see the operatic potential to create a work of great profundity.

蒙特威爾第演奏權威

The Glagolitic Mass, completed in 1927, has a strongly Slavic dimension; its text is not in Latin but Old Church Slavonic, established by Saints Cyril and Methodius who brought Christianity to the Moravians. The result is extraordinary: at times it has an almost operatic immediacy far removed from conventional piety. Janáček’s church grows out of the woods of his native Moravia and its bells are rung by a flock of sheep; throughout there is a sense of the closeness of nature framed by exultant fanfares. Janáček’s fundamental optimism and belief in the goodness of his fellow man also surges through the five movements of the Sinfonietta. As in the Mass, it is framed by impressive fanfares and offers the listener a celebration of his home town of Brno, transformed from what he considered to be days of gloomy Austrian domination into a place of light and freedom.

With 2017 marking the 450th anniversary of Monteverdi’s birth, the power and dramatic force of his music has stood the test of time. He is seen as symbolising the shift from Renaissance style composition into the Baroque, combining ancient texts with modern compositional techniques. Rarely performed in full, the Vespers in particular are regarded as amongst the most expressive and florid sacred works of the period, and in Rinaldo Alessandrini (founder and leader of Concerto Italiano for over 30 years) there are few who know this repertoire better.

意大利協奏團 Concerto Italiano 3.3.2017 香港大會堂音樂廳 Concert Hall, HK City Hall

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

A NEW SPIRIT Borusan Istanbul Philharmonic Orchestra 土耳其之聲古典音樂常被認為沉悶、守舊。雖然樂團及行政人員已竭盡所能，讓普羅大眾都有機會進入向來神聖的音樂廳，卻依然擺脫不了一貫的負面評價：觀眾老齡化，節目了無新意，樂團千篇一律。

出將演繹賽貫的第一鋼琴協奏曲，帶觀眾領略土耳其二十世紀的古典音樂。今年是這位土耳其國寶級作曲家的一百一十年誕辰周年，他的學生，土耳其鋼琴大師古爾素．奧納伊將表演獨奏，再次展現她對老師作品的完美演繹。

四十五年來，香港藝術節接待了全球各地的樂團。今年則首次邀請到來自伊斯坦堡的樂團。與全球大部分城市相比，伊斯坦堡文化歷史更為悠久，但這座城市對古典音樂的興趣以及樂團成立卻是近期才開始興起。玻魯桑伊斯坦堡愛樂樂團成立於二十世紀九十年代，它的聲譽和影響力可能不及著名的老牌樂團，卻能演繹充滿新意與驚喜的古典音樂。玻魯桑伊斯坦堡愛樂樂團成立於一個橫跨歐亞兩大洲的城市，能將東西方文化共冶一爐。

節目中最新的樂曲是麥美倫爵士專為俄羅斯著名藝術家瓦汀．列賓譜寫、於 2010 年首演的小提琴協奏曲，音樂散發着作曲家的蘇格蘭文化根本。觀眾還可以聽到林姆斯基 - 高沙可夫最喜愛的作品，交響組曲《天方夜譚》。樂隊將運用中東獨有的樂器演奏，例如與齊特琴類近的卡農琴，以及如同魯特琴的烏德琴，為音樂增添新元素。

2014 年，樂團首次參與英國廣播公司舉辦的年度音樂盛事「逍遙音樂會」。《衛報》形容他們是一支「有格調、熱情洋溢的樂團」，歌特柴爾更是「無可挑剔的舞台之星」。雖然觀眾對這支樂團知之甚少，但透過音樂會的光碟錄像，你便會立即感受到當時指揮、樂團與觀眾之間電光火石的共鳴。在光碟封面的圖片上，樂團成員坐在宏偉且古老的皇家艾伯特音樂廳門前開闊階梯上，高舉雙手，洋溢着朝氣與活力，寓意倫敦之行是樂團嶄新且精采的一步。

在今年一系列豐富的古典音樂表演中，玻魯桑伊斯坦堡愛樂樂團將成為首場表演的樂團。當這支朝氣蓬勃的樂團開始用自己的方式演奏，那些認為樂團就是老套、傳統甚至沉悶的批評聲音，應該瞬間就被美妙的音樂聲淹沒了。文黃迪明中譯裴倍

香港藝術節期間，遠道而來的樂團將透過兩場音樂會，向香港觀眾展示樂團的精髓，其中包含令人耳目一新的土耳其樂曲以及引人入勝的當代與經典樂章。樂團在香港文化中心的首場音樂會將以杜遜的《土耳其隨想曲》開場，而第二場演

樂團及曲目特色 20 1 6 年，香港藝術節的節目總監梁掌瑋前往伊斯坦堡出席玻魯桑伊斯坦堡愛樂樂團的一場表演，並與樂團商討參與 2017 年香港藝術節的安排。她分享了對樂團及節目的感想。引進新樂團

Sascha Goetzel, BIPO Artistic Director © Özge Balkan

閱藝

「在音樂演奏方面，這個成立於伊斯坦堡的樂團無懈可擊，而擁有獨一無二的曲目。我認為這一點相當特別，值得深入了解。在此之前，我們對土耳其音樂知之甚少。」

賽貫的第一鋼琴協奏曲「音樂很特別，與我們熟悉的協奏曲不同，於是我們就爽快地對樂團說：就是它了！整個決策過程就是這麼簡單。雖然曲目對我們來說陌生且不尋常，但我們很快就做出決定。」林姆斯基 - 高沙可夫的《天方夜譚》「樂團提到他們會加入土耳其傳統樂器演奏。這個安排很特別，對我來說正好顯示了樂團的獨特之處。」

Accusations abound that the classical music world can be stuffy and backward looking, and despite the best efforts of orchestras and administrators to open the doors of their hallowed concert halls to all, critics continue to use the same sticks to beat their tune: aging audiences, a lack of interesting new repertoire, and a boring merry-go-round of the same orchestras from the same places. In its 45 years of existence, Hong Kong Arts Festival has welcomed orchestras from all over the world, and 2017 marks the first visit of a band from Istanbul. But if Istanbul has a cultural history longer than most other cities in the world, then popular interest in classical music and the establishment of its own orchestra are more recent developments. Formed in the 1990s, the Borusan Istanbul Philharmonic Orchestra (BIPO) may not have had the time to build the heritage and prestige of its older, more illustrious contemporaries, but this orchestra is a living example of how classical music can be both new and exciting. Based in a city that straddles two continents, BIPO are also an orchestra looking both east and west. At their debut at the 2014 BBC Proms in London, The Guardian described them as “a classy, enthusiastic ensemble”, and Sascha Goetzel as “the consummate showman”. Although new to each other, the DVD recording of this concert makes the electric connection between the conductor, orchestra

and audience immediately clear from the first viewing. Even the DVD cover, a photo of the orchestra sat, arms raised, on the wide steps leading up to the grand old Royal Albert Hall, suggests that the trip to London was a new and exciting step – one can sense the spirit of freshness and energy. It is this essence that will accompany BIPO east to Hong Kong, with the orchestra’s two concerts at HKAF notable for the inclusion of Turkish repertoire that will likely be new to Hong Kong audiences, alongside intriguing contemporary and classic pieces. Ferit Tüzün’s Capriccio a la Turque (Turkish Capriccio) will open their first performance at the HK Cultural Centre, while in the second Ahmet Adnan Saygun’s first Piano Concerto provides an absorbing introduction to the Turkish classical music of the 20th century. On the 110th anniversary of the composer’s birth, the soloist will be acclaimed Turkish pianist Gülsin Onay, a former student and renowned interpreter of Saygun’s music. The newest piece in the programme will be Sir James MacMillan’s Violin Concerto, a composition evocative of the composer’s Scottish roots, performed by the renowned Russian virtuoso Vadim Repin who originally premiered the concerto in 2010, and to whom the piece is dedicated. There will also be a twist on Rimsky-Korsakov’s much-loved Scheherazade, presented with middle-Eastern instruments such as the zither-like kanun, and the oud, similar to a lute. Among a busy programme of classical music, BIPO will be the first orchestra to perform at the 2017 edition of HKAF. And what of those accusations that orchestras remain bastions of the old, the traditional, and by implication, boring? The chances are that they will be drowned out straight away by the sound of this thrilling young orchestra, doing things their way. By Tim Wong

玻魯桑伊斯坦堡愛樂樂團 Borusan Istanbul Philharmonic Orchestra 15-16.2.2017 香港文化中心音樂廳 Concert Hall, HK Cultural Centre

Bringing BIPO to Hong Kong In 2016, HKAF Programme Director Grace Lang visited Istanbul to take in a BIPO performance and to organise details of the Orchestra’s performance at HKAF 2017. She shared her thoughts on BIPO and their programme: On bringing a new orchestra to HKAF: “This orchestra, based in Istanbul, plays incredibly, and one clear difference is that they have their own repertoire, which is unique to them. I found it special, and that’s why we decided it was worth exploring. Previously, we didn’t know much about Turkish music”.

On AA Saygun’s Piano Concerto No 1: “It was something different – not another concerto that we were already familiar with – so we said ‘let’s do it!’ It was as simple as that. Although it might have been new and unusual to us, it didn’t take much for us to decide”. On Nikolai Rimsky-Korsakov’s Scheherazade: “BIPO mentioned some of the traditional Turkish instruments that they have incorporated into their performances of this piece. This was a special idea, and for me it’s a good representation of the unique appeal of this orchestra”.

要勾畫出世界音樂地圖，可以追溯歷史上的作曲家如何成為不朽人物，以及一些傳統是如何從古代流傳下來。但也另有方法了解一個地方與她的音樂之間的關係：就是去審視每個地方演奏這些音樂的樂團。以奧斯陸愛樂樂團為例，這個樂團是挪威最重要的文化大使之一，把國家過去豐碩的音樂文化與當代的藝術創作觀連接起來。而外訪巡演時，對很多觀眾來說，樂團正正體現了挪威之「聲」：樂團的圓號手所吹奏的 C 音、或是長笛手所吹奏的升 F 音，即使與名聲旗鼓相當的樂團（譬如紐約愛樂樂團）演奏的是同一份樂譜同一個位置，都有着其挪威味道。首次在香港演出的奧斯陸愛樂樂團指揮瓦西里．佩特連科，將帶領這隊享譽國際的樂團，在第四十五屆香港藝術節演奏兩組節目。樂團於 2016 年 3 月的英國巡演開幕演出，獲倫敦古典音樂網站《Bachtrack》的五星好評，形容樂團的演奏「扣人心弦、充滿睿智」。評論與佩特連科本人認為葛利格和拉赫曼尼諾夫（兩位作曲家的作品是奧斯陸愛樂樂團在香港藝術節演出的重頭戲），在世界各地都引來極大迴響的原因相映成趣：「兩位作曲家都寫出琅琅上口的旋律；兩位都是出色的管弦樂編曲家；同時兩位都是情感與哲理兼備的人，擁有將心比心的表達能力，把音樂從作曲家傳遞到聽眾，從樂團傳遞到觀眾之中。」在奧斯陸愛樂樂團準備來港的時候，值得留意的是葛利格是首位在國際上享負盛名的挪威作曲家，他為同鄉易卜生的史詩劇《皮爾金特》創作音樂，令他一舉成名。1874 年，易卜生邀請來自卑爾根的新晉年輕作曲家，為他將在基斯蒂安尼亞（奧斯陸舊稱）上演的劇作創作配樂，《皮爾金特》於 1876 年首演空前成功，把葛利格推上國際舞台。葛利格的音樂和他的祖國挪威與及他在國際藝壇之間的關係很奇妙，同時也是藝術界一個有趣悖論的縮影：充滿個人主義、或別具地方甚至是國家特色的藝術作品，往往透過憑藉重要藝術家的直覺及技巧所帶來的影響而普世傳頌。我們在偉大演奏家詮釋經典作品時也會見到類似情況。艾爾加動人的大提琴協奏曲（樂團在 3 月 15 日演奏的第二首作品），將由傑出大提琴家楚爾斯．莫克擔任獨奏，佩特連科這次邀請了以演奏來說明「用自己的方法來詮釋作品」的藝術家參演。葛利格熱愛挪威的自然景緻，並從西部具田園氣息的哈登格地區獲取靈感，在這方面更啟發了特維特（1908-1981）的創作。跟巴托克一樣，特維特曾到哈登格地區採風。佩特連科與奧斯陸愛樂樂團更進一步的肯定祖國的音樂，把特維特《100 首哈登格民謠》組曲選段加入在藝術節的演出曲目中。奧斯陸愛樂樂團命名於 1979 年，雖然樂團經歷過幾次重組及名字變更，葛利格始終是樂團的創辦人。葛利格與他的同業約翰．史雲遜於 1879 年成立基斯蒂安尼亞音樂協會，為市內主劇院的駐院樂團。兩次世界大戰阻礙了奧斯陸愛樂樂團的發展，樂團要遲至 1962 年才首次於斯堪的納維亞半島以外的地方演出；1979 年樂團正式改名為奧斯陸愛樂樂團，標誌着樂團成立一百周年。同年也是拉脫維亞指揮大師馬列斯．楊遜斯擔任樂團的音樂總監，在他在任至 2002 年這段時間，奧斯陸愛樂樂團在國際間獲得高度評價，成為世界一級樂團。樂團並不單只演奏挪威的音樂，也包括如柴可夫斯基等的俄國經典，成為樂團在楊遜斯時代的首本名曲。楊遜斯是佩特連科在聖彼得堡學習時的老師，這增強了樂團在挪威文化遺產與俄國音樂傳統之間的聯繫。文湯馬士．梅中譯陳楚姍

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奧斯陸愛樂樂團 Oslo Philharmonic 14-15.3.2017 香港文化中心音樂廳 Concert Hall, HK Cultural Centre © Bo Mathisen

Travelling with the Sounds of Norway 與

挪威之聲暢遊

The musical map of the world can be traced by looking at the composers who have become immortalised throughout history, as well as the traditions that in some cases have been passed down since ancient times. But there’s another way of thinking about the relations between a particular place or land and its music: to consider the performing ensembles that bring this music to life in the here and now. Take the Oslo Philharmonic. This orchestra ranks among Norway’s most significant cultural ambassadors, providing a link between the country’s rich musical past and its presentday priorities with regard to artistic vision. And when the Oslo Philharmonic goes on tour, for many audiences it embodies the “sound” of Norway – even when the horns produce the same C or the flutes the same F-sharp that their counterparts in, say, the New York Philharmonic play, at the same point in a given score. Led by Vasily Petrenko, who is making his Hong Kong debut, the musicians of the Oslo Philharmonic will have an opportunity to demonstrate why they have garnered such an impressive reputation when they perform a pair of programmes at the 45th Hong Kong Arts Festival. In a five star review of the concert opening their UK tour in March 2016, the London-based website Bachtrack praised their “heartfelt but intelligent” playing. That observation makes an interesting counterpart to qualities that Petrenko singles out when asked about the enormous effect Grieg and Rachmaninov (two composers that form the core of the Oslo Philharmonic’s HKAF performances) have on audiences around the world. “Both composers write melodies which people remember right after the concert, both were amazing orchestrators, and both have a good mix of emotion and philosophy, an ability to express from the heart to the heart, from the composer to the listener, and from the orchestra to the audience”. And as the Oslo Philharmonic prepare to come to Hong Kong, it is worth remembering that Grieg, for his part, became the first great Norwegian composer to earn an international standing – initially through his musical contributions to his compatriot Henrik Ibsen’s epic verse drama Peer Gynt. In 1874 Ibsen asked Grieg, then an emerging young composer from the city of Bergen, to write incidental music for a planned staging in Christiania (as Oslo was called at the time). The premiere of Peer Gynt in 1876 was such a hit that it sky-rocketed Grieg to international prominence.

The relation of Grieg’s music to his native Norway and to the international scene is fascinating – and a microcosm of that great paradox of art: that which is highly individual, or specific to a place or even a nation, can become universal when moulded by the intuition and skill of a major artist. We see this process similarly at work when a great performer takes on a familiar masterpiece. With the outstanding cellist Truls Mørk as the soloist in Edward Elgar’s moving Cello Concerto (in the orchestra’s second programme on 15 March), Petrenko has invited an artist he says “brings his own approach” in utterly convincing ways to what he plays. Grieg loved the natural landscapes of Norway and drew on inspirations from the rural Hardanger region in western Norway. In this respect he anticipates the music of Geirr Tveitt (1908-1981), who, like Béla Bartók, spent time collecting folk melodies from the Hardanger region; in a further nod to their homeland repertoire Petrenko and the Oslo Philharmonic will include excerpts from Tveitt’s 100 Folk Tunes from Hardanger in their HKAF programme. The Oslo Philharmonic has gone by its name since 1979, but the orchestra reaches back through several previous formations and names to none other than Edvard Grieg himself. Grieg and his fellow composer Johan Svendsen founded the Christiania Musical Association in 1879, serving as the orchestra for the main theatre there. The disruptions of the two world wars in particular hindered the Oslo Philharmonic’s growth; the orchestra gave its first concerts outside Scandinavia as late as 1962, and in 1979 came the change of name to the Oslo Philharmonic (marking the orchestra’s centenary). That was also the year in which the Latvian conductor Mariss Jansons took on artistic leadership of the orchestra; under his tenure, which lasted until 2002, the Oslo Philharmonic attained a genuinely international reputation as a first-rate ensemble. This involved performing not only Norwegian music but Russian classics such as Tchaikovsky, whose works became a signature of the Jansons era. Jansons in turn was Vasily Petrenko’s mentor in St Petersburg – further enhancing the connections between the orchestra’s Norwegian heritage and Russian musical traditions. By Thomas May

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辛辛那提交響樂團在 3 月來港參演香港藝術節，正值樂團踏入新階段。相比同樣來自美國的紐約、波士頓、芝加哥（及近來冒起的三藩市和洛杉磯）樂團所引起的樂迷哄動，辛辛那提交響樂團具前瞻性且充滿活力，則以其獨特的美國之聲日漸獲得青睞。因此，樂團在藝術節演出兩首風格迥異的作品，恰如其份的表現出他們最擅長演繹美國本土音樂的特色。歌舒詠的《藍色狂想曲》受爵士樂影響，是最受歡迎及最常演奏的美國樂曲之一。鋼琴獨奏部份熱情奔放，由烏克蘭出生的澳洲籍鋼琴家亞歷山大．伽佛利佑克演奏，融入樂團色彩斑爛的合奏旋律。查理斯．艾菲斯簡短優美的現代主義作品《未解答的問題》中，輕柔的弦樂部份，與逐漸變得無調性的小號及木管旋律形成強烈對比，叩問永恆的存在問題。

辛辛那提交響樂團的演出曲目還有樂團音樂總監朗格黑從法國家鄉帶來的兩首作品，包括拉威爾所作、和聲豐富的《達夫尼與克洛伊》第二組曲，以及又稱為《管風琴》的聖桑 C 小調第三交響曲。畢業於美國伊士曼音樂學院的本地管風琴家林芍彬更會於後者中獻技；是次香港藝術節演出，將是繼樂團於 1966 年為人津津樂道的十五個國家、四十二場音樂會世界巡演後首度訪港。今屆香港藝術節還有奧斯陸愛樂樂團和玻魯桑伊斯坦堡愛樂樂團演出，這兩個樂團和辛辛那提交響樂團在藝術成就及國際名聲方面皆以天比高，日漸於國際舞台上冒起。

American Stories 美國故事辛辛那提交響樂團 Cincinnati Symphony Orchestra 17.3.2017 香港文化中心音樂廳 Concert Hall, HK Cultural Centre

When the Cincinnati Symphony Orchestra (CSO) arrives at HKAF in March, they do so very much as an orchestra at an exciting point in their history. While the standing and activities of their compatriot orchestras in New York, Boston and Chicago (and more recently San Francisco and Los Angeles too), have often garnered greater attention, the CSO come to Hong Kong with a burgeoning reputation as a forward-looking and dynamic band of musicians with a distinctly American sound. This is showcased in their HKAF concert performance, which highlights their strength in US national repertoire of two contrasting styles. George Gershwin’s jazz-inflected Rhapsody in Blue is one of the most popular and regularly performed American concert works, with the exuberant rhythms of the solo piano (from the Ukranian-born Australian virtuoso Alexander Gavrylyuk) melding with wildly colourful orchestral melodies. On the other hand, Charles Ives’ brief but beautiful modernist piece The Unanswered Question features hushed

strings that contrast with an increasingly atonal trumpet and woodwind, as they pose the eternal question of existence. Completing their programme, the CSO’s Music Director Louis Langrée also brings a collection of pieces from his French homeland, with the lush harmonies of the Suite No 2 from Ravel’s Daphnis et Chloé alongside Saint-Saëns’s Symphony No 3, nicknamed “Organ”. The latter sees a special appearance from sought after Hong Kong organist Anne Lam, an artist who herself studied at the Eastman School of Music in the USA. There is even further symmetry in the fact that the CSO’s HKAF performance will be the orchestra’s first visit to Hong Kong since their famed world tour of 1966, which took in 15 different countries and 42 concerts. Along with the Oslo Philharmonic and Borusan Istanbul Philharmonic orchestras who will join them at the forthcoming HKAF, the CSO fit very much into the mould of an ensemble that see no limits, both in terms of artistic leadership and a growing international reputation. 79

艾莉索．薇莎拉茲並非一個家喻戶曉的名字，卻在消息靈通的認真鋼琴樂迷圈子中有其忠實追隨者。這位格魯吉亞鋼琴家在歐洲和俄羅斯以外演出不多，叫人苦盼良久的美國演出屢次因她不獲發入境簽證而告取消，其追隨者至今仍然記得當時多麼失望。幸好，在快將舉行的香港藝術節，當年屆七十四的她終於首次來港獻藝時，諒不會受這種地緣政治麻煩所礙吧！薇莎拉茲在 1942 年出生於當時為格魯吉亞蘇維埃社會主義共和國的第比利斯，起初跟她的祖母阿娜絲泰西亞．薇莎拉茲學鋼琴，阿娜絲泰西亞曾在聖彼得堡受業於名師安娜．耶絲波娃，後者的學生還包括普羅科菲夫和瑪麗亞．尤季娜。薇莎拉茲後來在第比利斯國立音樂學院得入阿娜絲泰西亞門牆，畢業後再到莫斯科音樂學院師從雅歌夫．扎克進修。自上世紀九十年代起，她已在該院以及慕尼黑音樂與表演藝術大學擔任教授之職。她的演奏曲目主要來自浪漫時期，專精莫扎特、貝多芬、舒伯特、舒曼、蕭邦、李斯特、布拉姆斯、普羅科菲夫等的作品。自從她在半個世紀前於茨維寇的國際舒曼鋼琴大賽奪魁以來，薇莎拉茲尤被譽為首屈一指的舒曼演繹者。連卓爾不群的舒曼鋼琴家斯維亞妥斯拉夫．李希特也認為她在這方面「無與倫比」。他曾於出席其獨奏會後寫道：「可以想像更美於艾莉索．薇莎拉茲今晚獻給我們的舒曼嗎？自海因利赫．奈侯斯以後，這樣的舒曼我從未聽過。」的確，她的演奏熾烈激揚，卻又能深思內省，於這作曲家的音樂而言，可說最適合不過：此為陽剛與陰柔的自然、有機結合，絕非在次等鋼琴家指頭下慣見的躁鬱拼湊。她於其他作品的演繹也流露這些特質。她的演奏往往如此激烈、剛強、甚至火爆；就像俄羅斯鋼琴學派的許多其他女性代表，例如尤季娜和瑪莉亞．格林貝格，薇莎拉茲徹底打破人們或會對音樂家抱持的任何性別套板印象。其實，跟李希特一樣，這種激烈與剛強大抵來自其對音樂演奏毫不妥協的態度，而這種態度正正說明她為何寧可推出充滿即興變數的現場錄音，也不願讓自己受困於錄音室的種種人為局限。她真誠堅正的藝術操守造就了強烈的個人風格，這也許跟她與生俱來的獨立精神有關。正如薇莎拉茲回憶道：「不管對還是錯—但那一定要是我。我想這是我性格的一部分吧。」薇莎拉茲熱衷室樂，她與聲望崇隆的大提琴家娜泰莉亞．古特曼的長期合作最為人熟悉。在香港藝術節，她不但有一場以演奏舒曼為主的獨奏會，還會與歐伊斯特拉夫弦樂四重奏攜手演出鋼琴五重奏。這隊成立於 2012 年的四重奏，由俄羅斯音樂家組成，除了首任第二小提琴手出自泰斗歐伊斯特拉夫門下，其第一小提琴手安德里．巴雲洛夫也在該年的布魯塞爾伊利莎伯王后大賽奪冠，恰值歐伊斯特拉夫獲此殊榮的七十五年周年，新組合遂得歐伊斯特拉夫家人冠以其名。是次來港，歐伊斯特拉夫弦樂四重奏除了與薇莎拉茲同台獻技，亦有另一場音樂會，曲目多半為俄羅斯作品，愛樂者不久便得以一窺俄國鋼琴及弦樂演奏的輝煌傳統了。文尹莫違

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While not a household name, Elisso Virsaladze has a devoted following among serious pianophiles in the know. The Georgian pianist performs outside of Europe and Russia only infrequently, and her followers in the United States still remember the disappointment that they repeatedly felt when her eagerly-awaited performances were cancelled because she had been denied an entry visa. Fortunately, no such geopolitical impasse seems likely to get in the way when, at the forthcoming Hong Kong Arts Festival, Virsaladze makes her long overdue debut in the city, at the age of 74! Born in 1942 in Tbilisi in what was then the Georgian Soviet Socialist Republic, Virsaladze received her first piano lessons from her grandmother, Anastasia Virsaladze, who had studied in St Petersburg with the great Anna Yesipova, whose pupils also included Sergei Prokofiev and Maria Yudina. She entered Anastasia’s class at the Tbilisi State Conservatory and, upon graduation, went on to work with Yakov Zak at the Moscow Conservatory, where she has been a professor since the 1990s, just as she has at the Hochschule für Musik und Theater München in Germany. Virsaladze’s repertoire is largely Romantic, and focuses on such composers as Mozart, Beethoven, Schubert, Schumann, Chopin, Liszt, Brahms and Prokofiev. In particular, ever since winning the 1966 International Robert Schumann Competition in Zwickau, Virsaladze has been celebrated as a leading interpreter of Schumann’s music. Sviatoslav Richter,

Independent Spirit

Elisso Virsaladze 獨立之精神

艾莉索．薇莎拉茲 © Nikolai Puschilin

himself an outstanding Schumann pianist, considered her “incomparable” in this regard, and once wrote after attending one of her recitals, “Can one imagine a more beautiful Schumann than the one offered to us this evening by Elisso Virsaladze? Not since [Heinrich] Neuhaus have I heard Schumann like it”. Indeed, her playing, being fiery and turbulent, yet pensive and introspective in equal measure, seems ideally suited to this composer’s music, a natural and organic amalgam of yin and yang, rather than a mishmash of the manic and the depressive that is all too often found at the hands of lesser performers. These qualities similarly inform her performance of other composers’ works. Her playing is often so intense, powerful, and even explosive, that just like many other female representatives of the Russian piano school, such as Yudina and Maria Grinberg, Virsaladze completely shatters any gender stereotype one may hold of musicians. Rather, as is the case with Richter, this intensity and power apparently stems from an uncompromising seriousness of purpose in musicmaking that explains Virsaladze’s preference for releasing recordings of live performances, where the unpredictable spontaneity is very much palpable, rather than submitting herself to the artificial confines of the recording studio. From this artistic integrity and truthfulness spring her interpretations of great individuality, which may ultimately be traced to her innate independence of spirit, something that

was already manifest while she was still a child. As Virsaladze recalls, “It didn’t matter whether it was right or wrong – but it had to be me. I expect it’s part of my character”. As an avid chamber musician, she is perhaps best known for her longtime collaboration with the esteemed cellist Natalia Gutman. At HKAF, Virsaladze will not only give a solo recital where the programme centres around Schumann, but also play piano quintets with the David Oistrakh Quartet. This allRussian group, whose original second violinist had studied with the legendary Oistrakh, was founded in 2012. That year, its first violinist Andrey Baranov won the Queen Elisabeth Competition in Brussels, 75 years after Oistrakh achieved this same feat, and the latter’s family subsequently agreed to honour the new ensemble with his name. Partnership with Virsaladze aside, the David Oistrakh Quartet will by themselves perform chiefly Russian works in yet another concert in Hong Kong, so music lovers will soon get to delve into the glorious Russian traditions of both piano and string playing. By Ernest Wan

艾莉索．薇莎拉茲 Elisso Virsaladze 18.2.2017 20.2.2017 ( 鋼琴五重奏 Piano Quintet) 香港大會堂音樂廳 Concert Hall, HK City Hall

要數代表現今數碼時代的古典音樂家，非台灣出生、澳洲長大的小提琴家陳銳莫屬。陳銳曾嬴得 2009 年伊利莎白王后大賽和 2008 年曼紐軒音樂大賽，被偉大的麥可辛．雲基洛夫形容為擁有「一個真正音樂詮釋者的所有技巧」。這位事業如日中天，在全球各地巡演及灌錄唱片的小提琴界新星即將來港獻藝。陳銳不單在舞台上遊刃有餘，在眾多社交媒體平台上與追隨者互動時亦如魚得水，成功將古典音樂帶給新一代年輕觀眾，備受讚譽；潮流觸角敏銳的他亦是時尚偶像。然而，陳銳不只外表俊朗，還有豐富的內涵，總在音樂表演中尋找更深的意義。「唯有深刻的音樂會讓人記住，並對人類產生影響。」他如是說。 If ever there was a classical musician for the modern, digital age, perhaps the Taiwanese-born Australian violinist Ray Chen is that artist. Described by the great Maxim Vengerov as possessing “all the skills of a truly musical interpreter”, he comes to HKAF having built a successful international concert and recording career on the back of his wins at the prestigious Queen Elisabeth (2009) and Yehudi Menuhin (2008) competitions. Equally as comfortable on the stage as interacting with his followers across a host of social media platforms, Chen is a fashion icon who has been lauded for his ability to bring classical music to new, younger audiences. But there is real substance to Chen as well as good looks, and he is always looking for deeper meaning in his musical performances: “Only profound music stays in people’s memories, and creates a lasting impact”.

陳銳 Ray Chen 11.3.2017 香港大會堂音樂廳 Concert Hall, HK City Hall © Julian Hargreaves

Talent

魅力音樂天才

and Charisma

用來形容波蘭鋼琴家彼得．安德塞斯基的評語中，少不了「認真」、「律己以嚴」、「完美主義者」等字眼。這些大概源自眾所週知安德塞斯基對鋼琴表演的執著和自身造詣。最著名一次，莫過於在 1990 年英國里茲國際鋼琴比賽上，他明明幾乎肯定入圍決賽，卻因為不滿意自己的演出而於彈奏中途離場。他憑藉熱誠和專心致志的演奏，現已成為同代音樂家中首屈一指的室樂演奏家。安德塞斯基將會在香港藝術節演出，彈奏鋼琴同時帶領世界一流的室樂團—薩爾斯堡室樂團—演繹莫扎特及海頓的協奏曲。

薩爾斯堡室樂團與安德塞斯基 Camerata Salzburg and Piotr Anderszewski 10.3.2017 香港大會堂音樂廳 Concert Hall, HK City Hall © K Miura

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Many words have been used to describe the Polish pianist Piotr Anderszewski and his approach to his art, common among them “serious”, “self-critical” and “perfectionist”. Perhaps these descriptions stem from the renowned intensity with which Anderszewski dedicates himself to his craft; most famously he left the stage mid-way through competing at the Leeds Piano Competition in 1990, dissatisfied with his performance but with a finals place almost certainly within reach. Since then he has established himself as one of the finest classical musicians of his generation, famed for the passion and concentration of his performances. He will take to the stage at the Hong Kong Arts Festival together with one of the world’s great chamber orchestras, Camerata Salzburg, directing a programme of Mozart and Haydn from the keyboard.

Extraordinary Voice 天籟之音

在香港出生的陳家保，在愛沙尼亞以獨唱家身份成名，成為榮獲格林美獎的愛沙尼亞國立男子合唱團的一員。他分享自己不平凡的追求藝術之旅以及他在香港藝術節的曲目。

Hong Kong-born countertenor Chan Ka-bo is based in Estonia, where he has built an impressive career as a soloist and member of the Grammy Award-winning Estonian National Male Choir. He shares his thoughts on his unusual career path and the repertoire he will perform at HKAF.

從香港到愛沙尼亞發展並不是十分平坦，過程當中你遇到過什麼困難？

HKAF: The path from Hong Kong to Estonia is not an obvious career route. What are some of the main challenges you’ve faced?

愛沙尼亞是一個小國，因此他們希望維護本土藝術家是理所當然，但仍然有很多人願意幫助我。況且在這裏的假聲男高音歌唱家本來就不多，所以是可以有點作為的。我要感謝我的同事兼朋友，風琴手 Andres Uibo 教授，他一直對我充滿信心，至今依然不時跟我合作演出。

Estonia is a really small country, so it would be understandable if they preferred to protect their own, but I have had lots of help from different people. There are not many countertenors in Estonia, so there is quite a bit to do. I must thank a dear colleague and now friend of mine – Professor Andres Uibo – an organist who believed in me and still collaborates with me very often.

你這次在香港藝術節選曲的篇幅涵蓋範圍很廣，你認為這個選曲對今日的觀眾來說有什麼關係？

HKAF: Your programme spans a huge range, from early music like Monteverdi to the more contemporary, like Arvo Pärt.

這次選曲的跨度的確頗大，我相信這對觀眾會是一次有趣的體驗，他們將從不同的音色、風格中瞭解不同的文化背景。

Yes, the range is pretty wide. I believe that it will be interesting for the audience to listen to the different colours, styles, and cultural backgrounds.

愛沙尼亞作曲家的歌曲可以很輕鬆、優美、耐聽，有的則會很富戲劇性、沉重、艱澀。尤其是浪漫時期的後期，在蘇聯統治期間所作的歌曲，當中展現出愛沙尼亞人民對自由和獨立的強烈追求。

The music that the Estonians have composed is a bit different from other European countries. It can be very light, beautiful, and easy to listen to, yet some of it is very dramatic, heavy, and hard to understand. This was especially so during the late romantic period, under the occupation of the USSR, when the Estonians longed for freedom and independence!

香港在培育男高音歌唱家或專門為其作曲的經驗並不多，這對於你過去甚或將來的職業選擇有什麼影響？你會希望為這個城市帶來些什麼？我之前也提到，假聲男高音本來就少有。我希望香港人會樂意接受這種聲音。音樂就像一個寬闊的光譜，而假聲男高音只是其中之一。我期待回到我美麗的城市，跟不同團體和有才華的本地音樂家一同演出。陳家保 Chan Ka-bo 4.3.2017 南蓮池園香海軒 Xiang Hai Xuan, Nan Lian Garden

HKAF: Hong Kong itself does not have much history of nurturing countertenors, or composing repertoire for them. What might you like to bring back to this city? In general, countertenors are rare. I hope that the great people in Hong Kong will be ready to open up their minds for this type of voice. I also hope to come back to my beautiful home city to work with different collectives and perform wonderful music with the talented local musicians.

Musical Journeys 世界音樂之旅

巴拉克．斯索高 Ballaké Sissoko

瑪麗亞．芭莎拉蒂 María Berasarte

Hong Kong Arts Festival has consistently presented a widely varied international programme, presenting local Hong Kong productions alongside performances by some of the most acclaimed artists from around the globe. This year is no different, with a performance by early music group Hirundo Maris that melds together musical traditions from both Scandinavia and the Iberian peninsula, while the World Music Weekend brings together three artists from three different continents and nations: Mali, Turkey and Spain. Ensemble Hirundo Maris and their eclectic mix of early music, folk standards, and original compositions defy easy definition. Led by multi-instrumentalists and vocalists Arianna Savall and Petter Udland Johansen, their music traces a route through Nordic and Mediterranean music traditions, taking listeners on a further journey across seas and national borders .

海燕合奏團 Ensemble Hirundo Maris

古斯．愛簡拿 Kudsi Erguner

香港藝術節向來以多元化節目見稱，除本地製作外，還會邀請世界各地著名表演團體來港演出。今年亦不例外，有海燕合奏團為觀眾帶來融合斯堪的納維亞和伊比利半島傳統音樂的演出，而世界音樂週末營則為大家介紹三位分別來自馬里、土耳其和西班牙的藝術家。

Ballaké Sissoko, the celebrated kora player, will share the peaceful spirit of his native Mali in an intimate solo recital. Sissoko is no stranger to international acclaim having seen his 2013 solo album At Peace gather much praise for its simple yet contemplative beauty.

海燕合奏團融合早期音樂、經典民謠以及他們的原創旋律，創造出別樹一幟的樂曲。擅長演奏多種樂器的歌唱家阿麗安娜．薩巴爾，將連同彼得．尤德蘭．約翰遜一同帶領樂團以音樂追溯地中海至挪威的音樂傳統，與觀眾踏上一場跨越地域界限的旅程。

Kudsi Erguner was named UNESCO Artist for Peace in 2016 and is a master of the ney, the Turkish reed flute; but perhaps it is his dedication to the research and documentation of traditional Sufi music that marks him out as much as his mastery as a performer. Together with Hakan Güngör on kanun and Hamdi Akatay on percussion, this trio draw on centuries of musical tradition.

科拉琴演奏家巴拉克．斯索高於 2013 年推出專輯《At Peace》，以純粹而療癒的琴聲和旋律打動了不少聽眾，享譽國際。在這次獨奏會，斯索高將用清澈的琴音與觀眾分享他家鄉馬里的和諧平靜。著名納伊笛演奏家古斯．愛簡拿剛於 2016 年獲聯合國教科文組織選為和平藝術家。獎項不只讚揚他出色的納伊笛演奏，更表揚他在傳承土耳其傳統蘇非音樂上的貢獻。愛簡拿會聯同卡農琴演奏家哈坎．岡格什以及敲擊樂家哈姆迪．阿卡塔依，將過百年的音樂傳統呈現給觀眾。瑪麗亞．芭莎拉蒂突破傳統，以西班牙文演唱葡萄牙怨曲，贏盡掌聲。她的唱腔有別於為人熟悉的風格，但在她獨特而優美的演繹下，不但保留了歌曲的韻味，更演繹出兩者的精華部分，為觀眾帶來最精采的演出。

Fado music is tied to the soul of the Portuguese nation, but in María Berasarte it has a star who has taken this tradition and won new fans by performing it in her native Spanish language. These songs may not sound quite the same in Berasarte’s presence, but her fresh, daring interpretations retain the same drama and passion, offering the very best of both worlds. 海燕合奏團 Ensemble Hirundo Maris 香港大會堂音樂廳 Concert Hall, HK City Hall

巴拉克．斯索高 Ballaké Sissoko 古斯．愛簡拿三重奏 Kudsi Erguner Trio 瑪麗亞．芭莎拉蒂 María Berasarte 香港演藝學院香港賽馬會演藝劇院 The Hong Kong Jockey Club Amphitheatre, HKAPA

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9.3.2017

19.3.2017 19.3.2017 18-19.3.2017

No Smoking But No Less Fun 無煙狂歡

埃米爾．庫斯圖里卡和無煙大樂隊不是一般娛樂圈流行樂隊，而是自詡為反全球化運動的一份子，和由周遭環境催生而成的獨特團體。他們在家鄉塞爾維亞的知名度，遠不及國際間的名氣。事實上，他們正正就是透過周遊列國巡迴演出打響名堂。樂隊在 1980 年成立，頭十年都在演奏隨性的 unza unza 音樂。這種奇特的風格結合了搖滾樂、吉卜賽音樂和舒馬迪亞音樂的二四拍節奏，也受二十世紀其他藝術家影響。他們創作的舞曲是一種「充滿化學能量」的音樂，令人難以抗拒。在香港藝術節的演出中，觀眾將不禁隨歌起舞和跟着節奏打拍子。無煙大樂隊沒有固定的所謂家園，他們以影像和聲音跟全世界接觸溝通。埃米爾．庫斯圖里卡和無煙大樂隊是天生傳遞快樂、象徵自由的遊牧民族，他們身上散發着這些牧民特質。自由讓他們在世界各地任何舞台上，都感覺有如在家鄉般輕鬆自在。

庫斯圖里卡與無煙大樂隊 Emir Kusturica and The No Smoking Orchestra 7.3.2017 香港文化中心音樂廳 Concert Hall, HK Cultural Centre

Emir Kusturica and The No Smoking Orchestra are not “show business” artists, but instead choose to see themselves as part of the anti-globalist movement and a unique paradox of the environment from which they have sprung, whereby they are more famous and recognised on the international scene than in their homeland of Serbia. In fact, it is out on the road where they have successfully built their reputation. Formed in 1980, the band spent their first decade performing their dishevelled unza unza sound, creating a strangely unique mix of rock, gypsy music, and Šumadija 2/4 rhythms, along with wider influences from other 20th century artists. They create dance music so compelling, an “explosive mix of nitroglycerine-type sounds”, that the audience at Hong Kong Arts Festival will not be able to stay in their seats, nor keep their feet still. The No Smoking Orchestra’s communication with the world runs on image and sound, with no single homeland. Emir Kusturica and The No Smoking Orchestra are naturalborn nomads, bearers of joy and symbols of freedom, those intrinsic nomadic features. Their freedom gives them a power that enables them to feel at home on any stage, anywhere in the world. 87

Terri Lyne Carrington and the Soul of

American Popular Music 美國騷靈女爵士

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今屆香港藝術節的演出者當中，除了美國辛辛那提交響樂團，還有另一位也以詮釋歌舒詠音樂聞名—泰莉．萊恩．卡榮頓。

The Cincinnati Symphony Orchestra is not alone among this year’s HKAF artists in being noted for interpreting the music of George Gershwin.

1998 年，赫比．漢考克灌錄格林美獎得獎專輯《歌舒詠的世界》時，除了有史提夫．汪達和瓊尼．米歇爾，以及邁爾士．戴維斯五重奏成員韋恩．蕭特和朗．卡特參與之外，還找來了泰莉．萊恩．卡榮頓擔任鼓手並協助製作唱片。

When Herbie Hancock recorded his Grammy award winning Gershwin’s World in 1998, along with Stevie Wonder, Joni Mitchell and his Miles Davis Quintet bandmates Wayne Shorter and Ron Carter, he called in Terri Lyne Carrington, who not only played the kit drums but also assisted with the album’s production.

美國流行音樂種類繁多，卡榮頓是少數樣樣皆精的音樂人。她以樂隊領班或成員身份，已經涉獵過山塔那的拉丁搖滾樂、漢考克的原音和電子爵士樂、還有她自己演繹艾靈頓公爵的音樂。卡榮頓憑 2011 年《馬賽克計劃》專輯，贏得格林美獎最佳爵士演唱專輯。她在該專輯中邀請了多位出色的女性音樂家及歌手，創作新曲和演繹歐文．柏林和艾．格林等美國作曲家的作品。卡榮頓更憑隨後的《金錢叢林：藍色激情》專輯，贏得格林美獎最佳爵士樂器專輯獎。該次錄音中，卡榮頓邀請了其時已屆九十二歲的克拉克．泰利吹奏小號。

「美國流行音樂種類繁多，卡榮頓是少數樣樣皆精的音樂人」小號大師泰利不僅曾跟艾靈頓公爵同台演出，也是卡榮頓僅十歲時第一次演出，和她十八歲移居紐約時首次當職業鼓手的樂隊領班。雖然泰利於 2015 年逝世，但卡榮頓出類拔萃的爵士音樂生涯正正延續了他的傳奇。 2015 年，她錄製了最新專輯《馬賽克計劃：騷靈情歌》。卡榮頓在這張專輯再次與全女班樂手及歌手（除了在歌曲之間讀白的比利．迪伊．威廉斯），向殿堂級男爵士音樂家致敬，例如寫《星期日到來》的艾靈頓公爵和唱《我像個傻子般渴望你》的法蘭克．仙納杜拉。《騷靈情歌》中的音樂以節奏藍調和騷靈風格為主，卡榮頓亦借此機會以個人特色探索這兩種美國流行音樂。她在香港藝術節的兩場演出，將會是現場享受美國音樂的絕佳機會。文羅賓．利納姆中譯黃凱嵐

泰莉．萊恩．卡榮頓《騷靈情歌》 Terri Lyne Carrington’s Mosaic Project: LOVE and SOUL 24-25.2.2017 香港文化中心音樂廳 Concert Hall, HK Cultural Centre © Erik Jacobs

Few musicians better embody the diversity of American popular music than Carrington. As a leader or band member she has explored multiple facets of it, from the Latin rock of Carlos Santana, via acoustic and electric small group jazz with Hancock, to her own interpretations of the music of Duke Ellington. She won her own first Grammy as a leader, for Best Jazz Vocal album, with 2011’s The Mosaic Project, which assembled an all-star all-female cast of singers and musicians to perform all-female music and songs by composers ranging from Irving Berlin to Al Green. She followed that up with another Grammy winning project, this time for Best Jazz Instrumental Album, with Money Jungle: Provocative In Blue, on which she was able to call in the then 92 year old trumpeter Clark Terry.

“Few musicians better embody the diversity of American popular music than Carrington” Terry, who played with Duke Ellington, was also the bandleader who gave Carrington her first gig when she was only ten years old – and her first regular professional gig when she moved to New York at the age of 18. Terry sadly passed away in 2015, but Carrington’s distinguished career in jazz is a part of his considerable musical legacy. In 2015 she recorded the second Mosaic Project album, Love and Soul, which again features an all female cast – with the exception of Billy Dee Williams who contributes spoken word interludes – but which this time pays tribute also to male composers and interpreters of American popular song, including Ellington and Frank Sinatra with Come Sunday and I’m A Fool To Want You among the cover tunes featured alongside original compositions by the musicians. Love and Soul takes R&B and soul music as its principal thread of stylistic continuity, and has allowed Terri Lyne Carrington to put her own unique stamp on yet another area of American popular music. Her HKAF performance will offer a great opportunity to hear this music live. By Robin Lynam

Gainsbourg Symphonic Jane Birkin’s tribute to a French icon

《交響情人》向法國音樂巨星致敬

珍．寶金《交響情人》

Gainsbourg Symphonic with Jane Birkin

3-4.3.2017 香港文化中心音樂廳 Concert Hall, HK Cultural Centre

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除了作曲家、歌手、作家、演員及電影製作人的身份外，沙殊．甘斯堡最為人所知的，是其出位大膽的言論和放肆反叛的行為。從 1991 年逝世至今廿五載，他依然是顆巨星。甘斯堡在法國的影響力，非法國人是難以理解的。他的追隨者眾，音樂製作類型涵蓋古典、流行曲、爵士、搖滾、雷鬼等，他創作的歌詞是創新的文字遊戲，字裏行間盡見才華，被視為音樂奇才。他創作的歌詞常具雙重、甚至三重意義，卻無法直接翻譯成英語，未能獲非法語地區聽眾的重視。雖然在國外的受歡迎程度遠不及在家鄉，卻無損他在潮流文化界的地位，他仍是世界各地音樂人的創作靈感，例如美國的 De La Soul 樂隊和英國的 Massive Attack 樂隊，音樂中都曾出現一些甘斯堡的歌曲片段。而甘斯堡所遺下的音樂，亦深深影響當代藝人，包括美國歌手 Beck、英國另類搖滾樂隊 Pulp 及美國夢幻流行樂隊 Beach House。眾所周知，甘斯堡的煙癮和酒癮都很大，常以一副睡眼惺忪的樣子示人，一臉短小的鬍子和毫不俊俏的外貌是他的標誌。他認為醜陋比美麗更歷久不衰，因此更值得追隨。他從不隱瞞感情事，曾為很多舉世矚目的女星作曲，例如朱麗特．格雷科、碧姬．芭鐸、米雪兒．阿諾、伊莎貝．艾珍妮等，其中不得不提珍．寶金，一個曾與他共渡十二年，並為他誕下女兒夏洛蒂．甘斯堡的女人。珍．寶金與甘斯堡的關係獨特，不論在音樂創作還是人生路上都密不可分，因此她對甘斯堡的作品的詮釋最為透徹。早在 2004 年，她曾在香港藝術節亮相《Arabesque》音樂會，為觀眾帶來甘斯堡的音樂。事實上，甘斯堡曾給她寫信道：「有一件事你從不知道，你曾擁有最好的我。」甘斯堡的音樂常常滲透古典音樂元素，因此珍．寶金在最初構思《交響情人》的時候，想到與交響樂團一同演奏甘斯堡的一些熱門歌曲，包括五十年代他初出道時的作品，和多首特別為珍．寶金而寫的金曲，像在兩人分手後所創作的《寶貝獨在巴比倫》。《交響情人》所代表的不單單是甘斯堡的聲音，更連繫著法國接近半個世紀的文化意識。甘斯堡在法國有著舉足輕重的地位，他去世時在任的法國總統密特朗甚至把他形容為「我們的詩人波德萊爾、阿波利奈爾，他把歌曲提升到藝術層面。」文黃迪明中譯鍾佩妝

Songwriter, singer, novelist, actor, and film-maker, but known also for his provocative words and outrageous behaviour, Serge Gainsbourg remains a star over 25 years after his death in 1991. For those outside of France it is often difficult to understand the scale of Gainsbourg’s iconic status in his home country, where he had an immense following. He was considered a musical genius because his output covered classical, chanson, jazz, rock, reggae, and more, but above all because of the ingenious wordplay in his lyrics. His songs were noted for their double and triple meanings, none of which were directly translatable into English, another reason for his less iconic status in nonFrancophone countries. However, while he never achieved quite the same level of success elsewhere, he still achieved cult status and has been an inspiration for musicians across the world. De La Soul and Massive Attack are just a couple of the artists to have directly sampled Gainsbourg, while his musical legacy has also touched a range of contemporary artists including Beck, Pulp and Beach House. Gainsbourg was also known for chain-smoking Gitanes cigarettes, his unrelenting thirst for a drink, and for his heavylidded bleary eyes, designer stubble, and less than handsome looks. He claimed that ugliness had more going for it than beauty because it endured. His love affairs played out very publicly, and many of his songs were written for women also very much in the public eye, such as Juliet Greco, Brigitte Bardot, Michèle Arnaud, Isabelle Adjani, but above all for Jane Birkin, who was his companion for 12 years and the mother of his daughter Charlotte Gainsbourg. Birkin, who previously brought Gainsbourg’s music to the Hong Kong Arts Festival with her sold-out Arabesque concerts in 2004, occupies a unique position as an interpreter of his music. While “unique” is a word often overused, Birkin’s collaborations with Gainsbourg, as his partner in both music and life, mean that there are few others who can lay claim to the same closeness and understanding of his artistic output. Indeed, Gainsbourg once wrote to her, “One thing amongst other things that you don't know, you had the very best of me". Explaining the gestation of Gainsbourg Symphonic, Birkin’s original inspiration came from the fact that Gainsbourg had used classical music so often within his own music – so why not perform some of his most famous hits together with a symphony orchestra? Songs that date from the earliest moments of Gainsbourg’s career in the 1950s sit alongside those written especially for Birkin, such as Baby Alone in Babylone, penned after their separation. Her Gainsbourg Symphonic is the sound of an artist indelibly linked to the cultural consciousness of France over the course of almost half a century, a figure so important to the nation that François Mitterrand, the French president at the time of Gainsbourg’s death, described him as "our Baudelaire, our Apollinaire… he elevated song to the level of art" . By Tim Wong

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全城參與

香港藝術節走出舞台，踏足香港的戶外空間，設置讓大家參與其中、使你歎為觀止的特備節目。適逢兩項本地重要周年誌慶，歡迎全港市民一同參與今屆與別不同的藝術節：《幻光動感池》是紀念香港藝術節踏入第四十五屆的三個節目之一；《聲光頌》則為慶祝香港特別行政區成立二十周年的三個節目之一。 HKAF moves beyond the stage and out into the open spaces of Hong Kong, with participatory, awe-inspiring spectacles for all. These events mark a desire to share this special edition of the Festival with the whole of Hong Kong, and to celebrate a pair of significant anniversaries together: Super Pool is one of three programmes celebrating the 45th edition of HKAF, while Chorus is one of three programmes marking the 20th anniversary of the establishment of HKSAR.

CHORUS

A Hypnotic Siren Call

《聲光頌》迷惑呼喚藝術節期間，英國聲音藝術家萊爾．利將以《聲光頌》點綴九龍公園的夜色，為煩囂的都市添上一抹星光燦爛的詩意。一個個金屬三腳架聳立在空地上居高臨下。架上的旋轉臂盡頭有揚聲器播放精心設計的音頻，組合成一段規律而和諧的鳴聲，如大地的安眠曲，又像宇宙的呼吸聲。旋轉臂上的紅燈猶如一群縈繞的螢火蟲，又似運行的星球，散發出迷人的光束。交錯的光線閃耀半空，加之調和的音效，整個作品既能激勵同時又能撫慰心靈，猶如置身夢境之中，所有煩憂一掃而空。 Chorus, this hypnotic installation by UK sound artist Ray Lee, will illuminate the sky as dusk gathers in Kowloon Park during the Hong Kong Arts Festival. Towering above, a series of giant metal tripods support rotating arms. At the end of each arm loudspeakers emit precisely tuned musical pitches creating a pulsating, harmonic drone, singing out a hypnotic siren call to all those present. Red lights on the arms appear like a whirling swarm of fireflies, or of planets in motion, emitting mesmerising orbits of colour. These intersecting lights trace rings in the sky, while the combined chorus of the spinning speakers creates a cohesive harmonious whole, “a sticky flux” that is both uplifting and transfixing.

2-10.3.2017 九龍公園廣場 Piazza, Kowloon Park 演出時間表請瀏覽 hk.artsfestival.org 免費入場 For specific show times please visit hk.artsfestival.org Free admission, no registration required 在《聲光頌》展覽期間，藝術節加料節目同時籌備了一系列外展活動，包括漫步遊、工作坊、講座等。詳情請瀏覽 hk.artsfestivalplus.org During the Chorus exhibition, Festival PLUS has organised a series of outreach activities including guided walks, workshops and talks. For details please visit hk.artsfestivalplus.org

SUPER POOL 《幻光動感池》香港藝術節四十五周年誌慶踏進《幻光動感池》，你將步入一個幻光與色彩交織而成的國度。藝術家為一個又一個圓形踏板加上觸控裝置，再把它們拼成同心圓，讓逾百參與者可以在發光的踏板上，透過身體動作合作或互動，為這幅巨型畫布添上時而繽紛、時而浮動的彩光。《幻光動感池》由國際知名的紐約藝術家珍．利維創作，裝置藝術繼巡迴新加坡、悉尼、里斯本、倫敦和伊斯坦堡後，將會來到香港藝術節。為慶祝香港藝術節四十五周年，這項特別的裝置藝術將會於藝術節期間在多個戶外場地免費開放予公眾參與，希望能與香港不同社群分享藝術的樂趣。《幻光動感池》由香港藝術節及香港賽馬會慈善信託基金聯合呈獻

Celebrating the 45th anniversary of HKAF To enter Super Pool is to enter a world where play and collaborative movement create swirling effects of light and colour, a giant canvas where light is painted and splashed collaboratively. Made up of interactive pads in the form of giant concentric circles, over a hundred participants can communicate and interact with each other, as their movements turn the pads into a sea of bright lights and shifting, fading colours. Super Pool is a creation of Jen Lewin, an internationally renowned New York-based artist, and the installation comes to the Hong Kong Ar ts Festival following successful stints across the world in locations including Singapore, Sydney, Lisbon, London and Istanbul. Open and free of charge to all, this special installation will be based at multiple outdoor locations throughout the Festival, marking HKAF’s 45th anniversary and sharing the joy of the arts with communities across Hong Kong. Super Pool is co-presented with the Hong Kong Jockey Club Charities Trust.

17-19.2.2017 中區遮打花園 Chater Garden 23-26.2.2017 荃灣公園 Tsuen Wan Park

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3-5.3.2017 香港海事博物館 Hong Kong Maritime Museum 9-18.3.2017 香港文化中心露天廣場 Piazza, HK Cultural Centre

Â© Aaron Rogosin

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歌特柴爾與玻魯桑伊斯坦堡愛樂樂團 Sascha Goetzel and the Borusan Istanbul Philharmonic Orchestra

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《闖關一代男》 17 Border Crossings

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薇莎拉茲鋼琴獨奏會 Elisso Virsaladze Piano Recital

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泰莉．萊恩．卡榮頓《騷靈情歌》 Terri Lyne Carrington's Mosaic Project: Love and Soul