Cantonese Opera : Global Traces, Local Stages - 47th Hong Kong Arts Festival by Hong Kong Arts Festival

衷心祝賀香港藝術節今年邁向第4 7屆。今屆藝術節陣容鼎盛，共有超過1700名來自香港和世界各地的藝術家傾力演出，為觀眾帶來近1 7 0 場精彩表演。今年藝術節的節目多姿多彩，當代及古典音樂、舞蹈、戲劇等不同形式的藝術表演共冶一爐。每個節目從幕後製作到台前演出，均盡顯精湛的藝術造詣和超凡的想像力。我很高興知道最近完成活化的中區警署建築群，即現在的大館古蹟及藝術館，會在兩個周末呈獻約5 0場舞蹈表演，供公眾免費入場觀賞。大家更有機會一起參與在大館的檢閱廣場、監獄操場，甚至是監獄囚室進行的表演節目。牛棚藝術村亦會打造為藝術共生創造社，首度成為藝術節發展作品的平台，場內設有不同創意領域的工作坊，觀眾並可以欣賞一些創作中的作品，感受藝術家的多元創意。除了精彩表演，藝術節亦一如以往，悉心籌備各項教育和外展活動，致力培育本地藝術人才。「香港藝術節青少年之友」計劃讓本地學生有機會觀賞世界級的表演和參與各式各樣的藝術活動。此外，藝術節亦透過後台參觀和大師班等「加料節目」，讓觀眾與國際頂尖藝術家互動接觸，了解節目的幕後製作過程。衷心感謝香港藝術節團隊一直致力推動本港的藝術發展，成績斐然。我亦感謝贊助商和捐款者的大力支持，令每年的藝術節圓滿成功，大獲好評。謹祝二零一九年香港藝術節所有觀眾、參加者和表演者可以盡情享受這次藝術之旅，留下愉快難忘的回憶。

林鄭月娥香港特別行政區行政長官

I am pleased to congratulate the Hong Kong Arts Festival, which turns 47 this year in grand fashion, with nearly 170 performances featuring more than 1,700 artists from Hong Kong and all over the world. This year, the Festival showcases a dazzling range of classic and contemporary music, dance, theatre and more, each produced, staged and performed with consummate artistry and imagination. I am also delighted to note that our newly revitalised Central Police Station Compound, now Tai Kwun, Centre for Heritage and Arts, is the venue for some 50 free dance performances over the course of two weekends. I am told that audiences will also have the opportunity to participate in the performances taking place at Tai Kwun’s Parade Ground, Prison Yard and even its prison cell blocks. For the first time, the Arts Festival will turn Cattle Depot Artist Village into a Creative Hub for showcasing workshops and works in progress from a variety of creative disciplines. Beyond its captivating performances, the Festival remains committed to its educational activities, outreach and development of local artists. The Young Friends of the Hong Kong Arts Festival enables local students to enjoy world-class performances and participate in a range of arts activities, while PLUS programmes bring audiences behind the scenes with some of the world’s greatest artists through backstage tours, masterclasses and more. I am grateful to the Hong Kong Arts Festival team for its continuing commitment and manifold contributions to the development of the arts in Hong Kong. I am grateful, too, to the many sponsors and donors who, each year, help make the Festival a resounding success. I wish audiences, participants and performers alike a delightful and memorable 2019 Hong Kong Arts Festival experience.

Mrs Carrie Lam Chief Executive, Hong Kong Special Administrative Region

歡迎閣下蒞臨欣賞第4 7屆香港藝術節的這場演出。感謝您與我們一起歌頌表演藝術在舞台上的不同季節和階段。我們要感謝香港特別行政區政府透過康樂及文化事務署的年度恆常撥款。這項資助對香港藝術節每年得以成功舉辦，至關重要。多謝香港賽馬會慈善信託基金持續的支持，為我們致力豐富城中文化生活，打下根基。另外要感謝眾多企業贊助商、慈善基金會以至個人捐助者。他們的慷慨捐助，讓我們能夠呈獻世界各地的優秀藝術家、發展新作、培育年青觀眾，並在國際舞台上引薦本地人才。最重要的是感謝您前來欣賞今天的表演。香港藝術節的成功，正是有賴觀眾的熱情和參與。謹祝您享受藝術節今天這場演出，渡過難忘的時光。

查懋成香港藝術節主席

I am delighted to welcome you to this performance at the 47th Hong Kong Arts Festival. Thank you for joining in our celebration of the seasons and stages of the performing arts. I would like to extend my gratitude to the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention, which is vital to the continued success of the Festival. I am also grateful to the Hong Kong Jockey Club Charities Trust, whose ongoing support is a cornerstone in our efforts to enrich the cultural calendar of the city. Thanks are also due to our many corporate sponsors, charitable foundations and individual donors, whose generous support enables us to host some of the world’s leading artists, develop new works, cultivate young audiences, and promote local talent on a world stage. Above all, I offer my warm thanks to you for joining today’s performance. The enthusiasm and engagement of our audiences is the foundation of the Hong Kong Arts Festival’s success. I sincerely hope that you will find your time spent at the Festival today memorable and enjoyable.

Victor Cha Chairman, Hong Kong Arts Festival

衷心感謝閣下蒞臨欣賞第47屆香港藝術節的演出。今屆藝術節以「一步一舞台」為主題。舞台，不僅是我們呈獻新穎及經典表演的地方，更是藝術轉化向前的關鍵。頂尖藝術家及明日之星於舞台相遇，各展姿彩；透過忠實致敬及大膽改編，經典劇目得以重現觀眾眼前；嶄新作品以原創設計、技術及敍事方法，挑戰傳統舞台的極限。無論於哪個舞台表演，我們會繼續想像藝術世界的無限可能，亦期望今屆表演能為閣下帶來啟發和歡愉。另外，誠邀您參加「加料節目」的各項活動，深入了解重點表演，令藝術節體驗更全面。謹代表藝術節團隊，感謝您參與香港藝術節，支持我們的使命，為香港締造一個世界級藝術節。

It is a pleasure and a privilege to welcome you to this performance at the 47th Hong Kong Arts Festival. This year, we celebrate artists and artworks “At Every Stage”. Not only do we spotlight exhilarating programmes at stages old and new across Hong Kong, but also reflect on the stage as a process of transformation. Leading artists at the peak of their careers perform alongside the next generation of rising stars. Classic repertoire is reinvented through brave homages and boldly experimental retellings, and the original designs, technologies and storytelling modes of new works crash through the boundaries of the traditional stage. I hope that this and many other performances at the 47th HKAF will provoke, inspire and delight you, and that in the course of viewing works at every stage, we may continue to envision the myriad possibilities of the arts. As part of your Festival experience, I would also recommend you join the many PLUS performances, workshops and events that have been designed to bring insight into our core programmes. Together with the entire team, I would like to thank you for your support of the Hong Kong Arts Festival, which sustains us in our mission to bring a world-class arts festival to Hong Kong.

何嘉坤香港藝術節行政總監

Tisa Ho Executive Director, Hong Kong Arts Festival

香港藝術節扎根香港的國際藝壇盛事香港藝術節於 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，2019 年第 47 屆藝術節的年度預算約港幣一億三千六百萬，當中香港特區政府的基本撥款佔總收入的近 13%，接近 6% 來自政府新增加的五年限期額外撥款，另外約 28% 需來自票房收入，逾 33% 則需依賴來自各大企業、熱心人士和慈善基金會的贊助和捐款。預計餘下的大約 20% 則來自其他收入，包括政府針對捐款和贊助收入而提供的配對資助。香港藝術節每年呈獻眾多國際演藝名家精采多元的演出，例如 *： •歌劇：巴伐利亞國立歌劇院、萊比錫歌劇院、莫斯科大劇院、聖彼得堡馬林斯基劇院 •中國戲曲：中國國家京劇院、河北梆子劇院、上海張軍崑曲藝術中心、江蘇省蘇州崑劇院、浙江小百花越劇團 •古典音樂：塞西莉亞．芭托莉、列卡杜．沙爾、趙成珍、古斯塔沃．杜達美、菲力普．格拉斯、馬友友、丹尼斯．馬祖耶夫、安娜．涅翠柯、詹安德列亞．諾斯達、小澤征爾、甘拿迪．羅傑斯特汶斯基、克里斯蒂安．泰利曼、倫敦交響樂團、NHK 交響樂團、皇家阿姆斯特丹音樂廳樂團、柏林廣播電台合唱團、萊比錫聖多馬合唱團、維也納愛樂樂團 •爵士樂及世界音樂：波比．麥非年、尤蘇．恩多爾、艾斯佩蘭薩．斯伯丁、Orquesta Buena Vista Social Club、粉紅馬天尼 •舞蹈：米高．巴里殊尼哥夫、蕭菲．紀蓮、艾甘．漢、美國芭蕾舞劇院、雲門舞集、漢堡芭蕾舞團 – 約翰．紐邁亞、紐約市芭蕾舞團、巴黎歌劇院芭蕾舞團、翩娜．包殊烏珀塔爾舞蹈劇場

2019 年藝術節預計收入來源（約港幣一億三千六百萬） Estimated Income Sources for the 2019 HKAF (Approximately HK$136 Million)

贊助和捐款 Sponsorship & Donations

over 逾

•戲劇：彼得．布祿克、蜷川幸雄、羅柏特．威爾遜、柏林劇團、中國國家話劇院、皇家莎士比亞劇團 •大型特備節目：《藝裳奇幻世界》、星躍馬術奇藝坊 •戶外節目：《聲光園》、《幻光動感池》、《聲光頌》香港藝術節積極與本地演藝人才合作，並致力為新晉藝術家提供展示才華的平台。藝術節至今委約及製作逾 2 0 0 套本地全新創作，包括戲劇、室內歌劇、音樂和舞蹈作品，近年開始同步出版新作劇本，不少製作更已在香港及海外多度重演。近年的藝術節新製作包括粵劇《百花亭贈劍》、《香港家族》三部曲、《世紀．香港》音樂會、《論語》、《炫舞場》、《大同》、《金蘭姊妹》、《爆蛹》、《野豬》、《聖荷西謀殺案》等。香港藝術節多年來與知名海外藝術家及團體聯合製作不少優秀作品，當中包括由香港藝術節、香港歌德學院及翩娜．包殊烏珀塔爾舞蹈劇場聯合製作的《抹窗人》、由倫敦老域劇院、布魯克林音樂學院與尼爾街製作公司製作、香港藝術節為聯合委約機構之一的「橫貫計劃」之《暴風雨》及《李察三世》、由香港藝術節及上海國際藝術節聯合委約的《青蛇》、三藩市歌劇院與香港藝術節聯合製作的《紅樓夢》等。香港藝術節大力投資下一代的藝術教育。「青少年之友」成立 27 年來，已為逾 750,000 位本地中學生及大專生提供藝術體驗活動。藝術節近年亦開展多項針對大、中、小學生的藝術教育活動，包括由國際及本地藝術家主持的示範講座及工作坊、學生展演、演前講座、公開彩排、以及欣賞藝術節演出。同時，通過「學生票捐助計劃」，藝術節每年提供約 1 0 , 0 0 0 張半價學生票。香港藝術節每年主辦一系列多元化並深入社區的「加料節目」，例如電影放映、示範講座、大師班、工作坊、座談會、後台參觀、展覽、藝人談、文化導賞團等，鼓勵觀眾與藝術家互動接觸。

33% around 約

20% nearly 近 6% nearly 近 13%

around 約

28%

票房收入 Box Office （2019 年 1 月更新 Updated January 2019）

其他收入（包括按捐款和贊助收入可望獲得的政府配對資助 ) Other Income (Including Possible Government Matching Grant for Sponsorship and Donation Income) 政府五年限期額外撥款 Government's Time-limited Addition Funding (for 5 years)

政府的基本撥款 Government Baseline Funding

Hong Kong Arts Festival A Major International Arts FestivaI ln, Of and For Hong Kong HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year. HKAF is a non-profit organisation. Secured government baseline funding represents about 13% of the 2019 Festival’s HK$136 million budget, with another nearly 6% specially provided by the Government as time-limited additional funding for five years. Around 28% of the Festival’s income needs to come from the box office, and over 33% from sponsorship and donations made by corporations, individuals, and charitable foundations. It is anticipated that the remaining 20% will come from other revenue sources including the Government’s matching scheme, which matches income generated through private sector sponsorship and donations. HKAF has presented top international artists and ensembles across multiple genres, such as*: • Western Opera: Bavarian State Opera, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre • Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe • Classical music: Cecilia Bartoli, Riccardo Chailly, SeongJin Cho, Gustavo Dudamel, Philip Glass, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Gennady Rozhdestvensky, Christian Thielemann, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra • Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini • Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet–John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch • Theatre: Peter Brook, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company

• Large-scale special events: World of WearableArt, Zingaro • Outdoor events: Power Plant, Super Pool, Chorus HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, HKAF has commissioned and produced over 200 local productions across genres including theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include the Cantonese Opera - Pavilion of a Hundred Flowers, A Floating Family–A Trilogy, Hong Kong Odyssey, Chinese Lesson, Danz Up, Datong–The Chinese Utopia, The Amahs, Blast, Wild Boar and Murder in San Jose, to name a few. HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch, Richard III and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with HKAF as a co-commissioning institution, Green Snake cocommissioned with Shanghai International Arts Festival, and Dream of the Red Chamber co-produced with San Francisco Opera. HKAF invests heavily in arts education for young people. Over the past 27 years, our “Young Friends” scheme has reached over 750,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year. HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided cultural tours.

誠邀贊助或捐助第 47 屆香港藝術節；詳情請與藝術節發展部聯絡。 To find out more about sponsorship opportunities and donation details for the 47th Hong Kong Arts Festival, please contact the HKAF Development Department. 電郵 Email: 直綫 Direct Lines: 網頁 Website:

dev@hkaf.org (852) 2828 4910/11/12 www.hk.artsfestival.org/en/support-us

* 有關香港藝術節的過往節目，可參考以下網頁 Details of past HKAF programmes can be found at www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2018.html

Presents

粵劇越洋半世紀名伶花旦展演話當年

A Long Passion – Talk, Demonstration and Performance 15-17 3 月 MAR

油麻地戲院劇院 Theatre, Yau Ma Tei Theatre 長約 2 小時 15 分鐘，包括一節中場休息 Approximately 2 hours and 15 minutes including one interval 粵語主講 Conducted in Cantonese

「古巴花旦」何秋蘭及黃美玉乘坐第 47 屆香港藝術節指定航空公司芬蘭航空來回香港 "Havana Divas" Caridad Amaran and Georgina Wong Guitierrez flew to and from Hong Kong on Finnair, Official Airline of the 47th Hong Kong Arts Festival

敬請關掉所有響鬧及發光裝置。 Please switch off all sound-making and light-emitting devices. 網上追蹤香港藝術節 Follow the HKArtsFestival on

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

HKartsfestival

本場刊採用環保紙張印刷。This programme is printed on environmentally friendly paper.

www.hk.artsfestival.org

名伶花旦展演話當年

A Long Passion – Talk, Demonstration and Performance 主講嘉賓

Guests Speakers Danny Li Chi-kei Choy Him-heong Caridad Amaran Georgina Wong Gutierrez

李奇峰蔡艷香何秋蘭黃美玉

主持 Moderators 岑金倩

Alisa Shum Kam-sin Lau Pok-chi

劉博智「配馬」示範

"Assisting Horse" Demonstration Cheng Wing-mui

鄭詠梅擊樂領導

Percussion Leaders Ko Yun-kuen (15 Mar) Zhao Riwei (16-17 Mar)

高潤權（3 月 15 日）招日威（3 月 16 至 17 日）音樂領導

Music Leaders Ko Yun-hung (15 Mar) Ho Ka-yee (16-17 Mar)

高潤鴻（3 月 15 日）何嘉儀（3 月 16 至 17 日）舞台監督

Stage Manager Lau Tsz-yan

劉芷恩

服裝 Costumes 金儀粵劇服裝公司

Kam Yee Costumes Co.

佈景道具

Set and Props Kwong Hing Stage Scene Production Company

廣興舞台佈景製作公司

鳴謝魏時煜提供短片及羅卡紀錄何秋蘭之曲譜

Acknowledgements Film clips courtesy of S. Louisa Wei, documentation of Caridad Amaran's music scores courtesy of Law Kar

粵劇，又稱「大戲」或「廣東戲」，歷史價值豐厚，是中國傳統文化的瑰寶。在電影並未普及的年代，粵劇是市民大眾的主要娛樂之一，當時的發展可謂百花齊放。經歷戰亂動盪，不少粵劇傳統散落各地，其中香港是最能完整保存粵劇文化的城市。經過多年的發展，香港孕育了許多著名的老倌伶人，他們更將粵劇帶到世界各地，例如越南、馬來西亞，甚至遠達澳洲、美加、古巴等地，為海外華人帶來故鄉的樂聲，以及耳熟能詳的故事。香港藝術節自 1974 年起舉辦粵劇演出，徐徐邁向半世紀，為觀眾精選及製作傳統及創新粵劇，例如「百年回顧八和鳴」（2010）、「粵劇戲寶傳承篇」（2015）、《漢武東方》（2 0 1 7）等，一眾粵劇前輩與新秀都在為粵劇的傳承出一分力。

2 0 1 9 年，藝術節以「粵劇越洋半世紀」為題，將粵劇名伶走埠時的名作重現舞台；更特別邀請了著名粵劇前輩李奇峰和羅家英擔任藝術總監，率領一眾名伶以及多位梨園新一代於 3 月 9 至 11 日在油麻地戲院劇院演出粵洋半世紀三套經典劇目，包括《紅了櫻桃碎了心》、白玉堂折子戲和《胡不歸》。另一節目「名伶花旦展演話當年」則有來自古巴的何秋蘭和黃美玉，以及攝影師劉博智分享四十年代古巴的粵劇發展，何、黃則將展演《王寶釧》折子；來自馬來西亞的蔡艷香，則聯同香港花旦鄭詠梅展演南派粵劇的功架，而香港粵劇伶人李奇峰亦會分享 1970 年代及 1980 年代紐約和三藩市的粵劇發展。粵劇箇中蘊含了不少民間傳說、歷史故事、道德觀念等，在欣賞演出時，也可加強對中國文化和歷史的認識。

With its rich historical value, Cantonese opera—also known as daai hei or Guangdong daai hei—is a treasure of traditional Chinese culture. Before cinemas became popular, Cantonese opera flourished as the primary source of mass entertainment. Having endured the upheavals of war, many Cantonese opera traditions dispersed to locations outside their native Guangdong; among these, Hong Kong has proved most capable of preserving the traditions of Cantonese operatic culture. Through years of development, the city has nurtured many renowned artists who went on to tour Cantonese operas abroad to Vietnam, Malaysia, and even further afield to Australia, the United States, Canada and Cuba, thus bringing the music and stories of home to overseas Chinese communities. HKAF selects and produces various Cantonese opera programmes to be staged in Hong Kong: from traditional to innovative, from classical to avant-garde. These have included Cantonese Opera Treasures (2010), Classics Revisited: Cantonese Opera Treasures (2015) and Emperor Wu of Han and His Jester Strategist (2017). For its 2019 Cantonese opera programme, the HKAF presents works performed by Cantonese opera artists worldwide. Under the guidance of Artistic Directors Danny Li Chi-kei and Law Kar-ying, established actors and new talents perform in three classics in Yau Ma Tei Theatre from 9-11 March: Red Cherries and a Broken Heart, Vignettes of Pak Yuk-tong’s “Three Big Trials” and Why Don't You Return. An additional programme, “A Long Passion – Talk, Demonstration and Performance” features the “Havana divas” Caridad Amaran and Georgina Wong Gutierrez, joined by documentary photographer Lau Pok-chi, who will share the developments of Cantonese opera in Cuba since the 1940s; their talk will be accompanied by Amaran and Gutierrez's performance from the opera Wang Baochuan. In the same programme, Choy Him-heong from Malaysia and Hong Kong’s own huadan Cheng Wing-mui will showcase highlights from the Southern school of Cantonese opera. Danny Li Chi-kei will also share the art form's development in New York and San Francisco during the 1970s and 1980s. Cantonese operas contain within them a wealth of folktales, history and morals. Through watching these performances, we might open the doors to learning more about Chinese culture and history.

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節目

Programme 追憶馬來西亞及北美粵劇風華

The Golden Era of Cantonese Opera in Malaysia and North America

主講嘉賓：蔡艷香、李奇峰

Guest Speakers: Choy Him-heong, Danny Li Chi-kei

藝術指導：蔡艷香

Artistic Instructor: Choy Him-heong "Assisting Horse" Demonstration: Cheng Wing-mui

「配馬」示範：鄭詠梅

Moderator: Alisa Shum Kam-sin

主持：岑金倩

— 中場休息 Interval —

古巴花旦唱說古巴粵劇興衰

The Havana Divas on Cuba's Cantonese Opera

主講嘉賓及展演：何秋蘭、黃美玉

Guest Speakers and Performers: Caridad Amaran, Georgina Wong Gutierrez

主持：劉博智

Moderator: Lau Pok-chi

藝術節加料節目

蔡艷香粵劇南派工作坊

12.3（二 Tue）2:15–5:15pm （已舉行 Past Event） Southern School of Cantonese Opera Workshop with Choy Him-heong

12.3（二 Tue）7:30–9:45pm （已舉行 Past Event） Havana Divas (2019 Director’s Cut) Premiere and Post-screening Talk

《古巴花旦》（2019 導演版）首映及映後分享會

更多加料節目詳情 More Festival PLUS

1 9 6 0 年代，戲院時常印刷海報宣傳演出的名伶花旦及戲碼，李奇峰及蔡艷香被形容為「文武泰斗」及「女武狀元」。 In the 1960s, posters were printed to promote Cantonese opera performers and their shows. Danny Li was hailed as a "Wenwu Master" and Choy Him-heong a "Wu Champion".

追憶馬來西亞及北美粵劇風華

The Golden Era of Cantonese Opera in Malaysia and North America 蔡艷香與香港藝術節分享馬來西亞的粵劇發展及她走埠巡演的經歷。 Choy Him-heong speaks with the HKAF on the development of Cantonese opera in Malaysia and her experiences touring abroad. 可否分享馬來西亞以往的粵劇情況？

Could you share with us the past golden age of Cantonese opera in Malaysia?

在上世紀六十年代，馬來西亞的粵劇發展蓬勃，當時李奇峰和何文煥先生在馬來西亞的粵劇演出很受當地人支持及歡迎，尤其是居住在吉隆坡茨廠街及蘇丹街等華人街內之華僑。很多香港及中國的大老倌都曾到馬來西亞登台演出。早年有肖麗章、陳非儂；到五十年代，薛覺先、桂名揚、陳艷儂、黃千歲、秦小梨等人都曾到吉隆坡的中華遊藝場（今金河廣場）登台。直至後期因為電影業發展興旺，不少大老倌都會藉去馬來西亞拍電影之機會，抽空檔時間登台演出。譬如芳艷芬在拍攝《檳城艷》時，便於拍攝前後登台唱幾支粵曲。任劍輝、白雪仙到馬來西亞宣傳新電影《李後主》，亦到吉隆坡光藝戲院登台演出。在馬來西亞，有哪些經常上演的著名戲碼？各個粵劇團都有自己的特色及招牌戲碼，當然一些受觀眾歡迎的劇目是不同的粵劇團都會演出，例如《漢武帝夢會衛夫人》及《橫霸長江血芙蓉》；武戲有《枇杷山上英雄血》；文戲則有《燕子樓》；另外亦有一些較為輕鬆幽默的劇目，如《金鳳銀龍迎新歲》。而我在艷陽天粵劇團的招牌劇目則有《十三妹大鬧能仁寺》及《刁蠻女夜狩景陽宮》，並會在當中表演「踩砂煲」和「紮腳坐車」等功架。

The 1960s saw a vigorous development of Cantonese opera in Malaysia. The plays by Danny Li Chi-kei and Ho Man-wun were widely enjoyed by Malaysian Chinese, especially the communities in Chinatown around Jalan Petaling and Jalan Sultan. Malaysia was a popular performance site for many overseas Cantonese opera veteran artists. In the early years, there were Siu Lai-cheung and Chan Fei-nung; later in the 1950s, Sit Kok-sin, Kwai Ming-yang, Chan Yim-nung, Wong Chin-sui and Chun Siu-lei came to perform in the China Amusement Park (the current Sungei Wang Plaza). The film industry began to flourish, providing great performance opportunities for experienced artists while shooting scenes in Malaysia. When they were shooting the film Belle of Penang, Fong Yim-fun would sing a few Cantonese opera songs in her spare time. Later, when Yam Kim-fai and Pak Suetsin arrived in Malaysia for the promotion of the film Tragedy of the Poet King, the two famous artists also performed in Pavilion Cinema in Kuala Lumpur. In Malaysia, which Cantonese operas are most frequently performed? Different troupes have their own specialties and scripts. Of course, some well-received plays would be shared and performed by various troupes, like Meeting Lady Wei in a Dream, The Overbearing and The Bloody Hibiscus in the Yangtze River, the wuxi (martial arts play) The Hero's Blood on Mount Pipa, the wenxi (poetry and cultural play) The Tower of the Swallows, and other comedic plays like Golden Phoenix and Silver Dragon Celebrating

蔡艷香於《昭君出塞》的造型 Choy Him-heong in Lady Zhaojun Departs the Frontier 蔡艷香表演「踩砂煲」功架，高仲奇攝影 Choy Him-heong performing the "clay pot hopping" technique, photographed by Wintson Kao

你曾與羅家英和李奇峰到馬來西亞走埠，對他們的印象如何？我與羅家英在年少時已經認識，並且曾在吉隆坡的中華遊藝場合作演出。羅家英年輕時非常好動，有一次與新劍郎及譚少佳做《枇杷山上英雄血》消耗了大量體力，而這套戲亦剛好有大量武戲，對體力的負擔十分大，但他在台上依舊魄力十足，確實是年少有為。羅家英很活潑，但相反李奇峰則很謹慎，特別是看曲方面。在馬來西亞發展或推廣粵劇有甚麼困難？困難當然有，觀眾越來越少，而我們粵劇團的演員也越來越少，例如上年度有六位同事離開了，但沒有一位新同事加入，即使有新人亦需要時間學習。所以我在馬來西亞八和會館開辦了一個訓練班，新生首三個月不收學費，希望可以為馬來西亞的粵劇團訓練人材。為甚麼你這麼喜歡粵劇？我一聽到打響鑼鼓，知道有戲做便會很開心，母親常笑我：「我的女兒有戲做便甚麼都不記得了，家裏沒有米煮都不擔心。」因為我從小到大也在劇團長大，雙親都是班主，戲台有甚麼困難也好，大家也會合力解決。我覺得在戲班圍着一班人，好像大家庭一樣。到了現在的年紀，我覺得能接到一台戲，大家可以一同演出，已是一件快樂的事。

the New Year, too. As for me and the Sunny Cantonese Opera Troupe, we have The Thirteen Girls' Adventure in Nengren Temple and The Unruly Girl Hunts in the Palace of the Great Brilliance at Night in our repertoire. We would perform the “clay pot hopping”, “foot binding” and “on the carriage” techniques as well. When you performed with Law Kar-ying and Danny Li Chi-kei in Malaysia, what was your impression to both of them? Law Kar-ying has been a good friend of mine since we were young. We had performances together at the China Amusement Park in Kuala Lumpur. He was such an outgoing and talented young man back then. I remember one time, when he was performing The Hero's Blood on Mount Pipa with Sun Kim-long and Tam Siu-kai. There were a lot of movements and action scenes in the work, but in the morning before the show he went swimming with his friends and exhausted himself. But when he was on stage that night, he was still very energetic. In contrast to Law, Danny was more meticulous and serious about rehearsing the scripts. Are there any difficulties performing Cantonese opera in Malaysia? Surely there are difficulties. The number of audience members is dropping and so is the number of new members in troupes. Last year, we had six members leaving with none coming to replace them. Even if there are newcomers, they need time to pick up the art form. That’s why Pat Woh Association Malaysia and I have started a training programme that allows newcomers to study free of charge for the first three months; I hope that can help recruit some talents for the Cantonese opera troupes in Malaysia. Why did you fall in love with Cantonese opera? Whenever I heard the gongs and drums as a kid, I’d get so excited, as I knew there would be a song or a performance. My mother used to tease me, saying, “Look at my sweetheart! I bet a performance will suffice better for you than a good meal!” My parents were troupe owners, and I literally grew up on the stage. The troupe would face and solve any problems together. It’s like a big family. Even at my age now, I’m still thankful to go on stage and perform with my troupe.

跨越半世紀的粵劇路

Cantonese Opera Through the Years 李奇峰，人稱「奇哥」，是香港著名的粵劇前輩，演過的劇目數之不盡，走埠的地方也多不勝數。奇哥生於粵劇世家，小時候便與粵劇結緣，父親李鑑潮是白玉堂興中華劇團的編劇，母親呂小紅亦曾為小武演員，他是在戲班、劇場長大的孩子，順理成章踏上粵劇之路。五六十年代，大量中國人於戰後流落異鄉。人離鄉賤，故土的一曲楚歌帶來無限鄉愁，各地華裔為了一解愁緒，都出資邀請香港或中國的粵劇老倌到當地登台。奇哥正是當中的一位代表人物，曾與多位前輩在越南演出，包括薛覺先、馬師曾及桂名揚等大前輩。六十年代，他到星馬一帶（檳城、吉隆

Danny Li Chi-kei, or Kei Gor (Brother Kei) to some, is a well-known Hong Kong Cantonese opera veteran who has performed countless works locally and globally. Born into a Cantonese opera family, Li was introduced to the art form at an early age: his father, Li Jianqiao, was a writer for Pak Yuk-tong and the New China Cantonese Opera Troupe, while his mother, Lu Xiaohong, was a wu (martial) actress. Having grown up alongside a troupe and on the stage, Li seemed destined to embark on the path of a Cantonese opera artist as a young man. During the 1950s and 1960s, a great number of Chinese lived overseas, having fled from the turmoil of WWII. Due to political factors, many had no true place to call home. In this difficult position abroad, a song from home had the power to fill overseas Chinese with nostalgia. Many would thus spare no expense to invite

坡、怡保、北婆羅洲、砂勞越）走埠，當年他到馬來西亞登台時更帶來一個精心設計的旋轉舞台，在當地引起了一陣熱潮。1963 年走埠結束後，奇哥應蔡艷香的邀請，到曼谷與她及梁少松「隨片登台」，即指粵劇名伶在電影院播放戲曲電影的前後，現場演出約十五至二十分鐘，將粵劇結合電影故事，娛樂性倍增。這種做法在星馬泰極受歡迎，讓他們既可宣傳電影亦借此見見觀眾。奇哥在東南亞四處演出了一段長時間，直至

1 9 6 7 年的「六七暴動」，不但震撼了香港人，也為奇哥帶來重大改變。當年社會陷入混亂，不少粵劇演出暫停，伶人為了生計而須要出外走埠，奇哥因而有機會跨出亞洲，

famous Cantonese opera singers from Hong Kong and China to perform. Danny Li is representative of that era: he performed in Vietnam alongside leading figures like Sit Kok-sin, Ma Si-tsang and Kwai Ming-yang, and in the 1960s, toured to Singapore and Malaysia (to the cities of Penang, Kuala Lumpur, Ipoh, North Borneo and Sarawak). During a 1964 tour to Malaysia, he brought with him an elaborate revolving stage for his performances, which would become the talk of the town. Li also accompanied Choy Him-heong and Liang Hsiao-sung to Bangkok to participate in “cinema performances”, during which the Cantonese opera stars appeared before or after the screening of a film to expand upon its plotlines in a short 15–20-minute performance. Such a heightened entertainment practice allowed actors to promote their films whilst meeting their fans and was immensely popular in Singapore, Malaysia and Thailand.

首次到美國三藩市登台，與林家聲、任劍輝合作。及至八十年代，勵群劇團成立，奇哥帶領劇團遠赴美加及歐洲巡演，所到之處包括美國三藩市、洛杉磯、紐約、波士頓，加拿大多倫多、艾門頓、溫哥華，以及多個歐洲城市如巴黎、荷蘭、丹麥。他將粵劇帶到世界各地，一方面娛樂當地華人，另一方面則擴闊粵劇的藝術地位，也開創香港粵劇在歐洲公演的先河。他們一般的走埠時間長，一演便十多天，甚至一個月，常演的都是在香港十分流行的《帝女花》、《紫釵記》等戲寶，也會演出不少傳統戲。奇哥不但深愛粵劇，在粵劇傳承之上更是不遺餘力，更希望推廣粵劇文化。早於六十年代，他已為雛鳳鳴劇團培育後輩，亦與尤聲普創辦香港實驗劇團，藉以研究更多粵劇演出的可能性並進行實驗創作。1980 年，奇

Li toured around Southeast Asia until the 1967 Riots in Hong Kong—an event that not only shook Hong Kong, but brought many changes to Li’s life. As the riots caused the suspension of many shows, more Cantonese opera actors and singers were forced to perform overseas to make ends meet; because of this, new opportunities arose for Li to leave Asia, including a US debut in San Francisco with Lam Kar-sing and Yam Kim-fai. In the 1980s, after the establishment of the Lai Kwan Cantonese Opera Troupe, Li led the company leader to San Francisco, Los Angeles, New York, Boston, Toronto, Edmonton, Vancouver and Paris, with stops in the Netherlands and Denmark. The tour—the first of its kind for a Hong Kong opera troupe—brought Cantonese opera to the world stage. On one hand, their performances provided sensational entertainment for overseas Chinese; on the other, they helped Cantonese opera reach a wider audience, thereby boosting the art form's profile abroad. Despite the challenges of performing overseas, Li was impressed by the warmth of his audiences. A single stop on the tour might take

哥藉由早年到美國演出的經驗，與羅家英、李寶瑩等合作成立勵群粵劇團，寓意粵劇伶人須互相勉勵、群策群力。他一直為粵劇奉獻自己，「承諾了，便得全力以赴，做到最好」是其座右銘，如此勞心勞力，只希望將粵劇傳承下去，除了親自教授，亦會到學校演出，他強調不能強迫學生參與，由心而發才能發掘出他們真正的興趣。現時，奇哥偶爾會擔任顧問或指導，但卻不會再踏台板，「我現在戲癮不大，不過依舊喜歡看戲，或閒時在家聽聽粵曲，便已足夠。」他笑說。黎家欣

two weeks or even a month, giving the troupe time to perform the most popular operas, such as Princess Chang Ping and The Legend of the Purple Hairpin, alongside older works. Beyond his deep affection for Cantonese opera, Li also hopes to promote its culture. Early in the 1960s, he founded Chor Fung Ming Cantonese Opera Troupe and set up the Art of Cantonese Opera Association Limited with Yau Sing-po to conduct research and explore new possibilities in performance. With his experiences performing in the US, Li also co-founded Lai Kwan Cantonese Opera Troupe with Law Karying and Lee Bo-ying in 1980. The name Lai (meaning to encourage) Kwan (meaning collective effort) was intended to remind all Cantonese opera artists that they should work with collective wisdom and concerted efforts. Living by the motto, “Don’t promise when you can’t deliver; keep your word and do your best”, Li has persisted in his vision of furthering the traditions and culture of Cantonese opera. Whenever available, he conducts school shows, though he emphasises that students should never be forced to perform; only when they are willing to sing and play on their own can they be wholeheartedly engaged. Although Li continues to work as a consultant and director, he seldom performs onstage today. The Cantonese opera veteran teasingly divulges, “I have become less addicted to performing, but still enjoy viewing opera; sometimes even listening to a song or two at home will suffice.” Melody Lai

示範：南派粵劇—配馬 Demonstration: "Horse Assisting" from the

Southern School of Cantonese Opera

「配馬」是著名的南派粵劇排場，由演員表演出門上馬之前的一系列動作，包括取出鎖鏈、打開馬廐、與馬交流、套上馬鞍與馬繩，然後上馬出門。只手握一條馬鞭，通過肢體語言和想像，展現與「馬」的互動。今晚將由花旦鄭詠梅展演。

“Horse assisting” is a popular stage technique. A series of acts relating to horse-riding are performed by a single artist, including removing the chains, unbolting the stable door, communicating with the horse, saddling and bridling the horse, and finally mounting and riding. The only physical prop related to a horse is the whip in the artist’s hand. The technique’s effect all comes down to using the right body language to communicate with the imaginary horse. Tonight, huadan Cheng Wing-mui will demonstrate this technique.

關於南派粵劇

About the Southern School of Cantonese Opera

在武術界經常有「南拳北腿」之說，而

Chinese martial arts can be categorized by location, such as the Southern Fist (focusing on fist work and short movements) versus the Northern Foot (focusing on legwork and jumping moves). This may also apply to Chinese opera too. A typical representative of the Northern school would be Beijing opera, while Cantonese opera would illustrate the Southern school. Southern School of Cantonese Opera focuses on moves and actions based on the Shaolin martial arts: techniques like “bridge” (hand and fist movements), “horse” (pretending as if riding a horse), “flip” (tossing and turning the body) and “gallop” (small gaits and quick footwork) are wellestablished. Southern School of Cantonese Opera is characterised by its exquisite fist work and agile tossing and turning, securing a huge fan base over the years.

戲曲中武打也有南北之分。「北派」的代表是京劇，而「南派」則以粵劇為代表。南派粵劇注重武打功夫，並且以少林武技為基礎，發展出「橋」、「馬」、「翻」、「騰」等技巧。在表演過程中，南派粵劇以拳法精湛、翻騰敏捷為特色，深受廣大粵劇戲迷的喜愛。

李奇峰主講嘉賓

Danny Li Chi-kei Guest Speaker 資深粵劇演員，工生角，啟蒙老師為馮俠魂及楚岫雲。父親李鑑潮乃戰前興中華劇團的編劇，母親呂少紅亦曾為全女班的小武演員。年僅八歲的他參加神童班擔演折子戲《胡不歸之慰妻》及參與其他大型劇團，曾與薛覺先、馬師曾及白玉堂等名伶同台演出。李氏演出粵劇經驗豐富，曾赴美國、泰國及越南各地演出，除為大龍鳳劇團、頌新聲劇團、碧雲天劇團、慶紅佳劇團作幕前演出外，又參與雛鳳鳴劇團的幕後工作。曾與梁漢威、阮兆輝、尤聲普成立香港實驗粵劇團，又與羅家英、李寶瑩組織勵群粵劇團。李氏除幕前演出外，亦帶領粵劇團遠赴北美洲及歐洲演出。 A veteran Cantonese opera performer, Li Chi-kei specialises in playing sheng (leading male) roles. His first mentors included Fung Hap-wang and Cho Yau-wan. Li’s father Li Kam-Chiu was a playwright for the New China Troupe and his mother Liu Siu-Hung performed wu (military) roles in an all-female group. Attending a class for opera prodigies, the eight-year-old Li performed in the operatic excerpt “Consoling Wife” from Why Don’t You Return? He also performed in major troupes and with many maestros, including Sit Kok-sin, Ma Sze-tsang and Pak Yuk-tong. Li has toured extensively to the US, Thailand and Vietnam. In addition to onstage performances with Tai Lung Fung Opera Troupe, Chung San Sing Opera Cantonese Opera Troupe, Bik Wan Tin Opera Troupe and Hing Hung Kai Opera Troupe, he has also been involved in productions with Chor Fung Ming Cantonese Opera Troupe. He co-founded the Group of Hong Kong Experimental Cantonese Opera with Leung Hon-wai, Yuen Siu-fai and Yau Sing-po, and the Lai Kwan Cantonese Opera Troupe with Law Kar-ying and Lee Po-ying. Li has taken many Cantonese opera troupes on tour to North America and Europe.

蔡艷香主講嘉賓及藝術指導

Choy Him-heong Guest Speaker & Artistic Instructor 蔡艷香原名蔡麗鶯，「蔡艷香」是後來改的藝名。1933 年出生於馬來西亞森美蘭州，父親蔡金球是粵劇班的樂器手，母親則是名花旦林巧粧。她年僅七歲踏入粵劇界，十三歲正式擔演正印花旦。她曾與父親到北婆羅洲大小城市演出。1950 年末，她加入香港鳳來儀粵劇班，曾在香港著名古老戲院高陞戲院演出《刁蠻公主伏楚霸》，《十三妹大鬧能仁寺》也是她的首本戲。她眾多的招牌功夫之中，以「四踩砂煲」最受歡迎，在其《女霸王三氣脂粉盜》便能欣賞到這項絕活。1956 年蔡艷香創辦艷陽天粵劇團。劇團以「踩砂煲」、「蹻工戲」、「紮腳功夫」等獨門絕技與南北派武術而聞名於新加坡、香港、馬來西亞梨園界，並獲電影前輩馮峰賜予「女武狀元」的雅號。 Originally named Choy Lai-ngang, the Malaysian Cantonese opera veteran adopted “Choy Him-heong” as her stage name. Born in 1933 in Negeri Sembilan, Malaysia to Choy Kum-kau, a troupe instrumentalist, and Lam Hau-chong, an acclaimed Cantonese opera artist, Choy first got involved in Cantonese opera at the age of seven; her debut in a leading role was at the age of 13. Choy performed in many cities in North Borneo with her father. In the late 1950s, Choy joined the Phoenix Opera Troupe in Hong Kong, where she performed The Unruly Princess Overpowers Conqueror Chu—the jewel of her Malaysian repertoire—at Ko Shing Theatre in Sheung Wan, Hong Kong. The Thirteen Girls’ Adventure in Nengren Temple is the work that Choy most takes pride in. Choy’s highly-praised “Quadruple Steps on Clay Pots” is a breath-taking stage technique seen in Female Overlord Tricks the Powdered Thieves. Choy founded Sunny Cantonese Opera Troupe in 1956. The troupe enjoyed great popularity and earned a strong reputation in the industry in Singapore, Hong Kong and Malaysia during the 1960s and 1970s for their unique stage techniques, such as “clay pot hopping”, “stilting”, “foot binding” and their Southern and Northern martial arts. Choy was bestowed the title of female wuzhuangyuan by Mr. Fung Fung, a veteran in the Hong Kong film industry.

鄭詠梅「配馬」示範

Cheng Wing-mui ”Assisting Horse” Demonstration 專工粵劇花旦，師承名伶羅家英、李寶瑩及掌板大師姜志良學習粵劇舞台功架及鑼鼓，後隨多位京劇老師學習北派及身段，又跟吳聿光、劉建榮等學習粵劇唱腔，是位文武兼備的粵劇演員。1988 年自組金玉堂粵劇團。活躍於港、澳粵劇舞台，亦經常到新加坡、馬來西亞、美加等地演出。2001 年遠赴柏林參加中國節演出。 Cheng Wing-mui is a well-rounded actress specialising in huadan (young leading female) roles. She received dramatic posture and percussion training from Cantonese opera stars Law Karying and Lee Po-ying and ensemble leader Keung Chi-leung. She further studied Cantonese operatic singing under Ng Lut-kwong and Lau Kin-wing. In 1988, she formed the Kam Yuk Tong Cantonese Opera Troupe. Cheng gives regular performances not only in Hong Kong, but also in Macau, Singapore, Malaysia and the US. In 2001, she was invited to perform at the China Festival in Berlin.

岑金倩主持

Alisa Shum Kam-sin Moderator 香港大學哲學碩士，主修中國文學及戲劇，並持有香港大學心理學深造文憑。自 1998 年起，岑金倩曾服務多個香港文化藝術機構，包括香港藝術發展局、香港藝術中心、香港國際電影節等，負責行政、推廣、發展及籌款等工作。2 0 1 1 年 6 月加入香港八和會館任總幹事，除了負責會館及八和粵劇學院的行政工作外，亦籌劃重點承傳計劃「油麻地戲院場地伙伴計劃：粵劇新秀演出系列」，策劃每年超過一百場演出及多樣化的推廣活動。在藝術教育方面，推行不同形式的試驗計劃，例如將粵劇引入中學成為初中藝術課程、籌辦大學粵劇藝術學分課程等。 Alisa Shum received her Master of Philosophy in Modern Drama from the University of Hong Kong and holds a Postgraduate Certificate in Creative Psychology. Since 1998, Shum has served various cultural and arts organisations, including the Hong Kong Arts Development Council, Hong Kong Arts Centre and Hong Kong International Film Festival Society Limited, gaining experience in organising arts and cultural activities, festivals and publicity events. Shum joined the Chinese Artists Association of Hong Kong and has been its Chief Executive since June 2011. Apart from managing the association, its education arm, the Cantonese Opera Academy of Hong Kong and various education programs, Shum launched the Cantonese Opera Young Talent Showcase under LCSD’s Yau Ma Tei Theatre Venue Partnership Scheme; since 2012, the scheme has staged over 100 Cantonese opera performances each year.

古巴的粵劇興衰

The Ups and Downs of Cantonese Opera in Cuba

位於夏灣拿的中華音樂研究社推動了古巴粵劇的發展 The Chinese Music and Cultural Club at Havana played a key role in the development of Cantonese opera in Cuba.

二十世紀初的古巴得以成為西半球粵劇的集中

街的上海、金鷹、新民等幾間戲院每星期皆有

地之一，有賴於自美國舊金山遷居而至的華人

粵劇上演，戲班亦會到古巴不同城市走埠巡演。

移民，於古巴各地興建戲院，成立戲班。1875 年，在港口城市西恩富戈斯，便有一座戲院落成，首齣劇碼為《王寶釧》，連演十五天，吸引附近多個城鎮的華僑來欣賞首映。

1940 年代，奧地利指揮家埃里希·克萊伯於夏灣拿欣賞粵劇後曾寫道：「在那些打扮華麗的演員左邊，有一隊七人的樂師，伴隨演員動作奏樂，銅鑼、銅鈸、五弦琴、二胡、木製小號

在首都夏灣拿，華僑社團例如中華總會館

⋯⋯演員高聲唱戲，跳舞，戴着鐵面具的老虎

（1882）、洪門民治黨（1887）等，辦學辦報，

在雪山奔跑⋯⋯刀光劍影，驚喜不斷。這是我

教武術，凝聚華人社群，推動中華文化，因而

們一直夢寐以求的『魔毯劇場』！他們都是專業

帶動粵劇發展。當時便有中華音樂研究社，提

演員，更有趣是，於古巴出生的中國人女兒。」

供地方讓華人唱曲、玩音樂，後漸發展成戲班，名中華歌劇，續又衍生關天樂、國聲、國光等至少六個戲班。每個皆有完整的樂師團隊，掌板、琵琶、揚琴、二胡等俱全，戲服也從當地裁縫訂製，毋須從海外訂購。全盛時期，唐人

戲班營運至 1950 年代，時維古巴革命火熱年代，不少華僑離開古巴，亦愈來愈少本地演員學戲唱戲。直至 1959 年，古巴成為共產主義國家，社團運作停頓，粵劇以至華人文化自此消沉。

Cuba was one of many destinations in the Western Hemisphere that attracted Cantonese opera audiences in the early 20th century. Thanks to Chinese immigrants from San Francisco, a number of theatres and troupes were established across Cuba. In 1875, a theatre was completed in the coastal city of Cienfuegos. Wang Baochuan, the first play in the theatre, was performed for 15 days in a row. The debut attracted many Chinese audiences from neighbouring towns. In the capital city of Havana, several Chinese associations, such as the Casino Chung Hwa (established in 1882) and the Chinese Freemasons (established in 1887), founded schools, newspaper agencies and kungfu centres for the promotion of Chinese culture in the community, consequently contributing to the development of local Cantonese opera. Club Cultural de Música China was one of the venues where Chinese people could meet up for singing and making music. The club later became the troupe Opera Chung Hwa, which would give birth to at least six other troupes: among them, Kwan Tim-lok, Kwok Shing and Kwok Kwong. Their musical ensembles were wellequipped with the essential instruments, including the zhangban (percussion), pipa (a four-stringed plucked lute), yangqin (a hammered dulcimer) and the erhu (a two-stringed bowed instrument). Stage costumes were all locally tailored-made. In their heyday, a bounty of Cantonese operas was

performed every week in the theatres and cinemas of Chinatown: at the Shanghai Cinema, Golden Eagle Cinema or Xinmin Cinema, for example. Troupes toured to different cities across Cuba at that time, too. Austrian conductor Erich Kleiber visited Havana in the 1940s and commented after watching a Cantonese opera performance: “On the left side of those gracefully spruced up actors was a band of seven who would play their musical instruments, including gongs, cymbals, pentachord, erhu, wooden trumpet...The actors were singing melodically and dancing enticingly; some were playing tigers running in snowy mountains with metal masks on. The glinting swords and blades were captivatingly thrilling. Isn’t it the Magic Carpet Theatre I have been dreaming of? These Chinese actors are simply professional; interestingly enough, they were all born in Cuba.” Many troupes operated until the 1950s. It was during the Cuban Revolution that many Chinese started to flee, leaving a handful of people behind to learn the art form, gradually sending Cantonese opera into decline. In 1959, Cuba became a fully communist country, and the operation of organisations was suspended. The prominence of Cantonese opera and the Chinese culture in Cuba have since gradually dissipated.

何秋蘭（右一）及黃美玉（中）於夏灣拿專門播放華語電影的金鷹戲院留影 Caridad (right) and Georgina (centre) at Golden Eagle Cinema, a theatre dedicated to Chinese films.

©Lau Pok-chi

《王寶釧》選段

Excerpts from Wang Baochuan 《王寶釧》是走埠常演劇目之一。今晚將由何秋蘭飾演王寶釧、黃美玉飾演薛平貴，為觀眾帶來三場折子：〈拋球招親〉、〈三擊掌〉及〈平貴別窰〉。《王寶釧》本事宰相王允有三女，以幼女王寶釧才貌最高。王允為女舉行繡球選婿，謂「得繡球者不論貧富招為女婿」。繡球落在薛平貴手中，王允見平貴落拓寒微反悔前言。寶釧不從父命，認定平貴為婿，堂前擊掌與父決裂明志。寶釧與平貴在武家坡的舊窯過着清苦的日子。及後皇榜招才降服貢馬，平貴奉詔一舉功成，天子賜封官職，卻因王允參奏只落得一名小吏。平貴奉命隨軍出征西涼，言道不為將帥不歸，此去十八年音信杳然。父母幾番勸說寶釧改嫁，仍決意守節。平貴失蹤卻原來是魏虎灌酒行兇，幸為西遼代戰公主所救並招為駙馬。及後西遼王薨逝，平貴襲位為王，重返破窯，親迎寶釧至西遼與代戰公主並為兩宮王妃。平貴並封贈往日恩義友好，申斥王允。摘至香港中文大學戲曲資料中心經中心允准刊載

Wang Baochuan is one of the many Cantonese opera plays performed overseas. Tonight, with Caridad Amaran as Wang Baochuan and Georgina Wong Gutierrez as Xue Pinggui, the Havana Divas will perform three excerpts: "Throwing an Embroidered Ball for the Groom", "Estrangement between Father and Daughter", and "Farewell at the Cavern". Wang Baochuan Synopsis Prime Minister Wang Yun has three daughters, of whom Baochuan is the youngest, most talented, and prettiest. Wang Yun holds a party to choose a husband for Baochuan, and promises that his daughter will marry whichever man—rich or poor—who can catch a silk ball. When Xue Pinggui captures the ball, Wang Yun sees his poverty and humble origins and wants to go back on his word, but Baochuan insists on marrying him. At her insistence, Wang Yun disowns Baochuan, and the couple goes to a cave to live in poverty. When the emperor seeks a person with the ability to tame a horse, Pinggui volunteers and accomplishes the task. The emperor intends to assign Pinggui to a government post, but finally makes him a petty official because Wang Yun speaks ill of him. Ordered to go on an expedition to Xiliang with the army, Pinggui vows that he will not return until he becomes a general or marshal. For 18 years nothing is heard from him. Despite Baochuan’s parents’ repeated entreaties for her to remarry, Baochuan is determined to wait for her husband. In truth, Pinggui was actually rescued from death by a Xiliao princess, and the two are now married. When the king of Xiliao dies, Pinggui takes over the throne. He returns to the rundown cave dwelling to find Baochuan and takes her to Xiliao, where both Baochuan and Princess Daizhan are made his wives. From Chinese Opera Information Centre, Music Department, Chinese University of Hong Kong. Republished with permission from the centre.

何秋蘭主講嘉賓及展演

Caridad Amaran Guest speaker and Performer 何秋蘭是 1931 年出生的古巴人，生父在她出生不久病逝，幸得來自開平的方標收養，並照顧她們母女二人，所以她能操開平話及書寫中文。方標於 1939 年開辦「國光劇團」，秋蘭因而從他身上學習粵劇知識，年輕時隨戲班登台，並到古巴其他城市巡迴演出。何秋蘭於四歲時開始學習台山話和粵劇，曾入讀華文學校；八歲時開始踏台板；九歲自備戲服登台；十五歲當上劇團花旦，更曾與當年不少知名粵劇花旦小生如小燕飛、牡丹蘇及蘇州麗等人一同演出。但 1 9 5 9 年後，古巴粵劇逐漸凋零，她後來到光華報當印刷執字員，於九十年代在夏灣拿與黃美玉重聚，嘗試重拾粵劇的演出。何秋蘭擅唱委婉訴怨的戲場如〈平貴別窰〉、〈回窰〉、《胡不歸之慰妻》及小調《賣花女》。 Caridad Amaran was born in Cuba in 1931. Her father died soon after she was born, and her mother remarried the Chinese immigrant Fang Biao. Under her step-father's influence, Amaran learned to write Chinese, speak the Kaiping dialect of Cantonese and come to love Cantonese opera. During her youth, she performed with an opera troupe several times per week, and toured to cities across Cuba. Fang had been a contemporary of renowned Cantonese opera performer Kwan Tak-hing and was adept at martial arts performances; he founded Kwok Kwong Opera Company in Cuba in 1939. Amaran had begun studying the Taishan dialect and Cantonese operas at the age of four; she’d also studied at a Chinese school. Having been on stage since the age of eight and preparing her own costumes since the age of nine, Amaran began touring Cuban Chinatowns as the troupe’s female lead at the age 15. During that time, she performed with a number of renowned Chinese opera actors, including Siu Yin-fei, Mu Dansu and Su Zhouli. However, Cantonese opera in Cuba began to decline in 1959, and she took up work as a typographer for The Chinese Journal. She was reunited with Georgina Wong Gutierrez in Havana in the 1990s, and returned to Cantonese opera performances. Amaran's voice is filled with power and emotion when she sings, particularly about despair in scenes like "Farewell at the Cavern", "Returning to Cavern", and “Consoling Wife” from Why Don’t You Return, or in one of her favourite songs, The Flower Girl.

黃美玉主講嘉賓及展演

Georgina Wong Gutierrez Guest speaker and Performer 黃美玉於 1929 年在古巴出生，父親是開平人，而母親則是古巴人。她與何秋蘭是小學同學，一同在古巴唐人街長大，加入「國光劇團」後便一起學戲。黃美玉多演武生和鬚生的角色，雖然擁有華人血統，但不懂寫中文，只懂以拼音牢記戲曲歌詞，而何秋蘭亦會以西班牙文為她寫下拼音。大學畢業後，黃美玉便離開劇團，其後成為外交官員。 Georgina Wong Gutierrez was born in Cuba in 1929. Her father was from Kaiping, and her mother from Cuba. She was Caridad Amaran’s classmate in primary school, and they grew up together in a Cuban Chinatown, where they joined Kwo Kwong Opera Company and studied Cantonese opera together. Wong Gutierrez primarily plays wusheng and xusheng roles. Despite her Chinese heritage, she never learned to write in Chinese; she thus learned her lyrics by memorising the phonetics which Amaran helped her adapt into Spanish. After graduating from university, she left the opera troupe to become a diplomat.

劉博智主持

Lau Pok-chi Moderator 劉博智周遊列國到三十六個國家釣魚，但收穫竟然是相片比魚多。多年來，他發覺從 1700 年至 1950 年的中國歷史上，中國沿海的漁民都散居於世界各地，特別是東南亞。他在 1950 年生於香港。自 1967 年便從事紀實攝影，並專注於華人到美國、古巴、馬來西亞及緬甸的遷徙。十年以來曾記錄那些在中國沿海城市工廠工作的鄉村移民。劉博智是美國堪薩斯大學美術學院設計系教授，這份教職給予他多個國際研究的機會，並廣泛展示和印發其作品。除了紀實攝影的工作，他也是位詩人和散文家，與多個從事東亞研究、新聞學、民族研究、人類學和社會科學的專家合作。最近的紀實作品是關於古巴華人。 Lau Pok-chi has travelled to 36 countries to go fishing, but has ended up catching far more photographs than fish. Over the years, he has come to realise that from 1700 to 1950, poor Chinese coastal fishing villagers scattered to settle in different parts of the world, particularly in Southeast Asia. Lau was born in Hong Kong in 1950. Since 1967, he has been a documentary photographer. His work on migration focuses on the Chinese diaspora in the Americas, Cuba, Malaysia and Myanmar. For a decade, he also documented migrant groups within China—those rural citizens who move to China's urban coastal regions to seek factory work. Lau is Professor Emeritus of Photo Media in the Department of Design at the University of Kansas, which has provided him with numerous international research opportunities, and through which his work has been exhibited and published broadly. Besides his work as a documentary photographer, Lau's work as a poet and essayist has led him to collaborate with professionals in East Asian studies, journalism, ethnic studies, anthropology and social science. His most recent documentary project was on the Cuban-Chinese diaspora.

鳴謝 Acknowledgements 香港藝術節衷心感謝下列機構及人士的慷慨支持： The Hong Kong Arts Festival would like to thank the following for their generous support:

贊助舍計劃會員 Patron’s Club Members 鉑金會員 Platinum Members

嘉里控股有限公司 Kerry Holdings Limited 新鴻基有限公司 Sun Hung Kai & Co. Limited

黃金會員 Gold Member

怡和集團 The Jardine Matheson Group

純銀會員 Silver Members

銅鑼閣有限公司 Causeway Corner Limited 太古集團慈善信託基金 The Swire Group Charitable Trust

青銅會員 Bronze Members

鷹君集團有限公司 Great Eagle Holdings Limited 上海商業銀行 Shanghai Commercial Bank Limited

其他支持機構 Other Supporters •Agency for Cultural Affairs, Government of Japan •ANA Holdings Inc. •British Columbia Arts Council

•British Council •Canada Council for the Arts •HEED

實物支持機構 In-kind Supporters •帝盛酒店集團 Dorsett Hospitality International •嘉頓有限公司 The Garden Company Limited •鷹君集團有限公司 Great Eagle Holdings Limited •香港國際機場 Hong Kong International Airport •In Technical Productions Limited

•香港德迅貨運代理有限公司 Kuehne & Nagel Limited •立信專業顧問 Lap Shun Professional Consultant •奧海城 Olympian City •信和集團 Sino Group •崇光 ( 香港 ) 百貨 SOGO Hong Kong •屯門市廣場 TMT Plaza

藝術節捐助計劃 Festival Donation Scheme 鉑金捐款者 PlATINuM DONORS HK$140,000 或以上 AND ABOVE •Mrs Miriam Hwa •Lincoln & Yu-San Leong •Nine Queens Investment Limited •Yip Foundation Ltd 鑽石捐款者 DIAMOND DONORS HK$70,000 - HK$139,999 •林護紀念基金有限公司 Lam Woo Foundation Limited •Martin Rogers & Janet Cheng •Mr & Mrs Stephen Suen 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 •無名氏 Anonymous •Jeffrey & Helen Chan •Mrs K L Chan •陳求德醫生 Dr Chan Kow Tak •Mrs Mona Leong •Ms Leung Wai Yee Candice •林聖竤 Chris Lin •Ms Sun Tien Chen •Mr & Mrs David S Y Wong 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 (3) Anonymous (3) •Mr & Mrs S Cheng •Mr Edwin Choy •Consigliere Limited •Alex & Hanne Fung •Mr & Mrs Kenneth H C Fung •Richard & Ruth Herbst •Ms Jenny Hodgson •Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •Mrs A M Peyer

•Mr Stephen Tan •曹延洲醫生 Dr Tsao Yen Chow •Linda Wang •Samuel & Amy Wang •黃逸思先生夫人 Mr & Mrs Y S Wong •Mr Wong Yick Kam 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •無名氏 (3) Anonymous (3) •Dr York YN Chow •Ms Ka Shi Lau •Ms Lee Lai-Kuen Shelley •Mr & Mrs David S L Lin •Dr Michael Mak •Mr & Mrs Gilles Martin •Dr Poon Yee Ling Eligina •Ms Jacqueline Swain •Tsang Wing Fun •Ms Tse Chiu Ming •Ms Enoch Yiu •Ms Isabel Yiu 青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 •無名氏 (4) Anonymous (4) •AIA AGAPE A&F •Atkinson Lambert Limited •Ms Alice Au •Mrs Anson Chan •Mr Edmund Cheung •Bethan and Tim Clark •Dr David Fang •HUI Silvia •Ms Khoo Li Lian

•Legrand Jewellery •Ms Lim Geck Chin Mavis •Gary & Flavia Ma •So Ching

•Leland & Helen Sun •Ms Christine Tong •Mr Christopher Wong & Dr Ivo Chen •殷和順劉善萍伉儷

學生票捐助計劃 Student Ticket Scheme 鉑金捐款者 PlATINuM DONORS HK$140,000 或以上 AND ABOVE •C H Mak •麥禮和醫生 Dr Mak Lai Wo •無名氏 (2) Anonymous (2) •Vernon & Karen Moore •Burger Collection •Mrs A M Peyer •馬振玉慈善基金會有限公司 CYMA Charity Fund Ltd •Dr Poon Yee Ling Eligina •恒生銀行 Hang Seng Bank •Mr & Mrs Kenneth Quinn 鑽石捐款者 DIAMOND DONORS HK$70,000 - HK$139,999 •Tsang Wing Fun •曹延洲醫生 Dr Tsao Yen Chow •法國巴黎銀行 BNP Paribas •Martin Rogers & Janet Cheng •Mrs Purviz R Shroff and the late Mr Rusy M Shroff, BBS, MBE •黃乃正教授及陳頴儀醫生 •田家炳基金會 Tin Ka Ping Foundation •Mr Wong Yick Kam •芝蘭基金會 Zhilan Foundation 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999

青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999

•林聖竤 Chris Lin •Roger & Lina Lui •Mr & Mrs Stephen Suen

•無名氏 (12) Anonymous (12) •Antonhill Company Limited •Biz Office Limited •Carthy Limited •Cynthia Cheng & Aaron Chan •Dr Chan Chun Yin •Dr Cindy Chan •Dr Chan Wan Tung •D Chang •Ms Cheung Kit Fung •張宏毅律師及江淑慧夫人 Mr & Mrs Joseph W N Cheung •Ms Grace Chiang •Mr & Mrs Norman Chui •Community Partner Foundation Limited •Mr & Mrs Kenneth H C Fung •giliproduction •HUI Silvia •Betty Hung •Dr Alfred Lau •Joanna Lau •Dr Nancy Leung •Savita Leung •Maya & Dirk 4ever •Ms Janice Ritchie •Susan Lim & Neil Roberts •Mr Siddique Salleh •Mr So Kin Man •William Stork & Jasmine Wong •Dr Tam Oi Wo Joyce •Ms Wong Siu Yee Amy •殷和順劉善萍伉儷 •Ms Yim Chui Chu •Mr Desmond Yu •野豬先生 •皮皮

黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 Anonymous •Mr & Mrs Herbert Au-Yeung •Ms Margaret Cheng •招國利先生 Mr Chiu Kwok Lee •Dr Chung See Yuen •馮兆林先生 Mr Fung Shiu Lam •Richard & Ruth Herbst •Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •Yvonne Cheng & Kelvin Koo •Caroline & Stefan Kracht •Mrs Carol Murray •Nathaniel Foundation Limited •Diana d'Arenberg & Jay Parmanand •孫永輝施熙德伉儷 Edith Shih & Stephen Sun •Mr Stephen Tan •Peter & Nancy Thompson •Mr William To •黃逸思先生夫人 Mr & Mrs Y S Wong •Ms Wong Yuen Mee Elsa •Mrs Wu Tseng Helen 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •無名氏 (2) Anonymous (2) •區燊耀先生 Mr Au Son Yiu •Mr Iain Bruce •趙穎雅 Winnie W N Chiu •天智合規顧問有限公司 CompliancePlus Consulting Limited •Mr & Mrs A R Hamilton •Ms Winnie W Ho •羅偉騫先生及夫人 Andy Law & Wendy Chan •駱余劍清紀念基金 Lok Yu Kim Ching Memorial Fund

新作捐助計劃 New Works Scheme 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 •Ms Sun Tien Chen 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 Anonymous •劉仰澤先生 Mr Lau Yeung Chak •林聖竤 Chris Lin •孫永輝施熙德伉儷 Edith Shih & Stephen Sun 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •Ms Winnie W Ho

•Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •駱余劍清紀念基金 Lok Yu Kim Ching Memorial Fund 青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 •無名氏 (3) Anonymous (3) •Michael and Jennifer Barth •Star B Chan & MDB •Dr Xina Lo •Mrs A M Peyer •黃逸思先生夫人 Mr & Mrs Y S Wong

支持及協助 Support and Co-operation •Acorn Design •Alfie Leung Design •AMC Pacific Place •艺鵠 Arts and Culture Outreach •香港展能藝術會 Arts with the Disabled Association Hong Kong •教育局藝術教育組 Arts Education Section, Education Bureau •香港愉景灣酒店 Auberge Discovery Bay Hong Kong •樺利廣告有限公司 Avanny Advertising Co Ltd •庇理羅士女子中學 Belilios Public School •BRICK LANE •英國文化協會 British Council •Broadway Cinema •百老匯院線 Broadway Circuit •牛棚藝術村 Cattle Depot Artist Village •CCDC 舞蹈中心 CCDC Dance Centre •中國對外文化集團公司 China Arts and Entertainment Group (CAEG) •中華基督教會公理堂 China Congregational Church •周生生集團國際有限公司 Chow Sang Sang Jewellery Co. Ltd •中信國際電訊 ( 信息技術 ) 有限公司 CITIC Telecom International CPC Limited •城市當代舞蹈團 City Contemporary Dance Company •城巿花園酒店 City Garden Hotel •思聯設計有限公司 CL3 Architects Ltd •阿根廷駐港總領事館 Consulate General of Argentina in Hong Kong •比利時駐港澳總領事館 Consulate General of Belgium in Hong Kong and Macau •巴西駐港總領事館 Consulate General of Brazil in Hong Kong •加拿大駐香港總領事館 Consulate General of Canada in Hong Kong and Macao •法國駐港澳總領事館 Consulate General of France in Hong Kong and Macau •希臘駐港總領事館 Consulate General of Greece in Hong Kong •愛爾蘭駐港澳總領事館 Consulate General of Ireland in Hong Kong and Macau •意大利駐港總領事館 Consulate General of Italy in Hong Kong •日本國駐香港總領事館 Consulate General of Japan in Hong Kong •馬來西亞駐港澳總領事館 Consulate General of Malaysia in Hong Kong and Macau SAR •印尼駐港總領事館 Consulate General of the Republic of Indonesia in Hong Kong •大韓民國駐香港總領事館 Consulate General of the Republic of Korea in Hong Kong •俄羅斯駐香港總領事館 Consulate General of the Russian Federation in Hong Kong SAR, PRC •西班牙駐港澳總領事館 Consulate General of Spain in Hong Kong and Macao •瑞士駐香港總領事館 Consulate General of Switzerland in Hong Kong •英國駐港總領事館 Consulate General of United Kingdom in Hong Kong •澳門特別行政區政府文化局 Cultural Affairs Bureau of the Macao S.A.R. Government •Die Konzertisten •拔萃男書院 Diocesan Boys' School •拔萃女小學 Diocesan Girls' Junior School •拔萃女書院 Diocesan Girls' School •香港荃灣帝盛酒店 Dorsett Tsuen Wan •Edge 'n Pointe Dance Centre •港威酒店 Gateway Hotel •德國駐香港總領事館 German Consulate General Hong Kong •六國酒店 Gloucester Luk Kwok Hong Kong •香港歌德學院 Goethe-Institut Hong Kong •香港君悅酒店 Grand Hyatt Hong Kong •8 度海逸酒店 Harbour Plaza 8 Degrees •嘉湖海逸酒店 Harbour Plaza Resort City •快達票香港有限公司 HK Ticketing •香港聖公會聖保羅堂 HKSKH St. Paul's Church

•香港藝術行政人員協會 Hong Kong Arts Administrators Association •香港藝術中心 Hong Kong Arts Centre •香港藝術發展局 Hong Kong Arts Development Council •香港浸會大學 Hong Kong Baptist University 電影學院 Academy of Film 音樂系 Department of Music 拉闊文化 Cultural Literacy Programme 政治及國際關係學系 Department of Government and International Studies •美國管風琴家協會香港分會 Hong Kong Chapter of the American Guild of Organists •香港大會堂 Hong Kong City Hall •香港文化中心 Hong Kong Cultural Centre •香港經濟貿易辦事處 Hong Kong Economic and Trade Office •香港黃金海岸酒店 Hong Kong Gold Coast Hotel •香港文化博物館 Hong Kong Heritage Museum •香港管弦樂團 Hong Kong Philharmonic Orchestra •香港公共圖書館 Hong Kong Public Libraries •香港唱片 Hong Kong Records •香港樹仁大學 Hong Kong Shue Yan University 圖書館 Library •香港旅遊發展局 Hong Kong Tourism Board •香港童聲合唱團 Hong Kong Treble Choir •宜必思香港中上環 ibis Hong Kong Central and Sheung Wan •工銀亞洲 ICBC (Asia) •富薈馬頭圍酒店 iclub Ma Tau Wai Hotel •海景嘉福洲際酒店 InterContinental Grand Stanford Hong Kong •香港洲際酒店 InterContinental Hong Kong •益普索香港 Ipsos Hong Kong •港島太平洋酒店 Island Pacific Hotel Hong Kong •賽馬會創意藝術中心 Jockey Club Creative Arts Centre •賽馬會官立中學 Jockey Club Government Secondary School •高山劇場 Ko Shan Theatre •九龍木球會 Kowloon Cricket Club •Kubrick •葵青劇院 Kwai Tsing Theatre •光華新聞文化中心 Kwang Hwa Information & Culture Center •中央人民政府駐香港特別行政區聯絡辦公室 Liaison office of the Central People's Government in the HKSAR •嶺南大學 Lingnan University 文學院 Faculty of Arts 黃炳禮音樂及演藝部 Wong Bing Lai Music and Performing Arts Unit 學生服務中心 Student Service Centre •香港逸蘭精品酒店 Lanson Place Hotel, Hong Kong •La Rotisserie •馬哥孛羅香港酒店 Marco Polo Hongkong Hotel •Maxibit HK/China •中華人民共和國文化和旅遊部 Ministry of Culture and Tourism, PRC •Mission Production Company Ltd •音樂事務處 Music Office •One Minden Tapas Kitchen •PALACE ifc •柏斯琴行 Parsons Music Limited •卓滙達有限公司 Patsville Company Ltd •Pause Rewind n FastForward •電訊盈科 PCCW •犇華企業服務有限公司 Primasia Corporate Services Limited •香港太子酒店 Prince Hotel, Hong Kong •香港帝景酒店 Royal View Hotel •沙田大會堂 Sha Tin Town Hall •聖公會鄧肇堅中學 Sheng Kung Hui Tang Shiu Kin Secondary School •信興電器貿易有限公司 Shun Hing Electronic Trading Co., Ltd. •先鋒廣告製作有限公司 Sin Fung Advertising Production Co., Ltd. •Southgate Design •香港西班牙商會 Spanish Chamber of Commerce in Hong Kong

•事必達推廣有限公司 Speedy Promotion Limited •聖雅各福群會 St. James' Settlement •辰衝圖書有限公司 Swindon Book Co. Ltd. •大館 Tai Kwun •台灣蘇富比國際房地產 Taiwan Sotheby's International Realty •藝林文具印刷有限公司 The Artland Co Ltd •香港八和會館 The Chinese Artists Association of Hong Kong •香港中文大學 The Chinese University of Hong Kong 戲曲資料中心 Chinese Opera Information Centre 音樂系 Department of Music 文學院 Faculty of Arts 和聲書院 Lee Woo Sing College 聯合書院 United College •香港城市大學 The City University of Hong Kong 中文系 Department of Chinese and History 英文系 Department of English 城大創意媒體學院 School of Creative Media •城景國際 The Cityview •香港教育大學 The Education University of Hong Kong 文化與創意藝術學系 Department of Cultural and Creative Arts 圖書館 Library •梅夫人婦女會 The Helena May •香港演藝學院 The Hong Kong Academy for Performing Arts 中國戲曲學院 School of Chinese Opera 戲劇學院 School of Drama 音樂學院 School of Music •香港兒童合唱團 The Hong Kong Children’s Choir •香港理工大學 The Hong Kong Polytechnic University 圖書館 Library •香港科技大學 The Hong Kong University of Science and Technology 藝術中心 Center for the Arts 人文學部 Division of Humanities 學生住宿及舍堂生活事務處 Student Housing and Residential Life Office HKUST Music Alive! •中環石板街酒店 The Pottinger Hong Kong •皇家太平洋酒店 The Royal Pacific Hotel and Towers •香港大學 The University of Hong Kong Cultural Management Office 音樂系 Department of Music 通識教育部 General Education Unit 國際事務處 International Affairs Office 圖書館 Library 現代語言及文化學院 School of Modern Languages and Cultures 香港大學博物館學會 The University of Hong Kong Museum Society 香港大學美術博物館 University Museum and Art Gallery •香港華美粵海酒店 The Wharney Guang Dong Hotel Hong Kong •通利琴行 Tom Lee Music Company Ltd •三角關係 Trinity Theatre •屯門大會堂 Tuen Mun Town Hall •UA CINEHUB •城市售票網 URBTIX •美國駐港澳總領事館 U.S. Consulate General in Hong Kong & Macau •進富印刷公司 Wealthy Step Printing Co. •wine etc •油麻地戲院 Yau Ma Tei Theatre •葉氏兒童合唱團 Yip's Children's Choir •香港基督教青年會（港青） YMCA of Hong Kong •青年學院 Youth College •青年廣場 Youth Square •元朗劇院 Yuen Long Theatre •赤豚事務所 Zhu Graphizs

節目時間表 Programme Calendar 歌劇戲音樂 /曲 OPERA / CHINESE OPERA MUSIC

萊比錫歌劇院華格納《唐懷瑟》

CCGT

1/3 2/3

7pm 6pm

Madame White Snake by Zhou Long and Cerise Lim Jacobs

APAL

8-9/3

7:30pm

粵劇《百花亭贈劍》毛俊輝導演作品（更新版）

Cantonese Opera - Pavilion of a Hundred Flowers Directed by Fredric Mao (Reboot)

STTHAUD

1-2/3

8pm

粵劇越洋半世紀 -《紅了櫻桃碎了心》 - 白玉堂折子戲 -《胡不歸》 - 名伶花旦展演話當年

Cantonese Opera - Global Traces, Local Stages YMTT - Red Cherries and a Broken Heart - Vignettes of Pak Yuk-tong’s “Three Big Trials” - Why Don’t You Return? - A Long Passion – Talk, Demonstration and Performance

9/3 10/3 11/3 15-17/3

7:30pm 2:30pm 7:30pm 7:30pm

香港小交響樂團小號巨星納卡里亞科夫

Hong Kong Sinfonietta Sergei Nakariakov • The Art of the Trumpet

CHCH

16/2

8pm

瑪琳．艾爾梭與聖保羅交響樂團

Marin Alsop with the São Paulo Symphony Orchestra

CCCH

21-22/2

8pm

Hong Kong Chinese Orchestra Meeting Across Nine Millennia of Time

CHCH

22/2

8pm

鮮于睿權鋼琴獨奏會

Yekwon Sunwoo Piano Recital

CHCH

23/2

8pm

帕佛．約菲與 NHK 交響樂團

Paavo Järvi with the NHK Symphony Orchestra, Tokyo

CCCH

28/2

8pm

法國世紀樂團：白遼士 150 指揮：麥森．帕斯高

Les Siècles: BERLIOZ 150 Conductor: Maxime Pascal

CCCH

2/3 3/3

8pm 4:30pm

萊比錫歌劇院合唱團《歌劇合唱盛會》

Chor der Oper Leipzig Opera Chorus Concert

CCCH

3/3

8:15pm

馬祖耶夫鋼琴獨奏會

Denis Matsuev Piano Recital

CHCH

7/3

8pm

馬祖耶夫與得獎新晉鋼琴家匯演

Matsuev and Young Laureates Piano Gala

CHCH

8/3

8pm

Quondam Spanish Renaissance Choral Masterpieces

CHCH

9/3 10/3

8pm 4pm

Li Biao Percussion Group - From Baroque to Tango

CCCH

15/3

8pm

P is for PERCUSSION! Family Concert by Li Biao Percussion Group

CCCH

16/3

8pm

洪儷僖管風琴獨奏會

Riyehee Hong Organ Recital

CCCH

18/3

8pm

克雷莫納弦樂四重奏

Quartetto di Cremona

CHCH

21-22/3

8pm

爵士新潮 - 馬可．梅斯基達三重奏《拉威爾的夢》

Nouveau Jazz Weekend - Marco Mezquida Trio - Ravel's Dreams

APAD 22/2 23/2 23/2 23/2

8pm 7:30pm 4pm 9:30pm

2-3/3 2/3 3/3

4:30pm 8pm 8pm

《白蛇傳》作曲：周龍 | 編劇：林曉英

香港中樂團《九千年的邂逅》

時光之音《西班牙文藝復興合唱代表作》李飈打擊樂團《巴羅克．探戈》《好！擊！動！》親子音樂會李飈打擊樂團

爵士樂世 / 界音樂 JAzz / WOrLD MUSIC

- 馬可．梅斯基達鋼琴獨奏會 - 佐治．達洛查低音大提琴獨奏獨唱會

Oper Leipzig Wagner’s Tannhäuser

- Marco Mezquida Piano Solo - Jorge da Rocha Solo

世界音樂週末營 - Criatures 二人組及 Belda & Sanjosex - 易莎．拉娜三重奏《路》 - 佐治．達洛查三重奏《放下．放開》

World Music Weekend - Criatures and Belda & Sanjosex - Yexza Lara - Camino - Jorge da Rocha - To Drop and Let Go

HKAC-ST

馬祖耶夫爵士樂隊

DANCE

舞蹈

Matsuev and Friends Play Jazz

CCCH

9/3

8pm

湯瑪士．夸斯托夫四重奏《Nice 'N' Easy》

Thomas Quasthoff Quartet Nice 'N' Easy

CCCH

14/3

8pm

希薇雅．佩瑞茲．克露絲《夜妝》

Sílvia Pérez Cruz Dressed by the Night (Vestida de Nit)

CCCH

22/3

8pm

香港藝術節 @ 大館

HKartsFestival@TaiKwun

2-3/3 9-10/3

雲門舞集 45 週年林懷民舞作精選

Cloud Gate Dance Theatre of Taiwan The 45th Anniversary Gala Programme Retrospectives of Lin Hwai-min's Works

CCGT

21-23/2 24/2

8:15pm 2pm

Euripides Laskaridis / Osmosis TITANS

APAD

26-27/2

8:15pm

歐里庇德斯．拉斯卡里迪斯及遊離表演工作坊《泰坦 – 諸神之舞》

CCGT CCCH CCST CHCH

香港文化中心大劇院 Grand Theatre, HK Cultural Centre 香港文化中心音樂廳 Concert Hall, HK Cultural Centre 香港文化中心劇場 Studio Theatre, HK Cultural Centre 香港大會堂音樂廳 Concert Hall, HK City Hall

CHT APAL APADT HKAC-ST

香港大會堂劇院 Theatre, HK City Hall 香港演藝學院歌劇院 Lyric Theatre, HKAPA 香港演藝學院戲劇院 Drama Theatre, HKAPA 香港藝術中心壽臣劇院 Shouson Theatre, Hong Kong Arts Centre

DANCE

舞蹈

香港賽馬會當代舞蹈平台 -《舞鬥》 -《雙篇雙人舞》 -「兩地書」-《沒有大象》亞太舞蹈平台 -《由削木開始》 -《黃翊與庫卡》

The Hong Kong Jockey Club Contemporary Dance Series - Dance Off

CCST

- Double Bubble

CCST

- Dance Exchange - Elephant in the Room Asia Pacific Dance Platform - From starting to cut the wood - HUANG YI & KUKA

CCST

28/2, 1/3 2/3 15/3 16/3 20-21/3

8:15pm 3pm 8:15pm 2:45pm 8:15pm

KTT-BBT APA-DT

12-13/3 1-2/3

8pm 8:15pm

THEATrE

戲劇

漢堡芭蕾舞團 – 約翰．紐邁亞《胡桃夾子》

The Hamburg Ballet - John Neumeier The Nutcracker

CCGT

13-15/3

7:30pm

漢堡芭蕾舞團 – 約翰．紐邁亞《貝多芬計劃》

The Hamburg Ballet - John Neumeier Beethoven Project

CCGT

19-20/3

7:30pm

漢堡芭蕾舞團 – 約翰．紐邁亞《約翰．紐邁亞的世界》

The Hamburg Ballet - John Neumeier The World of John Neumeier

CCGT

23/3 24/3

7:30pm 2:30pm

重新劇團《追憶消逝的人生》

Theatre Re The Nature of Forgetting

CCST

21-24/2 23-24/2

8:30pm 4:30pm

瑞士默劇團《百變樂園》

Mummenschanz Reloaded

APAL YLT-AUD

21-22/2 24/2 24/2

7:30pm 1pm 5pm

倫敦燃料劇團、布里斯托爾老域劇團、愛丁堡皇家蘭心劇院與北安普敦皇家及德蓋特劇院聯合製作《攀越冰峰》

A Fuel, Bristol Old Vic, Royal Lyceum Theatre Edinburgh, and Royal & Derngate Northampton co-production Touching the Void

CHT

21-24, 8pm 26-28/2, 1-2/3 23-24/2, 2/3 3pm

機器神製作羅伯特．利柏殊創作及演出《887》

Ex Machina Created and performed by Robert Lepage 887

APAL

27-28/2, 1-2/3 8pm 2/3 3pm

賽馬會本地菁英創作系列《陪着你走》

Jockey Club Local Creative Talents Series Always by Your Side

KTT-AUD

2,6-9/3 3,9-10/3

8pm 3pm

正點劇團《哈姆尼特─莎士比亞之子》

Dead Centre Hamnet

CCST

4-5/3

8:15pm

正點劇團《契訶夫處女作》

Dead Centre Chekhov's First Play

CCST

8-9/3 9-10/3

8:15pm 3pm

北京李六乙戲劇工作室《哈姆雷特》

Beijing LiLiuyi Theatre Studio The Tragedy of Hamlet, Prince of Denmark

CCGT

7-8/3 9/3

7:30pm 2:30pm

《九江》

Gangsters of Hong Kong

CHTH

8-9,13-16, 20-23/3 10, 17, 24/3

8pm

Ontroerend Goed 《金錢世界》( 英語版 )

Ontroerend Goed - £¥€$ (LIES) (English Version)

TK-F Hall

《金錢世界》( 粵語版 )

- £¥€$ (LIES) (Cantonese Version)

12-17/3 12-15/3 16-17/3 20-24/3 20-22/3 23-24/3

6pm 9pm 3pm 6pm 9pm 3pm

離奇作業劇團《蛙人》

curious directive Frogman

CDAV

12-15/3 12-15/3 16-17/3 16-17/3

7pm 9pm 3pm 5pm

傑夫．索貝爾《家》

Geoff Sobelle Home

APAL

14-16/3 16/3

8pm 3pm

皮普．德爾邦諾劇團《快樂大本營》

Compagnia Pippo Delbono La Gioia (Joy)

APAL

22-23/3

8pm

馬里安諾．潘恩索廸及瑪利亞劇團《三個女人搞革命》

Mariano Pensotti / Grupo Marea Burning Bright in the Forest of the Night

CCST

23/3 24/3

8:15pm 5pm

3pm

資料截至 Information as of: Jan 2019

KTT-BBT KTT-AUD YLT-AUD STTH-AUD

葵青劇院黑盒劇場 Black Box Theatre, Kwai Tsing Theatre 葵青劇院演藝廳 Auditorium, Kwai Tsing Theatre 元朗劇院演藝廳 Auditorium, Yuen Long Theatre 沙田大會堂演奏廳 Auditorium, Sha Tin Town Hall

YMTT TK CDAV

油麻地戲院 Yau Ma Tei Theatre 大館 Tai Kwun 牛棚藝術村 Cattle Depot Artist Village

香港藝術節@牛棚 - 藝術共生創造社 HKAF@Cattle Depot Creative Hub

報名及登記 Booking and registration: www.hkartsfestivalplus.org

藝術節加料節目節目詳情及網上報名 For more details and online registration: www.hk.artsfestivalplus.org 音樂 MUSic

特備節目 SpecialS 25/1/2019

26/1/2019

樂與畫音樂會：《哥雅之畫》- 葛拉納多斯的音樂意境 Music and Art Concert: Goya’s World through Granados’s Goyescas 《風琴遊蹤》導賞遊與風琴獨奏會 Pipe Organ Walk & Organ Recital

20/2/2019

聖保羅交響樂團四重奏 SPSO String Quartet

22/2/2019

香港藝術節傑出文化領袖講座系列講者︰葉芠芠（雲門文化藝術基金會執行總監） HKAF Distinguished Cultural Leader Series (VI) Speaker: Yeh Wen-wen (Executive Director of Cloud Gate Cultural and Arts Foundation)

20/2/2019

公開彩排︰瑪琳．艾爾梭、聖保羅交響樂團與本地學生樂團 Open Rehearsal: Marin Alsop, São Paulo Symphony Orchestra and Local Student Orchestras

22/2/2019

聖保羅交響樂團演前導賞講座 : 瑪琳．艾爾梭細說伯恩斯坦與她的指揮生涯 Sao Paulo Symphony Orchestra Pre-performance Talk: Marin Alsop on Bernstein and Her Conducting Career

22/2/2019

馬可．梅斯基達爵士樂工作坊 Marco Mezquida Jazz Improvisation Workshop

28/2/2019

NHK 交響樂團演前導賞講座︰細聽二十世紀改革之風 NHK Symphony Orchestra Pre-performance Talk: Listen to the Winds of Changes PLUS 兒童合唱團大堂音樂會 Festival PLUS Children's Choir Foyer Performance

22/2/2019 24/2/2019

《舞城遊蹤》 Choreography Walk

26/2/2019 3/3/2019

《家常便飯》 Family Dinner

2/3/2019

《歌劇探秘同樂日》Opera Adventure Day

2/3/2019

28/2 - 3/3/ 2019

「萊比錫樂韻之路」展覽 Leipzig Music Trail (Leipziger Notenspur) Exhibition

《萊比錫樂韻之路》室樂音樂會 Leipzig Music Trail Chamber Concert

2/3/2019

《一齊玩》戲劇工作坊 We PLAY Theatre Workshop

16/3/2019

《好！擊！動！》同樂日 P is for Percussion! Family Day

2/3/2019

法國世紀樂團演前導賞講座︰幻想交響曲 Les Siècles Pre-performance Talk: Symphonie Fantastique

3/3/2019

萊比錫布業大廳樂團雙簧管、圓號、長號大師班 Oboe, Horn & Trombone Masterclass by Gewandhausorchester Leipzig

3/3/2019

法國世紀樂團演前導賞講座︰白遼士的一生 Les Siècles Pre-performance Talk: The Life of Berlioz

3/3/2019

萊比錫歌劇院演前導賞講座︰《歌劇合唱盛會》 Oper Leipzig Pre-performance Talk: Opera Chorus Concert

21/3/2019

藝術家沙龍︰約翰．紐邁亞 Artist Salon: John Neumeier

舞蹈 DaNce 19, 23/2/2019

雲門舞集工作坊 Cloud Gate Dance Theatre of Taiwan Workshop

1/3/2019

公開彩排︰香港賽馬會當代舞蹈平台《雙篇雙人舞》 Open Rehearsal: The Hong Kong Jockey Club Contemporary Dance Series Double Bubble

11/3/2019

藝術家對談︰從工藝到舞蹈 Arts Chat: From Crafting to Dancing

13/3/2019

漢堡芭蕾舞團演前導賞講座 : 交流網絡的藝術 The Hamburg Ballet Pre-Performance Talk: The Art of Networking

15/3/2019

漢堡芭蕾舞團早課參觀 Observing Company Class

15/3/2019

《胡桃夾子》後台參觀 Backstage at The Nutcracker

4/3/2019

《白蛇傳》歌劇創作講座 Madame White Snake Reimagined

9, 11/3/2019

時光之音合唱指揮工作坊 Choral Conducting and Choral Singing Workshop with Rupert Damerell

9/3/2019

馬祖耶夫爵士樂隊演前導賞講座︰古典音樂與爵士音樂的交匯 Matsuev and Friends Play Jazz Pre-performance Talk: Harmony between Classical and Jazz

16, 24/3/2019

漢堡芭蕾舞團大師班 Hamburg Ballet Masterclass

17/3/2019

漢堡芭蕾舞團《胡桃夾子》兒童工作坊 Hamburg Ballet The Nutcracker Ballet Introductory Class for Kids

13/3/2019

湯瑪士．夸斯托夫聲樂大師班 Thomas Quasthoff Vocal Masterclass

19/3/2019

漢堡芭蕾舞團《貝多芬計劃》演前導賞講座 The Hamburg Ballet Pre-Performance Talk: Beethoven Project

14/3/2019

23/3/2019

漢堡芭蕾舞團《約翰．紐邁亞的世界》演前導賞講座 The Hamburg Ballet Pre-Performance Talk: The World of John Neumeier

湯瑪士．夸斯托夫四重奏演前導賞講座 : 古典音樂與爵士音樂的交匯（二） Thomas Quasthoff Quartet Pre-Performance Talk: Harmony between Classical and Jazz II

13, 14/3/2019

李飈打擊樂團敲擊樂大師班 Percussion Ensemble Masterclass by Li Biao Percussion Group

15/3/2019

李飈打擊樂團演前導賞講座︰《巴羅克．探戈》 Li Biao Percussion Group Pre-Performance Talk : From Baroque to Tango

16, 17/3/2019

洪儷僖管風琴大師班 Riyeehee Hong Organ Masterclass

歌劇／戲曲 OpeRa 1, 2/3/2019

萊比錫歌劇院演前導賞講座︰《唐懷瑟》 Oper Leipzig Pre-performance Talk: Tannhäuser

2/3/2019

萊比錫歌劇院《唐懷瑟》後台參觀 Oper Leipzig's Tannhäuser Backstage Tour

12/3/2019

蔡艷香粵劇南派工作坊 Southern School of Cantonese Opera Workshop with Choy Him-heong

戲劇 THeaTRe

16/3/2019

《好！擊！動！》互動敲擊展覽 P is for Percussion Interactive Percussion Exhibition

16/3/2019

拇指琴及「升」樂樽工作坊 Thumbiano and Musical Bottle Workshop 《律！動！啦！》大堂音樂會 Feel the Pulse NOW!!! Foyer Performance

28/2/2019

藝術家對談︰與劇場大師羅伯特．利柏殊對話 Arts Chat: In Conversation with Robert Lepage

16/3/2019

9/3/2019

藝術家對談︰導演李六乙的莎士比亞 Arts Chat: Director Li Liuyi's Interpretation of Shakespeare

20/3/2019

克雷莫納弦樂四重奏示範講座 Quartetto di Cremona Lecture Demonstration

22/3/2019

希薇雅．佩瑞茲．克露絲演前導賞講座︰皆有可能 Sílvia Pérez Cruz Pre-Performance Talk: Everything Possible

電影 FilM 27/2/2019 2, 24, 30/3/ 2019

《攀越冰峰》電影放映與影後分享會 Touching the Void: Screening and Post-screening Talk 漢堡芭蕾舞團 - 舞蹈電影系列 Hamburg Ballet at the Cinema

贊助人

林鄭月娥女士

PATrON

永遠名譽會長執行委員會主席副主席義務司庫委員

邵逸夫爵士

HONOrArY LIFE PrESIDENT EXECUTIVE COMMITTEE Chairman Vice Chairman Honorary Treasurer Members

節目委員會主席委員

財務委員會主席委員發展委員會主席副主席委員

顧問

名譽法律顧問核數師

查懋成先生盧景文教授李錦榮先生鄭維新先生鄭惠貞女士劉鎮漢先生梁靳羽珊女士梁卓偉教授姚潔莉女士楊光先生盧景文教授白諾信先生紀大衛教授羅志力先生毛俊輝先生李義法官約瑟．施力先生 + 譚榮邦先生姚珏女士李錦榮先生鄭惠貞女士梁國輝先生梁靳羽珊女士雍景欣女士鄭阮培恩女士邱詠筠女士龐建貽先生孫林宣雅女士姚祖輝先生夏佳理先生鮑磊先生李業廣先生梁紹榮夫人李國寶博士孖士打律師行羅兵咸永道會計師事務所

香港藝術節基金會主席霍璽先生管理人陳祖澤博士陳達文先生梁紹榮夫人 +

PrOGrAMME COMMITTEE Chairman Members

FINANCE COMMITTEE Chairman Members

HONOrArY SOLICITOr AUDITOr

Mr Victor Cha Prof. Lo King-man, MBE, JP, SBS Mr William Li Mr Edward Cheng, SBS JP Ms Margaret Cheng Mr Anthony Lau Mrs Yu-san Leong Prof. Gabriel Leung, GBS JP Ms Miriam Yao Mr Sunny Yeung Prof. Lo King-man, MBE, JP, SBS Mr Giorgio Biancorosso Prof. David Gwilt, MBE Mr Peter C L Lo Mr Fredric Mao, BBS The Hon Mr Justice Ribeiro Mr Joseph Seelig + Mr Wing-pong Tam, SBS JP Ms Jue Yao, JP Mr William Li Ms Margaret Cheng Mr Nelson Leong

DEVELOPMENT COMMITTEE Chairman Vice Chairman Members

ADVISOrS

The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS Sir Run Run Shaw, CBE (1907-2014)

Mrs Yu-san Leong Ms Jane Yong Mrs Betty Yuen Cheng Ms Winnie Chiu Mr Paulo Kin-yee Pong Mrs Helen Lin Sun Mr Andrew Yao The Hon Ronald Arculli, GBM CVO GBS OBE JP Mr Martin Barrow, GBS CBE JP Mr Charles Y K Lee, GBM GBS JP Mrs Mona Leong, SBS BBS MBE JP Dr The Hon David K P Li, GBM GBS JP Mayer Brown PricewaterhouseCoopers

HONG KONG ArTS FESTIVAL TrUST Chairman Mr Angus H Forsyth Trustees Dr John C C Chan, GBS JP Mr Darwin Chen, SBS ISO Mrs Mona Leong, SBS BBS MBE JP

榮譽節目顧問 Honorary Programme Advisor

地址 : 香港灣仔港灣道 2 號 12 樓 1205 室電話 : 2824 3555 傳真 : 2824 3798, 2824 3722 節目查詢熱線 : 2824 2430

電子郵箱 : afgen@hkaf.org

Address: Room 1205, 12th Floor, 2 Harbour Road,Wanchai, Hong Kong Tel: 2824 3555 Fax: 2824 3798, 2824 3722 Email: afgen@hkaf.org Programme Enquiry Hotline: 2824 2430

職員行政總監行政總監助理節目節目總監副節目總監節目經理節目經理（行政）助理節目經理節目統籌節目主任（行政）物流及接待經理 •技術製作經理助理製作經理 •出版英文編輯中文編輯助理編輯 •外展高級外展經理助理外展經理外展統籌外展助理藝術行政見習員市場推廣市場總監副市場總監市場經理副市場經理助理市場經理數碼營銷專員市場主任藝術行政見習員市場經理（票務）客戶服務主任發展發展總監發展經理副發展經理助理發展經理發展統籌發展助理會計會計主管助理會計經理會計主任人力資源及行政人力資源及行政經理人力資源及行政主任接待員 / 初級秘書助理無限亮高級項目經理助理節目及製作經理助理外展經理助理技術經理市場統籌高級會計主任項目主任香港藝術節 @ 大館製作人技術統籌

STAFF Executive Director Assistant to Executive Director Programme Programme Director Associate Programme Director Programme Managers

何嘉坤何丹蓉梁掌瑋蘇國雲葉健鈴余瑞婷 * 蘇雪凌黃傲軒 * 譚小敏 * 張翠騫 * 金學忠 *

陳韻妍林淦鈞 * 胡鎮華 *

梁雅芝 * 莫賦斌 * 林秋美 * 廖健邦 * 林惠賢 * 李冠輝張鼎丞 * 譚曉峯 * 李玨熙 * 李萬祺 * 鄭尚榮胡銘堯周怡楊璞* 許慧儀 * 陳閏霖 * 鄭佩欣 * 鄭鈞澤 * 梁彩雲黃煒城 * 余潔儀張慧芝 * 譚樂瑤蘇寶蓮 * 莫穎哲 * 袁愷晴 *

黎家欣 *

林嘉敏 *

鍾玉如 *

張嘉麟 *

楊恆怡 *

麥紫琴 *

鄺敬婷杜詩麗 * 蘇永恆 * 馮紹昌簡凱彤 * 李美娟黃國愛楊文秀 * 陳慧晶 * 鄧冠恒 * 鄺嘉欣 * 蔡珮珊 * 彭健欣 * 雲希朗 * 羅雪芬 * 梁嘉倩 * 李菁菁 * 周怡 *

陳穎業 *

Tisa Ho Connie Ho

Grace Lang So Kwok-wan Linda Yip Vanessa Chan Susanna Yu* Lam Kam-kwan* Programme Manager (Administration) Shirley So Assistant Programme Manager Joseph Wong* Programme Coordinators Tracy Tam* Angus Wu* Programme Officer (Administration) Tracy Cheung* Logistic Manager Elvis King* • Technical Production Manager Shirley Leung* Assistant Production Manager Benny Mok* • Publications English Editor Gloria Furness* Chinese Editor James Liu* Assistant Editors Grace Lam* Melody Lai* • Outreach Senior Outreach Manager Kenneth Lee Assistant Outreach Manager Bell Cheung* Outreach Coordinators Mitch Tam* Carmen Lam* Joey Chung* Outreach Assistant Michael Lee* Arts Administrator Trainee Kelvin Li* MArKETING Marketing Director Katy Cheng Associate Marketing Director Dennis Wu Marketing Managers Alexia Chow Louis Cheung* Deputy Marketing Manager Michelle Yeung* Assistant Marketing Manager Surina Hui* Digital Marketing Specialist Ben Chan* Marketing Officer Bonnie Cheng* Arts Administrator Trainee Jeff Cheng* Marketing Manager (Ticketing) Eppie Leung Customer Service Officers Benny Wong* Hayley Yeung* DEVELOPMENT Development Director Flora Yu Development Managers Anna Cheung* Mak Tsz-kam* Deputy Development Manager Lorna Tam Assistant Development Manager Conny Souw* Development Coordinator Esther Mok* Development Assistant Antonia Yuen* ACCOUNTS Head of Accounts Department Teresa Kwong Assistant Accounting Manager Connie To* Accounting Officer Peter So* Hr & ADMINISTrATION HR & Administration Manager Calvin Fung HR & Administration Officer Vivian Kan* Receptionist/Junior Secretary Virginia Li General Assistant Bonia Wong NO LIMITS Senior Project Manager Camelia Yeung* Assistant Programme Ainslee Chan* and Production Manager Assistant Outreach Manager Joe Tang* Assistant Technical Manager Karen Kwong* Marketing Coordinator Silvia Choy* Senior Accounting Officer Janice Pang* Project Officer Alana Wan* HKAF@TAIKWUN Producers Georgina Lo* Leung Ka Sin* Chan Wing Yip* Cheryl Li* Eva Chau* Technicial Coordinators

技術統籌 * Technical Coordinators*

歐慧瑜 Rachel Au、陳佩儀 Claudia Chan、陳詠杰 Chan Wing Kit、陳家彤 Doris Chen、范文恩 Fan Man Yan、許肇麟 Boolu Hui 、黎智勇 Martin Lai、李浩賢 Lawrence Lee、羅瑞麟 Wheel Lo、蕭健邦 Leo Siu

藝術家統籌 * Artist Coordinators*

鄭瑋菁 Virginia Cheng 、竺諺民 Edwin Chuk、張素真 Susan Hayden、向怡君 Cassandra Heung 、何嘉露 Carrol Ho、洪飛鳴 Fei Hung、李仲文 Conan Lee、李海盈 Jane Li、彭慧雯 Jan Pang、樊明媚 Tess Pham、潘頴詩 Renee Poon、譚善渝 Sally Tam * 合約職員 Contract Staff

林鄭月娥香港特別行政區行政長官

Mrs Carrie Lam Chief Executive, Hong Kong Special Administrative Region

查懋成香港藝術節主席

Victor Cha Chairman, Hong Kong Arts Festival

何嘉坤香港藝術節行政總監

Tisa Ho Executive Director, Hong Kong Arts Festival

2019 年藝術節預計收入來源（約港幣一億三千六百萬） Estimated Income Sources for the 2019 HKAF (Approximately HK$136 Million)

贊助和捐款 Sponsorship & Donations

over 逾

33% around 約

20% nearly 近 6% nearly 近 13%

around 約

28%

票房收入 Box Office （2019 年 1 月更新 Updated January 2019）

政府的基本撥款 Government Baseline Funding

dev@hkaf.org (852) 2828 4910/11/12 www.hk.artsfestival.org/en/support-us

* 有關香港藝術節的過往節目，可參考以下網頁 Details of past HKAF programmes can be found at www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2018.html

Presents

粵劇越洋半世紀

Global Traces, Local Stages 油麻地戲院劇院 Theatre, Yau Ma Tei Theatre 粵語演出，附中文及英文字幕 Performed in Cantonese with Chinese and English surtitles

9 3月 MAR

《紅了櫻桃碎了心》 Red Cherries and a Broken Heart 演出長約 3 小時 30 分鐘，包括一節中場休息 Approximately 3 hours and 30 minutes including one interval

10 3 月 MAR

白玉堂折子戲：《肝腸塗太廟》、《三審玉堂春》、《風火送慈雲》 Vignettes from Pak Yuk-tong’s “Three Big Trials” 演出長約 2 小時 45 分鐘，包括兩節中場休息 Approximately 2 hours and 45 minutes including two intervals

11 3月 MAR

《胡不歸》 Why Don’t You Return? 演出長約 3 小時 15 分鐘，包括一節中場休息 Approximately 3 hours and 15 minutes including one interval

敬請關掉所有響鬧及發光裝置。 Please switch off all sound-making and light-emitting devices. 網上追蹤香港藝術節 Follow the HKArtsFestival on

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

HKartsfestival

本場刊採用環保紙張印刷。This programme is printed on environmentally friendly paper.

www.hk.artsfestival.org

《粵劇越洋半世紀》

Global Traces, Local Stages 藝術總監

Artistic Directors Law Kar-ying Red Cherries and a Broken Heart Vignettes from Pak Yuk-tong

羅家英《紅了櫻桃碎了心》白玉堂折子戲

Danny Li Chi-kei Why Don't You Return?

李奇峰《胡不歸》

經理 Manager 黃肇生 Wong Siu-sang 擊樂領導高潤權

Percussion Leader Ko Yun-kuen

音樂領導高潤鴻

Music Leader Ko Yun-hung

舞台監督高文謙

Stage Manager Ko Man-him

服裝 Costumes 金儀粵劇服裝公司 Kam Yee Costumes Co. 佈景道具廣興舞台佈景製作公司

Set and Props Kwong Hing Stage Scene Production Company

粵劇戲台製作 Produced by Art of Cantonese Opera Association

藝術節加料節目

12.3（二 Tue）7:30–9:10, 9:15–9:45pm Havana Divas (2019 Director’s Cut) Screening and Post-screening Talk

《古巴花旦》（2019 導演版）放映會及映後分享會

JC Cube, Tai Kwun

大館賽馬會立方 2 0 1 8 年上映的《古巴花旦》記錄了四段粵劇之旅； 2019 年，劇組重訪古巴，加入新片段剪輯成導演版

A director's cut of Havana Divas (2018), a documentary about Cantonese Opera performers in Cuba, with added 2019 footage

粵語、西班牙語、英語主講 ( 中文、英文字幕 )

In Cantonese, Spanish & English (with Chinese & English subtitles)

港幣 $90

HK$90

更多加料節目詳情 More Festival PLUS

粵劇，又稱「大戲」或「廣東戲」，歷史價值豐厚，是中國傳統文化的瑰寶。在電影並未普及的年代，粵劇是市民大眾的主要娛樂之一，當時的發展可謂百花齊放。經歷戰亂動盪，不少粵劇傳統散落各地，其中香港是最能完整保存粵劇文化的城市。經過多年的發展，香港孕育了許多著名的老倌伶人，他們更將粵劇帶到世界各地，例如越南、馬來西亞，甚至遠達澳洲、美加、古巴等地，為海外華人帶來故鄉的樂聲，以及耳熟能詳的故事。香港藝術節自 1974 年起舉辦粵劇演出，徐徐邁向半世紀，為觀眾精選及製作傳統及創新粵劇，例如「百年回顧八和鳴」（2 0 1 0）、「粵劇戲寶傳承篇」（2015）、《漢武東方》（2016）等，一眾粵劇前輩與新秀都在為粵劇的傳承出一分力。

2019 年，藝術節以「粵劇越洋半世紀」為題，將粵劇名伶走埠時的名作重現舞台；更特別邀請了著名粵劇前輩李奇峰和羅家英擔任藝術總監，率領一眾名伶以及多位梨園新一代演出三套經典劇目，包括《紅了櫻桃碎了心》、白玉堂折子戲和《胡不歸》。另一節目「名伶花旦展演話當年」則有來自古巴的何秋蘭和黃美玉，以及攝影師劉博智分享五十年代古巴的粵劇發展何、黃將展演《王寶釧》折子；來自馬來西亞的蔡豔香，則聯同香港花旦鄭詠梅展演南派粵劇的功架。粵劇箇中蘊含了不少民間傳說、歷史故事、道德觀念等，在欣賞演出時，也可加強對中國文化和歷史的認識。

With its rich historical value, Cantonese opera—also known as daai hei or Guangdong daai hei—is a treasure of traditional Chinese culture. Before cinemas became popular, Cantonese opera flourished as the primary source of mass entertainment. Having endured the upheavals of war, many Cantonese opera traditions dispersed to locations outside their native Guangdong; among these, Hong Kong has proved most capable of preserving the traditions of Cantonese operatic culture. Through years of development, the city has nurtured many renowned artists who went on to tour Cantonese operas abroad to Vietnam, Malaysia, and even further afield to Australia, the United States, Canada and Cuba, thus bringing the music and stories of home to overseas Chinese communities. HKAF selects and produces various Cantonese opera programmes to be staged in Hong Kong: from traditional to innovative, from classical to avant-garde. These have included Cantonese Opera Treasures (2010), Classics Revisited: Cantonese Opera Treasures (2015) and Emperor Wu of Han and His Jester Strategist (2016). For its 2019 “Global Traces, Local Stages” programme, the HKAF presents works performed by Cantonese opera artists worldwide. Under the guidance of Artistic Directors Danny Li and Law Kar-ying, established actors and new talents perform in three classics: Red Cherries and a Broken Heart, vignettes from Pak Yuk-tong’s “Three Big Trials” and Why Don't You Return. An additional programme, “A Long Passion – Talk, Demonstration and Performance” features the “Havana divas” Caridad Amaran and Georgina Wong Gutierrez, joined by documentary photographer Lau Pok-chi, who will share the developments of Cantonese opera in Cuba since the 1950s; their talk will be accompanied by Wong and Gutierrez's performance from the opera Wang Baochuan. In the same programme, Choy Him-heong from Malaysia and Hong Kong’s own huadan Cheng Wing-mui will showcase highlights from the Southern school of Cantonese opera. Cantonese operas contain within them a wealth of folktales, history and morals. Through watching these performances we might open the doors to learning more about Chinese culture and history.

談香港的粵劇傳承—專訪羅家英 In conversation with Law Kar-ying on

Hong Kong’s Cantonese opera heritage

跟港產片一樣，香港的粵劇曾經一度出口到全球海外華人社區；當時的鳳凰女、麥炳榮更加不時到各地華人社會登台。時至今日，香港仍有不少世界聞名的粵劇文武生，大家熟悉的羅家英正是其中一位。可以介紹一下你於海外演出的經歷嗎？我於七十年代不時到西方國家演出。美國和加拿大的華人社區曾經每年都邀請當時最有名的粵劇名伶到當地演出，例如鳳凰女、麥炳榮和任劍輝等人。他們認為成功邀請大老倌演出是一份榮幸。海外華人特別着重中國傳統節日、文化、食物和服裝等等，他們視之為對中國的身份認同來源。他們甚至會於當地的堂口和社團中建立業餘粵劇團，並為此特別邀請導師指導。除此之外，荷蘭和比利時的華人都很喜歡看粵劇。他們當中有不少都是由香港移民過去的，並通過粵劇認識同在異地生活的同鄉。粵劇可以說是海外華人社區的重要一環。香港在傳承粵劇文化中有何角色？香港粵劇是廣東粵劇的分支。於二戰仍未爆發的三十年代，馬師曾和薛覺先都是當時於廣州最紅的大老倌。在這一代大老倌

Like its local films, Hong Kong's Cantonese opera productions were once exported to overseas Chinese communities worldwide, with Cantonese opera greats like Fung Wong-nui and Mak Bing-wing regularly touring abroad. Today, there are still a number of world-renowned wenwusheng (civil and military male) actors from Hong Kong—and Law Kar-ying is one of them. Can you share your experience performing overseas? I toured to Western countries from time to time throughout the 1970s. The Chinese communities in the US and Canada invited some of the most famous Cantonese opera stars of the time—Fung Wong-nui, Mak Bing-wing and Yam Kim-fai—to perform on local stages each year. They considered it a great honour to host Cantonese opera veterans on their stages. Overseas Chinese were especially devoted to preserving their traditional festivals, customs, food and clothing; these were viewed as sources of their Chinese identities. The communities even formed amateur Cantonese opera troupes and invited masters to coach. Outside of North America, Chinese immigrants in the Netherlands and Belgium also enjoyed watching Cantonese operas. Many there had

漸漸老去之後，新馬仔、麥炳榮和任劍輝等人紛紛崛起，且於解放初期逃到香港。當時最好的粵劇演員、樂師等等都齊集在香港。換言之，香港繼承了最優良和傳統的粵劇文化。自始，香港跟廣州粵劇界就走上不同的發展道路。香港粵劇團繼續由大老倌指揮，並憑其個人的演藝天賦、影迷、財力等養活整個班底。與此同時，中國大陸於五十年代實行「百花齊放」政策。不少粵劇老倌都紛紛加入由國家成立的文化部門，有系統地管理粵劇，又投放資源，一度令當時廣州粵劇界達到高峰。除了經營模式之外，兩地粵劇的風格有沒有不同？香港粵劇團由大老倌或文武生負責，因此亦繼承了廣州原有的演出技巧。各劇團的班主都十分信任文武生，並給予文武生發揮的自由度。相反，國內粵劇團已經被國家的文化部、宣傳部等收編，規範了其演出的劇目；他們的管理模式亦十分系統化和現代化，有分導演、編劇等工作。然而，當中不少導演都是演話劇出身的，並以話劇形式演出粵劇。

emigrated from the New Territories and, through Cantonese opera, made friends with their fellow townsfolk abroad. It can thus be said that Cantonese opera was an essential element of overseas Chinese communities. What role does Hong Kong play in the legacy of Cantonese operatic culture? Hong Kong Cantonese opera is an offshoot of Guangdong Cantonese opera. In the 1930s, before the outbreak of World War II, Ma Tzetsang and Sit Kok-sin were Guangdong’s most celebrated masters. As these masters slowly aged out, a new breed of talents—Sun Ma Sze-tsang, Mak Bing-wing and Yam Kim-fai— rose to prominence; all had fled to Hong Kong in the early post-war liberation period. The best Cantonese opera actors and musicians thus gathered in Hong Kong, leaving secondtier actors behind in Guangdong. In a word, Hong Kong inherited the finest and the most traditional culture of Cantonese opera. From these beginnings, Cantonese opera in Hong Kong and Guangdong each developed along different paths. In Hong Kong, troupes continued to be directed by Cantonese opera masters, who relied on their own artistic talent, supporters and financial resources to sustain

香港劇團都不會改動前輩的教育，因此我們仍保留了官話等。此外，不少於香港發展的粵劇大老倌都參與電影演出，如白雪仙和任劍輝。因為他們都習慣面對鏡頭，所以他們的面部表情和眼神較為豐富，演出更真情流露。兩地劇團自五十年代就開始分家，並發展出不同風格。兩者會不會形成競爭？在中國大陸未開放之前，國內劇團沒可能到海外登台，亦令香港自然成為了全球華人的粵劇中心。然而在踏入九十年代後，國內劇團可以到海外演出，甚至跟香港劇團形成競爭。香港粵劇界最大的資產就是一班在國際上十分有名的演員。香港一直都是粵劇文化的基地，不少海外華人特意來到香港觀看粵劇，又向大老倌學戲。很多人都較喜歡香港粵劇，因其演出手法較自然。雖然年輕的觀眾可能看不出兩地粵劇的分別，但老戲迷一定看得出。在藝術界之中，就只有粵劇，香港仍處於領先地位，原因是香港粵劇界堅持傳統的演出方法。由沈旭暉訪問羅家英，湯思進整理。原文刊於 2015 年 8 月《信報財經新聞》，獲報章授權轉載。

the company. Meanwhile, China launched the Hundred Flowers Campaign in the 1950s, and a number of Cantonese opera masters joined the state Ministry of Culture. Under the Ministry’s systematic management and funding, Cantonese opera in Guangdong reached its peak. Apart from these business models, is there any difference in style between Cantonese opera in Hong Kong and Guangdong? Hong Kong troupes were led by Cantonese opera veterans and wenwusheng; they thus inherited Guangdong’s original performance techniques. Each troupe’s leader placed great trust in wenwusheng and gave them considerable freedom. In contrast, troupes in mainland China had fallen under the purview of the Ministries of Culture and Propaganda; their repertoires were thus restricted. Under this systematic and modern management model, duties were divided between directors and playwrights. Unfortunately, many of the directors had been trained in spoken stage plays, and thus presented Cantonese opera with a modern theatrical flair. Hong Kong troupes, conversely, tend to respect the teachings of its elders; traditions like guanhua [the Zhangzhou dialect] have been preserved. Furthermore, many Cantonese opera

veterans that came to fame in Hong Kong acted in local films; their experiences performing before the cameraâ&#x20AC;&#x2122;s close-ups led to a greater emotional range in their facial expressions during live performances, thus giving local opera a richer, more authentic feel. Hong Kong and mainland Cantonese opera troupes split in the 1950s to develop distinctive styles. Has this lead to competition between the two schools?

the arts world, Hong Kong maintains a leading position only in Cantonese opera, as it remains faithful to traditional performance styles. Interviewed by Simon Shen Xuhui, Chinese version edited by Tong Sze-chun. This article was originally published by the Hong Kong Economic Journal (HKEJ) in August 2015. Reprint authorised by HKEJ.

Before the opening up of China, it was impossible for mainland troupes to tour aboard. Hong Kong naturally became the centre of Cantonese opera for Chinese people worldwide. However, in the 1990s, mainland troupes were permitted to perform overseas, leading to competition between mainland and Hong Kong troupes. The most important assets of the Hong Kong Cantonese opera world are undoubtedly its internationally acclaimed actors. Hong Kong has long been a base for Cantonese opera culture: a number of overseas Chinese visit the city to watch Cantonese opera and study with opera masters. Many people favour Hong Kong Cantonese opera due to its more natural forms of expression. Although young audiences may not be able to tell the difference, older and more experienced audiences certainly do. In

9.3.2019

《紅了櫻桃碎了心》

Red Cherries and a Broken Heart 唐滌生 Tong Tik-sang（1917-1959）

演員、角色及簡介

Cast and Characters

陳澤蕾飾趙珠璣

Chan Chak-lui as Chiu Ju-gei

名樂師，育有一子趙繼珠

A famous musician and father to Chiu Kai-ju

謝曉瑩飾蕭桃紅

Dianna Tse Hue-ying as Siu Tou-hung

蕭懷雅之妹，孔桂芬之妻，孔小紅之母

Siu Wai-nga's younger sister, Hung Gwai-fan's wife and Hung Siu-hung's mother

洪海飾孔桂芬蕭桃紅之前夫，孔艷芳之兄

Hong Hai as Hung Gwai-fan Siu Tou-hung's estranged husband and Hung Yim-fong's brother

林芯菱飾孔艷芳孔桂芬之妹，蕭懷雅之妻

Shirley Lin as Hung Yim-fong Hung Gwai-fan's younger sister and Siu Wai-nga's wife

一點鴻飾蕭懷雅蕭桃紅之兄，孔艷芳之夫

Ryder Chan as Siu Wai-nga Siu Tou-hung's older brother and Hung Yim-fong's wife

文華飾趙繼珠

Man Wah as Chiu Kai-ju

趙珠璣之子

Son of Chiu Ju-gei

鍾颶文飾蕭雅梓

Chung Kui-man as Siu Nga-tsz

蕭懷亞、桃紅之父親

Father of Siu Tou-hung and Siu Wai-nga

陳禧瑜飾孔小紅

Chan Hei-yu as Hung Siu-hung

孔桂芬及蕭桃紅之女

Daughter of Hung Gwai-fan and Siu Tou-hung

本事

Synopsis

名樂師趙珠璣早年喪偶，育有一子趙繼珠

Famous musician Chiu Ju-gei is widowed early in life. He raises his son, Kai-ju, alone. One day, he meets an abandoned woman, Siu Tou-hung, and finds that she has a good singing voice and is quite talented. Siu soon becomes famous thanks to Chiu’s care and teachings in literature, etiquette, music and the performing arts. A year later, the woman encounters her ex-husband, Hung Gwaifan. Moved by his love and her father’s persuasion, Siu returns to her husband.

（乳名細珠）。一天他遇上棄婦蕭桃紅，認為她聲線不俗，是可造之材，故願意教她詩書禮樂和儀態表情，並說將來可令她成為一名歌台紅星。一年後，桃紅憑着趙氏的培養，一夜成名。她重遇前夫孔桂芬，在他的真情打動及父親的勸導下，答允重返夫家。趙氏深感被騙，大受刺激，吐血殘喘，臨終時請桃紅照顧細珠，使他有出頭之日。桃紅在珠璣臨終時答允將繼珠培育成名，誰料辛苦多年，繼珠並未能繼承父親的音樂造詣，更以人代奏，希望可瞞天過海，欺騙桃紅。桃紅感歎多年心血竟付諸流水，自殺身亡。她死時手執信箋，上無一字，只有片片櫻桃似的血點。中文本事摘至香港中文大學戲曲資料中心經中心允准刊載

Shocked by a sense of betrayal, Chiu spits up blood. On his deathbed, he entrusts his son Kai-ju to Siu, who promises to bring the son up as a successful musician. Many years pass, and the son’s musical skills do not improve. He has not inherited any gift of musical talent from his father and often performs with stand-in doubles. Grieved by her futile efforts, Siu commits suicide, leaving behind a letter empty except for sprinkles of blood in the shape of cherry petals. Chinese synopsis excerpt from Chinese Opera Information Centre, Music Department, Chinese University of Hong Kong. Republished with permission from the centre.

唐滌生是一代著名的粵劇編劇家，在他短暫的人生中，創作了不少膾炙人口的粵劇。《紅了櫻桃碎了心》約寫於上世紀五十年代初，是他為第三屆鴻運劇團撰寫的劇作，1953 年 12 月在普慶戲院首演。由任劍輝（飾趙珠機和趙繼珠）及白雪仙（飾蕭桃紅和孔小紅）主演，其他演員還包括梁醒波、靚次伯、鳳凰女等。《紅》已成為任白二人的名劇，是他們出外走埠必演劇目之一。有別於傳統粵劇，唐滌生沒有沿用以往押韻的寫作方式，棄用文縐縐的唸白唱詞，反而以貼近現代的口白配搭小曲，在當年而言是大膽創新之舉。

In his short life, the renowned Cantonese opera librettist Tong Tik-sang (1917–1959) created many well-known Cantonese operas. Written during the 1950s, Red Cherries and a Broken Heart was his third opera for the Hung Wan Opera Troupe; it premiered at the Astor Theatre in December 1953. Starring Yam Kim-fai (as Chiu Ju-gei and Chiu Kai-ju) and Pak Suet-sin (as Siu Tou-hung and Hung Siu-hung), the opera also featured Leung Sing-bor, Lan Chi-pak, and Fung Wong-nui. Red Cherries and a Broken Heart had already become an essential selection of Yam and Pak’s repertoire, which they were sure to perform whenever on tour. In a departure from tradition, Tong's libretto gave up the rhyming structure and erudite phrasings of the past, a bold innovation at the time.

羅家英

Law Kar-ying 《紅了櫻桃碎了心》、白玉堂折子戲藝術總監

Artistic Director of Red Cherries and a Broken Heart and Pak Yuk-tong’s “Three Big Trials”

羅家英從小接受父親羅家權及伯父羅家樹的嚴格培訓，學習基本功架，並曾先後問藝於粉菊花、呂國銓、劉洵及李萬春等京劇大師。羅家英多年來致力承傳粵劇，曾為香港藝術節擔演《曹操、關羽、貂蟬》、《李太白》、《霸王別姬》等，又與香港中樂團合作粵曲演唱。2 0 1 2 年 1 月於香港文化中心大劇院演出《羅家英精選二零一二年：劇藝縱橫五十秋》，關公一角享譽劇壇。2012 年 7 月，獲香港特別行政區政府頒發「榮譽勳章」，表揚他在推廣粵劇藝術工作上的貢獻。

Law Kar-ying began his training under his father, Law Kar-kuen, and his uncle, Law Kar-shu. He also studied with Fan Kuk-fa, Lui Kwok-chuen, Liu Xun and Li Wanchun. He has performed in Hong Kong Arts Festival's Towering Legends of the Three Kingdoms, Li Bai: The Immortal Poet, Farewell My Concubine and more. He has performed Cantonese operatic songs with the Hong Kong Chinese Orchestra. In January 2012, he won wide acclaim for his remarkable interpretation of the role of Guan Yu, performed at his 50th anniversary showcase held at the Hong Kong Cultural Centre. In July of the same year, he received the HKSAR Government’s Medal of Honour for his contribution to promoting the art of Cantonese opera.

陳澤蕾趙珠璣

Chan Chak-lui Chiu Ju-gei 習小生，曾修業於香港八和會館和香港演藝學院粵劇培訓證書課程，後隨鄭福康、石小梅、黃綺雯學藝。曾組月白戲臺，編演《西園記》、《閻婆惜》、《中山狼》等劇目。2012 年起於香港八和會館油麻地戲院伙伴計劃粵劇新秀演出系列接受訓練，習得劇目包括《呂蒙正•評雪辨蹤》、《李娃傳》、《販馬記》等。 Chan Chak-lui studied the xiaosheng (young male) role at the Chinese Artists Association of Hong Kong and in certificate-level classes in Chinese opera at The Hong Kong Academy for Performing Arts. Mentors include Zheng Fukang, Shi Xiaomei and Wong Yee-man. Chan formed the Atomic Cantonese Theatre, writing and performing in The Story of Western Garden, Yan Xijiao and The Fable of the Ungrateful Wolf. Since 2012, she has joined the Cantonese Opera Young Talent Showcase under the Chinese Artists Association of Hong Kong Yau Ma Tei Theatre Venue Partnership Scheme. Stage credits include Footprints in the Snow, Legend of Li Wa and The Story of Horse Selling.

洪海孔桂芬

Hong Hai Hung Gwai-fan 洪海生於廣州，畢業於廣東粵劇學校及香港演藝學院戲曲學院。他曾為紅豆粵劇團主要演員，主攻文武小生，師承粵劇表演藝術家羅品超，深得劉洵、許堅信、鄺宏基、胡芝風、麥惠文等名師指導，其代表劇目有《三打白骨精》、《拜將台》、《馬上良緣》、《五郎救弟》、《武松》等。作為演員及戲曲指導，洪海曾多次參與香港話劇團、香港演藝青年粵劇團、桃花源粵劇工作舍等團體的大型製作，演出足跡遍佈美加、韓國及歐洲等地。2017 年創辦碧海粵劇團，致力保存與宏揚中國傳統文化。 Hong Hai was born in Guangzhou and graduated from the Guangdong Cantonese Opera School and the Hong Kong Academy for Performing Arts School of Chinese Opera. Hong was a leading actor in the Guangzhou Hongdou Cantonese Opera Troupe, and mainly plays wenwusheng (male civil and military) and xiaosheng (young leading male) roles. He studied under Cantonese opera performer Lo Pan-chiu, and was mentored by veterans such as Liu Xun, Hui Kin-shun, Kuang Hongji, Hu Zhifeng and Mak Wai-man. His notable repertoire includes The Monkey King Thrice Beats the Bony Ghost, Arena and Warriors’ Romance. As an actor and Chinese opera acting coach, Hong has collaborated with the Hong Kong Repertory Theatre, Hong Kong Young Academy Cantonese Opera Troupe and Hong Kong Utopia Cantonese Opera Workshop on major productions. Hong has performed overseas in the US, Canada, Korea and Europe. He founded the Azure Seas Cantonese Traditional Theatre in 2017 with a vision to preserve and promote traditional Chinese culture.

謝曉瑩蕭桃紅

Dianna Tse Hue-ying Siu Tou-hung 香港大學中文學院哲學碩士。粵劇花旦、編劇，與丈夫高潤鴻創辦金靈宵、香港靈宵劇團、青靈宵及香港戲曲總會有限公司；2 0 1 5 年獲香港藝術發展獎藝術新秀獎（戲曲）。2014 年成為越、崑名家史濟華、王芝泉的入室弟子。編演劇目包括《宋徽宗• 李師師•周邦彥》、《風塵三俠》、《鳳求凰》及《白蛇會子》等。 Dianna Tse graduated with an MPhil from the Faculty of Chinese Studies at the University of Hong Kong. She performs as a huadan (young female role) and writes Cantonese operas. With her husband, Ko Yun-hung, she founded Grand Xiqu, Hong Kong Xiqu Troupe, Young Xiqu and Hong Kong Xiqu Association Limited. In 2015, Tse was the recipient of the Award for Young Artist (Xiqu) by the Hong Kong Arts Development Council. In 2014, she became a mentee of Shi Jihua (Yue opera) and Wang Zhiquan (Kunqu). Her original operas include Emperor Hui Zong, Li Shi-Shi and Zhou Pangyan, The Legendary Bond of Three, A Marriage of Confusion, and the adapted version of The Legend of the White Snake.

林芯菱孔艷芳

Shirley Lin Hung Yim-fong 林芯菱 2003 年畢業於湛江藝術學校，工花旦、刀馬旦，曾效力佛山粵劇院。2011 年於香港演藝學院戲曲課程繼續深造，其間跟隨胡芝風、黃德正、黃綺雯、葉安怡、邢金沙等老師學藝。現任香港演藝青年粵劇團花旦，獲邀到美加等地演出。 Shirley Lin graduated from the Zhanjiang Art School in 2003, specialising in the roles of huadan (young female) and daomadan (warrior female). She has previously worked at the Foshan Cantonese Opera House. Lin continued her study in the Hong Kong Academy for Performing Arts Chinese Opera programme, where she learned from teachers Hu Zhifeng, Wong Tak-ching, Wong Yee-man, Ye Anyi and Ying Kam-sha. She currently plays the huadan role in the Hong Kong Young Academy Cantonese Opera Troupe. Lin has been invited to perform in the US and Canada.

一點鴻（陳惠堅）蕭懷雅

Ryder Chan Siu Wai-nga 工武生、丑生；師從丑生陳鴻進，畢業於香港演藝學院，現時活躍於各大劇團。曾獲 2006 年全國少年曲藝大賽廣東省金獎、2 0 0 8 年青少年曲藝明日之星選拔大賽金獎、 2010 年小曲王大賽優秀獎及 2012 年全港青少年學藝大賽冠軍。 Ryder Chan plays gongwusheng (male military) and chousheng (male comic) roles. He studied singing under chousheng Chan Hung-chun. Ryder Chan graduated from the Hong Kong Academy for Performing Arts and is currently active in various Cantonese opera companies. Past titles include the National Youth Quyi Contest Guangdong Province Gold Award (2006), the Gold Award of the Youth Selection Competition of the Rising Star of Quyi (2008), the Award of Excellence in the King of Xiaoqu Contest (2010) and the Champion of the Hong Kong Youth Cultural and Arts Competition (2012).

文華趙繼珠

Man Wah Chiu Kai-ju 畢業於香港中文大學中國語言及文學系、香港演藝學院全日制演藝文憑（粵劇）及香港八和會館和香港大學教育學院中文教育研究中心舉辦的粵劇編劇課程。創辦天馬菁莪粵劇團，負責編劇、演出和舞台製作，曾創作《獅子山下紅梅艷》、《黃鶴樓》、《櫃中緣》等劇本。2012 年加入香港八和會館油麻地戲院場地伙伴計劃之粵劇新秀演出系列。 Man Wah graduated from the Department of Chinese Language and Literature at the Chinese University of Hong Kong. Man holds a Diploma in Cantonese Opera from the Hong Kong Academy for Performing Arts and has participated in a Cantonese opera scriptwriting course hosted by the Chinese Artists Association of Hong Kong and Centre for Advancement of Chinese Language Education and Research (HKU). She founded the Sensational Sprouts Cantonese Opera Association and is responsible for script-writing, performing and stage production. Her playwright credits include Plum Blossom under the Lion Rock, The Futile Hero and Romance in the Closet. In 2012, she joined the Cantonese Opera Young Talent Showcase under the Chinese Artists Association of the Hong Kong Yau Ma Tei Theatre Venue Partnership Scheme.

陳禧瑜孔小紅

Chan Hei-yu Hung Siu-hung 畢業於香港大學新聞系，七歲開始隨郭瓊和文禮鳳學藝，得到陳銘英和曾浩姿指導，十八歲考獲北京舞蹈學院中國舞十二級，曾演出《白兔會》、《雷鳴金鼓戰笳聲》、《龍鳳爭掛帥》等，於 2018 年加入香港八和會館油麻地戲院粵劇新秀演出系列。現為香港電台第五台戲曲節目主持。 Chan Hei-yu graduated from the University of Hong Kong in the Department of Journalism. She started studying opera singing at the age of seven as a student of Kwok King and Man Lai-fung, and has received the instruction of Chan Ming-ying and Tsang Ho-chi. At 18, she passed the Grade 12 examination of the Beijing Dance Academy Chinese Dance. Chan has performed in The Reunion by a White Hare, The Sounds of Battle and Contention for the Seal. In 2018, she joined the Cantonese Opera Young Talent Showcase under the Chinese Artists Association of Hong Kong Yau Ma Tei Theatre Venue Partnership Scheme. She is currently a host in RTHK Radio 5’s Chinese opera programme.

10.3.2019

白玉堂折子戲

Vignettes from Pak Yuk-tong’s “Three Big Trials” 《肝腸塗太廟》之〈審弟〉 “Trial of the Younger Brother”from The Young Brother’s Bloody Remorse at the Ancestral Temple 演員、角色及簡介

Cast and Characters

洪海飾寤生

Hong Hai as Ng Sang Emperor of Zhang, older brother of Suk Duen and eldest son of Madame Keung

鄭國君主鄭莊公，叔段之兄，武姜之長子溫玉瑜飾叔段寤生之弟，為武姜之次子

Wan Yuk-yu as Suk Duen Ng Sang's younger brother and youngest son of Madame Keung

盧麗斯飾姜氏

Lo Lai-see as Madame Keung Mother of Ng Sang and Suk Duen

寤生及叔段之母，鄭武公之妻林芯菱飾麗華

Shirley Lin as Lai Wah Suk Duen’s wife

叔段之妻

本事

Synopsis

鄭莊公寤生因難產，受母后姜氏憎

Ng Sang's mother, Madame Keung, had a difficult time giving birth to him. As a result, she despises him and favours her younger son, Suk Duen. After Ng Sang inherits the dukedom and becomes the Duke of Zhang, Madame Keung encourages the eastern districts to support Suk Duen in a rebellion against Ng Sang. Suk Duen however, is captured by Ng Sang and brought to the Ancestral Temple for trial, against the protestations of their mother. Ng Sang holds Suk Duen culpable for the rebellion. Suk Duen is filled with regret and disembowels himself in an act of contrition towards his ancestors. Madame Keung is sentenced to confinement in Yingcheng and Ng Sang swears they will only meet again in the netherworld. This story takes place during the Spring and Autumn Period.

惡，而寵次子叔段；武公死，寤生繼位；姜氏暗通東鄙助叔段謀反，被寤生所擒，押到太廟審此叛逆之案，但姜氏幾番阻攔，寤生大義責弟；叔段悔過，剖腹以肝腸祭先祖而示忠烈，姜氏被押往穎城，誓言不及黃泉無相見。此故事發生於春秋時代。

《三審玉堂春》之〈大審〉 “The Final Trial”from Three Trials for Yuk Tong-chun 演員、角色及簡介

Cast and Characters

陳澤蕾飾王金龍

Chan Chak-lui as Wong Kam-long Inspector General and son of the Minister of Rites

禮部尚書之子，八府巡案莊婉仙飾蘇三

Zong Yun-sing as So Saam A famous courtesan, also known as Yuk Tong-chun, who was the late Shum Yin-lam's concubine

名妓，藝名玉堂春，後被迫成為沈燕林之偏房符樹旺飾沈從周（沈藩司）

Fu Shuwang as Commissioner Shum Conducting the joint trial

與王金龍和劉正司三司會審蘇三一點鴻飾劉正司

Ryder Chan as Secretary Lau Conducting the joint trial

與王金龍和沈藩司三司會審蘇三林汶聲飾崇公道

Lam Man-sing as Sung Gung-dou Court servant who became So Saam's godfather while on her guard duty

負責看守蘇三之差役，其後成為蘇三之義父陳玉卿飾沈皮氏

Chan Yuk-hing as Madame Shum Wife of the late Shum Yin-lam, involved in an affair with Chiu Kam-sang

沈燕林之正室，與趙監生有私情

本事

Synopsis

禮部尚書之子王金龍與名妓玉堂春

Wong Kam-long, son of the Minister of Rites, meets and falls for So Saam, a famous courtesan. A year later, Wong is cheated of all his money by the madam of the brothel. So Saam empties her coffers to help him, and urges him to leave to advance his studies and career. After Wong leaves, So Saam refuses to see any more clients. The madam of the brothel sells her to a wealthy merchant in Shanxi, Shum Yin-lam, to be his concubine. Shum’s wife is involved in an adulterous affair, murders him, and blames So Saam (now going by the name of Yuk Tong-chun) for his death, accusing her in local court. Under duress, she makes a false confession, and is deemed to have committed a capital offence. She is sent to be tried by the Inspector General. That post is now held by Wong Kam-long, who has passed the Imperial examinations. He is able to exonerate her of the charges. However, because of collusion between the officials, she is sentenced to exile. Wong gives up his official post to accompany her into exile, refusing to submit to corrupt powers.

邂逅，情投意合。一年後，王金龍幾萬銀兩被老鴇騙盡，玉堂春傾囊相助，勸公子早日考取功名。王金龍走後，玉堂春拒不接客。老鴇將其賣與山西富商沈燕林為妾。富商之妻與人私通害死親夫，反誣玉堂春，告到官府。玉堂春被屈打成招，定為死罪。科舉高中狀元授八府巡按的王金龍審理此案，欲為玉堂春平反伸冤，但官官相衛，官商勾結，最後判玉堂春充軍，王金龍拋烏紗隨玉堂春一同起解，不向惡勢力屈服。

《風火送慈雲》之〈大鬧開封〉 “Saving Prince Tsz Wan”from Uproar in the Kaifeng Prefectural Magistrate’s House 角色、演員及簡介

Cast and Characters

柳御風飾包延昭（包貴）

Lao Yu-fung as Bao Yin-chiu Minister of the Justice Bureau

刑部尚書關凱珊飾陸鳳陽陸正綱之子，陸后之弟，神宗的東宮國舅

Doris Kwan as Luk Fung-yeung Son of Luk Tsing-gong, younger brother of Empress Luk and Imperial Brother-in-Law of the Eastern Palace

謝曉瑩飾陸后

Diana Tse Hue-ying as Empress Luk Empress of the Northern Song Dynasty, Luk Tsinggong's daughter and Luk Fung-yeung's older sister

神宗之皇后，陸正綱之女，陸鳳陽之姊

梁心怡飾龐妃

Angel Leung Sum-yee as Consort Pong Emperor Shenzong's consort, Pong Szetung's daughter and Pong Wan-biu's sister

神宗之寵妃，龐思忠之女、龐云彪之姊

溫玉瑜飾神宗

Wan Yuk-yu as Emperor Shenzong The sixth Emperor of the Northern Song Dynasty

北宋第六代皇帝一點鴻飾陸正綱

Ryder Chan as Luk Tsing-gong Father of Luk Fung-yueng and Empress Luk and Imperial Father-in-Law of the Eastern Palace

陸鳳陽及陸后之父，神宗的東宮國丈

符樹旺飾龐云彪

Fu Shuwang as Pong Wan-biu Pong Sze-tung's son, Consort Pong's younger brother and Imperial Brother-in-Law of the Western Palace

龐思忠之子，龐妃之弟，神宗的西宮國舅

林汶聲飾王昭

Lam Man-sing as Wong Chiu Father of Wong Yuk-lan, a victim of a slaying

王玉蘭之父鍾颶文飾龐思忠（龐太師）

Chung Kui-man as Pong Sze-tung Father of Consort Pong and Pong Wan-biu and Imperial Father-in-Law of the Western Palace

龐妃及龐云彪之父，神宗的西宮國丈及丞相

本事

Synopsis

宋神宗立陸氏為后，繼立龐氏為妃。

Song dynasty Emperor Shenzong’s empress is surnamed Luk and his consort is surnamed Pong. Consort Pong’s brother, Wan-biu, was given the title Imperial Brother-in-Law of the Western Palace, while her father, Sze-tung, was bestowed the title Imperial Fatherin-Law of the Western Palace. Father and son take advantage of their relationship to Consort Pong to act like tyrannical despots. Empress Luk’s father, Luk Tsing-gong, has the title Imperial Fatherin-Law of the Eastern Palace and her brother, Fung-yeung, is the Imperial Brother-in-Law of the Eastern Palace. Empress Luk’s family are extremely displeased by the way the Pongs behave. On the eve of Spring Lantern Festival, while out on the streets, Wanbiu, kills the maiden Wong Yuk-lan. Fung-yeung makes a report to the Minister of the Justice Bureau, Bao Yin-chiu, and Wan-biu is sentenced to death. Consort Pong learns of this and, with the Emperor’s backing, compels Yin-chiu to release Wan-biu. Wanbiu is spared capital punishment, and in a display of smugness kills Wong Chiu, Yuk-lan’s father. Fung-yeung in anger kicks Wanbiu to death. Consort Pong accuses Empress Luk of being the instigator behind her brother’s death. Empress Luk attacks Consort Pong in rage, but accidently injures the Emperor. The Emperor condemns Empress Luk to death by suicide. She begs the Emperor for mercy, revealing that she is pregnant. The Emperor decides to banish Empress Luk instead, while her father and brother are both imprisoned, to await the birth of the empress' child before a final decision is made regarding their fate.

龐妃有弟龐云彪被封為西宮國舅，父龐思忠被封為西宮國丈，父子俱藉龐妃之勢，橫行霸道。陸后之父親陸正綱獲封為東宮國丈，其弟鳳陽被封為東宮國舅，陸后三人對龐所作所為極為不滿。元宵佳節，云彪殺害女子王玉蘭。鳳陽向刑部尚書包廷昭告狀，云彪被判死刑。龐妃聞訊，以威迫廷昭釋放云彪。神宗袒護龐妃，免云彪死罪，云彪得意打死王昭，鳳陽大怒踢死云彪，龐妃冤誣陸后暗中主持，陸后怒打龐妃誤傷神宗，神宗要賜死之，陸后說已經身懷六甲，哀求神宗開恩，神宗將陸后打入冷宮，雲龍父子則被押天牢，待太子降世後，再行議處。

白玉堂，原名畢琨生，於上世紀二十年代在不同戲班演出，以「靚南」為藝名，其後因在《五鼠鬧東京》表現出色而改名為「白玉堂」。他擅演的「大審戲」甚具個人風格，不少名伶都吸取了其演戲精髓，例如李奇峰、羅家寶、林家聲、尤聲普等。與其他粵劇流派相比，白玉堂一派的功架較為難學，例如關目、身段、節奏感等技巧都須要長時間的浸淫訓練。白玉堂演「主審戲」時眼神凌厲，即使坐在公案上仍氣勢十足，他亦懂得以鑼鼓的過渡時間換氣，充分掌握劇情快慢輕重的節奏，配合其靈活的身段，令故事更精彩緊湊。

Pak Yuk-tong, born as Pat Kwan-sang, performed in different troupes in the 1920s under the stage name Leng Naam. Following his outstanding performance in The Three Heroes and Five Gallants, he changed his name to Pak Yuk-tong. Pak was skilled at performing in “trial” operas, adding his own twists into the characters he performed. The essence of his acting style was absorbed by no small number of Cantonese opera greats, including Danny Li, Law Kar-po, Lam Kar-sing and Yau Singpo. Compared to other schools of Cantonese opera, Pak’s style is more difficult to learn; mastering his guanmu [eye movements], stage postures and rhythmic skills takes a great deal of time. When Pak presided over trial in these operas, his facial expressions were dominating and his presence overwhelming. He knew how to control his breathing according to the beats of the luogu; his mastery of the subtle rhythms of the plot thus intensified the narrative.

溫玉瑜叔段、神宗

Wan Yuk-yu Suk Duen and Emperor Shenzong 自幼愛粵劇，曾參與業餘演出，及後得向羅家英，李寶瑩執弟子禮，深得二師熏陶，於八、九十年代親自領軍到南洋一帶發展，在新加坡創下連續日夜演出五十八場不同劇目之紀錄。得阮兆輝、文千歲、梁漢威等前輩時加指點。其足跡遍及美、加、澳、法、荷等地。現今乃香港各大班台柱之一，於 2018 年正式成為羅家英入室弟子。 Wan Yuk-yu has cultivated a passion for Cantonese opera since he was young and had participated in amateur performances. He apprenticed under Law Kar-ying and Lee Po-ying, who led him on tour to Southeast Asia in the 1980s and 1990s. Wan holds the record of having 58 performances of different repertoires consecutively. Wan’s mentors include Yuen Siu-fai, Man Chin-sui and Leung Hon-wai. He had also performed to great acclaim in the US, Canada, Australia, France and the Netherlands. He is now the principal of various troupes. In 2018, he officially became an apprentice of Law Kar-ying.

陳澤蕾王金龍

Chan Chak-lui Wong Kam-long 個人簡歷請見第 21 頁 Please see p.21 for biography

洪海寤生

Hong Hai Ng Sang 個人簡歷請見第 21 頁 Please see p.21 for biography

關凱珊陸鳳陽

Doris Kwan Luk Fung-yeung 畢業於香港城市大學，主修公共行政及管理學科。師承梁森兒老師、王家玲老師及周莉莉老師，近年隨潘世倫研習唱藝。現為劍心粵劇團計劃統籌及劍青藝苑團長，並於 2008 年投考及受聘於香港青苗粵劇團，成為第一及二屆駐團生角團員。2013 年成為香港八和會館主辦「粵劇新秀演出系列」的基本生角演員，經常在油麻地戲院演出。 2014 年獲選為「西九戲曲中心粵劇新星」。 Doris Kwan graduated from City University of Hong Kong with a degree in public relations and became a student of Cantonese opera under Leung Sum-yee in 1995. In 1998, she studied Beijing opera gestures under Wang Jialing and Zhou Lili. Since 2008, she has been a resident performer of the sheng (male) role in the Hong Kong Young Talent Cantonese Opera Troupe. In 2013, Kwan participated in Cantonese Opera Young Talent Showcase organised by The Chinese Artists Association of Hong Kong and performing the sheng (male) role at Yau Ma Tei Theatre. Kwan took part in the Rising Stars in Cantonese Opera Showcase at the West Kowloon Bamboo Theatre in 2014. She is the project coordinator of Kim Sum Cantonese Opera, and leader of Kim Ching Cantonese Opera Association.

柳御風（梁淑明）包延昭

Lao Yu-fung (Leung Suk-ming) Bao Yin-chiu 習文武生，拜羅家英為師。隨羅家英、王家玲、周莉莉、曾玉女、陳輝鴻、朱小冰等學藝。2007 年獲選參演青年版《帝女花》，獲得國際粵劇評審評為「年度最佳演員」。 2012 年參演香港八和會館「粵劇新秀演出系列」。2 0 1 4 年獲選為「西九戲曲中心粵劇新星」。演出劇目有《帝女花》、《武松打店》、《斬經堂》等。 Lao Yu-fung studied the role of wenwusheng (civilian and military male) and was an apprentice of Law Kar-ying. She has studied under mentors such as Law Kar-ying, Wong Ka-ling, Zhou Lili, Tsang Yuk-nui, Chan Fai-hung and Zhu Xiaobing. In 2007, she was selected to perform in Princess Changping (Youth Edition) and was voted “Best Performer of the Year” by international Cantonese opera critics. In 2012, Lao was selected to perform in the Cantonese Opera Young Talent Showcase organised by the Chinese Artists Association of Hong Kong. In 2014, she was selected to perform in the Rising Stars in Cantonese Opera Showcase organised by the West Kowloon Cultural District. Her opera repertoire includes Princess Changping, Wu Song Fighting in the Inn and The pull of filial piety and righteousness.

謝曉瑩陸后

Dianna Tse Hue-ying Empress Luk 個人簡歷請見第 22 頁 Please see p.22 for biography

莊婉仙蘇三

Zong Yuen-sin So Saam 少時於嘉諾撒聖心英文書院粵劇組師承羅家英及李寶瑩學藝、八和粵劇學院第一屆畢業生，期間獲任大勳等名師教導，造詣日深，曾演出不少名劇，歡樂滿東華、英語粵劇、公益金及參與不同的劇團節目。及後欣蒙名樂師朱慶祥收為入室弟子，獲益良多。 2017 年重返舞台，並成立慶家寶劇團，並得恩師羅家英收納為入室弟子。 Zong Yuen-sin was mentored by Law Kar-ying and Lee Po-ying in Cantonese opera classes at the Sacred Heart Canossian College. She was among the first group of graduates from the Cantonese Opera Academy of Hong Kong, where she was taught by Chinese opera icons like Yam Tai-fan. She has appeared in numerous well-known Cantonese operas, as well as in the Tung Wah Charity Gala, English versions of Cantonese operas, with the Community Chest of Hong Kong, and in various pieces by other opera troupes. She also studied under Cantonese Opera musician Chu Hing-cheung. In 2017, she returned to stage and founded the Xing Jia Bao Opera Troupe, and has become an apprentice under Law Kar-ying.

林芯菱麗華

Shirley Lin Lai Wah 個人簡歷請見第 22 頁 Please see p.22 for biography

一點鴻（陳惠堅）沈藩司及陸正綱

Ryder Chan Commissioner Shum and Luk Tsing-gung 個人簡歷請見第 22 頁 Please see p.22 for biography

盧麗斯姜氏

Alice Lo Lai-see Madame Keung 香港八和粵劇學院第二屆學員，曾隨任大勳及陳敏學藝。畢業後經常參與各大小劇團演出。現為香港八和會館油麻地劇院場地伙伴計劃粵劇新秀系列成員。曾擔演《雙仙拜月亨》、《六月雪》、《征袍還金粉》及《雙珠鳳》等劇目。 Alice Lo was the second cohort of graduates from the Cantonese Opera Academy of Hong Kong and was a student of Yam Tai-fan and Chan Man. Since graduating, she has joined various Cantonese opera troupes. Lo is currently part of the Cantonese Opera Young Talent Showcase under the Chinese Artists Association of Hong Kong Yau Ma Tei Theatre Venue Partnership Scheme. Her repertoires include The Moon Pavlion, The Summer Snow, The Returned Armour and The Double-Pearl Phoenix.

林汶聲崇公道

Lam Man-sing Sung Gong-dou 師承岑玉梅、趙恩余、丁翠兒，習唱做身段；後跟隨韓燕明、周振邦、何孟良，習南北派身段，現在各大劇團擔演生、丑、武及老旦角色。 Lam Man-sing studied singing and movement under the mentorship of Cen Yumei, Chiu YanYu and Ting Chui-Yee. She later studied the stage movements of both Southern and Northern schools of Cantonese opera from Han Yan-ming, Zhou Zhen-bong and Ho Meng-liang. She plays the roles of sheng (male), chou (comic), wu (military), and lao dan (older women) in various troupes.

梁心怡龐妃

Angel Leung Sum-yee Consort Pong 2 003 年加入朗暉兒童粵劇團，承啟蒙老師名伶張寶華悉心教導，初窺粵劇竅門。 2 005 年開始隨名伶林錦堂習唱。200 9 年加入八和粵劇學院青少年班，接受為期四年之課餘訓練。期間得名伶尹飛燕垂青，於 2 0 1 1 年納為入室弟子。現為油麻地戲院場地伙伴計劃粵劇新秀演員。 Angel Leung Sum-yee joined the Love and Faith Cantonese Opera Laboratory in 2003. Her first experience with Cantonese opera was under the mentorship of Cheung Bo-wah. Since 2005, she has been studying opera singing under master Lam Kam-tong. In 2009, she joined the Cantonese Opera Academy of Hong Kong‘s four-year Cantonese opera youth training programme, during which she met renowned actress Wan Fei-yin, to whom she officially became an apprentice in 2011. Leung is currently a part of the Cantonese Opera Young Talent Showcase under the Chinese Artists Association of Hong Kong Yau Ma Tei Theatre Venue Partnership Scheme.

符樹旺龐云彪

Fu Shuwang Pong Wan-biu 符樹旺九歲起學藝，1990 年考入湛江市小孔雀粵劇團跟隨孔雀屏學藝，三年後任職丑生。2001 年加入江門市粵劇團任職小生，獲廣東省青年粵劇大賽銅獎。2 0 1 3 年入讀香港演藝學院，畢業後加入香港演藝青年團。現主攻文武丑生及鬚生，曾演出劇目《擋馬》、《十五貫》、《三岔口》及 2018 年香港藝術節的《百花亭贈劍》等。 Fu Shuwang began learning Cantonese opera arts at age nine. He was admitted into the Zhanjiang Little Peacock Cantonese Opera Troupe to learn under Hung Zheuk-ping in 1990, and became a specialist in the chou sheng (male comic) role three years later. He joined the Jiangmen Cantonese Opera Troupe as a xiaosheng (young male role) and received the Bronze Award from the Guangdong Province Youth Cantonese Opera Contest. He furthered his training at the HKAPA in 2013 and joined the Hong Kong Young Academy Cantonese Opera Troupe after graduation. Fu specialises in the wenwu chou sheng (civil and military comic male) and susheng (bearded male) roles. Fu’s repertoire includes Waylaying the Horse, Fifteen Strings of Cash, The Crossroads and the 2018 HKAF production of Pavilion of a Hundred Flowers, among others.

陳玉卿沈皮氏

Chan Yuk-hing Madame Shum 主修花旦。畢業於香港中文大學及香港八和會館合辦粵劇高級証書課程及香港演藝學院夜間兼讀深造文憑（粵劇）課程。近年參加了八和會館的油麻地伙伴計劃，成為該計劃之新秀成員。現經常參與各大粵劇團之演出。 Chan Yuk-hing specialises in playing huadan (young female) roles. She graduated from the Advanced Certificate Course on Cantonese Opera held by the Chinese University of Hong Kong and the Chinese Artists Association of Hong Kong; she’s also studied part-time in the evening for the Postgraduate Diploma in Cantonese Opera at the Hong Kong Academy for Performing Arts. She has recently joined the Cantonese Opera Young Talent Showcase under the Chinese Artists Association of Hong Kong Yau Ma Tei Theatre Venue Partnership Scheme and has regular performances in various opera troupes.

11.3.2019

《胡不歸》

Why Don’t You Return 馮志芬 Fung Chi-fen (1907–1962)

角色、演員及簡介

Cast and Characters

吳仟峰飾文萍生（阿萍）

Ng Chin-fung as Man Ping-sang Chiu Pun-neung's husband and Madame Man's son

趙顰娘之夫，文方氏之子王超群飾趙顰娘

Wong Chiu-kwan as Chiu Pun-neung Man Ping-sang's wife and Madame Man's daughter-in-law

文萍生之妻，文方氏之媳婦

廖國森飾文方氏

Liu Kwok-sum as Madame Man Man Ping-sang's mother

文萍生之母，趙顰娘之家姑符樹旺飾方三郎

Fu Shuwang as Fong Sam-long Man Ping-sang's cousin

文萍生之表哥梁心怡飾方可卿

Angel Leung Sum-yee as Fong Ho-hing Man Ping-sang's cousin

文萍生之表妹陳禧瑜飾春桃

Chan Hei-yu as Chun To Maid of Madame Man and Chiu Pun-neung

文方氏及趙顰娘之婢女

〈慰妻〉一折由楊諾琛飾演少年文萍生、由謝星海飾演少年趙顰娘 "Consoling Wife" excerpt performed by child actors Yeung Nok-sum (Man Ping-sang) and Tse Sing-hoi (Chiu Pun-neung)

本事

Synopsis

少年將軍文萍生與顰娘夫妻恩愛，卻遭情敵

Young general Man Ping-sang is very much in love with his wife Chiu Pun-neung. However, their relationship is threatened by Ping-sang’s cousins Fong Sam-long and Fong Ho-hing. They bribe an unscrupulous doctor to falsely diagnose Pun-neung with a terminal illness. As Ping-sang is an only child, his mother is fearful that he will contract Pun-neung’s disease. Madame Man, using the illness as an excuse, separates the couple, forbidding her son to visit his wife. However, Ping-sang steals away to visit his wife, and his attempts at consoling her make up this famous “Consoling Wife” excerpt.

（萍生表妹及表哥）設計陷害，並串通大夫詐謂顰娘得絕症。萍生是三代單傳，家姑文方氏嫌棄媳婦不育，又恐怕兒子受她的惡病傳染，便以養病為藉口，把媳婦隔離居住，並不許兒子前往探訪。顰娘搬居別處後，喜聞萍生前來慰妻。萍生因參軍出征在即，違背母命夜探嬌妻，郤被母親遇到。萍生離家後，文方氏贈予黃金及婢女春桃，逼顰娘離開文家。萍生百戰歸來，豈料母親卻說其妻已死，萍生惟有到墳前痛哭拜祭，感動了妻子出來相認。表妹、表哥見二人真情至死不渝，頓感

Shortly after this episode, Ping-sang is ordered away on military duty. Before he leaves, he tries to visit his wife during the night, but is discovered by his mother. After Ping-sang leaves home, his mother gives Pun-neung some money and a maid before driving her away.

慚愧，承認陷害顰娘，文方氏遂許萍生與顰娘再續前緣。

Ping-sang returns home safely after the battles. His mother lies, telling him that Pun-neung has died. Pingsang grieves by what he believes to be Pun-neung’s grave. Pun-neung, who happens to be nearby, is moved by his display of emotion and reveals herself. The cousins are also moved by the couple’s love and, regretting their actions, confess their evil plot. In the end, Madame Man allows the couple to rekindle their relationship.

《胡不歸》為有萬能泰斗之稱的薛覺先的名劇，1939 年 12 月 2 日於上環高陛戲院首演。在粵劇界而言，此劇絕對稱得上為經典，幾乎是所有粵劇演員都會演的劇目，當中〈慰妻〉更是很多初學粵曲唱者的必學折子。除了舞台版本外，還數度被搬上大銀幕，例如由林家聲及芳艷芬主演的紀念電影版（1958 年），以及由陳寶珠和蕭芳芳主演的《七彩胡不歸》（1966）。

Why Don’t You Return, whose title role was originated by the multi-talented artist Sit Kok-sin, premiered at Ko Shing Theatre in Sheung Wan on 2 December 1939. In the world of Cantonese opera, this work is undoubtedly a classic: nearly every Cantonese opera actor will perform it during their career, and the “Consoling Wife” scene in particular is a must-learn for many Cantonese opera beginners. In addition to the theatrical version, Why Don’t You Return was adapted for the silver screen, including the 20th anniversary film version starring Lam Kar-sing and Fong Yim-fan, and Love Eternal (1966) starring Connie Chan and Josephine Siao.

李奇峰

Danny Li Chi-kei 《胡不歸》藝術總監

Artistic Director of Why Don't You Return?

李奇峰是資深粵劇演員，工生角，啟蒙老師馮俠魂及楚岫雲。他出生於粵劇世家，父親李鑑潮乃戰前興中華劇團的編劇，母親呂少紅亦曾為全女班的小武演員。二戰時隨母親逃難往越南，年僅八歲的他參加神童班擔演折子戲《胡不歸之慰妻》及參與其他大型劇團，曾與薛覺先、馬師曾及白玉堂等名伶同台演出。李氏演出粵劇經驗豐富，曾赴美國、泰國及越南各地演出，除為大龍鳳劇團、頌新聲劇團、碧雲天劇團、慶紅佳劇團作幕前演出外，又參與雛鳳鳴劇團的幕後工作。曾與梁漢威、阮兆輝、尤聲普成立香港實驗粵劇團，又與羅家英、李寶瑩組織勵群粵劇團。李氏除幕前演出外，亦帶領粵劇團遠赴北美洲及歐洲演出，創立香港粵劇團於歐洲公演先河。

A veteran Cantonese opera performer, Li Chi-kei specialises in playing sheng (leading male) roles. His first mentors included Fung Hap-wang and Cho Yauwan. Born into an opera family, Li’s father, Li Kamchiu, was a playwright for the New China Troupe and his mother, Liu Siu-hung, performed wu (military) roles in an all-female group. During World War II, he fled to Vietnam along with his mother. Attending a class for opera prodigies, the eight-year-old Li performed in the operatic excerpt “Consoling Wife” from Why Don’t You Return? He also performed in major troupes and with many maestros, including Sit Kok-sin, Ma Szetsang and Pak Yuk-tong. Li has toured extensively to the US, Thailand and Vietnam. In addition to onstage performances with Tai Lung Fung Opera Troupe, Chung San Sing Opera Cantonese Opera Troupe, Bik Wan Tin Opera Troupe and Hing Hung Kai Opera Troupe, he has also been involved in productions with Chor Fung Ming Cantonese Opera Troupe. He co-founded the Group of Hong Kong Experimental Cantonese Opera with Leung Hon-wai, Yuen Siu-fai and Yau Sing-po, and the Lai Kwan Cantonese Opera Troupe with Law Kar-ying and Lee Poying. Li has taken many Cantonese opera troupes on tour to North America and Europe, and he is a pioneer in presenting Hong Kong Cantonese opera troupes in Europe.

吳仟峰文萍生

Ng Chin-fung Man Ping-sang 粵劇伶人吳仟峰為粵劇名伶小武顧天吾弟子，十八歲已經當正印文武生，並自組日月星劇團及仟鳳劇團。曾經與陳好逑、鄭幗寶、李寶瑩、鍾麗蓉、羅艷卿、南紅、李香琴、吳美英、汪明荃、胡美儀、楊柳菁、謝雪心、尹飛燕、南鳳、王超群、陳咏儀等花旦合作演出。常演才子佳人角色。 Acclaimed Cantonese opera performer Ng Chin-fung studied under renowned wusheng (military male) performer Ku Tin-ng. Since the age of 18, he has been a leading wenwusheng (civilian and military male) performer in Hong Kong. Ng founded the Yat Yuet Sing and the Chin Fung Cantonese Opera Troupe. Over the years, he has worked with many well-known female leads including Chan Ho-kau, Cheng Kwok-bo, Lee Po-ying, Chung Lai-yung, Law Yim-hing, Nam Hung, Lee Heung-kam, Ng May-ying, Wang Ming-chuen, Amy Wu, Yeung Lao-Ching, Tse Suetsum, Wan Fei-yin, Nam Fung, Wong Chiu-kwan, and Chan Wing-yee. He often plays the role of a gifted scholar.

王超群趙顰娘

Wong Chiu-kwan Chiu Pun-neung 著名粵劇正印花旦，師承著名男花旦譚珊珊，唱腔劉永全師父。以演《紮腳劉金定斬四門》及武打見稱。嗓子婉轉動聽，造功扎實，文武兼備。合作過的文武生有文千歲、羅家英、李龍、吳仟峰、龍貫天、阮兆輝、梁兆明、李秋元等。曾參演《劉金定大破火龍陣》、《夢蝶情》、《斬二皇》、《玉皇登殿》及新劇《青樓夢》、《郎心如鐵》、《煙兩烽火情》、《鬥三煞》等。2 0 0 6 年與著名越劇大師史濟華結成師徒。近年更積極到各院校推廣粵劇文化。20 1 0 年獲頒民政事務局嘉許狀及香港藝術發展局年度藝術家獎（戲曲）。現擔任油麻地戲院之新秀藝術總監及香港演藝學院戲曲導師。 Wong Chiu-kwan is a veteran Cantonese opera artist, specialising in huadan (young female) roles. Her mentors are the two prominent male huadan actors, Tam Shan-shan and Lau Wingchuen. Wong excels in martial roles, especially in Bound-foot Liu Jinding Battles at the Fort. Wong’s round, sweet voice and solid movements make her a well-rounded artist. Wong has worked with male wenwusheng artists like Man Chin-sui, Law Kar-ying, Lee Lung, Ng Chin-fung, Lung Koon-tin, Yuen Siu-fai, Leung Siu-ming and Lee Chow-yuen. Her stage credits include Lau Kam-ting Thrashes the Fire Dragon Formation, Romance of the Butterflies in a Dream and The Imperial Emperor of Heaven Holding Court. New opera stage credits include Dream of the Green Mansion, A Place in the Sun, A Beacon Fire and Fiend Battle. In 2006, Wong studied the art of Shanghai Yue Opera under the tutelage of Shi Jihua. In 2010, Wong was awarded a Secretary for Home Affairs' Commendation and the award for Best Artist (Xiqu) by the Hong Kong Arts Development Council. She is now the artistic director of the Cantonese Opera Young Talent Showcase of Yau Ma Tei Theatre, and a teacher of Chinese opera of the Hong Kong Academy for Performing Arts.

廖國森文方氏

Liu Kwok-sum Madame Man 香港八和粵劇學院第一屆學員，曾隨任大勳學習北派及王粵生學習唱腔。隨後加入雛鳳鳴劇團，曾演《辭郎州》、《李後主》、《英烈劍中劍》、《蝶影紅梨記》等劇；又隨該團前往美加及澳洲等地演出。近年經常參與本港各大劇團擔演武生。 Liu Kwok-sum is a graduate of the inaugural class of the Cantonese Opera Academy of Hong Kong. He was coached by Yam Tai-fan in a school of Cantonese opera influenced by Beijing opera, and he studied singing under the tutelage of Wong Yuet-sang. Liu later joined Chor Fung Ming Opera Troupe to perform in Island of Farewell, Li Yu — The Last Emperor of Southern Tang Dynasty, The Butterfly Shadow and Red Pear Chronicle and other opera productions, touring to the US, Canada, Australia and other countries. He has recently been a leading performer of wusheng (military) roles across different troupes.

梁心怡方可卿

Angel Leung Sum-yee Fong Ho-hing 個人簡歷請見第 33 頁 Please see p.33 for biography

陳禧瑜春桃

Chan Hei-yu Chun To 個人簡歷請見第 23 頁 Please see p.23 for biography

符樹旺方三郎

Fu Shuwang Fong Sam-long 個人簡歷請見第 34 頁 Please see p.34 for biography

鳴謝 Acknowledgements 香港藝術節衷心感謝下列機構及人士的慷慨支持： The Hong Kong Arts Festival would like to thank the following for their generous support:

贊助舍計劃會員 Patron’s Club Members 鉑金會員 Platinum Members

嘉里控股有限公司 Kerry Holdings Limited 新鴻基有限公司 Sun Hung Kai & Co. Limited

黃金會員 Gold Member

怡和集團 The Jardine Matheson Group

純銀會員 Silver Members

銅鑼閣有限公司 Causeway Corner Limited 太古集團慈善信託基金 The Swire Group Charitable Trust

青銅會員 Bronze Members

鷹君集團有限公司 Great Eagle Holdings Limited 上海商業銀行 Shanghai Commercial Bank Limited

其他支持機構 Other Supporters •Agency for Cultural Affairs, Government of Japan •ANA Holdings Inc. •British Columbia Arts Council

•British Council •Canada Council for the Arts •HEED

•Legrand Jewellery •Ms Lim Geck Chin Mavis •Gary & Flavia Ma •So Ching

•Leland & Helen Sun •Ms Christine Tong •Mr Christopher Wong & Dr Ivo Chen •殷和順劉善萍伉儷

學生票捐助計劃 Student Ticket Scheme 鉑金捐款者 PlATINuM DONORS HK$140,000 或以上 AND ABOVE •駱余劍清紀念基金 Lok Yu Kim Ching Memorial Fund •C H Mak •無名氏 (2) Anonymous (2) •麥禮和醫生 Dr Mak Lai Wo •Burger Collection •Vernon & Karen Moore •馬振玉慈善基金會有限公司 CYMA Charity Fund Ltd •Mrs A M Peyer •恒生銀行 Hang Seng Bank •Dr Poon Yee Ling Eligina 鑽石捐款者 DIAMOND DONORS HK$70,000 - HK$139,999 •Mr & Mrs Kenneth Quinn •法國巴黎銀行 BNP Paribas •Tsang Wing Fun •Mrs Purviz R Shroff and the late Mr Rusy M Shroff, BBS, MBE •曹延洲醫生 Dr Tsao Yen Chow •田家炳基金會 Tin Ka Ping Foundation •Martin Rogers & Janet Cheng •芝蘭基金會 Zhilan Foundation •黃乃正教授及陳頴儀醫生 •Mr Wong Yick Kam 翡翠捐款者 JADE DONORS HK$30,000 - HK$69,999 •林聖竤 Chris Lin •Roger & Lina Lui •Mr & Mrs Stephen Suen 黃金捐款者 GOlD DONORS HK$12,000 - HK$29,999 •無名氏 Anonymous •Mr & Mrs Herbert Au-Yeung •Ms Margaret Cheng •招國利先生 Mr Chiu Kwok Lee •Dr Chung See Yuen •馮兆林先生 Mr Fung Shiu Lam •Richard & Ruth Herbst •Mr & Mrs Ko Ying & Ko Woo Shin Ching Patricia •Yvonne Cheng & Kelvin Koo •Caroline & Stefan Kracht •Mrs Carol Murray •Nathaniel Foundation Limited •Diana d'Arenberg & Jay Parmanand •孫永輝施熙德伉儷 Edith Shih & Stephen Sun •Mr Stephen Tan •Peter & Nancy Thompson •Mr William To •黃逸思先生夫人 Mr & Mrs Y S Wong •Ms Wong Yuen Mee Elsa •Mrs Wu Tseng Helen 純銀捐款者 SIlVER DONORS HK$6,000 - HK$11,999 •無名氏 (2) Anonymous (2) •區燊耀先生 Mr Au Son Yiu •Mr Iain Bruce •趙穎雅 Winnie W N Chiu •天智合規顧問有限公司 CompliancePlus Consulting Limited •Mr & Mrs A R Hamilton •Ms Winnie W Ho •羅偉騫先生及夫人 Andy Law & Wendy Chan

青銅捐款者 BRONZE DONORS HK$3,000 - HK$5,999 •無名氏 (12) Anonymous (12) •Antonhill Company Limited •Biz Office Limited •Carthy Limited •Cynthia Cheng & Aaron Chan •Dr Chan Chun Yin •Dr Cindy Chan •Dr Chan Wan Tung •D Chang •Ms Cheung Kit Fung •張宏毅律師及江淑慧夫人 Mr & Mrs Joseph W N Cheung •Ms Grace Chiang •Mr & Mrs Norman Chui •Community Partner Foundation Limited •Mr & Mrs Kenneth H C Fung •giliproduction •HUI Silvia •Betty Hung •Dr Alfred Lau •Joanna Lau •Dr Nancy Leung •Savita Leung •Ms Janice Ritchie •Susan Lim & Neil Roberts •Mr Siddique Salleh •Mr So Kin Man •William Stork & Jasmine Wong •Dr Tam Oi Wo Joyce •Ms Wong Siu Yee Amy •殷和順劉善萍伉儷 •Ms Yim Chui Chu •Mr Desmond Yu •野豬先生 •皮皮

( Fri 五 )

門票尚餘少量 k e ts ic T d L im it e

節目時間表 Programme Calendar 歌劇戲音樂 /曲 OPERA / CHINESE OPERA MUSIC

萊比錫歌劇院華格納《唐懷瑟》

CCGT

1/3 2/3

7pm 6pm

Madame White Snake by Zhou Long and Cerise Lim Jacobs

APAL

8-9/3

7:30pm

粵劇《百花亭贈劍》毛俊輝導演作品（更新版）

Cantonese Opera - Pavilion of a Hundred Flowers Directed by Fredric Mao (Reboot)

STTHAUD

1-2/3

8pm

粵劇越洋半世紀 -《紅了櫻桃碎了心》 - 白玉堂折子戲 -《胡不歸》 - 名伶花旦展演話當年

9/3 10/3 11/3 15-17/3

7:30pm 2:30pm 7:30pm 7:30pm

香港小交響樂團小號巨星納卡里亞科夫

Hong Kong Sinfonietta Sergei Nakariakov • The Art of the Trumpet

CHCH

16/2

8pm

瑪琳．艾爾梭與聖保羅交響樂團

Marin Alsop with the São Paulo Symphony Orchestra

CCCH

21-22/2

8pm

Hong Kong Chinese Orchestra Meeting Across Nine Millennia of Time

CHCH

22/2

8pm

鮮于睿權鋼琴獨奏會

Yekwon Sunwoo Piano Recital

CHCH

23/2

8pm

帕佛．約菲與 NHK 交響樂團

Paavo Järvi with the NHK Symphony Orchestra, Tokyo

CCCH

28/2

8pm

法國世紀樂團：白遼士 150 指揮：麥森．帕斯高

Les Siècles: BERLIOZ 150 Conductor: Maxime Pascal

CCCH

2/3 3/3

8pm 4:30pm

萊比錫歌劇院合唱團《歌劇合唱盛會》

Chor der Oper Leipzig Opera Chorus Concert

CCCH

3/3

8:15pm

馬祖耶夫鋼琴獨奏會

Denis Matsuev Piano Recital

CHCH

7/3

8pm

馬祖耶夫與得獎新晉鋼琴家匯演

Matsuev and Young Laureates Piano Gala

CHCH

8/3

8pm

Quondam Spanish Renaissance Choral Masterpieces

CHCH

9/3 10/3

8pm 4pm

Li Biao Percussion Group - From Baroque to Tango

CCCH

15/3

8pm

P is for PERCUSSION! Family Concert by Li Biao Percussion Group

CCCH

16/3

8pm

洪儷僖管風琴獨奏會

Riyehee Hong Organ Recital

CCCH

18/3

8pm

克雷莫納弦樂四重奏

Quartetto di Cremona

CHCH

21-22/3

8pm

爵士新潮 - 馬可．梅斯基達三重奏《拉威爾的夢》

Nouveau Jazz Weekend - Marco Mezquida Trio - Ravel's Dreams

APAD 22/2 23/2 23/2 23/2

8pm 7:30pm 4pm 9:30pm

2-3/3 2/3 3/3

4:30pm 8pm 8pm

《白蛇傳》作曲：周龍 | 編劇：林曉英

香港中樂團《九千年的邂逅》

時光之音《西班牙文藝復興合唱代表作》李飈打擊樂團《巴羅克．探戈》《好！擊！動！》親子音樂會李飈打擊樂團

爵士樂世 / 界音樂 JAzz / WOrLD MUSIC

- 馬可．梅斯基達鋼琴獨奏會 - 佐治．達洛查低音大提琴獨奏獨唱會

Oper Leipzig Wagner’s Tannhäuser

- Marco Mezquida Piano Solo - Jorge da Rocha Solo

世界音樂週末營 - Criatures 二人組及 Belda & Sanjosex - 易莎．拉娜三重奏《路》 - 佐治．達洛查三重奏《放下．放開》

World Music Weekend - Criatures and Belda & Sanjosex - Yexza Lara - Camino - Jorge da Rocha - To Drop and Let Go

HKAC-ST

馬祖耶夫爵士樂隊

DANCE

舞蹈

Matsuev and Friends Play Jazz

CCCH

9/3

8pm

湯瑪士．夸斯托夫四重奏《Nice 'N' Easy》

Thomas Quasthoff Quartet Nice 'N' Easy

CCCH

14/3

8pm

希薇雅．佩瑞茲．克露絲《夜妝》

Sílvia Pérez Cruz Dressed by the Night (Vestida de Nit)

CCCH

22/3

8pm

香港藝術節 @ 大館

HKartsFestival@TaiKwun

2-3/3 9-10/3

雲門舞集 45 週年林懷民舞作精選

Cloud Gate Dance Theatre of Taiwan The 45th Anniversary Gala Programme Retrospectives of Lin Hwai-min's Works

CCGT

21-23/2 24/2

8:15pm 2pm

Euripides Laskaridis / Osmosis TITANS

APAD

26-27/2

8:15pm

歐里庇德斯．拉斯卡里迪斯及遊離表演工作坊《泰坦 – 諸神之舞》

CCGT CCCH CCST CHCH

CHT APAL APADT HKAC-ST

DANCE

舞蹈

香港賽馬會當代舞蹈平台 -《舞鬥》 -《雙篇雙人舞》 -「兩地書」-《沒有大象》亞太舞蹈平台 -《由削木開始》 -《黃翊與庫卡》

The Hong Kong Jockey Club Contemporary Dance Series - Dance Off

CCST

- Double Bubble

CCST

- Dance Exchange - Elephant in the Room Asia Pacific Dance Platform - From starting to cut the wood - HUANG YI & KUKA

CCST

28/2, 1/3 2/3 15/3 16/3 20-21/3

8:15pm 3pm 8:15pm 2:45pm 8:15pm

KTT-BBT APA-DT

12-13/3 1-2/3

8pm 8:15pm

THEATrE

戲劇

漢堡芭蕾舞團 – 約翰．紐邁亞《胡桃夾子》

The Hamburg Ballet - John Neumeier The Nutcracker

CCGT

13-15/3

7:30pm

漢堡芭蕾舞團 – 約翰．紐邁亞《貝多芬計劃》

The Hamburg Ballet - John Neumeier Beethoven Project

CCGT

19-20/3

7:30pm

漢堡芭蕾舞團 – 約翰．紐邁亞《約翰．紐邁亞的世界》

The Hamburg Ballet - John Neumeier The World of John Neumeier

CCGT

23/3 24/3

7:30pm 2:30pm

重新劇團《追憶消逝的人生》

Theatre Re The Nature of Forgetting

CCST

21-24/2 23-24/2

8:30pm 4:30pm

瑞士默劇團《百變樂園》

Mummenschanz Reloaded

APAL YLT-AUD

21-22/2 24/2 24/2

7:30pm 1pm 5pm

倫敦燃料劇團、布里斯托爾老域劇團、愛丁堡皇家蘭心劇院與北安普敦皇家及德蓋特劇院聯合製作《攀越冰峰》

A Fuel, Bristol Old Vic, Royal Lyceum Theatre Edinburgh, and Royal & Derngate Northampton co-production Touching the Void

CHT

21-24, 8pm 26-28/2, 1-2/3 23-24/2, 2/3 3pm

機器神製作羅伯特．利柏殊創作及演出《887》

Ex Machina Created and performed by Robert Lepage 887

APAL

27-28/2, 1-2/3 8pm 2/3 3pm

賽馬會本地菁英創作系列《陪着你走》

Jockey Club Local Creative Talents Series Always by Your Side

KTT-AUD

2,6-9/3 3,9-10/3

8pm 3pm

正點劇團《哈姆尼特─莎士比亞之子》

Dead Centre Hamnet

CCST

4-5/3

8:15pm

正點劇團《契訶夫處女作》

Dead Centre Chekhov's First Play

CCST

8-9/3 9-10/3

8:15pm 3pm

北京李六乙戲劇工作室《哈姆雷特》

Beijing LiLiuyi Theatre Studio The Tragedy of Hamlet, Prince of Denmark

CCGT

7-8/3 9/3

7:30pm 2:30pm

《九江》

Gangsters of Hong Kong

CHTH

8-9,13-16, 20-23/3 10, 17, 24/3

8pm

Ontroerend Goed 《金錢世界》( 英語版 )

Ontroerend Goed - £¥€$ (LIES) (English Version)

TK-F Hall

《金錢世界》( 粵語版 )

- £¥€$ (LIES) (Cantonese Version)

12-17/3 12-15/3 16-17/3 20-24/3 20-22/3 23-24/3

6pm 9pm 3pm 6pm 9pm 3pm

離奇作業劇團《蛙人》

curious directive Frogman

CDAV

12-15/3 12-15/3 16-17/3 16-17/3

7pm 9pm 3pm 5pm

傑夫．索貝爾《家》

Geoff Sobelle Home

APAL

14-16/3 16/3

8pm 3pm

皮普．德爾邦諾劇團《快樂大本營》

Compagnia Pippo Delbono La Gioia (Joy)

APAL

22-23/3

8pm

馬里安諾．潘恩索廸及瑪利亞劇團《三個女人搞革命》

Mariano Pensotti / Grupo Marea Burning Bright in the Forest of the Night

CCST

23/3 24/3

8:15pm 5pm

3pm

資料截至 Information as of: Jan 2019

KTT-BBT KTT-AUD YLT-AUD STTH-AUD

YMTT TK CDAV

油麻地戲院 Yau Ma Tei Theatre 大館 Tai Kwun 牛棚藝術村 Cattle Depot Artist Village

藝術絕不止於劇場或舞台，而是能延伸至生活的每個小節。無論您是藝術節的忠實擁躉、藝術愛好者或年輕藝術家，PLUS誠邀您透過一系列老少咸宜的節目與特備活動，一起探索與體驗香港藝術節「演出之外，更多精采！」 PLUS extends your festival experience to more than what you see on stage. Experienced festivalgoers, newcomers, budding artists, and the young and old alike will be delighted that there are "More than Great Performances" at the Hong Kong Arts Festival!

漢堡芭蕾舞團的世界

The World of Hamburg Ballet

漢堡芭蕾舞團 — 舞蹈電影系列 Hamburg Ballet at the Cinema ��Nĳinsky 2/3 六 Sat ��J.S. Bach: Christmas Oratorio 24/3 日 Sun ��Tatiana 30/3 六 Sat 購票詳情 Ticketing details: uacinemas.com.hk

�� Artist Salon: John Neumeier 21/3 四 Thu 7:30 - 8:30pm 香港逸蘭精品酒店 Lanson Place Hotel, HK

漢堡芭蕾舞團大師班 Hamburg Ballet Masterclass

h ,JSBO 8FTU

16/3 六 Sat 10:00 -11:30am (中級 Intermediate) 24/3 日 Sun 10:00 -11:30am (高級 Advanced) 香港文化中心 GR2 排演室 Rehearsal Room GR2, HK Cultural Centre

漢堡芭蕾舞團�� Hamburg Ballet The Nutcracker Introductory Class for Kids 17/3 日 Sun 11:30am - 12:45pm | 2:15 - 3:30pm 香港文化中心 GR2 排演室 Rehearsal Room GR2, HK Cultural Centre h ,JSBO 8FTU

報名及更多加料節目詳情請瀏覽 To learn more about PLUS events, please visit: www.hkartsfestivalplus.org

藝術節加料節目節目詳情及網上報名 For more details and online registration: www.hk.artsfestivalplus.org 音樂 MUSic

特備節目 SpecialS 25/1/2019

26/1/2019

20/2/2019

聖保羅交響樂團四重奏 SPSO String Quartet

22/2/2019

20/2/2019

公開彩排︰瑪琳．艾爾梭、聖保羅交響樂團與本地學生樂團 Open Rehearsal: Marin Alsop, São Paulo Symphony Orchestra and Local Student Orchestras

22/2/2019

馬可．梅斯基達爵士樂工作坊 Marco Mezquida Jazz Improvisation Workshop

28/2/2019

22/2/2019 24/2/2019

《舞城遊蹤》 Choreography Walk

26/2/2019 3/3/2019

《家常便飯》 Family Dinner

2/3/2019

《歌劇探秘同樂日》Opera Adventure Day

2/3/2019

28/2 - 3/3/ 2019

「萊比錫樂韻之路」展覽 Leipzig Music Trail (Leipziger Notenspur) Exhibition

《萊比錫樂韻之路》室樂音樂會 Leipzig Music Trail Chamber Concert

2/3/2019

《一齊玩》戲劇工作坊 We PLAY Theatre Workshop

16/3/2019

《好！擊！動！》同樂日 P is for Percussion! Family Day

2/3/2019

法國世紀樂團演前導賞講座︰幻想交響曲 Les Siècles Pre-performance Talk: Symphonie Fantastique

3/3/2019

萊比錫布業大廳樂團雙簧管、圓號、長號大師班 Oboe, Horn & Trombone Masterclass by Gewandhausorchester Leipzig

3/3/2019

法國世紀樂團演前導賞講座︰白遼士的一生 Les Siècles Pre-performance Talk: The Life of Berlioz

3/3/2019

萊比錫歌劇院演前導賞講座︰《歌劇合唱盛會》 Oper Leipzig Pre-performance Talk: Opera Chorus Concert

21/3/2019

藝術家沙龍︰約翰．紐邁亞 Artist Salon: John Neumeier

舞蹈 DaNce 19, 23/2/2019

雲門舞集工作坊 Cloud Gate Dance Theatre of Taiwan Workshop

1/3/2019

公開彩排︰香港賽馬會當代舞蹈平台《雙篇雙人舞》 Open Rehearsal: The Hong Kong Jockey Club Contemporary Dance Series Double Bubble

11/3/2019

藝術家對談︰從工藝到舞蹈 Arts Chat: From Crafting to Dancing

13/3/2019

漢堡芭蕾舞團演前導賞講座 : 交流網絡的藝術 The Hamburg Ballet Pre-Performance Talk: The Art of Networking

15/3/2019

漢堡芭蕾舞團早課參觀 Observing Company Class

15/3/2019

《胡桃夾子》後台參觀 Backstage at The Nutcracker

4/3/2019

《白蛇傳》歌劇創作講座 Madame White Snake Reimagined

9, 11/3/2019

時光之音合唱指揮工作坊 Choral Conducting and Choral Singing Workshop with Rupert Damerell

9/3/2019

馬祖耶夫爵士樂隊演前導賞講座︰古典音樂與爵士音樂的交匯 Matsuev and Friends Play Jazz Pre-performance Talk: Harmony between Classical and Jazz

16, 24/3/2019

漢堡芭蕾舞團大師班 Hamburg Ballet Masterclass

17/3/2019

漢堡芭蕾舞團《胡桃夾子》兒童工作坊 Hamburg Ballet The Nutcracker Ballet Introductory Class for Kids

13/3/2019

湯瑪士．夸斯托夫聲樂大師班 Thomas Quasthoff Vocal Masterclass

19/3/2019

漢堡芭蕾舞團《貝多芬計劃》演前導賞講座 The Hamburg Ballet Pre-Performance Talk: Beethoven Project

14/3/2019

23/3/2019

漢堡芭蕾舞團《約翰．紐邁亞的世界》演前導賞講座 The Hamburg Ballet Pre-Performance Talk: The World of John Neumeier

湯瑪士．夸斯托夫四重奏演前導賞講座 : 古典音樂與爵士音樂的交匯（二） Thomas Quasthoff Quartet Pre-Performance Talk: Harmony between Classical and Jazz II

13, 14/3/2019

李飈打擊樂團敲擊樂大師班 Percussion Ensemble Masterclass by Li Biao Percussion Group

15/3/2019

李飈打擊樂團演前導賞講座︰《巴羅克．探戈》 Li Biao Percussion Group Pre-Performance Talk : From Baroque to Tango

16, 17/3/2019

洪儷僖管風琴大師班 Riyeehee Hong Organ Masterclass

歌劇／戲曲 OpeRa 1, 2/3/2019

萊比錫歌劇院演前導賞講座︰《唐懷瑟》 Oper Leipzig Pre-performance Talk: Tannhäuser

2/3/2019

萊比錫歌劇院《唐懷瑟》後台參觀 Oper Leipzig's Tannhäuser Backstage Tour

12/3/2019

蔡艷香粵劇南派工作坊 Southern School of Cantonese Opera Workshop with Choy Him-heong

戲劇 THeaTRe

16/3/2019

《好！擊！動！》互動敲擊展覽 P is for Percussion Interactive Percussion Exhibition

16/3/2019

拇指琴及「升」樂樽工作坊 Thumbiano and Musical Bottle Workshop 《律！動！啦！》大堂音樂會 Feel the Pulse NOW!!! Foyer Performance

28/2/2019

藝術家對談︰與劇場大師羅伯特．利柏殊對話 Arts Chat: In Conversation with Robert Lepage

16/3/2019

9/3/2019

藝術家對談︰導演李六乙的莎士比亞 Arts Chat: Director Li Liuyi's Interpretation of Shakespeare

20/3/2019

克雷莫納弦樂四重奏示範講座 Quartetto di Cremona Lecture Demonstration

22/3/2019

希薇雅．佩瑞茲．克露絲演前導賞講座︰皆有可能 Sílvia Pérez Cruz Pre-Performance Talk: Everything Possible

電影 FilM 27/2/2019 2, 24, 30/3/ 2019

《攀越冰峰》電影放映與影後分享會 Touching the Void: Screening and Post-screening Talk 漢堡芭蕾舞團 - 舞蹈電影系列 Hamburg Ballet at the Cinema

贊助人

林鄭月娥女士

PATrON

永遠名譽會長執行委員會主席副主席義務司庫委員

邵逸夫爵士

HONOrArY LIFE PrESIDENT EXECUTIVE COMMITTEE Chairman Vice Chairman Honorary Treasurer Members

節目委員會主席委員

財務委員會主席委員發展委員會主席副主席委員

顧問

名譽法律顧問核數師

香港藝術節基金會主席霍璽先生管理人陳祖澤博士陳達文先生梁紹榮夫人 +

PrOGrAMME COMMITTEE Chairman Members

FINANCE COMMITTEE Chairman Members

HONOrArY SOLICITOr AUDITOr

DEVELOPMENT COMMITTEE Chairman Vice Chairman Members

ADVISOrS

The Hon Mrs Carrie Lam Cheng Yuet-ngor, GBM GBS Sir Run Run Shaw, CBE (1907-2014)

HONG KONG ArTS FESTIVAL TrUST Chairman Mr Angus H Forsyth Trustees Dr John C C Chan, GBS JP Mr Darwin Chen, SBS ISO Mrs Mona Leong, SBS BBS MBE JP

榮譽節目顧問 Honorary Programme Advisor

地址 : 香港灣仔港灣道 2 號 12 樓 1205 室電話 : 2824 3555 傳真 : 2824 3798, 2824 3722 節目查詢熱線 : 2824 2430

電子郵箱 : afgen@hkaf.org

Address: Room 1205, 12th Floor, 2 Harbour Road,Wanchai, Hong Kong Tel: 2824 3555 Fax: 2824 3798, 2824 3722 Email: afgen@hkaf.org Programme Enquiry Hotline: 2824 2430

STAFF Executive Director Assistant to Executive Director Programme Programme Director Associate Programme Director Programme Managers

何嘉坤何丹蓉梁掌瑋蘇國雲葉健鈴余瑞婷 * 蘇雪凌黃傲軒 * 譚小敏 * 張翠騫 * 金學忠 *

陳韻妍林淦鈞 * 胡鎮華 *

黎家欣 *

林嘉敏 *

鍾玉如 *

張嘉麟 *

楊恆怡 *

麥紫琴 *

陳穎業 *

Tisa Ho Connie Ho

技術統籌 * Technical Coordinators*

藝術家統籌 * Artist Coordinators*